bernard haitink conductor emeritus seiji ozawa music director laureate

2013–2014 Season | Week 14

andris nelsons music director designate

season sponsors

Table of Contents | Week 14

7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 19 old strains reawakened: the boston symphony’s historical instrument collection by douglas yeo 27 this week’s program

Notes on the Program

28 The Program in Brief… 29 Richard Wagner 35 Witold Lutos´lawski 43 Dmitri Shostakovich 51 To Read and Hear More…

Guest Artists

57 Andris Poga 59 Garrick Ohlsson

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

the friday preview talk on january 24 is given by harlow robinson of northeastern university.

program copyright ©2014 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO principal bassoon Richard Svoboda by Stu Rosner

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

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

trustees of the boston symphony orchestra, inc.

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

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

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

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

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

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

week 14 trustees and overseers 3

photos by Michael J. Lutch

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

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

† Deceased

week 14 trustees and overseers 5

BSO News

Tanglewood 2014 In his first Tanglewood appearances as the BSO’s Music Director Designate, Andris Nelsons leads four concerts in July: an all-Dvoˇrák program with violinist Anne-Sophie Mutter (7/11); a special Tanglewood Gala featuring both the BSO and the Tanglewood Music Center Orchestra, including excerpts from Strauss’s Der Rosenkavalier (7/12); a BSO program fea- turing trumpeter Håkan Hardenberger (7/19); and a program featuring violinist Joshua Bell and closing with Beethoven’s Symphony No. 5 (7/20). Prior to these concerts, the Boston Symphony Orchestra opens its 2014 Tanglewood on July 5 with soprano Renée Fleming as soloist in an all-American program. The next day, conductor Asher Fisch, pianist Garrick Ohlsson, and the BSO join forces for Brahms’s Piano Concerto No. 2, in a concert also includ- ing music of Liszt and Wagner (7/6). Other favorite guest conductors this summer include Christoph von Dohnányi in three appearances, featuring baritone Thomas Hampson (7/18), pianist Paul Lewis (7/25), and, in Mahler’s Resurrection Symphony, Camilla Tilling, Sarah Connolly, and the Tanglewood Festival Chorus (7/26). Rafael Frühbeck de Burgos’s soloists include Gabriela Montero playing Rachmaninoff (7/27) and violinist Augustin Hadelich in Mozart (8/3). Stéphane Denève appears with Keith Lockhart and John Williams for Tanglewood on Parade (8/5), leads a concert with violinist Leonidas Kavakos (8/9), and partners with Emanuel Ax for Beethoven’s Emperor Concerto (8/15). Bramwell Tovey leads a complete concert perform- ance of Bernstein’s Candide (8/16), and Charles Dutoit leads the BSO’s traditional season- ending performance of Beethoven’s Ninth Symphony (8/24), as well as the Tanglewood Music Center Orchestra’s annual Leonard Bernstein Memorial Concert, with pianist Nikolai Lugansky (8/17). Other Shed highlights include the return of James Taylor (7/3 & 7/4); Keith Lockhart lead- ing the Boston Pops Orchestra in “Oz with Orchestra,” a presentation of the brilliantly restored classic film accompanied live by full orchestra (8/22); a guest appearance by Jason Alexander with Lockhart and the Pops (7/13); John Williams’ Film Night (8/2), and the return to Tanglewood of Josh Groban (8/30). In addition, Garrison Keillor returns for his annual broadcast of A Prairie Home Companion (6/28), and NPR’s weekly quiz pro- gram Wait Wait...Don’t Tell Me! returns for another live taping (8/28). Ozawa Hall celebrates its 20th anniversary in 2014 with a wide variety of offerings, including the Boston Symphony Chamber Players (7/1), Chanticleer extolling the ever-complex and continuing dialogue between the sexes (7/9), the Emerson String Quartet (7/10), Benjamin Bagby leading his Sequentia Ensemble in The Lost Songs Project: Music from the Court of Charlemagne (7/15), baritone Thomas Hampson with pianist Wolfram Rieger in a program celebrating the 150th anniversary of the birth of Richard Strauss (7/16), The Knights chamber orchestra with soprano Dawn Upshaw plus a quartet of virtuoso instrumentalists (7/23), the National Youth Orchestra of the USA with violin soloist Gil Shaham (7/24), the new chamber version of Jack Beeson’s opera Lizzie Borden with a Chamber Ensemble from

week 14 bso news 7

Boston Lyric Opera (7/31), all-Brahms programs with The Deutsche Kammerphilharmonie Bremen (8/6) and Emanuel Ax, Leonidas Kavakos, and Yo-Yo Ma (8/7), pianist Jeremy Denk performing Ives and J.S. Bach (8/13), the Philharmonia Baroque Orchestra perform- ing Handel’s Teseo in concert (8/14), jazz pianist Ellis Marsalis, Jr., and his trombonist son Delfeayo Marsalis (8/17), and the Maria Schneider Orchestra (8/24). For complete details of the 2014 Tanglewood season—including Tanglewood Music Center highlights, popular artists, the Tanglewood Wine and Food Classic, One Day University, and more—visit tanglewood.org. Tickets for the BSO’s 2014 Tanglewood season go on sale Sunday, January 26, at 1-888-266-1200 and at tanglewood.org. Tickets for James Taylor’s concerts of July 3 and 4 go on sale January 16.

BSO 101—The Free Adult Education Series at Symphony Hall BSO 101 continues to offer informative sessions about upcoming BSO programming and behind-the-scenes activities at Symphony Hall. The next two sessions are scheduled for Tuesday, January 28 (an “Insider’s View” round table discussion with BSO members Kyle Brightwell, Catherine French, and Owen Young, moderated by Marc Mandel), and Wednesday, February 5 (“Are You Listening?”: BSO Director of Program Publications Marc Mandel discusses music of Brahms, Schumann, and Dvoˇrák to be played in upcoming BSO programs). These sessions take place from 5:30-6:45 p.m. at Symphony Hall, and each is followed by a reception offering beverages and hors d’oeuvres. Admission to the BSO 101 sessions is free; please note, however, that there is a nominal charge to attend the recep- tions. To reserve your place for the date or dates you’re planning to attend, please e-mail [email protected] or call (617) 638-9395. For further information, please visit bso.org, where “BSO 101” can be found under the “Education & Community” tab on the home page.

Free Chamber Music Concerts Featuring BSO Musicians at Northeastern University’s Fenway Center on St. Stephen Street Once again this season, the BSO in collaboration with Northeastern University is pleased to offer free chamber music concerts by members of the Boston Symphony Orchestra on selected Friday afternoons at 1:30 p.m. at the Fenway Center at Northeastern University, 77 St. Stephen St. (at the corner of St. Stephen and Gainsborough streets). Free general- admission tickets can be reserved by e-mailing [email protected] or by calling (617) 373-4700; on the day of the performance, remaining tickets are available at the door. The remaining Fenway Center concerts this season are scheduled for Friday, February 28 (a varied pro- gram of original compositions and arrangements to be performed by the Boston Cello Quartet made up of BSO cellists Blaise Déjardin, Adam Esbensen, Alexandre Lecarme, and Mihail Jojatu), and Friday, March 14 (string quartets of Villa-Lobos and Debussy performed by BSO members Lucia Lin, Tatiana Dimitriades, Kazuko Matsusaka, and Jonathan Miller). These free concerts are made possible in part by a generous grant from the Lowell Institute.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert

week 14 bso news 9 Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on January 24 is given by Harlow Robinson of Northeastern University. Upcoming speakers include Elizabeth Seitz of the Boston Conservatory on January 31 and Jan Swafford of the Boston Conservatory on February 7.

BSO Youth Concerts: “There’s Nothing Better Than A Good Story,” February 26-28, 2014 The BSO performs six Youth Concerts between Wednesday, February 26, and Friday, February 28, 2014, with performances each day at 10 a.m. and 11:50 a.m. Germeshausen Family and Youth Concerts Conductor Thomas Wilkins leads each performance, guiding the audience through the concert experience and delivering age-appropriate messages about character in conjunction with the concert program. A limited number of instrument demonstrations led by BSO musicians will also be available to school groups (of 100 or fewer) prior to and following each BSO Youth Concert; reservations for demonstrations are accepted on a first-come, first-served basis. More information can be found at www.bso.org/brands/bso/education-community/schools-educators/bso-youth-concerts.aspx. Tickets for BSO Youth Concerts are $10 each and can be purchased by calling Symphony- Charge at (617) 266-1200 (with a $1.50 handling fee for each transaction), or at the Symphony Hall box office. Please note that the 11:50 a.m. performance on February 26 is presented exclusively and free of charge for students in the Boston Public Schools system.

