Summer 2014 Boston Symphony Orchestra

boston symphony orchestra summer 2014

Andris Nelsons, Ray and Maria Stata Music Director Designate Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

133rd season, 2013–2014

Trustees of the Boston Symphony Orchestra, Inc.

Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • George D. Behrakis • Jan Brett • Paul Buttenwieser • 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 • Charles W. Jack, ex-officio • Stephen B. Kay • Joyce Linde • John M. Loder • Nancy K. Lubin • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Arthur I. Segel • 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 • Peter A. Brooke • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick† • 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 • Peter C. Andersen • Diane M. Austin • Lloyd Axelrod, M.D. • 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 • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • 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 • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • Joseph F. Fallon • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Joshua A. Lutzker • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton •

Programs copyright ©2014 Boston Symphony Orchestra, Inc. Cover photo by John Ferrillo Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • 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. • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Kurt W. Saraceno • Diana Scott • 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 • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnneWalton Dickinson • Phyllis Dohanian • 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 • 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. • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Diana Osgood Tottenham • Paul M. Verrochi • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased Tanglewood The Tanglewood Festival

On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshire Hills of western Massachusetts; music director Serge Koussevitzky conducted. But those outdoor concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the orchestra performed nearby under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York Philharmonic, under the direction of composer/conductor Henry Hadley. But after a second concert series in 1935, plans for 1936 proved difficult, for reasons including Hadley’s health and aspects of the musical programming; so the organizing committee instead approached Koussevitzky and the BSO’s Trustees, whose enthusiastic response led to the BSO’s first concerts in the Berkshires. In the winter of 1936, following the BSO’s concerts that summer, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, a two-weekend festival was planned for 1937, and on August 5 that year, the festival’s largest crowd to date assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the Siegfried Idyll, music too gentle to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival’s founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money was raised to begin active planning for a “music pavilion.” Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the festival’s immediate needs, and also well beyond the $100,000 budget. When his second, simplified plans were again deemed too expensive,

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives)

he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kous- sevitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— The tent at Holmwood, where the BSO played was inaugurated on July 7, 1994, providing a its first Berkshire Symphonic Festival concerts in modern venue throughout the summer for 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Celebrating its 20th Anniversary Season this summer, Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center with the intention of creating a first-class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony musicians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding to the war then raging in Europe. “So long as art and culture exist there is hope for humanity.” Randall Thompson’s Alleluia for unaccompanied chorus, Then BSO music director Seiji Ozawa, with bass drum, lead- specially written for the ceremony, ing a group of Music Center percussionists during a rehearsal arrived less than an hour before the for Tanglewood on Parade in 1976 (BSO Archives/photo by event began; but it made such an Heinz Weissenstein, Whitestone Photo) impression that it continues to be performed at each summer’s opening ceremonies. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the school’s reins, returning to Koussevitzky’s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher was the TMC’s artistic director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC cen- tralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein became Direc- tor of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training—participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st centuries. All participants receive full fellowships that underwrite tuition, room, and board. It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, Phyllis Curtin, David Del Tredici, Christoph von Dohnányi, Jacob Druckman, Lukas Foss, Michael Gandolfi, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Osvaldo Golijov, Seiji Ozawa, Leontyne Price, Ned Rorem, Cheryl Studer, Sanford Sylvan, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future. Koussevit- zky conceived of the TMC as a laboratory in which the future of the musical arts would be discovered and explored, and the institution remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 28 through August 31. Hours are from 10 a.m. to 5 p.m. Monday through Thursday; from 10 a.m. through intermission of the evening concert on Friday; from 9 a.m. through intermission of the evening concert on Saturday; and from noon until 5 p.m. on Sunday. There is no admission charge. This Summer’s Archival Exhibits at the Tanglewood Visitor Center

Seiji Ozawa on stage with the BSO at Tanglewood on the occasion of his conducting debut with the orchestra, August 16, 1964 (Whitestone Photo/ BSO Archives)

The historical displays in the Tanglewood Visitor Center are located on the first floor of the Tappan House, the manor house built on the Tanglewood estate by William Aspinwall Tappan and his wife Caroline Sturgis Tappan in the 1860s. The exhibit contains information documenting the history of the Tanglewood property as well as the origins and early years of the Tanglewood Music Festival. This summer’s special exhibits at the Visitor Center mark the 50th anniversary of Seiji Ozawa’s conducting debut with the BSO, which took place at Tanglewood on August 16, 1964; the 50th anniversary of the Boston Symphony Chamber Players, who gave their first concert on November 8, 1964, at Sanders Theatre in Cambridge; and the 20th anniversary of Ozawa Hall, which opened to the public with the inaugural concert of July 7, 1994. Visitors can also continue to relive Tanglewood’s rich history through the Interactive Media Exhibit located in what was originally the Tappan House library, and which allows visitors to view historical film footage and other digitized content, as well as travel the Tanglewood Time Line.

Seiji Ozawa Hall under construction in the spring of 1993 (Walter H. Scott/BSO Archives)

Ralph Gomberg, Burton Fine, Jules Eskin, and Joseph Silverstein, who performed Mozart’s Oboe Quartet in the November 1964 inaugural concert of the Boston Symphony Chamber Players (Boris and Milton/BSO Archives)

In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, and tents or other structures are prohibited from the Tanglewood grounds. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert, and that during Shed concerts children may play ball only behind the Visitor Center or near Ozawa Hall. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. The following are also not permitted at Tanglewood: solicitation or distribution of material; unauthorized ticket resales; animals other than approved service animals; motorized vehicles other than transport devices for use by mobility-impaired individuals. All bags, purses, backpacks, and other containers are subject to search. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 2:30 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 2:30 p.m., and from noon through intermission on Sun- days. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seventeen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $31 (front and boxes) and $21 (rear); lawn tickets are $11. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

LIGHTNING AND SEVERE WEATHER ARE NOT FULLY PREDICTABLE. Patrons, visitors, and staff are responsible for observing weather conditions, heeding storm warnings, and taking refuge. Storm shelters are identified on campus maps posted at main gates, in the Tanglewood program book, and on building signage. Please take note of the designated storm shelter nearest you and await notification of safe conditions. Please note that tent structures are not lightning-protected shelters in severe storm conditions. Readmission passes will be provided if you choose to take refuge in your vehicle during the storm.

PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during storm conditions and will be resumed when it is safe to do so.

Boston Symphony Orchestra Tanglewood 2014

ANDRISNELSONS BERNARDHAITINK SEIJI OZAWA THOMASWILKINS Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Designate Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity

First Violins Wendy Putnam* Violas Owen Young* Robert Bradford Newman John F. Cogan, Jr., and Malcolm Lowe chair, endowed in perpetuity Steven Ansell Mary L. Cornille chair, Concertmaster Principal endowed in perpetuity Charles Munch chair, Xin Ding* Charles S. Dana chair, endowed in perpetuity Kristin and Roger Servison endowed in perpetuity Mickey Katz* chair Stephen and Dorothy Weber Tamara Smirnova Cathy Basrak chair, endowed in perpetuity Associate Concertmaster Glen Cherry* Assistant Principal Helen Horner McIntyre Donald C. and Ruth Brooks Anne Stoneman chair, Alexandre Lecarme* chair, endowed in perpetuity Heath chair, endowed endowed in perpetuity Nancy and Richard Lubin in perpetuity chair Alexander Velinzon° Edward Gazouleas Assistant Concertmaster Yuncong Zhang* Lois and Harlan Anderson Adam Esbensen* Ronald G. and Ronni J. Robert L. Beal, Enid L., chair, endowed in perpetuity Blaise Déjardin* and Bruce A. Beal chair, Casty chair endowed in perpetuity Robert Barnes Elita Kang Second Violins Michael Zaretsky Basses Assistant Concertmaster Haldan Martinson Mark Ludwig* Edwin Barker Edward and Bertha C. Rose Principal chair, endowed in perpetuity Principal Rachel Fagerburg* Carl Schoenhof Family Harold D. Hodgkinson Julianne Lee chair, endowed in perpetuity Kazuko Matsusaka* chair, endowed in perpetuity Acting Assistant (position vacant) Rebecca Gitter* Lawrence Wolfe Concertmaster Assistant Principal Assistant Principal Wesley Collins* Bo Youp Hwang Charlotte and Irving W. Maria Nistazos Stata chair, John and Dorothy Wilson Rabb chair, endowed Jonathan Chu* endowed in perpetuity chair, endowed in perpetuity in perpetuity Daniel Getz* Benjamin Levy Lucia Lin Sheila Fiekowsky Leith Family chair, endowed Dorothy Q. and David B. Shirley and J. Richard in perpetuity Arnold, Jr., chair, endowed Fennell chair, endowed Cellos Dennis Roy in perpetuity in perpetuity Jules Eskin Joseph and Jan Brett Ikuko Mizuno Nicole Monahan Principal Hearne chair David H. and Edith C. Philip R. Allen chair, Joseph Hearne Jennie Shames* Howie chair, endowed endowed in perpetuity Ruth and Carl J. Shapiro in perpetuity James Orleans*§ chair, endowed in perpetuity Martha Babcock Ronan Lefkowitz Associate Principal Todd Seeber* Valeria Vilker Vernon and Marion Alden Eleanor L. and Levin H. Kuchment* Vyacheslav Uritsky* chair, endowed in perpetuity Campbell chair, endowed in Stephanie Morris Marryott perpetuity and Franklin J. Marryott Nancy Bracken* Sato Knudsen chair Aza Raykhtsaum* Mischa Nieland chair, John Stovall* endowed in perpetuity Tatiana Dimitriades* Bonnie Bewick* Thomas Van Dyck* Catherine and Paul Mihail Jojatu Buttenwieser chair James Cooke* Sandra and David Bakalar chair Si-Jing Huang* Victor Romanul* Mary B. Saltonstall chair, Bessie Pappas chair Jonathan Miller Richard C. and Ellen E. endowed in perpetuity Catherine French* Paine chair, endowed Jason Horowitz* in perpetuity Ala Jojatu* Flutes Bass Clarinet Thomas Siders Voice and Chorus Assistant Principal Elizabeth Rowe Craig Nordstrom Kathryn H. and Edward John Oliver Principal M. Lupean chair Tanglewood Festival Walter Piston chair, Chorus Conductor endowed in perpetuity Bassoons Michael Martin Alan J. and Suzanne W. Richard Svoboda Ford H. Cooper chair, Dworsky chair, endowed Clint Foreman endowed in perpetuity in perpetuity Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, endowed in perpetuity Trombones Librarians Elizabeth Ostling Associate Principal Suzanne Nelsen Toby Oft D. Wilson Ochoa Marian Gray Lewis chair, John D. and Vera M. Principal Principal endowed in perpetuity MacDonald chair J.P. and Mary B. Barger Lia and William Poorvu Richard Ranti chair, endowed in perpetuity chair, endowed in perpetuity Piccolo Associate Principal Stephen Lange William Shisler Diana Osgood Tottenham/ Cynthia Meyers Hamilton Osgood chair, John Perkel Evelyn and C. Charles endowed in perpetuity Bass Trombone Marran chair, endowed in perpetuity James Markey Associate Contrabassoon John Moors Cabot chair, Conductor endowed in perpetuity Oboes Gregg Henegar Marcelo Lehninger Helen Rand Thayer chair Anna E. Finnerty chair, John Ferrillo Tuba endowed in perpetuity Principal Mildred B. Remis chair, Horns Mike Roylance endowed in perpetuity Principal Assistant James Sommerville Margaret and William C. Conductor Mark McEwen Principal Rousseau chair, endowed James and Tina Collias Helen Sagoff Slosberg/ in perpetuity Andris Poga chair Edna S. Kalman chair, endowed in perpetuity Keisuke Wakao Timpani Personnel Assistant Principal Richard Sebring Managers Farla and Harvey Chet Associate Principal Timothy Genis Krentzman chair, Margaret Andersen Sylvia Shippen Wells chair, Lynn G. Larsen Congleton chair, endowed endowed in perpetuity endowed in perpetuity Bruce M. Creditor in perpetuity Assistant Personnel English Horn Rachel Childers Percussion Manager John P. II and Nancy S. Robert Sheena Eustis chair, endowed J. William Hudgins Beranek chair, endowed in perpetuity Peter and Anne Brooke Stage Manager in perpetuity chair, endowed in perpetuity Michael Winter John Demick Elizabeth B. Storer chair, Daniel Bauch Clarinets endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. William R. Hudgins Jason Snider Linde chair Principal Jonathan Menkis Ann S.M. Banks chair, Kyle Brightwell participating in a system Jean-Noël and Mona N. * endowed in perpetuity Peter Andrew Lurie chair, of rotated seating Tariot chair endowed in perpetuity Michael Wayne § on sabbatical leave Matthew McKay on leave Thomas Martin Trumpets ° Associate Principal & E-flat clarinet Thomas Rolfs Harp Principal Stanton W. and Elisabeth Jessica Zhou K. Davis chair, endowed Roger Louis Voisin chair, endowed in perpetuity Nicholas and Thalia Zervas in perpetuity chair, endowed in perpetuity Benjamin Wright by Sophia and Bernard Gordon A Brief History of the Boston Symphony Orchestra

Now in its 133rd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Inter- national Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tangle- wood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, intro- duced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by Andris Nelsons conducting the BSO at Tanglewood, July 2012 William Steinberg. Seiji Ozawa (photo by Hilary Scott) became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations.Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s fifteenth music director, a position he takes up in the 2014-15 season, following a year as music director designate. Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

Table of Contents

Friday, August 8, 6pm (Prelude Concert) 2 VICTOR ROMANUL and LUCIA LIN, violins; KAZUKO MATSUSAKA, viola; JONATHAN MILLER, cello Music of Szymanowski and Debussy

Friday, August 8, 8:30pm 8 BOSTON SYMPHONY ORCHESTRA LEONARD SLATKIN conducting; GIL SHAHAM, violin; JOHN FERRILLO, oboe Music of Bolcom, Barlow, Barber, and Elgar

Saturday, August 9, 8:30pm 23 BOSTON SYMPHONY ORCHESTRA STÉPHANE DENÈVE conducting; LEONIDAS KAVAKOS, violin Music of Debussy, Szymanowski, and Tchaikovsky

Sunday, August 3, 2:30pm 35 BOSTON SYMPHONY ORCHESTRA DAVID ZINMAN conducting; YO-YO MA, cello All-Tchaikovsky program

“This Week at Tanglewood” Again this summer, patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, August 8, are scheduled to include composer William Bolcom and conductor David Zinman. The series continues through Friday, August 22, the final weekend of the BSO’s 2014 Tanglewood season.

Saturday-Morning Open Rehearsal Speakers July 5; August 2, 16, 23—Marc Mandel, BSO Director of Program Publications July 12, 19, 26; August 9—Robert Kirzinger, BSO Assistant Director of Program Publications

Koussevitzky Shed lawn video projections provided by Myriad Productions, Saratoga Springs, NY

TANGLEWOODWEEK 6 TABLEOFCONTENTS 1 2014 Tanglewood

Prelude Concert Friday, August 8, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE MAE AND GABRIEL SHAPIRO MEMORIAL CONCERT

VICTOR ROMANUL, violin (1st violin in Szymanowski) LUCIA LIN, violin (1st violin in Debussy) KAZUKO MATSUSAKA, viola JONATHAN MILLER, cello

SZYMANOWSKI String Quartet No. 2 Moderato, dolce e tranquillo Vivace, scherzando Lento

DEBUSSY String Quartet in G minor, Op. 10 Animé et très décidé Assez vif et bien rythmé Andantino, doucement expressif Très modéré

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. 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. Please also note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. We appreciate your cooperation.

NOTES ON THE PROGRAM

Karol Szymanowski (1882-1937) was one of the 20th century’s most important Polish composers. Though he has been renowned in Europe for some while, recognition in the United States has been slow in coming. Born in Tymoszówka, in the Ukraine, to a land-owning family whose estate became part of Russia in 1793, the young composer- pianist studied in Warsaw from 1901; he lived in Berlin from 1906 to 1908 and in Vienna from 1912 to 1914. From 1917 to 1919, after the family home was ruined in the Russian Revolution, he lived in Elizavetgrad. He settled in Warsaw in 1920 and soon began establishing a reputation as Poland’s most important contemporary composer. Szymanowski’s musical development assimilated German, French, and

2 Russian influences into a style that ultimately incorporated nationalistic Polish traits, making use of idiomatic folk-tunes and harmonies much as Bartók and his compatriot Kodály employed folk-materials from their native Hungary. From 1927 to 1929 he was director of the Warsaw Conservatory. Among other things, Szymanowski’s musical output included four symphonies, two violin concertos, works for the stage (including two operas and a ballet, Harnasie, about the Tatra mountain-dwellers), music for voice (including the extraordinary Stabat Mater for soloists, chorus, and orchestra), and chamber music including two string quartets. Dating from 1917 and 1927, respectively, each of the quartets is in three movements (a projected fugal finale for the first quartet was never completed). The first performance of the Quartet No. 2 was given in May 1929 by the Warsaw String Quartet, at the Warsaw Conservatory; a Paris performance, by the Kréttly Quartet, took place that same year. The four instruments are muted throughout the first movement of Szymanowski’s Quartet No. 2. Against a pulsating chordal accompaniment in second violin and viola, a broad, folklike theme is projected in unison by first violin and cello across a two- octave expanse. The separation of their lines (beginning with a hint of canonic imi- tation that carries implications for the entire work) initiates a series of episodes marked by contrasting string techniques, textures, and moods. In a bow to traditional sonata form, Szymanowski makes the recapitulation as clear as possible with a literal repetition of the opening twenty-two measures (listen for the return of the violin- cello theme) before a coda winds down to the quiet close. The second movement (“NB: all without mutes”) is marked “Vivace, scherzando”; here a folklike dance tune heard initially in the second violin, soon to enter canonically an octave higher in the first, undergoes a variety of transformations. In the course of several contrasting episodes, cello and viola also have their way with the tune. The finale, a double fugue, is consistently contrapuntal in texture. After a relatively subdued episode, the second fugue theme enters over a long-held trill in the cello on low E. This theme’s opening motive (intimated from the start in the contour of the finale’s main theme) ultimately takes over, ending the quartet in an emphatic unison statement from all four instruments. The thirty-year-old Claude Debussy (1862-1918) completed his “Premier Quatuor en sol mineur, Op. 10” (“Quartet No. 1 in G minor, Op. 10”) in February 1893. It had its first performance on December 29 that year, when it was played by Eugène Ysaÿe’s string quartet at a concert of the Société Nationale. Debussy biographer Edward Lockspeiser suggests that Debussy’s specification of key and opus number may have been ironic, merely a “concession to meticulous methods of classifying chamber works,” since this is the only instance in the composer’s output of a specified key and opus number. That the piece itself would seem to represent experimentation on Debussy’s part within a genre to which he would not normally have been drawn is suggested by works premiered by the Société Nationale both before and after the quartet (the “lyric poem” La Damoiselle élue on April 8, 1893, and the Prelude to The

PRELUDE CONCERT SEATING Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall is unreserved and available on a ﬁrst-come, ﬁrst-served basis when the grounds open at 5:30pm. Patrons are welcome to hold one extra seat in addition to their own. Also please note, however, that unoccupied seats may not be held later than five minutes before concert time (5:55pm), as a courtesy to those patrons who are still seeking seats.

