Summer 2013 Boston Symphony Orchestra

boston symphony orchestra summer 2013

Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

132nd season, 2012–2013

Trustees of the Boston Symphony Orchestra, Inc.

Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Theresa M. Stone, Treasurer

William F. Achtmeyer • George D. Behrakis • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Arthur I. Segel • Thomas G. Stemberg • Caroline Taylor • Stephen R. Weiner • Robert C. Winters

Life Trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Thelma E. Goldberg • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller • 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 • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas

Other Officers of the Corporation

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Suzanne Page, Clerk of the Board

Board of Overseers of the Boston Symphony Orchestra, Inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair • Noubar Afeyan • David Altshuler • 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 • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Ronald G. Casty • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Judy Moss Feingold • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Ann M. Philbin •

Programs copyright ©2013 Boston Symphony Orchestra 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. • John Reed • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • 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 • JoAnneWalton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • 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 • Marilyn Brachman Hoffman • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman • Benjamin H. Lacy • Mrs. William D. Larkin • 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 • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D. 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 Kousse- vitzky 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— was inaugurated on July 7, 1994, providing a The tent at Holmwood, where the BSO played modern venue throughout the summer for its first Berkshire Symphonic Festival concerts in 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. 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 cen- turies. 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, Sanford Sylvan, Cheryl Studer, 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 24 through August 25. 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. A “Special Focus” Exhibit at the Tanglewood Visitor Center Celebrating the 75th Anniversary of the Music Shed at Tanglewood

From “The Berkshire Evening Eagle,” Thursday, August 4, 1938 (BSO Archives)

An exhibit commemorating the 75th anniversary of the Koussevitzky Music Shed has been mounted in the Tanglewood Visitor Center by the BSO Archives. The exhibit traces the origins of the Shed back to 1936, when Serge Koussevitzky and the BSO were first invited to perform in the Berkshire Symphonic Festival. Drawing on materials in the BSO Archives, the Stockbridge Library, the Lenox Library, and the Koussevitzky Collection at the Library of Congress, the exhibit covers the selection of Finnish architect Eliel Saarinen in 1937 to design a permanent structure; the modification of his plans by Stockbridge engineer Joseph Franz; and the construction of the Shed in 1938. The BSO extends special thanks to the Stockbridge Library Association Historical Collections for the loan of Joseph Franz’s model of the Shed, and for making photographs and documents available from the collections of Joseph Franz and David Milton Jones, with thanks also to the Lenox Library for access to Festi- val co-founder Gertrude Robinson Smith’s papers, and to the Library of Congress Music Division for access to the Koussevitzky Collection.

Koussevitzky standing on the terrace of Seranak, his summer home in the Berk- shires, in 1948, wearing a cape—currently on display in the Visitor Center—donated to the BSO in July 2012 by Natalie de Leutchtenberg, the niece of Olga Kousse- vitzky (Photo by William Whitaker)

Leonard Bernstein Portrait Series at Highwood Also on display this year, at the Highwood Manor House, is a selection of oil paintings and photographs of Leonard Bernstein, including a 1958 oil painting of Bernstein (shown here) by Mirel Bercovici, donated in 2012 by her daughter Mirana Comstock and currently on view in High- wood’s main dining room.

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. 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 pur- chase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431. 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 1 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 1 p.m., and from noon through intermission on Sundays. 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 $30 (front and boxes) and $20 (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 vehi- cle 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 2013

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

BERNARDHAITINK SEIJI OZAWA MUSICDIRECTOR THOMASWILKINS LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Youth and Conductor Emeritus Music Director Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity Flutes Bass Clarinet Thomas Siders Harp Assistant Principal Elizabeth Rowe Craig Nordstrom Kathryn H. and Edward Jessica Zhou Principal M. Lupean chair Nicholas and Thalia Zervas Walter Piston chair, chair, endowed in perpetuity endowed in perpetuity Bassoons Michael Martin by Sophia and Bernard Richard Svoboda Ford H. Cooper chair, Gordon Clint Foreman endowed in perpetuity Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, Voice and Chorus endowed in perpetuity Trombones Elizabeth Ostling John Oliver Associate Principal Suzanne Nelsen Toby Oft Tanglewood Festival Marian Gray Lewis chair, John D. and Vera M. Principal Chorus Conductor endowed in perpetuity MacDonald chair J.P. and Mary B. Barger Alan J. and Suzanne W. Richard Ranti chair, endowed in perpetuity Dworsky chair, endowed in Piccolo Associate Principal Stephen Lange perpetuity Diana Osgood Tottenham/ Cynthia Meyers Hamilton Osgood chair, Librarians Evelyn and C. Charles endowed in perpetuity Bass Trombone Marran chair, endowed James Markey Marshall Burlingame in perpetuity Principal John Moors Cabot chair, Contrabassoon Lia and William Poorvu endowed in perpetuity Oboes Gregg Henegar chair, endowed in perpetuity Helen Rand Thayer chair William Shisler John Ferrillo Tuba Principal John Perkel Mildred B. Remis chair, Horns Mike Roylance endowed in perpetuity Principal James Sommerville Margaret and William C. Assistant Mark McEwen Principal Rousseau chair, endowed Conductors James and Tina Collias Helen Sagoff Slosberg/Edna in perpetuity chair S. Kalman chair, endowed Marcelo Lehninger in perpetuity Anna E. Finnerty chair, § Keisuke Wakao Timpani endowed in perpetuity Assistant Principal Richard Sebring Farla and Harvey Chet Associate Principal Timothy Genis Andris Poga Krentzman chair, endowed Margaret Andersen Sylvia Shippen Wells chair, in perpetuity Congleton chair, endowed endowed in perpetuity in perpetuity Personnel Managers English Horn Rachel Childers Percussion John P. II and Nancy S. Lynn G. Larsen Robert Sheena Eustis chair, endowed in J. William Hudgins Beranek chair, endowed perpetuity Peter and Anne Brooke Bruce M. Creditor in perpetuity chair, endowed in perpetuity Assistant Personnel Michael Winter Manager Elizabeth B. Storer chair, Daniel Bauch Clarinets endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. Stage Manager William R. Hudgins Jason Snider Linde chair John Demick Principal Jonathan Menkis Ann S.M. Banks chair, Kyle Brightwell Jean-Noël and Mona N. endowed in perpetuity Peter Andrew Lurie chair, Tariot chair endowed in perpetuity Michael Wayne Matthew McKay Thomas Martin Trumpets participating in a system Associate Principal & * of rotated seating E-flat clarinet Thomas Rolfs Stanton W. and Elisabeth Principal § on sabbatical leave Roger Louis Voisin chair, K. Davis chair, endowed ° on leave in perpetuity endowed in perpetuity Benjamin Wright A Brief History of the Boston Symphony Orchestra

Now in its 132nd 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 important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important 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. (BSO Archives) An 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 Karl Muck, who

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcon- tinental trip, playing thirteen concerts at the Panama-Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts 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 Tanglewood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thir- teenth 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 On the lawn at Tanglewood in 1941, with a sign promoting a mainland China after the nor- gala benefit concert for the United Service Organizations and malization of relations. British War Relief (BSO Archives/courtesy The Berkshire Eagle) 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 initiat- ed when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s next music director, a position he takes up in the 2014-15 season, following a year as music director designate (see next page). 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. Andris Nelsons Named Next BSO Music Director

On May 16, 2013, the Boston Symphony Orchestra announced the appointment of Andris Nelsons as the BSO’s fifteenth music director since its founding in 1881. Born in Riga in 1978 into a family of musicians, he becomes the youngest music director to lead the orchestra in more than 100 years, and the first Latvian-born conductor to assume that post. Mr. Nelsons will serve as BSO Music Director Designate for the 2013-14 season and become the Ray and Maria Stata Music Director beginning in the fall of 2014. At thirty- four, he is the third-youngest conductor to be appointed music director since the BSO’s founding in 1881: Georg Henschel was thirty- one when he became the orchestra’s first music director in 1881, and Arthur Nikisch was thirty-three when he opened his first season with the BSO in 1889. Andris Nelsons is one of the most sought-after conductors on the international scene today, acclaimed for his work in both concert and opera with such distinguished institutions as the Berlin Philhar- monic, Vienna Philharmonic, the Royal Concertgebouw Orchestra Andris Nelsons conducting the BSO of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian at Symphony Hall, January 2013 Radio Symphony, Vienna State Opera, Metropolitan Opera, Vienna (photo by Stu Rosner) State Opera, Bayreuth Festival, and the Royal Opera House, Covent Garden. Since 2008 he has been music director of the City of Birmingham Symphony Orchestra (CBSO), with which he has toured worldwide. He made his debut in Japan on tour with the Vienna Philharmonic and returns to the Far East on tour with the CBSO in November 2013. Prior to his position as the CBSO’s music director, he served as principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and was music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He is married to the soprano Kristīne Opolais, who was recently acclaimed for her Metropolitan Opera debut as Magda in Puccini’s La rondine. They live in Riga with their one-and-a-half-year-old daughter Adriana. Andris Nelsons made his Boston Symphony Orchestra debut in March 2011, leading Mahler’s Symphony No. 9 at Carnegie Hall in place of James Levine, whom he succeeds as music director. Last summer he conducted both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Celebration, following that the next afternoon with a BSO program of Stravinsky and Brahms. He made his BSO subscription series debut in January 2013, leads the BSO in Verdi’s Requiem at Tanglewood this summer on July 27 (with Kristīne Opolais among the soloists), and, as BSO Music Director Designate, he will lead a program of Wagner, Mozart, and Brahms at Symphony Hall in (photo ©Marco Borggreve) October, followed by a one-night-only concert performance of Richard Strauss’s opera Salome in March. “I am deeply honored and touched that the Boston Symphony Orchestra has appointed me its next music director, as it is one of the highest achievements a conductor could hope for in his lifetime,” said Maestro Nelsons. “Each time I have worked with the BSO I have been inspired by how effectively it gets to the heart of the music, always leaving its audience with a great wealth of emotions. So it is with great joy that I truly look forward to joining this wonder- ful musical family and getting to know the beautiful city of Boston and the community that so clearly loves its great orchestra. As I consider my future with the Boston Sym- phony, I imagine us working closely together to bring the deepest passion and love that we all share for music to ever greater numbers of music fans in Boston, at Tanglewood, and throughout the world.”

Andris Nelsons conducting the BSO at Tanglewood, July 2012 (photo by Hilary Scott)

Table of Contents

Friday, July 19, 6pm (Prelude Concert) 2 BOSTON CELLO QUARTET AND FRIENDS Music of Debussy, Hoshii, Falla, Fauré, Tchaikovsky, Hudgins, D’Rivera, and Déjardin

Friday, July 19, 8:30pm 10 BOSTON SYMPHONY ORCHESTRA VLADIMIR JUROWSKI conducting; JEAN-YVES THIBAUDET, piano Music of Wagner, Liszt, and Brahms

Saturday, July 20, 8:30pm 21 BOSTON SYMPHONY ORCHESTRA LOTHAR KOENIGS conducting; KATARINA DALAYMAN, soprano; AMBER WAGNER, soprano; BRYN TERFEL, bass-baritone; ADDITIONAL VOCAL SOLOISTS Wagner “Die Walküre,” Act III (concert performance)

Sunday, July 21, 2:30pm 36 BOSTON SYMPHONY ORCHESTRA PINCHAS ZUKERMAN, conductor, violin, and viola; AMANDA FORSYTH, cello; ELIZABETH ROWE, flute; JOHN FERRILLO, oboe; THOMAS ROLFS, trumpet Music of Vivaldi, J.S. Bach, and Telemann

“This Week at Tanglewood” Again this summer, Tanglewood 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, July 19, are conductor Lothar Koenigs, who leads this Saturday night’s BSO concert, and conductor Stéphane Denève, who leads the Tanglewood Music Center Orchestra this coming Monday night and the BSO in August. The series continues through Friday, August 23, the final weekend of the BSO’s 2013 Tanglewood season.

Saturday-Morning Open Rehearsal Speakers July 6 and 20; August 10 and 17—Robert Kirzinger, BSO Assistant Director of Program Publications July 27; August 3 and 24—Marc Mandel, BSO Director of Program Publications

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

TANGLEWOODWEEK 3 TABLEOFCONTENTS 1 2013 Tanglewood

Prelude Concert Friday, July 19, 6pm Florence Gould Auditorium, Seiji Ozawa Hall

THE BOSTON CELLO QUARTET BLAISE DÉJARDIN, cello MIHAIL JOJATU, cello ADAM ESBENSEN, cello ALEXANDRE LECARME, cello

with JULES ESKIN, cello (Fauré and Tchaikovsky) THOMAS MARTIN, clarinet (D’Rivera) J. WILLIAM HUDGINS, percussion (Hudgins) REILLY NELSON, mezzo-soprano (Falla)

DEBUSSY “Golliwog’s Cakewalk” (arr. Déjardin)

HOSHII “Four Crayons” (world premiere)

FALLA “Jota” (arr. Déjardin) REILLY NELSON, mezzo-soprano

FAURÉ “Après un rêve” JULES ESKIN, solo cello

TCHAIKOVSKY “Valse sentimentale” (arr. Déjardin) JULES ESKIN, solo cello

HUDGINS “The Consolation of Philosophy”: Miniatures for Four Amplified Cellos and Percussion (world premiere) J. WILLIAM HUDGINS, solo percussion

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 cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited.

2 D’RIVERA “Aires tropicales” (arr. Martin/Déjardin) Alborada Son Wapango Afro Contradanza THOMAS MARTIN, solo clarinet

DÉJARDIN “The Wolfgang Variations”

This evening’s Prelude Concert is supported by a generous gift from The Walter and Alice Gorham Foundation, Inc.

NOTES ON THE PROGRAM

The cello quartet, although it doesn’t have the same kind of historical significance as, say, the string quartet, is nonetheless traditional among orchestral cellists, especially in Europe. The Boston Cello Quartet, founded by four BSO members, made its first-ever appearance in public right here at Tanglewood in 2010, and its performances here have already become a bit of a tradition. This evening, the group is joined onstage by several friends—BSO principal cellist Jules Eskin, composer and BSO percussionist J. William Hudgins, BSO clarinetist Thomas Martin, and TMC Vocal Fellow Reilly Nelson, mezzo-soprano. The program is not atypical of the cello quartet repertoire. The three arrangements by BCQ co-founder Blaise Déjardin add to his already extensive catalog of such works, along with his highly entertaining medleys of popular and classical tunes (represented here by Wolfgang Variations). Two world premieres further extend the repertoire. Claude Debussy (1862-1918), composer of La Mer and Prelude to The Afternoon of a Faun, was one of the great musical innovators, regardless of medium. His piano music is idiomatic to perform but always entirely fresh, as his Preludes and Etudes attest. On a slightly less serious scale but no less imaginative is his suite Children’s Corner, written in the few years following the birth of his daughter Chouchou in 1905. Children’s Corner, like the best of music for kids, is immediately entertaining for the young while keeping certain ideas just out of reach, accessible to adults only. The last of these character pieces, Golliwog’s Cakewalk, is based on an African Ameri- can dance type that blossomed in the late nineteenth century, an evident precursor

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 3 PRELUDEPROGRAMNOTES 3 to ragtime and jazz. Debussy uses the cakewalk’s syncopated rhythm but also adds a touch of satire with a paraphrase of the chromatic opening idea of Tristan und Isolde right at the midpoint of the piece. The Japanese-born, Boston-based composer/pianist Tetsuro Hoshii (b.1986) was the first composer to write an all-original work for the Boston Cello Quartet, having been entranced by one of their performances in Cambridge. An alumnus of the Berklee College of Music, Hoshii is also a jazz composer and leader of his own big band. He wrote his Waltz of the Black Ants for the BCQ in 2011 without ever having met its members. The BCQ was thrilled with the piece and premiered it at Tangle- wood that summer, since which time Hoshii has written two more works for the group. This year’s offering, Four Crayons, is an impressionistic piece reflecting the composer’s activities as a visual artist. (Samples of his visual art can be seen at tet- surohoshii.com.) Of his new piece, Hoshii writes: In this piece, I tried to express a work of art, from initial drawing to finished painting. Roughly speaking, there are three movements, but each movement has no concept or title. I have used traditional jazz elements in the harmonies, but some early 20th Century classical elements seemed to sneak in to the piece despite me.—T.H. Manuel de Falla (1876-1946) was, with the older Albéniz, the most important Spanish composer of the late Romantic/nationalist age. His compositional activities, deeply rooted in Spanish popular music and culture, ranged from the early, operetta-like zarzuelas to the more expressively austere, but no less brilliantly colored neoclassical works of his later life. He lived in Paris for a time during the 1910s, and his most famous work, the ballet The Three-cornered Hat, was commissioned and premiered there by Diaghilev’s Ballets Russes. One of the most brilliant episodes in that piece is the finale, representing a fiery, characteristic Spanish dance-music style called “jota.” Falla had composed a related, smaller-scale Jota as one of the songs of his

4 well-known “7 canciones populares espanõlas,” which set Spanish folk poetry. The present new, four-cello accompaniment employs a palette of techniques mimicking the colors of Spanish folk music. Dicen que no nos queremos It’s said we’re not in love Porque no nos ven hablar; Because we’re never seen speaking A tu corazón y al mio But it’s of your heart and mine Se lo pueden preguntar. The question should be asked. Ya me despido de tí, But I must bid farewell to you, De tu casa y tu ventana, To your house, to your window, Y aunque no quiera tu madre, And though your mother doesn’t wish it, Adiós, niña, hasta mañana. Adios, my dear, I’ll see you tomorrow. Aunque no quiera tu madre… Although your mother doesn’t wish it… Gabriel Fauré (1845-1924) lived in the era that paved the way for Debussy’s mod- ernism. His best-known pieces are his many fine, sensitively wrought songs, the Requiem and the incidental music for Pelléas et Mélisande, and the chamber music masterpieces including two sonatas for violin and piano, two for cello and piano, and the D minor piano trio. Après un Rêve (“After a Dream”; 1873) is a well-known early song for voice and piano, a melancholy but passionate setting of an anonymous Italian poem in French translation by the composer’s friend Romain Bussine. Fauré wrote the song following the breaking-off of his engagement to Marianne Viardot. Pablo Casals made a cello-and-piano version, which is here adapted for solo cello plus accompanying quartet. Pyotr Ilyich Tchaikovsky (1840-1893) originally included his Valse sentimentale as one of his Six Morceaux (“morceaux” = morsels; small pieces) for solo piano, Opus 51, composed in summer 1882. The piece is in an ABA form, beginning in a minor key with a lilting, yearning melody, and giving way to a major-key central section. It exists in various latter-day arrangements, of which the best-known features violin solo. Here, solo cello is again accompanied by the quartet. Texas-born J. William Hudgins (b.1959) joined the percussion section of the Boston Symphony Orchestra in 1990, having previously been a member of the Florida Sym- phony Orchestra. He attended Peabody Conservatory for his bachelor’s degree and Temple University for graduate study, and was also a Fellow of the Tanglewood Music Center. A veteran improviser, he is adept at both jazz and a variety of styles of contemporary music, skills he has brought to bear on his new work requested by the Boston Cello Quartet. Hudgins bases his piece on episodes and ideas from Boethius’s warm and deeply humanitarian classic The Consolation of Philosophy. The composer’s comments on the piece follow here: The Consolation of Philosophy: Miniatures for Four Amplified Cellos and Percussion, is a programmatic piece based on a book written by 6th-century Roman philosopher Boethius (475-525). The four movements are quite short, and an interlude may be performed between the third and fourth movements. After living a life of entitlement in Rome as a politician, philosopher, and writer, Boethius’ luck changed drastically when he was accused of plotting against King Theodoric, and he was imprisoned and condemned to execution by simultaneous beating and strangulation. It was while in prison awaiting his death that he wrote The Consolation of Philosophy, by far his most popular work. The book opens with Boethius in his cell, upset by his impending fate and feeling quite sorry for himself. Suddenly a woman appears, and, most unusually, begins to grow to a majestic height. She introduces herself as Philosophy, and

