Week 12 Andris Nelsons Music Director

bernard haitink conductor emeritus seiji ozawa music director laureate

2014–2015 Season | Week 12 andris nelsons music director

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Table of Contents | Week 12

7 bso news 17 on display in symphony hall 18 bso music director andris nelsons 20 the boston symphony orchestra 23 this week’s program

Notes on the Program

24 The Program in Brief… 25 Johannes Brahms 33 Joseph Haydn 41 Richard Strauss 53 To Read and Hear More…

Guest Artists

57 Gautier Capuçon 61 Steven Ansell

62 sponsors and donors 80 future programs 82 symphony hall exit plan 83 symphony hall information

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 bernard haitink, 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 •

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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. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck † • Dr. Martin C. Mihm, Jr. • 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

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BSO News

Andris Nelsons CD Signing, Friday, January 9, Following This Week’s Friday-night BSO Concert BSO Music Director Andris Nelsons will sign copies of his first CD with the Boston Symphony Orchestra in Higginson South in the Cohen Wing of Symphony Hall, near the Symphony Shop, immediately following this Friday night’s Boston Symphony concert. The new BSO Classics release pairs the overture to Wagner’s Tannhäuser and the Sym- phony No. 2 of Jean Sibelius; both are taken from concert performances earlier this season—the Wagner from Maestro Nelsons’ inaugural concert as music director on September 27, 2014, the Sibelius from his BSO program of November 6-11. The selections are particularly meaningful to Maestro Nelsons. It was hearing Wagner’s opera when he was just five years old that made him want to be a conductor, and the Sibelius reflects his strong interest in music of the Scandinavian and Slavic countries, while also building upon the BSO’s own distinguished history of past Sibelius recordings. Priced at $17.95 for the CD and $9.99-$13.99 for down- loads (depending on format), the new recording is available at the Symphony Shop and online at bso.org, as well as from Amazon.com and iTunes.

Focus on Andris Nelsons: A New Multimedia Display at Symphony Hall A new multimedia display in Higginson Hall has been designed to provide BSO fans with a kaleidoscope of information about Andris Nelsons and the excitement surrounding his presence as BSO music director. Highlighting the exhibit is a hologram of Maestro Nelsons speaking about his musical values; also included are several video screens offering backstage and other behind-the-scenes clips, interviews, press conferences, a promotional video about Maestro Nelsons’ new Sibelius/Wagner CD with the BSO, and concert footage from both Symphony Hall and Tanglewood, as well as a loop of the acclaimed documentary “Genius on Fire,” an iPad trivia contest about Andris Nelsons, and a display of memorabilia and press clippings. The exhibit runs until January 30, and is open to the public on Tuesdays, Thursdays, and Saturdays from 10 a.m. to 5 p.m., as well as during all evening concerts.

BSO 101—The Free Adult Education Series at Symphony Hall BSO 101 continues to offer informative sessions about upcoming BSO programming and behind-the-scenes activities at Symphony Hall. The next Wednesday-evening “Are You Listening?” session—entitled “French Accent”—is scheduled for January 14 from 5:30-6:45 p.m. at Symphony Hall, when BSO Director of Program Publications Marc Mandel, joined by BSO cellist Blaise Déjardin, discusses music of Berlioz, Saint-Saëns, Milhaud, and Debussy. The next Tuesday-evening “Insider’s View” session, scheduled for January 20 from 5:30-

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6:45 p.m., will feature a presentation by BSO senior archivist Bridget Carr. Since each BSO 101 session is self-contained, no prior musical training, or attendance at any previous session, is needed. In addition, each session is followed by a reception offering beverages, hors d’oeuvres, and further time to share your thoughts with others, and each Wednesday session is followed by a free tour of Symphony Hall given by an experienced member of the Boston Symphony Association of Volunteers. Admission to the BSO 101 session is free; please note, however, that there is a nominal charge to attend the reception. To reserve your place, please e-mail [email protected] or call (617) 638-9345. For further information, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

New This Year: “Onstage at Symphony” The 2014-15 season brings the launch of the BSO’s Onstage at Symphony, a program con- vening amateur musicians of all backgrounds from across Massachusetts for a set of rehearsal and sectional experiences culminating in a performance on the Symphony Hall stage. Designed for adult amateur musicians residing in Massachusetts who have a true love for musical performance but who have pursued alternate career paths, this program celebrates the amateurs’ talent and continued commitment to music while also providing access to the resources of the Boston Symphony Orchestra and Symphony Hall, and giving community musicians an opportunity to experience a “day in the life” of a professional musician under the leadership of BSO Germeshausen Youth and Family Concerts Conductor Thomas Wilkins. Activities will take place from Wednesday, January 28, to Saturday, January 31; the group’s final performance will be free and open to the public. For more information, please visit bso.org/onstageatsymphony.

week 12 bso news 9 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 83 of this program book.

The John and Diddy Cullinane Copley Square with John Williams conducting Concert, Thursday, January 8, 2015 the Boston Pops Orchestra while both audiences joined in a Happy Birthday sing-along The performance on Thursday evening is to the library. supported by a generous gift from Great Benefactors John and Diddy Cullinane, who John and Diddy were inducted into the Greater are committed philanthropists in the Greater Boston Chamber of Commerce’s Academy of Boston community. The couple has supported Distinguished Bostonians. John was founder the BSO for more than twenty-five years, in- of Cullinane Corporation, the computer cluding the Artistic Initiative, the Symphony industry’s first successful software products Annual Fund, Opening Nights, and BSO cor- company. He was also founding chair of the porate events. John and Diddy have attended Massachusetts Technology Leadership Council many Symphony, Pops, and Tanglewood and the Boston Public Library Foundation, performances over the years. as well as the first president of the John F. Kennedy Library Foundation. He is also the A BSO Trustee, Diddy has actively served on author of a just published book, Smarter Than many committees and held leadership roles. Their Machines: Oral Histories of Pioneers in Elected an Overseer in 1996, she served as Interactive Computing. Chair of the Board of Overseers from 2001 to 2005 and a Vice-Chair of the Board of Trustees from 2005 to 2013. She currently The Roger Sametz Concert serves on the Leadership Gifts Committee Saturday, January 10, 2015 and the Trustees Nominating and Governance The performance on Saturday evening is Committee, which she previously chaired. named in honor of Roger Sametz by a gener- Diddy and John have served on many bene- ous gift from Great Benefactors Alan J. and factor committees for Opening Night at Suzanne W. Dworsky. Symphony and Pops, including as chairs of Opening Night at Symphony in 1999 and 2010. Roger Sametz is president, chief executive The Cullinanes have hosted a number of BSO officer, and founder of Sametz Blackstone engagement events over the years. Associates, a Boston-based brand strategy, design, and digital media firm; the firm has Diddy was the founding president of Black provided brand and communications counsel & White Boston, a non-profit organization to leading corporate, cultural, academic, formed in 1989 to promote social and busi- professional service, and life science organi- ness interaction between the races, most zations for more than thirty-five years. notably, the Black & White on Green Golf Representative clients include the BSO, Tournament at Franklin Park. As vice-chairman Harvard University, MIT, Celebrity Series of of the Boston Public Library Foundation, she Boston, and WGBH, among many others. initiated The Library/Schools Creative Design Roger has a deep connection to symphony & Writing Program showcasing students’ orchestras; in addition to his work with the work on billboards throughout the city, as BSO, he has worked with the San Francisco well as their written work published annually Symphony, the Atlanta Symphony, the Seattle by Houghton Mifflin; she also created a cele- Symphony, and the Sydney Symphony. bration of the library’s 100th Anniversary held under a tent in Copley Square, with rep- Roger is an Overseer of WGBH and serves on resentatives of Boston’s major cultural insti- its Corporate Executive Board; is a member of tutions as guests. A simulcast was provided the Executive Committee of the Whitehead by WCVB-TV between Symphony Hall and Institute Board of Associates; serves on the

