2019•20 Season

bso andris nelsons music director 2019•20 season

week 3 james lee iii shostakovich smetana

seiji ozawa music director laureate bernard haitink conductor emeritus thomas adès artistic partner season sponsors Better Health, Brighter Future

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Takeda Pharmaceutical Company Limited www.takeda.com Table of Contents | Week 3

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 a brief history of symphony hall 2 7 a message from andris nelsons 2 8 celebrating malcolm lowe 31 this week’s program

Notes on the Program

32 The Program in Brief… 33 James Lee III 41 Dmitri Shostakovich 51 Bedˇrich Smetana 59 To Read and Hear More…

Artists

63 Yuja Wang 64 Thomas Rolfs

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

the friday preview on october 3 is given by bso associate director of program publications robert kirzinger.

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org “A work of art is the trace of a magnificent struggle.” GRACE HARTIGAN

On view now

Grace Hartigan, Masquerade, 1954. Oil on canvas. Collection of Lizbeth and Sponsored by Generously supported by George Krupp. © Estate of Grace Hartigan. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 139th season, 2019–2020 trustees of the boston symphony orchestra, inc.

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

William F. Achtmeyer • Noubar Afeyan • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Todd R. Golub • Michael Gordon • Nathan Hayward, III • Ricki Tigert Helfer • Brent L. Henry • Albert A. Holman, III • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Steve Kidder • Tom Kuo, ex-officio • Jeffrey Leiden • Joyce Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Peter Palandjian • Pamela L. Peedin • Steven R. Perles • Lina S. Plantilla, M.D. • Arthur I. Segel • Wendy Shattuck • Nicole M. Stata • Theresa M. Stone • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Dr. Christoph Westphal • D. Brooks Zug life trustees Vernon R. Alden • J.P. Barger • George D. Behrakis • Gabriella Beranek • Jan Brett • Peter A. Brooke • Paul Buttenwieser • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Deborah B. Davis • Nina L. Doggett • William R. Elfers • Nancy J. Fitzpatrick • Charles H. Jenkins, Jr. • George Krupp • Richard P. Morse • David Mugar • Robert P. O’Block • William J. Poorvu • Peter C. Read • John Reed • Edward I. Rudman • Roger T. Servison • Richard A. Smith • Ray Stata • John Hoyt Stookey • John L. Thorndike • Stephen R. Weber • Stephen R. Weiner • Dr. Nicholas T. Zervas other officers of the corporation Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer • Evelyn Barnes, Jane B. and Robert J. Mayer, M.D., Chief Financial Officer • Bart Reidy, Clerk of the Corporation advisors of the boston symphony orchestra, inc.

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

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

week 3 trustees and advisors 3 When it Comes to Dependability, One Stands Alone. a d Commonwealth Worldwide has been the premier choice of discerning clientele in Boston and beyond for more than 35 years. Discover why we are a seven-time Best of Boston® selection by Boston magazine.

Proud to be the Official Chauffeured Transportation Provider for the Boston Symphony Orchestra and the Boston Pops. CommonwealthLimo.com 800.558.5466 • 617.787.5575 photos by Robert Torres and Winslow Townson

Robert R. Glauber • Barbara Nan Grossman • Alexander D. Healy • James M. Herzog, M.D. • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • George Jacobstein • Stephen J. Jerome • Giselle J. Joffre • Susan A. Johnston • Mark Jung • John L. Klinck, Jr. • Gi Soo Lee, MD EdM • Roy Liemer • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Jean Park • Donald R. Peck • Wendy Philbrick • Randy Pierce • Irving H. Plotkin • Andrew S. Plump • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Marc Rubenstein • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jacqueline Togut • Jillian Tung, M.D. • Sandra A. Urie • Antoine van Agtmael • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • June K. Wu, M.D. • Patricia Plum Wylde • Gwill E. York • Marillyn Zacharis advisors emeriti Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • Linda J.L. Becker • James L. Bildner • William T. Burgin • Hon. Levin H. Campbell • Carol Feinberg Cohen • Mrs. James C. Collias • Charles L. Cooney • Ranny Cooper • Joan P. Curhan • James C. Curvey • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Ursula Ehret-Dichter • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Lola Jaffe • Everett L. Jassy • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Martin S. Kaplan • Stephen R. Karp • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • Robert K. Kraft • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Jay Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone • Robert J. Morrissey • Joseph Patton • Ann M. Philbin • May H. Pierce • Claudio Pincus • Irene Pollin • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Claire Pryor • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Joseph D. Roxe • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Christopher Smallhorn • Patricia L. Tambone • Samuel Thorne • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

Membership as of September 5, 2019

week 3 trustees and advisors 5 We are honored to support the Boston Symphony Orchestra

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

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . BSO News

Boston Symphony Chamber Players 2019-20 Season at Jordan Hall: Four Sunday Afternoons at 3 p.m. The Boston Symphony Chamber Players perform four Sunday-afternoon concerts each season at Jordan Hall at the New England Conservatory, beginning this year with music of Stravinsky, Thomson, Carter, Sofia Gubaidulina, and Falla on October 20 featuring harpsi- chordist Paolo Bordignon. Upcoming programs include music of Schulhoff, György Kurtág, Martinu,˚ Reinecke, and Brahms on January 19 with pianist David Deveau; music of Kevin Puts, Eric Nathan, Smyth, and Mendelssohn on March 22 with pianist Randall Hodgkinson; and music of J.S. Bach, Dahl, and Britten, plus the world premiere of a BSO-commissioned work by Michael Gandolfi, on April 26 with baritone John Brancy. Subscriptions to the four-concert series are available at $132, $95, and $75; please call the Subscription Office at (888) 266-7575. For single tickets at $38, $29, and $22, please call SymphonyCharge at (617) 266-1200 or visit bso.org.

This Season’s BSO/GHO Musician Exchanges As part of the BSO/GHO Alliance initiated in 2017 by BSO Music Director Andris Nelsons, who is also Gewandhauskapellmeister of the Gewandhausorchester (GHO) Leipzig, musicians from each of the two ensembles participate in an exchange program whereby they play in the others’ home orchestra. For the first half of the 2019-20 season, BSO violinist Lisa Ji Eun Kim and flutist Clint Foreman are playing in Leipzig with the Gewandhaus- orchester, and GHO violinist Veronika Starke and GHO flutist Manfred Ludwig are playing at Symphony Hall with the BSO. The BSO/GHO Alliance creates opportunities for both orchestras and their respective audiences to explore the historic traditions and accomplishments of each ensemble, through an extensive co-commissioning program, educational programs spotlighting each orchestra’s culture and history, and a focus on complementary programming offered during “Leipzig Week in Boston” and “Boston Week in Leipzig.” For this season’s “Leipzig Week in Boston” (October 27-November 2), the Gewandhaus- orchester itself comes to Boston for two programs of its own, as well as three joint concerts with the BSO, including this year’s Symphony Gala on Friday, November 1.

BSO 101, the BSO’s Free Adult Education Series, Resumes on Wednesday, October 16, 5:30-7 p.m. “BSO 101: Are You Listening?” returns in 2019-20, again offering the opportunity to increase your enjoyment of BSO concerts. Each of this year’s four free sessions is designed to enhance your appreciation of music through discussion with BSO players, and through guided

week 3 bso news 7 listening to recorded excerpts of music to be performed in upcoming BSO concerts. For the first session of this season—“Sharing Traditions: The BSO and Gewandhausorchester (GHO) Leipzig”— to take place in Higginson Hall on Wednesday, October 16, from 5:30-7 p.m., BSO Director of Program Publications Marc Mandel is joined by BSO violist Danny Kim, who participated in the BSO/GHO Musician Exchange program last season playing with the GHO in Leipzig, and GHO flutist Manfred Ludwig, who is playing with the BSO this fall. Since each session is self-contained, no prior musical training, or attendance at any previous session, is required. In addition, a free tour of Symphony Hall is offered immediately after each session. Though admission to the BSO 101 session is free, we request that you make a reservation to secure your place. Please call (617) 266-1200 or visit bso.org/bso101 (where further details are also available) under “Education & Community” on the BSO’s home page.

BSO Community Chamber Concerts The BSO is pleased to continue its free, hour-long Community Chamber Concerts featuring BSO musicians in communities throughout the greater Boston area on Sunday afternoons at 3 p.m. followed by a coffee-and-dessert reception for the audience and musicians. The first program of the season—Schubert’s String Quintet in C, featuring violinists Alexander Velinzon and Tatiana Dimitriades, violist Danny Kim, and cellists Mickey Katz and Adam Esbensen—will be performed on October 13 at Taconic High School in Pittsfield and on October 20 at the Codman Square Health Center in Dorchester. Admission is free, but reservations are required; please call (888) 266-1200. For further details about this and

Lifelong learning is healthy living on the campus of Lasell University

For more information and to schedule a tour, contact us at 617-663-7044 or visit lasellvillage.org

8 upcoming Community Chamber Concerts, please visit bso.org and go to “Education & Community” on the home page. The BSO’s 2019-20 Community Concerts are sponsored by Takeda Pharmaceutical Company Limited.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This month’s speakers are Robert Kirzinger (October 3 and October 25), Marc Mandel (October 11), and author/composer Jan Swafford (October 18). individual tickets are on sale for all concerts in the bso’s 2019-2020 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

The Catherine and Paul Buttenwieser Nelsons as the BSO’s Ray and Maria Stata Concert, Thursday, October 3, 2019 Music Director. Thursday evening’s performance is supported The Buttenwiesers support many arts by a generous gift from Great Benefactors organizations in Boston and are deeply Catherine and Paul Buttenwieser. Elected a involved with the community and social BSO Overseer in 1998 and Trustee in 2000, justice. In 2014, Paul stepped down as Paul was elevated to Life Trustee in 2017. He chairman of the Institute of Contemporary served as President of the Board of Trustees Art, Boston, after a decade of leading the from 2014 to 2017 and a Vice-Chair of the Board of Trustees. He is a trustee and former Board of Trustees from 2010 to 2013. chair of the American Repertory Theater and received the A.R.T. Angel Award in Paul’s interest in music began at a young 2018. He is also a trustee of Partners in age, when he studied piano, violin, clarinet, Health, honorary trustee of the Museum of and conducting as a child and teenager. Fine Arts, Boston, fellow of the American Together, Paul and Katie developed their Academy of Arts and Sciences, and member lifelong love of music, and have attended of the President’s Advisory Council at the BSO’s performances at Symphony Berklee College of Music. A former overseer Hall and Tanglewood for more than fifty of Harvard University, he was awarded years. The Buttenwiesers have generously the Harvard Medal for service in 2010. supported numerous BSO initiatives, In 1988, Paul and Katie founded the including BSO commissions of new works, Family-to-Family Project, an agency that guest artist appearances at Symphony works with homeless families in Eastern Hall and Tanglewood, fellowships at the Massachusetts. Katie, who is a social Tanglewood Music Center, and Opening worker, spent most of her career in early Nights at Symphony and Tanglewood. child development before moving into They also endowed a BSO first violin chair, hospice and bereavement work. She is a currently held by Jennie Shames. Paul graduate of Mount Holyoke College and and Katie, who have served on many gala Boston University School of Social Work. committees, chaired Opening Night at Paul is a psychiatrist who specializes in Symphony for the 2008-09 season. Paul children and adolescents, as well as a novelist. was a member of the search committee He is a graduate of Harvard College and recommending the appointment of Andris Harvard Medical School.