TANGLEWOODWEEK 3 PRELUDEPROGRAMNOTES 5 she tries to soothe Boethius by telling him to recall his philosophical thoughts for self-consolation. These three events are represented in the first movement. The rest of the book is their conversation, which largely centers on topics of philosophy. One of these topics is the paradox of human freedom of choice versus predestination. Philosophy tells Boethius that both of these concepts function side by side, and that that would conceptually require God to exist outside of the human comprehension of time. The second movement here has three cellos moving in parallel motion to represent choice, predestination, and the con- sciousness to consider the paradox. The fourth cello and percussion set up a repeated rhythmic figure to signify the human constricts of time. Philosophy reminds Boethius to remember what he already knows, suggesting a Platonic concept that all learning is really more of a kind of recollection of ideas we already have. She suggests that Boethius already knew on some level that he was wrong to be concerned over his loss of public respect, as that was beyond his control. What should be important to him is his attitude and response to his situation. His realization of this is represented in the third movement, which is one of contemplation. The interlude, when performed, is a musical reflection of Philosophy urging Boethius to consider luck as random and that he should not have been sur- prised when his luck and circumstances changed. The interlude employs random selection and improvisation to reflect this concept. The fourth movement begins with Boethius’ understandable panic as his execution draws near, and the music employs opening fugal entrances and manic unison passages. Eventually his lessons from Philosophy overcome his fear, and before his death he puts himself in his God’s hands while contemplating his impending everlasting life.—J.W.H. Cuban-born American saxophonist and clarinetist Paquito D’Rivera (b.1948) assimi- lated the bebop styles of Charlie Parker and Dizzy Gillespie as a young performer in Cuba. In the 1970s he founded the fusion band Irakere, and he has played with jazz greats including Gillespie and McCoy Tyner. In 1980 he defected from Cuba and moved to New York City. In addition to jazz performance and composition, he has composed many works for conventional classical ensembles, writing in a style that allows a free coexistence of various kinds of music. D’Rivera’s wind quintet staple Aires Tropicales (1994) was commissioned by the Aspen Wind Quintet. Blaise Déjardin and BSO clarinetist Thomas Martin collaborated on this arrangement. The five

6 movements played here are all fully developed pieces, most of them based on dance music. “Alborada” is a traditional song to greet the dawn. “Son” employs a steady ostinato under a short melody, taking its name from a popular Cuban dance. “Wapango,” based on an African dance, hovers between a feeling of 3/4 and 6/8 and features a freely improvised clarinet solo. “Afro” opens with a long cello solo before an ostinato takes the suite, once again, into dance territory. “Contradanza,” dedicated to the Cuban composer Ernesto Lecuona, is another traditional Cuban dance, featuring a lively countermelody against the syncopated main tunes. The Wolfgang Variations, written for the BCQ and premiered in 2011, is one of BCQ co-founder Blaise Déjardin’s virtuosic displays of musical wit and free-association. It takes its initial impetus from Mozart’s Haffner Symphony, No. 35. There is, Déjardin says, Mozart at the start and Mozart at the finish but very little Mozart in between, which is an entertaining kaleidoscope of winks, knowing glances, and stylistic volte- faces.

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

The Boston Cello Quartet was founded in January 2010 by four cellists of the Boston Symphony Orchestra: Blaise Déjardin, Adam Esbensen, Mihail Jojatu and Alexandre Lecarme. With the wish to explore the limitless possibilities of the instrument they love, the cello, they perform a wide repertoire ranging from classical music to jazz, tango, contemporary works, and even comic medleys. Cellist Blaise Déjardin is also expanding the repertoire by constantly writing new arrangements for the group. The members of the Boston Cello Quartet, originally from France, Romania, and the United States, met in 2008, when three of them joined the Boston Symphony Orchestra. This was the first time in the BSO’s history that such a cello ensemble was formed. The Boston Cello Quartet also rotates the role of leader for each piece, which is unique in the world of cello quartets. The group has enjoyed considerable success since its acclaimed debut concert at Tanglewood in July 2010. Captivating classical and popular audiences alike, the Boston Cello Quartet made its Koussevitzky Music Shed debut in August 2011, opening for the Grammy Award-winning band Train. They recently partnered with composer Olivier Deriviere to record the soundtrack of the videogame “Of Orcs and Men.” The Boston Cello Quartet’s first CD, “Pictures,” was released in February 2013. Born in Philadelphia, BSO principal cello Jules Eskin, who occupies the Philip R. Allen Chair, came to the BSO in 1964 after three years as principal cello with the Cleveland Orchestra under George Szell. His father, an amateur cellist, gave him his first lessons, and at age sixteen he joined the Dallas Symphony Orchestra under Antal Dorati. Mr. Eskin studied with János Starker in Dallas and later with Gregor Piatigorsky and Leonard Rose at the Curtis Institute of Music. In 1947 and 1948 he was a Fellow of the Tanglewood Music Center. In 1954, Mr. Eskin was awarded first prize in the prestigious Walter Naumburg Competition; he gave his New York Town Hall debut recital that same year, leading to an extended concert tour in Europe. Mr. Eskin participated in the Marlboro Music Festival and played with the Casals Festival Orchestra in Puerto Rico. His chamber music collaborations have included appearances with Isaac Stern and Friends, the Guarneri String Quartet, and piano trio performances

TANGLEWOODWEEK 3 PRELUDEPROGRAMNOTES 7 8 with Arnold Steinhardt and Lydia Artymiw. As a founding member of the Boston Symphony Chamber Players, he has performed throughout the world and has recorded numerous chamber works for the RCA, Deutsche Grammophon, Northeastern, and Nonesuch labels. He has been soloist with the Boston Symphony Orchestra in Strauss’s Don Quixote, Bloch’s Schelomo, Brahms’s Double Concerto, and the cello concertos of Dvoˇrák, Haydn, Saint-Saëns, and Schumann. Mr. Eskin is featured on a Deutsche Grammophon album of music by Gabriel Fauré with the Boston Symphony Orchestra and on numerous Boston Symphony Chamber Players recordings. He holds the BSO’s Philip R. Allen Chair, endowed in perpetuity. Thomas Martin, who occupies the Stanton W. and Elisabeth K. Davis Chair, is associate principal clarinetist and E-flat clarinetist of the Boston Symphony Orchestra and principal clarinetist of the Boston Pops Orchestra. Mr. Martin began his professional music career as a clarinetist, saxophonist, and flutist at age thirteen, performing with several big bands and combos in his native Wisconsin. He attended the Eastman School of Music in Rochester, New York, studying with Stanley Hasty and former Boston Symphony clarinetist Peter Hadcock. Mr. Martin maintains an active schedule as a soloist, chamber musician, and teacher. He gave the east coast premiere of Elliott Carter’s Clarinet Concerto at Tanglewood in 1998 and played that work again at Tanglewood in 2008 as part of that summer’s Carter Centenary Celebration. His performances with the Boston Pops included a 100th-anniversary tribute to Benny Goodman in June 2009; he gave the American premiere of Carter’s Poems of Louis Zukofsky with soprano Lucy Shelton as part of the 2009 Festival of Contemporary Music at Tanglewood; and he appeared as soloist with the Boston Symphony Orches- tra in August 2010 performing Leonard Bernstein’s Prelude, Fugue, and Riffs for clarinet and jazz ensemble with Robert Spano conducting. He has performed frequently with the Hawthorne String Quartet at the Prague Spring Music Festival, where he gave the premiere of a new clarinet sonata composed for him by Sir André Previn, with the composer at the piano; Previn also wrote his Clarinet Quintet for Mr. Martin and the Hawthorne Quartet. A native of Texas, J. William Hudgins, who occupies the Peter and Anne Brooke Chair, became a member of the BSO’s percussion section in 1990, after spending several years as a member of the Florida Symphony Orchestra, which he joined right after graduate school at Temple University. Mr. Hudgins received his undergraduate degree from the Peabody Institute in Baltimore, which he attended on the Interlochen Center for the Arts’ Joseph E. Maddy Memorial Scholarship. He was a Tanglewood Fellow in 1982 and 1983 and also participated in the Aspen Music Festival in Colorado. He was soloist with the BSO in the world premiere of Maurice Wright’s Concertpiece for Marimba and Orchestra; he has been a soloist with the Boston Pops, Riverside Sym- phony, Springfield (MO) Symphony, and Florida Symphony, and he has performed with the contemporary music ensemble Collage New Music. He has taught as a clini- cian across the U.S. and Europe. Also an avid jazz vibraphonist, Hudgins is a member of the jazz band Pursuance. He has recorded for the Thinking Man and GM labels. Originally from Sault Ste. Marie, Ontario, Canada, mezzo-soprano Reilly Nelson holds a bachelor of music degree from the Eastman School of Music and a master of music degree from the College-Conservatory of Music at the University of Cin- cinnati. Ms. Nelson has performed Cherubino in Le nozze di Figaro and Hänsel in Hänsel und Gretel with the Janiec Opera Company. Her performances at CCM include appearances as soloist in the Kurt Weill Cabaret and Bach’s B minor Mass. A Tangle- wood Music Center Fellow this summer, she was soloist in John Harbison’s Closer to My Own Life with the Tanglewood Music Center Orchestra earlier this month. Ms. Nelson holds the TMC’s Morningstar Family Fellowship/Stephen and Persis Morris Fellowship this summer.

TANGLEWOODWEEK 3 PRELUDEPROGRAMNOTES 9 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Friday, July 19, 8:30pm

VLADIMIR JUROWSKI conducting

WAGNER Prelude to Act I of “Die Meistersinger von Nürnberg”

LISZT “Totentanz,” Paraphrase on “Dies irae,” for piano and orchestra

JEAN-YVES THIBAUDET

{Intermission}

BRAHMS Symphony No. 1 in C minor, Opus 68 Un poco sostenuto—Allegro Andante sostenuto Un poco allegretto e grazioso Adagio—Più Andante—Allegro non troppo ma con brio—Più Allegro

10 NOTES ON THE PROGRAM

Richard Wagner (1813-1883) Prelude to Act I of “Die Meistersinger von Nürnberg” First performance of the Prelude: November 1, 1862, Leipzig, Wagner cond. First performance of the complete opera: June 21, 1868, Munich, Hans von Bülow cond. First BSO performance of the Prelude: November 11, 1881 (on the fourth program of the BSO’s first season), Georg Henschel cond. First Berkshire Festival performance: August 16, 1936 (the year before the BSO first played at Tanglewood), Serge Koussevitzky cond. First Tanglewood performance: August 12, 1939, Koussevitzky cond. Most recent Tanglewood performance: August 2, 2011 (as part of Tanglewood on Parade), Rafael Frühbeck de Burgos cond. Like Tristan und Isolde, the opera that immediately preceded it in Wagner’s output, Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg) was written during the years following Wagner’s break from work on his massive Der Ring des Nibelungen. By the summer of 1857, hopes for the production of his Ring-in-progress were all but gone, and negotiations with his publishers were getting nowhere. There was no regular source of income, he had had no new work staged since the premiere of Lohengrin under Liszt at Weimar in 1850, and so it was obviously time for something more likely to be produced than the Ring. This he thought he had found in Tristan und Isolde; and even when this proved not to be the case, he expressed naively similar sentiments as he turned to work on Die Meistersinger, assuring the publisher Schott that his next opera would be “light, popular, easy to produce,” requiring neither a great tenor nor a “great tragic soprano,” and well within the abilities of any small opera company. Once more, Wagner proved himself wrong: Die Meistersinger von Nürnberg is one of the longest operas in the repertory, and, like Tristan, is hardly ever performed uncut. It requires no fewer than seventeen solo performers, including a leading tenor and leading bass of remarkable stamina, and the ensembles that close the first and second acts are among the most complex and difficult ever written. Considered in a very broad sense as something of a companion-piece to Tristan, the other major product of his break from work on the Ring, Die Meistersinger reflects not only Wagner’s growth as a composer, but also his considerable versatility, his ability to employ contrasting musical vocabularies as called for by contrasting subject matter. The intense chromaticism of Tristan is perfectly suited to that work’s depiction of heightened longing, both physical and spiritual. Die Meistersinger, on the other hand, is full of down-to-earth humanity in its portrayal of characters, situations, and emotions; and this work is written in a prevailingly direct diatonicism, embodied as much in the overture as it is throughout the opera. Wagner’s libretto, too, is for the most part much more straightforward in its approach to language than is his text for Tristan. And the subject matter will also have harmonized with Wagner’s own needs at the time. Just as Tristan und Isolde took inspiration from his passionate involvement with Mathilde Wesendonck, the wife of an important patron, so Die Meistersinger von Nürnberg mirrored a concern always close to the self-promoting Wagner’s heart: the need for (which is to say, his desire for) acceptance, by public and critics alike, of the New in art, particularly his own. In a nutshell, the story of Die Meistersinger—set in mid-16th-century Nuremberg—is this: The young knight Walther von Stolzing and Eva, daughter of the Mastersinger/ goldsmith Veit Pogner, are in love; but Pogner decrees that Eva can only marry a Mastersinger—and specifically the Mastersinger chosen as winner of the annual

TANGLEWOODWEEK 3 FRIDAYPROGRAMNOTES 11 Contest of Song held on the Feast Day of St. John the Baptist (though Pogner does at least grant Eva veto power in this regard). Walther’s attempt to qualify as a contest- ant confounds all who hear him, including the Mastersinger/cobbler/philosopher/ poet Hans Sachs—although Sachs (who is himself in love with Eva, complicating things further) senses that there was something new and important to be heard in Walther’s efforts. Following a complex sequence of comings, goings, and interac- tions on the part of all involved, the final (third) act of Die Meistersinger concludes with the St. John’s Day gathering of the townspeople on the meadow outside Nurem- berg to witness the Contest of Song, in which Walther finally wins Eva’s hand. The Prelude to Act I is built upon a succession of musical ideas from the opera, set out within the context of a self-contained musical structure that one might reason- ably think to label as an “overture”—which is what Wagner in fact called it until he wrote out the full score. Opening with a sturdy C major theme associated with the guild of the Mastersingers, it goes on to include music anticipating Walther’s Prize Song; the Mastersingers’ festive processional; music associated with the Masters’ apprentices; and music connected in the opera with the spectators watching the third-act Contest of Song. Toward the end, an imposing reappearance of the “guild theme” leads to the return of the opening material, but with a difference: in a magi- cal moment signaled by the first triangle stroke in the piece, the three principal themes—those of the guild, the Prize Song, and the Mastersingers’ processional— are brought together contrapuntally in a musical texture of crystalline clarity and Mozartian balance. In a complete performance of the opera, the overture leads without pause directly into the first scene of Act I. In concert, it ends with the same series of fanfares that closes the opera itself, proclaiming the rightness of music, art, and humanity.

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

12 Franz Liszt (1811-1886) “Totentanz,” Paraphrase on “Dies irae,” for piano and orchestra First performance: April 15, 1865, The Hague, J.J.H. Verhulst cond., Hans von Bülow (the score’s dedicatee), soloist. First BSO performance: January 9, 1902, Cambridge (MA), Wilhelm Gericke cond., Harold Bauer, soloist. Only previous Tanglewood performances: August 19, 1966, Erich Leinsdorf cond., Jeanne-Marie Darré, soloist; August 19, 1973, Seiji Ozawa cond., André Watts, soloist. For all his spectacular self-assurance at the piano, Liszt was astonishingly insecure as a composer. He would rework compositions repeatedly, fussing with this detail or that, never quite sure if he had yet got it right. Worse, he often took advice from random acquaintances, offered gratuitously, and then reworked pieces again. Almost every one of his major compositions went through stages of creation, and a number of them actually exist in two different “finished” forms. Liszt sketched his two piano concertos (No. 1 in E-flat and No. 2 in A) almost simultaneously, in 1839, during the early phase of his career when he was known primarily as a touring piano virtuoso of extraordinary attainments. The concertos were conceived as showpieces for his own talents; but the pressure of touring caused him to put them aside for a decade until he had settled in Weimar and given up the vagabond life of the international concert star to devote himself to composition and conducting. Although he had written a great deal of music already (mostly brilliant display pieces for piano solo), he worked hard to improve his skills, especially in orchestration. Like his two piano concertos, Totentanz was subjected to multiple revisions, occupying Liszt on and off over an extended period. His initial plans for Totentanz in 1838 were followed by a first stage of creation in 1849 and revisions in 1853; on May 12, 1853, he wrote to Hans von Bülow, “I have just finished reworking my two concertos and Totentanz in order to have them copied definitively.” But further revisions followed in 1859, and Liszt did not publish his own definitive version of Totentanz until 1865, the year it was first performed. (Ferruccio Busoni edited and published the 1849 version in 1919.) Though it did not take formal shape until later, Totentanz was inspired by a painting Liszt saw in 1838, during his years of travel and virtuoso showmanship. While in Italy with his mistress, the Countess Marie d’Agoult, he visited Pisa and there saw the famous medieval painting of “The Triumph of Death” by Orcagna. The work made a tremendous impression on him; it portrays the female figure of Death flying toward her victims carrying a scythe. Some souls are ascending to heaven, but many are dragged down to the flames of hell. Liszt decided to compose a work in his own medium on the subject of death, choosing the plainsong melody Dies irae, which is sung as part of the Requiem Mass. The Dies irae text is a horrific description of the terrors confronting mankind at the Last Judgment. As a counterpart to the visual imagery of Orcagna, it offered to the composer a tune of striking profile that would have an immediate, dramatic effect. Several years earlier, Liszt had made a piano arrangement of Berlioz’s Symphonie fan- tastique, which in its last movement quotes the Dies irae melody both dramatically and satirically. Berlioz may thus be at least as responsible as Orcagna for suggesting the form of Liszt’s response, a set of variations on the plainsong melody. Totentanz has been describes sometimes as Liszt’s “third piano concerto.” Certainly it belongs with the two concertos in both brilliance and musical substance, yet it has never become so well-known. Perhaps its relative brevity—about sixteen minutes—prevents it from

TANGLEWOODWEEK 3 FRIDAYPROGRAMNOTES 13 being programmed more often. Nonetheless it remains one of Liszt’s strongest works, both for the clarity of its structures (one of his few examples in variation form) and the poetic imagination he brings to the elaboration of the Dies irae, the various countermelodies, and the variety in the scoring. The work begins with a darkly colored “dance of death,” with diminished harmonies underlying the first phrase of the plainsong melody sounded forth heavily in the bass instruments, like the most somber of funeral processions. An electrifying splash of piano cadenza announces that this work will be a showpiece of virtuosity despite its serious framework. Soon the full theme has been stated and we are off on a series of character variations in different tempi and moods, with striking touches of orchestration, fugal sections, and pianistic fireworks. Though some of Totentanz shows Liszt in his most diabolist mood, there are romantic touches as well, and the canny range of moods contributes to making this brief, concerto-like piece one of its creator’s most dramatic works.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for other orchestras and ensembles throughout the country.

