2015-2016 season
BOSTON PHILHARMONIC
&
boston philharmonic youth orchestra
BENJAMIN ZANDER conductor
A message from our Music Director
Dear Friends,
In this, my yearly letter to you, I want to speak to you first about the Boston Philharmonic Youth Orchestra. You may have noticed
that on the cover of this brochure the names of the youth orchestra and of the BPO itself are presented with equal prominence.
This is not an accident. It is our way of announcing that the BPYO can stand on a par with any professional orchestra.
What an astounding idea! An orchestra of “kids” aged 12 to 21 having something to offer that is in any way equivalent to an orchestra of top professionals, but it really is so! Last April the BPYO performed the entire third act of Wagner’s tremendous opera
Siegfried. No other youth orchestra in the world, ever, has undertaken this formidable musical challenge, famously daunting to
even the orchestras of the greatest opera houses.
Stefan Vinke, the world-famous Siegfried who sang with us and who has performed the role all over the world, wrote to me afterwards: “I’m overwhelmed by the quality of this young orchestra! I have never heard the long solo for the first violin section so
beautifully played in any of the great opera houses of Europe.” And here is pianist, MIT professor and longtime Wagnerian David
Deveau: “The sound and style the BPYO produced would be the envy of most provincial European opera houses—and even some
major ones. This is extraordinary Wagner playing, and music making of a very high order.”
So I am writing to you to urge you to place the dates of the concerts of the Boston Philharmonic Youth Orchestra on your calendar,
along with the other BPO dates. There is no greater gift I can give you, except perhaps making the first concert of the BPYO a FREE
concert, enabled by a generous grant from the Free For All Concert Fund.
This free concert is on a Monday night, so that there will be no competition from any other musical or theatrical event. It will start
at 7.30 p.m. to ensure that parents will feel OK about bringing their youngsters, even though it is a school night. The music is both
great and extremely popular – Tchaikovsky’s Fifth Symphony and Debussy’s La mer. The soloist is spectacular – the breathtakingly
virtuosic Ayano Ninomiya, playing the Stravinsky Violin Concerto, one of the most appealing violin concertos ever written. And to
start, the Overture to Ruslan & Ludmila to show off our amazing violins! Take out your diaries right now and put down November
2nd as a not-to-be-missed event.
The remaining two BPYO concerts will challenge even this extraordinary “youth” orchestra to its limits. Beethoven’s “Eroica”
Symphony, and Stravinsky’s Rite of Spring on one program, shaking their fists at each other over the chasm of the intermission,
and Mahler’s First, Brahms Double Concerto, and a new work specially written for the orchestra by one of America’s leading composers. What a feast!
And now we come to the magnificent grown-up orchestra. The first concert of the Boston Philharmonic this year will also be in
Symphony Hall enabling us to use the majestic organ for both pieces on the program, so grand in scope: Holst’s The Planets and
Strauss’s Also sprach Zarathustra – a sonic spectacular if ever there was one! People nowadays tend to hear music like this on recordings, or on (shudder) mp3s, with their reduced audio fidelity. Symphony Hall is exactly the place where music like this ought
to be heard, with its perfect acoustics. The organ at the beginning of Also sprach Zarathustra is merely loud on recordings. In
Symphony Hall it rattles your bones!
For the Boston Philharmonic’s second concert we are bringing back to Boston the amazing soprano Alwyn Mellor, who stunned
everyone in Siegfried Act 3. After that performance Pulitzer Prize winning critic Lloyd Schwartz wrote “Alwyn Mellor must have
one of the most sumptuous voices of anyone singing Wagner today, combined with the profoundest sensitivity to Wagner’s poetry”. What a thrill it will be to hear her singing the Liebestod and the Immolation Scene from Götterdämmerung in an all-Wagner
concert.
As for the Boston Philharmonic’s two final concerts: the deeply moving First Symphony of Elgar, coupled with Mendelssohn’s
beloved Violin Concerto with Jennifer Frautschi, one of America’s finest violinists and Verdi’s shattering Requiem, again in Symphony Hall, with four of the finest Verdi singers in the world today.
For me it feels like the ultimate privilege – to conduct some of my favorite pieces of music, all packed into one season. I want you
there, and I want to share this incredible music with as many new listeners as possible. Now is the time to build a new audience,
so that classical music can regain its place at the center of our culture and of our lives. I promise that the all-out, passionate, committed playing of these two great orchestras, supported by the pre concert explanations, will take us far in that direction.