10 BSO Concerto Competition Since 1959, the BSO has hosted a Concerto Competition for high school instrumentalists who are at an advanced level in their musical study. The competition recognizes two first- place winners, who perform their concerto with the Boston Pops, or with the BSO during a BSO Family Concert. The competition is open to sophomore, junior, and senior high school instrumentalists who reside in Massachusetts. This season’s application deadline is March 10, 2014. To download an application, please visit www.bso.org/youngmusicians. individual tickets are on sale for all concerts in the bso’s 2013-2014 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 75 of this program book.

The Cynthia and Oliver Curme Music Foundation, and as an overseer of Concert, Friday, January 24, 2014 From the Top. Ollie, who is a senior advisor at The performance on Friday afternoon is sup- Battery Ventures, studied several instruments ported by a generous gift from Great Bene- as a child, continuing into adulthood. Together, factors Cynthia and Oliver Curme. Cindy they share their commitment to music with and Ollie are true champions of the Boston their three sons, all of whom studied music. Symphony Orchestra both in Boston and the The Curmes are early supporters of the Berkshires. They are longtime concertgoers Tanglewood Forever Fund, and they were who have been a part of the BSO family for leading supporters of the Artistic Initiative. more than twenty-five years. Longtime donors to the BSO Annual Funds, Both Cindy and Ollie are passionate advocates Cindy and Ollie are members of the Higgin- for music and arts education, and they are son Society at the Encore level, the Kous- musicians themselves. Cindy, who is a classi- sevitzky Society at the Virtuoso level, and the cally trained pianist, worked at the BSO as Fiedler Society at the Benefactor level. They part of the administration from 1984 to 1995, are also Full-Fellowship Sponsors through and later served as a volunteer. She was their support of the Tanglewood Music Center. elected to the BSO Board of Overseers in 2003 and the Board of Trustees in 2005. Cindy is extremely active in her role as a BSO Members in Concert Trustee, serving on numerous board commit- BSO cellist Mickey Katz and pianist Constan- tees, including the Annual Funds Committee, tine Finehouse perform sonatas by Debussy, Overseers Nominating Committee, Principal Beethoven, and Brahms on Saturday, January and Leadership Gifts Committee, Strategic 25, at 4 p.m. at St. John Episcopal Church, Planning Committee, Tanglewood Annual Revere Street and Roanoke Avenue, Jamaica Fund Task Force, and Engagement Committee, Plain. Admission is $10 at the door ($5 for which she chairs. She has also served on many seniors, students, and children 12 and under). Opening Night gala committees at Symphony For further information, visit jpconcerts.org. Hall and Tanglewood. Cindy and Ollie were The duo repeat the program on Sunday, co-chairs for the 2010 Opening Night at January 26, at 3 p.m. at the main branch of Tanglewood and 2005 Opening Night at the Framingham Public Library, 49 Lexington Symphony. Street. Admission is free. For further informa- tion, visit framinghamlibrary.org. In addition to her involvement at the BSO, Cindy has been involved with several arts Collage New Music, founded by former BSO organizations, including serving as a trustee percussionist Frank Epstein, and whose of the Boston Conservatory and the Terezín members include former BSO cellist Joel

week 14 bso news 11 12 Moerschel and current BSO violinist Catherine at BU’s Tsai Performance Center, 685 Common- French, performs a program entitled “Beauti- wealth Avenue. Admission is free. For more ful Ruckus” on Sunday, January 26, at 8 p.m., information, visit bu.edu/tsai/calendar. at Edward Pickman Hall at the Longy School of Music, 27 Garden Street, Cambridge. The program includes the Boston premiere of Those Electronic Devices… David Lang’s These Broken Wings, the U.S. As the presence of smartphones, tablets, and premiere of Kati Agócs’s Chrystallography, other electronic devices used for communica- James Primosch’s Pure Contraption, Absolute tion, note-taking, and photography continues Gift, and Charles Fussell’s Pilgrim Voyage. to increase, there have also been increased General admission is $15, $10 for seniors, expressions of concern from concertgoers free for students. For more information, visit and musicians who find themselves distracted collagenewmusic.org or call (513) 260-3247. not only by the illuminated screens on these devices, but also by the physical movements The Concord Chamber Music Society, found- that accompany their use. For this reason, ed by BSO violinist Wendy Putnam, presents and as a courtesy both to those on stage and its third program of the season on Sunday, those around you, we respectfully request January 26, at 3 p.m. at the Concord Academy that all such electronic devices be turned Performing Arts Center, 166 Main Street, off and kept from view while BSO perform- Concord, MA. Joining Ms. Putnam and the ances are in progress. In addition, please Concord Chamber Players are BSO colleagues also keep in mind that taking pictures of the Keisuke Wakao, oboe, Richard Ranti, bassoon, orchestra—whether photographs or videos— Richard Sebring, horn, and Thomas Martin, is prohibited during concerts. Thank you very clarinet, along with pianist Vytas Baksys. The much for your cooperation. program includes Britten’s Suite for Violin and Piano, Opus 6, Harbison’s Variations for Clarinet, Violin, and Piano, and Beethoven’s Comings and Goings... Quintet in E-flat for Piano and Winds, Opus Please note that latecomers will be seated 16. Tickets are $42 and $33, discounted for by the patron service staff during the first seniors and students. For more information, convenient pause in the program. In addition, visit www.concordchambermusic.org or call please also note that patrons who leave the (978) 371-9667. hall during the performance will not be In residence at Boston University, the Muir allowed to reenter until the next convenient String Quartet—BSO violinist Lucia Lin and pause in the program, so as not to disturb the BSO principal violist Steven Ansell, violinist performers or other audience members while Peter Zazofsky, and cellist Michael Reynolds— the concert is in progress. We thank you for performs on Wednesday, January 29, at 8 p.m. your cooperation in this matter.

week 14 bso news 13 on display in symphony hall This season’s BSO Archives exhibit once more displays the wide variety of the Archives’ holdings, which document countless aspects of BSO history—music directors, guest artists, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display in the Brooke Corridor celebrating the 50th anniversary this season of the Boston Symphony Chamber Players, with special emphasis on the ensemble’s early international tours to Europe and the Soviet Union in 1967, and to Colombia in 1972 • a display case also in the Brooke Corridor exploring the history of the famed Kneisel Quartet formed in 1885 by then BSO concertmaster Franz Kneisel and three of his BSO colleagues • marking the centennial of Benjamin Britten’s birth, a display case in the Huntington Avenue corridor highlighting the American premiere of the composer’s War Requiem, given by Erich Leinsdorf and the BSO at Tanglewood in July 1963 exhibits on the first-balcony level of symphony hall include: • anticipating the BSO’s tour next May to China and Japan, a display case in the first- balcony corridor, audience-right, of memorabilia from the BSO’s 1956 concerts marking the first performances in the Soviet Union by a Western orchestra • a display case, also audience-right, on the installation of the Symphony Hall statues in the period following the Hall’s opening • anticipating this season’s complete cycle in March of the Beethoven piano concertos, a display case, audience-left, spotlighting several of the pianists who have performed those works with the BSO • a display case in the Cabot-Cahners Room spotlighting artists and programs presented in Symphony Hall by the Celebrity Series, which celebrates its 75th anniversary this year

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

week 14 on display 15 Boston Symphony Orchestra 2013–2014

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

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

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

week 14 boston symphony orchestra 17

Old Strains Reawakened: The Boston Symphony’s Historical Instrument Collection by Douglas Yeo

Instruments from the BSO’s Casadesus Collection of Historic Instruments are on view in display cases in the Cohen Wing of Symphony Hall: in the corridor near the Symphony Shop, in Higginson Hall, and in the Miller Room across from the Symphony Shop.

The musicians of the Boston Symphony Orchestra are required by contract to use “the best instrument available” to them; and so it is, that when you hear the BSO in concert, the sound is one of tens of millions of dollars of wood, brass, and leather working together in remarkable unity.

But it is not only the BSO players themselves who possess extraordinary instruments. There are other instruments in Symphony Hall—long silent and now rarely played—that are ancestors of today’s modern symphony orchestra, and which provide both interest and inspiration to musicians and concertgoers alike.