Johannes Brahms (1833-1897) Symphony No. 1 in C minor, Opus 68 First performance: November 4, 1876, Karlsruhe, Otto Dessoff cond. First BSO performance: December 10, 1881, Georg Henschel cond. First Tanglewood performance: August 15, 1937, Serge Koussevitzky cond. Most recent Tanglewood performance: August 13, 2011, Christoph von Dohnányi cond. When Brahms finished his First Symphony in September 1876, he was forty-three years old. (Beethoven was twenty-nine, Schubert fifteen, Schumann twenty-two, Mahler twenty-eight at the completion of their respective first symphonies; Mozart was nine, but that’s another story altogether.) As late as 1873, the composer’s publisher Simrock feared that a Brahms symphony would never happen (“Aren’t you doing anything any more? Am I not to have a symphony from you in ’73 either?” he wrote the composer on February 22), and Eduard Hanslick, in his review of the first Vienna performance, noted that “seldom, if ever, has the entire musical world awaited a composer’s first symphony with such tense anticipation.” Brahms already had several works for orchestra behind him: the Opus 11 and Opus 16 serenades, the D minor piano concerto (which emerged from an earlier attempt at a symphony), and that masterwork of orchestral know- how and control, the Variations on a Theme by Haydn. But a symphony was something different and had to await the sorting out of Brahms’s complicated emotional relationship with Robert and Clara Schumann (only after Robert’s death in 1856 could Brahms finally begin to accept that his passion for the older Clara needed to remain unrequited), and, more important, of his strong feelings about following in Beethoven’s footsteps. Beethoven’s influence is certainly to be felt in Brahms’s First Symphony: in its C minor- to-major progress; in the last-movement theme resembling the earlier composer’s Ode to Joy—a relationship Brahms himself acknowledged as something that “any ass could see” (perhaps less obvious is the relationship between the theme itself and the

TANGLEWOODWEEK 3 FRIDAYPROGRAMNOTES 15 slow-moving violin phrase of the last movement’s opening measures); and, perhaps most strikingly, in the rhythmic thrust and tight, motivically based construction of the work—in some ways quite different from the melodically expansive Brahms we encounter in the later symphonies. But at the same time, there is really no mistaking the one composer for the other: Beethoven’s rhythmic drive is very much his own, whereas Brahms’s more typical expansiveness is still present throughout this symphony, and his musical language is unequivocally 19th-century-Romantic in manner. Following its premiere at Karlsruhe on November 4, 1876, and its subsequent appearance in other European centers, the symphony elicited conflicting reactions. Brahms himself had already characterized the work as “long and not exactly ami- able.” Clara Schumann found the ending “musically, a bit flat...merely a brilliant afterthought stemming from external rather than internal emotion.” Hermann Levi, court conductor at Munich and later to lead the 1882 Bayreuth premiere of Wagner’s Parsifal, found the two middle movements out of place in such a sweeping work, but the last movement he decreed “probably the greatest thing [Brahms] has yet created

16 in the instrumental field.” The composer’s close friend Theodor Billroth described the last movement as “overwhelming,” but found the material of the first movement “lacking in appeal, too defiant and harsh.” One senses in these responses an inability to reconcile apparently conflicting elements within the work, and the two inner movements do indeed suggest a world quite different from the outer ones. At the same time, these reactions also point to the seeming dichotomy between, as Hanslick put it, “the astonishing contrapuntal art” on the one hand and the “immediate communicative effect” on the other. But the two go hand in hand: the full effect of the symphony is dependent upon the compositional craft that binds the work together in its progress from the C minor struggle of the first movement through the mediating regions of the Andante and the Allegretto to the C major triumph of the finale. The first Allegro’s two principal motives—the three eighth-notes followed by a long- er value, suggesting an abstraction of the opening timpani strokes, and the hesitant, three-note chromatic ascent across the bar, heard at the start in the violins—are already suggested in the sostenuto introduction, which seems to begin in mid-struggle. The movement is prevailingly somber in character, with a tension and drive again suggestive of Beethoven. The second idea’s horn and wind colorations provide only passing relief: their dolce and espressivo markings will be spelled out at greater length in the symphony’s second movement. The second and third movements provide space for lyricism, for a release from the tension of the first. The calmly expansive oboe theme of the E major Andante is threatened by the G-sharp minor of the movement’s middle section (whose six- teenth-note figurations anticipate the main idea of the third movement), but tran- quility prevails when the tune returns in combined oboe, horn, and solo violin. The A-flat Allegretto is typical of Brahms in a grazioso mood—compare the Second Symphony’s third movement, or the finale of the Piano Concerto No. 2—and continues the respite from the main battle. And just as the middle movements of the symphony are at an emotional remove from the outer ones, so too are they musically distant, having passed from the opening C minor to third-related keys: E major for the second movement and A-flat major for the third. At the same time, the third movement serves as preparation for the finale: its ending seems unresolved, completed only when the C minor of the fourth movement, again a third away from the movement that precedes it, takes hold. As in the first movement, the sweep of the finale depends upon a continuity between the main Allegro and its introduction. This C minor introduction gives way to an airy C major horn call (originally conceived as a birthday greeting to Clara Schumann in 1868) which becomes a crucial binding element in the course of the movement. A chorale in the trombones, which have been silent until this movement, brings a canonic buildup of the horn motto and then the Allegro with its two main ideas: the broad C major tune suggestive of Beethoven’s Ninth, and a powerful chain of falling intervals, which crystallize along the way into a chain of falling thirds, Brahms’s musical hall- mark. The movement drives to a climax for full orchestra on the trombone chorale heard earlier and ends with a final affirmation of C major—Brahms has won his struggle.

MARC MANDEL

TANGLEWOODWEEK 3 FRIDAYPROGRAMNOTES 17 Guest Artists

Vladimir Jurowski Vladimir Jurowski was born in Moscow and initially studied at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany, attending the Musikhochschule of Dresden and Berlin, where he studied with Rolf Reuter and Semion Skigin. In 1995 he made his international debut at the Wexford Festival, conducting Rimsky-Korsakov’s May Night; that same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. Mr. Jurowski has been music director of Glyndebourne Festival Opera since 2001. In 2003 he was appointed principal guest conductor of the London Philharmonic, becoming that orchestra’s principal conductor in September 2007. He is also principal artist of the Orchestra of the Age of Enlightenment and artistic director of the Russian State Academic Symphony Orchestra; he previously held positions with the Komische Oper Berlin, Teatro Comunale di Bologna, and Russian National Orchestra. Mr. Jurowski is a regular guest with many of the world’s leading orchestras, including the Berlin Philharmonic, Oslo Philharmonic, the Royal Concertgebouw Orchestra, Philadelphia Orchestra, Chicago Symphony, Tonhalle Orchester Zurich, Bavarian Radio Symphony Orchestra, Gewandhausorchester Leipzig, Mahler Chamber Orches- tra, and Dresden Staatskapelle. Highlights of the 2012-13 season and beyond include debuts with the Vienna Philharmonic, Boston Symphony, New York Philharmonic, NHK Symphony Orchestra Tokyo, and San Francisco Symphony, and returns to the Chicago Symphony, Chamber Orchestra of Europe, Royal Concertgebouw Orchestra, St. Petersburg Philharmonic, Tonhalle Orchester Zurich, Accademia di Santa Cecilia, and Philadelphia Orchestra. He made his Metropolitan Opera debut in 1999 with Rigoletto and has since returned there for Jen fa, The Queen of Spades, and Hänsel und Gretel. He has conducted Parsifal and Wozzeck at Welsh National Opera, War and Peace at Opéra National de Paris, Eugene Onegin at Teatro alla Scala Milan, Ruslan and Ludmila at the Bolshoi Theatre, and Iolanta and Der Teufel von Loudon at the Dresden Sempe- roper, as well as Die Zauberflöte, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Rake’s Progress, The Cunning Little Vixen, and Peter Eötvös’s Love and Other Demons at Glyndebourne Opera. Recent and future engagements include new productions of Ariadne auf Naxos at Glyndebourne, Die Frau ohne Schatten at the Metropolitan Opera, Moses und Aron at the Komische Oper Berlin, and The Fiery Angel at the Bayerische Staatsoper in Munich. His discography includes the first-ever recording of Giya Kancheli’s cantata Exile, Meyerbeer’s L’Étoile du nord, Massenet’s Werther, and music of Tchaikovsky, Stravinsky, Shostakovich, and Prokofiev with the Russian National Orchestra. For the London Philharmonic’s own LPO Live label, he has recorded works by Brahms, Mahler, Rachmaninoff, Tchaikovsky, Turnage, Holst, Britten, Shostakovich, Honegger, and Haydn. His Opus Arte recording of Stravin- sky’s The Rake’s Progress with the LPO and Glyndebourne Chorus was nominated for a 2013 Grammy Award. His tenure at Glyndebourne has been documented in a CD release of Prokofiev’s Betrothal in a Monastery, and DVD releases of La Cenerentola, Gianni Schicchi, Die Fledermaus, Don Giovanni, and Rachmaninoff’s The Miserly Knight. Other DVDs include Hänsel und Gretel from the Metropolitan Opera; his first concert as the London Philharmonic Orchestra’s principal conductor, featuring works by Wagner, Berg, and Mahler; and DVDs with the Orchestra of the Age of Enlightenment (Beethoven) and the Chamber Orchestra of Europe (Strauss and Ravel), all released by Medici Arts. Making his Tanglewood debut this evening, Vladimir Jurowski made his only previous appearance with the Boston Symphony Orchestra in October 2012, leading a program of Mendelssohn and Shostakovich.

18 Jean-Yves Thibaudet One of today’s most sought-after soloists, Jean-Yves Thibaudet has enjoyed a career with global impact, including thirty years of performing around the world and over fifty recorded albums. Recent performances have included a European tour with Charles Dutoit and the Philadelphia Orchestra; performances during 2011-12 focusing on music of Liszt, Ravel, and Saint-Saëns; a program of Liszt and Brahms Lieder with mezzo-soprano Angelika Kirchschlager; tours of Europe with the Royal Concertgebouw Orchestra and of the United States with the Royal Philharmonic; a New Year’s Eve Gala with the New York Philharmonic, televised by PBS; and Debussy recitals in Germany and France celebrating the 150th anniversary of the composer’s birth. A Decca recording artist, Mr. Thibaudet has released over fifty albums, earning the Schallplattenpreis, the Diapason d’Or, Choc du Monde de la Musique, a Gramophone Award, two Echo awards, and the Edison Prize. Recent CDs include “Gershwin,” featuring “big jazz band orchestrations” of Rhapsody in Blue, Variations on ‘I Got Rhythm,’ and the Concerto in F live with the Baltimore Symphony and music director Marin Alsop; his Grammy- nominated recording of Saint-Saëns’s piano concertos 2 and 5 with Charles Dutoit and the Orchestre de la Suisse Romande; and the album “Aria–Opera Without Words,” featuring transcriptions (some of them his own) of arias by Saint-Saëns, Strauss, Gluck, Korngold, Bellini, Johann Strauss II, Grainger, and Puccini. He was the soloist on the Oscar- and Golden Globe-award-winning soundtrack of Universal Pictures’ Atonement, the Oscar-nominated Pride and Prejudice, and, most recently, for Alexandre Desplat’s film score for Extremely Loud & Incredibly Close. Among his other recordings are “Satie: The Complete Solo Piano Music,” and the jazz albums “Reflections on Duke: Jean-Yves Thibaudet Plays the Music of Duke Ellington” and “Conversations with Bill Evans,” his tributes to two of jazz history’s greats. Jean-Yves Thibaudet was born in Lyon, France, where he began his piano studies at age five and made his first public appearance at seven. At twelve, he entered the Paris Conservatory to study with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel. He won the Premier Prix du Conservatoire at fifteen and, three years later, the Young Concert Artists Auditions in New York City. In 2002 he was awarded the Premio Pegasus from the Spoleto Festival in Italy for his artistic achievements and his longstanding involvement with the festival. In 2007 he was awarded the Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoires de la Musique. In 2010 he was inducted into the Hollywood Bowl Hall of Fame. Known for his style and elegance, Mr. Thibaudet wears a concert wardrobe designed by Vivienne Westwood. Previously a Chevalier dans l’Ordre des Arts et des Lettres, he was awarded the title Officier by the French Ministry of Culture in 2012. Jean-Yves Thibaudet made his Boston Symphony Orchestra debut in August 1992 at Tanglewood. His most recent BSO appearances were in August 2012 at Tanglewood and in November 2012 at Symphony Hall. With the BSO he has performed music of D’Indy, Franck, Gershwin, Grieg, Khachaturian, Liszt, Rachmaninoff, Ravel, and Saint-Saëns. At Tanglewood in 2011 he made three appearances—two Ozawa Hall recitals, and a performance with the BSO—in which he played the complete piano works of Ravel. Stu Rosner

TANGLEWOODWEEK 3 GUESTARTISTS 19 The Jenkins Family Concert Saturday, July 20, 2013 The performance on Saturday evening is supported by a generous gift from BSO Trustee Charles H. Jenkins, Jr., and his wife, Dorothy Jenkins. Great Benefactors Charlie and Dorothy are longtime supporters of the Boston Symphony Orchestra. They became interested in the BSO while they were both students in the Boston area. Charlie was studying for his D.B.A. at Harvard Business School, and Dorothy was at Wellesley College. They attended the free open rehearsals at Symphony on Thursday nights. Charlie and Dorothy have summered in the Berk- shires for many years, and they have been attending performances at Tanglewood since the early 1970s. Their love of classical music and Tanglewood led them to generously support the campaign to build Seiji Ozawa Hall and, more recently, the Tanglewood Forever Fund. Charlie and Dorothy have supported the Tanglewood Annual Fund for many years, and they are Koussevitzky Society members at the Virtuoso level. In addition, they have supported Opening Nights at Tanglewood, the Tanglewood Music Center Opera Training Program, and the Dorothy and Charlie Jenkins Fellowship, which provides support for an annual full fellowship at the Tanglewood Music Center. Charlie and Dorothy have served on several Opening Night at Tanglewood gala committees, and they served as co-chairs of the gala in 2006. Charlie was elected to the BSO Board of Overseers in 1998, and he was elected a Trustee in 2008. Charlie is the Chairman of the Board of Publix Super Markets Inc., the largest employee-owned retailer in the United States. He also serves as a Trustee Emeritus of Emory University. Dorothy is a Director of Westlake Chemical Corporation. She also serves as a Trustee of Wellesley College and the John and Mable Ringing Museum of Art Foundation. Kevin Toler

20 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Saturday, July 20, 8:30pm THE JENKINS FAMILY CONCERT

LOTHAR KOENIGS conducting

WAGNER “Die Walküre,” Act III KATARINA DALAYMAN, soprano (Brünnhilde) AMBER WAGNER, soprano (Sieglinde) BRYN TERFEL, bass-baritone (Wotan) ELIZABETH BYRNE, soprano (Waltraute) MELISSA CITRO, soprano (Ortlinde) MOLLY FILLMORE, soprano (Helmwige) DEBORAH MAYER, soprano (Gerhilde) BLYTHE GAISSERT, mezzo-soprano (Siegrune) MARYANN MCCORMICK, mezzo-soprano (Grimgerde) MARY PHILLIPS, mezzo-soprano (Schwertleite) REBECCA RINGLE, mezzo-soprano (Rossweisse)

Please note that there is no intermission in this concert. A synopsis of the story begins on page 25.

Linda Hall, rehearsal pianist

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Opera activities at Tanglewood are supported by a grant from the Geoffrey C. Hughes Foundation.

TANGLEWOODWEEK 3 SATURDAYPROGRAM 21 For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

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22 NOTES ON THE PROGRAM

Richard Wagner (1813-1883) “Die Walküre,” Act III First performance of the complete opera: June 26, 1870, Munich. First performance of “Die Walküre” as part of Wagner’s complete “Ring” cycle: August 14, 1876, Bayreuth, Germany (see below). Though numerous excerpts from Wagner’s “Ring” have been performed by the Boston Symphony Orchestra since its founding in 1881, this is the first performance by the BSO of the complete third act of “Die Walküre.”

THE HISTORY In October 1848, after some years of studying the Teutonic and Norse mythologies and sagas, Richard Wagner produced his essay “The Nibelungen Myth as Scheme for a Drama.” Nearly three decades later, in August 1876, Der Ring des Nibelungen received its first complete performance, in the theater at Bayreuth that Wagner had built to his own specifications. He had written a prose sketch for Die Walküre, the third opera of his Ring cycle, in May 1852, and the libretto between June 1 and July 1 that same year. After sketching the music between June 28 and December 27, 1854, he wrote out the autograph score of Die Walküre between January 1855 and March 23, 1856. The history of the Ring is long and complicated, the prose sketch for what was originally conceived as a single opera entitled Siegfrieds Tod (Siegfried’s Death)—the predecessor to the work we now know as Götterdämmerung (Twilight of the Gods)—ultimately being expanded backwards as Wagner deemed it necessary to provide additional background to each successive stage of his epic drama. The prose sketches for Der junge Siegfried, Das Rheingold, and Die Walküre date from the early 1850s, and it was also around this time that Wagner settled on the overall title for his seventeen-hour, four-night work: Der Ring des Nibelungen. Ein Bühnenfestspiel für drei Tage und einen Vorabend (“The Nibelung’s Ring. A Stage- Festival-Play for three days and a preliminary evening”). The musical sketches for Siegfrieds Tod date back to 1850, but the four operas of the Ring—Das Rheingold, Die Walküre, Siegfried, and Götterdämmerung—were composed essentially in order over a twenty-year span (the music of Die Walküre occupying him from June through December, 1854), though this was interrupted—given the lack of prospects for see- ing the Ring produced, but likely also because the musical composition itself had become unmanageable for him—during his work on Act II of Siegfried in July 1857. It was only after composing Tristan und Isolde and Die Meistersinger von Nürnberg that he returned to work on the Ring in March 1869, with a strength, determination, and certainty that would flow unimpeded through the closing pages of Götterdämmerung, the full score of which he completed in November 1874. Perhaps the most important thing the uninitiated listener needs to know about Wagner’s music is that, though conceived for the theater, it is essentially symphonic in its treatment of the orchestra, which he uses, in two basic ways, to support some of the largest musical structures ever conceived: (1) through his use of leitmotifs (which was not his own term)—musical motives or themes that represent not just characters and objects, but even thoughts, attitudes, and psychological stances; and (2) through the large-scale repetition or reinterpretation of large chunks of music, thereby providing significant points of arrival within both the musical structure and the dramatic progress of the story. Beyond that, it’s also important to say that even Wagner himself could never conveniently summarize what the Ring is actually about

TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 23

and, because of changes he made to his text along the way, was ultimately left to suggest that the music itself had to provide the last word. On the other hand, there’s no question that the Ring touches upon a great many subjects of considerable impor- tance—power, greed, love, gods, humans, society, loyalty, betrayal, hope, and redemption, among various other things that its interpreters have seen fit to catalogue.