week 3 bso news 9

The Stephen and Dorothy Weber Pops Annual Funds Council and the Concert, Saturday, October 5, 2019 Tanglewood Annual Fund Council. The The performance on Saturday evening is Webers served as chairs of 2013 Opening supported by a generous gift from BSO Great Night at Tanglewood. Both Dottie and Steve Benefactors Stephen R. and Dr. Dorothy serve on other community boards in Boston, Altman Weber. The Webers have said, “The the Berkshires, and beyond. Steve is a board BSO is an important part of our lives, and the member and past chair of the ICA at the performances in Boston and at Tanglewood University of Pennsylvania. In Boston, Dottie are a source of great personal joy. We believe is a board member of Milton Academy, Judge we have a responsibility to support the Baker Children’s Center, and the Celebrity orchestra so future generations will continue Series. In the Berkshires, she co-chairs the to experience the extraordinary musical Kids 4 Harmony Advisory Committee of excellence from which we have benefited.” Berkshire Children and Families, and is a member of the Berkshire Children and Steve Weber, a graduate of the University of Families Fund Development Committee. Pennsylvania and Harvard Business School, retired in 2005 as managing director of The Boston Symphony Orchestra extends SG-Cowen Securities Corp. Dottie Weber heartfelt thanks to Steve and Dottie Weber taught at Northeastern University and was a for their commitment to continuing the research psychologist at Boston University Symphony’s rich musical tradition. Medical Center. She is an alumna of Tufts University and Boston University, where she BSO Broadcasts on WCRB earned her doctorate in education. BSO concerts are heard on the radio at Longtime Saturday-evening subscribers and 99.5 WCRB. Saturday-night concerts are active Tanglewood attendees, the Webers broadcast live at 8 p.m. with host Ron Della have been supporters of the Boston Symphony Chiesa, and encore broadcasts are aired Orchestra since 1979. They endowed the on Monday nights at 8 p.m. In addition, Stephen and Dorothy Weber Chair, currently interviews with guest conductors, soloists, held by BSO cellist Mickey Katz. Steve and and BSO musicians are available online at Dottie’s love of Tanglewood led them to classicalwcrb.org/bso. Current and upcom- support the campaign to build Ozawa Hall, ing broadcasts include this week’s program to endow two seats in the Koussevitzky led by Andris Nelsons of music by James Music Shed and a fellowship at the Lee III, Shostakovich, and Smetana featur- Tanglewood Music Center, and to establish ing pianist Yuja Wang and BSO principal the first endowed artist-in-residence trumpet Thomas Rolfs (October 5; encore position at the TMC. In summer 2013, October 14); next week’s program of Sibelius, the BSO dedicated the Weber Gate at Elgar, and Nielsen with cello soloist Truls Tanglewood as an enduring tribute to the Mørk and conductor Dima Slobodeniouk in Webers’ extraordinary commitment and his BSO subscription series debut (October generosity to the BSO and Tanglewood. 12; encore October 21); and the following In addition to their financial support of week’s program of music by Bach, Beethoven, the BSO, Steve and Dottie have also given Brahms, and Bartók with Sir András Schiff generously of their time. Elected a Trustee doubling as conductor and piano soloist in 2002, Steve served as vice-chair of the (October 19; encore October 28). Board of Trustees from 2010 to 2015. He was elevated to Life Trustee in 2017, and he served as co-chair of the Beyond Measure BSO Members in Concert Campaign. Dottie served on the Ad Hoc Former BSO cellist Jonathan Miller is soloist BSO in Residence Committee. Steve and in Elgar’s Cello Concerto with the Wellesley Dottie are currently members of the BSO & Symphony Orchestra and its music director,

week 3 bso news 11 MUSIC. GAMES. FOOD. MURDER.

SEP 27 - OCT 6 DCR STERITI MEMORIAL RINK #PAGBLO | BLO.ORG/PAGLIACCI

12 former BSO violinist Max Hobart, on Those Electronic Devices… Sunday, October 6, at 3 p.m. at the As the presence of smartphones, tablets, and MassBay Community College Auditorium other electronic devices used for commu- in Wellesley, in a program celebrating the nication, note-taking, and photography has centennial of the concerto’s premiere, with increased, there have also been continuing Mr. Miller playing on the 1700 Goffriller cello expressions of concern from concertgoers used in the work’s first performance. Also and musicians who find themselves dis- on the program are “Fêtes” from Debussy’s tracted not only by the illuminated screens Nocturnes and Beethoven’s Symphony No. 5. on these devices, but also by the physical General admission is $25 (discounts for movements that accompany their use. For students and seniors). For more information, this reason, and as a courtesy both to those visit wellesleysymphony.org or call (781) on stage and those around you, we respect- 235-0515. fully request that all such electronic devices BSO members Sheila Fiekowsky, violin, Daniel be completely turned off and kept from view Getz, viola, and Richard Ranti, bassoon, while BSO performances are in progress. will join flutist Linda Toote, oboist Andre In addition, please also keep in mind that Bonsignore, and clarinetist Catherine taking pictures of the orchestra—whether Hudgins for music of Ibert, Bozza, Thompson, photographs or videos—is prohibited during Mozart, and Françaix in a chamber music concerts. Thank you very much for your concert to benefit the West Stockbridge cooperation. Historical Society. This performance of the West Stockbridge Chamber Players will be held on Sunday, November 3, at 2 p.m. On Camera With the BSO at the Old Town Hall, 9 Main Street, West The Boston Symphony Orchestra frequently Stockbridge, MA. Tickets are $35 and can be records concerts or portions of concerts reserved by e-mail (info@weststockbridge- for archival and promotional purposes via history.org) or at local West Stockbridge our on-site video control room and robotic merchants (look for the “blue note” in down- cameras located throughout Symphony Hall. town business windows). Please be aware that portions of this concert may be filmed, and that your presence Go Behind the Scenes: acknowledges your consent to such photography, filming, and recording for possible use The Irving W. and Charlotte F. Rabb in any and all media. Thank you, and enjoy Symphony Hall Tours the concert. The Irving W. and Charlotte F. Rabb Symphony Hall Tours, named in honor of the Rabbs’ Comings and Goings... devotion to Symphony Hall through a gift from their children James and Melinda Rabb Please note that latecomers will be seated and Betty (Rabb) and Jack Schafer, provide by the patron service staff during the first a rare opportunity to go behind the scenes convenient pause in the program. In addition, at Symphony Hall. In these free, guided please also note that patrons who leave the tours, experienced members of the Boston auditorium during the performance will not Symphony Association of Volunteers unfold be allowed to reenter until the next convenient the history and traditions of the Boston Sym- pause in the program, so as not to disturb the phony Orchestra—its musicians, conductors, performers or other audience members while and supporters—as well as offer in-depth the music is in progress. We thank you for information about the Hall itself. Tours are your cooperation in this matter. offered on select weekdays at 4:30 p.m. and some Saturdays at 5 p.m. during the BSO season. Please visit bso.org/tours for more information and to register.

week 3 bso news 13 on display in symphony hall This year’s BSO Archives exhibit on the orchestra and first-balcony levels of Symphony Hall encompasses a widely varied array of materials, some of it newly acquired, from the Archives’ permanent collection. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • An exhibit case in the Brooke Corridor documenting the longtime relationship between the great Puerto Rican pianist Jesús María Sanromá and the BSO and Boston Pops from 1923 to 1968 • An exhibit case in the Brooke Corridor spotlighting guest violin soloists with the BSO in the first decades of the 20th century • An exhibit case in the Brooke Corridor providing an overview of the BSO’s principal cellists from 1881 to the present • Two exhibit cases in the Hatch Corridor focusing on outside events at Symphony Hall, including travelogues and community-oriented activities in the first balcony corridors: • An exhibit case, audience-right, highlighting the BSO’s recent acquisition of a 1936 plaster sculpture of BSO founder Henry Lee Higginson done from life by local artist Paul Vinal Winters • An exhibit case, also audience-right, displaying photographs and postcards depicting Symphony Hall and its environs as part of Boston’s changing cityscape • An exhibit case, audience-left, documenting how patrons secured their tickets in the early years of the BSO in the cabot-cahners room: • In conjunction with the BSO’s upcoming tour to the Far East, three exhibit cases focusing on the BSO’s initial Far East tours in 1960, 1978, and 1979 • A display of photos by George Humphrey, BSO violist from 1934 to 1977, from the 1960 Far East tour

TOP OF PAGE, LEFT TO RIGHT: Jesús María Sanromá and Arthur Fiedler, c.1930 (photographer unknown) Season ticket, made of brass, from the BSO’s inaugural subscription season, 1881-82 (Bridget Carr) Seiji Ozawa conducting at Beijing’s Capital Stadium, March 1979 (Story Lichfield)

week 3 on display 15 Marco Borggreve

Andris Nelsons

The 2019-20 season, Andris Nelsons’ sixth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director, marks his fifth anniversary in that position. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons leads fifteen of the BSO’s twenty- six weeks of concerts this season, ranging from repertoire favorites by Beethoven, Dvoˇrák, Gershwin, Grieg, Mozart, Mahler, Rachmaninoff, Ravel, and Tchaikovsky to world and American premieres of BSO-commissioned works from Eric Nathan, Betsy Jolas, Arturs Maskats, and HK Gruber. The season also brings the continuation of his complete Shosta- kovich symphony cycle with the orchestra, and collaborations with an impressive array of guest artists, including a concert performance of Tristan und Isolde, Act III—one of three BSO programs he will also conduct at Carnegie Hall—with Jonas Kaufmann and Emily Magee in the title roles. In addition, February 2020 brings a major tour to Asia in which Maestro Nelsons and the BSO give their first concerts together in Seoul, Taipei, Hong Kong, and Shanghai.

In February 2018, Andris Nelsons became Gewandhauskapellmeister of the Gewandhaus- orchester (GHO) Leipzig, in which capacity he also brings the BSO and GHO together for a unique multi-dimensional alliance including a BSO/GHO Musician Exchange program and an exchange component within each orchestra’s acclaimed academy for advanced music studies. A major highlight of the BSO/GHO Alliance is a focus on complementary programming, through which the BSO celebrates “Leipzig Week in Boston” and the GHO celebrates “Boston Week in Leipzig,” thereby highlighting each other’s musical traditions through uniquely programmed concerts, chamber music performances, archival exhibits, and lecture series. For this season’s “Leipzig Week in Boston,” under Maestro Nelsons’ leadership in November, the entire Gewandhausorchester Leipzig comes to Symphony Hall for joint concerts with the BSO as well as two concerts of its own.

In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. In November 2017, he and the orchestra toured Japan together for the first time. They have so far made three European tours together: immediately following the 2018 Tanglewood season, when they played concerts in London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam; in May 2016, a tour that

16 took them to eight cities in Germany, Austria, and Luxembourg; and, after the 2015 Tanglewood season, a tour that took them to major European capitals and the Lucerne, Salzburg, and Grafenegg festivals.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tanglewood debut in July 2012, and his BSO subscription series debut in January 2013. His recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms symphonies on BSO Classics; Grammy-winning recordings on Deutsche Grammophon of Shostakovich’s symphonies 4, 5, 8, 9, 10, and 11 (The Year 1905) as part of a complete Shostakovich symphony cycle for that label; and a recent two-disc set pairing Shostakovich’s symphonies 6 and 7 (Leningrad). This November, a new release on Naxos features Andris Nelsons and the orchestra in the world premieres of BSO-commissioned works by Timo Andres, Eric Nathan, Sean Shepherd, and George Tsontakis. Under an exclusive contract with Deutsche Grammophon, Andris Nelsons is also recording the complete Bruckner symphonies with the Gewandhausorchester Leipzig and the complete Beethoven symphonies with the Vienna Philharmonic.

