2018–19 season andris nelsons bostonmusic director symphony orchestra

week 2 harbison rachmaninoff prokofiev

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 2

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 2 3 a brief history of the bso 2 8 this week’s program

Notes on the Program

30 The Program in Brief… 31 John Harbison 39 Sergei Rachmaninoff 47 Sergei Prokofiev 55 To Read and Hear More…

Guest Artists

61 Ken-David Masur 63 Garrick Ohlsson

66 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information

the friday preview on october 19 is given by bso director of program publications marc mandel.

program copyright ©2018 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo by Marco Borggreve cover design by BSO Marketing

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org Now on view mfa.org/pastels

Supported by the Robert Lehman Foundation and Davis and Carol Noble. Edgar Degas, Dancers Resting (detail), 1881–85. Pastel on paper mounted on cardboard. Juliana Cheney Edwards Collection. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 138th season, 2018–2019 trustees of the boston symphony orchestra, inc.

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

William F. Achtmeyer • Noubar Afeyan • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Todd R. Golub • Michael Gordon • Nathan Hayward, III • Ricki Tigert Helfer • Brent L. Henry • Susan Hockfield • Albert A. Holman, III • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Tom Kuo, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Pamela L. Peedin • Steven R. Perles • Lina S. Plantilla, M.D. • Carol Reich • Arthur I. Segel • Wendy Shattuck • Theresa M. Stone • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Dr. Christoph Westphal • D. Brooks Zug life trustees

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

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer • Evelyn Barnes, Jane B. and Robert J. Mayer, M.D., Chief Financial Officer • Bart Reidy, Clerk of the Board advisors of the boston symphony orchestra, inc.

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

Nathaniel Adams • James E. Aisner • Maureen Alphonse-Charles • Holly Ambler • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Ted Berk • Paul Berz • William N. Booth • Mark G. Borden • Partha Bose • Karen Bressler • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Miceal Chamberlain • Bihua Chen • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Peter Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Adaline H. Frelinghuysen • Stephen T. Gannon • Marion Gardner-Saxe • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Barbara Nan Grossman • Alexander D. Healy • James M. Herzog, M.D. • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman •

week 2 trustees and advisors 3 NO ONE CHANGED THE WORLD BY STAYING PUT. Proud to be the Official Airline of the Boston Symphony Orchestra. photos by Michael Blanchard and Winslow Townson

George Jacobstein • Stephen J. Jerome • Giselle J. Joffre • Susan A. Johnston • Mark Jung • Steve Kidder • John L. Klinck, Jr. • Roy Liemer • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Irving H. Plotkin • Andrew S. Plump • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jillian Tung, M.D. • Sandra A. Urie • Antoine van Agtmael • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • June K. Wu, M.D. • Patricia Plum Wylde • Gwill E. York • Marillyn Zacharis advisors emeriti

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

Membership as of September 20, 2018

† Deceased

week 2 trustees and advisors 5 We are honored to support the Boston Symphony Orchestra

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

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

“BSO 360” Airing on PBS “BSO 360,” a new behind-the-scenes series self-produced by the BSO, has begun airing nationally on PBS, with 76% of PBS stations across the country having picked up the series. There are five thirty-minute episodes showcasing all aspects of the BSO, including in-depth profiles of Music Director Andris Nelsons, Youth and Family Concerts Conductor Thomas Wilkins, and Tanglewood Festival Chorus Conductor James Burton; an insiders's look at the Boston Pops Fireworks Spectacular; an historical look at Boston Pops conduc- tors with Keith Lockhart; and segments on Leonard Bernstein, Tanglewood, and the BSO audition process. The show is already airing locally on WGBX (Channel 44) on Saturdays at 4:30 p.m. (it started on September 29). It will air on the World Channel starting Satur- day, November 10, at 8 p.m., and on WGBH (Channel 2) in December (dates and times to be announced). Funding for “BSO 360” was provided by Cynthia and Oliver Curme.

This Season’s BSO/GHO Musician Exchanges As part of the BSO/GHO Alliance initiated last season by BSO Music Director Andris Nelsons, who is also Gewandhauskapellmeister of Leipzig’s Gewandhausorchester (GHO), musicians from each of the two ensembles are participating in an exchange program whereby they play in the others’ home orchestra. For the first half of the 2018-19 season, BSO assistant concertmaster Elita Kang and BSO violist Danny Kim are playing in Leipzig with the Gewandhausorchester, and GHO violinist Dorothea Vogel and GHO violist David Lau are playing at Symphony Hall with the BSO. Beginning in mid-February, the two BSO members playing in Leipzig will be violinist Catherine French and bass player Todd Seeber, with GHO members Katharina Wachsmuth, violin, and Waldemar Schwiertz, double bass, crossing the Atlantic to play with the BSO. The BSO/GHO Alliance creates opportunities for both orchestras and their respective audiences to explore the historic traditions and accomplishments of each ensemble, through an extensive co-commissioning program, educational programs spotlighting each orchestra’s culture and history, and a focus on complementary programming offered during “Leipzig Week in Boston” and “Boston Week in Leipzig.” Among other offerings, this season’s “Leipzig Week in Boston” will feature the BSO’s first complete performances (November 28-December 1, with Andris Nelsons con- ducting) of J.S. Bach’s Christmas Oratorio, composed by Bach for performance in Leipzig during the Christmas season of 1734.

Boston Symphony Chamber Players This Sunday, October 21, at 3 p.m. at Jordan Hall The Boston Symphony Chamber Players begin their four-concert season at New England Conservatory’s Jordan Hall this Sunday, October 21, at 3 p.m. Pianist Garrick Ohlsson joins the Chamber Players for Haydn’s Piano Trio No. 43 in C, Hob. XV:27, and Brahms’s

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For more information, contact John Morey at 617-292-6799 or [email protected] F minor piano quintet, in a program also including Tom Johnson’s Failing: A Very Difficult Piece for Solo String Bass and Hindemith’s Kleine Kammermusik, Op. 24, No. 2, for wind quintet. For single tickets at $38, $29, and $22, please call SymphonyCharge at (617) 266-1200 or visit bso.org. Please note that on the day of the concert, tickets may only be purchased at the Jordan Hall box office.

BSO 101, the BSO’s Free Adult Education Series on Five Wednesday Evenings at Symphony Hall, 5:30-7pm “BSO 101: Are You Listening?” returns in 2018-19, again offering the opportunity to increase your enjoyment of BSO concerts. These five sessions—on October 17, November 14, January 16, February 13, and April 3—with BSO Director of Program Publications Marc Mandel (11/14 and 2/13), Associate Director of Program Publications Robert Kirzinger (10/17, 1/16, and 4/3), and members of the BSO are designed to enhance your listening abilities and appreciation of music. Each session focuses on upcoming BSO repertoire, examining and illuminating aspects of musical shape and form, and of the composers’ indi- vidual musical styles. Each session includes recorded musical examples and is self-contained, so no prior musical training, or attendance at any previous session, is required. A free tour of Symphony Hall is offered immediately following each session. Though admission to the BSO 101 session is free, we request that you make a reservation to secure your place; please call (617) 266-1200 or visit bso.org/bso101 (where further details are also available) under “Education & Community” on the BSO’s home page.

BSO Community Chamber Concerts The BSO continues its free, hour-long Community Chamber Concerts featuring BSO musi- cians in communities throughout the greater Boston area on Sunday afternoons at 3 p.m. (followed by a coffee-and-dessert reception for the audience and musicians), and at Northeastern University’s Fenway Center on four Friday afternoons at 1:30 p.m. This sea- son’s first program features BSO string players Tamara Smirnova, Bracha Malkin, Michael Zaretsky, and Mickey Katz, BSO clarinetist Thomas Martin, and pianist Xak Bjerken in music of Schumann and Shostakovich on Sunday, October 28, at Massachusetts College of Liberal Arts in North Adams; Friday, November 2, at the Fenway Center, and Sunday, November 24, at UMass Lowell. Admission is free, but reservations are required; please call 1-888-266-1200. For further details, please visit bso.org and go to “Education & Com- munity” on the home page. The BSO’s 2018-19 Community Concerts are sponsored by Takeda Pharmaceutical Company Limited.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. The speakers for this fall are Marc Mandel (October 19, October 26, November 23), Robert Kirzinger (October 12, November 16, and November 30), and author/lecturer Harlow Robinson (November 9).

week 2 bso news 9 individual tickets are on sale for all concerts in the bso’s 2018-2019 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Cynthia and Oliver Curme role as a Trustee, serving on several board Concert, Friday, October 19, 2018 committees and currently as Chair of the The performance on Friday afternoon is Tanglewood Forever Campaign. She and supported by a generous gift from Great Ollie have served on many Symphony and Benefactors Cynthia and Oliver Curme. Tanglewood Gala Committees, including Cindy and Ollie—longtime concertgoers as co-chairs for the 2010 Opening Night who have been a part of the BSO family for at Tanglewood and 2005 Opening Night at more than thirty years—are true champions Symphony. Ollie served on the BSO’s Media of the Boston Symphony Orchestra both in and Technology Committee. Boston and the Berkshires. In addition to her involvement here at the Musicians themselves, both Cindy and Ollie BSO, Cindy has been involved with several are passionate advocates for music and arts organizations, including serving on the arts education. A classically trained pianist, advisory council of the Boston University Cindy worked at the Symphony as part of Tanglewood Institute and the boards of the the administration from 1984 to 1995 and Boston Conservatory at Berklee, Terezín later served as a volunteer. Elected a BSO Music Foundation, and Isabella Stewart Overseer in 2003 and Trustee in 2005, Gardner Museum. Ollie, who recently served she served as a Vice-Chair of the Board of as a senior advisor at Battery Ventures and Trustees from 2015 to 2016 and from 2017 currently teaches at the Harvard Institute to 2018. Cindy is extremely active in her for Learning in Retirement, studied several

2018–2019 season andris nelsons music director

bso 101 A FREE ADULT EDUCATION SERIES

BSO 101: Are You Listening? offers the OCT 17: Exploring What’s New! opportunity to increase your enjoyment of NOV 14: Orchestral Palettes I—Mahler, BSO concerts. Join BSO Director of Program Beethoven, Dvořák, Harbison Publications Marc Mandel (11/14 & 2/13), JAN 16: Symphonic Shifts—Haydn, Brahms, Associate Director of Program Publications Sibelius, Copland Robert Kirzinger (10/17, 1/16 & 4/3), and FEB 13: Orchestral Palettes II—Debussy, members of the BSO in five sessions Puccini, Adès, Strauss designed to enhance your listening APR 3: 20th-Century Masters—Stravinsky abilities and appreciation of music by and Shostakovich focusing on upcoming BSO repertoire. No Free admission; reservations required. prior musical training, or attendance at any Call 617-266-1200 or go to bso.org/bso101. previous session, is necessary. bso.org/bso101

