Boston Symphony Orchestra Summer 2015

summer 2015

boston symphony orchestra andris nelsons music director

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

134th season, 2014–2015

Trustees of the Boston Symphony Orchestra, Inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • Carmine A. Martignetti, Vice-Chair • Arthur I. Segel, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • George D. Behrakis • 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 • Susan Hockfield • Barbara W. Hostetter • Charles W. Jack, ex-officio • Stephen B. Kay • Edmund Kelly • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • 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 • Jan Brett • Peter A. Brooke • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • 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 • James E. Aisner • Peter C. Andersen • Lloyd Axelrod, M.D. • Liliana Bachrach • 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 • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Philip J. Edmundson • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • John L. Klinck, Jr. • Jay Marks • Jeffrey E. Marshall • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor •

Programs copyright ©2015 Boston Symphony Orchestra, Inc. Cover photo by Marco Borggreve James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • 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 • Sandra A. Urie • Robert A. Vogt • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Caroline Dwight Bain† • Sandra Bakalar • 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 • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • George Elvin • 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 • Peter E. Lacaillade • 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 • Dr. Martin C. Mihm, Jr. • Robert Mnookin • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Diana Osgood Tottenham • Paul M. Verrochi • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased

Established 1974 Berkshire Record Outlet

Thank you all for your past patronage. After forty-one consecutive summers, our retail store has closed.

Please visit our website: www.berkshirerecordoutlet.com 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. 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, which celebrates its 75th anniversary this summer, 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 Then BSO music director Seiji Ozawa, with bass drum, lead- Alleluia for unaccompanied chorus, ing a group of Music Center percussionists during a rehearsal specially written for the ceremony, for Tanglewood on Parade in 1976 (BSO Archives/photo by Heinz Weissenstein, Whitestone Photo) arrived less than an hour before the event began; but it made such an 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, Osvaldo Golijov, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, 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 Special Archival Exhibit at the Tanglewood Visitor Center

Berkshire Music Center class photo, 1940 (BSO Archives) “Alleluia”—Celebrating the 75th Anniversary of the Tanglewood Music Center This summer marks the 75th anniversary of the Tanglewood Music Center, the BSO’s summer training institute for young musicians that was founded—as the Berkshire Music Center—by Serge Koussevitzky in 1940. To mark the occasion, the BSO Archives has mounted a special exhibit in the Tanglewood Visitor Center. Drawing on the Archives’ extensive collection of photographs, documents, and other memorabilia, the exhibit celebrates more than seven decades of teaching and learning at the Music Center that have influenced generations of instrumentalists, conductors, vocalists, and composers who have studied with BSO musicians and conduc- Instrumental Fellows give a spontaneous tors, as well as a vast lunchtime concert on the Tanglewood grounds number of distin- in 1949 (Howard S. Babbitt, Jr./BSO Archives) guished composers and other visiting artists on the TMC faculty.

First page of the manuscript score of Randall BSO Music Director and TMC founder Serge Thompson’s “Alleluia,” which was composed Koussevitzky flanked by two of his conducting for the Opening Exercises of the Berkshire students—Leonard Bernstein (left) and Eleazar Music Center’s inaugural session in 1940 de Carvalho—who later became members of (BSO Archives) the faculty (Heinz Weissenstein, Whitestone Photo/BSO Archives)

Serge Koussevitzky rehearsing with the Berkshire Music Center Orchestra in the Tanglewood Shed, 1942 (BSO Archives) In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Smoking materials include cigarettes, cigars, pipes, e-cigarettes, and other smoking products. 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 dis- turbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, and skateboards are prohibited from the Tanglewood grounds. Small, open-sided tents and umbrellas are permitted in designated areas of the lawn provided that they are well secured but do not penetrate grounds infrastructure or unreasonably obstruct the view of other patrons. No area of the lawn may be staked or cordoned off for any reason. Please refrain from dumping melted candle wax on the lawn; aluminum tins are available at any entrance for that purpose. 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. Shirts must be worn on the Tanglewood grounds, and both shirts and shoes must be worn inside concert halls. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, watch alarms, and tablets are switched off during concerts, as well as all texting and other electronic devices. 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. For the safety and security of our patrons, 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. Tickets may also be purchased at the Symphony Hall box office in Boston, Monday through Friday from 10 a.m. to 5 p.m. 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 rest- rooms, 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, Highwood Manor House, 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 Sundays. Highwood Manor House is open Friday, Saturday, and Sunday, July 13 through August 23, prior to each BSO concert in the Shed. Call (413)637-4486 for reservations. 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 $32 (front and boxes) and $22 (rear); lawn tickets are $13. 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 vehicle 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 2015

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

First Violins Jason Horowitz* Violas Mickey Katz* Ronald G. and Ronni J. Stephen and Dorothy Weber Malcolm Lowe Casty chair Steven Ansell chair, endowed in perpetuity Concertmaster Principal Charles Munch chair, Ala Jojatu* Charles S. Dana chair, Alexandre Lecarme* endowed in perpetuity endowed in perpetuity Nancy and Richard Lubin chair Tamara Smirnova Second Violins Cathy Basrak Associate Concertmaster Assistant Principal Adam Esbensen* Helen Horner McIntyre Haldan Martinson Anne Stoneman chair, Richard C. and Ellen E. chair, endowed in perpetuity Principal endowed in perpetuity Paine chair, endowed Carl Schoenhof Family in perpetuity Alexander Velinzon chair, endowed in perpetuity Wesley Collins Assistant Concertmaster Lois and Harlan Anderson Blaise Déjardin* Robert L. Beal, Enid L., Julianne Lee chair, endowed in perpetuity and Bruce A. Beal chair, Assistant Principal endowed in perpetuity Charlotte and Irving W. Robert Barnes Basses Rabb chair, endowed Elita Kang in perpetuity Michael Zaretsky Edwin Barker Principal Assistant Concertmaster Mark Ludwig* Edward and Bertha C. Rose Sheila Fiekowsky Harold D. Hodgkinson chair, endowed in perpetuity Shirley and J. Richard Rachel Fagerburg* chair, endowed in perpetuity Fennell chair, endowed Bo Youp Hwang in perpetuity Kazuko Matsusaka* Lawrence Wolfe Assistant Principal John and Dorothy Wilson Rebecca Gitter* chair, endowed in perpetuity Nicole Monahan Maria Nistazos Stata chair, David H. and Edith C. Daniel Getz* endowed in perpetuity Lucia Lin Howie chair, endowed Dorothy Q. and David B. in perpetuity Benjamin Levy Arnold, Jr., chair, endowed Cellos Leith Family chair, endowed in perpetuity Ronan Lefkowitz in perpetuity Vyacheslav Uritsky* Jules Eskin Dennis Roy Ikuko Mizuno Principal Ruth and Carl J. Shapiro Jennie Shames* Philip R. Allen chair, Joseph Hearne chair, endowed in perpetuity endowed in perpetuity Valeria Vilker James Orleans* Nancy Bracken* Kuchment* Martha Babcock Stephanie Morris Marryott Associate Principal Todd Seeber* and Franklin J. Marryott Tatiana Dimitriades* Vernon and Marion Alden Eleanor L. and Levin H. chair chair, endowed in perpetuity Campbell chair, endowed Si-Jing Huang* in perpetuity Aza Raykhtsaum* Victor Romanul* Sato Knudsen Catherine and Paul John Stovall* Bessie Pappas chair Mischa Nieland chair, Buttenwieser chair endowed in perpetuity Thomas Van Dyck* Wendy Putnam* Bonnie Bewick* Robert Bradford Newman Mihail Jojatu Mary B. Saltonstall chair, chair, endowed in perpetuity Sandra and David Bakalar endowed in perpetuity chair Xin Ding* James Cooke* Owen Young* Kristin and Roger Servison Glen Cherry* John F. Cogan, Jr., and chair Yuncong Zhang* Mary L. Cornille chair, Catherine French* endowed in perpetuity Donald C. and Ruth Brooks Heath chair, endowed in perpetuity 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 John Perkel Diana Osgood Tottenham/ Cynthia Meyers Hamilton Osgood chair, Evelyn and C. Charles endowed in perpetuity Bass Trombone Associate Marran chair, endowed Conductor in perpetuity James Markey Contrabassoon John Moors Cabot chair, Marcelo Lehninger endowed in perpetuity Anna E. Finnerty chair, Oboes Gregg Henegar endowed in perpetuity Helen Rand Thayer chair John Ferrillo Tuba Principal Assistant Mildred B. Remis chair, Horns Mike Roylance Conductor endowed in perpetuity Principal James Sommerville Margaret and William C. Ken-David Masur Mark McEwen Principal Rousseau chair, endowed James and Tina Collias Helen Sagoff Slosberg/ in perpetuity chair Edna S. Kalman chair, Personnel endowed in perpetuity Managers Keisuke Wakao Timpani Assistant Principal Richard Sebring Lynn G. Larsen Farla and Harvey Chet Associate Principal Timothy Genis Krentzman chair, endowed Margaret Andersen Sylvia Shippen Wells chair, Bruce M. Creditor in perpetuity Congleton chair, endowed endowed in perpetuity Assistant Personnel in perpetuity Manager English Horn Rachel Childers Percussion John P. II and Nancy S. Stage Manager Robert Sheena Eustis chair, endowed J. William Hudgins Beranek chair, endowed in perpetuity Peter and Anne Brooke John Demick in perpetuity chair, endowed in perpetuity Michael Winter Elizabeth B. Storer chair, Daniel Bauch Clarinets endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. Jason Snider Linde chair William R. Hudgins * participating in a system Principal Jonathan Menkis of rotated seating Ann S.M. Banks chair, Kyle Brightwell Jean-Noël and Mona N. endowed in perpetuity Peter Andrew Lurie chair, ° on leave Tariot chair endowed in perpetuity § substituting Michael Wayne Matthew McKay 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 Allegra Lilly §

Andris Nelsons

In the 2014-15 season, his first as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons led the Boston Symphony Orchestra in ten programs at Symphony Hall in Boston, repeating three of them at Carnegie Hall in New York this past April. Mr. Nelsons made his Boston Symphony debut at Carnegie Hall in March 2011, conducting Mahler’s Symphony No. 9; he made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert available on DVD and Blu-ray, and telecast nationwide on PBS). He is the fifteenth music director in the history of the Boston Symphony Orchestra. Maestro Nelsons’ September 2014 inaugural concert as BSO music director was recently televised by PBS in its “Great Performances” series. His first compact disc with the BSO (also available as a download)—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2, from concert performances at Symphony Hall in the fall of 2014—was released earlier this season on BSO Classics. Also this season, he and the BSO, in collaboration with Deutsche Grammophon, have initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to be drawn from live performances at Symphony Hall of Shostakovich’s symphonies 5 (photo by Marco Borggreve) through 10, the Passacaglia from his opera Lady Macbeth of Mtsensk, and selections from Shostakovich’s incidental music to Hamlet and King Lear, all composed during the period the composer labored under the life-threatening shadow of Soviet dictator Joseph Stalin. Also on the schedule for Maestro Nelsons and the orchestra are two upcoming European tours: an eight-city tour late this summer, following the BSO’s 2015 Tanglewood season, to major European capitals, including Berlin, Cologne, London, Milan, and Paris, as well as the Lucerne, Salzburg, and Grafenegg festivals; and, in May 2016, following the orchestra’s 2015-16 Symphony Hall season, a tour to eight cities in Germany, Austria, and Luxembourg. Previously, Andris Nelsons has been critically acclaimed as music director of the City of Birmingham Symphony Orchestra since assuming that post in 2008; he remained at the helm of that orchestra until this summer. Over the next few seasons he will con- tinue collaborations with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw Orchestra of Amster- dam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Sym- phony Orchestra, and the Philhar- monia Orchestra. He is a regular guest at the Royal Opera House, the Vienna State Opera, and New York’s Metropolitan Opera. In summer 2014 he returned to the Bayreuth Festival to conduct Lohengrin, a production by Hans Neuenfels that Mr. Nelsons premiered at Bayreuth in 2010. Born in Riga in 1978 into a family of musicians, Andris Nelsons began his Andris Nelsons conducting the BSO at Tanglewood, July 2012 (photo by Hilary Scott) career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” A Brief History of the Boston Symphony Orchestra

Now in its 134th 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 standard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately 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 TMC faculty members Aaron Copland and Leonard Bernstein by William Steinberg. Seiji seated with Serge Koussevitzky during a Berkshire Music Center Ozawa became the BSO’s class photo shoot in the 1940s (Ruth Orkin/BSO Archives) 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 assumed in September 2015, 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 17, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA Music of Barber and Shostakovich

Friday, July 17, 8:30pm 7 BOSTON SYMPHONY ORCHESTRA CHRISTIAN ZACHARIAS conducting; BAIBA SKRIDE, violin Music of Schumann and Mozart

Saturday, July 18, 8:30pm 19 BOSTON SYMPHONY ORCHESTRA CHRISTIAN ZACHARIAS, conductor and pianist; SARAH CONNOLLY, mezzo-soprano All-Mozart program

Sunday, July 19, 2:30pm 31 BOSTON SYMPHONY ORCHESTRA SIR NEVILLE MARRINER conducting; PAUL LEWIS, piano Music of Mozart and Schumann

“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 Tangle- wood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, July 17, are conductor Sir Neville Marriner and pianist Paul Lewis.

Saturday-Morning Open Rehearsal Speakers July 18; August 8, 15—Marc Mandel, BSO Director of Program Publications July 11, 25; August 1—Robert Kirzinger, BSO Assistant Director of Program Publications

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

This season’s program books for the Koussevitzky Music Shed are underwritten by a generous gift from Bob and Jane Mayer.

TANGLEWOODWEEK 3 TABLEOFCONTENTS 1 2015 Tanglewood

Prelude Concert Friday, July 17, 6pm Florence Gould Auditorium, Seiji Ozawa Hall

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA SHEILA FIEKOWSKY, violin (1st violin in Barber) GLEN CHERRY, violin (1st violin in Shostakovich) DANIEL GETZ, viola MICKEY KATZ, cello

BARBER String Quartet, Opus 11 Molto allegro e appassionato Molto adagio—Molto allegro

SHOSTAKOVICH String Quartet No. 4 in D, Opus 83 Allegretto Andantino Allegretto Allegretto

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 equipment during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. Please also note that taking pictures—whether photographs or videos—is prohibited during performances. We appreciate your cooperation.

