Summer 2014 Boston Symphony Orchestra

boston symphony orchestra summer 2014

Andris Nelsons, Ray and Maria Stata Music Director Designate Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

133rd season, 2013–2014

Trustees of the Boston Symphony Orchestra, Inc.

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

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

Life Trustees

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

Other Officers of the Corporation

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board

Board of Overseers of the Boston Symphony Orchestra, Inc.

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

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

Programs copyright ©2014 Boston Symphony Orchestra, Inc. Cover photo by John Ferrillo Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Kurt W. Saraceno • Diana Scott • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

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

† Deceased Tanglewood The Tanglewood Festival

On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshire Hills of western Massachusetts; music director Serge Koussevitzky conducted. But those outdoor concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the orchestra performed nearby under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York Philharmonic, under the direction of composer/conductor Henry Hadley. But after a second concert series in 1935, plans for 1936 proved difficult, for reasons including Hadley’s health and aspects of the musical programming; so the organizing committee instead approached Koussevitzky and the BSO’s Trustees, whose enthusiastic response led to the BSO’s first concerts in the Berkshires. In the winter of 1936, following the BSO’s concerts that summer, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, a two-weekend festival was planned for 1937, and on August 5 that year, the festival’s largest crowd to date assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the Siegfried Idyll, music too gentle to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival’s founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money was raised to begin active planning for a “music pavilion.” Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the festival’s immediate needs, and also well beyond the $100,000 budget. When his second, simplified plans were again deemed too expensive,

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives)

he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kous- sevitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— The tent at Holmwood, where the BSO played was inaugurated on July 7, 1994, providing a its first Berkshire Symphonic Festival concerts in modern venue throughout the summer for 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Celebrating its 20th Anniversary Season this summer, Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center with the intention of creating a first-class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony musicians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding to the war then raging in Europe. “So long as art and culture exist there is hope for humanity.” Randall Thompson’s Alleluia for unaccompanied chorus, Then BSO music director Seiji Ozawa, with bass drum, lead- specially written for the ceremony, ing a group of Music Center percussionists during a rehearsal arrived less than an hour before the for Tanglewood on Parade in 1976 (BSO Archives/photo by event began; but it made such an Heinz Weissenstein, Whitestone Photo) impression that it continues to be performed at each summer’s opening ceremonies. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the school’s reins, returning to Koussevitzky’s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher was the TMC’s artistic director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC cen- tralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein became Direc- tor of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training—participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st centuries. All participants receive full fellowships that underwrite tuition, room, and board. It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, Phyllis Curtin, David Del Tredici, Christoph von Dohnányi, Jacob Druckman, Lukas Foss, Michael Gandolfi, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Osvaldo Golijov, Seiji Ozawa, Leontyne Price, Ned Rorem, Cheryl Studer, Sanford Sylvan, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future. Koussevit- zky conceived of the TMC as a laboratory in which the future of the musical arts would be discovered and explored, and the institution remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 28 through August 31. Hours are from 10 a.m. to 5 p.m. Monday through Thursday; from 10 a.m. through intermission of the evening concert on Friday; from 9 a.m. through intermission of the evening concert on Saturday; and from noon until 5 p.m. on Sunday. There is no admission charge. This Summer’s Archival Exhibits at the Tanglewood Visitor Center

Seiji Ozawa on stage with the BSO at Tanglewood on the occasion of his conducting debut with the orchestra, August 16, 1964 (Whitestone Photo/ BSO Archives)

The historical displays in the Tanglewood Visitor Center are located on the first floor of the Tappan House, the manor house built on the Tanglewood estate by William Aspinwall Tappan and his wife Caroline Sturgis Tappan in the 1860s. The exhibit contains information documenting the history of the Tanglewood property as well as the origins and early years of the Tanglewood Music Festival. This summer’s special exhibits at the Visitor Center mark the 50th anniversary of Seiji Ozawa’s conducting debut with the BSO, which took place at Tanglewood on August 16, 1964; the 50th anniversary of the Boston Symphony Chamber Players, who gave their first concert on November 8, 1964, at Sanders Theatre in Cambridge; and the 20th anniversary of Ozawa Hall, which opened to the public with the inaugural concert of July 7, 1994. Visitors can also continue to relive Tanglewood’s rich history through the Interactive Media Exhibit located in what was originally the Tappan House library, and which allows visitors to view historical film footage and other digitized content, as well as travel the Tanglewood Time Line.

Seiji Ozawa Hall under construction in the spring of 1993 (Walter H. Scott/BSO Archives)

Ralph Gomberg, Burton Fine, Jules Eskin, and Joseph Silverstein, who performed Mozart’s Oboe Quartet in the November 1964 inaugural concert of the Boston Symphony Chamber Players (Boris and Milton/BSO Archives)

In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, and tents or other structures are prohibited from the Tanglewood grounds. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert, and that during Shed concerts children may play ball only behind the Visitor Center or near Ozawa Hall. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. The following are also not permitted at Tanglewood: solicitation or distribution of material; unauthorized ticket resales; animals other than approved service animals; motorized vehicles other than transport devices for use by mobility-impaired individuals. All bags, purses, backpacks, and other containers are subject to search. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 2:30 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 2:30 p.m., and from noon through intermission on Sun- days. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seventeen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $31 (front and boxes) and $21 (rear); lawn tickets are $11. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

LIGHTNING AND SEVERE WEATHER ARE NOT FULLY PREDICTABLE. Patrons, visitors, and staff are responsible for observing weather conditions, heeding storm warnings, and taking refuge. Storm shelters are identified on campus maps posted at main gates, in the Tanglewood program book, and on building signage. Please take note of the designated storm shelter nearest you and await notification of safe conditions. Please note that tent structures are not lightning-protected shelters in severe storm conditions. Readmission passes will be provided if you choose to take refuge in your vehi- cle during the storm.

PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during storm conditions and will be resumed when it is safe to do so.

Boston Symphony Orchestra Tanglewood 2014

ANDRISNELSONS BERNARDHAITINK SEIJI OZAWA THOMASWILKINS Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Designate Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity

First Violins Wendy Putnam* Violas Owen Young* Robert Bradford Newman John F. Cogan, Jr., and Malcolm Lowe chair, endowed in perpetuity Steven Ansell Mary L. Cornille chair, Concertmaster Principal endowed in perpetuity Charles Munch chair, Xin Ding* Charles S. Dana chair, endowed in perpetuity Kristin and Roger Servison endowed in perpetuity Mickey Katz* chair Stephen and Dorothy Weber Tamara Smirnova Cathy Basrak chair, endowed in perpetuity Associate Concertmaster Glen Cherry* Assistant Principal Helen Horner McIntyre Donald C. and Ruth Brooks Anne Stoneman chair, Alexandre Lecarme* chair, endowed in perpetuity Heath chair, endowed endowed in perpetuity Nancy and Richard Lubin in perpetuity chair Alexander Velinzon° Edward Gazouleas Assistant Concertmaster Yuncong Zhang* Lois and Harlan Anderson Adam Esbensen* Ronald G. and Ronni J. Robert L. Beal, Enid L., chair, endowed in perpetuity Blaise Déjardin* and Bruce A. Beal chair, Casty chair endowed in perpetuity Robert Barnes Elita Kang Second Violins Michael Zaretsky Basses Assistant Concertmaster Haldan Martinson Mark Ludwig* Edwin Barker Edward and Bertha C. Rose Principal chair, endowed in perpetuity Principal Rachel Fagerburg* Carl Schoenhof Family Harold D. Hodgkinson Julianne Lee chair, endowed in perpetuity Kazuko Matsusaka* chair, endowed in perpetuity Acting Assistant (position vacant) Rebecca Gitter* Lawrence Wolfe Concertmaster Assistant Principal Assistant Principal Wesley Collins* Bo Youp Hwang Charlotte and Irving W. Maria Nistazos Stata chair, John and Dorothy Wilson Rabb chair, endowed Jonathan Chu* endowed in perpetuity chair, endowed in perpetuity in perpetuity Daniel Getz* Benjamin Levy Lucia Lin Sheila Fiekowsky Leith Family chair, endowed Dorothy Q. and David B. Shirley and J. Richard in perpetuity Arnold, Jr., chair, endowed Fennell chair, endowed Cellos Dennis Roy in perpetuity in perpetuity Jules Eskin Joseph and Jan Brett Ikuko Mizuno Nicole Monahan Principal Hearne chair David H. and Edith C. Philip R. Allen chair, Joseph Hearne Jennie Shames* Howie chair, endowed endowed in perpetuity Ruth and Carl J. Shapiro in perpetuity James Orleans*§ chair, endowed in perpetuity Martha Babcock Ronan Lefkowitz Associate Principal Todd Seeber* Valeria Vilker Vernon and Marion Alden Eleanor L. and Levin H. Kuchment* Vyacheslav Uritsky* chair, endowed in perpetuity Campbell chair, endowed in Stephanie Morris Marryott perpetuity and Franklin J. Marryott Nancy Bracken* Sato Knudsen chair Aza Raykhtsaum* Mischa Nieland chair, John Stovall* endowed in perpetuity Tatiana Dimitriades* Bonnie Bewick* Thomas Van Dyck* Catherine and Paul Mihail Jojatu Buttenwieser chair James Cooke* Sandra and David Bakalar chair Si-Jing Huang* Victor Romanul* Mary B. Saltonstall chair, Bessie Pappas chair Jonathan Miller* Richard C. and Ellen E. endowed in perpetuity Catherine French* Paine chair, endowed Jason Horowitz* in perpetuity Ala Jojatu* Flutes Bass Clarinet Thomas Siders Voice and Chorus Assistant Principal Elizabeth Rowe Craig Nordstrom Kathryn H. and Edward John Oliver Principal M. Lupean chair Tanglewood Festival Walter Piston chair, Chorus Conductor endowed in perpetuity Bassoons Michael Martin Alan J. and Suzanne W. Richard Svoboda Ford H. Cooper chair, Dworsky chair, endowed Clint Foreman endowed in perpetuity in perpetuity Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, endowed in perpetuity Trombones Librarians Elizabeth Ostling Associate Principal Suzanne Nelsen Toby Oft D. Wilson Ochoa Marian Gray Lewis chair, John D. and Vera M. Principal Principal endowed in perpetuity MacDonald chair J.P. and Mary B. Barger Lia and William Poorvu Richard Ranti chair, endowed in perpetuity chair, endowed in perpetuity Piccolo Associate Principal Stephen Lange William Shisler Diana Osgood Tottenham/ Cynthia Meyers Hamilton Osgood chair, John Perkel Evelyn and C. Charles endowed in perpetuity Bass Trombone Marran chair, endowed in perpetuity James Markey Associate Contrabassoon John Moors Cabot chair, Conductor endowed in perpetuity Oboes Gregg Henegar Marcelo Lehninger Helen Rand Thayer chair Anna E. Finnerty chair, John Ferrillo Tuba endowed in perpetuity Principal Mildred B. Remis chair, Horns Mike Roylance endowed in perpetuity Principal Assistant James Sommerville Margaret and William C. Conductor Mark McEwen Principal Rousseau chair, endowed James and Tina Collias Helen Sagoff Slosberg/ in perpetuity Andris Poga chair Edna S. Kalman chair, endowed in perpetuity Keisuke Wakao Timpani Personnel Assistant Principal Richard Sebring Managers Farla and Harvey Chet Associate Principal Timothy Genis Krentzman chair, Margaret Andersen Sylvia Shippen Wells chair, Lynn G. Larsen Congleton chair, endowed endowed in perpetuity endowed in perpetuity Bruce M. Creditor in perpetuity Assistant Personnel English Horn Rachel Childers Percussion Manager John P. II and Nancy S. Robert Sheena Eustis chair, endowed J. William Hudgins Beranek chair, endowed in perpetuity Peter and Anne Brooke Stage Manager in perpetuity chair, endowed in perpetuity Michael Winter John Demick Elizabeth B. Storer chair, Daniel Bauch Clarinets endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. William R. Hudgins Jason Snider Linde chair Principal Jonathan Menkis Ann S.M. Banks chair, Kyle Brightwell participating in a system Jean-Noël and Mona N. * endowed in perpetuity Peter Andrew Lurie chair, of rotated seating Tariot chair endowed in perpetuity Michael Wayne § on sabbatical leave Matthew McKay on leave Thomas Martin Trumpets ° Associate Principal & E-flat clarinet Thomas Rolfs Harp Principal Stanton W. and Elisabeth Jessica Zhou K. Davis chair, endowed Roger Louis Voisin chair, endowed in perpetuity Nicholas and Thalia Zervas in perpetuity chair, endowed in perpetuity Benjamin Wright by Sophia and Bernard Gordon A Brief History of the Boston Symphony Orchestra

Now in its 133rd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international stan- dard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Inter- national Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tangle- wood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by Andris Nelsons conducting the BSO at Tanglewood, July 2012 William Steinberg. Seiji Ozawa (photo by Hilary Scott) became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations.Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s fifteenth music director, a position he takes up in the 2014-15 season, following a year as music director designate. Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

Table of Contents

Friday, July 11, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA with VYTAS BAKSYS, piano Music of Suk, Domažlický, Kalabis, and Janáˇcek

Friday, July 11, 8:30pm 11 BOSTON SYMPHONY ORCHESTRA ANDRIS NELSONS conducting; ANNE-SOPHIE MUTTER, violin All-Dvoˇrák program

Saturday, July 12, 8:30pm Tanglewood Gala 27 BOSTON SYMPHONY ORCHESTRA TANGLEWOOD MUSIC CENTER ORCHESTRA ANDRIS NELSONS conducting SOPHIE BEVAN, ANGELA DENOKE, ISABEL LEONARD, vocal soloists Music of Strauss, Rachmaninoff, and Ravel

Sunday, July 13, 2:30pm 38 BOSTON POPS ORCHESTRA KEITH LOCKHART conducting JASON ALEXANDER, special guest

“This Week at Tanglewood” Again this summer, patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, July 11, include mezzo-soprano Isabel Leonard and BSO concertmaster Malcolm Lowe. The series continues through Friday, August 22, the final weekend of the BSO’s 2014 Tanglewood season.

Saturday-Morning Open Rehearsal Speakers July 5; August 2, 16, 23—Marc Mandel, BSO Director of Program Publications July 12, 19, 26; August 9—Robert Kirzinger, BSO Assistant Director of Program Publications

Koussevitzky Shed lawn video projections provided by Myriad Productions, Saratoga Springs, NY

TANGLEWOODWEEK 2 TABLEOFCONTENTS 1 2014 Tanglewood

Prelude Concert Friday, July 11, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE LYNN AND KEN STARK CONCERT

SI-JING HUANG and RONAN LEFKOWITZ, violins MARK LUDWIG, viola THOMAS MARTIN, clarinet SUZANNE NELSEN, bassoon RICHARD SEBRING, horn VYTAS BAKSYS, piano

SUK “Melodie” for two violins

DOMAŽLICKÝ “Národnich Písní” (“Folk Songs”) for two violins and viola, from Opus 13 I sowed millet: Allegro If you were Jenicku: Moderato con moto Saying good-bye: Flebilmente I am from Kutná Hora: Marcia

KALABIS Variations for Horn and Piano, Opus 31

KALABIS Suite for Clarinet and Piano, Opus 55 Allegro ma non troppo Andante Vivo

JANÁCEKˇ Concertino for piano, two violins, viola, clarinet, horn, and bassoon Più mosso Con moto Allegro

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Please also note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. We appreciate your cooperation.

2 NOTES ON THE PROGRAM

Josef Suk (1874-1935) enjoyed a long and distinguished career within his native Czechoslovakia and beyond as both a composer and violinist. Still, his name hasn’t gone down in history with quite the same weight as that of his friend and mentor, Antonín Dvoˇrák. Suk was Dvoˇrák’s favorite pupil at the Prague Conservatory and eventually married his daughter Otilie. Given additional endorsements and a helping hand in the publishing arena by Brahms, Suk was at one point regarded as Dvoˇrák’s natural successor as the leading proponent of the modern Czech style. He was no single-minded pursuer of esoteric theoretical heights, however. Performing as a violinist was a prominent part of his career: he played in the internationally renowned Czech quartet, a group with which he gave more than 4,000 concerts, from his time at the Conservatory until retiring in 1933. And although he eventually developed a complex harmonic language, he never lost pleasure in that intrinsically satisfying element of violin playing: melody. The simply titled Melodie sets the flowing, lyrically brooding theme against the contrasting spring of a rhythmic, chordal accompani- ment. The opening melody gives way to a more contrapuntal middle section in which the two parts interweave and strain against each other in sinuous harmonic modula- tions, forming a tangle that dissipates upon the return of the gently soulful tune. Chronicles of composers in the 20th century are too often stories of difficulty and struggle—with censorship, with political entanglements, with erratic currents of popularity and scorn. Ripples of time and place inevitably make their way into the music born into their midst, yet composers react to their environment in different ways. Some use their work to engage in overt or cloaked polemics, some let themselves be swayed by fashion, some reject the public eye to pursue a single-minded philosophy, and some turn to it as sustenance in times of adversity. František Domažlický (1913-1997) endured one of the most harrowing possible work environments: he belongs to that small and incredibly determined subset of composers who produced and mounted works in concentration camps during World War II. Along with many other prominent Jewish artists and cultural leaders, Domažlický was imprisoned at Terezín, where the Nazis engineered the illusion of a benevolently cared-for, culturally rich Jewish community. As was the fate of tens of thousands of Terezín inmates, many of these artists were later killed outright, either upon transportation to places like Auschwitz or in Terezín itself. Domažlický survived further deportations and death marches; when the war ended he completed courses in both violin and composition at the Prague Academy of Arts and Music and went on to a long and successful career as a violinist, violist, and composer. Compositions from Domažlický’s time at Terezín include choral works inspired by traditional Czech songs and Píseˇn beze slov (Song Without Words) for string quartet. It is self-evident that Domažlický valued music as a form of expression and communica-

PRELUDE CONCERT SEATING Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall is unreserved and available on a ﬁrst-come, ﬁrst-served basis when the grounds open at 5:30pm. Patrons are welcome to hold one extra seat in addition to their own. Also please note, however, that unoccupied seats may not be held later than five minutes before concert time (5:55pm), as a courtesy to those patrons who are still seeking seats.

