Boston Symphony Orchestra Concert Programs, Summer, 2004

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Route 7 at Plunkett Street, Lenox Daily 9-5 41 3-637-6900 BOSTON SYMPHONY ORCHESTRA One Hundred and Twenty-Third Season, 2003-04 TANGLEWOOD 2004

Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman

John E Cogan, Jr., Vice- Chairman Robert P. O'Block, Vice-Chairman Nina L. Doggett, Vice-Chairman Roger T. Servison, Vice- Chairman Edward Linde, Vice-Chairman Vincent M. O'Reilly, Treasurer

Harlan E. Anderson Diddy Cullinane, Edna S. Kalman Edward I. Rudman George D. Behrakis ex-qfficio George Krupp Hannah H. Schneider Gabriella Beranek William R. Elfers R. Willis Leith, Jr. Thomas G. Sternberg Brett Jan Nancy J. Fitzpatrick Nathan R. Miller Stephen R. Weber B. Samuel Bruskin Charles K. Gifford Richard P. Morse Stephen R. Weiner Paul Buttenwieser Avram J. Goldberg Donna Riccardi, Robert Winters James F. Cleary Thelma E. Goldberg ex-omcio Eric D. Collins

Life Trustees Vernon R. Alden Julian Cohen George H. Kidder Peter C. Read David B. Arnold, Jr. Abram T. Collier Harvey Chet Krentzman Richard A. Smith J.P. Barger Mrs. Edith L. Dabney Mrs. August R. Meyer Ray Stata Leo L. Beranek Nelson J. Darling, Jr. Mrs. Robert B. Newman John Hoyt Stookey Deborah Davis Berman Mrs. John H. Fitzpatrick William J. Poorvu John L. Thorndike Jane C. Bradley Dean W. Freed Irving W. Rabb Dr. Nicholas T. Zervas Helene R. Cahners

Other Officers of the Corporation

Mark Volpe, Managing Director Thomas D. May, ChiefFinancial Officer Suzanne Page, Clerk ofthe Board

Board of Overseers of the Boston Symphony Orchestra, Inc. Diddy Cullinane, Chair

Helaine B. Allen Betsy P. Demirjian Douglas A. Kingsley Millard H. Pryor, Jr.

Joel B. Alvord Paul F. Deninger Robert Kleinberg Patrick J. Purcell Marjorie Arons-Barron Alan Dymxer Dr. Arthur R. Kravitz Carol Reich Diane M. Austin George M. Elvin Mrs. William D. Alan Rottenberg

Maureen Scannell John P. Eustis II Larkin, Jr. Michael Ruettgers

Bateman Pamela D. Everhart Robert J. Lepofsky Kenan Sahin Milton Benjamin Judith Moss Feingold Alexander M. Levine Arthur I. Segel

George W. Berry J. Richard Fennell Christopher J. Lindop Ross E. Sherbrooke James L. Bildner Lawrence K. Fish Shari Loessberg Gilda Slifka Bradley Bloom Myrna H. Freedman Edwin N. London Christopher Smallhorn Mark G. Borden Dr. Arthur Gelb Carmine Martignetti Mrs. Micho Spring Alan Bressler Jack Gill Joseph B. Martin, M.D. Charles A. Stakeley

Michelle Courton Robert P. Gittens Robert J. Mayer, M.D. Jacquelynne M. Brown Paula Groves Barbara E. Maze Stepanian William Burgin Michael Halperson Thomas McCann Wilmer Thomas Dr. Edmund B. Cabot Ellen T. Harris Joseph C. McNay Samuel Thorne Rena F. Clark Virginia S. Harris Albert Merck Bill Van Faasen

Carol Feinberg Cohen Deborah M. Hauser Dr. Martin C. Mihm, Jr. Loet A. Velmans Mrs. James C. Collias Carol Henderson Robert Mnookin Paul M. Verrochi Ranny Cooper Richard Higginbotham Robert T. O'Connell Matthew Walker Martha H.W. Phyllis S. Hubbard Norio Ohga Larry Weber Crowninshield Roger Hunt Louis F Orsatti Robert S. Weil Joan P. Curhan Ernest Jacquet Joseph Patton David C. Weinstein

Cynthia Curme Charles H. Jenkins, Jr. Ann M. Philbin James Westra James C. Curvey Michael Joyce May H. Pierce Mrs. Joan D. Wheeler Tamara P. Davis Martin S. Kaplan Joyce L. Plotkin Reginald H. White Mrs. Miguel de Steven E. Karol Dr. John Thomas Robin Wilson Bragan^a Stephen Kay Potts, Jr. Richard Wurtman, M.D Disque Deane Edmund Kelly Dr. Tina Young Poussaint Overseers Emeriti

Caroline Dwight Bain Mrs. James Garivaltis Mrs. Gordon F. Robert E. Remis Kingsley Sandra Bakalar Mrs. Kenneth J. Mrs. Peter van S. Rice William M. Bulger Germeshausen David I. Kosowsky John Ex Rodgers Mrs. Levin H. Jordan Golding Robert K. Kraft Mrs. Jerome Rosenfeld Campbell Mark R. Goldweitz Benjamin H. Lacy Roger A. Saunders Earle M. Chiles Mrs. Haskell R. Hart D. Leavitt Lynda Anne Schubert Phyllis Curtin Gordon Frederick H. Mrs. Carl Shapiro

JoAnne Walton Susan D. Hall Lovejoy, Jr. L. Scott Singleton

Dickinson John Hamill Diane H. Lupean Mrs. Arthur I. Strang Phyllis Dohanian Mrs. Richard D. Hill Mrs. Charles P. Lyman Robert A. Wells Goetz B. Eaton Glen H. Hiner Mrs. Harry L. Marks Mrs. Thomas H.P Harriett Eckstein Marilyn Brachman C. Charles Marran Whitney Edward Eskandarian Hoffman Hanae Mori Margaret Williams- Peter H.B. Lola Jaffe Mrs. Hiroshi H. DeCelles Frelinghuysen H. Eugene Jones Nishino Mrs. Donald B. Wilson

S. A. Perkins Mrs. Thomas Mrs. Charles Kasdon John Mrs. John J. Wilson Galligan, Jr. Richard L. Kaye Daphne Brooks Prout

Business Leadership Association Board of Directors Charles K. Gifford, Chairman Leo L. Beranek, James F. Cleary, and Edmund F Kelly, President Harvey Chet Krentzman, Chairmen Emeriti

Robin A. Brown John P. Hamill Carmine A. Martignetti Lynda A. Schubert

Michael J. Costello Ernest K. Jacquet Thomas J. May Roger T Servison

Robert W. Daly Michael J. Joyce J. Kent McHose Malcolm L. Sherman Francis A. Doyle Steven E. Karol Joseph C. McNay Ray Stata William R. Elfers Edmund F Kelly Louis F Orsarti William C. Van Faasen

Lawrence K. Fish Christopher J. Lindop Patrick J. Purcell Paul M. Verrochi

Ex-Officio Peter A. Brooke • Diddy Cullinane • Nicholas T Zervas

Officers of the Boston Symphony Association of Volunteers Donna Riccardi, President Ursula Ehret-Dichter, Executive Ann M. Philbin, President-Elect Vice-President/ Tang/ewood Olga Turcotte, Executive Vice-President/ Patricia A. Kavanagh, Secretary Administration William A. Along, Treasurer Linda M. Sperandio, Executive Judy Barr, Nominating Chair Vice-President/Fundraising

Melinda Brown, Resource Audley H. Fuller, Membership Lisa A. Mafrici, Public Relations Development Lillian Katz, Hall Services Leah Weisse, Symphony Shop Jerry Dreher, Education and James M. Labraico, Special Staffing Outreach Projects •'"»'

Administration Mark Volpe, Managing Director Eunice andJulian Cohen Managing Directorship, fullyfunded in perpetuity

• Tony Beadle, Manager, Boston Pops Kim Noltemy, .'. Director ofSales and V . Anthony Fogg, Artistic Administrator Marketing "•'••••

Marion Gardner-Saxe, Director ofHuman Resources Caroline Taylor, Senior Advisor to the Ellen Highstein, Director ofTanglewood Music Center Managing Director Thomas D. May, ChiefFinancial Officer Ray F. Weflbaum, Orchestra Manager 11131 Peter Minichiello, Director ofDevelopment s&ragHgi ADMINISTRATIVE STAFF/ARTISTIC

Karen Leopardi, Artist Assistant/Secretary to the Music Director • Vincenzo Natale, Chauffeur/Valet • 4\, t Suzanne Page, Assistant to the Managing Director/Manager ofBoardAdministration • Alexander Steinbeis, Artistic Administration Coordinator ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Operations Manager

Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production Coor- dinator • Stephanie Kluter, Assistant to the Orchestra Manager • Jake Moerschel, Stage Technician • Julie G. Moerschel, Assistant Chorus Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Timothy Tsukamoto, Orchestra Personnel Coordinator

BOSTON POPS Dennis Alves, Director ofArtistic Programming Bra Jana Gimenez, Operations Manager • Sheri Goldstein, PersonalAssistant to the Conductor • Julie Knippa, Administration Coordinator • Margo Saulnier, Artistic Coordinator _BHHi

BUSINESS OFFICE

Sarah J. Harrington, Director ofPlanning and Budgeting Pam Wells, Controller

Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Theresa Colvin, K# lyB* StaffAccountant • Michelle Green, Executive Assistant to the ChiefFinancial Officer • Y. Georges Minyayluk, Senior Investment Accountant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • Harriet Prout, Accounting Manager • Taunia Soderquist, Payroll Administrator • Andrew SHBHI Swartz, Budget Assistant • Teresa Wang, StaffAccountant DEVELOPMENT Judi Taylor Cantor, Director ofMajor and Planned Giving Rebecca R. Crawford, Director ofDevel- opment Communications Sally Dale, Director ofStewardship and Development Administration Alexandra Fuchs, Director ofAnnual Funds Jo Frances Kaplan, Director ofInstitutional Giving

Rachel Arthur, Major and Planned Giving Coordinator • Maureen Barry, Executive Assistant to the Director ofDevelopment • Gregg Carlo, Coordinator, Corporate Programs • Claire Carr, Administrative Assistant, Corporate Programs • Amy Concannon, Annual Fund Committee Coordinator • Diane Cataudella, Associate Director of Stewardship • Joanna N. Drake, Assistant Manager, Annual Fund Events • Sarah Fitzgerald, Manager of Gift Processing and Donor Records • Barbara Hanson, Manager, Koussevitzky Society • Emily Horsford, Friends Membership Coordinator • Justin Kelly, Assistant Mana- ger of Gift Processing and Donor Records • Katherine M. Krupanski, Assistant Manager, Higginson and Fiedler Societies • Mary MacFarlane, Manager, Friends Membership • Pam Malumphy, Senior Major Gifts Officer and Manager, Tanglewood Business Friends • Tanya Melanson, Development Communica- tions Coordinator • Robert Meya, Senior Major Gifts Officer • Susan Olson, Stewardship Coordinator • Cristina Perdoni, Gift Processing and Donor Records Coordinator • Gerrit Petersen, Director ofFoun- dation Support • Phoebe Slanetz, Director ofDevelopment Research • Elizabeth Stevens, Assistant Manager ofPlanned Giving • Mary E. Thomson, Program Manager, Corporate Programs EDUCATION AND COMMUNITY PROGRAMS /ARCHIVES Myran Parker-Brass, Director ofEducation and Community Programs Bridget P. Carr, Archivist-Position endowed by Caroline Dwight Bain Gabriel Cobas, Manager ofEducation Programs • Leslie Wu Foley, Associate Director ofEducation and Community Programs • Zakiya Thomas, Coordinator of Community Projects/Research • Leah Wilson- Velasco, Education and Community Programs Assistant EVENT SERVICES Cheryl Silvia Lopes, Director ofEvent Services Lesley Ann Cefalo, Special Events Manager • Kathleen Clarke, Assistant to the Director ofEvent Services • Emma-Kate Kallevik, Tanglewood Events Coordinator • Kyle Ronayne, Food and Beverage Manager HUMAN RESOURCES Dorothy DeYoung, Benefits Manager Sarah Nicoson, Human Resources Manager INFORMATION TECHNOLOGY David W. Woodall, Director ofInformation Technology Guy W. Brandenstein, Tanglewood User Support Specialist • Andrew Cordero, Lead User Support Specialist • Timothy James, Applications Support Specialist • John Lindberg, System and Network Administrator • Michael Pijoan, Assistant Director ofInformation Technology • Brian Van Sickle, User Support Adm in istrator PUBLIC RELATIONS Bernadette M. Horgan, Director ofMedia Relations

• • Meryl Atlas, Media Relations Assistant Sean J. Kerrigan, Associate Director ofMedia Relations Amy Rowen, Media Relations Coordinator PUBLICATIONS Marc Mandel, Director ofProgram Publications

Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/ Boston Pops Program Editor SALES, SUBSCRIPTION, AND MARKETING

Amy Aldrich, Manager, Subscription Office Leslie Bissaillon, Manager, Glass Houses • Helen N.H. Brady, Director of Group Sales Alyson Bristol, Director of Corporate Sponsorships Sid Guidicianne, Front ofHouse Manager James Jackson, Call Center Manager Roberta Kennedy, Manager, Sym- phony Shop Sarah L. Manoog, Director ofMarketing Programs Michael Miller, SymphonyCharge Manager

Kenneth Agabian, Marketing Coordinator, Print Production • Rich Bradway, Manager ofInternet Marketing • Lenore Camassar, SymphonyCharge Assistant Manager • Ricardo DeLima, Senior Web Developer • John Dorgan, Group Sales Coordinator • Michelle Giuliana, Web Editor • Peter Grimm, Tanglewood Special Projects Manager • Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth Hopkins, Graphic Designer • Julie Kleinhans, Senior Subscription Representative • Elizabeth Levesque, Marketing Projects Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • Ronnie McKinley, Ticket Exchange Coordinator • Cheryl McKinney, Subscrip- tion Representative • Michael Moore, Assistant Call Center Manager • MarcyKate Perkins, Symphony- Charge Representative • Kristen Powich, Coordinator, Corporate Sponsorships • Doreen Reis, Marketing Coordinatorfor Advertising • Caroline Rizzo, SymphonyCharge Representative • Megan E. Sullivan, Access Services Coordinator • Sandra Swanson, Manager, Corporate Sponsorships

Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager SYMPHONY HALL OPERATIONS Robert L. Gleason, Director ofHall Facilities TANGLEWOOD MUSIC CENTER Patricia Brown, Associate Director • Beth Paine, Manager ofStudent Services • Kristen Reinhardt, Coordinator • Gary Wallen, Scheduler TANGLEWOOD OPERATIONS David P. Sturma, Director ofTanglewood Facilities and BSO Liaison to the Berkshires

Ronald T Brouker, Supervisor ofTanglewood Crew • Robert Lahart, Electrician • Peter Socha, Head Carpenter

Tanglewood Facilities Staff Robert Casey • Steve Curley • Rich Drumm • Bruce Huber TANGLEWOOD SUMMER MANAGEMENT STAFF

Thomas Cinella, Business Office Manager • Peter Grimm, Seranak House Manager • David Harding, Front ofHouse Manager/Manager of Customer Service • Marcia Jones, Manager of Visitor Center VOLUNTEER OFFICE Patricia Krol, Director of Volunteer Services

Deborah Haviland, Administrative Assistant • Paula Ramsdell, Project Coordinator TANGLEWOOD

The Tanglewood Festival

In August 1934 a group of music-loving summer residents of the Berkshires organized a series of three outdoor concerts at Interlaken, to be given by members of the New York Philharmonic under the direction of Henry Hadley The venture was so successful that the promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during the next summer. The Festival Committee then invited Serge Koussevitzky and the Boston Symphony Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted, and on August 13, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The series again consisted of three concerts and was given under a large tent, drawing a total of nearly 15,000 people. In the winter of 1936 Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered

Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and mead- ows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, and on

August 5, 1937, the festival's largest crowd to that time assembled under a tent for the first Tanglewood concert, an all-Beethoven program.

At the all-Wagner concert that opened the 1937 festival's second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the "Forest Murmurs" from Siegfried, music too delicate to be heard through the downpour.

At the intermission, Miss Gertrude Robinson Smith, one of the festival's founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money had been raised to begin active planning for a "music pavilion." Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the immediate needs of the festival and, more important, went well beyond the budget of $100,000. His second, simplified plans were still too expensive; he finally wrote that if the Trustees insisted on remaining within their budget, they would have "just a shed," "which any builder could accomplish without the aid of an architect." The Trustees then turned to StockbriJge engineer Joseph Franz to make further simplifications in Saarinen's plans in order to lower the cost. The building he erected was inaugurated on the

evening of August 4,

1938, when the first concert of that year's festival was given, and remains, with modifica-

tions, to this day. It has echoed with the music of the Boston Sym- phony Orchestra every

After the storm ofAugust 12, 1937, which precipitated afundraising summer since, except drivefor the construction ofthe Tanglewood Shed for the war years 1942-

45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improvements, produced the Shed's present world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as "The Serge Koussevitzky Music Shed," recognizing the far-reaching vision of the BSO's legendary music director.

In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and its reputation for excellence that it attracted nearly 100,000 visitors. With the Boston Symphony Orchestra's acquisition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood 's public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmod- ed Theatre-Concert Hall (which was used continuously with only minor modifications since 1941, and which with some modification has been used in recent years for the Tangle- wood Music Center's opera productions), and for improved Tanglewood Music Center facilities. Inaugurated on July 7, 1994, Seiji Ozawa Hall—designed by the architectural firm William Rawn Associates of Boston in collaboration with acoustician R. Lawrence Kirke- gaard & Associates of Downer's Grove, Illinois, and representing the first new concert facil- ity to be constructed at Tanglewood in more than a half-century—now provides a modern venue for TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra throughout the summer. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center's Leonard Bernstein Campus, as described below. Also at Tanglewood each summer, the Boston University Tanglewood Institute sponsors a variety of programs that offer individual and ensemble instruction to talented younger students, mosdy of high school age.

Two "Special Focus" Exhibits at the Tanglewood Visitor Center Celebrating Two Anniversaries at Tanglewood This Summer

Two "Special Focus" exhibits have been mounted by the BSO Archives at the Tangle- wood Visitor Center this summer. "John Williams and the BSO: A 25-Year Collaboration" celebrates Mr. Williams's 25-year relationship with the Boston Symphony Orchestra. Mr. Williams was the nineteenth Con- ductor of the Boston Pops from 1980 to 1993, then became Laureate Conductor of the Boston Pops and Artist-in-Resi- dence at Tanglewood. The exhibit features photographs and other materials documenting this 25-year association, including concert activities, tours, recordings with the Boston Pops Orchestra, and the recordings he made of the original film scores for Schindlers List and Saving Private Ryan conducting members of the BSO

in Symphony Hall. The photo here is of Mr. Williams backstage at Carnegie Hall on the

occasion of his debut as Boston Pops Conductor, on January 22 y 1980 (photograph by Peter Schaaf). This year's second "Special Focus" exhibit, "A Room for Music: Seiji Ozawa Hall Turns Ten!," celebrating the hall's tenth anniversary this summer, focuses on the building and construction of Seiji Ozawa Hall. Featuring photographs, construction plans, and other memo- rabilia, this exhibit explores the hall's architectural design and the festivities that opened this award-winning venue ten years ago on July 7, 1994. The photo, from June 22, 1993, shows a steel truss being lifted into place by crane (photograph by BSO Life Trustee Dean Freed). Today Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there are weekly chamber music concerts, Friday-evening Prelude Concerts, Saturday-morning Open Rehearsals, the annual Festival of Contempo- rary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the season closes with a weekend-long Jazz Festival. The season offers not only a vast quantity of music but also a vast range of musical forms and styles, all of it presented with a regard for artistic excellence that makes the festival unique.

The Tanglewood Music Center

Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has become one of the world's most influential centers for advanced musical study. Serge Kous- sevitzky, the Boston Symphony Orchestra's music director from 1924 to 1949, founded the Center with the intention of creating a premier music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony Orchestra musicians and other specially invited artists.

The Music Center opened formally on July 8, 1940, with speeches and music. "If ever there was a time to speak of music, it is now in the New World," said Koussevitzky, alluding to the war then raging in Europe. Randall Thompson's Alleluia for unaccompanied chorus, specially written for the ceremony, arrived less than an hour before the event began but made such an impression that it continues to be performed at the opening ceremonies each summer. The TMC was Koussevitzky s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as the BSO's music director. Charles Munch, his successor in that position, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school's programs. In 1963, new BSO Music

Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO's programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher served as the TMC's Artistic Director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. In 1997, Ellen Highstein was appointed Director of the Tanglewood Music Center, operating under the artistic supervision of Seiji Ozawa. The Tanglewood Music Center Fellowship Program offers an intensive schedule of study and performance for advanced musicians who have completed all or most of their formal training. Some 150 young artists, all attending the TMC on full fellowships which underwrite the costs of tuition, room, and board, participate in a program including chamber and orchestral music, opera and art song, and a strong emphasis on music of the 20th and 21st centuries. This year's first TMC Orchestra concert is under the direction of Ingo Metz- macher, who, in his first collaboration with the TMC, leads music of Dallapiccola (honoring that composer's centennial), Schoenberg, and Berlioz. Also this summer the TMCO per-

Visit our Tanglewood Music Store

Located at the Main Gate Hours—same as the Glass House at the Main Gate Wide selection of classical music Weekly concert selections BSO and guest artists • Compact discs • Sheet music, instrumental and vocal • Full scores • Books Glass House Gift Shop

Located at the Main Gate and Highwood Gate Exciting designs and colors • Adult and children's clothing • Accessories • Compact discs • Stationery, posters, books • Giftware

MasterCard/VISA/American Express/Diners Club/Discover Card

MAIN GATE: HIGHWOOD GATE: Closed during performances Closed during performances Monday through Friday: 10am to 4pm Friday: 5:30pm to closing of the grounds Friday: 5:30pm to closing of the grounds Saturday: 9am to 4pm Saturday: 9am to 4pm 6pm to closing of the grounds 6pm to closing of the grounds Sunday: noon to 6pm Sunday: noon to 6pm Weeknight concerts, Seiji Ozawa Hall: 7pm through intermission forms under the batons of Kurt Masur, Rafael Friihbeck de Burgos, Robert Spano, and James DePreist. In addition, Seiji Ozawa returns to the TMCO podium leading music of Takemitsu and Verdi as part of the August 1 gala concert marking the 10th anniversary of

Seiji Ozawa Hall. Also in 2004, the Mark Morris Dance Group returns for its second annual week-long collaboration with the TMC intertwining music and dance, culminating in two joint MMDG/TMC performances of works choreographed by Mark Morris to music of Vivaldi, Bartok, and Bach. With Britten's Shakespeare-inspired opera A Midsummer Night s Dream, the TMC Opera Program returns this summer to the work of Benjamin Britten, a composer historically associated with Serge Koussevitzky and the Music Center. Conductor Robert Spano once again directs the annual Festival of Contemporary Music, this year featuring works of Bernard Rands (celebrating his 70th birthday year) and Elliott Carter (marking his 95th birthday year), with music by the Finnish composers Salonen, Sallinen, Saari- aho, and Lindberg also highlighting the 2004 FCM programs. In another of the TMC's new music programs, TMC composers will work throughout the summer with gifted young film and video artists, creating short collaborative works to be presented during the Festival. On- going TMC programs include seminars in the string quartet and piano quartet, and a series of free concerts, the "Steinway Series" on Monday afternoons in the Chamber Music Hall, highlighting works for solo piano and piano chamber music.

It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Besides Seiji Ozawa, prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, the late Leonard Bernstein, Stephanie Blythe, David Del Tredici, Christoph von Dohnanyi, the late Jacob Druckman, Lukas Foss, John Harbison, Gilbert Kalish (who head- ed the TMC faculty for many years), Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl Studer, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Kousse- vitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humani stic tradition that was his legacy. At the same time, the

Tanglewood Music Center maintains its commitment to the future as one of the world's most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Seiji Ozawa in rehearsal with the TMC Orchestra in Ozawa Hall #1$^ # #SftH #l^# ##l#t $ MrH

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nSHE BSAVTANGLEWOOD ADMINISTRATIVE COMMITTEE 2004

Chair Ursula Ehret-Dichter Glass House MEMBERSHIP Diana and Stanley Feld Immediate Past Chair Rita Blieberg, Vice-Chair Melvin R. Blieberg BSA V Boston/Tanglewood Event Administrative Events William Ballen and Secretary Marsha Burniske Sharon L. Shepard Mary M. Blair Elizabeth Boudreau Seranak Gardens and Flowers Nominating Database/New Members JackT. Adler Muriel Lazzarini Norma Ruffer Anita Busch • Edmund L. Dana COMMUNITY/ Special Events Membership Meetings Marie Feder AUDIENCE SERVICES Joyce Kates Julie Weiss Rita Kaye Paul Flaum, Vice-Chair Tent Club Newsletter Berkshire Night Carolyn and William Corby Victoria Morss Nancy Glynn • Personnel Coordinator Berkshire Education EDUCATION Mary Spina Initiative William Ballen, Vice-Chair Ready Sylvia S. Stein and Team Harry G. Methven BSAV Encore Bus Trip Arnold and Lillian Katz Marcia A. Friedman Karen M. Methven Tour Guides William C. Sexton Historical Preservation Retired Volunteers Club Michael Geller Bonnie Sexton Judith M. Cook Polly Pierce Ushers/Program mers Passes/Tickets Dan Ruge Words about Music Pat Henneberry (ReDiscovering Music) • Visitor Center Gabriel Kosakoff Michael Geller TMC Ronald Winter Ginger Elvin, Vice-Chair Brochure Distribution Talks & Walks Larry Kassman TMC TimeOff Rita Kaye • Barbara Koz Paley Joyce Kates DEVELOPMENT Augusta (Gus) Leibowitz Training Coordinator Opening Ceremonies Gabriel Kosakoff, Vice-Chair Marilyn Flaum Marjorie T. Lieberman 20/20 Campaign Alexandra Warshaw Student Parties Mel Blieberg Watch & Play Larry Phillips Event Services Margery Steinberg Bobbi Rosenberg Liz Shreenan Judy Borger TOP Picnic John L. Powell Youth Activities Arline Breskin Friends Brian Rabuse Office Rosalie Beal Alan Benjamin Andrew T. Garcia Gail B. Harris

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Summer Retail Hours: Mon.-Sat. 10:00 AM-5:30 PM (July 1-Sept. 1) BERKSHIRE RECORD OUTLET Rte. 102, Lee, MA Website: www.berkshirerecordoutlet.com (413) 243-4080 IN CONSIDERATION OF OUR PERFORMING ARTISTS AND PATRONS PLEASE NOTE: TANGLEWOOD IS PLEASED TO OFFER A SMOKE-FREE ENVIRONMENT. AVE ASKTHAT YOU REFRAIN FROM SMOKING ANYWHERE ON THETANGLEWOOD GROUNDS. DESIGNATED SMOKING AREAS ARE MARKED OUTSIDE THE ENTRANCE GATES.

Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Please do not bring food or beverages into the Music Shed or Ozawa Hall. PLEASE NOTE THATTHE USE OF AUDIO OR VIDEO RECORDING EQUIPMENT DURING CONCERTS AND REHEARSALS IS PROHIBITED, AND THAT VIDEO CAMERAS MAY NOT BE CARRIED INTO THE MUSIC SHED OR OZAWA HALL DURING CONCERTS OR REHEARSALS.

Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. FOR THE SAFETY OF, AND IN CONSIDERATION OF, YOUR FELLOW PATRONS, PLEASE NOTE THAT SPORTS ACTIVITIES, BICYCLING, SCOOTERS, KITE FLYING, FRISBEE PLAYING, BARBEQUING, PETS, AND TENTS OR OTHER STRUCTURES ARE NOT PERMITTED ON THE TANGLEWOOD GROUNDS. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. THANKYOU FORYOUR COOPERATION.

TANGLEWOOD INFORMATION

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5165. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666.

BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. until intermission; and Sunday from 10 a.m. until intermission. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200; or call TICKETMASTER at (617) 931-2000 in Boston; (413) 733-2500 in western Massachusetts; (212) 307-7171 in New York City; or 1-800-347-0808 in other areas. Tickets can also be ordered online atwww.bso.org. Please note

that there is a service charge for all tickets purchased by phone or on the web.

THE BSO's WEB SITE at www.bso.org provides information on all Boston Symphony and Boston Pops activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, an access service center and parking faculties are located at the Main Gate. Wheelchair service is available at the Main Gate and at the reserved- parking lots. Accessible restrooms, pay phones, and water fountains are located on the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431. FOOD AND BEVERAGES can be obtained at the Tanglewood Cafe and at other locations as noted on the map. The Tanglewood Cafe is open Monday through Friday from 11:30 a.m. to 2:30 p.m., Saturdays from 9 a.m. to 2:30 p.m., Sundays from noon until 7:30 p.m., and through the in- to go termission of all Tanglewood concerts. Visitors are invited to picnic before concerts. Meals may be ordered several days in advance at www.bso.org. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price often. A PASSION FOR MUSIC c &TDK

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As the sponsor of the 16th annual Tanglewood Free Lawn Passes for Children program, TDK is proud to bring the gift of music to thousands of children. . "''''

OPEN REHEARSALS by the Boston Symphony Orchestra are held each Saturday morning at for 10:30, the benefit of the orchestra's Pension Fund. Tickets are $16 and available at the

• Tanglewood box office. E - A half-hour pre-rehearsal talk about the program is offered free of charge to ticket holders, beginning at 9:30 in the Shed. During Open Rehearsals, a special children's area with activities games and behind the Tanglewood Visitor Center is available for children, who must be accompanied by an adult at all times.

SPECIAL LAWN POLICY FOR CHILDREN: On the day of the concert, children under the age of twelve will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE, thanks to a generous grant, for the sixteenth consecutive year, from TDK, the world leader in digital recording playback solutions. Up to four free children's lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Kousse- vitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children's groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates.

STUDENT LAWN DISCOUNT: Students twelve and older with a valid student ID receive H a 50% discount on lawn tickets for Friday-night BSO concerts. Tickets are available only at the Main Gate box office, and only on the night of the performance. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALK- WAYS are located in the area of the Main Gate and many of the parking areas.

THE LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official.

IN CASE OF SEVERE LIGHTNING, visitors to Tanglewood are advised to take the usual pre- cautions: avoid open or flooded areas; do not stand underneath a tall isolated tree or utility pole; and avoid contact with metal equipment or wire fences. Lawn patrons are advised that your auto- mobile will provide the safest possible shelter during a severe lightning storm. Readmission passes will be provided.

FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate.

PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events).

THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office.

THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children's leisure clothing, accessories, posters, stationery, and gifts. Please note that the

Glass House is closed during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center. THE TANGLEWOOD MUSIC STORE, adjacent to the Main Gate and operated by the Boston Symphony Orchestra, stocks music books, recordings, scores, sheet music, and musical supplies.

Tanglewood Visitor Center

The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. Staffed by volunteers, the Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tangle- wood and the Tanglewood Music Center, as well as the early history of the estate. You are cordially invited to visit the Center on the first floor of the Tanglewood Manor House. During July and August, daytime hours are from 10 a.m. to 4 p.m. Monday through Friday, from 9 a.m. to 4 p.m. on Saturday, and from noon until twenty minutes after the concert on Sunday, with additional hours Friday and Saturday evenings from 5:30 p.m. until twenty minutes after the concerts on these evenings, as well as during concert intermissions. In June and September the Visitor Center is open only on Saturdays and Sundays, from 10 a.m. to 4 p.m. There is no admission charge. "Jennie Shames Burton Fine David and Ingrid Kosowsky chair Ronald Wilkison "Valeria Vilker Kuchment Michael Zaretsky Theodore W. and Evelyn Berenson Marc Jeanneret Family chair "Tatiana Dimitriades *Mark Ludwig Stephanie Morris Marryott and ""Rachel Fagerburg

Franklin J. Marryott chair *Kazuko Matsusaka *Si-Jing Huang ""Rebecca Gitter Catherine and Paul Buttenwieser TANGLEWOOD chair Cellos ""Nicole Monahan 2004 Jules Eskin Mary B. Saltonstall chair Principal James Levine *Wendy Putnam Philip R. Allen chair, endowed Director Music Designate Kristin and Roger Servison chair in perpetuity in 1969 Ray and Maria Stata *Xin Ding Martha Babcock Directorship, Music Donald C. and Ruth Brooks Heath Assistant Principal in perpetuity fullyfunded chair, fullyfunded in perpetuity Vernon and Marion Alden chair, Bernard Haitink endowed in perpetuity Second Violins Principal Guest Conductor in 1977 LaCroix Family Fund, Haldan Martinson Sato Knudsen Principal fullyfunded in perpetuity Mischa Nieland chair, Carl SchoenhofFamily chair, fullyfunded in perpetuity Seiji Ozawa fullyfunded in perpetuity Mihail Jojatu Music Director Laureate Vyacheslav Uritsky Sandra and David Bakalar chair Assistant Principal Luis Leguia Charlotte Irving W. First Violins and Rabb Robert Bradford Newman chair, chair, endowed in perpetuity Malcolm Lowe fullyfunded in perpetuity in 1977 Concertmaster "Jerome Patterson tRonald Knudsen Charles Munch chair, Lillian and Nathan R. Miller chair Edgar and Shirley Grossman chair fullyfunded in perpetuity "Jonathan Miller Tamara Smirnova Joseph McGauley Charles andJoAnne Dickinson chair Shirley and Richard Fennell chair, Associate Concertmaster J. "Owen Young fullyfunded in perpetuity Helen Horner Mclntyre chair, John F. Cogan,Jr., and Mary L. endowed in perpetuity in 1976 Ronan Lefkowitz Comille chair, fullyfunded in David H. and Edith C. Howie Juliette Kang perpetuity chair, fullyfunded in perpetuity Assistant Concertmaster "Andrew Pearce Robert L. Beal, Enid L., and Bruce "Nancy Bracken Stephen and Dorothy Weber chair A. Beal chair, endowed in perpetuity *Aza Raykhtsaum in 1980 ""Bonnie Bewick Richard C. and Ellen E. Paine Elita chair, in perpetuity Kang *James Cooke fullyfunded Assistant Concertmaster "Victor Romanul Edward and Bertha C Rose chair Gordon and Mary Ford Kingsley Bessie Pappas chair Bo Youp Hwang Family chair "Catherine French John and Dorothy Wilson chair, fullyfunded in perpetuity "Kelly Barr Basses Lucia Lin ""Alexander Velinzon Edwin Barker Forrest Foster Collier chair §Gerald Elias Principal Ikuko Mizuno Harold D. Hodgkinson chair, Dorothy Q. and David B. Arnold, Violas endowed in perpetuity in 1974 Jr., chair, fullyfunded in perpetuity Steven Ansell Lawrence Wolfe Amnon Levy Principal Assistant Principal Maria Nistazos Stata chair, Muriel C Kasdon and Marjorie C Charles S. Dana chair, perpetuity Paley chair endowed in perpetuity in 1970 fullyfunded in * Sheila Fiekowsky Cathy Basrak Joseph Hearne Leith Family chair, Ruth and CarlJ. Shapiro chair, Assistant Principal in perpetuity Jiillyfunded in perpetuity Anne Stoneman chair, fullyfunded fullyfunded in perpetuity Dennis Roy Edward Gazouleas Joseph andJan Brett Hearne chair Salkowski Participating in a system Lois and Harlan Anderson chair, John Erich and Edith Heymans chair of rotated seating fullyfunded in perpetuity $On sabbatical leave Robert Barnes § Substituting, Tangleivood 2004 "James Orleans Bassoons Bass Trombone "Todd Seeber Richard Svoboda Douglas Yeo Eleanor L. and Levin H. Campbell Principal John Moors Cabot chair, law chair, fullyfunded in perpetuity Edward A. Taft chair, endowed fullyfunded in perpetuity "John Stovall in perpetuity in 1974 Q ""Benjamin Levy Suzanne Nelsen Tuba John D. and Vera M. Mike Roylance Flutes MacDonald chair Margaret and William C. Rousseau ml Richard Ranti chair, fullyfunded Principal Associate Principal in perpetuity Walter Piston chair, endowed Diana Osgood Tottenham chair in perpetuity in 1970 Timpani Fenwick Smith Contrabassoon Acting Assistant Principal Gregg Henegar Sylvia Shippen Wells chair, endowed Myra and Robert Kraft chair, Helen Rand Thayer chair in perpetuity in 1974 endowed in perpetuity in 1 981 Elizabeth Ostling Horns Percussion Acting Principal James Sommerville Thomas Gauger Marian Gray Lewis chair, Principal Peter andAnne Brooke chair, fullyfunded in perpetuity Helen SagoffSlosberg/Edna fullyfunded in perpetuity S. Kalman chair, endowed Frank Epstein Piccolo in perpetuity in 1974 Peter Andrew Lurie chair, Richard Sebring fullyfunded in perpetuity

Evelyn and C Charles Marran Associate Principal J. William Hudgins chair, endowed in perpetuity in Margaret Andersen Congleton chair, Barbara Lee chair 1979 fullyfunded in perpetuity Timothy Genis §Linda Toote Daniel Katzen Acting Timpanist Elizabeth B. Storer chair, Mr. and Mrs. Edward H. Linde EUS Oboes fullyfunded in perpetuity chair John Ferrillo Jay Wadenpfuhl Principal fohn P. II and Nancy S. Eustis chair, Harp in perpetuity Mildred B. Remis chair, endowed in fullyfunded Ann Hobson Pilot perpetuity in 1975 Richard Mackey Principal Mark McEwen Hamilton Osgood chair James and Tina Collias chair Jonathan Menkis Voice and Chorus Keisuke Wakao Jean-Noel and Mona N John Oliver Assistant Principal Tariot chair Tanglewood Festival Chorus Elaine andJerome Rosenfeld chair Conductor Trumpets Alan J. and Suzanne W.Dworsky English Horn Charles Schlueter chair, fullyfunded in perpetuity Robert Sheena Principal Roger Louis Voisin chair, Librarians Beranek chair, fullyfunded in in perpetuity endowed in perpetuity 1977 Marshall Burlingame Peter Chapman Principal Clarinets Ford H. Cooper chair Lia and William Poorvu chair, fullyfunded in perpetuity William R. Hudgins Thomas Rolfs Shisler Principal Associate Principal William Ann o.M. Banks chair, endowed Nina L. and Eugene B. Doggett John Perkel in perpetuity in 1977 chair Scott Andrews Benjamin Wright Assistant Conductor Thomas and Dola Sternberg chair Rosemary and Donald Hudson chair Thomas Martin Anna E. Finnerty chair, Trombones in perpetuity Associate Principal £s? fullyfunded E-flat clarinet Ronald Barron Stanton W and Elisabeth K. Davis Principal Personnel Managers chair, chair, fullyfunded in perpetuity J. P. and Mary B. Barger Lynn G. Larsen fullyfunded in perpetuity Bruce M. Creditor Bass Clarinet Norman Bolter Craig Nordstrom Arthur and Linda Gelb chair Stage Manager Farla and Harvey Chet Krentzman John Demick chair, fullyfunded in perpetuity Position endowed by Angelica L. Russell .

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A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

Now in its 123rd season, the Boston Symphony Orchestra gave its inaugural concert on V£ October 22, 1881, and has continued to uphold the vision of its founder, the businessman, philanthropist, Civil War veteran, and amateur musician Henry Lee Higginson, for more than a century. The Boston Symphony Orchestra has performed throughout the United

States, as well as in Europe, Japan, Hong Kong, South America, and China; in addition, it reaches audiences numbering in the millions through its performances on radio, television, and recordings. It plays an active role in commissioning new works from today's most important composers; its summer season atTanglewood is regarded as one of the world's most important music festivals; it helps develop the audience of the future through BSO Youth Concerts and through a variety of outreach programs involving the entire Boston community; and, during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the world's most important training grounds for young composers, conductors, instrumentalists, and vocalists. The orchestra's virtuosity is reflected in the concert and recording activities of the Boston Symphony Chamber Players, one of the world's most distinguished chamber ensembles made up of a major symphony orchestra's principal players. The activities of the Mm Boston Pops Orchestra have established an international standard for the performance of m lighter kinds of music. Overall, the mission of the Boston Symphony Orchestra is to foster and maintain an organization dedicated to the making of music consonant with the highest HL aspirations of musical art, creating performances and providing educational and training programs at the highest level of excellence. This is accomplished with the continued support of its audiences, governmental assistance on both the federal and local levels, and through the generosity of many foundations, businesses, and individuals. Henry Lee Higginson dreamed of founding a great and permanent orchestra in his home town of Boston for many years before that vision approached reality in the spring of 1881.

The following October the first Boston Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would remain as music director until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world's most highly regarded concert halls, was opened on October 15, 1900. The BSO's 2000-01 season celebrated the centennial of Symphony Hall, and the rich history of music performed and introduced to the world at Symphony Hall since

it opened more than a century ago. Georg Henschel was succeeded by a series of German-born and -trained conductors

Henschel, Thefirst photograph, actually a collage, ofthe Boston Symphony Orchestra under Georg taken 1882

Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler—culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906- 08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first "Promenade" concert, offering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of music." These concerts, soon to be given in the springtime and renamed first "Popular" and then "Pops," fast became a tradition.

In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Francisco. Recording, begun in 1917 with the Victor Talk- ing Machine Company (the predecessor to RCA Victor), continued with increasing frequency. In 1918 Henri Rabaud was engaged as conductor. He was succeeded the following year by Pierre Monteux. These appointments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians. The Koussevitzky era began in 1924. His extraordinary musicianship and electric personality proved so enduring that he served an unprecedented term of twenty-five years. The BSO's first live concert broadcasts, privately funded, ran from January 1926 through the 1927-28 season. Broadcasts continued sporadically in the early 1930s, regular live Boston Symphony broadcasts being initiated in October 1935. In 1936 Koussevitzky led the orchestra's first concerts in the Berkshires; a year later he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The Boston Pops Orchestra celebrated its hun-

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:'•*•:'. * ''.; .'"\. • •• • NATHANIEL HAWTHORNE REVISITED

This summer marks the bicentennial of Nathaniel Hawthorne's birth on July 4, 1804. The local influence of Nathaniel Hawthorne—the author of Tanglewood Tales—is clearly linked to Tanglewood: all who enter Tanglewood via the Lion Gate see the replica of the "little red cottage" where the Hawthorne family lived from May 1850 until November 1851, and

PQ ~^H Herman Melville on a summer outing in August 1850. Their relationship inspired Melville's literary ambitions, as reflected in the epic scale of his master- piece, Moby-Dick, dedicated to Hawthorne "In Token of my Admiration for his Genius." Materials dating from Nathaniel Hawthorne's stay

at the little red cottage are on view in the Tanglewood Visitor Center as part of the display documenting the early history of the Tappan family estate (Tanglewood). The cottage was destroyed by fire in 1890. A replica duplicating the original exterior was dedicated in July 1947. (The interior now provides classroom and studio space for the Tanglewood Music Center.) The photo shows the 1947 dedication ceremony, with Serge Koussevitzky seated second from left on the porch. To commemorate the Hawthorne bicentennial, the Lenox Library has published Haw- thorne Revisited, a collection of essays exploring this Berkshire literary legacy (available at

the library and in the Tanglewood shops). On Sunday morning, August 8, the meeting of Hawthorne and Melville will be celebrated in a hike up Monument Mountain; anyone interested should meet at 10 a.m. that day in the parking lot on Route 7 at the base of the

mountain. On Saturday, October 9, at 8 p.m., a gala celebration in Ozawa Hall sponsored by Shakespeare 6c Company and hosted by Mike Wallace will feature Jane Fonda, Marisa Tomei, and David Strathairn performing and reading from Hawthorne's works. For more information on this event, call (413) 637-1199, ext. 113.

You are invited to take 2004 Tanglewood Guided Tours of Tanglewood

Sponsored by the Tanglewood Association of the Boston Symphony Association of Volunteers

Free to the public Wednesday at 10:30 a.m. and Saturday at 1:30 p.m. Free to Sunday ticket-holders: Sunday at 12:30 p.m. Tours continue through Sunday, August 29.

All tours last one hour, beginning and ending at the Tanglewood Visitor Center. Please arrive at the Visitor Center five minutes before the starting time of each tour.

Croup tours may be scheduled at other times by calling the Tanglewood Volunteer Office at (413) 637-5393. A contribution of $6 per person is requestedfor scheduled group tours. dredth birthday in 1985 under Mr. Williams's baton. Keith Lockhart began his tenure as twentieth conductor of the Boston Pops in May 1995, succeeding Mr. Williams. Charles Munch followed Koussevitzky as music director of the Boston Symphony Or- chestra in 1949. Munch continued Koussevitzky 's practice of supporting contemporary composers and introduced much music from the French repertory to this country. During his tenure the orchestra toured abroad for the first time and its continuing series of Youth Con- certs was initiated under the leadership of Harry Ellis Dickson. Erich Leinsdorf began his seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA; in addition, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center; under his leadership a full- tuition fellowship program was established. Also during these years, in 1964, the Boston Symphony Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the midwest.

Seiji Ozawa became the BSO's thirteenth music director in the fall of 1973, following a year as music adviser and three years as an artistic director at Tanglewood. Ozawa's historic twenty-nine-year tenure, from 1973 to 2002, exceeded that of any previous BSO conductor. In the summer of 2002, at the completion of his tenure, he was named the orchestra's Music Director Laureate. Besides solidifying and maintaining the orchestra's reputation worldwide, and taking an active role as teacher and administrator at the Tanglewood Music Center, *v Ozawa also reaffirmed the BSO's commitment to new music, through a series of centennial commissions marking the orchestra's 100th birthday, through a series of works celebrating the fiftieth anniversary of the Tanglewood Music Center, and through an extended series of commissions that continued during 2002-03 with the world premieres of new works by Elliott Carter, Sofia Gubaidulina, John Harbison, and Tan Dun. Under Ozawa's direction the orchestra also expanded its recording activities, to include releases on Philips, Telarc, Sony Classical/CBS Masterworks, EMI/Angel, Hyperion, New World, and Erato. In 1995, m Ozawa and the BSO welcomed Bernard Haitink as Principal Guest Conductor, in which capacity Mr. Haitink conducts and records with the orchestra, and has also taught at Tangle- Itk? wood. In the fall of 2001, James Levine was named to succeed Seiji Ozawa as music director of the Boston Symphony Orchestra. The first American-born conductor to hold that position, he was named Music Director Designate in the spring of 2002 and will become the orchestra's fourteenth music director in the fall of 2004. Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annually.

It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston.

Seiji Ozawa, the Boston Symphony Orchestra, and the Tanglewood Festival Chorus at Tanglewood South Mountain Concerts

Pittsfield, Massachusetts

86th Season of Chamber Music

Concerts Sundays at 3 P.M. nrat x> ?? September5 Kalichstein-Laredo-Robinson Trio September 12 • • « Tokyo String Quartet September 19 $&7j Emerson String Quartet September 26 Muir String Quartet October 3 Beaux Arts Trio Hometown Hero, Citizen of the World Rockwell in Stockbridge For Brochure and Ticket Information Write June 5- October 31, 2004 South Mountain Concerts, Box 23 Pittsfield, MA 01 202 Phone 41 3 442-21 06 www.southmountainconcerts.com NORMAN ROCKWELL MUSEUM

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The Colonial Theatre Summer 2004 Pine Cone Hill E they're playing DESIGNINGDES AND DEFINING A FRESH NEW AMERICAN LIFESTYLE our song Visit our showropm now A Colonial Theatre Production at the Lenox Shops. August 18 - 29, t 4 Opening Night Gala August 20 at the Berkshire Music Hall A Neil Simon romantic comedy with an orchestral score by Marvin Hamlisch, directed by James Warwick. Call 413-448-8084 for tickets.

July 31, 7 pm: The Grrl Genius Guide to Sex (with other people) Opening performance by Melodrome Nationally renowned author and performer Cathryn Michon brings her stand-up comedy act in a benefit performance to the Berkshire Music Hall

Colonial Theatre tours: Fridays at noon. Saturdays at io:3o am - Free! Colonial www.thecolon iattheatre.org r |~ ^ -* fyp*. A A Ill South St., Pittsfield. MA TheatreLCcllI C

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Founded in 1865 Worcester, Massachusetts BARDSUMMERSCAPE

July 8 - August 22, 2004 OPERA East Coast Professional Premiere

Experience a performing arts The Nose July 28 -August 7 other. festival like no Bard An opera by Dmitrii Shostakovich SummerScape presents American Symphony Orchestra Conducted by Leon Botstein world-class opera, music, Directed by Francesca Zambello Set design by Rafael Viholy and theater you won't hear Costume design by Georgi Alexi-Meskhishvili anywhere else, in a venue you Lighting design by Mark McCullough can't find anywhere else: T H E A T E R the Frank Gehry-designed American Premiere St. Petersburg's Alexandrinsky Theatre Richard B. Fisher Center for presents the Performing Arts, hailed by The Inspector General ^ critics as "an acoustic jewel" July 8-11 A play in two acts by Nikolai Gogol "a virtuoso piece." and Directed by Valery Fokin MUSIC THEATER World Premiere Guest from the Future

July 22 - August 1 Music by Mel Marvin Libretto by Jonathan Levi Directed by David Chambers

Moscow: Cherry Tree Towers August 12-15 A musical in two acts by Dmitrii Shostakovich Directed by Francesca Zambello BARD MUSIC FESTIVAL Fifteenth Season Shostakovich and His World August 13-22 Two weekends of concerts, panels, and other events bring the musical world of Russian composer Dmitrii Shostakovich

vividly to life.

Bard SummerScape 2004 also features a Russian film festival, puppet theater, late- night cabaret, and other special events.

THE RICHARD B. For tickets and information, FISHER call 845-758-7900 or visit CENTER summerscape.bard.edu. FOR THE PERFORMING ARTS AT BARD COLLEGE Bard College Annandale-on-Hudson, N.Y.

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nC rFifteenth Annual Bard Music Festival AND HIS SHOSTAKOVICH WORLD AUGUST 13-15 AND 20-22, 2004

The Bard Music Festival's fifteenth season explores the musical world of Russian composer Dmitrii Shostakovich (1906-75) with concerts, panels, and special events.

FRIDAY, AUGUST 13 SATURDAY, AUGUST 21 program ONE DMITRII SHOSTAKOVICH: PROGRAM SEVEN MUSIC AS POLITICS THE MAN AND HIS WORK 10:00 a.m. Performance with commentary 8:30 p.m. Works by Shostakovich Shostakovich's Antiformalist Rayok

SATURDAY, AUGUST 14 program eight IN THE SHADOW OF 1948 10:00 a.m. Panel CONTESTED ACCOUNTS: 1:30 p.m. Works by Shostakovich, THE COMPOSER'S LIFE AND CAREER Ustvolskaya, Weinberg, Sviridov, Shaporin program two THE FORMATIVE YEARS PROGRAM NINE AFTER THE THAW: 1:30 p.m. Works by Shostakovich, A COMPOSER LOOKS BACK Stravinsky, Glazunov, Prokofiev, Skriabin, 8:00 p.m. Works by Shostakovich. Gnesin.Shteynberg American Symphony Orchestra, Leon Botstein, conductor program three FROM SUCCESS TO DISGRACE SUNDAY, AUGUST 22 8:00 p.m. Works by Shostakovich. 10:00 a.m. Panel THE COMPOSER'S American Symphony Orchestra, Leon LEGACY: SHOSTAKOVICH IN THE CONTEXT Botstein, conductor OF MUSIC TODAY

SUNDAY, AUGUST 15 program ten A NEW GENERATION 10:00 a.m. Panel MUSIC IN THE SOVIET RESPONDS UNION 1:30 p.m. Works by Shostakovich, Denisov, Tishchenko, Gubaidulina, Schnittke program four THE PROGRESSIVE 1920s 1:30 p.m. Works by Shostakovich, program eleven IDEOLOGY AND Shcherbachov, Myaskovsky, Popov INDIVIDUALISM 5:00 p.m. Works by Shostakovich. Bard program five THE ONSET OF POLITICAL Festival Chorale; American Symphony REACTION Orchestra, Leon Botstein, conductor 5:00 p.m. Works by Shostakovich, Shebalin, Kabalevsky, Khachaturian, Dzerzhinsky, For ticket information Khrennikov call 845-758-7900 or visit www.bard.edu/bmf FRIDAY, AUGUST 20 10:00 a.m. Symposium ART AND CULTURE IN THE SOVIET ERA

program six "GOOD MORNING MOSCOW": ONE DAY IN THE LIFE OF SOVIET POPULAR MUSIC 8:00 p.m. Performance

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Prelude Concert of Friday, August 13, at 6 (Ozawa Hall) 2 Members of the Boston Symphony Orchestra MUSIC OF KODALY AND dvorAk

Boston Symphony concert of Friday, August 13, at 8:30 7 ta Gianandrea Noseda conducting; Deborah Voigt, soprano MUSIC OF WAGNER AND PROKOFIEV m Boston Pops Orchestra concert of Saturday, August 14, at 8:30 22 John Williams conducting; Martin Scorsese, special guest; Monica Mancini and Ron Raines, guest vocalists; BUTI Young Artists Chorus "FILM NIGHT AT TANGLEWOOD"

Boston Symphony concert of Sunday, August 15, at 2:30 29 Robert Spano conducting; Andre Watts, piano MUSIC OF RANDS, MacDOWELL, AND TCHAIKOVSKY mH

THIS WEEK'S ANNOTATORS

Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

Robert Kirzinger is Publications Associate of the Boston Symphony Orchestra.

Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for orchestras and other ensembles •\*v throughout the country, and for such concert venues as Carnegie Hall.

Harlow Robinson, Professor of History and Modern Languages at Northeastern University, and author of Sergei Prokofiev: A Biography and Selected Letters of Sergei Prokofiev, is a frequent lecturer and annotator for the Boston Symphony, Metropolitan Opera Guild, Lincoln Center, New York Philharmonic, and Santa Fe Opera.

