Week 9 Mendelssohn- Hensel Mendelssohn Dvorák

2018–19 season andris nelsons bostonmusic director symphony orchestra week 9 mendelssohn- hensel mendelssohn dvorák

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 9

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 a brief history of the bso 2 5 a brief history of symphony hall 3 2 this week’s program

Notes on the Program

34 The Program in Brief… 35 Fanny Mendelssohn-Hensel 43 Felix Mendelssohn 51 Antonín Dvoˇrák 59 To Read and Hear More…

Guest Artists

63 Shiyeon Sung 65 Ingrid Fliter

7 0 sponsors and donors 80 future programs 82 symphony hall exit plan 8 3 symphony hall information

the friday preview on january 4 is given by elizabeth seitz of the boston conservatory at berklee.

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org Ansel Adams, The Tetons and Snake River, Grand Teton National Park, Wyoming, about 1942. Gelatin silver print. The Lane Collection. © The Ansel Adams Publishing Rights Trust.

Through February 24 mfa.org/anseladams

Sponsored by With proud recognition of The Wilderness Society and the League of Conservation Voters, made possible by Scott Nathan and Laura DeBonis. Sponsored by Northern Trust. Additional support from the Robert and Jane Burke Fund for Exhibitions, and Peter and Catherine Creighton. With gratitude to the Phillip Leonian and Edith Rosenbaum Leonian Charitable Trust for its generous support of Photography at the MFA. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 138th season, 2018–2019 trustees of the boston symphony orchestra, inc.

Susan W. Paine, Chair • Joshua A. Lutzker, Treasurer

William F. Achtmeyer • Noubar Afeyan • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Todd R. Golub • Michael Gordon • Nathan Hayward, III • Ricki Tigert Helfer • Brent L. Henry • Susan Hockfield • Albert A. Holman, III • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Tom Kuo, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Pamela L. Peedin • Steven R. Perles • Lina S. Plantilla, M.D. • Carol Reich • Arthur I. Segel • Wendy Shattuck • Theresa M. Stone • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Dr. Christoph Westphal • D. Brooks Zug life trustees

Vernon R. Alden • Harlan E. Anderson • J.P. Barger • George D. Behrakis • Gabriella Beranek • Jan Brett • Peter A. Brooke • Paul Buttenwieser • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Deborah B. Davis • Nina L. Doggett • William R. Elfers • Nancy J. Fitzpatrick • Charles H. Jenkins, Jr. • George Krupp • Richard P. Morse • David Mugar • Robert P. O’Block • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • John Reed • Edward I. Rudman • Roger T. Servison • Richard A. Smith • Ray Stata • John Hoyt Stookey • John L. Thorndike • Stephen R. Weber • Stephen R. Weiner • Robert C. Winters † • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer • Evelyn Barnes, Jane B. and Robert J. Mayer, M.D., Chief Financial Officer • Bart Reidy, Clerk of the Board advisors of the boston symphony orchestra, inc.

Tom Kuo, Co-Chair • Sarah Rainwater Ward, Co-Chair

Nathaniel Adams • James E. Aisner • Maureen Alphonse-Charles • Holly Ambler • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Ted Berk • Paul Berz • William N. Booth • Mark G. Borden • Partha Bose • Karen Bressler • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Miceal Chamberlain • Bihua Chen • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Peter Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Adaline H. Frelinghuysen • Stephen T. Gannon • Marion Gardner-Saxe • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Barbara Nan Grossman • Alexander D. Healy • James M. Herzog, M.D. • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman •

week 9 trustees and advisors 3

photos by Michael Blanchard and Winslow Townson

George Jacobstein • Stephen J. Jerome • Giselle J. Joffre • Susan A. Johnston • Mark Jung • Steve Kidder • John L. Klinck, Jr. • Roy Liemer • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Irving H. Plotkin • Andrew S. Plump • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jillian Tung, M.D. • Sandra A. Urie • Antoine van Agtmael • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • June K. Wu, M.D. • Patricia Plum Wylde • Gwill E. York • Marillyn Zacharis advisors emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • Linda J.L. Becker • James L. Bildner • William T. Burgin • Hon. Levin H. Campbell • Carol Feinberg Cohen • Mrs. James C. Collias • Charles L. Cooney • Ranny Cooper • Joan P. Curhan • James C. Curvey • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Ursula Ehret-Dichter • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt † • Lola Jaffe • Everett L. Jassy • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Martin S. Kaplan • Stephen R. Karp • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky † • Robert K. Kraft • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Jay Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone • Robert J. Morrissey • Joseph Patton • John A. Perkins † • Ann M. Philbin • May H. Pierce • Claudio Pincus • Irene Pollin • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Claire Pryor • Robert E. Remis • John Ex Rodgers • Susan Rothenberg • Alan W. Rottenberg • Joseph D. Roxe • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Christopher Smallhorn • Patricia L. Tambone • Samuel Thorne • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

Membership as of September 20, 2018

† Deceased

week 9 trustees and advisors 5

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Contact: John Morey | 617-292-6799 | [email protected] BSO News

Celebrating John Harbison’s 80th Birthday: Boston Symphony Chamber Players at Jordan Hall at the New England Conservatory Sunday afternoon, January 13, at 3 p.m. For the second program of their four-concert Jordan Hall series this season, the Boston Symphony Chamber Players, joined by pianist Gilbert Kalish and soprano Amanda Forsythe, present a special program celebrating the 80th birthday last month of composer John Harbison. The program includes Mr. Harbison’s Duo, for flute and piano (1961); Deep Dances, for cello and double bass (2006); Piano Quintet (1981), and Wind Quintet (1979), followed by J.S. Bach’s Cantata No. 51, Jauchzet Gott in allen Landen. Single tickets at $38, $29, and $22 are available at the Symphony Hall box office, at bso.org, or by calling Sym- phonyCharge at (617) 266-1200. Please note that on the day of the concert, tickets may only be purchased at Jordan Hall.

BSO 101, the BSO’s Free Adult Education Series, Wednesday, January 16, 5:30-7 p.m. at Symphony Hall “BSO 101: Are You Listening?” offers the opportunity to enhance your listening abilities, and increase your enjoyment of BSO performances, through discussion of repertoire to be played in upcoming concerts, focusing on aspects of musical form and of the composers’ individual musical styles. The next session, on Wednesday, January 16, with BSO Asso- ciate Director of Program Publications Robert Kirzinger joined by a member of the BSO, is entitled “Symphonic Shifts—Haydn, Brahms, Sibelius, Copland.” Each BSO 101 session includes recorded musical examples and is self-contained, so no prior musical training, or attendance at any previous session, is required. In addition, a free tour of Symphony Hall is offered immediately following each session. Though admission to the BSO 101 session is free, we request that you make a reservation to secure your place; please call (617) 266-1200 or visit bso.org and go to “Education & Community” on the home page.

BSO Community Chamber Concerts The BSO continues its free, hour-long Community Chamber Concerts featuring BSO musicians in communities throughout the greater Boston area on selected Sunday afternoons at 3 p.m., followed by a coffee-and-dessert reception for the audience and musicians, and at Northeastern University’s Fenway Center on four Friday afternoons at 1:30 p.m. This season’s next Community Chamber program—on Friday, January 11, at the Fenway Center, and on Sunday, January 13, at the Curtis Hall Community Center in Jamaica Plain—features BSO violinists Tatiana Dimitriades and Lucia Lin, violists Danny Kim and Rebecca Gitter,

week 9 bso news 7 and cellists Oliver Aldort and Owen Young, joined by JP Jofre on bandoneon, in music of JP Jofre and Dvoˇrák. Admission is free, but reservations are required; please call 1-888- 266-1200. For further details, please visit bso.org and go to “Education & Community” on the home page. The BSO’s 2018-19 Sunday-afternoon Community Concerts are sponsored by Takeda Pharmaceutical Company Limited.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. The speakers for January and February are Elizabeth Seitz of The Boston Conservatory at Berklee (January 4), author/composer Jan Swafford (January 18), Marc Mandel (January 25 and February 15), composer/pianist Jeremy Gill (February 1), and Robert Kirzinger (February 8).

BSO Broadcasts on WCRB BSO concerts are heard on the radio at 99.5 WCRB. Saturday-night concerts are broadcast live at 8 p.m. with host Ron Della Chiesa, and encore broadcasts are aired on Monday nights at 8 p.m. In addition, interviews with guest conductors, soloists, and BSO musicians are available online at classicalwcrb.org/bso. Current and upcoming broadcasts include this week’s program of Fanny Mendelssohn-Hensel, Felix Mendelssohn, and Dvoˇrák featuring pianist Ingrid Fliter with Shiyeon Sung conducting (January 5; encore January 14); next week’s program of music by John Harbison, Mozart, and Vaughan Williams with conductor Sir Andrew Davis and pianist Alessio Bax (January 12; encore January 21); and the following week’s program under Herbert Blomstedt of Haydn and Brahms featuring cellist Truls Mørk (January 19; encore January 28).

individual tickets are on sale for all concerts in the bso’s 2018-2019 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

2O18/2O19 SEASON

From Bruckner to the Moon MARCH 2, 2019 8PM Melinda Wagner Proceed, Moon FIRST BOSTON PERFORMANCE Francis Poulenc Concerto for Two Pianos and Orchestra Leslie Amper and Randall Hodgkinson, duo piano Anton Bruckner Symphony No. 3 in D Minor (“Wagner”) BOSTON UNIVERSITY TICKETS ON SALE NEPHILHARMONIC.ORG TSAI PERFORMANCE CENTER

