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Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman

John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Diddy Cullinane, Vice-Chairman Roger T. Servison, Vice-Chairman Edmund Kelly, Vice-Chairman Vincent M. O'Reilly, Treasurer

George D. Behrakis Cynthia Curme Robert J. Mayer, M.D. Arthur I. Segel Gabriella Beranek William R. Elfers Nathan R. Miller Thomas G. Sternberg

Mark G. Borden Nancy J. Fitzpatrick Richard P. Morse Wilmer J. Thomas, Jr. Alan Bressler Charles K. Gifford Ann M. Philbin, Stephen R. Weber Jan Brett Thelma E. Goldberg ex-qfficio Stephen R. Weiner Samuel B. Bruskin Stephen Kay Carol Reich Robert C. Winters Paul Buttenwieser George Krupp Edward I. Rudman Eric D. Collins Shari Loessberg, ex-qfficio Hannah H. Schneider

Life Trustees

Harlan E. Anderson James F. Geary Avram J. Goldberg Peter C. Read Vernon R. Alden Julian Cohen Edna S. Kalman Richard A. Smith David B. Arnold, Jr. Abram T. Collier George H. Kidder Ray Stata

J. P. Barger Mrs. Edith L. Dabney R. Willis Leith, Jr. John Hoyt Stookey

Leo L. Beranek Nelson J. Darling, Jr. Mrs. August R. Meyer John L. Thorndike Deborah Davis Berman Nina L. Doggett Mrs. Robert B. Newman Dr. Nicholas T. Zervas

Peter A. Brooke Mrs. John H. Fitzpatrick William J. Poorvu Helene R. Cahners Dean W. Freed Irving W Rabb 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. Shari Loessberg, Chairman

William F. Achtmeyer Joseph F. Fallon Robert Kleinberg Dr. Tina Young Poussaint

Diane M. Austin Thomas E. Faust, Jr. Farla H. Krentzman James D. Price Lucille M. Batal Judith Moss Feingold Peter E. Lacaillade Claire Pryor

Maureen Scannell Steven S. Fischman Renee Landers Patrick J. Purcell

Bateman John F. Fish Robert J. Lepofsky John Reed

Linda J.L. Becker Lawrence K. Fish Christopher J. Lindop Donna M. Riccardi George W. Berry Myrna H. Freedman John M. Loder Susan Rothenberg James L. Bildner Carol Fulp Edwin N. London Alan Rottenberg Bradley Bloom Dr. Arthur Gelb Jay Marks Joseph D. Roxe Anne F. Brooke Stephanie Gertz Jeffrey E. Marshall Kenan Sahin Gregory E. Bulger Robert P. Gittens Carmine Martignetti Ross E. Sherbrooke William Burgin Michael Gordon Joseph B. Martin, M.D. Gilda Slifka Ronald G. Casty Paula Groves Thomas McCann Christopher Smallhorn Rena F. Clark Michael Halperson Joseph C. McNay John C. Smith Carol Feinberg Cohen Carol Henderson Albert Merck Charles A. Stakely

Mrs. James C. Collias Brent L. Henry Dr. Martin C. Mihm, Jr. Patricia L. Tambone Charles L. Cooney Susan Hockfield Robert Mnookin Samuel Thorne Ranny Cooper Osbert M. Hood Paul M. Montrone Albert Togut

James C. Curvey Roger Hunt Robert J. Morrissey Diana Osgood Tottenham Tamara P. Davis William W Hunt Evelyn Stefansson Nef Joseph M. Tucci Mrs. Miguel de Braganca Ernest Jacquet Robert T. O'Connell Paul M. Verrochi Disque Deane Everett L. Jassy Susan W Paine Robert S. Weil Paul F. Deninger Charles H. Jenkins, Jr. Joseph Patton David C. Weinstein Ronald M. Druker Darlene Luccio Jordan, Ann M. Philbin James Westra Alan J. Dworsky Esq. May H. Pierce Mrs. Joan D. Wheeler Alan Dynner Paul L. Joskow Claudio Pincus Richard Wurtman, M.D. Ursula Ehret-Dichter Stephen R. Karp Joyce L. Plotkin Dr. Michael Zinner

John P. Eustis II Brian Keane Dr. John Thomas Potts, Jr. D. Brooks Zug Pamela D. Everhart Douglas A. Kingsley 1

Overseers Emeriti

Helaine B. Allen Mrs. Thomas Mrs. Gordon F. Kingsley John Ex Rodgers Marjorie Arons-Barron Galligan, Jr. David I. Kosowsky Mrs. Jerome Rosenfeld Caroline Dwight Bain Mrs. James Garivaltis Robert K. Kraft Roger A. Saunders Sandra Bakalar Jordan Golding Benjamin H. Lacy Lynda Anne Schubert Mrs. Levin H. Campbell Mark R. Goldweitz Mrs. William D. Larkin Mrs. Carl Shapiro Earle M. Chiles John Hamill Hart D. Leavitt L. Scott Singleton Joan P. Curhan Deborah M. Hauser Frederick H. Lovejoy, Jr. Mrs. Micho Spring Phyllis Curtin Mrs. Richard D. Hill Diane H. Lupean Patricia Hansen Strang Betsy P. Demirjian Marilyn Brachman Mrs. Charles P. Lyman Robert A. Wells JoAnne Walton Dickinson Hoffman Mrs. Harry L. Marks Mrs. Thomas H.P. Phyllis Dohanian Lola Jaffe Barbara Maze Whitney Goetz B. Eaton Michael Joyce John A. Perkins Margaret Williams- Harriett Eckstein Martin S. Kaplan Daphne Brooks Prout DeCelles George Elvin Mrs. S. Charles Kasdon Robert E. Remis Mrs. Donald B. Wilson

J. Richard Fennell Richard L. Kayet Mrs. Peter van S. Rice Mrs. John J. Wilson Peter H.B. Frelinghuysen tDeceased

Officers of the Boston Symphony Association of Volunteers

Ann M. Philbin, President William S. Ballen, Executive Richard Dixon, Executive Vice-President/Tanglewood Vice-President/Administration Sybil Williams, Secretary Howard Cutler, Executive Gerald Dreher, Treasurer Vice-President/Fundraising Leah Weisse, Nominating Chair

Patty Geier, Education and Pat Kavanaugh, Membership Beverly Pieper, Hall Services Outreach Rosemary Noren, Symphony Shop Janis Su, Public Relations Mary Gregorio, Special Projects Staffing

Table of Contents

BSO News 5 On Display in Symphony Hall 7 A Brief History of the Boston Symphony Orchestra 1 BSO Music Director James Levine 16 The Boston Symphony Orchestra 18 This Week's Boston Symphony Orchestra Program 21 Notes on the Program 23 Featured Artists 47 Future Programs 60 Symphony Hall Exit Plan 62 Symphony Hall Information 63

This week's Pre-Concert Talks are given by Harlow Robinson, Northeastern University.

Program copyright ©2007 Boston Symphony Orchestra, Inc. Cover design by Sametz Blackstone Associates, Boston

Cover photograph by Michael J. Lutch Administration Mark Volpe, Managing Director Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity

Anthony Fogg, Artistic Administrator Peter Minichiello, Director of Development Marion Gardner-Saxe, Director of Human Resources Kim Noltemy, Director of Sales, Marketing, Ellen Highstein, Director of and Communications Tanglewood Music Center Directorship, endowed in honor of Caroline Taylor, Senior Advisor to the

Edward H. Linde by Alan S. Bressler and Edward I. Rudman Managing Director

Bernadette M. Horgan, Director of Media Relations Ray F. Wellbaum, Orchestra Manager Thomas D. May, Chief Financial Officer ADMINISTRATIVE STAFF/ARTISTIC

Bridget P. Carr, Archivist—Position endowed by Caroline Dwight Bain • Vincenzo Natale, Chauffeur/Valet * Suzanne Page, Assistant to the Managing Director /Manager of Board Administration • Benjamin Schwartz, Assistant to the Artistic Administrator

ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Director of Concert Operations Meryl Atlas, Assistant Chorus Manager • Amy Boyd, Orchestra Personnel Administrator • Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production and Touring Manager • Jake Moerschel, Assistant Stage Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Leslie D. Scott, Assistant to the Orchestra Manager

BOSTON POPS

Dennis Alves, Director of Artistic Programming

Sheri Goldstein, Personal Assistant to the Conductor Margo Saulnier, Artistic Coordinator • Jeff Swallom, Administrative Coordinator

BUSINESS OFFICE

Sarah J. Harrington, Director of Planning and Budgeting Pam Wells, Controller

Wendy Gragg, Budget Assistant • Michelle Green, Executive Assistant to the Chief Financial Officer • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Assistant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • Harriet Prout, Accounting Manager • Theany Uy, StaffAccountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant DEVELOPMENT

Nancy Baker, Director of Major and Planned Giving Alexandra Fuchs, Director ofAnnual Funds Nina Jung, Director of Development Special Events Bart Reidy, Director ofDevelopment Communications Mia Schultz, Director of Development Administration

Stephanie Baker, Major and Planned Giving Coordinator • Diane Cataudella, Associate Director of Steward- ship for Donor Relations • Joseph Gaken, Associate Director of Stewardship for Donor Recognition • Kara Gavagan, Development Special Events Coordinator • Barbara Hanson, Manager, Koussevitzky Society • Emily Horsford, Friends Membership Coordinator • Amy Hsu, Manager of Friends Membership • Andrea Katz, Coordinator of Special Events • Justin Kelly, Associate Manager of Development Operations • Brian Kern, Senior Major Gifts Officer • Nicole Leonard, Assistant Manager of Planned Giving • Ryan Losey, Associate Director of Foundation and Government Relations • Pamela McCarthy, Manager of Prospect Research • Cynthia Morgan, Development Donor Information and Data Coordinator • Cristina Perdoni, Assistant Manager of Gift Processing and Donor Records • Jennifer Raymond, Associate Director, Friends

Membership • Sarah Razer, Gift Processing and Donor Records Assistant • Katie Schlosser, Coordinator ofAnnual Fund Projects • Yong-Hee Silver, Manager ofBSO and Pops Societies • Kara L. Stepanian, Senior Major Gifts Officer • Mary E. Thomson, Program Manager, Corporate Programs • Laura Wexler, Assistant Manager of Development Communications • Hadley Wright, Foundation and Government Grants Coordinator EDUCATION AND COMMUNITY PROGRAMS Myran Parker-Brass, Director of Education and Community Programs Claire Carr, Coordinator of Education and Community Programs • Gabriel Cobas, Manager of Education Programs • Shana Golden, Coordinator of Research and Curriculum Development • Darlene White, Manager, Berkshire Education and Community Programs I EVENT SERVICES Cheryl Silvia Lopes, Director of Event Services

Tony Bennett, Cafe' Supervisor • Lesley Ann Cefalo, Event Services Business and Sales Manager • Sean Lewis, Assistant to the Director of Event Services • Cesar Lima, Steward • Shana Metzger, Special Events Sales Manager • Kyle Ronayne, Food and Beverage Manager • James Sorrentino, Bar Manager

FACILITIES C. Mark Cataudella, Director of Facilities

Symphony Hall Michael Finlan, Switchboard Supervisor • Susan Johnson, Facilities Coordinator • Tyrone Tyrell, Facilities Services Lead • Shawn Wilder, Mailroom Clerk

House Crew Charles Bent, Jr. • Charles F. Cassell, Jr. • Francis Castillo • Dwight Caufield • Eric Corbett • Thomas Davenport • Michael Frazier • Peter O'Keefe Cleaning Crew Desmond Boland • Clifford Collins • Angelo Flores • Rudolph Lewis • Lindel Milton, Lead Cleaner • Gaho Boniface Wahi

Tanglewood David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires HUMAN RESOURCES Kathleen Sambucco, Benefits Manager Mary Pitino, Human Resources Manager INFORMATION TECHNOLOGY David W. Woodall, Director of Information Technology Guy W. Brandenstein, User Support Specialist • Andrew Cordero, Manager of User Support • Timothy James, Applications Support Specialist • John Lindberg, Senior Systems and Network Administrator • Brian Van Sickle, User Support Specialist PUBLIC RELATIONS Kathleen Drohan, Associate Director of Media Relations • Marni Glovinsky, Media Relations Coordinator • Joseph Heitz, Senior Media Relations Associate • Whitney Riepe, Media Relations Associate PUBLICATIONS Marc Mandel, Director of Program Publications Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator /Boston Pops Program Editor