10 instruments as a child, continuing into adult- musicians collaborate on each memorable hood. Together, Cindy and Ollie share their performance. Without an orchestra, there commitment to music with their three sons, is no performance, and without an audi- all of whom studied music. ence, it is just a rehearsal. There’s another community that helps to make it all possi- The Curmes are early supporters of the ble—the Friends of the BSO. Every $1 the Tanglewood Forever Campaign and were BSO receives through ticket sales must be leading supporters of the Artistic Initiative matched by an additional $1 of contributed and the Immediate Impact Fund. Longtime support to cover annual expenses. Annual donors to the BSO Annual Funds, Cindy and membership gifts from the Friends of the Ollie are members of the Higginson Society BSO help bridge that gap. The Friends are at the Encore level and the Koussevitzky the cornerstone upon which the orchestra Society at the Virtuoso level. They are full is built, keeping the music playing to the Fellowship sponsors through their support delight of audiences all year long. In addition of the Tanglewood Music Center, and have to joining our family of like-minded music also generously supported the production of lovers, you’ll also enjoy a variety of exclusive “New Tanglewood Tales” and “BSO 360.” benefits designed to bring you closer to the music you cherish. Friends receive advance BSO Broadcasts on WCRB ticket ordering privileges, discounts at the Symphony Shop, and special invitations BSO concerts are heard on the radio at 99.5 to such behind-the-scenes donor events WCRB. Saturday-night concerts are broadcast as BSO and Pops working rehearsals, and live at 8 p.m. with host Ron Della Chiesa, much more. Friends memberships start at and encore broadcasts are aired on Monday just $100. To join our community of music nights at 8 p.m. In addition, interviews with lovers in the Friends of the BSO, contact guest conductors, soloists, and BSO musi- the Friends Office at (617) 638-9276 or cians are available online at classicalwcrb. [email protected], or join online at org/bso. Current and upcoming broadcasts bso.org/contribute. include this week’s program of Harbison, Rachmaninoff, and Prokofiev featuring pia- nist Garrick Ohlsson with BSO Associate BSO Members in Concert Conductor Ken-David Masur (October 20; The Walden Chamber Players, whose member- encore October 29), and next Saturday’s ship includes BSO associate concertmaster performance of Mahler’s Symphony No. 2, Alexander Velinzon and violinist Tatiana Resurrection, featuring Ying Fang, Bernarda Dimitriades, perform at the Kalliroscope Fink, and the Tanglewood Festival Chorus Gallery, 264 Main Street, Groton, MA, on under Andris Nelsons, preceded by Latvian Saturday, October 20, at 8pm. The program composer Maija Einfelde’s Lux aeterna for includes Haydn’s Piano Trio No. 39 in G, Hob. mixed chorus, performed to mark the cen- XV:25, Gypsy; Fauré’s C minor piano quartet, tennial of Latvian independence, with TFC Op. 15; and, with mezzo-soprano Meg Bragle, Conductor James Burton on the podium Beethoven’s Irish songs for voice, violin, cello, (October 27; encore November 5). and piano and Brahms’s Two Songs for voice, viola, and piano, Op. 91. Tickets are $35, Join our Community of available online at indianhillmusic.org or by Music Lovers— calling (978) 486-9524, ext. 116. The Friends of the BSO BSO members Sheila Fiekowsky, Daniel As a music lover, you know how special Getz, Adam Esbensen, Edwin Barker, Richard it is to experience a performance here at Ranti, and Jason Snider join violinist Lisa Symphony Hall. Attending a BSO concert Crockett and clarinetist Catherine Hudgins is a communal experience—thousands of for Dvoˇrák’s Miniatures, Op. 75a; Garfield’s concertgoers join together to hear 100 Quartet for Bassoon and Strings; Till Eulen-

week 2 bso news 11 boston symphony chamber players at jordan hall Founded in 1964, the Boston Symphony Chamber Players combine the talents of BSO principal players and renowned guest artists to explore the full spectrum of chamber music repertoire. In 2018–19, the Chamber Players are joined by pianist Garrick Ohlsson for music of Haydn and Brahms in October, and by pianist Gilbert Kalish and soprano Amanda Forsythe for a January program celebrating composer John Harbison’s 80th birthday. Also featured this season are the world premiere of a newly commissioned work by the Russian- born British composer Elena Langer, and music by American composers Tom Johnson and Michael Gandolfi. The ensemble’s four-concert series takes place on Sunday afternoons at New England Conservatory’s Jordan Hall. Single Tickets: $38, $29, $22 Please note that on the day of the concert, tickets may only be purchased at Jordan Hall. Subscription tickets for the 4-concert series are still available at $132, $95, and $75. sunday, october 21, 3pm sunday, march 3, 3pm with Garrick Ohlsson, piano BARBER Summer Music, for wind quintet HAYDN Piano Trio No. 43 in C, Hob. XV:27 Elena LANGER New work (world premiere; Tom JOHNSON Failing: A Very Difficult Piece for Solo BSCP commission) String Bass ROSSINI Duo in D for cello and double bass HINDEMITH Kleine Kammermusik, Op. 24, No. 2, Michael GANDOLFI Plain Song, Fantastic Dances, for wind quintet for strings and winds BRAHMS Piano Quintet in F minor, Op. 34 sunday, april 14, 3pm sunday, january 13, 3pm MOZART Quartet in F for oboe and strings, K.370 with Gilbert Kalish, piano FRANÇAIX Dixtuor, for winds and strings and Amanda Forsythe, soprano BEETHOVEN Septet in E-flat for strings and winds, Celebrating John Harbison's 80th birthday Op. 20 John HARBISON Duo, for flute and piano (1961) HARBISON Deep Dances, for cello and double bass (2006) HARBISON Piano Quintet (1981) HARBISON Wind Quintet (1979) J.S. BACH Cantata No. 51, Jauchzet Gott in allen Landen

For tickets, call 617-266-1200 or visit bso.org. Season Sponsors spiegel—einmal anders!, Hasenöhrl’s arrange- increased, there have also been continuing ment of the Strauss work; and Bruch’s Septet expressions of concern from concertgoers in E-flat, Op. posth., in a concert by the West and musicians who find themselves dis- Stockbridge Chamber Players on Sunday, tracted not only by the illuminated screens November 4, at 2 p.m. at the Old Town on these devices, but also by the physical Hall, a National Historic Register building, movements that accompany their use. For 9 Main Street, West Stockbridge, for the this reason, and as a courtesy both to those benefit of the West Stockbridge Historical on stage and those around you, we respect- Society. Tickets at $35 can be reserved at fully request that all such electronic devices weststockbridgehistory.org or by calling be completely turned off and kept from view (413) 232-5055. Tickets are also available while BSO performances are in progress. from local merchants. In addition, please also keep in mind that taking pictures of the orchestra—whether Founded by former BSO cellist Jonathan photographs or videos—is prohibited during Miller, the Boston Artists Ensemble performs concerts. Thank you very much for your a program entitled “Trio of Trios” on Sunday, cooperation. November 4, at 3 p.m. at St. Paul’s Episcopal Church, 15 St. Paul Street, Brookline, and on Friday, November 30, at 8 p.m. at Hamilton On Camera With the BSO Hall in Salem. Violinist Sharan Leventhal and The Boston Symphony Orchestra frequently pianist Randall Hodgkinson join Mr. Miller records concerts or portions of concerts for this program featuring Schubert’s Piano for archival and promotional purposes via Trio in B-flat, D.898, Mendelssohn’s Piano our on-site video control room and robotic Trio No. 1 in D minor, Op. 49, and the North cameras located throughout Symphony Hall. American premiere of Judith Weir’s O Viridis- Please be aware that portions of this con- sima. Tickets are $30 (discounts for seniors cert may be filmed, and that your presence and students), available at the door. For more acknowledges your consent to such photog- information, visit bostonartistsensemble.org raphy, filming, and recording for possible use or call (617) 964-6553. in any and all media. Thank you, and enjoy The Muir String Quartet—BSO violinist Lucia the concert. Lin and BSO principal violist Steven Ansell, violinist Peter Zazofsky, and cellist Michael Reynolds—performs a free concert on Comings and Goings... Wednesday, November 7, at 8 p.m. at Boston Please note that latecomers will be seated University’s Tsai Performance Center, 685 by the patron service staff during the first Commonwealth Avenue. On the program are convenient pause in the program. In addition, Mozart’s String Quartet No. 15 in D minor, please also note that patrons who leave the K.421, Schulhoff’s Five Pieces for String Quar- auditorium during the performance will not tet, and Ravel’s String Quartet in F. be allowed to reenter until the next conve- nientpause in the program, so as not to dis- Those Electronic Devices… turb the performers or other audience mem- bers while the music is in progress. We thank As the presence of smartphones, tablets, and you for your cooperation in this matter. other electronic devices used for commu- nication, note-taking, and photography has

week 2 bso news 13 ASSISTING NEW ENGLAND FAMILIES WITH THE SALE OF THEIR FINE JEWELRY AND PAINTINGS SINCE 1987.

ALEXANDER CALDER Gold Brooch, ca. 1948

SOLD AT AUCTION: $79,300

GROGANCO.COM | 20 CHARLES STREET, BOSTON, MASSACHUSETTS 02114 | 617.720.2020 on display in symphony hall This year’s BSO Archives exhibit on the orchestra and first-balcony levels of Symphony Hall encompasses a widely varied array of materials, some of it newly acquired, from the Archives’ permanent collection. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • An exhibit case in the Brooke Corridor documenting grand musical events in Boston prior to the founding of the BSO • An exhibit case in the Brooke Corridor spotlighting BSO founder and sustainer Henry Lee Higginson • An exhibit case in the Brooke Corridor celebrating women composers whose music the BSO has performed • Two exhibit cases in the Hatch Corridor focusing on the construction and architecture of Symphony Hall in the first balcony corridors: • An exhibit case, audience-right, tracing the crucial role of the BSO’s orchestra librarian throughout the orchestra’s history • An exhibit case, also audience-right, highlighting a newly acquired collection of letters written between 1919 and 1924 by Georg Henschel, the BSO’s first conductor, to the French flutist Louis Fleury, as well as Henschel the composer • An exhibit case, audience-left, documenting Symphony Hall’s history as a venue for jazz concerts between 1938 and 1956 in the cabot-cahners room: • Two exhibit cases focusing on the life, career, and family history of the late Tanglewood Festival Chorus founder/conductor John Oliver, including personal and professional papers, photographs, and other memorabilia, all donated to the BSO Archives in 2018 by Mr. Oliver’s estate • An exhibit case drawn from materials acquired by the BSO Archives in 2017 documenting the life and musical career of former BSO violinist Einar Hansen, a member of the BSO from 1925 to 1965

TOP OF PAGE, LEFT TO RIGHT: Composer Amy Beach (1867-1944), c.1910 (Fraser Studios) An April 1947 program from a Symphony Hall concert featuring Billie Holiday and Louis Armstrong A young John Oliver at the keyboard, c.1960 (photographer unknown)

week 2 on display 15 Marco Borggreve

Andris Nelsons

The 2018-19 season is Andris Nelsons’ fifth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons will lead fourteen of the BSO’s twenty-six subscription programs in 2018-19, ranging from orchestral works by Haydn, Beethoven, Tchaikovsky, Stravinsky, and Copland to concerto collaborations with acclaimed soloists, as well as world and American premieres of pieces newly commissioned by the BSO from Thomas Adès, Sebastian Currier, Andris Dzenītis, and Mark-Anthony Turnage; the continuation of his complete Shostakovich symphony cycle with the orchestra, and concert performances of Puccini’s one-act opera Suor Angelica. In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. In November 2017, he and the orchestra toured Japan together for the first time. In February 2018, he became Gewandhaus- kapellmeister of the Gewandhausorchester Leipzig, in which capacity he brings both orchestras together for a unique multi-dimensional alliance. Immediately following the 2018 Tanglewood season, Maestro Nelsons and the BSO made their third European tour together, playing concerts in London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam. Their first European tour, following the 2015 Tanglewood season, took them to major European capitals and the Lucerne, Salzburg, and Grafenegg festivals; the second, in May 2016, took them to eight cities in Germany, Austria, and Luxembourg.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tangle- wood debut in July 2012, and his BSO subscription series debut in January 2013. His recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms symphonies on BSO Classics; Grammy-winning recordings

16 on Deutsche Grammophon of Shostakovich’s symphonies 5, 8, 9, and 10, the initial releases in a complete Shostakovich symphony cycle for that label; and a new two-disc set pairing Shostakovich’s symphonies 4 and 11, The Year 1905. Under an exclusive contract with Deutsche Grammophon, Andris Nelsons is also recording the complete Bruckner symphonies with the Gewandhausorchester Leipzig and the complete Beethoven symphonies with the Vienna Philharmonic.