8 The Irma Fisher Mann Guest The Marie L. Audet and Conductor, January 3-5, 2019 Fernand Gillet Concerts, Irma Fisher Mann was a music lover who January 4 and 5, 2019 adored the Boston Symphony Orchestra. In recognition of a bequest from Marie L. Whether she was attending concerts with Audet Gillet, the first pair of Friday-afternoon her family at Symphony Hall or spending and Saturday-evening Boston Symphony weekends at Tanglewood, the BSO brought concerts of the new year is dedicated to immense joy to her life. Irma wrote about the mem ory of Mrs. Gillet and her husband, music, learned how to play piano, and passed the late Fernand Gillet, who was the BSO’s on her love of music to her daughter, Eliza- principal oboe from 1925 to 1946. Mrs. beth Mann, who is a professional flutist in Gillet’s bequest endows in perpetuity two New York City. A longtime patron of the Bos- subscription concerts each year, in mem ory ton Symphony Orchestra, Mrs. Mann was an of her and her husband. The first such con- active member of the Higginson Society. certs were given in January 1990. It is particularly meaningful to her family that Throughout her eighty-nine years, Marie Mrs. Mann’s gift to the BSO is supporting a Gillet was surrounded by glorious music series of concerts being led by female guest that brought her much joy and pleasure. conductor Shiyeon Sung, who is making her Married to Fern and Gillet for almost fifty first Boston Symphony appearances since years, she devoted much of her life to teach- her tenure as a BSO assistant conductor from ing piano privately and at the New England 2007 to 2010. A trailblazer for women in Conserva tory of Music, and attending Bos ton the field of marketing and communications, Symphony concerts in Symphony Hall Mrs. Mann was the first woman to hold a and at Tanglewood. She maintained a very corporate officer position in the U.S. hotel special relationship with several of her industry—senior vice-president of marketing pupils until her death in October 1988. for Sonesta Hotels. She also served as an Mrs. Gillet’s love for and devotion to the adjunct professor of advertising, branding, Boston Symphony Orchestra spanned more and communication at Boston University than sixty years. A faithful subscriber to and chairman of the Boston University the Friday-afternoon concerts through the School of Hospitality Advisory Board, an 1987 season, she was a member of the international overseer for Tufts University, Higginson Society from its inception and and chairman of the Board of Governors of regularly attended special events, including the Tufts New England Medical Center. A the luncheon in the spring of 1987 for those founding member and board member of The who had been attend ing BSO concerts for Commonwealth Institute, a non-profit orga- fifty years or more. The Tanglewood Music nization that helps to educate and support Center was very important to her; in 1983 over 400 women-owned businesses, Mrs. she endowed two Guarantor Fellowships— Mann was also Board of Trustees chairman the Fernand Gillet Fellowship for an oboe emeritus for Emerson College, one of the student and the Marie L. Audet Gillet Fellow- most outstanding communication colleges in ship for a piano student. the country. In addition, she founded her own Born in Paris, oboist Fernand Gillet (1882- marketing company—Irma S Mann Strategic 1980) performed with the Lamoureux Or- Marketing—which became the largest woman- chestra and the Paris Grand Opera before owned marketing agency in New England. Serge Koussevitzky invited him to join the Irma Fisher Mann was committed to creating Boston Symphony Orchestra in 1925 as prin- opportunities for women in the workplace cipal oboe, a position he held for twenty- throughout her career. Petite in stature, she one years. During the course of his seventy- possessed a larger-than-life personality.

week 9 bso news 9 We are honored to support the Boston Symphony Orchestra

as Sponsor of Casual Fridays BSO Young Professionals BSO College Card and Youth and Family Concerts

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . five-year teaching career he served on the the scenes at Symphony Hall. In these free, faculties of the Tanglewood Music Center, guided tours, experienced members of the the New England Conservatory, and Boston Boston Symphony Association of Volunteers University; the New England Conservatory unfold the history and traditions of the Bos- and the Eastman School of Music presented ton Symphony Orchestra—its musicians, him with honorary Doctor of Music degrees; conductors, and supporters—as well as and he published several technical methods offer in-depth information about the Hall for oboe in his native France. Mr. Gillet was itself. Tours are offered on select weekdays awarded the Croix de Guerre for his service at 4:30 p.m. and some Saturdays at 5 p.m. in the French Flying Corps during World War I. during the BSO season. Please visit bso.org/ tours for more information and to register. Friday-afternoon Bus Service to Symphony Hall Join Our Community of If you’re tired of fighting traffic and searching Music Lovers— for a parking space when you come to Friday- The Friends of the BSO afternoon Boston Symphony concerts, why As a music lover, you know how special not consider taking the bus from your com- it is to experience a performance here at munity directly to Symphony Hall? The Symphony Hall. Attending a BSO concert Boston Symphony Orchestra is pleased to is a communal experience—thousands of continue offering round-trip bus service on concertgoers join together to hear 100 Friday afternoons at cost from the following musicians collaborate on each memorable communities: Beverly, Canton, Cape Cod, performance. Without an orchestra, there Concord, Framingham, Holyoke, Milton, is no performance, and without an audi- the South Shore, Swampscott, Wellesley, ence, it is just a rehearsal. There’s another Weston, and Worcester in Massachusetts; community that helps to make it all possi- Nashua, New Hampshire; and Rhode Island. ble—the Friends of the BSO. Every $1 the In addition, we offer bus service for selected BSO receives through ticket sales must be concerts from the Holyoke/Amherst area. matched by an additional $1 of contributed Taking advantage of your area’s bus service support to cover annual expenses. Annual not only helps keep this convenient service membership gifts from the Friends of the operating, but also provides opportunities BSO help bridge that gap. The Friends are to spend time with your Symphony friends, the cornerstone upon which the orchestra meet new people, and conserve energy. For is built, keeping the music playing to the further information about bus transportation delight of audiences all year long. In addition to Friday-afternoon Boston Symphony con- to joining our family of like-minded music certs, please call the Subscription Office at lovers, you’ll also enjoy a variety of exclusive (617) 266-7575. benefits designed to bring you closer to the music you cherish. Friends receive advance Go Behind the Scenes: ticket ordering privileges, discounts at the Symphony Shop, and special invitations The Irving W. and Charlotte F. Rabb to such behind-the-scenes donor events Symphony Hall Tours as BSO and Pops working rehearsals, and The Irving W. and Charlotte F. Rabb Sym- much more. Friends memberships start at phony Hall Tours, named in honor of the just $100. To join our community of music Rabbs’ devotion to Symphony Hall through lovers in the Friends of the BSO, contact a gift from their children James and Melinda the Friends Office at (617) 638-9276 or Rabb and Betty (Rabb) and Jack Schafer, [email protected], or join online at provide a rare opportunity to go behind bso.org/contribute.

week 9 bso news 11

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12 BSO Members in Concert Those Electronic Devices… Founded by former BSO cellist Jonathan As the presence of smartphones, tablets, and Miller, the Boston Artists Ensemble performs other electronic devices used for commu- a program entitled “(more) Art of the String nication, note-taking, and photography has Quintet” on Friday, January 4, at 8 p.m. increased, there have also been continuing at Hamilton Hall in Salem and on Sunday, expressions of concern from concertgoers January 6, at 3 p.m. at St. Paul’s Episcopal and musicians who find themselves dis- Church, 15 St. Paul Street, Brookline. Violin- tracted not only by the illuminated screens ists Peter Zazofsky and Bayla Keyes and on these devices, but also by the physical violists Beth Guterman Chu and Jonathan Chu movements that accompany their use. For join Mr. Miller for Mozart’s String Quintet this reason, and as a courtesy both to those No. 5 in D, K.593, and Dvoˇrák’s String Quintet on stage and those around you, we respect- in E-flat, Opus 97. Tickets are $30 (discounts fully request that all such electronic devices for seniors and students), available at the be completely turned off and kept from view door. For more information, call (617) 964- while BSO performances are in progress. 6553 or visit bostonartistsensemble.org. In addition, please also keep in mind that taking pictures of the orchestra—whether Emmanuel Church’s “Late Night at Emmanuel” photographs or videos—is prohibited during series presents a celebration of John Harbi- concerts. Thank you very much for your son’s 80th birthday on Saturday, January 26, cooperation. at 8 p.m., with the same program repeated at 10 p.m. Featuring Mr. Harbison as pianist, the Lydian String Quartet, and vocalists from the On Camera With the BSO Emmanuel ensemble, the all-Harbison pro- The Boston Symphony Orchestra frequently gram includes the Boston premiere of his records concerts or portions of concerts String Quartet No. 6; Thanks, Victor, a med- for archival and promotional purposes via ley of popular Victor Young tunes arranged our on-site video control room and robotic for string quartet; the world premiere of six cameras located throughout Symphony Hall. new popular tunes by Harbison “written Please be aware that portions of this con- in the margins,” with the composer at the cert may be filmed, and that your presence piano; and birthday surprises. For tickets and acknowledges your consent to such photog- more information, visit emmanuelmusic.org raphy, filming, and recording for possible use or call (617) 536-3356. in any and all media. Thank you, and enjoy The Concord Chamber Music Society, founded the concert. by BSO violinist Wendy Putnam, performs Prokofiev’s Violin Sonata in D, Opus 94a, Debussy’s Piano Trio in G, and Walton’s Comings and Goings... Piano Quartet in D minor on Sunday, Janu- Please note that latecomers will be seated ary 27, at 3 p.m. (pre-concert lecture at 2 p.m.) by the patron service staff during the first at the Concord Academy Performing Arts convenient pause in the program. In addition, Center, 166 Main Street, Concord, MA. please also note that patrons who leave the Joining Ms. Putnam are BSO principal viola auditorium during the performance will not Steven Ansell, cellist Michael Reynolds, and be allowed to reenter until the next convenient- pianist Vytas Baksys. Tickets are $47 and pause in the program, so as not to disturb the $38 (discounts for seniors and students). performers or other audience members while For more information, call (978) 405-0130 the music is in progress. We thank you for or visit concordchambermusic.org. your cooperation in this matter.

