*&i * SI*m *E& &h- The TANGLEWOOD MUSIC CENTER is maintained for advanced study in music and sponsored by the BOSTON SYMPHONY ORCHESTRA. Tanglew®d Music BOSTON SYMPHONY ORCHESTRA Center Seiji Ozawa, Music Director Kenneth Haas, Managing Director Daniel R. Gustin, Manager of Tanglewood Josiah Stevenson, Director of Development TANGLEWOOD MUSIC CENTER Leon Fleisher, Artistic Director Gilbert Kalish, Chairman of the Faculty, Charles F. Culpeper Foundation Chair Richard Ortner, Administrator Julie H. Diaz, Director of Tanglewood Development James E. Whitaker, Chief Coordinator Harry Shapiro, Orchestra Manager Tanglewood on Parade Tuesday, August 1, 1995 Tanglew(®d For the benefit of the Tanglewood Music Center Music Center 2:00 Gates Open 5:15 Alpine Horn Demonstation (Lawn near Chamber Music Hall; 2:00 Boston University inside in case of rain) Tanglewood Institute: Brass Fanfares at Main Gate Drive 5:45 Balloon Ascension (Rear of Shed in (Lawn near Koussevitzky Music case of rain) Shed, weather permitting) 2:30 Boston University Tanglewood Institute: 6:00 Tanglewood Music Center Chamber Music Concert Fellowship Wind Music . (Chamber Music Hall) (Tanglewood Manor House porch; Chamber Music Hall 2:30 Tanglewood Music Center in case of rain) Fellowship Chamber Music (Seiji Ozawa Hall) 7:00 Berkshire Highlanders 3:00 Tanglewood Music Center (Lion Gate; rear of Fellowship Vocal Program Shed in case of rain) Cabaret Concert (Theatre-Concert Hall) 7:45 Fanfares 3:45 Boston University (Koussevitzky Music Shed) Tanglewood Institute Young Artists Orchestra and Chorus 8:30 Gala Concert (Koussevitzky Music Shed) (Koussevitzky Music Shed) Hot air balloon courtesy of Mr. and Mrs. Charles Joseph of Lebanon, New Jersey Alpine horns courtesy of BSO horn player Daniel Katzen Artillery and cannon supplied by Eastover, Inc. Scottish folk music courtesy of the Berkshire Highlanders Fireworks over the Stockbrige Bowl following the Gala Concert — A Message from Seiji Ozawa Welcome to Tanglewood on Parade—our where young musicians are inspired by the annual celebration of the many wonders of Boston Symphony Orchestra, the TMC Tanglewood and the Tanglewood Music Faculty, the guest artists who perform here, Center. This is only our second summer on and the unique Tanglewood landscape. the new Leonard Bernstein Campus, but The Tanglewood Music Center has held already you have made this special new a very special place in my heart since I place and Seiji Ozawa Hall your own. As 1 arrived here in 1960. Making others feel said many times last summer, this wonder- welcome here has become an important ful new "room for music" is not mine, but part of my life. For two months each year belongs to those for whom it was built we live and work together. This is the spirit the young musicians of the Tanglewood that welcomed me when 1 first arrived, and Music Center—and to you. which I hope to pass on to others. Just as I By joining us here today you are sup- found a home in music at Tanglewood, so porting the important work of these excep- do hundreds of aspiring young artists who tional young people. Each year generous come here each summer. I thank you for patrons provide financial support in the helping to make this possible. form of Fellowships, Scholarships, and Faculty Chairs that make it possible to maintain the TMC year after year. Without this help, and the support of music lovers like yourselves, the Tanglewood Music Center could not survive. Seiji Ozawa Another kind of help comes to us from Boston University. Their wonderful Tanglewood Institute helps us offer similar advanced training to musicians of high school age. Their participation today cele- brates thirty years of partnership with the Boston Symphony, thirty years of helping the nation's best young artists grow. Every ticket sold today helps us con- tinue to offer tuition-free Fellowships and other financial aid to young musicians who have worked very hard to earn a place in these programs. This freedom from finan- cial concern allows them to focus all their attention on music-making. There is no other place in the world like Tanglewood, The Tanglewood Music Center Tanglewood provides much more than a begin, but which made such an impression setting for the concerts offered by the that it has remained the traditional opening Boston Symphony Orchestra. It is also the music each summer. The TMC was Kousse- site of the Tanglewood Music Center, one vitzky's pride and joy for the rest of his life. of the world's most influential centers for He assembled an extraordinary faculty in advanced musical study and which has composition, operatic and choral activities, been maintained by the Boston Symphony and instrumental performance; he himself Orchestra since the Music Center's estab- taught the most gifted conductors. lishment in 1940 under the leadership of The emphasis at the Tanglewood Music Serge Koussevitzky. With Leon Fleisher now Center has always been not on sheer tech- in his eleventh year as its Artistic Director, nique, which students learn with their regu- the Tanglewood Music Center continues