During the 2019-20 season, Andris Nelsons continues his ongoing collaborations with the Vienna Philharmonic. Throughout his career, he has also established regular collaborations with the Berlin Philharmonic, Bavarian Radio Symphony Orchestra, and Royal Concertgebouw Orchestra of Amsterdam, and has been a regular guest at the Bayreuth Festival and the Royal Opera House, Covent Garden.

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

week 3 andris nelsons 17 Boston Symphony Orchestra 2019–2020

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

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

u BSO/GHO Musician Exchange participant: BSO members Lisa Ji Eun Kim and Clint Marian Gray Lewis chair, Foreman play with Leipzig’s Gewandhausorchester (GHO) for the first half of the season endowed in perpetuity while GHO members Veronika Starke and Manfred Ludwig play with the BSO. Manfred Ludwig u 18 photos by Robert Torres and Winslow Townson

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

week 3 boston symphony orchestra 19 HOW TOWNIES BECOME INTERNATIONA L-IES. Delta now oﬀers the most international ﬂights from Boston.

Based on 2019 departures from Boston, by Delta and its airline partners. Some oﬀerings are seasonal. BSO Archives

A Brief History of Symphony Hall

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

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

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

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

week 3 a brief history of symphony hall 21 BSO Archives

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

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

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

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

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

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

22 BSO Archives

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

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

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

week 3 a brief history of symphony hall 23

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For more information, contact John Morey at 617-292-6799 or [email protected] A Message from Andris Nelsons

Dearest Friends,

In 2019-20, my sixth season with the orchestra, the BSO and I look forward to continuing our musical journey not only with each other, but with you, our devoted audience. Whether you are a longtime subscriber or new to Symphony Hall, the sense of family and community we share together is so very meaning- ful to us all. The need for music in our hearts, and in our lives, feels more and more important each year.

A special highlight of this season is our third “Leipzig Week in Boston,” in November, celebrating our wonderful BSO/GHO Alliance with the Gewandhaus Orchestra (GHO) of Leipzig. This year, the GHO itself comes to Boston not only for concerts of its own, but to join forces with the BSO in programs featuring principal players from both orchestras as soloists. Our Shostakovich symphony cycle being recorded live for Deutsche Grammophon continues with his Sym- phony No. 12, Symphony No. 2, and Chamber Symphony. Our exploration of Strauss’s music continues with the Symphonia domestica. Among the many guest artists either returning to Symphony Hall or making debuts with the orchestra, tenor Jonas Kaufmann, who was here for Act II of Wagner’s Tristan und Isolde in 2018, returns for Act III. I am also very happy to be conducting BSO commissions by HK Gruber, Betsy Jolas, Arturs Maskats, and Eric Nathan.

The idea of family remains central, with principal cello Blaise Déjardin, principal wind players John Ferrillo, Elizabeth Rowe, and Richard Svoboda, and principal trumpet Thomas Rolfs among our soloists. Artistic Partner Thomas Adès returns to the BSO podium, and BSO Assistant Conductor Yu-An Chang makes his subscription series debut. April brings a significant family milestone with the 50th anniversary of the Tanglewood Festival Chorus.

Of course, these are just a few highlights of what promises to be another truly exciting season. We look forward to your being part of it, and we extend continuing thanks for your devotion and great support.

With warm wishes,

week 3 a message from andris nelsons 27 Celebrating Malcolm Lowe

Malcolm Lowe, who joined the BSO as concertmaster in 1984 during Seiji Ozawa’s music directorship, has retired following thirty-five years in that position. In 1984, Mr. Lowe became the tenth concertmaster of the BSO since its founding in 1881 and only its third since 1920. His tenure as BSO concertmaster has been exceeded by just one other in the orchestra’s 138-year history, that of Richard Burgin, whose forty-two-year tenure as concertmaster began in 1920. As concertmaster, Malcolm Lowe has been the leader of the Boston Symphony Orchestra’s

Marco Borggreve string section, as well as violinist and artistic director of the Boston Symphony Chamber Players (BSCP). For the past three-and-a-half decades, he has played as concertmaster on national and international tours as well as on numerous BSO and BSCP recordings; he has played a significant role with his BSCP colleagues in commissioning new works for the Chamber Players; and he has been heard with the BSO in major works for solo violin and orchestra, as well as in such key violin solos of the orchestral repertoire as those in Brahms’s First Symphony, Beethoven’s Missa Solemnis, Strauss’s Ein Heldenleben, and Rimsky-Korsakoff’s Scheherazade. He served on the search committee that led to Andris Nelsons’ appointment as BSO music director; he was an active participant throughout his tenure on every audition committee organized to fill vacant positions in the orchestra; and he has been a faculty member at the Tanglewood Music Center.

Born to musical parents—his father was a violinist and his mother a vocalist—on a farm in Hamiota, Manitoba, Malcolm Lowe moved with his family to Regina, Saskatchewan, at the age of nine. He studied at the Regina Conservatory of Music with Howard Leyton- Brown, former concertmaster of the London Philharmonic, and later studied with Ivan Galamian at the Meadowmount School of Music and at the Curtis Institute of Music. He also studied violin with Sally Thomas and Jaime Laredo and was greatly influenced by Josef Gingold, Felix Galimir, Alexander Schneider, and Jascha Brodsky. Prior to his Boston appointment, he was concertmaster of the Quebec Symphony Orchestra. The recipient of numerous awards, he was one of the top laureate winners in the 1979 Montreal International Violin Competition.

A BSO Archives display case celebrating Malcolm Lowe’s tenure as concertmaster of the Boston Symphony Orchestra can be found in the Brooke Corridor on the orchestra level of Symphony Hall near the Massachusetts Avenue entrance.

A Message From Malcolm Lowe

“I have decided that it is time for me to retire as the Boston Symphony Orchestra’s concertmaster, to begin a new adventure and artistic journey, and listen to the voices beckoning me to do other things with the rest of my life.

“From the bottom of my heart, I thank my orchestra colleagues and Andris Nelsons for their dedication and their ability to delve deeply into the music and ask the

28 unanswerable questions—to find the voice that lifts music from the ordinary to an extraordinary living poetry. I will cherish forever the shared moments of everyday work, moments striving in our artistic search, practicing, trying to perfect, to contribute, to give meaning to our efforts, the music, our team, and our orchestra. I am also forever grateful to our generous audiences and donors for their incredible passion and support year after year, concert after concert—their enthusiasm never wanes.

“My recovery to health and playing this summer at Tanglewood after a year’s absence due to a concussion injury has been one of my most satisfying accomplishments—truly a mountain conquered. I feel so blessed that I was able to meet this challenge and get back to full strength and power. Being able to perform again with all of my colleagues was a gift to me, and I am so very grateful to all of them for their many kind words of support and encouragement.

“It was my honor to serve as the Boston Symphony Orchestra’s concertmaster for the past thirty-five years. It was really an exciting adventure and brought unexpected meaning to a boy from the prairies of Canada.”

Some Words From Andris Nelsons

“Malcolm Lowe’s thirty-five-year career as Boston Symphony Orchestra concertmaster represents an extraordinary dedication and commitment to excellence at the highest level of music-making.

“Malcolm has inspired generations of music lovers with his exquisite musicality and beauty of sound, along with his unerring consistency of performance, time and again, at the highest levels of his art form. As only the third BSO concertmaster in nearly a century, Malcolm leaves a legacy of musical excellence and leadership that will live on among the singular accomplishments that have contributed to the BSO’s storied history and its reputation as one of the world’s greatest orchestras.”

“We are deeply indebted and grateful to Malcolm for sharing his countless musical gifts with us these many years. We wish him the very best as he moves into a beautiful new chapter of his life while remaining one of the Marco Borggreve most treasured members of the BSO family.”

week 3 celebrating malcolm lowe 29 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 139th season, 2019–2020

Thursday, October 3, 8pm | the catherine and paul buttenwieser concert Friday, October 4, 1:30pm Saturday, October 5, 8pm | the stephen and dorothy weber concert

andris nelsons conducting

james lee iii “sukkot through orion’s nebula”

shostakovich piano concerto no. 1 in c minor, opus 35 Allegro moderato Lento Moderato Allegro con brio yuja wang, piano thomas rolfs, trumpet

{intermission} Peter Vanderwarker

30 smetana selections from “má vlast” (“my country”) Vltava (The Moldau) From Bohemia’s Woods and Fields Blaník

this week’s performances of james lee iii’s “sukkot through orion’s nebula” are supported in part by income from the morton margolis fund in the bso’s endowment.

bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2019-20 season. friday-afternoon concert series sponsored by the brooke family

The evening concerts will end about 9:50 and the afternoon concert about 3:20. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 3 program 31 The Program in Brief...

Michigan-born composer James Lee III’s Sukkot Through Orion’s Nebula was premiered by the New World Symphony under the direction of Michael Tilson Thomas in 2011, and has since become the composer’s most frequently performed work. A dynamic, colorful, ten-minute score in three parts, Sukkot Through Orion’s Nebula is an imaginative musical depiction of theological concepts of the Seventh-day Adventist Church, of which Lee has been a member since childhood. Lee was a Tanglewood Music Center Composition Fellow in 2002 and holds a doctorate from the University of Michigan. In addition to being a successful composer, he is a Professor of Music at Morgan State University in Baltimore.

The young Dmitri Shostakovich could have pursued a career as a virtuoso pianist (on his graduation recital from the Leningrad Conservatory he played Beethoven’s mighty Hammerklavier Sonata), but he was a painfully shy and private man who lacked the physical health, public personality, and practice time that such a career demanded. In 1933, however, he did compose a piano concerto for his own use, probably hoping to supplement his income with performance fees. In fact, the work began as a trumpet concerto, but the piano took over; the trumpet still plays a prominent part and gets some of the best tunes. The bedfellows of this concerto are strange indeed—Bach, Beethoven, Haydn, Mahler, Ravel, Stravinsky, Poulenc, and popular song. The insouciant opening gesture makes it clear that the piece will be both a concerto and a parody-concerto, a concerto and an anti-concerto; the piano and trumpet thumb their noses at the most popular Romantic concertos. The second movement is a slow, sad waltz, first heard in the strings, then elaborated by the piano before the muted trumpet sings it to sleep. After a bit of moody musing, Shostakovich launches the fizzing finale, which is full of cinematic juxtapositions and jump-cuts.

Bedˇrich Smetana became the first great Czech nationalist composer following Austria’s granting of political autonomy to Bohemia in 1860. Composed between 1872 and 1879, and taking their precedent from the symphonic poems of Liszt, the six brilliantly orchestrated tone poems of Smetana’s patriotic cycle Má Vlast (My Country) evoke the folklore, history, and geography of his native Bohemia. To close this week’s program, the present selection from Má Vlast comprises the second, fourth, and sixth tone poems from the complete work. “The Moldau” (“Vltava” in Czech), the most familiar of the six, and the one heard most frequently on its own, traces the course of the Moldau river through the region of the composer’s birth. “From Bohemia’s Woods and Fields,” as its title suggests, depicts the beauty of the Bohemian countryside. “Blaník” is a mountain where 15th-century Hussite warriors took refuge before rallying victoriously to the defense of their country.