The 2018-19 season is Maestro Nelsons’ final season as artist-in-residence at the Konzerthaus Dortmund and marks his first season as artist-in-residence at Hamburg’s Elbphilharmonie. In addition, he continues his regular collaborations with the Vienna Philharmonic and Berlin Philharmonic. Throughout his career, he has also established regular collaborations with Amsterdam’s Royal Concertgebouw Orchestra, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra, and has been a regular guest at the Bayreuth Festival and the Royal Opera House, Covent Garden.

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

week 2 andris nelsons 17 Boston Symphony Orchestra 2018–2019

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

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

18 photos by Winslow Townson and Michael Blanchard

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

week 2 boston symphony orchestra 19

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1Online services are subject to change at any time. Google Earth features will not be available after December 2020 for Model Year 2018 & prior vehicles. Google Earth is a trademark of Google Inc. 2Driver Assistance features are not substitutes for attentive driving. See Owner's Manual for further details, and important limitations.“Audi,” all model names, and the four rings logo are registered trademarks of AUDI AG.©2018 Audi of America, Inc. BSO Archives

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

A Brief History of the BSO

Now in its 138th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philanthropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert perfor- mances in Boston and at Tanglewood, but also via the internet, radio, television, education- al programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important train- ing grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music.

Launched in 1996, the BSO’s website, bso.org, is the largest and most-visited orchestral website in the United States, receiving approximately 7 million visitors annually on its full site as well as its smart phone-/mobile device-friendly web format. The BSO is also on Facebook and Twitter, and video content from the BSO is available on YouTube. An expan- sion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surrounding communities. Through its Education and Community Engagement programs, the BSO provides individuals of all back- grounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members.

The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most

week 2 a brief history of the bso 23 revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating

BSO Archives in the appointment of the legendary Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama- Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians.

It was in 1936 that Koussevitzky led the orchestra’s first concerts Major Henry Lee Higginson, founder in the Berkshires; he and the players took up annual summer of the Boston Symphony Orchestra residence at Tanglewood a year later. Koussevitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center).

Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting con- temporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named

Music Director Laureate. In BSO Archives 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations.

Bernard Haitink, named prin- cipal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tangle- wood, and on tour in Europe, as well as recording with the Three BSO music directors of the past: Pierre Monteux (music director, orchestra. Previous principal 1919-24), Serge Koussevitzky (1924-49), and Charles Munch (1949-62) guest conductors of the orches tra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984.

24 The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that includ- ed works newly commissioned for the orchestra’s 125th anniversary, particularly from sig- nificant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tangle- wood Music Center; and in 2007 led the BSO in BSO Archives an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s next music director, a position he took up in the 2014-15 season, following a year as music director designate.

Rush ticket line at Symphony Hall, probably in the 1930s Today, the Boston Symphony Orchestra con- tinues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and elec- tronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

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BIG conversations happen HERE.

wgbhnews.org andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 138th season, 2018–2019

Thursday, October 18, 8pm Friday, October 19, 1:30pm | the cynthia and oliver curme concert Saturday, October 20, 8pm Tuesday, October 23, 8pm

ken-david masur conducting

john harbison “remembering gatsby”: foxtrot for orchestra (performed to mark john harbison’s 80th-birthday year)

rachmaninoff piano concerto no. 1 in f-sharp minor, opus 1 Vivace Andante Allegro vivace garrick ohlsson

{intermission}

Marco Borggreve

28 prokofiev excerpts from the ballet “romeo and juliet” Montagues and Capulets (Suite 2, No. 1) Scene (“The Street Awakens”; Suite 1, No. 2) Juliet the Young Girl (Suite 2, No. 2) Masks (Suite 1, No. 5) Minuet (Suite 1, No. 4) Dance (Suite 2, No. 4) Romeo and Juliet (“Balcony Scene”; Suite 1, No. 6) Friar Lawrence (Suite 2, No. 3) The Death of Tybalt (Suite 1, No. 7) Romeo at Juliet’s Tomb (Suite 2, No. 7)

thursday evening’s performance of rachmaninoff’s piano concerto no. 1 is supported by a gift from prof. ernest cravalho and dr. ruth tuomala. friday afternoon’s performance of rachmaninoff’s piano concerto no. 1 is supported by a gift from barbara and fred clifford. tuesday evening’s performance of rachmaninoff’s piano concerto no. 1 is supported by a gift from michael and patricia rosenblatt. bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2018-19 season.

The evening concerts will end about 9:55, the afternoon concert about 3:25. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 2 program 29 The Program in Brief...

The Pulitzer Prize-winning, Boston-based composer John Harbison has a long association with the BSO, going back to his days as a conducting student at Tanglewood in 1959. Harbison turns eighty in December 2018; these performances of Remembering Gatsby, as well as BSO and Boston Symphony Chamber Players performances in January, celebrate that milestone.

Harbison composed his “Foxtrot for Orchestra” Remembering Gatsby in 1985 as a way of salvaging sketches for an opera based on F. Scott Fitzgerald’s The Great Gatsby, for which he had no immediate performance prospects. Other major projects—his Symphony No. 1 for the BSO among them—took precedent, so he assembled this overture-like orchestral work to fulfill a commission from the Atlanta Symphony Orchestra. The eight-minute piece combines music evoking the novel’s lush and dramatic atmosphere with a pastiche Jazz Age foxtrot tune, penned by Harbison himself, that sounds like it could have come from a Tin Pan Alley songbook. More than a decade later, the composer’s original plan was spectacularly rekindled by a commission from the Metropolitan Opera, which pre- miered the full-scale The Great Gatsby in December 1999.

Sergei Rachmaninoff was eighteen when he completed his First Piano Concerto in sum- mer 1891. Already a transcendent talent as a pianist, Rachmaninoff conceived the work partly as a virtuoso showpiece requiring remarkable technical brilliance. Also immedi- ately evident, though, is the lyrical, Russian Romantic spirit that so poignantly colors the composer’s perennially popular Second and Third concertos. The three-movement Concerto No. 1 was published as his Opus 1. Years later Rachmaninoff revised the piece thoroughly, tightening the structure and simplifying and clarifying the orchestration.

Sergei Prokofiev, a generation younger than Rachmaninoff, left Russia following the 1917 Revolution and spent many years in voluntary exile, mostly in France. By the early 1930s he began contemplating a return to his homeland, and in 1936 returned to Russia to stay. His ballet score Romeo and Juliet was one of several major commissions that helped re-establish his reputation there. Immediately after finishing the score he pro- duced two orchestral suites for concert performance (adding a third in 1946). The music in this week’s concerts comes from those first two suites, running the gamut from the bold, foreboding music depicting the feud between the Montagues and Capulets and the aggressive music for the death of Tybalt to the lighthearted charm of “The Young Juliet” and the lyricism of the balcony scene.

Robert Kirzinger

30 Stu Rosner

John Harbison “Remembering Gatsby”: Foxtrot for Orchestra (1985)

JOHN HARBISON was born in Orange, New Jersey, on December 20, 1938, and lives in Cambridge, Massachusetts. He wrote “Remembering Gatsby” in 1985 on commission for the Atlanta Symphony Orchestra and its then music director, Robert Shaw, who gave the premiere in Atlanta on September 11, 1986. Along with performances of the composer’s Symphony No. 2 and a Harbison-centered Boston Symphony Chamber Players concert, both in January 2019, these BSO performances cele- brate the composer’s 80th birthday.

THE SCORE OF “REMEMBERING GATSBY” calls for three flutes (third doubling piccolo), three oboes (third doubling English horn), three clarinets (third doubling bass clarinet and soprano saxophone), two bassoons and contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, percussion (two players minimum: glockenspiel, xylophone, two triangles, claves, crash cymbals, four suspended cymbals, flexatone, snare drum, bass drum, trap set [small bass drum, snare drum, hi-hat cymbals, two cow bells, wood block]), timpani, piano, and strings. The piece is about seven minutes long.

Remembering Gatsby was part of a salvage endeavor, of a kind familiar to most composers; we can readily find examples in the works of Bach, Beethoven, Stravinsky, and Boulez. Having already written two smaller operas (Winter’s Tale, based on Shakespeare’s play, and Full Moon in March, based on Yeats’s ritualistic fable), in the early 1980s John Harbison set out to create an opera based on one of the most familiar and beloved American novels, F. Scott Fitzgerald’s The Great Gatsby. At the time, he could interest no company in commissioning such a work, and other projects during those years kept him busy, among them his Symphony No. 1 (1981), commissioned by the Boston Sym- phony Orchestra for its centennial; his Pulitzer Prize-winning The Flight into Egypt (1986), composed for Boston’s Cantata Singers; his first two string quartets, for the Cleveland and Emerson quartets, respectively, and a residency with the San Francisco Symphony Orchestra, resulting in his Symphony No. 2. He also composed another large-scale work without a prospect of performance, the eighty-five-minute ballet scoreUlysses .

week 2 program notes 31 John Harbison on “Remembering Gatsby”

Remembering Gatsby was composed for the Atlanta Symphony and is dedicated to the orchestra and its Music Director, Robert Shaw. It was completed during the summer of 1985 at Token Creek, Wisconsin.

For some years I made sketches for an opera based on Fitzgerald’s novel, The Great Gatsby: after I abandoned the project I sometimes ran across musical images (in my sketchbooks) and fragrances from the novel (in my senses). A few of these were brought together in this orchestral foxtrot.

The piece, which runs about eight minutes, begins with a cantabile passage for full orchestra, a representation of Gatsby’s vision of the green light on Daisy’s dock. Then the foxtrot begins, first with a kind of call to order, then a twenties tune I had written for one of the party scenes, played by a concertino led by a soprano saxophone. The tune is then varied and broken into its components, leading to an altered reprise of the call to order, and an intensification of the originalcantabile .

A brief coda combines some of the motives, and refers fleetingly to the telephone bell and the automobile horns, instruments of Gatsby’s fate.

My father, eventually a Reformation historian, was a young show-tune composer in the ’20s, and this piece may also have been a chance to see him in his tuxedo again.

John Harbison Lincoln Russell

Seiji Ozawa and John Harbison following the premiere of Harbison’s Symphony No. 1 at Symphony Hall in March 1984

32 F. Scott Fitzgerald and his wife Zelda

Even for those active composers with enough inner compulsion and courage to write operas and an evening-length ballet on spec, practical concerns dictate a good many decisions. Rather than continue on a predictably long Gatsby trajectory, Harbison dis- tilled what he had composed already into an eight-minute, overture-like orchestral work to fulfill a commission from the Atlanta Symphony Orchestra and its music director, Robert Shaw, who gave the premiere on September 11, 1986.

A few years later, the Gatsby project was miraculously resurrected in a spectacular way. Metropolitan Opera music director James Levine, whom Harbison had met and discussed opera with at the Salzburg Festival, unexpectedly offered the composer a commission as part of the Met’s recognition of Levine’s twenty-five years with the company. Har- bison proposed The Great Gatsby, and after more years of labor—the composer writing his own libretto, counter to the advice of many—the Met gave the first performances of the opera in December 1999, with Levine conducting a cast including Dawn Upshaw, Jerry Hadley, Susan Graham, and Lorraine Hunt Lieberson. It was almost immediately produced at Lyric Opera of Chicago and quickly also returned to the Met stage. Har- bison—practicalities, again—mined its music for further nuggets performable on their own, including an orchestral suite, a songbook collecting the opera’s ersatz Jazz Age tunes, and other pieces. More recently, a reduced-orchestration version of the opera was staged by San Francisco’s Opera Parellèle and at the Aspen Festival, and Boston’s Emmanuel Music (which John Harbison co-founded more than forty years ago) gave concert performances at Boston’s Jordan Hall and in Tanglewood’s Seiji Ozawa Hall. In December 2015, the work received its European premiere at Semperoper Dresden, which reprised that production in June 2017.

