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Herbert Blomstedt conducts Mozart, Bernstein and Haydn

Tanglewood

Koussevitzky Music Shed - Lenox, MA View Map

Maestro Blomstedt conducts the BSO in a second performance, featuring Haydn's majestic Missa in angustiis (Lord Nelson Mass)-a work Bernstein conducted at Tanglewood in 1977 as part of a years-long survey of the Haydn masses-with soprano Hannah Morrison, mezzo-soprano Elisabeth Kulman, tenor Nicholas Phan, baritone Michael Nagy, and the Tanglewood Festival Chorus. At the heart of the program is Bernstein's own Ḥalil, Nocturne for flute and orchestra, with BSO principal flutist Elizabeth Rowe as soloist. Maestro Blomstedt begins the program by conducting Mozart's Symphony No. 34.

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Herbert Blomstedt, conductor
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Noble, charming, sober, modest. Such qualities may play a major role in human coexistence and are certainly appreciated. However, they are rather untypical for extraordinary personalities such as conductors. Whatever the general public's notion of a conductor may be, Herbert Blomstedt is an exception, precisely because he possesses those very qualities which seemingly have so little to do with a conductor's claim to power. The fact that he disproves the usual clichés in many respects should certainly not lead to the assumption that this artist does not have the power to assert his clearly defined musical goals. Anyone who has once attended Herbert Blomstedt's rehearsals and experienced the concentration on the essence of the music, the precision in the phrasing of musical facts and circumstances as they appear from the score, the tenacity regarding the implementation of an aesthetic view, will probably have been amazed at how few despotic measures were required to this end. Basically, Herbert Blomstedt has always represented that type of artist whose professional competence and natural authority make all external emphasis superfluous. His work as a conductor is inseparably linked to his religious and human ethos, accordingly, his interpretations combine great faithfulness to the score and analytical precision with a soulfulness that awakens the music to pulsating life. In the more than sixty years of his career, he has acquired the unrestricted respect of the musical world.

Over the years, many outstanding ensembles around the globe have been able to secure the services of this highly respected Swedish conductor, born in the USA and educated in Uppsala, New York, Darmstadt and Basel. At the age of ninety, Herbert Blomstedt continues to be at the helm of all leading international orchestras with enormous mental and physical presence, verve and artistic drive.

Herbert Blomstedt, conductor Elizabeth Rowe, flute
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BSO principal flutist Elizabeth Rowe joined the Boston Symphony Orchestra in 2004 and holds the Walter Piston Principal Flute Chair. Prior to joining the BSO, Ms. Rowe held titled positions with the orchestras of Fort Wayne, Baltimore, and Washington, D.C. Regularly featured in front of the orchestra, she has been soloist with the BSO in Elliott Carter's Flute Concerto (including its American premiere performances under James Levine in February 2010, followed by later performances in Boston and San Francisco); the Ligeti Double Concerto for flute and oboe with Christoph von Dohnányi conducting and BSO principal oboe John Ferrillo; Gabriela Lena Frank's Illapa, Tone Poem for Flute and Orchestra, with Miguel Harth-Bedoya conducting; Mozart's G major flute concerto, K.313, with which she made her first BSO appearance as a concerto soloist in August 2008, under André Previn's direction at Tanglewood; Frank Martin's Concerto for Seven Wind Instruments, Timpani, Percussion, and Strings in October 2012; Bach's Brandenburg Concertos Nos. 5 and 2 at Tanglewood in 2012 and 2013, respectively; Mozart's C major concerto for flute and harp in 2016 in Boston and at Tanglewood, with BSO principal harp Jessica Zhou; and, most recently, Leonard Bernstein's Ḥalil in September 2017, in the BSO's season-opening all-Bernstein program with Andris Nelsons conducting. In November 2017, she and Ms. Zhou perform Mozart's Concerto for Flute and Harp with Andris Nelsons and the BSO during the orchestra's tour that month to Japan. Noted for her insightful teaching, Ms. Rowe attracts flute students from around the country to her lessons and master classes. She works regularly with students at the New England Conservatory and the Tanglewood Music Center and is a frequent guest artist at the New World Symphony. She previously taught at the Peabody Conservatory of Music and University of Maryland. A member of the Boston Symphony Chamber Players, she can be heard in a wide variety of chamber works throughout the season at NEC's Jordan Hall and in several recordings. Elizabeth Rowe grew up in Eugene, Oregon. She received her bachelor of music degree from the University of Southern California, where she was a Trustee Scholar and a student of Jim Walker, former principal flute of the Los Angeles Philharmonic. Ms. Rowe's connection to the Boston Symphony Orchestra dates back to the summer of 1996, when she was a Tanglewood Music Center Fellow and performed as principal flute under Seiji Ozawa's direction in the TMC production of Benjamin Britten's Peter Grimes that marked the fiftieth anniversary of the opera's 1946 American premiere at Tanglewood.

