Week 23 Bacewicz Mozart Mendelssohn

2018–19 season andris nelsons bostonmusic director symphony orchestra

week 23 bacewicz mozart mendelssohn

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 23

7 bso news 13 on display in symphony hall 1 4 bso music director andris nelsons 16 the boston symphony orchestra 21 old strains reawakened: the boston symphony’s historical instrument collection by douglas yeo 3 0 this week’s program

Notes on the Program

32 The Program in Brief… 33 Graz˙yna Bacewicz 43 Wolfgang Amadè Mozart 49 Felix Mendelssohn 57 To Read and Hear More…

Guest Artists

63 Andrew Manze 65 Francesco Piemontesi

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

the friday preview on april 19 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 April 7–August 4

“Toulouse-Lautrec and the Stars of Paris” is organized by the Museum of Fine Arts, Boston, and The Boston Public Library. Sponsored by Encore Boston Harbor. Generously supported by The Boston Foundation. Additional support from the great- grandchildren of Albert H. Wiggin, the Cordover Exhibition Fund, and anonymous funders.

Henri de Toulouse-Lautrec, Aristide Bruant in His Cabaret (detail), 1893. Poster, color lithograph printed in black, red, green, and gray, proof before letters. Otis Norcross Fund. Museum of Fine Arts, Boston. 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 • Albert A. Holman, III • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Steve Kidder • Tom Kuo, ex-officio • Jeffrey Leiden • Joyce Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Peter Palandjian • Pamela L. Peedin • Steven R. Perles • Lina S. Plantilla, M.D. • Carol Reich † • Arthur I. Segel • Wendy Shattuck • Nicole Stata • 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 Corporation 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 • Darcey Bartel • 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. •

week 23 trustees and advisors 3 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 . photos by Michael Blanchard and Winslow Townson

Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • George Jacobstein • Stephen J. Jerome • Giselle J. Joffre • Susan A. Johnston • Mark Jung • John L. Klinck, Jr. • Gi Soo Lee, MD EdM • Roy Liemer • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Jean Park • 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 • Marc Rubenstein • 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. • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jacqueline Togut • 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 March 1, 2019

† Deceased

week 23 trustees and advisors 5 Tanglewood Learning Institute

Unleash Your Meow Meow

Curiosity. Andris Nelsons

2019 Summer Highlights

TLI Weekends explore themes and topics related to music, visual arts, and film. Postmodern diva Meow Meow brings her unconventional, subversive, and intensely human brand of musical mayhem to Full Tilt. Madeleine K. Albright, Secretary of State (1997–2001), discusses nation-building in the 21st century as part of The Big Idea. Ryan Speedo Green shares his journey to the stage and thoughts on a life in music in ShopTalks. Madeleine K. Albright Meet the Makers offers in-depth conversations with creators including composer Joan Tower, playwright Ryan Speedo Green Tom Stoppard, and bow-maker Benoît Rolland. TLI OpenStudio provides front-row seats to master classes led by expert teachers such as Andris Nelsons, Renée Fleming, and Yo-Yo Ma.

Renée Fleming

A new concept in creative enrichment launches at Yo-Yo Ma Tanglewood this June. TLI offers groundbreaking programs for curious minds that will deepen your understanding of classical music, the arts, and the human spirit. Curious? So are we. Discover more. TLI.ORG BSO News

Subscriptions on Sale Now for the BSO’s 2019-20 Subscription Season In 2019-20, his sixth season as music director, Andris Nelsons will lead fifteen of the season’s twenty-six weeks of subscription concerts, offering an intriguingly varied mix of programming ranging from repertoire favorites to works newly commissioned by the BSO. The season is highlighted by fourteen works—including seven world and American premieres—by such contemporary composers as Michael Gandolfi, Galina Grigorjeva, Helen Grime, HK Gruber, Betsy Jolas, Eric Nathan, and Anna Thorvaldsdottir. Another highlight will be the BSO’s third “Leipzig Week in Boston,” for which occasion the Gewand- hausorchester Leipzig itself comes to Boston for concerts of its own as well as joint concerts with the BSO, marking the third year of the BSO/GHO Alliance. The 2019-20 season also brings the continuation, with Shostakovich’s symphonies 2 (To October) and 12 (The Year 1917), of the BSO’s award-winning, live-in-concert recorded Shostakovich cycle for Deutsche Grammophon; concert performances of Tristan und Isolde, Act III, headlined by tenor Jonas Kaufmann and, in her BSO debut, soprano Emily Magee; and performances under Maestro Nelsons of repertoire classics by Beethoven, Bartók, Dvoˇrák, Mahler, Rachmaninoff, Ravel, and Strauss, among others, and concerto collaborations with such renowned soloists as pianists Leif Ove Andsnes, Yefim Bronfman, Jean-Yves Thibaudet, Mitsuko Uchida, and Yuja Wang; Dutch duo-pianists Lucas and Arthur Jussen; violinists Augustin Hadelich, Leonidas Kavakos, and Daniel Lozakovich; and cellist Gautier Capuçon. Guest conductors on the BSO podium will include Alain Altinoglu, the young Greek conductor Constantinos Carydis, Christoph von Dohnányi, Giancarlo Guerrero, Marcelo Lehninger, Hannu Lintu, Susanna Mälkki, André Raphel, Sir András Schiff doubling as piano soloist, the Russian-born Dima Slobodeniouk, Christian Zacharias also doubling as piano soloist, and Pinchas Zukerman as conductor/violinist. BSO Artistic Partner Thomas Adès returns to the Symphony Hall podium, and BSO Assistant Conductor Yu-An Chang makes his subscription series debut. Soloists from the orchestra include BSO principals Blaise Déjardin, John Ferrillo, Thomas Rolfs, Elizabeth Rowe, and Richard Svoboda. Also among the guest soloists will be pianists Seong-Jin Cho, Till Fellner, Nelson Freire, and Andreas Haefliger; violinist Midori; cellists Stephen Isserlis, Truls Mørk, and Johannes Moser; organists Thierry Escaich and Olivier Latry; and the Uri Caine Trio. The Tanglewood Festival Chorus, Boston Symphony Children’s Choir, and newly formed BSO Gospel Chorus will also appear in subscription programs. Subscriptions to the Boston Symphony Orchestra’s 2019-20 season, and complete season details, are available by calling 1-888-266-1200 or by visiting www.bso.org. Single tickets go on sale August 5.

week 23 bso news 7 New England Conservatory and BSO Present “What I Hear” on Thursday, May 2, at 6pm, Free and Open to the Public at NEC’s Williams Hall A collaboration between the Boston Symphony Orchestra and New England Conservatory, “What I Hear” is a series of free hour-long events that introduce audiences to composers working with the BSO. These composer-curated chamber music programs feature performances by NEC students and include conversations between the composers and BSO Assistant Artistic Administrator Eric Valliere. The NEC student performances are coached and directed by NEC faculty member Stephen Drury. The last of this season’s three “What I Hear” events will take place on Thursday, May 4, featuring American composer Sebastian Currier, whose BSO-commissioned new work, Aether, for violin and orchestra, will be given its world premiere performances on Thursday, Friday, and Saturday, May 2, 3, and 4, with Andris Nelsons conducting and violin soloist Baiba Skride. Admission to “What I Hear” is free.

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. This week’s speaker is Elizabeth Seitz of The Boston Conservatory at Berklee. The speakers for the remaining Friday Previews this season are Marc Mandel (April 26) and Robert Kirzinger (May 2).

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8 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.

