Table of Contents | Week 21

7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 18 a brief history of the bso 20 this week’s program

Notes on the Program

23 The Program in Brief… 25 Mahler Symphony No. 3 39 To Read and Hear More…

Guest Artists

43 Daniele Gatti 45 Anne Sofie von Otter 47 Tanglewood Festival Chorus 52 PALS Children’s Chorus

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

program copyright ©2013 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO cellist Alexandre Lecarme by Stu Rosner

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org

bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013

trustees of the boston symphony orchestra, inc.

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

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

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

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

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair • Noubar Afeyan • David Altshuler • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Ronald G. Casty • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Judy Moss Feingold • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Jay Marks • Jeffrey E. Marshall •

week 21 trustees and overseers 3

photos by Michael J. Lutch

Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • John Reed • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

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

week 21 trustees and overseers 5

BSO News

All-Beethoven Concert Added to BSO Schedule, Monday, April 15, at 7 p.m. Due to the cancellation of the BSO concerts of February 8 and 9 because of inclement weather, the Boston Symphony Orchestra has added a concert to its spring schedule on Monday, April 15, at 7 p.m. at Symphony Hall. BSO Assistant Conductor Marcelo Lehninger leads the orchestra in an all-Beethoven program featuring the Symphony No. 5 and the Piano Concerto No. 5, Emperor, with Venezuela-born pianist Gabriela Montero in her BSO debut. Tickets priced from $30 to $114 are on sale now at the Symphony Hall box office, through SymphonyCharge at (617) 266-1200 or 1-888-266-1200, or online at bso.org. The BSO’s <40=$20 program, which allows patrons under the age of 40 to purchase tickets for $20, will be available for the April 15 concert, and students who have a BSO College Card or High School Card can use their cards to obtain tickets to this performance. Please note the early start time and that April 15 is Patriots Day, a Massachusetts holiday.

“UnderScore Friday” This Friday, March 29 This Friday night’s performance of the Mahler Third Symphony conducted by Daniele Gatti is the fourth of this season’s six “UnderScore Friday” concerts, at which attendees hear com- ments from the stage about the program. This Friday, BSO trumpet player Michael Martin will greet the audience to begin the proceedings. The season’s remaining “UnderScore Friday” concerts—all to be introduced by members of the orchestra—take place on April 12 (music of Miaskovsky, Knussen, and Mussorgsky led by British composer/conductor Oliver Knussen, with guest soloists Pinchas Zukerman and soprano Claire Booth), and April 26 (symphonies of Schubert and Mahler led by BSO Conductor Emeritus Bernard Haitink). Tickets for all of these concerts are available at the Symphony Hall box office; by calling SymphonyCharge at (617) 266-1200 or 1-888-266-1200, or at bso.org.

BSO and Copley Society of Art Present Exhibit Inspired by “Pictures at an Exhibition” through April 13 The Boston Symphony Orchestra and the Copley Society of Art have joined forces to curate an exhibit of thirty-two new paintings throughout Symphony Hall, March 6-April 13. Inspired by Mussorgsky’s Pictures at an Exhibition, and in conjunction with the BSO’s performances of that work under Oliver Knussen on April 12 and 13, the paintings, which were unveiled at a March 6 Symphony Hall reception honoring the artists, will be on view through April 13. John Kirby of Boston Art Inc. and Ron Della Chiesa of WGBH selected the thirty-two works for the exhibit from a field of 125 entries submitted by Copley Society artists. The paintings can also be viewed online at bso.org, where visitors can choose which painting most effec-

week 21 bso news 7 tively captures the spirit of Mussorgsky’s Pictures. The best-in-show painting, chosen by Mr. Kirby and Mr. Della Chiesa with input from online participation, will be announced at a reception to take place in the Cabot-Cahners Room on Friday, April 12, from 6 to 8 p.m., prior to that evening’s BSO concert. Those interested in attending the April 12 reception and concert can purchase a $60 ticket for both events at www.bso.org/copleysocietyartists; tickets are also available by calling 1-888-266-1200 or visiting the Symphony Hall box office.

BSO Archives Spotlights Paul Hindemith and his “Konzertmusik” for Strings and Brass Played here earlier this month, with another performance to take place on Tuesday, April 2, Paul Hindemith’s Konzertmusik for Strings and Brass—a BSO 50th-anniversary commission given its world premiere by Serge Koussevitzky and the Boston Symphony Orchestra in April 1931—was one of four Hindemith works given premieres by Koussevitzky and the orchestra: the others were the Concerto for Orchestra, an American premiere in March 1926; the Concerto for Violin, an American premiere in April 1940, with then concertmas- ter Richard Burgin as soloist; and the Concerto for Cello, a world premiere in February 1941, with Gregor Piatigorsky as soloist. A special display case set up by the BSO Archives, audience-right at the stage end of the Brooke Corridor (the orchestra-level Massachusetts Avenue corridor), includes Hindemith’s original manuscript of the Konzertmusik along with a program book and reviews from the premiere performance; a sketchbook for the Cello Concerto, and a 1944 letter from Hindemith to longtime BSO annotator John N. Burk, among other things. individual tickets are on sale for all concerts in the bso’s 2012-2013 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 75 of this program book.

The Virginia Wellington Cabot Memorial Concert, Thursday, which her parents, her aunt and uncle, and March 28, 2013 her older sister all played and sang expertly at the piano. She graduated from the Winsor The concert of March 28, 2013, is given in School in 1917. On the Weston farm of her memory of Virginia Wellington Cabot of childhood, she nurtured a love for horses. Weston, who died on September 15, 1997, at Immediately after her marriage in 1920, the age 97. An attendee of Friday-afternoon con- Cabots moved to the heart of rural Appala- certs for more than seventy years, she took chia, where she would often accompany her over her mother-in-law’s BSO subscription in husband on horseback as he inspected the 1934. In 1992 a gift from the Cabot Family West Virginia pipelines of his father’s gas Charitable Trust endowed a Boston Symphony company. An experienced mountaineer, she concert in her name. made the first ascent of Mount Magog in the Virginia Cabot was married to the late Canadian Rockies and later journeyed to the Thomas D. Cabot for seventy-five years. The American Southwest to explore the Super- daughter of Louis B. Wellington and Louise stition Mountains of Arizona, the Zion and Lawton Wellington, she loved a broad range Bryce Canyons of Utah, and the Sangre de of music and often accompanied herself on Cristo range—all virtually uncharted when the piano as she sang to her family. Born in she hiked them in the 1920s and ’30s. An Boston in 1899, she grew up on Beacon Hill expert canoeist, she and Mr. Cabot also and in Weston, in an extended family in explored virtually all of New England’s water-

week 21 bso news 9 courses, resulting in the volume “Quick Water support of thousands of Friends of the BSO and Smooth,” the first printed guidebook for to make it all possible. Every $1 the BSO New England Rivers. She was also among receives in ticket sales must be matched with the first wave of Americans who learned the an additional $1 of contributed support to Austrian technique for downhill skiing from cover its annual expenses. Friends of the BSO the legendary Hannes Schneider. Later in life, play their part to help bridge that gap, keep- Virginia was engaged in conservation activi- ing the music playing for the delight of audi- ties in Maine, New Hampshire, Colorado, and ences all year long. In addition to joining a Honduras. Mrs. Cabot shared her love of community of like-minded music lovers, music, riding, skiing, sailing, and the outdoors becoming a Friend of the BSO also entitles with all of her progeny, including her children, you to benefits that bring you closer to the grandchildren, and great-grandchildren. music you love to hear. Friends receive ad- vance ticket ordering privileges, discounts at the Symphony Shop, and the BSO’s online BSO Business Partner of the Month newsletter InTune, as well as invitations to Did you know that there are more than 400 exclusive donor events such as BSO and Pops businesses and corporations that support the working rehearsals, and much more. Friends Boston Symphony Orchestra, Inc.? You can memberships start at just $75. To play your lend your support to the BSO by supporting part with the BSO by becoming a Friend, con- the companies who support us. Each month, tact the Friends Office at (617) 638-9276, we spotlight one of our corporate supporters [email protected], or join online at as the BSO Business Partner of the Month. bso.org/contribute. This month’s partner is Arbella Insurance Foundation. The Arbella Insurance Foundation was established in 2004 by the Arbella In- The BSO on the Web surance Group, a local, customer-focused At BSO.org/MediaCenter, patrons can find property and casualty insurance company, a centralized location for access to all of the providing personal and business insurance in Boston Symphony Orchestra’s media offer- Massachusetts and Connecticut, and busi- ings. The free and paid media options include ness insurance in Rhode Island and New radio broadcast concert streams, audio con- Hampshire. The mission of Arbella’s Foun- cert previews, interviews with BSO musicians dation is to support not-for-profit organiza- and guest artists, excerpts from upcoming tions that have a significant positive impact programs, and self-produced recordings by on the people and communities served by the BSO, Boston Pops, Boston Symphony Arbella. Arbella Insurance Foundation is Chamber Players, Tanglewood Festival Chorus, proud to sponsor the Boston Pops, a New and Tanglewood Music Center Fellows. In England institution that brings music, arts, addition, there are complete program notes entertainment, and education to the commu- available for download, printing, or saving nity. For more information about becoming a to an e-reader. The BSO kids website offers BSO Business Partner, contact Alyson Bristol, educational games and resources designed Director of Corporate Partnerships, at (617) to be fun and help teach various aspects of 638-9279 or [email protected]. music theory and musical concepts. The BSO is also on Facebook (facebook.com/ bostonsymphony) and Twitter, and you can Play Your Part: Become a watch video content at youtube.com/boston Friend of the BSO symphony. New this season is a BSO mobile At Symphony Hall, everyone plays their part. site, which allows patrons to access per- From the musicians on stage, to the crew formance schedules; download program behind the scenes, to the ushers and box notes; listen to concert previews, music office staff, it takes hundreds of people to put clips, and concert broadcast streams; and on a performance, and it takes the dedicated view video podcasts.

