bernard haitink conductor emeritus seiji ozawa music director laureate

2014–2015 Season | Week 7 andris nelsons music director

season sponsors

Table of Contents | Week 7

7 bso news 15 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 three musical monuments: a performer’s perspective by gerald elias 29 this week’s program

Notes on the Program

30 The Program in Brief… 31 39 49 To Read and Hear More…

Guest Artists

53 Juanjo Mena 55

58 sponsors and donors 72 future programs 74 symphony hall exit plan 75 symphony hall information

the friday preview talk on october 31 is given by composer/pianist jeremy gill.

program copyright ©2014 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo of Andris Nelsons 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

andris nelsons, ray and maria stata music director , lacroix family fund conductor emeritus seiji ozawa, music director laureate 134th season, 2014–2015

trustees of the boston symphony orchestra, inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • Carmine A. Martignetti, Vice-Chair • Arthur I. Segel, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • George D. Behrakis • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara Hostetter • Charles W. Jack, ex-officio • Stephen B. Kay • Edmund Kelly • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Roberta S. Weiner • Robert C. Winters life trustees

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

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board board of overseers of the boston symphony orchestra, inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Philip J. Edmundson • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp •

week 7 trustees and overseers 3

photos by Michael J. Lutch

John L. Klinck, Jr. • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Robert A. Vogt • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

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

† Deceased

week 7 trustees and overseers 5

BSO News

Introducing a New, Complimentary Shuttle Service for BSO Friday-afternoon and Saturday-night Concerts The BSO is pleased to offer patrons who park in the Prudential Center garage a new, complimentary shuttle service between the Prudential Center and Symphony Hall for all Friday-afternoon and Saturday-night subscription concerts this fall. The twenty-three- passenger shuttle will pick up passengers in front of P.F. Chang’s restaurant on Belvidere Street near Huntington Avenue before the concert, and at Symphony Hall after the concert. Service begins one hour before the concert starts and will run for up to one hour after it ends (or until there are no more passengers needing return service). The shuttle is run by Commonwealth Worldwide Transportation, is marked “BSO Shuttle,” and will loop to and from Symphony Hall every fifteen to twenty minutes, depending on traffic. Please visit bso.org for further details.

BSO Community Chamber Concerts For October and November The BSO continues its series of free Community Chamber Concerts in communities throughout the greater Boston area, offering chamber music performances by BSO musicians on Sunday afternoons at 3 p.m. Each program lasts approximately one hour and is followed by a coffee-and-dessert reception for the audience and musicians. In October and November, the BSO hosts Community Chamber Concerts on October 12 at Larcom Theatre in Beverly; on October 19 at the Cambridge Public Library; on October 26 at Medford City Hall; on November 2 in Durgin Concert Hall at UMass Lowell; on November 9 at East Boston High School, and on November 16 at the Motherbrook Community Arts Center in Dedham. Admission is free, but reservations are required; please call 1-888-266-1200. For further information, please go to “Education & Community” on the bso.org home page.

Continuing a Collaboration: Free Concerts by BSO Members at Northeastern University’s Fenway Center The Boston Symphony Orchestra and Northeastern University are pleased to continue their collaboration offering free concerts by BSO members at the Fenway Center, at the corner of St. Stephen and Gainsborough streets, at 1:30 p.m. on five Friday afternoons during the 2014-15 season: October 17 (string quartets of Nielsen and Schubert), November 14 (a program of Spanish and Latin American music), February 13 (music of Tchaikovsky, Sibelius, Mozart, and Brahms), March 6 (Stravinsky’s L’Histoire du soldat), and March 20 (string quintets of Mozart). Tickets are available at tickets.neu.edu and at the door. For more information, please visit northeastern.edu/camd/music.

week 7 bso news 7

BSO 101—The Free Adult Education Series at Symphony Hall BSO 101 returns in 2014-15 to heighten your enjoyment of BSO concerts. Six Wednesday- evening “Are You Listening?” sessions with BSO Director of Program Publications Marc Mandel and members of the Boston Symphony Orchestra (October 29, November 19, January 14, February 18, March 11, and April 8) are designed to enhance your listening abili- ties and appreciation of music by focusing on upcoming BSO repertoire. The specific musical works to be discussed are posted at bso.org. Since each session is self-contained, no prior musical training, or attendance at any previous session, is required. In addition, three Tuesday-evening “Insider’s View” sessions with BSO musicians and administrative staff focus on behind-the-scenes activities at Symphony Hall (September 30, January 20, and March 24). By popular demand, two of these sessions—the first and third—will again offer round-table discussions with BSO musicians. All of these sessions take place from 5:30- 6:45 p.m. at Symphony Hall, each being followed by a reception offering beverages and hors d’oeuvres. Admission to the BSO 101 sessions is free; please note, however, that there is a nominal charge to attend the receptions. Group rates (for 20 or more people) will apply to both the BSO 101 sessions and the receptions. To reserve your place for the date or dates you’d like to attend, please e-mail [email protected] or call (617) 638-9395.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and a number of guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on October 31 is given by composer/pianist Jeremy Gill. The Friday Preview on November 7 will be given by Harlow Robinson of Northeastern University, the one on November 21 by Robert Kirzinger, and the one on November 28 by Marc Mandel. individual tickets are on sale for all concerts in the bso’s 2014-2015 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 75 of this program book.

Go Behind the Scenes: mation about the Hall itself. Tours are offered The Irving W. and Charlotte F. Rabb most Wednesdays at 4 p.m. and two Satur- Symphony Hall Tours days per month at 2 p.m. during the BSO The Irving W. and Charlotte F. Rabb Symphony season. Please visit bso.org/tours for more Hall Tours—named in honor of the Rabbs’ information and to register. devotion to Symphony Hall with a gift from their children James and Melinda Rabb and Friday-afternoon Bus Service to Betty (Rabb) and Jack Schafer—provide a rare opportunity to go behind the scenes at Symphony Hall Symphony Hall. In these free, guided tours, If you’re tired of fighting traffic and searching experienced members of the Boston Sym- for a parking space when you come to Friday- phony Association of Volunteers unfold the afternoon Boston Symphony concerts, why history and traditions of the Boston Symphony not consider taking the bus from your com- Orchestra—its musicians, conductors, and munity directly to Symphony Hall? The BSO supporters—as well as offer in-depth infor- is pleased to continue offering round-trip bus

week 7 bso news 9 service on Friday afternoons at cost from the community of like-minded music lovers, following communities: Beverly, Canton, Cape becoming a Friend of the BSO entitles you to Cod, Concord, Framingham, Marblehead/ benefits that bring you closer to the music Swampscott, Wellesley, Weston, the South you cherish. Friends receive advance ticket Shore, and Worcester in Massachusetts; ordering privileges, discounts at the Symphony Nashua, New Hampshire; and Rhode Island. Shop, and access to the BSO’s online newslet- Newly added this season, for selected con- ter InTune, as well as invitations to exclusive certs, is a bus from the Holyoke/Amherst donor events such as BSO and Pops working area. Taking advantage of your area’s bus rehearsals, and much more. Friends member- service not only helps keep this convenient ships start at just $100. Contact the Friends service operating, but also provides opportu- Office at (617) 638-9276, friendsofthebso@ nities to spend time with your Symphony bso.org, or join online at bso.org/contribute, friends, meet new people, and conserve to play your part with the BSO by becoming energy. If you would like further information a Friend. about bus transportation to Friday-afternoon Boston Symphony concerts, please call the Subscription Office at (617) 266-7575. Planned Gifts for the BSO: Orchestrate Your Legacy It’s Your BSO, Play Your Part: There are many creative ways that you can support the BSO over the long term. Planned Become a Friend of the BSO gifts such as bequest intentions (through At Symphony Hall, everyone plays their part. your will, personal trust, IRA, or insurance From the musicians on stage, to the crew policy), charitable trusts, and gift annuities behind the scenes, to the ushers and box can generate significant benefits for you now office staff, it takes hundreds of people to put while enabling you to make a larger gift to the on a performance, and it takes the dedicated BSO than you may have otherwise thought support of thousands of Friends of the BSO possible. In many cases, you could realize to make it all possible. Every $1 the BSO significant tax savings and secure an attrac- receives in ticket sales must be matched with tive income stream for yourself and/or a an additional $1 of contributed support to loved one, all while providing valuable future cover its annual expenses. Friends of the BSO support for the performances and programs play their part to help bridge that gap, keep- you care about. When you establish and ing the music playing to the delight of audi- notify us of your planned gift for the Boston ences all year long. In addition to joining a Symphony Orchestra, you will become a