THE STORY In Das Rheingold, the prologue to the tetralogy, Alberich, the ruler of a subterranean race called the Nibelungs, steals the Rhinegold from its resting place in the waters of that river and forges it into a ring that brings its wearer ultimate power (hence the name of the cycle, “The Nibelung’s Ring”: Alberich is the Nibelung of the title). Wotan, the head god, steals the ring from Alberich, who in turn lays upon the ring a curse that condemns its wearer to death. Wotan loses the ring to the giants Fasolt and Fafner as part of his payment to them for their building of the gods’ home, Valhalla. Fafner kills Fasolt so he can have the ring, and the treasure that accompanies it, for himself (he’ll turn up again in Siegfried, transformed into a dragon). Wotan resolves to regain the ring, but, for reasons too complicated to explain here, he can only do this indirectly, through an individual not acting explicitly as Wotan’s own agent. To this end he fathers the twins Siegmund and Sieglinde by a mortal mother. The first two acts of Die Walküre tell the story of Siegmund and Sieglinde: separated as infants, they now meet, immediately fall in love, and consummate that love. Despite the compassion and protection of the Valkyrie Brünnhilde—Wotan’s favorite daughter, who is the opera’s title character—Siegmund is killed by Sieglinde’s husband Hund- ing, Wotan’s wife Fricka having insisted that Wotan uphold the sanctity of marriage by letting Siegmund die. It is Brünnhilde’s attempt to save Siegmund, defying Wotan’s command that she not do so, that determines her fate at the end of the opera, as explained below. Ultimately, now that his plan involving Siegmund has failed, Wotan’s hope for regaining the ring will rest in Siegfried, the son of Siegmund and Sieglinde (again, see below); but that hope, too, will be thwarted, as the events of Siegfried and Götterdämmerung run their course—a course far too long to chronicle further here. Act III of “Die Walküre” begins with the music known in its purely orchestral concert incarnation as “Ride of the Valkyries.” As the curtain rises, Brünnhilde’s eight air- borne Valkyrie-sisters are gathering at the Valkyries’ rock, where they are collecting the bodies of slain heroes before transporting them to Valhalla. In the opera house, the music is punctuated by the warrior maidens’ “Ho-jo-to-jo!” war cry; the less heavily scored sections accompany their cheerful banter as they unshoulder their burdens. Wagner includes in his music “such realistic effects as the thunderous gallop and the panting and whinnying of the horses” (to quote Ernest Newman). Terrified at the wrath of her enraged father Wotan, who follows in fast pursuit, Brünnhilde arrives at the Valkyries’ rock with Sieglinde. Despondent over Siegmund’s death, Sieglinde has lost the will to live, but rallies upon hearing from Brünnhilde that she (Sieglinde) is pregnant by Siegmund. As the orchestra introduces the motif of “Siegfried as Hero,” Brünnhilde gives the unborn child his name. Sieglinde turns ecstatic; her next words, “O hehrstes Wunder!” (“Oh sublime wonder”), are sung to the motif of “Redemption” (which will figure notably at the very close of the Ring cycle, when it is heard as the curtain falls on the final act of Götterdämmerung). Brünnhilde heads Sieglinde toward safety after entrusting her with the fragments of Siegmund’s shattered sword (to be reforged later by Siegfried in Act I of the cycle’s next opera).

TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 25 Wotan arrives. As they try to hide Brünnhilde from him, the other Valkyries’ efforts to soften Wotan’s anger fall on deaf ears. He decrees her punishment for disobeying him: he will strip Brünnhilde of her godly powers and leave her asleep on the rock, fated to marry whatever man first finds her. Left alone with her father following the departure of her sisters, Brünnhilde pleads for at least some protection, begging Wotan to conjure around the Valkyries’ rock a magic fire that will prevent anyone but a hero from penetrating it. Her entreaties win out, and in his farewell to his daughter, which closes the opera, he accedes to her request, says his last good-bye, kisses her asleep (thereby also turning her mortal), and commands the fire-god Loge to surround the rocky crag with protective flames. The music to which he sings his final words—“Wer meines Speeres Spitze fürchtet, durchschreite das Feuer nie!” (“He who’s fearful of my spear-point shall never pass through the fire!”)—tells us who that hero will be.

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

Guest Artists

Lothar Koenigs Making his Boston Symphony Orchestra and Tanglewood debuts this evening, Lothar Koenigs became music director of Welsh National Opera in 2009. He was born in Aachen and studied piano and conducting in Cologne. From 1999 to 2003 he was music director in Osnabrück, Germany. Since 2003 his guest engagements have taken him to the Vienna State Opera, New York’s Metropolitan Opera, Munich, Dresden, La Scala, Hamburg, Brussels, and Lyon, in a wide repertoire ranging from Mozart to Berg, with a particular emphasis on the operas of Wagner, Strauss, and Janáˇcek. He worked for the first time with the Orchestra of Welsh National Opera in January 2005, and was appointed to the position of music director in 2008, with an effective date at the beginning of the 2009-10 season. In 2010 he conducted the company’s highly acclaimed new production of Die Meistersinger von Nürnberg, which he also led in a televised concert at the 2010 BBC Proms. Lothar Koenigs also appears each season with the Orchestra of WNO

26 in concert at St. David’s Hall in Cardiff. His symphonic engagements have included performances with the Hallé, Beethoven Orchester Bonn, Orchestre Philharmonique de Luxembourg, Yomiuri Nippon Symphony Orchestra Tokyo, Deutsche Kammerphil- harmonie Bremen, Radio Orchestra Saarbrücken, RAI Orchestra Turin, Deutsches Symphonie-Orchester Berlin, Orchestra dell’Accademia di Santa Cecilia Rome, Rotter- dam Philharmonic, Orchestra Sinfonica de São Paulo, Radio Symphony Orchestra Berlin, Vienna Symphony, and the Dresden Philharmonic in Verona. Recent and future engagements include Tristan und Isolde, Don Giovanni, Katya Kabanová, Fidelio, Ariadne auf Naxos, Lulu, Turandot, Lohengrin, and The Cunning Little Vixen with Welsh National Opera; Wozzeck, Ariadne auf Naxos, and Lohengrin for the Bavarian State Opera in Munich; Elektra at La Monnaie in Brussels, and Rise and Fall of the City of Mahagonny in Cologne, as well as concert performances in the United Kingdom and Europe. In August 2012 he conducted a concert performance of Tristan und Isolde at the 2012 Edinburgh International Festival. Recent and upcoming concert engagements include performances with Staatsoper Hannover and Ensemble InterContemporain.

Katarina Dalayman Making her Boston Symphony Orchestra and Tanglewood debuts with this concert, dramatic soprano Katarina Dalayman is particularly noted for her performances of works by Wagner and Strauss, in such roles as Isolde, Kundry, Elektra, and Brünnhilde, in such major opera houses as the Metropolitan Opera, Opéra National de Paris, Wiener Staatsoper, La Scala, Deutsche Oper Berlin, Semper Opera, Salzburger Festspiele, and Festival d’Aix en Provence, among others. She has appeared with many renowned conductors, including Riccardo Chailly, Sir Colin Davis, James Levine, Wolfgang Sawallisch, Michael Tilson Thomas, Esa-Pekka Salonen, Antonio Pappano, Sir Mark Elder, and Zubin Mehta, and with such leading orchestras as the London Symphony Orchestra, BBC Orches- tra, Vienna Philharmonic, Montreal Symphony, and Munich Philharmonic. Highlighting her 2012-13 season have been works by Wagner, including her celebrated Kundry at the Metropolitan Opera, a production that was part of the Met’s “Live in HD” transmissions. She also returned there for Brünnhilde in the Robert Lepage production of Wagner’s Ring cycle, and appeared as Brünnhilde at both the Wiener Staatsoper and Bayerischen Staatsoper in Munich. This summer, besides her BSO debut this evening, she sings Kundry in a new production of Parsifal at Stockholm’s Royal Opera House. She recently made her role debut as Carmen in a new production in Stockholm, where she has previously sung Elektra and Maddalena de Coigny in Andrea Chénier. She was Isolde in Dresden and Brünnhilde in Siegfried and Götterdämmer- ung at Opéra-Bastille in Paris. Other recent engagements include Brünnhilde at Stock- holm’s Royal Opera, the Aix-en-Provence Festival, and the Osterfestspiele in Salzburg; Judith (Bluebeard’s Castle) in Barcelona; Isolde at the Metropolitan Opera and in Berlin; Kundry in Dresden, and Elektra in Stockholm and Savonlinna. In 1992 Katarina Dalay- man made her debut at the Royal Opera in Stockholm as Amelia in Simon Boccanegra. In December 2000 she became court singer by special appointment to the King, and four years later she was awarded Sweden’s “Litteris et Artibus,” a royal medal (established in 1853) for outstanding service to the arts. Her other notable roles include Marie (Wozzeck) in Stockholm, Brussels, Stuttgart, New York, Paris, and Florence and at the Royal Opera House–Covent Garden; Desdemona (Otello) in Stuttgart, Cologne, and Stockholm; Elisabeth (Tannhäuser) in Munich and Gothenburg; Eva (Die Meister- singer von Nürnberg) in Stuttgart and Amsterdam; Elisabetta (Don Carlo) in Helsinki; Lisa (Pique Dame) in Chicago, New York, San Francisco, and Munich; the title role in Tosca in Gothenburg, Berlin, and Copenhagen; Mimì (La bohème) in Stockholm, Stuttgart, and Hamburg; Ariadne (Ariadne auf Naxos) in Milan, Brussels, Dresden,

TANGLEWOODWEEK 3 GUESTARTISTS 27 Paris, and Munich; Marie/Marietta (Die tote Stadt) in Stockholm; the Duchess of Parma (Doktor Faust) in New York and at the Salzburg Festival; Brangäne (Tristan und Isolde) in New York; Katerina (Lady Macbeth of Mtsensk) and Sieglinde (Die Walküre) in Stockholm, at Covent Garden, and in New York; the title role in Salome in Stockholm; and Isolde (Tristan und Isolde) in New York and Berlin.

Amber Wagner The American soprano Amber Wagner makes her Boston Symphony Orchestra and Tanglewood debuts this evening. A winner of the 2007 Metropolitan Opera National Council Auditions Grand Finals, Ms. Wagner was featured in the documentary film The Audition, which opened nationwide in 2009. Chosen by Opera News as one of twenty-five artists poised to become a major force in the coming decade, Ms. Wagner began the 2012-13 season with a return to the Metropolitan Opera as Amelia in Un ballo in maschera conducted by Fabio Luisi. She returned to Lyric Opera of Chicago for a “Stars of Lyric” program featuring excerpts from Cavalleria rusticana. Symphonic engagements included Mahler’s Eighth Symphony with the Aspen Music Festival and Robert Spano, Strauss’s Four Last Songs with the Oregon Symphony under Carlos Kalmar, Wagner’s Wesendonck Lieder, and Verdi’s Requiem with both the Tucson Symphony and the Orchestre Métro- politain du Grand Montréal. During the 2011-12 season she triumphed in the title role of Strauss’s Ariadne auf Naxos at Lyric Opera of Chicago under Sir Andrew Davis. While covering this same role with Canadian Opera Company earlier in the year, Ms. Wagner gained special notoriety by replacing an ailing colleague on only twenty-four hours’ notice, to great acclaim. Her debuts that season included concert performances of Ariadne auf Naxos at the Palau de les Arts Reina Sofia in Valencia under Sir Andrew

28 Davis, and at Oper Frankfurt as Sieglinde in Die Walküre under Sebastian Weigle, as well as her Metropolitan Opera debut as Anna in Verdi’s Nabucco. She made her role debut as Senta in Der fliegende Holländer under Philippe Auguin at the Savonlinna Opera Festival. Highlights of past operatic seasons included her European debut with Prague State Opera, performing Brangäne in Tristan und Isolde with conductor Jan Latham Koenig; performances with Lyric Opera of Chicago as Elsa in Lohengrin under Sir Andrew Davis, and that same role for her Savonlinna Opera Festival debut. Sym- phonic highlights included a return to the Grant Park Music Festival for Verdi’s Requiem, Sieglinde in Act I of Wagner’s Die Walküre in concert with the Colorado Symphony and Christian Arming, and debut symphonic appearances in Beethoven’s Ninth Symphony with the Grant Park Festival and in Rossini’s Stabat Mater with the Oregon Symphony, both led by Carlos Kalmar. As a member of the Patrick G. and Shirley Ryan Opera Center at Lyric Opera of Chicago, Amber Wagner made her debut as an Unborn Child in Paul Curran’s production of Die Frau ohne Schatten, and sang Feklusa in Kátya Kabanová and Kate Pinkerton in Madama Butterfly. She also under- studied the roles of Elvira in Ernani, Brangäne in Tristan und Isolde, and Santuzza in Cavalleria rusticana, and performed in the student matinees of Il barbiere di Siviglia as Berta. The recipient of a Sullivan Foundation Career Grant, the Oregon native has won, among others, the Liederkranz Foundation Competition, the Richard Tucker Career Grant Award, and the Kirsten Flagstad Award from the George London Foundation.

Bryn Terfel The Welsh bass-baritone Bryn Terfel has performed in all the great opera houses of the world, and is especially recognized for his portrayals of Mozart’s Figaro, Verdi’s Falstaff, and Wagner’s Wotan. He made his operatic debut in 1990 as Guglielmo in Così fan tutte for Welsh National Opera. His international operatic career began in 1991, when he sang the Speaker in Mozart’s Die Zauberflöte at the Théâtre de la Monnaie in Brussels, and in the same year made his United States debut as Figaro at Santa Fe Opera. Other roles performed during his career include the title role of Der fliegende Holländer, Méphistophélès in Faust, both the title role and Leporello in Don Giovanni, Jochanaan in Salome, Scarpia in Tosca, the title role of Gianni Schicchi, Nick Shadow in The Rake’s Progress, Wolfram in Tannhäuser, Balstrode in Peter Grimes, the Four Villains in Les Contes d’Hoffmann, Dulcamara in L’elisir d’amore, and the title role of Sweeney Todd. Mr. Terfel is also known for his versatility as a concert performer, with engagements ranging from the opening ceremony of the Wales Millennium Centre, Last Night of the Proms, and the Royal Variety Show to a gala concert with Andrea Bocelli in New York’s Central Park. He has given recitals in the world’s major cities and for nine years hosted his own festival in Faenol, North Wales. Bryn Terfel has won Grammy, Classical Brit, and Gramophone awards; his discography includes operas of Mozart, Wagner, and Strauss, and more than ten solo discs encompassing Lieder, American musical theater, Welsh songs, and sacred repertory. In 2003 he was made a CBE for Services to Opera in the Queen’s New Year Honours list; in 2006 he was awarded the Queen’s Medal for Music. He is also the last recipient of the Shakespeare Prize by the Alfred Toepfer Foundation, Hamburg. Recent highlights include his role debut as Hans Sachs in Welsh National Opera’s critically acclaimed production of Die Meistersinger von Nürnberg; opening La Scala’s 2011 season as Leporello and Scarpia; singing Wotan in Wagner’s Ring cycle for the Royal Opera House–Covent Garden and the Metropolitan Opera; the title role in Der fliegende Holländer for Zurich Opera; Scarpia for Bayerische Staatsoper, Munich; and hosting a four-day festival, Brynfest, at London’s Southbank Centre, as part of the Festival of the World. Bryn Terfel made his Boston Symphony Orchestra debut in September 1997, singing music of Mozart, Wagner, and Rodgers & Hammerstein in

TANGLEWOODWEEK 3 GUESTARTISTS 29 the Opening Night concert of the BSO’s 1997-98 subscription season. Subsequent BSO appearances brought him to Tanglewood in August 1998 (Verdi, Bizet, Lerner & Lowe, Rodgers & Hammerstein, and others) and July 2004 (excerpts from Wagner’s Die Meistersinger von Nürnberg), and to Symphony Hall in October 2010 for an Opening Night all-Wagner program to initiate the BSO’s 2010-11 season. This past Thursday night at Tanglewood, he sang a recital of German and English song in Seiji Ozawa Hall.

