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 Follow us on Twitter @ BosPhil @ BosPhilYouth Like us on Facebook facebook.com/bostonphil facebook.com/bosphilyouth Reasons to SUBSCRIBE THE BEST SEATS Subscriber seats are assigned before single tickets go on sale. As a subscriber, you are always first in line to change your seating location or your seats. 10%-20% SAVINGS Receive 10% savings over regular ticket prices (20% savings if you subscribe before July 10th, 2015). TICKET EXCHANGE Introducing the Choose Your Own Subcription series. With this series you may pick and choose the BPO & BPYO concerts you wish to attend this season. You must purchase a minimum of three concerts. CHOOSE YOUR OWN SUBSCRIPTION SERIES Exchange your ticket for another concert in the same weekend, pay just the difference in ticket price. 10% DISCOUNT ON BPO MERCHANDISE DISCOUNTED SINGLE TICKETS FOR SUBSCRIBERS All subscribers receive additional discounted tickets to any performance. TICKET DONATIONS/TAX BENEFITS Donate tickets that you cannot use back to the orchestra for a tax benefit. TICKET INSURANCE There is no need to worry if you have misplaced your tickets. Simply call and we will gladly provide duplicates. THU/ WED SUBS. SAT/ SUN SUBS. BPYO SUBS. THU/ WED EARLY SAT/ SUN EARLY BPYO EARLY A $67 $95 $45 $59 $84 $40 B C D S $49 $76 $27 $43 $67 $24 $33 $49 $14 $30 $43 $12 $14 $23 $12 $20 $10 $10 $10 $10 With the choose your own subscription series, you may take advantage of the 10% subscription savings (SUBS) and the 20% early-bird savings (EARLY). FREE PARKING For all of our Sanders Theatre concerts we provide a free garage at the corner of Broadway and Felton Street in Cambridge. The Broadway Garage is just a few steps away from the theate. Call the box office at 617.236.0999 or visit bostonphil.org for more info TICKETING POLICIES FOR THE 2015-16 SEASON There are no refunds or exchanges on single ticket orders. Subscribers may exchange tickets for another performance in the same concert cyle. To exchange, you must pay the difference in price if applicable. Ticket exchanges must be completed by noon the business day prior. All exchanges are subject to availability. Programming and artists are subject to change. Lost tickets can be easily replaced by calling the BPO office at 617-236-0999. However, if it is the day of the concert, please come to the will call table at the performance venue instead of calling the office. We will replace your ticket(s) with a seating pass which you can use to attend the concert. All ticket orders are subject to a non-refundable $8.00 order fee. ORDER PHONE 617.236.0999 9am to 5pm Monday - Friday MAIL enclosed order form or FAX 617.236.8613 BPO DISCOVERY SERIES BPO WEEKEND SERIES Sanders Theatre & Symphony Hall Wednesdays and Thursdays Jordan Hall/Sanders Theatre/Symphony Hall Saturdays and Sundays SINGLE TIX 4 TIX SUBS. (10%) SUBS. +BPYO EARLY (20%) EARLY +BPYO A $74 $296 $266 $356 $237 $317 B C D S $54 $216 $194 $248 $166 $214 $37 $148 $133 $160 $115 $139 $15 $60 $54 $81 $48 $72 $10 $40 Sanders Theatre 45 Quincy St, Cambridge, MA DESIGN: Jeffrey Filiault PHOTOS: Jeffrey Filiault, Steve Dunwell, BALCONY STAGE *A copy of your student ID must be submitted in order to receive a Student Subscription, D-level only **Subscriptions at 10% off, including BPYO concerts and Early Bird Subscriptions at 20% off, including BPYO concerts provide our subscribers an opportunity to experience all seven performances at discounted rates SINGLE TIX 4 TIX SUBS. (10%) SUBS. +BPYO EARLY (20%) EARLY +BPYO A $105 $420 $378 $468 $336 $416 B C D S $84 $336 $302 $356 $269 $317 $54 $216 $194 $221 $173 $197 $25 $100 $90 $117 $80 $104 $10 $40 Symphony Hall Jordan Hall 30 Gainsborough St, Boston, MA 301 Massachusetts Ave, Boston, MA BALCONY STAGE STAGE YOUTH ORCHESTRA SEATING CHARTS Symphony Hall 301 Massachusetts Ave, Boston, MA BALCONY Sanders Theatre 45 Quincy St, Cambridge, MA BALCONY BALCONY ***Early Bird rates until July 10th, 2015 STAGE STAGE BOSTON MA PERMIT NO. 58585 PAID NON-PROFIT ORGANIZATION US POSTAGE 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 Boston, MA 02115 bostonphil.org
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