The Boston Symphony’s legendary music director, Serge Koussevitzky, though born in Russia, made his early reputation in Paris both as a conductor and performer on the double bass. While in Paris, Koussevitzky met Henri Casadesus, who, along with Camille Saint-Säens, founded the Société des Instruments Anciens in 1901. An accomplished viola player and composer, Casadesus began collecting historical instruments around 1896 and, in time, amassed an impressive collection of instruments—string, woodwind, brass, and percussion. His Société gave concerts in Europe, Britain, and Russia (where Koussevitzky joined the group), as well as in Boston’s Symphony Hall in 1918. When Casadesus decided to consolidate his collection and put many of his instruments up for sale in 1926, Koussevitzky lobbied for his friend’s collection to come to Boston:

School children with instruments of the Casadesus Collection, c.1955

week 14 19

Serge Koussevitzky with an 18th-century bass viol from the Casadesus Collection (BSO Archives)

Our great orchestra leader, Serge Koussevitzky, the intimate friend of Henri Casadesus, knew for a long time these artistic riches and it is upon his initiative and discerning counsel that the committee was formed which has acquired this collection.*

A group of Boston Symphony supporters subsequently purchased 145 instruments from Casadesus’ collection and donated them to the Boston Symphony Orchestra. The group’s spokesman, N. Penrose Hallowell, made the proposal to Frederick P. Cabot, President of the Boston Symphony Board of Trustees, on March 10, 1926: Certain individuals have agreed to buy what is known as the Henri Casadesus collec- tion of musical instruments. It comprises between 110 and 120 [actually 145 in all] pieces and is considered by experts to be an unusually fine collection. These individuals, together with others who will be asked to subscribe, are glad to offer this collection to the Trustees of the Boston Symphony Orchestra in memory of [BSO founder] Major Henry L. Higginson on the understanding that the Trustees will give suitable space for it in Symphony Hall and will take measures to make it as easy as possible for music lovers to view the collection.

The donation was accepted and the instruments shipped to Boston. No record has been found detailing the price paid for the collection, but an appraisal done at the time they

* A Rare Collection of Old Musical Instruments: The Casadesus Collection, Given by Friends to the Boston Symphony Orchestra in Loving Memory of its Founder, Henry Lee Higginson (Boston: Symphony Hall, November 13, 1926), p.7.

week 14 21 Henri Casadesus with his daughter Gisèle at Casadesus’s home, c.1920

arrived in Boston estimated their value at $37,965 (approximately $500,000 in today’s currency). On October 23, 1926, Casadesus’ instruments, having been installed in cases in a room off the first balcony of Symphony Hall (the location of the current Management Office), were displayed to the public. The Boston Sunday Post of October 24, 1926, reported the opening of the display: A group of Boston citizens, yesterday morning, presented to the Boston Symphony Orchestra in memory of its founder, Major Henry L. Higginson, a collection of old musical instruments, which is generally considered the finest exhibit of its kind in existence. These rare instruments were acquired from Henri Casadesus, celebrated French musi- cian, who has devoted many years of his life to gathering together musical instruments of former times. M. Casadesus visited this country in 1918 with his Society of Ancient Instruments, and performed early chamber music at Symphony Hall and elsewhere. Mr. Koussevitzky has for many years been a close friend of the collector. In fact, it was on the Russian conductor’s recommendation that this exhibit was acquired last spring. The collection, mounted in glass cases, has been placed in a room especially con- structed for this purpose in the corridor of the first balcony of Symphony Hall. It will be open to inspection by all concert audiences.

In the decades following, the collection was moved from its initial installation to the players’ tuning room (out of public view) off stage-right and subsequently into storage. Since 1990, with the renovation of a then recently acquired building adjacent to Symphony Hall, instruments from the Casadesus Collection have been installed in seven display cases in Symphony Hall’s Cohen Wing: four cases are in the corridor near the Symphony

22 Shop, two cases are in Higginson Hall, and one case is in the Miller Room across from the shop. Since the gift of the Casadesus Collection in 1926, other historical instruments have been donated to the Boston Symphony, and some of these are also on display, including the Barnett Collection (comprising mostly Asian instruments, in the Miller Room) and several instruments that were collected on various Boston Symphony tours, including a Chinese pipa that came to Symphony Hall as a result of the BSO’s historic tour to China in 1979. Three instruments from the Casadesus Collection are on loan to, and on display at, the Museum of Fine Arts, Boston.

The BSO historical instrument collection contains some notable treasures. Taking pride of place is an extraordinary group of seven serpents—the ancient instrument invented in France in the sixteenth century to accompany chant in the church, and which found its way into military bands and the symphony orchestra during its long evolutionary journey to today’s tuba; among these is a rare specimen by Pelligrino d’Azzi that features the coat of arms of the Republic of Venice. Among the finest and best-preserved string instruments in the collection are two handsome Italian mandolins from the late 1700s. A walking stick flute by Stengel conjures up images of gentlemen pausing during a stroll to entertain an ad hoc audience. Two French horns with painted bells remind us of the challenges that faced players before modern times when they had to change crooks (coils of tubing that needed to be inserted into the instrument in order to produce notes in different keys) before the invention of valves. The Barnett Collection’s instruments from Asia and the Middle East show the fragile construction and use of exotic materials that result in unique sounds far removed from our Western symphonic tradition. The collection is under the care of the BSO Archives; Darcy Kuronen—Pappalardo Curator of Musical Instruments at the Museum of Fine Arts—provides curatorial support.

Instruments from the Casadesus Collection have not been used in Boston Symphony performances, but a few that are still in playing condition have occasionally been used by BSO players and staff in various contexts. In the 1950s, three members of the orchestra (Roger Voisin, Harold Meek, and Joseph Orosz) recorded selected instruments from

week 14 23 24 arcaCadl Collection Crandall Patricia Archives, BSO Humphrey/courtesy George

Isaac Stern with the dance master’s violin (“pochette”) from the Casadesus Collection

the collection on the LP record set “Spotlight on Brass.” BSO staff member Laning Humphrey and lifelong volunteer Patricia Crandall enthusiastically displayed and dis- cussed instruments for audiences of both adults and children in association with Boston Symphony Youth Concerts, and the instruments continue to be studied and enjoyed by concertgoers, students, and scholars. In this, the instruments of the Casadesus Collection continue to fulfill the words of the Boston Symphony Trustees at the dedication ceremony of the collection on October 23, 1926: The sounds of that earlier time are stilled. But the art they embodied finds constant utterance in old strains re-awakened, in new rhythms breaking the silence of the future.

douglas yeo was bass trombonist of the Boston Symphony Orchestra from 1985-2012; since then he has been Professor of Trombone at Arizona State University. He has performed on historical instruments including serpent, ophicleide, and bass sackbut with the BSO and many early instrument groups, and his playing is heard on museum audio guides around the world. His article, “Serpents in Boston: The Museum of Fine Arts and Boston Symphony Collections,” was published in the 2012 “Galpin Society Journal.”

week 14 25

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

Thursday, January 23, 8pm Friday, January 24, 1:30pm | the cynthia and oliver curme concert Saturday, January 25, 8pm andris poga conducting wagner overture to “rienzi” lutos´lawski concerto for piano and orchestra (1988) 1. 
= ca. 110 2. Presto.  = ca. 160 3. Largo.  = 40-45 4.  = ca. 84 garrick ohlsson

{intermission} shostakovich symphony no. 15, opus 141 Allegretto Adagio Allegretto Adagio—Allegretto saturday evening’s performance of shostakovich’s symphony no. 15 is supported by a gift from lloyd axelrod, m.d. bank of america and emc corporation are proud to sponsor the bso’s 2013-2014 season.

The Thursday and Saturday concerts will end about 10:10, the Friday concert about 3:40. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 14 program 27 The Program in Brief...

Richard Wagner began his opera Rienzi, the Last of the Tribunes while holding a position as music director of a theater in Riga, Latvia—BSO assistant conductor Andris Poga’s home town. Wagner was at the beginning of his career, and Rienzi only hints at the future innovations of Der Ring des Nibelungen and Tristan und Isolde. The grand and spectacular opera is modeled on those of Meyerbeer, the most successful German opera composer of the era. Based on a novel by Edward Bulwer-Lytton, Rienzi was premiered in 1842 in Dresden and became Wagner’s first great success. The form of the overture is familiar from the style of the day: written after the opera itself, it brings together a series of musical themes from the dramatic action to follow.

Born on the eve of World War I in Warsaw, Witold Lutosławski weathered World War II and the ensuing domination of Poland by the Soviet Union to become a towering figure of 20th-century music. In the 1960s, innovative compositional strategies borrowed from the West—including those of John Cage—invigorated his musical language, leading to the mature style of such works as the Cello Concerto (written for Mstislav Rostropovich) and the Second through Fourth symphonies, all of which have a place in the repertoires of major orchestras worldwide. Written for and dedicated to the Polish pianist Krystian Zimerman, Lutosławski’s 1988 Piano Concerto was commissioned by the Salzburg Festival. The piece is in four movements and draws not only on his colorful, vibrant approach to the orchestra, but (the composer having been a pianist himself) also on the great tradition of Romantic piano writing—especially, of course, Lutosławski’s compatriot Chopin. The BSO’s only previous performances of the piece were in October 1990, when the composer conducted an entire program here of his own music.