week 7 bso news 11 member of the Walter Piston Society, joining members include former BSO cellist Joel a group of the BSO’s most loyal supporters Moerschel and current BSO violinist Catherine who are helping to ensure the future of the French, presents the Calyx Piano Trio (Ms. BSO’s extraordinary performances. Named French, cellist Jennifer Lucht, and pianist Nina for Pulitzer Prize-winning composer and Ferrigno) on Sunday, November 16, at 8 p.m., noted musician Walter Piston, who endowed at Edward Pickman Hall at the Longy School the BSO’s principal flute chair with a bequest, of Music, 27 Garden Street, Cambridge. The members of the Piston Society are recognized program includes music of Augusta Read in several of our publications and offered a Thomas, Laning McLosky, Amy Beth Kirsten, variety of exclusive benefits, including invita- Derek Bermel, and Richard Festinger. General tions to various events in Boston and at admission is $25 in advance, $30 at the door Tanglewood. If you would like more informa- (discounts for seniors and students). For tion about planned gift options and how to more information, visit collagenewmusic.org join the Walter Piston Society, please contact or call (513) 260-3247. John MacRae, Director of Principal and Planned Giving, at (617) 638-9268 or [email protected]. We would be delighted to help you orchestrate Those Electronic Devices… your legacy with the BSO. As the presence of smartphones, tablets, and other electronic devices used for communica- tion, note-taking, and photography continues BSO Members in Concert to increase, there have also been increased The chamber ensemble Mistral, of which expressions of concern from concertgoers BSO acting assistant concertmaster Julianne and musicians who find themselves distracted Lee and BSO cellist Mickey Katz are members, not only by the illuminated screens on these presents a program entitled “Paris Between devices, but also by the physical movements the Wars (& beyond)” on Saturday, Novem- that accompany their use. For this reason, ber 8, at 5 p.m. at St. Paul’s Episcopal Church and as a courtesy both to those on stage and in Brookline and on Sunday, November 9, at 3 those around you, we respectfully request p.m. at West Parish Church in Andover, under that all such electronic devices be turned artistic director Julie Scolnik. The program off and kept from view while BSO perform- includes music of Satie, Poulenc, Milhaud, ances are in progress. In addition, please Gershwin, Stravinsky, and Conneson. Tickets also keep in mind that taking pictures of the are $30 for adults (discounts for students orchestra—whether photographs or videos— and seniors). For further information, visit is prohibited during concerts. Thank you very mistralmusic.org or call (978) 747-6222. much for your cooperation. BSO principals Elizabeth Rowe, flute, and John Ferrillo, oboe, are soloists in Haydn’s Comings and Goings... in C and Andrew List’s Please note that latecomers will be seated Journey Through the Eternal Forest with the by the patron service staff during the first Boston Classical Orchestra led by music convenient pause in the program. In addition, director Steven Lipsitt, on Sunday, November please also note that patrons who leave the 9, at 3 p.m. at Faneuil Hall. Also on the pro- hall during the performance will not be gram are symphonies by C.P.E. Bach and allowed to reenter until the next convenient Haydn. Tickets are $37-$74 (discounts for pause in the program, so as not to disturb the students and seniors). For further information performers or other audience members while and tickets, visit bostonclassicalorchestra.org the concert is in progress. We thank you for or call (866) 811-4111. your cooperation in this matter. Collage New Music, founded by former BSO percussionist Frank Epstein and whose

week 7 bso news 13 on display in symphony hall This season’s BSO Archives exhibit once more displays the wide variety of the Archives’ holdings, which document countless aspects of BSO history—music directors, guest artists, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the history of the famed Kneisel Quartet formed in 1885 by then BSO concertmaster Franz Kneisel and three of his BSO colleagues • two displays in the Huntington Avenue corridor celebrating the 200th anniversary of Boston’s Handel and Haydn Society, the oldest continually operating arts organization in the United States, and which performs fourteen concerts at Symphony Hall during its 2014-2015 bicentennial season exhibits on the first-balcony level of symphony hall include: • a display in the first-balcony corridor, audience-right, celebrating the recent 50th anniversary of the Boston Symphony Chamber Players • a display case in the first-balcony corridor, audience-right, of memorabilia from the BSO’s 1956 concerts marking the first performances in the by a Western orchestra • a display case, also audience-right, on the installation of the Symphony Hall statues in the period following the Hall’s opening • a display case in the Cabot-Cahners Room spotlighting artists and programs presented in Symphony Hall by the Celebrity Series, which celebrated its 75th anniversary last season

TOP OF PAGE, LEFT TO RIGHT: A Celebrity Series flyer for a 1939 Symphony Hall appearance by soprano Kirsten Flagstad A portrait of Paul Cherkassy (BSO violinist from 1923 to 1952), a 2014 gift to the BSO from the estate of Paul and Chloe Cherkassy, part of a display of orchestra member memorabilia located at the stage-end of the first-balcony corridor, audience-right Album cover of the Boston Symphony Chamber Players’ 1966 Grammy-winning first commercial recording on RCA

week 7 on display 15 ac Borggreve Marco

Andris Nelsons

Andris Nelsons begins his tenure as the BSO’s Ray and Maria Stata Music Director with the 2014-15 season, during which he leads the orchestra in ten programs at Symphony Hall, repeating three of them at New York’s in April. Mr. Nelsons made his Boston Symphony debut in March 2011, conducting Mahler’s Symphony No. 9 at Carnegie Hall. He made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert subsequently issued on DVD and Blu-ray, and televised nationwide on PBS), following that the next day with a BSO program of Stravinsky and Brahms. His Sym- phony Hall and BSO subscription series debut followed in January 2013, and at Tanglewood this past summer he led three concerts with the BSO, as well as a special Tanglewood Gala featuring both the BSO and the TMC Orchestra. His appointment as the BSO’s music director cements his reputation as one of the most renowned conductors on the international scene today, a distinguished name on both the opera and concert podiums. He made his first appearances as the BSO’s music director designate in October 2013 with a subscription program of Wagner, Mozart, and Brahms, and returned to Symphony Hall in March 2014 for a concert performance of Strauss’s Salome. He is the fifteenth music director in the history of the Boston Symphony Orchestra.

Maestro Nelsons has been critically acclaimed as music director of the City of Birming- ham Symphony Orchestra since assuming that post in 2008; he remains at the helm of that orchestra until summer 2015. With the CBSO he undertakes major tours worldwide, including regular appearances at such summer festivals as the Lucerne Festival, BBC Proms, and Berlin Festival. Together they have toured the major European concert halls, including Vienna’s Musikverein, the Théâtre des Champs-Élysées in Paris, the Gasteig in Munich, and Madrid’s Auditorio Nacional de Música. Mr. Nelsons made his debut in Japan on tour with the and returned to tour Japan and the Far East with the CBSO in November 2013. Over the next few seasons he will continue collabora- tions with the , Vienna Philharmonic, the Royal

16 Orchestra of , the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Symphony Orchestra, and the . He is a regular guest at the –Covent Garden, the Vienna State Opera, and New York’s Metro- politan Opera. In summer 2014 he returned to the Bayreuth Festival to conduct Lohengrin, in a production directed by Hans Neuenfels, which Mr. Nelsons premiered at Bayreuth in 2010.

Andris Nelsons and the CBSO continue their recording collaboration with Orfeo Inter- national as they work toward releasing all of Tchaikovsky’s orchestral works and a majority of works by , including a particularly acclaimed account of Strauss’s Ein Heldenleben. Most of Mr. Nelsons’ recordings have been recognized with the Preis der Deutschen Schallplattenkritik. In October 2011 he received the prestigious ECHO Klassik of the German Phono Academy in the category “Conductor of the Year” for his CBSO recording of Stravinsky’s Firebird and Symphony of Psalms. For audiovisual recordings, he has an exclusive agreement with Unitel GmbH, the most recent release being a Dvoˇrák disc entitled “From the New World” with the Bavarian Radio Symphony Orchestra, released on DVD and Blu-ray in June 2013. He is also the subject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.”

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 principal conductor of Nordwestdeutsche Philharmonie in Herford, , from 2006 to 2009 and music director of Latvian National Opera from 2003 to 2007. ac Borggreve Marco

week 7 andris nelsons 17 Boston Symphony Orchestra 2014–2015

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

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

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

week 7 boston symphony orchestra 19

Three Musical Monuments: A Performer’s Perspective by Gerald Elias

Between October 30 and November 19, the Boston Symphony Orchestra performs Franz Schubert’s “Great” Symphony in C, Jean Sibelius’s Symphony No. 2, and Igor Stravinsky’s “Le Sacre du printemps”—a trio of monuments to late classicism, extended 19th-century romanticism, and the avant-garde modernism of the early 20th century. Because these works will be performed in chronological order, listeners will have a golden opportunity to experience musical evolution—one could even say revolution—from one program to the next.