TANGLEWOODWEEK 6 PRELUDEPROGRAMNOTES 3

Afternoon of a Faun in December 1894), both being more suggestive of the composer’s broader interests and later output. The impetus to write a quartet may in fact have come from Debussy’s close friendship, from 1892 until it was broken off early in 1894, with Ernest Chausson, a pupil of César Franck’s—an idea supported by Debussy’s use in his quartet of the Franckian device of a cyclical musical scheme based almost entirely on transformation of the opening theme. A letter from Debussy to Chausson suggests Debussy’s disappoint- ment over Chausson’s reaction to his work; he even goes so far as promising to write another quartet, in which he would bring “more dignity to the form.” But aside from a Rapsodie for saxophone and piano completed in 1908, and two pieces for clarinet and piano written for the annual examinations at the Conservatoire in 1910, Debussy did not again give serious consideration to writing chamber music until his last few years, when between 1915 and 1917 he composed the Cello Sonata, the Sonata for flute, viola, and harp, and the Violin Sonata, three of six projected sonatas he did not live to complete. Even within the formal constraints imposed by the quartet genre, Debussy is able to emphasize the traits that will characterize his music throughout his life: the primacy of instrumental timbres and coloristic harmonies; a concern with musical development achieved through the evocation and contrast of colors and moods; and the placement of tonal arrivals to project and support a musical structure in which those arrivals are determined less by the sequence of harmonies preceding them than by the juxtaposition of those harmonies against each other, as the music moves through contrasting, juxtaposed areas of different “key colors.” Insofar as its thematic material is concerned, Debussy’s first movement does suggest a sonata form movement, with a vigorous first theme, a transitional “bridge” idea, and a more relaxed, lyrical contrasting theme (marked “doux et expressif ”) which will assume a role in the development section virtually equal to that of the main idea. The cyclical scheme becomes apparent at the opening of the G major scherzo when, following four introductory pizzicato chords in the first violin and cello, the viola gives out a 6/8 transformation of the opening movement’s main idea. The atmospheric Trio section presents an augmented version of the same theme in the first violin, supported initially by a cushion of sixteenth-note figuration in the middle strings and a pizzicato pulse in the cello. A rather exotic transformation of the main theme precedes the written out da capo, in which the theme is implied within the vigorous pizzicato texture rather than directly stated. The third-movement Andantino is a melancholy song beginning and ending in D-flat. Franck’s influence is present here in the music’s harmony and lyricism, and perhaps in a suggestion—in the rocking melody heard at the outset—of the D minor Sym- phony, which had been premiered at the Conservatoire in February 1889. Debussy does not choose explicitly to rework his main theme within the slow movement itself. Though the middle section of the Andantino makes reference to the second theme of the first movement, hints of the main theme reappear only in the slow introduction to the finale. The lively finale proper once again clothes the main theme in a variety of new guises, reserving a “real” statement (in slightly augmented form) until near the end, followed by a double reference to the second theme, after which a driving coda closes the movement in a vigorous wash of G major.

MARC MANDEL Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

TANGLEWOODWEEK 6 PRELUDEPROGRAMNOTES 5 Artists

Lucia Lin made her debut performing Mendelssohn’s Violin Concerto with the Chicago Symphony Orchestra at age eleven. Since then she has been a prizewinner in numerous competitions, including the 1990 International Tchaikovsky Competition in Moscow. She has performed in solo recitals throughout the U.S., making her New York debut at Carnegie Recital Hall in March 1991, and has appeared with the Boston Pops Orchestra, St. Louis Symphony, Oklahoma Symphony, Cincinnati Chamber Orchestra, and the Festival Orchestra in Graz, Austria. A frequent collabo- rator in chamber music, Ms. Lin is a member of the Muir String Quartet, the quartet- in-residence at Boston University, and is also a founding member of the Boston Trio and the chamber group Innuendo. She has performed in the Sapporo Music Festival, Taos Festival, Da Camera Society in Houston, St. Bart’s Music Festival, and Barbican Hall Chamber Series in London. She has also recorded for Nonesuch Records as a guest of the Boston Symphony Chamber Players, for New World Records on a disc featuring works of Bright Sheng, and a recording of works of Gabriela Lena Frank. A native of Champaign, Illinois, Ms. Lin received her bachelor’s degree at the University of Illinois and her master’s degree at Rice University in Houston. Important musical influences include Sergiu Luca, Paul Rolland, Josef Gingold, Dorothy DeLay, and Louis Krasner. Ms. Lin joined the Boston Symphony Orchestra in 1985 and was assistant concertmaster from 1988 to 1991 and 1996 to 1998. In the 1991-92 season she was acting concertmaster of the Milwaukee Symphony Orchestra; from 1994 to 1996 she served as joint concertmaster of the London Symphony Orchestra. Lucia Lin occupies the Dorothy Q. and David B. Arnold, Jr., Chair in the BSO’s first violin section. BSO violinist Victor Romanul, who holds the Bessie Pappas Violin Chair, has been performing professionally since he was seven. An active recitalist, teacher, and soloist, he has performed throughout the world. As a soloist, he was named in “Best of Boston” in 1997 by the Boston Globe. Mr. Romanul was concertmaster for three years of the Ars Poetica Chamber Orchestra, based in Detroit and made up of outstanding players from major U.S. orchestras. He has given master classes throughout the country at many schools, including Northwestern, Columbia, Oberlin, and SUNY Stony Brook. As a professor of violin at Boston Conservatory, he has taught violin, chamber music, and pedagogy. He has served as a coach for the Greater Boston

6 Youth Symphony Orchestra and the New England Conservatory Preparatory Orches- tras. He was the BSO’s assistant concertmaster from 1993 to 1995 and from 1981 to 1986 was associate concertmaster of the Pittsburgh Symphony. Mr. Romanul studied with Ivan Galamian, Joseph Silverstein, and Jascha Heifetz. As a member of the Boston Artists Ensemble and the Boston Conservatory Chamber Players, he has performed frequently at music festivals throughout New England. Career highlights include performances of Beethoven’s Violin Concerto with the Boston Pops and the New Hampshire Symphony; a three-concert series of the ten Beethoven violin sonatas at the Goethe Institute in Boston; Bach’s sonatas and partitas for solo violin performed in a single recital; a recital of the complete solo sonatas of Eugene Ysaÿe, and recitals around the country featuring solo violin music of Paganini, Sauret, Ernst, Wienawski, Vieuxtemps, and Ysaÿe. Violist Kazuko Matsusaka joined the Boston Symphony Orchestra in August 1991. From 1987 to 1990 she was a member of the Pittsburgh Opera Orchestra, Pittsburgh Ballet Theater, and Pittsburgh New Music Ensemble. Ms. Matsusaka studied violin with Josef Gingold at the Indiana University School of Music. A Tanglewood Music Center Fellow in 1985, she holds a bachelor’s degree from Hartt College of Music/ University of Hartford, where she studied violin with Charles Terger, and a master’s degree from the State University of New York, where she studied viola with John Graham. In 1988 she was awarded a special jury prize at the Lionel Tertis Inter- national Viola Competition. Ms. Matsusaka has been a soloist with the Central Massachusetts Symphony, the Newton Symphony Orchestra, and the Boston Pops Orchestra. A prizewinner in the Fischoff National Chamber Music Competition, she has also participated in the Norfolk Music Festival and the Yellow Barn Music Festival. Jonathan Miller will leave the Boston Symphony Orchestra at the end of the 2014 Tanglewood season following forty-three years as a member of the BSO; he currently occupies the Richard C. and Ellen E. Paine Chair in the BSO’s cello section. After auditing Pablo Casals’s master class at the University of California at Berkeley, Mr. Miller chose to abandon his study of literature there and devote himself completely to the cello, training with Bernard Greenhouse of the Beaux Arts Trio. Seeking out masters of different schools and styles, he also studied with Raya Garbousova, Leonard Rose, Harvey Shapiro, and Edgar Lustgarten. In 1964 and 1965 he was a fellowship student at the Tanglewood Music Center. Before joining the BSO in 1971, he held appointments as principal cellist of the Juilliard, Hartford, and San Diego symphony orchestras and was principal cellist of the Connecticut Opera Orchestra. He has been soloist with many orchestras, including the Hartford Symphony, the Boston Pops Orchestra, and the Metropolitan Symphony Orchestra of Boston, and has performed in chamber music concerts at Symphony Hall, Tanglewood, and other music festivals. A winner of the Jeunesses Musicales Auditions, he toured the United States twice with the New York String Sextet and appeared as a member of the Fine Arts Quartet. Mr. Miller is founder and music director of the Boston Artists Ensemble, now in its thirty-first season with chamber music series in Newton and Salem. He is also a founding member of the Gramercy Trio, which received a Copland Fund Grant for its first CD, has performed three times in New York City to enthusiastic critical notice, and recently gave the world premiere of a piano trio by Gunther Schuller. Mr. Miller has taught at the New England Conservatory, the Boston Univer- sity Tanglewood Institute, and the Boston Conservatory. In June 1990, at the invitation of Mstislav Rostropovich, he was a soloist at the American Cello Congress. Mr. Miller has recorded the Beethoven cello sonatas with pianist Randall Hodgkinson for Centaur records. Jonathan Miller performs on a cello by Matteo Goffriller, the “Paganini-Piatti” built in Venice in 1770.

TANGLEWOODWEEK 6 PRELUDEPROGRAMNOTES 7 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Friday, August 8, 8:30pm

Celebrating Leonard Slatkin’s 70th Birthday

LEONARD SLATKIN conducting

BOLCOM “Circus Overture: into the eighth decade” (2013) (world premiere; BSO commission made possible by support from the Harriett Eckstein New Commissions Fund)

BARLOW “The Winter’s Past,” for oboe and strings JOHN FERRILLO

BARBER Concerto for Violin and Orchestra, Opus 14 Allegro Andante Presto in moto perpetuo GIL SHAHAM

{Intermission}

ELGAR Variations on an Original Theme, Opus 36, “Enigma” Theme (Andante) 8. W.N. (Allegretto) 1. C.A.E. (L’istesso tempo) 9. Nimrod (Adagio) 2. H.D.S.-P. (Allegro) 10. Intermezzo (Dorabella) 3. R.B.T. (Allegretto) (Allegretto) 4. W.M.B. (Allegro di molto) 11. G.R.S. (Allegro di molto) 5. R.P.A. (Moderato) 12. B.G.N. (Andante) 6. Ysobel (Andantino) 13. ***Romanza (Moderato) 7. Troyte (Presto) 14. Finale. E.D.U. (Allegro)

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to 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. Please also note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. We appreciate your cooperation.

8 NOTES ON THE PROGRAM

William Bolcom (b.1938) “Circus Overture: into the eighth decade” (2013) This is the world premiere performance of “Circus Overture,” commissioned by the Boston Symphony Orchestra to mark Leonard Slatkin’s 70th birthday. The commissioning of the work was made possible by support from the Harriett Eckstein New Commissions Fund. When the Boston Symphony Orchestra asked Leonard Slatkin whom he would like the BSO to commission for a concert opener celebrating his 70th birthday this summer, his choice was William Bolcom. Their paths have crossed and re-crossed many times in the fifty-plus years since their first collaborations; meanwhile both have earned towering reputations in American classical music. With tenures as music director at the Detroit, St. Louis, and National symphony orchestras, hun- dreds of guest appearances in the U.S. and abroad, and dozens of recordings, Maestro Slatkin has done as much as any contemporary conductor to further the cause of American concert music. Since his BSO debut in 1980, virtually every one of his programs with the orchestra has included a work by an American composer, from Aaron Copland to Derek Bermel. In 1985 he led a performance of William Bolcom’s Commedia with the orchestra at Tanglewood. About Bolcom, Mr. Slatkin writes, “Bill and I go back to student days in Aspen around 1962. I was but a fledgling kid and Bill was clearly a composer to watch. In that year I did the first of what would be several works by this most important of American composers. It is only fitting, in my final summer of guest conducting, that I once again return to play a premiere by my good friend.” A Pulitzer Prize-winner in 1988 for his 12 New Etudes for solo piano, William Bolcom was an early starter and outstanding pianist who entered the University of Washington to study music as an eleven-year-old. He also delved into poetry and minored in English. Vocal music and theatrical works have been a mainstay since his early professional years: he began his long collaboration with the lyricist Arnold Weinstein in the early 1960s, has written dozens of cabaret songs as well as art song, and as a pianist has performed art song and cabaret music with his wife, the singer Joan Morris. Among his largest projects is a setting of William Blake’s Songs of Innocence and of Experience, a project he embarked upon as a teenager and completed only in 1982. In 2004 Leonard Slatkin’s recording of the complete work with the University of Michigan School of Music Symphony Orchestra and University Musical Society was released to great acclaim. Bolcom taught at the University of Michigan from 1973 until 2008, and it was Michigan’s symphonic band that premiered his First Symphony for Band (his “Ninth Symphony”) in 2009. He has written a number of stage works, among them three operas given their first productions by Lyric Opera of Chicago: McTeague, based on Frank Norris’s novel, with a libretto by Arnold Weinstein and the film director Robert Altman; A View from the Bridge, based on Arthur Miller’s play; and The Wedding, after Altman’s film of the same name. A View from the Bridge was also produced at the Metropolitan Opera. Bolcom’s music has been performed by the BSO on many occasions, and his Ragomania: A Classical Overture for Orchestra was commissioned by the Boston Pops Orchestra, which premiered it under John Williams’s direction on Opening Night at Pops in May 1982. The BSO commissioned his MCMXC Tanglewood, to celebrate the Tanglewood Music Center’s fiftieth anniversary; this was premiered by the BSO under Dennis Russell Davies in August 1990. The BSO also commissioned his Eighth

TANGLEWOODWEEK 6 FRIDAYPROGRAMNOTES 9 Symphony for Chorus and Orchestra, a 125th Anniversary Commission premiered by the orchestra and the Tanglewood Festival Chorus under James Levine’s direction in February 2008. Along with a BSO/Levine performance of the composer’s Lyric Concerto for flute and orchestra with soloist James Galway (another of Bolcom’s long- time friends), a recording of the Eighth Symphony was released as a download on BSO Classics. It was Leonard Slatkin, incidentally, who led the premiere of the Lyric Concerto with Galway and the St. Louis Symphony in 1993. Bolcom’s music has frequently been programmed by the Boston Symphony Chamber Players, and his Serenata Notturna was recorded by the ensemble for the 2011 BSO Classics CD “Plain Song, Fantastic Dances: Chamber Music by American Composers.” A Tanglewood Composition Fellow in 1966, he has returned as a guest faculty member on several occasions, most recently as artist-in-residence in 2007. That summer he was one of the “Generation of ’38” composers featured in the Festival of Con- temporary Music. His Whitman Triptych was performed by TCM Fellow Christin-Marie Hill with the Tanglewood Music Center Orchestra under Stefan Asbury. William Bolcom wrote his characterful, high-energy Circus Overture in 2013, finishing it in September of last year. Clocking in at about six-and-a-half minutes, the piece is scored for medium-large orchestra with percussion, piano, and harp. The composer has provided a few comments on his new piece, printed below.

ROBERT KIRZINGER Composer/annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

Leonard Slatkin and I go back 50 years this summer. In 1964 while both students at Aspen he premiered my brand-new Concerto-Serenade for string orchestra and crazy Brazilian violinist (who, by the way, would wrap my car with my wife and me in it around a telephone pole near Chillicothe, Missouri, on our drive back to New York after the festival; no one was hurt, thankfully). Thus began a lengthy collaborative history. Leonard has commissioned several works from me over the years including two symphonies, and his landmark recording of my Songs of Innocence and of Experience garnered much attention ten years ago. But we’ve also concertized together now and then; two instances that stick out in my mind include my performing the half-spoken “chansonnier” part of HK Gruber's hilarious Frankenstein!!! with him and a chamber orchestra, I think in Milwaukee; and a mad dozen-or-so-piano mega-event at Kennedy Center where I contributed to the joyful din. It takes some courage in the classical world to admit fondness for Leroy Anderson’s perfect musical pastries, and then record a bunch of them as Slatkin has done. When the Boston Symphony Orchestra requested a 70th-birthday celebratory piece for the Maestro I asked Leonard what he wanted, and he suggested something like “a 6-minute fun and lively curtain-raiser for concerts.” I immediately thought of Anderson’s classic examples, and that is exactly what I set out to do in Circus Overture— a traditional concert overture meant just for fun. (As a boy I loved the circus, maybe mostly for its music. My favorite moment was usually when, as the trapeze artist land- ed, the band would hit a loud B-flat chord no matter what they were playing; I sadly could not find a spot to do that trick in the Overture.) A listener is free to imagine a circus act here and there in it, but Circus Overture is not necessarily programmatic unless one wants it to be. I haven’t any program in

10 mind myself except one place for a few seconds toward the middle, a sort of sad- clown trombone moment: I couldn’t resist a rueful musical glance at the fact that Leonard and I are both very definitely senior people now. But we’re not old yet.

WILLIAM BOLCOM, July 2014

Wayne Barlow (1912-1996) “The Winter’s Past,” for oboe and strings First performance: October 18, 1938, Rochester, N.Y., Kilbourn Hall, Eastman School of Music, Rochester Civic Orchestra, Howard Hanson cond. This is the first BSO performance of “The Winter’s Past,” and also the first at Tanglewood, as well as the first BSO performance of any music by Wayne Barlow. Wayne Barlow was a prolific composer as well as an organist, conductor, and teacher. Born in Ohio, he was associated with the Eastman School of Music in Rochester, New York, for most of his life. He attended Eastman beginning in 1930 and in 1937 received, according to the school, the first Ph.D. in composition awarded in the U.S. He studied with Edward Royce, Bernard Rogers, and Howard Hanson. He also studied with Arnold Schoenberg at the University of Southern California. Barlow joined the faculty at Eastman directly after earning his doctorate and remained on the active faculty for forty years, becoming professor emeritus in 1978, holding that title until his death in 1996. He also directed the school’s electronic music studio for many years. He twice held Fulbright fellowships in Denmark. Barlow was a practical composer who was willing and able to take on any compositional task—he once said that he had never turned down a commission. He was an authority on the music of Charles Ives and, like Ives, was an accom- plished organist. He served as organist of Rochester’s St. Thomas Episcopal Church for forty years. In addition to four volumes of organ music, as a composer working with the Lutheran-oriented Concordia Music Publishing House, Barlow was deeply involved with composing and arranging music for church services. He was comfortable writing both for amateurs and professional musicians. Among his champions was the Eastman-based conductor Howard Hanson, whose advocacy of American concert music energized many a 20th-century American composer. In addition to music for organ, Barlow’s catalogue includes a number of shorter works for orchestra, a large output for chorus with and without accompaniment (including a Mass in G), and a wide range of chamber music. Most of his music assimilates some aspects of the twelve-tone method, but he was careful to manipulate his materials in order to maintain a sense of tonal center. He also incorporated folk music into many of his pieces. The Winter’s Past is a relatively early work, composed just after his student years at Eastman, but it remains his most frequently encoun- tered piece, both in the version for orchestra and in transcriptions with keyboard. Some confusion remains about the title: recently retired Boston Symphony librarian Martin Burlingame points out that Howard Hanson recorded the piece under the title The Winter’s Past with the Eastman-Rochester Orchestra in 1962, but even Barlow’s publisher has the title as The Winter’s Passed. Either way, the piece is the same: a brief rhapsody for oboe and strings based in part on the American (/English) folk song sometimes known as “Wayfaring Stranger”; but such songs are endlessly mutable and go by many names. Barlow uses harmonies enriched by 20th-century practice with modal touches from folk music, such as the mixolydian mode (similar

TANGLEWOODWEEK 6 FRIDAYPROGRAMNOTES 11 to a major scale, but with a flat seventh degree) heard in the first tune: the key signature is E major, but the leading tone (D-sharp) is consistently altered to D-natural. The short single movement is an arch form, with a slight uptick in tempo for the middle section and several changes of key.