The Virginia Wellington Cabot of Americans who learned the Austrian Memorial Concert, Thursday, technique for downhill skiing from the April 18, 2019 legendary Hannes Schneider. Later in life, The concert on April 18, 2019, is given in Mrs. Cabot was engaged in conservation memory of Virginia Wellington Cabot of activities in Maine, New Hampshire, Colorado, Weston, who died on September 15, 1997, and Honduras. Mrs. Cabot shared her love of one week short of her 98th birthday. An music, riding, skiing, sailing, and the outdoors attendee of Friday-afternoon concerts for with all of her progeny, including her children, more than seventy years, she took over her grandchildren, and great-grandchildren. mother-in-law’s BSO subscription in 1934. In 1992 a gift from the Cabot Family Charitable BSO Broadcasts on WCRB Trust endowed a Boston Symphony concert in her name. BSO concerts are heard on the radio at 99.5 WCRB. Saturday-night concerts are broad- Virginia Cabot was married to the late Thomas cast live at 8 p.m. with host Ron Della Chiesa, D. Cabot for seventy-five years. The daughter and encore broadcasts are aired on Monday of Louis B. Wellington and Louise Lawton nights at 8 p.m. In addition, interviews with Wellington, she loved a broad range of music guest conductors, soloists, and BSO musi- and often accompanied herself on the piano cians are available online at classicalwcrb. as she sang to her family. Born in Boston in org/bso. Current and upcoming broadcasts 1899, Mrs. Cabot grew up on Beacon Hill include this Saturday’s concert of music by and in Weston, in an extended family in Bacewicz, Mozart, and Mendelssohn, with which her parents, her aunt and uncle, English conductor Andrew Manze and Swiss and her older sister all played and sang pianist Francesco Piemontesi making their expertly at the piano. She graduated from BSO debuts (April 20; encore April 29); next the Winsor School in 1917. On the Weston week’s program under Andris Nelsons of farm of her childhood, she nurtured a love Rachmaninoff’s Piano Concerto No. 3 with for horses. Immediately after her marriage soloist Daniil Trifonov and Shostakovich’s in 1920, the Cabots moved to the heart of Symphony No. 15 (April 27; encore May 6); rural Appalachia, where she would often and the season’s final subscription program, accompany her husband on horseback as also under Andris Nelsons, featuring soloist he inspected the West Virginia pipelines of Baiba Skride in the broadcast premiere of his father’s gas company. An experienced Sebastian Currier’s new, BSO-commissioned mountaineer, she made the first ascent of Aether for violin and orchestra, plus music Mount Magog in the Canadian Rockies and of Strauss and Stravinsky (May 4; encore later journeyed to the American Southwest May 13). to explore the Superstition Mountains of Arizona, the Zion and Bryce Canyons of Go Behind the Scenes: Utah, and the Sangre de Cristo range—all The Irving W. and Charlotte F. Rabb virtually uncharted when she hiked them in the 1920s and ’30s. An expert canoeist, she Symphony Hall Tours and Mr. Cabot also explored virtually all of The Irving W. and Charlotte F. Rabb Sym- New England’s watercourses, resulting in phony Hall Tours, named in honor of the the volume Quick Water and Smooth, the Rabbs’ devotion to Symphony Hall through first printed guidebook for New England a gift from their children James and Melinda Rivers. She was also among the first wave Rabb and Betty (Rabb) and Jack Schafer,

week 23 bso news 9 Innovation, now seating seven.

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1Online services are subject to change at any time. Google Earth features will not be available after December 2020 for Model Year 2018 & prior vehicles. Google Earth is a trademark of Google Inc. 2Driver Assistance features are not substitutes for attentive driving. See Owner's Manual for further details, and important limitations.“Audi,” all model names, and the four rings logo are registered trademarks of AUDI AG.©2018 Audi of America, Inc. provide a rare opportunity to go behind On Camera With the BSO the scenes at Symphony Hall. In these free, The Boston Symphony Orchestra frequently guided tours, experienced members of the records concerts or portions of concerts Boston Symphony Association of Volunteers for archival and promotional purposes via unfold the history and traditions of the Bos- our on-site video control room and robotic ton Symphony Orchestra—its musicians, cameras located throughout Symphony Hall. conductors, and supporters—as well as Please be aware that portions of this con- offer in-depth information about the Hall cert may be filmed, and that your presence itself. Tours are offered on select weekdays acknowledges your consent to such photog- at 4 p.m. and some Saturdays at 3:30 p.m. raphy, filming, and recording for possible use during the BSO season. Please visit bso.org/ in any and all media. Thank you, and enjoy tours for more information and to register. the concert.

Join Our Community of Those Electronic Devices… Music Lovers— The Friends of the BSO As the presence of smartphones, tablets, and other electronic devices used for commu- As a music lover, you know how special nication, note-taking, and photography has it is to experience a performance here at increased, there have also been continuing Symphony Hall. Attending a BSO concert expressions of concern from concertgoers is a communal experience—thousands of and musicians who find themselves dis- concertgoers join together to hear 100 tracted not only by the illuminated screens musicians collaborate on each memorable on these devices, but also by the physical performance. Without an orchestra, there movements that accompany their use. For is no performance, and without an audi- this reason, and as a courtesy both to those ence, it is just a rehearsal. There’s another on stage and those around you, we respect- community that helps to make it all possi- fully request that all such electronic devices ble—the Friends of the BSO. Every $1 the be completely turned off and kept from view BSO receives through ticket sales must be while BSO performances are in progress. matched by an additional $1 of contributed In addition, please also keep in mind that support to cover annual expenses. Annual taking pictures of the orchestra—whether membership gifts from the Friends of the photographs or videos—is prohibited during BSO help bridge that gap. The Friends are concerts. Thank you very much for your the cornerstone upon which the orchestra cooperation. is built, keeping the music playing to the delight of audiences all year long. In addition to joining our family of like-minded music Comings and Goings... lovers, you’ll also enjoy a variety of exclusive Please note that latecomers will be seated benefits designed to bring you closer to the by the patron service staff during the first music you cherish. Friends receive advance convenient pause in the program. In addition, ticket ordering privileges, discounts at the please also note that patrons who leave the Symphony Shop, and special invitations auditorium during the performance will not to such behind-the-scenes donor events be allowed to reenter until the next convenient- as BSO and Pops working rehearsals, and pause in the program, so as not to disturb the much more. Friends memberships start at performers or other audience members while just $100. To join our community of music the music is in progress. We thank you for lovers in the Friends of the BSO, contact your cooperation in this matter. the Friends Office at (617) 638-9276 or [email protected], or join online at bso.org/contribute.

week 23 bso news 11 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 23 on display 13 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

14 on Deutsche Grammophon of Shostakovich’s symphonies 4, 5, 8, 9, 10, and 11, The Year 1905, as part of a complete, live Shostakovich symphony cycle for that label; and a new two-disc set pairing Shostakovich’s symphonies 6 and 7, Leningrad. 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 23 andris nelsons 15 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 Mickey Katz* Ronald G. and Ronni J. Casty Stephen and Dorothy Weber Malcolm Lowe chair Steven Ansell chair, endowed in perpetuity Concertmaster Principal u Charles Munch chair, Catherine French* Charles S. Dana chair, Alexandre Lecarme* endowed in perpetuity Robert Bradford Newman chair, endowed in perpetuity Nancy and Richard Lubin chair endowed in perpetuity Tamara Smirnova Cathy Basrak Adam Esbensen* First Associate Concertmaster Jason Horowitz* Assistant Principal Richard C. and Ellen E. Paine chair, endowed in perpetuity Helen Horner McIntyre chair, Ala Jojatu* Anne Stoneman chair, endowed in perpetuity endowed in perpetuity Oliver Aldort* Bracha Malkin* Alexander Velinzon Brooks and Linda Zug chair Danny Kim Associate Concertmaster Lois and Harlan Anderson chair, basses Robert L. Beal, Enid L., and Heinrich Niebuhr u endowed in perpetuity Bruce A. Beal chair, endowed Edwin Barker Rebecca Gitter in perpetuity Principal second violins Harold D. Hodgkinson chair, Elita Kang Michael Zaretsky* Haldan Martinson endowed in perpetuity Assistant Concertmaster Rachel Fagerburg* Edward and Bertha C. Rose chair, Principal Lawrence Wolfe Carl Schoenhof Family chair, endowed in perpetuity Daniel Getz* Assistant Principal endowed in perpetuity Maria Nistazos Stata chair, Yuncong Zhang Rebekah Edewards* endowed in perpetuity John and Dorothy Wilson chair, Julianne Lee° Leah Ferguson*° endowed in perpetuity Assistant Principal Benjamin Levy Charlotte and Irving W. Rabb Kathryn Sievers* Leith Family chair, endowed Lucia Lin chair, endowed in perpetuity in perpetuity Dorothy Q. and David B. Arnold, Jr., chair, endowed in perpetuity Sheila Fiekowsky cellos Dennis Roy Shirley and J. Richard Fennell Ikuko Mizuno chair, endowed in perpetuity Blaise Déjardin Joseph Hearne Ruth and Carl J. Shapiro chair, Principal Nicole Monahan Todd Seeber* u endowed in perpetuity Philip R. Allen chair, David H. and Edith C. Howie Eleanor L. and Levin H. Campbell endowed in perpetuity Bo Youp Hwang chair, endowed in perpetuity chair, endowed in perpetuity Mary B. Saltonstall chair, Sato Knudsen Ronan Lefkowitz John Stovall* endowed in perpetuity Mischa Nieland chair, endowed in perpetuity Aza Raykhtsaum* Vyacheslav Uritsky* Thomas Van Dyck* Catherine and Paul Buttenwieser Jennie Shames* Mihail Jojatu Waldemar Schwiertz u chair Sandra and David Bakalar chair Valeria Vilker Kuchment* Bonnie Bewick* Martha Babcock flutes Kristin and Roger Servison chair Tatiana Dimitriades* Vernon and Marion Alden chair, Elizabeth Rowe Si-Jing Huang* endowed in perpetuity James Cooke* Principal Donald C. and Ruth Brooks Wendy Putnam* Owen Young* Walter Piston chair, endowed Heath chair, endowed John F. Cogan, Jr., and Mary L. in perpetuity in perpetuity Xin Ding* Cornille chair, endowed in perpetuity Clint Foreman Glen Cherry* Myra and Robert Kraft chair, Lisa Ji Eun Kim* endowed in perpetuity Elizabeth Ostling Associate Principal u BSO/GHO Musician Exchange participant: BSO members Catherine French and Todd Marian Gray Lewis chair, Seeber play with Leipzig’s Gewandhausorchester (GHO) for the second half of the season endowed in perpetuity while GHO members Heinrich Niebuhr and Waldemar Schwiertz play with the BSO.