TANGLEWOODWEEK 2 PRELUDEPROGRAMNOTES 3 tion, a way to speak when words are silenced, at Terezín and for the remainder of his life. His works are not abstruse; rather they strive to touch a universal chord with melodic beauty, grace, balance, and rhythmic drama. Many of his works invite performances by students, children, and amateurs—the arena in which the composer himself first learned to love music-making. Viktor Kalabis (1923-2006) was another Czech composer who, despite overwhelming impediments, displayed a remarkable determination to engage in musical life. Subjected to forced factory labor outside of Prague during the Nazi occupation, he still managed to commute to the city to continue his composition lessons; the end of the war allowed him to complete his education at Prague’s Conservatory and Charles University, where he studied philosophy and musicology. The subsequent communist regime, however, denied the public dissenter his official Ph.D., as well as many other opportunities. Kalabis nevertheless maintained a steady output and slowly accrued an international following, earning commissions from across Europe. After the Velvet Revolution of 1989, he was able to realize fully his role as a national artistic leader, adding the presidency of the Bohuslav Martin˚u Foundation to his long- time work at Czechoslovak Radio. Though trained as a pianist from an early age, Kalabis soon developed a passion for wind instruments. As a teenager he taught himself saxophone and clarinet, and began to explore jazz. A significant portion of his oeuvre focuses on wind instruments, in various ensemble arrangements and paired with piano. Like other such duos, the Variations for Horn and Piano of 1969 is far from an accompanied instrumental showpiece. It is a work of complex chamber music, each part reacting to the other in melodic shape, counterpoint, character, and articulation. The piece opens with a short melody in the horn that begins simply but wanders into unexpected intervallic contours, the piano following with gentle commentary. The piano leads

4 with a meandering line into the first variation, while the horn takes on a more declamatory role. The piano continues in this role of oblique instigation, through variations that are alternately capricious, driving, meditative, plaintive, portentous, and peaceful. Kalabis incorporates a variety of compositional techniques with aplomb: some variations feature repetitive motives in gradual mutation, while elsewhere, tran- sitions are achieved through abrupt character shifts and stark, dramatic chords. In contrast to the well-planned metamorphoses of the Variations, Kalabis’s Suite for Clarinet and Piano, written in 1981, seems to unfold in short, kamikaze bursts. The first of the three brief movements is a startling mix of impressionistic flourishes rem- iniscent of Debussy and sharp, irregular, Stravinskian rhythms. The second-movement Andante interpolates moments of suspension—often in the form of a wavering birdcall motive in the clarinet—with slowly marching piano chords, simultaneously ponderous and delicate. The final movement navigates a variety of perpetual-motion rhythms, sometimes playfully jostling against each other, sometimes merging for a brief, boisterous dance. Kalabis’s wife and musical partner of over fifty years, renowned harpsichordist Zuzana R˚užiˇcková, remembers the composer’s visit to Boston: “Viktor was enchanted by the orchestra and also by Symphony Hall, its acoustics and form. ‘Would that a work of mine could be played here!’ I remember him wistfully sighing.” Kalabis’s wish was posthumously granted with a recording of his music released this year by the Terezín Music Foundation and recorded in Symphony Hall. Leoš Janáˇcek (1854-1958) was born into a humble but highly musical family during an earlier era of Czech history. He spent his youth and young adulthood as an impoverished chorister, schoolteacher, and choir director in and around the Moravian village of Brno. Further musical studies in Prague and Leipzig were dampened by lack of funds (he was too poor to buy a piano or enjoy many of the cities’ concert offerings), strict and uninspiring teachers, and a failure to win any prestigious competitions. Returning to Brno and teaching, a dissatisfied Janáˇcek found inspiration from two quarters: traditional Moravian folk music, and the new Provisional Czech Theatre in Brno. Much later, in his 70th year, Janáˇcek had traversed enough bumpy road—navigating ups and downs of fortune, musical success, and romantic relationships—to indulge in a certain period of nostalgia, heralded by his work for wind sextet entitled Mládí (“Youth”). Janáˇcek had never lost his attraction to folk music, and he had become a noted composer of opera. Much of his oeuvre incorporated folk- loric themes, and his opera The Cunning Little Vixen was set in a world of wild animals

TANGLEWOODWEEK 2 PRELUDEPROGRAMNOTES 5 in which meaning, like the musical material, hid layers of complexity below a surface of tradition and simplicity. Janáˇcek’s programmatic inclinations, his use of folk-melody flavor to jarring rather than idyllic effect, and his keen ear for instrumental color are all on display in his curiously assembled Concertino for piano, two violins, viola, clarinet, horn, and bassoon. The piano takes a soloistic role, accompanied by whatever combination of instruments (or instrument) the composer felt best for the character of the movement. Janáˇcek provided a loose narrative by explaining that the four movements were inspired by specific memories from his youth involving wild animals. But even without anecdotal illumination, the piece’s drama, fraught with suspense and emo- tion, is palpable. The first movement begins with a jagged, modal theme in the piano, an episode that recurs as an exchange with a series of strident horn calls. The horn occasionally contributes its motive as the piano begins to rhapsodize on the theme. Janáˇcek’s story here is of a frustrated hedgehog (personified by the noisy horn) blocked from retreating to its lair. The second movement is a duo between piano and clarinet. Tremolandi and trills abound, sometimes playful and sometimes aggressive, and contrast with brusque rhythmic energy. Janáˇcek describes a squirrel, “chatty (while jumping) from tree to tree among the branches. But once in the cage, she screeched like my clarinet....” The whole ensemble joins, briefly and out of the blue, for the final climax. Janáˇcek evokes owls in the alternately brash and sensitive third movement: “With a bullying expression the stupid bulging eyes of the screech-owl, tawny-owl and other critical night-birds stare into the strings of the piano.” Strings and winds trade off staring, alternating oom-pah chords to accompany the piano. The clarinet bursts

6 forth with soaring arpeggios against the piano’s gentle rocking in the middle section, before raucous hooting heralds a piano cadenza and a return to the opening rhythm. More flurries introduce the final movement, a meeting of the animals, which gathers momentum to a sprightly clip. Each instrument contributes unique sounds to the fabric of the story—pizzicato, trills, ponderous cross-rhythms, weighty bass—and the piano releases one final impassioned cry before a quick turnaround to an abrupt happy ending.

ZOE KEMMERLING Zoe Kemmerling is a Boston-based violist, Baroque violinist, and writer who was the 2012 Publications Fellow at the Tanglewood Music Center.

Artists

Si-Jing Huang joined the Boston Symphony Orchestra at the beginning of the 1989- 90 season, having graduated from the Juilliard School in New York in May 1989. Mr. Huang’s numerous scholarships and awards include the Lincoln Center Scholarship; he was also a winner of the Young Concert Artists Auditions held in Hawaii. His teachers included Glenn Dicterow and Dorothy DeLay, as well as his father, Da-Ying Huang. A former member of the Juilliard Orchestra, he has participated in the chamber music festivals at Aspen and Taos, toured the United States with the Classical String Players, and performed internationally with the Hawthorne String Quartet. Si-Jing Huang currently occupies the Mary B. Saltonstall Chair in the BSO’s first violin section. Born in Oxford, England, Ronan Lefkowitz joined the Boston Symphony Orchestra in 1976. He is a graduate of Brookline High School and Harvard University; among his teachers were Gerald Gelbloom, Max Rostal, Louise Vosgerchian, Joseph Silver- stein, and Szymon Goldberg. He was concertmaster of, and a frequent soloist with, the Greater Boston Youth Symphony Orchestra while in high school, and was also concertmaster of the International Youth Symphony Orchestra under Leopold Stokowski. In 1972 he won the Gingold-Silverstein Prize at the Tanglewood Music Center, where he now coaches chamber music, and where he helped establish and endow the Gerald Gelbloom Memorial Fellowship for a violin student each summer. Noteworthy past performances have included Vivaldi’s Concerto for Four Violins with three BSO colleagues on the PBS television program “Evening at Pops”; the American premiere in 1986 of Witold Lutosławski’s Chain 2 for violin and chamber orchestra as part of the Festival of Contemporary Music at Tanglewood, leading to the BSO premiere under the composer’s direction in 1990; and the 1988 world premiere, in which he was one of five BSO members, all Greater Boston Youth Symphony alumni, of Peter Lieberson’s Gesar Legend, composed for the Greater Boston Youth Symphony Orchestra. More recently he has been involved with the Terezín Chamber Music Foundation, directed by BSO colleague Mark Ludwig, which seeks to find, perform, and record music written in the early 1940s by composers during their internment at the Theresienstadt concentration camp. Mr. Lefkowitz’s recordings include two discs of chamber music by Arthur Foote and Samuel Coleridge-Taylor for Koch International with Harold Wright, Virginia Eskin, and the Hawthorne String Quartet, of which he is first violin. Since 1986, Mark Ludwig has blended his musical career with social causes having a particular emphasis on issues of intolerance. He continually strives to combine his scholarship, teaching, and performance endeavors with community service through-

TANGLEWOODWEEK 2 PRELUDEPROGRAMNOTES 7 out the United States and Europe. He has participated as a performing artist on numerous CD recordings and in performances to benefit causes in the United States as well as abroad in Bosnia, Darfur, Tibet, Albania, and in Roma communities in Central Europe. For his global outreach efforts, he was recently nominated to be a UNESCO Artist-for-PEACE and Goodwill Ambassador. Mr. Ludwig is the founding director of the Terezín Chamber Music Foundation (terezinmusic.org), a non-profit organization dedicated to documenting, preserving, and advancing the resilience of the human spirit as expressed in music and the arts by victims of the Holocaust. Acknowledged internationally as a leading scholar and champion of Holocaust music, he performs and lectures worldwide on this repertoire and its history; since the fall of 2001 he has been an adjunct professor at Boston College. Mr. Ludwig joined the viola section of the Boston Symphony Orchestra in the fall of 1982. An accomplished chamber musician who has performed with numerous internationally acclaimed artists, he is, along with three of his BSO colleagues, a member of the Hawthorne String Quartet, whose extensive performances have included tours in the United States, South America, Europe and the Pacific Rim. In 1985 Mr. Ludwig founded the Richmond (MA) Performance Series, currently MusicWorks, a non-profit

8 Berkshire-based chamber music series which presents performances, pre-concert lectures, and educational programs; for more information, please visit musicworks- berkshires.org. Thomas Martin served as principal clarinet of the Alabama Symphony Orchestra before joining the Boston Symphony in the fall of 1984. He occupies the Stanton W. and Elizabeth K. Davis Chair, endowed in perpetuity. Born in Oshkosh, Wisconsin, Mr. Martin graduated from the Eastman School of Music, where he was a student of Stanley Hasty and Peter Hadcock. He participated in master classes with Guy Deplus of the Paris Conservatory. Mr. Martin performs frequently as a recitalist and chamber musician and has been heard on “Morning Pro Musica” on WGBH radio. He has appeared in the Chamber Prelude series at Symphony Hall, in the Friday Preludes at Tanglewood, at the Longy School of Music, and at the Gardner Museum. Suzanne Nelsen began her studies in Edmonton, Canada, and instantly fell in love with the bassoon. She earned a bachelor’s degree from McGill University in Montreal and pursued further study at the Hague Conservatory in Holland, earning a UM degree. Her early training included summers at the Banff Festival, National Youth Orchestra of Canada, and Boris Brott Festival. In 1995, during post-graduate study at McGill, she won a position with the Montreal Symphony Orchestra. During that same year, she joined the faculty of McGill University as both chamber music coach and bassoon professor. She has performed throughout the world as a soloist and chamber musician and has recorded numerous CDs with the Montreal Symphony. Ms. Nelsen joined the Boston Symphony and Boston Pops orchestras in the fall of 2000, occupying the John D. and Vera M. MacDonald Chair in the BSO’s bassoon section. Richard Sebring is associate principal horn of the Boston Symphony Orchestra and principal horn of the Boston Pops Orchestra; he occupies the Margaret Andersen Congleton Chair in the BSO horn section. Born and raised in Concord, Massa- chusetts, Mr. Sebring studied at Indiana University, the New England Conservatory of Music, the University of Washington, and the Tanglewood Music Center. Previously principal horn of the Rochester Philharmonic, he joined the Boston Symphony Orchestra in 1981. Mr. Sebring has been soloist with the BSO and the Boston Pops in Boston, at Tanglewood, and on tour. As a studio musician, his horn work is heard regularly in popular music, on PBS, and in films. His arrangements of holiday and ceremonial music have been played by the Boston Pops in Symphony Hall and at Fenway Park. Mr. Sebring teaches at the New England Conservatory of Music and the Tanglewood Music Center. Pianist Vytas Baksys is an active freelance collaborator performing in a variety of recitals, competitions, and other musical settings employing various styles and genres throughout North America, Europe, and Asia. Since 1989 he has been the faculty pianist of the Fellowship Conducting Program at Tanglewood. He is a frequent key- boardist with the Boston Symphony and Boston Pops orchestras, has performed on several occasions with the Boston Symphony Chamber Players, and works with such other area ensembles as the Boston Secession, Concord Chamber Music Society, and the Rivers School Conservatory. Of Lithuanian descent, Mr. Baksys is a graduate of the New England Conservatory of Music and State University of New York at Stony Brook. He has participated in recordings for RCA, CRI, Golden Crest, Sony Classical, Deutsche Grammophon, Warner Brothers, Nonesuch, Reference Recordings, and BSO Classics.

TANGLEWOODWEEK 2 PRELUDEPROGRAMNOTES 9 The Linde Family Concert Friday, July 11, 2014 The concert on Friday evening is named for Great Benefactors Joyce and Edward Linde, and their family, in recognition of their generous gift to the Tanglewood Annual Fund. The Family has been supporting the Boston Symphony Orchestra since 1988. Ed Linde, a highly respected and admired leader within the Boston Symphony and throughout the city of Boston, began as an Overseer in 1996 and was elected Trustee in 1999 and Chairman of the Board in 2005. Throughout Ed’s tenure as Chairman, he was a passionate and tireless ambassador for the BSO until his death in 2010. He is greatly missed. Joyce, his partner of 47 years, carries on his legacy of leadership and generosity. Joyce was elected a Trustee in September 2010 and has been an active advocate for the BSO in this capacity. In 1985, the Lindes bought a home in the Berkshires near Tanglewood, and it was then that they fell in love with the BSO and began playing an active role by generously giving their time and resources. “Supporting the Symphony is easy for us,” the Lindes have said. “We think about the personal pleasure we receive at each concert, the impact Symphony performances have on audiences here at Tanglewood, and around the world, and the organization’s importance to the cultural life of Boston, a city we love greatly.” In 2000, together with their children, Doug and Karen, and their spouses, Carol and Jeff, Joyce and Ed established the Linde Family Foundation, which supports numerous arts, education, and youth initiatives in the Boston area. The Lindes are significant contributors to the Symphony and Tanglewood Annual Funds as well as BSO’s Beyond Measure Campaign, and they have generously given to the BSO’s educational and community engagement activities, believing that the arts should be a part of every child’s life. Joyce Linde is a trustee of the Linde Family Foundation; an honorary trustee of the Museum of Fine Arts, Boston; a governor of the School of the Museum of Fine Arts, Boston; an overseer of the deCordova Sculpture Park and Museum; and a member of the MIT Music and Theater Arts Visiting Committee and the Boston Public Schools Arts Advisory Board. Kevin Toler

10 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Friday, July 11, 8:30pm THE LINDE FAMILY CONCERT

ANDRIS NELSONS conducting

ALL-DVORˇ ÁK PROGRAM

“The Noonday Witch,” Symphonic poem, Opus 108

Violin Concerto in A minor, Opus 53 Allegro ma non troppo Adagio ma non troppo Allegro giocoso, ma non troppo ANNE-SOPHIE MUTTER

{Intermission}

Symphony No. 8 in G, Opus 88 Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured 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 devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Please also note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. We appreciate your cooperation.

TANGLEWOODWEEK 2 FRIDAYPROGRAM 11 NOTES ON THE PROGRAM

Antonín Dvoˇrák (1841-1904) “The Noonday Witch,” Symphonic poem, Opus 108 First performance: June 3, 1896, Prague Conservatory, Antonín Bennewitz cond. This is the first performance of “The Noonday Witch” (“Polednice” in Czech) by the Boston Symphony Orchestra. When Antonín Dvoˇrák returned to his native Bohemia in 1895 after three produc- tive if not entirely happy years in the United States, he had already finished composing his last and most popular symphony, his Ninth, From the New World, and it had been successfully premiered in New York. He had not, however, finished with orchestral composition, and before the year was out he completed the B minor cello concerto that has stood ever since as one of the greatest mon- uments of that instrument’s repertory. Shortly after that, he turned his attention to the Czech folklorist and poet Karel Jaromír Erben (1811-1870), whose anthologies had earlier furnished him with texts for several songs and a large-scale cantata, The Spectre’s Bride of 1884. This time, Dvoˇrák chose four ballad texts from Erben’s most popular collection, A Garland of Folk Legends, and in a fine burst of creativity between January and November 1896, used them as the basis of four symphonic poems which, though not as well-known as his late symphonies, are notable for their harmonic imagination, melodic sparkle, and impeccable orchestral vividness. The Water Goblin (Opus 107) is the creepiest of the four, The Golden Spinning Wheel (Opus 109) the longest and most fanciful, The Wood Dove (Opus 110) the most mystical, and The Noonday Witch (Opus 108) the shortest (at about fourteen minutes) and most dramatically poignant. These four works, plus one more symphonic poem, his Heroic Song (Opus 111), composed in 1897, were Dvoˇrák’s last works for orchestra. The poem of The Noonday Witch, in twelve quatrains, tells of a harried mother, preoccu- pied with getting lunch ready for the family, and threatening to summon the Noon Witch if her child doesn’t stop misbehaving. Dvoˇrák’s symphonic realization outlines the story with some freedom, in four basic sections, like a symphony in four movements compressed into one. The opening melody, in C major, Allegretto, 2/4, moves quickly into an agitated passage (Poco più animato) depicting the mother’s exaspera- tion; this subsection is repeated and further developed. In the second section, the

12 Noon Witch actually appears, first with a mysteriously descending and slowly oscillating chromatic harmony; this is followed by a sinister melody for bass clarinet and bassoon in octaves over tremolo cellos and basses. The scherzo-like dance in 3/8 that follows develops the C major theme, but now in E minor, Allegro; lively cross-rhythms in 2/8 are superposed on this, as the Noon Witch and the mother struggle for the child. After a climax, the dance subsides, and the final section begins with the church bells sounding the noon hour. The father returns (Andante, D major, dotted rhythm) from working in the fields to find his wife collapsed in a faint. He revives her (Più lento, arpeggiating violins), and only then do they realize that the child is dead, as the Noon Witch’s theme (Maestoso, A minor, trumpets and trombones, fff ) resounds like a braying laugh. Dvoˇrák sketched The Noonday Witch in just three days, January 11-13, 1896, and wrote out the orchestral score from February 14 to February 27. The first performance, along with those of The Water Goblin and The Golden Spinning Wheel, was on June 3 at the Prague Conservatory, conducted by Antonín Bennewitz; a public performance was conducted in Vienna by Hans Richter on December 20, and scores of all three symphonic poems were published by Simrock at the same time.

