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SMIRNOFF®VODKA.80&100 PROOF. DISTI LLED FROM GRAIN. STE. PI ERRESMIRNOFFFLS. (DIVISION OF H EUBL El N. INCORPORATED ) HARTFORD. CONNECTICUT Seiji Ozawa, Music Director
Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety- Sixth Season 1976-1977
The Trustees of the Boston Symphony Orchestra Inc.
Talcott M. Banks, President Philip K. Allen, Vice President Sidney Stoneman, Vice-President Mrs. Harris Fahnestock, Vice-President John L. Thorndike, Treasurer
Vernon R. Alden Nelson J. Darling, Jr. Albert L. Nickerson Allen G. Barry Archie C. Epps III Mrs. James H. Perkins
Dr. Leo L. Beranek E. Morton Jennings, Jr. Irving W. Rabb Mrs. John M. Bradley Edward M. Kennedy Paul C. Reardon
Richard P. Chapman George Kidder David Rockefeller Jr. Dr. George Clowes Edward G. Murray Mrs. George Lee Sargent Abram T. Collier John Hoyt Stookey Trustees Emeriti Henry A. Laughlin Harold D. Hodgkinson John T. Noonan
Administration of the Boston Symphony Orchestra
Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager
Gideon Toeplitz Daniel R. Gustin Assistant Manager Assistant Manager
Joseph M. Hobbs Walter Hill Dinah Daniels
Director of Development Director of Business Affairs Director of Promotion Richard C. White Anita R. Kurland Niklaus Wyss
Assistant to the Manager Administrator of Youth Activities Advisor for the Music Director
Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood Michael Steinberg
Director of Publications
Programs copyright ® 1977 Boston Symphony Orchestra Inc.
Contents: page page Tanglewood 4 Programs 11-51 Seiji Ozawa 7 Berkshire Music Center 52 Map 8 Friends 58, 59 Information 9
The cover photo is by Walter H. Scott, Stockbridge. The Board of Overseers of the Boston Symphony Orchestra Inc.
Dr. Leo L. Beranek Chairman
Mrs. Norman L. Cahners Weston P. Figgins Mrs. Arthur I. Strang Vice Chairman Vice Chairman Secretary
Charles F. Adams Mrs. Thomas Gardinei David G. Mugar Mrs. Frank G. Allen Mrs. James Garivaltis •Dr. Barbara W. Newell Mrs. Richard Bennink Mrs. Robert Gibb Stephen Paine David W. Bernstein Jordan Golding Harry Remis David Bird Mrs. John L. Grandin Mrs. Peter van S. Rice Gerhard Bleicken Mrs. R. Douglas Hall, III Mrs. Samuel L. Rosenberry Frederick Brandi Mrs. Howard E. Hansen Mrs. Jerome Rosenfeld Curtis Buttenheim Bruce Harriman Mrs. George Rowland Mrs. Henry B. Cabot Mrs. Richard D. Hill Mrs. A. Lloyd Russell Mrs. Mary Louise Cabot Mrs. Amory Houghton, Jr Mrs. William Ryan
Levin H. Campbell, III Richard S. Humphrey, Jr. Francis P. Sears, Jr. Johns H. Congdon Mrs. Jim Lee Hunt William A. Selke
Arthur P. Contas Mrs. Louis I. Kane Gene Shalit Robert Cushman Leonard Kaplan Samuel L. Slosberg
Michael J. Daly Benjamin Lacy Richard A. Smith Mrs. C. Russell Eddy Mrs. James F. Lawrence Mrs. Edward S. Stimpson Paul Fromm Roderick MacDougall Mrs. Richard H. Thompson Carlton P. Fuller John S. McLennan D. Thomas Trigg
Mrs. Thomas J. Galligan, Jr Colman M. Mockler, Jr. Roger Woodworth Mrs. Elting E. Morison Richard P. Morse
Boston w University Tanglewood Institute Norman Dello Joio, Executive Director
Summer Instrumental and Vocal Programs for the outstanding high school/ college-age 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 performances atTanglewood.
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/Boston Symphony Orchestra. Twelfth Season ^ The reasons you visit .^he Berkshtres may be the best reasons to move your business * to the Berkshires^. *.
I i i,il Itf^jfctil^i'W^i^lM'llirlMiiiili OIWiMWHI
The Berkshires are a perfect place ... for people, If you have the opportunity to move a business, for families and for businesses. The kind of place or influence a business relocation, consider the where an unsurpassed quality of life is available. Berkshires. At Berkshire County Development compiled data to prove that In the Berkshires the average commute is 10 Commission, we have minutes. Golf courses, tennis clubs, ski resorts, the Berkshires add up for business reasons. Come see theatres, lakes, and fine restaurants are at your us or write on your letterhead for more information. doorstep. We provide excellent schools — both public Or, if you know of a business contemplating relocation, let know. your business. and private — and the Berkshires are the perfect place us We welcome to raise a family.
It's no accident that titans of industry have lived and worked in the Berkshires. Our labor force still believes in a day's work for a day's pay. And the the Berkshires Berkshires offer a readily available pool of labor. Our schools offer vocational programs and governmental Alan C. Marden training dollars are available.
Most important, we want businesses to locate in Berkshire County Development Commission the Berkshires That's why our banks have launched 205 West Street a program of financial assistance to attract new Pirtsfield, Massachusetts 01201 industry and the County funds a full-time organization to assist you. Phone: (413)499-4474 Tanglewood
In August, 1934, a group of music- loving summer residents of the Berk- U shires organized a series of three Definitely not outdoor concerts at Interlaken, to be given by members of the New York to be missed... Philharmonic under the direction of "Herbert Kupferberg's Tanglewood Henry Hadley. The venture was so is bursting with information that successful that the promoters incor- even some of us who worked there porated the Berkshire Symphonic had missed It catches the spirit Festival and repeated the experiment and truth of that beautiful place." during the next — Francis Robinson, summer. N.Y. Metropolitan Opera The Festival committee then invited "Reads as excitingly as a who- Serge Koussevitzky and the Boston done-it!" —Julius Rudel, Symphony Orchestra to take part in the New York City Opera following year's concerts. The Orches- "Unquestionably the definitive tra's Trustees accepted and on August Tanglewood history to date." 13, 1936, the Boston Symphony gave — Christian Science Monitor. its first concert in the Berkshires (at TANGLEWOOD Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The series, again consisting of three concerts, was given under a large tent, and a total of nearly 15,000 people attended. In the winter of 1936, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tap- pan family estate, with its buildings and Kupferberg 210 acres of lawns and meadows, as a 8x10. 280 pages. gift to Koussevitzky and the Orchestra. Cver 150 photos. The offer was gratefully accepted, and paperback. Index. $9.95 on August 12, 1937, the Festival's McGRAW-HILL BOOK COMPANY largest crowd thus far assembled under a tent for the first Tanglewood concert, a program of music by Wagner.
As Koussevitzky began The Ride of the Valkyries, a storm erupted, overpowering the music and causing the concert to be HANCOCK SHAKER interrupted three times before the first VILLAGE half could be completed. The second half of the program had to be changed, because of water damage to some of the Original 18th Century instruments, and when the concert Village Restored ended, Miss Gertrude Robinson Smith, one of the Festival's founders, came to Open daily 9:30-5:00 the stage and told the audience that the Adults $3 Children $1 storm had demonstrated the need for a permanent structure. Annual Kitchen Festival A hundred thousand dollars, she said, Week of August 1st would be needed for this purpose, and Route 20 Five miles West the response to her plea was so generous of Pittsfield, Mass. 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 Koussevitzky 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 WAfflC rehearsals, the annual Festival of FM 90.3 mHz Contemporary Music, and almost daily bring you fine music concerts by the gifted young musicians We 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 also a music but vast lines are often made. Enjoy range of musical forms and styles, all "All Things Considered," a of it presented with a regard for artistic fascinating magazine of news excellence that makes the Festival and issues. (Nothingelse like it unique. Tanglewood and the Berkshire Music Center, projects with which in broadcasting !) Savor some Koussevitzky was involved until his 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 conversation. his legacy.
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 for eastern New York npr and western New England
The Shed under construction in 193 8 Why do I work seven days a week?
That's all there are. Besides
if you really love what you do
it's not work.
Robert J. Lurtsema Host, Morning Pro Musica Everyday 7am-Noon
The Boston Symphony Orchestra at Tanglewood Fridays at 9pm, Saturdays at 8:30pm, Sundays 30pm and August
Artists in the Night Hayes Burnett plays a great mix of jazz sounds. Mon-Fri ll-2:30am
The Spider's Web — our storybook for the entire family Mon-Fri. 7:30pm 'GBH Radio 89.7FM
All Things Considered — the best news Radio that makes sense program of its kind — every day at 5pm of your day. Seiji Ozawa tor of the Berkshire Music Festival, and in December of the same year he began Seiji Ozawa became Music Director of his inaugural season as Conductor and the Boston Symphony Orchestra in the Music Director of the San Francisco fall of 1973. He is the thirteenth con- Symphony Orchestra, titles that he held ductor of the Orchestra since its found- concurrently with his position as Music ing in 1881. Director of the Boston Symphony. In He was born in Hoten, Manchuria in the spring of 1976 he resigned his San 1935, and studied both Western and Francisco position although he remained Oriental music as a child. He attended Honorary Conductor for the Toho School of Music in Tokyo and 1976-77 season. graduated with first prizes in composi- Mr. Ozawa's recordings include: on tion and conducting. Shortly after his the Deutsche Grammophon label, Ber- graduation, he won first prize at the lioz's Symphonie fantastique, La damnation de International Competition of Conduc- Faust, Romeo et Juliette (which was ting at Besancon, France, and was in- awarded a Grand Prix du Disque), Ives's vited by Charles Munch, then Music Symphony No. 4 and Central Park in the Director of the Boston Symphony and a Dark, and de Falla's Three-cornered Hat, judge at the competition, to spend a and, on the New World Records label, summer studying at Tanglewood. Griffes's Songs of Fiona McLeod. Record- In 1964 and for the next five seasons, ings soon to be released are: Bartok's Mr. Ozawa was Music Director of the Miraculous Mandarin Suite and Music for Ravinia Festival. At the beginning of the Percussion, Strings, and Celeste, Tchaikov- 1965-66 season he became Music Direc- sky's Symphony No. 5, Brahms's Sym- tor of the Toronto Symphony, a posi- phony No. 1, and Rimsky-Korsakov's tion he relinquished four seasons later Sheherazade on Deutsche Grammophon, to study and guest conduct. In 1970 he and Sessions' When Lilacs Last in the Door- accepted the position of Artistic Direc- yard Bloom'd on New World Records.
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For 105 years we've been serious about people who make music.
In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 105 years later the Boston University School of Music is still doing what it does best.
• Performance • Music Education • History and Literature • Theory and Comp osition
strings brass (com.) music history and literature Walter Eisenberg, violin Paul Gay, trombone Karol Berger Madeline Foley, chamber music 'Gordon Hallberg, tromboneltuba Murray Lefkowitz 'Gerald Gelbloom, violin 'Charles Kavaloski, French horn Joel Sheveloff
'Bernard Kadinoff, viola Charles A. Lewis, Jr., trumpet theory and composition Endel Kalam, chamber music 'David Ohanian, French horn David Carney 'Robert Karol, viola Samuel Pilafian, tuba David Del Tredici 'Eugene Lehner, chamber music 'Rolf Smedvig, trumpet John Goodman * Leslie Martin, string bass 'Harry Shapiro, French horn Alan MacMillan George Neikrug, cello * Roger Voisin, trumpet Joyce Mekeel 'Mischa Nieland, cello 'Charles Yancich, French horn Malloy Miller Leslie Pamas, cello percussion Gardner Read 'Henry Portnoi, string bass 'Thomas Gauger Allen Schindler * William Pvhein, string bass 'Charles Smith Robert Sirota Kenneth Sarch, viohn Tison Street * Roger Shermont, violin harp * Joseph Silverstein, violin Lucile Lawrence music education Roman Totenberg, violin piano Lee Chnsman Walter Trampler, viola ManaClodes Phyllis Elhady Hoffman * Max Winder, viohn Allen Anthony di Bonaventura Lannom 'Lawrence string Wolfe, bass Lenore Engdahl Jack O. Lemons Bela Boszormenyi-Nagy Mary Ann Norton Phillip Oliver, staff accompanist musical organizations woodwinds Edith Steams Adelaide Bishop, opera Edward Avedisian, clarinet Fredrik Wanger Warren Wilson, opera 'PasqualeCardillo, clarinet organ Joseph Huszti, chorus 'Donot Anthony Dwyer, flute George Faxon 'Joseph Silverstein, orchestra Rodenck Ferland, saxophone Jack Fisher * Roger Voisin, wind ensemble 'Ralph Gomberg, oboe Max Miller 'John Holmes, oboe * Phillip Kaplan, flute harpsichord boston symphony orchestra 'James Pappoutsakis, flute Joseph Payne woodwind quintet in residence 'Richard Plaster, bassoon 'Donot Anthony Dwyer, flute voice 'Matthew Ruggiero, bassoon 'Ralph Gomberg, oboe Eunice Alberts, contralto * Felix Viscuglia, clarinet 'Harold Wright, clarinet Germaine Arosa, diction ' Sherman Walt, bassoon * Sherman Walt, bassoon Mary Davenport, contralto 'Harold Wright, clarinet 'Charles Kavaloski, French horn Ellalou Dimmock, soprano Maeda Freeman, mezzo empire brass quintet brass Robert Gartside, tenor in residence * Ronald Barron, trombone Mac Morgan, baritone Charles A. Lewis, Jr., trumpet 'Norman Bolter, trombone Chloe Owen, soprano * Rolf Smedvig, trumpet Peter Chapman, trumpet Allen Rogers, vocal coaching * David Ohanian, French horn John Coffey, tromboneltuba Barbara Stevenson, soprano 'Norman Bolter, trombone 'Armando Ghitalla, trumpet Wilma Thompson, mezzo Samuel Pilafian, tuba
'Member of the Boston Symphony Orchestra
Boston University School of Music
Wilbur EX 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
10 Tanglewood 1977
Weekend Prelude Susan Davenny Wyner, soprano Yehudi Wyner, pianist
Friday, 19 August at 7
FAURE L'hiver a cesse Apres un reve En sourdine Prison Fleur jetee
BERLIOZ from Nuits d'ete Villanelle Le spectre de la rose Absence Au cimetiere L'lle inconnue
Zai'de La mort d'Ophelie
Yehudi Wyner plays the Baldwin piano.
11 . .
L'hiver a cesse Winter is over
L'hiver a cesse, la lumiere est tiede Winter is over, the light is soft Et danse, du sol au firmament clair, And dances from the earth to the clear sky; II faut que le coeur le plus triste cede The saddest heart must now give way A l'immense joie eparse dans l'air. To the great joy scattered in the air.
J'ai depuis un an le printemps dans Tame, For a whole year I have had spring in my soul, Et le vert retour du doux floreal, And the green return of sweet blossom time, Ainsi qu'une flamme entoure un flamme, Like a flame surrounding a flame, Met de l'ideal sur mon ideal. Adds ideals to my ideal. Le ciel bleu prolonge, exhausse et couronne The blue sky extends, heightens and crowns L'immuable azur oii rit.mon amour, The unchangeable azure, where my love rejoices. La saison est belle et ma part est bonne, The season is lovely and my share is good, Et tous mes espoirs ont enfin leur tour. And all my hopes at last have their day. Que vienne l'ete! Que viennent encore Let Summer come! Let also come L'automne et l'hiver! Et chaque saison Autumn and Winter! And every season Me sera charmante, 6 toi, que decore For me will be lovely, oh you, whom Cette fantaisie et cette raison! This fantasy and this thought adorn!
— Paul Verlaine
Apres un reve After a dream Dans un sommeil que charmait ton image In a slumber charmed by your image
Je revais le bonheur, ardent mirage; I dreamed of happiness, ardent mirage; Tes yeux etaient plus doux, ta voix pure Your eyes were more tender, your voice pure et sonore. and clear. Tu rayonnais comme un ciel eclaire You were radiant like a sky brightened par l'aurore; by sunrise;
Tu m'appelais, et je quittais le terre You were calling me, and I left the earth Pour m'enfuir avec toi vers la lumiere; To flee with you towards the light; Les cieux pour nous entr'ouvraient The skies opened their clouds for us, leurs nues, Splendeurs inconnues, lueurs divines Splendors unknown, glimpses of divine
entrevues . . light . . Helas! Helas, triste reveil des songes! Alas! Alas, sad awakening from dreams!