Considered the greatest proponent of the genre since Sibelius and Mahler, Dmitri Shostakovich wrote fifteen symphonies, completing the last of them in summer 1971, a few months before his sixty-fifth birthday. His own health was failing; and he had lived through the turmoil of the fall of imperial Russia; the Bolshevik Revolution; the optimistic growing pains and devastating pogroms of the Soviet state; life-threatening political attacks aimed squarely at him and his work; the death of Stalin, and the first decades of the Cold War. The Symphony No. 15 seems to acknowledge all of this, and to resonate with yet further reaches of history. This large, four-movement work is pure Shostakovich in its sound—long, Russian melodies, wild contrast between ironic bombast and mourn- ing—but also refers, mysteriously but distinctly, to music of the past: Rossini’s familiar William Tell Overture in the first movement, almost absurd in the context; the “fate” motif as well as “Siegfried’s Funeral March” from Wagner’s Ring cycle, and the opening idea from Wagner’s Tristan und Isolde. The symphony—as was the composer’s practice— may also contain veiled references to his own earlier work.

Robert Kirzinger

28 Richard Wagner Overture to “Rienzi”

RICHARD WAGNER was born in Leipzig, Saxony, on May 22, 1813, and died in Venice on February 13, 1883. He composed the music to “Rienzi, der Letzte der Tribunen” (“Rienzi, the Last of the Tribunes”) between August 1838 and November 1840, to his own libretto; the overture was completed on October 23, 1840. The first performance of “Rienzi” took place on October 20, 1842, at the Königlich Sächsisches Hoftheater in Dresden, with Joseph Tichatschek, Henriette Wüst, and Wilhelmine Schröder-Devrient in the lead roles of Rienzi, Irene, and Adriano, respec- tively, with Carl Gottlieb Reissiger (Wagner’s predecessor as Kapellmeister to the Royal Saxon Court) conducting.

THE SCORE OF THE OVERTURE calls for two flutes and piccolo, two oboes, two clarinets, two bassoons, contrabassoon (originally serpent), four horns, four trumpets, three trombones, tuba (originally ophicleide), timpani, snare drum, tenor drum, bass drum, cymbals, triangle, and strings.

The premiere of Wagner’s third opera, Rienzi, the Last of the Tribunes, in Dresden on October 20, 1842, was the composer’s first great success and led immediately to the premiere there on January 2, 1843, of The Flying Dutchman. Basing his libretto on the book by the English novelist and playwright Edward George Bulwer-Lytton (1803-73), Wagner conceived Rienzi as a five-act grand opera in the style of Meyerbeer, with a view toward performance in Paris—traveling there clandestinely, to escape creditors, with his wife Minna and Newfoundland dog Robber(!), from the Latvian town of Riga, where he had held a music directorship. Though lacking the requisite reputation to secure a pro- duction in that city, he did meet Meyerbeer, whom he impressed with a reading of his libretto; and it was Meyerbeer himself who recommended Rienzi to Baron Wolf von Lüttichau, general manager of the Dresden Court Theatre.

The premiere began at six in the evening, and despite Wagner’s increasing nervousness as the performance edged toward midnight, his fears proved unfounded. Neither Joseph Tichatschek, whose stentorian tenor the high-lying title role suited to perfection (he would also be Wagner’s first Tannhäuser), nor the Dresden public would submit to the composer’s

week 14 program notes 29 Program page for the first Boston Symphony Orchestra performance of Wagner’s “Rienzi” Overture on October 14, 1882, with Georg Henschel conducting (BSO Archives)

30 Watercolor of the Act II finale of “Rienzi,” showing an 1843 performance with tenor Joseph Tichatschek, who had sung the 1842 premiere, on horseback as the title character, and contralto Henriette Kriete, kneeling, as Adriano

suggestion of cuts for subsequent performances. Wilhelmine Schröder-Devrient— acclaimed as Leonore in the 1822 Vienna revival of Fidelio, and soon to become Wagner’s first Senta in Dutchman and the first Venus in Tannhaüser—scored a success in the trouser role of Adriano despite her matronly figure, and she praised the work wholeheartedly. The orchestra and chorus were thrilled by the challenges of the score. Three performances of the opera were spread over two evenings each (requiring two separate admissions) as “Rienzi’s Greatness” (Acts I and II) and “Rienzi’s Fall” (Acts III through V), but the audi- ence balked at the notion of getting one opera for the price of two, so it retained its status as a single-evening work, albeit with minor cuts. In the audience at the premiere was Hans von Bülow, then a boy of twelve, and whose life would intertwine significantly with Wagner’s much later.

The setting of the opera is mid-14th-century Rome. The principal characters include the tribune Cola Rienzi, champion of the Roman people against the scheming nobles; his

week 14 program notes 31 32 sister Irene; and Adriano, of noble birth, but torn between his love for Irene and his obligation to his family. Defeated in his efforts, Rienzi ultimately suffers Papal excommu- nication. In the opera’s final moments, he, Irene, and Adriano are all killed as the Roman Capitol, in flames, collapses upon them. The composer’s description of the work as a “great tragic opera” was no exaggeration.

Wagner’s Overture to Rienzi is in the so-called “potpourri” style that draws on themes from the opera to follow. The opening trumpet call of the overture is the signal for the Roman people’s uprising against the nobles. This is followed by the broad theme of Rienzi’s moving fifth-act prayer, “Allmächt’ger Vater, blick herab!” (“Almighty Father, look down upon me!”)—a tune played at a faster tempo, not altogether convincingly, in the overture’s main Allegro energico. The other principal themes come from choruses that characterize the Roman people at crucial dramatic moments; notable among these themes is the battle cry “Santo spirito cavaliere,” given initially to the brass in declamatory, chorale-like fashion.

Marc Mandel marc mandel is Director of Program Publications of the Boston Symphony Orchestra.

THEFIRSTAMERICANPERFORMANCEOF“RIENZI” took place on March 4, 1878, at the Academy of Music in New York. The first performance of the overture in Boston was from manu- script, on November 19, 1853, with Carl Bergmann conducting the Germania Musical Society at the Melodeon.

THEFIRSTBOSTONSYMPHONYPERFORMANCEOFTHEOVERTURE was given by Georg Henschel on October 14, 1882. The overture figured frequently in the BSO’s programming both in and out of town well into the 1920s and 1930s, under Henschel, Wilhelm Gericke, Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Ernst Schmidt, Pierre Monteux, and Serge Koussevitzky. After Koussevitzky’s last performance of the overture (at Tanglewood on August 12, 1937, in one of the orchestra’s first concerts there, an all-Wagner program), it was next played by the BSO under Monteux at Tanglewood in 1958, since which time it has been given in BSO concerts only by Julius Rudel (April 1968—the most recent subscription performances), Gunther Schuller (at Tanglewood in 1970), James Conlon (at Tanglewood in 2001), and Asher Fisch (the most recent Tanglewood performance, on July 21, 2012, as part of an all-Wagner concert duplicating the aforementioned program from the BSO’s first Tanglewood season in 1937).

week 14 program notes 33

ioVintoniv Miro

Witold Lutos´lawski Concerto for Piano and Orchestra (1988)

WITOLD LUTOSLAWSKI´ was born in Warsaw, Poland, on January 25, 1913, and died there on February 9, 1994. He wrote his Concerto for Piano and Orchestra in 1987-88 on commission for the Salzburg Festival. The composer conducted the Austrian Radio Orchestra and soloist Krystian Zimerman in the world premiere, which took place at the Kleines Festspielhaus in Salzburg on August 19, 1988. The score is dedicated to Zimerman.

IN ADDITION TO THE SOLO PIANO, the Concerto for Piano and Orchestra calls for an orches- tra of three flutes and two piccolos, three oboes, three clarinets, E-flat clarinet, and bass clarinet, three bassoons and contrabassoon, four trumpets, two horns, three trombones, tuba, percussion (three suggested: xylophone, tam-tams, bongos, tom-toms, tambourine, bass drum), timpani, harp, and strings. Duration is about twenty-seven minutes.

Within a two-week span we have a double anniversary for the most significant Polish composer of the 20th century: Witold Lutosławski was born 101 years ago this week, on January 25, 1913, and died in February 1994, twenty years ago. A generation younger than Stravinsky and Bartók, Lutosławski bridged the pre-World War II modernists and the avant-garde currents of younger generations.

Lutosławski’s landowning family was exiled to Russia due to the German occupation of Warsaw during World War I; his father and older brother were executed by the Bolsheviks after the Russian Revolution. The remaining family returned to Warsaw, where Witold began piano lessons. In his teens he also began violin studies in earnest, having already begun to compose. He began his advanced composition studies with Witold Maliszewski, eventually enrolling in the Warsaw Conservatory; for a time he also studied mathematics at the university.