MARK DEVOTO Professor Emeritus of Music at Tufts University, musicologist and composer Mark DeVoto is a graduate of Harvard College and Princeton University, where he received his Ph.D. in 1967.

Here is a translation (by Dagmar Kanická z Czachrowa de Greenwell and Peter Dodge) of Erben’s poem, taken from the Czech as it appears in the preface to the score in the Artia Collected Edition of Dvoˇrák’s works: A child stood by the bench crying at the top of his lungs.—“I wish to God you’d hold your tongue, if only for a while, you waif!” “Noon is now upon us; Father will come home from work and my stove will be cold—and all because of you, you pest!” “Be still! Look, here’s a wooden soldier, a buggy—go and play.—Here, take this rooster.” But rooster, soldier and baby buggy go flying into a corner. And once again that dreadful screaming—“May hornets plague you!... Nay, I’ll call the Noon Witch to carry you off, you vexing brat!” “Come fetch him, Noon Witch,” she cried. “Take him away, the little wretch!” And suddenly there’s someone quietly unlatching the door. Small, dark, fierce of mien—hooded by a headcloth—the creature leans on a staff, crooked of limb; her voice is like the winter wind! “Give me the child!”—“Christ the Lord, forgive my sins, for I am a sinner!” She nearly dies of fright, for behold, the Noon Witch has come! Silently creeping toward the table, the Noon Witch moves like a shadow; the mother is near breathless with fright, and snatches the child into her lap. Pressing him to herself, she looks back—oh, woe, woe for the child! The Noon Witch creeps ever nearer—she is upon them! Now she reaches for the child—the mother, rounding her shoulders, gasps, “For Christ’s sweet suffering!” and sinks into a swoon. Now suddenly: One—two—three—the bell strikes the noonday hour; the door- latch clicks, the door swings wide, and the father walks into the room. The mother lies there in a faint, clutching her child to her breast; with care he brings her back to life, but cannot save the smothered child.

TANGLEWOODWEEK 2 FRIDAYPROGRAMNOTES 13 Antonín Dvoˇrák Violin Concerto in A minor, Opus 53 First performance: October 14, 1883, Prague, Dvoˇrák cond., Frantiˇsek Ondˇríˇcek, soloist. First BSO performances: November 1900, Wilhelm Gericke cond., Timothée Adamowski, soloist. First Tanglewood performance: July 18, 1963, Erich Leinsdorf cond., Isaac Stern, soloist. Most recent Tanglewood performance: August 19, 2006, Herbert Blomstedt cond., Hilary Hahn, soloist. On January 1, 1879, Joseph Joachim gave the first performance of the Brahms Violin Concerto. Brahms was one of the most important influences on the career of Antonín Dvoˇrák, and it was for Joachim that Dvoˇrák wrote his own Violin Concerto six months later. The Austro-Hungarian Joachim (1831-1907) was a composer, conductor, and teacher, as well as one of the most important violinists of his day. He made his debut at eight, was sent to study in Vienna several months after that, and in 1843 went to Leipzig to learn from Mendelssohn at the new conservatory there, making his Gewandhaus debut that August. On May 27, 1844, Mendelssohn conducted the Beethoven Violin Concerto in London with the thirteen-year-old Joachim as soloist; the enthusiastic audience was so taken with the blond youngster’s performance that the first movement was several times interrupted by applause. Six years later, Joachim was concertmaster under Franz Liszt at Weimar for the first production of Wagner’s Lohengrin. He became an intimate of Robert and Clara Schumann, and in 1853 he met Brahms, who benefited from Joachim’s advice on orchestration (Tovey reports that the latter’s skill in this area was considered “as on a level with his mas- tery of the violin”) and from hearing Joachim’s quartet perform his early chamber music. It soon became typical for Brahms to seek Joachim’s suggestions regarding works-in-progress, and in 1877 Joachim conducted the first English performance, at Cambridge, of Brahms’s First Symphony.* It was Brahms who introduced Dvoˇrák

* Brahms and Joachim remained very close until the end of Joachim’s marriage in 1884 found Brahms siding with Amalie Joachim. He wrote his Double Concerto as something of a peace offering to Joachim in 1887; Joachim and his quartet cellist, Robert Hausmann, were the ﬁrst soloists.

14 to Joachim, and Joachim got to know Dvoˇrák’s A major string sextet, Opus 48, and E-flat string quartet, Opus 51, both of which were performed at Joachim’s house in Berlin on July 29, 1879, with the composer present. By this time, and with encouragement from Joachim, who had recently given the first performance of Brahms’s Violin Concerto, Dvoˇrák was at work on a violin concerto of his own. In January 1880 he reported that Joachim had promised to play the concerto as soon as it was published, and on May 9, 1880, after Joachim had suggested a thorough revision, the composer wrote to Simrock that he had reworked the entire score, “without missing a single bar.” Dvoˇrák again gave the score to Joachim, who now took two years to respond, finally making alterations to the solo part in the summer of 1882 and suggesting that the composer lighten the instru- mentation. In November the composer and Joachim read through the concerto with the orchestra of the Berlin Hochschule. The next month Dvoˇrák held fast against criticism from Simrock’s adviser Robert Keller regarding the lack of a break before the Adagio: “... the first two movements can—or must—remain as they are.” Simrock published the score in 1883, but for the first performance the soloist was not Joachim but the twenty-three-year-old, Prague-born Frantiˇsek Ondˇríˇcek, who was already famous enough by this time to be receiving invitations to play throughout Europe, in the United States, and in eastern Russia. Joachim himself never performed Dvoˇrák’s concerto—though he almost did so in London during the composer’s first visit there in 1884*—and it has been suggested that the violinist-composer may not have been able to reconcile his own conservatism vis-à-vis musical form with respect to Dvoˇrák’s bold experimentation in the first movement. Even today, this neglected masterpiece has had comparatively few advocates, but probably for yet another reason: it is fiendishly difficult. Dvoˇrák wastes no time in alerting us to the fact that he will adhere to no prescribed formal scheme in his first movement, by dispensing entirely with an orchestral exposition. Instead, a bold, unison forte with a suggestion of triple-time furiant rhythm serves to introduce the soloist before even five measures have gone by, the warmly melodic theme giving way to cadenza-like figuration (already!) before the orchestra reenters. The next important idea, a woodwind cantilena to be developed in short order by the soloist, grows naturally from the contours of the preceding orchestral material. What might be identified as the movement’s “real” second theme by virtue of its placement in C, the relative major of A minor, will appear in the solo violin only much later, and very briefly at that, against a sort of free echo in the solo oboe. But note that the idea here is not so much to identify individual themes as to observe that Dvoˇrák has created material so constantly ripe for elaboration that applying the terms “exposition” and “development” to this movement is almost meaningless. Ultimately, since so much has already happened, the “big” return to the main theme— the “recapitulation” if you must—really has nowhere to go, and Dvoˇrák accordingly cuts things short with the suggestion of a brief cadenza (over forceful horn calls which appear in varying guises throughout the concerto) and then a contemplative bridge passage for winds and low strings—the soloist giving out one of many variants

* August Manns, on whose concert series Joachim was appearing at the Crystal Palace, would have programmed the work had the composer been allowed to conduct, but Dvoˇrák was in England under the auspices of the Philharmonic Society, which would not let him appear with the rival organization—especially since the Crystal Palace concert was to happen before the Philharmonic’s own!

TANGLEWOODWEEK 2 FRIDAYPROGRAMNOTES 15 of the main theme heard during the movement—leading directly to the wonderfully expansive and beautiful F major Adagio. The length of the second movement is supported not only by Dvoˇrák’s ability to create long-breathed arcs of melody, but also by his skill in juxtaposing areas of contrasting key and character as the movement proceeds. The concerto’s rondo finale is unflaggingly energetic, tuneful, and, to quote Michael Steinberg, “unabashedly Czech,” exploiting the folk-dance rhythms of the furiant in its A major main theme and the duple-time dumka in the D minor central episode. Dvoˇrák is particularly inventive in his presentations of the main theme: it is heard first over high strings, with the second violins sustaining a tonic A; it returns against a crashing open fifth in the timpani and the simulation of Czech bagpipes in the open fifth of violins and cellos; and for its third appearance it sounds against a rush of upper-string activity with off-beat accents in the cellos and basses. For the dumka episode, Dvoˇrák asks the timpanist to retune his E to D (other briefer instances of returning occur occasionally in this score); this episode also stresses two-against-three cross-rhythms, particularly via the triplets of the horns heard against the steady 2/4 of the dumka theme. Near the end, there is a striking change of color when the solo flute brings back the main theme beginning on A-flat, and then a brief reference to the dumka prepares the exuberant final pages, a sudden accelerando and four brilliantly boisterous chords bringing this marvelous movement to a close.

MARC MANDEL Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

16 Antonín Dvoˇrák Symphony No. 8 in G, Opus 88 First performance: February 2, 1890, Prague, Dvoˇrák cond. First BSO performance: February 1892 (American premiere), Arthur Nikisch cond. First Tanglewood performance: July 30, 1966, Erich Leinsdorf cond. Most recent Tanglewood performance: August 8, 2010, Christoph von Dohnányi cond. Dvoˇrák’s fame at home had begun with the performance in 1873 of his patriotic cantata Heirs of the White Mountain. (The defeat of the Bohemians by the Austrians at the battle of the White Mountain just outside Prague in 1620 led to the absorp- tion of Bohemia into the Habsburg empire, a condition that obtained until October 28, 1918.) An international reputation was made for him by the first series of Slavonic Dances of 1878 and also by his Stabat Mater. The success in England of the latter work was nothing less than sensational, and Dvoˇrák became a beloved and revered figure there, particularly in the world of choir festivals, much as Mendelssohn had been in the century’s second quarter (but see George Bernard Shaw’s reviews of Dvoˇrák’s sacred works). In the 1890s, this humble man, who had picked up the first rudiments of music in his father’s combination of butcher shop and pub, played the fiddle at village weddings, and sat for years among the violas in the pit of the opera house in Prague (he was there for the first performance of Smetana’s Bartered Bride), would conquer America as well, even serving for a while as director of the National conservatory in New York. Johannes Brahms was an essential figure in Dvoˇrák’s rise, providing musical inspiration, but also helping his younger colleague to obtain government stipends that gave him something more like the financial independence he needed, and, perhaps most crucially, persuading his own publisher Simrock to take him on. Next to talent, nothing matters so much to a young composer as having a responsible and energetic publisher to get the music into circulation, a subject many a composer today could address eloquently. Unlike Haydn and Beethoven, Dvoˇrák never sold the same work to two different publishers, but on a few occasions, and in clear breach of contract, he fled the Simrock stable, succumbing to the willingness of the London firm of Novello to out- bid their competition in Berlin. One of these works was the G major symphony, published in a handsomely printed full-size score by Novello, Ewer, and Co. of London and New York, copyright 1892, and priced at thirty shillings. Dvoˇrák’s other Novello publications were vocal works, including his great dramatic cantata The Specter’s Bride, the oratorio Saint Ludmila, the Mass in D, and the Requiem. Given the English passion for Dvoˇrák engendered by his Stabat Mater in 1883, it is no wonder that Novello was willing to bid high. Simrock primarily wanted piano pieces, songs, chamber music, and, above all, more and more Slavonic Dances—in other words, quick sellers—while Dvoˇrák, for his part, accused Simrock of not wanting to pay the high fees that large works like symphonies merited. (Simrock, having paid 3000 marks for the Symphony No. 7, offered a mere and insulting 1000 for No. 8.) Yet Dvoˇrák was not just interested in money, though as someone who had grown up in poverty he was not indifferent to comfort. He had grand goals as a composer of symphony and opera—not just to do those things, but to do them, especially symphony, in as original a way as he was capable. Understandably, therefore, and in full awareness of the value of Simrock’s initial support, he resented a publisher who showed some reserve about endorsing his most ambitious undertakings. I also suspect that another factor in these occasional infidelities of Dvoˇrák’s was his unabated irritation with Simrock for his insistence on

TANGLEWOODWEEK 2 FRIDAYPROGRAMNOTES 17 printing his name as German “Anton” rather than Czech “Antonín.” They eventually compromised on “Ant.” Novello was willing to go with “Antonín.” It had been four years since Dvoˇrák’s last symphony, the magnificent—and very Brahmsian—No. 7 in D minor. During those four years, Dvoˇrák had made yet another attempt at opera (this time with a political-romantic work called The Jacobin, full of superb music), revised the Violin Concerto into its present form, written a second and even ﬁner series of Slavonic Dances, and composed two of his most loved and admired pieces of chamber music, the A major piano quintet and the piano quartet in E-ﬂat. He felt thoroughly ready to tackle another symphony, and as he got to work in the seclusion of his country house, each page of freshly covered manuscript paper bore witness to how well-founded was his faith in himself and his ability to write something that, as he said, would be “different from other symphonies, with individual thoughts worked out in a new way.” The new symphony opens strikingly with an introduction in tempo, notated in G major like the main part of the movement, but actually in G minor. This melody,

18 which sounds gloriously rich in cellos, clarinets, bassoons, and horns, was actually an afterthought of Dvoˇrák’s, and he figured out how to bring it back most splendidly at crucial points during the movement. The Adagio also begins on a harmonic slant. Those first rapturous phrases for strings are—or seem to be—in E-flat major, and it is only in the eighth measure that the music settles into its real key, C minor. Now we sense the long shadow cast by Beethoven’s Eroica, because the moment C minor is established, the music concentrates on gestures that are unmistakably those of a funeral march. A radiant C major middle section, introduced by a characteristic triple upbeat, makes the Eroica reference even more unmistakable, and rises to a magnificently sonorous climax. After some moments of calm, the music becomes more impassioned than ever and finally subsides into a coda that is both elegiac and tender. It is also, like most of this symphony, a marvel of imaginative scoring. By way of a scherzo, Dvoˇrák gives us a leisurely dance in G minor. The Trio, in G major, is one of his most enchanting pages. The main section of the movement returns in the usual way, after which Dvoˇrák gives us a quick coda which is the Trio transformed, music he actually borrowed from his 1874 comic opera The Stubborn Lovers. After this strong taste of national flavor, Dvoˇrák becomes more Czech than ever in the finale, which one might describe as sort of footloose variations, and which is full of delightful orchestral effects, the virtuosic flute variation and the mad, high trilling of the horns from time to time being perhaps the most remarkable of these. MICHAEL STEINBERG Michael Steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Philharmonic. Oxford University Press has published three compilations of his program notes, devoted to symphonies, concertos, and the great works for chorus and orchestra.

Artists

Andris Nelsons Andris Nelsons made his first appearances as the BSO’s Ray and Maria Stata Music Director Designate in October 2013 at Symphony Hall in Boston, with a subscription program of Wagner, Mozart, and Brahms; he returned in March 2014 for a concert performance of Strauss’s Salome. He will become the BSO’s fifteenth music director start- ing with the 2014-15 season, during which he will lead the orchestra in ten programs (including a special inaugural concert) at Symphony Hall, repeating three of them in New York’s Carnegie Hall. Mr. Nelsons made his BSO debut in March 2011, conducting Mahler’s Symphony No. 9 at Carnegie Hall in place of James Levine, whom he succeeds as music director. He made his Tanglewood debut in summer 2012, conducting both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (subsequently issued on DVD and Blu-ray), following that the next day with a BSO program of Stravinsky and Brahms. His Symphony Hall and BSO subscription series debut followed in January 2013, and this month at Tanglewood he leads three BSO concerts, as well as a special Tanglewood Gala featuring both the BSO and the TMC Orchestra. Maestro Nelsons’ new appointment affirms his reputation as one of the most sought-after conductors on the international scene today, acclaimed for his work in both concert and opera with such distinguished institutions as the Berlin Philharmonic, Vienna Philharmonic, the Royal

TANGLEWOODWEEK 2 ARTISTS 19 Concertgebouw Orchestra of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Symphony, Philharmonia Orchestra, Vienna State Opera, Metropolitan Opera, Bayreuth Festival, and the Royal Opera House, Covent Garden. Also this summer he conducts two Brahms concerts at the Lucerne Festival that were planned and originally to have been led by the late Claudio Abbado, and returns to the Bayreuth Festival for Lohengrin, in a production directed by Hans Neuenfels, which Mr. Nelsons premiered at Bayreuth in 2010. Mr. Nelsons’ tenure since 2008 as music director of the City of Birming- ham Symphony Orchestra has garnered critical acclaim. With the CBSO he has undertaken major tours worldwide, including a tour in November 2013 to Japan and the Far East, as well as regular appearances at such summer festivals as the Lucerne Festival, BBC Proms, and Berliner Festspiele, plus an ongoing project to record the complete orchestral works of Tchaikovsky and Richard Strauss for Orfeo International. The first Strauss disc, featuring Ein Heldenleben, garnered critical praise. The majority of his recordings have been rec- ognized with a Preis der Deutschen Schallplattenkritik; in October 2011 he received the prestigious ECHO Klassik of the German Phono Academy in the category “Conductor of the Year” for his 2010 recording with the CBSO of Stravinsky’s Firebird and Symphony of Psalms. For audiovisual recordings, he has an exclusive agreement with Unitel GmbH, the most recent release, released on DVD and Blu-ray in June 2013, being a disc entitled “From The New World” with the Bavarian Radio Symphony. He is also the subject of a recent DVD from Orfeo, a documentary film entitled Andris Nelsons: Genius on Fire. 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. Prior to his position as the CBSO’s music director, he served as principal conductor of the Nordwest- deutsche Philharmonie in Herford, Germany from 2006 to 2009, and was music director of the Latvian National Opera from 2003 to 2007.

