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BERKSHIRE FESTimL Sometimes when a man has worked very hard and succeeded, he enjoys ordering things just because they're expensive.

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YEARS OLD

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Btethoven Iwko^Swu SYMPHONY N0.4/LEONORE OVERTURE No. 2 IHI BOSTON SYMPHONY/ERICH LEINSDORF ^?^. PROKOFIEFF ^^I^M S^MPW Ifl. 7 ^^F^n Mn«( from ^^^^^^Hr ^^^^H ^^gpHH CORIOllN ROMEO AND ^k^^v -^^H \mi mnwi JULIET ^^k,

Haydn BRHHins: svmPHonv no. 4 , ^ Symphony No. 93 ^m BOSTon svmPHonv orchestrii Symphony No. 96 ("Miracle") ERICH lEinSDORF ^t Boston Symphony Erich Leinsdorf, Conductor

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ASSOCIATE STORES OF SEIDEN SOUND

Watch for Pittsfield Store Opening This Summer. What made some of the nation's top corporation executives seiecx

In beautiful Connecticut!

One look at Heritage Village and they knew they wanted to call it home. Like the top executives

they are, they knew a good thing the instant they saw it. They sensed the history and heritage of the lush woodland into which the homes are nestled. They savored the charm and beauty of the natural wonders that abound here: the sounds of singing birds and rustling trees; the

friendly, curious small animals peeking out of the woods; the gently rolling hills, open to view

because of the way the homes are grouped in small, intimate clusters. And there is more to

Heritage Village: swimming pools, arts and crafts center, 18-hole golf course, wildlife refuge,

shopping and professional services, picnic areas, riding trails, a theatre for legiti-

mate productions and more. That's why they decided to move to this 1000-acre, adult condominium village. They came; they saw; they stayed. Interested? Write: Heritage Village, Southbury, Conn. 06488. Adevelopmenlof Paparazzo Heritage Corporation. V/mC! BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor

EIGHTY-EIGHTH SEASON 1968-1969

THIRTY-SECOND BERKSHIRE FESTIVAL 1969

THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC.

TALCOTT M. BANKS President HENRY A. LAUGHLIN PHILIP K. ALLEN Vice-President FRANCIS W. HATCH EDWARD G. MURRAY ROBERT H. GARDINER Vice-President ANDREW HEISKELL JOHN T. NOONAN JOHN L. THORNDIKE Treasurer HAROLD D. HODGKINSON MRS JAMES H. PERKINS ABRAM T. COLLIER E. MORTON JENNINGS JR SIDNEY R. RABB

THEODORE P. FERRIS EDWARD M. KENNEDY. RAYMOND S. WILKINS

TRUSTEES EMERITUS

HENRY B. CABOT LEWIS PERRY PALFREY PERKINS EDWARD A. TAFT

THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC

ABRAM T. COLLIER Chairman RICHARD P. CHAPMAN MRS C. D. JACKSON ALLEN C. BARRY Vice-Cliairman JOHN L COOPER HOWARD W. JOHNSON LEONARD KAPLAN Secretary ROBERT CUTLER SEAVEY JOYCE

MRS FRANK ALLEN NELSON J. DARLING JR GEORGE H. KIDDER ROBERT C. ALSOP BYRON K. ELLIOTT LAWRENCE K. MILLER OLIVER F. AMES MRS HARRIS FAHNESTOCK LOUVILLE NILES LEO L BERANEK PAUL FROMM HERBERT W. PRATT DAVID W. BERNSTEIN CARLTON P. FULLER NATHAN M. PUSEY MRS CURTIS BROOKS MRS ALBERT GOODHUE MRS FAIRFIELD E. RAYMOND GARDNER L BROWN MRS JOHN L GRANDIN JR PAUL REARDON MRS LOUIS W. CABOT STEPHEN W. GRANT DONALD B. SINCLAIR MRS NORMAN CAHNERS SAMUEL A. GROVES SIDNEY S. STONEMAN LEVIN H. CAMPBELL III FRANCIS W. HATCH JR JOHN HOYT STOOKEY ERWIN D. CANHAM ROBERT G. WIESE

COUNCIL OF TANGLEWOOD FRIENDS

ROBERT C. ALSOP MRS FREDERICK W. LORD FRANK W. McCABE Chairman Secretary Chairman, Special Cifts Committee

MRS STEPHEN V. C. MORRIS JAMES C. HART MRS PETER VAN S. RICE Vice-chairman Chairman, Business Committee Chairman, Membership Committee MRS WILLIAM RYAN Chairman, Special Events Committee

CHAIRMEN OF THE BOARDS OF SELECTMEN (ex officio)

ROBERT G. WILLIAMS JOHN PIGNATELLI EDWARD F. MURRAY Stockb ridge Lenox Lee

ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA

THOMAS D. PERRY JR Manager

JAMES J. BROSNAHAN HARRY J. KRAUT MARY SMITH Associate Manager, Associate Manager, Concert Manager Business Affairs Public Affairs

MARVIN SCHOFER JAMES F. KILEY ANDREW RAEBURN Press and Public Tanglewood Superintendent Program Editor Information

copyright © 1969 by Boston Symphony Orchestra Inc.

TANGLEWOOD LENOX MASSACHUSETTS .

BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director

CHARLES WILSON Assistant Conductor When

I'm in

Hawaii : first violins cellos bassoons

shall I go Joseph Silverslein Jules Eskin Sherman Walt concertmaster Martin Hoherman Ernst Panenka to the Alfred Krips Mischa Nieland Matthew Ruggiero George Zazofsky Karl Zeise Naniloa, Rolland Tapley Robert Ripley Roger Shermont Luis Leguia contra bassoon the Kauai Max Winder Stephen Geber Richard Plaster Harry Dickson Carol Procter Surf or Gottfried Wilfinger Jerome Patterson Ronald Feldman Kona Inn? Fredy Ostrovsky horns Leo Panasevich William Stokking James Stagliano Noah Bielski Charles Yancich THE Herman Silberman Stanley Benson basses Harry Shapiro Eiichi Tanaka* Thomas Newell Alfred Schneider Henry Portnoi Paul Keaney "My travel agent tells me it's a sparkling new re- Julius Schulman William Rhein Ralph Pottle sort right at the water's edge of Hilo Bay. Says Gerald Gelbloom Joseph Hearne the rooms are pure luxury . . . and the view is Raymond Sird Bela Wurtzler trumpets Leslie Martin John Salkowski Armando Ghitalla John Barwicki Roger Voisin Buell Neidlinger Andre Come Robert Olson Gerard Goguen

second violins superb. Swimming pool, two dining rooms, danc- flutes trombones Clarence ing, nightly entertainment and a piano bar, he Knudson William Marshall William Gibson says. And it's close to the volcano area . . . I've Doriot Anthony Dwyer wanted to those smoldering fire pits Michel Sasson Josef Orosz always see James Pappoutsakis and lava tubes and fern forests and all those Ronald Knudsen Kauko Kahiia Phillip Kaplan orchids and things." Leonard Moss William Waterhouse tuba Ayrton Pinto piccolo Amnon Levy Chester Schmitz Laszio Nagy Lois Schaefer Michael Vitale Victor Manusevitch timpani Max Hobart oboes Everett Firth John Korman Christopher Kimber Ralph Gomberg percussion "He called it a swingin' place. Says it has a beau- Spencer Larrison John Holmes tiful big white sand beach called Kalapaki, and a Hugh Matheny Charles Smith spectacular 9 hole par 35 golf course too. And you Arthur Press can surf, sail, paddle an outrigger canoe, go ti leaf assistant timpanist sliding (that sounds like fun!), dine in a pent- Thomas Gauger house, or one of three other places, dance, play english horn Frank Epstein tennis, see a nightly show and I forget what else." violas Laurence Thorstenberg KONA INN harps Burton Fine "And I've heard about the famous Kona Inn on the Reuben Green clarinets Bernard Zighera Kona Coast of Hawaii. People say it's really charm- Eugen Lehner Olivia Luetcke ing .. . friendly people . . . lots of historic things . George Humphrey Gino Cioffi and it's right on the water, too. Wonder what the Jerome Lipson Pasquale Cardillo librarians men in the office would say if I caught a marlin!" Robert Karol Peter Hadcock Bernard Kadinoff Victor Alpert * My smart travel agent tells fb clarinet Vincent Mauricci William Shisler me I can go to all three and visit Earl Waikiki too — for only Hedberg Joseph Pietropaolo bass clarinet $10 additional air fare. stage manager Robert Barnes Why don't you ask your smart Yizhak Schotten Felix Viscuglia Alfred Robison travel agent about Hawaii's Common Fare Plan — and go to the Naniloa, Kauai Surf and Kona Inn? u personnel manager William Moyer

INTER-ISLAND RESORTS -k^ *member of the Japan Philharmonic Symphony Orchestra partici- P. O. Box 8539 • Honolulu, Hawaii 96815 pating in a one season exchange with Sheldon Rotenberg. KONA INN / KAUAI SURF / THE NANILOA George Dickel will soon be up there. With the other great Tennessee Sour Mash Whisky. We have a lot going for us. Only George Dickel is filtered— cold—two sepa- rate times. Once before aging. Once after. These extra steps add a gentleness to our whisky. Our own special kind of gentleness. Try George Dickel. When we move up, we'd like to have you with us.

) Geo. A. Dickel & Co.. 90 proof. Tullahoma, Tenn. TANGLEWOOD PRESENTS THE GREAT MUSICIANS OF TODAY AND BUILDS THE GREAT MUSICIANS OF TOMORROW

with your help

In addition to offering twenty-four concerts eachi summer with the Boston Symphony Orchestra and prominent visiting artists, Tanglewood operates the BERKSHIRE MUSIC CENTER, a world-famous summer program for gifted young artists seeking a career in music. Since the operation of the Music Center increases

the annual deficit of the Orchestra, Tanglewood must look to its Friends for support.

Original Paintings by You can help by joining the FRIENDS OF MUSIC AT TANGLEWOOD. A Family Season Membership in the Friends at $25 entitles a family to attend all Berkshire Music Center events without further contribution; an Individual Season Member- ship at $15 offers the individual the same privileges. For additional information, on permanent exhibition you are invited to visit the Friends office near the Main Gate.

with the In 1968 the COUNCIL OF TANGLEWOOD FRIENDS was formed to generate Stockbridge further support of the Boston Symphony Orchestra's summer activities. The following is a list of the current Council membership (not complete): Historical Collection

Mr and Mrs Robert C. Alsop William H. McAlister Daily 10—5 except Tuesday Mrs William F. Barrett Jr Mr and Mrs. Frank W. McCabe Open Year Round Mrs Benjamin M. Belcher Mrs John McLennan Adults $1.00 Children cents 25 Mr and Mrs Peter Berle John T. McPhillips Arthur R. Birchard Jr Charles Meloun

George J. Bisacca Mr and Mrs Lawrence K. Miller Mr and Mrs Russell Bolduc Miss Margo Miller Mr and Mrs Samuel Boxer Mr and Mrs Robbins H. Miller Mrs Prentice Bradley Mr and Mrs George E. Mole Mr and Mrs Gardner L. Brown Mr and Mrs Stephen V. C. Morris BERKSHIRE THEATRE Ernest Brundage Mr and Mrs Frederick M. Myers FESTIVAL 1969 John W. Carter Jr Joseph F. Pelkey Stockbridge, Massachusetts Mrs Bruce Crane Basil Petricca

