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C+I 2019 studs.indd 3 8/29/19 12:15 PM Tanglewood_Jun_SingleTickets.indd 2 5/29/19 9:18 AM C+I 2019 studs.indd 4 8/29/19 12:16 PM Andris Nelsons, Ray and Maria Stata Music Director Bernard Haitink, LaCroix Family Fund Conductor Emeritus Seiji Ozawa, Music Director Laureate Thomas Adès, Deborah and Philip Edmundson Artistic Partner Thomas Wilkins, Germeshausen Youth and Family Concerts Conductor 138th season, 2018–2019

Trustees of the Boston Symphony Orchestra, Inc.

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

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

Life Trustees

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

Other Officers of the Corporation

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

Advisors of the Boston Symphony Orchestra, Inc.

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

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

Programs copyright ©2019 Boston Symphony Orchestra, Inc. Cover photo by Chris Lee Cecile Higginson Murphy • John F. O’Leary • Jean Park • Donald R. Peck • Wendy Philbrick • Randy Pierce • Irving H. Plotkin • Andrew S. Plump • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Marc Rubenstein • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jacqueline Togut • Jillian Tung, M.D. • Sandra A. Urie • Antoine van Agtmael • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • June K. Wu, M.D. • Patricia Plum Wylde • Gwill E. York • Marillyn Zacharis

Advisors Emeriti

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

† Deceased Tanglewood

The Tanglewood Festival On August 13, 15, and 16, 1936, the Boston Symphony Orchestra, led by Serge Koussevitzky, gave its first concerts in the Berkshire Hills of western Massachusetts. Those outdoor concerts did not take place at Tanglewood, however, but 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 led by composer/conductor Henry Hadley. But after a second series of concerts in 1935, plans for 1936 proved difficult, 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 that summer’s BSO concerts, 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. A two-weekend festival was planned for 1937, and on August 5 that year, an enthusiastic crowd 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 not only far beyond the festival’s immediate needs, but also well beyond the $100,000 budget. When his second, simplified plans were also deemed too expensive, he 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

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives) 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. Except for the war years 1942-45, the Shed has resounded to the music of the Boston Symphony Orchestra every summer since, becoming almost a place of pilgrimage to millions of concertgoers. 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 reputation for excellence that it drew nearly 100,000 visitors. In 1959, as the result of a collaboration After the storm of August 12, 1937, which precipitated a fundraising drive between the acoustical consultant Bolt for the construction of the Tanglewood Shed (BSO Archives) Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improvements, produced the Shed’s present world-famous acoustics. Since 1966, the Boston University Tanglewood Institute has sponsored programs offering individual and ensemble instruction to talented younger students, mostly of high school age. In 1988, the Shed was rededicated on the occasion of its 50th anniversary as “The Serge Koussevitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. With the BSO’s acquisition in 1986 of the High- wood 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 Tangle- wood 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 was inaugurated on July 7, 1994, providing a modern venue for Tanglewood Music Center concerts, and for the varied recital and chamber music concerts The tent at Holmwood, where the BSO played offered by the BSO and its guests. Ozawa Hall its first Berkshire Symphonic Festival concerts in 1936 (BSO Archives) with its attendant buildings also became the focal point of the Tanglewood Music Center’s Leonard Bernstein Campus. This year, the opening of the Linde Center for Music and Learning provides additional rehearsal and performance space for the Tanglewood Music Center, while also housing the new Tanglewood Learning Institute. Today, Tanglewood annually draws more than 350,000 visitors . Besides the concerts of the Boston Symphony Orchestra, the schedule includes chamber music and recital programs featuring prestigious guest artists; Prelude Concerts; Saturday-morning Rehearsals; the annual Festival of Contemporary Music; concerts by the young musicians of the Tanglewood Music Center; appearances by the Boston Pops Orchestra, and concerts by a variety of jazz and non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all 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 (TMC) 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 to create 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 BSO 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 Then TMC director Gunther Schuller (back to camera) leading to the war then raging in Europe. then BSO music director Seiji Ozawa, with bass drum, and a “So long as art and culture exist group of Music Center percussionists during a rehearsal for there is hope for humanity.” Randall Tanglewood on Parade in 1976 (BSO Archives/photo by Heinz Weissenstein, Whitestone Photo) Thompson’s Alleluia for unaccompa- nied chorus, written specifically for the ceremony, made such an impression that it is still performed at each summer’s opening ceremony. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition,

Severe Weather Action Plan

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

PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during storm conditions and will be resumed when it is safe to do so. 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 TMC 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 reins while also 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 Bern- stein 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 centralized its activities on the Leonard Bernstein Campus. Ellen Highstein became Director of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training— participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st centuries. All participants receive full fellowships that underwrite tuition, room, and board. 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 include Claudio Abbado, Leonard Bernstein, Stephanie Blythe, Phyllis Curtin, Christoph von Dohnányi, Michael Gandolﬁ, Osvaldo Golijov, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Seiji Ozawa, Leontyne Price, Ned Rorem, Sanford Sylvan, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Tanglewood Music Center alumni play a vital role in the musical life of the nation, and the TMC remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Learning Institute Representing one of the most significant milestones here since the founding of Tanglewood in 1937 and the inception of the Tanglewood Music Center in 1940, the newly inaugurated Tanglewood Learning Institute (TLI) offers participants—whether newcomers or longtime Tanglewood patrons—an unprecedented and expansive array of engaging cross-cultural programs reflecting the shift toward participatory activities that complement the concert experience. TLI’s offerings link Tanglewood performances to relevant themes from the worlds of visual arts, film, history, philosophy, and current events by exploring thought-provoking approaches designed to view the world through the lens of music, while also breaking down the traditional barrier between artist and listener. Notable TLI presenters this year include former Secretary of State Madeleine K. Albright; Pulitzer Prize-winning author and historian Doris Kearns Goodwin; cellist Yo-Yo Ma; soprano Renée Fleming; BSO Music Director Andris Nelsons; composer John Williams, and playwright Tom Stoppard, as well as other important artists and cultural figures of our time. Among the new TLI initiatives are Saturday-morning Focal Point programs for amateur visual artists; a Sunday-evening Cinematics film series related to Tanglewood programming; TLI Immersion Weekends that delve deeply into major musical themes of the summer; TLI OpenStudios, offering master classes led by leading performers; Meet the Makers, presenting a wide spectrum of creators sharing the inspiration behind their craft, and The Big Idea, featuring major societal thinkers of our time. The home of the Tanglewood Learning Institute is the Linde Center for Music and Learning, a new, four-building, multi-use complex that also provides concert and rehearsal space for the Tanglewood Music Center and establishes Tanglewood, for the first time in its 82-year history, as a year-round facility. Designed by William Rawn Associates Architects, the Linde Center represents the largest building project at Tangle- wood since the completion and inauguration in 1994, a quarter-century ago, of Seiji Ozawa Hall, also designed by William Rawn Associ- ates. The Linde Center for Music and Learning boasts three technically advanced studios designed to maximize its flexibility for performance, rehearsal, and educational offerings of the Tanglewood Learning Institute. In addition, Cindy’s Café offers an informal place for musicians and audience members to interact—a hub for visitors, TMC Fellows and faculty, BSO players, and TLI participants. The buildings gather around a 100-year-old red oak, with a serpentine covered walkway connecting each building and framing views and paths through the landscape. Also as a part of this major investment in Tanglewood, Studio E in the new Linde Center for Music and Learning (Robert Benson) the BSO has revitalized Tanglewood’s bucolic 524-acre campus with new plantings, improvements to pedestrian circulation, and the restoration of views of the Stockbridge Bowl. The opening of the Linde Center for Music and Learning, along with the establishment of the Tanglewood Learning Institute, marks a transformational milestone in the history of Tanglewood.

Tanglewood Welcome Center The Tanglewood Welcome Center, located at the Main Gate next to the box office, offers general information about Tanglewood and literature about other Berkshire attractions. Hours are Monday-Thursday, 10am-6pm; Fridays from 10am-intermission; Saturdays from 9am-intermission; and Sundays from 12 noon-intermission. Lost and Found is located at the Tanglewood Welcome Center. Visitors who find stray property may hand it to any Tanglewood official. Tanglewood Visitor Center The Tanglewood Visitor Center, located on the first floor of the Tappan Manor House at the rear of the lawn across from the Koussevitzky Music Shed, provides general information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes a BSO Archives exhibit on Tanglewood and the Tanglewood Music Center, as well as the early history of the estate. Hours are Monday-Thursday, 10am-5pm; Fridays from 10am-intermission; Saturdays from 9am-intermission; and Sundays from 12 noon-intermission.

This Summer’s Special Archival Exhibit at the Tanglewood Visitor Center

A Blueprint for Excellence The Evolution of the Tanglewood Campus

To provide historical context relevant to the inauguration this summer of the new Linde Center for Music and Learning, this summer’s special focus exhibit at the Tanglewood Visitor Center draws upon the BSO Archives’ extensive collection of photographs, architectural plans, and other memo- rabilia documenting the evolution of the Tangle- wood grounds from 1937 to the present. Besides documenting the origins and early owner- The lowering by crane of a steel arch to ship of the Tanglewood form the roof of Seiji Ozawa Hall, 1993 (Walter H. Scott) and adjacent Highwood Photo, c.1950, of the Theatre-Concert Hall, estates, the exhibit explores which was completed in 1941 (Egone) the early development of the Tanglewood grounds, and the construction from the late 1930s through the 1940s of the Shed, Theatre-Concert Hall, Chamber Music Hall, and Main Gate area, all designed originally by Finnish architect Eliel Saarinen and his son Eero Saarinen. Also included in the exhibit are materials pertinent to the integration of the Tangle- wood and Highwood estates following the BSO’s purchase of Highwood in 1986, which allowed not only for the merging of the two properties, but for the construction of Seiji Ozawa Hall, designed by William Rawn Associates, and the creation of the Tanglewood Music Center’s Leonard Bernstein Campus—ultimately setting the stage for this summer’s inauguration of both the new Linde Center for Music and Learning, also designed by William Rawn Associates, and the Tanglewood Learning Institute.

Tanglewood’s Main Gate as completed originally in 1948 (Howard S. Babbitt)

Aerial view from the 1950s of Tanglewood and the neighboring Highwood estate (photographer unknown) In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. For the purpose of this policy, “smoking” includes such tobacco products as cigarettes, cigars, and pipes, as well as the use of e-cigarettes, regardless of whether they include tobacco. 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 dis- turbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skate- boards, hoverboards, weapons (except for on-duty security officers), drones, and other similar unmanned aircraft are prohibited from the Tanglewood grounds. Patrons are permitted to use small, open-sided canopies in designated areas of the lawn provided that they do not penetrate grounds infrastructure and do not unreasonably obstruct the view of other lawn patrons. Ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert; during Shed concerts, children may play ball only in designated areas around the Visitor Center and in the Apple Tree lot near Ozawa Hall, but only if such activity does not disturb performances, rehearsals, or patrons sitting on the lawn. Shirts and shoes must be worn inside concert halls. No areas of the lawn may be cordoned off for any reason. Please also note that patrons assume responsibility for properly securing their lawn equipment, and for any damages to persons or property arising from the use of such equipment at Tanglewood. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, watch alarms, and tablets are switched off during concerts, as well as all other texting and electronic devices. The following are also not permitted at Tanglewood: solicitation or distribution of material; unauthorized ticket resales; animals other than approved service animals; motorized vehicles other than transport devices for use by mobility-impaired individuals. For the safety and security of our patrons, we reserve the right to inspect all bags, purses, backpacks, and other items brought onto the Tanglewood grounds. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Welcome Center (Main Gate), Visitor Center (Tappan Manor House), and the new Linde Center for Music and Learning, as well as at the Bernstein Gate, Highwood Gate, and Lions 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 10am-6pm Monday through Friday (extended through intermission on concert evenings); Saturday from 9am through intermission of the evening concert; and Sunday from 10am through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. Tickets may also be purchased at the Symphony Hall box office in Boston, Monday through Friday from 10am-5pm. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 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 online. TANGLEWOOD.ORG provides up-to-date information on all Boston Symphony Orchestra and Tanglewood Music Center activities at Tanglewood. TLI.ORG provides information about Tanglewood Learning Institute activities. The free BSO APP is available from Google Play on Android devices and from the App Store on Apple devices. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate, Ozawa Hall, and the Linde Center for Music and Learning. Wheelchair service is available at the Main Gate, Ozawa Hall, and Linde Center, and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available at the Koussevitzky Music Shed, Seiji Ozawa Hall, and the Linde Center; please speak to an usher. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, Highwood Manor House, Cindy’s Café at the new Linde Center for Music and Learning, and at other locations as noted on the map. Cindy’s Café is open Sundays-Fridays from noon-2:30pm and evenings when there is a concert in Ozawa Hall. The Tanglewood Café is open on Saturdays from 9am-2:30pm; on Shed concert evenings Fridays and Saturdays through intermission; and on Sundays from noon through intermission. The Tanglewood Grille, Shed Snack Bar, and Shed Beer Garden are open through intermission when Tanglewood is open for Shed concerts. The Ozawa Snack Bar is open when the grounds are open for Ozawa Hall concerts. Highwood Manor House is open prior to BSO concerts for dinner on Friday and Saturday, and for Sunday brunch; please call 413-637-4486 for reservations at least 48 hours in advance. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered by calling 413-637-5152, or visit tanglewood.org/dining for online ordering or more details. LAWN TICKETS: Undated lawn tickets for Tanglewood concerts may be purchased in advance at the Tanglewood box office. Lawn Pass Books offer eleven tickets for the price of ten. Note that these tickets are not valid for Popular Artists or Tanglewood Learning Institute events. 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 BSO and Pops concerts, and Ozawa Hall recitals, children age seventeen and younger are offered 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. For Popular Artists concerts, free lawn tickets are available only for children under age 2. KIDS’ CORNER, where children accompanied by adults may take part in musical and crafts activities supervised by BSO staff, is offered at 9:30 a.m. on Saturdays and noon on Sundays. Further information about Kids’ Corner is available at the Tanglewood Visitor Center. Tickets to the Sunday concert or Saturday-Morning Rehearsal are required. 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 $34 (front and boxes) and $24 (rear); lawn tickets are $14. A half-hour Pre-Rehearsal Talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. 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, which remain open during performances, sell adult and children’s leisure clothing, accessories, posters, stationery, CDs, and gift items. Glass House Main Gate is open Monday-Thursday from 10am-4pm; Friday from 10am until 30 minutes after the evening concert; Saturday from 9am until 30 minutes after the evening concert; and Sunday from 12 noon-5pm. Glass House Highwood Gate is open Friday from 5:30pm through post-concert; during the Saturday-Morning Rehearsals and Saturday evenings from 5:30pm until after the evening concert; Sunday from 12 noon- 5pm; and on Ozawa Hall concert evenings through intermission. THE BSO FREQUENTLY RECORDS CONCERTS or portions of concerts via hand-held or robotic cameras for archival and promotional purposes. Please be aware that your presence at Tanglewood acknowledges your consent to such photography, filming, and recording for possible use in any and all media. TANGLEWOOD HAS A ZERO TOLERANCE POLICY for harassment of any kind, including but not limited to race, national origin, gender, gender identity, gender presentation, sexual orientation, age, disability, religion, and citizenship. Harassment includes but is not limited to stalking, verbal or physical intimidation, offensive verbal comments, physical assault and/or battery, inappropriate physical contact, and unwelcome physical attention. If you are made to feel uncomfortable or unsafe, please immediately report any concerns to Tanglewood staff or security personnel so appropriate action can be taken.

Boston Symphony Orchestra Tanglewood 2019

ANDRIS NELSONS BERNARD HAITINK SEIJI OZAWA THOMAS ADÈS Ray and Maria Stata LaCroix Family Fund Music Director Laureate Deborah and Philip Music Director Conductor Emeritus Edmundson Artistic Partner endowed in perpetuity endowed in perpetuity THOMAS WILKINS Germeshausen Youth and Family Concerts Conductor endowed in perpetuity

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

Andris Nelsons

The 2018-19 season is Andris Nelsons’ fifth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons led the BSO in fourteen wide-ranging subscription programs in 2018-19 at Symphony Hall in Boston, repeating two of them at New York’s Carnegie Hall. In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. He and the BSO have made three European tours together, in 2015, 2016, and 2018. In November 2017, he and the orchestra toured Japan together for the first time. In February 2018, Maestro Nelsons became Gewandhau- skapellmeister of the Gewandhausorchester Leipzig, in which capacity he brings the BSO and Gewandhaus Orchestra together for a unique multi-dimensional alliance. The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tanglewood debut in July 2012, and his BSO subscription series debut in January 2013. His recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms symphonies on BSO Classics; Grammy-winning recordings on Deutsche Grammophon (photo by Marco Borggreve) of Shostakovich’s symphonies 4, 5, 8, 9, 10, and 11 (The Year 1905) as part of a complete Shostakovich symphony cycle for that label; and a recent two-disc set pairing Shostakovich’s symphonies 6 and 7 (Leningrad). Under an exclusive contract with Deutsche Grammophon, Andris Nelsons is also recording the complete Bruckner symphonies with the Gewandhausorchester Leipzig and the complete Beethoven symphonies with the Vienna Philharmonic. The 2018-19 season marks Maestro Nelsons’ final season as artist-in-residence at the Konzerthaus Dortmund and first season as artist-in-residence at Hamburg’s Elbphilharmonie. In addition, he continues his regular collaborations with the Vienna Philharmonic and Berlin Phil- harmonic. Throughout his career, he has also established regular collaborations with Amsterdam’s Royal Concertgebouw Orchestra, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orches- tra, and has been a regular guest at the Bayreuth Festival and the Royal Opera House, Covent Garden. Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian

National Opera Orchestra before study- At Tanglewood in 2014 (Marco Borggreve) ing conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. A Brief History of the Boston Symphony Orchestra

Now in its 138th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international stan- dard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Inter- national Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tangle- wood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, 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 TMC faculty members Aaron Copland and Leonard Bernstein 1969 by William Steinberg. seated with Serge Koussevitzky during a Berkshire Music Center Seiji Ozawa became the BSO’s class photo shoot in the 1940s (Ruth Orkin/BSO Archives) thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations. Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tangle wood, 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 Tangle wood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s fifteenth music director, a position he assumed in September 2015, following a year as music director designate. Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

YOU DON’T HAVE TO STAY TO GET AWAY The Courtyard at The Red Lion Inn is one of the Berkshires’ true summer pleasures. Whether you’re a guest, or live around the corner, the flower-filled, casual dining spot offers you a taste of the region’s favorite season. The menu features al fresco dining with traditional Red Lion favorites, as well as seasonal specialties. So why not laze away a sun-drenched afternoon under an umbrella? Or spend your evening sipping on a drink and star gazing? The Courtyard is the perfect haven from the everyday world. Open June through September.

