Summer 2012 Boston Symphony Orchestra

boston symphony orchestra summer 2012

Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate

131st season, 2011–2012

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 • Vincent M. O’Reilly, Treasurer

William F. Achtmeyer • George D. Behrakis • Alan Bressler • Jan Brett • Susan Bredhoff Cohen, ex-officio • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Carmine A. Martignetti • Robert J. Mayer, M.D. • Aaron J. Nurick, ex-officio • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Edward I. Rudman • Arthur I. Segel • Thomas G. Stemberg • Theresa M. Stone • 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 • Helene R. Cahners • James F. Cleary† • 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 • William J. Poorvu • Irving W. Rabb† • Peter C. Read • 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-Chairman • Peter Palandjian, Co-Chairman • Noubar Afeyan • David Altshuler • Diane M. Austin • 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 Burke • Ronald G. Casty • Richard E. Cavanagh • Carol Feinberg Cohen • Richard F. Connolly, Jr. • Charles L. Cooney • Ranny Cooper • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Thomas E. Faust, Jr. • Peter Fiedler • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Robert P. Gittens • 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 • Robert Kleinberg • John L. Klinck, Jr. • Farla H. Krentzman • Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Nancy K. Lubin • Jay Marks • Jeffrey E. Marshall • Linda A. Mason • Robert D. Matthews, Jr. • C. Ann Merrifield • Dr. Martin C. Mihm, Jr. • Maureen Miskovic •

Programs copyright ©2012 Boston Symphony Orchestra Cover photo by Stu Rosner Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Vincent Panetta, Jr. • Joseph Patton • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Joyce L. Plotkin • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • John Reed • Dr. Carmichael Roberts • Susan Rothenberg • Alan Rottenberg • 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 • 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 • Mrs. James C. Collias • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • Betsy P. Demirjian • JoAnne Walton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • Myrna H. Freedman • Mrs. Thomas Galligan, Jr. • Mrs. James Garivaltis • Dr. Arthur Gelb • 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 • David I. Kosowsky • Robert K. Kraft • Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Charles P. Lyman • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Roger A. Saunders • Lynda Anne Schubert • Mrs. Carl Shapiro • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Robert A. Wells • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased Tanglewood The Tanglewood Festival

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

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

sive, he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to further simplify Saarinen’s plans, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kousse- vitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expan- sion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— was inaugurated on July 7, 1994, providing a The tent at Holmwood, where the BSO played modern venue throughout the summer for its first Berkshire Symphonic Festival concerts in 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Ozawa Hall with its attendant buildings also serves as the focal point of the

Tanglewood Music Center’s Leonard Bernstein Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individ- ual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the season closes with a weekend-long Jazz Festival. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

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

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 21 through August 26. Hours are from 10 a.m. to 5 p.m. Monday through Friday, from 9 a.m. through intermission of the evening concert on Saturday, and from noon until 5 p.m. on Sunday. There is no admission charge. This Summer’s Archival Exhibits at the Tanglewood Visitor Center Celebrating the 75th Anniversary of the BSO at Tanglewood

To mark the 75th anniversary of the Boston Symphony Orchestra’s first concerts at Tanglewood, the historical displays located in the Tanglewood Visitor Center have been completely refurbished. The historical displays in the Visitor Center are located on the first floor of the Tappan House, the manor house built on the Tanglewood estate by William Aspinwall Tappan and his wife Caroline Sturgis Tappan in the 1860s. The exhibit contains information and artifacts docu- menting the history of Tangle- wood the place as well as the ori- gins and early years of the Tanglewood Music Festival, with special emphasis on how Tanglewood became the BSO’s summer home in 1937.

Serge Koussevitzky with Mrs. Gorham This year, visitors will also be able Brooks and her daughter Daphne to experience aspects of Brooks (later Daphne Brooks Prout), Tanglewood’s history with a new who donated the Tanglewood estate to the BSO (BSO Archives/courtesy Interactive Media Exhibit. Daphne Brooks Prout) Located in what was originally the Tappan House library, the Interactive Media Exhibit allows visitors to watch historical footage and other films about the history of Program book for the BSO's first Tanglewood, travel the Tanglewood Time Line, and learn Tanglewood concerts in August 1937 about the 75 archival audio (BSO Archives) downloads being made available this summer as part of the 75th-anniversary celebrations.

Leonard Bernstein, Aaron Copland, and Serge Koussevitzky at Tangle- wood in the late 1940s (BSO Erich Leinsdorf conducting the Berkshire Music Center Archives/photo by Ruth Orkin) Orchestra (now called the Tanglewood Music Center Orchestra) in the Theatre-Concert Hall, c.1967 (BSO Archives/photo by Heinz Weissenstein, Whitestone Photo)

In Consideration of Our Performing Artists and Patrons

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

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. until intermission; and Sunday from 10 a.m. until intermission. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431. FOOD AND BEVERAGES can be obtained at the Tanglewood Café, the Tanglewood Grille, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m., on Saturdays from 9 a.m. to 2:30 p.m., and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open from 5:30 p.m. through intermission on Fridays and Saturdays and from noon through intermission on Sundays. Visitors are invited to picnic before concerts. Meals to go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seventeen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. OPEN REHEARSALS by the Boston Symphony Orchestra take place each Saturday morning at 10:30, for the benefit of the orchestra's Pension Fund. Seating in the Koussevitzky Music Shed is reserved and ticketed at $30 and $20 per ticket. General admission to the lawn is $10. Tickets are available at the Tanglewood box office. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

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

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

Boston Symphony Orchestra Tanglewood 2012

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

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

Now in its 131st season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown. Today the BSO reaches millions through radio, television, the internet, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the 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 worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music. The BSO gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, Boston Symphony Orchestra concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was Major Henry Lee Higginson, succeeded by the German-born and -trained conductors Wilhelm founder of the Boston Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating Symphony Orchestra in the appointment of the legendary Karl Muck, who served two (BSO Archives) 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 fulfilling Major Higginson’s wish to give “concerts of a lighter kind of music.” These concerts, soon to be given in the spring- time 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 conductor in 1918, was succeeded a year later by Pierre Monteux. These appoint- ments marked the beginning of a French tradition maintained, even during the

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Russian-born Serge Koussevitzky’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 orchestra 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; he and the players took up annual summer residence at Tanglewood a year later. 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 contemporary 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 Serge Koussevitzky arriving at in Boston, New York, at Tanglewood, and on tour in Tanglewood prior to a concert (BSO Archives) 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.

On the lawn at Tanglewood in 1941, with a sign promoting a gala benefit concert for the United Service Organizations and British War Relief (BSO Archives/courtesy The Berkshire Eagle)

Table of Contents

3 WELCOME TO TANGLEWOOD

Friday, July 27, 6pm (Prelude Concert) 4 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA RANDALL HODGKINSON, piano Music of Mozart and Schubert

Friday, July 27, 8:30pm 11 BOSTON SYMPHONY ORCHESTRA MARCELO LEHNINGER, conductor; NELSON FREIRE, piano Music of Mozart, Villa-Lobos, and Mussorgsky/Ravel

Saturday, July 28, 8:30pm 22 BOSTON SYMPHONY ORCHESTRA CHARLES DUTOIT, conductor; SUSAN GRAHAM, PAUL GROVES, SIR WILLARD WHITE, and CHRISTOPHER FEIGUM, vocal soloists; TANGLEWOOD FESTIVAL CHORUS; PALS CHILDREN’S CHORUS Berlioz “The Damnation of Faust”

Sunday, July 29, 2:30pm 38 BOSTON SYMPHONY ORCHESTRA CHARLES DUTOIT, conductor; EMANUEL AX, piano Music of Beethoven and Tchaikovsky

“This Week at Tanglewood” Once again this summer, Tanglewood patrons are invited to join us in the Koussevit- zky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, July 27 are mezzo-soprano Susan Graham and bass-baritone Sir Willard White. The series continues through Friday, August 24, the final weekend of the BSO’s 2012 Tanglewood season.