ROBERT KIRZINGER

Samuel Barber (1910-1981) Concerto for Violin and Orchestra, Opus 14 First performance: February 7, 1941, Philadelphia Orchestra, Eugene Ormandy cond., Albert Spalding, soloist. First BSO performance/first Tanglewood performance: August 16, 1941, Serge Koussevitzky cond., Ruth Posselt, soloist. Most recent Tanglewood performance: August 17, 2012, Bramwell Tovey cond., Augustin Hadelich, soloist. Samuel Barber’s Violin Concerto, composed 1939-40, was the first concerto the composer ever wrote, to be followed by the Cello Concerto of 1945 and, much later, the Pulitzer Prize-winning Piano Concerto of 1962, the latter written for the opening of the new Philharmonic Hall (now Avery Fisher Hall) at New York’s Lincoln Center, where it was premiered by Erich Leinsdorf and the Boston Symphony Orches- tra with John Browning as soloist. Barber’s musical legacy stands as testimony to the awareness he expressed when he was eight or nine, in a hesitant “Notice to Mother and nobody else,” which reads in part: “To begin with I was not meant to be an athelet [sic]. I was meant to be a composer, and will be I’m sure... Don’t ask me to try to forget this unpleasant thing and go play football.— Please—Sometimes I’ve been worrying about this so much that it makes me mad (not very).” Barber began piano lessons when he was six, started composing when he was seven, and briefly took cello lessons; he was encouraged in his musical pursuits by his maternal aunt, the contralto Louise Homer. In 1924, when he was fourteen, Barber entered the Curtis Institute of Music in Philadelphia as a member of its first class, studying piano, composition, conducting, and voice. Already during his eight years at Curtis, where he later taught composition from 1939 until 1942, he produced several works that marked him as a talented composer, among them his Opus 3 Dover Beach, a setting for voice and string quartet of Matthew Arnold’s text, which Barber himself recorded in 1935. By the time of his death in January 1981, the seventy-year-old composer had produced works in nearly every important genre; anyone beginning to investigate his music will want to know at least this small cross-section of his output: Knoxville, Summer of 1915, a setting for soprano and orchestra of a James Agee text; the Hermit Songs and Despite and Still, both for voice and piano; the Cello Sonata and the Piano Sonata; the Adagio for Strings (originally the slow movement of his String Quartet, and premiered, along with the composer’s First Essay for Orchestra, by Arturo Toscanini and the NBC Symphony in 1938); and the Overture to The School for Scandal, the first of his works to be performed by a major orchestra (it was premiered by the Phila- delphia Orchestra in August 1933). In addition, there are two important operas: the Pulitzer Prize-winning Vanessa, which was premiered at the Metropolitan Opera in 1958 and produced at the Salzburg Festival the same year, and Antony and Cleopatra, which was entirely overwhelmed by Franco Zeffirelli’s production when it opened the Metropolitan Opera House at Lincoln Center in September 1966 and which, in its revised version of 1974 (premiered at the Juilliard School in February 1975), is

12 still being reevaluated. (A currently available recording was drawn from performances at the 1983 Spoleto Festivals in Charleston and Italy; more recently, Antony and Cleopatra was produced by Lyric Opera of Chicago during the 1991-92 season.) In his approach to musical form and harmony, Barber never attempted to deny his affinity for the musical romanticism of the nineteenth century. In 1971 he observed that, when writing, say, a concerto, “I write what I feel. I’m not a self-conscious composer...” His work is always lyrically and dramatically expressive in a way that readily brings the listener into his music. Barber wrote the Violin Concerto on commission from the Philadelphia businessman Samuel Fels, who was the manufacturer of Fels Naphtha soap* and a member of the Curtis Institute of Music’s Board of Trustees. The work was intended for Fels’s ward, Iso Briselli, a former child prodigy then in his late twenties who was also a student at Curtis. Barber composed the first two movements in Switzerland in the summer of 1939 and sent them to Briselli. According to Nathan Broder’s now controversial 1954 biography of the composer—a biography published by Schirmer, the publisher of Barber’s music—Briselli found these two movements “too simple and not brilliant enough for a concerto”—though this account was later disputed in the November 1995 issue of The Strad, where an article by George Diehl describes Briselli’s reaction only as “one of enthusiasm and admiration”—a reaction consistent with the composer’s own recollections. Barber subsequently began the finale in Paris but completed it only after the increasing anxiety of war necessitated his return home.

*Barber later referred to this work as his “concerto del sapone” (“soap concerto”).

TANGLEWOODWEEK 6 FRIDAYPROGRAMNOTES 13 There are also conflicting accounts of what happened next. According to Broder, Briselli declared the last movement too difficult and Fels demanded the return of his payment, whereupon Barber arranged a private performance by the American violinist Oscar Shumsky to demonstrate that the work was in fact playable. In her 1992 biography of the composer, Barbara B. Heyman relates that Briselli—in a 1982 interview with Heyman—later claimed only to have found the third movement “too lightweight” compared to the rest of the piece (with no mention of technical diffi- culties) and even suggested certain structural changes. (This is supported in the 1995 Strad account.) In any event, a demonstration was set up to show that the concerto was playable—though it remains unclear who needed convincing, since, according to Diehl’s article, this was not for the benefit of Briselli and Fels, both of whom remained unaware of this “test” until afterwards. Again according to Heyman, the demonstration took place at Curtis in the fall of 1939, even before the last movement was finished; Herbert Baumel played the violin part from manuscript with just two hours’ notice. Ultimately, Briselli relinquished the premiere, and Fels, who had paid half the $1,000 commission fee up front, with the remainder due upon the work’s completion, allowed Barber to keep the $500 that had already been paid. When the concerto was finished, it was played by Baumel with the Curtis Institute Orchestra under Fritz Reiner, and then privately by Oscar Shumsky with Barber at the piano, to allay any lingering concerns on the composer’s part before the official premiere—though there are also other, differing accounts of the tryout readings that took place at this time. In any event, the premiere took place on February 7, 1941, with violinist Albert Spalding and the Philadelphia Orchestra under the direction of Eugene Ormandy. The music itself needs little introduction. Despite its “Allegro” marking, the first movement is generally melodic and expansive, its moments of tension and climactic outbursts typically giving way to the characteristic songfulness. A poignant oboe line, only later taken up by the solo violin, sets the mood of the Andante, which moves from C-sharp minor to E major and whose tranquil atmosphere likewise stands in sharp contrast to the quick-moving perpetual-motion brilliance of the finale.

MARC MANDEL Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

14 Edward Elgar (1857-1934) Variations on an Original Theme, Opus 36, “Enigma” First performance: June 19, 1899, London, Hans Richter cond. First BSO performances: December 1903, Wilhelm Gericke cond. First Tanglewood performance: July 24, 1954, Jean Morel cond. Most recent Tanglewood performance: August 4, 2006, Donald Runnicles cond. Edward Elgar was in almost every respect an outsider: largely self-taught in a day when strict academic training was considered essential; Roman Catholic in a country officially Protestant; a musician of deep feeling and commitment in a culture that viewed music as an insignificant entertainment; and the son of a shopkeeper in a class-ridden society that could never get over looking down its nose at people “in trade.” And yet, ironically, it is just those facts, the very things that made him feel ever the outsider, that also allowed him to develop his musical talents as a composer of marked originality. Elgar spent his youth in Worcester, a sleepy cathedral town in western England, living over the family music shop and spending much time absorbing the musical scores in stock. Except for violin lessons he had no formal training, but showed promise of an original talent. At sixteen he left business forever and supported himself as a freelance musician in Worcester, filling various positions as violinist, conductor, and even bassoonist in a wind quintet, as well as teacher of violin. Five years spent as conductor of an “orchestra” made up of staff members of the county mental asylum in nearby Powick was invaluable. He composed original music and rescored the classics for whatever instruments were available each week, gaining in this way a thorough practical knowledge of the instruments. In 1889 he married Caroline Alice Roberts, a woman convinced of his genius. She was eight years his senior and far his social superior (at a time when such things were considered very important), but she had the backbone to withstand the relatives who objected to the match. She encouraged Elgar to compose the great works that she knew he had in him. During the thirty years of their marriage, Elgar became England’s first composer of international stature in two centuries—and after her death, which occurred fourteen years before his own, he was never able to complete another large work. Until he was forty Elgar remained a purely local celebrity. Shortly after the premiere of his cantata Caractacus at the Leeds Festival in October 1898, Elgar sat musing at the piano, idly playing a pensive melody that had occurred to him. When his wife asked what it was, he said, “Nothing, but something might be made of it.” He named several of their friends. “Powell would have done this, or Nevinson would have looked at it like this.” Alice commented, “Surely you are doing something that has never been done before?” Thus encouraged, Elgar sketched out an entire set of variations on his original theme. On October 24 he wrote to his friend August Jaeger at Novello’s music publishers to announce that he had sketched a set of orchestral variations. “I’ve labelled ’em with the nicknames of my particular friends—you are Nimrod. That is to say I’ve written the variations each one to represent the mood of the ‘party’ writing the var[iation] him (or her)self and have written what I think they wd. have written—if they were asses enough to compose.” After completing the orchestration, Elgar sent the score off to Hans Richter, and waited a nervous month before learning that he would program the work. At the premiere, on June 19, 1899, a few critics were miffed at not being let in on the identity of the friends whose initials appeared at the head of each movement. But the work itself achieved a sensational success.

TANGLEWOODWEEK 6 FRIDAYPROGRAMNOTES 15 The friends have long since been identiﬁed, so that mystery is solved. But another mystery about the Enigma Variations will probably be argued over forever. It has to do with the title and a statement Elgar made in the program note at the work’s premiere. The manuscript of the score simply bears the title “Variations for orchestra composed by Edward Elgar, Op. 36.” Over the theme, though, someone has written in pencil the word “Enigma.” The handwriting appears not to be Elgar’s. Still, he did not object to the word, and in fact his program note implied the presence of a mystery, a “dark saying” that “must be left unguessed.” He added, “through and over the whole set another larger theme ‘goes’ but is not played.” The mysteries of the “dark saying” and the “larger theme” have exercised the ingenuity of many people since 1899. Every few years a new “solution” is proposed, and the arguments start all over again. One relatively recent, convincing argument cites the slow movement of Mozart’s Prague Symphony as the basis for Elgar’s theme. But in the end, it is music itself that determines how frequently we wish to hear the Enigma Variations. Elgar himself revealed the identity of the “Variations” in a set of notes written in 1913, later published with photographs of each of the individuals. Elgar’s remarks will be quoted in the discussion below.

16 The theme is remarkable in itself. It goes by stops and starts, broken up into little fragments which, at the outset, hardly seem “thematic.” It has been pointed out that the first four notes provide a perfect setting, in rhythm and pitch, of the name “Edward Elgar,” who thus writes his signature, so to speak, on the whole work. The theme begins in G minor, has four rising bars in the major, then is restated in the minor with an expressive new counterpoint. It leads directly into: I. (C.A.E.) Caroline Alice Elgar, the composer’s wife. “The variation is really a pro- longation of the theme with what I wished to be romantic and delicate additions; those who know C.A.E. will understand this reference to one whose life was a romantic and delicate inspiration.” Oboe and bassoon have a little triplet figure in the opening measures that had a private resonance for the composer and his wife: it was the signal he used to whistle when he came home (it reappears in the last variation). II.(H.D.S.-P.) Hew David Steuart-Powell played piano in a trio with Elgar (violin) and Basil Nevinson (Variation XII). “His characteristic diatonic run over the keys before beginning to play is here humorously travestied in the semiquaver passages; these should suggest a Toccata, but chromatic beyond H.D.S.-P.’s liking.” III.(R.B.T.) Richard Baxter Townshend was an author of a series of Tenderfoot books (A Tenderfoot in Colorado and A Tenderfoot in New Mexico), as well as a classical scholar and a lovable eccentric. Elgar says that the variation refers to his performance as an old man in some amateur theatricals in which his voice occasionally cracked to “soprano” timbre. IV. (W.M.B.) William Meath Baker, a country squire with a blustery way about him. He tended to give “orders of the day” to his guests, especially with regard to arrange- ments for carriages. Elgar depicts his forcible delivery. The middle section of this very fast movement contains “some suggestions of the teasing attitude of the guests.” V. (R.P.A.) Richard Penrose Arnold, a son of Matthew Arnold, a self-taught pianist. “His serious conversation was continually broken up by whimsical and witty remarks. The theme is given by the basses with solemnity and in the ensuing major portion there is much lighthearted badinage among the wind instruments.” VI. (Ysobel) Isabel Fitton was an amateur viola player, whom Elgar draws into the music by writing a leading part for her instrument built on a familiar exercise for crossing the strings, “a difficulty for beginners; on this is built a pensive, and for a moment, romantic movement.” VII. (Troyte) One of Elgar’s closest friends, Arthur Troyte Griffith, an architect in Malvern. Elgar said that the variation represented “some maladroit essays to play the pianoforte; later the strong rhythm suggests the attempts of the instructor (E.E.) to make something like order out of chaos, and the final despairing ‘slam’ records that the effort proved to be in vain.” VIII. (W.N.) Winifred Norbury is the bearer of the initials, but Elgar commented that the variation was “really suggested by an eighteenth-century house. The gracious personalities of the ladies are sedately shown.” But because W.N. was more involved with music as a competent pianist, Elgar has also suggested her characteristic laugh. IX.(Nimrod ) August Jaeger (“Jaeger” is German for “hunter,” and Nimrod is the “mighty hunter” of the Old Testament) worked for Elgar’s publisher, Novello, and often provided enthusiasm and moral support for the composer, who rarely in those years found encouragement from anyone but Alice. The variation is a record of a “long summer evening talk, when my friend discoursed eloquently on the slow movements of Beethoven.” According to Mrs. Powell, Jaeger also discoursed eloquently on the hardships Beethoven endured in his life, and he encouraged Elgar

TANGLEWOODWEEK 6 FRIDAYPROGRAMNOTES 17 not to give up. In any case, the theme is arranged so as to suggest a hint of the slow movement of Beethoven’s Pathétique Sonata, Opus 13. This Adagio is the best-known single excerpt from the Variations, noble, poignant, and deeply felt. In England it has become a traditional piece to commemorate the dead. Elgar, writing after Jaeger’s own death, said, “Jaeger was for many years my dear friend, the valued adviser and the stern critic of many musicians besides the writer; his place has been occupied but never filled.” X. (Dorabella) Dora Penny, later Mrs. Richard Powell, who first heard the variations even before Elgar had orchestrated them. This “intermezzo” is a lighthearted contrast to the seriousness of “Nimrod.” It is also the farthest away from the theme of any of the variations in the set. XI. (G.R.S.) Dr. George R. Sinclair, organist of Hereford Cathedral, though the variation has more to do with his well-known bulldog Dan. As Elgar explained, the opening had to do with Dan “falling down the steep bank into the river Wye; his paddling upstream to find a landing place; and his rejoicing bark on landing. G.R.S. said, ‘Set that to music.’ I did; here it is.” XII. (B.G.N.) Basil G. Nevinson was a fine amateur cellist who performed with Elgar and Steuart-Powell (Var. II) in a trio. The variation features a melody, marked “molto espressivo,” for cello solo in “tribute to a very dear friend whose scientific and artistic attainments, and the wholehearted way they were put at the disposal of his friends, particularly endeared him to the writer.” XIII. (*** ) Another mystery: It has often been asserted that the asterisks represent Lady Mary Lygon, who was supposedly on a sea voyage to Australia at the time of composition (she wasn’t), hence the clarinet quoting Mendelssohn’s Calm Sea and Prosperous Voyage. The variation is highly atmospheric, as the “drums suggest the distant throb of the engines of a liner” under the Mendelssohn quotation. XIV. (E.D.U.) Elgar himself. When Dora Penny first heard this movement in Elgar’s study, she couldn’t figure out whose initials stood at the head of the page. Only after he dropped a broad hint did she realize that it was Alice’s nickname for Elgar— “Edu”—written as if it were initials. Elgar wrote that the movement was “written at a time when friends were dubious and generally discouraging as to the composer’s musical future.” During the course of the movement he refers especially to C.A.E. and to Nimrod, “two great influences on the life and art of the composer.” As Elgar correctly noted, “The whole of the work is summed up in the triumphant, broad presentation of the theme in the major.” The Enigma Variations remains, justifiably, Elgar’s best-known work. In its invention, its range of expression, its play of light and dark between movements and keys, the craftsmanship of its links between movements, its exploiting of the various possibili- ties of the orchestra, its melodic fertility—in all of these things, the work is quite simply a masterpiece. If we remember that it appeared unannounced in a country that had not produced a serious composer of major stature since Purcell (who died in 1691), we can appreciate the tone of Arthur Johnstone’s remarks in the Manchester Guardian after a performance of the Variations in 1900: “The audience seemed rather astonished that a work by a British composer should have other than a petrifying effect upon them.”

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

18 Artists

Leonard Slatkin Leonard Slatkin is music director of the Detroit Symphony Orchestra and the Orchestre National de Lyon, France. During the 2013-14 season, he conducted at Krzysztof Penderecki’s 80th birthday celebration in Warsaw, recorded with Anne Akiko Meyers and the London Symphony, and appeared with the Chicago Symphony, the Pittsburgh Symphony, and the St. Louis Symphony. He also toured China and Japan with the Orchestre National de Lyon and led the Detroit Symphony Orchestra in concerts across southern Florida. Highlights of the 2014-15 season include a collaborative celebration of his 70th birthday on both sides of the Atlantic, a three-week Tchaikovsky festival in Detroit, a Brahms symphony cycle in Lyon, and engagements with the New York Philharmonic, Tokyo’s NHK Symphony Orchestra, and the Deutsches Symphonie-Orchester Berlin. Mr. Slatkin’s more than 100 recordings have garnered seven Grammy awards and earned 64 nominations. With the Orchestre National de Lyon, he has embarked on recording cycles of the Rachmaninoff piano concertos featuring Olga Kern, and the symphonic works of Maurice Ravel and Hector Berlioz. With the Detroit Symphony, he has released a digital box set of the Beethoven symphonies and future recording plans include the concertos and symphonies of Tchaikovsky. Mr. Slatkin has received the USA’s prestigious National Medal of Arts, the American Symphony Orchestra League’s Gold Baton Award, and several ASCAP awards. He has earned France’s Chevalier of the Legion of Honor, Austria’s Declaration of Honor in Silver, and honorary doctor- ates from the Juilliard School, Indiana University, Michigan State University, and Washington University in St. Louis. He is also the recipient of a 2013 ASCAP Deems Taylor Special Recognition Award for his book, Conducting Business. Leonard Slatkin

TANGLEWOODWEEK 6 ARTISTS 19 has previously served as music director of the St. Louis Symphony Orchestra and the National Symphony Orchestra in Washington, D.C., and as chief conductor of the BBC Symphony Orchestra in London. He has held principal guest conductor positions with the Royal Philharmonic Orchestra, the Los Angeles Philharmonic, the Philharmonia Orchestra of London, and the Pittsburgh Symphony Orchestra. Founder and director of the National Conducting Institute and the St. Louis Symphony Youth Orchestra, he continues his conducting and teaching activities at the Indiana University Jacobs School of Music, the Manhattan School of Music, and the Juilliard School. Born in Los Angeles to a distinguished musical family, he is the son of conductor-violinist Felix Slatkin and cellist Eleanor Aller, founding members of the famed Hollywood String Quartet. He began his musical studies on the violin and studied conducting with his father, followed by Walter Susskind at Aspen and Jean Morel at the Juilliard School. Leonard Slatkin has appeared frequently with the Boston Symphony Orchestra since his BSO debut at Symphony Hall in January 1980. His most recent subscription concerts with the BSO were in February 2003, his most recent Tanglewood appearance in August 2009, also leading the Tanglewood Music Center Orchestra as part of that summer’s gala Tanglewood on Parade concert—in which he participated again with the TMCO this summer, this past Tuesday night.