SATURDAY-MORNING OPEN REHEARSAL SPEAKERS

July 17, 23; August 7, 21 — Marc Mandel, BSO Director of Program Publications July 10, 30; August 14, 28 — Robert Kirzinger, BSO Publications Associate Tanglewood

Prelude Concert lOth ANNIVERSARY SEASON

Friday, August 13, at 6 Florence Gould Auditorium, Seiji Ozawa Hall MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA

TATIANA DIMITRIADES, violin (1st violin in Dvorak) VICTOR ROMANUL, violin (Kodaly; 2nd violin in Dvorak) MICHAEL ZARETSKY, viola JONATHAN MILLER, cello

KODALY Duo for violin and cello, Opus 7

Allegro serioso, non troppo Adagio Maestoso e largamente, ma non troppo lento—Presto

DVORAK String Quartet No. 14 in A-flat, Opus 105 (marking the 100th anniversary of Dvorak's death) Adagio ma non troppo—Allegro appassionato Molto vivace Lento e molto cantabile Allegro non tanto

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert.

Please refrain from taking pictures in Seiji Ozawa Hall at any time during the concert. Flashbulbs, in particular, are distracting to the performers and other audience members. Thank you for your cooperation.

Notes

The music of Hungarian composer Zoltan Kodaly (1882-1967) grows, heart and soul, from the experience of his extended folk song researches undertaken over a period of years with his friend Bela Bartok. When he began working the melodies and rhythms from the folk songs he collected into his own works, critics were scandalized, since the results had little in common with the comfortably homey romantic Volkslieder with which they were acquainted. He composed the Duo, Opus 7, in 1914, but the work waited until May 7, 1918, for a performance on an all-Kodaly program, following which one critic claimed that the entire evening had revealed no more than "the eccentric, almost perverted, mani- festation of a great and muscular, though misguided, talent." Such responses failed to daunt the composer, however. He spent almost seven decades of his long life actively pursuing his vision, which was not simply a matter of abstract composition in vacuo but

Week 6 —

rather an attempt to express the spirit of his country's music for the widest public, while at the same time developing the public's taste.

The Duo, which plays off the technical capabilities of its participants with superb elan, grows from thematic ideas that are related to the melodic style of Hungarian folk music especially the modal themes (evident from the opening bars), a kind of rhythmic flexibili- ty usually described as "rubato" and the tendency for melodies to unfold by means of rich decoration in a passionate display of temperament that during the nineteenth century had been considered typical of "gypsy music," though it was really a corruption of the genuine Hungarian folk style. Kodaly tends to use the traditional classical forms in his folk-oriented compositions, especially in the sonata-form first movement and the fantasy of the Adagio that becomes, finally, a double fugue. Only in the last movement, after a wonderfully brash improvisatory beginning, does he introduce a children's folk song in a steady ostinato rhythm that controls the movement from that point on.

This summer, Tanglewood marks the 100th anniversary ofDvoraks death with performances ofthe Czech composers chamber music on Friday-evening Prelude Concerts throughout the season.

On March 26, 1895, just three weeks before he was to depart from America for the last time, Antonin Dvorak (1841-1904) began to compose a string quartet in A-flat. He completed 100 measures before putting the piece aside and concentrating on his travel plans. Once he arrived home, he found himself exhausted and unwilling to compose. Other than the final revisions to his Cello Concerto, made as a memorial to his beloved sister-in-law, he wrote virtually nothing all summer and into the autumn, when he began teaching in Prague. By this time he had composed his last symphony and had already completed a dozen string quartets over the years. The fragment of an A-flat quartet would be the thirteenth such work. Still he was disinclined to compose; was he written out? But after about six months of inaction—the longest period of his entire adult life in which he did not compose—Dvorak demonstrated convincingly his continued fecundity On November 11, 1895, he began a string quartet—but in the key of G, not the A-flat quartet already started—and completed it within a month, on December 9. A few days later he took up the fragment in A-flat, finishing that on December 30, thus producing two complete quartets, works that crowned his output in the genre, in just over six weeks. Demand from potential performers was so great that both works were published the following summer and premiered before the end of 1896. The publisher gave the A-flat quartet the opus number 105 and the G major quartet the number 106, probably because Dvorak had begun composing the A-flat quartet first; but except for the very opening, it

is a later work in every respect. Opus 105 is not only Dvorak's last string quartet, but also his last work of chamber music in any medium. For the rest of his life he concentrated on symphonic poems and opera.

SATURDAY-NIGHT PRELUDE CONCERTS AT TANGLEWOOD

We call to your attention that, in addition to the Friday-night Prelude Concerts performed each week by members of the Boston Symphony Orchestra and guest artists, there are also Saturday-night Prelude Concerts offered by the Tanglewood Music Center at 6 p.m. in Seiji Ozawa Hall each Saturday during the Tanglewood season. As for the Friday-night Prelude Concerts, admission to the Saturday-night TMC Prelude Concerts is free of charge to those holding a ticket for that evening's Boston Symphony concert, with seating available on a first-come, first-served basis.

Week 6 With all nine symphonies behind him and a series of tone poems ahead, Dvorak was

still experimenting with the treatment of sonata form. The slow introduction to the first movement contains elements that anticipate the opening theme of the Allegro appassionato. There are two principal themes before the transition to the dominant E-flat brings in the secondary theme. The two principal themes form so strikingly the basis of the development that Dvorak withholds them entirely from the recapitulation, moving directly to the secondary theme, now in the home key; but the principal themes return evocatively as the basis of the coda.

The scherzo is widely regarded as one of Dvorak's very greatest, a brilliant Czech

dance of the type known as the furiant. The slow movement is cast in the key of F major,

a bright key in relation to the home A-flat; but its middle section is correspondingly dark

when it sets off in A-flat minor. The return to the opening material and the key of F is richly decorated. The spirited finale begins with a harmonic transition from the end of the third movement, arriving after eleven measures at the home key for a spirited jaunt in a dance rhythm that sounds like a rustic polka, building a vigorous climax at the very end.

—Notes by Steven Ledbetter ARTISTS

Born and raised in New York, Tatiana Dimitriades attended the Pre-College Division of the Juilliard School. She earned her bachelor's and master's degrees in music, as well as an Artist Diploma, from the Indiana University School of Music, where she was awarded the Performer's Certificate in recognition of outstanding musical performance. Ms. Dimitriades joined the Boston Symphony at the start of the 1987-88 season. A recipient of the Lili Boulanger Memorial Award, she has also won the Guido Chigi Saracini Prize presented by the Accademia Musicale Chigiana of Siena, Italy, on the occasion of the Paganini Centen- ary, and the Mischa Pelz Prize of the National Young Musicians Foundation Debut Com- petition in Los Angeles. Ms. Dimitriades teaches at the Boston Conservatory of Music.

An active chamber musician, she is a member of the Boston Artists Ensemble, the Boston Conservatory Chamber Ensemble, and the Walden Chamber Players. She was concertmaster of the Newton Symphony Orchestra, with which she appeared often as a concerto solo-

ist, and is currently concertmaster of the New Philharmonia Orchestra. She also continues to perform frequently in recital and chamber music throughout New England. Other solo performances have included a Carnegie Recital Hall appearance sponsored by the Associ- ated Music Teachers of New York, and an appearance as soloist in the Mendelssohn Violin Concerto at the Grand Teton Music Festival.

Violinist Victor Romanul joined the Boston Symphony Orchestra at the beginning of the 1992 Tanglewood season and was an assistant concertmaster of the BSO for two years beginning in April 1993. Mr. Romanul began performing at the age of seven. His first teacher was Alfred Krips, former associate concertmaster of the Boston Symphony. He was soloist in Beethoven's Triple Concerto at eleven, and in the Brahms Violin Concerto at thirteen. Subsequently he studied with Ivan Galamian, former BSO concertmaster Joseph Silverstein, and Jascha Heifetz. In 1979 Mr. Romanul won the Pierre Mayer Award for Most Out- standing String Player at the Tanglewood Music Center. In 1981, at twenty-one, he joined the Pittsburgh Symphony as associate concertmaster, a position he held for six years, leaving that orchestra in 1987 to perform as a chamber music and solo artist. Mr. Romanul is on the faculty of the Boston Conservatory of Music, where he teaches violin, chamber music, and string pedagogy. Recent activities have included the world premiere ofJohn Clement Adams's Violin Concerto, as well as numerous chamber music concerts and solo recitals. In 1997 his performance of the Saint-Saens Violin Concerto No. 3 with the Civic Symphony Orchestra was cited as a "Best of Boston" solo performance by the Boston Globe.

Born in the Soviet Union in 1946, violist Michael Zaretsky studied originally as a violinist at the Central Music School in Moscow and at the Music College of the Moscow State

4 Conservatory. In 1965 he continued his education as a violist at the Moscow State Con- servatory. In 1972 he immigrated to Israel, where he became principal violist of the Jerusa- lem Broadcasting Symphony Orchestra and a soloist of Israeli Radio. In 1973 he auditioned for Leonard Bernstein, who helped him obtain an immigration visa to the United States and brought him to Tanglewood. There, while a Fellow of the Tanglewood Music Center, he successfully auditioned for the BSO, which he joined that fall. An established soloist and chamber musician, Mr. Zaretsky has been soloist with the Boston Pops Orchestra and other orchestras in North America. Elected to the Pi Kappa Lambda Chapter of the National Music Honor Society for his achievement in teaching, he currently teaches at the Boston University School of Music and the Longy School of Music. For the Artona label, Mr. Zaretsky has made a Bach album with harpsichordist Marina Minkin and two discs with pianist Xak Bjerken: "Black Snow," including music of Shostakovich, Glinka, and Jakov Jakoulov, and a Brahms/Schumann disc entided "Singular Voices," including the two Brahms viola sonatas, Brahms's Two Songs for contralto, viola, and piano, and Schumann's Marchen- bilder for viola and piano.

After attending Pablo Casals' master class at the University of California at Berkeley, Jonathan Miller chose to abandon his study of literature there and devote himself completely to the cello, training with Bernard Greenhouse of the Beaux Arts Trio. Seeking out masters of different schools and styles, he also studied with Raya Garbousova, Leonard Rose, Harvey Shapiro, and Edgar Lustgarten. In 1964 and 1965 he was a fellowship student at the Tanglewood Music Center. Before joining the Boston Symphony in 1971, Mr. Miller was principal cellist of the Juilliard, Hartford, and San Diego symphony orchestras. He has been soloist with the Hartford Symphony, the Boston Pops Orchestra, and the Metropoli- tan Symphony Orchestra of Boston, and he has performed in chamber music concerts at Symphony Hall and at Tanglewood. A winner of the Jeunesses Musicales auditions, he toured the United States twice with the New York String Sextet, appeared as a member of the Fine Arts Quartet, and has taught at the New England Conservatory and at the Boston

University Tanglewood Institute. He is music director of the Boston Artists Ensemble, which he founded in 1980, and a member of the Gramercy Trio, which recently received a Copland Foundation Grant for its first CD. In June 1990, at the invitation of Mstislav Ros- tropovich, he was a soloist at the American Cello Congress. Mr. Miller has recently recorded the complete Beethoven cello sonatas with pianist Randall Hodgkinson for Centaur records.

PRELUDE CONCERT SEATING Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall

is unreserved and available on a first-come, first-served basis when the grounds open at 5:30 p.m. Patrons are welcome to hold one extra seat in addition to their own. Also please note, however, that unoccupied seats may not be held later than five minutes before concert time (5:55 p.m.), as a courtesy to those patrons who are still seeking seats. Corot

Del acroix

Ingres

Courbet

Gericault

Cabanel

Millet

Rousseau

The French Connection

"Bonjour, Monsieur Courbet!": The Bruyas Collection from the Musee Fabre, Montpellier

includes some 70 masterpieces by Courbet and leading French artists of the period.

June 2 7 -September 6, Daily 10:00am -5:00pm

Organized by the Musee Fabre, Montpellier, France; the Virginia Museum of Fine Arts, Richmond (March 26 - June 13, and the Sterling and Francine Clark Art Institute, with the Dallas Museum of Art (October 17, 2004 2004); i Discover January 2, 2005) and the Fine Arts Museums of San Francisco January 22 - April 2005) under the auspices of ( 4, the FRAME (French Regional and American Museum Exchange). CLARK STERLING & FRANCINE CLARK ART INSTITUTE WILLIAMSTOWN, MASSACHUSETTS 01267 413-458-2303 WWW.CLARKART.EDU

6 Tanglewood BOSTON SYMPHONY ORCHESTRA 123rd Season, 2003-2004

Friday, August 13, at 8:30

GIANANDREA NOSEDA conducting

WAGNER Prelude to Act I of Lohengrin

WAGNER Songs to Five Poems by Mathilde Wesendonck mm Der Engel (The Angel) mm Stehe still! (Be Still!) Im Treibhaus (In the Greenhouse) Schmerzen (Torment) Traume (Dreams)

DEBORAH VOIGT, soprano

Texts and translations begin on page 13.

INTERMISSION IT

PROKOFIEV Music from the ballet Romeo andJuliet, Opus 64 Montagues and Capulets Juliet the Young Girl Masks Romeo and Juliet Before Parting The Death of Tybalt Friar Laurence Dance Dance of the Girls from the Antilles

Romeo at Juliet s Tomb Juliet's Death

Steinway and Sons Pianos, selected exclusively at Tanglewood

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and other audience members. Note that the use of audio or video recording equipment during performances in the Music Shed or Ozawa Hall is prohibited.

Week 6 Barrington Stage Company

SWEET CHARITY 3rd Annual in in June 24 -July 17 Brandeis in the Berkshires Book by Neil Simon Lecture Series Lyrics by Dorothy Fields Shakespeare and Company, Founder's Theatre Music by Cy Coleman July 12, 2004 THE GOD An Evening with Former Texas Governor, COMMITTEE The Honorable Ann W. Richards

July 22 - August 7 Former Governor of Texas

By Mark St. Germain CYRANO DE July 27, 2004 Post-Denominational BERGERAC Judaism: August 12-28 In An Age of Freedom, Affluence and Power By Edmond Rostand President, National Center for Original music by Ray Leslee Jewish Leadership and Learning rCL>4L) Rabbi Irwin Kula Adapted by Julianne Boyd August 9, 2004 The Power of Gender: Women's Voices, Women's Stories Special Reading with Q&A bsc and Book Signing barrington stage company New York Times Best-Selling Novelist Alice Hoffman and Oprah Book Choice Award Winner

Julianne Boyd, Artistic Director Lectures begin at 8 p.m. and are open to tha public. Tickets are $8 413 528-8888 To order tickets, phone Shakespeare & Co Box Office. #413-637-3353 www.barringtonstageco.org Bnndth In th* Bfkthtn* mi founded In 2002 through th* gtnroot tupport ind vfefon of Harold Grlnspoon and the Harold Grlnspoon Foundation.

TANGLEWOOD 2004 TALKS & WALKS

A series of informal conversations presented by guest artists and members of the Tangle- wood family in the Tent Club near the Shed on Thursdays. Doors open at noon. The talks begin at 1 p.m. and are followed at 1:45 p.m. by walking tours of the Tanglewood grounds led by Tanglewood volunteer tour guides. Individual tickets are sold on the day of the talk for $10 at the Tent Club between 12:30 and 1 p.m., subject to availability. Please bring a picnic lunch; beverages and dessert are available for purchase.

July 15 Kurt Masur, Conductor July 22 James Sommerville, BSO Principal Horn s July 29 David Kneuss, Director, TMC Opera {A Midsummer Night's Dream) August 5 Tan Dun, Composer and Conductor August 12 Deborah Voigt, Soprano August 19 James DePreist, Conductor August 26 Marc Mandel, BSO Director of Program Publications NOTES ON THE PROGRAM

Richard Wagner (1813-1883) Prelude to Act I of Lohengrin

First performance ofthe opera: August 18, 1850, Weimar, Franz Liszt cond. First BSO performance ofthe Prelude to Act I: March 1884, Georg Henschel cond. First Tanglewood performance ofthe Prelude: August 12, 1939, Serge Koussevitzky cond. Most recent Tan- glewoodperformance ofthe Prelude: July 22, 2001, James Conlon cond.

In 1843, after the success of Rienzi and The Flying Dutchman in Dresden,Wagner was appointed conductor of the Royal Saxon Court. He remained there until his in- volvement in the May 1849 insurrection in Dresden resulted in his flight to Switzerland and political exile from Germany. During that exile, in 1850, Franz Liszt—who twenty years later would become Wagner's father-in-law—conducted the premiere of Lohengrin in Weimar. Wagner did not see a performance of the opera until May 15, 1861, in Vienna, by which time Das Rheingold, Die

Walkiire, much of Siegfried, and all of Tristan und Isolde had been completed. In an 1852 essay, Liszt wrote that

right from his first operas, but especially in Lohengrin, ifl Wagner has always mixed a different palette for each of his HI main characters. The more attentively you study this latest £ score, the more you realize what an interdependence he has created between his text and his orchestra. Not only has he personified in his melodies the feelings and pas-

sions that he has set in train. . .but it was also his wish that their basic features should be underlined by a corresponding orchestral coloring, and as he creates rhythms and Si melodies to fit the character of the people he portrays, so also he chooses the right kinds of sounds to go with them.

Lohengrin is one of Wagner's two important operas-o/w-swan. (The other is Parsifal, SI where the swan's role is considerably less plummy, being killed early in Act I by the foolish young hero destined to become a Knight of the Grail and, ultimately, Lohen-

grin's father.) In a nutshell, the story of Lohengrin is this: Elsa of Brabant is unjustly accused by the power-hungry Frederick Telramund of murdering her brother, heir to the

throne. She is championed by the knight Lohengrin, who appears in a swan-powered

boat to defeat Telramund in combat, but only after first betrothing himself to Elsa with the proviso that she never ask his name or origin. Telramund's evil wife Ortrud goads Elsa's curiosity about the mysterious stranger, and, in the final act, Elsa asks the forbid- den question. Telramund suddenly appears (in the bridal chamber!) with four of his henchman. Lohengrin dispatches him and then, in the final scene, on the banks of the

river Scheldt, reveals his identity to the assembled court (he is from the temple of the Holy Grail at Monsalvat), bids Elsa farewell, and prepares to depart. Ortrud steps for-

ward to reveal that the swan, which has now returned to take Lohengrin away, is in fact Elsa's brother Gottfried transformed through a magic spell and that—with Elsa's be- trayal of Lohengrin's trust—there is no one to break the spell. Lohengrin prays, a dove hovers above, the swan vanishes, Gottfried appears in its place, Lohengrin departs in the now dove-drawn boat, and Elsa dies in Gottfried's arms. All of this takes a consid-

erable amount of stage time (except, that is, for the action recounted in the previous

sentence, which occupies little more than a few moments).

It is to a reworking of music from the Act I Prelude that Lohengrin reveals his iden-

tity in the opera's final scene. (This sort of musical recapitulation is one way Wagner is

9 Week 6 able to unify large-scale musical structures. Isolde's Liebestod at the end of Tristan und Isolde, and the music recapitulated from Brunnhilde's awakening in Act III of Siegfried to accompany Siegfried's death in Act III of Gotterdammerung, are other striking instances of this procedure.) At the beginning of Lohengrin, the music of the first-act Pre- lude represents the Grail itself. In his own programmatic elucidation, Wagner has himself described this musical depiction of the Grail's approach from the sky in a vision, to

"pour out light like a benediction" upon the beholder, consecrate him to its service, and then rise again "to the ethereal heights. . . having made pure once more the hearts of men by the sacred blessing of the Grail."

Wagner's amazing skill at orchestration is evident right from the start of the Prelude, which begins with violins alone, in a striking configuration that will recur in the closing measures: four solo violins detach themselves from the rest, which are themselves divided into four equal parts. Woodwinds join the texture one-quarter of the way into the piece; the brass and lower strings enter halfway through. But even as tension and vol- ume build, the music remains movingly spiritual. Following the climax, the serenity of the opening is restored. —Marc Mandel

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10 Richard Wagner Songs to Five Poems by Mathilde Wesendonck

Early history: The songs were written originally for voice and piano, and published in 1862. Wagner himself orchestrated "Traume" (with solo violin replacing the vocal line) and had it performed for Mathilde Wesendonck beneath her window on her birthday, December 23, 1857. The other four songs were orchestrated by the conductor Felix Mottl (1856-1911), who helped prepare the first Bayreuth Festival in 1856. First BSO performance (andfirst Tanglewoodperformance) ofthe complete set ofsongs (individual songs having been programmed on numerous earlier occasions)'. August 11, 1972, Colin Davis cond., Jessye Norman, soprano. Only other Tanglewoodperformances: August 29, 1982, Seiji Ozawa cond., Hildegard Behrens, soprano; July 10, 1992, Jesus Lopez-Cobos cond., Jessye Norman, soprano.

The summer of 1857 was a difficult time for Wagner. Hopes for the production of his JRzVzg-in-progress were all but gone, and negotiations with his publishers were getting nowhere; there was no regular source of income; he had had no new work staged since the premiere of Lohengrin

under Liszt at Weimar in 1850; and so it was obviously time for something more likely to be produced than the Ring.

Though the first performance would not take place until 1865, this he thought he had found in Tristan und Isolde: as

". early as December 1854 he wrote to Liszt, . .since never in

my whole life have I tasted the real happiness of love, I mean to raise a monument to that most beautiful of dreams, in which, from beginning to end, this love shall really sate itself to the full for once. I have in my mind a plan for Tristan und ." Isolde, the simplest but most full-blooded musical conception. . An incentive, too, to the work on Tristan was his move to a cottage on the estate in Zurich of his friends Otto and Mathilde Wesendonck. The latter, in particular, had become an ardent Wagner devotee following a concert performance of the Tannhduser BAM Overture led by the composer in 1851. Otto was a successful German businessman and partner in a New York silk company. The Wesendoncks first settled in Zurich in 1851, and it was at Mathilde's instigation that Wagner and his wife Minna were later provided lodging on the Wesendonck estate in a cottage christened "the Asyl" (meaning "asy- lum, refuge"), so-called after a reference in Mathilde's letter of invitation to Minna. Here Wagner and Mathilde Wesendonck were drawn intimately to one another. The history books hedge on whether their relationship was physical as well as intellectual and spiritual—Minna, of course, assumed the worst, especially after intercepting a covert letter from Wagner to Mathilde in early April 1858—but there is no question that in those last two areas Minna could not approach what Mathilde had to offer and that the intensity of the Wagner-Mathilde relationship is to be felt in the music written during that time. Wagner began the orchestral sketch for the first act of Tristan on

November 5, 1857, and completed it on January 13, 1858, the full score being finished in April 1858—a period of time coincident with his setting of Mathilde's five poems. Wagner separated from Minna and left the Asyl on August 17, 1858, traveling to Venice and taking up residence during the winter of 1858-59 in the Palazzo Giustiniani, where he composed the second act of Tristan. The third act would be composed in the Hotel Schweizerhof in Lucerne, where Wagner relocated in March 1859. During the last decades of the nineteenth century, Mathilde Wesendonck produced a number of works, both prose and poetry, including in 1871 a drama on the subject of Frederick the Great written as a response to the Franco-German war—works that, ac-

11 Week 6 cording to Wagner biographer Ernest Newman, "commanded the admiration of at any rate her family and friends, though they do not seem to have attracted the attention of historians of German literature." The five poems by Mathilde that Wagner chose to set during the winter of 1857-58 were clearly written as a response to their relationship: they reflect in their verses not only the imagery of the Ring and Tristan poems, which Mathilde came to know firsthand through the composer himself, but also the intimacy of their very special feelings for each other. Der Engel: Wagner frequently referred to Mathilde as "angel" in his letters to her, and the dedicatory poem he presented her on December 31, 1857, one week after his birthday gift to her of the Traume orchestration, describes her as "the angel who raised [him] so high." The "sweet oblivion"

of Stehe still!, the imagery of sunshine and

daylight in Im Treibhaus, of death and life in Schmerzen, o{"Allvergessen in Traume, cannot help but recall the flavor and symbolism

7 of Tristan una Isolde. The "rapturous con- An 1856 pastel ofMathilde Wesendonck with her son Guido; the picture of Wagner on page templation of exchanged glances," that spiri- 11 was supposedly Mathilde'sfavorite likeness tual and wordless communion between hero ofhim. and heroine of so many Wagner operas, exerts its power over the more external and worldly forces of Stehe still! And the "proud, u victorious hero" ( Siegesheld") of Schmerzen must suggest the world of Wagner's mythic heroes, Siegmund and Siegfried, especially when Wagner alludes to the sword motive of the Ring in his setting of Mathilde's poem. Other musical references are even more explicit. Wagner himself labeled Im Treib- haus and Traume as "studies for Tristan und Isolde."The music that characterizes the desolate seascape of Kareol in the final act of Tristan is here foreshadowed in Im Treib- haus (Wagner perhaps taking his cue from the "ode Leere" of the poem's third stanza: the

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12 key phrase at the beginning of Tristans third act is 'W und leer das Meer," "desolate and empty [is] the sea"), and music destined for the second-act Liebesnacht ("night of love") provides the material for Wagner's setting of Traume. Also, the chord that begins the music of Schmerzen is that of the "day" motive which opens Tristans second act.

But this is still not the whole story. There is a curious reference to the sirens of

Tannhauser midway through Stehe still!, and other more general associations to Wagner's earlier musical style suggest themselves along the way So we must come back finally to the notion that the essence of Wagner's music in these songs is its reflection of his relationship with Mathilde Wesendonck on all levels, spiritual, emotional, and artistic. In this regard, Der Engel, set with utmost delicacy and intimacy of expression, taking its impulse from the "leuchtendem Gefieder" the "shining wings" of the text, assumes particular significance as the first of the published sequence. And like the Siegfried Idyll, which Wagner composed as a birthday gift to his second wife, Cosima, for performance on Christmas morning of 1870, and in which the composer's public and private lives similarly intertwine, these five songs to poems by Mathilde Wesendonck occupy a very special place in the output of a man whose life was invariably and inextricably tied to his art. —Marc Mandel

WAGNER Songs to Five Poems by Mathilde Wesendonck

Der Engel The Angel In der Kindheit friihen Tagen In the days of my early childhood Hort' ich oft von Engeln sagen, I often heard tell of angels Die des Himmels hehre Wonne who exchange heaven's sublime bliss Tauschen mit der Erdensonne, for the earth's sunshine,

Dass, wo bang ein Herz in Sorgen I heard that when a grieving heart pines,

Schmachtet vor der Welt verborgen, concealing its sorrow from the world;

Dass, wo still es will verbluten, when it bleeds in secret, Und vergehn in Tranenfluten, and dissolves in floods of tears;

Dass, wo briinstig sein Gebet when with fervent entreaties

Einzig um Erlosung fleht, it prays only for release; Da der Engel niederschwebt, then the angel flies down

Und es sanft gen Himmel hebt. and carries it gently toward heaven.

Ja, es stieg auch mir ein Engel nieder, Yea, an angel descended to me too, Und auf leuchtendem Gefleder and on shining wings Fuhrt er, feme jedem Schmerz, carries my soul far from all torment Meinen Geist nun himmelwarts! toward heaven.

Stehe still! Be Still! Sausendes, brausendes Rad der Zeit, Whirring, racing wheel of time, Messer du der Ewigkeit; you measure of eternity; Leuchtende Spharen im weiten All, radiant spheres in the immense universe, Die ihr umringt den Weltenball; you that encircle the earth's globe; Urewige Schopfung, halte doch ein, eternal creation, cease your movement. Genug des Werdens, lass mich sein! Enough of becoming, let me be!