Je t'appelle, 6 nuit, rends-moi tes mensonges; I call to you, oh night, give me back your illusions; Reviens, reviens radieuse, Return, return with your radiance, Reviens, 6 nuit mysterieuse! Return, oh mysterious night! Romain Bussine En sourdine Muted
Calmes dans le demi-jour Serene in the twilight Que les branches hautes font, Created by the high branches, Penetrons bien notre amour Let our love be imbued De ce silence profond, With this profound silence. Melons nos ames, nos coeurs Let us blend our souls, our hearts, Et nos sens extasies, And our enraptured senses, Parmi les vagues langueurs Amidst the faint languor Des pins et des arbousiers. Of the pines and arbutus. Ferme tes yeux a demi, Half-close your eyes, Croise tes bras sur ton sein, Cross your arms on your breast, Et de ton coeur endormi And from your weary heart Chasse a jamais tout dessein, Drive away forever all plans. Laissons-nous persuader Let us surrender Au souffle berceur et doux To the soft and rocking breath Qui vient a tes pieds rider Which comes to your feet and ripples Les ondes des gazons roux. The waves of the russet lawn. Et quand, solennel, le soir And when, solemnly, the night Des chenes noirs tombera, Shall descend from the black oaks, Voix de notre desespoir, The voice of our despair, Le rossignol chantera. The nightingale, shall sing. Paul Verlaine 12 ......
Prison Prison
Le ciel est, par-dessus le toit, si bleu, The sky above the roof is so blue, so calm . .
si calme . .
Un arbre, par-dessus le toit, berce sa palme . . A tree above the roof rocks its branches . . La cloche, dans le ciel qu'on voit, The bell, in the sky that one sees, softly tolls, doucement tinte, Un oiseau, sur l'arbre qu'on voit, chante A bird, on the tree that one sees, plaintively
sa plainte . . sings . . . Mon Dieu, mon Dieu! La vie est la simple My Lord, my Lord! Life is there, simple et tranquille! and quiet!
Cette paisible rumeur la vient de la ville . . That peaceful sound comes from the town . . Qu'as-tu fait, 6 toi que voila, pleurant What have you done, oh you, who now sans cesse, weeps endlessly, Dis! qu'as-tu fait, toi que voila, de Say — what have you done with your youth? ta jeunesse?
— Paul Verlaine
Fleur jetee A flower thrown away Emporte ma folie Carry away my passion Au gre du vent, At the will of the wind, Fleur en chantant cueillie Flower, gathered with a song Et jetee en revant, And thrown away in a dream. Emporte ma folie Carry away my passion Au gre du vent, At the will of the wind, Comme la fleur fauchee Like a cut flower Perit I'amour. Love perishes La main qui t'a touchee The hand that has touched you Fuit ma main sans retour, Shuns my hand forever; Que le vent qui te seche, Let the wind that withers you O pauvre fleur, Oh, poor flower, Tout a llieure si fraiche, A while ago so fresh, Et demain sans couleur, And tomorrow colorless, Que le vent qui te seche, Let the wind that withers you, O pauvre fleur, Oh, poor flower Que le vent qui te seche, Let the wind that withers you, Seche mon coeur. Wither my heart.
Armand Silvestre
Villanelle Villanella
Quand viendra la saison nouvelle, When the new season comes, Quand auront disparu les froids, when the cold has vanished, Tous les deux nous irons, ma belle, we shall go together, my fair one, Pour cueillir le muguet aux bois. to gather the lilies of the valley in the woods. Sous nos pieds egrenant les perles Our feet scattering the pearls of dew Que Ton voit au matin trembler, that are seen trembling at morn, Nous irons ecouter les merles we shall go to hear the blackbirds Siffler. warbling.
Le printemps est venu, ma belle, The spring has come, my fair one,
C'est le mois des amants beni; it is the month blessed by lovers; Et l'oiseau, satinant son aile, and the bird preening its wing, Dit des vers au rebord du nid. sings a refrain on the edge of the nest. Oh! viens done sur ce banc de mousse Oh! Come then to this mossy bank Pour parler de nos beaux amours, to talk of the delights of our love,
Et dis moi de ta voix si douce, and say to me in your sweet voice, Toujours! for ever! 13 Loin, bien loin, egarant nos courses, Far, very far, straying from our paths, Faisons fuir le lapin cache, let us put to flight the hidden rabbit, Et le daim, au miroir des sources, and the deer, in the mirror of the springs, Admirant son grand bois penche; admiring its great bending antlers; Puis chez nous, tout heureux, then towards home, quite happy, tout aises, quite contented, En paniers enlacant nos doigts, with interlaced fingers for baskets, Revenons rapportant des fraises let us return bringing strawberries Des bois! from the woods.
Le spectre de la rose The Spectre of the Rose Souleve ta paupiere close Open your sleeping eyes Qu'effleure un songe virginal; Lightly brushed by purest dreams;
Je suis le spectre d'une rose I am the spectre of a rose Que tu portais hier au bal. You wore at the ball last night. Tu me pris encore emperlee You took me still glistening Des pleurs d'argent de l'arrosoir, With the watering-pot's silver tears Et parmi la fete etoilee And about the star-touched gathering Tu me promenas tout le soir. Carried me the evening through.
Oh toi, qui de ma mort fut cause, Oh, you, who caused my death. Sans que tu puisse le chasser, Powerless to banish it, Toutes les nuits mon spectre rose Every night my rose-like spectre A ton chevet viendra danser. Will come to dance by your bed. Mais ne crains rien, je ne reclame But do not be afraid — I demand Ni messe ni De Protundis; Neither mass nor De Profundis. Ce leger parfum est mon ame, This delicate perfume is my soul
Et j'arrive du Paradis. And I come from paradise.
Mon destin fut digne d'envie, My destiny was to be envied Et pour avoir un sort si beau And to have so beautiful a fate Plus d'un aurait donne sa vie, Many would have given up life itself. Car sur ton sein j'ai mon tombeau, For my grave is on your breast
Et sur l'albatre ou je repose And on the alabaster where I lie at rest Un poete avec un baiser ecrivit: With a kiss a poet has written: Ci-git une rose que tous les rois Here lies a rose that every king vont jalouser. will envy.
Absence Absence Reviens, reviens, ma bien-aimee! Come back, come back, my beloved! Comme une fleur loin du soleil, Like a flower far from the sun, La fleur de ma vie est fermee The flower of my life is closed Loin de ton sourire vermeil! Far from your rosy smile! Entre nos coeurs, quelle distance! What distance between our hearts! Tant d'espace entre nos baisers! What space between our kisses! O sort aimer, 6 dure absence! Oh bitter fate, oh cruel absence! O grands desirs inapaises! Oh great unappeased desires! Reviens, reviens, ma bien-aimee! Come back, come back, my beloved! Comme une fleur loin du soleil, Like a flower far from the sun, La fleur de ma vie est fermee The flower of my life is closed Loin de ton sourire vermeil! Far from your rosy smile! D'ici la-bas que de campagnes, From here to where you are, how wide the country;
14 Que de villes et de hameaux, How many cities and hamlets, Que de vallons et de montagnes, How many valleys and mountains, A lasser le pied des chevaux! To tire the hoofs of the horses! Reviens, reviens, ma bien-aimee! Come back, come back, my beloved! Comme une fleur loin du soleil, Like a flower far from the sun, La fleur de ma vie est fermee The flower of my life is closed Loin de ton sourire vermeil! Far from your rosy smile.
Au cimetiere In the Cemetery
Connaissez-vous la blanche tombe Do you know the white tomb Ou flotte avec un son plaintif Where the shadow of a yew tree L'ombre d'un if? Hovers with a plaintive sigh? Sur l'if, une pale colombe, On that yew a pale dove Triste et seule, au soleil couchant, At sundown, sad and solitary, Chante son chant: Sings its song:
Un air maladivement tendre, A sadly-tender refrain A la fois charmant et fatal, At once both delightful and deadly, Qui vous fait mal, That, though sorrow-filled, Et qu'on voudrait toujours entendre, You would listen to forever — Un air, comme en soupire aux cieux A song such as the amorous angel might sing L'ange amoureux. In the heavens.
On dirait que l'ame eveillee One might say the awakened soul
Pleure sous terre a l'unison Is weeping beneath the earth De la chanson, In unison with the song, Et du malheur d'etre oubliee And in a gentle murmur Se plaint dans un roucoulement Is complaining of the misery Bien doucement. Of being forgotten.
Sur les ailes de la musique On the music's wings On sent lentement revenir One feels a memory Up souvenir: Slowly return — Une ombre, une forme angelique A shadow, an angelic form, Passe dans un rayon tremblant, Passes in a tremulous light En voile blanc. Shrouded in a white veil.
Les belles de nuit, demi-closes, Flowers of the night, half-open Jettent leur parfum faible et doux Give forth their scent mild and sweet Autour de vous, About you, Et le fantome aux molles poses And the phantom with its languid motion
Murmure en vous tendant les bras: Whispers as it opens its arms to you: "Tu reviendras!" "You will return!"
Oh! Jamais plus, pres de la tombe, Oh, never again will I go near Je n'irai quand descend le soir That tomb, when the sombre cloak Au manteau noir, Of night descends, Ecouter la pale colombe To listen to the pale dove
Chanter sur la pointe de l'if From the heights of the yew tree Son chant plaintif! Sing its plaintive song!
L'lle inconnue The Unknown Isle
Dites, la jeune belle! Tell me, pretty young maid, Ou voulez-vous aller? Where would you like to go? La voile enfle son aile, The sail unfurls like a wing, La brise va souffler! The breeze is about to blow.
15 . .
L'aviron est d'ivoire, The oar is of ivory, Le pavilion de moire, The flag of watered silk, La gouvernail d'or fin; The rudder of fine gold;
J'ai pour lest une orange, For ballast I have an orange, Pour voile une aile d'ange, For sail, an angel's wing, Pour mousse un seraphin. For ship's boy, a seraph.
Dites, la jeune belle, . . Tell me, pretty young maid, . .
Est-ce dans la Baltique, Would it be to the Baltic, Dans la mer Pacifique, Or to the Pacific, Dans 1'ile de Java? Or to the isle of Java? Ou bien est-ce Norvege, Or else would it be to Norway, Cueiller la fleur de neige, To pluck the snow flower? Ou la fleur d'Angsoka? Or the flower of Angsoka?
Dites, dites, la jeune belle, Tell me, tell me, pretty young maid, Dites, ou voulez-vous aller? Tell me where you'd like to go?
Menez-moi, dit la belle, Take me, said the pretty young maid, A la rive fidele To the faithful shore, Ou Ton aime toujours, Where love endures for ever. Cette rive, ma chere, That shore, my dear, On ne la connait guere Is barely known Au pays des amours. In the realm of love.
Ou voulez-vous aller? Where would you like to go? La brise va souffler. The breeze is about to blow.
Theophile Gautier
Zaide Zaide
"Ma ville, ma belle ville, "My city, my beautiful city — it is Grenada of C'est Grenade au frais jardin, the fresh gardens, it is Aladdin's palace that C'est le palais d'Aladin, surpasses even Cordova and Seville. All the Qui vaut Courdoue et Seville. balconies are open, all the pools crystal clear. And the court of the Sultana is held under Tous ses balcons sont ouverts, the green myrtle trees." Tous ses bassins diaphanes, Toute la cour des sultanes S'y tient sous les myrthes verts.'
Ainsi pres de Zorai'de, Thus, sitting near Zorai'de, sang the young A sa voix donnant l'essor, Zaide, her feet in her golden slippers. Chantait la jeune Zaide, Le pied dans ses mules d'or.
"Ma ville, ma belle ville, "My city, my beautiful city — it is Grenada of C'est Grenade au frais jardin, the fresh gardens, it is Aladdin's palace that C'est le palais d'Aladin, surpasses even Cordova and Seville." Qui vaut Cordoue et Seville."
La reine lui dit: The queen spoke to her, "Ma fille, d'ou viens tu done?" "My child, where did you come from?" "Je n'en sais rien." "I do not know." "N'as tu done pas de famille?" "Have you no family?"
"Votre amour est tout mon bien; "Your love is all I have. Oh, my queen, I have O ma reine, j'ai pour pere for a father the sun full of warmth; the Ce soleil plein de douceur; mountain is my mother, and the stars are La sierra, c'est ma mere, my sisters." Et les etoiles mes soeurs.
16 "Ma ville, ma belle ville, "My city, my beautiful city — it is Grenada
C'est Grenade au frais jardin, of the fresh gardens, it is Aladdin's palace C'est le palais d'Aladin, that surpasses even Cordova and Seville." Qui vaut Cordoue et Seville."
Cependant sur la colline But later, above on a hill, Zaide cried to the
Zaide a la nuit pleurait: night, "Helas, I am an orphan: who will take "Helas! je suis orpheline; care of me?" A cavalier saw her beauty and De moi qui se chargerait?" took her on his golden saddle; Grenada, alas,
Un cavalier vit la belle, was far behind her, but Zaide dreams of it still. La prit sur sa selle d'or; Grenade, helas! est loin d'elle, Mais Zaide y reve encore.
Sa ville, sa belle ville, Her city, her beautiful city — it is Grenada of
C'est Grenade au frais jardin, the fresh gardens, it is Aladdin's palace that C'est le palais d'Aladin, surpasses even Cordova and Seville. Qui vaut Cordoue et Seville.
— Roger de Beauvoir
La mort d'Ophelie The Death of Ophelia Aupres d'un torrent Ophelie Along the banks of a stream Ophelia wan- Cueillait, tout en suivant le bord, dered in her sweet and tender madness, Dans sa douce et tendre folie, cutting periwinkles, buttercups, iris the color Des pervenches, des boutons d'or, of opals, and the pale rose flowers called Des iris aux couleurs d'opale, dead men's fingers. Et de ces fleurs d'un rose pale Qu'on appelle des doigts de mort.
Puis, elevant sur ses mains blanches, Then lifting in her white hands all the Les riants tresors du matin, cheerful treasures of the morning, she hung Elle les suspendait aux branches, them on the branches of a nearby willow. Aux branches d'un saule voisin. But, too frail, the branch bent and broke, and Mais trop faible le rameau plie, poor Ophelia fell, her garland in her hand. Se brise, et la pauvre Ophelie Tombe, sa guirland a la main.
Quelques instants sa robe enflee For several instants her dress spread out La tint encor sur le courant, and floated her on the current. Like a swell- Et, comme une voile gonflee, ing sail she was carried along while singing Elle flottait toujours chantant, some old ballad — singing like a naiad born in Chantant quelque vieille ballade, the middle of the stream. Chantant ainsi qu'une na'iade, Nee au milieu de ce torrent.
Mais cette etrange melodie But that strange melody passed rapidly like Passa, rapide comme un son. a sound. Weighed down by the waves, her Par les flots la robe alourdie dress grew heavy and dragged the poor girl Bientot dans l'abime profond under into the vast depths — hardly had she Entraina la pauvre insensee, begun her melodious song. Laissant a peine commencee Sa melodieuse chanson.