Gatsby, and this little orchestra synopsis, brought together a lot of different threads of Harbison’s own biography, including a lifelong love of literature, interest in opera as an archetype, and most apparently the jazz/popular music element that suffuses the score. In his comments on the piece (see opposite page) he mentions that his father was an erstwhile musical composer, and Harbison himself was a much-admired jazz pianist

week 2 program notes 33 Program page for the Tanglewood concert of July 7, 1987, on which John Williams conducted Harbison’s “Remembering Gatsby” with the Boston Pops Orchestra (BSO Archives)

34 from an early age, with a thorough grounding in the standards. Remembering Gatsby’s main tune, the “foxtrot” of the title, is a wholly believable Harbison-penned Jazz Age tune that shows up in the texture of the opera as the song “Dreaming of You,” with suitably witty throwback lyrics by the playwright Murray Horwitz. The tune is developed and interwoven with, and interrupted by, the atmospheric introductory music, with its portent (at the risk of tipping off the plot) of the story’s ultimate tragedy.

In the context of John Harbison’s 80th birthday in December, the BSO this season cel- ebrates its long association with the composer. Harbison was a conducting student at Tanglewood in the summers of 1959 and 1960, and during his years of study at Harvard frequently attended BSO concerts. Since settling in Cambridge, where he took up a faculty position at Massachusetts Institute of Technology in 1969, he has been a constant presence in the Boston musical community, and his chamber music was known to and performed by BSO musicians. In 1974 his Serenade was performed by the Boston Symphony Chamber Players, and in March 1977 Joseph Silverstein led the BSO in the premiere of his Di¯otima, a Koussevitzky Foundation commission. His Symphony No. 1 was commissioned by the BSO for its centennial and premiered in 1984 under Seiji Ozawa’s direction. Since then the orchestra has commissioned eight other Harbison works, including his Fifth and Sixth symphonies, his Requiem, three concertos, the con- cert overture Darkbloom, and the “choral scherzo” Koussevitzky Said:. He has also served as a member of the Tanglewood composition faculty on numerous occasions, was chair of the composition program for a number of years, and more recently has led the TMC’s intensive Bach seminar.

This season, in addition to the present performances, the eminent English conductor Sir Andrew Davis will lead the BSO in Harbison’s Symphony No. 2 (January 10 and 12), and the Boston Symphony Chamber Players give a concert of four works by Harbison, along with Bach’s Cantata No. 51, on January 13 at Jordan Hall. Many other ensembles throughout the country are celebrating as well. In Boston, the Cantata Singers give the

week 2 program notes 35 Exceptional healthcare is a concerted effort.

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At Next Step’s 35 affiliated skilled nursing facilities and 3 assisted living facilities, we know that patient needs are more complex and diverse than ever before. For this reason, our leadership team assures that every member of our staff – from nurses and assistants to housekeeping and dietary – is focused on delivering compassionate, responsive and personalized quality healthcare. Quality. Compassion. Trust. More than words, our commitment to you. www.NextStepHC.com first integral performance of his “Sacred Trilogy”—The Flight Into Egypt, But Mary Stood, and The Supper At Emmaus—on November 2 (on a program with Bach’s Wachet auf Cantata No. 140); Collage New Music performs his Die Kurze and The Seven Ages on November 25; and Boston Musica Viva gives the world premiere of his monodrama IF on October 20. Emmanuel Music, with which Harbison has been affiliated since the early 1970s, performs his music in several concerts this season. Elsewhere, a new work for orchestra with obbligato organ, What Do We Make of Bach?, was premiered last weekend by the Minnesota Orchestra. That piece shares its title with Harbison’s new book of essays and biographical sketches with Bach’s music as a central theme, as it has been for his own career.

Robert Kirzinger

Composer/annotator robert kirzinger is the BSO’s Associate Director of Program Publications.

THE BSO’S ONLY PREVIOUS PERFORMANCE OF “REMEMBERING GATSBY” took place at Tanglewood on July 3, 2015, with Jacques Lacombe conducting, though John Williams had previously led the Boston Pops Orchestra in a performance of the piece on July 7, 1987, also at Tanglewood (see page 34).

2018–19 Season Bach and Harbison

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week 2 program notes 37

Sergei Rachmaninoff Piano Concerto No. 1 in F-sharp minor, Opus 1

SERGEI VASILIEVICH RACHMANINOFF was born in Semyonovo, district of Starorusky, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. He composed the first movement of his F-sharp minor piano concerto in 1890 and completed the piece on July 18, 1891, while still a student at the Moscow Conservatory. With Vasily Safonov conducting, he played the first movement at a Moscow Conservatory concert on March 29, 1892. The score is dedicated to Alexander Siloti, his piano teacher at the Conservatory. Rachmaninoff reworked the concerto in the fall of 1917, completing the revision on November 23 that year, by which time he had already finished his Second and Third piano concertos. The revised score of the First Concerto was pub- lished by Russian Music Editions in March 1921; a two-piano arrangement of the original version was published by Gutheil in 1893, the full score not until 1971 by the Soviet State Publishing House, Moscow. Rachmaninoff introduced the revised score to New York when he appeared as soloist with the Russian Symphony Orchestra on January 28, 1919. This was most likely the first performance of the new version, which Rachmaninoff repeated with the New Symphony Orchestra (later to become the National Symphony Orchestra) on December 26 that year at Carnegie Hall.

IN ADDITION TO THE SOLO PIANO, the score of Rachmaninoff’s Piano Concerto No. 1 calls for two each of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, timpani, triangle, cymbals, and strings.

Rachmaninoff first came to the United States in 1909, for which occasion he composed his Third Piano Concerto in D minor. His reputation as pianist, conductor, and composer was secure, and his fame rested to a great extent on the success of two works, his C-sharp minor piano prelude and Second Piano Concerto in C minor, both composed in 1901. He would never escape the popularity of the prelude—audiences called for it wherever he went—and even considered the demand for the Second and Third concertos something of a hindrance. “I have re written my First Concerto,” he stated in 1931. “It is really good now. All the youthful freshness is there, and yet it plays itself so much more easily. But nobody pays any attention. When I tell them in America that I will play the

week 2 program notes 39 Program page for the first Boston Symphony performances of Rachmaninoff’s Piano Concerto No. 1 in December 1904 with conductor Wilhelm Gericke and soloist Carlo Buonamici (BSO Archives)

40 First Concerto, they do not protest, but I can see by their faces that they would prefer the Second or Third.”

He wrote his First Concerto while a student at the Moscow Conservatory. An attempt at a C minor piano concerto in November 1889 had come to nothing, and other works intervened, but by April 1891 he had completed the first two movements of the F-sharp minor. He finished the piece on summer holiday in 1891, in a flurry of activity, working from five in the morning until eight in the evening, composing the final movement and scoring the last two movements in the space of two and a half days. The effort left him tired but pleased. In March 1892 a concert of student works at the Moscow Conservatory provided the occasion for the premiere of the concerto, albeit just the first movement. The conductor, Vasily Safonov, professor of piano and director of the Conservatory, was notorious for making changes in the pieces to be performed on these occasions, clean- ing them up, cutting them, anything to make them more playable. But Rachmaninoff held his ground, not only refusing to accept alterations, but even correcting Safonov’s tempos and shadings when the conductor’s ideas differed from his own.

By 1908, however, his attitude toward the First Concerto had changed. By this time Rachmaninoff’s works included the Second Concerto, numerous pieces for piano and voice, chamber, choral, and operatic works, and two symphonies—though it should be noted that the First had been a dreadful failure at its premiere in 1897, such a failure, in fact, that the composer submitted to hypnosis and autosuggestion to set his compo- sitional juices flowing properly again. His appearances were in demand both at home and abroad, and he no longer considered the F-sharp concerto a suitable touring piece. Thoughts of revising the work came as early as April 1908: “Now I plan to take my First Concerto in hand tomorrow, look it over, and then decide how much time and work will be required for its new version, and whether it’s worth doing anyway. There are so many requests for this concerto, and it’s so terrible in its present form, that I should like to work at it and, if possible, get it into decent shape...”

But composing, performing, and traveling kept Rachmaninoff from the revision until November 1917, in the aftermath of the Russian Revolution, and at which time regular musical activities had been suspended until a return to normal conditions. At odds with the new regime, feeling his career at a standstill, the composer seized upon an invitation to appear in Stockholm, and just before Christmas of 1917, he and his family left Russia, never to return. Rachmaninoff had previously rejected offers to stay in America (he had turned down the conductorship of the Boston Symphony Orchestra in 1909 and again in 1918), but decided at the end of the 1920-21 musical season to make New York City his home. He remained a resident of the United States, recording and touring on both sides of the Atlantic, and continuing to compose, until his death in 1943.

“It will have to be written all over again, for its orchestration is worse than its music,” Rachmaninoff said of the F-sharp minor’s original version; his changes had to do with matters of instrumentation, texture, and structure, the thematic content remaining basically what it was. The final product is tight, concise, even classical in form, and the

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Vasily Safonov (1852-1918), who led the first movement of Rachmaninoff’s Piano Concerto No. 1 in 1892 at the Moscow Conservatory

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week 2 program notes 43 movement’s opening fanfare returns in the piano to announce the cadenza, which con- cludes with a sweeping, maestoso statement of the principal theme.

The prevailing calm of the D major second movement is established by an ascending motive first heard in the solo horn, that most romantic of all instruments. A piano episode offers an espressivo (again!) theme which does not appear elsewhere in the movement, and the ascending horn motif, more intense, sounding a third higher than at the start, brings in the main part of the movement, with piano filigree weaving through the orchestral texture. A rustling woodwind accompaniment is heard just before the close, which is again marked by solo horn.

As noted earlier, the fortissimo opening of the third movement is new. The finale is for the most part all energy, rhythm, and drive, punctuated by moments suggesting dance, and even jazz. Two principal themes are introduced. When they reappear after a central, lyrical episode—which contains yet another of those plaintive, winding string melodies that Rachmaninoff seems to have endlessly available—the first is recapitulated outright, the second only suggested by the intervallic swellings of winds and brass. The emotional plane of the lyrical episode just mentioned is as far from the main world of the movement as its key, E-flat major, is remote from the concerto’s home F-sharp minor, and through this interlude the piano is suitably distant and restrained. But for the most part, the orchestra in this movement accedes to the piano’s demands (if somewhat grudg- ingly at one point), and the soloist leads the way to the bright, Allegro vivace, F-sharp major close.

Marc Mandel marc mandel is Director of Program Publications of the Boston Symphony Orchestra.

THE INITIAL BOSTON SYMPHONY PERFORMANCES OF RACHMANINOFF’S PIANO CONCERTO NO. 1 were of the original version, on December 16 and 17, 1904, Wilhelm Gericke conducting, with Carlo Buonamici as soloist, and on November 5, 1934, Serge Koussevitzky conducting, with soloist Pauline Danforth. All subsequent BSO performances were of the revised version, which the orches- tra played for the first time in November/December 1978, Seiji Ozawa conducting, with soloist Lydia Artymiw. Since then, BSO performances have featured Bella Davidovich (at Tanglewood in July 1984, Leonard Slatkin conducting), Jean-Philippe Collard (January 1991, with André Previn), Krystian Zimerman (October 1997 in Boston and New York, with Seiji Ozawa, the concerto then being recorded for Deutsche Grammophon that December), and Jean-Philippe Collard again (again with Previn, at Tanglewood in July 2007).

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Developed by Massachusetts General Hospital Proudly Celebrating Over 25 Years! Sergei Prokofiev Music from the ballet “Romeo and Juliet,” Opus 64

SERGEI PROKOFIEV was born in Sontsovka, Ukraine, on April 23, 1891, and died in Moscow on March 5, 1953. “Romeo and Juliet,” a ballet in four acts based on Shakespeare’s tragedy of the same name, was originally commissioned in 1934 by the Mariinsky Theater (also known as the State Academic Theater of Opera and Ballet and the Kirov Theater) in Leningrad. Prokofiev com- pleted the score in 1935, but numerous political and administrative complications delayed its pre- miere in Russia. In 1936, Prokofiev arranged two orchestral suites from the ballet’s music. Suite No. 1 (Opus 64-bis) was first performed in Moscow on November 24, 1936, and Suite No. 2 (Opus 64-ter) in Leningrad on April 15, 1937. The ballet had its stage premiere in Brno, Czechoslovakia, on December 30, 1938, and its Russian premiere at the Kirov on January 11, 1940. Prokofiev arranged a third suite from the ballet in 1946; this was published as his Opus 101. The present selection of excerpts includes movements from the first two suites, as specified on page 29.