SALES, SUBSCRIPTION, AND MARKETING

Amy Aldrich, Manager, Subscription Office Leslie Bissaillon, Manager, Glass Houses Helen N.H. Brady, Director of Group Sales Alyson Bristol, Director of Corporate Sponsorships Sid Guidicianne, Front of House Manager James Jackson, Call Center Manager Roberta Kennedy, Manager, Symphony Shop Sarah L. Manoog, Director of Marketing Programs Michael Miller, SymphonyCharge Manager Kenneth Agabian, Marketing Coordinator, Print Production • Duane Beller, SymphonyCharge Represen- tative • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Symphony- Charge Assistant Manager • John Dorgan, Group Sales Coordinator • Paul Ginocchio, Assistant Manager, Symphony Shop • Julie Green, Subscription Representative • Melinda Hallisey, Manager of New Business Development, Corporate Sponsorships • Susan Elisabeth Hopkins, Senior Graphic Designer • Aaron Kakos, Subscription Representative • Elizabeth Levesque, Marketing Projects Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • Dominic Margaglione, Senior Sub- scription Associate • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge Representative • Michael Moore, E-Commerce Marketing Analyst • MarcyKate Perkins, SymphonyCharge Representative • Doreen Reis, Marketing Coordinator for Advertising • Robert Sistare, SymphonyCharge Representative • Megan E. Sullivan, Senior Subscription Associate

Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager

Box Office Representatives Mary J. Broussard • Cary Eyges • Mark Linehan • Arthur Ryan TANGLEWOOD MUSIC CENTER Rachel Ciprotti, Coordinator • Karen Leopardi, Associate Directorfor Faculty and Guest Artists • Michael Nock, Associate Directorfor Student Affairs • Gary Wallen, Manager of Production and Scheduling VOLUNTEER OFFICE Mia Schultz, Interim Director of Volunteer Services Sabine Chouljian, Assistant Managerfor Volunteer Services BSO A New CD from BSO Classics: The Boston Symphony Chamber Players Perform Mozart Chamber Music for Winds and Strings

A new Boston Symphony Chamber Players CD of chamber music by Mozart for winds and strings on the BSO's own label, BSO Classics, is due in the Symphony Shop on December 1, and will also be available via the BSO's website at www.bso.org. The disc includes Mozart's Clarinet Quintet in A, K.581, with BSO principal clarinetist William R. Hudgins; the Horn Quintet in E-flat, K.407, with BSO principal horn James Sommer- ville; the Oboe Quartet in F, K.370, with BSO principal oboe John Ferrillo; and the Flute Quartet in A, K.298, with BSO principal flute Elizabeth Rowe. The string players are BSO principals Malcolm Lowe, Haldan Martinson, Steven Ansell, and Edwin Bar- ker, joined by BSO assistant principal viola Cathy Basrak. The disc will sell for $16.99 and can also be pre-ordered online from the Symphony Shop's webstore on the BSO's website.

Own a Piece of BSO History

Over the summer of 2006, a new floor was installed on Symphony Hall's historic stage. Now the Boston Symphony Orchestra is pleased to offer distinctive ballpoint pens crafted from the original hard maple floorboards installed more than a century ago. Sold exclu- sively at the Symphony Shop, these limited edition, hand-turned and -polished pens would make a perfect gift for the music lover or history buff. The pen is available in two versions—the larger "Americana" for $49.95 and the smaller "Classic" for $34.95. The Symphony Shop, located in the Cohen Wing, is open Tuesday through Friday from 11 a.m. to 4 p.m.; Saturday from noon to 6 p.m.; and from one hour before each concert through intermission.

Attention, BSO Radio Listeners WCRB Now at 99.5 FM

A reminder: Please note that Boston's classical radio station WCRB 102.5 FM moved in December to 99.5 FM on the radio dial. Live broadcasts by WCRB of the Boston Symphony Orchestra's Saturday-evening performances continue from this new location.

The Marie L. Audet Gillet and Gillet was surrounded by glorious music that Fernand Gillet Concerts brought her much joy and pleasure. Married January 5 and 6, 2007 to Fernand Gillet for almost fifty years, she In recognition of a bequest from Marie L. devoted much of her life to teaching Audet Gillet, the first pair of Friday-afternoon privately and at the New England Conserva- and Saturday-evening Boston Symphony con- tory of Music, and attending Boston Symphony certs of the new year is dedicated to the mem- concerts in Symphony Hall and at Tanglewood. ory of Mrs. Gillet and her husband, the late She maintained a very special relationship Fernand Gillet, who was the BSO's principal with several of her "pupils" until her death oboe from 1925 to 1946. Mrs. Gillet's bequest in October 1988. Mrs. Gillet's love for and endows in perpetuity two subscription con- devotion to the Boston Symphony Orchestra certs each year, in memory of her and her spanned more than sixty years. A faithful husband. The first such concerts were given subscriber to the Friday-afternoon concerts in January 1990. through the 1987 season, she was a member Throughout her eighty-nine years, Marie of the Higginson Society from its inception Certainly we know how to protect your estate from taxes

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60 State Street, Boston, Massachusetts 02109 • 617-227-7940 • www.hembar.com and regularly attended special events, includ- the Eastman School of Music presented him ing the luncheon in the spring of 1987 for with honorary Doctor of Music degrees; and those who had been attending BSO concerts he published several technical methods for for fifty years or more. The Tanglewood Music oboe in his native France. Mr. Gillet was Center was very important to her; in 1983 she awarded the Croix de Guerre for his ser- endowed two Guarantor Fellowships—the vice in the French Flying Corps during

Fernand Gillet Fellowship for an oboe stu- World War I. dent and the Marie L. Audet Gillet Fellowship for a piano student. Pre-Concert Talks Born in Paris, oboist Fernand Gillet (1882-1980) performed with the Lamoureux Pre-Concert Talks available free of charge to Orchestra and the Paris Grand Opera before BSO ticket holders precede all Boston Sym- Serge Koussevitzky invited him to join the phony subscription concerts and Open Re- Boston Symphony Orchestra in 1925 as prin- hearsals, starting at 6:45 p.m. prior to even- cipal oboe, a position he held for twenty-one ing concerts, 12:15 p.m. prior to Friday-after- years. During the course of his seventy-five- noon concerts, and one hour before the start year teaching career he served on the facul- of morning and evening Open Rehearsals. ties of the Tanglewood Music Center, the New Given by a variety of distinguished speakers England Conservatory, and Boston Uni- from Boston's musical community, these versity; the New England Conservatory and informative half-hour talks include recorded

Individual tickets are on sale for all concerts in the BSO's 2006-2007 season. For specific information on purchasing tickets by phone, online, by mail, or in person at the Symphony Hall box office, please see page 63 of this program book.

On Display in Symphony Hall This season's BSO Archives exhibit highlights a remarkable collection of memora- bilia received in the spring of 2006 through a bequest from the Estate of Helen Zimbler, the wife of the late Josef Zimbler (1900-1959), who played in the BSO's cello section from 1934 to 1959. Also active as a chamber musician, Mr. Zimbler founded the Zimbler Quartet in the 1930s and the Zimbler Sinfonietta in the 1940s. Throughout his career, he accumulated a col- lection of autographed photos of many of the great soloists and conductors of the day, as well as correspondence from some of the leading composers of the time whose works he programmed in his chamber music series. Materials from the Zimbler Collection can be seen in five exhibit cases throughout Symphony Hall—two cases in the Cabot-Cahners Room on the second-balcony level of Symphony Hall; two cases in the first-balcony corridor, audience-right; and the display case on the or- chestra level near the door leading backstage from the Massachusetts Avenue corridor. Shown here is a reproduction of a pastel and ink portrait of Josef Zimbler made in 1950 by Brookline artist Kalah Novack; the original pastel and ink por- trait can be seen in the Cabot-Cahners Room. Also on display in the first-balcony corridor, audience-left, are materials from Symphony Hall's original stage floor, which was replaced—using techniques and materials matching those employed when the stage was originally installed in 1900—during the summer of 2006 for the first time in Symphony Hall's 106-year history. Also in the display case is a three-dimensional model that shows how the stage floor is constructed. To read more about the new stage floor, see page 5 of this program book. I

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8 examples from the music being performed. world premiere of John Heiss's Arguments & This week, BSO Director of Program Pub- Meditations, and Oily Wilson's A City Called lications Marc Mandel (January 3 Open Re- Heaven. Tickets are $20 (discounted for sen- hearsal and January 5 concert) and Elizabeth iors, free for students) and available at the door Seitz of the Boston Conservatory (January 4, or by calling (617) 325-5200. For more infor- 6, and 9) discuss Turnage, Bruch, and Hoist. mation, visit www.collagenewmusic.org. In the weeks ahead, Harlow Robinson of Northeastern University discusses Harbison, In Case of Snow... Mozart, and Rachmaninoff (January 11-16), To find Elizabeth Seitz discusses Mozart and Haydn out the status of a Boston Symphony (January 18-23), and former Boston Globe concert and options available to you in case of a snow emergency, critic and BSO annotator Michael Steinberg BSO subscribers and discusses Vaughan Williams and Beethoven patrons may call a special Symphony Hall (January 25-27). number. Just dial (617) 638-9495 at any time for a recorded message regarding the current status of a concert. Please note, too, that tick- BSO Members in Concert et refunds will only be offered for concerts BSO principal bass Edwin Barker joins the that are cancelled. Concord Chamber Players (founded by BSO violinist Wendy Putnam) on Sunday, January Ticket Resale 21, at 3 p.m., for Rossini's Duo in D for cello Please that and bass, an arrangement by Halvorsen for remember subscribers unable to attend a particular violin and bass of a Handel passacaglia, and BSO concert in their series call Schubert's Trout Quintet for piano and strings. may (617) 638-9426 up to one hour before the concert to their tickets The concert takes place at Concord Academy make available for resale. Performing Arts Center, 166 Main Street, This not only helps bring needed to it Concord, with a 2 p.m. pre-concert talk. revenue the orchestra, Tickets $20-30. Further information, includ- also makes your seat available to someone who might otherwise be unable to attend the ing directions and program descriptions, is concert. You will receive a mailed receipt available by calling (978) 371-9667 or online acknowledging your tax-deductible contribu- at www.concordchambermusic.org. tion within three weeks of your call. Founded by BSO cellist Jonathan Miller, the Boston Artists Ensemble continues its

2006-07 season with Turina's Piano Trio No. 1, Comings and Goings... Opus 35, the Boston premiere of Sonia Pos- Please note that latecomers will be seated sett's Suite Buenos Aires, and Mendelssohn's by the patron service staff during the first D minor piano trio, Opus 24, on Friday, Janu- convenient pause in the program. In addition, ary 19, at 8 p.m. at the Peabody Essex Mus- please also note that patrons who leave eum in Salem, and on Sunday, January 28, the hall during the performance will not be at 2:30 p.m. at Trinity Church in Newton allowed to reenter until the next convenient Centre. Joining Mr. Miller are violinist Sharan pause in the program, so as not to disturb the Leventhal and pianist Randall Hodgkinson. performers or other audience members while Tickets are $24, with discounts for seniors the concert is in progress. We thank you for and students. For more information, visit your cooperation in these matters. www.bostonartistsensemble.org or call (617) 964-6553. With Thanks Founded by BSO percussionist Frank Epstein, Collage New Music continues its BSO subscription concerts are supported 2006-07 season on Monday, January 29, at in part by a grant from the Boston Cultural 7:30 p.m. at the Longy School of Music. The Council, which is funded by the Massachu- program includes Julian Anderson's Towards setts Cultural Council and administered by Poetry, Martin Brody's Millennium Sightings the Mayor's Office of Arts, Tourism, and featuring mezzo-soprano Janice Felty, the Special Events. JAMES LEVINE James Levine became Music Director of the Boston Symphony Orchestra in the fall of 2004, having been named Music Director Designate in October 2001. He is the orchestra's fourteenth music director since the BSO's founding in 1881 and the first American-born conductor to hold that position. Highlights of his 2006-07 BSO programs (three of which again go to ) include an American-themed Opening Night program featuring Renee Fleming in Barber's Knoxville: Summer of 1915, Sir in Bol- com's Lyric Concerto for flute and orchestra, and DvoMk's New World Symphony; the conclusion of the two-season Beethoven/Schoenberg project (this year including concert performances of Beethoven's Fidelio and Schoenberg's Moses und Aron); Bartok's Bluebeards Castle and Berlioz's La Damna- tion de Faust; BSO 125th-anniversary commissions from and Charles Wuorinen; and music of Brahms, Harbison, Haydn, Mozart, Ravel, and Schumann. Highlights of Maestro Levine's 2006 Tanglewood season included Beethoven's Ninth Symphony, Schoenberg's Gurrelieder, concert performances of Mozart's Don Giovanni (part of a BSO all-Mozart weekend marking the 250th anniversary of the composer's birth) and Strauss's Elektra (the latter with the Tanglewood Music Center Orchestra), and the American stage premiere (also with TMC forces) of Elliott Carter's opera What Next? Also at Tanglewood he continued his work with the TMC's and Vocal Fellows, in classes devoted to orchestral repertoire, Lieder, and opera. Maestro Levine made his BSO debut in April 1972; he has since led the orchestra in repertoire ranging from Haydn, Mozart, Schumann, Brahms, Dvorak, Verdi, Mahler, and Debussy to music of Babbitt, Cage, Carter, Gershwin, Harbison, Lieberson, Ligeti, Perle, Schul- ler, Sessions, and Wuorinen.

