2003-2004 SEASON

W& BOSTON
SYMPHONY
ORCH ESTRA

a y
I
JAMES LEVINE
MUSIC DIRECTOR DESIGNATE

BERNARD HAITINK
PRINCIPAL GUEST CONDUCTOR

SEIJI OZAWA
MUSIC DIRECTOR LAUREATE
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 James Levine, Music Director Designate
Bernard Haitink, Principal Guest Conductor
Seiji Ozawa, Music Director Laureate
123rd Season, 2003-2004

Trustees of the Boston Symphony Orchestra, Inc.

Peter A. Brooke, Chairman
John F. Cogan, Jr., Vice -Chairman Robert P. O'Block, Vice-Chairman
Nina Vice-Chairman
L. Doggett, Roger T. Servison, Vice-Chairman
Ed Linde, Vice-Chairman Vincent M. O'Reilly, Treasurer

Harlan E. Anderson Diddy Cullinane, Edna S. Kalman Edward I. Rudman

George D. Behrakis ex-officio George Krupp Hannah H. Schneider
Gabriella Beranek William R. Elfers R. Willis Leith, Jr. Thomas G. Sternberg
Jan Brett Nancy J. Fitzpatrick Nathan R. Miller Stephen R. Weber
Samuel B. Bruskin Charles K. Gifford Richard P. Morse Stephen R. Weiner
Paul Buttenwieser Avram J. Goldberg Donna Riccardi, Robert Winters
James F. Cleary Thelma E. Goldberg ex-officio
Eric D. Collins Julian T. Houston

Life Trustees
Vernon R. Alden Julian Cohen George H. Kidder Peter C. Read
David B. Arnold, Jr. Abram T. Collier Harvey Chet Krentzman Richard A. Smith
J. P. Barger Mrs. Edith L. Dabney Mrs. August R. Meyer Ray Stata
Leo L. Beranek Nelson J. Darling, Jr. Mrs. Robert B. Newman John Hoyt Stookey
Deborah Davis Berman Mrs. John H. Fitzpatrick William J. Poorvu John L. Thorndike
Jane C. Bradley Dean W. Freed Irving W Rabb Dr. Nicholas T. Zervas
Helene R. Cahners

Other Officers of the Corporation

Mark Volpe, Managing Director Thomas D. May, Chief Financial Officer
Suzanne Page, Clerk of the Board

Board of Overseers of the Boston Symphony Orchestra, Inc.

Diddy Cullinane, Chair
Helaine B. Allen Paul F Deninger Robert Kleinberg Millard H. Pryor, Jr.
Joel B. Alvord Alan Dynner Dr. Arthur R. Kravitz Patrick J. Purcell
Marjorie Arons-Barron George M. Elvin Mrs. William D. Carol Reich
Diane M. Austin John P. Eustis II Larkin, Jr. Alan Rottenberg
Maureen Scannell Pamela D. Everhart Robert J. Lepofsky Michael Ruettgers
Bateman Judith Moss Feingold Alexander M. Levine Kenan Sahin
Milton Benjamin J. Richard Fennell Christopher J. Lindop Arthur I. Segel
George W
Berry Lawrence K. Fish Shari Loessberg Ross E. Sherbrooke
James L. Bildner Myrna H. Freedman Edwin N. London Gilda Slilka
Bradley Bloom Dr. Arthur Gelb Carmine Martignetti Christopher Smallhorn
Mark G. Borden Jack Gill Joseph B. Martin, M.D. Mrs. Micho Spring
Alan Bressler Robert P. Gittens Robert J. Mayer, M.D. Charles A. Stakeley
Michelle Courton Brown Paula Groves Barbara E. Maze Jacquelynne M.
Robin A. Brown Michael Halperson Thomas McCann Stepanian
William Burgin Ellen T Harris Joseph C. McNay Wilmer Thomas
Dr. Edmund B. Cabot Virginia S. Harris Albert Merck Samuel Thorne
Rena F Clark Deborah M. Hauser Dr. Martin C. Mihm, Jr. Bill Van Faasen
Carol Feinberg Cohen Carol Henderson Robert Mnookin Loet A. Velmans
Mrs. James C. Collias Richard Higginbotham Robert T O'Connell Paul M. Verrochi
Ranny Cooper Phyllis S. Hubbard Norio Ohga Matthew Walker
Martha H.W. Roger Hunt Louis F Orsatti Larry Weber
Crowninshield Ernest Jacquet Joseph Patton Robert S. Weil
Joan P. Curhan Charles H. Jenkins, Jr. Ann M. Philbin David C. Weinstein
Cynthia Curme Michael Joyce May H. Pierce James Westra
James C. Curvey Martin S. Kaplan Joyce L. Plotkin Mrs. Joan D. Wheeler
Tamara P. Davis Steven E. Karol Dr. John Thomas Reginald H. White
Mrs. Miguel de Braganga Stephen Kay Potts, Jr. Robin Wilson
Disque Deane Edmund Kelly Dr. Tina Young Richard Wurtman, M.D.
Betsy P. Demirjian Douglas A. Kingsley Poussaint
Overseers Emeriti
Caroline Dwight Bain Mrs. Kenneth J. Mrs. Gordon F. Mrs. Peter van S. Rice
Sandra Bakalar Germeshausen Kingsley John Ex Rodgers
William M. Bulger Jordan Golding David I. Kosowsky Mrs. Jerome Rosenfeld
Mrs. Levin H. Campbell Mark R. Goldweitz Robert K. Kraft Roger A. Saunders
Earle M. Chiles Mrs. Haskell R. Benjamin H. Lacy Lynda Anne Schubert
Phyllis Curtin Gordon Hart D. Leavitt Francis P. Sears, Jr.f
JoAnne Walton Susan D. Hall Frederick H. Mrs. Carl Shapiro
Dickinson John Hamill Lovejoy, Jr. L. Scott Singleton
PhyllisDohanian Mrs. Richard D. Hill Diane H. Lupean Mrs. Arthur I. Strang
Goetz B. Eaton Glen H. Hiner Mrs. Charles P. Lyman Robert A. Wells
Harriett Eckstein Marilyn Brachman Mrs. Harry L. Marks Mrs. Thomas H.P
Edward Eskandarian Hoffman C. Charles Marran Whitney
Peter H.B. Lola Jaffe Hanae Mori Margaret Williams-
Frelinghuysen H. Eugene Jones Mrs. Hiroshi H. Nishino DeCelles
Mrs. Thomas Mrs. S. Charles Kasdon John A. Perkins Mrs. Donald B. Wilson
Galligan, Jr. Richard L. Kaye Daphne Brooks Prout Mrs. John J. Wilson
Mrs. James Garivaltis Robert E. Remis
tDeceased
Business Leadership Association
Board of Directors
Charles K. Gifford, Chairman Leo L. Beranek, James F Cleary, and
Edmund F. Kelly, President Harvey Chet Krentzman, Chairmen Emeriti

Robin A. Brown John P. Hamill Thomas J. May Roger T Servison

Michael J. Costello Ernest K. Jacquet J.Kent McHose Malcolm L. Sherman
Robert W Daly Michael J. Joyce Joseph C. McNay Ray Stata
Francis A. Doyle Steven E. Karol Louis F. Orsatti William C. Van Faasen
William R. Elfers Christopher J. Lindop Patrick J. Purcell Paul M. Verrochi
Lawrence K. Fish Carmine A. Martignetti Lynda A. Schubert Lawrence Weber

Ex-Officio Peter A. Brooke • Diddy Cullinane • Nicholas T Zervas

Officers of the Boston Symphony Association of Volunteers

Donna Riccardi, President Ursula Ehret-Dichter, Executive Vice-President/
Audley Fuller, Executive Vice-President/ Tanglewood
Administration Pat Kavanagh, Secretary
Ann Philbin, Executive Vice-President/ William A. Along, Treasurer
Fundraising Una Fleischmann, Nominating Committee Chairman
Olga Eldek Turcotte, Melinda Brown, Resource Jerry Dreher, Education and
Membership Development Outreach
Ellen WMayo, Public Relations Leah Weisse, Symphony Shop Lisa A. Mafrici, Special Projects
Judy Barr, Hall Services Staffing

Table of Contents
On Display at Symphony Hall 6
New to the BSO 9
This Week's Boston Symphony Orchestra Program 12
Featured Artists 39
Future Programs 76
Symphony Hall Exit Plan 78
Symphony Hall Information 79

This week's Pre-Concert Talks are given by

Harlow Robinson, Northeastern University.

Programs copyright ©2004 Boston Symphony Orchestra, Inc.

Cover design by Sametz Blackstone Associates, Boston/Cover photograph by Constantine Manos
Administration
Mark Volpe, Managing Director
Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity
Tony Beadle, Manager, Boston Pops Peter Minichiello, Director of Development
Anthony Fogg, Artistic Administrator Kim Noltemy, Director of Sales and Marketing
Marion Gardner-Saxe, Director of Human Resources Caroline Taylor, Senior Advisor to the

Ellen Highstein, Director of Tanglewood Music Center Managing Director

Thomas D. May, Chief Financial Officer Ray F. Wellbaum, Orchestra Manager

ADMINISTRATIVE STAFF/ ARTISTIC

Karen Leopardi, Artist Assistant/Secretary to the Music Director • Vincenzo Natale, Chauffeur/Valet •

Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Alexander

Steinbeis, Artistic Administration Coordinator

ADMINISTRATIVE STAFF/PRODUCTION
Christopher W. Ruigomez, Operations Manager
Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production
Coordinator • Stephanie Kluter, Assistant to the Orchestra Manager • Jake Moerschel, Stage Technician
• Julie G. Moerschel, Manager • John Morin, Stage Technician • Mark C. Rawson,
Assistant Chorus
Stage Technician • Timothy Tsukamoto, Orchestra Personnel Coordinator

BOSTON POPS
Dennis Alves, Director of Artistic Programming
Jana Gimenez, Operations Manager • Sheri Goldstein, Personal Assistant to the Conductor • Julie
Knippa, Administration Coordinator • Margo Saulnier, Artistic Coordinator

BUSINESS OFFICE
Sarah J. Harrington, Director of Planning and Budgeting
Pam Wells, Controller
Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Michelle Green,
Executive Assistant to the Chief Financial Officer • Y. Georges Minyayluk, Senior Investment Accountant •
John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • Harriet Prout, Accounting Mana-
ger • Taunia Soderquist, Payroll Administrator • Andrew Swartz, Budget Assistant • Teresa Wang,
Staff Accountant

DEVELOPMENT
Judi Taylor Cantor, Director of Individual and Planned Giving Rebecca R. Crawford, Director of
Development Communications • Sally Dale, Director of Stewardship and Development Administration
Deborah Hersey, Director of Development Services and Technology Jo Frances Kaplan, Director of
Institutional Giving

Rachel Arthur, Individual and Planned Giving Coordinator • Gregg Carlo, Coordinator, Corporate Pro-
grams • Diane Cataudella, Associate Director of Stewardship • Joanna N. Drake, Coordinator, Tanglewood
Annual Funds • Sarah Fitzgerald, Manager of Gift Processing and Donor Records • Alexandra Fuchs,
Manager, Tanglewood Annual Funds • Barbara Hanson, Assistant Manager, Tanglewood Annual Funds •
Justin Kelly, Assistant Manager of Gift Processing and Donor Records • Katherine M. Krupanski, Coor-
dinator, BSO and Pops Annual Funds • Mary MacFarlane, Assistant Manager, BSO and Pops Annual Funds
• Robert Meya, Senior Major Gifts Officer • Susan Olson, Stewardship Coordinator • Tina Renee Parker,
Manager of Special Events • Thompson R. Patton, Foundation & Government Grants Coordinator • Mark
Perreault, Gift Processing and Donor Records Coordinator • Gerrit Petersen, Director of Foundation Sup-
port • Macey Pew, Gift Processing and Donor Records Coordinator • Phoebe Slanetz, Director of Develop-
ment Research • Elizabeth Stevens, Assistant Manager of Planned Giving • Mary E. Thomson, Program
Manager, Corporate Programs • Christine Wright, Executive Assistant to the Director of Development/Office
Manager

EDUCATION AND COMMUNITY PROGRAMS/ARCHIVES

Myran Parker-Brass, Director of Education and Community Programs
Bridget P. Carr, Archivist—Position endowed by Caroline Dwight Bain
Angel Baker, Education and Community Programs Assistant • Gabriel Cobas, Manager of Education
Programs • Leslie Wu Foley, Associate Director of Education and Community Programs • Samantha
Talora, Manager, Berkshire Education Initiative • Zakiya Thomas, Coordinator of Community Projects/
Research
EVENT SERVICES
Cheryl Silvia Lopes, Director of Event Services

Lesley Ann Cefalo, Special Events Manager • Kathleen Clarke, Assistant

to the Director of Event Services •
Emma-Kate Kallevik, Tanglewood Events Coordinator • Kyle Ronayne, Food and Beverage Manager

HUMAN RESOURCES
Dorothy DeYoung, Benefits Manager Sarah Nicoson, Human Resources Manager

INFORMATION TECHNOLOGY
David W. Woodall, Director of Information Technology

Guy W. Brandenstein, Tangleivood User Support Specialist • Andrew Cordero, Lead User Support Specialist
• John Lindberg, System and Network Administrator • Michael Pijoan, Assistant Director of Information
Technology • Brian Van Sickle, User Support Administrator

PUBLIC RELATIONS
Bernadette M. Horgan, Director of Media Relations
Sean J. Kerrigan, Associate Director of Media Relations • Jonathan Mack, Media Relations Associate • Amy
Rowen, Media Relations Coordinator • Kate Sonders, Staff Assistant

PUBLICATIONS
Marc Mandel, Director of Program Publications

Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops
Program Editor

SALES, SUBSCRIPTION, AND MARKETING

Amy Office • Leslie Bissaillon, Manager, Glass Houses
Aldrich, Manager, Subscription Helen N.H.
Brady, Director of Group Sales Alyson Bristol, Director of Corporate Sponsorships Sid Guidicianne, Front
of House Manager James Jackson, Call Center Manager • Roberta Kennedy, Manager, Symphony Shop
Sarah L. Manoog, Director of Marketing Programs Michael Miller, Symphony-Charge Manager
Pam Bennett, Assistant Manager, Symphony
Tahli Adler, Program Coordinator for Corporate Sponsorships •
Shop • Rich Bradway, Manager of Internet Marketing • Lenore Camassar, Symphony Charge Assistant
Manager • John Dorgan, Group Sales Coordinator • Michelle Giuliana, Web Editor • Peter Grimm,
Tanglewood Special Projects Manager • Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth
Hopkins, Graphic Designer • Julie Kleinhans, Subscription Representative • Kenta Kusano, Senior Web
Developer • Katherine Leeman, Marketing Coordinator for Print Production • Elizabeth Levesque, Market-
ing Projects Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group
Sales Manager • Cheryl McKinney, Subscription Representative • Michael Moore, Assistant Call Center
Manager • Doreen Reis, Marketing Coordinator for Advertising • Megan E. Sullivan, Access Services
Coordinator • Sandra Swanson, Manager, Corporate Sponsorships

Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager

Box Office Representatives Mary J. Broussard • Cary Eyges • Lawrence Fraher • Arthur Ryan

SYMPHONY HALL OPERATIONS

Robert L. Gleason, Director of Hall Facilities

Michael Finlan, Switchboard Supervisor • Wilmoth A. Griffiths, Supervisor of Facilities Support Services •
Catherine Lawlor, Administrative Assistant •John MacMinn, Manager of Hall Facilities • Shawn Wilder,
Mailroom Clerk
House Crew Charles Bent, Jr. • Charles F. Cassell, Jr. • Francis Castillo • Eric Corbett • Thomas
Davenport • Michael Frazier • Juan Jimenez • Peter O'Keefe Security Christopher Bartlett •
Matthew Connolly • Cleveland Olivera • Tyrone Tyrell, Security Supervisor Cleaning Crew Desmond
Boland • Clifford Collins • Angelo Flores • Rudolph Lewis • Lindel Milton, Lead Cleaner • Gabo
Boniface Wahi

TANGLEWOOD MUSIC CENTER

Karen Brown, Coordinator • Patricia Brown, Associate Director • Beth Paine, Manager of Student Services
• Gary Wallen, Scheduler

TANGLEWOOD OPERATIONS
David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires

VOLUNTEER OFFICE
Patricia Krol, Director of Volunteer Services
Paula Ramsdell, Project Coordinator

4
 —

BSO
Boston Symphony Announces
2004-05 Subscription Season,
Isserlis, and Truls M0rk, and
James Galway.

at
Don't miss out on the start of a
Symphony
flutist Sir

new
Hall. For information on sub-
era

James Le vine's First as scriptions for the BSO's2004-05 season,

BSO Music Director call (617) 266-7575 or 1-888-266-7575, or
visit www.bso.org. 2004-05 subscription bro-
The BSO begins a new chapter in its history
chures with complete program and ticket
next fall, when it welcomes James Levine
information are available by calling (617)
for his inaugural season as BSO music di-
266-1492, through www.bso.org, or by writ-
rector. During 2004-05, Mr. Levine will lead
the orchestra in twelve programs, including
ing to "BSO 2004-05 Season," Symphony

— to celebrate their new partnership —five

Hall, Boston, MA 02115.
purely orchestral programs showcasing the
BSO under Mr. Levine's baton. Reflecting
Tanglewood 2004
his strong interest in contemporaryAmeri- The Boston Symphony Orchestra's 2004
can music, the season will bring world pre- summer season at Tanglewood will include
mieres of new works commissioned by the celebrations of the 10th anniversary of the
BSO from Milton Babbitt, John Harbison, opening of Seiji Ozawa Hall —
featuring Seiji
and Charles Wuorinen. Familiar fare in- Ozawa Tanglewood appearance
in his first
cludes such masterworks as Mozart's Prague since stepping down as BSO music director
Symphony, Beethoven's Eroica, Schubert's in 2002—and of John Williams's 25th year
Great C major symphony, Brahms's Sympho- in the BSO family. Other highlights will in-
ny No. 2, and Dvorak's Symphony No. 7. clude all-Mozart, Brahms, Ravel, and Dvorak
There will also be such epochal works as programs in the Koussevitzky Music Shed;
Mahler's Symphony No. 8, the Symphony of Shed performances of Beethoven's Seventh,
a Thousand, with which Mr. Levine will be- Eighth, and Ninth symphonies; encore per-
gin his BSO tenure on October 22; Berlioz's formances of Tan Dun's The Map with Yo-Yo
"dramatic symphony" Romeo et Juliette for Ma, and of Wynton Marsalis's All Rise fea-
soloists, chorus, and orchestra
in December, turing Mr. Marsalis and the Lincoln Center
and concert performances of Wagner's opera Jazz Orchestra; and appearances by some of
The Flying Dutchman next March. Two nota- the world's greatest conductors, including
bly "high-contrast" programs juxtapose mu- Christoph von Dohnanyi, Rafael Friihbeck
sic of Schoenberg, Messiaen, Stravinsky, and de Burgos, and Kurt Masur. Also among the
Bartok in one, and J.S. Bach, Ives, Varese, roster of celebrated guest artists are Martha
and Gershwin in another. Mr. Levine will Argerich, Emanuel Ax, Joshua Bell, Yefim
also appear at Symphony Hall as pianist Bronfman, Leon Fleisher, Renee Fleming,
with the Boston Symphony Chamber Players Midori, Itzhak Perlman, Peter Serkin, Bryn
in November, and in collaboration with Terfel, Jean-Yves Thibaudet, Dawn Upshaw,
pianist Evgeny Kissin in an evening of four- and Deborah Voigt.
hand piano music by Schubert in March. Other season highlights include the sec-
The BSO's roster of distinguished guest ond collaboration between the Mark Morris
conductors next season includes James Con- Dance Company and Tanglewood Music
Ion, Christoph von Dohnanyi, Charles Dutoit, Center; the return of Garrison Keillor and
Rafael Friihbeck de Burgos, Daniele Gatti, "A Prairie Home Companion"; and three
Hans Graf, Kurt Masur, Ingo Metzmacher, Boston Pops concerts, including programs
Andre Previn, Robert Spano, and David led by Keith Lockhart and Marvin Ham-
Zinman. Featured soloists include, among lisch, and the annual "Film Night" under
others, sopranos Jane Eaglen, Karita Mattila, John Williams. The summer also brings ap-
and Deborah Voigt; pianists Alfred Brendel, pearances by such visiting ensembles as
Yefim Bronfman, Richard Goode, Stephen Boston Baroque, the Juilliard and Emerson
Hough, Stephen Kovacevich, Robert Levin, string quartets, the Orchestra of St. Luke's,
Garrick Ohlsson, and Peter Serkin; violinist the Hilliard Ensemble, and the Orchestra of
Vadim Repin, cellists Lynn Harrell, Steven the Age of Enlightenment, plus a full sched-

tit&ttj
ule of concerts by the young musicians of the 2004-05 season. This is the first such
the Tanglewood Music Center, the annual appointment in the BSO's 123-year history,
Festival of Contemporary Music and Labor effectively providing Mr. Haitink an open
Day Weekend Jazz Festival,Tanglewood on invitation to appear with the BSO sched- —
Parade, and more. ules permitting —
whenever he is willing and
Tanglewood brochures with complete pro- able. Though he cannot join the BSO for the
gram and ticket information will be available 2004-05 season, Mr. Haitink is currently
in March at www.bso.org, by calling (617) scheduled to return to Symphony Hall for
638-9467, or by writing to Tanglewood Bro- two weeks in 2005-06.
chure, Symphony Hall, Boston, MA 02115.
Tickets for the 2004 Tanglewood season go Pre-Concert Talks
on public sale March 14 through Symphony-
Pre-Concert Talks available free of charge
Charge at 1-888-266-1200, or online at
to BSO ticket holders precede all Boston
www.bso.org. Tickets will be available in
Symphony concerts and Open Rehearsals,
person at the Tanglewood Box Office in
starting at 7 p.m. prior to evening concerts,
Lenox beginning June 6. For more informa-
12:15 p.m. prior to Friday-afternoon con-
tion, please call the Boston Symphony Or-
certs,and one hour before the start of morn-
chestra at (617) 266-1492.
ing and evening Open Rehearsals. Given
by a variety of distinguished speakers from
Bernard II ait ink Named
Boston's musical community, these informa-
BSO Conductor Emeritus tive half-hour talks include taped examples
Bernard Haitink, who made his BSO debut from the music being performed. This week,
in 1971 and became principal guest con- Harlow Robinson of Northeastern Univer-
ductor in 1995, has now been named Con- sity discusses Glazunov, Sibelius, Proko-
ductor Emeritus of the BSO, beginning with fiev, and Shostakovich. In the weeks ahead,

On Display in Symphony Hall

The history of Symphony Hall and the Boston Symphony Orchestra is documented
throughout the public spaces of Symphony Hall in an exhibit that displays hidden
treasures from the BSO Archives, bringing to life the rich legacy of Symphony Hall
both as an historic building in the city of Boston, and as one of the world's greatest
concert halls. Among the topics covered are the design, construction, and acous-
tics of Symphony Hall, and its grand opening on October 15, 1900; guest artists
who have performed with the BSO; pre-
mieres given here by the BSO; the early
formation of the orchestra; the Boston
Pops; radio and television broadcasting
history; and the use of Symphony Hall
as a recording venue. The exhibit also
explores the use of Symphony Hall by
other performing artists and by such
groups as the Handel & Haydn Society
and FleetCelebrity Series, as well as
many non-musical activities including
political events, travelogues, movie screenings, and a variety of trade shows. Shown
at left is a 1900 photograph of pianist Harold Bauer, a frequent soloist with the BSO
between 1900 and 1937 (photo by Gessford). At right is a 1936 charcoal drawing
by Gerome Brush of Richard Burgin, the BSO's concertmaster from 1920 to 1962.
—
The exhibit is located on the first two levels of Symphony Hall on the orches-
tra level along the Massachusetts Avenue and Huntington Avenue corridors, and
on the first balcony along the Massachusetts Avenue corridor, in the Cabot-Cahners
—
Room, and in the west corridor (paralleling Gainsborough Street) and in the Cohen
Wing display cases across from the Symphony Shop.
BSO Director of Program Publications Marc phony Orchestra; the multicultural Paleo
Mandel discusses Mendelssohn, Mozart, and Festival Nyon, Switzerland's largest open-
Nielsen (February 26-March 2) and BSO air music festival; and the stunningly the-
Publications Associate Robert Kirzinger atricalBregenz Festival. UBS has also been
discusses Golijov, Knussen, and Rachman- a partner of the annual Verbier Festival &
inoff (March 4-9). This season's Pre-Concert Academy in the Valais Alps since its cre-
Talks are dedicated by this year's speakers ation in 1994.
to the memory of Boston University Profes-
sor John Daverio (1954-2003), a cherished EMC Becomes
colleague whose contributions to Boston bso.org Sponsor
Symphony concerts as guest speaker and
Now in its second year as the host of the
annotator are not forgotten.
BSO's website, Hopkinton-based EMC
Corporation, the world leader in network
BSO Members in Concert information storage and information man-
BSO violinist Victor Romanul and pianist agement software, is now officially the spon-
Jerome Rosen (a former BSO violinist) con- sor of www.bso.org. Last season, www.bso.org,

tinue their survey of the Beethoven violin the most visited symphony orchestra website
sonatas at the Goethe-Institut, 170 Beacon in the world, received over 3 million unique
Street in Boston, on Sunday, February 22, at visits, up 16% from the 2002-03 season, and

3 p.m., performing the A major sonata, Opus including a staggering 500,000 unique vis-
12, No. 2; the G major sonata, Opus 96, and its from around the globe for the launch of

the C minor sonata, Opus 30, No. 2. Admis- the BSO's "Online Conservatory" last Feb-
sion is free. For more information call (978) ruary. The site averages nearly 8,000 unique

884-1912. visits a day, a figure that more than doubles

around key ticket public-sale dates. EMC

UBS Launches Long-term Corporation, a longtime BSO corporate sup-

porter and a major sponsor since 1999,
Sponsor Relationship with BSO
has played a vital role with the BSO in
The BSO is proud to have UBS, one of the managing the rapid growth and success of
world's leading financial services firms, as www.bso.org as an online box office and
the BSO's exclusive season sponsor for the global communications vehicle for the BSO.
2003-04 through 2005-06 seasons at Sym-
phony Hall. "We are honored that UBS has In Case of Snow...
selected the BSO as its only major sym-
To find out the status of a Boston Symphony
phony orchestra sponsorship in the United
concert and options available to you in case
States," said Mark Volpe, BSO Managing
of a snow emergency, BSO subscribers and
Director. "UBS is highly regarded in the
patrons may call a special Symphony Hall
global cultural community for its commit-
number. Just dial (617) 638-9495 at any
ment to the arts, and we are proud to be
time for a recorded message regarding the
their partner in Boston." "Both UBS and the
current status of a concert. Please note, too,
BSO are leading world-class institutions
that ticket refunds will only be offered for
that have deep roots in the Boston commu-
concerts that are cancelled.
nity," said Mark B. Sutton, President and
Chief Operating Officer, UBS Financial
Comings and Goings...
Services Inc. "With nearly 500 employees
and a 125-year history in Boston, UBS is Please note that latecomers will be seated
truly excited to enter into a long-term part- by the patron service staff during the first
nership with one of the city's most celebrat- convenient pause in the program. In addi-
ed cultural institutions." In addition to its tion, please also note that patrons who leave
strong commitment to the visual arts, in- the hall during the performance will not be
cluding its highly regarded UBS Art Col- allowed to reenter until the next convenient
lection, the firm has long distinguished it- pause in the program, so as not to disturb
self for its support of the performing arts. the performers or other audience members
UBS is the proud sponsor of the Zurich while the concert is in progress. We thank
Opera; the Zurich Ballet; the London Sym- you for your cooperation in these matters.
 oldwell Banker Previews
C^m^/^^/^a^C

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NEW TO THE BSO
Three Boston Symphony members are new to the BSO this season.
Canadian violinist Juliette Kang joined the BSO as assistant concert-
master during the 2003 Tanglewood season, following two seasons as a
member of the Metropolitan Opera Orchestra. Ms. Kang has made solo
appearances with the San Francisco Symphony, the Orchestre National
de France, the Baltimore, Detroit, and Syracuse symphony orchestras,
every major orchestra in Canada, and overseas with the Vienna Chamber
Orchestra, Singapore Symphony, Hong Kong Philharmonic, and the KBS
Symphony Orchestra in Seoul. She has given recitals in Paris, Tokyo,
Boston, and New York. As gold medalist of the 1994 International Vio-
lin Competition of Indianapolis, she was presented at Carnegie Hall in a recital recorded
live and released on the Samsung/Nices label. Other recordings include the Schumann and
Wieniawski violin concertos with the Vancouver Symphony. As a chamber musician, she
has participated in festivals including Bravo! Colorado, Marlboro, Moab (Utah), Skaneateles
(New York), and Spoleto USA. In New York she has performed with the Chamber Music So-
ciety of Lincoln Center, and at the Mostly Mozart Festival with her husband, cellist Thomas
Kraines. Born in Edmonton, Canada, Ms. Kang began her violin studies at four. After re-
ceiving her bachelor of music degree from the Curtis Institute, where she was a student of
Jascha Brodsky, she earned a master of music degree at the Juilliard School, where her
teachers were Dorothy DeLay and Robert Mann. She was a winner at age thirteen of the
1989 Young Concert Artists Auditions, and received first prize at the Menuhin Violin Com-
petition in Paris in 1992.

Double bass player Benjamin Levy was born in Cooperstown, New

York, in 1980 and grew up in Pennsylvania and Colorado. While in
high school he studied with David Potter, and spent two summers study-
ing with Stuart Sankey at the Aspen Music Festival. Mr. Levy has ap-
peared in performance with soprano Dawn Upshaw, the Borromeo String
Quartet, and the Hawthorne String Quartet. In 2002, while a Fellow
at the Tanglewood Music Center, he was the recipient of the Maurice
Schwartz Prize and was reviewed in the New York Times for his per-
formance of Jacob Druckman's Valentine for solo double bass. A recent
graduate of the New England Conservatory of Music, he joined the BSO's bass section in
2003 at Tanglewood. His teachers have included David Potter, Todd Seeber, Timothy Pitts,
Paul Ellison, and Stuart Sankey. Benjamin Levy was the recipient of the 2002 New England
Conservatory George Whitefield Chadwick Medal.

Mike Roylance became the BSO's tuba player at the start of the 2003
Tanglewood season. Born in Washington, D.C., he attended the Univer-
sity of Miami and received a bachelor of arts degree from Rollins Col-
lege in Winter Park, Florida. At Rollins, he served on the faculty con-
ducting the brass ensemble and directing the Pep Band. He was pro-
fessor of tuba and euphonium at the University of Central Florida, and
did graduate studies in the master of music program at DePaul Univer-
sity in Chicago. After moving to Chicago, he was invited to play with
the Chicago Symphony, the Minnesota Orchestra, and the Seattle Sym-
phony. For the 2001-02 season he was principal tubist with the Civic Orchestra of Chicago,
having previously spent fifteen years as a freelance musician and teacher in Orlando, Flori-
da, performing on tuba and electric bass in orchestras, chamber groups, Dixieland bands,
big bands, and Broadway show ensembles. His career has also included performances in
Europe, with the Classical Festival Orchestra in Vienna and with the Sam Rivers Rivbea
Jazz Orchestra in Portugal; and in Japan, where he appeared as soloist and taught master
classes. Mike has studied with such notable players as former University of Miami professor
Connie Weldon, James Jenkins of the Jacksonville Symphony, Bob Tucci of the Bavarian
State Opera, retired BSO tuba player Chester Schmitz, Gene Pokorny of the Chicago Sym-
phony, and retired San Francisco Symphony tuba player Floyd Cooley.
 * Jennie Shames Robert Barnes
David and Ingrid Kosowsky Burton Fine
chair
Ronald Wilkison
*Valeria Vilker Kuchment
Michael Zaretsky
Theodore W. and Evelyn
Berenson Family chair Marc Jeanneret
*Tatiana Dimitriades *Mark Ludwig
Stephanie Morris Marryott and * Rachel
Fagerburg
Franklin J. Marryott chair *Kazuko Matsusaka
*Si-Jing Huang *Rebecca Gitter
BOSTON SYMPHONY Catherine and Paul Buttenwieser
chair
ORCHESTRA *Nicole Monahan
Cellos
2003-2004 Jules Eskin
Mary B. Saltonstall chair
Principal
James Levine *Wendy Putnam Philip R. Allen chair, endowed
Music Director Designate Kristin and Roger Servison chair
in perpetuity in 1969
Ray and Maria Stata *Xin Ding Martha Babcock
Music Directorship, Donald and Ruth Brooks
C.
Assistant Principal
fully funded in perpetuity
Heath chair, fully funded in per- Vernon and Marion Alden chair,
petuity endowed in perpetuity
Bernard Haitink in 1977
Principal Guest Conductor Second Violins
LaCroix Family Fund, Sato Knudsen
Haldan Martinson Mispha Nieland chair,
fully funded in perpetuity
Principal fully funded in perpetuity
Seiji Ozawa Carl Schoenhof Family chair,
Mihail Jojatu
Music Director Laureate fully funded in perpetuity Sandra and David Bakalar chair
Vyacheslav Uritsky Luis Leguia
Assistant Principal
First Violins Robert Bradford Newman chair,
Charlotte and Irving W. Rahb
Malcolm Lowe fully funded in perpetuity
chair, endowed in perpetuity
Concertmaster * Jerome Patterson
in 1977
Charles Munch chair, Lillian and Nathan R. Miller
fully funded in perpetuity
Ronald Knudsen chair
Edgar and Shirley Grossman
tTamara Smirnova chair
*Jonathan Miller
Associate Concertmaster Charles and JoAnne Dickinson
Helen Horner Mclntyre chair, Joseph McGauley chair
1976 Shirley and J. Richard Fennell
endowed in perpetuity in *0wen Young
chair, fully funded in perpetuity
Juliette Kang John F. Cogan, Jr., and Mary L.
Assistant Concertmaster
Ronan Lefkowitz Cornille chair, fully funded in
Robert L. Beal, Enid L., and David H. and Edith C. Howie perpetuity
endowed chair, fully funded in perpetuity
Bruce A. Beal chair, in * Andrew Pearce
perpetuity in 1980 *Nancy Bracken Stephen and Dorothy Weber chair
Elita Kang *Aza Raykhtsaum
Assistant Concertmaster *Bonnie Bewick Richard C. and Ellen E. Paine
Edward and Bertha C. Rose chair, fully funded in perpetuity
*James Cooke
chair
* Victor Romanul
Bo Youp Hwang Bessie Pappas chair Gordon and Mary Ford Kingsley
John and Dorothy Wilson chair, Family chair
fully funded in perpetuity
*Catherine French
Lucia Lin *Kelly Barr Basses
Forrest Foster Collier chair * Alexander Velinzon
Edwin Barker
Ikuko Mizuno Principal
Dorothy Q. and David B. Arnold, Violas Harold D. Hodgkinson chair,
Jr., chair, fully funded in Steven Ansell endowed in perpetuity in 1974
perpetuity Principal Lawrence Wolfe
Amnon Levy Charles S. Dana chair, Assistant Principal
Muriel C. Kasdon and Marjorie endowed in perpetuity in 1970 Maria Nistazos Stata chair,
C. Paley chair Cathy Basrak fully funded in perpetuity
*Sheila Fiekowsky Assistant Principal Joseph Hearne
Ruth and Carl J. Shapiro chair, Anne Stoneman chair, Leith Family chair,
fully funded in perpetuity fully funded in perpetuity fully funded in perpetuity
Edward Gazouleas Dennis Roy
Lois and Harlan Anderson chair,
Joseph and Jan Brett Hearne
fully funded in perpetuity chair
* Participating in a system
John Salkowski
of rotated seating
Erich and Edith Heymans chair
t On sabbatical leave
§ Substitute player

10
*James Orleans Bassoons Tuba
*Todd Seeber Richard Svoboda Mike Roylance
Eleanor L. and Levin H. Principal Margaret and William C.
Campbell chair, fully funded in Edward A. Taft chair, endowed Rousseau chair, fully funded
perpetuity in perpetuity in 1974 in perpetuity
*John Stovall Suzanne Nelsen
*Benjamin Levy John D. and Vera M. Timpani
MacDonald chair
Hut es Richard Ranti Sylvia Shippen Wells chair,
Associate Principal endowed in perpetuity in 1974
Principal Diana Osgood Tottenham chair
Walter Piston chair, endowed Percussion
in perpetuity in 1970 Contrabassoon Thomas Gauger
Fenwick Smith Gregg Henegar Peter and Anne Brooke chair,
Acting Assistant Principal Helen Rand Thayer chair fully funded in perpetuity
Myra and Robert Kraft chair, Frank Epstein
endowed in perpetuity in 1981 Horns Peter Andrew Lurie chair,
Elizabeth Ostling James Sommerville fully funded in perpetuity
Acting Principal Principal J. William Hudgins
Marian Gray Lewis chair, Helen Sagojf Slosberg/Edna Barbara Lee chair
fully funded in perpetuity S. Kalman endowed
chair,
Timothy Genis
1974
in perpetuity in
Acting Timpanist
Piccolo Richard Sebring Mr. and Mrs. Edward H. Linde
Associate Principal chair
Evelyn and C. Charles Marran Margaret Andersen Congleton
chair, endowed in perpetuity in chair, fully funded in perpetuity Harp
1979 Daniel Katzen Ann Hobson Pilot
§ Linda Toote Elizabeth B. Storer chair Principal
Jay Wadenpfuhl
Oboes John P. II and Nancy S. Eustis Voice and Chorus
John Ferrillo chair, fully funded in perpetuity
John Oliver
Principal Richard Mackey Tanglewood Festival Chorus
Mildred B. Remis chair, endowed Hamilton Osgood chair Conductor
in perpetuity in 1975 Jonathan Menkis Alan J. and Suzanne W. Dworsky
Mark McEwen Jean-Noel and Mona N chair, fully funded in perpetuity
James and Tina Collias chair Tariot chair
Keisuke Wakao Librarians
Assistant Principal Trumpets tMarshall Burlingame
Elaine and Jerome Rosenfeld Charles Schlueter Principal
chair Principal Lia and William Poorvu chair,
Roger Louis Voisin chair, fully funded in perpetuity
English Horn endowed in perpetuity in 1977 William Shisler
Robert Sheena Peter Chapman
Beranek
John Perkel
chair, fully funded Ford H. Cooper chair
in perpetuity
Thomas Rolfs Assistant Conductor
Associate Principal
Clarinets Nina L. and Eugene B. Doggett
Anna E. Finnerty chair,
William R. Hudgins chair
fully funded in perpetuity
Principal Benjamin Wright
Ann S.M. Banks chair, endowed Rosemary and Donald Hudson
in perpetuity in 1977
Personnel Managers
chair
Scott Andrews Lynn G. Larsen
Thomas and Dola Sternberg Trombones Bruce M. Creditor
chair
Ronald Barron
Thomas Martin Principal
Stage Manager
Associate Principal & J. P.and Mary B. Barger chair, John Demick
E-flat clarinet fully funded in perpetuity Position endowed by
Stanton W. and Elisabeth K. Angelica Russell
Norman Bolter L.
Davis chair, fully funded in
Arthur and Linda Gelb chair
perpetuity

Bass Trombone
Bass Clarinet
Douglas Yeo
Craig Nordstrom
John Moors Cabot chair,
Farla and Harvey Chet
fully funded in perpetuity
Krentzman chair, fully funded in
perpetuity

11
BOSTON SYMPHONY ORCHESTRA
James Levine, Music Director Designate
Bernard Haitink, Principal Guest Conductor
Seiji Ozawa, Music Director Laureate
123rd Season, 2003-2004

Thursday, February 19, at 8 ^=^

Friday, February 20, at 8
Saturday, February 21, at 8
Tuesday, February 24, at 8

GENNADY ROZHDESTVENSKY conducting

GLAZUNOV Overture No. 2 on Three Greek Themes, Opus 6

SIBELIUS Six Humoresques for Violin and Orchestra

Humoresque I, Opus 87, No. 1, in D minor
Humoresque II, Opus 87, No. 2, in D

Humoresque III, Opus 89a, in G minor

Humoresque IV, Op. 89b, in G minor

Humoresque V, Op. 89c, in E-flat
Humoresque VI, Op. 89d, in G minor

ALEXANDER ROZHDESTVENSKY, violin

PROKOFIEV Overture, Opus 42 (American Overture)

INTERMISSION

Tanglewood BOSTON

THE BSO ONLINE

Boston Symphony and Boston Pops fans with access to the Internet can visit the orchestra's
official home page (http://www.bso.org). The BSO web site not only provides up-to-the-
minute information about all of the orchestra's activities, but also allows you to buy tickets
to BSO and Pops concerts online. In addition to program listings and ticket prices, the web
site offers a wide range of information on other BSO activities, biographies of BSO musi-
cians and guest artists, current press releases, historical facts and figures, helpful telephone
numbers, and information on auditions and job openings. Since the BSO web site is updat-
ed on a regular basis, we invite you to check in frequendy.

12
 .. . .

SHOSTAKOVICH Seven Adaptations of Finnish Folk Songs (Suite on

Finnish Themes), for tenor, soprano, and chamber
orchestra

I. [Instrumental: Feast days are for lads like these]

II. The sky is blue and white. .

III. [Instrumental: On a summer's night]

IV. The girls of this village. .

V. The strawberry is a red berry. .

VI. If I could be at leisure. .

VII. My beloved is beautiful...

DINA KUZNETSOVA, soprano

CARL HALVORSON, tenor
Texts and translations begin on page 34.

SHOSTAKOVICH Excerpts from Hypothetically Murdered, Opus 31a,

Music for a variety-circus revue based on a play by
Vsevolod Voevodin and Evgeny Ryss (orchestrated
by Gerard McBurney)
No. 2. Gallop
No. 4. The Field (Landscape)
Nos. 5 and 6. Introduction to Act II (Petrushka) —
Petrushka (Garmoshka)
No. 7. Storm
No. 9. Dance
Nos. 10 and 11. Transition to the Kitchen (Jugglers and
Waitresses) — Waitresses
Nos. 12 and 13. Paradise I: The Flight of the Cherubim -

Paradise II: The Flight of the Angels

No. 15. Bacchanalia of John of Kronstadt and Paraskeva
Piatnitsa
No. 16. Waltz
No. 18. Polka
No. 21. Finale to Act I: Dance of the Temporary Victors

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13 Week 15
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14
UNKNOWN OR FORGOTTEN PAGES OF RUSSIAN CLASSICAL MUSIC
by Manashir Yakubov

Alexander Glazunov (1865-1936)

Overture No. 2 on Three Greek Themes, Opus 6

Composed in 1883. First performance: March 7, 1883, St. Petersburg, Mily Balakirev
conducting
Instrumentation: two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns,
two trumpets, tenor trombone, bass trombone, tuba, harp, timpani, triangle, cymbals,
tambourine, snare drum, bass drum, and strings
These are the first performances by the Boston Symphony Orchestra.

On February 7, 1883, the composer Alexander Glaz-

—
unov just seventeen years old, but already known to
Russian audiences thanks to the recent great success of
his First Symphony —
finished his Overture No. 2 on
Three Greek Themes, Opus 6. He wrote on the first page
of the manuscript, "To his first teacher, Mily Alekseye-
vich Balakirev with everlasting gratitude, dedicated by
the author."

As may be seen from the title, it was already Glazu-

nov's second "Greek" overture, the first one having
appeared in 1881. The themes for it were taken from
Trente Melodies populaires de Grece et d' Orient (Paris,
1876), a collection by a well-known French composer,
musicologist, and folk (especially exotic) song collector,
Louis-Albert Bourgault-Ducoudray (1840-1910).

The overture was born under the influence of the "New

Russian School" composers (the "Mighty Five" ["Mogu-
chaya kuchka"]), including Mussorgsky, Rimsky-Korsakov, Borodin, and Cui, but most
of all under direct influence of Balakirev, the ideologist and leader of this musical move-
ment. Balakirev's Overture on Three Russian Themes, which was popular at that time
and which Glazunov knew very well and highly appreciated, may have been a real ex-
ample for the young composer to follow.
Balakirev not only conducted Glazunov 's work but even orchestrated one of the over-
ture's fragments. He was also the first to perform the overture, on March 7, 1883, in the
hall of the Assembly of Nobles in St. Petersburg; and on March 18 he conducted it again
in Moscow, in a concert of the Moscow chapter of the Russian Musical Society to bene-
fit the construction of a monument to Mikhail Ivanovich Glinka.

"Everything was performed perfectly," recalled a contemporary, "and was accompa-

nied by tremendous ovations until the very end." Tchaikovsky, who some time later
heard Rimsky-Korsakov conduct the overture twice, wrote in his diary that he liked it

"very much."

But here is a question: why would a young Russian musician taking first steps in his
composer's walk of life want to concern himself not with his native folklore or perhaps
with other Slavic peoples' songs, but take Greek melodies as a basis of two large scores?

Keen, intense interest in the culture of other countries and peoples was the most
characteristic feature of Russian classical art and Russian music, from Glinka's Span-
ish overtures (Jota Aragonesa and Night in Madrid) and oriental dances in his opera
Ruslan and Ludmila to the Russian music of our time. It suffices to remind the reader
of Balakirev's oriental fantasy Islamey and symphonic poem Tamara, Anton Rubin-
stein's Persian Songs and Demon, Borodin's Polovtsian Dances, Tchaikovsky's Italian

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Capriccio, Rimsky-Korsakov's Scheherazade and Spanish Capriccio, Rachmaninoff's
Gypsy Capriccio, the Jewish Overture by Prokofiev, the cycle From Jewish Folk Poetry by
Shostakovich, and the latter's adaptation of English, American, Spanish, Greek(!), and

Finnish songs (so much to the point that they are also being performed in this concert).

There is no space here to explain such a unique, wide interest in the outside world,
an interest that was in any event a natural continuation of inner self-understanding on
the part of a vast, multi-tribal, multilingual country situated between Europe and Asia
— or, to be more precise, constituting a large part of Eurasia.

But seems to me that Glazunov had his own personal reasons inducing him to write
it

his Oriental Rhapsody and Finnish Fantasy, Troubadours Song, and Karelian Legend,
the romance Arabic Melody and ballet Raymonde, where the Hungarian coloring is also
important along with the Spanish; music for the drama King of the Jews, the Polish
Mazurka-oberek for violin and orchestra, Salomes Dance, and many other pieces of the
same kind. This bulky, slow, to all appearances a bit sleepy and even lazy person, in-
wardly was a dreamer, wandering in slow and obscure dreams both in space and in time
much more freely and farther than some real wanderer. In his youth, almost immediately
after finishing his Overture No. 2 on Three Greek Themes, he made an extensive jour-
ney to Germany, Switzerland, France, Spain, and North Africa. And in the twilight of

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his life his artistic routes stretched from Czechoslovakia, Poland, Holland, and England
to the United States (in the fall of 1929; couldn't he have been in Boston then?!).*

The structure of the overture is classically clear and simple. A slow, singing melody
serves as basis for the introduction (Adagio) and conclusion, and two others —one mar-
tial, the other lyrical —form contrasting spheres of the central part (Allegro). The juxta-
postion of these three themes, their polyphonic combinations, and their harmonic and
textural variation constitute the content of the piece. The young composer's work is
written with an amazing, steady skill; it has no signs of a student's uncertainty and no
signs of youthful impertinence either. Paradoxically, this score, originating from the tra-
ditions of pioneering art of the New Russian School, was one of the harbingers of the
Russian academic musical style.

Jean Sibelius (1865-1957)

Six Humoresques for Violin and Orchestra
Humoresque I, Op. 87, No. D minor (1917, revised c.1939)
1, in
Instrumentation: Solo violin with an orchestra of two flutes, two oboes, two clarinets, two
bassoons, two horns, timpani, and strings
Humoresque II, Op. 87, No. 2, in D major (1917)
Instrumentation: Solo violin with an orchestra of two horns, timpani, and strings
Humoresque III, Op. 89a in G minor (1917)
Instrumentation: Solo violin with string orchestra
Humoresque IV, Op. 89b in G minor (1917)
Instrumentation: Solo violin with string orchestra
Humoresque Op. 89c in E-flat major (1917)
V,
an orchestra of two
Instrumentation: Solo violin with clarinets, two bassoons, and strings
Humoresque VI, Op. 89d in G minor (1918)
Instrumentation: Solo violin with an orchestra of two flutes, two bassoons, and strings

These are the first performances by the Boston Symphony Orchestra.

In the shadow of the brilliant Concerto for Violin, all

other works for violin by Sibelius were somehow ignored,
<i including his wonderful Humoresques, chronologically
standing between his Fifth and Sixth symphonies. They
are performed rarely and usually separately, and they are
recorded even more rarely. The composer himself, how-
ever, considered them to be a work of "grand scale." And
they are indeed a unique work embodying the diversity
of one particular side of his character humor and at — —
the same time keeping the unique character of his indi-
I

viduality and the general spirit of his art.

In these pieces written, figuratively speaking, the day

after Prokofiev's Sarcasms (premiered in December 1916!),
there is not a shadow of grotesque, guignol, caustic carica-
nor sarcastic satire, mean mockery or crushing par-
ture,
—
in short, nothing of what was so prevalent in the
ody
art of the beginning of the twentieth century. Bright scherzo, soft smile, graceful kind
joke, slight irony —
everything here is enveloped in a warm, melancholy haze, nothing
breaks the general harmony of the universe. In the Humoresques there are no sharp
contrasts or harsh colors either; everything is beautiful and based on the alternation of

*In fact, Glazunov conducted the BSO in a program of his own works —though not including
this overture —
in January 1930. Ed.

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very subtle half-shades and nuances of thought and emotion.

Every piece based on a distinctive kind of genre rhythm, on a subconsciously per-

is

ceived type of movement. It is fluent flowing waltz-ness (Humoresque I) where for some

reason enter echoes of the Russian revolutionary song Smelo, tovarischi, v nogu ("Bravely
forward, comrades"; it was, however, 1917); Perpetuum mobile or lightly flying gallop
(Humoresque II); an ironic little gavotte (Humoresque III) where again, with a kind
smile, are interlaced intonations of Jewish folk music (this very principle of combining
incongruous elements makes a comic effect); rhythms of mazurka and turns of lyric
melody (Humoresque IV); polka and csardas (Humoresques V and IV). At the same time,
it is clear that no piece becomes a gallop, nor a polka, nor a waltz, in that they are

specifically "Humoresques": a series of playful sketches, reflecting a never-ending

range of humorous views on outward things, like a series of Japanese masters' engrav-
ings representing a famous bridge in different kinds of weather and from different
points of view. And in all the tints and nuances of Sibelius's humor one can sense the
great composer's unusually robust spiritual health, the last representative of classicism
in the "golden age" of music.

Sergei Prokofiev (1891-1953)

Overture, Opus 42 {American Overture)

Composed July-August 1926

Instrumentation (chamber orchestra version): flute, oboe, two clarinets, two bassoons, two
trumpets, trombone, two harps, two pianos, celesta, cello, two double basses, timpani,
snare drum, bass drum, and cymbals
These are the first performances by the Boston Symphony Orchestra.

Prokofiev was an inveterate motorist and hot-tempered

lover of all sorts of technical novelties, inventions, and
perfections. Naturally, he followed with great interest the
emergence of all kinds of sound-recording and sound-
reproducing machines (pianolas, organolas, phonolas, etc.).

That is why, when in the beginning of 1919 the Ameri-

can company Duo-Art offered him a five-year contract to
record piano pieces, Prokofiev agreed. He did it especial-
ly willingly because his financial situation was rather
difficult, and by the terms of the contract he was sup-
posed to play five pieces per year, earning him $250 for
each piece. In addition, he had to record ten items straight
away, which would give a musician who did not yet have
a famous name nor a footing in America a fairly large
sum of money for those times. On February 28 Prokofiev
made his first recordings: he played his Prelude, Opus
12, and two pieces by Scriabin (these recordings survive today, and represent for us the
earliest examples of Prokofiev's pianism).
But soon the fashion for mechanical instruments passed, cylinders were selling bad-
ly,and the company suggested that instead of recording, Prokofiev write a piece for the
opening of a New York concert hall (which is how the title "American" was assigned to
the overture). The composer recalled:

I jumped at this idea with pleasure because it was more pleasant to compose

than to make recordings. The hall was supposed to be not very big and I chose
an ensemble of seventeen musicians for the overture. The idea was as follows:
two pianos should be at the center of the action; two harps and a celesta used
mostly in low registers represent a kind of resonator for the piano; five woodwind

21 Week 15
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 instruments serve for carrying the music forward horizontally; two trumpets and
a trombone, used carefully, reinforce them and emphasize rhythmical moments;
finally, meant as a bass, sometimes soft and sometimes
three contrabasses are
roaring, and the upper one was later replaced by a cello; the seventeenth per-
former plays several percussion instruments The music is definitely tonal: all
three themes have no accidentals, the second one is in Dorian mode, there is not
much development and no coda. Later the impracticability of such an ensemble
became clear (it is not enough for a symphonic concert and too much for a cham-
ber one), and I made a new version for a full symphonic orchestra.
Composition of the overture took place in July and August of 1926, in the small French
town Samoro (Siene et Marne), and on September 1, 1926, he told his friend Nikolai
Myaskovsky: "Composed an overture for seventeen persons. It was an order from
America, so I rushed to finish it by the deadline."

In the 1920s and 1930s Prokofiev's American Overture was repeatedly performed in
the USA (in New
York and Philadelphia), both in its chamber and orchestral versions,
and in the USSR, but then it disappeared from the concert repertoire for about half a
century, returning only in recent decades.

Dmitri Shostakovich (1906-1975)

Seven Adaptations of Finnish Folk Songs (Suite on Finnish Themes), for soprano,
tenor, and chamber orchestra

Composed 1939. First performance: September 1, 2001, Kaustinen, Finland, in

late
Finnish, with soprano Anu Komsi, tenor Tom Nyman, and Juha Kangas conducting
Instrumentation: flute, oboe, two clarinets, trumpet, triangle, snare drum, tambourine,
and just one each offirst violin, second violin, viola, cello, and double bass
These are the American premiere performances.

This score isan unexpected and in some ways myste-

rious page in the work of the great composer. More than
sixty years ago it was not known to the audience, nor to
performers, nor to researchers. The manuscript was only
recently discovered, accidentally, in one of the private
archives. On the title page is written in Shostakovich's
handwriting: "7 adaptations of Finnish folk songs,"
and below that, someone else wrote: "Suite on Finnish
Themes."
Like any discovery of an unknown work of a great com-
poser, the suitebecame an artistic and scholarly sensa-
tion, immediately arousing passionate interest from per-
formers and audiences, and attracting rapt attention from
musicologists, specialists in folklore, and historians.

How did the idea of this work arise? When was it cre-
Why was it not performed?
ated?

Shostakovich wrote the suite on demand from the Politupravlenie (Political Admini-
Leningrad Military Department (LMD). According to the contract, the
stration) of the
work was to be completed by the morning of December 2, 1939. And on the morning
of November 30 began the so-called "Finnish campaign" when Russian troops invaded
Finland.

Today we can hardly doubt work on Finnish themes was not ordered by chance.
that a
It is also absolutely clear that when Shostakovich received
this order, he could not be
aware of Stalin's secret, evil plans. However, after the aggression against Finland hap-
pened he already understood what sort of affair he had become involved in: the authori-

23 Week 15
 —

The Gifts of Time and Space

the Berkshire hills, snow has already fallen. The gift of time gives young women the chance to
In Its whiteness suggests a hushed peace, an infinite attend to a broader curriculum, which might
space, a blank canvas for possibilities. Looking include advanced science and math courses,
out on these fields, one might imagine that we have another language, the history of other cultures,
all the time in the world for friendship, for learning, art. It means time to read deeply, to imagine fully,

for growing. This is what boarding school should be. to explore with more derring-do. In boarding
school the day does not end at 2:30. There is a
The reality for most families is quite different. In
guest speaker tonight. ..a concert in the living
our accelerated family lives, time is scarce. The
room. ..a basketball game to play.
structures of our day demand that our children
become commuters, spending hours each week in The gift of time means time with teachers —teach-
move
cars and in buses. But adolescents cannot at ers who live in the school community, teachers
adult speed. Teenagers need time and space to who have time after class to talk, to encourage, to
think, to work out ideas, to make friends, and to know what makes each girl different. It means
sort through the complexities of life. time to make friends, important friends, friends
for life. Because there is time, the friendships of
Schools are tightly structured, too. Our political
girls in boarding schools grow beyond the force of
leaders, concerned with standards, now mandate
cliques. There is no room for cliques in boarding
standardized tests that dictate curricula. The
school, no room to exclude anyone, because each
school bell makes little room for intellectual
person matters.
detours and wanderings in the library that may
take an entire afternoon. The gift of space creates independence. In boarding
schools girls become self-reliant. They manage the
Girls get themessage loud and clear: to get into a
quotidian details of their lives on their own. That's
good college, they must excel at many things
sports, activities, academics. They must perform
exciting — it's the first step to independence. Living
at school offers space to reflect. It is space to
perfectly on statewide tests. They fill their sched-
become responsible, to mature, to carve an identi-
ules with club meetings, community service,
ty. Teenagers have to take risks to grow. But in a
music lessons, and soccer. They work incredibly
boarding school we can make sure the risks girls
hard. If they reach their goal of college acceptance,
take are positive. Girls then develop the confidence
they face another challenge. Recently, this news-
to try, the competence to win. They acquire the pow-
paper reported on an epidemic of "burnout"
ers of resilience, perseverance, and self-discipline.
among high school students. Admissions direc-
tors from Harvard, Duke, and similar institutions Young people need the time and space to develop
expressed alarm at rising numbers of high achiev- They need opportunities to gain
their intellects.

ers who "burn out" in their first year of college. independence, to explore their limits. Most of all
they need community. Whatever schools we
Here, the snow falls almost in slow motion. Here,
choose for our children, the best gifts we can give
there is no rush. We have all day to talk about
them are the gifts of time and space, time and
Dickens orpolitics —
over breakfast if we wish, and
space to become happy, curious, and accom-
aswe walk together between classes. In the small
community that is a boarding school, we have the
plished, time and space to experience the joy — not
gift of time.
just the difficulties —of growing up.

MISS HALL'S SCHOOL

492 Holmes Road, Pittsfleld, MA 01201 • (800) 233-5614 • Fax (413) 448-2994 • www.misshalls.org

GIRLS' SECONDARY BOARDING AND DAY SCHOOL FOUNDED IN 1898

24
tiesmade him an accomplice. He was in no position to turn this order down. With the
outbreak of war and quasi-patriotic hysteria, his refusal would have been interpreted as
a crime, and so he finished his work.

The first two parts were apparently ready by November 30. In the score of the third

part,Shostakovich at first wrote a separate vocal line marked "Canto." But then he
crossed this marking out and assigned the folk melody to clarinet.

Why did the composer not want the words of the song to be heard?

This section is based on a very popular Finnish song, "On a summer's night," that re-
searchers call "a most lyrical folk ballad." Its lyrics were without doubt known by those
to whom the adaptations were addressed. The composer could be sure that once the
melody of the ballad in instrumental form began to play, its lyrics would automatically
be "heard" in the audience's consciousness: "On a summer night I was wandering in a
valley. .and my heart was anxiously searching for rest and peace ." Thus, unbeknownst
.

to the commissioning organization, and contrary to its intentions and purposes, Shosta-
kovich was secretly looking for a way to reach his audience and express without words
his attitude on current events.

The adaptations of Finnish folk songs were made by Shostakovich as simply and
unpretentiously as were his Spanish, Greek, English (Scottish), American, and even
—
Russian adaptations as if they were born in the times of Balakirev and Tchaikovsky,
and not Bartok and Stravinsky. The composer who was many times accused of excessive
complexity of musical language, of "formalism" and "musical nonsense," apparently
thought that such gems of folklore do not require a sumptuous, artificial decoration
alien to their primeval beauty. The alternation of the suite's emotional images is also
uncomplicated, from sprightly march-like introduction, to the lyrical and genre
episodes of the middle parts, to humorous finale.

Why was this work, meeting, as it seems, all the strict requirements of the official

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 —

aesthetics, irreproachably corresponding to the dogmas of "socialistic realism"

uncomplicated, based on authentic folk melodies —
never performed, remaining in
obscurity for more than a half-century?

The light, is actually far removed from the sort of offi-

transparent score of the suite
cial parade-like work expected by the Politupravlenie of LMD. Outwardly, in terms of
form, Shostakovich fulfilled the requirements of the governmental commission; but in
fact he ignored its essence, thereby sidestepping governmental expectations. That is a
most likely explanation for why the work remained unperformed.

Dmitri Shostakovich
Hypothetically Murdered,Opus 31, Music for variety-circus revue based on a play
by Vsevolod Voevodin and Evgeny Ryss (Orchestrated by Gerard McBurney)
Composed 1931. First performance: October 2, 1931, Leningrad Music Hall
Instrumentation (as reconstructed by Gerard McBurney): flute, piccolo, oboe, clarinet bass
clarinet, two bassoons, soprano saxophone, tenor saxophone, horn, two trumpets, two
trombones, tuba, timpani, percussion (triangle, cymbals, suspended cymbal, xylophone,
tambourine, flexitone, tam-tam, thunder sheet, two wood blocks, temple blocks, police
whistle, car horn, whip, lion roar, drum set, two tenor drums, snare drum, bass drum),
piano, accordion, and strings
These are the first performances of this music by the Boston Symphony Orchestra.

Preparation for the defeat of a potential enemy and

especially for defense against air raids and gas attack
was one of the permanent slogans of Soviet propaganda
from the beginning of the 1920s. Workers wearing gas
masks were marching in festive columns during May
demonstrations, and "training bombings" became an
everyday occurrence in the streets; and woe to you if
you left home without a "means of protection."
Such was the situation in which was involved Ostap
Bender, a charming swindler and adventurer, the "great
contriver" —
the hero of the famous novel The Golden
Calf (Zolotoi telenok) by Ilya Ilf and Evgeny Petrov at —
the very moment he was aiming to get the million he
craved for:
At this moment a group of people wearing gas masks
came running up. "Comrade, you are poisoned with gas," one of the rubber muz-
zles gaily told him. "You have found yourself in a contaminated zone! Look: gas
bomb." Ostap silently and violently tried to get away. He was already being held
by six masked men "Besides, comrade, you are wounded by a splinter in your
hand. Be careful! You should know that there are maneuvers going on!" A Kom-
somol member girl with a red cross on her apron ran up to the great contriver. She
took out of her canvas bag some bandages and cotton wool and, frowning in order
not to burst out laughing, wrapped it around his hand over the sleeve. Ostap was
dragged to the stretcher — "Gas-shelter No. 34" was situated in a political club,
in a semi-basement with a little stage and a poster saying "We don't want war but
are ready to triumph!" His hope of becoming rich vanished once again.

In general this story amazingly recalls the plot of the variety-circus revue with music
by Shostakovich, the first performance of which took place on October 2, 1931, in Len-
ingrad Music Hall. The hero of the play is going to meet his girlfriend but finds himself
in an air raid training zone and is told that he is "hypothetically murdered." He rushes
—
away and gets involved in all sorts of incredible comic situations first to a circus {Gal-
lop, Petrushka [a Russian puppet show character]), then to a restaurant {Dance, Transi-

27 Week 15
OPERA BOSTON
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28
tion to the Kitchen: Jugglers and Waitresses), then to an antireligious club (Paradise:
The Flight of the Cherubim, The Flight of the Angels, Bacchanalia of John ofKronstadt
and Paraskeva Piatnitsa [popular Orthodox saints]), and so on.
As originally planned, Hypothetically Murdered was actually to have been a political
propaganda show on a "defense theme," with an exciting, entertaining plot and, as the
Music Hall director stated, "a great variety of means of expressiveness: the art of a nar-
rator is unexpectedly intertwined with acrobatics; juggling is juxtaposed with ballet, and
circus side-shows with independent musical segments." Among those who took part in
the show were theater artists and an Italian group of acrobats; the performing dog Alpha,
trained to search for poisonous substances; circus and ballet artists, puppets, show-
horses from the Institute for Cavalry Training; the then-young music hall stars Vladimir
Coralli and Claudia Shulzhenko, for whom Shostakovich wrote two little songs; choreog-
rapher Fyodor Lopukhov; designer Nikolai Akimov; and, in the center of the action, the
young Leonid Utiosov and his "Tea- Jazz" ("Theatrical Jazz"). The show was conducted
by Isaak Dunaevsky, future creator of classic Soviet popular songs. The authors virtual-
ly turned the propagandistic plot into a farce, a parody on primitive propaganda plays.

The show played for about three months, applauded by the audience but criticized by
the press. The criticism sometimes turned into direct political denunciations, and final-
ly the show was taken off the stage. Later, Shostakovich used much of the music from
Hypothetically Murdered in his operas Lady Macbeth of Mtsensk District and The Big
Lightning, in his First Piano Concerto, and in his incidental music for Shakespeare's
Hamlet. Only in the 1990s was the work revived, by Gerard McBurney, who orchestrat-
ed Shostakovich's surviving piano score.

Program notes ©Manashir Yakubov 2004

Manashir Yakubov, born 1936 Chechnya, and a 1960 graduate of the Moscow State
in Grozny,
Conservatory, is some 1,000 articles on musical form and
the author of twenty-five books and
theory, ethnomusicology and folk instruments, musical archaeology, Russian music of the nine-
teenth and twentieth centuries (Tchaikovsky, Mussorgsky, Borodin, Rimsky-Korsakov, Prokofiev,
Shostakovich, Myaskovsky, Gubaidulina, Schnittke, Shchedrin), and musical performance. His
work has been published worldwide, in more than twenty languages. Upon Shostakovich's death,
he became chief curator of the Shostakovich family archives. He is President of the Dmitri
Shostakovich Society and supervises publication of the New Shostakovich Collected Works.

A positive experience for people with memory loss.

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29
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More . . .

To read about Glazunov in English, your best and most readily accessible bets are Boris
Schwarz's entry on that composer in The New Grove Dictionary of Music and Musicians
(2001), and the entry in Baker's Biographical Dictionary of Musicians, revised by the
late Nicolas Slonimsky (Schirmer).

Robert Layton's Sibelius in the Master Musicians series is a useful life-and-works

study (Schirmer). Layton also contributed the Sibelius article to The New Grove Dic-
tionary ofMusic and Musicians (1980); this was reprinted, along with the Grove articles
on Janacek, Mahler, and Strauss, in The New Grove Turn of the Century Masters (Norton
paperback). The Sibelius article in the revised New Grove (2001) is by James Hepo-
koski. The major biography of Sibelius, in Finnish, is by Erik Tawaststjerna. All three
volumes have been translated into English by Robert Layton, but only the first two were
published in this country (University of California; the third volume was published by
Faber & Faber in London).

The important modern study of Prokofiev is Harlow Robinson's Sergei Prokofiev: A

Biography. Originally published in 1987, this was reprinted in 2002 with a new fore-
word and afterword by the author (Northeastern University paperback). Robinson's book

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32

••,
'.,,-''
avoids the biased attitudes of earlier writers whose viewpoints were colored by the
"Russian"-vs. -"Western" perspectives typical of their time, as reflected in such older
volumes as Israel Nestyev's Prokofiev (Stanford University Press; translated from the
Russian by Florence Jonas) and Victor SerofPs Sergei Prokofiev: A Soviet Tragedy. Ser-
gey Prokofiev by Daniel Jaffe is in the well-illustrated series "20th-century Composers"
(Phaidon paperback). Claude Samuel's Prokofiev is an equally well-illustrated introduc-
tory biography, if you can still find it (Vienna House reprint). The Prokofiev article in
the revised (2001) New Grove Dictionary of Music and Musicians is by Dorothea Rede-
penning.

The important books about Shostakovich include the controversial but fascinating
Testimony: The Memoirs of Dmitri Shostakovich as related to and edited by Solomon
Volkov (Proscenium); Elizabeth Wilson's Shostakovich: A Life Remembered (Princeton
University paperback); Laurel E. Fay's Shostakovich: A Life (Oxford University Press),
and the anthology Shostakovich Reconsidered, written and edited by Allan B. Ho and
Dmitry Feofanov (Toccata Press). The Shostakovich entry in The New Grove (2001) is
by David Fanning (text) and Laurel E. Fay (work-list and bibliography).
Recordings of the music on this program may not be easy to track down, but they do
exist.Glazunov's Overture on Greek Themes No. 2 has been recorded by Antonio de
Almeida with the Hong Kong Philharmonic (Marco Polo) and more recently by Vladi-
mir Ziva with the Moscow Symphony Orchestra (budget-priced Naxos, with five other
Glazunov works, including the Overture on Greek Themes No. 1). Sibelius's Six Humor-
esques for Violin and Orchestra have been recorded by violinist Leonidas Kavakos with
Juhani Lamminmaki conducting the City of Espoo Chamber Ochestra (Finlandia, with
Sibelius's Opus 14 Rakastava Suite and the Suite from his incidental music to Pelleas
et Melisande, Opus 46). Prokofiev's American Overture has been recorded by Michael

Tilson Thomas with the Los Angeles Philharmonic (Sony "Essential Classics," with
other music by the composer, including the First and Fifth symphonies and suites from
Lieutenant Kije and Love For Three Oranges). Shostakovich's Suite on Finnish Themes
has been recorded by conductor Juha Kangas with soprano Anu Komsi, tenor Tom Ny-
man, and the Ostrobothnian Chamber Orchestra (BIS, with symphonic arrangements by
Rudolf Barshai after the composer's Eighth and Tenth string quartets). A forty-minute
orchestral suite from Shostakovich's Hypothetically Murdered, including the excerpts
heard here this week, has been recorded by conductor Mark Elder with the City of Birm-
ingham Symphony Orchestra (Cala, with the Four Romances on Poems by Pushkin, Opus
46, with bass Dimitri Kharitonov, and other music by the composer).

In addition, these two books that survey the history of Russian music will be of inter-
est to general readers: Boris Schwarz's still useful Music and Musical Life in Soviet
Russia, Enlarged Edition: 1917-1981 (Indiana University Press), and, published more
recently, Francis Maes's A History of Russian Music: From "Kamarinskaya" to "Babi
Yar" (University of California Press, 2001).
—Marc Mandel

33 Week 15
SHOSTAKOVICH Suite on Finnish Themes

I. {Instrumental)
[Tallaisille pojillehan ne herranpaivat [Feast days are for lads like these]
passaa]

II. II.

Taivas on sininen ja valkoinen The sky is blue and white

ja tahtosia taynna. and full of stars.
Niin on nuori sydameni Likewise my young heart
ajatuksia taynna. Is full of thoughts.

Enka ma muille ilmoita And I shall not tell anybody

mun sydansurujani. About my heart's sorrows.

Synkka metsa ja kirkas taivas The deep forest and bright sky
ne tuntee mun huoliani. Know about my cares.

III. {Instrumental) III.

[Laksin mina kesayona kaymaan] [I went out into the grove on a summer's
night]

IV. IV.
Taman kylan tytot ovat tilulilulei, The girls of this village are tilulilulei,
punaisia potria heh-huh-hei. Red and sturdy and hey-hoo-hey.
Toisen kylan tytot ovat tilulilulei, The girls of this village are tilulilulei,
kuivaneita otria heh-huh-hei. Dried barley hey-hoo-hey.

Pikkutytbn tallukasta tilulilulei, From a tiny wee girl tilulilulei,

kasvatan mina kullan heh-huh-hei. I grow my beloved hey-hoo-hey.
shall
Sitt' et saata sanoa, ett' tilulilulei So that nobody may claim tilulilulei,
se oli ennen sulla heh-huh-hei. That she was previously his hey-hoo-hey.

Ala mamma aina moiti tilulilulei. Mother don't always be reproachful

kiita yhden kerran heh-huh-hei. At least once be complimentary hey-
hoo-hey.
Mie kun tuon sulF vavypojan tilulilulei. When I shall bring you a son-in-law
se on niin kuin herra heh-huh-hei. He will be like a proper gentleman hey-
hoo-hey.

V. V.
Mansikka on punanen marja, The strawberry is a red berry,
punanen marja,
ai, ai, tuliali, Aye, aye, tuliali, a red berry,
ja juuressa pieni lehti. And the have small leaves.

Muista tytto meian liittoo, Remember, my sweetheart, our promise,

ai, ai, tuliali, sita meian liittoo, Aye, aye, tuliali, our promise,
viime kerran tehtiin. That we made last time.

Tyttoja ei oo uskottava, Girls are not to be believed,

ai, ai, tuliali uskottava, Aye, aye, tuliali, to be believed,
keskellakkaa viikkoo. In the middle of the week.

Tytot ne tekkoo joka ilta, Every evening they make,

ai, ai, tuliali, joka ilta, Aye, aye, tuliali, every evening,
petollista liittoo. Guileful promises.
 Tyttoja ei oo uskottava, Girls are not to be believed,
ai, ai, tuliali, uskottava, Aye, aye, tuliali, to be believed,
tytot ne valehtelloo. Girls tell shameless lies.

Eissa ovat hyvia, To your face they're pleasant,

ai, ai, tuliali, hyvia, Aye, aye, tuliali, they're pleasant,
ja takana panettelloo. And behind your back they slander you.

VI. VI.
Jos mie saisin jouten olla, If Icould be at leisure,
hei, jos mei saisin jouten olla kesakauen. Hey, if I could be at leisure all summer
long.

Kesakauen voita syya, Eating butter all summer long,

hei,kesakauen voita syya, sit mie Hey, eating butter all summer long,
naimaan. then chase the girls.

Sit mie naimahan menisin, Then I would chase the girls,

hei, sit mie naimahan menisin Revon Hey, first Iwould go after Kaisa Repo.
Kaisaa.

Revon Kaisan tyttarista, Of Kaisa Repo's daughters,

hei,Revon Kaisan tyttarista sita Ievaa. Hey, of Kaisa Repo's daughters I would
chase Eeva.

Anni mulle annettaisi, By they would only let me have Anni,

hei, Anni mulle annettaisi sylta pitka. Hey, they would only let me have little
Anni.

Sylta pitka, toista paksu, Twice as fat as she is tall,

hei sylta pitka, toista paksu, ei, ei jaksa. Hey, twice as fat as she is tall, impossible.

Ei jaksa hepo ve'ella, Impossible for the horse to pull along,

hei eipa jaksa hepo ve'ella liinaharja. Hey, impossible for the horse to pull
along, the horse's mane.

Liinaharja liikutella, The horse can't even toss its mane.

hei liinaharja liikutella, vesi tippui. Hey, it can't even toss its mane, it was
dripping with sweat.

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VII. VII.
Minun kultani kaunis on, My beloved is beautiful,
vaikk' on kaitaluinen, Even though her frame is slender,
Hei luulia illalla, Hey luulia illalla,
vaikk' on kaitaluinen. Even though her frame is slender.

Kullan paa on pahkina, My beloved's head is like a nut,

vaikk' on vaarallansa. Even though it's a crooked one,
Hei luulia illalla, Hey, luulia illalla,
vaikk' on vaarallansa. Even though it's a crooked one.
Tukka tumman ruskea, Her hair is dark brown,
vaikk' on tappurainen. Even though it is wispy.
Hei luulia illalla, Hey, luulia illalla,

vaikk' on tappurainen. Even though it is wispy.

Siniset silmat silla on, She has blue eyes,

vaikk' on kieronlaiset. Even though they squint a bit.

Hei luulia illalla, Hey, luulia illalla.

vaikk' on kieronlaiset. Even though they squint a bit.

Suu on silla supukka, Her mouth is very pleasant,

vaikk' on toista sylta, Even though it's very wide,
Hei luulia illalla, Hey, luulia illalla,
vaikk' on toista sylta. Even though it's very wide.
En mina hanta hammasty, She does not surprise me,
vaikk' olen pieni poika. Even though I'm just a lad,
Hei luulia illalla, Hey, luulia illalla,

vaikk' olen pieni poika. Even though I'm just a lad.

Kohta tulee toinen vuos, Some time new year will come,
the
vaikka hiljalleenkin. Even though it will come slowly.
Hei luulia illalla, Hey, luulia illalla,
vaikka hiljalleenkin. Even though it will come slowly.

Toinen kulta katsotaan, Then I'll look for a new beloved,

toinen ja parempi. A new and better one.
Hei luulia illalla, Hey, luulia illalla,
toinen ja parempi. A new and better one.

37
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38
Gennady Rozhdestvensky
Gennady Rozhdestvensky is the son of two famous musicians. He
received his musical education at the Moscow Conservatory, study-
ing conducting with his father and piano with Lev Oborin. While
still a student there, he made his debut at age twenty with Tchai-
By the time he
kovsky's Sleeping Beauty at the Bolshoi Theatre.
graduated he was already well known as a conductor both in the
USSR and abroad. From 1951 to 1961 he was staff conductor, and
from 1964 to 1970 principal conductor, of the Bolshoi Theatre,
where he conducted, among other things, the Russian premieres of
Britten's A Midsummer Night's Dream and Khachaturian's Sparta-
cus, as well as the Bolshoi premiere of Prokofiev's War and Peace. It was on a tour with the
Bolshoi Ballet that he made his British debut in 1956, the first of more than eighty visits
to date to the United Kingdom. Other positions include those as principal conductor of the
All-Union Radio and TV Orchestra, Stockholm Philharmonic Orchestra, BBC Symphony
Orchestra, Vienna Symphony Orchestra, USSR Ministry of Culture Orchestra, and the
Moscow Chamber Opera, of which he was also a founder. Mr. Rozhdestvensky is a regular
guest with major orchestras in Europe, North America, and Japan, also occasionally con-
ducting opera in leading houses. His repertoire is vast, and his broad knowledge of art and
cultural history is reflected in the more than 500 recordings he has made for numerous
companies. Gennady Rozhdestvensky also appears as a pianist in four-hand recitals with
Viktoria Postnikova; researches, arranges, edits, and orchestrates works of a wide range of
composers; has taught conducting for many years at the Moscow Conservatory; and com-
missions, advises, and promotes contemporary composers. He has received awards from the
Swedish Academy and in 1996 was presented with a Russian award by President Boris

Boston Symphony Orchestra concertmaster Malcolm Lowe performs on

a Stradivarius violin loaned to the orchestra in memory of Mark Reindorf.

25 th Anniversary Season
2003-2004

BOSTON PHILHARMONIC
Benjamin Zander
Conductor
October 9, 11,12
Blumine
Songs of a Wayfarer
Symphony No. 1, D major
November 20,22,23
Kindertotenlieder
Das irdische Leben
G major
Symphony No.

February 18,22,29
Symphony No. 2
4,

Mahler
April 29,May 1,2
Journey
Symphony No. 7, E minor
Ich bin der Welt abhanden gekommen

Call 617.236.0999 or visit www.bostonphil.oq for more information or to purchase tickets.

Concerts at Sanders Theatre at Harvard, and NEC's Jordan Hall. February Concerts at Symphony Hall and Camegie Hall (New York).

39
 "

When you give

the music comes alive

'Our job as artists

is to make time stand

still for you in the

grandest and most

glorious of ways.

LARRY WOLFE
ASSISTANT PRINCIPAL BASS

Music has a unique way of touching our lives. It has the ability to
transport us to a different place, inspire our youth to follow their
dreams, and speak to the community

As you listen to the music that speaks to your heart, remember that
the legacy of the Boston Symphony Orchestra could not continue
without your financial support. Ticket sales do not cover the operating
costs of the BSO's programs. Annual gifts from Friends like you sustain
the artistic mission of the Boston Symphony.

Become a Friend of the BSO today with a generous contribution.

When you give, the music comes alive, young people learn, and our
community thrives.

To make a gift, call the Friends of

the BSO Office at (617) 638-9276
or visit us online at www.bso.org.

BOSTON SYMPHONY ORCHESTRA

Yeltsin. For the 2000-01 season he was artistic director of the Bolshoi Theatre (both the
ballet and opera companies), the first such appointment in the theater's history. His period
there culminated with the world premiere of the original version of Prokofiev's opera The
Gambler. In 2001-02 he conducted the Budapest Festival Orchestra and the Toronto Sym-
phony Orchestra, among others. Last season's engagements included the Montreux Festival
Orchestra, Zurich Tonhalle Orchestra, La Scala Philharmonic, Shostakovich's The Nose for
Netherlands Opera, the orchestra of the Teatro la Fenice Venice, concerts to mark the fifti-

eth anniversary of Prokofiev's death with the Symphonic Capella

Moscow, the Helsinki
in
Philharmonic, a new production of Tchaikovsky's Oprichnik in Cagliari, and a new produc-
tion of Janacek's Makropulos Case in Moscow, the first-ever performance of that opera in
Russia. Gennady Rozhdestvensky made his Boston Symphony debut with two subscription
series in March and April 1978 and made his Tangle wood debut the following year. Prior
to this season, he led the orchestra most recently in April 2003, conducting Stravinsky's
Persephone and Prokofiev's ballet Chout.

Alexander Rozhdestvensky
Making his Boston Symphony Orchestra debut this week, violinist
Alexander Rozhdestvensky was born in Moscow in 1970 and began
playing the violin at age seven. He first performed in public at age
Moscow Chamber Orchestra. He studied at the
eleven, with the
Central Music School inMoscow with Zenaida Gilels, at the Mos-
cow Conservatory with Maya Glezrova, at the Paris Conservatoire
with Gerard Poulet, and with Felix Andrievsky on a post-graduate
scholarship at the Royal College of Music, London. Alexander Rozh-
destvensky has performed in Russia with the Leningrad Philharmon-
ic and the Soviet Philharmonic. He made his foreign debut with the
latter ensemble in 1989, playing the Glazunov Concerto in Germany. He made his Carnegie
Hall debut in 1992 performing the Tchaikovsky concerto with the Russian State Symphonic
Kapelle during its world tour, and his London debut at the Barbican in 1993 playing Bruch's
Concerto No. 1 with the Royal Philharmonic Orchestra. He has appeared at the Florida In-
ternational Festival with the London Symphony Orchestra and with the Philharmonia Or-
chestra at London's Royal Festival Hall. Other highlights include the premiere of Schnittke's
Concerto Grosso No. 6, written for Alexander Rozhdestvensky and his mother, the pianist
Viktoria Postnikova; concerts with the Yomiuri Symphony Orchestra at Suntory Hall in
Tokyo; tours with the Israel Philharmonic in concertos by Haydn and Schnittke and with the
Chamber Orchestra of Europe in Italy; and his Berlin debut performing Richard Strauss's
Violin Concerto with the Deutsche Sinfonieorchester. He has performed Shostakovich's
Concerto No. 1 with the Bayerisches Staatsorchester in Munich, toured with the New Zea-

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"Shimmering transparenc
Richard Dyer, The Boston Globe.

Join
Susan Davenny Wyner
arid the

New England
String Ensemble
Orpheus and the Dance
Friday, Feb. 27, 8pm, First Parish Church, Wakefield MA
Sunday, Feb. 29, 3pm, Sanders Theatre, Cambridge

Hoist: St. Paul's Suite • Piazzola: Four for Tango

world premiere of Martin Pearlman 's
THE CREATION ACCORDING TO ORPHEUS
Plus music of Vivaldi, Dvorak and Skalkottas.
Martin
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42
landSymphony Orchestra with the concertos of Beethoven and Glazunov, and made his
Concertgebouw Amsterdam debut with the Netherlands Radio Philharmonic Orchestra per-
forming the Busoni concerto. Mr. Rozhdestvensky has participated in such prestigious fes-
tivals as Colmar, Flanders, Gstaad, Istanbul, Lockenhaus, Ravinia, Schleswig-Holstein,
Schwetzingen, Sienna, Taormina, and Tanglewood. In 1998 he made his debut at the BBC
Promenade Concerts with the St. Petersburg Philharmonic playing Prokofiev's Violin Con-
certo No. 2. In recent seasons he has performed with the Strasbourg Philharmonic, Bamberg
Symphony, Toronto Symphony, Orchestra Filarmonica della Scala, and Helsinki Philharmon-
ic.He has recorded numerous works for Thetis and Chandos, most recently the Schnittke
Concerto Grosso No. 6 with the Royal Stockholm Philharmonic.

Dina Kuznetsova
Making her Boston Symphony debut this week, Russian- American
soprano Dina Kuznetsova has already attracted the attention of the
world's major opera companies for her outstanding musicianship
and compelling stage presence. This season, she continues to make
important debuts in opera and recital. She began her season with
her Bayerische Staatsoper debut in the title role of Handel's Rode-
linda conducted by Ivor Bolton. This was followed by her London
debut as Giulietta in / Capuleti ed i Montecchi with English Nat-
ional Opera in their special season at the Barbican. She sings her
first performances of Gilda in Rigoletto for her debut with Boston

Lyric Opera, then repeats this role for her debut with the Canadian Opera Company. In
recital, she makes her Weill Hall debut at Carnegie Hall under the auspices of the Marilyn
Home Foundation, as well as a recital with the Tuesday Musical Club in Akron, Ohio. The
2002-03 season saw her role debut as Adina in a new production of Uelisir d'amore at the
Berlin Staatsoper, where she also repeated Donna Anna in Don Giovanni, the role of her
debut there in May 2002. Ms. Kuznetsova completed her second year as a member of the

THE BEST
PERFORMANCES IN
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MAY JUST BE IN
THE AUDIENCE.

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43
"Simply Stunnm r
- The Boston Globe

BOSTON CHAMBER MUSIC SOCIETY

Ronald Thomas, Artistic Director

Intimacy. Excitement. Sneer Beauty.

UPCOMING CONCERTS
Fridays at Jordan Hall • Sundays at Sanders Theatre • 7:30 p.m.
FEBRUARY 6 & 8
Schoenrield Care Music ror Violin, Cello ana Piano
Shostakovich String Quartet No. 8 in C minor
Mendelssohn Piano Trio in D minor, Op. 49

MARCH 12 & 14
Schubert Quartet ror Flute, Viola, Cello and Guitar
Crumb Eleven Echoes or Autumn
Chausson Piano Quartet in A major, Op. 30
APRIL 23 & 25*
Weber Introduction, Theme and Variations
ror Clarinet and Strings
Baker Singers or Songs / Weavers or Dreams

and Percussion
ror Cello
Brahms Piano Quartet in A major, Op. 26

*Please Note: the April 25 concert starts at 3:00 p.m.

www.bostonchambermusic.org 617.349.0086

44
Lyric Opera Center for American Artists in April 2002. While there, she sang Pamina in
Die Zauberflote and a Flower Maiden in Parsifal, the latter conducted by Sir Andrew Davis.
She sang in the world premiere performances of Michael John LaChiusa's Chautauqua
Variations as well as performing excerpts from La traviata in Grant Park. She also sang
performances of Mozart's C minor Mass at the Blossom Festival under Andrew Davis.
While attending Santa Barbara's Music Academy of the West, Ms. Kuznetsova sang the title
role of Handel's Rodelinda and won the Marilyn Home Foundation Competition, resulting
in her New York recital debut in May 2000. In the summer of 2000 she performed high-
lightsfrom Mozart's Cost fan tutte as Fiordiligi with the Grant Park Symphony. She also
gave a duet recital in Savona, Italy, under the auspices of Renata Scotto's Opera Academy
at Mme. Scotto's request. Ms. Kuznetsova made her European operatic debut in Handel's
Saul at La Monnaie in Brussels conducted by Rene Jacobs. Future seasons will include
Chicago productions of The Cunning Little Vixen and Rigoletto.

Carl Halvorson
Tenor Carl Halvorson is in demand internationally as a concert,
opera, and recital artist. Since his auspicious New York recital
debut under the auspices of Young Concerts Artists, he has given
over eighty solo recitals in America and in Europe. Mr. Halvorson
has appeared at Carnegie Hall, Carnegie Recital Hall, Wigmore
Hall, the Concertgebouw, New York's 92nd Street Y, the National
Gallery in Washington, D.C., and the Gold Medal Artist Series at
Ambassador Hall in Los Angeles, as well as the festivals of Spoleto,
Aspen, Tanglewood, Aldeburgh, Bergen International, Newport, the
Carmel and Oregon Bach festivals, and the Grant Park Festival. He
returns to the National Gallery in recital in the 2003-04 season. With a repertoire that ex-
tends from Haydn to Honegger, Carl Halvorson has performed with the Boston Symphony,
Dallas Symphony, Indianapolis Symphony, Israel Philharmonic, New York Philharmonic,
Philadelphia Orchestra, Oregon Symphony, and the Saito Kinen Orchestra, under such
conductors as James DePreist, Charles Dutoit, Claus Peter Flor, Raymond Leppard, Kurt
Masur, Nicholas McGegan, John Nelson, Seiji Ozawa, Helmuth Rilling, and Hugh Wolff.
This season he will sing Handel's Messiah in his debuts with the Cleveland Orchestra and
the Duluth-Superior Symphony. He performed Stravinsky's In memoriam Dylan Thomas for
the first time as a benefit for Classical Action: Performing Arts Against AIDS. This season
he sings Stravinsky's Les Noces as part of the 2004 Gilmore International Keyboard Festi-
val. Mr. Halvorson was invited to give the United States premiere of Britten's The World of
the Spirit at Carnegie Hall with the Oratorio Society of New York. He has sung The Rape of
Lucretia and The Turn of the Screw at Berkshire Opera and The Turn of the Screw with Min-
nesota Opera. He portrays Quint at Fort Worth Opera this season. He has also appeared
with Boston Lyric Opera, the Opera Theatre of St. Louis, and Washington Opera. Last sea-
son he performed the leading role in Philip Glass's Galileo Galilei at the Barbican Centre
in London. Mr. Halvorson has recorded Haydn's Creation and Cherubini's Medee for the
Newport Classics label and Paul Bowles's The Wind Remains for BMG Classics. His Lieder
recording Despite and Still with pianist Susan Almasi is available on the Musical Heritage
Society label. A graduate of Yale University and the Juilliard School, and a winner of numer-
ous competitions, Carl Halvorson has received grants from the National Endowment for the
Arts and the Bagby and Sullivan foundations. He lives in his native Oregon. Mr. Halvorson
made his only previous BSO appearance at Tanglewood in July 1982, in Stravinsky's Mass.
This is his subscription series debut.

45

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 BOSTON SYMPHONY ORCHESTRA
2OO3-2OO4 SEASON
s*

J7
reat Benefactors
r

new symphony for Boston, the BSO's founder and first

the building of his
benefactor, Henry Lee Higginson, knew that ticket revenues could never fully
cover the costs of running a great orchestra.
From 1881 1918 Higginson covered the orchestra's annual deficits with
to
personal donations 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 permanent recognition as Great Benefactors
of this great orchestra.
For more information, contact Judi Taylor Cantor, Director of Major and
Planned Giving, at (617) 638-9269.

Anonymous (8) Estate of SusanMorse Hilles

Mr. and Mrs. Harlan E. Anderson Estate of Edith C.Howie
Mr. and Mrs. David B. Arnold, Jr. Mr. and Mrs. Harvey Chet
AT&T Krentzman
Mr. and Mrs. J. P. Barger The Kresge Foundation
Gabriella and Leo Beranek Liz and George Krupp
Jan Brett and Joseph Hearne Mr. and Mrs. R. Willis Leith, Jr.
Mr. and Mrs. Peter A. Brooke Nancy Lurie Marks Foundation
Catherine and Paul Buttenwieser Mr. and Mrs. Nathan R. Miller
Chiles Foundation The Richard P. and ClaireW Morse
Mr. John F. Cogan, Jr., and Foundation
Ms. Mary L. Cornille William Inglis Morse Trust
Mr. Julian Cohen National Endowment For Arts
Commonwealth of Massachusetts NEC Corporation
Mrs. William H. Congleton Mrs. Robert B. Newman
Mr. and Mrs. Lewis S. Dabney Mr. and Mrs. Norio Ohga
Mrs. Stanton W. Davis William and Lia Poorvu
Estate of Mrs. Pierre de Beaumont Estate of Wilhelmina C. Sandwen
EMC Corporation Dr.Raymond and
Mr. and Mrs. John P. Eustis II Hannah H. Schneider
Shirley and Richard Fennell Schoenhof Family Foundation
Fidelity Investments Mr. and Mrs. Carl J. Shapiro
Estate of Vera Fine Miriam Shaw Fund
Estate of Anna E. Finnerty Mr. and Mrs. Ray Stata
Hon. and Mrs. John H. Fitzpatrick Mr. and Mrs. Thomas G. Sternberg
FleetBoston Financial Mrs. Sidney Stoneman
Germeshausen Foundation Diana Osgood Tottenham
Estate of Marie Gillet Stephen and Dorothy Weber
The Gillette Company The Helen F. Whitaker Fund
Estate of Ruth Brooks Heath Mr. and Mrs. John Williams
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48
 BOSTON SYMPHONY ORCHESTRA
2OO3-2OO4 SEASON

Capital and Endowment Contributors

The Boston Symphony Orchestra is committed to providing the highest cal-
iber performances, and education and community outreach programs, and
to preserving its world-renowned concert facilities. Contributions from
donors and income from the endowment support 40 percent of the annual
budget. The BSO salutes the donors listed below who made capital and
endowment gifts of $10,000 or more between June 1, 2002, and August 31,
2003. For further information, contact Judi Taylor Cantor, Director of
Major and Planned Giving, at (617) 638-9269.

$1,000,000 and Up
Anonymous (2) Estate of Mrs. Pierre de Beaumont
Margaret A. Congleton Estate of Susan Morse Hilles

$500,000-$999,999
Anonymous (1) Diana Osgood Tottenham

$250,000 -$499,999
Anonymous (1) Kate and Al Merck
Mr. and Mrs. Gregory S. Clear

$100,000-$249,999
Estate of Edith Allanbrook Dr. Merwin Geffen and
Estate of Miss Barbara Anderson Dr. Norman Solomon
Estate of Anny M. Baer Estate of Armando Ghitalla
Mr. William I. Bernell Mrs. Philip Kruvant
Sydelle and Lee Blatt National Park Service,
Ms. Ann V. Dulye, U.S. Dept. of the Interior
in memory Raymond J. Dulye
of Save American Treasures
Mr. and Mrs. George M. Elvin

$50,000-$99,999
The Behrakis Foundation Ms. Helen Salem Philbrook
Mr. and Mrs. Disque Deane Estate of Elizabeth A. Rose
Estate of Gattie P. Holmes Estate of Ms. Tirzah J. Sweet
Mr. and Mrs. Daniel M. Neidich Mr. and Mrs. Stephen R. Weiner

Continued on page 51 ;

49
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50
Capital and Endowment Contributors (continued)

$25,000-549,999
Anonymous (1) Mr. Albert H. Gordon
Estate of Elizabeth A. Baldwin Estate of David W. Klinke
Estate of Roger F. Brightbill The Richard P. and Claire W. Morse
Estate of Katherine E. Brown Foundation
Mrs. Harriett M. Eckstein Estate of Dr. Charles A. Reiner
Ms. Lillian Etmekjian Estate of Dorothy Troupin Shimler
Estate of Frances Fahnestock Mr. and Mrs. Harold Sparr
Estate of Miriam A. Feinberg
Elizabeth Taylor Fessenden
Foundation

$15,000-$24,999
Anonymous (1) Estate of Charlotte Spohrer
Mr. and Mrs. Peter A. Brooke McKenzie
Estate of Anna E. Finnerty Estate of Dorothy F. Rowell
FleetBoston Financial Foundation Mr. and Mrs. Wallace L. Schwartz
Estate of Elizabeth B. Hough Mrs. Nathaniel H. Sperber
Ms. Audrey Noreen Koller

$10,000-$ 14,999
Anonymous (1) Mr. and Mrs. Joseph C. McNay
Mr. and Mrs. Ben Beyea Estate of Marilyn S. Nelson
Mr. and Mrs. James F. Cleary Dr. Peter Ofner
Mr. and Mrs. Harry Freedman Mr. Donald I. Perry
Mr. Norman J. Ginstling Ms. Barbara C. Rimbach
Susan Grausman and Marcia A. Rizzotto
Marilyn Loesberg Dr. J. Myron Rosen
Highland Capital Partners Stephen and Dorothy Weber
Mr. Wycliffe K. Grousbeck Ms. Elizabeth Zausmer
Dr. Edwin F. Lovering
Mrs. Edward M. Lupean and
Diane H. Lupean

m
51
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52
 BOSTON SYMPHONY ORCHESTRA
2OO3-2OO4 SEASON

Foundation Grantors
undation grants make possible a variety of Boston Symphony Orchestra activities. In

particular, foundation support is vital to sustaining the BSO's educational mission, from
youth education and community outreach initiatives throughout the Greater Boston area
to professional training for promising young musicians at the Tanglewood Music Center.
Gifts from foundations nationwide help bridge the gap between ticket revenue and the
cost of presenting a full BSO season and also fund special projects, concert programs,
new music for the Boston Pops, and the BSO archives. Endowment and capital gifts from
foundations help ensure the future of all these activities, as well as supporting the main-
tenance of the orchestra's concert facilities. The Boston Symphony Orchestra gratefully
acknowledges those foundations that have helped it to achieve its multifaceted mission.

The following foundations made grants of $500 or more to the BSO between September 1,

2002, and August 31, 2003.

For more information, contact Gerrit Petersen, Director of Foundation Support, at (617)

638-9462.

Anonymous (3) The Eastman Charitable Foundation

The Aaron Foundation Eaton Foundation
The Lassor & Fanny Agoos Charity Fund Orville W. Forte Charitable Foundation
The Anthony Advocate Foundation The Frelinghuysen Foundation
Apple Lane Foundation Fromm Music Foundation
The ASCAP Foundation Ann and Gordon Getty Foundation
Associated Grantmakers of Massachusetts Elizabeth Grant Fund
The Paul and Edith Babson Foundation Elizabeth Grant Trust
Frank M. Barnard Foundation The William and Flora Hewlett
The Barrington Foundation Foundation
Adelaide Breed Bayrd Foundation John W. & Clara C. Higgins Foundation
Brookline Youth Concerts Fund The Hoche-Scofield Foundation
Cambridge Community Foundation Henry Hornblower Fund
Chiles Foundation The Roy A. Hunt Foundation
Clipper Ship Foundation, Inc. Jockey Hollow Foundation
Consulate-General of the Netherlands Johnson Family Foundation
in the U.S.A. Killam Canadian Trust
Jane B. Cook 1992 Charitable Trust Kingsbury Road Charitable Foundation
The Aaron Copland Fund for Music, Inc. Lee Family Charitable Foundation
Irene E. & George A. Davis Foundation June Rockwell Levy Foundation, Inc.

Marion L. Decrow Memorial Foundation The Lowell Institute

Alice Willard Dorr Foundation James A. Macdonald Foundation

Continued on page 55

53
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54
 _jn

Foundation Grantors (continued)

McCarthy Family Foundation Miriam Shaw Fund

MetLife Foundation Richard and Susan Smith Family
The M.S. and G.S. Morton Foundation Foundation
Max and Sophie Mydans Foundation Seth Sprague Educational & Charitable

New England Foundation for the Arts Foundation

Jean Nichols Charitable Trust State Street Foundation

Oak Foundation USA Stearns Charitable Trust

Dino Olivetti Foundation, Inc. The Abbot & Dorothy H. Stevens

Oxford Fund, Inc. Foundation
Parnassus Foundation Stratford Foundation

Abraham Perlman Foundation Jean C. Tempel Foundation

Dr. Deanna Spielberg The Charles Irwin Travelli Fund
Charles G. Pringle Foundation The Trust Family Foundation

Olive Higgins Prouty Foundation Irving & Edyth S. Usen Family

Billy Rose Foundation Charitable Trust

Richard Saltonstall Charitable Foundation Edwin S. Webster Foundation

Saquish Foundation Isak & Rose Weinman Foundation
The William E. and Bertha E. Schrafft The Helen F. Whitaker Fund
Charitable Trust Yawkey Foundation II

55

,u
 BOSTON SYMPHONY ORCHESTRA
2OO3-2OO4 SEASON

igginson Society
"fieHigginson Society embodies the tradition of musical excellence established
in 1881 by the Boston Symphony Orchestra's founder and first benefactor,
Henry Lee Higginson. During the 2003-2004 season, Higginson Society mem-
bers provided more than $2,500,000 to the Annual Fund, the largest single
source of annual gift income from individuals. The Boston Symphony Orchestra

gratefully acknowledges Higginson Society members' contributions to the future

of music. We gratefully acknowledge the following Higginson Society donors.

For more information about the Higginson Society, call (617) 638-9276.

virtuoso-$50,ooo and above

Mr. and Mrs. Disque Deane

encore-$25,ooo to $49,999

Jan Brett and Joseph Hearne William R. and Deborah Elfers

Mr. and Mrs. Peter A. Brooke Mr. and Mrs. Jeffrey E. Marshall
Gregory E. Bulger Foundation Megan and Robert O'Block
Catherine and Paul Buttenwieser Jane and Neil Pappalardo
Mr. Julian Cohen Mr. Irving W. Rabb
Combined Jewish Philanthropies Stephen and Dorothy Weber
Donor Advised Fund Program Mr. and Mrs. Stephen R. Weiner

MAESTRO-$15,000 to $24,999
Anonymous (2) Mrs. Robert B. Newman
Harlan and Lois Anderson Annette and Vincent O'Reilly
Gabriella and Leo Beranek Raymond Ozzie and Dawna M.
Mr. and Mrs. John M. Bradley Bousquet
Don and Donna Comstock William and Lia Poorvu
Estate of Mrs. Stanton W
Davis Louise C. Riemer
Nina L. and Eugene B. Doggett Susan and Dan Rothenberg
Mr. and Mrs. Francis W
Hatch, Jr. Carole and Edward I. Rudman
Mr. and Mrs. Edward H. Linde Kristin and Roger Servison
Mr. and Mrs. John M. Loder Mr. Thomas G. Sternberg
Kate and Al Merck Mr. and Mrs. Samuel Thorne
Mrs. August R. Meyer Drs. Richard and Judith Wurtman

56

HHr
The Higginson Society (continued)

patrons-$io,ooo to $14,999
Anonymous (1) Roberta and Macey Goldman
Mr. and Mrs. David B. Arnold Jr.
Julieand Bayard Henry
Ms. Lucille M. Batal Mr. and Mrs. George H. Kidder
Mrs. Linda Cabot Black Mr. and Mrs. Harvey Chet Krentzman
Mr. and Mrs. Alan S. Bressler Liz and George Krupp
Timothy G. Brown and Frank Rioux Richard and Susan Landon
Mr. and Mrs. Irving S. Brudnick Mr. and Mrs. R. Willis Leith, Jr.
Samuel B. and Deborah D. Bruskin Mrs. Olney S. Morrill
Rick and Nonnie Burnes Ray L. and Connie Morton-Ewbank
Ronald and Ronni Casty Mr. Gerald O'Neil and Ms. Joan
Mrs. Florence C. Chesterton-Norris Goldhammer-O'Neil
Mr. John F. Cogan, Jr. and Peter and Suzanne Read
Ms. Mary L. Cornille
Mr. and Mrs. Richard H. Rhoads
Mr. and Mrs. Abram T. Collier Mrs. George R. Rowland
Mrs. William H. Congleton Mr. and Mrs. Carl J. Shapiro
Mr. and Mrs. John J. Cullinane Ms. Eileen C. Shapiro and
Oliver and Cynthia Curme Dr. Reuben Eaves
Mr. and Mrs. Lewis S. Dabney Mr. and Mrs. Ross E. Sherbrooke
Paul F. and Lori A. Deninger Mr. and Mrs. Ray Stata
Mr. and Mrs. George M. Elvin Mr. David C. Weinstein
Hon. and Mrs. John H. Fitzpatrick James and Jeanne Westra
Mrs. Bruni Fletcher-Koch Henry and Joan T. Wheeler
Mr. and Mrs. Richard M. Fraser Mr. and Mrs. Robert C. Winters
Mrs. Kenneth J. Germeshausen Dr. and Mrs. Nicholas T. Zervas
Joy and Richard Gilbert

sponsors-$5,ooo to $9,999

Anonymous (6) Charles and JoAnne Dickinson

Miss Barbara Adams Roger and Judith Feingold
Helaine and Alvin Allen Mr. and Mrs. Dean W Freed
Mr. and Mrs. Walter Amory Mr. John Gamble
Mrs. Rae Anderson Jane and Jim Garrett
Mr. and Mrs. Sherwood E. Bain Carol R. and Avram J. Goldberg
Estate of Max Bearon Thelma and Ray Goldberg
Mr. and Mrs. George W. Berry Mr. and Mrs. Robert S. Green
Doreen and Charles Bilezikian The Hagan Family Fund
William T. Burgin Mr. and Mrs. Ulf B. Heide
Harold and Judith Brown Caro Carol and Robert Henderson
Mr. Charles Christenson Mr. and Mrs. C. Bruce Johnstone
Ms. Mary Hart Cogan Debbie and Ted Kelly
Dr. and Mrs. Lawrence H. Cohn Roger and Myrna Landay
Loring and Katinka Coleman Mr. and Mrs. Donald H. LeSieur
Sarah Chapin Columbia and Lucia Lin and Keith Lockhart
Stephen Columbia Anne Lovett and Stephen Woodsum
Mr. and Mrs. Albert M. Creighton, Jr. Mr. and Mrs. John F. Magee
Mr. and Mrs. Bigelow Crocker, Jr. Carmine and Beth Martignetti
Tamara P. and Charles H. Davis II Dr. and Mrs. Joseph B. Martin
Mr. and Mrs. Miguel de Braganca JoAnne McGrath

Continued on page 59

57
 —

40TH ANNIVERSARY SEASON

OSTON BALLET MIKKO NISSINEN Artistic Director

"Desire. Passion. Bliss. Sacrifice. Betrayal..." The Globe and Mail

Lady of the Camellias

March 18-21 / April 1-4
Choreography Val Caniparoli Music Frederic Chopin
Costume Design / Production Coordination: Robert Glay de la Rose

DRINK TO ME„ J«ffi««ttw

March 25-28
DRINK TO ME ONLY WITH THINE EYES • DUO CONCERTANT •
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May 13-23
Choreography After

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TICKETS $39-96 • TELECHARGE 1.800.447.7400 SUBSCRIPTIONS 617.695.6955

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Dancers:Tina Martin and Steven Hoff; Photo by:Steven Caras;Courtesy of Ballet Florida; Photos of Jared Redtck;Larissa Ponomarenko , , ..
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58
The Higginson Society (continued)

sponsors-$5,ooo to $9, 599 continued

Mr. and Mrs. John D. Mont gomery Mr. and Mrs. Francis P. Sears, Jr.
Mr. and Mrs. Peter M. Nicholas Gilda and Alfred Slifka
Mr. and Mrs. Horace S. Nichols Mr. and Mrs. Christopher Smallhorn
Dr. and Mrs. Oglesby Paul Ira and Jacquie Stepanian
Mr. and Mrs. E. Lee Perry Mrs. Nathan B. Talbot 1

Mr. Daniel A. Phillips and Mr. and Mrs. William O. Taylor i

Rev. Diana W. Phillips Mr. and Mrs. Theodore H. Teplow

May and Daniel Pierce Mr. and Mrs. William F. Thompson
Mrs. Hollis W. Plimpton, Jr. Mr. and Mrs. John L. Thorndike
Mr. and Mrs. Richard Prouty Rev. and Mrs Arthur A. Wahmann
.

Donna Riccardi and Douglas Green Mr. and Mrs. Daniel Waintrup
Mr. and Mrs. Kenan E. Sahin Mrs. Charles H. Watts II
Dr. Raymond and Hannah H. Schneider Chip and Jean Wood

MEMBERS-$2,500 to $4,999
Anonymous (25) Mr. and Mrs. Arthur Mr. and Mrs. John L.
Mr. William F. Achtmeyer Blasberg, Jr Cooper
Bob and Pam Adams Ms. Sue Blessing and Mrs. Stephen
Prof,
Mr. James E. Aisner Brad and Terrie Bloom Crandall
Vernon R. Alden Mark G. and Linda Borden Dwight and Loretta Crane
Harl and Lois Aldrich Barbara and 3ary Bowen
( Joan P. and Ronald C.
Mr. and Mrs. William F. Mrs. Edeltraud D. Bradley Curhan
Allen, Jr. Mrs. William C. Brengle Highgale Fund at the
Mr. Reginald Alleyne Mrs. Alexander H. Bright Boston Foundation
Joel and Lisa Schmid Alvord Gertrude S. Brown Mr. and Mrs. Eric Cutler
Mr. and Mrs. Stephen H. Mrs. Karl Burack Robert and Sara Danziger
Anthony Jean Fiol Burlingame and Mr. George L. Davis
Marjorie Arons-Barron and Gene Burlin game Wayne Davis and Ann
James H. Barron Mr. and Mrs. Peter B. Merrifield
Mr. and Mrs. Laurence Burnham Mr. Thomas Dean
Asquith Ms. Margarei Burroughs :
Mr. and Mrs. Stephen
Diane M. Austin and Dr. and Mrs. Edmund B. Demirjian
Aaron J. Nurick Cabot Mr. Robert S. Djorup
Mr. and Mrs. Neil Ayer, Jr. Mr. and Mrs. Truman S. Mr. and Mrs. Robert W.
Sandy and David Bakalar Casner Doran
Ms. Hope L. Baker Mr. Philip Cavender Mr. David Driscoll
Mr. Stephen Y. Barrow David and Karin Mr. Alan Dynner
Molly and John Beard Chamberlain Mr. and Mrs. Goetz B.
Kate and Martin Begien Mr. and Mrs. Ronald C. Eaton
Mr. Larry Belcaster Clark Mrs. Peter Edwards
Deborah Davis Berman and Mr. and Mrs. James E Dr. and Mrs. Richard H.
William H. Berman Cleary Egdahl 1

Mr. William I. Bernell Mr. and Mrs. Frederic M. Ann and William Elfers
Wally and Roz Bernheimer Clifford Joan and Herb Elins
Leonard and Jane Bernstein Mrs. LWColb Mr. and Mrs. Richard S. j

Mr. and Mrs. Philip W Mrs. Aaron LI. Cole Emmet

Bianchi Marvin and / Uin Collier Mr. and Mrs. Bradford M.
Benjamin and Annabelie Mr. Eric D. C ollins Endicott
Bierbaum Mr. and Mrs. Wool sey S. Mrs. Priscilla Endicott j

Mr. and Mrs. Jordan Birger Conover Pamela D. Everhart

Mrs. Stanton L. Black Victor Constantiner Ralf and Andrea Faber

KjUrltlrlldtZtl Url [Jugt, U± i

59
r I
The Higginson Society (continued)

MEMBERS-$2,500 to $4,999 continued

Barbara S. Fales Mrs. Joanie V. Ingraham Dr. and Mrs. Frederick H.
Thomas Forest Farb and Mr. and Mrs. Ernest K. Lovejoy, Jr.

Stacy Siana Valhouli Jacquet Mr. and Mrs. John A.

Shirley and Richard Fennell Mr. and Mrs. Michael Joyce MacLeod II

Mr. and Mrs. Lawrence K. Mr. and Mrs. Edwin M. Peter E. and Betsy Ridge
Fish Kania, Jr. Madsen
Mr. and Mrs. W. Kevin Steven E. Karol Mr. James A. Manninen
Fitzgerald Bill Kelly Dr. and Mrs. John D.
Nancy J. Fitzpatrick and Joan Bennett Kennedy Matthews
Lincoln Russell Mr. Paul L. King Dr. Robert and Jane B.
Lois and Hank Foster Mr. and Mrs. Thomas P. Mayer
Myrna H. and Eugene M. King Mr. William F. Meagher, Jr.
Freedman Mrs. Mary S. Kingsbery Mr. and Mrs. Robert G.
Mr. Stefan M. Freudenberger Mrs. John M. Kingsland Millar
Mr. and Mrs. Thomas J. Joanie and Doug Kingsley Mr. and Mrs. Neal P. Miller
Galligan, Jr. Mr. and Mrs. Gordon F. Jeffrey and Molly Millman
Mr. and Mrs. M. Dozier Kingsley Trudi and Elliot Mishara
Gardner Ms. Barbara M. Kirchheimer Mr. and Mrs. Robert
Rose and Spyros Gavris The Klarman Family Mnookin
Arthur and Linda Gelb Foundation Mr. and Mrs. John J.
Dr. Stephanie JL Gertz Mr. Glenn A. KnicKrehm Morgan, Jr.
Chad and Anne Gifford Sue and Harry Kohn Jane and Robert Morse
Ms. Pamela Ormsbee Giroux Vaia and Arthur The Richard P. and Claire
Mr. and Mrs. Robert R. Koumantzelis W. Morse Foundation
Glauber Robert and Myra Kraft Mr. and Mrs. George Mosse
Jordan and Sandy Golding Dr. and Mrs. Arthur R. Dr. Anhco Nguyen
Ms. Harriett C. Goldweitz Kravitz Mr. and Mrs. Andrew L.
Mr. and Mrs. Daniel S. John M. and Marilyn K. Nichols
Gregory Kucharski Mrs. Albert L. Nickerson
David and Harriet Alice Bator Kurland Kathleen and Richard
Griesinger Mr. and Mrs. Melvin Norman
Ann and Graham Gund Kutchin Judith Swahnberg and
Margaret L. Hargrove Mr. and Mrs. Benjamin H. Carl Novotny
Ellen and John Harris Lacy Ms. Martha O'Neill
Ms. Virginia S. Harris Mrs. Eleanor Ladd Jason S. and Barbara
Daphne and George Mr. and Mrs. Louis E. Lataif Meltzer Orlov
Hatsopoulos Mr. and Mrs. Maurice Mrs. Stephen Davies Paine
Harry and Deborah Hauser Lazarus Dorothy R. P. Palmer
Mr. Gardner C. Hendrie and Mr. and Mrs. David S. Lee Kevin and Leila Parke
Ms. Karen J. Johansen Mr. and Mrs. Robert J. Mr. and Mrs. John A.
Mrs. Noah T. Herndon Lepofsky Perkins
Richard and Carole Mr. Alexander M. Levine Ms. Ann M. Philbin .

Higginbotham Barbara and Irving Levy Ms. Margaret Philbrick and

John Hitchcock Charles and Cornelia Lewis Mr. Gerald Sacks
IdLllCld. clllLl i^o
Pc3fnr*i3 cinri l^n
Vjrd.lCll ITU
T-T/"\ C T
"1
r-miiy Lewis Mr
ivj.1.
cLll\J. N/frQ Rirrmrrl
anrl ivxio. .Lvl^llctl U F)
\-J
•

Mr. Albert A. Holman III Christopher and Laura Phippen

Mr. and Mrs. Charles Hood Lindop Angie and Leon Piatelli
Ms. Emily C. Hood Mr. and Mrs. Parker Leo Wasserman Foundation,
Mrs. Harry R Hood, Jr. Llewellyn David R. and Muriel K.
Ms. Ruth M. Horowitz and Shari Loessberg and Pokross, Trustees
Mr. Robert Schwartz Christopher Smart Dr.and Mrs. Jerome Porush
Mrs. Charles A. HubbardJI Mr. Graham Atwell Long John and Susanne Potts
G. Lee and Diana Humphrey Mrs. Augustus P. Loring Dr. Tina Young Poussaint
Mr. and Mrs. Roger B. Hunt Mr. and Mrs. Caleb and Dr. Alvin Poussaint
Mrs. Joseph Hyman Loring, Jr. Ms. Helen C. Powell

Continued on page 63

61
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With works by Monteverdi, Symphony No. 3, "Eroica" Vivaldi Gloria

O Gesauldo, and Goehr. Piano Concerto No. 5, "Emperor" Verdi "Ave Maria" from

^ FRIDAY, FEB 27 at 8.00pm FRIDAY, MAR 26 at 8.00pm

Four Sacred Pieces

NEC'S JORDAN HALL, BOSTON SUNDAY, MAR 28 at 3.00pm Friday, Apr 30 at 8.00pm
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JESUIT URBAN CENTER, BOSTON SYMPHONY HALL, BOSTON

Grant Llewellyn, conductor
Grant Llewellyn, conductor Kristian Bezuidenhout, fortepiano Grant Llewellyn, conductor

617 266 3605

www.handelandhaydn.org
Inspired orchestra
Group Discounts Available
Rousing chorus

62
The Higginson Society (continued)

Mrs. Daphne Brooks Prout Mrs. Charles N. Shane Diana Osgood Tottenham
Mr. and Mrs. Millard H. Dr. and Mrs. William Marc Ullman
Pryor, Jr. Shipley Mr. and Mrs. John H.
Dr. Kathleen A. Pulsifer Mr. Marshall H. Sirvetz Valentine
Ms. Sally Quinn John W. Spillane and Mr. and Mrs. William C.
Mr. and Mrs. Robert E. Rosemary A. Spillane Van Faasen
Remis Maximilian and Nancy Mr. Robert A. Vogt
Howard and Sharon Rich Steinmann Mr. and Mrs. Roger L.
Mr. and Mrs. Mark V. Fredericka and Howard Voisin
Rickabaugh Stevenson Mr. and Mrs. Mark Volpe
Marcia A. Rizzotto Mr. Oswald Stewart Mr. and Mrs. William G.
Estate of Robert Rohner Mrs. Anson P. Stokes Walker
Elaine and Jerome Rosenfeld Esta-Lee and Harris E. Stone Nancy T. Watts
Judy and David Rosenthal Mr. and Mrs. Galen L. Stone Mr. Matthew A. Weatherbie
Dean Henry Rosovsky Mr. and Mrs. Henry S. Stone Lawrence and Dawn Weber
Debbie and Alan Rottenberg Mr. and Mrs. Richard D. Harry and Ruth Wechsler
Mr. and Mrs. William H. Stone Mr. Stetson Whitcher
Rousseau Miss Elizabeth B. Storer Mrs. John W White
Dr. Jordan S. Ruboy Mrs. Carol B. Sullivan Margaret C. Williams
Stephen and Eileen Samuels Mr. and Mrs. Joseph Mr. and Mrs. Donald B.
Estate of Hessie Sargent Swiniarski Wilson
Betty and Pieter Schiller Jeanne and John Talbourdet Mrs. John J. Wilson
Linda and Arthur Schwartz Ms. Patricia L. Tambone Mr. and Mrs. Leslie J.
Ginny and Tom Scott Mrs. Charles H. Taylor Wilson
Mr. and Mrs. Robert G. Mr. and Mrs. W. Nicholas Lynne and Frank Wisneski
Scully Thorndike Mr. and Mrs. Cornelius Ayer
Ms. Carol P. Searle Tom and Karen Tierney Wood, Jr.

Mr. and Mrs. Douglas H. Mabel and John Tillinghast Mr. and Mrs. Roger C.
Sears Drs. Eugene J. and Hilde H. Wright
Maurice and Sarah Segall Tillman Norma and Arnold Zack
Mr. Robert G. Segel Mr. H. Stephen Tilton Ms. Elizabeth Zimmermann
The Shane Foundation Mr. and Mrs. Carlos H. Tosi

63
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SONG'S

CONCERT SERIES
A series of Berklee concerts celebrating contemporary music's innovators,
the expressive and interpretive possibilities of the popular song, and
the rich stylistic diversity that defines music today. And our college.

October 14 January 29
The Three Tenors: The Great American Songbook:
Greg Badolato, George Garzone, The Music of Irving Berlin
and Frank Tiberi The songs of Irving Berlin performed in the
Berklee faculty members present a rousing, lush, swinging style of the pop song's
three-tenor saxophone workout. golden age.

October 16 March 25
Baby, Please Don't Go: A Night of the Blues International Folk Festival
Berklee celebrates the Year of the Blues with a Hear the familiar strains of love, loss, triumph,
concert featuring top faculty and student blues sorrow, and joy in a dozen new ways.
performers.
April 26
November 7 Hallelujah! Amen! An Evening of
Michel Camilo in Concert Gospel Music
The culmination of Berklee's weeklong The Berklee Reverence Ensemble and the group
celebration of Latin music and culture, Visiting Overjoyed perform original and traditional
Professor Michel Camilo leads an all-star big gospel music.
band and performs with his incendiary trio.
April 30
(Proceeds benefit the Michel Camilo Scholarship for
students from Latin America.)
Pat Metheny in Concert
Visiting Professor Pat Metheny is producing a
December 11 record for a Berklee student group. In the first
Singers' Showcase 20th Anniversary half of the concert, he and the group perform
Berklee's best sing, whisper, belt, coo, shout, selections from the recording. The second half
croon, wail, rap, swing, work out, drop, scat, of the show features Metheny with special
and testify. guest Gary Burton.

shows at 8:15 p. m.
Berklee song All
Berklee Performance Center
136 Massachusetts Avenue, Boston
college of Box office: (617)747-2261
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a sound system, look for the Bose

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we're up to.

To learn more about Bose and Bose

"Bose breaks the mold ... Who said products, visit us on the Web at
American companies can't innovate?"
www.bose.com/cm
- Rich Warren
Or call us at 1-800-444-BOSE.

©2001 Bose Corporation. JN2041 7 -

Rich Warren, Chicago Tribune, 6/1/90.

Trrnr
Better sound through research*
 BOSTON SYMPHONY ORCHESTRA
2OO3-2OO4 SEASON

BSOvations
Boston Symphony Orchestra and Symphony Hall corporate sponsorship
importance of partnership between business and the
reflects the increasing arts.

The BSO is honored to be associated with these companies and gratefully

acknowledges their contributions.
For information regarding BSO, Boston Fops, and/or Tanglewood sponsorship
opportunities, contact Alyson Bristol, Director of Corporate Sponsorships, at
617-638-9279 or at [email protected]

These corporations have sponsored BSO or Symphony Hall concerts and activ-
ities during the 2003-2004 season at the $500,000 or more level.

UBS is excited to enter into a long-term partnership with the

Boston Symphony Orchestra through its exclusive season spon-

sorship. Both UBS and the BSO have deep roots in Boston and
Mark B. Sutton
UBS is proud to support one of the city's most celebrated cul-
Chief Executive Officer, tural institutions. UBS, the global financial services leader, is
UBS Financial Services, committed to supporting excellence in orchestral music. In
Inc. addition to its sponsorship of the BSO, UBS also supports the
London Symphony Orchestra and the UBS Verbier Youth
Orchestra under the direction of James Levine.

This season marks the year of a multi-year formal partner-

first
ship between WBZ-TV 4 and the BSO that will provide New
England television viewers with entertaining programming fea-
Ed Goldman
turing one of the world's premier music organizations. Last
Vice President and
General Manager
summer, WBZ, in partnership with the CBS Television Net-
work, carried the first national broadcast of the Boston Pops
Esplanade Orchestra's Fourth of July concert, the "Boston Pops
Fireworks Spectacular," that established a high standard for
future collaboration between the BSO, WBZ, and CBS.

Continued on page 66
65

I I
BSOvations (continued)

These corporations have sponsored BSO or Symphony Hall concerts and activities
during the 2003-2004 season at the $200,000-$499,999 level.

Delta Delta is grateful to be a proud spon-

sor of the Boston Symphony Orches-
tra. The BSO has enjoyed a heritage that's rich and deep, and
it's Delta's pleasure to be able to support the arts in Boston

through such an extraordinary organization. The partnership

between business and the arts increases yearly, and it brings a
better understanding of each discipline to both groups. It is
that understanding that allowed us this opportunity to act as
Vicki Escarra
sponsor to the BSO. On behalf of the more than 60,000 Delta
Executive Vice President
and Chief Marketing employees worldwide, we salute the Boston Symphony Orches-
Officer tra and its patrons.

EMC
where information
2

lives
EMC Corporation is pleased to contin-
ue our longstanding partnership with
the Boston Symphony Orchestra. We
are committed to helping preserve the
past and present musical heritage of the BSO so that it will be
available to all and to future generations, and will continue to
instill in us a love of music.
Michael C. Ruettgers
Executive Chairman

The Fairmont Copley Plaza Boston

together with Fairmont Hotels &C
Resorts is proud to be the official
COPLEY PLAZA
BOSTON
Symphony Or-
hotel of the Boston
We
look forward to many
chestra.
years of supporting this wonderful organization. For more
than a century Fairmont Hotels &
Resorts and the BSO have
graced their communities with timeless elegance and enriching
Jonathan Crellin
experiences. The BSO is a New England tradition and like The
General Manager
Fairmont Copley Plaza, a symbol of Boston's rich tradition
and heritage.

STEINWAY & SONS

Steinway & Sons is proud to be the piano selected exclusively
at Symphony Hall and Tanglewood. Since 1853, Steinway
pianos have been handmade to an uncompromising standard,
and applauded by artists and audiences alike for their rich,
Bruce Stevens expressive sound. It's no wonder that, for 98% of today's
President concert pianists, the choice is Steinway.
BSOvations (continued)
/75r^

These corporations have sponsored BSO or Symphony Hall concerts and activities
during the 2003-2004 season at the $75,000-$199,999 level.

AT&T is proud to continue its long tradi-

ATftii support for the Boston Symphony
ti° n °f
Orchestra through sponsorship of Open-
ing Night at Symphony. From landmark
compositions to new works, the Boston Symphony Orchestra
continues to present magnificent music to audiences both at
Symphony Hall and around the world.

Esther Silver-Parker
President, AT&T Foundation

OMMONWEALTH WORLDWIDE
CHAUFFEURED TRANSPORTATION
Commonwealth Worldwide Chauffeured Transportation is
proud to be the Official Chauffeured Transportation of the
Boston Symphony Orchestra and the Boston Pops. The BSO
has enhanced the Boston community for 122 years and we
Dawson Rutter

President and CEO

are excited to be a part of such a rich heritage. We look for-
ward to celebrating our relationship with the BSO, Boston
Pops, and Tanglewood for many years to come.

Classical 102.5 WCRB

has proudly been
CLASSICAL involved with the Boston Symphony Or-
102.5 WCRB chestra for over 50 years. Each week more
S T N than a half-million people listen on Saturday
nights as we broadcast BSO, Pops, and Tan -
glewood concerts. We have been pleased to bring the perform-
ances of our world-class orchestra into the homes of millions
of music lovers. WCRB is the flagship station of Charles River
William W. Campbell Broadcasting, which includes WFCC/Cape Cod, WCRI/Block
CEO, Charles River
Island, and the World Classical Network.
Broadcasting

67
Our Worldwide Chauffeured Transportation Company
is just what you're looking for.

OMMONWEALTH WORLDWIDE
CHAUFFEURED TRANSPORTATION

We are proud to be the Official Chauffeured Transportation

of the Boston Symphony Orchestra.

Our premier corporate and event travel services include:

Fully uniformed Professional Chauffeurs • 7 days a week, 24-hour phone reservations

Online reservations • Modern, extraordinary fleet • FAA flight tracking system

800.558.5466 or 617.779.1919 • commonwealthlimo.com

68
 BOSTON SYMPHONY ORCHESTRA
2OO3-2OO4 SEASON

The support provided by members of the Business Leadership Association

enables the Boston Symphony Orchestra to keep ticket prices at accessible levels,
to present free concerts to the Boston community, and to support education and
outreach programs. The BSO gratefully acknowledges the following companies
for their generous annual Corporate Programs support, including gifts-in-kind.
This list recognizes cumulative contributions of $2,000 or more made between
September 1, 2002, and August 31, 2003.
For more information, contact Jo Frances Kaplan, Director of Institutional
Giving, at (617) 638-9264.

ACCOUNTING BANKING Tier Technologies

Ernst & Young Cambridge Trust Company James L. Bildner
Daniel G. Kaye Joseph V. Roller II Towers Perrin
KPMG LLP Citizens Financial Group Wayne E. Fingas
Donald B. Holmes Lawrence K. Fish Watson Wyatt Worldwide
PricewaterhouseCoopers LLP FleetBoston Financial Paul Flatten
Michael J. Costello Charles K. Gifford
CONSULTING:
ADVERTISING/ Investors Bank & Trust COMMUNICATIONS/DESIGN
PUBLIC RELATIONS Company Sametz Blackstone Associates
Michael F. Rogers Roger Sametz
Arnold Worldwide
Francis J. Kelly HI Sovereign Bank
Hamill
CONSUMER PRODUCTS
Hill,Holliday John P.
Boston Acoustics, Inc.
John M. Connors, Jr. CONSULTING: Andy Kotsatos
Regan Communications MANAGEMENT/FINANCIAL
The Gillette Company
Stephen P. Dunleavy Accenture James M. Kilts
Richard P. Clark
ARCHITECTS William D. Green Peet's Coffee & Tea
Margulies &
Associates Kenneth Mitchell Angela Malala
Marc Margulies Michael Palmer Phelps Industries LLC
AUTOMOTIVE David B. Sardilli Richard J. Phelps
David Sprows
Clair Motorcars The Schawbel Corporation
Michael Tilton
The Clair Family William Schawbel
American Management
Franklin Ford EDUCATION
Services, Inc.
John P. Madden, Jr. Babson College
George A. Cloutier
Jack Madden Ford Brian M. Barefoot
The Boston Consulting
John P. Madden, Jr.
Group, Inc. ELECTRICAL/ELECTRONICS
J.N. Phillips Auto Glass Co., Jonathan L. Isaacs Supply Co.
Bert's Electric
Inc.
Hewitt Associates Michael Klapman
Alan L. Rosenfield
Jan Seeler Arthur J. Hurley Company,
Toyota
Huron Consulting Group Inc.
Tim Morrison Arthur J. Hurley,
George E. Massaro Jr.
Kevin J. Flynn
Mercer Human Resource TDK Electronics Corporation
Woburn Foreign Motors
Consulting Tri-State Signal, Inc.
George T Albrecht
James J. McCaffrey, Esq. Robert B. Dawe, Jr.

Continued on page 71

69
 GOLDEN
CARE

away.
An upscale dining experience
without the upscale prices.
With our new menu full of
enticing choices, you'll want
to come back.
Private Geriatric
Home Care
Over twenty years of experience
4 hours to twenty four hours a day

All home health aides are certified,

105 Huntington Avenue, Boston
insured and Golden Care employees
617.266.8194
www.berkshiregrill.com 607 Boylston Street, Boston, MA 02116
617 267-5858
Parking validation for the
Prudential Center. Web site: www.goldencare.org
Email: [email protected]

Life is short. Play.

Restored Steinways Available
A Tradition of Excellence
Since 1950

Acme Piano Craftsmen

Lee Doherty, President
(617) 623-0600
10 Garfield Avenue, Somerville, MA 02145
www.AcmePiano.com

70
Business Leadership Association (continued)

ENERGY/UTILITIES CDC IXIS Asset Management Putnam Investments

Ameresco, Inc. Services, Inc. Charles E. Haldeman
George P. Sakellaris Christopher Wilson
RBC Dain Rauscher
City Lights Electrical Clough Capital Partners LP John Goldsmith
Company Charles I. Clough, Jr.
Thomas A. Russo
Maryanne Cataldo Davidson-Kempner
Thomas Kempner
Standard &
Poor's
Global Companies LLC L.
Robert L. Paglia
Alfred Slifka Deutsche Bank Alex Brown State Street
KeySpan Energy Delivery John E. Joyce David A. Spina
New England Eaton Vance Corp.
Nickolas Stavropoulos
State Street Development
Alan R. Dynner, Esq. Management Corp.
NSTAR EXEL Holdings, Inc. John R. Gallagher III
Thomas J. May Paul M. Verrochi Sun Life Financial
ENTERTAINMENT/MEDIA Fiduciary Trust Company James A. McNulty
7NEWS, WHDH-TV Daniel A. Phillips
UBS Warburg - Los Angeles
Michael Carson Friedl Enterprises John Joliet
Classical 102.5 WCRB Donald G. Friedl
United Gulf Management, Inc.
'William W. Campbell Goldman, Sachs & Co. Samer Khanachet
FleetCenter HPSC, Inc. Watermill Ventures
Richard A. Krezwick John W. Everets Steven E. Karol
Greater Media, Inc. Janney Montgomery Scott Weston Presidio
Peter H. Smyth Ted O'Connor Michael F. Cronin
New England Cable News John Hancock Financial FOOD SERVICE/
Philip S. Balboni Services EQUIPMENT/INDUSTRY
New England Development David F. D'Alessandro
Boston Showcase Co.
Stephen R. Karp Kaufman and Company Jason E. Starr
WBZ-TV, UPN 38, UPN 28 Sumner Kaufman Gourmet Caterers, Inc.
Pat Kreger Longwood Investment Robert A. Wiggins
ENVIRONMENTAL Advisors
Robert A. Davidson GRAPHIC DESIGN
Tropical Plants
Initial
Graphics Marketing Services,
Sean Sarkisian Loomis, Sayles & Company, Inc.
LP Mike Lipson
FINANCIAL SERVICES/ John F. Gallagher III
INVESTMENTS Studio-e
LPL Financial Services Liz Koetsch
Adams, Harkness &C Hill, Inc.
Mark S. Casady
Joseph W. Hammer
Martin Mannion HEALTHCARE
J.
Advent International Blue Cross Blue Shield of
Peter A. Brooke Manulife USA Massachusetts
Allmerica Financial
John D. DesPrez III
William C. Van Faasen
John O'Brien Mellon New England Harvard Pilgrim Health Care
David F. Lamere Charles D. Baker
Anchor Capital Advisors, Inc.
William P. Rice Merrill Lynch
William S. Buccella HIGH TECHNOLOGY
Atlantic Trust Pell Rudman Analog Devices
Donald J. Herrema Navigator Asset Management,
Ray Stata
Mark J. Panarese LLC
Edward I. Rudman Thomas M. O'Neill EDS
Mike Neely
The Baupost Group, LLC Needham & Company, Inc.
Seth A. Klarman George A. Needham EMC Corporation
Michael C. Ruettgers
Boston Capital Corporation Parthenon Capital
Richard DeAgazio Ernest K. Jacquet Helix Technology
Corporation
Boston Stock Exchange Perry Capital, LLC Robert J. Lepofsky
Kenneth R. Leibler Paul A. Leff
IBM
Mr. and Mrs. Peter A. Brooke PFPC Sean C. Rush
Michael DeNofrio

Continued on page 73

71
 BOSTON
SYMPHONY
ORCHESTRA
Youth and Family Concerts

The BSO has been presenting programs to entertain

and educate young people since 1888. Each concert
includes music selected especially for children. These

exciting musical performances

are often accompanied

by theatrical and visual elements

and encourage interaction

between the conductor and
audience members.

YOUTH CONCERTS
Youth Concerts are geared toward elementary, middle,
and high school students. $10

April 14 and 16, 10am and 11:50am:

Christopher Wilkins, conductor
April 15, 10am: Christopher Wilkins, conductor

FAMILY CONCERTS
Family Concerts are designed for children ages 5 and up
and their families. Saturdays, $18

April 17, 10am and noon: Christopher Wilkins, conductor

For tickets call (888) 266-1200 or visit www.bso.org.

72
Business Leadership Association (continued)

International Data Group Savings Bank Life Insurance Maxwell Shoe Company Inc.
Patrick J. McGovern Robert K. Sheridan Mr. Mark J. Cocozza
Howard Sholkin William Gallagher Associates United Liquors Ltd.
Ionics, Incorporated Philip J. Edmundson A. Raymond Tye
Arthur L. Goldstein
INTERNET/INTERNET MANUFACTURING
Medical Information PROFESSIONAL Bartley Machine &
Technology, Inc. Digitas Manufacturing Co., Inc.
A. Neil Pappalardo David Kenny Richard J. Bartley
Millipore Foundation The Biltrite Corporation
LEGAL
C. William Zadel Stanley Bernstein
American International J.
PerkinElmer, Inc.
Companies Cabot Corporation
Gregory L. Summe Matthew F. Power Kennett F. Burnes
Raytheon Company Bingham McCutchen LLP Connell Limited Partnership
William H. Swanson Zimmerman Francis A. Doyle
Jay S.
Signal Technology
Corporation
Choate, Hall Stewart & ControlAir, Inc.
Samuel B. Bruskin Scott G. Comstock
George Lombard William P. Gelnaw
The Gillette Company
Thermo Electron Corporation
Duane Morris LLP James M. Kilts
Richard F. Syron Richard J. Snyder, Esq.
Harvey Industries, Inc.
Waters Corporation Edwards & Angell LLP Alan M. Marlow
Douglas A. Berthiaume V. D. Johnson
J.D.P. Co.
HOTELS/HOSPITALITY Foley,Hoag LLP Jon D. Papps
Fairmont Copley Plaza Boston Paul Murphy
Kruger Inc.
Jonathan D. Crellin Gadsby Hannah LLP Mr. Joseph Kruger II
Four Seasons Hotel Boston Paul E. Clifford, Esq.
New Balance Athletic Shoe,
Thomas Gurtner Goodwin Procter LLP Inc.
The Red Lion Inn Regina M. Pisa James S. Davis
Nancy J. Fitzpatrick Hale and Dorr LLP New England Business
The Ritz-Carlton Hotels of William F. Lee Service, Inc.
Boston Robert J. Murray
Kirkpatrick & Lockhart LLP
John Rolfs Mark E. Haddad, Esq. Tyco Healthcare/Kendall
Saunders Hotel Group The Richard J. Meelia
Mintz, Levin, Cohn, Ferris,
Lenox &
Copley Square
Glovsky and Popeo, PC. Watts Industries, Inc.
Hotels
R. Robert Popeo, Esq. Patrick S. O'Keefe
Roger A. Saunders
Nixon Peabody LLP MEDICAL MANUFACTURING/
INSURANCE Craig D. Mills, Esq. RESEARCH
Aon Risk Services, Inc. of Nestor M. Nicholas, Esq.
Charles River Laboratories,
Massachusetts Deborah L. Thaxter, Esq. Inc.
Kevin A. White
Palmer & Dodge LLP James C. Foster
Chubb Group of Insurance Malcolm E. Hindin
Companies PHILANTHROPIC
John H. Gillespie
Weil, Gotshal & Manges LLP George and Roberta Berry
Jim Westra
Hilb, Rogal, and Hamilton Charles River Charitable
Weingarten, Schurgin,
Insurance Foundation
Paul D. Bertrand
Gagnebin & Lebovici Mr. and Mrs. John Cullinane
Stanley M. Schurgin, Esq.
Lexington Insurance Jim and Barbara Cleary
Company MANUFACTURERS REP/
Dick and Ann Marie
Kevin H. Kelley WHOLESALE
Connolly
Jofran
Liberty Mutual Group John and Diddy Cullinane
Robert D. Roy
Edmund F. Kelly
Lyndenmeyr Munroe D.K. Webster Family
Marsh USA Inc. Foundation
John C. Smith Martignetti Companies
Dean K. Webster
Carmine A. Martignetti
New England Financial The Egan Family
Thorn A. Faria

Continued on page 75

73
 It's Life <yyi a &oAot& (luie^e^yt Level.

The martinis are always cold. The hospitality is always warm. An award-winning chef
prepares every meal. live jazz plays every night. and the soaring. panoramic view of
Boston is. well, perfect It's life on a whole different
FtRtNl LbVtL.
level.

For reservations, call 6iy.^6.iyy^

Prudential Center, &00 Boylston Street. Boston

2OO3-2OO4 SEASON

BOSTON SYMPHONY ORCHESTRA

Give the gift of an exciting musical experience!

Gift Certificates are available in any amount and may be
used toward the purchase of tickets to any BSO or Boston
Pops performance at Symphony Hall or Tanglewood. Gift

Certificates may also be used at the Symphony Shop to pur-

chase merchandise, or at the Symphony Cafe.

To purchase, visit www.bso.org, or the Symphony Hall

Box Office, or call SymphonyCharge at (617) 266-1200.

74
.L
Business Leadership Association (continued)

John F. Farrell & Associates Beacon Capital Partners S. R. Weinger &

Associates
John F. Farrell, Jr. Alan M. Leventhal Stephen R. Weiner
The Kraft Group Boston Properties, Inc. RESTAURANTS
Robert K. Kraft Edward H. Linde Legal Sea Foods
Mr. and Mrs. Peter S. Lynch Carruth Capital, LLC Roger Berkowitz
Christopher Egan
Massachusetts Cultural RETAIL
Council Carson Limited Partnership Filene's
Peter Nessen Herbert Carver William Ginger ich
MetLife Foundation CB Richard Ellis
The E.B. Horn Co.
Mr. and Mrs. Kenneth
Steve Swerdlow Philip H. Finn
J.
Novack Coldwell Banker Residential
Kohl's Department Stores
Brokerage
The John & Happy White Richard J. Loughlin, Jr. Talbots Charitable
Foundation Foundation, Inc.
Mrs. John Hazen White, Sr. Copley Place Arnold B. Zetcher
Paul C. Grant
WR. Grace &
Company The TJX Companies, Inc
Robert J. Bettacchi Cummings Properties, LLC Bernard Cammarata
Yawkey Foundation William S. Cummings
L. Harrington Hines SCIENCE/MEDICAL
John
David G. Perry Biogen, Inc.
PRINTING/PUBLISHING James C. Mullen
The Boston Globe Jay Cashman Inc.
Jay Cashman Boston Scientific Corporation
Richard H. Gilman Lawrence C. Best
George H. Dean Co. John M. Corcoran & Co.
John M. Corcoran Fisher Scientific International
Kenneth Michaud Inc.
Herald Media, Inc.
The Davis Companies Paul M. Montrone
Patrick J. Pur cell
Jonathan G. Davis
The Flatley Company SOFTWARE
The Studley Press
Eze Castle Software, Inc.
Suzanne K. Salinetti
Thomas J. Flatley
Sean McLaughlin
The Halleran Company
PROFESSIONAL SERVICES Arthur J. Halleran, TE LECOMMU N ICATIONS
Jr.
Blake and Blake Genealogists,
Lee Kennedy Co., Inc. AT&T
Inc.
Lee M. Kennedy Esther Silver-Parker
Richard A. Blake Jr.
Meredith & Grew, Inc. GRANITE
Deloitte
Thomas Hynes, Jr. Telecommunications
Michael J. Joyce J.
Robert Hale
Forbes Consulting Group, Inc. MR Property Management
Sean McGrath NORTEL NETWORKS
David Forbes
John S. Neville
The Highland Street
New England Insulation
Company Verizon
Connection
Theodore H. Brodie Donna C. Cupelo
Sean McGrath
ML Strategies, LLC Nordblom Company TRAVEL/TRANSPORTATION
Stephen P. Tocco Rodger P. Nordblom American Airlines
Suffolk Construction James K. Carter
Vitale, Caturano & Company, Company, Inc.
PC. BostonCoach
Richard Caturano John F. Fish Peter Cassidy
TA Associates Realty The British Midlands
REAL ESTATE/
Michael A. Ruane Catherine Arnston
BUILDING/CONTRACTING
The Abbey Group Trammell Crow Company
Robert Epstein Charles S. O'Connor
Sean M. Teague

75
NEXT PROGRAM.. .

Thursday, February 26, at 10:30 a.m. Pre-Concert Talks by

(Open Rehearsal) Marc Mandel, BSO Director
Thursday, February 26, at 8 of Program Publications
Friday, February 27, at 1:30
Saturday, February 28, at 8
Tuesday, March 2, at 8

HERBERT BLOMSTEDT conducting

MENDELSSOHN Overture, The Fair Melusine, Opus 32

MOZART Piano Concerto No. 17 in G, K.453

Allegro
Andante
Allegretto — Presto

PETER SERKIN

INTERMISSION

NIELSEN Symphony No. 4, Opus. 29, The Inextinguishable

Allegro —
Poco allegretto —
Poco adagio quasi andante —
Allegro
T,

Mendelssohn's seldom-heard overture The Fair Melusine is a tone painting inspired G

—
by the tale of a man who loves a mermaid a tale that offered the composer ample G

opportunity to illustrate the variable aspects of love and of the sea. Mozart's Con- K

certo No. 17 in G major, played here by BSO audience favorite Peter Serkin, is one
of the remarkable series of concertos with which he made his name in Vienna, and
dates from the richest period of that great run, spring 1784. The great Danish com-
poser Carl Nielsen chose to write his Fourth Symphony, an expression of the "Ele-
mental Will of Life," in one large movement. He prefaced this questing 1916 score
with a telling aphorism: "Music is Life, and, like it, is Inextinguishable." On the
podium for this program is the distinguished conductor Herbert Blomstedt, conduc-
tor laureate of the San Francisco Symphony, where he was music director from 1985
to 1995, and music director of the Gewandhaus Orchestra of Leipzig, where he suc-
ceeded Kurt Masur in 1998.

Single tickets forBoston Symphony Orchestra concerts throughout the season

all

Symphony Hall box office, online at www.bso.org, or by calling

are available at the
"SymphonyCharge" at (617) 266-1200, Monday through Friday from 10 a.m.
until 5 p.m. (Saturday from 10 a.m. until 4 p.m.), to charge tickets instantly on
a major credit card, or to make a reservation and then send payment by check.
Outside the 617 area code, call 1-888-266-1200. Please note that there is a $5
handling fee for each ticket ordered by phone or over the internet.

76
COMING CONCERTS . . .

PRE-CONCERT TALKS: The BSO Pre-Concert Talks in Symphony Hall prior to all
offers
BSO concerts and Open Rehearsals. Free to all ticket holders, the talks begin at 7 p.m.
prior to evening concerts, at 12:15 p.m. prior to Friday-afternoon concerts, and one hour
before the start of each Open Rehearsal.
This season's Pre-Concert Talks are dedicated by this year's speakers to the memory of
Boston University Professor John Daverio (1954-2003), a cherished colleague whose con-
tributions to Boston Symphony concerts as guest speaker and annotator are not forgotten.

Thursday, February 26, at 10:30 a.m. Wednesday, March 10, at 7:30 p.m.
(Open Rehearsal) (Open Rehearsal)
Thursday 'A'— February 26, 8-9:55 Thursday 'A— March 11, 8-9:50
Friday 'B'— February 27, 1:30-3:25 Friday 'A— March 12, 1:30-3:20
Saturday 'B'— February 28, 8-9:55 Saturday 'B'— March 13, 8-9:50
Tuesday 'B'— March 2, 8-9:55 Tuesday 'B'— March 16, 8-9:50
HERBERT BLOMSTEDT conducting EDO DE WAART conducting
PETER SERKIN, piano PIERRE-LAURENT AIMARD, piano
MENDELSSOHN Overture, The Fair DVORAK Piano Concerto
Melusine IVES Thanksgiving and
MOZART Piano Concerto No. 17 Forefathers Day
in G, K.453 JANACEK Sinfonietta
NIELSEN Symphony No. 4, The
Inextinguishable Thursday, March 18, at 10:30 a.m.
(Open Rehearsal)
Thursday, March 4, at 10:30 a.m. Thursday 'B'— March 18, 8-10:15
(Open Rehearsal) —
Friday Evening March 19, 8-10:15
Thursday D'— March 4, 8-9:50
4

Saturday 'A'— March 20, 8-10:15

Friday Evening —
March 5, 8-9:50
EDO DE WAART conducting
Saturday 'A'— March 6, 8-9:50
WALTRAUD MEIER, mezzo-soprano
Tuesday 'C— March 9, 8-9:50
WAGNER Prelude to Lohengrin,
ROBERT SPANO conducting Act I
GARRICK OHLSSON, piano WAGNER Wesendonck Lieder
GOLIJOV LastRound WAGNER (arr. The Ring, "An Orches-
KNUSSEN Symphony No. 3 DE VLIEGER) tral Adventure"
RACHMANINOFF Piano Concerto No. 3
Thursday, March 25, at 10:30 a.m.
Sunday, March 7, 3 p.m. (Open Rehearsal)
Jordan Hall, New England Conservatory Thursday 'C— March 25, 8-10:15
BOSTON SYMPHONY CHAMBER Friday 'B'— March 26, 1:30-3:45
PLAYERS Saturday 'B'— March 27, 8-10:15
GARRICK OHLSSON and Tuesday 'B'— March 30, 8-10:15
ROBERT SPANO, pianos PAAVO BERGLUND conducting
MOZART Piano Quartet in G minor, FRANK PETER ZIMMERMANN, violin
K.478 MAHLER What the Wild Flowers
SCHUMANN Andante and Variations (arr. BRITTEN) Tell Me
in B-flat for horn, two BRITTEN Violin Concerto
cellos, and two pianos, SIBELIUS Symphony No. 6
Op. 46 SIBELIUS Symphony No. 7
MOZART Sonata in D for two
pianos, K.375a
MOZART Clarinet Quintet in A,
K.581

Programs and artists subject to change.

massculturalcouncil.or

77
 SYMPHONY HALL EXIT PLAN
MASSACHUSETTS AVENUE

1ST BALCONY
AND
2ND BALCONY

MASSACHUSETTS AVENUE

:
i

IN CASE OF
AN EMERGENCY
Follow any lighted
exit sign to street.

Do not use elevators.

Walk don't run.

78
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 performs ten months a year, in Symphony Hall and at Tangle-
wood. For information about any of the orchestra's activities, please call Symphony Hall, or
write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE BSO'S WEB SITE (www.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 announce-

ment 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) 638-9240, or write the
Director of Event Services, Symphony Hall, Boston, MA 02115.
THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert

evenings remains open through intermission for BSO events or just past starting time for
it

other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that
afternoon or evening. Single tickets for all Boston Symphony subscription concerts are avail-
able at the box office. For most outside events at Symphony Hall, tickets are available three
weeks before the concert at the box office or through SymphonyCharge.
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, or to make a reservation and then send payment by check, call "Symphony-
Charge" at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (or until 2 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 $5 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, callGroup Sales at (617) 638-9345 or (800) 933-4255.
FOR PATRONS WITH DISABILITIES, an access service center, large print programs, acces-
sible restrooms, and elevators are available inside the Cohen Wing entrance to Symphony
Hall on Huntington Avenue. For more information, call the Access Services Administrator
line at (617) 638-9431 or TTD/TTY (617) 638-9289.

THOSE ARRIVING LATE OR RETURNING TO THEIR SEATS will be seated by the patron
service staff only during a convenient pause in the program. Those who need to leave before the
end of the concert are asked to do so between program pieces in order not to disturb other patrons.

IN CONSIDERATION OF OUR PATRONS AND ARTISTS, children four years old or young-
er will not be admitted to Boston Symphony Orchestra concerts.

TICKET RESALE: If you are unable to attend a Boston Symphony concert for which you hold
a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492
during business hours, or (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 at-
tend 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
$8 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. and
Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available for
Friday or Saturday evenings.

79
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 switchboard near the Massachu-
setts Avenue entrance.
PARKING: The Prudential Center Garage offers discounted parking to any BSO patron with
a ticket stub for evening performances. There are also two paid parking garages on Westland
Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaran-
teed pre-paid parking near Symphony Hall is available to subscribers who attend evening
concerts. For more information, call the Subscription Office at (617) 266-7575.

ELEVATORS are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts
Avenue side of Symphony Hall, and in the Cohen Wing.
LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the
hall; on the first balcony, also audience-left, near the coatroom; and in the Cohen Wing.
MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch 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
Hatch and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not re-
sponsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch 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.

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Symphony

Orchestra are broadcast live in the Boston area by WGBH
89.7 FM. Saturday-evening con-
certs are broadcast live by WCRB
102.5 FM.

BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Fund.
Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and
other benefits depending on their level of giving. For information, please call the Develop-
ment Office at Symphony Hall weekdays between 9 and 5, (617) 638-9276. If you are already
a Friend and you have changed your address, please inform us by sending your new and old
addresses to the Development Office, Symphony Hall, Boston, MA
02115. Including your
patron number will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business Leadership Association program makes it possible
Boston Symphony Orchestra through a variety of
for businesses to participate in the life of the
original and exciting programs, among them "Presidents at Pops," "A Company Christmas at
Pops," and special-event underwriting. Benefits include corporate recognition in the BSO pro-
gram book, access to the Beranek Room reception lounge, and priority ticket service. For fur-
ther information, please call the Corporate Programs Office at (617) 638-9466.

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Huntington
Avenue and is open Tuesday through Friday from 11 a.m. until 4 p.m.; Saturday from noon
until 6 p.m.; from one hour before each concert through intermission, and for up to thirty
minutes after each concert. The Symphony Shop features exclusive BSO merchandise, in-
cluding the Symphony Lap Robe, 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 during concert
hours outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orches-
tra. For further information and telephone orders, please call (617) 638-9383.

80
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