week 9 bso news 13 BOSTONS #1 GLOBAL CARRIER. Connecting you to 45+ destinations worldwide. PROUD TO BE THE OFFICIAL AIRLINE OF THE BOSTON SYMPHONY ORCHESTRA. on display in symphony hall This year’s BSO Archives exhibit on the orchestra and first-balcony levels of Symphony Hall encompasses a widely varied array of materials, some of it newly acquired, from the Archives’ permanent collection. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • An exhibit case in the Brooke Corridor documenting grand musical events in Boston prior to the founding of the BSO • An exhibit case in the Brooke Corridor spotlighting BSO founder and sustainer Henry Lee Higginson • An exhibit case in the Brooke Corridor celebrating women composers whose music the BSO has performed • Two exhibit cases in the Hatch Corridor focusing on the construction and architecture of Symphony Hall in the first balcony corridors: • An exhibit case, audience-right, tracing the crucial role of the BSO’s orchestra librarian throughout the orchestra’s history • An exhibit case, also audience-right, highlighting a newly acquired collection of letters written between 1919 and 1924 by Georg Henschel, the BSO’s first conductor, to the French flutist Louis Fleury, as well as Henschel the composer • An exhibit case, audience-left, documenting Symphony Hall’s history as a venue for jazz concerts between 1938 and 1956 in the cabot-cahners room: • Two exhibit cases focusing on the life, career, and family history of the late Tanglewood Festival Chorus founder/conductor John Oliver, including personal and professional papers, photographs, and other memorabilia, all donated to the BSO Archives in 2018 by Mr. Oliver’s estate • An exhibit case drawn from materials acquired by the BSO Archives in 2017 documenting the life and musical career of former BSO violinist Einar Hansen, a member of the BSO from 1925 to 1965

TOP OF PAGE, LEFT TO RIGHT: Composer Amy Beach (1867-1944), c.1910 (Fraser Studios) An April 1947 program from a Symphony Hall concert featuring Billie Holiday and Louis Armstrong A young John Oliver at the keyboard, c.1960 (photographer unknown)

week 9 on display 15 Marco Borggreve

Andris Nelsons

The 2018-19 season is Andris Nelsons’ fifth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons will lead fourteen of the BSO’s twenty-six subscription programs in 2018-19, ranging from orchestral works by Haydn, Beethoven, Tchaikovsky, Stravinsky, and Copland to concerto collaborations with acclaimed soloists, as well as world and American premieres of pieces newly commissioned by the BSO from Thomas Adès, Sebastian Currier, Andris Dzenītis, and Mark-Anthony Turnage; the continuation of his complete Shostakovich symphony cycle with the orchestra, and concert performances of Puccini’s one-act opera Suor Angelica. In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. In November 2017, he and the orchestra toured Japan together for the first time. In February 2018, he became Gewandhaus- kapellmeister of the Gewandhausorchester Leipzig, in which capacity he brings both orchestras together for a unique multi-dimensional alliance. Immediately following the 2018 Tanglewood season, Maestro Nelsons and the BSO made their third European tour together, playing concerts in London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam. Their first European tour, following the 2015 Tanglewood season, took them to major European capitals and the Lucerne, Salzburg, and Grafenegg festivals; the second, in May 2016, took them to eight cities in Germany, Austria, and Luxembourg.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tangle- wood debut in July 2012, and his BSO subscription series debut in January 2013. His recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms symphonies on BSO Classics; Grammy-winning recordings

16 on Deutsche Grammophon of Shostakovich’s symphonies 5, 8, 9, and 10, the initial releases in a complete Shostakovich symphony cycle for that label; and a new two-disc set pairing Shostakovich’s symphonies 4 and 11, The Year 1905. Under an exclusive contract with Deutsche Grammophon, Andris Nelsons is also recording the complete Bruckner symphonies with the Gewandhausorchester Leipzig and the complete Beethoven symphonies with the Vienna Philharmonic.

The 2018-19 season is Maestro Nelsons’ final season as artist-in-residence at the Konzerthaus Dortmund and marks his first season as artist-in-residence at Hamburg’s Elbphilharmonie. In addition, he continues his regular collaborations with the Vienna Philharmonic and Berlin Philharmonic. Throughout his career, he has also established regular collaborations with Amsterdam’s Royal Concertgebouw Orchestra, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra, and has been a regular guest at the Bayreuth Festival and the Royal Opera House, Covent Garden.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. Marco Borggreve

week 9 andris nelsons 17 Boston Symphony Orchestra 2018–2019

andris nelsons bernard haitink seiji ozawa thomas adès Ray and Maria Stata LaCroix Family Fund Music Director Laureate Deborah and Philip Edmundson Music Director Conductor Emeritus Artistic Partner endowed in perpetuity endowed in perpetuity thomas wilkins Germeshausen Youth and Family Concerts Conductor endowed in perpetuity

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

18 photos by Winslow Townson and Michael Blanchard

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

week 9 boston symphony orchestra 19 ASSISTING NEW ENGLAND FAMILIES WITH THE SALE OF THEIR FINE JEWELRY AND PAINTINGS SINCE 1987.

ALEXANDER CALDER Gold Brooch, ca. 1948

SOLD AT AUCTION: $79,300

GROGANCO.COM | 20 CHARLES STREET, BOSTON, MASSACHUSETTS 02114 | 617.720.2020 BSO Archives

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

A Brief History of the BSO

Now in its 138th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philanthropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music.

Launched in 1996, the BSO’s website, bso.org, is the largest and most-visited orchestral website in the United States, receiving approximately 7 million visitors annually on its full site as well as its smart phone-/mobile device-friendly web format. The BSO is also on Facebook and Twitter, and video content from the BSO is available on YouTube. An expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surrounding communities. Through its Education and Community Engagement programs, the BSO provides individuals of all back- grounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members.

The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most

week 9 a brief history of the bso 21 revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating

BSO Archives in the appointment of the legendary Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama- Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians.

It was in 1936 that Koussevitzky led the orchestra’s first concerts Major Henry Lee Higginson, founder in the Berkshires; he and the players took up annual summer of the Boston Symphony Orchestra residence at Tanglewood a year later. Koussevitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center).

Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named

Music Director Laureate. In BSO Archives 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations.

Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tangle- wood, and on tour in Europe, as well as recording with the Three BSO music directors of the past: Pierre Monteux (music director, orchestra. Previous principal 1919-24), Serge Koussevitzky (1924-49), and Charles Munch (1949-62) guest conductors of the orches tra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984.

22 The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tangle- wood Music Center; and in 2007 led the BSO in BSO Archives an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s next music director, a position he took up in the 2014-15 season, following a year as music director designate.

Rush ticket line at Symphony Hall, probably in the 1930s Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world. LIZA VOLL PHOTOGRAPHY LIZA VOLL

week 9 a brief history of the bso 23

BSO Archives

A Brief History of Symphony Hall

The first home of the Boston Symphony Orchestra was the old Boston Music Hall, which stood downtown where the Orpheum Theatre now stands, held about 2,400 seats, and was threatened in 1893 by the city’s road-building/rapid transit project. That summer, the BSO’s founder, Major Henry Lee Higginson, organized a corporation to finance a new and permanent home for the orchestra. On October 15, 1900—some seven years and $750,000 later—the new hall was opened. The inaugural gala concluded with a performance of Beethoven’s Missa Solemnis under the direction of then music director Wilhelm Gericke.

At Higginson’s insistence, the architects—McKim, Mead & White of New York—engaged Wallace Clement Sabine, a young assistant professor of physics at Harvard, as their acoustical consultant, and Symphony Hall became the first auditorium designed in accor- dance with scientifically-derived acoustical principles. It is now ranked as one of the three best concert halls in the world, along with Amsterdam’s Concertgebouw and Vienna’s Musikverein. Bruno Walter called it “the most noble of American concert halls,” and Herbert von Karajan, comparing it to the Musikverein, noted that “for much music, it is even better...because of the slightly lower reverberation time.”

Symphony Hall is 61 feet high, 75 feet wide, and 125 feet long from the lower back wall to the front of the stage. The walls of the stage slope inward to help focus the sound. The side balconies are shallow so as not to trap any of the sound, and though the rear balconies are deeper, sound is properly reflected from the back walls. The recesses of the coffered ceiling help distribute the sound throughout the hall, as do the statue-filled niches along the three sides. The auditorium itself is centered within the building, with corridors and offices insulating it from noise outside. The leather seats are the ones installed for the hall’s opening in 1900. With the exception of the wood floors, the hall is built of brick, steel, and plaster, with only a moderate amount of decoration, the original, more ornate plans for the building’s exterior having been much simplified as a cost-reduc- ing measure. But as architecture critic Robert Campbell has observed, upon penetrating the “outer carton” one discovers “the gift within—the lovely ornamented interior, with its

BSO conductor Wilhelm Gericke, who led the Symphony Hall inaugural concert

week 9 a brief history of symphony hall 25 Innovation, now seating seven.

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Architect’s watercolor rendering of Symphony Hall prior to its construction

delicate play of grays, its statues, its hint of giltwork, and, at concert time, its sculptural glitter of instruments on stage.”

Symphony Hall was designed so that the rows of seats could be replaced by tables for Pops concerts. For BSO concerts, the hall seats 2,625. For Pops concerts, the capacity is 2,371, including 241 small tables on the main floor. To accommodate this flexible system—an innovation in 1900—an elevator, still in use, was built into the Symphony Hall floor. Once a year the five Symphony Hall chandeliers are lowered to the floor andl al 394 lightbulbs are changed. The sixteen replicas of Greek and Roman statues—ten of mythi- cal subjects, six of actual historical figures—are related to music, art, and literature. The statues were donated by a committee of 200 Symphony-goers and cast by P.P. Caproni and Brother, Boston, makers of plaster reproductions for public buildings and art schools. They were not ready for the opening concert, but appeared one by one during the first two seasons.

The Symphony Hall organ, an Aeolian-Skinner designed by G. Donald Harrison and installed in 1949, is considered one of the finest concert hall organs in the world. The console was autographed by Albert Schweitzer, who expressed his best wishes for the organ’s tone. There are more than 4,800 pipes, ranging in size from 32 feet to less than six inches and located behind the organ pipe facade visible to the audience. The organ was commissioned to honor two milestones in 1950: the fiftieth anniversary of the hall’s opening, and the 200th anniversary of the death of Johann Sebastian Bach. The 2004-05 season brought the return to use of the Symphony Hall organ following a two-year reno- vation process by the firm of Foley-Baker, Inc., based in Tolland, CT.

Two radio booths used for the taping and broadcasting of concerts overlook the stage at audience-left. In 2015 a space in the basement was renovated as a cutting-edge control room for BSO recordings. The hall was completely air-conditioned during the summer of 1973, and in 1975 a six-passenger elevator was installed in the Massachusetts Avenue stair- well. The Massachu setts Avenue lobby and box office were completely renovated in 2005.

