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Festival of Contempory Music
BSO Artistic Partner Thomas Adès, director
Thomas Adès conducts the Tanglewood Music Center Orchestra featuring pianist Kirill Gerstein

Tanglewood

Seiji Ozawa Hall - Lenox, MA View Map

BSO Artistic Partner Thomas Adès leads the young musicians of the Tanglewood Music Center Orchestra in a performance as part of the 2018 Festival of Contemporary Music, the first of two with Adès as Festival Director. The program, which also features 2018's Koussevitzky Artist, pianist Kirill Gerstein and TMC Conducting Fellows, includes Knussen's Songs and a Sea Interlude, Adès's own piano concerto  In Seven Days, Gerald Barry's Diner, and Lutosławski's Symphony No. 3.

Featured Performers

Thomas Adès, conductor
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Thomas Adès was born in London in 1971.  Renowned as both a composer and a performer, Thomas Adès works regularly with the world’s leading orchestras, opera companies and festivals.

His compositions include three operas : the most recent of which The Exterminating Angel premiered at the 2016 Salzburg Festival and subsequently has been performed at the Metropolitan Opera, New York and the Royal Opera House, London; The Tempest  (Royal Opera House and Metropolitan Opera); and Powder Her Face.  His orchestral works include Asyla (CBSO, 1997), Tevot (Berlin Philharmonic and Carnegie Hall, 2007), Polaris (New World Symphony, Miami 2011), Violin Concerto Concentric Paths (Berliner Festspiele and the BBC Proms, 2005), In Seven Days (Piano concerto with moving image - LA Philharmonic and RFH London 2008), and Totentanz for mezzo-soprano, baritone, and orchestra (BBC Proms, 2013).   His compositions also include numerous celebrated chamber and solo works.

Thomas Adès was recently appointed Artistic Partner by the Boston Symphony Orchestra through 2019; he will conduct the orchestra in Boston and at Tanglewood, perform chamber music with the orchestra players, and lead the summer Festival of Contemporary Music. He coaches Piano and Chamber Music annually at the International Musicians Seminar, Prussia Cove.

As a conductor, Thomas appears regularly with, among others, the Los Angeles, New York and London Philharmonic orchestras, the Boston, London, BBC, City of Birmingham, Melbourne and Sydney Symphony orchestras, the Royal Concertgebouworkest and last season he made his debut with the Czech Philharmonic. In opera, in addition to The Exterminating Angel,  he has conducted The Rake’s Progress at the Royal Opera House and the Zürich Opera, The Tempest at the Metropolitan Opera and Vienna State Opera, and Gerald Barry’s latest opera Alice’s Adventures Under Ground in Los Angeles (world premiere) and in London (European premiere).  This season he will conduct the London and Los Angeles Philharmonic orchestras, the Finnish Radio and Boston Symphony orchestras, as well as the Orchestre de Paris, the Leipzig Gewandhausorchester and Britten Sinfonia. 

His recent piano engagements include solo recitals at Carnegie Hall (Stern Auditorium), New York and the Wigmore Hall in London, and concerto appearances with the New York Philharmonic. In recital, this season he will give a solo programme of Janáček in London, Paris, Lisbon and the Czech Republic, Schubert’s Winterreise at London’s Wigmore Hall with Ian Bostridge, and he will join Kirill Gerstein in duo recitals at Carnegie Hall and the Tanglewood Festival. 

His many awards include the Grawemeyer Award for Asyla (1999); Royal Philharmonic Society large-scale composition awards for Asyla, The Tempest and Tevot; and Ernst von Siemens Composers' prize for Arcadiana; British Composer Award for The Four Quarters.  His CD recording of The Tempest from the Royal Opera House (EMI) won the Contemporary category of the 2010 Gramophone Awards; his DVD of the production from the Metropolitan Opera was awarded the Diapason d'Or de l'année (2013), Best Opera recording (2014 Grammy Awards) and Music DVD Recording of the Year (2014 ECHO Klassik Awards); and The Exterminating Angel won the World Premiere of the Year at the International Opera Awards (2017).  In 2015 he was awarded the prestigious Léonie Sonning Music Prize.

Thomas Adès, conductor Tanglewood Music Center Conducting Fellows
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THE TRAINING GROUNDS FOR THE MUSICIANS OF TOMORROW


The Tanglewood Music Center Fellowship Program is the Boston Symphony Orchestra's summer academy for advanced musical study. The TMC offers an intensive schedule of study and performance for emerging professional instrumentalists, singers, conductors, and composers who have completed most of their formal training in music.
 

Serge Koussevitzky, the Boston Symphony Orchestra's music director from 1924 to 1949, founded the school with the intention of creating a premier music academy where, with the resources of a great symphony orchestra at their disposal, young musicians would sharpen their skills under the tutelage of Boston Symphony Orchestra musicians and other specially invited artists.


The Berkshire Music Center opened formally on July 8, 1940, with both speeches (Koussevitzky, alluding to the war then raging in Europe, said, "If ever there was a time to speak of music, it is now in the New World") and music, including the first performance of Randall Thompson's Alleluia for unaccompanied chorus, which was written for the ceremony and arrived less than an hour before the event was to begin, but which made such an impression that it is sung every summer at the TMC's Opening Exercises. The TMC became Koussevitzky's pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors.
 

Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as the BSO's music director. Charles Munch, his successor in that position, ran the TMC from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school's programs. In 1963, new BSO Music Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky's hands-on leadership approach while restoring a renewed emphasis on contemporary music. The TMC's annual Festival of Contemporary Music, produced in association with the Fromm Music Foundation, was begun in 1963.
 