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Leadership Board of the McGovern Institute support of thousands of Friends of the BSO for Brain Research at MIT, and is a member of to make it all possible. Every $1 the BSO the Board of Directors of the Boston Center receives in ticket sales must be matched with for the Arts and the Corporate Design Foun- an additional $1 of contributed support to dation. He is a former overseer of the Boston cover its annual expenses. Friends of the BSO Ballet and is a BSO Business Partner. play their part to help bridge that gap, keep- ing the music playing to the delight of audi- Roger writes and speaks widely on brand- ences all year long. In addition to joining a building; he has been instrumental in helping community of like-minded music lovers, the BSO (often on a pro bono basis) develop becoming a Friend of the BSO entitles you to its memorable brand, and the identities for benefits that bring you closer to the music the Pops, Tanglewood, and Symphony Hall. you cherish. Friends receive advance ticket He received his B.A. from Yale University ordering privileges, discounts at the Symphony and an M.F.A. from the Yale School of Art Shop, and access to the BSO’s online newslet- and Architecture. Roger regularly attends ter InTune, as well as invitations to exclusive Symphony performances and has been a BSO donor events such as BSO and Pops working subscriber for eighteen years. He lives with rehearsals, and much more. Friends member- his partner, DuncanRhys Liancourt—together ships start at just $100. Contact the Friends with their Tibetan terrier and Spinone italiano— Office at (617) 638-9276, friendsofthebso@ in the South End and in Aquinnah. bso.org, or join online at bso.org/contribute, to play your part with the BSO by becoming Go Behind the Scenes: a Friend. The Irving W. and Charlotte F. Rabb Symphony Hall Tours BSO Members in Concert The Irving W. and Charlotte F. Rabb Symphony Founded by former BSO cellist Jonathan Hall Tours—named in honor of the Rabbs’ Miller, the Boston Artists Ensemble performs devotion to Symphony Hall with a gift from Bartók’s String Quartet No. 6 and Beethoven’s their children James and Melinda Rabb and String Quartet in C-sharp minor, Opus 131, on Betty (Rabb) and Jack Schafer—provide a Friday, January 16, at 8 p.m. at the ensemble’s rare opportunity to go behind the scenes at new venue in Salem, historic Hamilton Hall, Symphony Hall. In these free, guided tours, and on Sunday, January 18, at 2:30 p.m. at experienced members of the Boston Sym- Trinity Church in Newton Centre. Joining Mr. phony Association of Volunteers unfold the Miller are violinists Bayla Keyes and Peter history and traditions of the Boston Symphony Zazofsky and cellist Kathryn Lockwood. Orchestra—its musicians, conductors, and Tickets are $27 (discounts for seniors and supporters—as well as offer in-depth infor- students), available at the door. For more mation about the Hall itself. Tours are offered information, visit bostonartistsensemble.org most Wednesdays at 4 p.m. and two Satur- or call (617) 964-6553. days per month at 2 p.m. during the BSO season. Please visit bso.org/tours for more BSO cellist Mickey Katz performs a recital of information and to register. unaccompanied cello works by Bach, Kodály, and Ben Haim on Sunday, January 18, at 2 p.m. at the Newton Free Library, 330 Homer It’s Your BSO, Play Your Part: Street, Newton. Admission is free. Become a Friend of the BSO Collage New Music, founded by former BSO At Symphony Hall, everyone plays their part. percussionist Frank Epstein and whose mem- From the musicians on stage, to the crew bers include former BSO cellist Joel Moerschel behind the scenes, to the ushers and box and current BSO violinist Catherine French, office staff, it takes hundreds of people to put performs its Winter Concert on Sunday, on a performance, and it takes the dedicated

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January 18, at 8 p.m., at Edward Pickman Hall to increase, there have also been increased at the Longy School of Music, 27 Garden expressions of concern from concertgoers Street, Cambridge. The program includes and musicians who find themselves distracted works by Evan Chambers, Nicola LeFanu, not only by the illuminated screens on these Mario Davidovsky, Kyong Mee Choi, and devices, but also by the physical movements Stephen Jaffe. General admission is $25 in that accompany their use. For this reason, advance, $30 at the door (discounts for sen- and as a courtesy both to those on stage and iors and students). For more information, visit those around you, we respectfully request collagenewmusic.org or call (513) 260-3247. that all such electronic devices be turned off and kept from view while BSO perform- Founded by BSO violinist Wendy Putnam, the ances are in progress. In addition, please Concord Chamber Music Society presents also keep in mind that taking pictures of the the Borromeo Quartet on Sunday, January 18, orchestra—whether photographs or videos— at 3 p.m. at Concord Academy Performing is prohibited during concerts. Thank you very Arts Center, 166 Main Street, Concord. The much for your cooperation. all-Beethoven program includes the string quartets Opus 130 in B-flat and Opus 131 in C-sharp minor, and the Grosse Fuge, Opus 133. Comings and Goings... Members of the quartet will discuss Beetho- Please note that latecomers will be seated ven’s musical vocabulary in a pre-concert dis- by the patron service staff during the first cussion at 2 p.m. Tickets are $42 and $33 convenient pause in the program. In addition, (discounts for seniors and students). For please also note that patrons who leave the more information, visit www.concordcham- hall during the performance will not be bermusic.org or call (978) 371-9667. allowed to reenter until the next convenient pause in the program, so as not to disturb the Those Electronic Devices… performers or other audience members while the concert is in progress. We thank you for As the presence of smartphones, tablets, and your cooperation in this matter. other electronic devices used for communica- tion, note-taking, and photography continues

week 12 bso news 15 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 Soviet Union 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 12 on display 17 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 Carnegie Hall 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 Vienna Philharmonic 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 Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw

18 Orchestra of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra. He is a regular guest at the Royal Opera House–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 Richard Strauss, 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, Germany, from 2006 to 2009 and music director of Latvian National Opera from 2003 to 2007. ac Borggreve Marco

week 12 andris nelsons 19 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 violins Jason Horowitz* Cathy Basrak Adam Esbensen* Ronald G. and Ronni J. Casty Assistant Principal Richard C. and Ellen E. Paine Malcolm Lowe chair Anne Stoneman chair, endowed chair, endowed in perpetuity Concertmaster in perpetuity Charles Munch chair, Ala Jojatu* Blaise Déjardin* endowed in perpetuity Wesley Collins Lois and Harlan Anderson chair, Tamara Smirnova second violins endowed in perpetuity basses Associate Concertmaster Haldan Martinson Edwin Barker Helen Horner McIntyre chair, Robert Barnes Principal Principal endowed in perpetuity Carl Schoenhof Family chair, Michael Zaretsky Harold D. Hodgkinson chair, endowed in perpetuity endowed in perpetuity Alexander Velinzon Mark Ludwig* Assistant Concertmaster Julianne Lee Lawrence Wolfe Robert L. Beal, Enid L., and Rachel Fagerburg* Assistant Principal Assistant Principal Bruce A. Beal chair, endowed Charlotte and Irving W. Rabb Maria Nistazos Stata chair, in perpetuity Kazuko Matsusaka* chair, endowed in perpetuity endowed in perpetuity Elita Kang Rebecca Gitter* Sheila Fiekowsky Benjamin Levy Assistant Concertmaster Shirley and J. Richard Fennell Jonathan Chu* Leith Family chair, endowed Edward and Bertha C. Rose chair, ˚ chair, endowed in perpetuity in perpetuity endowed in perpetuity Daniel Getz* Nicole Monahan Dennis Roy Bo Youp Hwang § David H. and Edith C. Howie John and Dorothy Wilson chair, cellos chair, endowed in perpetuity Joseph Hearne endowed in perpetuity Jules Eskin Ronan Lefkowitz James Orleans* Lucia Lin Principal Dorothy Q. and David B. Arnold, Vyacheslav Uritsky* Philip R. Allen chair, endowed Todd Seeber* Jr., chair, endowed in perpetuity in perpetuity Eleanor L. and Levin H. Campbell Jennie Shames* chair, endowed in perpetuity Ikuko Mizuno Martha Babcock Ruth and Carl J. Shapiro chair, Valeria Vilker Kuchment* Associate Principal John Stovall* Vernon and Marion Alden chair, endowed in perpetuity Tatiana Dimitriades* Thomas Van Dyck* endowed in perpetuity Nancy Bracken* Si-Jing Huang* Stephanie Morris Marryott and Sato Knudsen flutes Franklin J. Marryott chair Victor Romanul* Mischa Nieland chair, endowed Bessie Pappas chair in perpetuity Elizabeth Rowe Aza Raykhtsaum* Principal Catherine and Paul Buttenwieser Wendy Putnam* Mihail Jojatu Walter Piston chair, endowed chair Robert Bradford Newman chair, Sandra and David Bakalar chair in perpetuity endowed in perpetuity Bonnie Bewick* Owen Young* Clint Foreman Mary B. Saltonstall chair, Xin Ding* John F. Cogan, Jr., and Mary L. Myra and Robert Kraft chair, endowed in perpetuity Cornille chair, endowed endowed in perpetuity Glen Cherry* in perpetuity James Cooke* Elizabeth Ostling Kristin and Roger Servison chair Yuncong Zhang* Mickey Katz* Associate Principal Stephen and Dorothy Weber Marian Gray Lewis chair, Catherine French* chair, endowed in perpetuity Donald C. and Ruth Brooks violas endowed in perpetuity Heath chair, endowed Steven Ansell Alexandre Lecarme* in perpetuity Principal Nancy and Richard Lubin chair Charles S. Dana chair, endowed in perpetuity

20 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 12 boston symphony orchestra 21

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, January 8, 8pm | the john and diddy cullinane concert Friday, January 9, 8pm (UnderScore Friday concert, including introductory comments from the stage by BSO violinist Nicole Monahan) Saturday, January 10, 8pm | the roger sametz concert andris nelsons conducting brahms variations on a theme by haydn, opus 56a haydn symphony no. 90 in c Adagio—Allegro assai Andante Menuet; Trio Finale: Allegro assai

{intermission} strauss “don quixote,” fantastic variations on a theme of knightly character, opus 35 Introduction— Theme and variations— Finale gautier capu¸con, cello steven ansell, viola bank of america and emc corporation are proud to sponsor the bso’s 2014-2015 season.

The Thursday and Saturday concerts will end about 9:55, the Friday concert about 10:05. 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. 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 12 program 23 The Program in Brief...