Symphony Hall has been the scene of more than 250 world premieres, including major works by Samuel Barber, Béla Bartók, Elliott Carter, Aaron Copland, Henri Dutilleux, George Ger shwin, Sofia Gubaidulina, John Harbison, Walter Piston, Sergei Prokofiev, Roger Sessions, Igor Stravinsky, Michael Tippett, John Williams, and Ellen Taaffe Zwilich. For many years the biggest civic building in Boston, it has also been used for many pur-

week 9 a brief history of symphony hall 27

BSO Archives

Symphony Hall in the early 1940s, with the main entrance still on Huntington Avenue, before the intersection of Massachusetts and Huntington avenues was reconstructed so the Green Line could run underground poses other than concerts, among them the First Annual Automobile Show of the Boston Auto mobile Dealers’ Association (1903), the Boston premiere of Cecil B. DeMille’s film version of Carmen starring Geraldine Farrar (1915), the Boston Shoe Style Show (1919), a debate on American participation in the League of Nations (1919), a lecture/demon- stration by Harry Houdini debunking spiritualism (1925), a spelling bee sponsored by the Boston Herald (1935), Communist Party meetings (1938-40; 1945), Jordan Marsh- sponsored fashion shows “dedicated to the working woman” (1940s), and all the inau- gurations of former longtime Boston mayor James Michael Curley.

A couple of interesting points for observant concertgoers: The plaques on the prosceni- um arch were meant to be inscribed with the names of great composers, but the hall’s original directors were able to agree unanimously only on Beethoven, so his remains the only name above the stage. The ornamental initials “BMH” in the staircase railings on the Huntington Avenue side (originally the main entrance) reflect the original idea to name the building Boston Music Hall, but the old Boston Music Hall, where the BSO had performed since its founding in 1881, was not demolished as planned, and a decision on a substitute name was not reached until Symphony Hall’s opening.

In 1999, Symphony Hall was designated and registered by the United States Department of the Interior as a National Historic Landmark, a distinction marked in a special ceremony at the start of the 2000-01 season. In 2000-01, the Boston Symphony Orchestra marked the centennial of its home, renewing Symphony Hall’s role as a crucible for new music activity, as a civic resource, and as a place of public gathering. The programming and celebratory events included world premieres of works commissioned by the BSO, the first steps of a new master plan to strengthen Symphony Hall’s public presence, and the launching of an initiative to extend the sights and sounds of Symphony Hall via the internet. Recent renovations have included new electrical, lighting, and fire safety systems; an expanded main lobby with a new marble floor; and, in 2006, a new hardwood stage floor matching the specifications of the original. For the start of the 2008-09 season, Symphony Hall’s clerestory windows (the semi-circular windows in the upper side walls of the auditorium) were reopened, allowing natural light into the auditorium for the first time since the 1940s. The latest additions to Symphony Hall include a new, state-of-the- art recording studio and a newly constructed, state-of-the-art video control room. Now more than a century old, Symphony Hall continues to serve the purpose for which it was built, fostering the presence of music familiar and unfamiliar, old and new—a mission the BSO continues to carry forward into the world of tomorrow.

week 9 a brief history of symphony hall 29

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 138th season, 2018–2019

Thursday, January 3, 8pm Friday, January 4, 1:30pm | the marie l. audet gillet concert Saturday, January 5, 8pm | the fernand gillet concert

shiyeon sung conducting

mendelssohn-hensel overture in c

mendelssohn piano concerto no. 1 in g minor, opus 25 Molto allegro con fuoco Andante Presto—Molto allegro e vivace ingrid fliter

{intermission}

Marco Borggreve

32 dvorákˇ symphony no. 8 in g, opus 88 Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo conductor shiyeon sung’s appearance is supported by a gift from irma fisher mann.

bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2018-19 season. friday-afternoon concert series sponsored by the brooke family

The evening concerts will end about 9:45, the afternoon concert about 3:15. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. 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. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 9 program 33 The Program in Brief...

In her first BSO appearances since her tenure as a BSO assistant conductor from 2007 to 2010, South Korean conductor Shiyeon Sung pairs works by two of the best-known siblings in classical- music history: Fanny Mendelssohn-Hensel’s Overture in C opens the program, followed by younger brother Felix’s Piano Concerto No. 1. Born into a prosperous, culturally oriented family, Fanny and Felix began composing and performing while quite young, also developing a mutually supportive relationship that continued into adulthood. There was a very significant difference in their upbringings, however: whereas Felix was encouraged by his parents to pursue a musical career, Fanny, like other young women of the time, was expected to become a housewife. But this did not prevent her from composing nearly 500 works, including songs, chamber music, solo piano music, and choral pieces—though most of her output remains virtually unknown, and some of the few pieces published in her lifetime, which appeared in song and piano collections of Felix’s, were ascribed to him.

Only one purely orchestral work by Fanny has come down to us—the Overture in C, composed in 1832. She herself conducted the premiere two years later, at one of the Sunday musicales she established in her home. The ten-minute overture begins with a slow introduction, starting with a wonderfully lyrical juxtaposition of strings and woodwinds. The sonata-form Allegro is marked “con fuoco,” “with fire.” Though the lyrical second theme suggests music by her brother Felix, one cannot say who influenced whom, given the frequent musical advice they offered each other.

Felix Mendelssohn was soloist in the first performance of his G minor piano concerto in October 1831, at twenty-two. We know that Fanny was soloist in the piece in an 1838 charity concert. Given its demands, both Fanny and Felix must have been formidable pianists. The concerto offers a strikingly well-proportioned, elegant, often dazzling display of virtuosity as both a musical composition and a vehicle for the performer. It also reflects Mendelssohn’s particular approach to concerto form. Unlike the traditional model, and like his later Violin Concerto, there is just the briefest of orchestral introductions before the soloist enters, rather than a full-fledged thematic exposition for orchestra alone. Also like the Violin Concerto, each movement leads directly into the next. In the slow movement, Mendelssohn’s Romantic sensibility emerges in elegantly restrained garb. The Presto finale balances both dazzle and lyricism. Those who know Mendelssohn’s Midsummer Night’s Dream music may find in the finale a highly energized variant of the fairyland music heard so evocatively there.

The great Czech composer Antonín Dvoˇrák worked in a world where German music was the prevailing style, but nevertheless managed to incorporate distinctive elements of his own national culture in his music. His Seventh Symphony owed much to his older close colleague Brahms, but the Eighth, written four years later and completed in 1890, managed both to remain traditionally symphonic and explore highly individual thematic and formal paths. Striking about the first movement is its almost mosaic-like presentation of musical ideas. The Adagio second movement is a kind of funeral march. The third is a comparatively straightforward dancelike movement whose minor-key character has a Czech flavor. The finale is a theme and variations noteworthy for its breadth of mood and variety of orchestral colorations. The Boston Symphony gave the American premiere of this work under Arthur Nikisch in 1892.

Marc Mandel/Robert Kirzinger

34 Fanny Mendelssohn-Hensel Overture in C

FANNY MENDELSSOHN-HENSEL was born in Hamburg, Germany, on November 14, 1805, and died in Berlin on May 14, 1847. She composed her Overture in C, her only known orchestral work, in the spring of 1832; it had its first performance in 1834, at neo of the Sunday musicales she sponsored in the garden house of her Berlin home. These are the first BSO subscription performances of any music by Fanny Mendelssohn-Hensel, though Keith Lockhart conducted a cut version of this piece in a BSO Youth Concerts program he led here in March 1999.

THE SCORE OF THE OVERTURE CALLS FOR two each of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, timpani, and strings.

Fanny Mendelssohn-Hensel was cast in the shadow of her famous younger brother, Felix; appreciation for her music only began in the 1980s. Born into a culturally enlightened, affluent 19th-century family, she had a successful banker for a father, the son of the renowned theologian-philosopher Moses Mendelssohn, an early advocate of human rights and religious freedom, a pivotal figure in creating understanding between Judaism and German secular culture. (In 1816, Fanny and Felix, born Jewish, were baptized as Lutherans.) Her mother, a talented pianist, a good singer, fluent in French and English, read Homer in the original Greek.

Fanny and Felix learned piano from their mother, who soon realized that both were prodigies. The two studied theory, harmony, counterpoint, and composition with composer Carl Friedrich Zelter; both began composing at a young age. At thirteen, Fanny completely memorized Bach’s Preludes from The Well-Tempered Clavier and composed a song as her father’s birthday surprise. Around 1822, the Mendelssohns began bi- weekly Sunday concerts in their home to provide their children with an audience for their musical endeavors.

As she was the older, Fanny initially became Felix’s mentor, musical confidante, and advisor. They became mutually dependent, giving each other musical support and

week 9 program notes 35 Exceptional healthcare is a concerted effort.

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Fanny’s talents, however, did not go unrecognized. The poet Goethe remarked on Felix’s “equally gifted sister”; the contemporary musician Ferdinand Hiller wrote, “Much more than with Felix’s performance, I was impressed with the accomplishments of his sister, Fanny.” Felix, too, admitted that Fanny’s piano playing was as good if not better than his. In 1827, three of Fanny’s songs appeared in a collection Felix published under his own name as Opus 8; in 1830, he added three more of her songs to another collection, Opus 9. A review of Opus 8 in the Allgemeine musikalische Zeitung singled out one of Fanny’s as the most beautiful in the collection, and when Felix queried Queen Victoria which of his songs she preferred, she indicated one of Fanny’s that Felix had included as his own.

In 1829, Fanny married the court painter Wilhelm Hensel (1794-1861); in 1830, she named her son, Sebastian Ludwig Felix, after her favorite composers, in chronological

week 9 program notes 37 Follow the local stories.

wgbhnews.org Self-portrait from 1829 of the painter Wilhelm Hensel (1794-1861), whom Fanny Mendelssohn married that same year

order. Finding herself unable to be devoted wholly to mothering, in 1831 she began her own Sunday concerts at their home, capacious enough to seat an audience of 100 (the building later became the Upper Chamber of the Prussian Parliament). Her musicales offered Fanny an opportunity to influence the music community through programming and collaboration with distinguished artists. These concerts became known throughout Germany, attracting diverse performers—Clara Schumann, Paganini, Gounod, and Liszt—and giving Fanny a vehicle to perform her own compositions.