week 21 bso news 11 12 Dining at the BSO 6:15 p.m. Admission is free. For further information, call (617) 871-9927 or email For Symphony Hall patrons who like to arrive [email protected]. early and relax over food and drink, Boston Gourmet’s on-site chefs prepare a variety of The Muir String Quartet—BSO violinist Lucia tempting culinary offerings. The Symphony Lin and BSO principal violist Steven Ansell, Café, entered via the Cohen Wing doors on violinist Peter Zazofsky, and cellist Michael Huntington Avenue, offers prix fixe, buffet- Reynolds—performs the sixth and final con- style dining from 5:30 p.m. until concert time cert in their complete cycle of Beethoven for all evening Boston Symphony concerts and string quartets (Op. 18, No. 4, in C minor; lunch from 11 a.m. prior to Friday-afternoon Op. 135 in F, and Op. 59, No. 2, in E minor) on concerts. For reservations call (617) 638- Monday, April 8, at 7:30 p.m. at Rhode Island 9328 or visit bso.org—where you can now College’s Nazarian Center, 600 Mt. Pleasant also order a meal, appetizer, or drink ahead Ave., Providence, RI. Tickets are $35, discount- of time. Casual dining and a full complement ed for students and seniors. For tickets or of beverages are offered in both the Cabot- more information, visit ric.edu or call (401) Cahners and O’Block/Kay rooms before con- 456-8144 certs and at intermission. The Refreshment Bar, located next to the coatroom on the or- Those Electronic Devices... chestra level, serves hot and cold non-alcoholic beverages, as well as snacks. The Champagne As the presence of smartphones, tablets, Bar, located outside the O’Block/Kay Room, and other electronic devices used for com- offers champagne by the glass, cognac, munication and note-taking has continued to armagnac, and gourmet chocolates. increase, there has also been an increase in expressions of concern from concertgoers and musicians who find themselves distracted BSO Members in Concert not only by the illuminated screens on these The Concord Chamber Music Society, found- devices, but also by the physical movements ed by BSO violinist Wendy Putnam, presents that accompany their use. For these reasons, Trio Cleonce in a program featuring examples and as a courtesy to those on stage as well of musical humor on Sunday, April 7, at 3 p.m. as those around you, we respectfully request at the Emerson Umbrella Center for the that all such electronic devices be turned off Arts, 40 Stow Street, Concord, MA. General and kept from view while the BSO’s perform- admission tickets for this family concert are ances are in progress. Thank you very much $15 for adults, free for children twelve and for your cooperation. under accompanied by an adult. For more information, call (978) 371-9667 or visit Comings and Goings... www.concordchambermusic.org. Please note that latecomers will be seated The Walden Chamber Players, whose mem- by the patron service staff during the first bership includes BSO musicians Tatiana convenient pause in the program. In addition, Dimitriades and Alexander Velinzon, violins, please also note that patrons who leave the Thomas Martin, clarinet, and Richard Ranti, hall during the performance will not be bassoon, perform Aulis Sallinen’s Introduc- allowed to reenter until the next convenient tion and Tango Overture, Grieg’s Andante pause in the program, so as not to disturb the con moto in C minor, Lars-Erik Larsson’s performers or other audience members while Intimate Miniatures, Op. 20, and Ludvig the concert is in progress. We thank you for Norman’s Piano Quartet, Op. 10, at Concord your cooperation in this matter. Academy Performing Arts Center, 166 Main Street, Concord, MA, on Monday, April 8, at

week 21 bso news 13 on display in symphony hall This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of Symphony Hall, continues to display the breadth and depth of the Archives’ holdings, which document countless aspects of BSO history—music directors, players, instrument sections, guest conductors, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor (the orchestra-level Massachusetts Avenue corridor) focusing on the influence of the Germania Society on musical life in 19th-century Boston prior to the founding of the BSO • also in the Brooke Corridor, a display case on the history of the BSO’s clarinet section, featuring a recent gift to the BSO Archives of two clarinets owned by Viktor Polatschek, the BSO’s principal clarinet from 1930 to 1948 • a pair of display cases, in the Huntington Avenue orchestra-level corridor adjacent to the O’Block/Kay Room, highlighting architectural features of Symphony Hall’s ceiling and clerestory windows exhibits on the first-balcony level of symphony hall include: • a display in the Cabot-Cahners Room of autographs and memorabilia donated to the Archives by legendary trumpet player Roger Voisin, a BSO member from 1935 to 1973 and principal trumpet from 1950 to 1965 • in the first-balcony corridor, audience-right, near the stage, a recently acquired sculpture by Rose Shechet Miller of Erich Leinsdorf, the BSO’s music director from 1962 to 1969 • also in the first-balcony corridor, audience-right, display cases documenting political events that took place in Symphony Hall, and in the first-balcony corridor, audience- left, documenting Duke Ellington’s Symphony Hall appearances in the 1940s

TOP OF PAGE, LEFT TO RIGHT: Serge Koussevitzky costumed as Joseph Haydn for a 1939 Pension Fund performance of the composer’s “Farewell” Symphony (photo by John B. Sanromá) A January 1937 autograph greeting, including a musical quote from Debussy’s “La Mer,” inscribed by guest conductor Dimitri Mitropoulos to BSO trumpet player Roger Voisin Program for a January 1943 Symphony Hall appearance by Duke Ellington

week 21 on display 15 Boston Symphony Orchestra 2012–2013

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

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

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

week 21 boston symphony orchestra 17 S Archives BSO

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

A Brief History of the BSO

Now in its 132nd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of founder Henry Lee Higginson, who envisioned a great and perma- nent orchestra in his hometown. Today the BSO reaches millions through radio, television, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and programs involving the Boston community; and, during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, is known world- wide, and the Boston Pops Orchestra sets an international standard for performances of lighter music.

The BSO played its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world’s most highly regarded concert halls, was opened on October 15, 1900. Henschel was succeeded by German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, cul- minating in the appointment of the legendary Karl Muck, who served two tenures, 1906-08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony Orchestra had given their first “Promenade” concert, offering both music and refreshments, and ful- filling Major Higginson’s wish to give “concerts of a lighter kind of music.” These concerts, soon to be given in the springtime and renamed first “Popular” and then “Pops,” fast became a tradition.

In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific International Exposition in San Francisco. Henri Rabaud, engaged as con- ductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked

18 S Archives BSO

Rush ticket line at Symphony Hall, probably in the 1930s

the beginning of a French tradition maintained, even during the Russian-born Serge Kousse- vitzky’s tenure (1924-49), with the employment of many French-trained musicians.

In 1929 free Esplanade concerts were inaugurated by Arthur Fiedler, a member of the orches- tra since 1915 and who in 1930 became eighteenth conductor of the Boston Pops. Fiedler was Pops conductor for half a century, being followed by John Williams in 1980 and Keith Lockhart in 1995.

It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires. A year later, he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center).

Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting con- temporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra.

The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra's 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center, and in summer 2007 led the BSO in an acclaimed tour of European music festivals.

Through its worldwide activities and more than 250 concerts annually, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson.

week 21 a brief history of the bso 19 bernard haitink, conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, March 28, 8pm | the virginia wellington cabot memorial concert Friday, March 29, 8pm | sponsored by the fairmont copley plaza (UnderScore Friday concert, including comments from the stage) Saturday, March 30, 8pm

daniele gatti conducting

mahler symphony no. 3 First Part I. Kräftig. Entschieden. [Forceful. Decisive.]

Program page from the first performance of Mahler's Third Symphony on June 9, 1902, with the composer conducting

20 Second Part II. Tempo di Menuetto. Sehr mäßig. Ja nicht eilen! Grazioso. [In minuet tempo. Very moderate. Don’t hurry! Graceful.] III. Comodo. Scherzando. Ohne Hast. [Easygoing. Jesting. Without haste.] IV. Sehr langsam. Misterioso. Durchaus ppp. [Very slow. Mysterious. ppp throughout.] Words by Nietzsche V. Lustig im Tempo und keck im Ausdruck. [Cheerful in tempo and jaunty in expression.] VI. Langsam. Ruhevoll. Empfunden. [Slow. Peaceful. Deeply felt.] anne sofie von otter, mezzo-soprano women of the tanglewood festival chorus, john oliver, conductor pals children’s chorus, andy icochea icochea, conductor

Texts and translations are on page 37.

Please note that there is no intermission in this concert. this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and emc corporation are proud to sponsor the bso’s 2012-2013 season.

The Thursday and Saturday concerts will end about 9:45, the Friday concert about 9:55. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members.

week 21 program 21

The Program in Brief...

Nowhere more clearly than in Mahler’s Third Symphony does the composer’s famous statement that for him, a symphony had to encompass the entire world, reveal itself. In fact, Mahler had already made a similar statement years earlier, not long before finishing his Third Symphony in 1896. In a letter to a young dramatic soprano who had come to the Hamburg Opera where Mahler was chief conductor, he wrote: “Just imagine a work of such magnitude that it actually mirrors the whole world.... My symphony will be some- thing the like of which the world has never yet heard!... In it, the whole of nature finds a voice...” And though Mahler ultimately decided not to keep his original titles for each movement (see page 29 of this program book for the eighth, and last, of his scenarios), they nevertheless tell us what he intended to evoke in each.

For the huge first movement—representing more than a third of the entire work, and, at more than half an hour, encompassing the length of an entire symphony by Mozart or Haydn—Mahler envisioned a Bacchic procession heralding the arrival of summer. As it happened, it was the first movement of the Third Symphony that he wrote last, in the summer of 1896, having composed the second through sixth movements a year earlier. In stark contrast to the opening movement, these are essentially “character pieces” that represent, according to Mahler’s scenario, the flowers in the meadow; the animals in the forest; humanity (evoked by a setting of words from Nietzsche); the angels (another song, which here brings us, as it were, from earth to heaven); and, ultimately, in an extended, profoundly realized slow movement, the essence of love.