Artistic Director: ARTHUR PENN Mrs Edward FH. Cumpston Mrs Thomas Plunkett Executive Producers: Mr and Mrs David T. Dana Jr Mr and Mrs Jeffrey Potter LYN AUSTIN OLIVER SMITH Mr and Mrs Churchward R. Davis Mrs Philip Potter Tuesday July 1 - Saturday July 12 Mr and Mrs John M. Deely Jr Mr and Mrs Joseph Ranieri ANNE BANCROFT and JAMES BRODERICK Mrs George Edman Mr and Mrs Peter Van S. Rice AMERICAN PRIMITIVE John Fitzpatrick Mr and Mrs Charles F. B. Richardson a new play by Mr and Mrs Paul Fromm Mr and Mrs Albert I. Ris WILLIAM GIBSON John V. Geary Mr and Mrs William Ryan Directed by Mr ahd Mrs Edwin Ginsburg Mrs William A. Seike FRANK LANGELLA Mr and Mrs Milton J. Gordon Mrs John L. Senior Wednesday July 16 - Saturday July 26 Mr and Mrs John H. P. Gould Mr and Mrs George T. Sewell HUNGER AND THIRST Mr and Mrs John Mason FHarding Mr and Mrs William F. Shaw a new play by Mr and Mrs James C. Hart John F. Shea EUGENE lONESCO Mr and Mrs D. Hatch James R. Sloane with J. JAMES PATTERSON Luke S. Hayden Mr and Mrs George Stedman directed by Mr and Mrs Amory Houghton Jr Mrs Edgar Stern ARTHUR STORCH Walter D. Howard Mr and Mrs Whitney S. Stoddard Julian Street Wednesday July 30 - Saturday August 9 Mr and Mrs Lawrence Howitt Mr and Mrs TIMON'S BEACH John B. Hull Mr and Mrs Warren B. Syer a libretto for actors from Shakespeare Mrs C. D. Jackson Donald A. Thurston on the themes of exile and return Mr and Mrs Paul J. Jacques Mr and Mrs Theodore Trombly Conceived and directed by W. David Judson John A. Tuller GORDON ROGOFF Mrs. Alfred Kay William F. Weigie Jr Wednesday August 13 - Saturday August 23 Mr and Mrs Joseph T. Kelley Mr and Mrs Robert K. Wheeler TO BE ANNOUNCED Mrs H. j. Wheelwright Box Office Hours: 10 am-10 pm; Mondays 10 James Kiley am-6 pm; Sundays 12 noon-6 pm. For reserva- Mrs Serge Koussevitzky Mr and Mrs George Wilde tions call (413) 298-5536. Theatre located at Karl Lipsky Mr and Mrs John H. Winant Junction rtes. 7 & 102. Mr and Mrs Frederick W. Lord Mervin Wineberg

iiv >V\ YALE CONCERTS illiamstGwn in NORFOLK THEATRE AWA\PCH Tenth Season A COUNTRY INN Norfolk, Connecticut 35 miles south of Lenox. Top musicians. 1969 SEASON Thoughtful programming. Intimate, histor- ically-significant setting of unusual beauty Across the road from July 3-12 ^^ .^^ and charm. RING AROUND THE at 8:30 p.m. MOON <^TANGLEWOOD^*************************** Fridays by Anouilh A Country Inn resort with charming July 4 - August 22 rooms, excellent food and all July 15-19 afternoon, resort facilities including pool, Sunday YOU KNOW I CAN'T HEAR YOU WHEN water-skiing, tennis and free golf. August 17, 3:30 THE WATER'S RUNNING Saturday afternoon, ***************************** by Robert Anderson I August 23, 2:30 BEFORE THE CONCERT HAVE AN July 22-26 EXCEPTIONAL AND UNUSUAL MEAL IN THE THE YALE QUARTET TARTUFFE FIVE REASONS STEAK & ALE HOUSE ***•*••**••*•••*••*•*•******* "... Worthy of international ranking" by Moliere (New York Times, 1968) July 29-August 2 SWEET BIRD OF YOUTH YALE SUMMER After the concert try our 30 varieties of by Tenessee Williams Imported beers and ales, taste one of our ORCHESTRA August 5-9 many delicious and different sandwiches, Jackson Wiley, Keith Wilson, conductors or just enjoy the fine music. to be announced LITCHFIELD COUNTY August 12-16 THE CHERRY ORCHARD DINING INTHEGAZEBOi CHORAL UNION Breakfast, Lunch and Dinner founded 1899 by Chekov Huge Sunday Brunches and Friday Buffets August 19-23 SOLOISTS: Syoko Aki, Ward Da- A return of an earlier produced play venny, Broadus Erie, Ralph Kirkpat- August 26-30 mi OF"fHE FITS RS&SOITS rick, Thomas Nyfenger, Aldo Parisot, A MUSICAL STmim SOUSE ^.»- David Schwartz, Blake Stern, Keith

For information call or write Wilson. WILLIAMSTOWN THEATRE Free program brochure: Williamstown, Mass Norfolk, Conn. 06058. 413-458-8146 Telephone: (203) 542-5719

Now Pittsfield has exciting

Berkshire Common

and now the Berkshires

have everything/

Add this to the pines and maples, space for some 20 specialty in touch with the leasing agent, the lovely Berkshire Hills, Tan- shops, a 14-story, 176-room motor Durand Taylor Company, 70 glewood, the thriving Berkshire inn, a 325-car parking garage, a South Street in Pittsfield — 413/ economy, the prospering city of landscaped plaza. Office and re- 443-5574.

Pittsfield . . . and you've really tail areas will be ready for occu- got something. Maybe you've got pancy late this year, and the hotel everything. will be finished next spring.

BERKSHIRE COMMON, con- It's a self-contained village in the ceived by Berkshire Life Insur- heart of Pittsfield, at Route 7 and ance Company, is an exciting West Street. We could tell you complex of office space, retail lots more, and we will if you'll get Berkshire Common j

ANNOUNCING THE 1969 FESTIVAL OF CONTEMPORARY MUSIC AT TANGLEWOOD

SPONSORED BY THE BERKSHIRE MUSIC CENTER, ERICH LEINSDORF, DIRECTOR, AND THE FROMM MUSIC FOUNDATION

PART ONE

luly 29 8 pm Shed FORT E REAL CONTEMPORARY TRENDS CONCERT featuring Ornette Coleman JA, ICA and tlie Thad Jones/Mel Lewis Orctiestra

July 30 9 pm Theatre BMC ORCHESTRA CUNTHER SCHULLER conductor

including tlie premiece of a Triient new work by Tlieodore Antoniou* July 31 9 pm Theatre VILLAS HOTEL BMC CHAMBER MUSIC PORT ANTONIO • J/ ^ICA • WEST INDIES AND DANCE PROGRAM

including tlie premiere of a new Trident Villas, newest hotel in vate terrace. Dine elegantly in work by Robert Ceely* Port Antonio is the ultimate in our Main Great House and dance choreographed by James Waring elegance and privacy. Located under the stars. Swim in our pri- six acre estate the sea, it vate cove or fresh on a by sandy water August 2 4.30 pm Main lawn is designed as a replica of a swimming pool. charming Jamaican village with For reservations and informa- CONCERT OF ELECTRONIC MUSIC decor reflective of a Jamaican tion contact: RR Hotel Repre- Great House. Choose individual sentatives. 1270 Avenue of the guest cottages, studios or one Americas, New York. Tel. (212) PART TWO bedroom suites, each with a pri- PL 7-4666. August 11 9 pm Shed

WOZZECK (Berg)

in concert version performed by members of the BMC, conducted by ERICH LEINSDORF

August 12 8 pm Shed CONTEMPORARY TRENDS CONCERT featuring The Fillmore at Tanglewood of Fine & with the Joshua Light Show August 13 9 pm Theatre lied BMC CHAMBER MUSIC AND DANCE PROGRAM including L'HISTOIRE DU SOLDAT (Stravinsky) conducted by ERICH LEINSDORF and choreographed by Joseph Cifford; and a repeat of the July 31 dance work by Robert Ceely

VJ August 14 9 pm Theatre Boston BMC CHAMBER MUSIC . including premieres of new works by Edwin Dugger* and University Phillip Rhodes* August 16 9 pm Theatre a broad range program of professional training in all aspects of art, music, BMC COMPOSERS' FORUM and theatre, on graduate and undergraduate levels, with a distinguislied including works by composers working in the Fellowship Program of the Center faculty of artist-teachers, and, in conjunction with the [Berkshire Music

Center, a summer program of worl

WOZZECK (Berg) dance, drawing and painting at Tanglewood. 8 repeat of August 11 concert conducted by ERICH LEINSDORF Boston University

School of Fine and Applied Arts * commissioned for the Festival by the Berkshire Music Center in co-operation 855 Commonwealth Avenue with the Fromm Music Foundation, Paul Fromm, President Boston, Massachusetts 02215 programs subject to change ..*- ~ iy^' ,

The •-— .». BERKSHIRE MUSEUM

in the center of Pittsfield open FREE

Tuesday-Saturday 10-5, Sunday 2-5

F»^> ART • SCIENCE • HISTORY The hvely museum -fte everyone enjoys! Wm pillars AIR CONDITIONED • Announces ;«»: The reopening of »'.A>^j its dining rooms LITTLE with the traditional charm L* of woodburning fireplaces and CINEMA that ^ fine food has made Monday thru Wednesday 8:15; Thurs- The Pillars day thru Sunday continuous from famous for over the years. 7 p.m. Matinees Wednesday 2 p.m. DINNERS WILL BE SERVED

WEEKDAYS 5- 1 O P.M. The finest American and for- SUNDAYS 1-9 P.M. eign movies, presented in CLOSED MONDAYS b'^' a cool and beautiful theater. YOUR HOSTS WILBUR a SCOTTIE -^*^

Tor reservations call "WAR AND PEACE," Lebanon Springs (518) 795-3401 1969 Academy Award winner, 30-Aug. 12. Nightly 8:15. ROUTE 20 July NEW LEBANON CENTER, N.Y. 12126 phone 442-6373

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Pittsfield, Mass ->.^' for the finest indoor tennis

THE TRI-CITY RACQUET

CLUB 1969/70 court reservations are now being accepted. For additional information write to Box 1121, Albany, New LATHAM, N.Y. York 12201, or call (518) 462-6205.

'^ 1 ^r^' '^ ^"^ ^^ 1 <:/ tf i ^""tie /^»^ [Distinctive Gifts for Gracious Living Gracious Givingi ^ for A complete source for China, Glass, Dinnerware, Clocks, Candles, Lamps, Lighting Fixtures, Baskets & Pottery, Wooden ware, Pewter, Brass & Copper, Door Stops, Hitching Posts, Weather vanes, Braided & Hooked Rugs, Woven Coverlets, Place Mats & Table Linens, Gourmet Cookware, Colonial Hard- ware, Franklin Stoves, Andirons & Fireplace Equipment, Pictures, Wall Hangings, Mechanical Banks, Ezciting Imports, Decorative Accessories, Documentary Fabrics & Wallpapers, Upnolstered«S; Early American Furn - OPEN iture, Authorized "Colonial Williamsburg" and "Henry Ford Museum EVERY Collection" Reproductions, Authentic Americana. DAY |9-5:30P.M. '?^^ii',

Recapture Yesteryear's Nostalgia at Seth & Jed's Country Store Btrbs and SplMt Smokelunse Earns and Btcos Choice ClteMM Old-FuMoned Imported Delicacies Soarmet roods Jams and Jellies C»nd7 PapeUriei Maple ProdncU ApotliKar7 Jan In the Big Bed on liTe-rrr Eaa.arl«t».d.'« .A.aaca.«ric«L3a.«. iv^a.xlcetpl».eo Bams Stockferldge Botd, R«tite 7 1 ^^'^ *^orth of Great Barrington o-i^E-A-T«.^^ ^ rr, B-AJEaia3^Ta-'ro^,^ ^ ^^.^^^ ^^^^ ^ , auLA^s, Telephone: 413-528-1500

Remember, you haven't seen the Berkshtres if you katen't sren JEIMFER HOtSEI >^ -r. ,; >. :_..?- BERKSHIRE FESTIVAL 1969

Friday August 1 1969 at 7 pm

BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

WEEKEND PRELUDE

BERKSHIRE BOY CHOIR ALLAN WICKS Music Director LOWELL LACEY and ALLAN WICKS piano

TIPPETT Dance, clarion air born 1905

BRITTEN Hymn to St Cecilia born 1913

VAUGHAN WILLIAMS Valiant-for-truth 1872-1958

BRITTEN The ballad of Little Musgrave and Lady Barnard

RIDOUT Divertimento on poems of Robert Burns born 1934 Happy friendship

I'll kiss thee yet, yet Whistle, and HI come to you, my lad The Captain's lady Wilt thou be my dearie

A fig for those by law protected written specially for the Berkshire Boy Choir

,fin't''*»r»M

iiib ft oAVraiWhitestone Photo BALDWIN PIANO RCA RECORDS 15 "A greatest symphony orchestra does now exist,

and it is headquartered in Boston, Massachusetts'.' High Fidelity

BEETHOVEN

SYMPHONY NO. ( 'PASTORAL' BOSTON SYMPHONY ERICH LEINSDORF

• - -"

RCil RED SEAL J'rokofieff STEREO honyNo.2 ueutenantKijeSuite David Cbtwopthy Boston Symphony Erich LeinsdoPT .Mr. 'Am/at Hp/yC ^'(

'm- ^n 9]

/.'

Red Seal Recordings RG/I

16 BERKSHIRE FESTIVAL 1969

Friday August 1 1969 at 9 pm

BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director

ERICH LEINSDORF conductor

STRAVINSKY Symphony in C

Moderate alia breve Larghetto concertante Allegretto

Largo - tempo giusto, alia breve

first performance at the Festival concerts

SCHOENBERG A survivor from Warsaw op. 46* DAVID CLATWORTHY narrator TANGLEWOOD CHOIR CHARLES WILSON Director JOHN OLIVER Assistant Director

first performance at the Festival concerts

intermission

BRAHMS Symphony no. 4 in E minor op. 98*

Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionate

The program notes for tonight's concert begin on page 24

BALDWIN PIANO RCA RECORDS* 17 .

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EL^m PRESIDENTE . cozumel COZUMEL. Q. ROO, MEXICO • ANOTHER GREAT BALSA HOTEL See your travel agent (or reservations, or contact our local representatives. In New York, call Utell International: (212) CI 6-3715. Other offices in Boston, Chicago, Toronto, Montreal, Miami, London. In Los Angeles, San Francisco, Seattle, call John A. Tetley Co., Inc.