James Levine is also Music Director of the , where, in the thirty- five years since his debut there, he has developed a relationship with that company unparalleled in its history and unique in the musical world today. All told at the Met he has led more than 2,000 performances of 80 different operas. In 2006-07 Maestro Levine leads new Met productions of Puccini's Madama Butterfly (including a special Opening Night performance), Puccini's // trittico, and Gluck's Orfeo ed Euridice; revivals of Mozart's Idomeneo and Die Zauberflbte, Verdi's Don Carlo, and Wagner's Die Meistersinger von Nilrnberg, and three concerts each at Carnegie Hall with the MET Orchestra and MET Chamber Ensemble. Mr. Levine inaugurated the "Metropolitan Opera Presents" television series for PBS in 1977, founded its Young Artist Develop- ment Program in 1980, returned Wagner's complete to the repertoire in 1989 (in the Met's first integral cycles in 50 years), and reinstated recitals and concerts with Met artists at the opera house—a former Metropolitan tradition. Expanding on that tradition, he and the MET Orchestra began touring in concert in 1991, and have since performed around the world.

Outside the , Mr. Levine's activities are characterized by his intensive and enduring relationships with Europe's most distinguished musical organizations, especially the , the Vienna Philharmonic, and the summer festivals in Salzburg (1975-1993) and Bayreuth (1982-98). He was music director of the UBS Verbier Festival Orchestra from its founding in 2000 and, before coming to Boston, was chief conductor of the Munich Philharmonic from 1999 to 2004. In the United States he led the Chicago Symphony Orchestra for twenty summers as music director of the Ravinia Festival (1973-1993) and, concurrently, was music director of the Cin-

10 cinnati May Festival (1973-1978). Besides his many recordings with the Metropolitan Opera and the MET Orchestra, he has amassed a substantial discography with such leading ensembles as the Berlin Philharmonic, Chicago Symphony, London Symphony, Philharmonia Orchestra, Munich Philharmonic, Dresden Staatskapelle, Philadelphia Orchestra, and Vienna Philharmonic. Over the last thirty years he has made more than 200 recordings of works ranging from Bach to Babbitt. Maestro Levine is also active as a pianist, performing chamber music and in collaboration with many of the world's great singers.

Born in Cincinnati, , on June 23, 1943, James Levine studied piano from age four and made his debut with the Cincinnati Symphony at ten, as soloist in Mendels- sohn's D minor . He was a participant at the Marlboro Festival in 1956 (including piano study with Rudolf Serkin) and at the Aspen Music Festival and School (where he would later teach and conduct) from 1957. In 1961 he entered the Juilliard School, where he studied conducting with Jean Morel and piano with Rosina Lhevinne (continuing on his work with her at Aspen). In 1964 he took part in the Ford Foundation-sponsored "American Conductors Project" with the Baltimore Symphony Orchestra and Alfred Wallenstein, , and Fausto Cleva. As a direct result of his work there, he was invited by , who was on the jury, to become an assistant conductor (1964-1970) at the —at twenty-one, the youngest assistant conductor in that orchestra's history. During his Cleveland years, he also founded and was music director of the University Circle Orchestra at the Cleveland Institute of Music (1966-72).

James Levine was the first recipient (in 1980) of the annual Manhattan Cultural Award and in 1986 was presented with the Smetana Medal by the Czechoslovak gov- ernment, following performances of the composer's Ma Vlast in Vienna. He was the subject of a Time cover story in 1983, was named "Musician of the Year" by Musical America in 1984, and has been featured in a documen- tary in PBS's "American Masters" series. He holds numerous honorary doctor- ates and other international awards. In recent years Mr. Levine has received the Award for Distinguished Achievement in the Arts from New York's Third Street Music School Settlement; the Gold Medal for Service to Humanity from the National Institute of Social Sciences; the Lotus Award ("for inspiration to young musicians") from Young Concert Artists; the Anton Seidl Award from the Wagner Society of New York; the Wilhelm Furtwangler Prize from Baden-Baden's Committee for Cultural Advancement; the George Jellinek Award from WQXR in New York; the Goldenes Ehrenzeichen from the cities of Vienna and Salzburg; the Crystal Award from the World Economic Forum in Davos, ; America's National Medal of Arts and Kennedy Center Honors; the 2005 Award for Distinguished Service to the Arts from the American Academy of Arts and Letters, and a 2006 Opera News Award.

11 *Aza Raykhtsaum Robert Barnes Theodore W. and Evelyn Ronald Wilkison Berenson Family chair Michael Zaretsky *Bonnie Bewick Marc Jeanneret Stephanie Morris Marryott and

Franklin J. Marryott chair *Mark Ludwig *James Cooke * Rachel Fagerburg Catherine and Paul Buttenwieser *Kazuko Matsusaka n*» chair *Rebecca Gitter * Victor Romanul *Marvin Moon BOSTON SYMPHONY Bessie Pappas chair * ORCHESTRA Catherine French Cellos Mary B. Saltonstall chair, Jules Eskin 2006-2007 fullyfunded in perpetuity Principal James Levine * Kelly Barr Philip R. Allen chair, endowed Director Kristin and Roger Servison chair Music in perpetuity in 1 969 *Polina Sedukh Ray and Maria Stata Martha Babcock Music Directorship, Donald C. and Ruth Brooks Assistant Principal in perpetuity Heath chair, fullyfunded in per- fullyfunded Vernon and Marion Alden chair, petuity Bernard Haitink endowed in perpetuity (Ml Jason Horowitz Pl< | Conductor Emeritus * in 1977 LaCroix Family Fund, Sato Knudsen Second Violins fully funded in perpetuity Mischa Nieland chair, Haldan Martinson fullyfunded in perpetuity Seiji Ozawa Principal Mihail Jojatu Music Director Laureate Carl Schoenhof Family chair, Sandra and David Bakalar chair fullyfunded in perpetuity Luis Leguia First Violins Vyacheslav Uritsky Robert Bradford Newman chair, Malcolm Lowe Assistant Principal fullyfunded in perpetuity Charlotte and Irving W. Rabb Concertmaster *Jerome Patterson Charles chair, endowed in perpetuity Munch chair, Lillian and Nathan R. Miller in 1977 fully funded in perpetuity chair Ronald Knudsen Tamara Smirnova *Jonathan Miller Edgar and Shirley Grossman Associate Concertmaster Charles and JoAnne Dickinson chair Helen Horner Mclntyre chair, chair endowed in perpetuity in 1976 Joseph McGauley *0wen Young Alexander Velinzon Shirley and J. Richard Fennell John F Cogan, Jr., and Mary L. u Assistant Concertmaster chair, fullyfunded in perpetuity Cornille chair, fullyfunded in Robert L. Beal, Enid L., and Ronan Lefkowitz perpetuity Bruce A. Beal chair, endowed in David H. and Edith C. Howie *Andrew Pearce perpetuity in 1980 chair, fullyfunded in perpetuity Stephen and Dorothy Weber chair Elita Kang *Sheila Fiekowsky *Mickey Katz Assistant Concertmaster * Jennie Shames Richard C. and Ellen E. Paine Edward and Bertha C. Rose * chair, fully funded in perpetuity chair Valeria Vilker Kuchment Bo Youp Hwang *Tatiana Dimitriades Gordon and Mary Ford Kingsley John and Dorothy Wilson chair, *Si-Jing Huang Family chair fullyfunded in perpetuity *Nicole Monahan Lucia Lin$ * Wendy Putnam Basses Forrest Foster Collier chair *Xin Ding Edwin Barker Ikuko Mizuno *Glen Cherry Principal Dorothy Q. and David B. Arnold, Harold D. Hodgkinson chair, Jr., chair, fullyfunded in *Julianne Lee endowed in perpetuity in 1974 perpetuity Lawrence Wolfe Amnon Levy Violas Assistant Principal Muriel C. Kasdon and Steven Ansell Maria Nistazos Stata chair, » I .*-.•, Marjorie C. Paley chair Principal fullyfunded in perpetuity Charles S. Dana chair, *Nancy Bracken Joseph Hearnet Ruth and Carl Shapiro chair, endowed in perpetuity in 1970 J. Leith Family chair, fullyfunded in perpetuity Cathy Basrak fullyfunded in perpetuity Assistant Principal Dennis Roy Anne Stoneman chair, Joseph and Jan Brett Hearne * Participating in a system fullyfunded in perpetuity chair of rotated seating Edward Gazouleas John Salkowski t On sabbatical leave Lois and Harlan Anderson chair, Erich and Edith Heymans chair °0n leave fullyfunded in perpetuity § Substitute player *James Orleans

12 *Todd Seeber Suzanne Nelsen Timpani Eleanor L. and Levin H. John D. and Vera M. Timothy Genis chair, chair Campbell fully funded MacDonald Sylvia Shippen Wells chair, in perpetuity Richard Ranti endowed in perpetuity in 1974 *John Stovall Associate Principal *Benjamin Levy Diana Osgood Tottenham/ Percussion Hamilton Osgood chair, Frank Epstein fullyfunded in perpetuity Flutes Peter and Anne Brooke chair, Elizabeth Rowe fully funded in perpetuity Contrabassoon Principal J. William Hudgins Walter Piston chair, endowed Gregg Henegar Peter Andrew Lurie chair, in perpetuity in 1970 Helen Rand Thayer chair fully funded in perpetuity Horns Myra and Robert Kraft chair, Barbara Lee chair endowed in perpetuity in 1981 James Sommerville Principal Elizabeth Ostling Assistant Timpanist Helen Slosberg/Edna Associate Principal Sagoff Mr. and Mrs. Edward H. Linde S. Kalman chair, endowed Marian Gray Lewis chair, chair in perpetuity in 1974 fully funded in perpetuity § Richard Flanagan Richard Sebring Piccolo Associate Principal Harp Margaret Andersen Congleton Cynthia Meyers Ann Hobson Pilot chair, fully funded in perpetuity Evelyn and C. Charles Marran Principal chair, endowed in perpetuity in Daniel Katzen 1979 Elizabeth B. Storer chair, Voice and Chorus fully funded in perpetuity John Oliver Oboes Jay Wadenpfuhl Tanglewood Festival Chorus John P. H and Nancy S. Eustis John Ferrillo Conductor chair, fully funded in perpetuity Principal Alan J. and Suzanne W. Dworsky Mildred B. Remis chair, endowed chair, fully funded in perpetuity in perpetuity in 1975 Jonathan Menkis Mark McEwen Jean-Noel and Mona N. Librarians James and Tina Collias chair Tariot chair Marshall Burlingame Keisuke Wakao §Kevin Owen Principal Assistant Principal Lia and William Poorvu chair, Trumpets fully funded in perpetuity English Horn Thomas Rolfs William Shisler Principal II Robert Sheena John Perkel Beranek chair, fully funded Roger Louis Voisin chair, in perpetuity in 1977 in perpetuity endowed Assistant Conductors Peter Chapman Jens Georg Bachmann Clarinets Ford H. Cooper chair, endowed Anna E. Finnerty chair, in perpetuity in 1984 William R. Hudgins fullyfunded in perpetuity Principal Ludovic Morlot Ann S.M. Banks chair, endowed Assistant Principal in perpetuity in 1977 Benjamin Wright Personnel Managers Scott Andrews Lynn G. Larsen Thomas Sternberg chair Trombones Bruce M. Creditor Thomas Martin Ronald Barron Associate Principal & Principal E-flat clarinet Stage Manager J. P. and Mary B. Barger chair, Stanton W and Elisabeth K. fully funded in perpetuity John Demick Davis chair, fully funded in Norman Bolter perpetuity Arthur and Linda Gelb chair

Bass Clarinet Bass Trombone Craig Nordstrom Douglas Yeo Farla and Harvey Chet John Moors Cabot chair, Krentzman chair, fully funded fully funded in perpetuity in perpetuity

Bassoons Tuba Mike Roylance Richard Svoboda Principal Principal Margaret and William C. Edward A. Taft chair, endowed '' Rousseau chair, fully funded in perpetuity in 1974 in perpetuity

13 Support the BSO

Help us meet the Challenge

With your support as a Friend of the BSO, we all share in R0{ the experience of a world-class orchestra in Boston.

The Orchestra depends on the generosity of its patrons to provide critical financial support; ticket sales cover less than 60 percent of the BSO's operating expenses. Your contribution will support not only the outstanding artistic programs at Symphony Hall, but also the BSO's extensive education and community outreach efforts.

And if you make a gift now, the effect of your generosity will be even greater thanks to The Boston Challenge, a generous grant offered by a small group of anonymous BSO trustees. All new or increased gifts to the Symphony Annual Fund received by June 30, 2007 will be matched, dollar for dollar, up to $250,000.

Your membership in the Friends will bring a wonderful array of benefits and privileges to enhance your enjoyment of the 2006-07 season.