30 Main Street, Stockbridge redlioninn.com Illustration by Ryan McMenamy

C+I 2019 studs.indd 5 8/29/19 12:16 PM C+I 2019 studs.indd 6 8/29/19 12:16 PM JUNE 8 THROUGH SEPTEMBER 22 (detail), c. 1883-84. Harvard Art Museums/Fogg Museum, Bequest from the Collection of Maurice Wertheim, Class of 1906 (detail), c. 1883-84. Harvard Art Museums/Fogg Museum, Bequest from the Collection of Maurice Wertheim,

RENOIR Seated Bather THE BODY, THE SENSES Pierre-Auguste Renoir,

Renoir: The Body, The Senses is organized by the Clark Art Institute, Williamstown, Massachusetts, and the Kimbell Art Museum, Fort Worth, Texas. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. The Clark’s summer 2019 exhibitions Williamstown, Massachusetts and programs are made possible in part by generous support from Denise Littleﬁeld Sobel. Presentation of Renoir: The Body, The Senses at the Clark is generously supported by Robert and Martha Berman Lipp, Acquavella Galleries, and the Robert Lehman Foundation. clarkart.edu

C+I 2019 studs.indd 7 8/29/19 12:16 PM News that makes you think.

wgbhnews.org

C+I 2019 studs.indd 8 8/29/19 12:16 PM Table of Contents

Friday, August 2, 6pm (Prelude Concert) 3 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA Music of Hindemith, Price, and Shostakovich

Friday, August 2, 8pm 11 BOSTON SYMPHONY ORCHESTRA KEN-DAVID MASUR conducting JOSHUA BELL, violin Music of Martin˚u and Dvoˇrák

Saturday, August 3, 8pm 21 BOSTON SYMPHONY ORCHESTRA ASHER FISCH conducting PINCHAS ZUKERMAN, violin; AMANDA FORSYTH, cello Music of Schumann, Avner Dorman, Beethoven, and Mendelssohn

Sunday, August 4, 2:30pm 33 BOSTON SYMPHONY ORCHESTRA DIMA SLOBODENIOUK conducting YEFIM BRONFMAN, piano Music of Rachmaninoff and Sibelius

Saturday-Morning Open Rehearsal Speakers July 13 and 27; August 10 and 24—Marc Mandel, BSO Director of Program Publications July 6 and 20; August 3 and 17—Robert Kirzinger, BSO Associate Director of Program Publications

Koussevitzky Shed and lawn video projections provided by Myriad Productions, Saratoga Springs, NY Walter H. Scott

TANGLEWOOD WEEK 5 TABLE OF CONTENTS 1

2019 Tanglewood

Prelude Concert Friday, August 2, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE ARTHUR AND VICKI LORING PRELUDE CONCERT

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA HALDAN MARTINSON, violin LISA JI EUN KIM, violin CATHY BASRAK, viola ALEXANDRE LECARME, cello

HINDEMITH “Overture to ‘The Flying Dutchman’ as sight-read by a bad spa orchestra by the village well at 7:00 in the morning”

PRICE Five Folksongs in Counterpoint Calvary Clementine Drink to Me Only With Thine Eyes Shortnin’ Bread Swing Low, Sweet Chariot

SHOSTAKOVICH String Quartet No. 9 in E-ﬂat, Opus 117 (played without pause) Moderato con moto— Adagio— Allegretto— Adagio— Allegro

Piano by Steinway & Sons – the Artistic Choice of Tanglewood Special thanks to Commonwealth Worldwide Executive Transportation In consideration of the artists and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

TANGLEWOOD WEEK 5 PRELUDE PROGRAM 3 NOTES ON THE PROGRAM

Paul Hindemith (1895-1963), the son of a poor laborer, had violin lessons as a child and worked through straitened circumstances to lay the foundations of a musical career. He studied with the Austrian Adolf Rebner, who saw to his entry into the Hoch Conservatory in Frankfurt, which Paul’s brother Rudolf also attended. He began to write music in his late teens, just before the start of World War I. Early in the war Hindemith became a section violinist with the Frankfurt Opera Orchestra, rising quickly to the position of concertmaster. Continuing also to compose, he won the Mendelssohn Prize for his String Quartet, Opus 2, in 1916, and the following year Breitkopf and Härtel published his Three Movements for Cello and Piano, Opus 8. In 1917, he was conscripted into military service but had relatively good luck: he was assigned as a drummer to his regiment’s military band and was mostly kept from the front lines, instead playing in string quartets for his music-loving commanders. Even during his service he managed somehow to ﬁnd the time and concentration to write music. This remarkable commitment to the hard work of being a musician put its stamp on Hindemith’s entire career as performer, composer, and teacher. Hindemith’s ﬁrst pieces after the war were the Six Sonatas, Opus 11, which can be seen as exercises in idiomatic writing for solo string instruments with and without piano. He was committed to a strain of German neoclassicism known as “The New Objectivity,” which demanded a complete avoidance of Romantic and sentimental notions in art. At the (ostensibly) other end of the spectrum, he also experimented with theater works of a decidedly avant-garde stripe, drawing on the aesthetics of the Dada, Expressionist, and Absurdist movements. In many ways he represented the German perspective on the concurrent activities of France’s Les Six and of the American pianist George Antheil. The subjects of some of his theater works of the period are telling: the opera Murder, Hope of Women (1922), was based on a 1908 play by the Expressionist painter Oskar Kokoschka, and the puppet-opera Das Nuschi-Nuschi is an absurdist fable involving castration. Hindemith drew on jazz as well as the frantic exuberance and frenzied industrial activity of postwar Europe. His music ran the gamut from the low to the high, from music for children’s puppet shows to opera houses, from works for spa bands to major pieces for the Boston Symphony Orchestra and the New York Philharmonic. His works of musical parody and pastiche included Minimax, a series of faux-military

4 marches for string quartet; the festive march “The Grave Is My Joy”; a “Lied in the style of Strauss,” setting text from a beekeeper’s newsletter; and a melodrama setting the instructions for filling out the IRS’s 1040 tax form. The title of Hindemith’s Ouvertüre zum Fliegenden Holländer, wie sie eine schlechte Kurka- pelle morgens um 7 am Brunnen vom Blatt spielt leaves us in little suspense as to what the piece is about. In this Charles Ivesian parallel to real life, is Hindemith actually making fun of spa bands’ pretentions to playing Wagner, or rather paying a kind of homage to their ambition and range? Like Mozart’s Musical Joke, Hindemith’s Overture to The Flying Dutchman… makes its meticulously notated errors obvious, even for the listener unfamiliar with Wagner’s original. Near the end of the overture proper—its shape, though not its details, having been largely maintained to this point— the players veer off from Wagner to another source, Émile Waldteufel’s famous Skater’s Waltz (1882), a staple of any self-respecting amateur European orchestra. Florence Beatrice Price (1887-1953) grew up in a solidly middle-class African-American family in Little Rock, Arkansas, where her mother taught her piano. She went on to attend the New England Conservatory in Boston, earning a diploma in organ performance and a teaching degree in piano, after which she returned to Little Rock and began giving piano lessons. At NEC she also studied composition with Wallace Goodrich and Frederick Converse, and she studied privately with George Whitefield Chadwick. Following her father’s death in 1910, Price moved to Indianapolis, where her light skin allowed her to pass for white. (Her mother was mulatto.) She then taught at Clark University in Atlanta but returned to Little Rock to marry Thomas Price, a lawyer, with whom she had two daughters, as well as a son who died in infancy. She continued to teach piano and to compose small pieces during this time, but because of her race was barred from many professional activities. The family moved to Chicago in 1927; she immediately began to teach again, also immersing herself in the vibrant community of black musicians, writers, and artists, part of the “Chicago Renaissance” that paralleled similar activity in Harlem and throughout the country’s major cities. Price wrote songs based on texts by such poets as Langston Hughes and James Weldon Johnson and knew Richard Wright and the poet Margaret Walker, both active in the Chicago intellectual world. She was highly active in the National Association of Negro Musicians and in the community of artists and musicians in Chicago. In Chicago, Price’s compositions began to attract attention through competitions and publication, and in 1933 her Symphony in E minor, which won a prize in a competition sponsored by the NANM, was performed by the Chicago Symphony Orchestra led by Frederick Stock. It was the first symphony by an African-American woman to be performed by a major orchestra, part of a broader (albeit still woefully incomplete) acceptance of African-American accomplishments throughout society. Price’s success and desire for independence seems to have created tension in her marriage; she and Thomas Price divorced in 1931. After the successful Chicago premiere, Price’s music was played by a number of other orchestras. She was also championed by the celebrated contralto Marian Anderson, who sang Price’s arrangement of the spiritual “My Soul’s Been Anchored” at the Lincoln Memorial in 1939. Price’s catalog of some 300 works includes dozens of small and pedagogical pieces for piano or organ, many songs, arrangements of spirituals, choral works, and numerous works for orchestra, including four symphonies, two violin concertos, a piano concerto and a Rhapsody for piano and orchestra, the symphony-like Mississippi River Suite. Part of the renewed interest in Price’s work in recent years was triggered by the discovery of a trove of the composer’s music and

TANGLEWOOD WEEK 5 PRELUDE PROGRAM NOTES 5 6 papers in a semi-derelict house outside of Chicago in 2009. The ongoing process of bringing her newly discovered music to a performable state is ongoing, and has in turn led to further performances and recordings of her better-known pieces. Her Five Folksongs in Counterpoint for string quartet, perhaps written around 1927, was discovered in the stacks of the Arkansas Public Library by the Apollo Chamber Players a few years ago; that ensemble recorded it for a 2016 CD, and the Folksongs have begun to enter the wider repertoire. Price treats the five familiar songs as source material for a kind of survey of composi- tional techniques, a common exercise for composers from the Renaissance through Vaughan Williams and Copland in Price’s time. The overall form is basically slow or moderate, fast, slow, fast, moderate. Price’s textures are rich and full, each instrument equal to the others. She fragments and restates the tunes in imitative counterpoint, and adds layers of free counterpoint creating new melodies behind the well-known tunes. When Dmitri Shostakovich (1906-1975) worked in the string quartet medium, the Soviet government did not expect him to make the sort of Grand Optimistic National Statement they desired from his symphonies. Thus, side by side with his patriotic 1950s and early-’60s symphonies (No. 11, The Year 1905, and No. 12, The Year 1917), he poured deeply personal music into his string quartets 6, 7, and 8 without provoking censure. Difficulties arose, however, from the social commentary in Shostakovich’s Babi Yar Symphony (No. 13), and in 1964 he plunged back into chamber music, composing two quartets. Completed between May 2 and May 28 of that year, Shostakovich’s Quartet No. 9 in E-flat, Opus 117, is not so intensely grim as his towering Eighth Quartet, but has a sober agenda, nonetheless, and its mordant humor is far from lighthearted. Cast in five movements played without pause, the Quartet No. 9, like Britten’s Quartet No. 2, is a finale-centered work: its closing Allegro is more than twice as long as any of the other movements and binds up previous thematic threads. In the opening movement, the repeated notes that begin the plaintive initial melody, and the two- alternating-note murmurs beneath it, are both crucial. Later, Shostakovich descends the social scale for a sturdy staccato cello theme accompanied by off-beat pizzicati. When the first theme glumly returns, it displays a triple-time alter ego. From a sustained viola note, the second movement emerges, a lamentation that begins chordally, but later allows a florid vocal role for violin. Suddenly the violin’s cantilena fragments into staccati and a derisive perpetual-motion galop saunters in, commencing the third movement. Here an absurd repeated-note fanfare bizarrely recalls the William Tell Overture. As the first staccato fragments reappear, the violin keens a slow, sad melody, and a sudden transformation of this theme into a lower- string chorale brings another Adagio. After a relatively extroverted violin excursion, the chorale melody returns in pizzicato chords. In a central portion, a dissonant

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 be fore concert time (5:55pm), as a courtesy to those patrons who are still seeking seats.

TANGLEWOOD WEEK 5 PRELUDE PROGRAM NOTES 7 chordal wash builds up and the violin becomes frantic. The gloomy chorale resur- faces, and its two-undulating-notes accompaniment evolves into a slashing waltz, which launches the finale. Subsequent phrases sardonically transform the Adagio’s violin orations. Later, sawing repeated-note bass drones divide the measure into two, rather than three, beats. The violin punches out the chorale, punctuated by jeering glissandi, along with monomaniacal repeated-note brays. The waltz resumes with a whisper, and in the ensuing crescendo, the chorale begins to nag. A discordant fugato eventually coalesces into massive chords; then, against a sustained tremolo, the cello delivers an impassioned cadenza, recalling the slow movement’s pizzicati and orations. Shostakovich’s coda adds the “alter ego” to the other recycled motifs, with the fanfare-figure prominent in a manic crescendo toward a final fortississimo.

Notes by ROBERT KIRZINGER (Hindemith, Prince) and BENJAMIN FOLKMAN (Shostakovich) Composer/annotator Robert Kirzinger is the BSO’s Associate Director of Program Publications. Benjamin Folkman is an annotator and lecturer on music as well as author-editor of Alexandre Tcherepnin: A Compendium.

Artists

Haldan Martinson joined the Boston Symphony Orchestra as a section violinist in November 1998 and in summer 2000 was appointed principal second violin, in which capacity he occupies the Carl Schoenhof Family Chair. As the BSO’s principal second violin, he is also a member of the Boston Symphony Chamber Players. Mr. Martinson made his solo debut with the Los Angeles Philharmonic in 1990 and his national television debut in 1988 performing on Johnny Carson’s Tonight Show. He has also been soloist with numerous other orchestras, including the New Philharmonia Orchestra, Longwood Symphony Orchestra, Waterloo-Cedar Falls Symphony Orchestra, Metamor- phosen Chamber Orchestra, and Yale Symphony Orchestra. The recipient of numerous prizes, scholarships, and awards, including the Spotlight Award of the Los Angeles Music Center, he has participated in the chamber music festivals of Ravinia, Taos, Santa Fe, and La Jolla. From 1996 to 1998 he was a member of the Metamorphosen Chamber Ensemble. From 1998 to 2002 he was a member of the critically acclaimed Hawthorne String Quartet. Mr. Martinson holds a B.A. in music from Yale College, where he was awarded the Louis Sudler Prize, one of the most prestigious awards granted by the university. He was concertmaster of the Yale Symphony Orchestra from 1991 to 1994 and received his master of music degree from the New England Conser- vatory in 1997. His teachers included Robert Lipsett, Endré Granat, David Nadien, Aaron Rosand, and James Buswell. Haldan Martinson is also a prize-winning composer whose works for string ensemble have been featured frequently in concert. One of his works, Dance of the Trolls for string orchestra, was commissioned by the Crossroads Chamber Orchestra in 1988 and has since been performed throughout Southern California. San Diego native Lisa Ji Eun Kim joined the Boston Symphony Orchestra violin section at the start of the 2017-18 subscription season. She received her bachelor’s and master’s degrees from the Juilliard School, where she studied with Hyo Kang and David Chan. Ms. Kim has participated in various festivals such as Music Academy of the West,

8 the Schleswig-Holstein Music Festival, Norfolk Chamber Music Festival, and Verbier Festival, under such mentors as Paul Kantor, Robert McDuffie, Ruggiero Ricci, Robert Lipsett, and Abram Shtern. She was runner-up in the Juilliard School’s annual concerto competition in 2013. For two consecutive years, 2011 and 2012, Ms. Kim won the grand prize of the Musical Merit Competition, resulting in a full scholarship to the Aspen Music Festival and School in 2012. An active chamber musician and soloist, she was a member of the Houston Symphony in the 2016-17 season. She has performed as soloist with the San Diego Symphony, Grossmont Symphony, Saratoga Symphony, San Diego Chamber Orchestra, San Diego Youth Symphony, and San Diego Youth Philharmonia. Cathy Basrak is assistant principal viola of the Boston Symphony Orchestra, occupying the Anne Stoneman Chair, and principal viola of the Boston Pops Orchestra. A native of the Chicago area, Ms. Basrak earned her bachelor’s degree from the Curtis Institute of Music in spring 2000. Her teachers included Joseph de Pasquale, principal viola of the BSO from 1947 to 1964, and Michael Tree of the Guarneri String Quartet. She has participated in the Marlboro Music Festival, Banff Centre for the Arts, and Norfolk Chamber Music Festival. In addition, she has performed with the Brandenburg Ensem- ble and Boston’s Metamorphosen Chamber Ensemble and appeared as soloist with the Philadelphia Orchestra, the Chicago, Detroit, and Bavarian Radio symphony orchestras, and the Boston Pops with John Williams, who wrote his Viola Concerto for her. Ms. Basrak has won several awards, including grand prize in the Seventeen Magazine/General Motors National Concerto Competition, first prize in the William E. Primrose Memorial Scholarship Competition, first prize in the Irving M. Klein Inter- national String Competition, and second prize in the 46th International Music Compe- tition of the ARD in Munich. A native of Grasse, France, Alexandre Lecarme joined the Boston Symphony Orchestra at the start of the 2008-09 season and occupies the Nancy and Richard Lubin Chair in the BSO’s cello section. Mr. Lecarme graduated with the Premier Prix de Violoncelle from the Conservatoire National Supérieur de Musique de Paris in 1997; he holds the Artist Diploma and master of music degrees from Boston University as a recipient of a Cohen Foundation grant and a Dean’s scholarship. His major teachers have included Jean-Marie Gamard in Paris, David Soyer, and Andrés Díaz at Boston Univer- sity. Mr. Lecarme has appeared in the Rockport Chamber Music Festival, Hammond Performing Arts Series, Copley Society Series, Hebron and Thayer Academy concert series, Temple Emmanuel Chamber Music Series, and the chamber music series of the Boston Symphony Orchestra at Symphony Hall and at Tanglewood. He is a founding member of the acclaimed Boston Cello Quartet, formed in 2010 with his BSO cellist colleagues Blaise Déjardin, Adam Esbensen, and Mihail Jojatu, and the first of its kind in the history of the Boston Symphony Orchestra. Mr. Lecarme has participated at the Pablo Casals, Domaine Forget, Kneisel Hall, and Norfolk Chamber Music festivals and has collaborated with Roman Totenberg, Seymour Lipkin, and members of the Tokyo String Quartet. As a founding member of the Tancrede Trio, he performed extensively in the United States and Europe; from 2010 he was a member of the Alianza String Quartet. Mr. Lecarme has released CDs of works by Bach, Debussy, Schubert, and Beethoven, and of sonatas by Franck and Rachmaninoff. He performs on a 1746 José Contreras cello, generously on loan from the Boston Symphony Orchestra.

TANGLEWOOD WEEK 5 PRELUDE PROGRAM NOTES 9 The Serge and Olga Koussevitzky Memorial Concert Sponsored by Joan and Richard Barovick Friday, August 2, 2019 The performance on Friday evening is supported by a generous gift from Joan and Richard Barovick. Joan and Richard have been dedicated Tanglewood patrons for the past decade. Since 2010, the couple has attended many performances at Tanglewood each season. They are members of the Koussevitzky Society at the Encore level, and they have supported the Tanglewood Gala. In addition, Joan and Richard have generously supported the Tanglewood Music Center as both Fellowship and Class Sponsors over the past ﬁve years. Joan is a retired child and family psychotherapist. She is a former member of the Board of Governors of the National Hospice Foundation. Joan is a graduate of Connecticut College and New York University. Richard is a private investor and retired attorney who previously served as chief executive ofﬁcer and managing director of Grundy Worldwide. He is a member of the Board of Directors of the Maltz Jupiter Theatre, former trustee of the Norton Museum of Art and Orpheus Chamber Orchestra, and former director of First Serve Inc. Richard is a graduate of the University of Michigan and Harvard Law School. Joan and Richard reside in Palm Beach Gardens, FL; Lenox, MA, and Manhattan. BSO Archives

10 2019 Tanglewood Boston Symphony Orchestra 138th season, 2018–2019

Friday, August 2, 8pm THE SERGE AND OLGA KOUSSEVITZKY MEMORIAL CONCERT SPONSORED BY JOAN AND RICHARD BAROVICK “UnderScore Friday” concert, including introductory comments from the stage by BSO violinist Sheila Fiekowsky

KEN-DAVID MASUR conducting

MARTINU˚ “Memorial to Lidice”

DVORÁKˇ Violin Concerto in A minor, Opus 53 Allegro ma non troppo Adagio ma non troppo Allegro giocoso, ma non troppo JOSHUA BELL

{Intermission}

DVORÁKˇ Symphony No. 8 in G, Opus 88 Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo

The performance of Dvoˇrák’s Violin Concerto is supported by a gift from Lonnie and Jeffrey Garber in memory of Helen and Arthur Milder.