Elizabeth Byrne Dramatic soprano Elizabeth Byrne was recognized with a Royal Philharmonic Society Award nomination for her performance as Brünnhilde in Wagner’s Ring cycle at Scottish Opera. Particularly suited to the German repertoire, Ms. Byrne has been seen in Die Walküre at the Edinburgh Festival; as Senta in Der fliegende Holländer with Portland Opera, Arizona Opera, Austin Lyric Opera, and with the Boston Symphony Orchestra under James Levine (in March 2005, her only previous BSO appearances); as Brünn- hilde in Siegfried with the Staatstheater Stuttgart, Brünnhilde in Die Walküre at Austin Lyric Opera, and Sieglinde in Die Walküre in concert with the Knoxville Symphony Orchestra, as well as Gutrune and Gerhilde in Lyric Opera of Chicago’s first complete Ring cycle. Ms. Byrne has also covered the roles of Brünnhilde in Die Walküre and Leonore in Fidelio at the Metropolitan Opera, as well as Isolde in Wagner’s Tristan und Isolde for San Francisco Opera. Other career highlights include Kostelniˇcka in Jonathan Miller’s production of Jen fa and the title role in Salome at Glimmerglass Opera, the Composer in Strauss’s Ariadne auf Naxos with Dallas Opera, and Leonore in Fidelio with Scottish Opera. At the Metropolitan Opera she has been seen as the Duchess of Parma in Busoni’s Doktor Faust and the Fourth Maid in Elektra; at Lyric Opera of Chicago she was the Overseer in the Götz Friedrich production of Elektra and covered Ortrud in Lohengrin. Most recently she was seen as the Witch in Hansel and Gretel with Indian- apolis Opera, after previously having sung the Mother in that opera with the Phoenix Symphony. She has also been heard as Fricka in Das Rheingold with Indianapolis Opera, the Mother in Hansel and Gretel with Portland Opera, and Herodias in Salome with Minnesota Opera. In recent seasons she returned to Lyric Opera of Chicago for Elektra and Hansel and Gretel, and to the Metropolitan Opera for Die Walküre. In the 2014-15 season she will sing Kabanicha in Katya Kabanova with Boston Lyric Opera. Also noted for her performances of contemporary operas, Ms. Byrne was Blanca in the world premiere of James MacMillan’s opera Inés de Castro at the Edinburgh Festival. The work was also performed in Glasgow and in Oporto, Portugal, and in a televised Scottish Opera production. In concert, Elizabeth Byrne has performed Mahler’s Symphony No. 8 at Royal Albert Hall and Shostakovich’s Symphony No. 14 at Canada’s National Arts Centre. She made her Avery Fisher Hall debut performing Zemlinsky’s Lyric Symphony with Leon Botstein and the American Symphony Orchestra. She has performed Verdi’s Requiem with the Alabama Symphony and the Greensboro Symphony, and Beethoven’s Symphony No. 9 with the symphony orchestras of Utah, Seattle, Rich- mond, and South Bend. She has appeared in concert at the Buxton Festival and at the Prague Festival, with the New Seoul Symphony in Korea, Rochester Philharmonic, Fort Wayne Symphony, Northwest Indiana Symphony, and with the Valdosta Symphony, with which she gave her first performances of Wagner’s Liebestod.

30 Melissa Citro Melissa Citro’s recent engagements include her debut with San Francisco Opera as Freia in Das Rheingold and Gutrune in Götterdämmerung, and her role debut as Sieglinde in Wagner’s Die Walküre with Virginia Opera. She recently joined both the San Francisco Opera and Metropolitan Opera casts of The Makropulos Case, covering Karita Mattila as Emilia. Upcoming engagements include her role debut as Senta in Lyric Opera of Kansas City’s production of Der fliegende Holländer, followed by San Francisco Opera’s production of Wagner’s Ring cycle, her Washington Opera debut as Gutrune in that company’s new Ring cycle, and her return to the Metropolitan Opera to cover Renée Fleming in the title role in Dvoˇrák’s Rusalka. In the summer of 2009 Ms. Citro made her debut with Glimmerglass Opera as Magda Sorel in Menotti’s The Consul. Her international debut was in the title role of Janáˇcek’s Jen˚ufa in Calixto Bieito’s acclaimed production for Stuttgart Opera in 2008. During the 2009-10 season, Ms. Citro returned to Los Angeles Opera to sing the roles of Ortlinde and Third Norn, and covered the roles of Sieglinde and Gutrune in Wagner’s Der Ring des Nibelungen. She joined Hawaii Opera Theatre as Ortlinde in Die Walküre and was heard with the Richmond Symphony Orchestra in Strauss’s Four Last Songs under Marc Taddei. Ms. Citro made her Los Angeles Opera debut in 2008 as the Nursing Sister in Suor Angelica, directed by William Friedkin with James Conlon conducting. In 2006 and 2007, for Los Angeles Opera, she covered the roles of Elisabeth in Tannhäuser, Gertrude in Hänsel und Gretel, and the title role of Jen fa. Past engagements have included Fiordiligi in Così fan tutte with San Francisco Opera’s Merola Program and Western Opera Theater, and the High Priestess in Rameau’s Hippolytus and Aricia with Opera Theatre of Saint Louis. While she was a fellowship artist at Music Academy of the West, her role assignments included the title role in Ariadne auf Naxos and Lady Billows in Britten’s Albert Herring. Making her Boston Symphony Orchestra debut this evening, Ms. Citro was a Grand Finals Winner of the 2001 Metropolitan Opera National Council Auditions. Additional honors have included the George London Award, the Richman Award from Opera Theatre of Saint Louis, and winning first place in the Mario Lanza Competition. She was a scholarship winner at the Westminster Choir College and the Juilliard School. A native of Quincy, Illinois, Melissa Citro has been featured on A&E Television’s Breakfast with the Arts as a rising young star to watch.

Molly Fillmore Making her Boston Symphony Orchestra debut this evening, Molly Fillmore made her Metropolitan Opera debut in 2011 as Helmwige in the Robert Lepage production of Die Walküre conducted by James Levine. She has also performed at such renowned opera houses as San Francisco Opera, Cologne Opera, and Seattle Opera, and gave a solo operatic performance with Washington National Opera. Ms. Fillmore made her San Francisco Opera debut in 2009 under music director Nicola Luisotti in the title role of Salome, which she has also sung with Arizona Opera. She returned to San Fran- cisco Opera in 2010 to cover the role of Brünnhilde and sing Ortlinde in Francesca Zambello’s production of Die Walküre conducted by Donald Runnicles. In the 2011-12 season she returned to the Metropolitan Opera to sing Mrs. Naidoo in Satyagraha (part of the Met’s “Live in HD” series) as well as Helmwige in Die Walküre, a role that she again sang there in the 2012-13 season. Her repertoire now includes Senta in Der fliegende Holländer, Elsa in Lohengrin, Elisabeth in Tannhäuser, Eva in Die Meistersinger, and Sieglinde in Die Walküre, as well as the title role in Beethoven’s Leonore, the Kaiserin in Strauss’s Die Frau ohne Schatten, the title role in Arabella, the title roles in Janáˇcek’s Jen fa and Katya Kabanová, Elisabetta de Valois in Don Carlo, and Desdemona in Otello. Molly Fillmore made her professional operatic debut as Kate Pinkerton in Madama

TANGLEWOODWEEK 3 GUESTARTISTS 31 Butterfly with Washington Opera while still an undergraduate student at American University. Upon completion of her musical studies, she joined the ensemble of Cologne Opera in Germany, where she appeared in over twenty-five roles, including Wellgunde and Waltraute in Cologne’s Ring cycle conducted by Sir Jeffrey Tate and directed by Robert Carsen. She also worked with conductor Daniele Callegari as Romeo in I Capuleti e i Montecchi, and with Graeme Jenkins as Krista in The Makropulos Case, Mercédès in Carmen, and Smeraldine in Love of Three Oranges. Other featured roles in Cologne include Cherubino in Le nozze di Figaro and Don Ramiro in La finta giardiniera. After returning to the United States, Ms. Fillmore appeared with Seattle Opera in Rusalka directed by Bernard Uzan and Ariadne auf Naxos directed by Chris Alexander and conducted by Gerard Schwarz, who subsequently invited her to sing with the Seattle Symphony in Mozart’s Requiem, the work that also served for both her Carnegie Hall and Avery Fisher Hall debuts. Her numerous performances of Verdi’s Requiem include the Detroit Symphony under Hans Graf. She sang Marguerite in La Damnation de Faust with the Utah Symphony under Keith Lockhart, made her debut at the Spoleto Festival in Charleston as Margret in Wozzeck, and was a soloist at Avery Fisher Hall in a gala celebrating the music of George Gershwin.

Deborah Mayer Making her Boston Symphony Orchestra debut this evening, dramatic soprano Deborah Mayer made her Metropolitan Opera debut in April 2013 as Gerhilde in its Ring cycle. In 2011 she sang in a Toledo Symphony gala concert titled “Romance of the Ring,” which included Brünnhilde’s Immolation Scene from Götterdammerung and Act III of Siegfried. She has recently sung Donna Anna in Don Giovanni at the Landestheater Salzburg; Abigaille in Nabucco at the Mainfranken Theater Wurzburg; Donna Anna in Don Giovanni and Elettra in Idomeneo as part of the Mozart Festival; and Martha Marnis in Manfred Trojahn’s Limonen aus Sizilien in a new version of the work directed by the composer. Ms. Mayer has sung Leonora in Il trovatore with the Baltimore Opera and Christian Badea, Aida at Opera Roanoke, and Tosca with Connecticut Opera. Her professional debut came in La traviata with Palm Beach Opera under Anton Guadagno and her European debut in Verdi’s Requiem with London’s Philharmonia Orchestra at the Chichester Festival. Other recent performances include Wagner’s Wesendonck Lieder with the Daejeon Philharmonic at the Seoul Arts Center in Korea, a concert that was telecast nationally with additional performances in Daejeon. Ms. Mayer’s acclaimed Paris debut was in 2009 at the Théâtre du Châtelet as Ada in Wagner’s first opera, Die Feen, with conductor Marc Minkowski and stage director Emilio Sagi. She performed the same role with the Mainfranken Theater Würzburg in celebration of the theater’s 200th anniversary. Among the distinguished guests in attendance at the gala premiere was the composer’s grandson, Wolfgang Wagner. An accomplished recitalist, Ms. Mayer was invited by the Richard Wagner Society of Bayreuth to present a recital in Bayreuth. She holds the distinction of being the first American awarded a stipendium by the prestigious organization. A winner in the 2010 Liederkranz Wagner Competition, she performed in the winners’ concert at Carnegie’s Weill Hall in March 2010. Ms. Mayer reprised the Verdi Requiem in Würzburg, Germany, as well as Beetho- ven’s Ninth Symphony with the Würzburg Philharmonic Orchestra under Daniel Klajner for a concert commemorating the 60th anniversary of the end of World War II. She has performed in concert with such orchestras as the Philharmonia Orchestra, Italian Philharmonic, Daejeon Philharmonic, Würzburg Philharmonic, Palm Beach Opera Orchestra, and South Bend Symphony. This coming season she returns to South Korea in highlights from Tristan und Isolde with the Pohang Symphony. Deborah Mayer received both bachelor and master of music degrees at Indiana University and studied with Nicola Rossi-Lemeni, Virginia Zeani, and James King.

32 Blythe Gaissert Mezzo-soprano Blythe Gaissert has earned acclaim for her performances on the stages of Los Angeles Opera (Israelite Man in Judas Maccabeus), Cincinnati Opera, Sarasota Opera (Maddalena in Rigoletto), Tulsa Opera (Hansel in Hansel and Gretel), and in the title role of Carmen with both Lake George Opera and Opera Southwest. This season she returned to the Metropolitan Opera for Die Walküre and joined the Los Angeles Philharmonic for its production and tour of Adams’s The Gospel of the Other Mary. Other recent engagements include appearances in Die Walküre and Nixon in China with the Metropolitan Opera; Mother Marie in Dialogues of the Carmelites with Des Moines Metro Opera, and Maddalena in Rigoletto at the Lyrique en Mer Festival. Ms. Gaissert has participated in a number of notable programs for young artists, including San Francisco Opera’s Merola Program, and those of Cincinnati Opera, Lake George Opera, Sarasota Opera, and Aspen Opera Theatre Centre, where she sang Mother Marie and Maddalena. The 2010 winner of the First Prize of the National Opera Association, Ms. Gaissert has been a finalist in a number of other competitions, including the Jensen Competition, Giulio Gari Competition, Portland Opera/Eleanor Lieber Competition, Bel Canto Competition, and McCammon Competition. She is also the winner of Sarasota Opera’s Mandelker Award. On the concert stage, she has appeared with the Asheville Symphony Orchestra in El amor brujo, Cincinnati Symphony in Zemlinsky’s Psalm 83, Colonial Symphony in Candide, both the Florence Symphony and the Garden State Philhar- monic in Handel’s Messiah, and the World Symphony Orchestra in Beethoven’s Symphony No. 9. She earned particular acclaim for her interpretations of Andriessen’s Y Despues and Ligeti’s Sippal, Dobbal, Nádi Heged˝uvel in their American premieres at the Aspen Music Festival and for a program of Shostakovich songs for the New York Performing Arts Library. Notable conductors with whom she has worked include Harry Bicket, James Conlon, Victor DeRenzi, Asher Fisch, James Levine, Julius Rudel, Anthony Barrese, and Kostis Protopapas. Directors with whom she has worked include Ed Berkeley, Helena Binder, Garnett Bruce, Jonathan Eaton, David Edwards, Chuck Hudson, Nic Muni, Stephanie Sundine, and Paula Williams. Tonight’s concert marks her Boston Symphony Orchestra debut.

MaryAnn McCormick Internationally acclaimed mezzo-soprano MaryAnn McCormick has sung Isabella in L’italiana in Algeri at La Scala, Azucena in Il trovatore at Teatro Regio Torino, and the First Maid in Elektra with Christoph von Dohnányi at Opéra National de Paris. She has also performed Maddalena in Rigoletto under Daniele Gatti at the Teatro Comunale di Bologna and with Seattle Opera, and Gluck’s Alceste under Bruno Bartoletti at the Teatro Regio di Parma. Recent accomplishments include the title role of Carmen with Theater St. Gallen, Switzerland; she has also been Carmen with Teatro dell’Opera di Roma, Teatro Regio di Torino, and the Staatsoper Stuttgart, among others. In 2011 she returned to the Metropolitan Opera as Grimgerde in Die Walküre, a performance broadcast in HD in theaters internationally and recently released on DVD. In recent seasons, Ms. McCormick made debuts with Teatro la Fenice in Die Walküre conducted by Jeffrey Tate and Teatro dell’Opera di Roma as Priyamvada in Alfano’s Sakuntala. She can be heard as Tigrana in Puccini’s Edgar in a recording with the Orchestre National de France led by Yoël Levi. She has been Suzuki in Madama Butterfly with Opera Colorado, Nefertiti in Phillip Glass’s Akhnaten with Atlanta Opera, and sang Das Lied von der Erde with Orchestra Verdi in Milan and with the Chamber Orchestra of Philadelphia. She also created the roles of Grandma Josephine and Mrs. Teavee for the world premiere at Opera Theatre of St. Louis of Peter Ash’s The Golden Ticket, based on the Roald Dahl book Charlie and the Chocolate Factory. Recent engagements include

TANGLEWOODWEEK 3 GUESTARTISTS 33 Mahler’s Symphony No. 2 with the Spokane Symphony and a return to the Metro- politan Opera this season for Die Walküre and as Soeur Mathilde in Dialogues of the Carmelites. Upcoming engagements include Suzuki in Madama Butterfly at Lyric Opera of Chicago in 2013-14, and the North American premiere of Huang Ruo’s opera Dr. Sun Yat Sen, sung in Chinese, for Santa Fe Opera’s 2014 season. Ms. McCormick has worked with such conductors as Jeffrey Tate, Wolfgang Sawallisch, Leonard Slatkin, James Levine, Christoph von Dohnányi, Kurt Masur, Edo de Waart, and Sir Neville Mariner, and with such orchestras as the New York Philharmonic, Philadelphia Orchestra, Montreal Symphony, Cleveland Orchestra, the Academy of St. Martin in the Fields, BBC Symphony, Dutch Radio Philharmonic, Brooklyn Philharmonic, and Boston Symphony. She has recorded with the Emerson String Quartet, the New York Philharmonic, and Orchestre National de France, and is featured singing in the Miramax film The Talented Mr. Ripley.

Mary Phillips American mezzo-soprano Mary Phillips is closely associated with the music of Wagner, having performed most of the mezzo roles in the Ring cycle. Last season she made an acclaimed role debut as Brangäne in Tristan und Isolde for Dallas Opera, and returned to the Metropolitan Opera as Schwertleite in Die Walküre, in which she also covers the role of Fricka. She has sung Fricka and Waltraute in Die Walküre and Waltraute in Götterdämmerung at Canadian Opera; Erda in the Scottish Opera’s Ring cycle, and Wellgunde and Rossweise in Seattle Opera’s Ring cycles. Ms. Phillips has also been hailed in Verdi roles, making her Met debut in La forza del destino and her San Francisco Opera debut in Rigoletto. She has sung Azucena in Il trovatore at Seattle Opera, repeat- ing the role this year at Arizona Opera. She is perhaps best known for her Amneris in Aida. Ms. Phillips has a strong commitment to the American music of our time, having sung Mrs. Alexander in the Met’s production of Philip Glass’s Satyagraha; Sister Helen Prejean in Jake Heggie’s Dead Man Walking at Austin Lyric Opera, and Heggie’s song cycle The Starry Night at Chicago’s Ravinia Festival, at Carnegie’s Zankel Hall, and at the Library of Congress. Her facility with contemporary works led to her New York Philharmonic debut in the world premieres of Michael Torke’s Four Seasons and Aaron Jay Kernis’s Garden of Light. She made her Dallas Opera debut as Ceres in Lee Hoiby’s The Tempest. On the concert stage, she has sung Mulier Samaritana in Mahler’s Sym- phony No. 8 with the New York Philharmonic under Maazel, and she has sung (and recorded) Mahler’s Symphony No. 2 with the Atlanta Symphony and with the Los Angeles Philharmonic. She has performed Beethoven’s Symphony No. 9 with the Boston Symphony Orchestra under Levine, the Philadelphia Orchestra under Dutoit, the Utah Symphony and Opera, the National Symphony, the Hong Kong Philharmonic, and the Handel & Haydn Society; she recorded the work with the Philharmonia Baroque Orchestra under McGegan. She has sung Saint-Saëns’s Requiem and Mendelssohn’s Elijah at Carnegie Hall. Recent highlights include Beethoven’s Symphony No. 9 with the Baltimore Symphony, Prokofiev's Alexander Nevsky with the Milwaukee Symphony, and Mendelssohn’s Elijah with the Nashville Symphony. She maintains a strong interest in performing and recording Baroque repertoire. On the opera stage this has included Sesto in Giulio Cesare in Barcelona and Eduige in Rodelinda for Dallas Opera. Concert appearances include Messiah at Carnegie Hall, the Atlanta Symphony, and the Gulbenk- ian Orchestra in Lisbon, as well as with the Seattle Symphony, with which she has also performed Bach’s Mass in B minor. She has sung Vivaldi’s Gloria at the Hollywood Bowl with the Los Angeles Philharmonic and has recorded Bach’s Magnificat for Boston Baroque. Ms. Phillips made her Boston Symphony debut in Beethoven’s Ninth Symphony at Tanglewood in August 2004, subsequently returning here for TMC

34 Orchestra performances of Strauss’s Elektra (as the Third Maid) in July 2006 and of Beethoven’s Ninth Symphony in August 2007.

