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• Performance • Music Education • History and Literature • Theory and Composition
strings music history and literature
Walter Eisenberg, violin ' Charles Kavaloski, French horn Karol Berger
' Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz
' Bernard Kadinoff , viola David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition ' Robert Karol, viola Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin Harry Shapiro, French horn David Del Tredici 'Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman 'Leslie Martin, string bass ' Charles Yancich, French horn Alan MacMillan George Neikrug, cello percussion Joyce Mekeel ' Mischa Nieland, cello ' Thomas Gauger Malloy Miller Leslie Parnas, cello 'Charles Smith Gardner Read 'Henry Portnoi, string bass Allen Schindler 'Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence ' Alfred Schneider, violin music education ' Roger Shermont, violin piano Lee Chrisman Maria Clodes * Joseph Silverstein, violin Allen Lannom Roman Totenberg, violin Anthony di Bonaventura Jack O. Lemons Walter Trampler, viola Lenore Engdahl Mary Ann Norton Bela Boszormenyi-Nagy " Max Winder, violin musical organizations 'Lawrence Wolfe, string bass Philip Oliver, staff accompanist Edith Stearns Adelaide Bishop, opera woodwinds Fredrik Wanger Warren Wilson, opera Edward Avedisian, clarinet Joseph Huszti, chorus 'Pasquale Cardillo, clarinet organ 'Joseph Silverstein, orchestra 'Doriot Anthony Dwyer, flute George Faxon * Jerome Rosen, repertoire Roderick Ferland, saxophone Jack Fisher orchestra ' Ralph Gomberg, oboe Max Miller * Roger Voisin, wind ensemble "John Holmes, oboe harpsichord boston symphony orchestra 'Phillip Kaplan, flute Joseph Payne woodwind quintet in residence 'James Pappoutsakis, flute 'Doriot Anthony Dwyer, flute 'Richard Plaster, bassoon voice * Ralph Gomberg, oboe 'Matthew Ruggiero, bassoon Eunice Alberts, contralto * Harold Wright, clarinet 'Felix Viscuglia, clarinet Germaine Arosa, diction * Sherman Walt, bassoon * Sherman Walt, bassoon Mary Davenport, contralto 'Charles Kavaloski, French horn 'Harold Wright, clarinet Terry Decima, vocal coaching empire brass quintet brass Ellalou Dimmock, soprano in residence * Ronald Barron, trombone Maeda Freeman, mezzo Charles A. Lewis, Jr., trumpet Peter Chapman, trumpet Robert Gartside, tenor 'Rolf Smedvig, trumpet Coffey, tromboneltuba Mac Morgan, baritone John 'David Ohanian, French horn * Armando Ghitalla, trumpet Chloe Owen, soprano 'Norman Bolter, trombone Paul Gay, trombone Allen Rogers, vocal coaching Samuel Pilafian, tuba * Gordon Hallberg, Barbara Stevenson, soprano tromboneltuba Wilma Thompson, mezzo
'Member of the Boston Symphony Orchestra Boston University School of Music
Wilbur D. Fullbright, Director • Robert Lee Tipps, Assistant to Director offering degrees at the bachelor, master, and doctoral levels.
School for the Arts: Music, Theatre, Visual Arts • Norman Dello Joio, Dean 855 Commonwealth Avenue, Boston, Massachusetts 02215 Seiji Qzawa, Music Director
Colin Davis, Principal Guest Conductor
Joseph Silverstein, Assistant Conductor
Ninety-Fifth Season 1975-76
The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks President
Philip K. Allen Sidney Stoneman John L. Thorndike Vice-President Vice-President Treasurer
Vernon R. Alden Mrs. Harris Fahnestock Albert L. Nickerson Allen G. Barry Harold D. Hodgkinson John T. Noonan Mrs. John M. Bradley David O. Ives Mrs. James H. Perkins
Richard P. Chapman E. Morton Jennings, Jr. Irving W. Rabb Abram T. Collier Edward M. Kennedy Paul C. Reardon
Nelson J. Darling, Jr. Edward G. Murray Mrs. George Lee Sargent Archie C. Epps III John Hoyt Stookey Trustee Emeritus Henry A. Laughlin
Administration of the Boston Symphony Orchestra
Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager
Gideon Toeplitz Daniel R. Gustin Dinah Daniels
Assistant Manager Assistant Manager Director of Promotion Paul Bronstein Forrester C. Smith Richard C. White
Business Manager Development Director Assistant to the Manager
Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood John Kronenberger Program Editor
Programs copyright ® 1976 Boston Symphony Orchestra Inc.
Contents:
page page
Tanglewood 6 Programs 13-27 Seiji Ozawa 9 Berkshire Music Center 29 Map 10 In and Around The Berkshires 33 Information 11 Friends 35,37 The Board of Overseers of the Boston Symphony Orchestra Inc.
David O. Ives, Chairman Hazen H. Ayer, Vice Chairman
Mrs. Arthur I. Strang, Secretary
Charles F. Adams Paul Fromm Richard P. Morse Mrs. Frank G. Allen Carlton P. Fuller David G. Mugar
Dr. Leo L. Beranek Mrs. Thomas J. Galligan, Jr. Dr. Barbara W. Newell David W. Bernstein Mrs. Thomas Gardiner Stephen Paine David Bird Mrs. John L. Grandin Mrs. Priscilla Potter Gerhard Bleicken Bruce Harriman Harry Remis Frederick Brandi Mrs. Richard D. Hill Mrs. Peter van S. Rice
Curtis Buttenheim Mrs. Amory Houghton, Jr. Mrs. Samuel L. Rosenberry
Mrs. Henry B. Cabot Richard S. Humphrey, Jr. Mrs. Jerome Rosenfeld Mrs. Mary Louise Cabot Mrs. Jim Lee Hunt Mrs. A. Lloyd Russell Mrs. Norman L. Cahners Leonard Kaplan William A. Selke
Levin H. Campbell, III Leon Kirchner Samuel L. Slosberg
Dr. George H.A. Clowes, Jr. Mrs. James F. Lawrence Richard A. Smith Arthur P. Contas Roderick MacDougall Mrs. Edward S. Stimpson The Hon. Silvio O. Conte John S. McLennan Mrs. Edward A. Taft
Robert Cushman Colman M. Mockler, Jr. Mrs. Richard H. Thompson
Michael J. Daly Mrs. Charles L. Moore Stokley P. Towles Mrs. C. Russell Eddy Mrs. Elting E. Morison D. Thomas Trigg Weston P. Figgins Frank E. Morris Julius Vogel
Boston University Tanglewood Institute
Norman Dello Joio, Executive Director Gary L. Zeller, Administrator Robert Lee Tipps, Music Coordinator
Eleventh Season
Summer Instrumental and Vocal Programs for the out- standing high school musician. Private study with master artists including members of the faculty of the Boston University School of Music and the Boston Symphony Orchestra. Chamber music, orchestral and vocal perform- ances at Tanglewood.
For information: Boston University Tanglewood Institute, 855 Commonwealth Avenue, Boston, Massachusetts 02215.