Please turn the page quietly.

13 Week 6 Halte an dich, zeugende Kraft, Cease, you power of creation, Urgedanke, der ewig schafft! cease, essential thought, which gives endless birth.

Hemmet den Atem, stillet den Drang, Check every breath, still every craving, Schweiget nur eine Sekunde lang! give but a second's respite. Schwellende Pulse, fesselt den Schlag; Swelling pulses, arrest your beating; Endes, des Wollens ew'ger Tag! be ended, eternal day of will.

Dass in selig siissem Vergessen Then, in the holiness of sweet oblivion, Ich mog' alle Wonnen ermessen! I may contemplate all my rapture. Wenn Aug' in Auge wonnig trinken, When eye gazes rapturously into eye,

Seele ganz in Seele versinken; when soul is drowned in soul; Wesen in Wesen sich wieder findet, when being finds itself again in being,

Und alles Hoffens Ende sich kundet; and the fulfilment of all hopes comes into view, Die Lippe verstummt in staunendem then lips are dumb in stunned silence, Schweigen, Keinen Wunsch mehr will das Inn're then soul's desire vanishes: zeugen: Erkennt der Mensch des Ew'gen Spur, man realizes the shape of eternity, Und lost dein Ratsel, heil'ge Natur! and solves your enigma, holy Nature.

Im Treibhaus In the Greenhouse Hoch gewolbte Blatterkronen, Lofty vaulted crowns of leaves, Baldachine von Smaragd, canopies of emerald, Kinder ihr aus fernen Zonen, you children from distant regions,

Saget mir, warum ihr klagt? tell me, wherefore do you lament?

Schweigend neiget ihr die Zweige, Silendy you incline your boughs,

Malet Zeichen in die Luft, you paint traces in the air, Und der Leiden stummer Zeuge, and, dumb witness of your sadness, Steiget aufwarts siisser Duft. a honeyed perfume wafts upwards.

Weit in sehnendem Verlangen In passionate desire Breitet ihr die Arme aus, you spread wide your arms, Und umschlinget wahnbefangen and, self-deluded, ode Leere nicht'gen Graus. entwine a desolate void, a fearful emptiness.

Wohl ich weiss es, arme Pflanze: Well I know it, wretched plant: Ein Geschicke teilen wir, we share the same destiny. Ob umstrahlt von Licht und Glanze, Though we be bathed in radiant light, Unsre Heimat ist nicht hier! our home is not here.

Und wie froh die Sonne scheidet And as the sun gladly departs Von des Tages leerem Schein, the illusory brightness of the day, Hullet der, der wahrhaft leidet, so he who truly suffers Sich in Schweigens Dunkel ein. envelops himself in the darkness of silence.

Stille wird's, ein sauselnd Weben It grows still, whispering threads Fullet bang den dunklen Raum: of anxiety- pervade the room: Schwere Tropfen seh' ich schweben I see heavy drops hanging An der Blatter griinem Saum. from the green edges of the leaves.

14 Schmerzen Torment

Sonne, weinest jeden Abend 5 _r.. y: _ v.ee: r-tr. ever.ir.k' Dir die schonen Augen rot, until your beauteous e\'es are red, Wenn im Meeresspiegel badend when bathing in the mirror of the

: .-ir.. Dich erreicht der fruhe Tod; you attain your early death-

Doch erstehst in alter Pracht, But you rise again in your former splendor, Glorie der dustren Welt, the glorious halo of the gloomv world, Du am Morgen neu erwacht, newly awakening in the morning, Wie ein stoker Siegesheld! like a proud and victorious hero.

Ach, wie sollte ich da klagen, Why then should I complain, mein Herz, so schwer dich sehn, why should my heart be so hea.-

s die Sonne selbst verzagen, if the sun itself must renounce hope, Muss die Sonne untergehn? if the sun must set?

Und gebieret Tod nur Leben, And if death alone gives birth to life, Geben Schmerzen Wonnen nun if torment alone gives birth to raptu: O wie dank' ich, dass gegeben how thankful I am that Nature Solche Schmerzen mir Natur. has given me such torment.

Traume Dreams Sag?, welch wunderbare Traume Tell, what wondrous dreams Halten meinen Sinn umfangen, keep my soul encircled, Dass sie nicht wie leere Schaume and are not vanished like bubbles Sind in odes Nichts vergangen? into the barren void?

Traume, die in jeder Stunde, Dreams, which in every hour Jedem Tage schoner bluh'n, of every day bloom more beautiful, Und mit ihrer Hirnmelskunde and with their hints of heaven Selig durchs Gemute ziehn? blissfully through my mind;

Traume, die wie hehre Strahlen Dreams, which like sublime beams of light In die Seele sich versenken, infuse the soul, Dort ein ewig Bild zu malem to paint there an eternal image:

Allvergessen, Eingedenken! forgetfulness of the all, remembrance of the one.

Traume, wie wenn Friihlingssonne Dreams! As when the sun in springtime Aus dem Schnee die Bluten kusst, kisses life into blossoms and brings them out of the snow, zu nie geahnter Wonne so that the new day may welcome them

Sie der neue Tag begrii; 5 I to ecstasy unimagined,

Da chsen, dass sie bluhen, so that the}* grow, so that the)- bloom, Traumend spenden ihren Duft, scattering their perfume as in a dream, Sanft an deiner Brust vergluhen, then softly dissolve in your breast

: dann sinken in die Gruft- and sink into their grave.

. — — *.'.::r :..:. V,'-:. '.:.:'.:-. translations by Andrew Raeburn

15 Week 6 THE WALTER PISTON SOCIETY AT TANGLEWOOD we

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16 Sergei Prokofiev (1891-1953) Music from the ballet Romeo andJuliet

Stage premiere ofthe ballet December 30, 1938, Brno, Czechoslovakia (the Russian premiere following only on January 11, 1940, Kirov Theatre, Leningrad). First BSO performances (andfirst U.S. performances) ofmusicfrom the ballet. March 1938, Prokofiev cond. First Tanglewoodperformance ofmusicfrom the ballet August 7, 1948, Serge Koussevitzky cond. Most recent Tanglewoodperformance ofmusicfrom the ballet July 20, 1996, Seiji Ozawa cond.

The plays of William Shakespeare—especially the tragedies—have long been popular in Russia. Among their admirers have been numerous composers. Romeo andJuliet inspired both Tchaikovsky (in his Fantasy-Overture) and Sergei Prokofiev (in his full-length ballet), while Soviet composer Dmitri Shostakovich turned repeatedly to Hamlet and King Lear, producing incidental music for several stage productions and scores for Grigori Kozintsev's classic film ver- sions. Prokofiev, too, found frequent inspiration in Shakespeare. In 1933-34 he produced incidental music for a production called "Egyptian Nights," a strange potpourri based on Antony and Cleopatra staged by experimental director Alexander Tairov at his Moscow Chamber Theater. Later, in 1937-38, he wrote incidental music for a celebrated and controversial Leningrad production of

Hamlet, whose theme of guilt and regicide resonated deeply with Soviet audiences living- through Stalin's purges. The idea of creating a ballet out of Romeo andJuliet originally came from the Soviet stage director Sergei Radlov (1892-1958), an important figure in the Russian theatrical avant-garde both before and after the 1917 Revolution. Radlov was also very familiar with Prokofiev's music, since he had staged the first Russian pro- J\ %A': duction of Prokofiev's opera hovefor Three Oranges in 1926 in Leningrad. Noted for his adventurous productions of contemporary opera, Radlov directed the Russian premiere Aon of Berg's Wozzeck at the Mariinsky Theatre, where he served as artistic director from 1931 to 1934. He also staged several plays of Shakespeare at his own dramatic theater in the early 1930s, including Romeo andJuliet in 1934. Originally, Radlov and Prokofiev were planning to stage Romeo andJuliet at the Mariinsky (later known as the Kirov Theatre). But in one of the many political storms that beset the theater during the Soviet era, Radlov lost his position there in the after- math of the assassination of the Leningrad Communist Party boss Sergei Kirov in December 1934. Still continuing to work with Radlov as librettist, Prokofiev signed a new contract (also later broken) for the ballet with the Bolshoi Theatre in Moscow. At the time, Prokofiev was living a peripatetic and nomadic life, commuting between Paris

(where his wife and two sons still lived) and Russia, with frequent trips to the United States. Only in early 1936 did he make the fatal decision to settle his family permanent- ly in an apartment in Moscow. Preparing for this final move back to his homeland, Prokofiev spent the spring, summer, and early fall of 1935 in the USSR. Despite the increasingly repressive political and ideological atmosphere to which he seems to have paid remarkably little attention, this was a period of apparently happy productivity, his chief project being Romeo and Juliet. In fact Prokofiev worked with incredible speed, as he did when genuinely inspired. Act II was completed on July 22, 1935, Act III on August 29, and the entire piano score by September 8, after less than five months of work. In October he began the orchestration, working at top speed, producing the equivalent of about twenty pages

17 Week 6 of full score each day. But the planned Bolshoi production failed to take place, and no other theater came forth to take on the project. Frustrated, Prokofiev created two orchestral suites from the ballet's music in late 1936. These were performed soon afterwards in Russia, representing one of the few instances in dance history when a ballet's music was heard in concert form before being staged. The stage premiere of the full-length ballet eventually took place not in Russia, but in Brno, Czechoslovakia, with choreography by Ivo Psota, who also danced the role of Romeo. The first Russian production at the Kirov Theatre in Leningrad was choreographed by Leonid Lavrovsky. Galina Ulanova scored one of her greatest successes in the role of Juliet. The story line of the Kirov version had been stitched together by four authors: Radlov, Prokofiev, Lavrovsky, and critic/playwright Adrian Piotrovsky. Not sur- prisingly, the repeated revision of the scenario produced what critic Arlene Croce has called a "dramaturgical nightmare." The original scenario (later altered) changed the play's ending to a happy one. Rad- lov and Prokofiev had Romeo arrive a minute earlier than in Shakespeare, finding Juliet still alive. "The reasons that led us to such a barbarism were purely choregraphic," Pro- kofiev explained later. "Living people can dance, but the dead cannot dance lying down." Another factor was certainly the Soviet doctrine of Socialist Realism, which urged composers to provide optimistic, uplifting endings to their operas and ballets. In the end, Prokofiev and his collaborators restored the original tragic ending, which turned out to be spectacularly effective both choreographically and musically. Romeo represents a giant step forward in Prokofiev's evolution as a ballet composer.

It is a remarkable synthesis of the five "lines" of his musical personality, as he once described them: classical, modern, toccata (or motor), lyrical, and grotesque. His aggressive "Scythianism" found brilliant expression in the violent hostility between the Montagues

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18 and Capulets, and in the brutal darkness of the unenlightened medieval setting (most obviously in the "Dance of the Knights"). His "classicism" found an outlet in the courtly dances required of an artistocratic setting, such as gavottes and minuets. Entirely appro- priate for some of the character roles, such as the Nurse, was Prokofiev's famous satirical style, while his scherzo style suited volatile characters like Mercutio. And finally, Proko- fiev's lyricism, an increasingly important part of his artistic personality since the late 1920s and now reinforced by the Soviet musical environment (which prized melody and accessibility above all else), was both necessary and particularly successful in conveying the innocent passion between the lovers that lies at the center of the drama. Romeo is Prokofiev's first completely successful lyrical stage work, and his first convincing por- trayal of non-ironic romantic love. The two orchestral suites Prokofiev arranged in 1936 from the music for Romeo and Juliet each have seven titled sections. Suite No. 1 (Opus 64-bis) focuses on rearranged genre episodes from Acts I and II and does not attempt to follow the dramatic action.

Four of its sections are dance intermezzi and only two ("Madrigal" and "Romeo and Juliet") make use of the major dramatic leitmotifs. Suite No. 2 (Opus 64-ter), on the other hand, possesses a more logical narrative structure that follows the play's plot. Suite M No. 3 (Opus 101), dating from 1946, has six sections, including two dance intermezzi, two character pieces ("Juliet" and "Nurse"), and two sections pertinent to the dramatic situation ("Romeo at the Fountain" and "Juliet's Death"). For the present Boston Sym- phony performance, Gianandrea Noseda has chosen ten sections drawn from the three suites, arranged roughly in the order in which they occur in the ballet. Montagues and Capulets (from Suite No. 2) portrays first the hostility between the two ruling families of Verona, and then a scene from the ball (the famous "Dance of the

Knights," with its awkward intervals and displaced accents so typical of Prokofiev) at which the Montague Romeo and the Capulet Juliet will have their first fateful meeting.

Juliet the Young Girl (Suite No. 2) is a musical portrait of a romantic and energetic SKI teenager, simultaneously childlike and seductive. Masks (Suite No. 1), a dance number heard during the ball scene, captures the suspense and mystery of the disguised identi- ties of the various members of the ruling clans, including the flirtatious Romeo and vul- nerable Juliet. Romeo and Juliet Before Parting (Suite No. 2) begins in Juliet's bedroom just before Romeo must leave her after their wedding night and progresses through their painful parting. The Death ofTybalt (Suite No. 1) provides the shattering climax to Act II, when Romeo has slain Juliet's cousin; here, Prokofiev uses a throbbing ostina-

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19 to to illustrate the implacability of fate. Friar Laurence (Suite No. 2) contains the serene music for the scene of the lovers' meeting with the priest who will marry them. Dance

(Suite No. 2) is a very fast, lively dance for five couples near the beginning of Act II, just after the scene between Romeo and his friend Mercutio. Dance of the Girls from the Antilles (Suite No. 2) is based on the Act III "Dance of the Girls with Lilies," who fail to awaken Juliet on the day she is to marry Paris after she has taken the potion provided by Friar Laurence to simulate her death. Romeo at Juliet's Tomb (Suite No. 2) shows Romeo arriving to find Juliet lifeless and apparently dead, and then taking his own life with poison. Tonight's music concludes with Juliet's Death, the only one of the present excerpts drawn from the Suite No. 3. —Harlow Robinson

GUEST ARTISTS Gianandrea Noseda

Making his BSO debut this evening, Gianandrea Noseda is principal conductor of the BBC Philharmonic in Manchester, England, having taken up that post in September 2002. In 1997, at the invitation of Valery Ger- giev, he became the first foreign principal guest conductor at the Mariin- sky Theatre in St. Petersburg, where he also founded the Mariinsky Young

Philharmonic Orchestra, of which he is principal conductor. Since 1998 he has been principal conductor of the Orquesta de Cadaques, and he was principal guest conductor of the Rotterdam Philharmonic Orchestra (1999-2003). Since September 2003 he has been principal guest conductor of the Orchestra Sinfonica Nazionale della RAI. He also serves as artistic director of the Festival Settimane Musicali di Stresa e del Lago Maggiore. Gianandrea Noseda was born in Milan, where he studied piano, composition, and conducting. In 1994 he won the international competitions in Douai (chaired by Georges Pretre) and Cadaques (chaired by Gennady Rozhdestvensky). Since making his professional conducting debut in 1994 with the Orchestra Sinfonica di Milano Giuseppe Verdi, he has appeared frequently with major orchestras in Scandinavia and throughout Europe, in Japan, and in North America. In Italy, in addition to his privi- leged relationship with the Orchestra Sinfonica Nazionale della RAI, he appears regularly with the orchestras of the Maggio Musicale Fiorentino and the Accademia Nazionale di Santa Cecilia. He has conducted the Mariinsky Theatre both on tour and in St. Petersburg in new productions of Rigoletto and Tosca, Le nozze di Figaro, La traviata, La sonnambula, Don Carlo, Don Giovanni, Lucia di Lammermoor, Tales ofHoffmann, and La boheme. He pre-

TANGLEWOOD FESTIVAL CHORUS AUDITIONS Tuesday, September 14, at Symphony Hall

Reservations are currently being taken for the Tanglewood Festival Chorus's Sep-

tember 14th auditions at Symphony Hall in Boston for all voice parts. The 2004-

2005 season will include Mahler's Symphony No. 8, Berlioz's Romeo et Juliette, and

Wagner's The Flying Dutchman, all to be conducted by the BSO's new music director James Levine. The Mahler and Berlioz works will be performed at Carnegie Hall in New York as well as in Boston. Additional repertoire will include Brahms's Nanie, Gesang der Parzen, and Schicksalslied as part of an all-Brahms program conducted by Rafael Friihbeck de Burgos. To make a reservation for an audition, please call (617) 638-9461 or e-mail [email protected].

20 sented the St. Petersburg premieres of Cosifan tutte and 77 trittico and has led new Kirov Ballet productions of Sleeping Beauty and Balanchine's/

RSO, and the Opera National de Lyon. Gianandrea Noseda is an exclusive Chandos Records recording artist; his first three recordings were of music of Respighi, Karlowitz, and the first complete recording of Prokofiev's The Stone Flower. Further recordings will be dedicated to Liszt and Khachaturian. He has also recorded the first album of Anna Netrebko, with the Vienna Philharmonic Orchestra for Deutsche Grammophon.

Deborah Voigt

Deborah Voigt 's 2003-04 season included Isolde in a new production of Wagner's Tristan und Isolde with the Vienna State Opera and her return to the Metropolitan Opera for Strauss's Die Frau ohne Schatten, Wagner's Die Walkure, and Berlioz's Les Troyens. She sang Wagner arias at the Theatre des Champs-Elysees in Paris with the Orchestre National de France under Kurt Masur, hosted a special Christmas concert with the New York Philharmonic, and in February appeared with the Chicago Symphony Orchestra and Daniel Barenboim in Beethoven's Symphony No. 9. Fur- ther concerts with orchestra took place in Geneva and Lausanne with the Orchestre de la Suisse Romande under Pinchas Steinberg, and in Charleston, West Virginia, where she sang Strauss's Four Last Songs. Besides her long-awaited Carnegie Hall recital debut this past April, recital appearances brought her to the Caramoor Festival, West Palm Beach (FL), Orange County (CA), Barcelona, Madrid, Bilbao, Berlin, London, San Francisco, Dayton, and Atlanta. She also starred in "Deborah Voigt on Broadway," a benefit concert for Classical Action and Broadway Cares/Equity Fights AIDS. Ms. Voigt has collaborated with such conductors as Claudio Abbado, Myung-Whun Chung, Fabio Luisi, Lorin Maazel, Zubin Mehta, Daniel Oren, Antonio Pappano, Georges Pretre, Mstislav Rostropovich, Wolfgang Sawallisch, Sir Georg Solti, and Edo de Waart. Her career took flight after her performance in Boston in the title role of Strauss's Ariadne aufNaxos little more than ten years ago. She has since sung Ariadne to the delight of audiences in New York, Vienna, Munich, Frankfurt, and else- where, and recorded Ariadne with conductor Giuseppe Sinopoli for Deutsche Grammophon. Other complete opera recordings include Beethoven's Fidelio under Sir Colin Davis, Berlioz's Les Troyens with Dutoit, Wagner's Derfliegende Hollander with Levine, Weber's Oberon with M' Conlon, and Strauss's Elektra and Friedenstag with Sinopoli. She has recorded Strauss's Four Last Songs with Kurt Masur and the New York Philharmonic, and several rarities by Zem- linsky, including Eineflorentinische Tragodie with Conlon and the Lyrische Sinfonie with Sin- opoli. Her recording of Die Frau ohne Schatten with Sinopoli was released by Teldec. Deborah Voigt attended California State University at Fullerton and took part in the San Francisco

Opera's Merola Program for young artists. She won first prize at the Luciano Pavarotti Voice Competition in 1988 and the gold medal at Moscow's Tchaikovsky International Competi- tion in 1990. Ms. Voigt was recognized by the French government with the prestigious Che- valier de l'Ordre des Arts et des Lettres. She was MusicalAmericas 2003 Vocalist of the Year. Ms. Voigt made her BSO debut at Symphony Hall in December 1991 as a soloist in Mozart's Requiem, subsequendy returning for performances of Verdi's Requiem in February 1992 and in the title role of Strauss's Salome under Seiji Ozawa atTanglewood in 2001.

21 Tanglewood

Saturday, August 14, at 8:30 THE GEORGE AND ROBERTA BERRY SUPPORTING ORGANIZATION CONCERT BOSTON POPS ORCHESTRA JOHN WILLIAMS conducting MARTIN SCORSESE, special guest MONICA MANCINI and RON RAINES, guest vocalists BOSTON UNIVERSITY TANGLEWOOD INSTITUTE YOUNG ARTISTS CHORUS

FILM NIGHT AT TANGLEWOOD CELEBRATING JOHN WILLIAMS'S 25th YEAR AS A MEMBER OF THE BSO FAMILY

A TRIBUTE TO BERNARD HERRMANN

On Dangerous Ground

THE EARLY YEARS IN HOLLYWOOD

The Inquirer (from Citizen Kane) The Ballad of Springfield Mountain (from The Devil and Daniel Webster) Gallop the Whip (from Currier and Ives Suite)

WITH ALFRED HITCHCOCK

Scene dAmour from Vertigo Psycho Medley: Prelude (Driving Scene)—The Murder (Shower Scene)

Music from Taxi Driver. Prelude/Night Prowl—Blues

Prelude from North by Northwest

INTERMISSION

22 A TRIBUTE TO HENRYMANCINI

Overture to a Pops Concert

A Mancini Medley: Peter Gunn—Baby Elephant Walk—The Pink Panther

Strings on Fire

Pennywhistle Jig, from The Molly Maguires

Days of Wine and Roses, from Days of Wine and Roses (lyrics by Johnny Mercer, arr. P. Williams) BUTI YOUNG ARTISTS CHORUS

Whistling Away the Dark, from Darling Lili

(lyrics by Johnny Mercer, arr. P. Williams) RON RAINES

Finale from Victor/Victoria

Music on the Way, from a theme from The Molly McGuires (lyrics by Will Jennings) MONICA MANCINI

Moon River, from Breakfast at Tiffany s (lyrics by Johnny Mercer, arr. P. Williams) MONICA MANCINI and RON RAINES BUTI YOUNG ARTISTS CHORUS

Film montages produced by Dick Bartlett and Susan Dangel

Steinway and Sons Pianos, selected exclusively at Tanglewood

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation

23 Week 6 ARTISTS John Williams In January 1980 John Williams—who this year celebrates his 25th year as a member of the BSO family—was named nineteenth Conductor of the Boston Pops Orchestra since its founding in 1885. He assumed the title of Boston Pops Laureate Conductor following his retirement in December 1993 and holds the title of Artist-in-Residence at Tanglewood. Born in New York, Mr. Williams attended UCLA, studied composition privately with Mario Castelnuovo-Tedesco, and attended the Juilliard School, where he studied piano with Madame Rosina Lhevinne. He worked as a jazz pianist before beginning his career in the film studios, where he worked with such composers as Bernard Herrmann, Alfred Newman, and Franz Waxman. He went on to work in television in the 1960s, winning two Emmy awards for his work. John Williams has composed the music and served as music director for more than 90 films, including the Harry Potter movies, Catch Me If You Can, the Star Wars movies, A.I. Artificial Intelligence, Angelas Ashes, Saving Private Ryan, Amistad, Schindler's List, Jurassic Park, Born on the Fourth ofJuly, the Indiana Jones films, E.T. (the Extra-Terrestrial), Superman, Close Encounters ofthe Third Kind, Jaws, and Goodbye, Mr. Chips. His most recent film scores are Harry Potter and the Prisoner of Azkaban and Steven Spielberg's The Terminal. He has received 42 Academy Award nomina- tions, and has been awarded five Oscars, three British Academy Awards, eighteen Grammys, four Emmys, and three Golden Globes, as well as several gold and platinum records. Mr. Williams served as Grand Marshal of the 2004 Tournament of Roses parade. Upcoming projects include Star Wars: Episode III. This summer at Tanglewood he has led the Boston Symphony Orchestra, the Boston Pops Orchestra, and the Tanglewood Music Center Or- chestra, participating in the Seiji Ozawa Hall 10th Anniversary Celebration Gala and Tan- glewood on Parade, as well as performances earlier this week of his own arrangement of My Fair Lady for vocalists and jazz ensemble.

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24 In addition to his film music, Mr. Williams has written many concert pieces, including two symphonies, and concertos for bassoon, cello, flute, violin, clarinet, tuba, and trumpet. His Soundings was commissioned by the Los Angeles Philharmonic for the opening of Disney Hall in October 2003, and his Horn Concerto was premiered in November 2003 by the Chicago Symphony and its principal horn Dale Clevenger. He composed Call ofthe Champions for the 2002 Olympic Games in Salt Lake City; the NBC News theme "The Mission"; "Liberty Fanfare," for the rededication of the Statue of Liberty; "We're Lookin' Good!," for the Special Olympics in celebration of the 1987 International Summer Games; the themes for the 1984, 1988, and 1996 Summer Olympic games, 2ndfor Seijif, honoring Seiji Ozawa's 25th anniversary as BSO music director. Many of Mr. Williams's film scores have been released as recordings; the soundtrack album to Star Wars has sold more than four million copies. He has also led a highly acclaimed series of albums with the Boston Pops Or- chestra on Philips and Sony Classical. Mr. Williams has led the Boston Pops Orchestra and the Boston Pops Esplanade Orchestra on tour. He has conducted the Boston Symphony Or- chestra both at Symphony Hall and at Tanglewood and has appeared as guest conductor with many orchestras. With the BSO and violinist Gil Shaham, Mr. Williams has recorded his Violin Concerto, TreeSong, and Three Pieces from Schindlers List on Deutsche Grammophon.

Monica Mancini The daughter of famed film composer Henry Mancini and the notable studio singer Ginny O'Conner Mancini, Monica Mancini has carved out an impressive career of her own as a concert performer, appearing with major symphony orchestras worldwide, including the Chicago Symphony, Dallas Symphony, Seattle Symphony, and London Metropolitan Orches-

tra. She began singing early on as a member of the Henry Mancini Chorus, which led to a career in the Los Angeles studios, where she has been heard on countless film scores and recordings with such notable artists as Placido Domingo, Quincy Jones, and Michael Jackson. Her debut CD, simply tided Monica Mancini, paid tribute to her father's musical legacy and was the companion to her PBS television special, Monica Mancini: On Record. For her current Concord Records CD, Cinema Paradiso, she recorded a collection of theme songs from both new and classic movies. Ms. Mancini keeps a busy touring schedule. Recent appearances include New York's Lincoln Center and Carnegie Hall, the Hollywood Bowl, and Orange County Performing Arts.