Whenever I hear someone say “Schubert’s Great C major,” my inner Pavlov barks at me to reflexively grasp my right arm and cringe in pain. Why? The symphony is of sprawling dimensions, and the violins saw away almost without respite, especially in the frenetically exuberant finale, which begins like a racecar revving its engine and then never looks back. I feel for all those poor 19th-century Viennese fiddlers who rehearsed and performed in unheated concert halls, with dingy lighting and limitless overtime. With the wonders of physical therapy (and racecars) still a century in future, this very symphony may well have the dubious distinction of having given the world its first case of repetitive motion disorder. Yet for me at least, any discomfort is more than compensated for because Schubert symphonies are just so damned beautiful! Even after playing them for decades I still marvel at how his melodies evolve, and at the miracle of his seamless modulations in and out of beguilingly remote keys.

Of the many great Great performances the BSO has given, Sir ’s is one I was involved in that stands out for achieving the fine balance between the intimately personal and the big picture, which is so crucial with Schubert symphonies: on one hand, nuanced lyricism; on the other, sheer grandeur. It’s my under- standing that the BSO’s recording of the Great C major with Sir Colin was the first in which all of Schubert’s repeats are observed, making it over an hour long. (No wonder my arm ached.) Yet, for the listener, the music retains its engaging freshness throughout, and unlike many other pieces of that duration, there’s never an impulse to glance at one’s watch, wondering whether the restaurant will hold your reservation.

Though Beethoven experimented with form throughout all nine of his symphonies, Schubert maintained a consistently traditional and standard structure with all of his. Structural surprises within or between movements are wholly absent. Each has four movements (with the one exception of the Unfinished Symphony, which aside from having only two movements is otherwise formally straightforward): the first in sonata-allegro form, usually with an introduction; a slower, often folk-like movement; a scherzando minuet with a lyrical Trio; and a spirited, hurtling finale. Schubert’s orthodoxy shouldn’t be considered a failing, however, because without that self-imposed restrictive stability, Schubert’s absolutely astonishing genius for melodic invention and visionary harmonic modulation might have been susceptible to unfettered wandering. With Beethoven, form was infinitely malleable,

week 7 three musical monuments: a performer’s perspective 21 a tool to serve the dramatic narrative. For Schubert, form was a grand design, like the Golden Gate Bridge, and the more expansive it became the more important it was to provide the necessary structural harmonic supports upon which to overlay his creative genius.

Each composer was a supreme master of something that had proven elusive to the other: Schubert’s innate and unexcelled melodic gift versus Beethoven’s genius for motivic building blocks and dramatic symphonic form. Yet Schubert revered Beethoven and often visited him during his last days. And Beethoven, famous for his flinty opinions of just about everything, reserved a warm place in his heart for his younger Viennese colleague. On one occasion, when Schubert called with Anselm Huttenbrenner, Beethoven remarked, “You, Anselm have my mind, but Franz has my soul.” That Schubert was a torchbearer at Beethoven’s funeral, and affectionately quoted the immortal melody from Beethoven’s Ninth in the last movement of the Great C major—his last completed symphony—is testament to that veneration.

On the surface, the symphonies of Jean Sibelius, especially the later ones, seem to be a contradictory combination of modernistic austerity and passionate romanticism. Some listeners profess “not getting” Sibelius, preferring his more heart-on-sleeve contemporary and musical rival, Gustav Mahler. When Mahler went to to conduct Sibelius's Symphony No. 2 in 1907, he staked out his turf: a symphony must be “like the world; it must embrace everything.” Not so for Sibelius, where a different world grew organically from within each symphony, and a “profound logic [creates] a connection between all the motifs.” “Whereas most other modern composers are engaged in manu- facturing cocktails of every hue and description,” Sibelius quipped, “I offer the public pure cold water.”

One thing about a splash of cold water on your face, it wakes you up. The Symphony No. 2 douses you with a bucketful! Though it’s his most popular and accessible symphony, with grand, sweeping melodies that could fit seam- lessly in a Hollywood tear-jerker with Tyrone Power and Loretta Young, there are moments when the going is more Bergmanesque (Ingmar, not Ingrid). The fragmented opening of the symphony immediately creates a sense of unease for the lis- tener. At the beginning of the third movement that unease is shared with the musicians as well, when, after a gentle cadence ends the previous movement, the orchestra explodes out of the silence with a machinegun-like burst; then, just as suddenly, the strings drop precipitously in volume while maintaining absolute, rapid-fire, rhythmic precision. If not executed with finely honed accuracy, the resulting mishmash can sound like the great Russian cellist and conductor Mstislav Rostropovich’s colorful description of a similarly treacherous passage in Brahms’s Haydn Variations. It reminded him, he said, of how “in my country, when you open closet, and escapes all the little lousies running away.”

The finale, with its sweeping main theme, brooding coda, and triumphant final brass chorale, resolves all the symphony’s internal conflicts and is one of the most rewarding in the entire repertoire. It’s also a pleasure to play, and I was privileged to be in the BSO

week 7 three musical monuments: a performer’s perspective 23 when it performed and recorded the complete Sibelius symphonies with Colin Davis, an accomplishment still noted in the world of discography as being the foremost com- pilation of the cycle. Though I haven’t sworn off the cocktails, I was converted to devout Sibeli-ism during those sessions.

Arguably the greatest orchestral piece of the 20th century, Stravinsky’s Le Sacre du prin- temps is, to my mind, the only ballet score that stands on its own in concert performance from first note to last without reduction. I’ve played the complete versions of Tchaikovsky’s Nutcracker, Falla’s Three-Cornered Hat, and Ravel’s Daphnis and Chloé in the concert hall and, except from the standpoint of historical interest, all those masterpieces fare better as suites in which the composers deleted those sections where the musicians tread water while the dancers tread on toe. Stravinsky himself understood that even Firebird and Petrushka, his ballets that preceded Le Sacre, were more convincing as suites. To pare down Le Sacre, however, would be heresy—even for music billed as pagan—because it’s as gripping a symphonic drama as it is a visual dance piece. The riot that took place at its premiere in 1913 may in part have been due to the intensely provocative persona and choreography of Vaslav Nijinsky, but it was the music, from its first, iconoclastic note, that stirred the savage Parisian breast.

I’m fortunate to have been involved in many riveting BSO performances of Le Sacre, including a powerfully charged one with at Tanglewood in 2013. The most memorable performance for me, however, was not with the Boston Symphony at all, but when I was a freshman in the Oberlin Conservatory Orchestra in 1970. We had rehearsed for weeks under the capable baton of Conservatory conductor Robert Baustian, before the arrival of guest conductor for the final rehearsals and performance. It had been a monumental struggle for all the young students, for whom, like me, it was their first exposure to Le Sacre; and all the wickedly complex rhythms, changes of meter, and dissonant harmonies threatened to make their virgin voyage a sacrificial one. Dr. Baustian’s cautionary words of wisdom were, “When in doubt, don’t play out.”

With Boulez, a miraculous transformation took place. Everything seemed to fit together without the slightest effort. (Well, maybe that’s overstating the case a little.) He had an incredible ear and could point out subtle intonation inaccuracies even within the densest harmonies. (After I joined the BSO, one of my colleagues confided that the orchestra’s nickname for Boulez was “the French Correction.”) At a Q&A after one of the Oberlin rehearsals, a student asked Boulez why he didn’t use a baton. “I have ten batons,” he replied with a sardonic smile, and wiggled his fingers. The performance was the most exhilarating orchestral experience of my college career. I was lucky enough to get a tape, and when I listen to it from time to time my initial excitement is validated. For young musicians, moments like that are priceless, a big reason why programs like the Tanglewood Music Center, where students work with some of the world’s great conductors, are so vital to the future of symphonic music.

week 7 three musical monuments: a performer’s perspective 25

One of the prized possessions in my LP collection is the 1957 Boston Symphony record- ing of Le Sacre on RCA conducted by Pierre Monteux, who was not only music director of the BSO a quarter-century earlier, but also the conductor of the (in)famous Paris pre- miere. I had the privilege of performing Le Sacre with some of the very musicians in that Monteux recording—who can forget Sherman Walt’s haunting bassoon solo to open the piece, or Vic Firth’s relentless, apocalyptic timpani strokes to end it?—and feel proud and grateful to have been exposed to some of that musical DNA tracing all the way back to the “big bang” of May 29, 1913, at the Champs-Élysées Theatre.

The Boston Symphony can now play Le Sacre with its eyes closed and not miss a beat, yet such was the genius of Stravinsky that even after a century the music is ageless—it still feels new and mysterious and dangerously unpredictable.