Gil Shaham Violinist Gil Shaham is sought after throughout the world for concerto appearances with celebrated orchestras and conductors, as well as for recital and ensemble appearances on the great concert stages and at the most prestigious festivals. Highlights of his 2013-14 season included performances of Korngold’s Violin Concerto with the Vienna Philharmonic at Carnegie Hall, the Cleveland Orchestra, and Orchestre de Paris; a continuation of his exploration of the concertos of the 1930s with the San Francisco Symphony, Los Angeles Philharmonic, and on tour with the Bavarian Radio Symphony Orchestra; the world, Asian, and European premieres of a new concerto by Bright Sheng; and a recital tour that featured Bach’s sonatas and partitas for solo violin. The 2012-13 season included festival appearances at Aspen, Tanglewood, Caramoor, the Blossom Music Festival, and the Hollywood Bowl. He continued his long-term exploration of “Violin Concertos of the 1930s” by Barber, Berg, Stravinsky, Britten, Bartók, and Prokofiev with the orchestras of New York, Chicago, Boston, San Francisco, Baltimore, Kansas City, and Montreal, as well as the Orchestre de Paris, and Japan’s NHK Symphony. He also returned to repertory favorites with renditions of the Brahms concerto with the Los Angeles Philharmonic, Philadelphia Orchestra, and Cincinnati Symphony; the Beetho- ven concerto with the symphony orchestras of Boston and St. Louis; and Mozart’s “Turkish” with the Seattle, Pittsburgh, and Toronto symphonies. During recital tours in the U.S., Europe, and Japan, he gave the world premiere of a solo suite written for him by William Bolcom, and pioneered recent commissions by Avner Dorman and Julian Milone. Mr. Shaham has more than two dozen concerto and solo CDs to his name, including bestsellers that have appeared on record charts in the United States and abroad, winning him multiple Grammy Awards, a Grand Prix du Disque, Diapason d’Or, and Gramophone Editor’s Choice. His recent recordings are produced on the Canary Classics label, which he founded in 2004; they include “Nigunim: Hebrew Melodies,” Haydn violin concertos and Mendelssohn’s Octet with the Sejong Soloists, “Sarasate: Virtuoso Violin Works,” Elgar’s Violin Concerto with the Chicago Symphony Orchestra, “The Butterfly Lovers” and Tchaikovsky’s Violin Concerto, Tchaikovsky’s Piano Trio in A minor with Yefim Bronfman and Truls Mørk, “The Prokofiev Album,” “The Fauré Album,” “Mozart in Paris,” and works by Haydn and Mendelssohn. Upcoming releases include Bach’s complete works for solo violin and several install-

20 ments of the “Violin Concertos of the 1930s” project. Gil Shaham was born in Champaign-Urbana, Illinois, in 1971. He moved with his parents to Israel, where he began violin studies with Samuel Bernstein of the Rubin Academy of Music at age seven and was granted annual scholarships by the America-Israel Cultural Foundation. In 1981, while studying with Haim Taub in Jerusalem, he made debuts with the Jerusalem Symphony and the Israel Philharmonic. That same year he began his studies with Dorothy DeLay and Jens Ellerman at Aspen. In 1982, after taking first prize in Israel’s Claremont Competition, he became a scholarship student at Juilliard, where he worked with Ms. DeLay and Hyo Kang. He has also studied at Columbia University. Gil Shaham was awarded an Avery Fisher Career Grant in 1990; in 2008 he received the coveted Avery Fisher Award. He plays the 1699 Countess Polignac Stradivarius and lives in New York City with his wife, violinist Adele Anthony, and their three children. Mr. Shaham made his Boston Symphony Orchestra debut in August 1993 at Tanglewood and has since appeared regularly with the BSO both at Tanglewood and at Symphony Hall. His most recent subscription performances were in November 2012 as soloist in Britten’s Violin Concerto, a performance subsequently released on Canary Classics. His most recent Tanglewood performance, in August 2013, was as soloist in Sibelius’s Violin Concerto.

John Ferrillo John Ferrillo joined the Boston Symphony Orchestra as principal oboe at the start of the 2001 Tanglewood season, occupying the Mildred B. Remis Principal Oboe Chair, having appeared with the orchestra several times in previous seasons as a guest performer. From 1986 to 2001 he was principal oboe of the Metropolitan Opera Orchestra. Mr. Ferrillo grew up in Bedford, Massachusetts, and played in the Greater Boston Youth Symphony Orchestra. He is a graduate of the Curtis Institute, where he studied with John de Lancie and received his diploma and artist’s certificate. He also studied with John Mack at the Blossom Festival and has participated in the Marlboro, Craftsbury, and Monadnock festivals. Prior to his appointment at the Metropolitan Opera, Mr. Ferrillo was second oboe of the San Francisco Symphony, and was a faculty member at Illinois State University and West Virginia State University. A former faculty member of the Mannes School of Music and Juilliard School of Music in New York City, he has taught and performed at the Aspen and Waterloo festivals and currently serves on the faculties of the New England Conservatory, Boston University, and the Boston University Tanglewood Institute. His previous BSO appearances as concerto soloist have included Ligeti’s Double Concerto for flute and oboe, with BSO colleague Elizabeth Rowe; Frank Martin’s Concerto for Seven Winds, Timpani, and Percussion, also with BSO colleagues; Richard Strauss’s Oboe Concerto; Bach’s Concerto in C minor for violin, oboe, and strings, BWV 1060, with violinist Pinchas Zukerman, at Tanglewood in 2012; and, most recently, Bach’s Brandenburg Concerto No. 2 at Tanglewood last summer, also in collaboration with Pinchas Zukerman. As principal oboe of the BSO, Mr. Ferrillo is also a member of the Boston Symphony Chamber Players, with whom he can be heard on recent BSO Classics discs in Mozart’s Quartet in F for oboe and strings, K.370; William Bolcom’s Serenata Notturna for oboe and strings, and Dutilleux’s Les Citations for oboe, harpsichord, double bass, and percussion.

TANGLEWOODWEEK 6 ARTISTS 21 The John F. Cogan, Jr., and Mary L. Cornille Concert Saturday, August 9, 2014 The performance on Saturday evening is supported by a generous gift from BSO Life Trustee John F. “Jack” Cogan, Jr., and his wife, Mary L. Cornille, who are long- time Tanglewood patrons. Jack began attending concerts at Symphony Hall as a young person, and has held the same Thursday-evening subscription seats since the 1960s. As Great Benefactors, Jack and Mary have given generously to numerous initiatives at the BSO, including the Artistic Initiative, the Tanglewood Forever Capital Fund, and the Annual Funds. They named the musicians’ hallway at Symphony Hall, The Cogan/Cornille Corridor, and they established the John F. Cogan, Jr., and Mary Cornille Chair, endowed in perpetuity, which is currently held by BSO cellist Owen Young. Jack and Mary are members of the Higginson Society at the Encore level, the Koussevitzky Society at the Maestro level, and the Walter Piston Society. Jack was elected to the BSO Board of Overseers in 1984; he served as its Vice- Chairman from 1987 to 1989 and Chairman from 1989 to 1992. Jack was elected a Trustee in 1992 and Vice-Chairman of the Board of Trustees in 2003, a position he held until 2007, when he was elevated to Life Trustee. During his tenure on the board, Jack served on many board committees, including as a chair of the Principal Gifts and Campaign Planning Committees. Currently, he is a member of the Budget and Investment Committees. Jack is a former chairman and managing partner of the law firm Hale and Dorr (now WilmerHale). A leader in the financial services industry in Boston and beyond, Jack recently retired as trustee, president, and chief executive officer of the Pioneer Funds, where he has served for more than fifty consecutive years. Active in the community, he is a member of the Harvard Law School’s Visiting Committee and Dean’s Advisory Board, the Harvard University Art Museums’ Visiting Committee, and chairman emeritus of the Museum of Fine Arts, Boston. Jack is also trustee emeritus of the Boston Medical Center (and past chairman of its predecessor, University Hospital), and a Fellow of the American Academy of Arts and Sciences. Mary is an alumna of Wellesley College and Boston University, where she received a master’s degree in art history. She is an overseer of the Museum of Fine Arts, Boston and the Epiphany School in Dorchester. She is also a member of WGBH’s Overseers Advisory Board and Music Committee. Stu Rosner

22 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Saturday, August 9, 8:30pm THE JOHN F. COGAN, JR., AND MARY L. CORNILLE CONCERT

STÉPHANE DENÈVE conducting

DEBUSSY “Prelude to The Afternoon of a Faun” ELIZABETH ROWE, solo flute

SZYMANOWSKI Violin Concerto No. 2, Op. 61 Moderato molto tranquillo— Andante sostenuto— Allegramente—Andantino—Tempo I LEONIDAS KAVAKOS

{Intermission}

TCHAIKOVSKY Symphony No. 4 in F minor, Opus 36 Andante sostenuto—Moderato con anima Andantino in modo di canzona Scherzo (Pizzicato ostinato): Allegro Finale: Allegro con fuoco

TANGLEWOODWEEK 6 SATURDAYPROGRAM 23 NOTES ON THE PROGRAM

Claude Debussy (1862-1918) “Prelude to The Afternoon of a Faun” First performance: December 22, 1894, Paris, Société Nationale de Musique, Gustave Doret cond. First BSO performance: December 1904, Wilhelm Gericke cond. First Berk- shire Festival performance: August 15, 1936, Serge Koussevitzky cond. First Tanglewood performance: August 13, 1939, Koussevitzky cond. Most recent Tanglewood performance: August 1, 2009, Leonard Slatkin cond. Though the critics were divided in their response to Debussy’s Prélude à l’Après-midi d’un faune following its premiere on December 22, 1894, by the Société Nationale de Musique in Paris under the direction of Swiss conductor Gustave Doret, the audience’s reaction was unequivocal: the piece was encored. The occasion was Debussy’s ﬁrst great triumph, and the Faun remains, along with La Mer (1903-05), one of the composer’s best-known and most popular works for orchestra. In fact, with his Prelude, Debussy established himself as a composer for orchestra not just with the membership of the Society: a repeat performance of the entire program was given the day after the premiere, with the Society’s doors opened for the ﬁrst time to the general public. There is evidence to suggest that Debussy’s Prelude represents the end product of what was originally planned as a score of incidental music to accompany a reading, or perhaps even a dramatized staging, of the poet Stéphane Malarmé’s eclogue, L’Après- midi d’un faune. Debussy began his work in 1892 and completed the full score on October 23, 1894. During the period of composition, the work was announced in

both Paris and Brussels as Prélude, Interludes et Paraphrase finale pour l’Après-midi d’un faune, but there is no evidence at present to suggest that anything but the Prelude ever came near finished form. Before the premiere, the conductor Doret spent hours going over the score with the composer; Debussy made changes until virtually the last moment, and it was reported that at the first performance, “the horns were appalling, and the rest of the orchestra were hardly much better.” But nothing about the performance seems to have diminished the work’s success. Though the first printed edition of Mallarmé’s poem dates from 1876, L’Après-midi d’un faune in fact went through various stages, being conceived originally as an Inter- mède héroïque. A draft from the summer of 1865, entitled Monologue du Faune, took the form of a theatrical scene for a narrator with actors performing in mime, and even as late as 1891 a list of Mallarmé’s works characterized L’Après-midi d’un faune as being “for reading or for the stage.” Mallarmé himself at various times described his conception as “definitely theatrical,” as representing “not a work that may conceiv- ably be given in the theater” but one that “demands the theater.” With this in mind, it is not surprising that Debussy, who already knew Mallarmé quite well by 1892 and was a close enough member of the poet’s circle to be among those first notified of Mallarmé’s death in 1898, would originally have thought to write a score of incidental music. And that the sense of the poetry might one day lend itself to musical expression was in fact foreshadowed by Mallarmé himself, who wrote of his early Intermède, “What is frightening is that all these impressions are required to be woven together as in a symphony....” Following Mallarmé’s first hearing of the music, at Debussy’s apartment, and on which occasion the composer played the score at the piano, the poet commented, “I didn’t expect anything like this! This music prolongs the emotion of my poem, and sets its scene more vividly than color.” The history of Mallarmé’s poem is treated in considerable detail in Edward Lock- speiser’s crucial biography, Debussy: His Life and Mind. Lockspeiser points out that by the final version of Mallarmé’s poem, which takes as its overt subject “a faun dream- ing of the conquest of nymphs,” transitions between dream and reality had become more ambiguous, with imagery more subtle than the boldly erotic content of earlier stages. The poem plays not only with the distinctions between dream and reality, between sleep and waking awareness, but also with those between consciousness and unconsciousness, between desire and artistic vision. Indeed, in its more literal ren- dering of Mallarmé’s subject matter and imagery, Vaslav Nijinsky’s 1912 choreogra- phy to Debussy’s score, first performed in Paris by Serge Diaghilev’s Ballets Russes on May 29 that year with Nijinsky as the faun, scandalized audiences when it crossed the line between artistic allusion and masturbatory fantasy (aside from the fact that the stylized poses of the dancers were generally deemed inappropriate to the fluidity of the musical discourse). Debussy’s orchestra here is not especially large. It should be noted, however, that while trumpets, trombones, and timpani are entirely absent, the wind section, with its third flute and English horn, is a source for particularly rich sonorities. In his History of Orchestration (1925), Adam Carse already highlighted what made Debussy’s Prelude so innovative for its time, not just in its treatment of the orchestra, but also in its approach to harmony and musical structure: “Such a word as tutti is hardly usable in connection with orchestration which, like Debussy’s, speaks with a hushed voice in delicately varied and subtly blended tone-colours, and often with intention- ally blurred outlines.” Nowadays, when listeners may respond to the opening flute solo by sinking back into their seats with complacent familiarity, any fresh look at Debussy’s score is obliged to reveal its boldly imagined instrumental hues as if it were a newly restored

TANGLEWOODWEEK 6 SATURDAYPROGRAMNOTES 25 painting. Immediately following that opening melody, suggested by the indolent ﬂute-playing of Mallarmé’s faun, glissandos in the harp and distant, evocative horn- calls conjure a dreamlike woodland atmosphere heightened by Debussy’s avoidance of clearcut harmonies: an atmosphere to which the colors of rustling strings, cascad- ing woodwinds, blossoming outbursts from the full orchestra, and, near the magical close, antique cymbals, all prove themselves ideally suited.

MARC MANDEL Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

Karol Szymanowski (1882-1937) Violin Concerto No. 2, Opus 61 First performance: October 6, 1933, Warsaw Philharmonic, Georg Fitelberg cond., with Paul Kochanski, the work’s dedicatee, soloist. First BSO performances/also the first U.S. performances: December 28-29, 1934, Serge Koussevitzky cond., Albert Spalding, soloist, followed by the first New York performance on January 3, 1935, and a Brooklyn performance the day after that. This is the first Tanglewood performance of the piece, the BSO’s only performances after those mentioned having taken place in April 1993 at Symphony Hall, with soloist Chantal Juillet under the direction of Charles Dutoit. Though highly regarded in his own country as one of the greatest composers of the 20th century, the Polish composer Karol Szymanowski has never developed the kind of general profile in the United States that would put him into the happy category of “brand-name” composers, despite enthusiastic support by numerous performers over the years, starting with his close friends Arthur Rubinstein, who premiered many of his piano works, and Paul Kochanski, who inspired the two violin concertos that figure among his most important compositions. Sometimes compared to Bartók as a nationalist who created a musical language out of the melos of his people, Szymanowski may never have the international acclaim and influence of the Hungarian master, but shares with him a development from a late Romantic style to a highly individual idiom that relinquished traditional tonality for polar centers with a melodic style employing abstracted elements of his native folk song. Szymanowski was scion of a Polish landowning family whose estate at Tymoszówka had ended up in Russia at the time of the partition of 1793, yet he always felt himself to be purely Polish. Karol and his four siblings were all artistic, and two of them became professional musicians. His elder brother Feliks was a pianist and composer of light music, his sister Stanislawa a successful soprano who frequently performed his works. When Karol was nineteen, his father sent him to Warsaw for a more professional education than could be obtained in the country, through Warsaw was at the time itself quite provincial in the musical world. From an early date he was composing sophisticated piano works and soon turned to the larger scope of the orchestra. Many of these early pieces, up to his Second Symphony, show the influence of Reger and Strauss. But while working on his first opera, Hagith, for which he steeped himself in the culture and music of the Arab lands and the mythology of the classical world, he also took over many textural and harmonic ideas from Debussy, Ravel, and Scriabin, absorbing their influence into a new synthesis of his own, a language of sensuous and flexible chromaticism. During this period his major works included the Third Symphony and the First Violin Concerto, as well as the opera King Roger, which occupied him from 1918 to 1924. By

26 the time he completed King Roger, his enthusiasm for Poland’s newly won independ- ence played some role in his adopting a musical idiom that owed a great deal to the folk music of the Tatra highlands in southern Poland, where he had begun to live for several months of the year. In what should have been the prime of his creative career, Szymanowski came almost to a full stop in composition after accepting the directorship of the Warsaw Conserva- tory in 1927. It proved to be an unhappy experience, though he threw himself into his responsibilities with all seriousness and wrote a number of articles about music (rather than writing more music) during that period. In 1929 he resigned from the Conservatory, both for reasons of ill health and disagreement with many of the older faculty and staff over the sweeping changes he had made in pursuance of his views on the proper nature of a musical education. By this time his health was seri- ously failing. He suffered from tuberculosis and possibly also cancer of the lungs and throat (he smoked as many as sixty cigarettes a day) and began to drink heavily in response to bouts of depression He may also have become addicted to morphine or cocaine to reduce the pain. In 1930 he moved into a cottage in Zakopane, a health resort in his beloved Tatra mountans. Arthur Rubinstein, in his memoirs, described the place as “enchanting, with the river Dunajec roaring down from the heights, its pure and transparent water jumping over rocks and stones.” Here he attempted to regain his health and worked steadily to complete several major unfinished pieces, including a ballet-pan- tomime called Harnasie and his Symphony No. 4 (Symphonie Concertante) for piano and orchestra. At a concert and dinner celebrating his fiftieth birthday in 1932, he was invited to give a speech, but had to decline, owing to the fact that he could barely whisper. During the following year, in Zakopane, he composed the Violin Concerto No. 2; though he lived nearly four years longer, it was his last work.

TANGLEWOODWEEK 6 SATURDAYPROGRAMNOTES 27 Knowing that the end was near, and hoping to provide some support for his family, he undertook concert tours abroad, a punishing regimen for a man in his condition. He tried selling some of his manuscripts in order to raise money to go to a sanatorium for his recurrent tuberculosis. One important concert that might have made a difference to his career fell through owing to the darkening political situation: when he arrived in Berlin in December 1934 for a series of concerts to be conducted by Wilhelm Furtwängler, he found that the Nazi authorities had ordered the conductor to remove from his program a work by the “decadent” Paul Hindemith; rather than give in to them, Furtwängler resigned his conductorship. Under the circumstances, Szymanowski declined to play under a replacement conductor. He spent his last months in Switzerland in rapidly declining health and died there, nearly penniless. When Rubinstein heard of his friend’s death, he raised the money for a funeral and then found—to his anger—that the Polish government, which had paid little enough attention to Szymanowski in his lifetime, was willing to give him a spectacular funeral. As the pianist wrote in his memoir, My Many Years: “What a bitter irony! For years they had made my poor Karol suffer through their meanness and now they were willing to spend a fortune on this big show. And what really infuriated me was the fact that they asked Hitler’s government to make the train with Karol’s body stop in Berlin long enough to receive military honors.” In all of Szymanowski’s concertos (the two for violin and the Symphonie Concertante for piano and orchestra), the solo instrument is not projected as a creature set apart, but rather enclosed within the body of the orchestra as a special sonority of leading importance, a discussion leader, perhaps, but not a dictator. Both violin concertos are cast in a continuous movement that is subdivided into smaller, varied sections. In the case of the Second Concerto, the subdivisions are defined sharply enough to become four separate sections played without pause and linked at the midpoint by a huge cadenza. The work opens with a nearly endless lyrical theme that grows in intensity, and virtually without break, to the climax. The melody, of a strong folk character, can be set forth against several harmonic backgrounds in different modes—E minor, A minor with a flattened seventh, or C major with a raised fourth—all of which Szymanowski employs, using extended pedal points to reinforce the tonal centers. The opening ternary structure is so dominated by this first theme as to sound monothematic. The second section, marchlike in character, alternating 2/4 and 6/8 time between the various sections of the orchestra, is built on material related to the opening theme. It ends with a timpani roll and the beginning of the difficult cadenza (built almost entirely on multiple stops—that is, of playing two or more notes simultane- ously on the violin), which continues the 6/8 march pattern. The orchestra returns on the last beat of the cadenza with an energetic 2/4 rhythm, and the violin introduces a new theme, evidently derived from the folk music of the Tatra mountains. Its triplet figure eventually leads to a brilliant skirling in the woodwinds. A slower middle section features expressive duets between the violin solo and the woodwinds over a static harmony and evocative trills in the strings. The closing section of the concerto restates the material of the opening two sections in reverse order, so as to build to a climactic moment in which the opening theme returns triumphantly.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

28 Pyotr Ilyich Tchaikovsky (1840-1893) Symphony No. 4 in F minor, Opus 36 First performance: February 22, 1878, Moscow, Nikolai Rubinstein cond. First BSO performances: November 1896, Emil Paur cond. (but preceded by Arthur Nikisch’s performances in October 1890 of the second and third movements). First Tanglewood performance: August 7, 1937, Serge Koussevitzky cond. Most recent Tanglewood performance: July 7, 2012, Michael Stern cond. For Tchaikovsky, the Symphony No. 4 was a breakthrough work, a bounding creative leap beyond his first three symphonies. In scale, control of form, intensity, and ambi- tion it towers above any symphonies previously produced by other Russian composers, most of whom shunned the symphonic form in favor of operas and programmatic works. Here, in one of the masterpieces of late Romanticism, Tchaikovsky combines his strong sense of the theatrical (already demonstrated in Romeo and Juliet, Francesca da Rimini, and Swan Lake) with a heightened mastery of orchestration and thematic development. The year of the composition of the Fourth Symphony—1877—has been called the most fateful year in the composer’s eventful and emotionally volatile life. It was in 1877 that he made the rash and ultimately tragic decision to marry Antonina Ivanovna Milyukova, a woman he barely knew. He did so (on July 18) in a panic-stricken attempt to conceal—or even overcome—his homosexual inclinations. Not surprisingly, given Tchaikovsky’s lack of sexual interest in women and the unbalanced personality of Milyukova, the marriage ended in disaster. It lasted a mere two months, at the end of which Tchaikovsky attempted suicide by walking into the frigid Moscow River in the hopes of contracting pneumonia. (Those who have seen Ken Russell’s film-bio of Tchaikovsky, The Music Lovers, will no doubt remember the scene.) Fleeing his wife and his botched attempt at a “normal” life, he escaped to St. Petersburg and then to Europe. It was there, far from the problems that awaited him in Russia, that he completed the Fourth Symphony, begun in the spring. From this time on, Tchaikovsky restlessly divided his time between Russia and Europe, feeling entirely comfortable in neither. Milyukova was not the only woman in Tchaikovsky’s life at the time. The other was Nadezhda von Meck, a wealthy widow so passionate about the composer’s music that she became his patron, giving him large sums of money so he could continue composing without financial worries. At von Meck’s insistence, however, they never met, and instead maintained a remarkable epistolary relationship. During the stressful period of his failed marriage, Tchaikovsky turned to von Meck for emotional and financial support. She did not fail him. In gratitude, Tchaikovsky dedicated to her his new Fourth Symphony, but anonymously, as they had agreed: “To my best friend.” Not only did the composer dedicate the Fourth Symphony to von Meck, he also provided her with a detailed written description of its emotional program. “In our symphony there is a programme,” he wrote, “i.e. it is possible to express in words what it is trying to say, and to you, and only to you, I am able and willing to explain the meaning both of the whole and of the separate movements.” The symphony’s “signature,” and among the most famous music Tchaikovsky ever wrote, is its stunning, even alarming opening fanfare scored for brass and woodwinds. This introduction, Tchaikovsky told von Meck, “is the seed of the whole symphony, undoubtedly the main idea.... This is fate, this is the fateful force which prevents the impulse to happiness from attaining its goal....It is invincible, and you will never

TANGLEWOODWEEK 6 SATURDAYPROGRAMNOTES 29 overcome it. You can only reconcile yourself to it, and languish fruitlessly.” This “fate” motif appears most prominently in the opening movement, but reappears dramatically in the finale. (Tchaikovsky would go even further in the Fifth Symphony, using a “signature” motif in all the movements.) In the finale, the “fate” motif grows (at measure 200) out of a folk song in a most ingenious and startling manner. If this fanfare represents thwarted happiness, then the stuttering waltz theme that follows in the first movement also reflects frustration, Tchaikovsky told von Meck. The theme is in 9/8 meter, which lends it a fluid and yet halting gait. “The cheerless and hopeless feeling grows yet stronger and more burning. Is it not better to turn away from reality and submerge yourself in daydreams?” These daydreams (remember that the title of Tchaikovsky’s First Symphony was “Winter Daydreams”) are reflected in the melancholy, rising-and-falling theme given to the clarinet. Of the much shorter second movement (Andantino in modo di canzone), Tchaikov- sky said this: “This is that melancholy feeling which comes in the evening when, weary from your labor, you are sitting alone, you take a book—but it falls from your hand. There comes a whole host of memories. You both regret the past, yet do not wish to begin your life again. Life has wearied you.... It’s sad and somehow sweet to immerse yourself in the past.” The scherzo (pizzicato ostinato) offers respite from the emotional intensity of the outer movements. Constructed in classical, even Mozartian fashion, in three sections (ABA), this delicate and innovative confection is dominated by the strings, playing pizzicato, with a middle Trio section featuring a playful military-style theme in the brass and winds. A well-known Russian folk song (“A little birch tree stood in the field”: “Vo polye bery- ozinka stoyala”) provides the central focus for the relatively brief but fiery final movement. (It’s not labeled “Allegro con fuoco”—“Fast, with fire”—for nothing!) Some years earlier, Russian composer Mily Balakirev (1837-1910) had used the same folk song in his Overture on Three Russian Themes, but treated it very differently. Balakirev retained the circular free rhythmic structure of the tune, remaining faithful to the Russian folk tradition. But Tchaikovsky, more of a “Westernizer,” adds two beats after the first phrase, squaring the tune to fit into conventional 4/4 meter. By the finale’s end, Tchaikovsky has whipped this innocent little tune into a tragic frenzy that cul- minates in the majestic reentry of the “fate” theme. “Hardly have you managed to forget yourself and to be carried away by the spectacle of others’ joys, than irrepressible fate again appears and reminds you of yourself,” the composer wrote to von Meck about the finale. “But others do not care about you. They have not even turned around, they have not glanced at you, and they have not noticed that you are solitary and sad.” Musicologists and biographers have long debated how accurately Tchaikovsky’s over- heated description of the Fourth Symphony reflects its content. They do agree on one thing. The score, despite some flaws (excessive repetition, and what Russian composer Sergei Taneyev called an overuse of “ballet music”), established Tchaikovsky as one of the masters of the symphonic form in Russia and elsewhere.

HARLOW ROBINSON Harlow Robinson, Matthews Distinguished University Professor at Northeastern University, writes and lectures frequently on Russian music and culture for the Boston Symphony Orchestra, Metropolitan Opera, and Lincoln Center.

TANGLEWOODWEEK 6 SATURDAYPROGRAMNOTES 31 Guest Artists

Stéphane Denève Stéphane Denève is chief conductor of the Stuttgart Radio Symphony Orchestra (SWR) and principal guest conductor of the Philadelphia Orchestra beginning with the 2014-15 season; in September 2015 he will become chief conductor of the Brussels Phil- harmonic and director of its Centre for Future Orchestral Repertoire (Cffor). From 2005 to 2012 he was music director of the Royal Scottish National Orches- tra (RSNO). Recognized internationally for the exceptional quality of his performances and programming, he regularly appears at major concert venues with the world’s leading orchestras and soloists. He has a special affinity for the music of his native France, and is a passionate advocate for new music. Recent European engagements have included appearances with the Royal Concertge- bouw Orchestra, Bavarian Radio Symphony, Munich Philharmonic, Vienna Symphony, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, London Symphony Orchestra, Philharmonia Orchestra, Deutsches Symphonie-Orchester Berlin, and Swedish Radio Symphony. In North America he made his Carnegie Hall debut in 2012 with the Boston Symphony Orchestra, with which he is a frequent guest both in Boston and at Tanglewood, and he appears regularly with the Philadelphia Orchestra, Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, and San Francisco Symphony. He will make his New York Philharmonic debut in 2015. Mr. Denève enjoys close relationships with many of the world’s leading solo artists, including Jean-Yves Thibaudet, Leif Ove Andsnes, Yo-Yo Ma, Leonidas Kavakos, Frank Peter Zimmermann, Nikolaj Znaider, Gil Shaham, Piotr Anderszewski, Emanuel Ax, Lars Vogt, Nikolai Lugansky, Paul Lewis, Joshua Bell, Hilary Hahn, Vadim Repin, and Nathalie Dessay. In the field of opera, he has led productions at the Royal Opera House, Glyndebourne Festival, La Scala, Saito Kinen Festival, Gran Teatro de Liceu, Netherlands Opera, La Monnaie in Brussels, and at the Opéra National de Paris. As a recording artist, he has won critical acclaim for his recordings of works by Poulenc, Debussy, Roussel, Franck, and Guillaume Connesson. A two-time winner of the Diapason d’Or de l’année, he was shortlisted in 2012 for Gramophone’s Artist of the Year award, and won the prize for symphonic music at the 2013 International Classical Music Awards. A graduate of and prizewinner at the Paris Conservatoire, Stéphane Denève worked closely in his early career with Sir Georg Solti, Georges Prêtre, and Seiji Ozawa. Com- mitted to inspiring the next generation of musicians and listeners, he works regularly with young people in the programs of the Tanglewood Music Center and the New World Symphony. For further information, please visit stephanedeneve.com. Stéphane Denève made his BSO debut in April 2011 at Symphony Hall and has since also led the orchestra at Carnegie Hall and Tanglewood, where he conducts the Tanglewood Music Center Orchestra as well as the BSO. Already at Tanglewood this summer he led the combined forces of the BSO and TMCO in Tchaikovsky’s 1812 Overture to close the gala Tanglewood on Parade concert this past Tuesday night; and in addition to tonight’s Shed concert with the Boston Symphony Orchestra, he leads the TMCO in music of Berlioz this coming Monday night.

32 Leonidas Kavakos Recognized for his virtuosity and musicianship, violinist Leonidas Kavakos was born in Athens. Guided in his early violin studies by his parents, he later studied at the Hellenic Conservatory with Stelios Kafantaris, one of three important mentors, together with Josef Gingold and Ferenc Rados. Mr. Kavakos went on to win the 1985 Sibelius Competition and the 1988 Paganini Competition, successes that led to his making the first recording of the original version of Sibelius’s Violin Concerto, which earned a Gramophone Award. He now appears with the world’s great orchestras and conductors, among them the Berlin Philharmonic under Rattle, Gewandhaus Orchestra of Leipzig under Chailly, London Symphony Orchestra under Gergiev, and Royal Concertgebouw Orchestra of Amsterdam under Jansons. In the U.S., he is a regular guest of the New York Philharmonic, Chicago Symphony Orchestra, Boston Symphony Orchestra, Philadelphia Orchestra, and Los Angeles Philharmonic. During the 2012-13 season he had residencies with both the London Symphony Orchestra and Berlin Philharmonic, and performed Bartók’s Violin Concerto No. 2 on the Jubilee tour of the Concertgebouw, the orchestra that originally premiered the work. Mr. Kavakos has always retained strong links with his native Greece. For fifteen years he curated a chamber music program at the Athens Concert Hall (Megaron), which featured such musical colleagues as Mstislav Rostropovich, Heinrich Schiff, Emanuel Ax, Nikolai Lugansky, Yuja Wang, and Gautier Capuçon. In his burgeoning career as a conductor, he has worked with the Deutsches Symphonie-Orchester Berlin, the Chamber Orchestra of Europe, the Accademia Nazionale di Santa Cecilia, the Vienna Symphony, Royal Stockholm Philharmonic, Finnish Radio Symphony, and Rotterdam Philharmonic orchestras. In the U.S. he has led the symphony orchestras of Boston, Atlanta, and St. Louis. The current season has included return engagements with the Boston Symphony, Budapest Festival, Gothenburg Symphony, and Maggio Musicale Fiorentino orchestras and conducting debuts with the London Symphony and Orchestre Philharmonique de Radio France. Since 2012 Leonidas Kavakos has been an exclusive Decca Classics recording artist. He was honored for his first recording on the label, the complete Beethoven violin sonatas with Enrico Pace, as Instrumentalist of the Year at the 2013 ECHO Klassik Awards. The duo performed the entire Beethoven cycle in the 2013-14 season at Carnegie Hall and in the Far East. Subsequent Decca releases include the Brahms Violin Concerto with the Gewandhaus Orchestra under Chailly, and the Brahms violin sonatas with Yuja Wang, with whom Mr. Kavakos performs Brahms recitals in Europe this season and next. His previous recordings include Mendelssohn’s Violin Concerto (Sony Classical), which received the 2009 ECHO Klassik award, and a live Sony recording of Mozart’s five violin concertos and Symphony No. 39 with the Camerata Salzburg. For the past two years he has curated an annual violin and chamber music master class in Athens, attracting violinists and ensembles from around the world. Leonidas Kavakos is passionate about the art of violin- and bow-making (both past and present), which he considers a great mystery and, to this day, an undisclosed secret. He plays the “Abergavenny” Stradivarius violin of 1724 and owns modern violins made by F. Leonhard, S.P. Greiner, E. Haahti, and D. Bague. Bows by F.X. Tourte, D. Peccatte, J.P.M. Persois, and J. Henry are his most precious companions. Leonidas Kavakos made his Boston Symphony Orchestra debut with Bartók’s Violin Concerto No. 2 in March 2007, subsequently returning to Symphony Hall as soloist in the Brahms Violin Concerto in October 2008, and as soloist/conductor with the BSO in March 2012 and November 2013. He makes his first Tanglewood appearance with the orchestra this evening. This past Thursday night in Ozawa Hall, he appeared in an all-Brahms chamber music program with Emanuel Ax and Yo-Yo Ma.

TANGLEWOODWEEK 6 GUESTARTISTS 33 Florence Newsome and George William Adams Florence and George Adams shared a love of music. Mrs. Adams grew up in Jamaica Plain and attended Boston Symphony and Pops concerts frequently with her mother during the Koussevitzky-Fiedler era. The same devotion led them to travel to Lenox by train in the 1930s—a more arduous journey than it is today—to hear the ﬁrst concerts presented by the Berkshire Symphonic Festival in a tent. In 1937, after Lenox became the summer home of the Boston Symphony, Mrs. Adams attended the famous “thunderstorm concert” that led Gertrude Robinson Smith to begin fundraising to build a permanent music shed. A graduate of Simmons College and Boston University, Mrs. Adams began her career as a reference librarian with the Boston Public Library. She met and married her husband George, also a librarian, while both were working at the Newark Public Library in New Jersey. Upon the birth of their daughter the family relocated and Mrs. Adams began her association with the Hartford Public Library, where she served as a branch librarian for thirty-six years. An expert on Connecticut legislative history, Mr. Adams was consulted by many state lawmakers and authored numerous articles in his post as legislative reference chief of the Connecticut State Library. Having found many years of enjoyment in the music of the Boston Symphony Orches- tra, especially in its tranquil Berkshire setting, Mrs. Adams decided to endow a concert there to maintain that tradition—the ﬁrst such memorial concert to be endowed at Tanglewood. She died just weeks before the first George W. and Florence N. Adams Concert took place on August 1, 1987, a program featuring works of George Perle and Felix Mendelssohn conducted by Seiji Ozawa.