Robert Kirzinger/Richard Dyer/Marc Mandel

32 James Lee III “Sukkot Through Orion’s Nebula”

JAMES LEE III was born in St. Joseph, Michigan, on November 26, 1975, and lives in Edgewood, Maryland. “Sukkot Through Orion’s Nebula” was commissioned by the Sphinx Commissioning Consortium (Sphinx Organization, Detroit, Grand Rapids, Chautauqua, Akron, New World, Nash- ville, Cincinnati symphonies). Lee finished the score on May 18, 2011. Michael Tilson Thomas led the premiere with the New World Symphony in Miami, Florida, on October 15, 2011. These are the first BSO performances of any music by James Lee III.

THE SCORE OF “SUKKOT THROUGH ORION’S NEBULA” calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (marimba, xylophone, glockenspiel, vibraphone, snare drum, bass drum, tambourine, triangle, suspended cymbal, crash cymbals, tam-tam, temple blocks, wood block, thundersheet, glass wind chimes), harp, piano (doubling celesta), and strings. The duration of the piece is approximately ten minutes.

James Lee III grew up in the southwestern Michigan community of Benton Harbor, adjacent to lakeside St. Joseph where he was born. Although his father’s side of the family was musical (albeit without formal training), prior to beginning piano lessons at age twelve Lee wasn’t overwhelmingly interested in music. Those lessons were a turn- ing point: he progressed very quickly as a pianist for someone starting so late and also began to compose for piano. By the end of his high school years he was self-confident enough to have written a piano concerto for himself to perform with his peers. He also sang in choirs throughout much of his youth.

Lee was raised as a member of the Seventh-day Adventist Church, which strongly shaped his education, life, and music. The first Seventh-day Adventist church was founded in 1863 in Battle Creek, Michigan. The Church is a Protestant denomination, the specific ideol- ogies of which evolved from the mid-19th-century theology of Adventism, based on a conviction that the second coming of Christ is imminent. (Among other particularities,

week 3 program notes 33 James Lee III on his “Sukkot Through Orion’s Nebula”

Sukkot Through Orion’s Nebula is a festive work for orchestra. Sukkot is a Hebrew word for the “Feast of Tabernacles.” In biblical days, this holiday was celebrated on the 15th day of the month of Tishrei (late September to late October). It was the most joyous of the fall festivals that God mandated the Hebrews to observe. It was also a thanksgiving celebration for the blessings of the fall harvest. “Orion’s Nebula” refers to a nebula seen in the Orion constellation. The nebula forms a roughly spherical cloud that peaks in density near the core. The cloud displays a range of velocities and turbulence, particularly around the core region.

This work is loosely constructed in a ternary form of seven small sections. It is a musical commentary on the eschatological application of the antitypical “day of atonement” (Yom Kippur) and the “feast of tabernacles” (Sukkot). The seven sections are briefly summarized below: 1. Reminiscences of the Feast of Trumpets (Rosh Hashanah) and the Day of Atonement (Yom Kippur) by percussive forceful sounds of the snare and bass drums open the work. This is further enhanced by the horns, which imitate the calls of the shofar (a horn used for Jewish religious purposes). 2. The full orchestra continues to a cadence foreshadowing the grand advent of God. 3. The woodwinds follow with joyful passages of flourishes and dancelike celebrations, which imitate the people’s reception of the Messiah. As this music continues, the motives pass on to the percussion section, piano, harp, and eventually the strings. 4. Previous melodies and motives are developed and transformed among the tutti orchestra. This section is a musical commentary celebrating the Second Coming of God. 5. The Orion constellation is the one constellation mentioned specifically in the Old Testament. Revelation 14 presents imagery of a harvest and later in the book, the city of the New Jerusalem is presented as coming down from heaven. The muted brass, singing violins, percussion instruments, and woodwinds are employed which is intended to evoke celestial images of the Messiah coming down out of heaven through the Orion constellation first, the redeemed saints traveling through the constellation, and finally the New Jerusalem coming down out of heaven. At various points, violins soar in the higher registers that tend to have a quality of weightlessness. Trills among the strings cease as they continue to climb to heights of bliss in paradise. I have created a leitmotif for the name Michael that occurs in an earlier orchestral work of mine. This melody is heard in the horns as we move onto the next section. 6. The bass and snare drums provide a reprise of the “shofar theme.” This continues with orchestral exclamations of joy. 7. There are passages of “call-and-response” among the ensemble in the final celebration that continues until the work ends with an explosion of sound.

James Lee III

34 ESA] and the Hubble Space Telescope Orion Treasury Project Team) (NASA, ESA, M. Robberto [Space Telescope Science Institute/

The Orion Nebula as photographed by the Hubble Telescope

Seventh-day Adventists mark their Sabbath on Saturday, the last day of the week, in keeping with a literal reading of the Bible.) James Lee III attended high school at Andrews Academy, a Seventh-day Adventist school in Berrion Springs, Michigan, and went on to attend the affiliated Andrews University.

Via his piano lessons and the classical music programming of the Andrews radio station, classical music supplanted pop and Lee became interested in music of dense activity and harmonic richness—works of Beethoven, Liszt’s Transcendental Etudes. As his awareness of repertoire grew, he gravitated toward music with strong sociological and geographical orientation, work with a direct connection to the composer’s life and milieu. He encoun- tered the piano music of William Grant Still (1895-1978), whose Symphony No. 1, Afro- American, was the first symphony by an African-American to be performed by a major U.S. orchestra. The Argentine composer Alberto Ginastera’s early, South American folk music-influenced work was also a draw, especially because of its rhythmic vitality.

After Andrews University, Lee earned a degree in piano performance as an undergraduate at the University of Michigan. As a college senior he applied to graduate school for composition; he earned his doctorate from the University of Michigan. In summer 2002, he was a Composition Fellow of the BSO’s Tanglewood Music Center. He counts among his teachers Michael Daugherty, William Bolcom, Bright Sheng, and Betsy Jolas; at Tanglewood he also worked with Osvaldo Golijov, Michael Gandolfi, Steven Mackey, and Kaija Saariaho. Lee’s The Appointed Time, for string quartet, and a choral setting of Psalm 61 were given their premieres at Tanglewood. Following his graduation from Michigan, Lee joined the faculty of Morgan State University in Baltimore, Maryland, where he is now a Professor of Music.

Lee had already begun to establish a reputation before his Tanglewood summer; in 2001

week 3 program notes 35 boston symphony chamber players at jordan hall Founded in 1964, the Boston Symphony Chamber Players combine the talents of BSO principal players and renowned guest artists to explore the full spectrum of chamber music repertoire. The ensemble’s four-concert series takes place on Sunday afternoons at New England Conservatory’s Jordan Hall. A highlight of the 2019–20 season will be the world premiere in April of Michael Gandolfi’s BSO- commissioned new work for voices and ensemble. Single Tickets: $38, $29, $22 Please note that on the day of the concert, tickets may only be purchased at Jordan Hall. Subscription tickets for the 4-concert series are still available at $132, $95, and $75. sunday, october 20, 3pm sunday, march 22, 3pm with Paolo Bordignon, harpsichord with Randall Hodgkinson, piano STRAVINSKY Octet for winds Kevin PUTS Seven Seascapes, for flute, horn, violin, THOMSON Sonata da Chiesa, for clarinet, horn, viola, cello, double bass, and piano trumpet, trombone, and viola Eric NATHAN Why Old Places Matter, for oboe, horn, CARTER Sonata for flute, oboe, cello, and and piano harpsichord SMYTH Variations on “Bonny Sweet Robin” Sofia GUBAIDULINA Etudes, for double bass (Ophelia’s Song), for flute, oboe, and piano FALLA Concerto for harpsichord, flute, oboe, MENDELSSOHN String Quintet No. 2 in B-flat, Op. 87 clarinet, violin, and cello sunday, april 26, 3pm sunday, january pm 19, 3 with John Brancy, baritone with David Deveau, piano J.S. BACH (arr. MOZART) Preludes and Fugues for SCHULHOFF Concertino for flute, viola, and double string trio bass Michael GANDOLFI Cantata (world premiere; György KURTÁG Selection from Signs, Games, and BSO commission) Messages, for two violins DAHL Allegro and Arioso, for wind quintet MARTINŮ Nonet for winds and strings BRITTEN Sinfonietta, Op. 1 REINECKE Trio in A minor for oboe, horn, and piano, Op. 188 BRAHMS Trio in A minor for clarinet, cello, and piano, Op. 114

For tickets, call 617-266-1200 or visit bso.org. his orchestral piece Papa Lapa was premiered by the Detroit Symphony Orchestra under the direction of Thomas Wilkins (now the Boston Symphony Orchestra’s Gemeshausen Youth and Family Concerts Conductor). Wilkins continues to champion Lee’s work, programming Sukkot Through Orion’s Nebula for his appearances as guest conductor with the Louisiana Philharmonic last month and with the Cincinnati Symphony Orchestra next month.

Since its premiere in 2011, Sukkot Through Orion’s Nebula has become Lee’s most frequently performed piece. This fall alone, in addition to the Louisiana and Cincinnati performances, it’s featured on concerts of the NEWorks Philharmonic under Julius Williams’s direction in Washington, D.C., and the Chicago Symphony Orchestra led by Juanjo Mena. His orchestral music has been performed by the Baltimore and Atlanta symphony orchestras, and has been embraced by regional and university orchestras throughout the country, among them the Akron Symphony, Omaha Symphony, Hopkins Symphony Orchestra, Grand Rapids Symphony, Columbia Orchestra of Maryland, Pasadena Symphony, and Susquehanna Symphony. Upcoming performances include the world premieres of To a City Beyond by the Orquestra Filarmônica Adventista do Brasil in January 2020, Emotive Transformations by the Louisville Orchestra and Roderick Cox in February, his Violin Concerto No. 2, Teshuah, by the Andrews University Symphony Orchestra in March, and Amer’ican by the Detroit Symphony Orchestra under Eric Jacobsen in April. The

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38 latter was commissioned specifically as a concert opener to be paired with Dvoˇrák’sNew World Symphony. His chamber music has been commissioned and performed by such groups as the Ritz Chamber Players, Harlem Chamber Players, and the Montrose Trio. As pianist and composer, Lee collaborated with soprano Alison Buchanan (who was both soloist and lyricist) for the first performances of their song cycleBeyond Mirrors of Color earlier this year.

In incorporating the stories and spirituality of Seventh-day Adventist beliefs into his music, James Lee III was partly inspired by the precedent of French composer Olivier Messiaen (1908-1992). From the Vingt Regards sur l’enfant-Jésus through the opera St. Francis of Assisi, the Catholic Messiaen explicitly sought to celebrate the physical world and the body as ecstatic manifestations of divinity. Lee, similarly, frequently (but not exclusively) channels the celebratory, optimistic aspects of Seventh-day Adventist teachings. Biblical connections are reflected in many of the composer’s titles, such as those of the chamber music pieces Night Visions of Kippur and the Piano Trio No. 2, Temple Visions, and his Piano Concerto, On Canaan’s Border. As in Sukkot Through Orion’s Nebula, these connections provide a jumping-off point for the music’s dramatic structure and expressive character. Adventist extramusical ideas, steeped as they are in history, go hand in hand with Lee’s musical and historical exploration of indigenous American culture. The overall goal is to connect with a broad, diverse audience.

Lee’s description of Sukkot Through Orion’s Nebula (see page 34) makes it clear that it ranges from the narrative-driven to imagistic evocations of transformative mystical events. His music—here and elsewhere—tends toward energy, power, and vibrant color, but one also finds passages of lyrical melody and delicate texture. His harmonic language is strongly tonal. Pounding percussion and brassy fanfares launch the start of the piece, an expository passage for full orchestra that gives way to woodwinds in Messiaen-like arabesques. The broad middle section of the piece is restrained and airy, an ethereal musical space suggested by the Orion Nebula. The third big section starts with a reca- pitulation of the bass drum-and-horn opening, leading to an extended, exuberant coda.

Robert Kirzinger

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

week 3 program notes 39 “First Republic understands our legacy and our bold aspirations. We defi ne the goal, and they help us get there.”

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(855) 886-4824 | fi rstrepublic.com | New York Stock Exchange symbol: FRC MEMBER FDIC AND EQUAL HOUSING LENDER Dmitri Shostakovich Piano Concerto No. 1 in C minor, Opus 35, for piano, trumpet, and string orchestra

DMITRI DMITRIEVICH SHOSTAKOVICH was born in St. Petersburg, Russia, on September 25, 1906, and died in Moscow on August 9, 1975. He composed his Piano Concerto in C minor for piano, trumpet, and string orchestra, Opus 35, between March 6 and July 20, 1933. Shostakovich himself played the solo piano part in the work’s premiere on October 15, 1933, in Leningrad, with trumpeter Alexander Schmidt and the Leningrad Philharmonic under the direction of Fritz Stiedry.

IN ADDITION TO THE SOLO PIANO, the score of Shostakovich’s Piano Concerto No. 1 calls for a single trumpet and strings.

When Dmitri Shostakovich began composing what eventually became his First Piano Concerto in early March 1933, he was riding high. Not yet thirty years old, he had already achieved international acclaim for his First Symphony, completed when he was a mere youth of nineteen. Two more choral symphonies followed. A catchy song he wrote for the score of the 1932 propagandistic filmCounterplan became a surprise pop hit. In Decem ber 1932 he finished an ambitious new opera,Lady Macbeth of the Mtsensk District, for which he (and many others) had high hopes. And on March 2, 1933, just a few days before he began work on the Piano Concerto, Shostakovich put the finishing touches on the last piece of a cycle of 24 Piano Preludes, Opus 34. He was full of energy and ideas, and rather pleased with himself.

True, his uncompromisingly avant-garde opera The Nose had run into severe problems with Soviet ideological censorship almost immediately after its 1930 premiere, an ominous sign of things to come. But in 1933, Soviet composers still enjoyed a certain degree of creative independence from the Communist government, now dominated by the despotic Josef Stalin. The situation would begin to worsen the following year, with the assassination of Leningrad Party boss Sergei Kirov and the official declaration of Socialist Realism as the mandatory (and heavily enforced) doctrine of Soviet culture. Still a few years away were the horrors of the Stalinist purges of artists and intellectuals, which would claim some of Shostakovich’s close friends. In the words of composer and

week 3 program notes 41 Program page for the first Boston Symphony performance of Shostakovich’s Piano Concerto No. 1 on August 16, 1986, at Tanglewood, with pianist Viktoria Postnikova, the BSO’s then principal trumpet Charles Schlueter, and (see facing page) conductor Carl St. Clair substituting for Gennady Rozhdestvensky (BSO Archives)

42 Shostakovich biographer Krzysztof Meyer, Shostakovich had already been “sucked into the hellish machine of the Soviet Communist system”—although he did not seem to understand this fully in 1933, the calm before the storm.

With marriage to his longtime sweetheart Nina Varzar on May 13, 1932, Shostakovich’s personal life had recently become more tranquil and (for the most part) happier. For the moment, his star was in the ascendant, and despite what his sister Maria called his “difficult and demanding” character and extreme mood swings, he seemed to be enjoying the ride.

In both good times and bad, the piano had always been something of a refuge for Shosta kovich. He first studied the instrument with his mother at age nine. Later, at Petrograd (formerly St. Petersburg) Conservatory, he completed the piano course under the renowned Leonid Nikolayev before deciding to devote himself more completely to composition. According to his friend Lydia Zhukova, Shostakovich “was a wonderful pianist, with strong hands and his own precise and somewhat dry manner of playing.” Other observers noted that he liked to treat the piano as a percussion instrument, and without sentimentality.

In the 1920s, Shostakovich played regularly as a piano accompanist for silent films in order to finance his studies, in the process becoming well acquainted with cinema and

week 3 program notes 43

Shostakovich in the early 1940s with daughter Galya, wife Nina, and pigs

improvisation. So highly did the Conservatory faculty think of his piano skills that he was selected as a member of the Soviet team to compete in the Chopin Competition in Warsaw in 1927. Shostakovich’s failure to distinguish himself there, however, was a source of considerable embarrassment, and led him to abandon his youthful dream of assuming the double role of keyboard virtuoso and composer (like Sergei Rachmaninoff). As time went on, he focused increasingly on composition and appeared as a pianist for the most part only when playing his own music.

Shostakovich’s return to composition for the piano in 1932-33, after a five-year pause (his last work for the instrument had been the 1927 solo cycle Aphorisms), can be seen as a sort of interlude. Perhaps he was seeking some respite from the difficult col- laborative work required for the music he had been producing for theater, ballet, and opera. According to some sources, Shostakovich decided to write the Opus 34 Preludes and the Opus 35 Piano Concerto (composed in rapid succession from December 1932 through July 1933) primarily as vehicles for himself, with which he could return to a more active performing career. Another Shostakovich biographer, Sophia Khentova, speculates that Shostakovich was seeking to “clear his mind” after finishing Lady Macbeth of Mtsenk, a big tragic opera set in pre-Revolutionary 19th-century Russia, by “returning to the present, to the world that he saw around him and in which he participated—the life of the twenties and the early 1930s.” This may account for the topical, light, humorous, satirical, and eclectic personality of the Piano Concerto No. 1, at moments reminiscent of a silent movie chase scene or a circus sideshow, and much simpler in its musical language than the extremely dissonant, atonal score for The Nose.

Initially, Shostakovich had considered writing a trumpet concerto for the distinguished Leningrad Philharmonic trumpeter Alexander Schmidt. But he found the technical challenges daunting, and so decided to add a piano and make it a double concerto for trumpet and piano. But eventually the piano took precedence in the composition, with the trumpet soloist playing a prominent but secondary role, producing a novel sonic

week 3 program notes 45 Proud to support the Boston Symphony Orchestra combination. The spare orchestration (piano, trumpet, and strings, with no woodwinds or other brass or percussion) is quite unusual for Shostakovich, especially when com- pared to his previous two symphonies, written for large orchestra with chorus, and especially to the gigantic Fourth Symphony that came only three years later—one of the largest symphonies (both in length and personnel) ever composed. The small scale and frankly ironic intentions of the First Piano Concerto (it lasts just over twenty minutes) also depart markedly from—even poke fun at—the tradition of the blockbuster Russian romantic piano concerto handed down by Tchaikovsky and Rachmaninoff.

Shostakovich’s models here are an entirely different cast of characters, all of them modernists: Igor Stravinsky, Sergei Prokofiev, Francis Poulenc, Maurice Ravel, Paul Hindemith. The idea for the unusual choice of instruments may have been inspired in part by Stravinsky’s 1924 Concerto for Piano and Winds, which Shostakovich came to know in 1928. One also senses a certain kinship (particularly in the slow movement) with Ravel’s 1932 Piano Concerto in G, an equally sunny and playful work without pre- tensions to profundity. And the use of varied musical material, from high to low, can be traced to Shostakovich’s passionate love for the music of Gustav Mahler. As Mahler often does, Shostakovich here quotes from various sources, with intent of parody: Haydn’s D major piano sonata, Beethoven’s rondo Rage over a lost penny, a street song from Odessa. Echoes from jazz and the music hall also resound in what is an unabashed celebration of a hodge-podge of popular and classical styles.

For all of its irreverence, the Piano Concerto observes many of the rules of the genre. The opening movement, firmly in C minor, uses traditional sonata form structure, contrasting a reflective first theme (announced at the outset by the almost unaccompanied piano soloist) with a dancelike second one. A slow waltz (sometimes called a “waltz-Boston”) dominates the second movement, in ABA form; the return of the lovely main theme in the muted trumpet is a stroke of simple genius. After a tiny third movement (opening with an extended piano solo passage) that serves as little more than an interlude, the rambunctious

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48 fourth movement somersaults home to C minor. The piano cadenza that appears just before the end of the finale was added at the urging of pianist Lev Oborin, who insisted that a piano concerto would be incomplete without one. So Shostakovich obliged, using for the cadenza the theme of Beethoven’s prankish Rondo a capriccio in G, Opus 129, Rage over a lost penny. The following coda proceeds to an affirmative conclusion in C major, propelled by the trumpet’s comically insistent martial summons.

Shostakovich’s performance of the piano solo part at the premiere in Leningrad was greeted with enormous enthusiasm and rapturous reviews. Just as he had hoped, the new concerto resuscitated his piano career and brought him engagements to play it all over the USSR. Oborin soon learned the piece and became one of its most active champions.

There was one odd postscript to the tale of the First Piano Concerto. At the time of its premiere, composer Sergei Prokofiev, Shostakovich’s senior by fifteen years and a recognized master of the keyboard, was strengthening his ties to Soviet music and preparing for his move back to Russia a few years later. Prokofiev had been eager to hear Shosta - kovich’s new concerto, so their mutual friend, the writer Alexei Tolstoy, arranged a lunch at his house and invited them both. As Solomon Volkov relates in his book Shostakovich and Stalin, after lunch the two composers played from their music on the piano. Shostakovich was highly complimentary about Prokofiev’s performance of excerpts from hisClassical Symphony. But when Shostakovich played his First Piano Concerto, Prokofiev’s response was considerably less positive. As Alexei Tolstoy’s son Dmitri later described, Prokofiev crossed his legs, draped his arm over the back of his chair, and said, “This work seemed immature to me, rather formless. As for the material, the concerto seems stylistically too motley to me. And not in a very good taste.”

Prokofiev’s impolitic remarks profoundly offended Shostakovich, writes Volkov, and led to their estrangement. “Eventually, superficial decorum was re-established, but the deep crack in the relationship of the two great composers remained.”

Harlow Robinson harlow robinson, is an author, lecturer, and Matthews Distinguished University Professor Emeritus of History at Northeastern University. His books include “Sergei Prokofiev: A Biography”; “Russians in Hollywood, Hollywood’s Russians,” and the forthcoming “Lewis Milestone: Life and Films.” He is a frequent lecturer and annotator for the Boston Symphony Orchestra, Lincoln Center, Los Angeles Philharmonic, and Metropolitan Opera Guild.

THE FIRST BOSTON SYMPHONY PERFORMANCE of Shostakovich’s Piano Concerto No. 1 took place on August 16, 1986, at Tanglewood; the piano soloist was Viktoria Postnikova, the conductor Carl St. Clair (substituting for Gennady Rozhdestvensky). The only BSO performances since then have featured Emanuel Ax with conductors Charles Dutoit (subscription performances in April 1990) and Robert Spano (at Tanglewood in July 1992); Marc-André Hamelin with Julian Kuerti (the most recent subscription performances, in April 2010), and Jean-Yves Thibaudet with Marcelo Lehninger (the most recent Tanglewood performance, on August 1, 2014).

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Become part of a 62+ community where daily activities, classes and social events keep you energized and engaged at natick Bedrichˇ Smetana “Vltava” (“The Moldau”), “From Bohemia’s Woods and Fields,” and “Blaník” from “Má Vlast” (“My Country”)

BEDRICHˇ SMETANA was born in Litomyˇsl, Bohemia, on March 2, 1824, and died in Prague on May 12, 1884. He composed “Má Vlast” (“My Country”), a patriotic cycle of six symphonic poems, in Prague between 1872 and 1879. Concentrated work on the cycle took place between late Sep- tember and November 18 of 1874, “VLTAVA” being written between November 20 and December 10 that year; “FROM BOHEMIA’S WOODS AND FIELDS” between June 3 and October 18, 1875; and “BLANÍK” between December 1878 and March 9, 1879. The cycle was introduced to the public piecemeal, the six symphonic poems all being given their first performances in Prague, that of “The Moldau” taking place on April 4, 1875; that of “From Bohemia’s Woods and Fields” on December 10, 1876; and “Blaník” on January 4, 1880. The full cycle received its first performance on November 5, 1882, in Prague, under the direction of Adolf Cech.ˇ

THE SCORE OF “MÁ VLAST” calls for two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals, bass drum, harp, and strings.

We think of Smetana as perfectly embodying the spirit of Czech nationalism in music, one of the most prominent specimens of a nationalist composer from any land; and he himself certainly aspired to such a claim. But it was not his sole ambition to “be Czech,” nor did his countrymen always recognize his credentials as a nationalist composer. Indeed, he was shunned by some as being too German, or too Wagnerian, or not national enough. Others have seen Smetana as the purest exponent of Czech music, often at the expense of Dvoˇrák, whose worldwide fame and international travel diminish (in their view) his attachment to his homeland.

There is a sunny exuberance in Smetana’s music that belies the battles and misfortunes he had to contend with all his life. Critical rejection, political opposition, domestic strife, the deaths of three daughters, petty rivalries, poverty, deafness, and dementia—these all afflicted him at various times, and he died, at sixty, a tormented and unhappy man. In due course his music, feeding into the brilliant generation that followed, came to define

week 3 program notes 51 Program page for the first BSO performance of Smetana’s “The Moldau” on November 22, 1890, with Arthur Nikisch conducting—the first time that any music from “Má Vlast” was played by the BSO (BSO Archives)

52 The Bedˇrich Smetana museum on the bank of the Moldau in Prague

the Czech style to the wider world, whether the Bohemian peasantry would have recognized it as such or not.

After finishing his operaThe Bartered Bride—written for the opening in 1862 in Prague of the Provisional Theatre, a new opera house devoted to Czech-language works— Smetana composed three more operas on Czech themes: the beautiful and too little known Dalibor, and the spectacular pageant opera Libuše, based on the mythical deeds of the Bohemian princess Libuše in ancient times. This eventually found its place as a grand ceremonial work, first played at the opening of the National Theatre in 1881 and to this day reserved by the Czechs for similar national occasions. The third opera was a comedy, The Two Widows. While at work on Libuše, Smetana conceived the idea of a series of orchestral works that proclaimed the greatness of Bohemia’s past without dependence on a text. He had always loved the hills and rivers of Bohemia, and his childhood had been spent in small towns in the country redolent of history and folk traditions.

Libuše was completed in November 1872, five days after an announcement in the press that Smetana was at work on two symphonic poems, Vyšehrad (which became the opening number of Má Vlast) and Vltava (The Moldau). Libuše is set in the castle of Vyšehrad, and in Act II a theme is introduced that was to play a part in the symphonic poem. The first of the two symphonic poems was completed in November 1874, a month after Smetana had suffered one of the cruelest blows of his life: he completely lost his hearing. He was subjected to a variety of treatments, all uncomfortable and all useless, and he was overwhelmed with despondency. Nevertheless he continued to compose, and set to work on Vltava almost immediately. By February 1875 he had finished the third in the cycle, Šárka, while From Bohemia’s Woods and Fields was composed that summer.

This was provisionally the close of the cycle, and each piece was played in Prague concerts. In the winter of 1878-79 he added two more symphonic poems to the set, Tábor

week 3 program notes 53 and Blaník. The cycle was entitled first Vlast“ ” (“Country”) and finally Má“ Vlast” (“My Country”). In a letter to his publisher, Smetana provided program notes for each of the six symphonic poems in the cycle, so the narrative and illustrative content of the music is not in any doubt. The formal design of each piece was derived from Liszt’s symphonic poems, which Smetana greatly admired, not least for their freedom of content and design. He admired Berlioz and Wagner too, without ever sounding as if he needed to borrow their language.

“Vltava”—The Vltava is the river that winds north through the city of Prague embracing the old town in its westerly bend and setting the great castle of Hradˇc any in powerful relief. Its German name, still clinging to the music if not to the river, is Moldau. The river’s course starts as a trickle, is joined by a second source, and then grows into a broad stream. It passes through fields and forests to the sound of hunting horns, then to the

54 Title page of a piano-duet arrangement, published in 1880, of “From Bohemia’s Woods and Fields” from “Má Vlast”

scene of gaiety and dancing at a village wedding on the bank. Here the music has an irresistible lilt which fades as the river flows on.

Night falls and the moon comes out. Nymphs are seen at the water’s edge and ruined castles appear on the bluffs above. The river tumbles through the St. John’s Rapids, then flows powerfully on to the city of Prague. The “Vyšehrad” theme, which recurs promi- nently throughout Má Vlast, is heard as the fortress comes into view. The close suggests the long journey ahead until the river finally joins the Elbe.

“From Bohemia’s Woods and Fields”—This movement carries no story, but depicts an idyll of Czech country life. The alternation of minor and major harmony is pervasive, suggesting no more than clouds and sunshine, solitude and company. The theme heard on the clarinet near the beginning represents, according to Smetana, a naive country girl walking through the fields. The unusual fugue, starting high in the violins, evokes the beauty of nature at noon on a summer’s day. This alternates with a broad theme on the horns, full of warmth and placidity, but a polka finally asserts itself and has all the pea- sants dancing.

“Blaník”—Blaník picks up where the previous movement of the complete cycle, Tábor, leaves off, repeating its final bars. Tábor is a town in southern Bohemia which became a center for the Hussite movement in the early fifteenth century and a symbol of Czech religious freedom. The Hussite hymn “Kdož jste boži bojovníci” (“Ye who are God’s warriors”) is the all-pervading theme and musical motto of that movement. The hymn is still

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10 Longwood Drive | Westwood, MA 02090 | foxhillvillage.com | 781.948.9295 prominent in Blaník, but the music reaches out further to follow the Hussites’ destiny. Defeated and outlawed, they take refuge in the heart of Blaník mountain and fall into a deep slumber to await the day when they can emerge to save their country in its hour of need. A few broken fragments in the winds introduce an idyll, described by Smetana as an intermezzo, with a young shepherd boy playing his pipe and hearing the echo off the mountainside. A long quiet chord in the strings suggests the sleeping warriors within.

Despite gathering tension, the day comes when glory greets the returning warriors. Celebration is centered on the Hussite hymn and a return of the Vyšehrad themes (from the cycle’s opening movement) woven gloriously together, and tinged with the irrepress- ible rhythms of folk dance, Smetana’s true national dialect.

Hugh Macdonald hugh macdonald, general editor of the New Berlioz Edition, was for many years Avis Blewett Professor of Music at Washington University in St. Louis. A frequent guest annotator for the BSO, he has written extensively on music from Mozart to Shostakovich, including biographies of Berlioz, Bizet, and Scriabin, and a recently completed book on the operas of Saint-Saëns.

THE FIRST AMERICAN PERFORMANCE of “Vltava” (“The Moldau”) was given in one of Frank Van der Stucken’s Novelty Concerts, at New York’s Steinway Hall on February 2, 1885.

THE FIRST BSO PERFORMANCE OF “THE MOLDAU” was given by Arthur Nikisch in November 1890, subsequent performances being given—not as part of the complete “Má Vlast”—by Emil Paur, Wilhelm Gericke, Karl Muck, Max Fiedler, Ernst Schmidt, Pierre Monteux, Richard Burgin, George Szell, Thor Johnson, Charles Munch, Rafael Kubelik, Erich Leinsdorf, Marek Janowski, Roger Norrington, Lionel Bringuier (the most recent Tanglewood performance, on August 7, 2011), and Ludovic Morlot (the most recent subscription performances, in January 2016).

THE FIRST BSO PERFORMANCE OF “FROM BOHEMIA’S WOODS AND FIELDS” was given by Wilhelm Gericke in December 1900, subsequent ones being given—not as part of the complete “Má Vlast”—by Karl Muck, George Szell, Max Rudolf, Charles Wilson, Roger Norrington, Bernard Haitink (at Tanglewood and on tour in Europe in August/September 2001), and Neeme Järvi (the most recent Tanglewood performance, on August 15, 2003).

THE FIRST BSO PERFORMANCE OF “BLANÍK” was given as part of the BSO’s first complete performance of “Má Vlast,” at Tanglewood on August 8, 1969, under the direction of Karel Anˇcerl. Since then, the BSO has also played the complete cycle under Rafael Kubelik (in Boston and Washington, D.C., in March 1971, during which time Kubelik and the BSO famously recorded the complete “Má Vlast” for Deutsche Grammophon), Jiˇrí Bˇelohlávek (at Tanglewood in August 1988), and James Levine (the most recent subscription performances of the complete cycle, in November 2007).

week 3 program notes 57 Covering world news to art news. Discover everything newsworthy at wbur.org. For the full spectrum arts and culture happening right here in our community, visit The ARTery at wbur.org/artery. To Read and Hear More...

Information about James Lee III can be found online at his website, jameslee3.com, and at that of his publisher, Subito Music (http://www.subitomusic.com/composers/ highlights/james-lee-iii/). A biography of the composer can also be found at his faculty page on the Morgan State University website. As yet there is no commercial recording of Lee’s Sukkot Through Orion’s Nebula, but audio files of full performances of that and others of his works can be found on his website. The pianist Rochelle Sennet recorded a full album of Lee’s piano music called “Alkebulan’s Son: The Piano Works of James Lee III” (Albany TROY). His a cappella choral piece A Clean Heart, setting verses from Psalm 51, was recorded as part of the CD “Christmas at America’s First Cathedral” by the Baltimore Choral Arts Chorus, Tom Hall conducting (Gothic).