A number of things in Mahler’s Symphony No. 3 connect to other works by the composer. For example, a song about life in heaven that he originally planned to use in the Third Symphony ultimately became the finale of his Symphony No. 4; and there is music in the third movement of the Symphony No. 3 that links to a song he had composed years earlier, as well as a reference to the finale of the Symphony No. 2. These examples are typical of the web of cross-references within his works that Mahler-lovers come to appreciate more and more as their familiarity with his music grows.

Mahler’s kaleidoscopic use of the different sections of the orchestra (whether separately or in combination); the contrast between full orchestral textures in some parts of the work and lighter scoring in others; the specific use of individual instruments (e.g., the posthorn in the interludes of the third movement); the sound of human voices (mezzo- soprano, women’s chorus, and children’s chorus) in the fourth and fifth movements; and his decision to end with a “slow, peaceful, deeply felt” movement (as he labels it in the score)—all of these elements contribute to a cumulative experience that is as personal, powerful, and richly rewarding as anything the symphonic repertoire has to offer.

Marc Mandel

week 21 program in brief 23

Gustav Mahler Symphony No. 3

GUSTAV MAHLER was born in Kalischt (Kaliˇstˇe) near the Moravian border of Bohemia on July 7, 1860, and died in Vienna on May 18, 1911. He did the main work on his Third Symphony in the summers of 1895, when he composed the second through sixth movements, and 1896, when he added the first. Two songs, “Ablösung im Sommer” (“Relief in Summer”) and “Das himmlische Leben” (“Life in Heaven”), provide source material for some of the symphony, and they go back to about 1890 and February 1892, respectively. Mahler made final revisions in May 1899. The symphony was introduced piecemeal. Arthur Nikisch conducted the second movement, then pre- sented as “Blumenstück” (“Flower Piece”), with the Berlin Philharmonic on November 9, 1896. Felix Weingartner gave the second, third, and sixth movements with the Royal Orchestra, Berlin, on March 9, 1897. With L. Geller-Wolter singing the alto solos, Mahler himself conducted the first complete performance on June 9, 1902, at the Festival of the Allgemeiner Deutscher Musikverein in Krefeld; the score was published that year by Josef Weinberger in Vienna.

THE SCORE OF MAHLER’S SYMPHONY NO. 3 calls for four flutes (two doubling piccolo), four oboes (one doubling English horn), three clarinets (one doubling bass clarinet) and two E-flat clarinets, four bassoons (one doubling contrabassoon), eight horns, four trumpets, posthorn, four trombones, bass tuba and contrabass tuba, timpani, glockenspiel, snare drum, triangle, tambourine, bass drum with cymbal attached, suspended cymbals, tam-tam, birch brush, two harps, and strings, plus solo contralto, women’s chorus, and boys’ chorus

When Mahler visited Sibelius in 1907—Mahler was then near to completing his Eighth Symphony—the two composers argued about “the essence of symphony,” Mahler reject- ing his colleague’s creed of severity, style, and logic by countering with “No, a symphony must be like the world. It must embrace everything.” Twelve years earlier, while actually at work on the Third, he had remarked that to “call it a symphony is really incorrect, as it does not follow the usual form. The term ‘symphony’—to me this means creating a world with all the technical means available.”

The completion of the Second Symphony the previous summer had given him confidence:

week 21 program notes 25 Program page from the first complete Boston Symphony performances of Mahler’s Symphony No. 3 on January 19 and 20, 1962, with Richard Burgin conducting (BSO Archives)

26 he was sure of being “in perfect control” of his technique. Now, in the summer of 1895, escaped for some months from his duties as principal conductor at the Hamburg Opera, installed in his new one-room cabin in Steinbach on the Attersee some twenty miles east of Salzburg, with his sister Justine and his friend Natalie Bauer-Lechner to look after him (this most crucially meant silencing crows, water birds, children, and whistling farmhands), Mahler set out to make a pantheistic world to which he gave the overall title The Happy Life—A Midsummer Night’s Dream (adding “not after Shakespeare, critics and Shakespeare mavens please note”). Before he wrote any music, he worked out a scenario in five sections, entitled What the forest tells me, What the trees tell me, What twilight tells me (“strings only” he noted), What the cuckoo tells me (scherzo), and What the child tells me. He changed all that five times during the summer as the music began to take shape in his mind and, with a rapidity that astonished him, on paper as well. The Happy Life disap- peared, to be replaced for a while by the Nietzschean Gay Science (first My Gay Science). The trees, the twilight, and the cuckoo were all taken out, their places taken by flowers, animals, and morning bells. He added What the night tells me and saw that he wanted to begin with the triumphal entry of summer, which would include an element of something Dionysiac and even frightening. In less than three weeks he composed what are now the second, third, fourth, and fifth movements. He went on to the Adagio and, by the time his composing vacation came to an end on August 20, he had made an outline of the first movement and composed two independent songs, Lied des Verfolgten in Turm (Song of the Prisoner in the Tower) and Wo die schönen Trompeten blasen (Where the beautiful trumpets sound). It was the richest summer of his life.

In June 1896 he was back at Steinbach. He had made some progress scoring the new symphony and he had complicated his life by an intense and stormy affair with a young, superlatively gifted dramatic soprano newly come to the Hamburg Opera, Anna von Mildenburg. He also discovered when he got to Steinbach that he had forgotten to bring the sketches of the first movement, and it was while waiting for them that he composed his little bouquet for critics, Lob des hohen Verstandes. In due course the sketches arrived,

week 21 program notes 27

A September 1895 letter from Mahler to Natalie Bauer-Lechner with proposed titles for the Third Symphony’s originally seven movements: I. Procession of Dionysus, or Summer marches in. II. What the flowers in the meadow tell me. III. What the animals in the forest tell me. IV. What the night tells me (mankind). V. What the morn- ing bells tell me (the angels). VI. What love tells me. VII. What the child tells me.

and Mahler, as he worked on them, gradually realized that the Awakening of Pan and the Triumphal March of Summer wanted to be one movement instead of two. He also saw, rather to his alarm, that the first movement was growing hugely, that it would be more than half an hour long, and that it was also getting louder and louder. He deleted his finale, What the child tells me, which was the Life in Heaven song of 1892, putting it to work a few years later to serve as finale to the Fourth Symphony. That necessitated rewriting the last pages of the Adagio, which was now the last movement, but essentially the work was under control by the beginning of August. The Gay Science was still part of the title at the beginning of the summer, coupled with what had become A Midsummer Noon’s Dream, but in the eighth and last of Mahler’s scenarios, dated August 6, 1896, the superscription is simply A Midsummer Noon’s Dream with the following titles given to the individual movements: First Part: Pan awakes. Summer comes marching in (Bacchic procession) Second Part: What the flowers in the meadow tell me What the animals in the forest tell me What humanity tells me What the angels tell me What love tells me

At the premiere, the program page showed no titles at all, only tempo and generic indi- cations. “Beginning with Beethoven,” wrote Mahler to the critic Max Kalbeck that year, “there is no modern music without its underlying program.—But no music is worth anything if you first have to tell the listener what experience lies behind it, respectively what he is supposed to experience in it.—And so yet again: pereat every program!—You just have to bring along ears and a heart and—not least—willingly surrender to the rhap- sodist. Some residue of mystery always remains, even for the creator.” When, however,

week 21 program notes 29 30 we look at the titles in the Third Symphony, we are, even though they were finally rejected, looking at an attempt, or a series of attempts, to put into a few words the material, the world of ideas, emotions, and associations that lay behind the choices Mahler made as he composed. We, too, can draw intimations from them, and then remove them as scaf- folding we no longer need. And with that, let us turn to a brief look at the musical object Mahler left us.

The first movement accounts for roughly one third of the symphony’s length. Starting with magnificent gaiety, it falls at once into a mood of tragedy—seesawing chords of low horns and bassoons, the drumbeats of a funeral procession, cries and outrage. Myst- erious twitterings follow, the suggestion of a distant quick march, and a grandly rhetori- cal recitative for the trombone. Against all that, Mahler poses a series of quick marches (the realizations of what he had adumbrated earlier for just a few seconds), the sorts of tunes you can’t believe you haven’t known all your life and the sort that used to cause critics to complain of Mahler’s “banality,“ elaborated and scored with an astounding combination of delicacy and exuberance. Their swagger is rewarded by a collision with catastrophe, and the whole movement—for all its outsize dimensions as classical a sonata form as Mahler ever made—is the conflict of the dark and the bright elements, culminating in the victory of the latter.

Two other points might be made. One concerns Mahler’s fascination, not ignored in our century, with things happening “out of time.” The piccolo rushing the imitations of the violins’ little fanfares is not berserk: she is merely following Mahler’s direction to play “without regard for the beat.” That is playful, but the same device is turned to dramatic effect when, at the end of a steadily accelerating development, the snare drums cut across the oom-pah of the cellos and basses with a slower march tempo of their own, thus preparing the way for the eight horns in unison to blast the recapitulation into being. The other thing is to point out that several of the themes heard near the beginning will be transformed into the materials of the last three movements—fascinating especially when you recall that the first movement was written after the others.

In the division of the work Mahler finally adopted, the first movement is the entire first section. What follows is, except for the finale, a series of shorter character pieces, begin- ning with the Blumenstück, the first music he composed for this symphony. It is a delicately sentimental minuet with access, in its contrasting section, to slightly sinister sources of energy. Curiously, it anticipates music not heard in the symphony at all, that is to say, the scurrying runs from the Life in Heaven song that was dropped from this design and finally made its way into the Fourth Symphony.