THE SCORE OF PROKOFIEV’S “ROMEO AND JULIET” calls for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, tenor saxophone, two bassoons, contrabassoon, cornet, two trumpets, four horns, three trombones, tuba, timpani, triangle, tambourine, snare drum, cymbals, bass drum, bells, xylophone, harp, piano, and strings. Perhaps to make them easier to perform in concert, Prokofiev made the orchestration in the suites somewhat lighter than in the ballet, with only two trumpets rather than three, four horns rather than six, and a smaller percus- sion group.

The plays of William Shakespeare—especially the tragedies—have long been popular in Russia. Among their admirers have been numerous composers. Romeo and Juliet inspired both Tchaikovsky (in his Fantasy-Overture) and Sergei Prokofiev (in his full- length ballet), while Soviet composer Dmitri Shostakovich turned repeatedly to Hamlet and King Lear, producing incidental music for several stage productions and scores for Grigori Kozintsev’s classic film versions.

Prokofiev, too, found frequent inspiration in Shakespeare. In 1933-34 he produced inci- dental music for a production called “Egyptian Nights,” a strange potpourri based on

week 2 program notes 47 Program page for the first Boston Symphony performances—also the first American performances— of music from Prokofiev’s “Romeo and Juliet” (the Suite No. 2) on March 25 and 26, 1938, as part of an all-Prokofiev program with the composer as both conductor and soloist (BSO Archives)

48 Antony and Cleopatra staged by experimental director Alexander Tairov at his Moscow Chamber Theater. Later, in 1937-38, he wrote incidental music for a celebrated and con- troversial Leningrad production of Hamlet, whose theme of guilt and regicide resonated deeply with Soviet audiences living through Stalin’s purges. The idea of creating a ballet out of Romeo and Juliet originally came from the Soviet stage director Sergei Radlov (1892-1958), an important figure in the Russian theatrical avant-garde both before and after the 1917 Revo lution. Radlov was also very familiar with Prokofiev’s music, since he had staged the first Russian production of Prokofiev’s operaLove for Three Oranges in 1926 in Lenin grad. Noted for his adventurous productions of contemporary opera, Radlov directed the Russian premiere of Berg’s Wozzeck at the Mariinsky Theatre, where he served as artistic director from 1931 to 1934. He also staged several plays of Shake- speare at his own dramatic theater in the early 1930s, including Romeo and Juliet in 1934.

Originally, Radlov and Prokofiev were planning to stageRomeo and Juliet at the Mariinsky (later known as the Kirov Theatre). But in one of the many political storms that beset the theater during the Soviet era, Radlov lost his position there in the aftermath of the assassination of the Leningrad Communist Party boss Sergei Kirov in December 1934. Still continuing to work with Radlov as librettist, Prokofiev signed a new contract (also later broken) for the ballet with the Bolshoi Theatre in Moscow. At the time, Prokofiev was living a peripatetic and nomadic life, commuting between Paris (where his wife and two sons still lived) and Russia, with frequent trips to the United States. Only in early 1936 did he make the fatal decision to settle his family permanently in an apartment in Moscow.

Preparing for this final move back to his homeland, Prokofiev spent the spring, summer, and early fall of 1935 in the USSR. Despite the increasingly repressive political and ideological atmosphere to which he seems to have paid remarkably little attention, this was a period of apparently happy productivity, his chief project being Romeo and Juliet. In fact Prokofiev worked with incredible speed, as he did when genuinely in spired. Act II was completed on July 22, 1935, Act III on August 29, and the entire piano score by

week 2 program notes 49 50 The Mariinsky Theater in St. Petersburg

Septem ber 8, after less than five months of work. In October he began the orchestration, working at top speed, producing the equivalent of about twenty pages of full score each day. But the planned Bolshoi production failed to take place, and no other theater came forth to take on the project.

Frustrated, Prokofiev created two or ches tral suites from the ballet’s music in late 1936. These were performed soon afterwards in Russia, representing one of the few instances in dance history when a ballet’s music was heard in concert form before being staged. The stage premiere of the full-length ballet eventually took place not in Russia, but in Brno, Czechoslovakia, with choreography by Ivo Psota, who also danced the role of Romeo. The first Russian production at the Kirov Theatre in Leningrad was choreo- graphed by Leonid Lavrovsky. Galina Ulanova scored one of her greatest successes in the role of Juliet. The story line of the Kirov version had been stitched together by four authors: Radlov, Prokofiev, Lavrovsky, and critic/playwright Adrian Piotrovsky. Not sur- prisingly, the repeated revision of the scenario produced what critic Arlene Croce has called a “dramaturgical nightmare.”

The original scenario (later altered) changed the play’s ending to a happy one. Rad lov and Prokofiev had Romeo arrive a minute earlier than in Shakespeare, finding Juliet alive. “The reasons that led us to such a barbarism were purely choregraphic,” Pro ko fiev explained later. “Living people can dance, but the dead cannot dance lying down.” Another factor was certainly the Soviet doctrine of Socialist Realism, which urged composers to provide optimistic, uplifting endings to their operas and ballets. But in the end, Prokofiev and his collaborators restored the original tragic ending, which turned out to be spec- tacularly effective both choreographically and musically.

Each of the two orchestral suites Prokofiev arranged in 1936 from the music forRomeo and Juliet has seven titled sections. Suite No. 1 (Opus 64-bis) focuses on rearranged

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BostonSymphony 2017/18 ISG ND2017.indd 1 4/21/17 4:40 PM genre episodes from Acts I and II and does not attempt to follow the dramatic action. Four of its sections are dance intermezzi and only two (“Madrigal” and “Romeo and Juliet”) make use of the major dramatic leitmotifs. Suite No. 2 (Opus 64-ter), on the other hand, possesses a more logical narrative structure that follows the play’s plot.

Romeo represents a giant step forward in Prokofiev’s evolution as a ballet composer. It is a remarkable synthesis of the five “lines” of his musical personality, as he once de scribed them: classical, modern, toccata (or motor), lyrical, and grotesque. His aggressive “Scythianism” found brilliant expression in the violent hostility between the Montagues and Capulets, and in the brutal darkness of the unenlightened medieval set- ting. His “classicism” found an outlet in the courtly dances required of an artistocratic setting, such as gavottes and minuets. Entirely appropriate for some of the character roles, such as the Nurse, was Prokofiev’s famous satirical style, while his scherzo style suited volatile characters like Mercutio. And finally, Proko fiev’s lyricism, an increasingly important part of his artistic personality since the late 1920s and now reinforced by the Soviet musical environment (which prized melody and accessibility above all else), was both necessary and particularly successful in conveying the innocent passion between the lovers that lies at the center of the drama. Romeo is Prokofiev’s first completely suc- cessful lyrical stage work, and his first convincing portrayal of non-ironic romantic love.

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

THE FIRST AMERICAN PERFORMANCES, WHICH WERE ALSO THE FIRST BSO PERFORMANCES, of music from Prokofiev’s “Romeo and Juliet” were given by the BSO under the composer’s direction on March 25 and 26, 1938, as part of an all-Prokofiev program (see page 48). Since then, various excerpts from the score have been heard in Boston Symphony concerts under the direction of Serge Koussevitzky, Richard Burgin, Charles Munch, Stanislaw Skrowaczewski, Erich Leinsdorf, Charles Wilson, Seiji Ozawa (on several occasions between 1970 and 1996, including a complete traversal of the score when it was recorded here in the fall of 1986), Edo de Waart, Kazuyoshi Akiyama, Andrew Davis, Hugh Wolff, Grant Llewellyn, Kazushi Ono,¯ Stefan Asbury, Ludovic Morlot, André Previn, Charles Dutoit, and Andris Nelsons (the most recent subscription performances, in a February 2016 program marking the 400th anniversary of Shakespeare’s death, and the most recent Tangle- wood performance, on August 21, 2016).

week 2 program notes 53 Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. To Read and Hear More...

Recently published is What Do We Make of Bach?, John Harbison’s new book of essays centered on Bach, along with biographical sketches of colleagues who have figured in Harbison’s lifelong study of the composer, including Emmanuel Music’s Craig Smith, Harbison’s wife Rose Mary, the mezzo-soprano Lorraine Hunt Lieberson, and others (Ars Nova paperback). The best quickly available source of information about John Harbison is the website of his publisher, G. Schirmer (www.schirmer.com), which con- tains 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 BSO’s Concert Companion pages for Harbison at bso.org provide a multimedia view of the composer’s career.

David Zinman and the Baltimore Symphony Orchestra recorded Harbison’s Remembering Gatsby for their all-American CD “Dance Mix” (Decca). Also available is Harbison’s orchestral Great Gatsby Suite, recorded by David Alan Miller and the Albany Symphony, on a disc with the composer’s Closer to My Own Life and Darkbloom (Albany Records). The complete opera, taken from live performances at the Metropolitan Opera featuring Dawn Upshaw, Lorraine Hunt Lieberson, Susan Graham, and Jerry Hadley, was issued on the Met’s own label. Much of Harbison’s catalog is otherwise available on CD and

week 2 read and hear more 55 2018–19 Classical SEASON

AT THE SHALIN LIU PERFORMANCE CENTER

NOV 18 Danish Quartet DEC 9 Winterreise: Adrianne Pieczonka, soprano & Brian Zeger, piano JAN 20 Rachel Barton Pine, violin FEB 3 Metropolitan Opera’s Lindemann Artists MAR 31 Borodin Quartet

Rachel Barton Pine APR 28 Marc-André Hamelin, piano rockportmusic.org 978.546.7391

56 in downloads; the following is a selective list. All six of his symphonies, recorded by the Boston Symphony Orchestra in live performances during the 2010-11 and 2011-12 seasons, are available for download at the orchestra’s website, bso.org. The BSO also recorded the composer’s Symphony No. 1 under Seiji Ozawa’s direction in 1984, the year of its premiere (New World Records). The Boston Symphony Chamber Players with pianist Gilbert 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). Boston’s Cantata Singers, under David Hoose’s direction, recorded his Four Psalms and Emerson (New World Records); the same forces, with soprano Roberta Anderson and baritone Sanford Sylvan, also recorded the com- poser’s Pulitzer-winning “sacred ricercar” The Flight into Egypt (New World Records, with the Concerto for Double Brass Choir and The Natural World). Also of interest are three recordings by the Boston Modern Orchestra Project—the ballet Ulysses and the short operas Full Moon in March and Winter’s Tale (all on BMOP/sound)—and the Lydian String Quartet’s recording of Harbison’s first four string quartets (Centaur).

Robert Kirzinger

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

The Boston Symphony Orchestra led by Seiji Ozawa recorded Rachmaninoff’s Piano Concerto No. 1 in 1997 with pianist Krystian Zimerman (Deutsche Grammophon). Rachmaninoff’s own recordings of his piano concertos with the Philadelphia Orchestra under Leopold Stokowski (No. 2 and the Rhapsody on a Theme of Paganini) and Eugene Ormandy (Nos. 1, 3, and No. 4 in its final revised version), made originally between 1929 and 1941 for RCA Victor and reissued on RCA CDs, have also been available in excellent CD transfers from the original 78s on budget-priced Naxos. Other recordings of the Piano Concerto No. 1 feature Leif Ove Andsnes with Antonio Pappano and the London Symphony Orchestra (Warner Classics), Stephen Hough with Andrew Litton and the Dallas Symphony Orchestra (Hyperion), Vladimir Ashkenazy with Bernard Haitink and the Concertgebouw Orchestra (London) or with André Previn and the London Symphony

week 2 read and hear more 57 The Juilliard-Nord Anglia Performing Arts Programme The British International School of Boston offers students an innovative performing arts curriculum developed by The Juilliard School in collaboration with Nord Anglia Education. Students will gain life skills to enrich their academic experience, develop cultural literacy and be inspired to engage with performing arts throughout their lives.