Anne-Sophie Mutter For more than thirty-five years, violinist Anne-Sophie Mutter has sustained a career of exceptional musicianship combined with an unwavering commitment to the future of classical music. Since her international debut at the Lucerne Festival in 1976, followed by a solo appearance with Herbert von Karajan at the Salzburg Festival, she has appeared in the major concert halls of Europe, North and South America, and Asia. Besides performing and recording established masterpieces, she is an avid champion of 20th- and 21st-century violin repertoire in both orchestral and chamber music settings; she has had works composed for her by Sebastian Currier, Henri Dutilleux, Sofia Gubaidulina, Witold Lutosławski, Norbert Moret, Krzysztof Penderecki, Sir André Previn, and Wolfgang Rihm. Her 2014 concert performances in Australia, Asia, Europe, and North America focus on the violin concertos of Brahms, Bruch, Dvoˇrák, and Mozart. She is conductor/soloist with the Sydney Symphony Orchestra in Mozart’s violin concertos 2, 3, and 5; at the Wolfegg Festival she performs Mozart’s Violin Concerto No. 5 and his Sinfonia concertante, K.364, joined in the latter by seventeen-year-old Korean violist Hwayoon Lee, a scholarship student of the Anne-Sophie Mutter Foundation. Ms. Mutter performs Dvoˇrák’s Violin Concerto in London with the London Symphony conducted by Michael Francis, in Washington with the National Symphony and Cristian Macelaru, in Boston with the BSO under Manfred Honeck, and at Tanglewood with the BSO and Andris Nelsons. She performs the Brahms concerto in Paris, Vienna, Luxembourg, and several German cities with the City of Birmingham Orchestra and Andris Nelsons, and in Baden-Baden with the Berlin Philhar- monic and Simon Rattle. Ms. Mutter and pianist Lambert Orkis mark the twenty-fifth anniversary of their musical partnership with recitals in Germany, France, and Switzerland, featuring Previn’s Violin Sonata No. 2 and Penderecki’s La Follia for solo violin, both especially composed for Ms. Mutter, and works by Mozart and Beethoven. At year’s end

20 the duo performs a Carnegie Hall recital featuring works by Kreisler, Webern, Grieg, Previn, and Franck. Ms. Mutter will open the Pittsburgh Symphony’s 2014-15 season with Bruch’s Violin Concerto No. 1 conducted by Manfred Honeck; she also performs that work in Madrid and Barcelona with Miguel Harth-Bedoya and the National Orchestra of Spain, and in New York with Simon Rattle and the Berlin Philharmonic. Next November brings her third international tour, this time to North America, with “Mutter’s Virtuosi,” an ensemble made up of fourteen current and former scholarship students of the Anne- Sophie Mutter Foundation. She also gives a benefit concert for Lebenshilfe, an organization that supports people with intellectual disabilities and their relatives. Ms. Mutter’s many recordings have earned awards internationally. She recently released her first recording of Dvoˇrák’s Violin Concerto on Deutsche Grammophon, with Manfred Honeck leading the Berlin Philharmonic. To mark the thirty-fifth anniversary of her stage debut, Deutsche Grammophon released a comprehensive box set with all of her DG recordings, extensive documentation, and previously unpublished rarities. Among many other honors, she most recently became a Foreign Honorary Member of the American Academy of Arts & Sciences and was awarded the Order of the Lutosławski Society in Warsaw. Since her BSO debut in February 1983 under Seiji Ozawa, Anne-Sophie Mutter has appeared many times with the Boston Symphony Orchestra, in Boston, New York, and at Tanglewood. With the BSO she has recorded André Previn’s Violin Concerto (Anne-Sophie) and Double Concerto for Violin, Double Bass, and Orchestra with the composer conducting, and Bartók’s Violin Concerto No. 2 and Norbert Moret’s En Rêve with Seiji Ozawa conducting, all on Deutsche Grammophon. Her most recent Symphony Hall appearances with the BSO were as violinist/conductor to open the 2011-12 season with the five Mozart violin concertos, and this past February as soloist in Dvoˇrák’s F minor Romance and Violin Concerto. In July 2012 at Tanglewood, she was soloist/conductor with the BSO for Mozart’s violin concertos 2, 3, and 5, and also appeared as soloist in Sarasate’s Carmen Fantasy with Andris Nelsons and the Tanglewood Music Center Orchestra in the gala Tanglewood 75th Celebration subsequently issued on DVD.

TANGLEWOODWEEK 2 ARTISTS 21 Tanglewood Gala Saturday, July 12, 2014

Honorary Chairs Paul Buttenwieser • Edward Gazouleas • Jason Horowitz • Stephen B. Kay • Edmund F. Kelly • Joyce Linde • Malcolm Lowe • Robert P. O’Block • Robert Sheena • James Sommerville

Gala Chairs Jane and Robert J. Mayer

Gala Committee Gideon Argov and Alexandra Fuchs • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Roberta and George Berry • Jan Brett and Joseph Hearne • Gregory E. Bulger and Richard J. Dix • Susan B. and Gerald Cohen • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Cynthia and Oliver Curme • Ursula Ehret-Dichter • Nancy E. Feldman and Mike Chefetz • Beth and Richard Fentin • Sanford and Isanne Fisher • Cora and Ted Ginsberg • Martha and Todd Golub • Susie and Stuart Hirshfield • Larry and Jackie Horn • Margery and Everett Jassy • Leslie and Stephen Jerome • Sandra G. Krakoff • Shirley and Jay Marks • Martin Messinger • Hans and Kate Morris • Claudia and Steven Perles • Wendy Philbrick and Edward Baptiste • Claudio and Penny Pincus • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Drs. Robin S. Richman and Bruce S. Auerbach • Arlene and Donald Shapiro • Scott and Robert Singleton • Lauren Spitz • Lynn and Ken Stark • Margery and Lewis Steinberg • Caroline and James Taylor • Jacqueline and Albert Togut • Stephen and Dorothy Weber

In-Kind Donors Be Our Guest • Boston Gourmet • High Output, Inc. • George and Carol Jacobstein • Robin Lehman • W. J. Deutsch & Sons, Ltd. • Winston Flowers

Special thanks to the Boston Symphony Association of Volunteers for their valuable event assistance. BSO Archives

22 Tanglewood Gala Saturday, July 12, 2014 The Boston Symphony Orchestra recognizes with gratitude the following individuals and companies for their generous support that have helped make this year’s gala such a success.

$25,000 + Michael L. Gordon * • Joyce Linde * $10,000 - $24,999 Roberta and George Berry * • Cynthia and Oliver Curme * • Beth and Richard Fentin * • Martha and Todd Golub * • Ted and Debbie Kelly • Jane and Robert J. Mayer, M.D. * • Hans and Kate Morris * • Claudia and Steven Perles * • Carol and Joe Reich * • Wendy Shattuck and Samuel Plimpton * • Visit Sarasota County Florida • Stephen and Dorothy Weber * • Anonymous * $5,000 - $9,999 Alli and Bill Achtmeyer • Liliana and Hillel Bachrach • Robert and Elana Baum • Margo and George D. Behrakis • Jan Brett and Joseph Hearne • Ann Fitzpatrick Brown • Katie and Paul Buttenwieser • John F. Cogan, Jr. and Mary L. Cornille • Dr. Charles L. Cooney and Ms. Peggy Reiser * • Diddy and John Cullinane • Thomas and Winifred Faust • Sanford and Isanne Fisher • Nancy J. Fitzpatrick and Lincoln Russell • Valerie and Allen Hyman • Dorothy and Charlie Jenkins • The Rita J. and Stanley H. Kaplan Family Foundation *: Nancy and Mark Belsky, Susan B. Kaplan, Scott K. Belsky • Meg and Joseph Koerner • Cynthia and Robert Lepofsky • Carmine A. and Beth V. Martignetti • Megan and Robert O’Block • Claudio and Penny Pincus • Jonathan and Amy Poorvu • William and Helen Pounds • Mrs. Millard H. Pryor, Jr. • John S. and Cynthia Reed • Drs. Robin S. Richman and Bruce S. Auerbach • Ray and Maria Stata • Jacqueline and Albert Togut • Roberta and Stephen R. Weiner • June Wu • Anonymous $2,000 - $4,999 Gideon Argov and Alexandra Fuchs • Marjorie Arons-Barron and James Barron • Berkshire Holding Corporation • Jim and Nancy Bildner • Lee and Sydelle Blatt • Beatrice Block and Alan Sagner • Karen S. Bressler and Scott M. Epstein • Gregory E. Bulger and Richard J. Dix • Ronald G. and Ronni J. Casty • The Cavanagh Family • Ranny Cooper and David Smith • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Mr. and Mrs. Miguel de Bragança • Alan J. and Suzanne W. Dworsky • Alan and Lisa Dynner • Roger and Judith Feingold • Nancy E. Feldman and Mike Chefetz • Peter and Dieuwke Fiedler • Audrey and Ralph Friedner • Dr. and Mrs. Levi A. Garraway • James and Virginia Giddens • Paul B. Gilbert and Patricia Romeo-Gilbert • Cora and Ted Ginsberg • Barbara and Robert Glabuer • Harold Grinspoon and Diane Troderman • Ronnie and Jonathan Halpern • Nathan and Marilyn Hayward • Minnie and Brent Henry • Susie and Stuart Hirshfield • Janice and Roger Hunt • Margery and Everett Jassy • Leslie and Stephen Jerome • Dr. Samuel Kopel and Sari Scheer • David Lloyd and Meg Mortimer Lloyd • Josh and Jessica Lutzker • Shirley and Jay Marks • Joel Robert Melamed, M.D. • The Messinger Family • Sandra Moose and Eric Birch • Donald and Laurie Peck • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Maureen and Joe Roxe/The Roxe Foundation • Hannah and Walter Shmerler • Florence and Warren Sinsheimer • Margery and Lewis Steinberg • Theresa M. and Charles F. Stone • Noreene Storrie and Wesley McCain • Caroline and James Taylor • Sandra A. Urie and Frank F. Herron • Drs. Christoph and Sylvia Westphal • Robert and Roberta Winters • Marillyn Zacharis • Anonymous (4)

List continues...

TANGLEWOODWEEK 2 TANGLEWOODGALA 23

Tanglewood Gala $1,000 - $1,999 Joan and Mark Abramowitz • Jim and Virginia Aisner • Mr. and Mrs. Peter Andersen • Diane M. Austin and Aaron J. Nurick • Lloyd Axelrod • Stephen Barrow and Janis Manley • Lucille Batal • Doris and Vytas Barsauskas • Phyllis and Paul Berz • Richard and Diane Brown • Carole and Dan Burack • Bonnie and Terry Burman • Susan and Joel Cartun • Cohen Kinne Valicenti & Cook LLP • Dr. Lawrence and Roberta Cohn • James and Tina Collias • Licia and Michael Conforti • Drs. Ronald A. and Betty Neal Crutcher • Gene and Lloyd Dahmen • Alison Dick and Edward Willins • Deborah and Philip Edmundson • Dr. T. Donald and Janet Eisenstein • Ginger and George Elvin • Steve and Renee Erenburg • Marcia and Jonathan Feuer • Dr. Donald and Phoebe Giddon • Marita and David Glodt • Gorbach Family Foundation • Wendy and Peter Gordon • Susan and Richard Grausman • Sarah Hancock • Jane Iredale and Robert Montgomery • Larry and Jackie Horn • Holly and Charlie Housman • Martin and Wendy Kaplan • Robert I. Kleinberg • Sandra G. Krakoff • Patricia Krol and Stephen Chiumenti • Lizbeth and George Krupp • Thomas and Adrienne Linnell • Elizabeth W. and John M. Loder • Elaine and Ed London • Joseph and Rachel Martin • Cynthia McCollum and John Spellman • Rabbi Paul and Rita Menitoff • Wilma and Norman Michaels • Dale and Bob Mnookin • Ray and Pam Murphy; Mary Murphy • Peter Palandjian • Wendy Philbrick and Edward Baptiste • Randy and Stephanie Pierce • Letty Cottin Pogrebin and Bert Pogrebin • Irene Pollin • Michael and Ramelle Pulitzer • James and Melinda Rabb • Ronald and Karen Rettner • Suzanne and Burton Rubin • Malcolm and BJ Salter • Mr. and Mrs. Ted Saraceno • Joanne Sattley • Anne and Ernest Schnesel • Dan Schrager and Ellen Gaies • Richard and Carol Seltzer • Arlene and Donald Shapiro • Emery and Jill Sheer • Scott and Robert Singleton • John and Wendy Skavlem • Lynn and Ken Stark • Norma and Jerry Strassler • Deborah F. Stiles • Myra and Michael Tweedy • David and Randi Zussman • Anonymous (2) $500 - $999 Peter Alvarez • Jeannene Booher • Phyllis E. Brown • Phyllis Dohanian • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Lucy Holland and Charles Schulze; in honor of Wendy Philbrick and Edward Baptiste • Helga S. Kaiser • Patricia and Stephen Peters • Ann M. Philbin • Suzanne Priebatsch • John Ex Rodgers • Lucy Samorodin • Lauren Spitz • Robert A. Vogt • Anonymous

* Designates Benefactor Table Purchaser

List as of June 28, 2014

TANGLEWOODWEEK 2 TANGLEWOODGALA 25 The Caroline and James Taylor Concert Saturday, July 12, 2014 The performance on Saturday evening is supported by a generous gift from BSO Trustee Caroline “Kim” Taylor and her husband, James Taylor. The Taylors also donated the proceeds from James’s July 4 concert at Tanglewood this year. As Great Benefactors, the Taylors have given generously to the Tanglewood and Symphony Annual Funds, Opening Nights, and capital projects on the Tanglewood campus, including the Tanglewood Forever Fund. They have also endowed a full fellowship for a cellist at the Tanglewood Music Center. As members of the Koussevitzky Society at the Founders level, Kim and James are among the most generous support- ers of the Tanglewood Annual Fund. Earlier this year, Kim was appointed to the President’s Committee on the Arts and Humanities, an advisory committee to the White House on cultural issues. Kim was a member of the BSO staff for more than twenty years, working closely with Music Director Laureate Seiji Ozawa and Boston Pops Conductor Laureate John Williams. Kim was elected to the BSO Board of Overseers in September 2007, and she became a Trustee in December 2011. James Taylor kicked off his 2014 U.S. tour in May following a one-year tour hiatus to work on his first new album of original songs in a decade, which will be released later this year. His current tour will continue through December 2014, with dates throughout North America, Great Britain, Europe, and Scandinavia. He will resume touring in Europe in 2015. In 2012, James was conferred the distinguished honor of Chevalier of the Order of Arts and Letters (Ordre des Arts et des Lettres), which was established by the French government in 1957 to recognize eminent artists and writers, as well as people who have contributed significantly to furthering the arts in France and throughout the world. In March 2011, James was awarded the National Medal of Arts by President Barack Obama in a ceremony at the White House. The medal is the nation’s highest honor for artistic excellence recognizing “outstanding achievements and support of the arts.”

A tangle of traffic at the Main Gate of Tanglewood in the 1950s (BSO Archives)

26 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Saturday, July 12, 8:30pm THE CAROLINE AND JAMES TAYLOR CONCERT

BOSTON SYMPHONY ORCHESTRA TANGLEWOOD MUSIC CENTER ORCHESTRA ANDRIS NELSONS conducting

TANGLEWOOD GALA

TANGLEWOOD MUSIC CENTER ORCHESTRA

STRAUSS Suite and Final Scene from “Der Rosenkavalier” SOPHIE BEVAN, soprano (Sophie) ANGELA DENOKE, soprano (Marschallin) ISABEL LEONARD, mezzo-soprano (Octavian) A translation of the sung text begins on page 30.

Opera activities at Tanglewood are supported by a grant from the Geoffrey C. Hughes Foundation.

