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GLEWOOD &&#** FOURTH WEEK July 22, 23, 24, 1966 BERKSHIRE FESTIVAL I / The Boston Symphony under Leinsdorf In a recording of remarkable sonic excellence, concertm aster Joseph Silverstein and the Boston Symphony under Leinsdorf capture the atmospheric sorcery of two of the most influential violin works of this century: Bartbk's Concerto No. 2 and Stra vinsky's Concerto in D . If ever a composer could be called a "musical poet" it is Schumann and— in a beautifully paced performance of his Fourth Symphony — Leinsdorf and the Boston ians movingly portray its simple eloquence, from the melancholy slow-moving opening to the dramatic rushing Schumann /Symphony No. 4 e«S scales that herald one of the most exciting codas of sym- Beethoven /Leonore Overture No. 3 phonic literature. Both albums in Dynagrooye sound. Boston Symphony /Leinsdorf rca Victor WfflThe most trusted name in sound TUf BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF, Music Director RICHARD BURGIN, Associate Conductor Berkshire Festival, Season 1966 TWENTY-NINTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS FOURTH WEEK Historical and descriptive notes by John N. Burk Assisted by DONALD T. GAMMONS Copyright, 1966 by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks John L. Thorndike Philip K. Allen Francis W. Hatch Henry A. Laughlin Abram Berkowitz Andrew Heiskell Edward G. Murray Theodore P. Ferris Harold D. Hodgkinson John T. Noonan Robert H. Gardiner E. Morton Jennings, Jr. Mrs. James H. Perkins Sidney R. Rabb Raymond S. Wilkins Trustees Emeritus Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Tanglewood Advisory Committee Alan J. Blah Lawrence K. Miller Jesse L. Thomason Lenges Bull George E. Mole Robert K. Wheeler George W. Edman Whitney S. Stoddard H. George Wilde Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Robert Williams Lenox, John Pignatelli Lee, Andre Jaouen Thomas D Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Rosario Mazzeo Harry J. Kraut Orchestra Personnel Manager Assistant to the Manager Sanford R. Sistare Andrew Raeburn Press and Publicity Assistant to the Music Director / SEIJI OZAWA There are four new Seiji Ozawa has returned to Tangle- wood as guest conductor at the Festival concerts for the past two years, having previously appeared on the stage of the Music Shed in I960 as a student con- Automatic Turntables. ductor of the Berkshire Music Center, Me- where he received the Koussevitzky One of them, morial Scholarship as the most outstand- ing young conductor of that season (he theLABSO... was then twenty-three). Before that time, Mr. Ozawa had at- is the first tained a considerable reputation in Japan and in Europe. A graduate of the Toho Automatic School of Music in Tokyo, he had con- ducted the Japanese Radio Orchestra Transcription (NHK) and the Japanese Philharmonic. In 1959 he won the first prize at the Turntable. international competition for orchestra conductors at Besancon. Established in this country, he became Assistant Conductor of the New York Philharmonic in 1961 and has conducted as guest our principal orchestras in the east and west. He is the Music Director of the Toronto Orchestra and the Ra- vinia Festival. JOSEPH SILVERSTEIN Joseph Silverstein succeeded Richard Burgin as Concertmaster in 1962. He became a member of the Boston Sym- phony Orchestra in 1955 when he was twenty-three and the youngest member of the Orchestra at that time. Born in Detroit, he studied at the Curtis Insti- tute of Music in Philadelphia, and later with Joseph Gingold and Mischa Misch- akoff. He played in the orchestras of Houston, Denver and Philadelphia be- fore joining this one. Mr. Silverstein has won signal honors here and abroad. In the autumn of 1961 he was awarded the prize in the Walter W. Naumburg Foundation Competition. Since joining the Orchestra Mr. Sil- verstein has been heard as soloist in Boston and at Tanglewood at forty-three concerts. VAN CLIBURN Van Cliburn was born in Shreveport, Louisiana, and at six was taken by his family to Kilgore, Texas. His mother was his teacher before he studied (in 1951) with Rosina Lhevinne. He was helped by a number of scholarships which led to a climax when in 1958 he went to Moscow and won the Tchaikov- sky Competition. Mr. Cliburn has ap- peared on many occasions with this Orchestra in Boston and at Tanglewood. For literature write Garrard, Westbury, N. Y. > LILIAN KALLIR Austrian-born Lilian Kallir came to this country at an early age and ranks pn« today among the most distinguished young American pianists. From the time of her highly successful New York de- erfehire but at the age of seventeen to the present summer of 1966 when she makes her first appearances with Erich Leinsdorf and @atFacto% the Boston Symphony Orchestra at Tan- glewood, Miss Kallir has performed ex- tensively throughout North America and >ns Europe. Among the orchestras with which Miss Kallir has played in this country CftQ and abroad are the New York Phil- They're not closeouts, and they're not Seconds. harmonic, the Berlin Philharmonic, the . .'/They are those same famous brands you Concertgebouw of Amsterdam, the all know so well and yOulipay 20 to 40% Chicago Orchestra, the Minneapolis less than the notional advertised price! Don't Symphony, the Orchestre de la Suisse believe us though .... check the national ads Romande, the Gewandhaus Orchestra of on our bulletin boards and you'll see the $$$ Leipzig, the London Philharmonic, the you save. Royal Philharmonic and the Philhar- monia Orchestra. JANE MARSH Jane Marsh made her professional debut with the Boston Symphony Or- chestra last fall, when she sang in Beethoven's Ninth Symphony. Her ap- pearance at Tanglewood will be the first time she has sung in the United States since winning the First Prize in the Tchaikovsky International Vocal Com- petition in Moscow last month. Miss Marsh made her operatic debut a year ago at the Festival in Spoleto, where she sang Desdemona in Verdi's Otello. She has also participated in a concert of chamber music at the Library of Con- gress, and during the past season, sang with the New York Philharmonic Or- chestra. Born in San Francisco, she grad- uated from Oberlin College in 1963. VERONICA TYLER Veronica Tyler, who sang with this Orchestra at the Berkshire Festival last summer, and in Boston during the win- ter, returns to Tanglewood after winning a Second Prize in the Tchaikovsky Inter- national Vocal Competition. Since her first New York appearance in the Amer- ican Opera Society's 1961 presentation of Monteverdi's The Coronation of Pop- pea, Miss Tyler has had numerous sing- ing engagements, including appearances with the New York City Opera, the New York Light Opera Company and the New York Philharmonic Orchestra. She OAK ST.OFF LINCOLN was a scholarship student at the Juilli- DOLTLS P1TTSFIELD, MASS. ard School and previously at the Pea- body Conservatory, having been born in Baltimore. (Continued on page 5) 3 — WEEKEND PRELUDE Friday Evening, July 22, at 7:00 BRAHMS Sonata in A major for Piano and Violin, Op. I. Allegro amabile II. Andante tranquillo; Vivace III. Allegretto grazioso (Quasi andante) Violin: JOSEPH SILVERSTEIN Piano: LILIAN KALLIR Miss KALLIR plays the Steinway Piano MENDELSSOHN Songs for Mixed Chorus Lerchengesang, Op. 48, No. 4 Im Griinen, Op. 59, No. 1 Es fiel ein Reif, Op. 41, No. 3 Morgengebet, Op. 48, No. 5 Auf dem See, Op. 41, No. 6 Mailied, Op. 41, No. 5 Neujahrslied, Op. 88, No. 1 Die Nachtigall, Op. 59, No. 4 Jagdlied, Op. 59, No. 6 Tanglewood Choir, Alfred Nash Patterson, Director The Bell Telephone Hour will telecast scenes filmed at Tanglewood, possibly including portions of each day's activities and audience, over the NBC television network and other stations. SONATA IN A MAJOR FOR PIANO AND VIOLIN, Op. 100 By Johannes Brahms (1833-1897) This Sonata was written at Thun during the composer's summer vacation in 1886. Brahms was particularly happy that summer, and the peace and beauty of his surroundings were so congenial that the composition written reflected this tranquillity. Writing about the A major Sonata in a letter to Brahms, Elizabeth von Herzogenberg says: "The whole Sonata is one carress." Perhaps in no other of the violin sonatas has Brahms exhibited to a greater degree his melodic power and his rhythmic by-play. The second movement is particularly interesting because of its intermingling of two opposite moods. It combines a song of meditation, together with a vivace which is sprightly, gay, even humorous. The concluding allegretto grazioso opens with a somber melody which is played with great breadth of tone on the violinist's G string. Nevertheless it should be noted that the composer's indication of "grazioso" must not be overlooked; otherwise the movement might develop into a "slow" one. It is in strict rondo form and closes with a coda which seems to express absolute happiness and content. — 4 — ! ! ! MENDELSSOHN - PART SONGS Lerchengesang The Lark's Song Wie lieblicher Klang, o Lerche, dein How lovely your song, sweet minstrel Sang! of day, as you fly towards heaven er hebt sich, er schwingt sich in Wonne. I join in your mirth and in the carol Du nimmst mich von hier, ich singe you sing. mit dir, wir steigen durch Wolken zur Sonne. Im Griinen In the Verdure Im Griin erwacht der frische Muth, All is lovely, as long as the heavens wenn blau der Himmel blickt. are blue, all is well in whatever troubles Im Griinen da geht alles gut, your heart. was je das Herz bedriickt. Why do you foolishly look within your Was suchst' der Mauern engen Raum, narrow room? Come into the green du thoricht Menschen kind ? country and find how sweet the air is.

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