NOTES ON THE PROGRAM

In the spring of 1935, the young Samuel Barber (1910-1981), having finished his studies at Curtis and already making his mark with works that had been broadcast on the radio and accepted for publication by the distinguished house of G. Schirmer, received the Prix de Rome of the American Academy in Rome, for a year of study in Europe. During his first winter abroad he composed his First Symphony. By the end of spring 1936 he was thinking of a string quartet, particularly for the Curtis Quartet, consisting of friends from his conservatory days, who, he hoped, would give a Euro- pean tour and play the premiere. In May he joined his lifelong companion, composer Gian Carlo Menotti, and the couple took a house in the highly picturesque environs

2 of St. Wolfgang, a little town about an hour from Salzburg, nestled between glorious mountains and a beautiful lake. There he began seriously to work on his quartet. But it was slow going. He was painfully conscious of the great tradition of string quartet writing that went all the way back to Haydn. He wrote his teacher Rosario Scalero, exclaiming at the difficulty of the string quartet medium. “It seems to me that because we have so assiduously forced our personalities on Music—on Music, who never asked for them!—we have lost elegance; and if we cannot recapture elegance, the quartet-form has escaped us forever.” But by September 19 he wrote to the cellist of the Curtis Quartet, “I have just finished the slow movement of my quartet today—it is a knock-out!” And that enthusiastic reaction is, if anything, an under- statement, when we realize that the slow movement of the quartet was to become world-famous in a string orchestra version as “Barber’s Adagio for Strings,” without question the most successful piece he ever wrote. In the end, he barely completed the finale in time for the first performance, in Rome on December 14, 1936, at the Villa Aurelia. Feeling that he had finished the work in too much haste, he reworked it for a performance at the Library of Congress on April 20, 1937; but then he decided to rewrite the finale altogether for the Curtis Quartet’s tour the following spring. Still later, before the work was published, in 1943, Barber wrote a new ending to the first movement and transferred the original ending to the very close of the piece, thus bringing back a reference to the opening at the very end. As it stands, then, the quartet is cast in two movements, of which the second breaks up into two strikingly different moods. The first movement is cast as a sonata form with elements of development all through its layout. The slow movement—the famous Adagio— grows in a serenely elegiac mood out of silence, climbs gradually to an emphatic climax, then slowly dies away again. At its close, the last section of the quartet is the original ending of the first movement, now rounding out the entire work. Dmitri Shostakovich (1906-1975) came to the string quartet only after having been hailed as a master of the symphony and of opera—and then attacked for the same works by a Stalinist regime that sought to use music and the other arts for political ends and found Shostakovich’s work insufficiently malleable for its purposes. Whereas political commissars paid close attention to the “slant” of large-scale works like symphonies and operas (particularly as to whether they were in major keys and therefore, presumably, “positive” in outlook), chamber music tended to be left alone, probably on the grounds that it was addressed to a far smaller audience and so didn’t matter as much. In any case, following harsh attacks on his Ninth Symphony (which was completed just after World War II) because it was not a glorification of the Russian victory in the recent war, Shostakovich declined to write another symphony until after the death of Stalin in 1953. But he turned increasingly to the intimate, private medium of the string quartet. Even so, he sometimes kept his chamber works private for years, too. Having composed the Fourth Quartet in 1949—the year following the violent denunciation of all advanced composers in the Soviet Union,

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 3 PRELUDEPROGRAMNOTES 3 including Shostakovich, Prokofiev, and Kabalevsky—Shostakovich found it prudent to leave the work unperformed for four years. It was finally heard in Moscow on December 3, 1953, almost nine months to the day after Stalin’s death. As was the case with every one of his quartets but the First, the work was premiered by the Beethoven Quartet. The quartet opens with a drone on D in the viola and cello, over which the two violins play an expressive duet. Much of the first movement takes place against a sustained drone in one or another part. The second movement builds its far-flung melody in the violin over a gently pulsing accompaniment pattern in the middle voices; eventually the cello contends with the first violin for melodic supremacy. The effect of the skittery Allegretto is made spookier by the use of mutes until the very last bars. A short passage for the viola, with punctuation in the other parts, provides a link with the finale. The first theme, a modal tune, is one of those “Jewish” themes so frequently encountered in Shostakovich’s works of this period (though it is entirely of his own invention, and not borrowed from some outside source). The expressive poignancy and the ability to express happiness and sorrow in a compact form seem to have attracted the composer’s interest in themes of this type; its presence here may be a partial explanation for his unwillingness to release the work during Stalin’s last years, which were filled with anti-Semitic sentiments issuing from the high reaches of the government. Although this material is developed to an almost orchestral climax, triple-forte with multiple-stopping of the instruments, it finally closes quietly over a series of sustained drones, the last dying away as a harmonic in the cello.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

Artists

A member of the Boston Symphony Orchestra since 1975, Sheila Fiekowsky was born in Detroit and began studying the violin at age nine when she was offered a violin through a public school program. Her musical studies quickly progressed when her teacher, a bass player, insisted she begin lessons with Emily Mutter Austin, a violinist with the Detroit Symphony Orchestra. Her summers were spent at the Meadowmount School of Music, where she studied violin with Ivan Galamian and chamber music with Joseph Gingold. She appeared as a soloist with the Detroit Symphony at sixteen and that same year won the National Federation of Music Clubs Biennial Award. Ms. Fiekowsky attended the Curtis Institute of Music, where she studied with Ivan Galamian and Jaime Laredo. In chamber music classes, she worked with Felix Galimir and members of the Guarneri Quartet. She holds a master’s degree from Yale University, where her teacher was Joseph Silverstein. Her chamber music experience includes performances at the Marlboro, Norfolk, and Aspen music festivals. A regular performer in chamber music concerts at Symphony Hall and Tanglewood, she has been heard in numerous chamber music and solo concerts in the Boston area. Her solo appearances include concerts with the Newton Symphony, North Shore Symphony, Mystic Valley Orchestra, and Boston Pops Orchestra. Ms. Fiekowsky plays a Hieronymus Amati violin made circa 1670 in Cremona, Italy, and currently occupies the Shirley and J. Richard Fennell Chair in the BSO’s second violin section.

4 Violinist Glen Cherry grew up in a musical family in South Dakota. He attended the Interlochen Arts Academy and went on to study with James Buswell at the New England Conservatory of Music. In addition to attending several summer music festivals, he was a Tanglewood Music Center Fellow for three summers. Mr. Cherry performed with the National Symphony Orchestra for three years before moving to Boston. Prior to that, he served as associate concertmaster of the Fort Wayne Phil- harmonic and was a member of the New World Symphony in Miami Beach. His recent chamber music activities have included performing on the First Monday concert series at Jordan Hall and performing and recording with the Boston Symphony Chamber Players. He joined the Boston Symphony Orchestra in January 2006. Daniel Getz joined the Boston Symphony Orchestra viola section at the start of the 2013-14 subscription season. Raised in Bethesda, Maryland, Mr. Getz began studying violin at age eight and switched to the viola at sixteen. In 2011 he received his bach- elor of music degree from the New England Conservatory, where he was a student of Kim Kashkashian and a recipient of the Presidential Scholarship. He earned his master of music degree at the Juilliard School in 2013 as a student of Heidi Castle- man and Robert Vernon. Daniel Getz was a prizewinner in the 2011 Primrose Com- petition, a finalist in the National Symphony Young Soloists Competition, and a recipient of the Steven Brewster Scholarship from the Youth Fellowship program of the National Symphony Orchestra. He has performed the Walton and Stamitz viola concertos as a soloist with the National Philharmonic and the Landon Symphonette, and frequently served as principal viola of the Juilliard Orchestra. Prior to joining the BSO, Mr. Getz performed as a substitute with the orchestra as well as with the New York Philharmonic. His festival appearances have included the Tanglewood Music Center, Aspen Music Festival, Kneisel Hall, and the Perlman Music Program. A native of Israel, Mickey Katz joined the Boston Symphony Orchestra in September 2004 and currently occupies the Stephen and Dorothy Weber Chair in the BSO’s cello section; before joining the BSO he was principal cellist of Boston Lyric Opera. Mr. Katz has distinguished himself as a solo performer, chamber musician, and contemporary music specialist. His numerous honors include the Presser Music Award in Boston, the Karl Zeise Prize from the BSO at Tanglewood, first prizes in the Hudson Valley Philharmonic Competition and the Rubin Academy Competition in Tel Aviv, and scholarships from the America Israel Cultural Foundation. A passionate performer of new music, he premiered and recorded Menachem Wiesenberg’s Cello Concerto with the Israel Defense Force Orchestra and has worked with composers Elliott Carter, György Kurtág, John Corigliano, Leon Kirchner, and Augusta Read Thomas in performing their music. A Tanglewood Music Center Fellow in 2001, he was invited back to Tanglewood in 2002 as a member of the New Fromm Players, an alumni ensemble-in-residence that works on challenging new pieces and collaborates with young composers. An active chamber musician, he has performed in important venues in the United States, Europe, and Israel, and has participated in the Marlboro Festival and Musicians From Marlboro tour, collaborating with such distinguished players as Pinchas Zukerman, Tabea Zimmermann, Kim Kashkashian, and Gilbert Kalish. A graduate of the New England Conservatory of Music, he completed his mandatory military service in Israel as a part of the “Distinguished Musician Program,” playing in the Israel Defense Force String Quartet, performing throughout Israel in classical concerts and in many outreach and educational concerts for soldiers and other audiences.

TANGLEWOODWEEK 3 PRELUDEPROGRAMNOTES 5

2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Friday, July 17, 8:30pm THE JOSEPH C. MCNAY/NEW ENGLAND FOUNDATION CONCERT “UnderScore Friday” concert, including introductory comments from the stage by BSO bass player Benjamin Levy.

CHRISTIAN ZACHARIAS conducting

SCHUMANN Overture from music for Byron’s “Manfred,” Opus 115

MOZART Violin Concerto No. 5 in A, K.219 Allegro aperto Adagio Tempo di menuetto—Allegro—Tempo di menuetto BAIBA SKRIDE

MOZART Rondo in C for violin and orchestra, K.373

Ms. SKRIDE

{Intermission}

SCHUMANN Symphony No. 2 in C, Opus 61 Sostenuto assai—Allegro ma non troppo Scherzo: Allegro vivace; Trio I; Trio II Andante espressivo Allegro molto vivace

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 equipment during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. Please also note that taking pictures—whether photographs or videos—is prohibited during performances. We appreciate your cooperation.

TANGLEWOODWEEK 3 FRIDAYPROGRAM 7 NOTES ON THE PROGRAM

Robert Schumann (1810-1856) Overture from music for Byron’s “Manfred,” Opus 115 First performance of the overture: March 14, 1852, Leipzig Gewandhaus, Schumann cond. First BSO performance of the overture: February 1882, Georg Henschel cond. First Tanglewood performance: July 31, 1949, Leonard Bernstein cond. Most recent Tanglewood performance: July 20, 2008, Shi-Yeon Sung cond. Joseph von Wasielewski, Schumann’s concertmaster in Düsseldorf and his ﬁrst biographer, recalled an occasion of the composer’s reading aloud from Byron’s Manfred when “his voice suddenly failed him, tears started from his eyes, and he was so overcome that he could read no further.” Byron fascinated Schumann, who had set one of his poems to music in the 1840 song cycle called Myrthen, turned to his Hebrew Melodies in 1849 in the immediate aftermath of the Manfred project, and long considered Corsair and Sardanapalus as possible opera librettos. Manfred, written 1816-17 when the poet was twenty-eight, is a dramatic poem that owes much to Goethe’s Faust, still work-in-progress at that time, but which Byron had encountered in oral recitation. A noble orgy of guilt and remorse, it reﬂects Byron’s feelings about his own incestuous summer liaison in 1813 with his half-sister, Augusta Leigh. (The causes of Manfred’s guilt are unnamed.) Had Schumann guessed at such a connection, he would have been too scandalized to touch the poem; as it was, and at a time when he had been plunged into despondency by Mendelssohn’s sudden death in November 1847, he was profoundly ready to respond to Byron’s work with its sense of overwhelming sor-

8 row and its highly colored Romantic language. He noted that never before had he devoted himself “with such love and outlay of force to any composition as to that of Manfred.” Schumann’s music for Byron’s poem is some of the composer’s most imaginative and intensely felt work, and the overture is a fair sample of the quality, though perforce not of the range of the Manfred score (which includes the overture and ﬁfteen numbers, six of them musically complete, the rest serving as musical accompaniment to spoken text). It is a commonplace that Schumann was not good at writing for orchestra—indeed the 1851 revision of the Fourth Symphony comes dangerously close to making the point—but the Manfred Overture is a superlatively accomplished piece of scoring, one, moreover, with a characteristic sound of its own. Three thun- derclap chords compel our attention to a dark and winding introduction. Gradually this becomes an impassioned quick movement, which in turn will fall back to the tempo and mood of the opening.

MICHAEL STEINBERG

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

Wolfgang Amadè Mozart (1756-1791) Violin Concerto No. 5 in A, K.219 First performance: not known; composed 1775. First BSO performance: December 31, 1907, in Providence, Rhode Island, Karl Muck cond., Carl Wendling, soloist. First Tanglewood performance: July 17, 1949, Serge Koussevitzky cond., Dorotha Powers, soloist. Most recent Tanglewood performance: August 17, 2013, Bernard Haitink cond., Isabelle Faust, soloist. Baiba Skride plays cadenzas by Joseph Joachim at this performance. In 1775, the main fact of Mozart’s professional life was that he was obliged to provide music for a perfectly disagreeable patron, Archbishop Colloredo of Salzburg. The relation eventually came to a violent end—literally, with the Archbishop’s chamberlain kicking the composer down the staircase of the archiepiscopal palace— but meanwhile, one of Mozart’s more delightful tasks must have been the composition of a series of concertos for the gifted Salzburg concertmaster, Antonio Brunetti. The A major concerto, K.219, is the last of these. A major is always a special key for Mozart. It is the farthest he moves out toward the sharp side—there are individual movements in E, but no large-scale works, and there is none in B, F-sharp, or beyond—and the music for which he chooses it almost always partakes of a special and softly moonlit luminosity. Mozart marks the first movement “Allegro aperto,” a designation used appar- ently only by him and only in three other places, one being the first movement of his D major concerto for flute, K.314(285d). As a non-standard term, it appears in no reference works or tutors of the time, and one must try to infer from the music itself what Mozart meant by an “open” Allegro—something, one would imagine, not too fast, with a sense of space between the notes, and also with a certain Beechamesque swagger. At the beginning, Brunetti would have played along with the orchestral violins; the audience would have waited for him to detach himself and take off in solo flight. The first solo entrance in a concerto was always, for Mozart, apt to be an occasion for special wit and ingenuity. Here in fact Mozart

TANGLEWOODWEEK 3 FRIDAYPROGRAMNOTES 9 10 gives us a double surprise, first the Adagio entrance with those murmuring strings and delicately accented woodwind chords that look ahead to the “Soave sia il vento” trio in Così fan tutte, then the resumption of the quick tempo with a brand-new idea. As a kind of counterweight to these delightful contrasts, Mozart makes sure that there is also some cousinship among the themes. The second movement is a real Adagio, rather rare in Mozart, and its soft wave- patterns recall the brief and poetic Adagio surprise in the first movement. The finale is an ever so slightly flirtatious minuet, but its courtly gestures are interrupted by piquant country dance music, contrasting in both mode and meter, from some- where more than a few miles east of Salzburg or even Vienna.

MICHAEL STEINBERG

Wolfgang Amadè Mozart Rondo in C for violin and orchestra, K.373 First performance: April 8, 1781, at the Vienna residence of Prince Rudolf Joseph Colloredo, father of Mozart’s employer, the Archbishop Hieronymus Colloredo, Antonio Brunetti, soloist (see below). Only previous Tanglewood performance by the BSO (which was also the orchestra’s first of the piece): July 15, 2005, David Robertson cond., Christian Tetzlaff, soloist. Mozart the performer means most of all Mozart the pianist, very likely the greatest pianist of his time. But he was no mean violinist either. On October 4, 1777, for example, he took part in a private concert in Munich, playing not only a couple of piano concertos but also the demanding violin solo part in the B-flat divertimento, K.287(271h), and playing, as he wrote to his father, “as though I were the greatest violinist in all of Europe. They all opened their eyes.” Bragging? Yes, of course. Exaggerating? Almost surely not. Mozart had a sober sense of his gifts and accomplishments. He was, moreover, writing to the most knowledgable and exigent connoisseur of string-playing alive— Leopold Mozart, himself a first-rate violinist, a prolific and able composer, and an outstanding musician all around. Like J. J. Quantz’s treatise on flute-playing (1752) and C.P.E. Bach’s on keyboard performance (1753-62), Leopold’s Essay on the Fundamental Principles of Violin-Playing, which made its appearance the same year as baby Wolfgang, goes far beyond the immediate promise of its title to touch on many points of aesthetics and technique from a broad perspective. Its publication affirmed Leopold Mozart’s standing as one of Europe’s premier musical minds, and like the books of Quantz and Bach it is one of our most important keys to 18th-century music-making. Leopold was not extravagant when it came to praising his son, and he wrote not merely as a proud, let alone indulgent, papa when he told Wolfgang “You yourself do not know how well you play the violin...when you play with energy and with your whole heart and soul, yes indeed, just as though you were the first violinist in all of Europe.” He also suggested, in connection with a proposed tour, that Wolfgang would do well to introduce himself in a violin concerto. Playing the violin was Mozart’s meal ticket during the galley years of working for Count Hieronymus Colloredo of Salzburg, something of a violinist himself but, from Mozart’s perspective, a patron of unsurpassed boorishness. In justice one should point out that Mozart, with his constant requests for extended leaves of absence, was not an easy employee. This unhappy relationship came to a violent end, literally,

TANGLEWOODWEEK 3 FRIDAYPROGRAMNOTES 11 on June 8, 1781, with Colloredo’s chief steward kicking Mozart down the stairs of Colloredo’s Vienna palais. One of the ways Mozart celebrated his liberation from Colloredo was to give up the violin. When he played chamber music with friends he took the viola part, and the inventory of his possessions at his death shows that he no longer even owned a violin. However probable, we cannot be absolutely sure that Mozart wrote any or all of his five violin concertos for himself. A name that often comes up in connection with these works is that of Colloredo’s Neapolitan concertmaster, Antonio Brunetti. Almost certainly, Brunetti played these pieces later, but since he only joined the Salzburg establishment in March 1776, he cannot have been their original recipient. We know, however, that Mozart did write some pieces for him, including a substitute Adagio in E major (K.261) for his last violin concerto, the A major, K.291, when Brunetti found that concerto’s slow movement “too studied,” and the equally attractive C major Rondo, K.373, a bright-eyed charmer. The autograph of the Rondo is dated April 2, 1781, and the Vienna concert at which Brunetti introduced it six days later also included another new work by Mozart for violin, the G major sonata, K.379(373a), with the composer at the keyboard. (Mozart’s third new piece on that program was the concert aria “A questo seno... Or che il cielo,” K.374, intended originally for male soprano.)

