2018–19 season andris nelsons music director

week 8 “ week in boston” j.s. bach “ ”

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus supporting sponsorlead sponsor supporting sponsorlead thomas adès artistic partner Better Health, Brighter Future

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 8

7 bso news 1 9 on display in symphony hall 2 0 bso music director andris nelsons 2 2 the boston symphony orchestra 25 the bso/gho alliance 27 bso/gho historical connections 29 reflections on bach’s “” by john harbison 33 bach’s “christmas oratorio” then and now by 4 0 this week’s program

Notes on the Program

42 The Program in Brief… 43 J.S. Bach “Christmas Oratorio” 53 To Read and Hear More…

Guest Artists

57 65 Tanglewood Festival Chorus 59 Christine Rice 67 Boston Symphony 61 Sebastian Kohlhepp Children’s Choir 63 Andrè Schuen 68 James Burton

72 sponsors and donors 96 future programs 98 symphony hall exit plan 99 symphony hall information

the friday preview on november 30 is given by bso associate director of program publications robert kirzinger.

The background of this week’s program cover is a photo of the second Gewandhaus concert hall in Leipzig, which was home to the Gewandhausorchester Leipzig from 1884 until it was destroyed in 1944 (see larger image on page 37 of this program).

program copyright ©2018 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo of Andris Nelsons by Marco Borggreve cover design by BSO Marketing

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org MFA for the Holidays

This holiday season, fi nd beauty, warmth, and wonder at the Museum.

mfa.org/holidays andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 138th season, 2018–2019 trustees of the boston symphony orchestra, inc.

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

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

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

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

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

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

week 8 trustees and advisors 3 We are honored to support the Boston Symphony Orchestra

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

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . photos by Michael Blanchard and Winslow Townson

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

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

Membership as of September 20, 2018

† Deceased

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For more information, contact John Morey at 617-292-6799 or [email protected] BSO News

Celebrating “Leipzig Week in Boston,” November 25-December 2, 2018 The week of November 25-December 2 is the BSO’s second “Leipzig Week in Boston” marking the multi-dimensional alliance between the Boston Symphony Orchestra and the Gewandhaus Orchestra (GHO) of Leipzig, of which BSO Music Director Andris Nelsons became Gewandhauskapellmeister last February. In addition to the BSO’s first complete performances of J.S. Bach’s Christmas Oratorio on Thursday, November 29, and Saturday, December 1, at 7:30 p.m., and Friday afternoon, November 30, at 1:30 p.m. under Andris Nelsons, there will be two presentations, free and open to the public, in Rabb Hall at the Boston Public Library, from 5:30-7 p.m. on Tuesday, November 27, and Wednesday, November 28. The first presentation at the BPL, on November 27—“Bach Traditions in Leipzig and Boston”— offers a multi-media exploration of Bach-related performance history and traditions with Harvard University Professor Emeritus Christoph Wolff, Leipzig Bach Archive Director , and Emmanuel Music Artistic Director Ryan Turner. Their discussion will be preceded by selections from Bach’s Suite No. 3 in C for unaccompanied played by BSO cellist Oliver Aldort. The second presentation, on November 28—“Bach’s Christmas Oratorio in Context”—with Christoph Wolff, Peter Wollny, Yale Music History Professor Markus Rathey, and soprano Carolyn Sampson, offers a comprehensive view of Bach’s piece, which he composed originally for performance during the Christmas season of 1734 at Leipzig’s Thomaskirche and Nikolaikirche. This presentation begins with selections from Book II of Bach’s Well-Tempered Clavier played by harpsichordist Ian Watson and Bach’s Trio Sonata in G, BWV 1038, played by BSO principal flute Elizabeth Rowe, principal John Ferrillo, Oliver Aldort, and Ian Watson. For more information, please visit bso.org. Emmanuel Music, Ryan Turner, artistic director, will also participate in this year’s “Leipzig Week in Boston,” with performances as part of the Sunday-morning service at Emmanuel Church, 15 Newbury Street, of Mendelssohn’s Psalm 95, Kommt, laßt uns anbeten, on November 25, and of Bach’s No. 1, Wie schön leuchtet der Morgenstern, on Decem- ber 2. The service begins at 10 a.m., the music at approximately 11:15. Violinist Dorothea Vogel and violist David Lau, Gewandhaus Orchestra members currently playing with the BSO as part of the BSO/GHO Musician Exchange program, will participate in the Mendelssohn performance on November 25.

week 8 bso news 7

A Special “Leipzig Week” Bach Display at Symphony Hall In conjunction with the BSO’s performances of J.S. Bach’s Christmas Oratorio during “Leipzig Week in Boston,” a special display in an exhibit case near the Massachusetts Avenue entrance in the Brooke Corridor of Symphony Hall includes a number of items generously loaned by the Bach-Archiv Leipzig: the original libretto of the Christmas Oratorio (Leipzig, 1734); an engraving by Gabriel Bodenehr of the Thomaskirche (St. Thomas Church) and its surroundings (Leipzig, c.1700); Bach’s manuscript for the continuo part of his Cantata 186, Ärgre dich, o Seele, nicht (“Do not be confounded, o soul”), (Leipzig, 1740-1750); and a first edition of Bach’s complete four-part as edited by C.P.E. Bach (Breitkopf & Härtel: Leipzig, 1785-1786). The Boston Symphony Orchestra and BSO Archives are grateful to Bach-Archiv Director Peter Wollny and to Christoph Wolff, Adams University Professor Emeritus at Harvard University and Artistic Advisor to the BSO/GHO Alliance, for their assistance in making this display possible.

The BSO/GHO Musician Exchange Program As part of the BSO/GHO Alliance, the Musician Exchange program provides an opportunity for mem- bers of the BSO to play in the Gewandhausorchester while members of the GHO play with the BSO. For the first part of this season, BSO assistant concertmaster Elita Kang and violist Danny Kim have been playing with the GHO while GHO violinist Dorothea Vogel and violist David Lau have been playing with the BSO. In February, BSO violinist Catherine French and double bass player Todd Seeber will head to Leipzig, swapping places with GHO violinist Katharina Wachsmuth and double bass player Waldemar Schwiertz. Pictured here

Jens Gerber with Andris Nelsons during the BSO’s stop in Leipzig this past September during the BSO’s European tour are (from left) BSO members Todd Seeber, Catherine French, Danny Kim, and Elita Kang, and GHO members David Lau and Dorothea Vogel.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. The speakers for this fall are Marc Mandel (October 19, October 26, November 23), Robert Kirzinger (October 12, November 16, and November 30), and author/lecturer Harlow Robinson (November 9).

individual tickets are on sale for all concerts in the bso’s 2018-2019 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 99 of this program book.

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10 The John F. Cogan, Jr., and Mary L. Cornille Concert Thursday, November 29, 2018 an honorary overseer of the Museum of Fine Arts, Boston; former overseer of the The performance on Thursday evening is School in Dorchester; and a mem- supported by a generous gift from BSO Life ber of WGBH’s Overseers Advisory Board. Trustee John F. “Jack” Cogan, Jr., and his wife, Mary L. Cornille. Jack began attending concerts at Symphony Hall as a young The Wendy Shattuck and person, and has held the same Thursday- Sam Plimpton Concert evening subscription seats since the 1960s. Friday, November 30, 2018 As Great Benefactors, Jack and Mary have The Wendy Shattuck and Sam Plimpton given generously to numerous initiatives Concert on Friday, November 30, 2018, is at the BSO. They have named The Cogan/ dedicated to the memory of Lorna Cooke Cornille Corridor—which houses the photo “Cookie” deVaron, who passed away this display of BSO musicians—at Symphony Hall, October. Mrs. deVaron was a renowned and they established the John F. Cogan, Jr., choral conductor who served as director and Mary Cornille Chair, currently held by and chair of the New England Conservatory cellist Owen Young. Jack and Mary are (NEC) Choral Department for more than members of the Higginson Society at the forty years, from 1946 to 1988. Under her Encore level, the Koussevitzky Society at the inspired leadership, the NEC Chorus per- Patron level, and the Walter Piston Society. formed with the Boston Symphony Orchestra Jack was elected to the BSO Board of for over thirty years, from 1953 to 1986, Overseers in 1984, serving as its vice-chair and made more than a dozen recordings from 1987 to 1989 and chair from 1989 to with the BSO for RCA Victor and Deutsche 1992. He was elected a Trustee in 1992 and Grammophon. She also mentored numerous vice-chair of the Board of Trustees in 2003, students, many of whom were women, in the a position he held until 2007, when he was choral conducting program, who went on to elevated to Life Trustee. He has served on achieve successful careers following their many board committees during his tenure. graduation from NEC. She was often called Jack is a former chairman and managing upon to conduct premieres of works by partner of the law firm Hale and Dorr (now top composers. When the New England WilmerHale). A leader in the financial Conservatory Chorus joined the Boston services industry in Boston and beyond, Symphony Orchestra to present the first U.S. he retired as trustee, president, and chief performance of ’s Third executive officer of the Pioneer Funds, Symphony, Kaddish, at Symphony Hall in where he has served for more than fifty 1964, Globe critic Michael Steinberg wrote consecutive years, in 2014. Active in the that the chorus “was impeccably prepared community, he is a member of the Harvard by Lorna Cooke deVaron, and superb in Law School’s Dean’s Advisory Board, the every way.” Harvard University Art Museums’ Visiting Wendy, an NEC alumna, was lucky enough to Committee, and chairman emeritus of the make her first European tour with Lorna Cooke Museum of Fine Arts, Boston. Jack is also deVaron with the New England Conservatory trustee emeritus of Boston Medical Center Chorus on a State Department-sponsored (and past chairman of its predecessor, tour in 1972. Wendy has fond memories of University Hospital) and a Fellow of the that adventure and remembers Lorna Cooke American Academy of Arts and Sciences. deVaron’s incredible musicality, discipline, Mary is an alumna of Wellesley College scholarship, and vision. She had a command- and Boston University, where she received ing presence on the podium and was a a master’s degree in art history. She is champion of new music.

week 8 bso news 11 ASSISTING NEW ENGLAND FAMILIES WITH THE SALE OF THEIR FINE JEWELRY AND PAINTINGS SINCE 1987.

ALEXANDER CALDER Gold Brooch, ca. 1948

SOLD AT AUCTION: $79,300

GROGANCO.COM | 20 CHARLES STREET, BOSTON, MASSACHUSETTS 02114 | 617.720.2020 Ethan Ayer Vocal Soloist Fund Friday, November 30, 2018 Archives. Brooks and Linda also donate their This Friday afternoon’s appearance by the time to the BSO. Brooks was elected to the vocal soloists in Bach’s Christmas Oratorio BSO Board of Trustees in 2015, having served is made possible in part by an endowment for eleven years as an Overseer. While an fund established in 1983 by the late Ethan Overseer, he led an effort to connect the Ayer. The Ethan Ayer Vocal Soloist Fund BSO with members of the private equity and provides income for the appearance of guest venture capital communities, and served on artists for one subscription program each the Buildings and Grounds and Investment season. committees. Brooks and Linda served on Ethan Ayer was a multi-gifted man: an the Symphony Gala Committee for the 2016 author, librettist, poet, and playwright. His and 2017 events. They were also members brother, Neil R. Ayer, described him as of the benefactor committee for Opening “a man of extraordinarily good taste when Night at Pops in 2006 and 2007 and recently it came to evaluating the arts, whether joined the orchestra on its September 2018 architecture, music, painting, landscaping, European Tour. or the human voice.” Mr. Ayer’s greatest Brooks is a senior managing director emeritus success was his libretto for Wings of the and co-founder of HarbourVest Partners Dove, an opera based on the novel by LLC, an independent investment firm that Henry James; the opera opened with great provides innovative private equity solutions success at Opera. He was to institutional clients worldwide. Brooks also a novelist (The Enclosure), and wrote earned his B.S. from Lehigh University and three plays (The Great Western Union, Claude, his MBA from Harvard Business School. He and Nothing to Hide) and a musical entitled is a former trustee of Lehigh University. An Nobody’s Earnest, based on the famous play artist, former French teacher, and graduate by Oscar Wilde. Mr. Ayer was a longtime of Wheaton College, Linda is a member of resident of Cambridge and a BSO subscriber the Huntington Theatre Company Council for many years. He established the Ethan of Overseers. Brooks and Linda have three Ayer Guest Artist Fund—which in 2006-07 married children and seven grandchildren became the Ethan Ayer Vocal Soloist Fund— and reside in Sherborn, MA. during his lifetime as a testament to his love of the orchestra. BSO Broadcasts on WCRB BSO concerts are heard on the radio at 99.5 The Brooks and Linda Zug Concert WCRB. Saturday-night concerts are broad- Saturday, December 1, 2018 cast live at 8 p.m. with host Ron Della Chiesa, The performance on Saturday evening is and encore broadcasts are aired on Monday supported by a generous gift from BSO Great nights at 8 p.m. In addition, interviews with Benefactors D. Brooks and Linda M. Zug. guest conductors, soloists, and BSO musi- Linda and Brooks are patrons of the Boston cians are available online at classicalwcrb. Symphony Orchestra’s diverse offerings. BSO org/bso. Following this Saturday’s “Leipzig subscribers for nineteen consecutive years, Week in Boston” broadcast of J.S. Bach’s they also attend Holiday Pops, Spring Pops, Christmas Oratorio with Andris Nelsons and Tanglewood performances. The couple conducting (December 1; encore December supports the mission of the BSO as members 10), WCRB’s December broadcasts will of the Higginson Society at the Virtuoso level. offer encore presentations of Tanglewood They participated in the Beyond Measure concerts from this past summer: the July 13 campaign through their generous support of program of Wagner, Mozart, and Schumann the BSO’s endowment and the funding of with pianist Paul Lewis and BSO Assistant the new Reading Room located in the BSO Conductor Moritz Gnann (December 8); the

week 8 bso news 13 more time for the gym “Until I moved to Newbury Court I never had time for the gym. Now that I’m no longer saddled with the burdens of a big home, I have more time to pursue my and to enjoy working out in the gym everyday with our personal trainer.” Make time to visit Newbury Court today. Call 978.369.5155 to arrange a tour.

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

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

Tickets $40–$60 www.BYSOweb.org or 617-496-2222 LaPuccini Bohème

14 August 3 program of Glinka, Rachmaninoff, Mansion is a non-profit organization dedi- and Stravinsky with pianist Kirill Gerstein and cated to preserving the last surviving intact BSO Associate Conductor Ken-David Masur residential commission of the famed Ameri- (December 15); and the August 24 perform- can artist Louis Comfort Tiffany. To purchase ance of Mahler’s Third Symphony under tickets at $100 per person, please call (617) Andris Nelsons with Susan Graham, the 536-2586 or visit AyerMansion.org. Tanglewood Festival Chorus, and the Boston BSO principal oboe John Ferrillo and assistant Symphony Children’s Choir (December 29). principal second Julianne Lee participate The December 22 broadcast will feature BSO in holiday concerts by the chamber ensemble recordings of seasonal music by Stravinsky/ Mistral on Saturday, December 8, at 4 p.m. Bach, Tchaikovsky, and Berlioz led by Seiji in Andover’s West Parish Church and on Ozawa and Charles Munch. Sunday, December 9, at 5 p.m. at Congrega- tion Kehillath Israel, Brookline. Entitled BSO Members in Concert “The Baroque Big Band (& Beyond),” the pro- gram includes C.P.E. Bach’s Flute Concerto Founded by former BSO cellist Jonathan in , J.S. Bach’s Chaconne with hidden Miller, the Boston Artists Ensemble performs string chorales and his Concerto for violin a program entitled “Trio of Trios” on Friday, and oboe, BWV 1060, Boccherini’s Cello November 30, at 8 p.m. at Hamilton Hall in Concerto No. 2 in D, and Vivaldi’s D minor Salem and on Sunday, December 9, at 3 p.m. concerto for two . General admission at St. Paul’s Episcopal Church, 15 St. Paul is $35 (student tickets $10 in advance, or, if Street, Brookline. Violinist Sharan Leventhal available, free rush tickets at the door). and pianist Randall Hodgkinson join Mr. Miller for this program featuring Schubert’s Piano Trio in B-flat, D.898, Mendelssohn’s Piano On Camera With the BSO Trio No. 1 in D minor, Op. 49, and Judith The Boston Symphony Orchestra frequently Weir’s O Viridissima. Tickets are $30 (dis- records concerts or portions of concerts counts for seniors and students), available for archival and promotional purposes via at the door. For more information, call (617) our on-site video control room and robotic 964-6553 or visit bostonartistsensemble.org. cameras located throughout Symphony Hall. BSO bass trombone James Markey leads Please be aware that portions of this con- the New England Conservatory Trombone cert may be filmed, and that your presence Choir in a joint concert with the NEC Clarinet acknowledges your consent to such photog- Consort, Marguerite Levin, conductor, of raphy, filming, and recording for possible use arrangements and original works on Saturday, in any and all media. Thank you, and enjoy December 1, at noon, at NEC’s Plimpton the concert. Shattuck Black Box Theatre, 255 St. Botolph Street. Comings and Goings... BSO violinist Lucia Lin and former BSO cellist Please note that latecomers will be seated Jonathan Miller perform in a “Music at the by the patron service staff during the first Mansion” concert on Monday, December convenient pause in the program. In addition, 10, at 7 p.m. (pre-concert reception at 6:30) please also note that patrons who leave the at the Ayer Mansion, 395 Commonwealth auditorium during the performance will not Avenue, Boston. On the program are J.S. be allowed to reenter until the next convenient- Bach’s Sonata in G minor for solo violin and pause in the program, so as not to disturb the Suite in E-flat for solo cello, and Kodály’s Duo performers or other audience members while for Violin and Cello. All proceeds benefit the the music is in progress. We thank you for Ayer Mansion Façade Restoration: The Entry- your cooperation in this matter. way Mosaics. The Campaign for the Ayer

week 8 bso news 15 MAKING DREAMS COME TRUE SINCE 1907

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

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

week 8 on display 19 Marco Borggreve

Andris Nelsons

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

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

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

The 2018-19 season is Maestro Nelsons’ final season as artist-in-residence at the Konzerthaus Dortmund and marks his first season as artist-in-residence at Hamburg’s Elbphilharmonie. In addition, he continues his regular collaborations with the Vienna Philharmonic and Berlin Philharmonic. Throughout his career, he has also established regular collaborations with Amsterdam’s Royal Concertgebouw Orchestra, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra, and has been a regular guest at the Bayreuth Festival and the , 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 8 andris nelsons 21 Boston Symphony Orchestra 2018–2019