Although Lutosławski had some success and public performances of his orchestral works prior to World War II, the devastation wrought in Poland derailed what was a promising career. He briefly joined the war effort, was captured by the Germans, and escaped to

week 14 program notes 35 Program page for the only previous Boston Symphony performances of Lutosławski’s Concerto for Piano and Orchestra on October 25, 26, 27, and 30, 1990, with the composer conducting and Anthony di Bonaventura as soloist (BSO Archives)

36 return to Warsaw, where he scratched out a living playing piano duo performances with Andrej Panufnik, another future major figure in Polish music (although he defected to England in 1954). Many of Lutosławski’s works were lost during the war. The trajectory of his style led from late Romanticism and neoclassicism to a folk-influenced style akin to Bartók’s, but less radical and, naturally, drawing on Polish sources. His music of this era— through the Concerto for Orchestra (1954)—is also characterized by formal clarity and sure control of counterpoint and harmony. In the late 1940s, Poland came under the political control of the Soviet Union, and the dictum of social realism became the official standard of the arts. Although some of Lutosławski’s folk-colored work passed muster, some did not; his Symphony No. 1 was banned on charges of formalism. (In Hungary, Bartók’s works were similarly banned, and in Russia, Shostakovich, established as he was, continued to have dangerous run-ins with the powers-that-were.)

week 14 program notes 37

Witold Lutosławski rehears- ing the Boston Symphony Orchestra for a program of his music in October 1990 (BSO Archives/photo by Miro Vintoniv)

Following the death of Joseph Stalin in 1953, Soviet satellite countries experienced freer communication with the West, and composers quickly began to assimilate progressive ideas and techniques from the U.S. and Germany. The Warsaw Autumn Festival, founded in 1956, became an enormously important venue for the presentation of new music. Presented at the festival in 1958, Lutosławski’s Muzyka zalobna (Funeral Music), in which he made distinctive use of the twelve-tone technique, established his fame internationally. In 1960, he heard John Cage’s open-form Concert for Piano and Orchestra, which led to an epiphany. He began to incorporate aleatoric, or quasi-random, passages within stable large-scale structures. This lent his music a colorful intensity and spontaneity otherwise unachievable by more fully notated means. (The composer gives a few details of this idea in the final paragraph of his note to the Concerto for Piano and Orchestra, reprinted below.) Even so, Lutosławski maintained his concern for classically balanced form and the clarity of the musical idea. He explored his new direction in several important works of the 1960s—Three Poems of Henri Michaux, the String Quartet, and the Second Symphony. These added greatly to his reputation; the Second Symphony was commissioned by the North German Radio Symphony, which premiered it under Pierre Boulez’s direction. His Cello Concerto (1970) was commissioned by the Royal Philharmonic Society for Mstislav Rostropovich. In the 1970s and ’80s the composer continued to concentrate on works for orchestra and large ensemble, among them Mi-Parti for orchestra, commissioned for the Concertgebouw, and the Third Symphony (1983), commissioned by the Chicago Symphony Orchestra. His later works, including the Concerto for Piano and Orchestra, are characterized by increased refinement and harmonic transparency.

Many of Lutosławski’s works have been performed by the BSO; the orchestra’s only previous performances of the Concerto for Piano and Orchestra took place under the composer’s direction in October 1990 as part of an all-Lutosławski concert conducted by the composer himself. His Livre pour orchestra (1968) and Chain 2 for violin and orchestra (1985) were also on the program (see page 36). His music had entered the BSO reper-

week 14 program notes 39 toire in 1965 with his Venetian Games, but he had already been a visiting faculty member at the Tanglewood Music Center in 1962 at Aaron Copland’s invitation. The BSO has also performed his Third and Fourth symphonies, and within the past few years his Concerto for Cello and Orchestra, the Concerto for Orchestra, and Funeral Music.

Lutosławski’s Piano Concerto melds his advanced language with a strong feeling for the Romantic-era piano music of Chopin—the listener is constantly reminded that Lutosławski was himself a formidable pianist in his youth. The piano’s voice is rhapsodic and intimate, in contrast to the more extrovert music of the orchestra.

The composer’s own note for his concerto follows.

Robert Kirzinger

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

THEFIRSTAMERICANPERFORMANCE of Lutosławski’s Concerto for Piano and Orchestra took place on December 3, 1988, with Krystian Zimerman as soloist and Zubin Mehta conducting the New York Philharmonic Orchestra.

THEONLYPREVIOUSBOSTONSYMPHONYORCHESTRAPERFORMANCES of the Concerto for Piano and Orchestra took place in October 1990, when the composer himself led an all-Lutosławski program. Anthony di Bonaventura was soloist, filling in for Emanuel Ax, who had originally been scheduled to perform.

My Piano Concerto consists of four movements which are played without any break, despite the fact that each of the movements has a clear ending. The first movement comprises four sections. In the first and third, the motifs presented are as if “nonchalant,” light, sometimes rather capricious, never over-serious. In contrast to the first and third, the second and fourth sections are filled with a broad “cantilena,” finally leading to the highpoint of the whole movement.

The second movement is a kind of moto perpetuo, a quick “chase” by the piano against the background of the orchestra which ends by calmly subsiding in preparation for the third movement.

The third movement opens with a recitative for the piano alone, which then intones, also without the involvement of the orchestra, a singing “largo” theme. The middle section, beginning with the entrance of the orchestra, contrasts against the first section with moments of a more sudden, dramatic character. The “cantilena,” without orchestral accompaniment, returns at the end of the movement.

40 The fourth movement, by its construction, alludes to the Baroque form of the Chaconne. Its theme (always played by the orchestra) consists of short notes separated by rests and not (as with the traditional Chaconne) chords. This theme, repeated many times, provides only one layer of the musical discourse. Against this background the piano each time presents another episode. These two layers operate in the sense of “Chain-form,” i.e., the beginnings and endings of the piano episodes do not correspond with the begin- nings and endings of the theme. They come together only once, towards the end of the work. The theme appears again for the last time in a shortened form (without rests) played by the whole orchestra without the piano. There follows a short piano recitative, fortissimo, against the background of the orchestra, and a short Coda “presto” concludes the work.

Although used to a lesser degree than in other works of mine, the elements of chance also appear in the Piano Concerto. It is, as always, entirely subordinated to principles of pitch organization (harmony, melody, etc.). In an article published in 1969, in the journal Melos, I endeavored to explain how this is possible. The whole substance of my argu- ments need not be repeated here. However, there is one aspect to remember: there is no improvisation in my music. Everything which is to be played is notated in detail and should be realized exactly by the performers, the members of the ensemble. The only fundamental difference between ad libitum sections (i.e., not conducted) and others written in the traditional manner (i.e., divided into beats of specified meter), is that in the former there is no common division of time for all performers. In other words, each performs his part as if playing alone and not coordinated with other performers. This gives quite spe- cific results, flexible textures of rich, capricious rhythms, impossible to achieve in any other way.

All that has been said applied to matters which are not of great importance compared to the central essence which the composer employs to achieve his goal. What then is this goal? To this question only music itself can provide the answer. Happily, it cannot be explained in words. If it were possible, if a musical work could be described precisely in words, then music as an art would be entirely unnecessary.

Witold Lutosławski (translated by Charles Bodman Rae)

week 14 program notes 41

Dmitri Shostakovich Symphony No. 15, Opus 141

DMITRI DMITRIEVICH SHOSTAKOVICH was born in St. Petersburg, Russia, on September 25, 1906, and died in Moscow on August 9, 1975. He began the Symphony No. 15 in Kurgan on April 2, 1971, completing it in Repino, outside Leningrad, on July 29, 1971. The premiere took place on January 8, 1972; the composer’s son, Maxim Dmitrievich Shostakovich, conducted the Bolshoi Symphony Orchestra of the All-Union Radio in the Bolshoi Hall of the Moscow Conservatory.

THE SYMPHONY IS SCORED for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, castanets, soprano tom-tom, snare drum, wood block, slapstick, cymbals, bass drum, tam-tam, xylophone, glockenspiel, vibra- phone, celesta, and strings. The composer specifies a minimum of sixteen first and fourteen second violins, twelve violas, twelve cellos, and ten double basses.

The ghosts of music past haunt Shostakovich’s fifteenth—and final—symphony. The famous galloping theme from the overture to Gioachino Rossini’s opera William Tell (later appropriated for the theme music of the Lone Ranger television series) appears in the first movement. (Here played by brass rather than strings.) The opening bars of the last movement quote the portentous “fate” motif from Richard Wagner’s Ring cycle. Reminis- cences of Shostakovich’s own compositions also pop up here and there. The repeated bass line passacaglia in the finale, for example, echoes the insistent march from his Leningrad Symphony (No. 7). Confused and encouraged by Shostakovich’s own contra- dictory statements about the Fifteenth, sleuthing commentators and musicologists have also uncovered possible references to music of Tchaikovsky, Beethoven, Mahler, and Glinka. It has furthermore been suggested that the entire symphony is a response to a story (The Black Monk) by one of the composer’s favorite writers, Anton Chekhov.