16 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 23 boston symphony orchestra 17

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

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

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

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

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

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

week 23 21

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

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

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

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

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

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For more information, contact John Morey at 617-292-6799 or [email protected] Henri Casadesus with his daughter Gisèle at Casadesus’ home, c.1920

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

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

week 23 25 Shop, two cases are in Higginson Hall, and one case is in the Miller Room across from the shop. Since the gift of the Casadesus Collection in 1926, other historical instruments have been donated to the Boston Symphony, and some of these are also on display, including the Barnett Collection (comprising mostly Asian instruments, in the Miller Room) and several instruments that were collected on various Boston Symphony tours, including a Chinese pipa that came to Symphony Hall as a result of the BSO’s historic tour to China in 1979. Three instruments from the Casadesus Collection are on loan to, and on display at, the Museum of Fine Arts, Boston.

The BSO historical instrument collection contains some notable treasures. Taking pride of place is an extraordinary group of seven serpents—the ancient instrument invented in France in the 16th century to accompany chant in the church, and which found its way into military bands and the symphony orchestra during its long evolutionary journey to today’s tuba; among these is a rare specimen by Pelligrino d’Azzi that features the coat of arms of the Republic of Venice. Among the finest and best-preserved string instruments in the collection are two handsome Italian mandolins from the late 1700s. A walking stick flute by Stengel conjures up images of gentlemen pausing during a stroll to entertain an ad hoc audience. Two French horns with painted bells remind us of the challenges that faced players before modern times when they had to change crooks (coils of tubing that needed to be inserted into the instrument in order to pro- duce notes in different keys) before the invention of valves. The Barnett Collection’s instruments from Asia and the Middle East show the fragile construction and use of exotic materials that result in unique sounds far removed from our Western symphonic tradition. The collection is under the care of the BSO Archives; Darcy Kuronen— Pappalardo Curator of Musical Instruments at the Museum of Fine Arts—provides curatorial support.

Instruments from the Casadesus Collection have not been used in Boston Symphony performances, but a few that are still in playing condition have occasionally been

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26 Patricia Crandall Collection George Humphrey/courtesy BSO Archives,

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

used by BSO players and staff in various contexts. In the 1950s, three members of the orchestra (Roger Voisin, Harold Meek, and Joseph Orosz) recorded selected instruments from the collection on the LP record set “Spotlight on Brass.” BSO staff member Laning Humphrey and lifelong volunteer Patricia Crandall enthusiastically displayed and discussed instruments for audiences of both adults and children in association with Boston Symphony Youth Concerts, and the instruments continue to be studied and enjoyed by concertgoers, students, and scholars. In this, the instruments of the Casadesus Collection continue to fulfill the words of the Boston Symphony Trustees at the dedication ceremony of the collection on October 23, 1926: The sounds of that earlier time are stilled. But the art they embodied finds constant utterance in old strains re-awakened, in new rhythms breaking the silence of the future.

douglas yeo was bass trombonist of the Boston Symphony Orchestra from 1985 to 2012 and Professor of Trombone at Arizona State University from 2012 to 2016. His latest book is “Serpents, Bass Horns, and Ophicleides at the Bate Collection” (University of Oxford). He has performed on historical instruments including serpent and ophicleide with the BSO and many early instrument groups, and his playing is heard on museum audio and video guides around the world.

week 23 27

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

Thursday, April 18, 8pm | the virginia wellington cabot memorial concert Friday, April 19, 1:30pm Saturday, April 20, 8pm

andrew manze conducting

bacewicz concerto for string orchestra Allegro Andante Vivo

Marco Borggreve

30 mozart piano concerto no. 19 in f, k.459 Allegro Allegretto Allegro assai francesco piemontesi

{intermission} mendelssohn symphony no. 5 in d minor, opus 107, “reformation” Andante—Allegro con fuoco Allegro vivace Andante— Recitative (Tempo dell’ Andante)— Chorale: “Ein feste Burg ist unser Gott” (Andante con moto)—Allegro vivace

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 9:50 and the afternoon concert about 3:20. 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 23 program 31 The Program in Brief...

Graz˙yna Bacewicz’s Concerto for String Orchestra, being performed by the BSO for the first time in this week’s concerts, is one of the best-known works by a major figure in 20th-century Polish music. Composed at the height of her career in 1948 and mod- eled on the Baroque concerto genre, the piece epitomizes the neoclassical aspects of Bacewicz’s multifaceted musical personality. She was one of several musical children from an educated, intellectual family in Łód´z. Beginning as a prodigy, Bacewicz became a virtuoso professional violinist (she gave the premieres of many of her violin concertos and sonatas), an excellent pianist, and an accomplished writer of novels, memoirs, and short stories.

One of the great piano virtuosi of his day, Wolfgang Mozart composed a dozen piano concertos between February 1784 and December 1786, during which time he was enjoying his greatest success as a performer, and barely keeping up with the demand for his appearances as a pianist. He entered the F major piano concerto into his catalog of works on December 11, 1784, and likely played the first performance in February or March 1785, in one of the subscription concerts he gave in Vienna at that time. The orchestra for this concerto is small—just one flute, two oboes, two bassoons, two horns, and strings—but the piece is so lively in its outer movements, and so filled with ideas, that it makes a much bigger impression than its instrumentation might suggest. Yet performance of this piece—as also of its predecessor, the subtly restrained B-flat major piano concerto, No. 18—is a relative rarity, particularly in comparison to the two that followed during that same period, the stormy D minor, No. 20, and the elegant C major, No. 21. The first BSO performance of the F major concerto did not take place until 1963 at Tanglewood, and it has not been played by the BSO at Symphony Hall since March 1994, a quarter-century ago.

Felix Mendelssohn was famously self-critical, to the extent that he was never fully satisfied even with his perennially popularItalian Symphony (No. 4), which remained unpublished until after his death. Since the numbering of his symphonies reflects date of publication rather than order of composition, one would never realize that his Reformation Symphony, No. 5, predates both his Scottish Symphony (No. 3) and the Italian. He was just twenty years old when he began writing it, anticipating a celebration in 1830 marking the 300th anniversary of the Augsburg Confession; the use of Martin Luther’s “Ein feste Burg ist unser Gott” and of the so-called “Dresden Amen” reflects the work’s original intention. It was not performed, however, until 1832 in Berlin, with Mendelssohn himself conducting, and then not performed again until 1868, the year it was published, more than twenty years after his death. The present performances allow Boston audiences to hear an extended flute recitative that links the third movement and the finale, a passage removed by Mendelssohn prior to the 1832 Berlin performance, but restored in the edition of the score being used in this week’s concerts.

Robert Kirzinger (Bacewicz)/Marc Mandel

32 Gra˙zyna Bacewicz Concerto for String Orchestra

GRAZYNA˙ BACEWICZ was born in ´Lód ´z, Poland, on February 5, 1909, and died in Warsaw on January 17, 1969. She wrote her Concerto for String Orchestra in 1948. It was first performed on June 18, 1950, by the Polish National Radio Symphony Orchestra, Grzegorz Fitelberg conducting. The American premiere was given on December 30, 1952, by the National Symphony Orchestra, Howard Mitchell conducting, at DAR Constitution Hall in Washington, D.C. These are the first BSO performances of any music by Graz˙yna Bacewicz.

THE SCORE OF THE CONCERTO calls for an orchestra of first and second violins, violas, cellos, and basses. The duration of the piece is about fifteen minutes.