Completed in 1873, Johannes Brahms’s Variations on a Theme by Haydn was the last major orchestral work he completed before finishing his long-awaited Symphony No. 1. The Haydn Variations are based on a well-known theme, the “Chorale St. Antoni,” which Haydn—who may not have composed it—used in a divertimento for wind ensemble. In his piece, Brahms emphasizes contrast and change, tapping into a veritable catalogue of contrapuntal and orchestrational techniques from the German tradition stretching back to J.S. Bach. Following the theme and eight variations, the finale is a grand summing-up in the form of a passacaglia, a series of shorter variations based on a portion of the theme’s harmonic progression.

Franz Joseph Haydn wrote his Symphony No. 90 in 1788; it, along with his symphonies 91 and 92, is a kind of pendant to the composer’s six “Paris symphonies” (nos. 82-87), all of which were commissioned for the Paris musical society Concerts de la Loge Olympique. This was at a time when Haydn was discovering the extent of his wide fame as a composer, culminating in his celebrated trips to London in the 1790s. The Symphony No. 90 is in four movements, fast-slow-minuet-fast. The first starts with a brief slow introduction leading to a delightfully energetic Allegro in 3/4 time. As the piece continues, solos for flute, oboe, and cello suggest that Haydn was tailoring his symphony for particularly accomplished Paris musicians. The finale is a rollicking perpetual-motion machine, but be forewarned—its false ending has triggered many an overeager ovation.

Strauss’s Don Quixote is one of a string of tone poems—also including Till Eulenspiegel’s Merry Pranks, Don Juan, and Ein Heldenleben—with which he made his young reputation as one of the day’s most progressive and skilled composers in the 1880s and 1890s. In Don Quixote, written in 1897 and premiered the following year, Strauss makes the unusual choice of calling for solo cello and viola. These parts were originally intended to be performed within the orchestral string sections, but nowadays the piece is usually approached almost as a double concerto. Solo cello and viola, respectively, present the themes associated with Don Quixote and his sidekick Sancho Panza. Following a substantial introduction and then the Theme itself, there are ten variations. These depict scenes from Cervantes’ novel, including Quixote’s tilt at the windmills, his meeting with Dulcinea, fights with magicians and evil armies, and a magical flight through the air. Perhaps the greatest musical illustrator of all time, Strauss evokes each episode with typically brilliant tone-painting—horses galloping, wind howling, a wild, rushing river, the chanting of a group of monks, and the threatening bleats of a flock of sheep.

Robert Kirzinger

24 Johannes Brahms Variations on a Theme by Haydn, Opus 56a

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

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

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

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

week 12 program notes 25 Program page from the first Boston Symphony performance of Brahms’s Variations on a Theme by Haydn on December 6, 1884, with Wilhelm Gericke conducting (BSO Archives)

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

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

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

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

Famously, Brahms carried his first symphony on his back for over fifteen years before finishing it. Part of the reason was fear: he knew it was going to be compared with Beethoven, and that haunted him. He also refused to finish a symphony before his handling of the orchestra was as distinctive as everything else in his style.

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

week 12 program notes 27 28 Another view of Brahms, beardless, shown here in his thirties

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

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

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

By “character variations” we mean a work in which each segment conjures up a particular kind of traditional piece. In all styles of variations going back through Beethoven and Haydn and Bach, the essential idea is to take a bit of material, the theme, and transform

week 12 program notes 29 30 its elements into contrasting segments of music which at the same time form an overall shape and direction. In the Haydn Variations the constants are the bass line of the original theme, and other bits and pieces of it, including its eccentric phrasing and its stern repeated notes—which can also be ironic repeated notes. In the third variation, which moves from lush full scoring to instruments used delicately and soloistically, we hear for the first time the Brahmsian thumbprint of integrating chamber-like effects within orchestral music. The liquidly expressive variation IV is contrasted by the vivace scherzo of the next variation. Then comes a stretch of robust hunting horns followed by a delicious lyrical siciliana.

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

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

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

THEFIRSTBOSTONSYMPHONYPERFORMANCE of the “Haydn” Variations was on December 6, 1884, with Wilhelm Gericke conducting, subsequent BSO performances being given by Arthur Nikisch, Emil Paur, Willy Hess, Karl Muck, Max Fiedler, Otto Urack, Ernst Schmidt, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Charles Munch, Ernest Ansermet, Erich Leinsdorf, Eugene Ormandy, Aaron Copland, Seiji Ozawa, Mstislav Rostropovich, Kurt Masur, Edo de Waart, Dennis Russell Davies, Bernard Haitink, Christof Perick, André Previn, Daniele Gatti, Andrey Boreyko (the most recent Tanglewood performance, on August 21, 2004), and Christoph von Dohnányi (the most recent subscription performances, in February 2013).

week 12 program notes 31

Joseph Haydn Symphony No. 90 in C

FRANZ JOSEPH HAYDN was born at Rohrau, Lower Austria, on March 31, 1732, and died in Vienna on May 31, 1809. He composed the Symphony No. 90 in 1788. The precise date of the first performance is unknown, but there were almost certainly three “premieres”—in Paris and Bavaria, for the work’s two (independent) commissioners (see page 37), and by Haydn’s own orchestra at Eszterháza.

THE SCORE OF THE SYMPHONY NO. 90 calls for one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings.

As Joseph Haydn forged his 104 symphonies, sixty-eight string quartets, and mountains of other pieces, his reputation naturally evolved over the years. He himself evolved from a freelancer, to a longtime director of a palace musical establishment, to a freelancer again (with a pension from his prince). His early symphonies were small, light pieces that did not pose too much challenge to the chatting and card playing that went on during household musicales. His later symphonies were written on a grand scale, listened to raptly and applauded wildly by audiences in Paris and London.

The position that Haydn had attained by the end of his life, and the attitude toward him in the musical world, was embodied around 1813 in the article “Beethoven’s Instrumental Music” by the high-Romantic writer and composer E.T.A. Hoffmann. In the course of poetically comparing Beethoven, Mozart, and Haydn, Hoffmann says: In Haydn’s writing there prevails the expression of a serene and childlike personality. His symphonies lead us into vast green woodlands, into a merry, gaily colored throng of happy mortals. Youths and maidens float past in a circling dance; laughing children, peering out from behind the trees... pelt one another playfully with flowers. A life of love, of bliss like that before the Fall, of eternal youth; no sorrow, no suffering, only a sweet melancholy yearning for the beloved object that floats along, far away, in the glow of the sunset.

week 12 program notes 33 Program page for the first Boston Symphony Orchestra performance of Haydn’s Symphony No. 90 in April 1899 with Wilhelm Gericke conducting (BSO Archives)

34 True, by the time those words were written, among Haydn’s most popular works were his late oratorios The Creation and The Seasons, both of which have quite weighty passages— most famously the evocation of Chaos in The Creation. But Hoffmann’s portrait still indi- cates where Haydn’s reputation came to rest in his last years. No radical rethinking has seemed necessary since. People who know Haydn’s music tend to think of him with a smile. His wit, geniality, and directness, his sense of artlessness overlying his unsurpassed craftsmanship, his gentle poignancy, even his essays in Sturm und Drang and the outright bizarre—these remain familiar Haydn modes, though they are kaleidoscopic in their real- ization. Haydn was a sort of gentle revolutionary.

One of his favorite words was natural. He aimed for a natural style, which is to say a music that sounds right and familiar from the first time you hear it—even if there are sur- prises, even if sometimes he diverts you while he sneaks around to kick you in the pants. As an example of what he meant by natural, take the familiar Haydn theme, whether elegant or jovial, that seems almost to have written itself, like his German national anthem, surely the greatest of its kind. Few composers other than Haydn could create anything like these seemingly artless tunes. In genres large and small, his sense of naturalness is the same.

The symphony on this program, No. 90 in C major, from 1788, stands on the verge of the climactic dozen “London symphonies” (nos. 93-104) Haydn wrote for his two sojourns in that city. They follow the nearly as significant “Paris symphonies” (nos. 82-87) of

week 12 program notes 35

Count Claude-François-Marie d’Ogny, who commissioned Haydn’s symphonies 90-92

1785-86. That some of his most ambitious and mature symphonies acquired nicknames from those cities is no coincidence. The reality was that Haydn’s hometown of Vienna had never been all that enthusiastic about symphonies, by Haydn or anybody else. Meanwhile, even as Vienna was the acknowledged musical capital of Europe, its public concert scene was not as developed as in Paris and London. (For that reason, when Haydn returned from London to Vienna for good, he wrote no more symphonies because nobody commissioned any.) The main venues in Vienna were still private, as they had long been—the music rooms of houses and palaces. Meanwhile Paris and London had a tradition of public concerts, and large and enthusiastic audiences to fill the halls.

Haydn’s symphonies 90-92 were commissioned, like the six previous Paris symphonies, by the Comte d’Ogny. The new symphonies are, in effect, an addendum to the Paris set. Haydn was a canny businessman and had developed a procedure of selling the same pieces to publishers in different regions (all of it above-board). He decided to use these symphonies to fulfill two requests at once, the other from a Bavarian prince. Haydn man- aged to keep both music-loving noblemen in the dark about whom the symphonies were actually written for.

