Boston Symphony Orchestra

Last updated

Boston Symphony Orchestra
Orchestra
Boston Symphony Orchestra Logo 2024.png
Short nameBSO
Founded1881;143 years ago (1881)
Location301 Massachusetts Avenue, Boston, Massachusetts, U.S.
Concert hall Symphony Hall
Tanglewood
Music director Andris Nelsons
Website www.bso.org

The Boston Symphony Orchestra (BSO) is an American orchestra based in Boston. It is the second-oldest of the five major American symphony orchestras commonly referred to as the "Big Five". [1] Founded by Henry Lee Higginson in 1881, the BSO performs most of its concerts at Boston's Symphony Hall and in the summer performs at Tanglewood.

Contents

Since its founding, the orchestra has had 17 music directors, including George Henschel, Serge Koussevitzky, Henri Rabaud, Pierre Monteux, Charles Munch, Erich Leinsdorf, William Steinberg and James Levine. Andris Nelsons is the current music director of the BSO. Seiji Ozawa had held the title of BSO music director laureate. Bernard Haitink had held the title of principal guest conductor of the BSO from 1995 to 2004, then conductor emeritus until his death in 2021. The orchestra has made gramophone recordings since 1917 and has occasionally played on soundtrack recordings for films, including Schindler's List .

History

Early years

Henry Lee Higginson, founding father of the BSO. Henry Lee Higginson by John Singer Sargent 1903.jpeg
Henry Lee Higginson, founding father of the BSO.

The BSO was founded in 1881 by Henry Lee Higginson. Its first conductor was George Henschel, who was a noted baritone as well as conductor, and a close friend of Johannes Brahms. For the orchestra, Henschel devised innovative orchestral seating charts and sent them to Brahms, who replied approvingly and commented on the issues raised by horn and viola sections in a letter of mid-November 1881. [2] The BSO's first concert took place on October 22, 1881. [3] The program consisted of Beethoven's The Consecration of the House , as well as music by Joseph Haydn, Christoph Willibald Gluck, Franz Schubert and Carl Maria von Weber.

The BSO at Boston Music Hall in 1891. Nathaniel Livermore Stebbins Boston Symphony Orchestra 1891.jpg
The BSO at Boston Music Hall in 1891.

The orchestra's four subsequent music directors were all trained in Austria, including the seminal and highly influential Hungarian-born conductor Arthur Nikisch, in accordance with the tastes of Higginson. Wilhelm Gericke served twice, from 1884 to 1889 and again from 1898 to 1906. According to Joseph Horowitz's review of correspondence, Higginson considered 25 candidates to replace Gericke after receiving notice in 1905. He decided not to offer the position to Gustav Mahler, Fritz Steinbach, and Willem Mengelberg but did not rule out the young Bruno Walter if nobody more senior were to accept. He offered the position to Hans Richter in February 1905, who declined, to Felix Mottl in November, who was previously engaged, and then to previous director Nikisch, who declined; the post was finally offered to Karl Muck, who accepted and began his duties in October 1906. He was conductor until 1908 and again from 1912 to 1918. [4]

The music director 1908–12 was Max Fiedler. He conducted the premiere of Ignacy Jan Paderewski's Symphony in B minor "Polonia" in 1909.

During World War I, Muck (born in Germany but a Swiss citizen since childhood), was arrested, shortly before a performance of the St Matthew Passion in 1918, and interned in a prison camp without trial or charge until the end of the war, when he was deported. He vowed never to return, and conducted thereafter only in Europe. The BSO's next two titled conductors were French: Henri Rabaud, who took over from Muck for a season, and then Pierre Monteux from 1919 to 1924. Monteux, because of a musician's strike, was able to replace 30 players, thus changing the orchestra's sound; the orchestra developed a reputation for a "French" sound which persists to some degree to this day. [5]

Koussevitzky and Munch

Symphony Hall, Boston, the main base of the orchestra since 1900 Symphony Hall front view.jpg
Symphony Hall, Boston, the main base of the orchestra since 1900

The orchestra's reputation increased during the 1924–1949 music directorship of Serge Koussevitzky. One million radio listeners tuned in when Koussevitzky and the orchestra were the first to perform a live concert for radio broadcast, which they did on NBC in 1926. [6]

In August 1942, the American Federation of Musicians kicked off the two-year long musician's strike, with the goal of musicians receiving more in royalty payments from record companies. Initially, the BSO were the only major performing group in the nation unaffected; the orchestra's musicians hadn't been unionized since the orchestra's founding. By the end of 1942, however, the orchestra joined the AFM, effectively joining the strike, and also kicking off a long series of live radio concerts on CBS with Koussevitzky conducting. [7]

Under Koussevitzky, the orchestra gave regular radio broadcasts and established its summer home at Tanglewood, where Koussevitzky founded the Berkshire Music Center, which is now the Tanglewood Music Center. Those network radio broadcasts ran from 1926 through 1951, and again from 1954 through 1956. The orchestra continues to make regular live radio broadcasts to the present day. The Boston Symphony has been closely involved with Boston's WGBH Radio as an outlet for its concerts.

Koussevitzky also commissioned many new pieces from prominent composers, including the Symphony No. 4 of Sergei Prokofiev, George Gershwin's Second Rhapsody and the Symphony of Psalms by Igor Stravinsky. They also gave the premiere of Béla Bartók's Concerto for Orchestra, which had been commissioned by the Koussevitzky Music Foundation at the instigation of Fritz Reiner and Joseph Szigeti.