In the third movement, Mahler draws on his song Ablösung im Sommer (Relief in Summer), whose text tells of waiting for Lady Nightingale to start singing as soon as the cuckoo is through. The marvel here is the landscape with posthorn, not only the lovely melody itself, but the way it is introduced: the magic transformation of the very “present” trum- pet into distant posthorn, the gradual change of the posthorn’s melody from fanfare to song, the interlude for flutes, and, as Arnold Schoenberg points out, the accompaniment

week 21 program notes 31 32 Mahler’s summer house, Steinbach am Attersee, built in 1894, and where he worked on his Second and Third symphonies

“at first with the divided high violins, then, even more beautiful if possible, with the horns.” After the brief return of this idyll and before the snappy coda, Mahler makes spine-chilling reference to the “Great Summons” music in the Second Symphony’s finale.

Low strings rock to and fro, the harps accenting a few of their notes, the seesawing horn chords from the first pages return, and a human voice intones the Midnight Song from Friedrich Nietzsche’s Thus spoke Zarathustra (see page 37). Each of its eleven lines is to be imagined as coming between the strokes of midnight. Pianississimo throughout, warns Mahler.

From here, the music moves forward without a break, and as abruptly and drastically as it changed from the scherzo to Nietzsche’s midnight, so does it change from that darkness to the bells and angels of the fifth movement. The text comes from Des Knaben Wunderhorn (The Boy’s Magic Horn), though the interjections of “Du sollst ja nicht weinen” (“But you mustn’t weep”) are Mahler’s own. A three-part chorus of women’s voices carries most of the text, though the contralto returns to take the part of the sinner. The boys’ chorus, confined at first to bell noises, joins later in the exhortation “Liebe nur Gott” (“Only love God”) and for the final stanza. This movement, too, foreshadows the Life in Heaven that will not, in fact, occur until the Fourth Symphony: the solemnly archaic chords first heard at “Ich hab übertreten die Zehen Gebot” (“I have trespassed against the Ten Command- ments”) will be associated in the later work with details of the domestic arrangement in that mystical, sweetly scurrile picture of heaven. Violins drop out of the orchestra for this softly sonorous movement.

The delicate balance between the regions of F (the quick marches of the first movement, and the third and fifth movements) and D (the dirges in the first movement, the Nietzsche song, and, by extension, the minuet, which is in A major) is now and finally resolved in favor of D. Mahler perceived that the decision to end the symphony with an Adagio was

week 21 program notes 33 one of the most special he made. “In Adagio movements, “ he explained to Natalie Bauer-Lechner, “everything is resolved in quiet. The Ixion wheel of outward appearances is at last brought to a standstill. In fast movements—minuets, Allegros, even Andantes nowadays—everything is motion, change, flux. Therefore I have ended my Second and Third symphonies, contrary to custom... with Adagios—the higher form as distinguished from the lower.”

A noble thought, but, not uniquely in Mahler, there is some gap between theory and real- ity. The Adagio makes its way at the last to a sure and grand conquest, but during its course—and this is a movement, like the first, on a very large scale—Ixion’s flaming wheel can hardly be conceived of as standing still. In his opening melody, Mahler invites association with the slow movement of Beethoven’s last quartet, Opus 135. Soon, though, the music is caught in “motion, change, flux,” and before the final triumph, it encounters

34 again the catastrophe that interrupted the first movement. The Adagio’s original title, What love tells me, refers to Christian love—“agape”—and Mahler’s drafts carry the superscription: “Behold my wounds! Let not one soul be lost.” The performance directions, too, seem to speak to the issue of spirituality, for Mahler enjoins that the immense final bars with their thundering kettledrums be played “not with brute strength, [but] with rich, noble tone,” and that the last measure “not be cut off sharply,” so that there is some softness to the edge between sound and silence at the end of this most riskily and glori- ously comprehensive of Mahler’s “worlds.”

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 the great works for chorus and orchestra.

THEFIRSTUNITEDSTATESPERFORMANCE of Mahler’s Symphony No. 3 was given by Ernst Kunwald at the Cincinnati May Festival on May 9, 1914.

THEFIRSTBOSTONSYMPHONYORCHESTRAPERFORMANCES of music from Mahler’s Symphony No. 3 were of just the first movement, which Richard Burgin conducted in Cambridge and then at Symphony Hall in March 1943. It was also Burgin who introduced the complete work here, nearly twenty years later, in January 1962, with Florence Kopleff and the Chorus pro Musica, Alfred Nash Patterson, conductor. BSO performances were next given by Erich Leinsdorf (in Boston and at Carnegie Hall in September/October 1966), Seiji Ozawa (April 1977 in Boston and August 1977 at Tanglewood), and Claudio Abbado (February 1982 in Boston and at Carnegie Hall). Between 1983 and 1998, Ozawa was the only conductor to lead Mahler’s Third Symphony with the BSO, at Tanglewood in 1983, 1993, and 1998; at Symphony Hall in 1986, 1993, and 1998; at Carnegie Hall in 1993; on tour in Japan in 1986 (Tokyo and Kyoto), and on tour in Europe in 1998 (London, Paris, and Vienna). After that, James Levine led BSO performances of the Mahler Third in February 2001, March 2007 (the most recent subscription performances, with Stephanie Blythe, women of the Tanglewood Festival Chorus, and the American Boychoir), and at Tanglewood on July 14, 2007 (the BSO’s most recent performance, again with Stephanie Blythe, women of the TFC, and the American Boychoir). More recently, Michael Tilson Thomas led a Tanglewood performance on July 17, 2010, with the Tanglewood Music Center Orchestra, Karen Cargill, women of the Tangle- wood Festival Chorus, and the American Boychoir. The vocal soloists in past BSO performances have also included Shirley Verrett, Birgit Finnilä, Hanna Schwarz, Jessye Norman, Jan DeGaetani, Naoko Ihara, Maureen Forrester, Florence Quivar, and Lorraine Hunt Lieberson. In addition to the Chorus pro Musica, Tanglewood Festival Chorus, and American Boychoir, the participating choruses in past BSO performances also included the New England Conservatory Chorus, Boston Boy Choir; the Shin’yu-kai Chorus and Kamakura Junior Chorus in Japan; the Cantemus Children’s Choir, the PALS Children’s Chorus; the London Symphony Chorus and Westminster Cathedral Choir in London; the Chorus of Radio France and Maîtrise Boys Chorus in Paris; and the Wiener Singverein and Tölzer Knabenchor in Vienna.

week 21 program notes 35

GUSTAV MAHLER Symphony No. 3

O Mensch! Gib Acht! Oh man, give heed! Was spricht die tiefe Mitternacht? What does deep midnight say? Ich schlief! I slept! Aus tiefem Traum bin ich erwacht! From a deep dream have I waked! Die Welt ist tief! The world is deep, Und tiefer als der Tag gedacht! And deeper than the day had thought! Tief ist ihr Weh! Deep in its pain! Lust tiefer noch als Herzeleid! Joy deeper still than heartbreak! Weh spricht: Vergeh! Pain speaks: Vanish! Doch alle Lust will Ewigkeit! But all joy seeks eternity, Will tief, tiefe Ewigkeit! Seeks deep, deep eternity.

Friedrich Nietzsche

Es sungen drei Engel einen süssen Three angels were singing a sweet song: Gesang, Mit Freuden es selig im Himmel klang, With joy it resounded blissfully in heaven. Sie jauchzten fröhlich auch dabei, At the same time they happily shouted with joy Dass Petrus sei von Sünden frei. That Peter was absolved from sin. Denn als der Heer Jesus zu Tische sass, For as Lord Jesus sat at table, Mit seinen zwölf Jüngern das Eating supper with his twelve apostles, Abendmal ass, So sprach der Herr Jesus: “Was stehst So spoke Lord Jesus: “Why are you du denn hier? standing here? Wenn ich dich anseh’, so weinest du mir.” When I look at you, you weep.” “Und sollt ich nicht weinen, du gütiger Gott! ”And should I now weep, you kind God! (Du sollst ja nicht weinen!)(No, you mustn’t weep.) Ich hab übertreten die Zehen Gebot; I have trespassed against the Ten Commandments. Ich gehe und weine ja bitterlich, I go and weep, and bitterly. (Du sollst ja nicht weinen!)(No, you mustn’t weep.) Ach komm und erbarme dich über mich!” Ah, come and have mercy on me!” “Hast du denn übertreten die Zehen ”If you have trespassed against the Ten Gebot, Commandments, So fall auf die Knie und bete zu Gott, Then fall on your knees and pray to God, Liebe nur Gott in alle Zeit Love only God for ever, So wirst du erlangen die himmlische And you will attain heavenly joy.” Freud.” Die himmlische Freud ist eine selige Heavenly joy is a blessed city, Stadt, Die himmlische Freud, die kein End Heavenly joy, that has no end. mehr hat; Die himmlische Freud, war Petro bereit Heavenly joy was prepared for Peter Durch Jesum und allen zur Seligkeit. By Jesus and for the salvation of all.

From “Des Knaben Wunderhorn” Trans. Michael Steinberg

week 21 texts and translations 37

To Read and Hear More...