To learn more about becoming a Friend of the BSO, or to make a gift, contact the Friends of the BSO Office at (617) 638-9276, [email protected], or visit www.bso.org.

^friends o. THE y BOSTON SYMPHONY ORCHESTRA BOSTON SYMPHONY ORCHESTRA

James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 126th Season, 2006-2007

Thursday, January 4, at 8

Friday, January 5, at 1:30 THE MARIE L. AUDET GILLET CONCERT Saturday, January 6, at 8 THE FERNAND GILLET CONCERT Tuesday, January 9, at 8

ROBERT SPANO conducting

TURNAGE Ceres: Asteroid for Orchestra (American premiere)

BRUCH Violin Concerto No. 1 in G minor, Opus 26

Prelude: Allegro moderato — Adagio Finale: Allegro energico JOSHUA BELL

INTERMISSION

HOLST The Planets, Suite for large orchestra, Opus 32

Mars, the Bringer of War (Allegro) Venus, the Bringer of Peace (Adagio) Mercury, the Winged Messenger (Vivace)

Jupiter, the Bringer of Jollity (Allegro giocoso) Saturn, the Bringer of Old Age (Adagio) Uranus, the Magician (Allegro) Neptune, the Mystic (Andante) WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

This week's performances by the Tanglewood Festival Chorus are supported

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UBS is proud to sponsor the BSO's 2006-2007 season.

The evening concerts will end about 9:55 and the afternoon concert about 3:25. Steinway and Sons , selected exclusively for Symphony Hall Special thanks to Delta Air Lines, 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, CELLULAR PHONES, PAGERS, AND WATCH ALARMS SHOULD BE SWITCHED OFF DURING THE CONCERT.

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Mark-Anthony Turnage was born on June 10, 1960, in Grays, Essex, United Kingdom, and is currently Mead Composer-in-Residence with the Chicago Symphony Orchestra. Turnage composed Ceres: Asteroid for Or- chestra in 2005 on commissionfrom the Berlin Philhar- monic and dedicated the work to the ensemble and Sir on the occasion of the conductor s fiftieth birthday. Sir Simon led the Berlin Philharmonic in the world premiere on March 16, 2006, at Berlins Philhar- monic These performances by the Boston Symphony Orchestra mark the works United States premiere. Ceres is scored for two piccolos, two flutes (both doubling alto flutes), two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, soprano saxo- phone, four horns, three trumpets, three trombones, euphonium, tuba, three percussionists (I: small triangle, small bass drum, small sizzle cymbal, and small ratchet; II: medium triangle, medium bass drum, medium ride cymbal, and medium ratchet; HI: large trian- gle, large bass drum, large suspended cymbal, and large ratchet), harp, celesta, and strings. Duration is approximately seven minutes.

Joseph Conrad's 1907 novel The Secret Agent revolves around a scheme in which the spy of the title, an agent provocateur, is pressured by his handler in the Russian embassy to carry out a bombing of the astronomical observatory at Greenwich. The choice of a prime symbol of scientific inquiry as a target for terrorism is intended to have shock value far beyond more-expected political attacks. "The sacrosanct fetish of today," explains the handler, "is science."

Conrad incorporated into his narrative an actual historical incident (the anarchist bombing of the Royal Observatory at Greenwich in 1894) because it has a fascinating symbolic resonance. Since time immemorial astronomy has exercised an uncanny power over the imagination. During most of human history it has been viewed as the macro- cosmic proof of a firmly fixed, patterned order to the universe. But one of the most pro- foundly consequential results of the scientific revolution was to dismantle those certain- ties in favor of the new truths of empirical observation. It dramatically discredited the geocentric and man-centered interpretation of the universe. Replacing this was the dawning awareness of a dynamic and vastly more expansive cosmos in which Earth is little more than a vulnerable speck of dust.

What could more clearly illustrate the overthrow of the old model of an eternal chain of being than the fluctuating solar system maps made necessary by the telescope and its enthronement in state-of-the-art observatories? When Gustav Hoist completed his orchestral work The Planets, Pluto had not yet been discovered (though he would come to know of it a few years before his death). And only last year the mysterious ninth planet was demoted from a status held for less than a century to a "dwarf planet." The ancient ideal of a "music of the spheres"—presumably fixed for all time—has given way to the eerie sputterings and oscillations of background cosmic radiation translated into sound.

Yet the celestial bodies retain their power to fire the musical imagination. The radical shift in our understanding of the cosmos induced by science, after all, contains keenly powerful scenarios of the sort Bill Bryson describes in his 2004 bestseller of popular science, A Short History of Nearly Everything. Reading this book, according to Mark- Anthony Turnage, inspired him to write Ceres (which he subtitles "Asteroid for Orches-

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18 tra"). Ceres is the name of the first asteroid to be discovered and so named, in 1801, by the astronomer-monk Giuseppe Piazzi.

"I took the idea of asteroids being rocky objects," Turnage writes, "all of which are capable of colliding with the earth and all of which are moving at slightly different courses through the sky at different rates." Bryson's book includes eye-opening accounts of the destructive potential of these asteroids, which seems so out of scale with their actual size. Some might "merely" destroy a city and are as big as a house, while larger ones present the familiar doomsday scenario of wiping out humanity. (The actual num- ber that are known to pose a threat to Earth changes constantly, based on new observa- tions.) Ceres, located in the asteroid belt, is the largest known at present. Turnage com- ments that he was drawn to "the doomsday aspect of asteroids and the idea that the earth could be destroyed by one any day."

Turnage has produced several noteworthy compositions sparked by extramusical stimuli. Especially well-known are the results of his preoccupation with the haunting expressionism of 20th-century painter Francis Bacon. Blood on the Floor (a highlight of last summer's Tanglewood Festival) takes its title from a 1986 late-period, starkly stripped-down Bacon canvas centered on a minimalist, disorienting claustrophobia. This nine-movement suite, written for an orchestral ensemble and a combo of jazz soloists, integrates improvisational flights into a meticulously composed and richly polyphonic score. It showcases the signature Turnage sound: a music of gripping emo- tional authority that rallies sophisticated technical resources and a fascination with jazz idioms, going straight for the solar plexus.

Ceres employs a more "traditional" orchestral sonority in its fabric (the ubiquitous soprano saxophone, a Turnage thumbprint, makes a much more discreet appearance in its blended scoring here). A product of the composer's long-standing and fruitful rela-

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i tionship with Sir Simon Rattle—which dates back to several works commissioned in the early 1990s while he was head of the City of Birmingham Symphony Orchestra Ceres suggests another step forward in Turnage's approach to writing for orchestra. Along with Ceres, he has recently composed two more asteroid-inspired scores (Juno and Torino scale), to make a larger suite or triptych. Yet as his technical confidence advances, Turnage avoids the pitfalls of meaningless virtuosity, of dazzling walls of sound signifying nothing. The gutsy, raw emotional impulse that gives his music charac- ter remains.

Ceres condenses its cataclysmically dramatic impetus into a relatively brief span. The material itself is based on an economical set of musical ideas initially presented in a kind of sequential montage. The overall shape of the piece, Turnage notes, traces these different components as they "gradually collide into a dense climactic section, then

split apart." The first "block" of music inhabits a more melodic realm. It begins (under- girded by ominous rumblings from the bass drums) with a piquant sonority of high winds, pivoting around a half-step. This basic interval adds a sense of instability—of quite lit- erally being on the edge, calling for resolution. Against the sustained notes of emerging melody, clarinets tease out riff-like arabesques. A new block is then heard in the almost ceremonial syncopations of muted trombones. Here Turnage seems to reconfigure his characteristic jazz impulses along more "modernist," Stravinskian lines.

Indeed, Le Sacre du printemps casts its shadow not only over Ceres's rhythmic energy; an even subtler ingestion of Stravinsky can be heard in the pullulating cells of florid ornamentation in the woodwinds. Turnage plays these off with varying arrays of brass choirs. The central conceit of Ceres is to adopt the traditional, classical idea of "devel- opment"—of breaking thematic groups into fragments and rearranging them, thus con- tinually changing our perspective—as a metaphor for the literal "collision" with which the piece climaxes. This is introduced by the piccolos' shrill trilling. A veritable explo- sion punctuated by ratchets marks the moment of impact (deft work from the podium is essential to keeping these layers of musical material as simultaneously lucid as possi- ble). Turnage manages to sustain the tension even after this initial climax, preparing for a follow-up one with a hair-raising ascending line that smashes, as into a brick wall, into a sustained bass E.

An epilogue plays out the aftermath of the destruction: stark, sepulchral chords (marked "nasty" in the score), in broken rhythm. Fragments of the original melody are slowed like blood frozen in the arteries. Brutal power chords seal the piece, but their unpredictable spacing leaves us feeling unease rather than finality. —Thomas May

Thomas May's books Decoding Wagner and The John Adams Reader are available from Amadeus Press.

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Max Bruch Violin Concerto No. 1 in G minor, Opus 26

Max Karl August Bruch was born in Cologne, Germany, on January 26, 1838, and died in Friedenau, near Berlin, on October 20, 1920. He composed his Violin Concerto in G minor during the years 1864 and 1867;

after a number of revisions it achieved its final state in October 1867. There was apparently a performance of a preliminary version of the score in Koblenz on April 24, 1866, with soloist O. von Kbnigslbw under Bruch's direction. The definitive version was first performed by

Joseph Joachim (to whom the work is dedicated) in

Bremen on January 7, 1868, with Karl Reinthaler conducting. The American premiere took place at the New York Academy ofMusic on February 3, 1872, under the direction of Carl Bergmann; Pablo Sarasate was the soloist. The concerto appeared frequently in Boston Symphony concerts for many years, including, in the BSOs first few decades, some performances ofjust the first two movements, or of the Adagio alone. Georg Henschel led the orchestra s first performances of the con- certo on October 20 and 21, 1882, with soloist Louis Schmidt. Wilhelm Gerickes soloists included the orchestras assistant concertmaster, Charles Martin Loejfler (who would later achieve considerable fame as a composer), Maud Powell, Teresina Tua, Norman Neruda, Otto Roth, , and Willy Hess. Arthur Nikischs soloists were Timothee Adam- owski and Henri Marteau; Emil Paurs were Willy Hess, Kreisler, Anton Witek, and Irma Seydel; Max Fiedlers was Bessie Bell Collier; Ernst Schmidts was Witek; Pierre Monteuxs were Isolde Menges, Carmela Ippolito, and, in 1924, Cecilia Hanson. The orchestra's next performances weren't until 1951, with under Charles Munch, and then 1957, with Ruth Posselt under Richard Burgin. Since then, BSO performances of this concerto have featured Emanuel Borok with Arthur Fiedler conducting, Shlomo Mintz with Charles Dutoit, Anne-Sophie Mutter and Malcolm Lowe with Seiji Ozawa, Nadja Salerno-Sonnenburg with Andrew Davis, Miriam Fried with Grant Llewellyn, Akiko Suwanai with Seiji Ozawa, with , Sarah Chang with Charles Dutoit, Pinchas Zukerman with Jeffrey Tate, Ida Haendel with Ran Volkov (the most recent subscription performances, in January/February 2002), Vadim Repin with Sir , and Midori with Kurt Masur (the most recent Tanglewood performance, on July 30, 2006). In addition to the solo violin, the score calls for two each offlutes, oboes, clarinets, and bassoons, four horns, two trumpets, timpani, and strings.

Max Bruch was a child prodigy who grew into a gifted composer of extraordinary taste and refinement, a composer who could always be relied on to turn out works of professional finish and often of great beauty. He composed in virtually every medium and was highly successful in most. His cantata Frithjof Opus 23 (1864), was extraordi- narily popular for the rest of the century; it used to be given in Boston every year or so. Similarly his Odysseus (a cantata built on scenes from Homer), Achilleus, and a setting of Schiller's Das Lied von der Glocke were long popular in the heyday of the cantata and oratorio market that was fueled by annual choral festivals in just about every town of any size or cultural pretension in Europe or America. He also wrote three operas, three symphonies, songs, choral pieces, and chamber music. He was active as a conductor in Germany and England and eventually became a professor of composition at the Berlin Academy.

Yet today he is remembered primarily for a few concertos. There can be little doubt that the violin was his preferred solo instrument. With the exception of a double con- certo for clarinet and viola, all of his major compositions for soloist with orchestra

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24 three concertos, the Scottish Fantasy, a Serenade, and a Konzertstiick—feature the vio- lin. The absence of other media in his concerto output was not for lack of opportunity or invitation. But Bruch felt a strong disinclination to compose for the piano. When Eugen d' Albert specifically asked for a piano concerto in 1886, Bruch wrote to his publisher Simrock, "Well—me, write a piano concerto! That's the limit!" Twelve years earlier, when Simrock had suggested that there might be a market for a cello concerto, Bruch was even more outspoken: "I have more important things to do than write stupid cello concertos!"