MICHAEL STEINBERG

12 Robert Schumann Symphony No. 2 in C, Opus 61 First performance: November 5, 1846, Leipzig Gewandhaus, Felix Mendelssohn cond. First BSO performance: December 1881, Georg Henschel cond. First Tanglewood performance: August 7, 1947, Leonard Bernstein cond. Most recent Tanglewood performance by the BSO: August 6, 2004, Christoph von Dohnányi cond. Schumann suffered a physical breakdown attributed to overwork in 1842 and a much more serious one in August 1844. The second time his condition was ominous: constant trembling, various phobias (especially the fear of heights and of sharp metallic objects), and, worst of all, tinnitus, a constant noise or ringing in the ears, which made almost any musical exercise—playing or composing—impossible. It was not the first time Schumann had been prey to depression so severe that he was unable to work (he had already suffered bouts of “melancholy” in 1828, October 1830, much of 1831, autumn 1833, September 1837, and at various times in 1838 and 1839), but this time the depression was accompanied unmistakably by serious medical indications. It was also doubly unwel- come because of the several extraordinarily good years, filled with prolific composition, that he had enjoyed following his marriage to Clara Wieck in 1840; he may even have thought that conjugal felicity had cured his emotional problems. But 1844 was the worst year yet; this time, even with his beloved Clara always at hand to help, he could not overcome his depression. Writing music was out of the question; it took weeks even to write a letter. His recuperation took over a year, during which he composed virtually nothing. Then in 1845 he directed his energies toward a thorough study of Bach and composed some fugal essays. But the first completely new large composition after his breakdown was the Symphony in C, published as Opus 61 and labeled second in the series. Much of Schumann’s music is intensely personal in ways more specific than simply reflecting the composer’s emotional state. Listening to many of his pieces is like reading a private letter or an intimate diary. He delighted in ciphers and codes, often (in his earlier years) encoding the name or home town of a sweetheart into his music. After he met Clara, the secret messages were directed to her. But with the exception of one passage in the last movement, the Second Symphony is remarkably “classical” in conception, devoid of any apparent literary program or inspiration. If anything, it is inspired by a purely musical source, the heroic symphonies of Beetho- ven, in which a subdued mood at the opening resolves through heroic struggle to triumph at the end. More than any of his other symphonies, the Second reveals a progression of mental states reflecting the composer’s own life. Three years after its composition he wrote to D.G. Otten, the music director in Hamburg, who had inquired about the work, to say: I wrote my symphony in December 1845, and I sometimes fear my semi-invalid state can be divined from the music. I began to feel more myself when I wrote the last movement, and was certainly much better when I finished the whole work. All the same it reminds me of dark days. The opening slow section does suggest “dark days” despite the presence of the brass fanfare in C major. Schumann purposely undercuts the brilliant effect of that opening motto with a chromatic, long-breathed phrase in the strings that contradicts one’s normal expectations of either joy or heroism. And in the Allegro, the sharply dotted principal theme affects a heroic air, but the chromatic secondary theme denies any feeling of conquest. The development provides an elaborate treatment

TANGLEWOODWEEK 3 FRIDAYPROGRAMNOTES 13 of all the motivic material presented thus far and ends with an almost Beethovenian power in the return to the recapitulation. Perhaps it was the high emotional level of the first movement that caused Schumann to put the scherzo second, thus allowing a further release of energy before settling down to the lavish lyricism of the Adagio. The scherzo is officially in C major, like the opening movement, but the very opening, on a diminished-seventh chord (which is brought back again and again), belies once more the qualities we normally expect of C major; this scherzo is no joke. The basic ground plan is one of Schumann’s own invention, elaborated from Beethoven’s Fourth and Seventh symphonies, in which the main scherzo section comes round and round again in double alternation with the Trio. Schumann’s innovation is to employ two Trios; the second of these has a brief fugato with the theme presented both upright and upside down—a reminder of Schumann’s Bach studies earlier in 1845. The motto fanfare of the first movement recurs in the closing bars to recall the continuing and still abortive heroic search. The Adagio, though delayed from its normal position as the second movement, is well worth waiting for. Here the passion of the musical ideas, the delicacy of the scoring, and Schumann’s masterful control of tension and release create a high- voltage sense of yearning. The songlike theme is of an emotional richness not found elsewhere in the symphony, a soaring-upward of large intervals (sixth, octave) returning in a pair of sequential descending sevenths that suggest Elgar before the fact. The last movement has always been the most controversial. Tovey called it incoherent, and partisans have both attacked and defended it. Schumann himself insisted that he felt much better while writing it and that his improved condition was reflected in the quality of the music. The movement certainly projects an affirmative character; the second theme, derived from the emotional melody of the third movement, briefly attempts to recall the past, but it is overwhelmed by the onrush of energy. The most unusual formal aspect of the movement is the fusion of development and recapitulation, ending in the minor key. An extended coda is therefore necessary to motivate a confident ending—and in this case the coda is almost half the length of the movement! Now, for the first time in this symphony, we may be intruding on one of Schumann’s private messages: we hear an elaborate coda-development of a totally new theme, one used earlier by Schumann in his piano Fantasie, Opus 17; it had been borrowed, in its turn, from Beethoven’s song cycle An die ferne Geliebte (“To the distant beloved”), where it was a setting of the words “Nimm sie hin denn diese Lieder” (“Take, then, these songs of mine”). In the Fantasie, Schumann was unmistakably offering his music to Clara; here, too, it seems, he is offering the music to her, though now the void that separates him from his “distant beloved” is no longer physical but psychological. The very ending brings back the fanfare motto from the first movement in an asser- tion of victory, but this victory, unlike Beethoven’s in the Fifth Symphony, is a triumph of will power, almost of self-hypnosis. Schumann could not foresee, when he finished Opus 61, that the truly “dark days” still lay ahead.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

14 Guest Artists Christian Zacharias One of the world’s most celebrated pianists, Christian Zacharias is also a conductor, musical thinker, writer, and broadcaster. Mr. Zacharias maintains an active career as an internationally acclaimed concert pianist, with recital and concerto performances around the world. He performs with the world’s leading conductors and conducts the most renowned orchestras; many of his recordings have earned international prizes. His conducting career reflects his desire to build long-lasting collaborations with like-minded musical partners. During his tenure as artistic director and principal conductor of the Orchestre de Chambre de Lausanne, he made many critically acclaimed recordings with that ensemble, including the complete Mozart piano concertos, which won the Diapason d’Or, Choc du Monde de la Musique, and the Echo Classic. Their most recent recordings fea- ture the four Schumann symphonies and C.P.E. Bach’s “Berlin symphonies.” Mr. Zacharias has been an artistic partner of the St. Paul Chamber Orchestra since the 2009-10 season and maintains close ties with the Gothenburg Symphony Orchestra, where he served as principal guest conductor for many years. He enjoys long-term relationships with such orchestras as the Los Angeles Philharmonic, the Hallé Orchestra Manchester, the Het Residentie Orkest Den Haag, the Orchestre National de Lyon, the Symphonieorchester des Bayerischen Rundfunks, and the Bamberger Symphoniker. Most recently he has embarked on an operatic career, conducting productions of Mozart’s La clemenza di Tito and Le nozze di Figaro and Offenbach’s La Belle Hélène. In 2015 he leads Nicolai’s The Merry Wives of Windsor at the Opéra Royal de Wallonie in Liège. Since 1990, he has appeared in the films “Domenico Scarlatti in Sevilla,” “Robert Schumann—der Dichter spricht” (INA, Paris), and “Zwischen Bühne und Künstlerzimmer” (WDR-Arte). Mr. Zacharias is the recipient of numerous awards and prizes, including the 2007 Midem Classical Award “Artist of the Year.” Honored in 2009 for his contributions to culture in Romania, he has more recently been awarded the honorary title of Officier dans l’Ordre des Arts et des Lettres by the French government. In the 2014-15 concert season Christian Zacharias appears as conductor and pianist with the Boston Symphony and San Francisco Symphony, and leads the Orchestre de Paris; tours with the Stuttgarter Philharmoniker and the Kammerorchester Basel; travels to Moscow for several concerts and recitals, and joins the Leipziger

TANGLEWOODWEEK 3 GUESTARTISTS 15

Streichquartett for various chamber music recitals. Since 2011 he has been professor of orchestral performance at the Academy of Music and Drama in Gothenburg. Christian Zacharias made his Boston Symphony Orchestra debut as a concerto soloist in Novem- ber 1979 and his Tanglewood debut in July 1994. More recently he has appeared a number of times in the dual role of conductor-pianist with the BSO, in November 2010, November 2012, at Tanglewood in August 2013, and subscription concerts in October 2014, his most recent engagement with the orchestra.

Baiba Skride Baiba Skride has appeared with such orchestras as the Berlin Philharmonic, Boston Symphony Orchestra, Bayerischen Rundfunk Orchestra, Orchestre de Paris, London Philharmonic, Royal Stockholm Philharmonic, Sydney Symphony, and NHK Symphony. She collaborates regularly with conductors including Christoph Eschenbach, Paavo Järvi, Neeme Järvi, Andris Nelsons, Yannick Nézet-Séguin, John Storgårds, and Mario Venzago. Following her acclaimed debut at the BBC Proms performing Szymanowski’s Violin Concerto No. 1 with the Oslo Philhar- monic and Vasily Petrenko, she was immediately re-invited, and at the 2014 Proms performed Stravinsky’s Violin Concerto with the BBC Symphony Orches- tra under Edward Gardner. Highlights of her 2014-15 season include appearances with the Leipzig Gewandhaus and Boston Symphony orchestras under Andris Nelsons, the Orchestre Philharmonique de Radio France and Vasily Petrenko, the Orchestre de la Suisse Romande under Kazuki Yamada, and the Orchestre National de Lyon with Leonard Slatkin, including a concert at Vienna’s Konzerthaus. On tour, Ms. Skride appears with the City of Birmingham Symphony Orchestra in such cities as Madrid, Vienna, Zagreb, Toulouse, and Stuttgart. In the United States, for her return to the Boston Symphony Orchestra, she performs Gubaidulina’s Offertorium on the violin used for the work’s premiere. She also returns to the St. Paul Chamber Orchestra under John Storgårds and to the Utah Symphony with Thierry Fischer. Further afield, she appears with the National Symphony Orchestra Taiwan and makes her debut with the Shanghai Symphony. Chamber music highlights include performances at the Schubertiade Schwarzenberg with Sol Gabetta and Bertrand Chamayou and duo-recitals with her sister, pianist Lauma Skride, at the Amsterdam Concertgebouw, and in Maastricht and Eindhoven. The summer brings tours with Alban Gerhardt and Brett Dean in a quintet, including performances at London’s Wigmore Hall, Bad Kissingen, and Festspiele Mecklenburg-Vorpommen. Her just-released fourth disc for Orfeo features the Szymanowski concertos with the Oslo Philharmonic and Petrenko, as well as Szymanowski’s Mythes with pianist Lauma Skride. Previous recordings include a Schumann disc with the Danish National Symphony and Storgårds, the Stravinsky and Martin concertos with the BBC National Orchestra of Wales under Thierry Fischer, a Brahms CD set with the Stockholm Philharmonic and Sakari Oramo, a Tchaikovsky CD with the City of Birmingham Symphony Orchestra and Nelsons, and a duo disc of Schubert, Beethoven, and Ravel with her sister. Baiba Skride was born into a musical Latvian family in Riga, where she began her studies, transferring in 1995 to the Con- servatory of Music and Theatre in Rostock. In 2001 she won first prize in the Queen Elisabeth Competition. Since November 2010 she has played the Stradivarius “Ex Baron Feilitzsch” violin (1734), which is generously on loan to her from Gidon Kremer. Ms. Skride has appeared on two previous occasions with the BSO—in January/February 2013 and November 2014, both times with Andris Nelsons conducting—and makes her first Tanglewood appearance with the orchestra this evening. Last night she appeared in an Ozawa Hall recital with Christian Zacharias and BSO assistant principal violist Cathy Basrak, performing music of Mozart and Schumann.

TANGLEWOODWEEK 3 GUESTARTISTS 17 The Jenkins Family Concert Saturday, July 18, 2015 The performance on Saturday evening is supported by a generous gift from BSO Life Trustee Charles H. Jenkins, Jr., and his wife, Dorothy Jenkins. Great Benefactors Charlie and Dorothy are longtime supporters of the Boston Symphony Orchestra. They became interested in the BSO while they were both students in the Boston area. Charlie was studying for his D.B.A. at Harvard Business School, and Dorothy was at Wellesley College. They attended the free open rehearsals at Symphony Hall on Thursday nights. Charlie and Dorothy have summered in the Berkshires for many years, and have been attending performances at Tanglewood since the early 1970s. Their love of classical music and Tanglewood led them to generously support the campaign to build Seiji Ozawa Hall and, more recently, the Tanglewood Forever Fund. Charlie and Dorothy have supported the Tanglewood Annual Fund for many years, and they are Koussevitzky Society members at the Founders level. In addition, they have supported Opening Nights at Tanglewood, the Tanglewood Music Center Opera Training Program, and the Dorothy and Charlie Jenkins Fellowship, which provides support for an annual full fellowship at the Tanglewood Music Center. Charlie and Dorothy have served on several Opening Night at Tanglewood gala committees, and they served as co-chairs of the gala in 2006. Charlie was elected to the BSO Board of Overseers in 1998 and the Board of Trustees in 2008. He was elevated to Life Trustee in 2013. Charlie is the Chairman of the Board of Publix Super Markets Inc., the largest employee-owned retailer in the United States. He also serves as a trustee emeritus of Emory University. Dorothy is a director of Westlake Chemical Corporation. She also serves as a trustee of Wellesley College and the John and Mable Ringling Museum of Art Foundation. Charlie and Dorothy have two children, Jennifer and Charles Anthony. William Mercer

18 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Saturday, July 18, 8:30pm THE JENKINS FAMILY CONCERT

CHRISTIAN ZACHARIAS, conductor and pianist

ALL-MOZART PROGRAM

Piano Concerto No. 25 in C, K.503 Allegro maestoso Andante [Allegretto] CHRISTIAN ZACHARIAS

Scena, “Ch’io mi scordi di te,” with Rondo, “Non temer, amato bene,” for soprano and orchestra with piano obbligato, K.505 SARAH CONNOLLY, mezzo-soprano Mr. ZACHARIAS, piano Text and translation are on page 23.

Aria, “Deh per questo istante solo” (Sesto) from Act II of “La clemenza di Tito,” K.621 Ms. CONNOLLY Text and translation are on page 25.