Serge Koussevitzky conducting the BSO at Tanglewood (BSO Archives)

34 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Sunday, August 10, 2:30pm THE GEORGE W. AND FLORENCE N. ADAMS CONCERT ENDOWED IN PERPETUITY

DAVID ZINMAN conducting

ALL-TCHAIKOVSKY PROGRAM

Polonaise from “Eugene Onegin”

Andante cantabile for cello and strings YO-YO MA

Variations on a Rococo Theme, Opus 33, for cello and orchestra YO-YO MA

{Intermission}

Symphony No. 6 in B minor, Opus 74, “Pathétique” Adagio—Allegro non troppo Allegro con grazia Allegro molto vivace Adagio lamentoso—Andante

TANGLEWOODWEEK 6 SUNDAYPROGRAM 35 NOTES ON THE PROGRAM

Pyotr Ilyich Tchaikovsky (1840-1893) Polonaise from “Eugene Onegin,” Act III First performance of the opera: March 29, 1879, a student production by the Moscow Conservatory at the Maly Theatre, Moscow, Nikolai Rubinstein cond. First BSO performance of the Polonaise/also the first Tanglewood performance: August 17, 1974, Seiji Ozawa cond., as part of a concert performance of the complete opera. Most recent performance of the Polonaise by the BSO: Tanglewood, July 15, 1994, Mariss Jansons cond. Most recent Tanglewood performance: August 2, 2008, Tanglewood Music Center Orchestra, Sir Andrew Davis cond., again as part of a concert performance of the complete opera. Tchaikovsky turned one of the greatest classics of Russian poetry, Pushkin’s novel in verse Eugene Onegin, into one of the most popular of Russian operas—and one of the most unusual, for it involves no grand heroics, and little in the way of melodramatic gesture. It deals rather with quite ordinary people and the common concerns of human relationships. The opera proceeds in music that conveys its conversational tone with remarkable accuracy, so that when suppressed passion does break out, its effect is all the stronger. The poem is rich in social commentary, which can scarcely be treated in the opera, but the basic outline of the plot is fairly closely followed. The young Tatiana, daughter of Madame Larina, falls in love with Eugene Onegin, the friend of her sister’s fiancé. She writes him a letter revealing her most private feelings, only to find herself devastated when he responds, frankly but not unkindly, that he can love her like a brother only; more passionate love and marriage are not

36 for him. Onegin is a sophisticated urbanite bored with the lives of the countryfolk he is visiting. The last act takes place years later. Onegin has been abroad for some time in atonement for having killed his friend in a duel fought over a trivial point of honor. He appears as a guest at a fashionable house in St. Petersburg. When his kinsman, Prince Gremin, enters the room, Onegin is enchanted by his sophisticated wife, who turns out to be none other than the “simple” country girl Tatiana he had rejected some years before. Now it is Onegin’s turn to be left distraught when his passionate letter to Tatiana finds her admitting her love for him, but insisting that he remember the path of honor. The brilliant Polonaise, which introduces the party scene at the beginning of the last act, is a splendid characterization of the rich social world into which Tatiana has come—it is music of high society, a far cry from the countrified dances associated with her in the earlier acts. Already in the opening measures Tchaikovsky has succeeded in bringing to life an entirely different milieu, and in doing so he makes possible the drama of his final act.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

Pyotr Ilyich Tchaikovsky Andante cantabile for cello and strings This is the first Boston Symphony Orchestra performance of Tchaikovsky’s Andante cantabile in this arrangement for cello and strings, the original version having been the second movement of the composer’s String Quartet No. 1 in D, Opus 11, dating from 1870, as described below. The only previous Tanglewood performance was given by Yo-Yo Ma as soloist and conductor with the strings of the Tanglewood Music Center Orchestra on July 14, 2012, as part of the Tanglewood 75th Anniversary Gala concert subsequently issued on DVD and Blu-ray. By the beginning of 1870, Tchaikovsky had completed his first masterpiece, the orchestral fantasy Romeo and Juliet, and the Opus 6 songs ending with his best-known contribution to that repertory, “None but the lonely heart.” He had begun work on a tragic opera, The Oprichnik, but interrupted it in February to begin a string quartet. The reason he turned to the quartet medium at this time was that he expected to be giving a concert of his own works that would earn him some money (obviously an opera would not work for such an occasion). The performance of his String Quartet No. 1 in D, Opus 11—Tchaikovsky’s first quartet brought to public performance—took place in March 1870 and was a considerable success. The second movement—an Andante cantabile based on a Russian folk song he had collected in Kamenka, where his sister lived—is the most famous portion of the work. Tchaikovsky himself arranged the Andante cantabile for solo cello and string orchestra in 1888, leading the first performance on February 28, 1888, with soloist Anatoli Brandukov, in a private concert of the Colonne Orchestra in Paris, and the first public performance, with the same soloist, on March 4 that year, at a Châtelet concert also in Paris.

STEVEN LEDBETTER

TANGLEWOODWEEK 6 SUNDAYPROGRAMNOTES 37 Pyotr Ilyich Tchaikovsky Variations on a Rococo Theme, Opus 33, for cello and orchestra First performance: November 30, 1877, Moscow, Nikolai Rubinstein cond., Wilhelm Fitzenhagen (the work’s dedicatee), soloist. First BSO (and ﬁrst American) performances: October 1908, Max Fiedler cond., Alwin Schroeder, soloist. First Tanglewood performance: August 18, 1974, Michael Tilson Thomas cond., Zara Nelsova, soloist. Most recent Tanglewood performance: July 7, 2007, Ludovic Morlot cond., Lynn Harrell, soloist. Though one would never infer it from the music itself, Tchaikovsky wrote the Rococo Variations out of grievous depression: his fourth opera, Vakula the Smith, had just enjoyed what the composer called “a brilliant failure” at the Maryinsky Theater in St. Petersburg; his student, the composer and pianist Sergei Taneyev, reported from Paris that Jules-Etienne Pasdeloup had “shamefully bungled” Romeo and Juliet and that the work had therefore not pleased; Hans Richter had had no success with it in Vienna either, and Eduard Hanslick had written one of his most abusive reviews. All this happened within two weeks at the beginning of December 1876. But Tchaikovsky was learning to escape depression by work, and though ill with dyspepsia, he energetically pursued a project begun a couple of months earlier (and to be abandoned soon after), an opera based on Othello with a libretto by the critic Vladimir Stasov, and he rapidly composed the Rococo Variations for cello. These he wrote for his friend Wilhelm Karl Friedrich Fitzenhagen, then twenty-eight and for the past six years principal cellist of the orchestra of the Imperial Russian Music Society in Moscow and professor at the Conservatory. As already mentioned, Fitzenhagen intervened considerably in the shaping of “his” piece, and it is difficult to determine just how far his recomposition had Tchaikovsky’s sanction. Fitzenhagen is responsible for much of the detail of the cello part as it stands and he entered his changes in Tchaikovsky’s autograph manuscript. Tchaikovsky, for his part, had certainly not made the situation clear to his publisher Pyotr Fürgenson, for the latter wrote to him: “Bad Fitzenhagen wants to change your cello piece. He wants to ‘cello’ it up and claims you gave him permission. God!” Tchaikovsky seems, moreover, to have acquiesced in Jurgenson’s publication of the work as “revu et cor- rigé ” by Fitzenhagen—with piano in 1878 and in full score eleven years later. We can no longer reconstruct a Tchaikovskian “original”—if there ever was such a thing—behind the cello part as it now exists. As for the structure of the work, the

38 ordering of its events, it is easy to imagine Tchaikovsky, always unconﬁdent in mat- ters of form, yielding to his German-trained friend. Whether he was right to do so is another question. His original ordering keeps all the variations in 2/4 together, with the somewhat slower variation in D minor occurring in the middle of the series, and the one variation in a considerably slower tempo (Andante sostenuto), in a different meter (3/4), and in a more remote key (C major), is placed in the traditional spot for such an excursion, which is just before the ﬁnale. Whatever he may have said later, his design is more convincing than Fitzenhagen’s recension. In the table below, the left-hand column shows Tchaikovsky’s order, while the column on the right shows where each section occurs in the standard edition: Tchaikovsky Fitzenhagen Introduction: Moderato assai quasi Introduction (Moderato quasi Andante—A—2/4 Andante) Theme: Moderato simplice—A—2/4 Theme (Moderato semplice) Var. I: Tempo della thema [sic]—A—2/4 Var. I (Tempo del tema) Var. II: Tempo della thema—A—2/4 Var. II Var. III: Andante—D minor—2/4 Var. VI Var. IV: Allegro vivo—A—2/4 Var. VII Var. V: Andante grazioso—A—2/4 Var. IV Var. VI: Allegro moderato—A—2/4 Var. V Var. VII: Andante sostenuto—C—3/4 Var. III Var. VIII and Coda: Allegro moderato Coda (35 measures missing con anima—A—2/4 altogether) What is beyond dispute (other than that the cellist’s Italian is better than the composer’s) is that Fitzenhagen enjoyed immense success with this grateful, gracious, and charming piece wherever he played it. Liszt’s reaction at the Wiesbaden Festival in June 1879 gave cellist and composer particular pleasure: “At last, music again,” the elderly master had sighed. The theme, so far as we know, is Tchaikovsky’s own. Its invention and what he builds upon it form one of the most warmhearted of his declarations of love to the eighteenth century.

MICHAEL STEINBERG Michael Steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Philharmonic. Oxford University Press has published three compilation volumes of his program notes, devoted to symphonies, concertos, and the great works for chorus and orchestra.

Pyotr Ilyich Tchaikovsky Symphony No. 6 in B minor, Opus 74, “Pathétique” First performance: October 28, 1893, St. Petersburg, Tchaikovsky cond. (nine days before his death). First BSO performance: December 29, 1894, Emil Paur cond. First Tanglewood performance: August 13, 1938, Serge Koussevitzky cond. Most recent Tangle- wood performance: July 20, 2012, Christoph Eschenbach cond. During Tchaikovsky’s last years, his reputation grew enormously outside of Russia, but he was left prey to deepening inner gloom, since his countrymen rarely recognized his genius. He had, moreover, been shattered by the sudden breaking-off of the strange but profoundly moving epistolary relationship that he had carried on for fourteen years with Nadezhda von Meck, whose ﬁnancial assistance and understand- ing had sustained him through difﬁcult times. Though they never met face to face,

TANGLEWOODWEEK 6 SUNDAYPROGRAMNOTES 39 their relationship was one of the strongest, in its emotional depth, that either of them was ever to experience; she, for unknown reasons, decided to end the corre- spondence decisively in October 1890. Tchaikovsky never fully recovered from the blow. Another reason for his depression was an old but continuing concern—the constant fear that his homosexuality might become known to the public at large or to the authorities (which would lead to terrible consequences, since homosexuality was regarded as a crime that might involve serious legal consequences, including banishment and the loss of his civil rights). Tchaikovsky was also concerned that he was written out. In 1892 he began a symphony and had even partly orchestrated it when he decided to discard it entirely (some twenty-five years ago it was completed by a Russian musicolo- gist and performed as Tchaikovsky’s “Seventh Symphony”; the composer’s self-critical view was right). But a trip to western Europe in December brought a warm reunion: he visited his old governess, whom he had not seen for over forty years. The two days he spent with her, reading over many letters from his mother and his brothers and sisters, not to mention some of his earliest musical and literary work, carried him off into a deep nostalgia. As the composer wrote to his brother Nikolai, “There were moments when I returned into the past so vividly that it became weird, and at the same time sweet, and we both had to keep back our tears.” The retrospective mood thus engendered may have remained even though he returned to Russia at low ebb: “It seems to me that my role is finished for good.” Yet the recent opportunity to recall his childhood, when combined with his fundamen- tally pessimistic outlook, may well have led to the program for the work that suggested itself to him and captured his attention on the way home. Within two weeks of writing the foregoing words, Tchaikovsky was hard at work on what was to become his masterpiece. Home again, he wrote in mid-February to a nephew that he was in an excellent state of mind and hard at work on a new symphony with a program—“but a program that will be a riddle for everyone. Let them try and solve it.” He left only hints: “The program of this symphony is completely saturated with myself and quite often during my journey I cried profusely.” The work, he said, was going exceed- ingly well. On March 24 he completed the sketch of the second movement—evidently the last to be outlined in detail—and noted his satisfaction at the bottom of the page: “O Lord, I thank Thee! Today, March 24th, completed preliminary sketch well!!!” The orchestration was interrupted until July because he made a trip to Cambridge to receive an honorary doctorate, an honor that he shared with Saint-Saëns, Boito, Bruch, and Grieg (who was ill and unable to be present). He was presented for the degree with a citation in Latin that appropriately singled out the “ardor fervidus” and the “languor subtristis” of his music. When he returned home he found that the orchestration would be more difficult than he expected: “Twenty years ago I used to go full speed ahead and it came out very well. Now I have become cowardly and unsure of myself. For instance, today I sat the whole day over two pages—nothing went as I wanted it to.” In another letter he noted, “It will be... no surprise if this symphony is abused and unappreciated—that has happened before. But I definitely find it my very best, and in particular the most sincere of all my compositions. I love it as I have never loved any of my musical children.” Though Tchaikovsky was eager to begin an opera at once, the Sixth Symphony was to be the last work he would complete. The premiere on October 28 went off well despite the orchestra’s coolness toward the piece, but the audience was puzzled by the whole—not least by its somber ending. Rimsky-Korsakov confronted Tchaikovsky at intermission and asked whether there was not a program to that expressive music; the composer admitted that there was, indeed, a program, but he refused to give any

40 details. Five days later Tchaikovsky failed to appear for breakfast; he complained of indigestion during the night, but refused to see a doctor. His situation worsened, and in the evening Modest sent for medical help anyway. For several days Tchaikovsky lingered on, generally in severe pain. He died at three o’clock in the morning on November 6. Though it is generally believed that Tchaikovsky’s death was the result of cholera brought on by his drinking a glass of unboiled water during an epidemic, the extraordinarily expressive richness of the Sixth Symphony, and particularly that of its finale, has inspired a great deal of speculation regarding the composer’s demise. It has even been suggested that Tchaikovsky poisoned himself, fearing denunciation of himself to the Tsar as a homosexual by a duke with whose nephew he had struck up a friendship! Other writers have asserted that the music was composed because of the composer’s premonitions of impending death. Yet perusal of his letters makes clear that until the last few days he was in better spirits than he had enjoyed for years, confident and looking forward to future compositions. The expressive quali- ties of the Sixth Symphony follow from his two previous symphonies, which are also concerned in various ways with Fate. The Fourth and Fifth symphonies had offered two views of man’s response to Fate—on the one hand finding solace in the life of the peasants, on the other struggling to conquest, though through a somewhat unconvincing victory. In the Sixth Symphony, Fate leads only to despair. Tchaikovsky never did reveal a formal program to the symphony, though a note found among his papers is probably an early draft for one: The ultimate essence of the plan of the symphony is LIFE. First part—all impul- sive passion, confidence, thirst for activity. Must be short. (Finale DEATH— result of collapse.) Second part love; third disappointments; fourth ends dying away (also short). In the end, all of this (and any possible elaborations of it) remained the composer’s secret. The title that it now bears came only the day after the first performance, when the composer, having rejected “A Program Symphony” (since he had no intention of revealing the program) and Modest’s suggestion of “Tragic,” was taken with his brother’s alternative suggestion, “Pathetic.” Modest recalled his brother’s reaction: “‘Excellent, Modya, bravo, Pathetic !’ and before my eyes he wrote on the score the title by which it has since been known.” The title gives a misimpression in English, where “pathetic” has become a debased slang word, almost totally losing its original sense of “passionate” or “emotional,” with a hint of its original Greek sense of “suffering.” In French it still retains its significance. And the symphony is, without a doubt, the most successful evocation of Tchaikovsky’s emotional suffering, subli- mated into music of great power. Ultimately, of course, Tchaikovsky’s farewell vision is a somber one, congruent with his own pessimistic view of life. But it is worth remembering—especially given all the stories that whirl around the composer—that his art, and especially the Pathétique Symphony, was a means of self-transcendence, a way of overcoming the anguish and torment of his life. It has sometimes been assumed in the past that Tchaikovsky chose to revel in his misery; but in the Sixth Symphony, at least, he confronted it, recreated it in sound, and put it firmly behind him.

STEVEN LEDBETTER

TANGLEWOODWEEK 6 SUNDAYPROGRAMNOTES 41 42 Guest Artists

David Zinman David Zinman’s career has been distinguished by his extraordinarily broad repertoire, strong commitment to the performance of contemporary music, and historically informed performance practice. The 2013-14 season was his final one as music director of the Tonhalle Orchestra in Zurich. Mr. Zinman has conducted all the leading North American orchestras, including those of Chicago, Boston, Cleveland, Philadelphia, and New York. His European engagements have included the Berlin Philharmonic, the Royal Concertgebouw Orchestra, Gewand- hausorchester Leipzig, London Symphony and Philharmonia orchestras, as well as the hr-Sinfonieorchester, Munich Philharmonic, and WDR Sinfonieorchester. A highlight of his final season with the Tonhalle Orchestra was a spring 2014 tour to Japan; this followed Mr. Zinman’s successful return last season to the NHK Symphony Orchestra, with which he has a regular relationship. Other European engagements have taken him to the Vienna Symphony, l’Orchestre National de France, London Philharmonic Orchestra, Orchestre de Paris, Royal Stockholm Phi- lharmonic Orchestra, NDR Sinfonieorchester Hamburg, and the Symphonieorchester des Bayerischen Rundfunks. In 2013-14 he continued his regular relationship with the New York Philharmonic, where he appears each season, and also leads the Boston Symphony Orchestra at Tanglewood. David Zinman’s extensive discography of more than 100 recordings has earned him numerous international honors, including five Grammy awards, two Grand Prix du Disque, two Edison Prizes, the Deutsche Schall- plattenpreis, and a Gramophone Award. He was also the 1997 recipient of the prestigious Ditson Award from Columbia University in recognition of his exceptional commitment to the performance of works by American composers. David Zinman and the Tonhalle Orchestra have most recently released a disc entitled “Wagner in Switzerland,” as well as collaborating with violinist Julia Fisher and Decca Classics for the Bruch and Dvoˇrák concertos. Recently completed and acclaimed cycles with the orchestra include Schubert, Brahms, and Mahler, the Mahler Symphony No. 8 disc garnering a 2011 ECHO Klassik Award. Together they have also recorded the Schumann symphonies and Strauss orchestral works, as well as a Beethoven cycle that sold over one million copies. David Zinman, who studied conducting with Pierre Monteux, has held positions as music director of the Rotterdam Philharmonic, Rochester Philharmonic Orchestra, and Baltimore Symphony Orchestra and principal conductor of the Netherlands Chamber Orchestra. He was also music director of the Aspen Music Festival and School and American Academy of Conducting for thirteen years. In 2000 the French Ministry of Culture awarded David Zinman the title of Chevalier de l’Ordre des Arts et des Lettres and in October 2002 the City of Zurich Art Prize was awarded to him for his outstanding artistic efforts, making him the first conductor and first non-Swiss recipient of this award. More recently, Mr. Zinman received the prestigious Thomas Theodore award in recognition of outstanding achievement and extraordinary service to one’s colleagues in advancing the art and science of conducting, reflecting honor on the profession. In 2008 he won the Midem Classical Artist of the Year award for his work with the Tonhalle Orchestra. David Zinman made his Boston Symphony Orchestra debut in July 1968 at Tanglewood and has since appeared with the BSO on numerous occasions both here and at Symphony Hall, where he made his subscription series debut in January 1980. His most recent subscription appearances were in January 2012, his most recent Tanglewood appearance in July that same year, when he led Beethoven’s Choral Fantasy to conclude Tanglewood’s 75th Anniversary Gala, a concert subsequently issued on DVD and Blu-ray.