We look forward to welcoming you at one of our Open Houses: Wednesday Sunday Thursday Wednesday October 18 November 5 December 14 January 17 9:30 a.m. - 11:30 a.m. 11:00 a.m. - 1:00 p.m. 9:30 a.m. - 11:30 a.m. 9:30 a.m. - 11:30 a.m.

www.naejuilliard.com/bisboston Orchestra (Decca), Nikolai Lugansky with Sakari Oramo and the City of Birmingham Symphony Orchestra (Erato), and Simon Trpˇceski with Vasily Petrenko and the Royal Liverpool Philharmonic (Avie). For those inclined to explore further, pianist Alexander Ghindin recorded the original versions of Rachmaninoff’s piano concertos 1 and 4 with Vladimir Ashkenazy conducting the Helsinki Philharmonic (originally Ondine).

The important modern study of Prokofiev is Harlow Robinson’sSergei Prokofiev: A Biography, published originally in 1987, and reprinted in 2002 with a new foreword and afterword by the author (Northeastern University paperback). Robinson’s book avoids the biased attitudes of earlier writers whose viewpoints were colored by the “Russian”-vs.-“Western” perspectives typical of their time, as reflected in such older volumes as Israel Nestyev’s Prokofiev (Stanford University Press; translated from the Russian by Florence Jonas) and Victor Seroff’s Sergei Prokofiev: A Soviet Tragedy (Taplinger). More recently Robinson produced Selected Letters of Sergei Prokofiev, newly translating and editing a volume of previously unpublished Prokofiev correspondence (Northeastern University).Sergey Prokofiev by Daniel Jaffé is in the well-illustrated series “20th-Century Composers” (Phaidon paperback). Other useful books include Boris Schwarz’s Music and Musical Life in Soviet Russia, Enlarged Edition, 1917-1981 (Indiana University Press) and Prokofiev by Prokofiev: A Composer’s Memoir, an autobiographical account covering the first seventeen years of Prokofiev’s life, through his days at the St. Petersburg Conservatory (Doubleday).

The Boston Symphony Orchestra recorded the complete score of Romeo and Juliet under Seiji Ozawa’s direction in 1986 (Deutsche Grammophon). Other recordings of the complete score include Valery Gergiev’s with the Kirov Theater Orchestra (Philips), Gergiev’s with the London Symphony Orchestra (LSO Live), and André Previn’s with the London Symphony Orchestra (EMI). A powerful sequence of excerpts with Dimitri Mitropoulos conducting the New York Philharmonic has been reissued on compact disc (Sony). Other choices for a disc of excerpts include the aforementioned Gergiev with the Kirov Orches- tra (Philips), Riccardo Muti with the Philadelphia Orchestra (EMI), Mstislav Rostropovich with the National Symphony Orchestra (Deutsche Grammophon), and Michael Tilson Thomas with the San Francisco Symphony (RCA). Serge Koussevitzky recorded Proko- fiev’s Suite No. 2 fromRomeo and Juliet with the BSO in 1945 (RCA). Charles Munch and the BSO recorded twelve selections from the composer’s three Romeo and Juliet suites in 1957 (RCA); several of these were included in the Munch volume of the CD series “Great Conductors of the 20th Century” (EMI/IMG Artists; RCA/BMG issued the complete selection on a 2006 Japanese CD). Erich Leinsdorf and the BSO recorded seventeen excerpts from Prokofiev’sRomeo and Juliet in 1967 (originally RCA; reissued on Testament). Of historical interest despite dim sound is Prokofiev’s own recording of the Suite No. 2 with the Moscow Philharmonic, from 1938—reportedly the only record- ing of Prokofiev as conductor (Parnassus).

Marc Mandel

week 2 read and hear more 59

Guest Artists

Ken-David Masur

In summer 2018 Ken-David Masur made his Chicago Symphony Orchestra debut at Ravinia with two all-Tchaikovsky programs, returned to Tanglewood to conduct the Boston Sym- phony Orchestra in a program of Glinka, Rachmaninoff, and Stravinsky, and led workshops and a concert celebrating the tenth anniversary of the Mendelssohn Foundation in Tokyo. This week he leads subscription concerts with the BSO, where he continues as associate conductor. His guest engagements this season include appearances with the Louisville Orchestra, Detroit Symphony, Milwaukee Symphony, and Chicago Civic Orchestra, plus concerts abroad with the National Philharmonic of Russia, Collegium Musicum Basel, the Stavanger Symphony, and the Mulhouse Symphony Orchestra in France. Recent guest engagements include concerts with the Milwaukee, Colorado, and Portland (ME) sympho- nies, and return engagements with the Los Angeles Philharmonic at the Hollywood Bowl, the Chicago Civic Orchestra, the Munich Symphony, where he is principal guest conduc- tor, and the Yomiuri Nippon Symphony Orchestra in Japan. Mr. Masur led the Orchestre National de France in Paris in a program with Anne-Sophie Mutter, and regularly conducts in Germany, Korea, and Moscow. As a sought-after leader and educator of younger play- ers, he frequently conducts the Chicago Civic Orchestra and the Boston University Tangle- wood Institute, New England Conservatory, and Tanglewood Music Center orchestras. Ken-David Masur and his wife, pianist Melinda Lee Masur, are founders and artistic direc- tors of the Chelsea Music Festival, an annual two-week multi-media celebration of music, art, and cuisine which in June 2018 presented its ninth season, “Bach 333,” in New York. Its acclaimed productions are varied and internationally themed, always including premieres

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62 of new works. Mr. Masur has recently made recordings with the English Chamber Orches- tra and violinist Fanny Clamagirand, and with the Stavanger Symphony. As founding music director of the Bach Society Orchestra and Chorus at Columbia University, he toured Ger- many and released a critically acclaimed album of symphonies and cantatas by W.F. Bach, C.P.E. Bach, and J.S. Bach. WQXR recently named his recording with the Stavanger Sym- phony of Gisle Kverndokk’s Symphonic Dances one of the “Best New Classical Releases of July 2018.” Mr. Masur received a Grammy nomination from the Latin Recording Academy in the category Best Classical Album of the Year for his work as a producer of the album “Salon Buenos Aires.” Ken-David Masur made his Boston Symphony Orchestra debut at Tanglewood in July 2012. His most recent subscription appearances were in October 2017, leading Beethoven’s incidental music to Egmont and Grieg’s to Peer Gynt, the latter in con- junction with a theatrical adaptation by Bill Barclay.

Garrick Ohlsson

Pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical gifts. Although long regarded as a leading exponent of Chopin’s music, Mr. Ohlsson commands an enormous repertoire ranging over the entire piano literature and has come to be noted for his performances of Mozart, Beethoven, and Schubert, as well as the Romantic repertoire. To date he has at his command more than eighty concertos, ranging from Haydn and Mozart to works of the 21st century. This sea- son he launches an ambitious two-year project exploring the complete solo piano works of Brahms in four different programs. The cycle will be heard in New York, San Francisco, and Montreal, with individual programs in London, Warsaw, and several North American cities. In concerto repertoire ranging from Beethoven to Brahms, Rachmaninoff, Barber, and Busoni, he returns to the New York Philharmonic, Cleveland Orchestra, Philadelphia Orchestra, and the Boston, Baltimore, Houston, and Seattle symphonies, concluding the season in Indianapolis performing all of the Rachmaninoff concertos in one weekend. A frequent guest with Australian orchestras, Mr. Ohlsson has recently visited Perth, Bris- bane, Melbourne, Sydney, Adelaide, and Hobart, as well as the New Zealand Symphony

week 2 guest artists 63 St. Mark’s School INTENTIONALLY SMALL, THINKING BIG. Experience a day on campus at St. Mark’s and see how our intentionally small school thinks big! Explore St. Mark’s Day • Tuesday, October 30 • 9:30 a.m. – noon • Register at www.stmarksschool.today/explore Co-ed | Grades 9-12 | Boarding and Day | www.stmarksschool.org 25 Marlboro Road | Southborough, MA 01772 | 508.786.6000

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64 in Wellington and Auckland. An avid chamber musician, he has collaborated with the Cleveland, Emerson, and Tokyo string quartets, and in the spring will tour with the Takács Quartet, and with the Boston Symphony Chamber Players in Istanbul, Berlin, Munich, Warsaw, Luxembourg, and Prague. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. Mr. Ohlsson can be heard on Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, Hyperion, and Virgin Classics. He earned a Grammy award for Volume 3 of his ten-disc set of the complete Beethoven sonatas on Bridge. Most recently, both Brahms concertos and Tchaikovsky’s Piano Concerto No. 2 were released on live perform- ance recordings with the Melbourne and Sydney symphonies on their own labels. A native of White Plains, New York, Garrick Ohlsson began his piano studies at age eight, at the Westchester Conservatory of Music, and entered the Juilliard School at thirteen. His musical development has been influenced in completely different ways by distinguished teachers Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhévinne, and Irma Wolpe. His 1970 triumph at the International Chopin Competition in Warsaw, where he won the gold medal (and remains the single American to have done so), brought him worldwide recognition. Since then he has made nearly a dozen tours of Poland, where he retains immense personal popularity. Mr. Ohlsson was awarded the Avery Fisher Prize in 1994 and received the 1998 University Musical Society Distinguished Artist Award in Ann Arbor, Michigan. He is also the 2014 recipient of the Jean Gimbel Lane Prize in Piano Performance from the Northwestern University Bienen School of Music. A Steinway Artist, he makes his home in San Francisco. Garrick Ohlsson made his Boston Symphony Orches- tra debut at Tanglewood in August 1971 and his BSO subscription series debut in January 1981. He has since been a frequent guest with the orchestra at Symphony Hall and at Tanglewood, most recently in Boston for subscription performances of Beethoven’s Piano Concerto No. 1 in March 2016 and at Tanglewood this past summer for Mozart’s E-flat piano concerto, K.271. He has also appeared with the Tanglewood Music Center Orchestra and in numerous Ozawa Hall recitals at Tanglewood, where he was the 2017 Koussevitzky Artist, a designation created to honor artists whose presence at the BSO’s summer home has made a lasting impact on the musical and educational programs there.

week 2 guest artists 65 The Great Benefactors

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

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

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

‡ Deceased

week 2 the great benefactors 67 9,977 GOT BACK IN THE GAME

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15 Massachusetts and 2 Rhode Island Facilities 14 Crosby Drive | Bedford, MA 01730 • 781.271.0500 Assisted Living at Life Care Center of Stoneham 781.662.2545 117900 117900 The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to support ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2017-18 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Peter and Anne ‡ Brooke • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Cynthia and Oliver Curme • Michael L. Gordon • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • Barbara and Amos Hostetter • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • National Endowment for the Arts • The Perles Family Foundation • John S. and Cynthia Reed • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Caroline and James Taylor • Anonymous (2)