A program offered by the Boston University School for the Arts in association with the Berkshire Music Center. Todays Great Piano.
For many years Baldwin pianos have been the accompanist to the Boston Symphony Orchestra, The Berkshire Festival, The Berkshire Music Center,
and these 1976 Tanglewood artists:
Leonard Bernstein Arthur Fiedler Gilbert Kalish Seiji Ozawa Andre Previn Gunther Schuller Earl Wild Baldwin Tanglewood In August, 1934, a group of music- loving summer residents of the Berk- shires organized a series of three INTERNATIONAL SOCIETY outdoor concerts at Interlaken, to be FOR CONTEMPORARY MUSIC given by members of the New York Philharmonic under the direction of Henry Hadley. The venture was so World Music Days successful that the promoters incor- porated the Berkshire Symphonic 1976 Festival and repeated the experiment during the next summer. October 24-October 30 The Festival committee then invited Serge Koussevitsky and the Boston New England Conservatory of Music Symphony Orchestra to take part in the Boston, Massachusetts following year's concerts. The Orches- tra's Trustees accepted and on August
A festival of 13 concerts of contemporary 13, 1936, the Boston Symphony gave music representing composers its first concert in the Berkshires (at from 27 countries Holmwood, a former Vanderbilt estate, later the Foxhollow School). The series, again consisting of three concerts, was Performing groups include: given under a large tent, and a total of Boston Symphony Orchestra, nearly 15,000 people attended. New England Conservatory Symphony Orchestra, In the winter of 1936, Mrs. Gorham University of Iowa Orchestra, Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tap- Conductors: pan family estate, with its buildings and Seiji Ozawa, GuntherSchuller, James Dixon, Richard Pittman 210 acres of lawns and meadows, as a gift to Koussevitsky and the Orchestra. Chamber music concerts featuring The offer was gratefully accepted, and Boston MusicaViva, Collage, Societe de on August 12, 1937, the Festival's Musique Contemporainedu Quebec, largest crowd thus far assembled under The Purcell String Quartet, and others. a tent for the first Tanglewood concert, a program of music by Wagner.
For information: As Koussevitsky began The Ride of the ISCM Valkyries, a storm erupted, overpowering New England Conservatory the music and causing the concert to be 290 Huntington Avenue interrupted three times before the first Boston, Massachusetts 02115 half could be completed. The second half Tel. 617-262-0122 of the program had to be changed, because of water damage to some of the instruments, and when the concert ended, Miss Gertrude Robinson Smith, one of the Festival's founders, came to the stage and told the audience that the storm had demonstrated the need for a permanent structure. A hundred thousand dollars, she said, would be needed for this purpose, and the response to her plea was so generous that within a short time the amount was fully subscribed. Plans for the Music Shed were drawn up by the eminent architect Eliel Saarinen, and, as modi- fied by Josef Franz of Stockbridge, who also directed construction, it was com- pleted on June 16, 1938, a month ahead of schedule. Seven weeks later, Serge Koussevitsky led the inaugural concert, which included a performance of Beet- hoven's Ninth Symphony. By 1941, the Theatre-Concert Hall, the Chamber Music Hall and several small studios — all part of the Berkshire Music Center, which had begun operations the pre- ceding year — were finished, and the Festival had so expanded its activities and its reputation for excellence that it attracted nearly 100,000 visitors. Today Tanglewood annually draws close to a quarter of a million visitors; in addition to the twenty-four regular concerts of the Boston Symphony, there are weekly "Prelude" concerts and open lUAIilC rehearsals, the annual Festival of FM 90.3 mHz Contemporary Music, and almost daily concerts by the gifted young musicians We bring you fine music of the Berkshire Music Center. Arthur AND dozens of interesting Fiedler and the Boston Pops perform events — live and without each summer, and the Festival also commercials. Sit in with us includes a series of concerts by popular at the National Press Club, artists. The season offers not only a where the next day's head- vast quantity of music but also a vast range of musical forms and styles, all lines are often made. Enjoy of it presented with a regard for artistic "All Things Considered," a excellence that makes the Festival fascinating magazine of news unique. Tanglewood and the Berkshire andissues. (Nothingelselikeit Music Center, projects with which in broadcasting !) Savor some Koussevitsky involved until his was of the most satisfying thea- death, have become a fitting shrine to tre productions ever aired. his memory, a living embodiment of Revel in delightful, intelligent the vital, humanistic tradition that was his legacy. conversation.
Listen . . . and if you like what you hear, write for our free monthly program directory. WAMC Albany Medical College Albany, New York 12208
National Public Radio n py-v"^ ^ or eastern New York
I U and western New England
The Shed under construction in 1938 DannonYogurt. If you don't always eat right, ifs the right thing to eat.
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Long Island City, NewYork 11101. It'll tell you why Dannon's the right thing to eat even if |3r 5t3l you always eat right. Seiji Ozawa, Music Director
Seiji Ozawa became Music Director of Director of the Berkshire Music Festi- the Boston Symphony Orchestra in the val, and in December of that year he fall of 1973 and is the thirteenth con- began his inaugural season as Con- ductor to head the Orchestra since its ductor and Music Director of the San founding in 1881. Francisco Symphony Orchestra, titles He was born in Hoten, Manchuria, he held concurrently with his position in 1935, and graduated from the Toho as Music Director of the Boston Sym- School of Music in Tokyo with first phony until he resigned them this prizes in composition and conducting. spring. (He will be Honorary Conductor When he won first prize at the Inter- in San Francisco for the 1976-1977 national Competition of Conducting at season.) Besangon, France, shortly after his In February and March of this year graduation, one of the judges of the Mr. Ozawa led the Boston Symphony's competition was the late Charles celebrated eleven-city tour of Europe. Munch, then Music Director of the Late this spring he directed a fully- Boston Symphony, who invited him staged production of Boris Godunov in to study at Tanglewood during the Tokyo. Besides Tanglewood, his sched- following summer. Mr. Ozawa's asso- ule this summer includes an appearance ciation with the Orchestra began during at the Salzburg Festival, leading the that session of the Berkshire Music Dresden Philharmonic. His recordings Center as a student of conducting in with the Orchestra on the Deutsche 1960. He was a guest conductor with Grammophon label include Berlioz's the Orchestra first in 1964. Symphonie fantastique and La damnation de Beginning with the summer of 1964, Faust, Beethoven's Piano Concerto No. 5 Mr. Ozawa was for five seasons Music with soloist Christoph Eschenbach, and Director of the Ravinia Festival, and the complete orchestral music of Ravel. at the beginning of the 1965-66 season This fall DG has three new Ozawa/BSO he became Music Director of the collaborations scheduled for release:
Toronto Symphony, a post he relin- Berlioz's Romeo et Juliette, Shostakovitch's quished after four seasons to devote Cello Concerto No. 2 (with soloist his time to study and guest conducting. Mstislav Rostropovich) and Charles In 1970 Mr. Ozawa became Artistic Ives's Fourth Symphony.