{Intermission}

Symphony No. 38 in D, K.504, “Prague” Adagio—Allegro Andante Finale: Presto

TANGLEWOODWEEK 3 SATURDAYPROGRAM 19 NOTES ON THE PROGRAM

Wolfgang Amadè Mozart (1756-1791) Piano Concerto No. 25 in C, K.503 First performance: Presumably in Vienna, with Mozart as soloist, soon after the work’s completion on December 4, 1786. First BSO performance: March 1883, Georg Henschel cond., Carl Baermann, soloist. First Tanglewood performance: July 13, 1962, Charles Munch cond., Claude Frank, soloist (the BSO’s first performance of K.503 after the March 1883 performances with Henschel and Baermann!). Most recent Tanglewood performance: July 29, 2011, Hans Graf cond., Orion Weiss, soloist. Christian Zacharias plays his own first-movement cadenza in this performance. In just under three years, Mozart wrote twelve piano concertos. It is the genre that absolutely dominates his work schedule in 1784, 1785, and 1786, and what he poured out—almost all of it for his own use at his own concerts—is a series of masterpieces that delight the mind, charm and seduce the ear, and pierce the heart. They are the ideal realization of what might be done with the piano concerto. Beethoven a couple of times reaches to where Mozart is, and perhaps Brahms, too, but still, in this realm Mozart scarcely knows peers. K.503 is the end of that run. It comes at the end of an amazing year, amazing even for Mozart, that had begun with work on The Impresario and Figaro, and whose achieve- ments include the A major piano concerto, K.488, and the C minor, K.491; the E-flat piano quartet; the last of his horn concertos; the trios in G and B-flat for piano, violin, and cello, as well as the one in E-flat with viola and clarinet; and the sonata in F for piano duet, K.497. Together with the present concerto he worked on the Prague Symphony (which closes tonight’s program), finishing it two days later, and before the year was out he wrote one of the most personal and in every way special of his masterpieces, the concert aria for soprano with piano obbligato and orchestra, “Ch’io mi scordi di te,” K.505 (performed next on this program). Such a list does not reflect how Mozart’s life had begun to change. On March 3, 1784, for example, he could report to his father that he had twenty-two concerts in thirty-eight days: “I don’t think that this way I can possibly get out of practice.” A few weeks later, he wrote that for his own series of concerts he had a bigger subscription list than two other performers put together, and that for his most recent appearance the hall had been “full to overflowing.” In 1786, the fiscal catastrophes of 1788, the year of the last three symphonies, were probably unforeseeable, and one surpassing triumph still lay ahead of him, the delirious reception by the Prague public of Don Giovanni in 1787. Figaro was popular in Vienna, but not more than other operas by lesser men, and certainly not enough to buoy up his fortunes for long. Perhaps it is even indicative that we know nothing about the first performance of K.503. Mozart had planned some concerts for December 1786, and they were presumably the occasion for writing this concerto, but we have no evidence that these appearances actually came off. What has changed, too, is Mozart’s approach to the concerto. It seems less operatic than before, and more symphonic. The immediately preceding one, the C minor, K.491, completed March 24, 1786, foreshadows this, but even so, K.503 impresses as a move into something new. Its very manner is all its own. For years, and until not so long ago, it was one of the least played of the series; it was as though pianists were reluctant to risk disconcerting their audiences by offering them Olympian grandeur and an unprecedented compositional richness where the expectation was chiefly of charm, operatic lyricism, and humor.

20 This is one of Mozart’s big trumpets-and-drums concertos, and the first massive gestures make its full and grand sonority known. But even so formal an exordium becomes a personal statement in Mozart’s hands—“cliché becomes event,” as Adorno says about Mahler—and across the seventh measure there falls for just a moment the shadow of the minor mode. And when the formal proclamations are finished, the music does indeed take off in C minor. Such harmonic—and expressive—ambiguities inform the whole movement. Mozart always likes those shadows, but new here are the unmodulated transitions from major to minor and back, the hardness of his chiaroscuro. The first solo entrance is one of Mozart’s most subtle and gently winsome. The greatest marvel of all is the development, which is brief but dense, with a breathtaking harmonic range and an incredible intricacy of canonic writing. The piano has a delightful function during these pages, proposing ideas and new directions, but then settling back and turning into an accompanist who listens to the woodwinds execute what he has imagined. (And how keenly one senses Mozart’s own presence at the keyboard here!) The Andante is subdued, formal and a little mysterious at the same time, like a knot garden by moonlight, and remarkable too for the great span from its slowest notes to its fastest. For the finale, Mozart goes back to adapt a gavotte from his then five- year-old opera Idomeneo. In its courtly and witty measures, there is nothing to prepare us for the epiphany of the episode in which the piano, accompanied by cellos and basses alone (a sound that occurs nowhere else in Mozart), begins a smiling and melancholy song that is continued by the oboe, the flute, the bassoon, and in which the cellos cannot resist joining. Lovely in itself, the melody grows into a music whose richness of texture and whose poignancy and passion astonish us even in the context of the mature Mozart. From that joy and pain Mozart redeems us by leading us back to his gavotte and from there into an exuberantly inventive, brilliant ending.

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.

TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 21 Wolfgang Amadè Mozart Scena, “Ch’io mi scordi di te,” with Rondo, “Non temer, amato bene,” for soprano and orchestra with piano obbligato, K.505 First performance: February 23, 1787, Vienna, Nancy Storace, soprano. W.A. Mozart, piano (Mozart having entered the piece into his personal catalogue on December 27, 1786). First BSO (and first Tanglewood) performance: July 11, 1964, Erich Leinsdorf cond., Helen Boatwright, soprano, Malcolm Frager, piano. Most recent Tanglewood performance: July 26, 2013, Edo de Waart cond., Christine Schäfer, soprano, Garrick Ohlsson, piano. “Für Mselle Storace und mich” says Mozart’s own catalogue entry. Mselle Storace, baptized Anna Selina and called Nancy, was an Italian-English soprano nine years younger than Mozart. Her father, born in Torre Annunziata near Naples, was a bass player who spent most of his working life in Dublin and London, where he was a good friend of the playwright Richard Brinsley Sheridan. Nancy studied with the castrato Venanzio Rauzzini, for whom the barely seventeen-year-old Mozart had written his motet Exsultate, jubi- late with its famous Alleluia. In her teens, she sang leading roles in Florence, Parma, and Milan, and from 1783 to 1787 she was prima donna in Vienna. There she was briefly and disastrously married to The soprano Nancy Storace, John Abraham Fisher, an English composer much her senior, who, for whom Mozart wrote according to the entertaining memoirs of Michael Kelley, the Irish “Ch’io mi scordi di te” tenor who was the first Don Basilio and Don Curzio in Figaro, achieved his courtship “by dint of perseverance... and drinking tea with her mother.” Emperor Joseph II, who may have had designs of his own on Nancy, saw to it that Fisher was run out of town. Nancy, too, was in the original Figaro cast, as Susanna. By all accounts she was wonderful, and a lot of the stage shenanigans must have had a familiar ring for her. Otto Jahn suggested in his groundbreaking Mozart biography of 1856-59 that the composer was in love with his Susanna, an idea given renewed currency ninety years later in Alfred Einstein’s still much read Mozart. There is nothing positive to tell us that this was so, certainly nothing to point toward the romantic and the sexual, though the friendship, which included Nancy’s composer brother Stephen, was very warm. At the same time, I do not doubt that Mozart loved her in another sense. Susanna, a young woman fabulously endowed with brains, heart, humor, and sexuality, is the richest operatic role Mozart ever created, and he cannot have been emotionally unaffected by an artist who realized it to perfection. Nancy Storace was not a beautiful woman, neither did she have a notably beautiful voice. What she had, along with perfect command over her resources, was brains, heart, humor, sexuality, also that quality the Italians call “prontezza,” literally “readi- ness,” alertness, quickness of response. She had imagination, she was alive. This scene and aria was Mozart’s contribution to her farewell concert from Vienna, the farewell of an artist who had touched him deeply and to whom he wanted to offer a testimonial. It is in every way a special piece, most obviously by being in fact a duet or double concerto, with one of the roles being designed for the composer-pianist himself. His choice of text—“I, forget you?”—was not haphazard. Storace is usually referred to as a soprano; Susanna, her role, is most often sung by sopranos. But the writing both here and in Figaro suggests that she was more what we might call a very light mezzo-soprano. Neither assignment takes the singer very high

22 (it was discovered years ago that some of the soprano lines in the Act II ﬁnale of Figaro were reversed in the printed scores, and the high C’s really belong to the Countess); both ask for a low range with considerable ﬂesh on it. Mozart had already set the aria—but not the poignant recitative—earlier in 1786, more coolly and with violin obbligato, for insertion in a private performance of Idomeneo: the Köchel number is 490. The situation is this: Idamante, son of Idomeneo, King of Crete, and Ilia, daughter of King Priam of Troy and a captive of Idomeneo, are in love. Idamante is also loved by the Princess Elektra, and Ilia mistakenly believes this feeling to be returned. The recitative and aria are Idamante’s response to Ilia’s offer to renounce him.

MICHAEL STEINBERG

“Ch’io mi scordi di te... Non temer, amato bene,” K.505

Ch’io mi scordi di te? You want me to forget you? Che a lei mi doni puoi You can counsel me to give myself consigliarmi? to her? E puoi voler che in vita... And can you wish that, while I live— Ah no. Ah, no. Sarebbe il viver mio di morte assai My life would then be far worse than peggior. death. Venga la morte, intrepida l’attendo. Let death come, boldly I’ll await it. Ma, ch’io possa struggermi ad altra But that I might melt at another face, ﬂame, ad altr’oggetto donar gl’affetti miei, lavish my affection on another, come tentarlo? how could I do such a thing? Ah! di dolor morrei. Ah! I’d die of grief.

Non temer, amato bene, Fear not, my beloved, per te sempre il cor sarà. My heart will always be yours. Più non reggo a tante pene, No longer can I bear such pains, l’alma mia mancando va. My spirit is failing. Tu sospiri? o duol funesto! You sigh? oh, mournful sorrow! Pensa almen, che istante è questo! Think, at least, what moment this is! Non mi posso, oh Dio! spiegar. Oh my God, I cannot express myself. Stelle barbare, stelle spietate! Barbarous, pitiless stars! Perchè mai tanto rigor? Why such harshness? Alme belle, che vedete Fair spirits that behold le mie pene in tal momento, my pains at such a moment, dite voi, s’egual tormento tell me if a faithful heart puó soffrir un ﬁdo cor? can suffer such torment?

ANONYMOUS trans. STEVEN LEDBETTER

TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 23 Wolfgang Amadè Mozart “Deh per questo istante solo” (Sesto), from Act II of “La clemenza di Tito,” K.621 First performance of the opera: September 6, 1791, National Theater, Prague. The first complete American performance was a Berkshire Music Center production (sung in English) at Tanglewood on August 4, 1952. Only previous BSO performance of this aria: July 19, 1998, Tanglewood, James Conlon cond., Jennifer Larmore, mezzo-soprano. Probably no major composition of Mozart’s maturity is less well-known today than his final opera, La clemenza di Tito, composed in the late summer of 1791 for a festive production given in Prague—the city that before all others took Mozart to its heart— in conjunction with the coronation ceremony of the new Emperor Leopold II as King of Bohemia. It is ironic that the opera should be so little-known. For one thing, Mozart is so idolized that almost anything coming from his pen, at any age, is treasured by music lovers. For another, La clemenza di Tito was (after a slow start) among the most popular of all Mozart’s works in the years immediately following his death; it enjoyed numerous revivals and achieved no fewer than fifteen printed editions by 1810! Yet until several decades ago, no major work of Mozart’s had fallen lower in public esteem—until a 1974 production at Covent Garden under the direction of Colin Davis became a turning point in the work’s modern reception. Soon after that, the opera was hailed as truly Mozartian, as a newly discovered link between the opera seria of the Baroque and the great romantic serious operas of Rossini, Bellini, Spontini, and even Verdi. We can now see Mozart at the peak of his powers composing virtually at the same time two very different operas—a sustained, autumnal classical tragedy

(using these two words in the sense of Racine) in La clemenza di Tito, and a lively, popularist folk comedy with universal humanitarian overtones in The Magic Flute. The opera is set in ancient Rome about the year 80, in the reign of one of the very few “good” Caesars, Titus (Tito), the son of Vespasian. His friend Sextus (Sesto) is the rival of Titus in love and is eventually goaded into setting a fire in the forum and assassinating Titus. Sextus succeeds in the first, but not in the second. Following a powerfully dramatic scene with Tito in which Sesto is placed in the position either of lying to his friend or betraying the woman he loves, Sesto finally confesses his trea- son and asks for death. As he is being led away under guard, Sesto asks to kiss Caesar’s hand for the last time. This leads into the aria that is the culmination of the scene, “Deh per questo istante solo.” Coming on the heels of about four minutes of tumul- tuous recitative with constantly changing harmonies and more rapid exchanges of bitter words, the aria opens as an eloquent moment of calm and classical reserve, though Sesto soon loses control enough to break out in a dark prediction of his coming death in a comparatively dark key and express his increasing anguish in the closing fast section. Of course, as the title of the opera hints to us already, he will not, in the end, have to face the executioner.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

“Deh per questo istante solo” (Sesto)

Deh per questo istante solo Ah, if only for this single moment, ti ricorda il primo amor, remember your ﬁrst love. Che morir mi fa di duolo Let your scorn, your severity il tuo sdegno, il tuo rigor. make me die of grief. Di pietade indegno, è vero, I am unworthy of pity, it is true, sol spirar io deggio orror. I can only inspire horror. Pur saresti men severo, Yet you would be less harsh se vedessi questo cor. if you could see this heart. Deh per questo istante solo...[ecc.] Ah, if only for this single moment...[etc.] Disperato vado a morte; In despair I go to death; ma il morir non mi spaventa. but death does not frighten me. Il pensiero mi tormenta What torments me is the thought che fui teco un traditor! that I was a traitor to you! (Tanto affanno soffre un core, (A heart suffers so much sorrow, nè si more di dolor!) yet does not die from its pain!) trans. STEVEN LEDBETTER

TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 25 Wolfgang Amadè Mozart Symphony No. 38 in D, K.504, “Prague” First performance: January 19, 1787, Prague, Mozart cond. First BSO performance: January 1882, Georg Henschel cond. First Tanglewood performance: July 22, 1951, Charles Munch cond. Most recent Tanglewood performance: August 3, 2012, Lorin Maazel cond. It was in 1781 that Mozart made his permanent move from Salzburg to Vienna; 1787 was the date of the first of his four journeys to Prague, the year of the C major and G minor viola quintets, of the A minor Rondo for piano and Eine kleine Nachtmusik, of the A major violin sonata, K.526, and of Don Giovanni, the year also of the deaths of his father and of the pet starling who could whistle the theme of the finale of the piano concerto in G. Between the two years we have the phenomenal rise of Mozart’s reputation in Vienna and the start of its decline. He married Constanze Weber, with whose older sister Aloysia he had once been very much in love, and three children were born, of whom one survived infancy. And he wrote in those few years The Abduction from the Seraglio, the six quartets dedicated to Haydn, most of his great piano concertos, the Haffner and Linz symphonies, a quartet and a quintet with piano, the large fragment of the C minor Mass, and Figaro. Among other things. As Vienna began to lose interest, Prague adopted him. Le nozze di Figaro was first given there on December 10, 1786, seven months after its premiere in Vienna, and so great was its triumph that the Prague musical community invited Mozart to attend and conduct some of its performances as well as give some concerts. He arrived on January 11, 1787, in the company of his wife and sister-in-law, amazed and touched by the universal Figaro madness, everyone, as he reported, “writing about it, talking about it, humming, whistling it, and dancing it.” For Prague Mozart played his newest piano concerto, the magnificent C major, K.503 (the work that opened tonight’s program), and at a Grand Musical Academy on January 19, he gave them his newest symphony. As an encore, he improvised at the piano one dozen variations on “Non più andrai” from Figaro —this after half an hour’s free extemporization at the keyboard! When he returned to Vienna in February, it was with a commission for a new opera especially for Prague: the contract was met with Don Giovanni, first staged in Prague that October. “My orchestra is in Prague,” wrote Mozart to the musicians who had invited him, “and my Prague people understand me.” When the news of his death reached them, they prepared in five days a chorus of 120 voices to sing a Requiem, all the bells in Stu Rosner

26 the city were set to ringing, and people stood by hundreds in the bitter December cold because the cathedral could not accommodate them all. Reporting on an all- Mozart concert three years after the composer’s death, a newspaper wrote that it was “easy to imagine how full the hall was if one knows Prague’s artistic sense and its love for Mozart....This evening was fittingly and admirably devoted to an act of homage to merit and genius; it was a rewarding feast for sensitive hearts and a small tribute to the unspeakable delight that Mozart’s divine tones often drew from us.... It is as though Mozart had composed especially for Bohemia; nowhere was his music better understood and executed than in Prague, and even in the country districts it is universally popular.” The Prague is one of three Mozart symphonies to begin with a slow introduction, being anticipated in this by the Linz Symphony of 1783 and followed by the E-flat symphony, No. 39, of 1788.* Mozart begins here with gestures of utmost formality, but it becomes evident at once that these are a point of reference against which to project what turns into an astonishing series of diversions and extensions. The music goes on and on, eschewing repose, and when we think that a firm cadence is inevitable—and we are now about to enter the sixteenth measure of a very slow tempo—Mozart stops our breath by his dramatic turn into minor. This D minor, with drums and pungently flavorful low trumpets, harks back to the piano concerto in that key, K.466, and ahead to Don Giovanni. Having reached that harmony of fore- boding, Mozart writes first a powerful rising sequence and then music of gradual, tensely anticipatory subsidence. Our attention thus captured, the Allegro can begin in quiet, subtly off-center harmonically, and against an accompaniment of taut syn- copations. It is a beginning that strikingly sets off the festive trumpet-and-drum music to come. When a new theme arrives, it is one of ideally Mozartian grace and freshness. Yet neither the drama of the Adagio nor the urgent elegance of the Allegro prepares us for the coming together of learning and fire that produces the densely polyphonic, irresistibly energetic development. (It is, incidentally, one of the few passages for which Mozart made elaborate sketches.) The extraordinary spirit of these pages enters the recapitulation and the blazing coda. If we pay but casual attention to how the Andante begins, we could take it to be simply another instance of Mozartian grace. Attend, however, to the specific coloration with which Mozart has here invested the familiar gestures—listen, that is, to the effect produced by the gently unyielding bass and to the poignant chromatic embel- lishment when the first phrase is repeated—and you learn that nothing is going to be ordinary. Strange shadows on the harmonies, the quiet force behind the contra- puntal imitations, the sighs in the closing melody, all these contribute to what caused Mozart’s biographer, Alfred Einstein, to exclaim, “What a deepening of the concept of Andante is here!” Here, too, there is no minuet; rather, Mozart moves straight into one of his most miraculous finales, a movement that combines strength without heaviness, crackling energy of rhythm, a challenge to the most virtuosic of orchestras, and, as always, grace. We think of Mozart’s last three symphonies as a special group. If, however, we think not of chronology, but of quality, then surely attainment of miracle in the genre is reached first, and no less, in the Prague.