In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO's programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher served as the TMC's Artistic Director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. In 1998, Ellen Highstein was appointed to the new position of Director of the Tanglewood Music Center, operating under the artistic supervision of Seiji Ozawa. Maestro James Levine took over as Music Director of the BSO in 2005 and has continued the tradition of hands-on involvement with the TMC, conducting both orchestral concerts and staged operas, as well as participating in masterclasses for singers, conductors, and composers.
 

It would be impossible to list all the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20 percent of the members of American symphony orchestras, and 30 percent of all first-chair players, studied at the TMC.
 

Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, have become a fitting shrine to the memory of Serge Koussevitzky, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future as one of the world's most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Music Center Conducting Fellows
Kirill Gerstein, piano
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The multifaceted pianist Kirill Gerstein is rapidly ascending into classical music's highest ranks. With a masterful technique, discerning intelligence, and a musical curiosity that has led him to explore repertoire spanning centuries and numerous styles, he has proven to be one of today's most intriguing and versatile musicians.

Mr. Gerstein is the sixth recipient of the prestigious Gilmore Artist Award, presented every four years to an exceptional pianist who, regardless of age or nationality, possesses broad and profound musicianship and charisma and who desires and can sustain a career as a major international concert artist. Since receiving the award in 2010, Mr. Gerstein has shared his prize through the commissioning of boundary-crossing new works by Oliver Knussen, Chick Corea, Brad Mehldau, Timothy Andres and Alexander Goehr. Mr. Gerstein was also awarded First Prize at the 2001 Arthur Rubinstein Piano Competition in Tel Aviv, received a 2002 Gilmore Young Artist Award and a 2010 Avery Fisher Grant.

Highlights of his 2015-16 season in North America include performances of Scriabin's Prometheus: Poem of Fire with Ricardo Muti and the Chicago Symphony, Rachmaninoff Concerto No. 2 with Semyon Bychkov and the Berlin Philharmonic, Rachmaninoff Concerto No. 1 with the Cleveland Orchestra, and playing both of George Gershwin's piano concertos in the original jazz-band version to open New York's 92nd Street Y's 15/16 season; re-engagements with the Los Angeles Philharmonic as well as with the Toronto, Cincinnati, Dallas, Houston, Colorado, Utah and Oregon symphonies and the National Arts Centre Orchestra; a tour to Australia and New Zealand; his debut with the Royal Concertgebouw with concerts in Amsterdam and Frankfurt; a European tour with the Czech Philharmonic; and recitals in New York and Houston.

Kirill Gerstein's recent North American engagements include performances with the New York Philharmonic, the Philadelphia and Minnesota Orchestras, and the Boston, St. Louis, San Francisco, Atlanta, Baltimore, Detroit, Indianapolis and Montreal symphonies among others. He has also recently appeared at the Aspen Music Festival, Santa Fe Chamber Music Festival, Chicago's Grant Park, Tanglewood with the Boston Symphony, Blossom with the Cleveland Orchestra, and with the Philadelphia Orchestra at the Bravo! Vail Valley Festival, Mann Music Center and Saratoga; and performed in recital at New York's 92nd St. Y and Zankel Hall at Carnegie Hall, the Kennedy Center and in Boston, Toronto, Berkeley, Vancouver, Detroit, Miami and Princeton.

Internationally, Kirill Gerstein has played with such prominent European orchestras as the Czech, Munich, Rotterdam and London Philharmonics, the City of Birmingham Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Dresden Staatskappelle, Finnish Radio Orchestra, Tonkünstler Orchestra Vienna, WDR Symphony Orchestra Cologne and the Zurich Tonhalle, as well as with the NHK Symphony Orchestra in Tokyo. He has performed recitals in Paris, Prague, Hamburg, London's Wigmore Hall and Queen Elizabeth Hall, and at the Liszt Academy in Budapest. He made his Salzburg Festival debut playing solo and two piano works with Andras Schiff and has also appeared at the Lucerne and Jerusalem Chamber Music Festivals as well as at the Proms in London.

Mr. Gerstein's second solo recording featuring Mussorgsky's Pictures at an Exhibition and Schumann's Carnaval was released by Myrios Classics in June 2014. His first solo recording with works by Schumann, Liszt and Oliver Knussen, also for Myrios, was chosen by The New York Times as one of the best recordings of 2010. He also collaborated with Tabea Zimmerman on two recordings of sonatas for viola and piano for Myrios, released in February 2011 and November 2012. His most recent recording of the Tchaikovsky Piano Concerto No. 1 and the Prokofiev Piano Concerto No. 2 with the Deutsches Symphonie-Orchester Berlin was released by Myrios in March 2015 and is the first recording using the new critical edition recently completed by the Tchaikovsky Museum in Moscow using the composer's original second version.

Born in 1979 in Voronezh, Russia, Mr. Gerstein studied piano at a special music school for gifted children and taught himself to play jazz by listening to his parents' extensive record collection. At the age of 14, he came to the United States to study jazz piano as the youngest student ever to attend Boston's Berklee College of Music. After completing his studies in three years and following his second summer at the Boston University program at Tanglewood, Mr. Gerstein turned his focus back to classical music and moved to New York City to attend the Manhattan School of Music, where he studied with Solomon Mikowsky and earned both Bachelors and Masters of Music degrees by the age of 20. He continued his studies in Madrid with Dmitri Bashkirov and in Budapest with Ferenc Rados.

Mr. Gerstein became an American citizen in 2003 and divides his time between the United States and Germany.

Kirill Gerstein, piano
Program Notes Audio
KNUSSEN - Songs and a Sea Interlude
Thomas ADÈS - In Seven Days, for piano and orchestra
Gerald BARRY - Diner
LUTOSŁAWSKI - Symphony No. 3