& ANGLEWOOD THIRD WEEK July 16, 17, 18, 1965 ERKSHIRE FESTIVAL The Boston Symphony under Leinsdorf With the release of this new recording of Brahms' Second Symphony, the Bostonians under Leinsdorf add new luster to their reputation as interpreters of Romantic music—a reputation so notably advanced with their earlier recording of Brahms' First. Called "consistently melodious . thoroughly engaging" Brahms' Second as heard here is not only a musical triumph but also a tribute to the art (and science) of recording. The spacious warmth of tone so characteristic of the Bostonians is captured here in flawless fidelity and balance — in vivid Dynagroove sound. Hear both these albums soon! MS SYMPHONY No. )NSYM LEINSDORF Brahms Symphony No. 2^ Boston Symphony Orchestra Erich Leinsdorf RCA Victory (ROB The most trusted name in sound ^ftt*^ Boston Symphony Orchestra ERICH LEINSDORF, Music Director RICHARD BURGIN, Associate Conductor Berkshire Festival, Season 1965 TWENTY-EIGHTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS THIRD WEEK Concert Bulletin, with historical and descriptive notes by John N. Burk Copyright, 1965 by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks Richard C. Paine Abram Bekkowitz 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 I Francis W. Hatch Henry A. Laughlin Sidney R. Rabb John L. Thorndike Raymond S. Wilkins Trustees Emeritus Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Tanglewood Advisory Committee Alan J. Blau 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 Minkler Lenox, John Pignatelli Lee, William O'Brien 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 — 1 — THE SOLOISTS ISAAC STERN was born in Krim- There are four new iniesz, Russia, July 21, 1920. He was taken by his parents to San Francisco as an infant, and studied piano at six, changing to violin at the age of eight, when Naoum Blinder, concertmaster of Automatic Turntables. the San Francisco Orchestra, was his One of them, teacher. He played with the San Fran- cisco Orchestra at the age of eleven. He the LAB 80... studied in New York with Louis Per- is first singer and made his New York debut the in 1937. He was active in the USO in Automatic the Pacific area and after the war toured as a concert artist in many parts of the Transcription world. Since 1948 he has played with the Boston Symphony Orchestra on nu- Turntable. merous occasions in Boston, Tangle- wood, New York and elsewhere, includ- ing Edinburgh in 1956. EUGENE ISTOMIN was born in New York City, November 26, 1925, of Russian parents, both of them singers. Studying first in New York, he entered the Curtis Institute of Music at the age of fourteen and there studied with Mieczyslaw Horszowski and Rudolf Ser- kin. He made his first public appearance in 1943 with the Philadelphia Orchestra. He has played with many orchestras since, with this Orchestra at the Berk- shire Festivals and in Boston. He has played at the Festivals organized by Pablo Casals in Prades and Perpignan and has given joint recitals, with that artist in Europe. CHAMBER SERIES The Chamber Music series in the Theatre on Tuesday evenings will con- tinue, the third concert on Tuesday, July 20. Joseph Silverstein, the Concertmaster of the Orchestra, and Igor Kipnis, and Alfred Zighera, viola da gamba, both on the Music Center faculty, will join in a program of the music of Bach. On July 27 a concert of String Quar- tets will be given by the Lenox Quartet. The quartet has been formed from play- ers of the Fromm Music Foundation, consisting of Peter Marsh, Theodora Mantz, Paul Hersh and Donald McCall. On August 3, Lilian Kallir and Claude Frank will join a group of singers in the 2 — — BOSTON SYMPHONY ORCHESTRA Friday Evening, July 16, at 8:00 ERICH LEINSDORF, Conductor BEETHOVEN Symphony No. 8, in F major, Op. 93 I. Allegro vivace e con brio II. Allegretto scherzando III. Tempo di minuetto IV. Allegro vivace KODALY tVariations on a Hungarian Folk Song, "The Peacock" Introduction: Moderato IX. Piano I. Con brio X. Molto vivo II. Pianissimo XI. Andante espressivo III. Forte (appassionato) XII. Adagio IV. Poco calmato XIII. Tempo di marcia funebre V. Forte appassionato XIV. Andante—poco rubato VI. Calmato XV. Allegro giocoso VII. Vivo XVI. Maestoso VIII. Piu vivo Finale—Vivace Intermission WAGNER Excerpts from "Gotterdammerung" Dawn—Siegfried's Rhine Journey—Interlude, Act I Prelude to Act II—Siegfried's Death—Conclusion t First performance at the Festival concerts BALDWIN PIANO RCA VICTOR RECORDS — 3 — Liebeslieder of Brahms. Both artists (in private life