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

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

22 photos by Winslow Townson and Michael Blanchard

piccolo bassoons Michael Martin voice and chorus Ford H. Cooper chair, Cynthia Meyers Richard Svoboda endowed in perpetuity James Burton Evelyn and C. Charles Marran Principal BSO Choral Director and chair, endowed in perpetuity Edward A. Taft chair, Conductor of the Tanglewood endowed in perpetuity trombones Festival Chorus Toby Oft Alan J. and Suzanne W. Dworsky Suzanne Nelsen chair, endowed in perpetuity John D. and Vera M. MacDonald Principal John Ferrillo chair J.P. and Mary B. Barger chair, Principal endowed in perpetuity librarians Mildred B. Remis chair, Richard Ranti endowed in perpetuity Associate Principal Stephen Lange D. Wilson Ochoa Diana Osgood Tottenham/ Principal Mark McEwen Hamilton Osgood chair, Lia and William Poorvu chair, James and Tina Collias chair bass trombone endowed in perpetuity endowed in perpetuity James Markey Keisuke Wakao Mark Fabulich Assistant Principal contrabassoon John Moors Cabot chair, Farla and Harvey Chet endowed in perpetuity Paul Greitzer Krentzman chair, endowed Gregg Henegar in perpetuity Helen Rand Thayer chair tuba associate conductor english horn horns Mike Roylance Principal Ken-David Masur Robert Sheena James Sommerville Margaret and William C. Anna E. Finnerty chair, Beranek chair, endowed Principal Rousseau chair, endowed endowed in perpetuity in perpetuity Helen Sagoff Slosberg/ in perpetuity Edna S. Kalman chair, endowed in perpetuity assistant clarinets conductor Richard Sebring Timothy Genis William R. Hudgins Associate Principal Yu An Chang Sylvia Shippen Wells chair, Principal Margaret Andersen Congleton endowed in perpetuity Ann S.M. Banks chair, chair, endowed in perpetuity endowed in perpetuity orchestra Rachel Childers percussion manager and Michael Wayne John P. II and Nancy S. Eustis director of Thomas Martin chair, endowed in perpetuity J. William Hudgins orchestra Associate Principal & Michael Winter Peter and Anne Brooke chair, personnel endowed in perpetuity E-flat clarinet Elizabeth B. Storer chair, Stanton W. and Elisabeth K. Lynn G. Larsen endowed in perpetuity Daniel Bauch Davis chair, endowed Assistant Timpanist in perpetuity Jason Snider Mr. and Mrs. Edward H. Linde assistant Jean-Noël and Mona N. Tariot chair personnel chair managers bass clarinet Kyle Brightwell Craig Nordstrom Peter Andrew Lurie chair, Bruce M. Creditor endowed in perpetuity Patricia Romeo-Gilbert and Thomas Rolfs Paul B. Gilbert chair Matthew McKay Principal Andrew Tremblay Roger Louis Voisin chair, endowed in perpetuity harp stage manager Benjamin Wright Jessica Zhou Principal John Demick Thomas Siders 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 8 boston symphony orchestra 23

The BSO/GHO Alliance

“I am incredibly grateful to all my colleagues at the Boston Symphony Orchestra and Gewandhausorchester for coming together with me in a spirit of great camaraderie to create a new and absolutely unique partnership in music-making.”

Andris Nelsons, BSO Ray and Maria Stata Music Director, and GHO Gewandhauskapellmeister

Under the direction of Andris Nelsons, the Boston Symphony Orchestra (BSO) and Gewandhausorchester Leipzig (GHO) Alliance established a new, multidimensional collaboration last season designed to create opportunities for the two orchestras and their respective audiences to explore each ensemble’s unique world of music-making, and to discover the great traditions and historic accomplishments that have played an important role in building their reputations as two of the world’s great orchestras. In addition, the programs of the BSO/GHO Alliance celebrate the shared mutual heritage of these two orchestras, while also shedding light on the overall culture of each ensemble and the cities they are proud to call home.

Taking place over a five-year period starting in 2017-18, the BSO/GHO Alliance encom- passes an extensive co-commissioning program, educational programs designed to spotlight each orchestra’s culture and history, and tour performances by the BSO at the Gewandhaus in Leipzig and the GHO at Symphony Hall in Boston—providing an extraor- dinary opportunity for orchestra musicians and audiences alike. This new alliance also includes the BSO/GHO Musician Exchange program, whereby members of the BSO play in the Gewandhausorchester while GHO members play with the BSO, as well as an exchange component within each orchestra’s acclaimed academy for advanced music studies. highlight of the BSO/GHO Alliance, to take place annually over the five- year period of the collaboration, 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.

To learn more about the BSO/GHO Alliance, please visit www.bso.org/leipzigweek.

week 8 the bso/gho alliance 25 CARL PHILIPP EMANUEL BACH he omplete orks

The Packard Humanities Institute salutes the Boston Symphony Orchestra and the Leipzig Gewandhaus Orchestra in their collaboration.

J. S. Bach in the center of great German composers. (From the Allgemeine musikalische Zeitung in )

www.cpebach.org The BSO/GHO Alliance: Sharing Historical Connections

The history of close cultural connections between Boston and Leipzig began in 1881, when the Boston Symphony Orchestra’s founder, Henry Lee Higginson, appointed Leipzig Conservatory-trained Georg Henschel as the BSO’s first conductor. Subsequent con- ductors of the BSO, including Wilhelm Gericke, Emil Paur, Max Fiedler, Karl Muck, and particularly Arthur Nikisch, were either educated in Leipzig and/or held posts with the Gewandhausorchester (GHO). In the mid-20th century, the Leipzig tie was reinforced when Charles Munch was the BSO’s music director from 1949 to 1962; Munch, who studied in Leipzig, was concertmaster of the Gewandhausorchester from 1926 to 1933.

Symphony Hall in Boston, which was inaugurated in 1900, is not simply a replica of the historically renowned second Gewandhaus, which opened its doors in 1884 and was destroyed in 1944. Major Higginson had visited the Leipzig concert hall while touring Europe and had instructed his team of architects to design, for Boston, a larger version of the Gewandhaus, with as many as 2600 seats. Boston’s new hall also added the latest acoustic principles to the overall design of its Leipzig counterpart. These acoustical principles played a major role in determining the size of the stage and the placement of sound-absorbing statues in the auditorium, among other features. In 1974, the Gewandhaus- orchester appeared in Boston’s Symphony Hall during its first tour of the United States. To date, Boston has welcomed the Gewandhausorchester for ten guest performances, including its most recent appearance in the 2014-15 concert season. Though the BSO made its debut appearance at the Gewandhaus in May 2016, the Leipzig hall had already featured the BSO-affiliated Boston Youth Symphony Orchestra in 2008, during that ensemble’s European tour. Most recently, Andris Nelsons and the Boston Symphony Orchestra performed at the Gewandhaus in Leipzig this past September, during the BSO’s 2018 European tour.

Since its founding in 1743, the GHO has been associated with some of the greatest figures of music history, including , who lived and worked in Leipzig from 1723 until 1750, the year of his death. Besides the GHO’s widely known reputation for performances of Bach’s works, the orchestra also gave the premieres of works by Beethoven, Schumann, Mendelssohn, and Brahms, among others. This tradition has continued into the 20th and 21st centuries with scores by such significant composers as Henze, Kancheli, and Rihm, among others. The BSO’s own compositional legacy is similarly distinguished, including seminal 20th-century scores from composers ranging from Stravinsky, Prokofiev, and Bartók, to Messiaen and Dutilleux, and myriad Americans including Copland, Bernstein, Sessions, Carter, and Harbison, among others.

week 8 the bso/gho alliance 27 Exceptional healthcare is a concerted effort.

Exceptional healthcare begins and ends with an exceptional healthcare team working together to provide each patient with a healthcare experience that exceeds expectations every day.

At Next Step’s 35 affiliated skilled nursing facilities and 3 assisted living facilities, we know that patient needs are more complex and diverse than ever before. For this reason, our leadership team assures that every member of our staff – from nurses and assistants to housekeeping and dietary – is focused on delivering compassionate, responsive and personalized quality healthcare. Quality. Compassion. Trust. More than words, our commitment to you. www.NextStepHC.com Reflections on Bach’s “Christmas Oratorio” by John Harbison Composer John Harbison, whose ties to Boston’s cultural and educational communities are longstanding, celebrates his 80th birthday on December 20, 2018. To mark this birthday, the BSO will perform his Symphony No. 2 on January 10, 11, and 12 at Symphony Hall, and the Boston Symphony Chamber Players perform music of Harbison and J.S. Bach on Sunday afternoon, January 13, at Jordan Hall. The author of a new book entitled “What Do We Make of Bach?– Portraits, Essays, Notes,” Mr. Harbison here offers thoughts on Bach’s “Christmas Oratorio.”

Andris Nelsons’ 2018 performances of Bach’s Christmas Oratorio are the Boston Symphony’s first since 1950, when Charles Munch was the orchestra’s music director. Munch may have been the last BSO conductor for whom Bach’s music remained a natural and substantial part of any season. In the 1950s the influence of Historically Informed Practice (HIP) was beginning to be felt. Large orchestras and their conduc- tors began to draw away from 18th-century repertoire, feeling themselves too large, too unschooled in stylistic issues.

For Charles Munch, Bach was life-blood. I remember hearing his generous, spacious per- formance of Cantata 4, his monumental reading of the double-chorus, single-movement Cantata 50. Arriving at Tanglewood as a Fellow in 1958, opening night in the Theatre- Concert Hall, there was Munch’s own transcription for string orchestra of Bach’s complete Art of Fugue!

This was a weird and glorious experience, a two-hour

Marc Mandel journey through Bach’s fugue cycle that seemed a stream of sublime, often very unusual harmony, seldom articu- lated as to line or sectional contrast. In Charles Munch’s ear it became a kind of late Fauré piece. It was a devotional reading, Bach through a fascinating Gallic prism, an embodiment of Munch’s passion and Bach’s durability.

Are we perhaps returning to a time when Bach, Handel, and Haydn might edge back toward their earlier place in the big orchestra world, to be heard again by an audience that seldom crosses over to the specialist early music domain?

In Germany, Bach’s Christmas Oratorio is the seasonal equivalent to the English-speaking world’s . Every locale of even modest size produces it, the audi- ence seems to be virtually humming along. Presented as an evening, all six , it is a challenging form. In

Statue of Bach by Carl Seffner outside the fact it is not really a form: each of the six cantatas has its Thomaskirche in Leipzig, dedicated in 1908 own piece of the story and its own sound, although I, III,

week 8 reflections on bach’s “christmas oratorio” 29 Program page for Charles Munch’s not-quite-complete BSO performances (omitting Part V) of Bach’s “Christmas Oratorio” in December 1950 (BSO Archives)

30 and VI—however nuanced their -drum celebrations—can seem close cousins on first hearing.

Having first experienced them one a week, I feel fortunate to retain distinct, independent impressions of the pastoral, truly angelic Cantata II, the tonally-fresh horn-colored world of IV, the adrenaline shot of V, smallest orchestration and hottest music dealing with the harshest drama in the story.

In addition to the unusual experience of a non-form (a drama in six acts), the listener is privileged to be hearing the only extended example of the late Bach manner. His cantata-oratorio period is behind him, only one other choral enterprise in his final fifteen years absorbed his attention: the completion of the Mass with the addition of the Et incarnatus and parts of the Confiteor.

In the Christmas Oratorio we notice an especially adventurous approach to the chorales, always a site of word-specific invention, here even more detailed and emotionally charged. There is also a theatrical largeness to the opening choruses, with elaborated “B” sections, and vast ceremonial exchanges between the chorus and orchestra, on a scale rare in cantatas.

A fascinating behind-the-scenes possibility lurks in the genesis of this piece, a premise which a real Bach scholar would not present as baldly here.

Bach and his librettist, (C.F. Henrici), brought forth the St. Matthew Passion very early in their partnership (1727). By the early 1730s they were working often on commissions for secular celebrations—princely birthdays, weddings. It seems plausible, examining the beautifully paired texts, that these pieces could have been conceived in parallel with a much bigger project, the Christmas Oratorio. The secular pieces “subsidized” an important missing piece in Bach’s music for the church calendar. Double-texting of choruses and turns out to fit well—for example, birth music for a prince can be reworked as sacred nativity music. In every case the “later” (more likely simultaneous) version is deeper and more telling.

An interesting thing about this hypothesis: it seems to answer one of the most frequently asked questions about Bach. Was he merely vocationally a church composer, or did he aspire to—and cherish—that calling? In the 1730s we find him plotting, planning, preparing, making time and occasion for his last sacred vocal work, long after his obliga- tions to his church job had been fulfilled.

John Harbison (November 2018)

week 8 reflections on bach’s “christmas oratorio” 31 Knowledge shouldn’t have a character limit.

wgbhnews.org Bach’s “Christmas Oratorio” Then and Now by Christoph Wolff Bach scholar Christoph Wolff is Adams University Professor Emeritus at Harvard University and Artistic Advisor to the BSO/GHO Alliance.

Bach’s “Christmas Oratorio” in the Context of Leipzig’s Musical History This week’s performances of Johann Sebastian Bach’s Christmas Oratorio celebrate the partnership of the Boston Symphony Orchestra and the Gewandhausorchester by commemorating, on the occasion of the Leipzig orchestra’s 275th anniversary, its ini- tial phase. Founded in 1743 under the name “Großes Concert” (“Grand Concerts”) by a group of businessmen, the new concert enterprise started under the musical director- ship of Johann Friedrich Doles, a former Bach student and later his second successor as Thomascantor. It essentially filled the void of the weekly secular concert series of Bach’s “Collegium Musicum” that had begun in 1729 and ended in 1741 with the death of its host, the cafétier Zimmermann. Under Bach as music director of the St. Nicholas and St. Thomas churches (the Nikolaikirche and the Thomaskirche), the Collegium series stayed away from religious music. However, the Großes Concert saw no conflict of interest in performing sacred works and, by doing so, following the model of the Concert Spirituel in Paris, added a new facet to an emerging bourgeois music culture in Germany.

As the Leipzig town chronicler reported, on Monday of Holy Week 1748 the Großes Concert presented a Passion oratorio by Johann Adolf Hasse at the Three Swans Inn, its permanent home before moving in 1781 to the Garment House (Gewand- haus). It was attended by an audience of more than 300 and the concert’s success prompted similar oratorio performances at the beginning of Holy Week in subsequent years. The 1748 oratorio performance, however, may not have been the very first, because in 1746 or 1747 ’sBrockes- Passion was presented in Leipzig under Bach’s direction. The score Bach himself had copied out does not show any signs of a liturgical performance on Good Friday at the vespers service of the Leipzig main churches; therefore, it may well have been presented under the auspices of the Großes Concert. Be that as it may, in the absence of further documentation, the location of the Handel performance remains hypothetical, but there is no question that none other than Bach was responsible for awakening the appetite for oratorio performances in Leipzig. By the end of his first year as Thomascantor, he had managed to turn the Good Friday vespers of the Leipzig main churches The exterior of Zimmermann’s into the musical pinnacle of the year, by offering modern Passion coffeehouse in Leipzig of unprecedented scale—first with hisSt. John Passion

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Developed by Massachusetts General Hospital Proudly Celebrating Over 25 Years! of 1724, topping that with the double-choir St. Matthew Passion of 1727, and then in 1731 by adding the (lost) St. Mark Passion.

After essentially completing the repertoire of church cantatas, Bach focused in the 1730s primarily on large-scale sacred works. But limited by the 20-30 minutes allotted for cantatas in the liturgy of regular Sunday and feast day worship services, he could not accommodate a large piece except by subdividing it into smaller units. He indeed did so with the Christmas Oratorio of 1734/35 by spreading its six parts over the twelve-day Christmas season. In 1738, he then added two shorter sister oratorios for Easter and Ascension Day by daring to overstretch the liturgical boundaries, thus completing an oratorio trilogy for the three jubilant church festivals. Together with the three Passion oratorios, they commemorate the major stations of the life of the biblical —birth, suffering and death, resurrection, and ascension to heaven as articulated by the Chris- tian creed. There is no precedent for such a coherent musical scheme covering the four dominant Christological feast days. Bach’s cyclical embedding, as it were, of the three Passions by three complementary oratorios genuinely exposed his personal idea which, by a strange coincidence, anticipated Handel’s Messiah of 1741/42 as a non-liturgical musical representation of the life of Jesus Christ in a single oratorio on a scriptural text.

The “Christmas Oratorio” Viewed as a Whole Among Bach’s large-scale vocal works, the six-part Christmas Oratorio presents a special case that reveals many of the composer’s priorities reflected in his oratorio-style works. First of all, by its structural reliance on a continuous biblical narrative that accords with the contemporaneous definition of oratorio as “sacred opera,” it underscores the conceptual departure from the regular that functions as an exegetical musical sermon about a scriptural text. Second, the various borrowings from secular works for celebratory occasions hint at Bach’s close collaboration with his librettist and suggest a premeditated re-use of poetic and musical ideas with the goal of finding a permanent home of the music in the sacred repertoire. Hence, textual and musical allusions as they occur, for instance, in the cradle song “Schlafe, mein Liebster” (“Sleep, my beloved”) of both the secular birthday cantata and the Christmas Oratorio, could easily be trans- ferred from the birthday of an A 1723 map of Leipzig, from the time of J.S. Bach’s residency there electoral prince to that of the Christ

week 8 “christmas oratorio” then and now 35

Child. Finally, although the performance of the work took place over six feast-days of the Christmas period and alternated between the two main churches in Leipzig, the Christmas Oratorio was deliberately conceived as a self-contained whole. Salient fea- tures of the work’s overarching design include the key order of the six parts (D major, , D major, , A major, D major) and identical tutti scorings with trumpets in the D major home-key parts; different instrumental colors for the dominant and sub- dominant keys, and a surprise flat-key with F-horns in place of trumpets for New Year’s Day. Moreover, the value Bach attached to the musical architecture and the liturgical embedding of the work is reflected in the linking of the oratorio’s first and last parts, and in rounding off the whole by using one and the same melody for the first and last cho- rales (nos. 5 and 64, respectively)—a melody that also belongs to a prominent Lenten hymn and thereby foreshadows the Good Friday Passion.

Up to the present, the Christmas Oratorio is still rarely performed complete. Yet only an unabridged presentation of all six parts—like this week’s performances in Symphony Hall—makes it possible fully to realize how ingeniously the composer managed to create a work of such gripping intensity, with a structure so remarkably unified, despite consid- erable odds: a liturgical calendar and local conventions dictating partition and perform- ance at alternating locations. It almost seems as if Bach had meant to override given conditions and anticipate a non-liturgical concert performance. In this sense, and as he observed the rise of the Großes Concert late in his lifetime, the trend of bringing religious music also to the concert hall would hardly have run against his interests.

Christoph Wolff

The second Gewandhaus concert hall in Leipzig, which opened its doors in 1884, was chosen by BSO founder Henry Lee Higginson as a model for the design of Symphony Hall, and was destroyed in 1944 during World War II

week 8 “christmas oratorio” then and now 37

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1Online services are subject to change at any time. Google Earth features will not be available after December 2020 for Model Year 2018 & prior vehicles. Google Earth is a trademark of Google Inc. 2Driver Assistance features are not substitutes for attentive driving. See Owner's Manual for further details, and important limitations.“Audi,” all model names, and the four rings logo are registered trademarks of AUDI AG.©2018 Audi of America, Inc. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 138th season, 2018–2019

Thursday, November 29, 7:30pm | the john f. cogan, jr., and mary l. cornille concert Friday, November 30, 1:30pm | the wendy shattuck and sam plimpton concert Saturday, December 1, 7:30pm | the brooks and linda zug concert

andris nelsons conducting

“Leipzig Week in Boston”

j.s. bach “christmas oratorio,” bwv 248 Part I: Cantata for the First Day of Christmas Part II: Cantata for the Second Day of Christmas Part III: Cantata for the Third Day of Christmas

{intermission}

First page of the autograph manuscript of Bach’s “Christmas Oratorio”

40 Part IV: Cantata for New Year’s Day (Feast of the Circumcision) Part V: Cantata for the First Sunday in the New Year Part VI: Cantata for the Feast of the Epiphany carolyn sampson, soprano christine rice, mezzo-soprano sebastian kohlhepp, tenor andrè schuen, baritone tanglewood festival chorus and boston symphony children’s choir, james burton, conductor blaise déjardin, continuo cello richard svoboda, continuo bassoon ian watson, organ

Please note that text and translation are being distributed separately. the boston symphony orchestra and gewandhausorchester leipzig alliance is supported by a leadership gift from the gregory e. bulger foundation/ gregory bulger & richard dix. friday afternoon’s performance by the vocal soloists is supported by a generous gift from the ethan ayer vocal soloist fund. this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2018-19 season. friday-afternoon concert series sponsored by the brooke family

The evening concerts will end about 10:30, the afternoon concert about 4:30. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 8 program 41 The Program in Brief...

This week’s performances of Bach’s Christmas Oratorio celebrate “Leipzig Week in Boston,” marking the historic partnership established earlier this year between the BSO and the Gewandhausorchester Leipzig. Bach lived in Leipzig from 1723 until his death in 1750, and it was for Leipzig’s St. Thomas and St. Nicholas churches that he wrote the Christmas Oratorio, along with most of his several hundred church cantatas.

The Christmas Oratorio consists of six musically complete cantatas, each recounting a scene from the story of Jesus Christ’s birth as told in the Gospel of Luke. The biblical narrative is given in by a tenor in the role of the . Part I tells of Jesus’s birth; Part II, the Annunciation to the Shepherds; III, the Adoration of the Shepherds; IV, Circumcision and Naming of Jesus; V, Journey of the Magi, and VI, Adoration of the Magi. Framing the Evangelist’s narrative are chorales, other movements for chorus, and vocal solo or duo movements providing poetic commentary on and reaction to the story.

In addition to the change in scene, Bach further ensures the musical distinctiveness of each cantata by scoring each for a different complement of instruments in addition to the strings and continuo (organ, bassoon, and cello)—e.g., trumpets and timpani create the festive mood for Christmas Day at the start of the first cantata; dusky oboes da caccia (a precursor to the English horn) denote the world of the shepherd in Part II. Bach also chooses different voice types and instrumental accompaniment to characterize the arias within each part.

Much of the Christmas Oratorio is based on music Bach composed earlier, mined primar- ily from three secular cantatas and a now-lost church cantata; the composer worked with a librettist to create new words to fit extant melodies and choruses. He wrote the remainder of the music—including all the —and assembled the whole in time for the Christmas season of 1734. The piece was originally performed over the course of twelve days: Christmas Day, the day after Christmas, and the second day after Christmas; New Year’s Day 1735, the first Sunday after the New Year, and the Feast of the Epiphany on January 6. This week’s BSO performances of J.S. Bach’s Christmas Oratorio mark the orchestra’s first complete performances of the piece, though Charles Munch led the BSO in five of its six parts during the 1950 Christmas season.

Robert Kirzinger

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

Thursday, November 29, 7:30pm Friday, November 30, 1:30pm Saturday, December 1, 7:30pm Symphony Hall, Boston

“Leipzig Week in Boston”

J.S. BACH “Christmas Oratorio,” BWV 248 Text and Translation

ANDRIS NELSONS conducting CAROLYN SAMPSON, soprano CHRISTINE RICE, mezzo-soprano SEBASTIAN KOHLHEPP, tenor ANDRÈ SCHUEN, baritone

TANGLEWOOD FESTIVAL CHORUS and BOSTON SYMPHONY CHILDREN’S CHOIR, JAMES BURTON, conductor J.S. BACH “Christmas Oratorio,” BWV 248 English translation by Pamela Dellal

Part I: Cantata for the First Day of Christmas “Jauchzet, frohlocket, auf, preiset die Tage”

1. Chorus Jauchzet, frohlocket, auf, preiset die Tage, Celebrate, rejoice, rise up and praise these days, Rühmet, was heute der Höchste getan! glorify what the Highest has done today! Lasset das Zagen, verbannet die Klage, Abandon despair, banish laments, Stimmet voll Jauchzen und Fröhlichkeit an! sound forth full of delight and happiness! Dienet dem Höchsten mit herrlichen Chören, Serve the Highest with glorious choruses, Laßt uns den Namen des Herrschers verehren! let us honor the name of the Supreme Ruler!

2. Recitative: (Evangelist [Tenor]) Es begab sich aber zu der Zeit, daß ein Gebot It came to pass at that time, however, that von dem Kaiser Augusto ausging, daß alle a decree went out from Caesar Augustus Welt geschätzet würde. Und jedermann ging, that the whole world should be appraised. daß er sich schätzen ließe, ein jeglicher in And everyone went to be appraised, each seine Stadt. Da machte sich auch auf Joseph to his own city. So Joseph also went out of aus Galiläa, aus der Stadt Nazareth, in das Galilee, out of the city of Nazareth, into the jüdische Land zur Stadt David, die da heißet Jewish territory to the city of David, which Bethlehem; darum, daß er von dem Hause was called Bethlehem; since he was of the und Geschlechte David war: auf daß er sich house and race of David; so that he might schätzen ließe mit Maria, seinem vertrauten be appraised with Mary, his betrothed wife, Weibe, die war schwanger. Und als sie daselbst who was pregnant. And while they were there, waren, kam die Zeit, daß sie gebären sollte. the time came for her to deliver. (Luke 2:1, 3-6)

3. Recitative (Alto) Nun wird mein liebster Bräutigam, Now my dearest Bridegroom, Nun wird der Held aus Davids Stamm now the hero from David’s branch, Zum Trost, zum Heil der Erden for the comfort, for the salvation of the earth, Einmal geboren werden. will be born at last. Nun wird der Stern aus Jakob scheinen, Now the Star out of Jacob will shine, Sein Strahl bricht schon hervor. its light already breaks forth. Auf, Zion, und verlasse nun das Weinen, Arise, Zion, and give up your weeping now, Dein Wohl steigt hoch empor! your happiness rises high above you!

4. (Alto) Bereite dich, Zion, mit zärtlichen Trieben, Prepare yourself, Zion, with tender efforts, Den Schönsten, den Liebsten bald bei dir to behold your lovely one, your beloved, zu sehn! near you soon! Deine Wangen Your cheeks Müssen heut viel schöner prangen, must now glow much more radiantly, Eile, den Bräutigam sehnlichst zu lieben! hurry to love the Bridegroom with passion! 5. Chorale Wie soll ich dich empfangen How shall I embrace You, Und wie begegn’ ich dir? and how encounter You? O aller Welt Verlangen, O desire of the whole world, O meiner Seelen Zier! O adornment of my soul! O Jesu, Jesu, setze O Jesus, Jesus, place Mir selbst die Fackel bei, the torch near me Yourself, Damit, was dich ergötze, so that what gives You pleasure Mir kund und wissend sei! be known and familiar to me! (“Wie soll ich dich empfangen,” verse 1)

6. Recitative (Evangelist [Tenor]) Und sie gebar ihren ersten Sohn und And she bore her first son, and wrapped wickelte ihn in Windeln und legte ihn Him in swaddling clothes and laid Him in eine Krippen, denn sie hatten sonst in a manger, since there was no other room keinen Raum in der Herberge. in the inn. (Luke 2:7)

7. Chorale (Soprano chorus) and Recitative (Bass) Er ist auf Erden kommen arm, He came to earth poor, Wer will die Liebe recht erhöhn, Who can rightly exalt this love, Die unser Heiland vor uns hegt? that our Savior harbors for us? Daß er unser sich erbarm, So that He might have sympathy for us, Ja, wer vermag es einzusehen, Indeed, who could possibly have predicted Wie ihn der Menschen Leid bewegt? how the sorrow of humanity moved Him? Und in dem Himmel mache reich, And make us rich in heaven, Des Höchsten Sohn kömmt in die Welt, The Son of the Highest came into the world, Weil ihm ihr Heil so wohl gefällt, since its salvation pleased Him so much, Und seinen lieben Engeln gleich. and like His dear angels. So will er selbst als Mensch geboren werden. thus He Himself will be born a human. Kyrieleis! Kyrie eleison! (“Gelobet seist du, Jesu Christ,” verse 6) Please turn the page quietly.

Leipzig’s Nikolaikirche, one of the two churches for which Bach wrote his “Christmas Oratorio” in 1734

j.s. bach “christmas oratorio” text and translation 3 8. Aria (Bass) Großer Herr, o starker König, Great Lord, o powerful King, Liebster Heiland, o wie wenig dearest Savior, o how little Achtest du der Erden Pracht! you care about the glories of the earth! Der die ganze Welt erhält, He who sustains the entire world, Ihre Pracht und Zier erschaffen, who created its magnificence and beauty, Muß in harten Krippen schlafen. must sleep in a harsh manger.

9. Chorale Ach mein herzliebes Jesulein, Ah, my heart’s beloved little Jesus, Mach dir ein rein sanft Bettelein, make Yourself a pure, soft little bed Zu ruhn in meines Herzens Schrein, within my heart’s chamber in which to rest, Daß ich nimmer vergesse dein! so that I never forget You! (“Vom Himmel hoch, da komm ich her,” verse 13)

Luke 2:1,3-6 (mvmt. 2); “Wie soll ich dich empfangen,” verse 1: 1653 (mvmt. 5); Luke 2:7 (mvmt. 6); “Gelobet seist du, Jesu Christ,” verse 6: 1524 (mvmt. 7); “Vom Himmel hoch, da komm ich her,” verse 13: Martin Luther 1535 (mvmt. 9)

Part II: Cantata for the Second Day of Christmas “Und es waren Hirten in derselben Gegend”

10.

11. Recitative (Evangelist [Tenor]) Und es waren Hirten in derselben Gegend And there were shepherds in the same region auf dem Felde bei den Hürden, die hüteten in the fields near the sheepfolds, who guarded des Nachts ihre Herde. Und siehe, des their flock at night. And behold, the angel of Herren Engel trat zu ihnen, und die Klarheit the Lord approached them, and the brilliance des Herren leuchtet um sie, und sie furchten of the Lord shone around them and they were sich sehr. very afraid. (Luke 2:8-9)

12. Chorale Brich an, o schönes Morgenlicht, Break forth, o lovely light of morning, Und laß den Himmel tagen! and let heaven dawn! Du Hirtenvolk, erschrecke nicht, You shepherd-folk, do not fear, Weil dir die Engel sagen, for the angel tells you Daß dieses schwache Knäbelein that this weak little boy Soll unser Trost und Freude sein, shall be our comfort and joy, Dazu den Satan zwingen compelling Satan as well Und letztlich Friede bringen! and bringing peace at last! (“Ermuntre dich, mein schwacher Geist,” verse 9) 13. Recitative (Evangelist [Tenor]; Angel [Soprano]) Und der Engel sprach zu ihnen: And the angel said to them: —Fürchtet euch nicht, siehe, ich verkündige —Do not be afraid; behold, I proclaim great euch große Freude, die allem Volke joy for you, which will occur for all people. widerfahren wird. Denn euch ist heute For today the Savior is born for you, which der Heiland geboren, welcher ist Christus, is Christ, the Lord, in the city of David.— der Herr, in der Stadt David.— (Luke 2: 10-11)

14. Recitative (Bass) Was Gott dem Abraham verheißen, What God promised to Abraham, Das läßt er nun dem Hirten-Chor now, fulfilled, He has had announced Erfüllt erweisen. to the group of shepherds. Ein Hirt hat alles das zuvor A shepherd, then, first of all, Von Gott erfahren müssen. had experience of God. Und nun muß auch ein Hirt die Tat, And now, also, a shepherd is first of all Was er damals versprochen hat, to know the fulfillment Zuerst erfüllet wissen. of what once was promised.

15. Aria (Tenor) Frohe Hirten, eilt, ach eilet, Happy shepherds, hurry, ah hurry, Eh ihr euch zu lang verweilet, before you delay too long, Eilt, das holde Kind zu sehn! hurry to see the lovely Child! Geht, die Freude heißt zu schön, Go, this joy is so exquisite, Sucht die Anmut zu gewinnen, seek to achieve this loveliness, Geht und labet Herz und Sinnen! go and delight heart and senses!

16. Recitative (Evangelist [Tenor]) Und das habt zum Zeichen: Ihr werdet And you will have this as a sign: you finden das Kind in Windeln gewickelt will find the Child wrapped in swaddling und in einer Krippe liegen. clothes and lying in a manger. (Luke 2:12)

17. Chorale Schaut hin, dort liegt im finstern Stall, Look there, there He lies in a dark stall, Des Herrschaft gehet überall! whose majesty encompasses everything! Da Speise vormals sucht ein Rind, Where once an ox searched for food, Da ruhet itzt der Jungfrau’n Kind. now the Child of the Virgin rests. (“Schaut, schaut, was ist für Wunder dar,” verse 8)

Please turn the page quietly.

j.s. bach “christmas oratorio” text and translation 5 18. Recitative (Bass) So geht denn hin, ihr Hirten, geht, Then go there, you shepherds, go, Daß ihr das Wunder seht: so that you see the miracle: Und findet ihr des Höchsten Sohn and when you find the Son of the Highest In einer harten Krippe liegen, lying in a harsh manger, So singet ihm bei seiner Wiegen then sing to Him by His cradle Aus einem süßen Ton in a sweet tone Und mit gesamtem Chor and with full chorus Dies Lied zur Ruhe vor! this lullaby!

19. Aria (Alto) Schlafe, mein Liebster, genieße der Ruh, Sleep, my beloved, enjoy Your rest, Wach nach diesem vor aller Gedeihen! and awaken after it for all the fortunate! Labe die Brust, Let your heart delight, Empfinde die Lust, experience the joy Wo wir unser Herz erfreuen! that rejoices our hearts!

20. Recitative (Evangelist [Tenor]) Und alsobald war da bei dem Engel die And immediately, with the angel, there Menge der himmlischen Heerscharen, was a throng of the heavenly hosts, die lobten Gott und sprachen: who praised God and said: (Luke 2:13)

21. Chorus (The Angels) Ehre sei Gott in der Höhe und Friede auf Glory be to God in the highest and peace on Erden und den Menschen ein Wohlgefallen. earth and a happy occurrence for humanity. (Luke 2:14)

22. Recitative (Bass) So recht, ihr Engel, jauchzt und singet, Thus rightly, you angels, rejoice and sing, Daß es uns heut so schön gelinget! that it works out so beautifully for us today! Auf denn! Wir stimmen mit euch ein, Up then! We play along with you; Uns kann es so wie euch erfreun. we can celebrate just as you do.

23. Chorale Wir singen dir in deinem Heer We sing to You in Your host Aus aller Kraft Lob, Preis und Ehr, with all our might praise, glory and honor, Daß du, o lang gewünschter Gast, since You, o long-awaited guest, Dich nunmehr eingestellet hast. from now on have become present. (“Wir singen dir, Emmanuel,” verse 2)

Luke 2:8-14 (mvmts. 2,4,7,11,12); “Ermuntre dich, mein schwacher Geist,” verse 9: 1641 (mvmt. 3); “Schaut, schaut, was ist für Wunder dar,” verse 8: Paul Gerhardt 1667 (mvmt. 8); “Wir singen dir, Emmanuel,” verse 2: Paul Gerhardt 1656 (mvmt. 14) Part III: Cantata for the Third Day of Christmas “Herrscher des Himmels, erhöre das Lallen”

24. Chorus Herrscher des Himmels, erhöre das Lallen, Ruler of Heaven, hear the murmur, Laß dir die matten Gesänge gefallen, let the dull songs be pleasing to You, Wenn dich dein Zion mit Psalmen erhöht! when Your Zion exalts You with psalms! Höre der Herzen frohlockendes Preisen, Hear the delightful praises of our hearts, Wenn wir dir itzo die Ehrfurcht erweisen, when we acknowledge our present awe of You, Weil unsre Wohlfahrt befestiget steht! since our pilgrimage has been confirmed!

25. Recitative (Evangelist [Tenor]) Und da die Engel von ihnen gen Himmel And when the angels went away from them fuhren, sprachen die Hirten untereinander: towards heaven, the shepherds said to (Luke 2:15) one another:

26. Chorus Lasset uns nun gehen gen Bethlehem und Let us go now towards Bethlehem and die Geschichte sehen, die da geschehen ist, see this thing that has happened there, die uns der Herr kundgetan hat. which the Lord has announced to us. (Luke 2:15)

27. Recitative (Bass) Er hat sein Volk getröst’, He has comforted His people, Er hat sein Israel erlöst, He has rescued His Israel, Die Hülf aus Zion hergesendet sending help out of Zion Und unser Leid geendet. and ending our sorrow. Seht, Hirten, dies hat er getan; Look, shepherds, He has done this; Geht, dieses trefft ihr an! go, this is what awaits you!

28. Chorale Dies hat er alles uns getan, All this He has done for us, Sein groß Lieb zu zeigen an; to indicate His great love; Des freu sich alle Christenheit for this all Christianity rejoices Und dank ihm des in Ewigkeit. and thanks Him for it in eternity. Kyrieleis! Kyrie eleison! (“Gelobet seist du, Jesu Christ,” verse 7)

29. Aria (Duet: Soprano and Bass) Herr, dein Mittleid, dein Erbarmen Lord, your compassion, your mercy Tröstet uns und macht uns frei. comforts us and makes us free. Deine holde Gunst und Liebe, Your gracious favor and love, Deine wundersamen Triebe Your miraculous doings Machen deine Vatertreu make Your fatherly devotion Wieder neu. renewed again.

Please turn the page quietly.

j.s. bach “christmas oratorio” text and translation 7 30. Recitative (Evangelist [Tenor]) Und sie kamen eilend und funden beide, And they came hastily and found both Mary Mariam und Joseph, dazu das Kind in der and Joseph, along with the child lying in the Krippe liegen. Da sie es aber gesehen hatten, manger. When they had seen it, however, breiteten sie das Wort aus, welches zu ihnen they spread the word around, that had been von diesem Kind gesaget war. Und alle, für spoken about this child. And everyone to die es kam, wunderten sich der Rede, die whom it came marveled at the sayings that ihnen dir Hirten gesaget hatten. Maria aber the shepherds had told them. Mary however behielt alle diese Worte und bewegte sie kept all these words and pondered them in ihrem Herzen. in her heart. (Luke 2:16-19)

31. Aria (Alto) Schließe, mein Herze, dies selige Wunder Enclose, my heart, these blessed miracles Fest in deinem Glauben ein! fast within your faith! Lasse dies Wunder, die göttlichen Werke, Let these wonders, these divine works, Immer zur Stärke forever be the reinforcement Deines schwachen Glaubens sein! of your weak faith!

32. Recitative (Alto) Ja, ja, mein Herz soll es bewahren, Yes, yes, my heart shall cherish this, Was es an dieser holden Zeit what it has experienced Zu seiner Seligkeit at this glorious time for its blessedness Für sicheren Beweis erfahren. as a sure revelation.

33. Chorale Ich will dich mit Fleiß bewahren, I will cherish You assiduously, Ich will dir I will Leben hier, live for You here, Dir will ich abfahren, to You will I depart, Mit dir will ich endlich schweben with You, at last, I will float Voller Freud full of joy, Ohne Zeit endlessly, Dort im andern Leben. there in the other life. (“Fröhlich soll mein Herze springen,” verse 15)

34. Recitative (Evangelist [Tenor]) Und die Hirten kehrten wieder um, preiseten And the shepherds went back again, praising und lobten Gott um alles, das sie gesehen und and glorifying God for everything that they had gehöret hatten, wie denn zu ihnen gesaget war. seen and heard, as it had been spoken to them. (Luke 2:20) 35. Chorus Seid froh dieweil, Meanwhile, be happy, Das euer Heil for your salvation Ist hie ein Gott und auch ein Mensch geboren, is born here a God and also a person, Der, welcher ist He, who is Der Herr und Christ the Lord and Christ In Davids Stadt, von vielen auserkoren. in David’s city, chosen out of many. (“Laßt Furcht und Pein,” verse 4)

35b. [Repeat of No. 24, Chorus] Herrscher des Himmels, erhöre das Lallen, Ruler of Heaven, hear the murmur, Laß dir die matten Gesänge gefallen, let the dull songs be pleasing to You, Wenn dich dein Zion mit Psalmen erhöht! when Your Zion exalts You with psalms! Höre der Herzen frohlockendes Preisen, Hear the delightful praises of our hearts, Wenn wir dir itzo die Ehrfurcht erweisen, when we acknowledge our present awe of You, Weil unsre Wohlfahrt befestiget steht! since our pilgrimage has been confirmed!

Luke 2:15-20 (mvmts. 2,3,7,11); “Gelobet seist du, Jesu Christ,” verse 7: Martin Luther 1524 (mvmt. 5); “Fröhlich soll mein Herze springen,” verse 15: Paul Gerhardt 1653 (mvmt. 10); “Laßt Furcht und Pein,” verse 4: Christoph Runge 1653 (mvmt. 12)

INTERMISSION Marc Mandel

Leipzig’s Thomaskirche, one of the two churches for which Bach wrote his “Christmas Oratorio” in 1734

j.s. bach “christmas oratorio” text and translation 9 Part IV: Cantata for New Year’s Day “Fallt mit Danken, fallt mit Loben”

36. Chorus Fallt mit Danken, fallt mit Loben With gratitude, with praise, Vor des Höchsten Gnadenthron! fall before the Almighty’s throne of grace! Gottes Sohn God’s Son Will der Erden desires to become Heiland und Erlöser werden, the Savior and Redeemer of the world, Gottes Sohn God’s Son Dämpft der Feinde Wut und Toben. suppresses the rage and fury of the enemy.

37. Recitative (Evangelist [Tenor]) Und da acht Tage um waren, daß das Kind And when eight days had passed, when the beschnitten würde, da ward sein Name child would be circumcised, He was given genennet Jesus, welcher genennet war the name of Jesus, which was proposed for von dem Engel, ehe denn er im Mutterleibe Him by the angel, while He was still confined empfangen ward. in His mother’s body. (Luke 2:21)

38. Recitative and (Bass, Soprano chorale) Immanuel, o süßes Wort! Emmanuel, o sweet word! Mein Jesus heißt mein Hort, My Jesus is named my treasure, Mein Jesus heißt mein Leben. my Jesus is named my life. Mein Jesus hat sich mir ergeben, My Jesus has given Himself to me, Mein Jesus soll mir immerfort my Jesus shall, from now on, Vor meinen Augen schweben. hover before my eyes. Mein Jesus heißet meine Lust, My Jesus is named my joy, Mein Jesus labet Herz und Brust. my Jesus refreshes heart and breast. Jesus, du mein liebstes Leben, Jesus, o my dearest life, Meiner Seelen Bräutigam, bridegroom of my soul, Komm! Ich will dich mit Lust umfassen, Come! I will embrace You with joy, Mein Herze soll dich nimmer lassen, my heart shall never leave You, Der du dich vor mich gegeben You who have given Yourself for me An des bittern Kreuzes Stamm! on the bitter staff of the cross! Ach! So nimm mich zu dir! Ah! Then take me to You! Auch in dem Sterben sollst du mir Even in death you shall be to me Das Allerliebste sein; my most beloved; In Not, Gefahr und Ungemach in suffering, danger, and hardship Seh ich dir sehnlichst nach. I look to You longingly. Was jagte mir zuletzt der Tod für Grauen ein? How, then, can death pursue me with fear? Mein Jesus! Wenn ich sterbe, My Jesus! When I die, So weiß ich, daß ich nicht verderbe. I know that I will not perish. Dein Name steht in mir geschrieben, Your name stands written within me, Der hat des Todes Furcht vertrieben. which has driven out the fear of death. (“Jesu, du mein liebstes Leben,” verse 1, part 1) 39. Aria (Soprano, with echo chorus) Flößt, mein Heiland, flößt dein Namen O my Savior, does your name Auch den allerkleinsten Samen instill even the very tiniest seed Jenes strengen Schreckens ein? of that powerful terror? Nein, du sagst ja selber nein. (Nein!) No, You Yourself say no. (No!) Sollt ich nun das Sterben scheuen? Shall I shun death now? Nein dein süßes Wort ist da! No, Your sweet word is there! Oder sollt ich mich erfreuen? Or shall I rejoice? Ja, du Heiland sprichst selbst ja. (Ja!) Yes, o Savior, You Yourself say yes. (Yes!)

40. Recitative (Bass, Soprano chorale) Wohlan, dein Name soll allein Well then, Your name alone In meinem Herzen sein! shall be in my heart! Jesu, meine Freud und Wonne, Jesus, my joy and delight, Meine Hoffnung, Schatz und Teil, my hope, treasure and portion, So will ich dich entzücket nennen, Thus I shall call you enchanting, Wenn Brust und Herz zu dir vor since breast and heart are enflamed with Liebe brennen. love for You. Mein Erlösung, Schmuck und Heil, My redemption, adornment, and salvation, Doch, Liebster, sage mir: Yet, beloved, tell me: Wie rühm ich dich, wie dank ich dir? how shall I praise You, how thank You? Hirt und König, Licht und Sonne, Shepherd and King, light and sun, Ach! Wie soll ich würdiglich, ah! How shall I worthily Mein Herr Jesu, preisen dich? praise You, my Jesus? (“Jesu, du mein liebstes Leben,” verse 1, part 2)

41. Aria (Tenor) Ich will nur dir zu Ehren leben, I will live only for Your honor, Mein Heiland, gib mir Kraft und Mut, my Savior, give me strength and courage, Daß es mein Herz recht eifrig tut! so that my heart can do it eagerly! Stärke mich, Strengthen me Deine Gnade würdiglich to exalt Your mercy worthily Und mit Danken zu erheben! and with gratitude!

42. Chorale Jesus richte mein Beginnen, Jesus orders my beginning, Jesus bleibe stets bei mir, Jesus remains always with me, Jesus zäume mir die Sinnen, Jesus restrains my thoughts, Jesus sei nur mein Begier, let Jesus only be my delight, Jesus sei mir in Gedanken, let Jesus be with me in my thoughts, Jesu, lasse mich nicht wanken! Jesus, do not let me waver! (“Hilf, Herr Jesu, laß gelingen,” verse 15)

Luke 2:21 (mvmt. 2); “Jesu, du mein liebstes Leben,” verse 1: Johann Rist 1642 (mvmts. 3,5); “Hilf, Herr Jesu, laß gelingen,” verse 15: Johann Rist 1642 (mvmt. 7)

j.s. bach “christmas oratorio” text and translation 11 Part V: Cantata for the First Sunday in the New Year “Ehre sei dir, Gott, gesungen”

43. Chorus Ehre sei dir, Gott, gesungen, Let honor be sung to You, o God, Dir sei Lob und Dank bereit’. praise and thanks be prepared for You. Dich erhebet alle Welt, All the world exalts You, Weil dir unser Wohl gefällt, since our well-being was Your pleasure, Weil anheut since today Unser aller Wunsch gelungen, all our wishes have come to pass, Weil uns dein Segen so herrlich erfreut. since Your blessing so gloriously delights us.

44. Recitative (Evangelist [Tenor]) Da Jesus geboren war zu Bethlehem im When Jesus was born in Bethlehem in the jüdischen Lande zur Zeit des Königes Jewish lands at the time of King Herod, Herodis, siehe, da kamen die Weisen behold, there came sages from the east vom Morgenlande gen Jerusalem und towards Jerusalem and said: sprachen: (Matthew 2:1)

45. Chorus (Wise Men) and Recitative (Alto) Wo ist der neugeborne König der Jüden?” “Where is the new-born King of the Jews?” “ Sucht ihn in meiner Brust, Seek Him within my breast, Hier wohnt er, mir und ihm zur Lust! He lives here, to His and my delight! Wir haben seinen Stern gesehen im “We have seen His star in the east and have “ Morgenlande und sind kommen, ihn anzubeten.” come to make our devotions to Him.” Wohl euch, die ihr dies Licht gesehen, Happy are you, who have seen this light, Es ist zu eurem Heil geschehen! it has appeared for your salvation! Mein Heiland, du, du bist das Licht, My Savior, You, You are the light, Das auch den Heiden scheinen sollen, that shall shine also for the heathens, Und sie, sie kennen dich noch nicht, and they, they do not yet know You, Als sie dich schon verehren wollen. yet they already wish to honor You. Wie hell, wie klar muß nicht dein Schein, How bright, how clear must your radiance be, Geliebter Jesu, sein! beloved Jesus! (Matthew 2:2)

46. Chorale Dein Glanz all Finsternis verzehrt, Your radiance destroys all darkness, Die trübe Nacht in Licht verkehrt. the troubled night is transfigured with light. Leit uns auf deinen Wegen, Lead us on Your paths, Daß dein Gesicht so that Your face Und herrlichs Licht and glorious light Wir ewig schauen mögen! might always be visible to us! (“Nun, liebe Seel, nun ist es Zeit,” verse 5) 47. Aria (Bass) Erleucht auch meine finstre Sinnen, Illumine my dark thoughts as well, Erleuchte mein Herze illumine my heart Durch der Strahlen klaren Schein! through the rays of your clear brilliance! Dein Wort soll mir die hellste Kerze Your word shall be the brightest candle for me In allen meinen Werken sein; in all my doings; Dies lässet die Seele nichts Böses beginnen. this will never let my soul initiate evil.

48. Recitative (Evangelist [Tenor]) Da das der König Herodes hörte, erschrak When King Herod heard this, he was frightened, er und mit ihm das ganze Jerusalem. and with him all of Jerusalem. (Matthew 2:3)

49. Recitative (Alto) Warum wollt ihr erschrecken? Why are you afraid? Kann meines Jesu Gegenwart euch solch Can the presence of my Jesus awaken such Furcht erwecken? fear in you? O! Solltet ihr euch nicht O! Should you not rather Vielmehr darüber freuen, much more rejoice over this, Weil er dadurch verspricht, since He has promised through this Der Menschen Wohlfahrt zu verneuen. to renew the happy destiny of humanity.

50. Recitative (Evangelist [Tenor]) Und ließ versammlen alle Hohepriester und And he had all the high priests and interpreters Schriftgelehrten unter dem Volk und of Scripture among the people gathered erforschete von ihnen, wo Christus sollte together, and inquired of them where Christ geboren werden. Und sie sagten ihm: Zu was supposed to be born. And they answered Bethlehem im jüdischen Lande: denn also him: In Bethlehem in the Jewish lands: for thus stehet geschrieben durch den Propheten: it is written through the Prophets: and you, Und du Bethlehem im jüdischen Lande bist Bethlehem, in the Jewish lands, are by no mitnichten die kleinest unter den Fürsten Juda; means the least among the princes of Judah; denn aus dir soll mir kommen der Herzog, for out of you shall come the leader to me, der über mein Volk Israel ein Herr sei. who shall be a Lord over my people Israel. (Matthew 2:4-6)

51. Aria (Trio: Soprano, Alto, Tenor) Ach, wenn wird die Zeit erscheinen? Ah, when will the time appear? Ach, wenn kömmt der Trost der Seinen? Ah, when will the comfort of the faithful come? —Schweigt, er ist schon wirklich hier!— —Hush, He is truly already here!— Jesu, ach so komm zu mir! Jesus, ah, then come to me!

52. Recitative (Alto) Mein Liebster herrschet schon. My beloved already reigns. Ein Herz, das seine Herrschaft liebet A heart that loves His governance Und sich ihm ganz zu eigen gibet, and gives itself utterly to Him as His own, Ist meines Jesu Thron. is my Jesus’ throne.

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j.s. bach “christmas oratorio” text and translation 13 53. Chorale Zwar ist solch Herzensstube Indeed such a heart’s closet Wohl kein schöner Fürstensaal, may be no ornate princely chamber, Sondern eine finstre Grube; rather a dark pit; Doch, sobald dein Gnadenstrahl yet, as soon as Your beams of grace In denselben nur wird blinken, only peep within it, Wird es voller Sonnen dünken. it seems to be full of sunshine. (“Ihr Gestirn, ihr hohlen Lüfte,” verse 9)

Matthew 2:1-6 (mvmts. 2,3,6,8); “Nun, liebe Seel, nun ist es Zeit,” verse 5: 1642 (mvmt. 4); “Ihr Gestirn, ihr hohlen Lüfte,” verse 9: 1655 (mvmt. 11)

Part VI: Cantata for the Feast of the Epiphany “Herr, wenn die stolzen Feinde schnauben”

54. Chorus Herr, wenn die stolzen Feinde schnauben, Lord, when our proud enemies snarl, So gib, daß wir im festen Glauben then grant that, in firm faith, Nach deiner Macht und Hülfe sehn! we can look for Your help and strength! Wir wollen dir allein vertrauen, We will trust in You alone, So können wir den scharfen Klauen thus we can escape the sharp claws Des Feindes unversehrt entgehn. of the enemy unscathed.

55. Recitative (Evangelist [Tenor]; Herod [Bass]) Da berief Herodes die Weisen heimlich Then Herod summoned the sages secretly und erlernet mit Fleiß von ihnen, wenn and cleverly discovered from them when der Stern erschienen wäre. Und weiset sie the star had appeared. And he directed them gen Bethlehem und sprach: towards Bethlehem and said: —Ziehet hin und forschet fleißig nach dem —Go there and seek diligently for the infant, Kindlein, und wenn ihr’s findet, sagt mir’s and when you find it, report to me, so that wieder, daß ich auch komme und es anbete. I can also come and pay my devotions to it. (Matthew 2:7-8)

56. Recitative (Soprano) Du Falscher, suche nur den Herrn zu fällen, Liar, you seek only to destroy the Lord; Nimm alle falsche List, You employ all false trickery Dem Heiland nachzustellen; to supplant the Savior; Der, dessen Kraft kein Mensch ermißt, yet He, whose power no man can measure, Bleibt doch in sichrer Hand. remains in secure hands. Dein Herz, dein falsches Herz ist schon, Your heart, your false heart is already, Nebst aller seiner List, des Höchsten Sohn, with all its deceit, very well known Den du zu stürzen suchst, sehr wohl bekannt. to the Son of the Highest whom you seek to crush. 57. Aria (Soprano) Nur ein Wink von seinen Händen Only a wave of His hands Stürzt ohnmächtger Menschen Macht. topples the impotent power of humans. Hier wird alle Kraft verlacht! Here all strength is laughable! Spricht der Höchste nur ein Wort, If the Highest speaks only a word, Seiner Feinde Stolz zu enden, to terminate the pride of His enemies, O, so müssen sich sofort o, then how immediately must Sterblicher Gedanken wenden. the thoughts of mortals be turned aside!

58. Recitative (Evangelist [Tenor]) Als sie nun den König gehöret hatten, When they had heard the King, they went zogen sie hin. Und siehe, der Stern, den away. And behold, the star which they had sie im Morgenlande gesehen hatten, seen in the East went before them until it ging für ihnen hin, bis daß er kam und came and stood over where the infant was. stund oben über, da das Kindlein war. Da sie den Stern sahen, wurden sie hoch When they saw the star, they were highly erfreuet und gingen in das Haus und funden delighted, and went into the house, and das Kindlein mit Maria, seiner Mutter, found the infant with Mary, His mother; und fielen nieder und beteten es an und and they fell down and worshipped Him täten ihre Schätze auf und schenkten and presented their treasures; and they ihm Gold, Weihrauch und Myrrhen. gave Him gold, frankincense, and myrrh. (Matthew 2:9-11)

59. Chorale Ich steh an deiner Krippen hier, I stand here by Your cradle, O Jesulein, mein Leben; o little Jesus, my life; Ich komme, bring und schenke dir, I come, I bring and give to You, Was du mir hast gegeben. what You have given to me. Nimm hin! Es ist mein Geist und Sinn, Take it! It is my spirit and mind, Herz, Seel und Mut, nimm alles hin, heart, soul, and will, take all of it, Und laß dirs wohlgefallen! and let it be pleasing to You! (“Ich steh an deiner Krippen hier,” verse 1)

60. Recitative (Evangelist [Tenor]) Und Gott befahl ihnen im Traum, daß sie And God commanded them in a dream that sich nicht sollten wieder zu Herodes lenken, they should not journey back to Herod, and und zogen durch einen andern Weg wieder they travelled by another way back to their in ihr Land. own land. (Matthew 2:12)

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j.s. bach “christmas oratorio” text and translation 15 61. Recitative (Tenor) So geht! Genug, mein Schatz geht nicht Go then! It is enough, my treasure does not von hier, leave here, Er bleibet da bei mir, He remains here with me, Ich will ihn auch nicht von mir lassen. I also will not let Him leave me. Sein Arm wird mich aus Lieb His arm will, out of love, Mit sanftmutsvollem Trieb embrace me with tender emotions Und größter Zärtlichkeit umfassen; and the greatest gentleness; Er soll mein Bräutigam verbleiben, He shall remain my bridegroom, Ich will ihm Brust und Herz verschreiben. I will dedicate my heart and breast to Him. Ich weiß gewiß, er liebet mich, I surely know that He loves me, Mein Herz liebt ihn auch inniglich my heart loves Him inwardly as well Und wird ihn ewig ehren. and will always honor Him. Was könnte mich nun für ein Feind What kind of enemy now, amid such happiness, Bei solchem Glück versehren! could harm me! Du, Jesu, bist und bleibst mein Freund; You, Jesus, are and remain my Friend; Und werd ich ängstlich zu dir flehn: and if I will beseech you anxiously: Herr hilf! so laß mich Hülfe sehn! Lord, help! then let me see assistance!

62. Aria (Tenor) Nun mögt ihr stolzen Feinde schrecken; Now, you arrogant enemies, you may tremble; Was könnt ihr mir für Furcht erwecken? what kind of fear can you arouse in me? Mein Schatz, mein Hort ist hier bei mir. My treasure, my sanctuary is here with me. Ihr mögt euch noch so grimmig stellen, You may seem still so horrible, Droht nur, mich ganz und gar zu fällen, threatening to defeat me once and for all, Doch seht! Mein Heiland wohnet hier. yet see! My Savior lives here.

63. Recitative (Soprano, Alto, Tenor, Bass) Was will der Höllen schrecken nun, How can hell frighten now, Was will uns Welt und Sünde tun, what can the world and sin do to us, Da wir in Jesu Händen ruhn? since we are safe in Jesus’ hands?

64. Chorale Nun seid ihr wohl gerochen Now you are well avenged An eurer Feinde Schar, upon the horde of your enemies, Denn Christus hat zerbrochen, since Christ has pulverized Was euch zuwider war. what was contrary to you. Tod, Teufel, Sünd und Hölle Death, devil, sin and hell Sind ganz und gar geschwächt; are weakened once and for all; Bei Gott hat seine Stelle the place of the human race Das menschliche Geschlecht. is next to God. (“Ihr Christen auserkoren,” verse 4)

Matthew 2:7-12 (mvmts. 2,5,7); “Ich steh an deiner Krippen hier,” verse 1: Paul Gerhardt 1656 (mvmt. 6); “Ihr Christen auserkoren,” verse 4: Georg Werner 1648 (mvmt. 11)

English translation © Pamela Dellal, used courtesy of Pamela Dellal and Emmanuel Music. All rights reserved. Johann Sebastian Bach “Weihnachts-Oratorium” (“Christmas Oratorio”), BWV 248

JOHANN SEBASTIAN BACH was born in Eisenach, Thuringia, in central Germany, on March 21, 1685, and died in Leipzig on July 28, 1750. He composed and compiled the “Christmas Oratorio” in 1734 for performance in Leipzig during that year’s Christmas season, and its six parts, with Bach himself conducting, were performed over the course of twelve days: Christmas Day 1734 (a Saturday); the day after Christmas, and two days after Christmas; New Year’s Day 1735; the Sunday after New Year’s (January 2); and the Feast of the Epiphany (January 6). Parts I, II, IV, and VI were performed in both the Thomaskirche (in the morning service) and the Nikolaikirche (afternoon); parts III and V were only performed at the Nikolaikirche. This week’s performances are the first by the Boston Symphony Orchestra of the complete work. (A full BSO performance history appears at the end of this note.)

THE SCORING OF THE “CHRISTMAS ORATORIO” CALLS FOR soprano, alto, tenor, and bass vocal soloists, four-part mixed chorus (soprano, alto, tenor, bass), and orchestra. The instrumental ensemble is slightly different for each cantata, though the strings and the continuo group—organ, bassoon, and cello—are constants. In addition to the strings and continuo, Part I requires two flutes, two oboes, two oboes d’amore, three trumpets, and timpani; Part II, two flutes, two oboes d’amore, and two oboes da caccia; Part III, two flutes, two oboes, two oboes d’amore, three trumpets, and timpani; Part IV, two oboes and two horns; Part V, two oboes d’amore; Part VI, two oboes, two oboes d’amore, three trumpets, and timpani.

J.S. Bach’s Christmas Oratorio is a cycle of six musically self-contained cantatas, each taking for its subject a scene from the Gospel of St. Luke’s narrative of the birth of Jesus Christ. The six parts, as laid out by Bach and his unknown librettist (possibly his longtime collaborator Picander), are: The Birth of Jesus; Annunciation to the Shepherds; Adoration of the Shepherds; Circumcision and Naming of Jesus; Journey of the Magi; and Adoration of the Magi. Each cantata employs a similar pattern—a tone-setting introductory movement is followed by the Evangelist’s story-telling recitative, interspersed with poetic commentary from soloists or chorus. Five of the six introductory movements are for chorus and orchestra; the second cantata begins with a Sinfonia

week 8 program notes 43 for the orchestra alone. This general, flexible template of movements sufficed for most of Bach’s large output of cantatas, the bulk of which he wrote in his first decade in Leipzig.

Bach had arrived in the city in May 1723 following six years of service in Cöthen, and lived in Leipzig until his death in July 1750. In Cöthen, in the service of the music-loving Prince Leopold, he amassed an astonishing catalog of instrumental masterpieces, among them the six Brandenburg Concertos, the works for unaccompanied cello and unaccompanied violin, and the first book of theWell-Tempered Clavier. The Leipzig position, Thomaskantor and Music Director of Leipzig, gave him oversight over the musical activities of the city’s four principal churches, the Thomaskirche, Nikolaikirche, Neukirche, and Petrikirche, as well as responsibility for the tutelage of the boys at the Thomasschule, the boarding school of St. Thomas Church.

Bach’s compositional activities in Leipzig focused on music for Sunday services, church feast days and special services, and other special occasions, such as weddings and funerals—“a bold program of church music,” Bach scholar Christoph Wolff notes, that in its “richness of ideas, forms, and sonorities...was unprecedented for Leipzig (or any- where else, for that matter).” The amount of music that he produced in this position is staggering, especially in the first few years. After his first two years he had assembled two nearly complete church-year cycles of cantatas, each comprising more than sixty large-scale works. He completed two more cycles by 1729, and yet a fifth by the

44 1740s. The term cantata in Bach’s day broadly referred to a sectional narrative work for voice or voices and ensemble, with or without chorus. The subject matter of the text could be either religious or secular; secular cantatas were typically composed for such occasions as birthdays of the nobility. Bach’s preoccupation and expe- rience with the cantata form is the foundation for the Christmas Oratorio.

That Bach was an encyclopedic composer is apparent over the entire course of his career. Excepting opera, he made a point of exploring the far reaches of possibility in every genre of music he encountered. Smaller-scale examples of this approach can be seen in his com- prehensive survey of the concerto grosso style in his Brandenburg Concertos (some of which go well beyond expectations for the genre). In his sonatas and partitas for solo violin and suites for unaccompanied cello, he plumbed the depths of string instrument writing as well as the limits of virtual counterpoint (that is, creating the illusion of multiple contrapuntal voices). Several different Original libretto of Bach’s “Christmas Oratorio,” Leipzig, 1734 projects, including the Clavier-Übung (which includes the Goldberg Variations and the Italian Concerto) and Well-Tempered Clavier, develop contrapuntal keyboard writing to its highest pinnacle.

Likewise, in his cantatas, Bach developed the form in all dimensions. For his first years in Leipzig, Bach’s deliberate concentration on the church cantata gave him little opportunity for much else, but within the restrictions of the church service (which required a typical duration for each cantata of between twenty and twenty-five minutes) he explored a variety of approaches. For example, in his second year in Leipzig he embarked on a cycle of chorale cantatas, in which the textual and musical content of the piece is based on a single , such as Martin Luther’s Ein feste Burg ist unser Gott (“A Mighty Fortress Is Our God”), which is the basis for Cantata No. 80. Among the best-known of Bach’s chorale cantatas is No. 140, Wachet auf, ruf uns die stimme (known in English as “Sleepers, Awake”). All cantatas are vocal works, but Bach’s include those with and without chorus; those for a single solo voice, and those with multiple solo voices. Many begin with a chorale introduction, but others open with an instrumental sinfonia; in some cases this was a concerto-like movement for solo instrument and ensemble. This great variety had the benefit of maintaining the interest of both Bach’s constituency (performers and congregation), and the composer himself.

Breaks in performances of cantatas during the church year, during the Lenten season before Easter and during , before Christmas, allowed Bach and his musicians to prepare the special music that was called for during and around these most important

week 8 program notes 45 The Juilliard-Nord Anglia Performing Arts Programme The British International School of Boston offers students an innovative performing arts curriculum developed by The Juilliard School in collaboration with Nord Anglia Education. Students will gain life skills to enrich their academic experience, develop cultural literacy and be inspired to engage with performing arts throughout their lives.

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

www.naejuilliard.com/bisboston Christian festivals. For Easter 1724, Bach wrote the first of his large- scale “Passion oratarios,” the St. John Passion, and during Easter week in 1727 the even bigger, double-chorus St. Matthew Passion was introduced. A third oratorio Passion, based on the Gospel of Mark, is lost, but the text survives. (A list of works published after Bach’s death notes two further Passion settings, now lost or perhaps listed in error.) The term oratorio designates a large-scale concert work for voices and orchestra with a dramatic Copperplate engraving of the Nikolaikirche in Leipzig, 1592 narrative, usually based on a religious subject. In its broad musical and nar- rative outlines, the oratorio corresponded to opera, but lacked staging and sets, and its character roles for the solo singers are usually far less defined. (The biggest exception is the role of the Evangelist, narrator in the Passions as well as the Christmas Oratorio.)

In contrast with his contemporary George Frideric Handel, whose Messiah is the most famous oratorio, Bach wrote very few such works: in addition to the Passions (for which Bach didn’t use the term oratorio), there are only the Christmas Oratorio, the , and the Ascension Oratorio. Of

these, the Christmas Oratorio is by far the Robert Kirzinger most ambitious.

Much of the music of the Christmas Oratorio originated in earlier Bach can- tatas on secular subjects. The two main extant sources were the 1733 cantatas nos. 213, Laßt uns sorgen, laßt uns wachen (“Let us take care, let us watch”), aka Hercules at the Crossroads, and 214, Tönet, ihr Pauken! Erschallet, Trompeten! (“Resound, drums! Ring out, trumpets!”). Both were composed in honor of mem- bers of the Saxon royal family, No. 213 for the birthday of Crown Prince Friedrich Christian, and No. 214 for the birthday of his mother, Maria Josepha, Electress of Saxony. (Another major source, the basis for Part VI, is thought to be the lost church cantata BWV248a.) This re-use The interior today of the Nikolaikirche in Leipzig

week 8 program notes 47 Program page for Wilhelm Gericke’s BSO concert of March 21, 1885, commemorating the 200th anniversary of Bach’s birth, with (see facing page) three varied Bach pieces on the first half, and Parts I and II of the “Christmas Oratorio” on the second half (BSO Archives)

48 of earlier works was a common practice for Bach, as it was for many composers of the era, but as John Harbison suggests in his comments on the Christmas Oratorio (see page 29), the secular cantatas may have been planned from their beginnings as the oratorio’s foundation.

As mentioned above, the oratorio was planned for and first performed during the Christmas season of 1734-35, from Christmas Day through Epiphany, twelve days later. Each cantata is a multi-movement work consisting of several kinds of pieces. The story- telling part of each is delivered in recitative by a tenor in the role of Evangelist, from the Gospel of Luke. This is interspersed with solo vocal and choral commentary, much of the text of which was written for the purpose. Chorale movements from the Lutheran tradi- tion, which would have been well known to Bach’s congregations, are found throughout. For example, the fifth movement of the opening cantata is the 17th-century hymn “Wie soll dich empfangen,” also used in the St. Matthew Passion. For each part, the opening movement establishes the general tenor of the cantata. Five of the six opening move- ments are chorales, introducing the scene with both text and music. In keeping with its subject matter, the introduction to the second cantata, Annunciation to the Shepherds, is an instrumental Sinfonia known as the “Pastorale,” one of Bach’s most familiar orches- tral movements.

Each of the six parts calls for a different complement of instruments, assuring an acous- tic distinction among the six parts. In the cantata for Christmas Day, which tells of Mary

week 8 program notes 49 tanglewood festival chorus

The Tanglewood Festival Chorus performs with the Boston Symphony Orchestra and the in Symphony Hall and at Tanglewood. This season in Symphony Hall, the TFC joins Keith Lockhart and the Boston Pops for another exciting December of Holiday Pops performances. Under the baton of Andris Nelsons, the TFC joins the BSO for Mahler’s Symphony No. 2 and Einfelde’s Lux aeterna (conducted by BSO Choral Director James Burton), Bach’s Christmas Oratorio, Puccini’s Suor Angelica, and Dvořák’s Stabat Mater. In April, the TFC will perform Estévez’s Cantata Criolla with the orchestra under the direction of . Auditions for the TFC take place year-round. For more information on upcoming auditions, please visit bso.org/tfc.

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bso.org/tfc sponsor supporting sponsorlead

50 and Joseph’s arrival in Bethlehem and the birth of Jesus, Bach stocks his ensemble with the celebratory sound of trumpets and timpani, a sound that introduces the cycle as a whole. In the second cantata, a pair of oboes da caccia (a precursor of the English horn) evokes the shepherd’s pastoral world. Horns are only found in the fourth canta- ta; in the fifth, only a pair of oboes is added to strings and continuo. Bach uses specific instruments to accompany arias throughout the cantata to create nuances of atmo- sphere and mood.

The text will be your guide through these six scenes from the narrative of Christ’s birth.

Robert Kirzinger

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

THE FIRST AMERICAN PERFORMANCE OF MUSIC FROM BACH’S “CHRISTMAS ORATORIO”— Parts I and II of the piece—was given by the Handel & Haydn Society at the Music Hall in Boston on May 17, 1877, Carl Zerrahn conducting, with soloists Emma Thursby, Annie Louise Cary, and William J. and John F. Winch, and organist B.J. Lang.

THESE ARE THE BSO’S FIRST COMPLETE PERFORMANCES OF BACH’S “CHRISTMAS ORATORIO,” though Charles Munch led the orchestra, vocal soloists Marguerite Willauer, Janice Moudry, William Hess, and James Pease, and an ad hoc chorus prepared by Arthur Fiedler in per- formances of cantatas I-IV and VI during the Christmas season of 1950 (see page 30). Wilhelm Gericke led the first and second cantatas with the BSO, soloists Emma Juch, Emily Winant, William J. Winch, and Franz Remmertz, and a “chorus of three hundred” in a concert commemorating the 200th anniversary of Bach’s birth on March 21, 1885 (see page 48). Gericke led the Cantata II alto aria “Schlafe, mein Liebster,” featuring soloist Emily Winant, once; the Sinfonia from that cantata figured many times in the BSO programs of conductors Gericke, Arthur Nikisch, Emil Paur, Max Fiedler, Karl Muck, and Ernst Schmidt between 1884 and 1915, returning to the repertoire under guest conductors Wheeler Beckett in 1944 in Boston and Victor de Sabata in 1950 at Tanglewood. Munch also conducted this single movement during the Christmas season on many occasions between 1952 and 1960 (the most recent BSO performances of any music from the piece), pairing it in December 1955 with the Cantata II concluding chorale, “Wir singen dir in deinem Heer.”

week 8 program notes 51 Featuring a kaleidoscopic array of artists from the worlds of classical music, film, and Broadway, the gala 2018 Bernstein Centennial Celebration at Tanglewood encompasses selections from such brilliant Bernstein works as Candide, West Side Story, and his Serenade for violin and orchestra; a new work by John Williams written especially for the occasion, and music by Copland and Mahler particularly dear to Bernstein’s heart, closing with the stirring finale of Mahler’s Resurrection Symphony. Available for pre-sale now with a November 16 release date. DVD $29.99 and Blu-Ray $41.99 · 617-638-9412 · bso.org To Read and Hear More...

Johann Sebastian Bach: The Learned Musician by Christoph Wolff, eminent Bach scholar, Harvard professor emeritus, and BSO/GHO Artistic Advisor, remains the best of many fine general biographies of the composer ( paperback). Of par- ticular interest is John Harbison’s new book, What Do We Make of Bach?–Portraits, Essays, Notes, published just this fall (Ars Nova). Other recent general biographies include Peter Williams’s large Bach: A Musical Biography (Cambridge University hardcover, 2016) and his J.S. Bach: A Life in Music, which takes the intriguing path of constructing a life of the composer using, as a jumping-off point, the famous 1754 obituary written by his son, Carl Philip Emanuel Bach, and J.S. Bach’s pupil, J.F. Agricola (Cambridge University paperback, 2007). Johann Sebastian Bach: Life and Work by Martin Geck, a professor at the University of Dortmund, Germany, was translated by John Hargraves and published in the U.S. in 2006 (Harcourt). The conductor ’s Bach: Music in the Cas- tle of Heaven is biography from a scholar/performer’s perspective, with some elements of a personal memoir (Vintage paperback). Christoph Wolff’s Bach: Essays on His Life and Music is an earlier collection of self-contained essays, tending toward greater specificity of subject. Of great general interest, and fun to peruse, is J.S. Bach in the Oxford Composer Companions series, which contains encyclopedia-like entries by dozens of scholars on hundreds of individual Bach-related topics. This was edited by Malcolm Boyd, who also wrote the general-interest biography Bach in the “Master Musicians” series (Oxford Uni- versity Press). Also of broad appeal is The Cambridge Companion to Bach, edited by (Cambridge). The Worlds of Johann Sebastian Bach, edited by Raymond Erickson, is a collection of essays on the influence of context and environment on Bach’s music (Amadeus Press). The J.S. Bach essay in the revised New Grove Dictionary of Music classical music, film, and Broadway, the gala 2018 Bernstein and Musicians (2001) is by Christoph Wolff, somewhat but not radically changed from his essay in the 1980 New Grove. The earlier essay, along with the essays on Bach’s musically significant family members, was reprinted in a separate volume,The New from such brilliant Bernstein works as Grove Bach Family (Norton paperback). The New Bach Reader, edited by Arthur Mendel and Hans David and revised by Christoph Wolff, compiles a biographical picture of Bach via citations from letters and other period documents in English translation (Norton). and Mahler particularly dear to Bernstein’s heart, closing with the For important older sources, Albert Schweitzer’s and Philip Spitta’s biographies are still stirring finale of Mahler’s available in reprint editions (both Dover paperback). Studies of the Christmas Oratorio include Daniel R. Melamed’s Listening to Bach: The and the Christmas

week 8 read and hear more 53 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. ©2018 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. 490555NE_11/18 Oratorio (Oxford University Press, 2018) and Markus Rathey’s Johann Sebastian Bach’s Christmas Oratorio: Music, Theology, Culture (Oxford, 2016). A beautiful facsimile edition, with commentary by Christoph Wolff and Martina Rebmann, of the manuscript of Bach’s Christmas Oratorio, also including a facsimile of the original libretto (Leipzig, 1734), was published just this year (Bärenreiter).

Recordings of Bach’s Christmas Oratorio include John Eliot Gardiner’s with the English Baroque Soloists and Monteverdi Choir (Arkiv), ’s with the Vienna Concentus Musicus and Arnold Schoenberg Choir (Sony), ’s with the Collegium Vocale Gent (Erato), Karl Münchinger’s with the Stuttgart Chamber Orchestra and Lübeck Kantorei (Decca), Helmuth Rilling’s with the Gächinger Kantorei Stuttgart and Stuttgart Bach Collegium (Hännsler Classic), Karl Richter’s with the Bach Orchestra and Choir (Deutsche Grammophon), and ’s with the (BIS). Carolyn Sampson, the BSO’s soprano soloist this week, can be heard in ’s recording of the Christmas Oratorio with the Gewand- haus Orchestra of Leipzig and Dresden Chamber Choir (Decca). Tenor Sebastian Kohlhepp can be heard in Hans-Christoph Rademann’s recording with the Gaechinger Cantorey (Carus).

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week 8 read and hear more 55

Guest Artists

Carolyn Sampson Carolyn Sampson has enjoyed notable successes on concert and opera stages in the UK as well as throughout Europe and the United States. Her operatic roles have included the title role in and Pamina in The Magic Flute for , various roles in Purcell’s The Fairy Queen for Glyndebourne Festival Opera (released on DVD), and, for Scottish Opera, in Sir David McVicar productions, Anne Trulove in The Rake’s Progress and Mélisande in Pelléas et Mélisande. Internationally she has appeared at Opéra de Paris, Opéra de Lille, Opéra de Montpellier, and Opéra National du Rhin. Her performance of the title role in Lully’s Psyché for the Boston Early Music Festival was released on CD and Grammy-nominated in 2008. Ms. Sampson’s numerous UK concert engagements have included regular appearances at the BBC Proms and with orchestras including the Orchestra of the Age of Enlightenment, The English Con- cert, Britten Sinfonia, , the Hallé, Scottish Chamber Orchestra, Royal Liverpool Philharmonic, and City of Birmingham Symphony Orchestra. Her many European appear- ances have included concerts with the Bergen Philharmonic, Royal Concertgebouw Orches- tra, Freiburg Baroque Orchestra, the Bavarian Radio Symphony Orchestra, WDR Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, Gürzenich Orchestra, Rotterdam Philharmonic, Leipzig’s Gewandhaus Orchestra, the Vienna Symphony Orches- tra, and the Salzburg Mozarteum Orchestra. In the United States she has performed with the San Francisco, Boston, Detroit, and Cincinnati symphony orchestras, the Philadelphia Orchestra, and St. Paul Chamber Orchestra; she is a regular guest at the Mostly Mozart Festival. She made her Carnegie Hall recital debut in October 2013 to a sold-out audience in Weill Recital Hall, and most recently gave recitals at New York’s Lincoln Center and San Francisco Performances. Ms. Sampson works with such conductors as Sir Mark Elder, Riccardo Chailly, Ivor Bolton, Markus Stenz, Philippe Herreweghe, Harry Bicket, Trevor Pin- nock, Louis Langrée, Harry Christophers, Andris Nelsons, Yannick Nezet-Seguin, and Wil- liam Christie, most recently performing and recording Mahler’s Symphony No. 4 with Osmo Vänskä and the Minnesota Orchestra. As a recitalist she appears regularly at London’s Wigmore Hall, where she was a “featured artist” in the 2014-15 season. Having recently made her debut recital tour of Japan, she has given recitals at the Oxford and Leeds Lieder, Saintes, and Aldeburgh festivals, and in Amsterdam, Frankfurt, Vienna, Barcelona, and Freiburg. Her partnership with the pianist Joseph Middleton has included her debut song recital disc, “Fleurs”; released in 2015, it features songs by composers from Purcell to Britten and was nominated for a Gramophone Award. Since then they have released “A Verlaine Songbook,” exploring settings of the poetry of Paul Verlaine; “Lost Is My Quiet,” a duet disc

week 8 guest artists 57 Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. with the countertenor Iestyn Davies, and, most recently, “A Soprano’s Schubertiade,” all for the BIS label. Ms. Sampson’s only previous BSO appearances were as soloist in Mendelssohn’s Lobgesang, in January 2012 with Bramwell Tovey conducting.

Christine Rice Christine Rice was born and educated in Manchester and read physics at Balliol College, Oxford, before entering the Royal Northern College of Music to study with Robert Alderson. Besides this week’s BSO performances of Bach’s Christmas Oratorio, engagements this season and beyond include Berlioz’s Les Nuits d’été with the BBC Symphony Orchestra, Bersi in Andrea Chénierat the Royal Opera House–Covent Garden, Verdi’s Requiem with the Philharmonia Orchestra and Edward Gardner, and return engagements with English National Opera, , and the Royal Opera. Her many roles at Covent Garden have included , Giulietta in Les Contes d’Hoffmann, Concepción in L’Heure espagnole, Emilia in Otello, Lucretia in Britten’s The Rape of Lucretia, Sonyetka in Lady Macbeth of Mtsensk, Blanca in The Exterminating Angel, Judith in Duke Bluebeard’s Castle, Donna Elvira in Don Giovanni, Hansel in Hansel and Gretel, Maddalena in , and Jenny Smith in The Rise and Fall of the City of Mahagonny, as well as two world premieres: Ariadne in Birtwistle’s The Minotaur and Miranda in Adès’s The Tempest. She recently made her debut, appearing there as Hansel and Giulietta. Among her many other roles are Nero in , Arsace in , Rosina in Il barbiere di Siviglia, Zenobia in Radamisto, and Marguerite in The Damnation of Faust. She has sung at Munich’s Bayerische Staatsoper, the Teatro Real Madrid, Dutch National Opera, English National Opera, Teatro di San Carlo, Seattle Opera, Frankfurt Opera, the Opéra Comique in Luxembourg, Deutsche Oper Berlin, Glyndebourne Festival Opera, and in Geneva. In concert she has appeared with the BBC, Bournemouth, and City of Birmingham symphony orchestras, the Orchestra of the Age of Enlightenment, Boston Symphony Orchestra, and with the Philharmonia and London Philharmonic orchestras in repertoire including , La Mort de Cléopâtre, Britten’s Spring Symphony, Bach’s St. Matthew Passion, Ravel’s Shéhérazade, Mozart’s Requiem, and Verdi’s Requiem. She has appeared at the Aldeburgh, St. Denis, and Edinburgh festivals

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60 and the BBC Proms. Conductors with whom she has worked include Sir Simon Rattle, Edward Gardner, John Nelson, Sir Charles Mackerras, Donald Runnicles, Andris Nelsons, Ryan Wiggles- worth, Laurence Cummings, and Harry Bicket. At New York’s Carnegie Hall, Christine Rice performed Verdi’s Requiem with the Philadelphia Orchestra under Yannick Nézet-Séguin and the world premiere of John Harbison’s Closer to My Own Life with the Metropolitan Opera Orchestra. For the BBC she has recorded Falla’s El amor brujo, Elgar’s Sea Pictures, Berlioz’s Les Nuits d’été, and, with Iain Burnside, an English song recital and Wolf’s Spanisches Liederbuch. For EMI she has recorded a debut recital disc with Roger Vignoles and Respighi’s Il tramonto with Sir Antonio Pappano. Her only previous Boston Symphony appearances were as the mezzo- soprano soloist in Bach’s B minor Mass in February 2017, with Andris Nelsons conducting.

Sebastian Kohlhepp Making his Boston Symphony Orchestra and United States debuts in this week’s performances of Bach’s Christmas Oratorio, German tenor Sebastian Kohlhepp made his acclaimed debut as Belmonte in Die Entführung aus dem Serail at the 2018 Mozart Week in Salzburg under the baton of René Jacobs. At Stuttgart Opera he earned praise as Jason in Peter Konwitschny’s new production of Cherubini’s Medea. In late 2017, also under René Jacobs, he covered the role of Tamino in Die Zauberflöteat Vienna’s Theater an der Wien. Born in Limburg an der Lahn, Sebastian Kohlhepp received his first musical training in the local boys’ choir. Following studies with Hedwig Fassbender in Frankfurt, he became a member of Karlsruhe Opera. For the 2013-14 season he moved to the Vienna State Opera, where he sang such roles as Jaquino (Fidelio) and Froh (Das Rheingold) under such renowned conductors as Adám Fischer, Franz Welser-Möst, Peter Schneider, Jeffrey Tate, Dan Ettinger, and Patrick Lange. From 2015 to 2017, as a member of the Stuttgart State Opera, he achieved particular success as Lucio Vero in Niccol`o Jommelli’s late Baroque opera Il vologeso (Berenice, Queen of Armenia), a pro- duction named by Opernwelt magazine as 2015’s “Opera Rediscovery of the Year.” Further roles covered in Stuttgart were Alfred (Die Fledermaus), Ferrando (Così fan tutte), Oronte (), Don Ottavio (Don Giovanni), and Lurcanio (). Guest engagements have taken Mr. Kohlhepp to the Opera of Monte-Carlo (First Jew in ), Theater an der Wien (Eurimaco in Il ritorno d’Ulisse in patria), Vienna Volksoper (the title role in ), Theater Basel (Tamino), and Cologne Opera (Don Ottavio). As a concert soloist, he appears regularly with the Akademie für Alte Musik Berlin, RIAS Chamber Choir, Freiburg Baroque Orchestra, Collegium Vocale Gent, Gaechinger Cantorey, the NDR Choir, the Stuttgart Chamber Choir, B’Rock, and Collegium 1704, as well as with such renowned conductors as René Jacobs, Philippe Herreweghe, Pablo Heras-Casado, Helmuth Rilling, and Andreas Spering. He has performed at Amsterdam’s Concertgebouw, Berlin’s Philharmonie, the Philharmonie in Paris, the Philharmonie in Cologne, Vienna Konzerthaus, Zurich’s Tonhalle, Shanghai Concert Hall, Teatro Colón in Buenos Aires, the Rheingau Music Festival, and the Passau European Festival. Recent and upcoming engagements include his Salzburg Festival debut in Beethoven’s Symphony No. 9 conducted by Teodor Currentzis, the same work at the closing concert of the Schleswig-Holstein Music Festival under Justus Frantz, and Brahms’s Liebeslieder Waltzes at Hamburg State Opera as part of a John Neumeier/Hamburg Ballet production. Mr. Kohlhepp’s CD, DVD, and broadcast recordings include Christoph Spering’s

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62 complete recording of the Bach Chorale Cantatas (2017 Echo Klassik Award) and René Jacobs’s new recording of the St. John Passion (Harmonia Mundi), which garnered the ICMA Award in the Baroque Vocal category that same year.

Andrè Schuen Baritone Andrè Schuen makes his BSO debut in these performances of Bach’s Christmas Oratorio; he made his American debut at Tanglewood singing Schubert Lieder in July 2017 with pianist Thomas Adès in that summer’s “Schubert’s Summer Journey” concert series in Ozawa Hall, followed by a Schubert recital with Andreas Haefliger at the Aspen Music Festival. From the Ladin area of La Val of South Tyrol in Italy, Mr. Schuen grew up speaking Ladin, Italian, and German, a versatility reflected in his vocal rep- ertoire. Although the cello was originally his chosen instrument, he decided to attend the Mozarteum University in Salzburg, studying singing under Horiana Branisteanu and song and oratorio under Wolfgang Holzmair. He also attended master classes held by Kurt Widmer, Thomas Allen, , Romualdo Savastano, and Olaf Bär. Mr. Schuen begins and ends his 2018-19 season with Schubert Lied recitals, singing Die schöne Müllerin and Schwanengesang at the Schubertiade in Austria, where he has already earned high acclaim. Further recitals take him to the Schubertiade Vilabertran, Munich, the Philharmonie de Paris, and Madrid. On the opera stage he sings Papageno in Die Zauberflöte at Tokyo’s New National Theatre Opera; makes his debut as Olivier in a new production by Christof Loy of Strauss’s Capriccio at Madrid’s Teatro Real, and tours Asia with the Freiburg Baroque Orchestra, singing a signature role, Don Giovanni, in concerts in Shanghai and Seoul. Besides these BSO performances of the Christmas Oratorio, he can also be heard this season in the same work with the Vienna Symphony Orchestra and Philippe Jordan. A tour with the Orchestre des Champs-Élysées and Philippe Herreweghe takes him to Brussels, Poitiers, and Essen, among other cities. Andrè Schuen has performed in Salzburg since 2010, first as a member of the Young Singers Project and subsequently in various Salzburg Festival productions conducted by Simon Rattle and Riccardo Muti. From 2010 to 2014 he was an ensemble member at the Graz opera house, and appeared as Figaro, Don Giovanni, and Guglielmo in Nikolaus Harnoncourt’s Da Ponte Cycle at Vienna’s Theater an der Wien, winning the Austrian Music and Theater Prize. Mr. Schuen has continued his close association with the Theater an der Wien, winning acclaim for his interpretation of the title role in Paisiello’s Il barbiere di Siviglia and the title role in the world premiere of Anno Schrei- er’s Hamlet. Subsequent role debuts included Marcello in La bohème in Geneva and Count Almaviva in Le nozze di Figaro in Angers and Nantes. Last season he was Don Giovanni for Opéra National de Lorraine in Nancy and the Grand Théâtre de Luxembourg. Recital appear- ances with pianist Daniel Heide include London’s Wigmore Hall, Oxford, the Heidelberger Frühling, and Vienna’s Konzerthaus. With Gerold Huber, he made his debut at the Schuber- tiade in Hohenems. His latest CD, entitled “Wanderer,” is devoted to Robert Schumann and follows his first recital disc of songs by Schumann, Wolf, and Martin.

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You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org

64 Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver (1939-2018), Founder

The Tanglewood Festival Chorus joins the BSO this season for per- formances of Mahler’s Symphony No. 2 (October 25-30), Bach’s Christmas Oratorio (November 29-December 1), Puccini’s Suor Angelica (February 21 and 22), and Dvoˇrák’s Stabat Mater (February 28-March 2) all under Andris Nelsons, and Estévez’s Cantata Criolla (April 11-13) with guest conductor Gustavo Dudamel. Also in October, the TFC performed Maija Einfelde’s Lux aeterna with James Burton, BSO Choral Director and Conductor of the Tanglewood Fes- tival Chorus, making his subscription-series conducting debut. Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor, the late John Oliver, who stepped down from his leadership position with the TFC at the end of the 2015 Tanglewood season. In February 2017, following appearances as guest chorus conductor at Symphony Hall and Tanglewood, and having prepared the chorus for that month’s BSO performances of Bach’s B minor Mass led by Andris Nelsons, James Burton was named the new Conductor of the Tanglewood Festival Chorus, also being appointed to the newly created position of BSO Choral Director. Mr. Burton occupies the Alan J. and Suzanne W. Dworsky Chair on the Boston Symphony Orchestra roster.

Though first established for performances at the BSO’s summer home, the Tanglewood Fes- tival Chorus was soon playing a major role in the BSO’s subscription season as well as BSO concerts at Carnegie Hall; the ensemble now performs year-round with the Boston Symphony and Boston Pops. It has performed with the BSO on tour in Hong Kong and Japan, and on two European tours, also giving a cappella concerts of its own on those two occasions. The TFC made its debut in April 1970 at Symphony Hall, in a BSO performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz’s with Seiji Ozawa, received a Grammy nomination for Best Choral Per- formance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with Seiji Ozawa, Bernard Haitink, James Levine, Leonard Bernstein, Sir Colin Davis, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO for the ensemble’s 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music marking the TFC’s 40th anniversary; Ravel’s complete Daphnis et Chloé

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BostonSymphony Nov 18 Miller2 ND2017.indd 1 9/26/18 4:57 PM (a 2009 Grammy-winner for Best Orchestral Performance), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). On July 4, 2018, the Tanglewood Festival Chorus joined Keith Lockhart for the “Boston Pops Fireworks Spectacular” on the Charles River Esplanade.

Besides their work with the BSO, TFC members have also performed with Zubin Mehta and the Israel Philharmonic and in a Saito Kinen Festival production of Britten’s under Seiji Ozawa in Japan. The ensemble had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can be heard on the soundtracks of Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area and beyond to sing with the chorus in Boston and at Tanglewood. For more information about the Tanglewood Festival Chorus and upcoming auditions, please visit www.bso.org/tfc.

Boston Symphony Children’s Choir James Burton, Conductor

The Boston Symphony Children’s Choir gave its first official performance in summer 2018, joining the BSO, the Tanglewood Festival Chorus, and Andris Nelsons for a July 2018 concert performance of Puccini’s La bohème at Tanglewood. The choir performed Mahler’s Symphony No. 3 at Tanglewood that August, and also gave its own solo performance as part of Tanglewood’s “Summer Sun- days” presentations. The Boston Symphony Children’s Choir will make its Boston Pops debut this winter in Holiday Pops concerts at Symphony Hall. The choir’s schedule this season has included a performance in the BSO’s start-of-season Symphony Gala, and will continue after Holiday Pops with BSO concert performances in February of Puccini’s Suor Angelica and Britten’s Friday Afternoons for children’s chorus and orchestra. After holding auditions for nearly 200 children in the fall of 2017, sixty-five singers from grades 5-9 were selected by BSO Choral Director James Burton to participate in the BSO’s January 2018 performances under Andris Nelsons of Mahler’s Symphony No. 3. Following the success of that project, the Boston Symphony Children’s Choir (BSCC) was officially announced as a permanent ensemble of the BSO. Many of the BSCC’s members had previously sung in school and church choirs. Some who sang in Mahler’s Third Symphony enjoyed their first choral experience on that occasion, and some enjoyed their first operatic experience in last summer’s performance of La boh`eme. If you know a young person who would be interested in joining the choir, please visit bso.org/bscc for information about auditions.

week 8 guest artists 67 James Burton James Burton was appointed Conductor of the Tanglewood Festival Chorus, and to the newly created position of BSO Choral Director, in February 2017. He made his BSO subscription- series conducting debut in October 2018, leading the Tanglewood Festival Chorus in Maija Einfelde’s Lux aeterna. Born in London, Mr. Burton holds a master’s degree in orchestral conducting from the Peabody Conservatory, where he studied with Frederik Prausnitz and Gustav Meier. He began his training at the Choir of Westmin- ster Abbey, where he became head chorister, and was a choral scholar at St. John’s College, Cambridge. He has conducted concerts with the Royal Liverpool Philharmonic, the Orchestra of the Age of Enlightenment, the Hallé, the Orchestra of Scottish Opera, Royal Northern Sinfonia, BBC Concert Orchestra, and Manchester Camerata. He made his debut with the Boston Pops in December 2017 and returns to the Pops podium this coming December. He is a regular guest of the Orquestra Sinfónica Nacional of Mexico and returns this season to lead performances of Beethoven’s Symphony No. 9 in the Palacio de Bellas Artes in Mexico City. Opera credits include performances at English National Opera, English Touring Opera, Garsington Opera, and the Prague Summer Nights Festival, and he has served on the music staff of the Metropolitan Opera and Opéra de Paris. Mr. Burton’s extensive choral conducting has included guest invitations with professional choirs including the Gabrieli Consort, the Choir of the Enlightenment, Wrocław Philharmonic, and the BBC Singers, with whom he performed in the inaugural season of Dubai’s Opera House in 2017. From 2002 to 2009 he served as choral director at the Hallé Orchestra, where he was music director of the Hallé Choir and founding conductor of the Hallé Youth Choir, winning the Gramophone Choral Award in 2009. He was music director of Schola Cantorum of Oxford from 2002 to 2017. Mr. Burton is well known for his inspirational work with young musicians. In 2017 he was director of the National Youth Choir of Japan; he has recently conducted the Princeton University Glee Club, Yale Schola Cantorum, and Univer- sity of Kentucky Symphony. In 2018 he founded the Boston Symphony Children’s Choir. Mr. Burton has given conducting master classes at the Royal Academy of Music in London and at the Tanglewood Music Center, and founded a scholarship for young conductors at Oxford. His growing composition portfolio includes works for commissioners including the National Portrait Gallery in London, the 2010 World Equestrian Games, the Choir of St. John’s College, Cambridge, and the Exon Festival, where he was composer-in-residence in 2015. In July 2019, Mr. Burton will conduct the Boston Symphony Children’s Choir and Boston Symphony Orchestra in the world premiere of his The Lost Words, as part of next summer’s gala Tanglewood on Parade concert. He is currently working on a major new piece commissioned by the Hallé Orchestra. His works are published by Edition Peters. As BSO Choral Director and Conductor of the Tanglewood Festival Chorus, James Burton occupies the Alan J. and Suzanne W. Dworsky chair, endowed in perpetuity.

68 Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver (1939-2018), Founder

(Bach Christmas Oratorio, November 29-30 and December 1, 2018)

In the following list, § denotes membership of 40 years or more, * denotes membership of 35-39 years, and # denotes membership of 25-34 years. sopranos Aimée Birnbaum • Catherine C. Cave # • Tori Lynn Cook • Emilia DiCola • Mary A.V. Feldman* • Jodie-Marie Fernandes • Katherine Barrett Foley • Bonnie Gleason • Cynde Hartman • Alyssa Hensel • Ann K. Kilmartin • Donna Kim # • Nancy Kurtz # • Laurie Stewart Otten • Johanna Schlegel • Sarah Telford # • Nora Anne Watson • Alison L. Weaver • Lauren Woo • Lisa Wooldridge • Susan Glazer Yospin • Meghan Renee Zuver mezzo-sopranos

Virginia Bailey • Lauren A. Boice • Danielle Coombe • Abbe Dalton Clark • Amy Spound Friedman • Irene Gilbride* • Mara Goldberg • Lianne Goodwin • Susan L. Kendall • Nora Kory • Gale Tolman Livingston* • Anne Forsyth Martín • Louise Morrish • Celia Russo • Ada Park Snider § • Lelia Tenreyro-Viana • Martha F. Vedrine • Christina Wallace Cooper # • Karen Thomas Wilcox • Janet Wolfe tenors

Brad W. Amidon # • Quincy Cason • Stephen Chrzan • John Cunningham • Tom Dinger • Keith Erskine • Len Giambrone • Kwan H. Lee • Daniel Mahoney • Guy F. Pugh • Peter Pulsifer • Miguel A. Rodriguez • David Roth • Arend Sluis • Martin S. Thomson • Stratton Vitikos • Joseph Y. Wang • Andrew Wang • Hyun Yong Woo basses

Stephen J. Buck • Matthew Buono • Eric Chan • James W. Courtemanche • Tevan Goldberg • Jim Gordon • Jeramie D. Hammond • Bruce Kozuma # • Timothy Lanagan # • Dan Ludden • Martin F. Mahoney II • Greg Mancusi-Ungaro • Eryk P. Nielsen • Donald R. Peck # • Steven Rogers • Peter Rothstein § • Kenneth D. Silber • Scott Street • Alexander Teplansky • Stephen Tinkham • Samuel Truesdell • Alex Weir • Lawson L.S. Wong

Boston Symphony Children’s Choir James Burton, Conductor

(Bach Christmas Oratorio [No. 39, echo chorus], November 29-30 and December 1, 2018)

Daniel Awgchew • Chloe Baril • Gita Drummond • Emily Genis • Maddie Genis • Sophie Li • Navaa Malihi • Taban Malihi • Victoria Miele • Lucy Zhang

Ian Watson, Rehearsal Pianist and Assistant Chorus Conductor Justin Blackwell, Rehearsal Pianist Pamela Dellal, German Diction Coach Jennifer Dilzell, Chorus Manager Micah Brightwell, Assistant Chorus Manager

week 8 guest artists 69 The Highland Glee Club David Tiedman, Director WINTER CONCERT Sunday, December 2, 3:00 pm

First Baptist Church 858 Great Plain Ave, Needham

Featuring carols, holiday favorites, and music by Leonard Bernstein.

Special guests: Brookline HS A Cappella groups www.highlandgleeclub.com | 508-655-8232

The Highland Glee Club is a member of the Newton Cultural Alliance. newtonculture.org

The Great Benefactors

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

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

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

‡ Deceased

week 8 the great benefactors 73 9,977 GOT BACK IN THE GAME

AFTER A SHORT-TERM REHAB STAY

LCCA.COM You have a choice!

15 Massachusetts and 2 Rhode Island Facilities 14 Crosby Drive | Bedford, MA 01730 • 781.271.0500 Assisted Living at Life Care Center of Stoneham 781.662.2545 117900 117900 The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to support ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2017-18 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Peter and Anne ‡ Brooke • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Cynthia and Oliver Curme • Michael L. Gordon • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • Barbara and Amos Hostetter • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • National Endowment for the Arts • The Perles Family Foundation • John S. and Cynthia Reed • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Caroline and James Taylor • Anonymous (2)

The Higginson Society The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members, whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by September 16, 2018. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders $100,000 and above Peter A. Brooke • Barbara and Amos Hostetter • Wendy Shattuck and Samuel Plimpton virtuoso $50,000 - $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Mr. and Mrs. William N. Booth • Alan J. and Suzanne W. Dworsky • Thomas and Winifred Faust • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Brooks and Linda Zug • Anonymous (2) encore $25,000 - $49,999 Amy and David Abrams • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Gabriella and Leo ‡ Beranek • Ann Bitetti and Doug Lober • Joan and John ‡ Bok •

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76 Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • John F. Cogan, Jr. and Mary L. Cornille • Roberta L. and Lawrence H. ‡ Cohn, M.D. • Donna and Don Comstock • Cynthia and Oliver Curme • Alan and Lisa Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Dr. David Fromm • Joy S. Gilbert • Mr. and Mrs. Paul B. Gilbert • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Brent L. Henry • Michelle and Mark Jung • Meg and Joseph Koerner • Elizabeth W. and John M. Loder • Josh and Jessica Lutzker • Jane B. and Robert J. Mayer, M.D. • Sandra Moose and Eric ‡ Birch • Megan and Robert O’Block • William and Lia Poorvu • William and Helen Pounds • James and Melinda Rabb • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan Smith Family Foundation: Richard and Susan ‡ Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Stephen and Dorothy Weber • Robert and Roberta Winters • Anonymous (5) patron $12,000 - $24,999 Noubar and Anna Afeyan • Mr. and Mrs. Peter Andersen • Lois ‡ and Harlan Anderson • Liliana and Hillel Bachrach • Judith and Harry ‡ Barr • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Mrs. Linda Cabot Black • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Thomas Burger and Andree Robert • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Arthur Clarke and Susan Sloan • Barbara and Fred Clifford • Ernest Cravalho and Ruth Tuomala • Diddy and John Cullinane • Sally Currier and Saul Pannell • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Drs. Anna L. and Peter B. Davol • Mr. and Mrs. Miguel de Bragança • Bob and Happy Doran • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Raymond and Joan Green • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Albert A. Holman III and Susan P. Stickells • Alice Honner-White and Pieter C. White • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Steve Kidder and Judy Malone • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Dr. and Mrs. Joseph B. Martin • Kurt and Therese Melden • Jo Frances and John P. Meyer • Dr. Martin C. Mihm, Jr. • Anne M. Morgan • Kristin A. Mortimer • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • Randy and Stephanie Pierce • Janet and Irv Plotkin • Linda H. Reineman • Graham Robinson and Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Sean Rush and Carol C. McMullen • Benjamin Schore • Arthur and Linda Schwartz • Robert + and Rosmarie Scully • Eileen Shapiro and Reuben Eaves • Ann and Phillip Sharp • Solange Skinner • Katherine Chapman Stemberg • Blair Trippe • Drs. Roger and Jillian Tung • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Anonymous sponsor $6,000 - $11,999 Nathaniel Adams and Sarah Grandfield • Ms. Deborah L. Allinson • David and Holly Ambler • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Mr. and Mrs. Eugene F. Barnes III • Lucille Batal • Mr. Edward B. Berk and Ms. Naomi Weinberg • Jim and Nancy Bildner •

week 8 the higginson society 77 OUR NEW BOSTON SHOWROOM IS NOW OPEN.

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

We are pleased to welcome customers to our elegantly appointed new showroom in the Park Plaza building in Boston. You are invited to view our selection of Steinway, Boston, Essex and Roland pianos in a comfortable new setting. Or visit our showroom at the Natick Mall. Peter Blau and Cristina Coletta Blau • Brad and Terrie Bloom • Mark G. and Linda Borden • Traudy and Stephen Bradley • Joseph Brooks • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • The Cavanagh Family • Mr. and Mrs. Miceal Chamberlain, Jr. • Ms. Bihua Chen and Jackson J. Loomis, Ph.D. • Dr. Frank Clark and Dr. Lynn Delisi • Ronald and Judy Clark • Mrs. Abram Collier • Victor Constantiner • Ms. RoAnn Costin • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Lynn Dale and Frank Wisneski • Robert and Sara Danziger • Deborah B. Davis • Mr. and Mrs. Samuel Denbo • Rachel and Peter Dixon • Richard Dixon and Douglas Rendell • Phyllis Dohanian • Mrs. Richard S. Emmet • Pamela Everhart and Karl Coiscou • Shirley and Richard ‡ Fennell • Beth and Richard Fentin • Mr. and Mrs. Steven S. Fischman • Barbie and Reg Foster • Myrna H. Freedman • Nicki Nichols Gamble • Beth and John Gamel • Dr. and Mrs. Levi A. Garraway • Adele C. Goldstein • Martha and Todd Golub • Jack Gorman • Marjorie and Nicholas Greville • Carol and Robert Henderson • Rebecca Henderson and James Morone • Drs. James and Eleanor Herzog • Mr. ‡ and Mrs. Richard D. Hill • Mary and Harry Hintlian • Patricia and Galen Ho • Dr. Susan Hockfield and Dr. Thomas Byrne • Ms. Emily C. Hood • Timothy P. Horne • G. Lee and Diana Y. Humphrey • Mr. ‡ and Mrs. Roger Hunt • Joanie V. Ingraham • Blake Ireland, in memory of Anne Ireland • Nancy and G. Timothy Johnson • Rita J. and Stanley H. Kaplan Family Foundation, Inc./ Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • Stephen B. Kay and Lisbeth L. Tarlow • Seth A. and Beth S. Klarman • Dr. Nancy Koehn • Mr. Robert K. Kraft • Pamela S. Kunkemueller • Mr. Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. David S. Lee • Mr. and Mrs. Henry Lee • Rosemarie and Alexander Levine • Thomas and Adrienne Linnell • Betty W. Locke • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Mahnidahni, in loving memory of her mother Paula • Nancy Lurie Marks Family Foundation • Ann Merrifield and Wayne Davis • Kyra and Jean Montagu • Mr. and Mrs. Paul M. Montrone • Betty Morningstar and Jeanette Kruger • Richard P. and Claire W. Morse Foundation • Cecilia O’Keefe • John O’Leary • Jane and Neil Pappalardo • Mr. and Mrs. Joseph M. Paresky • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. Andrew S. Plump • Susanne and John Potts • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Dr. and Mrs. Michael Rater • Peter and Suzanne Read • Sharon and Howard Rich • Mr. and Mrs. Henry Rosovsky • Debora and Alan Rottenberg • Darin S. Samaraweera • Joanne Zervas Sattley • Norma and Roger A. Saunders • Lynda Anne Schubert • Betsy and Will Shields • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Tiina Smith and Lawrence Rand • Anne-Marie Soullière and Lindsey C.Y. Kiang • Maria and Ray Stata • Tazewell Foundation • John Lowell Thorndike • Magdalena Tosteson • Polly J. Townsend • John Travis • Linda and Daniel Waintrup • Lois Wasoff and James Catterton ‡ • Mr. and Mrs. David Weinstein • Ms. Vita L. Weir and Mr. Edward Brice, Jr. • John C. Willis, Jr. • Dr. and Mrs. Michael J. Yaremchuk • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (8) member $4,000 - $5,999 Mrs. Sonia Abrams • Helaine B. Allen • Joel and Lisa Alvord • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. and Mrs. Laurence Asquith • Mr. Neil Ayer, Jr. • Fred and Joanne Barber • Donald P. Barker, M.D. • Chris and Darcey Bartel • Hanna and James Bartlett • John and Molly Beard •

week 8 the higginson society 79 LIZA VOLL PHOTOGRAPHY LIZA VOLL

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CAMPUS EXPANSION CALL TODAY FOR INFORMATION! 49 NEW APARTMENTS 781.863.9660 • 800.283.1114 www.brookhavenatlexington.org

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80 Clark and Susana Bernard • Leonard and Jane Bernstein • Mrs. Stanton L. Black • Neil and Margery Blacklow • Partha and Vinita Bose • Mr. Edgar W. Brenninkmeyer and Dr. John D. Golenski • Catherine Brigham • David and Jane Brigham • Ellen and Ronald Brown • Matthew Budd and Rosalind Gorin • Joanne and Timothy Burke • Ms. Ruth A. Butler • Mrs. Assunta Cha • Yi-Hsin Chang and Eliot Morgan • Drs. Magdalena and Lucian Chirieac • Mr. and Mrs. Dan Ciampa • Marjorie B. and Martin Cohn • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Albert and Hilary Creighton • Robert and Sarah Croce • Prudence and William Crozier • Joanna Inches Cunningham • Joan P. and Ronald C. Curhan • Tamara P. and Charles H. Davis II • Pat and John Deutch • Charles and JoAnne Dickinson • Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober • Joanne and Jerry Dreher • Mr. David L. Driscoll • Ms. Katherine Duffy • Eran and Yukiko Egozy • Elaine Epstein and Jim Krachey • Peter Erichsen and David Palumb • Ziggy Ezekiel ‡ and Suzanne Courtright Ezekiel • Roger and Judith Feingold • Andrew and Margaret Ferrara • Mr. and Mrs. Peter Fiedler • Martha and Mark Fishman • Velma Frank • Dozier and Sandy Gardner • Jim and Becky Garrett • Rose and Spyros Gavris • Diane Gipson • Elizabeth T. and Roberto S. Goizueta • Alfred and Joan Goldberg • Jordan and Sandy Golding • Eric C. Green • Harriet and George Greenfield • Paula S. Greenman • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Janice Guilbault • Mr. and Mrs. Graham Gund • Anne Blair Hagan • Elizabeth M. Hagopian • Mr. and Mrs. Thomas Hamilton III • Ms. Annette Hanson and Mr. Robert Hanson • Janice Harrington and John Matthews • John and Ellen Harris • Daphne and George Hatsopoulos • Deborah Hauser • William Hawes and Mieko Komagata ‡ • Alexander Healy • Dr. Edward Heller, Jr. and Ms. Uni Joo • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Brian Hickox • Joan and Peter Hoffman • Pat and Paul Hogan • Norman and Irene Jacobs • Mimi and George Jigarjian • Susan Johnston • In Memory of Blanche and George Jones • Teresa Kaltz • The Karp Family Foundation • Paul L. King • Mary S. Kingsbery • Mr. and Mrs. Gordon F. Kingsley • Mr. John L. Klinck, Jr. • Susan G. Kohn • Anna and Peter Kolchinsky • Alexander Kossey • Barbara N. Kravitz • Ms. Kate Kush and Mr. Tom Kush • Mr. and Mrs. Don LeSieur • Emily Lewis • Alice Libby and Mark Costanzo • Mr. and Mrs. Francis V. Lloyd III • Dr. Judith K. Marquis and Mr. Keith F. Nelson • Mr. and Mrs. Jeffrey E. Marshall • Vincent Mayer and Dana Lee • Michael and Rosemary McElroy • Maureen and James Mellowes • Dale and Robert Mnookin • Robert and Jane Morse • Anne J. Neilson • Avi Nelson • Cornelia G. Nichols • Judge Arthur Nims • Kathleen and Richard Norman • Mrs. Lawrence A. Norton • Jan Nyquist and David Harding • David and Deborah Odeh • Christine Olsen and Robert Small • Martin and Helene Oppenheimer • Annette and Vincent O’Reilly • Drs. Roslyn W. and Stuart H. Orkin • Jon and Deborah Papps • Peter Parker and Susan Clare • Richard and Stephanie Parker • Joyce and Bruce Pastor • Michael and Frances Payne • Kitty Pechet • Donald and Laurie Peck • Mr. Edward Perry and Ms. Cynthia Wood • Susan J. Pharr and Robert C. Mitchell • Mr. and Mrs. Nicholas J. Philopoulos • Mr. Edward Pinkus • Mr. Steven Pittman • Elizabeth F. Potter and Joseph L. Bower • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Michael C.J. Putnam and Kenneth Gaulin • Jane M. Rabb • Helen and Peter Randolph • Rita and Norton Reamer • John Sherburne Reidy • Peggy Reiser and Charles Cooney • Mr. and Mrs. Richard H. Rhoads • Kennedy P. and Susan M. Richardson • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mrs. Nancy Riegel • Dorothy B. and Owen W. Robbins • Adrianne E. Rogers •

week 8 the higginson society 81 2018–2019 season andris nelsons music director

program book re-use initiative

The BSO is pleased to continue its program book re-use initiative as part of the process of increasing its recycling and eco-friendly efforts. We are also studying the best approaches for alternative and more efficient energy systems to reduce our dependency on fossil fuels. If you would like your program book to be re-used, please choose from the following: 1) Return your unwanted clean program book to an usher following the performance. 2) Leave your program book on your seat. 3) Return your clean program book to the program holders located at the Massachusetts Avenue and Huntington Avenue entrances.

Thank you for helping to make the BSO more green! Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Donald and Abby Rosenfeld • Francine Rosenzweig and David Davidson • William and Kathleen Rousseau • Arnold Roy • Mary and William Schmidt • Mr. and Mrs. Marvin G. Schorr • Dan Schrager and Ellen Gaies • David and Marie Louise Scudder • Carol Searle and Andrew Ley • Mr. and Mrs. Ross E. Sherbrooke • Mr. and Mrs. Michael Simon • Gilda Slifka • Kitte ‡ and Michael Sporn • Mr. and Mrs. Joseph D. Spound • In honor of Ray and Maria Stata • Sharon and David Steadman • Nancy F. Steinmann • Valerie and John ‡ Stelling • Mrs. Edward A. Stettner • John Stevens and Virginia McIntyre • Fredericka and Howard Stevenson • Anthony and Kumiko Strauss • Ann and David Swanson Fund of the Maine Community Foundation • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Patricia L. Tambone • Jean C. Tempel • Mr. and Mrs. Mark D. Thompson • Judith Ogden Thomson • Mr. and Mrs. W. Nicholas Thorndike • Mr. and Mrs. Richard K. Thorndike III • Marian and Dick Thornton • Diana O. Tottenham • Philip C. Trackman • Jack Turner and Tee Taggart • Marc and Nadia Ullman • Sandra A. Urie and Frank F. Herron • Christopher and Alison Viehbacher • Mrs. Phyllis Vineyard • Mark and Martha Volpe • Michael Walsh and Susan Ruf • Donald and Susan Ware • Matthew and Susan Weatherbie • David and Susana Weber • Norman Weeks • Ellen B. Widmer • Howard and Karen Wilcox • Dudley H. Willis and Sally S. Willis • Elizabeth H. Wilson • June and Jeffrey Wolf • The Workman Family • Drs. Richard and Judith Wurtman • Jean Yeager • Xiaohua Zhang • Anonymous (10)

week 8 the higginson society 83 BSO Major Corporate Sponsors 2018–19 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 2018-2019 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 com- munity 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 oppor- tunity 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 first 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 8 bso major corporate sponsors 85 R e d e fi n i n g Retirement

Carleton-Willard Village is a place to truly call home. e grounds connect our residents to a rich sense of heritage, while social activities foster a deep sense of connection. Interested in connecting with our community while staying in your own home? Carleton- Willard At Home off ers a membership with many of the benefi ts of Village life. Contact us today to learn more.

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boston symphony children’s choir

The Boston Symphony Children’s Choir was founded in spring 2018, making its official debut with the BSO during the 2018 Tanglewood season in a staged production of Puccini’s La bohème. Later in the summer, the BSCC performed Mahler’s Symphony No. 3 with the BSO at Tanglewood. This season in Symphony Hall, the BSCC will be featured alongside the Boston Pops and Keith Lockhart in all Holiday Pops Kids Matinee performances, as well as with the BSO for Puccini’s Suor Angelica and Britten’s Friday Afternoons under the direction of Andris Nelsons. Auditions for the BSCC take place year-round for children in grades 5–9. For more information on upcoming auditions, please visit bso.org/bscc.

Season Sponsors

bso.org/bscc sponsor supporting sponsorlead Your Relaxing Companion

A service of WGBH A SERVICE OF WGBH • CLASSICALWCRB.ORG

Download the App GRIEG GOUNOD GERSHWIN

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

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

GOURMETCATERERS.COM/BSO • BSO.ORG Administration

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

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

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

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

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

week 8 administration 89 “...audiences value that emotional connection with the orchestra and the conductor...it’s not enough just to play the notes.” - Andris Nelsons

As a music lover, you know how special it is to experience a performance here at Symphony Hall. You can make your BSO experience even more enriching— discover how rewarding it is to be a Friend of the BSO. Every $1 the BSO receives through ticket sales must be matched by an additional $1 of contributed support to cover annual expenses. The generosity of the Friends of the BSO is truly the financial foundation that enables the Orchestra to thrive. By joining the Friends with an annual membership gift, you help build a legacy of spectacular performances, ensuring incredible music is accessible to all who wish to hear. enjoy friends-only privileges, including: • Access to BSO or Boston Pops Working Rehearsals • Advance ticket ordering • Exclusive behind-the-scenes experiences at historic Symphony Hall • 10% discount at the Symphony Shop

To learn more or to join, visit the information stand in the lobby, call 617-638-9276, or find us online at bso.org/contribute. corporate partnerships Joan Jolley, Director of Corporate Partnerships Hester C.G. Breen, Corporate Partnerships Coordinator • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Laurence E. Oberwager, Director of Tanglewood Business Partners • Claudia Veitch, Director, BSO Business Partners development

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

week 8 administration 91 BOSTON PHILHARMONIC ORCHESTRA BEETHOVEN - FEBRUARY 14, 16, 17 IVES & MAHLER - APRIL 26

BOSTON PHILHARMONIC YOUTH ORCHESTRA BRITTEN/SCHWANTNER/HOLST - FEBRUARY 24 WAGNER/PROKOFIEV/TCHAIKOVSKY/MAHLER - APRIL 14 ASSAD & DVORAK - MAY 12

TICKETS FROM $15 / STUDENTS $10 / CALL 617.236.0999 BUY TICKETS AT BOSTONPHIL.ORG

2018–2019 season andris nelsons music director

purchase a college card for $25 and attend most BSO concerts for no additional cost. College ID required. Follow us on Twitter, Facebook, Instagram, and YouTube, or download the new BSO app. bso.org/collegecard

617-266-1200 college card sponsor Season Sponsors human resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter information technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Senior Database Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, User Support Specialist public relations

Nicole Banks, Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscriptions, and marketing Sarah L. Manoog, Senior Director of Sales, Marketing, and Branding Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Officer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Roberta Kennedy, Director of Retail Operations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michael Miller, Director of Ticketing and Customer Experience • Michael Moore, Manager of Digital Marketing and Analytics • Meaghan O’Rourke, Digital Media Manager • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Evan Xenakis, Box Office Representative event services Kyle Ronayne, Director of Events Administration • James Gribaudo, Function Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant tanglewood music center

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

week 8 administration 93 KEITH LOCKHART CONDUCTOR Join conductor Keith Lockhart and the Boston Pops in a performance filled with holiday music favorites, the traditional Pops sing-along, and TICKETS ON SALE NOW! a visit from Santa Claus himself! DECEMBER 6–31 #HolidayPops

HOME ALONE IN CONCERT December 29 at 3pm, 7:30pm December 30 at 3pm Experience this true holiday favorite as never before, on the big screen with live orchestral accompaniment and members of the Wellesley High School chorus! Featuring a charming and delightful score by John Williams, Home Alone is holiday fun for the entire family. © 1990 Twentieth Century Fox

NEW YEAR’S EVE WITH SETH MacFARLANE December 31, 10:15pm Ring in the New Year with the Boston Pops on December 31 at 10:15pm. Party the night away with the Boston Pops and very special guest, Seth MacFarlane! There will be a cash bar and several dining options will be available. Doors open at 8:30pm.

617-266-1200 bostonpops.org season sponsor Boston Symphony Association of Volunteers executive committee Chair, Gerald L. Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2018-19

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

2018–2019 season andris nelsons music director

Give the gift of an exciting musical experience!

Gift Certificates may be used toward the purchase of tickets, Symphony Shop merchandise, or at the Symphony Café. To purchase, visit bso.org, the Symphony Hall Box Office, or call SymphonyCharge at 617-266-1200.

week 8 administration 95 Next Program…

Thursday, January 3, 8pm Friday, January 4, 1:30pm (Friday Preview from 12:15-12:45pm in Symphony Hall) Saturday, January 5, 8pm

shi-yeon sung conducting

mendelssohn-hensel overture in c

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

{intermission}

dvorákˇ symphony no. 8 in g, opus 88 Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo

Returning to Symphony Hall for the first time since her tenure as BSO assistant conductor, Korean-born Shi-Yeon Sung leads a program juxtaposing music of Fanny Mendelssohn-Hensel and her brother Felix, surely one of the most brilliant sibling pairs in music history. Fanny Mendelssohn-Hensel’s Overture in C, her only extant work for orchestra alone (though she wrote several works for chorus with orchestra), is an elegant, ten-minute piece dating from 1830. Begun in the same year, her brother’s Piano Concerto No. 1 has a turbulent, Romantic energy; Argentinian pianist Ingrid Fliter is soloist, making her subscription series debut. One of the great 19th-century symphonies, Dvoˇrák’s by turns bucolic and thrilling Eighth was composed in 1889 and is arguably his most individual symphony, a departure from the Brahms-influenced Germanic style of his Symphony No. 7.

96 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 ‘B’ January 3, 8-9:45 Sunday, January 13, 3pm Friday ‘A’ January 4, 1:30-3:15 Jordan Hall, New England Conservatory

Saturday ‘A’ January 5, 8-9:45 BOSTON SYMPHONY CHAMBER PLAYERS SHI-YEON SUNG, conductor with GILBERT KALISH, piano INGRID FLITER, piano and AMANDA FORSYTHE, soprano MENDELSSOHN- Overture in C Celebrating John Harbison’s 80th birthday HENSEL JOHN HARBISON Duo, for flute and piano (1961) MENDELSSOHN Piano Concerto No. 1 HARBISON Deep Dances, for cello and ˇ DVORÁK Symphony No. 8 double bass (2006) HARBISON Piano Quintet (1981) Thursday, January 10, 10:30am (Open Rehearsal) HARBISON Wind Quintet (1979) Thursday ‘C’ January 10, 8-10 J.S. BACH Cantata No. 51, Jauchzet Gott in allen Landen Friday Evening January 11, 8-9:15 (Casual Friday, with introductory comments by a BSO member and no intermission) Thursday ‘A’ January 17, 8-9:40 Saturday ‘B’ January 12, 8-10 Friday ‘A’ January 18, 1:30-3:10 SIR ANDREW DAVIS, conductor Saturday ‘B’ January 19, 8-9:40 ALESSIO BAX, piano Tuesday ‘B’ January 22, 8-9:40 JOHN HARBISON Symphony No. 2 HERBERT BLOMSTEDT, conductor (January 10 and 12 only) TRULS MØRK, cello MOZART Piano Concerto No. 24 in C minor, K.491 HAYDN Cello Concerto No. 1 in C VAUGHAN Symphony No. 5 BRAHMS Symphony No. 1 WILLIAMS

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

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

week 8 coming concerts 97 Symphony Hall Exit Plan

98 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4:30 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able 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 pro- gram pieces in order not to disturb other patrons.

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

week 8 symphony hall information 99 Subscriber Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscrip- tion ticket, you may make your ticket available for resale by calling (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage (after 2 p.m.) and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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