TANGLEWOOD WEEK 5 FRIDAY PROGRAM 11 NOTES ON THE PROGRAM

Bohuslav Martin˚u (1890-1959) “Memorial to Lidice”

First performance: October 28, 1943, New York Philharmonic, Artur Rodzinski cond. First BSO performances: April 1999, Christoph Eschenbach cond. First Tanglewood performance (also the BSO’s only other performance): July 17, 1999, James Conlon cond. Born in the town of Poliˇcka in the Bohemian-Moravian highlands, Bohuslav Martin˚u would in his lifttime witness both the happiest and most tragic periods in Czech history. As a young composer just gaining recognition in Prague, he celebrated with the entire Czech nation as the Austro-Hungarian Empire collapsed in late 1918 and an independent republic of Czechsolovakia was established. But Martin˚u chose not to remain at home during the period between the wars, when Czech culture revived with new confidence and enthusiasm. Instead he moved to Paris, where he lived from 1923 to 1940. When the Nazis invaded Czechoslovakia on March 15, 1939, he found himself in a precarious position. Because of his support of the anti-Nazi Czech National Council, Martin˚u was blacklisted, and after the Nazi occupation of France he had to seek refuge elsewhere. That is how Martin˚u came to the United States, where he lived from 1941 to 1953. The Boston Symphony played a significant role in Martin˚u’s career during his stay in America. BSO maestro Serge Koussevitzky (himself an exile from Russia) frequently conducted Martin˚u’s works in Boston and elsewhere, and invited Martin˚u to teach and work at Tanglewood. Unfortunately, at Tanglewood Martin˚u experienced another one of the misfortunes that seemed ever to plague him in his nomadic life. In the summer of 1946, at the start of the summer season, he fell from the second-floor balcony of his room, suffering serious injuries from which he never completely recovered. Memorial to Lidice (Památník Lidicím), one of his best-known compositions, was composed in America. Initially it was undertaken in August 1942, at the request of the Czechoslovak Exile Government in London, but the composer was dissatisfied with his first attempt and put it aside for a year. When the American League of Composers commissioned him (and some other prominent composers) to write a work based upon an incident in World War II that had deeply affected him, Martin˚u returned to the piece and completed it in Darien, Connecticut, on August 3, 1943. Artur Rodzinski conducted the New York Philharmonic in the premiere at Carnegie Hall on October 28, 1943. The incident commemorated by Martin˚u in Memorial to Lidice is the annihilation by Nazi forces of the Czech village of Lidice on June 9 and 10, 1942. (A more exact translation of the Czech title is “Memorial to the People of Lidice.”) This attack was intended as revenge for the assassination attempt on May 27 by members of the Czech resistance against Reinhard Heydrich, the sadistic Imperial Governor appointed by Hitler. The name of Lidice became synonymous with Nazi atrocities against occupied peoples, and a rallying cry for the Allies. In this short work for orchestra, Martin˚u conveys the same deep sense of spirituality and gentle grief that can be found in so many of his best works (such as the marvelous Field Mass of 1939). The scoring contrasts very soft, prayer-like sections with passages employing the full orchestra in vast chordal progressions reminiscent of the technique of Leoš Janáˇcek. Imbedded in the rich texture are several significant citations: the St. Wenceslas

12 Chorale (a plea to the Saint to save the Czech nation) and the opening notes of Beethoven’s Fifth Symphony, which were used as the “V for Victory” call by the BBC. In this brief but profound programmatic work, Martin˚u struggles to overcome the tragedy of Lidice through a pensive and noble optimism that transcends ethnic and national boundaries—however impassable they might appear to be.

HARLOW ROBINSON Harlow Robinson is an author, lecturer, and Matthews Distinguished University Professor Emeritus of History at Northeastern University, and a frequent annotator and lecturer for the Boston Symphony Orchestra, Lincoln Center, Metropolitan Opera Guild, and Aspen Music Festival. His new book, “Lewis Milestone: Life and Films,” will be published in the fall of 2019.

Antonín Dvoˇrák (1841-1904) Violin Concerto in A minor, Opus 53 First performance: October 14, 1883, Prague, Dvoˇrák cond., František Ondˇríˇcek, soloist. First BSO performance: November 1900, Wilhelm Gericke cond., Timothée Adamowski, soloist. First Tanglewood performance: July 18, 1963, Erich Leinsdorf cond., Isaac Stern, soloist. Most recent Tanglewood performance: July 22, 2016, Sir Andrew Davis cond., Lisa Batiashvili, soloist. On January 1, 1879, Joseph Joachim gave the first performance of the Brahms Violin Concerto. Brahms was one of the most important influences on the career of Antonín Dvoˇrák, and it was for Joachim that Dvoˇrák wrote his own Violin Concerto six months later. The Austro-Hungarian Joachim (1831-1907) was a composer, conductor, and teacher, as well as one of the most important violinists of his day. He made his debut at eight, was sent to study in Vienna several months after that, and in 1843 went to Leipzig to learn from Mendelssohn at the new conservatory there, making his Gewandhaus debut that August. On May 27, 1844, Mendelssohn conducted the Beethoven Violin Concerto in London with the thirteen-year-old Joachim as soloist; the enthusiastic audience was so taken with the blond youngster’s performance that the first movement was several times interrupted by applause. Six years later, Joachim was concertmaster under Franz Liszt at Weimar for the first production of Wagner’s Lohengrin. He became an intimate of Robert and Clara Schumann, and in 1853 met Brahms, who benefited from Joachim’s advice on orchestration and from hearing Joachim’s quartet perform his early chamber music. It soon became typical for Brahms to seek Joachim’s suggestions regarding works-in-progress, and in 1877 Joachim conducted the first English performance, at Cambridge, of Brahms’s First Symphony. It was Brahms who introduced Dvoˇrák to Joachim, and Joachim got to know Dvoˇrák’s A major string sextet, Opus 48, and E-flat string quartet, Opus 51, both of which were performed at Joachim’s house in Berlin on July 29, 1879, with the composer present. By this time, and with encouragement from Joachim, who had recently given the first performance of Brahms’s Violin Concerto, Dvoˇrák was at work on a violin concerto of his own. In January 1880 he reported that Joachim had promised to play the concerto as soon as it was published, and on May 9, 1880, after Joachim had suggested a thor- ough revision, the composer wrote to the publisher Simrock that he had reworked the entire score, “without missing a single bar.” Dvoˇrák again gave the score to Joachim,

TANGLEWOOD WEEK 5 FRIDAY PROGRAM NOTES 13 who now took two years to respond, finally making alterations to the solo part in the summer of 1882 and suggesting that the composer lighten the instrumentation. In November the composer and Joachim read through the concerto with the orchestra of the Berlin Hochschule. The next month Dvoˇrák held fast against criticism from Simrock’s adviser Robert Keller regarding the lack of a break before the Ada- gio: “... the first two movements can—or must—remain as they are.” Simrock published the score in 1883, but the soloist for the first performance was the twenty-three-year-old, Prague-born František Ondˇríˇcek, who was already famous enough to be receiving invitations to play throughout Europe, in the United States, and in eastern Russia. As it turned out, Joachim himself never performed Dvoˇrák’s concerto—though he almost did so in London during the composer’s first visit there in 1884—and it has been suggested that the violinist-composer may not have been able to reconcile his own conservatism as to musical form with respect to Dvoˇrák’s bold experimentation in the first movement. Even today, this neglected masterpiece has had comparatively few advocates, but probably for yet another reason: it is fiend- ishly difficult. In the first movement, Dvoˇrák dispenses entirely with an orchestral exposition, there- by wasting no time alerting us that he will adhere to no prescribed formal scheme. Instead, a bold, unison forte with a suggestion of triple-time furiant rhythm serves to introduce the soloist before even five measures have gone by, the warmly melodic theme giving way to cadenza-like figuration (already!) before the orchestra reenters. As the movement proceeds, Dvoˇrák invents material so constantly ripe for elabora- tion that applying the terms “exposition” and “development” to the movement is almost meaningless.

14 Ultimately, the “big” return to the main theme—-the “recapitulation” if you must— has nowhere to go, and Dvoˇrák accordingly cuts things short with the suggestion of a brief cadenza (over forceful horn calls that appear in varying guises throughout the concerto), after which a contemplative bridge passage for winds and low strings— the soloist giving out one of many variants of the main theme heard during the movement—leads directly to the wonderfully expansive and beautiful F major Adagio, whose length is supported not only by Dvoˇrák’s ability to create long-breathed arcs of melody, but also by his skill in juxtaposing areas of contrasting key and character as the movement proceeds. The rondo finale is unflaggingly energetic, tuneful, and Czech, exploiting the folk- dance rhythms of the furiant in its main theme and the duple-time dumka in the central episode. Dvoˇrák is particularly inventive in his presentations of the main theme: it is heard first over high strings, with the second violins sustaining a tonic A; it returns against a crashing open fifth in the timpani and the simulation of Czech bagpipes in the open fifth of violins and cellos; and for its third appearance it sounds against a rush of upper-string activity with off-beat accents in the cellos and basses. Near the end, there is a striking change of color when the solo flute brings back the main theme beginning on A-flat, and then a brief reference to the dumka prepares the exuberant final pages, a sudden accelerando and four brilliantly boister- ous chords bringing this marvelous movement to a close.

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

Antonín Dvoˇrák Symphony No. 8 in G, Opus 88 First performance: February 2, 1890, Prague, Dvoˇrák cond. First BSO performance: February 1892 (American premiere), Arthur Nikisch cond. First Tanglewood performance: July 30, 1966, Erich Leinsdorf cond. Most recent Tanglewood performance: July 11, 2014, Andris Nelsons cond. Dvoˇrák’s fame at home had begun with the performance in 1873 of his patriotic cantata Heirs of the White Mountain. (The defeat of the Bohemians by the Austrians at the battle of the White Mountain just outside Prague in 1620 led to the absorp- tion of Bohemia into the Habsburg empire, a condition that obtained until October 28, 1918.) An international reputation was made for him by the first series of Slavonic Dances of 1878 and also by his Stabat Mater. The success in England of the latter work was nothing less than sensational, and Dvoˇrák became a beloved and revered figure there, particularly in the world of choir festivals, much as Mendelssohn had been in the century’s second quarter (but see George Bernard Shaw’s reviews of Dvoˇrák’s sacred works). In the 1890s, this humble man, who had picked up the first rudiments of music in his father’s combination of butcher shop and pub, played the fiddle at village weddings, and sat for years among the violas in the pit of the opera house in Prague (he was there for the first performance of Smetana’s Bartered Bride), would conquer America as well, even serving for a while as director of the National Conser va tory in New York. Johannes Brahms was an essential figure in Dvoˇrák’s rise, providing musical inspiration, but also helping his younger colleague to obtain government stipends that gave him something more like the financial independence he

TANGLEWOOD WEEK 5 FRIDAY PROGRAM NOTES 15 needed, and, perhaps most crucially, persuading his own publisher Simrock to take him on. Next to talent, nothing matters so much to a young composer as having a responsible and energetic publisher to get the music into circulation, a subject many a composer today could address eloquently. Unlike Haydn and Beethoven, Dvoˇrák never sold the same work to two different publishers, but on a few occasions, and in clear breach of contract, he ﬂed the Simrock stable, succumbing to the willingness of the London ﬁrm of Novello to out- bid their competition in Berlin. One of these works was the G major symphony, published in a handsomely printed full-size score by Novello, Ewer, and Co. of London and New York, copyright 1892, and priced at thirty shillings. Dvoˇrák’s other Novello publications were vocal works, including his great dramatic cantata The Specter’s Bride, the oratorio Saint Ludmila, the Mass in D, and the Requiem. Given the English passion for Dvoˇrák engendered by his Stabat Mater in 1883, it is no wonder that Novello was willing to bid high. Simrock primarily wanted piano pieces, songs, chamber music, and, above all, more and more Slavonic Dances—in other words, quick sellers—while Dvoˇrák, for his part, accused Simrock of not wanting to pay the high fees that large works like symphonies merited. (Simrock, having paid 3000 marks for the Symphony No. 7, offered a mere and insulting 1000 for No. 8.) Yet Dvoˇrák was not just interested in money, though as some one who had grown up in poverty he was not indifferent to comfort. He had grand goals as a composer of symphony and opera—not just to do those things, but to do them, especially symphony, in as original a way as he was capable. Understandably, therefore, and in full awareness of the value of Simrock’s initial support, he resented a publisher who showed some reserve about endorsing his

16 most ambitious undertakings. I also suspect that another factor in these occasional infidelities of Dvoˇrák’s was his unabated irritation with Simrock for his insistence on printing his name as German “Anton” rather than Czech “Antonín.” They eventually compromised on “Ant.” Novello was willing to go with “Antonín.” It had been four years since Dvoˇrák’s last symphony, the magnificent—and very Brahms ian—No. 7 in D minor. During those four years, Dvoˇrák had made yet another attempt at opera (this time with a political-romantic work called The Jacobin, full of su perb music), revised the Violin Concerto into its present form, written a second and even finer series of Slavonic Dances, and composed two of his most loved and admired pieces of chamber music, the A major piano quintet and the piano quartet in E-flat. He felt thoroughly ready to tackle another symphony, and as he got to work in the seclusion of his country house, each page of freshly covered manuscript paper bore witness to how well-founded was his faith in himself and his ability to write something that, as he said, would be “different from other symphonies, with individual thoughts worked out in a new way.” The new symphony opens strikingly with an introduction in tempo, notated in G major like the main part of the movement, but actually in G minor. This melody, which sounds gloriously rich in cellos, clarinets, bassoons, and horns, was actually an afterthought of Dvoˇrák’s, and he figured out how to bring it back most splendidly at crucial points during the movement. The Adagio also begins on a harmonic slant. Those first rapturous phrases for strings are—or seem to be—in E-flat major, and it is only in the eighth measure that the music settles into its real key, C minor. Now we sense the long shadow cast by Bee thoven’s Eroica, because the moment C minor is established, the music concentrates on gestures that are unmistakably those of a funeral march. A radiant C major middle section, introduced by a characteristic triple upbeat, makes the Eroica reference even more unmistakable, and rises to a magnificently sonorous climax. After some moments of calm, the music becomes more impassioned than ever and finally subsides into a coda that is both elegiac and tender. It is also, like most of this symphony, a marvel of imaginative scoring. By way of a scherzo, Dvoˇrák gives us a leisurely dance in G minor. The Trio, in G major, is one of his most enchanting pages. The main section of the movement returns in the usual way, after which Dvoˇrák gives us a quick coda which is the Trio transformed, music he actually borrowed from his 1874 comic opera The Stubborn Lovers. After this strong taste of national flavor, Dvoˇrák becomes more Czech than ever in the finale, which one might describe as sort of footloose variations, and which is full of delightful orchestral effects, the virtuosic flute variation and the mad, high trilling of the horns from time to time being perhaps the most remarkable of these.

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

TANGLEWOOD WEEK 5 FRIDAY PROGRAM NOTES 17 Guest Artists

Ken-David Masur Ken-David Masur becomes the new music director of the Milwaukee Symphony Orchestra beginning in the 2019-20 season. Last summer he made his debut with the Chicago Symphony Orchestra at Ravinia and returned to Tanglewood to lead the Boston Symphony Orchestra. At summer’s end he conducted workshops and a concert celebrating the tenth anniversary of the Mendelssohn Foundation in Tokyo. This past fall he led a week of subscription concerts with the BSO, where he continues as associate conductor, occupying the Anna E. Finnerty Chair on the BSO roster, and this past spring he conducted the BSO in several concerts in place of Gustavo Dudamel. Guest engagements this season include appearances with the Louisville Orchestra, Detroit Symphony, Milwaukee Sym- phony, and Chicago Civic Orchestra, plus concerts abroad with the National Philharmonic of Russia, Collegium Musicum Basel, the Stavanger Symphony, and the Mulhouse Symphony Orchestra in France. Other recent guest engagements have taken him to the Milwaukee, Colorado, and Portland (ME) symphonies, as well as returns to the Los Angeles Philharmonic at the Hollywood Bowl, Chicago Civic Orchestra, Munich Symphony, where he is principal guest conductor, and the Yomiuri Nippon Symphony Orchestra in Japan. He led the Orchestre National de France in Paris in a program with Anne-Sophie Mutter and regularly conducts in Germany, Korea, and Moscow. As a sought-after leader and educator of younger players, he frequently conducts the Chicago Civic Orchestra and the orchestras of the Boston University Tanglewood Institute, the New England Conservatory, and the Tanglewood Music Center. Ken-David Masur and his wife, pianist Melinda Lee Masur, are founders

18 and artistic directors of the Chelsea Music Festival, an annual two-week multimedia production of music, art, and cuisine which in June 2018 presented its ninth season, “Bach 333,” in New York. The festival’s productions are varied and internationally themed, always including premieres of new works by young and established composers. As founding music director of the Bach Society Orchestra and Chorus at Colum- bia University, Ken-David Masur toured Germany and released a critically acclaimed album of symphonies and cantatas by W.F. Bach, C.P.E. Bach, and J.S. Bach. WQXR named his recording with the Stavanger Symphony of Gisle Kverndokk’s Symphonic Dances one of “The Best New Classical Releases of July 2018.” For his work as a producer of the album “Salon Buenos Aires,” Mr. Masur received a Grammy nomination from the Latin Recording Academy in the category Best Classical Album of the Year.

Joshua Bell With a career spanning over thirty years as a soloist, chamber musician, recording artist, conductor, and director, Joshua Bell is one of the most celebrated violinists of his era. Since 2011 he has been music director of the Academy of St. Martin in the Fields. His interests range from the repertoire’s hallmarks to newly commissioned works, including Nicholas Maw’s Violin Concerto, Mr. Bell’s recording of which won a Grammy. He has also premiered works by John Corigliano, Edgar Meyer, Jay Greenberg, and Behzad Ranjbaran. Committed to expanding classical music’s social and cultural impact, Mr. Bell has collaborated with peers including Chick Corea, Wynton Marsalis, Chris Botti, Anoushka Shankar, Frankie Moreno, Josh Groban, and Sting. In spring 2019 he joined his longtime friends, cellist Steven Isserlis and pianist Jeremy Denk, for a ten-city American tour. Also in 2018-19 he commemorates the 20th anniversary of The Red Violin, which features Mr. Bell as soloist on its Academy Award-winning soundtrack. In 2018 he brought showings of the ﬁlm with live orchestra to various summer festivals and the New York Philharmonic. An exclusive Sony Classical artist, he has recorded more than forty albums, garnering Grammy, Mercury, Gramophone, and ECHO Klassik awards. His June 2018 release with the Academy of St. Martin in the Fields features works by Bruch. Mr. Bell advocates for music as an essential educational tool and maintains active involvement with Education Through Music and Turnaround Arts, which provide instruments and arts education to children who may not otherwise experience classical music ﬁrsthand. Born in Bloomington, Indiana, Joshua Bell began the violin at age four and, at age twelve, began studies with Josef Gingold. He debuted with Ric- cardo Muti and the Philadelphia Orchestra at fourteen and made his Carnegie Hall debut at seventeen with the St. Louis Symphony. Mr. Bell received the 2007 Avery Fisher Prize and in 2010 was named Musical America’s Instrumentalist of the Year. He received the 2003 Indiana Governor’s Arts Award and a 1991 Distinguished Alumni Service Award from his alma mater, the Jacobs School of Music at Indiana University. He performs on the 1713 Huberman Stradivarius violin with a François Tourte 18th-century bow. Joshua Bell appeared at Symphony Hall in June 1985 with the Boston Pops. His BSO and Tanglewood debuts were in July 1989 and his BSO subscription series debut in January 1994. His most recent subscription appearances were in October 2012 as soloist in Bernstein’s Serenade (after Plato’s “Symposium”) with Marcelo Lehninger conducting. A frequent guest at Tanglewood, his most recent performance here was in August last year, performing Henri Wieniawski’s Violin Concerto No. 2 with conductor Dima Slobodeniouk and the BSO.