Fanny could accept her husband’s encouragement that she publish her work while her brother refused to support that endeavor, even though he confessed that Robert Schumann raved about her work. She wrote to Felix: “In any other matter, I’d naturally accede entirely to the wishes of my husband. But in this matter alone, it’s crucial to have your approval; without it, I might not undertake anything of the kind.” Her mother, too, wanted her to publish (though her father did not) and wrote an appeal to Felix, but received a negative response: “Fanny, as I know her, possesses neither the inclination nor calling for authorship. She is too much of a woman for that, as is proper, and looks after her house and thinks neither about the public nor the musical world.... Publishing would only disturb her in these duties, and I cannot reconcile myself to it.” Yet Felix occasionally articulated his admiration; on June 11, 1830, he wrote: “I tell you, Fanny, that I have only to think of some of your pieces to become quite tender and sincere. You really know what God was thinking when he invented music.” In addition, in the 1830s, Fanny helped Felix resurrect Bach’s St. Matthew Passion, which generated the subsequent Bach revival in the 1840s and 1850s, and Felix unquestionably treasured Fanny’s musical judgment about his own work, regularly seeking her critical advice, never hes- itating to modify or excise material that she found questionable. In February 1838 she performed Felix’s G minor piano concerto in a charity benefit concert.

Felix’s reaction was not entirely consistent: he encouraged other female composers, helping them find funding and even conducting the premiere of Clara Schumann’s

week 9 program notes 39

Piano Concerto. Despite her father and her brother’s misgivings, Fanny, determined and dauntless, wrote: I’m beginning to publish...and if I’ve done it of my own free will and cannot blame anyone in my family if aggravation results from it...I hope I shall not dis- grace you, for I am no femme libre.... If it [my publication] succeeds, that is, if people like the pieces and I receive further offers, I know it will be a great stimulus to me, which I have always needed in order to create. If not, I shall be at the same point where I have always been.” Only about ten percent of her almost 500 works was published; she composed 300 songs, many piano pieces, a string quartet, a piano trio, four cantatas, concert arias, and several chamber works. Fanny died an untimely death from a stroke at age forty-one. Felix, grief-stricken at his sister’s passing, died six months later, also succumbing to a stroke.

Fanny composed her Overture in C major in spring 1832, when she was in her mid- twenties. Her only purely instrumental work, and not performed until 1834, at one of her evening musicales, it is a good indication of her style and technique. It has a peace- ful, slow, fairly lengthy introduction (Andante) that paves the way for the main body in sonata form with a tempo change to Allegro di molto before the meter, too, shifts with martial sounds in the brass and timpani; a solo flute links the two sections of the work. Overall, the overture displays splendor, balancing sweeping, majestic passages with light and restrained music. It includes bold modulations and somewhat unusual but confident orchestration, featuring four horns (instead of the more usual two) and a brass fanfare, as well as colorful writing for the woodwinds.

The first subject is spirited, infectious, and driving; a contrasting lyrical second theme follows with accompanying arpeggiations in the cellos. Running scalar string figures and then a series of descending arpeggios make the transition to the development section. There are passages for strings and winds alone, with some lovely woodwind solos, particularly in the recapitulation of the second theme. Mendelssohn scholar R. Larry Todd feels that the overture pays a stylistic debt to Felix’s overture, Calm Sea and Prosperous Voyage, and though he comments that the dramatic pacing of Fanny’s work captures the flair of Carl Maria von Weber’s overtures, he ultimately compares the ending to that of Beethoven’s Fifth Symphony. The excitement she produces resembles a signature sound of Felix’s, but it is not clear whether Felix influenced Fanny, or she influenced him.

Susan Halpern

New York-based annotator susan halpern writes program notes for symphonic, recital, and chamber music concerts, as well as articles, blurbs, and liner notes for recordings and websites. Program note copyright ©2018 Susan Halpern.

week 9 program notes 41 9,977 GOT BACK IN THE GAME

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JAKOB LUDWIG FELIX MENDELSSOHN was born in Hamburg on February 3, 1809, and died in Leipzig, Saxony, on November 4, 1847. (Bartholdy was the name of his mother’s brother Jakob, who had changed his own name from Salomon, taking Bartholdy from the previous owner of a piece of real estate he had bought in Berlin. It was he who persistently urged the family’s conversion to Lutheranism, the name Bartholdy being added to Mendelssohn—to distinguish the Protestant Mendelssohns from the Jewish ones—when Felix’s father converted in 1822, the children already having been baptized in 1816.) Mendelssohn sketched his Piano Concerto No. 1 in Rome in Novem- ber 1830 and completed the score the following year. Mendelssohn himself was soloist for the first performance, which took place at the Odeon in Munich on October 17, 1831.

IN ADDITION TO THE SOLO PIANO, the score calls for two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, timpani, and strings.

Felix Mendelssohn was the cherished crown prince in his cultured, prosperous family. It was the blessed lot of such well-to-do young men to be sent on an educational grand tour. Mendelssohn’s lasted a year and took him via Munich and Vienna to Italy (Venice, Florence, Rome, Naples, Rome again, Florence again, and Milan), Switzerland, Munich for a second time, Paris, London, and so home to Berlin. Munich in October 1831 was a round of parties for the attractive young musician, but he also found time to play chamber music, to give a daily lesson in double counterpoint to “little Mademoiselle L.” (“Imagine a small, delicate-looking, pale girl with noble but not pretty features, so singu- lar and interesting that it is difficult to turn your eyes from her...”), and to complete the piano concerto he had sketched earlier on his journey.

Competing with Mlle. L. for his attentions was a talented seventeen-year-old pianist by the name of Delphine von Schauroth. She was well connected: King Ludwig I himself spoke to Mendelssohn on her behalf, rather to the composer’s annoyance. But Men- delssohn liked Delphine—“[she] is adored here (and deservedly)”—and she received

week 9 program notes 43 Program page for the Boston Symphony Orchestra’s second performance—a one-off performance on January 12, 1893, with soloist Eugenia Castellano and conductor Arthur Nikisch at Chickering Hall in New York—of Mendelssohn’s Piano Concerto No. 1 in G minor, which was preceded by a BSO performance in Milwaukee on May 5, 1887, with pianist Adele Aus der Ohe and conductor Wilhelm Gericke, for which a printed program is lacking (BSO Archives)

44 the dedication of the concerto, which became one of her party pieces in her later career. Mendelssohn, however, played the premiere himself at a concert devoted entirely to his own music. Also included were his Symphony No. 1, the astounding overture he had written at seventeen for Shakespeare’s Midsummer’s Night’s Dream, and some keyboard improvisations.

“I was received with loud and long applause,” Mendelssohn wrote home, “but I was modest and would not reappear.” The advocacy of both Clara Schumann and Franz Liszt helped further to establish the concerto’s popularity; Mendelssohn himself, however, tended to view it disparagingly: “I wrote it in but a few days and almost carelessly; none- theless, it always pleased people the most, but me very little.” Berlioz, too, remarked on its extreme popularity, and in his collection Evenings in the Orchestra he described the fate of an Erard piano that had been through that inescapable piece once too often: M. Erard arrives, but try as he will, the piano, which is out of its mind, has no intention of paying him any heed either. He sends for holy water and sprinkles the keyboard with it, but in vain—proof that it wasn’t witchcraft but merely the natural result of thirty performances of one concerto. They take the keyboard out of the instrument—the keys are still moving up and down by themselves—and they throw it into the middle of the courtyard next to the warehouse. There M. Erard, now in a fury, has it chopped up with an axe. You think that did it? It made matters worse. Each piece danced, jumped, frisked about separately—on the pavement, between our legs, against the wall, in all

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directions, until the warehouse locksmith picked up this bedeviled mechanism in one armful and flung it into the fire of his forge, finally putting an end to it.... Such a fine instrument! We were heartbroken, but what could we do?

The audience at the Munich Odeon, which included the King, must have been astonished by the way the concerto begins—not just by the tempestuous orchestral crescendo but even more by the entrance of the piano after only seventeen preparatory bars. In five concertos he had written in his teens, Mendelssohn had provided the full orchestral exposition listeners expected. True, Beethoven had introduced the piano startlingly early in his Fourth and Fifth concertos (in the first and second measures, respectively), but in both works a relatively brief solo is followed by a normal long tutti.

Although, in the generation of composers including Weber, Berlioz, Chopin, Schumann, Liszt, and Wagner, Mendelssohn counts as a conservative, that turn of temperament did not keep him from having and cultivating an inquiring mind. The question of how pieces begin interested him, and so did the problem of how movements of large works might be connected. In the Piano Concerto No. 1, the drastic short-circuiting of formal conven- tions consorts well with the urgent gestures of this music—Sturm und Drang revisited.

At the end of the first movement’s recapitulation, a series of fanfares commands quiet, cutting into the G minor cadences with assertive and startling B-naturals; then after an elegantly tactful introduction by the piano, cellos and violas sing the touching, lightly sentimental song-without-words of the Andante. (The violins are silent in this movement until it is more than four-fifths over.) In the middle comes a lovely opportunity for the pianist to show skill in filigree, while violas and cellos—with each section divided in two, to make a gloriously rich crème caramel of a sound—continue the melodic flow. Finally, with violins adding their shimmer to the orchestral palate, the piano reclaims the melody.

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48 Another fanfare rouses us from these dreams, and, with a more expansive imitation of the concerto’s opening—suspenseful crescendo in the orchestra and a bravura entrance for the soloist—Mendelssohn launches his headlong and glittering finale with its spar- kling and dancing themes and decorative counter-themes. For a moment he relaxes tempo and mood to bring the briefest of recollections of the first movement’s lyric theme; then, the pianist having been given this chance to catch breath, he launches his sure-to-bring- the-house-down coda.

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

THE FIRST AMERICAN PERFORMANCE OF MENDELSSOHN’S G MINOR PIANO CONCERTO took place on January 17, 1846, when H.C. Timm was soloist with the Philharmonic Society of New York, Ureli Corelli Hill conducting. Boston first heard the concerto on December 9, 1848, at a Boston Musical Fund Society concert with George H. Webb conducting and John Liptrott Hatton as soloist.