Symphony No. 90 begins with an Adagio introduction, a stern unison followed by quiet gestures. The opening ta-dum turns out to be a throat-clearing for a lively and good- humored outing. In Haydn’s day, C major was perceived to be a key of equanimity rather than passion, suitable for marches and general high spirits—though not as spirited in mood as, say, D major. The feeling of C major, said one theorist of the day, is “a mixture of happy cheerfulness and gentle seriousness.” This conceit is not quite as outlandish as it sounds. The often-cited “purity” of C major is partly visual, because the key is without flats and sharps. In the flexible keyboard tunings of the time, meanwhile, it was the key most nearly in tune, and, therefore, the one with the most even-tempered character. Haydn’s No. 90 is a paradigm of a Classical-period C major symphony.

week 12 program notes 37 38 On the first page he sets up some ideas that will characterize the whole. After the opening unison comes a quiet string descent doubled, strikingly, by bassoons. (The wind and brass section is full, but, as usual until late Haydn, without clarinets.) Soloistic winds and bassoons, the latter often freed from their usual chore of doubling the bass, will be a steady feature of the symphony, likewise the strings’ repeated-note figure heard on the first page. The main theme of the ensuing Allegro assai simply speeds up the introduction material, turning it from gentle to dashing and playful, with much highlighting of winds and horns. The second theme and the first half of the development section have extended and delightful flute and oboe solos.

For second movement Haydn gives us a double-variation Andante alternating F major and F minor. The “A” theme is an elegant little dance tune in violins, bassoon joining in underneath. This is not exactly bassoon in its comic mode, but the effect is gently ironic. The contrasting “B” theme in minor has a kind of operatic conspiratorial air. The variations mainly decorate the respective melodies (there are more extended wind solos). The final return of the “A” theme in F major banishes what few clouds have appeared. The minuet has a pompous tone, or maybe faux-pompous, with some mellow wind episodes and a lovely oboe solo as Trio.

The finale is a nimble, bustling, virtually monothematic Allegro assai in sonata form. Its racing figures are effervescent in the strings and nearly virtuosic in the winds. It spins out as if discovering constantly new angles on its own delight. Well before the end comes an echt-Haydn joke: with a grand final cadence in C major, the symphony apparently and precipitously ends. Just as we’re about to start applauding, the strings sneak back in pianissimo in the startling key of D-flat major. By the time the music makes its way back to C major and actually and grandly concludes, we’re a little afraid to applaud—which is, of course, the intention. In this symphony that can be numbered among his splendid but neglected ones, Haydn as always plays his audience with the same mastery as he plays his orchestra.

Jan Swafford

THEFIRSTBOSTONSYMPHONYPERFORMANCEOFHAYDN’SSYMPHONYNO. 90—which may also have been the first American performance—was given by Wilhelm Gericke in April 1899, subsequent performances being given by Karl Muck in March 1917 and next by Erich Leinsdorf only in October 1968, since which time the BSO has also played it under Charles Wilson, Hugh Wolff (the only Tanglewood performance, on August 4, 1995), and Simon Rattle (who led subscription performances in November 1983 and then again in November 1996, the orchestra’s most recent performances until this week).

week 12 program notes 39

Richard Strauss “Don Quixote,” Fantastic variations on a theme of knightly character, Opus 35

RICHARD GEORG STRAUSS was born in Munich, Bavaria, on June 11, 1864, and died in Garmisch-Partenkirchen, Germany, on September 8, 1949. He composed “Don Quixote” in 1897, completing it in December of that year. The score is dedicated to Joseph Dupont. It was first performed on March 8, 1898, from manuscript, by the Gürzenische Städtische Orchester of Cologne under Franz Wüllner.

THE SCORE OF “DON QUIXOTE” CALLS FOR AN ORCHESTRA OF two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, three bassoons and contrabassoon, six horns, three trumpets, three trombones, tenor tuba, bass tuba, timpani, snare drum, bass drum, cymbals, triangle, tambourine, wind machine, harp, and a large body of strings specified by the composer as sixteen first violins, sixteen second violins, twelve violas, ten cellos, and eight double basses.

Don Quixote came during a short but rich period of Strauss’s life when he was serving as ﬁrst conductor in his native Munich. He had just completed Also sprach Zarathustra and turned with enthusiasm to the much smaller medium of the song and the a cappella chorus. Capping his output during this period, shortly before he left Munich to be Weingartner’s successor at the Royal Opera of Berlin, was a new tone poem based on the character of Cervantes’ immortal knight and his equally memorable squire.

Actually Strauss himself avoided calling this work a “symphonic poem,” but referred rather to its strictly maintained structure as a set of variations with the whimsical title “Fantastic variations on a theme of knightly character.” This description prepares us for the theme-and-variations organization of the score while at the same time warning us that Don Quixote is not to be a “classical” variation set such as, say, Brahms’s Variations on a Theme by Haydn. In that glorious work, each variation retains quite strictly the shape of the original theme—its phrase structure and harmonic outlines as well as some sense of the melodic structure—while the composer ﬁnds ways of introducing new treat-

week 12 program notes 41 Program page from the first Boston Symphony performance of Strauss’s “Don Quixote” in February 1904 with then BSO principal cellist Rudolf Krasselt as soloist and Wilhelm Gericke conducting (BSO Archives)

42 ments of its fundamental musical ideas. In Don Quixote, on the other hand, the word “fantastic” in the subtitle implies what we might call “character variations” as opposed to “formal variations.” That is to say, in each variation, Strauss uses any or all of the basic thematic ideas in a more or less free composition, varying each according to the expressive needs of the given movement. The themes may change character through changes of orchestration, melodic shape, or harmony according to the mood that is to be con- veyed in each case. But each variation need not reiterate the overall shape presented at the original statement of the theme. This treatment of his material, which Strauss employs in his more overtly “symphonic” tone poems as well, is derived from the Wagnerian Leitmotiv system in both aesthetic and technique. He often combines the various themes contrapuntally into passages of lavish intricacy; Don Quixote includes some of Strauss’s most complex writing, and the score was no doubt the despair of the composer’s father.*

Strauss chose to highlight two soloists from the orchestra—cello and viola—to characterize the lanky visionary knight and his plump, down-to-earth companion, but the relationship betwen instruments and characters is not a simple one. The solo cello certainly stands for Don Quixote, although a solo violin frequently functions as a kind of co-principal; the solo viola represents Sancho Panza, but shares that responsibility with the tenor tuba and bass clarinet. Thus, Don Quixote is not really a cello concerto (or, for that matter, a double concerto for cello and viola). When Strauss wrote it, he certainly intended the cello part to be played by the orchestra’s principal cellist seated in his normal place in the orchestra.‡ But the cello part in particular is so difﬁcult and so spectacular that over the years it has served as a vehicle for virtuoso cellists who perform it as if it were the Dvoˇrák concerto, with the soloist seated in the center, separated from the rest of the ensemble. Although that was not Strauss’s original intention, he himself conducted Don Quixote many times in that arrangement (in which the soloist does not play during the orchestral tutti passages), so it must be accepted as having his approval. But the elabo- rate subdivision of the cello section, including the soloist as part of the group, is a strong argument in favor of the original plan.

Introduction: Mässiges Zeitmass (Moderato). The score opens with a musical picture of a certain elderly gentleman of La Mancha engrossed in the reading of his enormous library

* Franz Strauss, one of the finest horn players of the late 19th century, was nonetheless a musical reactionary. He often had to play for Wagner, whose music he hated and with whom he had violent arguments. (When the word came, during an orchestral rehearsal in 1883, that Wagner had died in Venice, Franz Strauss was the only member of the orchestra who flatly refused to stand in a minute of silent homage to the departed composer.) He gave his son Richard a firm classical grounding in musical principles, something that Richard deeply appreciated, although he almost never paid attention to his father’s basic advice when it came to composing: “Keep it simple!” ‡ This is evident from a glance at the full score, where Strauss has carefully and considerately indicated what the second cellist at the first desk is to do whenever the soloist is playing: in some passages to remain silent, in others to play with the musicians at the second desk, in still others to play a solo part of his own. None of these instructions would be necessary if it were assumed that the solo cellist was essentially a player outside the body of the orchestra.

week 12 program notes 43

Richard Strauss and his father, Franz

of romances, tales of knightly derring-do in the service of beautiful, pure, and helpless ladies. We hear in rapid succession three thematic ideas that will, in one form or another, depict this gentleman’s further adventures: at the outset flutes and oboes introduce a phrase in D major that Strauss marks “ritterlich und galant” (“in a knightly and gallant manner”); this is followed by a figure climbing upward in the strings and then descending with courtly grace; then a rapid little arpeggio on the clarinet leads to a slightly bizarre cadential theme. Though the fact of the major mode suggests our hero is still in his right mind, the little harmonic side-slips so characteristic of Strauss hint that his hold on reality is perhaps tenuous at best. The orchestral cellos sing a more lyrical version of the first theme before the solo oboe introduces us to the feminine ideal of our knight-to-be. He thinks of his Dulcinea, he imagines himself springing to her defense (both themes in counterpoint), and his imagination begins to carry him progressively farther and farther away from the world of reality. Finally something snaps; triple-forte dissonant chords in the full orchestra indicate that he has gone mad. At this moment Strauss brings in the solo cello to present the actual theme.

Theme: Mässig (Moderato), the first part of which is labeled “The Knight of the Doleful Countenance.” Our knight appears in D minor with solo cello and solo viola beginning their frequent partnership by reintroducing, now in the minor mode, the themes first heard at the outset. This is followed by a new section, a countersubject, labeled “Sancho Panza.” Bass clarinet and tenor tuba first introduce a little self-satisfied figure before the chattering solo viola takes off with a nearly endless string of commentary. And since most of what Sancho says consists of solemn commonplaces, the viola makes a series of statements each more vacuous musically than the last.