Deryck Cooke’s Gustav Mahler: An Introduction to his Music is a first-rate brief guide to the composer’s music (Cambridge University paperback). Other good starting points include Jonathan Carr’s Mahler (Overlook Press), Peter Franklin’s The life of Mahler in the series “Musical lives” (Cambridge paperback), and Michael Kennedy’s Mahler in the “Master Musicians” series (Oxford paperback). There are two big, multi-volume biographies of the composer, one by Henry-Louis de La Grange (Oxford), the other by Donald Mitchell (University of California). Useful essay collections devoted to Mahler’s life, works, and milieu include The Mahler Companion, edited by Donald Mitchell and Andrew Nicholson (Oxford), Mahler and his World, edited by Karen Painter (Princeton University paperback, in the Bard Music Festival series), and The Cambridge Companion to Mahler, edited by Jeffrey Barham (Cambridge paperback). Mahler enthusiast and conductor Gilbert Kaplan has seen to the publication of The Mahler Album with the aim of bringing together every known photograph of the composer (The Kaplan Foundation with Thames and Hudson). Also published by The Kaplan Foundation are Mahler’s Concerts by Knud Martner, which offers a detailed history of Mahler on the podium, including music performed, soloists, concert halls, etc., for each of more than 300 concerts (co-published with Overlook Press), and Mahler Discography, edited by Péter Fülöp, which remains valuable to anyone interested in Mahler recordings, despite its 1995 publication date. Michael Steinberg’s program notes on Mahler’s symphonies 1 through 10 are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback). Though now more than thirty years old,

week 21 read and hear more 39

Kurt Blaukopf’s extensively illustrated Mahler: A Documentary Study remains well worth seeking from second-hand shops (Oxford University Press).

The Boston Symphony Orchestra has made two recordings of Mahler’s Third Symphony: first under Erich Leinsdorf in 1966, with Shirley Verrett, the New England Conservatory Chorus, and the Boston Boy Choir (RCA), and later under Seiji Ozawa in 1993, with Jessye Norman, the Tanglewood Festival Chorus, and the American Boychoir (Philips). Other recordings (listed alphabetically by conductor) include Claudio Abbado’s with the Vienna Philharmonic and Jessye Norman (Deutsche Grammophon) or with the Berlin Philharmonic and Anna Larsson (Deutsche Grammophon), Leonard Bernstein’s with the New York Phil- harmonic and Christa Ludwig (Deutsche Grammophon), Pierre Boulez’s with the Vienna Philharmonic and Anne Sofie von Otter (Deutsche Grammophon), Bernard Haitink’s live with the Chicago Symphony Orchestra and Michelle DeYoung (Chicago Resound), James Levine’s with the Chicago Symphony Orchestra and Marilyn Horne (RCA), Georg Solti’s with the Chicago Symphony Orchestra and Helga Dernesch (Decca), Michael Tilson Thomas’s with the San Francisco Symphony Orchestra and Chorus and Michelle DeYoung (San Francisco Symphony), and Benjamin Zander’s with the Philharmonia Orchestra and Lilli Paasikivi (Telarc).

Marc Mandel

week 21 read and hear more 41

Guest Artists

Daniele Gatti

Daniele Gatti has been music director of the Orchestre National de France since September 2008 and principal conductor of Zurich Opera since September 2009. He is also conductor laureate of the Royal Philharmonic Orchestra (of which he was music director from 1996 to 2009). He was previously music director of Bologna’s Teatro Comunale (1997-2007) and Rome’s Accademia Nazionale di Santa Cecilia (1992-1997), and principal guest conductor of London’s Royal Opera House–Covent Garden (1994-1997). He enjoys a close relationship with the Vienna Philharmonic and Royal Concertgebouw Orchestra, leading concerts during their regular seasons and on occasional tours. He also conducts such important American and European orchestras as the New York Philharmonic, Chicago Symphony, Boston Symphony, Bayerische Rundfunk, Munich Philharmonic, and Philharmonia Orchestra. Mr. Gatti has con- ducted many new productions at leading opera houses, including the Vienna State Opera (Simon Boccanegra, Moses und Aron, Otello, and Boris Godunov), La Scala in Milan (Lohengrin, Wozzeck, Don Carlo, and Lulu), Bavarian State Opera in Munich (Aida and Fidelio), the Royal Opera House–Covent Garden (Falstaff), the Zurich Opera House (Falstaff, Otello, Parsifal, Die Meistersinger von Nürnberg, and Mathis der Maler), and New York’s Metropolitan Opera, where he made his debut with Madama Butterfly in 1994 and where he returned last month for a new production of Parsifal. In autumn 2013 he will open the new season at La Scala with La traviata. He has conducted Parsifal at the Bayreuth Festival every year between 2008 and 2011. In recent seasons at the Salzburg Festival, he has led Elektra and La bohème and a concert with the Gustav Mahler Jugendorchester. He recently completed a European tour with the Vienna Philharmonic featuring the four Brahms symphonies to celebrate the bicentenary of the Society

week 21 guest artists 43 of the Vienna Friends of Music, of which Brahms was music director. Other recent and future engagements include concerts with the Royal Concertgebouw Orchestra and Bayerische Rundfunk Orchestra, the completion of a Mahler cycle with Orchestre National de France, Parsifal in concert at the Théâtre des Champs-Élysées, a tour to Italy with the Gustav Mahler Jugendorchester, the opening of the MiTo Festival in Turin and Milan, and concerts in Ferrara and Modena, Italy, with the Mahler Chamber Orchestra. To celebrate the Verdi bicentenary, he leads the Requiem with the Boston Symphony Orchestra in Boston, with the Philharmonia Orchestra in London, and with the Orchestre National de France in Paris. This month he returns to Boston for two programs, both also to be performed at New York’s Carnegie Hall in April: an all-Wagner program marking the composer’s bicentenary, and Mahler’s Symphony No. 3. This season with the Orchestre National de France he leads a Beethoven symphony cycle in Paris, music of Rossini, Stravinsky, and Ravel at Vienna’s Musikverein, and a tour of Spain with works of Verdi and Wagner. His first recording under an exclusive contract with Sony Classical, released last year, marked the 150th anniversary of Debussy’s birth. His second Sony CD, marking the centenary of Stravinsky’s Rite of Spring, will be released this spring. Mr. Gatti’s

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44 extensive discography also includes works by Rossini, Mahler, Prokofiev, Bartók, and Respighi, as well as Tchaikovsky’s Fourth, Fifth, and Sixth symphonies. Daniele Gatti made his Boston Symphony Orchestra debut with an all-Brahms program in February 2002, subsequently returning to the Symphony Hall podium in September/October 2004 with a program of Mozart and Mahler, and in March 2008 with music of Schumann and Shostakovich. In October 2009 he led the BSO in New York to open the Carnegie Hall season with a program of Berlioz, Chopin, John Williams, and Debussy.

Anne Sofie von Otter

Internationally acclaimed Swedish mezzo-soprano Anne Sofie von Otter has long been con- sidered one of the finest singers of her generation. Her lengthy and exclusive relationship with Deutsche Grammophon has produced a wealth of recordings and numerous awards, including Recording Artist of the Year, International Record Critics Association; a Grammy Award for best classical vocal performance (Mahler’s Des Knaben Wunderhorn), and a Diapason d’Or for a recording of Swedish songs with her longtime accompanist, Bengt Forsberg. She collaborated with pop legend Elvis Costello on the disc “For the Stars” and in October 2010 released her first recording on the Naïve label, “Love Songs,” a collaboration with renowned jazz pianist Brad Mehldau. Her most recent recording for Naïve, “Sogno Barocco,” a collection of Italian Baroque arias, scenes, and duets with Leonardo García-Alarcón and Cappella Mediterranea, was released in September 2012. Anne Sofie von Otter is particularly renowned for her inter- pretation of Octavian in Der Rosenkavalier, a role she has performed at the Royal Opera House–Covent Garden, Bayerische Staatsoper, Opéra National de Paris, and the Wiener Staatsoper. She also performed the role in a series of engagements with James Levine and the Metropolitan Opera, and in Japan under the late Carlos Kleiber (available on DVD). Her other opera recordings include Le nozze di Figaro under Levine, Orfeo ed Euridice under John Eliot Gardiner, Handel’s Ariodante and Hercules under Marc Minkowski, and Ariadne auf Naxos under Giuseppe Sinopoli. Recent opera highlights have included her role debut in Charpentier’s Médeé for Oper Frankfurt, Countess Geschwitz in Lulu at the Metropolitan Opera under Fabio Luisi, Clytemnestre in Iphigénie en Aulide in Pierre Audi’s production for De Nederlandse

week 21 guest artists 45 46 Opera under Marc Minkowski, and Geneviève in Pelléas et Mélisande under Philippe Jordan for Opéra National de Paris. She appeared in Giulio Cesare at the 2012 Salzburg Festival with a cast including Cecilia Bartoli and Andreas Scholl. A diverse repertoire has played a key role in sustaining her international reputation. Among recently added roles are Brangäne in Tristan und Isolde, Baba the Turk in The Rake’s Progress, Dido in Les Troyens, and Waltraute in Wagner’s Ring. A busy concert schedule takes Anne Sofie von Otter to all corners of the globe. This season she performs Mahler’s Symphony No. 2 with the Berlin Philharmonic under Sir Simon Rattle, sings orchestrated Schubert Lieder with the National Symphony Orchestra in Washington, D.C., under Christoph Eschenbach, and sings Wagner’s Wesendonck Lieder with the Gothenburg Symphony Orchestra under Susanna Mälkki. She also appears with the New York Philharmonic under Alan Gilbert, the Boston Symphony under Daniele Gatti, and the Royal Stockholm Philharmonic under Sakari Oramo. She appeared with Jonas Kaufmann and the Berlin Philharmonic conducted by Claudio Abbado for a televised performance of Das Lied von der Erde on the hundredth anniversary of Mahler’s death. Anne Sofie von Otter was born in Stockholm, graduated from the Stockholm College of Music, and studied further at the Guildhall School of Music and Drama in London. She made her Boston Symphony Orchestra debut in November 1994 as soloist in Mahler’s Das Lied von der Erde, which she also sang here with the orchestra in April 2008. Her other BSO appearances have included the role of Judith in Bartók’s Bluebeard’s Castle in Boston and at Carnegie Hall in November 2006, and Dido in Berlioz’s Les Troyens in April/May 2008 at Symphony Hall and July 2008 at Tanglewood.