Saturday-Morning Open Rehearsal Speakers July 7 and 21; August 4 and 18—Robert Kirzinger, BSO Assistant Director of Program Publications July 28; August 11 and 25—Marc Mandel, BSO Director of Program Publications

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

TANGLEWOODWEEK 4 TABLEOFCONTENTS 1 From the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts: a page about the Tanglewood estate, and the gift of the estate to the BSO as a permanent home for what was then called the Berkshire Symphonic Festival (BSO Archives)

2 Welcome to Tanglewood

On behalf of everyone affiliated with the Boston Symphony Orchestra and Tanglewood, it is my pleasure and privilege to welcome you here this summer as we celebrate the 75th anniversary of the BSO’s first Tanglewood concerts. In 1937, Serge Koussevitzky and the BSO played just six concerts, two of which we are replicating this year—the all-Beethoven opener, and the all-Wagner concert so famously interrupted by a severe thunderstorm. As it turned out, however, that storm provided an unanticipated bonus: it led ultimately to the construction of the Music Shed, which remains the venue for the BSO’s Tanglewood concerts to this day. The 1937 season was actually the second year that Koussevitzky and the orchestra played concerts in the Berkshires: they had first done so in 1936, making such a profound impression that the owners of the Tanglewood estate donated it to Koussevitzky as a place for the BSO to continue its summer music-making. Over the years, Tanglewood has since expanded its offerings to include an entire summer’s worth of concerts encompassing music of all kinds, performed by a vast range of internationally celebrated artists, drawing audiences that today number consistently in the hundreds of thousands each year. Visitors to Tanglewood of course experience more than just world-class music- making: they share experiences that are immeasurably heightened by the beautiful and idyllic surroundings of Tanglewood and the Berkshire Hills—another reason patrons find themselves returning year after year. This summer we take further pride in our surroundings by marking the anniversary with the planting of 75 trees to enhance Tanglewood’s beauty even more. But even as we celebrate Tanglewood’s rich history, we also continue always to look to the future, and not just through an ever-increasing range of musical offerings. Since its founding by Koussevitzky in 1940 as the Berkshire Music Center, the Tanglewood Music Center has continued to train and nourish countless young musicians on the verge of professional careers. We are also continually increasing the range of offerings made possible by the most recent advances in media and technology, including, to mark the 75th anniversary this summer, an Interactive Media Center at the Tanglewood Visitor Center, an Interactive Time Line about the history of Tanglewood, and a series of 75 historic audio performances from the BSO’s Tanglewood archives, being issued as downloads on the BSO’s website. In conclusion, I thank you on behalf of us all for your being at Tanglewood and by supporting us, and this historic festival, with your presence. We hope to see you here again soon, and often. Yours truly,

Mark Volpe Eunice and Julian Cohen Managing Director Boston Symphony Orchestra

TANGLEWOODWEEK 4 WELCOMETOTANGLEWOOD 3 Tanglewood 75 SUMMER 2012

Prelude Concert Friday, July 27, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE VALERIE AND ALLEN HYMAN CONCERT

BO-YOUP HWANG, violin JONATHAN MILLER, cello RANDALL HODGKINSON, piano

MOZART Trio in C for piano, violin, and cello, K.548 Allegro Andante cantabile Allegro

SCHUBERT Piano Trio No. 1 in B-flat, D.898 Allegro moderato Andante un poco mosso Scherzo. Allegro Rondo. Allegro vivace

Bank of America is proud to sponsor the 2012 Tanglewood season.

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited.

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

4 NOTES ON THE PROGRAM

The summer of 1788 was a time of active composition for Wolfgang Amadè Mozart (1756-1791). During the space of six weeks he composed his last three great symphonies, apparently with a series of benefit concerts in view (these concerts seem never to have taken place, and it is doubtful whether Mozart ever heard the symphonies performed). At the same time he was composing a number of smaller works, including some piano trios, for which no commissions are known, so they were probably composed “on speculation” in the hopes of producing salable pieces that might generate some badly needed income. He completed one trio on June 22, only days before finishing the E-flat symphony, the one conventionally numbered 39. In July, during the interim between that symphony and the G minor symphony, No. 40, he turned out two compositions in the key of C major, the key that would soon serve him for the Jupiter Symphony, which he composed in August. For the moment, C major served for something altogether lighter and less dramatic: the well-known piano sonata “for beginners” K.545, and the present trio, K.548, completed in Vienna on July 14 (the G minor symphony was finished eleven days later). The trio begins with a fanfare that throws out hints of the Jupiter to come, but they remain no more than hints. After all, this is music for companionable playing at home, not for dramatic gestures in the concert hall. As was typical of most trios of the day, the pianist remains the leader throughout, while the violin and cello parts, though not negligible, are much less important. The cellist, in particular, rarely does more than strengthen the bass line or flesh out a harmony. But that made it all the more acceptable to the audience of amateur musicians whom Mozart was trying to reach: they were the ones who bought the music, after all, and it was only in sales of sheet music, not through the box office receipts of concert performances, that chamber music paid. The domestic performers no doubt enjoyed the cheerful verve of the work, sighed at the delicate, soft expressiveness of the Andante cantabile, and chuckled at the playfulness of the finale.

It is generally held that the two piano trios of Franz Schubert (1797-1828)—the first, D.898 in B-flat, published posthumously in 1836 as his Opus 99; and the second, D.929 in E-flat, begun in November 1827 and published in 1828 as his Opus 100— date from the same late period in his life. Certainly placing the B-flat trio in this period has allowed commentators to marvel at Schubert’s musical resourcefulness, his ability to create such a “blissfully happy work,” as William Mann describes it, in

TANGLEWOODWEEK 4 PRELUDEPROGRAMNOTES 5 such close proximity to his bleak, melancholy 1827 song cycle, Winterreise. But the sit- uation is complicated, and the lack of an original manuscript for the B-flat trio is a major obstacle, even if musicological studies of paper Schubert used for what he may have intended originally as the work’s slow movement (an Adagio we now know as his Notturno in E-flat, D.897) support a late date, since he used paper of this type between October 1827 and April 1828. John Reed, however, in his Schubert: The Final Years, using a mix of circumstantial and musical-stylistic evidence—the work’s absence from publication lists, the lack of specific mention in contemporary letters, the “generally accepted fact” that Schubert’s emergence in 1824 as a chamber music composer was related to his friendship with three particular musicians who we know performed the work later on, and specific musical traits, among other things— argues that the B-flat trio “must join the growing tally of important works [including the Great C major symphony, Schubert’s final completed work in that genre] which are much earlier than they are commonly supposed to be.” Reed ascribes the work to the year 1825, thus making it a product of Schubert’s middle years. Ultimately we can say with certainty only that the B-flat piano trio came before the one in E-flat. But we can also compare these works as to what they say of Schubert’s development as a composer. In his symphonies from the Fourth on, Schubert experi- ments constantly in his approach to musical themes, harmony, color, and architecture. In fact, Schubert experimented in each musical genre he approached, as is evident also in comparing his two piano trios. In very general terms, one might describe the genial B-flat trio as “better behaved” than its successor in E-flat, whose thematic units aren’t quite so smoothly dovetailed, and whose greater length has struck some analysts as unwieldy. But the two trios are simply different, in musical structure and intent; each reflects different compositional concerns on the compos-

6 er’s part, and one is hard put to choose between them. In his short lifetime, Mozart achieved perfection within the Classical style. We can only conjecture where Schu- bert’s visionary musical explorations might have brought him had he lived longer, especially given the number of sketches abandoned and left behind for works he never finished. The B-flat trio’s opening theme is at once energetic and festive; Mann writes that it “sails in at once, all sunshine and swagger.” The second subject, introduced in the cello’s high register, is more purely lyrical. The development juxtaposes and com- bines elements of both themes, and the approach to the recapitulation is harmonically oblique, touching on third-related keys. The movement concludes with a multi- faceted, surprisingly dramatic coda. The Andante’s main theme is again introduced in the cello’s high register; once the violin takes the lead, the cello provides counter- point and commentary, but soon all three instruments are sharing the melody and enriching the texture. A middle section in C minor provides dramatic contrast which gives way to a more decorative C major before the main theme returns in A-flat. The return to the movement’s home E-flat is again harmonically oblique, touching on E major and C major before reaching the tonic. Harmonic surprises at the local level are a key element in the scherzo; in the contrast- ing Trio, the piano suggests a waltz rhythm against the sweetly reflective, slower-mov- ing strings. The concluding rondo is expansive, filled with a variety of movement and color; note the frequent exploitation of the piano’s bell-like high register. Throughout the finale one shares Schubert’s enjoyment in exploring the commu- nicative capabilities of the instruments, as well as the possibilities suggested by the themes he provides them. He also has no qualms about taking his time, at least until the sudden explosion of the brief, Presto coda.

Notes by STEVEN LEDBETTER (Mozart) and MARC MANDEL (Schubert) Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

Artists

Born in Korea, Bo Youp Hwang gave his first violin solo performance with orchestra when he was twelve, going on to study at the School of Music and Fine Arts and the University of Seoul. He won two prestigious prizes at age eighteen, leading to study with the Fine Arts String Quartet at the University of Wisconsin, and later won first prize in the Young Artists Competition. He was assistant concertmaster of the Mil- waukee Symphony Orchestra for three years before joining the Boston Symphony Orchestra in 1973. He has performed on several occasions as a soloist with the Boston Pops Orchestra, was also active as first violin of the Francesco String Quartet, and has returned to Korea several times in past years to perform with orchestras there. Mr. Hwang has taught many successful young musicians over the years around the Boston area and has also taught at the Boston University Tanglewood Institute and New England Conservatory’s Preparatory School. After attending Pablo Casals’ master class at the University of California at Berkeley, Jonathan Miller chose to abandon his study of literature there and devote himself

TANGLEWOODWEEK 4 PRELUDEPROGRAMNOTES 7 completely to the cello, training with Bernard Greenhouse of the Beaux Arts Trio. Seeking out masters of different schools and styles, he also studied with Raya Gar- bousova, Leonard Rose, Harvey Shapiro, and Edgar Lustgarten. In 1964 and 1965 he was a fellowship student at the Tanglewood Music Center. Before joining the Boston Symphony Orchestra in 1971, Mr. Miller was principal cellist of the Juilliard, Hartford, and San Diego symphony orchestras. He has been soloist with the Hartford Symphony, the Boston Pops Orchestra, and the Metropolitan Symphony Orchestra of Boston, and he has performed frequently in chamber music concerts at Symphony Hall and at Tanglewood. A winner of the Jeunesses Musicales auditions, he toured the United States twice with the New York String Sextet, appeared as a member of the Fine Arts Quartet, and has taught at the New England Conservatory and at the Boston University Tanglewood Institute. He is music director of the Boston Artists Ensemble, which he founded in 1980, and a member of the Gramercy Trio, which received a Copland Foundation Grant for its first CD and made its acclaimed New York debut in 2003 in Merkin Hall. In June 1990, at the invitation of Mstislav Rostropovich, Jonathan Miller was a soloist at the American Cello Congress. Mr. Miller has recorded the Beethoven cello sonatas with pianist Randall Hodgkinson for Centaur records. Grand prize-winner of the International American Music Competition sponsored by the Rockefeller Foundation and Carnegie Hall, pianist Randall Hodgkinson has performed with the New York Philharmonic, the Boston Symphony Orchestra and Boston Pops, the Atlanta Symphony, the Iceland Philharmonic, and the Orchestra of Santa Cecilia in Rome. Among his many solo and collaborative recordings are “Petrouchka and Other Prophecies” (featuring music of Stravinsky, Chopin, Schu- mann, and Beethoven), which was awarded a double five-star rating by BBC Magazine; Dawn Upshaw’s Grammy Award-winning “The Girl with the Orange Lips”; the Beethoven cello sonatas with BSO cellist Jonathan Miller, and Leo Ornstein’s complete music for cello and piano with cellist Joshua Gordon. Mr. Hodgkinson has appeared at numerous festivals, including Tanglewood, BargeMusic, the Santa Fe Festival, Chamber Music Northwest, and Mainly Mozart in La Jolla, California. He performs the two-piano and four-hand repertoire with his wife, Leslie Amper, and the piano trio repertoire with the Gramercy Trio. An artist member of the Boston Chamber Music Society, he is on the faculties of the New England Conservatory of Music, the Longy School in Cambridge, and Boston University.

TANGLEWOODWEEK 4 PRELUDEPROGRAMNOTES 9

Tanglewood 75 SUMMER 2012

Boston Symphony Orchestra 131st season, 2011–2012

Friday, July 27, 8:30pm THE SERGE AND OLGA KOUSSEVITZKY MEMORIAL CONCERT

MARCELO LEHNINGER conducting

MOZART Piano Concerto No. 20 in D minor, K.466 Allegro Romanza Rondo: Allegro assai NELSON FREIRE

VILLA-LOBOS “Momoprecoce,” Fantasy for piano and orchestra Mr. FREIRE

{Intermission}

MUSSORGSKY “Pictures at an Exhibition” (orch. RAVEL) Promenade Gnomus Promenade Il vecchio castello Promenade—Tuileries Bydlo Promenade—Ballet of Chicks in their Shells Samuel Goldenberg and Schmuyle The Market at Limoges Catacombae. Sepulcrum Romanum Cum mortuis in lingua mortua The Hut on Chicken Legs (Baba-Yaga) The Great Gate of Kiev

Bank of America is proud to sponsor the 2012 Tanglewood season.

TANGLEWOODWEEK 4 FRIDAYPROGRAM 11

NOTES ON THE PROGRAM

Wolfgang Amadè Mozart (1756-1791) Piano Concerto No. 20 in D minor, K.466 First performance: February 11, 1785, Vienna, Mehlgrube Casino, Mozart, soloist. First BSO performance: February 20, 1886, Wilhelm Gericke cond., Mrs. H.H.A. Beach, soloist. First Tanglewood performance: July 16, 1961, Charles Munch cond., Seymour Lipkin, soloist. Most recent Tanglewood performance: August 8, 2003, Peter Oundjian cond., Richard Goode, soloist. Mozart left no cadenzas for this concerto. At this performance, Nelson Freire plays cadenzas by the German pianist-composer Carl Reinecke (1824-1910) in abridged versions by the distinguished Brazilian pianist Guiomar Novaes (1895-1979). On February 14, 1785, Leopold Mozart sent his daughter Marianne, called Nannerl by the family, news of her famous younger brother in Vienna: “[I heard] a new and excellent piano concerto by Wolfgang, where the copyist was still at work when we arrived, and your brother didn’t even have time to play through the rondo because he had to supervise the copying operation.” It was not a unique experience for Mozart: in April of the previous year, for example, he had given, to tumultuous applause, the premiere of his exceedingly difficult violin sonata in B-flat, K.454, with a violinist whom he had not met for a rehearsal, who had barely received her part in time for the concert, and with himself playing from sheets that were blank except for a few stenographic reminders. Testimony, all that, not just of Mozart’s facility and confidence but as well to his popularity in the years just after his move from Salzburg to Vienna in 1781. That popularity reached its crest in 1784-85. On March 3, 1784, he wrote to his father that he had had twenty-two concerts in thirty-eight days, adding, “I don’t think that in this way I can possibly get out of practice.” From this popularity grows the astonishing run of piano concertos that Mozart wrote in those years: eleven of them between February 1784 (K.449 in E-flat) and March 1786 (K.488 in A and K.491 in C minor). What happened later tells an equally vivid story of the dip in Mozart’s fortunes. In the remaining not quite six years of his life he wrote just three more piano concertos, the second of them for a journey to Frankfurt, the last for an appearance as supporting artist in a Vienna concert by someone else. K.466 is one of only two Mozart concertos in a minor key, and of the two it is the stormier. It does not surprise that the young Beethoven made a powerful impression as an interpreter of this piece when he moved to Vienna soon after Mozart’s death, and he wrote for it a pair of superbly intelligent and powerfully expressive cadenzas that are still heard more often than any others. And during the nineteenth century, at a time when Mozart was widely perceived as a gifted forerunner of Beethoven, the D minor concerto was the only one of his piano concertos to hold its place in the repertoire. It shows its temper instantly in an opening that is without theme, all atmosphere and gesture: violins and violas throb in agitated syncopations, most of their energy con- centrated on the rhythm, while the pitches at first change little, and low strings anticipate the beats with upward scurries of quick notes. A general crescendo of activity—the bass notes occur twice in each measure rather than just once, the violin melody becomes more active (that is, more like a melody), all the lines push toward higher registers—and the full orchestra enters with flashes of lightning to illumine the scene. Most of what follows in the next few minutes is informed more by pathos than by rage, the most affecting moment of all being reserved for the first entrance—

TANGLEWOODWEEK 4 FRIDAYPROGRAMNOTES 13 with an almost new melody over an already familiar accompaniment—of the solo piano. And now the witty and serious play of conversation, of exchange of materials can begin, and the opportunity for the pianist to ravish with the plangency of simu- lated song or to dazzle with mettlesome traversal of brilliant passages. All these storms eventually recede in a pianissimo fascinatingly seasoned with the distant thud of drums and the low tones, so curiously hollow, of trumpets. The second movement, after this, is by intention mild. Mozart gives no tempo indication; neither does his designation “Romance” denote specific form as much as suggest a certain atmosphere of gently serene songfulness. An interlude brings back the minor mode of the first movement and something of its storms, but this music is far more regular and to that degree less agitating. And in all its formality, Mozart’s slow appli- cation of brakes as he approaches the return of his romance melody is one of his most masterful strokes of rhythmic invention. The piano launches the finale, a feast of irregularities, ambiguities, surprises, and subtle allusions to the first movement. Its most enchanting feature is perhaps the woodwind tune that is first heard harmonically a bit off-center in F major; then in a delicious variant whose attempt to be serious about being in D minor is subverted by the coquettish intrusion of F-sharps and B-naturals from the world of D major; and again after the cadenza, now firmly in major and on the home keynote of D, determined to lead the ebullient rush to the final double bar.

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.

14 Heitor Villa-Lobos (1887-1959) “Momoprecoce,” Fantasy for piano and orchestra First performance: 1929, Amsterdam, Pierre Monteux cond., Magda Tagliaferro, soloist. First BSO performance: The present performance is the first by the Boston Symphony Orchestra and the first at Tanglewood. Brazil has accrued the distinctive mythology of a nation fired by the combustion of cultures. This society of ancient practices and European veins is the foundation of Heitor Villa-Lobos’s work, which stands in the world of classical music as the definitive representation of his homeland. Born in 1887 in Rio into a middle-class family, Villa-Lobos was given a comprehensive musical grounding in cello, clarinet, history, and theory by his strict but unconventional father. He rebelled against the formal rigor of his training, becoming fascinated with his culture’s traditional and popular music; and he soon supplemented his knowledge by wandering the streets of Rio and mastering that unseemly instrument, the guitar. At the time of Momoprecoce’s completion, in 1929, his itinerate musical exploration had led him from the street musicians of Rio to the folk musicians of backcountry villages and finally across the ocean to Paris, where he established himself as a respected émigré-cum-bad boy of modern concert music. He had both the independent nature of a self-taught artist and the support of figures like Milhaud, Rubinstein, Ravel, and Stravinsky. The success of his Parisian premieres cemented his reputation as the most celebrated Latin American composer of his day. Momoprecoce retains both the compositional material and subject of the composer’s 1919 solo piano piece, Carnaval das crianças brasileiras (“Brazilian Children’s Carnival”). A series of whimsical yet tough young characters flit through Crianças: clowns, beg- gars, troublemakers, a fille fatale. Carnival is the time when roles and identities are upended under the safety of masks, and likewise a time when the barriers between childhood innocence and adult cynicism are revealed for the flimsy protectors they are. The seriousness with which Villa-Lobos takes the child’s universe inevitably brings to mind Schumann (and others who acknowledge that childhood is rarely an idyll: The Hunger Games, perhaps?). The link between the personal and the pianistic may also join the two composers; Villa-Lobos too had a pianist wife, Lucília Guimarães, who premiered many of his early piano works. The scenes of Crianças, originally dis- tinct but strung together in a through-composed fashion in Momoprecoce, are the perfect embodiments of childhood memories: vivid but fleeting, laden with meaning that is better intuited than grasped with the mind. It was Villa-Lobos’s fellow Franco-Brazilian, the acclaimed pianist Magda Tagliaferro, who suggested the orchestration of Crianças; she subsequently premiered Momoprecoce with Pierre Monteux in Amsterdam. The new title adds an extra level of both exotic- ness and personality. Mômo refers to the traditional King of Carnival, a more benevo- lent cultural descendent of Momus, the Greek god of ridicule, satire, and mockery. The attachment of precóce makes the protagonist a precocious king, one perhaps preternaturally wise to the ways of revelry. This elusive masquerader is a presence that inhabits the many personalities of the piece—much like the solo pianist, who darts in and out of the accompanying orchestral texture with jaunty melodies, fleet runs, and lively rhythms. Villa-Lobos gives Momoprecoce the title fantasia, but the work actually follows an almost cinematic progression of “scenes.” Though the original movement titles of Crianças are not included in the orchestral score, the scenes, offset by orchestral interludes, take distinctive shape in Momoprecoce’s solo piano episodes. The first, entitled in

TANGLEWOODWEEK 4 FRIDAYPROGRAMNOTES 15 Crianças “O ginête do pierrozinho” (“Little Pierrot’s Pony”), is defined by a clear equine rhythm, introduced rather ominously in the opening measures with an abun- dance of tritones and the severe support of brass and low strings, then cheerfully and unceremoniously picked up by the piano and taken for a whirlwind gallop. Graceful melodies float above in the clarinet and solo violin, while the piccolo pipes up with contrarian triplets. The music of the second scene, “O chicote do diabinho” (“The Little Devil’s Whip”), begins with a rumbling march that is again co-opted into whimsical triads by the entrance of the piano. Villa-Lobos’s orchestrational quirks begin to show themselves; snare drum and tambourine give a taste of his percussion armory, and a running obbligato line introduces the unique presence of the alto saxophone. Returning too are the piccolo’s triplets, which briefly infect the violins. (In fact, the piccolo seems to form its own personality over the course of the piece—definitely one of the slyer, less wholesome characters.) “A manha da pierrete” (translated as “Pierrette’s Morning” and “Pierrette’s Ruse”) is introduced by a mix of orchestral motives: a lilting off-kilter waltz, snatches of brass and woodwind fanfare, and languorous melodies in the strings. Lilt and languor seem to win out as the piano enters in a section marked “Allegretto capriccietto,” duetting flirtatiously with oboe and saxophone. “Os guizos do dominozinho” (“The Little Domino’s Jingle Bells”) is established with a team of chocalho (wood and metal shakers) and sleigh bells. Over the shimmering surface the now familiar trio of clarinet, alto sax, and oboe emerge. The piano moves deftly from a rapid, tumbling melody to a graceful pentatonic one, now helped along by tambourine. The bassoon leads a brief interlude of woodwind solos in a passage that can’t help but bring to mind Stravinsky and Debussy.

16 “As peripécias do trapierozinho” (“The Little Ragpicker’s Adventures”) alternates between apprehensive and carefree; here might be a particular example of the dark side of childhood. A fateful figure of three repeated notes is passed between the piano and bass instruments, but inevitably gives way to an agile, flowing 6/8. In hot pursuit after a blustery triplet passage is “As traquinices do mascarado mignon” (“The Little Masker’s Mischievousness”), featuring saucy flourishes set against a broader, sweeping line, labeled ironico when it appears in the piano. The orchestra rushes onward after the piano’s final flourish, bringing a brief return of the pentatonic melody before segueing to the longing impressionism of “A gaita de um pre- coce fantasiado” (“The Fife of a Precocious Daydreamer”). The finale, “A folia de um bloco infantile” (“Revels of a Band of Children”), is a lucid depiction of an approaching parade, the far-away march in the cellos and contrabasses joined with increasing immediacy by violins, violas, and piano until everyone is celebrating together, driven by the samba-channeling percussion section. The pianist—the spirit of Mômo or Pierrot, this mysteriously ageless entity—bursts through in joyful glissandi and foot-pounding rhythms before leading the band to a triumphant finish.