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

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members, whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by September 16, 2018. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders $100,000 and above Peter A. Brooke • Barbara and Amos Hostetter • Wendy Shattuck and Samuel Plimpton virtuoso $50,000 - $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Mr. and Mrs. William N. Booth • Alan J. and Suzanne W. Dworsky • Thomas and Winifred Faust • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Brooks and Linda Zug • Anonymous (2)

week 2 the maestro circle 69

70 encore $25,000 - $49,999 Amy and David Abrams • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Gabriella and Leo ‡ Beranek • Ann Bitetti and Doug Lober • Joan and John ‡ Bok • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • John F. Cogan, Jr. and Mary L. Cornille • Roberta L. and Lawrence H. ‡ Cohn, M.D. • Donna and Don Comstock • Cynthia and Oliver Curme • Alan and Lisa Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Dr. David Fromm • Joy S. Gilbert • Mr. and Mrs. Paul B. Gilbert • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Brent L. Henry • Michelle and Mark Jung • Meg and Joseph Koerner • Elizabeth W. and John M. Loder • Josh and Jessica Lutzker • Jane B. and Robert J. Mayer, M.D. • Sandra Moose and Eric ‡ Birch • Megan and Robert O’Block • William and Lia Poorvu • William and Helen Pounds • James and Melinda Rabb • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan Smith Family Foundation: Richard and Susan ‡ Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Stephen and Dorothy Weber • Robert and Roberta Winters • Anonymous (5) patron $12,000 - $24,999 Noubar and Anna Afeyan • Mr. and Mrs. Peter Andersen • Lois ‡ and Harlan Anderson • Liliana and Hillel Bachrach • Judith and Harry ‡ Barr • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Mrs. Linda Cabot Black • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Thomas Burger and Andree Robert • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Arthur Clarke and Susan Sloan • Barbara and Fred Clifford • Ernest Cravalho and Ruth Tuomala • Diddy and John Cullinane • Sally Currier and Saul Pannell • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Drs. Anna L. and Peter B. Davol • Mr. and Mrs. Miguel de Bragança • Bob and Happy Doran • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Raymond and Joan Green • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Albert A. Holman III and Susan P. Stickells • Alice Honner-White and Pieter C. White • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Steve Kidder and Judy Malone • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Dr. and Mrs. Joseph B. Martin • Kurt and Therese Melden • Jo Frances and John P. Meyer • Dr. Martin C. Mihm, Jr. • Anne M. Morgan • Kristin A. Mortimer • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • Randy and Stephanie Pierce • Janet and Irv Plotkin • Linda H. Reineman • Graham Robinson and Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Sean Rush and Carol C. McMullen • Benjamin Schore • Arthur and Linda Schwartz • Eileen Shapiro and Reuben Eaves • Ann and Phillip Sharp • Solange Skinner • Katherine Chapman Stemberg • Blair Trippe • Drs. Roger and Jillian Tung • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Anonymous sponsor $6,000 - $11,999 Ms. Deborah L. Allinson • David and Holly Ambler • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Mr. and Mrs. Eugene F. Barnes III •

week 2 the higginson society 71 Boston ChamBer musiC soCiety Marcus Thompson, Artistic Director

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72 Lucille Batal • Jim and Nancy Bildner • Peter Blau and Cristina Coletta Blau • Brad and Terrie Bloom • Mark G. and Linda Borden • Traudy and Stephen Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • The Cavanagh Family • Mr. and Mrs. Miceal Chamberlain, Jr. • Dr. Frank Clark and Dr. Lynn Delisi • Ronald and Judy Clark • Mrs. Abram Collier • Victor Constantiner • Ms. RoAnn Costin • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Lynn Dale and Frank Wisneski • Robert and Sara Danziger • Deborah B. Davis • Rachel and Peter Dixon • Richard Dixon and Douglas Rendell • Phyllis Dohanian • Mrs. Richard S. Emmet • Pamela Everhart and Karl Coiscou • Beth and Richard Fentin • Mr. and Mrs. Steven S. Fischman • Barbie and Reg Foster • Myrna H. Freedman • Nicki Nichols Gamble • Beth and John Gamel • Dr. and Mrs. Levi A. Garraway • Adele C. Goldstein • Martha and Todd Golub • Jack Gorman • Marjorie and Nicholas Greville • Carol and Robert Henderson • Rebecca Henderson and James Morone • Drs. James and Eleanor Herzog • Mr. ‡ and Mrs. Richard D. Hill • Mary and Harry Hintlian • Patricia and Galen Ho • Dr. Susan Hockfield and Dr. Thomas Byrne • Ms. Emily C. Hood • G. Lee and Diana Y. Humphrey • Mr. ‡ and Mrs. Roger Hunt • Joanie V. Ingraham • Blake Ireland, in memory of Anne Ireland • Nancy and G. Timothy Johnson • Rita J. and Stanley H. Kaplan Family Foundation, Inc./ Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • Stephen B. Kay and Lisbeth L. Tarlow • Seth A. and Beth S. Klarman • Dr. Nancy Koehn • Mr. Robert K. Kraft • Pamela S. Kunkemueller • Mr. Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. David S. Lee • Mr. and Mrs. Henry Lee • Rosemarie and Alexander Levine • Thomas and Adrienne Linnell • Betty W. Locke • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Mahnidahni, in loving memory of her mother Paula • Nancy Lurie Marks Family Foundation • Ann Merrifield and Wayne Davis • Kyra and Jean Montagu • Mr. and Mrs. Paul M. Montrone • Betty Morningstar and Jeanette Kruger • Richard P. and Claire W. Morse Foundation • Cecilia O’Keefe • John O’Leary • Jane and Neil Pappalardo • Mr. and Mrs. Joseph M. Paresky • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Susanne and John Potts • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Dr. and Mrs. Michael Rater • Peter and Suzanne Read • Sharon and Howard Rich • Mr. and Mrs. Henry Rosovsky • Debora and Alan Rottenberg • Darin S. Samaraweera • Joanne Zervas Sattley • Norma and Roger A. Saunders • Lynda Anne Schubert • Betsy and Will Shields • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Anne-Marie Soullière and Lindsey C.Y. Kiang • Maria and Ray Stata • Tazewell Foundation • John Lowell Thorndike • Magdalena Tosteson • Polly J. Townsend • John Travis • Linda and Daniel Waintrup • Lois Wasoff and James Catterton ‡ • Mr. and Mrs. David Weinstein • Ms. Vita L. Weir and Mr. Edward Brice, Jr. • Dr. and Mrs. Michael J. Yaremchuk • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (8) member $4,000 - $5,999 Mrs. Sonia Abrams • Nathaniel Adams and Sarah Grandfield • Helaine B. Allen • Joel and Lisa Alvord • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. and Mrs. Laurence Asquith • Mr. Neil Ayer, Jr. • Fred and Joanne Barber • Donald P. Barker, M.D. • Chris and Darcey Bartel • Hanna and James Bartlett • John and Molly Beard • Clark and Susana Bernard • Leonard and Jane Bernstein • Mrs. Stanton L. Black • Neil and Margery Blacklow • Partha and Vinita Bose •

week 2 the higginson society 73 74 Mr. Edgar W. Brenninkmeyer and Dr. John D. Golenski • Catherine Brigham • David and Jane Brigham • Joseph Brooks • Ellen and Ronald Brown • Matthew Budd and Rosalind Gorin • Joanne and Timothy Burke • Ms. Ruth A. Butler • Mrs. Assunta Cha • Yi-Hsin Chang and Eliot Morgan • Drs. Magdalena and Lucian Chirieac • Mr. and Mrs. Dan Ciampa • Marjorie B. and Martin Cohn • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Albert and Hilary Creighton • Robert and Sarah Croce • Prudence and William Crozier • Joanna Inches Cunningham • Joan P. and Ronald C. Curhan • Tamara P. and Charles H. Davis II • Mr. and Mrs. Samuel Denbo • Pat and John Deutch • Charles and JoAnne Dickinson • Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober • Joanne and Jerry Dreher • Mr. David L. Driscoll • Ms. Katherine Duffy • Eran and Yukiko Egozy • Elaine Epstein and Jim Krachey • Peter Erichsen and David Palumb • Ziggy Ezekiel ‡ and Suzanne Courtright Ezekiel • Roger and Judith Feingold • Shirley and Richard ‡ Fennell • Andrew and Margaret Ferrara • Mr. and Mrs. Peter Fiedler • Martha and Mark Fishman • Velma Frank • Dozier and Sandy Gardner • Jim and Becky Garrett • Rose and Spyros Gavris • Diane Gipson • Elizabeth T. and Roberto S. Goizueta • Alfred and Joan Goldberg • Jordan and Sandy Golding • Eric C. Green • Harriet and George Greenfield • Paula S. Greenman • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Janice Guilbault • Mr. and Mrs. Graham Gund • Anne Blair Hagan • Elizabeth M. Hagopian • Mr. and Mrs. Thomas Hamilton III • Ms. Annette Hanson and Mr. Robert Hanson • Janice Harrington and John Matthews • John and Ellen Harris • Daphne and George Hatsopoulos • Deborah Hauser • William Hawes and Mieko Komagata ‡ • Alexander Healy • Dr. Edward Heller, Jr. and Ms. Uni Joo • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Brian Hickox • Joan and Peter Hoffman • Pat and Paul Hogan • Timothy P. Horne • Norman and Irene Jacobs • Mimi and George Jigarjian • Susan Johnston • In Memory of Blanche and George Jones • Teresa Kaltz • The Karp Family Foundation • Paul L. King • Mary S. Kingsbery • Mr. and Mrs. Gordon F. Kingsley • Mr. John L. Klinck, Jr. • Susan G. Kohn • Anna and Peter Kolchinsky • Alexander Kossey • Barbara N. Kravitz • Ms. Kate Kush and Mr. Tom Kush • Mr. and Mrs. Don LeSieur • Emily Lewis • Alice Libby and Mark Costanzo • Mr. and Mrs. Francis V. Lloyd III • Dr. Judith K. Marquis and Mr. Keith F. Nelson • Mr. and Mrs. Jeffrey E. Marshall • Vincent Mayer and Dana Lee • Michael and Rosemary McElroy • Maureen and James Mellowes • Dale and Robert Mnookin • Robert and Jane Morse • Anne J. Neilson • Avi Nelson • Cornelia G. Nichols • Judge Arthur Nims • Kathleen and Richard Norman • Mrs. Lawrence A. Norton • Jan Nyquist and David Harding • David and Deborah Odeh • Christine Olsen and Robert Small • Martin and Helene Oppenheimer • Annette and Vincent O’Reilly • Drs. Roslyn W. and Stuart H. Orkin • Jon and Deborah Papps • Peter Parker and Susan Clare • Richard and Stephanie Parker • Joyce and Bruce Pastor • Michael and Frances Payne • Kitty Pechet • Donald and Laurie Peck • Mr. Edward Perry and Ms. Cynthia Wood • Susan J. Pharr and Robert C. Mitchell • Mr. and Mrs. Nicholas J. Philopoulos • Mr. Edward Pinkus • Mr. Steven Pittman • Elizabeth F. Potter and Joseph L. Bower • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Michael C.J. Putnam and Kenneth Gaulin • Jane M. Rabb • Helen and Peter Randolph • Rita and Norton Reamer • John Sherburne Reidy • Peggy Reiser and Charles Cooney • Mr. and Mrs. Richard H. Rhoads • Kennedy P. and Susan M. Richardson • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mrs. Nancy Riegel •

week 2 the higginson society 75 A service of WGBH A SERVICE OF WGBH

Download the App Dorothy B. and Owen W. Robbins • Adrianne E. Rogers • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Donald and Abby Rosenfeld • Francine Rosenzweig and David Davidson • William and Kathleen Rousseau • Arnold Roy • Mary and William Schmidt • Mr. and Mrs. Marvin G. Schorr • Dan Schrager and Ellen Gaies • David and Marie Louise Scudder • Robert ‡ and Rosmarie Scully • Carol Searle and Andrew Ley • Mr. and Mrs. Ross E. Sherbrooke • Mr. and Mrs. Michael Simon • Gilda Slifka • Tiina Smith and Lawrence Rand • Kitte ‡ and Michael Sporn • Mr. and Mrs. Joseph D. Spound • In honor of Ray and Maria Stata • Sharon and David Steadman • Nancy F. Steinmann • Valerie and John ‡ Stelling • Mrs. Edward A. Stettner • John Stevens and Virginia McIntyre • Fredericka and Howard Stevenson • Anthony and Kumiko Strauss • Ann and David Swanson Fund of the Maine Community Foundation • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Patricia L. Tambone • Jean C. Tempel • Mr. and Mrs. Mark D. Thompson • Judith Ogden Thomson • Mr. and Mrs. W. Nicholas Thorndike • Mr. and Mrs. Richard K. Thorndike III • Marian and Dick Thornton • Diana O. Tottenham • Philip C. Trackman • Jack Turner and Tee Taggart • Marc and Nadia Ullman • Sandra A. Urie and Frank F. Herron • Christopher and Alison Viehbacher • Mrs. Phyllis Vineyard • Mark and Martha Volpe • Michael Walsh and Susan Ruf • Donald and Susan Ware • Matthew and Susan Weatherbie • David and Susana Weber • Norman Weeks • Ellen B. Widmer • Howard and Karen Wilcox • Dudley H. Willis and Sally S. Willis • John C. Willis, Jr. • Elizabeth H. Wilson • June and Jeffrey Wolf • The Workman Family • Drs. Richard and Judith Wurtman • Jean Yeager • Xiaohua Zhang • Anonymous (10)

November 17, 8pm November 18, 3pm First Baptist Church 848 Beacon Street, Newton Centre

PROGRAM: Beethoven, Leonore Overture No. 3 Shostakovich, Cello Concerto No. 1 Lev Mamuya, cello soloist Strauss, Der Rosenkavalier Suite

newphil.org | 617-527-9717

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

week 2 the higginson society 77 OUR NEW BOSTON SHOWROOM IS NOW OPEN.