Variation I: Gemächlich (Comodo). Based on chapter eight of Cervantes’ Book I, this is the famous story of the windmills. Knight and squire set forth (their themes in solo cello and bass clarinet respectively), and Don Quixote thinks now and then of Dulcinea, until he is

week 12 program notes 45 brought to a halt by the sight of “giants,” which, of course, Sancho recognizes as windmills. The huge vanes move slowly and steadily around, imperturbable. The Don races at them headlong and is tumbled to the ground. The cellist presents a fragment—in shreds!— of his chivalric theme, followed by a lamentation addressed to his fair lady before the cadence ﬁgure leads us straight into

Variation II: Kriegerisch (Warlike). In chapter eighteen of the First Book, Don Quixote sees two clouds of dust in the distance and claims they are rival armies about to do battle. He promptly decides to offer his services to the weaker side and declares that he will attack the host of the great Emperor Alifanfaron. In vain does Sancho point out that he sees nothing but a ﬂock of sheep. We can hear the sheep bleating in one of the most extraordinary examples of musical onomatopoeia ever composed, and the pipes of the shepherds follow close behind. But Don Quixote, in his most heroic and warlike D major, attacks and routs the foe. (In the book, Cervantes has the hapless Don attacked in his turn by the angry shepherd, who throws rocks at him and knocks out his teeth, but Strauss decided, for musical reasons, to let Don Quixote have at least one successful adventure.)

Variation III: Mässiges Zeitmass (Moderato). This variation is referred to as the “Dialogues of Knight and Squire”; it brings together in musical guise the many endless debates between the Don and Sancho. The former expounds his visions, which the latter, no matter how hard he tries, is unable to appreciate fully. In fact he gets so carried away in his chattering attempts to talk reason into his master that the Don finally hushes him with a violent gesture. Then in a radiant pendant to their conversation (Viel langsamer—Much slower), the knight tells of his visions and dreams. This passage, in a rich F-sharp major, is filled with all the warmth and tender lyricism of Strauss at his best. The passion is virtually Wagnerian. As he finishes his peroration, Sancho (bass clarinet) begins to insert his usual objections, but the Don turns on him furiously (violins) and the discussion is ended, Don Quixote rushing off into

Variation IV: Etwas breiter (Somewhat broader). In the last chapter of part I of the book, Don Quixote observes a procession of penitents carrying a sacred image of the Madonna in a petition for rain. He attacks the group with the intention of saving what he sees as a kidnapped maiden. Bassoons and brass sing out a liturgical theme as the procession comes into view. Don Quixote’s increasing interest is indicated in a little figure in the clarinets and oboes before he rushes into battle on his steed Rocinante. The combat is brief and inglorious. Within three measures he is sprawled on the ground (a sustained low D in the strings depicts him lying motionless while the procession draws on). Sancho fears at first that his master has died and begins to lament, but the Don rises with diffi- culty (solo cello). Sancho chortles with glee (bass clarinet and tenor tuba), then promptly goes to sleep. This allows Strauss to back up in the story for

Variation V: Sehr langsam (Very slowly). “The Knight’s Vigil” comes from the third chapter of Book I and takes place before Sancho himself is on the scene. In the novel, the story is ﬁlled with ludicrous incidents as Don Quixote places his armor in the watering trough of an inn, there to watch over it throughout the hours of darkness until he should be dubbed

week 12 program notes 47

rdetn uem oy,Japan Tokyo, Museum, Bridgestone

“Don Quixote and Sancho Panza,” c.1849-50, oil on wood, by Honoré Daumier (1808-1879)

a knight at dawn (he uses the watering trough in the courtyard because the inn—a “cas- tle” to his bemused wits—has no chapel). After he has started ﬁghts with two sets of muleteers, who have moved his armor out of the trough in order to water their animals, the innkeeper persuades him that he has watched over his armor long enough according to the rules of knighthood. Strauss chooses to omit any attempt at storytelling here; instead this delicate variation deals rather with the knight’s state of mind. A few frag- ments of one of his themes (on the solo cello) intertwines with that of his beloved Dulcinea. This in turn leads us on to

Variation VI: Schnell (Fast). In the tenth chapter of Book II of the novel, Don Quixote orders Sancho to ﬁnd his Dulcinea for him and try to persuade her to receive the homage of the knight. By this time Sancho is beginning to understand his master’s personality more fully. Since he has no idea what Dulcinea looks like or where she lives (and fears that he may be attacked and beaten if he should try to discover her in earnest), he points out to the Don three girls riding on donkeys and insists that they are the Lady Dulcinea and two attendants. The fact that the Don cannot quite see it Sancho’s way is easily explained—they are under an enchantment (just as the Don had insisted the giants were, when they suddenly changed into windmills). Strauss’s treatment of this is a masterpiece of musical humor. The jaunty tune in the oboes conjures up the hearty country wench who reeks of garlic. The Don attempts to address her in his most courtly manner. Even Sancho plays up to the game (solo viola), attempting to persuade her that she is the fair and pure Dulcinea. The girls ride away as fast as they can, leaving Don Quixote in utter confusion behind them.

Variation VII: Ein wenig ruhiger als vorher (A little calmer than the preceding). Here Strauss provides us with a virtuoso exercise in orchestration which is almost a parody of Wagner’s

week 12 program notes 49 “Ride of the Valkyries.” The narrative elements are totally omitted from this variation for the sake of the one musical image. In chapter forty-one of Book II, Don Quixote and Sancho allow themselves to be blindfolded and put on a wooden horse which will, they are told, fly through the air to a lady in great distress. Once they are mounted, the courtiers operate large bellows to give them the impression of the wind whistling past them, though the horse never leaves the ground. The complicated background of the story cannot be told in a symphonic poem, but the “ﬂight” of the horse makes for a per- fect musical description. Fanfares on the horns, soaring ﬁgures in the strings, chromatic flutter-tonguing in the flutes, rhythmic ostinatos, even the actual presence of a wind machine in the orchestra (“preferably out of sight,” the composer noted)—all these things suggest the breathtaking sky ride of Wotan’s daughters in the last act of Die Walküre, but with one important difference: Don Quixote’s horse never leaves the ground, as indicated by the unchanging, earthbound, pedal-point D in the bass instruments of the orchestra!

Variation VIII: Gemächlich (Comodo). This variation is a journey by boat and is filled with the flowing water music that again suggests almost a Wagner parody—the opening scene of Rheingold? In chapter twenty-nine of Book II, Don Quixote finds a boat at a stream and insists that he is meant to embark on a journey—without oars—to find adventure downstream. In fact, the boat is crushed by some great mill wheels, and the occupants only manage to be saved by some helpful millers. The Don’s themes are con- verted here into a gently rolling 6/8 time that lulls its way along. But as they near the mill wheels, things begin to happen faster and faster. The boat capsizes, and the two passengers are pulled to shore, where they stand dripping wet. The final cadence figure of the variation is here turned into a prayer of thanks for their rescue.

Variation IX: Schnell and stürmisch (Fast and stormy). Strauss backs up to the eighth chapter of Book I for this brief variation. After his misadventure with the windmill, Don Quixote encounters two Benedictine monks mounted on mules. He takes them (from their black robes) to be magicians and easily puts them to rout. After a vigorous state-

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50 ment of the Don’s themes, there is a lengthy mock-religious dialogue for the two monks (bassoons) before the Don’s theme drives them away.

Variation X: Viel breiter (Much broader). The last variation takes the tale from the sixty- fourth chapter of Book II. A gentleman from Don Quixote’s own village, Samson Carasco, who is concerned about the old man’s condition, shows up as the Knight of the White Moon, defeats the Don in battle, and exacts a promise that he will refrain from knight- errantry for twelve months. The battle is an uneven one (strings against all the brass and woodwinds), but it has its intended effect, and in a long transition, Don Quixote makes his journey home. The pedal point in the bass and the drumbeats that mark his home- ward way are effective and moving, building to the climactic dissonant chord that had marked the onset of his insanity in the Introduction. Now the clouds begin to clear away. He thinks brieﬂy of becoming a shepherd, a vision in which Sancho has a part to play, too. A radiant A major chord—the dominant of the home key of D—leads directly to the

Finale: Sehr ruhig (Very calm). Here a warm new version of Don Quixote’s basic theme (solo cello), once again clear in his mind, leads gradually to the onset of death pangs. The cello recalls all of the principal ideas associated with the Don before the actual moment of death, after which the orchestra can add only its quiet requiescat.

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

THE FIRST AMERICAN PERFORMANCE OF “DON QUIXOTE” took place on January 7, 1899, with Theodore Thomas conducting the Chicago Symphony Orchestra.