ZOE KEMMERLING A Boston-based violist and writer, TMC Publications Fellow Zoe Kemmerling is recipient of the Tanglewood Music Center’s Northern California Fellowship this summer.

Modest Mussorgsky (1839-1881) “Pictures at an Exhibition,” orchestrated by Maurice Ravel First performance: October 22, 1922, Paris, Serge Koussevitzky cond. First BSO performance (American premiere): November 7, 1924, Koussevitzky cond. First Tanglewood performance: August 10, 1939, Koussevitzky cond. Most recent Tanglewood performance: August 1, 2010, Charles Dutoit cond. It was Ravel, the Frenchman, who told Koussevitzky, the Russian, about these fasci- nating pieces and ﬁred his enthusiasm. The Pictures were quite unknown then, and Mussorgsky’s publisher, Bessel, had so little faith in them that they stipulated that Ravel’s transcription be for Koussevitzky’s personal use only since there was clearly nothing in it for them. The Mussorgsky/Ravel Pictures quickly became a Koussevitzky specialty, and his frequent and brilliant performances, especially his fantastic 1930 recording with the Boston Symphony, turned the work into an indispensable repertory item. What would particularly have pleased Ravel is that the popularity of “his” Pictures at an Exhibition led pianists to rediscover Mussorgsky’s. In transcribing the Pictures Ravel had been anticipated by M. Tushmalov as early as 1891 and by Sir Henry J. Wood in 1920, and then there were, during the period Ravel’s version was available only to Koussevitzky, Leonidas Leonardi (“whose idea of the art,” remarked a contemporary critic, “is very remote”), Lucien Cailliet, and Leopold Stokowski—not to forget the electronic version by Tomita, the rock one of Emerson, Lake & Palmer, or the more recent orchestral version by Vladimir Ashkenazy.* Ravel’s edition is the time-tested survivor, and for good reason: his is Mussorgsky’s peer, and his transcription stands as the model of what we would ask in probity, technical brilliance, fantasy, imaginative insight, and concern for the name linked with his own.

* One of the more unnecessary transcriptions of Pictures at an Exhibition—or of anything else—is that by Vladimir Horowitz, who made a new version for piano!

TANGLEWOODWEEK 4 FRIDAYPROGRAMNOTES 17 The Pictures are “really” Victor Hartmann’s. He was a close and important friend to Mussorgsky, and his death at only thirty-nine in the summer of 1873 was an occasion of profound and tearing grief for the composer. The critic Stasov organized a post- humous exhibition of Hartmann’s drawings, paintings, and architectural sketches in St. Petersburg in the spring of 1874, and by June 22, Mussorgsky, having worked at high intensity and speed, completed his tribute to his friend. He imagined himself “roving through the exhibition, now leisurely, now briskly in order to come close to a picture that had attracted his attention, and at times sadly, thinking of his depart- ed friend.” The roving music, which opens the suite, he calls “Promenade,” and his designation of it as being “nel modo russico” is a redundancy. Gnomus: According to Stasov, “a child’s plaything, fashioned, after Hartmann’s design in wood, for the Christmas tree at the Artists’ Club... It is something in the style of the fabled Nutcracker, the nuts being inserted into the gnome’s mouth. The gnome accompanies his droll movements with savage shrieks.” Il vecchio castello (The Old Castle): There was no item by that title in the exhibition, but it presumably refers to one of several architectural watercolors done on a trip of Hartmann’s to Italy. Stasov tells us that the piece represents a medieval castle with a troubadour standing before it. Ravel decided basically to make his orchestra the size of the one Rimsky-Korsakov used in his edition of his opera Boris Godunov, the most famous of earlier orchestrations of Mussorgsky, but not, alas, as honorable as Ravel’s. He went beyond those bounds in adding percussion and, most remark- ably, in his inspired use of the alto saxophone here. In this movement, Ravel makes one of his rare compositional changes, adding an extra measure of accompaniment between the ﬁrst two phrases of the melody. Tuileries: The park in Paris, swarming with children and their nurses. Mussorgsky reaches this picture by way of a Promenade. Bydlo: The word is Polish for cattle. Mussorgsky explained to Stasov that the picture represents an ox-drawn wagon with enormous wheels, but adding that “the wagon is not inscribed on the music; that is purely between us.” Ballet of Chicks in their Shells: A costume design for a ballet, Trilby, with choreogra- phy by Petipa and music by Gerber, and given in St. Petersburg in 1871 (no connec- tion with George du Maurier’s famous novel, which was not published until 1893). A scene with child dancers was de rigueur in a Petipa spectacular. Here we have canaries “enclosed in eggs as in suits of armor, with canary heads put on like hel- mets.” The ballet is preceded by a short Promenade. Samuel Goldenberg and Schmuyle: Mussorgsky owned two drawings by Hartmann entitled “A rich Jew wearing a fur hat” and “A poor Jew: Sandomierz.” Hartmann had spent a month of 1868 at Sandomierz in Poland. Mussorgsky’s manuscript has no title, and Stasov provided one, “Two Polish Jews, one rich, one poor,” and he seems later to have added the names of Goldenberg and Schmuyle. Another small alteration here: Mussorgsky ends with a long note, but Ravel has his Goldenberg dis- miss the whining Schmuyle more abruptly. The Market at Limoges: Mussorgsky jots some imagined conversation in the margin of the manuscript: “Great news! M. de Puissangeout has just recovered his cow... Mme. de Remboursac has just acquired a beautiful new set of teeth, while M. de Pantaleon’s nose, which is in his way, is as much as ever the color of a peony.” With a great rush of wind, Mussorgsky plunges us directly into the Catacombae. Sepulcrum Romanum: The picture shows the interior of catacombs in Paris with Hartmann, a friend, and a guide with a lamp. Mussorgsky adds this mar-

18 ginal note: “The creative spirit of the dead Hartmann leads me towards skulls, apos- trophizes them—the skulls are illuminated gently from within.” Cum mortuis in lingua mortua (Among the dead in the language of the dead):A ghostly transformation of the Promenade, to be played “con lamento.” The Hut on Chicken Legs: A clock in 14th-century style, in the shape of a hut with cock’s heads and on chicken legs, done in metal. Mussorgsky associated this with the witch Baba-Yaga, who ﬂew about in a mortar in chase of her victims. The Great Gate of Kiev: A design for a series of stone gates that were to have re- placed the wooden city gates, “to commemorate the event of April 4, 1866.” The “event” was the escape of Tsar Alexander II from assassination. The gates were never built, and Mussorgsky’s majestic vision seems quite removed from Hartmann’s plan for a structure decorated with tinted brick, with the Imperial eagle on top, and, to one side, a three-story belfry with a cupola in the shape of a Slavic helmet.

MICHAEL STEINBERG

Guest Artists

Marcelo Lehninger Born in Brazil, Marcelo Lehninger was appointed assistant conductor of the Boston Symphony Orchestra by James Levine; he occupies the BSO’s Anna E. Finnerty Chair, endowed in perpetuity. Tonight’s concert marks his first Tanglewood appearance with the Boston Symphony Orchestra; earlier this month he made his first appearance with the Tanglewood Music Center Orchestra. Recently appointed music director of the New West Symphony Orchestra in Los Angeles, Mr. Lehninger made his BSO debut in October 2010 and in March 2011 substituted for Mr. Levine at short notice to conduct the first performances of Harrison Birtwistle’s BSO-commissioned Violin Concerto with soloist Christian Tetzlaff in Boston and at New York’s Carnegie Hall. He led two subscription programs with the BSO during the 2011-12 season and leads music of Tchaikovsky, Bernstein, Schulhoff, and Dvoˇrák in BSO subscription concerts this coming October. Mr. Lehninger served as cover conductor for the National Symphony Orchestra’s subscription concerts at the Kennedy Center in Washington, D.C., and as associate conductor of the Minas Gerais Philharmonic Orchestra in Brazil. In 2007-08 he was music advisor of the Youth Orchestra of the Americas, of which Plácido Domingo is artistic advisor. Mr. Lehninger placed second in the First Eleazar de Carvalho National Conducting Competition in Rio de Janeiro in 2001, subsequently leading all of the top orchestras in Brazil. In the United States he has led the Boston, Houston, National, New West, Hartford, Fairfax, and Jacksonville symphony orchestras; he made his Canadian debut in 2011 with the Hamilton Philharmonic. An alumnus of the National Conducting Institute, he made his debut with the National Symphony Orchestra in 2007 and was invited to conduct the NSO again the following year. Chosen by Kurt Masur, Marcelo Lehninger was awarded the First Felix Mendelssohn-Bartholdy Scholarship sponsored by the American Friends of the Mendelssohn Foundation in 2008, spending one month as Mr. Masur’s assistant with the Orchestre National de France, the Gewandhaus Orchestra in Leipzig, and the New York Philharmonic. He participated in the 2009 Malko Competition for Young Conductors in Denmark, leading the Danish Radio Symphony Orchestra at Copenhagen’s Koncerthuset; he also participated in the 2011 Bruno Walter National Conductor Preview, conducting the Louisiana Philhar-

TANGLEWOODWEEK 4 GUESTARTISTS 19 monic. Upcoming appearances include reengagements with the New West, Brazilian, Paraná, and São Paulo symphony orchestras, the Minas Gerais and Hamilton Phil- harmonic orchestras, and debuts with the Florida, New Jersey, and Seattle symphony orchestras, and the Deutsches Symphonie-Orchester in Berlin. Mr. Lehninger holds a master’s degree from the Conductors Institute at New York’s Bard College, where he studied conducting under Harold Farberman and composition with Laurence Wallach. In Brazil he studied with Roberto Tibiriçá, and he has also participated in master class- es with Kurt Masur, Leonard Slatkin, Marin Alsop, Moche Atzmon, and Andreás Weiss. A citizen of Brazil and Germany, Marcelo Goulart Lehninger is the son of pianist Sônia Goulart and violinist Erich Lehninger. He, his wife Laura, and daughter Sofia divide their time between Boston and Los Angeles. For more information please visit marcelolehninger.com.

20 Nelson Freire Born in Brazil, Nelson Freire began piano studies at age three with Nise Obino and Lucia Branco, who had worked with a pupil of Liszt. He made his first public appearance at five, and after winning the 1957 Rio de Janeiro International Piano Competition was awarded a financial scholarship that allowed him to study with Bruno Seidlhofer, teacher of Friedrich Gulda, in Vienna. Seven years later, he won the Dinu Lipatti Medal in London, as well as first prize at the International Vianna da Motta Competition in Lisbon. His international career began in 1959 with recitals and concerts in Europe, the United States, South and Central America, Japan, and Israel. He has collaborated with such distinguished conductors as Pierre Boulez, Charles Dutoit, Valery Gergiev, Fabio Luisi, Hans Graf, Eugen Jochum, Lorin Maazel, Kurt Masur, Rudolf Kempe (with whom he toured several times in the United States and Germany with the Royal Philharmonic Orchestra), John Nelson, Václav Neumann, Seiji Ozawa, André Previn, Gennady Rozh- destvensky, David Zinman, and Hugh Wolff, performing with the major orchestras of Europe and America. Mr. Freire’s 2011-12 season has included performances of Chopin’s Piano Concerto No. 2 with the San Francisco Symphony, Mozart’s Piano Concerto No. 20 with the Montreal Symphony, and Brahms’s Piano Concerto No. 2 with the National Symphony Orchestra in Washington,D.C. In the 2010-11 season, Mr. Freire returned to the Boston Symphony for Schumann’s Piano Concerto under Kurt Masur, and made his debut at the Mostly Mozart Festival in New York’s Avery Fisher Hall under Louis Langrée with Beethoven’s Piano Concerto No. 4. Other recent highlights include performances in Baltimore and Boston, and recitals in San Francisco, Vancouver, New York City (where he played works of Chopin, Brahms, Schumann, and Debussy to a sold-out house at the Metropolitan Museum of Art), Brussels, Paris, Rome, Munich, Lisbon, Luxembourg, Zurich, and, in a triumphant return after a seventeen-year absence, Toronto. Nelson Freire has recorded for Sony/CBS, Teldec, Deutsche Grammophon, IPAM, and London. In 1999 Philips released a CD of his most coveted performances in their acclaimed series “Great Pianists of the 20th Century.” His Sony recording of Chopin’s twenty-four Préludes received the Prix Edison. In October 2001 Mr. Freire signed an exclusive contract with Decca. His Chopin recording for that label received the Diapason d’Or, the Grand Prix de l’Académie Charles Cros, and the Choc du Monde de la Musique, among other awards. He has subsequently released a Schumann disc and three Grammy-nominated recordings of Chopin and Brahms. Among his numerous awards are the French Victoires de la Musique’s Soloist of the Year 2002 and, in January 2005, a special Honorary Award for his lifetime career. Nelson Freire made his BSO debut at Tanglewood in August 1999 with Chopin’s Piano Concerto No. 2, since which time he has performed concertos of Rachmaninoff, Brahms, Schumann, and Grieg with the orchestra. Stu Rosner

TANGLEWOODWEEK 4 GUESTARTISTS 21 Tanglewood 75 SUMMER 2012

Boston Symphony Orchestra 131st season, 2011–2012

Saturday, July 28, 8:30pm

CHARLES DUTOIT conducting

BERLIOZ “The Damnation of Faust,” Dramatic legend in four parts, Opus 24 Part I Plains of Hungary (Introduction) Peasants’ dance Hungarian march Part II In North Germany Faust alone in his study; Easter Hymn Faust and Méphistophélès Auerbach’s cellar in Leipzig Woods and meadows on the banks of the Elbe Chorus of soldiers and students

Faust, Marguerite, and Méphistophélès in an 1828 lithograph (“Faust seeks to seduce Marguerite”) by Eugène Delacroix

22 Part III In Marguerite’s room Faust and Méphistophélès Marguerite (“The King of Thule”) The street in front of Marguerite’s house Marguerite and Faust (Duet) Faust, Marguerite, Méphistophélès (Trio) and Chorus Part IV Marguerite’s room (Romance) Faust (Invocation to Nature) Recitative and Chase (Ride to the Abyss) Pandemonium Epilogue on earth Heaven (Apotheosis of Marguerite)

SUSAN GRAHAM, mezzo-soprano (Marguerite) PAUL GROVES, tenor (Faust) SIR WILLARD WHITE, bass-baritone (Méphistophélès) CHRISTOPHER FEIGUM, baritone (Brander) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor PALS CHILDREN’S CHORUS, ANDY ICOCHEA ICOCHEA, artistic director

Please note that there is no intermission in this concert. A synopsis of the story is on page 24.

Supertitles by Hugh Macdonald, courtesy of the New York Philharmonic SuperTitle System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA John Geller, supertitles caller Gordon Martin, supertitles technician

This evening’s appearance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

Bank of America is proud to sponsor the 2012 Tanglewood season.

TANGLEWOODWEEK 4 SATURDAYPROGRAM 23 HECTOR BERLIOZ, “La Damnation de Faust” SYNOPSIS Part I. The plains of Hungary. Faust, alone at daybreak, rejoices in the warmth of spring and the peace of a solitary life. But his soul is heavy, and the dancing and merriment of a group of peasants give him no cheer. He moves to another part of the plain where an army passes, eager for battle (Hungarian March). Not even this vision of glory can rouse Faust from his misery. Part II. Northern Germany. Alone in his study, Faust despairs of ever finding happi- ness and resolves to die. As he raises a cup of poison to his lips, he hears bells and the Easter Hymn sung in a nearby church. He draws back from the brink. Mephistopheles suddenly appears, offering everything the heart can desire. He briskly transports them both to Auerbach’s cellar in Leipzig, where general carous- ing is in full swing. Brander sings the Song of the Rat and they all sing an “Amen” in mock-ecclesiastical style. Mephistopheles sings the Song of the Flea, but Faust begs to be led to calmer pleasures. They ride through the air to the bosky banks of the Elbe, where Faust is laid to sleep on a bed of roses. A chorus of spirits and sylphs provides enchantment. In his dreams he sees a vision of Marguerite and calls out her name. The Ballet of the Sylphs completes the spell. Faust awakes with a start and asks where he can find the angel of his dream. Mephis- topheles agrees to lead him to her dwelling, and they join some students heading her way, their singing mingling with that of a troop of soldiers. Part III. Soldiers are still heard in the distance as Faust enters Marguerite’s room and sings of his expectant delight. Mephistopheles enters, conceals Faust behind the curtains, and leaves. Faust watches Marguerite come in. She has seen her lover in a dream and distracts herself by singing the Ballad of the King of Thule. Meanwhile, in the street outside, Mephistopheles summons his will-o’-the-wisps. They dance at his bidding (Minuet of the Will-o’-the-Wisps). Mephistopheles sings his mocking Serenade, then dismisses his attendant spirits. Back in Marguerite’s room, Faust steps from his hiding place and is at once recognized as the object of Marguerite’s dreams. They sing a rapturous duet and fall into each other’s arms. But Mephistopheles breaks in to warn them that the neighbors have been aroused. Mephistopheles tears Faust away (Trio). Part IV. Abandoned by Faust, Marguerite sings with despair of her lost love(Romance). The soldiers and students are again heard in the distance. Faust is lost in admiration for the mighty works of nature which alone can soothe his broken heart (Invocation to Nature). Mephistopheles again appears and reports that Marguerite has been condemned to death for poisoning her mother with a sleeping draught. He can save her if Faust signs an oath to serve him as his master. Faust signs, and they set off on two black horses not to her rescue, as he imagines, but into the abyss of hell. As Faust falls into the pit, Mephistopheles roars in triumph. The chorus of the damned greet Faust in Pandæmonium. A first epilogue, on Earth, records the closing of Hell’s gate. In a second epilogue, in Heaven, the seraphim beg redemption for Marguerite; pardoned, she rises to her apotheosis in heaven.

HUGH MACDONALD

NOTES ON THE PROGRAM

Hector Berlioz (1803-1869) “La Damnation de Faust,” Dramatic legend in four parts, Opus 24 First performance: December 6, 1846, Opéra-Comique, Paris, Berlioz cond. First complete BSO performance: November 23, 1934, Serge Koussevitzky cond.; Beata Malkin, Ivan Ivantzoff, Alexis Tcherkassky, and John Gurney, soloists; Cecilia Society Chorus, Arthur Fiedler, cond. First Tanglewood performance: July 10, 1954, Charles Munch cond.; Eleanor Steber, David Poleri, Martial Singher, and Donald Gramm, soloists; Harvard-Radcliffe Choruses. Most recent Tanglewood performance: August 18, 2007, James Levine cond.; Yvonne Naef, Marcello Giordani, José van Dam, and Patrick Carfizzi, soloists; Tanglewood Festival Chorus, John Oliver, cond.; PALS Children’s Chorus, Johanna Hill Simpson, cond. The theme of Faust runs through Berlioz’s creative life like a thread, interwoven with those of Shakespeare and Virgil. Shakespeare’s spell worked on him longer and deeper, and surfaced in a variety of works (an overture on King Lear, a symphony on Romeo and Juliet, a comic opera on Much Ado About Nothing, and others). Goethe provided inspiration through one work only, his Faust, which reached definitive form in The Damnation of Faust in 1846 at the mid-point of Berlioz’s career. When Berlioz began to set Goethe’s words to music, he had no intention of making a musical drama out of Faust but of simply allowing the poetry to take on musical form. He had encountered Faust in Gérard de Nerval’s French translation in 1828 (the same year he conceived of his Romeo and Juliet and Symphonie fantastique). The translation was in prose, but with certain scenes, ballads, hymns, and songs in verse. It was these that Berlioz singled out for setting, beginning with the “Ballad of the King of Thule,” sketched in a carriage on a visit to his parents near Lyon. Seven more settings followed swiftly, and by 1829 he had these Eight Scenes from Faust engraved and published at his own expense. But he soon withdrew the work in a fit of revulsion. With hindsight it is easy enough to perceive that the work was immature, not in the sense that Berlioz was not a proficient composer, but in the lack of maturation he had given the subject. Themes as grand as that of Faust were not to be set down on paper in instantaneous response; they needed years of organic growth. Romeo and Juliet took twelve years to ripen; the Trojans, his great Virgilian opera, was completed over forty years after he had acknowledged his passion for the Aeneid. So he came back to Goethe in 1845 and recast his music in a much more sophisticat- ed and searching form. In the uncomfortable conditions of a long tour of Germany, Austria, Hungary, and Bohemia, Berlioz composed the work on his knee, as it were, and completed it in Paris in time for a premiere at the Opéra-Comique in December 1846. The eight settings from 1829 were all saved for the new work, now fashioned into a dramatic narrative that more closely represents the character and fate of Faust, from his unattainable longings for youth, love, and the fount of knowledge to his dismal end in the abyss of hell. Berlioz called the piece a “concert opera” or “dramatic legend” and always had the concert hall, not the theater, in mind. The premiere was not a success. In fact, Berlioz regarded the Parisians’ hostile reception of it as a bitter blow, confirming what had gradually been becoming obvi- ous to him: Paris had lost its taste for fine music and its faith in art. He never offered The Damnation of Faust there again, but played it only on his travels abroad, in Ger- many, in England, and in Russia. The success of the work when it was once again heard in Paris eight years after Berlioz’s death would have astonished the compos-

TANGLEWOODWEEK 4 SATURDAYPROGRAMNOTES 25 er. It became the Berlioz work the French loved most, parallel with the prodigious popularity of Gounod’s Faust. A famous staging of the work in Monte Carlo by Raoul Gunsbourg in 1903 extended its success to the theater, a precedent that has been taken up by many stages in recent years. The Damnation of Faust grasps both the spirit and the feeling of Goethe—the thirst in Faust’s soul, the fatal allure of Mephistopheles’s charm, Marguerite’s innocence, the immensity of nature. Marguerite’s two solos, the Ballad in Part III and the Romance in Part IV (both salvaged from the original Eight Scenes) are as poignant and expressive as anything Berlioz wrote; the alliance of drama and symphony works peculiarly well, a mélange that he had already perfected in Romeo and Juliet and hinted at in the Fantastic Symphony; here he has stage directions and ballet (for the sylphs and the will-o’-the-wisps) to bring the work closer to the world of opera; his writing for the human voice is not, of course, of a kind that admirers of Italian opera like to hear, but it puts meaning and lyrical expression ﬁrst and coloratura display last. As for his orchestration, there can be nothing but astonished admiration for the extrovert force of the Hungarian March, for the coarseness of the brass in support of Leipzig’s drunken carousers, for the sheer masculine energy of the chorus of soldiers and students at the close of Part II, or for the expansive breadth of Faust’s “Invocation to Nature” in Part IV. Mephistopheles’s evocation of the will-o’-the-wisps in Part III calls for three flickering piccolos, and his serenade to Marguerite is accompanied by pizzicato strings acting like a giant guitar. His choice of viola solo for Marguerite’s ﬁrst song and English horn for her second is exemplary. Berlioz regarded the ophicleide, his standard brass bass instrument (being played in this performance by BSO bass trombonist Douglas Yeo), as essential but vulgar, so it

FROM THE TANGLEWOOD AUDIO ARCHIVES A Tanglewood 75th Anniversary Celebration For 75 days this summer, from June 20 through September 2, Tanglewood celebrates its 75th anniversary with the release, at tanglewood.org, one each day, of 75 historic performances from its audio archives. These historic recordings are being streamed free on the first day of release, and then released for purchase as downloads, with detailed program notes, as of the following day. THE RELEASES FOR THIS WEEK ARE: Friday, July 27: Elgar Cello Concerto, Daniel Barenboim conducting, Jacqueline du Pré, cello (August 3, 1969) • Saturday, July 28: Schuller Spectra, Gunther Schuller conducting (August 21, 1970) • Sunday, July 29: Hindemith Mathis der Maler, Tanglewood Music Center Orchestra, Marin Alsop conducting (August 20, 1989) • Monday, July 30: Silk Road Ensemble, Yo-Yo Ma, artistic director (August 7, 2004) • Tuesday, July 31: Beethoven Septet in E-flat, Op. 20, Boston Symphony Chamber Players (July 13, 1965) • Wednesday, August 1: Berlioz La Damnation de Faust, Charles Munch conducting, Eleanor Steber, John McCollum, Martial Singher, and David Laurent, soloists, Festival Chorus (August 4, 1960) • Thursday, August 2: Mahler Symphony No. 8, James Levine conducting, Susan Neves, Deborah Voigt, Heidi Grant Murphy, Yvonne Naef, Jane Henschel, Johan Botha, Eike Wilm Schulte, and John Relyea, soloists, Tanglewood Festival Chorus, American Boychoir (July 8, 2005); and Varèse Amériques, James Levine conducting (July 17, 2005) For complete details, please visit tanglewood.org.

26 serves perfectly for the drunken chorus in Auerbach’s cellar, alongside the tuba which was just coming into service in those years. Even in Heaven, where a blanket of harp sound might be regarded as a mere cliché, Berlioz’s taste and imagination could hardly be bettered. Berlioz felt free to interpret Goethe in his own way. He introduced the Hungarian March, for example, because it makes a superb finale to his first scene, and he saw no difficulty in imagining Faust to be in Hungary. In Auerbach’s cellar he introduced his own musical joke into Goethe’s vivid carousings: the death of a rat, as recounted in Brander’s song, is mourned in a choral fugue on the word “Amen.” Berlioz regarded such things as anti-musical and hoped that audiences would catch the irony. We must not look in The Damnation of Faust for a close reflection of Goethe’s many philosophical themes; there is nothing, for example, about the regeneration of mankind. Faust is conclusively damned, not left free for later salvation and expia- tion. Marguerite is unequivocally saved, and Mephistopheles is more than a card- board devil with horns. His presence is strong, especially when announced by a rasp from three trombones and piccolo, but he never upstages Faust. When singing a song of enchantment, inviting Faust to the delights of the sylphs’ scene on the banks of the Elbe in Part II, his duplicity is made plain to us, if not to Faust, by the suave elegance of the trombones that accompany him: trombones pretending to be strings are wolves in sheep’s clothing. Goethe, like Shakespeare, satisfied Berlioz’s requirement of a great poet: that he should be a mirror in which everything, whether graceful or ugly, brilliant or somber, calm or agitated, intimate or grandiose, is reflected with burning truthfulness. No setting of Faust can match Goethe’s range, although each one adds something that music alone can offer. Almost every composer in Berlioz’s time tried his hand, with results that vary from the sublime to the ridiculous. Wagner’s Faust Overture and

TANGLEWOODWEEK 4 SATURDAYPROGRAMNOTES 27 Liszt’s Faust Symphony are unarguably ﬁne; Schumann’s Faust-Szenen, Gounod’s Faust, and Boito’s Meﬁstofele have received both cheers and brickbats over the years. In the category of truly successful Faust settings we can safely place his own “dramatic legend” and enjoy it as the response of one great artist to another’s work, creating one of the most penetrating collaborations of the Romantic Age.

HUGH MACDONALD Hugh Macdonald is Avis Blewett Professor Emeritus of Music at Washington University in St. Louis. General editor of the New Berlioz Edition, he has written extensively on music from Mozart to Shostakovich and is a frequent guest annotator for the BSO.

Guest Artists

Charles Dutoit Since his initial Boston Symphony appearances in February 1981 at Symphony Hall and August 1982 at Tanglewood, Charles Dutoit has returned frequently to the BSO podium at both venues, most recently for the opening concerts of the BSO’s 2011 Tanglewood season and subscription appearances in February 2012. This summer, in addition to his two BSO concerts this weekend, he conducts the Tanglewood Music Center Orchestra this Monday night. In 2010-11, the Phil- adelphia Orchestra celebrated its thirty-year artistic collaboration with Mr. Dutoit, who made his debut with that orchestra in 1980 and who has held the title of chief conductor there since 2008. With the 2012-13 season, he will become the Philadelphia Orchestra’s conductor laureate. Also artistic director and principal conductor of London’s Royal Philharmonic Orchestra, Mr. Dutoit regularly col- laborates with the world’s leading orchestras, including the Chicago Symphony, Boston Symphony, Berlin Philharmonic, and Amsterdam’s Royal Concertgebouw Orchestra, as well as the Israel Philharmonic and the major orchestras of Japan, South America, and Australia. His more than 170 recordings for Decca, Deutsche Grammo- phon, EMI, Philips, and Erato have garnered more than forty awards and distinctions. For twenty-five years, from 1977 to 2002, Charles Dutoit was artistic director of the Montreal Symphony Orchestra, a dynamic musical partnership recognized the world over. Between 1990 and 2010, he was artistic director and principal conductor of the Philadelphia Orchestra’s summer festival at the Saratoga Performing Arts Center in upstate New York. From 1991 to 2001, Mr. Dutoit was music director of the Orchestre

28 National de France, with which he has toured extensively on five continents. In 1996 he was appointed music director of the NHK Symphony Orchestra in Tokyo, with which he has toured Europe, the United States, China, and Southeast Asia; he is now music director emeritus of that orchestra. Mr. Dutoit has been artistic director of both the Sapporo Pacific Music Festival and the Miyazaki International Music Festival in Japan, as well as the Canton International Summer Music Academy in Guangzhou, China, which he founded in 2005. In summer 2009 he became music director of the Verbier Festival Orchestra. When still in his early twenties, Charles Dutoit was invited by Herbert von Karajan to lead the Vienna State Opera. He has since conducted regularly at the Royal Opera House–Covent Garden, the Metropolitan Opera in New York, and Deutsche Oper in Berlin, and has also led productions at the Los Angeles Music Center Opera and the Teatro Colón in Buenos Aires. He is an Honorary Citizen of the City of Phil- adelphia, a Grand Officier de l’Ordre National du Québec, a Commandeur de l’Ordre des Arts et des Lettres of France, and an Honorary Officer of the Order of Canada, the country’s highest award of merit. The recipient of the 2010 Governor’s Distinguished Arts Award, which recognizes a Pennsylvania artist of international fame, he most recently received an honorary doctorate from the Curtis Institute of Music. He also holds honorary doctorates from McGill University, the University of Montreal, and Université Laval. Charles Dutoit was born in Lausanne, Switzerland; his extensive musical training included violin, viola, piano, percussion, the history of music, and composition at the conservatoires and music academies of Geneva, Siena, Venice, and Boston. A globetrotter motivated by his passion for history and archaeology, political science, art, and architecture, Charles Dutoit has traveled in all the nations of the world.

Susan Graham One of the world’s foremost stars of opera and recital, Susan Graham is celebrated as an expert in French music, and has been awarded the title Chevalier de la Légion d’honneur by the French government. Highlights of her 2011-12 season have included her much anticipated Canadian Opera Company debut as Iphigenia in Gluck’s Iphigénie en Tauride, and return engagements with San Francisco Opera in the title role of Handel’s Xerxes and with Paris Opera in Lehár’s The Merry Widow. An American recital tour with her frequent collaborator, pianist Malcolm Martineau, culminated in her return to Carnegie Hall. In the 2010-11 season, Ms. Graham starred opposite Plácido Domingo in Iphigénie en Tauride at both Teatro Real Madrid and New York’s Metropolitan Opera; was the Composer in Strauss’s Ariadne auf Naxos at Houston Grand Opera, and sang Marguerite in Berlioz’s La Damnation de Faust with the Philadelphia Orchestra. In 2009-10 she sang Mahler’s Rückert-Lieder with Michael Tilson Thomas and the San Francisco Sym- phony, returned to the Metropolitan Opera for Octavian in Der Rosenkavalier, portrayed Dido in Purcell’s Dido and Aeneas with the Philharmonia Baroque Orchestra and Nicholas McGegan on the west coast, and ret