In any case, Bruch limited himself almost totally to the violin, and of his three con- certos for that instrument, the first was one of his earliest successes and remains the most frequently performed of all his works. The fact that his other work has almost totally dropped out of sight may have been caused, in large part, by his desire to com- pose music that was immediately "accessible," comprehensible to the bulk of the audi- ence on first hearing. Such music rarely retains its interest over the stylistic changes of a century. Bruch was certainly never embroiled in the kind of controversy that followed Brahms or Wagner or most of the other great innovators. In many respects he resembled the earlier Spohr and Mendelssohn, both of whom wrote a great deal of merely ingratiat- ing music (though Mendelssohn, to be sure, also composed music that was more than

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26 that); it might be well made, but it did not speak to audiences across the decades, though every now and then someone would trot out one piece or another, having discovered that it was undeniably "effective."

One of the few works of Bruch that has not fallen into that rather patronizing category is his earliest published large-scale work (he had written an orchestral overture when he was eleven and a symphony when he was fourteen, but neither seems to survive), the present concerto. And it is, of course, the violinists who have kept it before the world, since it is melodious throughout and ingratiatingly written. The G minor concerto is so popular, in fact, that it is often simply referred to as "the Bruch concerto," though he wrote two others for violin, both in D minor.

Bruch had a great deal of difficulty bringing the work to a successful conclusion; he reworked it over a period of four years, which included even a public performance of a preliminary version. In the end, many of the details of the solo part came about as the result of suggestions from many violinists. The man who had the greatest hand in it was Joseph Joachim (who was, of course, also to serve much the same function for the violin concerto of ); Joachim's contribution to the score fully justifies that placing of his name on the title page as dedicatee. He worked out the bowings as well as many of the virtuoso passages; he also made suggestions concerning the formal structure of the work. Finally, he insisted that Bruch call it a "concerto" rather than a "fantasy," as the composer— had originally intended. Bruch's planned title "Fantasy"—helps to explain the first movement, which is something of a biological sport. Rather than being the largest and most elaborate move- ment formally, Bruch designs it as a "prelude" and labels it as such. The opening tim- pani roll and woodwind phrase bring in the soloist in a progressively more dramatic dialogue. The modulations hint vaguely at formal structures and new themes, but the atmosphere throughout is preparatory. Following a big orchestral climax and a brief restatement of the opening idea, Bruch modulates to E-flat for the slow movement, which is directly linked to the Prelude. This is a wonderfully lyrical passage; the soloist sings the main theme and an important transitional idea before a modulation to the dominant introduces the secondary theme (in the bass, under violin triplets). Though the slow movement ends with a full stop (unlike the Prelude), it is directly linked with the finale by key. The last movement begins with a hushed whisper in E-flat, but an exciting crescendo engineers a modulation to G major for the first statement (by the soloist) of the main rondo theme. This is a lively and rhythmic idea that contrasts wonderfully with the soaring, singing second theme, which remains in the ear as one of the work's most striking ideas, a passage of great nobility in the midst of the finale's energy. —Steven Ledbetter

Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. In 1991 his BSO program notes received an ASCAP/Deems Taylor Award. He now writes pro- gram notes for orchestras and other ensembles throughout the country, and for such concert venues as Carnegie Hall.

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Gustav Hoist The Planets, Suite for large orchestra, Opus 32

Gustav Hoist was born—Gustavus Theodore von Hoist— in Cheltenham, Gloucestershire, England, on September 21, 1874, and died in London on May 25, 1934. He composed The Planets in London and Thaxted, Suffolk, between 1914 and 1916, beginning with Mars (though before the outbreak of war in August), continuing with Venus and Jupiter that fall, writing Saturn, Uranus, and Neptune in 1915, and finishing with Mercury in 1916. The first performances were private, one of a two- piano arrangement made and played by Vally Lasker and Norah Day (Hoists assistants at St. Pauls School, where he was music master), and the other—of Mars, Mercury, Jupiter, Saturn, and Neptune only—by the Queens Hall Orchestra under on Septem- ber 29, 1918. Venus was performedfor the first time, along with Mercury and Jupiter, in London on November 22, 1919, with the composer conducting, and the first performance of the complete suite took place in London on November 15, 1920, conducted by Albert Coates. Frederick Stock led the Chicago Symphony Orchestra in the United States pre- miere on December 31, 1920. In January 1932, while a visiting professor at Harvard, Hoist conducted the Boston Symphony in a pair of concerts of his own music, including The Planets (the other works were his "St. Pauls Suite," the prelude and scherzo "Hammer- smith," and the ballet from his opera "The Perfect Fool"). He reported on that occasion to Imogen Hoist, his daughter and future biographer: "The band treated me royally. At two of the rehearsals they insisted on staying half an hour extra and at every possible occasion they cheered me The only fault of the orchestra was that they were over anx- ious. On Fridays concert there were half a dozen extraordinary slips in the Planets; in the Perfect Fool Ballet the harpist missed a line, and the water music sounded quite modern; while in the St. Pauls Suite I broke a collar stud. But Saturdays concert was really good.

Pierre Monteux led the Boston Symphony Orchestra in the first Boston performances of The Planets in January 1923. The next BSO performances were Hoists in January 1932, subsequent performances of the complete suite being given by Adrian Boult (with a chorus trained by Arthur Fiedler), William Steinberg (with the New England Conser- vatory Chorus, Lorna Cooke deVaron, conductor), Andrew Davis (with the Tanglewood Festival Chorus, John Oliver, conductor), Seiji Ozawa (with the New England Conserva- tory Chorus), (the BSO s most recent Tanglewood performance, with the Tanglewood Festival Chorus on July 8, 1 995), and Bernard Haitink (also with the TFC, in October 1998, the most recent subscription performances). The score calls forfour flutes, two piccolos, bass flute, three oboes, bass oboe, English horn, three clarinets, bass clar- inet, three bassoons, contrabassoon, six horns, four trumpets, three trombones, tenor tuba, bass tuba, six timpani, triangle, side drum, tambourine, cymbals, bass drum, gong, bells, glockenspiel, celesta, xylophone, two harps, organ, strings, and (in the last movement) six-part women's chorus.

In his early years Hoist went under the full name Gustav von Hoist, but he was entirely English in his upbringing, as were his father and grandfather. His closest friend was , and his fondness for English folksong is clear from such pieces as his Somerset Rhapsody and Moorside Suite. But he was also fascinated by remote cultures and occult beliefs. He studied Sanskrit and Hindu literature, and his choice of texts for operas and songs was astonishingly wide. His range of musical activ- ities was wide too, being composer, arranger, conductor, and full-time schoolteacher all

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30 his life. He managed to find time to write an immense quantity of music in different forms, skirting the traditional categories of symphony, sonata, and string quartet, and instead making unconventional groups of pieces on unconventional subjects.

A suite of seven tone poems on the astrological implications of the planets was an inspired conception of this kind, which came to him partly from an ambition to write more orchestral music on the lines of his "oriental" suite Beni-Mora, completed in 1910, partly (perhaps) in imitation of Schoenberg's Five Pieces for Orchestra which he had heard in 1912, and partly from reading What is a Horoscope and How is it Cast by Alan Leo, recently published. First performed at the end of hostilities in 1918, the ferocious imagery of Mars, Bringer of War, was assumed to have been written in response to the battlefield carnage, when in fact it was sketched out in the summer of 1914, before war was declared. It thus belongs to that significant body of aggressive orchestral music by European composers that seemed to prefigure the violence soon to be unleashed.

Mars was the first movement to be composed, and if Hoist at one time planned to present the seven planets in the obvious order, beginning with Mercury, the closest to the sun, and ending with Neptune, then thought to be the furthest planet in the solar system, he settled instead on a sequence that leads from the grim physicality of mortal combat via the intervening planets to Neptune's disembodied mystical universe. Mercury was moved to third place, where a scherzo would normally be found in a symphony. There is naturally no movement for Pluto, which was not then known to exist (and is now in any case demoted from planetary status).

Venus and Jupiter were also composed in 1914, with Saturn, Uranus, and Neptune in 1915 and Mercury, the last to be written, in 1916. Opportunities for performing such a large work were limited in the war years, but thanks to Balfour Gardiner, a generous benefactor to English musicians and himself a composer, Hoist was able to hear a pri- vate run-through, skimpily rehearsed, in September 1918, and the full work publicly performed for the first time in November 1920. (Balfour Gardiner's great-nephew, Sir , has in his turn made a fine recording of the work.) Hoist always resisted performances of individual movements, but was powerless to prevent the popu- larity of certain sections, notably Jupiter, whose broad tune he allowed to be issued as a hymn to the words "I vow to thee, my country."

Mars was the Greek god of war, but Hoist was not trying just to reflect the mythologi- cal characters of the Greek gods after whom the planets are named. He was also inter- ested in their astrology, to which Alan Leo's book guided him. The battle imagery of Mars is unmistakable, made grotesque by insistent drumbeats and the 5/4 meter, and

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building again and again to brutal climaxes on huge dissonant chords. The organ adds its powerful voice to the uproar.

Mythology associates Venus more with love than with peace, while astrology endows those born under this planet with a refined nature and deep devotion to those they love. Following directly after Mars, Venus inevitably delivers peace, but also explores serenity, ^^^^1^^^^ beauty, and delicate quietude, aided by the sounds of glockenspiel, celesta, and harps. Mercury, the Winged Messenger, moves swiftly and nimbly, and a "mercu- rial" character emerges from the interplay of instruments and the brilliance of the woodwinds. A symphonic scherzo in form, it contains a Trio in which a melody (which might have come from Borodin) is heard on a solo violin and then, unchanged, a dozen times more in different orchestral dress each time.

^A fc|^- Jupiter brings jollity and much else *

Saturn, said to have been Hoist's favorite movement, is the longest in the suite. The orchestration is highly imaginative, with the three flutes and harp harmonics treading painfully forward while the double basses stir in the depths. The bass oboe adds its unusual voice. Old age is represented as slow and steady, but not necessarily in a nega- tive sense. The melodic fragments are highly expressive and the balance of the move- ment is profoundly satisfying.

Hoist's attribution of magic powers to Uranus seems to have been his own fanciful gloss on the strange, erratic character associated with that planet. Thumping timpani, galumphing bassoons, swirling piccolos, and a humorous march certainly add up to a lovable eccentricity and a remarkably inventive piece of music, as if performed. . . by magic.

With Neptune, the Mystic, Hoist comes to the psychological heart of his planetary journey. The 5/4 meter may be an echo of Mars, but the stillness of the music and the delicacy of its orchestration paint a quite different world. The supreme invention was to call for an invisible choir of female voices, which fade to nothing like a dot of light disappearing into the infinite darkness of space. —Hugh Macdonald

Hugh Macdonald is Avis Blewett Professor of Music at Washington University in St. Louis and principal pre-concert lecturer for the Saint Louis Symphony Orchestra. A frequent guest anno- tator for the BSO, he taught at Oxford and Cambridge universities before moving to the United States in 1987. The author of books on Berlioz and Scriabin, and general editor of the New Berlioz Edition, he has also written extensively on music from Mozart to Shostakovich and has had his opera translations sung in a number of leading opera houses.

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The latest news on Mark-Anthony Turnage, as well as a full catalog of his works and photo galleries, can be viewed on the composer's web site at markanthonyturnage.com. Further information is available from Turnage's publisher, Boosey and Hawkes, at www.boosey.com. English music critic Andrew Clements published a monograph, Mark- Anthony Turnage, in 2000 (Faber & Faber).

The world premiere recording of Ceres was recently released, with its dedicatee Sir Simon Rattle conducting the Berlin Philharmonic (EMI). The two-disc set includes a knockout account of Hoist's The Planets as well as a series of similarly-themed "Aster- oids for Orchestra." Along with the Turnage are Colin Matthews's Pluto, the Renewer, Kaija Saariaho's Asteroid 4179: Toutatis, Matthias Pintscher's towards Osiris, and Brett Dean's Komarovs Fall. The set also includes an enhanced track, "The Making of The Planets and Asteroids." Beyond that, Turnage's music is well represented on CD. An excellent compilation is available in "The British Music Collection" series from Decca. This includes Blood on the Floor and the pivotal Night Dances. The composer's collabo- rations with guitarist John Scofield can be heard on "Scorched" (Deutsche Grammophon). The Francis Bacon-inspired work Three Screaming Popes was recorded by Simon Rattle with the City of Birmingham Symphony Orcheastra (issued on an EMI "British Com- posers" disc also including Turnage's Drowned Out for large orchestra, Kai for solo cello and ensemble, and Momentum for orchestra). —Thomas May

A full-length English-language study of Bruch has appeared relatively recently: Max Bruch: His Life and Works, by Christopher Fifield (Braziller). Fifield is also author of the Bruch entry in the 2001 edition of The New Grove, which includes a corrected work-list. Not unexpectedly, there are many more recordings of the G minor violin con- certo than can be listed here. Joshua Bell has recorded it with Sir Neville Marriner and the Academy of St. Martin in the Fields (London). Other noteworthy recordings, of var- ied vintage and listed alphabetically by soloist, include with Malcolm Sargent and the New Symphony Orchestra of London (RCA), Yehudi Menuhin with Walter Susskind and the Philharmonia Orchestra (EMI), Anne-Sophie Mutter with and the Berlin Philharmonic (Deutsche Grammophon), Itzhak Perlman with Bernard Haitink and the Concertgebouw Orchestra (EMI), Perlman this time with Andr6 Previn and the London Symphony Orchestra (also EMI), Gil Shaham with Giuseppe Sinopoli and the Philharmonia Orchestra (Deutsche Grammophon), Isaac

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Most of the principal reference materials on Hoist are by his daughter, the writer- conductor-composer-administrator Imogen Hoist (1907-1984), whose many books and articles about her father—including Gustav Hoist: A Biography (published originally in 1938; revised 1969) and The Music of Gustav Hoist (from 1950; revised 1968)—remain important sources. A third edition of the latter book (an edition also including Hoists Music Reconsidered) came out in 1984 (Da Capo), but even that is now out of print. The Hoist entry in the 1980 edition of The New Grove Dictionary of Music and Musicians was written by Imogen Hoist. The entry in the revised 2001 edition of Grove is by the composer Colin Matthews, who, together with the composer's daughter, edited Gustav Hoist: Collected Facsimile Edition of Autograph Manuscripts of the Published Works (London, 1974-83), and whose "Asteroid for Orchestra," Pluto, the Renewer, dedicated to Imogen Hoist's memory, is in the same two-disc, Simon Rattle/Berlin Philharmonic EMI set that includes Mark-Anthony Turnage's Ceres. A study by Richard Greene of The Planets is available in the Cambridge Music Handbooks series (Cambridge Univer- sity paperback).

The Boston Symphony Orchestra recorded The Planets under William Steinberg in 1970 (Deutsche Grammophon) and under Seiji Ozawa in 1979 (Philips). James Levine recorded The Planets with the Chicago Symphony Orchestra in 1989 (Deutsche Gram- mophon). The Boston Pops Orchestra recorded it with John Williams conducting in 1986 (Philips). Hoist's own 1926 recording with the London Symphony Orchestra has been reissued on compact disc; for a while this was available in EMI's "Composers in Person" series (paired with Elgar's 1926 Enigma Variations recording with the Orchestra). The most recent recording of note is Sir Simon Rattle's with the

Berlin Philharmonic, in a two-disc set referenced above for its inclusion of Mark-Anthony Turnage's Ceres (Deutsche Grammophon). Other recordings of interest (listed alphabeti- cally by conductor) include 's with the (Sony Classical), Sir Adrian Boult's with the London Philharmonic (EMI "Great Recordings of the Century"), Sir 's with the London Symphony Orchestra (LSO Live), Herbert von Karajan's with the Berlin Philharmonic (Deutsche Grammophon), and Andre Previn's with either the London Symphony Orchestra (EMI) or the Royal Philharmonic (Telarc). —Marc Mandel

37 Week 11 38 Robert Spano Now in his sixth season as music director of the Atlanta Symphony Orchestra, Robert Spano has enriched and expanded his orches- tra's repertoire through innovative programming and elevated the ensemble to new levels of prominence. In North America he has conducted the symphony orchestras of Chicago, Cleveland, Phila- El delphia, Boston, New York, Saint Louis, Los Angeles, San Fran- cisco, Houston, Minnesota, Washington, D.C., Pittsburgh, Toronto, and Montreal. Overseas he has led the Royal Concertgebouw Or- | chestra, Orchestra Filarmonica della Scala (Milan), Czech Philhar- ^™ monic, Frankfurt Radio Symphony Orchestra, BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, Helsinki Philharmonic, New Japan Philharmonic (Tokyo), and Tonhalle Orchester (Zurich). Mr. Spano has appeared with the opera companies of Chicago, Houston, Santa Fe, the Royal Opera at Covent Garden, and Welsh National Opera. In August 2005 he conducted three cycles of Wagner's Der Ring des Nibelungen at , which led to an immediate reengagement for the company's 2009 Ring cycles. Featured prominently last season in New York on Lincoln Center's "Great Performers" Series and at Carnegie Hall, the Atlanta Symphony and Mr. Spano also appeared at the Ravinia Festival and were in residence at the 2006 Ojai Festival, where he served as artistic director. This season brings a six-city Florida tour and per-

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40 formances at the Miami Performing Arts Center with the Atlanta Symphony Chorus. This season Mr. Spano guest conducts the New World Symphony, the Boston, Houston, and Saint Louis symphonies, the Rotterdam Philharmonic, and at the BBC Proms (the latter in the UK premiere of Kaija Saariaho's La Passion de Simone). His recordings include the Grammy-winning Vaughan Williams and Berlioz's ; "Rainbow Body," a disc of works by American composers; music of ; a disc of works by , Christopher Theofanides, and Bernstein; and 's Three Songs, Oceana, and the chamber opera . Mr. Spano was music director of the from 1996 to 2004, a period marked by significant artistic growth and critical acclaim. Director of the Tanglewood Music Center's Festival of Contem- porary Music in 2003 and 2004, he was head of the TMC's Fellowship Conducting Program from 1998 to 2002. He has served on the faculties of the Juilliard School, Curtis Institute, and Bowling Green State University, and is associate professor of conducting at Oberlin Conservatory. This month he brings the Oberlin Student Orchestra to Carnegie Hall. An accomplished pianist, Robert Spano performs chamber music with colleagues from the Atlanta Symphony, Boston Symphony, Brooklyn Philharmonic, and Oberlin Conservatory. Now a resident of Atlanta, he is a graduate of the Oberlin Conservatory of Music, where he studied conducting with Robert Baustian, and continued his studies at the Curtis Insti- tute of Music with the late Max Rudolf. An assistant conductor of the Boston Symphony Orchestra from 1990 to 1993, Robert Spano made his BSO debut with subscription con- certs in February 1991 and has returned frequently as guest conductor at both Symphony Hall and Tanglewood. His most recent Tanglewood appearance with the BSO was in August 2004 (leading music of Rands, MacDowell, and Tchaikovsky), his most recent subscrip- tion concerts in April 2006 (Saariaho, Beethoven, and Sibelius).

Joshua Bell Grammy-winning violinist Joshua Bell came to national attention at fourteen with his Philadelphia Orchestra debut, followed by his Carnegie Hall debut, an Avery Fisher Career Grant, and a record- ing contract. Now in his thirties, he has performed with the world's leading symphony orchestras and conductors. An exclusive Sony Classical artist, he has recorded more than thirty albums, most recently "Voice of the Violin," the follow-up to 2003's "Romance of the Violin." In 2004 Billboard named the latter "Classical Album of the Year" and Bell "Classical Artist of the Year." "Voice of the Violin," a selection of romantic arias and songs, includes a guest appearance by soprano . Raised in Bloomington, , Joshua Bell was an avid computer game player and competitive athlete. By age twelve he was serious about the violin, inspired by his beloved teacher Josef Gingold. Highlights of his 2006-07 season include concerts with the BBC Proms at London's Royal Albert Hall, and appear- ances with the London, Boston, San Francisco, Pittsburgh, Toronto, Montreal, and Dallas symphonies, and the Israel Philharmonic. In addition to a residency with the Los Angeles Philharmonic at Disney Hall, he continues as Artistic Partner of the Saint Paul Chamber Orchestra, and directs London's Academy of St. Martin in the Fields on tour. He will pre- miere a new Edgar Meyer work and tour with pianist Jeremy Denk in the United States and Europe. Mr. Bell has collaborated with such artists as Pamela Frank, , Edgar Meyer, and such non-classical artists as Josh Groban, Bobby McFerrin, Chick Corea, James Taylor, and Sting. His discography includes a recent live recording of the Tchaikov- sky Violin Concerto, and the concertos of Beethoven and Mendelssohn. His recording of Nicholas Maw's Violin Concerto earned both a Grammy Award and the Mercury Music Prize. His recording of the Sibelius and Goldmark concertos captured the Echo Klassik Award. He received Grammy nominations for "Gershwin Fantasy," "Short Trip Home," and an all-Bernstein recording featuring the West Side Story Suite. Mr. Bell performed the virtuosic solos in John Corigliano's Academy Award-winning score for the 1999 film The Red Violin. In 2003 he performed the world premiere with Marin Alsop and the Baltimore Symphony Orchestra of Corigliano's Violin Concerto derived from the film score, subse-

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42 quently recording the work. A Sony Classical disc pairing the concerto with Corigliano's is scheduled for release later this year. Joshua Bell's alma mater, Indiana University, honored him with a Distinguished Alumni Service Award only two years after his graduation in 1989. He has been named an "Indiana Living Legend" and received the Indiana Governor's Arts Award. Inducted into the Hollywood Bowl Hall of Fame in 2005, he currently serves on the Artist Committee of the Kennedy Center Honors. He plays the 1713 Gibson ex Huberman Stradivarius. Joshua Bell made his Boston Symphony Orchestra debut in July 1989 at Tanglewood, and his BSO subscription series debut in January 1994. His most recent appearances with the orchestra were in subscription concerts in March/April 2006 (for the Tchaikovsky concerto, with Emmanuel Krivine conducting), and at Tanglewood in July 2006 (the Sibelius concerto, with Bernard Haitink conducting).

Tanglewood Festival Chorus John Oliver, Conductor

The Tanglewood Festival Chorus celebrated its thirty-fifth anniver- sary in the summer of 2005. This season at Symphony Hall the chorus performs with BSO Music Director James Levine in Schoen- berg's Moses und Aron, Berlioz's Damnation of Faust, Mahler's Symphony No. 3, and Beethoven's Fidelio; with guest conductor David Robertson in John Adams's El Nino, and with guest conduc- tor Robert Spano in Hoist's The Planets. The Tanglewood Festival Chorus was organized in the spring of 1970, when founding con- ductor John Oliver became director of vocal and choral activities at the Tanglewood Music Center. Made up of members who donate their services, and originally formed for performances at the BSO's summer home, the Tanglewood Festival Chorus is now the official chorus of the Boston Symphony Orchestra year-round, performing in Boston, New York, and at Tanglewood. The chorus has also per- formed with the Boston Symphony Orchestra in Europe under Bernard Haitink and in the

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44 Far East under Seiji Ozawa. It can be heard on Boston Symphony recordings under Ozawa and Haitink, and on recordings with the Boston Pops Orchestra under Keith Lockhart and John Williams, as well as on the soundtracks to Clint Eastwood's Mystic River, Steven Spielberg's Saving Private Ryan, and John Sayles's Silver City. In addition, members of the chorus have performed Beethoven's Ninth Symphony with and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia, and partici- pated in a Saito Kinen Festival production of Britten's Peter Grimes under Seiji Ozawa in Japan. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the 1998 Winter Olympics when Mr. Ozawa led six choruses on five continents, all linked by satellite, in Beethoven's Ode to Joy. The Tanglewood Festival Chorus gives its own Friday-evening Prelude Concert each summer in Seiji Ozawa Hall and performed its debut program at Jordan Hall at the New England Conservatory of Music in May 2004. In addition to his work with the Tanglewood Festival Chorus, John Oliver was for many years conductor of the MIT Chamber Chorus and MIT Concert Choir, and a senior lecturer in music at MIT. Mr. Oliver founded the John Oliver Chorale in 1977; has appeared as guest conductor with the New Japan Philharmonic and Berkshire Choral Institute; and has prepared the choruses for performances led by Andre Previn of Britten's Spring Sym- phony with the NHK Symphony in Japan and of Brahms's Ein deutsches Requiem at Car- negie Hall. He made his Boston Symphony conducting debut in August 1985 and led the orchestra most recently in July 1998.

Tanglewood Festival Chorus John Oliver, Conductor

The Tanglewood Festival Chorus celebrated its 35th anniversary in 2005. In the following

list, * denotes TFC membership of 35 years, # denotes membership of 25-34 years.

Sopranos Mezzo-sopranos Myfanwy Callahan Laura Barker Betty Jenkins Jenifer Lynn Cameron Martha A. R. Bewick Gale Livingston # Anna S. Choi Ondine Brent Kristen McEntee Lorenzee Cole Lauren A. Boice Louise-Marie Mennier Cari Ann Donnelly Dorrie Freedman # Antonia R. Nedder Christine Pacheco Duquette # Irene Gilbride # Katherine Slater Akiko Fujimoto Mara Goldberg Julie Steinhilber # Eileen Huang Jessica Hao Marguerite Weidknecht Nancy Kurtz

Felicia A. Burrey, Chorus Manager Meryl Atlas, Assistant Chorus Manager Won Hee An, Principal Rehearsal Pianist

45 46 Great Benefactors

*-—kfihe building of his new symphony for Boston, the BSO's founder and first bene- factor, 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 donations 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 permanent recogni- tion as Great Benefactors of this great orchestra.* For more information, please contact Nancy Baker, Director of Major and Planned Giving, at (617) 638-9269.