One of the most important and recognized Polish composers of the 20th century, Graz˙yna Bacewicz grew up in a thoroughly musical and highly cultured family in the industrial city of Łód´z. Her older brother Kiejstut Bacewicz, an excellent pianist, became the director of the Łód´z Conservatory. Graz˙yna Bacewicz was a prodigy as a violinist, appearing as a concerto soloist with a local orchestra as a child. She was also an accomplished enough pianist to premiere her by no means simple Piano Sonata No. 2 in her 1953 piano recital debut (by which time she was in her early forties). She was soloist in the premieres of most of her violin concertos and sonatas and was also a champion of Szymanowski’s concertos, among other repertoire. Energetic and ambitious, she also wrote four novels and other prose as well as a play for television. She married a doctor, Andrezej Biernacki, with whom she had a daughter, Alina Biernacka, in 1942. Alina Biernacka became an eminent painter and poet; Bacewicz’s sister Wanda was also a well-known writer.

After her initial studies with her father and her immersion in music at home, Bacewicz studied piano, violin, and composition at the Warsaw Conservatory with Kazimierz Sikorski while also attending Warsaw University. In Warsaw she met the eminent Polish

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Developed by Massachusetts General Hospital Proudly Celebrating Over 25 Years! composer Karol Szymanowski, whose music remained a central influence for her throughout her career. Szymanowski’s much broader musical horizons led Bacewicz to pursue further training outside of Poland. Through a scholarship provided by the statesman and cellist Ignacy Paderewski, she traveled to Paris—which would become a kind of second musical home—to study composition with Nadia Boulanger and violin with André Touret. After embarking on a concert tour as a violin soloist and taking up a short-lived teaching position in Łód´z, she returned to Paris for further study with the violinist Carl Flesch. In 1935 she was awarded Honorable Mention in the Wieniawski International Violin Competition.

In 1936 Bacewicz was invited by conductor Grzegorz Fitelberg to become principal violinist of the nascent Polish National Radio Symphony Orchestra. She was with the orchestra for two years, during which time she premiered her Violin Concerto No. 1 with the ensemble; her String Quartet No. 1 and several other works date from this period. She was in Warsaw, where her daughter was born, during the first part of World War II, though she and her family were later displaced. She still composed, finishing her tringS Quartet No. 2, the first of her solo violin sonatas, her Symphony No. 1, and her Overture for orchestra, which, as scholar Adrian Thomas points out, employs the Allied “da-da- da dah” morse code “V for victory” rhythm in the spirit of resistance to the Nazis. She returned to Warsaw in 1945, and in 1946 traveled to Paris, where among other activities she was soloist in Szymanowski’s Violin Concerto No. 1. In the late 1940s she produced some of her most important pieces, including her Symphony for String Orchestra and

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June 9, 2019 at 3pm BOSTON YOUTH SYMPHONY Sanders Theatre Federico Cortese, Conductor ROSSINI Overture to La Gazza Ladra at Harvard University SCHOENBERG Pelleas und Melisande BARBER Violin Concerto Tickets: $25–$30 Ethan Chaves, Violin, BYS Concerto Competition Winner Call Sanders Theatre at 617-496-2222 SARASATE Navarra or visit www.BYSOweb.org Dacha Thurber, Violin, BYS Concerto Competition Winner Sava Thurber, Violin, BYS Concerto Competition Winner Additional performances by JUNIOR REPERTORY ORCHESTRA John Holland, Conductor Photo by Michael J. Lutch Michael J. by Photo

week 23 program notes 35 Real life deserves real news.

wgbhnews.org Conductor Grzegorz Fitelberg, who led the premiere of Bacewicz’s Concerto for String Orchestra in 1950

Concerto for String Orchestra, her Violin Sonata No. 3 and Violin Concerto No. 3, and her very successful Piano Concerto. In 1949 she received the prestigious Warsaw Prize and participated in a concert by the Łód´z Philharmonic dedicated solely to her music

From that point Bacewicz performed her own music throughout central and eastern Europe as well as in Paris and Belgium, and her work started to become known in the U.S. In the early 1950s she began to curtail her performance schedule, a trajectory that was enforced by circumstance when she was severely injured in a car accident in 1954. After a long hospital stay she was able to return to public performance but made the decision, on her own terms, to end her career as a soloist after 1955 to concentrate on composing and writing. Throughout the 1950s and ’60s, she produced major scores at a steady pace. Her catalog ultimately includes eight symphonies (the one for string orchestra plus seven numbered works for full orchestra); a concerto for orchestra; seven violin concertos, two cello concertos, a viola concerto, and a concerto for two pianos; two cantatas for chorus and orchestra; music for a comedic radio play, “Adven- tures of King Arthur,” and other works for radio; two ballets, seven string quartets, music for violin with and without piano, some songs, and solo piano music ranging from tiny pedagogical pieces to large-scale sonatas.

At the end of the 1940s Bacewicz was disillusioned enough about her career as a violinist that, as she wrote to her brother Witold, “If someone were to tell me to resign from my career as violinist I would be only too happy. I play, because it would be unbecoming to stop, because of strength of impetus, and because, well, I earn my living in Poland this way, but I would rather earn less, have peace, sit home and compose. I dream of this.” That sentiment might account for the restlessness that turned her toward prepar- ing her debut piano recital at age forty-three, and suggests that the quest for something new, rather than re-exploring what she’d already encountered, drove her creativity. Most commentators use the terms “neo-Romantic” or, more often, “neoclassical”

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At Next Step’s 35 afﬁliated skilled nursing facilities and 3 assisted living facilities, we know that patient needs are more complex and diverse than ever before. For this reason, our leadership team assures that every member of our staff – from nurses and assistants to housekeeping and dietary – is focused on delivering compassionate, responsive and personalized quality healthcare. Quality. Compassion. Trust. More than words, our commitment to you. www.NextStepHC.com Monument to Gra˙zyna Bacewicz in the sculpture garden of the Pomeranian Philharmonic, Bydgoszcz, Poland

to describe her work, but the reality seems to be that Bacewicz dipped into clear stylistic modes when it interested her to do so. Although her musical language was, by and large, conservative compared to some of her Polish contemporaries, it was by no means retrogressive, let alone archaic, except when she was making a point of it, just as she also made a point of using Polish nationalist elements in some of her music. This corresponded to the strong official encouragement of social realism within Soviet and Soviet-influenced countries and the condemnation of art that was considered too modern, too cosmopolitan, too Western; but Bacewicz’s central modes of expression were personal and essentially abstract. “Objective” would perhaps be a better adjective than the aesthetically freighted “neoclassical.”

After the 1956 political upheaval in Poland that led to a more enlightened Communist regime, new arts in Poland began to thrive with exposure to current Western ideas. This was epitomized by the first Warsaw Autumn music festival of October 1956, which introduced to Poland music by composers including Schoenberg, Messiaen, and the younger generation of Boulez and Nono. As music by such hyper-progressive Polish composers as Krzysztof Penderecki and Henrýk Gorecki emerged in the late 1950s, and even the older Witold Lutosławski (just four years Bacewicz’s junior) was drawn to the avant-garde, Bacewicz embraced chromaticism and some experimental textural devices in some of her later music without, however, entirely abandoning her own sense of balanced form or narrative. In her String Quartet No. 7, for example, she uses chromatic, biting chords and glissandi that would have been incongruous in much of her early

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40 work, but the overall flow and four-movement form of the piece is just as grounded as any of her neoclassical scores. Her Violin Concerto No. 7 is its equal in balancing explo- ration and cohesion. Both date from 1965.

Bacewicz’s three-movement Concerto for String Orchestra is from her fertile period of the late 1940s, and is among the composer’s most clearly neoclassical scores. The approach suggests a compositional challenge, akin to Prokofiev’sClassical Symphony. The Concerto’s evident models are the Baroque concerto and the Classical symphony, perhaps along with such works as Tchaikovsky’s Serenade for Strings. Her aims are expressive and gestural clarity and architectural elegance.

The Concerto’s first movement begins with an energetic expanding figure for the first violins, essentially in D minor, with a repetition of the pitch D as the wedge-shaped figure expands. The rest of the orchestra gradually fills in, with cadences on what sound like jazz-influenced—or probably Paris-influenced—harmonies. This opening theme is akin to the ritornello of a Baroque concerto, returning as various other ideas intervene, the first a falling idea beginning with a cello solo, the second a staccato falling ix-notes idea that incorporates as counterpoint a fragment of the opening theme. Bacewicz dis- mantles and reassembles fragments of the first theme to build energy for the end of the movement.