MICHAEL STEINBERG

* The work that is misleadingly listed as Mozart’s Symphony No. 37, K.444, is actually a slow introduction by Mozart for a symphony by Michael Haydn.

TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 27 28 Guest Artists

For a biography of Christian Zacharias, see page 15.

Sarah Connolly English mezzo-soprano Sarah Connolly studied piano and singing at the Royal College of Music, of which she is now a Fellow. She was made CBE in the 2010 New Year’s Honours List; was presented with the Distinguished Musician Award by the Incorporated Society of Musicians in 2011; and is the recipient of the Royal Philharmonic Society’s 2012 Singer Award. Highlights of her 2014-15 season include Berlioz’s La Mort de Cléopâtre with both the City of Birmingham Symphony Orchestra under Edward Gardner and the BBC Symphony Orchestra under Sir Andrew Davis; Elgar’s Dream of Gerontius with the Mozarteumorchester Salzburg led by Ivor Bolton; Rossini’s Stabat Mater with the Leipzig Gewandhaus Orches- tra under Riccardo Chailly, and Mahler’s Symphony No. 2 in Carnegie Hall with the Philadelphia Orchestra and Yannick Nézet-Séguin. She gives recitals in London, New York, Amsterdam, Stuttgart, at Tanglewood, and at the Edinburgh and Schwarzenberg festivals, and returns to Covent Garden for Brangäne in Tristan und Isolde. Recent operatic highlights have included Fricka in Das Rheingold and Die Walküre at Covent Garden; the Composer in Ariadne auf Naxos and Clairon in Capriccio at the Metropolitan Opera; the title role in Giulio Cesare and Brangäne at the Glyndebourne Festival; the title role in Ariodante and Sesto in La clemenza di Tito at the Festival d’Aix-en-Provence; Purcell’s Dido at both La Scala and Covent Garden; Gluck’s Orfeo and the title role in The Rape of Lucretia at the Bayerische Staatsoper; Phèdre in Hippolyte et Aricie at Paris Opera, and the title role in Agrippina and Nerone in L’incoronazione di Poppea at Gran Teatro del Liceu. Upcoming engagements take her to the Metropolitan Opera, Covent Garden, English National Opera, and the Glynde- bourne Festival, and include major debuts at Netherlands Opera, the Festspielhaus in Baden-Baden, the Bayreuth Festival, and the Vienna State Opera. She has appeared in recital in London, New York, Paris, Amsterdam, Rotterdam, Stuttgart, and at the Aldeburgh, Cheltenham, Edinburgh, and Schwarzenberg festivals; concert engagements have taken her to such festivals as Lucerne, Salzburg, and Tanglewood, as well as the Three Choirs Festivals and the BBC Proms, where she was a memorable guest soloist at 2009’s Last Night. In recent seasons she has appeared with the Boston Symphony Orchestra under Sir Colin Davis and Christoph von Dohnányi; the Berlin Philhar- monic Orchestra and Rattle; the Leipzig Gewandhaus Orchestra under Chailly; the Royal Concertgebouw Orchestra with Harding; l’Orchestre des Champs-Élysées with Herreweghe; the Hallé Orchestra with Elder, and the London Philharmonic Orchestra with Jurowski. Committed to promoting new music, she has given world premiere performances of Mark-Anthony Turnage’s Twice through the Heart with the Schoenberg Ensemble under Knussen, Jonathan Harvey’s Songs of Li Po at the Aldeburgh Festival, Sir John Tavener’s Tribute to Cavafy at Birmingham’s Symphony Hall, and Tavener’s Gnosis at the BBC Proms with the BBC Symphony Orchestra under Bˇelohlávek. She is a prolific recording artist on both CD and DVD. Sarah Connolly made her Boston Symphony Orchestra debut in August 2006 at Tanglewood singing arias from Handel’s Ariodante; subsequent BSO engagements have included Elgar’s Dream of Gerontius in January 2008, Mahler’s Symphony No. 2 in September 2013, and the Mahler Second again in July 2014 at Tanglewood, her most recent appearance with the orchestra.

TANGLEWOODWEEK 3 GUESTARTISTS 29 Florence Newsome and George William Adams Florence and George Adams shared a love of music. Mrs. Adams grew up in Jamaica Plain and attended Boston Symphony and Pops concerts frequently with her mother during the Koussevitzky-Fiedler era. The same devotion led them to travel to Lenox by train in the 1930s—a more arduous journey than it is today—to hear the ﬁrst concerts presented by the Berkshire Symphonic Festival in a tent. In 1937, after Lenox became the summer home of the Boston Symphony, Mrs. Adams attended the famous “thunderstorm concert” that led Gertrude Robinson Smith to begin fundraising to build a permanent music shed. A graduate of Simmons College and Boston University, Mrs. Adams began her career as a reference librarian with the Boston Public Library. She met and married her husband George, also a librarian, while both were working at the Newark Public Library in New Jersey. Upon the birth of their daughter the family relocated and Mrs. Adams began her association with the Hartford Public Library, where she served as a branch librarian for thirty-six years. An expert on Connecticut legislative history, Mr. Adams was consulted by many state lawmakers and authored numerous articles in his post as legislative reference chief of the Connecticut State Library. Having found many years of enjoyment in the music of the Boston Symphony Orches- tra, especially in its tranquil Berkshire setting, Mrs. Adams decided to endow a concert there to maintain that tradition—the ﬁrst such memorial concert to be endowed at Tanglewood. She died just weeks before the first George W. and Florence N. Adams Concert took place on August 1, 1987, a program featuring works of George Perle and Felix Mendelssohn conducted by Seiji Ozawa. Stu Rosner

30 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Sunday, July 19, 2:30pm THE GEORGE W. AND FLORENCE N. ADAMS CONCERT ENDOWED IN PERPETUITY

SIR NEVILLE MARRINER conducting

MOZART Symphony No. 35 in D, K.385, “Haffner” Allegro con spirito [Andante] Menuetto Presto

SCHUMANN Piano Concerto in A minor, Opus 54 Allegro affettuoso Intermezzo: Andantino grazioso Allegro vivace PAUL LEWIS

{Intermission}

MOZART Symphony No. 36 in C, K.425, “Linz” Adagio—Allegro spiritoso Andante Menuetto Presto

TANGLEWOODWEEK 3 SUNDAYPROGRAM 31 NOTES ON THE PROGRAM

Wolfgang Amadè Mozart (1756-1791) Symphony No. 35 in D, K.385, “Haffner” First performance: March 29, 1783, Vienna. First BSO performance: January 1885, Wilhelm Gericke cond. First Tanglewood performance: July 21, 1951, Charles Munch cond. Most recent Tanglewood performance: August 27, 2004, Charles Dutoit cond. The Haffner family of Salzburg has been immortalized through two compositions by Mozart, the Haffner Serenade, K.250(248b), of 1776, commissioned for a family wedding, and the Haffner Symphony, K.385, of 1782. Actually the symphony was originally intended simply to be another serenade, for use at the celebration given Sigmund Haffner, a boyhood chum of Mozart’s, when he was elevated to the nobility in recog- nition of his generous benefactions made to the city. Leopold Mozart urgently requested some suitable music from Wolfgang. This happened not long after the younger Mozart’s arrival in Vienna, when he was busy trying to establish himself in the capital with pupils and commissions for compositions and attempting to get ready for his forthcoming wedding to Constanze Weber, which was to take place on August 4. (Mozart carefully kept the wedding plans a secret from Papa until it was too late for him to interfere.) Mozart’s first reaction was that he was too busy: “I am up to the eyes in work,” he wrote on July 20. But he promised to burn the midnight oil and was able to send individual movements via post, the last of them accompanied by a letter dated August 7. There is no evidence regarding the exact date of the premiere, but Leopold presumably prepared the serenade for performance, and we

32 may assume that it was performed as Mozart wrote it—with an introductory march and a second minuet. The march survives as K.408/2(385a); the minuet is lost. The next we hear of this music is in a letter of Wolfgang’s to his father just before Christmas, asking Leopold to send “the new symphony which I composed for Haffner at your request.” He was planning a concert for Lent (the most popular time for concerts, since opera houses and theaters were closed), and he wanted to include this new work. Leopold sent the original score back to Vienna; when Wolf- gang saw it again, he wrote: “My new Haffner Symphony has positively amazed me, for I had forgotten every single note of it. It must surely produce a good effect.” But he chose nonetheless to adapt it to fit better the normal canons of concert use— four movements (with only a single minuet)—and added parts for flutes and clarinets, which had been lacking in the serenade. Mozart included the revised symphony on a concert that he gave on March 29, 1783. The program was arranged in a way that we would find very bizarre today, though it was the normal run of business at an 18th-century performance. The concert opened with the first three movements of the new symphony, followed by an aria, a piano concerto, an operatic scena, a keyboard fugue, and a vocal rondo—and then came the finale of the Haffner Symphony! Even though it survives only in its four-movement form, the Haffner Symphony still recalls the many earlier serenades Mozart had composed for use in Salzburg in being generally lighter in construction, somewhat more loose-limbed than a normal symphony planned as such from the outset (after all, music at a party would not likely have had many listeners willing to follow a detailed musical argument with any degree of concentration). Gradually his serenades became more “symphonic” in a way that required the listener’s full attention, rather than just the subliminal awareness that some music was going on in the background. The pomp of the first movement is splendidly worked out with material based almost entirely on the opening gesture, with its dramatic octave leaps or their linear equiva- lent, running scales in eighths or sixteenths. The Andante is lush and delicately elaborate, filled with those graces we call “Mozartian.” The minuet offers a vigorous and festive main section (whose grand melodic leaps remind us of the first movement) contrasting with a more graceful Trio. The finale seems to be a reminiscence—whether intentional or otherwise, who can say?—of Osmin’s comic aria “O wie will ich triumphieren” from Die Entführung aus dem Serail. The opera was first performed on July 16, 1782, just two weeks before the composition of this finale. Mozart’s satisfaction with the Osmin aria, and his recol- lection of that recently performed score, may explain the complete fluency with which he noted down this movement in his manuscript, as if at a single sitting. He was also clearly pleased enough with the finale to use it, isolated from the rest of the work, as the concluding music for an entire concert. As he correctly recognized, this witty play of dynamics engineering the various returns of the rondo tune was the perfect vehicle to send the audience home in a cheerful mood.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

TANGLEWOODWEEK 3 SUNDAYPROGRAMNOTES 33 Robert Schumann (1810-1856) Piano Concerto in A minor, Opus 54 First performance: December 4, 1845, Dresden, Ferdinand Hiller cond., Clara Schumann, soloist. First BSO performance: October 7, 1882, Georg Henschel cond., Carl Baermann, soloist. First Tanglewood performance: July 28, 1956, Charles Munch cond., Rudolf Serkin, soloist. Most recent Tanglewood performance: August 19, 2011, Christoph von Dohnányi cond., Martin Helmchen, soloist Clara Schumann, née Wieck, was a celebrated keyboard artist from her youth, and she was renowned through her long life (1819-1896) for her musical intelligence, taste, sensibility, warm communicativeness, and truly uncommon ear for pianistic euphony. She was a gifted and skilled composer, and Brahms, who was profoundly attached to her when he was in his early twenties and she in her middle thirties—and indeed all his life, though eventually at a less dan- gerous temperature—never ceased to value her musical judgment. Robert and Clara’s marriage, though in most ways extraordinarily happy, was difficult, what with his psychic fragility and her demanding and conflicting roles as an artist, an artist’s wife, and a mother who bore eight children in fourteen years. They met when Clara was nine and Robert—then an unwill- ing and easily distracted, moody, piano-playing law student at the University of Leipzig—came to her father, the celebrated piano pedagogue Friedrich Wieck, for lessons. It was in 1840, after various familial, legal, psychological, and financial obstacles, that they married. Most of Schumann’s greatest piano works come from the difficult time preceding their marriage. 1840 became his great year of song. Clara Schumann was ambitious for her thirty-year-old husband and urged him to conquer the world of orchestral music as well. He had actually ventured into that territory a few times, making starts on four piano concertos and writing a rather jejune symphony in G minor, but he had not yet met with success. He now went ahead and produced a superb Concert Fantasy with Orchestra for Clara, as well as writing two symphonies: the first version of the D minor (now known almost exclu- sively in its revised form of 1851 and listed as No. 4) and the Spring (listed as No. 1). He could interest neither publishers nor orchestras in the one-movement Concert Fantasy, and so he expanded it into a full-length three-movement concerto. In doing so he revised the original Fantasy, making choices, as almost always he was apt to do whenever he had second thoughts, in the direction of safety and conventionality. (One can only guess whether the revisions reflect Schumann’s own musical convic- tions or responses to the urgings of the more conservative Clara.) The full-dress, three-movement concerto was introduced by Clara in Dresden in December 1845.* In 1839, Robert had written to Clara: “Concerning concertos, I’ve already said to you they are hybrids of symphony, concerto, and big sonata. I see that I can’t write a concerto for virtuosi and have to think of something else.” He did. Now, in June 1945,

* The Fantasy in its original form was not heard again until the summer of 1967, when, not far from where you are sitting now, the late pianist Malcolm Frager played it at a reading rehearsal with the Tanglewood Music Center Orchestra, Erich Leinsdorf conducting. The following summer, also at Tanglewood but with the Boston Symphony, Frager and Leinsdorf gave the Fantasy its first public performance, this time using it as the first movement of the piano concerto. Frager was a fervent champion of the original version of the first movement, playing it whenever he could persuade a conductor to let him do so.

34 while the metamorphosis of the Concert Fantasy was in progress, Clara Schumann noted in her diary how delighted she was at last to be getting “a big bravura piece” out of Robert (she meant one with orchestra), and to us, even if it is not dazzling by Liszt-Tchaikovsky-Rachmaninoff standards, the Schumann concerto is a satisfying occasion for pianistic display, while of course being also very much more than that. (On the other hand, compared to the concertos by Thalberg, Pixis, and Herz that Clara had played as a young prodigy, Schumann’s concerto, considered strictly as bravura stuff, is tame by comparison.) Schumann’s “something else” was noticed. Most of the chroniclers of the first public performances, along with noticing how effective an advocate Clara was for the concerto, were also attuned to the idea that something new—and very pleasing—was happening in this work. Many of them noted as well that the concerto needs an exceptionally attentive and sensitive conductor. F.W.M., who reviewed the first performance in Leipzig on New Year’s Day 1846 for the Neue Zeitschrift für Musik, wrote that the many interchanges between solo and orchestra made the first movement harder to grasp at first hearing than the other two. One thing that strikes us about this first movement—but perhaps only in a very good performance—is how mercurial it is, how frequent, rapid, and sometimes radical its mood-swings are. Or, to put it another way, how Schumannesque it is. Clara Schumann noted in her diary the delicacy of the way the piano and orchestra are interwoven, and among the pianist’s tasks is sometimes to be an accompanist— the lyric clarinet solo in the first movement is the most prominent example. And to be a good accompanist means to be a superlative musician: intuitive, alert, ever listening. The pianist gets a grand, wonderfully sonorous cadenza at the end of the first movement, but above all the Schumann concerto is a work of conversation both intimate and playful—whether in the almost whimsically varied first movement, the confidences exchanged in the brief middle movement, or in the splendidly energized finale.