TANGLEWOODWEEK 6 GUESTARTISTS 43 Yo-Yo Ma Yo-Yo Ma’s multi-faceted career is testament to his continual search for new ways to communicate with audiences, and to his personal desire for artistic growth and renewal. Whether performing new or familiar works from the cello repertoire, coming together with colleagues for chamber music, or exploring cultures and musical forms outside the Western classical tradition, he strives to find connections that stimulate the imagination. His interest in music as a vehicle for the migration of ideas across a range of cultures led to his founding, in 1998, the Silk Road Project, a nonprofit arts and educational organization. Under his artistic direction, the Silk Road Project presents performances by the acclaimed Silk Road Ensemble, engages in cross-cultural exchanges and residencies, leads workshops for students, and partners with leading cultural institutions to create educational materials and programs. The Project’s ongoing affiliation with Harvard University has made it possible to broaden and enhance its educational programming. In the 2013-14 school year, with ongoing partnerships with arts and educational organizations in New York City, it continues to expand Silk Road Connect, a multidisciplinary educa-

44 tional initiative for middle-school students in the city’s public schools. Developing new music is also a central undertaking of the Silk Road Project, which has been involved in commissioning and performing more than sixty new works. As the Chicago Symphony Orchestra’s Judson and Joyce Green Creative Consultant, Mr. Ma is partnering with Riccardo Muti on innovative program development for the orchestra’s Institute for Learning, Access and Training and its artistic initiatives. Mr. Ma and the Institute have created the Citizen Musician Initiative (www.citizenmusician.org), which calls on musicians, music lovers, music teachers, and institutions to use the art form to bridge gulfs between people and to inspire a sense of community. Strongly committed to educational programs, he takes time whenever possible to interact with students—musicians and non-musicians alike—and has reached young audiences through appearances on Arthur, Mister Rogers’ Neighborhood, and Sesame Street. Mr. Ma’s discography of more than ninety albums (including more than seventeen Grammy-winners) reflects his wide- ranging interests. He has made several successful recordings that defy categorization, among them “Hush” with Bobby McFerrin, “Appalachia Waltz” and “Appalachian Journey” with Mark O’Connor and Edgar Meyer, “Obrigado Brazil,” and “Obrigado Brazil–Live in Concert.” His recent recordings include Mendelssohn trios with Emanuel Ax and Itzhak Perlman, and “The Goat Rodeo Sessions” with Edgar Meyer, Chris Thile, and Stuart Duncan, which received the 2013 Grammy for Best Folk Album. He remains one of the best-selling recording artists in the classical field. In fall 2009, Sony Classical released a box set of more than ninety albums to mark his thirty years as a Sony recording artist. Yo-Yo Ma was born in 1955 in Paris to Chinese parents who later moved the family to New York. He began to study cello at age four, attended the Juilliard School, and in 1976 graduated from Harvard University. He has received numerous awards, including the Avery Fisher Prize (1978), the Glenn Gould Prize (1999), the National Medal of the Arts (2001), the Dan David Prize (2006), the Sonning Prize (2006), the World Economic Forum’s Crystal Award (2008), the Presidential Medal of Freedom (2010), the Kennedy Center Honors (2011), the Polar Music Prize (2012), and the Vilcek Prize in Contemporary Music (2013). A CultureConnect Ambassador for the United States Department of State, a UN Messenger of Peace, and a member of the President’s Committee on the Arts & the Humanities, he has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony. Mr. Ma and his wife have two children. He plays two instruments, a 1733 Montagnana cello from Venice and the 1712 Davidoff Stradivarius. Since his Boston Symphony debut in February 1983, Yo-Yo Ma has appeared many times with the BSO in Boston, at Tanglewood, and on tour. His most recent Tanglewood appearance with the orchestra was last summer, as soloist in Dvoˇrák’s Cello Concerto, his most recent subscription performances in October 2013, as soloist in Shostakovich’s Cello Concerto No. 1. This past Thursday night in Ozawa Hall he collaborated in an all-Brahms chamber music concert with pianist Emanuel Ax and violinist Leonidas Kavakos. BSO Archives

TANGLEWOODWEEK 6 GUESTARTISTS 45 Society Giving at Tanglewood

The following recognizes gifts of $3,000 or more made since September 1, 2013 to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2013-2014 season. For further information on becoming a Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

Susan B. Cohen, Co-chair, Tanglewood Annual Fund Ranny Cooper, Co-chair, Tanglewood Annual Fund

Koussevitzky Society Founders

Michael L. Gordon • Dorothy and Charlie Jenkins • Carol and Joe Reich • Caroline and James Taylor Virtuoso

Linda J.L. Becker • Roberta and George Berry • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Joyce Linde • Kate and Al Merck • Mrs. Irene Pollin • Susan and Dan ‡ Rothenberg • Stephen and Dorothy Weber Encore

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ginger and George Elvin • Scott and Ellen Hand • Drs. James and Eleanor Herzog • Elizabeth W. and John M. Loder • Jane and Robert J. Mayer, M.D. • The Claudia and Steven Perles Family Foundation • Claudio and Penny Pincus • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Mrs. Millard H. Pryor, Jr. • Ronald and Karen Rettner • June Wu Benefactor

BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Ronnie and Jonathan Halpern • The Edward Handelman Fund • Larry and Jackie Horn • Valerie and Allen Hyman • Leslie and Stephen Jerome • Jay and Shirley Marks • Henrietta N. Meyer • Jonathan D. Miller and Diane Fassino • Suzanne and Burton Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hannah and Walter Shmerler • Carol and Irv Smokler • The Ushers and Programmers Fund Maestro

Mr. Gerald Appelstein • Liliana and Hillel Bachrach • Joan and Richard Barovick • Robert and Elana Baum • Phyllis and Paul Berz • Sydelle and Lee Blatt • Beatrice Bloch and Alan Sagner • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. and Ronni J. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Dr. T. Donald and Janet Eisenstein • Beth and Richard Fentin • Jane Fitzpatrick ‡ • Nancy J. Fitzpatrick and Lincoln Russell • Mr. and Mrs. Jeffrey Garber • Dr Lynne B Harrison • Susie and Stuart Hirshﬁeld • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise ‡ Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Mr. and Mrs. Michael Monts • Jerry and Mary ‡ Nelson • Polly and Dan Pierce • John S. and Cynthia Reed • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Mr. and Mrs. ‡ Marvin Seline • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Dr. and Mrs. Harvey B. Simon • Norma and Jerry Strassler • Linda and Edward Wacks • Mr. and Mrs. Edwin A. Weiller III • Mr. Jan Winkler and Ms. Hermine Drezner • Robert and Roberta Winters • Anonymous

46 Prelude

Gideon Argov and Alexandra Fuchs • Norm Atkin MD and Joan Schwartzman • Brad and Terrie Bloom • Gigi Douglas and David Fehr • Arlene and Jerome Levine • Elaine and Ed London • Judy and Richard J. Miller • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Mr. and Mrs. Gerard O’Halloran • Elaine and Simon Parisier • Elaine and Bernard Roberts • Lucinda and Brian Ross • Maureen and Joe Roxe/The Roxe Foundation • Sue Z. Rudd • Malcolm and BJ Salter • Marcia and Albert Schmier • Anne and Ernest Schnesel • JoAnne and Joel Shapiro • Lynn and Ken Stark • Lois and David Swawite • Aso O. Tavitian • Gail and Barry Weiss • Anonymous Member

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Mark and Stephanie Abrams • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Susan Baker and Michael Lynch • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Carole and Richard Berkowitz • Linda and Tom Bielecki • Hildi and Walter Black • Mr. Michael Bloomberg • Drs. Judith and Martin Bloomﬁeld • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Marlene and Dr. Stuart H. ‡ Brager • Carol and Bob Braun • Jane and Jay Braus • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Bonnie and Terry Burman • David and Maria Carls • Carol and Randy Collord • Judith and Stewart Colton • Ernest Cravalho and Ruth Tuomala • Ann Denburg Cummis • Richard H. Danzig • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan and Lisa Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Eitan and Malka Evan • Marie V. Feder • Eunice and Carl Feinberg • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Myra and Raymond ‡ Friedman • Audrey and Ralph Friedner • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Mr. and Mrs. Leslie J. Garﬁeld • Drs. Anne and Michael Gershon • Dr. Donald and Phoebe Giddon • Robert and Stephanie Gittleman • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Carol B. Grossman • Mr. David Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Nathan and Marilyn Hayward • Ricki Tigert Helfer and Michael S. Helfer • Enid and Charles Hoffman • Richard Holland • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Lauren Joy • Kahn Family Foundation • Adrienne and Alan Kane • Martin and Wendy Kaplan • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff • Dr. Samuel Kopel and Sari Scheer • Norma and Sol D. Kugler • Marilyn E. Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • The Messinger Family • Wilma and Norman Michaels • Mr. and Mrs. Raymond F. Murphy, Jr. • The Netter Foundation • John and Mary Ellen O’Connor • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Mary Ann and Bruno A. Quinson • The Charles L. Read Foundation • Mr. and Mrs. Albert P. Richman • Barbara and Michael Rosenbaum • Milton B. Rubin • Dr. Beth Sackler • Joan and Michael Salke • Dr. and Mrs. James Satovsky • Dr. and Mrs. Wynn A. Sayman • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Evelyn and Ronald Shapiro • Lois and Leonard Sharzer • The Shields Family • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind •

TANGLEWOODWEEK 6 SOCIETYGIVINGATTANGLEWOOD 47 Elaine Sollar and Edwin R. Eisen • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Mr. and Mrs. Richard Stair • Lynn and Lewis Stein • Suzanne and Robert Steinberg • Noreene Storrie and Wesley McCain • Jerry and Nancy Straus • Ms. Pat Strawgate • Roz and Charles Stuzin • Mr. Eric Swanson and Ms. Carol Bekar • Dorothy and Gerry Swimmer • Ingrid and Richard Taylor • Jerry and Roger Tilles • Mr. and Mrs. Wilmer J. Thomas, Jr. • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • Antoine and Emily van Agtmael • Loet and Edith Velmans • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Marillyn Zacharis • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (5) Bernstein Society

Dr. and Mrs. Bert Ballin • Mr. Michael Beck and Mr. Beau Bufﬁer • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • Sandra L. Brown • Rhea and Allan Bufferd • Mr. and Mrs. Scott Butler • Mrs. Laura S. Butterﬁeld • Antonia Chayes • Lewis F. Clark, Jr. • Herbert B. and Jayne Cohan • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Brenda and Jerome Deener • Mr. and Mrs. Arthur Dellheim • The Dulye Family • Mr. and Mrs. Leonard Edelson • Dr. and Mrs. Gerald D. Falk • Dr. Jeffrey and Barbara Feingold • Betty and Jack Fontaine • Herb and Barbara Franklin • Mr. David Friedson and Ms. Susan Kaplan • Thomas M. Fynan, M.D. • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Rita Sue and Alan J. Gold • Michael and Muriel Grunstein • Dena and Felda Hardymon • Mrs. Deborah F. Harris • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Ms. Jennifer Hersch • Ms. Patricia A. Insley • Jean and Ken Johnson • Miriam and Gene Josephs • Henrietta and Marc Katzen • Mr. Chaim and Dr. Shulamit Katzman • Margaret and Joseph Koerner • J. Kenneth and Cathy Kruvant • Dr. and Mrs. Stephen Kulvin • Ira Levy, Lana Masor and Juliette Freedman • Mr. and Mrs. Anthony J. Limina • Dr. Nancy Long and Mr. Marc Waldor • Mr. and Mrs. Arthur S. Loring • Susan and Arthur Luger • Soo Sung and Robert Merli • Mr. and Mrs. Michael A. Miller • Mrs. Suzanne Nash • Linda and Stuart Nelson • Mike, Lonna and Callie Offner • Ellen and Mickey Rabina • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Mary and Lee Rivollier • Edie and Stan Ross • Barbara Rubin • Elisabeth Sapery and Rosita Sarnoff • Ms. Susan Schaeffer • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Susan and Judd Shoval • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Mr. and Mrs. Daniel S. Sterling • Mr. and Mrs. Edward Streim • Flora and George Suter • J and K Thomas Foundation • John Lowell Thorndike • Diana O. Tottenham • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • Mr. and Mrs. Alex Vance • Mr. William Wallace • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Pamela A. Wickham • Sally and Steve Wittenberg • Mr. and Mrs. Allan Yarkin • Cheryl and Michael Zaccaro • Anonymous (2)

‡ Deceased Stu Rosner

August at Tanglewood

Friday, August 1, 6pm (Prelude Concert) Friday, August 8, 6pm (Prelude Concert) MEMBERS OF THE BSO MEMBERS OF THE BSO Music of Schnittke and Shostakovich Music of Szymanowski and Debussy

Friday, August 1, 8:30pm Friday, August 8, 8:30pm The Serge and Olga Koussevitzky BSO—LEONARD SLATKIN, conductor Memorial Concert GIL SHAHAM violin BSO—MARCELO LEHNINGER, conductor JOHN FERRILLO, oboe JEAN-YVES THIBAUDET, piano BOLCOM Circus Overture (world premiere; THOMAS ROLFS, trumpet (Shostakovich) BSO commission) TCHAIKOVSKY Serenade for Strings BARLOW The Winter’s Past, for oboe and SHOSTAKOVICH Piano Concerto No. 1 strings SCHUMANN Symphony No. 4 BARBER Violin Concerto ELGAR Enigma Variations Saturday, August 2, 10:30am Celebrating Leonard Slatkin’s 70th birthday Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 3 Saturday, August 9, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Saturday, August 2, 8:30pm BSO program of Sunday, August 10 John Williams’ Film Night BOSTON POPS ORCHESTRA Saturday, August 9, 8:30pm JOHN WILLIAMS, conductor BSO—STÉPHANE DENÈVE, conductor LEONIDAS KAVAKOS, violin Sunday, August 3, 2:30pm DEBUSSY Prelude to The Afternoon of a Faun BSO—JUANJO MENA, conductor SZYMANOWSKI Violin Concerto No. 2 AUGUSTIN HADELICH, violin TCHAIKOVSKY Symphony No. 4 HAYDN Symphony No. 6, Morning MOZART Violin Concerto No. 4 in D, K.218 Sunday, August 10, 2:30pm BEETHOVEN Symphony No. 2 BSO—DAVID ZINMAN, conductor YO-YO MA, cello Tuesday, August 5, 8:30pm (Gala Concert) Tanglewood on Parade ALL-TCHAIKOVSKY PROGRAM (Grounds open at 2pm for music and Polonaise from Eugene Onegin; Andante activities throughout the afternoon) cantabile for cello and strings; Variations on a Rococo Theme, for cello and orchestra; BSO, BOSTON POPS ORCHESTRA, and Symphony No. 6, Pathétique TMC ORCHESTRA STÉPHANE DENÈVE, KEITH LOCKHART, Monday, August 11, 8pm ANDRIS POGA, LEONARD SLATKIN, and TMC Orchestra—STÉPHANE DENÈVE and JOHN WILLIAMS, conductors TMC Fellow DANIEL COHEN, conductors Music of Shostakovich, Gershwin, Glinka, TMC Vocal Fellows Brubeck, Williams, and Tchaikovsky All-Berlioz program Fireworks to follow the concert Wednesday, August 13, 8pm Wednesday, August 6, 8pm JEREMY DENK, piano THE DEUTSCHE KAMMERPHIL- Music of Ives and J.S. Bach HARMONIE BREMEN PAAVO JÄRVI, conductor Thursday, August 14, 7:30pm LARS VOGT, piano PHILHARMONIA BAROQUE ORCHESTRA All-Brahms program NICHOLAS MCGEGAN, conductor AMANDA FORSYTHE, AMY FRESTON, Thursday, August 7, 8pm DOMINIQUE LABELLE, CÉLINE RICCI, EMANUEL AX, piano ROBIN BLAZE, DREW MINTER, and JEFFREY LEONIDAS KAVAKOS, violin FIELDS, vocal soloists YO-YO MA, cello HANDEL Teseo All-Brahms program Extended concert; sung in Italian with English supertitles

Friday, August 15, 6pm (Prelude Concert) Friday, August 22, 8:30pm MEMBERS OF THE BSO BOSTON POPS ORCHESTRA NIKOLAI LUGANSKY, piano KEITH LOCKHART, conductor Music of Handel-Halvorsen and Franck “Oz with Orchestra” The Boston Pops Orchestra plays Harold Arlen’s Friday, August 15, 8:30pm musical score live as a newly re-mastered print BSO—STÉPHANE DENÈVE, conductor of the classic 1939 MGM film The Wizard of EMANUEL AX, piano Oz is screened with the original vocals and ELENA MANISTINA, mezzo-soprano dialogue intact. TANGLEWOOD FESTIVAL CHORUS Saturday, August 23, 10:30am BEETHOVEN Piano Concerto No. 5, Emperor Open Rehearsal (Pre-Rehearsal Talk, 9:30am) PROKOFIEV Alexander Nevsky BSO program of Sunday, August 24

Saturday, August 16, 10:30am Saturday, August 23, 2:30pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Family Concert featuring the BSO program of Saturday, August 16 BOSTON CELLO QUARTET

Saturday, August 16, 8:30pm Saturday, August 23, 8:30pm BSO—BRAMWELL TOVEY, conductor BSO—CHARLES DUTOIT, conductor Vocal soloists including NICHOLAS PHAN, KIRILL GERSTEIN, piano ANNA CHRISTY, KATHRYN LEEMHUIS, FREDERICA VON STADE, BEAU GIBSON, BERLIOZ Roman Carnival Overture PAUL LAROSA, and RICHARD SUART RACHMANINOFF Rhapsody on a Theme of Paganini BERNSTEIN Candide RESPIGHI Roman Trilogy: Roman Festivals; Concert performance sung in English Fountains of Rome; Pines of Rome Sunday, August 17, 2:30pm Sunday, August 24, 2:30pm The Leonard Bernstein Memorial Concert BSO—CHARLES DUTOIT, conductor TMC ORCHESTRA—CHARLES DUTOIT, YEFIM BRONFMAN, piano conductor NICOLE CABELL, MEREDITH HANSEN, NIKOLAI LUGANSKY, piano TAMARA MUMFORD, NOAH STEWART, STRAVINSKY Scherzo fantastique ALEX RICHARDSON, and JOHN RELYEA, RACHMANINOFF Piano Concerto No. 3 vocal soloists STRAVINSKY The Firebird (complete) TANGLEWOOD FESTIVAL CHORUS

Sunday, August 17, 8pm ALL-BEETHOVEN PROGRAM Choral Fantasy; Symphony No. 9 “THE LAST SOUTHERN GENTLEMEN” with ELLIS MARSALIS, piano, and his son, Sunday, August 24, 8pm DELFEAYO MARSALIS, trombone, perform- MARIA SCHNEIDER ORCHESTRA ing standards and original compositions from their album of the same name Thursday, August 28, 8pm Monday, August 18, 7pm WAIT WAIT…DON’T TELL ME! THE BEACH BOYS Friday, August 29, 7pm Friday, August 22, 6pm (Prelude Concert) TRAIN TANGLEWOOD FESTIVAL CHORUS Saturday, August 30, 7pm JOHN OLIVER, conductor JOSH GROBAN with the Music of Shostakovich and Tavener BOSTON POPS ESPLANADE ORCHESTRA KEITH LOCKHART, conductor MEMBERS OF THE TANGLEWOOD FESTIVAL CHORUS

Sunday, August 31, 2:30pm TONY BENNETT with special guest ANTONIA BENNETT

Programs and artists subject to change. 2014 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available through Tanglewood box office or SymphonyCharge Admission free, but restricted to that evening’s concert ticket holders