For musicians who play a hundred concerts a year, year after year, there are a handful of compositions in the standard repertoire that guarantee to get the adrenaline flowing. These works by Schubert, Sibelius, and Stravinsky are among that elite group that seem somehow larger than life, almost as if the composers themselves were announcing to posterity, “You may have listened to other things I’ve written, but sit up and take notice, because ‘you ain’t heard nothin’ yet!’” gerald elias, former violinist with the Boston Symphony and associate concertmaster of the Utah Symphony, performs with the BSO at Tanglewood and is music director of Vivaldi by Candlelight in Salt Lake City. Elias is also author of the award-winning Daniel Jacobus mystery series set in the dark corners of the world. His essays and short fiction have graced many prestigious publications. For more information, visit geraldelias.com.

week 7 three musical monuments: a performer’s perspective 27

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 134th season, 2014–2015

Thursday, October 30, 8pm Friday, October 31, 1:30pm | the norman v. and ellen b. ballou memorial concert Saturday, November 1, 8pm Tuesday, November 4, 8pm juanjo mena conducting sibelius concerto in d minor, opus 47 Allegro moderato Adagio di molto Allegro ma non troppo frank peter zimmermann

{intermission} schubert symphony in c, d.944, “the great” Andante—Allegro ma non troppo Andante con moto Scherzo: Allegro vivace Allegro vivace thursday evening’s performance is supported by a generous bequest from arlene m. jones. bank of america and emc corporation are proud to sponsor the bso’s 2014-2015 season.

The evening concerts will end about 10, the Friday concert about 3:30. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. 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 devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Thank you for your cooperation. Please note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 7 program 29 The Program in Brief...

Jean Sibelius was ’s greatest composer. Although he studied and had success in international Europe (particularly Germany and England), he was deeply invested in the cultural growth of his home country, to the point of basing many of his works on Finnish folk music and narrative themes. In writing his Violin Concerto, he tapped into that heritage while at the same time exorcising a long-held, but long-abandoned, hope of becoming a great violin virtuoso himself. The concerto is in the standard three-movement form, but with many elements that mark it as the work of Sibelius. Its unique opening gesture, with its sharp, exotic dissonance, reminds us of the composer’s early immersion in Finnish folk music, and the boisterous finale also seems to spring from that world. There is also a strong current of late-Romantic lyricism within the brilliantly challenging solo part.

The concerto had rather tortured beginnings. The German violinist Willy Burmester was scheduled to premiere it in Berlin, but that was canceled and the composer led the unsuccessful premiere in Helsinki in 1904, with soloist Viktor Nováˇcek evidently not at all up to the task. Sibelius withdrew and thoroughly revised the concerto, which was given its second premiere the following year in Berlin under the baton of the masterful Richard Strauss; the composer was not present. The concerto slowly entered the repertoire in spite of its technical difficulties and is today one of the standard works for the virtuoso soloist.

Long thought to predate his Unfinished Symphony (which went undiscovered for decades after its composition), Schubert’s Great C major symphony—so called because of its size, to distinguish it from his smaller C major symphony, No. 6—was actually the last symphony he completed. It received a reading rehearsal in Vienna at some point before his death in November 1828, but the first fully documented public performance took place only in 1839, with conducting, at the instigation of Robert Schumann—and even then it was heavily cut, notwithstanding Schumann’s high praise of its “heavenly lengths.”

Such “heavenly lengths” characterize many of Schubert’s mature works, notably also in his piano sonatas and chamber music. Schubert fills out the expanse of his conceptions with an ingenious sense of rhythmic propulsion, color contrasts (not only through choices of instrumentation, but also by juxtaposing unexpectedly contrasting key areas), and a sure sense of musical architecture and goal. His gift for lyricism and melody is also a major presence, reminding us that he was one of the greatest-ever composers of song. Yet it is not difficult to understand why performers and listeners could not immediately warm to this great (in the subjective sense!) work. There was no precedent for a purely instrumental symphony of this length (when all the repeats written into the score are taken, it exceeds an hour); Schubert himself, working on essentially the same scale, had given up after just two movements of the Unfinished. Violinists in particular find the Great C major incredibly taxing even today; when it was new, they were flabbergasted.

Robert Kirzinger (Sibelius) and Marc Mandel (Schubert)

30 Jean Sibelius Violin Concerto in D minor, Opus 47

JEAN (JOHAN JULIUS CHRISTIAN) SIBELIUS was born at Tavastehus (Hämeenlinna), Finland, on December 8, 1865, and died at Jarvenpää, at his country home near Helsingfors (Helsinki), on September 20, 1957. He began work on his violin concerto in 1902, completed it in short score— that is, with the orchestration worked out but not written down in detail—in the fall of 1903, and finished the full score about new year 1904. The first performance was given in Helsingfors on February 8, 1904, with Viktor Novácekˇ as soloist and with the composer conducting. Sibelius then withdrew the work for revision, and in its new and present form it had its premiere in Berlin on October 19, 1905, with Karl Halir as soloist and with Richard Strauss on the podium.

IN ADDITION TO THE VIOLIN SOLOIST, the score of Sibelius’s Violin Concerto calls for an orchestra of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.

In no violin concerto is the soloist’s first note—delicately dissonant and off the beat—so beautiful. Indeed, in September 1902, Sibelius wrote to his wife that he had just had “a marvelous opening idea” for such a concerto. But even with that inspired start, the history of the work was troubled. Sibelius was drinking heavily and seemed virtually to be living at Kämp’s and König’s restaurants. He was limitlessly resourceful when it came to finding ways of running from this work in progress. He behaved outrageously to Willy Burmester, the German violinist who had been concertmaster in Helsingfors for a while in the 1890s, who admired Sibelius and was ambitious on his behalf, who stirred him up to compose a violin concerto, and who of course hoped to give its first performance. Sibelius sent the score to Burmester (“Wonderful! Masterly! Only once before have I spoken in such terms to a composer, and that was when Tchaikovsky showed me his concerto!”), let word get about that the work would be dedicated to him, but at the same time pushed for a pre- miere at a time when Burmester was not free or would not have had time to learn a piece that in its original form was still more dificult than it is now. Viktor Nováˇcek—not to be confused with the better-known Ottokar Nováˇcek, composer of a popular Perpetuum

week 7 program notes 31 Program page from the first Boston Symphony performances of Sibelius’s Violin Concerto on April 19 and 20, 1907, with soloist Maud Powell and Karl Muck conducting (BSO Archives)

32 mobile—was a violin teacher of no distinction and without reputation as a performer. That he would fail with the concerto was a foregone conclusion, yet that was the destructive path Sibelius chose. After the premiere, Burmester offered his services once again for a series of performances in October 1904—“All my twenty-five years’ stage experience, my artistry and insight will be placed to serve this work.... I shall play the concerto in Helsingfors in such a way that the city will be at your feet”—only to find himself passed over again, this time in favor of Karl Halir, concertmaster in Berlin, a former member of the famous Joachim Quartet, and himself a quartet leader of great distinction. Moreover, the dedication finally went to Ferenc von Vecsey, a Hungarian violinist born in 1893, who, in his prodigy days, had been one of the concerto’s earliest champions.

From Bach to Bartók, many of the great keyboard concertos have been written by com- posers for themselves. Rather more of the significant violin concertos have been written for others to play. Sibelius wrote his for a kind of ghostly self. He was a failed violinist. He had begun lessons late, at fourteen, but then, “the violin took me by storm, and for the next ten years it was my dearest wish, my overriding ambition to become a great virtu- oso.” In fact, aside from the handicap of the late start and the provincial level of even the best teaching available to him in Finland, he had neither the gift of physical coordination nor the appropriate temperament. In 1890-91, when he was studying composition in Vienna with Robert Fuchs and , he played in the orchestra at the conserva- tory (its intonation gave him headaches) and on January 9, 1891, auditioned for the Vienna Philharmonic. “When he got back to his room,” we read in Erik Tawaststjerna’s biography, “Sibelius broke down and wept. Afterwards he sat at the piano and began to practice scales.” With that he gave up, though a diary entry for 1915 records a dream of being twelve and a virtuoso. The concerto is, in any event, imbued both with his feeling for the instrument and the pain of his farewell to his “dearest wish” and “overriding ambition.”