Mr. and Mrs. Frank) will play Mozart's Sonata for Two Pianos. They are former students of the Berk- shire Music Center who have since won Berkshire fame by their talents. On August 10 there will be a concert by the Boston Symphony Chamber Play- (oatFactoRy ers. This group, based upon the prin- cipals of the Boston Symphony Orches- Top brand fashions tra, was organized last autumn and has given series of concerts in Boston and at -40% discount! New York. They will be joined in three 20 numbers by Claude Frank, who has They're not doseouts, and they're not Seconds. They are those same famous brands you played with them last winter. alf know so well and you'!! pay 20 to 40% The final concert on August 17 will less than the national advertised price! Don't be a part of a Festival of Contemporary believe us though .... check the national ads on our bulletin boards and you'll see. the American music in cooperation with the $$$ you save. Fromm Music Foundation. It will be devoted to the works of Aaron Copland, who has led the Composition Depart- ment of the Berkshire Music Center since its inception twenty-five years ago. The performance of Wagner's Lohen- grin at the three concerts of the final week of the Berkshire Festival (August 20, 21, 22) is planned by Erich Leinsdorf as an event of particular interest. Mr. Leinsdorf has stated : "Due to the length of the work—the shortest of the three acts uncut is nearly as long as a full symphony program—I felt that the best way would be to put each act on one concert. I believe that this will be the first time the complete work is per- formed in the Western Hemisphere. I know of no instance, outside of Bay- reuth, that the work has been performed entirely uncut, even in European cities. From an artistic point of view I feel that the Lohengrin weekend is a true festival idea, something which one could not schedule during the more rigid aspects of a winter season but which lends itself ideally to the more relaxed and experi- mental atmosphere of a summer festival." @ATFaCTuRy The performance will be recorded at QDLiui Symphony Hall by RCA Victor in the OAK ST. OFF LINCOLN PITTSFIELD, MASS. -~=«i.7S«m r—,, week following. ^apoco> , ,1 7/ Tickets for the three ft Lohengrin" concerts may still be obtained at the season rate. 4 — Tffim Program Notes Friday Evening, July 16 SYMPHONY No. 8, IN F MAJOR, Op. 93 By Ludwig van Beethoven Born in Bonn, December 16(?), 1770; died in Vienna, March 26, 1827 Completed in 1812, the Eighth Symphony had its first performance at the Redoutensaal in Vienna, February 27, 1814. Beethoven completed his Eighth Symphony, according to the inscription on the autograph score, at Linz, October, 1812. It followed upon the Seventh by about four months—a remarkably short time for Beethoven. Four years had intervened between the Sixth Symphony and the Seventh, and a still greater period, a full decade, was to elapse before the composer of the Eighth Symphony would turn definitely to his Ninth. The Seventh and Eighth, then, were a sort of pair, complementing each other : the mating of exuberant, inor- dinate energy with a refined, an unassuming distillation of that same exuber- ance. Professor Tovey divines in the Beethoven of the Eighth "the unique sense of power which fires a man when he finds himself fit for a delicate task just after he has triumphed in a colossal one." Wagner thus compared the two works: "Nowhere is there greater frankness, or freer power than in the At the Berkshire VAN CLIBURN Festival this season MALCOLM FRAGER these Artists CLAUDE FRANK EUGENE play ONLY ISTOMIN RUDOLF SERKIN VITYA VRONSKY THE STEINWAY and VICTOR BABIN IN MASSACHUSETTS AND NEW HAMPSHIRE NEW STEINWAY PIANOS ARE SOLD ONLY BY M. STEINERT & SONS 162 BOYLSTON STREET, BOSTON • ALSO WORCESTER, SPRINGFIELD — 5 — Symphony in A. It is a mad outburst of superhuman energy, with no other object than the pleasure of unloosing it like a river overflowing its banks and flooding the surrounding country. In the Eighth Symphony the power is not so sublime, though it is still more strange and characteristic of the man, mingling tragedy with force and a Herculean vigor with the games and caprices of a child." Beethoven was never more "unbuttoned" ("aufge- knopft") than in these two symphonies. In the Seventh his mood of abandon sought a grander, more expansive outlet. In the Eighth, turning from his "intoxication" of the spirit, he bent his attention upon more reposeful beau- ties of his art, concentrating upon its detail, while subjecting it still to his whimsical mood.