{Intermission}

BOSTON SYMPHONY ORCHESTRA

RACHMANINOFF “Symphonic Dances,” Opus 45 Non allegro Andante con moto (Tempo di valse) Lento assai—Allegro vivace

RAVEL “Bolero”

TANGLEWOODWEEK 2 SATURDAYPROGRAM 27 NOTES ON THE PROGRAM

Richard Strauss (1864-1949) Suite and Final Scene from “Der Rosenkavalier” First performance of the complete opera: January 26, 1911, Dresden Court Opera, Ernest von Schuch cond. First performance of the Suite: October 5, 1944, New York Philhar- monic, Artur Rodzinski cond. First Tanglewood performance of the Suite: August 13, 1955, Pierre Monteux cond. Most recent Tanglewood performance of the Suite: August 5, 2011, Boston Symphony Orchestra, Rafael Frühbeck de Burgos cond. On July 27, 1982, Erich Leinsdorf led the Tanglewood Music Center Orchestra in a performance of the Final Scene with TMC Vocal Fellows Rochelle Travis (Sophie), Margaret Cusack (Marschallin), Deborah Grodecka (Octavian), and S. Mark Aliapoulios (Faninal). With the 1905 premiere of his salacious, violent, and overwhelmingly ingenious Salome, Richard Strauss immediately became opera’s most famous composer and a leading figure of expressionistic musical modernism. Four years later, in his first of six collaborations with the powerfully intellectual Austrian writer, poet, and librettist Hugo von Hofmannsthal, Strauss scandalized audiences once more with Elektra, another brutally graphic, modernistic retelling of a familiar story from antiquity. The real shock, however, was still to come. In January 1911, almost exactly two years after the premiere of Elektra, the curtain went up on Strauss and Hofmannsthal’s follow-up, Der Rosenkavalier: the collaborators who had given opera perhaps its darkest, bloodiest work now gave it one of its most tender-hearted. A humanistic, universally beloved masterpiece—and a comedy, to boot, in which the entire cast lives to the end—the new opera could not have been more dissimilar from the two psychological thrillers that preceded it. Ultimately it was this softer side of Strauss that won him the widest acclaim, as Rosenkavalier was a smashing hit, achieving popular success he was never able to equal despite composing for almost forty more years. Strauss’s homage to Mozart and to old Vienna, Der Rosenkavalier taps into the perva- sive sentiment in fin-de-siècle Europe—particularly Vienna and the Austro-Hungarian Empire—that the world was rapidly and irrevocably changing into something that would have been unrecognizable just a few decades before. These social and political changes are examined in much of the artistic output from the late 19th and early 20th centuries, often by looking back at what was being lost, usually through a bitter- sweet or satirical lens. But Der Rosenkavalier is different. While it possesses a keen cultural awareness and sometimes pokes fun at the old guard, its backward glance is fond and its tone much more sweet than bitter. This is not a parody, but rather one last go-round for old time’s sake. The plot of Der Rosenkavalier is a traditional one, and is filled with the love triangles, mistaken identities, and witty humor that one would expect from one of Mozart’s opere buffe—Le nozze di Figaro, for instance, which seems a clear inspiration here. As the curtain rises, we learn that the wealthy, noble, early-middle-aged Marschallin is engaged in an affair with the dashing and much younger Octavian (played as a pants-role by a mezzo-soprano). Meanwhile, the Marschallin’s crude and hard-up cousin, Baron Ochs, is scheming to marry Sophie, the beautiful daughter of a rich merchant. The Marschallin recommends that Ochs use Octavian as his “Rosen- kavalier” (“knight of the rose”), who will deliver the traditional silver engagement flower—a custom invented for the opera by Hofmannsthal—to Sophie. This plan predictably backfires, as Octavian and Sophie fall in love upon first sight. Sophie vows not to marry Ochs, who, furious, challenges Octavian to a duel, in which the

28 Baron’s arm is wounded. After Octavian successfully reveals Ochs’s skirt-chasing ways—by cross-dressing (or un-cross-dressing, under the circumstances) in order to attract the Baron’s lustful advances himself, of course—the Baron is shamed into releasing Sophie from their engagement. The wise Marschallin, sadly recognizing that Octavian will be happier with the younger Sophie, frees him from any obliga- tion and gives her blessing to their love. To whom the compilation of Der Rosenkavalier’s popular concert suite should be attributed is unclear. It dates from 1944, when it received its premiere with the New York Philharmonic, and its arrangement is usually credited to conductor Artur Rodzinski, who was music director of that orchestra at the time. But an original score in Rodzinski’s hand does not exist to confirm this presumption, nor was he credited when the work was published in 1945. Other theories have been put forth— including a particularly intriguing one that suggests Leonard Bernstein, the Phil- harmonic’s assistant conductor in 1944, may have been the arranger—but it is unlikely the mystery will ever be definitively solved absent the discovery of a lost manuscript, if such a thing even exists. Resplendent with much of Der Rosenkavalier’s most sumptuous music, the Suite provides, in approximately twenty minutes, a rundown of the entire opera. It begins with the rousing music that precedes the raising of the curtain—the ecstatic horn call of Octavian and the Marschallin’s passion behind closed doors. Following is the dignified yet vulnerable music of the lovers’ sweet-nothings after the audience has been granted access to the bedchamber. Soon enough the Suite turns to the beautiful young Sophie, introduced by way of the rapturous, time-standing-still strains of the “Presentation of the Rose” scene. The pompous waltz that follows is the musical calling card of the lecherous Baron Ochs, as always attempting to seduce a chamber-

TANGLEWOODWEEK 2 SATURDAYPROGRAMNOTES 29 maid. Traditionally, the Suite ends with orchestral music from the final scene. In this performance, however, we are treated to the real thing: the Marschallin, Octavian, and Sophie’s final trio—in which the Marschallin accepts her loss of Octavian and the young lovers look forward to their bright future—and the concluding, ecstatic love duet for Octavian and Sophie. A tour-de-force for all three singers and the ultimate proof of Strauss’s unsurpassed gift for writing for high voices, this final sequence is one of opera’s most magnificent scenes.

JAY GOODWIN New York-based annotator Jay Goodwin has written for the Metropolitan Opera, Boston Symphony Orchestra, Juilliard School, and Australian Chamber Orchestra. Currently on the editorial staff at Carnegie Hall, he was the Tanglewood Music Center’s Publications Fellow in 2009

STRAUSS Final Scene from “Der Rosenkavalier”

OCTAVIAN (addressing the Marschallin) Marie Theres! MARSCHALLIN I chose to love him in the right way, so that I would love even his love for another! I truly didn't believe that I would have to bear it so soon! Most things in this world are unbelievable when you hear about them. But when they happen to you, you believe them, and don't know why. There stands the boy and here I stand, and with that strange girl he will be as happy as any man knows how to be. OCTAVIAN What has come over me, what has happened? I don’t dare to ask her. Can it be? And just that question, I know I cannot ask her. I would ask her: oh, why does my whole soul tremble? Has bitter wrong, a sinful deed been done? And I may not ask her the questions—and then on your dear face I gaze, and see only you, and know only you, Sophie, and I know only this, that I love you! SOPHIE Like one at worship, thoughts most holy fill my soul, and yet thoughts most unholy possess me as well: I'm distraught. At this lady’s feet I would kneel, yet I would harm her, too, for I feel that she gives him to me and yet robs me of part of him. So strangely I’m perplexed! I would know all things, yet I fear to know the truth. Now longing to ask, now fearing all, I am hot and cold. And know but this one thing, that I love you! MARSCHALLIN So be it. (She exits softly, unnoticed by the other two.) SOPHIE It is a dream, cannot be really true that we two are together, together for all time and for eternity! OCTAVIAN I feel only you and you alone, and that we are together! All else passes like a dream through my mind.

30 OCTAVIAN There was a house somewhere, and you were inside, and they sent me in, straight into bliss! How wise of them! SOPHIE Can you smile? At this moment I am in awe as if I were at the gate of Heaven! Hold me, for, weak thing that I am, I’m falling! (Sophie has to lean on Octavian. Her father, Faninal, enters with the Marschallin. The young couple stand momentarily in a daze, then make a deep reverence, which Faninal and the Marschallin return.) FANINAL That’s how they are, young people! MARSCHALLIN Yes, yes. (Faninal escorts the Marschallin out.) SOPHIE It is a dream, cannot be really true that we two are together, together for all time and for eternity! OCTAVIAN I feel only you and you alone, and that we are together! All else passes like a dream through my mind. OCTAVIAN and SOPHIE I feel only you alone! (They kiss; she drops her handkerchief without noticing; then they swiftly run off. A servant boy enters, picks up Sophie’s handkerchief, and scampers out.)

Sergei Rachmaninoff (1873-1943) “Symphonic Dances,” Opus 45 First performance: January 3, 1941, Philadelphia Orchestra, Eugene Ormandy cond. First BSO performances: October 1974, Seiji Ozawa cond. First Tanglewood performance: August 10, 1991, Charles Dutoit cond. Most recent Tanglewood performance: August 3, 2008, Boston Symphony Orchestra, Carlos Miguel Prieto cond. Most of Rachmaninoff’s activity in his last years was devoted to concertizing as a pianist and committing his works to records. After completing the Third Symphony in 1936 he did little original composition, though he spent some time revis- ing a movement of his older choral work The Bells and reworking parts of the Third Symphony. Only in 1940 did he compose a new work, one that proved to be his last—the Symphonic Dances, composed at Orchard Point, Long Island, dedicated to Eugene Ormandy and the Philadelphia Orchestra, and premiered on January 3, 1941, by that conductor and orchestra. Oddly, though Rachmaninoff had spent a good part of his time in the United States from as early as 1918, the Symphonic Dances was his first score actually composed here. Previously he had retreated during summer breaks from his exhausting concert tours to a villa near Lucerne, Switzerland, and he composed his Corelli Variations (for piano solo), the Rhapsody on a Theme of Paganini, and the Third Symphony in that idyllic locale. The outbreak of war in 1939 had caused Rachmaninoff to leave Europe for the last time and to settle ﬁrst on Long Island and later in Beverly Hills.

TANGLEWOODWEEK 2 SATURDAYPROGRAMNOTES 31 When, on August 21, 1940, Rachmaninoff first announced completion of the score to Ormandy, it bore the title “Fantastic Dances,” but the final title, Symphonic Dances, is fully appropriate, given the scope and richness of the score. The composer’s original intention had been to give the three movements the titles “Midday,” “Twilight,” and “Midnight” (possibly intended as an analogy with youth, maturity, and death), but these did not survive the process of orchestration, and he eventually settled on the tempo designations alone. Rachmaninoff decided to write in the first movement an extended part for saxophone, an instrument for which he had never written before. Concerned to choose the proper member of that family of instruments, he consulted his friend Robert Russell Bennett, best-known as Broadway’s leading orchestrator for four decades or more, the man who created the “sound” of the Rodgers and Hammerstein musicals, among many others. Another musician offered professional advice of a different sort. Rachmaninoff, a pianist and not a string player, customarily asked for the professional advice of a violinist with regard to the bowings in the string parts. In the case of the Symphonic Dances, the bowings were prepared by one of the greatest of violin virtuosi, Fritz Kreisler. Like so much of the composer’s music, the Symphonic Dances contains some refer- ences to the chants of the Russian Orthodox church and also quotes the Roman Catholic Dies irae melody, a tune used by Rachmaninoff probably more frequently than by any other composer in the history of music. The score also gave the composer an opportunity to come to terms with the most catastrophic failure of his life, namely the disastrous premiere of his First Symphony in 1897 under the baton of Alexander Glazunov (who was reputedly drunk at the time). Evidently Rachmaninoff still recalled this unfortunate event even in 1940, since the coda to the first movement of the Symphonic Dances quotes the first theme of his First Symphony, music he was sure no one would ever hear again. (Put aside by Rachmaninoff for revision after its initial failure, the score to his First Symphony was apparently lost during the Russian Revolution; only two years after his death did the orchestral parts turn up in the Leningrad Conservatory.) The premiere performance was reasonably successful—enough so that Ormandy and the players wrote a letter of gratitude to the composer—but a repetition in New York soon after was critically panned. The accessibility of the score argued against it in an environment more attuned to novelty, and a cloud lay over the work for a number of years. Rachmaninoff was hurt that Ormandy and the Philadelphia Orchestra did not choose to record this new score, though they had been committing to disc virtually all of his earlier works for orchestra. Only recently has the work begun to emerge again into the repertory—a change that has come about concur- rently with a general reevaluation of Rachmaninoff’s work as a whole, with the recognition that his music offers much of interest despite its conservative cast. At least we can now begin to assess his contribution without fighting our way through a battlefield of entrenched avant-gardists. Generally deemed a reactionary in a world dominated by the new ideas of Stravinsky’s neoclassicism on the one hand and Schoenberg’s twelve-tone technique on the other, Rachmaninoff was, until recent years, being largely written off by the musical intelligentsia. But times have changed, and his star is rising again.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for other orchestras and ensembles throughout the country.

32 Maurice Ravel (1875-1937) “Bolero” First performance (as a ballet): November 22, 1928, Mme. Ida Rubinstein’s ballet troupe, Paris Opéra, Walter Straram cond. First concert performance: November 1929, New York Philharmonic, Arturo Toscanini cond. First BSO performance: December 6, 1929, Serge Koussevitzky cond. First Tanglewood performance: August 10, 1947, Serge Koussevitzky cond. Most recent Tanglewood performance: July 24, 2011, Boston Symphony Orchestra, Emmanuel Krivine cond. Ida Rubinstein requested a ballet score from Ravel before he set out for America in 1928; his original plan was to orchestrate several sections of Isaac Albéniz’s Iberia. It turned out, however, that this had already been done at the request of Albéniz’s family and under exclusive copyright by Spanish conductor Enrique Arbós. Even when Arbós agreed to relinquish the rights, Ravel was too piqued to pursue the matter, and his ﬁrst thought was that he would simply orchestrate something of his own, since he did not want to take on the burden of writing something entirely original. But then an idea came to him, a theme “of insis- tent quality” which he would repeat numerous times “without any development, gradually increasing the orchestra” to the best of his ability. The result was Bolero. The Paris Opéra production for Mme. Rubinstein together with twenty male dancers “suggested a painting of Goya and depicted a large table in a public tavern upon which the principal dancer performed her convolutions while the men standing about the room were gradually aroused from apathy to a state of high excitement.” It was a brilliant success, but Ravel thought little of his music and, as

TANGLEWOODWEEK 2 SATURDAYPROGRAMNOTES 33 with his famous Pavane, claimed surprise at its popularity. But he was concerned that it be properly played and became furious when Arturo Toscanini, on tour with the New York Philharmonic, took a tempo that he considered much too fast. (Toscanini’s response, variously recorded, included statements that Ravel didn’t understand his own music, that the quick tempo was the only way to put the piece across, and that a bolero was a dance, not a funeral march.) About the music, with its ostinato bolero rhythm and the heightening effect of the sudden pull from C onto E in the bass just before the end, just a word: those are not wrong notes you’re hearing at the second return of the main theme. Ravel has here set the tune in three keys at once: one piccolo has it in E, the other in G, and horns and celesta in C. As for the rest, let Ravel have his say: I am particulary desirous that there should be no misunderstanding as to my Bolero. It is an experiment in a very special and limited direction, and should not be suspected of aiming at achieving anything different from, or anything more than, it actually does achieve. Before the ﬁrst performance, I issued a warning to the effect that what I had written was a piece lasting seventeen minutes and consisting wholly of orchestral tissue without music—of one long, very gradual crescendo. There are no contrasts, and there is practically no invention except in the plan and the manner of the execution. The themes are impersonal—folk tunes of the usual Spanish-Arabian kind. Whatever may have been said to the contrary, the orchestral treatment is simple and straightforward throughout, without the slightest attempt at virtuosity.... I have done exactly what I set out to do, and it is for the listeners to take it or leave it.

MARC MANDEL Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

Guest Artists

For a biography of Andris Nelsons, see page 19.

Sophie Bevan Making her Tanglewood debut this evening, soprano Sophie Bevan studied at the Benjamin Britten International Opera School, where she was awarded the Queen Mother Rose Bowl Award. Her roles for English National Opera include Xenia in Boris Godunov, Despina in Così fan tutte, soprano solos in Messiah, Polissena in Radamisto, Yum Yum in Mikado, Telair in Rameau’s Castor and Pollux, and her first Sophie in Der Rosenkavalier. For Welsh National Opera she has sung the title role in The Cunning Little Vixen, for Garsington Opera she performed her first Susanna, and for Opéra de Lyon she has performed the soprano solos in Messiah. She made her debut at the Royal Opera House, Covent Garden, as the Woodbird in Wagner’s Siegfried and returned as Pamina in The Magic Flute. Conductors with whom she has worked include Vasily Petrenko, Edward Gardner, Sir Antonio Pappano, Laurence Cummings, Ryan Wigglesworth, Harry Christophers, Harry Bicket, Phillipe Herreweghe, Sir Neville Marriner, Ivor Bolton, Daniel Harding, Sir Roger Norrington, Sir Mark Elder, and Sir Charles Mackerras, appearing with orchestras that include the Royal Philharmonic, the Royal Liverpool Philharmonic, the Hallé, the Gabrieli Consort and Players, the Academy of Ancient Music, The Sixteen, the Scottish Chamber Orchestra, the Royal Swedish Symphony Orchestra, and the Britten Sinfonia. Her concert repertoire includes Haydn’s Nelson Mass and Creation, Handel’s Samson and Messiah, Mozart’s Requiem,

34 Mass in C minor, and Exsultate, jubilate, Brahms’s German Requiem, Bach’s St. Matthew and St. John Passions, Purcell’s King Arthur and The Fairy Queen, and Britten’s Les Illuminations and Spring Symphony. She made her U.S. debut in Messiah with Boston’s Handel and Haydn Society. A noted recitalist, Ms. Bevan has performed at the Concertgebouw Kleine Zaal with Malcolm Martineau and made her Wigmore Hall recital debut with Sebastian Wybrew to critical acclaim. She has also appeared at the BBC Proms and the Edinburgh and Aldeburgh festivals. Recent and upcoming concert engagements include performances with the City of Birmingham Symphony Orchestra with Gardner and Nelsons. Future operatic engagements include Ninetta in Rossini’s La gazza ladra for Oper Frank- furt; Ilia in Idomeneo in a new production for the Royal Opera House, Covent Garden, and her debut at the Glyndebourne Festival. The recipient of the 2010 Critics’ Circle award for Exceptional Young Talent, Sophie Bevan was nominated for the 2012 Royal Philharmonic Society Awards and was the recipient of The Times Breakthrough Award at the 2012 South Bank Sky Arts Awards and the Young Singer Award at the 2013 inaugural International Opera Awards.