Berkshire Hills LEISURE lEE A FOUR-SEASON VACATION COMMUNITY
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ii 4h Ifeel that there has to be a way of speaking about music with intelligent but non-professional music lovers...studentsf nonstuaentsf the cop on the corner^ my motherland the best way I havefound is by setting up a working analogy with language, something everyone snares
9 anausesf and knows about..! Leonard Bernstein's celebrated Norton Lectures on the future course of music are now a book. If you are a music lover, this is your book. One you'll read, refer to, revel in. The Unanswered Question Six Talks at Harvard Leonard Bernstein Boxed. With 3 Records. $20.00
Available at the Tanglewood Music Store and fine stores everywhere. Or order directly from:
Harvard University Press, 79 Garden st, Cambridge, Mass. 02138
Harvard University Press is the publisher of The Ha?vard Dictionary ofMusic. Belknap Press. $20.00
12 Tanglewood 1976
Weekend Prelude
The Boston Symphony Chamber Players with Gilbert Kalish, guest artist
Friday, July 9, 1976 7 p.m.
Prelude and Fugue in D minor, K. 404a, No. 1 Mozart-Bach Prelude: adagio Fugue: andante cantabile
JOSEPH SILVERSTEIN, violin; BURTON FINE, viola; JULES ESKIN, cello
Quartet for Flute and Strings in D major, K. 285 Mozart Allegro Adagio Rondo: allegretto
DORIOT ANTHONY DWYER, flute; JOSEPH SILVERSTEIN, violin; BURTON FINE, viola; JULES ESKIN, cello
Quintet for Piano and Winds in E flat major, K. 452 Mozart Largo; allegro moderato Larghetto Rondo: allegretto
GILBERT KALISH, piano; RALPH GOMBERG, oboe; HAROLD WRIGHT, clarinet; CHARLES KAVALOSKI, horn; SHERMAN WALT, bassoon
Deutsche Grammophon Records < Baldwin Piano
13 Jerome Lipson Robert Karol Bassoons Bernard Kadinoff Sherman Walt Edward A. Taft chair Vincent Mauricci Roland Small Earl Hedberg Matthew Ruggiero Joseph Pietropaolo Robert Barnes Contra bassoon Michael Zaretsky Richard Plaster
Cellos Horns Eskin Jules Charles Kavaloski Philip R. Allen chair £°^ Helen Sagoff Slosherg chair Martin Hoherman Charles Yancich Mischa Nieland David Ohanian Jerome Patterson First violins Richard Mackey Robert Ripley Joseph Silverstein Ralph Pottle Concerimaster Luis Leguia Charles Munch chair Carol Procter Trumpets Emanuel Borok Ronald Feldman Armando Ghitalla Assistant Concertmaster Joel Moerschel Andre- Come Helen Horner Mclntyre Chair Jonathan Miller Rolf Smedvig Max Hobart Martha Babcock Rolland Tapley Gerard Goguen Roger Shermont Basses Trombones Max Winder William Rhein Ronald Harry Dickson Harold D. Hodgkinson chair Barron Gottfried Wilfinger Joseph Hearne William Gibson Fredy Ostrovsky Bela Wurtzler Norman Bolter Leo Panasevich Leslie Martin Gordon Hallberg Sheldon Rotenberg John Salkowski Alfred Schneider John Barwicki Tuba Stanley Benson Robert Olson Chester Schmitz Gerald Gelbloom Lawrence Wolfe Raymond Sird Henry Portnoi Timpani Ikuko Mizuno Everett Firth Sylvia Shippen Wells chair Cecylia Arzewski Flutes Amnon Levy Doriot Anthony Dwyer Percussion Walter Piston chair Charles Smith Second violins James Pappoutsakis Arthur Press Victor Yampolsky Paul Fried Assistant timpanist Fahnestock chair Thomas Gauger Marylou Speaker Frank Epstein Michel Sasson Piccolo Ronald Knudsen Lois Schaefer Harps Leonard Moss Bernard ZigheYa Bo Youp Hwang Oboes Ann Hobson Laszlo Nagy Ralph Gomberg Mildred B. Remis chair Michael Vitale John Holmes Personnel Managers Darlene Gray Wayne Rapier William Moyer Ronald Wilkison Harry Shapiro Harvey Seigel English Horn Jerome Rosen Laurence Thorstenberg Librarians Sheila Fiekowsky Victor Alpert Gerald Elias Clarinets William Shisler Vyacheslav Uritsky Harold Wright Ann S.M. Banks chair Stage Manager Violas Pasquale Cardillo Alfred Robison Burton Fine Peter Hadcock Charles S. Dana chair E-flat clarinet Reuben Green Eugene Lehner Bass Clarinet George Humphrey Felix Viscuglia
14 Tanglewood 1976
Boston Symphony Orchestra Seiji Ozawa, Music Director
Friday, July 9, 1976 9 p.m.
SEIJI OZAWA conducting
Overture to The Magic Flute, K. 620 Mozart
Symphony No. 40 in G minor, K. 550 Mozart Allegro molto Andante Menuetto: allegretto Finale: allegro assai
INTERMISSION
Piano Concerto in E flat major, K. 271 Mozart Allegro Andantino Rondo: presto; menuetto cantabile; presto
CHRISTOPH ESCHENBACH, piano Mr. Eschenbach plays the Steinway piano
Deutsche Grammophon Records Baldwin Piano Philips Records 15 Notes Sixth Symphony it reaches a sort of peak.) The melodic phrasing tends to descend, and to move chromatically. The harmonic scheme is also chromatic Overture to The Magic Flute, K. 620 and modulatory. Conciseness and ab- ruptness are the first characteristics It was on September 28, 1971, two of the score. The composer states his days before the first performance that themes directly without preamble or Mozart, having completed the score of bridge. The first movement could be his opera in great haste, wrote out its said to foreshadow the first movement Overture. Three solemn chords, taken of Beethoven's C minor Symphony in from the priestly music of the second that it is constructed compactly upon act, are given out by the full orchestra, a recurrent germinal figure which is the trombones lending their special a mere interval; in this case, the falling color. The introductory adagio is fol- second. The second theme is conspic- lowed by a lively fugue, first set forth uous by a chromatic descent. The by the strings. The fugue has no recur- development, introduced by two short rence in the opera itself, but is easily arbitrary chords which establish the associated with the sprightly music of remote key of F-sharp minor, moves Papageno. There is a brief return to the by swift and sudden, but deft, transi- adagio chords of the Introduction and a tions. Its strength is the strength of development in which the sonata and steel rather than iron, the steel of a fugue forms are blended. fencer who commands the situation by — John N. Burk an imperceptible subtlety, whose feints and thrusts the eye can scarcely follow. After pages of intensity, the music Symphony No. 40 in G minor, K. 550 subsides softly to the last chord of its Coda. Mozart composed his three last symphonies — Nos. 39, 40 and 41 — in Vienna during The Andante states its theme, as did the summer of 1 788. the first movement, in the strings, the basses giving another chromatic figura- The G minor Symphony is cast, as tion. The affecting beauty of the work- plainly as any symphony of Mozart, ing out has been praised innumerable in a pervasive mood and style. It is a times, Wagner comparing the gently strongly incisive music which attains descending figures in thirty-second its strength by deftness and concen- notes to "the tender murmuring of tration instead of by massive means. angels' voices." Writers on Mozart have Its special coloring is illustrated by found harshness and tension in the Mendelssohn's retort to a declaration Minuet—all agree that the Trio, in the of Liszt that the pianoforte could pro- major tonality, has no single shadow duce the essential effects of an orches- in its gentle and luminous measures. tral score. "Well," said Mendelssohn, The Finale has a bright and skipping "if he can play the beginning of Mozart's first theme; a second theme which G minor Symphony as it sounds in the shows once more the plaintive chro- orchestra, I will believe him." (The matic descent. Like the first movement, Symphony begins with a delicate piano the last is compact with a manipulation in the strings, the lightly singing violins which draws the hearer swiftly through supported by darkly shaded chords of a long succession of minor tonalities. the divided violas.) The development of the movement (which is in sonata form) reaches a The opening theme shows at once high point of fugal interweaving, the the falling semi-tone to the dominant impetus carrying to the very end. which for generations