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

TANGLEWOODWEEK 3 SUNDAYPROGRAMNOTES 35 Wolfgang Amadè Mozart Symphony No. 36 in C, K.425, “Linz” First performance: November 4, 1783, Linz, Count Thun’s orchestra (see below). First BSO performance: November 1882, Wilhelm Gericke cond. First Tanglewood performance: July 17, 1949, Serge Koussevitzky cond. Most recent Tanglewood performance: July 22, 2012, Kurt Masur cond. Linz is Austria’s third largest city, industrial, not especially attractive, but renowned for a heady chocolate, almond, and jam cake, and for this symphony of Mozart’s. Wolfgang and Constanze Mozart visited there for three weeks in the fall of 1783 as guests of Count Johann Joseph Thun, an old friend of the Mozart family. They had gone from Vienna to Salzburg to present Constanze to Wolfgang’s father and in the hope of reconciling him to their marriage. Leopold Mozart, however, was adamantly difficult, and the young couple, unhappy about the storm clouds chez Papa, were relieved to get away. When they got to Linz after stops at Vöcklabruck, Lambach (where Mozart arrived just in time to accompany the Agnus Dei at Mass), and Ebelsberg they were met at the city gates by a servant of the Thun household, to make sure they not stop at an inn, but go instead to the family’s house in Minorite Square. A letter from Mozart to his father tells us that Count Thun had already scheduled a concert for the following Tuesday, November 4; since he had no symphony with him, Mozart had to “work on a new one at head-over-heels speed.” It is a grandly inventive work that Mozart made in such a hurry. For the first time, he begins a symphony with a slow introduction, declamatory at first, then yielding and full of pathos, and cannily creating suspense. The Allegro to which it leads is energetic, festive, with a touch of the march about it. And how delightful the first theme is, with those slow notes that so carefully fail to prepare us for the sudden rush of the third and fourth bars. Only the recapitulation—more of a repeat than the continuation of development we are apt to expect from Mozart at this point in his life—reminds us of the daunting deadline against which he wrote, as does the regularity of the recapitulation of the finale. Some editions give a marking of “Poco adagio” for the second movement, but that is incorrect, though not altogether wrong in spirit. This Andante, touched by the

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36 6/8 lilt of the siciliano, is in F major, but yearns always for minor-mode harmonies. Unusual is the presence of trumpets and drums, most often silent in the not neces- sarily so slow “slow movements” of classical symphonies. It seems likely that it was from this Andante that Beethoven got the idea of using trumpets and drums so effectively in the second movement of his Symphony No. 1, and the Mozart scholar Neal Zaslaw suggests that here could be the inspiration for the dramatic trumpet- and-drum interventions in the great Largo of Haydn’s Symphony No. 88. The minuet is courtly; the Trio, which is piano all the way through, demurely rustic. The scoring in the Trio, for oboe an octave above the violins and bassoon an octave below (sometimes in canon, sometimes a sixth below), is delicious. The finale brings back the first movement’s exuberance, but in heightened form: the first page alone contains three distinct ideas. Here is Mozart at his most dazzlingly prodigal. The development begins with an ordinary G major chord, made not at all ordinary by being laid out as a descending zigzag, like lightning in slow motion. This zigzag proves to be a powerful motor indeed as first violins, cellos, bassoon, oboes, and violas (in a most striking touch of color) explore it by turns. The recapitulation proceeds as expected, which is to say, delightfully. There is no coda.

MICHAEL STEINBERG

Guest Artists Sir Neville Marriner Life President of the Academy of St. Martin in the Fields, Sir Neville Marriner began his career as a violinist, playing first in a string quartet and trio, then in the London Symphony Orchestra. It was during this period that he founded the Academy of St. Martin in the Fields, with the aim of forming a top-class chamber ensemble from London’s finest players. Beginning as a group of friends who gathered to rehearse in Sir Neville’s front room, the Academy gave its first performance in its namesake church in 1958. On the strength of this, the ensemble was invited to make a record for a new company called L’Oiseau Lyre. The Academy now enjoys one of the largest discographies of any chamber orchestra worldwide, and its partnership with Sir Neville is the most recorded of any orchestra and conductor. As a violinist, Sir Neville worked as an extra player under Toscanini and Furtwängler, and with Josef Krips, George Szell, Leopold Stokowski, and mentor Pierre Monteux. Sir Neville began his conducting career in 1969, following studies in America with Monteux. During this time he founded the Los Angeles Chamber Orchestra, concurrently developing and extending the size and repertoire of the Academy. In 1979 he became music director and principal conductor of both the Minneapolis Symphony Orchestra and the Südwest Deutsche Radio Orchestra in Stuttgart, positions he held until the late 1980s. Subsequently he has continued to work with orchestras around the globe in Vienna, Berlin, Paris, Milan, Athens, New York, Boston, San Francisco, and Tokyo. He made his opera debut conducting Le nozze di Figaro at the Aix-en-Provence Festival and his United States debut in Los Angeles with La Cenerentola, followed by a Salzburg Mozarteum production of Il re pastore. He opened the new opera house in Athens in 2005 with a production of The Magic Flute. In 2011 Sir Neville was appointed honorary conductor of the newly formed I, Culture Orchestra (ICO), which brings together the most talented young musicians from Eastern Europe. While pursuing his own conducting career, Sir Neville has remained a dominant influence in the Academy’s story. Honored three times for his services to

TANGLEWOODWEEK 3 GUESTARTISTS 37 Walter H. Scott

38 music in his own country—most recently being made a Companion of Honour in June 2015—he has also been awarded honors in France, Germany, and Sweden. Sir Neville’s illustrious recording career is well documented, and he continues to work with the Academy of St. Martin in the Fields and other orchestras worldwide. Sir Neville Marriner made his Boston Symphony Orchestra debut in July 1975 at Tanglewood, his subscription series debut following in October 1976. His most recent subscription concerts with the orchestra were in January 2003, his most recent Tanglewood appearances in August 2003 and August 2005.

Paul Lewis Internationally recognized as one of the leading pianists of his generation, Paul Lewis has, through his recent cycles of core piano works by Beethoven and Schubert, earned critical and public acclaim worldwide, and consolidated his reputation as one of the world’s foremost interpreters of the central European classical repertoire. His numerous awards have included the Royal Philharmonic Society’s Instru- mentalist of the Year, two Edison awards, three Gramophone awards, the Diapason d’or de l’année, the Preis der Deutschen Schallplattenkritik, the Premio Inter- nazionale Accademia Musicale Chigiana, and the South Bank Show Classical Music award. In 2009 he was awarded an honorary doctorate by the University of Southampton. Mr. Lewis performs regularly as soloist with the world’s great orchestras, including the Boston Symphony, Chicago Symphony, London Sym- phony, Bavarian Radio Symphony, NHK Symphony, New York Philharmonic, Los Angeles Philharmonic, and the Royal Concertgebouw, Tonhalle Zurich, Leipzig Gewandhaus, Philharmonia, and Mahler Chamber orchestras, in collaboration with such conductors as Sir Colin Davis, Stéphane Denève, Christoph von Dohnányi, Bernard Haitink, Daniel Harding, Pablo Heras-Casado, Paavo Järvi, Sir Charles Mackerras, Andris Nelsons, Wolfgang Sawallisch, and Robin Ticciati. He is also a frequent guest at such prestigious festivals as Lucerne, Mostly Mozart (New York), Tangle- wood, Schubertiade, Salzburg, Edinburgh, La Roque d’Antheron, Rheingau, Klavier Festival Ruhr, and London’s BBC Proms, where in 2010 he became the first pianist to perform a complete Beethoven piano concerto cycle in one season. Paul Lewis’s recital career takes him to such venues as London’s Royal Festival Hall, Alice Tully and Carnegie Hall in New York, the Musikverein and Konzerthaus in Vienna, the Theâtre des Champs-Élysées in Paris, the Concertgebouw in Amsterdam, the Berlin Philhar- monie and Konzerthaus, Tonhalle Zurich, Palau de Musica Barcelona, Oji Hall in Tokyo, and Melbourne’s Recital Centre. His extensive award-winning discography for Harmonia Mundi includes solo works by Mussorgsky and Schumann, the complete Beethoven piano sonatas and concertos, Beethoven’s Diabelli Variations, Liszt’s Sonata in B minor and other works, and all the major piano works from the last six years of Schubert’s life, as well as the three Schubert song cycles with tenor Mark Padmore. Future recording plans include Brahms’s Piano Concerto No. 1 with the Swedish Radio Symphony Orchestra and Daniel Harding. Paul Lewis studied with Joan Havill at the Guildhall School of Music and Drama in London before going on to study pri- vately with Alfred Brendel. Along with his wife, the Norwegian cellist Bjørg Lewis, he is artistic director of Midsummer Music, an annual chamber music festival held in Bucking- hamshire, UK. Paul Lewis made his Boston Symphony Orchestra debut in August 2012 at Tanglewood with Mozart’s A major piano concerto, K.488; subsequent BSO appearances included his subscription series debut in October 2013 with Mozart’s C major concerto, K.503, and a return to Tanglewood last summer with Mozart’s A major concerto, K.414. In an Ozawa Hall recital this coming Tuesday night he will play Beethoven’s last three piano sonatas, Opp. 109, 110, and 111. He made his Ozawa Hall recital debut in July 2013 with a program of the last three Schubert sonatas.

TANGLEWOODWEEK 3 GUESTARTISTS 39 A page from the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts (BSO Archives)

40 Maestro Circle

Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Roberta and George ‡ Berry • Peter and Anne Brooke • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Michael L. Gordon • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • Dorothy and Charlie Jenkins • Stephen B. Kay and Lisbeth L. Tarlow • Ted and Debbie Kelly • Lizbeth and George Krupp • Joyce Linde • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • National Endowment for the Arts • Megan and Robert O’Block • The Claudia and Steven Perles Family Foundation • Mrs. Irene Pollin • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Miriam Shaw Fund • Caroline and James Taylor • Stephen and Dorothy Weber • Roberta and Stephen R. Weiner

Society Giving at Tanglewood

The following list recognizes gifts of $3,000 or more made since September 1, 2014 to the Tanglewood Annual Fund. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2014-2015 season. For further information on becoming a Society member, please contact Leslie Antoniel, Leadership Gifts Officer, at 617-638-9259.

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

Koussevitzky Society Founders $100,000+ Michael L. Gordon • Dorothy and Charlie Jenkins • Mrs. Irene Pollin • Carol and Joe Reich • Caroline and James Taylor Virtuoso $50,000 to $99,999

Linda J.L. Becker • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Joyce Linde • Sue Rothenberg • Stephen and Dorothy Weber Encore $25,000 to $49,999

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. • Ronald and Karen Rettner • Carol and Irv Smokler • Linda and Edward Wacks • June Wu Benefactor $20,000 to $24,999

Roberta and George ‡ Berry • Sydelle and Lee Blatt • BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Ronnie and Jonathan Halpern • Larry and Jackie Horn • Valerie and Allen Hyman •

TANGLEWOODWEEK 3 SOCIETYGIVINGATTANGLEWOOD 41 Leslie and Stephen Jerome • The Edward Handelman Fund • Jay and Shirley Marks • Mrs. Millard H. Pryor, Jr. • Suzanne and Burton Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hannah and Walter Shmerler • The Ushers and Programmers Fund • Marillyn Zacharis Patron $10,000 to $19,999

Mr. Gerald Appelstein • Norm Atkin MD and Joan Schwartzman • Liliana and Hillel Bachrach • Joan and Richard Barovick • Robert and Elana Baum • Phyllis and Paul Berz • Beatrice Bloch and Alan Sagner • Marlene and Dr. Stuart H. ‡ Brager • Bonnie and Terry Burman • 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 • Nancy J. Fitzpatrick and Lincoln Russell • Myra and Raymond ‡ Friedman • Lonnie and Jeffrey Garber • Dr Lynne B Harrison • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Nathan and Marilyn Hayward • Susie and Stuart Hirshfield • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Kahn Family Foundation • 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 • Elaine and Ed London • Rebecca and Nathan Milikowsky • Robert E. and Eleanor K. Mumford • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • John S. and Cynthia Reed • Lucinda and Brian Ross • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Daniel and Lynne Ann Shapiro • JoAnne and Joel Shapiro • Honorable George and Charlotte Shultz • Dr. and Mrs. Harvey B. Simon • Norma and Jerry Strassler • Jerry and Nancy Straus • Ted and Jean Weiller • Mr. Jan Winkler and Ms. Hermine Drezner • Robert and Roberta Winters • Anonymous Prelude $7,500 to $9,999

Gideon Argov and Alexandra Fuchs • Hildi and Walter Black • Brad and Terrie Bloom • Jane Braus • Judith and Stewart Colton • Robert and Stephanie Gittleman • Martha and Todd Golub • Mr. and Mrs. Martin G. Isserlis • Norma and Sol D. Kugler • Arlene and Jerome Levine • Mr. and Mrs. Arthur S. Loring • Judy and Richard J. Miller • Kate and Hans Morris • Elaine and Simon Parisier • Mary Ann and Bruno A. Quinson • Elaine and Bernard Roberts • Maureen and Joe Roxe/The Roxe Foundation • Sue Z. Rudd • Dr. Beth Sackler • Malcolm and BJ Salter • Marcia and Albert Schmier • Anne and Ernest ‡ Schnesel • Lynn and Ken Stark • Roz and Charles Stuzin • Lois and David Swawite • Aso O. Tavitian • Karen and Jerry Waxberg • Gail and Barry Weiss • Anonymous (2) Member $5,000 - $7,499

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Mark and Stephanie Abrams • Deborah and Charles Adelman • Mr. Michael P. Albert • Mr. and Mrs. Ira Anderson • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Dr. Mark Belsky and Ms. Nancy Kaplan Belsky • Jerome and Henrietta Berko • Carole and Richard Berkowitz • Linda and Tom Bielecki • Drs. Judith and Martin Bloomfield • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Carol and Bob Braun • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Mr. and Mrs. Scott Butler • David and Maria Carls • Mr. Jim Chervenak • Carol and Randy Collord • Jill K. Conway • 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 • Mr. and Mrs. Saul Eisenberg • Eitan and Malka Evan • Marie V. Feder • Gigi Douglas and David Fehr • Eunice and Carl Feinberg • Nancy Edman Feldman and Mike Chefetz • Deborah Fenster-Seliga and Edward Seliga • Bud and Ellie Frank • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Mr. and Mrs. Kenneth G. Friedman • Audrey and Ralph Friedner • Thomas M. Fynan and William F. Loutrel • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Leslie and Joanna Garfield • Drs. Anne and Michael Gershon •

42 Dr. Donald and Phoebe Giddon • 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 • Ms. Susan P. Goodfellow • 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 W. Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ricki Tigert Helfer and Michael S. Helfer • Ann L. Henegan • Enid and Charles ‡ Hoffman • Richard Holland • Nancy and Walter Howell • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Lauren Joy • Adrienne and Alan Kane • Martin and Wendy Kaplan • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Mr. Chaim Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Dr. Samuel Kopel and Sari Scheer • J. Kenneth and Cathy Kruvant • 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 • The Messinger Family • Wilma and Norman Michaels • Joan G. Monts • Mr. and Mrs. Michael Monts • Mr. and Mrs. Raymond F. Murphy, Jr. • The Netter Foundation • Mr. Richard Novik and Ms. Eugenia Zukerman • John and Mary Ellen O’Connor • Mr. and Mrs. Gerard O’Halloran • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Ellen and Mickey Rabina • Mr. and Mrs. Albert P. Richman • Dr. Robin S. Richman and Dr. Bruce Auerbach • Barbara and Michael Rosenbaum • Edie and Stan Ross • Milton B. Rubin • Joan and Michael Salke • Elisabeth Sapery and Rosita Sarnoff • Dr. and Mrs. James Satovsky • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dr. Raymond Schneider • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Mr. Marvin Seline • Carol and Richard Seltzer • Evelyn and Ronald Shapiro • Lois and Leonard Sharzer • The Shields Family • Susan and Judd Shoval • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Lynn ‡ and Lewis Stein • Margery and Lewis Steinberg • Noreene Storrie and Wesley McCain • Ms. Pat Strawgate • Mr. and Mrs. Patrick J. Sullivan • Mr. Eric Swanson and Ms. Carol Bekar • Dorothy and Gerry Swimmer • Ingrid and Richard Taylor • Jean C. Tempel • Mr. ‡ and Mrs. Wilmer J. Thomas, Jr. • Dr. Adrian Tiemann • Jerry and Roger Tilles • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • The Ushers and Programmers Fund • Antoine and Emily van Agtmael • Mr. and Mrs. Alex Vance • Loet and Edith Velmans • Mrs. Charles H. Watts II • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Sally and Steve Wittenberg • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Richard M. Ziter, M.D. • Mr. Lyonel E. Zunz ‡ • Anonymous (3) Bernstein Society $3,000 to $4,999