THE GOLDEN RESORT ACAPULCO *mUL

POSADA DEL SOL IflAKES IT YOUR MOST EXCITING VACATION EVER

Acapulco ! A color carnival of unending delights — bullfights, Jai Alai, water ballet, exotic night clubs and pulsating discotheques. Golf, tennis, sailing, scuba, water ski-

ing, swimming. Breathtaking views of mountains and bay. And right at its heart is Posada del Sol, the liveliest most luxurious hotel of them ?U. Renowned for great food, accomodations and service. Fun filled days, romantic nights... on the golf

course, by the pool, on sun drenched sands of Club de Playa by the blue Pacific . . dancing, entertainment, parties. For your dream vacation, for sports, for fun, come to Posada del Sol in swinging Acapulco.

POSADA DEL SOL Costera M. Alemah Acapulco, Mexico See your travel agent for reservations, or contact our representatives. In New York, call Utell Inter- national (212) PL 7-2981. Other offices in Boston, Chicago, Dallas, Miami, Philadelphia, Montreal. Toronto, London. On the west coast, call John A. Tetley Co., Inc.—Los Angeles, San Francisco, Seattle. Wl 18 BERKSHIRE FESTIVAL 1969

Saturday August 2 1969 at 8 pm

BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

PIERRE BOULEZ conductor

HAYDN Sinfonia concertante in B flat for oboe, bassoon, violin and cello op. 84

Allegro Andante Allegro con spirito RALPH GOMBERG oboe SHERMAN WALT bassoon JOSEPH SILVERSTEIN violin JULES ESKIN cello

DEBUSSY Jeux-poeme danse (1912)

intermission

BARTOK Two rhapsodies for violin and orchestra (1928)

'Lassu' : moderato

'Friss' : allegretto moderato

'Lassu' : moderato

'Friss': allegro moderato

JOSEPH SILVERSTEIN violin JOHN HOSSZU LONG cimbalom

DEBUSSY La mer: trois esquisses symphoniques* (The sea: three symphonic sketches)

De I'aude a midi sur la mer (From dawn to noon on the sea)

Jeux de vagues (The playing of the waves)

Dialogue du vent and de la mer (Dialogue between the wind and the sea)

The program notes for tonight's concert begin on page 27 BALDWIN PIANO RCA RECORDS* 19 Going to fun-filled Puerto Rico?

Hotel EL CONVENTO your gateway to enchantment

Puerto Rico abounds in the fun the Caribbean is noted for. There are white sand beaches and azure blue waters, awash with sunlight and cool breezes. There are green golf courses and smooth tennis courts. Chic shops, gay restaurants and sophisticated night spots of Old San Juan, cos- mopolitan city of the isiands, beckon. Make your gateway to all this fun and excitement the hotel the particular traveler chooses... the EL CONVENTO. A grand hotel in the true sense of the word, where the luxurious and the elegant are commonplace. Where the finest cuisine is impeccably served, in the splendor of one of the great restaurants of the Caribbean. Where a friendly staff waits... to pamper you with service and help you to enjoy your vacation in the sun. SEE YOUR TRAVEL AGENT represented by Hetland & Stevens Inc. 211 East 43rd Street, New York City TN 7-1450 Offices in Chicago and Boston l^ao BERKSHIRE FESTIVAL 1969

Sunday August 3 1969 at 2.30 pm

BOSTON SYMPHONY ORCHESTRA

ERICH LEINSDORF Music Director

DANIEL BARENBOIM conductor

MENDELSSOHN Overture 'Ruy Bias' op. 95

ELGAR Cello concerto in E minor op. 85

Adagio - moderato

Lento - allegro molto Adagio Allegro JACQUELINE DU PRE

intermission

BEETHOVEN Symphony no. 5 in C minor op. 67^

Allegro con brio Andante con moto

Allegro - allegro

The program notes for this afternoon's concert begin on page 30

BALDWIN PIANO RCA RECORDS* 21 .

And for an encore. . . r;3S»*Tr" RED SEAL RED SEAL nc/i RED SEAL ncii SttHbO .ARTHyRFlEDLER STON -^%t^f^ ;lenn BIGGESTHIBl^

Available on RCA Stereo 8 Cartridge Tape RGil 22 BERKSHIRE FESTIVAL 1969

Tuesday August 5 1969 at 8 pm

BOSTON POPS ORCHESTRA ARTHUR FIEDLER conductor

PENSION FUND CONCERT

OLD TIMERS' NIGHT

Pomp and circumstance no. 1 in D* Elgar

Overture to 'Raymond' Thomas

Intermezzo from 'Cavalleria Rusticana'* Mascagni

Dancing through the years* arr. Hayman

Cakewalk - Charleston - Tango - Square dance -

Waltz - Polka - Rumba - Jitterbug-swing -

Mexican hat dance - Cha-cha-cha - Rock and roll intermission

Old time fairy tale - 'Peter and the wolf* Prokofiev JOAN KENNEDY narrator

Old timers' night at the Pops* arr. Lake

Ta-ra-ra-boom-de-ay - The Bowery - The sidewalks of

New York - Sweet Rosie O'Grady - Daisy - The band played on -

After the ball - A hot time in the old town tonight

Intermission

Waltzes from 'The merry widow'* Lehar

Those were the days Raskin

America sings* arr. Bodge

A hot time in the old town tonight - I've been working on the railroad - Down by the old mill

stream - In the good old summer time - Jingle bells

When Irish eyes are smiling - God bless America

The audience is invited to sing along in 'Old timers' night at the Pops' and 'America sings'. Song sheets are provided with the program.

The Board of Directors of the Pension Fund wish to express their gratitude to Joan Kennedy for taking part in this evening's program.

BALDWIN PIANO RCA RECORDS* 23 Program notes for Friday August 1

dining guide IGOR STRAVINSKY born 1882

Symphony in C BLACKBERRY RIVER INN U.S. rt. 44 Norfolk, Conn. A delightful country Inn and In the years 1905-7, Stravinsky, studying with Rimsky-Korsakov, and resort, Fine restaurant and under the special momentary influence a lounge; All rooms with bath of Glazunov, composed sym- (European and American phony in E flat major and dedicated it 'to my dear teacher Nicolay Plan) just one hour from Andreyevich Rimsky-Korsakov'. It was first performed at St Petersburg on Reservations Tanglewood — January 22 1908, and published in 1914 as his Opus 1. Writing another (203) 542-5100. Owned and operated by the Schwartz- symphony thirty-three years later, the composer did not give it a num- haupt family since 1939. ber. The course of his artistic career through the period between the symphony of his student days and the later work never led him into the PONTOOSUC LODGE, Bull symphonic form. Hill Road, Lanesborough, Mass. (P. O. Box 1287, Pitts- A description of the 'Symphony in C by Sol Babitz in the January 1941 field, Mass.) Main lodge and issue of the Musical Quarterly is derived from a cottages located directly on study of the score beautiful Pontoosuc Lake. previous to its performance — a study in which the writer was aided by Close to Tanglewood and all the composer explaining his music at the piano: cultural attractions. Private beach, boats, canoes, water- 'The death rattle of the sonata form having been audible for some years, skiing, swimming pool. De- and official obituaries printed, it is rather awkward at this time to have licious food, intimate bar, late snacks. Informal, friendly va- to acknowledge the existence of a master of that form. Having carefully cation spot. Supervised Day examined the score and listened to it on the piano, one cannot mistake Camp. Reasonable rates. For the true proportions of this work, possibly the most serious of the information, and reservations composer's career. Tel. 413-499-0149. 'The impeccable unity of his more picturesque scores in the past may LAKE INN, MOTEL & QUEECHY have been prophetic, for in this work "he has an inexhaustible faculty PACKAGE STORE. On Beautiful Lake Queechy. Luncheon served for presenting his ideas in fresh aspects, yet always logically connected daily during July and August. with one another, each growing naturally out of the preceding, and Luncheon - 12:00-2:30, Dinner - 5:00- leading as naturally into what follows." (Ebenezer Prout's appraisal of 10:00 Daily, Dinner - 1:00-9:00 Sun- Beethoven's powers of symphonic development.) In reading the score, day. Canaan, New York. Motel — 781-4615. Restaurant — 781-4933. the form unfolds before the eye as clearly as that of a classical work. Lakeview Dining. Yet the page as a whole reveals a visual difference portentous of the new sounds contained. The manuscript is quite white, perhaps whiter than any of Stravinsky's scores; an unforgivable sin in the eyes of the pedants who have been held spellbound by the increasing blackness of

symphonic scores during the last one hundred years. There is none of the conventional doubling, no outward attempts at tonal balance. One may detect elegance but never affectation. The economy and simultane- ous richness of the opening movement are evident. Throughout there

is a certain breathlessness which adds life to the already busy music' IF IT'S Stravinsky finished the Symphony during the summer of 1940, and himself conducted the premiere at a concert by the Chicago Symphony Orchestra the following November 7. Two months later Stravinsky FUN TO conducted the first Boston performance in Symphony Hall with the Boston Symphony Orchestra. John N. Burk DO IT'S IN ARNOLD SCHOENBERG 1874-1951 A survivor from Warsaw op. 46

Like Mahler, whom he admired so greatly, Schoenberg was born in the Jewish faith, but was converted to Catholicism. The anti-Semitic cam- paign unleashed by Hitler moved Schoenberg to return to the religion of his forebears. In a ceremony held in a Paris synagogue on July 24 1933, Schoenberg once more became a Jew. A survivor from Warsav^

is an anguished expression of Schoenberg's Jewish consciousness. The work was commissioned by the Koussevitzky Foundation. He completed Capital District the composition in twelve days, between August 11 and August 231947. Central New York Hartford Schoenberg was singularly proud of his proficiency in English and Rochester frequently engaged in argument with American-born friends about the Buffalo (Niagara Frontier) proper usage of words and idioms. The title A survivor from Warsaw was his own. His publishers felt that the preposition 'from' was an unidiomatic rendering of the German 'von', and suggested to change it to 'of. Schoenberg did put 'of in the manuscript, but inserted a de- risive exclamation point in parentheses after it to indicate his disagree- ment. Eventually he prevailed, and the score was published with the Germanic 'from' in the title. 24 Schoenberg wrote his own English text for the work, and its curious syntax intensifies the sense of irreality, terror and hopelessness of the situation. The narrative is based on reports Schoenberg received from See Famous Mt. Lebanon actual survivors of the hideous hell in the Warsaw sewers where the

Jews were hiding. It tells a moving story of the persecuted people who, at the point of death, summon their last courage and together intone SHAKER the Hebrew prayer Shema Yisroel.

scoring is for narrator, VILLAGE The men's chorus and orchestra. The narrator's part is written in Sprechgesang, inflected speech which Schoenberg Free Guided Tours of unique teen- introduced in Gurre-Lieder and developed in Pierrot Lunaire. Its nota- age historic restoration. Re-creates tion is unusual. The relative pitch of the syllables of the text is indicated early American Shaker industries, by varying positions above and below a single central line, but sharps workshops, handcrafts. Ancient and flats are placed in front of these indeterminate notes, giving the Shaker looms and equipment used visual impression of a musical staff. The final Hebrew prayer, however, for broom-making, weaving, crafts, is in regular five-line notation. arts. Original Mt. Lebanon Shaker dwellings and workshops designat- The work is written according to Schoenberg's method of composition ed by U.S. Government as national with twelve tones. No more fitting medium can be imagined for this landmark for preservation. Shaker agonizing subject, with 'squeezed octaves' resulting in the thematic items available to public. supremacy of atonal major sevenths, with the classical tonic-dominant relationship of a perfect fifth replaced by the tritone, the 'diabolus in Free Guided Tours by teenagers, musica' of the medieval theorists. The chromatic dispersal inherent in 9:30-11:30; 2:00-5:30 (closed the dodecaphonic technique may well have assumed in Schoenberg's Mondays). mind the symbolic significance of the diaspora of Israel. The illustrative At top of Mt. Lebanon on Route power of the music is further enhanced by the use of a large section of 20 at N.Y.-Mass. border. percussion instruments in the score. It is significant, however, that Schoenberg shuns the obvious dramatics of the military drum. When Tel.: Lebanon Springs, (N.Y.) the Nazi Feldwebel shouts, 'In a minute I will krxjw how many I am 518 795-2302 going to send off to the gas chamber!' the accompaniment is ominously subdued, limited only to strings. No Admission Charge

Schoenberg's text of A survivor from Warsaw, with German sentences Shaker Village Work Group interpolated in the original, is as follows: Shaker Rd., New Lebanon, N.Y.

'I cannot remember everythmg. I must have been unconscious most of the time; I remember only the grandiose moment when they all started to sing, as if prearranged, the old prayer they had neglected for so many years — the forgotten creed!

'But I have no recollection how I got underground to live in the sewers of Warsaw so long a time.

'The day began as usual. Reveille when it still was dark — get out whether you slept or whether worries kept you awake the whole night: ^ttiiss Mm you had been separated from your children, from your wife, from your HILLSDALE. NEW YOBI parents, you don't know what happened to them; how could you sleep?