The two violin concertos that most extraordinarily explore the structural and expressive potential of cadenzas are Elgar’s and Schoenberg’s. Without intending anything as the- atrical or fantastic, Sibelius assigns a role of unprecedented importance to his first-

Symphony Shopping

VisitVisit the Symphony ShopShop inin the the Cohen Cohen Wing atat the West Entrance onon Huntington Avenue. Hours:Open Thursday Tuesday andthrough Saturday, Friday, 3-6pm, 11–4; Saturdayand for all from Symphony 12–6; and Hall from performances one hour beforethrough each intermission. concert through intermission.

week 7 program notes 33

A photo of Sibelius sent by him to his publisher sometime between 1905 and 1909

movement cadenza, which, in fact, takes the place and function of the development section. What leads up to that crucial point is a sequence of ideas beginning with the sensitive, dreamy melody that introduces the voice of the soloist and continuing (via a short cadenza of a conventional sort) with a declamatory statement upon which Sibelius’s mark is ineluctable, an impassioned, superviolinistic recitation in sixths and octaves, and so to a long tutti that slowly subsides from furious march music to wistful pastoral to darkness. Out of that darkness the cadenza erupts. It is an occasion for sovereign bravura, and at the same time it is brilliantly, imaginatively, and economically composed. Whether comparing his own work with the Brahms concerto, which he first heard in Berlin in January 1905, or, many years later, with the Prokofiev D major, Sibelius set store by hav- ing composed a soloistic concerto rather than a symphonic one. True, there is none of the close-knit dialogue characteristic of the greatest classical concertos from Mozart to Brahms: Sibelius opposes rather than meshes solo and orchestra (or the orchestra as accompanist). True also that the Sibelius is one of the really smashing virtuoso concer- tos. It would be a mistake, though, to associate it with the merely virtuosic tradition rep- resented by the concertos of, say, Tchaikovsky and Bruch, to say nothing of Paganini, Vieuxtemps, Wieniawski, and others of that ilk. Sibelius’s first movement, with its bold sequence of highly diverse ideas, its quest for the unity behind them, its daring substitute for a conventional development, its recapitulation that continues to explore, rearrange, and develop, its wedding of violinistic brilliance to compositional purposes of uncommon originality, is one in which the breath of the symphonist—one who was to become per- haps the greatest symphonist since Brahms—is not to be mistaken.

The second and third movements proceed from another level of ambition, which does not mean, however, that the Adagio is anything other than one of the most moving pages Sibelius ever achieved. Between its introductory measures and the main theme there is a fascinating disparity. Clarinets and oboes in pairs suggest an idea of rather tentative tone (and surprisingly Wagnerian cast), a gentle beginning leading to the entry of the

week 7 program notes 35 36 solo violin and to a melody of vast breadth. It is to be played sonoro ed espressivo. It speaks in tones we know well and that touch us deeply, and it took me years of knowing it before I realized that the world, the gesture it evokes is Beethoven’s, and particularly the Cavatina in the B-flat quartet, Opus 130. Sibelius himself never found, perhaps never sought such a melody again: this, too, is farewell. Very lovely, later in the movement, is the sonorous fantasy that accompanies the melody (now in clarinet and bassoon) with scales, all pianissimo, broken octaves moving up in the violin, and the soft rain of slow scales in flutes and plucked strings.

“Evidently a polonaise for polar bears,” said Donald Francis Tovey of the finale. The charm- ingly aggressive main theme was an old one, going back to a string quartet from 1890. As the movement goes on, the rhythm becomes more and more giddily inventive, especially in matters of the recklessly across-the-beat bravura embellishments the soloist fires over the themes. It builds a drama that evokes the Dvoˇrák D minor symphony Sibelius so much enjoyed when he heard it in Berlin in 1890, to end in utmost and syncopated brilliance.

Michael Steinberg michael steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the and . Oxford University Press has published three compilations of his program notes, devoted to symphonies, concertos, and the great works for chorus and orchestra.

THEFIRSTAMERICANPERFORMANCE of the Sibelius Violin Concerto was given on November 30, 1906, with Vassily Safanov conducting the New York Philharmonic and soloist Maud Powell (who was also the first to play the Dvoˇrák and Tchaikovsky concertos in America, and would be soloist for the first BSO performances of the Sibelius in April 1907).

THEFIRSTBOSTONSYMPHONYORCHESTRAPERFORMANCES of Sibelius’s Violin Concerto featured Maud Powell on April 19 and 20, 1907, with Karl Muck conducting (the program also included the Boston premiere of Grieg’s “In Autumn” and the repeat, “by public request,” of a brilliant new work introduced earlier in the season, Debussy’s “La Mer”). Maud Powell was also soloist for the next BSO performances, in March 1912, this time with Max Fiedler on the podium. Since then, BSO performances of the Sibelius Violin Concerto have featured Richard Burgin (with Pierre Monteux, Serge Koussevitzky, and Charles Munch conducting); Jascha Heifetz, Orrea Pernel, and Anja Ignatius (all with Koussevitzky), Ruggiero Ricci (Munch); , Joseph Silverstein, and Itzhak Perlman (all with Erich Leinsdorf), Miriam Fried (Colin Davis), Silverstein (), Yuzuko Horigome (Silverstein), (Seiji Ozawa), Cho-Liang Lin (Semyon Bychkov), Kyung-Wha Chung (), Midori ( and Alan Gilbert), Joshua Bell (, Yuri Termirkanov, Rafael Frühbeck de Burgos, and Bernard Haitink), (Simon Rattle), and Christian Tetzlaff (Haitink), Leila Josefowicz (Ozawa), Perlman (Hugh Wolff), (), (Charles Dutoit), (), Vadim Repin (Mark Elder), (Shi-Yeon Sung), Nikolai Znaider (John Storgårds), Renaud Capuçon (the most recent subscription performances, with Christoph von Dohnányi in February 2013), and (the most recent Tanglewood performance, with Dohnányi on August 9, 2013).

week 7 program notes 37

Franz Schubert Symphony in C, D.944, “The Great”

FRANZ PETER SCHUBERT was born in Liechtenthal, a suburb of Vienna, on January 31, 1797, and died in Vienna on November 19, 1828. He began this symphony in the summer of 1825 and completed it by, at latest, October 1826. At some point between the summer of 1827 and November 1828 the work received at least one reading at a rehearsal of the Vienna Society of the Friends of Music (Gesellschaft der Musikfreunde). The first fully authenticated performance, heavily cut, took place on March 21, 1839, with Felix Mendelssohn-Bartholdy conducting the Orchestra of the Leipzig Gewandhaus.

THE SCORE OF SCHUBERT’S “GREAT” C MAJOR SYMPHONY calls for two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, three trombones, timpani, and strings.

Franz Schubert arrived at his most ambitious symphonies by a circuitous and unusual route. He was one of the most prodigiously gifted talents Western music has ever seen. By his later teens he was composing a great deal of music in a variety of genres, and he finished six symphonies before he reached twenty-two. Some of his early songs were already revolutionary and on their way to becoming the foundation of the Romantic Lieder tradition. His youthful symphonies are light, tuneful, distinctly Mozartian in weight and style. They show Schubert in his easygoing Viennese mood, his path guided not by a studied understanding of form but by his fertile gift for melody. So he wrote symphonies early, but did not show any significant ambition in them.

The reason for that is mainly a matter of context. His immediate predecessor Beethoven was from the beginning of his career part of the big-time Viennese music scene of public concerts and patronage from leading aristocrats. Schubert mostly composed in a setting of private music-making among friends, the so-called : gatherings of artists and bohemians that came to be named for him. What was called for in that setting was mostly small-scale works—songs, piano pieces, the occasional chamber work. Now and then a lit- tle orchestra might be scraped together to read through a symphony, if it wasn’t too hard.

week 7 program notes 39 Program page from the first Boston Symphony performance of Schubert's "Great" C major symphony on January 14, 1882, with Georg Henschel conducting, during the orchestra's inaugural season (BSO Archives)

40 So as his twenties went on, Schubert wrote his hundreds of songs, his piano works from miniatures to larger pieces, and created a stream of chamber works of rising weight and ambition. He sketched symphonies but finished none. Then in 1822 something remark- able happened: he wrote two movements of a symphony that, when it was finally discov- ered and performed many years later, came to be called the Unfinished. Especially in its first movement it had a dark, powerful, unique symphonic voice that in effect sidestepped Beethoven, escaped his intimidating presence by taking a new direction.

In 1825, Schubert and a singer set out on a recital tour devoted to his songs. At age twenty-eight he was in a confident and expansive mood; he was finally beginning to find a larger audience, more of his work was being published, and the tour not only elicited great enthusiasm but, for a change, some good income. He was also feeling healthy, the illness that would finally kill him in remission for the moment. It was on this tour that he

week 7 program notes 41 conceived what would ultimately be numbered (though known for years as either No. 7 or No. 9) his Eighth Symphony, in C major, D.944. Probably finished in early 1826, it was finally dubbed “The Great” to distinguish it from his earlier and smaller C major symphony, No. 6. This time he stepped confidently into Beethoven territory with a work that in its scope and heroic grandeur recalls his predecessor in many ways, yet is still utterly Schubertian.

It begins with a horncall on a simple, folklike melody, a kind of gesture evoking the out- doors that would become familiar in the Romantic century. (Brahms would echo that horncall in the finale of the First Symphony and the beginning of his Second Piano Concerto.) That melody is the seed-idea of what becomes a gigantic, ebullient, enormously energetic symphony.