Shostakovich’s obviously retrospective mood at the time he was composing the Fifteenth Symphony (approaching his sixty-fifth birthday) was surely due in part to his failing health and increasing awareness of his own mortality. He had been suffering from various serious

week 14 program notes 43 Program page for the first Boston Symphony Orchestra performances of Shostakovich’s Symphony No. 15 on December 3, 4, and 5, 1981, with the composer’s son Maxim Shostakovich conducting (BSO Archives)

44 ailments for years. The most debilitating was a form of poliomyelitis that restricted the movement of his legs, arms, and fingers, making it almost impossible for him to play the piano. In 1970 and early 1971 he traveled several times to the Siberian city of Kurgan to receive treatment from the highly regarded orthopedic surgeon Gavriil Ilizarov. In Kurgan Shostakovich began writing the Fifteenth Symphony, as well as another work treating the theme of mortality: the music for Grigori Kozintsev’s brilliant film version of Shakespeare’s King Lear. In an interview with Royal Brown in New York in 1973, he said of the symphony, “I was working very hard on it, and even though it may sound strange, I was composing in the hospital, then I left the hospital and continued writing at my summer house—I just could not tear myself away from it. It’s one of those works that just completely carried me away, and maybe even one of my few compositions that seemed completely clear to me from the first note to the last. All that I needed was the time to write it down.”

While completing the symphony at the Composers Union Retreat in Repino, a picturesque resort town near the Finnish Gulf, Shostakovich devoted each morning to composing. At one o’clock in the afternoon, as recorded in Elizabeth Wilson’s Shostakovich: A Life Remembered, he would meet his neighbor Venyamin Basner for a short walk followed by lunch (accompanied by a “measure of vodka”) and then spend some time listening to the BBC Russian Service on the radio. Since this was technically a banned Western broadcast, Shostakovich was careful “to tune the radio back to the bandwave of Radio Moscow— just in case anybody bothered to check!” Some days, however, he would forego the lunches and lock himself in his cottage to work without distraction, “writing day and night.”

The effort took nearly all of Shostakovich’s declining strength, as he wrote to his friend, the writer Marietta Shaginyan, shortly after the first audition of the work in a four-hand piano version at the Composers Union in Moscow in early August. “I worked on this symphony to the point of tears. The tears were flowing not because the symphony is sad, but because my eyes were so tired. I even visited the optometrist, who advised me to take a short break from the work.”

The Fifteenth is unusual for Shostakovich’s work as a symphonist in several ways. First, as noted, it features quotations from other composers, in a kind of collage technique that he had not previously employed. (Such eclecticism was very popular with the next gen- eration of Soviet composers, especially Alfred Schnittke.) Second, it has no descriptive title, unlike his symphonies 2, 3, 7, and three of the four written just before it: the Eleventh (The Year 1905), Twelfth (The Year 1917), and Thirteenth (Babi Yar). Third, it is scored for orchestra alone, without voices or texts of any kind; his preceding two symphonies were settings of poems by Yevgeny Yevtushenko for bass soloist, chorus, and orchestra (Babi Yar) and by Lorca, Apollinaire, Kuchelbecker, and Rilke, for soprano, bass, and chamber orchestra (No. 14).

So the Fifteenth is more purely “abstract” and enigmatic music than Shostakovich had previously written in the symphonic form, and more rhapsodic in structure than the clas- sically structured Fifth Symphony, the best-known of his fifteen. To his close friend Isaac Glikman, the composer joked ironically that the symphony was “turning out to be lacking

week 14 program notes 45 46 Shostakovich in 1963, on holiday near Leningrad

in ideals” (“bezideinaya”), a label often applied by Communist Party officials to composi- tions they found politically deficient. Moreover, the Fifteenth includes (in the second and third movements) several themes organized according to the dodecaphonic (twelve-tone) method, which Shostakovich used sparingly in some of his late works. Dodecaphony, a form of serialist composition in which a series of pitches becomes the basis of the melodic and harmonic structure, was closely associated with the music of Arnold Schoenberg and the New Viennese School. For many years it had been virtually banned from Soviet music as a decadent, formalist, and inaccessible Western import.

The largest of the Fifteenth’s four movements, each about fifteen minutes in length, are the slow ones, the second and fourth, both marked Adagio. By contrast, the third move- ment Allegretto is the shortest of all of Shostakovich’s scherzo movements. The first movement, Allegretto, recalls the humorous, sarcastic character of some of the composer’s early works, such as the First Piano Concerto, the ballets The Golden Age and Bolt, and the orchestral interludes from his scandalous opera Lady Macbeth of Mtsensk, all com- bined with the manic energy of the William Tell motif. In an interview around the time of the premiere, Shostakovich reportedly told a journalist that “The first movement describes childhood—just a toy shop, with a cloudless sky above.” This statement has fueled con- siderable speculation as to the composer’s meaning: was he being serious, or wickedly ironic in view of his frequently tortured life at the mercy of Communist officials?

In the somber, mournful, even liturgical second movement, the orchestral forces are often reduced to chamber size and to solo voices (especially the cello), until the Largo section at rehearsal number 64. From there a funeral march builds to a massive climax with large percussion forces, including whip, xylophone, wood block, and drums, before receding into a heavenly calm created by strings with vibraphone and celesta. Squealing and laughing woodwinds dominate the grotesque, darkly humorous scherzo, creating the same sort of frantic dance atmosphere found in several of Shostakovich’s string quartets, which occupied much of his creative energy in his last years.

week 14 program notes 47 48 The fourth movement opens with three obvious references to Richard Wagner. First comes, as already noted, the “fate” motif from the Ring cycle. The solo timpani line that follows suggests the rhythm of “Siegfried’s Funeral March” from the last Ring opera, Götterdämmerung. And the three notes (A-F-E) played by the first violins at the end of the introductory Adagio section (as a bridge to the Allegretto) echo the opening notes of the Prelude to Tristan and Isolde. In the Allegretto, a pleasantly lyrical theme meanders through thinly scored string, woodwind, and brass passages. Then the mood darkens with the entry of the sinister marching passacaglia in the low strings at rehearsal number 125. Eventually the lyrical theme joins in, and then again the Wagnerian motif. The relentless passacaglia theme builds to what Krzystof Meyer has described as a “soul- searing climax,” and then the music begins to fade and fragment into a weirdly ethereal coda, taken over by knocking instruments (timpani, triangle, castanets, wood block, drum, xylophone, celesta) tapping out what sounds like the ticking of a clock pronounc- ing the end of time, or asking a question. These final measures seem to recall the similar ending of the second movement of the Fourth Symphony, banned in 1936 for twenty-five years following Stalin’s denunciation of the opera Lady Macbeth of the Mtsensk District.

While it may not possess the structural integrity of the Fifth Symphony, or the sheer force of the Seventh, Symphony No. 15 stands as an encyclopedia of Shostakovich’s mas- terful manipulation of the orchestra as an endless source of drama, shifting moods, vivid contrasts, philosophical depth, and emotional expression. The premiere was a triumphant occasion, even though Kiril Kondrashin was too ill to conduct as scheduled and was replaced by Shostakovich’s son Maxim. Many of the stars of the Soviet musical firmament attended. By this time Shostakovich’s health had worsened; he had suffered a second heart attack in September, near the date of his sixty-fifth birthday, and came out on stage only with difficulty to acknowledge the long ovation at the premiere. Less than four years later he would be gone.

Harlow Robinson harlow robinson is an author, lecturer, and Matthews Distinguished University Professor of History at Northeastern University. A contributor to the Boston Globe and a regular guest lecturer for the Boston Symphony and Metropolitan Opera Guild, he is the author of “Sergei Prokofiev: A Biography” and “Russians in Hollywood, Hollywood’s Russians.”

THEFIRSTAMERICANPERFORMANCE of Shostakovich’s Symphony No. 15 was given by the Philadelphia Orchestra with Eugene Ormandy conducting on September 28, 1972.

THEFIRSTBOSTONSYMPHONYPERFORMANCES of Shostakovich’s Symphony No. 15 were led by Maxim Shostakovich, the composer’s son, in December 1981, the only subsequent BSO perform- ances being given by Kurt Sanderling in January 1988 and Richard Westerfield in January 1997.

week 14 program notes 49

To Read and Hear More...

The Lutosławski bibliography in English includes Charles Bodman Rae’s The Music of Lutosławski, originally published in 1994 (Faber and Faber) and revised and expanded in 1999 (Omnibus Press paperback). Rae also wrote the essay on Lutosławski for the New Grove II (2001). Bernard Jacobson’s A Polish Renaissance, in the well-illustrated “20th-Century Composers” series, gives more-or-less equal time to Lutosławski and his compatriots Panufnik, Penderecki, and Górecki (Phaidon paperback). Lutosławski Studies, edited by Zbigniew Skowron, contains essays on several aspects of the composer’s work, from specific pieces to general trends, by such experts as Charles Bodman Rae, the com- poser Steven Stucky, and others (Oxford University Press). While somewhat expensive, this important collection might be found in a good music library. Stucky’s Lutosławski & His Music, originally published in 1981, was reprinted in 2009 without updates (Cambridge University Press). Also of interest, though out of print, is Tadeusz Kaczy´nski’s Conversations with Witold Lutosławski (Chester Music). Richard Dufallo’s Trackings (Oxford) contains interviews with many contemporary composers, including Lutosławski. The composer’s music is published primarily by Chester Music, Ltd., which features good information on the composer, including a brief biography, thorough list of works, and discography, on their website (www.chestermusic.com).