THE FIRST BOSTON SYMPHONY PERFORMANCE OF MENDELSSOHN’S G MINOR PIANO CONCERTO took place in Milwaukee on May 5, 1887; Wilhelm Gericke conducted, with Adele Aus der Ohe as soloist. Subsequent BSO performances featured Eugenia Castellano (with Arthur Nikisch conducting, in New York), George W. Proctor (with Emil Paur, in Cambridge), Frieda Siemens (under Gericke, also in Cambridge), Max Pauer (with Karl Muck, this being the BSO’s first Boston performance of the concerto, in February 1913), Lukas Foss (Serge Koussevitzky), Seymour Lipkin (Lukas Foss), Rudolf Serkin (Pierre Monteux and later under Seiji Ozawa), Lilian Kallir (Erich Leinsdorf), Murray Perahia (David Zinman), Lang Lang (the most recent Tanglewood performance, on August 22, 2003, under Sir Neville Marriner), and Robert Levin (the most recent subscription performances, in February 2005, under Robert Spano).

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BostonSymphony 2017-18 Dorrance ND2017.indd 1 7/21/17 4:02 PM Antonín Dvorákˇ Symphony No. 8 in G, Opus 88

ANTONÍN DVORÁKˇ was born at Mühlhausen (Nelahozeves), Bohemia, on September 8, 1841, and died in Prague on May 1, 1904. He wrote his Symphony No. 8 between August 26 and November 8, 1889, and conducted the first performance on February 2, 1890, in Prague. The Boston Symphony Orchestra led by Arthur Nikisch gave the first American performance on February 27, 1892.

THE SYMPHONY IS SCORED for two flutes (second doubling piccolo), two oboes (second doubling English horn for just three measures), two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.

Dvoˇrák’s fame at home had begun with the performance in 1873 of his patriotic cantata Heirs of the White Mountain. (The defeat of the Bohemians by the Austrians at the battle of the White Mountain just outside Prague in 1620 led to the absorption of Bohemia into the Habsburg empire, a condition that obtained until October 28, 1918.) An international reputation was made for him by the first series of Slavonic Dances of 1878 and also by his Stabat Mater. The success in England of the latter work was nothing less than sensational, and Dvoˇrák became a beloved and revered figure there, particularly in the world of choir festivals, much as Mendelssohn had been in the century’s second quarter. (Dvoˇrák’s Stabat Mater will be played by the BSO for the first time since 1980 this coming February 28, March 1, and March 2 with Andris Nelsons conducting.)

In the 1890s, this humble man, who had picked up the first rudiments of music in his father’s combination of butcher shop and pub, played the fiddle at village weddings, and sat for years among the violas in the pit of the opera house in Prague (he was there for the first performance of Smetana’sBartered Bride), would conquer America as well, even serving for a while as director of the National Conservatory in New York. Johannes Brahms was an essential figure in Dvoˇrák’s rise, providing musical inspiration, but also helping his younger colleague to obtain government stipends that gave him something more like the financial independence he needed, and, perhaps most crucially, persuading

week 9 program notes 51 Program page for the first Boston Symphony performance—the American premiere—of Dvoˇrák’s Symphony No. 8 on February 27, 1892, with Arthur Nikisch conducting (BSO Archives)

52 his own publisher Simrock to take him on. Next to talent, nothing matters so much to a young composer as having a responsible and energetic publisher to get the music into circulation, a subject many a composer today could address eloquently.

Unlike Haydn and Beethoven, Dvoˇrák never sold the same work to two different publishers, but on a few occasions, and in clear breach of contract, he fled the Simrock stable, succumbing to the willingness of the London firm of Novello to outbid their competition in Berlin. One of these works was the G major symphony, published in a handsomely printed full-size score by Novello, Ewer, and Co. of London and New York, copyright 1892, and priced at thirty shillings. Dvoˇrák’s other Novello publications were vocal works, including his great dramatic cantata The Specter’s Bride, the oratorio Saint Ludmilla , the Mass in D, and the Requiem. Given the English passion for Dvoˇrák engend ered by his Stabat Mater in 1883, it is no wonder that Novello was willing to bid high.

Simrock primarily wanted piano pieces, songs, chamber music, and, above all, more and more Slavonic Dances—in other words, quick sellers—while Dvoˇrák, for his part, accused Simrock of not wanting to pay the high fees that large works like symphonies merited. (Simrock, having paid 3,000 marks for the Symphony No. 7, offered a mere and insulting 1,000 for No. 8.) Yet Dvoˇrák was not just interested in money, though as someone who had grown up in poverty he was not indifferent to comfort. He had grand goals as a composer of symphony and opera—not just to do those things, but to do them, es pecially symphony, in as original a way as he was capable. Understandably, therefore, and in full awareness of the value of Simrock’s initial support, he resented a publisher

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54 Dvoˇrák’s birthplace at Nelahozeves

who showed some reserve about endorsing his most ambitious undertakings. I also suspect that another factor in these occasional infidelities of Dvoˇrák’s was his unabated ir ritation with Simrock for his insistence on printing his name as German “Anton” rather than Czech “Antonín.” They eventually compromised on “Ant.” Novello was willing to go with “Antonín.”

It had been four years since Dvoˇrák’s last symphony, the magnificent—and very Brahmsian— No. 7 in D minor. During those four years, Dvoˇrák had made yet another attempt at opera (this time with a political-romantic work called The Jacobin, full of superb music), revised the Violin Concerto into its present form, written a second and even finer series of Slavonic Dances, and composed two of his most loved and admired pieces of chamber music, the A major piano quintet and the piano quartet in E-flat. He felt thoroughly ready to tackle another symphony, and as he got to work in the seclusion of his country house, each page of freshly covered manuscript paper bore witness to how well-founded was his faith in himself and his ability to write something that, as he said, would be “different from other symphonies, with individual thoughts worked out in a new way.”

The new symphony opens strikingly with an introduction in tempo, notated in G major like the main part of the movement, but actually in G minor. This melody, which sounds gloriously rich in cellos, clarinets, bassoons, and horns, was actually an afterthought of Dvoˇrák’s, and he figured out how to bring it back most splendidly at crucial points during the movement. The Adagio also begins on a harmonic slant. Those first rapturous phrases for strings are—or seem to be—in E-flat major, and it is only in the eighth measure that the music settles into its real key, C minor. Now we sense the long shadow cast by Beethoven’s Eroica, because the moment C minor is established, the music concentrates on gestures that are unmistakably those of a funeral march. A radiant C major middle section, introduced by a characteristic triple upbeat, makes the Eroica reference even more unmistakable, and rises to a magnificently sonorous climax. After some mo ments

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56 of calm, the music becomes more impassioned than ever and finally subsides in to a coda that is both elegiac and tender. It is also, like most of this symphony, a marvel of imaginative scoring.

By way of a scherzo, Dvoˇrák gives us a leisurely dance in G minor. The Trio, in G major, is one of his most enchanting pages. The main section of the movement returns in the usual way, after which Dvoˇrák gives us a quick coda which is the Trio transformed, music he actually borrowed from his 1874 comic opera The Stubborn Lovers. After this strong taste of national flavor, Dvoˇrák becomes more Czech than ever in the finale, which one might describe as sort of footloose variations, and which is full of delightful orchestral effects, the virtuosic flute variation and the mad, high trilling of the horns from time to time being perhaps the most remarkable of these.

Michael Steinberg

THE FIRST AMERICAN PERFORMANCES OF DVORÁˇ K’S SYMPHONY NO. 8—WHICH WERE ALSO THE FIRST BOSTON SYMPHONY PERFORMANCES—were led by Arthur Nikisch on February 26 and 27, 1892 (see page 52), subsequent BSO performances being given by Charles Munch (in 1951, the first BSO performances since Nikisch’s in 1892!), Antál Dorati, Erich Leinsdorf, Karel Anˇcerl, Charles Wilson, Joseph Silverstein, Seiji Ozawa, Jahja Ling, Andrew Davis, Yuri Temirkanov, Zdenek Macal, Marek Janowski, Christoph Eschenbach, Mariss Jansons, Myung-Whun Chung, James Conlon, Bernard Haitink, Kurt Masur, James Levine, André Previn, Miguel Harth-Bedoya, Herbert Blomstedt, Christoph von Dohnányi, Marcelo Lehninger (the most recent subscription performances, in October 2012), and Andris Nelsons (the most recent Tanglewood performance, on July 11, 2014).

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To read about Fanny Mendelssohn-Hensel, the place to start is R. Larry Todd’s Fanny Hensel: The Other Mendelssohn (Oxford University Press). An earlier biography, published 2003 in an English translation by Camilee Naish, is Françoise Tillard’s Fanny Mendelssohn (Amadeus Press). The article in the 2001 Grove Dictionary of Music and Musicians is by Marcia J. Citron, who also edited The Letters of Fanny Hensel to Felix Mendelssohn (Pendragon Press). Though a varied selection of songs, chamber music, piano sonatas, and choral music by Fanny Mendelssohn-Hensel can be found on CD, there seems to be just one currently available recording of her Overture in C, with Jo Ann Falletta conducting The Women’s Philharmonic (Koch International). Other recordings of the overture can be found on YouTube.

Books in which to read about Felix Mendelssohn (and also Fanny) include Mendelssohn: A Life in Music by R. Larry Todd (Oxford University Press); A Portrait of Mendelssohn by Clive Brown (Yale University Press); The Cambridge Companion to Mendelssohn by Peter Mercer-Taylor (Cambridge University paperback); the anthology Mendelssohn and his World, edited by R. Larry Todd (Princeton University Press); Eric Werner’s Mendels- sohn: A New Image of the Composer and his Age, translated by Dika Newlin (Macmillan); Philip Radcliffe’s Mendelssohn in the Master Musicians series, revised by Peter Ward Jones (Oxford); George Marek’s Gentle Genius, which is more concerned with the composer’s background and milieu than with specifics of the music (Funk & Wagnalls), and Herbert Kupferberg’s The Mendelssohns: Three Generations of Genius (Scribners). Michael Steinberg’s program note on Mendelssohn’s G minor piano concerto is in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback). The G minor piano concerto is given brief consideration in Christopher Headington’s discussion of “The Virtuoso Concerto,” part of the chapter “The Concerto After Beethoven” in A Guide to the Concerto, edited by Robert Layton (Oxford paperback).