'They shouted again: "Get out! The sergeant will be furious!" They came out; some very slow, the old ones, the sick men, some with nervous agility. They fear the sergeant. They hurry as much as they can. In vain! Much too much noise, much too much commotion and not fast enough! ^clUd Dining

'The Feldwebel shouts: ''Achtung! Still gestanden! Na wird's mal, oder soil ich mit dem Cewehrkolben nachhelfen? Na jut; wenn Ihr's durchaus neui idux Klolel haben wollt!" ["Attention! Stand still! How about it, or should I help you along with a bayonet butt? All right, would you kindly oblige?"]

'The sergeant and his subordinates hit everyone: Young or old, strong or sick, guilty or innocent — It was painful to hear the groaning and moaning.

'I it I heard though had been hit very hard, so hard that I could not help 30 niiLuites falling down. We all on the ground who could not stand up were then beaten over the head. bTciunelujooci

'I must have been unconscious. The next thing I knew was a soldier saying, "They are all dead!" Whereupon the sergeant ordered to do away with us.

'There I lay aside half conscious. It had become very still — fear and

pain — Then I heard the sergeant shouting: "Abzahlen!" ["Count off!"] e -525-55^5 'They started slowly, and irregularly: One, two, three, four, ''Achtung." SI The sergeant shouted again: "Rascherl Nochmals von vorn anfangen! In einer Minute will ich wissen wieviele ich zur Gaskammer abliefere! 25 Abzcihlen!" ["Faster! Once more, start from the front row! In a minute

I will know how many I am going to send off to the gas chamber! Count off!"]

'They began again, first slowly: One, two, three, four, became faster

and faster, so fast that it finally sounded like a stampede of wild horses,

and all of a sudden, in the middle of it, they began singing the Shema Yisroel.'

Shema Yisroel Adonoy elohenoo Adonoy ehod. Veohavto es Adonoy eloheho behol levoveho oovehol nafsheho oovehol meodeho. Vehoyoo haddevoreem hoelleh asher onohee metsavvebo hayyom al levoveho. Veshinnantom levoneho vedibbarto bom beshivteho oovelehteho bad- dereh ooveshohbeho oovekoomeho.

[Hear, O Israel, the Lord our God the Lord is One! And thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all

thy might. And these words which I command thee this day, shall be in thy heart. And thou shalt teach them diligently unto thy children, and speak of them when thou sittest in thy house, and when thou goest on the way, and when thou liest down, and when thou risest up.]

Nicolas Slonimsky

Copyright ® 1969 by Performing Arts Magazine, Los Angeles. Reprinted by permission JOHANNES BRAHMS

Symphony no. 4 in E minor op. 98

When Brahms composed his Fourth symphony and submitted it for performance in the Principality of Meiningen on October 25 1885, he had an established reputation, but his symphonies were not yet widely and clearly understood. A proof of this is the report of Max Kalbeck, Brahms' eventual biographer but then his young adherent, of a pre- concert reading of the score in a two-piano version at which Kalbeck was present. The custom was established before each of the symphony premieres of a gathering of friends at the piano warerooms of Friedrich Ehrbar. This was a highly expert representation. There was Eduard Hanslick, the critic by then fully committed to Brahms, Hans Richter, one of his best conductors, Billroth, his musical doctor, C. F. Pohl; the biographer of Haydn, Kalbeck himself, and Ignaz Briihl who played the second piano part.

After the first movement there was an embarrassed silence, broken by Hanslick who said: 'The whole movement gave me the impression of two people having a fist fight.' After the Andante, anoth'er silence, and after the Finale, a general feeling that such a set of variations was inappropriate in a symphony — a definite mistake. 'Brahms received the judgment meekly,' wrote Kalbeck, 'protesting only that the piano could give no adequate idea of the scherzo,' which too had been unfavorably received.

The opinion of the more liberal and more discerning von Bijlow was

more encouraging. He wrote after the first rehearsal: 'Number four is stupendous, quite original, individual, and rock-like. Incomparable strength from start to finish.' But Brahms may have discounted this as a personally biased opinion, as he certainly discounted the adoring Clara Schumann and LisI Herzogenberg, when he weighed their words against the chilling skepticism of his male cronies.

The Fourth symphony was greeted at its first performances with a good deal of frigidity which Brahms had feared. The composer was perforce admired and respected. The symphony was praised — with reservations.

It was actually warmly greeted at Leipzig, where there was a perform- ance at the Gewandhaus on February 18 1886. In Vienna, where the symphony was first heard by the Philharmonic under Richter on Janu-

ary 17, it was different. 'Though the symphony was applauded by the public,' wrote Florence May, 'and praised by all but the inveterately

hostile section of the press, it did not reach the hearts of the Vienna

audience in the same unmistakable manner as its two immediate prede- cessors, both of which had made a more striking impression on a first hearing in Austria than the First symphony in C minor' (apparently Vienna preferred major symphonies!). Even in Meiningen, where the composer conducted the Symphony with Bijlow's orchestra, the recep-

tion was mixed. It took time and repetition to disclose its great qualities. ]ohn N. Burk 26 Program notes for Saturday August 2

FRANZ JOSEPH HAYDN 1732-1809

Sinfonia concertante in B flat for oboe, bassoon, violin and cello op. 84

While in the Berkshires Six symphonies for each of Haydn's two visits to London, however prodigious a contribution, were not the sum of the music he wrote Visit the for the concerts of Johann Peter Salomon. During his first visit of SHOE BOX eighteen months (between January 2 1791 and June 22 1792), he found Featuring: time to write a Sinfonia concertante to bring forward certain talents Jarmen's in Salomon's orchestra, in particular Salomon himself, as leader of the Hermen's violins (nor is Salomon slighted in the score). Haydn conducted it at the fourth concert on March 9th with Salomon, Menel, Harrington and Chippewa Little Holmes as the soloists, repeated the performance in the following week Yankees and again at a concert for his own benefit on May 3rd. Many other Famous Brands for the Entire Family Haydn follows the old concerto grosso style, combining and alternat- ing the two groups, the tutti and the concertino of four instruments. Ladies Sizes 4 to 12 The small group plays for the most part as a quartet, a high string and with 4/ A to EEE wind instrument balancing a low string and wind instrument. While, according to quartet procedure, the single voices are heard in turn, SHOE BOUTIQUE

there is little opportunity until the Finale for each instrument to exploit Exclusive Shoes

its individual character. This is true even in the thirty-five measures A. Geller for the concertino unaccompanied which take the place of a cadenza L Miller before the close of the first movement. In the Andante, the solo voices Evans within the quartet, lightly supported by the orchestra, take the melodic Mi)ji burden. The tutti set the pace of the lively Finale, whereupon the solo L'A.mica violin, after two brief interrupting recitatives (adagio), becomes the All at 40% to % Discount leading voice. The two wind instruments and then the cello have 335 North St. their innings before the concerted close. Across from Capitol John N. Burk All at 40% to 50% Discount

CLAUDE DEBUSSY 1862-1918

Jeux - poeme danse

A piano reduction of the score published before the first performance carries this synopsis of the plot: FIRST IN KNITS 'The curtain rises on an empty park. A tennis-ball falls on the stage. A young man in tennis costume, racket on high, crosses the stage in bounds, then disappears. From the back of the stage, to the left, two timorous and curious girls appear. For a moment they appear to be diuXidovJ^ searching a spot favorable to an exchange of confidences. One of them begins to dance. The other dances in her turn. They stop, puz- OF CONNECTICUT zled by a rustling of leaves. The young man is seen in the background apparently concealing himself, but following their movements. He stops in front of them. They would run away, but he gently brings them back and invites them; he begins to dance. The first of the girls runs towards him and they dance together. He asks for a kiss; she escapes him. Another demand; again she escapes, but rejoins him, con- { senting. The other girl is peevish and slightly jealous, while the couple remain amorously ecstatic. The girl dances by herself in an ironical, hamden mocking manner. The young man follows this dance at first from

curiosity, then taking a peculiar interest in it, he leaves the first girl, unable to resist his desire to dance with the other. "It is thus we will new Canaan dance." She repeats the same evolution in a mocking manner. "Don't mock me." They dance together. The dance grows more tender. She new haven runs away and hides behind a group of trees. They soon come together, the young man pursuing her, and again dance together. In the transport of their dancing they have not noticed the behavior, at first restless, then grieved, of the first girl, who, holding her hands over her face, wishes to run away. Her companion vainly tries to retain her. She will 27 not listen. The other girl succeeds in embracing her. The young man ^ gently draws their heads apart. They look about them: the beauty of the night, the joy of the light, everything urges them to give way to their OPERA FESTtVAL fantasie. Henceforth the three dance together. The young man, with FIVE WEEK SEASON a passionate gesture, brings the three heads together, and a triple kiss Opera in EngtUh melts them in ecstasy. A tennis-ball falls at their feet; surprised and

> frightened, they go bounding away, and in v< > disappear the depths of July 14 —• Au0Ust 16 the nocturnal park.'

When leux was staged in Paris and London, the sense of rightness in many of the audience and in some of the critics was disturbed. Ballet sets and ballet costumes could be of any period but one's own; to be- SEASON OF FIVE OPERA COMEDIES hold Nijinsky in strictly contemporary tennis flannels, a red scarf about Strauss: Adrladne auf Naxos his fine throat, was somehow wrong. The representation by Bakst of Donizetti: Don Pasquale impressionistic flowers and three objects that might have been cats Ravel: L'Heure Espagnol titters. Britten: Albert Herring caused Nor was the situation taken seriously when Nijinsky made Puccini: Gianni S

Mall Gazette had it, while the other whirled about in a sort of gymnas- tic fury of jealousy. The final pantomime of the triple kiss made, of course, an effective curtain. Debussy's music as such was not found wanting. The critic above-quoted wrote: 'It seemed crammed with a Season Subscriptions: 20.00; 16.00; 12.00 quaint delicacy that expressed the humor of the thing in a duly For Schedules: Call (518) 793-3858 exquisite way.' or to P.O. Box postcard 471, John N. Burk Glens Falls, N.Y. 12801 OPERA IN ENGLISH FEATURING FESTIVAL ORCHESTRA AND ARTISTS Air-Conditioned Festival Theater, Queensbury School. Follow signs at Exit 19, Norlhway (Inter. 87) BELA BARTOK 1881-1945

Two rhapso(dies for violin and orchestra

A day after Bartok died the New York Herald Tribune noted that he had been 'accepted as a man of unquestioned genius' from 1918 forward.

This gave the world too much credit. The likelihood is that whoever wrote the obituary not unnaturally leaned on columns by the. late music critic of the Herald Tribune — Lawrence Gilmari — whose lonely Investment eloquence in behalf of this composer bears witness to an order of acuity always more uncommon than it should be among men paid to use management for their ears.

As early as December of 1927, upon Bartok's arrival in the United States a portfolio of for the first time, Oilman concluded an extremely long and thoughtful

article with these words: 'His advent is consequential. There is reason $10,000 or more to suspect that the music of this retiring little man, who looks like a

It is our considered opinion that a struggling poet with a bad case of inferiority complex, is one of the well-cliosen individual counselor will major products of modern art.' so combine the arts of investment Within the next twelvemonth — the same year in which he composed selection and timing as to put in doubt the claims of any group, com- both of these Rhapsodies (although no. 2 was to be revised in 1944) — mittee or computer. Bartok collected a slightly incredible treasury of intemperate reviews from all manner of critical eminences. The review in Musical America We suggest you put this individual In-depth research and immediate de- on February 18 1928 fairly represents the consensus on that American cision to work for your portfolio. tour: 'We read Dr Oilman's notes with respect, listened to a few of the masterminds afterwards, and in our own unimportant opinion, this Expect creative investment perfor- [the Piano no. 1 Bartok that with mance. work concerto which performed week the Boston Symphony Orchestra] from first to last was one of the most davidw.cook&co. dreadful deluges of piffle, bombast and nonsense ever perpetrated on .' an audience. . . INVESTMENT COUNSEL

And mind. Musical America in those years was written by and for

David W. Cook & Co. professional musicians (even if the 'H. Noble' who signed that review Investment Counsel is not otherwise remembered). 24 Fair Oaks Park, Needham, Mass. 02192 Please send your complimentary bro- But prejudices do not begin overnight. Thirteen years earlier the ultra- chure "Investment Counselor: Your Establishment Musical Quarterly had printed this fantastic estimate by Personal Financial Adviser" Frederick Corder: 'If the reader were so rash as to purchase any of Name Bela Bartok's compositions, he would find that they each and all consist Street

of unmeaning bunches of notes. . . . Some can be played better with City_ the elbows, others with the flat of the hand. None require [sic] fingers State -Zip- to perform. . . . The productions [of Bartok are] mere ordure/ 28 One expects to encounter sophisticated sarcasm in august journals, but hardly such violent vulgarity. At least it may be said that Bartok did not fail to make an effect.

Aesthetic contusions and abrasions tend to heal, and so with our auditory perceptions of Bartok. The most conservative latter-day listener cannot but respond to the vibrant color and rhythmic vitality of the Rhapsodies. Both works are laid out in two movements akin to familiar Hungarian dance forms, respectively the slow lassu and the fast friss.