Steinway and other pianos of distinction park plaza, boston natick mall, natick msteinert.com

We are pleased to welcome customers to our elegantly appointed new showroom in the Park Plaza building in Boston. You are invited to view our selection of Steinway, Boston, Essex and Roland pianos in a comfortable new setting. Or visit our showroom at the Natick Mall. ONE PERFORMANCE ONLY Sunday, January 27, 2019 at 3pm Sanders Theatre at Harvard University

Boston Youth Symphony Federico Cortese, Conductor Edward Berkeley, Stage Director

Tickets $40–$60 www.BYSOweb.org or 617-496-2222 LaPuccini Bohème

share our legacy NEC invites you to join us in celebrating the 100th birthday of Leonard Bernstein — Boston native, NEC Prep alumnus, and one of America’s greatest 20th-century composers, conductors, and educators. necmusic.edu/bernstein

Photo: Leonard Bernstein, c. 1960, courtesy of the Leonard Bernstein Office, Inc. “...audiences value that emotional connection with the orchestra and the conductor...it’s not enough just to play the notes.” - Andris Nelsons

As a music lover, you know how special it is to experience a performance here at Symphony Hall. You can make your BSO experience even more enriching— discover how rewarding it is to be a Friend of the BSO. Every $1 the BSO receives through ticket sales must be matched by an additional $1 of contributed support to cover annual expenses. The generosity of the Friends of the BSO is truly the financial foundation that enables the Orchestra to thrive. By joining the Friends with an annual membership gift, you help build a legacy of spectacular performances, ensuring incredible music is accessible to all who wish to hear. enjoy friends-only privileges, including: • Access to BSO or Boston Pops Working Rehearsals • Advance ticket ordering • Exclusive behind-the-scenes experiences at historic Symphony Hall • 10% discount at the Symphony Shop

To learn more or to join, visit the information stand in the lobby, call 617-638-9276, or find us online at bso.org/contribute. Administration

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

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

Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Personnel Administrator • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer boston pops

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

Kathleen Donahue, Controller • Mia Schultz, Director of Investment Operations and Compliance • Bruce Taylor, Director of Financial Planning and Analysis James Daley, Accounting Manager • Jennifer Dingley, Senior Accountant • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Business Office Administrator • Erik Johnson, Senior Financial Analyst • Evan Mehler, Financial Analyst • Nia Patterson, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 2 administration 81 more time in the garden

“Living at Newbury Court means I have more time to spend with my family and friends, more time to pursue my passions, and more time to spend in the wonderful Newbury Court garden.” Make time to visit Newbury Court today. Call 978.369.5155 to arrange a tour.

100 Newbury Court Concord, MA 01742 facebook.com/newburycourt www.newburycourt.org

DVORAK CONCERTO FOR CELLO AND ORCHESTRA JONAH ELLSWORTH, CELLO

BRAHMS SYMPHONY NO. 1 GLINKA OVERTURE TO RUSLAN AND LYUDMILA

THURSDAY, SATURDAY, SUNDAY, OCTOBER 18 OCTOBER 20 OCTOBER 21 7:00PM 8:00PM 3:00PM SANDERS NEC’S SANDERS THEATRE JORDAN HALL THEATRE

FULL SEASON SUBSCRIPTIONS STILL AVAILABLE! TICKETS FROM $15 / STUDENTS $10 / CALL 617.236.0999 BUY TICKETS AT BOSTONPHIL.ORG

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

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

week 2 administration 83 KEITH LOCKHART CONDUCTOR Join conductor Keith Lockhart and the Boston Pops in a performance filled with holiday music favorites, the traditional Pops sing-along, and TICKETS ON SALE NOW! a visit from Santa Claus himself! DECEMBER 6–31 #HolidayPops

HOME ALONE IN CONCERT December 29 at 3pm, 7:30pm December 30 at 3pm Experience this true holiday favorite as never before, on the big screen with live orchestral accompaniment and members of the Wellesley High School chorus! Featuring a charming and delightful score by John Williams, Home Alone is holiday fun for the entire family. © 1990 Twentieth Century Fox

NEW YEAR’S EVE WITH SETH MacFARLANE December 31, 10:15pm Ring in the New Year with the Boston Pops on December 31 at 10:15pm. Party the night away with the Boston Pops and very special guest, Seth MacFarlane! There will be a cash bar and several dining options will be available. Doors open at 8:30pm.

617-266-1200 bostonpops.org season sponsor human resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter information technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Senior Database Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, User Support Specialist public relations

Nicole Banks, Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscriptions, and marketing Sarah L. Manoog, Senior Director of Sales, Marketing, and Branding Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Officer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Roberta Kennedy, Director of Retail Operations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michael Miller, Director of Ticketing and Customer Experience • Michael Moore, Manager of Digital Marketing and Analytics • Meaghan O’Rourke, Digital Media Manager • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Evan Xenakis, Box Office Representative event services Kyle Ronayne, Director of Events Administration • James Gribaudo, Function Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant tanglewood music center

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

week 2 administration 85 GRIEG GOUNOD GERSHWIN

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

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

GOURMETCATERERS.COM/BSO • BSO.ORG Boston Symphony Association of Volunteers executive committee Chair, Gerald L. Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2018-19

Café Flowers, Virginia Grant, Stephanie Henry, and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support, Helen Adelman • Flower Decorating, Stephanie Henry and Wendy Laurich • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Elizabeth Michalak • Mailings, Steve Butera • Membership Table/Hall Greeters, Judy Albee • Newsletter, Cassandra Gordon • Volunteer Applications, Suzanne Baum • Symphony Shop, Karen Brown • Tour Guides, Greg Chetel

THE GREAT BACH A BAROQUE BEETHOVEN CONCERTOS AND CHRISTMAS SYMPHONY NO. 5 CANTATAS Dec 13 + 16 Mar 8 + 10 Sep 28 + 30 NEC’s Jordan Hall Symphony Hall Symphony Hall

BEETHOVEN EMPEROR MOZART + HAYDN PURCELL CONCERTO Jan 25 + 27 DIDO AND AENEAS Nov 9 + 11 Symphony Hall Mar 29 + 31 Symphony Hall NEC’s Jordan Hall

HANDEL MESSIAH GLORIES OF THE MOZART REQUIEM Nov 30 + Dec 1 + 2 ITALIAN BAROQUE May 3 + 5 Symphony Hall Feb 22 + 24 Symphony Hall NEC’s Jordan Hall MASTERFULLY PERFORMED. PASSIONATELY SHARED.

HANDELANDHAYDN.ORG 617.266.3605

week 2 administration 87 Next Program…

Thursday, October 25, 8pm Friday, October 26, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, October 27, 8pm Tuesday, October 30, 8pm

andris nelsons conducting (Mahler) james burton conducting (Einfelde)

maija einfelde “lux aeterna,” for mixed chorus tanglewood festival chorus

mahler symphony no. 2 in c minor Allegro maestoso. With complete gravity and solemnity of expression. Andante moderato. Very easygoing. Not to be hurried at any point. In quietly flowing motion. Urlicht (Primal Light). Very solemn, but simple, like a hymn. In the tempo of the scherzo—Bursting out wildly—Slow—Allegro energico—Slow— Very slow and expansive—Slow. Misterioso ying fang, soprano bernarda fink, mezzo-soprano tanglewood festival chorus, james burton, conductor

Please note that there is no intermission in this program.

BSO Music Director Andris Nelsons leads Mahler’s all-embracing, ninety-minute Symphony No. 2, Resurrection, featuring Chinese soprano Ying Fang, Argentine-born mezzo-soprano Bernarda Fink, and the Tanglewood Festival Chorus. The third movement is a setting of “Urlicht,” a poem from Des Knaben Wunderhorn, a source of texts for many of Mahler’s songs. The vast finale includes a setting for chorus and soprano of verses from Klopstock’s poem “Resurrection,” which Mahler had heard sung at the funeral of his colleague, the conductor Hans von Bülow. To open the program—which will be performed without intermission—TFC conductor James Burton leads the Tanglewood Festival Chorus in Latvian composer Maija Einfelde’s brief but moving Lux aeterna for mixed chorus, the first of two Latvian works being performed this fall to mark the centennial of Latvia’s independence (declared November 18, 1918).

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

Sunday, October 21, 3pm Thursday ‘D’ November 1, 8-10 Jordan Hall, New England Conservatory Friday Evening November 2, 8-9:10 (Casual Friday, with introductory comments BOSTON SYMPHONY CHAMBER PLAYERS by a BSO member and no intermission) with GARRICK OHLSSON, piano Saturday ‘B’ November 3, 8-10 HAYDN Piano Trio No. 43 in C, Hob. Tuesday ‘B’ November 6, 8-10 XV:27 ANDRIS NELSONS, conductor TOM JOHNSON Failing: A Very Difficult Piece for Solo String Bass HAYDN Symphony No. 93 HINDEMITH Kleine Kammermusik, Op. 24, MARK-ANTHONY Remembering: In Memoriam No. 2, for wind quintet TURNAGE Evan Scofield (American BRAHMS Quintet in F minor for piano premiere; BSO co-commission) and strings, Op. 34 (November 1, 3, and 6 only) ELGAR Enigma Variations

Thursday ‘B’ October 25, 8-9:50 Friday ‘B’ October 26, 1:30-3:20 Thursday ‘C’ November 8, 8-10:10 Saturday ‘B’ October 27, 8-9:50 Friday ‘A’ November 9, 1:30-3:40 Tuesday ‘C’ October 30, 8-9:50 Saturday ‘A’ November 10, 8-10:10 Tuesday ‘C’ November 13, 8-10:10 ANDRIS NELSONS, conductor JAMES BURTON, conductor (Einfelde) ANDRIS NELSONS, conductor YING FANG, soprano ANDRIS DZEN¯ITIS M¯ara BERNARDA FINK, mezzo-soprano SHOSTAKOVICH Symphony No. 1 TANGLEWOOD FESTIVAL CHORUS, TCHAIKOVSKY The Nutcracker, Act II JAMES BURTON, conductor MAIJA EINFELDE Lux aeterna, for mixed chorus MAHLER Symphony No. 2

The BSO’s 2018-19 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Programs and artists subject to change. Endowment for the Arts.

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

week 2 coming concerts 89 Symphony Hall Exit Plan

90 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, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4:30 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children under age five will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons.

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

week 2 symphony hall information 91 Subscriber Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscrip- tion ticket, you may make your ticket available for resale by calling (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage (after 2 p.m.) and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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