Ingrid Fliter has recorded Mendelssohn’s G minor piano concerto with Antonio Mendez and the Scottish Chamber Orchestra (Linn Records, coupled with Schumann’s Piano Concerto). Other recordings of the G minor concerto feature Martin Helmchen with Philippe Herreweghe and the Royal Flemish Philharmonic (Pentatone), Stephen Hough with Lawrence Foster and the City of Birmingham Symphony Orchestra (Hyperion), Lang Lang with Daniel Barenboim and the Chicago Symphony Orchestra (Deutsche Grammo- phon), Murray Perahia with Sir Neville Marriner and the Academy of St. Martin in the Fields (CBS/Sony), Rudolf Serkin with Eugene Ormandy and the Philadelphia Orchestra (Sony), and Jean-Yves Thibaudet with Herbert Blomstedt and the Gewandhaus Orches- tra of Leipzig (Decca).

week 9 read and hear more 59 Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. John Clapham’s Dvoˇrák article from the 1980 edition of The New Grove Dictionary of Music and Musicians was reprinted in The New Grove Late Romantic Masters: Bruckner, Brahms, Dvoˇrák, Wolf (Norton paperback). Clapham is also the author of two books about the composer: Antonín Dvoˇrák: Musician and Craftsman (St. Martin’s) and the more purely biographical Antonín Dvoˇrák (Norton). The article on the composer in the 2001 edition of The New Grove is by Klaus Döge. Also of interest are Alec Robertson’s D v o ˇr á k in the Master Musicians series (Littlefield paperback) and Robert Layton’s BBC Music Guide on Dvoˇrák Symphonies & Concertos (University of Washington paperback). D v o ˇr á k and his World, a collection of essays and documentary material edited by Michael Beck- erman, draws upon recent research and also includes translations from important Czech sources (Princeton). Otakar Šourek published important source material on Dvoˇrák’s life in Antonín Dvoˇrák: Letters and Reminiscences (Artia). All of Dvoˇrák’s symphonies are discussed by Jan Smaczny in his chapter on “The Czech Symphony” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Michael Steinberg’s The Sym- phony–A Listener’s Guide includes his program notes on Dvoˇrák’s Sixth through Ninth symphonies (Oxford paperback).

The Boston Symphony Orchestra recorded Dvoˇrák’s Eighth Symphony with Charles Munch conducting in 1961 (RCA). Though no longer available, a 2008 Tanglewood performance of Dvoˇrák’s Eighth with James Levine conducting the Tanglewood Music Center Orchestra was issued in summer 2012 in the series of 75 downloads celebrating the Tanglewood Festival’s 75th anniversary. Other recordings include Colin Davis’s with the London Symphony Orchestra (LSO Live), Christoph von Dohnányi’s with the Cleve- land Orchestra (London/Decca), Antál Dorati’s with the London Symphony Orchestra (Mercury Living Presence), Manfred Honeck’s with the Pittsburgh Symphony Orchestra (Reference Recordings), István Kertész’s also with the London Symphony (Decca), Rafael Kubelik’s with the Berlin Philharmonic (Deutsche Grammophon), Kurt Masur’s with the New York Philharmonic (Teldec), Václav Neumann’s with the Czech Philharmonic (Supraphon), George Szell’s with the Cleveland Orchestra (Sony Classical), and Václav Talich’s with the Czech Philharmonic (Supraphon).

Marc Mandel

week 9 read and hear more 61

Guest Artists

Shiyeon Sung

When South Korean conductor Shiyeon Sung was appointed assistant conductor of the Boston Symphony Orchestra in 2007, she already had a reputation as one of the most exciting emerging talents on the international music circuit. Shortly before that appointment, she had won the International Conductors Competition Sir Georg Solti and the Gustav Mahler Conductors Competition in Bamberg. During her three-year tenure in Boston, she began a close collaboration with the Seoul Philharmonic Orchestra and conducted its season-opening concert in 2007. In 2009 the Seoul Philharmonic Orchestra established an associate conductor’s position especially for her, which she held until 2013. The list of orchestras that Shiyeon Sung has worked with since then includes such renowned European orchestras as the Rotterdam Philharmonic, the Orchestre Philharmonique de Radio France, Swedish Radio Symphony Orchestra, Philharmonia Orchestra, Konzerthaus Orchestra Berlin, and Bamberg Symphony, as well as the National Symphony Orchestra in Washington, D.C., the Sydney Symphony Orchestra, and the Los Angeles Philharmonic, which she led at the Tongyeong International Music Festival in a spectacular debut concert featuring Martha Argerich. Shiyeon Sung has also appeared as guest conductor at the Teatro Colón and the Stockholm Opera. From 2014 until the end of 2017, she was chief conductor of the Gyeonggi Philharmonic Orchestra, leading the orchestra to international success. Following a 2015 performance at the Philharmonie Berlin, the Gyeonggi Philharmonic under Shiyeon Sung became the first Asian orchestra to be invited for a guest appearance at the renowned Musikfest Berlin, in 2017. Their recording of Mahler’s Symphony No. 5 for Decca documents Shiyeon Sung’s outstanding work with the group of

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64 predominantly young orchestral musicians, for which she was awarded the 2017 Musical Performance Prize from the Daewon Cultural Foundation. Although she has relocated to Berlin, Shiyeon Sung remains a popular guest in her home country; this season she makes her debut at the Korea National Opera in La bohème and appears twice with the Seoul Philharmonic Orchestra. The 2018-19 season also brings debuts with the Seattle Symphony and the Orchestre National d’Île de France, her return this week to the Boston Symphony podium for the first time since concluding her tenure as assistant conductor in 2010, and a return to the Orchestra del Teatro Comunale di Bologna, which immediately re-invited her following a successful debut concert in spring 2018. Born in Pusan, South Korea, Shiyeon Sung won various prizes as a pianist in youth competitions. From 2001 to 2006, she studied orchestral conducting with Rolf Reuter at the Hanns Eisler School of Music in Berlin and continued her education with advanced conducting studies with Jorma Panula at the Royal College of Music in Stockholm.

Ingrid Fliter

Argentine pianist Ingrid Fliter is the winner of the 2006 Gilmore Artist Award—one of just a handful of pianists and the only woman to have received this honor. Having made her Boston Symphony debut at Tanglewood in August 2016 with Chopin’s Piano Concerto No. 2, she makes her BSO subscription series debut this week. Ms. Fliter made her American orchestral debut with the Atlanta Symphony just days after the announcement of her Gilmore Award. Since then she has also appeared with the Cleveland Orchestra, Minnesota Orchestra, the San Francisco, St. Louis, Detroit, National, Cincinnati, Milwaukee, Seattle, Vancouver, Puerto Rico, and Utah symphony orchestras, and the National Arts Centre Orchestra, among others, as well as at the Mostly Mozart, Tanglewood, Grant Park, Aspen, Ravinia, Blossom, Tippet Rise, and Brevard summer festivals. In summer 2015 she was the featured soloist on the Youth Orchestra of the Americas Canadian tour. Recital engagements have taken Ms. Fliter to New York, Chicago, Boston, San Francisco, Vancouver, Detroit, and Fort Worth. In Europe and Asia, she has performed with orchestras and in recital in Amsterdam, London, Berlin, Frankfurt, Salzburg, Cologne, and Tokyo, and participated in

week 9 guest artists 65 The Juilliard-Nord Anglia Performing Arts Programme The British International School of Boston offers students an innovative performing arts curriculum developed by The Juilliard School in collaboration with Nord Anglia Education. Students will gain life skills to enrich their academic experience, develop cultural literacy and be inspired to engage with performing arts throughout their lives.

We look forward to welcoming you at one of our Open Houses: Wednesday Sunday Thursday Wednesday October 18 November 5 December 14 January 17 9:30 a.m. - 11:30 a.m. 11:00 a.m. - 1:00 p.m. 9:30 a.m. - 11:30 a.m. 9:30 a.m. - 11:30 a.m.

www.naejuilliard.com/bisboston such festivals as La Roque d’Anthéron, Prague Autumn, and Tokyo’s World Pianist Series. Recent international engagements include appearances with the Rotterdam, Israel, Hong Kong, Monte Carlo, Osaka, Helsinki, and Royal Stockholm philharmonics, and the Philhar- monia, Royal Philharmonic Orchestra, BBC Symphony, and the Proms in London, as well as the City of Birmingham Symphony Orchestra, Danish Radio Symphony, Danish National Symphony, and Scottish and Swedish chamber orchestras; and recitals in Paris, Barcelona, Milan, Prague, Stockholm, Lisbon, Sydney, and London. Recent and upcoming performance highlights include debuts with the New Jersey and Quebec symphony orchestras, as well as with the Rochester and Louisiana philharmonics; re-engagements with the Toronto, Dallas, St. Louis, Houston, Vancouver, New World, Oregon, Utah, North Carolina, and Nashville symphonies; a tour of Spain with the Royal Scottish National Orchestra, and a fifth tour to Australia. Born in Buenos Aires in 1973, Ingrid Fliter studied in Argentina with Elizabeth Westerkamp before moving to Europe, where she studied in Freiburg with Vitaly Margulis, in Rome with Carlos Bruno, and with Franco Scala and Boris Petrushansky at the Academy “Incontrui col Maestro” in Imola, Italy, where she herself has taught since fall 2015. Ms. Fliter began playing public recitals at eleven and made her professional orchestra debut at the Teatro Colón in Buenos Aires at sixteen. Having won several Argentine competitions, she went on to win prizes at the Cantu International Competition and the Ferruccio Busoni Competition in Italy, and in 2000 was awarded the silver medal at the Frédéric Chopin Competition in Warsaw. Her recordings include both Chopin concertos, the complete Chopin preludes, the Mendelssohn First and Schumann piano concertos, and, most recently, the complete Chopin nocturnes, all on Linn Records; two all-Chopin recordings and an all-Beethoven CD (EMI), and live recordings of Beethoven and Chopin from Amsterdam’s Concertgebouw (VAI Audio).