As a commentary on the aerobic essence of 'traditional' melodies it is usual to mention that the second movement of no. 1 rather strikingly resembles an old Shaker tune used by Aaron Copland in his Appala- chian Spring. But then, in the non-parochial sense Bartok was himself no mean shaker. James Lyons program note copyright © 1969 by James Lyons

CLAUDE DEBUSSY

La mer (The sea)

When Debussy composed 'La mer: trois esquisses symphoniques' during the years 1903-1905, he was secure in his fame, the most argued com- poser in France, and, to his annoyance, the most imitated. L' apres-midi d'un faune of 1894 and the Nocturnes of 1898 were almost classics, and the first performance of Pelleas et Melisande was a recent event (1902).

There could be no denying Debussy's passion for the sea: he frequently visited the coast resorts, spoke and wrote with constant enthusiasm about 'my old friend the sea, always innumerable and beautiful'. He often recalled his impressions of the Mediterranean at Cannes, where he

spent boyhood -days. It is worth noting, however, that Debussy did not seek the seashore while at work upon his La mer. His score was with

him at Dieppe, in 1904, but most of it was written in Paris, a milieu

which he chose, if the report of a chance remark is trustworthy, 'be- cause the sight of the sea itself fascinated him to such a degree that

it paralyzed his creative faculties'. When he went to the country in

the summer of 1903, two years before the completion of La mer, it was not the shore, but the hills of Burgundy, whence he wrote to his friend

Andre Messager (September 12): 'You may not know that I was destined

for a sailor's life and that it was only quite by chance that fate led me

in another direction. But I have always retained a passionate love for her [the sea]. You will say that the Ocean does not exactly wash the Burgundian hillsides — and my seascapes might be studio landscapes;

but I have an endless store of memories, and to my mind they are worth more than the reality, whose beauty often deadens thought.'

Debussy's deliberate remoteness from reality, consistent with his culti- vation of a set and conscious style, may have drawn him from salty actuality to the curling lines, the rich detail and balanced symmetry of Hokusai's 'The wave'. In any case, he had the famous print reproduced upon the cover of his score. His love for Japanese art tempted him to purchases which in his modest student days were a strain upon his

purse. His piano piece, 'Poissons d'or' , of 1907, was named from a piece of lacquer in his possession.

Music to set the imagination aflame. La mer induced from the pen of Lawrence Oilman one of his most evocative word pictures:

'Debussy had what Sir Thomas Browne would have called "a solitary and retired imagination". So, when he essays to depict in his music such things as dawn and noon at sea, sports of the waves, gales and

surges and far horizons, he is less the poet and painter than the spiritual

mystic. It is not chiefly of those aspects of winds and waters that he is telling us, but of the changing phases of a sea of dreams, a chimerical sea, a thing of strange visions and stranger voices, of fantastic colors and incalculable winds — a phantasmagoria of the spirit, rife with

evanescent shapes and presences that are at times sunlit and dazzling. It is a spectacle perceived as in a trance, vaguely yet rhapsodically. There is a sea which has its shifting and lucent surfaces, which even shim- f^'^aip 29 .

mers and traditionally mocks. But it is a sea that is shut away from too curious an inspection, to whose murmurs or imperious command not many have wished or needed to pay heed.

'Yet, beneath these elusive and mysterious overtones, the reality of the living sea persists: the immemorial fascination lures and enthralls and terrifies; so that we are almost tempted to fancy that the two are, after all, identical — the ocean that seems an actuality of wet winds and tossing spray and inexorable depths and reaches, and that uncharted and haunted and incredible sea which opens before the magic case- ments of the dreaming mind.' John N. Burk mi(W\| Program notes for Sunday August 3

FELIX MENDELSSOHN 1809-1847

Overture to Victor Hugo's 'Ruy Bias' op. 95

Mendelssohn wrote from Leipzig to his mother in a letter dated March

THIS SUMMER... 18 1839: 'You wish to know how it has gone with my overture to "Ruy TRY OUR Bias". Merrily enough. Between six and eight weeks ago the request FRENCH DRESSING came to me to write something for the performance connected with the Theatrical Pension Fund, a very excellent object, for the furtherance of which they were going to play "Ruy Bias". The request came to me to write an overture, and in addition they besought me to compose a

Romanza, because they thought the thing would succeed better if my

name were connected with it. I read the play; it is really of no value,

absolutely below contempt; [It is not worthwhile to argue this point.

Mendelssohn's fastidiousness was often finical priggishness.] and I told

them I had no time to write an overture, but I did compose the Ro- manza. Monday (a week ago) was to be the day of performance. On the Tuesday before, the people came, thanking me warmly for the

Romanza, and said they were sorry that I had written no overture, (Shown) For Town or Country, glorious "Tergal" in a 3 Piece Costume Suit but they saw perfectly that for such work time was needed, and next of Verve and Dash Navy, White or year would be more thoughtful and give me a longer time. They Beige/ White! S125

stirred me up. I took the thing at once in hand that same evening,

Also in "Tergal" . . Dresses or rehearsal, Tops with Skirts and blocked out my score; Wednesday morning was Thurs- from $55 day was concert, and yet on Friday the overture was ready for the copy-

ist; Monday it was given three times in the concert-room, then re- hearsed once in the theatre, and in the evening was given in connection with the wretched play, and has given me as much fun as anything

I ever did in my life. In the next concert they are going to repeat it "by request".'

George Hogarth in his Philharmonic Society of London (London, 1862) mentions the fact that this overture was played for the first time by the Philharmonic Society in the season of 1849, and he adds this note: 'During the season 1844, when Mendelssohn conducted the Society's Come see and select your fashion bouquets from our concerts, this overture (in manuscript) was tried at a morning trial-

garden of Paris Imports . . . performance, when, it would appear, it did not "go" to the composer's an enchanting collection of delightful refreshments satisfaction. When Mr Anderson [conductor of the Royal Private Band for your season in the sun and Honorable Treasurer of Philharmonic Society and Royal Society . . . just arrived to fill your summer with flattering of Musicians], after the performance, expressed his admiration of the beauty! new work, he was surprised to hear Mendelssohn say, with some heat,

that he was much displeased with it, so much that he would burn it. Mr Anderson said something deprecating such a resolution, but Men-

delssohn repeated his determination that it should never be heard in i4c i^'f^, J— public. Mr Anderson then said, "You have often expressed your admira-

PLACE PIGALLE tion of my good master. Prince Albert; I am sure it would gratify him •PARIS IN STAMFORD" 111 HIOH RIDGE PLAZA to hear a new composition of yours, so pray let me give him that (Opposite Lord & Taylor) pleasure by means of the Queen's private band." Mendelssohn con- sented, on condition that the overture should never be publicly per- formed, and gave Mr Anderson the original orchestral parts. The overture was frequently performed at Buckingham Palace and Windsor Castle, to the admiration of Her Majesty and the Prince. Some time after the composer's lamented death Mr Anderson wrote to Mme Mendelssohn, informing her of all that had passed with respect to this

overture, and requesting her permission to perform it at Mrs Anderson's

30 next annual concert. The permission was kindly given, and the overture A Gourmet Rendezvous was performed at that lady's concert in the season 1849, this being THE the first time it was ever publicly heard in England. As said before, it was afterwards performed the same season by the Philharmonic Society.' Montcalm adapted from the notes of Philip Hale Lake George, N.Y. SIR EDWARD ELGAR 1857-1934 Our Superb Food, Cello concerto op. 85 Fine Service and complete menu has earned us a repu- Creativity being always of a time and place, with consequences as tation for humanly motivated as any other activity in the additive historical proc- ess, composers hardly could be immune to those cyclical war/peace syndromes which are among man's most pervasive, most perversely 'lExcpllPitrp in Sintng' ambivalent, most easily rationalized idealisms. What is immune to such adjustable and almost complementary aspirations is art itself, the best of which transcends its Zeitgeist somewhat ironically by preserving an essence of it. WE ARE PROUD

These generalities have a particular relevance to Elgar's lone Cello to be the only restaurant concerto (even while it was in progress, on the eve of the 1918 armi- stice, the composer could write that 'I do not feel drawn to write peace honored with a music. . . . the whole atmosphere is too full of complexities for me to ^^"j^ Mobilguide Rating feel music to it'), though the development of such annotative themes in our area must always be abbreviated to a somehow inappropriate concision. In a way that is perhaps just as well, for in the end this grotesquely undervalued masterwork — this acoustically impractical congeries of OPEN 7 DAYS A WEEK haunting, extraterrestrial loveliness — must make its points unassisted Serving Daily from 5 p.m. by anything except sovereign artistry and an audience predisposed to Lunch — Brunch — Dinner be attentive. from 1:00 p.m. Every Sunday The latter stipulation is realistic rather than defensive. Nominally this In Our Garden Room is music of concert-hall proportions, but in fact for much of its length it is intimate in scale, subtly and sparingly scored; it is a letter not to the world but to the Infinite.

Also, however, there is more in these pages than a devout Roman Catholic's private mysticism. And its additional aesthetic terms may be confronted with or without reference to a Gestalt that is in any case Seventh ('Empire' having become a pejorative word) light-years distant from LAKE PLACID those with which modern listeners can comfortably identify. MUSIC FESTIVAL There it is in the very first measure: nobilmente — a marking so rare, except in the works of Elgar, that not even the Harvard Dictionary of Jose Echaniz, Music deems it worthy of definition. Artistic Director What, exactly, does nobilmente connote? When the Cello concerto was FIVE TUESDAY CONCERTS completed in 1919, 'England' subsumed fully a quarter of the peoples AT 9 P.M. on 'the great globe itself — some five hundred million souls. It was the high noon of benevolent imperialism, with the Raj resplendent JULY 29 and everywhere the pomp and circumstance of Pax Britannica. But one Judi Pinnix, Mezzo Soprano wonders: did Elgar believe, as so many British colonialists believed then and earlier, that the job of empire was to work itself out of a job? and David Pinnix, Pianist

In short, was Elgar's understanding of nobilmente a sort of 'gigantic AUGUST 5 bluff' in the best sense, as the Indianist Philip Mason has described David Van Hoesen, Bassoon the Empire? Did it really allude to the far-flung England of yore? Or and Raymond Herbert, simply to the state of mind which was to see this doughty little Island Pianist through the horrors of World War II — and which still assures her a place in the sun that has finally set on her vast dominions? AUGUST 12, 19 and 26:

The answer depends to some extent on our perceptions, not to mention LAKE PLACID those of the performers. Elgar was himself of humble birth, but in FESTIVAL TRIO music there are many orders of nobility. Carol Sindell Domb, Violin His nobilmente in this instance provides unity at the very least, because Daniel Domb, Cello it attaches to a recitative-like phrase for the solo instrument which is Jose Echaniz, Piano heard in all but one of the four movements. The exception is the assisting artists penultimate Adagio, an extended solo song (the cello is busy for fifty- And nine out of sixty measures) which ranges from the contemplative to Baldwin Piano the impassioned and poses what may be the supreme interpretative For reservations and other details challenge in the literature. The rewards are commensurate. please phone 523-3160, or write James Lyons Box 949, Lake Placid, N.Y. 12946

program note copyright © 1969 by James Lyons 31 .

SPOTLIGHT LUDWIG VAN BEETHOVEN 1770-1827 ON Symphony no. 5 in C minor op. 67 PERFORMING It has required the weathering of time to show the Beethoven of the Fifth symphony to be in no need of apologies, to be greater than his American Shakespeare best champions suspected. Some of its most enthusiastic conductors in Festival Theatre Stratford, Connecticut the century past seem to have no more than dimly perceived its broader 15th Season lines, misplaced its accents, under or over shot the mark when they June 17 thru September 14, 1969 MUCH ADO ABOUT NOTHING: attempted those passages which rely upon the understanding and HAMLET dramatic response of the interpreter. Wagner castigated those who HENRY V: THE THREE SISTERS hurried over the impressive, held E flat in the second bar, who sustained

it no longer than the 'usual duration of a forte bow stroke'. Many years Music Center Biossom later, Arthur Nikisch was taken to task for over-prolonging those particu- Steels Corners Road, Cuyahoga Falls, Ohio lar holds. Felix Weingartner, in 1906, in his On the performance of the August 31, 1969 June 14 thru symphonies of Beethoven, felt obliged to warn conductors against what Summer home of The Cleveland Orchestra would now be considered unbelievable liberties, such as adding horns Pops Concerts: Jazz-Folk in the opening measures of the symphony. Fie also told them to take The New York City BaUet the opening eighth notes in tempo, and showed how the flowing con- Carter Barron Amphitheatre tours of the movement must not be obscured by false accentuation. Rock Creek Park, Washington, D.C. Those — and there is no end of them — who have attempted to June 23 thru September 1st Entertainment Under the Stars describe the first movement have looked upon the initial four-note American Ballet Theatre figure with its segregating hold, and have assumed that Beethoven used Popular: Jazz-Rock this fragment, which is nothing more than a rhythm and an interval, in Garden State Arts Center place of a theme proper, relying upon the slender and little used 'second Box 116, Holmdel, New Jersey theme' for such matters as melodic continuity. Weingartner and others June 12 thru August 30th Ballet; Theatre; symphonies after him have exposed this fallacy, and what might be called the en- Popular: Jazz-Rock lightened interpretation of this movement probably began with the