Robert Kirzinger

Important books about Shostakovich include Elizabeth Wilson’s Shostakovich: A Life Remembered, now in a second edition published in 2006 (Princeton University paperback); Laurel E. Fay’s Shostakovich: A Life (Oxford paperback); the anthology Shostakovich Reconsidered, written and edited by Allan B. Ho and Dmitry Feofanov (Toccata Press); Shostakovich and Stalin by Solomon Volkov (Random House); Shostakovich and his World, edited by Laurel E. Fay (Princeton University Press), and A Shostakovich Casebook, edited by Malcolm Hamrick Brown (Indiana University Press). Among other things, the last two of these continued to address issues of authenticity surrounding Volkov’s earlier book, Testimony: The Memoirs of Dmitri Shostakovich as (ostensibly) related to and edited by Volkov, published originally in 1979 (currently a Faber & Faber paperback). Volkov’s Testimony served as the basis for a 1988 Tony Palmer film starring Ben Kingsley as Shostakovich. English writer Julian Barnes’s recent novel, The Noise of Time, uses three crucial moments in Shostakovich’s life to address matters of life, art, society, and political oppression (Knopf). An older but still important biography of the composer, written during his lifetime, is Dmitri Rabinovich’s Dmitri Shostakovich, published in a 1959 English translation by George Hanna (Foreign Languages Publishing House). Also still useful is Boris Schwarz’s Music and Musical Life in Soviet Russia, Enlarged Edition, 1917-1981 (Indiana University Press). Robert Layton discusses Shostakovich’s concertos in his chapter “Russia after 1917” in A Guide to the Concerto, for which he was also editor (Oxford

week 3 read and hear more 59 The Tudors 2019/20 Season

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60 paperback). Michael Steinberg’s program note on Shostakovich’s Piano Concerto No. 1 is in his compilation volume The Concerto–A Listener’s Guide (Oxford University paperback).

Recordings of Shostakovich’s Piano Concerto No. 1 include those featuring Martha Argerich with Alexander Vedernikov and the Svizzera Italiana Orchestra (Warner Classics), Leif Ove Andsnes with Paavo Järvi and the City of Birmingham Symphony Orchestra (Warner Classics), Yefim Bronfman with Esa-Pekka Salonen and the Los Angeles Philharmonic (Sony), and Evgeny Kissin with Vladimir Spivakov and the Moscow Virtuosi Chamber Orchestra (RCA). The composer himself is soloist in a 1958 recording he made with André Cluytens and the ORTF National Orchestra (originally EMI, now Warner Classics).

The fullest English-language treatment of Smetana’s life and music is the biography Smetana by Brian Large (Praeger). The Smetana entry in the 2001 edition of Grove is by Marta Ottlová and John Tyrrell. The entry in the 1980 edition of Grove was by John Clapham.

Though this week’s program offers just three of the six symphonic poems that make up Má Vlast, recordings of the complete cycle are the best way to appreciate this music as the composer intended. The Boston Symphony Orchestra famously recorded the complete Má Vlast with Rafael Kubelik conducting in 1971 (Deutsche Grammophon). Not surprisingly, there are numerous recordings of the complete cycle with the Czech Philharmonic, including those under the direction of Karel Anˇcerl, Jiˇrí Bˇelohlávek, Kubelik (a 1990 live performance that opened the Prague Spring Festival, marking the conductor’s return to his homeland after a four-decade absence), Sir Charles Mackerras, Václav Neumann, Václav Smetáˇcek, and Václav Talich (all on Supraphon). Other note- worthy recordings include Kubelik’s with the Bavarian Radio Symphony (Orfeo), Chicago Symphony Orchestra (Mercury Living Presence), and Vienna Philharmonia (Decca), Sir Colin Davis’s live with the London Symphony Orchestra (LSO Live, but apparently no longer available), and James Levine’s live with the Vienna Philharmonic (Deutsche Grammophon). A 1967 Boston Symphony broadcast of The Moldau led by Erich Leins- dorf is included in the BSO’s twelve-disc box of historic broadcasts, “Symphony Hall Centennial Celebration: From the Broadcast Archives, 1943-2000” (available at the Symphony Shop).

Marc Mandel

week 3 read and hear more 61 There’s nothing like a well-staged house.

Here’s to the Boston Symphony Orchestra. They always arrange things so beautifully. 617-245-4044 • gailroberts.com Artists

Yuja Wang

Yuja Wang’s 2019-20 season features recitals, concerts, and tours with some of the world’s most venerated ensembles and conductors. Later this month, the Beijing-born pianist embarks with the Wiener Philharmoniker on tour in Europe and China, performing Rachmaninoff’s Concerto for Piano No. 3. Next month, Ms. Wang rejoins the Los Angeles Philharmonic and Gustavo Dudamel for further tour performances of John Adams’s new piano concerto, Must the Devil Have All the Good Tunes, having given the piece its world premiere and an Asian tour this past spring. Other orchestras with which she performs this season include the Toronto Symphony Orchestra with Gustavo Gimeno, the San Fran- cisco Symphony with Michael Tilson Thomas, the Philadelphia Orchestra with Yannick Nézet-Séguin, and the New York Philharmonic with Jaap van Zweden. Her recital engagements this season bring her to Carnegie Hall, the Concertgebouw in Amsterdam, Vienna’s Konzerthaus, London’s Barbican Hall, and other renowned venues. In January, she reunites with cellist Gautier Capuçon for an extensive European tour. Ms. Wang received advanced training in Canada and at Philadelphia’s Curtis Institute of Music under Gary Graffman. Her international breakthrough came in 2007 when she stepped in for Martha Argerich as soloist with the Boston Symphony Orchestra. She later signed an exclusive contract with Deutsche Grammophon and has since established her place among the world’s leading artists, with a succession of critically acclaimed performances and recordings. Last season saw the release of her Deutsche Grammophon recital album “The Berlin Recital,” featuring solo works by Rachmaninoff, Scriabin, Ligeti, and Prokofiev, recorded live at the Philharmo- nie Berlin. Yuja Wang’s BSO debut was in March 2007, in subscription performances of Tchaikovsky’s Piano Concerto No. 1 led by Charles Dutoit, when she replaced the originally

week 3 artists 63 scheduled Martha Argerich. She has since returned for subscription appearances on two occasions, in March 2014 as soloist in Prokofiev’s Piano Concerto No. 2 and in February 2019 performing Schumann’s Piano Concerto. She has also appeared with the BSO three times at Tanglewood, performing Rachmaninoff’s Rhapsody on a Theme of Paganini for her Tanglewood debut in August 2011, Ravel’s Piano Concerto in G and Gershwin’s Rhapsody in Blue in July 2016, and Beethoven’s Piano Concerto No. 3 in July 2018.

Thomas Rolfs

Thomas Rolfs is principal trumpet of the Boston Symphony Orchestra, occupying the Roger Louis Voisin Chair; he is also principal trumpet of the Boston Pops Orchestra, occupying the Roberta and Stephen R. Weiner Chair. Mr. Rolfs began his career with the BSO in 1991, serving first as fourth trumpet and later as associate principal trumpet. Initially hired by Seiji Ozawa, he was promoted to associate principal trumpet by Ozawa and to principal trumpet by James Levine. As a student, Mr. Rolfs was a Tanglewood Music Center Fellow in 1978, earned his bachelor of music degree from the University of Minnesota, and received

Did you attend the BSO’s Days in the Arts (DARTS) summer program in the past 50 years (since 1968)? The Boston Symphony Orchestra and the Heller School at Brandeis University are conducting an impact study of DARTS and would love to hear from you! Please register for a brief survey about your program experience by using the QR code on the right OR at the URL below. http://cyc.brandeis.edu/DARTS.html

64 his master of music degree from Northwestern University. He then returned to Minnesota for a five-year tenure with the Saint Paul Chamber Orchestra. As a soloist, Thomas Rolfs has performed with the Boston Symphony Orchestra, Boston Pops Orchestra, and Saint Paul Chamber Orchestra. At the request of John Williams, he was featured on the Grammy- nominated soundtrack of the Academy Award-winning filmSaving Private Ryan. He was also soloist in Williams’s Summon the Heroes for the nationally televised Boston Pops concert on the Esplanade on July 4, 2001, under Keith Lockhart’s direction. His varied performance background also includes appearances with the National Brass Ensemble, Minnesota Orchestra, Vienna Philharmonic, Empire Brass, Saint Petersburg Philharmonic, Chicago Symphony, Lyric Opera of Chicago, and American Ballet Orchestra. Mr. Rolfs is a founding member of the Boston Symphony Orchestra Brass Quintet, which remains in residence at Boston University. As an educator, he has presented master classes throughout the world, including North America, South America, Asia, and Europe. He has served on the faculty of the Tanglewood Music Center since 1998, regularly coaches the New World Symphony, and teaches at the New England Conservatory, Boston University, and North- western University. Mr. Rolfs has previously been soloist with the BSO in Frank Martin’s Concerto for Seven Winds, Timpani, Percussion, and String Orchestra, Bach’s Brandenburg Concerto No. 2, Jolivet’s Concertino for trumpet, string orchestra, and piano, and Copland’s Quiet City. This past July, with Andris Nelsons conducting the Tanglewood Music Center Orchestra, he gave the world premiere of Detlev Glanert’s BSO-commissioned Concerto for Trumpet and Orchestra.

week 3 artists 65 WHERE EXCELLENCE LIVES

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The property information herein is derived from various sources that may include, but not be limited to, county records and the Multiple Listing Service, and it may include approximations. Although the information is believed to be accurate, it is not warranted and you should not rely upon it without personal verification. Real estate agents affiliated with Coldwell Banker Residential Brokerage are independent contractor sales associates, not employees. ©2019 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Owned by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker logo, Coldwell Banker Global Luxury and the Coldwell Banker Global Luxury logo are registered service marks owned by Coldwell Banker Real Estate LLC. 19KDS9_NE_8/19 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 Chris Fiecoat, Assistant Director of Donor Relations, at 617-638-9251 or [email protected]. ‡ This symbol denotes a deceased donor.

ten million and above Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous (2) seven and one half million Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme / The Lost & Foundation, Inc. • EMC Corporation five million Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber two and one half million Mary ‡ and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ • Eaton Vance Corporation • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Dorothy and Charlie Jenkins / The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow / The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Mr. and Mrs. Paul M. Montrone • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol ‡ and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

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

week 3 the great benefactors 69 BSO Major Corporate Sponsors 2019–20 Season

BSO SEASON LEAD SPONSOR Bank of America is proud of our longstanding support of the Boston Symphony Orchestra and we’re excited to serve once again as co-sponsor for the 2019-2020 season. Bank of America’s support of the arts reflects our belief that the arts matter: they are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. Our Arts and Culture Program is diverse and global, supporting nonprofit arts institutions that Miceal Chamberlain deliver the visual and performing arts, provide inspirational and educational Massachusetts President, sustenance, anchor communities, create jobs, augment and complement existing Bank of America school offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

BSO SEASON SUPPORTING SPONSOR For more than 235 years, Takeda Pharmaceutical Company Limited has Andrew Plump, brought the hope of Better Health and a Brighter Future to people around the M.D., Ph.D. Chief Medical and world through our empathetic and people-centered approach to science and Scientific Officer medicine. Takeda’s Boston campus is the home of one of our world-class R&D sites, as well as our oncology and vaccine business units. We are pleased to support the Boston Symphony Orchestra in its efforts to bring artistic excellence to the local community and across the globe.

CASUAL FRIDAYS SERIES, COLLEGE CARD PROGRAM, John Donohue Chairman and CEO YOUTH & FAMILY CONCERTS, AND THE BSO’S YOUNG PROFESSIONALS PROGRAM SPONSOR The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to sponsor the Boston Symphony Orchestra’s Casual Fridays Series, College Card program, Youth & Family Concerts, and Young Professionals program. These programs give local students and young professionals the opportunity to experience classical music performed by one of the world’s leading orchestras in historic Symphony Hall. Arbella is a local company that’s passionate about serving our communities throughout New England, and through the Foundation we support many wonderful organizations like the BSO.

Boston Symphony Orchestra major corporate sponsorships reflect the importance of the alliance between business and arts. We are honored to be associated with organizations above. For information regarding BSO, Boston Pops, and/or Tanglewood please contact Joan Jolley, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected]. OFFICIAL LUXURY VEHICLE OF THE BSO New England Audi Dealers are proud to partner with the Boston Symphony Orchestra as their Official Luxury Vehicle. Together we look forward to providing quality and excellence for audiences in Boston and beyond. We are proud to be celebrating the second year of our partnership.

OFFICIAL AIRLINE OF THE BSO Delta Air Lines has been proud to support the Boston Symphony Orchestra since 2004 as the Official Airline of the BSO at Symphony Hall, and most recently as a BSO Great Benefactor. The BSO's dedication to the performing arts and arts Charlie Schewe education programs continues to delight and enrich Massachusetts and beyond Director of Sales- with each passing season. As the BSO continues to help classical music soar, New England Delta looks forward to celebrating this vibrant institution's rich legacy for many years to come.

OFFICIAL HOTEL OF THE BSO Fairmont Copley Plaza has had the honor of being the official hotel of the BSO George Terpilowski for more than 15 years. Located less than a mile from Symphony Hall, we are Regional Vice President, North East U.S. and proud to offer luxury accommodations for the talented artists and conductors General Manager, that captivate Boston audiences. Together our historic institutions are a symbol Fairmont Copley Plaza of the city’s rich tradition and elegance. We look forward to celebrating another season of remarkable BSO performances.

OFFICIAL CHAUFFEURED TRANSPORTATION OF THE BSO Dawson Rutter President and CEO Commonwealth Worldwide Executive Transportation is 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.

week 3 bso major corporate sponsors 71 There are Next Step facilities in your

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Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer, endowed in perpetuity Evelyn Barnes, Jane B. and Robert J. Mayer, M.D. Chief Financial Officer Sue Elliott, Judith and Stewart Colton Tanglewood Learning Institute Director Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Leslie Wu Foley, Helaine B. Allen Director of Education and Community Engagement Alexandra J. Fuchs, Thomas G. Stemberg Chief Operating Officer Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Bart Reidy, Chief Strategy Officer and Clerk of the Corporation Christopher W. Ruigomez, Director of the Boston Pops and Concert Operations and Assistant Director of Tanglewood Kathleen Sambuco, Director of Human Resources administrative staff/artistic

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

Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Personnel Administrator • Tuaha Khan, Assistant Stage Manager • Pat Meloveck, Stage Technician • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer • Christopher Thibdeau, Orchestra Management Office Administrator • Joel Watts, Assistant Audio and Recording Engineer boston pops

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

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

week 3 administration 73 GUITAR GONG GLOCKENSPIEL

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

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

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

Nina Jung Gasparrini, Director of Donor and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Jill Ng, Director of Planned Giving and Senior Individual Giving Officer • Richard Subrizio, Director of Development Communications • Mary Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research, Information Systems, and Analytics Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Associate Director of Development Analytics and Strategic Planning • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Stephanie Cerniauskas, Executive Assistant • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Allison Cooley, Senior Individual Giving Officer • Gina Crotty, Individual Giving Officer • Hanna Danziger, Individual Giving Coordinator • Kelsey Devlin, Donor Ticketing Associate • Emily Diaz, Assistant Manager, Gift Processing • Chris Fiecoat, Assistant Director of Donor Relations • Joshua Hahn, Assistant Manager of Individual Giving, Annual Funds • Barbara Hanson, Senior Individual Giving Officer • Michelle Houle, Donor Acknowledgment and Research Coordinator • Rachel Ice, Individual Giving Coordinator • James Jackson, Associate Director, Telephone Outreach • Heather Laplante, Assistant Director of Development Information Systems • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Associate Director of Individual Giving, Annual Funds • Kathleen Pendleton, Manager, Development Events and Volunteer Services • Jana Peretti, Assistant Director of Development Research • Johanna Pittman, Grant Writer • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Individual Giving Officer • Emily Wivell, Assistant Manager of Planned Giving education and community engagement

Jenna Goodearl, Program Director, Youth and Family Initiatives • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Program Director, Community Partnerships and Projects • Sarah Saenz, Manager of Education and Community Engagement event services Kyle Ronayne, Director of Events Administration James Gribaudo, Function Manager • Katherine Ludington, Tanglewood Venue Rental Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garfield Cunningham, Custodian • Bernita Denny, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian

week 3 administration 75 BUILDING SPACES THAT CREATE HARMONY

Proud supporter of the BSO and builders of Tanglewood’s new Linde Center for Music and Learning. human resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter • Rob Williams, Human Resources Generalist information technology Timothy James, Director of Information Technology James Beaulieu, IT Services Team Leader • Andrew Cordero, IT Services Analyst • Ana Costagliola, Senior Database Analyst • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, IT Services Analyst public relations

Emily Cotten, Junior Publicist • Matthew Erikson, Senior Publicist publications Marc Mandel, Director of Program Publications James T. Connolly, Program Publications Coordinator and Pops Program Editor • Robert Kirzinger, Associate Director of Program Publications sales, subscriptions, and marketing

Gretchen Borzi, Director of Marketing Programs and Group Sales • Allison Fippinger, Interim Director of Digital Strategy • Roberta Kennedy, Director of Retail Operations • Michael Miller, Director of Ticketing and Customer Experience Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Senior Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Officer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Tammy Lynch, Front of House Director • Michael Moore, Manager of Digital Marketing and Analytics • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Director of Creative Services • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Groups Sales Associate Manager • Eugene Ware, Associate Marketing Manager • Andrew Wilds, SymphonyCharge Representative • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Shawn Mahoney, Box Office Representative • Evan Xenakis, Box Office Administrator strategy and governance

Emily Fritz-Endres, Assistant Director of Board Administration • Laura Sancken, Board Engagement Officer tanglewood learning institute

Emilio Gonzalez, TLI Program Manager tanglewood music center

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

week 3 administration 77

Boston Symphony Association of Volunteers executive committee Chair, Jerry Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Susan Price Secretary, Beverly Pieper Co-Chairs, Boston Karen Brown • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Judy Levin Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Lynne Harding boston project leads 2019-20

Café Flowers, Virginia Grant, Stephanie Henry, and Kevin Montague • Chamber Music Series, Deborah Slater • Computer and Office Support, Helen Adelman • Flower Decorating, Stephanie Henry • Guide’s Guide, Audley H. Fuller and Marcia Smithen Cohen • Instrument Playground, Cassidy Roh • Mailings, Steve Butera • Membership Table/Hall Greeters, Andrew Royer • Newsletter, Cassandra Gordon • Volunteer Applications, Suzanne Baum • Symphony Shop, Sue O’Neill • Tour Guides, Carol Brown

week 3 administration 79 Next Program…

Thursday, October 10, 8pm Friday, October 11, 1:30pm Saturday, October 12, 8pm

dima slobodeniouk conducting

sibelius “pohjola’s daughter,” symphonic fantasy, opus 49

elgar cello concerto in e minor, opus 85 Adagio—Moderato Allegro molto Adagio Allegro, ma non troppo truls mørk

{intermission}

nielsen symphony no. 5, opus 50 Tempo giusto—Adagio non troppo Allegro—Presto—Andante con moto tranquillo—Allegro

The Russian-born conductor Dima Slobodeniouk makes his BSO subscription series debut in these concerts, collaborating with cellist Truls Mørk in Edward Elgar’s Cello Concerto, the composer’s last masterpiece and one of the central works of the cello repertoire. Bookending the program are works by two Nordic contemporaries. Jean Sibelius’s Pohjola’s Daughter is one of the composer’s many orchestral tone poems inspired by the Kalevala, the Finnish national epic. Denmark’s greatest symphonist, Carl Nielsen, composed his two-movement Symphony No. 5 in the early 1920s. Last played by the BSO in 1993, Nielsen’s Symphony No. 5 moves from a dramatic, two-part opening movement to an affirmative, fugue-dominated finale.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org via a secure credit card order; by calling SymphonyCharge at (617) 266-1200 or toll-free at (888) 266-1200; or at the Symphony Hall box office, Monday through Friday from 10 a.m. to 6 p.m. (Saturdays from 4:30-8:30 p.m. when there is a concert). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.

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

Thursday ‘C’ October 10, 8-9:55 Thursday ‘C’ October 24, 8-9:40 Friday ‘A’ October 11, 1:30-3:25 Friday ‘A’ October 25, 1:30-3:10 Saturday ‘A’ October 12, 8-9:55 Saturday ‘B’ October 26, 8-9:40 DIMA SLOBODENIOUK, conductor SUSANNA MÄLKKI, conductor TRULS MØRK, cello ANDREAS HAEFLIGER, piano SIBELIUS Pohjola’s Daughter FAURÉ Pavane ELGAR Cello Concerto DIETER AMMANN The Piano Concerto (“Gran NIELSEN Symphony No. 5 Toccata”) (American premiere; BSO co-commission) MESSIAEN “Alleluia on the trumpet, Thursday ‘B’ October 17, 8-10 alleluia on the cymbal” from Friday ‘B’ October 18, 1:30-3:30 L’Ascension Saturday ‘A’ October 19, 8-10 DEBUSSY La Mer SIR ANDRÁS SCHIFF, conductor and piano

J.S. BACH Piano Concerto in F minor, “LEIPZIG WEEK IN BOSTON” BWV 1056 Sunday, October 27, 3-4:50 BEETHOVEN Piano Concerto No. 1 (Non-subscription; presented in association BRAHMS Variations on a Theme with the Celebrity Series of Boston) by Haydn GEWANDHAUSORCHESTER LEIPZIG BARTÓK Dance Suite ANDRIS NELSONS, conductor LEONIDAS KAVAKOS, violin Sunday, October 20, 3pm GAUTIER CAPUÇON, cello Jordan Hall, New England Conservatory BRAHMS Double Concerto for violin and cello BOSTON SYMPHONY CHAMBER PLAYERS SCHUBERT Symphony in C, The Great with PAOLO BORDIGNON, harpsichord STRAVINSKY Octet for Winds THOMSON Sonata da Chiesa, for clarinet, horn, trumpet, trombone, and viola CARTER Sonata for flute, oboe, cello, and harpsichord SOFIA Etudes, for double bass GUBAIDULINA FALLA Concerto for harpsichord, flute, oboe, clarinet, violin, and cello

The BSO’s 2019-20 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Programs and artists subject to change. Endowment for the Arts.

week 3 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Events Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4:30 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4 p.m. on Saturday). Outside the 617 area code, phone (888) 266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call the Group Sales Office at (800) 933-4255 or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large-print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children under age five will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons. Subscriber Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 638-9426 up to one hour before the

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

week 3 symphony hall information 83 concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Richard and Claire Morse Rush Ticket Fund. Rush Tickets are sold at $10 each, cash or credit card, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage (after 2 p.m.) and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.