Ron Raines Ron Raines joined the cast of the popular CBS-TV daytime series "Guid- ing Light" in July 1994. He was nominated for Emmy awards in 2003 and 2004 and has been nominated three times for the Soap Opera Digest Award

jfc as "Outstanding Villain." Mr. Raines most recently starred on Broadway as Billy Flynn in Chicago. He was Gaylord Ravenal in the 1983 Broadway revival ofJerome Kern's Showboat. Other productions have included Teddy and Alice, Olympus on my Mind, One Touch of Venus with Susan Lucci, A Little Night Music, and, most recently, "Carnegie Hall's Tribute to Lerner and Loewe." He has sung at New York City Opera as Danilo in The Merry Widow and in Offenbach's The Duchess of Gerolstein, and has played leading roles in virtually every major American musical and operetta, including South Pacific, Annie, Kismet, Sayonara, Kiss Me

Kate, The King and I, Naughty Marietta, Brigadoon, Rose Marie, Oklahoma!, Carousel, Side by Side by Sondheim, Follies, and Man ofLa Mancha at the country's leading regional theaters and opera companies. As a concert performer, Mr. Raines has appeared as soloist with symphony orchestras throughout the country. He has sung for two of Americas first ladies,

Nancy Reagan and Ladybird Johnson. Mr. Raines is currently completing his second solo album, having previously released Ron Raines: Broadway Passion (TER Records). Other TER recordings include Leading Men Don t Dance and a collection of classic musicals. Upcoming releases include One Touch of Venus, Guys and Dolls highlights, and Seven Bridesfor Seven

25 Brothers. He has also recorded on the Varese-Sarabande label. Mr. Raines has appeared in three of PBS's "Great Performances" broadcasts, including "A Tribute to Richard Rodgers" with Keith Lockhart and the Boston Pops Orchestra. Born in Texas City, Texas, and raised mainly in Nacogdoches, Texas, Ron Raines received his degree in music from Oklahoma City University and joined the graduate program of the American Opera Center at the

Juilliard School. His mentor was baritone John Reardon. Mr. Raines is married to director Dona D. Vaughn, with whom he has often worked. They live on New York's Upper West Side with their daughter Charlotte Vaughn Raines.

The Boston University Tanglewood Institute

Andre de Quadros, Artistic Director Phyllis Hoffman, Executive Director Chung-Un Seo, Administrative Director Adrian Rhodes, Assistant Administrative Director

In 1966, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO's Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with an unprecedented opportunity for access to the Tanglewood Music Festival. Since then, the students of the Boston University Tanglewood Institute have participated in the unique environment ofTanglewood, sharing rehearsal and performance spaces, and attending a selection of BSO master classes, rehearsals, and activities. Students also enjoy unlimited access to all performances of the Boston Symphony Orchestra and the Tanglewood Music Center. Offering aspiring young artists an unparalleled, inspiring, and transforming musical experience, this interaction with the Boston Symphony Orchestra and the Tanglewood Music Center makes the Boston University Tanglewood Institute unique among summer music programs. BUTI alumni are prominent in the world of music as performers, composers, conductors, educators, and administrators. Now in its 39th season, the Institute includes Young Artists Programs for students ages 15 to 18 (Instrumental, Vocal, Piano, Harp, and Compo- sition), Institute Workshops (Clarinet, Flute, Oboe, Double Bass, Percussion, Horn, Trum- pet, Trombone, and String Quartet), and Adult Music Seminars. Many of the Institute's students receive financial assistance from funds contributed by individuals, foundations, and cor- porations to the Boston University Tanglewood Institute Scholarship Fund. If you would like further information about the Boston University Tanglewood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood Grounds, or call (413) 637- 1430 or (617) 353-3386.

^3i Tanglewood BOSTON fO)^l THE BSO ONLINE

Boston Symphony and Boston Pops fans with access to the Internet can visit the orchestra's official home page (http://www.bso.org). The BSO web site not only provides up-to-the-

minute information about all of the orchestra's activities, but also allows you to buy tickets to BSO and Pops concerts online. In addition to program listings and ticket prices, the web site offers a wide range of information on other BSO activities, biographies of BSO musi-

cians and guest artists, current press releases, historical facts and figures, helpful telephone

numbers, and information on auditions and job openings. Since the BSO web site is updated on a regular basis, we invite you to check in frequently.

26 Boston University Tanglewood Institute Young Artists Chorus Ann Howard Jones, conductor Ryan Murphy, assistant conductor and pianist Katie Woolf, choral assistant

Soprano Julia Marquis, Appleton, WI Abdul Barr Khaliq, Bronx, NY Tanisha Austin, Bronx, NY Margaret McGrath, North James McNamara, Bedford, MA Megan Barrera, Miami, FL Chelmsford, MA Ryan Murphy* Meagan Campbell, Plaistow, NH Leslie Moclock, Fogelsville, PA Jordan Ogron, Laguna Beach, CA Sara Casey, Wilkes Barre, PA Beth Morrison* Zachary Peterson, New York, Kimberly Cauthen, Lapine, AL Christina Murdock, NY Melanie Emig, Chambersburg, San Francisco, CA Andrew St. Louis, Palm Desert, PA Carrie Reid-Knox, Shrewsbury, CA Lucy Fitz-Gibbon, Davis, CA MA Nakul Tasker, Weston, MA Samantha Geraci-Yee, Freeport, Annie Rosen, New Haven, CT NY Emily Sanchez, Easton, CT Baritone Lauren Goodhue, North Victoria Schussler, New York, Douglas Balkin, Geneseo, NY Hampton, NH NY Andrew Bennett, Germantown, Alexa Holland, Huntington Tai-Kristin Smedley, MD Beach, CA Montgomery, AL Jonathan Carlson, Weston, MA Catherine Hancock, Adanta, GA Carolyn Sproule, Interlochen, Joseph Carucci, Port Lauren Haymore, Covington, GA MI Washington, NY Meredith Lustig, Nashua, NH Marjorie Taylor, Novato, CA Akira Fukui, Pine Bluff, AR Sheena Majdan, New Hope, PA Mary Thomas, Auburn, AL Robert Henderson, Nassau, Kara McCabe, Park Ridge, NJ Leigh Tomlinson, Maidand, FL Bahamas Jennifer McCann, Vernon, CT Anne Turley, Duxbury, MA Jawan Jenkins, Houston, TX Amanda Meier, Omaha, NE Maria Vail, La Canada Gannon Love, Montgomery, AL Gina Marie Morgano, Flintridge, CA Zachary Luchette, Grove City, Pittsburgh, PA Allison Seiko Valenta, PA Lauren Nieuwland, Indianhead Park, IL Jamon Maple, Beaumont, TX Bernardsville, NJ Madelyn Wanner, New Holland, Christian Milde, Wellesley, MA Rachel Parker, Monroe, GA PA Sandro Negron, Gorham, ME Elizabeth Picker, Albany, NY Daniel Nickerson, Methuen, Jessica Punchatz, Morrisville, PA Tenor MA Kelly Shoemaker, Springville, Antoine Dolberry, East Wesley Pinchback, Pike Road, CA Elmhurst, NY AL Mary Kate vom Lehn, Scotia, NY Patrick Gagnon* Brian Rosenblum, Roslyn, NY Jessica Warren, Bangor, ME Chad Grossman, New Hope, PA Andrew Christopher Sparks, Katie Woolf* Andrew Gustely, Akron, OH Palm Beach Gardens, FL Paa1 Hansen, Wareham, MA Rasdia Wilmot, New York, NY Mezzo-soprano Sherod Hill, Bronx, NY Mijon Zulu, Suffern, NY Rebecca Carden, Huntington, Sean Jacobsen, Dedham, MA NY Derrence Kellman, New York, Liana Guberman, Hillsborough, NY NJ Andrew Keltz, New Rochelle, *YAVP faculty Anna Lawrence, Arlington, MA NY

YAVP Faculty and Staff Voice Faculty Phyllis Hoffman, director Gary Durham, Patrick Gagnon, Angela Gooch, Ann Howard Jones, conductor Kendall Lima, Elizabeth Morrison, Chung-Un Seo, Penelope Bitzas, Brent Wilson, and Katie Woolf artist-in-residence Coaches Mark Goodrich, David Richardson, and Laura Ziegler artist-in-residence Jodi Goble, Ryan Murphy, assistant conductor Kylie Sullivan, coordinator

27 CELEBRATING TANGLEWOOD b THE BOSTON SYMPHONY ORCHESTRA

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ROBERT SPANO conducting

. ". RANDS . . body and shadow. . (celebrating the composer's 70th birthday year; part of the 2004 Festival of Contemporary Music at Tanglewood)

II. Legatissimo: tranquillo e misterioso

MACDOWELL Piano Concerto No. 2 in D minor, Opus 23 Larghetto calmato Presto giocoso Largo—Molto allegro ANDRE WATTS

INTERMISSION

Program continues.

29 Week 6 ill i win 'i mum ii—in Himyi

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TCHAIKOVSKY The Nutcracker, Opus 71: Act II Scene: The Kingdom of Sweets Scene: Clara and the Prince Divertissement Chocolate (Spanish Dance) Coffee (Arabian Dance) Tea (Chinese Dance) 49K Trepak ufl Dance of the Reed Flutes The Old Woman Who Lived in a Shoe and her Children Waltz of the Flowers Pas de deux Dance of the Prince and the Sugar-Plum Fairy

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Bernard Rands (b.1934)

. ". . . body and shadow. .

First performances: February 23, 24, and 25, 1989, Boston Symphony Orchestra, Seiji Ozawa cond. (world premiere; commissioned by the Boston Symphony Orchestra and Boston University to commemorate the 150th anniversary of Boston University). Todays performance is thefirst BSO performance since then.

Berkshire County resident Bernard Rands is established as a major figure in contemporary music. His work Canti del Sole, premiered by Paul Sperry, Zubin Mehta, and the New York Philharmonic, won the 1984 Pulitzer Prize in Music. His large orchestral suites, Le Tambourin, won the 1986 Kennedy Center Freidheim Award. His music has been programmed by many of the world's leading conductors, including Barenboim, Boulez, Berio, Maderna, Marriner, Mehta, Muti, Ozawa, Rilling, Salonen, Sawallisch, Schiff, Schuller, Schwarz, Silverstein, Sinopoli, Slatkin, Dohnanyi, and Zinman, among others. Bernard Rands was composer-in-residence with the Philadelphia Orchestra for

seven years, from 1989 to 1995. The first three years were supported by the Meet the Composer Residency Program, with the final four being funded by the Philadelphia

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Orchestra. He wrote several major works for that orchestra during his residency there. Rands's works are widely performed and recorded. A recording by Chanticleer of his Canti d'Amor won a Grammy Award in 2000. Born in England in 1934, Rands emigrated to the United States in 1975 and became a citizen in 1983. He has been honored by the American Academy and Institute of Arts and Letters; BMI; the Guggenheim Foundation; the National Endowment for the Arts; Meet the Composer, and the Barlow, Fromm, and Koussevitzky foundations, among many others. Recent orchestral commissions have come from the Suntory Concert Hall in Tokyo, the New York Philhar- monic, Carnegie Hall, the Cincinnati Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, National Symphony Orchestra, Internationale Bachakademie Stuttgart, the East- man Wind Ensemble, and the Chicago Symphony Orchestra.

He has also written many chamber works to fulfill commissions from major ensembles and festivals around the world. The BSO commissioned Rands's Cello Concerto for concerts celebrating Mstislav Ros- tropovich's 70th birthday; Rostropovich was soloist with the BSO and Seiji Ozawa in the work's first performances in April 1997. Rands's chamber opera Belladonna was commissioned by the Aspen Festival for its fiftieth anniversary in 1999. This past May, Daniel Barenboim conducted the Chicago Symphony Orchestra and Chorus in the premiere of Rands's latest large-scale work, apdkryphos for soprano, chorus, and orchestra, a Chicago Symphony commission. A dedicated and passionate teacher, Rands has been a guest composer at many international festivals and composer-in-residence at the Aspen and Tanglewood festivals.

Since 1988 he has taught at Harvard University, where he is the Walter Bigelow Rosen Professor of Music.

". " . . body and shadow. . was a joint commission from the Boston Symphony Orches- tra with Boston University to celebrate that institution's 150th anniversary. It was premiered by the BSO under Seiji Ozawa in February 1989. The title comes from an early poem by Samuel Beckett, whose work has long been a major influence for Rands. At the time of the work's premiere (when he was living in Boston), the composer said of the piece:

So this particular piece, though it's in two movements of roughly ten minutes each, is

a sort of concerto for orchestra. And it's a concerto for this orchestra [i.e., the BSO],

because this is my hometown orchestra for the last four years, and, unlike many com-

posers, I go regularly to orchestra concerts to hear all kinds of repertoire, because I

love it and it's very special And so, there are very personal things about this piece that belong to specific faces.

Bernard Rands is a visiting faculty member at the Tanglewood Music Center this summer. Two of his works are being performed this weekend as part of the TMC's Festival of Contemporary Music: the Second String Quartet was played on Friday,

. ". This performance of Bernard Rands's . . body and shadow. . " is part of the 2004 Festival of Contemporary Music at Tanglewood, sponsored by the Tanglewood Music Center and continuing through August 16. The Festival of Contemporary

Music is made possible by the generous support of Dr. Raymond and Hannah H. Schneider, with additional support through grants from The Aaron Copland Fund for Music, The Fromm Music Foundation, and The Helen F. Whitaker Fund.

33 Week 6 . —

August 13; and the chamber version of Canti Lunatici for soprano and ensemble is being performed tonight in Seiji Ozawa Hall at 8:30. Today's Boston Symphony per-

". formance of ..body and shadow . . "is the BSO's contribution to the 2004 Festival of

Contemporary Music, and is performed in celebration of Bernard Rand's 70th birthday year. —Robert Kirzinger

Edward MacDowell (1860-1908) Piano Concerto No. 2 in D minor, Opus 23

First performance: March 5, 1889, Chickering Hall, New York, Theodore Thomas's Orchestra, Edward MacDowell, piano. First BSO performance: April 1889, Wilhelm Gericke cond., Edward MacDowell, piano. Only previous Tanglewood performances: July 4, 1976, Seiji Ozawa cond., Andre Watts, piano; August 10, 1996, Dennis Russell Davies cond., Andre Watts, piano.

There were American composers of concert music before the twentieth century, and gradually they have been making their way back into the repertory and on to recordings in recent decades. Names like Paine, Chadwick, Foote, Beach, and Loeffler, which were almost entirely forgotten by the mid-20th century, have started coming back into our ken. The one composer of this group (most of whom either came from Boston, or studied there, or lived their adult lives there) who was for a time the most

famous of all, and called flatly the "greatest American com-

poser," was Edward MacDowell. This is, to a certain degree, ironic, because MacDowell's music, though warmly imagina-

tive and brilliant, bore virtually no traits of Americanism.

That is hardly surprising, since he completed virtually all of his studies in Europe and lived there until 1888, by which time he had already composed his major works for orchestra. (After returning to the United States, he wrote mostly songs and piano pieces.) MacDowell had piano lessons with the colorful Teresa Carreno, a beautiful Vene- zuelan opera singer (for a time) and brilliant pianist who was as renowned for her mar- riages and divorces as for her music-making. Eventually MacDowell went to Germany, where he gradually realized that his calling was to composition rather than piano virtuosity. His teacher was Joachim Raff, the longtime assistant and friend of Franz Liszt, so

it can hardly be a surprise that his music is filled with Lisztian thematic transforma-

tions, and that his piano concertos are major virtuosic statements. Indeed, it was through Liszt that MacDowell was able to get a performance of his First Piano Concerto in

1882, soon after he had completed it. But almost at once after that, Raff died, thus depriving MacDowell of a warmly supportive influence. (Raff had even predicted correctly, as it turns out—that MacDowell's music would continue to be performed after his own was forgotten.) For several years MacDowell remained in Germany, though he received a string of visitors from America who reported to him the growing music life

in the United States (including an event of signal importance to them all, the founding of the Boston Symphony Orchestra, which had taken place in 1881). Without the Raff- Liszt connection, MacDowell could not get his Second Piano Concerto performed (most

concert venues regarded it as too "Lisztian" and thus dangerous), so he finally decided to return to the United States. He settled in Boston for eight years, but it was in New York that he performed the concerto, which has remained his best-known large-scale composition.

34 — —

MacDowell's later years were a mixture of triumph and tragedy. He was highly regarded as the finest composer America had produced, but was known increasingly for the little piano pieces of his later years (such as "To a Water Lily"). But he was named the first professor of music at Columbia University, which motivated a move to New York City. There, within a few years, he fell victim to mental illness, and ended his days in institutional care. But he remained a well-known composer, and when the United States government issued the very first stamps ever to bear the images of composers in the 1920s—MacDowell was the only classical composer included in the group, along with Stephen Foster, Victor Herbert, and a few others.

His Piano Concerto No. 2 is a grand Lisztian showpiece, though constructed in an unusual way, with relatively slow movements at beginning and end, and a fleet scherzo in the middle. The slow introduction of the concerto contains a lilting tune that will be turned into the second theme of the main part of the movement. A dramatic cadenza opens that main part, which becomes a powerful competition between piano and or-

chestra, though the movement ends tranquilly. The middle movement is a highly

ingratiating scherzo. The finale recalls themes from the first movement at its outset, but

soon embarks on its course with new material, and this is put through its paces in many guises before MacDowell brings out his most brilliant treatment of the piano for the conclusion. —Steven Ledbetter

Pyotr Ilyich Tchaikovsky (1840-1893)

The Nutcracker', Opus 71: Act II

First performance ofthe ballet. December 18, 1892, Mariinsky Theater, St. Petersburg. First BSO performance of musicfrom the ballet (Nutcracker Suite): December 1908, Max Fiedler cond. First BSO performance at Tanglewood of musicfrom the ballet (Nutcracker Suite): July 7, 1979, Eugene Ormandy cond. Most recent BSO performance at Tanglewood of musicfrom the ballet (Act II, complete): August 15, 1986, Carl St. Clair cond. (replacing

Gennady Rozhdestvensky, who was ill).

Tchaikovsky's works are among the imperishable classics of the ballet repertory. His

music is loved in the theater by balletomanes and in the concert hall by people who have never been to a ballet in their lives. In his own lifetime, though, Tchaikovsky's success as a ballet composer was distinctly limited, though this did not dissuade him from trying again. At the time Tchaikovsky began writing for the dance, the term "ballet music" was often used in a pejorative sense, since most composers of ballet music officially connected to ballet companies were virtually required to be musical non- entities, churning out yards of tinkly, rhythmic, square, undis- tinguished stuff for the dancing masters to decorate with movement. Composers who attempted to do something more substantial in their ballet scores—like Delibes in Sylvia—were criticized for being "too symphonic."

Tchaikovsky loved the ballet music of Delibes and found it a strong encouragement to his own ballets, in which he created a full-scale dance-drama combining solos, ensembles, dramatic (danced) narrative, and set pieces such as characteristic dances, all in a cohesive structure. As a result, every one of his major ballets Swan Lake (1875-76), Sleeping Beauty (1888-89), and The Nutcracker (1891-92)—was either an outright failure or, at best, a limited success in its first production. Today, these have long since become

35 Week 6 the core of the ballet repertory, though Tchaikovsky himself did not live to see even the beginnings of their worldwide success. Tchaikovsky composed Shchelkunchik (The Nutcracker) between February 1891 and

April 4, 1892, to a scenario by Marius Petipa after Alexandre Dumas's version of E.T.A. Hoffmann's story "The Nutcracker and the Mouse King." The composer himself regarded The Nutcracker as less significant than his two earlier ballets, largely because the scenario that was foisted on him lacked the kind of consistent dramatic story line he preferred. The basic plot came from E.T.A. Hoffmann, whose sometimes macabre tales could be expected to provide exactly the proper grist for Tchaikovsky's mill. But in the scenario proposed by the choreographer Petipa, the plot was drastically simplified, con- fining the real story (with its "symphonic" music) to Act I. Act II is anti-climactic from the theatrical point of view, though it is just the opposite in a concert performance, where the attention is on the music alone.

The first act, set in a German home on Christmas Eve, is a charming fantasy of a Christmas present—a toy nutcracker—that comes to life and leads the other toys in battle against the Mouse King and his army. When Clara, the girl to whom the Nut- cracker has been given, saves the Nutcracker's life in the climactic battle by throwing her slipper at the Mouse King and killing him, the grotesque Nutcracker turns into a handsome prince and takes Clara on a journey to his magical kingdom, "Confituren- bourg," or, as we might call it in this country, the Big Rock Candy Mountain. The entire second act is devoted to divertissements, dances introducing the inhabitants of this land. There is no more plot (though some modern productions attempt to create further story lines); everyone can simply sit back and enjoy the dancing and the music. How- ever upsetting this may be to someone interested in drama, it is a sheer delight musically, for Tchaikovsky's gift in the composition of colorful characteristic dances for such

36 scenes remains unsurpassed. Indeed, it is precisely these dances that quickly became the most popular part of the score in the form of a concert suite that had its first performance even before the ballet from which it is drawn.

Though Petipa had created the scenario and planned to choreograph the ballet, he became ill (he was then in his seventies) and had to withdraw; the task fell to his assistant, Lev Ivanov, who had already distinguished himself in the two lakeside scenes (Acts II and IV) of Swan Lake. The mounting was lavish in the extreme both for The Nut- cracker and the short opera Yolanta that was premiered at the head of the evening's program. Tchaikovsky wrote to his brother Anatoly, "The staging of both [opera and ballet] was splendid, but that of the ballet even too splendid—one's eyes grew tired of this lux- uriance." The critics were divided. The St. Petersburg Gazette declared, "A more tedious work was never seen." But the St. Petersburg News-Sheet proclaimed, "Concerning the music. . .it is hard to say which number is best, for everything from beginning to end is beautiful, melodious, original, and individual."

Today's performance comprises all of Act II, which is to say most of the music familiar as the 'Nutcracker Suite" (minus the overture) as well as the numbers that are normally heard only in the theater. The curtain rises to show the palace of The King- dom of Sweets (No. 10, Scene, Andante). A lulling 6/8 theme decorated by swirling harps and later by flute and clarinet scales hints at the elegance of the palace. Soon the Sugar-Plum Fairy appears to welcome the travelers to the delights of her kingdom. Tchaikovsky, while on a visit to Paris, had heard a recently invented keyboard instrument called the "celesta" (for its "heavenly" sound); he knew that it was exactly what he wanted to characterize the delicate other-worldliness of the fairy, and he had an instrument secretly shipped to him in Russia, so that he might be the first composer to use the new effect. The audience was surely enchanted when the Sugar-Plum Fairy appeared with her suite, accompanied by the shimmering sound of celesta, two harps, and the upper strings in harmonics. This music is unthinkable today without the sound of the celesta, but when Tchaikovsky published the score, he allowed the optional substitu- tion of piano, since the newly developed instrument might not be available in some theaters, and he added the admonition, "The artist who performs this part must be a good pianist." No. 11 (Scene, Andante con moto) depicts the reception of the travelers. Clara and the Prince appear, to be welcomed by the Fairy, who is the prince's sister. Celesta and harp combine with fluttertongued flutes (another new technique; Tchaikovsky added a

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37 footnote to the score to explain how the flutists were to produce the effect) and a sinu- ous clarinet. In a faster tempo (Moderato), twelve pages lead Clara and the Prince forward to tell their tale. In an Allegro agitato (developed from themes first heard in Act

I), the Prince mimes the story of his fight with the Mouse King and reveals how Clara saved his life. In stately grandeur the court hails Clara for her bravery (full orchestra). At a sign from the Fairy (oboes and clarinets, then horns and trombones added) a fes- tive table is prepared, and the guests are entertained with a divertissement.

No. 12, the Divertissement, is built up of a series of short and very diverse characteristic dances representing particular goodies from the Kingdom of Sweets or episodes from familiar fairy tales. Petipa's scenario not only described the character of each dance, but also its length and meter. Tchaikovsky followed his prescriptions quite closely, finding the discipline a stimulation to his powers of invention, which he feared were on the wane. First comes No. 12a, "Chocolate," a Spanish dance featuring a difficult trumpet solo and the sound of castanets. For No. 12b, "Coffee," an Arabian dance, Tchaikovsky bor- rowed a Georgian folk lullaby from a collection of Ippolitov-Ivanov and arranged it in a brilliantly simple but evocative way with a drone ostinato in violas and cellos and just a hint of tambourine. "Tea" is represented by a Chinese dance (No. 12c) with brilliantly skirling flute and piccolo over staccato bassoons and plucked strings. It is cut short suddenly, making way for the vigorous Russian dance, "Trepak" (No. 12d), based on a traditional Russian melodic formula (the same figure appears in the finale of his Violin Con- certo) that grows in energy and drive to its Prestissimo conclusion. The "Dance of the

Mirlitons" (reed pipes) is gently pastoral rather than the "Tempo di polacca" that Petipa requested; the emphasis on woodwinds (especially flutes) in the outer sections is bal- anced by the brass interlude in the middle. "The Old Woman Who Lived in a Shoe and her Children" (No. 12f ) is derived from a traditional French fairy tale, and Tchai-

22 Walker Street in Lenox, MA 413«637*9875

38 —

kovsky quotes old French tunes probably learned from his much-loved French governess and found in a collection of French children's songs in the composer's library. The tune

heard at the outset (oboes, clarinets, and bassoons) is "Que fas de bellesjilles, Girofle, giro- flaF A contrasting 6/8 tune is "Cadet Rousselle." This is followed by a return to "Que fas

de bellesJilles" worked up in a faster tempo to bring the Divertissement to an end.

The next number, the Waltz of the Flowers (No. 13), is among the greatest of all symphonic waltzes, and a thorough contradiction to Tchaikovsky's fears of failing in- ventive powers. Its evocative opening presents a hint of melody taken up by the horns

as the first tune of the waltz proper. And what a magical touch the diminished-seventh

harmony on the fourth note of the tune is, coming unexpectedly after a straightforward

melodic arpeggio of the D major triad; it passes in an instant but lingers in the memory with special poignancy. An answering melody is divided between strings on the one hand and flutes and clarinets on the other. Still more tunes follow, varying in range, instrumentation, and phrasing, so that the waltz seems to build and build with its char-

acteristic "lift" to the final coda.

Balletomanes expect a. pas de deux between the principal male and female dancer. From the plot of The Nutcracker, we would expect such a dance to take place between Clara

- rr

Tanglewood

You are invited to take

SMITH COLLEGE Guided Tours of MUSEUM OF ART Tanglewood Sponsored by the Tanglewood Association of the Boston Symphony Association of Volunteers

American and Western Free to the public European masterworks. Wednesday at 10:30 a.m. and Saturday at 1:30 p.m. Contemporary gems and Free to Sunday ticket-holders: art from diverse cultures. Sunday at 12:30 p.m. cc D continue through The Cunningham Center for Tours O Sunday, August the Study of Prints, Drawings 29.

and Photographs. All tours last one hour, beginning and ending at the Tanglewood Visitor Center. Please arrive at the Artist designed restrooms. a. Visitor Center five minutes before Museum Shop and Cafe. starting time of each tour. D the Group tours may be scheduled at Hours, exhibitions and other times by calling the Tanglewood

admission: 413.585.2760 or Volunteer Office at (413) 637-5393. www.smith.edu/artmuseum A contribution of $6 per person is requestedfor scheduled group tours.

39 ——

and the Prince. But the original Clara was only twelve years old and scarcely ready for such a demanding dance, so the duet (No. 14, Pas de deux) took place instead between the Sugar-Plum Fairy and the Prince. Soon after the original production, though, when the part of Clara began to be taken by more mature dancers, the opening section was

given to her. It is built on a descending- scale melody in the cello that builds to a sur-

prisingly passionate climax. Variation I is a vigorous tarantella for the male dancer.