Mississippi River Festival realization that Beethoven never devised a first movement more con- Southern Illinois University Campus spicuous for graceful symmetry and even, melodic flow. Even in its Edwardsville, Illinois June 20th thru July 27th first bare statement, the 'motto' belongs conceptually to an eight- Summer home of the St. Louis measure period, broken for the moment as the second fermata is held Symphony Orchestra Pop; Rock; Folk through an additional bar. The movement is regular in its sections, con- servative in its tonalities. The composer remained, for the most part, Saratoga Performing Arts Center within formal boundaries. Saratoga Springs, New York June 26 thru September Summer home of the The Andante con moto (in A flat major) is the most irregular of the Ballet New York City July four movements. It is not so much a theme with variations as. free The Philadelphia Orchestra August Special events thoughts upon segments of a theme with certain earmarks and recur- rences of the variation form hovering in the background. Tanjglewood Berkshire Festival, The third movement begins pianissimo with a phrase the rhythm of Lenox, Massachusetts Summer home of the which crystallizes into the principal element, in fortissimo. The move- Boston Symphony Orchestra ment restores the C minor of the first and some of its rhythmic drive. July 4 thru August 31st Boston Pops: Contemporpry Concerts But here the power of impulsion is light and springy. In the first section of the Trio the basses thunder a theme which is briefly developed, The Program Magazine for fugally and otherwise. The composer begins what sounds, until its tenth all of these centers are published by: bar, like a da capo. But this is in no sense a return, as the hearer soon realizes. The movement has changed its character, lost its steely vigor

and taken on a light, skimming, mysterious quality. It evens off into a pianissimo where the suspense of soft drum beats prepares a new dis- MAGAZINE closure, lightly establishing the quadruple beat. The bridge of mystery a division of leads, with a sudden tension, into the tremendous outburst of the socum Finale, chords proclaiming C major with all of the power an orchestra of 1807 could muster. house John N. Burl<

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33 THE CONDUCTORS Symphony Orchestra, his mother was also talent was encouraged early. He made sev- a musician. When his family returned eral public appearances as a When ERICH LEINSDORF relinquishes his to child, and their Viennese home, he went with them, had the opportunity of working in Salz- post as Music Director of the Boston Sym- and later entered the Royal Academy in burg with Edwin Fischer, Enrico Mainardi phony Orchestra at the end of the 1969 Berlin. Returning to Boston at the start and Igor Markevitch. He made his Berkshire Festival, he will have made a debut of the first world war, he joined the Bos- in London in 1956, playing a significant contribution to American mu- Mozart ton Symphony at the age of twenty. Nine concerto with the Royal Philharmonic sical life. Under his leadership the Or- years later he formed a chamber Orchestra and Josef Krips, chestra has presented many premieres and orches- and giving a tra, the Boston solo recital. The following revived many forgotten works. Among Sinfonietta, and in 1929 year he played launched the free concerts on the for the first time in the United States, the latter have been the complete Schu- Charles this River Esplanade, which remain of time with Leopold Stokowski and mann Faust, the original versions of one the Boston's chief summer attractions. Symphony of the Air. Beethoven's Fidelio and Strauss's Ariadne auf Naxos, and the Piano concerto no. 1 In 1930 Arthur Fiedler was appointed con- Since then Daniel Barenboim has become of Xaver Scharvvenka, while among the ductor of the Boston Pops, the position he one of the world's most widely traveled numerous world and American premieres has held without interruption ever since. musicians. He has played throughout the' have been works like Britten's War His recordings for RCA are famous five continents of the world, and made requiem and Cello symphoriY, the piano throughout the world, and even today he many recordings for Angel Records. For concertos of Barber and Carter, Schuller's is an indefatigable traveler, guest conduct- the last three years he has also workedi Diptvch for brass quintet and orchestra, ing regularly on all five continents. Arthur extensively as a conductor with the English! Piston's no. 8. Despite his Fiedler has left an indelible mark on the and Symphony Chamber Orchestra, the Israel Philhar-- schedule, leading the majority of musical tastes of millions in every corner heavy monic and the New Philharmonia, as welll concerts during the lengthy Boston of the globe. the as other orchestras in England, Hollandf winter season, the Berkshire Symphony and Australia. Two years ago Daniel' Festival in the summer, and heading PIERRE BOULEZ, whose appointments as the Barenboim was married to Jacqueline du activities of the Berkshire Center, Music Director of the New York Phil- Music Pre. He makes his debut with the Boston Erich Leinsdorf has found time to make harmonic Orchestra and Conductor of the Symphony Orchestra this weekend. several guest conducting tours with Euro- BBC Symphony Orchestra in 1971 were pean orchestras, and to record full-length recently announced, was born in France THE SOLOISTS operas for RCA Records, the most recent in 1925. He enrolled at the Paris Conser- vatoire of which were Mozart's Cosl fan tutte, a where he studied with Olivier RALPH GOMBERG, principal oboe of the Messiaen, and after winning first Grammy award winner, Verdi's Masked a prize Boston Symphony Orchestra, is the young-: in harmony, left, he , ball, and Salome by Strauss, soon to be disgusted by the est of seven children, five of whorrr retrogressive released. During the past months Erich policies of the musical direc- graduated from the Curtis Institute of torate. In 1946, already Leinsdorf has conducted in Frankfurt and known as a musi- Music. At the age of fourteen, he was thei cal iconoclast, Pierre Lausanne, and a few days before return- Boulez became a youngest student ever accepted by thei pupil of ing to the United States led the London Rene Leibowitz, from whom he distinguished oboe teacher Marcel Tabu-' learned classic Symphony Orchestra in their 65th anni- twelve-tone technique. He teau. Three years later he was appointed met Jean-Louis versary concert. Barrault, who gave him a by Leopold Stokowski as principal oboe job as arranger and conductor of inci- of the All American Youth Orchestras dental music for his ARTHUR FIEDLER, Conductor of the new company at the Subsequently he became principal of the Theatre Marigny. Mr Boulez Boston Pops, has been described as 'an continued Baltimore, New York City Center and his attacks on the state of French institution in his hometown'. Born in the music, Mutual Broadcasting Orchestras. He joined and the establishment Back Bay on December 17 1894, he was retaliated by keep- the Boston Symphony Orchestra in 1949. ing his compositions off the brought up in an atmosphere of music. state-con- A member of the Boston Symphony trolled radio for fifteen years. His father was a violinist in the Boston He founded Chamber Players, with whom he has in 1953 the 'Concerts Marigny', a series toured to Europe and throughout the which ERICH LEINSDORF became the focal point of avant- United States, and made many recordings, garde French music. Ralph Gomberg is on the faculties of Bos- In 1959 Pierre Boulez left France to settle ton University, the New England Conser- in Baden-Baden, where he is now con- vatory of Music and here at the Berkshir( ductor of the South West German Radio Music Center. He has appeared man^ Orchestra. In addition to his composition, times as soloist with the Boston Symphony he has become more and more active as Orchestra. a conductor in recent years and has di- SHERMAN WALT, principal bassoon o rected many of the world's major orches- the Boston Symphony Orchestra, was borr tras. He is now Principal Guest Conductor in Virginia, Minnesota. He won a schol- of the Cleveland Orchestra. He has made arship to the Curtis Institute where he many recordings for Columbia. studied chamber music with Marcel Tabu- DANIEL BARENBOIM was born in Buenos teau and bassoon with Ferdinand de' Aires in 1942. Ten years later his family Negro. He served in the armed forces dur- moved to Israel and he has been an Israeli ing the second world war, and wa' citizen ever since. His parents are both awarded the Bronze Star for distinguishec accomplished pianists, and his musical combat service. Milton Feinberg

PIERRE DANIEL RALPH SHERMAN BOULEZ BARENBOIM GOMBERG WALT

Boris and Milton 34 Ginastera. He has also appeared with the He joined the Chicago Orchestra as prin- debut at Town Hall, New York, the same opera companies in San Francisco, Hous- cipal bassoon in 1947 and moved to Bos- year under the Foundation's auspices. He ton, Fort Worth, Mobile, the Central City ton five years later. He is a member of joined the Dallas Symphony and was Opera Festival and the Chautauqua Fes- the Boston Symphony Chamber Players later first cellist of the New York City tival. As a soloist with orchestra, David with whom he has toured and made re- Opera and Ballet Orchestra. He made a Clatworthy has appeared with the Detroit cordings. Sherman Walt is on the faculties recital tour of Europe in 1961 and has Symphony, the of the Berkshire Music Center at Tangle- also given many recitals in the United Chicago Symphony and wood and the New England Conservatory. States. He used to play each year with the Boston Symphony Orchestras. With He has appeared as soloist with the Boston Pablo Casals in Puerto Rico. the Boston Symphony he has appeared on Symphony Orchestra on occasions. several occasions: he took part in the many Jules Eskin is on the faculty of the Berk- recording of Prokofiev's Lieutenant Kije SILVERSTEIN, concertmaster of shire Music Center and is a member of JOSEPH suite by the Boston the Orchestra for RCA, and most the Boston Symphony Orchestra since Symphony Chamber Players, with recently, also under Erich Leinsdorf's di- 1962, joined the Orchestra seven years whom he has traveled on their na- rection, sang in performances of Ein tional and international tours. He has earlier at the age of twenty-three, the deutsches played several Requiem by Brahms. youngest member at that time. Born in concertos with the Orches- tra, Detroit, he studied at the Curtis Institute including the Brahms Double, the THE CHORUSES Beethoven Triple, in Philadelphia, and later with Joseph the Haydn C major and The TANGLEWOOD CHOIR is composed Gingold Mischakoff. the Schumann. and Mischa He was mainly of vocal fellowship students in the a prize winner in the 1959 Elisa- Queen JACQUELINE DU PRE was born near Berkshire Music Center here at Tangle- beth of Belgium international Competi- London, England, on January 26 1945. She wood. Selected by audition from all parts tion, and a year later won the Naumberg started learning the cello at the age of of the United States, the members met five, the following Foundation Award. Before coming to and year was sent to for their first rehearsal at the end of June Boston he played in the orchestras of the London Cello School. Later she spent under their director, Charles Wilson, and Houston, Denver and Philadelphia. seven years studying with the distin- their assistant director, John Oliver. Earlier guished English cellist William Pleeth. She Joseph Silverstein has established an in- in the summer they sang in performances made her debut at the Wigmore Hall in ternational reputation as soloist and as of Mozart's Die Entfuhrung aus dem 1961, and twelve months later played the Serail first violin of the Boston Symphony and Verdi's Otello. During the com- Cello concerto of Elgar at the Royal Festi- ing weeks they will take part in Debussy's ! Chamber Players. In 1967 he led their tour val Hall with the .BBC Symphony Orches- to the Soviet Union, Germany and Sirenes and Beethoven's Ninth symphony, tra, and soon afterwards played the same England, and last spring a tour to the both to be conducted by Erich Leinsdorf. work at the Royal Albert Hall with Sir Virgin Islands and Florida. During past Malcolm Sargent. Recitals and appear- The BERKSHIRE BOY CHOIR makes its seasons he has performed with the Or- ances with major orchestras on the Con- fourth appearance at the Festival this chestra concertos by Bartok and Stravin- tinent followed. weekend. Founded in 1967, it has already sky (which he has recorded for RCA), and established itself as one of the outstanding by Bach, Brahms, Bruch, Schoenberg and Since her debut at Carnegie Hall with the musical organizations of the United States. Sibelius; the Brahms he also played with BBC Symphony three years ago, Jacqueline The members, who are selected by audi- Leopold Stokowski and the American du Pre has become equally well known tion on a competitive basis, come from Symphony Orchestra in New York. East on both sides of the Atlantic. In recent as far afield as Portland, Oregon, Wash- season he played the Beethoven concerto years she has worked with Mstislav Ros- ington DC and Canada. The Music Direc- i in Boston, Chicago and at Tanglewood, tropovich. She makes her first appearance tor, ALLAN WICKS, is Organist and Master and Dallapiccola's Tartiniana, which was with the Boston Symphony Orchestra this of the Choristers at Canterbury Cathedral, repeated at a concert at Philharmonic weekend, as does her husband, Daniel England, and is a distinguished chorus Hall, New York during the summer. Barenboim. Jacqueline du Pre records for master and recitalist. They have recorded Angel. Violinist of the Boston Symphony String for RCA. A leading baritone of Trio, Joseph Silverstein is also organizer the New York City of the Boston Symphony Chamber Play- Opera, DAVID CLATWORTHY attended ARTHUR PrEDLER .ers, a faculty member of the New England the University of Arizona as a baseball Conservatory and Chairman of the Faculty scholarship student. During his college of the Berkshire Music Center here at years the former Metropolitan Opera bari- Tanglewood. He recently received an tone, Richard Bonelli, heard him and honorary Doctorate of Music from Tgfts persuaded him to study voice seriously. University. After graduation and two years active duty as an officer in the US Army, he enrolled at the Juilliard School of JULES ESKIN, principal cello of the Boston Music and Columbia University, where he received Symphony Orchestra, came to Boston in a Master of Arts degree. 1964 from the Cleveland Orchestra, where he held the same chair. He was born in In 1962, David Clatworthy joined the Philadelphia and studied at the Curtis In- New York City Opera, and has been heard stitute with Leonard Rose. His other there in roles ranging from the Count in teachers were Gregor Piatigorsky and Mozart's The marriage of Figaro to the Janos Starker. He won the Naumberg leading baritone roles in contemporary Foundation award in 1954 and made his works of Stravinsky, Menotti, Britten and