Dr. and Mrs. Bert Ballin • Dr. and Mrs. Benjamin R. Barber • Mr. Michael Beck and Mr. Beau Buffier • Cindy and David Berger • Helene Berger • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • William E. Briggs and the Briggs Family • Sandra L. Brown • Rhea and Allan Bufferd • Mrs. Laura S. Butterfield • Antonia Chayes • Mr. and Mrs. Bertram Chinn • 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 • In memory of D.M. Delinferni • Mr. Clark Downs • Terry and Mel Drucker • The Dulye Family • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Eric Egan • Miss Diana Engelhorn • Dr. and Mrs. Gerald D. Falk • Mr. Earl N. Feldman and Mrs. Sarah Scott •

TANGLEWOODWEEK 3 SOCIETYGIVINGATTANGLEWOOD 43 Dr. and Mrs. Steve Finn • Betty and Jack Fontaine • Herb and Barbara Franklin • Mr. and Mrs. Michael Friedman • Mr. David Friedson and Ms. Susan Kaplan • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Mr. and Mrs. James W. Giddens • Mr. and Mrs. David L. Glodt • Rita Sue and Alan J. Gold • Mr. and Mrs. Andrew Goldfarb • Mr. Malcolm Griggs • Michael and Muriel Grunstein • Mr. and Mrs. Robert Haber • Mrs. Deborah F. Harris • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Adam Hersch • Denise Gelfand and Peter Dubin • Miriam and Gene Josephs • Deko and Harold Klebanoff • Margaret and Joseph Koerner • Dr. and Mrs. Stephen Kulvin • Ira Levy, Lana Masor and Juliette Freedman • Anthony and Alice Limina • Thomas and Adrienne Linnell • Dr. and Mrs. Benjamin Liptzin • Dr. and Mrs. Richard E. Litt • Dr. Nancy Long and Mr. Marc Waldor • Susan and Arthur Luger • Mr. and Mrs. Evan Mallah • Mr. and Mrs. Frank Martucci • Dr. and Mrs. Malcolm Mazow • Mr. Terence McInerney • Soo Sung and Robert Merli • Mr. and Mrs. Michael A. Miller • Mrs. Suzanne Nash • Linda and Stuart Nelson • Rosalie and I. MacArthur Nickles • Mike, Lonna and Callie Offner • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Fred and Judy Robins • Mr. and Mrs. Richard S. Rocap • Barbara Rubin • Larry and Pat Rutkowski • Ms. Susan Schaeffer • Dr. and Mrs. David Schottenfeld • Jane and Marty Schwartz • Mr. and Mrs. John Schwebel • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Ms. Lori Signer • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Mr. and Mrs. Edward Streim • Flora and George Suter • John Lowell Thorndike • Diana O. Tottenham • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • William Wallace • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Nancy Whitson-Rubin • Pamela Wickham • Mr. and Mrs. Allan Yarkin • Mr. and Mrs. Michael Zaccaro • Anonymous (4)

44 Tanglewood Major Corporate Sponsors 2015 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 be returning for a second season as sponsor of the Boston Pops at Tanglewood. 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.

Dawson Rutter Commonwealth Worldwide Chauffeured Transportation is President and CEO proud to be the Official Chauffeured Transportation of the Boston Symphony Orchestra and Boston Pops. The BSO has delighted and enriched the Boston community for over a 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.

TANGLEWOODWEEK 3 MAJORCORPORATESPONSORS 45 From the 1937 program book for the Boston Symphony Orchestra's first concerts at Tanglewood (BSO Archives)

46 47 48

July at Tanglewood Monday, July 6, 7pm MEMBERS OF THE BOSTON POPS BRASS & PERCUSSION SECTIONS Wednesday, July 1, 8pm BOSTON CRUSADERS BOSTON SYMPHONY CHAMBER PLAYERS BLUE DEVILS RANDALL HODGKINSON, piano Tanglewood Brass Spectacular! NATHAN Why Old Places Matter, for oboe, Wednesday, July 8, 8pm horn, and piano NIELSEN Wind Quintet, Op. 43 LEON FLEISHER and THE FLEISHER- JACOBSON PIANO DUO BRAHMS (arr. BOUSTEAD) Serenade No. 1 in D, Op. 11, arranged for winds and strings LEON FLEISHER, piano KATHERINE JACOBSON, piano Thursday, July 2, 8pm Music of Bach, Debussy, Brahms, Schubert, APOLLO’S FIRE—The Cleveland Baroque and Ravel Orchestra Thursday, July 9, 8pm JEANNETTE SORRELL, music director and conductor BRYN TERFEL, bass-baritone A Night at Bach’s Coffee House NATALIA KATYUKOVA, piano Music of J.S. Bach, Telemann, Handel, and Friday, July 10, 6pm (Prelude Concert) Vivaldi MEMBERS OF THE BSO Friday, July 3, 6pm (Prelude Concert) All-Dvoˇrák program

BOSTON CELLO QUARTET Friday, July 10, 8:30pm A program of Spanish and Latin music BSO—STÉPHANE DENÈVE, conductor Friday, July 3, 8:30pm CAMERON CARPENTER, organ Opening Night at Tanglewood BARBER Adagio for Strings All-American Program POULENC Concerto for Organ, Strings, and BSO—JACQUES LACOMBE, conductor Timpani KIRILL GERSTEIN, piano SAINT-SAËNS Symphony No. 3, Organ JESSYE NORMAN, speaker To be followed at 10:45 by a short solo organ recital by Cameron Carpenter HARBISON Remembering Gatsby (Foxtrot for Orchestra) Saturday, July 11, 10:30am GERSHWIN Piano Concerto in F Open Rehearsal (Pre-Rehearsal Talk, 9:30am) COPLAND Lincoln Portrait BSO program of Sunday, July 12 ELLINGTON Harlem Saturday, July 11, 8:30pm Saturday, July 4, 11am BSO—BRAMWELL TOVEY, conductor FAMILY CONCERT SONDRA RADVANOVSKY, GWYN HUGHES Music for brass quintet JONES, BRYN TERFEL, JOHN DEL CARLO, Saturday, July 4, 7pm and RYAN SPEEDO GREEN, vocal soloists TANGLEWOOD FESTIVAL CHORUS JAMES TAYLOR AND HIS ALL-STAR BAND Fireworks to follow the concert All-Italian program including PUCCINI Tosca, Act I Sunday, July 5, 2:30pm Sunday, July 12, 2:30pm BOSTON POPS ORCHESTRA KEITH LOCKHART, conductor BSO—LUDOVIC MORLOT, conductor BERNADETTE PETERS PINCHAS ZUKERMAN, violin JOHN LUTHER ADAMS The Light That Fills Sunday, July 5, 8pm Ozawa Hall the World TMC ORCHESTRA—STEFAN ASBURY MOZART Violin Concerto No. 3 in G, K.216 and TMC Conducting Fellows MARZENA DVORÁKˇ Symphony No. 7 KIAKUN and RUTH REINHARDT, conductors Music of Britten, Brahms, Williams (TMC75 Monday, July 13, 8pm world premiere), and Sibelius TMC ORCHESTRA—LUDOVIC MORLOT and TMC Conducting Fellows MARZENA KIAKUN and RUTH REINHARDT, conductors JAMES SOMMERVILLE, horn Music of Wagner, Hindemith, Golijov (TMC75 world premiere), and Debussy

Tuesday, July 14, 8pm Tuesday, July 21, 8pm JAZZ AT LINCOLN CENTER ORCHESTRA PAUL LEWIS, piano with WYNTON MARSALIS All-Beethoven program: the last three piano sonatas, Opp. 109, 110, 111 Thursday, July 16, 8pm BAIBA SKRIDE, violin Wednesday, July 22, 8pm SARAH CONNOLLY, mezzo-soprano EMERSON STRING QUARTET CHRISTIAN ZACHARIAS, piano Music of Ives, Liebermann, and Beethoven CATHY BASRAK, viola Music of Mozart and Schumann Friday, July 24, 6pm (Prelude Concert) MEMBERS OF THE BSO Friday, July 17, 6pm (Prelude Concert) Music of Bolcom and Shapero MEMBERS OF THE BSO Music of Barber and Shostakovich Friday, July 24, 8:30pm BSO—CHRISTOPH VON DOHNÁNYI, Friday, July 17, 8:30pm conductor BSO—CHRISTIAN ZACHARIAS, conductor VADIM GLUZMAN, violin BAIBA SKRIDE, violin ALL-BEETHOVEN PROGRAM SCHUMANN Manfred Overture Symphony No. 4; Violin Concerto MOZART Rondo in C, K.373, for violin and orchestra Saturday, July 25, 10:30am MOZART Violin Concerto No. 5 in A, K.219 Open Rehearsal (Pre-Rehearsal Talk, 9:30am) SCHUMANN Symphony No. 2 BSO program of Sunday, July 26

Saturday, July 18, 10:30am Saturday, July 25, 8:30pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO—MICHAEL TILSON THOMAS, BSO program of Sunday, July 19 conductor EMANUEL AX, piano Saturday, July 18, 8:30pm MOZART Piano Concerto No. 14 in E-flat, BSO—CHRISTIAN ZACHARIAS, conductor K.449 and pianist MAHLER Symphony No. 5 SARAH CONNOLLY, mezzo-soprano Sunday, July 26, 2:30pm ALL-MOZART PROGRAM Piano Concerto No. 25 in C, K.503; “Ch’io mi BSO—CHRISTOPH VON DOHNÁNYI, scordi di te,” Concert aria for soprano and conductor orchestra with piano, K.505; “Deh per questo ALL-MOZART PROGRAM istante solo” from La clemenza di Tito; Symphonies 39, 40, and 41, Jupiter Symphony No. 38, Prague Thursday, July 30, 8pm Sunday, July 19, 2:30pm THE KNIGHTS BSO—SIR NEVILLE MARRINER, conductor AWET ANDEMICAEL, NICHOLAS PHAN, PAUL LEWIS, piano and KYLE KETELSEN, vocal soloists MOZART Symphony No. 35, Haffner KEVORK MOURAD, visual artist SCHUMANN Piano Concerto Music of Boccherini, Ravel, Falla, de Lucía, MOZART Symphony No. 36, Linz de Nebra, and Geminiani; readings of Pablo Neruda poetry with musical improvisation; Sunday, July 19, 8pm and Falla’s Master Peter’s Puppet Show AUDRA MCDONALD Friday, July 31, 6pm (Prelude Concert) ANDY EINHORN, music director and piano MARK VANDERPOEL, string bass MEMBERS OF THE BSO GENE LEWIN, drums Music of Frescobaldi, Berger, and Stravinsky Friday, July 31, 8:30pm BSO—KEN-DAVID MASUR, conductor GARRICK OHLSSON, piano WEBER Overture to Der Freischütz SCHUBERT Symphony No. 4, Tragic BEETHOVEN Piano Concerto No. 5, Emperor

Programs and artists subject to change. 2015 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 ♦ Includes music commissioned for TMC75

Saturday, June 20, 8pm * Sunday, July 12, 10am BOSTON POPS ESPLANADE ORCHESTRA Chamber Music ♦ KEITH LOCKHART, conductor Sunday, July 12, 8pm KATE BALDWIN and JASON DANIELEY, Vocal Concert special guests TMC VOCAL FELLOWS Monday, July 13, 6pm “Simply Sondheim” Prelude Concert Thursday, June 25 and Monday, July 13, 8pm Friday, June 26, 8pm * The Daniel Freed and Shirlee Cohen Freed MARK MORRIS DANCE GROUP Memorial Concert TMC FELLOWS TMC ORCHESTRA—LUDOVIC MORLOT and MARK MORRIS, conductor and choreographer TMC CONDUCTING FELLOWS, conductors JAMES SOMMERVILLE, horn Sunday, June 28, 10am Music of WAGNER, HINDEMITH, GOLIJOV Chamber Music for Winds, Brass, and (TMC75 world premiere), and DEBUSSY Percussion ♦ Saturday, July 18, 6pm Monday, June 29, 1pm, 4pm, and 8pm Prelude Concert STRING QUARTET MARATHON One ticket provides admission to all three concerts. Sunday, July 19, 10am Chamber Music ♦ Sunday, July 5, 10am Chamber Music ♦ Monday, July 27, 8pm * The Margaret Lee Crofts Concert Sunday, July 5, 8pm * TMC ORCHESTRA—MICHAEL TILSON The Phyllis and Lee Coffey Memorial Concert THOMAS and TMC CONDUCTING TMC ORCHESTRA—STEFAN ASBURY and FELLOWS, conductors TMC CONDUCTING FELLOWS, conductors BUTI YOUNG ARTISTS CHORUS Music of BRITTEN, BRAHMS, WILLIAMS WILLIAM HUDGINS, clarinet (TMC75 world premiere), and SIBELIUS Music of COPLAND, FOSS, BERNSTEIN, Tuesday, July 7, 8pm and IVES Vocal Concert: Songs of the WWI Era Saturday, August 1, 6pm Saturday, July 11, 6pm Prelude Concert Prelude Concert Sunday, August 2, 10am Chamber Music ♦