Behind its movements are the familiar Classical models; the outer movements are in sonata form, the third a massive scherzo-and-Trio. But Schubert handles the old outlines

For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

Eric Lange Lange Media Sales 781-642-0400 [email protected]

42 From the manuscript of Schubert’s “Great” C major symphony, begin- ning at bar 154 of the finale

with great freedom, taking them in his own directions to what Robert Schumann, who discovered the piece years later, called “heavenly length.” For a composer who never heard a well-rehearsed performance of any of his symphonies, it is also masterful in the variety and transparency of its orchestration. Most notable in its distinctive sound is the steady presence of trombones. Beethoven had used them starting in his Fifth, usually discreetly, with the occasional solo. Schubert wields his trombones constantly, even in the scherzo.

The first sign of the symphony's formal originality is the gigantic Andante introduction, if it can even be called an introduction. It forms almost a little sonata form in itself: a multi- part and multi-key expanse gravitating around the horncall, a bit of development, then a return. Just when the listener is settling into this music, with its lyricism alternating with orchestral explosions, an Allegro non troppo erupts with a furious burst of energy that never flags through the course of a huge movement. Meanwhile, in the introduction Schubert had already laid out the leading ideas: sudden orchestral explosions, dotted rhythms, a tendency to divert in a flash to unexpected keys, especially ones a third up or down from C: E minor and major (later he will get to E-flat major), A-flat major (later also A minor and major). Schubert was a genius of melody and had enormous facility with modulations; he was able to jump from one key to another effortlessly. Both those gifts are on lavish display in the symphony.

The opening Allegro theme is more rhythmic than melodic, with its dynamic dotted rhythms and chattering triplets. The woodwinds’ second theme, which turns up in E minor, is more tuneful but still driving. It leads to what appears to be a concluding section to end the exposition, the traditional first part of sonata form. But that nominal closing section drives on for eleven pages in the score, all of it developing ideas from the second theme. Here is where Schumann's “heavenly length” really takes hold. Finally, when the exposition

week 7 program notes 43 is finished Schubert appends the usual sign for a repeat—not for the fainthearted, often not taken in performance. Since he has already been developing his material at length, he goes on to a relatively modest development section, tracing a long crescendo, before the recapitulation. After a recap as long as the exposition comes an enormous multi-part coda that ends with the opening horn theme—not heard fully since the introduction— proclaimed in glory.

In the lyrical second movement Schubert shows off his melodic side. The key is A minor; that key and the dancing Andante quality recall the mournful second movement of Beethoven’s Seventh. But the mood here is not tragic, more a kind of lilting, piping exoti- cism. This movement is, again, expansive, a large ABABA, the lovely second theme songful and hymnlike. In the usual third place comes a C major scherzo, marked Allegro vivace, returning to the driving energy of the first movement, and exceeding even Beetho- ven’s expansions of the form. For contrast there is a singing and folksy Trio, lushly scored, with lots of trombone and lots of harmonic excursions.

Call the mood of the finale, another giant movement marked Allegro vivace, a kind of frantic gaiety punctuated by brass fanfares. Previously there tended to be a divide between the rhythmical and lyrical ideas; here they alternate in quick succession, but the rhythmic élan never flags. One of its secondary themes will sound familiar: it is a phrase from the famous tune of the Beethoven Ninth finale. There are the usual first and second theme sections, but it is as if Schubert does not want to let either of them go; he strings out and

week 7 program notes 45 develops the ideas through page after page and key after key. After, as in the first move- ment, a comparatively short development, the recapitulation comes back and dashes on for just as long as the exposition. The joyous, multi-part coda ends—after the symphony’s more than fifty-five minutes of extravagant harmonic excursions—with some six pages of pure C major.

Thus Schubert's last and by far grandest symphony. It is sad to contemplate where he might have gone from there, if he had lived and continued to explore. He died in 1828, a year after Beethoven, at age thirty-one. Meanwhile, it took years for the C major to gain a foothold—it did not really find a place in the repertoire until the early 20th century— and still longer for the Unfinished, premiered at last in 1865. These works never had the influence on the mid-century Romantic symphonies they could have had. It was only with the arrival of Brahms that a composer of genius absorbed them and knew what to do with the directions they pointed: Beethoven plus Schubert is the essence of Brahms’s creative foundation.

Jan Swafford jan swafford is a prizewinning composer and writer whose books include biographies of and Charles Ives, “The Vintage Guide to Classical Music,” and, published this past summer, “Beethoven: Anguish and Triumph.”

the first american performance of Schubert’s “Great” C major symphony took place on January 11, 1851, with Theodor Eisfeld conducting the Philharmonic Society of New York at New York’s Apollo Rooms. the first boston symphony orchestra performance of Schubert’s “Great” C major symphony was given by Georg Henschel on January 14, 1882, during the orchestra’s first season, subsequent BSO performances being given by Wilhelm Gericke, Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Pierre Monteux, Serge Koussevitzky, Adrian Boult, George Szell, Leonard Bernstein, Charles Munch, Erich Leinsdorf (first in 1963, and including the most recent Tanglewood performance, on July 31, 1982), Josef Krips, William Steinberg, Max Rudolf, Peter Maag, Klaus Tennstedt, Colin Davis, Kurt Masur, Jesús López-Cobos, Seiji Ozawa, Kurt Sanderling, Simon Rattle, Hans Graf, , Jayce Ogren, and Bernard Haitink (including the most recent subscription perform- ances, in May 2013).

week 7 program notes 47

To Read and Hear More...

Robert Layton’s Sibelius in the “Master Musicians” series is a useful life-and-works study (Schirmer). The major biography of Sibelius, in Finnish, is by Erik Tawaststjerna. All three volumes have been translated into English by Robert Layton, but only the first two were published in this country (University of California; the third volume was published by Faber & Faber in London). Also useful are Andrew Barnett’s Sibelius, a detailed, single- volume study of the composer’s life and music (Yale University Press), and The Sibelius Companion, edited by Glenda Dawn Ross, a compendium of essays by a variety of Sibelius specialists (Greenwood Press). Lionel Pike’s collection of essays, Beethoven, Sibelius, and “the Profound Logic,” is recommended to readers with a strong technical knowledge of music (Athlone Press, London). Michael Steinberg’s program note on the Violin Concerto is in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s is among his Essays in Musical Analysis (Oxford). Robert Layton discusses the Sibelius Violin Concerto in his chapter “The Nordic Lands” in A Guide to the Concerto, which he also edited (Oxford).

Frank Peter Zimmermann has made two recordings of Sibelius’s Violin Concerto: with John Storgårds conducting the Helsinki Philharmonic (Ondine) and con- ducting the Philharmonia Orchestra (EMI). There are two Boston Symphony recordings: with Viktoria Mullova under Seiji Ozawa’s direction, from 1985 (Philips), and with Itzhak Perlman under Erich Leinsdorf’s direction, from 1966 (RCA). Other recordings (listed alphabetically by soloist) include Joshua Bell’s with Esa-Pekka Salonen and the (Sony), Ida Haendel’s with Paavo Berglund and the Bournemouth Symphony Orchestra (EMI), Hilary Hahn’s with Esa-Pekka Salonen and the Swedish Radio Symphony (Deutsche Grammophon), Jascha Heifetz’s with Walter Hendl and the Chicago Symphony (RCA), Christian Tetzlaff’s with Thomas Dausgaard and the Danish National Orchestra (Virgin Classics), and ’s with and the Chicago Symphony (Teldec). Leonidas Kavakos is soloist with Osmo Vänskä and the Lahti Symphony Orchestra on a particularly interesting disc that pairs the final version of the concerto with the original version from 1903-04 (Bis).

week 7 read and hear more 49 50 Important modern books about Schubert include the crucial biography, Schubert: The Music and the Man, by Schubert authority Brian Newbould (University of California); The Cambridge Companion to Schubert edited by Christopher H. Gibbs, including sixteen essays on the composer’s career, music, and reception (Cambridge University paperback), and Peter Clive’s Schubert and his World: A Biographical Dictionary, which includes more than 300 entries on personal and professional acquaintances and colleagues of the composer as well as on some important later Schubertians (Oxford University Press). Newbould wrote the chapter on Schubert in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Gibbs’s The life of Schubert is in the useful series “Musical lives” (Cambridge paperback). Important older biographies include Maurice J.E. Brown’s Schubert: A Critical Biography (Da Capo) and John Reed’s Schubert: The Final Years (Faber and Faber). Reed is also the author of Schubert in the “Master Musicians” series (Schirmer). ’s Schubert: A Documentary Biography (Dent) and his Schubert: Memoirs by his Friends (Oxford University Press) remain useful, but one must be careful sorting out fact from fiction in the latter. (It was Deutsch who compiled the chronological catalogue of Schubert’s works that gives us their identifying “D.” numbers.) Michael Steinberg’s program note on Schubert’s Great C major symphony is in his compilation volume The Symphony– A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s note on the Great C major is among his Essays in Musical Analysis (also Oxford).