seems to have been the composer's convention for — John N. Burk plaintive sadness. (In Tchaikovsky's 16 Piano Concerto No. 9 in E flat, K. 271 not have occasion ever to repeat. The first part of the principal subject is an Mozart wrote this concerto for Mile. orchestral proclamation, its melodic Jeunehomme (or, as spelled for Teutonic cadence is pianistic, whereby holy throats, "Jenome"), a French pianist matrimony is declared at the outset. who presumably visited Salzburg in As in any ideal union, there is later a 1777. It was his fourth original con- congenial interchange of thoughts. The certo for piano. We cannot know thematic material of the first move- whether or not he was moved by the ment according to current custom could skill of this pianist to extraordinary have furnished three. effort, but the music itself shows a The Andantino is in C minor — the considerable advance over anything he first of Mozart's concerto movements .had done in any form. He had already in the minor tonality. Its plaint in the solved the basic problem of the con- low strings is strongly suggestive of certo combination, but here it acquired the slow movement of the Sinfonia con- its full stature. He struck out boldly, certante for Violin and Viola (K. 364) to molded his materials at will in untried be composed more than two years later. ways. The orchestra imposed upon him There is even a suggestion of duet in still consisted of oboes and horns which its first statement. The feeling becomes for the most part must be supported more intense as the orchestra intro- by string doubling. Within these limita- duces the soloist with a cadential phrase tions the orchestra becomes newly like a singer's recitative, as if emotion eloquent, closely fused with the piano were striving for words. The passage to the advantage of both. Einstein com- recurs and softly closes the movement, pared this "monumental" concerto with but not before a suspensive pause on Beethoven's "Eroica" Symphony for its the dominant (instead of the usual six- "originality and boldness." He could four chord) introduces a cadenza which have carried the comparison further. carries the whole magic, veiled discourse It is in the same key and reaches the to its true summit. unprecedented length of thirty-five The rondo (presto) is based on an minutes. It was the case of a young man extended theme from the pianist, pro- who took hold of a polite form and posed and carried through with swift poured into it a flood from an astonish- brilliance. In place of the third section, ingly abundant imagination in such a Mozart unexpectedly introduces and way that its profusion throughout is develops the theme of a slow minuet. compact with fresh beauty. Like the This is a long movement, for the young "Eroica," too, the first movement is composer had much in his heart. There built on a complex of themes which is a cadenza which becomes a crucial merge into a continuous melodic cur- part of the development and brings back rent in development; the slow move- the recitative passage as a soft reminis- ment is a deep lament, the finale an cence before the close. The bridge to outpouring of ebullient strength. It the return of the Presto is quite inde- establishes a custom which was to make scribable. It has trappings of elegant Mozart the supreme master of the piano grace but with a new and personal concerto — a cluster of six themes in meaning. This is a concerto of daring, the opening tutti, to be heard from as if the usually compliant Mozart were later in varied sequence and manipula- suddenly possessed. Every bar super- tion, usually shared with the piano sedes formal gallantry. which introduced subjects of its own. At the very beginning the composer — John N. Burk breaks precedent as the orchestra gives out a phrase and the pianist, who should be quietly waiting for his proper en-
trance much later, completes it. This was a happy trouvaille which Mozart did 17 Tanglewood 1976
Boston Symphony Orchestra Seiji Ozawa, Music Director
Saturday, July 10, 1976 8:30 p.m.
EDUARDO MATA conducting
Symphony No. 23 in D major, K. 181 Mozart Allegro spiritoso Andantino grazioso Presto assai
Sinfonia Concertante in E flat major, K. 297b Mozart Allegro Adagio Andantino con variozioni
RALPH GOMBERG, oboe; HAROLD WRIGHT, clarinet; SHERMAN WALT, bassoon; CHARLES KAVALOSKI, horn
INTERMISSION
Six German Dances Mozart
Divertimento in D major, K. 251 Mozarf Allegro Molto Menuetto Andantino Menuetto, tema con variozioni Rondo: allegro assai Marcia alia francese
Deutsche Grammophon Records Baldwin Piano Philips Records 18 Notes Sinfonia Concertante for Oboe, Clarinet, Horn and Bassoon in E flat, K. 297b
The Sinfonia Concertante, K. 297b, was com- posed in Paris in April, 17 78, but the score Symphony No. 23 in D major, K. 181 disappeared without performance. A copy was In the few months between his return later found in the State Library in Berlin and to Salzburg from Milan in March, was published in the collected edition of 1773, and his departure for Vienna Mozart's work in 1886. in July, Mozart wrote a high mass, one
or more divertimenti, a concertone for This music is the very definition of two violins, and five brief symphonies. the title (which is more accurate than These last were in the prevailing Italian "Konzertantes Quartet" as it was first pub- manner — that is, in three movements lished). Like the Konzertante Sinfonie for
(fast-slow-fast) and possessed of a Violin and Viola (K. 364), it is symphonic highly polished, if lightweight, elegance; in its expanse, in the character of the
suitable as a curtain-raiser for concert development. At the same time it re- or opera alike, they justly merited their sembles a concerto grosso by the setting alternative title of "ouverture." The of the solo quartet, which is a sort of D major symphony, K. 181, is a fine, concertino against the orchestral tutti. extroverted example of the form; it is The quartet is a unified group rather an unbroken tripartite confection than a succession of soloists — a utterly unwilling to stop for breath Harmonie-musik, where the individual before it has finished the course. voices are alternated, blended, inter- John N. Burk has spoken elsewhere laced, backed by the accompanying orchestra or relieved by the predom- of "a lingering tendency in the first inant string tone of the tutti. in and last movements [of these sym- Only phonies] toward proclamatory chords the adagio, where the melodic line is lengthened in time, does each soloist for the full orchestra alternating with have his extended phrase while light string figures, a style which makes accom- for constant contrasts rather than panied by his fellows. fluency in development." And there The first movement, which is the is, in fact, no development section to longest, is thematically rich and tends speak of in the propulsive opening to prolong the development by the allegro, with its insistent, striding varied possibilities of color combination rhythms, only a minutely altered repe- and alternation which the composer tition of the thematic material that has given himself. The long "cadenza" subtly redistributes the tonal assign- before the close is not used for virtuoso ments. display but is a sort of coda where the group as a group demands the sole The andantino grazioso is no more attention. The slow movement is profound than its marking indicates, signified by Einstein as in reality an and is certainly unlikely to have caused andante rather than an adagio. The its original audience to cease chattering solo players carry the melody in turn, and flirting altogether, yet, as with so the bassoon providing in one place a much of Mozart, the oboe solo possesses sort of dulcet "Alberti to the a bittersweet beauty one cut above the bass" higher instruments. simple requirements of the occasion. The variation finale