— Ernest Legouve (after Shakespeare)
17 Robert Karol Bernard Kadinoff Bassoons Vincent Mauricci Sherman Walt Edward A. Taft chair Earl Hedberg Roland Small Joseph Pietropaolo Matthew Ruggiero Robert Barnes Michael Zaretsky Contra bassoon Richard Plaster Cellos Jules Eskin Philip R. Allen chair Horns Martin Hoherman Charles Kavalovski Mischa Nieland Helen Sagoff Slosberg chair Charles Yancich First violins Jerome Patterson Peter Gordon Joseph Silverstein Robert Ripley Concertmaster Luis Leguia David Ohanian Charles Munch chair Carol Procter Richard Mackey Emanuel Borok Ronald Feldman Ralph Pottle Concertmaster Assistant Joel Moerschel Helen Horner Mclntyre chair Jonathan Miller Max Hobart Trumpets Martha Babcock Rolland Tapley Armando Ghitalla Roger Shermont Roger Louis Voisin chair Max Winder Basses Andre Come Harry Dickson William Rhein Rolf Smedvig Acting Principal Gottfried Wilfinger Gerard Goguen Harold D. Hodgkinson chair Fredy Ostrovsky Joseph Hearne Leo Panasevich Bela Wurtzler Trombones Sheldon Rotenberg Leslie Martin Ronald Barron Alfred Schneider John Salkowski Norman Bolter Gerald Gelbloom John Barwicki Gordon Hallberg Raymond Sird Robert Olson William Gibson Ikuko Mizuno Lawrence Wolfe Cecylia Arzewski Henry Portnoi Tuba Amnon Levy Chester Schmitz Bo Youp Hwang Flutes Doriot Anthony Dwyer Timpani Second violins Walter Piston chair Everett Firth Victor Yampolsky James Pappoutsakis Sylvia Shippen Wells chair Fahnestock chair Marylou Speaker Paul Fried Percussion Michel Sasson Charles Smith Ronald Knudsen Piccolo Arthur Press Leonard Moss Lois Schaefer Assistant timpanist Vyacheslav Uritsky Thomas Gauger Laszlo Nagy Oboes Frank Epstein Michael Vitale Ralph Gomberg Darlene Gray Mildred B. Remis chair Ronald Wilkison Wayne Rapier Harps Harvey Seigel Bernard Zighera Jerome Rosen English Horn Ann Hobson Sheila Fiekowsky Laurence Thorstenberg Gerald Elias Personnel Managers Ronan Lefkowitz Clarinets William Moyer Harold Wright Harry Shapiro Violas Ann 5.M. Banks chair Pasquale Burton Fine Cardillo Librarians Peter Charles 5. Dana chair Hadcock Victor Alpert E-flat clarinet Reuben Green William Shisler Eugene Lehner George Humphrey Clarinet Bass Stage Manager Jerome Lipson Felix Viscuglia Alfred Robison 18 Berkshire Music Center Orchestra
Violins Cellos Bassoons Diane Bischak Timothy Butler Matthew Karr Craig Burket Catherine Giles Dennis Michel Nicole Bush Douglas Ischar Susan Nigro Diane Cataldo Nancy Keevan Richard Sharp Karen Clarke Martha Kiefer Braden Toan Edwin Lee Jolan Friedhoff Lichten Horns Kim Golden Julia Freya Oberle Laurel Bennert Michael Hanson Michael Peebles Roger Kaza Carol Heffelfinger Steven Shumway Kirk Laughton Peter Jaffe Wyatt Sutherland Lawrence Ragent Philip Johnson Christopher Tillotson Martha Lewis Basses Richard Todd Martha McPherson Robert Caplin Robert Ward Philip Middleman Steven D'Amico Mayumi Ohira Jonathan Jensen Trumpets Mary O'Reilly Keith Post Dennis Alves Charles Pikler Jonathan Storck Richard Henly Wendy Plank Stephen Tramontozzi Timothy Morrison Martha Royer Larry Scofield Wendy Scheidemantle Flutes Carol Warner Randi Schonning Tyra Gilb Gregory Whitaker Marie Herseth Alex Shum Semmy Stahlhammer Wendy Rolfe Trombones Jacqueline Rosen Kathryn Stepulla Mitchell Arnold Debra Wendells Arthur Zadinsky Donald Sanders Stephen Wilson Oboes Arthur Smith Violas Sandra Apeseche Katherine Askew William Bennett Tubas Marshall Fine Margot Golding Craig Fuller Paul Frankenfeld Jean Landa Lawrence Tarlow Stephanie Fricker Avinoam Yosselevitch Carol Hutter Percussion Virginia Izzo Clarinets John Boudler Lynn Johnson Katherine Betts Jeffrey Fischer Betsy London Michael Corner Neil Grover Marie Peebles John Fullam Patrick Hollenbeck Meredith Snow Diane Heffner James Saporito Julie Westgate David Howard Richard Wind
from the Boston University Young Artist Orchestra
Trumpets Trombones Tuba Stephen Burns Paul Eachus Kenneth Bourque Justin Cohen Mark Hartman Frank Herdman Michael Rooney Kirk Ruehl
19 —
BOSTON SYMPHONY ORCHESTRA
Seiji Ozawa, Music Director Colin Davis, Principal Conductor Joseph Silverstein, Assistant Conductor Tanglewood 1977
Friday, 19 August at 9
SEIJI OZAWA, conductor
BERLIOZ Requiem Grande messe des morts, Opus 5
Requiem et Kyrie (Introitus) Dies irae (Prosa) Quid sum miser Rex tremendae Quaerens me Lacrymosa Domine, Jesu Christe (Offertorium) Hostias Sanctus Agnus Dei
BOSTON SYMPHONY ORCHESTRA BERKSHIRE MUSIC CENTER ORCHESTRA, BOSTON UNIVERSITY YOUNG ARTISTS ORCHESTRA BRASS, TANGLEWOOD FESTIVAL CHORUS and CHOIR, JOHN OLIVER, conductor KENNETH RIEGEL, tenor
Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. Baldwin piano
20 1
Notes But if writing the Requiem was easy and a pleasure, almost nothing else was. The government Director of Fine Arts Hector Berlioz tried to abort the commission. Luigi Requiem, Opus 5 Cherubini, the sort of composer to whom a less imaginative minister would have Louis-Hector Berlioz was born at La Cote- sent such a commission, was offended Saint -Andre in the Department of here on 1 and, together with his pupils, in active December 1803 and died in Paris on 8 March opposition. It was decreed that the com- 1869. He completed his Requiem on 29 June memorative service in July 1837 would 1837, and Francois-Antoine Habeneck con- have no music. Purchase orders and ducted the first performance in the church of invoices and memoranda made their St. Louis -des-lnvalides, Paris, on 5 December sluggish way from one government that year. Gilbert -Louis Duprez was the tenor bureau to another, and it took five soloist. The first American performance was months for the copyists, the choristers given under the direction of Leopold Damrosch who had already been in rehearsal, and in New York on 4 May 1881. Berlioz himself to get paid. At the point Charles X of France, younger brother when there seemed to be no hope what- of Louis XVI, who had been guillotined ever for a performance, the news came in 1793, and of Louis XVIII, who had that Field-Marshal Damremont had been been titular monarch in 1795 and who shot through the heart in the assault had been installed as puppet king by the on the Algerian town of Constantine-* Allies both times they had sent Napoleon A service was to be held in the Invalides into exile, was the sort of man capable for Damremont and the others who in the 1820s of a belief in Divine Right. were killed during the siege of Constan- Constitutional monarchy held no charms tine. This came under the jurisdiction of for him. He would rather hew wood, he the Minister of War, General Bernard, insisted, than reign under the conditions who was friendly to Berlioz, or at least with which his colleague in England had was not against him, and suddenly the to put up. Three days of violent uprising Requiem was on again. Bernard, how- in July 1830 put an end to his six-year ever, had one more nasty surprise to reign. Under King Louis-Philippe, an spring on the composer, which was that annual commemorative service honored the performance would have to be con- those who had lost their lives in the ducted by Francois-Antoine Habeneck,
Revolution of 1830, and it was for one chief conductor at the Opera, which of those services that Comte Adrien made him politically the most powerful de Gasparin, Minister of the Interior, musician in Paris. He was one of the commissioned a Requiem from the 33- old-style conductors who worked, not year old Berlioz. "The text of the from a score, but from a first violin part with other instrumental parts cued Requiem was a quarry I had long coveted," Berlioz recalled later. "Now at in, but he was an able musician and a thorough workman: Richard Wagner, last it was mine, and I fell upon it with a kind of fury. My brain felt as though far from easy to please, praised Ha- beneck's performance of the Beethoven it would explode with pressure of ideas. The outline of one piece was barely symphonies as the best he had ever sketched before the next formed itself heard. For many reasons, Habeneck and Berlioz were not on good terms, and as in my mind. It was impossible to write ." one assays the evidence, it really does fast enough . . Berlioz gratefully dedi- cated the score to de Gasparin, an act appear that Habeneck tried to sabotage that gave him the greater pleasure be- the premiere of the Requiem by laying cause by then that cultivated minister — *In 1827, in the Kasbah of Algiers, one of the "part of that small minority of French Turkish deys struck the French consul with a politicians in of interested music, and fly-swatter, setting off a series of incidents the still more select company who have and reprisals that led to the French conquest a feeling for it" — was no longer in power. and colonization of Algeria. 21 :
"Very impressive, perhaps more knowledgeable than anyone else writing in Boston now."
"Youns, but knows what he's doing, works nard all the time to expand his knowledge!'
"Should be read'.'
When performers got the opportunity to criticize the critics* that's what they said about Thor Eckert, music critic for The Christian Science Monitor. Readers have come to depend on the Monitor's perceptive coverage of the arts, as well as its fair, balanced coverage of national and international news. To subscribe to this award-winning daily newspaper, just call toll free 800-225-7090. (In Massachusetts, call collect 617-262-2300.) Or use the coupon below.
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22 horns, eight bassoons, fifty violins, twenty each of violas and cellos, eigh- teen basses, and for the chorus, eighty women,* sixty tenors, and seventy basses, but adds that these numbers "are only relative, and one can, space permitting, double or triple the vocal forces and increase the orchestra pro-
portionally. If one had an immense chorus of 700 or 800 voices, the entire group should sing only in the Dies lrae, the Tuba Mirum, and the Lacrymosa, using no more than 400 voices in the rest of the score," Berlioz uses both an expres- sive cantabile (e.g. Requiem aeternam and Te decei hymnus) and a quiet rhythmic
declamation (e.g. et lux perpetua and Kyrie eleison). Indeed, when the voices first enter, he at once suggests both manners, Haberneck the basses' melody being accompanied by the detached syllables of the tenors, down his baton and taking a pinch of who in turn are doubled by the bassoons snuff at the first measure — with its playing the same melody legato. tempo change — of the Tuba Mirum.* The Dies lrae begins with the same "With habitual mistrust I had stayed my vocal and orchestral forces, and with just behind Habeneck," reports Berlioz. striking contrast between the stern "... I had been keeping my eye on him. phrase of the cellos and basses (quite In a flash I turned on my heel, sprang obsessive this will turn out to be) and forward in front of him and, stretching the plaintive line of the sopranos and out arm, marked out the four great my woodwinds. With the Tuba Mirum Ber- beats of the new tempo. The bands fol- lioz, in a dramatic stroke, adds four lowed me and everything went off in brass groups, stationed north, east, west, order. I conducted the piece to the south at the corners of the grand mass end . . . When, at the final of the words of singers and instrumentalists, chorus, Habeneck saw that the Tuba
Mirum was saved, he said, 'God, I was *Altos have extended independent parts in in a cold sweat. Without you we would the Quaerens me, the Sanctus, and the Agnus Dei only. have been lost.' 'I know,' I replied, look-
ing him straight in the eye . . . The success of the Requiem was complete, despite all the intrigues and stratagems, blatant or underhand, official and un- official, which had been resorted to to stop it." Berlioz begins with chorus and an orchestra of woodwinds, French horns, and strings. He proposes specific num- bers — four flutes, two oboes, two En- glish horns, four clarinets, twelve French
*That Habeneck took snuff at that point is certain. What is in question is whether hedid it out of negligence or malice. The matter is sensibly discussed by David Cairns in his edition of the Berlioz Memoirs, Alfred A.
Knopf, New York, 1969. Drawing of Berlioz by Horace Vernet (c. 183 1). 23 N.B. not at the corners of the audi- torium. Let Berlioz describe it: "First all four groups break in simultaneously
. . . then successively, challenging and answering one another from a distance, the entries piling up, each a third higher than the one before. " It was here that "our hero of the snuffbox," as Berlioz calls him, made his disconcerting choice. Berlioz continues: "It is ... of the utmost importance to indicate the four beats of the new, slower tempo very clearly the moment it is reached; otherwise the great cataclysm, a musical representa- tion of the Last Judgment, prepared for with such deliberation and employing an exceptional combination of forces in a manner at that time unprecedented and not attempted since* — a passage which will, I hope, endure as a landmark in music — is mere noise and pandemo- nium, a monstrosity." As the movement proceeds, Berlioz unleashes as well an immense volume of percussion, four pairs of kettledrums, two bass drums, Berlioz by Prinzhofer (1845). four tamtams, and ten cymbals. As Death and Nature stand astounded, the music mosa. After the gentle interlude of Pie falls into silence. (Some of this music is ]esu, the brass choirs and the percussion recycled from a Mass Berlioz wrote join to tie this movement to the earlier about 1824, most of which he destroyed.) parts of the Dies Irae. The idea of thus The obsessive bass phrase from the using extra brass went back to 1831 and beginning of the Dies Irae continues to a never executed plan for an oratorio sound through Quid sum miser, a brief on The Last Day of the World; then, too, and quiet movement in which the words his letters indicate his concern for pre- are assigned almost entirely to the tenors, senting this cataclysm with character- who are specifically asked to express istic economy and precision. humility and fear in their singing. The Offertory, Domine, Jesu Christe, is English horns, bassoons, cellos, and another movement of the greatest basses accompany. delicacy. Almost to the end, the voices
Rex tremendae is another conception on sing on two notes, and ony the word a huge scale, and on the words Ne cadam promisisti releases them. in obscurum! the Day of Judgment brass Hostias is for male voices with instru- and percussion intervene once more. mental punctuation. But what punctua- But the thought of the fount of mercy tion it is, that series of chords for high brings quiet. flutes with eight trombones swelling and Quaerens me — these are the lines of receding on their deepest pedal notes! text that according to Donald Francis High solo violins, flute, and violas Tovey "Dr. Johnson sometimes tried to divided into four sections and playing quote, but never without bursting into "a very dense tremolo," accompany the solo the choral responses in tears"—is sung by unaccompanied voices, tenor and and very softly throughout. the Sanctus. The Hosanna is fugued, and Sheer terror whips through the Berlioz implores the chorus to sing "lamentable day" called up by the Lacry- "without violence, sustaining the notes well instead of accenting them one by
*Berlioz is writing around 1848. one." For the return of the Sanctus, 24 Berlioz finds yet another of his most In the Agnus Dei, as in several passages extraordinary and new sounds. At the of the Dies lrae and the Offertory, Ber- first performance, the tenor solo was lioz somewhat reorders the text. This is taken by Gilbert-Louis Duprez, the first a movement of summation and of re- Edgardo in Donizetti's Lucia di Lammer- capitulation of words, musical themes, moor and also Berlioz's first Benvenuto and textures. Woodwinds, trombones, Cellini, in which opera he got lost when and voices sing repeated Amens across his wife's physician appeared in mid- the pianissimo arpeggios of the strings performance to signal in pantomime the and the softly thudding punctuations birth of a baby boy. of eight kettledrums.
— Michael Steinberg
Requiem Requiem Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis! and let everlasting light shine on them. Te decet hymnus, Deus, in Sion, To thee, O God, praise is meet in Zion, et tibi reddetur votum in Jerusalem. and unto thee shall the vow be performed in Jerusalem. Exaudi orationem meam: Hearken unto my prayer: Ad te omnis caro veniet. unto thee shall all flesh come. Requiem aeternam dona defunctis, Domine, Grant the dead eternal rest, O Lord, et lux perpetua luceat eis! and let everlasting light shine on them. Kyrie eleison! Lord, have mercy upon us! Christe eleison! Christ, have mercy upon us! Kyrie eleison! Lord, have mercy upon us!
Dies irae, dies ilia The Day of Wrath, that day Solvet saeclum in favilla shall dissolve the world in ashes, Teste David cum Sibylla. as witnesseth David and the Sibyl.
Quantus tremor est futurus What trembling there shall be Quando judex est venturus when the Judge shall come Cuncta stricte discussurus! who shall thresh out all thoroughly!
Tuba, mirum spargens sonum The trumpet, scattering a wondrous sound Per sepulcra regionum, through the tombs of all lands, Coget omnes ante thronum. shall drive all unto the Throne.
Mors stupebit et natura Death and Nature shall be astounded Cum resurget creatura when the creature shall rise again Judicanti responsura. to answer to the Judge.
Liber scriptus proferetur A written book shall be brought forth In quo totum continetur in which shall be contained all Unde mundus judicetur. for which the world shall be judged.
Judex ergo cum sedebit And therefore when the Judge shall sit, Quidquid latet apparebit: whatsoever is hidden shall be manifest, Nil inultum remanebit. and naught shall remain unavenged.
Quid sum miser tunc dicturus, What shall I say in my misery?
Quern patronum rogaturus, Whom shall I ask to be my advocate, Cum vix Justus sit securus? when scarcely the righteous may be without fear? 25 Rex tremendae majestatis King of awful majesty, Qui salvandos salvas gratis; who freely savest the redeemed, Salva me, fons pietatis. save me, O fount of mercy.
Recordare, Jesu pie, Remember, merciful Jesu,
Quod sum causa tuae viae that I am the cause of thy journey, Ne me perdas ilia die. lest thou lose me in that day.
Confutatis maledictis When the damned are confounded Flammis acribus addictis, and devoted to sharp flames, Voca me, call thou me, Et de profundo lacu, and from the bottomless pit Libera me de ore leonis, and the mouth of the lion, deliver me,
Ne cadam in obscuram, lest I fall into darkness, Ne absorbeat me Tartarus! lest Tartarus swallow me. Qui salvandos salvas gratis; Who freely savest the redeemed, Salva me, fons pietatis! save me, O fount of mercy.
Quaerens me sedisti lassus; Seeking me didst thou sit weary: Redemisti crucem passus. thou didst redeem me, suffering the cross: Tantus labor non sit cassus. let not such labor be in vain.
Juste Judex ultionis just Judge of vengeance, Donum fac remissionis give the gift of remission Ante diem rationis. before the day of reckoning.
Ingemisco tamquam reus: 1 groan as one guilty; Supplicanti parce, Deus. Spare, O God, me, thy suppliant.
Preces meae non sunt dignae, My prayers are not worthy, Sed tu, bonus, fac benigne, but do thou, good Lord, show mercy,
Ne perenni cremer igne. lest I burn in everlasting fire.
Qui Mariam absolvisti Thou who didst absolve Mary Et latronem exaudisti, and didst hear the thief's prayer, Mihi quoque spem dedisti, hast given hope to me also.
Inter oves locum praesta Give me a place among thy sheep Et ab haedis me sequestra, and put me apart from the goats, Statuens in parte dextra. setting me on the right hand.
Lacrymosa dies ilia Lamentable is that day Qua resurget ex favilla on which guilty man shall arise Homo reus judicandus. from the ashes to be judged.
Pie Jesu, Merciful, Jesu, Dona eis requiem aeternam. Grant them eternal rest.
Domine, Jesu Christe, Rex gloriae, O Lord, Jesu Christ, King of glory, libera animas omnium fidelium defunctorum deliver the sould of all the departed faithful de poenis! from torment. Domine, libera eis de poenis inferni O Lord, deliver them from the torments of hell et de profundo lacu! and from the bottomless pit. Libera eis, et sanctus Michael signifer Deliver them, and let Saint Michael the standard-bearer repraesentet eas in lucem sanctam bring them forth into the holy light, quam olim Abrahae promisisti which thou didst once promise unto Abraham et semini ejus. Amen. and his seed. Amen. 26 Hostias et preces tibi, Domino, To thee, O lord, we render our offerings laudis offerimus. and prayers with praises.
Suscipe pro animabus illis Receive them for those souls quarum hodie memoriam facimus. which we commemorate today.
Sanctus, sanctus, sanctus, Domine Deus Holy, holy, holy, Lord God of Sabaoth. Sabaoth. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of thy glory. Hosanna in excelsis. Hosanna in the highest.
Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, dona eis requiem sempiternam! grant them eternal rest.
Te decet hymnus, Deus, in Sion, To thee, O God, praise is meet in Zion. et tibi reddetur votum in Jerusalem. and unto thee shall the vow be performed in Jerusalem. Exaudi orationem meam! Hearken unto my prayer: Ad te omnis caro veniet. unto thee all flesh shall come.
Requiem aeternam dona defunctis, Domine, Grand the dead eternal rest, O Lord, et lux perpetua Iuceat eis! and let everlasting light shine on them. Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua Iuceat eis and let everlasting light shine on them cum Sanctis tuis in aeternum, Domine, with thy Saints for ever, O Lord, quia pius es! Amen. for thou art merciful. Amen.
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28 BOSTON SYMPHONY ORCHESTRA 1 *V/lsv* *
BOSTON Seiji Ozawa, Music Director SYMPHONY Colin Davis, Principal Guest Conductor ORCHESTRA SEW OZAWA Joseph Silverstein, Assistant Conductor ' Mum Dirrrfor Tanglewood 1977
Saturday, 20 August at 8:30
ANDREW DAVIS, conductor
MOZART Piano Concerto in C, K. 503
Allegro maestoso Andante [Allegretto] MALCOLM FRAGER
INTERMISSION
HOLST The Planets
Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity Saturn, the Bringer of Old Age Uranus, the Magician Neptune, the Mystic
The Tanglewood Choir, John Oliver, conductor
Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. Baldwin piano Malcolm Frager plays the Steinway.
29 ate
-M \) THE BOSTON SYMPHONY CHAMBER PLAYERS
'?
^7/ vJ
Three Sundays that can help you face Monday
The Brahms Quintet op. 115. Stra- vinsky's L'Histoire du Soldat. The Schubert E Flat Piano Trio. These and other major chamber music works make up the Boston Sym- phony Chamber Players 1977-78 program. The twelve principal players of the Boston Symphony Orchestra will perform at Jordan Hall at 4:00 p.m. on Nov. 6, 1977 and Feb. 19 and April 9, 1978. Gilbert Kalish will be the guest pianist. For complete program information, write to Subscription Office, Symphony Hall, Boston, Mass. 02115, or call 266-1492.
30 Notes bigger subscription list than two other performers put together, and that for his most recent appearance the hall had been "full to overflowing." In 1786, Wolfgang Amadeus Mozart the fiscal catastrophes of 1788, the year Piano Concerto in C major, K. 503 of the last three symphonies, were prob- ably unforeseeable, and one surpassing Johannes Chrysostomus Wolfgangus Theophilus triumph still lay ahead of him, the de- Mozart — that is his full baptismal name — was lirious reception by the Prague public born in Salzburg on 27 January 1 756 and died of Don Giovanni in 1787. Figaro was pop- in Vienna on 5 December 1791. He completed ular in Vienna, but not more than other the C major Concerto, K. 503, on 4 December operas by lesser men, and certainly 1 786. He left no cadenzas for it, and Malcolm not enough to buoy up his fortunes Frager makes his own. for long. Perhaps it is even indicative In just under three years, Mozart that we know nothing about the first wrote twelve piano concertos. It is the performance of K. 503. Mozart had genre that absolutely dominates his work planned some concerts for December schedule in 1784, 1785, and 1786, and 1786, and they were presumably the what he poured out — almost all of it for occasion for writing this concerto, but his own use at his own concerts — is a we have no evidence that these ap- series of masterpieces that delight the pearances actually came off. mind, charm and seduce the ear, and What has changed, too, is Mozart's pierce the heart. They are the ideal approach to the concerto. It seems less realization of what might be done with operatic than before, and more sym- the piano concerto. Beethoven a couple phonic. The immediately preceding one, of times reaches to where Mozart is, and the C minor, K. 491, completed 24 perhaps Brahms, too, but still, in this March 1786, foreshadows this, but even realm Mozart scarcely knows peers. so, K. 503 impresses as a move into K. 503 is the end of that run. It comes at something new. Its very manner is all the end of an amazing year, amazing even its own. For years, and until not so long for Mozart, that had begun with work ago, it was one of the least-played of on The Impresario and Figaro, and whose the series (currently K. 451 in D and achievements include the A major Piano K. 456 in B flat seem to be the step- Concerto, K. 488, and the C minor, children), and it was as though pianists K. 491, the E flat Piano Quartet, the were reluctant to risk disconcerting last of his horn concertos, the Trios their audiences by offering them in G and B flat for piano, violin, and Olympian grandeur and an unprece- cello, as well as the one in E flat with dented compositional richness where viola and clarinet, and the piano duet the expectation was chiefly of charm, Sonata in F, K. 497. Together with the operatic lyricism, and humor. present concerto he worked on the Prague This is one of Mozart's big trumpets-
Symphony, finishing it two days later, and and-drums concertos, and the first mas- before the year was out, he wrote one sive gestures make its full and grand of the most personal and in every way sonority known. But even so formal an special of his masterpieces, the concert exordium becomes a —personal statement aria for soprano with piano obbligato at Mozart's hands "cliche becomes and orchestra, Ch'io mi scordi di te, K. 505. event," as Adorno says about Mahler — Such a list does not reflect how Mo- and across the seventh measure there zart's life had begun to change. On falls for just a moment the shadow of 3 March 1784, for example, he could the minor mode. And when the formal report to his father that he had 22 proclamations are finished, the music concerts in 38 days: "I don't think that does indeed take off in C minor. Such this way I can possibly get out practice." harmonic — and expressive — ambiguities A few weeks later, he wrote that for inform the whole movement. Mozart his own series of concerts he had a always likes those shadows, but new
31 here are the unmodulated transitions tune in 1915, and finishing with Mercury from major to minor and back, the hard- in 1916. The first performances were private, ness of his chiaroscuro. The first solo en- one of a two-piano arrangement both made trance is one of Mozart's most subtle and and played by Vally Lasker and Norah Day, gently winsome. The greatest marvel Hoist's assistants at St. Paul's School, where of all is the development, which is brief he was music master, and the other — of Mars, but dense, with a breathtaking har- Mercury, Jupiter, Saturn, and Neptune monic range and an incredible intricacy only — by the Queen's Hall Orchestra under of canonic writing. The piano has a Dr. Adrian Boult on 29 September 1918. delightful function during these pages, Venus was performed for the first time, along proposing ideas and new directions, but with Mercury and Jupiter, in London on then settling back and turning into ah 22 November 1919, the composer conducting, accompanist who listens to the wood- and the first performance of the complete suite winds execute what he has imagined. took place in London on 1 5 November 1920, (And how keenly one senses Mozart's Albert' Coates conducting. In January 1932, own presence at the keyboard here!) while a Visiting Professor at Harvard, Hoist The Andante is subdued, formal and a conducted the Boston Symphony in a pair of little mysterious at the same time, like concerts of his own music, including. The a knot garden by moonlight, and re- Planets. He reported then to Imogen Hoist, markable too for the great span from his daughter and future biographer: "The band its slowest notes to its fastest. For the treated me royally. At two of the rehearsals finale, Mozart goes back to adapt a they insisted on staying half an hour extra and
gavotte from his then five-year old at every possible occasion they cheered me ... . opera Idomeneo. In its courtly and witty The only fault of the orchestra was that they measures, there is nothing to prepare us were over anxious. On Friday's concert there for the epiphany of the episode in which were half a dozen extraordinary slips in the the piano, accompanied by cellos and Planets: in the Perfect Fool ballet the harpist basses alone (a sound that occurs no- missed a line, and the water music sounded quite where else in Mozart), begins a smiling modern: while in the St. Paul's Suite I broke and melancholy song that is continued a collar stud. But Saturday's concert was by the oboe, the flute, the bassoon, and really good." in which the cellos cannot resist joining. Hoist's father was a piano teacher Lovely in itself, the melody grows into whose grandfather, who had once taught a music whose richness of texture and the harp to Imperial Grand Duchesses in whose poignancy and passion astonish St. Petersburg, had emigrated to England us even in the context of the mature from Riga. His mother, a sweet lady Mozart. From that joy and pain Mozart whose jumpy nerves were upset by redeems us by leading us back to his music, died young, and Gustav and his gavotte and from there into an exuber- brother, Emil Gottfried (later a success- antly inventive, brilliant ending. ful actor under the name of Ernest — Michael Steinberg Cossard), were brought up by their Aunt Nina, who had once strewn rose petals for Franz Liszt to walk on. Gustav Gustav Hoist inherited his mother's over-strung The Planets, suite for large orchestra*, nerves and later in life he was several times to come near mental collapse. He Opus 32 was a timid child, so nearsighted that Gustav Hoist was born — Gustavus Theodore as a grown man he could not, even when von Hoist — in Cheltenham, Gloucestershire, wearing spectacles, recognize members England, on 21 September 18 74 and died in of his own family at six yards. His nights London on 25 May 1934. He wrote The alternated between insomnia and night- Planets between 1914 and 1916, beginning mares. Much of his life he suffered from with Mars (but before the outbreak of war in neuritis so severe that he had to dictate August), continuing with Venus and Jupiter some of his music, portions of the densely that fall, writing Saturn, Uranus, and Nep- intricate orchestral score of The Planets, 32 for example. He played violin and key- vided this note: "These pieces were boards as a boy, but the neuritis put a suggested by the astrological significance stop to both, and other than occasional of the planets; there is no programme conducting, his last activity as a per- music in them, neither have they any former was as trombonist in the Scottish connection with the deities of classical Orchestra and with the Carl Rosa Opera mythology bearing the same names. If Company from 1898 until 1903. He any guide to the music is required the studied composition at the Royal College subtitle to each piece will be found
of Music, London, with Sir Charles sufficient, especially if it be used in a
Villiers Stanford, and it was as a com- broad sense. For instance, Jupiter brings poser and teacher that he really found jollity in the ordinary sense, and also the himself. He taught most of his adult life, more ceremonial type of rejoicing as- at the James Allen and St. Paul's girls' sociated with religions or national fes- schools and at Morley College for Work- tivities. Saturn brings not only physical ing Men and Women. He kept the as- decay, but also a vision of fulfillment. sociation with St. Paul's until his death Mercury is the symbol of mind." — the alumnae used to identify them- Mars, the Bringer of War: the associa- selves to him by naming what Bach tion of Mars and war goes back as far cantatas they had sung under his direc- as history records. The planet's satel- tion — and it was in the soundproof lites are Phobos (fear) and Deimos room of the new music wing opened (terror), and its symbol rjJ combines there in 1913, a very paradise where he shield and spear. In Hoist, this comes" could be not only undisturbed but also out as a fierce, remorseless allegro, in indulge in the near-crematorial tem- five violent beats to the bar. peratures he favored indoors, that he worked on The Planets. Venus, the Bringer of Peace: after the moon, Venus is the brightest object in There was to his heaven more and our night sky.* The identification with earth than what he inherited from his Ishtar, Aphrodite's Babylonian prede- Swedish and English ancestors (or his cessor, goes back to at least 3,000 B.C. Spanish great-great-grandmother who To astrologers, "when the disorder of had ended up as the wife of an Irish Mars is past, Venus restores peace and peer in County Killarney) or what he harmony" (Noel Jan Tyl, The Planets: had learned at the Royal College. In his Their Signs and Aspects, Vol. Ill of The twenties, he became deeply involved in Principles and Practice of Astrology, St. Paul, Indian philosophy and religion, and he 1974). Horn and flutes answer each taught himself Sanskrit so as to make other in this adagio. High violins have his own translations of the Rig Veda. an extended song, but the dominant Between 1908 and 1912, he composed colors are the cool one of flutes, harps, four sets of hymns from those ancient and celesta. books of knowledge, and his most Mercury, the Winged Messenger: moving achievement is the opera Savitri, Hermes, god of cattle, sheep, and vege- based on an incident in the fourth- tation, deity of dreams, and conductor century epic Mahabharata (there is an of the dead, first assumes the role of overwhelming recorded performance messenger in the Odyssey. Mercury, his with Janet Baker). And some time after Roman counterpart, was primarily a god the turn of the century, he came into of merchandise and merchants, and his the thrall of astrology, something of winged sandals and winged cap are which he was reluctant to speak, though taken over from Hermes. To astrologers, he admitted that casting horoscopes for Mercury is "the thinker" (cf. Hoist's his friends was his "pet vice." The Planets comment above). The composer makes are astrological. "As a rule I only study this a virtuosic scherzo, unstable, things that suggest music to me," Hoist
once wrote," . . . recently the character *The Greeks called it Hesperus when it of each planet suggested lots to me." appeared in the Western sky. Cf. Ben Jonson's And for the 1920 premiere, Hoist pro- poem on page 41. 33 nervously changeable in meter and har- mony — in a word, mercurial. Jupiter, the Bringer of Jollity: the most massive of the planets, possessing twelve satellites (one of them larger than the planet Mercury), named for the light-bringer, the rain-god, thegod of thunderbolts, of the grape and the tasting of the new wine, of oaths, treaties, and contracts, and from whom we take the word "jovial." Jupiter, says Noel Tyl, "symbolizes expansiveness, scope of en- thusiasm, knowledge, honor, and op-
portunity . . . [and] corresponds to for- tune, inheritance, bonanza." Hoist gives us an unmistakably English Jupiter, and in 1921 he took the big tune in the middle and set to it as a unison song Hoist at the age of 59, a few months before his death. with orchestra the words, "I vow to thee, my country." wrote his suite, Neptune, discovered in Saturn, the Bringer of Old Age: Sat- 1846, was the extreme point in our urn is the outermost of the planets system. t In astrology, Neptune means known in ancient times. The god is as- confusion and mystic rapport with other sociated with Cronus and traditionally worlds. Neptune is invisible to the naked portrayed as an old man. To quote Tyl eye and to Hoist it speaks of distance, again, Saturn is "man's time on earth, his mystery, unanswerable questions. He ambition, his strategic delay, his wisdom makes of it another slow movement toward fulfillment, his disappointments in swaying, irregular meter, softly dis- and frustrations." Another adagio dom- sonant in harmony, full of the sound inated by the sound of flutes and harps, of shimmering harps and celesta, and like Venus in both characteristics, but dissolving in the voices of an invisible static, full of the suggestion of bells, and chorus of women. serene at the last. This movement was — M.S. Hoist's own favorite. Uranus, the Magician: the first planet tDuring most of the next 20 years, Neptune discovered in the age of the telescope, will in fact be even more distant than Pluto. specifically in 1781 by Sir William
Herschel, who wanted to name it for George III.* In astrology, Uranus rules invention, innovation, and astrology it- 40% OFF LIST on all self. Hoist begins with a triple invoca- tion (trumpets and trombones, then D.G. and PHILLIPS tubas, then timpani) and leads that way into a movement of galumphing dance. At the end, the apparitions disappear into the night. Neptune, the Mystic: Pluto, now wait- ing to be displaced as the farthest out planet by Planet X that the astronomers know about but haven't yet found, was discovered in 1930, so that when Hoist 910 South St. • Pittsfieid, Mass. 01201 At least 1/3 off all records at all times *Some astronomers wanted to call it Her- 11:30-6:00 Monday thru Saturday schel, but the name of Uranus was defini- Stop in & let us put you tively assigned by the German astronomer, on our mailing list. Johann Elert Bode.
34 1 ' BOSTON SYMPHONY ORCHESTRA <*fflbtih
Seiji Ozawa, Music Director Colin Davis, Principal Conductor Joseph Silverstein, Assistant Conductor Tanglewood 1977
Sunday, 21 August at 2:30
ANDREW DAVIS, conductor
BERLIOZ Overture The Corsair, Opus 21
BRITTEN Serenade for tenor solo, horn and strings, Opus 31
Prologue Pastoral (Cotton) Nocturne (Tennyson) Elegy (Blake) Dirge (anonymous, 15th century) Hymn (Jonson) Sonnet (Keats) Epilogue
KENNETH RIEGEL, tenor CHARLES KAVALOVSKI, horn
INTERMISSION
BRAHMS Symphony No. 4 in E minor, Opus 98
Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato
Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. Baldwin piano
35 wand
does not end on Sunday. It's only the beginning,
This Week At The Berkshire Music Center:
Saturday, August 20 at 2:30 pm: Boston University Young Artist Program Chamber Music Concert
Sunday, August 21 at 10:00 am: Berkshire Music Center Chamber Music Concert
Sunday, August 21 at 8:30 pm: Berkshire Music Center Vocal Music Recital
Monday, August 22 at 8:30 pm: Berkshire Music Center Chamber Music Concert
Wednesday, August 24 at 8:30 pm: Boston University Young Artists Orchestra Henry Charles Smith, conductor Dello Joio: Variations, Chaconne and Finale Respighi: Gli Uccelli (The Birds) Mussorgsky-Ravel: Pictures at an Exhibition
Thursday, August 25 at 8:30 pm: Berkshire Music Center Vocal Music Recital
Saturday, August 27 at 2:30 pm: Berkshire Music Center Orchestra Klaus Tennstedt, conductor Mozart: Symphony no. 35 in D "Haffner" Bruckner: Symphony no. 4 in E flat
Saturday, August 27 at 4:30 pm: Boston University Young Artists Program Chamber Music Concert
Sunday, August 28 at 10:00 am: Berkshire Music Center Chamber Music Concert
These events are open to the public by making a contribution, $2.00 minimum, to the Berkshire Music Center at the main gate, or by becoming a Friend of Music at Tanglewood.
36 .
Notes time. He carried his Byron into St. Peter's Cathedral. "Never did I see St.
Peter's without a thrill. It is so grand, so noble, so beautiful, so majestically calm! Hector Berlioz During the fierce summer heat I used to Overture The Corsair, Opus 21 spend whole days there, comfortably born at Louis-Hector Berlioz was La CoteSaint- established in a confessional, with Andr'e in the Department of here on 11 Byron as my companion. and died in Paris on 8 December 1803 March "I sat enjoying the coolness and 1869. He composed the Corsair Overture stillness, unbroken by any sound save probably in February 1831 revised it in 1844, the splashing of the fountains in the conducting the first performance in Paris on 19 square outside, which was wafted up to January 1845. me by an occasional breeze; and there, at
The title encites one to find in this my leisure, I sat drinking in that burning overture the reckless adventurer of poetry. I followed the Corsair in his
Byron's poem. Unfortunately for those desperate adventures; I adored that who take such titles as reliable guides to inexorable yet tender nature — pitiless, the composer's intention, Berlioz called yet generous — a strange combination of this Overture at its first performance La apparently contradictory feelings: love tour de Nice. Only later did he change the of woman, hatred of his kind. name to Le corsaire rouge,* finally, and Le "Laying down my book to meditate, corsaire. A close examination of titles in I would cast my eyes around, and, at- general as bestowed by the Romantics tracted by the light, they would be often reveals them as afterthoughts, a raised to Michelangelo's sublime cupola. last minute dressing up of a piece of What a sudden transition of ideas! From music with a colorful name for its the cries and barbarous orgies of fierce readier consumption. And yet, Byron's pirates I passed in a second to the Corsair, the searoving outlaw with his concerts of the seraphim, the peace of fine contempt of all men, his complete God, the infinite quietude of heaven. . . ruthlessness matched by a complete then, falling to earth again, I sought on gallantry toward women, must have the pavement for traces of the noble well fitted the composer's mood when ." poet's footsteps. . . he sketched the Overture on his journey Berlioz had sailed from Marseilles in a to Rome in 1831 — if so he did. Scandinavian brig, and so had had his Berlioz makes no mention of this first experience of the sea. One of his Overture in his memoirs, but the Signale travelling companions, a Venetian, "an on the occasion of a performance at underbred fellow, who spoke abomin- Weimar in 1856 made the statement, able French, claimed that he had com- presumably extracted from Berlioz, that manded Lord Byron's corvette during is was composed in three days "during a the poet's adventurous excursions in voyage protracted by a storm." This the Adriatic and the Grecian Archi- would have been the voyage which pelago. He gave us a minute description Berlioz made from Marseilles to Livorno of the brilliant uniform Lord Byron had in February 1831, as part of his journey insisted on wearing, and the orgies in to Rome as a Prix de Rome winner. It was which they indulged." The craft carrying also during his Prix de Rome months that Berlioz was becalmed in the bay off Nice he composed the Overtures to Rob Roy for three days, and then proceeded under and King Lear, his Lelio, and his revision a gale which nearly wrecked them. The of the Symphony fantastiaue. In his quality of invention in the tales of his memoirs, Berlioz reveals that the poetry fellow traveler was surely more impor- of Byron held him in captivation at this tant to the eager listener than their veracity. In May, Berlioz set out from *Le corsaire rouge is the title of the French translation of James Fenimore Cooper's Red Rome by carriage for home at the devas- Rover. Like Schubert, Berlioz was an avid tating news that his beloved Camille reader of Cooper. — M.S. Moke had married Pleyel. He reached 37 «* A?, ft « ^rfT^Sfg^^^Tir -tfi t ^ ^ ^ | SI
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I- tin Hi-rkshirrs it Vd JhNlftR HOW* Nice, recovered from his rage, which Britten set in the Serenade: a friend of Ben included avowed intentions of murder Jonson, John Donne, and Robert Herrick, he and suicide, and basked in that fair spot was born in 1030, lived the fifty-seven years
for three weeks before returning to of his life as a country squire, and contributed Rome. It was a sort of mental con- the section on fly-fishing to lzaak Walton's valescence. He records that these days Compleat Angler. were the "happiest" in his life. There Pastoral makes use of little but a broken he drafted his Roi Lear Overture. When chord and a tiny repeated syncopation, a police officer, looking upon him as a yet the song is full of invention suspicious character, asked him what he and atmosphere, a perfect was doing there, he answered: "Re- twilight intro- duction to this night. The Tennyson is covering from a painless illness, I com- full of starry glitter and the last flashes pose and dream and thank God for the of the sun. The accompaniment is sunshine, the beautiful sea, and the characteristic. Spaced for the strings so green hills." that the utmost resonance is achieved, Memories of that earlier and more its darting rhythm looks at first dis- sanguine period must have returned to jointed, but an underlying logic reveals Berlioz when, in August 1844, he went itself in the second and third verses. The once more to Nice (for convalescence cadenzas are Brittenish, simple but from jaundice) and then revised his telling inventions which insist on a single Byronic overture, naming it La tour de pattern of thirds. Characteristic too is Nice. The Bellanda tower, last relic of a the plan which makes the string writing chateau long vanished, must have stood equally effective and well-placed in the conspicuously before his vision on a first {con forza) and second verses, promontory of that fair coast as his (pp) yet leaves out the lower strings in the boat lay at anchor offshore fourteen years before. second verse, to bring them back with full effect in the esultante third verse But the listener to Berlioz's Overture, for their most important entry in the like the police officer, would do well not song. Such moments, it need hardly be to inquire too specifically into the nature pointed out, abound in Britten's music, of the dreams which may have produced where the skilled use of planned sound the musical images—dreams compounded becomes the basis on which the imag- of Shakespeare, Byron, thwarted love, a ination can build. So in the Elegy one host of fresh impressions gathered in notices the semitones in the basses at Italy, and the immediate spell of a gleam- the end of the introduction, which, ing Mediterranean spring.
—John N. Burk erksbire
Benjamin Britten ummer festival
Serenade for tenor solo, horn and 6 days 5 nights 1 1 meals strings, Opus 31 Per person dbl occup 50 plus tx & tips 189 Benjamin Britten was born in Lowestoft, Suf- folk,, England, on 22 November 1913 and died Delux Accommodations in Aldeburgh on 4 December 1976. He wrote All admissions to: TANGLEWOOD BERKSHIRE PLAYHOUSE.JACOB S the Serenade in 1943 for the tenor Peter Pears PILLOW, STORROWTON and the horn player Dennis Brain, and it was plus Naumkeag.Chesterwood... Corner first performed by them in London, 15 October House. Hancock Shaker Village. ..Scenic 1943, with Walter Goehr conducting. The work tours... Swimming... tennis ..golf ..& more is an anthology of familiar poems about evening l~\friit or call direct for free brochure to and night, and Britten uses the title "serenade" in VDakn'Spmnze resort— its literal sense as an evening piece. Charles south lee, ma.01260 • 1-800-628-5073 Cotton is not as well known as the other poets
39 carried on by the voice's first phrase, are Pastoral tremendously reinforced in the last two bars of the song — those strange The Day's grown old; the fainting Sun squeezed slurs from open notes to stop- Has but a little way to run, ped and back again. And yet his Steedes, with all his skill, The Dirge follows straight on, the Scarce lug the Chariot down the hill. voice high and difficult, an ostinato of six bars against a fugato with a subject The shadows now so long so grow, of four bars, in some entries lengthened That brambles like tall cedars show; Molehills seem mountains, and the ant to five. The rhythm throughout is fu- neral march, but with downbeats antici- Appears a monstrous elephant. pated or thrown away. The vocal ostinato outlines the common chord, A very little, little flock the notes of which are important Shades thrice the ground that it would stock; throughout the Serenade — and particu- Whilst the small stripling following them Appears a mighty larly in the Hymn which follows. No Polypheme. composer knows better how to use the varying timbres of the human voice. And now on benches all are sat, In the cool air to sit and chat, Just at G minor was as high a key as could be used for the Dirge, so B flat — Till Phoebus, dipping in the West, no higher and no lower — sets the Shall lead the world the way to rest. fioriture of the Hymn. The Ben Jonson poem which appears in so many anthol- Charles Cotton ogies is called a Hymn to Diana, and in a programme note this suggests sol- emnity. Britten saw at once, however, that all these sibilants and short vowels Nocturne can only be delivered softly and quickly. The splendour falls on castle walls It is the one gay piece in the Serenade — in story: and the only quick movement is a se- And snowy summits old quence of eight. Light, silver and insub- The long light shakes across the lakes, the wild cataract leaps in glory: stantial, it cannot disturb the nocturnal And mood, which continues in the Sonnet to gather more and more intensity. This Blow, bugle, blow, set the wild echoes flying, Bugle, blow; answer, last song is perhaps the loveliest of all. echoes, answer, dying. With minimal material magically spread thin clear, over the strings, it seems to wander O hark, O hear, how and casually to the edge of silence. The And thinner, clearer, father going! melismas are cunningly spaced and the O sweet and far from cliff and scar voice part leads the modulations; the The horns of Elfland faintly blowing! song is a model of economy. The utmost is extracted from the midnight essence. Blow, let us hear the purple glens replying: dying. The horn Epilogue (it must be played on Bugle blow; answer, echoes, answer, the natural harmonics, like the Prologue; die in it is all part of the design) winds the O love, they yon rich sky, Serenade to stillness. They faint on hill or field or river: Our echoes roll from soul to soul — Peter Pears And grow for ever and for ever.
Blow, bugle, blow, set the wild echoes flying; From Benjamin Britten, a Commentary And answer, echoes, answer, dying. on his work by a group of specialists, ed. Donald Mitchell and Hans Keller, Philos- Alfred, Lord Tennyson ophical Library, New York, 1953. Reprinted hy permission.
40 Elegy This ae nighte, this ae nighte,
Every nighte and alle,
O Rose, thou art si< kj Fire and fleet and candle-lighte, The invisible worm And Christe receive thy saule. That flies in the night, In the howling storm, anonymous (15th century) Has found out thy bed Of crimson joy; And his dark, secret love Hymn to Diana
Does thy life destroy. Queen and huntress, chaste and fair,
William Blake Now the sun is laid to sleep, Seated in thy silver chair, State in wonted manner keep: Hesperus entreats thy light, Dirge Goddess excellently bright.
This ae nighte, this ae nighte, Earth, let not thy envious shade Every nighte and alle, Dare itself to interpose; Fire and fleet and candle-lighte, Cynthia's shining orb was made, And Christe receive thy saule. Heav'n to clear when day did close: Bless us then with wished sight, When thou from hence away art past, Goddess excellently bright. Every nighte and alle, To Whinnymuir thou com'st at last, Lay thy bow of pearl apart, And Christe receive thy saule. And thy crystal shining quiver; Give unto the flying hart If ever thou gav'st hos'n and shoen, Space to breathe, how short so-ever: Every nighte and alle, Thou that mak'st a day of night, Sit thee down and put them on, Goddess excellently bright. And Christe receive thy saule.
Ben jonson If hos'n and shoen thou ne'er gav'st nane,
Every nighte and alle, Sonnet: Sleep The whinnies shall prick thee to the bare bane, To And Christe receive thy saule. O soft embalmer of the still midnight, Shutting fingers From Whinnymuir when thou may'st pass, with careful and benign gloom-pleas'd eyes, embower'd from Every nighte and alle, Our the light, To Brig o'Dread thou com'st at last, in divine: And Christe receive thy saule. Enshaded forgetfulness O soothest Sleep: if so it please thee, close From Brig o'Dread when thou may'st pass, In midst of this thine hymn my willing eyes, wait the ere thy Every nighte and alle, Or "Amen" poppy throws Around bed its lulling charities. To Purgatory fire thou com'st at last, my And Christe receive thy saule. Then save me, or the passed day will shine Upon my pillow, breeding many woes, If ever thou gav'st meat or drink,
Every nighte and alle, Save me from curious Conscience, that still lords The fire sail never make thee shrink, And Christe receive thy saule. Its strength for darkness, burrowing like a mole- Turn the key deftly in the oiled wards, If meat or drink thou ne'er gav'st nane, seal the Casket of Soul. Every nighte and alle, And hushed my The fire will burn thee to the bare bane, And Christe receive thy saule. John Keats 41 Johannes Brahms nineteenth century, when first Hans Symphony No. 4 in E minor, Opus 98 von Bulow and then Fritz Steinbach were its conductors, the Meiningen Or- Johannes Brahms was born in Hamburg, 7 May chestra was one of Europe's elite musical and died in Vienna on 3 April 1897. 183 3, organizations. Liszt, Wagner, and Brahms His first mention the Fourth Symphony is in a of were associated with it, as was Max letter of 19 August 1884 to his publisher, Reger in later years; Richard Strauss Fritz Simrock. The work must have been com- learned his trade as conductor with von pleted about a year later, and in October 1885, Bulow and the Meiningen players; he gave a two- piano reading of it with lgnaz Richard Muhlfeld, the great clarinetist Brull in Vienna for a small group of friends. for whom Brahms wrote his two sona- Brahms conducted the first orchestral perfor- tas, trio, and quintet, was in the orches- mance at Meiningen on 25 October 1885. The tra; and Donald Tovey began his career American premiere was to have been given by as a writer about music when he supplied the Boston Symphony in November 1886. the program notes for the orchestra's Wilhelm Gericke did, in fact, conduct the work visit to London. at the public rehearsal on the 26th that month, of Von Bulow was delighted to have but cancelled the performance after making Brahms come to Meiningen with his critical remarks to the audience about highly new symphony and he cautiously ex- the new score. He finally conducted it a month plored the possibility of including com- later, but meanwhile Walter Damrosch had poser and work on a tour of the Rhine- gotten ahead him with a performance with the of land and Holland. In due course, Brahms York Symphony on 1 1 December. New arrived at Meiningen, and the new sym- As always, Brahms announced work phony went into rehearsal. "Difficult, difficult," reported in progress with caution. To his pub- very von Bulow, lisher he made only some vague noise adding a few days later, "No. 4 gigantic, altogether a law itself, quite new, about a need for paper with more staves. unto steely individuality. Exudes unparal- To Hans von Bulow he reported in September 1885: "Unfortunately, noth- leled energy from the first note to last." The premiere went well, and the audi- ing came of the piano concerto that I ence tried hard but unsuccessfully to get should have liked to write. I don't know, encore of the scherzo. the two earlier ones are too good or an Von Bulow conducted a repeat performance a week maybe too bad, but at any rate they are later, after which the orchestra set off obstructive to me. But I do have a couple its tour, with Brahms conducting the of entractes, put together they make on new symphony in Frankfurt, Essen, what is commonly called a symphony. Elberfeld, Utrecht, Amsterdam, The On tour with the Meiningen Orchestra, Hague, Krefeld, Cologne, and Wiesbaden. I have often imagined with pleasure It was liked and admired everywhere, how it would be to rehearse it with you, though Vienna rather resisted the per- nicely and at leisure, and I'm still imagin- ing that now, wondering by the way formance two months later by the Phil- harmonic under Richter, a performance whether it would have much of an audience." unfortunately prepared nowhere near Meiningen, about 100 miles east and as well as the series in Meiningen. slightly north of Frankfurt, and now It is curious that while the public took just over the border into the German to the Fourth, Brahms's friends, includ- Democratic Republic, was the capital of ing professionals and near-professionals the tiny principality of Saxe-Meiningen. like Eduard Hanslick and Elisabeth von In the eighteenth century, when Johann Herzogenberg had some difficulty with
Sebastian Bach's third cousin, Johann it. That can be explained. The public, Ludwig Bach, was Capellmeister there, except in Vienna, heard superbly realized Meiningen's orchestra had an excellent performances, while Hanslick, for ex- reputation. The little town continued to ample, knew it first from a two-piano have a vital theatrical and musical com- reading (he remarked it was like being munity, and during the last part of the beaten up by two tremendously intelli- 42 Coach® Belts are very well made out of very good leather and come in men's and women's sizes.
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43 What's so great about Thursday?
The best thing about Thursday everywhere else
is that the next. day is Friday. But here in Boston, it's the Boston Symphony Orchestra presenting four separate concert series. We begin the day at 11:00 a.m. with a three- concert Thursday 'AM' series featuring the works of Respighi, Debussy, Shostakovich, Brahms and Stravinsky. Before each concert, Director of Publi- cations, Michael Steinberg, will host an informal discussion of the program in the Cabot- Cahners Room. Coffee and doughnuts are on the Hall. The six-concert 8:30 p.m. Thursday 'A' series presents conductors Seiji Ozawa, Gennady Rozh- destvensky, Kazuyoshi Akiyama and Klaus Tenn- stedt and guest soloists Itzhak Perlman and Radu Lupu. Seiji Ozawa and Colin Davis will conduct the three-concert 8:30 p.m. Thursday 'B' series, which presents soloists Joseph Silverstein, Alexis Weissen- berg, Boris Belkin and Barbara Hendricks. The ten-concert 7:30 p.m. Thursday '10' series will feature the complete ''Beatrice and Benedict" by Berlioz. Seiji Ozawa, Colin Davis, Klaus Tenn- stedt, Raymond Leppard, Kazuyoshi Akiyama, Ser- giu Commissiona and Gennady Rozhdestvensky will conduct the orchestra, with many world- renowned guest soloists.
For complete program information, write to Subscription Office, Symphony Hall, Boston, Mass. 02115, or call 266-1492.
44 gent and witty people) and Frau von music's melancholy flow resumes in the Herzogenberg, cursing the difficult horn expected way. and trumpet transpositions, had to de- For Brahms to build slow movement cipher it at the piano from the manu- over the same keynote as the first move- script of Brahms's full score. Then, where ment is rare indeed; yet he does it here the public would have chiefly perceived and finds an inspired way of celebrating and been carried by the sweep of the simultaneously the continuity and the their whole, the professionals, with contrast of E minor (the first movement) special kind of connoisseurship and per- and E major (the second). Horns play ception of detail, been would have more something beginning on E — a note we struck by what was — and is — genuinely have well in our ears after the emphatic difficult in the score. close of the Allegro — but which sounds It is fascinating, for example, to learn like C major. It turns out to be some- the that opening was disconcerting to thing more like the old Phrygian mode, Joseph Joachim. Something preparatory, and it is in any case fresh enough and he suggests, even if it were only two ambiguous enough to accommodate the measures of unison B, would help clarinets' hushed suggestion that one listeners find their into the piece way might place a G sharp over the E, thus (in fact, his reading correspondence with inaugurating an idyllic E major. But the Brahms, we learn that originally there notion of a C major beginning is not were some preparatory measures which forgotten and will be fully pursued in were struck out and destroyed). The the massively rambunctious scherzo. second statement of the opening melody For the finale, Brahms goes back to was difficult to unravel, the theme itself the E minor from which he began, but now given in broken octaves and in with a theme whose first chord is A dialogue between second and first minor and thus very close to the world violins,* with elaborate decorative of the just finished scherzo. Brahms's material in violas and woodwinds. Al- knowledge of Baroque and Renaissance most everyone was upset over what music was extensive and, above all, pro- seems now one of the most wonderful found, and so, when he writes a Passa- strokes in the work, the place where caglia, which must have seemed like Brahms seems to make the conventional, sheer madness to the up-to-date classical repeat of the exposition in the Wagnerians, he does it like a man com- ninth measure to change one chord, posing living music, with no dust of opening undreamed-of harmonic hori- antiquarianism about it. He had been zons, and only then, after so leisurely a impressed by a cantata, then believed to start moving into the closely argued be by Bach (listed as No. 150, Nach dir, development. On the other hand, every- Herr, verlanget mich), whose last move- one admired the dreamily mysterious ment is a set of variations over a re- entry into the recapitulation — the long peated bass, and he had maintained sequence of sighing one-measure phrases, that something could still be done with subsiding, sinking into one of only four such a bass, though the harmonies would places marked in all of Brahms's ppp probably have to be made richer. And of orchestral music, oboes, from which course he knew well the great Chaconne clarinets, and bassoons emerge in their for violin solo. The finale of the Haydn severe yet gentle reediness to sound the Variations of 1873 was a brilliantly first four notes of the opening melody achieved trial run, but the scope of in immense magnification, strings the grand and tragic finale of the Fourth weaving an enigmatic garland about the Symphony is on another level altogether. last note. The next four notes are Woodwinds and brasses, joined at the treated the same way, and then the last by rolling drums, proclaim a se- quence of eight chords. The trombones *This place presents an excellent reason for reverting sometimes to the old seating of have been saved for this moment, and orchestras that had first and second violins even now it is characteristic that the on opposite sides of the stage. statement is forte rather than fortissimo. 45 The movement falls into four large make up this section. The original pace sections. First, twelve statements of the is resumed with what appears to be a eight-bar set, with bold variations of recapitulation. But strings intervene texture, harmonic detail, and rhetoric. passionately midway through the eight- This phase subsides, to inaugurate a chord sequence, and the ensuing sixteen contrasting section, first in minor still, variations bring music more urgently but soon to move into major, in which dramatic than any yet heard in the sym- the measures are twice as long, the phony. The passion and energy are movement thus twice as slow. (Brahms released in an extensive, still developing, is explicit here about wishing the beats, still experiencing coda at a faster speed. though there are now twice as many of Thus the symphony drives to its con- them per measure, to move at the same clusion, forward-thrusting yet measured, speed as before: in other words, the always new in detail yet organically double length of the measures is enough unified, stern, noble, and with- that to make this "the slow movement" of sense of inevitability that marks the the finale, and the conductor should not greatest music. impose a further slowing down of his — M.S. own.) Four of these bigger variations
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46 Guest Artists
Susan Davenny Wyner
Susan Davenny Wyner first appeared with the Boston Symphony in 1974 in
Monteverdi's Vespers of 1610. She has since performed with the Orchestra in Beethoven's Missa Solemnis under Colin Davis, the nationally televised Mahler Second under Seiji Ozawa, and most recently in Handel's Messiah, given in Boston and New York last December. She has also appeared with the Cleve- land Orchestra in Mahler's Eighth Sym- phony under Erich Leinsdorf and in Bach's B Minor Mass and Beethoven's Egmont under Lorin Maazel. Her operatic repertoire includes Mimi of La Boheme, chairman of the composition faculty the Countess in Mozart's Marriage of from 1969 to 1973. He performs, tours, Figaro, and Poppea of Monteverdi's L'ln- and records regularly as a keyboard coronazione di Poppea. She recently re- artist with the Bach Aria Group, and he corded lntermedio, lyric ballet for soprano has been Music Director of the New and strings, which was written for her Haven Opera Theater since 1968. His by her husband, Yehudi Wyner. composition, lntermedio, lyric ballet for soprano and strings, was performed last year at Tanglewood's Festival of Yehudi Wyner Contemporary Music, and its recent CRI recording received a Grammy Composer, conductor, and pianist Award nomination. Mr. Wyner con- Yehudi Wyner teaches composition and ducts his own music in concerts and coaches vocal and chamber music at the recordings and performs often with his Berkshire Music Center. Until this year wife, soprano Susan Davenny Wyner. he taught composition and chamber In the past he has received commissions music at Yale University, where he was from the Fromm, Ford, and Kousse- vitzky foundations, the University of Michigan, Yale University, the National Endowment for the Arts, and this year he received a Guggenheim Fellowship.
Kenneth Riegel A native of Pennsylvania, Kenneth Riegel first came to the attention of the music world with his performance of the title role in the New York premiere of Henze's The Young Lord. Mr. Riegel made his Metropolitan Opera debut in 1973 in the premiere performances of Les Troyens by Berlioz under the direction of Rafael Kubelik, and has since been heard with the Met in their productions of Wozzeck, Meistersinger, and Fidelio. Dur- ing the 1976-77 season he sang the role
47 of Tamino in Magic Flute, and Narraboth honors at the Geneva International Piano in Solome. Recent debuts for Mr. Riegel Competition (1955), the Michaels Me- include Salzburg Festival performances, morial Music Award in Chicago (1956), the Flanders Festival Dream of Gerontius, first place at the Queen Elisabeth of and the Tulsa Opera production of Mas- Belgium International Piano Competi- senet's Manon, and he appeared in a tion in Brussels and the Edgar M. Leven- film of Mahler's Eighth with Leonard tritt Competition in New York (both Bernstein. He has also performed in that eleven years ago). He has since per- piece with the New York Philharmonic formed in over forty countries as well and at the Ravinia Festival. Mr. Riegel as with major American orchestras in- has recorded Haydn's Wind-band Mass cluding the Boston Symphony with with Leonard Bernstein and the New whom he has been a soloist for nine York Philharmonic, and Carl Orff's Car- consecutive seasons. He performed at mina Burana with Michael Tilson Thomas the White House for the King and and the Cleveland Orchestra for Co- Queen of Denmark at the invitation of lumbia Records. He appeared recently President Eisenhower. He is married to at the Mahler Festival with the New the former Morag McPherson of Glas- York Philharmonic under the direction gow, Scotland, and lives at their recently of Pierre Boulez. purchased, eighty-acre home in Lenox.
Malcolm Frager Charles Kavalovski
Malcolm Frager was born in 1935 and Charles Kavalovski, Principal Horn of gave his first recital in St. Louis when he the Boston Symphony, joined the or- was six. Four years later he performed a chestra in 1972. He earned a doctorate Mozart concerto with the St. Louis degree in nuclear physics from the Uni- Symphony under Vladimir Golschmann. versity of Minnesota and has taught At fourteen he began studies with Carl physics and conducted research at a Friedberg, a pupil of Clara Schumann number of colleges and universities. and Brahms. In 1957he graduated magna Formerly Principal Horn of the Denver cum laude from Columbia University Symphony, he now teaches at the Berk- where he majored in languages. He has shire Music Center. won many honors and awards including the Prix d'Excellence at the American Conservatory at Fontainebleau (1952), 48 4 4
Allan Albert, Artistic Director BERKSHIRE PLAYHOUSE July 6-17 WILLIAM ATHERTON GILDARADNER Dunning & Abbott's CHRIS SARANDON BROADWAY JILLHAWORTH
Saul Bellow's July 20-31 THE LAST ANALYSIS RON LEIBMAN
Rodgers & Hart's Aug. 3-1
I MARRIED AN ANGEL PHYLLIS NEWMAN
William Inge's Aug. 17-28 COME BACK, DANA ANDREWS LITTLE SHEBA ESTELLE PARSONS
• UNICORN THEATRE, Three New Musicals
July 7-24 July 26-August 1 THE WHALE SHOW A FABLE by Jean-Claude van Italie
August 1 6-28 and Richard Peaslee THE CASINO
Andrew Davis PROPOSITION THEATRE July 8-August 28 Andrew Davis was born in 1944 and THE PROPOSITION received his early musical training at Performance Times for the Playhouse the Royal Academy of Music. From Evgs.: Wed., Thurs., Fri. 8:30 p.m.; Sat. 9 p.m.; Sun. 7 p.m. Mats.: Thurs. 2 p.m.; Sat. 5 p.m.; Sun. 3 p.m. 1963 to 1967, while reading for his Prices for the Playhouse Broadway, The Last Analysis, Come Back, Little Sheba Degree in Music at Cambridge, he was Fri. & Sat. (9 p.m. perf. only) $8.95. 7.50: an Organ Scholar at Kings College All other perfs. $7.95, 6.50 I Married An Angel where his experience as a keyboard player Fri. & Sat. (9 p.m. perf. only) $9.95. 8.50: All other perfs. $8.95, 7.50 led to recording engagements with the MAIL ORDERS FILLED PROMPTLY! Academy of St. Martin-in-the-Fields Berkshire Theatre Festival, Stockbrid^e. Mass. 01262. Enclose stamped, self-addressed envelope. and the English Chamber Orchestra. RESERVE BY PHONE! Call 413 • 298-5536 or 298-4800 In 1967 he received a scholarship which enabled him to study conducting in monic Orchestra chose him to take part Rome with Franco Ferrara. After his in their conductor's seminar and a year return, the Royal Liverpool Philhar- later he was appointed Assistant Con- ductor of the BBC Scottish Symphony Orchestra. He made his Royal Festival Hall debut in 1970 when he replaced Eliahu Inbal on short notice to conduct Janacek's Glagolitic Mass with the BBC Symphony Orchestra. In February he was appointed Associate Conductor of the New Philharmonia, and he is now a regular conductor at the BBC Prome- nade concerts during the summer. In North America he has conducted the Cleveland Orchestra, the Cincinnati Symphony, the Seattle Symphony, the Los Angeles Philharmonic, the Chicago Symphony, the Boston Symphony, the Minnesota Orchestra, the Montreal Symphony, and the Toronto Symphony of which he has been Music Director and Conductor since the 1975-76 season. 49 Tanglewood Festival Chorus The Tanglewood Festival Chorus was formed under the joint auspices of the Berkshire Music Center and Boston University in 1970. The director since its foundation, John Oliver, is director of choral and vocal activities for Tangle- wood, a member of the MIT faculty and director of the MIT Choral Society. The Festival Chorus made its debut at Symphony Hall in a 1970 performance of Beethoven's Ninth Symphony, and has since taken part in concert directed by William Steinberg, Seiji Ozawa, Eu- gene Ormandy, Colin Davis, Arthur Fiedler, and Michael Tilson Thomas. Members of the chorus come from the Greater Boston area and from all walks of life, and they rehearse throughout as the best choral recording of the the year. The Chorus's first appearance year. Their most recent appearance on records, in the Boston Symphony's with the BSO was four weeks ago Damnation of Faust, conducted by Seiji in Haydn's Theresa Mass, Seiji Ozawa Ozawa, was nominated for a Grammy conducting.
Sopranos Jane Stein Laurie Stewart John Smith Margaret Aquino Janet Wade Florence A. St. George Douglas Thompson Cynthia Armstrong Pamela Wolfe Lisa Tatlock Deborah London Berg Kathi Tighe Basses Marie-Christine Casey Altos Susan Watson Peter Anderson Susan Chapman Mary Bennett Maria E. Weber Mitchell Brauner
Margo Connor Skye Burchesky Mary J. Westbrook Neil Clark Susan R. Cook Anne Butler John W. Ehrlich Lou Ann David Bette Carey Tenors Bill Good Kathrin Davidovich Doris Halvorson Coe Antone Aquino John Henry Rebecca Flewelling Elizabeth H. Colt Kent E. Berwick Carl D. Howe
Yvonne Frazier Mary Crowe Paul Blanchard Daniel J. Kostreva
Marilyn L. Haskel Mary Curtin Sewell E. Bowers, Jr. Paul Kowal
Alice Honner Catherine Diamond Richard Breed Henry Magno, Jr. Beth Howard Ann Ellsworth Albert R. Demers Martin Mason Frances Kadinoff June Fine Paul Foster Jim Melzer Carole Stevenson Kane Roberta A. Gilbert Robert Greer Frank G. Mihovan Vivian LaMorder Thelma Hayes Dean A. Hanson John P. Murdock Barbara Levy Donna Hewitt Wayne Henderson Jules Rosenberg Joyce Lucia Beth Holmgren James P. Hepp Peter Rothstein Virginia Lambert Mason Karol Hommen Jeffrey Hoffstein Andrew Roudenko Betsy Moyer Leah Jansizian Richard P. Howell Vladimir Roudenko H. Diane Norris Alison D. Kohler Peter Krasinski Robert Schaffel Joan Pernice Dorothy Love Gregg Lange Frank Sherman Richard M. Sobel Nancy Peterson Sharron J. Lovins Henry L. Lussier, Jr. Gail Ransom Nina Saltus Jack Maclnnis Douglas Strickler Rhonda Rivers Frances Schopick Al Newcomb Jean Renard Ward Judith L. Rubenstein Janet Shapiro Ray Parks Nathaniel Watson Barbara A. Scales Amy Wing Sheridan Peter D. Sanborn Pieter Conrad White Bette L. Snitzer Lynne Stanton Robert W. Schlundt Robert T. Whitman
Ann K. Staniewicz Nancy Stevenson William Severson Howard J. Wilcox
50 Tanglewood Choir
Sopranos Altos Mark Hudgins Basses Adelaida Marylene Altieri Ron Jaffe David Ames Ace vedo- Anderson Kathryn Asman David Jenkins Douglas Bond Priscilla Austin Elizabeth Baldwin Gary Jones Uzee Brown Jane Becker Carol Blodgett Hyung Kim Chris Cudlipp Sue Ann Blake Bonni Carter Edward Kiradjieff Robert Faucher Stephanie Branson Yvonne Chen Malcolm Krongelb Steve Gould Donna Claflin Elizabeth Clark Sheldon Lee Adam Grossman Carolyn Curtis Muriel Crook Eric Lipsitt Mark Haberman Laura English-Robinson Mary Doyle Thomas Lloyd Philip Harvey Kathleen Fink Dorrie Freedman Michael Manugian Roger Heath Teri Gemberling Marina Golubow William Masek Doug Hines jane Gitschier Margie Katz Brian McConville Bud Holloway Heidi Herbert Anne Keaney David Meheri Ben Holt Claudette Kiernan Natalie Maxwell Ralph Mercer David Johnson Carolyn Kiradjieff Kathleen McDougald Stephen Montgomery Theodore Jones Peggy Lambert Janice Meyerson Edmund Mroz Edward Klein Deborah Lavin Eve Minkoff Brian O'Connell Adam Kochanek Mary Law Susan Moyle Gregory Paris Ray Komow Jennifer Leigh Kathryn Radcliffe Kevin Perry David Kulle Deborah Martin Elizabeth Robin Dwight Porter Daniel Lawlor Maija Murray Mikki Shiff Ernest Preisig Paul Levy Jeni Nicholson Helen Taylor David Raisch Terry Lockhart Amy David Olofson Normandy Waddell David Redgrave Jeff Lyons Elizabeth Parcells Kimball Wheeler William Richter Herbert Menzel Patrice Pastore Ronald Rouse Michael O'Brien Joan Pease Tenors Fred Sanders Steve Owades Shira Perlmutter Larry Baker Paul Scharf Matthew Scott Sandra Sherwood Michael Boone Paul Schliesman Philip Stoddard Diane Smith Ronald Cathcart Kim Scown Sanford Sylvan Penelope Smith Frederic Chrislip Stephen Sears Peter Wender Cheryl Studer Jack Dennis Dean Shoff Downing Whitesell Neal Goins John Sullivan Philip Morehead, Kathy Wright Roger Hale Robert Yorke accompanist George Harper
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51 The Berkshire Music Center
"One more thing should come from this scheme, cooperation with the Fromm Music namely, a good honest school of musicians." Foundation at Harvard, offers a broad — Henry Lee Higginson, on founding the Boston spectrum of the most advanced music of Symphony Orchestra. today's composers in a gala week of performances. The late Serge Koussevitzky fervent- ly shared Henry Lee Higginson's vision The Boston Symphony's Concert- of a "good honest school for musicians" master and Assistant Conductor Joseph — an academy where young musicians Silverstein heads a faculty that includes could extend their artistic training and principal players and members of the broaden their experience under the Orchestra and faculty members of Bos- guidance of eminent professionals. ton University's School of Fine Arts, More than any other person, it was plus leading soloists, conductors and Koussevitzky who made the vision a composers. The Center has numerous reality; he was Director of the Berkshire studios for practice and chamber music, Music Center from its founding in 1940 and an extensive library of music litera- until his death in 1951, and his vigorous ture and scores. Rehearsals and con- leadership has remained an inspiring certs of the Berkshire Music Center example in the years since. Orchestra and other student groups Serge Koussevitzky was succeeded by take place mostly in the Theatre- Hall, Charles Munch, and it is a mark of the Concert while lectures, seminars, Center's success that the Boston Sym- conducting classes, vocal and choral re- phony's present Music Director, Seiji hearsals, composers' forums and cham- Ozawa, studied here during the Munch ber music concerts take place in the era. Alumni of the Center are among Chamber Music Hall, in the West Barn, the most prominent and active mem- in the Hawthorne Cottage, on the Re- bers of the music world; more than ten hearsal Stage, and in the small studios percent of the members of this country's both on the Tanglewood grounds and in major orchestras are graduates of the buildings leased in Lenox. Each summer Center, as are many of the world's the Baldwin Piano and Organ Company notable conductors, instrumental solo- generously provides over 100 keyboard for individual ists and singers. instruments practice; Today the primary responsibility for other instruments — percussion, for ex- provided the Orchestra. the Center's direction is in the hands of ample — are by Gunther Schuller, composer, writer, The Boston Symphony is assisted in conductor and President of the New supporting the Center by the National England Conservatory until June 1977. Endowment for the Arts, a Federal Average enrollment is somewhat over agency, as well as by individual and 400 each summer, of which approxi- corporate sponsors. Scholarships are mately!40 are members of the Center's awarded to the majority of the students, Fellowship Program; this provides free who are chosen by audition on a com- tuition (and in many cases free board petitive basis. The cost of the scholar- and expenses) for instrumentalists, ship program is large and adds sub- singers, conductors and composers of stantially to the Orchestra's yearly post-graduate calibre. In addition to the deficit— one major reason for the estab- Fellowship Program, Boston University, lishment of the Friends of Music at through its Tanglewood Institute, offers Tanglewood, a group that provides several college -credit programs for tal- critical support for the Center. A brief ented high school musicians; the noted account of members' privileges is printed soprano Phyllis Curtin directs a singers' on page 41, and more information may seminar highlighted by her own master be had at the Friends' Office near the classes. Finally, each summer the Cen- Main Gate. We invite you to see and ter's Festival of Contemporary Music hear for yourself the remarkable calibre (August 13-17 this year), presented in of the Center's young musicians. 52 coming concerts:
Friday, 26 August at 7 (Weekend Prelude) Have a BARTOK face to face Rhapsody No. 1 BRAHMS folk with Cello Sonata No. 1 in E minor, Elizabeth Grady Opus 38 JANOS STARKER, cello GILBERT KALISH, piano
Friday, 26 August at 9 SEIJI OZAWA conducting: BARTOK Music for Strings, Percussion and Celesta Introducing our new holf hour BRAHMS maintenance rrearmenr for young, Piano Concerto No. 1 in D minor, normal healthyskm, only $10. Opus 15 Our regular one hour facial pore cleansmgs srill only S 1 7. 50. CLAUDIO ARRAU Never a charge for consultation/ skin analysis. Call Ms. Grady for an appointment 536-4447. 39 Newbury Street Boston. Saturday, 27 August at 8:30 JOSEPH SILVERSTEIN conducting: EUZ4BETH GB4DY DVORAK k FACE FIRST > Symphony No. 8 in G, Opus 88 SCHUMANN Cello Concerto in A minor JANOS STARKER STRAUSS Till Eulenspiegel's Merry Pranks
-Mill PEDLAR INN 1 Sunday, 28 August at 2:30 *}• OPERA HOUSE SEIJI OZAWA conducting 36 Luxury Rooms MAHLER FOOD'DRINK .LODGING Symphony No. 3 Exit 16-1-91 Holvoke, Mass BIRGIT FINNILA, contralto (413) 532-9494 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BOSTON BOY CHOIR, THEODORE MARIER, conductor
53 One of Soviet Georgia's senior citizens thought Dannoh was an excellent yogurt. She ought to know. She's been eating yogurt for 137 years.
CAMACHICH KVITZINIA. PHOTOGRAPHED IN ATRARA. SOVIET GEORGIA
54 —
Tanglewood DAYS Talks & Walks IN THE /\lv 1 ^/ a cooperative venture of the Boston Symphony Or- Tanglewood Talks & Walks are a fasci- chestra and the Boston Public Schools, nating series of five Thursday lecture- is designed to give middle school students luncheons at noon in the Tanglewood from the city and three suburban com- Tent, followed by a special guided tour munities an all-encompassing arts and speakers include of Tanglewood. Guest integration experience. Funded by the the musicians, conductors, and staff Massachusetts Department of Education, of the Boston Symphony Orchestra and Bureau of Equal Educational Opportunity, Berkshire Music Center. Bring a lunch the program offers 50 children weekly we'll provide the refreshments. Please over a seven week period the opportunity call the Tanglewood Friends Office at to spend five days at Tanglewood. By (413) 637-1600 for reservations. $2 con- utilizing the cultural and natural re- tribution to the public, free to Friends sources of the Berkshires, the participants of Tanglewood. share a variety of unique and meaning- ful activities: a rehearsal and concert at LUNCHEON 12:15 Tanglewood, instrument demonstrations TALK 1:00 by members of the Boston Symphony WALK 1:30 and the Berkshire Music Center, a dance workshop at Jacob's Pillow, trips to the. Clark Institute, Chesterwood, Rockwell 1977 Tanglewood Museum, Berkshire Garden Centre, at- Talks & Walks tendance at a theatrical performance or dance concert, as well as sports and 25 AUGUST swimming daily. In addition, the young- CAROL PROCTER sters take part in small informal art workshops, led by members of the Days
Cello, in the Arts staff, each of whom has expertise in area of the arts. Boston Symphony Orchestra some The key to the great success of the program has been two-fold: a low key exposure to the arts as a part of a Friends of Music at Tanglewood typical day's experiences, and the mag- Lenox, Massachusetts 01240 nificent physical and aesthetic attributes (413) 637-1600 of Tanglewood and the Berkshires. THE QatewGys h^l OLD CORNER HOUSE and tfgstau&nt 637 2532 71 Walker St. Reservations Preferred Lenox, Ma
In the Heart of Lenox Serving Breakfast Lunch, Dinner & Late Supper Especially Prepared for You by Internationally Renowned Chef-Owner, Gerhard Schmid Paintings by Cafe Hour on the Terrace NORMAN ROCKWELL the Season Throughout Tanglewood On permanent exhibit Cocktail Lounge Ample Free Parking Open Year Round — Daily 10-5 p.m. Except Tuesdays Adults $1.00 Children 25*
55 We are grateful to the Berkshire County businesses listed below for giving generously to help support Tanglewood and the Berkshire Music Center.
Colin MacFadyen and Ashley Smith Co- Chairmen for Business Support
Business Contributions City Savings Bank Kelly- Dietrich, Inc. Research and and Pledges The Clark-Aiken Co. Kelly Fun House Action, Inc. Clearwater Kelly Funeral Home The Restaurant Abdalla's Elm Street Mkt. Natural Foods Kimberly-Clark Reynolds, Barnes and Adam's Laundry Hebb, Inc. Colt Insurance Agency William T. Lahart & Son Adam's Supermarket A. H. Rice Co. Country Curtains Laurel Hill Motel Alice's at Avaloch Rising Paper Company Cramer Construction Lee Audio ALNASCO Robinson Leech Crane and Co. Lee Ford Arcadian Shop Associates Curtel Corp. Lee High School Arnold Print Works Rogers Jewelry D. E. Dapson Lee Lime ASCAP Optician, Inc. Rose Agency & Lee National Bank Tucker Assoc. John Astore Davis and Norton, Inc. Lee News D. O. Ruffer, Inc. Astro Beef Deacon Cook House Lee Pizza Samel's Deli A. W. Baldwin Co. Antiques Lee Savings Bank Sears, Roebuck and Co. Baldwin Piano Dee's Department Store Dery Funeral Home Lenox Memorial Seven Hills Bardwell, D'Angelo, High School Bowlby Insurance Dettinger Lumber Co. Seven Arts Antiques Lenox National Bank Barnbrook Antiques Different Drummer Shaker's Food Store Lenox Oil Co. N'at Beacco Dresser-Hull Co. Shandoff's Lenox Package Store Ben's Shop Eastover W. H. Shedd & Son, Inc. Lenox Savings Bank Berkmatics Inc. East Lee Steak House Shire Shop Lenox Twin Maples Berkshire Aviation Eaton Paper Co. Smith's Rent-Alls, Inc. Lenoxdale Package Enterprises Jeffrey Sosne 1888 Shop Store J. Berkshire Bank Edward Karam Sound of Music Ella Lerner Gallery and Trust Insurance South Adams Loeb's Foodtown Berkshire Beef Elaine's Specialty Shop Savings Bank Luau Hale Restaurant Berkshire Elise Farar Southern Berkshire Broadcasting Co. Colin MacFadyen Chamber of England Bros. Berkshire County Massachusetts Commerce Exeter Dental Agencv — Berkshire Purchasing Group Sprague Electric Laboratory Life James H. Maxymillian Company First Agricultural Bank Berkshire County McClellan Drug Stanley Home Products Savings Bank First Albany Corp. McCormick & Toole Steven's Inc. Berkshire Eagle Flying Cloud Inn Insurance Agency Stevenson & Co., Inc. Folklorica Berkshire Frosted Foods Mead Corporation Stockbridge Chamber of Ice Corp. Berkshire Gas Co. Friendly Cream Miller Supply Commerce Berkshire Hardware Gateways Restaurant Minkler Insurance Stockbridge Fuel General Electric and Grain Berkshire Hills Regional Mohawk Beverages, Inc. School District Giftos Bros. Mole & Mole Stockbridge Pharmacy, Inc. Berkshire Life Insurance Girrardi Morgan Grampian Distributors, Inc. The Stockpot Berkshire Paper Co. Morgan House Graphic Arts Sunset Motel Berkshire Plate Glass Co. Morpheus Arms Motel Berkshire Press, Inc. Guitian Realty Swiss Chalet Nejaime's W. Gull Oil & Coal The Talbots, Inc. Berkshire Traveller J. North Adams Hoosac Press and Country Hagyard Pharmacy Savings Bank Town Motor Lodge BESSE — CLARKE Hall's Auto Service North Adams Union Federal Savings Birchard Buick Hellawell Transcript U. S. Components, Inc. Bland Electric Cadillac -Oldsmobile Oak n Spruce Records The Book Store David Herrick, Inc. O'Connell Yee Boosey and Hawkes High Fidelity/ Chevrolet, Inc. The Village Inn Musical America Braun's Package Store The Old Corner House Vlada Boutique High Lawn Farm for Warner Cable C. T. Brigham J. T. Owens Apparel Paper Products Hoff's Mobil Men & Boys WBEC, Inc. Brothership Holiday Inn Parker Tours, Inc. WCRB, Inc. Clothing, Inc. Household Finance Penny Saver West Stockbridge Business Services Howard Johnson's Pete's Chrysler Plymouth Enterprises, Inc. for Medicine Ida and John's Petricca Construction Wheeler & Taylor, Inc. Butler Wholesale Isgood Realty Pittsfield Agency of Wheeler's Package Store Products ITAM Lodge #564 Berkshire Life White Hart Inn Butternut Basin Pittsfield Co-operative Joe's Diner William Henry Inn Cain, Hibbard & Bank Williams & Sons Myers, Esq. H. A. Johansson Pittsfield National Bank Country Store B. Caligari and Son J. H. Johnson & Sons Pittsfield Supply Williamstown National Johnson Camp Lenox Bank Lincoln -Mercury Pleasant Valley Motel Camp Mahkeenac Advertising Katherine Meagher Prudential Lines, Inc. Winard Carr Inc Hardware Dress Shop Quincy Lodge Agency, and Supply Co. Yankee Motor Lodge Kaufman Bros. The Record Store Childs and Bishop Yellow Aster, Inc. Floor Covering The Red Lion Inn
56 What's Happening in the Derkshires?
Phone Toll- Free and Find Out!
Things to do today - exhibits, arts, music, theatre, ballet, garden shows, special tours, all the current events in the Berkshires.
SOUTHERN BERKSHIRES 528-2677 From Great Barnngton. \ Sheffield. West Stockbndge
CENTRAL BERKSHIRES NORTHERN BERKSHIRES 637-2677 662-2677 From Stockbndge. Lee. From Wilhamstown Isaac Witkin, sculptor Lenox. Prrtstield Adams. North Adams
Selections from Isaac Witkin's Spill Series, A service of the Berkshire Vacation Bureau sculpture created with the molten overflow of 205 West St., Pittsfield, Mass. industrial steel, may be seen at the Glass House, (A Division of the Berkshire Hills Conference) Tanglewood's exhibition room, located at the Main Gate.
Isaac Witkin was born in Johannes- burg, South Africa, in 1936 and moved to England in 1956. From 1957 to 1960 he studied with the English sculptor 57 CHESTE^A/CJDD The Executive Committee STOCKBRIDGE Tanglewood Council of the Boston Symphony Orchestra Mrs. James Garivaltis Mr. Curtis Buttenheim Co- Chairmen Mr. John Kittredge Secretary/Treasurer Mrs. Stephen V.C. Morris Mrs. Murray Klein Talks and Walks Mr. Colin MacFadyen Summer Estate of Mr. Ashley Smith DANIEL CHESTER FRENCH Business Mrs. Kelton M. Burbank Sculptor of the Mrs. John Kittredge Lincoln Memorial Benefits Residence, Barn Studio, Mrs. Charles Capers Sculpture Gallery, Period Receptions Garden, Nature Trail Mr. Robert A. Wells Daily 10-5 Community Affairs May - October Mrs. D.H. Potter off Glendale Rte. 183, Mr. William Harris Tent a property of the National Trust for Historic Preservation Mrs. Jean Massimiano Mr. Joseph Duffy Sales and Information Mrs. Gary A. Lopenzina Mrs. William H. Ryan 1771 was a eood Student Affairs year for our Lobster Pie, Mrs. Archie Peace This year Foreign Students Mrs. John Kittredge it's even better. Tanglewood- Boston Liaison Mrs. A. Lloyd Russell Boston- Tanglewood Liaison . Mr. Peter van S. Rice Mrs. John S. McLennan Nominating Publick House Good Yankee cooking, drink and lodging. On the Common — Sturbndgc, Mass.— bl7) 347-3313 58 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 con- There are over 40 concerts each sum- tributors of $75 and over, provides a mer performed by the members of the hospitable gathering place behind the Berkshire Music Center, the Boston Music Shed where food and drink may be Symphony Orchestra's summer academy purchased on concert days. Hot buffet for the advanced study of music. These dinners are served on Saturday evenings outstanding mid-week concerts include beginning at 6:30 p.m. (Reservations chamber music recitals, full orchestra must be made through the Friends concerts, vocal and choral programs, Office no later than the Thursday after- and the annual Festival of Contem- noon preceding each Saturday porary Music, Tanglewood's "festival evening buffet.) within a festival." Friends Concert Special parking for Friends: Memberships for individuals and Two convenient reserved parking areas families are available for $25.00. are available to all donors of $150 or Advance program information and more for all Boston Symphony Orches- ticket ordering forms: tra concerts: either the Box Parking Lot Approximately one month before the (Hawthorne Street entrance), or the public sale of seats in the early spring, Tent Parking Lot (West Street entrance). Friends will be sent the advance Berk- For information, contact: shire Festival programs and a priority Friends of Music at Tanglewood ticket application. Friends will also re- Lenox, Ma. 01240 ceive the monthly Boston Symphony (413) 637-1600 Orchestra publication, BSO. Ji arabis CONTEMPORARY Or AMERICAN DESIGN DISTINCTIVE FOOD lluokotoi'o DELIGHTFUL AMBIENCE OUTSTANDING CRAFTS TO GIVE OR TO TREASURE I22XOIM II M. I'll TMIILU 59 4 WeQirtisHotel sflmen Food & Lodging delTshop SANDWICHES • CATERING LENOX, 637-0016 TAKE OUT SERVICE 115 Elm Street. Pittsfield. Massachusetts. A BOOK TO DO" NOT Tel. 442-5927 Featuring Hot Pastrami & Hot Corned Beef "JUST TO READ" Sandwiches Hebrew National Delicatessen • Rolls & Bagels baked daily • Imported & Domestic cheeses • Lox & smoked fish • Barbecued chicken • Fresh made salads • Party Platters Open Daily 8 to 6 A BERKSHIRE SOURCEBOOK Your personal guide to Berkshire County: Thenewhomeof its history, geography and major land the world famous marks. Available at area bookstores and s gift shops for just 2.95. Published by The Alices Restaurant Junior League of Berkshire County, Inc. Breakfast • Brunch AT AVflLOCH • Lunch • Dinner mE • Late Supper • Cocktail Lounge WILL AMSVILL&^I* • Entertainment • MOTEL pi! as • tennis • pool INN across the roadfrom Tanglewood rte. 183 Lenox 637-0897 A fine, small inn featuring superb Country French Cuisine LUNCH • DINNER The Sunshine Stage, Light Supper After Tanglewood HolHston Theatre, Route 183, Lenox. Mass. 01240. Tel. 413-637-0534. Rte. 41 , between W. Stockbridge and Gt. Barrington Year round professional regional theatre featuring plays, films and children's theatre Cafe on prem- Reservations Recommended by ises Frank Bessell. Artistic Director. 413-274-6580 INN PERSPECTIVE THECLOTHESLOFT I "a little tewel in the Berkshires OKj?V.c/'(-> -fir vuyvu vgwvE Accommodations for private parties. We (IlldStonemiUltorp cater to parties, banquets and social Route 8, Grove St., Adams, Ma. gatherings. Orders to take out. Chinese Polynesian Restaurantj^t HANDPRINT WALLPAPER LENOX. MASS. For Reservations Factory Outlet (413)4434745 OpenMon-Fri 10-4. Sat 9-1 2:30 Open Daily 11 30 til 10 pm. Fn & Sat til 1 am Fashion Doesn 't Stop At Size 1 BEAUTIFUL CLOTHES FOR 1 FANTASY MAN LARGE SIZE WOMEN TYj Z Food, drink, lodging. Live music week ANDJUN,ORS ends. After concert, a 10 minute RIFF0R0BE e 179mKIR STREET 31 walk from the Lion's Gate. 413528 18 WHEATLEIGH 637-0610 * »£. Gt. Barrington 60 WHY WAIT TO ENTER COLLEGE? Jfc SIMON'S ROCK EARLY COLLEGE Designed for the student who wishes to avoid the duplication of high school and college work Liberal Arts - B.A. and A. A. Degrees - Fully Accredited The interest of those who have completed the 10th or 1 1th grade of high school is invited Admissions Office Simon's Rock Early College Great Barrington, MA 01230 Telephone: 413-528-0771 Tanglewood Williamstown Tradition Theatre Festival Our outdoor Courtyard — colorfully abounding with Impatient plants — serves luncheons, dinners, snacks and drinks. Our indoor Nikos Psacharopoulos Lion's Den features sandwiches, Our 23rd Season Includes drinks live and entertainment. Misalliance Sherlock Holmes Alter the fan Both are open till 1 a.m. Phone: Platonov and Learned Ladies 413-298-5545. Route 7, Stockbridge, June 30 - August 27 Massachusetts. Since 1773. Phone Reservations 413-458-8146 P.O. Box 517. Williamstown. Ma 02167 £& The Red Lion Inn <* v_.-SR- v T *' cP £ £y If you'd like your own tote bag showinjdjou support public broadcasting (other stfcrefes the Chanrtel 17 logo), cliptind send to/WMHT, Box 17, Schenectady, NV 12301. Q $80 Sustaining Member $30 Regular Member *d*jL-&s CURTAINS t Name At Ik E Red Lisn In n ^ Address STOCKBR1DCE MASSACHUSETTS , ou« r City _ State Zip \loiulu\ thru Siiiurtltn 10 X.M.-5 P \t Si'thi fur lice ( 'ululufi 61 45th Season f m \ *, Located in the Township of Becket, Mass. E\ Norman Walker, Director Grace Badorek, Comptroller Donald Westwood, Promotional Director DXHqiLC¥ Fl RST WEEK- July b 9 SEVENTH WEEK- Eight Soloists from the August 16 20 Royal Danish Ballet Dennis Wayne's Dancers SECOND WEEK EIGHTH WEEK- July 12 16 August 23 2? discover Cultural Center of the Contemporary Dancers Philippines Dance Co. of Winnipeg the center ( An.er n_jn lebut (United States debut and 'if the Company) of the Company) Joyce Cuoco & Youri Vamos THIRD .*. EEK July 19 23 rediscover Teodoro Morca Jacob's Pillow Dancers (Flamenco in Concert) Special Added Event Jacob's Pillow Dancers, September 2 4 yourself Classical Pas de Deux Hartford Ballet FOU RTH WEEK Performances: Perform- Pick up a horse at our stables and ride across July 2G 30 ances are held Tuesday Foxhollow's Anne Mane DeAngelo through Saturday, Curt- 285 acre historic estate, formerly the and Lawrence Rhodes ain t imes: Tuesday, country homes of Edith Wharton, Westinghouse May O' Donnell 7:30 p.m., Wednesday, Concert Dance Company Friday and Saturday, and Vanderbilt. Bhaskar (dances <)' India) G 40 P.m., Thursday and Saturday Matmees: FIFTH WEEK August 2 6 Visit our craft center where you can try your hand at Twyla Tharp 3: 00 p.m. Tickets: Dancers and Dances $8.00 and $6.00. Avail- pottery, painting, and jewelry making. Besides able at Ticket ron, SIXTH WEEK August 9 13 Bioommgdale's or the riding and crafts, there's golf, tennis, swimming, Ohio Ballet Company Jacob's Pillow Box Office sailing, discussion groups, yoga, and more. How to Reach Jacob's Pillow: Approx.150 miles from Boston near Tangle- We are a brand new country resort inn where you wood. Lee-Pittsf ield exit on the Mass. Turnpike. can have a new experience. To discover more call Public transportation from Boston via Greyhound to L"e, Mass. collect or write . . . America's FIRST Dance Festival Jacob's Pillow Dance Festival The Center at Foxhollow Mailing Address: Box 287, Lee, Mass. 01238 Lenox, MA 01240 (413) 243-0745 (413) 637-2000 i J VISIT unique cma cxeoi<.\e haxtle BERKSHIRE LAKES ESTATES EXPERIENCE COUNTRY LIVING AT ITS BEST! Brunch Dinner Small Lakefront Community Picnic After-Concert Swim and boat on 2 crystal clear mountain Baskets Supper lakes. Play tennis, badminton, volleyball and basketball on community courts. Live in privacy adjacent to a large state forest. Berkshire Lakes Estates J. Perspico Factor YokumPond Road Restaurant Becket, Mass. 01223 Tel. 413-623-8747 Open Till 1 A.M. TO VISIT: Mass. Turnpike to Lee, Mass.-Rt. 20 East. Continue 4 miles to Belden's Tavern. Heft 25 Church St. • Lenox, Mass. Lakes Estates. 637-2996 for 2 miles to Berkshire 62 ^^^£g^-- If you are a Music Lover, you will enjoy these free publications. EDITION PETERS COMPLETE CATALOGUE COMPLETE CATALOOOE This new Complete Catalogue lists over 10,000 classical and contemporary PIANO CEMBALO ORGAN VIOLIN VIOLA publications for all instruments. 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Contemporary CONTEMPORARY MUSIC CATALOGUE Music Our new Contemporary Music Catalogue has already met with such enthusiastic response by teachers, students, performers and composers of contemporary music that it is now in its second printing. The catalogue is an alphabetical listing, by composer, of approximately 1500 CATALOOOE contemporary compositions by more than 160 composers (primarily American) —featuring 45 biographical sketches and handwritten statements on music. C. F. PETERS CORPORATION, 373 Park Avenue South, New York, N.Y. 10016 Dear Friends at C. F. Peters, Please rush to me the following publications: Edition Peters Complete Catalogue D PETERS NOTES Newsletter Contemporary Music Catalogue name: (please print) address: zip D Please add my name to your mailing list for future mailings. 63 s Introducing the Bose 901 Series III in comparison to any Series III: the most innovative new other speaker, regardless of size or speaker since the legendary price. Bose 901 was introduced in 1968. For a full color 901 III The 901 Series III reproduces brochure, write Bose, Dept. BSO, music with spaciousness and The Mountain, Framingham, realism unequalled, we believe, by Massachusetts any other speaker. Yet, due to its 01701. new, ultra-high-efficiency drivers, the 901 Series III requires less than V3 as much power as the original 901 : that means, for example, it can produce the same sound vol- ume with a 15 watt amplifier as the original 901 with a 50 watt ampli- fier. Outstanding bass perform- ance is made possible by the unique injection molded Acoustic Matrix™ enclosure (shown in this photograph of the 901 III with its grille and walnut veneer cabinet panels removed). To fully appreci- Patents issued and pending. Copyright © ate its spectacular performance, 1977 Bose Corp. Cabinets are walnut veneer. ask a Bose dealer to play the 901 Pedestals optional at extra cost 64 _3^^^^Bc. .% 1 ifll H V This is is one i foing to of the IHb e.the wofkfej §B other. most 1 9|^B v popular! Hb^ ft TW lliV^^» ; WIF* casrr^H cass L aml> ttl *SOFT ESTA1 -^% rv/^ SnS» 51 Castel Ruboun Lambrusco Now in white as well as red. Imported by Pastene Wine & Spirits Co., Inc., Somerville, MA.Q2143