Variation II is for the female dancer, who must be the Sugar-Plum Fairy regardless of

whether Clara dances the beginning of this number: it is this movement that more than

any other established the celesta as an instrument in the orchestra and still represents its most familiar use. The delicacy of the celesta's sound perfectly matches the sweetness of this personification of the Kingdom of Sweets. The pas de deux closes with a lively coda. The entire Court joins in a final tribute to Clara, No. 15 (Final Waltz and Apotheo-

sis) which, though not so brilliant as the "Waltz of the Flowers," efficiently and expertly recycles themes from the opening of the act in newly rich scoring. —Steven Ledbetter

GUEST ARTISTS Robert Spano Music Director of the Atlanta Symphony Orchestra and the Brooklyn

Philharmonic, Robert Spano is director of Tanglewood's Festival of Contemporary Music this summer, a post he also held in summer 2003. His recent achievements include two 2003 Grammy awards ("Best Clas- sical Album" and "Best Choral Album") for his recording with the Atlanta Symphony Orchestra and Chorus of Vaughan Williams's A Sea Symphony on the Telarc label. The Atlanta Symphony Orchestra's 2003-04 season Mr. Spano's third as its music director—opened with a gala featuring violinist Pinchas Zukerman, and also included an all-American program featuring John Corigli- ano's Violin Concerto with Joshua Bell; the Berlioz Requiem; Latin music including the At- lanta Symphony's premiere of Piazzolla's Concerto for Bandoneon and Guitar and Golijov's Three Songs with soprano Dawn Upshaw; and Messiaen's Turangalila-symphonie with pianist Jean-Yves Thibaudet. In May, Mr. Spano and the Adanta Symphony Orchestra and Chorus gave performances of Vaughan Williams's A Sea Symphony at Carnegie Hall, the orchestra's first appearance in New York since Mr. Spano's appointment as music director. The 2003-04 season—Mr. Spano's eighth and final year as music director of the Brooklyn Philharmonic marked that orchestra's 50th anniversary. Mr. Spano helped celebrate this landmark by conducting an interactive semi-staged performance ofJohn Adams's The Death ofKlinghoffer. Also this season he conducted the world premiere of the orchestral version of Corigliano's Mr. Tambourine Man with the Minnesota Orchestra and led Golijov's Last Round with, the Boston Symphony Orchestra, as well as returning to the Los Angeles Philharmonic, the St. Paul Chamber Orchestra, and the New World Symphony. In Europe, Mr. Spano appeared with the Oslo Philharmonic, the Royal Liverpool Philharmonic, and the Stockholm Phil-

harmonic. Mr. Spano's first recording with the Adanta Symphony for Telarc was Rimsky- Korsakov's Scheherazade, followed by the Grammy-winning A Sea Symphony. Also on Telarc are a collection of works by contemporary American composers entided "Rainbow Body" and an all-Jennifer Higdon disc released in spring 2004. A Telarc recording of Berlioz Requiem

will be released this fall. Born in Conneaut, Ohio, and raised in Elkhart, Indiana, Robert

Spano is a graduate of the Oberlin Conservatory of Music, where he studied conducting with Robert Baustian, and the Curtis Institute of Music, where he studied with the late Max Rudolf. He has been featured on CBS's Late Night with David Letterman and CBS Sunday Morning, A&E's Breakfast with the Arts, and PBS's City Arts. He lives in Adanta. Robert Spano made his BSO debut at Symphony Hall in February 1991, at which time he was a

40 MR BSO assistant conductor to Seiji Ozawa. His most recent appearances with the BSO were for a subscription-season program of music by Osvaldo Golijov, Oliver Knussen, and Rach- maninoff in March 2004.

Andre Watts MB Andre Watts burst upon the music world at sixteen, when he made his B| debut with Leonard Bernstein and the New York Philharmonic in their uSBp Young People's Concerts, broadcast nationwide on CBS-TV. Two weeks Sufi I later, Bernstein asked him to substitute at the last minute for Glenn L Gould in Liszt's E-flat piano concerto with the Philharmonic. Mr. Watts makes regular visits to major festivals including Ravinia, Tanglewood, ^^ Saratoga, the Mann Music Center, Mostly Mozart, and the Hollywood

3^fl I Bowl. Other recent engagements include appearances with ', the Los An- ! geles Philharmonic, the Minnesota Orchestra, and the Chicago, Pittsburgh, National, St. Louis, Atlanta, Cincinnati, and Seattle symphonies; a tour with the Israel Philharmonic;

. recitals at Lincoln Center and the Kennedy Center; a Carnegie Hall appearance with the Orpheus Chamber Orchestra; a European tour with the Baltimore Symphony, and an appearance at the Proms in London. During the 2004-05 season, Mr. Watts returns to the Philadelphia Orchestra and the symphony orchestras of Houston, Dallas, Indianapolis, and Colorado as well as to Saratoga, and performs recitals in Los Angeles, San Francisco, Phila- delphia, Adanta, the New Jersey Performing Arts Center, and at New York's Metropolitan Museum of Art. Mr. Watts has appeared on numerous television programs; his 1976 New fa York recital on "Live From Lincoln Center" was the first full-length recital broadcast in the rJsfBE history of television. His performance at the 38th Casals Festival was nominated for an Emmy Award. His most recent television appearances were with the Philadelphia Orchestra for the orchestra's 100th Anniversary Gala and with the Chamber Music Society of Lincoln 4Q Center. Mr. Watts's latest recording features both Liszt piano concertos and MacDowell's mHi •"tec* Concerto No. 2 with the Dallas Symphony on the Telarc label. This followed his acclaimed debut recording for Telarc, Tchaikovsky's Concerto No. 1 and Saint- Saens' Concerto No. 2 with the Atlanta Symphony. Solo recordings include The Chopin Recital and The Schubert le Recital, both on Angel/EMI. He is also included in the "Great Pianists of the 20th Century" series on Philips. Andre Watts has played before royalty in Europe and before heads of government in nations all over the world. He won the Avery Fisher Prize in 1988, and was the 1W youngest person, at age twenty-six, ever to receive an honorary doctorate from Yale Univer- sity. He has since received numerous such honors. The Peabody Conservatory ofJohns Hop- kins University has honored him with its Distinguished Alumni Award and an honorary doctorate. Previously an artist-in-residence at the University of Maryland, it was announced in May 2004 that he will fill the newly created Jack I. and Dora B. Hamlin Endowed Chair in Music at Indiana University, where he begins in September 2004. Andre Watts made his BSO debut in January 1969 and his Tanglewood debut that July. He has returned frequently for appearances in Boston and at Tanglewood, most recently in July 2002 as soloist in Brahms's Piano Concerto No. 2.

41 THE KOUSSEVITZKY SOCIETY

The Koussevitzky Society recognizes gifts made since September 1, 2003, to the following funds: Tanglewood Annual Fund, Tanglewood Business Fund, Tanglewood Music Center Annual Fund, and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals, foundations, and businesses for their annual support of $2,500 or more during the 2003-2004 season. For further information, please contact the Friends Office at (413) 637-5261.

APPASSIONATO $100,000 and up

Anonymous (1) George and Roberta Berry

VIRTUOSO $50,000 to $99,999

Country Curtains Dr. Carol Reich and Mr. Joseph Reich

ENCORE $25,000 to $49,999

Linda J.L. Becker A Friend of the Tanglewood Mr. and Mrs. Edward H. Linde Gregory Bulger Music Center Mr. and Mrs. Abe Pollin Dorothy and Charles Jenkins Stephen and Dorothy Weber

MAESTRO $15,000 to $24,999

Anonymous (1) Mr. and Mrs. Michael L. Gordon Annette and Vincent O'Reilly Susan Baker and Michael Lynch James A. Macdonald Foundation Red Lion Inn

Canyon Ranch of the Berkshires Stephen B. Kay and Lisbeth Tarlow Mrs. Anson P. Stokes

Mr. and Mrs. Joseph L. Cohen Mrs. August R. Meyer Mr. and Mrs. Wilmer J. Thomas, Jr. Ginger and George Elvin Mrs. Evelyn Nef Loet and Edith Velmans Mr. and Mrs. Daniel Freed Mrs. K. Fred Netter

The Frelinghuysen Foundation Olivetti Foundation, Inc.

BENEFACTORS $10,000 to $14,999

Anonymous (1) Mr. John F. Cogan, Jr. and Mr. and Mrs. Robert I. Kleinberg

Banknorth Ms. Mary L. Cornille Mr. and Mrs. Robert J. Lepofsky Berkshire Bank The Fassino Foundation, Inc. Dr. Raymond and

Blantyre Nancy J. Fitzpatrick and Hannah H. Schneider Jan Brett and Joseph Hearne Lincoln Russell Evelyn and Ronald Shapiro Catherine and Paul Buttenwieser The Hon. Peter H.B. Frelinghuysen The Studley Press, Inc.

SPONSORS $5,000 to $9,999

Anonymous (3) Mr. and Mrs. William Cruger Mr. and Mrs. Francis W Hatch, Jr.

Mr. and Mrs. William F. Allen, Jr. Mr. and Mrs. Clive S. Cummis Mr. and Mrs. Ira Haupt II Robert Baum and Elana Carroll Ms. Marie V. Feder Ms. Rhoda Herrick The Berkshires Capital Investors Mr. and Mrs. Dale E. Fowler Mr. and Mrs. Stuart Hirshfield

Ann and Alan H. Bernstein Mr. Michael Fried Mr. and Mrs. Lawrence S. Horn Mr. and Mrs. Lee N. Blatt Mr. and Mrs. Belvin Friedson Dr. and Mrs. Allen Hyman Judy and Simeon Brinberg Mr. Louis R. Gary Inland Management Corporation Everett Ann Fitzpatrick Brown Mr. and Mrs. J. Arthur Goldberg Mr. and Mrs. Jassy

James and Tina Collias Roberta and Macey Goldman Mr. and Mrs. Stephen J. Jerome Ranny Cooper and David Smith Mr. and Mrs. Robert A. Goodman Mr. and Mrs. Michael P. Kahn Louis Kaitz Mr. and Mrs. Herbert J. Coyne John and Chara Haas Mr. and Mrs. Crane & Company, Inc. Dr. Lynne B. Harrison Mrs. Leonard S. Kandell

42 SPONSORS $5,000 to $9,999 (continued)

Natalie and Murray S. Katz May and Daniel Pierce Mr. Peter Spiegelman and Msgr. Leo A. Kelty Claudio and Penny Pincus Ms. Alice Wang

Mr. and Mrs. Michael Kittredge Mr. and Mrs. Millard H. Pryor, Jr. Margery and Lewis Steinberg Koppers Chocolate Lila and Gerald Rauch Marjorie and Sherwood Sumner

Mr. and Mrs. Rudolf M. Kroc The Charles L. Read Foundation Mr. and Mrs. George A. Suter, Jr. Liz and George Krupp Mr. and Mrs. Robert E. Remis Mr. Aso Tavitian Roger and Myrna Landay Barbara and Michael Rosenbaum Diana Osgood Tottenham Legacy Banks Mr. Joseph D. Roxe Ms. June Ugelow Mrs. Vincent Lesunaitis David and Sue Rudd Mrs. Cecille Wasserman

Buddy and Nannette Lewis Mr. and Mrs. Alan Sagner Mrs. Charles H. Watts II Mr. and Mrs. Edwin N. London Mr. and Mrs. Ira Sarinsky Karen and Jery Waxberg Jay and Shirley Marks Mr. and Mrs. Dan Schusterman Mrs. John Hazen White Mr. and Mrs. Thomas T. McCain Arlene and Donald Shapiro Mr. and Mrs. Ira Yohalem Cynthia and Randolph Nelson Hannah and Walter Shmerler

MEMBERS $2,500 to $4,999

Anonymous (8) Ms. Alice Datlof Mr. and Mrs. Richard Grausman Mrs. Janet Adams and Mr. and Dr. Trayton Davis Mr. Harold Grinspoon and Mr. James Oberschmidt Dr. and Mrs. Harold L. Deutsch Ms. Diane Troderman

Mr. and Mrs. Alan Ades Mr. and Mrs. Jeff Diamond Ms. Bobbie Hallig Drs. Paula Algranati and Channing and Ursula Dicker Joseph K. and Mary Jane Handler Barry Izenstein Chester and Joy Douglass Felda and Dena Hardymon Mr. and Mrs. Ronald Altman Dresser-Hull Company William Harris and Harlan and Lois Anderson Ms. Judith R. Drucker Jeananne Hauswald Arthur Appelstein and Terry and Mel Drucker Mr. Gardner C. Hendrie and

Lorraine Becker John and Alix Dunn Ms. Karen J. Johansen

Apple Tree Inn and Restaurant Mr. and Mrs. Leonard Edelson Mrs. Paul J. Henegan Gideon Argov and Alexandra Fuchs Mr. and Mrs. Monroe B. England Mr. and Mrs. Peter Herbst The Barrington Foundation, Inc. Eitan and Malka Evan Mr. & Mrs. Murray Hershman

Mr. John A. Barry, Jr. Roz and Bob Feldman Mr. and Mrs. Robert I. Hiller Ms. Lucille M. Batal Mr. and Mrs. John C. Fontaine Dr. and Mrs. Ronald Hinds

Helene and Ady Berger Mr. and Mrs. David Forer Mr. Arnold J. and Jerome and Henrietta Berko Mr. and Mrs. Herb Franklin Helen G. Hoffman

Berkshire Life Co. of America I. Robert and Aviva Freelander Mr. and Mrs. Charles Hoffman

Mr. and Mrs. Allen J. Bernstein Carolyn and Roger Friedlander Dr. Joan O. Hoffman and Ms. Joyce S. Bernstein and Myra and Raymond Friedman Mr. Syd Silverman Mr. Lawrence M. Rosenthal Ralph and Audrey Friedner Dr. and Mrs. Edwin H. Hopton Hildi and Walter Black Mr. and Mrs. Robert L. Gable Mrs. Ruth W. Houghton

Ann and Neal Blackmarr Jill and Harold Gaffin Housatonic Curtain Company R. Eleanor and Ed Bloom Mr. and Mrs. Arthur J. Gaines Mr. and Mrs. William Birgit and Charles Blyth Agostino Galluzzo and Susan Hoag Housholder Mr. and Mrs. Nicholas Boraski Mr. and Mrs. Gerald N. Gaston Stephen and Michele Jackman Mark G. and Linda Borden Dr. and Mrs. Paul H. Gendler Mr. and Mrs. Edwin A. Jaffe

Arlene and Dr. Stuart H. Brager Mr. and Mrs. Melvin Y. Gershman Mr. and Mrs. Werner Janssen, Jr. Jane and Jay Braus Dr. Donald and Phoebe Giddon Mr. and Mrs. Daniel R. Johnson Broadway Manufacturing Supply Mr. and Mrs. Stephen A. Gilbert Ms. Lauren Joy and Mr. and Mrs. Richard Brown Cora and Ted Ginsberg Ms. Elyse Etling Samuel B. and Deborah D. Bruskin David H. Glaser and Nedra Kalish

Cain, Hibbard, Myers & Cook Deborah F. Stone Adrienne and Alan Kane Phyllis H. Carey Sy and Jane Glaser Mr. and Mrs. Arnold Y. Kapiloff Mary Carswell Dr. Morton Gluck Leonard Kaplan and

Iris and Mel Chasen Mr. and Mrs. Seymour L. Goldman Marcia Simon Kaplan Barbara Cohen-Hobbs Dr. and Mrs. Morris Goldsmith Martin and Wendy Kaplan Mr. and Mrs. Stewart M. Colton Mrs. Haskell R. Gordon Mr. and Mrs. Wilson R. Kaplen Linda Benedict Colvin Corinne and Jerry Gorelick Mr. and Mrs. Howard Kaufman Cornell Inn Goshen Wine & Spirits, Inc. Mr. and Mrs. Bruce Kelly

Continued on page 44 43 Mr. and Mrs. Carleton F. Kilmer Parnassus Foundation, courtesy of Mr. and Mrs. Arthur M. Siskind Deko and Harold Klebanoff Jane and Raphael Bernstein Maggie and John Skenyon

Dr. and Mrs. Lester Klein Mr. Lawrence Phillips Mrs. William F. Sondericker

Dr. and Mrs. David I. Kosowsky Drs. Eduardo and Lina Plantilla Harvey and Gabriella Sperry Janet and Earl Kramer Plastics Technology Laboratories, Mr. and Mrs. Jerry Spiegel Mr. and Mrs. Ely Krellenstein Inc. Dr. and Mrs. Michael Sporn

Norma and Irving Kronenberg Dr. and Mrs. Francis Powers, Jr. Mr. and Mrs. Charles A. Stakely Mr. and Mrs. Richard Kronenberg Mr. and Mrs. Bruno Quinson Mr. and Mrs. Lewis Stein Naomi Kruvant Mr. and Mrs. Mickey Rabina Mr. and Mrs. Lewis Steinberg

Norma and Sol D. Kugler Charles and Diana Redfern Mr. and Mrs. Daniel S. Sterling Cary and Beth Lakenbach Mr. and Mrs. Nathan Reiber Ms. Alice Stephens and Mildred Loria Langsam Mr. John H. Rice and Mr. Kenneth Abrahami

William and Marilyn Larkin Ms. Janet Pinkham Mr. and Mrs. Henry S. Stone Mr. and Mrs. William Lehman Mr. Stanley Riemer Stonover Farm Bed and Breakfast

Mr. and Mrs. R. Willis Leith, Jr. Mary and Lee Rivollier Mrs. Pat Strawgate Ms. Lois Lerner Mr. and Mrs. Bernard L. Roberts Mr. and Mrs. Charles Stuzin

Mr. Arthur J. Levey and Rocio Gell Mr. and Mrs. Stanley Ross Mr. and Mrs. Michael Suisman Marjorie T. Lieberman Mr. and Mrs. Harvey Rothenberg Mr. Wayne Sunday

Mr. and Mrs. Murray Liebowitz Mr. and Mrs. Jean J. Rousseau Mr. and Mrs. I. David Swawite Geri and Roy Liemer Mrs. George R. Rowland Talbots Charitable Foundation Mr. and Mrs. A. Michael Lipper Suzanne and Burton Rubin Mr. and Mrs. Richard Taylor

Mr. and Mrs. Roger S. Loeb Mr. and Mrs. Milton B. Rubin Mr. and Mrs. Jack Teich

Mr. and Mrs. Walter F. Loeb Carole and Edward I. Rudman Mr. and Mrs. John L. Thorndike Gerry and Sheri Lublin Mr. Bruce Sagan and Mr. Bruce Tierney

Mr. and Mrs. Bernard Ludwig Ms. Bette Cerf Hill The Tilles Family

Diane H. Lupean Mr. and Mrs. Michael Salke Mr. and Mrs. Albert J. Togut Gloria and Leonard Luria Malcolm and BJ Salter Myra and Michael Tweedy

Mr. and Mrs. Edward Lustbader Samuel and Susan Samelson Mr. and Mrs. Howard J. Tytel

I. Kenneth and Barbara Mahler Mr. Robert M. Sanders Mr. Laughran S. Vaber Mr. and Mrs. Darryl Mallah Satinwood at Scarnagh, LLC Mr. and Mrs. Charles Vail Rev. Cabell B. Marbury Dr. and Mrs. Wynn A. Sayman Viking Fuel Oil Company

Peg and Bob Marcus Mr. Gary S. Schieneman and Walden Printing Co., Inc.

Suzanne and Mort Marvin Ms. Susan B. Fisher Mr. and Mrs. William G. Walker Mr. Daniel Mathieu and Tom Potter Marcia and Albert Schmier Mr. and Mrs. Harvey Waller Maxymillian Technologies, Inc. Mr. and Mrs. Ernest Schnesel Mr. and Mrs. Edwin A. Weiller EH Dr. Robert and Jane B. Mayer Pearl and Alvin Schottenfeld Mr. and Mrs. Robert A. Weinerman Carol and Thomas McCann Lois and Alan Schottenstein Mr. and Mrs. Barry Weiss Phyllis and Irv Mendelson Carrie and David Schulman Dr. and Mrs. Jerry Weiss The Messinger Family Mr. and Mrs. Wallace L. Schwartz Mr. and Mrs. Milton Weiss

Mr. and Mrs. Rollin W. Mettler, Jr. Carol and Marvin Schwartzbard Mr. and Mrs. Robert E. Wells

Vera and Stanley T. Miller Betsey and Mark Selkowitz Mr. and Mrs. Frederic P. Werner Mr. and Mrs. Michael A. Monts Carol and Richard Seltzer Wheatleigh Hotel & Restaurant Mr. and Mrs. Joseph L. Nathan Mr. and Mrs. Daniel Shapiro Ms. Carol Andrea Whitcomb Jerry and Mary Nelson Mr. and Mrs. Howard and Carole White Linda and Stuart Nelson Natalie Shawn Peter D. Whitehead Bobbie and Arthur Newman Sheffield Plastics, Inc. Mr. and Mrs. Richard E. Willett Mr. Richard Novik Jackie Sheinberg and Mr. Robert G. Wilmers Mr. Edward G. and Jay Morganstern Mr. Jan Winkler and Mrs. Sandra Novotny The Richard Shields Family Ms. Hermine Drezner

Mr. and Mrs. Chet Opalka Hon. George P. Shultz Mr. and Mrs. Robert C. Winters

Dr. and Mrs. Martin S. Oppenheim Robert and Roberta Silman Bob and Phyllis Yawitt Mr. and Mrs. Michael Orlove Richard B. Silverman Mr. and Mrs. Eric K. Zeise Dr. and Mrs. Simon Parisier Marion and Leonard Simon Simon H. and Esther Zimmerman Mr. and Mrs. Robert L. Singleton Mr. Richard M. Ziter, M.D.

Names listed as ofJune 3, 2004

44 #£:'>*

GREAT BENEFACTORS

In the building of his new symphony for Boston, the BSOs 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 donations 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 permanent recognition as Great Benefactors of this great orchestra. For more information, contact Judi Taylor Cantor, Director of Major and Planned Giving, at (413) 637-9275.

Anonymous (9) Estate of Edith C. Howie Mr. and Mrs. Harlan E. Anderson Mr. and Mrs. Harvey Chet Krentzman

Dorothy and David B. Arnold, Jr. The Kresge Foundation AT&T Liz and George Krupp iH Mr. and Mrs. J. P. Barger Mr. and Mrs. R. Willis Leith, Jr. Gabriella and Leo Beranek Nancy Lurie Marks Foundation KBflHK George and Roberta Berry Kate and Al Merck Jan Brett and Joseph Hearne Mr. and Mrs. Nathan R. Miller Peter and Anne Brooke The Richard P. and Catherine and Paul Buttenwieser Claire W. Morse Foundation ism Chiles Foundation William Inglis Morse Trust

Mr. John F Cogan, Jr. and National Endowment For Arts Ms. Mary L. Cornille NEC Corporation SlBRI Mr. Julian Cohen Mrs. Robert B. Newman SothH Commonwealth of Massachusetts Mrs. Mischa Nieland and Mr. and Mrs. William H. Congleton Dr. Michael Nieland Lewis S. and Edith L. Dabney Mr. and Mrs. Norio Ohga Mr. and Mrs. Stanton W. Davis William and Lia Poorvu Estate of Mrs. Pierre de Beaumont Raytheon Company EMC Corporation Estate of Wilhelmina C. Sandwen John P. II and Nancy S. Eustis Dr. Raymond and Hannah H. Schneider Shirley and Richard Fennell Carl Schoenhof Family

Fidelity Investments Ruth and Carl J. Shapiro Estate of Vera Fine Miriam Shaw Fund Estate of Anna E. Finnerty Ray and Maria Stata Mr. and Mrs. John H. Fitzpatrick Mr. and Mrs. Thomas G Sternberg FleetBoston Financial Miriam and Sidney Stoneman Germeshausen Foundation Estate of Elizabeth B. Storer The Ann and Gordon Getty Foundation Diana Osgood Tottenham Estate of Marie L. Gillet Verizon The Gillette Company Stephen and Dorothy Weber Mrs. Donald C. Heath The Helen F. Whitaker Fund Susan Morse Hilles Trust Mr. and Mrs. John Williams

45 BSOvations

Tanglewood corporate sponsors reflect the increasing importance of partnership between business and the arts. The Boston Symphony Orchestra is honored to be associated with the following companies and gratefully acknowledges their contributions at Tanglewood during the 2004 season. For information regarding Tanglewood, BSO, and/or Boston Pops sponsorship opportunities, contact Alyson Bristol, Director of Corporate Sponsorships, at (617) 638-9279 or at [email protected].

OMMONWEALTH WORLDWIDE CHAUFFEURED TRANSPORTATION

Commonwealth Worldwide Chauffeured Transportation

is proud to be the Official Chauffeured Transportation of the Boston Symphony Orchestra and the Boston Pops. The has enhanced the Boston community for 122 Dawson Rutter BSO President and CEO years and we are excited to be a part of such a rich heritage. We are pleased to announce the opening of our New York office in mid-summer that will further compliment our relationship with the BSO and Tanglewood for many years to come.

CtountiyCurtains.^ TheRedLiqnInn AT THE K£l> LION INN - STCX KBRIIXiE - MASSACHUSETTS

Country Curtains, The Red Lion Inn, Blantyre, and the Fitzpatrick family have been a special part of Boston Symphony Orchestra's family for over thirty years. From accompanying the BSO on world tours, to helping build Ozawa Hall, to supporting young upcoming professional musicians at the Tanglewood Music Center, the

The Fitzpatrick Family Fitzpatrick companies have created a unique legacy integral to Tanglewood and the BSO.

Delta Air Lines is pleased Delta to support Tanglewood in its first season as the Official Airline of the Boston Symphony Orchestra. We look forward to an outstanding summer with guest appearances by today's most celebrated artists from around the world. At Delta, we have been a longtime sup- porter of the Boston and New York metropolitan areas, at Paul Matsen the airport and beyond. This commitment to the BSO builds Senior Vice President and Chief Marketing Officer upon Delta's global support of the arts.

46 INVESTMENTS

Fidelity Investments is proud to support the Boston Symphony Orchestra's Tanglewood season through sponsorship of the Tanglewood Jazz Festival. We are pleased to play an integral Robert L Reynolds part in this celebrated jazz tradition that features some of the Vice Chairman and most talented artists in jazz history Through our ongoing com- Chief Operating Officer mitment to this program we are able to bring wonderful musi-

cal performances to thousands of listeners during this unique music festival. Fidelity Investments will continue its long tradition of investing in our communities with fine organizations such as this.

S T E I N W A Y SONS

Steinway 6c Sons is proud to be the piano selected exclusively at Symphony Hall and Tanglewood. Since 1853, Steinway pianos have been handmade to an uncompromising standard,

and applauded by artists and audiences alike for their rich, Bruce Stevens President expressive sound. It's no wonder that, for 98% of today's con-

cert pianists, the choice is Steinway. §TDK As sponsor of the 16th annual Tanglewood Free Lawn Tickets

for Children program, TDK is proud to bring the gift of music to thousands of children. Children younger than 12 are grant- ed free admission to Tanglewood when accompanied by a Hajime Sawabe ticket-holding adult. Since 1989 more than 200,000 children President and CEO and their families have participated in the program. In support of the Tanglewood Music Center's educational efforts, TDK also contributes audio cassettes, CD-R media, and VHS tapes. Furthermore, TDK supports the Boston Symphony Orchestra's music preservation project, giving future generations the opportunity to enjoy historic BSO performances. You can count on TDK to help keep the music alive.