THE FIRST BOSTON SYMPHONY PERFORMANCE OF “DON QUIXOTE” took place in February 1904; Wilhelm Gericke conducted, with BSO principals Rudolf Krasselt, cello, and Max Zach, viola. The composer himself led a special performance in a Pension Fund concert on April 19 that same year with the same soloists, as part of an all-Strauss program also including his tone poem “Don Juan” and the love scene from his early opera “Feuersnot.” Since then, the cello soloists in Boston Symphony performances have also included Heinrich Warnke (with conductors Max Fiedler and Karl Muck); Jean Bedetti (with Pierre Monteux, Serge Koussevitzky, and Richard Burgin); Gregor Piatigorsky (with Koussevitzky, Burgin, and Charles Munch); Samuel Mayes (with Burgin, Monteux, Erich Leins- dorf, and William Steinberg); Jules Eskin (with Jorge Mester, Steinberg, Seiji Ozawa, and Klaus Tennstedt); Yo-Yo Ma (with Ozawa on numerous occasions between 1984 and 2001); Mstislav Rostropovich (with Ozawa); Janos Starker (with Leinsdorf); Steven Isserlis (the most recent subscription performances, with Rafael Frühbeck de Burgos in February 2005); Jian Wang (also with Frühbeck), and Lynn Harrell (with James Levine, in a Pension Fund concert on February 21, 2010; then with Hans Graf conducting the BSO’s most recent Tanglewood performance, on July 25, 2010). Besides BSO principal violist Max Zach in 1904, the violists featured in Boston Symphony performances of “Don Quixote” have also included BSO principals Emil Férir, Georges Fourel, Jean Lefranc, Joseph De Pasquale, Burton Fine, Rebecca Young, and Steven Ansell (the latter participating in all of the BSO’s performances since February 2001: with Ozawa and Ma, Ozawa and Rostropovich, Steven Isserlis with Frühbeck, Jian Wang with Frühbeck, Lynn Harrell with Levine, and Harrell with Graf).

week 12 program notes 51

To Read and Hear More...

Important books about Brahms include Jan Swafford’s Johannes Brahms: A Biography (Vintage paperback); Malcolm MacDonald’s Brahms in the “Master Musicians” series (Schirmer); Johannes Brahms: Life and Letters as selected and annotated by Styra Avins (Oxford); The Compleat Brahms, edited by conductor/scholar Leon Botstein, a compendium of essays on Brahms’s music by a wide variety of scholars, composers, and performers, including Botstein himself (Norton); Walter Frisch’s Brahms: The Four Symphonies (Yale paperback), and Peter Clive’s Brahms and his World: A Biographical Dictionary (Scarecrow Press). Important older biographies include Karl Geiringer’s Brahms (Oxford paperback) and The Life of Johannes Brahms by Florence May, who knew Brahms personally (published originally in 1905 but periodically available in reprint editions). The Haydn Variations in both its orchestral and two-piano versions gets a volume of its own, including scores for both plus musical, critical, and historical analysis as edited by Donald M. McCorkle, in the Norton Critical Scores series (Norton paperback).

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

The main resource for information on Haydn and his music is the massive, five-volume study Haydn: Chronology and Works by H.C. Robbins Landon. Symphony No. 90 is dis- cussed in Volume II, “Haydn at Eszterháza, 1766-1790” (Indiana University Press). A very useful single-volume source of information on Haydn and his music is Haydn, edited by David Wyn Jones, in the short-lived series “Oxford Composer Companions” (Oxford University Press). Jones also provided the chapter on “The Symphonies of Joseph Haydn” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). James Webster’s

week 12 read and hear more 53 54 Haydn entry from the 2001 New Grove Dictionary of Music and Musicians was published separately as The New Grove Haydn (Oxford paperback). Jens Peter Larsen’s entry from the 1980 edition of Grove was reprinted as an earlier version of The New Grove Haydn (Norton paperback). Another convenient introduction is provided by Rosemary Hughes’s Haydn in the “Master Musicians” series (Littlefield paperback). If you can track down a used copy, László Somfai’s copiously illustrated Joseph Haydn: His Life in Contemporary Pictures provides a fascinating view of the composer’s life, work, and times (Taplinger).

Complete modern-orchestra sets of the Haydn symphonies at a reasonable price include Adám Fischer’s with the Austro-Hungarian Haydn Orchestra (Brilliant Classics) and Dennis Russell Davies’s with the Stuttgart Chamber Orchestra (Sony). Period-instrument cycles were recorded by Christopher Hogwood with the Academy of Ancient Music (Oiseau-Lyre) and Roy Goodman with the Hanover Band (Helios). Simon Rattle’s live recording of the Symphony No. 90 with the Berlin Philharmonic is in a two-disc set of Haydn’s symphonies 88-92 (Warner Classics).

The biggest biography of Richard Strauss is still Norman Del Mar’s three-volume Richard Strauss, which gives equal space to the composer’s life and music (Cornell University paperback); Don Quixote receives detailed consideration in Volume I. More recent books on Strauss include Tim Ashley’s Richard Strauss in the well-illustrated series “20th- Century Composers” (Phaidon paperback); The life of Richard Strauss by Bryan Gilliam, in the series “Musical lives” (Cambridge paperback); Raymond Holden’s Richard Strauss: A Musical Life, which examines the composer’s life through detailed consideration of his work as a conductor (Yale University Press), and Richard Strauss: Man, Musician, Enigma (Cambridge University Press) by Michael Kennedy, who also wrote Richard Strauss in the “Master Musicians” series (Oxford paperback).

The Boston Symphony Orchestra led by Seiji Ozawa recorded Don Quixote with Yo-Yo Ma in 1984 (Sony). Charles Munch recorded it with the BSO and cellist Gregor Piatigorsky in 1953 (RCA monaural). Other noteworthy recordings—listed alphabetically by conductor— include Herbert von Karajan’s with Mstislav Rostropovich and the Berlin Philharmonic (EMI), Rudolf Kempe’s with cellist Paul Tortelier and the Dresden State Orchestra (EMI), James Levine’s with the MET Orchestra and its then principal cellist Jerry Grossman (Deutsche Grammophon), Fritz Reiner’s with Antonio Janigro and the Chicago Symphony Orchestra (RCA), and George Szell’s with Pierre Fournier and the Cleveland Orchestra (CBS/Sony). Strauss’s 1933 recording with the Berlin Staatskapelle and cellist Enrico Mainardi has been reissued on CD (Deutsche Grammophon, in the low-priced seven- disc set “Strauss Conducts Strauss, Mozart, Beethoven”), as has his 1941 recording with the Bavarian State Orchestra and cellist Oswald Uhl (Dutton and Preiser). The conductor Clemens Krauss, who worked closely with Strauss and led the premieres of several of his operas, recorded many of the tone poems for Decca with the Vienna Philharmonic in the 1950s, including a 1953 recording of Don Quixote with cellist Pierre Fournier (Decca and Testament). Arturo Toscanini’s NBC Symphony recording with cellist Frank Miller is drawn from a 1953 radio broadcast (RCA).

Marc Mandel

week 12 read and hear more 55

Guest Artists

Gautier Capuçon

Born in Chambéry, France, in 1981, Gautier Capuçon studied at the Conservatoire National Supérieur in Paris with Philippe Muller and Annie Cochet-Zakine, and later with Heinrich Schiff in Vienna. The winner of first prizes in numerous international competitions, including the International André Navarra Prize, he was named 2001 “New Talent of the Year” by Victoires de la Musique (the French equivalent of a Grammy). He received a Borletti-Buitoni Trust Award in 2004, since which time he has garnered several Echo Klassik awards. In recent seasons he has performed with such orchestras as the Berlin Philharmonic, Chamber Orchestra of Europe, Concertgebouw Orchestra, Staatskapelle Dresden, Mariinsky Orchestra, the Tonhalle in Zurich, Munich Philharmonic, NHK Symphony, Sydney Symphony, Seoul Philharmonic, Boston Symphony, Chicago Symphony, and New York Philharmonic, as well as with all of the major orchestras in France. In addition to his Boston Symphony appearances this week, highlights of his 2014-15 season include European tours with the London Symphony Orchestra under Sir John Eliot Gardiner and with the Oslo Philharmonic under Vasily Petrenko, and concerts with the Gewandhaus Orchestra of Leipzig under Emmanuel Krivine, Vienna Philharmonic under Andrés Orozco-Estrada, Los Angeles Philharmonic and Gustavo Dudamel, Cleveland Orchestra under Lionel Bringuier, and San Francisco Symphony under Charles Dutoit. As a recital and chamber musician, Mr. Capuçon appears in Europe’s major halls and festivals, and annually at the Verbier Festival and at Project Martha Argerich, Lugano, performing with such leading artists as Barenboim, Bashmet, Batiashvili, Caussé, Katia and Marielle Labèque, Kavakos, Kirchschlager, Pletnev, Pressler, Thibaudet, his brother Renaud Capuçon, and the Artemis and Ebène string quartets. The current season brings his

week 12 guest artists 57 debut recital at the Barbican Centre with Nicholas Angelich, a return to Wigmore Hall with Frank Braley, and recitals in Paris and Tokyo with Yuja Wang. Gautier Capuçon records exclusively for Erato (Warner Classics). His recordings include the Dvoˇrák concerto with the Frankfurt Radio Symphony and Paavo Järvi, Tchaikovsky’s Rococo Variations and Prokofiev’s Symphony-Concerto for cello and orchestra with the Mariinsky Orchestra and Gergiev, the Brahms Double Concerto with his brother Renaud, and the Haydn cello con- certos. He has recorded chamber music with Martha Argerich, Frank Braley, Nicholas Angelich, Renaud Capuçon, and others, and cello sonatas of Rachmaninoff and Prokofiev with Gabriela Montero. His most recent releases include a recital disc of music by Schubert, Schumann, Debussy, Britten, and Carter, and Saint-Saëns’s Cello Concerto No. 1 and La Muse et le poète; in 2013 Deutsche Grammophon released a DVD featuring Capuçon in a live performance of Haydn’s Cello Concerto No. 1 with the Berlin Philharmonic under Dudamel. Gautier Capuçon plays a 1701 Matteo Goffriller. He is an Ambassador for Zegna & Music project, which was founded in 1997 as a philanthropic activity to promote music and its values. In October 2014 he launched the Classe d’Excellence de Violoncelle at the Fondation Louis Vuitton in Paris, through which selected students will come to Paris to work with him on a monthly basis in the foundation’s new auditorium designed by Frank Gehry. Gautier Capuçon has appeared on two previous occasions with the Boston Symphony Orchestra: for subscription performances in February 2012 of Dutilleux’s cello concerto “Tout un monde lointain...” with Charles Dutoit conducting, and subscription performances in October/ November 2013 of Penderecki’s Concerto Grosso No. 1 for three cellos and orchestra, with Charles Dutoit and cellists Daniel Müller-Schott and Arto Noras.