Though the second-movement Andante is of a very different character from the first, the high violin ostinato (repeating phrase) is the opening movement’s first theme inverted (upside down). Both violin sections are muted, and most are playing in tremolo for shimmering texture. A cello solo announces the legato, lyrical character that domi- nates the movement, moving through the different instrumental sections and growing in intensity before dropping back to a languid closing cadence. The scherzo-like finale is mostly in 6/8 time and relies on the push-pull of sixteenth-notes versus eighth-notes for its energy. Occasional breaks in the 6/8 meter create ambiguity and excitement. The energetic music is twice offset by a dreamier, lyrical episode, but the lively episode returns for the concerto’s conclusion.

From its beginning, Bacewicz’s Concerto for String Orchestra has been one of her most admired pieces, and one that helped expand her international reputation. It earned her the Polish National Prize in the year of its premiere, one among many recognitions she received for her music throughout her career.

Robert Kirzinger

Composer/annotator robert kirzinger is the BSO’s Associate Director of Program Publications.

week 23 program notes 41 BOSTONS #1 GLOBAL CARRIER. Connecting you to 45+ destinations worldwide. PROUD TO BE THE OFFICIAL AIRLINE OF THE BOSTON SYMPHONY ORCHESTRA. Wolfgang Amadè Mozart Piano Concerto No. 19 in F, K.459

JOANNES CHRISOSTOMUS WOLFGANG GOTTLIEB MOZART, who began calling himself Wolfgango Amadeo around 1770 during his first trip to Italy and switched to Wolfgang Amadè in 1777 (but who never used Amadeus except in jest), was born in Salzburg, Austria, on January 27, 1756, and died in Vienna on December 5, 1791. Mozart entered this concerto into his catalog on December 11, 1784. The date of the first performance is not known, though it likely occurred at one of the six subscription concerts Mozart gave in Vienna between February 11 and March 18, 1785. There are cadenzas by Mozart for the first and third movements.

IN ADDITION TO THE SOLO PIANO, the score of this concerto calls for an orchestra of one flute, two oboes, two bassoons, two horns, and strings.

With his F major piano concerto, K.459, we encounter the sublime, the incandescent Mozart, the Mozart where words utterly fail us. Mozart was at the zenith of his popular- ity when he composed this concerto for his own use at the end of 1784. Preceded by the genial G major concerto, K.453, and the subtly understated, too seldom played concerto in B-flat, K.456, it is the last work of that year’s miraculous harvest of six piano concertos (among other things), and it is a singularly flavorful work in which the slightly tart sound of the woodwind group is prominent. The stormy D minor concerto, K.466, from February 1785, would come next in the great series of Mozart’s mature piano concertos.

Older editions of the score got the time signature wrong in the first movement, indicating four beats to the bar rather than Mozart’s two, which means that the gait should be light-footed and not quite as military as program notes sometimes describe it. The language is that of understated high comedy. It is music fond of repetitions, but to listen attentively is to discover that repetitions are hardly ever literal in Mozart, and every revisiting of an idea is refreshed by newly invented detail.

This is one of those concertos where each movement is more original and special than

week 23 program notes 43 Program page for the first Boston Symphony Orchestra performance of Mozart’s F major piano concerto, K.459, on July 6, 1963, at Tanglewood, with soloist Rudolf Serkin and conductor Erich Leinsdorf (BSO Archives)

44 the one before. After the first Allegro, we get neither a slow aria nor a set of variations but an Allegretto in 6/8. It begins as pastoral, but as it proceeds it assumes unexpected force and is darkened by equally unexpected shadows. The first phrase is an odd five measures long, and every move and extension is a revelation. Major and minor mix fascinatingly, and virtually every repetition turns out to be a variation. There are also patches of canonic writing, Mozart of course being consummately graceful in the way he wears his technical skill. The rising woodwind scales in the last half-minute anticipate the nocturnal magic in the last act of Marriage of Figaro, in Count Almaviva’s dangerously moonlit garden.

The finale, proceeding from artlessness to outbursts both of learning and crazy energy (touches of Amadeus, of the Mozart suddenly capable of climbing over furniture and mewing like a cat), all coupled to some of Mozart’s most effervescent piano writing, is the most astonishing part of the concerto. Two years before, Mozart had come into contact with the music of Bach and Handel for the first time. Even before then, he was well schooled in counterpoint, but like most of his contemporaries he thought of fugues and canons as belonging to the classroom or, at best, the church. From those Baroque masters he discovered how it could be the stuff of real life, what an instrument it could be for architectural strength and expression.

Much of Mozart’s instrumental music is transposed or translated imaginary opera. This movement is no exception. It is real opera buffa, only here Mozart has miraculously

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week 23 program notes 45 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. fused that language with the world of Bach and Handel. We can in fact say that it is the synthesis of the galant manner he had grown up with and the learned language of the Baroque that made possible the marvels of the Classical style at its height. Here is a constantly surprising, funny, captivating, brilliant instance of such a marriage. And here, too, there is a surprising glimpse into the future, this time in the form of a theme full of repeated notes that looks ahead to the “Papapapapapageno/Papapapapapagena” duet in The Magic Flute, and indeed it is the stuttering and astonished lovers who have the last word.

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

THE FIRST BOSTON SYMPHONY PERFORMANCE OF K.459 took place at Tanglewood on July 6, 1963, with pianist Rudolf Serkin under the direction of Erich Leinsdorf, the two then collaborating also for the concerto’s first BSO subscription performances in February 1964, followed less than a week later by a performance in New York. Since then, BSO performances of this concerto have featured Christoph Eschenbach (with Kenneth Schermerhorn conducting), Alicia de Larrocha (with Neville Marriner), Gilbert Kalish (Seiji Ozawa), Horacio Gutiérrez (Gunther Herbig and André Previn), Eschenbach this time conducting from the keyboard (the most recent subscription performances, in March 1994), and de Larrocha again (the BSO’s most recent Tanglewood performance, with Hans Graf conducting on August 13, 1999, though Peter Serkin—who performed the concerto with Seiji Ozawa and the Tanglewood Music Center Orchestra in August 1985 as part of that summer’s gala Tanglewood on Parade concert—played it more recently at Tanglewood on August 24, 2001, with Donald Runnicles conducting the visiting Orchestra of St. Luke’s).

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ONE DAY UNIVERSITY at Tanglewood • For more information, call Hester Breen at 617-638-9270 Felix Mendelssohn Symphony No. 5 in D minor, Opus 107, “Reformation”

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 composed his “Reformation” Symphony between the autumn of 1829 and April 1830. He conducted the first performance on November 15, 1832, at the Singakademie in Berlin. The score remained unpublished, however, until 1868, twenty-one years after the composer’s death. This week’s performances use Christopher Hogwood’s 2009 critical edition of the score, incorporating a transitional episode between the third and fourth movements that Mendelssohn excised prior to the first performance and is not included in the standard published version of the work.

THE SCORE OF MENDELSSOHN’S SYMPHONY NO. 5 calls for two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, three trombones, timpani, and strings. A contrabassoon doubled by serpent (an octave apart) is added in the last movement.*

The numbering of Mendelssohn’s symphonies is completely out of joint. Since so many works—including the Reformation Symphony—were published long after his death, their order of composition was not taken into account when symphonies were published in

* The serpent was becoming obsolete in Mendelssohn’s day. Classified by students of musical instruments as a kind of trumpet because of its cup-shaped mouthpiece, the serpent is a large instrument (from six to eight feet in length) largely of wood carved in a serpentine shape with holes at the sides to be covered by the fingers while playing. Popular in France from the 17th century as a way of supporting singers in the performance of plainsong, the serpent spread later to England and Germany, where it was especially used in military wind bands from the middle of the 18th century. Mendelssohn called for the instrument in several other scores, including Calm Sea and Prosperous Voyage and the oratorio St. Paul. It was gradually replaced during the 19th century by valved brass instruments that sounded in the bass register.

week 23 program notes 49 Program page for the first Boston Symphony performance of Mendelssohn’s Symphony No. 5 on January 21, 1882, during the BSO’s inaugural season, with Georg Henschel conducting (BSO Archives)

50 his lifetime. The First Symphony is indeed the First—omitting some dozen symphonies for string orchestra that the prolific prodigy had composed in his childhood. But the other four symphonies were written in pairs, the Fourth and Fifth in the early 1830s, the Second and Third a decade later.

In 1829, when Mendelssohn began work on this symphony, he was looking forward to a festivity planned in Germany for the following year to celebrate the 300th anniversary of the Imperial Diet of June 1530, a conference that produced the Augsburg Confession, the formal profession of faith of the followers of Martin Luther. Luther himself did not attend the Diet (under an Imperial ban at the time, he remained in Coburg and kept in touch with the Protestant delegation by messengers), but while it was in session he wrote one of the most famous of his many hymn texts, a paraphrase of Psalm 46, Ein feste Burg ist unser Gott (“A mighty fortress is our God”). Under the circumstances, this hymn became something of a battle cry for the Reformation. A century later, with the 300th anniversary of the Augsburg Confession in view, Mendelssohn began consider- ing a musical contribution to the festivities employing this chorale.

He wrote to his family from England on September 2, 1829, dropping a hint about this new work that he had conceived. Eight days later he added that he had decided to start work while he was in London. When he finished the score in Berlin the following April, he asked various people for advice as to an appropriate title. He considered and evidently rejected “Reformation,” “Confession” (here used in a sense specific to German, involving adherence to a particular form of religion), and “Symphony for a Church Festivity.” In any event, he did not complete the symphony in time for the anniversary celebrations, so there was no performance in the tricentennial year.

While Mendelssohn was in Paris in 1831-32, Antoine Habeneck planned a performance for the now completed symphony in his series of concerts at the Conservatoire. Mendelssohn was surprised at the thought of having a work so redolent of German culture premiered in the capital of France, but he did not oppose the idea. Yet after a rehearsal on March 17, 1832, the planned performance was cancelled. The musicians protested to Habeneck that the symphony lacked melody and was overladen with thick counterpoint. Mendelssohn had been humiliated, and he may never have recovered any confidence in the symphony. Though he led the first performance in Berlin eight months later (where he called it a “Symphony for the Celebration of the Church Reformation”), he apparently never performed it again. Moreover, he withheld it from publication during his lifetime; only twenty-one years after his death did the score finally see print.

Perhaps as befits a symphony composed for an historical celebration, Mendelssohn’s work draws on a number of older musical traditions beyond the obvious one of Luther’s hymn. The first phrase heard in the violas consists of four notes (D, E, G, F-sharp), which can be heard as a transposed form of the main theme in the last movement of Mozart’s Jupiter Symphony, or as a still older melody, a traditional contrapuntal figure. In fact, it may well be derived from the Gregorian Magnificat motive, which in turn goes back to an ancient synagogal melody. Increasingly insistent fanfare figures in the woodwinds

week 23 program notes 51 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. www.naejuilliard.com/bisboston The beginning of the original ending as crossed out by Mendelssohn in his 1830 manuscript of the “Reformation” Symphony

suddenly give way to another familiar borrowing from the church—a particular form of the “Amen” chord as harmonized for the church in Dresden by Johann Gottlieb Naumann in the late 18th century. Though used originally in a Catholic church, the “Dresden Amen” quickly spread to Protestant churches as well—and to other musical works; Wagner uses it as the Grail motive in Parsifal. Mendelssohn presents it twice, pianissimo, in the strings, interrupted by a single fanfare figure.

This brings us to the main part of the first movement, an Allegro con fuoco in D minor which takes the melodic outline (a rising fifth, moving up the scale) of the Dresden Amen just heard and reduces it to the two extreme pitches. Presented by Mendelssohn in a characteristic dotted rhythm, it is hard not to hear it as an allusion to the slow introduction of Haydn’s London Symphony, No. 104, which begins with the same dotted rhythmic figure outlining the interval D–A. Already, then, the young Mendelssohn has hinted at Haydn, possibly Mozart or plainsong, and a well-known form of the “Amen.” The wonder of the movement is that all his historicizing fits so well into a sonata allegro form (in which the swelling second theme is still to come). Yet for all its backward glances, it is an energetic and well-crafted movement that builds its lengthy development section through contrapuntal interplay between the two principal themes of the Allegro con fuoco. The Dresden Amen introduces the recapitulation, which is hushed where the exposition was aggressive. The coda returns to the energy and vigor of the exposition.

The second movement is a scherzo in B-flat based on a single reiterated rhythm that runs through the main body of the movement. Mendelssohn scores the first strain for

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54 winds, then alternates winds, strings, and tutti in the longer second part. The middle section is a leisurely waltz in the surprisingly bright key of G major. The scherzo returns, but the movement does not end before a quiet coda partly reconciles the material of the main section with the contrasting middle part.

The slow movement, in G minor, is an aria for the violins with the accompaniment of repeated-note chords in the other strings and an occasional response from the woodwinds. The movement comes to an end on a sustained G in the cellos and basses, and it is here that the present performances bring the major difference from the version usually performed: an extended recitative for solo flute that leads, after the orchestra adds its support, to the familiar opening of the finale, where the flute now sings, unaccompanied and unharmonized, the opening phrase of Luther’s time-honored hymn. Gradually more instruments join in and enrich the harmonization, but just as the tune is about to close, the flute diverts it in a little cadenza, and the strings enter in a lively, syncopated 6/8 passage that modulates from G to the home tonic of D for the real beginning of the last movement. Though Mendelssohn’s themes in the finale are based largely in arpeggios and scales, he does aim toward a certain level of monumentality via brief fugal sections and other contrapuntal devices. Ein feste Burg runs through the development section, though there is little actual development as the tune leads back to the tonic for a recapitulation of the ideas we have already heard, followed in the closing pages by a final, affirmative proclamation of Martin Luther’s great chorale.

Steven Ledbetter steven ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

THE FIRST AMERICAN PERFORMANCE OF MENDELSSOHN’S “REFORMATION” SYMPHONY was given in Boston’s Tremont Temple in a concert of the Musical Fund Society conducted by George J. Webb on January 19, 1850—eighteen years before the score was published.

THE FIRST BOSTON SYMPHONY PERFORMANCE OF MENDELSSOHN’S SYMPHONY NO. 5 was given by Georg Henschel on January 21, 1882, during the orchestra’s first season. Henschel programmed it here again in November 1883, subsequent BSO performances being given by Wilhelm Gericke, Pierre Monteux, Serge Koussevitzky, Charles Munch (who recorded it with the BSO in 1957, and whose performances of the work in August 1962 and August 1965 were the BSO’s only ones at Tanglewood), Michael Tilson Thomas, Seiji Ozawa, Roger Norrington, and Ton Koopman (the most recent subscription performances, in February 2004).

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Adrian Thomas is the author of the article on Graz˙yna Bacewicz in The New Grove Dictionary of Music and Musicians (2001), as well as the relatively brief 1985 study Graz˙yna Bacewicz: Chamber and Orchestral Music in the University of Southern California’s Polish Music History Series (Friends of Polish Music/USC). Judith Rosen’s equally brief Graz˙yna Bacewicz: Her Life and Works is from the same series. Rosen’s biographical essay on the composer can be found on the website of the Polish Music Center at the University of Southern California (polishmusic.usc.edu). There is a useful biographical sketch of Bacewicz, apparently dependent on conversations with the composer’s daughter, in B.M. Maciejewski’s Twelve Polish Composers, dating from 1976 (Allegro Press). The Polish music publisher PWM (Polskie Wydawnictwo Muzyczne) maintains a website that includes information and an extensive list of Bacewicz’s published works (pwm.com.pl).

The many recordings of Bacewicz’s Concerto for String Orchestra include those on all-Bacewicz discs by the Capella Bydgostiensis led by Marius Smolij (Naxos), the Polish Chamber Orchestra under Jerzy Maksymiuk (Olympia), and the New London Orchestra under Ronald Corp (Hyperion). It can also be found on several multi-composer compilations, among them the Trondheim Soloists’ “Divertimenti” release (2L), the NFM Leopoldium Orchestra and Christian Danowicz’s “Made in Poland” (Dux), and discs by the Amadeus Chamber Orchestra led by Agnieszka Duczmal (Conifer) and St. Michel Strings under Tadeusz Wicherek (Alba).