Lutosławski’s Piano Concerto has been recorded several times. Of special interest is the composer’s own recording featuring the work’s dedicatee, Krystian Zimerman, as soloist with the BBC Symphony Orchestra (Deutsche Grammophon). The composer also led a performance with pianist Ewa Poblocka and the Polish Radio Symphony Katowice (Accord); Peter Paleczny recorded it with the same orchestra under Antoni Wit (Naxos). Poblocka

week 14 read and hear more 51 52 also recorded the concerto with the Warsaw Philharmonic led by Kazimierz Kord, on a disc with Polish piano concertos by Andrej Panufnik and Paweł Szyma´nski (Accord). Others include Paul Crossley’s with the Los Angeles Philharmonic under Esa-Pekka Salonen (Sony), Louis Lortie’s with the BBC Symphony Orchestra under Edward Gardner (Chandos), and Leif Ove Andsnes’s with the Bavarian Radio Symphony Orchestra under Franz Welser-Möst (EMI). For those looking beyond the Piano Concerto, Naxos has released a nearly comprehensive box set (as well as individual discs) of Lutosławski’s work, mostly with Antoni Wit and the Polish Radio Symphony Orchestra Katowice.

Robert Kirzinger

The most useful books on Wagner remain generally available, either new or used, even as they go in and out of print. Ernest Newman’s The Wagner Operas offers detailed histor- ical and musical analysis of the operas from The Flying Dutchman through Parsifal (Princeton University paperback). Newman’s equally indispensable Life of Richard Wagner has been reprinted in paperback (Cambridge University Press; four volumes). Wagner’s autobiog- raphy, My Life, was for a while available in a modern English translation by Mary Whittall (also Cambridge paperback). Biographies of more recent vintage include Robert W. Gutman’s Richard Wagner: The Man, his Mind, and his Music (Harvest paperback) and Curt von Westernhagen’s Wagner: A Biography, translated by Mary Whittall (another Cambridge paperback). Several intriguing, shorter—and strongly recommended—books may be more readily digestible for many readers: Thomas May’s Decoding Wagner: An Invitation to his World of Music Drama (Amadeus paperback, including two CDs of excerpts from the operas, beginning with The Flying Dutchman); Michael Tanner’s Wagner (Princeton University paperback), and Bryan Magee’s Aspects of Wagner (Oxford paperback). Other useful resources include Richard Wagner and his World (Princeton paperback, in the Bard Music Festival series) and The Cambridge Companion to Wagner (Cambridge), both edited by Thomas S. Grey; and The Wagner Compendium: A Guide to Wagner’s Life and Music, edited by Barry Millington (Schirmer). Millington’s Wagner article from the 2001 Grove Dictionary of Music and Musicians has been published separately as The New Grove Wagner (Oxford paperback), superseding the previous New Grove Wagner derived from the Wagner entry in the 1980 Grove (Norton paperback). Wagner: A Documentary Study, compiled and edited by Herbert Barth, Dietrich Mack, and Egon Voss, is an absorbing and fascinating collection of pictures, facsimiles, and prose, the latter drawn from the writings and correspondence of Wagner and his contemporaries (Oxford University Press; out of print, but well worth seeking).

There are a great many recordings of the Rienzi Overture, varying widely in vintage, among them Christian Thielemann’s with the Vienna Philharmonic (Deutsche Grammophon), James Levine’s with the Metropolitan Opera Orchestra (Deutsche Grammophon), Andris Nelsons’ with the Royal Concertgebouw Orchestra of Amsterdam (C major DVD), George Szell’s with the Cleveland Orchestra (Sony), Klaus Tennstedt’s with the Berlin Philharmonic (EMI), Leonard Bernstein’s with the New York Philharmonic (Sony), and Georg Solti’s with the Vienna Philharmonic (Decca). Historic recordings include a powerful 1938 broadcast with Arturo Toscanini conducting the NBC Symphony Orchestra (EMI/IMG Artists, in the

week 14 read and hear more 53 54 Toscanini volume of the series “Great Conductors of the 20th Century”) and Toscanini protégé Guido Cantelli in live performances with both the NBC Symphony (a 1949 broad- cast on Testament, and a 1953 broadcast on Idi) and the New York Philharmonic (a 1953 broadcast on Archipel). For the whole opera, the first complete recording of Rienzi, released in 1970, remains available and recommendable; René Kollo, Siv Wennberg, and Janis Martin are the Rienzi, Irene, and Adriano, respectively, with Heinrich Hollreiser con- ducting the Staatskapelle Dresden, chorus of the Staatsoper Dresden, and Leipzig Radio Chorus (EMI). Though I cannot vouch for it, Rienzi is also available on DVD, in a Deutsche Oper Berlin production with Torsten Kerl, Camilla Nylund, and Kate Aldrich in the lead roles, and Sebastian Lang-Lessing conducting (Arthaus Musik).

Relatively recent additions to the Shostakovich bibliography include Shostakovich and Stalin by Solomon Volkov (Random House), Shostakovich and his World, edited by Laurel E. Fay (Princeton University Press), and A Shostakovich Casebook, edited by Malcolm Hamrick Brown (Indiana University Press). Among other things, the last two of these continued to address issues of authenticity surrounding Volkov’s earlier book, Testimony: The Memoirs of Dmitri Shostakovich as (ostensibly) related to and edited by Volkov, pub- lished originally in 1979 (currently available as a Faber & Faber paperback). Volkov’s Testimony served as the basis for a 1988 Tony Palmer film starring Ben Kingsley as Shostakovich. Other important books on the composer include Elizabeth Wilson’s Shostakovich: A Life Remembered, now in a second edition published in 2006 (Princeton University paperback), Laurel E. Fay’s Shostakovich: A Life (Oxford paperback), and the anthology Shostakovich Reconsidered, written and edited by Allan B. Ho and Dmitry Feofanov (Toccata Press). David Fanning discusses Shostakovich’s symphonies in the chapter “The Symphony in the Soviet Union (1917-91)” in A Guide to the Concerto, edited by Robert Layton (Oxford paperback). Michael Steinberg’s program note on Shostakovich’s Symphony No. 15 is in his compilation volume The Symphony–A Listener’s Guide (Oxford University paperback). Hugh Ottaway’s Shostakovich Symphonies in the handy series of BBC Music Guides is worth seeking (University of Washington paperback). There is much first-hand information about Shostakovich’s life and career to be learned from Story of a Friendship: The Letters of Dmitry Shostakovich to Isaak Glikman, 1941-1975, trans- lated by Anthony Phillips, with commentary by Glikman (Cornell University Press). Also useful is Boris Schwarz’s Music and Musical Life in Soviet Russia, Enlarged Edition, 1917-1981 (Indiana University Press).

The composer’s son, Maxim Shostakovich, recorded the Symphony No. 15 with the Prague Symphony Orchestra (Supraphon). The recording by Eugene Ormandy and the Philadelphia Orchestra, who gave the American premiere, remains available (RCA). Other recordings, listed alphabetically by conductor, include Bernard Haitink’s with both the London Philharmonic (Decca) and the Royal Concertgebouw Orchestra of Amsterdam (RCO Live), Mariss Jansons’s with the London Philharmonic (EMI), Vasily Petrenko’s with the Royal Liverpool Philharmonic (budget-priced Naxos), and Kurt Sanderling’s with both the Berlin Symphony Orchestra (Berlin Classics)and the Cleveland Orchestra (Erato).

Marc Mandel

week 14 read and hear more 55

Guest Artists

Andris Poga

In November 2013, Andris Poga was named music director of the Latvian National Symphony Orchestra for a three-year term. Appointed an assistant conductor of the Boston Symphony Orchestra beginning with the 2012-13 season, Mr. Poga graduated from the Jazeps Vitols Latvian Academy of Music in 2004 with a degree in conducting. He also studied philosophy at the University of Latvia, and from 2004 to 2005 studied conducting with Uroš Lajovic at the Vienna University of Music and Performing Arts. While still a student, he took part in the master classes of conductors including Mariss Jansons, Seiji Ozawa, and Leif Segerstam. Since 2007 he has been a regular conductor of the Latvian National Symphony Orchestra and has led performances of Beethoven, Brahms, and Mahler symphonies, as well as works by Weber, Richard Strauss, Hindemith, Messiaen, and Alban Berg, among others. He was appointed music director and chief conductor of the Riga Professional Symphonic Band and held this position from 2007 to 2010. Mr. Poga founded the Konsonanse Chamber Orchestra and has conducted concert tours in Latvia, Germany, Finland, and Spain. Winner of the Latvia Great Music Award in 2007, he was also awarded first prize in the 2010 Evgeny Svetlanov Inter- national Conducting Competition in Montpellier. He served as assistant to Myung-Whun Chung for a concert of the Orchestre Philharmonique de Radio France in October 2010. In 2011 he became assistant conductor to Paavo Järvi at the Orchestre de Paris, with which in fall 2013 he twice substituted for ailing conductors, leading works of Poulenc, Tchaikovsky, and Shostakovich at the Salle Pleyel. Recent and upcoming engagements include the NHK Symphony Orchestra, New Japan Philharmonic, Israel Symphony Orchestra, Moscow City Symphony–Russian Philharmonic, Orchestre de Paris, Boston Symphony Orchestra, St. Peters-

week 14 guest artists 57 58 burg Philharmonic Orchestra, Lausanne Chamber Orchestra, and the Hiroshima Symphony Orchestra (with cellist Mischa Maisky). Andris Poga conducted the Boston Symphony Orchestra for the first time in March 2013, leading performances of Britten’s Young Person’s Guide to the Orchestra. He led the BSO in music of Prokofiev, Stravinsky, and Beethoven for his Tangle- wood debut in August 2013, and leads his first full subscription program in this week’s concerts.