week 12 guest artists 59

Steven Ansell

Steven Ansell joined the Boston Symphony Orchestra as principal viola in September 1996, occupying the Charles S. Dana chair, having previously appeared with the BSO in Symphony Hall as guest principal viola. A native of Seattle, he also remains a member of the acclaimed Muir String Quartet, which he co-founded in 1979, and with which he has toured extensively throughout the world. A graduate of the Curtis Institute of Music, where he studied with Michael Tree and Karen Tuttle, Mr. Ansell was named professor of viola at the University of Houston at twenty-one and became assistant principal viola of the Pittsburgh Symphony Orchestra under André Previn at twenty-three. As a recording artist he has received two Grand Prix du Disque awards and a Gramophone magazine award for Best Chamber Music Recording of the Year. He has appeared on PBS’s “In Performance at the White House,” has participated in the Tanglewood, Marlboro, Schleswig-Holstein, Newport, Blossom, Spoleto, and Snowbird music festivals, and premiered Ezra Laderman’s Concerto for Viola and Orchestra with the Berkshire Symphony Orchestra. Mr. Ansell teaches at the Boston University College of Fine Arts. As principal viola of the Boston Symphony Orchestra, he is also a member of the Boston Symphony Chamber Players. His solo appearances with the Boston Symphony Orchestra have included performances of Mozart’s Sinfonia concertante for violin and viola, Bruch’s Concerto for Viola, Clarinet, and Orchestra, Berlioz’s Harold in Italy, and Strauss’s Don Quixote (on five previous occasions with the orchestra, first in April 1997 in Boston and New York under Seiji Ozawa, and most recently in February 2010 with James Levine conducting).

week 12 guest artists 61 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 • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • 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 • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack Fitzpatrick ‡ • 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 • Carol and Joe Reich • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (2)

62 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 • 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 12 the great benefactors 63

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 • Mrs. Irene Pollin • 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 BSO is grateful to current Higginson Society members whose gifts of $3,000 or more to the Symphony Annual Fund provide more than $4 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by December 17, 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 • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Wendy Shattuck and Samuel Plimpton • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous

weeks 12 maestro circle 65 encore $25,000 to $49,999 Jim and Virginia Aisner • Gabriella and Leo Beranek • Joan and John ‡ Bok • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • 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; Richard and Susan Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • 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 • Lloyd Axelrod, M.D. • Judith and Harry Barr • Lucille Batal • Roz and Wally Bernheimer • 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 • Katherine Chapman and Thomas Stemberg • Ernest Cravalho and Ruth Tuomala • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Happy and Bob Doran • Deborah and Philip Edmundson • Roger and Judith Feingold • Laurel E. Friedman • Mr. David Fromm • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • 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 • Ms. Emily C. Hood • 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 • Stephen B. Kay and Lisbeth L. Tarlow • Paul L. King • Mr. John L. Klinck, Jr. • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Ms. Alexandra Leake • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • 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. • Dr. Martin C. Mihm, Jr. • Ann Merriﬁeld and Wayne Davis • Mr. and Mrs. Jack R. Meyer • Kyra and Jean Montagu • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Avi Nelson • Jerry and Mary ‡ Nelson • Mary S. Newman • Peter Palandjian • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Mr. and Mrs. Randy 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 and Patricia 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 • Blair Trippe • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Joan D. Wheeler • Marillyn Zacharis • Rhonda ‡ and Michael J. Zinner, M.D. • Anonymous (4)

weeks 12 the higginson society 67 sponsor $5,000 to $9,999 Noubar and Anna Afeyan • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • John and Molly Beard • Deborah Davis Berman and William H. Berman • Jim and Nancy Bildner • Brad and Terrie Bloom • Mark G. and Linda Borden • Mr. and Mrs. Stephen P. Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • The Cavanagh Family • Ronald and Judy Clark • Mr. and Mrs. Frederic M. Clifford • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Victor Constantiner • Jill K. Conway • Dr. Charles L. Cooney and Ms. Peggy Reiser • Albert and Hilary Creighton • Prudence and William Crozier • Dr. Ronald A. and Dr. Betty Neal Crutcher • Joan P. and Ronald C. Curhan • Sally Currier and Saul Pannell • Eve and Philip D. Cutter • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Drs. Anna L. and Peter B. Davol • Charles and JoAnne Dickinson • Dr. Ronald F. Dixon and Mrs. Elizabeth Ohashi • Phyllis Dohanian • Mrs. Richard S. Emmet • Pamela Everhart and Karl Coiscou • Shirley and Richard Fennell • Beth and Richard Fentin • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • Barbie and Reg Foster • Beth and John Gamel • Dr. and Mrs. Levi A. Garraway • Jim Garrett • Mr. and Mrs. Paul B. Gilbert • Jordan and Sandy Golding • Mr. and Mrs. Mark Goldweitz • Jack Gorman • Raymond and Joan Green • John and Ellen Harris • William Hawes and Mieko Komagata ‡ • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Patricia and Galen Ho • Mr. and Mrs. Charles Hood • Timothy P. Horne • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Anne and Blake Ireland • Mimi and George Jigarjian • Holly and Bruce Johnstone • Barbara and Leo Karas • Joan Bennett Kennedy • Mrs. Thomas P. King • Mr. and Mrs. Gordon F. Kingsley • Seth A. and Beth S. Klarman • The Krapels Family • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. David S. Lee • Dr. and Mrs. Jeffrey M. Leiden • Rosemarie and Alexander Levine • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Dale and Robert Mnookin • Mr. and Mrs. Joseph M. Paresky • Mr. and Mrs. Michael Payne • Donald and Laurie Peck • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Jonathan and Amy Poorvu • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mr. Lawrence A. Rand and Ms. Tiina Smith • Peter and Suzanne Read • Rita and Norton Reamer • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Dr. Robin S. Richman and Dr. Bruce Auerbach • Allan Rodgers • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Sean Rush and Carol C. McMullen • Mr. Darin S. Samaraweera • Norma and Roger A. Saunders • Lynda Anne Schubert • Robert and Rosmarie Scully • Marshall Sirvetz • Gilda and Alfred ‡ Slifka • Ms. Susan Sloan and Mr. Arthur Clarke • Ms. Nancy F. Smith • John and Katherine Stookey • Patricia L. Tambone • Jean C. Tempel • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • John Travis • Marc and Nadia Ullman • Robert A. Vogt • Mr. and Mrs. Mark Volpe • Gail and Ernst von Metzsch • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Dr. and Mrs. Nicholas T. Zervas • Anonymous (9)

