The American Boychoir

Home , Alfred Nash Patterson, Andrei Konchalovsky, John Mark Ainsley, Les Musiciens du Louvre, Sabina Cvilak

bernard haitink conductor emeritus seiji ozawa music director laureate

2013–2014 Season | Week 8

andris nelsons music director designate

season sponsors

Table of Contents | Week 8

7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 19 ruin and renewal: britten’s “war requiem” by thomas may 29 this week’s program

Notes on the Program

30 The Program in Brief… 31 Britten “War Requiem” 49 To Read and Hear More… 53 Texts and Translation

Guest Artists

63 Charles Dutoit 64 Tatiana Pavlovskaya 65 John Mark Ainsley 67 Matthias Goerne 68 Tanglewood Festival Chorus 72 The American Boychoir

74 sponsors and donors 88 future programs 90 symphony hall exit plan 91 symphony hall information

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

andris nelsons, ray and maria stata music director designate bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 133rd season, 2013–2014

trustees of the boston symphony orchestra, inc.

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

David Altshuler • George D. Behrakis • Jan Brett • Paul Buttenwieser • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Stephen B. Kay • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Arthur I. Segel • Roger T. Servison • Wendy Shattuck • Theresa M. Stone • Caroline Taylor • Roberta S. Weiner • Robert C. Winters life trustees

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

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

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • Peter C. Andersen • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • Joseph F. Fallon • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. •

week 8 trustees and overseers 3

photos by Michael J. Lutch

Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Joshua A. Lutzker • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Kurt W. Saraceno • Diana Scott • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

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

† Deceased

week 8 trustees and overseers 5

BSO News

A Special BSO Archives Display on Benjamin Britten’s “War Requiem” In conjunction with this week’s performances of Britten’s War Requiem marking the centennial of the composer’s birth, the Boston Symphony Archives has set up a special display case in the Brooke Corridor of Symphony Hall focusing on the history of the War Requiem and its world premiere at Coventry Cathedral in May 1962. This is in addition to the display case in the Huntington Avenue corridor that highlights the American premiere of the work, which was given by Erich Leinsdorf and the Boston Symphony Orchestra in July 1963 at Tanglewood.

BSO Community Chamber Concerts in November The BSO is happy to continue offering free Community Chamber Concerts in locations across Massachusetts during the 2013-14 season. These Sunday-afternoon concerts offer engaging chamber music performances by BSO musicians for communities limited in access to the BSO by either distance or economics; they are designed to build personal connections to the BSO and orchestral music, allowing community members to become more deeply engaged with the BSO. Each program lasts approximately one hour and is followed by a coffee-and-dessert reception for the audience and musicians. In November, the BSO hosts Community Chamber Concerts on November 3 at 3 p.m. at the JFK Presidential Library and Museum in Boston; on November 10 at 2:30 p.m. at Hibernian Hall in Roxbury; on November 17 at 3 p.m. at Cambridge Public Library; and on November 24 at 3 p.m. at First Church in Dedham. All of these concerts are free, but tickets are required and available by calling SymphonyCharge at 1-888-266-1200.

BSO 101—The Free Adult Education Series at Symphony Hall Again this year, BSO 101 offers informative sessions about upcoming BSO programming and behind-the-scenes activities at Symphony Hall. The two remaining sessions this fall take place on Tuesday, November 12 (“An Insider’s View” of the BSO library with principal librarian Marshall Burlingame) and Wednesday, November 20 (“Are You Listening?”: BSO Director of Program Publications Marc Mandel discusses “musical signposts” in works of Beethoven, Mozart, Bruckner, and Brahms). These sessions take place from 5:30-6:45 p.m. at Symphony Hall, and each is followed by a reception offering beverages and hors d’oeuvres. Admission to the BSO 101 sessions is free; please note, however, that as of this season, there is a nominal charge to attend the receptions. To reserve your place for the date or dates you’re planning to attend, please e-mail [email protected] or call (617) 638-9395. For further information, please visit bso.org.

week 8 bso news 7

“Do You Hear What I Hear?”: A Series of New, Composer-Curated Prelude Concerts This season, in conjunction with its performances of newly commissioned works from Mark-Anthony Turnage, Marc Neikrug, and Bernard Rands, the BSO has teamed up with the New England Conservatory in creating Prelude Chamber Concerts curated by the composers themselves, to offer an intimate and revealing window into how these composers listen to music, and how what they hear informs their own compositional process. The concerts are prepared and presented by student artists at NEC, with each composer offering commentary on the chosen works in conversation with BSO Assistant Artistic Administrator Benjamin Schwartz. These free, hour-long concerts, all at 6 p.m., take place in Williams Hall at NEC prior to the initial BSO performances of the composers’ new symphonic works. The next of these concerts, curated by Marc Neikrug (whose BSO- commissioned Concerto for Bassoon and Orchestra receives its world premiere in November) is scheduled for November 21 and will feature works by Mozart, Mahler, Berg, Scriabin, and Varèse. The first such concert, curated by Mark-Anthony Turnage, preceded the BSO’s American-premiere performance on Thursday, October 24, of the composer’s Speranza.

individual tickets are on sale for all concerts in the bso’s 2013-2014 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Catherine and Paul Buttenwieser son, and have served on many benefactor Concert, Thursday, November 7, 2013 committees for the gala. Paul serves on the Executive Committee, Principal and The BSO performance on Thursday evening Leadership Gifts Committee, and Trustees is supported by a generous gift from Great Nominating Committee, and was a member Benefactors Catherine and Paul Buttenwieser. of the Search Committee recommending the Paul served on the BSO Board of Overseers appointment of Andris Nelsons as the BSO’s from 1998 to 2000, when he was elected to Ray and Maria Stata Music Director. the Board of Trustees. In 2010 he was elected a Vice-Chairman of the Board of Trustees. The Buttenwiesers support many arts organi- zations in Boston. Paul is chairman of the Paul’s interest in music began at a young age, board of trustees of the Institute of Contem- when he studied piano, violin, clarinet, and porary Art, Boston; honorary trustee of the conducting as a child and teenager. Paul and Museum of Fine Arts, Boston; founding Katie have together developed their lifelong member of the board of trustees and former love of music; they have attended the chairman of the advisory board of American BSO’s performances at Symphony Hall and Repertory Theater; member of the president’s Tanglewood for more than fifty years. The advisory council of Berklee College of Music; Buttenwiesers have generously supported and member of the Boston Public Schools numerous initiatives at the BSO, including Arts Advisory Council. He has also served BSO commissions of new works, guest artist on numerous boards and committees at his appearances at Symphony Hall and Tangle- alma mater, Harvard University. wood, fellowships at the Tanglewood Music Center, and Opening Nights at Symphony In addition to supporting the arts, the Butten- and Tanglewood. They also endowed a BSO wiesers are deeply involved with the commu- first violin chair, currently held by Tatiana nity and social justice. In 1988, Paul and Dimitriades. Paul and Katie chaired Opening Katie founded the Family-to-Family Project, Night at Symphony for the 2008-09 sea- an agency that works with homeless families

week 8 bso news 9 in Eastern Massachusetts. Katie, who is a Go Behind the Scenes: social worker, spent most of her career in the The Irving W. and Charlotte F. Rabb area of early child development before mov- Symphony Hall Tours ing into hospice and bereavement work. She is a graduate of Mount Holyoke College and The Irving W. and Charlotte F. Rabb Symphony Boston University School of Social Work. Paul Hall Tours provide a rare opportunity to go is a psychiatrist who specializes in children behind the scenes at Symphony Hall. In these and adolescents, as well as a writer. He is a free, guided tours offered throughout the sea- graduate of Harvard College and Harvard son by the Boston Symphony Association of Medical School. Volunteers, experienced volunteer guides discuss the history and traditions of the BSO and its world-famous home, historic Symphony Arbella Insurance Foundation Hall, as they lead participants through pub- Arbella Insurance Foundation has renewed its lic and selected “behind-the-scenes” areas sponsorship with increased support begin- of the building. Free walk-up tours lasting ning with this BSO season and continuing approximately one hour take place September through the 2016-17 season. Arbella will con- through November at 4 p.m. on nine Wednes- tinue to sponsor the Holiday Pops Kids days (September 25; October 2, 9, 16, 23, Matinees and a Spring Pops series. Starting 30; November 6, 13, 20) and at 2 p.m. on this fall, the sponsorship also includes BSO four Saturdays (September 28; October 5, Youth and Family Concerts and the BSO 19; November 23). For more information, College Card. With this renewed commit- visit bso.org/tours. All tours begin in the ment to the BSO, Arbella also becomes a Massachusetts Avenue lobby of Symphony Great Benefactor of the orchestra. Hall. Special private tours for groups of

10 ten guests or more—free for Boston-area gifts such as bequest intentions (through elementary schools, high schools, and youth/ your will, personal trust, IRA, or insurance education community groups—can be policy), charitable trusts, and gift annuities scheduled in advance (the BSO’s schedule can generate significant benefits for you now permitting). Make your individual or group while enabling you to make a larger gift to the tour reservations today by visiting bso.org/ BSO than you had otherwise thought possible. tours, by contacting the BSAV office at (617) In many cases, you could realize significant 638-9390, or by e-mailing [email protected]. tax savings and secure an attractive income James and Melinda Rabb and Betty (Rabb) stream for you and/or a loved one, all while and Jack Schafer made a gift in memory of providing valuable future support for the their parents Irving and Charlotte Rabb as music and programs you care about. When a way to memorialize their more than sixty you establish and notify us of your planned years of loyal devotion to the Symphony and gift for the Boston Symphony Orchestra, you their passion for introducing Symphony Hall will become a member of the Walter Piston to the community. Society, named for Pulitzer Prize-winning composer and noted musician Walter Piston, who endowed the BSO’s principal flute chair It’s Your BSO, Play Your Part: with a bequest. Joining the Piston Society Become a Friend of the BSO places you among the BSO’s most loyal sup- At Symphony Hall, everyone plays their part. porters, helping to ensure the future of the From the musicians on stage, to the crew BSO’s extraordinary performances. Members behind the scenes, to the ushers and box are recognized in several of our publications office staff, it takes hundreds of people to put and offered a variety of exclusive benefits, on a performance, and it takes the dedicated including invitations to various events in support of thousands of Friends of the BSO Boston and at Tanglewood. If you would like to make it all possible. Every $1 the BSO more information about planned gift options receives in ticket sales must be matched with and how to join the Walter Piston Society, an additional $1 of contributed support to please contact John MacRae, Director of cover its annual expenses. Friends of the BSO Principal and Planned Giving, at (617) 638- play their part to help bridge that gap, keep- 9268 or [email protected]. We would be ing the music playing for the delight of audi- delighted to help you orchestrate your legacy ences all year long. In addition to joining a for the BSO. community of like-minded music lovers, becoming a Friend of the BSO also entitles BSO Members in Concert you to benefits that bring you closer to the music you love to hear. Friends receive ad- BSO principal trumpet Thomas Rolfs is soloist vance ticket ordering privileges, discounts at in Tomasi’s Concerto for Trumpet (arranged the Symphony Shop, and the BSO’s online for wind ensemble) with the New England newsletter InTune, as well as invitations to Conservatory Wind Ensemble on Tuesday, such exclusive donor events as BSO and Pops November 12, at 7 p.m. at NEC’s Jordan Hall. working rehearsals, and much more. Friends Mr. Rolfs also joins his BSO trumpet section memberships start at just $75. To play your colleagues—Benjamin Wright, Thomas Siders, part with the BSO by becoming a Friend, con- and Michael Martin—in Vivaldi’s Concerto tact the Friends Office at (617) 638-9276, for Four Trumpets, on a program also includ- [email protected], or join online at ing Gunther Schuller’s Symphony for Brass and bso.org/contribute. Percussion. Students of the four BSO musicians, who all teach at NEC, are members of the ensemble. Admission is free. For further Planned Gifts for the BSO: information visit necmusic.edu/bso-nec. Orchestrate Your Legacy BSO clarinet Thomas Martin is the featured There are many creative ways that you can soloist in Debussy’s Rhapsody for clarinet support the BSO over the long-term. Planned

week 8 bso news 11 12 with the Wellesley Symphony Orchestra, tion, visit www.concordchambermusic.org or under the direction of former BSO violinist call (978) 371-9667. Max Hobart, on Sunday, November 17, at 3 BSO horn player Jason Snider and BSO trom- p.m. at MassBay Community College, 50 bonist Stephen Lange, who are both faculty Oakland Street, Wellesley Hills, in a program members at New England Conservatory, per- also including the Prelude to Act III of Wagner’s form in recital on Monday, November 25, at Lohengrin, John Williams’s “Viktor’s Tale” 7:30 p.m. in NEC’s Williams Hall, 30 Gains- from The Terminal, and Schumann’s Symphony borough Street, Boston. Admission is free. No. 4. A pre-concert talk begins at 2:15. Please visit necmusic.edu/bso-nec for further Tickets are $25 for adults (discounted for information. seniors, students, and groups) and free for children under 12 and those with a MassBay ID. Visit www.wellesleysymphony.org or call Those Electronic Devices… (781) 235-0515 for further information. As the presence of smartphones, tablets, and Founded by BSO cellist Jonathan Miller, the other electronic devices used for communica- Boston Artists Ensemble performs Mozart’s tion, note-taking, and photography continues Divertimento in E-flat, K.563, and Mendels- to increase, there have also been increased sohn’s String Quartet in E minor, Opus 44, expressions of concern from concertgoers No. 2, on Friday, November 22, at 8 p.m. at and musicians who find themselves distracted the Peabody Essex Museum in Salem, and on not only by the illuminated screens on these Sunday, November 24, at 2:30 p.m. at Trinity devices, but also by the physical movements Church in Newton Centre. Joining Mr. Miller that accompany their use. For this reason, are BSO members Tatiana Dimitriades, violin, and as a courtesy both to those on stage and and Edward Gazouleas, viola, as well as vio- those around you, we respectfully request linist Bayla Keyes. Tickets are $27, with dis- that all such electronic devices be turned counts for seniors and students. For more off and kept from view while BSO perform- information, visit bostonartistsensemble.org ances are in progress. In addition, please or call (617) 964-6553. also keep in mind that taking pictures of the orchestra—whether photographs or videos— The Concord Chamber Music Society, founded is prohibited during concerts. Thank you very by BSO violinist Wendy Putnam, presents its much for your cooperation. second program this season on Sunday, Novem- ber 24, at 3 p.m. at the Concord Academy Performing Arts Center, 166 Main Street, Comings and Goings... Concord, MA. Joining Ms. Putnam and the Please note that latecomers will be seated Concord Chamber Players are BSO colleagues by the patron service staff during the first Julianne Lee, violin, principal viola Steven convenient pause in the program. In addition, Ansell, and assistant principal viola Cathy please also note that patrons who leave the Basrak, as well as cellist Mike Reynolds. The hall during the performance will not be program includes Sibelius’s Suite in A for vio- allowed to reenter until the next convenient lin, viola, and cello, Brahms’s String Quintet pause in the program, so as not to disturb the in F, Op. 88, and Dvoˇrák’s String Quintet in performers or other audience members while E-flat, Op. 97. A pre-concert talk begins at the concert is in progress. We thank you for 2 p.m. Tickets are $42 and $33, discounted your cooperation in this matter. for seniors and students. For more informa-

week 8 bso news 13 on display in symphony hall This season’s BSO Archives exhibit once more displays the wide variety of the Archives’ holdings, which document countless aspects of BSO history—music directors, guest artists, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display in the Brooke Corridor celebrating the 50th anniversary this season of the Boston Symphony Chamber Players, with special emphasis on the ensemble’s early international tours to Europe and the Soviet Union in 1967, and to Colombia in 1972 • a display case also in the Brooke Corridor exploring the history of the famed Kneisel Quartet formed in 1885 by then BSO concertmaster Franz Kneisel and three of his BSO colleagues • marking the centennial of Benjamin Britten’s birth, a display case in the Huntington Avenue corridor highlighting the American premiere of the composer’s War Requiem, given by Erich Leinsdorf and the BSO at Tanglewood in July 1963 exhibits on the first-balcony level of symphony hall include: • anticipating the BSO’s tour next May to China and Japan, a display case in the first- balcony corridor, audience-right, of memorabilia from the BSO’s 1956 concerts marking the first performances in the Soviet Union by a Western orchestra • a display case, also audience-right, on the installation of the Symphony Hall statues in the period following the Hall’s opening • anticipating this season’s complete cycle in March of the Beethoven piano concertos, a display case, audience-left, spotlighting several of the pianists who have performed those works with the BSO • a display case in the Cabot-Cahners Room spotlighting artists and programs presented in Symphony Hall by the Celebrity Series, which celebrates its 75th anniversary this year

TOP OF PAGE, LEFT TO RIGHT: A Celebrity Series flyer for a 1939 Symphony Hall appearance by soprano Kirsten Flagstad Erich Leinsdorf in rehearsal with the BSO and soprano Phyllis Curtin for the American premiere of Britten’s “War Requiem” at Tanglewood (Heinz Weissenstein, Whitestone Photo) Album cover of the Boston Symphony Chamber Players’ 1966 Grammy-winning first commercial recording on RCA

week 8 on display 15 Boston Symphony Orchestra 2013–2014

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

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

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

week 8 boston symphony orchestra 17

Ruin and Renewal: Britten’s “War Requiem” by Thomas May

This week’s concerts mark the 100th anniversary of Benjamin Britten’s birth on November 22, 1913, with performances of his “War Requiem,” given its American premiere by the BSO in July 1963 at Tanglewood and not heard in BSO concerts since February 2000. In conjunction with these performances, the BSO has also been offering the first of its two “Insights” series this season—“Britten’s War Requiem: Music and Pacifism,” October 23-November 8, a variety of lectures and additional concerts presented by the BSO in collaboration with the New England Conservatory of Music and the John F. Kennedy Library and Museum (see page 24).

“I was completely absorbed in this piece, as really never before, but with considerable agony in finding the adequate notes for such a subject (and such words!), and dread discovering that I’ve not succeeded.” So Benjamin Britten confided to a friend not long before the War Requiem’s premiere in May 1962. Britten’s agony produced not only one of the landmark compositions of his career but a testimony to the power of art to confront humanity’s failings and at the same time offer hope. As for the dread of not succeeding, the War Requiem stands out as a rare instance in 20th-century music of a new work that was greeted with overwhelming approval by critics and audiences alike.

“The composer’s duty, as a member of society,” declared Britten in his famous speech

Benjamin Britten in 1967

week 8 britten’s “war requiem” 19 accepting the Aspen Award in 1964, “[is] to speak to or for his fellow human beings.” From first note to last, the War Requiem holds true to this conviction of the role of music in society. The ethical perspective of the lifelong pacifist who had been a conscientious objector in the Second World War converges with the remarkable gifts that made Britten one of the supreme musical dramatists of the past century and a master of large-form architecture. At the same time, the imperative to communicate by no means required adhering to safe, comfortable formulas. In taking up one of the most tradition-laden texts of Western music, the Latin Mass for the Dead, Britten challenged and reinvigorated the very meaning of this ritual.

After the Second World War, the composer had actually considered Requiem-like works to commemorate the victims of the atomic bombings of Japan and, later, the assassination of Gandhi, but these plans never crystallized. Earlier, in 1940, he had written a purely instrumental Sinfonia da Requiem, but that work exists in a category all its own. The commission to supply a new score as part of the upcoming consecration of the newly rebuilt Coventry Cathedral provided Britten with the stimulus he needed at last to embark on a large-scale choral-symphonic composition. His biographer Humphrey Carpenter suggests that the composer’s sadness over the recent suicide of a former friend who had survived the war but struggled with depression may also have occasioned the need to compose the War Requiem as a more private response to tragedy. This may explain Britten’s puzzling statement: “That’s what the War Requiem is about; it is repara- tion.” In his recently published Benjamin Britten: A Life for Music, the biographer and jour-

week 8 britten’s “war requiem” 21 22 Coventry Cathedral in ruins

nalist Neil Powell notes that “a work which had originated as a very public commission was increasingly concerned with a very private subtext.”

Bombing raids by the Luftwaffe during the blitzkrieg in 1940 had nearly destroyed the industrial city of Coventry in the West Midlands, including the Gothic Cathedral of St. Michael dating from the 14th century. The Scottish architect Basil Spence designed a new modernist structure, but not merely as replacement: he decided to retain the roof- less, ruined shell of the earlier church, whose spire had been left standing, and link it to the new building. The consecration ceremony thus offered an occasion to reflect on the destruction wrought by the war—coinciding, as it happened, with the height of the Cold War that was threatening outright annihilation of humanity. Just a few months after the War Requiem’s premiere, the Cuban Missile crisis would bring the West to the brink of apocalypse.

Britten wasn’t interested in a reassuring but simplistic idealism about the sacrifices of war that whitewashed or forgave war’s inherent atrocity. The War Requiem—the title itself suggests an uneasy juxtaposition—thus combines the traditional Latin texts (with one telling change, in the Agnus Dei) with the mordantly ironic antiwar poetry of Wilfred Owen, a victim of the First World War—and whose brother Harold would send Britten a letter praising the War Requiem, and expressing joy “that Wilfred’s poetry will forever be a part of this great work.” The implicit homoeroticism of Owen’s poetry also resonated with Britten, who had already set his words to music alongside several other poets in the song cycle Nocturne (1958); its sound-world in fact foreshadows parts of the War Requiem. As an epigraph to the latter, Britten quoted a passage by Owen that mirrors his own vision here as a composer: “My subject is War, and the pity of War. The Poetry is in the pity. All a poet can do today is warn.”

To anchor his antiwar message, Britten taps into a tradition of sacred music that carries a plea for peace amid contemporary turmoil. Well-known examples from the sacred music

week 8 britten’s “war requiem” 23 BSO“INSIGHTS,” OCTOBER 23-NOVEMBER 9, 2013: BRITTEN’S“WARREQUIEM”:MUSICANDPACIFISM The first of the BSO’s two “Insights” series this season—“Britten’s War Requiem: Music and Pacifism,” October 23-November 9, in connection with the BSO’s upcoming performances of the War Requiem on November 7, 8, and 9—offers a variety of lectures and additional concerts presented by the BSO in collaboration with the New England Conservatory and the John F. Kennedy Library and Museum. Wednesday, October 23, 5:30pm, Symphony Hall—Words and Music in Benjamin Britten’s “War Requiem”: BSO Director of Program Publications Marc Mandel discusses Benjamin Britten’s response in the War Requiem to the text of the Latin Requiem Mass and the poetry of Wilfred Owen. Monday, October 28, 8pm, Jordan Hall at NEC—20th Century Chamber Music: “Britten+”: NEC students perform Britten’s late String Quartet No. 3, plus music by Brandt, Harbison, Heiss, and Ligeti. Sunday, November 3, 3pm, Kennedy Library and Museum—Celebrating the Centennial of Benjamin Britten and Music of the Kennedy Era: The Hawthorne String Quartet and BSO clarinetist Thomas Martin present a special program commemo- rating the centennial of Britten’s birth, while also recalling music performed at the time of President John F. Kennedy's death in 1963 (the year after the War Requiem was premiered), plus readings of poetry on the subject of war and its implications. (Repeated on Friday, November 8, 1:30pm, at Northeastern University’s Fenway Center.) Monday, November 4, 5:30pm, Symphony Hall—“Britten in a Cold War Context”: Distinguished lecturer Harlow Robinson speaks about the Cold War context in which Britten wrote his War Requiem and on the artistic rebuilding of Europe following World War II. Following the lecture, attendees are invited to observe a piano rehearsal of the War Requiem with the Tanglewood Festival Chorus, conducted by Charles Dutoit. Monday, November 4, 8pm, Jordan Hall at NEC—First Monday: Program to include Britten’s Prelude and Fugue for eighteen string instruments. Wednesday, November 6, 5:30pm, Symphony Hall—“Britten’s ‘War Requiem’ in Performance”: BSO Artistic Administrator Anthony Fogg, with tenor John Mark Ainsley, TFC conductor John Oliver, and Britten scholar Michael Foster, discusses approaches to performing the War Requiem, in a presentation to include filmed excerpts from past performances led by Britten himself, Erich Leinsdorf (the 1963 American premiere with the BSO at Tanglewood), and BSO Music Director Designate Andris Nelsons. Thursday/Friday/Saturday, November 7/8/9, 6:45-7:15pm, Symphony Hall— “The Idea Was Good: The Story of Benjamin Britten’s ‘War Requiem’”: Prior to the BSO’s performances, Michael Foster, author of a recent study of the War Requiem, offers insights into the creation of Britten’s masterpiece. Friday, November 8, 6pm, Williams Hall at NEC: As a prelude to the BSO’s Friday- night performance of Britten’s War Requiem, NEC students perform vocal works and folksong arrangements by the composer.

For additional information, please visit bso.org.

24 During the final “War Requiem” rehearsal of May 29, 1962, at St. Michael’s Cathedral, Coventry: Britten, who conducted the chamber orchestra, confers with principal conductor Meredith Davies. Tenor soloist Peter Pears is at far right, with baritone Dietrich Fischer-Dieskau seated to his right; soprano soloist Heather Harper is at far left.

canon are Haydn’s Mass in Time of War and Beethoven’s Missa Solemnis. Britten’s mixture of Latin liturgical texts with secular poetry is likewise not without precedent. Yet he jux- taposes the poems of Owen so that they become a provocative commentary on the familiar Requiem. The result is a complex yet ingeniously lucid six-movement structure in which is embedded an ongoing song cycle for tenor and baritone.

In a sense, this fusion of the ancient and the modern to underscore both the “pity” and the poet’s warning—the secondary level that comments on the primary, ritual, archaic level—might be interpreted as the composer’s musical and textual counterpart to Spence’s bold architectural design. In his Aspen speech, Britten refers to the importance of suiting the music to the setting: “The best music to listen to in a great Gothic cathedral is the polyphony which was written for it, and was calculated for its resonance: this was my approach in the War Requiem. I calculated it for a big, reverberant acoustic and that is where it sounds best.” (The American premiere, a proud part of the Boston Symphony Orchestra’s history, in fact took place in the spacious acoustic of Tangle- wood’s Music Shed fifty years ago.)

But it’s more specifically Spence’s conflation of ruin and renewal that is replicated in Britten’s unique structure, which at several points subverts the expected biblical truths. This happens to especially devastating effect, for example, in Owen’s dark retelling of the sacrifice of Isaac, which intervenes in the Offertorium and inverts its message with terrible irony. Immediately following this is the shockingly triumphant Sanctus, with its echoes of both ceremonial gamelan music and Monteverdi, this in turn being countered, in the baritone’s solo, by Owen’s poetic denial of the afterlife’s consolation. The apoca-

week 8 britten’s “war requiem” 25 lyptic and the personal, the archetypal pattern and the concretely, painfully historical moment—these are the different planes that intersect in fascinating ways throughout the War Requiem.

Britten’s vast array of performing forces further points to the architectural and spatial aspects of his conception. The scoring is divided into three groupings that are perceived to emanate from three distinct spheres. There is the conventional sound-world of the full orchestra (including enlarged brass and percussion sections) and mixed chorus, which sings only the Latin texts, and the soprano solos. If these performers are the world of humanity in general, facing our mortal condition, the boys’ choir, accompanied throughout by organ or harmonium, exists suspended beyond it as the voice of eternal, angelic innocence. (Britten specifies that their sound is to be “distant.”) The third level, with its reduced satellite orchestra and two male soloists, is closer to the world of art song and chamber opera. This is the real world not of ideals, but of violence and meaningless death—the plane on which innocence is corrupted.

Mediating among all these spheres is the core harmonic idea of the War Requiem: the interval of the tritone (heard at the outset as C pitted against F-sharp), whose instability highlights the pervasive feeling of ambivalence. “There are very few easy resolutions in Britten’s later work,” writes Powell, “and ease, when it is attempted, is always troubled by ambiguity.” This is how Powell reads the composer’s statement near the end of his life about the effect on him of witnessing Belsen and other former concentration camps during a tour he and Yehudi Menuhin undertook shortly after the Second World War. As his partner Peter Pears discolosed, Britten said “that the experience had colored everything he had written subsequently.”

In his unforgettable setting of the final Owen poem, Britten dissolves the scene of immense pathos of the former enemy soldiers meeting after death. As they choose eternal peace and oblivion, the composer leads us into the final Latin prayer, In paradisum, where, for the first time, he joins all the performing forces together. The chorus repeats the harmonic sequence that had concluded the first movement, but the composer forces us to wonder: is this merely the reboot of humanity’s eternally recurring pattern? thomas may writes about the arts for various publications including the Boston Symphony Orchestra program book. The editor of “The John Adams Reader: Essential Writings of an American Composer,” and the author of “Decoding Wagner: An Invitation to his World of Music Drama,” he lectures about music and theater and blogs at memeteria.com.

week 8 britten’s “war requiem” 27

andris nelsons, ray and maria stata music director designate bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 133rd season, 2013–2014

Thursday, November 7, 8pm | the catherine and paul buttenwieser concert Friday, November 8, 8pm (“UnderScore Friday” concert, including introductory comments from the stage by BSO horn player Jason Snider) Saturday, November 9, 8pm charles dutoit conducting britten “war requiem,” opus 66, for soprano, tenor, and baritone solos, mixed chorus, boys’ choir, full orchestra, and chamber orchestra words from the “missa pro defunctis” and the poems of wilfred owen (marking the centennial of the composer’s birth) Requiem aeternam Dies irae Offertorium Sanctus Agnus Dei Libera me tatiana pavlovskaya, soprano john mark ainsley, tenor matthias goerne, baritone tanglewood festival chorus, john oliver, conductor the american boychoir, fernando malvar-ruiz, music director

Texts and translation begin on page 53.

Please note that there is no intermission in this concert. this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and emc corporation are proud to sponsor the bso’s 2013-2014 season.

The Thursday and Saturday concerts will end about 9:40, the Friday concert about 9:50. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 8 program 29 The Program in Brief...

Immediately after World War II, Benjamin Britten cemented his place as Britain’s greatest 20th-century composer with the 1945 premiere of his opera Peter Grimes. Commissioned to provide a new work for the 1962 festival celebrating the rebuilt Coventry Cathedral that had been destroyed by German bombs in 1940, Britten now produced his War Requiem, a work that firmly holds its place among the greatest-ever settings of a liturgical text.

With part of the original cathedral’s ruins incorporated into the plan of the new building, the new structure linked past and present with a sense of readiness for the future. Britten’s conception for the War Requiem similarly linked past and present, by interweaving words of the World War I poet Wilfred Owen (who was killed in France just one week before the Armistice) with the centuries-old Latin text of the Mass for the Dead. Owen’s poetry, which captured the horrors of his own war experience without the overlay of idealism found in other poets of his time, also reflected Britten’s own pacifist stance. And in planning the premiere, Britten had World War II specifically in mind when he arranged for vocal soloists—one Russian, one English, and one German—from three of the countries most deeply affected by that war (a practice mirrored in this week’s BSO performances).

Britten’s musical conception is similarly multi-layered. The liturgical Latin text is sung primarily by the main chorus and soprano soloist accompanied by the large orchestra, with some parts taken by an organ-accompanied boy choir. The Wilfred Owen poetry is sung by tenor and baritone soloists accompanied by a chamber orchestra. Only at the very end do all of the performing forces come together. The overall shape of the piece is integrated by the immediacy of the composer’s musical style, and by his use of related and recurring musical materials.

Two of Owen’s poems are particularly germane to Britten’s intent. Midway through the piece, in “The Parable of the Old Man and the Young,” the poet subverts the Biblical story of Abraham and Isaac by having Abraham actually kill his son rather than the ram provided by God as a substitute sacrifice—symbolically anticipating the countless deaths claimed by wars throughout history. The final poem, “Strange Meeting,” depicts a con- frontation between two dead soldiers, one of whom recognizes the other as his own killer. In Britten’s setting, their two voices join together on the words “Let us sleep now...,” ushering in music that finally offers consolation, and some degree of hope for the future.

Speaking of the War Requiem, Britten’s life partner, the tenor Peter Pears, once observed that “its directness, simplicity, and expressiveness combine to pierce one very deep.” But it was perhaps the German baritone Dietrich Fischer-Dieskau, recalling the premiere in his memoirs, who best summarized the key to the War Requiem’s greatness and power to move: “The work as a whole was imbued with Britten’s highly personal expression; it was remarkable how often he managed to engage the emotions and occupy the mind at the same time.”

Marc Mandel

30 Benjamin Britten “War Requiem,” Opus 66

EDWARD BENJAMIN BRITTEN was born at Lowestoft, Suffolk, England, on Saint Cecilia’s Day, November 22, 1913, and died at Aldeburgh, Suffolk, on December 4, 1976. On June 12, 1976, he was created Baron Britten of Aldeburgh in the Queen’s Birthday Honours, the first musician to be elevated to the peerage. The “War Requiem,” commissioned for the festival to celebrate the consecration of Saint Michael’s Cathedral, Coventry—which had been heavily damaged by German bombs during World War II—was composed in 1961 (it was completed on December 20 that year). The first performance took place on May 30, 1962, in the cathedral. The soloists were Heather Harper, Peter Pears, and Dietrich Fischer-Dieskau, with the Coventry Festival Chorus, City of Birmingham Symphony Orchestra, Melos Ensemble, and the boys of Holy Trinity, Leamington, and Holy Trinity, Stratford. The chorus and full orchestra were conducted by Meredith Davies and the chamber orchestra by the composer. The first American performance was given by the Boston Symphony Orchestra on July 27, 1963, at Tanglewood (see page 40); Erich Leinsdorf conducted, with soloists Phyllis Curtin, Nicholas DiVirgilio, and Tom Krause, the Chorus Pro Musica, Alfred Nash Patterson, director, and the Columbus Boychoir, Donald Bryant, director.

THE SCORE OF THE “WAR REQUIEM” calls for soprano, tenor, and baritone soloists; a mixed chorus; a boys’ chorus (accompanied always by an organ); a full orchestra; and a chamber orchestra. The full orchestra includes three flutes (third doubling piccolo), two oboes and English horn, three clarinets (third doubling E-flat clarinet and bass clarinet), two bassoons and contrabassoon, six horns, four trumpets, three trombones, tuba, piano, organ, timpani, two side drums, tenor drum, bass drum, tambourine, triangle, cymbals, castanets, whip, Chinese blocks, gong, bells tuned to C and F-sharp, vibraphone, glockenspiel, antique cymbals tuned to C and F-sharp, and strings. The chamber orchestra, which accompanies the tenor and bass soloists, consists of flute (doubling piccolo), oboe (doubling English horn), clarinet (in B-flat and A), bassoon, horn, timpani, side drum, bass drum, cymbal, gong, harp, two violins, viola, cello, and double bass. The organist at these performances is James David Christie.

Twice in Benjamin Britten’s life, public awareness of his person and his work advanced dramatically, explosively. The first time was in 1945, when his opera Peter Grimes was

week 8 program notes 31 Letter of November 25, 1960, from the chairman of the Coventry Cathedral Festival to Benjamin Britten, confirming the terms of Britten’s agreement to write a new, commissioned work to be premiered in May or June 1962

32 Britten conducting the chamber orchestra in the premiere performance of the “War Requiem” on May 30, 1962, with soloists Dietrich Fischer- Dieskau (center) and Peter Pears

produced for the postwar reopening of Sadler’s Wells Theater in London. The second time followed the premiere at Coventry and the subsequent series of performances all across Europe and North America of the War Requiem. Except to those provincials who thought that milky pastoral was the only idiom appropriate for an Englishman and who also found the young Britten too clever by half, the triumph of Peter Grimes marked, more than the confirmation of a prodigious talent, a moment for hope that England, for the first time since the death of Henry Purcell in 1695, had produced a composer of international stature. That the premiere of Peter Grimes took place just one month after the end of the war in Europe heightened the emotional force of the occasion. To put matters into perspective, Britten had already attracted considerable attention within the profession as the composer of, among other things, the Variations on a Theme of Frank Bridge, the Piano Concerto, the Violin Concerto, the Rimbaud song cycle Les Illuminations, Seven Sonnets of Michelangelo, A Ceremony of Carols, and the Serenade for Tenor, Horn, and String Orchestra, as well as showing impressive aptitude for the still rather new chal- lenges of film music.

The impact seventeen years later of the War Requiem was wider and deeper by far. Britten, approaching fifty, had become since Peter Grimes the celebrated composer of several more operas, including The Rape of Lucretia, Albert Herring, Billy Budd, The Turn of the Screw, and A Midsummer Night’s Dream; of the Spring Symphony, Saint Nicolas, and Noye’s Fludde; and of song cycles on texts by Donne, Hardy, and Hölderlin. He had become an artist whose every new utterance was awaited with the most lively interest and the highest expectations. The War Requiem, moreover, was tied to a pair of events—the destruction of Coventry Cathedral in an air raid during the night of November 14-15, 1940, and its reconsecration more than twenty-one years later—that were heavily freighted with history and emotion. Its first performance was planned as an international event with respect both to participants and audience. Most important, the War Requiem was

week 8 program notes 33

a weighty and poignant statement on a subject of piercingly urgent concern to much of humankind. For 1961 was the year of the Bay of Pigs and of the construction of the Berlin Wall; both that year and in 1962, United States involvement in Vietnam increased frighteningly.

Britten was a lifelong pacifist; as early as 1937 he had composed a Pacifist March for a Peace Pledge Union concert. The critic Hans Keller, his most effective champion in the 1940s and ’50s, at one of whose dinner parties the composer maintained that the Israelis should have lain down in front of the Arab tanks in the 1967 war, speaks of Britten’s “aggressive pacifism.” It was a combination of his pacifism, his loyalty to left-wing causes, and his despair at Stanley Baldwin’s and later Neville Chamberlain’s appeasement of Hitler that drove him to follow W.H. Auden and Christopher Isherwood to the United States in 1939. His companion on that journey—and for life, as it turned out—was the tenor Peter Pears, whom he had met three years before, at which time they had given a benefit recital for the Republican side in the Spanish Civil War. What sent Britten back to England in spring 1942 was the chance discovery, in a Los Angeles bookstore, of a volume of poetry by George Crabbe and, a few days later, of an article by E.M. Forster on Crabbe. “To think of Crabbe is to think of England,” Forster began. That sentence changed Britten’s life. It made inescapable his feeling that he must go home, and it was in Crabbe’s The Borough that he found the material for Peter Grimes.

The theme of Peter Grimes is the collision of innocence with wickedness and corruption, innocence outraged. It is the theme that dominates Britten’s life work. The composition of the War Requiem marks Britten’s readiness to treat the topic explicitly rather than as a parable or in symbolic form. Twice, Britten had planned projects, both aborted for external or technical reasons, that would have been spiritual preparations to the War Requiem— an oratorio Mea culpa after the dropping of the atomic bombs on Hiroshima and Nagasaki in 1945, and a work to commemorate the assassination of Gandhi in 1948. In a sense, the commission from Coventry was what he was waiting for, what he needed.*

Britten conceived the bold plan of confronting the Missa pro defunctis, a timeless, supra- personal ritual in a dead language, with nine poems by Wilfred Owen, words in English written in 1917 and 1918 in hospital and in the trenches. As a parallel gesture, the War Requiem, composed though it was for a great public occasion and in honor, as it were, of a public edifice, also bears a private dedication “in loving memory” to four of Britten’s friends. Three of these—Roger Burney, Sub-Lieutenant, Royal Naval Volunteer Reserve; David Gill, Ordinary Seaman, Royal Navy; and Michael Halliday, Lieutenant, Royal New Zealand Naval Volunteer Reserve—were killed in the dread sequel to the war in which Owen lost his life. The fourth, Captain Piers Dunkerley of the Royal Marines, became increasingly unstable after the war and committed suicide in 1959. A significant symbol

* Another grimly powerful anti-war piece, Michael Tippett’s opera King Priam, had its first performance as part of the same festival of reconstruction.

week 8 program notes 35

Britten built into the design was to provide roles at the first performance for singers of three nationalities, the English tenor Peter Pears, the German baritone Dietrich Fischer- Dieskau, and the Russian soprano Galina Vishnevskaya. In the event, Ekaterina Furtseva, the Soviet Minister of Culture, would not let Vishnevskaya go to Coventry: as Britten wrote to E.M. Forster, “The combination of ‘Cathedral’ and Reconciliation with W. Germany... was too much for [the Soviets].” Vishnevskaya was eventually allowed to take part in the first recording of the War Requiem and sang in many performances after that.*

It was Rupert Brooke, who died on a hospital ship in 1915 at the age of twenty-seven, who won the most immediate fame among the British poets of the 1914 war. For half a century now, it is Wilfred Owen who has been recognized as the most eloquent, as well as the most resourceful, of the so-called war poets.

Wilfred Owen was born at Plas Wilmot, Oswestry, Shropshire, on March 18, 1893, attended schools at Birkenhead and Shrewsbury, enrolled at London University, contem-

* For Pears, Britten wrote more than thirty works between 1937 and 1975. The Cantata Misericordium, written in 1963 for the centenary of the International Red Cross and being something like a postscript stylistically to the War Requiem, again provided solo parts for Pears and Fischer-Dieskau, and in 1965 Britten wrote Songs and Proverbs of William Blake for Fischer-Dieskau, Pears having selected the texts. Also in 1965, Britten wrote The Poet’s Echo, a Pushkin cycle for Vishnevskaya to sing and for her husband, Mstislav Rostropovich, to play at the piano. Between 1961 and 1971 Britten wrote five major works for Rostropovich as cellist.

week 8 program notes 37

Wilfred Owen in 1916

plated the ministry, and was both pupil and lay assistant to a clergyman in Oxfordshire. In 1915 he joined the army, a company called the Artists’ Rifles. From December 1916 he was on active service in France with the Manchester Regiment; he spent five months of 1917 at Craiglockhart Military Hospital in Scotland and, after several months of service in England, was again posted to France. He wrote verse as a boy, fluently and in emulation of Keats and, to some degree, Tennyson. Ironically, it was the war that freed his poetic gift, so that, taking stock on the last day of 1917, he was able to write to his mother: “I go out of this year a poet, my dear mother, as which I did not enter it. I am held peer by the Georgians; I am a poet’s poet. I am started.” In October 1918 he was awarded the Military Cross, and on November 4 he was machine-gunned to death while trying to get his company across the Sambre Canal. The war ended just one week later.

It had not taken Owen much of his apprenticeship with the Reverend Mr. Wigan to realize that his future was not in the clergy. He distrusted the church as an institution and disliked most of its agents, military chaplains in particular, whom he saw as betraying the message of Christ. But Owen as Christian speaks better for himself. Here are words from a letter written to his mother from the 13th Casualty Clearing Station at Gailly on the Somme in May 1917: Already I have comprehended a light which will never filter into the dogma of any national church: namely, that one of Christ’s essential commands was: passivity at any price! Suffer dishonor and disgrace, but never resort to arms. Be bullied, be outraged, be killed; but do not kill. It may be a chimerical and an ignominious principle, but there it is. It can only be ignored, and I think pulpit professionals are ignoring it very skillfully and successfully indeed.... And am I not myself a conscientious objector with a very seared conscience?... Christ is literally in “no man’s land.” There men often hear His voice: Greater love hath no man than this, that a man lay down his life for a friend. Is

week 8 program notes 39 Program page for the first Boston Symphony performance—also the first American performance— of Britten’s “War Requiem,” at Tanglewood on July 27, 1963, with Erich Leinsdorf conducting (BSO Archives)

40 Britten and soprano Heather Harper, who substituted at short notice for Galina Vishnevskaya when the latter was prevented by the Soviet authorities from singing in the premiere of the “War Requiem”

it spoken in English only and French? I do not believe so. Thus you see how pure Christianity will not fit in with pure patriotism.

In Peter Grimes, the Spring Symphony, Billy Budd, and Gloriana, Britten had shown with what zest he could write for large forces, though in fact his ever-astonishing resourceful- ness with restricted resources in the Serenade, the Nocturne, the chamber operas, and some of the works involving children had come to seem even more characteristic and impressive. Now, in the War Requiem, he drew on forces larger and more complex than in any previous work of his. The basic division of the performers is into two groups, reflecting the dual source of the words, which stand in a relation of text (the Latin Missa pro defunctis) and commentary (the nine Owen poems). The Latin text is the province essen- tially of the large mixed chorus, but from this there is spillover in two opposite directions, the solo soprano representing a heightening of the choral singing at its most emotional, the boys’ choir representing liturgy at its most distanced. The mixed chorus and solo soprano are accompanied by the full orchestra; the boys’ choir, whose sound should be distant, by an organ. All this constitutes one group. The other consists of the tenor and baritone soloists, whose province is the series of Owen songs and who are accompanied by the chamber orchestra. It is well to mention at this point three compositions whose presence is felt behind the War Requiem. First we have the two great Passion settings of Johann Sebastian Bach, which, with their design of text plus commentary and the articu- lation of that design through textural and other compositional means, provided Britten with an important model.* Then we have the Verdi Requiem. In an article published in 1968 in the British magazine Tempo, Malcolm Boyd analyzed Britten’s indebtedness to

* Britten felt especially close to the Passion According to Saint John, which he conducted on several occasions and also recorded memorably. Pears made new translations of both Passion texts and was renowned as being, with the Swiss tenor Ernst Haefliger, the finest Evangelist of his generation.

week 8 program notes 41 Program page for the premiere of the “War Requiem,” and the correction slip noting that the solo soprano would be Heather Harper rather than Galina Vishnevskaya

that work, an indebtedness entered into not for want of originality but to establish a connection with the great tradition.

Requiem aeternam—The orchestra represents stability, though the steady gait of four beats to the bar is broken from time to time by fives and threes, and the little bells on F-sharp and C add a certain harmonic restlessness. Against those solemn iambs (and occasional anapests) the chorus murmurs its prayer in rapid syllables. The music rises to a climax, sinks again to pianissimo, and then the boys sing the “Te decet hymnus” calmly, dispassionately, in meters whose irregularity seems very much not of the earth, and with violins sounding a slow echo of the bells’ F-sharp and C. The opening music returns, to be suddenly broken into by the quick and agitated notes of harp, against which the tenor sings the first of the Owen tropes, “Anthem for Doomed Youth.” At the second line of the sestet, “Not in the hands of boys...,” oboe and violin bring back the “Te decet hymnus”

42 A photo, after completion of the recording sessions, of Britten and soprano Galina Vishnevskaya, who sang in his recording—but not in the premiere—of the “War Requiem”

melody. Punctuated again by the bells with their strangely unsettling F-sharp and C, the chorus, unaccompanied, sings the “Kyrie,” and on a harmonic course that carries the music from the unease of the F-sharp/C dissonance to a peaceful close in F major.

Dies irae—This is the longest text, therefore the longest musical section as well. Distant fanfares bring the war scene before us, then chorus and orchestra in hushed staccato begin to paint the picture of the Day of Judgment. (The key, G minor, is that of Verdi’s Dies irae, and the huge outburst of brass for the “Tuba mirum” is another bow to that earlier and great Requiem.) The brass also brings about the next interpolation, “Bugles sang,” an untitled poem that exists only in draft and of which Britten uses just the first seven lines. This is assigned to the baritone and uses the fanfares with which the Dies irae began.

The solo soprano is heard for the first time at the “Liber scriptus.” In contrast to the majesty of her phrases, a semi-chorus timidly asks, “Quid sum miser tunc dicturus?”A snare drum breaks into the quiet final cadence of the “Rex tremendae majestatis,” and tenor and baritone together sing the bitterly cheery “The Next War.” Owen’s poem is a postscript to two lines addressed by Siegfried Sassoon to Robert Graves: “War’s a joke for me and you,/While we know such dreams are true.” The rat-tat of that duet disap- pears into silence; then with great solemnity the altos begin the “Recordare.” At “Con- futatis maledictis” the music springs again into a fierce allegro, and that malediction is suddenly brought near as a brutal cannonade on the kettledrums introduces six lines from Owen’s “Sonnet—On Seeing a Piece of Our Artillery Brought Into Action.” Again the chorus invokes Judgment Day, this time in heavy fortissimo. The music seems to move into the distance, then slowly the soprano intones the anguished, broken lines of the “Lacrimosa” (in Verdi’s key of B-flat minor). Flute and cymbal and shuddering violins, all as quiet as possible, make a screen against which the tenor whispers his “Move him into the sun,” a poem from the summer of 1918 and called “Futility.” This time, and to ineffably

week 8 program notes 43 poignant effect, Britten intercuts the two musics, brief phrases of the “Lacrimosa” punc- tuating the grief-laden song. Against the tenor’s last word, the two bells again sound their F-sharp and C, and the F-sharp-to-F chorale with which the Requiem aeternam ended brings the Dies irae to a close as well.

Offertorium—The boys begin this movement, the full chorus entering at the invocation of Saint Michael. To set “Quam olim Abrahae” as a fugue is an old tradition, and Britten fol- lows it. Here he also quotes himself. In 1952 he had written for Pears, Kathleen Ferrier, and himself, a Canticle, Abraham and Isaac, based on the Chester Miracle Play, and the fugue subject in the “Quam olim Abrahae” is taken from that lovely and touching work. But Wilfred Owen, too, had had his sinister say on the story of God’s testing of Abraham’s faith, and now it is almost without a shift of pace that the music moves into the chamber orchestra and the singing by tenor and baritone of “The Parable of the Old Man and the Young.” It is perhaps the most inspired of Britten’s textual connections. The music for “When lo! an angel called him out of heaven” is the voice-of-God music from the Canticle (except that the tenor, Abraham in the earlier work, is Isaac here). With the shocking turn of the poem the music returns to the now brutish sounding fugue, and as it recedes we become aware of the boys serenely intoning the “Hostias.”

Sanctus—Against the whirring of high-pitched percussion, the soprano declaims the opening words. Her style is vocal in the grandest manner; the chorus, chanting softly on monotones, seems to want to deny the very possibility of such a style, but as layer upon layer is added, the music builds a huge crescendo of wonder and praise. The “Hosanna” is brilliant, the “Benedictus,” again with the soprano, more conversational. Britten puts the commentary, “The End,” after the liturgical music is done.

Agnus Dei—Against hushed sixteenth-notes, five of them to a bar, the tenor sings “At a Calvary near the Ancre”; the chorus, using the music of the tenor’s accompaniment, sings the Agnus Dei. Britten’s timing of these quiet choral interventions—after the end of Owen’s first stanza, then overlapping the last two words of the second stanza, then overlapping the last words of the second and fourth lines of the last stanza—creates, with no increase in volume, a subtle heightening of intensity in the unfolding of the song/chant. When the music appears to be over, with the chorus, barely audible, holding the final sound of “sempiternam,” the tenor crosses the language border to add his own “Dona nobis pacem.” This prayer for peace closes the Agnus Dei in the Ordinary of the Mass but not in the Mass for the Dead; the textual variant here is Britten’s own. Most of the music in this Agnus Dei consists of alternations of segments of the scales of B minor and C major; for the tenor’s haunting envoi, Britten offers a variation or extension of that—five notes of the B minor scale which can, however, also be heard as five notes of a scale of F-sharp, then five notes of a C minor scale, with the line finally floating into silence on F-sharp. All of it makes another version of the F-sharp/C combination of which we hear so much in the War Requiem.

Libera me—The War Requiem is full of marches, threatening, ugly Mahlerian nightmare marches, and this final prayer begins with one of them. What the basses play after the

week 8 program notes 45 46 introductory measures of the drums is a variant of the music that accompanied “What Passing-Bells” in the first movement. The chorus keens its plea, the music gathers speed and sonority up to the explosion on “ignem,” the soprano—Verdi again—stammers her “Tremens factus sum ego.” The Dies irae returns and builds up to an outcry larger and more piercing than any we have experienced so far. After that, all physical energy is spent, and finally all that is left is a chord of B-flat major, marked by Britten “pp cold.” Against this, the tenor begins the final interpolation, “Strange Meeting,” the poem most often cited as the summit of Owen’s achievement. As both singers interweave their lines on the words, “Let us sleep now”—these were an afterthought of Owen’s—the boys add their gentle “In paradisum deducant te Angeli,” gradually drawing the full chorus, the soprano, and the orchestra into their music. They themselves withdraw from the mounting mass of sound, finally to re-enter with the first words we heard, “Requiem aeternam dona eis.” Their notes are F-sharp and C. The great liturgy and the personal anguish of one poet-soldier have merged into one music. And now we hear for the last time that mysterious choral progression with bells, the progression from the slightly acid unrest of the F-sharp/C tritone to the quiet of the closing chord of F major: “Requiescant in pace. Amen.” The last word must go to Peter Pears, the artist who, after its creator, knew and understood the War Requiem most profoundly: “It isn’t the end, we haven’t escaped, we must still think about it, we are not allowed to end in a peaceful dream.”

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

THEFIRSTAMERICANPERFORMANCEOFTHE“WARREQUIEM” was given (as stated at the start of the program note) by the Boston Symphony Orchestra on July 27, 1963, at Tanglewood, with Phyllis Curtin, Nicholas DiVirgilio, Tom Krause, the Chorus Pro Musica, and the Columbus Boychoir (now the American Boychoir, which participates in this week’s performances). The same forces also gave the first Boston and New York performances the following October. Until this week, the only other conductor to have led the BSO in the “War Requiem” was Seiji Ozawa: first at Tanglewood on August 31, 1986, with Carol Vaness, Thomas Moser, Benjamin Luxon, the Tanglewood Festival Chorus, John Oliver, conductor, and the Boston Boy Choir, Theodore Marier, director; then in October 1986 at Symphony Hall, with Alison Hargan, David Rendall, Håkan Hagegård, and the same two choruses; in February 1995 with Carol Vaness, Anthony Rolfe Johnson, Benjamin Luxon, the Tangle- wood Festival Chorus, and the American Boychoir, James Litton, director; and most recently in the 1999-2000 season—subscription performances in February 2000 followed by two Carnegie Hall performances in early March, all with Christine Goerke, Ian Bostridge, Thomas Quasthoff, the Tanglewood Festival Chorus, and the PALS Children’s Chorus, Johanna Hill Simpson, director; and a Tanglewood performance on August 6, 2000, with the same soloists and choruses except that the tenor was Anthony Dean Griffey.

week 8 program notes 47 48 To Read and Hear More...

A good place to start reading about Benjamin Britten is Michael Kennedy’s Britten in the Master Musicians series (Oxford paperback). The big biographical account of the composer’s life is Humphrey Carpenter’s Benjamin Britten (Scribners). Two new biographies published this past summer to mark the composer’s centennial are Neil Powell’s Benjamin Britten: A Life for Music (Henry Holt) and Paul Kildea’s Benjamin Britten: A Life in the Twentieth Century (Penguin paperback). Michael Foster’s new The Idea Was Good: The Story of Benjamin Britten’s War Requiem, published in 2012 to mark the golden jubilee of the restored Coventry Cathedral, provides thoroughly detailed consideration of the work’s genesis, content, first performance, and legacy (Worcestershire Press/Coventry Cathedral Books). Mervyn Cooke’s Britten: War Requiem, in the Cambridge Music Hand- books series, also offers detailed discussion of the work and its music (Cambridge paperback). Other older books that remain of interest include Michael Oliver’s Benjamin Britten in the well illustrated series “20th-Century Composers” (Phaidon paperback), Peter Evans’s The Music of Benjamin Britten (Clarendon Press); and Letters From a Life: Selected Letters and Diaries of Benjamin Britten, a 1400-page compilation edited by Donald Mitchell and Philip Reed (University of California). Other good sources of information include The Cambridge Companion to Benjamin Britten, edited by Mervyn Cooke (Cambridge Uni- versity paperback); Britten’s Musical Language by Philip Rupprecht (also Cambridge); Rethinking Britten, a recent essay collection edited by Rupprecht (Oxford), and The Britten Companion, edited by Christopher Palmer (Cambridge). Out of print but worth seeking from second-hand sources is the photographic survey Benjamin Britten: Pictures From a Life, 1913-1976, by Donald Mitchell and John Evans (Scribners). For information about Britten- related activities throughout the centenary year 2013, visit the website britten100.org. For basic information on the composer and his music, visit the website of the Britten- Pears Foundation, brittenpears.org.

The composer’s own recording of the War Requiem, made in January 1963—with Britten conducting the London Symphony Orchestra and Chorus, the Melos Ensemble, Bach Choir, Highgate School Choir, and soloists Galina Vishnevskaya, Peter Pears, and Dietrich Fischer-Dieskau—continues to set a standard, remaining noteworthy for (among other things) the presence of the three soloists for whom the work was written (the Soviet authorities had kept Vishnevskaya from singing the 1962 premiere), and the sense of urgency that so often characterizes Britten’s recordings of his own music (Decca, though the latest CD incarnation, released this past summer, and which offers a Blu-ray audio

week 8 read and hear more 49 For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

Eric Lange |Lange Media Sales |781-642-0400 |[email protected]

50 version along with the two “standard” CDs, omits the 50 minutes’ worth of rehearsal excerpts included in two earlier CD editions, most recently the 2006 release in Decca’s own “Originals” series). Two video offerings will be of particular interest to BSO audiences: the Tanglewood telecast of July 27, 1963, with Erich Leinsdorf conducting the Boston Symphony Orchestra in the work’s American premiere (VAI), and a performance of May 30, 2012, the 50th anniversary of the world premiere, with BSO Music Director Designate Andris Nelsons conducting the City of Birmingham Symphony Orchestra, which had played that premiere fifty years earlier (Arthaus Musik DVD and Blu-ray). Other noteworthy recordings include Gianandrea Noseda’s live 2011 London Symphony performance with soloists Sabina Cvilak, Ian Bostridge, and Simon Keenlyside (LSO Live); Kurt Masur’s live 1997 New York Philharmonic performance, with the American Boychoir among the performing forces (Teldec); Richard Hickox’s 1991 recording with the London Symphony Orchestra and soloists Heather Harper (who sang the world premiere on short notice in place of Vishnevskaya), Philip Langridge, and John Shirley-Quirk (Chandos); Robert Shaw’s 1988 recording with the Atlanta Symphony Orchestra (Telarc); Simon Rattle’s with the City of Birmingham Symphony Orchestra and soloists Elisabeth Söder- strom, Robert Tear, and Thomas Allen, from 1983 (EMI); and, powerful despite problem- atic sound, Carlo Maria Giulini’s live 1969 performance from the Royal Albert Hall with the New Philharmonia Orchestra and Peter Pears among the soloists (BBC Legends). Using Britten’s own recording as the sole element of its soundtrack, Derek Jarman’s 1989 film War Requiem combines realism and surrealism by juxtaposing archival footage of war’s devastation with an imagined version of the poet Wilfred Owen’s own experience of World War I (Kino International DVD).

Marc Mandel

week 8 read and hear more 51

BENJAMIN BRITTEN “War Requiem” Opus 66

I. REQUIEM AETERNAM

Chorus Requiem aeternam dona eis Domine, Rest eternal grant unto them, O Lord: et lux perpetua luceat eis. and let light eternal shine upon them.

Boys’ Choir Te decet hymnus, Deus in Sion; et tibi Thou, O God, art praised in Sion; and reddetur votum in Jerusalem; exaudi unto Thee shall the vow be performed orationem meam, ad te omnis caro in Jerusalem; Thou who hearest the veniet. prayer, unto Thee shall all flesh come.

Tenor What passing-bells for these who die as cattle? Only the monstrous anger of the guns. Only the stuttering rifles’ rapid rattle Can patter out their hasty orisons. No mockeries for them from prayers or bells, Nor any voice of mourning save the choirs,— The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires. What candles may be held to speed them all? Not in the hands of boys, but in their eyes Shall shine the holy glimmers of good-byes. The pallor of girls’ brows shall be their pall; Their flowers the tenderness of silent minds, And each slow dusk a drawing-down of blinds.

Chorus Kyrie eleison, Christe eleison, Kyrie Lord have mercy upon us. Christ have eleison. mercy upon us. Lord have mercy upon us.

II. DIES IRAE

Chorus Dies irae, dies illa, Day of wrath and doom impending, Solvet saeclum in favilla, Heaven and earth in ashes ending! Teste David cum Sibylla. David’s words with Sibyl’s blending! Quantus tremor est futurus, Oh, what fear man’s bosom rendeth Quando Judex est venturus, when from heaven the judge descendeth, Cuncta stricte discussurus! on whose sentence all dependeth!

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week 8 read and hear more 53 Tuba mirum spargens sonum Wondrous sound the trumpet flingeth, Per sepulchra regionum through earth’s sepulchres it ringeth, Coget omnes ante thronum. all before the throne it bringeth. Mors stupebit et natura, Death is struck and nature quaking, Cum resurget creatura, all creation is awaking, Judicanti responsura. to its judge an answer making.

Baritone Bugles sang, saddening the evening air, And bugles answered, sorrowful to hear. Voices of boys were by the river-side. Sleep mothered them; and left the twilight sad. The shadow of the morrow weighed on men. Voices of old despondency resigned, Bowed by the shadow of the morrow, slept.

Soprano and Chorus Liber scriptus proferetur, Lo! the book exactly worded, In quo totum continetur, wherein all hath been recorded; Unde mundus judicetur. thence shall judgement be awarded. Judex ergo cum sedebit, When the judge his seat attaineth, Quidquid latet, apparebit: and each hidden deed arraigneth, Nil inultum remanebit. nothing unavenged remaineth. Quid sum miser tunc dicturus? What shall I, frail man, be pleading? Quem patronum rogaturus, Who for me be interceding, Cum vix justus sit securus? when the just are mercy needing? Rex tremendae majestatis, King of majesty tremendous, Qui salvandos salvas gratis, who dost free salvation send us, Salva me, fons pietatis. Fount of pity, then befriend us!

Tenor and Baritone Out there, we’ve walked quite friendly up to Death; Sat down and eaten with him, cool and bland,— Pardoned his spilling mess-tins in our hand. We’ve sniffed the green thick odour of his breath,— Our eyes wept, but our courage didn’t writhe. He’s spat at us with bullets and he’s coughed Shrapnel. We chorussed when he sang aloft; We whistled while he shaved us with his scythe. Oh, Death was never enemy of ours! We laughed at him, we leagued with him, old chum. No soldier’s paid to kick against his powers.

54 We laughed, knowing that better men would come, And greater wars; when each proud fighter brags He wars on Death—for Life; not men—for flags.

Chorus Recordare Jesu pie, Think, kind Jesus—my salvation Quod sum causa tuae viae: caused Thy wondrous incarnation; Ne me perdas illa die. leave me not to reprobation. Quaerens me, sedisti lassus: Faint and weary Thou hast sought me; Redemisti crucem passus: on the cross of suffering bought me; Tantus labor non sit cassus. shall such grace be vainly brought me? Ingemisco, tamquam reus: Guilty, now I pour my moaning, Culpa rubet vultus meus: all my shame with anguish owning; Supplicanti parce Deus. spare, O God, Thy suppliant groaning! Qui Mariam absolvisti, Through the sinful Mary shriven, Et latronem exaudisti, through the dying thief forgiven, Mihi quoque spem dedisti. Thou to me a hope hast given. Inter oves locum praesta, With Thy sheep a place provide me, Et ab haedis me sequestra, from the goats afar divide me, Statuens in parte dextra. to Thy right hand do Thou guide me. Confutatis maledictis, When the wicked are confounded, Flammis acribus addictis, doomed to flames of woe unbounded, Voca me cum benedictis. call me, with Thy saints surrounded. Oro supplex et acclinis, Low I kneel with heart-submission; Cor contritum quasi cinis: see, like ashes, my contrition! Gere curam mei finis. Help me in my last condition!

Baritone Be slowly lifted up, thou long black arm, Great gun towering toward Heaven, about to curse; Reach at that arrogance which needs thy harm, And beat it down before its sins grow worse; But when thy spell be cast complete and whole, May God curse thee, and cut thee from our soul!

Chorus and Soprano Dies irae, dies illa, Day of wrath and doom impending, Solvet saeclum in favilla, Heaven and earth in ashes ending! Teste David cum Sibylla. David’s words with Sibyl’s blending! Quantus tremor est futurus, Oh, what fear man’s bosom rendeth Quando Judex est venturus, when from heaven the judge descendeth, Cuncta stricte discussurus! on whose sentence all dependeth!

Please turn the page quietly.

week 8 texts and translation 55 56 Lacrimosa dies illa, Ah, that day of tears and mourning! Qua resurget ex favilla, From the dust of earth returning, Judicandus homo reus, man for judgement must prepare him: Huic ergo parce Deus. Spare, O God, in mercy spare him!

Tenor Move him into the sun— Gently its touch awoke him once, At home, whispering of fields unsown. Always it woke him, even in France, Until this morning and this snow. If anything might rouse him now The kind old sun will know. Think how it wakes the seeds,— Woke, once, the clays of a cold star. Are limbs, so dear-achieved, are sides, Full-nerved—still warm—too hard to stir? Was it for this the clay grew tall? —O what made fatuous sunbeams toil To break earth’s sleep at all?

Chorus Pie Jesu Domine, dona eis requiem. Lord, all-pitying, Jesu blest, grant them Amen. rest. Amen.

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week 8 texts and translation 57 III. OFFERTORIUM

Boys’ Choir Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, King of Glory, deliver libera animas omnium fidelium the souls of all the faithful departed from defunctorum de poenis inferni, et de the pains of hell and from the depths of profondo lacu: libera eas de ore leonis, the pit; deliver them from the lion’s ne absorbeat eas tartarus, ne cadant mouth, that hell devour them not, that in obscurum. they fall not into darkness.

Chorus Sed signifer sanctus Michael reprae- But let the standard-bearer Saint Michael sentet eas in lucem sanctam: quam bring them into the holy light: which, of olim Abrahae promisisti, et semini old, Thou didst promise unto Abraham ejus. and his seed.