Rebecca Ringle Mezzo-soprano Rebecca Ringle’s performances have earned acclaim on both operatic and concert stages. The 2012-13 season brought her Metropolitan Opera mainstage debut, singing Rossweise in Die Walküre, the role she also sings at Tanglewood for her BSO debut this evening; her role debut as Rosina in Il barbiere di Siviglia with Fargo- Moorhead Opera, and Stravinsky’s Requiem Canticles with the Bard Music Festival. Upcoming engagements include a return to the Met for Shostakovich’s The Nose, Beethoven’s Ninth Symphony with the National Chorale, and Handel’s Messiah with the Oratorio Society of New York. She was invited to return to the Marlboro Music Festival for her third summer in 2013. Following an acclaimed New York City Opera debut as Lola in Cavalleria rusticana, she has returned there as Suzuki in Madama Butterfly, Dorothée in Cendrillon, and to cover Rosmira in Partenope. In 2010-11 she joined the Metropolitan Opera roster for Nixon in China and Die Walküre, made her international debut as Dido in Dido and Aeneas with the Macau International Music Festival, sang Armida in Handel’s Rinaldo with Opera Vivente, and was Leda in Die Liebe der Danae with Bard SummerScape. Ms. Ringle made her professional debut as Tebaldo in Don Carlo with the Cleveland Orchestra under Franz Welser-Möst. She has performed with the Orchestra Sinfonica di Milano Giuseppe Verdi as a soloist in Piazzolla’s Songe d’une nuit d’été and as Pâtre/La Chatte in L’Enfant et les sortilèges. Concert engagements have included Handel’s Messiah with the Branford Camerata, Richmond Symphony, Jacksonville Symphony, and Utah Symphony, Bach’s St. Matthew Passion with the Richmond Symphony, Mozart’s Requiem with the National Chorale, and Mahler’s Lieder eines fahrenden Gesellen with Orchestra New England. She has appeared in Carnegie Hall’s Weill Recital Hall performing Falla’s Seven Popular Spanish Songs, and has collaborated with Ars Antiqua Baroque Orchestra on arias from Handel’s Hercules and Rinaldo and Vivaldi’s Juditha triumphans. A frequent performer of new music, she appeared with concert harpist Grace Cloutier and soprano Jennifer Black in May 2006 at Carnegie’s Weill Hall for Stanzas in Meditation, a work written for this trio by Sarah Kirkland Snider. In recital she has performed music of Schoenberg, Frazelle, Argento, and Bolcom. She performed the role of SHE in Mikael Karlsson’s new opera Decoration with the American Opera Projects and has been a frequent artist in the VOX Composers Showcase at New York City Opera. A graduate of Oberlin Conservatory and the Yale School of Music, she has received awards from the Metropolitan Opera National Council Auditions, the Spazio Musica Orvieto Concorso per Cantanti Lirici, and the Heida Hermanns International Opera Competition. She competed in Vienna at the international level of the 2007 Hans Gabor Belvedere Singing Competition. William Mercer

TANGLEWOODWEEK 3 GUESTARTISTS 35 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Sunday, July 21, 2:30pm

PINCHAS ZUKERMAN, conductor, violin, and viola

VIVALDI Concerto in C minor for violin and strings, RV 199, “Il sospetto” Allegro Andante Allegro PINCHAS ZUKERMAN, solo violin

VIVALDI Concerto in B-flat for violin, cello, and strings, RV 547 (Opus 22, No. 2) Allegro Andante Allegro molto Mr. ZUKERMAN, solo violin AMANDA FORSYTH, solo cello

J.S. BACH Concerto No. 2 in E for violin and strings, BWV 1042 Allegro Adagio Allegro assai Mr. ZUKERMAN, solo violin

{Intermission}

TELEMANN Concerto in G for viola and strings, TWV 51:G9 Largo Allegro Andante Presto Mr. ZUKERMAN, solo viola

36 J.S. BACH “Brandenburg” Concerto No. 2 in F, BWV 1047 [Allegro] Andante Allegro assai ELIZABETH ROWE, flute JOHN FERRILLO, oboe THOMAS ROLFS, trumpet Mr. ZUKERMAN, solo violin

NOTES ON THE PROGRAM

In spite of the many household names (three of which are featured this evening) among Baroque composers, and our awareness of many masterpieces from the era, the Baroque repertoire plays but a small part in the programs of most major symphony orchestras. In recent decades, ensembles with various claims to period authen- ticity or, more broadly, “historically informed performance” practices, have brought to pre-Romantic music a sense of its being a specialty concern. There’s reasonable justification for this: Telemann and Bach knew a rather different violin from what we hear today; they didn’t really have clarinets at all, and woodwind and brass instruments had very different capabilities than had developed by the mid-nineteenth century. There were instruments then in currency that have since fallen out of the mainstream, the lute, recorder, and viol families among them. Tuning standards were different, venues were different and in most cases far smaller... In short, historical performances allow us to hear that music in something approaching (but never quite matching) the original context. That being said, music (and art generally) shows remarkable resiliency in its ability to transcend context. Performances of the great Baroque literature have transformed over time along with individual instruments and the makeup of the orchestra; for many, a modern-instrument performance of Messiah or the Brandenburg or Four Seasons concertos is far less a novelty than a period-instrument performance. All thoughtful performances shed light on the basic musical and expressive character of the work. The five works on this program give a small sampling of the flowering of the concerto genre in its first heyday at the start of the eighteenth century, in the High Baroque era, in the hands of the Baroque concerto’s three greatest composers.

TANGLEWOODWEEK 3 SUNDAYPROGRAMNOTES 37

The term “concerto”—by which we, today, take to mean a soloist, or at most a small group of soloists, plus an orchestra—in fact had no fixed and definite meaning until about 1700. Arcangelo Corelli, an outstanding violinist as well as composer a genera- tion older than Vivaldi, was one of the first great proponents of the genre, and his works helped establish and clarify the meaning of the term. Beginning around 1710, the Venetian-born ANTONIO VIVALDI (1678-1741), it is said, made such an impact with his concerto style—clarity of harmonic motion and orchestral texture wedded to expressivity and virtuosity in the solo part—that that style dominated the genre for generations. The Germans Telemann and Bach certainly modeled aspects of their concertos on the Italian’s; Bach even transcribed and recomposed several of Vivaldi’s works both for study and for use in his own concerts. Vivaldi’s famous Four Seasons violin concertos (1723) give some indication of the composer’s approach to composing and to concertos more specifically. A prolific opera composer, Vivaldi was concerned, like many composers of the era, with the idea of musical character, or rhetoric: with producing just the right music to match the emotional shading of the scene. In The Four Seasons, each concerto is based on a corresponding poem by the composer about one of the four seasons of the year, giving the listener the opportunity to gauge just how closely the music matches the poetry’s mood. (For example, “In the harsh season scorched by the sun,” from Summer, explains that concerto’s aggressive opening.) This kind of characterization, albeit without attending verse, underpinned Vivaldi’s other instrumental works, and was also an influence in Bach’s music. It led Vivaldi to attach titles to his works to indicate their expressive content, and it was a similar impulse that suggested to later commentators the idea of attaching such names as “Jupiter” to a Mozart symphony. It was evidently Vivaldi who named his own C minor concerto (RV 199) “Il sospetto”—“Suspicion.” The assertive, accented quarter-note, first-movement theme in 4/4 time (in which the soloist typically participates as part of the first violin section)—given an agitated energy via the eighth-note accompaniment in the basses and a syncopated two-note figure in second violins—is Vivaldi’s musical illustration of a suspicious emotional state. The basic structure is this clearly stated theme in the full orchestra alternating with flights of fancy by the soloist. (This essential pattern obtains for all the fast movements of all the concertos on this program.) Movements are typically far shorter than those of Classical and later concertos, here coming in under four minutes each; the overall form is the typical fast-slow-fast. In the middle movement, the melody is marked “Tutti i violini,” indicating that “all the violins” (soloist, firsts, and

TANGLEWOODWEEK 3 SUNDAYPROGRAMNOTES 39 seconds) play it, while the lower strings provide a basic harmonic framework in eighth- notes. That goes against the grain of what we (and soloists) expect of a concerto, so it’s not unusual to find that the soloist takes the melody alone, with the remainder of the violins silent. The finale, again fast, returns to the agitation of the first movement, but now in a quick 3/8 meter, with, again, tutti passages alternating with solo. Concertos for multiple soloists were very common in the Baroque era, evolving from the similar concerto grosso, which developed a little earlier and typically featured a group of soloists. Vivaldi himself wrote more than six dozen duo concertos, including three for violin, cello, and strings. The opening theme of the Concerto in B-flat for violin, cello, strings, and continuo is a very definite series of falling arpeggios. In the solo passages the violin and cello frequently share material, either in rhythmic unison in harmony, or in imitation. Vivaldi adds interest by moving seamlessly from one approach to another. The slow middle movement is quite brief, with the soloists accompanied by the continuo group only. (John Gibbons is the continuo keyboardist in this concert.) The finale is in a quick 3/4 time, the cello matching all of the violinist’s bright forays. JOHANNSEBASTIANBACH (1685-1750) started composing concertos in the Vivaldi model in the 1710s, and a few exist from the period, although scholars sus- pect there were others, now lost. The E major violin concerto, BWV 1042, was probably composed during his time at Cöthen (1717-1723), a period when he also wrote the Brandenburg Concertos (which are properly concerti grossi). Some of the early solo concertos were repurposed later, as cantata movements or as concertos for other solo instruments, typically one or more keyboards, for Bach’s concerts with Leipzig’s collegium musicum in the 1730s, and the E major violin concerto (which is one of his most familiar) also exists as a D major keyboard concerto (BWV 1054). Although essentially in Italian style, its movements are a bit heftier, and contrapuntal engagement between the soloist and the orchestra is richer than in the Vivaldi pieces; Bach also tends to imply counterpoint even in the solo part, in some passages (although nothing as complex as in his solo violin works). The dark, C-sharp minor Adagio of the E major concerto is one of Bach’s loveliest movements. The finale positively lilts: it is a rondo, the opening theme alternating with a series of varied episodes. Bach’s Brandenburg Concerto No. 2 in F, BWV 1047—which concludes this program— was one of a set of six such works written during the composer’s Cöthen years, and eventually sent as a present to Christian Ludwig, Margrave of Brandenburg, half- brother of the Prussian King Friedrich Wilhelm I. The Brandenburgs, in their variety of forces and method, suggest that in composing them Bach systematically worked out as many possible approaches to combining a small group of soloists with orchestra as he could devise. Brandenburg No. 2 features a concertante group of recorder (here replaced by flute), oboe, trumpet, and violin, with an orchestra (or “ripieno”) of strings and continuo. Although again the basic idea is an alternation of solo group with tutti, within the solo passages Bach combines and recombines the four instruments, and, as in his violin concerto, offers opportunities for a somewhat more elevated exchange between soloists and orchestra than is typical of most Baroque concertos. The first movement has no tempo marking, but is generally played as a moderately fast Allegro. In the middle movement—here Bach omits the trumpet soloist, probably for a combination of tonal, timbral, and practical reasons—the three remaining soloists play a melody in three-part canon with the accompaniment of the continuo. The trumpet returns as first among equals in the brilliant and famous finale.

40 GEORG PHILIPP TELEMANN (1681-1767) was acknowledged during his lifetime as the greatest living German composer; his stock and fame were far higher than those of J.S. Bach, his near contemporary. He outlived Bach by seventeen years, continuing to compose in a style that had long since begun to give way to a new aes- thetic. (Joseph Haydn was thirty-five at the time of Telemann’s death.) In the past 250 years Telemann’s star has somewhat dimmed while Bach’s, following a period of relative (albeit historically exaggerated) neglect, has ascended. Telemann was, though, one of the greatest composers of his era, along with Bach, Vivaldi, and Handel, and deserves to be remembered as such. (He and Bach were well acquainted; Telemann was godfather to Bach’s son Carl Philipp Emanuel, born in 1714.) Telemann, like his great contemporaries, was enormously prolific, his output even dwarfing Bach’s. He wrote at least twenty cantata cycles—a cycle being a cantata for each Sunday of the church year, plus other holy days—which adds up to more than a thousand such pieces. (Bach wrote about five complete cycles.) He was also prolific in all other genres, including one Bach never assayed, opera. Like Bach, he was influenced by Vivaldi’s dominance of the concerto genre, but probably to a lesser degree. He wrote about 125 concertos, including some without soloists (so-called “ripieno concertos”), the rest for one to four soloists. The Concerto in G for viola and strings probably dates from the end of Telemann’s time in Frankfurt, which began in 1712 and ended in 1721 when he left to become music director of the city of Hamburg, where he lived the rest of his life. (He was far more successful than Bach at gaining and keeping substantial musical posts, often holding several at a time in far-flung cities.) The G major viola concerto is a staple of the solo viola repertoire and is among the composer’s best known pieces. It is in four movements rather than the far more usual three, and is shaped somewhat like the typical

TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 41 orchestral suite or sinfonia, with a slow opening movement, an Allegro second movement, a slow third movement, and a quick finale. In the first movement, the soloist takes up the opening melody at an octave lower, gradually expanding and develop- ing it, with occasional commentary from the orchestra. The short Allegro features a very active, almost perpetual-motion solo part and corresponding energy in the orchestra. Unlike Bach’s and Vivaldi’s slow movements in this concert, Telemann’s Andante has a role for the full orchestra, which alternates with the soloist as in the fast movements. The Presto finale maintains an infectious exuberance throughout.

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

Artists

Pinchas Zukerman Equally acclaimed as violinist, violist, conductor, pedagogue, and chamber musician, Pinchas Zukerman has been a presence in the world of music for over four decades. His devotion to teaching has resulted in innovative programs in London, New York, China, Israel, and Ottawa. Mr. Zukerman’s 2012-13 season includes more than 100 performances worldwide, bringing him to multiple destinations in North America, Europe, and Asia. He is currently in his fourteenth season as music director of the National Arts Centre Orchestra of Ottawa. In his fourth season as principal guest conductor of the Royal Philharmonic Orchestra in London, he leads that ensemble in concerts in Switzerland, Russia, and the United Kingdom. Additional orchestral engagements include performances with the symphony orchestras of Boston, San Francisco, Cincinnati, Colorado, and Kansas City. International guest appearances include the Israel Philharmonic, Mariinsky State Theatre Orchestra, Orchestre de Monte Carlo, Czech Philharmonic, Bavarian Radio Orchestra, Moscow Virtuosi, Miyazaki Festival Orchestra, and the Teatro San Carlo Orchestra in Naples. Recitals with pianist Angela Cheng take the duo to Salzburg, Prague, Philadelphia, Palm Beach, Milan, Taiwan, Madrid, Helsinki, and Verbier. His chamber ensemble, the Zukerman ChamberPlayers, appears at the Ravinia and Toronto summer music festivals, and tours to Los Angeles, Phoenix, China, Japan, and throughout Europe and South America. Over the last decade, Mr. Zukerman has become as noted a conductor as he is an instrumentalist. In addition to the National Arts Centre and Royal Philharmonic orchestras, he maintains long-term conducting relationships with such esteemed ensembles as the Chicago Symphony, Israel Philhar- monic, and Pittsburgh Symphony. In North America he has led the New York Phil- harmonic, Rochester Philharmonic, National Symphony, Florida Orchestra, and the symphonies of Atlanta, Boston, Dallas, Toronto, Milwaukee, Saint Louis, Madison, Oregon, Utah, and Colorado. Internationally he has conducted the Staatskapelle Berlin, Radio France Philharmonic, Nagoya Philharmonic, and the Barcelona, São Paulo, and Singapore symphony orchestras. A devoted and innovative teacher, he chairs the Pinchas Zukerman Performance Program at the Manhattan School of Music, where he has pioneered the use of distance-learning technology in the arts. In Canada he has established the NAC Institute for Orchestra Studies and the Summer Music Institute encompassing the Young Artists, Conductors, and Composers Programs. A frequent chamber music performer, Mr. Zukerman has appeared regularly with such friends and colleagues as Daniel Barenboim, Vladimir Ashkenazy, Itzhak Perlman,

42 the Orion and Tokyo string quartets, the Kalichstein-Laredo-Robinson Trio, Ralph Kirshbaum, Yefim Bronfman, Lynn Harrell, Marc Neikrug, and the late Jacqueline du Pré. In 2003 he formed the Zukerman ChamberPlayers, which has toured throughout Europe, Asia, South America, and New Zealand and released several recordings. His discography of more than 100 titles has earned him twenty-one Grammy nominations and two awards. Born in Tel Aviv, Pinchas Zukerman came to America in 1962 and studied at the Juilliard School with Ivan Galamian. He has been awarded a Medal of Arts and the Isaac Stern Award for Artistic Excellence, and was appointed as the Rolex Mentor and Protégé Arts Initiative’s first instrumentalist mentor in the music discipline. Mr. Zukerman made his BSO debut as violin soloist in July 1969 at Tanglewood, subsequent Tanglewood appearances including his BSO conducting debut in July 1977. He made his BSO subscription series debut in January 1979 performing on both violin and viola. His most recent Tanglewood appearance was in August 2012 as both violin soloist and conductor for an all-Bach program. His most recent subscription appearances were in April 2013 as soloist in Oliver Knussen’s Violin Concerto with the composer conducting.

Amanda Forsyth Making her Boston Symphony Orchestra debut this afternoon, the internationally known, Juno Award-winning cellist Amanda Forsyth has been praised as both a soloist and chamber musician in more than forty-five countries in North America, South America, Europe—including the Middle East—Asia, New Zealand, and Australia. She has performed with the most prestigious orchestras at world- renowned concert halls and festivals. Currently on sabbatical from her post as principal cellist of Ottawa’s National Arts Centre Orchestra, Ms. Forsyth recently appeared with that orchestra as soloist, as she does each season. In addition, she recently appeared with the Mariinsky Orchestra in St. Petersburg with Valery Gergiev conducting. For her performance with the Bavarian Radio Orchestra in Munich, which was recorded in November 2012, she garnered critical acclaim. Following concerts with the Orchestre National de Montpellier, she returned to Russia to play concertos with the Moscow Virtuosi in both St. Petersburg and Moscow, performances that were filmed for national television. During the current season, following appearances with the Colorado Symphony in Denver, she appeared for the first time with the San Carlo Orchestra in Naples. Recitals for the 2012-13 season have taken her to Ravinia, Toronto, Seville (for Plácido Domingo’s Festival), Princeton, Philadelphia, and West Palm Beach. In January 2013 she toured the United States as featured soloist with the Royal Philharmonic Orchestra, performing in Newport News, Fairfax, Louisville, Carmel, Los Angeles, Palm Desert, Santa Barbara, and San Diego. As a founding member of the Zukerman ChamberPlayers, she has previously toured South America several times; performs annually in the United States and Western and Eastern Europe; and has appeared in Israel, Jordan, and New Zealand. In 2013 she returns to Asia, where she has performed frequently as a soloist, in recital, and in chamber ensembles with the Zukerman ChamberPlayers in Taiwan, China, and Japan, subsequently returning to the United States for concerts in Santa Monica and Scotts- dale, and to Germany for Villa Musica. In May 2013 she returned to the Miyazaki Festival for the third time as soloist with the Festival Orchestra and also in chamber ensemble. Later this year she will return to Australia for performances with the Sydney Symphony, the West Australian Symphony, and the Adelaide Symphony. Her recordings appear on the Sony Classics, Naxos, Altara, Fanfare, Marquis, Pro Arte, and CBC labels. Amanda Forsyth performs on a rare 1699 Italian cello by Carlo Giuseppe Testore.

