Spring Pops Week 2

Keith Lockhart is the second longest-tenured conductor of the Boston Pops Orchestra since its founding in 1885. He took over as conductor in 1995, following John Williams’s 13-year tenure from 1980 to 1993; Mr. Williams succeeded the legendary Arthur Fiedler, who was at the helm of the orchestra for nearly 50 years. Keith Lockhart, who occupies the Julian and Eunice Cohen Boston Pops Conductor chair, has conducted more than 2,000 Boston Pops concerts and annual Boston Pops appearances at Tanglewood, as well as 45 national tours and 4 international tours to Japan and Korea. The annual Boston Pops Fireworks Spectacular conducted by Mr. Lockhart draws a live audience of over half a million to the Charles River Esplanade and millions more who view it on television or live webcast. He has led eight albums on RCA Victor/BMG Classics; recent releases on Boston Pops Recordings include A Boston Pops Christmas–Live from Symphony Hall, The Dream Lives On: A Portrait of the Kennedy Brothers, and Lights, Camera…Music! Six Decades of John Williams. The list of nearly 300 guest artists with whom Keith Lockhart has collaborated represents performers from virtually every corner of the entertainment world. Having recently completed an 8-year tenure as principal conductor, he is now chief guest conductor of the BBC Concert Orchestra in London; he is also artistic director of the Brevard Music Center summer institute and festival in North Carolina. Prior to his BBC appointment, he spent 11 years as music director of the Utah Symphony. He has appeared as a guest conductor with virtually every major symphonic ensemble in North America and many in Asia and Europe. Before coming to Boston, he was the associate conductor of both the Cincinnati Symphony and Cincinnati Pops orchestras, as well as music director of the Cincinnati Chamber Orchestra.

Read Keith Lockhart’s full biography

View the Boston Pops roster and musician bios

For more than 135 years, the Boston Pops has entertained audiences in Boston and beyond, with Boston Pops Conductor Keith Lockhart leading the orchestra since 1995. It all began in 1885, thanks to the vision of Civil War veteran Henry Lee Higginson. Four years earlier, in 1881, he founded the Boston Symphony Orchestra, calling its establishment "the dream of my life." From the start he intended to present, in the warmer months, concerts of light classics and the popular music of the day. From a practical perspective, Higginson realized that these "lighter" performances would provide year-round employment for his musicians. The "Promenade Concerts," as they were originally called, were soon informally known as "Popular Concerts," which eventually became shortened to "Pops," the name officially adopted in 1900. The following year the orchestra performed for the first time in its new home, Symphony Hall. Not only is this performance space acoustically outstanding, it was also designed, at Higginson's insistence, so that the rows of seats for Boston Symphony concerts could be replaced by tables and chairs for Pops concerts. To this day, patrons sitting at the cabaret-style tables can enjoy food and drink along with the kind of musical entertainment only the Boston Pops can provide.

There were 17 Pops conductors, beginning with the German Adolf Neuendorff, that preceded Arthur Fiedler, the first American-born musician to lead the orchestra. In Fiedler’s nearly 50-year tenure as Pops Conductor (1930-1979), he established the Boston Pops as a national icon. When John Williams (1980-1993) succeeded Arthur Fiedler, he was the most highly acclaimed composer in Hollywood, and today, with 52 Academy Award nominations, he is the most-nominated living person in Academy history. Mr. Williams continued the Boston Pops Orchestra's prolific recording tradition with a series of best-selling recordings for the Philips and Sony Classical labels, broadened and updated the Pops repertoire, and entertained audiences with live orchestral accompaniment to clips of memorable movie scenes, many featuring iconic music from his own film scores.

Having led over 2,000 Boston Pops concerts in his tenure to date, Keith Lockhart (1995-present) has created programs that reach out to a broader and younger audience by presenting artists—both established performers and rising stars—from virtually every corner of the entertainment world, all the while maintaining the Pops' core appeal. He has made 83 television shows, led 45 national and four overseas tours with the Boston Pops Esplanade Orchestra, led the Pops at several high-profile sports events, and recorded 14 albums. Mr. Lockhart's tenure has been marked by a dramatic increase in touring, the orchestra's first Grammy nominations, the first major network national broadcast of the July 4 Boston Pops Fireworks Spectacular from the Esplanade, and the release of the Boston Pops' first self-produced and self-distributed recordings.

This season the Boston Pops honors the 90th birthday of John Williams, the George and Roberta Berry Boston Pops Conductor Laureate, with film-in-concert performances of both Harry Potter and the Sorcerer’s Stone™ and Star Wars: The Empire Strikes Back. In the same spirit, we present Harlow Robinson’s tribute to the composer, originally printed in the program for the premiere of John Williams’s Violin Concerto No. 2 at Tanglewood in 2021. Happy birthday, Maestro!