The Boston Symphony Orchestra has made three recordings of Schubert’s Great C major symphony—with Charles Munch in 1958 (RCA), William Steinberg in 1969 (his first recording with the BSO; also RCA), and Sir Colin Davis in 1980 (Philips, and noteworthy, among other reasons, for its inclusion of all of Schubert’s repeats as marked in the score). An historic 1963 telecast from Sanders Theatre with Erich Leinsdorf leading the BSO has been issued on DVD (ICA Classics). Time-honored stereo accounts of the Great C major include George Szell’s with the (CBS/Sony, preferable to his later version for EMI) and Herbert von Karajan’s with the Berlin Philharmonic (Deutsche Grammophon). Other recordings include James Levine’s with the Chicago Symphony (Deutsche Grammophon), Thomas Dausgaard’s with the Swedish Chamber Orchestra (Bis), and Sir Simon Rattle’s with the Berlin Philharmonic (EMI). Complete sets of the Schubert symphonies include ’s with the Chamber Orchestra of Europe (Deutsche Grammophon), Sir Colin Davis’s with the Dresden Staatskapelle (RCA), Nikolaus Harnoncourt’s with the Royal Concertgebouw Orchestra (Warner Classics), ’s with the Academy of St. Martin in the Fields (London/Decca), ’s with the Dresden Staatskapelle (Philips), and, on period instruments, Roy Goodman’s with the Hanover Band (Brilliant Classics; originally on Nimbus). Arturo Toscanini recorded Schubert’s Great C major symphony three times for RCA—with the NBC Symphony in 1947 and 1953, and before those with the Orchestra in 1941. Wilhelm Furtwängler made a powerful studio recording with the Berlin Philharmonic in 1951 (Deutsche Grammophon); of his surviving live performances, the wartime one from 1942, also with the Berlin Philharmonic, is overwhelming (Deutsche Grammophon, Music & Arts, and other labels).

Marc Mandel

week 7 read and hear more 51

Guest Artists

Juanjo Mena

Chief Conductor of the BBC Philharmonic in Manchester, United Kingdom, Juanjo Mena is one of Spain’s most distinguished international conductors. Following recent concerts with the Los Angeles Philharmonic and the symphony orchestras of Houston, St. Louis, Cincinnati, and Toronto, Mr. Mena returns to North America for a 2014-15 season including return engagements in Los Angeles, Boston, Philadelphia, and Pittsburgh, as well as debuts with the New York Philharmonic, Cleveland Orchestra, and Montreal Symphony. European high- lights this season include his debut with the London Philharmonic Orchestra, as well as concerts with the Danish National Symphony Orchestra, the Orchestre National de France, the Bergen Philharmonic Orchestra, the Orquesta Nacional de España, and the Oslo Philhar- monic. A guest at various international festivals, he has appeared at the Stars of White Nights Festival in St. Petersburg, the , Grant Park (Chicago), Tanglewood, and La Folle Journée in Nantes. He recently led the BBC Philharmonic on tours of Europe and Spain, including performances in Cologne, Frankfurt, Munich, Vienna, and Madrid, and appears with that orchestra every year at the BBC Proms in London. Throughout Europe, Juanjo Mena has appeared with the Dresden Philharmonic, Munich Radio Orchestra, Orchestre National de France, Orchestre Philharmonique de Radio France, , Danish Radio Symphony, Orchestra Filarmonica della Scala, Milan, and the Radio Philharmonic, as well as with all the major orchestras in Spain. His work on the oper- atic stage includes The Flying Dutchman, Salome, Elektra, Ariadne auf Naxos, Duke Bluebeard’s Castle, and Erwartung, as well as productions of Eugene Onegin in Genoa, The Marriage of Figaro in Lausanne, and Billy Budd in Bilbao. He has made several recordings with the BBC

week 7 guest artists 53

Philharmonic, including works by Manuel de Falla, (a BBC Music Magazine “Recording of the Month”) and Gabriel Pierné (a Gramophone “Editor’s Choice”), as well as recent releases of music by Montsalvatge, Weber, and Turina which have garnered critical acclaim. He has also recorded a collection of Basque symphonic music with the Bilbao Symphony Orchestra for Naxos, and a critically acclaimed rendering of Messiaen’s Turangalîla-sinfonie for Hyperion with the Bergen Philharmonic Orchestra. For more information, please visit juanjomena.com. Juanjo Mena made his Boston Symphony Orchestra debut in July 2010 at Tanglewood and his subscription series debut in October 2011, subsequently returning for subscription con- certs in November 2012 and a Tanglewood concert in August 2014; with the BSO he has conducted music of Berg, Strauss, Mahler, Dvoˇrák, Bartók, Saariaho, Britten, Haydn, Mozart, and Beethoven.

Frank Peter Zimmermann

Born in 1965 in Duisburg, Germany, Frank Peter Zimmermann started playing the violin at five, giving his first concert with orchestra at ten. Since finishing his studies with Valery Gradov, , and in 1983, he has performed with all of the world’s major orchestras and most of its renowned conductors. His orchestra and recital engagements take him to all the major concert venues and international festivals in Europe, the United States, Japan, South America, and Australia. Highlights of the current season include Beethoven recitals with Christian Zacharias at the Salzburg and Edinburgh festivals; engagements with the New York Philharmonic and Sakari Oramo, the Boston Symphony and Juanjo Mena, the Berlin Philharmonic and the Symphonieorchester des Bayerischen Rundfunks, both with Mariss Jansons, the Sydney and Melbourne symphonies and Donald Runnicles, the Hong Kong Philharmonic Orchestra and ; and a tour with the Philharmonia Orchestra and Christoph von Dohnányi, who also conducts his engage- ment with the Gewandhaus Orchestra of Leipzig. In 2013-14 Mr. Zimmermann performed the Brahms Violin Concerto with the Tonhalle Orchestra Zürich under (Edinburgh Festival), the London Symphony Orchestra under Nikolaj Znaider (Grafenegg Festival), and the BBC Symphony Orchestra under Josep Pons (BBC Proms). As artist-in-

week 7 guest artists 55 residence of the Tonhalle Orchestra Zürich he appeared in concerts under Zinman and Dohnányi, gave a recital with Enrico Pace, and performed with his Trio Zimmermann. Other highlights included appearances with the Berlin Philharmonic, Royal Concertgebouw Orchestra, NHK Symphony, Staatskapelle Dresden, Los Angeles Philharmonic, Czech Philharmonic, and Gewandhaus Orchestra. He also undertook two European tours with the Trio Zimmermann and performed recitals with Enrico Pace in Europe and Japan. Frank Peter Zimmermann has given world premieres of three violin concertos: Matthias Pintscher’s “en sourdine” (2003), ’s The Lost Art of Letter Writing (2007), and Augusta Read Thomas’s Third Violin Concerto, Juggler in Paradise (2009). He gives numerous recitals worldwide; his regular recital partners are pianists Piotr Anderzewski, Enrico Pace, and Emanuel Ax. Mr. Zimmermann, violist Antoine Tamestit, and cellist Christian Poltéra form the Trio Zimmermann, which has performed across Europe and has recorded string trio repertoire by Beethoven, Mozart, and Schubert. Mr. Zimmermann was awarded the Premio del Accademia Musicale Chigiana, Siena (1990), the Rheinischer Kulturpreis (1994), the Musikpreis of the city of Duisburg (2002), the Bundesverdienstkreuz 1. Klasse der Bundes- republik Deutschland (2008), and the Paul-Hindemith-Preis der Stadt Hanau (2010). His discography for EMI Classics, Sony Classical, Bis, Ondine, Teldec Classics, and ECM Records includes virtually all the major concerto repertoire, ranging from Bach to Ligeti, as well as numerous works from the recital repertoire. Many of these recordings have received prestigious awards and prizes worldwide. Recent Bis releases include his highly praised recording of Hindemith’s Violin Concerto (1939) and four Hindemith sonatas, and his recording of Dean’s The Lost Art of Letter Writing. Mr. Zimmermann plays a Stradivarius from 1711 which once belonged to , and which is kindly sponsored by Portigon AG. Frank Peter Zimmermann made his Boston Symphony Orchestra debut in July 1987 at Tanglewood with Prokofiev’s Violin Concerto No. 1, and his subscription series debut in November 1988 with Glazunov’s A minor violin concerto. Since then, his BSO appearances have encompassed violin concertos of Prokofiev (No. 2), Beethoven, Mozart (Nos. 2, 3, and 4), Dvoˇrák (including his most recent BSO appearances, in March 2012), Shostakovich, Berg, Brahms, Britten, Dean, and Martinu.˚

week 7 guest artists 57 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 Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille

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

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

58 one million Alli and Bill Achtmeyer • 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 • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Polly and Dan ‡ Pierce • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • 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 • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (8)