Mr. and Mrs. Harlan E. Anderson Harvey Chet and Farla Krentzman Dorothy and David B. Arnold, Jr. The Kresge Foundation AT&T Liz and George Krupp Bank of America Bill and Barbara Leith Mr. and Mrs. J.P. Barger Liberty Mutual Foundation, Inc. Mr. and Mrs. George D. Behrakis Joyce and Edward Linde Gabriella and Leo Beranek Estates of John D. and Vera M. George and Roberta Berry MacDonald Jan Brett and Joseph Hearne Nancy Lurie Marks Foundation Peter and Anne Brooke Kate and Al Merck Catherine and Paul Buttenwieser Mr. and Mrs. Nathan R. Miller Chiles Foundation Richard P. and Claire W. Morse

Mr. John F. Cogan, Jr. and Ms. Mary L. Foundation Cornille William Inglis Morse Trust Mr. Julian Cohen National Endowment for the Arts Commonwealth of Massachusetts NEC Corporation Mr. and Mrs. William H. Congleton Mrs. Robert B. Newman Country Curtains Mrs. Mischa Nieland and Dr. Michael L. John and Diddy Cullinane Nieland Lewis S. and Edith L. Dabney Megan and Robert O'Block Mr. and Mrs. Stanton W. Davis Mr. and Mrs. Norio Ohga Estate of Mrs. Pierre de Beaumont William and Lia Poorvu Estate of Elizabeth B. Ely Carol and Joe Reich EMC Corporation Susan and Dan Rothenberg John P. II and Nancy S. Eustis Estate of Wilhelmina C. Sandwen The Fairmont Copley Plaza and Fairmont Dr. Raymond and Hannah H. Schneider Hotels & Resorts Carl Schoenhof Family Shirley and Richard Fennell Kristin and Roger Servison

Fidelity Investments Ruth and Carl J. Shapiro Estate of Verna Fine Miriam Shaw Fund Mr. and Mrs. John H. Fitzpatrick Ray and Maria Stata Estate of Anna E. Finnerty Thomas G. Sternberg Germeshausen Foundation Miriam and Sidney Stoneman The Ann and Gordon Getty Foundation Estate of Miss Elizabeth B. Storer Estate of Marie L. Gillet Diana 0. Tottenham The Gillette Company Stephen and Dorothy Weber Mrs. Donald C. Heath Roberta and Stephen R. Weiner Estate of Francis Lee Higginson The Helen F. Whitaker Fund Susan Morse Hilles Mr. and Mrs. John Williams Estate of Edith C. Howie Estate of Mrs. Helen Zimbler John Hancock Financial Services Anonymous (12) George H. Kidder Hist as of November 28, 2006

47 ;

BSO Major Corporate Sponsors, 2006-07 Season *J£ Boston Symphony Orchestra and Symphony Hall major corporate sponsorships reflect the increasing importance of alliance between business and the arts. The BSO is honored to be associated with the following companies and gratefully acknowledges their partnership. For information regarding BSO, Boston Pops, and/or Tanglewood spon- sorship opportunities, contact Alyson Bristol, Director of Corporate Sponsorships, at (617) 638-9279 or at [email protected].

^^ * s exclte d to continue its ! D CT* ^N partnership with the Boston | fj Symphony Orchestra through its exclusive season sponsorship. Both UBS and the BSO have deep roots in Boston and UBS is proud to support one of the city's most celebrated cultural institutions. UBS, the global financial services D. Price James leader, is committed to supporting excellence in orchestral Managing Director, music. UBS's partnership with the BSO, as well as other UBS Financial Services, prominent orchestras, are examples of our deep commit- Inc., and BSO Overseer ment to orchestral music worldwide.

Delta is proud to support the arts in <9 ADelta Boston as the official airline of the .AlJA Boston Symphony Orchestra. It's certainly an honor to trans- WzZlF port musicians and music lovers alike to this great city. Delta's %*/ history in Boston is a rich one, and this sponsorship gives us another opportunity to deepen our alliance with Boston's many citizens. frees the spirit feeds the soul, and X \ ^ diverse Music and Joanne Smith it's Delta's privilege to be aligned with an art as powerful as the created the behalf of Delta's more than Vice President, music by BSO. On for Marketing 60,000 employees, we thank Boston and the BSO welcom- ing Delta and its passengers to your hometown.

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2 EMC is pleased to continue our long- EMC standing partnership with the Boston Symphony Orchestra. are where information lives We commit- ted to helping preserve the wonderful musical heritage of the BSO so that it can continue to enrich the lives of listeners and create a new generation of music lovers.

Joe Tucci Chairman, President, and CEO

The Fairmont Copley Plaza Boston together with Fairmont Hotels &c Resorts is proud to be the official COPLEY PLAZA hotel of the look BOSTON BSO. We forward to many years of supporting this wonderful organization. For more than a century Fairmont Hotels & Resorts and the BSO have graced their communities with timeless elegance and enriching experiences. The BSO is Paul Tormey a New England tradition and like The Fairmont Copley Plaza, Regional Vice a symbol of Boston's rich tradition and heritage. President and General Manager

OMMONWEALTH WORLDWIDE CHAUFFEURED TRANSPORTATION

Commonwealth Worldwide Chauffeured Transportation is proud to be the Official Chauffeured Transportation of the Boston Symphony Orchestra and Boston Pops. The BSO has delighted and enriched the Boston community for over a cen- tury are to a part of such a rich heritage. Dawson Rutter and we excited be to celebrating our relationship with the President and CEO We look forward BSO, Boston Pops, and Tanglewood for many years to come.

49 g B

The autumn of the year 2006 denotes the Centennial of the

Harvard Medical School Longwood Quadrangle. In celebration, Harvard Medical School wishes to acknowledge the numerous contributions of Boston Symphony Orchestra founder and Harvard

benefactor Henry Lee Higginson, whose philanthropic efforts

facilitated the success of both the orchestra and the medical school.

Our organizations both take inspiration from his words: a ... may you keep steadily burning the fire ofhigh ideals, enthusiasm, and hope, otherwise you cannot share in the great work andglory of

our new century. Every honor is open to you, and every victory, if only v KB you will dare, will strive strongly, and will persist.

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50 :

BOSTON SYMPHONY ORCHESTRA 2006-2007 SEASON

"UfeBSO Consolidated Corporate Support tz— " The support provided by members of the BSO's corporate community enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community outreach programs throughout the greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowl- edges the following companies for their generous support for the Business and Professional Friends (the BSO's corporate membership program), A Company Christmas at Pops, and Presidents at Pops, including gifts-in-kind.

This list recognizes cumulative contributions of $2,500 or more made between

September 1, 2005, and August 31, 2006. For more information, contact BSO Corporate Programs at (617) 638-9409 or (617) 638-9466.

ACCOUNTING AUTOMOTIVE Citizens Financial Group Ernst & Young LLP Clair Motorcars Lawrence K. Fish Frank C. Mahoney Joseph P. Clair Eastern Bank Charitable KPMG LLP Franklin Ford Foundation Anthony LaCava John P. Madden Richard E. Holbrook Carol C. McMullen PricewaterhouseCoopers LLP The Herb Chambers Bank USA, N.A. and Michael J. Costello Companies HSBC Herb Chambers WTAS ADVERTISING/ Investors Bank & Trust PUBLIC RELATIONS J.N. Phillips Auto Glass Co., Company Arnold Worldwide Inc. Alan L. Rosenfield Michael F Rogers Francis J. Kelly III Jack Madden Ford Sales, Inc. Sovereign Bank Magnet, Inc. John P. Madden, Jr. Joseph P Campanelli John Lloyd John P. Hamill Rodman Ford Lincoln Nail Communications Mercury Chris Jensen CONSULTING: Donald E. Rodman COMMUNICATIONS/DESIGN O'Neill and Associates Woburn Foreign Motors CBT/Childs Bertman Thomas P. O'Neill III George T. Albrecht Tseckares, Inc. Trinity Communications Richard Bertman Jennifer Harrington BANKING Sametz Blackstone Associates Anglo Irish Bank Group ARCHITECTS Roger Sametz Tony Campbell ADD Inc Bank of America CONSULTING: Frederick A. Kramer Anne M. Finucane MANAGEMENT/FINANCIAL The Architectural Team, Inc. Robert E. Gallery Accenture Michael Binette William D. Green Boston Private Bank & Trust Strekalovsky Architecture Company Bain & Company, Inc. Inc. Mark D. Thompson Braver Symmes Maini & McKee Cambridge Trust Company Patrick B. Riley Associates Joseph V. Roller II BusinessEdge Solutions Inc. Ara Krafian, PE Andrew Campbell

Continued on page 53 51 8

This organization is supported in part by the Massachusetts Cultural Council, a state agency. M?THE BOSTON CONSERVATORY

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52 BSO Consolidated Corporate Support (continued)

CRA International FINANCIAL Kaufman & Company, LLC James C. Burrows SERVICES/INVESTMENTS Sumner Kaufman Mutual Services Liberty Square Asset ALPS Fund Keefe, Bruyette & Woods, Inc. Management Thomas A. Carter LPL Financial Services Claire Walton Advent International Todd A. Robinson Mercer Human Resource Corporation Lane, Berry & Co. Consulting Peter A. Brooke International, LLC McCaffrey James J. Affiliated Managers Group Frederick C. Lane Oliver Sean Healey Mercer Wyman Lehman Brothers Andy Kuritzkes Atlantic Trust Private Wealth John White Management CONSUMER PRODUCTS Longwood Investment Jack Markwalter The Gillette Company Advisors Edward I. Rudman Brian Hodgett Robert A. Davidson Jeffrey Thomas Balance Athletic Shoe, Loomis, Sayles & Company, New The Baupost Group, LLC Inc. LP Seth A. Klarman James S. Davis Robert J. Blanding BlackRock, Inc. Phelps Industries LLC Mellon Financial Corporation Richard S. Davis Richard J. Phelps David F. Lamere Boston Capital Corporation PolyMedica Corporation Merrill Lynch Richard J. DeAgazio Patrick T. Ryan Cory Little Brooke Private Equity Merril S. Pyes EDUCATION Advisors Morgan Stanley Curry College John Brooke Investment Banking Division Kenneth K. Quigley, Jr. Clough Capital Partners, LP Navigator Management Co., Emmanuel College Charles I. Clough, Jr. L.P. Sister Janet Eisner, SND Collins Nickas and Company, Thomas M. O'Neill ELECTRICAL/ELECTRON ICS LLC Perry Capital, LLC Herbert F. Collins City Lights Electrical Paul A. Leff Company, Inc. Cypress Capital Management, Premier Capital Maryanne Cataldo LLC Richard Gleicher L. Arvedlund Hurley Wire and Cable Richard Putnam Investments Arthur J. Hurley, Jr. Davidson-Kempner Charles E. Haldeman Wayne J. Griffin Electric, Inc. Duff & Phelps LLC RINET Company LLC Wayne J. Griffin Robert L. Paglia Brian Rivotto Eaton Vance Corp. ENERGY/UTILITIES Saturn Partners Alan R. Dynner, Esq. Global Companies LLC Jeffrey S. McCormick Alfred Slifka Egan Capital Corporation State Street Corporation Michael Egan NSTAR Ronald E. Logue Thomas J. May Fidelity Investments William W. Hunt L. Reynolds Sprague Energy Robert George A. Russell, Jr. John McClellan Gardner Russo & Gardner State Street Development Tennessee Gas Pipeline Thomas A. Russo Management Corp. IXIS Asset Management John R. Gallagher HI ENTERTAINMENT/MEDIA Advisors Group United Gulf Management, Greater Media, Inc. John T. Hailer Inc. Michelle S. Deasy Integrity Capital Management Samer Khanachet High Output Inc. LLC FLOWERS John Cini Stephen Demirjian Winston Flowers WHDH-TV, 7NEWS John Hancock Financial David Winston Michael Carson Services John D. DesPrez HI

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FOOD SERVICE/ HOTELS/HOSPITALITY Hinckley Allen & Snyder INDUSTRY/EQUIPMENT The Fairmont Copley Plaza LLP Boston Showcase Co. Hotel Joel Lewin Jason E. Stair Paul Tormey Kirkpatrick & Lockhart Johnson O'Hare Company Four Seasons Hotel Boston Nicholson Graham LLP Harry T. O'Hare, Jr. Peter O'Colmain Mark Haddad