47 WHEN YOU GIVE, great music lives on

When you make a contribution to the Friends of Tanglewood, you support America's premier summer music festival —a magical blend of music and nature. Your gift allows audiences to share the incomparable experience of classical music performed at its best in the beautiful Berkshire Hills.

Tanglewood is also home to theTanglewood Music Center, one of the leading centers for advanced musical study. Friends of theTanglewood Music Center support gifted musicians from around the world who study, free of charge, with preeminent artists including BSO musicians.

Become a Friend of Tanglewood or a Friend of the Tanglewood Music Center today with a generous contribution. When you give, new FRIENDS OF talents emerge, people discover the arts, and Tanglewood great music lives on.

To make a gift, please call the Friends Office

at (413) 637-5261 or visit us online at www.bso.org. It's not what you bring. It's what you take away.

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THIS MONTH AT TANGLEWOOD

Friday, August 6, at 6 (Prelude) Wednesday, August 11, at 8:30 MEMBERS OF THE BSO JEAN-YVES THIBAUDET, piano JOEL MOERSCHEL, cello Music of DEBUSSY, LISZT, VERDI, and Music of DVORAK WAGNER

Friday, August 6, at 8:30 Thursday, August 12, at 8:30 BSO—CHRISTOPH VON DOHNANYI, The Fromm Concert at Tanglewood conductor (part of the 2004 Festival of Contemporary YEFIM BRONFMAN, piano Music) SCHUMANN Symphony No. 2 MERIDIAN ARTS ENSEMBLE BRAHMS Piano Concerto No. 2 HELEN BUGALLO, piano ELLIOTT SHARP, sound artist Saturday, August 7, at 10:30 a.m. Music of SANFORD, BARBER, CARTER, Open Rehearsal (Pre-Rehearsal Talk at 9:30) SHARP, and ZAPPA BSO program of Sunday, August 8 Friday, August 13, at 6 (Prelude) Saturday, August 7, at 8:30 MEMBERS OF THE BSO BSO—TAN DUN, conductor Music of KODALY and DVORAK YO-YO MA, cello SILK ROAD ENSEMBLE Friday, August 13, at 8:30 Music from the Silk Road Project and TAN BSO—GIANANDREA NOSEDA, conductor DUN s The Map, Concerto for Cello, Video, DEBORAH VOIGT, soprano and Orchestra WAGNER Prelude to Act I of Lohengrin WAGNER Wesendonck Songs Sunday, August 8, at 2:30 PROKOFIEV Excerpts from Romeo andJuliet BSO—CHRISTOF PERICK, conductor CHRISTIAN ZACHARIAS, piano Saturday, August 14, at 10:30 a.m.

ALL-MOZART PROGRAM Open Rehearsal (Pre-Rehearsal Talk at 9:30) Wind Serenade in C minor, K.388, Nachtmusik BSO program of Sunday, August 15 Piano Concerto No. 22 in E-flat, K.482 Symphony No. 41, Jupiter Saturday, August 14, at 8:30 Film Night at Tanglewood Sunday, August 8, at 8:30 and BOSTON POPS ORCHESTRA Monday, August at 8:30 9, JOHN WILLIAMS, conductor JOHN WILLIAMS, musical direction BOSTON UNIVERSITY TANGLEWOOD DIANNE REEVES and BRIAN STOKES INSTITUTE CHORUS MITCHELL, vocalists A program, with film montages, of tributes to CARL SAUNDERS, trumpet; GARY BERNARD HERRMANN, HENRY FOSTER, alto saxophone; TOM RANIER, MANCINI, and AUDREY HEPBURN piano; STEVE HOUGHTON, percussion; BERGHOFER, bass CHUCK Sunday, August 15, at 2:30 JAZZ ENSEMBLE The Serge and Olga Koussevitzky Memorial LERNER & LOEWE (arr. WILLIAMS) Concert Fair Lady (arranged for singers My and jazz BSO—ROBERT SPANO, conductor orchestra), plus jazz favorites ANDRE WATTS, piano

. ". RANDS . . body and shadow. . MACDOWELL Piano Concerto No. 2 TCHAIKOVSKY The Nutcracker, Act II evergreen

U 6

WILLIAM CALIGARI INTERIORS/ARCHITECTURE

85 Main Street Great Barrington MA www.williamcaligari.com ^ -41 3.52B.3665 291 Alain Street • Great Barrington, /VIA 01230

(pk) 413-528-051I • e-mail: [email protected] Wednesday, August 18, at 8:30 Monday, August 23, at 8:30 BOSTON SYMPHONY CHAMBER BOSTON POPS ORCHESTRA PLAYERS KEITH LOCKHART, conductor DAWN UPSHAW, soprano KRISTIN CHENOWETH, vocalist accordion MICHAEL WARD-BERGMAN, An evening of Broadway and television's GUSTAVO SANTAOLALLA, guitar and greatest hits ronroco sound design JEREMY FLOWER, Wednesday, August 25, at 8:30 Music of ROSSINI, DVORAK, and GOLIJOV MARTHA ARGERICH and ALEXANDER GURNING, duo-pianists Thursday, August 19, at 8:30 Music of PROKOFIEV, RACHMANINOFF, CHRISTIAN TETZLAFF, violin and TCHAIKOVSKY LARS VOGT, piano

BRAHMS The Three Violin Sonatas Friday, August 27, at 6 (Prelude) TANGLEWOOD FESTIVAL CHORUS, Friday, August 20, at 6 (Prelude) JOHN OLIVER, conductor MEMBERS OF THE BSO FRANK CORLISS and MARTIN AMLIN, GARRICK OHLSSON, piano pianists Music of CHAUSSON and DVORAK FENWICK SMITH, flute ANN HOBSON PILOT, harp Friday, August 20, at 8:30 Music ofJANACEK and DVORAK BSO—EMMANUEL KRIVINE, conductor LARS VOGT, piano Friday, August 27, at 8:30 MENDELSSOHN Overture, The Fair BSO—CHARLES DUTOIT, conductor Melusine MARTHA ARGERICH, piano BEETHOVEN Piano Concerto No. 1 ALEXANDER GURNING, piano SCHUMANN Symphony No. 4 MOZART Symphony No. 35, Haffner POULENC Concerto for Two Pianos Saturday, August 21, at 10:30 a.m. RAVEL Piano Concerto in G Open Rehearsal (Pre- Rehearsal Talk at 9:30) STRAVINSKY Suite from The Firebird (1919 BSO program of Saturday, August 21 version)

Saturday, August 21, at 8:30 Saturday, August 28, at 10:30 a.m. BSO—EMMANUEL KRIVINE, conductor Open Rehearsal (Pre-Rehearsal Talk at 9:30) CHRISTIAN TETZLAFF, violin BSO program of Sunday, August 29 CLAUDIO BOHORQUEZ, cello ALL-BRAHMS PROGRAM Saturday, August 28, at 8:30 Tragic Overture BSO—CHARLES DUTOIT, conductor Double Concerto for violin and cello ITZHAK PERLMAN, violin Symphony No. 2 BEETHOVEN Violin Concerto STRAVINSKY Petrushka (1911 version) Sunday, August 22, at 2:30 RAVEL La Valse The Leonard Bernstein Memorial Concert TANGLEWOOD MUSIC CENTER Sunday, August 29, at 2:30 ORCHESTRA BSO—HANS GRAF, conductor JAMES DePREIST, conductor MEASHA BRUEGGERGOSMAN, GARRICK OHLSSON, piano MARY PHILLIPS, GORDON GIETZ, and RAYMOND ACETO, vocal soloists BEETHOVEN Piano Concerto No. 4 TANGLEWOOD FESTIVAL CHORUS, MAHLER Symphony No. 1 JOHN OLIVER, conductor BEETHOVEN Symphony No. 9 FUNDING PROVIDED IN PART BY IIP Programs and artists subject to change. film tWA

Massachusetts Cultural Council 2004TANGLEWOOD MUSIC CENTER PERFORMANCE SCHEDULE (Unless otherwise noted, all events take place in Florence Gould Auditorium, Seiji Ozawa Hall.)

Thursday, July 1, 8:30 p.m.* Thursday, July 22, 8:30 p.m. Friday, July 2, 8:30 p.m.* Vocal Recital MARK MORRIS DANCE GROUP and Saturday, July 24, 6 p.m. j> TMC FELLOWS Prelude Concert CRAIG SMITH, conductor Sunday, July 25, 10 a.m. Choreography by MARK MORRIS to music Chamber Music of BACH, BARTOK, and VIVALDI Concert Monday, July 26, 1 p.m. (CMH) Sunday, July 4, 10 a.m. Chamber Music Concert Steinway Series (free admission) Tuesday, July 27, 2:30 p.m. (TH)* Monday, July 5, 1 p.m. (CMH) Opera Open Dress Rehearsal see 29 Steinway Series (free admission) — July & 31 Thursday, July 29, 10 a.m., 1 p.m., 4 p.m. Monday, July 5, 8:30 p.m. String Quartet Marathon: three 2-hour The Daniel and Shirlee Cohen Freed Concert TMC ORCHESTRA performances INGO METZMACHER, conductor Thursday, July 29, 8 p.m. (TH)* and Music of DALLAPICCOLA, Saturday, July 31, 2:30 p.m. (TH)* SCHOENBERG, and BERLIOZ TMC VOCAL FELLOWS & ORCHESTRA STEFAN ASBURY, conductor Wednesday, July 7, 7 p.m. DAVID KNEUSS, director Opening Exercises (free admission; open to and the public) JOHN MICHAEL DEEGAN SARAH G. CONLY, design Saturday, July 10, 6 p.m. «h BRITTEN A Midsummer Night's Dream Prelude Concert Saturday, July 31, 6 p.m.«h Sunday, 10 a.m. July 11, Prelude Concert Chamber Music Concert Sunday, August 1, 10 a.m. (TH) Sunday, July 11, 8:30 p.m. (CMH) Chamber Music Concert Vocal Recital T'ANG QUARTET Monday, July 12, 1 p.m. (CMH) Sunday, August 1, 8:30 p.m.* Steinway Series (free admission) Ozawa Hall 10th Anniversary Celebration Gala Monday, July 12, 8:30 p.m. TMC ORCHESTRA The Phyllis and Lee Coffey Memorial Fund SEIJI OZAWA, JOHN WILLIAMS, and Concert JOHN OLIVER, conductors TMC ORCHESTRA STEPHANIE BLYTHE, mezzo-soprano; KURT MASUR, JOSEPH WOLFE YUNDI LI, piano; MAYUMI MIYATA, sho (TMC Fellow), and HELENE BOUCHEZ BOSTON SYMPHONY CHAMBER (TMC Fellow), conductors PLAYERS ANNALENA PERSSON, soprano TANGLEWOOD FESTIVAL CHORUS Music of MENDELSSOHN, KODALY, and Music of COPLAND, TAKEMITSU, WAGNER BERNSTEIN, LISZT, CHOPIN, WAGNER, and VERDI Saturday, July 17, 6 p.m. J> Prelude Concert Tuesday, August 3, 2 p.m.* TANGLEWOOD ON PARADE Sunday, July 18, 10 a.m. benefit the Tanglewood Chamber Music Concert To Music Center Afternoon performances begin at 2 p.m. Monday, 19, 1 p.m. July (CMH) Gala concert at 8:30 p.m. (Shed) Steinway Series (free admission) BOSTON SYMPHONY, BOSTON POPS, Monday, July 19, 8:30 p.m. and TMC ORCHESTRAS The Margaret Lee Crofts Concert CHRISTOPH VON DOHNANYI, KEITH TMC ORCHESTRA LOCKHART and JOHN WILLIAMS, RAFAEL FRUHBECK DE BURGOS, conductors conductor Music of STRAUSS, BENNETT, Music of HAYDN and STRAUSS WILLIAMS, and TCHAIKOVSKY

(CMH) = Chamber Music Hall ,P Admission is free, but restricted to 8:30 p.m. concert ticket holders. (TH)= Theatre *Tickets available through the Tanglewood box office Saturday, August 7, 6 p.m. J> Sunday, August 22, 2:30 p.m. (Shed)* Prelude Concert The Leonard Bernstein Memorial Concert Supported by generous endowments established in Sunday, August 8, 10 a.m. perpetuity by Dr. Raymond and Hannah H. Chamber Music Concert Schneider, and Diane H. Lupean. Tuesday, August 10, 8:30 p.m. TMC ORCHESTRA Chamber Music Concert JAMES DePREIST, conductor Thursday, August 12—Monday, August 16 GARRICK OHLSSON, piano FESTIVAL OF CONTEMPORARY MUSIC Music of BEETHOVEN and MAHLER Robert Spano, director Except for concerts requiring a Tanglewood box office Made possible by the generous support ofDr. * ticket (indicated by or J>), tickets for TMC events are Raymond and Hannah H. Schneider, with addi- only available one hour before concert time. tional support through grantsfrom The Aaron TMC Orchestra Hall tickets $25 Copland Fundfor Music, The Fromm Music TMC Orchestra Lawn tickets $10 Foundation, and The Helen F Whitaker Fund. Other TMC concerts $10 Guest Soloists: Meridian Arts Ensemble, with TMC recitals, chamber music, and Festival of Con- Helena Bugallo, piano, and Elliott Sharp, temporary Music concerts: Friends of Tanglewood at sound artist; Dawn Upshaw and Lucy the $150 level or higher will receive 2 free tickets to Shelton, sopranos; Norman Fischer, cello these performances by presenting their membership card at the Box Office one hour before concert time. Detailed program information available at the Tickets are $10 for non-members and donors of up Main Gate to $149. TMC Orchestra concerts (July 5, 12, 19; Friends at the $150 level Tuesday, August 17, 8:30 p.m. August 16): of Tanglewood or higher are invited to order a limited number of TMC Chamber Music Concert Orchestra tickets on the Advance Ticket Order Form Thursday, August 19, 1:30 p.m. (TH) at $25 each.

Chamber Music Concert Beginning June 7, donors of $150 or higher may order additional TMC Orchestra tickets, either at the Tan- Saturday, August 21, 6 p.m. J) glewood box office or by calling SymphonyCharge at Prelude Concert (888) 266-1200. Non-members and donors of up to $149 may purchase tickets starting at 7:30 p.m. at the Sunday, August 22, 10 a.m. Bernstein Gate box office on the day of the perform- Vocal Chamber Music Concert ance at prices noted above.

Further information about TMC events is available at the Tanglewood Main Gate, by calling (413) 637- 5230, or at www.bso.org. All programs are subject to change.

2004 BOSTON UNIVERSITY TANGLEWOOD INSTITUTE Concert Schedule (all events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 17, 2:30 p.m. Federico Cortese conducting music of Beethoven and Rachmaninoff; Saturday, July 31, 2:30 p.m. David Hoose conducting music of Vaughan Williams (with Young Artists Chorus) and Stravinsky; Saturday, August 14, 2:30 p.m. David Hoose conducting music of Bartok and Smetana

WIND ENSEMBLE PROGRAMS: Sunday, July 18, 7 p.m. Frank Battisti conducting music of Harbison (with Young Artists Chorus), Corigliano, Dello Joio, Persichetti, Ives, and Grainger; Thursday, July 29, 8 p.m. Frank Battisti conducting music of Strauss, Milhaud, Rands, Massenet, Harbison, and Feltman

VOCAL PROGRAMS: Sunday, July 18, 7 p.m. Frank Battisti conducting music of Harbison (with Young Artists Wind Ensemble); Saturday, July 31, 2:30 p.m. David Hoose conducting music of Vaughan Williams (with Young Artists Orchestra)

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6 p.m. unless otherwise noted: Tuesday, July 20; Wednesday, July 21; Thursday, July 29; Saturday, August 7, 2:30 p.m., Ozawa Hall, Honors Chamber Music Recital; Tuesday, August 10; Wednesday, August 11; Thursday, August 12

Tickets available one hour before concert time. Admission is $10 for orchestra concerts, free for all other BUTI concerts. For more information call (413) 637-1430. In the Berkshires, Nature sets the

Berkshire Performing Arts Calendar Shaker Mountain Opera at Berkshire August 1-31, 2004 Community College Pittsfield, (800) 588-9757 www. Shakermountainopera. org Barrington Stage Company Fully staged productions ofFaust, Magic Flute and Sheffield, (413) 528-8888 Tales ofHoffmann. Operas for kids. www.bariingtonstageco.org

Choral Masterpieces — 225 voices, soloists, Springfield Shakespeare & Company Symphony. 8/7 Dvorak Requiem 8 pm. Lenox, (413) 637-3353 www.shakespeare.org Berkshire Choral Festival 77?^ comedy of errors, Shakespeare's 3-Ring Circus, Sheffield, (413) 229-1999 plays Founders' Theatre Tues.-Sat. www.choralfest.org — Choral Masterpieces 225 voices, soloists, Springfield Berkshire Museums & Art Centers Symphony 8/7 Dvorak Requiem 8 pm. Calendar - August 1-31, 2004

Berkshire Music School A Chapel For Humanity Pittsfield, (413)442-1411 North Adams, (413) 664-9550 Music education for all ages. Private lessons and www.darkrideproject.org chamber ensembles. Open year round. A Chapel For Humanity; Sculptural Epic and 9/11 Room. Free Admission, Wed. -Sun. 12-5. Berkshire Theatre Festival Stockbridge, Box: (413) 298-5576 Berkshire Botanical Garden www. berkshiretheatre .org Stockbridge, (413) 298-3926 Miracle Worker - 8/1-14; Misanthrope - 8/17-9/4; www.berkshirebotanical.org Eugenes Home — 8/4-21; Goes Without Saying — Beautiful display gardens open daily 10-5. Flower 8/24. Show 8/7-8, Arts & Crafts Show 8/21-22.

Jacob's Pillow Dance Festival Berkshire Museum Becker, (413) 243-0745 Pittsfield, (413) 443-7171 www.jacobspillow.org www.berkshiremuseum.org Americas premier dance festival plus FREE talks & Presence ofLight Contemporary Artists explore the showings. Boston Ballet, 8/25 - 8/29. possibilities July 2 — October 31.

The Miniature Theatre of Chester Bidwell House Museum Chester, (413) 354-7771 Monterey, (413) 528-6888 www.miniaturetheatre.org www.bidwellhousemuseum.org "The Gem ofthe Berkshires. " The Pavilion 7/28 — Restored parsonage, c. 1750, superb collection of 8/15; So Long Sleeping Beauty 8/18 - 29. antiques & decorative arts. Daily tours, 11-4.

Music More in the Meeting House & Bryant Homestead New Marlborough, (413) 229-3126 Cummington, (413) 634-2244 www.newmarlborough.org www.thetrustees.org Tanglewood Marionettes 8/14, 3 pm. Silentfilm Greenwood Music Camp performance on the Bryant show with live music "The General" 4:30 pm. lawn. Sunday, 8/1, 3:30pm. Free.

Berkshire Visitors Bureaus Cultural Alliance would like tc Studley Press, Inc. for donating these pages. scene and Culture steals the show.

Chesterwood The Mount, Edith Wharton's Estate & Gardens Stockbridge, (413) 298-3579 Lenox, (413) 637-6900 www.chesterwood.org www.EdithWharton.org Contemporary sculpture at Chesterwood until Oct. Tours, Designer Showhouse, Monday & Thursday 11. August 27-29 River Summer Flower Show. Lectures, Terrace Cafe. Daily 9 a.m. — 5 p. m.

Crane Museum of Papermaking Norman Rockwell Museum Dalton, (413) 684-6481 Stockbridge, (413) 298-4100 www.crane.com www.nrm.org Crane Museum ofPaper Making, June — mid- Hometown Hero, Citizen ofthe World: Rockwell in October, 2-5 pm. FREE ADMISSION. Stockbridge through October 31, 2004.

Dark Ride Project Sheffield Historical Society North Adams, (413) 664-9550 Sheffield, (413) 229-2694

www.darkridep roj ect . org www.sheffieldhistory.org

Take a ride on the Sensory Integrator. Wed.-Sun. 12- Historic house tours Thurs. — Sat. 11-4. Changing

5. Unusual andfun! exhibits & shopping at the Old Stone Store.

The Eric Carle Museum of Picture Book Art Sterling and Francine Clark Art Institute Amherst, (413)658-1100 Williamstown, (413) 458-2303 www. picturebookart. org www.clarkart.edu Mordicai Gerstein: The Man Who Walked Between "Bonjour, Monsieur Courbet!"feature 75 master- the Towers. Aug. 17 — Dec. 5. pieces of 19th-century French art 6/27-9/6.

Frelinghuysen Morris House & Studio Ventfort Hall, Museum of the Gilded Age Lenox, (413) 637-0166 Lenox, (413) 637-3206

www.frelinghuysen.org www. gildedage . o rg

Modernist house & masterpieces. Richard Nunley lec- Tours daily 10-3. Xingu adapted Wharton story per- ture Aug. 20 5 pm. Housatonic River Celebration! formed Wed./Thu./Fri. 7:30, Sat. 4, Sun. 10.

Hancock Shaker Village Williams College Museum of Art Pittsfield, 443-0188 (413) Williamstown, (413) 597-2429 www.hancockshakervillage.org www.wcma.org History hands-on all— 20 buildings, & fun for farm On View: Ezra Stoller: Architectural photography. & animals, crafts, exhibits. Kids free. Admission is free.

Herman Melville's Arrowhead Pittsfield, (413) 442-1793 www.mobydick.org Here's looking At Ewe Exhibitfor Sheeptacular — decorated sheep, photos, artifacts. ERKSHIRE America's Premier CulturalResort MASSMoCA North Adams, (413) MOCA 111 While you're in the Berkshires, be sure to come www.massmoca.org see the Berkshire Visitors Bureau's new Matthew Ritchie, Hamilton, Interventionists Ann & "Discover the Berkshires" Visitors Centers in Adams plus Bill Jones/Arnie Oct. 1-3. T Zane and Pittsfield. Enjoy displays, multimedia

presentations, and grab the lastest information on

Berkshire attractions.

Berkshire Visitors Bureau • 800-237-5747 • www.berkshires.org 3 Hoosac Street • Adams, MA and 121 South Street • Pittsfield, MA Call 1-800-FIDELITY Click Fidelity.com Visit Fidelity Investor Centers

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# ''/#, *%s BUSINESS FRIENDS OFTANGLEWOOD

The BSO gratefully acknowledges the following for their generous contributions of

$500 or more during the 2003-2004 fiscal year. An eighth note symbol ( «h) denotes support of $l,000-$2,499. Names that are capitalized recognize gifts of $2,500 or more.

Banking J>Ray Murray Inc. BUSINESS FRIENDS TEN Pittsfield Generating Company Adams Cooperative Bank recognizing gifts of$10,000 BANKNORTH VIKING FUEL OIL or more BERKSHIRE BANK COMPANY, INC. Banknorth Greylock Federal Credit Union Engineering Berkshire Bank Lee Bank edm Blantyre LEGACY BANKS architecture • engineering • Canyon Ranch in the Berkshires Lenox National Bank management County Curtains «hThe Pittsfield Cooperative Bank Foresight The Red Lion Inn South Adams Savings Bank Land Services ^General Systems Co., Inc. Beverage/Food Sales/Consumer Accounting/Tax Preparation Goods/Distribution Environmental Services Adelson 8c Company RC. ^Crescent Creamery Foresight Land Services Feldman, Holtzman, Lupo 8c GOSHEN WINE 8c SPIRITS, MAXYMILLIAN Zerbo, CPAs INC. TECHNOLOGIES, INC. Mark Friedman, CPA jGuido's Quality Food 8c Produce, Nowick Environmental Associates JWarren H. Hagler Associates Inc. Financial Services Michael G. Kurcias, CPA High Lawn Farm Alan S. Levine, PC, CPA KOPPERS CHOCOLATE American Investment Services ^Riley, Haddad, Lombardi 8c Moore Fine Food, Inc. jAbbott Capital Management, Clairmont LLC Sax, Macy, Fromm 8c Co., PC. Consulting: BANKNORTH Management/Financial BERKSHIRE CAPITAL Advertising/Communications/ American Investment Services INVESTORS, INC. Public Relations BERKSHIRE BANK JMi. and Mrs. Monroe Faust Ed Bride Associates Saul Cohen 8c Associates THE FEDER GROUP Heller Communications ComPiere ERP/CRM J>Kaplan Associates L.P JlJDC Communications ^General Systems Co., Inc. The Keator Group Teletime Media Inc. j>Leading Edge Concepts Sagemark Corporation Locklin Management Services MARK SELKOWITZ Antiques/Art Galleries J^Marlebar Group INSURANCE AGENCY, .hElise Abrams Antiques J^Pilson Communications, Inc. LLC jGoffman's Antiques Markets J>RL Associates UBS Financial Services .hCountry Dining Room Antiques South Adams Savings Bank jAndrew Collins Vickery Cupboards 8c Roses High Technolgy/Electronics DeVries Fine Art Contracting/Building Supplies Fellerman 8c Raabe Glassworks Alarms of Berkshire County New England Dynamark Security Green River Gallery Lou Boxer Builder, Inc. Center Henry B. Holt Cardan Construction, Inc. J>New Yorker Electronics Co., Inc. Susan Silver Antiques Dettinger Lumber Co., Inc. Insurance Stone's Throw Antiques DRESSER-HULL COMPANY Watkins Gallery Great River Construction Bader Insurance Agency, Inc. R.W. Wise, Goldsmiths, Inc. Company, Inc. BERKSHIRE LIFE i'Petricca Construction Co. INSURANCE COMPANY Architects/Landscape S 8c A Supply, Inc. OF AMERICA Denig Design Associates, LEGACY Inc. David J. Tierney Jr., Inc. BANKS edm PETER D. WHITEHEAD, McCormick, Smith 8c Curry architecture • engineering • BUILDER Minkler Insurance Agency, Inc. management Reynolds, Barnes 8c Hebb JFour Architecture Inc. Education MARK SELKOWITZ Hill Engineers, Architects, Belvoir Terrace-Fine and INSURANCE AGENCY, Planners, Inc. Performing Arts Center LLC i^Edward Rowse Architects Berkshire Country Day School Wheeler 8c Taylor Inc. Pamela Sandler AIA, Architect Berkshire Stuttering Center Legal jGamp Greylock Automotive Robin Kruuse jFrank E. Antonucci, Attorney at J>Norman Baker Auto Sales, Inc. Massachusetts College of Liberal Law J^Biener Nissan-Audi Arts JOHN A. BARRY, ATTORNEY Pete's Motor Group AT LAW S8cW Sales Co. Inc. Energy/Utilities J^Braverman 8c Associates The Berkshire Gas Company CAIN, HIBBARD, MYERS 8c ESCO Energy Services Co. COOK, PC Massachusetts Electric Company jGertilman, Balin Judy Drucker's T SS CP^^ A - ,£^J!2N A not-for-profit organization Premier Presenters of the World's Greatest Music & Dance