TANGLEWOODWEEK 3 ARTISTS 43 Elizabeth Rowe BSO principal flutist Elizabeth Rowe joined the Boston Symphony Orchestra in 2004 and holds the Walter Piston Principal Flute Chair. Prior to joining the BSO, Ms. Rowe held titled positions with the orchestras of Fort Wayne, Baltimore, and Washington, D.C. Regularly featured in front of the orchestra, she has been soloist with the BSO in Elliott Carter’s Flute Concerto (including its American premiere performances under James Levine in February 2010, followed more recently by repeat performances in Boston and San Francisco); the Ligeti Double Concerto for flute and oboe with Christoph von Dohnányi conducting, and BSO colleague John Ferrillo; Gabriela Lena Frank’s Illapa, Tone Poem for Flute and Orchestra, under the direction of Miguel Harth-Bedoya; Mozart’s G major flute concerto, K.313, with which she made her first BSO appearance as a concerto soloist in August 2008, under André Previn’s direction at Tanglewood; Bach’s Brandenburg Concerto No. 5 at Tanglewood last summer; and Frank Martin’s Concerto for Seven Wind Instruments, Timpani, Percussion, and Strings in October 2012. Noted for her insightful teaching, Ms. Rowe attracts flute students from around the country to her lessons and master classes. She currently serves on the faculties of the New England Conservatory and the Tanglewood Music Center and is a regular guest artist at the National Orchestral Institute of Music and the New World Symphony. She previously taught at the Peabody Conservatory of Music and University of Maryland. A member of the Boston Symphony Chamber Players, she can be heard in a wide variety of chamber works throughout the season at NEC’s Jordan Hall and in several recordings. Elizabeth Rowe grew up in Eugene, Oregon. She received her bachelor of music degree from the University of Southern California, where she was a Trustee Scholar and a student of Jim Walker, former principal flute of the Los Angeles Phil- harmonic. She recently returned to Los Angeles to join Mr. Walker as a guest teacher at his week-long intensive course, “Beyond the Masterclass.” Elizabeth Rowe’s connec- tion to the Boston Symphony Orchestra dates back to the summer of 1996, when she was a Tanglewood Music Center Fellow and performed as principal flute under Seiji Ozawa’s direction in the TMC production of Benjamin Britten’s Peter Grimes that marked the fiftieth anniversary of the opera’s 1946 American premiere at Tanglewood.

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 Tangle- wood 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; Richard Strauss’s

44 Oboe Concerto, and, last summer at Tanglewood with violinist Pinchas Zukerman, Bach’s Concerto in C minor for violin, oboe, and strings, BWV 1060. 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.

Thomas Rolfs Thomas Rolfs is principal trumpet of the Boston Symphony Orchestra, occupying the Roger Louis Voisin Chair; he is also principal trumpet of the Boston Pops Orchestra, occupying the Roberta and Stephen R. Weiner Chair. He joined the BSO trumpet section in 1991, serving first as fourth trumpet and later as associate principal trumpet. Mr. Rolfs was a Tanglewood Music Center Fellow in 1978. He earned a bachelor of music degree from the University of Minnesota and a master of music degree from Northwestern University. He returned to Minnesota in 1986 for a five-year tenure with the Saint Paul Chamber Orchestra. Mr. Rolfs has been a soloist with the Boston Symphony, the Boston Pops, and the Saint Paul Chamber Orchestra. At John Williams’s request, he was a featured soloist on Mr. Williams’s Grammy-nominated soundtrack to the Academy Award-winning film Saving Private Ryan. His varied musical background includes performances with the Minnesota Orchestra, the Vienna Philharmonic, Empire Brass, the Saint Petersburg Philharmonic, Lyric Opera of Chicago, and the American Ballet Orchestra, as well as teaching at New England Conservatory, the Tanglewood Music Center, and Boston University. On July 4, 2001, Mr. Rolfs was soloist in John Williams’s Summon the Heroes for the nationally televised Boston Pops concert on the Esplanade. He has previously been soloist with the BSO in Frank Martin’s Concerto for Seven Winds, Timpani, Percussion, and String Orchestra, with Seiji Ozawa conducting in October 2001, and with Charles Dutoit conducting in October 2012. Stu Rosner

TANGLEWOODWEEK 3 ARTISTS 45 Society Giving at Tanglewood

The following recognizes gifts made since September 1, 2012, 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 of $3,000 or more during the 2012-13 season. For further information on becoming a Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

Dr. Robert J. Mayer, Chair, Tanglewood Annual Fund

Chairman’s

Sally ‡ and Michael Gordon • 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 • Dorothy and Charlie Jenkins • Joyce Linde • Kate and Al Merck • Mrs. Irene Pollin • Susan and Dan Rothenberg • Kitte ‡ and Michael Sporn • Stephen and Dorothy Weber Encore

Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Scott and Ellen Hand • Elizabeth W. and John M. Loder • Jonathan D. Miller and Diane Fassino • Claudio and Penny Pincus • Ronald and Karen Rettner Benefactor

BSO Members' Association • Joseph and Phyllis Cohen • Ginger and George Elvin • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Drs. James and Eleanor Herzog • Larry and Jackie Horn • Valerie and Allen Hyman • Leslie and Stephen Jerome • James A. Macdonald Foundation • Jay and Shirley Marks • Jane and Robert J. Mayer, M.D. • Henrietta N. Meyer • The Claudia & Steven Perles Family Foundation • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Mrs. Millard H. Pryor, Jr. • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Evelyn and Ronald Shapiro • The Ushers and Programmers Fund Maestro

Robert and Elana Baum • Phyllis and Paul Berz • Sydelle and Lee Blatt • Beatrice Bloch and Alan Sagner • Catherine and Paul Buttenwieser • Ronald and Ronni Casty • John F. Cogan, Jr. and Mary L. Cornille • Ranny Cooper and David Smith • Lori and Paul Deninger • Dr. T. Donald and Janet Eisenstein • Jane Fitzpatrick • Nancy J. Fitzpatrick and Lincoln Russell • Robert and Stephanie Gittleman • Ronnie and Jonathan Halpern • 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 • Rebecca and Nathan Milikowsky • Mr. and Mrs. Daniel Pierce • John S. and Cynthia Reed • Dr. Robin S. Richman and Dr. Bruce Auerbach • Suzanne and Burton Rubin • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Mr. and Mrs. Marvin Seline • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Carol and Irv Smokler • Linda and Edward Wacks • Mr. Jan Winkler and Ms. Hermine Drezner Prelude

Dr. Norman Atkin • Joan and Richard Barovick • James and Tina Collias • Dr Lynne B Harrison • Tanny and Courtney Jones • Arlene and Jerome Levine • Elaine and Ed London • Mr. and Mrs. Michael Monts • Jerry and Mary Nelson • Mike, Lonna and Callie Offner • Elaine and Bernard Roberts • Maureen and Joe Roxe/The Roxe Foundation • Malcolm and BJ Salter •

46 Marcia and Albert Schmier • Mr. and Mrs. Ernest Schnesel • JoAnne and Joel Shapiro • Suzanne and Robert Steinberg • Norma and Jerry Strassler • Lois and David Swawite • Aso O. Tavitian • Mr. and Mrs. Edwin A. Weiller III • Anonymous (2) Koussevitzky

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Alli and Bill Achtmeyer • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Gideon Argov and Alexandra Fuchs • Liliana and Hillel Bachrach • 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 • Brad and Terrie Bloom • Drs. Judith and Martin Bloomfield • Mr. and Mrs. Nat 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 • Lynn and John Carter • Susan and Joel Cartun • The Cavanagh Family • Carol and Randy Collord • Judith and Stewart Colton • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ernest Cravalho and Ruth Tuomala • Ann Denburg Cummis • Richard H. Danzig • In memory of D.M. Delinferni • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan R. Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Mr. and Mrs. Monroe B. England • Eitan and Malka Evan • Marie V. Feder • Mr. David Fehr • Eunice and Carl Feinberg • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Beth and Richard Fentin • 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. David Friedson and Ms. Susan Kaplan • 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 • 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 • Carol B. Grossman • Mr. David Haas • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Mr. and Mrs. Nathan Hayward III • Ricki Tigert Helfer and Michael S. Helfer • Ann L. Henegan • Jim Hixon • Enid and Charles Hoffman • Richard Holland • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Rhonda Judy • Kahn Family Foundation • Adrienne and Alan Kane • Martin and Wendy Kaplan • Mr. Chaim and Dr. Shulamit Katzman • 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 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 • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • Drs. Gail and Allen Meisel • The Messinger Family • Judy and Richard J. Miller • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Mr. and Mrs. Raymond F. Murphy, Jr. • Paul Neely • The Netter Foundation • John and Mary Ellen O'Connor • Mr. and Mrs. Gerard O'Halloran • Karen and Chet Opalka • Dr. and Mrs. Simon Parisier • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Walter and Karen Pressey • Mary Ann and Bruno A. Quinson • The Charles L. Read Foundation • Mr. and Mrs. Albert P. Richman • Mary and Lee Rivollier • Barbara and Michael Rosenbaum • Lucinda and Brian Ross • Ruth and Milton Rubin • Sue Z. Rudd • 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 • Dr. Raymond Schneider • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Lois and Leonard Sharzer • The Shields Family • Hannah and Walter Shmerler • The Silman Family • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind •

TANGLEWOODWEEK 3 SOCIETYGIVINGATTANGLEWOOD 47 Elaine Sollar and Edwin R. Eisen • Lauren Spitz • Lynn and Ken Stark • Lynn and Lewis Stein • Noreene Storrie and Wesley McCain • Jerry and Nancy Straus • Mrs. Pat Strawgate • Roz and Charles Stuzin • Dorothy and Gerry Swimmer • Bill and Adrienne Taft • John Lowell Thorndike • Jerry and Roger Tilles • Jacqueline and Albert Togut • Barbara and Gene Trainor • Mr. and Mrs. Stanley Tulgan • Myra and Michael Tweedy • Loet and Edith Velmans • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Stephen M. Weiner and Donald G. Cornuet • Gail and Barry Weiss • Carol Andrea Whitcomb • Carole White • Robert and Roberta Winters • The Wittels Family • Pamela and Lawrence Wolfe • June Wu • Patricia Plum Wylde • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (5) Bernstein

Mark and Stephanie Abrams • Dr. Burton Benjamin • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • Anne and Darrel Brodke • Sandra L. Brown • Rhea and Allan Bufferd • Antonia Chayes • Lewis F. Clark, Jr. • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Leslie and Richard Daspin • Brenda and Jerome Deener • Mr. and Mrs. Arthur Dellheim • The Dulye Family • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Sanford P. Fagadau • Dr. and Mrs. Gerald D. Falk • Dr. Jeffrey and Barbara Feingold • Doucet and Stephen Fischer • John M. and Sheila Flynn • Betty and Jack Fontaine • Herb and Barbara Franklin • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Charlotte and Sheldon Gross • Michael and Muriel Grunstein • Mrs. Deborah F. Harris • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Hunt Alternatives Fund/Fern Portnoy and Roger Goldman • Jean and Ken Johnson • Miriam and Gene Josephs • Ms. Lauren Joy • Charlotte Kaitz and Family • Margaret and Joseph Koerner • J. Kenneth and Cathy Kruvant • Ms. Phyllis B. Lambert • Mr. and Mrs. Ira S. Levy • Mr. and Mrs. Bill Lewinski • Phyllis and Walter F. Loeb • Gloria and Leonard Luria • Dr. and Mrs. Malcolm Mazow • Wilma and Norman Michaels • Mrs. Suzanne Nash • Linda and Stuart Nelson • Frank M. Pringle • Ellen and Mickey Rabina • Mr. and Mrs. Nathan Reiber • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Edie and Stan Ross • Ms. Nancy Whitson-Rubin • Robert M. Sanders • Elisabeth Sapery and Rosita Sarnoff • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Susan and Judd Shoval • Mr. and Mrs. Warren Sinsheimer • Maggie and Jack Skenyon • Mr. Peter Spiegelman and Ms. Alice Wang • Mr. and Mrs. Daniel S. Sterling • Mr. and Mrs. Edward Streim • Mr. and Mrs. George A. Suter, Jr. • Ingrid and Richard Taylor • J and K Thomas Foundation • Bob Tokarczyk • Diana O. Tottenham • Mr. and Mrs. Howard J. Tytel • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Michelle Wernli and John McGarry • Ms. Pamela A. Wickham • Elisabeth and Robert Wilmers • Sally and Steve Wittenberg • Mr. and Mrs. Allan Yarkin

‡ Deceased Stu Rosner

July at Tanglewood

Friday, July 5, 6pm (Prelude Concert) Friday, July 12, 8:30pm MEMBERS OF THE BSO BSO—KAZUSHI ONO, conductor Music of Wolf and Tchaikovsky LEON FLEISHER, piano

Friday, July 5, 8:30pm WAGNER Siegfried Idyll Opening Night at Tanglewood RAVEL Piano Concerto for the left hand RIMSKY-KORSAKOV Scheherazade BSO—RAFAEL FRÜHBECK DE BURGOS, conductor Saturday, July 13, 10:30am JOSHUA BELL, violin Open Rehearsal (Pre-Rehearsal Talk, 9:30am) ALL-TCHAIKOVSKY PROGRAM BSO program of Saturday, July 13 Violin Concerto; Symphony No. 5 Please note that the complete film will not be shown, and that the music may not be performed in its entirety. Saturday, July 6, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Saturday, July 13, 8:30pm BSO program of Saturday, July 6 BSO—DAVID NEWMAN, conductor BERNSTEIN West Side Story Saturday, July 6, 8:30pm Bernstein’s score played live by the BSO, as a BSO—RAFAEL FRÜHBECK DE BURGOS, newly re-mastered HD print is shown with the conductor original vocals and dialogue intact ANNE SOFIE VON OTTER, mezzo-soprano TANGLEWOOD FESTIVAL CHORUS Sunday, July 14, 2:30pm PALS CHILDREN’S CHORUS BSO—RAFAEL FRÜHBECK DE BURGOS, MAHLER Symphony No. 3 conductor LYNN HARRELL, cello Sunday, July 7, 2:30pm STRAVINSKY Suite from Pulcinella BOSTON POPS ORCHESTRA HAYDN Cello Concerto No. 1 KEITH LOCKHART, conductor BEETHOVEN Symphony No. 8 VINCE GILL, special guest Monday, July 15, 8pm Monday, July 8, 8pm TMC ORCHESTRA—STEFAN ASBURY and TMC ORCHESTRA—RAFAEL FRÜHBECK TMC CONDUCTING FELLOWS, conductors DE BURGOS and TMC CONDUCTING LAURA STRICKLING, soprano FELLOWS, conductors BRITTEN Prince of the Pagodas—Pas de six REILLY NELSON, mezzo-soprano BRITTEN Les Illuminations KODÁLY Dances of Galánta SHOSTAKOVICH Symphony No. 11, HARBISON Closer to My Own Life The Year 1905 BEETHOVEN Symphony No. 5 Wednesday, July 17, 8pm Thursday, July 11, 7:30pm BORODIN STRING QUARTET ORCHESTRA AND CHORUS OF Music of Brahms and Tchaikovsky EMMANUEL MUSIC RYAN TURNER, artistic director and Thursday, July 18, 8pm conductor BRYN TERFEL, baritone GORDON GIETZ, DEVON GUTHRIE, NATALIA KATYUKOVA, piano KATHERINE GROWDON, KRISTA RIVER, Program of German and English art songs LYNN TORGOVE, CHARLES BLANDY, ALEX RICHARDSON, DAVID KRAVITZ, Friday, July 19, 6pm (Prelude Concert) JAMES MADDALENA, DANA WHITESIDE, BOSTON CELLO QUARTET and FRIENDS DAVID CUSHING, and DONALD WILKIN- Music of Debussy, Falla, Fauré, Tchakovsky, SON, vocal soloists D’Rivera, and Déjardin, plus world premieres HARBISON The Great Gatsby, Opera in two acts by Hoshii and Hudgins Concert performance, sung in English with Friday, July 19, 8:30pm supertitles BSO—VLADIMIR JUROWSKI, conductor Friday, July 12, 6pm (Prelude Concert) JEAN-YVES THIBAUDET, piano MEMBERS OF THE BSO WAGNER Prelude to Die Meistersinger KATHERINE DOWLING and NICOLAS LISZT Totentanz, for piano and orchestra NAMORADZE, pianists BRAHMS Symphony No. 1 Music of Britten and Stravinsky

Saturday, July 20, 10:30am Friday, July 26, 8:30pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO—CHRISTOPH ESCHENBACH, BSO program of Sunday, July 21 conductor and piano CHRISTINE SCHÄFER, soprano Saturday, July 20, 8:30pm ALL-MOZART PROGRAM BSO—LOTHAR KOENIGS, conductor “Ch’io mi scordi di te…Non temer, amato Cast to include bene,” Concert aria for soprano and orchestra KATARINA DALAYMAN, soprano with piano obbligato, K.505; Piano Concerto (Brünnhilde) No. 12 in A, K.414; Symphony No. 41, Jupiter AMBER WAGNER, soprano (Sieglinde) BRYN TERFEL, bass-baritone (Wotan) Saturday, July 27, 10:30am WAGNER Die Walküre, Act III Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Sung in German with English supertitles BSO program of Sunday, July 28