Koussevitzky started a tradition of commissions that the orchestra continued, including new works by Heitor Villa-Lobos (Symphony No. 11) and Henri Dutilleux for its 75th anniversary, Roger Sessions, and Andrzej Panufnik, for the 100th, and lately for the 125th works by Leon Kirchner, Elliott Carter, and Peter Lieberson. Other BSO commissions have included John Corigliano's Symphony No. 2 for the 100th anniversary of Symphony Hall. Hans Werner Henze dedicated his Eighth Symphony to the orchestra.

Although Koussevitsky recommended his protégé Leonard Bernstein to be his successor after he retired in 1949, [8] the BSO awarded the position to the Alsatian maestro Charles Munch, who would lead until 1962. Munch had made his Boston conducting debut in 1946. He led orchestra on its first overseas tour, and also produced their first stereo recording in February 1954 for RCA Victor. In 1952, Munch appointed the first woman to hold a principal chair in a major U.S. orchestra, flutist Doriot Anthony Dwyer, who remained as BSO principal for 38 years. [9] {{Further|

Leinsdorf, Steinberg, and Ozawa

Erich Leinsdorf became music director in 1962 and held the post until 1969. William Steinberg was then music director from 1969 to 1972. Steinberg was "ill and ailing" according to composer/author Jan Swafford, and "for four years he was indisposed much of the time." [10] After Steinberg's retirement, according to BSO trustee John Thorndike (who was on the search committee) the symphony's board spoke to Colin Davis and "investigated very thoroughly" his appointment, but Davis's commitments to his young family did not allow his moving to Boston from England; [11] instead he accepted the post of BSO principal guest conductor, which he held from 1972 to 1984. As the search continued, Leonard Bernstein met with four board members and recommended Michael Tilson Thomas, who had been Assistant Conductor and Associate Conductor under Steinberg, for the directorship, but the young conductor "did not have sufficient support among the BSO players," according to journalist Jeremy Eichler. [11] The committee eventually chose Seiji Ozawa, who became Music Director in 1973 and held the post until 2002, the longest tenure of any Boston Symphony conductor. In 1979, he led the Boston Symphony Orchestra's visit to the People's Republic of China to celebrate the normalization of US-China diplomatic relations, making it the second American orchestra to ever visit the country. [12]

Ozawa's tenure involved significant dissension and controversy. One concern was his handling of the Tanglewood Music Center. Greg Sandow wrote in The Wall Street Journal in December 1998 that Ozawa "had taken control of the school with what many people thought was surprising and abrupt brutality. Members of the faculty, themselves world-famous, had angrily resigned." [13] The first departure was in the fall of 1996, when Ozawa fired Richard Ortner, the Festival's administrator. [14] After a tumultuous season, at the end of summer 1997, pianist Gilbert Kalish resigned from the faculty by sending Ozawa what the pianist/conductor Leon Fleisher later described as "a blistering letter of resignation, and he made it public"; Fleisher, who was also a long-term member of the Tanglewood faculty, wrote, "Most of the faculty felt he was speaking for them." [14] Ozawa reduced Fleisher's role at the Center, offering him instead a "ceremonial puppet role," and Fleisher resigned, writing to Ozawa that the proposed role was "somewhat akin to having my legs chopped off at the knees, you then gently taking me by the arm and inviting me for a stroll. I must decline the invitation." [14] By contrast, Boston Globe music critic Richard Dyer wrote that:

...not every change was for the better...But there can be no question that Tanglewood is a busier, more adventurous, and more exciting place than it was before Ozawa became music director. [15]

A more basic concern involved perceived shortcomings in Ozawa's musical leadership; as Sandow wrote in the 1998 article, "what mattered far more was how badly the BSO plays." [13] He noted that a group of Boston Symphony musicians had privately published a newsletter, Counterpoint, expressing their concerns; in the summer of 1995 [16] concertmaster Malcolm Lowe and principal cellist Jules Eskin wrote that in rehearsal Ozawa gave no "specific leadership in matters of tempo and rhythm," no "expression of care about sound quality," and no "distinctly-conveyed conception of the character of each piece the BSO plays." [13]

The BSO's managing director, Mark Volpe, responded that some board members considered Sandow's article a "hatchet job," and some unnamed BSO "observers" were said in The Boston Globe to believe that Sandow "might be sharpening blades for BSO members with axes to grind". [16] Sandow called the suggestion "nonsense," saying, "I found them [players criticizing Ozawa in his article], they didn't find me". [16] André Previn wrote to The Wall Street Journal defending Ozawa, [17] and Lowe wrote to the Journal that he was "frustrated and upset to see my name attached to the article since your reporter did not contact me and chose to quote a letter published nearly four years ago in an internal orchestra publication." [17] Boston Symphony Board of Trustees president Nicholas T. Zervas described Sandow as expressing an "`insulting, reductive, and racist view of [Ozawa] as a samurai kept in place in order to raise Japanese money" [17] – a point Sandow rebutted in a letter to the Journal, saying "These are things I didn't say. I'd heard the charge about Japanese money while I was writing my piece, so I asked Mark Volpe, the BSO's General Manager, what he thought of it. Mark refuted it, and I quoted him approvingly." [17] Critic Lloyd Schwarz defended Sandow in the Boston alternative paper, The Boston Phoenix [18]