naturally permits The presto finale, straightforward and solo virtuosity to come to the fore, but singular of purpose, is never long always in a musically integrated way. distracted from its high-speed march The ten variations give special solo theme and so brings the symphony to opportunities close on a note of unalloyed triumph. to the oboe or clarinet or the- two together. The second varia- -J.K. tion gives the bassoon special oppor- 19 tunities and the eighth provides a duet What is more usually stressed (the by a melodic bassoon and an ornamental perspective is almost the same, give or oboe in arpeggios. The horn has no take a few degrees) is that the evolution extensive solos, but its function is by of dance forms was crucial to the devel- no means subordinated. Each variation opment of "serious" music. As early as is rounded off by a recurring refrain 1670 there was current a tune entitled from the tutti. At last there is an adagio Ach du lieber Augustin, with a Landler-\ike passage and an allegro coda in a refrain in which is immortalized a merry tripping 6/8. Austrian musician of elbow-bending — John N. Burk propensities whose alcoholic content allegedly immunizes him against a Six German Dances plague while thousands of more tem- K. 600, Nos. 1, 2 and 5 perate citizens are done in. And even K. 602, No. 3 in this seventeenth century item we K. 605, Nos. 2 and 3 can discern the outline of all the waltzes All of Central Europe once danced to come: a quite rhythmic three-four the Deutscher, whose gemutlich glide was pattern, with accentuation on the bass to bridge the transition from the note of the first beat and a limpid,
peasant Handler to the sophisticated lilt almost limping quality in the two re- of the waltz. In 1787, on the eve of his maining quarters. Shortly before the accession as Hammermusikus to the dance- Commendatore arrives for supper in
drunk Emperor Joseph II, Mozart wrote Act II of Don Giovanni, written more
from Prague: "At six o'clock I went with than a hundred years later, we hear a the Count Canal to the so-called Breiten, waltz melody borrowed from Vicente
a rustic ball. ... I saw with whole- Martin y Soler's opera Una cosa rara. hearted pleasure how these people And in this little piece, even more speci- jumped around with such sincere enjoy- fically, we can hear the same constitu- ment to the music of my Figaro, which ents to be found in the best-loved had been turned into all kinds of contres waltzes of Lanner and the Strausses: and Teutsche." Later that year, the com- an eight-measure melodic period with poser found that his imperial duties minor subdivisions and phrases of four consisted almost entirely of supplying bars, and sometimes even further sub- new music for the masked balls which divisions into two-bar motives. were staged regularly in the Redouten- In 1790 Joseph II died, but Leopold II saale, a wing of the Hofburg on Vienna's kept Mozart just as busily grinding out Josephplatz. Much of his production music for Carnival-time. The set of were Deutsche (or Teutsche), and the three dances that make up K. 605 celebrants took to them in turn despite probably dates from January and Feb- Mozart's self-abnegating appraisal; he ruary of 1791, along with six or seven remarked that his modest salary was other groupings listed immediately "too high for what he did." before and after this one in the Kochel Of course he was wrong, but that is catalogue. Before that year's end not the point. The point is that Carnival- Mozart would be dead, but there is time in Vienna, even on the grounds of nothing premonitory about these 'fun' the palace, meant a mingling of the miniatures. They even include a sleigh- bourgeoisie and the aristocracy — al- ride, with posthorns and the jingle of though it is true enough that this un- bells contributing to seasonal veri- fettered social contact took place behind similitude. the protection of classless costumes and Hermann Albert, who revised the masks. So that in the "German Dances" classic Jahn biography of Mozart, ran of Mozart, more so than in any of his on about the "inexhaustible inventive- grander works, we may perceive the ness" of the composer's German Dances interrelation between high art and despite the circumscribed expressive popular taste which is too often over- limitations of the genre. Mozart himself looked. may not have esteemed them highly, 20 but the listener cannot but believe that The nocturnal Andantino that follows the Hammermusikus really enjoyed his is in rondo form, its wistful main job. We know from Michael Kelly that subject appearing four times in all; Mozart was "an enthusiast in dancing," the third time, it is transformed by the and Mrs. Mozart put this in very much oboe into an even lovelier shape. Then stronger language; she stated flatly that comes another minuet, this one stately, her husband's "taste lay in that art almost Handelian in character, but [dance] rather than in music"! If this with a series of three variations (for fantastic revelation were to be taken oboe, first violins and second violins, as literally true — and who is to say it respectively) to take the place normally nay? — then the musicologists ought reserved for the trio; the last variation, to give more attention than they ever with its spirited string playing, must have to such "trifles" as the German have particularly delighted its birth- Dances. day-party audience.
But it is the final Rondo which pro- — James Lyons ® vides the brightest sparkle in this Divertimento in D major, K. 251 musical gift necklace: the principal theme is a riotous romp, something The present performance of the like a barn dance in an 18th century Divertimento in D major is in its own salon, and it is difficult not to give way way a kind of bicentennial tribute, since utterly to its stomping festive spirit. Mozart apparently composed it for his (By contrast, the second of the move- older sister Nannerl's twenty-fifth ment's three episodes is an oboe solo birthday in July, 1776. In it, he added that seems to be half airborne as it an oboe to the two-horns-and-strings skips along, toes barely touching the instrumentation he employed in three floor.) Following the third episode, the other divertimenti (K. 247, 287, 334) most celebratory and extensive, an of his Salzburg years, and that alone ironically maudlin violin phrase leads makes the work unusual. Einstein back into the final headlong rush. speculates that the inclusion of the Nannerl should have been beside "French" oboe was a gesture as pointed herself by the time the Marcia alia as the slightly pompous Marcia alia francese, which (in the Divertimento's francese; both devices would serve to original form) may have already served remind the composer's sister of their to usher in the guests, now appeared days together in Paris a decade before. to see them to the door. Whatever the underlying reasons for -J.K. adding the oboe, its appearance upsets the more regular horns and strings relationship — essentially that of a DINING FOR THOSE WHO KNOW string quartet plus obbligato winds — and makes the Divertimento a more ^ed Pyteteeet fully integrated piece of music, with the oboe constantly challenging the FROM TANGLEWOOD (Only 9 Miles) first violins for the lead. The opening to Route 41 and 295 Allegro forthrightly builds a solid little sonata-form structure without recourse OPEN FOR DINNER to a separate second theme (much as Weekly 5:00 to 10:30 p.m. in the "Haffner" Symphony's first Sunday 4:00 to 10:30 p.m. movement six years later). Instead, YOUR HOSTS the first subject simply shows up again JEAN and DOLORES PETIT in the dominant minor . . . and then PHONE: 518-781-4451 does triple duty in the coda. 518-781-9994 The second movement, a Menuetto, is punctuated by commas in the winds; QUEECHY LAKE • CANAAN, N. Y. its trio, however, is for strings alone.