Max Ultimate Food The Ritz-Carlton, Hotels of Mintz, Levin, Cohn, Ferris, Boston Glovsky and Popeo, PC. GRAPHIC DESIGN Erwin Schinnerl R. Robert Popeo, Esq. Graphics Marketing Services, Saunders Hotel Nixon Peabody LLP Inc. Group/The Robert H. Adkins, Mike Lipson Lenox Hotel Esq. Roger A. Saunders Craig D. Mills, Esq. Hecht Design Gary Saunders Weil, Gotshal Manges Alice Hecht & LLP INSURANCE James Westra HEALTH CARE Aon Wilmer Cutler Pickering Alliance Health and Human Kevin A. White Hale and Dorr LLP Services William F. Lee Arbella Insurance Group Francis J. Grady John Donohue MANUFACTURER'S REPS/ Blue Cross Blue Shield of WHOLESALE DISTRIBUTION Massachusetts Chubb Group of Insurance Companies Jofran Cleve L. Killingsworth, Jr. John Gillespie Robert D. Roy Brigham and Women's Financial Martignetti Companies Hospital Architects Partners David Carroll Carmine A. Martignetti Gary Gottlieb, MD J. Hilb, Rogal Unisource Worldwide Inc. Caritas Christi Health Care & Hobbs Insurance Agency of Michael Nash John Chesare, MD Massachusetts, LLC United Liquors Ltd. Harvard Pilgrim Health Care Paul D. Bertrand Paul Canavan Charles D. Baker Lexington Insurance Williams Scotsman Inc. HouseWorks Company John D. Simard Alan D. Solomont Kevin H. Kelley Tufts Health MANUFACTURING Plan Liberty Mutual Group Nicole Richmond The Biltrite Corporation Edmund F. Kelly Stanley J. Bernstein HIGH TECHNOLOGY Marsh USA Inc. Columbia Tech - A Coghlin Analog Devices, Inc. John C. Smith Company Ray Stata Life Savings Bank Insurance Jim Coghlin, Sr. Cisco Systems, Inc. Robert K Sheridan Connell Limited Partnership Richard Wenning William Gallagher Associates Francis A. Doyle IBM Philip J. Edmundson ControlAir, Inc. Sean C. Rush LEGAL Scott G. Comstock Medical Information Bingham McCutchen LLP Harvey Industries, Inc. Technology, Inc. Alan M. Marlow A. Neil Pappalardo Duane Morris LLP Richard Snyder J.D.P Co. Millipore Foundation J. Jon D. Papps C. William Zadel Edwards Angell Palmer & Dodge LLP Jones & Vining PerkinElmer, Inc. James J. Skeffington Michel Ohayon Gregory L. Summe Goodwin Procter LLP Ty-Wood Corporation Raytheon Company Regina M. Pisa Joseph W. Tiberio William H. Swanson Goulston & Storrs Waters Corporation Alan W Rottenberg, Esq. Douglas A. Berthiaume

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MEDICAL The Studley Press Heritage Property Investment MANUFACTURING/ Suzanne K. Salinetti Trust, Inc. RESEARCH UniGraphic Robert G. Prendergast Boston Scientific Corporation Bob Quinlan Hines Lawrence C. Best David G. Perry PROFESSIONAL SERVICES Intercontinental Real Estate PHILANTHROPIC Blake & Blake Genealogists, Corporation Jim and Barbara Cleary Inc. Peter Palandjian Dick and Ann Marie Connolly Richard A. Blake, Jr. J. Derenzo Co. John and Diddy Cullinane Deloitte & Touche USA LLP William K. Bacic David Howe Richard S. Davis James G. Sullivan Meredith & Grew Joe and Susan Fallon Thomas Hynes, Vitale, Caturano & Company J. Jr. Kevin C. Phelan Cecilia and John F. Farrell, Jr. Foundation Gerald R. Jordan Foundation Richard J. Caturano N.B. Kenney Company, Inc. Steven P. Kenney The John & Happy White REAL ESTATE/BUILDING/ Foundation CONTRACTING New Boston Fund, Inc. Jerome L. Rappaport, Jr. John H. White, Jr. The Abbey Group The Krentzman Family David Epstein New England Development Stephen R. Karp Carolyn and Peter S. Lynch Antico Excavating, Inc. Steven S. Fischman Anthony J. Antico The McGrath Family New England Insulation Barker Steel Co., Inc. The New England Foundation William Brack Company Joseph C. McNay Theodore H. Brodie Beacon Capital Partners Thomas and Elisabeth PH. Mechanical Corp. Niedermeyer Boston Properties, Inc. Adam Hayes Edward H. Linde Joseph and Joan Patton Richards Barry Joyce & Boulder Capital Kevin and Anne Phelan Partners Roy S. MacDowell, Jr. Michael J. Joyce Red Sox Foundation Capone Iron Corporation S&F Concrete Contractors, and Kerry Sclar Jeremy Stephen J. Capone Inc. Sternberg Family Charitable Carson Limited Partnership Antonio Frias Trust Herbert Carver Samuels & Associates Paul M. Verrochi Coldwell Banker Residential Stephen B. Samuels

W.R. Grace Foundation Inc. Brokerage Stonegate Group Richard Loughlin, Jr. W. Brian McGowan J. Sean McGrath Component Assembly Adam J. Weiner Suffolk Construction Systems, Inc. Company, Inc. Roberta and Stephen R. H. Lewis Rapaport John F. Fish Weiner Frederick H. Merrill Sullivan & McLaughlin Suzy and Jack Welch Corcoran Jennison Companies, Inc. Yawkey Foundation II Companies Hugh McLaughlin John Harrington Joseph E. Corcoran TA Associates Realty PRINTING/PUBLISHING E.M. Duggan, Inc. Michael A. Ruane Paul J. Harrington George H. Dean Co. Trammell Crow Company Kenneth Michaud The Drew Company Joseph P. Fallon John E. Drew Herald Media, Inc. Charles S. O'Connor

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RETAIL Charles River Laboratories, Verizon Inc. Donna C. Cupelo BJ's Wholesale Club, Inc. James C. Foster Michael T. Wedge TOURISM Fisher Scientific Country Curtains, The Red International Greater Boston Convention & Inc. Lion Inn, Blantyre, and Visitors Bureau Paul M. Montrone The Fitzpatrick Family Patrick Moscaritolo The E.B. Horn Company SOFTWARE/ TRAVEL/TRANSPORTATION Philip H. Finn INFORMATION SERVICES Commonwealth Worldwide EDS Firestone and Parson, Inc. Chauffeured Transportation Joe Fraser David Firestone Dawson Rutter Keane, Inc. First Act, Inc. Grand Circle Corporation Bernard Chiu SPORTS Alan E. Lewis Heritage Flag Company Granite Links Golf Club Amy McDonald Peter O'Connell

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59 NEXT PROGRAM...

Thursday, January 11, at 10:30 a.m. Pre-Concert Talks (Open Rehearsal) by Harlow Robinson, Thursday, January 11, at 8 Northeastern University Friday, January 12, at 1:30 Saturday, January 13, at 8 Tuesday, January 16, at 8

DAVID ZINMAN conducting

HARBISON Canonical American Songbook I--

Careless Love — Aura Lee — St. Louis Blues We Shall Overcome — Anniversary Song

MOZART Piano Concerto No. 20 in D minor, K.466

Allegro Romanza Rondo: Allegro assai RADU LUPU

INTERMISSION

RACHMANINOFF Symphony No. 3 in A minor, Opus 44

Lento — Allegro moderato Adagio ma non troppo — Allegro vivace Tempo come prima Allegro

Romanian pianist Radu Lupu, particularly acclaimed for his interpretations of Mozart, joins American conductor David Zinman for the composer's stormy D minor concerto, one of that great series of concertos Mozart wrote for himself to perform in Vienna in the first half of the 1780s. Boston-based composer 's recent Canonical American Songbook, an orchestral work premiered by the Albany Symphony in Sep- tember 2005, which draws on such popular tunes (though they're less well-known today) as "Careless Love" and "Aura Lee," illustrates Harbison's deep interest in the broad history of American music in its many forms. Rachmaninoff's Symphony No. 3 dates from 1936, falling between the Paganini Rhapsody for piano and orches- tra and Symphonic Dances. Like those works, the symphony is characterized by scintillating orchestration and Rachmaninoff's great gift for melody.

Single tickets for all Boston Symphony Orchestra concerts throughout the season

are available at the Symphony Hall box office, online at www.bso.org, or by calling Pr, - "SymphonyCharge" at (617) 266-1200, Monday through Friday from 10 a.m. until 5 p.m. (Saturday from 10 a.m. until 4 p.m.), to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Outside the 617 area code, call 1-888-266-1200. Please note that there is a $5 handling fee for each ticket ordered by phone or over the internet.

60 COMING CONCERTS .

PRE-CONCERT TALKS: The BSO offers Pre-Concert Talks in Symphony Hall prior to all BSO subscription concerts and Open Rehearsals. Free to all ticket holders, these half-hour talks begin at 6:45 p.m. prior to evening concerts, at 12:15 p.m. prior to Friday-afternoon concerts, and one hour before the start of each Open Rehearsal.

Thursday, January 11, at 10:30 a.m. Thursday 'C—January 25, 8-9:50 (Open Rehearsal) Friday Evening—January 26, 8-9:50 Thursday 'B'—January 11, 8-10 Saturday 'A'—January 27, 8-9:50 Friday 'A'—January 12, 1:30-3:30 SIR COLIN DAVIS conducting Saturday 'B'—January 13, 8-10 8-10 VAUGHAN Symphony No. 6 Tuesday 'B'—January 16, WILLIAMS DAVID ZINMAN conducting BEETHOVEN Symphony No. 6, RADU LUPU, piano Pastoral HARBISON Canonical American Songbook Wednesday, January 31, at 7:30 p.m. MOZART Piano Concerto No. 20 (Open Rehearsal) in D minor, K.466 Thursday 'A'—February 1, 8-10 RACHMANINOFF Symphony No. 3 Friday 'A'—February 2, 1:30-3:30 Saturday 'B'—February 3, 8-10 Sunday, January 14, at 3 p.m. JAMES LEVINE, conductor Jordan Hall, New England Conservatory DEBORAH VOIGT, soprano BOSTON SYMPHONY CHAMBER BEETHOVEN Coriolan Overture PLAYERS SCHOENBERG Erwartung, Monodrama with for soprano and conductor JENS GEORG BACHMANN, orchestra JOAN MORRIS and ALVIN EPSTEIN, BEETHOVEN Ah! perfido, Scene and speakers aria for soprano and STRAVINSKY Suite from UHistoire du orchestra soldat BEETHOVEN Symphony No. 8 WALTON Facade (An Entertain- ment), for two speakers Thursday 'A'—February 8, 8-10:25 and ensemble Friday Evening—February 9, 8-10:25 Saturday 'A'—February 10, 8-10:25 Thursday, January 18, at 10:30 a.m. JAMES LEVINE conducting (Open Rehearsal) YVONNE NAEF, mezzo-soprano Thursday January 18, 8-9:55 'D'— (Marguerite) Friday 'B'—January 19, 1:30-3:25 PAUL GROVES, tenor (Faust) Saturday 'B'—January 20, 8-9:55 JOSE VAN DAM, baritone (Mephistopheles) Tuesday 'B'—January 23, 8-9:55 ANDREW GANGESTAD, bass (Brander) SIR COLIN DAVIS conducting TANGLEWOOD FESTIVAL CHORUS, IMOGEN COOPER, piano JOHN OLIVER, conductor MOZART Symphony No. 34 PALS CHILDREN'S CHORUS, JOHANNA HILL SIMPSON, founder and conductor MOZART Piano Concerto No. 24 emerita in C minor, K.491 HAYDN Symphony No. 102 BERLIOZ La Damnation de Faust in B-flat

Programs and artists subject to change.

massculturalcouncil.or

61 SYMPHONY HALL EXIT PLAN

MASSACHUSETTS AVENUE

MASSACHUSETTS AVENUE

IN CASE OF AN EMERGENCY Follow any lighted exit sign to street.

Do not use elevators.

Walk don't run.

62 SYMPHONY HALL INFORMATION

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 performs ten months a year, in Symphony Hall and at Tangle- wood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE BSO'S WEB SITE (www.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 announce- ment 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) 638-9240, or write the Director of Event Services, Symphony Hall, Boston, MA 02115.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert evenings it remains open through intermission for BSO events or just past starting time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are avail- able 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, or to make a reservation and then send payment by check, call "Symphony- Charge" at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (until 4 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 $5 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.

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.

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.

IN CONSIDERATION OF OUR PATRONS AND ARTISTS, children four years old or young- er will not be admitted to Boston Symphony Orchestra concerts.

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 at- tend 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 and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $8 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available for Friday or Saturday evenings.

63

&< wwm v&ffe 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 Hunting- ton Avenue.

PARKING: The Prudential Center Garage offers discounted parking to any BSO patron with a ticket stub for evening performances. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaran- teed 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 Hatch 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 Hatch 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 Hatch and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not re- sponsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch 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.

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by WGBH 89.7 FM. Saturday-evening con- certs are broadcast live by WCRB 102.5 FM.

BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Funds. Friends receive priority ticket information and other benefits depending on their level of giving. 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 the Development Office, 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 recog- nition 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 Tuesday through Friday from 11 a.m. until 4 p.m.; Saturday from noon until 6 p.m.; and from one hour before each concert through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap Robe, 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 www.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.

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