Various current music critics described a decline in the orchestra's playing during Ozawa's tenure. Jan Swafford wrote:

Now and then he gave a standout performance, usually in the full-throated late-Romantic and 20th-century literature, but most of the time what came out was glittering surfaces with nothing substantial beneath: no discernable concept, no vision. [10]

In a 2013 survey of recordings of The Rite of Spring by Igor Stravinsky, the composer Russell Platt wrote in The New Yorker :

Seiji Ozawa's downright depressing account, recorded in 1979: the Boston Symphony Orchestra's sonic shine, developed by Ozawa's predecessors Monteux and Charles Munch, is audibly dripping away, its dispirited musicians losing their sense of individual responsibility to the score. It is a record of a professional relationship that went on far too long. [19]

On June 22, 1999, the symphony announced Ozawa's departure as music director, as of 2002, following the sudden announcement of Ozawa's appointment as music director of the Vienna State Opera – a decision the board had heard about only a day earlier, where Volpe said he was "a little surprised at the timing". [20] He gave his last concert with the orchestra in July 2002. [15]

During Ozawa's tenure, Bernard Haitink served as principal guest conductor from 1995 to 2004. Haitink was named conductor emeritus in 2004, and actively served in the post as a returning guest conductor through his retirement in 2019.

Levine and Nelsons

In 2004, James Levine became the first American-born music director of the BSO. Levine received critical praise for revitalizing the quality and repertoire since the beginning of his tenure, including championing contemporary composers. [21] During Levine's tenure, by February 2009 the BSO had performed 18 world premieres, 12 of them conducted by Levine. [22] To fund the more challenging and expensive of Levine's musical projects with the orchestra, the orchestra established an "Artistic Initiative Fund" of about $40 million. (As of March 2013, the Boston Symphony also claimed an endowment of $413 million, the largest of any orchestra in the world.) [23] Levine suffered from recurring injuries and health problems during his BSO tenure, [24] which led to his resignation as BSO music director as of September 1, 2011. [25]

In the wake of Levine's resignation, Andris Nelsons made his first guest-conducting appearance with the BSO in March 2011, as an emergency substitute for Levine at Carnegie Hall in Mahler's Symphony No. 9. [26] He subsequently guest-conducted the BSO at Tanglewood in July 2012, [27] and made his first appearance with the BSO at Symphony Hall in January 2013. In May 2013, the BSO named Nelsons as its 15th music director, effective with the 2014–2015 season. His initial contract was for 5 years, with 8–10 weeks of scheduled appearances in the first year of the contract, and 12 weeks in subsequent years. Nelsons held the title of Music Director Designate for the 2013–2014 season. [28] In August 2015, the BSO announced the extension of Nelsons' contract as music director through the 2021–2022 season, with a new contract of 8 years to replace the initial 5-year contract, and which also contains an evergreen clause for automatic renewal. [29] In October 2020, the BSO announced a further extension of Nelsons' contract as music director through August 2025, with an evergreen clause for automatic renewal. [30] In January 2024, the BSO announced the conversion of Nelsons' contract as its music director to a rolling evergreen contract. [31]

In September 2015, the orchestra announced a new artistic collaboration with the Leipzig Gewandhaus Orchestra, of which Nelsons was appointed as its next Gewandhauskapellmeister, effective with the 2017–2018 season. [32] [33]

Unequal-pay lawsuit

On July 2, 2018, BSO principal flautist Elizabeth Rowe filed a lawsuit in the Superior Court of Suffolk County, Massachusetts, claiming pay discrimination on the basis of gender. Rowe said she was paid much less than principal oboist John Ferrillo since 2004 and was seeking more than $200,000 in unpaid compensation from the orchestra. [34] The BSO tried to discredit Rowe's claim that she was being discriminated against because of the unequal pay compared to Ferrillo by saying in a court filing that the two wind instruments were not comparable. [35] After mediation, [36] the case was settled out of court in February 2019 for an undisclosed amount. [37] [38]

Recent history

The BSO at the opening concert of the 2023 Tanglewood Season BSO Tanglewood 2023.jpg
The BSO at the opening concert of the 2023 Tanglewood Season

In January 2020, the BSO cancelled its planned tour of Asia, the first American orchestra to cancel overseas travel in the wake of the COVID-19 outbreak. [39] Subsequent events related to the COVID-19 pandemic included the following:

In succession to Mark Volpe, Gail Samuel became the BSO's president and chief executive officer in June 2021, the first woman to be named to the posts in the history of the orchestra. [44] In December 2022, the BSO announced simultaneously the resignation of Samuel as its president and CEO, effective January 3, 2023, [45] and the appointment of Jeffrey D. Dunn as its interim president and CEO, effective January 4, 2023. [46] In May 2023, the BSO announced the appointment of Chad Smith as its next president and chief executive officer, effective in the autumn of 2023. [47] [48]

The Boston Pops, the Boston Symphony Orchestra minus its principal players, was founded in 1885, and plays lighter, more popular classics, and show tunes. Arthur Fiedler was the conductor who did the most to increase the fame of the Boston Pops over his tenure from 1930 to 1979. Film composer John Williams succeeded Fiedler as the conductor of the Pops from 1980 to 1993. Since 1995, the conductor of the Boston Pops has been Keith Lockhart.

The Boston Symphony Chamber Players were launched in 1964. Today they are the only chamber ensemble composed of principal players from an American symphony orchestra. In addition to regular performances in Boston and Tanglewood, they have performed throughout the United States and Europe. They have also recorded for RCA Victor, Deutsche Grammophon, Philips, and Nonesuch.

Performing with the BSO and Boston Pops for major choral works is the Tanglewood Festival Chorus. Organized in 1970 by its founding director, John Oliver, the Chorus comprises over 300 volunteer singers. Before the creation of the Tanglewood Festival Chorus, and for some time after, the BSO frequently employed the New England Conservatory Chorus conducted by Lorna Cooke DeVaron, Chorus pro Musica, Harvard Glee Club and Radcliffe Choral Society. In February 2017, the BSO announced the appointment of James Burton as the new conductor of the Tanglewood Festival Chorus and as the newly created BSO Choral Director, both with immediate effect. [49] Burton founded the Boston Symphony Children's Choir in 2018. [50]

Recordings

The Boston Symphony made its first acoustical recordings in 1917 in Camden, New Jersey, for the Victor Talking Machine Company conducted by Karl Muck. Among the first discs recorded was the finale to Tchaikovsky's fourth symphony. Under Serge Koussevitzky, the orchestra made its first electrical recordings, also for Victor, in the late 1920s. These electrical recordings included Ravel's Boléro . Recording sessions took place in Symphony Hall. Koussevitzky's final recording with the Boston Symphony was a high fidelity version of Sibelius' Symphony No. 2, recorded in 1950 and released on LP.

In February 1954, RCA Victor began recording the orchestra in stereo, under the direction of Charles Munch. RCA Victor continued to record Munch and the orchestra through 1962, his final year as music director in Boston (see the Charles Munch discography for a complete list of commercial recordings with the BSO under Charles Munch). During Munch's tenure, Pierre Monteux made a series of records with the BSO for RCA Victor (see Pierre Monteux for a complete list of commercial recordings with the BSO).

Erich Leinsdorf, who had already made numerous recordings for RCA Victor, continued his association with the company during his seven years in Boston. These included a critically acclaimed performance of Brahms' German Requiem (see Erich Leinsdorf for a complete list).

Then, the orchestra switched to Deutsche Grammophon (DG) under William Steinberg. RCA Victor recorded several LPs with Steinberg and Berlioz's Symphonie Fantastique with Georges Prêtre during the transition to DG (see William Steinberg for a complete list of commercial recordings). Michael Tilson Thomas, who was the assistant conductor and associate conductor under Steinberg, also made several recordings for DG; some of these have been reissued on CD.

Due to Steinberg's illness, DG recorded the BSO with Rafael Kubelík in Beethoven's Symphony No. 5 (part of his cycle of Beethoven symphonies with nine different orchestras), Ma Vlast by Bedřich Smetana and in Béla Bartók's Concerto for Orchestra as well as with Eugen Jochum conducting Symphony No. 41 by Wolfgang Amadeus Mozart and Franz Schubert's Symphony No. 8.

As a guest conductor in the 1960s, Ozawa made several recordings with the BSO for RCA Victor. He continued the BSO relationship with DG while making several other releases for New World Records. [51] Over the course of Ozawa's tenure, the BSO diversified its relationships, making recordings under Ozawa with CBS, EMI, Philips Records, RCA, and TELARC.

The BSO also recorded for Philips under Colin Davis. Leonard Bernstein made records for both Columbia and DG with the BSO, including selections from his last concert ever as a conductor on August 19, 1990, at Tanglewood. The BSO has also appeared on Decca with Vladimir Ashkenazy, with Charles Dutoit and André Previn for DG, and on Phillips and Sony Classical with Bernard Haitink.

The BSO has also done recordings for film scores on occasion. Films such as Schindler's List and Saving Private Ryan (both composed and conducted by John Williams) were recorded by the orchestra at Symphony Hall.

In the James Levine era, the BSO had no standing recording contract with a major label; [52] the Grammy Award-winning recording of Levine conducting the BSO with Lorraine Hunt Lieberson in Peter Lieberson's Neruda Songs, released on Nonesuch Records, was the only major label recording during Levine's tenure. On February 19, 2009, the BSO announced the launch of a new series of recordings on their own label, BSO Classics. Some of the recordings are available only as digital downloads. The initial recordings included live concert performances of William Bolcom's 8th Symphony and Lyric Concerto, the latter with flutist James Galway, Mahler's Sixth Symphony, the Brahms Ein deutsches Requiem, and Ravel's complete Daphnis et Chloé , [53] which won the 2010 Grammy Award for Best Orchestral Performance. [54]

In April 2015, the BSO announced a new recording partnership with Deutsche Grammophon that focuses on the music of Dmitri Shostakovich, with Nelsons as conductor. [55] The first recording in the series, of the Tenth Symphony recorded in concert in April 2015, was released on CD in August 2015, and subsequently won the year's Grammy award for Best Orchestral Performance.

Music directors

Bogo.PNG

Composer Chair

In the 1974–1975 American television situation comedy Paul Sand in Friends and Lovers , several cast members played fictional personnel of the Boston Symphony Orchestra. The show's star, Paul Sand, portrayed Robert Dreyfuss, who played double bass, while Steve Landesberg played violinist Fred Meyerbach. Craig Richard Nelson was the orchestra's conductor, Mason Woodruff, and Dick Wesson was its manager, Jack Riordan. In one episode, Robert's father Ben, played by Jack Gilford, had a job in the orchestra's ticket office. Guest stars who appeared as musicians playing in or with the orchestra during the show's 15-episode run included Henry Winkler as a cellist, Leon Askin as a violinist, and Susan Neher as a flutist. [56] [57] [58] [59] [60]

Notes

  1. Michael Walsh (April 25, 1983). "Which U.S. Orchestras are Best?". Time . Archived from the original on January 31, 2008. Retrieved March 26, 2008.
  2. Avins, Styra (1997). Johannes Brahms: Life and Letters. Oxford University Press. pp. 587–588. ISBN   978-0-19-816234-6.
  3. Randall, Eric (October 24, 2013). "Throwback Thursday: The Boston Symphony Orchestra's First Concert". Boston. Archived from the original on November 17, 2020. Retrieved November 14, 2020.
  4. Horowitz, Joseph (2005). Classical Music in America: A history of its rise and fall . W. W. Norton. pp.  77–78. ISBN   978-0-393-05717-1 via Internet Archive.
  5. "Pierre Monteux". All Music Guide to Classical Music. Hal Leonard Corporation. 2005. p. 866. ISBN   978-0-87930-865-0.
  6. Young, William H. and Nancy K. (2005). Music of the Great Depression. Westport, CT: Greenwood Press. ISBN   978-0-313-33230-2. Archived from the original on February 9, 2024. Retrieved October 15, 2020.
  7. Cooke, James Francis, ed. (February 1943). "The World of Music". The Etude. Theodore Presser. 61 (2): 3.
  8. Ross, Alex (August 27, 2012). "Fresh Breezes: An impressive début and new works at Tanglewood". The New Yorker . Archived from the original on June 5, 2013. Retrieved May 20, 2013.
  9. Kean, Kristen Elizabeth (2007). First Flute: The Pioneering Career of Doriot Anthony Dwyer (PDF) (D.Mus.A. thesis). Baton Rouge, La.: Louisiana State University. OCLC   209994674. Archived from the original (PDF) on July 20, 2010. Retrieved May 31, 2010.
  10. 1 2 Swafford, Jan (April 12, 2011). "The Elusive Maestro: Why the process of finding a new conductor makes music lovers weep". Slate.com. Archived from the original on August 1, 2013. Retrieved July 18, 2013.
  11. 1 2 Eichler, Jeremy (September 25, 2011). "Who will pick up the baton? A look inside the BSO search for James Levine's successor". The Boston Globe . Archived from the original on January 11, 2015. Retrieved May 20, 2013.
  12. "Philadelphia Orchestra (1973) and Boston Symphony (1979) Visits to China". NCUSCR. Archived from the original on December 4, 2023. Retrieved December 4, 2023.
  13. 1 2 3 Sandow, Greg (December 15, 1998). "Conduct(or) Unbecoming the Boston Symphony". The Wall Street Journal . gregsandow.com. Archived from the original on October 21, 2013. Retrieved July 18, 2013.
  14. 1 2 3 Fleisher, Leon; Midgette, Anne (November 30, 2010). My Nine Lives: A Memoir of Many Careers in Music. Doubleday. p. 288. ISBN   978-0-385-52918-1.
  15. 1 2 Page, Tim (June 2004). "Keeping Time at Tanglewood". Opera News . Vol. 68, no. 4. Archived from the original on May 1, 2013. Retrieved July 18, 2013.
  16. 1 2 3 Dezell, Maureen (December 16, 1998). "Ozawa's supporters rebut Journal attack". The Boston Globe . gregsandow.com. Archived from the original on October 21, 2013. Retrieved July 18, 2013.
  17. 1 2 3 4 Dezell, Maureen (December 25, 1998). "Beleaguered BSO Answers Wall Street Journal Attack". The Boston Globe . gregsandow.com. Archived from the original on October 21, 2013. Retrieved June 19, 2013.
  18. Sandow, Greg (January 1999). "Weighing in on My Side". gregsandow.com. Archived from the original on October 21, 2013. Retrieved July 18, 2013.
  19. Platt, Russell (June 17, 2013). "The Rite Stuff". The New Yorker . Archived from the original on June 22, 2013. Retrieved July 18, 2013.
  20. Metcalf, Steve (June 24, 1999). "Ozawa's Decision To Leave Boston Symphony A Surprise". Hartford Courant . Archived from the original on January 16, 2014. Retrieved July 18, 2013.
  21. Schwartz, Lloyd (March 2005). "Stretching exercises: The BSO challenges the audience and itself". The Boston Phoenix . Archived from the original on September 30, 2007. Retrieved April 2, 2007.
  22. Loomis, George (February 10, 2009). "Boston Symphony Orchestra/Levine, Symphony Hall, Boston". Financial Times . Archived from the original on February 9, 2024. Retrieved November 5, 2009.
  23. Horgan, Bernadette (May 13, 2013). "Boston Symphony Orchestra Appoints Andris Nelsons as Its 15th Music Director Since Its Founding in 1881" (Press release). Boston Symphony Orchestra. Archived from the original on June 16, 2013. Retrieved April 8, 2014.
  24. Eichler, Jeremy (February 22, 2009). "The opening movement". The Boston Globe. Archived from the original on June 17, 2009. Retrieved February 24, 2009.
  25. Edgers, Geoff (May 16, 2013). "Andris Nelsons named new music director of BSO". The Boston Globe. Archived from the original on September 4, 2018. Retrieved May 16, 2013.
  26. Oestreich, James R. (March 19, 2011). "A Fresh Face Confronts a Seasoned Mahler". The New York Times. Archived from the original on August 4, 2019. Retrieved May 19, 2013.
  27. Oestreich, James R. (July 16, 2012). "Tanglewood Tries Out a New Face: Andris Nelsons Conducts Boston Symphony at Tanglewood". The New York Times. Archived from the original on December 25, 2014. Retrieved May 19, 2013.
  28. "Boston Symphony Orchestra Appoints Andris Nelsons as Its 15th Music Director Since Its Founding in 1881" (Press release). Boston Symphony Orchestra. May 16, 2013. Archived from the original on June 16, 2013. Retrieved May 19, 2013.
  29. "Boston Symphony Orchestra and Andris Nelsons Announce Extension of Mr. Nelsons' Contract as BSO Music Director Through 2022!" (Press release). Boston Symphony Orchestra. August 3, 2015. Retrieved August 3, 2015.[ permanent dead link ]
  30. "Boston Symphony Orchestra and Andris Nelsons Announce Three-Year Extension of Mr. Nelsons' Contract as BSO Music Director Through August 2025, With an Evergreen Clause in Place Reflecting a Mutual Intent for a Long-Term Commitment Well Beyond the Years of the New Contract Extension" (PDF) (Press release). Boston Symphony Orchestra. October 5, 2020. Archived from the original (PDF) on July 31, 2023. Retrieved October 6, 2020.