21 Tanglewood 1976
Boston Symphony Orchestra Seiji Ozawa, Music Director
Sunday, July 11, 1976 2:30 p.m.
EDUARDO MATA conducting
Overture to The Impresario, K. 486 Mozart
A Musical Joke, K. 522 Mozart Allegro Menuetto Adagio Cantabile Presto
"Vorrei spiegarvi, o Dio," K. 418 "L'amero, saro costante"
from II re pastore, K. 208 Mozart
JUDITH BLEGEN, soprano - "aJLL
H\u 1*2 la n.r
INTERMISSION
Symphony No. 39 in E flat major, K. 543 Mozart Adagio; allegro Andante con moto Menuetto: allegretto Finale: allegro
Deutsche Grammophon Records Baldwin Piano Philips Records
22 Notes then at work upon Don Giovanni; he had composed his great G minor Quintet in the month previous, and would com- pose Fine kleine Nachtmusik in August. Overture to Der Schauspieldirektor An inveterate joker, fond of word play (The Impresario), K. 486 in his letters, and in certain canons to Der Schauspieldirektor was commission- texts as unrefined as their counterpoint ed in 1786 by Josef II, Emperor of is faultless, he never except in this case Austria, for a "Lustfest" at Schonbrunn distorted music itself. in honor of the visiting Governor- This bit of parody has been published General of the Netherlands. Mozart as a "Dorfmusikanten Sextett, "but wrongly. was at work upon Figaro at the time. Village musicians are not the butt of Since he was anxious for more recog- this joke, but the would-be composer. nition at Court and an imperial post, It is in the form of a divertimento like he must have welcomed this opportun- four others he had written, for string ity for royal notice. The Impresario is in quartet and two horns, with the dif- reality a Singspiel, with far more spoken ference that the smoothest of com- lines than music, Mozart having been posers here forces himself, against called upon for four vocal numbers, every instinct, to be ungainly. The besides the overture. The text, by harmonies are wrong, the distribution Stephanie the younger, concerns an of chords awkward. There are trills on impresario who is confronted by two wrong notes. The horns for once refuse prima donnas in an audition for the to blend with the strings. The opening leading part in a new opera. The text theme is choppy and ends a bar too was full of local theatrical allusions, soon. If the breaking of musical laws windy and dull. It was performed, to- were constant, the point would be lost. gether with an opera in Italian called Mozart ripples along amiably for a few Prima la musica e poi le parole, which had bars only to trip us up unawares. In been composed for the occasion by the minuet a solo passage for the horns Mozart's successful rival at Court, begins dolce, only to go completely Salieri. awry. In the trio the first violin carries Mozart's lovely music has survived a scale passage to its top and adds a lame its original text in the shape of various extra note. In the "adagio cantabile" newly written ones. Goethe was active (a direction Mozart rarely permitted in arranging a performance in 1791, and himself) the solo violin becomes lost L. Schneider later mounted a version in ornamental passages. His cadenza called Mozart und Schikaneder, in which makes fun of that custom and the the impresario becomes Schikaneder ensuing cadence disposes of the impreg- and the opera under discussion The nable dignity of cadences for once and Magic Flute. The Overture is suitably all, as if Mozart too were weary of them. brief — one of the briefest Mozart ever The presto leads us on only to spring wrote — and suitably gay. Otto Jahn surprises, traverses a false fugato, and finds in the working out "the charm of coming to its close, hammers away at a lively, excited conversation, the tran- the tonic chord, only to end in harmonic sition passage giving a piquant contrast; confusion. in short, the whole Overture resembles a comedy with the different characters — John N. Burk and intrigues crossing each other, until at last all ends well." "Vorrei spiegarvi, o Dio," K. 418 —John N. Burk In June, 1783, to help his sister-in- Ein Musikalischer Spass (A Musical Joke) law, Aloysia (Weber) Lange, who was Strings and for Horns, K. 522 appearing in a production of Anfossi's Mozart wrote his one lampoon of a II curioso indiscreto, Mozart wrote three musical score on June 11, 1787. He was arias to be interpolated into the opera, 23 two for Aloysia (of which "Vorrei of kingdoms and missing-heirs-to-the- spiegarvi, o Dio" remains the better throne complications. "L'amero, sard known) and one for the tenor Adam- costante," midway through Act II, is the berger. When he heard that malicious vocal highlight of the work, a doubled friends were spreading gossip that he da capo aria for the shepherd Aminta had wanted to "improve" Anfossi's (this was still the age of the castrato) in work, he refused to deliver up these which he sings of his eternal constancy additions until a notice was printed in to his beloved. But there is a catch. It the libretto that stated: is that he has just been congratulated for being espoused to a princess, of The two arias on p. 36 and p. 102 which he is unaware, and he has mis- have been set to music by Signor understood. In the end, of course, every- Maestro Mozart to suit Signora body ends up marrying the right person. Lange, as the arias of Signor Maestro Anfossi were not written -J.K. for her voice, but for another singer. It is necessary that this Symphony No. 3 9 in E flat major, K. 543 should be pointed out so that honor may be given to whom it is due and Certain great works of art have come so that the reputation and the name down to us surrounded with mystery of the most famous Neapolitan may as to the how and why of their being. not suffer in any way whatsoever. Such are Mozart's last three sym- phonies, which he composed in a single It's questionable whether such a docu- summer — the lovely E flat, the impas- ment would help things or make them sioned G minor, and the serene "Jupiter" still worse; in any case, Mozart subse- (June 26, July 25 and August 10, 1788). quently wrote, the production was a We find no record that they were com- total failure . . . with the exception of missioned, at a time when Mozart was his additions. hard pressed for money, no mention of them by him other than the entries J.K. in his personal catalogue, and no indi- cation of a performance in the three "L'amerb, sard costante," from years that remained of his life. What 11 Re Pastore, K. 208 prompted the composer, who, by the When the Archduke Maximillian — nature of his circumstances, always son of Maria Theresa and brother to composed with a fee or a performance Marie Antoinette — stopped off in Salz- in view, to take these three rarified burg on his way back from Paris in April, flights into a