68 member $3,000 to $4,999 Mrs. Sonia Abrams • Joel and Lisa Alvord • Mrs. Mary R. Anderson • Ms. Eleanor Andrews • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. and Mrs. Laurence Asquith • Sandy and David Bakalar • Donald P. Barker, M.D. • Mr. and Mrs. Eugene F. Barnes III • Hanna and James Bartlett • Mr. and Mrs. Clark L. Bernard • Leonard and Jane Bernstein • Bob and Karen Bettacchi • Marion and Philip Bianchi • Annabelle and Benjamin Bierbaum • Mrs. Stanton L. Black • Partha and Vinita Bose • Catherine Brigham • Mr. and Mrs. David W. Brigham • Ellen and Ronald Brown • Gertrude S. Brown • Elise R. Browne • Matthew Budd and Rosalind Gorin • Mr. and Mrs. George Y. Cha • Mr. and Mrs. Dan Ciampa • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Robert and Sarah Croce • Joanna Inches Cunningham • Mr. and Mrs. Stephen Cutler • Dr. and Mrs. Francis de Marneffe • Pat and John Deutch • Richard Dixon and Douglas Rendell • Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober • Mr. David L. Driscoll • Mrs. William V. Ellis • Peter Erichsen and David Palumb • Elizabeth and Frederic Eustis • Ziggy Ezekiel and Suzanne Courtright Ezekiel • Mr. and Mrs. Andrew J. Ferrara • Mr. and Mrs. Peter Fiedler • Velma Frank • Myrna H. and Eugene M. Freedman • Martin Gantshar • Dozier and Sandy Gardner • Rose and Spyros Gavris • Arthur and Linda Gelb • Dr. and Mrs. Zoher and Tasneem Ghogawala • Mr. David Gifford, In honor of Ray and Maria Stata • Mr. Nelson S. Gifford • Roberta Goldman • Adele C. Goldstein • Phyllis and Robert Green • Harriet and George Greenﬁeld • Ms. Paula Greenman • Madeline L. Gregory • Marjorie and Nicholas Greville • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Janice Guilbault • Mr. and Mrs. Graham Gund • Anne Blair Hagan • Elizabeth M. Hagopian • Mr. and Mrs. Thomas Hamilton III • Janice Harrington and John Matthews • Daphne and George Hatsopoulos • Deborah Hauser • Dr. Edward Heller, Jr. • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mary and Harry Hintlian • Pat and Paul Hogan • Albert A. Holman III and Susan P. Stickells • G. Lee and Diana Y. Humphrey • Cerise Lim Jacobs, for Charles • Dr. and Mrs. G. Timothy Johnson • Susan Johnston • Teresa Kaltz • Elizabeth Kent • Mary S. Kingsbery • Margaret and Joseph Koerner • Susan G. Kohn • Anna and Peter Kolchinsky • Dr. and Mrs. David Kosowsky • Mr. Andrew Kotsatos and Ms. Heather Parsons • Mr. and Mrs. ‡ Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. William Leatherman • Emily Lewis • Alice Libby and Mark Costanzo • Dagmar K. Liles • Thomas and Adrienne Linnell • Mr. and Mrs. Francis V. Lloyd III • David Margolin and Nancy Bernhard • Dr. Judith K. Marquis and Mr. Keith F. Nelson • Takako Masamune • Michael and Rosemary McElroy • Margaret and Brian McMenimen • Richard S. Milstein, Esq. • Betty Morningstar and Jeanette Kruger • Robert and Jane Morse • Phyllis Murphy M.D. and Mark Hagopian • Anne J. Neilson • Cornelia G. Nichols • Judge Arthur Nims • George and Connie Noble • Kathleen and Richard Norman • Mr. and Mrs. Geoffrey Nunes • Jan Nyquist and David Harding • Bob and Kathryn O’Connell • John O’Leary • Dr. Christine Olsen and Mr. Robert J. Small • Mr. and Mrs. Gerald F. O’Neil • Martin and Helene Oppenheimer • Drs. Roslyn W. and Stuart H. Orkin • Jon and Deborah Papps • Mr. Peter Parker and Ms. Susan Clare • Dr. and Mrs. Bruce Pastor • Kitty Pechet • Dr. Alan Penzias • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Elizabeth F. Potter and Joseph L. Bower • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Helen C. Powell • Michael C.J. Putnam •

weeks 12 the higginson society 69 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]

70 Jane M. Rabb • Helen and Peter Randolph • Douglas Reeves and Amy Feind Reeves • John Sherburne Reidy • Sharon and Howard Rich • Kennedy P. and Susan M. Richardson • Mrs. Nancy Riegel • Dorothy B. and Owen W. Robbins • Dr. and Mrs. Michael Ronthal • Judy and David Rosenthal • Mr. and Mrs. Henry Rosovsky • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Arlene Rubin • Marjorie ‡ and Walter Salmon • The Sattley Family • Betty and Pieter Schiller • Mr. and Mrs. William Schmidt • Mr. and Mrs. Marvin G. Schorr • Dan Schrager and Ellen Gaies • David and Marie Louise Scudder • Carol Searle and Andrew Ley • The Shane Foundation • Mr. and Mrs. Ross E. Sherbrooke • Betsy and Will Shields • Maggie and Jack Skenyon • Kitte ‡ and Michael Sporn • Mr. and Mrs. Joseph D. Spound • George and Lee Sprague • Sharon Stanﬁll • Sharon and David Steadman • Nancy F. Steinmann • Valerie and John Stelling • Mrs. Edward A. Stettner • Fredericka and Howard Stevenson • Galen and Anne Stone • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Richard S. Taylor • Judith Ogden Thomson • Mr. and Mrs. W. Nicholas Thorndike • Mr. and Mrs. Richard K. Thorndike III • Mr. and Mrs. Samuel Thorne • Diana O. Tottenham • Philip C. Trackman • Mr. and Mrs. John H. Valentine • Matthew and Susan Weatherbie • Sally and Dudley Willis • Albert O. Wilson, Jr. • Elizabeth H. Wilson • Chip and Jean Wood • Jean Yeager • Dr. and Mrs. Bernard S. Yudowitz • Dr. Xiaohua Zhang and Dr. Quan Zhou • Anonymous (13)

weeks 12 the higginson society 71

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 12 administration 73 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, Assistant Manager, Donor Relations • Emily Diaz, Assistant Manager of Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Assistant Manager, 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, Assistant Manager, Development Events and Volunteer Services • Carly Reed, Donor Acknowledgment and Research 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 education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Anne Gregory, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement 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 12 administration 75 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 • 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 • Megan E. Sullivan, Associate Subscriptions Manager • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box ofﬁce Jason Lyon, Manager • Nicholas Vincent, Assistant Manager box ofﬁce representatives Jane Esterquest • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Events Administration 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 12 administration 77

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 12 administration 79 Next Program…

Thursday, January 15, 10:30am (Pre-Rehearsal Talk from 9:30-10 in Symphony Hall) Thursday, January 15, 8pm Friday, January 16, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, January 17, 8pm

andris nelsons conducting

mozart piano concerto no. 24 in c minor, k.491 Allegro Largo Vivace lars vogt

{intermission}

bruckner symphony no. 7 in e Allegro moderato Adagio: Sehr feierlich und sehr langsam [Very solemn and very slow] Scherzo: Sehr schnell [Very fast] Finale: Bewegt, doch nicht schnell [Moving along, but not fast]

Acclaimed for his performances of the Classical repertoire, German pianist Lars Vogt returns to Symphony Hall as soloist with Andris Nelsons and the BSO in Mozart’s proto-Romantic C minor piano concerto. Composed in the spring of 1786 and premiered by the composer in Vienna, the C minor is unique in its strangeness and restlessness, and features a fascinating theme-and- variations finale. Following intermission, Maestro Nelsons conducts Anton Bruckner’s magisterial Symphony No. 7, still probably the most popular of that composer’s works. Bruckner wrote his Seventh Symphony, often likened to “a cathedral in sound,” between 1881 and 1883, and it was premiered in Leipzig in 1884.

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.

80 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.

Sunday, January 11, 3pm Thursday ‘C’ January 29, 8-9:50 Jordan Hall, New England Conservatory Friday ‘B’ January 30, 1:30-3:20 BOSTONSYMPHONYCHAMBERPLAYERS Saturday ‘B’ January 31, 8-9:50 ASHERFISCH MYSLIVECEKˇ Quintet No. 2 in G for , conductor two oboes, two horns, and JULIANRACHLIN, violin bassoon DORMAN Astrolatry FOOTE Nocturne and Scherzo for PROKOFIEV Violin Concerto No. 2 ﬂute and string quartet SCHUMANN Symphony No. 1, Spring ERIC NATHAN Why Old Places Matter, for oboe, horn, and piano (world premiere; BSO commission) Thursday ‘B’ February 12, 8-10:10 DVORÁKˇ Octet-Serenade in E for winds, UnderScore Friday February 13, 8-10:20 (ARR. INGMAN) strings, and piano, Op. 22 (includes comments from the stage) Saturday ‘A’ February 14, 8-10:10 Thursday, January 15, 10:30am (Open Rehearsal) VLADIMIRJUROWSKI, conductor Thursday ‘A’ January 15, 8-10:10 PIERRE-LAURENTAIMARD, piano Friday ‘A’ January 16, 1:30-3:40 LIADOV Baba-Yaga; Kikimora; From the Saturday ‘A’ January 17, 8-10:10 Apocalypse; Nenie ANDRISNELSONS, conductor BIRTWISTLE Responses: Sweet disorder and LARSVOGT, piano the carefully careless, for piano and orchestra (American MOZART Piano Concerto No. 24 premiere; BSO co-commission) in C minor, K.491 STRAVINSKY The Firebird (complete) BRUCKNER Symphony No. 7

Thursday, February 19, 10:30am (Open Rehearsal) Thursday ‘D’ January 22, 8-9:45 Thursday ‘D’ February 19, 8-9:55 Friday ‘B’ January 23, 1:30-3:15 Friday ‘A’ February 20, 1:30-3:25 Saturday ‘B’ January 24, 8-9:45 Saturday ‘A’ February 21, 8-9:55 TUGANSOKHIEV, conductor STÉPHANEDENÈVE, conductor JOHANNESMOSER, cello JAMESEHNES, violin BERLIOZ Le Corsaire Overture STRAVINSKY Suite from Pulcinella SAINT-SAËNS Cello Concerto No. 1 PROKOFIEV Violin Concerto No. 1 RIMSKY- Scheherazade MILHAUD La Création du monde KORSAKOV POULENC Suite from Les Biches

Programs and artists subject to change.

week 12 coming concerts 81 Symphony Hall Exit PlanPlanSymphony

82 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 information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of 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 available 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 12 symphony hall information 83 Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons. 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 concerts. 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 balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 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 information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open 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.