  31. "BSO Announces Andris Nelsons Contract Extension, Carlos Simon as Composer Chair, and Establishment of Humanities Institute" (PDF) (Press release). Boston Symphony Orchestra. January 25, 2024. Archived (PDF) from the original on January 26, 2024. Retrieved January 26, 2024.
  32. Michael Cooper (September 9, 2015). "Andris Nelsons Named Music Director of Leipzig Gewandhaus Orchestra". The New York Times. Archived from the original on December 28, 2019. Retrieved September 10, 2015.
  33. "Under the leadership of Andris Nelsons, the Gewandhausorchester and the Boston Symphony Orchestra enter into a new alliance" (PDF) (Press release). Gewandhausorchester Leipzig. September 9, 2015. Archived from the original (PDF) on August 1, 2017. Retrieved July 31, 2017.
  34. Eichler, Jeremy (July 6, 2018). "The BSO's principal flutist says she is paid far less than the man who is the principal oboist". The Boston Globe . Archived from the original on July 7, 2018. Retrieved July 6, 2018.
  35. Ryan, Greg. "Boston Symphony sounds off on female flutist's unequal-pay claim" Archived January 29, 2023, at the Wayback Machine , Boston Business Journal , October 3, 2018. Retrieved on October 4, 2018.
  36. Mason, Amelia (December 12, 2018). "Making the Case for Equal Pay, a Flutist Enters Mediation with the BSO". WBUR . Archived from the original on November 16, 2019. Retrieved November 17, 2019.
  37. Schuessler, Jennifer (February 21, 2019). "Star Flutist Settles Pay Equity Suit Against Boston Symphony". The New York Times . Archived from the original on November 7, 2020. Retrieved November 17, 2019.
  38. Gay, Malcolm (February 14, 2019). "BSO Flutist Settles Equal Pay Lawsuit with Orchestra". The Boston Globe . Archived from the original on November 16, 2019. Retrieved November 17, 2019.
  39. "Boston Symphony Orchestra Tour to East Asia under the direction of Andris Nelsons, February 6–16, is canceled due to widely documented concerns over the spread of the new Coronavirus" (PDF) (Press release). Boston Symphony Orchestra. January 30, 2020. Archived from the original (PDF) on May 3, 2020. Retrieved October 6, 2020.
  40. "2020 Tanglewood Live Performance and Education Programs, Scheduled to Take Place June 19 – August 27, Are Canceled Due to Concerns Over Spread of COVID-19" (PDF) (Press release). Boston Symphony Orchestra. May 15, 2020. Archived (PDF) from the original on November 30, 2021. Retrieved October 2, 2020.
  41. "Boston Symphony Orchestra Cancels Fall Period of 2020–21 Season at Symphony Hall, September 16 – November 28 (37 Concerts, 14 Programs), due to Continuing Concerns About Spread of COVID-19" (PDF) (Press release). Boston Symphony Orchestra. July 30, 2020. Archived from the original (PDF) on November 25, 2021. Retrieved August 8, 2020.
  42. "Boston Symphony Orchestra Announces Workforce Reduction as a Result of Financial Impact of COVID-19" (PDF) (Press release). Boston Symphony Orchestra. August 21, 2020. Archived from the original (PDF) on December 15, 2021. Retrieved October 6, 2020.
  43. "Boston Symphony Orchestra Ratifies New Labor Agreement Through August 2023" (PDF) (Press release). Boston Symphony Orchestra. September 11, 2020. Archived from the original (PDF) on March 31, 2022. Retrieved October 6, 2020.
  44. "Boston Symphony Orchestra Appoints Accomplished Classical Music Executive Gail Samuel as President and CEO" (PDF) (Press release). Boston Symphony Orchestra. February 18, 2021. Archived from the original (PDF) on February 18, 2021. Retrieved February 22, 2021.
  45. "Gail Samuel Resigns as BSO President and CEO" (PDF) (Press release). Boston Symphony Orchestra. December 16, 2022. Archived (PDF) from the original on December 18, 2022. Retrieved December 18, 2022.
  46. "BSO Appoints Veteran Business Executive Jeffrey D. Dunn Interim President and CEO" (PDF) (Press release). Boston Symphony Orchestra. December 16, 2022. Archived (PDF) from the original on December 18, 2022. Retrieved December 18, 2022.
  47. "Chad Smith to Lead Boston Symphony Orchestra as Next President and CEO" (PDF) (Press release). Boston Symphony Orchestra. May 15, 2023. Archived (PDF) from the original on May 28, 2023. Retrieved May 28, 2023.
  48. Javier C. Hernández (May 15, 2023). "Boston Symphony Picks New Leader From Los Angeles Philharmonic". The New York Times. Archived from the original on May 28, 2023. Retrieved May 28, 2023.
  49. "Boston Symphony and Andris Nelsons Announce Major Appointment in Music Leadership: James Burton Is Appointed Conductor of the Tanglewood Festival Chorus and also Takes on Newly Established Role of BSO Choral Director" (Press release). February 2, 2017. Archived from the original on March 15, 2017. Retrieved February 7, 2017.
  50. "The Boston Symphony Children's Choir (BSCC) Boston Symphony Orchestra | bso.org". www.bso.org. Archived from the original on April 1, 2020. Retrieved March 31, 2020.
  51. "Press". New World Records. December 30, 2019. Archived from the original on February 8, 2024. Retrieved February 9, 2024.
  52. "Philly Orchestra Composes Innovative Contract" (audio). Weekend Edition . National Public Radio. May 7, 2005. Archived from the original on January 22, 2010. Retrieved February 20, 2009.
  53. Eichler, Jeremy (February 20, 2009). "Listening to Levine: two CDs, a season of firsts". The Boston Globe. Archived from the original on October 22, 2012. Retrieved February 20, 2009.
  54. "Grammy Awards: List of Winners". The New York Times. January 31, 2010. Archived from the original on August 2, 2017. Retrieved February 6, 2017.
  55. Jeremy Eichler (April 4, 2015). "Nelsons, BSO embark on Shostakovich cycle". The Boston Globe. Archived from the original on July 31, 2015. Retrieved August 3, 2015.
  56. Brooks, Tim; Marsh, Earle (1995). The Complete Directory to Prime-Time Network and Cable TV Shows, 1946–Present, Sixth Edition. New York: Ballantine Books. p.  804. ISBN   978-0-345-39736-2.
  57. McNeil, Alex (1996). Total Television: The Comprehensive Guide to Programming From 1948 to the Present. New York: Penguin Books. pp. 305–306.
  58. Leszczak, Bob (2012). Single Season Sitcoms, 1948–1979. Jefferson, North Carolina: McFarland and Publishers, Inc. ISBN   978-0-7864-6812-6. Archived from the original on February 9, 2024. Retrieved October 15, 2020.
  59. "Fall 1974:CBS". tvobscurities.com. January 26, 2013. Archived from the original on June 24, 2013. Retrieved July 18, 2013.
  60. "Paul Sand in Friends and Lovers". TV.com. Archived from the original on June 21, 2013. Retrieved June 12, 2013.

Further reading

Related Research Articles

<span class="mw-page-title-main">San Francisco Symphony</span> American symphony orchestra in San Francisco, California, United States

The San Francisco Symphony (SFS), founded in 1911, is an American orchestra based in San Francisco, California. Since 1980 the orchestra has been resident at the Louise M. Davies Symphony Hall in the city's Hayes Valley neighborhood. The San Francisco Symphony Youth Orchestra and the San Francisco Symphony Chorus (1972) are part of the organization. Michael Tilson Thomas became the orchestra's music director in 1995, and concluded his tenure in 2020 when Esa-Pekka Salonen took over the position.

<span class="mw-page-title-main">Chicago Symphony Orchestra</span> Orchestra based in Chicago, Illinois

The Chicago Symphony Orchestra (CSO) is an American symphony orchestra based in Chicago, Illinois. Founded by Theodore Thomas in 1891, the ensemble has been based in the Symphony Center since 1904 and plays a summer season at the Ravinia Festival. The orchestra's most recent music director is Riccardo Muti, whose tenure spanned 13 seasons, from 2010 to 2023, and he continues to perform as director emeritus. The CSO is one of the American orchestras commonly referred to as the "Big Five".

<span class="mw-page-title-main">Serge Koussevitzky</span> Russian and American conductor (1874–1951)

Serge Koussevitzky was a Russian and American conductor, composer, and double-bassist, known for his long tenure as music director of the Boston Symphony Orchestra from 1924 to 1949.

<span class="mw-page-title-main">Charles Munch (conductor)</span>

Charles Munch was an Alsatian French symphonic conductor and violinist. Noted for his mastery of the French orchestral repertoire, he was best known as music director of the Boston Symphony Orchestra.