new beauty of technical 1775, the Archbishop arranged a round mastery, a new development and of entertainment, including an opera splendor of the imagination, leaving quickly commissioned from the nine- far behind the thirty-eight (known) teen-year-old Mozart. Nothing could be symphonies which preceded? safer for such an occasion than a The Symphony in E flat is the only Metastasian libretto; although ten com- one of the final three with an intro- posers had already used it, 11 Re Pastore duction. This Adagio opens with heavy, was chosen to be set, and the task was fateful chords which subside into a probably completed in less than six gentle resolution; the Allegro runs a weeks. gentle, lyric course, the composer taking The opera, like Metastasio's other obvious delight in his beloved clarinets. works, was set comfortably in the The Andante con moto, one of Mozart's distant past (the time of Alexander the longest symphonic movements, is an Great, to be precise), and the plot was instrumental melody which sings approximately as artificial as might be through a pattern of short notes, at expected: a shepherd and shepherdess first by the strings, to which the winds get caught up in the changing fortunes are added in the rarest of alternate
24 groupings. The fact that he used a Next Weekend's Programs: minuet in each of these symphonies confirms his ultimate preference, to- Haydn's, for the four- gether with Friday, July 16, 1976 movement succession. A minuet like this one, no longer a dance, alternately Weekend Prelude staccato and legato, turning the trio into 7 p.m. a melody and accompaniment by the GILBERT KALISH, piano fits beautifully into his two clarinets, Haydn piano sonatas scheme. The Finale is, like its near fel- lows, a display of technical manipu- 9 p.m. lation, and, of course, much else. He SEIJI OZAWA conducting insists on full chordal figures only to give more point to his play of humor, Vivaldi: as fragments of the principal theme are bandied about among the wood- The Four Seasons winds. The same fragment makes fun JOSEPH SILVERSTEIN, violin of the closing cadence, and of all closing cadences, by abruptly adding itself at Magnificat the end. PHYLLIS BRYN-JULSON —John N. Burk GWENDOLYN KILLEBREW TANGLEWOOD FESTIVAL CHORUS Corporate Benefactors JOHN OUVER,conductor of the
Boston Symphony Saturday, July 17, 1976 Orchestra NEVILLE MARRINER conducting Charles River Broadcasting Company Bach:
Wm Filene's Sons Company Concerto in D for 3 violins Suite No. 1 The First National Bank Brandenburg Concerto No. 3 Of Boston Suite No. 3 The Gillette Company
John Hancock Mutual Sunday, July 18, 1976 Life Insurance Company SEIJI OZAWA conducting New England Merchants National Bank Haydn: New England Mutual Symphony No. 31 Life Insurance Company
New England Telephone Mass in Time of War And Telegraph Company PHYLLIS BRYN-JULSON GWENDOLYN KILLEBREW The Shawmut ENOCH SHERMAN Association Banks BARRY McDANIEL TANGLEWOOD FESTIVAL CHORUS State Street Bank JOHN OLIVER, conductor And Trust Company
25 Guest Artists
Christoph Eschenbach D.C. He is currently recording the work of Mexican composers for RCA with Christoph Eschenbach has appeared the New Philharmonia Orchestra of with the Boston Symphony Orchestra London. In 1964, Mr. Mata was a con- on several occasions in recent seasons ducting student at the Berkshire Music at Tanglewood, in Boston and the Center; this summer marks his debut Orchestra's 1971 European tour; his with the Boston Symphony. most recent appearance with the Sym- phony at Tanglewood was in August of 1974. Born in Breslau, Germany in 1940, Mr. Eschenbach won the Stein- Judith Blegen way Young Pianists' competition in Judith Blegen has appeared in many 1952, the Munich International Music of the world's great opera houses, Competition in 1962 and First Prize in concert halls and recital series. Since Concours Clara Haskil in 1965. He her 1970 Metropolitan Opera debut, performs regularly with Herbert von the Montana-born soprano has attract- Karajan, and has appeared with the ed attention for her interpretations in leading orchestras of Europe and North new productions of Fidelio (Marzelline), America, as well as undertaking several Werther (Sophie), and Pelleas et Melisande tours to South America and Japan. Mr. (Melisande), and as Sophie in Der Rosen- Escherlbach's many solo and concerto kavalier, Adina in L'Elisir d'Amore, and recordings are for Deutsche Grammo- Juliet in Romeo et Juliette. She has sung phon. Susanna in San Francisco Opera and Metropolitan productions of The Mar- riage of Figaro, to critical acclaim on Eduardo Mata both coasts, and has appeared as Blondchen and Papagena in Salzburg The Mexican conductor Eduardo Mata Festival productions of The Abduction was born in 1942, studied at the from the Seraglio and The Magic Flute. In Conservatorio Nacional de Musica in New York's Carnegie Hall, she has Mexico City with Carlos Chavez, and won praise for her coloratura singing has been responsible for the .Mexican in concert versions of Handel's Ezio and premieres of major works by Boulez, Judas Maccabaeus. She makes frequent Berio, Stockhausen and Cage. In 1966 appearances in recital and with major he became conductor of Mexico City's orchestras — among these the New Orquesta Filarmonica and in UNAM York Philharmonic, the Philadelphia 1970 was appointed Principal Conduc- Orchestra and the Cleveland Orchestra; tor and Artistic Advisor to the Phoenix her recent recordings include the Symphony Orchestra, a post he con- Grammy-winning La Boheme conducted tinues to hold. In the 1975-76 season by Georg Solti, Orff's Carmina Burana he was Artistic Adviser to the National with Michael Tilson Thomas and the in Mexico, and Symphony Orchestra Cleveland Orchestra, and Haydn's also found the time to Mr. tour Japan. Harmoniemesse with the New York Mata is a regular visitor to Europe, Philharmonic directed by Leonard frequently conducting in Madrid and Bernstein. leading the BBC Orchestras (London, Scottish, Northern and Welsh); in the United States he has directed the orchestras of Cleveland, Chicago, Seattle, Atlanta and Cincinnati, and the National Symphony in Washington, 26 Christoph Eschenbach pianist
Eduardo Mata conductor
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Publick House
On the Common - Sturbridge. Mass. -(61 7) $41 331