‡ Deceased

week 7 the great benefactors 59

Maestro Circle

Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of 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. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Roberta and George Berry • Peter and Anne Brooke • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Alan J. and Suzanne W. Dworsky • Fidelity Investments • Michael L. Gordon • Mr. and Mrs. Ulf B. Heide • Dorothy and Charlie Jenkins • Stephen Kay and Lisbeth Tarlow • Ted and Debbie Kelly • Joyce Linde • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • Commonwealth of Massachusetts • National Endowment for the Arts • Megan and Robert O’Block • John S. and Cynthia Reed • Carol and Joe Reich • Susan and Dan ‡ Rothenberg • Miriam Shaw Fund • Caroline and James Taylor • Stephen and Dorothy Weber • Roberta and Stephen R. Weiner

The Higginson Society ronald g. casty, chair, boston symphony orchestra annual funds committee peter c. andersen, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

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 Symphony Annual Fund provides more than $4 million in essential funding to sustain our mission. The BSO is grateful to the philanthropic leadership of our Higginson Patron members and those who have donated at the Patron level and above. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by October 15, 2014. For more information about joining the Higginson Society, contact Allison Cooley, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor. founders $100,000+ Peter and Anne Brooke • Alan J. and Suzanne W. Dworsky • Ted and Debbie Kelly virtuoso $50,000 to $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Barbara and Amos Hostetter • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Megan and Robert O’Block • William and Lia Poorvu •

weeks 7 maestro circle 61

John S. and Cynthia Reed • Susan and Dan ‡ Rothenberg • Kristin and Roger Servison • Wendy Shattuck and Samuel Plimpton • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous (2) encore $25,000 to $49,999 Jim and Virginia Aisner • Joan and John Bok • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Katherine Chapman and Thomas Stemberg • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. and Roberta Cohn • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Brent L. Henry • Josh and Jessica Lutzker • Henrietta N. Meyer • Sandra Moose and Eric Birch • Louise C. Riemer • Richard and Susan Smith Family Foundation • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (4) patron $10,000 to $24,999 Amy and David Abrams • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Dorothy and David Arnold • Marjorie Arons-Barron and James H. Barron • Lloyd Axelrod, M.D. • Judith and Harry Barr • Lucille Batal • Gabriella and Leo Beranek • Roberta and George Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Mr. and Mrs. John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • James Catterton ‡ and Lois Wasoff • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Happy and Bob Doran • Deborah and Philip Edmundson • Roger and Judith Feingold • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Laurel E. Friedman • Jody and Tom Gill • Barbara and Robert Glauber • Thelma and Ray Goldberg • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Ulf B. Heide • Carol and Robert Henderson • Mr. and Mrs. Richard D. Hill • Dr. Susan Hockfield and Dr. Thomas Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Paul L. King • Mr. John L. Klinck, Jr. • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • John F. Magee • Mr. and Mrs. Jeffrey E. Marshall • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Jane and Robert J. Mayer, M.D. • Ann Merrifield and Wayne Davis • Mr. and Mrs. Jack R. Meyer • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Jerry and Mary ‡ Nelson • Mary S. Newman • Peter Palandjian • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Dr. and Mrs. Irving H. Plotkin • Susanne and John Potts • William and Helen Pounds • James and Melinda Rabb • Linda H. Reineman • Mr. Graham Robinson and Dr. Jeanne Yu • Dr. Michael Rosenblatt and Ms. Patty Rosenblatt • Debora and Alan Rottenberg • Cynthia and Grant Schaumburg • Benjamin Schore • Arthur and Linda Schwartz • Ron and Diana Scott • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Dr. and Mrs. Phillip Sharp • Christopher and Cary Smallhorn • Maria and Ray Stata • Tazewell Foundation • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Mr. and Mrs. David Weinstein • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Joan D. Wheeler • Marillyn Zacharis • Rhonda ‡ and Michael J. Zinner, M.D. • Anonymous (5)

weeks 7 the higginson society 63

Administration

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

Bridget P. Carr, Senior Archivist • Anna Le Tiec, Assistant to the Artistic Administrator • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician boston pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 7 administration 65 66 development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Nadine Biss, Assistant Manager of Development Communications • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Annual Funds Coordinator, Friends Program • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager of Direct Fundraising and Friends Program • Thomas Linehan, Beranek Room Host • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment Coordinator • Emily Reeves, Assistant Director of Development Information Systems • Amanda Roosevelt, Assistant Manager of Planned Giving • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director of Development Research • Nicholas Vincent, Donor Ticketing Associate education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Anne Gregory, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Programs facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 7 administration 67 68 information technology Timothy James, Director of Information Technology

Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist publications Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing

Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Director of Tanglewood Tourism/Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box office David Chandler Winn, Manager • Megan E. Sullivan, Associate Subscriptions Manager box office representatives Jane Esterquest • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Bridget Sawyer-Revels, Office Coordinator • Gary Wallen, Associate Director for Production and Scheduling

week 7 administration 69

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Gerald Dreher Vice-Chair, Tanglewood/Chair-Elect, Martin Levine Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2014-15

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Christine Watson • Computer and Office Support, Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Beverly Pieper • Mailings, George Mellman • Membership Table/Hall Greeters, Melissa Riesgo • Newsletter, Richard Pokorny • Recruitment/Retention/Reward, Rosemary Noren • Symphony Shop, Karen Brown • Tour Guides, Matthew Hott

week 7 administration 71 Next Program…

Thursday, November 6, 8pm Friday, November 7, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, November 8, 8pm Tuesday, November 11, 8pm

andris nelsons conducting

gubaidulina “offertorium,” concerto for violin and orchestra (played without pause) baiba skride

{intermission}

sibelius symphony no. 2 in d, opus 43 Allegretto Tempo Andante, ma rubato Vivacissimo— Finale: Allegro moderato

BSO Music Director Andris Nelsons returns for his second series of 2014-15 concerts, joining forces with several longtime collaborators for music with a Scandinavian and Slavic accent. This program features acclaimed Latvian violinist Baiba Skride, a compatriot and contemporary of the conductor, as soloist in Russian composer Sofia Gubaidulina’s Offertorium—a piece recorded by the BSO in 1988 and considered one of the most important 20th-century concertos for the instrument. Gubaidulina’s music is strongly affected by her spirituality while also making use of the modern era’s wealth of expressive techniques. Closing the concert is Finnish composer Jean Sibelius’s Second Symphony, music of simultaneously pastoral and dramatic temperament that remains one of his most beloved works.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org, 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. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

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

Thursday ‘B’ November 6, 8-9:55 Thursday ‘C’ November 20, 8-10:10 Friday ‘B’ November 7, 1:30-3:25 Friday ‘A’ November 21, 1:30-3:40 Saturday ‘B’ November 8, 8-9:55 Saturday ‘B’ November 22, 8-10:10 Tuesday ‘C’ November 11, 8-9:55 ANDRISNELSONS, conductor ANDRISNELSONS, conductor YO-YOMA, cello BAIBASKRIDE, violin VICTORIA YASTREBOVA, soprano PAVEL CERNOCHˇ GUBAIDULINA Offertorium, Concerto for , tenor violin and orchestra KOSTAS SMORIGINAS, bass-baritone SIBELIUS Symphony No. 2 TANGLEWOOD FESTIVAL CHORUS, JOHNOLIVER, conductor HARBISON Koussevitzky Said:, Choral Thursday ‘A’ November 13, 8-10 Scherzo with Orchestra UnderScore Friday November 14, 8-10:10 EŠENVALDS Lakes Awake at Dawn for chorus (includes comments from the stage) and orchestra (world premiere; Saturday ‘A’ November 15, 8-10 BSO co-commission) Tuesday ‘B’ November 18, 8-10 PROKOFIEV Symphony-Concerto in E minor for cello and orchestra ANDRISNELSONS, conductor RACHMANINOFF The Bells, for orchestra, chorus, HAKANHARDENBERGER˚ , trumpet and soloists TCHAIKOVSKY Hamlet, Overture-fantasy after Shakespeare DEAN Dramatis personae, Music for Tuesday ‘C’ November 25, 8-9:50 Trumpet and Orchestra Friday ‘B’ November 28, 1:30-3:20 (American premiere) Saturday ‘A’ November 29, 8-9:50 STRAVINSKY The Rite of Spring LEONIDAS KAVAKOS, conductor and violin BARTÓK Two Portraits, for violin and orchestra HAYDN Symphony No. 82, The Bear MUSSORGSKY/ Pictures at an Exhibition RAVEL

Programs and artists subject to change.

week 7 coming concerts 73 Symphony Hall Exit PlanPlanSymphony

74 Symphony Hall InformationInformationSymphony

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, 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 Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger 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.

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 7 symphony hall information 75 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. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage 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. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. 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 bal- cony, 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 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. 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 Thursday 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.

76