Angela Denoke Also making her Tanglewood debut this evening, Angela Denoke was born in Stade near Hamburg in Germany. After completing her studies at Hamburg’s Hochschule für Musik und Theater, she joined the ensemble of the Theater Ulm followed by the Staatsoper Stuttgart. She is closely associated with the Vienna State Opera (Lady Macbeth of Mtsensk, Arabella, Salome, Die tote Stadt, Parsifal, Jen˚ufa, Der Rosenkavalier, Lohengrin, Tannhäuser, and Pique Dame), Opéra National de Paris (Salome, Kátya Kabanová, Cardillac, Der Rosenkavalier, Wozzeck, Parsifal, Fidelio, and The Makropulos Case), Deutsche Staatsoper Berlin (Tannhäuser, Fidelio, Pique Dame, and Erwartung under Daniel Barenboim, Der Rosenkavalier and Tannhäuser under Philippe Jordan), and the Bayerische Staatsoper (Salome, Der Rosenkavalier, Parsifal, Jen˚ufa, and Wozzeck). For the Salzburg festivals she has sung Kátya Kabanová, Die tote Stadt, Wozzeck, Fidelio, and The Makropulos Case. She has sung with the London Symphony Orchestra under Harding, Gergiev, and Noseda; Symphonieorchester des Bayerischen Rundfunks under Nelsons and Bychkov; London’s Philharmonia Orchestra under Salonen and Nelsons; and the Berlin Philharmonic under Rattle. She has appeared at the Royal Opera House, Covent Garden; Metropolitan Opera, Netherlands Opera, Semperoper Dresden, Teatro Real Madrid, Gran Teatre del Liceu Barcelona, Opernhaus Zürich, and at the Paris Châtelet. Her highly acclaimed debut at Teatro alla Scala in Milan was in The Makropulos Case. Recent and future engagements include appearances with the Philharmonia Orchestra under Philippe Jordan and return engagements with the opera houses of London, Munich, Madrid, and Vienna. Her recordings include The Makropulos Case from the Salzburg Festival 2011 (DVD), Salome from Baden-Baden (DVD), a New Year’s Eve Lehár Gala from Dresden with Thielemann (CD and DVD), Die tote Stadt, Die Walküre, Kátya Kabanová, Cardillac, Beethoven’s Symphony No. 9 (with Pletnev for DG and Barenboim for Warner), Wozzeck (with Ingo Metzmacher for EMI), and Fidelio (with Rattle for EMI). Her jazz and chanson program entitled “From Babelsberg to Beverly Hills” (devoted to the era of Marlene Dietrich and Zarah Leander) has been performed at the Kurt Weill Festival in Dessau and the opera houses of Munich, Berlin, Madrid, Barcelona, Oviedo, Frankfurt, Paris, and Milan. Premiered at the 2011 Salzburg Festival, her Kurt Weill recital entitled “Two Lives to Live” was also presented at the Wiener Staatsoper in 2013. Opernwelt’s Singer of the Year in 1999, Angela Denoke received the Deutsche Theaterpreis Der Faust in 2007 for her portrayal of Salome. In February 2009 the Austrian Government awarded her the title of Kammersängerin of the Vienna State Opera.

TANGLEWOODWEEK 2 GUESTARTISTS 35 Isabel Leonard In the 2013-14 season, Isabel Leonard, the recipient of the 2013 Richard Tucker Award from the Richard Tucker Music Foundation, returned to the Metropolitan Opera as Dorabella in Così fan tutte under James Levine (also an HD broadcast in spring 2014); made debuts at San Francisco Opera, Lyric Opera of Chicago, and Dallas Opera, all as Rosina in Il barbiere di Siviglia; and appeared in Carnegie Hall’s Marilyn Horne Song Celebration and with Nathan and Julie Gunn at the University of Illinois, Champaign-Urbana. Two important role debuts came during the Met’s 2012-13 season: Miranda in Adès’s The Tempest and Blanche in Poulenc’s Dialogues des Carmélites. She also appeared in the English-language version of The Barber of Seville that was broadcast internationally in HD. Last season also brought her role and company debut as Sesto in Mozart’s La clemenza di Tito at Canadian Opera Company. Besides her Zankel Hall recital debut at Carnegie Hall, she appeared at the University of Notre Dame, Boston’s Isabella Stewart Gardner Museum, San Francisco Performances, and Atlanta’s Spivey Hall. She sang Berlioz’s Les Nuits d’été with the St. Paul Chamber Orchestra under Edo de Waart, and the Child in L’Enfant et les sortilèges and Concepción in L’Heure espagnole under Seiji Ozawa at Japan’s Saito Kinen Festival. In recent seasons, Ms. Leonard has appeared at the Metropolitan Opera as Mozart’s Dorabella, Cherubino, and Zerlina, and as Rosina; at Opéra National de Paris as Sesto in Giulio Cesare and as Cherubino; at the Glyndebourne Festival as Cherubino; and at the Vienna State Opera as Rosina and Cherubino. She earned acclaim for her role debut as Ruggiero in Handel’s Alcina at Opéra National de Bordeaux and for her Costanza in Vivaldi’s Griselda at Santa Fe Opera. Other notable engagements have included the title role in Offenbach’s La Périchole at Opéra National de Bordeaux (where she also made her European and professional stage debut as Zerlina), Cherubino at Munich’s Bavarian State Opera, and Dorabella at the Salzburg Festival. Ms. Leonard made her Metropolitan Opera debut as Stéphano in Roméo et Juliette (recorded for DVD release and broadcast live in HD). She has also appeared with Opera Colorado, Fort Worth Opera, Chicago Opera Theater, and Santa Fe Opera, having made her professional U.S. opera debut as Stéphano with Atlanta Opera. Her American orchestral debut came in August 2006 in The Three-Cornered Hat with the Boston Symphony Orchestra at Tanglewood under Gustavo Dudamel, her only previous Tanglewood appearance. She made her first coast-to-coast recital tour in the 2007-08 season, ending with her Carnegie Hall debut at Weill Recital Hall. She has appeared as a guest soloist in the Marilyn Horne Foundation’s 75th Birthday Gala in Carnegie Hall; gave a solo recital as part of the Foundation’s “On Wings of Song” series in New York City; and performed with soprano Barbara Bonney in recital at Alice Tully Hall presented by the Lincoln Center Chamber Music Society. A native New Yorker, Isabel Leonard received both bachelor’s and master’s degrees from the Juilliard School under the tutelage of Edith Bers. She has also studied with Marilyn Horne, Brian Zeger, Warren Jones, Margo Garrett, Denise Massé, and Janine Reiss. Stu Rosner

36 Tanglewood Music Center Orchestra (July 12, 2014)

Violin I Madeleine Tucker Contrabassoon Julia Noone Jakob Alfred Paul Nierenz Sean Maree Jacob Joyce Matt Zucker Horn Hen-Shuo Steven Chang Benjamin Stoehr Jordan Koransky Francesca McNeeley Kevin Haseltine Ivana Jasova Bing Wei Julian Zheng Kuan-Yu Annie Chen Nathan Watts Parker Nelson Thomas Hofmann Antoinette Gan Anthony Delivanis Sodam Lim Clare Elizabeth Monfredo Sarah Sutherland Autumn Chodorowski Patricia Ryan Trumpet Mo Mo Minhye Helena Choi Mark Grisez Chi Li Double Bass Daniel Henderson Samuel Park George Goad Danielle Seaman Michael Chiarello Lifan Zhu Nathan Varga Trombone Alanna Jones Heather Thomas Zachary Guiles Nina DeCesare Joseph Peterson Violin II Evan Hulbert Sarah Atwood Zachery Camhi Bass Trombone Lucia Nowik Mariya-Andoniya Andonova Scott Hartman Melissa Wilmot Flute Ludek Wojtkowski Tuba Cheuk-Yin Clement Luu Catherine Baker Andrew Abel Kelly Zimba Maria Semes Timpani Samuel Weiser Masha Popova Nicholas Taylor Benjamin Carson Piccolo Avi Nagin Masha Popova Percussion Sarah Peters Tomasz Kowalczyk Anna Czerniak Oboe Kirk Etheridge Emily Jackson Geoffrey Sanford Joseph Kelly Aika Ito Michelle Zwi Jeffrey DeRoche Corbin Stair Viola Harp Madeline Sharp English Horn Katherine Siochi Elizabeth Oka Corbin Stair Annabelle Taubl Charlotte Malin Jacob Shack Clarinet Celesta Mary Ferrillo Ran Kampel Sasha Burdin Meredith Kufchak Eric Anderson Personnel Manager Camilla Berretta Daniel Parrette Ryland Bennett Caroline Gilbert E-ﬂat Clarinet Erica Schwartz Daniel Parrette Librarians Sekyeong Cheon John Perkel Linda Numagami Bass Clarinet Melissa Steinberg Aekyung Kim Patrick Graham Sujie Kim (TMC Fellow) Michael Lloyd Jones Bassoon Aspen McArthur Bryan Lew (TMC Fellow) Harrison Miller Cello Thomas English Thomas Carpenter Shuo (Shelly) Li Sofia Nowik Renée Delgado

TANGLEWOODWEEK 2 GUESTARTISTS 37 2014 Tanglewood

THE BOSTON POPS ORCHESTRA KEITH LOCKHART, Conductor JOHN WILLIAMS, Laureate Conductor

Sunday, July 13, 2:30pm For the benefit of the Boston Symphony Orchestra Pension Fund THE CANYON RANCH CONCERT

THE BOSTON POPS AT TANGLEWOOD SPONSORED BY VISIT SARASOTA COUNTY FLORIDA

KEITH LOCKHART conducting with special guest JASON ALEXANDER

RODGERS/ Shall We Dance? from “The King and I” HAMMERSTEIN- COURAGE

SMETANA Dance of the Comedians, from “The Bartered Bride”

TCHAIKOVSKY Waltz from “Sleeping Beauty”

PIAZZOLLA- Oblivion MORLEY MICHAEL MONAGHAN, saxophone

arr. SEBESKY The ’20s Roar! Yes Sir, That’s My Baby—How You Gonna Keep ’Em Down on the Farm—If You Knew Susie (Like I Know Susie)—Tiger Rag

Don Sebesky dedicates “The ’20s Roar!” to “my sweet Suzie”

Established in 1903, the Boston Symphony Pension Institution is the oldest among the American symphony orchestras. In recent years the Pension Institution has paid $4.3 million annually to more than ninety pensioners or their surviving spouses. Pension Institution income is derived from Pension Fund concerts and from Open Rehearsals at Symphony Hall and at Tanglewood. Contributions are also made each year by the Boston Symphony Orchestra, Inc. Representatives of the Players and the Corporation are members of the Pension Institution’s Board of Directors.

38 arr. RAMIN Gotta Dance: A Tribute to Jerome Robbins Gotta Dance, from “Look Ma, I’m Dancing” Papa, Won’t You Dance with Me, from “High Button Shoes” New York, New York, from “On the Town” Tonight Quintet, from “West Side Story” Comedy Tonight, from “A Funny Thing Happened on the Way to the Forum” Small World, and Rose’s Turn, from “Gypsy” I’m Flying, from “Peter Pan”

{Intermission}

Presenting JASON ALEXANDER Todd Schroeder, music director and pianist

Selections to be announced from the stage.

Special thanks to Carrie Schroeder

The Boston Pops Orchestra may be heard on Boston Pops Recordings, RCA Victor, Sony Classical, and Philips Records. Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured 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 devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Please also note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. We appreciate your cooperation. Stu Rosner

TANGLEWOODWEEK 2 SUNDAYPROGRAM 39

Artists

Keith Lockhart Keith Lockhart became the twentieth conductor of the Boston Pops in 1995, adding his artistic vision to the Pops tradition established by his predecessors John Williams and Arthur Fiedler. Mr. Lockhart holds the Julian and Eunice Cohen Boston Pops Conductor chair. He has worked with a wide array of established artists from virtually every corner of the entertainment world, while also promoting programs that focus on talented young musicians from the Tanglewood Music Center, Boston Conservatory, and Berklee College of Music. During his twenty-year tenure, he has conducted nearly 1,600 Boston Pops concerts and introduced the innovative JazzFest and EdgeFest series, featuring prominent jazz and indie artists performing with the Pops. Mr. Lockhart has also introduced concert performances of full-length Broadway shows, including Rodgers and Hammerstein’s Carousel and Stephen Sondheim’s A Little Night Music, and the PopSearch and High School Sing-Off competitions. Under his leadership, the Boston Pops has commissioned several new works—including The Dream Lives On, a tribute to the Kennedy brothers, which was premiered in May 2010 during the 125th anniversary season—and dozens of new arrangements. Audiences worldwide love Keith Lockhart’s inimitable style, expressed not only through his consummate music-making, but also by his unique ability to speak directly to the audience about the music to which he feels so passionately committed. He and the Boston Pops have released five self-produced recordings—2013’s A Boston Pops Christmas–Live from Symphony Hall, as well as Sleigh Ride, America, Oscar & Tony, and The Red Sox Album—and also recorded eight albums with RCA Victor—Runnin’ Wild: The Boston Pops Play Glenn Miller, American Visions, the Grammy-nominated The Celtic Album,

TANGLEWOODWEEK 2 ARTISTS 41 Holiday Pops, A Splash of Pops, Encore!, the Latin Grammy-nominated The Latin Album, and My Favorite Things: A Richard Rodgers Celebration. Keith Lockhart has made seventy-five television shows with the Boston Pops, including a 2009 concert featuring jazz trumpeter Chris Botti, and special guests Sting, John Mayer, and Steven Tyler, and the annual Boston Pops Fireworks Spectacular, broadcast nationally for many years on the A&E and CBS television networks. He has also led many Holiday Pops telecasts, as well as thirty-eight new programs for PBS’s Evening at Pops (1970-2004). He has led the Boston Pops on thirty-nine national tours, as well as performances at Carnegie Hall and Radio City Music Hall, and brought the music of “America’s Orches- tra” overseas in four tours of Japan and Korea. Mr. Lockhart has led the Boston Pops in the national anthem for numerous major sports events. Keith Lockhart currently serves as principal conductor of the BBC Concert Orchestra in London, which he led in the June 2012 Diamond Jubilee Concert for Queen Elizabeth II, and as artistic director of the Brevard Music Center summer institute and festival in North Carolina. He has appeared as a guest conductor with virtually every major symphonic ensemble in North America, as well as several in Asia and Europe. He was music director of the Utah Symphony from 1998 to 2009, and led that orchestra in performances at the 2002 Olympic Games, as well as on its first European tour in two decades. Prior to coming to Boston, he was the associate conductor of both the Cincinnati Symphony and Cincinnati Pops orchestras, as well as music director of the Cincinnati Chamber Orchestra. Born in Poughkeepsie, NY, Keith Lockhart began his musical studies with piano lessons at the age of seven. He holds degrees from Furman University and Carnegie Mellon University, and honorary doctorates from several American universities. Visit keithlockhart.com for further information.

Jason Alexander Jason Alexander is a well-known actor, director, Tony Award-winning Broadway per- former, producer, teacher, children’s author, activist, and traveling comic. His diverse array of credits includes stints in television, film, and theater. His portrayal of George Costanza on NBC’s Seinfeld garnered him six Emmy and four Golden Globe nominations, an American Television Award, and two American Comedy Awards. The Screen Actors Guild knighted him Best Actor in a Comedy Series, and TV Guide readers voted George Costanza among the ten greatest television characters of all time. Since his Broadway debut in the original production of Stephen Sondheim’s Merrily We Roll Along, he has starred on Broadway five times. Hired to write the libretto for Jerome Robbins’ Broadway, he also played fourteen different characters in the production, winning the Drama Desk, Outer Critics Circle, and Tony awards. Los Angeles audiences have enjoyed his many stage performances in that city, most notably his acclaimed run alongside Martin Short in Mel Brooks’s The Producers. In 2012 The Actor’s Fund honored Jason Alexander with the Julie Harris Award for Lifetime Achievement. His film credits include Pretty Woman, Jacob’s Ladder, Dunston Checks In, Love, Valor, Compassion, The Adventures of Rocky and Bullwinkle, Shallow Hal, Hachi, and the upcoming Lucky Stiff. Notable television projects include Bye Bye Birdie and A Christmas Carol. He has also directed episodes of Seinfeld, Everybody Hates Chris, Criminal Minds, Franklin and Bash, and Mike and Molly. Jason Alexander previously appeared with the Boston Pops Orchestra in May 1996, a performance taped for PBS’s Evening at Pops, in May 2013 for the corporate event “Presidents at Pops,” and for the Opening Night concert of the 2014 spring Pops season.