Garrick Ohlsson

Since his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide for both his interpretive and technical skills. Though long regarded as one of the world’s leading exponents of Chopin, he commands an enormous repertoire, and is noted also for his performances of Mozart, Beethoven, and Schubert, as well as Romantic works. His wide and eclectic concerto repertoire encompasses some eighty concertos. Mr. Ohlsson’s 2013-14 season includes recitals in Montreal, Philadelphia, San Francisco, Los Angeles, Seattle, and Kansas City, culminating in February at Carnegie Hall, and return appearances with the orchestras of Los Angeles, San Francisco, Boston, Atlanta, and Cleveland. Performances outside North America include Stockholm (Sweden), São Paolo (Brazil), and Hong Kong (China), in addition to a Dvoˇrák project with the Budapest Festival Orchestra and Iván Fischer. Honoring the bicentenary of Franz Liszt’s birth, Mr. Ohlsson’s 2011-12 season included recitals of music by Liszt in Chicago, Hong Kong, London, and New York, where he also appeared at Carnegie Hall with the Atlanta Symphony and at Lincoln Center with the New York Philharmonic. A season earlier, marking the bicentenary of Chopin’s birth, he played a series of all-Chopin recitals in Seattle, Berkeley, and La Jolla, culminating at Lincoln Center. In conjunction with that project, a documentary, “The Art of Chopin,” was released in autumn 2010, followed by a DVD of the two Chopin concertos. In summer 2010 he was featured in all-Chopin programs at Ravinia and Tanglewood, as well as appearances in Taipei, Beijing, Melbourne, and Sydney. Also an avid chamber musician, he has collaborated with the Cleveland, Emerson, Takács, and Tokyo string quartets, among other ensembles. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. A prolific recording artist, he can be heard on Arabesque,

week 14 guest artists 59

RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, and Virgin Classics. His ten-disc set of the complete Beethoven sonatas (Bridge Records) has garnered critical acclaim, as well as a Grammy for volume three. Recent releases include a Hyperion disc of all the Brahms piano variations, Enrique Granados’s Goyescas, music of Charles Tomlinson Griffes, and, on Bridge Records, “Close Connections” (a recital of 20th-century pieces) and works of Liszt. A native of White Plains, New York, Garrick Ohlsson began his piano studies at eight, attended the Westchester Conservatory of Music, and entered the Juilliard School at thirteen. His musical development was influenced in completely different ways by a succession of distinguished teachers, most notably Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhévinne, and Irma Wolpe. Although he won first prizes at the 1966 Busoni Competition in Italy and the 1968 Montreal Piano Competition, it was his 1970 tri- umph at the International Chopin Competition in Warsaw, where he won the Gold Medal, that brought him worldwide recognition as one of the finest pianists of his generation. Since then he has made nearly a dozen tours of Poland, where he retains immense personal popularity. He was awarded the Avery Fisher Prize in 1994 and received the 1998 University Musical Society Distinguished Artist Award in Ann Arbor, Michigan. Mr. Ohlsson made his Boston Symphony debut at Tanglewood in August 1971 and his BSO subscription series debut in January 1981. He has since been a frequent guest with the orchestra, most recently in April 2013 in Boston and New York performing Rachmaninoff’s Rhapsody on a Theme of Paganini, and in two July 2013 Tanglewood concerts playing music of Mozart and Prokofiev. He has also appeared at Tanglewood in recital, and with the Tanglewood Music Center Orchestra.

week 14 guest artists 61 The Great Benefactors

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

ten million and above

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

seven and one half million

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

five million

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

two and one half million

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

62 one million

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

‡ Deceased

week 13 the great benefactors 63

Administration

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

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

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

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

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

week 14 administration 65 For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

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

66 development

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

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

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

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

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

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

week 14 administration 67 information technology Timothy James, Director of Information Technology

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

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

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

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

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

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

week 14 administration 69

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

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

week 14 administration 71 Next Program…

Thursday, January 30, 8pm Friday, January 31, 1:30pm Saturday, February 1, 8pm

bernard haitink conducting

all-ravel program

“alborada del gracioso”

“shéhérazade,” three poems for voice and orchestra Asie (Asia) La Flûte enchantée (The enchanted flute) L’Indifférént (The indifferent one) susan graham, mezzo-soprano

{intermission}

“daphnis et chloé” (complete) tanglewood festival chorus, john oliver, conductor

BSO Conductor Emeritus Bernard Haitink leads two consecutive weeks of concerts this season, beginning with an all-Ravel program featuring the dazzling mezzo-soprano Susan Graham as soloist in the atmospheric orchestral song cycle Shéhérazade, on texts by the Symbolist poet Tristan Klingsor. The composer’s Spanish-tinged, pictorial Alborada del gracioso opens the program, and the work Ravel considered his best, the complete “symphonie choréographique” Daphnis and Chloé, concludes it. Ravel wrote this cornerstone of musical impressionism for the famous Ballets Russes, which gave the premiere in Paris in 1912. It has long been a BSO specialty, and has been recorded by Maestro Haitink with the orchestra.

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

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

Thursday ‘C’ January 30, 8-10 UnderScore Friday February 14, 8-10:55 Friday ‘B’ January 31, 1:30-3:30 (includes comments from the stage) Saturday ‘A’ February 1, 8-10 Saturday ‘B’ February 15, 8-10:50 BERNARDHAITINK, conductor Sunday afternoon February 16, 3-5:55 SUSANGRAHAM, mezzo-soprano (Non-subscription) TANGLEWOOD FESTIVAL CHORUS, DAVID NEWMAN, conductor JOHNOLIVER, conductor BERNSTEIN West Side Story ALL- Alborada del gracioso The BSO plays Bernstein’s score live as a newly RAVEL Shéhérazade, for mezzo-soprano remastered HD print of the film is screened with PROGRAM and orchestra the original vocals and dialogue intact. Daphnis et Chloé (complete)

Thursday, February 20, 10:30am (Open Rehearsal) Thursday ‘A’ February 6, 8-10:05 Thursday ‘C’ February 20, 8-10:05 Friday ‘A’ February 7, 1:30-3:35 Friday ‘B’ February 21, 1:30-3:35 Saturday ‘B’ February 8, 8-10:05 Saturday ‘A’ February 22, 8-10:05 BERNARDHAITINK, conductor MANFREDHONECK, conductor MURRAY PERAHIA, piano ANNE-SOPHIEMUTTER, violin STUCKY Funeral Music for Queen Mary DVORÁKˇ Romance in F minor for violin (after Purcell) and orchestra SCHUMANN Piano Concerto DVORÁKˇ Violin Concerto BRAHMS Symphony No. 4 BEETHOVEN Symphony No. 3, Eroica

Sunday, February 9, 3pm Thursday ‘C’ March 6, 8-10 Jordan Hall, New England Conservatory ANDRISNELSONS, conductor BOSTONSYMPHONYCHAMBERPLAYERS Vocal soloists including RANDALLHODGKINSON , piano GUN-BRITBARKMIN, soprano (Salome) LOEFFLER Rhapsodies for oboe, viola, JANEHENSCHEL, mezzo-soprano (Herodias) and piano GERHARDSIEGEL, tenor (Herod) BEACH Piano Quintet in F-sharp minor, EVGENYNIKITIN, bass-baritone (Jochanaan) Op. 67 STRAUSS Salome Plus new works by Kati AGÓCS, Hannah LASH, Gunther SCHULLER, and Yehudi WYNER, Complete concert performance in German commissioned by the BSO to celebrate the 50th with English supertitles Anniversary Season of the Boston Symphony Chamber Players

Programs and artists subject to change.

week 14 coming concerts 73 Symphony Hall Exit PlanPlanSymphony

74 Symphony Hall InformationInformationSymphony

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

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

week 14 symphony hall information 75 Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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