32 In and Around the Berkshires COUNTRY LIVING AT ITS BEST! Tanglewood is but one of the many activities and events constantly enrich- SMALL PRESTIGIOUS LAKEFRONT COMMUNITY ing the Berkshires; a complete listing Swim and boat on two crystal clear may be found in Berkshire Week, a summer mountain lakes. Play tennis, badminton, Eagle and magazine of the Berkshire volleyball and basketball on community Torrington Register. Copies are avail- courts. Live in privacy adjacent to a able at the Main Gate and the Lion large state forest. Gate. Some highlights: Berkshire Lakes Estates Berkshire Theatre Festival Yokum Pond Road Stockbridge Becket, Mass. 01223 Tel. 413-623-8747 Lenox Arts Center Lenox Williamstown Theatre Williamstown Jacob's Pillow Dance Festival Grand Hotel Lee Curtis Aston Magna on the Village Green Great Barrington Lenox, Mass. (413) 637-0016 Berkshire Museum Amid the echoes of Tanglewood, Pittsfield Stay and dine in old world elegance. Clark Art Institute Delightful accommodations, Williamstown Elevator and telephone service — Al fresco dining on the piazzas Hancock Shaker Village Surrounding the heated pool, Hancock Dancing nightly in the lounge, Chesterwood Studio Museum Supper dining in the garden Glendale After each concert. A Complete Lenox Library Berkshire Experience! Lenox Under New Management Stockbridge Historical Society Stockbridge Naumkeag Stockbridge ARROWHEAD
Mission House Where Herman Melville wrote Stockbridge Old Corner House MOBY-DICK Stockbridge Berkshire Garden Center Headquarters Stockbridge Berkshire County Historical Society 780 Holmes Rd., Pittsfield, Ma. Pleasant Valley Wildlife Sanctuary Lenox Open: Mon. - Sat. 10 - 5 South Mountain Concerts Sun. 1-5 Closed Tues. Pittsfield Adults $1.00 Students .50
33 CHESTERWOOD STOCKBRIDGE BERKSHI
FESTIVAL
June 22 - July 11 The Pulitzer Prize-winning musical comedy
OF THEE I SING by George and Ira Gershwin, George S. Kaufman and Morrie Ryskind
July 13 - July 25
James Coco and Dody Goodman in GEORGE WASHINGTON SLEPT HERE by Moss Hart and George S. Kaufman
July 27 - August 8
Beatrice Straight & Kevin IVlcC-arthy in Summer Home and Studio of THE LION IN WINTER DANIEL CHESTER FRENCH by James Goldman August 10 - August 29 Sculptor of the Lincoln Memorial Ruth Gordon in HO! HO! HO! A new comedy by Miss Gordon, directed by Garson Kanin
Garden, Nature Trail, Fritz Holt and Barry M. Brown, Producers
Paintings, Barn Sculpture Gallery Tues. Wed. & Thurs. Eves at 8:30; Sun. Eve at 7:30; Wed. Mat. at 2:30; Sat. Mat. at 5:00; prices $7.50 & $6.00; Fri., Sat. Eves at 9:00; prices $8.50 & $7.00 (413) 298-5536 Adults $1.75 • Children $.75 Also At The Festival: In the Unicorn (barn) Daily 10-5 Theatre, three new American plays; Thursdays through Sundays. In the Proposition Theatre, the Proposition Company of Boston, with after- theatre entertainment, Thursdays through Sun- a property of days, and a children's theatre Thursday, Saturday, The National Trust for Historic Preservation Sunday afternoons. ASIAN GALLERY Far Eastern Art
CURTIS HOTEL MAIN STREET, LENOX, MASS. 01240
24 EAST 80th STREET, NEW YORK, N.Y. 10021
(413) 637-0016 (212) 734-1379
34 —
The Executive Committee Tanglewood Council of the 1 Boston Symphony Orchestra
Mrs. John S. McLennan Pillow Mr. Peter van S. Rice Located in the Township of Becket, Mass. Norman Walker, Director Co-Chairmen June 29—July 3 August 10-14 Eight Soloists from the Teodoro Morca Royal Danish Ballet The Claude Kipnis Mr. John Kittredge Mime Theatre July 6-10 Secretary /Treasurer Suzanne Farrell August 17-21 & Peter Martins Jo-Ann Bruggemann & The Danscompany Bob Bowyer Classical Pas de Deux Mr. and Mrs. David Klein Annabelle Gamson Jacob's Pillow Dancers Jacob's Pillow Dancers Talks and Walks July 13-17 The Maria Alba Spanish Dance Company Performances: Mrs. Richard Marcure July 20-14 Tues. through Sat, Mrs. George Vazakas The Nikolais Dance Curtain times: Tues., Theatre 7:30 pm.,Wed.,Fri.,& Tent Sat. ,8:40 pm., Thurs. Julv 27-31 and Sat. .Matinees: Emily Frankel — 3:00 pm. Mrs. Arthur Aronoff Charles Moore Classical Pas de Deux Tickets: Jacob's Pillow Dancers Mrs. Archie Peace $7.50, $6.50 and $5.00. Student Affairs August 3-7 Available at Ticketron, The Milwaukee Ballet or the Jacob's Pillow Company with guest Box Office. artist Ted Kivitt Mrs. Tivy Desmond How to Reach Jacob's Pillow: Tent tea and coffee Approx.150 miles from Boston near Tangle- wood. Lee-Pittsf ield exit on the Mass. Turnpike. Public transportation from Boston via Grey- hound to Lee, Mass. Mrs. Samuel Boxer For information and reservations: Mrs. Roger Voisin Call 10 a.m.— 9 p.m. Mon. thru Sat. (413) 243-0745 Sales and Information Dance Festival America's FIRST Dance Festival, S. Mr. Richard Jackson Box 287, Lee, Mass. 01238. Mr. Robert A. Wells I J Public Relations and Membership
Mr. Jeffrey R. Winslow THE Business OLD CORNER HOUSE
Mrs. James Garivaltis Musical Marathon Co-ordinator
Mrs. James Garivaltis Mrs. Charles Capers Mrs. Kelton M. Burbank Benefits, receptions and meetings
Mrs. Peter van S. Rice Paintings by Tanglewood-Boston liaison NORMAN ROCKWELL On permanent exhibit Mrs. Anatole Haemmerle Open Year Round — Daily 10-5 p.m. Boston-Tanglewood liaison Except Tuesdays Adults $1.00 Children 25 35 36 The Friends of Music at Tanglewood Membership provides you with exciting opportunities and privileges all year long. It's the secret buy of the Berkshires! Free Berkshire Music Tent Membership: Center Concerts: The Tanglewood Tent, available to Over 40 concerts each summer by the contributors of $75 and over, provides members of the Berkshire Music Cen- a hospitable gathering place behind the ter, the Boston Symphony Orchestra's Music Shed where food and drink may summer academy for the advanced be purchased on concert days. Hot study of music. These outstanding mid- buffet dinners are served on Saturday week concerts include chamber music evenings beginning at 6:30 p.m. (Reser- recitals, full orchestra concerts, vocal vations must be made through the and choral programs, and the annual Friends Office no later than 12:00 noon Festival of Contemporary Music, on the Wednesday preceding each Tanglewood's "festival within a festi- Saturday evening buffet.) val." Friends Concert Memberships for Special Parking For individuals and families are available Friends: for $25.00. Two convenient reserved parking areas are available to all donors of $150 or Advance Program Information more for all Boston Symphony Orches- and Ticket Ordering Forms: tra concerts: either the Box Parking Approximately one month before the Lot (Hawthorne Street entrance), or public sale of seats in the early spring, the Tent Parking Lot (West Street Friends will be sent the advance Berk- entrance). shire Festival programs and a priority For information, contact: ticket application. Friends will also Friends of Music at Tanglewood receive the monthly Boston Symphony Lenox, Ma. 01240 Orchestra publication, "BSO." (413) 637-1600 Take the music home with you . . the finest in stereo classical music WMHT-FM 89.1 37 Bring home a legend. 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