42 The Boston Pops Orchestra

KEITH LOCKHART Mark Ludwig* Horns Julian and Eunice Cohen Rebecca Gitter* Richard Sebring Boston Pops Conductor Cellos Principal endowed in perpetuity Rachel Childers Martha Babcock° Michael Winter JOHN WILLIAMS Principal Laureate Conductor Jason Snider Helene and Norman L. Jonathan Menkis Cahners chair, endowed First Violins in perpetuity Trumpets Tamara Smirnova Sato Knudsen° Thomas Rolfs° Concertmaster Mihail Jojatu Principal Beranek chair, Adam Esbensen* Roberta and Stephen R. endowed in perpetuity Blaise Déjardin* Weiner chair, endowed Elita Kang Mickey Katz* in perpetuity Assistant Concertmaster Jonathan Miller* Thomas Siders Edward and Bertha C. Rose Owen Young* Benjamin Wright chair, endowed in perpetuity Alexandre Lecarme* Michael Martin Julianne Lee Acting Assistant Basses Trombones Concertmaster Lawrence Wolfe Toby Oft Bo Youp Hwang Principal Stephen Lange McGrath Family chair, Eunice and Julian Cohen Bass Trombone chair, endowed in perpetuity endowed in perpetuity Ikuko Mizuno Benjamin Levy James Markey Glen Cherry* Dennis Roy Tuba Thomas Van Dyck* Jennie Shames* Mike Roylance Joseph Hearne Xin Ding* Principal Wendy Putnam* Todd Seeber* Valeria Vilker Kuchment* John Stovall* Timpani Si-Jing Huang* Flutes Daniel Bauch Yuncong Zhang* Elizabeth Ostling Percussion Tatiana Dimitriades* Principal Ala Jojatu* J. William Hudgins Mr. and Mrs. William F. Kyle Brightwell Second Violins Connell chair, endowed Matthew McKay Sheila Fiekowsky in perpetuity James Gwin Nicole Monahan Clint Foreman Drums Catherine French* Piccolo Harp Aza Raykhtsaum* Cynthia Meyers Ronan Lefkowitz Jessica Zhou Bonnie Bewick* Oboes Keyboard Vyacheslav Uritsky* Mark McEwen Ben Cook James Cooke* Amanda Hardy Victor Romanul* Guitar Jason Horowitz* English Horn Jon Finn Nancy Bracken* Robert Sheena Electric Bass Violas Clarinets Mike Rivard Cathy Basrak Thomas Martin Principal Principal Librarians Edward Gazouleas Michael Wayne D. Wilson Ochoa Robert Barnes Bass Clarinet Jonathan Chu* Principal Craig Nordstrom Michael Zaretsky William Shisler Daniel Getz* Saxophone John Perkel Wesley Collins* Michael Monaghan Rachel Fagerburg* Personnel Managers Bassoons Lynn G. Larsen Marc Goldberg * Participating in a system Suzanne Nelsen Bruce M. Creditor of rotated seating Assistant Personnel Manager Contrabassoon § Substituting Stage Manager Gregg Henegar + On sabbatical leave John Demick ° On leave

TANGLEWOODWEEK 2 ARTISTS 43

Society Giving at Tanglewood

The following recognizes gifts of $3,000 or more made since September 1, 2013 to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2013-2014 season. For further information on becoming a Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

Susan B. Cohen, Co-chair, Tanglewood Annual Fund Ranny Cooper, Co-chair, Tanglewood Annual Fund

Koussevitzky Society Founders

Michael L. Gordon • Dorothy and Charlie Jenkins • Carol and Joe Reich • Caroline and James Taylor Virtuoso

Linda J.L. Becker • Roberta and George Berry • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Joyce Linde • Kate and Al Merck • Mrs. Irene Pollin • Susan and Dan ‡ Rothenberg • Stephen and Dorothy Weber Encore

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ginger and George Elvin • Scott and Ellen Hand • Drs. James and Eleanor Herzog • Elizabeth W. and John M. Loder • Jane and Robert J. Mayer, M.D. • The Claudia and Steven Perles Family Foundation • Claudio and Penny Pincus • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Mrs. Millard H. Pryor, Jr. • Ronald and Karen Rettner • June Wu Benefactor

BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Ronnie and Jonathan Halpern • The Edward Handelman Fund • Larry and Jackie Horn • Valerie and Allen Hyman • Leslie and Stephen Jerome • Jay and Shirley Marks • Henrietta N. Meyer • Jonathan D. Miller and Diane Fassino • Suzanne and Burton Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hannah and Walter Shmerler • Carol and Irv Smokler • The Ushers and Programmers Fund Maestro

Mr. Gerald Appelstein • Liliana and Hillel Bachrach • Joan and Richard Barovick • Robert and Elana Baum • Phyllis and Paul Berz • Sydelle and Lee Blatt • Beatrice Bloch and Alan Sagner • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. and Ronni J. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Dr. T. Donald and Janet Eisenstein • Beth and Richard Fentin • Jane Fitzpatrick ‡ • Nancy J. Fitzpatrick and Lincoln Russell • Dr Lynne B Harrison • Susie and Stuart Hirshﬁeld • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise ‡ Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Mr. and Mrs. Michael Monts • Jerry and Mary ‡ Nelson • Polly and Dan Pierce • John S. and Cynthia Reed • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Mr. and Mrs. ‡ Marvin Seline • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Dr. and Mrs. Harvey B. Simon • Norma and Jerry Strassler • Linda and Edward Wacks • Mr. and Mrs. Edwin A. Weiller III • Mr. Jan Winkler and Ms. Hermine Drezner • Robert and Roberta Winters • Anonymous

TANGLEWOODWEEK 2 SOCIETYGIVINGATTANGLEWOOD 45 Prelude

Gideon Argov and Alexandra Fuchs • Norm Atkin MD and Joan Schwartzman • Brad and Terrie Bloom • Mr. David Fehr • Arlene and Jerome Levine • Elaine and Ed London • Judy and Richard J. Miller • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Mr. and Mrs. Gerard O’Halloran • Elaine and Simon Parisier • Elaine and Bernard Roberts • Lucinda and Brian Ross • Maureen and Joe Roxe/The Roxe Foundation • Sue Z. Rudd • Malcolm and BJ Salter • Marcia and Albert Schmier • Anne and Ernest Schnesel • JoAnne and Joel Shapiro • Lynn and Ken Stark • Lois and David Swawite • Aso O. Tavitian • Gail and Barry Weiss • Anonymous Member

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Susan Baker and Michael Lynch • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Carole and Richard Berkowitz • Linda and Tom Bielecki • Hildi and Walter Black • Mr. Michael Bloomberg • Drs. Judith and Martin Bloomﬁeld • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Marlene and Dr. Stuart H. ‡ Brager • Carol and Bob Braun • Jane and Jay Braus • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Bonnie and Terry Burman • David and Maria Carls • Carol and Randy Collord • Judith and Stewart Colton • Ernest Cravalho and Ruth Tuomala • Ann Denburg Cummis • Richard H. Danzig • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan and Lisa Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Eitan and Malka Evan • Marie V. Feder • Eunice and Carl Feinberg • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Myra and Raymond ‡ Friedman • Audrey and Ralph Friedner • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Mr. and Mrs. Leslie J. Garﬁeld • Drs. Anne and Michael Gershon • Dr. Donald and Phoebe Giddon • Robert and Stephanie Gittleman • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Carol B. Grossman • Mr. David Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Nathan and Marilyn Hayward • Ricki Tigert Helfer and Michael S. Helfer • Enid and Charles Hoffman • Richard Holland • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Lauren Joy • Kahn Family Foundation • Adrienne and Alan Kane • Martin and Wendy Kaplan • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff • Dr. Samuel Kopel and Sari Scheer • Norma and Sol D. Kugler • Marilyn E. Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • Wilma and Norman Michaels • Mr. and Mrs. Raymond F. Murphy, Jr. • The Netter Foundation • John and Mary Ellen O’Connor • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Mary Ann and Bruno A. Quinson • The Charles L. Read Foundation • Mr. and Mrs. Albert P. Richman • Barbara and Michael Rosenbaum • Milton B. Rubin • Dr. Beth Sackler • Joan and Michael Salke • Dr. and Mrs. James Satovsky • Dr. and Mrs. Wynn A. Sayman • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Evelyn and Ronald Shapiro • Lois and Leonard Sharzer • The Shields Family • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Elaine Sollar and Edwin R. Eisen • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz •

46 Mr. and Mrs. Richard Stair • Lynn and Lewis Stein • Suzanne and Robert Steinberg • Noreene Storrie and Wesley McCain • Jerry and Nancy Straus • Ms. Pat Strawgate • Roz and Charles Stuzin • Mr. Eric Swanson and Ms. Carol Bekar • Dorothy and Gerry Swimmer • Ingrid and Richard Taylor • Jerry and Roger Tilles • Mr. and Mrs. Wilmer J. Thomas, Jr. • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • Antoine and Emily van Agtmael • Loet and Edith Velmans • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Marillyn Zacharis • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (5) Bernstein Society

Dr. and Mrs. Bert Ballin • Mr. Michael Beck and Mr. Beau Bufﬁer • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • Sandra L. Brown • Rhea and Allan Bufferd • Mr. and Mrs. Scott Butler • Mrs. Laura S. Butterﬁeld • Antonia Chayes • Lewis F. Clark, Jr. • Herbert B. and Jayne Cohan • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Brenda and Jerome Deener • Mr. and Mrs. Arthur Dellheim • The Dulye Family • Mr. and Mrs. Leonard Edelson • Dr. and Mrs. Gerald D. Falk • Dr. Jeffrey and Barbara Feingold • Mr. and Mrs. Nelson I. Fishman • Betty and Jack Fontaine • Herb and Barbara Franklin • Mr. David Friedson and Ms. Susan Kaplan • Thomas M. Fynan, M.D. • Mr. and Mrs. Jeffrey Garber • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Rita Sue and Alan J. Gold • Michael and Muriel Grunstein • Dena and Felda Hardymon • Mrs. Deborah F. Harris • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Ms. Jennifer Hersch • Ms. Patricia A. Insley • Jean and Ken Johnson • Miriam and Gene Josephs • Henrietta and Marc Katzen • Mr. Chaim and Dr. Shulamit Katzman • Margaret and Joseph Koerner • J. Kenneth and Cathy Kruvant • Dr. and Mrs. Stephen Kulvin • Ira Levy, Lana Masor and Juliette Freedman • Mr. and Mrs. Anthony J. Limina • Dr. Nancy Long and Mr. Marc Waldor • Mr. and Mrs. Arthur S. Loring • Susan and Arthur Luger • Soo Sung and Robert Merli • Mr. and Mrs. Michael A. Miller • Mrs. Suzanne Nash • Linda and Stuart Nelson • Mike, Lonna and Callie Offner • Ellen and Mickey Rabina • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Mary and Lee Rivollier • Edie and Stan Ross • Barbara Rubin • Robert M. Sanders • Elisabeth Sapery and Rosita Sarnoff • Ms. Susan Schaeffer • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Susan and Judd Shoval • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Mr. and Mrs. Daniel S. Sterling • Mr. and Mrs. Edward Streim • Flora and George Suter • J and K Thomas Foundation • John Lowell Thorndike • Diana O. Tottenham • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • Mr. and Mrs. Alex Vance • Mr. William Wallace • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Pamela A. Wickham • Sally and Steve Wittenberg • Mr. and Mrs. Allan Yarkin • Cheryl and Michael Zaccaro • Anonymous (2)

‡ Deceased Stu Rosner

TANGLEWOODWEEK 2 SOCIETYGIVINGATTANGLEWOOD 47

July at Tanglewood

Tuesday, July 1, 8pm Friday, July 11, 8:30pm BOSTON SYMPHONY CHAMBER PLAYERS BSO—ANDRIS NELSONS, conductor Music of Wyner, Debussy, and Schubert ANNE-SOPHIE MUTTER, violin ˇ Thursday, July 3, 8pm and ALL-DVORÁK PROGRAM Friday, July 4, 8pm The Noonday Witch; Violin Concerto; Symphony No. 8 JAMES TAYLOR AT TANGLEWOOD Saturday, July 12, 10:30am Saturday, July 5, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO/ TMCO program of Saturday, July 12) BSO program of Sunday, July 6 Saturday, July 12, 8:30pm Saturday, July 5, 8:30pm Tanglewood Gala Opening Night at Tanglewood BOSTON SYMPHONY ORCHESTRA BSO—WILLIAM EDDINS & ROB FISHER, TMC ORCHESTRA (Strauss) conductors ANDRIS NELSONS, conductor RENÉE FLEMING, soprano SOPHIE BEVAN, ANGELA DENOKE, and Orchestral selections by SCHWANTNER, ISABEL LEONARD, vocal soloists COPLAND, and ADAMS STRAUSS Suite and Final Scene from BARBER Knoxville: Summer of 1915, for Der Rosenkavalier soprano and orchestra RACHMANINOFF Symphonic Dances Music for the Broadway stage by RODGERS & RAVEL Bolero HAMMERSTEIN and the GERSHWINS Sunday, July 13, 2:30pm Sunday, July 6, 2:30pm BOSTON POPS ORCHESTRA BSO—ASHER FISCH, conductor KEITH LOCKHART, conductor GARRICK OHLSSON, piano JASON ALEXANDER, vocalist BRAHMS Piano Concerto No. 2 LISZT Les Préludes Tuesday, July 15, 8pm WAGNER Excerpts from Die Meistersinger SEQUENTIA ENSEMBLE FOR MEDIEVAL MUSIC Sunday, July 6, 8pm BENJAMIN BAGBY, director TMC ORCHESTRA—STEFAN ASBURY and “Frankish Phantoms: Echoes from Carolingian TMC Fellow KARINA CANELLAKIS, Palaces”: exploring the musical world of conductors Charlemagne and his circle, through political Music of Hindemith and Bruckner and religious songs, laments, storytelling, and epic Wednesday, July 9, 8pm CHANTICLEER Wednesday, July 16, 8pm “She Said/He Said”: a program reflecting THOMAS HAMPSON, baritone “the complex and emotionally charged dia- WOLFRAM RIEGER, piano logue between the sexes, an eternal theme “Strauss and his World”: celebrating the 150th for composers” anniversary of Richard Strauss’s birth Lieder of Strauss, Webern, Zemlinsky, Alma Thursday, July 10, 7:30pm Mahler, Schoenberg, and Gustav Mahler EMERSON STRING QUARTET Shostakovich quartets 11, 12, 13, 14, and 15 Friday, July 18, 6pm (Prelude Concert) Extended concert with two intermissions MEMBERS OF THE BSO Music of Brahms and Piazzolla Friday, July 11, 6pm (Prelude Concert) MEMBERS OF THE BSO Friday, July 18, 8:30pm Music of Suk, Domažlický, Kalabis, and BSO—CHRISTOPH VON DOHNÁNYI, Janáˇcek conductor THOMAS HAMPSON, baritone STRAUSS Till Eulenspiegel’s Merry Pranks COPLAND Selection of Old American Songs BEETHOVEN Symphony No. 7

Saturday, July 19, 10:30am Saturday, July 26, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, July 20 BSO program of Sunday, July 27)

Saturday, July 19, 8:30pm Saturday, July 26, 8:30pm BSO—ANDRIS NELSONS, conductor BSO—CHRISTOPH VON DOHNÁNYI, HÅKAN HARDENBERGER, trumpet conductor BRAHMS Symphony No. 3 CAMILLA TILLING, soprano MARTINSSON Bridge, Trumpet Concerto No. 1 SARAH CONNOLLY, mezzo-soprano TCHAIKOVSKY Capriccio italien TANGLEWOOD FESTIVAL CHORUS MAHLER Symphony No. 2, Resurrection Sunday, July 20, 2:30pm BSO—ANDRIS NELSONS, conductor Sunday, July 27, 2:30pm JOSHUA BELL, vioilin The Serge and Olga Koussevitzky Memorial Concert ROUSE Rapture BSO—JACQUES LACOMBE, conductor LALO Symphonie espagnole, for violin and orchestra GABRIELA MONTERO, piano BEETHOVEN Symphony No. 5 MARJORIE OWENS, ELIZABETH BISHOP, ISSACHAH SAVAGE, STEPHEN POWELL, Wednesday, July 23, 8pm MORRIS ROBINSON, and JULIEN ROBBINS, vocal soloists THE KNIGHTS TANGLEWOOD FESTIVAL CHORUS DAWN UPSHAW, soprano HÅKAN HARDENBERGER, trumpet RACHMANINOFF Piano Concerto No. 2 Music of Ligeti, Ljova, Stravinsky, and VERDI Overture and Va, pensiero (Chorus Schneider, plus arrangements for trumpet of the Hebrew Slaves) from Nabucco; Finale and ensemble of songs by Joni Mitchell, (Triumphal Scene) of Aida, Act II Weill, Legrand, Piazzolla, and others Monday, July 28, 8pm Thursday, July 24, 8pm TMC ORCHESTRA—MARCELO NATIONAL YOUTH ORCHESTRA LEHNINGER and TMC Fellows DANIEL OF THE USA COHEN and KARINA CANELLAKIS, DAVID ROBERTSON, conductor conductors GIL SHAHAM, violin TMC Fellows LAURA STRICKLING and LORALEE SONGER, vocal soloists Music of Bernstein, Britten, Samuel Adams, and Mussorgsky/Ravel Music of Beethoven and Sibelius Thursday, July 31, 8pm Friday, July 25, 6pm (Prelude Concert) BRASS PLAYERS OF THE BSO CHAMBER ENSEMBLE FROM THE BOSTON LYRIC OPERA ORCHESTRA HÅKAN HARDENBERGER, trumpet DAVID ANGUS, conductor Music of Gabrieli, Viñao, Debussy, and Ravel CHRISTOPHER ALDEN, stage director Friday, July 25, 8:30pm ANDREW HOLLAND, set designer TERESE WADDEN, costume designer BSO—CHRISTOPH VON DOHNÁNYI, ALLEN HAHN, lighting designer conductor JASON ALLEN, wigs and makeup designer PAUL LEWIS, piano HEATHER JOHNSON, CHELSEA BASLER, BEETHOVEN Overture to The Creatures of CAROLINE WORRA, OMAR NAJMI, DAVID Prometheus MCFERRIN, and DANIEL MOBBS, vocal MOZART Piano Concerto No. 12 in A, K.414 soloists MENDELSSOHN Symphony No. 4, Italian MEMBERS OF VOICES BOSTON, ANDY ICOCHEA ICOCHEA, artistic director BEESON Lizzie Borden, Chamber version in seven scenes without intermission Fully staged, sung in English with supertitles

Programs and artists subject to change. 2014 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available through Tanglewood box office or SymphonyCharge Admission free, but restricted to that evening’s concert ticket holders

Sunday, June 29, 10am Sunday, July 13, 10am BRASS EXTRAVAGANZA Chamber Music TMC Instrumental and Conducting Fellows Saturday, July 19, 6pm Monday, June 30, 10am, 1pm, and 4pm Prelude Concert STRING QUARTET MARATHON Sunday, July 20, 10am One ticket provides admission to all three concerts. Chamber Music (Festival of Contemporary Wednesday, July 2, 2:30pm Music) Opening Exercises (free admission; open to Saturday, July 26, 6pm the public; performances by TMC faculty) Prelude Concert Saturday, July 5, 6pm Sunday, July 27, 10am Prelude Concert Chamber Music Sunday, July 6, 10am Monday, July 28, 6pm Chamber Music Prelude Concert Sunday, July 6, 8pm * Monday, July 28, 8pm * The Phyllis and Lee Coffey Memorial Concert The Margaret Lee Crofts Concert TMC ORCHESTRA—STEFAN ASBURY and TMC ORCHESTRA—Conductors to include TMC Fellow KARINA CANELLAKIS, TMC Fellows DANIEL COHEN and KARINA conductors CANELLAKIS Music of HINDEMITH and BRUCKNER TMC Fellows LAURA STRICKLING and Tuesday, July 8, 8pm LORALEE SONGER, vocal soloists Vocal Concert Music of BEETHOVEN and SIBELIUS Saturday, July 12, 6pm Saturday, August 2, 6pm Prelude Concert Prelude Concert Saturday, July 12, 8:30pm (Shed) * Sunday, August 3, 10am The Caroline and James Taylor Concert Chamber Music TANGLEWOOD GALA Sunday, August 3, 8pm BSO and TMC ORCHESTRA—ANDRIS Vocal Concert NELSONS, conductor SOPHIE BEVAN, ANGELA DENOKE, and ISABEL LEONARD, vocal soloists Music of STRAUSS, RACHMANINOFF, and RAVEL