TMC Orchestra Concerts in Ozawa Hall (July 5, 13, 27; August 2), $55, $45, and $35 (lawn admission $12). TMC Recitals, Chamber Music, String Quartet Marathon: $12. Festival of Contemporary Music Concerts (excluding 7/27 TMCO concert), $12. BUTI Young Artists Orchestra Concerts, $11. BUTI Young Artists Wind Ensemble and Chorus Concerts, Free. TMC Chamber and BUTI Orchestra Concerts are cash/check only. GENERAL PUBLIC and TANGLEWOOD DONORS up to $100: TMC Orchestra, TMC Recital, and BUTI concert tickets are available in advance online, by phone, or in person at the box office. On the day of the concert, tickets to TMC and BUTI recitals in Ozawa Hall may be purchased up to one hour before concert start time with cash only, and only at the Ozawa Hall Bernstein Gate. TMC Orchestra concerts (excluding 7/20) may be purchased on the day of the concert at the Ozawa Hall box office. Please note: availability for seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $100 level receive one free admission and Friends at the $200 level or higher receive two free admissions to all 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 $12. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 or visit tanglewood.org/contribute. Sunday, August 2, 8pm Monday, July 20—Monday, July 27 A TMC75 Opera Celebration FESTIVAL OF CONTEMPORARY MUSIC TMC ORCHESTRA—KEN-DAVID MASUR and John Harbison, Michael Gandolfi, and TMC CONDUCTING FELLOWS, conductors Oliver Knussen, Festival Curators DAWN UPSHAW, soprano The 2015 Festival of Contemporary Music TMC VOCAL FELLOWS focuses on TMC faculty and alumni com- Excerpts from Mozart’s Idomeneo, Golijov’s posers, and includes fifteen works, twelve Ainadamar, and Britten’s Albert Herring of them world premieres, commissioned for the TMC’s 75th anniversary. The July 27 Tuesday, August 4 * TMCO concert has been programmed by TANGLEWOOD ON PARADE TMC alumnus Michael Tilson Thomas; the 2:30pm: TMC Cello Ensemble July 23 concert honors composer and former 3:30pm: TMC Piano Concert TMC director Gunther Schuller. Complete 4pm: BUTI Young Artists Orchestra and program details are available at the Tangle- Chorus (Shed) wood Main Gate, at bso.org, and in the TMC program book. 5pm: TMC Vocal Concert 8pm: TMC Brass Fanfares (Shed) ♦ Monday, July 20, 8pm 8:30pm: Gala Concert (Shed) TMC ORCHESTRA—STEFAN ASBURY TMCO, BSO, and BOSTON POPS ORCHESTRA and TMC CONDUCTING FELLOWS, STÉPHANE DENÈVE, KEITH LOCKHART, conductors; EMANUEL AX, piano; ANDRIS NELSONS, and JOHN WILLIAMS, SAMANTHA BENNETT, violin; THE conductors NEW FROMM PLAYERS Music of SHOSTAKOVICH, RAVEL Thursday, July 23, 8pm WILLIAMS, and TCHAIKOVSKY OLIVER KNUSSEN and JONATHAN Fireworks to follow the concert BERMAN, conductors; PETER SERKIN, Saturday, August 8, 6pm piano; NICHOLAS PHAN, tenor; THE Prelude Concert NEW FROMM PLAYERS; TMC FELLOWS Saturday, August 8, 8:30pm (Shed) * Friday, July 24, 2:30pm TMC 75th Anniversary Gala The Fromm Concert at Tanglewood The Leonard Bernstein Memorial Concert JOHN HARBISON, conductor TMC ORCHESTRA—ANDRIS NELSONS, URSULA OPPENS, piano; WENDY conductor PUTNAM, violin; MICKEY KATZ, cello; ERIN WALL, CHRISTINE GOERKE, TMC FELLOWS ERIN MORLEY, LIOBA BRAUN, Saturday, July 25, 2:30pm JANE HENSCHEL, KLAUS FLORIAN VOGT, DAWN UPSHAW, soprano; ROBERT MATTHIAS GOERNE, and AIN ANGER, SHEENA, English horn; GEORGE NIXON, vocal soloists marimba; THE NEW FROMM PLAYERS; TANGLEWOOD FESTIVAL CHORUS TMC FELLOWS BUTI CHORUS AMERICAN BOYCHOIR Saturday, July 25, 6pm (Prelude Concert) MAHLER Symphony No. 8 LUCY SHELTON, soprano; THE NEW FROMM PLAYERS; TMC FELLOWS Sunday, August 9, 10am Chamber Music Sunday July 26, 10am STEFAN ASBURY, conductor Tuesday, August 11, 8pm STEPHEN DRURY, piano; THE NEW ♦ Vocal Concert FROMM PLAYERS; TMC FELLOWS Saturday, August 15, 6pm Monday, July 27, 8pm * ♦ Prelude Concert TMC ORCHESTRA—MICHAEL TILSON Sunday, August 16, 10am THOMAS and TMC CONDUCTING Chamber Music ♦ FELLOWS conducting; BUTI CHORUS; WILLIAM HUDGINS, clarinet; BONNIE Sunday, August 16, 2:30pm (Shed) * BEWICK, violin BSO (Beethoven) and TMCO (Copland)— ASHER FISCH, conductor The Festival of Contemporary Music has been JULIANNA DI GIACOMO, RENÉE TATUM, endowed in perpetuity by the generosity of Dr. PAUL GROVES, and JOHN RELYEA, vocal Raymond H. and Mrs. Hannah H. Schneider, soloists with additional support from the Aaron Copland TANGLEWOOD FESTIVAL CHORUS Fund for Music, the Fromm Music Foundation, COPLAND Symphonic Ode the National Endowment for the Arts, and the BEETHOVEN Symphony No. 9 Helen F. Whitaker Fund.

Boston University Tanglewood Institute (BUTI) The Boston University Tanglewood Institute (BUTI) is recognized internationally as one of the premier summer training programs for advanced high-school age musicians and is the only program of its kind associated with one of the world’s great orchestras. Founded in 1966, BUTI is a result of the collaborative vision of Erich Leinsdorf, then music director of the Boston Symphony Orchestra, who invited the College of Fine Arts at Boston University to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Today, nearly 50 years later, BUTI continues to build upon its legacy of excellence, offering a transformative experience to more than 350 budding instrumentalists, composers, and singers who reside at its 64-acre campus in Lenox, Massachusetts. Its intensive programs, distinguished faculty, and the opportunities afforded through its unique affiliation with the BSO and TMC have com- bined to give BUTI a celebrated and distinctive reputation among summer music programs of its kind. BUTI’s season includes six performances at Seiji Ozawa Hall and more than fifty concerts and recitals in and around Lenox. BUTI alumni contribute to today’s musical world as prominent performers and conductors, composers and educators, and administrators and board members. Currently, sixteen members of the BSO are BUTI alumni. The program demonstrates great commitment to students from around the country and world, nearly half of whom are supported by the BUTI Scholarship Fund, made possible by contributions from individuals, foundations, and corporations. If you would like further information about BUTI, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1430 or (617) 353-3386.

2015 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 18, 2:30pm, Ankush Kumar Bahl conducts Beethoven’s Egmont Overture, Copland’s Appalachian Spring, and Elgar’s Enigma Variations. Saturday, August 1, 2:30pm, Paul Haas conducts Bernstein’s Candide Overture and Chichester Psalms (joined by the Young Artists Chorus) and Bartók’s Concerto for Orches- tra. Saturday, August 15, 2:30pm, Paul Haas conducts Tchaikovsky’s Romeo and Juliet Fantasy-Overture and Prokofiev’s Symphony No. 5.

WIND ENSEMBLE PROGRAMS: Sunday, July 19, 2:30pm, David J. Martins conducts Shostakovich, Pann, George, Mackey, Hindemith/Wilson, Iannaccone, and Husa. Sunday, August 2, 2:30pm, H. Robert Reynolds conducts Strauss, Lauridsen/Reynolds, Salfelder, Grantham, Williams/Lavender, Ticheli (featuring Jennifer Bill, saxophone), and Daugherty.

VOCAL PROGRAMS: Tuesday, August 4, 4pm (Tanglewood on Parade), Ann Howard Jones conducts choral works by Biebl, Dove, Mendelssohn, Mozart, Poulenc, Rautavaara, Rossini, and Sullivan at the Koussevitzky Music Shed.

HONORS CONCERT: Saturday, August 8, 2:30pm, a special concert featuring solo and chamber music performances by select BUTI students.

Young Artists Orchestra concert tickets may be purchased for $12 each at the door of Seiji Ozawa Hall on the Tanglewood main grounds directly prior to the concert event or online at bso.org. Young Artists Wind Ensemble concerts and the Honors Concert are not tick- eted and are open to the public. For a full listing of events, visit bu.edu/tanglewood.

Administration

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

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Andrew Tremblay, Tanglewood Artist Liaison

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 • Erik Johnson, Chorus Manager • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician • Nick Squire, Recording Engineer • Joanne Trebelhorn, Tanglewood Operations Manager

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 • Angelina Collins, Accounting Manager • 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 • Mario Rossi, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

Development

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 Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • 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, Leadership Gifts Officer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Maria Capello, Grant Writer • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Catherine Cushing, Assistant Manager, Donor Relations • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Assistant Manager, Friends Program • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Katherine Laveway, Major Gifts Coordinator • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Suzanne Page, Major Gifts Officer • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Maggie Rascoe, Annual Funds Coordinator • Carly Reed, Donor Acknowledgment and Research Coordinator • Emily Reeves, Assistant Director, Development Information Systems • Drew Schweppe, Major Gifts Coordinator • Alexandria Sieja, Manager, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Elizabeth Mullins, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement

Facilities Robert Barnes, 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, Lead Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Adam Twiss, Electrician 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 • Isa Cuba, Infrastructure Engineer • 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

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 Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, Symphony- Charge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Karen Cubides, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Melissa Farrington, Associate Director of Special Events, Promotions, and Social Media • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager, Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Symphony Hall Box Office Manager • Ronnie McKinley, Ticket Exchange Coordinator • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Megan E. Sullivan, Associate Subscriptions Manager • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Tanglewood Box Office Manager/Tessitura Liaison • Nicholas Vincent, Assistant Manager Box Office Representatives Jane Esterquest • Arthur Ryan Event Services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration

Tanglewood Music Center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Bridget Sawyer-Revels, Office Coordinator • Gary Wallen, Associate Director for Production and Scheduling

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • Eileen Doot, Business Office Manager • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Amanda Canale, Visitor Center Manager • Tammy Lynch, Tanglewood Front of House Manager • Peggy and John Roethel, Seranak Managers

Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Boston Gerald L. Dreher Vice-Chair, Tanglewood, and Chair-Elect Martin Levine Secretary Susan Price

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

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

Liaisons, Tanglewood Glass Houses, Stanley Feld • Ushers, Judy Slotnick Tanglewood Project Leads 2015 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Shelly Holtzberg and Maureen O’Hanlon Krentsa • Friends Office, Alan and Toby Morganstein and Gayle Moskowitz • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Newsletter, Nancy Finn • Off-Season Educational Resources, Susan Geller and Alba Passerini • Recruit, Retain, Reward, Alexandra Warshaw • Seranak Flowers, Diane Saunders • Talks and Walks, Elliot Slotnick and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, JJ Jones and Marsha Wagner • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Gerald and Joanne Dreher and David and Janet Rothstein • Tour Guides, Howard Arkans and Mort and Sandra Josel • Young Ambassadors, William Ballen and Carole Siegel FAVORITERESTAURANTSOFTHEBERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. FAVORITERESTAURANTSOFTHEBERKSHIRES Stu Rosner Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2015 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 Mark Friedman, CPA • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Sheer & Company, in memory of Alfred Schnieder Advertising/Marketing/Consulting Barry L. Beyer • Ed Bride Associates • The Cohen Group • Pilson Communications, Inc. • RL Associates Architecture/Design/Engineering Easton + Combs Architects • edm - architecture | engineering | management • Foresight Land Services, Inc. • Hill-Engineers, Architects, Planners, Inc. • Barbara Rood Interiors Art/Crafts/Antiques Elise Abrams Antiques • An American Craftsman • Asiabarong Gallery • Joanie Ciolfi Paintings • Colorful Stitches • HISTORY OF TOYS GALLERY • Hoadley Gallery • Schantz Galleries Contemporary Glass • Stanmeyer Gallery & Shaker Dam Coffee House Automotive Autobahn Service • Balise Lexus • BIENER AUDI • Haddad Dealerships (Toyota, Suburu, Hyundai, Nissan) 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 • Pittsfield Cooperative Bank • Salisbury Bank and Trust Company • 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. Building/Contracting ALLEGRONE COMPANIES • Great River Construction Co. Inc. • Luczynski Brothers Building • J.H. MAXYMILLIAN, INC. • DAVID J. TIERNEY, JR., INC. • PETER D. WHITEHEAD BUILDER, LLC Catering International Polo Club Catering LLC • 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 Lipton Energy • VIKING FUEL OIL CO. INC. Financial Services American Investment Services • Frank Battista, CFP® • BERKSHIRE BANK • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • SUSAN AND RAYMOND HELD • HIGH PEAKS VENTURE CAPITAL LIMITED • Integrated Wealth Management • Kaplan Associates • Keator Group, LLC • Nest Egg Guru & Financial Planning Hawaii • TD Wealth • UBS Food/Beverage Wholesale Barrington Coffee Roasting Co. • Crescent Creamery • KOPPERS CHOCOLATE Insurance BERKSHIRE INSURANCE GROUP • BERKSHIRE LIFE INSURANCE COMPANY OF AMERICA, A GUARDIAN COMPANY • SA Genatt LLC Insurance • Jacqueline A. Metsma • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone P.C. • COHEN KINNE VALICENTI & COOK LLP • Michael J. Considine, Attorney at Law • 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, Esq. • Susan M. Smith, Esq. • Bernard Turiel, Esq. Lodging 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Days Inn • Berkshire Fairfield Inn & Suites • Berkshire Legacy • Birchwood Inn • BLANTYRE • The Briarcliff Motel • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL SPA AND GOLF RESORT • Crowne Plaza Hotel – Berkshires • Devonfield Inn • An English Hideaway Inn • THE GARDEN GABLES INN • Gateways Inn • Hampton Inn & Suites • Hampton Terrace Bed & Breakfast Inn • Hilton Garden Inn • Hotel on North • Inn at Green River • The Inn at Stockbridge • Kemble Inn • THE PORCHES INN AT MASS MoCA • THE RED LION INN • The Rookwood Inn • Seven Hills Inn • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT • Whistler’s Inn Manufacturing/Consumer Products BELL CONTAINER CORP. • BROADWAY LANDMARK CORPORATION • General Dynamics • Ted and Barbara Ginsburg • IREDALE MINERAL COSMETICS, LTD. • Onyx Specialty Papers, Inc. • RTR Technologies, Inc. Medical 510 Medical Walk-In • J. Mark Albertson, D.M.D., PA • Berkshire Health Systems, Inc. • 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. • Carol R. Kolton, MSW • Dr. Joseph Markoff • JJ Nacht D.M.D. • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Optical Care Associates • Putnoi Eyecare • Dr. Robert and Esther Rosenthal • Royal Health Care Services • Chelly Sterman Associates • Suburban Internal Medicine • Dr. Natalya Yantovsky DMD, Dentist 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 Crocus Hale Flowers • Garden Blossoms Florist • Peerless Since 1945, Inc. • Ward’s Nursery & Garden Center Printing/Publishing BERKSHIRE EAGLE • QUALPRINT • SOL SCHWARTZ PRODUCTIONS, LLC Real Estate 67 Church Street, LLC • Ashmere Realty, Inc. • BARRINGTON ASSOCIATES REALTY TRUST • Benchmark Real Estate • Brause Realty, Inc. • Cohen + White Associates • Steve Erenburg, Cohen + White Associates • Robert Gal L.L.C. • Barbara K. Greenfeld • Hill Realty, Inc. • LD Builders • MacCaro Real Estate • McLean & McLean Realtors, Inc. • Overlee Property Holdings LLC • Patten Family Foundation • Pennington Management Company • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Scarafoni Associates • Anita Schilling, Sotheby’s International Realty • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate, Inc. • Tucker Welch Properties • Wheeler & Taylor Real Estate Resort /Spa CANYON RANCH IN LENOX • CRANWELL SPA AND GOLF RESORT • Elm Court Estate Restaurant Alta Restaurant & Wine Bar • Baba Louie’s Pizza Company • Bagel + Brew • Bistro Zinc • Bizen Gourmet Japanese Restaurant and Sushi Bar • Brava • Café Lucia • Chez Nous • Church Street Café • Cork ’N Hearth • CRANWELL SPA AND GOLF RESORT • Electra’s Café • Firefly New American Bistro & Catering Co. • Flavours of Malaysia • Frankie’s Ristorante • Haven Café & Bakery • John Andrews • Mazzeo’s Ristorante • No. Six Depot Roastery and Café • Pleasant and Main Café & General Store • Rouge Restaurant • Table Six Restaurant Retail: Clothing Arcadian Shop • Ben’s • CASABLANCA • Castle & Main • Church Street Trading Co. And Hillary Rush berkshires • GB9 • The Gifted Child • GLAD RAGS • J.McLaughlin • Purple Plume • Shooz • Swtrz • twiGs Retail: Food Berkshire Mountain Bakery, Inc. • BIG Y SUPERMARKETS, INC. • Chocolate Springs Café • Guido’s Fresh Marketplace • The Meat Market & Fire Roasted Catering • Oliva! Gourmet Olive Oils & Vinegars of the Berkshires • The Scoop/Blondie’s Homemade • SoCo Creamery • STOP & SHOP SUPERMARKETS Retail: Home/Electronics COUNTRY CURTAINS • Local • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design • Second Home • Tune Street • Willowbrook Home Retail: Jewelry Laurie Donovan Designs • Jewelz Fine Jewelry • McTeigue & McClelland Retail: Wine/Liquor GOSHEN WINE & SPIRITS, INC. • Nejaime’s Wine Cellars • Queensboro Wine & Spirits • Spirited Salon Peter Alvarez 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 • Classical Tents & Party Goods • Greylock Design Associates • Mahaiwe Tent, Inc. • Shire Cleaning and Janitorial Specialty Contracting R.J. Aloisi Electrical Contracting Inc. • Pignatelli Electric • Michael Renzi Painting Co. LLC Transportation/Travel ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • All Points Driving Service • Tobi’s Limousine Service, Inc. • Traveling Professor Video/Special Effects/Fireworks Atlas PyroVision • MYRIAD PRODUCTIONS Yoga/Wellness/Health BERKSHIRE TRAINING STATION • Dharma Coach • EASTOVER ESTATE AND RETREAT • 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

Alli and Bill Achtmeyer • Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber • Anonymous

Two and One Half Million

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

One Million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. • AT&T • 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 ‡ • Bob and Happy Doran • Alan and Lisa Dynner and Akiko Dynner • 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 • 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 • 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 • 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 • 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