to lar private teachers, but on making music. provide a wide range of specialized training Although the program has changed in some and experience for young musicians from all respects over the years, the emphasis is still over the world. on ensemble performance, learning chamber In 1994, the Tanglewood Music Center music, vocal music, and the orchestral litera- entered a new era with the opening of Seiji ture with talented fellow musicians under Ozawa Hall, which—along with its back- the coaching of a master-musician-teacher. stage facilities, Green Room, TMC orchestra Many of the pieces learned this way are per- library, and instrument storage space all formed in TMC recitals; each summer located in the Leonard Bernstein Performers brings exciting performances by talented Pavilion—now serves as the focal point of young professionals beginning a love affair the new Leonard Bernstein Campus, which with a great piece of music. also encompasses the Leon Fleisher Carriage The Tanglewood Music Center Orchestra House with chamber music coaching stu- performs weekly in concerts covering the dios and offices; the Aaron Copland Library, in a cottage adjacent to the refurbished car- riage house; a new Rehearsal Hall; and addi- tional coaching studios throughout the cam- pus. With the inauguration of Seiji Ozawa Hall and the opening of the Leonard Bernstein Campus last summer, all involved with the Tanglewood Music Center look toward the twenty-first century newly inspired, with a renewed sense of purpose. The school opened formally on July 8, 1940, with speeches—Koussevitzky, allud- ing to the war then raging in Europe, said, "If ever there was a time to speak of music, it is now in the New World"—and music, the first performance of Randall Thompson's Alleluia for unaccompanied chorus, which was written for the ceremony and arrived less than an hour before the event was to Serge Koussevitzky entire repertory under the direction of stu- lic performance, and the Phyllis Curtin dent conductors as well as members of the Seminar for Singers. In 1966, educational TMC faculty and guest conductors present programs at Tanglewood were extended to at Tanglewood to lead BSO concerts. The younger students, mostly of high-school quality of the TMC Orchestra, assembled age, when Erich Leinsdorf invited the for just eight weeks each summer, regularly Boston University School for the Arts to astonishes visitors. It would be impossible become involved with the Boston Sym- to list all the distinguished musicians who phony Orchestra's activities in the Berk- have been part of this annual corps of shires. Today, Boston University, through young people on the verge of professional its Tanglewood Institute, sponsors pro- careers as instrumentalists, singers, con- grams that offer individual and ensemble ductors, and composers. But it is worth instruction to talented younger musicians, noting that 20% of the members of the with eleven separate programs for perform- major orchestras in this country have been ers and composers. students at the Tanglewood Music Center, Today, alumni of the Tanglewood Music with that figure constantly rising. Center play a vital role in the musical life Today there are three principal programs of the nation. Tanglewood and the Tangle- at the Tanglewood Music Center, each with wood Music Center, projects with which appropriate subdivisions. The Fellowship Serge Koussevitzky was involved until his Program provides a demanding schedule of death, have become a fitting shrine to his study and performance for students who memory, a living embodiment of the vital, have completed most of their training in humanistic tradition that was his legacy. music and who are awarded fellowships to At the same time, the Tanglewood Music underwrite their expenses. It includes Center maintains its commitment to the courses of study for instrumentalists, future as one of the world's most impor- singers, and composers. Other courses of tant training grounds for the composers, instruction include the Conducting Class, conductors, instrumentalists, and vocalists from which members are selected for pub- of tomorrow. TMC Artistic Director Leon Flasher working with the Tanglewood Music Center Orchestra Gala Concert TANGLEWOOD ON PARADE Tanglew®d Tuesday, August 1, at 8:30 Music SPONSORED BY FILENE'S Center For the benefit of the Tanglewood Music Center TANGLEWOOD MUSIC CENTER ORCHESTRA BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA, LEON FLEISHER, JOHN WILLIAMS, and KEITH LOCKHART, conductors BARBARA BONNEY, soprano DVORAK Carnival Overture, Opus 92 TANGLEWOOD MUSIC CENTER ORCHESTRA, KEITH LOCKHART conducting MUSSORGSKY/RAVEL Pictures at an Exhibition Promenade Gnomus Promenade II vecchio castello Promenade—Tuileries Bydlo Promenade—Ballet of Chicks in their Shells Samuel Goldenberg and Schmuyle The Market at Limoges Catacombae. Sepulcrum Romanum Con mortuis in lingua mortua The Hut on Chicken Legs (Baba-Yaga) The Great Gate of Kiev TANGLEWOOD MUSIC CENTER ORCHESTRA, LEON FLEISHER conducting INTERMISSION LEHAR "Vilja-Lied," from The Merry Widow J.