Robert Kirzinger

The important modern biography of Mozart is Maynard Solomon’s Mozart: A Life (Harper Perennial paperback). Peter Gay’s wonderfully readable Mozart is a concise, straightfor- ward introduction to the composer’s life, reputation, and artistry (Penguin paperback). John Rosselli’s The life of Mozart is one of the compact composer biographies in the series “Musical Lives” (Cambridge paperback). Christoph Wolff’s Mozart at the Gateway to his Fortune: Serving the Emperor, 1788-1791 takes a close and importantly corrective look at the realities, prospects, and interrupted promise of the composer’s final years (Norton). For further delving, there are Stanley Sadie’s Mozart: The Early Years, 1756-1781 (Oxford); Volkmar Braunbehrens’s Mozart in Vienna, 1781-1791, which focuses on the composer’s final decade (Harper Perennial paperback); Julian Rushton’sMozart: His Life and Work, in the “Master Musicians” series (Oxford), and Robert Gutman’s Mozart: A Cultural Biography (Harcourt Brace Jovanovich/Harvest paperback). Peter Clive’s Mozart and his Circle: A Biographical Dictionary is a handy reference work with entries on virtually

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58 anyone you can think of who figured in Mozart’s life (Yale University Press).The Mozart Compendium: A Guide to Mozart’s Life and Music, edited by H.C. Robbins Landon, includes an entry by Robert Levin on the concertos (Schirmer). A Guide to the Concerto, edited by Robert Layton, includes a chapter by Denis Matthews on “Mozart and the Concerto” (Oxford paperback). Alfred Einstein’s Mozart: The Man, the Music is a classic older study (Oxford paperback). Other older books still worth knowing are Cuthbert Girdlestone’s Mozart and his Piano Concertos (Dover paperback) and Arthur Hutchings’s A Companion to Mozart’s Piano Concertos (Oxford paperback). Michael Steinberg’s program note on Mozart’s F major piano concerto, K.459, is in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback).

Recordings of K.459 include—listed alphabetically by soloist, who also doubles as conductor unless otherwise noted—Géza Anda’s with the Camerata Academica of the Salzburg Mozarteum (Deutsche Grammophon), Daniel Barenboim’s with the English Chamber Orchestra (Warner Classics), Alfred Brendel’s with Neville Marriner and the Academy of St. Martin in the Fields (Decca), Rudolf Buchbinder’s with the Vienna Sym- phony Orchestra (Profil), Jen˝o Jandó’s with Mátyás Antal and the Concentus Hungaricus (budget-priced Naxos), Murray Perahia’s with the English Chamber Orchestra (Sony), Maurizio Pollini’s with Karl Böhm and the Vienna Philharmonic (Deutsche Gram- mophon), András Schiff’s with Sandor Végh and the Salzburg Mozarteum Camerata Academica (Decca), and Mitsuko Uchida’s with the Cleveland Orchestra (Decca).

Books in which to read about Mendelssohn 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 Mendelssohn: 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);

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Download the App 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 (Scribner’s). Donald Ellman discusses Mendelssohn’s symphonies in his chapter “The Symphony in Nineteenth-century Germany,” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback).

Andrew Manze has recorded Christopher Hogwood’s edition of Mendelssohn’s Reformation Symphony with the NDR Radiophilharmonie (Pentatone). Charles Munch recorded Mendelssohn’s Reformation Symphony with the Boston Symphony Orchestra in 1957 (RCA). Complete recorded cycles of the five Mendelssohn symphonies include Claudio Abbado’s with the London Symphony Orchestra (Deutsche Grammophon), Christoph von Dohnányi’s with the Vienna Philharmonic (Decca), Kurt Masur’s with the Gewandhaus Orchestra of Leipzig (Warner Classics), and Yannick Nézet-Séguin’s with the Chamber Orchestra of Europe (Deutsche Grammophon). Of historic interest is Arturo Toscanini’s 1953 broadcast performance of the Reformation Symphony with the NBC Symphony Orchestra (RCA).

Marc Mandel

Amherst Early Music Weeekend Workshops and the Festival at Connecticut College

Amherst Early Music Festival July 14-28, 2o19 Connecticut College, New London, CT Largest early music program in the US Choral Workshop with Kent Tritle Recorder classes at all levels Baroque Strings for Modern Players Fully staged Baroque Opera Historical Dance Program Auditioned programs for emerging artists Festival Concert Series All on the beautiful campus of Connecticut College, in New London, CT

n amherstearlymusic.org We hope you'll join us!

Amherst Early Music is a member of the Newton Cultural Alliance newtonculture.org

week 23 read and hear more 61

Guest Artists

Andrew Manze

Andrew Manze, who makes his Boston Symphony Orchestra debut this week, is widely celebrated as one of the most stimulating and inspirational conductors of his generation. His extensive and scholarly knowledge of the repertoire, his rare skill as a communicator, and his boundless energy mark him out. Since the 2014-15 season, Mr. Manze has been chief conductor of the NDR Radiophilharmonie in Hannover. His contract was recently renewed, for the third time, until 2023. In addition to a busy touring schedule within Germany and Austria, the Radiophilharmonie had a highly successful tour to China and South Korea in autumn 2016 with Sir András Schiff as soloist. In 2017-18 they toured the UK, and they will return to the Far East in autumn 2019. They have embarked on a major series of recordings for Pentatone initially focusing on the orchestral works of Mendelssohn, the first of which was awarded the Preis der Deutschen Schallplattenkritik 2017. In great demand as a guest conductor worldwide, Mr. Manze has longstanding relationships with a number of leading international orchestras, including the Gewandhaus Orchestra of Leipzig, the Munich Philharmonic, Los Angeles Philharmonic Orchestra, Deutsches Symphonie-Orchester Berlin, Royal Stockholm Philharmonic, Finnish Radio Symphony Orchestra, Oslo Philharmonic, the Hallé, Camerata Salzburg, the Scottish Chamber Orches- tra, and the Swedish Chamber Orchestra. He is also a regular guest at the Mostly Mozart Festival in New York City. Mr. Manze has a close relationship with the Royal Liverpool Philharmonic Orchestra, of which he is currently principal guest conductor, and with whom he is in the process of recording the complete Vaughan Williams symphonies for Onyx Classics. He has made recent debuts with the Concertgebouworkest, NDR Elbphilharmonie,

week 23 guest artists 63 Connecting to What Matters That’s the Benchmark Difference.

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Independent Living | Assisted Living | Mind & Memory Approach *Opening summer 2019. Pending EOEA licensure. and the Bamberg and Melbourne symphony orchestras. From 2006 to 2014, he was principal conductor and artistic director of the Helsingborg Symphony Orchestra, making a number of recordings with that orchestra, including Beethoven’s Eroica (Harmonia Mundi) and a cycle of Brahms symphonies (CPO). From September 2010 to August 2014, Mr. Manze held the title of associate guest conductor of the BBC Scottish Symphony Orchestra, and from 2008 to 2011 he was principal guest conductor of the Norwegian Radio Symphony Orchestra. After reading classics at Cambridge University, Mr. Manze studied the violin and rapidly became a leading specialist in the world of historical performance practice. He became associate director of the Academy of Ancient Music in 1996 and then artistic director of the English Concert from 2003 to 2007. As a violinist, he has released a wide variety of CDs, many of them award-winning. Mr. Manze is a Fellow of the Royal Academy of Music and a visiting professor at the Oslo Academy; he has contributed to new editions of sonatas and concertos by Mozart and Bach published by Bärenreiter and Breitkopf & Härtel. He also teaches, edits, and writes about music, as well as broadcasting regularly on radio and television. In November 2011, Andrew Manze received the prestigious Rolf Schock Prize in Stockholm.

Francesco Piemontesi

Making his BSO debut this week, Francesco Piemontesi is widely renowned for his inter- pretation of Mozart and the early Romantic repertoire, but his pianism and sensibility also exhibit a close affinity with the later 19th- and 20th-century repertoire of Brahms, Liszt, Dvoˇrák, Ravel, Debussy, Bartók, and beyond. Mr. Piemontesi appears with major ensem- bles worldwide, among them the Deutsches Symphonie-Orchester Berlin, Orchestre de la Suisse Romande, Orchestre Philharmonique de Radio France, Orchestre National de France, the Hallé, Zurich’s Tonhalle Orchester, the Chamber Orchestra of Europe, Frankfurt Radio Symphony; the Budapest Festival, Leipzig Gewandhaus, Cleveland, and Philharmonia orchestras; the Bamberg, Vienna, Danish National, London, BBC, NHK, Pittsburgh, Dallas, Berlin Radio, Bavarian Radio, and Swedish Radio symphony orchestras; the St. Petersburg, London, Israel, and Seoul philharmonic orchestras; and the Munich, Czech, Oslo, and Los