Elizabeth Rowe, flute
Hannah Morrison, soprano
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Born into an Icelandic-Scottish family, soprano Hannah Morrison is in demand as an interpreter of Bach's works.

Under the baton of Sir John Eliot Gardiner she made her Salzburg Festival debut in 2013 in Alexander's Feast (Handel), she sang in Schumann's Paradise and the Peri and Brahms' A German Requiemwith Leipzig Gewandhaus Orchestra in 2014. She made her BBC Proms debut in Bach's Easter Oratorio; then, in 2016, she made appearances in Mozart's Requiem and Bach's St Matthew Passion.

Hannah Morrison regularly makes guest appearances with Les Arts Florissants conducted by Paul Agnew. In 2017, among other roles, she covered the role of La Musica and Euridice in their production of Monteverdi's Orfeo. The CD "Harmonia Sacra" (with William Christie) was released on Virgin Classics in 2007. 

Very recently she concertized with Masaaki Suzuki and the Bach Collegium Japan, with the Musik Podium Stuttgart (Frieder Bernius), with the Ricercar Ensemble (Philippe Pierlot), with the Beethoven Orchester Bonn (Stefan Blunier), with the Capella Augustina (Andreas Spering), the Bavarian Radio Choir (Olari Elts) and with Collegium Vocale Gent (Philippe Herreweghe).

As a solo Lied performer she has been invited to give recitals with Joseph Middleton at the Beethovenhaus in Bonn (October 2015) and at Cologne Philharmonie (June 2016). She has already given vocal recitals in the UK with pianists Eugene Asti and Graham Johnson at Oxford Festival, as well as in outstanding London venues such as Kings Place and Wigmore Hall. She also gave a guest vocal recital accompanied by lutenist Sören Leupold at Potsdam Music Festival in June 2015, which will be presented again at Schloss Elmau in August 2017. 

Further upcoming projects for season 2017/2018 include concerts with works by Schütz with the early music ensemble Gli Angeli Genève (Stephan Macleod), Monteverdi's Vespers with the RIAS Kammerchor (Justin Doyle), a WDR concert with the Cölner Barockorchester, Monteverdi's Madrigal Books in Canada with Les Arts Florissants (Paul Agnew), works by Buxtehude with Ricercar Consort (Philippe Pierlot), a concert tour featuring works by Bach and Kuhnau with B'Rock (Benjamin Bayl), and a concert tour with Bach Cantatas with the Monteverdi Choir (Sir John Eliot Gardiner). 

Hannah Morrison grew up in Holland and got acquainted with music from an early age. Her instruments were the oboe, the recorder and the piano. Her passion however also went to the world of classical ballet and choir singing. For her Music Studies she chose piano and singing at the Music Academy in Maastricht (Holland). She moved on to the Hochschule für Musik und Tanz in Cologne, where she studied with Prof. Barbara Schlick and obtained her concert diploma. During this period, she also completed a "Masters in Music in Performance" at the London Guildhall School of Music and Drama under professor Rudolf Piernay.

Hannah Morrison now lives with her family in Cologne.

Hannah Morrison, soprano Elisabeth Kulman, mezzo-soprano
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The Austrian mezzo-soprano and contralto, Elisabeth Kulman, first studied linguistics (Russian, Finno-ugristic) and musicology before proceeding to study voice with Helena Lazarska at the University of Performing Arts in Vienna, where she graduated in 2001 with Unanimous Distinction both in Opera and Lied/Oratorio. For her exceptional artistic achievements she was awarded the Prize of Merit by the Austrian Federal Ministry of Culture.

The same year saw her making her extremely successful stage debut as Pamina in W.A. Mozart's Die Zauberflöte at Volksoper Vienna. She quickly established herself especially as a W.A. Mozart singer (Countess Almaviva, Donna Elvira).

Since 2004, when she changed to the mezzo and alto Fach, Elisabeth Kulman has shortly rebuilt an extensive repertoire: Carmen (Georges Bizet), Prince Orlofsky (The Bat/J. Strauss), Hansel (Engelbert Humperdinck), Boccaccio (Suppé), Suzuki (Madama Butterfly/Puccini), Magdalena (Evangelimann/Kienzl), Third Lady Die Zauberflöte /W.A. Mozart), Fenena (Nabucco/Verdi), Hippolyta (A Midsummer Night's Dream/Benjamin Britten), Nancy (Martha/Flotow) etc. In 2005, she took over the role of Gluck's Orfeo at the Paris National Opera on short notice, which brought her a lot of attention and another invitation for the same part for 2008.

At the Vienna State Opera, whose member she has been since September 2007, Elisabeth Kulman has excelled in roles as diverse as Marina (Boris Godunov/Mussorgsky), Suzuki and Prince Orlofsky to glowing reviews. For her brilliant interpretation of the latter role she became the recipient of the Eberhard Waechter Medal in 2007. Another highlight in her ongoing career was her highly-acclaimed Carmen at the Berlin State Opera "Unter den Linden" in October/November 2007. Her interpretion of the name part in Il Giustino by Baroque composer Giovanni Legrenzi, conducted by Thomas Hengelbrock at the Schwetzingen Festival, contributed to the award of this opera as the "Re-discovery of the year 2007".

Besides opera parts, Elisabeth Kulman's musical activities also cover concerts. With great stylistic accuracy and vocal flexibility she realizes a wide musical spectrum, ranging from Baroque, classical, romantic to contemporary music. As an internationally sought-after soloist she has already worked, among others, with conductors like Franz Welser-Möst, Thomas Hengelbrock and Nikolaus Harnoncourt. A performance of J.S. Bach's Christmas Oratorio (BWV 248), conducted by Peter Schreier was released on DVD as well as a live performance CD-recording of Gustav Mahler's 2nd Symphony with the New Japan Philharmonic Orchestra conducted by Christian Arming.

Elisabeth Kulman is also an exceptionally devoted Lieder recitalist. In November 2007, she made her highly appreciated debut at Vienna Musikverein, together with accompanist Walter Moore. Besides duo recitals, she also performs songs in arrangements for unconventional line-ups: she presented a Moussorgky program with the jazz quartet Pago Libre, and arrangements of G. Mahler songs with the Ensemble Amarcord Wien.

Elisabeth Kulman, mezzo-soprano
Nicholas Phan, tenor
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Appearing regularly in the world's premiere concert halls, music festivals and opera houses, American tenor Nicholas Phan continues to distinguish himself as one of the most compelling tenors performing today. 

Highlights of Mr. Phan's upcoming 2017/2018 season include his debuts with the Minnesota Orchestra for Bach's Christmas Oratorio, and the Orquestra Sinfônica de São Paulo for Britten's War Requiem with Marin Alsop; and returns to the Chamber Music Society of Lincoln Center, Philharmonia Baroque, the Philadelphia Orchestra, the Chicago Symphony for Schubert's Mass in E-flat with Riccardo Muti, and the Toronto Symphony for performances as the title role in Bernstein's Candide.  He also serves as artistic director of two festivals next season: Collaborative Arts Institute of Chicago's sixth annual Collaborative Works Festival, and as the first singer to be guest Artistic Director of the Laguna Beach Music Festival.

Mr. Phan has appeared with many of the leading orchestras in North America and Europe, including the Cleveland Orchestra, New York Philharmonic, Boston Symphony, Chicago Symphony, San Francisco Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, National Symphony, Atlanta Symphony, St. Paul Chamber Orchestra, Orchestra of St. Luke's, Philharmonia Baroque, Boston Baroque, Les Violons du Roy, BBC Symphony, English Chamber Orchestra, Strasbourg Philharmonic, Royal Philharmonic, Philharmonia Orchestra of London, and the Lucerne Symphony. He has also toured extensively throughout the major concert halls of Europe with Il Complesso Barocco, and appeared with the Oregon Bach, Ravinia, Marlboro, Edinburgh, Rheingau, Saint-Denis, and Tanglewood festivals, as well as the BBC Proms.  Among the conductors he has worked with are Marin Alsop, Harry Bicket, Pierre Boulez, James Conlon, Alan Curtis, Rafael Frühbeck de Burgos, Charles Dutoit, Jane Glover, Manfred Honeck, Bernard Labadie, Louis Langrée, Nicholas McGegan, Zubin Mehta, John Nelson, Yannick Nézet-Séguin, Helmuth Rilling, David Robertson, Esa-Pekka Salonen, Masaaki Suzuki, Michael Tilson Thomas and Franz Welser-Möst. 

An avid proponent of vocal chamber music, he has collaborated with many chamber musicians, including pianists Mitsuko Uchida, Richard Goode, Jeremy Denk, Graham Johnson, Roger Vignoles, Myra Huang and Alessio Bax; violinist James Ehnes; guitarist Eliot Fisk; harpist Sivan Magen; and horn players Jennifer Montone, Radovan Vlatkovic and Gail Williams. In both recital and chamber concerts, he has been presented by Carnegie Hall, London's Wigmore Hall, the Metropolitan Museum of Art, the Chamber Music Society of Lincoln Center, the Philadelphia Chamber Music Society, Atlanta's Spivey Hall, Boston's Celebrity Series, and the Library of Congress in Washington, DC.  In 2010, he co-founded the Collaborative Arts Institute of Chicago, an organization that promotes the art song and vocal chamber music repertoire of which he is Artistic Director.

Mr. Phan's many opera credits include appearances with the Los Angeles Opera, Houston Grand Opera, Glimmerglass Festival, Chicago Opera Theater, Seattle Opera, Portland Opera, Glyndebourne Opera, Maggio Musicale in Florence,  Deutsche Oper am Rhein, and Frankfurt Opera. His growing repertoire includes the title roles in Bernstein's Candide,  Stravinsky's Oedipus Rex  and Handel's Acis and Galatea, Almaviva in Il barbiere di Siviglia, Nemorino in L'elisir d'amore,  Fenton in Falstaff,  Tamino in Die Zauberflöte,  Don Ottavio in Don Giovanni,  and Lurcanio in Ariodante. 

Phan's most recent solo album, Gods and Monsters, was released on Avie Records in January. His first three solo albums, A Painted TaleStill Fall the Rain and Winter Words, made many "best of" lists, including those of the New York TimesNew YorkerChicago Tribune and Boston Globe. Phan's growing discography also includes a Grammy-nominated recording of Stravinsky's Pulcinella with Pierre Boulez and the Chicago Symphony, the opera L'Olimpiadewith the Venice Baroque Orchestra, Scarlatti's La gloria di Primavera with Philharmonia Baroque, Bach's St. John Passion (in which he sings both the Evangelist as well as the tenor arias) with Apollo's Fire, and the world premiere recordings of two orchestral song cycles: The Old Burying Ground by Evan Chambers and Elliott Carter's A Sunbeam's Architecture.

A graduate of the University of Michigan, Mr. Phan is the 2012 recipient of the Paul C Boylan Distinguished Alumni Award.  He also studied at the Manhattan School of Music and the Aspen Music Festival and School, and is an alumnus of the Houston Grand Opera Studio. He was the recipient of a 2006 Sullivan Foundation Award and 2004 Richard F. Gold Career Grant from the Shoshana Foundation. 

Nicholas Phan, tenor Michael Nagy, baritone
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The young baritone of Hungarian descent was at first a member of the ensemble of the Komische Oper Berlin; he then went to the Frankfurt Opera where he managed to add the important parts of Papageno (Magic Flute), Guglielmo (Così fan tutte), Count Almaviva (The Marriage of Figaro), Hans Scholl (Die weiße Rose), Wolfram (Tannhäuser), Valentin (Faust), Jeletzki (Pique Dame), Marcello (La Bohème), Albert (Werther), Frank/Fritz (Die tote Stadt), Owen Wingrave (title roll), Jason (Medea) and Dr. Falke (Die Fledermaus) to his repertoire. 

Guest engagements have taken him to, among other places, the Oslo opera house, as Wolfram/Tannhäuser, the Deutsche Oper in Berlin and the Bavarian State Opera in Munich (Graf Luna/Palestrina). He has also appeared at the Theater an der Wien as Nardo (La finta giardiniera) with the Freiburg Baroque Orchestra under René Jacobs.