Board chair '•*:* Chaim Katzman, [udy Drucker, president

We Conduct Some Serious

Business in South Florida... M Druder

Sure, the sun shines year round in Miami and Fort

Lauderdale, and any occasion is a good occasion to visit,

but Judy Drucker's Concert Association assures that

world-renown artists are forecast for the 2004-2005

season. Featuring the greatest conductors eliciting glori-

ous music from the most highly-acclaimed orchestras Kurt Masur Charles Dutoit

and soloists in the world. These artists will conduct some

serious business: ensuring that South Florida is among

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orchestras including the Boston Pops, Orchestre National

de France, Kirov Orchestra of the Mariinsky Theatre,

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Claire's """" " " ' MIAMI BtACH cultural. BROWARD Art/ C COUNTY COUNCIL arVbMcKco* Yuri Simonov \pjv^ IM1JPD Raphael Fruhbeck de Burgos

These concerts are sponsored by the Concert Association of Florida, Inc., with the support of the Florida Dept. of State, Division of Cultural Affairs and the Florida Arts Council; the Broward County Board of County

Commissioners, the Broward Cultural Affairs Council and the Miami-Dade County Board of County Commissioners, the City of Miami Beach and the Miami Beach Cultural Arts Council A copy of the registration and financial information may be obtained from the division of Consumer Services by calling toll-free 1-800-435-7325 within the slate. Registration does not imply endorsement, approval or recommendation by the

state. All performances, artists, dates, venues and programs are subject to change. No refunds or exchanges. Latecomers will not be seated until the first suitable break in the performance. Cianflone 8c Cianflone, P.C. SHEFFIELD PLASTICS, INC., ^Ward's Nursery 8c Garden Center Hill Garden J>Michael J. Considine, Attorney at A BAYER COMPANY Windy Farm Law J^SpaceNow! Corporation Center/Nursery Deely 8c Deely R.W. Wise, Goldsmiths, Inc. Printing/Publishing Law Office ofJoel S. Greenberg, Science/Medical P.C. J>Barry L. Beyer Grinnell, Dubendorf 8c Smith CRANE 8c COMPANY, INC. J>510 Medical Walk-In Philip F. Heller 8c Associates, Pindar Press Berkshire Eye Center Attorneys at-Law Quality Printing Company, Inc. Berkshire Medical Center Jonas and Welsch, P.C. THE STUDLEY PRESS Berkshire Stuttering Center Ellen C. Marshall, Esq. WALDEN PRINTING Dorella L. Bond, Ph.D. J^Schragger, Lavine 8c Nagy COMPANY jMichael Ciborski, M.D. .hLester M. Shulklapper, Esq. J>Lewis R. Dan, M.D. Real Estate Irving Fish, M.D. Lodging/Where to Stay J>Barrington Associates Realty Dr. Elliot Greenfeld A Bed 8c Breakfast in the Trust JGTL Inc., Link to Life Berkshires Benchmark Real Estate jTeon Harris, M.D. Applegate Inn Berkshire Homes and Condos Kimball Farms Lifecare APPLE TREE INN 8c Berkshire Mortgage Company Retirement Community RESTAURANT jGohen 8c White Associates Carol Kolton, LCSW Best Western Black Swan Inn Copake Realty William Knight, M.D. Birchwood Inn Corashire Realty Inc. /Long Island Eye Physicians and BLANTYRE i>Evergreen Buyer Brokers of the Surgeons Broken Hill Manor Berkshires Northeast Urogynecology

Brook Farm Inn /Franz J. Forster Real Estate Donald Wm. Putnoi, M.D. .hChristine's Bed 8c Breakfast Inn INLAND MANAGEMENT The Austen Riggs Center 8c Tea Room CORP. Robert K. Rosenthal, M.D. jGliffwood Inn P8cL Realty J^Royal Health Care Services of CORNELL INN Roberts 8c Associates Realty, Inc. N.Y /Cranwell Resort, Spa, and Golf Rose Real Estate - Coldwell Sugar Hill Mansion-A Club Banker Retirement Community Devonfield Country Inn Stone House Properties, LLC Services From Ketchup to Caviar Dennis G. Welch Real Estate jThe Gables Inn Wheeler 8c Taylor, Inc. /Abbott's Limousine 8c Livery Gateways Inn 8c Restaurant Service Restaurants/Where Howard Johnson to Eat Adams Laundry and Dry The Inn at Richmond APPLE TREE INN 8c Cleaning Company .[The Inn at Stockbridge RESTAURANT Alarms of Berkshire County Monument Mountain Motel Applegate Inn Berkshire Eagle (New England One Main B8cB BLANTYRE Newspapers) The Porches Inn at MASSMoCA .hCafe Lucia Boulderwood Design The Red Lion Inn Church Street Cafe /'Christine's Bed 8c Breakfast Inn j'Rookwood Inn Firefly 8c Tea Room SATINWOOD AT From Ketchup to Caviar Dery Funeral Home SCARNAGH Gateways Inn 8c Restaurant New England Dynamark Security Spencertown Country House THE RED LION INN Center STONOVER FARM BED 8c The Village Inn Richmond Telephone Company BREAKFAST WHEATLEIGH HOTEL 8c S 8c K Brokerage Taggart House RESTAURANT ^Security Self Storage The Village Inn Tobi's Limousine 8c Travel ^Walker House Retail/Where to Shop Service The Weathervane Inn Arcadian Shop Software/Information Systems WHEATLEIGH HOTEL 8c Bare Necessities Fine Lingerie RESTAURANT COUNTRY CURTAINS /Berkshire Information Systems Whistler's Inn DRESSER-HULL COMPANY Inc. Windflower Inn Fellerman 8c Raabe Glassworks ComPiere ERP/CRM The Yankee Home Comfort Inn Gatsbys New Yorker Electronics Co., Inc. HOUSATONIC CURTAIN .hPilson Communications, Inc. Manufacturing/Industrial COMPANY Tourism/Resorts /Barry L. Beyer Kenver, Ltd. BROADWAY MANUFAC- KOPPERS CHOCOLATE Berkshire Chamber of Commerce TURING SUPPLY Limited Edition Lighting 8c CANYON RANCH IN THE /French Textiles Custom Shades BERKSHIRES /The Kaplan Group Pamela Loring Gifts and Interiors J>Cranwell Resort, Spa, and Golf KOPPERS CHOCOLATE Nejaime's Wine Cellar Club Limited Edition Lighting 8c jTaul Rich and Sons Home Jiminy Peak Custom Shades Furnishings Taggart House MeadWestvaco Corporation Mary Stuart Collections Plastics Technology Laboratories, TALBOTS CHARITABLE Inc. FOUNDATION Schweitzer-Mauduit International The Don Ward Company Names listed as ofMay 15, 2004 Inc. Hello, I Must Be Changing

lives change constantly. We never know woman vision, she scans the horizon for role mod- Ourwith precision what we will face tomorrow. els. Joan of Arc? Britney Spears? Aunt Nancy? So when tomorrow comes, we have to be And what about her life's work? Biochemist? ready to confront the need for a new approach Poet? Entrepreneur? openly, creatively, and willingly. If we are stuck and She may announce her career choice to the world cannot respond, determined to hold onto yester- at lunch only to change her mind by dinner. In the day's solutions, we are in trouble. right environment, though, she will have the feeling

How can we make certain that the future leaders that she is searching, not being whimsical or silly. of our country will be able to manage a changing She learns then that change is a part of life, not a world successfully? How do we help students threat to it. She sees that she is doing important develop both the skill and the inner strength to be work, not just pretending. Changing is difficult and fluent, indeed inspired, in the task of evaluation, best done in a confident community. Surrounded response, and innovation? by steady and wise adults, a girl is reassured that her own inner testing and doubt do not shake the When we are teaching adolescent girls about foundations of the community around her. change, we do not have to create clever lessons based on simulations and change models. The cur- Finally, a girl begins to reset, that is, she begins to riculum is constantly present, staring girls in the integrate her new ideas and perspectives into a face. Ready or not, their bodies, minds, emotions, new self-concept. Teachers everywhere are famil- relationships, and ideas shift dramatically and daily. iar with this phenomenon, which is why we are not surprised to notice, in about January every year, So, change for adolescents is a certainty. How that seniors suddenly seem grown up and ready to well they do it, though, is another matter. Both leave, distinctly more mature than ever before. ends and means are important. On the one hand High school has served its purpose. Girls are is the goal of becoming a healthy, effective person, ready to take their new selves into the world. but on the other is the quality of the change process itself. It is the way in which the challenges The emergence of a new grown-up persona is only of adolescence are met that forms the underlying part of the success. Secure in what she has pattern of adult coping skills. accomplished, a girl now knows that she can manage change with resolve. She has found a creative Kurt Lewin, a founder of modern social psycholo- style. She will approach other challenges pur- gy, identifies three phases in change cycles that posefully. Most importantly, she will embrace are analogous to the phases through which a girl change, her life-long companion, with the confi- travels as she says goodbye to the child she used dence that only early success can bring. to be and begins to form the young woman she will become. There is a time of unfreezing, then How can we make certain that the future leaders changing, and finally a girl resets. of our country will be able to manage a changing world successfully? Encourage them to take The pre-teen girl knows herself well. Hello Kitty, healthy risks, be there to listen, share coping butterfly clips, and Beanie Babies define her world. strategies, and express certainty about their ability Then, one morning, it's over. What made sense to succeed. From this secure base, they will sense for so long doesn't anymore. A girl is beginning to that life is about growth, not defensive posturing. let go of the younger child, a friend she knew well. They will trust that the sky is not falling when hard

The growing girl will, at this point, change every- times come along. If we, the adults in girls' lives, thing from friendships to her mind as she tries on have patience for the journey and reverence for the different roles for size and fit. Gathering data on process, girls will become the courageous innova- what to incorporate into her emerging young- tors our world needs them to be.

MISS HALL'S SCHOOL

492 Holmes Road, Pittsfleld, MA 01201 • (800) 233-5614 • Fax (413) 448-2994 • www.misshalls.org

GIRLS' SECONDARY BOARDING AND DAY SCHOOL FOUNDED IN 1898 TANGLEWOOD MUSIC CENTER & TANGLEWOOD FESTIVAL ENDOWMENT CONTRIBUTORS

Tanglewood Music Center Fellows pay no tuition and are offered essentially free room and board. Their residency at Tanglewood is underwritten largely through annual and endowed Fellowships. The TMC faculty includes many of the world's finest musical artists, some of them teaching through the generosity of donors who have endowed artists' positions. The Tanglewood Music Center and the Tanglewood Festival gratefully acknowledge the endowment support of the contributors represented below. For further information please contact Judi Cantor, Director of Major and Planned Giving, at (413) 637-5275.

ENDOWED ARTIST POSITIONS Armando A. Ghitalla Fellowship Berkshire Master Teacher Chair Fund Fernand Gillet Memorial Fellowship Edward and Lois Bowles Master Teacher Chair Fund Marie Gillet Fellowship Richard Burgin Master Teacher Chair Fund Haskell and Ina Gordon Fellowship Charles E. Culpeper Foundation Master Teacher Chair Florence Gould Foundation Fellowship Fund John and Susanne Grandin Fellowship Eleanor Naylor Dana Visiting Artists Fund William and Mary Greve Foundation-

Vic Firth Master Teacher Chair Fund, endowed by Mr. John J. Tommaney Memorial Fellowship and Mrs. Henry Wheeler Luke B. Hancock Foundation Fellowship Barbara LaMont Master Teacher Chair Fund William Randolph Hearst Foundation Fellowship Renee Longy Master Teacher Chair Fund, gift of Jane C. D. Jackson Fellowship and John Goodwin Paul Jacobs Memorial Fellowship Harry L. and Nancy Lurie Marks Tanglewood Artist- Lola and Edwin Jaffe Fellowship In-Residence Billy Joel Keyboard Fellowship Marian Douglas Martin Master Teacher Chair Fund, Susan Kaplan Fellowship endowed by Marilyn Brachman Hoffman Steve and Nan Kay Fellowship Beatrice Sterling Procter Master Teacher Chair Fund Robert and Luise Kleinberg Fellowship

Sana H. and Hasib J. Sabbagh Master Teacher Chair Mr. and Mrs. Allen Z. Kluchman Memorial Fund Fellowship Surdna Foundation Master Teacher Chair Fund Dr. John Knowles Fellowship Stephen and Dorothy Weber Artist-In-Residence Naomi and Philip Kruvant Family Fellowship Donald Law Fellowship ENDOWED FULL FELLOWSHIPS Barbara Lee/Raymond E. Lee Foundation Fellowship Jane W. Bancroft Fellowship Bill and Barbara Leith Fellowship Bay Bank/BankBoston Fellowship Edwin and Elaine London Family Fellowship Leonard Bernstein Fellowships Stephanie Morris Marryott &

Edward S. Brackett, Jr. Fellowship Franklin J. Marryott Fellowship

Frederic and Juliette Brandi Fellowship Robert G. McClellan, Jr. & IBM Matching Grants Jan Brett and Joe Hearne Fellowship Fellowship Rosamund Sturgis Brooks Memorial Fellowship Merrill Lynch Fellowship Tappan Dixey Brooks Memorial Fellowship Messinger Family Fellowship

BSAV/Carrie L. Peace Fellowship Ruth S. Morse Fellowship

Stanley Chappie Fellowship Albert L. and Elizabeth P. Nickerson Fellowship Alfred E. Chase Fellowship Northern California Fellowship Clowes Fund Fellowship Seiji Ozawa Fellowship

Harold G. Colt, Jr. Memorial Fellowship Theodore Edson Parker Foundation Fellowship Andre M. Come Memorial Fellowship Pokross/Fiedler/Wasserman Fellowship Caroline Grosvenor Congdon Memorial Fellowship Lia and William Poorvu Fellowship Margaret Lee Crofts Fellowship Daphne Brooks Prout Fellowship Charles E. Culpeper Foundation Fellowship Claire and Millard Pryor Fellowship Darling Family Fellowship Rapaporte Foundation Fellowship Omar Del Carlo Fellowship Harry and Mildred Remis Fellowship Otto Eckstein Family Fellowship Peggy Rockefeller Memorial Fellowship Friends of Armenian Culture Society Fellowship Carolyn and George R. Rowland Fellowship Judy Gardiner Fellowship Saville Ryan/Omar Del Carlo Fellowship Athena and James Garivaltis Fellowship Wilhelmina C. Sandwen Memorial Fellowship Merwin Geffen, M.D. and Norman Solomon, M.D. Morris A. Schapiro Fellowship Fellowship Edward G. Shufro Fund Fellowship Juliet Esselborn Geier Memorial Fellowship Starr Foundation Fellowship

Continued on next page nine: i\j vykji i\, liiiic lu icia

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800.558.5466 or 617.779.1918 • commonwealthlimo.com Donald C. Bowersock Tanglewood Fund Anna Sternberg and Clara J. Marum Fellowship Miriam H. and S. Sidney Stoneman Fellowships Gino B. Cioffi Memorial Prize Fund Surdna Foundation Fellowship Phyllis and Lee Coffey Memorial Concert Fund James and Caroline Taylor Fellowship Aaron Copland Fund for Music

William F. and Juliana W. Thompson Fellowship Margaret Lee Crofts Concert Fund Ushers/Programmers Instrumental Fellowship in honor Margaret Lee Crofts TMC Fund of Bob Rosenblatt Paul F. and Lori A. Deninger DARTS Scholarship Ushers/Programmers Vocal Fellowship in honor of Fund Harry Stedman Alice Willard Dorr Foundation Fund Wallace-Reader's Digest Fund Fellowship Carlotta M. Dreyfus Fund Max Winder Memorial Fellowship Virginia Howard and Richard A. Ehrlich Fund Jerome Zipkin Fellowship Selly A. Eisemann Memorial Fund Elise V. and Monroe B. England Tanglewood Music ENDOWED HALF FELLOWSHIPS Center Fund

Mr. and Mrs. David B. Arnold, Jr. Fellowship Honorable and Mrs. John H. Fitzpatrick Fund Kathleen Hall Banks Fellowship Daniel and Shirlee Cohen Freed Concert Fund Leo L. Beranek Fellowship Ann and Gordon Getty Fund Felicia Montealegre Bernstein Fellowship Gordon/Rousmaniere/Roberts Fund Sydelle and Lee Blatt Fellowship Grace Cornell Graff Fellowship Fund for Composers Brookline Youth Concerts Awards Committee at the TMC Fellowship Heifetz Fund Helene R. and Norman L. Cahners Fellowship Mickey L. Hooten Memorial Award Fund Marion Callanan Memorial Fellowship Grace Jackson Entertainment Fund Nat Cole Memorial Fellowship Grace B. Jackson Prize Fund Harry and Marion Dubbs Fellowship Paul Jacobs Memorial Commissions Fund Daniel and Shirlee Cohen Freed Fellowship Louis Krasner Fund for Inspirational Teaching and Dr. Marshall N. Fulton Memorial Fellowship Performance, established by Marilyn Brachman Gerald Gelbloom Memorial Fellowship Hoffman Arthur and Barbara Kravitz Fellowship William Kroll Memorial Fund Bernice and Lizbeth Krupp Fellowship Dorothy Lewis Fund Philip and Bernice Krupp Fellowship Kathryn & Edward M. Lupean & Diane Holmes Edward H. and Joyce Linde Fellowship Lupean Fund Lucy Lowell Fellowship Samuel Mayes Memorial Cello Award Fund Morningstar Family Fellowship Charles E. Merrill Trust TMC Fund Stephen and Persis Morris Fellowship Northern California TMC Audition Fund Hannah and Raymond Schneider Fellowship Herbert Prashker Fund Pearl and Alvin Schottenfeld Fellowship Renee Rapaporte DARTS Scholarship Fund Edward G. Shufro Fund Fellowship Mr. and Mrs. Ernest H. Rebentisch Fund Evelyn and Phil Spitalny Fellowship Jules C. Reiner Violin Prize Fund R. Amory Thorndike Fellowship Elaine and Harvey Rothenberg Fund Augustus Thorndike Fellowship Rothenberg/Carlyle Foundation Fund Sherman Walt Memorial Fellowship Helena Rubinstein Fund

Edward I. and Carole Rudman Fund ENDOWED SCHOLARSHIPS Lenore S. and Alan Sagner Fund Maurice Abravanel Scholarship Renee D. Sanft Fellowship Fund for the TMC Eugene Cook Scholarship Hannah and Ray Schneider TMCO Concert Fund * Dorothy and Montgomery Crane Scholarship Maurice Schwartz Prize Fund by Marion E. Dubbs William E. Crofut Family Scholarship Ruth Shapiro Scholarship Fund Ethel Barber Eno Scholarship Dorothy Troupin Shimler Fund

F. Richard Gold Memorial Scholarship Asher J. Shuffer Fund Leah Jansizian Memorial Scholarship Evian Simcovitz Fund Miriam Ann Kenner Memorial Scholarship Albert Spaulding Fund Andrall and Joanne Pearson Scholarship Jason Starr Fund Mary H. Smith Scholarship Tanglewood Music Center Composition Program Cynthia L. Spark Scholarship Fund Tisch Foundation Scholarship Tanglewood Music Center Opera Fund TMC General Scholarship Fund ENDOWED FUNDS SUPPORTING THE Denis and Diana Osgood Tottenham Fund

TEACHING AND PERFORMANCE PROGRAMS The Helen F. Whitaker Fund

Anonymous (1) John Williams Fund George W and Florence N. Adams Concert Fund Karl Zeise Memorial Cello Award Fund Eunice Alberts and Adelle Alberts Vocal Studies Fund* Bernard and Harriet Bernstein Fund

George & Roberta Berry Fund for Tanglewood ^Deferred gifts Peter A. Berton Fund Listed as ofJune 4, 2004 2

EDUCATIONAL DIRECTORY

Celebrates the Arts AAG's rigorous college preparatory program includes unique offerings in visual and performing arts.

140 Academy Rd. • Albany, NY 12208 • 518.463.2201 www.albanyacademyforgirls.org

i -M

A leader in girls' education... Darrow School: WESTOVER SCHOOL An extraordinary community Middlebury, CT A #^^ • Co-ed boarding and day school •Bry — —KtV- for grades 9-1 IT Ik ^^b • Average class size: 9 students

• Challenging, hands-on,

college-preparatory curriculum Rigorous College Prep Program for Girls • Attentive, involved faculty Boarding and Day, Grades 9-12

• Strong college placement record Collaborative Programs With: The Manhattan School of Music and Juilliard The School of Dance Connecticut Come and see us! Rensselaer Polytechnic Institute 518-794-6006 Seven Angels Theatre www.darrowschool.org For more information, please contact:

Darrow School Office ofAdmission 110 Darrow Road, New Lebanon, NY P.O. Box 847 Middlebury, CT 06762 Phone: (203)758-2423 years hands-on education in the Berkshires 70 of website: www.westoverschool.org See how muchyour child can learn. CAPITAL AND ENDOWMENT CONTRIBUTORS

The Boston Symphony Orchestra is committed to providing the highest caliber performances and education and community outreach programs, and to preserving its world-renowned concert facilities. Contributions from donors and income from the endowment support 40 percent of the annual budget. The BSO salutes the donors listed below who made capital and endowment gifts of $10,000 or more between

May 1, 2003, and June 3, 2004. For further information, contact Judi Taylor Cantor, Director of Major and Planned Giving, at (413) 637-5275.

$1,000,000 and Up Mrs. William H. Congleton Mrs. Mischa Nieland and Kate and Al Merck Dr. Michael L. Nieland Estate of Elizabeth B. Storer

$250,000-5499,999

Anonymous (3) The Messinger Family

$100,000-$249,999

Anonymous (2) Estate of Dr. and Mrs. Nelson Saphir Mr. William I. Bernell Estate of Dorothy Troupin Shimler Catherine and Paul Buttenwieser Jeanne H. Wolf, in memory of Estate of Mrs. Janet M. Halvorson Gottfried Wilfinger Mr. William R. Hearst III National Park Service, US Dept. of the Interior Save Americas Treasures

$50,000-$99,999 Anonymous (1) Ms. Helen Salem Philbrook The Behrakis Foundation Estate of Mr. Robert W. Stewart Estate of Clarita Heath Bright Mr. and Mrs. Stephen R. Weiner Estate of Mrs. Pierre de Beaumont Mr. and Mrs. Disque Deane

$25,000-$49,999

Anonymous (2) Estate of George F. and Elsie Hodder Mr. and Mrs. James L. Bildner The Richard P. and Claire W. Morse Cynthia and Oliver Curme Foundation Ms. Ann V. Dulye Estate of David R. Pokross Mrs. Harriett M. Eckstein Estate of Dr. Charles Reiner Estate of Frances Fahnestock Estate of Madelaine G. von Weber Estates of Harold K. Gross and The Cornelius and Muriel Wood Evelyn F. Gross Charity Fund

Continued. —

-ct SUMMER READING

APERBACK

iTHOMAS CAHIU Author of Hor Tlr Insb Sard CaAzabom and TV Gift of tix Jan •SAILING THE WINE DARK SEA Why the Greeks Matter

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DAVID OF HEAVEN GUTERSON On July 24,1934. a woman and tier infant daughter were auiHMOf SNOW FALLING ON CEDARS murdered by two brothers who believed they were ordered

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$10,000-$ 14,999 Anonymous (1) Mr. and Mrs. Joseph C. McNay Mrs. Ben Beyea Estate of Marilyn S. Nelson Estate of Francis F. Faulkner Dr. Peter Ofner

Mrs. Samuel B. Feinberg Mr. Donald I. Perry Dr. and Mrs. Orrie M. Friedman Renee Rapaporte Highland Capital Partners Estate of Dorothy F. Rowell Mr. Wyclijfe K. Grousbeck Hinda L. Shuman Estate of Priscilla M. Holman Mr. Orlando N. Tobia Victoria Kokoras and Joyce Picker U.S. Dept. of Housing and Urban Dr. Edwin F. Lovering Development Mrs. Edward M. Lupean and Stephen and Dorothy Weber Diane H. Lupean

BUSINESS FRIENDS OF Tanglewood

Tanglewood generates more than $60 million for the

local economy. Tanglewood Business Friends provide

operating support, underwrite educational programs,

and fund fellowships for aspiring young musicians at

the Tanglewood Music Center.

To become a Business Friend of Tanglewood,

call Pam Malumphy at:

(413) 637-5174 '

Favorite Restaurants of the Berkshires

LENOX 218 RESTAURANT cucirtA rmLuwfa 218 MAIN ST. 'Enjoy Authentic Italian LENOX 18 J [2 637-4218 'food in the. 'Ber^sfures Lunch - Dinner - Sunday Brunch ivww.trattoria-vcsuvio.com Cafe Menu - Lite Fare VRjVFIKXltJA "IL

SATISFACTION If you would like to be part of GUARANTEED this restaurant page, please call 'The Best Darn Pot Roast in the Berkshires! Main St. Housatonic (413)274-1000 (617) 542-6913. www.jacksgrill.com

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Old world charm at its best. Exceptional accommodations. Gourmet dining in a cozy, candlelit atmosphere. Take-out picnics. Recommended by Santee Magazine. Wine Spectatoraward winner since 2002.

voted Best Overall Restaurant Steaks Maine Lobster Prime Rib Fresh Seafood Extensive Salad Bar

Sunday Brunch Buffet- Best in the Berkshires si Reservations Phone Ahead Seating

413-499-7900 Pittsfield/Unox Line 51 Walker Street, Lenox, MA

Call for Reservations: 413-6372532 www . DakotaRestaurant . com Favorite Restaurants of the Berkshires

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Dine In An Authentic 1771 Inn *k American just a milefrom Tangleivood Craftsman Cafe Breakfast • English Tea • Dinner 16 Church St >& 637-0020 Stockbridge Lenox

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All major credit cards. Reservations suggested: BOMBAY *413 298 0250* Classic Indian Cuisine At Best western, RT 20 LEE, MA 413 243 6731 www.fineindiandining.com

Fine European-style Chocolate Cafe

Pastry Picnic Kjhocolaie Springs Cafe Ice Cream & Sorbets The Lenox Shops • Route 7, Lenox, MA (1 mile North ofHistoric Lenox Village) After Concert (413) 637-9820 • www.chocolatesprings.com Hours Cjxperience Cjnocola/e Ulierapu" Northampton/Amherst Area

It's a Victorian Staircase

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14259-176 silverscape designs GOLDSMITHS ® GEM GALLERY It's the little things that make it One King Street • Northampton • 413-584-3324 264 N. Pleasant Street • Amherst • 413-253-3324 THORNES www.silverscapedesigns.com • (800) 729-8971 MARKETPLACE DOWNTOWN FaI Look Learn MUSEUM OF Create *>#* PICTURE BOOK Shop 125 West Bay Road, Amherst, MA 413.658.1 100 Eat www.picturebookart.org II

Delta, the Official Airline of the Boston Symphony Orchestra, is proud to work in partnership with many exceptional arts organizations worldwide. By providing in-kind donations and company resources, we hope to keep the arts a vital part of our community

Photograph by Michael Lutch The Fairmont Royal York, Toronto

Fairmont Hotels & Resorts is proud to be the Official Hotel of the Boston Symphony Orchestra Fairmont Hotels & Resorts

is a unique collection and the Boston Pops. of 40 world-class hotels locatt ww.fairmont.com 800 441 1414 6172675300 in six countries. H A B AT AT GALLERIES

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