Warmest wishes
Benjamin Zander
Music Director
BOSTON PHILHARMONIC CONCERT 1
“You, great Star, what would your happiness be if you did not
have those for whom you shine?” Thus spake Zarathustra at
the opening of Nietzsche’s famous book. Richard Strauss’s tone
poem addresses the sun and all earthly things that it shines on,
but when we were putting together the programs for this season
we thought, “Why be so restrictive?” Why not everything that the
sun shines on – the whole solar system? And so we have put
together a program that is literally out of this world, pairing the
Strauss work with Holst’s beloved and gigantic sonic spectacular The Planets. And so this dizzyingly colorful, kaleidoscopic
program came to be. Another factor that led us to this pairing
of works is that, quite unusually, we are giving our first concert
of the season in Symphony Hall, and both works will make
prominent use of the magnificent Symphony Hall organ.
“The orchestra responded
with playing that sparkled
down to the finest detail.”
-BOSTON CLASSICAL REVIEW
The two pieces have “programs” of a sort. In the case of the
Strauss, each section relates to specific philosophical concerns
of Nietzsche. But the truth is that the philosophical underpinning is something of a pretext: what really mattered to Strauss
– and matters to us – is the extraordinary explosion of new and
spellbinding orchestral sounds in every bar of the score. It was
with this work that Strauss’s orchestral mastery took its quantum leap from being inventive and colorful to being truly path
breaking. Every bar (and not just the Stanley Kubrick “2001”
opening) is a sonic adventure, and is a treat for the audience
and bracing challenge for the orchestra.
Likewise, in The Planets, the astrological associations of the
planets served as a pretext for Holst, but the real substance is
the range of sounds, from the grandiose to the ethereal and eerie, that the composer was able to coax from his huge and varied
orchestra (plus offstage women’s chorus). Everyone who revels
in true sonic spectaculars will want to be in Symphony Hall for
this amazing and unique pairing of works.
strauss // also sprach zarathustra
holst // the planets
THU, oct 22 / 8:00PM
Symphony Hall
Conductor’s Talk, 6:45PM
BOSTON PHILHARMONIC youth orchestra CONCERT 1
The stunning program that opens the season for the Boston
Philharmonic Youth Orchestra has been expressly designed to
show you, in case you don’t already know, just what the Boston
Philharmonic Youth Orchestra is all about. A brilliant, showy,
roof-raising overture, followed by three masterpieces, all in
completely different styles and making staggering demands on
the players. At the center of the program is Debussy’s beloved
La mer. Debussy’s score is the iconic French orchestral masterpiece of the twentieth century, ever-fresh, beloved, endlessly
imitated by other composers. It is the ultimate orchestra seascape – quintessentially French and as salty as they come.
Ayano Ninomiya
The Debussy is surrounded by Russian masterworks, both
familiar and unfamiliar. Stravinsky’s Violin Concerto is a work
that overflows both with tenderness and wit. It is astoundingly
virtuosic for the performer, who must negotiate instrumental
acrobatics that are far outside the normal arsenal of a virtuoso’s
technique. We are extremely fortunate to have as our soloist
the brilliant Ayano Ninomiya, who was first violin of the worldfamous Ying Quartet. The familiar and exhilarating Overture
to Ruslan and Ludmila opens the program, and to conclude, the
Tchaikovsky Fifth Symphony, a great favorite with audiences
and known to just about everybody. But Mr. Zander’s take
on the piece is bracing and fresh. He has performed it many
times, in many parts of the world, and always audiences are
stirred by the experience of having the familiar made new again.
“I wish more
professional
orchestras played
as thrillingly
as this.”
-Lloyd Schwartz
MON, nov 2 / 7:30PM
Symphony Hall
Free Concert Event
Made possible by
THE FREE FOR ALL CONCERT FUND
Visit freeforallconcertfund.org
glinka // ruslan and ludmila overture
stravinsky // violin concerto
Ayano Ninomiya, violin
debussy // la mer
tchaikovsky // symphony no. 5
BOSTON PHILHARMONIC CONCERT 2
Seven years ago the Boston Philharmonic performed an allWagner program, and last season the BPYO played the entire
third act of Siegfried in Symphony Hall. Both of these events were
among the greatest high points in the history of our organization.
The critics were beside themselves with praise, the audiences
went wild, and Mr. Zander himself points to these two programs
as among the handful of his performances of which he is most
proud. There is no doubt, the Wagner bug has hit the Boston
Philharmonic! We have decided once again to devote an entire
program to his music. And it will feature the same astonishing
soprano who so overwhelmed the Boston public in Siegfried last
year. Alwyn Mellor, who is possibly today’s leading exponent of
the roles of Brünnhilde and Isolde, will sing the most famous
excerpts from both these roles. The Liebestod from Tristan und
Isolde is perhaps the lyric pinnacle of Wagner’s writing for the
voice. No music, by any composer, reaches to greater sublimity or
depth of feeling. Contrasting with this is the Immolation Scene,
the closing scene from Götterdämmerung. It is one of the most
dramatic, and expansive solo scenes in all of opera, and a formidable vocal challenge, even by Wagnerian standards.
“This is an ensemble
that adds much to
Boston’s crowded
cultural scene”
-Worcester Telegram
Both the vocal scenes are being presented in context, as far as that
is possible in a symphony concert. The Liebestod will be preceded by the Prelude to Tristan und Isolde, the searing, yearning
paean to love as ideal and as impossibility that never fails to hold
audiences spellbound. The entire second half of the program
is devoted to five excerpts from Die Götterdämmerung, played
together as a single work to serve as a kind of concert summary of
the great four-hour opera. It will include the most well-known of
the orchestral excerpts from the opera, Siegfried’s Rhine Journey,
as well as the radiant Dawn music, the poignant scene of Siegfried’s Death and the ensuing Funeral March, and will conclude,
of course, with Brünnhilde’s Immolation Scene.
Opening the concert are three excerpts from Die Meistersinger von
Nürnberg, the poignant, profound prelude to the third act, the
delightful Dance of the Apprentices, and the noble, lovably stolid
Entry of the Mastersingers. This concert is certain to be one of the
highlights of the musical season in Boston. Don’t miss it!
wagner // Three excerpts from Die Meistersinger von Nürnberg
tristan und isolde - prelude and liebestod
götterdämmerung
Alwyn Mellor, soprano
Alwyn Mellor
WED, NOV 18 / 7:30PM
Sanders Theatre
Discovery Series
SAT, NOV 21 / 8:00PM
Jordan Hall
Conductor’s Talk, 6:45PM
SUN, NOV 22 / 3:00PM
Sanders Theatre
Conductor’s Talk, 1:45PM
BOSTON PHILHARMONIC youth orchestra CONCERT 2
The two works on this program are among the most famous
great works ever written. Even the man in the street who claims
no knowledge of classical music whatsoever is apt to find that
the words “Eroica” and “Rite of Spring” ring a bell, however
dim. There is no doubt whatsoever that Beethoven’s epochal
“Eroica” Symphony changed music forever. It heralded a bold
new musical language and a whole new stance of the composer
towards his audience. Beethoven dictated the terms, made the
rules – the tastes and preferences of the audience and the convenience or ego of the performer were no longer to be taken into
account. Everything about this symphony is unprecedented: its
size, its range of expression, its harmonic audacity, its political
and philosophical implications, its demands on the orchestra
and on the conductor. In these performances the attempt will
be to recapture the extraordinary newness, the now-ness, of this
pinnacle of the symphonic repertoire.
The other work on the program is probably the most famous
piece of music composed in the entire twentieth century,
Stravinsky’s shockingly powerful The Rite of Spring. It’s a kaleidoscope of vivid orchestral colors, powerful, complex rhythms,
stunningly gorgeous harmonies and brief, powerful melodies
that sear their way under your skin. The Rite caused a riot at
its first performance; those days are over, and today its every
performance is invariably greeted with pandemonium of quite
another kind. Audiences can’t seem to get enough of Stravinsky’s masterpiece!
“They played with fierce commitment, technical
accomplishment, and a sense of mission.”
-boston globe
FRI, FEB 5 / 8:00PM
Symphony Hall
beethoven // symphony no. 3, “eroica”
stravinsky // the rite of spring
BOSTON PHILHARMONIC CONCERT 3
In 1923, emotionally shattered by the recent death of his wife,
Edward Elgar set off alone across the Atlantic to Brazil, and then
on a boat journey up the Amazon, deep into the heart of the
jungle. He didn’t tell much of anybody about it, before leaving
or after he came back. He was 66 years old.
What was he seeking? We’ll never know for sure. But the
madness of the gesture, so out of character for a proper English
gentleman, was all of a piece with the music of this strange,
irascible, lovable, visionary titan of English music. It seems
unbelievable that the composer of the Pomp and Circumstance
Marches and other Victorian and Edwardian occasional music is also the composer of this passionate, sensuous, richly
complicated First Symphony. It was hailed upon its premiere
as the greatest symphony ever written by an Englishman; that
judgment is quite possibly still valid more than a hundred years
later.