Read John Williams's full biography

When legendary Hollywood film composer Dmitri Tiomkin accepted the Oscar for best film score in 1955 (for The High and the Mighty), he mischievously thanked Brahms, Johann Strauss, Richard Strauss, Wagner, Beethoven, and Rimsky-Korsakov. John Williams, now the most honored film composer of all time, has a similar respect for the traditions of classical music upon which he has drawn in creating scores for more than 100 feature films. That includes, of course, all nine movies (to date) in the Star Wars series. Even though Williams claims he doesn’t know Wagner’s Ring operas well, he has admitted that Wagner’s music influenced his work on Star Wars. This makes sense, since some have called this epic cinematic cycle of exploration, conquest, and self-discovery a “space opera.”

“Wagner lives with us here—you can’t escape it. I have been in the big river swimming with all of them,” he told New Yorker music critic Alex Ross. For Williams, the work of his predecessors in film and concert music provides “the shoulders we stand on,” as he said in a recent CBS interview filmed at Tanglewood.

But Williams, now 90, has developed impressive shoulders himself. Nominated for fifty-two Academy Awards (the most of any living person and second only to Walt Disney all-time) over the amazing span of seven decades, he has won five, for Fiddler on the Roof (adaptation and original song score), Jaws, Star Wars, E.T. The Extra-Terrestrial, and Schindler’s List (all for best original film score). He has worked with many of the leading directors of his time: Stephen Spielberg (on twenty-eight films), Oliver Stone, Herbert Ross, Norman Jewison, Robert Altman, Alfred Hitchcock, and Sydney Pollack (to name only a few).

Most of the films Williams has scored have achieved both critical and popular success not only in America, but around the world. Although best known for his work in the realm of fantasy, he has also proven his ability to score seminal films of hard-hitting historical realism: Schindler’s List, JFK, Lincoln. His music for the Star Wars and Harry Potter franchises has entered deep into global popular culture. You can even download a recording of the iconic five-note theme Williams created for Close Encounters of the Third Kind (the code for communication between aliens and earthlings) to use as a ringtone on your mobile phone. And the two-note ostinato figure for double bass he devised for the attacking shark in Jaws has become synonymous with impending danger. (Spielberg later admitted that these two notes “played a crucial role in that movie’s colossal success.”) No question about it: the guy has an amazing talent for coming up with a catchy tune (or motif) that suits the film’s message and dramatic atmosphere. In order to cut through the powerful visual medium, the music needs to be direct and mostly tonal, he says, and “the tunes need to speak probably in a matter of seconds—five or six seconds.”

Williams grew up around music and musicians. When he was a teenager, his family moved from New York to Los Angeles, where his father, a percussionist, played for movie soundtracks by such masters of the form as Bernard Herrmann (Psycho, Vertigo, Spellbound). These connections proved useful as Williams began his own career as a pianist living in Hollywood, in close proximity to “the industry.” “I can’t say I was ‘mentored’ by people like Bernard Herrmann and Alfred Newman. But in retrospect they befriended me; they would ask me to their homes for dinner and I didn’t think about any of it. I worked as a pianist for these composers and some of them would begin to ask me to orchestrate things, which I could do, and eventually write scores for television shows.”

Williams denies, however, that being a film composer was a goal he was consciously striving for. Today, universities and conservatories offer academic training in the craft of film scoring, but when he was starting out in the early 1950s the necessary skills were learned on the job through experience—and practice, practice, practice. “I don’t think I can say it was something I always wanted to do; it was just part of an evolution, a series of good luck turns. But it was not part of a plan or an ambition of mine. I simply put one foot in front of the other.”

Probably because he grew up in Hollywood around the movie business, Williams did not come to the profession with the prejudice that composing for film was something you did only for money and only if you couldn’t make it as a “serious” composer. He shared the view of Bernard Herrmann and other luminaries of film music in Hollywood’s Golden Age—Dmitri Tiomkin, Erich Korngold, Miklos Rozsa—that there was “no essential distinction to be drawn between composing for films and composing for other media,” as Christopher Palmer writes in The Composer in Hollywood. Film composing, Williams has said, “isn’t a sometime thing. It’s a fulltime thing.” (That has not kept him, however, from also creating a significant body of frequently heard concert works.)

Williams’s scores also build upon, and sometimes even imitate, models provided by his Hollywood and non-Hollywood predecessors. Bernard Herrmann’s influence reverberates in Close Encounters of the Third Kind, especially during the sequences while Roy and Jillian are driving across Wyoming. What Williams writes here closely resembles the agitated, anticipatory, highly rhythmic music written for Marion as she drives towards the Bates Motel in the rain in Psycho. And numerous critics have pointed out the similarity between the main fanfare-like theme from Star Wars and the theme Korngold wrote for Sam Woods’s 1942 feature Kings Row.

One also hears echoes of the music of Russian composer Sergei Prokofiev (1891-1953) at several crucial moments. Significantly, when Prokofiev was already a well-established “serious” classical composer, he wrote masterful scores for two films by Soviet director Sergei Eisenstein, including Alexander Nevsky. In that film’s famous “Battle on the Ice” sequence, a two-note ostinato figure occurs just before the combat begins; it seems to directly prefigure the two-note ostinato figure at a similar dramatic moment in Jaws, the only difference being that in Nevsky the figure moves downward, and in Jaws, upward.

The beloved yet sinister “Imperial March” from Star Wars offers another reference to Prokofiev. Its similarity to the menacing number “Montagues and Capulets” from the ballet Romeo and Juliet is so strong that the brass section of one orchestra recently pranked their conductor by interrupting their performance of that moment from the Prokofiev score with Williams’s March. But imitation is the highest form of flattery, and as Igor Stravinsky (who lived for decades in Los Angeles but never managed to complete a film score despite several attempts) once allegedly observed: “Lesser artists borrow, great artists steal.”

One of the constants in Williams’s long, varied, and amazingly productive creative life has been his close relationship with Tanglewood, the Boston Symphony, and the Boston Pops. He has been coming from his home in Los Angeles to spend the summer in the Berkshires for many years now. “The effect of Tanglewood on me is very spiritual and exciting,” he said when interviewed here in 2019. “I have written so much music—and so many film scores—in this place. It provides the perfect antidote to the Hollywood activities I do the rest of the year. It keeps me fresh.”

—Harlow Robinson

Harlow Robinson is an author, lecturer and Matthews Distinguished University Professor of History, Emeritus, at Northeastern University. His books include Sergei Prokofiev: A Biography and Russians in Hollywood, Hollywood’s Russians. His essays and reviews have appeared in The Boston Globe, The New York Times, Los Angeles Times, Cineaste, and Opera News, and he has written program notes for the Boston Symphony, Los Angeles Philharmonic, New York Philharmonic and Metropolitan Opera.

James (Jim) Norman Gwin, drummer of the Boston Pops Orchestra, died peacefully on Tuesday, December 28, 2021, at 64 years old.

Statement from Keith Lockhart

At the Boston Pops, we pride ourselves on playing all sorts of music…classical, of course, but also jazz, rock, pop, world music, and beyond. For much of that repertoire, the steady heartbeat that allows an orchestra to play with spectacular clarity and tight ensemble is provided, not by the conductor on the podium, but by the drummer.

Playing the drumset for a large symphony orchestra is an extraordinarily difficult task. Knowledge of styles of play…being able to sound like Ringo Starr, or Gene Krupa, or Charlie Watts…is a must. So is an ability to read a conductor’s intentions, to hear how the orchestra is responding, and to justify those two things into a rock-solid, but flexible, foundation.

I have never worked with a better orchestral drummer than Jim Gwin. He was a superb drummer, but even more a superb musician. He was also one of the nicest…self-effacing, generous, and very funny…people I have ever shared a stage with. When he was suddenly taken ill in December this year, he wrote me an apologetic note, in which he reminded me that these concerts were the first he had missed since he became the regular Pops drummer in 2004. That means I must have done at least 1500 concerts with him. Every one of them was better because he was backing the band.

I will miss Jim as a friend and as a colleague, and as someone who just made every musical situation, and the players around him, better. My recurring image of him, which I have been unable to get out of my mind since hearing of his passing, is of running into him in the halls under the Symphony Hall stage. He has his head bent to the side, because he was extremely tall and the basement ceilings extremely low, and he was one of those tall folk who always looked like they were trying to be shorter. And he passes, with a grin, and says “Hey, Chief!”

The great thing about being in the performing arts is getting to know really talented, extraordinary people extremely well. The awful thing is having to say goodbye.

Steve Colby, Sound Designer | Pamela Smith, Lighting Designer

The Boston Pops Orchestra may be heard on Boston Pops Recordings, RCA Victor, Sony Classical, and Philips Records.

Concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988.

Steinway & Sons Pianos, selected exclusively for Symphony Hall.

The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek.

Special thanks to American Airlines and Fairmont Copley Plaza.

New arrangements and works for the Boston Pops are generously supported by the Cecile Higginson Murphy Pops Programming Fund.

Broadcasts of the Boston Pops are heard on 99.5 WCRB.

Programs and artists subject to change.

The BSO’s 2021-22 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts.

This project is supported in part by an award from the National Endowment for the Arts.

Boston Symphony Orchestra, Inc.
Board of Trustees | Board of Advisors | Staff and Administration

BOSTON POPS ORCHESTRA
Keith Lockhart conducting

SEASON SPONSORED BY FIDELITY INVESTMENTS

Harry Potter and the Sorcerer’s Stone™ in Concert

There will be one intermission.

Harry Potter and the Sorcerer’s Stone
Directed by Chris Columbus
Produced by David Heyman
Written by Steve Kloves
Based on Harry Potter and the Sorcerer’s Stone by J.K. Rowling

Starring
Daniel Radcliffe
Rupert Grint
Emma Watson
John Cleese
Robbie Coltrane
Warwick Davis
Richard Griffiths
Richard Harris
Ian Hart
John Hurt
Alan Rickman
Fiona Shaw
Maggie Smith
Julie Walters

Music by John Williams
Cinematography by John Seale
Edited by Richard Francis-Bruce
Produced by Heyday Films, 1492 Pictures
Distributed by Warner Bros. Pictures

CineConcerts Production Credits
Justin Freer President/Founder/Producer
Brady Beaubien Co-Founder/Producer

Managing Director Jeffery Sells
Head of Publicity and Communications Andrew P. Alderete
Director of Operations Andrew McIntyre
Senior Marketing Manager Brittany Fonseca
Senior Social Media Manager Si Peng

Worldwide Representation WME Entertainment

Music Preparation JoAnn Kane Music Service
Sound Remixing Justin Moshkevich, Igloo Music Studios

WIZARDING WORLD and all related trademarks, characters, names, and indicia are © & ™ Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s22)

May 26
Eaton Vance is proud to support the Boston Pops as a BSO Business Partner.
The Pops welcomes Mount St. Charles Academy, Lee University, Harvard Medical School, Winchester High School, Harvard Outings & Innings, and Dragonfly Therapeutics.

May 28
New Balance is proud to support the Boston Pops as a BSO Business Partner.
The Pops welcomes Harvard Outings & Innings, U.S. Coast Guard Auxiliary INR, Dragonfly Therapeutics, and Guilford High School.

BOSTON POPS ORCHESTRA
Keith Lockhart conducting

SEASON SPONSORED BY FIDELITY INVESTMENTS

Carnival Overture, Opus 92
Dvořák

In Praise of MIT
Wilbur/Kahn-Gage

Intermezzo and Finale from Piano Concerto No. 3 in D Minor, Opus 30
Rachmaninoff
SITAN CHEN, PhD ’21, piano

INTERMISSION

Beauty and the Beast Overture
Menken-Besterman

Under the Sea
Menken-Hayman

Mood Indigo
Ellington-Hayman

Take the “A” Train
Strayhorn-Goodwin

It Don’t Mean a Thing (If It Ain’t Got That Swing)
Ellington-Sebesky

Hedwig’s Theme from Harry Potter
Williams

Princess Leia’s Theme from Star Wars
Williams

Cantina Band from Star Wars: A New Hope
Williams-Ramin

Raiders March from Raiders of the Lost Ark
Williams

American composer/conductor JUSTIN FREER was born and raised in Huntington Beach, CA. He has established himself as one of the West Coast’s most exciting musical voices and is a highly sought-after conductor and producer of film music concerts around the world. Freer began his formal studies on trumpet, but quickly turned to piano and composition, composing his first work at eleven and giving his professional conducting debut at sixteen.

Continually composing for various different mediums, he has written music for world-renowned trumpeters Doc Severinsen and Jens Lindemann and continues to be in demand as a composer and conductor for everything from orchestral literature to chamber music around the world.

He has served as composer for several independent films and has written motion picture advertising music for some of 20th Century Fox Studios’ biggest campaigns including Avatar, The Day the Earth Stood Still, Aliens in the Attic. As a conductor Freer has appeared with some of the most well known orchestras in the world including the Chicago Symphony Orchestra, Cleveland Orchestra, London Philharmonic, Los Angeles Philharmonic, New York Philharmonic and the Philadelphia Orchestra. He is also one of the only conductors to have ever conducted in both the ancient Colosseum and Circus Maximus in Rome.

Renowned wind conductor and Oxford Round Table Scholar Dr. Rikard Hansen has noted that, “In totality, Freer’s exploration in musical sound evoke moments of highly charged drama, alarming strife and serene reflection.”

Freer has been recognized with numerous grants and awards from organizations including ASCAP, BMI, the Society of Composers and Lyricists and the Henry Mancini Estate. He is the Founder and President of CineConcerts, a company dedicated to the preservation and concert presentation of film, curating and conducting hundreds of full length music score performances live with film for such wide ranging titles as Rudy, Gladiator, The Godfather, Breakfast at Tiffany’s, It’s A Wonderful Life, and the entire Harry Potter Film Franchise.

Mr. Freer earned both his B.A. and M.A. degrees in Music Composition from UCLA, where his principal composition teachers included Paul Chihara and Ian Krouse. In addition, he was mentored by legendary composer/conductor Jerry Goldsmith.

CineConcerts is one of the leading producers of live music experiences performed with visual media, and is continuously redefining live entertainment. Founded by Producer/Conductor Justin Freer and Producer/Writer Brady Beaubien, CineConcerts has engaged over 1.3 million people worldwide in concert presentations in over 900 performances in 48 countries working with some of the best orchestras and venues in the world including the Chicago Symphony Orchestra, Cleveland Orchestra, London Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, Philharmonia Orchestra, and many more. Recent and current live concert experiences include Rudy in Concert, The Harry Potter Film Concert Series, Gladiator Live, The Godfather Live, It’s a Wonderful Life in Concert, DreamWorks Animation In Concert, Star Trek: The Ultimate Voyage 50^th Anniversary Concert Tour, Breakfast at Tiffany’s in Concert, and A Christmas Dream Live.