Michael Nagy is now sought after worldwide for concert and oratorio performances. With Philippe Herreweghe he has developed a steady musical relationship, including works such as Bach's St Matthew Passion at the Lincoln Center in New York, Mendelssohn's Elijah in Amsterdam and tours with Mahler's Rückertlieder andWunderhornlieder. Further engagements have taken him to the Konzert--hausorchester in Berlin, the Museumsorchester in Frankfurt, the Gewandhausorchester in Leipzig and to the Schleswig-Holstein Musik Festival. Adam Fischer and the Chamber Orchestra of Europe, Paavo Järvi and the hr Sinfonieorchester, Christoph Eschenbach and the NDR Sinfonieorchester, and Riccardo Chailly are among the prominent musical partners for his broadly based concert repertoire. He works closely together with Helmuth Rilling, who has followed and supported his development from the outset.

Following a successful 2012/2013 season, including roles such as Papageno with the Berlin Philharmonic under Sir Simon Rattle at the Baden-Baden Easter Festival, he started the current season at the Lucerne Festival with Gunther, within the Ring Cycle, with the Bamberg Symphony Orchestra under Jonathan Nott. He is also making his debut in three roles: as Ford (Falstaff) at the Deutsche Oper Berlin, asDon Giovanni (title role) at the Norske Opera Oslo and finally as Stolzius (Die Soldaten) at the Bavarian State Opera Munich. Concert projects of this season include Shostakovich's 14th. Symphony with Marek Janowski and the Berlin Radio Symphony Orchestra, Mendelssohn's Walpurgisnacht with the Munich Philharmonic under Pablo Heras-Casado, as well as a concert of Carl Phillip Emmanuel Bach's Die Auferstehung und Himmelfahrt Jesu with the Freiburg Barockorchester under René Jacobs at the Mozarteum Salzburg. In addition, a Lieder evening is planned at the Paris Opéra Bastille with Gerold Huber.

Michael Nagy had his first musical training in a boys' choir, the Stuttgart Hymnus-Chorknaben. He studied singing in Stuttgart, Mannheim and Saarbrücken under Rudolf Piernay, song interpretation under Irwin Gage, and conducting. He rounded off his training in master classes with Charles Spencer, Rudolf Piernay and Cornelius Reid. In 2004, together with the pianist Juliane Ruf, he won the Internationaler Wettbewerb für Liedkunst [International Lieder Competition] staged by the Hugo-Wolf-Akademie in Stuttgart.

Michael Nagy, baritone
Thomas Adès, conductor
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Born in London in 1971, Thomas Adès studied piano and composition at the Guildhall School of Music and Drama, and read music at King's College, Cambridge.  Renowned as both a composer and a performer he works regularly with the world's leading opera companies and festivals.  

Recent conducting engagements include a tour with the Britten Sinfonia, concerts with the Chamber Orchestra of Europe and the Gulbenkian Orchestra as part of his Gulbenkian Foundation Residency, the London Symphony and Sao Paulo State Symphony Orchestras, his debut with the Royal Concertgebouw Orchestra, the Los Angeles Philharmonic, the City of Birmingham Symphony Orchestra, the Philharmonia Orchestra, Mariinsky Theatre Orchestra, the Royal Stockholm Philharmonic Orchestra, the BBC, Finnish and Danish Radio Symphony Orchestras, the Birmingham Contemporary Music Group (whose Music Director he was between 1998 and 2000), the London Sinfonietta, Ensemble Modern and the Athelas Ensemble.
He recently conducted productions of The Rake's Progress at the Royal Opera House Covent Garden and Zurich Opera.  His most recent piano engagements include a recital at Carnegie Hall with Ian Bostridge, and an appearance with Alan Gilbert and the New York Philharmonic. In 2010 he undertook a piano recital tour that included Carnegie Hall, and London's Barbican Centre featured the premiere of his new piano work Concert Paraphrase from Powder Her Face.  2010/11 saw Adès return to Australia as an artist in residence at the Melbourne Festival.  Future plans include concerts with the Accademia Santa Cecilia in Rome, Barry's "The Importance of Being Earnest" with the Birmingham Contemporary Music Group, and a piano recital at the Festival de Saint Denis.

Between 1993 and 1995 he was Composer in Association with the Hallé Orchestra, which resulted in The Origin of the Harp (1994) and These Premises Are Alarmed for the opening of the Bridgewater Hall in 1996. Asyla (1997) was a Feeney Trust commission for Sir Simon Rattle and the CBSO who performed it at Symphony Hall in August 1998 in Rattle's last concert as Music Director. From 1999-2008 he was Artistic Director of the Aldeburgh Festival.

Adès' first opera, Powder Her Face (commissioned by Almeida Opera for the Cheltenham Festival in 1995), has been performed all around the world, was televised by Channel Four, and is available on a DVD as well as an EMI CD. Most of the composer's music has been recorded by EMI, with whom Adès has a contract as composer, pianist and conductor. Adès' second opera, The Tempest, was commissioned by the Royal Opera House and was premiered under the baton of the composer to great critical acclaim in February 2004. It was revived at Covent Garden in 2007 - again with the composer conducting and to a sold-out house - and has also been performed in Copenhagen, Strasbourg and Santa Fe. Recently released to outstanding reviews, The Tempest is also available on an EMI CD and in France, the disc was recently awarded the prestigious Diapason d'Or de l'année and the 2010 Classical Brit Award for Composer of the Year. In September 2005 his violin concerto, Concentric Paths, written for Anthony Marwood, was premiered at the Berliner Festspiele and the BBC Proms, with the Chamber Orchestra of Europe under his baton. His second orchestral work for Simon Rattle, Tevot, (2007) was commissioned by the Berliner Philharmoniker and Carnegie Hall. 

Appointed to the Richard and Barbara Debs Composer Chair at Carnegie Hall for 2007/8, he was featured as composer, conductor and pianist throughout that season.  Adès' most recent works include a 'Piano concerto with moving image' entitled In Seven Days, a collaboration with video artist Tal Rosner, commissioned by the Los Angeles Philharmonic and London's Southbank Centre and Lieux Retrouvés, a work for 'cello and piano written for Steven Isserlis and commissioned by Aldeburgh Festival and Wigmore Hall.

Adès' music has attracted numerous awards and prizes, including the prestigious Grawemeyer Award (in 2000, for Asyla), of which he is the youngest ever recipient.

Thomas Adès, conductor Christian Tetzlaff, violin
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An artist known for his musical integrity, technical assurance and intelligent, compelling interpretations, Christian Tetzlaff is internationally recognized as one of the most important violinists performing today.

From the outset of his career, Mr. Tetzlaff has performed and recorded a broad spectrum of the repertoire, ranging from Bach's unaccompanied sonatas and partitas to 19th century masterworks by Mendelssohn, Beethoven and Brahms; and from 20th century concertos by Bartok, Berg and Shostakovich to world premieres of contemporary works. Also a dedicated chamber musician, he frequently collaborates with distinguished artists including Leif Ove Andsnes, Lars Vogt and Alexander Lonquich and is the founder of the Tetzlaff Quartet, which he formed in 1994 with violinist Elisabeth Kufferath, violist Hanna Weinmeister and his sister, cellist Tanja Tetzlaff.

Born in Hamburg in 1966, music occupied a central place in his family and his three siblings are all professional musicians. Mr. Tetzlaff began playing the violin and piano at age six, but pursued a regular academic education while continuing his musical studies. He did not begin intensive study of the violin until making his concert debut playing the Beethoven Violin Concerto at the age of 14 and attributes the establishment of his musical outlook to his teacher at the conservatory in Lübeck, Uwe-Martin Haiberg, who placed equal stress on interpretation and technique. Mr. Tetzlaff came to the United States during the 1985-86 academic year to work with Walter Levine at the University of Cincinnati College-Conservatory of Music and also spent two summers at the Marlboro Music Festival in Vermont.

Mr. Tetzlaff has been in demand as a soloist with most of the world's leading orchestras and conductors, establishing close artistic partnerships that are renewed season after season. Mr. Tetzlaff has performed with the orchestras of Chicago, Cleveland, Boston, Philadelphia, New York, San Francisco, Los Angeles, St. Louis, Pittsburgh, Washington, DC and Toronto, among many others in North America, as well as with the major European ensembles including the Berlin Philharmonic, London Symphony and London Philharmonic, Bavarian Radio Symphony Orchestra, Vienna Philharmonic, Rotterdam Philharmonic and the Royal Concertgebouw Orchestra in Amsterdam.

Highlights of Mr. Tetzlaff's 14/15 season in North America include performances with the Boston Symphony, both in Boston and in Carnegie Hall, as well as re-engagements with the Cleveland Orchestra, Montreal, Seattle and Pittsburgh symphonies; appearances at Lincoln Center's Mostly Mozart Festival and Chicago's Grant Park Music Festival; opening New York's 92nd St. Y's 14/15 season with a performance of the complete Bach unaccompanied Sonatas and Partitas; and duo-recitals with Lars Vogt in Santa Fe, Berkeley, La Jolla and Santa Barbara.