Tanglewood Festival Chorus John Oliver, Conductor

This season at Symphony Hall with the Boston Symphony Orchestra, the Tanglewood Festival Chorus sings in Gershwin’s Porgy and Bess with conductor Bramwell Tovey to open the sub- scription season, the operatic double bill of Stravinsky’s The Nightingale and Ravel’s L’Enfant et les sortilèges with Charles Dutoit in October, Verdi’s Requiem with Daniele Gatti in January, Haydn’s Mass in Time of War with Rafael Frühbeck de Burgos in February, and Mahler’s Symphony No. 3 with Daniele Gatti in March. Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center,

week 21 guest artists 47 the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of mem- bers who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tangle- wood season, the chorus originally numbered 60 well-trained Boston-area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now num- bering some 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performanc- es in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It per- formed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver con- ducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s 40th anniversary.

The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus.

48 Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long International Choral Festival given in and around Toronto. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics, and can also be heard on the soundtracks to Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan.

TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver

John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 900 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. He has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s perform-

week 21 guest artists 49 ances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he pre- pared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In February 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in sub- scription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March.

In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide-ranging repertoire encompassing masterpieces

50 by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Symphony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achieve- ment Award, presented by Choral Arts New England in recognition of his outstanding contri- butions to choral music.

Women of the Tanglewood Festival Chorus John Oliver, Conductor (Mahler Symphony No. 3, March 28, 29, and 30, 2013)

In the following list, § denotes membership of 40 years, * denotes membership of 35-39 years, and # denotes membership of 25-34 years. sopranos

Michele Bergonzi # • Aimée Birnbaum • Joy Emerson Brewer • Norma Caiazza • Jeni Lynn Cameron • Anna S. Choi • Lorenzee Cole # • Emilia DiCola • Kaila J. Frymire • Bronwen Haydock • Beth Ann Homoleski • Eileen Huang • Stephanie Janes • Carrie Kenney • Donna Kim • Nancy Kurtz • Barbara Abramoff Levy § • Farah Darliette Lewis • Sarah Mayo • Heather O’Connor • Jaylyn Olivo • Naomi Lopin Osborne • Laurie Stewart Otten • Laura Stanfield Prichard • Livia M. Racz • Adi Rule • Laura C. Sanscartier • Judy Stafford • Jessica Taylor mezzo-sopranos

Virginia Bailey • Martha A.R. Bewick • Betty Blanchard Blume • Lauren A. Boice • Abbe Dalton Clark • Sarah Cohan • Barbara Durham • Paula Folkman # • Debra Swartz Foote • Dorrie Freedman* • Irene Gilbride # • Denise Glennon • Mara Goldberg • Lisa Sheppard Hadley • Rachel K. Hallenbeck • Julie Hausmann • Betty Jenkins • Irina Kareva • Evelyn Eshleman Kern # • Yoo-Kyung Kim • Annie Lee • Gale Tolman Livingston # • Louise-Marie Mennier • Elodie Simonis • Julie Steinhilber # • Michele C. Truhe • Cindy M. Vredeveld • Marguerite Weidknecht • Tibisay Zea

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Erik Johnson, Chorus Manager Bridget L. Sawyer-Revels, Assistant Chorus Manager

week 21 guest artists 51 PALS Children’s Chorus Andy Icochea Icochea, Artistic Director With singing at its core and training in dance and drama, PALS Children's Chorus changes the lives of its children, building confidence, discipline, leadership, and a love of music that will last a lifetime. Throughout its history, PALS has col- laborated with internationally known ensembles includ- ing the Boston Symphony Orchestra, Boston Pops, Boston Lyric Opera, and the Boston Early Music Festival. PALS choristers perform a wide range of repertoire, from classi- cal, to world music, to gospel and new music, and present an opera production every year. In addition to performances with the Boston Symphony Orchestra, this season’s high- lights include the American premiere of Raoul Gehringer's opera Moby Dick. Founded twenty-four years ago as a non-profit organization, PALS serves 180 children, ages 6-15, from the greater Boston area, regardless of their financial circumstance. For more infor- mation, please go to www.palschildrenschorus.org.

52 Andy Icochea Icochea Conductor Andy Icochea Icochea is a multi-faceted musician who regularly appears as an orchestral and opera conductor, choral conductor, and accompanist, and whose compositions and arrangements are performed internationally. He has appeared in more than 500 concerts in twenty-seven countries and four continents, in such venues as Carnegie Hall, Suntory Hall, the Wiener Musikverein, and the Berliner Konzerthaus. Mr. Icochea has collaborated as choral conductor and rehearsal accompanist under Riccardo Muti, Georges Prêtre, Adám Fischer, Franz Welser-Möst, Bertrand de Billy, Bernard Haitink, and Charles Dutoit. His choruses have performed with the Vienna Philharmonic, the Vienna Symphony, the Royal Stockholm Symphony Orchestra, and the Boston Symphony. Orchestra. As an opera conductor, he has led world premieres in Austria and Italy. His own compositions and arrangements have been performed internationally. Born and raised in Peru, Andy Icochea Icochea began studying piano and music theory at age seven, held his first post as an accompanist at fourteen, and began conducting children’s choirs the following year. He trained at Peru’s National Conserva- tory of Music, at Westminster Choir College in Princeton, NJ, and at the Vienna Conservatory. Before joining PALS, he was Kapellmeister of the Vienna Boys Choir for six years.

PALS Children’s Chorus Andy Icochea Icochea, Artistic Director

Tim Beinborn • Alyse Bierly • Nathaniel Bohrs • Harrison Chang • Thomas Cheng • Maximilian Deisboeck • Mira Donahue • Gregor Eisenhut • Jack Flood • Joseph Genzer • Emily Gerson • Ben Gordon • Samuel Greene • Richard Halloran • Sarah Hough • Evan Hsu • Wilson Hsu • Masha Kazantsev • Cora Lauffer • Robert Lester • Kevin Liao • Friedrich Liu • Miles Luther • Peter Maheras • Ailish Maheras • Adam Marcelo • Samson Morgan • William Niemann • Maya Prabhakar • Jacobo Regojo • Miguel Sandler-Espinosa • Richard Schur • Noah Sesling • Max Siegel • Nicholas Slayton • Louis Sokolow • Michael Stankovich • Francisco Viana • Javier Werner

week 21 guest artists 53 The Great Benefactors

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

ten million and above

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

seven and one half million

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

five million

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

two and one half million

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

54 one million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/ Gregory Bulger and Richard Dix • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The Andrew W. Mellon Foundation • Kate and Al Merck • Henrietta N. Meyer • Mr. and Mrs. ‡ Nathan R. Miller • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (9)

‡ Deceased

week 21 the great benefactors 55

The Higginson Society

john m. loder, chair, boston symphony orchestra annual funds judith w. barr, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to the philanthropic leadership of our Higginson Sponsor members and those who have donated at the Sponsor level and above. The Symphony Annual Fund provides more than $3 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by March 11, 2013. For more information about joining the Higginson Society, contact Allison Cooley, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor.

chairman’s $100,000 and above Peter and Anne Brooke • Alan J. and Suzanne W. Dworsky • Ted and Debbie Kelly

1881 founders society $50,000 to $99,999 Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Susan and Dan Rothenberg • Stephen and Dorothy Weber • Anonymous encore $25,000 to $49,999 Mr. and Mrs. George D. Behrakis • Joan and John Bok • Mr. and Mrs. John M. Bradley • Jan Brett and Joseph Hearne • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan R. Dynner • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Amos B. Hostetter, Jr. • The Karp Family Foundation • Paul L. King • Pamela S. Kunkemueller • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Mr. and Mrs. Jeffrey E. Marshall • Kate and Al Merck • Henrietta N. Meyer • Sandra Moose and Eric Birch • Megan and Robert O’Block • Drs. Joseph and Deborah Plaud • William and Lia Poorvu • Louise C. Riemer • Richard and Susan Smith Family Foundation • Kitte ‡ and Michael Sporn • Theresa M. and Charles F. Stone III • Roberta and Stephen R. Weiner • Linda M. and D. Brooks Zug • Anonymous (3) maestro $15,000 to $24,999 Alli and Bill Achtmeyer • Lois and Harlan Anderson • Lorraine D. and Alan S. ‡ Bressler • Catherine and Paul Buttenwieser • Ronald and Ronni Casty • Katherine Chapman and Thomas Stemberg • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. and Roberta Cohn • Mr. and Mrs. Miguel de Bragança •

week 21 the higginson society 57 Julie and Ronald M. Druker • Thelma and Ray Goldberg • Mrs. Francis W. Hatch, Jr. • Mr. and Mrs. Brent L. Henry • Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Jane and Robert J. Mayer, M.D. • Ann Merrifield and Wayne Davis • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Daniel Pierce • William and Helen Pounds • Mr. Mark R. Rosenzweig and Ms. Sharon J. Mishkin • Benjamin Schore • Kristin and Roger Servison • Joan D. Wheeler • Robert and Roberta Winters

patron $10,000 to $14,999 Amy and David Abrams • Lucille Batal • Gabriella and Leo Beranek • Roberta and George Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Eleanor L. and Levin H. Campbell • Joseph M. Cohen • Donna and Don Comstock • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Happy and Bob Doran • Deborah and Philip Edmundson • Laurel E. Friedman • David Endicott Gannett • Jody and Tom Gill • Barbara and Robert Glauber • Mr. and Mrs. Ulf B. Heide • John Hitchcock • Dr. Susan Hockfield and Dr. Thomas Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Farla Krentzman • Mr. and Mrs. Peter E. Lacaillade • Anne R. Lovett and Stephen G. Woodsum • John Magee • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Maureen Miskovic • Richard P. and Claire W. Morse • Jerry and Mary Nelson • Mary S. Newman • Annette and Vincent O’Reilly • Jane and Neil Pappalardo • Susanne and John Potts • Douglas Reeves and Amy Feind Reeves • Linda H. Reineman • Debora and Alan Rottenberg • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Wendy Shattuck and Samuel Plimpton • Christopher and Cary Smallhorn • Maria and Ray Stata • Tazewell Foundation • Elizabeth and James Westra • Rhonda and Michael J. Zinner, M.D. • Anonymous (4)