Jennifer Frautschi
“Benjamin Zander has an eye for the
fine details and enveloping drama of
some of the grandest works in the
symphonic repertoire.”
-boston classical review
The emotion-wracked, sweepingly romantic Manfred Overture
of Schumann opens the program, and in between, to provide
some calm between the two emotionally fraught works, is the
Apollonian Violin Concerto of Mendelssohn. Violinist Jennifer
Frautschi is an extraordinary artist, famous for her wide-ranging
repertory and her collaborations with some of the most interesting musicians of today. Her collaboration with Benjamin
Zander and the BPO is sure to result in a Mendelssohn concerto
that is out-of-the-ordinary and memorable.
schumann // manfred overture
THU, feb 18 / 7:30PM
mendelssohn // violin concerto
SAT, feb 20 / 8:00PM
Jennifer Frautschi, violin
elgar // symphony no. 1
Sanders Theatre
Discovery Series
Jordan Hall
Conductor’s Talk, 6:45PM
SUN, feb 21 / 3:00PM
Sanders Theatre
Conductor’s Talk, 1:45PM
BOSTON PHILHARMONIC CONCERT 4
“Day of wrath, that terrible day.” So begins the medieval sequence that lies at the heart of Verdi’s Requiem. Verdi’s depiction of the Day of Judgment, and of man’s terror, as well as
fortitude, in the face of it, is as viscerally charged and dramatically poignant as any scene from the greatest of his operas. The
sacred and the secular meet in this most unusual of requiems.
Verdi was not a religious man. He was acutely attuned to
suffering in this world but not much concerned about what
might come after. The four eloquent singers – one is tempted
to say “protagonists” – declaim the words of the mass, but not
as if preaching the word of the Lord. Rather, they depict, with
sometimes harrowing explicitness, the very human reactions
that they have to those words. Of all the really famous religious
works of the past, the Verdi Requiem is perhaps the one most in
tune with the temper of our times.
For these performances we have gathered an extraordinary
quartet of soloists. Three of them, Angela Meade, Violeta Urmana, and Stephen Costello, are famous from recordings and
their many performances at the Metropolitan Opera. And the
extraordinary Polish bass, Daniel Borowski, may not yet be as
well-known, but he is one of the great basses of our time. We
are thrilled to be able to present the Verdi Requiem with this
glorious quartet of singers.
“This was a performance about going from
here to there and encompassing the vast
range of human emotion and experience
that lies between”
-BOSTON globe
verdi // requiem mass
SUN, apr 24 / 3:00PM
Symphony Hall
Conductor’s Talk, 1:45PM
Angela Meade
Violeta Urmana
Angela Meade, soprano
Violeta Urmana, mezzo-soprano
Stephen Costello, tenor
Daniel Borowski, bass
Chorus Pro Musica
Stephen Costello
Daniel Borowski
BOSTON PHILHARMONIC youth orchestra CONCERT 3
For its final concert, the orchestra has commissioned a new
work from one of today’s leading composers, Michael Gandolfi,
whose music Mr. Zander has championed in the past. Taking
his cue from the Brahms Double Concerto, which also appears
on this program, Mr. Gandolfi has entitled his work Doubles,
and has promised that it will feature “two-ness” of several sorts.
We are all eager to hear the work, which is not yet finished as of
this writing. One can be sure, based on pieces by Gandolfi that
we do know, that it will be a work of refined and subtle beauty,
alive and shimmering in a way that is unique to this composer.
Regular attendees at our concerts will have grown familiar to
seeing Hikaru Yonezaki and Leland Ko sitting at the first stand
of the violins and the cellos respectively. This concert gives
them the opportunity to step forward and shine in the spotlight,
playing Brahms’s great Double Concerto. This formidable
concerto, the composer’s last, finds Brahms in a mood that is
deeply expressive, but also austere. It is a piece that demands
the greatest maturity from its performers, which is exactly what
it is going to receive from these two amazing young artists.
Finally, the season ends with the composer who is most familiar to the orchestra and to its conductor. Mahler’s First Symphony tells the story of its hero’s (i.e., Mahler’s) absorption with
nature, his youthful adventures, trials, and final triumph. This
symphony is arguably the most breathtakingly original first
symphony ever composed, from its magically evocative description of dawn at the opening to the overwhelmingly thrilling
climax of its vast Finale. It will be the triumphant capstone to
another enormously ambitious season of the phenomenal Boston Philharmonic Youth Orchestra.
Hikaru Yonezaki
Leland Ko
gandolfi // doubles (world premiere)
brahms // Double concerto
Hikaru Yonezaki, violin // Leland Ko, cello
mahler // Symphony No. 1
“Dazzling playing
emerged from every
corner, and we were
all dumbstruck.”
-christopher wilkins,
boston landmarks orchestra
SUN, may 8 / 3:00PM
Sanders Theatre
“Sounds sumptuous and articulate
emanated from the very large opera
orchestra... This is extraordinary
playing, and music making of a very
high order.”
-boston musical intelligencer
interpretations of music:
lessons for life
Benjamin Zander’s world-renowned master classes on musical interpretation return to the Boston area.
Young performers of exceptional ability will have the opportunity to work on the most inspiring aspects of
music-making with conductor and master educator Benjamin Zander.
All classes are held Saturday mornings for two hours at either the Benjamin Franklin Institute of Technology in Boston’s South End or the Longy School of Music of Bard College in Cambridge. Attendance is
FREE and open to the public.
The interpretation master classes will consist of highly accomplished young musicians residing or studying
in the Boston area, all of them performing at a professional level; Maestro Zander will guide them to more
inspiring, communicative, and alive interpretations, engaging the entire audience at the same time.
Benjamin Zander’s power to connect with listeners through his unequaled communication skills and
experience as speaker across the world, coupled with his musical expertise, makes him a transformative
musical coach who guides and inspires players of all instruments to a higher level of communication and
performance.
Maestro Zander has presented celebrated interpretation master classes at major musical institutions across
the world, at the New England Conservatory over the course of 45 years, and at the Walnut Hill School for
some 30 years. Many hundreds of the finest classical music performers on the world stage attribute their
most significant understanding of musical interpretation to Maestro Zander’s inimitable coaching.
What does a musician actually do to create a sense of human contact and uplift? Watching a piece of music
be transformed from good to inspired gives the entire audience a key to the deepest elements of the musical art and a key to bring whatever they do in life to a higher level of effectiveness, contribution, and joy.
These classes give everyone involved a window into how music can and might be performed, to most fully
communicate, engage, stimulate, and inspire the audience.
2015-16 dates to be announced at bostonphil.org.
SPECIAL PROGRAMS
THE DISCOVERY SERIES
Wednesday & Thursday at 7:30 pm, Sanders Theatre
The perfect program for the novice concertgoer.
Maestro Zander engages the audience with illuminating and entertaining commentary immediately
before each piece on the program, joined by the
orchestra to illustrate points with musical examples.
MAESTRO ZANDER’S PRE-CONCERT TALKS
6:45 pm for 8 pm BPO performances
1:45 pm for 3 pm BPO performances
Maestro Zander pours his passion and energy into
bringing music alive for the novice and experienced
music lover alike during his acclaimed talks.
KIDS’ NOTES UPBEAT, PRE-CONCERT TALKS
7:30pm for Jordan Hall performances
These 20 minute pre-concert talks help prepare kids
for the concert program through interactive musical
experiences, discovery activities, and hearing a live
BPO orchestral musician.
“Music lovers have not had so
enthusiastic a guide into the
mysterious world of classical
music since the glory days of
Leonard Bernstein.”
-high fidelity
Our Vision: Passionate music-making without boundaries
RADIATES out through the energy of our players as they passionately lead with their bodies and dig
their bows deep into their strings
IS EXPRESSED in the composition of the orchestra, where top professionals, brilliant students, and
passionate amateurs grow into one voice in the intensity and commitment of their music-making
STIMULATES players to take ownership of the music and to contribute their insights freely
IS MANIFESTED in the high level of audience engagement in our illuminating pre-concert talks
MOVES us to expand, not pull back, in difficult times, launching the Discovery Series for eager, less
experienced, newcomers
INSPIRES us to donate tickets to bring to the underserved the hope great music can offer
ANIMATES the audience, and stirs players and supporters alike to enroll others, in an ever-widening
circle, in the extraordinary power of music
PROPELS the entire Boston Philharmonic community to be ambassadors of joy and passion
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HERE’S WHAT THE BOSTON MUSICAL INTELLIGENCER HAS TO SAY ABOUT
BOSTON PHILHARMONIC AND BOSTON PHILHARMONIC YOUTH ORCHESTRA
“For nearly three hours a group of confident young people
played like 99.44% pure professionals, with mature musicianship and expert technique.”
“Founder/director Benjamin Zander has brought [the
BPYO] to a degree of precision and collective sound that
approaches the best that our national orchestras can offer.”
“After the last chord, the audience jumped to its feet with
joy. It was easy to understand why.”
boston pHILHARMONIC
295 Huntington Avenue
Suite 210
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bostonphil.org