Internationally, Mr. Tetzlaff will be the Artist-in-Residence with the Berlin Philharmonic, appears with the Munich Philharmonic, London Symphony and the Vienna Symphony, and is the featured soloist on tours with the Swedish Radio Orchestra in Europe and the Deutsche Kammerphilharmonie Bremen in Asia.

Christian Tetzlaff was a 2010-11 Carnegie Hall Perspectives artist, an initiative in which musicians are invited to curate a personal concert series in Carnegie and Zankel Halls through collaborations with other musicians and ensembles. Mr. Tetzlaff's Perspectives included an appearance with the Boston Symphony during which he played concertos by Mozart, Bartok and the New York premiere of a new concerto by Harrison Birtwistle; a play/conduct performance with the Orchestra of St. Luke's; a performance with the Ensemble ACJW led by Sir Simon Rattle; a concert with the Tetzlaff Quartet; and a duo-recital with violinist Antje Weithaas. He also led a Professional Training Workshop for young violinists and pianists, culminating in a young artist concert.

Tetzlaff's highly regarded recordings reflect the breadth of his musical interests and include solo works, chamber music and concertos ranging from Haydn to Bartok. His recent recordings include the complete Bach Sonatas and Partitas for Solo Violin for the Musical Heritage and Haenssler labels; Szymanowski's Violin Concerto No. 1 with the Vienna Philharmonic/Pierre Boulez for Deutsche Grammophon; the Schumann and Mendelssohn Violin Concertos with Frankfurt Radio Orchestra/Paavo Järvi for Edel Classics; Jorg Widmann's Violin Concerto, written for Mr. Tetzlaff, with the Swedish Radio Symphony Orchestra/Daniel Harding for Ondine; the two Shostakovich Violin Concertos with the Helsinki Philharmonic/John Storgaards for Ondine; and the Berg Lyric Suite and Mendelssohn Quartet Op. 13 with the Tetzlaff Quartet for the CAvi label. The three Brahms piano trios, with cellist Tanja Tetzlaff and pianist Lars Vogt, will be released in the spring of 2015, also on the Ondine label.

Christian Tetzlaff currently performs on a violin modeled after a Guarneri del Gesu made by the German violin maker, Peter Greiner. In honor of his artistic achievements, Musical America named Mr. Tetzlaff "Instrumentalist of the Year" in 2005.

Christian Tetzlaff, violin
Tanglewood Festival Chorus
Tanglewood Festival Chorus
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Tanglewood Festival Chorus
James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus
John Oliver, Founder and Conductor Laureate

This season at Symphony Hall, the Tanglewood Festival Chorus joins the Boston Symphony Orchestra for performances of Mahler's Symphony No. 3 (January 18-20) and Schumann's Nachtlied and Neujahrslied (February 8-10) under BSO Music Director Andris Nelsons; Grieg's incidental music to Peer Gynt under BSO Associate Conductor Ken-David Masur (October 19-24); Berlioz's The Damnation of Faust (October 26-28) and Ravel's complete Daphnis et Chloé (February 15-17) under Charles Dutoit, and Leonard Bernstein's Symphony No. 3, Kaddish, under Giancarlo Guerrero (March 15-17). Members of the chorus also participated in this season's all-Bernstein program on Opening Night. Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor John Oliver, who stepped down from his leadership position with the TFC at the end of the 2014 Tanglewood season. Awarded the Tanglewood Medal by the BSO to honor his forty-five years of service to the ensemble, Mr. Oliver now holds the lifetime title of Founder and Conductor Laureate and occupies the Donald and Laurie Peck Master Teacher Chair at the Tanglewood Music Center. In February 2017, having prepared the chorus for that month's BSO performances of Bach's B minor Mass led by Andris Nelsons, the British-born James Burton was named the new Conductor of the Tanglewood Festival Chorus, also being appointed to the newly created position of BSO Choral Director.

Though first established for performances at the BSO's summer home, the Tanglewood Festival Chorus was soon playing a major role in the BSO's subscription season as well as BSO concerts at Carnegie Hall. Now numbering more than 300 members, the ensemble performs year-round with the Boston Symphony and Boston Pops. It has performed with Seiji Ozawa and the BSO in Hong Kong and Japan, and with the BSO in Europe under James Levine and Bernard Haitink, also giving a cappella  concerts of its own on the two latter occasions. The TFC made its debut in April 1970, in a BSO performance of Beethoven's Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz's La Damnation of Faust  with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith's An Unknown Sphere  for mezzo-soprano and chorus, commissioned by the BSO for the ensemble's 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella  music led by John Oliver and released to mark the TFC's 40th anniversary; and, with James Levine conducting, Ravel's complete Daphnis and Chloé  (a 2009 Grammy-winner for Best Orchestral Performance), Brahms's German Requiem, and William Bolcom's Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). Besides their work with the BSO, TFC members have performed Beethoven's Ninth Symphony with Zubin Mehta and the Israel Philharmonic; participated in a Saito Kinen Festival production of Britten's Peter Grimes  under Seiji Ozawa in Japan, and sang Verdi's Requiem with Charles Dutoit to help close a month-long International Choral Festival given in and around Toronto. The ensemble had the honor of singing at Sen. Edward Kennedy's funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can be heard on the soundtracks of Clint Eastwood's Mystic River, John Sayles's Silver City, and Steven Spielberg's Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the TFC has established itself as a favorite of conductors, soloists, critics, and audiences alike.

James Burton
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James Burton was appointed Conductor of the Tanglewood Festival Chorus, and to the new position of BSO Choral Director, in February 2017. Born in London, Mr. Burton began his training at the Choir of Westminster Abbey, where he became head chorister. He was a choral scholar at St. John's College, Cambridge, and holds a master's degree in orchestral conducting from the Peabody Conservatory, where he studied with Frederik Prausnitz and Gustav Meier. He has conducted concerts with the Royal Liverpool Philharmonic, the Orchestra of the Age of Enlightenment, the Hallé, the Orchestra of Scottish Opera, Royal Northern Sinfonia, BBC Concert Orchestra, and Manchester Camerata; in early 2016 he made his debut with the Orquestra Sinfònica Nacional with concerts in the Palacio de Bellas Artes in Mexico City. Opera credits include Don Giovanni and La bohème at English National Opera, Così fan tutte at English Touring Opera, The Magic Flute at Garsington, and Gianni Schicchi and Suor Angelica at the Prague Summer Nights Festival. He has served on the music staff of the Metropolitan Opera, Opéra de Paris, English National Opera, Opera Rara, and Garsington Opera, where he was honored with the Leonard Ingrams Award in 2008. He has also conducted in London's West End and led a UK tour of Bernstein's Wonderful Town in 2012. His extensive choral conducting has included guest invitations with professional choirs including the Gabrieli Consort, the Choir of the Enlightenment, Wrocław Philharmonic, and the BBC Singers, with whom he performed at the Dubai Opera house in its inaugural season earlier this year. From 2002 to 2009 he served as choral director at the Hallé Orchestra, where he was music director of the Hallé Choir and founding conductor of the Hallé Youth Choir, winning the Gramophone Choral Award in 2009. He returned to Manchester in 2014, preparing the choirs for a Grammy-nominated recording under Sir Mark Elder of Vaughan Williams's Sea Symphony. From 2002 to 2017 he was music director of the chamber choir Schola Cantorum of Oxford, touring all over the world and recording with Hyperion Records. He collaborates regularly with leading young musicians and in 2017 appeared as guest director of the National Youth Choir of Japan and the Princeton University Glee Club, as well as the Genesis Sixteen. He teaches conducting, and has given master classes at the Royal Academy of Music and the Royal Welsh College of Music. In 2011 he founded a conducting scholarship with Schola Cantorum of Oxford. His compositions and arrangements have been performed internationally, and his orchestral arrangements for Arlo Guthrie have been performed by the Boston Pops, by many other leading U.S. orchestras, and at the Kennedy Center and Carnegie Hall. His commissions have included the music for the 2010 World Equestrian Games opening ceremony, a setting for chorus and orchestra of Thomas Hardy's The Convergence of the Twain commemorating the 100th anniversary of the Titanic disaster, and a recent Christmas carol premiered by the Choir of St. John's College, Cambridge, live on BBC Radio 3. His choral works are published by Edition Peters. As BSO Choral Director and Conductor of the Tanglewood Festival Chorus, James Burton occupies the Alan J. and Suzanne W. Dworsky Chair, endowed in perpetuity.

Program Notes Audio
MOZART - Symphony No. 34 (22 min)
BERNSTEIN - Ḥalil, for flute and orchestra (16 min)
HAYDN - Missa in angustiis (Lord Nelson Mass) (38 min)
Full Program Notes - -
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