<span class="mw-page-title-main">Seiji Ozawa</span> Japanese orchestra conductor (1935–2024)

Seiji Ozawa was a Japanese conductor known internationally for his work as music director of the Toronto Symphony Orchestra, the San Francisco Symphony, and especially the Boston Symphony Orchestra (BSO), where he served from 1973 for 29 years. After conducting the Vienna New Year's Concert in 2002, he was director of the Vienna State Opera until 2010. In Japan, he founded the Saito Kinen Orchestra in 1984, their festival in 1992, and the Tokyo Opera Nomori in 2005.

The Tanglewood Festival Chorus, directed by James Burton, is a chorus which performs with the Boston Symphony Orchestra and Boston Pops in major choral works. The Tanglewood Festival Chorus (TFC) was organized in the spring of 1970, when founding conductor John Oliver became director of vocal and choral activities at the Tanglewood Music Center, the summer home of the BSO. Originally formed for performances at the BSO's summer home at the behest of the BSO's conductor designate Seiji Ozawa, the Tanglewood Festival Chorus is the official chorus of the Boston Symphony Orchestra and Boston Pops Orchestra year-round, performing in Boston, New York and Tanglewood.

<span class="mw-page-title-main">Tanglewood</span> Music venue

Tanglewood is a music venue and festival in the towns of Lenox and Stockbridge in the Berkshire Hills of western Massachusetts. It has been the summer home of the Boston Symphony Orchestra since 1937. Tanglewood is also home to three music schools: the Tanglewood Music Center, Tanglewood Learning Center, and the Boston University Tanglewood Institute. Besides classical music, Tanglewood hosts the Festival of Contemporary Music, jazz and popular artists, concerts, and frequent appearances by James Taylor, John Williams, and the Boston Pops.

<span class="mw-page-title-main">Boston University Tanglewood Institute</span> School in Lenox, Massachusetts, US

The Boston University Tanglewood Institute (BUTI) is a summer music training program for students age 10 to 20 in Lenox, Massachusetts, under the auspices of the Boston University College of Fine Arts.

Eiji Oue is a Japanese conductor.

<span class="mw-page-title-main">Marin Alsop</span> American conductor

Marin Alsop is an American conductor, the first woman to win the Koussevitzky Prize for conducting and the first conductor to be awarded a MacArthur Fellowship. She is music director laureate of the Baltimore Symphony Orchestra and chief conductor of the Vienna Radio Symphony Orchestra, the Ravinia Festival, and the Polish National Radio Symphony Orchestra. She was elected a Fellow of the American Academy of Arts and Sciences in 2008 and to the American Philosophical Society in 2020.

<span class="mw-page-title-main">James Levine</span> American conductor and pianist (1943–2021)

James Lawrence Levine was an American conductor and pianist. He was music director of the Metropolitan Opera from 1976 to 2016. He was terminated from all his positions and affiliations with the Met on March 12, 2018, over sexual misconduct allegations, which he denied.

<span class="mw-page-title-main">Tanglewood Music Center</span> Music festival in the United States

The Tanglewood Music Center is an annual summer music academy in Lenox, Massachusetts, United States, in which emerging professional musicians participate in performances, master classes and workshops. The center operates as a part of the Tanglewood Music Festival, an outdoor concert series and the summer home of the Boston Symphony Orchestra (BSO).

<span class="mw-page-title-main">Andris Nelsons</span> Latvian conductor (born 1978)

Andris Nelsons is a Latvian conductor. He is currently music director of the Boston Symphony Orchestra and Gewandhauskapellmeister of the Leipzig Gewandhaus Orchestra. He was previously music director of the Latvian National Opera, chief conductor of the Nordwestdeutsche Philharmonie, and music director of the City of Birmingham Symphony Orchestra.

Richard Burgin was a Polish-American violinist, best known as associate conductor and the concertmaster of the Boston Symphony Orchestra (BSO).

Doriot Anthony Dwyer was an American flutist. She was one of the first women to be awarded principal chair for a major U.S. orchestra. She was the principal flute for the Boston Symphony Orchestra from 1952 until 1990. She was second flute for the National Symphony Orchestra and the Los Angeles Philharmonic. She was an Adjunct Professor of Music at Boston University.

Ludovic Morlot is a French conductor.

Federico Cortese has served as Music Director of the Boston Youth Symphony Orchestras since 1999. He is also the Music Director of the New England String Ensemble and the conductor of the Harvard-Radcliffe Orchestra at Harvard University. In summer 2009, he was appointed Principal Conductor of the Boston University Tanglewood Institute.

<span class="mw-page-title-main">Leipzig Gewandhaus Orchestra</span> Symphony orchestra in Germany

The Leipzig Gewandhaus Orchestra is a German symphony orchestra based in Leipzig, Germany. The orchestra is named after the concert hall in which it is based, the Gewandhaus. In addition to its concert duties, the orchestra also performs frequently in the Thomaskirche and as the official opera orchestra of the Leipzig Opera.

<span class="mw-page-title-main">James Burton (conductor)</span> British conductor and composer

James Burton is a British conductor and composer. He is currently the Boston Symphony Orchestra Choral Director and Conductor of the Tanglewood Festival Chorus. He also holds the position of Director of Orchestral Activities and Master Lecturer in Music at Boston University.

<i>Divertimento</i> (Bernstein) 1980 composition by Leonard Bernstein

Divertimento, or Divertimento for Orchestra, is a suite of eight orchestral bagatelles by American composer Leonard Bernstein. Completed in 1980 and written to celebrate the centenary of the Boston Symphony Orchestra, it is well-known for featuring the notes B and C in most of its melodic material.