JOSEPH JULES JACQUELINE DAVID SILVERSTEIN ESKIN DU PRE CLATWORTHY

Milton Feinberg Milton Feinberg

35 THE COMING WEEK AT TANGLEWOOD

BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director

BERKSHIRE MUSIC CENTER ERICH LEINSDORF Director

Sunday August 3 ',tf:-r 10 am BERKSHIRE MUSIC CENTER CHAMBER MUSIC Theatre Music for small ensembles performed by members of the Center

2.30 pm BOSTON SYMPHONY ORCHESTRA Shed DANIEL BARENBOIM conductor for program see page 21

9 pm BERKSHIRE MUSIC CENTER CHAMBER MUSIC* Theatre WYTTENBACH Paraphrase ^^r DONATONl Etwas Ruhiger im Ausdruck BARRAQUE Chant apres chant

Tuesday August 5 8 pm BOSTON POPS ORCHESTRA Shed ARTHUR FIEDLER conductor for program see page 23

Wednesday August 6 9 pm BERKSHIRE MUSIC CENTER ORCHESTRA Theatre CHARLES WILSON conductor

SCHUMANN Symphony no. 2 in C op. 61 !*->. PUCCINI Act three of 'La Boheme'

PROKOFIEV 'Lieutenant Kije' Suite SOLOISTS from the Berkshire Music Center Vocal Music Department

Thursday August 7 * 9 pm BERKSHIRE MUSIC CENTER FACULTY RECITAL Theatre SCHOENBERG Fantasy for violin and piano RHODES Duo for violin and piano ->e^ MOZART Sonata for piano and violin in G K. 379

CRUMB Night Music II t^^ SCHNABEL Sonata for violin and piano PAUL ZUKOFSKY violin GILBERT KALISH piano

Friday August 8 7 pm WEEKEND PRELUDE Shed Music by Blacher and Thuille li BOSTON SYMPHONY CHAMBER PLAYERS

9 pm BOSTON SYMPHONY ORCHESTRA Shed KAREL ANCERL conductor SMETANA Ma Vlast

Saturday August 9 10.30 am BOSTON SYMPHONY ORCHESTRA Shed Open rehearsal JOSEF KRIPS conductor

2.30 pm BERKSHIRE MUSIC CENTER Theatre BOSTON UNIVERSITY TANGLEWOOD INSTITUTE CONCERT Performances by members of the Institute's programs in music, drama and the dance 36 THE COMING WEEK AT TANGLEWOOD BERKSHIRE FESTIVAL 1969 SEVENTH AND EIGHTH WEEKS

Saturday August 9 (continued) 8 pm BOSTON SYMPHONY ORCHESTRA Shed ERICH LEINSDORF conductor DEBUSSY Three nocturnes SEVENTH WEEK WOMEN OF TANGLEWOOD CHOIR, BERKSHIRE CHORUS August 15 Friday WEILL Suite from 'The threepenny opera' 7 pm Prelude

BRAHMS Piano concerto no. 1 in D minor op. 15 Music by Schubert BOSTON SYMPHONY VAN CLIBURN CHAMBER PLAYERS

9 pm BSO Sunday August 10 10 am BERKSHIRE MUSIC CENTER CHAMBER MUSIC Theatre Music for small ensembles performed by members of Center the August 16 Saturday 10.30 am BSO Open rehearsal 2.30 pm BOSTON SYMPHONY ORCHESTRA JOSEF KRIPS conductor Shed 8 pm BSO -MAX RUDOLF HAYDN Symphony no. 94 in G 'Surprise' HAYDN Symphony no. 91

STRAUSS Till Eulenspiegel BARTOK Dance suite TCHAIKOVSKY 'Pathetique' symphony SCHUBERT Symphony no. 9 in C 'The Great'

August 17 Sunday programs subject to change 2.30 pm BSO-HENRY LEWIS BERLIOZ 'Corsaire' overture BERLIOZ Nuits d'ete * part of the Festival of Contemporary Music presented in cooperation with MOZART Pa-io, parto from 'La the Fromm Music Foundation clemenza di Tito' K. 621 ROSSINI Cruda sorte from 'L'ltaliana in Algeri' MARILYN HORNE Ticket prices for Boston Symphony Orchestra concerts: general admission $3; TCHAIKOVSKY Francesca da Rimini reserved seats $3.50, 4.50, 5.50, 6.50, 7, 7.50, 8 and 8.50 (box seat). Tickets for the Friday Boston Symphony Orchestra concert include admission to the Weekend Prelude.

Admission to the Saturday morning Open rehearsal is $2.50. There are no EIGHTH WEEK reserved seats. August 22 Friday

Tickets for Boston Symphony Orchestra events can be obtained from FESTIVAL 7 pm Prelude TICKET OFFICE, Tanglewood, Lenox, Massachusetts 01240 telephone (413) Music by Vivaldi, 637-1600. Strauss and Schubert BEVERLY SILLS, CHARLES WILSON Ticket prices for Contemporary Trends concerts: general admission $3; reserved seats $4, 4.50, 5, 5.50, 6 and 6.50 (box seat). 9 pm BSO-MILTON KATIMS ROSSINI 'Gazza Ladra' overture Tickets for Contemporary Trends concerts can be obtained from FESTIVAL TCHAIKOVSKY Symphony no. 4 TICKET OFFICE, Tanglewood, Lenox, Massachusetts 01240 telephone (413) VAUGHAN WILLIAMS 637-1600. Fantasia on a theme by Thomas Tallis

Berkshire Music Center events listed on these pages are open to the public. RAVEL 'Daphnis et Chloe' no. 2 Established by the Boston Symphony Orchestra, the Center provides an environ- ment in which young musicians continue their professional training and add to August 23 Saturday their artistic experience with the guidance of distinguished musicians. A sym- 10.30 am BSO Open rehearsal phony orchestra of ninety players, conductors, chamber music ensembles, singers take part in an choruses, solo players, and composers extensive program 8 pm BSO- ERICH LEINSDORF of study, instruction and performance. Also on the BMC schedule are a Festival VARESE Deserts of Contemporary Music, including the world premieres of four works commis- BEETHOVEN Piano concerto no. 4 sioned by the Center in co-operation with the Fromm Music Foundation, and a MALCOLM FRAGER series of Contemporary Trends concerts. STRAVINSKY 'Firebird' suite

The Berkshire Music Center is in part supported through the generosity of the Tanglewood Friends. BMC programs are open to members of the Friends. August 24 Sunday Contributions in any amount are welcome. A Family Season Membership at $25 2.30 pm BSO -ERICH LEINSDORF Royal hunt storm entitles a family to attend all BMC events, with the exception of the Contem- BERLIOZ and from 'The Trojans' porary Trends concerts, without further contribution; an Individual Season BEETHOVEN Symphony no. 9 Membership at $15 offers the individual the same privilege. Friends without BEVERLY SILLS, FLORENCE season membership and all others attending each BMC event, except the KOPLEFF, JOHN ALEXANDER Contemporary Trends concerts, for which the ticket prices are listed above, JUSTINO DIAZ, are asked to contribute one dollar at the gate. TANGLEWOOD CHOIR, BERKSHIRE CHORUS

Further information about Berkshire Music Center events is available from TANGLEWOOD FRIENDS OFFICE, Tanglewood, Lenox, Massachusetts 01240 telephone (413) 637-1600. programs subject to change

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ST. THOMAS, U.S. VIRGIN ISLANDS Escargots de Bourgogne Something very special, a new luxury-oriented, Grenouilles, Provencale travelers' mecca, located at 1200 feet on Trade Le Poussin Farci aux Marrons Wind-washed Crown Mountain, Crown Colony Mignonettes de Bouef Lucullus commands the outstanding panoramic view of the Caribbean, golf course, and free port capital, From Tanglewood (ONLY 9 MILES) Charlotte Amalie, all within 10 minutes drive. TO ROUTE 41 AND 295 Ocean view studios and suites, all with original Open for Dinner oils, carpeted galleries, kitchens, and accommo- dating from two to eight guests. Excellent cuisine. Weekly 5:00 to 10:30 p.m. Fresh water pool. Maid Service. Sunday 2:00 to 10:30 p.m.

]d.ck Peterson, Yale '47, resident owner. Crown Colony,

Box 2132, St. Thomas, U.S. Virgin Islands 00801 (air mail) Your Hosts Betty and For rates, brochures, reservations and additional information, see Louis Chevallier your travel agent or contact RR Hotel Representatives, 1270 Avenue Phone: 518-781-4451 of the Americas, New York City. Tel: (212) 757-4666. 518-781-9994

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Paine Furniture offers you three centuries of fine furniture. And talented designers to mold your world. Yours to live, play,

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Boston, Natick, Peabody, Springfield, Hartford FESTIVAL INFORMATION HANCOCK Latecomers will not be seated until the first convenient pause in the program. Members SHAKER VILLAGE of the audience who wish to leave before the concert's end are earnestly asked to do so between numbers, not during the performance.

Open rehearsals. The open rehearsals by the Boston Symphony Orchestra held each

Saturday morning at 10.30 are open to the public. The charge for admission is $2.50. The open rehearsals benefit the Orchestra's Pension Fund.

A unique farm-atid-craft settlement dating

from 1790 Ticket information for all Berkshire Festival events may be obtained from the Festival Ten dwellings and shops Ticket Office at Tangiewood (telephone 413-637-1600). The Office is open from 9 am Famous to 6 pm daily, and until intermission on concert days. 1826 Round Stone Barn now fully restored

The taking of photographs and the use of recording equipment during musical perform-

ances is not allowed. DAILY 9:30 TO 5

ADULTS SI - CHILDREN 50,? LUNCH SHOP

Articles lost and found. It will be much appreciated if visitors who find stray property Routes 20 and 41 will hand it in to any Tangiewood official. Any visitor who wishes to recover a lost article

5 Miles West of Pittsfield should call at the Lost and Found office located in the house of the Superintendent near the Main Gate.

CHESTERWOOD Refreshments can be obtained in the area to the west of the Main Gate and visitors are

invited to picnic on the grounds before concerts. Catering is by Restaurant Associates of New York.

The Tangiewood Music Store is located near the Main Gate. Phonograph records, books,

postcards, films, etc., are obtainable. The store remains open for half an hour after the

end of each concert in the Shed. The store is managed by Van Curler Music Company of Albany, New York.

A map of Tangiewood, which shows the location of concert halls, parking areas, offices,

rest rooms and telephones is printed elsewhere in the program. It also includes directions for reaching the Massachusetts Turnpike, the New York Thruway and other main roads.

Barn Gallery and Studio of DANIEL CHESTER FRENCH Sculptor of the The Boston Symphony and the Boston Pops Orchestras record exclusively for RCA. Lincoln Memorial Exhibit of Sculpture and Painting. Beautiful Garden, Hemlock BALDWIN is the official piano of the Boston Symphony Orchestra and the Berkshire Forest and Nature Trail Music Center. Admission $1.00 • Children $.25 Open Daily, 10-5 STOCKBRIDGE, MASS. (Off Route 183, Glendale) WHITESTONE PHOTO is the official photographer to the Berkshire Festival and the Berkshire Music Center. The1 1 ^i^m 1^ m^mti Mannes College of Music

157 East 74th Street, New York, N.Y. 10021 HS (212) 737-0700 ^^^-^""^x^ BACHELOR OF SCIENCE DEGREE BACHELOR OF MUSIC DEGREE

DIPLOMA . POST-GRADUATE DIPLOMA

Extension and Preparatory Divisions Opera Workshop

THE FACULTY OF THE COLLEGE PIANO WOODWIND and BRASS COMPOSITION Claude Frank Frances Blaisdell, Flute Norman Dello Joio John Coldmark John Wummer, Flute Burt Fenner Richard Coode Ronald Roseman, Oboe Peter Pindar Stearns Jeannette Haien Lois Wann, Oboe William Sydeman Paul Jacobs David Glazer, Clarinet Frederick Werle Jacob Lateiner Alexander Williams, Clarinet Stefan Wolpe Edith Oppens Joseph Allard, Vera Popova Bass Clarinet and Saxophone Murray Perahia William Polisi, Bassoon TECHNIQUES OF MUSIC Marie Powers Arthur Weisberg, Bassoon Elizabeth Aaron Josef Raieff Paul Ingraham, French Horn Leo Edwards Nadia Reisenberg Rudolph Puletz, French Horn Burt Fenner Olga Stroumillo Simon Karasick, Emilie Harris Mildred Waldman Trumpet and Trombone David Loeb Robert Nagel, Trumpet Steven Porter HARPSICHORD William Vacchiano, Trumpet Marie Powers Walter Sear, Tuba Paul Jacobs Eric Richards Sylvia Marlowe Carl Schachter TYMPANI and PERCUSSION Eric Simon ORGAN and CHURCH MUSIC Walter Rosenberger Peter Pindar Stearns Edgar Hilliar William Sydeman ORCHESTRA and Alida Vazquez STRINGED INSTRUMENTS ORCHESTRAL CONDUCTING Frederick Werle Ariana Bronne, Violin Carl Bamberger Warren Yost Raphael Bronstein, Violin and Viola Paul Berl Robert Gerle, Violin HISTORY OF MUSIC Lilo Kantorowicz-Glick, Violin CHORAL GROUPS and Vladimir Graffman, Violin CHORAL CONDUCTING Joseph Braunstein William Kroll, Violin and Viola Harold Aks Viola and Violin Paul Doktor, Cyrus Bryant PEDAGOGY Barbara Mueser, Viola da gamba Madeline Foley, 'Cello OPERA WORKSHOP Emilie Harris Jean Schneider Goberman, 'Cello Simon Karasick Paul Berl Aldo Parisot, 'Cello Marie Powers Fabrizio Melano Leiff Rosanoff, 'Cello Carl Schachter Vera C.Wills Robert Brennand, Double Bass ENSEMBLE CLASSES Julius Levine, Double Bass Lotte Bamberger CLASSICAL GUITAR Paul Berl ACADEMIC STUDIES Paul Doktor Leonid Bolotine Margot Bankoff Madeline Foley Roslyn DIugin Lotte P. Egers John Goldmark Andrew Garbarini Richard Goode HARP Moina M. Kallir Paul Jacobs Lucile Lawrence Fred Kuenstler Simon Karasick Matthew Lipman VOICE William Kroll David Loeb Walter Rosenberger Charles Bressier Steven Porter Alexander Williams Sebastian Engelberg Jerome Rothenberg Hugh Fraser-Noall Henry Shapiro Marinka Gurewich MUSIC EDITING Dorothy Uris Antonia Lavanne Eric Simon Louise Westergaard you must now make an important decision.