week 23 guest artists 65 summer 2019

season sponsors TICKETS ON SALE NOW! JUNE 15-SEPTEMBER 1 888-266-1200 • tanglewood.org Angeles philharmonics. He has performed with such conductors as Vladimir Ashkenazy, Nicholas Collon, Charles Dutoit, Sir Mark Elder, Iván Fischer, Mirga Gražinyte˙-Tyla, Manfred Honeck, Marek Janowski, Neeme Järvi, Ton Koopman, Andrew Manze, Zubin Mehta, Sir Roger Norrington, Gianandrea Noseda, Sakari Oramo, and Yuri Temirkanov. As a chamber musician, Francesco Piemontesi plays with a variety of partners, including Leif Ove Andsnes, Yuri Bashmet, Renaud and Gautier Capuçon, Emmanuel Pahud, Heinrich Schiff, Christian Tetzlaff, Tabea Zimmermann, and the Emerson Quartet. His solo recitals have taken him to such prestigious venues as London’s Wigmore Hall, Amsterdam’s Concertgebouw, Rotterdam’s De Doelen, Berlin’s Philharmonie, Zurich’s Tonhalle, Vienna’s Konzerthaus and Musikverein, Carnegie Hall and Avery Fisher Hall in New York, and Tokyo’s Suntory Hall. In January 2016, Mr. Piemontesi launched his complete “Mozart Odyssey” at the Wigmore Hall, performing the sonatas in a series of recitals over the course of three seasons. He has also performed at the Verbier Festival, Edinburgh International Festival, La Roque d’Anthéron, the Chopin International Music Festival in Warsaw, the Lucerne Festival, Schubertiade, Aix-en-Provence Easter Festival, the Rheingau and Schleswig-Holstein festivals, and New York’s Mostly Mozart Festival. His recordings include three for Naïve Classique—Debussy’s Préludes; piano works of Mozart; and the Schumann and Dvoˇrák piano concertos with the BBC Symphony Orchestra and Jiˇrí Bˇelohlávek. His recording of Mozart’s piano concertos 25 and 26 with the Scottish Cham- ber Orchestra and Andrew Manze was released on Linn Records in August 2017. Born in Locarno, Switzerland, Francesco Piemontesi has studied with Arie Vardi, Alfred Brendel, Murray Perahia, Cécile Ousset, and Alexis Weissenberg. He rose to international promi- nence with prizes at several major competitions, including the 2007 Queen Elisabeth Competition, and was a BBC New Generation Artist from 2009 to 2011. Since 2012 he has been the artistic director of the Settimane Musicali di Ascona.

week 23 guest artists 67 Musicto your ears

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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 • Josh and Jessica Lutzker • 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 • 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 ‡ • Dorothy Dudley Thorndike ‡ and John Lowell Thorndike • 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 (11) ‡ Deceased

week 23 the great benefactors 71 A Symphony-Worthy Performance, In The Comfort Of Your Own Home.

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www.msteinert.com • (617) 426-1900 • [email protected] 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 Lisa Bury, Interim Chief Development Officer Sue Elliott, Judith and Stewart Colton Tanglewood Learning Institute Director Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Leslie Wu Foley, Helaine B. Allen Director of Education and Community Engagement 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, Chief Strategy Officer and Clerk of the Corporation 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 • Christopher Thibdeau, Management Office Administrator 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, Boston Pops Business Director • Leah Monder, Operations Manager • Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services 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 23 administration 73 2019-20 CHAMBER MUSIC SEASON

Save the dates for our 2019-2020 season! SEPT. 20 & 22 The Enlightenment & Beyond MOZART Oboe Quartet in F, K 370 BEETHOVEN D Major String Trio, Opus 9, No. 2 JANÁCˇEK Quartet No. 1, “The Kreutzer Sonata” NOV. 8 & 10 Kaleidoscope Salem BEETHOVEN 7 Magic Flute Variations for cello & piano Friday Evenings MELTZER World Premiere sonata for cello and piano at 8:00 TURINA Trio No. 1 in D, Opus 35 In Historic Hamilton Hall GRANADOS Piano Quintet in G minor, Opus 49 JAN. 3 & 5 Mozart x 2 MOZART String Quintet in G minor, K 516 MOZART String Quintet in E-flat Major, K 614 Brookline Sunday Afternoons MAR. 13 & 15 French Connection at 3:00 SAINT-SAËNS Piano Trio No. 1, Opus 18 In Beautiful St. Paul’s Church RAVEL Piano Trio ??? Our annual Mystery Piece Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. APR. 24 & 26 Director’s Cut MOZART Piano Trio in B-flat, K 502 CHOPIN Sonata for Cello and Piano, Opus 65 BRAHMS You ™ Piano Quartet in G minor, Opus 25 Are Hear BostonArtistsEnsemble.org

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 Donor and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Pam Malumphy, Interim Director of Individual Giving • 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 • Stephanie Cerniauskas, Executive Assistant • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Sarah Chin, Donor Acknowledgment and Research Coordinator • Allison Cooley, Major Gifts Officer • Kelsey Devlin, Donor Ticketing Associate • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Assistant Director of Board Administration • Joshua Hahn, Assistant Manager of Individual Giving, Annual Funds • Barbara Hanson, Senior Major Gifts Officer • Michelle Houle, Individual Giving 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, Associate Director of Individual Giving, Annual Funds • 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 • Laura Sancken, Board Engagement Officer • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer education and community engagement

Jenna Goodearl, Program Director, Youth and Family Initiatives • Deron Hall, Associate Director of Strategic Education Partnerships • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Program Director, Community Partnerships and Projects • Sarah Saenz, 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, Tanglewood Grounds Manager • Peter Socha, Tanglewood Facilities Manager • Ross Jolly, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Tanglewood Electrician/ MEP Systems and Projects Coordinator • Bruce Huber, Assistant Carpenter/Roofer • Ronald Paul, Plumber/HVAC Technician

week 23 administration 75

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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 • Rob Williams, Human Resources Generalist information technology Timothy James, Director of Information Technology James Beaulieu, IT Services Team Leader • Andrew Cordero, IT Services Analyst • Ana Costagliola, Senior Database Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, IT Services Analyst public relations

Emily Cotten, Junior Publicist • Matthew Erikson, Senior Publicist publications Marc Mandel, Director of Program Publications James T. Connolly, Program Publications Coordinator and Pops Program Editor • 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 and Group Sales • 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 • Thomas Vigna, Group Sales and Marketing Associate • Eugene Ware, Associate Marketing Manager • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Shawn Mahoney, Box Office Representative • Evan Xenakis, Box Office Administrator 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 23 administration 77 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 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

THE GREAT BACH A BAROQUE BEETHOVEN CONCERTOS AND CHRISTMAS SYMPHONY NO. 5 CANTATAS Dec 13 + 16 Mar 8 + 10 Sep 28 + 30 NEC’s Jordan Hall Symphony Hall Symphony Hall

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week 23 administration 79 Next Program…

Thursday, April 25, 8pm Friday, April 26, 1:30pm Saturday, April 27, 8pm Tuesday, April 30, 8pm

andris nelsons conducting

rachmaninoff piano concerto no. 3, opus 30 Allegro ma non tanto Intermezzo: Adagio Alla breve daniil trifonov

{intermission}

shostakovich symphony no. 15, opus 141 Allegretto Adagio Allegretto Adagio—Allegretto

Andris Nelsons and the BSO continue their Shostakovich symphony cycle, being recorded live for release on Deutsche Grammophon, with the composer’s final work in the genre, his Symphony No. 15. Composed in summer 1971 and premiered the following January, the Fifteenth is distinctive in its very surprising quotation from Rossini’s William Tell Overture, as well as musical allusions to Wagner’s Ring cycle and Tristan und Isolde. The composer’s mysterious, introspective late style is evident in the second movement, with its long cello solo. The young Russian pianist Daniil Trifonov has won universal acclaim for both his technical brilliance and his expressive intensity. Both quali- ties are needed in Rachmaninoff’s Piano Concerto No. 3, one of the most enduringly popular concertos in the repertoire, which is powerful, lyrical, and Russian to the core.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org via a secure credit card order; by calling SymphonyCharge 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.

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 ‘C’ April 25, 8-10 Thursday, May 2, 10:30am (Open Rehearsal) Friday ‘B’ April 26, 1:30-3:30 Thursday ‘D’ May 2, 8-9:55 Saturday ‘A’ April 27, 8-10 Friday ‘B’ May 3, 1:30-3:25 Tuesday ‘B’ April 30, 8-10 Saturday ‘B’ May 4, 8-9:55 ANDRIS NELSONS, conductor ANDRIS NELSONS, conductor DANIIL TRIFONOV, piano BAIBA SKRIDE, violin RACHMANINOFF Piano Concerto No. 3 STRAUSS Till Eulenspiegel’s Merry Pranks SHOSTAKOVICH Symphony No. 15 SEBASTIAN Aether, for violin and orchestra CURRIER (world premiere; BSO co-commission) STRAVINSKY Petrushka (1947 version)

Programs and artists subject to change.

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.

week 23 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 23 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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