Sunday, June 29, 10am Sunday, July 13, 10am BRASS EXTRAVAGANZA Chamber Music TMC Instrumental and Conducting Fellows Saturday, July 19, 6pm Monday, June 30, 10am, 1pm, and 4pm Prelude Concert STRING QUARTET MARATHON Sunday, July 20, 10am One ticket provides admission to all three concerts. Chamber Music (Festival of Contemporary Wednesday, July 2, 2:30pm Music) Opening Exercises (free admission; open to Saturday, July 26, 6pm the public; performances by TMC faculty) Prelude Concert Saturday, July 5, 6pm Sunday, July 27, 10am Prelude Concert Chamber Music Sunday, July 6, 10am Monday, July 28, 6pm Chamber Music Prelude Concert Sunday, July 6, 8pm * Monday, July 28, 8pm * The Phyllis and Lee Coffey Memorial Concert The Margaret Lee Crofts Concert TMC ORCHESTRA—STEFAN ASBURY and TMC ORCHESTRA—Conductors to include TMC Fellow KARINA CANELLAKIS, TMC Fellows DANIEL COHEN and KARINA conductors CANELLAKIS Music of HINDEMITH and BRUCKNER TMC Fellows LAURA STRICKLING and Tuesday, July 8, 8pm LORALEE SONGER, vocal soloists Vocal Concert Music of BEETHOVEN and SIBELIUS Saturday, July 12, 6pm Saturday, August 2, 6pm Prelude Concert Prelude Concert Saturday, July 12, 8:30pm (Shed) * Sunday, August 3, 10am The Caroline and James Taylor Concert Chamber Music TANGLEWOOD GALA Sunday, August 3, 8pm BSO and TMC ORCHESTRA—ANDRIS Vocal Concert NELSONS, conductor SOPHIE BEVAN, ANGELA DENOKE, and ISABEL LEONARD, vocal soloists Music of STRAUSS, RACHMANINOFF, and RAVEL

TMC Orchestra Concerts in Ozawa Hall (July 6, 28, August 11), $53, $43, and $34 (lawn admission $11). TMC Recitals, $11. Festival of Contemporary Music Concerts, $11. BUTI Young Artists Orchestra Concerts, $11. BUTI Young Artists Wind Ensemble and Chorus Concerts, Free admission. TMC Chamber and BUTI Orchestra Concerts are cash/check only. GENERAL PUBLIC and TANGLEWOOD DONORS up to $75: For TMC concerts, tickets are available in advance online, or in person up to one hour before concert start time at the Ozawa Hall Bernstein Gate only (except for TMC Orchestra concerts). Please note: availability for seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $75 level receive one free admission and Friends at the $150 level or higher receive two free admissions to most TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $11. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call 617-638-9267 or visit tanglewood.org/contribute. Tuesday, August 5 * Thursday, July 17—Monday, July 21 TANGLEWOOD ON PARADE 2014 FESTIVAL OF CONTEMPORARY 2:30pm: TMC Chamber Music MUSIC 3:30pm: TMC Chamber Music John Harbison and Michael Gandolfi, 5:00pm TMC Vocal Concert: “Sing America!” Festival Directors with Stephanie Blythe The 2014 Festival of Contemporary Music 8:00pm: TMC Brass Fanfares (Shed) highlights works of American composers, 8:30pm: Gala Concert (Shed) including music by Jacob Druckman and TMC ORCHESTRA, BSO, and Steve Mackey, and the world premieres of BOSTON POPS ORCHESTRA two TMC commissions: Bernard Rands’s STÉPHANE DENÈVE, KEITH LOCKHART, Folk Songs and Benjamin Scheuer’s Voices. ANDRIS POGA, LEONARD SLATKIN, and Thursday July 17, 8pm JOHN WILLIAMS, conductors Chamber Music Music of SHOSTAKOVICH, GERSHWIN, TMC FELLOWS GLINKA, BRUBECK, WILLIAMS, and Music of MATHESON, WEESNER, OH, TCHAIKOVSKY DRUCKMAN, LERDAHL, and HARBI- Fireworks to follow the concert SON Saturday, August 9, 6pm Friday July 18, 2:30pm The Judy and Richard J. Miller Concert Chamber Music Prelude Concert TMC FELLOWS Sunday, August 10, 10am Music by TMC Composition Fellows Chamber Music Saturday July 19, 2:30pm Monday, August 11, 6pm Chamber Music Prelude Concert TMC FELLOWS Music of PERLE, MAKAN, LASH, Monday, August 11, 8pm DZUBAY, NATHAN, and CHEUNG The Daniel Freed and Shirlee Cohen Freed Memorial Concert Sunday July 20, 10am TMC ORCHESTRA— STÉPHANE DENÈVE Chamber Music and TMC Fellow DANIEL COHEN, TMC FELLOWS conductors Music of BOYKAN and GANDOLFI; TMC VOCAL FELLOWS SCHEUER Voices (TMC commission; ALL-BERLIOZ PROGRAM world premiere); RANDS Folk Songs (TMC commission; world premiere) Saturday, August 16, 2:30pm Vocal Concert (Free admission) Sunday July 20, 8pm STEPHANIE BLYTHE and TMC VOCAL Theatrical Works FELLOWS TMC FELLOWS “The Sonnet Project” SOPER Helen Enfettered WAGGONER This Powerful Rhyme Saturday, August 16, 6pm Prelude Concert Monday, July 21, 8pm The Fromm Concert at Tanglewood Sunday, August 17, 10am TMC ORCHESTRA Chamber Music STEFAN ASBURY and TMC Fellows Sunday August 17, 2:30pm (Shed) * DANIEL COHEN and KARINA The Leonard Bernstein Memorial Concert CANELLAKIS, conductors TMC ORCHESTRA—CHARLES DUTOIT, Music of SESSIONS, MACKEY, BRAY, conductor and ADAMS NIKOLAI LUGANSKY, piano Music of RACHMANINOFF and STRAVINSKY The Festival of Contemporary Music has been endowed in perpetuity by the generosity of Dr. Raymond H. and Mrs. Hannah H. Schneider, with additional support in 2014 from the Aaron Copland Fund for Music, the Fromm Music Foundation, the National Endowment for the Arts, and the Helen F. Whitaker Fund.

The Boston University Tanglewood Institute (BUTI) In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participated in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlimited access to all performances of the Boston Symphony Orchestra and the Tanglewood Music Center. Now in its 49th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its intensive programs, distinguished faculty, beautiful campus, and interaction with the BSO and TMC make BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, composers, conductors, educators, and administrators. The Institute includes Young Artists Programs for students age fourteen to nineteen (Orchestra, Voice, Wind Ensemble, Piano, Harp, and Composition) as well as Institute Workshops (Clarinet, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the students are supported by the BUTI Scholarship Fund with contributions from individuals, foundations, and corporations. (photo by Kristin Seavey, 2012) If you would like further information about the Boston University Tangle- wood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1431 or (617) 353-3386.

2014 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 12, 2:30pm, Tito Muñoz conducts Adès’s Dances from ‘Powder Her Face,’ Beethoven’s Symphony No. 7, and Dvoˇrák’s Carnival Overture. Saturday, July 26, 2:30pm, Ken-David Masur conducts Rimsky-Korsakov’s Scheherazade, Sibelius’s Pohjola’s Daughter; and Strauss’s Till Eulenspiegel. Saturday, August 9, 2:30pm, Paul Haas conducts Haas’s Father and Mahler’s Symphony No. 5.

WINDENSEMBLEPROGRAMS: Sunday, July 13, 2:30pm, David Martins conducts Camphouse, Galante, Hesketh, Persichetti, Reineke, and Jenkins. Sunday, July 27, 2:30pm, H. Robert Reynolds conducts Bernstein/Grundman, Bach/Cailliet, Hindemith, Bernstein/Bencrisutto, Turrin (featuring David Krauss, trumpet and Ronald Barron, trombone), and Ticheli.

VOCAL PROGRAMS: Saturday, August 2, 2:30pm, Ann Howard Jones conducts Copland, Feigenbaum, Foster/Washburn, Fine, Muhly, Paulus, Thompson, and Wachner.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Monday, July 28; Wednesday, July 30; Thursday, July 31.

Tickets available one hour before concert time. Admission is $11 for orchestra and vocal program concerts, free to all other BUTI concerts. For more information, call (413) 637-1430 or 1431. For a full listing of BUTI events visit http://www.bu.edu/cfa/ tanglewood/performance_calendar. FAVORITERESTAURANTSOFTHEBERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. 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 • Alexander Henry, Assistant to the Artistic Administrator, Tanglewood • 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, Assistant Stage Manager • Leah Monder, Production 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

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 • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Christine Glowacki, Annual Funds Coordinator, Friends Program • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager of Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment Coordinator • Emily Reeves, Assistant Director of Development Information Systems • Amanda Roosevelt, Assistant Manager of Planned Giving • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Szeman Tse, Assistant Director of Development Research • Nicholas Vincent, Donor Ticketing Associate

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Manager of Education Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Anne Gregory, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Programs

Facilities C. Mark Cataudella, Director of Facilities SYMPHONY HALL OPERATIONS Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk MAINTENANCE SERVICES Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

Human Resources

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

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives) 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

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing 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 • Peter Danilchuk, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Director of Tanglewood Tourism/Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager/Subscriptions Coordinator Box Office Representatives John Lawless • Arthur Ryan Event Services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant

Tanglewood Music Center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Ben Kaufman, Visitor Center Manager • Jason Lyon, Tanglewood Front of House Manager • Eileen Doot, Business Office Manager • Peggy and John Roethel, Seranak Managers

Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Boston Audley H. Fuller Vice-Chair, Tanglewood 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 Glass Houses, Stanley Feld • Ushers, Judy Slotnick

Tanglewood Project Leads 2014 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Shelly Holtzberg and Maureen O’Hanlon Krentsa • Friends Office, Alan and Toby Morganstein • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Newsletter, Sylvia Stein • Off-Season Educational Resources, Susan Geller and Alba Passerini • Recruit, Retain, Reward, Alexandra Warshaw • Seranak Flowers, Diane Saunders • Talks and Walks, Rita Kaye and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, JJ Jones, Charlotte Schluger, and Marsha Wagner • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark and Pam Levit Beiderman and David and Janet Rothstein • Tour Guides, Mort and Sandra Josel • Young Ambassadors, William Ballen and Ed Costa; Carole Siegel, Mentor Lead

Tanglewood Major Corporate Sponsors 2014 Season

Tanglewood major corporate sponsorships reflect the increasing importance of alliance between business and the arts. We are honored to be associated with the following organizations and gratefully acknowledge their partnerships. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

Visit Sarasota County is proud to sponsor the Boston Pops at Tanglewood this summer, and proud to be the Official Sponsor of Inspiration. As in the Berkshires, the arts just come naturally in Sarasota County, Where Artistic Expression and Inspiration Meet! Is it the crystal blue waters or the warm, balmy air that artists and performers find so inspirational? Who knows for sure. But you will find it every night and day in our performance halls, theatres, opera house, museums and galleries. Discover it yourself in Sarasota County. You’ll see why we’re known as Florida’s Cultural Coast. Learn more at VisitSarasotaArts.org.

Commonwealth Worldwide Chauffeured Transportation is Dawson Rutter proud to be the Official Chauffeured Transportation of the President and CEO Boston Symphony Orchestra and Boston Pops. The BSO has delighted and enriched the Boston community for over a century and we are excited to be a part of such a rich heritage. We look forward to celebrating our relationship with the BSO, Boston Pops, and Tanglewood for many years to come. Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2014 season. An eighth note denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-Chair, Tanglewood Business Partners Committee Mary Jane White, Co-Chair, Tanglewood Business Partners Committee Accounting/Tax Services Berkshire Tax Services • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Emery B. Sheer, CPA, CVA/ABV Advertising/Marketing/Consulting Ed Bride Associates • The Cohen Group • L.A. Communications • Pilson Communications, Inc. • R L Associates Architecture/Design/Engineering edm - architecture | engineering | management • Foresight Land Services, Inc. • Greylock Design Associates • Hill - Engineers, Architects, Planners, Inc. • Barbara Rood Interiors • Pamela Sandler Architecture, LLC Art/Antiques Elise Abrams Antiques • HISTORY OF TOYS GALLERY • Hoadley Gallery • Schantz Galleries Contemporary Glass • Stanmeyer Gallery & Shaker Dam Coffeehouse Automotive Balise Lexus • BIENER AUDI • Haddad Toyota - Subaru – Hyundai Aviation Lyon Aviation, Inc. Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • The Pittsfield Cooperative Bank • Salisbury Bank • TD Bank Building Supplies/Hardware/Home/Lawn & Garden Equipment, Supplies E. Caligari & Son • Carr Hardware and Supply Co., Inc. • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. • Pittsfield Lawn & Tractor Building/Contracting ALLEGRONE COMPANIES • Berkshire Landmark Builders • Great River Construction Co. Inc. • LB Corporation • Luczynski Brothers Building • J.H. Maxymillian, Inc. • DAVID J. TIERNEY, JR., INC. • PETER D. WHITEHEAD BUILDER, LLC • George Yonnone Restorations Catering International Polo Club Catering • SAVORY HARVEST CATERING Education AMERICAN INSTITUTE FOR ECONOMIC RESEARCH • Belvoir Terrace, Visual and Performing Arts and Sports Summer Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Marty Rudolph’s Math Tutoring Service • Thinking in Music, Inc. Energy ESCO Energy Services Company • VIKING FUEL OIL COMPANY, INC. Financial Services AMERICAN INVESTMENT SERVICES, INC. • Frank Battista, CFP® • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • SUSAN AND RAYMOND HELD • HIGH PEAKS VENTURE CAPITAL LIMITED • Integrated Wealth Management • Kaplan Associates L.P. • Keator Group, LLC • Nest Egg Guru & Financial Planning Hawaii • The Sherman Investment Group of RBC Wealth Management • TD Wealth • True North Financial Services • UBS Food/Beverage Wholesale Barrington Coffee • Big Elm Brewing • Crescent Creamery, Inc. • High Lawn Farm • KOPPERS CHOCOLATE • SOCO CREAMERY Insurance Bader Insurance Agency Inc. • BERKSHIRE INSURANCE GROUP • BERKSHIRE LIFE INSURANCE COMPANY OF AMERICA, A GUARDIAN COMPANY • SA Genatt LLC • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone, P.C. • COHEN KINNE VALICENTI & COOK LLP • Michael J. Considine, Attorney at Law • Deely & Deely • GOGEL AND GOGEL • Hellman Shearn & Arienti LLP • Hochfelder & Associates, P.C. • Lazan Glover & Puciloski, LLP • LINDA. LEFFERT J.D. RET. • Norman Mednick, Esq. • The Law Office of Zick Rubin • Lester M. Shulklapper • Susan M. Smith, Esq. • Bernard Turiel, Esq. Lodging 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Days Inn • Berkshire Fairfield Inn & Suites • Birchwood Inn • BLANTYRE • the Briarcliff Motel • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL RESORT, SPA & GOLF CLUB • Crowne Plaza Hotel – Berkshires • Devonfield Inn • Eastover Estate and Retreat • An English Hideaway Inn •• The Garden Gables Inn • Gateways Inn & Restaurant • Hampton Inn & Suites • Inn at Green River • The Inn at Stockbridge • THE PORCHES INN AT MASS MOCA • THE RED LION INN • The Rookwood Inn • Seven Hills Inn • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT Manufacturing/Consumer Products Bell Container Corp. • Barry L. Beyer, Packaging Consultant • BROADWAY LANDMARK CORPORATION • General Dynamics • IREDALE MINERAL COSMETICS, LTD. • Onyx Specialty Papers, Inc. Medical 510 Medical Walk-In • J. Mark Albertson, D.M.D. • Berkshire Health Systems • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Carol R. Kolton, LCSW • Dr. Charles Mandel OD PC • Dr. Joseph Markoff • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Putnoi Eyecare • Dr. Robert and Esther Rosenthal • Royal Health Care Services of NY • Chelly Sterman Associates • Suburban Internal Medicine • Dr. Natalya Yantovsky DMD, P.C. Moving/Storage Quality Moving & Storage • Security Self Storage Non-Profit Berkshire Children and Families, Inc. • THE HIGH MEADOW FOUNDATION • Kimball Farms Lifecare Retirement Community Nursery/Tree Service/Florist Garden Blossoms Florist • Peerless Since 1945, Inc. • Ward’s Nursery & Garden Center • Windy Hill Farm, Inc. Printing/Publishing BERKSHIRE EAGLE • QUALPRINT • SOL SCHWARTZ PRODUCTIONS LLC Real Estate BARRINGTON ASSOCIATES REALTY TRUST • Benchmark Real Estate • Berkshire Mountain Club at Catamount • Brause Realty, Inc. • Cohen + White Associates • Robert Gal L.L.C. • Barbara K. Greenfeld • Hill Realty, LLC • Edith and Larry Hurwit • LD Builders • McLean & McLean Realtors, Inc. • Patten Family Foundation • Pennington Management Company • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate • Wheeler & Taylor Real Estate • Tucker Welch Properties Resort /Spa CANYON RANCH IN LENOX • CRANWELL RESORT, SPA & GOLF CLUB Restaurant Alta Restaurant & Wine Bar • Bagel & Brew • Bistro Zinc • Bizen Gourmet Japanese Restaurant & Sushi Bar • Brava • Café Lucia • Chez Nous • Church Street Café • Cork ’N Hearth • CRANWELL RESORT, SPA & GOLF CLUB • Electra’s • Firefly New American Bistro & Catering Co. • Flavours of Malaysia • Frankie’s Ristorante • John Andrews • Mazzeo’s Ristorante • No. Six Depot Roastery and Café • Rouge Restaurant Retail: Clothing Arcadian Shop • Bare Necessities.com • Ben’s • The Gifted Child • Glad Rags • twigs Retail: Food Berkshire Co-op Market • BIG Y SUPERMARKETS • Chocolate Springs Café • Guido’s Fresh Marketplace • The Meat Market & Fire Roasted Catering Retail: Home COUNTRY CURTAINS • The Floor Store • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design Retail: Jewelry Charland Jewelers • Laurie Donovan Designs • McTeigue & McClelland Retail: Wine/Liquor GOSHEN WINE & SPIRITS • Nejaime’s Wine Cellars • Queensboro Wine & Spirits • Spirited Salon SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Services 2Filter.com • CLASSICAL TENTS AND PARTY GOODS • Edward Acker, Photographer • Aladco Linen Services • Braman Termite & Pest Elimination • Dery Funeral Homes • Shire Cleaning and Janitorial Specialty Contracting R.J. ALOISI ELECTRICAL CONTRACTING INC. • Berkshire Fence Company • Pignatelli Electric • Michael Renzi Painting Co. Transportation/Travel ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • Allpoints Driving Service • Tobi’s Limousine Service, Inc. • The Traveling Professor Video/Special Effects/Fireworks Atlas Advanced Pyrotechnics, Inc. • MYRIAD PRODUCTIONS Yoga/Wellness/Health Berkshire Training Station • KRIPALU CENTER FOR YOGA & HEALTH The Great Benefactors

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

Ten Million and above

Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous

Seven and One Half Million

Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille

Five Million

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

Two and One Half Million

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

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 • Massachusetts Cultural Council • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Polly and Dan ‡ Pierce • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Miriam Shaw Fund • 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 Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall