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Boston Symphony Orchestra

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Boston Symphony Orchestra
Orchestra
Short nameBSO
Founded1881;143 years ago(1881)
Location301 Massachusetts Avenue,Boston,Massachusetts, U.S.
Concert hallSymphony Hall
Tanglewood
Music directorAndris Nelsons
Websitewww.bso.org

TheBoston Symphony Orchestra(BSO) is an American orchestra based inBoston.It is the second-oldest of the five major American symphony orchestras commonly referred to as the "Big Five".[1]Founded byHenry Lee Higginsonin 1881, the BSO performs most of its concerts at Boston'sSymphony Halland in the summer performs atTanglewood.

Since its founding, the orchestra has had 17 music directors, includingGeorge Henschel,Serge Koussevitzky,Henri Rabaud,Pierre Monteux,Charles Munch,Erich Leinsdorf,William SteinbergandJames Levine.Andris Nelsonsis the current music director of the BSO.Seiji Ozawahad held the title of BSO music director laureate.Bernard Haitinkhad 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, includingSchindler's List.

History[edit]

Early years[edit]

Henry Lee Higginson, founding father of the BSO.

The BSO was founded in 1881 byHenry Lee Higginson.Its first conductor wasGeorge Henschel,who was a noted baritone as well as conductor, and a close friend ofJohannes 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'sThe Consecration of the House,as well as music byJoseph Haydn,Christoph Willibald Gluck,Franz SchubertandCarl Maria von Weber.

The BSO atBoston Music Hallin 1891.

The orchestra's four subsequent music directors were all trained in Austria, including the seminal and highly influential Hungarian-born conductorArthur Nikisch,in accordance with the tastes of Higginson.Wilhelm Gerickeserved twice, from 1884 to 1889 and again from 1898 to 1906. According toJoseph Horowitz's review of correspondence, Higginson considered 25 candidates to replace Gericke after receiving notice in 1905. He decided not to offer the position toGustav Mahler,Fritz Steinbach,andWillem Mengelbergbut did not rule out the youngBruno Walterif nobody more senior were to accept. He offered the position toHans Richterin February 1905, who declined, toFelix Mottlin November, who was previously engaged, and then to previous director Nikisch, who declined; the post was finally offered toKarl 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 wasMax Fiedler.He conducted the premiere ofIgnacy Jan Paderewski'sSymphony 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 theSt Matthew Passionin 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 thenPierre Monteuxfrom 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[edit]

Symphony Hall, Boston,the main base of the orchestra since 1900

The orchestra's reputation increased during the 1924–1949 music directorship ofSerge 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, theAmerican Federation of Musicianskicked off thetwo-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 atTanglewood,where Koussevitzky founded theBerkshire Music Center,which is now theTanglewood 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'sWGBHRadio as an outlet for its concerts.

Koussevitzky also commissioned many new pieces from prominent composers, including theSymphony No. 4ofSergei Prokofiev,George Gershwin'sSecond Rhapsodyand theSymphony of PsalmsbyIgor Stravinsky.They also gave the premiere ofBéla Bartók'sConcerto for Orchestra,which had been commissioned by the Koussevitzky Music Foundation at the instigation ofFritz ReinerandJoseph Szigeti.

Koussevitzky started a tradition of commissions that the orchestra continued, including new works byHeitor Villa-Lobos(Symphony No. 11) andHenri Dutilleuxfor its 75th anniversary,Roger Sessions,andAndrzej Panufnik,for the 100th, and lately for the 125th works byLeon Kirchner,Elliott Carter,andPeter Lieberson.Other BSO commissions have includedJohn Corigliano'sSymphony No. 2for the 100th anniversary of Symphony Hall.Hans Werner Henzededicated hisEighth Symphonyto the orchestra.

Although Koussevitsky recommended his protégéLeonard Bernsteinto be his successor after he retired in 1949,[8]the BSO awarded the position to the Alsatian maestroCharles 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 forRCA Victor.In 1952, Munch appointed the first woman to hold a principal chair in a major U.S. orchestra, flutistDoriot Anthony Dwyer,who remained as BSO principal for 38 years.[9]

Leinsdorf, Steinberg, and Ozawa[edit]

Erich Leinsdorfbecame music director in 1962 and held the post until 1969.William Steinbergwas then music director from 1969 to 1972. Steinberg was "ill and ailing" according to composer/authorJan 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 toColin Davisand "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 Bernsteinmet with four board members and recommendedMichael 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 journalistJeremy Eichler.[11]The committee eventually choseSeiji 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 thePeople's Republic of Chinato celebrate the normalization ofUS-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 theTanglewood Music Center.Greg Sandowwrote inThe Wall Street Journalin 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, pianistGilbert Kalishresigned from the faculty by sending Ozawa what the pianist/conductorLeon Fleisherlater 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 Globemusic criticRichard Dyerwrote 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]concertmasterMalcolm Loweand principal cellistJules Eskinwrote 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 inThe Boston Globeto 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 Previnwrote toThe Wall Street Journaldefending 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 asamuraikept 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 Swaffordwrote:

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 ofThe Rite of SpringbyIgor Stravinsky,the composer Russell Platt wrote inThe 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 theVienna 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 Haitinkserved 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[edit]

In 2004,James Levinebecame 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 Nelsonsmade his first guest-conducting appearance with the BSO in March 2011, as an emergency substitute for Levine at Carnegie Hall in Mahler'sSymphony 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 theLeipzig Gewandhaus Orchestra,of which Nelsons was appointed as its next Gewandhauskapellmeister, effective with the 2017–2018 season.[32][33]

Unequal-pay lawsuit[edit]

On July 2, 2018, BSO principal flautistElizabeth Rowefiled a lawsuit in the Superior Court ofSuffolk County, Massachusetts,claiming pay discrimination on the basis of gender. Rowe said she was paid much less than principaloboistJohn 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[edit]

The BSO at the opening concert of the 2023TanglewoodSeason

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:

  • Cancellation of the 2020 Tanglewood summer festival season[40]
  • Cancellation of its scheduled subscription concerts through November 2020, the first-ever full cancellation of the orchestra's autumn subscription concerts in its history[41]
  • Staff redundancies effective September 1, 2020[42]
  • Reduction in orchestra musician compensation in its latest labour agreement, from August 24, 2020, through August 27, 2023[43]

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]

Related ensembles[edit]

TheBoston Pops,the Boston Symphony Orchestra minus its principal players, was founded in 1885, and plays lighter, more popular classics, andshow tunes.Arthur Fiedlerwas the conductor who did the most to increase the fame of the Boston Pops over his tenure from 1930 to 1979. Film composerJohn Williamssucceeded Fiedler as the conductor of the Pops from 1980 to 1993. Since 1995, conductorKeith Lockharthas led the Boston Pops.

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 theTanglewood 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 ClubandRadcliffe Choral Society.In February 2017, the BSO announced the appointment ofJames Burtonas 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[edit]

The Boston Symphony made its first acoustical recordings in 1917 inCamden, New Jersey,for theVictor Talking Machine Companyconducted byKarl Muck.Among the first discs recorded was the finale toTchaikovsky's fourth symphony. Under Serge Koussevitzky, the orchestra made its first electrical recordings, also for Victor, in the late 1920s. These electrical recordings includedRavel'sBoléro.Recording sessions took place in Symphony Hall. Koussevitzky's final recording with the Boston Symphony was a high fidelity version ofSibelius' 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 theCharles Munch discographyfor 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 (seePierre Monteuxfor 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(seeErich Leinsdorffor a complete list).

Then, the orchestra switched toDeutsche Grammophon(DG) under William Steinberg. RCA Victor recorded several LPs with Steinberg andBerlioz'sSymphonie FantastiquewithGeorges Prêtreduring the transition to DG (seeWilliam Steinbergfor 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 withRafael Kubelíkin Beethoven's Symphony No. 5 (part of his cycle of Beethoven symphonies with nine different orchestras),Ma VlastbyBedřich Smetanaand inBéla Bartók's Concerto for Orchestra as well as withEugen Jochumconducting Symphony No. 41 byWolfgang Amadeus MozartandFranz 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, andTELARC.

The BSO also recorded for Philips under Colin Davis.Leonard Bernsteinmade 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 withVladimir Ashkenazy,withCharles DutoitandAndré Previnfor DG, and on Phillips and Sony Classical with Bernard Haitink.

The BSO has also done recordings for film scores on occasion. Films such asSchindler's ListandSaving Private Ryan(both composed and conducted byJohn 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 withLorraine Hunt LiebersoninPeter Lieberson'sNeruda Songs,released onNonesuch 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 ofWilliam Bolcom's 8th Symphony andLyric Concerto,the latter with flutist James Galway,Mahler'sSixth Symphony,the BrahmsEin deutsches Requiem,andRavel's completeDaphnis et Chloé,[53]which won the2010Grammy Award for Best Orchestral Performance.[54]

In April 2015, the BSO announced a new recording partnership withDeutsche Grammophonthat focuses on the music ofDmitri Shostakovich,with Nelsons as conductor.[55]The first recording in the series, of theTenth Symphonyrecorded in concert in April 2015, was released on CD in August 2015, and subsequently won the year's Grammy award for Best Orchestral Performance. The most recent recording in the series, released in October 2023, concluded the cycle of Shostakovich symphonies, featuring performances of the 2nd, 3rd, 12th, and 13th symphonies.

Music directors[edit]

Composer Chair[edit]

In popular culture[edit]

In the 1974–1975 American television situation comedyPaul 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, whileSteve Landesbergplayed violinist Fred Meyerbach.Craig Richard Nelsonwas the orchestra's conductor, Mason Woodruff, andDick Wessonwas its manager, Jack Riordan. In one episode, Robert's father Ben, played byJack 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 includedHenry Winkleras a cellist,Leon Askinas a violinist, andSusan Neheras a flutist.[56][57][58][59][60]

Notes[edit]

  1. ^Michael Walsh (April 25, 1983)."Which U.S. Orchestras are Best?".Time.Archived fromthe originalon January 31, 2008.RetrievedMarch 26,2008.
  2. ^Avins, Styra (1997).Johannes Brahms: Life and Letters.Oxford University Press.pp. 587–588.ISBN978-0-19-816234-6.
  3. ^Randall, Eric (October 24, 2013)."Throwback Thursday: The Boston Symphony Orchestra's First Concert".Boston.Archivedfrom the original on November 17, 2020.RetrievedNovember 14,2020.
  4. ^Horowitz, Joseph(2005).Classical Music in America: A history of its rise and fall.W. W. Norton. pp.77–78.ISBN978-0-393-05717-1– viaInternet Archive.
  5. ^"Pierre Monteux".All Music Guide to Classical Music.Hal Leonard Corporation.2005. p. 866.ISBN978-0-87930-865-0.
  6. ^Young, William H. and Nancy K. (2005).Music of the Great Depression.Westport, CT: Greenwood Press.ISBN978-0-313-33230-2.Archivedfrom the original on February 9, 2024.RetrievedOctober 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.Archivedfrom the original on June 5, 2013.RetrievedMay 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.OCLC209994674.Archived fromthe original(PDF)on July 20, 2010.RetrievedMay 31,2010.
  10. ^abSwafford, Jan (April 12, 2011)."The Elusive Maestro: Why the process of finding a new conductor makes music lovers weep".Slate.com.Archivedfrom the original on August 1, 2013.RetrievedJuly 18,2013.
  11. ^abEichler, Jeremy(September 25, 2011)."Who will pick up the baton? A look inside the BSO search for James Levine's successor".The Boston Globe.Archivedfrom the original on January 11, 2015.RetrievedMay 20,2013.
  12. ^"Philadelphia Orchestra (1973) and Boston Symphony (1979) Visits to China".NCUSCR.Archivedfrom the original on December 4, 2023.RetrievedDecember 4,2023.
  13. ^abcSandow, Greg (December 15, 1998)."Conduct(or) Unbecoming the Boston Symphony".The Wall Street Journal.gregsandow.com.Archivedfrom the original on October 21, 2013.RetrievedJuly 18,2013.
  14. ^abcFleisher, Leon;Midgette, Anne(November 30, 2010).My Nine Lives: A Memoir of Many Careers in Music.Doubleday. p. 288.ISBN978-0-385-52918-1.
  15. ^abPage, Tim (June 2004)."Keeping Time at Tanglewood".Opera News.Vol. 68, no. 4.Archivedfrom the original on May 1, 2013.RetrievedJuly 18,2013.
  16. ^abcDezell, Maureen (December 16, 1998)."Ozawa's supporters rebut Journal attack".The Boston Globe.gregsandow.com.Archivedfrom the original on October 21, 2013.RetrievedJuly 18,2013.
  17. ^abcdDezell, Maureen (December 25, 1998)."Beleaguered BSO Answers Wall Street Journal Attack".The Boston Globe.gregsandow.com.Archivedfrom the original on October 21, 2013.RetrievedJune 19,2013.
  18. ^Sandow, Greg (January 1999)."Weighing in on My Side".gregsandow.com.Archivedfrom the original on October 21, 2013.RetrievedJuly 18,2013.
  19. ^Platt, Russell (June 17, 2013)."The Rite Stuff".The New Yorker.Archivedfrom the original on June 22, 2013.RetrievedJuly 18,2013.
  20. ^Metcalf, Steve (June 24, 1999)."Ozawa's Decision To Leave Boston Symphony A Surprise".Hartford Courant.Archivedfrom the original on January 16, 2014.RetrievedJuly 18,2013.
  21. ^Schwartz, Lloyd (March 2005)."Stretching exercises: The BSO challenges the audience and itself".The Boston Phoenix.Archived fromthe originalon September 30, 2007.RetrievedApril 2,2007.
  22. ^Loomis, George (February 10, 2009)."Boston Symphony Orchestra/Levine, Symphony Hall, Boston".Financial Times.Archivedfrom the original on February 9, 2024.RetrievedNovember 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 fromthe originalon June 16, 2013.RetrievedApril 8,2014.
  24. ^Eichler, Jeremy(February 22, 2009)."The opening movement".The Boston Globe.Archivedfrom the original on June 17, 2009.RetrievedFebruary 24,2009.
  25. ^Edgers, Geoff (May 16, 2013)."Andris Nelsons named new music director of BSO".The Boston Globe.Archivedfrom the original on September 4, 2018.RetrievedMay 16,2013.
  26. ^Oestreich, James R. (March 19, 2011)."A Fresh Face Confronts a Seasoned Mahler".The New York Times.Archivedfrom the original on August 4, 2019.RetrievedMay 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.Archivedfrom the original on December 25, 2014.RetrievedMay 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 fromthe originalon June 16, 2013.RetrievedMay 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.RetrievedAugust 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 fromthe original(PDF)on July 31, 2023.RetrievedOctober 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.RetrievedJanuary 26,2024.
  32. ^Michael Cooper (September 9, 2015)."Andris Nelsons Named Music Director of Leipzig Gewandhaus Orchestra".The New York Times.Archivedfrom the original on December 28, 2019.RetrievedSeptember 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 fromthe original(PDF)on August 1, 2017.RetrievedJuly 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.Archivedfrom the original on July 7, 2018.RetrievedJuly 6,2018.
  35. ^Ryan, Greg."Boston Symphony sounds off on female flutist's unequal-pay claim"ArchivedJanuary 29, 2023, at theWayback 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.Archivedfrom the original on November 16, 2019.RetrievedNovember 17,2019.
  37. ^Schuessler, Jennifer (February 21, 2019)."Star Flutist Settles Pay Equity Suit Against Boston Symphony".The New York Times.Archivedfrom the original on November 7, 2020.RetrievedNovember 17,2019.
  38. ^Gay, Malcolm (February 14, 2019)."BSO Flutist Settles Equal Pay Lawsuit with Orchestra".The Boston Globe.Archivedfrom the original on November 16, 2019.RetrievedNovember 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 fromthe original(PDF)on May 3, 2020.RetrievedOctober 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.RetrievedOctober 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 fromthe original(PDF)on November 25, 2021.RetrievedAugust 8,2020.
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