Sunday, July 21, 2:30pm, Shed Saturday, July 27, 8:30pm MEMBERS OF THE BSO BSO—ANDRIS NELSONS, conductor PINCHAS ZUKERMAN, conductor, violin, KRIST¯INE OPOLAIS, LIOBA BRAUN, and viola DMYTRO POPOV, and FERRUCCIO ELIZABETH ROWE, flute FURLANETTO, vocal soloists JOHN FERRILLO, oboe TANGLEWOOD FESTIVAL CHORUS THOMAS ROLFS, trumpet VERDI Requiem AMANDA FORSYTH, cello Sunday, July 28, 2:30pm Concertos of VIVALDI and TELEMANN BSO—CHRISTOPH ESCHENBACH, J.S. BACH Concerto No. 2 in E for violin conductor and strings; Brandenburg Concerto No. 2 GARRICK OHLSSON, piano Monday, July 22, 8pm, Ozawa Hall DVORÁKˇ Carnival Overture TMC ORCHESTRA—STÉPHANE DENÈVE PROKOFIEV Piano Concerto No. 3 and TMC CONDUCTING FELLOWS, DVORÁKˇ Symphony No. 9, From the New World conductors JESSICA ZHOU, harp Monday, July 29, 7pm ALL-DEBUSSY PROGRAM STEVE MILLER BAND Prélude à l’Après-midi d’un faune; Jeux; Danses Tuesday, July 30, 8pm, Theatre sacrée et profane, for harp and orchestra; La Mer Film Screening Tuesday, July 23, 7pm JURO MOTOMASA Sumidagawa BARENAKED LADIES, BEN FOLDS FIVE, Free event; in Japanese with English subtitles and GUSTER A filmed performance of the 15th-century “Last Summer on Earth Tour 2013” Noh play that inspired Benjamin Britten’s Curlew River, an English-language setting for Wednesday, July 24, 8pm voices and instruments of the same story, to be performed July 31 and August 1 PAUL LEWIS, piano All-Schubert program Wednesday, July 31, 7:30pm (Sonatas in C minor, D.958; A, D.959; Thursday, August 1, 7:30pm and B-flat, D.960) MARK MORRIS DANCE GROUP Thursday, July 25, 8pm TMC FELLOWS GARRICK OHLSSON, piano MARK MORRIS, choreographer and director Music of Beethoven, Schubert, Griffes, and STEFAN ASBURY, conductor (Purcell) Chopin CHRISTINE VAN LOON and ALLEN MOYER, costume designers Friday, July 26, 6pm (Prelude Concert) JAMES F. INGALLS, lighting designer MEMBERS OF THE BSO ROBERT BORDO and ALLEN MOYER, Music of Stravinsky, Britten, and Mozart scenic designers BRITTEN Curlew River PURCELL Dido and Aeneas Fully-staged productions, sung in English

Programs and artists subject to change. 2013 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available only through the Tanglewood Box Office, SymphonyCharge, or online at bso.org Admission free, but restricted to that evening’s concert ticket holders

Sunday, June 30, 10am Sunday, July 14, 10am BRASS EXTRAVAGANZA Chamber Music TMC Instrumental and Conducting Fellows Monday, July 15, 6pm Monday July 1, 11am and 2:30pm Prelude Concert Tuesday July 2, 11am Monday, July 15, 8pm * STRING QUARTET MARATHON The Daniel Freed and Shirlee Cohen Freed One ticket provides admission to all three Memorial Concert concerts. TMC ORCHESTRA—STEFAN ASBURY and Tuesday July 2, 2:30pm TMC CONDUCTING FELLOWS, conductors Opening Exercises (free admission; open to LAURA STRICKLING, soprano the public; performances by TMC Faculty) Music of BRITTEN and SHOSTAKOVICH Wednesday July 3, 7pm Saturday, July 20, 6pm Vocal Concert: “Fables, Folk Songs, and Prelude Concert Fantasies” Sunday, July 21, 10am Saturday, July 6, 6pm Chamber Music Prelude Concert Sunday, July 21, 7pm Sunday, July 7, 10am Vocal Concert Chamber Music Monday, July 22, 6pm Monday, July 8, 6pm Piano Prelude: Music of Debussy Piano Prelude Monday, July 22, 8pm * Monday, July 8, 8pm * The Margaret Lee Crofts Concert The Phyllis and Lee Coffey Memorial Concert TMC ORCHESTRA—STÉPHANE DENÈVE TMC ORCHESTRA—RAFAEL FRÜHBECK and TMC CONDUCTING FELLOWS, DE BURGOS and TMC CONDUCTING conductors FELLOWS, conductors Music of DEBUSSY REILLY NELSON, mezzo-soprano Saturday, July 27, 6pm (Theatre) Music of KODÁLY, HARBISON, and Prelude Concert BEETHOVEN Sunday, July 28, 10am (Theatre) Wednesday, July 10, 8pm Chamber Music Vocal Concert Saturday, July 13, 6pm Prelude Concert

TICKETS FOR TMC CONCERTS other than TMC Orchestra concerts are available at $11 in advance online, or in person one hour prior to concert start time only at the Ozawa Hall Bernstein Gate. Tickets at $53, $43, and $34 (or lawn admission at $11) for the TMC Orches- tra concerts of July 8, 15, and 22 and August 12 are available in advance at the Tanglewood box office, by calling SymphonyCharge at 1-888-266-1200, or online at tanglewood.org. Please note that availability of 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 all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding Mark Morris, TMC Orchestra concerts, and the August 12 FCM concert opera) by presenting their membership cards with bar code 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 (413) 637-5261, or visit tanglewood.org/contribute. Wednesday, July 31, 7:30pm * Thursday, August 8—Monday, August 12 Thursday, August 1, 7:30pm * 2013 FESTIVAL OF CONTEMPORARY MARK MORRIS DANCE GROUP MUSIC TMC FELLOWS Pierre-Laurent Aimard, Festival Director MARK MORRIS, choreographer and director Directed by Pierre-Laurent Aimard, the STEFAN ASBURY, conductor (Purcell) 2013 Festival of Contemporary Music CHRISTINE VAN LOON and ALLEN MOYER, highlights works of composers Helmut costume designers Lachenmann and Marco Stroppa, with JAMES F. INGALLS, lighting designer performances also of music by György ROBERT BARDO and ALLEN MOYER, Ligeti, Conlon Nancarrow, and Steve scenic designers Reich; TMC commissions by Elliott Carter BRITTEN Curlew River (east coast premiere) and Christian Mason PURCELL Dido and Aeneas (world premiere); and, to close the festi- Fully-staged productions, sung in English val, a concert performance of George Benjamin’s critically acclaimed opera Saturday, August 3, 6pm Written on Skin in its U.S. premiere. Prelude Concert Thursday, August 8, 6pm (Prelude Concert) Sunday, August 4, 10am THE NEW FROMM PLAYERS Chamber Music Music of CARTER Tuesday, August 6 * Thursday, August 8, 8pm TANGLEWOOD ON PARADE The Fromm Concert at Tanglewood 2:30pm: TMC Cello Ensemble TMC FELLOWS 3:30pm: TMC Piano Music: Liszt piano BRIAN CHURCH, narrator transcriptions of Verdi and Wagner MICHELE MARELLI, basset horn 5:00pm: TMC Vocal Concert: cabaret songs Music of MASON, STROPPA, CARTER, 8:00pm: TMC Brass Fanfares (Shed) and LACHENMANN 8:30pm: Gala Concert (Shed) Friday, August 9, 2:30pm TMC ORCHESTRA, BSO, and PIERRE-LAURENT AIMARD, piano BOSTON POPS ORCHESTRA THE NEW FROMM PLAYERS STÉPHANE DENÈVE, CHARLES DUTOIT, JACK Quartet KEITH LOCKHART, and JOHN WILLIAMS, conductors Music of CARTER, LACHENMANN, and STROPPA Music of Borodin, Gershwin, Bernstein, and Tchaikovsky Saturday, August 10, 6pm (Prelude Concert) PIERRE-LAURENT AIMARD, piano Saturday, August 10, 6pm ELIZABETH KEUSCH, soprano Prelude Concert STEPHEN DRURY, piano Saturday, August 17, 11am THE NEW FROMM PLAYERS COMPOSER PIECE-A-DAY CONCERT Music of STROPPA, LACHENMANN, Free admission and CARTER Saturday, August 17, 6pm Sunday, August 11, 10am Prelude Concert TMC FELLOWS Sunday, August 18, 10am MICKEY KATZ, cello Vocal Concert Music of NANCARROW, STROPPA, “On This Island: The Great English Poets” LIGETI, and REICH Sunday, August 18, 1pm Monday, August 12, 8pm Vocal Prelude TMC FELLOWS Schubert’s Winterreise GEORGE BENJAMIN, conductor TMC FELLOWS Sunday August 18, 2:30pm (Shed) * BENJAMIN Written on Skin (U.S. premiere; The Leonard Bernstein Memorial Concert concert performance) Supported by generous endowments established in perpetuity by Dr. Raymond and Hannah H. The Festival of Contemporary Music has been Schneider, and by Diane H. Lupean endowed in perpetuity by the generosity of Dr. TMC ORCHESTRA—CHRISTOPH Raymond and Mrs. Hannah H. Schneider, VON DOHNÁNYI, conductor with additional support in 2013 from the EMANUEL AX, piano Aaron Copland Fund for Music, the Fromm Music of MOZART and MAHLER 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 unlim- ited access to all performances of the Boston Symphony Orchestra and the Tanglewood Music Center. Now in its 48th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its intensive (photo by Kristen Seavey) 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, edu- cators, 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. If you would like further information about the Boston University Tanglewood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1431 or (617) 353-3386.

2013 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 13, 2:30pm, Tito Munoz conducts Copland’s Billy the Kid, Dvoˇrák’s Symphony No. 8, and Cowell’s Ancient Desert Drone. Saturday, July 27, 2:30pm, Tanglewood Theatre, Ken-David Masur conducts Mozart’s Requiem featuring the BUTI Vocal Program, along with Britten’s Sinfonia da Requiem and Schnittke’s (K)ein Sommernachtstraum. Saturday, August 10, 2:30pm, Paul Haas conducts Respighi’s Fountains of Rome and Stravinsky’s The Rite of Spring.

WIND ENSEMBLE PROGRAMS: Sunday, July 14, 2:30pm, David Martins conducts Bernstein, Gillingham, Hart, Grainger/Rogers, Welcher, Sparke, and Navarro. Sunday, July 28, 8pm, Tanglewood Theatre, H. Robert Reynolds conducts Whitacre, Gandolfi, Tichell/Green, Turrin, Bach, and Grantham.

VOCAL PROGRAMS: Saturday, July 27, 2:30pm, Tanglewood Theatre, Ken-David Masur conducts Mozart’s Requiem with the Young Artists Orchestra and Vocal Program.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Tuesday, July 30; Wednesday, July 31; Thursday, August 1.

SPECIAL CONCERT: BUTI Honors Recital, Saturday, August 3, 2:30pm, featuring select solo and chamber music ensembles from all of the BUTI Young Artist Programs.

Tickets available one hour before concert time. Admission is $11 for orchestra concerts, free to all other BUTI concerts. For more information, call (413) 637-1430 or 1431.

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 • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator

Administrative Staff/Production Christopher W. Ruigomez, Director of Concert Operations Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician

Boston Pops Dennis Alves, Director of Artistic Planning Gina Randall, Administrative/Operations Coordinator • 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 • Pam Wells, Controller Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

Development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Christine Glowacki, Annual Funds Coordinator, Friends Program • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Manager of Education Programs • Anne Gregory, Assistant Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Curriculum Research and Development • 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 • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk MAINTENANCE SERVICES Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

Human Resources

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

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, Manager of User Support • Ana Costagliola, Database Business Analyst • Stella Easland, Switchboard Operator • 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 Louisa Ansell, Marketing Coordinator • 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 • 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 • Matthew P. Heck, Office and Social Media Manager • Jason Lyon, Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, SymphonyCharge Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Nicholas Vincent, Access Coordinator/SymphonyCharge Representative • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager Box Office Representatives Danielle Bouchard • Mary J. Broussard • Arthur Ryan Event Services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant

Tanglewood Music Center

Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

Tanglewood Summer Management Staff

Louisa Ansell, Tanglewood Front of House and Visitor Center Manager • Edward Collins, Logistics Operations Supervisor • Eileen Doot, Business Office Manager • Thomas Finnegan, Parking Coordinator • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Peggy and John Roethel, Seranak Innkeepers For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

Eric Lange Lange Media Sales 781-642-0400 [email protected] Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Tanglewood Howard Arkans Secretary Audley H. Fuller

Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater

Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine

Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld

Tanglewood Project Leads 2013 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Maureen O’Hanlon Krentsa and Susan Price • Friends Office, Anne Hershman and Marilyn Schwartzberg • Guide’s Guide, Audley H. Fuller and Renee Voltmann • History Project, Alexandra Warshaw • Newsletter, Sylvia Stein • Off-Season Educational Resources, Norma Ruffer • Recruit, Retain, Reward, Toby Morganstein and Carole Siegel • Seranak Flowers, Diane Saunders • Talks and Walks, Rita Kaye and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, Dianne Orenstein, Mark Orenstein, and Charlotte Schluger • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark Beiderman, Pam Levit Beiderman, David Rothstein, and Janet Rothstein • Tour Guides, Mort Josel and Sandra Josel FAVORITE RESTAURANTS OF THE BERKSHIRES

295 NORTH ST. PITTSFIELD 413-442-2290 www.madjacksbbqonline.com Call us for a TANGLEWOOD Picnic Pack.

If you would like to be part of this restaurant page, please call 781-642-0400. FAVORITE RESTAURANTS OF THE BERKSHIRES William Mercer Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2013 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 Preparation Berkshire Tax Service, Inc. • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA Advertising/Marketing Ed Bride Associates • The Cohen Group • Pilson Communications, Inc. • R L Associates Architecture/Design/Engineering edm – architecture . engineering . management • Foresight Land Services • Hill Engineers, Architects, Planners, Inc. • Barbara Rood Interiors • Pamela Sandler, AIA, Architect Art /Antiques Elise Abrams Antiques • Hoadley Gallery Automotive Biener Audi • Haddad Toyota – Subaru - Hyundai 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 and Trust Co. • TD Bank Building Supplies/Hardware/Home E. Caligari & Son • Carr Hardware • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. Building/Contracting ALLEGRONE CONSTRUCTION CO. • Berkshire Landmark Builders • Great River Construction Co., Inc. • 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 Consulting Barry L. Beyer • Robert Gal LLC • General Systems Company, Inc. Education American Institute for Economic Research • Belvoir Terrace, Visual and Performing Arts and Sports Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Quest Connect • Marty Rudolph’s Math Tutoring Service • Thinking in Music Energy/Utilities ESCO Energy Services Company • VIKING FUEL OIL CO., INC. Financial Services American Institute for Economic Research • Frank Battista, CFP® • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • THE BERKSHIRES CAPITAL INVESTORS • Financial Planning Hawaii • MR. AND MRS. ROBERT HABER • SUSAN AND RAYMOND HELD • Kenneth R. Heyman, CFP • Kaplan Associates L.P. • Keator Group, LLC • TD Wealth • True North Financial Services • WILMINGTON TRUST Food/Beverage Wholesale Barrington Coffee Roasting • Crescent Creamery, Inc. • High Lawn Farm • KOPPERS CHOCOLATE Insurance Bader Insurance Agency, Inc. • BERKSHIRE INSURANCE GROUP • GENATT ASSOCIATES, INC. • GUARDIAN LIFE INSURANCE COMPANY OF AMERICA • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone, P.C. • COHEN KINNE VALICENTI & COOK, LLP • Michael J. Considine, Attorney at Law • Deely & Deely, Attorneys • Hochfelder & Associates, PC • MS. LINDA LEFFERT • Norman Mednick, Esq. • The Law Office of Zick Rubin • Susan M. Smith, Esq. • Lester M. Shulklapper, Esq. • Bernard Turiel, Esq. Lodging/Resorts 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Comfort Inn & Suites • Berkshire Days Inn • Berkshire Holiday Inn Express & Suites • Berkshire Howard Johnson Lenox • Berkshire Travelodge Suites • Birchwood Inn • BLANTYRE • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL RESORT, SPA & GOLF CLUB • Crowne Plaza Hotel - Berkshires • Days Inn Lenox • Devonfield Inn • Eastgate Inn Bed & Breakfast • Eastover Hotel and Resort LLC • English Hideaway B&B • Federal House Inn • The Garden Gables Inn • Gateways Inn • Hampton Inn & Suites • Hampton Terrace Bed and Breakfast Inn • Inn at Green River • The Inn at Stockbridge • Jiminy Peak Mountain Resort • Mayflower Inn & Spa • THE PORCHES INN AT MASSMOCA • THE RED LION INN • The Rookwood Inn • SEVEN HILLS INN • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT • Whistler’s Inn Manufacturing/Consumer Products AMERICAN TERRY, CO. • CRANE & CO., INC. • IREDALE MINERAL COSMETICS • New Yorker Electronics Co., Inc. • Onyx Specialty Papers, Inc. Medical 510 Medical Walk-In • Austen Riggs Center • Berkshire Health Systems • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • For Eyes Optical • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Dr. Charles Mandel/Optical Care Associates • Dr. Joseph Markoff • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Donald Wm. Putnoi, M.D. • Dr. Robert and Esther Rosenthal • Royal Health Care Services of New York • Chelly Sterman Associates • Suburban Internal Medicine Moving/Storage Mullen Moving, Storage & Logistics Company • Quality Moving & Storage • Security Self Storage Non-Profit Berkshire Children and Families, Inc. • BERKSHIRE THEATRE GROUP • Berkshire United Way • Kimball Farms Retirement Community Printing/Publishing/Photography Edward Acker, Photographer • Our Berkshire Green Publishing • QUALITY PRINTING COMPANY, INC. • SOL SCHWARTZ PRODUCTIONS Real Estate Barnbrook Realty • BARRINGTON ASSOCIATES REALTY TRUST • Brause Realty Inc. • Cohen & White Associates • Barbara K. Greenfeld, Broker Associate at Roberts & Associates Realty • Hill Realty, LLC • McLean & McLean Realtors, Inc. • PATTEN FAMILY FOUNDATION • Pennington Management Co. • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate • Tucker Welch Properties Restaurant Alta Restaurant • Bagel & Brew • Bistro Zinc • Brava • Café Lucia • Chez Nous • Cork ’N Hearth • Firefly • Flavours of Malyasia • Mazzeo’s Ristorante • Prime Italian Steakhouse & Bar • Rouge Restaurant • Route 7 Grill Retail: Clothing Arcadian Shop • Bare Necessities • Ben’s • The Gifted Child • Glad Rags Retail: Food & Wine Barrington Bites • Bizalion’s Fine Food • Berkshire Co-op Market • Chocolate Springs Café • GOSHEN WINE & SPIRITS, INC. • Guido’s Fresh Marketplace • Nejaime’s Wine Cellars • Price Chopper Supermarkets • Queensboro Wine & Spirits • Spirited Retail: Home & Garden COUNTRY CURTAINS AT THE RED LION INN • Garden Blossoms Florist • Paul Rich & Sons • Wards Nursery & Garden Center • Windy Hill Farm, Inc. Salon SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Specialty Contracting and Services Aladco Linen Services • R.J. ALOISI ELECTRICAL CONTRACTING INC. • Berkshire Fence Company • Braman Termite & Pest Elimination • Camp Wagalot Boarding & Daycare for Dogs • Dery Funeral Homes • Pignatelli Electric • Michael Renzi Painting Company • Shire Cleaning and Janitorial • A Touch of Comfort Therapeutic Massage Travel & Transportation ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • AllPoints Drivers • Lyon Aviation • The Traveling Professor Video MYRIAD PRODUCTIONS Yoga/Wellness KRIPALU CENTER FOR YOGA & HEALTH (Note: List of donors accurate as of June 13, 2013.) 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 • 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 • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Samantha and John Williams • Anonymous (2)

One Million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • 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 • Chiles Foundation • 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 ‡ • 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 • 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 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 • 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 • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (9) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall