Lynn Harrell 59 Olivier Latry

Table of Contents | Week 19

7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 19 completing the circle: wagner’s brave new world in the concert hall by thomas may 25 this week’s program

Notes on the Program

26 The Program in Brief… 27 Wolfgang Amadè Mozart 35 Augusta Read Thomas 43 Camille Saint-Saëns 51 To Read and Hear More…

Guest Artists

55 Christoph Eschenbach 57 Lynn Harrell 59 Olivier Latry

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

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

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

trustees of the boston symphony orchestra, inc.

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

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

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

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

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

week 19 trustees and overseers 3

photos by Michael J. Lutch

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

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

week 19 trustees and overseers 5

BSO News

BSO and Copley Society of Art Present Exhibit Inspired by “Pictures at an Exhibition” through April 13 The Boston Symphony Orchestra and the Copley Society of Art have joined forces to curate an exhibit of thirty-two new paintings throughout Symphony Hall, March 6-April 13. Inspired by Mussorgsky’s Pictures at an Exhibition, and in conjunction with the BSO’s performances of that work under Oliver Knussen on April 12 and 13, the paintings, which were unveiled at a March 6 Symphony Hall reception honoring the artists, will be on view through April 13. John Kirby of Boston Art Inc. and Ron Della Chiesa of WGBH selected the thirty-two works for the exhibit from a field of 125 entries submitted by Copley Society artists. The paintings can also be viewed online at bso.org, where visitors can choose which painting most effec- tively captures the spirit of Mussorgsky’s Pictures. The best-in-show painting, chosen by Mr. Kirby and Mr. Della Chiesa with input from online participation, will be announced at a reception to take place in the Cabot-Cahners Room on Friday, April 12, from 6 to 8 p.m., prior to that evening’s BSO concert. Those interested in attending the April 12 reception and concert can purchase a $60 ticket for both events at www.bso.org/copleysocietyartists; tickets are also available by calling 1-888-266-1200 or visiting the Symphony Hall box office.

The BSO on the Web At BSO.org/MediaCenter, patrons can find a centralized location for access to all of the Boston Symphony Orchestra’s media offerings. The free and paid media options include radio broadcast concert streams, audio concert previews, interviews with BSO musicians and guest artists, excerpts from upcoming programs, and self-produced recordings by the BSO, Boston Pops, Boston Symphony Chamber Players, Tanglewood Festival Chorus, and Tanglewood Music Center Fellows. In addition, there are complete program notes available for download, printing, or saving to an e-reader. The BSO kids website offers educational games and resources designed to be fun and help teach various aspects of music theory and musical concepts. The BSO is also on Facebook (facebook.com/bostonsymphony) and Twitter, and you can watch video content at youtube.com/boston symphony. New this season is a BSO mobile site, which allows patrons to access performance schedules; download program notes; listen to concert previews, music clips, and concert broadcast streams; and view video podcasts.

Dining at the BSO For Symphony Hall patrons who like to arrive early and relax over food and drink, Boston Gourmet’s on-site chefs prepare a variety of tempting culinary offerings. The Symphony Café, entered via the Cohen Wing doors on Huntington Avenue, offers prix fixe, buffet-style dining from 5:30 p.m. until concert time for all evening Boston Symphony concerts and lunch

week 19 bso news 7 from 11 a.m. prior to Friday-afternoon concerts. For reservations call (617) 638-9328 or visit bso.org—where you can now also order a meal, appetizer, or drink ahead of time. Casual dining and a full complement of beverages are offered in both the Cabot-Cahners and O’Block/Kay rooms before concerts and at intermission. The Refreshment Bar, located next to the coatroom on the orchestra level, serves hot and cold non-alcoholic beverages, as well as snacks. The Champagne Bar, located outside the O’Block/Kay Room, offers champagne by the glass, cognac, armagnac, and gourmet chocolates.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all BSO Friday- afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. The speakers for this season’s remaining Friday Previews are Robert Kirzinger (March 15 and April 19) and Marc Mandel (March 22 and May 3). individual tickets are on sale for all concerts in the bso’s 2012-2013 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 75 of this program book.

BSO Business Partner of the Month Planned Gifts for the BSO: Did you know that there are more than 400 Orchestrate Your Legacy businesses and corporations that support the There are many creative ways that you can Boston Symphony Orchestra, Inc.? You can support the BSO over the long-term. Planned lend your support to the BSO by supporting gifts such as bequest intentions (through the companies who support us. Each month, your will, personal trust, IRA, or insurance we spotlight one of our corporate supporters policy), charitable trusts, and gift annuities as the BSO Business Partner of the Month. can generate significant benefits for you now This month’s partner is Arbella Insurance while enabling you to make a larger gift to Foundation. The Arbella Insurance Foundation the BSO than you had otherwise thought was established in 2004 by the Arbella In- possible. In many cases, you could realize surance Group, a local, customer-focused significant tax savings and secure an attrac- property and casualty insurance company, tive income stream for you and/or a loved providing personal and business insurance in one, all while providing valuable future sup- Massachusetts and Connecticut, and busi- port for the music and programs you care ness insurance in Rhode Island and New about. When you establish and notify us of Hampshire. The mission of Arbella’s Foun- your planned gift for the Boston Symphony dation is to support not-for-profit organiza- Orchestra, you will become a member of the tions that have a significant positive impact Walter Piston Society, joining a group of the on the people and communities served by BSO’s most loyal supporters who are helping Arbella. Arbella Insurance Foundation is to ensure the future of the BSO’s extraordinary proud to sponsor the Boston Pops, a New performances. The Walter Piston Society is England institution that brings music, arts, named for the Pulitzer Prize-winning composer entertainment, and education to the commu- and noted musician Walter Piston, who en- nity. For more information about becoming a dowed the BSO’s principal flute chair with a BSO Business Partner, contact Rich Mahoney, bequest. Members of the Piston Society are Director of BSO Business Partners, at (617) recognized in several of our publications and 638-9277 or at rmahoney@ bso.org. offered a variety of exclusive benefits, includ-

week 19 bso news 9 ing invitations to various events in Boston and April at 4 p.m. on seven Wednesdays and at Tanglewood. If you would like more (March 13, 20, 27; April 3, 10, 17, 24) and information about planned gift options and at 2 p.m. on three Saturdays (March 23, 30; how to join the Walter Piston Society, please April 6). For more information, visit bso.org/ contact John MacRae, Director of Principal tours. All tours begin in the Massachusetts and Planned Giving, at (617) 638-9268 or Avenue lobby of Symphony Hall. Special [email protected]. We would be delighted to private tours for groups of ten guests or help you orchestrate your legacy for the BSO. more—free for Boston-area elementary schools, high schools, and youth/education community groups—can be scheduled in Friday-afternoon Bus Service to advance (the BSO’s schedule permitting). Symphony Hall Make your individual or group tour reserva- If you’re tired of fighting traffic and search- tions today by visiting bso.org/tours, by ing for a parking space when you come to contacting the BSAV office at (617) 638-9390, Friday-afternoon Boston Symphony concerts, or by e-mailing [email protected]. why not consider taking the bus from your community directly to Symphony Hall? The BSO Members in Concert Boston Symphony Orchestra is pleased to continue offering round-trip bus service on Founded by BSO cellist Jonathan Miller, the Friday afternoons at cost from the following Boston Artists Ensemble performs Mendels- communities: Beverly, Canton, Cape Cod, sohn’s String Quartet No. 2 in A minor, Op. 13, Concord, Framingham, Marblehead/Swamp- Brahms’s Clarinet Quintet in B minor, Op. 115, scott, Wellesley, Weston, the South Shore, and a “mystery piece” on Friday, March 15, and Worcester in Massachusetts; Nashua, at 8 p.m. at the Peabody Essex Museum in New Hampshire; and Rhode Island. Taking Salem, and on Sunday, March 17, at 2:30 p.m. advantage of your area’s bus service not only at Trinity Church in Newton Centre. Joining helps keep this convenient service operating, Mr. Miller are BSO musicians Tatiana Dimi- but also provides opportunities to spend triades and Julianne Lee, violins, Edward time with your Symphony friends, meet new Gazouleas, viola, and Thomas Martin, clarinet. people, and conserve energy. If you would Tickets are $27, with discounts for seniors like further information about bus transporta- and students. Visit bostonartistsensemble.org tion to Friday-afternoon Boston Symphony or call (617) 964-6553 for more information. concerts, please call the Subscription Ofﬁce Ronald Knudsen leads the New Philharmonia at (617) 266-7575. Orchestra in their second “Classics” concerts of the season on Saturday, March 16, at 8 p.m. The Irving W. and and Sunday, March 17, at 3 p.m. at the First Charlotte F. Rabb Baptist Church, 848 Beacon Street, Newton Symphony Hall Tours Centre. The program, entitled “Memories of Italy,” is an all-Respighi program featuring The The Irving W. and Charlotte F. Rabb Symphony Birds, Concerto Gregoriano with violinist James Hall Tours provide a rare opportunity to go Buswell as soloist, and Pines of Rome. Tickets behind the scenes at Symphony Hall. In these are $10-45 (discounts for seniors, students, free, guided tours offered throughout the sea- and families). For more information, or to son by the Boston Symphony Association of order tickets, call (617) 527-9717 or visit Volunteers, experienced volunteer guides newphil.org. discuss the history and traditions of the BSO and its world-famous home, historic Symphony The Concord Chamber Music Society, found- Hall, as they lead participants through pub- ed by BSO violinist Wendy Putnam, presents lic and selected “behind-the-scenes” areas David Finckel, cello, and Wu Han, piano, in a of the building. Free walk-up tours lasting program of three cello sonatas: Strauss’s approximately one hour take place in March in F, Op. 6, Brahms’s No. 1 in E minor, Op. 38,

week 19 bso news 11 12 and Chopin’s in G minor, Op. 65, on Sunday, Association of Volunteers. The BSO Informa- March 24, at 3 p.m. at the Concord Academy tion Table is staffed before each concert and Performing Arts Center, 166 Main Street, Con- during intermission. cord, MA. A pre-concert talk begins at 2 p.m. Tickets are $42 and $33, discounted for seniors and students. For more information, visit Those Electronic Devices... www.concordchambermusic.org or call (978) As the presence of smartphones, tablets, 371-9667. and other electronic devices used for com- munication and note-taking has continued to The Boston Cello Quartet—BSO cellists increase, there has also been an increase in Blaise Déjardin, Adam Esbensen, Mihail expressions of concern from concertgoers Jojatu, and Alexandre Lecarme—performs and musicians who find themselves distracted arrangements of music by Bach, Mozart, not only by the illuminated screens on these Piazzolla, Johann Strauss II, and Verdi (among devices, but also by the physical movements others) and original compositions by Tetsuro that accompany their use. For these reasons, Hoshii and Blaise Déjardin on Sunday, March and as a courtesy to those on stage as well 24, at 7 p.m. at Edward Pickman Hall at the as those around you, we respectfully request Longy School of Music, 27 Garden Street, that all such electronic devices be turned off Cambridge. Admission is free. For further infor- and kept from view while the BSO’s perform- mation, visit www.bostoncelloquartet.com or ances are in progress. Thank you very much call (617) 876-0956, ext. 1500. for your cooperation.

The Information Table: Comings and Goings... Find Out What’s Happening At the BSO Please note that latecomers will be seated by the patron service staff during the first Are you interested in upcoming BSO concert convenient pause in the program. In addition, information? Special events at Symphony please also note that patrons who leave the Hall? BSO youth activities? Stop by the infor- hall during the performance will not be mation table in the Brooke Corridor, on the allowed to reenter until the next convenient orchestra-level, Massachusetts Avenue side pause in the program, so as not to disturb the of Symphony Hall. There you will find the performers or other audience members while latest performance, membership, and Sym- the concert is in progress. We thank you for phony Hall information provided by knowl- your cooperation in this matter. edgeable members of the Boston Symphony

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

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

week 19 on display 15 Boston Symphony Orchestra 2012–2013

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

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

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

week 19 boston symphony orchestra 17

Completing the Circle: Wagner’s Brave New World in the Concert Hall by Thomas May

On March 21, 22, 23, and 26, the Boston Symphony Orchestra marks the bicentennial of Richard Wagner (born in May 1813) with an all-Wagner program under the direction of Daniele Gatti. The BSO marked the bicentennial of Giuseppe Verdi (born in October 1813) this past January, with performances of Verdi’s Requiem, also led by Maestro Gatti.

The shared bicentennial of the twin 19th-century titans Verdi and Wagner has inspired ambitious plans to mark the occasion—plans by no means limited to the opera house. In January, Daniele Gatti led the Boston Symphony Orchestra in Verdi’s Requiem, that paradoxical late-period testament in which the Italian master reinvented himself off the opera stage, in the context of the choral-symphonic tradition. In March, Maestro Gatti returns with an all-Wagner program offering a wide-spanning survey of the one-man revolution spearheaded by Wagner—from his early refashioning of Romantic grand opera (hybridized from French and German models) to his profoundly ambivalent swan song, Parsifal, which questions the composer’s entire life project of the music drama anew.

“Richard Wagner at his Home in Bayreuth,” an 1882 oil painting by W. Beckmann showing Cosima and Richard Wagner, Cosima’s father Franz Liszt, and the German literary figure (and Wagner biographer) Hans von Wolzogen

week 19 wagner’s brave new world in the concert hall 19 Certainly Wagner’s ideas about opera and the fusion of the arts, and even his musical language, have left their mark far beyond the opera house. Even those who have never been to an opera will likely not have escaped the long cultural reach of “Wagnerism,” from novelists like Marcel Proust and Thomas Mann, Symbolist painters, and philoso- phers to film composers and even heavy metal. All of this makes it difficult to recapture the sense of euphoric potential, of a brave new world of art being born, with which Wagner’s mature works intoxicated the first generation of his followers. The disappointed, erstwhile idolater Friedrich Nietzsche described the narcotic effect of this music with the sardonically cautionary attitude of an ex-junkie. One especially remarkable attempt to convey something of that initial, heady spell of discovery—without ignoring its pernicious, even toxic aspects—can be found in actor Stephen Fry’s recent film Wagner and Me.

Wagner and Verdi—who, like the Baroque “twins” Bach and Handel, never actually met in person—lived through a period of extraordinarily dramatic upheaval. Outside Wagner’s native Leipzig, in the months after little Richard’s birth, massive armies poised for some of the decisive battles of the Napoleonic era. Wagner would later become a fugitive from German lands. He narrowly escaped a possible death sentence for his role in the uprisings that spread across Europe in 1848-49 and was forced to live in exile during the height of his creative prime. Yet quite apart from the colorful external outlines of his life—his personal tribulations left as deep an impact as the world historical forces surrounding him— an important spur to his innovative temperament was his bracing mixture of admiration for, and competition with, the artists who served as models.

Wagner discovered major catalysts for his aesthetic—and even components of his musical processes—in his encounters above all with the works of Beethoven, but also with those of such pioneers as Hector Berlioz and his eventual father-in-law, Franz Liszt. In a sense, hearing Wagner in the concert hall completes a circle. His idiosyncratic interpre- tation of Beethoven’s Ninth as a “Columbus”-like voyage to the very limits of instrumental music establishes Wagnerian music drama as the natural evolution toward which the most “progressive” symphonic thought has been tending. Like a mighty river flowing inexorably into its delta, Beethoven’s “stream of inexhaustible melody” at last combines the orchestra and the human voice. Wagner’s own orchestral language in turn became a notable strand in the musical fabric of symphonic scores by composers as diverse as César Franck, Mahler, Strauss, and early Schoenberg.

In his provocative biography, Wagner: The Last of the Titans, Joachim Köhler writes that from hearing a performance of Berlioz’s Roméo et Juliette during his early Parisian period, Wagner gleaned “a clear idea of the possibilities of modern tone-painting and the art of instrumentation” and then plunged into “a counterpart of his own” by attempting a Berlioz-inspired symphony based on Faust. This attempt, however, foundered—in the end Wagner completed only one movement, which he then retitled A Faust Overture. But according to Köhler, that failure prompted an epiphany: “Although Faust provided him with the best possible dramatic basis, he tried to portray this drama by using symphonic resources when he should have depicted the drama itself.” He points to the composer’s own statement that what followed was the urge to write The Flying Dutchman, “breaking

20 Watercolor of Wagner by Clementine Stockar-Escher, Zurich, 1853

free from the mists of instrumental music and finding a solution to the problem that con- fronted me in the specificity of the drama.” By general consensus this is the first opera in which the authentic Wagnerian voice emerges, both dramatically and musically.

Even so, Tannhäuser takes another significant leap forward, reminding us that even before he became caught up in the world of the Ring—and while still reworking vestiges of grand opera and working for the “establishment” in Dresden—Wagner was at the same time revolutionizing the idea itself of “descriptive” music. Laurence Dreyfus argues in his book Wagner and the Erotic Impulse that much of the intense polarization among the composer’s contemporaries resulted from the overwhelming effectiveness with which his music, through harmonic tensions, rhythmic suggestiveness, and colorful orchestration, could convey human desire and sensuality. Dreyfus calls Wagner “the first to develop a detailed musical language that succeeded in extended representations of erotic stimulation, pas- sionate ecstasy, and the torment of love”—and this begins to happen in the “Venus” music at the center of the original version of the Tannhäuser Overture. Later, in his revised version of the opera for the disastrous Paris production in 1861, Wagner would infuse the score with what he had learned in composing Tristan; but even in 1845 he was anticipating this music of unbridled desire.

Eager as Wagner was to subvert (or reinterpret) the past in pursuit of his goals, he remained intent on the need to communicate with contemporary audiences. One reason his music acquired a parallel life in the concert hall from the very start was as the result of his tireless efforts at self-promotion. Wagner’s ambitious innovations necessitated long delays before such projects as the Ring cycle could be realized onstage. So he opted for a practical compromise and returned to his earlier métier as conductor, using the forum of orchestral concerts to try to keep his latest music in circulation. It’s interesting

week 19 wagner’s brave new world in the concert hall 21 to note, as the expert Thomas Grey does, that Wagner’s urge to impart his ideas extended to the genre of program notes he pioneered not only for concert presentations of his own music, but for the emerging repertory of Beethoven. Without an actual staging of the music drama in question to orient his audience, writes Grey, “Wagner also sought to transmute [the relevant dramatic content] in ‘purely musical’ terms within the orchestral pieces” introducing such works as Tannhäuser, Lohengrin, Tristan und Isolde, and Parsifal.

The dream of the “invisible orchestra” that Wagner made a reality in Bayreuth (a concept for which, incidentally, Verdi also expressed admiration) was at heart motivated by the desire to make its music all the more immediate. Wagner’s frustrations with staging the Ring even led him to joke about inventing the “invisible theater.” As it happens, it was via concert arrangements of excerpts that the composer gave the public its first taste of the cycle while it was still a work in progress. The same holds for the epoch-making Prelude to Tristan und Isolde. And Wagner composed and conducted the Prelude to Die Meistersinger even before he had completed that opera.

Otherwise, there was a considerable time lag before audiences actually had an opportunity to hear the controversial compositions over which much ink had already been spilled through the years. For example, not until 1871 did an opera by Wagner receive its first performance in Italy. This was Lohengrin, already almost a quarter-century old. It soon entered the repertory there, although none of his later operas received a staging south of the Alps until after the composer’s death. Following years of reading about his radical ideas on opera and the future of music, the Italian public must have been struck by the presence of so many traditional elements of Romantic opera in this score, mixed as they were with innovations. But the latter are certainly evident in the orchestral music of the Prelude to Act I. Its shimmering sheets of divided violins can even be heard as a potential ancestor of Ligeti’s hovering micropolyphonic fabrics.

Meanwhile, this music from Lohengrin anticipates the total-immersion effect of the Tristan Prelude (or of Das Rheingold, for that matter, with which the Ring cycle commences— where it conjures the natural and elemental, as opposed to the spiritual in Lohengrin). In Tristan, Wagner achieves this by couching his bold, profoundly unsettling harmonic language in darkly muted orchestral textures. The Tristan Prelude distills the essence of the entire opera by suggesting the restless tug of desire. But more significant than its emo- tionally haunting character is the primacy that music has taken on, by this point in Wagner’s thinking, as the real locus of the drama. Much as in the final minutes of the Ring itself, it is left to the orchestra to resolve everything that has been experienced in the course of Tristan and Isolde’s passion story. Isolde’s final “transfiguration” (Wagner’s term for her farewell vision) builds to an oceanic climax that at last comes to rest on what Richard Strauss described as “the most beautifully orchestrated B major chord in the whole history of music.”

In the Ring itself, Wagner’s continually evolving leitmotif system guaranteed a central role for the orchestra as a lead character in its own right. Verbal utterances by the characters onstage are often merely tips of the iceberg. The orchestra resembles a primal

22 Wagner conducting, as drawn by Gustav Gaul at a February 1875 concert rehearsal in Vienna

unconscious, unveiling what is latent beneath. With his manipulations and recombinations of motifs, expressed through an increasingly nuanced range of timbres, Wagner even creates the illusion that the music is “thinking.” In the instrumental interludes Daniele Gatti has chosen from Götterdämmerung, the orchestra also strengthens the principle of epic narrative by wordlessly recalling past events from a long-range perspective.

That sense of recapitulation of what has been explored long ago permeates Parsifal. Like Verdi’s Requiem, Parsifal is both a summa of its composer’s art and a creation that is sui generis. At times Wagner recalls the dark timbres and tonal restlessness of Tristan, but with even more harrowing intensity. The music of Kundry—arguably the most fascinating in his entire gallery of characters—doesn’t so much convey the power of unappeasable desire as make vivid the suffering which is its consequence, and which, Wagner wants us to see, underlies existence itself. Love in the sense of sexual desire—the sense that, for the composer, was always an integral part of a loving relationship—is not the key to redemption but its obstacle, a distraction from the path of compassion. By the end of the opera—and of his career—Wagner cries out for “redemption to the redeemer,” still long- ing for the answers that his art has not succeeded in yielding. thomas may writes about the arts for the Boston Symphony Orchestra program book and other publications. He is the author of “Decoding Wagner: An Invitation to his World of Music Drama” and the editor of “The John Adams Reader: Essential Writings of an American Composer.”

week 19 wagner’s brave new world in the concert hall 23

bernard haitink, conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, March 14, 8pm Friday, March 15, 1:30pm Saturday, March 16, 8pm | the nancy and richard lubin concert christoph eschenbach conducting mozart symphony no. 41 in c, k.551, “jupiter” Allegro vivace Andante cantabile Menuetto: Allegretto Molto Allegro thomas cello concerto no. 3, “legend of the phoenix” (world premiere; commissioned by the boston symphony orchestra through the generous support of mr. and mrs. william g. brown; with additional support from catherine and paul buttenwieser and from the new works fund established by the massachusetts cultural council, a state agency) lynn harrell

{intermission} saint-saëns symphony no. 3 in c minor, opus 78, “organ symphony” Adagio—Allegro moderato—Poco adagio Allegro moderato—Presto—Maestoso—Allegro olivier latry, organ bank of america and emc corporation are proud to sponsor the bso’s 2012-2013 season.

The evening concerts will end about 10:10 and the afternoon concert about 3:40. 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. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. week 19 program 25 The Program in Brief...

This strikingly varied program features the world premiere of American composer Augusta Read Thomas’s Cello Concerto No. 3, Legend of the Phoenix, a BSO commission. The BSO previously co-commissioned Thomas’s Helios Choros II, giving its American premiere in October 2009, and also premiered her short Chanson for cello and orchestra, written for Mstislav Rostropovich’s 70th birthday, in 1997. Thomas wrote her new work specifically with the BSO, Symphony Hall, and esteemed American cellist Lynn Harrell in mind. Although it has no specific extramusical “program,” the nearly thirty-minute concerto takes the life cycle of the mythical, magical phoenix, which expires in flame and rises from its own ashes, as the source of its hopeful and life-affirming overall character. The piece is in one big movement and can be heard as roughly four large sections: slow, singing, and lyrical; fast, jazzy, and syncopated; ethereal and dreamy; and exuberantly fast, with a lot of percussion. The cello solo has rich, immediately expressive melodic lines as well as quick and aggressive passages, while the writing for the orchestra, a fully equal partner, is kaleidoscopically colorful.

Two highly contrasting symphonies bracket the world premiere. Mozart’s four-movement Symphony No. 41, Jupiter, was the composer’s last, written almost concurrently with the very different but equally revered symphonies 39 and 40 in the summer of 1788. (Although it’s probable he wrote these pieces for a specific occasion, there is no record of such an event.) The nickname Jupiter is not Mozart’s own, but was apparently applied to the symphony in the years after the composer’s death. The great commentator Donald Francis Tovey calls that nickname “among the silliest injuries ever inflicted on great works of art.” Nevertheless, the reference to the Roman classical tradition is apt, reflect- ing the symphony’s graceful craft and architectural perfection. The Jupiter stands as an exemplar of Viennese Classical music in general and as the very model of what a “symphony” should be.

As a child in the 1840s, the French composer Camille Saint-Saëns was considered an incredible musical prodigy—rivaling Mozart himself. Unlike Mozart, Saint-Saëns lived to a ripe old age, continuing to compose even as the Romantic era—Brahms and Wagner— gave way to the modern one of Debussy and Stravinsky. He was a brilliant pianist and extraordinarily prolific composer, as well as (one reads about these kinds of people) an accomplished amateur naturalist and the author of quite a few books on various subjects. He wrote his Symphony No. 3—his last—on commission from London’s Philharmonic Society in 1886, and conducted its premiere in May of that year. The symphony is unusual in form, being ostensibly in two movements, but with each having several contrasting sections. The presence of the organ, which thrillingly heralds the famous Maestoso section in the second movement, lends this fantasia-like piece an extraordinary new color, surprising in a symphony of any era.

Robert Kirzinger

26 Wolfgang Amadè Mozart Symphony No. 41 in C, K.551, “Jupiter”

JOANNES CHRISOSTOMUS WOLFGANG GOTTLIEB MOZART, who began calling himself Wolfgango Amadeo around 1770 and switched to Wolfgang Amadè in 1777, but who never used Amadeus except in jest, was born in Salzburg, Austria, on January 27, 1756, and died in Vienna on December 5, 1791. He completed his last three symphonies (numbers 39, 40, and 41) in the summer of 1788, perhaps for a series of subscription concerts that seem not to have taken place. The “Jupiter” (Symphony No. 41) was completed on August 10, 1788, but nothing is known about its early performance history.

MOZART’S SYMPHONY NO. 41 calls for one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings.

The very perfection of Mozart’s last three symphonies—No. 39 in E-ﬂat, the great G minor, and the Jupiter—is miraculous, and the more so given how quickly they were composed. No less impressive is their diversity, and the clarity with which, in three quite different directions, they define the possibilities of Mozart’s art. Eric Blom puts it thus: “It is as though the same man had written Shakespeare’s Twelfth Night, Racine’s Phèdre, and Goethe’s Iphigenie within whatever period may be equivalent for the rapid execution of three plays as compared to three symphonies.”

In view of how much Mozart’s compositions are as a rule bound to particular occasions, commissions, or concerts, another wonder is that these symphonies exist at all. They were completed respectively on June 26, July 25, and August 10, 1788. By then Mozart’s public career had begun to go badly. There had been a time when he could report, as he did in a letter to his father on March 3, 1784, that he had had twenty-two concerts in thirty-eight days: “I don’t think that in this way I can possibly get out of practice.” A few weeks later he wrote that for his own series of concerts he had a bigger subscription list than two other performers put together.

Not many years later all this had changed. Figaro, new in 1786, was popular in Vienna, but not more so than other operas by lesser composers, and certainly not sufﬁciently to

week 19 program notes 27 Program page from the first Boston Symphony performance of Mozart’s “Jupiter” Symphony on February 7, 1885, with Wilhelm Gericke conducting (BSO Archives)

28 buoy up Mozart’s fortunes for long. Don Giovanni, first given in Vienna on May 7, 1788, failed to repeat the enormous success it had enjoyed in Prague, and the performance on December 15 of that year was the last one in the capital in the composer’s lifetime. By then, Mozart was in catastrophic financial straits. In June 1788, he wrote the first of the agonizing letters in which he entreated his brother Mason, Michael Puchberg, for help. He mentions a series of concerts about to begin at the Casino “next week” and encloses a pair of tickets. There is no evidence in newspapers or anywhere else that these concerts ever took place: this time, perhaps, the subscribers were too few. Nor did Mozart give other concerts of his own in Vienna after that.

It seems reasonable to connect Mozart’s last three symphonies with the projected Casino concerts. Little is known about their early history. Orchestra parts for them were printed by Johann André in Offenbach, Hesse, two years after Mozart’s death, but various libraries have also yielded manuscript copies, some of which certainly date to the composer’s lifetime. The G minor symphony was played in its revised version with added clarinets in April 1791, but whether Mozart ever heard the Jupiter or the E-ﬂat we do not know.

A word, ﬁrst, about the symphony’s name. It is not Mozart’s, but it is old and perhaps the brainchild of Johann Peter Salomon, the German-born violinist and impresario most famous for having twice enticed Haydn to London. At any rate, in 1829, thirty-eight years after Mozart’s death and fourteen after Salomon’s, the English composer, organist, and

week 19 program notes 29

A ticket for a Mozart-Akademie, a concert self-produced by the composer for his own financial benefit

publisher Vincent Novello and his wife Mary visited the Continent and spent a few summer days in Salzburg with Mozart’s widow and son. The Novellos kept separate journals, and in Vincent’s, on August 7, 1829, we may read the following: “Mozart’s son said he considered the Finale to his father’s Sinfonia in C—which Salomon christened the Jupiter— to be the highest triumph of Instrumental Composition, and I agree with him.”

In terms of Eric Blom’s literary comparison, the Jupiter is Iphigenie: noble, at once subtle and grand, “classical.” The fences so recklessly torn down in the G minor Phèdre are restored. The opening gestures, with their orderly contrasts and symmetries, are more formal, indeed more formulaic, than anything else in the last three symphonies. But whatever Mozart touches becomes personal utterance. After an impressive drawing up to a halt (that “rattling of dishes at a feast” of which Wagner was wont to complain in 18th-century pieces), the opening music reappears, but what was assertive before is now quiet and enriched by softly radiant commentary from the ﬂute and the oboe.

Another cadence of extreme formality, and a new theme appears. This, too, being full of gentle, unobtrusive complexities such as the imitation in the bass of the violin melody

week 19 program notes 31 A 1777 portrait of Mozart wearing the Papal Order of the Golden Spur, presented to him in 1770 in Rome by the Pope

or the deft addition to the texture of bassoon and ﬂute, is not so innocent as at ﬁrst it seems. One tune in this movement is catchier than the rest, more singable, and for good reason: Mozart is quoting one of his own arias, “Un bacio di mano” (“A Hand-kiss”), K.541, written a couple of months earlier for Francesco Albertarelli, his first Viennese Don Giovanni, to insert in Anfossi’s opera Le gelosie fortunate.

When he comes to his Andante—the strings are muted now—Mozart becomes more overtly personal, writing music saturated in pathos and offering one rhythmic surprise after another. The destiny of the thirty-second-note serpents that the violins append to the ﬁrst theme when the basses initially take it over is especially wondrous. The coda, which adds miracles at a point when we can hardly believe more miracles are possible, was an afterthought appended by Mozart on an extra leaf. Haydn, wishing to set an unobtrusive memorial for his beloved friend, alluded to this deeply touching movement in the Adagio of his own Symphony No. 98 in B-ﬂat.

The Menuetto, aside from having the proper meter and speed, is not particularly minuet- like. It is fascinating what a wide-ranging category “minuet” is for Mozart. In these last three symphonies alone we have the bandstand high spirits of the one in No. 39, the ﬁercely serious sense of purpose and drive in the G minor, and here the perfect embodi- ment of elegance. The Jupiter minuet is wonderful in a quiet way: here is music that constantly blossoms into richesses Mozart carefully leads us not to expect. The Trio is, for the most part, an enchanting dialogue of ever so slightly coquettish strings and winds so soberly reticent that they seem able to do no more than make little cadences. There is one forte outburst lasting just a few seconds: here the orchestra sounds a new and brief phrase of striking proﬁle. It demands attention, and, although just then it seems to pass without consequence, we shall soon discover why.

That happens the moment the ﬁnale begins. Here Mozart picks up the four-note idea that had made such a startlingly forceful appearance in the Trio. When ﬁrst we heard it, it was

32 on an odd harmonic slant; now it is set firmly in C major. This idea is in fact part of the common stock of the 18th-century vocabulary; Mozart himself had used it before on several occasions—in Masses, in the Symphony No. 33 in B-flat, in the great E-flat sonata for piano and violin, K.481—and as he is quick to remind us, it lends itself to contrapuntal elaboration.

The music moves at a tempo swifter than any we have yet heard in this symphony. All the themes in this ﬁnale are short: they are material to work with more than objects presented for the sake of their intrinsic charm, and Mozart whirls them by us with a ﬁerce energy that is rooted in his dazzling polyphony. Especially when the development gets going, the expressive intensity generated by that energy is exhilarating, shocking, uplift- ing all at once.

Six years earlier, Mozart had come to know the music of J.S. Bach. Having begun by tran- scribing and imitating, Mozart has now achieved a complete and easy integration of Baroque polyphony with the galant language that was his most direct inheritance, which he had learned at the knee of Sebastian Bach’s youngest son, Johann Christian. In his exuberantly energetic coda, Mozart unfurls a dazzling glory of polyphony to cap, in one of music’s truly sublime pages, a movement that is one of the most splendid manifesta- tions of that rich gathering-in we call the Classical style.

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

THEAMERICANPREMIERE of the “Jupiter” Symphony was given by Henry Schmidt with the Academy of Music on January 7, 1843, in Boston, at the Odeon.

THE FIRST BOSTON SYMPHONY PERFORMANCE OF THE SYMPHONY NO. 41 was given by Wilhelm Gericke on February 7, 1885, subsequent performances being given by Arthur Nikisch, Emil Paur, Gericke again, Karl Muck, Max Fiedler, Otto Urack, Henri Rabaud, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Vladimir Golschmann, Charles Munch, Ernest Ansermet, Erich Leinsdorf, Jerzy Semkow, Jorge Mester, Bruno Maderna, Eugen Jochum, Joseph Silverstein, David Zinman, Neville Marriner, Kurt Masur, Christoph Eschenbach (in August 1983, March 1986, and August 1993), Seiji Ozawa, Roger Norrington, Hans Graf, Robert Spano, James DePreist, David Robertson, James Levine (including the most recent subscription performances in February 2009), Christoph Perick, Christoph von Dohnányi, and Bernard Labadie (the most recent Tanglewood performance, on August 21, 2011).

week 19 program notes 33

ihe .Lutch J. Michael

Augusta Read Thomas Cello Concerto No. 3, “Legend of the Phoenix”

AUGUSTA READ THOMAS was born in Glen Cove, New York, on April 24, 1964, and lives in Chicago. Her Cello Concerto No. 3 was commissioned by the Boston Symphony Orchestra through the generous support of Mr. and Mrs. William G. Brown, with additional support from Catherine and Paul Buttenwieser, and from the New Works Fund established by the Massachusetts Cultural Council, a state agency. Thomas composed the concerto expressly with the BSO, cellist Lynn Harrell, and Symphony Hall in mind, starting work in January 2012 and finishing by October of that year. These are the first performances of the concerto.

IN ADDITION TO THE SOLO CELLO, Thomas’s Cello Concerto No. 3 calls for two flutes and piccolo, oboe, English horn, two clarinets (second doubling bass clarinet), bassoon, contrabassoon, two horns, two trumpets in C, piccolo trumpet in B-flat, trombone, bass trombone, percussion (four players—I. glockenspiel, small, medium, and large triangles, wood blocks, low tom-toms; II. crotales, triangle, suspended cymbal, bongos; III. vibraphone, triangle, claves, congas, taiko drum; IV. marimba, tubular bells, finger cymbals, suspended cymbal, tenor drum, bass drum), harp, piano, celesta (optional but preferred), and strings. The piece is about thirty minutes long.

“Although my music is highly notated, precise, carefully structured, and soundly propor- tioned, and while musicians are elegantly working from a nuanced, specific text, I like it to have the feeling that it is organically being self-propelled—on the spot—as if we listeners are overhearing (capturing) an un-notated improvisation. “Organic and at every level concerned with transformations and connections, my music is always leading me toward a fundamental goal: to try to compose a work in which every musical parameter is allied holistically.” Augusta Read Thomas

For Augusta Read Thomas, music is a physical thing. This relates, directly, to her awareness of the physical process of performance for a given instrument—a cellist and a bassoonist do things very differently to produce the same pitch, for example—but also to the experi-

week 19 program notes 35 ence of the listener. The listener, reacting to music, is swept away in a brisk passage, or feels physically a big orchestral swell, or is becalmed by a sustained harmony or shifting pattern. Thomas mirrors the experiences of the instrumentalist, the conductor, the singer, and the listener all while she composes, standing at one of her tall drafting tables. She sings, claps, plays piano, dances, embodying the physical presence of the music she’s writing. That activity is fundamentally transmitted through the notes on the page to the minds and bodies of the players and thus finally to the audience. She plucks one end of that conceptual thread, and its vibrations ultimately catch in the ears of the listener.

Thomas’s work titles suggest a key to this aesthetic philosophy. She prefers titles with evocative significance, such as Orbital Beacons (her concerto for orchestra); Astral Canticle for flute, violin, and orchestra, or Helios Choros (“Sun God Dancers”) for orchestra, to name just a few. Celestial imagery, the terrestrial sky, the ocean, and, perhaps most importantly, dance hint at the composer’s preoccupation with a kind of cosmic order, along with an openness to mystery and contemplation and a grounding in the physical, bodily origins of music.

With its incredible variety of sonic possibilities, the orchestra is naturally the ensemble that best fits Thomas’s acoustic imagination. Her experience writing for orchestra is remarkably vast compared to that of most composers. She was composer-in-residence with the Chicago Symphony Orchestra for ten years, composing nine works for that ensemble (including Aurora, In My Sky at Twilight, and Orbital Beacons) and working closely with both Daniel Barenboim and Pierre Boulez. One of her earliest and most ardent champions was the great cellist and conductor Mstislav Rostropovich, who commissioned her one-act opera Ligeia for the Evian Festival; and as conductor of the National Symphony Orchestra, he led the premieres of her symphony Air and Angels (1992) and the orchestral work Galaxy Dances (2004). She wrote the short cello and orchestra work Chanson for Rostropovich in celebration of his 70th birthday, and that piece (since withdrawn from her catalog) was premiered by the cellist with the Boston Symphony Orchestra led by Seiji Ozawa in 1997. In addition to that piece, the BSO has

36 Thomas’s map of the structure of her Cello Concerto No. 3

performed another of Thomas’s orchestral works: her Helios Choros II, co-commissioned by the BSO, is the middle part of a big orchestral triptych lasting some three-quarters of an hour. The BSO gave its American premiere in November 2009. She has also written for a number of other U.S. and European ensembles, and has heard her music performed by still more. On March 17, 2013, her orchestral piece Harvest Drum receives its premiere by the Symphony Orchestra of the National Centre for the Performing Arts in Beijing, China, a culmination of the composer’s residence among China’s Miao community in 2011. Next week a mini-festival celebrating her music takes place at East Carolina University, and later this season her orchestral work Aureole, commissioned by DePaul University for its centennial, will be premiered in Chicago’s Orchestra Hall.

Christoph Eschenbach, who leads this week’s concerts, is another conductor who has championed Augusta Read Thomas’s orchestral music, with the National Symphony Orchestra, Chicago Symphony Orchestra, Philadelphia Orchestra, Orchestre de Paris, and North German Radio Symphony Orchestra in Hamburg. For that orchestra she composed Chanting to Paradise, for soprano solo, mixed chorus, and orchestra, premiered under Eschenbach’s direction in 2002. In 2011 he led the National Symphony Orchestra and soloist Jennifer Koh in the American premiere of her Violin Concerto No. 3, Juggler in Paradise, also commissioned by Bill and Solange Brown.

As prolific as she has been—she has published over a hundred works—Thomas has touched on every other genre from solo pieces to opera, frequently working on very different kinds of pieces in quick succession. This changing perspective has helped keep each new piece and approach interesting and fresh. She spends most of her time composing, of course, but has maintained a well-rounded musical life as a curator and teacher as well. She created the Chicago Symphony Orchestra’s MusicNow series, and was director of the 2009 Festival of Contemporary Music at Tanglewood, where she has also served as a faculty member on many occasions (having been a Tanglewood Fellow herself in

week 19 program notes 37

1989). She was the youngest tenured professor in the history of the Eastman School of Music, and has also taught at the Aspen Music Festival and Northwestern University. She is now the sixteenth University Professor (and one of five currently) in the history of the University of Chicago. Believing strongly in musical citizenship, she has also served as chairperson of the board of the American Music Center and serves on several other boards. In May 2009 she was elected to the American Academy of Arts and Letters, which cited “an impressive body of works [embodying] unbridled passion and fierce poetry.”

Thomas has had the good fortune to be able to create several large-scale works in the same genre, for example three violin concertos, two trombone concertos, and, now, three cello concertos—an unusual circumstance for a contemporary composer (or for that matter a composer of any era after the Classical period). She wrote her first cello concerto, Vigil, in 1990 for the Cleveland Chamber Symphony and soloist Norman Fischer (a long- time Tanglewood faculty member and member of the Concord String Quartet). Her second, Ritual Incantations, was for Emerson String Quartet cellist David Finckel, who premiered it with the Aspen Music Festival Chamber Orchestra in 1999. Both were around twelve minutes long; the new concerto is a much bigger piece in every way.

The origin of the concerto can in part be traced to Thomas’s patron Bill Brown’s enthusiasm for her Violin Concerto No. 3 following Frank Peter Zimmermann’s Paris premiere of that piece in 2009. Brown ultimately became one of the supporters of the Boston Symphony Orchestra’s commission for the present work. After it was decided that Lynn Harrell was to be the soloist for this work, Thomas—who had not yet met the cellist—listened to as many of his recordings as possible in order to incorporate his particular felicities as a performer into her piece. (Two techniques tailored here for Harrell are pizzicato—plucking rather than bowing the strings—and spiccato, a fast, bouncing bow.) Having known many of the musicians of the Boston Symphony Orchestra for years, and having worked with and heard the orchestra before, Thomas approached the orchestration with the qualities of the BSO in mind as well.

week 19 program notes 39 About her new piece, Augusta Read Thomas writes: “Numerous ways of looking at lyrical” was an image in ear and mind as I composed this concerto for Lynn Harrell. Listening to many of his performances and recordings, I love the way Lynn makes his cello sing at all times and treasure the way he is able to capture the deepest characters in music and elucidate them vividly and radiantly to his listeners. Across several colorful, contrasting sections (performed without pause), the soloist inspires and illuminates every aspect of the music; the orchestra listens and adds its own voice(s). The inventive soloist serves as protagonist as well as a fulcrum point on and around which the orchestra’s musical-force-fields rotate, bloom, rise, interject, and proliferate. One might describe Legend of the Phoenix as “Scenes with Arias” with the solo cello as a singing storyteller. Shaped in one long-reaching, continuous arch, the energy flow is often activated by the soloist, who is at the “philosophic center,” beckoning, caressing, and summoning the music’s chain of outgrowths. With sparkling, radiant, and capriciously witty atmospheres that celebrate the soloist and orchestra, this concerto is optimistic, clean, colorful, bright, sunny. There exists a wide and spontaneous variety of characters, including: triumphant, in-flight, ever- renewing of energy, graceful, majestic, spacious, pure and clean, playful, spry, jazzy, lively, rhythmic, ever-rising, resonant, and elegantly vibrant....

As with most of Thomas’s pieces, the subtitle Legend of the Phoenix indicates not a specific narrative but a jumping-off place for the imagination, with the phoenix’s mystical origin providing first of all an atmosphere of wonder. Although one is tempted to equate the soloist with the bird, that connection is far too concrete. Nonetheless the cello is the originator of a line, a focal thread, that winds its way through the entire concerto, changing character as it goes and expanding into the orchestral roles. The orchestra itself, though not small, is not Mahlerian: the goal is a certain range of clarity and color, not overwhelming power. Even so, the orchestra has material that is its own, giving it a role equal to that of the soloist rather than that of mere accompanist or imitator.

In legend, the phoenix dies in fire and is resurrected from its own ashes, a cycle that reflects the continual change and re-emergence of musical energy in the concerto’s many episodes, on several different levels. That narrative of rebirth, hope, and change also informs the character of the music. The largest cycle is the arc of the whole piece, which begins with a determined A in the solo part and ends, full-cycle, on the same note. As one can see in the colorful “map” Thomas created for the piece (see page 37), the one-movement work has several evident subsections of changing character, and within those can be heard smaller transformations, and so on down to shifts of greater subtlety that take place on a several-measure level. Thomas marks these (as implied in her note above) with new characterizations for the orchestra, such as the opening’s “Majestic; blazing; illuminated” to describe the bright fanfares in the orchestra, “Poetic and ardent” a little later, followed very quickly by “Rhapsodic, vivacious, capricious” to indicate the jazzy passage that follows the primarily lyrical first big section. Thomas’s reference to the

40 ihe .Lutch J. Michael

Augusta Read Thomas, conductor Ludovic Morlot (standing), and the BSO onstage at Symphony Hall following the American premiere of her “Helios Choros II” in October 2009

“singing” quality of Lynn Harrell’s cello playing is to be found not only in the sustained, cantabile (“singing”) passages of the concerto but also in the bebop-like, rhythmically off-balance passages. For the first of these quick passages the composer suggests the soloist think of the vocal techniques of “parlando and scat”—parlando meaning speech- like, and scat referring to wordless improvisation in jazz singing.

Even as the music itself is in a state of constant transformation, we can discern connections among the recurrences of the fanfare figures, among episodes of broad, searching melodies or fast, rhythmic music. Very broadly speaking, the piece can be heard as slow- fast-slow-fast. The opening section features the solo cello in very rangy, singing lines, which are reinvented as the jazzy passage mentioned above (with a bit of duet with the harp). “Energetic and bouncy” brings a passage for orchestra alone for few measures. The big fast passage—with indicators like “Animated and sparkling”—amply features the soloist’s spiccato technique. An exposed flute solo is a signpost for the next big character change, initially marked “Auroral,” introducing primarily sustained, ethereal music. Here the soloist finally descends to the cello’s lowest range, descending to the open C-string, before rising, “...as if floating to eternity...” in a series of high, sustained harmonics. The final big section is fast and energized, beginning with “Whimsical; sprightly; playful.” Percussion play a large role here as a kind of expanding echo-chamber for the soloist’s prevalent pizzicato. Eventually the percussion role grows to dominate the sonic texture, planting the seeds for the short bursts (remember the earlier fanfares?) sounding throughout the entire orchestra, like big-band hits. The cello’s final sustained A pushes this energy beyond the orchestra’s last bright shout.

Robert Kirzinger robert kirzinger, a composer and annotator, is Assistant Director of Program Publications of the Boston Symphony Orchestra.

week 19 program notes 41

Camille Saint-Saëns Symphony No. 3 in C minor, Opus 78 (“Organ Symphony”)

CAMILLE SAINT-SAËNS was born in Paris, France, on October 9, 1835, and died in Algiers on December 16, 1921. He composed his Symphony No. 3 in Paris and in Germany early in 1886, conducting the ﬁrst performance on May 19, 1886, in St. James’s Hall, London, in a concert of the Royal Philharmonic Society. He led the ﬁrst Paris performance on January 9, 1887, at a concert of the Société des Concerts.

SAINT-SAËNS’S SYMPHONY NO. 3 is scored for three ﬂutes (third doubling piccolo), two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, triangle, cymbals, bass drum, organ, piano four-hands, and strings. The pianists at these performances are Vytas Baksys and Deborah DeWolf Emery.

Although widely known as Saint-Saëns’s Organ Symphony, and although the composer sometimes played the organ part himself, he did not in the least intend the work to be an organ concerto. The organ is in any case silent during the greater part of the work; it is merely a bold addition to what in 1886 would have been regarded as a large symphony orchestra, like the occasional appearance of the piano in the second movement, adding an extra—and always startling—color to the orchestral palette.

Equally bold is Saint-Saëns’s division of the symphony into two movements rather than the traditional four, even though the outlines of slow movement and scherzo are easily recognized in their proper place. This unusual layout is shared with the composer’s Fourth Piano Concerto, which he composed shortly before, and he was sufﬁciently taken with the plan to adopt it on a grand symphonic scale too. The early critics were puzzled by this, and also by the unusual orchestration. Yet no one today regards the symphony as a particularly puzzling work; indeed it is (or at least has been) one of the most frequently recorded and performed of all symphonies.

In the age of Haydn and Beethoven there were relatively few French symphonies composed; in the following period Berlioz’s symphonies are sui generis, beyond imitation or

week 19 program notes 43 Program page from the first Boston Symphony performances of Saint-Saëns’s “Organ Symphony” on February 15 and 16, 1901, with Wilhelm Gericke conducting (BSO Archives)

44 the notion of a “school.” But in the 1850s the younger French composers—Gounod, Saint-Saëns, Bizet—all wrote symphonies of striking freshness, and after 1870, when the political humiliation of Prussian victory spurred the French to take up arms in a new cultural conflict, the French strove magnificently to build a strong non-operatic repertoire, ironically by looking to German models, above all Beethoven, for inspiration. One composer after another set his hand to the task of writing symphonies: Bizet in 1871, Messager in 1877, Debussy in 1880, Fauré in 1884, Lalo in 1885, d’Indy in 1886, Franck in 1887. Saint-Saëns was the most energetic of all the French composers calling for cultural renewal, so it was not surprising that he should compose a symphony in 1886 as part of this national effort. He had been writing prodigious quantities of music in every genre for the previous thirty years, and although he had already written five symphonies, the last one dated back to 1859. Only two of those five were acknowledged, which gives the present symphony its number “3.”

week 19 program notes 45 46 Saint-Saëns in the Church of St. Sulpice, Paris

It was commissioned by Francesco Berger, secretary of the Royal Philharmonic Society, when Saint-Saëns was on a visit to London toward the end of 1885. He then went on tour in Germany and faced a ﬁfteen-gun broadside of hostility everywhere he went because of his views on Wagner. These seem eminently reasonable today, but at the time, with Wagner recently dead and Germany in the grip of pan-Germanic fever combined with Wagnermania, Saint-Saëns represented an unacceptable heresy—thinking that Wagner’s music was good up to a certain point, but was not a good model for younger composers: it diminished the great tradition of German music from Bach to Mendelssohn. For Saint- Saëns the supreme model was always Mozart. These views had appeared in a recent book, Harmonie et mélodie, mercilessly attacked in the German press to the point where many cities refused to welcome him.

Saint-Saëns himself took a light view of the situation, expressing his undying faith in the natural musicality of the Germans, and composing, of all things, the frivolous spoof, the Carnival of the Animals, today one of his best-known works. The symphony also took shape on this tour, with its unmistakable homage to the giants of the German symphony, Beethoven and Schubert. On his return to Paris he played it through to Liszt, who had done more than anyone to further Saint-Saëns’s career in its early stages and had mounted Samson et Dalila in Weimar when no one in Paris would consider it. Liszt, alas, was very weak and had only a few months to live, so that the symphony’s dedication, when it was published, was not “à Franz Liszt,” as Saint-Saëns had intended, but “à la mémoire de Franz Liszt.”

The ﬁrst performance took place in London that May (1886). In the ﬁrst half of the concert Saint-Saëns played Beethoven’s Fourth Concerto with Arthur Sullivan conducting. When the symphony was heard in Paris a few months later, Gounod emerged from the concert saying “Voilà le Beethoven français!”

week 19 program notes 47 The Adagio introduction could be from a tone poem by Liszt, with its broken phrases and plaintive sighs from oboe, English horn, and bassoon. But the Allegro arrives immediately, strongly suggestive of Schubert’s Unfinished and giving gradual shape to the broken woodwind phrases. The strings’ restless accompanying ﬁgure, (a), is in fact an important theme that will recur in many guises:

(a)

(b)

(c)

(d)

The second of these acts as a subsidiary theme in a sonata process that is shorter than usual since the slow “movement” has been folded into the first movement. The organ is heard for the first time, laying down soft chords in D-flat major as background to a rich cantabile theme in the strings. The second statement of this theme calls on the unlikely grouping of clarinet, two horns, and two trombones spread across three octaves. The double basses, pizzicato, throw in a memory of (b) before a reprise of the main tune and a warm, serene close.

The second movement begins with a scherzo, now back in C minor, and still dark in color. Example (c) soon appears as a subsidiary idea. The equivalent of a Trio section is a bril-

48 liant Presto in the major key to which the piano contributes an extraordinary series of both-hand scales, as if Saint-Saëns were still thinking of the scale-plagued pianists in his Carnival of the Animals. This eventually gives way to the ﬁnale proper (Maestoso), herald- ed by a huge C major chord on the organ and a new version of the main theme now taking on the character of a chorale, (d). The pianist is joined by a partner, the duet tinkling in the upper register with a sonority Saint-Saëns learned from Berlioz’s Lélio. He had written the piano reduction of this work when he was nineteen and absorbed several ideas from it.

The splendid close leaves the impression of a grandiose and triumphant symphony, although many of the earlier pages suggest a more questioning and searching character. Saint-Saëns knew that most of his numberless compositions had little future to look forward to, but this was a work he had put his heart into, and which he deeply loved. “I have given it all that I had to give. What I have done I shall never do again.”

Hugh Macdonald hugh macdonald is Avis Blewitt Professor Emeritus of Music at Washington University in St. Louis. General editor of the New Berlioz Edition, he has written extensively on music from Mozart to Shostakovich and is a frequent guest annotator for the BSO. His latest book, “Music in 1853: Biography of a Year” (Boydell Press), was published last spring.

THEFIRSTAMERICANPERFORMANCE of Saint-Saëns’s Symphony No. 3 was led by Theodore Thomas on February 19, 1887, about five weeks after the Paris premiere, at the Metropolitan Opera House in New York.

THEFIRSTBOSTONSYMPHONYORCHESTRAPERFORMANCES of Saint-Saëns’s Symphony No. 3 (which were also the first in Boston) were led by Wilhelm Gericke on February 15 and 16, 1901 (with a further performance that February 23 in New York), subsequent BSO performances being given by Karl Muck, Henri Rabaud, Pierre Monteux, Serge Koussevitzky (including two 1938 performances with Nadia Boulanger as organist), Richard Burgin, Charles Munch (on numerous occasions between 1946 and 1966 with E. Power Biggs and Berj Zamkochian, also recording it famously with the BSO and Zamkochian for RCA in April 1959), Seiji Ozawa (in October/November 1975 with Anthony Newman, in Boston, New York, and Washington, D.C.), Leonard Slatkin (at Tanglewood in July 1985 with John Finney), Pascal Verrot (the most recent Tanglewood performance, on July 20, 1990, with James David Christie), Ozawa again (in February 1995, also with James David Christie), James Levine (Opening Night and the first subscription program in September/October 2005, with Simon Preston), and Charles Dutoit (the most recent subscription performances, in February 2008, again with James David Christie).

week 19 program notes 49

To Read and Hear More...

Augusta Read Thomas’s comprehensive website is www.augustareadthomas.com. Her publisher, G. Schirmer, also maintains pages with a biography, work list, and other information: www.schirmer.com. The New Grove II contains a short biography by Stephen Ferre, but given that this is now more than ten years old (with a work list updated in 2004) it misses out on half her career. A thoughtful essay by Seth Brodsky posted on the composer’s website covers much more ground, although it, too, is from 2001. A more recent and extended interview, with video and an essay by Molly Sheridan, can be found on the website of the American Music Center, NewMusicBox.org: http://www.newmusicbox.org/ articles/augusta-read-thomas-perfect-clarity.

Thomas’s music is very well represented on dozens of recordings as performed by ensembles including the New York Philharmonic, London Sinfonietta, and Chanticleer. A discography, including several CDs on her own self-produced label, can be found on her website. Cellist Norman Fischer’s recording of Thomas’s first cello concerto, Vigil, with the Cleveland Chamber Orchestra and conductor Edwin London, is on the CD “Sound Encounters II” (GM Recordings); her second, Ritual Incantations, was recorded by the Taipei Symphony Orchestra under Felix Chiu-Sen Chen with soloist David Finckel, cellist of the Emerson String Quartet (released on the Taipei Symphony’s own label). Orchestral works include two recorded by the Chicago Symphony Orchestra, where she was composer- in-residence for a decade: ...Words of the Sea... led by Pierre Boulez (ARTCD) and Ceremonial with Daniel Barenboim (Chicago Symphony Orchestra Recordings). Her chamber orchestra work Terpsichore's Dream was recorded by Cliff Colnot and a group of Chicago musicians including members of the CSO (ARTCD).

Robert Kirzinger

The important modern biography of Mozart is Maynard Solomon’s Mozart: A Life (Harper- Perennial paperback). Peter Gay’s Mozart is a concise, straightforward introduction to the composer’s life, reputation, and artistry (Penguin paperback). The Cambridge Mozart Encyclopedia, edited by Cliff Eisen and Simon Keefe, is an important recent source of information (Cambridge University paperback). For deeper delving, there are also Volkmar Braunbehrens’s Mozart in Vienna, 1781-1791, which provides a full picture of the composer’s final decade (HarperPerennial paperback); Julian Rushton’s Mozart: His Life and Work, in the “Master Musicians” series (Oxford); Robert Gutman’s Mozart: A Cultural Biography (Harcourt Brace Jovanovich/Harvest paperback), and Stanley Sadie’s Mozart: The Early

week 19 read and hear more 51 Years, 1756-1781 (Oxford). Stanley Sadie’s Mozart article from The New Grove Dictionary (1980) was published separately as The New Grove Mozart (Norton paperback). The revised entry in the 2001 Grove is by Sadie and Cliff Eisen; this has been published separately as a new New Grove Mozart (Oxford paperback). “Musical lives,” a series of readable, compact composer biographies from Cambridge University Press, includes John Rosselli’s The life of Mozart (Cambridge paperback). Peter Clive’s Mozart and his Circle: A Biographical Dictionary is a handy reference work with entries about virtually anyone you can think of who figured in Mozart’s life (Yale University Press). The Mozart Compendium: A Guide to Mozart’s Life and Music, edited by H.C. Robbins Landon, includes an entry by Cliff Eisen on the symphonies. A Guide to the Symphony, edited by Robert Layton, includes a chapter by H.C. Robbins Landon on “The Symphonies of Mozart” (Oxford paperback). Other sources include Neal Zaslaw’s Mozart’s Symphonies: Context, Performance Practice, Reception,

52 which provides a detailed survey of Mozart’s works in the genre (Oxford paperback), and The Compleat Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart, edited by Neal Zaslaw and William Cowdery (Norton). Alfred Einstein’s Mozart: The Man, the Music is a classic older study (Oxford paperback). Michael Steinberg’s program note on the Jupiter Symphony is in his program note compilation The Symphony–A Listener’s Guide. Donald Francis Tovey’s note on the Jupiter is among his Essays in Musical Analysis (Oxford).

There are three Boston Symphony Orchestra recordings of the Jupiter Symphony: with James Levine conducting, a concert performance from 2009 (BSO Classics), with Eugen Jochum, from 1973 (Deutsche Grammophon), and with Erich Leinsdorf, from 1963 (RCA). Other recordings of the Jupiter (among a great many) include George Szell’s with the Cleveland Orchestra (Sony), Sir Colin Davis’s with the Dresden Staatskapelle (RCA), Daniel Barenboim’s with the English Chamber Orchestra (EMI), Benjamin Britten’s live with the English Chamber Orchestra (Decca), Nikolaus Harnoncourt’s with the Royal Concertgebouw Orchestra (EMI), Christopher Hogwood’s on period instruments with the Academy of Ancient Music (Oiseau-Lyre), Sir Charles Mackerras’s with the Prague Chamber Orchestra (Telarc), Sir Neville Marriner’s with the Academy of St. Martin in the Fields (Philips), and Arturo Toscanini’s 1940 broadcast with the NBC Symphony Orchestra (Music & Arts, much preferable to his commercial recording for RCA).

Camille Saint-Saëns and his World, published last summer, is a collection of essays, articles, and documents edited by Jann Passler (Princeton University paperback, in the Bard Music Festival series). Camille Saint-Saëns: On Music and Musicians is a collection of the composer’s writings translated and edited by Roger Nichols (Oxford University Press). The fullest English-language account of the composer’s life and music is Stephen Studd’s Saint-Saëns: A Critical Biography (Fairleigh Dickinson). Worth seeking out are Saint-Saëns and his Circle by James Harding (Humanities) and French Piano Music by the great French pianist Alfred Cortot (1877-1962), whose observations on Saint-Saëns’s music retain their interest (Da Capo).

Christoph Eschenbach and organist Olivier Latry have recorded Saint-Saëns Organ Symphony with the Philadelphia Orchestra (Ondine). Charles Munch’s famous Boston Symphony recording from 1959 with Berj Zamkochian was already considered sonically spectacular at the time of its initial LP release and has virtually never been out of the catalogue, including multiple CD reissues (RCA). Other recordings include Charles Dutoit’s with the Montreal Symphony Orchestra and organist Peter Hurford (Decca), James Levine’s with the Berlin Philharmonic and Simon Preston (Deutsche Grammophon), Yannick Nézet-Séguin’s with the Orchestre Métropolitaine du Grand Montréal and Philippe Bélanger (ATMA Classique), Leonard Bernstein’s with the New York Philharmonic and Leonard Raver (Sony), Paul Paray’s with the Detroit Symphony Orchestra and Marcel Dupré (Mercury Living Presence), and Yan Pascal Tortelier’s with the Ulster Orchestra and Gillian Weir (Chandos). Arturo Toscanini’s 1952 NBC Symphony broadcast remains powerful and instructive despite dated monaural sound (originally RCA).

Marc Mandel

week 19 read and hear more 53

Guest Artists

Christoph Eschenbach

Conductor and pianist Christoph Eschenbach began his tenure in September 2010 as music director of both the National Symphony Orchestra and the John F. Kennedy Center for the Performing Arts in Washington, D.C. His 2012-13 season includes a tour of Europe and Oman with the National Symphony, as well as performances in Europe with the NDR Symphony Orchestra (where he was music director from 1998 to 2004), Munich Philharmonic, and Orchestre de Paris (music director between 2000 and 2010); a tour of Germany with the London Philharmonic; concerts in Israel with the Israel Philharmonic Orchestra; a tour of Australia and Europe leading the Australian Youth Orchestra; and a return to the Vienna State Opera for Strauss’s Capriccio. In the United States, in addition to leading the National Symphony at the Kennedy Center and Carnegie Hall, he returns to the Los Angeles Philhar- monic, New York Philharmonic, Boston Symphony, and San Francisco Symphony. Highlights of 2011-12 included concerts with the National Symphony at home and on tour to South America, and with the Vienna Philharmonic in Vienna and on tour to Australia and the Far East. He also led China’s Central Philharmonic Orchestra in Beijing; the London Philharmonic at Royal Festival Hall and on tour in Oman and Spain; the Philadelphia Orchestra, where he was music director from 2003 to 2008; the NDR Symphony Orchestra; the Accademia Nazionale di Santa Cecilia in Rome, the Boston Symphony Orchestra at Symphony Hall and Carnegie Hall, and the Orchestre de Paris, among others. Principal conductor of the Schleswig- Holstein Music Festival International Orchestral Academy since 2004, he also appears regularly in Germany and on tour with the SHMF Orchestra. His ongoing collaboration with baritone Matthias Goerne includes Harmonia Mundi recordings of Schubert’s Die schöne

week 19 guest artists 55 Müllerin, Winterreise, and Schwanengesang. In summer 2010 the duo performed all three Schubert works in three recitals (with Mr. Eschenbach also playing Schubert’s B-flat piano sonata, D.960) at the Salzburg Music Festival, where Mr. Eschenbach also conducted the Vienna Philharmonic. The duo performed the complete Schubert cycle in Paris at the Salle Pleyel in 2011-12 and this season presents it at Vienna’s Musikverein. Mr. Eschenbach’s extensive discography includes recordings with the Orchestre de Paris, London Symphony, Vienna Philharmonic, Hamburg NDR Symphony, and Houston Symphony, among many others. This season brings a recording with the Vienna Philharmonic and soloist Lang Lang. Several of six- teen recent Ondine releases featuring Mr. Eschenbach with the Orchestre de Paris and the Philadelphia Orchestra have garnered honors, including BBC Magazine’s “Disc of the Month,” Gramophone’s “Editor’s Choice,” and the German Record Critics’ Award, among others. His Ondine recording of music by Kaija Saariaho with the Orchestre de Paris and soprano Karita Mattila won the 2009 MIDEM Classical Award in Contemporary Music. Mentored by George Szell and Herbert von Karajan, Christoph Eschenbach has previously held chief artistic posts with the Tonhalle Orchestra, Houston Symphony, Ravinia Festival, and Schleswig-Holstein Music Festival. His many honors include the Légion d’Honneur, Commandeur dans l’Ordre des Arts et des Lettres, the Officer’s Cross with Star and Ribbon of the German Order of Merit, and the Commander’s Cross of the German Order of Merit for outstanding achievements as pianist and conductor. He also received the Leonard Bernstein Award from the Pacific Music Festival, where he was co-artistic director from 1992 to 1998. Christoph Eschenbach has appeared on many occasions as both conductor and pianist with the Boston Symphony Orchestra, his BSO appearances as pianist beginning with his Tanglewood debut in July 1969, his appearances as conductor beginning at Tanglewood in July 1978. His most recent subscription appearances were in March 2012, leading a program of Berlioz and Ravel repeated the following week at Carnegie Hall in New York. His most recent Tanglewood appearance was in July 2012, when he led music of Bernstein and Tchaikovsky.

56 Lynn Harrell

Lynn Harrell’s presence is felt throughout the musical world as soloist, chamber musician, recitalist, conductor, and teacher. A frequent guest of the leading orchestras of Boston, Chicago, New York, Philadelphia, San Francisco, Ottawa, Pittsburgh, and the National Symphony, he has also appeared with the orchestras of London, Munich, Berlin, Dresden, Leipzig, Zurich, and Israel, and collaborates regularly with such noted conductors as Levine, Marriner, Masur, Mehta, Previn, Rattle, Slatkin, Temirkanov, Tilson Thomas, and Zinman. He has toured extensively to Australia and New Zealand as well as the Far East, including Japan, Korea, Malaysia, Taiwan, and Hong Kong. In the summer of 1999, Mr. Harrell was featured in a three-week “Lynn Harrell Cello Festival” with the Hong Kong Philharmonic. Recent, current, and upcoming engagements include concerts with the Boston Symphony and Eschenbach, the Los Angeles Philharmonic and Frühbeck de Burgos, the Detroit Symphony and Slatkin, the Edmonton Symphony and William Eddins, and the symphonies of Taiwan and Singapore, both with Lan Shui. A European tour with the Gewandhaus Orchestra and Riccardo Chailly brings him to Leipzig, Paris, and Birmingham. In May 2013 he will be featured with the Tokyo String Quartet at the 92nd Street Y. In recent seasons he has particularly enjoyed collaborating with violinist Anne-Sophie Mutter and pianist André Previn. In January 2004 the trio performed the Beetho- ven Triple Concerto with Kurt Masur and the New York Philharmonic. Summer music festivals are an important part of his life; he appears regularly at the Verbier Festival in Switzerland, the Aspen and Grand Teton festivals, and Tanglewood. In 1994 he appeared with the Royal Philharmonic at the Vatican, for an audience including Pope John Paul II and the Chief Rabbi of Rome, in a concert dedicated to the memory of the six million Jews who perished in the Holocaust. Also that year he appeared live at the Grammy Awards with Itzhak Perlman and Pinchas Zukerman, performing an excerpt from their Grammy-nominated recording of the complete Beethoven string trios on Angel/EMI. Highlights of his extensive discography include the Bach cello suites, the world premiere recording of Victor Herbert’s Cello Concerto No. 1 with the Academy of St. Martin in the Fields led by Marriner, the Walton Concerto with Rattle and the City of Birmingham Symphony Orchestra, and the Donald Erb Concerto with Slatkin and the St. Louis Symphony. Together with Itzhak Perlman and Vladimir Ashkenazy, he received two Grammy Awards—for the Tchaikovsky Piano Trio and for the complete Beethoven piano trios, both on Angel/EMI. Most recently he has recorded Tchaikovsky’s Rococo Variations,

week 19 guest artists 57 58 Shostakovich’s Cello Concerto No. 2, and Prokofiev’s Symphony-Concerto for cello and orchestra with Gerard Schwarz and the Royal Liverpool Philharmonic (Classico). In June 2010, along with his wife, violinist Helen Nightengale, Mr. Harrell founded the HEARTbeats Foundation, a charitable organization that strives to help children facing the challenges of poverty and conflict harness the power of music. Mr. Harrell serves as a board officer and Artist Ambassador, a capacity that allows him to work directly with children in need. He plays a 2008 Dungey cello and makes his home in Santa Monica, California. Lynn Harrell made his Boston Symphony debut in November 1978 and has since appeared frequently with the orchestra in Boston and at Tanglewood. His most recent subscription appearances were as soloist in Elgar’s Cello Concerto in November 2008, followed by a Pension Fund Concert performance of Strauss’s Don Quixote in February 2010 and a Tanglewood performance of Dvoˇrák’s Cello Concerto in July 2011.

Olivier Latry

Olivier Latry makes his Boston Symphony Orchestra debut with this week’s performances of Saint-Saëns’s Organ Symphony. The titular organist of the Cathedral of Notre-Dame in Paris, Mr. Latry was born in 1962 in Boulogne-sur-Mer, France. He began his study of piano at seven and of organ at twelve, later studying organ with Gaston Litaize at the Academy of Music at St. Maur-des-Fossés. He was titular organist of Meaux Cathedral from 1981 until 1985, and at age twenty-three won a competition to become one of the three titular organists of the Cathedral of Notre-Dame in Paris. From 1990 until 1995 he taught organ at the Academy of Music at St. Maur-des-Fossés, and since 1995 he has taught at the Paris Conservatory. In addition, Mr. Latry has made his mark through recordings on France’s BNL label, which include music of Bach, the complete organ works of Maurice Duruflé, Louis Vierne’s organ symphonies 2 and 3, Widor’s organ symphonies 5 and 6, and works by Litaize. For Deutsche Grammophon he has recorded “In Spiritum” (organ works of César Franck) and “Midnight at Notre-Dame” (transcriptions for the organ). Recent releases include works by Alkan, Boëly, Brahms, Liszt, and Schumann played on the pedal piano, and Saint-Saëns’s Organ Symphony, Barber’s Toccata Festiva, and Poulenc’s Concerto for Organ and Orchestra with the Philadelphia Orchestra and Christoph Eschenbach (Ondine). He is also featured on a recording of Jongen’s

week 19 guest artists 59

Symphonie Concertante and Saint-Saëns’s Organ Symphony with the Orchestre Philharmonique de Liège (Cypres). Among his numerous awards and honors are the Prix Del Duca (Institut de France–Académie des Beaux-Arts) in 2000, the 2006 Honorary Fellowship from the North and Midlands School of Music (UK), and the 2007 Honorary Fellowship from the Royal College of Organists (UK). In April 2009 he was named International Performer of the Year by the New York City Chapter of the American Guild of Organists, and in June 2010 he received an honorary doctorate from McGill University in Montreal, Canada. Not wishing to specialize in a particular repertoire, Olivier Latry aims to serve as an ambassador of 17th- to 21st-century French organ music; he is counted among the most noted “improvisateurs” in the French tradition from Charles Tournemire to Pierre Cochereau. He has performed in more than forty countries on five continents, making annual tours to North America since 1986, and he has appeared at American Guild of Organists conventions, inaugural recitals of new instruments, and major music festivals and summer schools. He performed three complete cycles (six recitals each) of Messiaen’s organ music to great acclaim in Paris, New York, and London, subsequently recording the composer’s complete organ works for Deutsche Grammophon. In 2006 he was the featured soloist for the opening of the new Dobson organ at Philadelphia’s Verizon Hall, where he performed three sold-out concerts with the Philadelphia Orchestra under Eschenbach. Mr. Latry has premiered works by Xavier Darasse, Claude Ballif, Thierry Pecout, Vincent Paulet, Thierry Escaich, and Jean-Louis Florentz. He has also co-authored a book with Loïc Mallié, L’Oeuvre d’orgue d’Olivier Messiaen (Carus-Verlag, 2008). During fall 2010 he served as visiting professor of organ at the Oberlin College Conservatory of Music, part of a teaching exchange between the Paris Conservatory and Oberlin College.

week 19 guest artists 61 The Great Benefactors

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

ten million and above

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

seven and one half million

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

five million

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

two and one half million

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

62 one million

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

‡ Deceased

week 19 the great benefactors 63

Administration

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

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

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

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

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

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

week 19 administration 65 66 development

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

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

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

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

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

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

week 19 administration 67 information technology Timothy James, Director of Information Technology

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

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

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

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

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

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

week 19 administration 69

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

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

week 19 administration 71 Next Program…

Thursday, March 21, 8pm Friday, March 22, 1:30pm Saturday, March 23, 8pm Tuesday, March 26, 8pm

daniele gatti conducting

all-wagner program (marking the bicentennial of wagner’s birth)

dawn, siegfried’s rhine journey, and siegfried’s death and funeral march from “götterdämmerung”

{intermission}

overture to “tannhäuser” kundry’s narrative (“ich sah das kind”) from act ii of “parsifal” michelle deyoung, mezzo-soprano prelude to act i of “lohengrin” prelude and liebestod from “tristan und isolde” michelle deyoung

FRIDAY PREVIEW TALK BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARCMANDEL

Italian maestro Daniele Gatti, American mezzo-soprano Michelle DeYoung, and the BSO celebrate the bicentennial of Wagner’s birth with music from five of the composer’s operas, encompass- ing the themes of identity, love, and redemption that pervade his works—the powerful Overture to Tannhäuser and the ethereal Prelude to Act I of Lohengrin; orchestral excerpts from Götterdäm- merung (Twilight of the Gods), the final opera of Wagner’s gargantuan Ring cycle; Kundry’s narrative from Act II of his great final opera Parsifal, whose title character attains spiritual transcendence as a Knight of the Holy Grail; and the Prelude and Liebestod from Tristan und Isolde, a twenty- minute distillation of Wagner’s four-hour paean to love.

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

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

Thursday ‘D’ March 21, 8-9:55 UnderScore Friday April 12, 8-10:05 Friday ‘B’ March 22, 1:30-3:25 (includes comments from the stage) Saturday ‘A’ March 23, 8-9:55 Saturday ‘B’ April 13, 8-9:55 Tuesday ‘B’ March 26, 8-9:55 OLIVERKNUSSEN, conductor DANIELE GATTI, conductor PINCHASZUKERMAN, violin MICHELLEDEYOUNG, mezzo-soprano CLAIREBOOTH, soprano ALL- Orchestral excerpts from MIASKOVSKY Symphony No. 10 WAGNER Götterdämmerung KNUSSEN Violin Concerto PROGRAM Overture to Tannhäuser KNUSSEN Whitman Settings, for soprano Kundry’s narrative (“Ich sah and orchestra das Kind”) from Parsifal MUSSORGSKY Pictures at an Exhibition, arranged Prelude to Act I of Lohengrin by Leopold Stokowski Prelude and Liebestod from Tristan und Isolde Thursday ‘C’ April 18, 8-10:10 Friday ‘A’ April 19, 1:30-3:40 Thursday ‘A’ March 28, 8-9:45 Saturday ‘B’ April 20, 8-10:10 UnderScore Friday March 29, 8-9:55 Tuesday ‘B’ April 23, 8-10:10 (includes comments from the stage) MEMBERSOFTHEBOSTONSYMPHONY Saturday ‘A’ March 30, 8-9:45 ORCHESTRA

DANIELE GATTI, conductor BRITTEN Fanfare for St. Edmundsbury ANNESOFIEVONOTTER, mezzo-soprano MOZART Serenade No. 11 in E-flat WOMEN OF THE TANGLEWOOD FESTIVAL for winds, K.375 CHORUS,JOHNOLIVER, conductor DVORÁKˇ Serenade for Strings BOYSOFPALSCHILDREN’SCHORUS, TIPPETT Praeludium, for brass, bells, ANDYICOCHEAICOCHEA, conductor and percussion MAHLER Symphony No. 3 BRITTEN The Young Person’s Guide to the Orchestra (Variations and Fugue on a Theme by Tuesday ‘C’ April 2, 8-10 Henry Purcell) RAFAELFRÜHBECKDEBURGOS, conductor GARRICKOHLSSON, piano HINDEMITH Konzertmusik for Strings and Brass RACHMANINOFF Rhapsody on a Theme of Paganini BARTÓK Concerto for Orchestra

Programs and artists subject to change.

week 19 coming concerts 73 Symphony Hall Exit PlanPlanSymphony

74 Symphony Hall InformationInformationSymphony

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For 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.

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 19 symphony hall information 75 Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between 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. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.