Baritone and Tenor So Abram rose, and clave the wood, and went, And took the fire with him, and a knife. And as they sojourned both of them together, Isaac the first-born spake and said, My Father, Behold the preparations, fire and iron, But where the lamb for this burnt-offering? Then Abram bound the youth with belts and straps, And builded parapets and trenches there, And stretched forth the knife to slay his son. When lo! an angel called him out of heaven, Saying, Lay not thy hand upon the lad, Neither do anything to him. Behold, A ram, caught in a thicket by its horns; Offer the Ram of Pride instead of him. But the old man would not so, but slew his son,— And half the seed of Europe, one by one.

Boys’ Choir Hostias et preces tibi Domine laudis We offer unto Thee, O Lord, sacrifices of offerimus: tu suscipe pro animabus prayer and praise: do Thou receive them illis, quarum hodie memoriam for the souls of those whose memory we facimus: fac eas, Domine, de morte this day recall: make them, O Lord, to transire ad vitam. pass from death unto life.

58 IV. SANCTUS

Soprano and Chorus Sanctus, sanctus, sanctus Dominus Holy, Holy, Holy, Lord God of Sabaoth. Deus Sabaoth. Pleni sunt coeli et Heaven and earth are full of Thy glory: terra gloria tua Hosanna in excelsis. Glory be to Thee. Blessed is he that Benedictus qui venit in nomine cometh in the name of the Lord. Domini. Hosanna in excelsis. Glory be to Thee.

Baritone After the blast of lightning from the East, The flourish of loud clouds, the Chariot Throne; After the drums of Time have rolled and ceased, And by the bronze west long retreat is blown, Shall life renew these bodies? Of a truth All death will He annul, all tears assuage?— Fill the void veins of Life again with youth, And wash, with an immortal water, Age? When I do ask white Age he saith not so: “My head hangs weighed with snow.” And when I hearken to the Earth, she saith: “My fiery heart shrinks, aching. It is death. Mine ancient scars shall not be glorified, Nor my titanic tears, the sea, be dried.”

V. AGNUS DEI

Tenor One ever hangs where shelled roads part. In this war He too lost a limb, But His disciples hide apart; And now the Soldiers bear with Him.

Chorus Agnus Dei, qui tollis peccata mundi, O Lamb of God, Who takest away the dona eis requiem. sins of the world, grant them rest.

Tenor Near Golgotha strolls many a priest, And in their faces there is pride That they were flesh-marked by the Beast By whom the gentle Christ’s denied.

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week 8 texts and translation 59 Chorus Agnus Dei, qui tollis peccata mundi, O Lamb of God, Who takest away the dona eis requiem. sins of the world, grant them rest.

Tenor The scribes on all the people shove And bawl allegiance to the state, But they who love the greater love Lay down their life; they do not hate.

Chorus Agnus Dei, qui tollis peccata mundi, O Lamb of God, Who takest away the dona eis requiem sempiternam. sins of the world, grant them eternal rest.

Tenor Dona nobis pacem. Grant us peace.

VI. LIBERA ME

Chorus and Soprano Libera me, Domine, de morte aeterna, Deliver me, O Lord, from death eternal, in die illa tremenda: Quando coeli in that fearful day: When the heavens movendi sunt et terra: Dum veneris and the earth shall be shaken: When judicare saeculum per ignem. Thou shalt come to judge the world by Tremens factus sum ego, et timeo, dum fire. I am in fear and trembling till the discussio venerit, atque ventura ira. sifting be upon us, and the wrath to come. Quando coeli movendi sunt et terra. O that day, that day of wrath, of calamity Dies illa, dies irae, calamitatis et and misery, a great day and exceeding miseriae, dies magna et amara valde. bitter. Libera me, Domine... Deliver me, O Lord...

Tenor It seemed that out of battle I escaped Down some profound dull tunnel, long since scooped Through granites which titanic wars had groined. Yet also there encumbered sleepers groaned, Too fast in thought or death to be bestirred. Then, as I probed them, one sprang up, and stared With piteous recognition in fixed eyes, Lifting distressful hands as if to bless. And no guns thumped, or down the flues made moan. “Strange friend,” I said, “here is no cause to mourn.”

60 Baritone “None,” said the other, “save the undone years, The hopelessness. Whatever hope is yours, Was my life also; I went hunting wild After the wildest beauty in the world. For by my glee might many men have laughed, And of my weeping something had been left, Which must die now. I mean the truth untold, The pity of war, the pity war distilled. Now men will go content with what we spoiled. Or, discontent, boil bloody, and be spilled. They will be swift with swiftness of the tigress, None will break ranks, though nations trek from progress. Miss we the march of this retreating world Into vain citadels that are not walled. Then, when much blood had clogged their chariot-wheels I would go up and wash them from sweet wells, Even from wells we sunk too deep for war, Even the sweetest wells that ever were. I am the enemy you killed, my friend. I knew you in this dark; for so you frowned Yesterday through me as you jabbed and killed. I parried; but my hands were loath and cold.”

Tenor and Baritone “Let us sleep now...”

Boys’ Choir, Chorus, and Soprano In paradisum deducant te Angeli: Into Paradise may the Angels lead thee: in tuo adventu suscipiant te Martyres, at thy coming may the Martyrs receive et perducant te in civitatem sanctam thee, and bring thee into the holy city Jerusalem. Chorus Angelorum te Jerusalem. May the Choir of Angels suscipiat, et cum Lazaro quondam receive thee, and with Lazarus, once paupere aeternam habeas requiem. poor, mayest thou have eternal rest. Requiem aeternam dona eis, Domine; Rest eternal grant unto them, O Lord: et lux perpetua luceat eis. and let light eternal shine upon them. Requiescant in pace. Amen. May they rest in peace. Amen.

Copyright 1962 by Boosey & Hawkes Music Publishers Ltd. Reprinted by permission of Boosey & Hawkes, Inc. The poems of Wilfred Owen reprinted by permission of New Directions Publishers, New York, New York. Translation according to the English missal.

week 8 texts and translation 61

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 ven- ues, most recently prior to this season for three weeks of subscription programs last season, and appearances with both the BSO and the Tanglewood Music Center Orchestra this past summer. In 2010-11, the Philadelphia Orchestra celebrated its thirty- year artistic collaboration with Mr. Dutoit, who made his debut with that orchestra in 1980 and who became chief conductor there in 2008. Last season he became the Philadelphia Orchestra’s conductor laureate. Also artistic director and principal conductor of London’s Royal Philharmonic Orchestra, Mr. Dutoit collaborates regularly 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 Grammophon, EMI, Philips, and Erato have garnered more than forty awards and distinctions. For twenty-five years, from 1977 to 2002, he 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, he was music director of the Orchestre 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. Charles Dutoit has also been artistic director of both the Sapporo Pacific Music Festival and the Miyazaki International Music Festival in Japan, as well as the Canton Inter- national 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, Mr. 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 Philadelphia, 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 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

week 8 guest artists 63 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.

Tatiana Pavlovskaya Making her Boston Symphony Orchestra debut this week, Tatiana Pavlovskaya began her musical education playing the piano, later becoming a choral director. Following post-graduate study at St. Petersburg’s State Rimsky-Korsakov Conservatory, she taught solo singing as a professor’s assistant. After graduating in 1994 she joined the Mariinsky Theatre, where she made a successful debut as Tatiana in Eugene Onegin, and where she currently holds the position of Honored Artist of Russia. In 1998 she made her debut at La Scala in Milan in the Mariinsky Theatre’s production of War and Peace directed by Andrei Konchalovsky. Since then she has appeared at the Metropolitan Opera, Covent Garden, Shanghai Opera, Beijing Opera, Monte Carlo Opera, Washington Opera, Vlaamse Opera Antwerp, Frankfurt Opera, Los Angeles Opera, San Francisco Opera, Barcelona’s Liceu Theatre, Madrid’s Teatro Real, the Amsterdam Concertgebouw, and the Théâtre des Champs-Élysées and Châtelet in Paris, as well as at the Paris Opera. She has collaborated with such conductors as Valery Gergiev, Yuri Temirkanov, Semyon Bychkov, Mikhail Pletnev, Heinz Fricke, Esa-Pekka Salonen, Ion Marin, James Conlon, Sir Andrew Davis,

64 Jiˇrí Bˇelohlávek, Charles Dutoit, Jukka-Pekka Saraste, Sebastian Weigel, Ilan Volkov, Dmitry Jurowski, and Vladimir Jurowski. Her repertoire includes Gorislava (Ruslan and Ludmila), Tamara (The Demon), Tatiana (Eugene Onegin), Maria (Mazeppa), Kupava (The Snow Maiden), Olga (The Maid of Pskov), Paulina (The Gambler), Sofia (Semyon Kotko), Clara (Betrothal in a Monastery), Natasha Rostova (War and Peace); Verdi’s Desdemona, Alice Ford, and Elisabeth of Valois; Puccini’s Mimì and Liù; Mozart’s Countess, Donna Elvira, Fiordiligi, and Vitellia; Antonia (Les Contes d’Hoffmann), Elsa (Lohengrin), the Governess (The Turn of the Screw), the title role in Jen˚ufa, Judith (Bluebeard’s Castle), Maria/Marietta (Die tote stadt), Volkhova (Sadko), Nastja (Tcharodeika), Lisa (Pique Dame), Katerina Ismailova (Lady Macbeth of Mtsensk), the Empress (Frau ohne Schatten), and Verdi’s Requiem. She has appeared with the major orchestras of New York, Chicago, Los Angeles, Munich, Copenhagen, Helsinki, Oslo, Stockholm, Bamberg, London, St. Petersburg, Madrid, Warsaw, and Tokyo, as well as with the Svetlanov Symphony, Moscow Virtuosi, West German Radio Symphony Orchestra, Italy’s RAI National Symphony Orchestra, Orchestre Philharmonique de Radio France, and the Philharmonic Orchestra of Brazil, among others. She has sung in a gala concert with Plácido Domingo and the London Philharmonic under Gergiev, and has recorded for Philips, Decca, Frankfurt Opera, WDR, Mariinsky, Glyndebourne, and Deutsche Grammophon. For her stage work, Tatiana Pavlovskaya was nominated for a Grammy Award (as Sofia in Prokofiev’s Semyon Kotko) and a BBC Award (as the Foreign Princess in Dvoˇrák’s Rusalka). Recent performances include Maria in Mazeppa at Monte Carlo Opera, Lisa in Pique Dame at the Cincinnati May Festival, Bluebeard’s Castle with the NHK Orchestra in Tokyo, and Shostakovich’s Symphony No. 14 with the Bavarian Philharmonic Orchestra in Bamberg. Engagements in the 2012-13 season and beyond include appearances at the Glyndebourne Festival (Rusalka), Liceu Theatre (Giulietta in Les Contes d’Hoffmann), and Monte Carlo Opera (Rusalka), as well as Britten’s War Requiem with the Chicago Symphony Orchestra, Boston Symphony Orchestra, at the Tonhalle Zurich, with the Danish National Symphony Orchestra, and at the Beijing Music Festival.

John Mark Ainsley John Mark Ainsley was born in Cheshire, began his musical training in Oxford, and continues to study with Diane Forlano. His concert engagements include appearances with the London Symphony under Sir Colin Davis, Rostropovich, and Previn, the Concert d’Astrée under Haim, the London Philharmonic under Norrington, Les Musiciens du Louvre under Minkowski, the Cleveland Orchestra under Welser-Möst, the Berlin Philharmonic under Haitink and Rattle, the Berlin Staatskapelle under Jordan, the New York Philhar- monic under Masur, the Boston Symphony under Ozawa, the San Francisco Symphony under Tate and Norrington, the Vienna Philharmonic under Norrington, Pinnock, and Welser-Möst, and both the Orchestra of the Maggio Musicale Fiorentino and the Orchestre de Paris under Giulini. His extensive discography includes Handel’s Saul with Gardiner, Britten’s A Midsummer Night’s Dream with Davis, Stravinsky’s Pulcinella with Haitink, and Bach’s Mass in B minor and the Evangelist in the St. Matthew Passion with Ozawa (Philips Classics); L’Enfance du Christ, Alexander’s Feast, Acis and Galatea, Berlioz’s Requiem, and the title role in Monteverdi’s Orfeo (Decca); Britten’s Serenade for Tenor, Horn and Strings, Les Illuminations, and Nocturne, Charlie in Brigadoon, and Don Ottavio in Don Giovanni (EMI); Handel’s La resurrezione, Rameau’s Dardanus, and Handel’s Messiah with

week 8 guest artists 65 Minkowski, Britten’s Spring Symphony with Gardiner, and L’Heure espagnole with Previn (Deutsche Grammophon); and recital discs of Schubert, Mozart, Purcell, Grainger, Warlock, and Quilter (Hyperion). His Hyperion recording with the Nash Ensemble of Vaughan Williams’s On Wenlock Edge was nominated for a Gramophone Award. On the operatic stage he has sung Don Ottavio at the Glyndebourne Festival, the Aix-en-Provence Festival, and for his debut at the Royal Opera House–Covent Garden. His many appearances at the Munich Festival include Bajazet in Tamerlano, Jonathan in Saul, the title role in a new production of Idomeneo at the Cuvilliestheater, and as Orfeo, for which he received the Munich Festival Prize. He created the role of Der Daemon in the world premiere of Hans Werner Henze’s L’Upupa at the Salzburg Festival and Hippolyt in the world premiere of Henze’s Phaedra in Berlin and Brussels. He sang Skuratov in Janáˇcek’s From the House of the Dead conducted by Boulez at the Amsterdam, Vienna, and Aix-en-Provence festivals and most recently at the Deutsche Staatsoper Berlin under Rattle. His house debut at La Scala in Milan under Salonen was as Skuratov, in a production released on DVD. He sang his first Captain Vere in Billy Budd in Frankfurt and in 2010 sang his first Captain Vere in the UK at the Glyndebourne Festival. Recent and upcoming engagements include Orfeo at the Theater an der Wien under Ivor Bolton, a recital at London’s Wigmore Hall, concerts with the Boston Symphony and Chicago Symphony under Charles Dutoit and with the Rotterdam Philharmonic under Pablo Heras-Casado, and a return to English National Opera as Grimoaldo in Rodelinda. John Mark Ainsley won the 2007 Royal Philharmonic Society Singer Award and is a visiting professor at the Royal Academy of Music. He made his Boston Symphony debut as the Evangelist in Bach’s St. Matthew Passion in April 1998 at Symphony Hall and Carnegie Hall; subsequent BSO appearances included Bach’s B minor Mass at Symphony Hall in February 2001, Stravinsky’s Pulcinella at Tanglewood in July 2001, and Mozart’s Requiem at Tanglewood in July 2002.

66 Matthias Goerne A frequent guest at renowned festivals and concert halls throughout the world, Matthias Goerne has collaborated with leading orchestras internationally; conductors of the first rank as well as eminent pianists are among his musical partners. Since his opera debut at the Salzburg Festival in 1997 as Papageno in The Magic Flute, he has appeared on the world’s principal opera stages, among them the Royal Opera House–Covent Garden, Madrid’s Teatro Real, Paris National Opera, Vienna State Opera, and the Metropolitan Opera. His carefully chosen roles range from Wolfram, Amfortas, Kurwenal, Orest, and Bartók’s Bluebeard to the title roles in Berg’s Wozzeck, Hindemith’s Mathis der Maler, and Aribert Reimann’s Lear. Mr. Goerne’s artistry has been documented on numerous CD recordings, many of which have received prestigious awards. He is currently recording an eleven-disc series of selected Schubert songs—“The Goerne/Schubert Edition”—for Harmonia Mundi. From 2001 through 2005, Matthias Goerne taught as an honorary professor of song interpretation at the Robert Schumann Academy of Music in Düsseldorf. In 2001 he was appointed an Honorary Member of the Royal Academy of Music in London. Born in Weimar, he studied with Hans-Joachim Beyer in Leipzig, and with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. Highlights of recent seasons include a tour with the Vienna Philharmonic, appearances at the Vienna State Opera and Saito Kinen Festival (as Bluebeard under Seiji Ozawa), recitals with Christoph Eschenbach and Leif Ove Andsnes in Paris, Vienna, and New York, Wolfram at the Bavarian State Opera, Amfortas in concert with the Teatro Real in Madrid, and appearances with the Orchestre de Paris (Bluebeard’s Castle), Berlin Philharmonic (Britten’s War Requiem), Leipzig Gewandhausorchester (Beethoven’s Symphony No. 9), Filarmonica del Teatro alla Scala (Mahler Lieder), and San Francisco Symphony (Wagner arias), as well as song recitals with Pierre-Laurent Aimard and three Schubert cycles with Christoph Eschenbach at the Musikverein in Vienna. During the 2013-14 season he appears on notable opera and concert stages of Europe, Asia, and the United States. Highlights include a concert with London’s Philharmonia Orchestra at Musikfest Berlin; Britten’s War Requiem in Hamburg under Simone Young, with the London Philharmonic under Vladimir Jurowski in Vienna, London, and Moscow, and with both the Boston Symphony and Chicago Symphony under Charles Dutoit; a tour with the Mahler Chamber Orchestra and Daniele Gatti; and concerts in Hong Kong with the Hong Kong Philharmonic under Jaap van Zweden, in Moscow with the National Philharmonic of Russia under Vladimir Spivakov, with the Dallas Symphony also under van Zweden, and with the National Symphony under Christoph Eschenbach in Washington, D.C. At the Vienna State Opera, he sings Kurwenal in Tristan und Isolde, the title role in Wozzeck, and Amfortas in Parsifal. Recital performances take him across Europe and the United States and to Tokyo, singing works by Schubert, Shostakovich, Eisler, Berg, Mahler, and Schumann. For more information, visit www.matthiasgoerne.de. Matthias Goerne makes his BSO subscription series debut this week, following four previous BSO appearances at Tanglewood: singing Mahler’s Rückert-Lieder in July 2001, orchestral songs of Hugo Wolf in July 2002, selections from Mahler’s Des knaben Wunderhorn in August 2005, and Brahms’s Ein deutsches Requiem in July 2009. He has also made four recital appearances in Tanglewood’s Seiji Ozawa Hall, most recently in July 2010.

week 8 guest artists 67 Tanglewood Festival Chorus John Oliver, Conductor

So far in its 2013-14 season with the BSO at Symphony Hall, the Tanglewood Festival Chorus has sung Mahler’s Resurrection Symphony with Christoph von Dohnányi, and Ives’s Orchestral Set No. 2 with Thomas Adès conducting. Following this week’s performances of Britten’s War Requiem, the chorus continues its season with Ravel’s complete Daphnis et Chloé with Bernard Haitink in January (to be repeated at Carnegie Hall in New York), and Stravinsky’s Symphony of Psalms and Beethoven’s Elegiac Song with Daniele Gatti in April. Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tangle- wood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of members who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tanglewood season, the chorus originally numbered 60 well-trained Boston-area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now numbering over 300 members, the Tanglewood Festival Chorus performs year- round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first over- seas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s 40th anniversary.

The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and

68 John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus.

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

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

John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 1000 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. Occupant of the BSO’s Alan J. and Suzanne W. Dworsky Chair for Voice and Chorus, he has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival

week 8 guest artists 69 Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In February 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March.

In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide-ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Symphony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achieve- ment Award, presented by Choral Arts New England in recognition of his outstanding contributions to choral music. The 2013 Tanglewood season marked the 50th anniversary of Mr. Oliver’s Tanglewood debut.

70 Tanglewood Festival Chorus John Oliver, Conductor (Britten War Requiem, November 7, 8, and 9, 2013)

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

Aimée Birnbaum • Joy Emerson Brewer • Norma Caiazza • Jeni Lynn Cameron • Lorenzee Cole # • Lisa Conant • Emilia DiCola • Christine Pacheco Duquette # • Kaila J. Frymire • Bonnie Gleason • Jean Grace • Hannah Grube • Alexandra Harvey • Eileen Huang • Polina Dimitrova Kehayova • Donna Kim • Nancy Kurtz • Farah Darliette Lewis • Sarah Mayo • Deirdre Michael • Ruthie Miller • Kathleen O’Boyle • Jaylyn Olivo • Laurie Stewart Otten • Livia M. Racz • Melanie Salisbury # • Erin M. Smith • Judy Stafford • Stephanie Steele • Dana R. Sullivan • Sarah Telford # • Nora Anne Watson • Lauren Woo • Bethany Worrell • Meghan Renee Zuver mezzo-sopranos

Virginia Bailey • Martha A.R. Bewick • Betty Blanchard Blume • Betsy Bobo • Lauren A. Boice • Abbe Dalton Clark • Diane Droste • Barbara Durham • Paula Folkman # • Debra Swartz Foote • Dorrie Freedman* • Irene Gilbride # • Denise Glennon • Mara Goldberg • Betty Jenkins • Irina Kareva • Yoo-Kyung Kim • Susan Craft Larson • Annie Lee • Gale Tolman Livingston # • Louise-Marie Mennier • Ana Morel • Kendra Nutting • Kathleen Hunkele Schardin • Elodie Simonis • Amy Spound • Julie Steinhilber # • Lelia Tenreyro-Viana • Marguerite Weidknecht tenors

Brad W. Amidon • James Barnswell • John C. Barr # • Stephen Chrzan • Andrew Crain • Sean Dillon • Tom Dinger • Ron Efromson • Keith Erskine • Len Giambrone • J. Stephen Groff # • David Halloran # • James R. Kauffman # • Lance Levine • Daniel Mahoney • Mark Mulligan • Jonathan Oakes • Lukas Papenfusscline • Dwight E. Porter* • Guy F. Pugh • Peter Pulsifer • Tom Regan • Brian R. Robinson • Francis Rogers • David Roth • Joshuah Rotz • Arend Sluis • Don P. Sturdy • Adam Van der Sluis • Hyun Yong Woo basses

Nicholas Altenbernd • Nathan Black • Daniel E. Brooks # • David W. Brown • Stephen J. Buck • Matthew E. Crawford • Michel Epsztein • Mark Gianino • Jim Gordon • Jeramie D. Hammond • David M. Kilroy • Will Koffel • G.P. Paul Kowal • Bruce Kozuma • Timothy Lanagan # • Ryan M. Landry • Patrick McGill • Eryk P. Nielsen • William Brian Parker • Donald R. Peck • Michael Prichard # • Peter Rothstein* • Jonathan Saxton • Karl Josef Schoellkopf • Stefan Sigurjonsson • Craig A. Tata • Samuel Truesdell • Bradley Turner # • Thomas C. Wang # • Terry Ward • Lawson L.S. Wong

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Erik Johnson, Chorus Manager Emily Wilson, Assistant Chorus Manager

week 8 guest artists 71 The American Boychoir Fernando Malvar-Ruiz, Litton-Lodal Music Director Celebrating its rich history as America’s premier concert boys’ choir, The American Boychoir has long been recognized as one of the finest musical ensembles in the country. Capitalizing on its trademark blend of musical sophistication, spirited presentation, and ensemble virtuosity, the choir performs regularly with many distinguished ensembles, including the New York Philharmonic, Philadelphia Orchestra, and Boston Symphony, and is often featured with such illustrious conductors as James Levine, Charles Dutoit, and Alan Gilbert. The American Boychoir is frequently invited to join internationally renowned artists on stage, a list reflecting the extraordinary range of the ensemble: from great classical artists such as Jessye Norman and Frederica von Stade to jazz legend Wynton Marsalis and pop icons Beyoncé and Sir Paul McCartney. The choir’s young soloists are also in high demand, having joined forces with, among others, the Baltimore Symphony, the Cleveland Orchestra, and the Spoleto Festival. The ensemble’s standing as preeminent ambassadors of American musical excellence is maintained through an extremely busy touring schedule both nationally and abroad, and through frequent television and radio guest appearances, most recently on NPR’s From the Top and on the weekly TV broadcast Music and the Spoken Word with the Mormon Tabernacle Choir. Its legacy is preserved through an extensive recording catalogue, boasting more than forty-five commercial recordings and the launch of its own label, Albemarle Records. The choir’s most recent release, “Journey On,” garnered critical acclaim. Boys in fourth through eighth grades come from across the country and around the world to pursue a rigorous musical and academic curriculum at the American Boychoir School in Princeton, New Jersey. In addition to almost one hundred solo concerts, the 2013-14 season includes a tour of Korea, performances of Britten’s War Requiem with the Boston Symphony Orchestra marking the 50th anniversary of the American premiere and centennial of the composer’s birth, and holiday

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72 concerts with Canadian Brass. The American Boychoir made its Boston Symphony Orchestra debut (as the Columbus Boychoir) in the American premiere of Britten’s War Requiem under Erich Leinsdorf at Tanglewood in July 1963. Its first BSO appearances as The American Boychoir were in December 1990, in Tchaikovsky’s The Nutcracker, which it also recorded with the BSO. It has also sung with the orchestra in Tchaikovsky’s Pique Dame, Mahler’s Symphony No. 3, Britten’s War Requiem (in February 1995) and Spring Symphony, Stravinsky’s Perséphone, Mahler’s Symphony No. 8, and, on several occasions, Mahler’s Symphony No. 3, most recently in July 2007, followed in July 2010 by a performance of that work with the Tanglewood Music Center Orchestra led by Michael Tilson Thomas.

Fernando Malvar-Ruiz was appointed Litton-Lodal Music Director of The American Boychoir in July 2004. Besides being widely in demand as a guest conductor, lecturer, and clinician, he is also recognized as an expert in the adolescent male evolving voice. Mr. Malvar-Ruiz served as artistic director and guest conductor for the 2005 World Children’s Choir Festival in Hong Kong. He has conducted honor choirs at American Choral Directors Association regional conventions and at American Kodály Educators national conventions. He instructed the summer master’s program in Kodály at Capital University for eleven summers and since 2008 has served on the faculty at the Academia Internacional de Verano de Dirección Coral y Pedagogía Musical in Las Palmas, Spain. Under his leadership, The American Boychoir was chosen to perform at the 2009 ACDA National Convention in Oklahoma, as well as at the 2010 Kodály National Conference in Dallas, Texas. A native of Spain, Mr. Malvar-Ruiz earned his undergraduate degree in piano performance and music theory from the Reál Conservatorio Superior de Música in Madrid and completed his Kodály certification in Hungary, where he was awarded the Sharolta Kodály scholarship. He holds a master’s degree in choral conducting from Ohio State University and has completed all coursework toward a doctoral degree in musical arts from the University of Illinois.

The American Boychoir

Ugo Abili, NJ • Anthony Baldeosingh, NY • Charles Banta, NJ • Orion Bloomfield, NJ • Samuel Boateng, OH • Jayden Browne, PA • Douglas Butler, AK • Filbert Cao, NJ • Harry Carter, NJ • Samuel Chang, NJ • Evan Corn, NJ • Andrew Davis, SC • Alexander Famous, NJ • Jonathan Famous, NJ • Niccolo Grillo, NJ • Simon Gutierrez, NJ • William Hwang, South Korea • Elias Jarvinen, VA • Damian Juth, NJ • Ian Keller, OH • Zachary Klein, NJ • Christopher Kopits, NJ • Julius Mauldin, NJ • Daniel Metrejean, GA • Isaac Newman, NJ • Makinrola Orafidiya, NJ • Ryan Percarpio, NJ • Jonathan Pollison, NJ • David Rauch, OH • Samuel Rausch, WA • Kei Sakano, NJ • Koji Sakano, NJ • Harrison Shaw, Australia • Andrew Shen, NJ • Jun Hyeong Shin, South Korea • Dante Soriano, NJ • Logan VanBibber, OH • Nathan West, FL • Noah Wilde, NJ

Kerry Heimann, Assistant Music Director and Accompanist

week 8 guest artists 73 The Great Benefactors

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

ten million and above

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

seven and one half million

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

five million

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

two and one half million

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

74 one million

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

‡ Deceased

week 8 the great benefactors 75

The Higginson Society

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

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful for the philanthropic leadership of our Higginson Sponsor members and those who have donated at the Sponsor level and above. The Symphony Annual Fund provides more than $4 million in essential funding to sustain our mission. The BSO acknowledges the gen- erosity of the donors listed below, whose contributions were received by October 15, 2013. For more information about joining the Higginson Society, contact Allison Cooley, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor.

founders $100,000+ Peter and Anne Brooke • Alan J. and Suzanne W. Dworsky • Ted and Debbie Kelly • Kate and Al Merck • Richard and Susan Smith Family Foundation virtuoso $50,000 to $99,999 Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Sarah Chapin Columbia and Stephen Columbia • William and Deborah Elfers • Mr. and Mrs. Steven S. Fischman • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Megan and Robert O’Block • William and Lia Poorvu • John S. and Cynthia Reed • Susan and Dan ‡ Rothenberg • Kristin and Roger Servison • Stephen and Dorothy Weber • Linda M. and D. Brooks Zug • Anonymous encore $25,000 to $49,999 Joan and John Bok • Mr. and Mrs. John M. Bradley • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Catherine and Paul Buttenwieser • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • Thomas and Winifred Faust • Joy S. Gilbert • Mr. and Mrs. Amos B. Hostetter, Jr. • Joyce Linde • Henrietta N. Meyer • Sandra Moose and Eric Birch • Drs. Joseph and Deborah Plaud • Louise C. Riemer • Wendy Shattuck and Samuel Plimpton • Theresa M. and Charles F. Stone III • Roberta and Stephen R. Weiner • Anonymous (4)

week 8 the higginson society 77 maestro $15,000 to $24,999

Alli and Bill Achtmeyer • Lois and Harlan Anderson • Dorothy and David Arnold • Ronald and Ronni Casty • Dr. Lawrence H. and Roberta Cohn • Mr. and Mrs. Miguel de Bragança • Thelma and Ray Goldberg • Mrs. Francis W. Hatch • Mr. and Mrs. Brent L. Henry • Paul L. King • Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Jane and Robert J. Mayer, M.D. • Ann Merrifield and Wayne Davis • Dr. Martin C. Mihm, Jr. • Maureen Miskovic • Mr. and Mrs. Daniel Pierce • William and Helen Pounds • Sharon Mishkin and Mark Rosenzweig • Benjamin Schore • Katherine Chapman and Thomas Stemberg • Mr. and Mrs. David Weinstein • Drs. Christoph and Sylvia Westphal • Joan D. Wheeler • Robert and Roberta Winters • Rhonda and Michael J. Zinner, M.D. • Anonymous (2)

patron $10,000 to $14,999 Amy and David Abrams • Noubar and Anna Afeyan • Jim and Virginia Aisner • Mr. and Mrs. Peter Andersen • Lloyd Axelrod, M.D. • Lucille Batal • Gabriella and Leo Beranek • Roberta and George Berry • Ann Bitetti and Doug Lober • Joyce M. Bowden and Adam M. Lutynski • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Eleanor L. and Levin H. Campbell • Joseph M. Cohen • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Happy and Bob Doran • Deborah and Philip Edmundson • Laurel E. Friedman • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Barbara and Robert Glauber • Mr. and Mrs. Ulf B. Heide • Mr. and Mrs. Richard D. Hill • John Hitchcock • Dr. Susan Hockfield and Dr. Thomas N. Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Mr. and Mrs. Jack Klinck • Dr. Nancy Koehn • Anne R. Lovett and Stephen G. Woodsum • Josh and Jessica Lutzker • John Magee • Mr. and Mrs. Jeffrey E. Marshall • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse • Jerry and Mary ‡ Nelson • Mary S. Newman • Annette and Vincent O’Reilly • Peter and Minou Palandjian • Jane and Neil Pappalardo • Dr. and Mrs. Irving H. Plotkin • Susanne and John Potts • James and Melinda Rabb • Linda H. Reineman • Debora and Alan Rottenberg • Norma and Roger A. Saunders • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Christopher and Cary Smallhorn • Maria and Ray Stata • Tazewell Foundation • Ronney and Stephen Traynor • Eric and Sarah Ward • Elizabeth and James Westra • June Wu • Drs. Richard and Judith Wurtman • Anonymous (2)

sponsor $5,000 to $9,999 Helaine B. Allen • Joel and Lisa Alvord • Shirley and Walter Amory • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Mrs. Hope Lincoln Baker • Mr. and Mrs. Eugene F. Barnes III • Judith and Harry Barr • John and Molly Beard • Deborah Davis Berman and William H. Berman • Roz and Wally Bernheimer • Mrs. Linda Cabot Black • Brad and Terrie Bloom • Mark G. and Linda Borden • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • The Cavanagh Family • Ronald and Judy Clark • Mr. and Mrs. Frederic M. Clifford • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Victor Constantiner •

78 Dr. Charles L. Cooney and Ms. Peggy Reiser • Albert and Hilary Creighton • Mrs. Bigelow Crocker • Mr. and Mrs. David D. Croll • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Gene and Lloyd Dahmen • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Jonathan and Margot Davis • Charles and JoAnne Dickinson • Michelle Dipp • Mrs. Richard S. Emmet • Priscilla Endicott • Pamela Everhart and Karl Coiscou • Roger and Judith Feingold • Shirley and Richard Fennell • Mr. and Mrs. Andrew J. Ferrara • Larry and Atsuko Fish • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • Beth and John Gamel • Dozier and Sandy Gardner • Dr. and Mrs. Levi A. Garraway • Jane ‡ and Jim Garrett • Mr. and Mrs. Paul B. Gilbert • Jody and Tom Gill • Jordan and Sandy Golding • Mr. and Mrs. Mark Goldweitz • Jack Gorman • Raymond and Joan Green • Vivian and Sherwin Greenblatt • Marjorie and Nicholas Greville • The Grossman Family Charitable Foundation • Grousbeck Family Foundation • John and Ellen Harris • Carol and Robert Henderson • Patricia and Galen Ho • Mr. and Mrs. Charles Hood • Timothy P. Horne • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Mimi and George Jigarjian • Holly and Bruce Johnstone • Susan B. Kaplan • Joan Bennett Kennedy • Mrs. Thomas P. King • Mr. and Mrs. Gordon F. Kingsley • Seth A. and Beth S. Klarman • The Krapels Family • Barbara N. Kravitz • Farla Krentzman • Pamela S. Kunkemueller • Rosemarie and Alexander Levine • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Dale and Robert Mnookin • Kyra and Jean Montagu • Kristin A. Mortimer • Mr. and Mrs. Joseph M. Paresky • Donald and Laurie Peck • Slocumb H. and E. Lee Perry • Ann M. Philbin • Josephine A. Pomeroy ‡ • Jonathan and Amy Poorvu • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Rita and Norton Reamer • Dr. and Mrs. George B. Reservitz • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. Graham Robinson and Dr. Jeanne Yu • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Sean Rush and Carol C. McMullen • Cynthia and Grant Schaumburg • Ms. Lynda Anne Schubert • Arthur and Linda Schwartz • Ron and Diana Scott • Robert and Rosmarie Scully • Anne and Douglas H. Sears • Marshall Sirvetz • Gilda and Alfred Slifka • Ms. Nancy F. Smith • Mrs. Fredrick J. Stare ‡ • John and Katherine Stookey • Patricia L. Tambone • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • John Travis • Blair Trippe • Marc and Nadia Ullman • Robert A. Vogt • Gail and Ernst von Metzsch • Harvey and Joëlle Wartosky • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Patricia Plum Wylde • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (5)

week 8 the higginson society 79

Administration

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

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

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

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

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant

week 8 administration 81 82 development

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

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

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

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

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

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

week 8 administration 83 information technology Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Ana Costagliola, Database Business Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

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

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

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

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

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

week 8 administration 85

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Audley H. Fuller Vice-Chair, Tanglewood, Martin Levine Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2013-14

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Sybil Williams • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Beverly Pieper • Mailings, George Mellman • Membership Table/Hall Greeters, Melissa Riesgo • Newsletter, Judith Duffy • Recruitment/Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon

week 8 administration 87 Next Program…

Thursday, November 14, 8pm Friday, November 15, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, November 16, 8pm Tuesday, November 18, 8pm

leonidas kavakos, violin and conductor

mozart violin concerto no. 4 in d, k.218 Allegro Andante cantabile Rondeau: Andante grazioso—Allegro ma non troppo mr. kavakos

prokofiev symphony no. 1 in d, opus 25, “classical” Allegro Larghetto Gavotte: Non troppo allegro Finale: Molto vivace

{intermission}

schumann symphony no. 2 in c, opus 61 Sostenuto assai—Allegro ma non troppo Scherzo: Allegro vivace; Trio I; Trio II Andante espressivo Allegro molto vivace

The Greek-born violin virtuoso and conductor Leonidas Kavakos returns to the BSO podium in that dual role for Mozart’s Violin Concerto No. 4, composed in 1775 and considered a signpost of the precocious composer’s high maturity. Kavakos then leads Sergei Prokofiev’s delightful, Mozart- and Haydn-inspired Classical Symphony, one of the last pieces the composer finished in Russia before leaving his homeland for more than a decade. Closing the program is Robert Schumann’s Symphony No. 2, composed in 1845 after a bout of deep depression (which plagued the composer throughout his life), but ultimately, even miraculously, optimistic and affirmative in character.

88 Coming Concerts… friday previews and rehearsal talks: The BSO offers half-hour talks prior to all of the BSO’s Friday-afternoon subscription concerts and Thursday-morning Open Rehearsals. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. and the Open Rehearsal Talks from 9:30-10 a.m. in Symphony Hall.

Thursday ‘C’ November 14, 8-9:55 Thursday ‘A’ January 9, 8-9:40 Friday ‘A’ November 15, 1:30-3:25 UnderScore Friday January 10, 8-9:50 Saturday ‘A’ November 16, 8-9:55 (includes comments from the stage) Tuesday ‘C’ November 19, 8-9:55 Saturday ‘B’ January 11, 8-9:40 LEONIDAS KAVAKOS, violin and conductor ROBERTSPANO, conductor ORQUESTALAPASIÓN,MIKAELRINGQUIST and MOZART Violin Concerto No. 4 in D, K.218 GONZALOGRAU, leaders JESSICARIVERA, soprano PROKOFIEV Symphony No. 1, Classical BIELLA DA COSTA, Latin-American alto SCHUMANN Symphony No. 2 REYNALDOGONZÁLEZ-FERNÁNDEZ, Afro-Cuban singer and dancer DERALDOFERREIRA, capoeirista and berimbau Thursday ‘A’ November 21, 8-10:05 Friday ‘B’ November 22, 1:30-3:35 MEMBERSOFTHESCHOLACANTORUMDE VENEZUELA Saturday ‘A’ November 23, 8-10:05 GOLIJOV La Pasión según San Marcos RAFAELFRÜHBECKDEBURGOS, conductor RICHARDSVOBODA, bassoon BEETHOVEN Symphony No. 6, Pastoral Sunday, January 12, 3pm NEIKRUG Concerto for Bassoon and Jordan Hall, New England Conservatory Orchestra (world premiere; BOSTONSYMPHONYCHAMBERPLAYERS BSO co-commission) GILBERTKALISH, piano FALLA The Three-cornered Hat, Suites 1 and 2 COPLAND Vitebsk, Study on a Jewish Theme, for piano, violin, and cello FINE Fantasia for String Trio Tuesday ‘B’ November 26, 8-10 MOZART Quintet in E-flat for piano and Friday ‘A’ November 29, 1:30-3:30 winds, K.452 Saturday ‘B’ November 30, 8-10 BRAHMS Piano Quartet No. 3 in C minor, Op. 60 RAFAELFRÜHBECKDEBURGOS, conductor PETERSERKIN, piano BRAHMS Piano Concerto No. 2 BEETHOVEN Symphony No. 7

Programs and artists subject to change.

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

week 8 coming concerts 89 Symphony Hall Exit PlanPlanSymphony

90 Symphony Hall InformationInformationSymphony

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

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

week 8 symphony hall information 91 Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.