week 9 guest artists 67 BOSTON PHILHARMONIC ORCHESTRA BEETHOVEN - FEBRUARY 14, 16, 17 IVES & MAHLER - APRIL 26

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68 Your Winter Time Companion

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Download the App 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 Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Sally ‡ and Michael Gordon five million Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber two and one half million Mary and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ • Eaton Vance • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Mr. and Mrs. Paul M. Montrone • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

70 one million Helaine B. Allen • American Airlines • Lois ‡ and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. ‡ • AT&T • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Executive Transportation • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan ‡ Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Thomas and Winifred Faust • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Nathan and Marilyn Hayward • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. Kaye ‡ • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Jane B. and Robert J. Mayer, M.D. • The McGrath Family • Joseph C. McNay, The New England Foundation • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Perles Family Foundation • Polly and Dan ‡ Pierce • 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 • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • Drs. Christoph and Sylvia Westphal • The Helen F. Whitaker Fund • Robert and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (12)

‡ Deceased

week 9 the great benefactors 71 GRIEG GOUNOD GERSHWIN

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

Boston Gourmet is proud to be the exclusive caterer of the Boston Symphony Orchestra

GOURMETCATERERS.COM/BSO • BSO.ORG Administration

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer, endowed in perpetuity Evelyn Barnes, Jane B. and Robert J. Mayer, M.D. Chief Financial Officer Sue Elliott, Judith and Steward Colton Tanglewood Learning Institute Director Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Alexandra J. Fuchs, Thomas G. Stemberg Chief Operating Officer 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 Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Bart Reidy, Director of Development Christopher W. Ruigomez, Director of the Boston Pops and Concert Operations and Assistant Director of Tanglewood Kathleen Sambuco, Director of Human Resources administrative staff/artistic

Colin Bunnell, Library Administrative Assistant • Bridget P. Carr, Blanche and George Jones Director of Archives and Digital Collections • Jennifer Dilzell, Senior Chorus Manager • Sarah Funke Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the President and Chief Executive Officer • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production

Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Personnel Administrator • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer boston pops

Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director Helen N.H. Brady, Director of Boston Pops Sales and Business Director • Leah Monder, Operations Manager • Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services • Thomas Vigna, Group Sales and Marketing Associate business office

Kathleen Donahue, Controller • Mia Schultz, Director of Risk Management • Bruce Taylor, Director of Financial Planning and Analysis James Daley, Accounting Manager • Jennifer Dingley, Senior Accountant • Karen Guy, Accounts Payable Accountant • Jared Hettrick, Business Office Administrator • Erik Johnson, Senior Financial Analyst • Evan Mehler, Financial Analyst • Nia Patterson, Staff Accountant • Michael Scarlata, Accounts Payable Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 9 administration 73 Boston ChamBer musiC soCiety Marcus Thompson, Artistic Director

Winter 2019 at sanders theatre, Cambridge Sun. Jan 6 • 3:00 PM Sun. Feb 24 • 3:00 PM Schubert String Trio in B-flat major, D. 471 B Chaconne, from Partita No. 2 for Solo Violin Mozart Clarinet Trio in E-flat major, K. 498, “Kegelstatt” B String Trio in G major, Op. 9 No. 1 Messiaen Quartet for the End of Time B Piano Quartet No. 3 in C minor, Op. 60 617.349.0086 • www.bostonchambermusic.org

ONE PERFORMANCE ONLY Sunday, January 27, 2019 at 3pm Sanders Theatre at Harvard University

Boston Youth Symphony Federico Cortese, Conductor Edward Berkeley, Stage Director

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74 corporate partnerships Joan Jolley, Director of Corporate Partnerships Hester C.G. Breen, Corporate Partnerships Coordinator • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Laurence E. Oberwager, Director of Tanglewood Business Partners • Claudia Veitch, Director, BSO Business Partners development

Nina Jung Gasparrini, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Pam Malumphy, Individual Giving Advisor • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Laine Carlucci, Assistant Manager, Donor Relations • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Sarah Chin, Donor Acknowledgment and Research Coordinator • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Senior Executive Assistant, Development and Board Relations • Barbara Hanson, Senior Leadership Gifts Officer • Michelle Houle, Major Gifts Coordinator • James Jackson, Associate Director, Telephone Outreach • Heather Laplante, Assistant Director of Development Information Systems • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Leadership Gifts Officer • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Francis Rogers, Major Gifts Officer • Laura Sancken, Assistant Director of Board Engagement • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer education and community engagement Leslie Wu Foley, Interim Director of Education and Community Engagement Deron Hall, Associate Director of Strategic Education Partnerships • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Manager of Education and Community Engagement • Sarah Saenz, Assistant Manager of Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

week 9 administration 75 Listen. The future of music, made here.

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76 human resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter information technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Senior Database Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, User Support Specialist public relations Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate Director of Program Publications sales, subscriptions, and marketing Sarah L. Manoog, Senior Director of Sales, Marketing, and Branding Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Officer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Roberta Kennedy, Director of Retail Operations • Tammy Lynch, Front of House Director • Michael Miller, Director of Ticketing and Customer Experience • Michael Moore, Manager of Digital Marketing and Analytics • Meaghan O’Rourke, Digital Media Manager • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Evan Xenakis, Box Office Representative event services Kyle Ronayne, Director of Events Administration • James Gribaudo, Function Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director and Dean of Fellows • Matthew Szymanski, Manager of Administration • Gary Wallen, Associate Director for Production and Scheduling

week 9 administration 77 OUR NEW BOSTON SHOWROOM IS NOW OPEN.

Steinway and other pianos of distinction park plaza, boston natick mall, natick msteinert.com

We are pleased to welcome customers to our elegantly appointed new showroom in the Park Plaza building in Boston. You are invited to view our selection of Steinway, Boston, Essex and Roland pianos in a comfortable new setting. Or visit our showroom at the Natick Mall. Boston Symphony Association of Volunteers executive committee Chair, Jerry Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2018-19

Café Flowers, Virginia Grant, Stephanie Henry, and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support, Helen Adelman • Flower Decorating, Stephanie Henry and Wendy Laurich • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Elizabeth Michalak • Mailings, Steve Butera • Membership Table/Hall Greeters, Judy Albee • Newsletter, Cassandra Gordon • Volunteer Applications, Suzanne Baum • Symphony Shop, Karen Brown • Tour Guides, Greg Chetel

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week 9 administration 79 Next Program…

Thursday, January 10, 10:30am (Open Rehearsal; Pre-Rehearsal Talk at 9:30am in Symphony Hall) Thursday, January 10, 8pm Friday, January 11, 8pm (“Casual Friday” concert, with introductory comments by a BSO member and no intermission) Saturday, January 12, 8pm

sir andrew davis conducting

john harbison symphony no. 2 (1987) (january 10 and 12 only) Dawn (Luminoso)— Daylight (Con brio, non pesante)— Dusk (Poco largo, lambente)— Darkness (Inesorabile)

mozart piano concerto no. 24 in c minor, k.491 Allegro Larghetto Allegretto alessio bax

{intermission}

vaughan williams symphony no. 5 in d Preludio: Moderato Scherzo: Presto misterioso Romanza: Lento Passacaglia: Moderato

English conductor Sir Andrew Davis and the BSO are joined by Italian pianist Alessio Bax in his BSO debut for one of Mozart’s stormiest works, his C minor piano concerto, No. 24, one of the unsurpassed series of concertos from the height of his Vienna popularity. Opening the concert is Pulitzer Prize-winning composer John Harbison’s 1987 Symphony No. 2, the four movements of which are called “Dawn,” “Daylight,” “Dusk,” and “Darkness”—keys to its evolving expressive and musical character. This is one of several Harbison works being performed this year to mark the 80th birthday year of a composer closely associated with the BSO. Steeped in the musical tradition of England, Vaughan Williams’s Fifth Symphony was composed at the beginning of World War II but maintains an optimistic and affirmative outlook.

80 Coming Concerts… friday previews and pre-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, January 10, 10:30am (Open Rehearsal) Thursday ‘A’ January 17, 8-9:40 Thursday ‘C’ January 10, 8-10 Friday ‘A’ January 18, 1:30-3:10 Friday Evening January 11, 8-9:15 Saturday ‘B’ January 19, 8-9:40 (Casual Friday, with introductory comments Tuesday ‘B’ January 22, 8-9:40 by a BSO member and no intermission) HERBERT BLOMSTEDT, conductor Saturday ‘B’ January 12, 8-10 TRULS MØRK, cello SIR ANDREW DAVIS, conductor HAYDN Cello Concerto No. 1 in C ALESSIO BAX, piano BRAHMS Symphony No. 1 JOHN HARBISON Symphony No. 2 (January 10 and 12 only) MOZART Piano Concerto No. 24 in Thursday ‘D’ January 24, 8-10:10 C minor, K.491 Friday ‘B’ January 25, 1:30-3:40 VAUGHAN Symphony No. 5 Saturday ‘A’ January 26, 8-10:10 WILLIAMS Tuesday ‘C’ January 29, 8-10:10 JOHN STORGÅRDS, conductor Sunday, January 13, 3pm MARTIN HELMCHEN, piano Jordan Hall, New England Conservatory KAIJA SAARIAHO Ciel d’hiver BOSTON SYMPHONY CHAMBER PLAYERS MOZART Piano Concerto No. 22 with GILBERT KALISH, piano in E-flat, K.482 and AMANDA FORSYTHE, soprano SIBELIUS Symphony No. 6 SIBELIUS Symphony No. 7 Celebrating John Harbison’s 80th birthday JOHN HARBISON Duo, for flute and piano (1961) HARBISON Deep Dances, for cello and double bass (2006) HARBISON Piano Quintet (1981) HARBISON Wind Quintet (1979) J.S. BACH Cantata No. 51, Jauchzet Gott in allen Landen

The BSO’s 2018-19 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org via a secure credit card order; 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. (Saturdays from 4:30-8:30 p.m. when there is a concert). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.

week 9 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4:30 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. 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 5 p.m. Monday through Friday (12:30 p.m. to 4:30 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 $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children under age five 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. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

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 9 symphony hall information 83 Subscriber 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) 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 and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and 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 (after 2 p.m.) 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. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day 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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