TANGLEWOOD WEEK 5 GUEST ARTISTS 19 The Carol Reich Memorial Concert Saturday, August 3, 2019 The performance on Saturday evening is supported by a generous gift from Great Benefactor Joe Reich in memory of his wife, Carol. Carol was elected a BSO Overseer in 1999 and a Trustee in 2006. Over her twenty years of service to the BSO, Carol was an active member of numerous board committees, including the Education Committee, TMC/TLI Initiative Committee, Trustees Nominating Committee, Campaign Planning Committee, and the Tanglewood Annual Fund Taskforce, in addition to serving on several Tanglewood Gala benefactor committees. Carol and Joe delighted in the sights and sounds of Tanglewood together for more than forty years. Lovers of both the beauty of the landscape and the wonder of the music, they proudly shared the joy of Tanglewood with their children and grandchildren. Carol once remarked, “The first thing I think about Tanglewood is its great beauty. Tanglewood is a gift, and it is still a gift to us when we attend today. It is an important gathering and listening place that we love to share.” True advocates for Tanglewood, Carol and Joe graciously donated to the BSO and Tanglewood for many years, including as members of the Koussevitzky Society. Reflecting their shared dedication to education, they generously supported education initiatives including Days in the Arts (DARTS) and the Tanglewood Music Center. As leadership donors to many BSO fundraising initiatives, Carol and Joe hoped to inspire others to support Tanglewood and its programs, regardless of giving level. Carol dedicated her other philanthropic efforts to ensuring that underserved children have access to high quality education. In 1992, Carol and Joe launched an innovative new public school in Brooklyn, which became one of the first charter schools in New York. They wrote and published a book about the inspiring story of the school’s creation, entitled Getting to Bartlett Street: Our 25-Year Quest to Level the Playing Field in Education, which was released in 2012. Stu Rosner

20 2019 Tanglewood Boston Symphony Orchestra 138th season, 2018–2019

Saturday, August 3, 8pm THE CAROL REICH MEMORIAL CONCERT

ASHER FISCH conducting

SCHUMANN Overture to the opera “Genoveva,” Opus 81

Avner DORMAN Double Concerto for Violin, Cello, and Orchestra (world premiere; co-commissioned by the Boston Symphony Orchestra, Andris Nelsons, Music Director, through the generous support of the New Works Fund established by the Massachusetts Cultural Council, a state agency) I. Tempo giusto, = ca. 69 II. Adagio recitativoh III. Presto, = 132-138 PINCHAS ZUKERMANq , violin AMANDA FORSYTH, cello

{Intermission}

BEETHOVEN Romance No. 1 in G for violin and orchestra, Opus 40 Mr. ZUKERMAN

MENDELSSOHN Symphony No. 3 in A minor, Opus 56, “Scottish” Introduction and Allegro agitato Scherzo assai vivace Adagio cantabile Allegro guerriero and Finale maestoso

Piano by Steinway & Sons – the Artistic Choice of Tanglewood. Special thanks to Commonwealth Worldwide Executive Transportation In consideration of the artists and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

TANGLEWOOD WEEK 5 SATURDAY PROGRAM 21

NOTES ON THE PROGRAM

Robert Schumann (1810-1856) Overture to the opera “Genoveva,” Opus 81 First performance of the opera: June 25, 1850, Leipzig, though the overture had already been heard in a Gewandhaus pension fund concert the preceding February 25 under Schumann’s direction. First BSO performance of the overture: March 10, 1883, Georg Henschel cond. First Tanglewood performance of the overture: August 2, 1951, Charles Munch cond. Most recent Tanglewood performance of the overture: July 22, 1961, Charles Munch cond. Schumann had for years aspired to create a “German opera,” a truly national style that could compete with those of Italy and France. Despite the existence of a few masterpieces in the German repertory (Mozart’s Die Zauberflöte, Beethoven’s Fidelio, Carl Maria von Weber’s Der Freischütz), most operas composed in German leaned heavily on foreign models for melodic and vocal style. Even so temporarily successful a composer as Heinrich Marschner (whose blood-curdling operas of the supernatural—Der Vampyr and Hans Heiling—exercised some influence on Wagner, even foreshadowing such characters as the Flying Dutchman and Lohengrin) tended to fall back on thread- bare, stock Italianate phrases to parse out the arias and ensembles of his operas. But Schumann wanted to change all that with a stage work that would be modern and truly German. He settled for his subject on a medieval tale first recounted in the 14th-century collection of saints’ lives called The Golden Legend, which included the story of Gen- evieve of Brabant. She was the wife of a knight named Siegfried who, on departing for the crusades, left her in the care of his best friend Golo. Golo, unworthy of Siegfried’s trust, falls in love with Genevieve himself. When she spurns his advances, he takes revenge, upon her husband’s return, by accusing her of infidelity. Con- demned to death, Genevieve is saved by various miraculous interventions (depend- ing on the version of the story) and is vindicated before her husband. The subject had been treated by two important German dramatists, and it is to their versions that Schumann’s opera owed the most. Ludwig Tieck wrote his Leben und Tod der heiligen Genoveva in 1800; Tieck’s drama was a vast canvas of Shakespear- ean proportions, calling for sixty-one separate scenes and twenty-eight stage sets, all cast “in the idyllic tones of a fairy tale.” Later, in 1843, Friedrich Hebbel wrote his own poetic drama Genoveva, which attempted to treat Golo’s sense of guilt (in evidently autobiographical terms) and Genevieve’s purity in a not totally successful combination. Schumann asked his friend Robert Reinick, a minor poet and writer of children’s stories, to prepare a libretto following Hebbel’s outline. But, dissatisfied with the result, the composer sought advice directly from Hebbel, who refused to have any participation in an operatic project. The composer then collaborated with Reinick in creating a libretto based on both Tieck and Hebbel, but, unhappy with Reinick’s tendency to over-sentimentalize, Schumann finally wrote the text himself. Having made the final touches to the musical score on August 4, 1848, it was nearly two years later, after frustrating delays, that he finally saw the work produced. Schumann’s reputation and numerous advance reports guaranteed that there was a distinguished group, including Liszt, present for the premiere, but the response was distinctly mixed. Despite the score’s evident beauties, Schumann’s inability to capture in dra-

TANGLEWOOD WEEK 5 SATURDAY PROGRAM NOTES 23 matically varied music the personalities of his characters has kept the opera one of those worthy attempts more honored in print than on the stage. The overture, however, has long been recognized as one of Schumann’s finest creations in the genre, outclassed only by his overture to Manfred. The very first chord—an unprepared minor ninth resolved only in the third measure—was grip- ping and powerful when Schumann wrote it in 1848, and the harmonies of the rest are hardly less daring and unexpected. (Schumann’s score is as harmonically advanced as anything Wagner, who was then composing Lohengrin, was doing at the time; the Ring and Tristan were still years away.) A pensive fragment of melody, dropping down a fifth and turning back, is heard in the violins, then in the solo clarinet; this will be heard again in various guises. The main portion of the work begins with the establishment of the fast tempo, “with passionate motion,” in triplets with punctuations off the beat. A hunting-horn motive introduces the contrasting material with the sounds of the German forest. The working-out in classical sonata form involves carefully wrought dovetailing of ideas, culminating in a major-key peroration that prefigures the happy end of the opera. Unlike many composers of his day, Schumann wrote the overture first, in a burst of enthusiasm when embarking on the score, rather than writing it after completing the opera. Nonetheless, he used musical ideas that appear later in the opera proper and laid out the whole as a kind of dramatic précis of the events to come.

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

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C+I 2019 studs Shingled inner 8 Revised.indd 15 8/29/19 12:41 PM C+I 2019 studs Shingled inner 8 Revised.indd 16 8/29/19 12:41 PM Avner Dorman (b.1975) Double Concerto for Violin, Violoncello, and Orchestra (2019) First performance: June 27, 2019, Adelaide, Australia, Adelaide Symphony Orchestra, Benjamin Northey cond., Pinchas Zukerman and Amanda Forsyth, soloists. This is the American premiere and the first Boston Symphony Orchestra performance of Dorman’s Double Concerto, which was co-commissioned by the Adelaide Symphony Orchestra, the Boston Symphony Orchestra, and Canada’s National Arts Centre Orchestra. The concerto is about twenty-five minutes long. Avner Dorman wrote his Double Concerto for Violin, Cello, and Orchestra for violinist Pinchas Zukerman and cellist Amanda Forsyth to commemorate Pinchas Zukerman’s 70th birthday in 2018. Born in Tel Aviv, Israel, Dorman, the son of an orchestral bassoonist, was also a “kind of math prodigy” as a child. He took university math courses at age fifteen and intensively studied both physics and music at Tel Aviv University, where he worked with the Georgian-born composer Ioseb Bardanshvili (b.1948). He has lived in the United States for more than fifteen years, having first arrived here as a doc- toral student in music composition at the Juilliard School, where he worked with the American composer John Corigiliano. In 2002 Dorman was a Composition Fellow of the Tanglewood Music Center; some of his chamber music works have been performed here by TMC Fellows. In January 2015 the Boston Symphony Orchestra performed his orchestral work Astrolatry under Asher Fisch’s direction. Now forty-four, Dorman was already a prolific and eclectic composer with a wide range of influences by his late teens. The cosmopolitan atmosphere of the Tel Aviv music scene gave him a broad base from which to explore his own voice. He grew up immersed in the sounds of Israeli and Arab pop and traditional music, which is still an important element of Dorman’s style. He also sought out stylistic models from among the wider Western classical tradition from the Baroque era to the present, as one can plainly hear in his new Double Concerto. Dorman achieved notable early successes in Israel, including the ACUM (copyright society akin to ASCAP and BMI) Prize, the premiere of his Variations Without a Theme by the Israeli Philharmonic Orchestra led by Zubin Mehta, and an Israeli Philharmonic commission for his percussion concerto Spices, Perfumes, Toxins! He was signed by the publisher G. Schirmer at age thirty. Dorman is now an assistant professor of theory and composition at Gettysburg College’s Sunderman Conser- vatory of Music in Pennsylvania, but maintains an active career as a composer and conductor as well. He was music director of the chamber orchestra CityMusic Cleve- land for several seasons and has been composer-in-residence with the Alabama Symphony and Stockton Symphony, among other posts. In addition to the BSO and the Israel Philharmonic, his music has been performed by most of the prominent U.S. orchestras as well as Amsterdam’s Royal Concertgebouw Orchestra, Tokyo’s NHK Symphony, and the Leipzig Gewandhaus Orchestra, and has been heard at such venues as Carnegie Hall, Vienna’s Musikverein, the Lucerne, Salzburg, and Cabrillo festivals, and many more. Much of his music has also been recorded com- mercially. Until recently, Dorman’s reputation has rested primarily on his large body of works with orchestra, especially with solo instruments. He has written three violin concertos as well as concertos for piccolo, cello, saxophone, piano, mandolin (for Avi Avital), and percussion—actually five concertos for percussion: one for four soloists, two for two, and two for solo player including the latest, his Eternal Rhythm, premiered last fall by Simone Rubino and the NDR Elbphilharmonie Orchester

TANGLEWOOD WEEK 5 SATURDAY PROGRAM NOTES 25 conducted by Stefan Geiger. There is also a concerto grosso for string quartet, harpsichord, and orchestra. Recently Dorman has focused more on dramatic works; his biggest projects to date are recent works involving the voice. His twenty-five minute Letters from Gettysburg for chorus and orchestra was premiered in 2013 at Gettysburg College; the following year his forty-minute “choral symphony” Dialogues of Love for baritone solo, mixed chorus, children’s chorus, and orchestra was premiered by the Grand Rapids Symphony, Chorus, and Youth Chorus. His first full-length opera, Wahnfried, was premiered in Karlsruhe, Germany, in the 2017 season, and his Die Kinder des Sultans (“The Sultan’s Children”), commissioned by Deutsche Oper am Rhein, Oper Bonn, and Theater Dortmund, receives its first performances in April 2020. A sense of drama and theatricality has always been present in Dorman’s music, and is a key element especially in the concertos, with their inherent drama between soloist(s) and ensemble. In a double concerto, one also has to contend with the relationship between the two soloists, who in this case happen to be the husband and wife artists Pinchas Zukerman and Amanda Forsyth, for whom the concerto was written. (When asked by an Australian broadcaster if they’d provided any specific instructions to the composer before he began the piece, Zukerman said he told Dorman, “I play violin, she plays cello.”) The added intimacy and familiarity between them, as well as their own history as concerto soloists, as the composer relates in his own note to the piece, became the impetus for Dorman’s musical narrative. Stylistic allusion and actual quotation are woven into that narrative, which fits in with a kind of “postmodern” sensibility the composer has noted in his approach. In the big picture, though, the concerto has much of the traditional about it, including its three-movement, fast-slow-fast form, its cadenza passages, and healthy doses of both virtuosity and lyricism. Avner Dorman’s comments on his new Double Concerto follow below.

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

When I was first approached by Pinchas Zukerman and Amanda Forsyth to write a double concerto for them, I was ecstatic. I grew up admiring Zukerman’s playing, hearing him at the Israel Philharmonic as often as I could. Hearing the two of them play together years later was completely enchanting. I wanted to write a piece that explored the relationship between the two soloists—not only their instruments. How do they interact with one another? What is the interplay between the soloists and the orchestra? How does a modern-day concerto reflect both a long musical tradition and our present time? The piece is neoclassical in some aspects. It follows a general fast-slow-fast three- movement structure, and there are contrasting themes in each movement. Each movement develops these themes throughout the form. The soloists begin the piece almost wistfully, with a certain sense of nostalgia for older concertos. Against that longing for the past, the orchestra pushes for modern rhythms, harmonies, and orchestral colors. In the first movement, the soloists oscillate between fighting against the orchestra and joining its exciting harmonies and rhythms. While the orchestra adopts some of the older materials that the soloists present, it ultimately engulfs them with its

26 drive. At the outset of the second movement the soloists try again to return to the past. They play a sweet melody in octaves accompanied by a simple Alberti bass, and for a period of time this seems to work. Yet this time, it is the cello who strays away from the original theme. The soloists no longer appear as a unified group; their conflict leads to an intimate duet. At the conclusion of the movement the conflict subsides, and the soloists seem to find a new way to coexist, with the orchestra now in support of their reunification. The third movement is both energetic and expressive, and all voices seem to have found a way to cooperate and exist together. The two main themes no longer yearn for the past, now allowing a playful interplay between the soloists as a group with the orchestra. Each of the soloists gets the opportunity to shine individually, at times with interjecting allusions to the past (quotes and misquotes alike). By the conclusion, this nostalgia has passed, and in its place is an acknowledgement—a tribute, celebrating the relationships, the individuals, and the history of the concerto.

AVNER DORMAN

Ludwig van Beethoven (1770-1827) Romance No. 1 in G for violin and orchestra, Opus 40 First performance: Date unknown, but composed not later than fall 1802, when Bee- thoven’s brother Karl offered both of his Romances—the G major, Opus 40, and the F major, Opus 50—to the publishers Breitkopf & Härtel. First BSO performance of the G major Romance, Opus 40: July 24, 1965, Tanglewood, Erich Leinsdorf cond., Isaac Stern, violin. Most recent Tanglewood performance of the G major Romance, Opus 40: August 27, 2011, Itzhak Perlman, cond. and violin. 18th-century German composers borrowed the term “Romance,” or Romanze, from their French contemporaries to denote a kind of simple but affecting song; eventually Haydn and Mozart used the label not only for vocal works but also for some lyrical slow movements in their larger works. In each of the movements they labeled thus, melodic invention and lyrical feeling dom- inate. “Romance,” however, was not a name used for individual character pieces until the 19th century. Beethoven studied the violin when he lived in Bonn, and even played viola in an orchestra there before he moved to Vienna in 1792. Thus it is not surprising that he displayed an interest in writing for the violin early on in his career, and that he wrote two Romances—No. 1 in G, Opus 40, and No. 2 in F, Opus 50, each of them scored for solo violin and a modest orchestra including just one flute, two oboes, two bassoons, two horns, and strings. One way to approach his two charm- ing single-movement Romances is to perceive them as way stations on his journey to the composition of his famous Violin Concerto, which he completed in 1806. These pieces, composed in sectional form, also require both technical fluency and elegant musicianship from the violin soloist. Music historians know that they were both completed by 1802, when the composer’s brother negotiated their publication, but it is most likely that they were written in the years leading up to that. The Romance in F, though called No. 2 and bearing a later opus number than the G major Romance, is presumed to have been composed first. Marion M. Scott, an English biographer of Beethoven, writes of the Romances, “They are beautiful in their way, not easy as to technique, and very difficult to interpret satisfactorily.” No one knows just why Beethoven composed his Romances. Some

TANGLEWOOD WEEK 5 SATURDAY PROGRAM NOTES 27 historians speculate that one or the other may have been originally intended as the slow central movement for a fragmentary C major violin concerto that he had begun earlier; but some ponder that if that were true, why would he have created two Romances in different keys? In any event, the two Romances share a similarity in form as well as in mood, both being completely lyrical in spirit.

SUSAN HALPERN New York-based annotator Susan Halpern writes program notes, articles, and liner notes on symphonic, recital, and chamber music repertoire.

Felix Mendelssohn-Bartholdy (1809-1847) Symphony No. 3 in A minor, Opus 56, “Scottish” First performance: March 3, 1842, Gewandhaus Orchestra of Leipzig, Mendelssohn cond. First BSO performance: January 1883, Georg Henschel cond. First Tanglewood performance: August 5, 1960, Charles Munch cond. Most recent Tanglewood performance: August 11, 2000, Hans Graf cond. It was in 1829 that Mendelssohn made his first visit to England, the country where he became more appreciated, more adored, than in any other. He conducted his Symphony No. 1 with the London Philharmonic, played Weber’s Konzertstück and Beethoven’s Emperor Concerto with that orchestra (creating a sensation because he did it from memory), gave a piano recital, and capped his stay with a benefit concert for Silesian flood victims. In mid-July he was ready for a vacation, and so, with Karl Klingemann, a friend from Berlin now posted in London as Secretary to the Hanoverian Legation, he set out for Scotland. He was both a diligent and a gifted letter writer, as was Klingemann, which means we have a remarkably complete picture of their journey to Glasgow, Edinburgh, Perth, Inverness, Loch Lomond, and the Hebrides islands of Iona, Mull, and Staffa. On August 7, after his visit to Staffa and Fingal’s Cave, he jotted down the opening of his Hebrides Overture. A week before, on July 30, he had written home, jotting down for himself on that occasion sixteen bars of music—the opening, still in preliminary form, of what would become his Scottish Symphony. But it was years before either of his musical mementos from Scotland reached final form. The Hebrides Overture went through three stages, to be completed only in June 1832. Mendelssohn did not even return to his plan for what he called, in corre- spondence and conversation, his “Scotch Symphony”—a title that appears nowhere on the score—until 1841, the score and parts being published in February 1843 (making it, despite the number, actually the last of Mendelssohn’s symphonies to be completed). Before that, in 1842, on his seventh visit to England, he had made two new friends, enthusiastic and competent performers of his songs and chamber music, Queen Victoria and Prince Albert, and Her Majesty graciously consented to accept the dedication of the Scottish Symphony. Aside from similarities among the movements of melodic shape, character, and so on, Mendelssohn was also concerned with the idea of connection in another sense: the score is prefaced by a note asking that the movements not be separated by the customary pauses. The introduction begins solemnly. The hymnlike opening gives way to an impassioned recitation for the violins, and it is from this passage that the rest of the introductory Andante takes its cue. The music subsides into silence, and after a moment the Allegro begins, its “agitato” quality set into higher relief by the

28 pianissimo that Mendelssohn maintains through twenty-one measures. Though the Scottish is very much a pianissimo symphony, the scoring tends to be dense and dark in a manner we are much inclined to interpret as Northern and peaty. The scherzo emerges with buzzing sixteenth-notes and distant horn calls (on all sorts of instruments). The ﬂavor of the tunes is distinctly Scots. The Adagio cantabile alternates a sentiment-drenched melody with stern episodes of march character. The ﬁercely energetic fourth movement—Allegro guerriero and Finale maestoso— again seems very Scots indeed, and every bit as macho and athletic as Mendelssohn’s “guerriero” promises. Near the end he invents yet another of his magical pianissimos, this time to emerge into a noble song, scored in surprisingly dark and muted hues for such a peroration. Robert Schumann caught the cousinage of this hymn to the one that begins the symphony and remarked: “We consider it most poetic; it is like an evening corresponding to a lovely morning.”

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

Guest Artists

Asher Fisch A renowned conductor in both the operatic and symphonic worlds, Asher Fisch is especially celebrated for his interpretative command of core German and Italian repertoire of the Romantic and post-Romantic era. He conducts a wide variety of repertoire from Gluck to contemporary works by living composers. Since 2014, Mr. Fisch has been the principal conductor and artistic advisor of the West Aus- tralian Symphony Orchestra (WASO). His former posts include principal guest conductor of Seattle Opera (2007-2013), music director of New Israeli Opera (1998-2008), and music director of the Wiener Volksoper (1995-2000). High- lights of Mr. Fisch’s 2018-19 season include guest engagements with the Düssel- dorf Philharmonic, Sydney Symphony, Teatro Massimo Orchestra in Palermo, and the Cleveland Orchestra at the Blossom Festival. Guest opera engagements include Il trovatore, Otello, Die ﬂiegende Holländer, and Andrea Chénier at the Bay- erische Staatsoper, Arabella and Hansel und Gretel at Semperoper Dresden, Tannhäuser at the Tokyo National Theater, and Cristof Loy’s new production of Capriccio at the Teatro Real in Madrid. Born in Israel, Mr. Fisch began his conducting career as Daniel Barenboim’s assistant and Kappellmeister at the Berlin Staatsoper. He has built his versatile repertoire at such major opera houses as the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Teatro alla Scala, Royal Opera House–Covent Garden, and Semperoper Dresden. He is also a regular guest conductor at leading American symphony orchestras, including those of Boston, Chicago, Cleveland, New York, and Philadelphia. In Europe he has appeared with the Berlin Philharmonic, Munich Philharmonic, London Symphony Orchestra, Leipzig Gewandhaus Orchestra, and the Orchestre National de France, among others. His recent recordings include tenor Stuart Skelton’s ﬁrst solo album, recorded with WASO and released on ABC Classics in 2018, and Ravel’s L’Heure espagnole with the Munich Radio Orchestra, which won Limelight Magazine’s Opera Recording of the Year in 2017. His recording of Wagner’s

TANGLEWOOD WEEK 5 GUEST ARTISTS 29 Ring cycle with the Seattle Opera was released on Avie in 2014. His first Ring cycle recording, with the State Opera of South Australia, won ten Helpmann Awards, including best opera and best music direction. Mr. Fisch is also an accomplished pianist and has recorded a solo disc of Wagner piano transcriptions for the Melba label. Asher Fisch made his BSO and Tanglewood debuts in July 2012, during Tanglewood’s 75th Anniversary Season, leading an all-Wagner program replicating a pivotal program from the BSO’s first summer at Tanglewood, when a storm that interrupted the concert led to a fundraising drive for the construction the Music Shed, which opened in 1938. His most recent Tanglewood appearance was in August 2015, leading the TMC Orchestra in Copland’s Symphonic Ode and the BSO in its season-ending performance of Bee- thoven’s Ninth Symphony. His BSO subscription series debut was in January 2015, conducting Avner Dorman’s Astrolatry on a program with music of Prokofiev and Schumann.

Pinchas Zukerman With a celebrated career encompassing ﬁve decades, Pinchas Zukerman reigns as one of today’s most sought-after and versatile musicians—violin and viola soloist, conductor, and chamber musician. A devoted teacher and champion of young musicians, he has served as chair of the Pinchas Zukerman Performance Pro- gram at the Manhattan School of Music for twenty-ﬁve years, an anniversary the school celebrated with a tribute concert this season. The 2018-19 season marks his tenth as principal guest conductor of the Royal Philharmonic Orchestra in London and his fourth as artist-in-association with the Adelaide Symphony Orchestra in Australia. He leads the RPO on a tour of the United Kingdom and Ireland, conducting works by Mozart and Vaughan Williams and performing as soloist in Beethoven’s Violin Concerto. Mr. Zukerman joins the Rotterdam Philharmonic Orchestra in performances of Bruch’s G minor violin concerto, on tour in Germany, the Netherlands, and Switzerland. He appears as soloist and conductor with the National Arts Centre Orchestra (NACO) in Ottawa and the symphony orchestras of Toronto and Indianapolis. He makes concerto appearances with the Pittsburgh Symphony, Colorado Symphony, Los Angeles Philharmonic, New World Symphony, Gulbenkian Orchestra, Orquesta Nacional de España, NDR Radiophilhar- monie, Salzburg Camerata, and Moscow State Symphony Orchestra. As a founding member of the Zukerman Trio, along with cellist Amanda Forsyth and pianist Angela Cheng, he appears in Baltimore and New York, tours Italy, and gives performances in Germany. Mr. Zukerman and Ms. Forsyth also join the Jerusalem Quartet in a program of Strauss, Schoenberg, and Tchaikovsky sextets on tour in North America. Born in Tel Aviv, Mr. Zukerman came to the United States as a recipient of the America-Israel Cultural Foundation scholarship, studying at the Juilliard School with Ivan Galamian. His discography of more than 100 albums has earned him two Grammy awards and twenty-one nominations. Recent albums include “Baroque Treasury” with the NACO, Amanda Forsyth, and oboist Charles Hamann; Brahms’s Symphony No. 4 and Double Concerto with the NACO and Ms. Forsyth; and a critically acclaimed album of works by Elgar and Vaughan Williams with the Royal Philharmonic Orchestra. Pinchas Zuker- man has returned to Tanglewood many times since his debut here in July 1969, most recently in July 2017 as soloist in Beethoven’s Violin Concerto. He made his BSO subscription series debut in January 1979 and appeared with the orchestra most recently in October 2015, doubling as conductor and soloist in a program of Tchaikovsky, Elgar, and Schubert.

30 Amanda Forsyth Canadian Juno Award-winning Amanda Forsyth is considered one of North America’s most dynamic cellists. She has achieved an international reputation as soloist, chamber musician, and principal cellist from 1999 to 2015 of Canada’s National Arts Centre Orchestra. Ms. Forsyth has performed on international tours with both the Royal Philharmonic and the Israel Philharmonic. Orchestral appearances have also included the Orchestre Radio de France, Lisbon’s Gulbenkian Orchestra, English Chamber Orchestra, Calgary Philharmonic, Toronto Symphony, Van- couver Symphony, Luxembourg Philharmonic, Gyeonggi Philharmonic, and the Sydney, Perth, and Adelaide symphonies. In the U.S. she has performed with the Chicago, National, San Diego, Colorado, Oregon, New West, Dallas, and Grand Rapids symphonies. Ms. Forsyth has appeared numerous times on tour and in St. Petersburg with the Mariinsky Orchestra conducted by Valery Gergiev. In 2014 she made her Carnegie Hall debut with the Israel Philharmonic Orchestra. As a founding member of the Zukerman ChamberPlayers, Ms. Forsyth has visited Germany, Israel, Italy, Finland, Holland, Switzerland, New Zealand, Turkey, and cities such as London, Vienna, Paris, Belgrade, Budapest, Dubrovnik, Warsaw and Barcelona. As cellist of the Zukerman Trio, she has performed on six continents and has appeared at such prestigious music festivals as Edinburgh, Miyazaki, Verbier, the BBC Proms, Tanglewood, Ravinia, the Spring Festival of St. Petersburg, White Night Festival, and La Jolla Summer Fest. In the 2018-19 season, the Zukerman Trio embarked on an East Coast tour culminating in New York at the 92nd Street Y, as well as a tour in Italy. Highlights from Amanda Forsyth’s 2018-19 season also include a world premiere performance of Marjan Mozetich’s Cello Concerto with the National Arts Centre Orches- tra and her debut with the Los Angeles Philharmonic performing the Brahms Double Concerto, Zubin Mehta conducting. Amanda Forsyth’s recordings appear on the Sony Classics, Naxos, Altara, Fanfare, Marquis, Pro Arte, and CBC labels. Her recording of Schubert’s Trout Quintet with the Zukerman ChamberPlayers and Yefim Bronfman was released by Sony in 2008. Her most recent disc features the Brahms Double Concerto with Pinchas Zukerman and the National Arts Centre Orchestra on Analekta Records. Born in South Africa, Ms. Forsyth moved to Canada as a child and began playing cello at age three. She became a protégé of William Pleeth in London and later studied with Harvey Shapiro at the Juilliard School. Ms. Forsyth performs on a rare 1699 Italian cello by Carlo Giuseppe Testore. Amanda Forsyth’s only previous appearance with the Boston Symphony Orchestra was at Tanglewood in July 2013, when she joined violinist- conductor Pinchas Zukerman in a performance of Vivaldi’s B-ﬂat concerto for violin and cello, RV 547. Stu Rosner

TANGLEWOOD WEEK 5 GUEST ARTISTS 31 The George W. and Florence N. Adams Concert Endowed in Perpetuity Sunday, August 4, 2019 Florence and George Adams shared a love of music. Mrs. Adams grew up in Jamaica Plain and attended Boston Symphony and Pops concerts frequently with her mother during the Koussevitzky-Fiedler era. The same devotion led them to travel to Lenox by train in the 1930s—a more arduous journey than it is today—to hear the first concerts presented by the Berkshire Symphonic Festival in a tent. In 1937, after Lenox became the summer home of the Boston Symphony, Mrs. Adams attended the famous “thunderstorm concert” that led Gertrude Robinson Smith to begin fundraising to build a permanent music shed. A graduate of Simmons College and Boston University, Mrs. Adams began her career as a reference librarian with the Boston Public Library. She met and married her husband George, also a librarian, while both were working at the Newark Pub lic Library in New Jersey. Upon the birth of their daughter the family relocated and Mrs. Adams began her association with the Hartford Public Library, where she served as a branch librarian for thirty-six years. An expert on Connecticut legislative history, Mr. Adams was consulted by many state lawmakers and authored numerous articles in his post as legislative reference chief of the Connecticut State Library. Having found many years of enjoyment in the music of the Boston Symphony Orches- tra, especially in its tranquil Berkshire setting, Mrs. Adams decided to endow a concert there to maintain that tradition—the first such memorial concert to be endowed at Tanglewood. She died just weeks before the first George W. and Florence N. Adams Concert took place on August 1, 1987, a program featuring works of George Perle and Felix Mendelssohn conducted by Seiji Ozawa. Stu Rosner

32 2019 Tanglewood Boston Symphony Orchestra 138th season, 2018–2019

Sunday, August 4, 2:30pm THE GEORGE W. AND FLORENCE N. ADAMS CONCERT ENDOWED IN PERPETUITY

DIMA SLOBODENIOUK conducting

RACHMANINOFF Piano Concerto No. 3 in D minor, Opus 30 Allegro ma non tanto Intermezzo: Adagio Alla breve YEFIM BRONFMAN

{Intermission}

SIBELIUS Symphony No. 1 in E minor, Opus 39 Andante ma non troppo—Allegro energico Andante ma non troppo lento Allegro Finale (Quasi una fantasia): Andante—Allegro molto

TANGLEWOOD WEEK 5 SUNDAY PROGRAM 33

NOTES ON THE PROGRAM

Sergei Rachmaninoff (1873-1943) Piano Concerto No. 3 in D minor, Opus 30 First performance: November 28, 1909, New York Symphony Society, Walter Damrosch cond., Rachmaninoff, soloist. First BSO performances: October/November 1919, Pierre Monteux cond., Rachmaninoff, soloist. First Tanglewood performance: July 26, 1958, Charles Munch cond., Byron Janis, soloist. Most recent Tanglewood performance by the BSO: August 14, 2009, Michael Tilson Thomas cond., Yefim Bronfman, soloist. Most recent Tanglewood performance: August 17, 2014, Tanglewood Music Center Orchestra, Charles Dutoit cond., Nikolai Lugansky, soloist, as part of that year’s Leonard Bernstein Memorial Concert. When Rachmaninoff came to write his Third Piano Concerto, he had a far different problem from the one that had faced him when composing the Second. At the time he started the earlier concerto, there was a question whether he would ever compose again at all. His confidence and self-esteem had been shattered by the catastrophic premiere of his First Symphony in 1897. (The best-known of the reviewers at that premiere, the acid-tongued composer César Cui, had commented, “If there were a conservatory in Hell, if one of its talented students were instructed to write a program symphony on ‘The Seven Plagues of Egypt,’ and if he were to compose a symphony like Mr. Rachmani- noff’s, then he would have fulfilled his task brilliantly and would bring delight to the inhabitants of Hell.”) It took him two years to develop the courage to compose again, and then only after extensive counseling sessions, partly under hypnosis, with a psychiatrist. The result, though, was the C minor concerto, which instantly established itself as an audience favorite. Thus, by 1909, when he began work on the Third, he had to compete with his young self. In addition to the success of the Second Concerto, his Second Sym- phony had just won the Glinka Award of 1,000 rubles, beating out Scriabin’s Poem of Ecstasy, which took second place, for the honor. He spent the summer of 1909 planning his first American tour, which began in Northampton, Massachusetts, on November 4 and continued until January. But the culminating event took place in New York City on November 28, when he premiered the new piano concerto with Walter Damrosch and the New York Symphony Society. The same forces repeated it two days later at Carnegie Hall and Rachmaninoff played it once more on January 16, 1910, this time with the Philharmonic and Mahler conducting. It was considered a qualified success—respected, though by no means the instant hit of the previous concerto. The general tone of critical response—and this from critics who had heard the work three times in the space of seven weeks—was that, despite its many and undoubted beauties, the concerto was too long and rather full of notes. The New York Herald predicted that “it will doubtless take rank among the most interesting piano concertos of recent years” but added the observation—as true today as it was then—that “its great length and extreme difficulties bar it from performances by any but pianists of exceptional technical powers.” Of course Rachmaninoff himself was a pianist of “exceptional technical powers,” among the most utterly gifted of keyboard artists of all time, and he was, in the first instance, writing specifically for himself. Yet he opened the concerto not with a stunning blast of keyboard virtuosity but with a muted muttering in the strings

TANGLEWOOD WEEK 5 SUNDAY PROGRAM NOTES 35 of a subdued march character and then, after two measures, a long, simple melody presented in bare octaves in the piano. Like so many Russian tunes—and so many of Rachmaninoff’s—this one circles round and round through a limited space, only gradually reaching up or down to achieve a new high or low note. Rachmani- noff was often asked whether this was a folk tune, and he always insisted that it was completely original and had simply come into his mind freely while working on the concerto—though musicologist Joseph Yasser has discovered a marked similarity between this theme and an old Russian monastic chant, which the composer might have heard as a boy when, while visiting his grandmother in Novgorod, they made visits to the local monasteries. The theme itself, and its rustling accompaniment, will both play a role in the progress of the movement. A literal restatement of the concerto’s opening bars marks the beginning of the development, which culminates in a gigantic solo cadenza, which takes the place of the normal recapitulation, commenting in extenso on the motivic figures of first the principal theme, then the secondary theme. Following the cadenza, a brief reference to both themes brings the movement to a close. The slow movement, entitled “Intermezzo,” seems to start in a “normal” key, A major (the dominant of D minor), with a brief languishing figure in the strings that gen- erates an elegiac mood in its extensive development. But the piano enters explosively to break the mood and carry us to the decidedly untypical key of D-flat, where Rachmaninoff presents a sumptuous and lavishly harmonized version of the main theme in a texture filled with dense piano chords. A bright contrast comes in a seemingly new theme, presented as a light waltz in 3/8 time, heard in the solo clarinet and bassoon against sparkling figuration in the piano. But Rachmaninoff has

36 a very subtle trick up his sleeve here: the “new” theme is, in fact, note-for-note, the opening theme of the entire concerto, but beginning at a different pitch level of the scale (the third instead of the tonic) and so changed in its rhythm as to conceal the connection almost perfectly. This passage leads back to D-flat and an orchestral restatement of the opening. The soloist “interrupts” the end of the slow movement with a brief cadenza that leads back to the home key of D minor for the finale. This is virtually a ne plus ultra of virtuosic concerto finales, filled with impetuous and dashing themes, rhythmi- cally driving, syncopated, and sunny by turns. An extended Scherzando section in E-flat fills the middle of the movement. This involves acrobatic and lightly spooky variations on a capricious theme which seems new at first but turns out to be related to the opening of the finale and the second theme of the first movement. More- over, between the increasingly ornate miniature variations, Rachmaninoff inserts a reminder of both themes of the first movement. Following the restatement of all the thematic material, the piano builds a long and exciting coda that brings this most brilliant and challenging of concertos to a flashing, glamorous close. STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

Jean Sibelius (1865-1957) Symphony No. 1 in E minor, Opus 39 First performance: April 26, 1899, Helsinki, Sibelius cond. First BSO performance: Jan- uary 4, 1907, Karl Muck cond. First Tanglewood performance: August 6, 1938, Serge Koussevitzky cond. Most recent Tanglewood performance (also the most recent BSO performance): July 29, 1995, Jukka-Pekka Saraste cond. It always comes as a surprise to learn that a composer renowned as a nationalistic hero in his homeland was not a native speaker of the language. Sibelius was born to a Swedish-speaking family in a small town in south central Finland and only began to speak some Finnish from the age of eight. He entered a Finn- ish-language school at eleven, but not until he was a young man did he feel completely at home in the language. Musical studies began with the violin, and soon he aimed at a career as a professional virtuoso. But in 1885, after an abortive attempt at legal studies, he undertook to pursue composition with Martin Wegelius in Helsinki. Further studies in Berlin introduced him to the newest music, including Strauss’s Don Juan at its premiere. He was usually in debt, apparently unable to avoid financial extravagance in the German capital, and already drinking heavily, a habit that remained with him. After his return to Finland in 1891 he composed the choral symphony Kullervo, which was so successful at its premiere in April 1892 that he was immediately established as a leading figure in Finnish music, a position that was never seri- ously challenged thereafter. The following seven years saw the composition of a series of scores for dramatic production, a failed operatic attempt, and—most important—a group of purely orchestral scores, En saga and the four symphonic poems about Lemminkäinen (the most famous of those being The Swan of Tuonela), a character from the Finnish national epic Kalevala. These culminated in his first symphony, composed evidently in part as a musical response to Tchaikovsky’s Pathétique Symphony, which had been performed in Helsinki already in 1894 and again in 1897. By the autumn of

TANGLEWOOD WEEK 5 SUNDAY PROGRAM NOTES 37 1898, Sibelius was totally absorbed in the work at a time of great political tension in Finland and of personal concern as well. A diary entry of September 9 reflects his mood: “Autumn sun and bitter thoughts.... How willingly I would have sacri- ficed some of the financial support I have received if I only had some sympathy and understanding of my art—if someone loved my work. O, you slave of your moods, their plaything....” These feelings may be reflected in the autumnal colors of much of the score, and especially in its lonely opening, a solitary clarinet bravely singing its lament over the chill background thunder of a long roll on the timpani. But although he complained of misunderstanding and lack of sympathy, Sibelius’s art was still rooted in the 19th century. His first work to be heard in Bos- ton was the Second Symphony in 1904, at which time it was received with general incomprehension; but the First offered fewer knotty problems, and once it achieved performance, it was generally accorded favor with audiences both in Finland and elsewhere. Because of Sibelius’s demonstrated interest in the Kalevala, not to mention the passionately dramatic character of much of the music in the symphony, some critics claimed to find a literary program in the music, every theme functioning like a Wagnerian leitmotiv for a character or event. But Sibelius emphatically denied that there was any connection whatever; his symphony (by implication) is a purely abstract musical structure, however characterful its content. The clarinet solo that opens the symphony dies away on a sustained G, the preceding melodic phrase hinting that the piece will be in G minor. But just as the clarinet settles on its last note, the second violins begin a tremulous sextuplet figure consisting of the notes G and B, which thus hint at G major. We are in fact listening to the home key coalesce out of the very ether, the tonic of E minor appearing clearly only after the first violins begin their muscular statement. A contrasting idea built on a pair of hovering alternating notes in a characteristic rhythm leads seamlessly to a fortissimo restatement for full orchestra of the main E minor theme. A bright tremolo in the strings, joined by the harp, brings in the woodwinds with a dancelike transitional idea derived possibly from the opening clarinet line. An extraordinarily long pedal point underlies the material of the second theme, which appears in expressive dialogues between the woodwind instruments over a hushed rumbling in the strings. The exposition ends with a unison pizzicato in the strings, twice repeated. The musical argument of the development further intertwines the

38 musical ideas already heard, but with a tendency to grow progressively more chro- matic. The recapitulation is a condensed intensification of the beginning, ending in darkly muttering strings. The slow movement, a kind of poignant rondo, is often cited as the part of the symphony most strikingly influenced by Tchaikovsky’s Pathétique. Except for a few woodwind interludes, the colors are predominantly dark. The rambunctious third movement has some of the earthiness of Bruckner’s symphonic scherzos, the head- long rhythmic drive of the pizzicato strings at the opening reinforced by the vigor of the timpani and the most important thematic motive in the strings, which has a modal, folklike character. The Trio is a shade slower and altogether more lyrical, even pastoral in feeling, evoking dreams of the countryside driven out by the sudden return of the scherzo. At the beginning of the finale, the strings give out in unison an expansive, passionate version of the hesitating clarinet melody heard at the very opening of the symphony, now harmonized by the brasses. A certain degree of questioning in the woodwinds, eventually answered by the strings, leads into the dramatically charged Allegro theme that runs through the bulk of the movement, except for the striking moments of contrast provided by the wonderful singing theme on the violins’ G-string, bringing a chorale-like dignity into the heart of the activity. The symphony closes with an echo of the pizzicato chords that ended the first movement.

STEVEN LEDBETTER

Guest Artists

Dima Slobodeniouk Principal conductor of the Lahti Symphony Orchestra and artistic director of the orchestra’s international Sibelius Festival since the beginning of the 2016-17 season, Dima Slobodeniouk recently extended his tenure in both positions until summer 2021. He is also music director of the Orquesta Sinfónica de Galicia, a position he has held since 2013. Linking his native Russian roots with his musical studies in Finland, he draws on the powerful musical heritage of both countries. He works with orchestras such as the Berliner Philharmoniker, Gewandhausorchester Leipzig, Symphonieorchester des Bayerischen Rundfunks, London Philharmon- ic, London Symphony Orchestra, Finnish Radio Symphony, and the Chicago, Houston, Baltimore, and Sydney symphony orchestras. Last year in Lahti, he opened the season with the world premiere of Kerkko Koskinen’s Concerto for Two Saxophones. On the London Symphony Orchestra’s stop in Lahti on a recent Nordic tour, Mr. Slobodeniouk earned acclaim substituting for an indisposed Michael Tilson Thomas, conducting a performance of Brahms’s Piano Concerto No. 2 with Yuja Wang and Nielsen’s Symphony No. 5. In Lahti, Slobodeniouk opened the 2018-19 season with music of Canteloube and Beethoven before leading the orchestra on tour to China, including the Shanghai Arts Festival. In Galicia, he launched the season with violinist Patricia Kopatchinskaja and Shostakovich’s Symphony No. 11. Other soloists he works with include Nicolas Altstaedt, Leif Ove Andsnes, Khatia Buniatishvili, Vilde Frang, Vadim Gluzman, Johannes Moser, Baiba Skride, Simon Trpˇceski, Yuja Wang, and Frank Peter Zimmermann. Mr. Slobodeniouk recently augmented his discography with recordings on BIS of works by Stravinsky with violinist Ilya Gringolts and Orquesta Sinfónica de Galicia, and works by Aho with the Lahti Symphony Orchestra, the latter receiving the BBC Music Magazine award in April 2018. He has previously

TANGLEWOOD WEEK 5 GUEST ARTISTS 39 recorded works by Lotta Wennäkoski with the Finnish Radio Symphony for Ondine and works by Sebastian Fagerlund with the Gothenburg Symphony Orchestra on BIS. Moscow-born Dima Slobodeniouk studied violin at the Central Music School under Zinaida Gilels and J. Chugajev, at the Middle Finland Conservatory, and at the Sibelius Academy under Olga Parhomenko. He continued his Sibelius Academy studies with Atso Almila with guidance from Leif Segerstam and Jorma Panula, and he has also studied under Ilya Musin and Esa-Pekka Salonen. Striving to inspire young musicians of the future, Mr. Slobodeniouk has in recent years worked with students at the Verbier Festival Academy and begun a conducting initiative with the Orquesta Sinfónica de Galicia, providing an opportunity for students to work on the podium with a professional orchestra. Dima Slobodeniouk has appeared just once before at Tanglewood, making his Boston Symphony Orchestra debut in August 2018 with a program of Borodin, Wieniawski, and Prokoﬁev.

Yefim Bronfman Internationally recognized as one of today’s most acclaimed and admired pianists, Yefim Bronfman is acknowledged by the press and public alike for his commanding technique, power, and exceptional lyrical gifts. In celebration of the 80th birthday of Yuri Temirkanov, Mr. Bronfman’s 2018-19 season began with a European tour with the St. Petersburg Philharmonic. This was followed by a Scandinavian tour with the Royal Concertgebouw Orchestra and Daniele Gatti. Orchestral concerts in Europe this season included the Orchestre National de France, London Philharmonic Orchestra, WDR Symphony Orchestra, Santa Cecilia Orchestra, Berlin Philharmonic, and Vienna Philharmonic. In the U.S. he returned to the orchestras of Cleveland, New York, Los Angeles, Houston, St. Louis, Cincinnati, San Francisco, and Dallas. He gave recitals in New York at Carnegie Hall, Berkeley, Stanford, Aspen, Madrid, Geneva, Cologne, Leipzig, Munich, Berlin, Naples, and Rome, and in the spring toured with mezzo-soprano Magdalena Kožená. He has given numerous solo recitals in the leading halls of North America, Europe, and the Far East, including acclaimed debuts at Carnegie Hall in 1989 and Avery Fisher Hall in 1993. In 1991 he gave a series of joint recitals with Isaac Stern in Russia, marking Mr. Bronfman’s first public performances there since his emi- gration to Israel at age fifteen. That same year he was awarded the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists. In 2010 he was honored as the recipient of the Jean Gimbel Lane Prize in Piano Performance from Northwestern University. Born in Tashkent in the Soviet Union, Mr. Bronfman moved to Israel with his family in 1973, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at the Juilliard School, Marlboro School of Music, and the Curtis Institute of Music, under Rudolf Firkušný, Leon Fleisher, and Rudolf Serkin; he is a 2015 recipient of an honorary doctorate from the Manhattan School of Music. He became an Ameri- can citizen in July 1989. Yefim Bronfman made his BSO debut at Symphony Hall in January 1989 and his Tanglewood debut in August 1990, returning frequently for performances with the BSO at both locations, encompassing music of Mozart, Proko- fiev, Saint-Saëns, Rachmaninoff, Bartók, Brahms, Beethoven, Liszt, Tchaikovsky, and Widmann. His most recent subscription appearances were in October 2016, as soloist in Jörg Widmann’s Trauermarsch for piano and orchestra. His most recent Tanglewood appearance was in August 2018, as soloist in Beethoven’s Piano Concerto No. 4. This coming Wednesday night, August 7, he plays an all-Beethoven recital in Ozawa Hall.

TANGLEWOOD WEEK 5 GUEST ARTISTS 41 Tanglewood Forever Campaign

Tanglewood Forever, a $64 million donor-funded initiative, will expand Tanglewood’s natural beauty, improve the visitor experience, connect communities, and its future. The Boston Symphony Orchestra extends its deepest gratitude to the many donors who have made a transformative and lasting impact on Tanglewood through their support of the Tanglewood Forever Campaign from 2012-2019.

One Million and above

Cynthia and Oliver Curme • Hermine Drezner and Jan Winkler ‡ • The Gordon Family • Nathan and Marilyn Hayward • Dorothy and Charlie Jenkins • Joyce Linde • Linde Family Foundation • Perles Family Foundation • William and Lia Poorvu • Carol ‡ and Joe Reich • Caroline and James Taylor • Stephen and Dorothy Weber • Samantha and John Williams • Anonymous (2)

$500,000–$999,999

Liliana and Hillel Bachrach • Stewart and Judith Colton • John C. and Chara C. Haas ‡ • Ricki Tigert Helfer and Michael S. Helfer • Estate of Gerry Lesunaitis • Beth and Carmine Martignetti • Massachusetts Cultural Facilities Fund • Cynthia and John S. Reed • Mr. and Mrs. George J. Seibert • Dorothy Dudley Thorndike ‡ and John Lowell Thorndike • Anonymous (1)

$250,000–$499,999

Elana and Robert Baum • Margo Behrakis and George D. Behrakis • Roberta and George ‡ Berry • William E. Briggs and Donald Usher • Bonnie and Terry Burman • Elliott Carter ‡ • Isanne and Sanford Fisher • The Honorable Peter H.B. Frelinghuysen ‡ • Thomas P. Hosmer ‡ • Barbara and Amos Hostetter • Carol and George Jacobstein • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • Ted and Debbie Kelly • Jane B. and Robert J. Mayer, M.D. • Joseph C. McNay/The New England Foundation • The Messinger Family • Claudio and Penny Pincus • The Pryor Family • Family and Friends of Burton ‡ and Suzanne Rubin • Dr. Richard M. Shiff ‡ • Patty Plum Wylde • Marillyn Tufte Zacharis • Thalia ‡ and Nicholas T. Zervas • Anonymous

$100,000–$249,999

Gideon Argov and Alexandra Fuchs • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Susan and Joel Cartun • John F. Cogan, Jr. and Mary L. Cornille • Dr. Charles L. Cooney and Ms. Peggy Reiser • Alan J. and Suzanne W. Dworsky • Alan and Lisa Dynner • Eitan and Malka Evan • Beth and Richard Fentin • Jane and Jack Fitzpatrick ‡ • The Jane and Jack Fitzpatrick Trust • Nancy Fitzpatrick and Lincoln Russell • The Frelinghuysen Foundation • Rabbi Elyse Frishman and Rabbi Daniel Freelander • Marion Gardner-Saxe and Leonard Saxe • Scott and Ellen Hand • Rhoda Herrick, from the Herrick Theatre Foundation • Mrs. Marilyn Brachman Hoffman ‡ • Valerie and Allen Hyman • Margery and Everett Jassy • Leslie and Stephen Jerome • The Rita J. and Stanley H. Kaplan Family Foundation; Nancy and Mark Belsky, Susan B. Kaplan, Scott Kaplan Belsky, Gila Belsky Modell • The Joan Whittle McClane Leftwich Memorial Fund • Cynthia and Robert J. Lepofsky •

42 Nancy and Richard Lubin • Jay and Shirley ‡ Marks • Ann Merriﬁeld and Wayne Davis • Nancy and Jay Nichols • Donald and Laurie Peck • Plimpton-Shattuck Fund • Jonathan and Amy Poorvu • Mary Ann and Bruno A. Quinson • Robert W. Renton ‡ • Ronald and Karen Rettner • Dr. Robin S. Richman and Dr. Bruce S. Auerbach • Carole and Edward I. Rudman • Joan and Michael Salke • Malcolm and BJ Salter • Richard Saltonstall Charitable Foundation • Sunrise Foundation • Ruth McCormick Tankersley Charitable Trust • Douglas Dockery Thomas • Anonymous (3)

$50,000–$99,999

Lois and Harlan Anderson ‡ • Phyllis and Paul Berz • Walter and Hildi Black • Carol and Robert Braun • Jane Braus • The Family of Alan & Lorraine Bressler • The Brooke Family • Drs. Andrea and Brad Buchbinder • Linda Dulye, in honor of Ann Dulye • Harriett M. Eckstein • Thomas and Winifred Faust • Ina and Haskell Gordon ‡ • Charles and Carol Grossman Family Fund • Susie and Stuart Hirshﬁeld • Enid and Charles ‡ Hoffman • Albert A. Holman III and Susan P. Stickells • Jackie and Larry Horn • Stephen and Michele Jackman • Tanny and Courtney Jones • Robert Kleinberg • Shirley and William Lehman • Elizabeth W. and John M. Loder • Carol Parrish and Paul Clark • Lina S. Plantilla, M.D. and Eduardo R. Plantilla, M.D. • Hon. Susan Phillips Read • Thomas and Kim Rufﬁng • Joanne Zervas Sattley • Dan Schrager and Ellen Gaies • Richard and Carol Seltzer • Arlene and Donald Shapiro • Adrienne Silverstein and Family, In memory of Joseph Silverstein • Scott and Robert Singleton • Alex and Patricia Vance • Mark and Martha Volpe • Karen Thomas Wilcox • Brooks and Linda Zug

‡ Deceased List as of June 18, 2019. For more information, please contact Pam Malumphy at 617-638-9271 or [email protected]. Stu Rosner

TANGLEWOOD WEEK 5 TANGLEWOOD FOREVER CAMPAIGN 43 The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2018-2019 season. ‡ This symbol denotes a deceased donor.

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

Society Giving at Tanglewood The following list recognizes gifts of $3,000 or more made since September 1, 2018 to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2018-2019 season. For further information on becoming a Society member, please contact Kara O’Keefe, Associate Director of Individual Giving, Annual Funds, at 617-638-9259.

Koussevitzky Society Founders $100,000 and above

Michael L. Gordon • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Carol ‡ and Joe Reich • Caroline and James Taylor Virtuoso $50,000 to $99,999

Linda J.L. Becker • Bonnie and Terry Burman • R. Martin Chavez • Cynthia and Oliver Curme • Joyce Linde • Nancy and Jay Nichols • Perles Family Foundation • Claudio and Penny Pincus • Mrs. Irene Pollin • Mr. James E. Pollin • Sue Rothenberg ‡ • Carol and Irv Smokler Encore $25,000 to $49,999

Alli and Bill Achtmeyer • Joan and Richard Barovick • Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ginger and George Elvin • Martha and Todd Golub • Ronnie and Jonathan Halpern • Scott and Ellen Hand • Drs. James and Eleanor Herzog • Jackie and Larry Horn • Valerie and Allen Hyman • Henry and Louise Leander • Elizabeth W. and John M. Loder • Jane B. and Robert J. Mayer, M.D. • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Ronald and Karen Rettner • Norma and Jerry Strassler • Linda and Edward Wacks • Stephen and Dorothy Weber • June Wu Benefactor $20,000 to $24,999

Roberta and George ‡ Berry • Sydelle and Lee Blatt • BSO Members’ Association • Joseph and Phyllis ‡ Cohen • Isanne and Sanford Fisher • The Frelinghuysen Foundation • Cora and Ted ‡ Ginsberg • Carol B. Grossman • The Edward Handelman Fund •

44 Carol and George Jacobstein • Leslie and Stephen Jerome • Jay and Shirley ‡ Marks • Mrs. Millard H. Pryor, Jr. • Suzanne and Burton ‡ Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hermine Drezner and Jan ‡ Winkler • Marillyn Tufte Zacharis Patron $10,000 to $19,999

Gideon Argov and Alexandra Fuchs • Norman Atkin MD and Joan Claire Schwartzman in Memory of Shirley Marks • Liliana and Hillel Bachrach • Robert and Elana Baum • Phyllis and Paul Berz • Marlene and Dr. Stuart H. Brager ‡ • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Ranny Cooper and David Smith • Drs. Anna L. and Peter B. Davol • Eitan and Malka Evan • Beth and Richard Fentin • Adaline H. Frelinghuysen • Dr. Fredric C. Friedman and Ms. Cathy Demain Mann • Dr. and Mrs. Levi A. Garraway • Malcom and Linda Griggs • Dr Lynne B Harrison • James and Kristin Hatt • Nathan and Marilyn Hayward • Ricki Tigert Helfer and Michael S. Helfer • Susie and Stuart Hirshﬁeld • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • The Loretta and Michael Kahn Foundation, Inc. • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • The Rita J. and Stanley H. Kaplan Family Foundation; Nancy and Mark Belsky, Susan B. Kaplan, Scott Kaplan Belsky and Gila Belsky Modell • Stephen B. Kay and Lisbeth L. Tarlow • Robert Kleinberg • Toby and Paul Koren • Lizbeth and George Krupp • Norma and Sol D. Kugler • Mr. Dan Kurtz • Shirley and William Lehman • Arlene and Jerome Levine • Arthur and Vicki Loring • Rebecca and Nathan Milikowsky • Robert E. and Eleanor K. Mumford • Jerry and Mary ‡ Nelson • Mr. and Mrs. Gerard O’Halloran • Polly and Dan ‡ Pierce • Andrew and Audrey Proto • Mary Ann and Bruno A. Quinson • Cynthia and John S. Reed • Peggy Reiser and Charles Cooney • Steve and Andrea Ryan • Dr. Beth Sackler and Mr. Jeffrey Cohen • Sagner Family Foundation • Kenan and Andrea Sahin • Malcolm and BJ Salter • Schnesel Family Fund • The Honorable George and Charlotte Shultz • Rita and Harvey Simon • Scott and Robert Singleton • Jerry and Nancy Straus • Roz and Charles Stuzin • Lois and David Swawite • Jean C. Tempel • Linda and Daniel Waintrup • Anonymous (4) Prelude $7,500 to $9,999

Hildi and Walter Black • Brad and Terrie Bloom • Drs. Judith and Martin Bloomﬁeld • Jane Braus • Debby and Scott Butler • Judith and Stewart Colton • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Saul and Barbara Eisenberg • Mrs. Estanne Fawer and Mr. Martin Fawer • Esta and Kenneth Friedman • Thomas M. Fynan and William F. Loutrel • Lonnie and Jeffrey Garber • Marion Gardner-Saxe and Leonard Saxe • Leslie and Johanna Garﬁeld • Dr. Donald and Phoebe Giddon • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Richard Holland and Cathy Birkhahn • Stephen and Michele Jackman • Liz and Alan Jaffe • Jeanne and Richard Jaffe • Martin and Wendy Kaplan • Helaine and Marvin Lender • Geri and Roy Liemer • Janet McKinley • Joan G. Monts • Mr. and Mrs. Michael Monts • Kate and Hans Morris • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Elaine and Bernard Roberts • Barbara and Michael Rosenbaum • Sue Z. Rudd • Joan and Michael Salke • Marcia and Albert Schmier • The John and Zelda Family Foundation In Memory of John Schwebel • JoAnne and Joel Shapiro • Arthur and Mary Ann Siskind • Lauren Spitz • Ken Stark in Memory of Lynn • Dorothy and Gerry Swimmer • Aso O. Tavitian • Roger Tilles • Antoine and Emily van Agtmael • Karen and Jerry Waxberg • Gail and Barry Weiss • Ray Ellen and Allan Yarkin • Carol and Robert Zimmerman Member $5,000 to $7,499

Deborah and Charles Adelman • Michael and Susan Albert • Mr. and Mrs. Stanley A. Applebaum • Stephen Barrow and Janis Manley-Barrow • Timi and Gordon Bates • David Bear and Laurie Hammer Bear • Judith Bergman and Richard Budson •

TANGLEWOOD WEEK 5 SOCIETY GIVING AT TANGLEWOOD 45 Jerome and Henrietta Berko • Carole and Richard Berkowitz • Linda and Tom Bielecki • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Carol and Bob Braun • Judy and Simeon Brinberg • Maggie and Don Buchwald • Mr. and Mrs. Jon E. Budish • Mrs. Laura S. Butterﬁeld • David and Maria Carls • Carol and Randy Collord • Ann Denburg Cummis • Mr. and Mrs. Stephen Davis • Dr. and Mrs. Harold Deutsch • Gigi Douglas ‡ and David Fehr • Chester and Joy Douglass • Alan and Lisa Dynner • Ursula Ehret-Dichter • Dr. T. Donald ‡ and Janet Eisenstein • Mr. and Mrs. Martin H. Elrad • Nancy Edman Feldman and Mike Chefetz • Deborah Fenster-Seliga and Edward Seliga • Laura and Philip Fidler • Patricia and James Fingeroth • Bud and Ellie Frank • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Carolyn and Roger Friedlander • Audrey and Ralph Friedner • Heidi and Austin Frye • Lynne Galler and Hezzy Dattner • Mrs. Athena G. Garivaltis • Drs. Anne and Michael Gershon • Robert ‡ and Stephanie Gittleman • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • Judi Goldsmith • Corinne and Jerry Gorelick • Jud and Roz Gostin • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • The Guttman Family Foundation, in memory of Jerome B. and Albee P. Guttman • David Haas • Beverly and Lyman Hamilton • Joseph K. ‡ and Mary Jane Handler • Barbara Colgan Haynes • Peter and Ann Herbst • Mrs. Barbara Herzberg • Enid and Charles ‡ Hoffman • Mr. Gerald Hornik • Mr. and Mrs. Charles L. Housman • Nancy and Walter Howell • Marty and Judy Isserlis • Lola Jaffe • Ms. Lauren Joy • Adrienne and Alan Kane • Shulamit ‡ and Chaim Katzman • Mr. and Mrs. Bruce Kelly • Patricia Kennelly and Edward Keon • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold ‡ Klebanoff • Phyllis (Patti) and Harvey Klein • Alan Kluger and Amy Dean • Meg and Joseph Koerner • Margaret and Richard Kronenberg • J. Kenneth Kruvant and Cathy Kruvant • Dr. and Mrs. Stephen Kulvin • Marilyn E. Larkin • Cynthia and Robert J. Lepofsky • Mrs. Toby H. Levine • Ira Levy, Lana Masor and Juliette Freedman • Anthony and Alice Limina • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Dr. Nancy Long and Marc Waldor • Diane H. Lupean • Paula Lustbader • Mr. and Mrs. Tod MacKenzie • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Wilma and Norman Michaels • Teresa and Martin Monas • Mr. and Mrs. Raymond F. Murphy, Jr. • Richard Novik and Eugenia Zukerman • John and Mary Ellen O’Connor • Arnold and Ellen Offner • Mr. and Mrs. Stephen M. Oristaglio • Peter Palandjian and Eliza Dushku-Palandjian/Intercontinental Real Estate Corporation • Donald and Laurie Peck • Ms. Claudia K. Perles • Lee Perlman and Linda Riefberg • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Ellen and Mickey Rabina • Mr. Jonathan Resnick • Mr. and Mrs. Albert P. Richman • Dr. Robin S. Richman and Dr. Bruce Auerbach • Bette Sue and Lawrence Rosenthal • Edie and Stan Ross • Selma Rothstein • Milton B. Rubin • Larry and Pat Rutkowski • Elisabeth Sapery and Rosita Sarnoff • Dr. and Mrs. James Satovsky • Bob and Silvia Schechter • Sari Scheer and Sam Kopel • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • David and Rosalie Schottenfeld • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Marvin and Carol Schwartzbard • Carol and Richard Seltzer • Lois and Leonard Sharzer • The Shields Family • Susan and Judd Shoval • The Silman Family • Marion A. Simon • Mr. and Mrs. Stanley Singer • Mr. Peter Spiegelman and Ms. Alice Wang • Lynn ‡ and Lewis Stein • Suzanne and Robert Steinberg • Noreene Storrie and Wesley McCain • Ms. Pat Strawgate • Mr. and Mrs. Patrick J. Sullivan • Ingrid and Richard Taylor • Mr. and Mrs. Steven A. Tobin • Jacqueline and Albert Togut • Bob Tokarczyk • Diana O. Tottenham • Barbara and Gene Trainor • Kevin Truex and Francis Burnes • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • Alex and Patricia Vance • Marilyn and Ron Walter • Ms. Gayllis R. Ward and Mr. James B. Clemence • Ron and Vicki Weiner • Betty and Ed Weisberger • Mr. Robert W. Werner and Ms. Suzanne H. Werner • Carol Andrea Whitcomb • Carole White • The Wittels Family • Sally and Steve Wittenberg • Susan Ellen Wolf • The Jessie and Bernard Wolfson Family Foundation • Ms. Erika Z. Goldberg and Dr. Stephen Kurland • Richard M. Ziter, M.D. • Ms. Gail Zunz and Dr. Sharyn J. Zunz • Anonymous (3)

46 Bernstein Society $3,000 to $4,999

Ms. Jean F. Adelson • Mrs. Ruth Alexander • Arthur Appelstein and Lorraine Becker • Mr. and Mrs. Stephen N. Ashman • David and Susan Auerbach • Mr. Benny Barak and Dr. Barbara Baum Barak • Ms. Shirley B. Barnes • Mr. ‡ and Mrs. Derek J. Benham • Cindy and David Berger • Helene Berger • John Bergman • Richard Bernstein and Janice Abbott • Birgit and Charles Blyth • Ms. Morene Bodner and Mr. David P. Carlisle • Jim and Linda Brandi • Elaine and Charlie Brenner • William E. Briggs • Richard and Diane Brown • Sandra L. Brown • Rhea and Allan Bufferd • James and Debbi Buslik • Patricia Callahan • Mr. and Mrs. Larry Carsman • Mr. Edward Chazen and Ms. Barbara Gross • Margaret and Bertram Chinn • Dr. Frank Clark and Dr. Lynn Delisi • Lewis F. Clark, Jr. • Malcolm and Ann Cole • Linda Benedict Colvin, in loving memory of her parents, Phyllis and Paul Benedict • Deborah and Gary Crakes • Brenda and Jerome Deener • Arthur and Isadora Dellheim • Mr. and Mrs. Matthew Deres • Margaret Deutsch • Mr. Ritchie Dion • Emilie and Clark Downs • Terry and Mel Drucker • In memory of Ann Dulye from Linda Dulye • Mr. and Mrs. Leonard Edelson • Adele and Bruce Fader • Dr. and Mrs. Gerald D. Falk • Marcia and Jonathan Feuer • Nancy and Peter Finn • Steve and Renee Finn • Elizabeth Fontaine • John and Alice Frazier • Carolynn and Michael Friedman • Jill and Harold Gafﬁn • John and Ann Galt • George and Barbara Gellert • Drs. Ellen Gendler and James Salik in memory of Dr. Paul and Rochelle Gendler • Ann Ghublikian and Margaret Sutherland • Mr. and Mrs. James W. Giddens • David and Marita Glodt • Joe and Perry Goldsmith • Paul Gompers and Jody Dushay • Hon. José A. Gonzalez, Jr. and Mary Copeland • Rhonna and Ezra Goodman • Mr. and Mrs. Thomas Graham • Jody and Martin Grass • Patricia and Louis Grossman • Michael and Muriel Grunstein • Dr. and Mrs. Melvin Hanzel • Mr. and Mrs. Hans Homburger • James ‡ and Joan Horwitz • Richard and Marianne Jaffe • Denise Gelfand and Peter Dubin • Miriam and Gene Josephs • Barbara and Gerry Katz • Mr. and Mrs. Ezra Katz • Hans Knapp • Richard and Amy Kohan • Mr. Robert L. Kuttner and Ms. Joan Fitzgerald • Cary and Beth Lakenbach • Jay and Cheryl Lawrence • Mr. Arthur J. Levey and Ms. Rocio Gell • Jeremy Levine • Thomas and Adrienne Linnell • Benjamin and Sharon Liptzin • Dr. and Mrs. Richard E. Litt • David Lloyd and Meg Mortimer • Luria Family • Jb and Evan Mallah • Jackie and Dr. Malcolm Mazow • Mr. and Mrs. Charles H. McGill III • Terence McInerney • Profs. Gary and Robin Melton • Soo Sung and Robert Merli • Steven and Michele Mestman • Judy and Richard J. Miller • Michael and Annette Miller • Mrs. Loraine B. Millman • Dr. Ronald and Merri Millman • Linda and Stuart Nelson • Rosalie and I. MacArthur Nickles • Ms. Cynthia Noe and Mr. Charles Grice • Ms. Nancy O’Malley and Mr. Jon Reinhardt • Dr. William S. Packard and Dr. Charles L. Ihlenfeld • Mr. Gerald W. and Mrs. Alice Padwe • Mr. Kenneth Patterson • Ms. Marie Pindus • Letty Cottin Pogrebin and Bert Pogrebin • Sumit Rajpal and Deepali Desai • Robert and Ruth Remis • Burton and Marjorie Resnic • Ms. Pamela Reznick • Dr. and Mrs. Jeffrey S. Ross • Barbara Rubin • Thomas and Kim Rufﬁng • Joanne Zervas Sattley • Mr. and Mrs. Michael Scheck • Dan Schrager and Ellen Gaies • Heidi and Robert Schwartz • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Theodore and Barbara Shiffman • Linda and Marc Silver, in loving memory of Marion, Sidney and Daniel Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Anne Smith and John Goodhue • Tracey and Elliott Stein • Shirley and Al Steiner • Milton Steren • The Barrington Foundation. Inc. • Jodi and Paul Tartell • John Lowell Thorndike • Mr. and Mrs. Jack Tobin • Mr. Donald J. Toumey • Jonathan and Shari Turell • Donald Usher and William E. Briggs • Kae and Ben Wallace • William Wallace • Mr. and Mrs. Melvin A. Warshaw • Peter and Pat Weber • Dr. and Mrs. Jerry Weiss • Fred and June Wertlieb • Ms. Nancy Whitson-Rubin • Elisabeth and Robert ‡ Wilmers • Mr. Robert R. and Mrs. Sharyn B. Wilson • Lynn Carlson and Prescott Winter • Dr. Thomas and Barbara Wright • Cheryl and Michael Zaccaro • Anonymous

TANGLEWOOD WEEK 5 SOCIETY GIVING AT TANGLEWOOD 47 From the 1937 program book for the Boston Symphony Orchestra’s ﬁrst Tanglewood concerts: a page about the Tanglewood estate, and the gift of the estate to the BSO as a permanent home for what was then called the Berkshire Symphonic Festival (BSO Archives) C+I 2019 studs.indd 17 8/29/19 12:17 PM C+I 2019 studs.indd 18 8/29/19 12:17 PM Trust aving that sense of security— Hand the knowledge your investment advisor understands your financial situation—is invaluable. Discover the qualities that can help provide some certainty in these uncertain times. Have a conversation with our managing director, Gary Schiff, and the team at October Mountain Financial Advisors. 103 West Park Street Lee, MA 01238 Tel: 413-243-4331 FAX: 413-243-0499 octobermountainfa.com St. Germain Investment Management operates as October Mountain Financial Advisors in the Berkshires.

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C+I 2019 studs.indd 21 8/29/19 12:17 PM BSO, TMC, and TLI at Tanglewood

For detailed program and ticket information about BSO and Tanglewood Music Center (TMC) concerts, please visit tanglewood.org. For detailed program and ticket information about the Tanglewood Learning Institute, please visit TLI.org. Brochures with complete programs and ticket information are available at the Welcome Center by the Main Gate, at the Visitor Center in the Tappan Manor House, and at the Linde Center for Music and Learning.

Friday, July 5, 6pm, Ozawa Hall Tuesday, July 9, 8pm, Ozawa Hall Prelude Concert—MEMBERS OF THE BSO TLI—FULL TILT Music of Mozart, Jongen, and Françaix MEOW MEOW—“Pandemonium”

Friday, July 5, 8pm, Shed Wednesday, July 10, 8pm, Ozawa Hall BSO—ANDRIS NELSONS, conductor HILARY HAHN, violin EMANUEL AX, piano All- J.S. Bach program Music of Mozart and Mahler Thursday, July 11, 8pm, Ozawa Hall Saturday, July 6, 10:30am, Shed VENICE BAROQUE ORCHESTRA Rehearsal (Pre-Rehearsal Talk, 9:30am) AVI AVITAL, mandolin BSO program of Saturday, July 6 Music of Geminiani, Vivaldi, Albinoni, and Paisiello Saturday, July 6, 5pm, Ozawa Hall TLI—THE BIG IDEA Friday, July 12, 6pm, Ozawa Hall MADELEINE K. ALBRIGHT Prelude Concert—MEMBERS OF THE BSO Music of Cage, Ninfea Cruttwell-Reade, Steve Saturday, July 6, 6:15pm, Linde Center Reich, and Steven Snowden TMC Prelude Concert—TMC FELLOWS Music of Previn, Marc Neikrug, and John Friday, July 12, 8pm, Shed Harbison BSO—ANDRIS NELSONS, conductor JAN LISIECKI, piano Saturday, July 6, 8pm, Shed THOMAS ROLFS, trumpet BSO—ANDRIS NELSONS, conductor ROBERT SHEENA, English horn ANNE-SOPHIE MUTTER, violin Music of Copland and Grieg Music of Joan Tower, Previn, and Dvoˇrák Saturday, July 13, 10:30am, Shed Sunday, July 7, 10am, Ozawa Hall Rehearsal (Pre-Rehearsal Talk, 9:30am) TMC Chamber Music Concert BSO program of Sunday, July 14 Music of Sarah Gibson (world premiere; TMC commission), Debussy, Jack Frerer, Saturday, July 13, 6:15pm, Linde Center Katherine Balch (world premiere; TMC TMC Prelude Concert—TMC FELLOWS commission), and Mozart Music of Stravinsky, Röntgen, and Clara Schumann Sunday, July 7, 2:30pm, Shed BOSTON POPS ORCHESTRA—JOHN Saturday, July 13, 8pm, Shed WILLIAMS and DAVID NEWMAN, BSO—ANDRIS NELSONS, conductor conductors KRISTINE OPOLAIS, OKSANA VOLKOVA, ANNE-SOPHIE MUTTER, violin JONATHAN TETELMAN, and RYAN SPEEDO “Across the Stars: Music of John Williams” GREEN, vocal soloists TANGLEWOOD FESTIVAL CHORUS Monday, July 8, 8pm, Ozawa Hall Verdi’s Requiem TMC ORCHESTRA—ANDRIS NELSONS and CONDUCTING FELLOWS, conductors Sunday, July 14, 10am, Ozawa Hall THOMAS ROLFS, trumpet TMC CHAMBER MUSIC CONCERT Music of Berlioz, Tchaikovsky, and Music of Andrew Haig, Dvoˇrák, Joan Tower, Shostakovich, and Detlev Glanert’s and Shostakovich Concerto for Trumpet and Orchestra (world premiere; TMC commission) The Berkshires’ Iconic Resort & Estate The Champagne Salon by Dom Perignon First of its kind in the US, open year round The Conservatory Seasonal and elegant four-course tasting menu The Bistro Seasonally local cuisine for breakfast, lunch and dinner

Visit Blantyre.com or call 413.637.3556 Sunday, July 14, 2:30pm, Shed Sunday, July 21, 10am, Ozawa Hall BSO—ANDRIS NELSONS, conductor TMC CHAMBER MUSIC CONCERT HÅKAN HARDENBERGER, trumpet Music of Shapero, Crumb, Sid Richardson, Music of Beethoven, HK Gruber, and Strauss Penderecki, and Lukas Foss

Monday, July 15, 8pm, Ozawa Hall Sunday, July 21, 2:30pm, Shed TMC ORCHESTRA—STEFAN ASBURY and BSO—ANDRIS NELSONS, conductor CONDUCTING FELLOWS, conductors JEAN-YVES THIBAUDET, piano Music of Respighi, Helen Grime (world Music of Gershwin and Stravinsky premiere; TMC commission), and Tchaikovsky Sunday, July 21, 8pm, Ozawa Hall Tuesday, July 16, 8pm, Ozawa Hall TMC VOCAL CONCERT MILOŠ, classical guitar Music of Ginastera and Ravel Music of J.S. Bach, Granados, Albéniz, Villa-Lobos, Lennon/McCartney, Harrison, Tuesday, July 23—Tanglewood on Parade and Mathias Duplessy Grounds open at 2pm for music and activities throughout the afternoon, including Tangle- Wednesday, July 17, 8pm, Ozawa Hall wood Music Center and Boston University GAUTIER CAPUÇON, cello Tanglewood Institute performances. JEAN-YVES THIBAUDET, piano Gala concert, 8pm, Shed Music of Schumann, Brahms, Sibelius, and BSO, BOSTON POPS ORCHESTRA, and Shostakovich TMC ORCHESTRA Thursday, July 18, 8pm, Linde Center ANDRIS NELSONS, KEITH LOCKHART, JOHN WILLIAMS, THOMAS WILKINS, and TMC VOCAL CONCERT JAMES BURTON, conductors Music of Hemsi, Chaminade, Falla, and Ives Music from Wagner’s Die Walküre; James Friday, July 19–Sunday, July 21 Burton’s The Lost Words, for children’s choir and orchestra (world premiere; BSO TLI—O’KEEFFE WEEKEND co-commission); Respighi’s Fountains of Rome; Friday, July 19, 6pm, Ozawa Hall Tchaikovsky’s 1812 Overture, and more Prelude Concert—MEMBERS OF THE BSO Fireworks to follow the concert Music of Poulenc, Saint-Saëns, Massenet, and Ravel Wednesday, July 24, 8pm, Ozawa Hall RENÉE FLEMING, soprano Friday, July 19, 8pm, Shed EMERSON STRING QUARTET BSO—ANDRIS NELSONS, conductor SIMONE DINNERSTEIN, piano GAUTIER CAPUÇON, cello Music for string quartet by Walker, Richard Music of Betsy Jolas, Saint-Saëns, Debussy, Wernick, and Barber, and Penelope, for and Ravel soprano, string quartet, and piano, by André Previn and Tom Stoppard (world premiere; Saturday, July 20, 10:30am, Shed BSO co-commission) Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, July 21 Thursday, July 25, 8pm, Ozawa Hall STEFAN JACKIW, violin Saturday, July 20, 6:15pm, Linde Center JEREMY DENK, piano TMC Prelude Concert—TMC FELLOWS HUDSON SHAD, vocal quartet Music of Britten and Brahms All-Ives program including Violin Sonatas Nos. 1-4 plus hymns, patriotic songs, and Saturday, July 20, 8pm, Shed marches that inspired the sonatas BSO—ANDRIS NELSONS, conductor RENÉE FLEMING and ROD GILFREY, Friday, July 26–Sunday, July 28 vocal soloists TLI—WAGNER WEEKEND WENDALL HARRINGTON, video artist Friday, July 26, 6pm, Ozawa Hall Music of Elgar and Kevin Puts’s The Brightness of Light (world premiere; BSO co-commission) Prelude Concert—MEMBERS OF THE BSO Music of J.S. Bach Friday, July 26, 8pm, Shed Sunday, July 28, 10am, Ozawa Hall BSO—ANDRIS NELSONS, conductor TMC CHAMBER MUSIC CONCERT PAUL LEWIS, piano Music of Wagner, Ari Sussman, Berg, and TANGLEWOOD FESTIVAL CHORUS Schoeck Music of Shostakovich, Mozart, and Ravel Sunday, July 28, 2:30pm (Act II) and Saturday, July 27, 10am, Ozawa Hall 6:30pm (Act III) BSO—THOMAS WILKINS, conductor TMC ORCHESTRA—ANDRIS NELSONS, COLEEN HOLMES, narrator conductor BSO Family Concert, to include Prokofiev’s AMBER WAGNER (Sieglinde), CHRISTINE Peter and the Wolf GOERKE (Brünnhilde), STEPHANIE BLYTHE (Fricka), SIMON O’NEILL Saturday, July 27, 10:30am (Siegmund), JAMES RUTHERFORD (Wotan), Rehearsal (Pre-Rehearsal Talk, 9:30am) and FRANZ-JOSEF SELIG (Hunding), vocal TMC Orchestra program of Sunday, July 28 soloists JESSICA FASELT, EVE GIGLIOTTI, WENDY Saturday, July 27, 5pm, Ozawa Hall BRYN HARMER, KELLY CAE HOGAN, TLI—THE BIG IDEA DANA BETH MILLER, RONNITA MILLER, DORIS KEARNS GOODWIN MARY PHILIPS, and RENÉE TATUM (Valkyries), vocal soloists Saturday, July 27, 6:15pm, Linde Center Wagner’s Die Walküre, Act II (2:30pm) and TMC VOCAL PRELUDE CONCERT Act III (6:30pm) To include Wagner’s Wesendonck-Lieder (Concert performances sung in German with English supertitles) Saturday, July 27, 8pm, Shed Single ticket provides admission to both concerts. TMC ORCHESTRA—ANDRIS NELSONS, conductor Tuesday, July 30, 8pm, Ozawa Hall AMBER WAGNER (Sieglinde), SIMON PAUL LEWIS, piano O’NEILL (Siegmund), and FRANZ-JOSEF Music of Haydn, Brahms, and Beethoven SELIG (Hunding), vocal soloists Wagner’s Die Walküre, Act I Wednesday, July 31, 8pm, Ozawa Hall (Concert performance sung in German with THOMAS HAMPSON, baritone English supertitles) LARA DOWNES, piano THE BEYOND LIBERTY PLAYERS “Song of America: Beyond Liberty”

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) Thursday, August 1, 8pm, Ozawa Hall Wednesday, August 7, 8pm, Ozawa Hall NATIONAL YOUTH ORCHESTRA OF YEFIM BRONFMAN, piano THE UNITED STATES OF AMERICA All-Beethoven program SIR ANTONIO PAPPANO, conductor ISABEL LEONARD, mezzo-soprano Thursday, August 8–Monday, August 12 Music of Benjamin Beckman (world FESTIVAL OF CONTEMPORARY MUSIC premiere), Berlioz, and Strauss TLI FESTIVAL OF CONTEMPORARY MUSIC WEEKEND Friday, August 2, 6pm, Ozawa Hall August 8, 8pm, Ozawa Hall: TMC ORCHESTRA Prelude Concert—MEMBERS OF THE BSO AND VOCAL FELLOWS, THOMAS ADÈS, Music of Hindemith, Price, and Shostakovich conductor August 9, 2:30pm, Linde Center: TMC Friday, August 2, 8pm, Shed CHAMBER MUSIC CONCERT The Serge and Olga Koussevitzky Memorial August 10, 6:15pm, Linde Center (TMC Prelude Concert Concert): TMC FELLOWS and NEW FROMM BSO—KEN-DAVID MASUR, conductor PLAYERS JOSHUA BELL, violin August 11, 10am, Ozawa Hall: TMC CHAMBER Music of Martin and Dvoˇrák MUSIC CONCERT August 11, 5pm, Linde Center: SILENT FILMS Saturday, August 3, 10:30am, Shed WITH NEW SCORES BY TMC Rehearsal (Pre-Rehearsal Talk, 9:30am) COMPOSITION FELLOWS BSO program of Sunday, August 4 August 12, 6pm, Ozawa Hall (Prelude Concert): Saturday, August 3, 6:15pm, Linde Center PIANO WORKS OF KNUSSEN AND OTHERS TMC Prelude Concert—TMC FELLOWS August 12, 8pm, Ozawa Hall: TMC Music of Tomasi, George Lewis, and Fauré ORCHESTRA, THOMAS ADÈS, conductor

Saturday, August 3, 8pm, Shed Friday, August 9, 6pm, Shed BSO—ASHER FISCH, conductor Prelude Concert—MEMBERS OF THE BSO PINCHAS ZUKERMAN, violin ROGER VIGNOLES, piano AMANDA FORSYTH, cello Music of Britten and Fauré Music of Schumann, Avner Dorman, Friday, August 9, 8pm Beethoven, and Mendelssohn BSO—LEONIDAS KAVAKOS, conductor Sunday, August 4, 10am, Ozawa Hall and violin TMC CHAMBER MUSIC CONCERT Music of Beethoven and Dvoˇrák Music of Copland, Harriet Steinke, Beethoven, Saturday, August 10, 10:30am, Shed and Weinberg Rehearsal (Pre-Rehearsal Talk, 9:30am) Sunday, August 4, 2:30pm, Shed BSO program of Sunday, August 11 BSO—DIMA SLOBODENIOUK, conductor Saturday, August 10, 8pm, Shed YEFIM BRONFMAN, piano Music of Rachmaninoff and Sibelius BSO—RAFAEL PAYARE, conductor NIKOLAI LUGANSKY, piano Sunday, August 4, 7pm, Linde Center Music of Carreño, Rachmaninoff, and Brahms TLI—CINEMATICS/FULL TILT Sunday, August 11, 2:30pm, Shed TMC VOCAL FELLOWS Selections from John Cage’s Song Books BSO—THOMAS ADÈS, conductor INON BARNATAN, piano Monday, August 5, 8pm, Ozawa Hall Music of Ives and Beethoven TMC CHAMBER ORCHESTRA Sunday, August 11, 7:30pm, Shed TMC VOCAL AND CONDUCTING FELLOWS Music of Haydn, Eisler, and Tchaikovsky YO-YO MA, cello J.S. Bach’s Suites for Solo Cello Tuesday, August 6, 8pm, Ozawa Hall Tuesday, August 13, 8pm, Ozawa Hall EMANUEL AX, piano LEONIDAS KAVAKOS, violin LEONIDAS KAVAKOS, violin YO-YO MA, cello EMANUEL AX, piano A program of Beethoven piano trios A program of Beethoven violin sonatas

Wednesday, August 14, 8pm, Linde Center Sunday, August 18, 8pm, Ozawa Hall TMC VOCAL CONCERT TMC ORCHESTRA—GIANCARLO Music of Wolf, Elizabeth Vercoe, Hahn, GUERRERO, conductor Massenet, and Debussy TMC CONDUCTING AND VOCAL FELLOWS Thursday, August 15, 8pm, Ozawa Hall Music of Sibelius, Hindemith, and Mahler THE KNIGHTS ERIC JACOBSEN, conductor Friday, August 23–Sunday, August 25 GIL SHAHAM, violin TLI—FILM WEEKEND Music of Ligeti, Brahms, György Kurtág, and Kodály Friday, August 23, 6pm, Ozawa Hall Prelude Concert—TANGLEWOOD FESTIVAL Friday, August 16, 6pm, Shed CHORUS Prelude Concert—MEMBERS OF THE BSO JAMES BURTON, conductor KIRILL GERSTEIN, piano Friday, August 23, 8pm, Shed Music of Dohnányi and Brahms BSO—YU-AN CHANG, conductor Friday, August 16, 8pm INGRID FLITER, piano BOSTON POPS ORCHESTRA—KEITH Music of Mendelssohn, Ravel, and Schuber LOCKHART, conductor “Star Wars: A New Hope” Saturday, August 24, 10:30am, Shed Film with live orchestral accompaniment Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 24 Saturday, August 17, 10:30am, Shed Rehearsal (Pre-Rehearsal Talk, 9:30am) Saturday, August 24, 5pm, Ozawa Hall BSO program of Sunday, August 18 TLI—THE BIG IDEA DANIEL SHAPIRO Saturday, August 17, 2:30pm, Linde Center WORKS BY TMC COMPOSITION FELLOWS Saturday, August 24, 8pm, Shed BOSTON POPS Saturday, August 17, 6:15pm, Linde Center JOHN WILLIAMS’ FILM NIGHT TMC Prelude Concert—TMC FELLOWS DAVID NEWMAN, conductor Music of Ravel and Brahms JOHN WILLIAMS, host

Saturday, August 17, 8pm, Shed Sunday, August 25, 2:30pm, Shed BSO—FRANÇOIS-XAVIER ROTH, conductor BSO—GIANCARLO GUERRERO, conductor KIRILL GERSTEIN, piano NICOLE CABELL, J’NAI BRIDGES, Music of Brahms and Schumann NICHOLAS PHAN, and MORRIS ROBINSON, vocal soloists Sunday, August 18, 10am, Ozawa Hall TANGLEWOOD FESTIVAL CHORUS TMC CHAMBER MUSIC CONCERT Music of Schoenberg and Beethoven Music of Mendelssohn, Osvaldo Golijov, Lara Poe, Fred Lerdahl, and Brahms

Sunday, August 18, 2:30pm, Shed BSO—FRANÇOIS-XAVIER ROTH, conductor YO-YO MA, cello MEMBERS OF THE BSO HORN SECTION Music of Schumann and Brahms

Programs and artists subject to change.

Boston University Tanglewood Institute Boston University Tanglewood Institute (BUTI) is recognized internationally as a premier summer training program for advanced young musicians ages 10–20, and is the only program of its kind associated with a major university and one of the world’s great symphony orchestras. BUTI’s intensive and innovative programs, distinguished faculty, and the opportunities afforded through its unique affiliation with the Boston Symphony Orchestra and Tanglewood Music Center have combined to give it a celebrated and distinctive reputation among its peers. Founded in 1966, BUTI resulted from the vision of Erich Leinsdorf, then music director of the BSO, who invited Boston University College of Fine Arts to create a summer program that would complement the existing offerings of the BSO’s Tanglewood Music Center. More than fifty years later, BUTI continues to build upon its legacy of excellence, annually offering a transformative experience to more than 400 young instrumentalists, composers, and singers from across the country and around the world. BUTI alumni contribute to today’s musical world as prominent performers and conductors, composers and educators, and administrators, supporters, and audience members. Currently, fifteen members of the BSO are BUTI alumni. (photo by Stratton McCrady) Each summer, BUTI presents more than 100 performances throughout the Berkshires, including six concerts in Seiji Ozawa Hall. All events are free and open to the public unless otherwise noted. For more information about BUTI, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, call 617.353.3386, or visit us online at bu.edu/tanglewood.

2019 BUTI Concert Series in Ozawa Hall

YOUNG ARTISTS ORCHESTRA*: Saturday, July 13, 1:30pm. Bruce Kiesling conducts Bates’ (BUTI’94) Desert Transport, Britten’s Sinfonia da Requiem, and Mussorgsky’s Pictures at an Exhibition. Saturday, July 27, 1:30pm. Miguel Harth- Bedoya conducts Mazzoli’s (BUTI ’98) River Rouge Transfiguration, Brahms’ Symphony No. 2, and Ginastera’s Harp Concerto, Op. 25, with Ann Hobson Pilot, harp; Gerald Elias conducts Vivaldi’s Concerto alla rustica and Telemann’s Concerto polonois. Saturday, August 10, 1:30pm. Paul Haas conducts Haas’ (BUTI ’87,’88) …in spiralis…, Dukas’ The Sorcerer’s Apprentice, and Mahler’s Symphony No. 1.

YOUNG ARTISTS WIND ENSEMBLE: Sunday, July 14, 7pm. David Martins conducts works by Gandolfi, Gillingham, Gregson, and Ticheli. Sunday, July 28, 2:30pm. H. Robert Reynolds conducts works by Gould, Grainger, Grantham, Marquez, and Gershwin’s Rhapsody in Blue, with Thomas Weaver (BUTI ’08), piano.

YOUNG ARTISTS CHORUS: Saturday, August 3, 1:30pm. Katie Woolf conducts Orff’s Carmina burana.

* Young Artists Orchestra tickets are available for $13 each and available at bso.org. For complete concert series, ticket, and venue information, visit bu.edu/tanglewood. BUTI’s 2019 Summer Concert Series is generously sponsored by M&T Bank. Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2019 season. Underlined Boldface denotes Koussevitzky Society support of $5,000 or more; boldface denotes Bernstein Society support of $3,000-$4,999 or more, and italics denote Highwood Club support of $1,500-$2,999. For information about how to join Tanglewood Business Partners, please contact Laurence Oberwager at 413-717-1513 or [email protected]. We hope you will support our members by patronizing them!

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Administration

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

Administrative Staff/Artistic

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

Administrative Staff/Production

Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Personnel Administrator • Emilio Gonzalez, TLI Program Manager • Tuaha Khan, Assistant Stage Manager • Pat Meloveck, Stage Technician • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer • Christopher Thibdeau, Management Ofﬁce Administrator • Joel Watts, Assistant Audio and Recording Engineer

Boston Pops

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

Business Office

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

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

Development

Nina Jung Gasparrini, Director of Donor and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research, Information Systems, and Analytics Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Associate Director of Development Analytics and Strategic Planning • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Stephanie Cerniauskas, Executive Assistant • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Allison Cooley, Major Gifts Officer • Gina Crotty, Individual Giving Coordinator • Kelsey Devlin, Donor Ticketing Associate • Emily Diaz, Assistant Manager, Gift Processing • Chris Fiecoat, Assistant Director of Donor Relations • Emily Fritz-Endres, Assistant Director of Board Administration • Joshua Hahn, Assistant Manager of Individual Giving, Annual Funds • Barbara Hanson, Senior Major Gifts Officer • Michelle Houle, Donor Acknowledgment and Research Coordinator • Rachel Ice, Individual Giving Coordinator • James Jackson, Associate Director, Telephone Outreach • Heather Laplante, Assistant Director of Development Information Systems • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Associate Director of Individual Giving, Annual Funds • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Jana Peretti, Assistant Director of Development Research • Johanna Pittman, Grant Writer • Laura Sancken, Board Engagement Officer • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer

Education and Community Engagement

Jenna Goodearl, Program Director, Youth and Family Initiatives • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Program Director, Community Partnerships and Projects • Sarah Saenz, Manager of Education and Community Engagement

Event Services Kyle Ronayne, Director of Events Administration James Gribaudo, Function Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant

Facilities Robert Barnes, Director of Facilities SYMPHONY HALL OPERATIONS Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk MAINTENANCE SERVICES Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garﬁeld Cunningham, Custodian • Bernita Denny, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Tanglewood Grounds Manager • Peter Socha, Tanglewood Facilities Manager • Ross Jolly, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Bruce Huber, Assistant Carpenter/Roofer • Ronald Paul, Plumber/HVAC Technician • Dale Romeo, Electrician

Human Resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter • Rob Williams, Human Resources Generalist

Information Technology Timothy James, Director of Information Technology James Beaulieu, IT Services Team Leader • Andrew Cordero, IT Services Analyst • Ana Costagliola, Senior Database Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, IT Services Analyst

Public Relations

Emily Cotten, Junior Publicist • Matthew Erikson, Senior Publicist • Linda Matchan, Senior Publicist

Publications Marc Mandel, Director of Program Publications James T. Connolly, Program Publications Coordinator and Pops Program Editor • Robert Kirzinger, Associate Director of Program Publications

Sales, Subscriptions, and Marketing

Gretchen Borzi, Director of Marketing Programs and Group Sales • Allison Fippinger, Interim Director of Digital Strategy • Roberta Kennedy, Director of Retail Operations • Michael Miller, Director of Ticketing and Customer Experience Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Ofﬁcer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Tammy Lynch, Front of House Director • Michael Moore, Manager of Digital Marketing and Analytics • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Director of Creative Services • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales and Marketing Associate • Eugene Ware, Associate Marketing Manager • Andrew Wilds, SymphonyCharge Representative • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing

Box Office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Shawn Mahoney, Box Office Representative • Evan Xenakis, Box Office Administrator

Tanglewood Music Center

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

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • Eileen Doot, Business Office Manager • Nicholas Duffin, Visitor Center Manager • Christopher Holmes, Public Safety Supervisor • Tammy Lynch, Tanglewood Front of House Director • Peter Nabut, TLI Production Manager • Rebecca Patterson, Tanglewood Business Partners Assistant • Peggy and John Roethel, Seranak Managers FAVORITE RESTAURANTS OF THE BERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. Boston Symphony Association of Volunteers

Executive Committee Chair, Jerry Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper

Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman

Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Susan Price

Liaisons, Tanglewood Glass House Gift Shops, Adele Cukor • Ushers, Carolyn Ivory Tanglewood Project Leads 2019 Brochure Distribution, Mark Beiderman • Exhibit Docents, Joan Buccino and Bonnie Desrosiers • Greeters, Monica Sinclair • Guide’s Guide, Audley H. Fuller and Renee Voltmann† • Information Table, Jane and Howard Jacobs • Newsletter, Nancy Finn • Off-Season Educational Resources, Susan Geller and Alba Passerini • Seranak Flowers, Sandra Josel • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Families, Ruth Markovits and Phyllis Pollack • Tanglewood Host Program, Rita Yohalem • TMC Lunch Program, Carlos and Susan Murawczyk and Ellen and Len Tabs • Tour Guides, Howie Arkans and Steve Mestman • Volunteer Applications, Judy Levin • Welcome Center, Gail Harris and Anne Hershman • Young Ambassadors, William Ballen and Carole Siegel

† Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall Home, Studio & Gardens of Daniel Chester French, sculptor of the Lincoln Memorial Stockbridge, MA | Chesterwood.org | Open Daily

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