TMC Orchestra Concerts in Ozawa Hall (July 6, 28, August 11), $53, $43, and $34 (lawn admission $11). TMC Recitals, $11. Festival of Contemporary Music Concerts, $11. BUTI Young Artists Orchestra Concerts, $11. BUTI Young Artists Wind Ensemble and Chorus Concerts, Free admission. TMC Chamber and BUTI Orchestra Concerts are cash/check only. GENERAL PUBLIC and TANGLEWOOD DONORS up to $75: For TMC concerts, tickets are available in advance online, or in person up to one hour before concert start time at the Ozawa Hall Bernstein Gate only (except for TMC Orchestra concerts). Please note: availability for seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $75 level receive one free admission and Friends at the $150 level or higher receive two free admissions to most TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $11. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call 617-638-9267 or visit tanglewood.org/contribute. Tuesday, August 5 * Thursday, July 17—Monday, July 21 TANGLEWOOD ON PARADE 2014 FESTIVAL OF CONTEMPORARY 2:30pm: TMC Chamber Music MUSIC 3:30pm: TMC Chamber Music John Harbison and Michael Gandolfi, 5:00pm TMC Vocal Concert: “Sing America!” Festival Directors with Stephanie Blythe The 2014 Festival of Contemporary Music 8:00pm: TMC Brass Fanfares (Shed) highlights works of American composers, 8:30pm: Gala Concert (Shed) including music by Jacob Druckman and TMC ORCHESTRA, BSO, and Steve Mackey, and the world premieres of BOSTON POPS ORCHESTRA two TMC commissions: Bernard Rands’s STÉPHANE DENÈVE, KEITH LOCKHART, Folk Songs and Benjamin Scheuer’s Voices. ANDRIS POGA, LEONARD SLATKIN, and Thursday July 17, 8pm JOHN WILLIAMS, conductors Chamber Music Music of SHOSTAKOVICH, GERSHWIN, TMC FELLOWS GLINKA, BRUBECK, WILLIAMS, and Music of MATHESON, WEESNER, OH, TCHAIKOVSKY DRUCKMAN, LERDAHL, and HARBI- Fireworks to follow the concert SON Saturday, August 9, 6pm Friday July 18, 2:30pm The Judy and Richard J. Miller Concert Chamber Music Prelude Concert TMC FELLOWS Sunday, August 10, 10am Music by TMC Composition Fellows Chamber Music Saturday July 19, 2:30pm Monday, August 11, 6pm Chamber Music Prelude Concert TMC FELLOWS Music of PERLE, MAKAN, LASH, Monday, August 11, 8pm DZUBAY, NATHAN, and CHEUNG The Daniel Freed and Shirlee Cohen Freed Memorial Concert Sunday July 20, 10am TMC ORCHESTRA— STÉPHANE DENÈVE Chamber Music and TMC Fellow DANIEL COHEN, TMC FELLOWS conductors Music of BOYKAN and GANDOLFI; TMC VOCAL FELLOWS SCHEUER Voices (TMC commission; ALL-BERLIOZ PROGRAM world premiere); RANDS Folk Songs (TMC commission; world premiere) Saturday, August 16, 2:30pm Vocal Concert (Free admission) Sunday July 20, 8pm STEPHANIE BLYTHE and TMC VOCAL Theatrical Works FELLOWS TMC FELLOWS “The Sonnet Project” SOPER Helen Enfettered WAGGONER This Powerful Rhyme Saturday, August 16, 6pm Prelude Concert Monday, July 21, 8pm The Fromm Concert at Tanglewood Sunday, August 17, 10am TMC ORCHESTRA Chamber Music STEFAN ASBURY and TMC Fellows Sunday August 17, 2:30pm (Shed) * DANIEL COHEN and KARINA The Leonard Bernstein Memorial Concert CANELLAKIS, conductors TMC ORCHESTRA—CHARLES DUTOIT, Music of SESSIONS, MACKEY, BRAY, conductor and ADAMS NIKOLAI LUGANSKY, piano Music of RACHMANINOFF and STRAVINSKY The Festival of Contemporary Music has been endowed in perpetuity by the generosity of Dr. Raymond H. and Mrs. Hannah H. Schneider, with additional support in 2014 from the Aaron Copland Fund for Music, the Fromm Music Foundation, the National Endowment for the Arts, and the Helen F. Whitaker Fund.

The Boston University Tanglewood Institute (BUTI) In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participated in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlimited access to all performances of the Boston Symphony Orchestra and the Tanglewood Music Center. Now in its 49th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its intensive programs, distinguished faculty, beautiful campus, and interaction with the BSO and TMC make BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, composers, conductors, educators, and administrators. The Institute includes Young Artists Programs for students age fourteen to nineteen (Orchestra, Voice, Wind Ensemble, Piano, Harp, and Composition) as well as Institute Workshops (Clarinet, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the students are supported by the BUTI Scholarship Fund with contributions from individuals, foundations, and corporations. (photo by Kristin Seavey, 2012) If you would like further information about the Boston University Tangle- wood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1431 or (617) 353-3386.

2014 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 12, 2:30pm, Tito Muñoz conducts Adès’s Dances from ‘Powder Her Face,’ Beethoven’s Symphony No. 7, and Dvoˇrák’s Carnival Overture. Saturday, July 26, 2:30pm, Ken-David Masur conducts Rimsky-Korsakov’s Scheherazade, Sibelius’s Pohjola’s Daughter; and Strauss’s Till Eulenspiegel. Saturday, August 9, 2:30pm, Paul Haas conducts Haas’s Father and Mahler’s Symphony No. 5.

WINDENSEMBLEPROGRAMS: Sunday, July 13, 2:30pm, David Martins conducts Camphouse, Galante, Hesketh, Persichetti, Reineke, and Jenkins. Sunday, July 27, 2:30pm, H. Robert Reynolds conducts Bernstein/Grundman, Bach/Cailliet, Hindemith, Bernstein/Bencrisutto, Turrin (featuring David Krauss, trumpet and Ronald Barron, trombone), and Ticheli.

VOCAL PROGRAMS: Saturday, August 2, 2:30pm, Ann Howard Jones conducts Copland, Feigenbaum, Foster/Washburn, Fine, Muhly, Paulus, Thompson, and Wachner.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Monday, July 28; Wednesday, July 30; Thursday, July 31.

Tickets available one hour before concert time. Admission is $11 for orchestra and vocal program concerts, free to all other BUTI concerts. For more information, call (413) 637-1430 or 1431. For a full listing of BUTI events visit http://www.bu.edu/cfa/ tanglewood/performance_calendar. FAVORITERESTAURANTSOFTHEBERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. Administration

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

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Alexander Henry, Assistant to the Artistic Administrator, Tanglewood • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services

Administrative Staff/Production Christopher W. Ruigomez, Director of Concert Operations Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Assistant Stage Manager • Leah Monder, Production Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician

Boston Pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services

Business Office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

Development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Christine Glowacki, Annual Funds Coordinator, Friends Program • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager of Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment Coordinator • Emily Reeves, Assistant Director of Development Information Systems • Amanda Roosevelt, Assistant Manager of Planned Giving • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Szeman Tse, Assistant Director of Development Research • Nicholas Vincent, Donor Ticketing Associate

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Manager of Education Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Anne Gregory, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Programs

Facilities C. Mark Cataudella, Director of Facilities SYMPHONY HALL OPERATIONS Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk MAINTENANCE SERVICES Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

Human Resources

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

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives) Information Technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager

Public Relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist

Publications Marc Mandel, Director of Program Publications Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising

Sales, Subscription, and Marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Peter Danilchuk, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Director of Tanglewood Tourism/Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager/Subscriptions Coordinator Box Office Representatives John Lawless • Arthur Ryan Event Services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant

Tanglewood Music Center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Ben Kaufman, Visitor Center Manager • Jason Lyon, Tanglewood Front of House Manager • Eileen Doot, Business Office Manager • Peggy and John Roethel, Seranak Innkeepers

Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Boston Audley H. Fuller Vice-Chair, Tanglewood Martin Levine Secretary Susan Price

Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater

Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern

Liaisons, Tanglewood Glass Houses, Stanley Feld • Ushers, Judy Slotnick

Tanglewood Project Leads 2014 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Shelly Holtzberg and Maureen O’Hanlon Krentsa • Friends Office, Alan and Toby Morganstein • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Newsletter, Sylvia Stein • Off-Season Educational Resources, Susan Geller and Alba Passerini • Recruit, Retain, Reward, Alexandra Warshaw • Seranak Flowers, Diane Saunders • Talks and Walks, Rita Kaye and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, JJ Jones, Charlotte Schluger, and Marsha Wagner • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark and Pam Levit Beiderman and David and Janet Rothstein • Tour Guides, Mort and Sandra Josel • Young Ambassadors, William Ballen and Ed Costa; Carole Siegel, Mentor Lead

Tanglewood Major Corporate Sponsors 2014 Season

Tanglewood major corporate sponsorships reflect the increasing importance of alliance between business and the arts. We are honored to be associated with the following organizations and gratefully acknowledge their partnerships. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

Visit Sarasota County is proud to sponsor the Boston Pops at Tanglewood this summer, and proud to be the Official Sponsor of Inspiration. As in the Berkshires, the arts just come naturally in Sarasota County, Where Artistic Expression and Inspiration Meet! Is it the crystal blue waters or the warm, balmy air that artists and performers find so inspirational? Who knows for sure. But you will find it every night and day in our performance halls, theatres, opera house, museums and galleries. Discover it yourself in Sarasota County. You’ll see why we’re known as Florida’s Cultural Coast. Learn more at VisitSarasotaArts.org.

Commonwealth Worldwide Chauffeured Transportation is Dawson Rutter proud to be the Official Chauffeured Transportation of the President and CEO Boston Symphony Orchestra and Boston Pops. The BSO has delighted and enriched the Boston community for over a century and we are excited to be a part of such a rich heritage. We look forward to celebrating our relationship with the BSO, Boston Pops, and Tanglewood for many years to come. Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2014 season. An eighth note denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-Chair, Tanglewood Business Partners Committee Mary Jane White, Co-Chair, Tanglewood Business Partners Committee Accounting/Tax Services Berkshire Tax Services • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Emery B. Sheer, CPA, CVA/ABV Advertising/Marketing/Consulting Ed Bride Associates • The Cohen Group • Pilson Communications, Inc. • R L Associates Architecture/Design/Engineering edm - architecture | engineering | management • Foresight Land Services, Inc. • Hill - Engineers, Architects, Planners, Inc. • Pamela Sandler Architecture, LLC Art/Antiques Elise Abrams Antiques • HISTORY OF TOYS GALLERY • Hoadley Gallery • Schantz Galleries Contemporary Glass • Stanmeyer Gallery & Shaker Dam Coffeehouse Automotive Balise Lexus • BIENER AUDI • Haddad Toyota - Subaru - Hyundai Aviation Lyon Aviation, Inc. Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • The Pittsfield Cooperative Bank • Salisbury Bank • TD Bank Building Supplies/Hardware/Home/Lawn & Garden Equipment, Supplies E. Caligari & Son • Carr Hardware and Supply Co., Inc. • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. • Pittsfield Lawn & Tractor Building/Contracting ALLEGRONE COMPANIES • Berkshire Landmark Builders • Great River Construction Co. Inc. • LB Corporation • Luczynski Brothers Building • J.H. Maxymillian, Inc. • DAVID J. TIERNEY, JR., INC. • PETER D. WHITEHEAD BUILDER, LLC • George Yonnone Restorations Catering International Polo Club Catering • SAVORY HARVEST CATERING Education AMERICAN INSTITUTE FOR ECONOMIC RESEARCH • Belvoir Terrace, Visual and Performing Arts and Sports Summer Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Marty Rudolph’s Math Tutoring Service • Thinking in Music, Inc. Energy ESCO Energy Services Company • VIKING FUEL OIL COMPANY, INC. Financial Services AMERICAN INVESTMENT SERVICES, INC. • Frank Battista, CFP® • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • SUSAN AND RAYMOND HELD • HIGH PEAKS VENTURE CAPITAL LIMITED • Integrated Wealth Management • Kaplan Associates L.P. • Keator Group, LLC • Nest Egg Guru & Financial Planning Hawaii • The Sherman Investment Group of RBC Wealth Management • TD Wealth • True North Financial Services • UBS Food/Beverage Wholesale Barrington Coffee • Big Elm Brewing • Crescent Creamery, Inc. • High Lawn Farm • KOPPERS CHOCOLATE • SOCO CREAMERY Insurance Bader Insurance Agency Inc. • BERKSHIRE INSURANCE GROUP • BERKSHIRE LIFE INSURANCE COMPANY OF AMERICA, A GUARDIAN COMPANY • SA Genatt LLC • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone, P.C. • COHEN KINNE VALICENTI & COOK LLP • Michael J. Considine, Attorney at Law • Deely & Deely • GOGEL AND GOGEL • Hellman Shearn & Arienti LLP • Hochfelder & Associates, P.C. • Lazan Glover & Puciloski, LLP • LINDA LEFFERT, J.D. RET. • Norman Mednick, Esq. • The Law Office of Zick Rubin • Lester M. Shulklapper • Susan M. Smith, Esq. • Bernard Turiel, Esq. Lodging 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Days Inn • Berkshire Fairfield Inn & Suites • Birchwood Inn • BLANTYRE • the Briarcliff Motel • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL RESORT, SPA & GOLF CLUB • Crowne Plaza Hotel - Berkshires • Devonfield Inn • Eastover Estate and Retreat • An English Hideaway Inn • The Garden Gables Inn • Gateways Inn & Restaurant • Hampton Inn & Suites • Inn at Green River • The Inn at Stockbridge • THE PORCHES INN AT MASS MOCA • THE RED LION INN • The Rookwood Inn • Seven Hills Inn • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT Manufacturing/Consumer Products Bell Container Corp. • Barry L. Beyer, Packaging Consultant • BROADWAY LANDMARK CORPORATION • General Dynamics • IREDALE MINERAL COSMETICS, LTD. • Onyx Specialty Papers, Inc. Medical 510 Medical Walk-In • Berkshire Health Systems • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Dr. Charles Mandel OD PC • Dr. Joseph Markoff • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Putnoi Eyecare • Dr. Robert and Esther Rosenthal • Royal Health Care Services of NY • Chelly Sterman Associates • Suburban Internal Medicine • Dr. Natalya Yantovsky DMD, P.C. Moving/Storage Quality Moving & Storage • Security Self Storage Non-Profit Berkshire Children and Families, Inc. • THE HIGH MEADOW FOUNDATION • Kimball Farms Lifecare Retirement Community Nursery/Tree Service/Florist Garden Blossoms Florist • Peerless Since 1945, Inc. • Ward’s Nursery & Garden Center • Windy Hill Farm, Inc. Printing/Publishing BERKSHIRE EAGLE • QUALPRINT • SOL SCHWARTZ PRODUCTIONS LLC Real Estate BARRINGTON ASSOCIATES REALTY TRUST • Benchmark Real Estate • Berkshire Mountain Club at Catamount • Brause Realty, Inc. • Cohen + White Associates • Robert Gal L.L.C. • Barbara K. Greenfeld • Hill Realty, LLC • Edith and Larry Hurwit • LD Builders • McLean & McLean Realtors, Inc. • Patten Family Foundation • Pennington Management Company • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate • Tucker Welch Properties Resort /Spa CANYON RANCH IN LENOX • CRANWELL RESORT, SPA & GOLF CLUB Restaurant Alta Restaurant & Wine Bar • Bagel & Brew • Bistro Zinc • Bizen Gourmet Japanese Restaurant & Sushi Bar • Brava • Café Lucia • Chez Nous • Church Street Café • Cork ’N Hearth • CRANWELL RESORT, SPA & GOLF CLUB • Electra’s • Firefly New American Bistro & Catering Co. • Flavours of Malaysia • Frankie’s Ristorante • John Andrews • Mazzeo’s Ristorante • No. Six Depot Roastery and Café • Rouge Restaurant Retail: Clothing Arcadian Shop • Bare Necessities.com • Ben’s • The Gifted Child • Glad Rags • twigs Retail: Food Berkshire Co-op Market • BIG Y SUPERMARKETS • Chocolate Springs Café • Guido’s Fresh Marketplace • The Meat Market & Fire Roasted Catering Retail: Home COUNTRY CURTAINS • The Floor Store • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design Retail: Jewelry Charland Jewelers • Laurie Donovan Designs • McTeigue & McClelland Retail: Wine/Liquor GOSHEN WINE & SPIRITS • Nejaime’s Wine Cellars • Queensboro Wine & Spirits • Spirited Salon SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Services Edward Acker, Photographer • Aladco Linen Services • Braman Termite & Pest Elimination • Dery Funeral Homes • Shire Cleaning and Janitorial Specialty Contracting R.J. ALOISI ELECTRICAL CONTRACTING INC. • Berkshire Fence Company • Pignatelli Electric • Michael Renzi Painting Co. Transportation/Travel ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • Allpoints Driving Service • Tobi’s Limousine Service, Inc. • The Traveling Professor Video/Special Effects/Fireworks Atlas Advanced Pyrotechnics, Inc. • MYRIAD PRODUCTIONS Yoga/Wellness/Health Berkshire Training Station • KRIPALU CENTER FOR YOGA & HEALTH The Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

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

Two and One Half Million

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

One Million

Alli and Bill Achtmeyer • 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 • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Polly and Dan Pierce • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Miriam Shaw Fund • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (8) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall