Spring L’Histoire du soldat Pulcinella Petrushka Pulcinella

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Thursday, February 21, 8pm Friday, February 22, 1:30pm Saturday, February 23, 8pm Tuesday, February 26, 8pm RAFAEL FRÜHBECK DE BURGOS conducting STRAVINSKY PULCINELLA,” BALLET WITH SONG IN ONE ACT, AFTER GIAMBATTISTA PERGOLESI I. Overture II. Serenata (tenor solo) II. Scherzino IV. Allegro V. Andantino VI. Allegro VII. Allegretto (soprano solo) VIII. Allegro assai IX. Allegro (alla breve) (bass solo) X. (a) Largo (trio) (b) Allegro (soprano and tenor duet) (c) Presto (tenor solo) XI. Allegro alla breve XII. Tarantella XIII. Andantino (soprano solo) XIV. Allegro XV. Gavotta con due variazioni XVI. Vivo XVII. Tempo di minuetto (trio) XVIII. Allegro assai KAREN CARGILL, mezzo-soprano MATTHEW POLENZANI , tenor DAVID PITTSINGER, bass-baritone {INTERMISSION} HAYDN MASS NO. 10 IN C, “MASS IN TIME OF WARKyrie Gloria Credo Sanctus Benedictus Agnus Dei ALEXANDRA COKU, soprano KAREN CARGILL, mezzo-soprano MATTHEW POLENZANI , tenor DAVID PITTSINGER, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor THIS WEEKS PERFORMANCES BY THE TANGLEWOOD FESTIVAL CHORUS ARE SUPPORTED BY THE ALAN J. AND SUZANNE W. DWORSKY FUND FOR VOICE AND CHORUS. BANK OF AMERICA AND EMC CORPORATION ARE PROUD TO SPONSOR THE BSOS 2012-2013 SEASON.

Transcript of Spring L’Histoire du soldat Pulcinella Petrushka Pulcinella

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Thursday, February 21, 8pmFriday, February 22, 1:30pmSaturday, February 23, 8pmTuesday, February 26, 8pmRAFAEL FRÜHBECK DE BURGOS conducting

STRAVINSKY “PULCINELLA,” BALLET WITH SONG IN ONE ACT,AFTER GIAMBATTISTA PERGOLESI

I. OvertureII. Serenata (tenor solo)II. ScherzinoIV. AllegroV. AndantinoVI. AllegroVII. Allegretto (soprano solo)VIII. Allegro assaiIX. Allegro (alla breve) (bass solo)X. (a) Largo (trio)

(b) Allegro (soprano and tenor duet)(c) Presto (tenor solo)

XI. Allegro alla breveXII. TarantellaXIII. Andantino (soprano solo)XIV. AllegroXV. Gavotta con due variazioniXVI. VivoXVII. Tempo di minuetto (trio)XVIII. Allegro assaiKAREN CARGILL, mezzo-sopranoMATTHEW POLENZANI, tenorDAVID PITTSINGER, bass-baritone

{INTERMISSION}

HAYDN MASS NO. 10 IN C, “MASS IN TIME OF WAR”KyrieGloriaCredoSanctusBenedictusAgnus Dei

ALEXANDRA COKU, sopranoKAREN CARGILL, mezzo-sopranoMATTHEW POLENZANI, tenorDAVID PITTSINGER, bass-baritoneTANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

THIS WEEK’S PERFORMANCES BY THE TANGLEWOOD FESTIVAL CHORUS ARE SUPPORTED BY THE ALAN J. AND SUZANNE W. DWORSKY FUND FOR VOICE AND CHORUS.

BANK OF AMERICA AND EMC CORPORATION ARE PROUD TO SPONSOR THE BSO’S 2012-2013 SEASON.

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The evening concerts will end about 9:50 and the afternoon concert about 3:20.Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family.Steinway and Sons Pianos, selected exclusively for Symphony Hall.Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation.The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox.In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members.

The Program in Brief...

Following the great successes of Igor Stravinsky’s ballets The Firebird, Petrushka, and The Rite of Spring, the composer and Ballets Russes impresario Serge Diaghilev had to rein in their large-scale activities after the beginning of World War I. Stravinsky spent those years mostly in Switzerland, creating L’Histoire du soldat and The Wedding, among other smaller-scale works, and it was only toward the end of the decade that they began to work together again. Coming back to the Ballets Russes fold for Pulcinella in 1919, Stravinsky was lured by the suggestion that he arrange music from the Baroque era. Another lure was the chance to work with Picasso, who would design the sets, and the choreographer Léonid Massine.

When Diaghilev presented Stravinsky with a few pieces purportedly by Giovanni Battista Pergolesi (1710-1736), Stravinsky was at first leery, but ultimately charmed. (Although Pulcinella’s source material was attributed to Pergolesi at the time, more recent scholarship has assigned much of the music to other Baroque composers.) Stravinsky chose various vocal and instrumental movements to fit a plot involving the commedia dell’arte character Pulcinella—the Italian version of the clown at the center of Petrushka. In discussing his musical borrowings, Stravinsky said, “The remarkable thing about Pulcinella is not how much but how little has been changed.” Orchestration is the most radical difference, but the composer is otherwise fairly true to his sources. In its historical integrity, Pulcinella was the clear beginning of the neoclassical style that would dominate the composer’s work for the next thirty-plus years.

Along with Mozart, Franz Joseph Haydn was, of course, the exemplar of the Viennese Classical tradition. By the time he wrote the Missa in tempore belli—“Mass in Time of War”—in 1796, he had been semi-retired from his position as Kapellmeister with the Esterházy family for several years, since the death in 1790 of Prince Nicolaus I. The disinterest of Nicolaus I’s successor, Prince Anton, left Haydn free to make his two celebrated trips to London, where he presented his final symphonies and was fêted as the most famous composer in the world. After Anton was succeeded by his son Nicolaus II, Haydn was once again named Kapellmeister, but with few duties other than to deliver a Mass each year for the name-day of the prince’s wife. In his last fifteen years, Haydn turned wholeheartedly to sacred vocal music, writing half a dozen Masses, Seven Last Words on the Cross, and the big oratorios The Seasons and The Creation.

Not surprisingly, and quite successfully, Haydn wrote his Masses generally on symphonic principles in terms of form and treatment of the orchestra. He completed the Mass in Time of War in 1796, when Austria was in the midst of gearing up to resist Napoleon’s French armies. The presence of timpani gives the Mass the nickname Paukenmesse, or “Kettledrum Mass,” and also lends it a somewhat military character. The Mass in Time of War was likely premiered in late December 1796 at Piaristen Church, Vienna, with the composer conducting.

Robert Kirzinger

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Completing the Circle:Wagner’s Brave New World in the Concert Hallby Thomas May

On March 21, 22, 23, and 26, the Boston Symphony Orchestra marks the bicentennial of Richard Wagner (born in May 1813) with an all-Wagner program under the direction of Daniele Gatti. The BSO marked the bicentennial of Giuseppe Verdi (born in October 1813) this past January, with performances of Verdi’s Requiem, also led by Maestro Gatti.

The shared bicentennial of the twin 19th-century titans Verdi and Wagner has inspired ambitious plans to mark the occasion—plans by no means limited to the opera house. In January, Daniele Gatti led the Boston Symphony Orchestra in Verdi’s Requiem, that paradoxical late-period testament in which the Italian master reinvented himself off the opera stage, in the context of the choral-symphonic tradition. In March, Maestro Gatti returns with an all-Wagner program offering a wide-spanning survey of the one-man revolution spearheaded by Wagner—from his early refashioning of Romantic grand opera (hybridized from French and German models) to his profoundly ambivalent swan song, Parsifal, which questions the composer’s entire life project of the music drama anew.

Certainly Wagner’s ideas about opera and the fusion of the arts, and even his musical language, have left their mark far beyond the opera house. Even those who have never been to an opera will likely not have escaped the long cultural reach of “Wagnerism,” from novelists like Marcel Proust and Thomas Mann, Symbolist painters, and philosophers to film composers and even heavy metal. All of this makes it difficult to recapture the sense of euphoric potential, of a brave new world of art being born, with which Wagner’s mature works intoxicated the first generation of his followers. The disappointed, erstwhile idolater Friedrich Nietzsche described the narcotic effect of this music with the sardonically cautionary attitude of an ex-junkie. One especially remarkable attempt to convey something of that initial, heady spell of discovery—without ignoring its pernicious, even toxic aspects—can be found in actor Stephen Fry’s recent film Wagner and Me.

Wagner and Verdi—who, like the Baroque “twins” Bach and Handel, never actually met in person—lived through a period of extraordinarily dramatic upheaval. Outside Wagner’s native Leipzig, in the months after little Richard’s birth, massive armies poised for some of the decisive battles of the Napoleonic era. Wagner would later become a fugitive from German lands. He narrowly escaped a possible death sentence for his role in the uprisings that spread across Europe in 1848-49 and was forced to live in exile during the height of his creative prime. Yet quite apart from the colorful external outlines of his life—his personal tribulations left as deep an impact as the world historical forces surrounding him—an important spur to his innovative temperament was his bracing mixture of admiration for, and competition with, the artists who served as models.

Wagner discovered major catalysts for his aesthetic—and even components of his musical processes—in his encounters above all with the works of Beethoven, but also with those of such pioneers as Hector Berlioz and his eventual father-in-law, Franz Liszt. In a sense, hearing Wagner in the concert hall completes a circle. His idiosyncratic interpretation of Beethoven’s Ninth as a “Columbus”-like voyage to the very limits of instrumental music establishes Wagnerian music drama as the natural evolution toward which the most “progressive” symphonic thought has been tending. Like a mighty river flowing inexorably into its delta, Beethoven’s “stream of inexhaustible melody” at last combines the orchestra and the human voice. Wagner’s own orchestral language in turn became a notable strand in the musical fabric of symphonic scores by composers as diverse as César Franck, Mahler, Strauss, and early Schoenberg.

In his provocative biography, Wagner: The Last of the Titans , Joachim Köhler writes that from hearing a performance of Berlioz’s Roméo et Juliette during his early Parisian period, Wagner gleaned “a clear idea of the possibilities of modern tone-painting and the art of instrumentation” and then plunged into “a counterpart of his own” by attempting a Berlioz-inspired symphony based on Faust. This attempt, however, foundered—in the end Wagner completed only one movement, which

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he then retitled A Faust Overture. But according to Köhler, that failure prompted an epiphany: “Although Faust provided him with the best possible dramatic basis, he tried to portray this drama by using symphonic resources when he should have depicted the drama itself.” He points to the composer’s own statement that what followed was the urge to write The Flying Dutchman , “breaking free from the mists of instrumental music and finding a solution to the problem that confronted me in the specificity of the drama.” By general consensus this is the first opera in which the authentic Wagnerian voice emerges, both dramatically and musically.

Even so, Tannhäuser takes another significant leap forward, reminding us that even before he became caught up in the world of the Ring—and while still reworking vestiges of grand opera and working for the “establishment” in Dresden—Wagner was at the same time revolutionizing the idea itself of “descriptive” music. Laurence Dreyfus argues in his book Wagner and the Erotic Impulse that much of the intense polarization among the composer’s contemporaries resulted from the overwhelming effectiveness with which his music, through harmonic tensions, rhythmic suggestiveness, and colorful orchestration, could convey human desire and sensuality. Dreyfus calls Wagner “the first to develop a detailed musical language that succeeded in extended representations of erotic stimulation, passionate ecstasy, and the torment of love”—and this begins to happen in the “Venus” music at the center of the original version of the Tannhäuser Overture. Later, in his revised version of the opera for the disastrous Paris production in 1861, Wagner would infuse the score with what he had learned in composing Tristan; but even in 1845 he was anticipating this music of unbridled desire.

Eager as Wagner was to subvert (or reinterpret) the past in pursuit of his goals, he remained intent on the need to communicate with contemporary audiences. One reason his music acquired a parallel life in the concert hall from the very start was as the result of his tireless efforts at self-promotion. Wagner’s ambitious innovations necessitated long delays before such projects as the Ring cycle could be realized onstage. So he opted for a practical compromise and returned to his earlier métier as conductor, using the forum of orchestral concerts to try to keep his latest music in circulation. It’s interesting to note, as the expert Thomas Grey does, that Wagner’s urge to impart his ideas extended to the genre of program notes he pioneered not only for concert presentations of his own music, but for the emerging repertory of Beethoven. Without an actual staging of the music drama in question to orient his audience, writes Grey, “Wagner also sought to transmute [the relevant dramatic content] in ‘purely musical’ terms within the orchestral pieces” introducing such works as Tannhäuser, Lohengrin, Tristan und Isolde, and Parsifal.

The dream of the “invisible orchestra” that Wagner made a reality in Bayreuth (a concept for which, incidentally, Verdi also expressed admiration) was at heart motivated by the desire to make its music all the more immediate. Wagner’s frustrations with staging the Ring even led him to joke about inventing the “invisible theater.” As it happens, it was via concert arrangements of excerpts that the composer gave the public its first taste of the cycle while it was still a work in progress. The same holds for the epoch-making Prelude to Tristan und Isolde. And Wagner composed and conducted the Prelude to Die Meistersinger even before he had completed that opera.

Otherwise, there was a considerable time lag before audiences actually had an opportunity to hear the controversial compositions over which much ink had already been spilled through the years. For example, not until 1871 did an opera by Wagner receive its first performance in Italy. This was Lohengrin, already almost a quarter-century old. It soon entered the repertory there, although none of his later operas received a staging south of the Alps until after the composer’s death. Following years of reading about his radical ideas on opera and the future of music, the Italian public must have been struck by the presence of so many traditional elements of Romantic opera in this score, mixed as they were with innovations. But the latter are certainly evident in the orchestral music of the Prelude to Act I. Its shimmering sheets of divided violins can even be heard as a potential ancestor of Ligeti’s hovering micropolyphonic fabrics.

Meanwhile, this music from Lohengrin anticipates the total-immersion effect of the Tristan Prelude (or of Das Rheingold, for that matter, with which the Ring cycle commences—where it conjures the natural and elemental, as opposed to the spiritual in Lohengrin). In Tristan, Wagner achieves this by couching his bold, profoundly unsettling harmonic language in darkly muted orchestral textures. The

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Tristan Prelude distills the essence of the entire opera by suggesting the restless tug of desire. But more significant than its emotionally haunting character is the primacy that music has taken on, by this point in Wagner’s thinking, as the real locus of the drama. Much as in the final minutes of the Ring itself, it is left to the orchestra to resolve everything that has been experienced in the course of Tristan and Isolde’s passion story. Isolde’s final “transfiguration” (Wagner’s term for her farewell vision) builds to an oceanic climax that at last comes to rest on what Richard Strauss described as “the most beautifully orchestrated B major chord in the whole history of music.”

In the Ring itself, Wagner’s continually evolving leitmotif system guaranteed a central role for the orchestra as a lead character in its own right. Verbal utterances by the characters onstage are often merely tips of the iceberg. The orchestra resembles a primal unconscious, unveiling what is latent beneath. With his manipulations and recombinations of motifs, expressed through an increasingly nuanced range of timbres, Wagner even creates the illusion that the music is “thinking.” In the instrumental interludes Daniele Gatti has chosen from Götterdämmerung , the orchestra also strengthens the principle of epic narrative by wordlessly recalling past events from a long-range perspective.

That sense of recapitulation of what has been explored long ago permeates Parsifal. Like Verdi’s Requiem, Parsifal is both a summa of its composer’s art and a creation that is sui generis. At times Wagner recalls the dark timbres and tonal restlessness of Tristan, but with even more harrowing intensity. The music of Kundry—arguably the most fascinating in his entire gallery of characters—doesn’t so much convey the power of unappeasable desire as make vivid the suffering which is its consequence, and which, Wagner wants us to see, underlies existence itself. Love in the sense of sexual desire—the sense that, for the composer, was always an integral part of a loving relationship—is not the key to redemption but its obstacle, a distraction from the path of compassion. By the end of the opera—and of his career—Wagner cries out for “redemption to the redeemer,” still longing for the answers that his art has not succeeded in yielding.

THOMAS MAY writes about the arts for the Boston Symphony Orchestra program book and other publications. He is the author of “Decoding Wagner: An Invitation to his World of Music Drama” and the editor of “The John Adams Reader: Essential Writings of an American Composer.”

Igor Stravinsky“Pulcinella,” Ballet with song in one act, after Giambattista PergolesiIGOR FEDOROVICH STRAVINSKY was born at Oranienbaum, Russia, on June 17, 1882, and died in New York on April 6, 1971. The ballet “Pulcinella” was commissioned by Serge Diaghilev for his Ballets Russes company. Stravinsky began composing the music in September 1919 and completed the score on April 24, 1920. It was first performed on May 15, 1920, by the Ballets Russes at the Théâtre de l’Opéra, Paris, with Ernest Ansermet conducting, choreography by Léonide Massine, and décor and costumes by Pablo Picasso.

THE SCORE OF “PULCINELLA” (in the 1949 revision performed here) calls for two flutes (second doubling piccolo), two oboes, two bassoons, two horns, one trumpet, one trombone, a quintet of solo strings (two violins, viola, cello, and double bass), a medium-sized group of orchestral strings, and soprano, tenor and bass soloists.

“I looked, and I fell in love.”

Such was Igor Stravinsky’s recorded reaction when he saw the music by Italian composer Giambattista Pergolesi that became the basis for the charming neoclassical confection Pulcinella. It was indefatigable collector Serge Diaghilev, creator of the Ballets Russes, and Stravinsky’s collaborator on the “Russian” ballets The Firebird, Petrushka, and The Rite of Spring, who had unearthed the Pergolesi scores and other music of the same era while rummaging through various collections in Naples and London. In Paris in September 1919, he showed the materials to Stravinsky hoping that he would use them for a new ballet. What the impresario had in mind was a pastiche,

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something like two other highly successful ballets he had recently staged: The Good-Humored Ladies, with music by Domenico Scarlatti, orchestrated by Vincenzo Tommasini, and La Boutique fantasque , with music by Gioachino Rossini, orchestrated by Ottorino Respighi.

As later recorded by Robert Craft in Expositions and Developments , Stravinsky initially greeted Diaghilev’s proposal with skepticism. “When he said that the composer was Pergolesi, I thought he must be deranged. I knew Pergolesi only by the Stabat Mater and La serva padrona, and though I had just seen a production of the latter in Barcelona, Diaghilev knew I wasn’t in the least excited by it.” Known today primarily for his one-act comic opera La serva padrona (The Maid Turned Mistress), Pergolesi (1710-1736) lived a brief but colorful life, mostly in Naples, before dying of tuberculosis at age twenty-six. After looking through what Diaghilev had selected, Stravinsky changed his mind and immediately set to work. A week later, he had already arranged the piquant Tarantella, with its insistent string pizzicatos and distinctly modern feeling of perpetual motion.

With Diaghilev and dancer-choreographer Léonide Massine, Stravinsky worked out a scenario based on the characters and plots of the Neapolitan commedia dell’arte , still familiar from Neapolitan puppet theaters. Massine had recently spent time in Naples studying this tradition and its various stock characters. “I decided that the character of Pulcinella would best lend itself to balletic treatment,” Massine later recalled in his memoirs. “I delighted in his ever-changing gestures, his dangling legs, and his hook-nosed mask, with one side of the face laughing and the other crying.”

By the time Stravinsky returned to his home in Switzerland in late September, composition was already well underway. That the fashionable cubist artist Pablo Picasso had agreed to design the sets and costumes, for what would be his third collaboration with the Ballets Russes—following Erik Satie’s Parade and Manuel de Falla’s The Three-cornered Hat—surely increased Stravinsky’s enthusiasm. The two men had already met a few years earlier, and became friends. To seal the agreement for their first collaboration on Pulcinella, Picasso gave to Stravinsky a drawing of the commedia figures Pierrot and Harlequin, figures he had often portrayed in his paintings. Picasso’s modernist distortion of classical ideals likely influenced Stravinsky as he worked on the score.

The ballet’s flimsy plot was based on a single episode from a traditional Neapolitan comedy, “Four Identical Pulcinellas.” All the neighborhood girls love Pulcinella, driving their boyfriends to jealous distraction. The men decide to murder him, disguising themselves as Pulcinellas as part of the plan. But the real Pulcinella, aware of their malice, has cleverly changed places with a double, named Fourbo, who pretends to die from the attacks of his enemies. Now disguised as a magician, Pulcinella brings Fourbo back to life, amazing the townspeople. Finally, reappearing as himself, Pulcinella blesses the marriages of the young men and women and himself weds his sweetheart, Pimpinella. As the ballet ends, Fourbo becomes the magician, switching roles with Pulcinella.

Pulcinella was not the only stage work of the early twentieth century to draw upon the traditions of the commedia dell’arte . Numerous avant-garde directors, composers, and writers employed commedia techniques, characters, and plots as part of a broad reaction against the outworn realism of 19th-century art. Among the results were Arnold Schoenberg’s song cycle Pierrot Lunaire and several operas, including Richard Strauss’s Ariadne auf Naxos, Ferruccio Busoni’s Turandot, and Sergei Prokofiev’s Love for Three Oranges. Stravinsky’s own early ballet Petrushka (1911) also drew on commedia traditions surviving in puppet shows in 19th-century Russia.

Stravinsky had previous experience of orchestrating music by other composers (he had arranged and orchestrated the finale of Mussorgsky’s unfinished opera Khovanshchina for a 1913 Diaghilev production), but Pulcinella was his first major experience with “found” music. As he writes in his autobiography, he was not sure how to approach the challenge:

Should my line of action with regard to Pergolesi be dominated by my love or by my respect for his music? Is it love or respect that urges us to possess a woman? Is it not by love alone that we succeed in penetrating to the very essence of a being? But, then, does love diminish respect? Respect alone remains barren, and can never serve as a productive or creative factor. In order to create there must be a dynamic force, and what force is more potent than love?

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As Stravinsky’s work progressed, the project evolved from a task of mere arrangement of pre-existing music (as Diaghilev had envisioned) to something quite different. “I’m rewriting each piece and making a whole through timbre and modulation (tonality),” he wrote in a letter to publisher Otto Kling. Listening to Pulcinella, it is often difficult to tell where Pergolesi ends and where Stravinsky begins. The effect is in many ways similar to the one Sergei Prokofiev achieves in his Symphony No. 1 (Classical), completed in 1917, but without any “found” material. In fact, when Stravinsky asked Prokofiev to proofread the overture to Pulcinella, Prokofiev was astonished by the resemblance, as he wrote in his diary: “The ballet is written in antique style, and it is an extraordinary coincidence that three years ago I had composed my Classical Symphony and now Stravinsky, knowing nothing about this, had written a classical ballet.” A week later, after the premiere, Prokofiev attended a party where Diaghilev and Stravinsky engaged in a heated argument over Pulcinella. In response to Stravinsky’s insistence on the score’s originality, Diaghilev declared that “ Pulcinella had been through three phases of composition: 1) Pergolesi-Stravinsky; 2) Stravinsky-Pergolesi; and 3) Stravinsky à la Pergolesi.”

Stravinsky biographer Stephen Walsh has observed that Pulcinella mostly retains Pergolesi’s original tunes, although often distorted in phrase structure and meter. Nor does Stravinsky change the basic harmonic structure. His most radical idea is to superimpose upon Pergolesi’s music another layer of modern tricks—ornaments, orchestral effects, unusual dissonances, strange combinations of instruments, and extended ostinato lines. Those buzzing ostinatos are especially obvious in the “Scherzino” (weirdly colored with harmonics in the violin parts) or the “Serenata” (with obsessive trills). Musicologists still debate whether Pulcinella is a highly sophisticated arrangement or a new composition. There are moments, however, when Stravinsky’s own voice—the absolutely unique voice of Petrushka or The Rite of Spring—emerges loud and clear. The final measures of the finale (Allegro assai), packed with shifting accents, rapidly changing meter (between 2/4 and 3/4), and a manically repeated ascending trumpet phrase, take us back to the futuristic montage structure of the earlier ballet scores. This sounds like nothing that could possibly have been composed in early 18th-century Naples.

The premiere at the Paris Opera was a typically lavish affair. Picasso’s moonlit cubist Naples and inventive harlequin costumes suited the music well, and the production was acclaimed as one of the most beautiful ever mounted by the storied Ballets Russes. Massine himself danced the role of Pulcinella. The exuberant post-performance party was hosted by a Persian prince in a fake castle. Despite some anticipated criticism from those Stravinsky dismissed as “the custodians of scholastic tradition,” Pulcinella proved remarkably popular in the years to come, the first in an impressive series of neoclassical landmarks. It launched a new phase in his career, moving him further away from his Russian roots into a cosmopolitan internationalism. Later, Stravinsky arranged four different suites from the Pulcinella music.

Harlow Robinson

HARLOW ROBINSON is Matthews Distinguished University Professor of History at Northeastern University, and a frequent lecturer for the Boston Symphony Orchestra and Metropolitan Opera Guild. His books include “Sergei Prokofiev: A Biography” and “Russians in Hollywood, Hollywood’s Russians.”

THE FIRST AMERICAN PERFORMANCES of any music from “Pulcinella”—performed from manuscript, and identified in the printed program as “Suite No. 1” (see page 28)—was given by the Boston Symphony Orchestra with Pierre Monteux conducting on December 22 and 23, 1922, with further performances the next month in Brooklyn, New York City, Cambridge, and Providence.

THE FIRST BOSTON SYMPHONY PERFORMANCE of the complete “Pulcinella” took place at Tanglewood on August 6, 1954; Lukas Foss conducted, with soloists Regina Sarfaty, Jefferson Morris, and McHenry Boatwright. Subsequent BSO performances of the complete “Pulcinella” were given by Erich Leinsdorf (January 1965—the BSO’s only subscription performances prior to this week!—followed later that month by repeat performances in New Haven under Richard Burgin and at Carnegie Hall again under Leinsdorf, all with Helen Vanni, Jerold Siena, and Thomas Paul);

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Michael Tilson Thomas (July 1974 at Tanglewood, with Claudine Carlson, Kenneth Riegel, and David Evitts); Lukas Foss (July 1990 at Tanglewood, with Marilyn Horne, Jon Garrison, and Kevin McMillan); and Robert Spano (July 2001 at Tanglewood, with Katarina Karnéus, John Mark Ainsley, and David Pittsinger). Rafael Frühbeck de Burgos led the Tanglewood Music Center Orchestra in a more recent performance there, on August 3, 2009, with TMC Vocal Fellows Allison Angelo, Alex Richardson, and Alan Dunbar. Though this week’s performances are the BSO’s first Symphony Hall performances of the complete “Pulcinella” since Erich Leinsdorf’s in January 1965, the orchestra has performed the Suite from “Pulcinella” (or excerpts thereof) many times both at Symphony Hall and at Tanglewood between 1922 and 2009, most recently in April 2009 with Susanna Mälkki conducting.

IGOR STRAVINSKY

“Pulcinella,” Ballet with song in one act, after Giambattista Pergolesi

II. (Tenor)

Mentre l’erbetta While the lambpasce l’agnella, eats the grass,sola, soletta alone, all alonela pastorella the shepherd girlfra fresche frasche amid fresh branchesper la foresta cantando va. goes singing through the forest.

VII. (Soprano)Contento forse vivere Perhaps I could live contentnel mio martir potrei, in my martyrdomse mai potessi credere if I could ever believeche ancor lontan tu sei that, though far away, you stillfedele all’amor mio, remain faithful to my love,fedele a questo cor. faithful to this heart.

IX. (Bass)Con queste paroline With these little wordscosì saporitine, so piquantil cor voi mi scippate your heart upbraids medalla profondità. from the depths.Bella, restate qua, Fair one, stop there,che se più dite appresso, for if you speak moreio cesso morirò. I shall die.

X. (Soprano, Tenor, Bass)Sento dire no’nce pace I feel there is no peace,cor ma chiùpette, no no no. my heart, for you, no, no, no.

(Tenor)Chi disse ca la femmena Whoever says woman sacchiù de farfariello is like a butterfly,disse la verità. speaks the truth.Una te falan semprece One pays compliments

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ed è malezeiosa yet is malicious,n’antra fala schefosa another is nastyè bolo maritiello and wants to marry himchia chillo tene ancore who holds her still.

(Soprano)ncè sta quaccuna pò There is no one thenche a nullo vuole bene whom she treats well;è à cientoô frisco tene she takes a hundred new onesschitto pe scorco glià to bother them, too.

(Soprano and Tenor)è à tant’ ante malizie and has so much malicechi mailleppò conta, that you can never count it all,chi maille stà a repassà. you can never get past it.

(Tenor)Una te fallan zemprecce One pays complimentsed è malezeosa yet is maliciousn’antra fa la schefosa another is nastye bò lo maritiello and wants to marry.ncè stà quaccuno pò There is no one thenche a nullo ude tene whom she treated well,che a chillo ten’ ancora who holds her stille a chisto fegne ammore and whom she feigns to love;e cienton frisco schitto she takes a hundred new onespe scorco glià to bother them, too,è tante, tant’antre malizie and many, many other malicious acts,chi maille pò contà. who can count them all?

XIII. (Soprano)Se tu m’ami se tu sospiri If you love me, if you sighsol per me gentil pastor only for me, gentle shepherd,ho dolor de’ tuoi martiri, I grieve for your martyrdom,ho diletto del tuo amor, I take delight in your love.ma se pensi che soletto But if you think thatio ti debbari amar, I can love only you,pastorello, sei soggetto little shepherd, you arefacilmente a t’ingannar. easily fooling yourself.Bella rosa porporina A lovely crimson roseoggi Silvia sceglierà, Sylvia will select today,con la scusa della spina but tomorrow, using the excuse ofdoman poi la sprezzorà, the thorns, she will spurn it.Ma degli uomini il consiglio But the advice of menio per me non sequirò, I, for myself, will not follow;non perchè me piace il giglio it is not because the lily pleases megli altri fiori sprezzerò. that I spurn the other flowers.

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XVII. (Trio)Pupilette fiammette d’amore Pupil of her eyes, Cupid’s little flamesper voi il core for you my heartstruggendo si va. goes on languishing.

English translation by Steven Ledbetter with assistance in the Neapolitan texts from Peppino Natale

Joseph HaydnMass No. 10 in C, “Mass in Time of War,” Hob. XXII:9FRANZ JOSEPH HAYDN was born at Rohrau, Lower Austria, on March 31, 1732, and died in Vienna on May 31, 1809. He composed the “Mass in Time of War” (“Missa in tempore belli” in Latin; “Kriegsmesse” in German; also known in German as the “Paukenmesse”—“Kettledrum Mass”) in 1796; it had its first performance probably on December 26 (St. Stephen’s Day) that year, at the Piaristen Church in Vienna, with Haydn himself conducting from the organ.

IN ADDITION TO THE VOCAL SOLOISTS AND CHORUS, the score of the “Mass in Time of War” originally called for an orchestra of two oboes, two clarinets, two bassoons, two trumpets/two horns (with the same players alternating between the instruments), timpani, strings, and organ. At some point, possibly even before the first performance, Haydn added supplementary horn parts (to be played by different musicians, since these were added to movements that already had trumpet parts), enlarged clarinet parts, and a flute.

The great works of Haydn’s last years were in the realm of vocal music. For a decade after writing the last of his symphonies, Haydn, universally acknowledged as the greatest living composer, turned out two great oratorios—The Seasons and The Creation—and a half-dozen splendid Mass settings. The oratorios became the most popular of all his compositions at the end of his life, and they have generally retained that popularity. The Masses, too, were very well known in Austria and southern Germany, more frequently performed even than the symphonies, since every large church had occasion to provide elaborate music for particular feasts. This was so much the case that a composer like Anton Bruckner, who came from provincial Upper Austria, grew up knowing Haydn’s Masses inside out, while rarely hearing his symphonies. To this day in Vienna there are churches that celebrate the Sunday liturgy with a Mass setting (complete with orchestra) by Haydn or one of his great confrères, Mozart, Beethoven, or Schubert. In the largely Protestant countries of northern Europe and North America, however, Haydn’s Mass settings remain, with few exceptions, little known. And even when we do hear them, they are torn out of their intended liturgical context and performed in concert settings, a far cry from what the composer intended.

It is surely better to hear them that way than not at all, but it is also important to bear in mind the major difference between the two modes of performance. In concert, we listen to the principal sections (Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei) one after the other, without pause. When performed as part of the liturgy, these sections are separated, sometimes widely, by certain liturgical actions, prayers, and other music. The listener in church hears Haydn’s Mass broken up into three substantial “pieces.” The Kyrie and Gloria come together; then, after a substantial break, the Credo stands alone; finally the Sanctus, Benedictus, and Agnus Dei come, one on the heels of the other, near the end of the service. Haydn therefore conceived his Mass settings as three related works, each laid out in the form of a “vocal symphony” consisting of several movements. The first and last of these were always in the same key, and there was always a slow movement in a contrasting key. (The one normal “symphonic” element that was naturally not part of the Mass setting was the minuet or other dance movement.) In planning this large structure, Haydn created powerful and beautiful works of extraordinary musical unity.

The Mass in Time of War was composed in 1796, a year that saw the composition of two large Mass settings by Haydn. There has been scholarly debate as to whether this one or the Missa Sancti

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Bernardi de Offida in B-flat came first. The consensus today is that the present Mass in C was the second such work of the year, and that it was first performed at a particularly festive celebration in Vienna for the first Mass celebrated by a newly ordained priest, Joseph von Hofmann, whose father was the head of the financial department in the War Ministry; it was evidently he who commissioned a Mass from Haydn for this event and who, no doubt, paid for the elaborate orchestra.

Though composed for a festive event, and filled, for the most part, with festive music, Haydn’s Mass also reflects the military situation between Austria and her allies against the French army under Napoleon (who had been appointed commander-in-chief of the French army the previous March and begun by winning a series of striking victories). War fever had gripped Vienna in the fall, and composers gave patriotic concerts to raise money for a new volunteer army corps. The occasional references to military sounds—particularly the ominous drumroll in the Agnus Dei, which gave the work its various nicknames—should be heard in the light of this political background.

Steven Ledbetter

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

THERE HAVE BEEN FOUR PREVIOUS BSO PERFORMANCES of Haydn’s “Mass in Time of War,” all of them at Tanglewood: on July 21, 1963, Erich Leinsdorf conducting, with the Festival Chorus and soloists Jeanette Scovotti, June Genovese, Nicholas DiVirgilio, and George Hofman; on July 18, 1976, Seiji Ozawa conducting, with the Tanglewood Festival Chorus (John Oliver, conductor) and soloists Phyllis Bryn-Julson, Gwendolyn Killebrew, Enoch Sherman, and Barry McDaniel; on August 7, 1998, Trevor Pinnock conducting, with the Tanglewood Festival Chorus and soloists Lisa Saffer, Paula Rasmussen, Greg Fedderly, and Roberto Scaltriti; and on August 12, 2007, Rafael Frühbeck de Burgos conducting, with the Tanglewood Festival Chorus and soloists Sally Matthews, Paula Murrihy, Eric Cutler, and Dietrich Henschel. This week’s performances of Haydn’s “Mass in Time of War” are the first by the BSO at Symphony Hall.

JOSEPH HAYDN

Mass No. 10 in C, “Mass in Time of War,” Hob. XXII:9

KYRIEKyrie eleison. Lord, have mercy upon us.Christe eleison. Christ, have mercy upon us.Kyrie eleison. Lord, have mercy upon us.

GLORIAGloria in excelsis Deo, Glory be to God on high,et in terra pax hominibus and on earth peace to men bonae voluntatis. of good will.Laudamus te, benedicimus te, We praise thee, we bless thee,adoramus te, glorificamus te. we worship thee, we glorify thee.Gratias agimus tibi We give thanks to thee propter magnam gloriam tuam. for thy great glory.Domine Deus, rex coelestis, Lord God, heavenly king,O Deus Pater omnipotens, God the Father almighty,Domine Fili unigenite O Lord, the only-begotten sonJesu Christe, Jesus Christ,Domine Deus, Agnus Dei, O Lord God, Lamb of God, Filius Patris, Son of the Father,

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Qui tollis peccata mundi, that takest away the sins of the world,miserere nobis, have mercy upon us, suscipe deprecationem nostram. receive our prayer.Qui sedes ad dexteram Patris, Thou that sittest at the right hand

of the father, miserere nobis. have mercy upon us.Quoniam tu solus sanctus, For thou alone art holy; tu solus Dominus, thou only art the Lord; tu solus altissimus thou only, O Jesus Christ, art Jesu Christe, most high,Cum sancto Spiritu With the Holy Ghost,in gloria Dei Patris, Amen. in the glory of God the Father, Amen.

CREDOCredo in unum Deum, I believe in one God,Patrem omnipotentem, the Father Almighty, factorem coeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium, and of all things visible and invisible, et in unum Dominum Jesum Christum, and in one Lord, Jesus Christ, Filium Dei unigenitum; the only-begotten Son of God, et ex Patre natum ante omnia saecula; begotten of his Father before all worlds, Deum de Deo, lumen de lumine, God of God; light of light,Deum verum de Deo vero; very God of very God; genitum, non factum, begotten, not made, consubstantialem Patri, being of one substance with the Father,per quem omnia facta sunt; by whom all things were made; qui propter nos homines who for us men et propter nostram salutem and for our salvation descendit de coelis. came down from heaven.Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost ex Maria virgine, et homo factus est. of the Virgin Mary, and was made man.Crucifixus etiam pro nobis, And was crucified also for us, sub Pontio Pilato passus under Pontius Pilate he sufferedet sepultus est. and was buried.Et resurrexit tertia die And the third day he rose again secundum scripturas; according to the Scriptureset ascendit in coelum, and ascended into heaven, sedet ad dexteram Patris; and sitteth at the right hand of

the Father;et iterum venturus est cum gloria and he shall come again with glory judicare vivos et mortuos; to judge the quick and the dead; cuius regni non erit finis. whose reign shall have no end.Et in Spiritum sanctum, And in the Holy Ghost, Dominum et vivificantem, the Lord and Giver of life,qui ex Patre Filioque procedit, who proceedeth from the Father to the Son,qui cum Patre et Filio simul who with the Father and the Son together adoratur et conglorificatur, is worshipped and glorified,

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qui locutus est per Prophetas. who spake by the Prophets.Et unam sanctam catholicam et And in one holy catholic and apostolicam ecclesiam. apostolic church. Confiteor unum baptisma in I acknowledge one baptismremissionem peccatorum. for the remission of sins,Et expecto resurrectionem And I look for the resurrection of mortuorum, the dead, et vitam venturi saeculi. and the life of the world to come. Amen. Amen.

SANCTUSSanctus, sanctus, sanctus, Dominus Holy, holy, holy is the Lord Deus Sabaoth. God of hosts.Pleni sunt coeli et terra gloria eius. Heaven and earth are full of his glory. Osanna in excelsis. Hosanna in the highest.Benedictus qui venit Blessed is he that comethin nomine Domini. in the name of the Lord.Osanna in excelsis. Hosanna in the highest.

AGNUS DEIAgnus Dei, qui tollis peccata O Lamb of God, that takest away the mundi, miserere nobis, sins of the world, have mercy upon us, Agnus Dei, qui tollis peccata O Lamb of God, that takest away the mundi, miserere nobis, sins of the world, have mercy upon us,Agnus Dei, qui tollis peccata O Lamb of God, that takest away the mundi, dona nobis pacem. sins of the world, grant us peace.

To Read and Hear More...Stephen Walsh, who wrote the Stravinsky article in the 2001 Grove Dictionary of Music and Musicians, is also author of a two-volume Stravinsky biography: Stravinsky–A Creative Spring: Russia and France, 1882-1934 and Stravinsky–The Second Exile: France and America, 1934-1971 (Norton). The 1980 Grove entry was by Eric Walter White, author of the crucial reference volume Stravinsky: The Composer and his Works (University of California). Other useful books include The Cambridge Companion to Stravinsky , edited by Jonathan Cross, which includes a variety of essays on the composer’s life and works (Cambridge University Press) and Michael Oliver’s Igor Stravinsky in the wonderfully illustrated series “20th-Century Composers” (Phaidon paperback). If you can find a used copy, Stravinsky in Pictures and Documents by Vera Stravinsky and Robert Craft offers a fascinating overview of the composer’s life (Simon and Schuster). Craft, who worked closely with Stravinsky for many years, has also written and compiled numerous other books on the composer. Noteworthy among the many specialist publications are Confronting Stravinsky: Man, Musician, and Modernist, edited by Jann Pasler (California), and Richard Taruskin’s two-volume, 1700-page Stravinsky and the Russian Traditions: A Biography of the Works through “Mavra ,” which treats Stravinsky’s career through the early 1920s (University of California).

Recordings of the complete Pulcinella, including the vocal numbers for soprano, tenor, and bass, include Stravinsky’s own, with the Cleveland Orchestra (Sony, monaural, from 1953), Pierre Boulez’s with the Chicago Symphony (CSO Resound), Robert Craft’s with the Philharmonia Orchestra (Naxos), Claudio Abbado’s with the London Symphony Orchestra (Deutsche Grammophon), and Stefan Sanderling’s with the Bournemouth Sinfonietta (also Naxos). Recordings of the more frequently encountered Suite from Pulcinella include Leonard Bernstein’s with the New

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York Philharmonic (Sony), Pierre Boulez’s with the BBC Symphony Orchestra (Sony), and the conductor-less Orpheus Chamber Orchestra’s (Deutsche Grammophon).

The main resource for information on Haydn and his music is the massive, five-volume study Haydn: Chronology and Works by H.C. Robbins Landon. The Mass in Time of War is discussed in Volume IV, “Haydn: The Years of The Creation, 1796-1800” (Indiana University Press). A very useful single-volume source of information on Haydn and his music is Haydn, edited by David Wyn Jones, in the short-lived series “Oxford Composer Companions” (Oxford University Press). The Haydn entry in the 2001 New Grove Dictionary of Music and Musicians is by James Webster with a work-list by Georg Feder. This has also appeared as a single paperback volume, The New Grove Haydn (Oxford paperback). The entry from the 1980 edition of Grove—article by Jens Peter Larsen, work-list by Feder—was reprinted as an earlier version of The New Grove Haydn (Norton paperback). Another convenient introduction is provided by Rosemary Hughes’s Haydn in the Master Musicians series (Littlefield paperback). Karl Geiringer’s Haydn: A Creative Life in Music has been reprinted by University of California Press. (Geiringer also wrote important biographies of J.S. Bach and Johannes Brahms.) If you can track down a used copy, László Somfai’s copiously illustrated Joseph Haydn: His Life in Contemporary Pictures provides a fascinating view of the composer’s life, work, and times (Taplinger).

Conductors who have recorded Haydn’s Mass in Time of War include, among others, Leonard Bernstein (Sony and Deutsche Grammophon), John Eliot Gardiner (Philips), Nikolaus Harnoncourt (Teldec), Richard Hickox (Chandos), James Levine (Deutsche Grammophon), Sir Neville Marriner (EMI), and Bruno Weil (Sony Vivarte).

Marc Mandel

Guest Artists

Rafael Frühbeck de Burgos

A regular guest with North America’s notable orchestras, Rafael Frühbeck de Burgos conducts the major ensembles of Boston, Cincinnati, Detroit, Los Angeles, New York, Pittsburgh, and Toronto in the 2012-13 season. He appears annually at Tanglewood, where he conducts both the Boston Symphony Orchestra and the Tanglewood Music Center Orchestra, and regularly with the Chicago Symphony, National Symphony, and Philadelphia Orchestra. Born in Burgos, Spain, in 1933, Rafael Frühbeck de Burgos studied violin, piano, music theory, and composition at the conservatories in Bilbao and Madrid, and conducting at Munich’s Hochschule für Musik, where he graduated summa cum laude and was awarded the Richard Strauss Prize. From 2004 to 2011 he was chief conductor and artistic director of the Dresden Philharmonic; in the current season he assumes his post as chief conductor of the Danish National Orchestra. He has made extensive tours with such ensembles as the Philharmonia of London, the London Symphony Orchestra, the National Orchestra of Madrid, and the Swedish Radio Orchestra, and has toured North America with the Vienna Symphony, the Spanish National Orchestra, and the Dresden Philharmonic. Named Conductor of the Year by Musical America in 2011, he has received numerous other honors and distinctions, among them the Gold Medal of the City of Vienna, the Bundesverdienstkreuz of the Republic of Austria and Germany, the Gold Medal from the Gustav Mahler International Society, and the Jacinto Guerrero Prize, Spain’s most important musical award, conferred in 1997 by the Queen of Spain. In 1998 Rafael Frühbeck de Burgos was appointed Emeritus Conductor by the Spanish National Orchestra. He has received an honorary doctorate from the University of Navarra in Spain and since 1975 has been a member of the Royal Academy of Fine Arts of San Fernando. Rafael Frühbeck de Burgos has recorded extensively for EMI, Decca, Deutsche Gramophone, Columbia (Spain), and Orfeo, including acclaimed releases of Mendelssohn’s Elijah and St. Paul, Mozart’s Requiem, Orff’s Carmina burana, Bizet’s Carmen, and the complete works of Manuel de Falla. Rafael Frühbeck de Burgos made his Boston Symphony Orchestra debut in January 1971. Since an August 2000 appearance at Tanglewood, he has been a frequent guest leading the BSO in a wide range of repertoire both at Symphony Hall and at Tanglewood, most recently for two subscription weekends in October and November 2011, leading music of Schumann, Strauss, Haydn, and Wagner; and at Tanglewood in August 2012, leading music of Albéniz, Falla, Harbison, and the BSO’s season-ending performance of Beethoven’s Ninth

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Symphony. Also last summer at Tanglewood he led the Tanglewood Music Center Orchestra in music of Beethoven and Bartók for the annual Leonard Bernstein Memorial Concert.

Alexandra Coku

Soprano Alexandra Coku has sung Pamina in Mozart’s Die Zauberflöte in more than 110 performances in such major international opera houses as the Wiener Staatsoper, Bayerische Staatsoper, Frankfurt Opera, Cologne Opera, Düsseldorf Opera, Houston Grand Opera, and New York City Opera. She has sung the Countess in Le nozze di Figaro in Dresden, Marseille, Toulouse, Cologne, Düsseldorf, and Pittsburgh; her other Mozart roles include Fiordiligi in Così fan tutte, Donna Elvira in Don Giovanni, Constanze in Die Entführung aus dem Serail, Elettra in Idomeneo, Sandrina in La finta giardiniera , Ismene in Mitridate, re di Ponto , and Celia in Lucio Silla. Ms. Coku has had starring roles in European and American festivals, among them the title role in Handel’s Agrippina at Zurich Opera (under Mark Minkowski), Dijon and Lille Opera (under Emmanuelle Haim), Teatro Sa~o Carlos Lisbon, and Glimmerglass Festival Opera, and Rosmene in Handel’s Imeneo at the Händel Festival Halle. She triumphed as Lora in Wagner’s Die Feen at both the Dresden and Ludwigsburg festivals. At Houston Grand Opera, Ms. Coku made an acclaimed debut, alongside Susan Graham, as Ginevra in Handel’s Ariodante. Among her other notable roles are Ellen Orford in Britten’s Peter Grimes, Antonia and Giulietta in Offenbach’s Tales of Hoffmann, and Euridice in Gluck’s Orfeo ed Euridice, with which she made her debut at the Royal Opera House–Covent Garden. Ms. Coku earned acclaim for her first Marschallin in Strauss’s Der Rosenkavalier alongside bass Günther Missenhardt in Bern, Switzerland, followed by Mozart’s Così fan tutte on tour with Cercle de l’Harmonie under Jérémie Rhorer. Other recent highlights include acclaimed debuts with both the Boston Symphony Orchestra and Chicago Symphony Orchestra, a return to Lisbon for the title role in Agostino Steffani’s Niobe, regina di Tebe, and enormous success as Elettra in Idomeneo at the Théâtre des Champs-Élysées, in Stephane Braunschweig’s new production under Jérémie Rhorer. With Mr. Rohrer and Le Cercle de l’Harmonie she toured in a program of Beethoven concert arias, a recording of which was recently released. An active concert and recording artist, Alexandra Coku is a regular guest of the Amsterdam Concertgebouw, Leipzig Gewandhaus, and Berliner Konzerthaus. Her recordings include Schumann’s Das Paradies und die Peri under John Eliot Gardiner, Mahler’s Fourth Symphony with the Netherlands Philharmonic under Hartmut Haenchen, and Mendelssohn’s Elijah with the Frankfurt Opera Orchestra under Sylvain Cambreling; Dvoˇrák’s Stabat Mater in the premiere recording of its original version, with Accentus conducted by Laurence Equilbey; Beethoven’s Missa Solemnis with the Aachen Sinfonie Orchester, Marcus Bosch conducting, and a world premiere recording of Lieder by Eduard Marxsen with Anthony Spiri. Alexandra Coku received her bachelor’s degree in English literature from Stanford University and a master of music degree from Indiana University, where she studied with Margaret Harshaw. Her only previous appearance with the Boston Symphony Orchestra was in November 2010, in music from Falla’s Atlàntida with Rafael Frühbeck de Burgos conducting.

Karen Cargill

Scottish mezzo-soprano Karen Cargill studied at the Royal Scottish Academy of Music and Drama, Glasgow, the University of Toronto, and the National Opera Studio, London; she was the joint winner of the 2002 Kathleen Ferrier Award. Recent and future engagements include a recital at London’s Wigmore Hall with Simon Lepper, a concert with the Nash Ensemble, a duo-recital with Sally Matthews, her Carnegie Hall debut, and further recitals with Sally Matthews at the Amsterdam Concertgebouw and Oper Stuttgart, all accompanied by Simon Lepper, with whom Ms. Cargill will also give a recital for BBC Scotland. Concert plans this season and beyond include Verdi’s Requiem with the Rotterdam Philharmonic and Yannick Nézet-Séguin, with Montreal’s Orchestre Métropolitain, and in Essen; Schoenberg’s Gurrelieder with the Berlin Philharmonic and Sir Simon Rattle; Stravinsky’s Pulcinella with the Boston Symphony Orchestra; Mahler’s Das Lied von der Erde with the Scottish Chamber Orchestra and Robin Ticciati; Mahler’s Symphony No. 8 with the Frankfurt Radio Symphony Orchestra and Paavo Järvi, and Bach’s St. Matthew Passion with the Philadelphia Orchestra and Nézet-Séguin. Opera plans include returns this season to the Metropolitan Opera for Waltraute in Götterdämmerung and Anna in Les Troyens; in 2014 at the Met she will sing

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Magdalene in Die Meistersinger von Nürnberg . She will make her Royal Opera–Covent Garden debut singing the First Norn in Wagner’s Ring cycle with Anthony Pappano, and will be Béatrice in a concert performance of Berlioz’s Béatrice et Bénedict with the SCO and Ticciati . Ms. Cargill has also appeared with Scottish Opera as Rosina in The Barber of Seville and as Isabella in L’italiana in Algeri, and with English National Opera as Suzuki in Madama Butterfly. Regular UK appearances include concerts with the BBC Symphony and Philharmonic orchestras, as well as the Hallé Orchestra, Royal Liverpool Philharmonic, London Philharmonic, and London Symphony Orchestra. In the 2009-10 season she was artist-in-association of the Scottish Chamber Orchestra, where she sang Berlioz’s La Mort de Cléopâtre and L’Enfance du Christ and Wagner’s Wesendonck Lieder. Regular visits to the BBC Proms have included Mahler’s Symphony No. 3 with the BBC Scottish Symphony and Donald Runnicles; Mendelssohn’s Elijah with Kurt Masur, and Constant Lambert’s The Rio Grande at Last Night of the Proms, as well as Waltraute in Götterdämmerung and Mahler’s Das Lied von der Erde, both with Runnicles. Past highlights have included Berlioz’s L’Enfance du Christ and Verdi’s Requiem with the London Symphony Orchestra and Sir Colin Davis; Waltraute in Götterdämmerung with the Berlin Philharmonic and Sir Simon Rattle, and for Deutsche Oper Berlin; Berlioz’s Les Nuits d’été with the London Philharmonic, Swedish Radio Symphony Orchestra, and Scottish Chamber Orchestra under Robin Ticciati; and Mahler’s Symphony No. 2 with the London Symphony and Michael Tilson Thomas, with the Boston Symphony and James Levine, and at the 2011 Edinburgh Festival with the BBC Scottish Symphony and Runnicles. Karen Cargill made her Tanglewood debut in July 2010 in Mahler’s Symphony No. 3 with Michael Tilson Thomas and the Tanglewood Music Center Orchestra, and her BSO debut in Mahler’s Symphony No. 2 with James Levine in October of that year.

Matthew Polenzani

One of the most acclaimed lyric tenors of his generation, Matthew Polenzani has been praised for his concert and operatic appearances on leading international stages. In the 2012-13 season he stars opposite Anna Netrebko in the Metropolitan Opera’s opening night gala of L’elisir d’amore, appears in the title role in a new San Francisco Opera production of The Tales of Hoffmann opposite Natalie Dessay, sings the title role of Werther in Lyric Opera of Chicago’s new production, and returns to the Vienna State Opera as the Duke in Rigoletto. Concert engagements include Stravinsky’s Pulcinella with Rafael Frühbeck de Burgos conducting the Boston Symphony Orchestra, and with Sir Simon Rattle conducting the Berlin Philharmonic. His European recital tour through Amsterdam, London, and Frankfurt will include songs of Liszt, Ravel, Satie, and Barber. Last season Mr. Polenzani returned to the Metropolitan Opera for La traviata and Don Giovanni, also performing the latter work at the Royal Opera–Covent Garden; returned to La Scala for Manon and to Lyric Opera of Chicago in the title role of The Tales of Hoffmann; and sang Verdi’s Requiem at the Teatro San Carlo under Riccardo Muti. Highlights of past Metropolitan Opera seasons include new productions of La traviata, Die Zauberflöte, Les Troyens, and Salome, and revivals of Don Pasquale, L’elisir d’amore, Don Giovanni, Roméo et Juliette, Il barbiere di Siviglia , Così fan tutte, Falstaff, Die Meistersinger von Nürnberg, and L’italiana in Algeri . To date he has sung over 250 performances at the Met, many conducted by his musical mentor James Levine. Appearances with other American companies include La traviata, Roméo et Juliette, and Die Entführung aus dem Serail with Lyric Opera of Chicago, the latter work also with San Francisco Opera; and Die Zauberflöte with James Conlon at Los Angeles Opera. In Europe he has sung at the Royal Opera House–Covent Garden, Opéra National de Paris, Vienna State Opera, La Scala, and Bavarian State Opera. Other European appearances include engagements in Salzburg, Aix en Provence, Florence, Rome, Naples, and Frankfurt. He has collaborated with conductors including Boulez, Conlon, Sir Colin Davis, Frühbeck de Burgos, Levine, López-Cobos, Maazel, Muti, Sawallisch, and Welser-Möst, as well as with major orchestras both in the United States and Europe. In recital he has appeared with Julius Drake at Wigmore Hall, Lincoln Center’s Alice Tully Hall, Celebrity Series Boston at Jordan Hall, and the Philadelphia Chamber Music Society, and at the Verbier Festival with pianist Roger Vignoles (commercially available on CD). He recently presented Janáˇcek’s The Diary of One Who Vanished at Zankel Hall with pianist Richard Goode. He was the recipient of the 2004 Richard Tucker Award and the Metropolitan Opera’s 2008 Beverly Sills Artist Award. Matthew Polenzani made his BSO debut in Berlioz’s Roméo et Juliette in December 2004, subsequently returning for BSO performances of

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Berlioz’s Requiem and Te Deum, Schoenberg’s Gurrelieder, Mozart’s Don Giovanni (as Don Ottavio in a Tanglewood concert performance), Beethoven’s Fidelio (as Jaquino in concert performances at Symphony Hall), Act III of Wagner’s Die Meistersinger von Nürnberg (as David in a concert performance with the Tanglewood Music Center Orchestra), and Beethoven’s Ninth Symphony (his most recent BSO appearances, in November 2009).

David Pittsinger

Having appeared on the world’s leading opera and concert stages in Vienna, Salzburg, Brussels, Paris, Tanglewood, Pesaro, New York, Santa Fe, Cincinnati, Los Angeles, and San Francisco, American bass-baritone David Pittsinger is at home in Baroque through contemporary opera, as well as musical theater. He has appeared in four HD Live broadcasts from the Metropolitan Opera: as Comte des Grieux in Manon with Anna Netrebko, as Le Spectre in Hamlet, as Angelotti in Tosca, and as the Speaker in the Julie Taymor production of The Magic Flute. Also at the Met he has appeared in La bohème, The Rake’s Progress, and Giulio Cesare. Recent and upcoming role debuts include Roy Disney in the world premiere of Philip Glass’s The Perfect American at Madrid’s Teatro Real with English National Opera, King Arthur in Camelot at Glimmerglass, Jochanaan in Salome at Portland Opera, and Marquis de la Force in Dialogues of the Carmelites at the Met. A recital performer of both the classical and American Songbook literature, he has also commissioned new works, most recently Scott Eyerly’s Arlington Sons, premiered with the Pittsburgh Symphony and Leonard Slatkin in October 2012. Signature roles include the title roles in Boito’s Mefistofele, Massenet’s Don Quichotte, and Mozart’s Don Giovanni; Mephistopheles in Gounod’s Faust, and the Four Villains in Les Contes d’Hoffmann, as well as Figaro and Count Almaviva in Le nozze di Figaro, Nick Shadow in The Rake’s Progress, Scarpia in Tosca, and Escamillo in Carmen. Recent highlights include creating the role of Eugene O’Neill in the world premiere of Jeanine Tessori and Tony Kushner’s A Blizzard on Marblehead Neck at Glimmerglass; performing—on the same day—in the Met’s Hamlet and on Broadway in Lincoln Center Theater’s production of South Pacific; being nominated for the Helen Hayes Award for Best Leading Actor as Emile de Becque in South Pacific (Lincoln Center Theater national tour at the Kennedy Center); and appearing in a musicale for the Supreme Court Justices. His recordings include Charles Ives Songs (Naxos), Carlisle Floyd’s Susannah (Virgin Records), and Verdi’s Simon Boccanegra (Ricercar), as well as the upcoming release of “Rodgers & Hammerstein at the Movies” (EMI). A Connecticut native, and a graduate of the University of Connecticut and Yale School of Music, David Pittsinger received the University of Connecticut School of Fine Arts Alumni Award in 2006. He resides on the Connecticut shoreline with his wife, soprano Patricia Schuman, and his twin children Maria and Richard. Mr. Pittsinger’s only previous Boston Symphony appearance was in Stravinsky’s Pulcinella in July 2001 at Tanglewood.

Tanglewood Festival ChorusJohn Oliver, ConductorThis season at Symphony Hall with the Boston Symphony Orchestra, the Tanglewood Festival Chorus sings in Gershwin’s Porgy and Bess with conductor Bramwell Tovey to open the subscription season, the operatic double bill of Stravinsky’s The Nightingale and Ravel’s L’Enfant et les sortilèges with Charles Dutoit in October, Verdi’s Requiem with Daniele Gatti in January, Haydn’s Mass in Time of War with Rafael Frühbeck de Burgos in February, and Mahler’s Symphony No. 3 with Daniele Gatti in March. Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of members who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tanglewood season, the chorus originally numbered 60 well-trained Boston-area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now numbering some 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with

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the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s 40th anniversary.

The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s Ein deutsches Requiem , and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus.

Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long International Choral Festival given in and around Toronto. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics, and can also be heard on the soundtracks to Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan .

TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John OliverJohn Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 900 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. He has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith

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Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In February 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March.

In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide-ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem . John Oliver made his Montreal Symphony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achievement Award, presented by Choral Arts New England in recognition of his outstanding contributions to choral music.

Tanglewood Festival ChorusJohn Oliver, Conductor(Haydn Mass in Time of War, February 21, 22, 23, and 26, 2013)

In the following list, § denotes membership of 40 years, * denotes membership of 35-39 years, and # denotes membership of 25-34 years.

SOPRANOS

Michele Bergonzi# • Joy Emerson Brewer • Alison M. Burns • Jeni Lynn Cameron • Catherine C. Cave • Emilia DiCola • Christine Pacheco Duquette # • Bonnie Gleason • Beth Grzegorzewski • Eileen Huang • Nancy Kurtz • Barbara Abramoff Levy§ • Sarah Mayo • Jaylyn Olivo • Laurie Stewart Otten • Reina Marielena Powell • Adi Rule • Laura C. Sanscartier • Judy Stafford • Nora Anne Watson

MEZZO-SOPRANOS

Virginia Bailey • Lauren A. Boice • Janet L. Buecker • Abbe Dalton Clark • Diane Droste • Paula Folkman# • Dorrie Freedman* • Irene Gilbride# • Denise Glennon • Betty Jenkins • Irina Kareva • Yoo-Kyung Kim • Gale Tolman Livingston # • Louise-Marie Mennier • Tracy Elissa Nadolny • Lori Salzman • Kathleen Hunkele Schardin • Elodie Simonis • Lelia Tenreyro-Viana • Cindy M. Vredeveld

TENORS

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John C. Barr# • Stephen Chrzan • Andrew Crain • Sean Dillon • Tom Dinger • Ron Efromson • Keith Erskine • J. Stephen Groff # • David Halloran# • Stanley G. Hudson# • Jordan King • Daniel Mahoney • Mark Mulligan • Dwight E. Porter * • Guy F. Pugh • Tom Regan • David Roth • Joshuah Rotz • Arend Sluis

BASSES

Nathan Black • Daniel E. Brooks# • Michel Epsztein • Mark Gianino • Jim Gordon • David M. Kilroy • Bruce Kozuma • Ryan M. Landry • Lynd Matt • Stephen H. Owades § • Donald R. Peck • Bradley Putnam • Peter Rothstein * • Jonathan Saxton • Karl Josef Schoellkopf • Jayme Stayer • Samuel Truesdell • Thomas C. Wang # • Terry L. Ward

William Cutter, Rehearsal ConductorMartin Amlin, Rehearsal PianistErik Johnson, Chorus ManagerBridget L. Sawyer-Revels, Assistant Chorus Manager