sponsor $5,000 to $9,999 Noubar and Anna Afeyan • Vernon R. Alden • Helaine B. Allen • Joel and Lisa Alvord • Mr. and Mrs. Walter Amory • Mr. and Mrs. Peter Andersen • Dr. Ronald Arky • Dorothy and David Arnold • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Lloyd Axelrod, M.D. • Mrs. Hope Lincoln Baker • Judith and Harry Barr • Mrs. Tracy W. Barron • John and Molly Beard • Roz and Wally Bernheimer • Brad and Terrie Bloom • Mark G. and Linda Borden • John and Gail Brooks • Drs. Andrea and Brad Buchbinder • Joanne and Timothy Burke • Julie and Kevin Callaghan • The Cavanagh Family • Ronald and Judy Clark • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Eric Collins and Michael Prokopow • Sarah Chapin Columbia and Stephen Columbia • Victor Constantiner • Albert and Hilary Creighton • Mrs. Bigelow Crocker • Mr. and Mrs. David D. Croll • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Gene and Lloyd Dahmen • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Lori and Paul Deninger • Charles and JoAnne Dickinson • Michelle Dipp • Mrs. Richard S. Emmett • Priscilla Endicott • Pamela Everhart and Karl Coiscou • Mr. and Mrs. Joseph F. Fallon • Roger and Judith Feingold • Shirley and Richard Fennell • Mr. and Mrs. Andrew J. Ferrara • Larry and Atsuko Fish • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Ms. Ann Gallo • Beth and John Gamel • Dozier and Sandy Gardner • Dr. and Mrs. Levi A. Garraway • Jane and Jim Garrett • Jordan and Sandy Golding • Mr. and Mrs. Mark Goldweitz •

58 Mr. Jack Gorman • Raymond and Joan Green • Vivian and Sherwin Greenblatt • The Grossman Family Charitable Foundation • Grousbeck Family Foundation • John and Ellen Harris • Carol and Robert Henderson • Mr. and Mrs. Richard D. Hill • Patricia and Galen Ho • Albert A. Holman III and Susan P. Stickells • Mr. and Mrs. Charles Hood • Timothy P. Horne • Judith S. Howe • Mr. and Mrs. Roger Hunt • Yuko and Bill Hunt • Joanie V. Ingraham • Mimi and George Jigarjian • Holly and Bruce Johnstone • Darlene and Jerry Jordan • Joan Bennett Kennedy • Mrs. Thomas P. King • Seth A. and Beth S. Klarman • Mr. and Mrs. Jack Klinck • Dr. Nancy Koehn • The Krapels Family • Barbara N. Kravitz • Rosemarie and Alexander Levine • Nancy Lurie Marks Family Foundation • Linda A. Mason and Roger H. Brown • Kurt and Therese Melden • Dale and Robert Mnookin • Mr. and Mrs. Paul M. Montrone • Kristin A. Mortimer • Rod and Dawn Nordblom • Peter and Minou Palandjian • Mr. and Mrs. Joseph M. Paresky • Mr. Donald R. Peck • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. and Mrs. Irving H. Plotkin • Josephine A. Pomeroy • Jonathan and Amy Poorvu • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • James and Melinda Rabb • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. Graham Robinson and Dr. Jeanne Yu • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Sean Rush and Carol C. McMullen • Norma and Roger A. Saunders • Cynthia and Grant Schaumburg • Ms. Lynda Anne Schubert • Arthur and Linda Schwartz • Ron and Diana Scott • Robert and Rosmarie Scully • Anne and Douglas H. Sears • Mr. Marshall H. Sirvetz • Gilda and Alfred Slifka • Ms. Nancy F. Smith • Mrs. Fredrick J. Stare • John and Katherine Stookey • Patricia L. Tambone • Mr. and Mrs. Theodore H. Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Dr. Magdalena Tosteson • John Travis • Blair Trippe • Marc and Nadia Ullman • Robert A. Vogt • Gail and Ernst von Metzsch • Eric and Sarah Ward • Harvey and JoÎlle Wartosky • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • Drs. Christoph and Sylvia Westphal • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Patricia Plum Wylde • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (3)

week 21 the higginson society 59 Corporate, Foundation, and Government Contributors

The support provided by members of the corporate community, foundation grantors, and government agencies, enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community engagement programs throughout the greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges the following contributors during the 2011-12 season for their generous support of the BSO Business Partners, corporate events, corporate sponsorships, foundations programs, and government grants.

$500,000 and above

Bank of America, Anne M. Finucane, Robert E. Gallery • Fidelity Investments • UBS

$250,000 - $499,999

EMC Corporation, William J. Teuber, Jr. • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts, Paul Tormey, Brian Richardson • Massachusetts Cultural Council

$100,000 - $249,999

American Airlines, Jim Carter, Gianni Tronza • Arbella Insurance Foundation, John F. Donohue • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation, Dawson Rutter • Dick and Ann Marie Connolly • Mugar Foundation • National Endowment for the Arts • Miriam Shaw Fund

$50,000 - $99,999

RBS Citizens Financial Group, Inc., Robert D. Matthews, Jr. • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Harvard University Division of Continuing Education, Carol M. Stuckey • The Geoffrey C. Hughes Foundation • Intercontinental Real Estate Corporation, Peter Palandjian • MetLife Foundation • National Endowment for the Humanities • Putnam Investments, Robert L. Reynolds • Suffolk Construction Company and Suffolk Construction’s Red and Blue Foundation, John F. Fish

60 $25,000 - $49,999

The Aaron Copland Fund for Music • Accenture, William D. Green, Richard P. Clark • Associated Grant Makers of Massachusetts • Connell Limited Partnership, Frank Doyle • Elizabeth Taylor Fessenden Foundation • Fireman Capital Partners, Dan Fireman • Goodwin Procter LLP, Regina M. Pisa • Greater Media, Inc., Peter H. Smyth • Grew Family Charitable Foundation • John Hancock Financial Services, Craig Bromley • Kingsbury Road Charitable Foundation • Liberty Mutual Group and Liberty Mutual Foundation, Inc., Edmund F. Kelly • The Lowell Institute • Carolyn and Peter S. Lynch • The McGrath Family/Highland Street Foundation • Northeast Utilities, Thomas J. May • Mr. and Mrs. Stephen G. Pagliuca • The Parthenon Group, William F. Achtmeyer • Perspecta Trust, LLC, Paul M. Montrone • Red Sox Foundation, David Ginsberg, Meg Vaillancourt • Repsol Energy North America, Phillip Ribbeck • State Street Corporation, Joseph L. Hooley, John L. Klinck, Jr. • Sandra Urie and Frank Herron • Edwin S. Webster Foundation • Yawkey Foundation II

$15,000 - $24,999

Affiliated Managers Group, Inc., Sean M. Healey • Arthur J. Hurley Company, Inc., Arthur J. Hurley III • Anita and Josh Bekenstein • Bingham McCutchen, LLP , Catherine Curtin • Blue Cross Blue Shield of Massachusetts, Andrew Dreyfus • Boston Private Bank & Trust Company, Mark D. Thompson • Boston Properties, Inc., Douglas T. Linde, Bryan Koop • The Britten-Pears Foundation • Eileen and Jack Connors, Jr. • Eaton Vance Corp., Thomas E. Faust, Jr. • Ernst von Siemens Music Foundation • Goldman, Sachs & Co., Stephen B. Kay • Herald Media, Inc., Patrick J. Purcell • J.P. Marvel Investment Advisors, Inc., Joseph F. Patton, Jr. • John Moriarty & Associates, Inc. • Loomis, Sayles & Company, L.P., Robert J. Blanding • Medical Information Technology, Inc., Howard Messing • Natixis Global Asset Management, John Hailer • New Balance Athletic Shoe, Inc., James S. Davis • New England Patriots Charitable Foundation, Jonathan A. Kraft • The Alice Ward Fund of The Rhode Island Foundation • Saracen Properties, Kurt W. Saraceno • William E. and Bertha E. Schrafft Charitable Trust • Sovereign | Santander, John P. Hamill, Edvaldo Morata • United Airlines • Verizon, Donna Cupelo • Waters Corporation, Douglas A. Berthiaume • Wayne J. Griffin Electric, Inc., Wayne J. Griffin • Wolf & Company, P.C., Mark A. O’Connell • Anonymous