While walking to your car tonight after the performance, let these thoughts filter through your mind. A simple choice. Straight home to a glass of milk and something like a leftover meatloaf sandwich OR: a sizzling steak sandwich broiled exactly to your taste. How about a flaming shish kabob on a dagger? A roast beef

sandwich with a Russian dressing so rich it was expelled from the mother country. A crisp,

refreshing jumbo shrimp or Caesar salad. I n addition, think about things like service with a flair and in a lush Caribbean setting created with live tropical plants and exciting decor. Add

to this the enjoyment of music that fits the mood and the atmosphere.

The choice? Easy. Straight home leads to that leftover meatloaf. Straight to the Jamaica Inn

leads to late night dining at its best.

DRACAENA ARBOREA

. . . just one of the more than 60 varieties Next time start your evening with us. We offer of live tropical plants that brings the out- a summertime buffet that is ideal for '%ose on doors indoors at the the go," in addition to delicious live charcoal Jamaica inn. broiling and seafood selections.

Troy-Schenectady Road (Rt. 7) 3 miles west of Northway (Int. Rt. 87) Phone (518) 785-5888

^mf'i^^AfgiatiLVtm^' TANGLEWOOD LENOX MASSACHUSETTS

f 'idicates location of" rest rooms

LEAVING TANGLEWOOD

At the end of each Boston Symphony Orchestra concert, route 183 (West Street) is one way (two lanes) eastbound from the Tanglewood East Drive to Lenox. Visitors leaving the parking lots by the Main Drive and West Drive may turn right or left. By turning left from the Main or West Drive the motorist can reach route 41, the Massachusetts

Turnpike (Exit 1), the New York Thruway, or points south. Traffic leaving the South and Box parking areas may go in either direction on Hawthorne Street. The Lenox, Stockbridge and State Police, and the Tanglewood parking attendants will give every help to visitors who follow these directions.

Publisher and Advertising Representative

The Tanglewood-Berkshire Festival Program Magazine is published by SHOWBILL*, a division of Slocum House, Inc., 41 State Street, Albany, N. Y. 12207 and 39 West 55 Street, New York, N. Y. 10019. Advertising space may be secured throughout the season by writing SHOWBILL'S New York or Albany office, or calling us collect at (212) 265-5330 or (518) 465-351L

Publisher . . . Robert W. Slocum BOSTON SYMPHONY ORCHESTRA EIGHTY-NINTH SEASON 1969-1970 WILLIAM STEINBERG Music Director

YOU SUBSCRIPTION CONCERTS MISSED September 28 1969 to April 20 1970

BOSTON 24 Friday afternoons THE SYMPHONY HALL 24 Saturday evenings 10 Tuesday evenings (A series)

6 Tuesday evenings (B series)

6 Tuesday evenings (Cambridge series) BOAT 6 Thursday evenings (A series) 3 Thursday evenings (B series)

7 Thursday open rehearsals . . . almost! NEW YORK 5 Wednesday evenings

PHILHARMONIC HALL 5 Friday evenings

BROOKLYN 3 Thursday evenings The Tanglewood Program Magazine, the area's top sum- PROVIDENCE 5 Thursday evenings mertime advertising vehicle, The Orchestra will also give five concerts in Carnegie Hall, New York, as well as concerts is still available. at the universities of New Hampshire and Virginia, and in Baltimore, Villanova, Phila- It is reprinted throughout the delphia, New Haven, Hartford, Hackensack, Washington and New Brunswick. season ... so your Advertise- ment can be inserted anytime during the season. SUMMER CONCERTS Make sure your message is included. SYMPHONY HALL, BOSTON CHARLES RIVER ESPLANADE BOSTON POPS FREE OPEN AIR CONCERTS Call your Program "rep" right away! April 27 to June 27 1970 Two weeks in July

ARTHUR FIEDLER Conductor

TANGLEWOOD 1970 MAGAZINE SEIJI OZAWA GUNTHER SCHULLER Artistic Directors at Tanglewood

a division of

' LEONARD BERNSTEIN socum Adviser to Tanglewood house July 3 to August 23

CALL (518)465-3511 COLLECT (212) 265-5330 i For further information about the Orchestra's eighty-ninth season, please write to: 41 State Street, Albany, New York 12207 39 West 55 Street, New York, N. Y. 10019 BOSTON SYMPHONY ORCHESTRA AT TANGLEWOOD WE REACH SYMPHONY HALL OVER 700,000 PEOPLE BOSTON MASSACHUSETTS 02115 PARI-MUTUEL THOROUGHBRED

J

POST TIIVIe2^^'''^

To- some people's thinking, there's an air of stodgi- I OUR ness about the life insurance business. One is /^"^ •| A /^^ tempted to summon up a picture of musty offices, |V I |V DOUBLE I I I DAILY ,1 l/vl N vJ 1 1 N vJ and dusty furniture, and meek clerks scratching away TWIN DOUBLE with their quills. That's probably an accurate repre- PERFECTA sentation of how an insurance business was carried FACE Enfoy a short on in the old days. But obviously all that has Scenic ride to Green ,. '^v-. iged. Today, at Berkshire Life, people work in ultramodern, color-coordinated Mountain and dine in ^^''il rjundings. And they have at their disposal, equipment bordering on the futuristic air-conditioned elegance at ^^^ "Tlie Top of the Paddock" f)m magnetic tape typewriters to an immensely powerful and sophisticated third- restaurant. rration computer. But what really sets these people apart from their counterparts

16 past is the variety and professional quality of the jobs they perform, some hich are barely relatable to common notions about insurance. Indeed, some neir jobs didn't exist at Berkshire Life five years ago. For more information U.S. ROUTE 7 POWNAL, VT. •ut the new insurance careers at Berkshire Life, ask for a copy of the booklet Reservations S02-823-7311. > Changing Face." NO MINORS ADMITTED

Between Bennington, Vermont and Berkshire Life Williamstown, Massachusetts

Pittsfield, Massachusetts 01201 MANHATTAN SCHOOL OF MUSIC

George Schick, President and Musical Director

IF IT'S In the musical center of our country. Offering artist training by an internationally renowned faculty. FUN TO Courses lead to the Bachelor and Master of Music Degrees. DO IT'S IN

On October 2, 1969, the School

will begin its Fifty-Second Year

at a new location: 120 Claremont Avenue New York City Capital District Central New York Hartford Rochester For information concerning admission and scholarships, Buffalo (Niagara Frontier) write to: a division of 4, state Street SlOCUm Admissions Officer Albany, N. Y. MANHATTAN SCHOOL OF MUSIC house 12207 120 Claremont Avenue New York, N. Y. 10027 K^'^:

rP ^ llli'iMWl If you're

Wlidst five acres of lush ropical gardens facing the ever close Caribbean Sea. the new manage- nent of this lovely hotel offers to Albany, in atmosphere of gracious, inrormal living •rith: 60 air-conditioned rooms with private bath or shower, sea or -nountain views, some with private balcony or patio; adjacent to white Troy, or »and t>each, own Olympic size pool & tennis court; continental and lative cuisine ih dining room or on patio; superb sports facilities. Schenectady EUROPEAN PLAN winter Rates Summer Rates ">ec. 1i thru Apr. 15 Apr. 16 thru Dec. 15 New York, Single $24 to $34 Single $10 to $12 Double $32 to $42 Double $16 to $18 Triple $42 & $48 Triple $23 to $25 you're lucky. MAP - Add ^8 per person daily roa IMM(Dl*T{ COMFIRM'^TION. CONTACT JTELL INTERNATIONAL • Ets«x House. New York 10019 • (212) PL 7-2981 OfltCM In ^lnctp«l CIliM ^ You can dine at the Jamaica Inn.

Fabulous summertime Wi buffets. Live charcoal MONTEGO BAY broiling. Delightful luncheons and week- night dining. Lush and exotic tropical setting. Dancing Friday and

I 30 air-conditioned rooms (some Saturday evenings. It with balconies), private baths might even be worth Gracious Old Island atmosphere A step away from Doctor's Cave Beach a special trip. Convenient to the gay center of Montego Bay activities Verandah restaurant overlooks bay mm Acres of tropical gardens • New fresh water swimming pool

Summer Rates April 16 through Dec. 15 EUROPEAN PLAN From $14 From $10 double room single roorr\ Modified American Plan — add $5.00 per person Troy-Schenectady Road FOR IMMEDIATE CONFIRMATION CONTACT (Rt. 7) 3 miles west UTELL INTERNATIONAL Essex House, New York 10019 PLaza 7-2981 of Northway (Int. Rt. 87) BOSTON • CHICAGO • DALLAS • LOS ANGELES • MIAMI Phone (518) 785-5888 • PHILADELPHIA • MONTREAL • TORONTO • LONDON • The New England Conservatory of Music is Creativity Excellence Vitality Professionalism NOW

Today, the New England Conservatory's 530 students, under the leadership of President Gunther Schuller and the professional guidance of 120 faculty members, may study for the following degrees; 1) Bachelor of Music in Applied Music, Composition, Music Education, and Jazz; 2) Diploma in piano, voice, organ, harpsichord, and orchestral instruments; 3) Master of Music in Applied Music, Composition, Music Education, Jazz, Conducting, Opera Direction, Theoretical Studies, Performance of Early Music, Music Literature, and Vocal Accompaniment; 4) Artist Diploma in Applied Music and Jazz.

For further information, write the Director of Admissions, New England Conservatory, 290 Huntington Avenue, Boston, Massa- chusetts 02115.

^fi^S' *' CRANE MUSEUM

JAMAICA Exhibits steps in showing making Montego Bay's Newest Hotel all-rag papers and the progress of paper-making from Revolu- tionary times to the present. Carlylenn Reach Lruotel

• 50 air-conditioned rooms, each witfi private terrace or l^alcony

overlooking the sea • Each room with private bath 8. phone • Facing one of Jamaica's finest beaches • Our own swimming pool • ' All sports available • "The Pub" Restaurant serves 3 meals daily

Completely informal at all times. SUMMER RATES EUROPEAN PLAN Under persona/ supe-'vision of Open 2 to 5 p.m. Monday through Apr. 16 thru Dec. 15, 1969 DICK DELISSER Friday, from June through Sept- 9tk per person Managing Director ^ double occuoancv ember. Five miles east of Pitts- <£««> ^inclP FOR IMMEDIATE CONFIRMATION *12 ^ONTAGT occupancy INTERNATIONAL field on Route No. 9. Third person in room UTELL P®"" P?*^"" .. .^^ . Essex House. New York 10019 Modified American Plan PLaza 7-2981 add $8 per person

BOSTON . CHICAGO • DALLAS • LOS ANGELES • MIAMI • PHILADELPHIA • MONTREAL • TORONTO • LONDON DALTON, MASSACHUSEHS .ip»»i3B

~\^

A

M>{

J

llu-rc i.s .1 cii^areite lor the two ol you. l& M. In 1970, The Ringling Bros, and Barnum & Bailey Circus will celebrate its 100th anniversary. As you can imagine, there

will be TV specials, promotions . . . pub- GREATEST licity galore. NOW is the time to plan your advertising in the very special cen- tennial program that will be created for this great event. Call your Slocum House sales rep. He's a star performer in colos- SPACE sal print buys. ON EARTH s|ocum

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