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Sitan Chen is an NSF Mathematical Sciences Postdoctoral Research Fellow at UC Berkeley. In fall 2023 he will join Harvard as an assistant professor in computer science. After graduating summa cum laude from Harvard, he completed his PhD in EECS at MIT under the supervision of Ankur Moitra. He has been the recipient of a Paul and Daisy Soros Fellowship, an Akamai Presidential Fellowship, and the Captain Jonathan Fay Prize. His research focuses on building new provable algorithms for fundamental problems in the theory of machine learning.

He started learning the piano from his mother at age 6, completed his pre-college studies under Janice Wong and William Ransom, and has spent the last decade studying with David Deveau. At MIT he gave annual solo recitals as an Emerson Fellow and recently received the MTA Gregory Tucker Memorial award. A first prize winner of the AFAF International Concerto Competition, the AADGT “Passion of Music” International Young Musicians Competition, and the American Protégé International Liszt Competition, where he was also awarded “Best Performance of a Work by Liszt,” he has been invited on six separate occasions to perform at Carnegie's Weill Recital Hall. He has been a featured performer at the MIT Campaign for a Better World tour in Miami, as well as at the home of Daisy Soros under the auspices of the Paul and Daisy Soros Foundation. He was invited to perform the Grieg Piano Concerto with the Kostroma Symphony Orchestra in Russia and to take masterclasses at Moscow Conservatory; he has also performed the same concerto with the Georgia All-State Orchestra and Atlanta Community Symphony Orchestra.

He has had masterclasses with artists including Vladimir Feltsman, Marc-Andre Hamelin, Robert Levin, Yo-Yo Ma, Maxim Mogilevsky, Sergey Schepkin, Boris Slutsky, and Eduard Zilberkant. He is an alumnus of the Boston University Tanglewood Institute and the PianoSummer International Institute and Festival in New York. Chen is a former baritone of the Harvard Glee Club, with whom he has sung at Carnegie Hall’s Stern Auditorium and later at Boston Symphony Hall under the baton of Benjamin Zander.

In the building of his new symphony for Boston, the BSO’s founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could never fully cover the costs of running a great orchestra. From 1881 to 1918, Higginson covered the orchestra’s annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. 

List reflects giving as of April 12, 2022 
‡ indicates a deceased donor 

TEN MILLION AND ABOVE
Julian Cohen ‡
Fidelity Investments
Barbara and Amos Hostetter
Linde Family Foundation
Maria and Ray Stata
Anonymous (3)

SEVEN AND ONE HALF MILLION
Bank of America
Mr. and Mrs. George D. Behrakis
Catherine and Paul Buttenwieser
John F. Cogan, Jr. ‡ and Mary L. Cornille
Cynthia and Oliver Curme / The Lost & Foundation, Inc.
EMC Corporation
The O'Block Family

FIVE MILLION
Eleanor L. ‡ and Levin H. Campbell
Alan J. ‡ and Suzanne W. Dworsky
Fairmont Copley Plaza
Germeshausen Foundation
Ted and Debbie Kelly
Commonwealth of Massachusetts
Cecile Higginson Murphy ‡
William and Lia Poorvu
NEC Corporation
Carol ‡ and Joe Reich
UBS
Stephen and Dorothy Weber
Samantha and John Williams

TWO AND ONE HALF MILLION
Arbella Insurance Foundation and Arbella Insurance Group
American Airlines
Mary ‡ and J.P. Barger
Gabriella and Leo ‡ Beranek
Roberta and George Berry ‡
Bloomberg
Peter and Anne Brooke ‡
Chiles Foundation
Mr. and Mrs. William H. Congleton ‡
Mara E. Dole ‡
Eaton Vance Corporation
Thomas and Winifred Faust
Jane and Jack Fitzpatrick ‡
Nathan and Marilyn Hayward
Susan Morse Hilles ‡
Charlie and Dorothy Jenkins / The Ting Tsung and Wei Fong Chao Foundation
Stephen B. Kay and Lisbeth L. Tarlow / The Aquidneck Foundation
The Kresge Foundation
Lizbeth and George Krupp
Liberty Mutual Foundation, Inc.
Nancy and Richard Lubin
Carmine A. and Beth V. Martignetti
Kate and Al Merck ‡
Mr. and Mrs. Paul M. Montrone
National Endowment for the Arts
Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland
Plimpton-Shattuck Fund
Cynthia and John S. Reed
Kristin and Roger Servison
Miriam Shaw Fund
State Street Corporation and State Street Foundation
Thomas G. Stemberg ‡
Miriam and Sidney Stoneman ‡
Elizabeth B. Storer ‡
Caroline and James Taylor
Anonymous (3)

ONE MILLION
Alli and Bill Achtmeyer
Helaine B. Allen ‡
Lois and Harlan Anderson ‡
The Harlan and Lois Anderson Family Foundation
Mariann Berg (Hundahl) Appley
Dorothy and David B. Arnold, Jr. ‡
AT&T
Liliana and Hillel Bachrach
Caroline Dwight Bain ‡
William I. Bernell ‡
Estate of Marion Bianchi
BNY Mellon
The Boston Foundation
Lorraine D. and Alan S. ‡ Bressler
Jan Brett and Joseph Hearne
Gregory E. Bulger Foundation / Gregory Bulger & Richard Dix
Ronald G. and Ronni J. ‡ Casty
Citizens Bank
James and Tina Collias ‡
Commonwealth Worldwide Executive Transportation
William F. Connell ‡ and Family
Dick and Ann Marie Connolly
Country Curtains
Diddy and John Cullinane
Edith L. and Lewis S. ‡ Dabney
Elisabeth K. and Stanton W. Davis ‡
Mary Deland R. de Beaumont ‡
Delta Air Lines
Bob and Happy Doran
Hermine Drezner and Jan ‡ Winkler
Alan and Lisa Dynner and Akiko ‡ Dynner
Deborah and Philip Edmundson
William ‡ and Deborah Elfers
Elizabeth B. Ely ‡
Nancy S. and John P. Eustis II ‡
Shirley and Richard ‡ Fennell
Anna E. Finnerty ‡
John and Cyndy Fish
Fromm Music Foundation
The Ann and Gordon Getty Foundation
Marie L. Gillet ‡
Sophia and Bernard Gordon
Elizabeth and Phill Gross
Mrs. Francis W. Hatch
Mrs. Donald C. Heath ‡
The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation
Francis Lee Higginson ‡
John Hitchcock ‡
Edith C. Howie ‡
John Hancock Financial
Muriel E. and Richard L. Kaye ‡
Nancy D. and George H. ‡ Kidder
Kingsbury Road Charitable Foundation
Audrey Noreen Koller ‡
Farla and Harvey Chet Krentzman ‡
Barbara and Bill Leith ‡
Elizabeth W. and John M. Loder
Josh and Jessica Lutzker
Vera M. and John D. MacDonald ‡
Nancy Lurie Marks Family Foundation
Jane B. and Robert J. Mayer, M.D.
The McGrath Family
Joseph C. McNay, The New England Foundation
The Andrew W. Mellon Foundation
The Messinger Family
Henrietta N. Meyer ‡
Mr. and Mrs. Nathan R. Miller ‡
Richard P. and Claire W. Morse Foundation
William Inglis Morse Trust
Mary S. Newman ‡
Mr. ‡ and Mrs. Norio Ohga
P&G Gillette
Peter Palandjian and Eliza Dushku-Palandjian/ Intercontinental Real Estate Corporation
Perles Family Foundation
Polly and Dan ‡ Pierce
Claudio and Penny Pincus
The Pryor Family
Mary G. and Dwight P. Robinson, Jr. ‡
Susan and Dan Rothenberg ‡
Carole and Edward I. ‡ Rudman
Richard Saltonstall Charitable Foundation
Wilhelmina C. (Hannaford) Sandwen ‡
Hannah H. and Dr. Raymond Schneider ‡
Carl Schoenhof Family
The Schwedel Family
Ruth and Carl J. Shapiro ‡
Marian Skinner ‡
Solange Skinner
Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith ‡
Carol and Irv Smokler
Sony Corporation of America
Takeda Pharmaceutical Company Limited
Dr. Nathan B. and Anne P. Talbot ‡
Dorothy and John L. Thorndike ‡
Diana O. Tottenham
The Wallace Foundation
Edwin S. Webster Foundation
Roberta and Stephen R. Weiner
Drs. Christoph and Sylvia Westphal
The Helen F. Whitaker Fund
Robert ‡ and Roberta Winters
Helen and Josef Zimbler ‡
Brooks and Linda Zug
Anonymous (11)

The Boston Pops salutes its friends, old and new, for their generosity. Fiedler Society members generously contribute annual gifts that fund Pops performances, education and outreach programs, and free Pops concerts throughout the community.

The BSO gratefully acknowledges the following Pops Annual Fund donors who, as of May 4, 2022, are current members at the following levels. For more information about becoming a Fiedler Society member, please contact the Friends Office at 617-638-9276 or friendsofthepops@bso.org.

‡ symbol denotes a deceased donor

FIEDLER ENCORE $25,000 AND ABOVE
Barbara and Amos Hostetter
Cecile Higginson Murphy Charitable Foundation
The O'Block Family
Mitch J. Pomerance
Mr. Nicholas Vantzelfde and Ms. Lauren Erb

FIEDLER CONDUCTOR $10,000 - $24,999
Boston Seed Capital, LLC, Nicole Maria Stata
Richard and Nancy Heath
The High Pointe Foundation
Kathleen and Ronald Jackson
Mr. Mark Legan
Dr. and Mrs. Frederick H. Lovejoy, Jr.
The McDonald Family in honor of Patricia McDonald
Joseph C. McNay, The New England Foundation
Mr. and Mrs. Peter C. McKay
Stuart Miller, in memory of Rocco DiIorio
Paul & Joyce Mucci Family Foundation
Richard and Jolene O'Brien
Bob and Laura Reynolds
Katherine Chapman Stemberg
Mr. and Mrs. Patrick J. Sullivan
Richard and Bonnie Sullivan
Jean C. Tempel
Scott and Catherine Webster
Sidney and Deanna Wolk