$10,000 - $14,999

Adage Capital Management, Robert G. Atchinson • Advent International Corporation, Peter A. Brooke • Albrecht Auto Group, George T. Albrecht • Analog Devices, Inc., Ray Stata • Baystate Financial Services, David C. Porter •

week 21 corporate, foundation, and government contributors 61 Bicon LLC, Vincent J. Morgan, D.M.D. • BNY Mellon, Lawrence Hughes, James P. Palermo • Boston Seed Capital, Nicole M. Stata • Dennis and Kimberly Burns • Cabot Corporation, Martin O’Neill • Charles River Laboratories, Inc., James C. Foster • Chubb Group of Insurance Companies, John Swords • Cisco Systems, Inc., Richard Wenning • Mrs. James F. Cleary • Consigli Construction Co., Inc., Anthony Consigli • Deluxe Corporation Foundation, Mary Ann Henson • Paul and Sandy Edgerley • Edwards Wildman • Ernst & Young LLP, Frank Mahoney • First Republic Bank, Beverly A. Buker • Flagship Ventures, Noubar Afeyan • Germeshausen Foundation • Gilbane Building Company, Ryan E. Hutchins • GRAMMY Foundation • Harvard Pilgrim Health Care, Eric H. Schultz • Hill Holliday, Michael Sheehan, Karen Kaplan • IBM, Maura O. Banta • Ironshore, Kevin H. Kelley • Kaufman & Company, LLC, Sumner Kaufman • KODA Enterprises Group, LLC, William S. Karol • Roger and Myrna Landay Charitable Foundation • June Rockwell Levy Foundation • LPL Financial Services, Mark S. Casady • Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, P.C., R. Robert Popeo, Esq. • Navigator Management Company, Thomas M. O'Neill • New England Development, Stephen R. Karp • The New England Foundation, Joseph C. McNay • Nypro, Gordon B. Lankton • Public Consulting Group, William S. Mosakowski • Richards Barry Joyce & Partners, LLC, Robert B. Richards, Michael J. Joyce • Billy Rose Foundation • Saquish Foundation • Shawmut Design and Construction, Thomas E. Goemaat • Signature Printing & Consulting, Woburn, MA, Brian Maranian • SMMA, Ara Krafian • Spencer Stuart, Mike Anderson • Staples, Inc., Ronald L. Sargent • The Studley Press, Inc., Suzanne K. Salinetti • TA Realty, Michael Ruane • Jean C. Tempel • Tetlow Realty Associates, Inc., Paul B. Gilbert • Trianz Consulting, Inc., Savio Rodrigues • Tsoi/Kobus & Associates, Richard L. Kobus • Tufts Health Plan, James Roosevelt, Jr. • United Liquors, Ltd., Paul Canavan • Paul and Kelly Verrochi • Weiner Ventures, Adam J. Weiner • William Gallagher Associates, Philip J. Edmundson • Wingate Companies, Mark Schuster

$5,000 - $9,999

Affinity Solutions • AGAR Supply Co., Inc. • APS • Arnold Worldwide • The Arts Federation • Atlantic Trust • AVFX, Inc. • Bass, Doherty, & Finks, P.C. • Adelaide Breed Bayrd Foundation • The Beal Companies, LLC • Berkshire Bank • Blake & Blake Genealogists, Inc. • Braver PC • Hamilton Charitable Corporation • Cambridge Savings Bank • Cambridge Trust Company • Cleary Insurance, Inc. • Diddy and John Cullinane • Cumberland Farms Gulf Oil • Daley and Associates, LLC • Dana-Farber Cancer Institute • Davidson Kempner Capital Management LLC • Irene E. and George A. Davis Foundation • Demoulas Foundation • Alice Willard Dorr Foundation • The Drew Company, Inc. • Gaston Dufresne Foundation • Flagstar Bank, FSB • Gerondelis Foundation • Gibson Sotheby's International Realty • Global Partners LP • Gordon Brothers Group • Hays Companies • High Output, Inc. • Horne Family Charitable Foundation • Income Research & Management, Inc. •

62 Jack Madden Ford Sales, Inc. • Jofran Inc. • KPMG LLP • The Krentzman Family • Leader Bank, N.A. • Lee Kennedy Co., Inc. • Martignetti Companies • McKinsey & Company, Inc. • Meredith & Grew, Inc. • Lucia B. Morrill Charitable Foundation • Murphy & King Professional Corporation • New Boston Fund, Inc. • NGP Energy Capital Management, LLC • O'Neill and Associates, LLC • PwC • Risk Strategies Company • Rubin and Rudman, LLP • Thomas A. and Georgina T. Russo • State Street Development Management Corp. • Abbot and Dorothy H. Stevens Foundation • Edward A. Taft Trust • The TJX Companies, Inc. • Towers Watson • Ty-Wood Corporation • The George R. Wallace Foundation • Stetson Whitcher Fund • Wilmer Cutler Pickering Hale and Dorr LLP • Anonymous

$2,500 - $4,999

The Amphion Foundation • Biogen Idec Foundation • Boston Bruins • Brookline Youth Concerts Fund • Andrea and Erik Brooks • Cambridge Community Foundation • Carson Limited Partnership • Katherine Chapman and Thomas Stemberg • Clough Capital Partners, LP • Courier Corporation • CRA International • Katharine L. W. and Winthrop M. Crane, 3D Charitable Foundation • James W. Flett Co. Inc • Gaston Electrical Company, Inc. • Keith and Debbie Gelb • Jackson and Irene Golden 1989 Charitable Trust • Elizabeth Grant Trust • Elizabeth Grant Fund • Gryphon International Investment Corp. • The Hanover Insurance Group • Heritage Flag Company • Jay Cashman, Inc. • Longfellow Benefits • McGladrey • Daniela and Michael Muldowney • NorBella, Inc. • Nordblom Company • Oxford Fund • Abraham Perlman Foundation • Richard Purtell • Sametz Blackstone Associates • Kristin and Tobias Welo • Anonymous

Symphony Shopping

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

week 21 corporate, foundation, and government contributors 63

Administration

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

Bridget P. Carr, Senior Archivist • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician boston pops Dennis Alves, Director of Artistic Planning

Gina Randall, Administrative/Operations Coordinator • Amanda Severin, Manager of Artistic Planning and Services business office

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

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

week 21 administration 65 development

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

Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Christine Glowacki, Annual Funds Coordinator, Friends Program • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager

Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager

Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 21 administration 67 68 information technology Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

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

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

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

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

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

week 21 administration 69

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Tanglewood, Howard Arkans Secretary, Audley H. Fuller Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2012-13

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Sybil Williams • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Instrument Playground, Beverly Pieper • Mailings, Rosemary Noren • Membership Table/Hall Greeters, Elle Driska • Newsletter, Judith Duffy • Recruitment/Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon

week 21 administration 71 Next Program…

Tuesday, April 2, 8pm

rafael frühbeck de burgos conducting

hindemith “konzertmusik” for strings and brass, opus 50 Mässig schnell, mit Kraft—Sehr breit, aber stets fliessend [Moderately fast, with energy—Very broad, but flowing] Lebhaft—langsam—lebhaft [Lively—slow—lively]

rachmaninoff “rhapsody on a theme of paganini,” opus 43, for piano and orchestra garrick ohlsson

{intermission}

bartók concerto for orchestra Andante non troppo—Allegro vivace “Giuoco delle coppie”: Allegretto scherzando “Elegia”: Andante, non troppo “Intermezzo interrotto”: Allegretto Finale: Presto

Rafael Frühbeck de Burgos returns to lead a program bookended by two works tied to the history of the Boston Symphony Orchestra—a program also to be performed tomorrow night, in New York’s Carnegie Hall. The concert begins with Hindemith’s Konzertmusik for Strings and Brass, commissioned by Serge Koussevitzky and the BSO on the occasion of the orchestra’s 50th anniversary in 1931. Bartók’s ingeniously kaleidoscopic Concerto for Orchestra, a Koussevitzky commission premiered by the BSO in 1944, brings the concert to a close. Between these two works, the great American pianist Garrick Ohlsson is soloist in Rachmaninoff’s ever-popular Rhapsody on a Theme of Paganini.

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at bso.org, or by calling SymphonyCharge at (617) 266-1200 or toll-free at (888) 266-1200, Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

72 Coming Concerts… friday previews: The BSO offers half-hour Friday Preview talks prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall.

Tuesday ‘C’ April 2, 8-10 Thursday ‘C’ April 18, 8-10:10 RAFAELFRÜHBECKDEBURGOS, conductor Friday ‘A’ April 19, 1:30-3:40 GARRICKOHLSSON, piano Saturday ‘B’ April 20, 8-10:10 Tuesday ‘B’ April 23, 8-10:10 HINDEMITH Konzertmusik for Strings and Brass MEMBERSOFTHEBOSTONSYMPHONY ORCHESTRA RACHMANINOFF Rhapsody on a Theme of Paganini BRITTEN Fanfare for St. Edmundsbury BARTÓK Concerto for Orchestra MOZART Serenade No. 11 in E-flat for winds, K.375 DVORÁKˇ Serenade for Strings UnderScore Friday April 12, 8-10:00 TIPPETT Praeludium, for brass, bells, (includes comments from the stage) and percussion Saturday ‘B’ April 13, 8-9:50 BRITTEN The Young Person’s Guide OLIVERKNUSSEN, conductor to the Orchestra (Variations PINCHASZUKERMAN, violin and Fugue on a Theme by Henry Purcell) CLAIREBOOTH, soprano MIASKOVSKY Symphony No. 10 KNUSSEN Violin Concerto Thursday ‘A’ April 25, 8-10 KNUSSEN Whitman Settings, for UnderScore Friday April 26, 8-10:10 soprano and orchestra (includes comments from the stage) MUSSORGSKY Pictures at an Exhibition, Saturday ‘A’ April 27, 8-10 arranged by Leopold Tuesday ‘C’ April 30, 8-10 Stokowski BERNARDHAITINK, conductor CAMILLATILLING, soprano Monday April 15, 7-8:45 SCHUBERT Symphony No. 5 (Special non-subscription concert) MAHLER Symphony No. 4 MARCELOLEHNINGER, conductor GABRIELAMONTERO, piano Sunday, April 28, 3pm ALL- Piano Concerto No. 5, Emperor Jordan Hall, New England Conservatory BEETHOVEN Symphony No. 5 BOSTONSYMPHONYCHAMBERPLAYERS PROGRAM JANÁCEKˇ Mládi, for flute, oboe, two clarinets, bassoon, and horn MARTINU˚ Nonet for winds and strings BRAHMS Clarinet Trio in A, Op. 114

Programs and artists subject to change.

week 21 coming concerts 73 Symphony Hall Exit PlanPlanSymphony

74 Symphony Hall InformationInformationSymphony

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to a random inspection before entering the building.

Each ticket purchased from the Boston Symphony Orchestra constitutes a license from the BSO to the pur- chaser. The purchase price of a ticket is printed on its face. No ticket may be transferred or resold for any price above its face value. By accepting a ticket, you are agreeing to the terms of this license. If these terms are not acceptable, please promptly contact the Box Office at (617) 266-1200 or [email protected] in order to arrange for the return of the ticket(s).

week 21 symphony hall information 75 Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

76