FIEDLER BACKSTAGE $5,000 - $9,999
Mr. Daniel Brownell and Ms. Kelley Laurel
James Bunt
Camille Carlstrom
The Cavanagh Family
Yumin and Amy Choi
Jim and Shirley Curvey
Mr. and Mrs. James Davis
Mary Dunbrack
Mr. and Mrs. Douglas W. Emond
John W. Henry Family Foundation
Lisa Hillenbrand
Thomas F. Knight
Peter and Connie Lacaillade
Mr. and Mrs. Richard Linton
Mr. Patrick MeLampy and Rev. Priscilla Lawrence
Carmichael Roberts and Sandra Park
Carol Searle and Andrew Ley ‡
Peter and Barbara Sidel
Maggie and Jack Skenyon
Sandra A. Urie and Frank F. Herron
Tony and Martha Vorlicek
Howard and Karen Wilcox
Ed and Judi Zuker
Anonymous (2)

FIEDLER SOCIETY $3,000 - $4,999
Mr. and Mrs. Eugene F. Barnes III
Mr. and Mrs. Eliot Beal
Edward S. W. Boesel
John and Trish Brennan
Franklyn Caine
Mr. and Mrs. Charles Cella
Mr. David S. Coffey
Mr. Mark Condon and Ms. Jean Hynes
Charles L. and Nancy T. Donahue
Catherine and Richard L. Evans
Loretta H. and Gregory J. Gailius
Dr. and Mrs. Richard Gillis
Kim and Jim Goldinger
Jonathan and Ruth Goode
Mr. and Mrs. Daniel A. Grady
Margaret Lytle Griner
Mr. and Mrs. Paul A. Guarracino
Mr. and Mrs. Blair E. Hendrix
Mary Hines
Miss Isabel B. Hooker
Peter Hornstra
Alan and Wendy Issokson
John and Nancy Kendall
John A. Lechner IV and Mary F. Higgins
Thomas Lewis and Ailene Robinson
Betty W. Locke
Keith and Emiley Lockhart
James F. Lynch
Emily and Malcolm MacNaught
Erin and Craig Majernik
Bernhard Metzger, in memory of Karen Zander
Jeffrey Moore
Jennifer and Brad Moyer
Slocumb H. and E. Lee Perry
Doug and Karen Pettingell
Mr. and Mrs. Dwight Poler
Frederick J. and Bonnie M.‡ Rich
Margaret and Fred Richardson
Mr. Kevin Rollins
Dr. William D. and Laura Shea
Mr. and Mrs. William G. Walker
Susan Sprague Walters and Richard Walters
Dr. Mary Witkowski
Dr. Xuqiong Wu

The operating support from the following generous donors enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community engagement programs throughout the greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges these contributors for their philanthropic support during fiscal year 2021 through major corporate sponsorships and events, BSO and Tanglewood Business Partners, and foundation and government grants.

$500,000 AND ABOVE
American Rescue Act - Shuttered Venue Operators Grant
Bloomberg Philanthropies
Eaton Vance
Fidelity Investments
Anonymous

$250,000 - $499,999
Arbella Insurance Foundation
Bank of America
Massachusetts Cultural Council

$100,000 - $249,999
Miriam Shaw Fund
The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation
National Endowment for the Arts
Richard Saltonstall Charitable Foundation
Takeda Pharmaceutical Company Limited

$50,000 - $99,999
American Airlines
Bayberry Financial Services
Brightcove Inc.
Fairmont Copley Plaza
Four Seasons Hotel One Dalton
Kingsbury Road Charitable Foundation
Sagner Family Foundation
Vertex Pharmaceuticals, Inc.
The Carl and Ruth Shapiro Foundation
WuXi AppTec

$25,000 - $49,999
The Ann and Gordon Getty Foundation
Berkshire Bank
Berkshire Medical Center, Inc.
Charina Endowment Fund
Edwin S. Webster Foundation
Eisai Inc.
Elizabeth Taylor Fessenden Foundation
EMD Serono Inc.
Farley White Interests
Fromm Music Foundation
The Geoffrey C. Hughes Foundation
Goodwin
Grew Family Charitable Foundation
Gurnet Point Capital
Hemenway & Barnes LLP
Intercontinental Real Estate Corporation
LEK Consulting
Mill Town Capital
New Balance Foundation
Putnam Investments
The Richard and Ann J. Prouty Foundation
Roger and Myrna Landay Charitable Foundation
Margery and Lewis Steinberg
UniFirst Corporation
Anonymous (2)

$15,000 - $24,999
The Aaron Copland Fund for Music, Inc.
The Alice Ward Fund of The Rhode Island Foundation
Arthur J. Hurley Company, Inc.
Biogen Idec Foundation
Boston Duck Tours
Boston Seed Capital, LLC, Nicole Maria Stata
Citizens Bank
Connell Limited Partnership
Dick and Ann Marie Connolly
Mr. and Mrs. J. Christopher Eagan
Steve and Betty Gannon
Gunderson Dettmer Stough Villeneuve Franklin
Barbara and Amos Hostetter
J.P. Marvel Investment Advisors
Darlene and Jerry Jordan
The Keel Foundation
The Kraft Group/New England Patriots Charitable Foundation
Liberty Mutual Insurance
The McGrath Family
Joseph C. McNay, The New England Foundation
Medical Information Technology, Inc.
Morgan, Lewis & Bockius LLP
Needham Bank
People's United Bank
Andrew and Suzanne Plump
Ruane Family Foundation
Saquish Foundation
Waters Corporation
Wave Life Sciences

$10,000 - $14,999
5AM Venture Management, LLC
Abrams Capital
Alnylam Pharmaceuticals
Anne Wojcicki Foundation
Billy Rose Foundation
CLA Accounting
Cabot Corporation
Cambridge Trust Company
Canyon Ranch in Lenox
Consigli
Debevoise & Plimpton LLP
Elliott Management Corporation
Eversource Energy
Goldman Sachs
Ironshore
John Hancock Financial
Locke Lord LLP
Lucia B. Morrill Charitable Foundation
Wilmington Trust, part of M&T Bank Family
Manatt, Phelps & Phillips, LLP
Mr. and Mrs. Donald H. McCree
The Miss Wallace M. Leonard Foundation
Nancy Lurie Marks Family Foundation
The Red Lion Inn
Maria and Ray Stata
The TJX Companies, Inc.
Wheatleigh Hotel & Restaurant

$5,000 - $9,999
Abbot and Dorothy H. Stevens Foundation
Accenture
Ms. Nancy Adams
Adler Pollock & Sheehan P.C.
Allegrone Companies
Amgen
The Amphion Foundation, Inc.
Amuleto Mexican Table
Apple Tree Inn
Aqueduct Technologies, Inc.
Barrington Associates Realty Trust
Berkshire Eagle
Berkshire Life Insurance Company of America, a Guardian Company
Blantyre
Blue Cross Blue Shield of Massachusetts
Mr. and Mrs. Steven Browne
Canna Provisions, Inc.
CIBC Private Wealth Management
Cohen Kinne Valicenti & Cook LLP
Commonwealth Worldwide Executive Transportation
Diddy and John Cullinane
Demoulas Foundation
Dresser-Hull Company
Edward A. Taft Trust
Foresite Capital Management, LLC
The Fuller Foundation
Arthur J. Gallagher & Co.,
Gaston Dufresne Foundation
GBH
Greater Boston Chamber of Commerce
Dr. and Mrs. Leon Harris
Susan and Raymond Held
History of Toys Gallery
Holland & Knight LLP
Iredale Mineral Cosmetics, Ltd.
Irene E. and George A. Davis Foundation
Jack Madden Ford
Michael Renzi Painting Co.
Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, P.C.
Morrison & Foerster LLP
Myriad Productions
Prince Lobel Tye LLP
PwC
Riemer & Braunstein LLP
Roam: A Xtina Parks Gallery
Rubin & Ulrich, LLC
Mr. and Mrs. Stephen Sacks
Mr. Bill Sibold
Stetson Whitcher Fund
The Summer Fund
Jodi and Paul Tartell
Thomas A. and Georgina T. Russo Family Fund
Vacovec, Mayotte & Singer LLC
Walsh Brothers, Inc.
WB Wood
WilmerHale
Wing Press Incorporated
Wyndhurst Manor & Club
Anonymous

$2,500 - $4,999
Alex. Brown, a Division of Raymond James
Alice Willard Dorr Foundation
Berkshire Hathaway Barnbrook Realty, Inc.
Berkshire Partners LLC
Bicon
Biener Audi
Big Y Supermarkets
Blue Spark Financial
Brookline Youth Concerts Fund
Burack Investments
Cambridge Community Foundation
Chubb
Clarke Living
Mrs. Mimi Cohen
Corvus Insurance Holdings
Ms. Catherine Curtin
Leslie and Richard Daspin
Elizabeth Grant Fund
Elizabeth Grant Trust
Fiduciary Trust Company
Fire Equipment, Inc.
Garden Gables Inn
Gateways Inn & Restaurant
Greylock Federal Credit Union
Mr. and Mrs. Robert Haber
Health Professional Coaching
J. Mark Albertson, D.M.D., P.A.
J.H. Maxymillian, Inc.
Katharine L.W. and Winthrop M. Crane, 3D Charitable Foundation
Mr. John L. Klinck, Jr.
Linda Leffert J.D. ret.
Navigator Management
Norbella, Inc.
Old Town Trolley Tours of Boston
Oxford Fund
Peter D. Whitehead Builder, LLC
Pignatelli Electric
PureTech Health
Republic Services
Rockland Trust
Dr. Robert and Esther Rosenthal
Sametz Blackstone Associates
Security Self Storage
Stifel
Mr. and Mrs. Brian Thompson
True Tickets
Verrill
Welch & Forbes, LLC
Anonymous