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Branches in Worcester, Springfield, Wellesley Hills Boston Symphony Orchestra

^Berkshire Festival Season y 1950

SERGE KOUSSEVITZKY, Conductor

Concert Bulletin, with historical and descriptive notes by John N. Burk

COPYRIGHT, I95O, BY BOSTOK SYMPHONY ORCHESTRA, INC.

Trustees of the Boston Symphony Orchestra, Inc.

Henry B. Cabot, President Jacob J. Kaplan, Vice-President Richard C. Paine, Treasurer Philip R. Allen Theodore P. Ferris N. Penrose Hallowell M. A. De Wolfe Howe Lewis Perry John Nicholas Brown Alvan T. Fuller Francis W. Hatch Charles D. Jackson Edward A. Taft

Raymond S. Wilkins Oliver Wolcott

Tanglewood Advisory Committee

Alan J. Blau George W. Edman Lawrence K. Miller James T. Owens Whitney S. Stoddard Henry W. Dwight F. Anthony Hanlon George E. Mole Lester Roberts Robert K. Wheeler

George E. Judd, Manager SymftAotUcuta

Next October the Boston Symphony Orchestra The Saturday morning rehearsals of the Boston will begin its 70th anniversary season, which will Symphony Orchestra for the final three weeks of be its second under the leadership of Charles the Festival will be open to the public at a nominal Munch. In the third week of the season the Or- charge, the receipts to benefit the Pension Fund chestra will undertake its annual tour of mid- of the Boston Symphony musicians. western cities and will then return to the Berkshire area to visit Troy for a concert on October 17 for the first time in twenty-six years. The Orchestra will also play in Syracuse on October 18, Rochester Tanglewood on Parade is listed this year for on October 19, Buffalo on October 20, Detroit on Friday, August 11, (page 29). The many events October 21, Battle Creek on October 23, Kala- will begin in the late afternoon and continue into mazoo on October 24, and Ann Arbor on October the evening, culminating in a special program 22 and 25. The season will consist of twenty-four by the Boston Symphony Orchestra. Various pairs of Friday afternoon and Saturday evening activities of the Berkshire Music Center will also concerts in Symphony Hall, Boston; nine Tuesday be on view. evenings and six Sunday afternoons; series in Sanders Theatre, Cambridge; Carnegie Hall, New York; Academy of Music, Brooklyn; Veterans' Memorial Auditorium, Providence; and concerts in New Haven, Hartford, Washington, Newark, A calendar of the performances to be given by New London, New Brunswick and . the students of The Berkshire Music Center at If those interested will leave their names and Tanglewood will be found on pages 30 and 31. addresses at the Friends Office they will be sent a historical anniversary booklet of the Orchestra to be published in the fall. Visit The TANGLEWOOD MUSIC STORE (near the main gate) The paintings on view in the reception room adjoining the Main Gate have been kindly loaned by the Berkshire Museum in Pittsfield, where also an exhibition of pictures, music and autographs in connection with the Festival programs will be shown through the Festival period. The Berk- shire Museum Theatre will present weekly motion pictures of exceptional quality, both American and foreign. The Summer Art School invites the enrollment of amateurs by day, week, month or season. The Boston Symphony Orchestra here, as in its own city, welcomes a friendly association of the arts. TANGLEWOOD Souvenir Pictorial Book 50e

Recordings and miniature scores, including The summer session of the school of the Boston musical Museum of Fine Arts will hold classes at works given at the Festival concerts, Wheatleigh, the new dormitory of the Berkshire books, postcards, films, etc. Music Center. SEVENTH PROGRAM

Thursday Evening, July 27, at 8:1$

SERGE KOUSSEVITZKY,

Beethoven Symphony No. 3, In E-flat major, "Eroica," Op. $$

I. Allegro con brio III. Scherzo: Allegro vivace; Trio

II. Marcia funebre: Adagio assai IV. Finale: Allegro molto

INTERMISSION

Sibelius Symphony No. 2, in D major, Op. 43

I. Allegretto III. ( Vivacissimo; Lento e suave

II. Tempo andante, ma rubato IV. ( Finale: Allegro moderato

BALDWIN RCA VICTOR RECORDS (fjSerhdhire festival TANGLEWOOD, 1950 SEVENTH PROGRAM

Symphony No. 3 in E-Flat, TUNE IN SUNDAYS! "Eroica," Op. 55

U.S. STEEL Born at Bonn, December 16(?), 1770; died at Vienna, March 26, 1827 HOUR Composed in the years 1802-1804, the Third Symphony was first performed at a private concert in the house of Prince von Lobkowitz in Vienna, December, 1804, the conducting. The first public performance was at the Theater an der Wien, April 7, 1805.

The immense step from the Second Symphony to the Third is primarily an act of expanding imagina- tion. The composer did not base his new power on any new scheme; he kept the form of the salon The NBC symphony* which, as it stood, could have been quite incongruous to his every thought, and began SYMPHONY ORCHESTRA furiously to expand and transform. The exposition is a mighty projection of 155 bars, music of con- These world-famed conductors: centrated force, wide in dynamic and emotional range, conceived apparently in one great sketch, <>« where the pencil could hardly keep pace with the REINER outpouring thoughts. There are no periodic tunes here, but fragments of massive chords, and sinuous Alfred WALLENSTEIN rhythms, subtly articulated but inextricable, mean- ingless as such except in their context. Every bar bears the heroic stamp. There is no melody in the conventional sense, but in its own sense the music Milton KATI MS is melody unbroken, in long ebb and flow, vital in every part. Even before the development is reached the composer has taken us through mountains and valleys, shown us the range, the universality of his subject. The development is still more incredible, * He first projected the movements conventionally, as the End, sketchbooks show. The opening chords of the first move- LEINSDORF ment, stark and arresting, were originally sketched as a merely stiff dominant-tonic cadence. The third move- wufred PELLETIER ment first went upon paper as a minuet. Variations were then popular, and so were funeral marches, although they Sigmund ROMBERG were not used in symphonies. Vladimir GOLSCHMANN THE BERKSHIRE MUSEUM PITTSFIELD, MASS. Rajael KUBELIK CfxnioilionA Harold LEVEY July: — Paintings by Robert T. Francis August: — Sculpture by Daniel Chester French . . . and distinguished soloists Festival Season — Memorabilia in connection with the Festival programs

8:30 P.M. Summer Art School SUNDAYS WGY Berkshire Museum Theatre Open Weekdays 10-5 — Sundays 2-5 TTTTtTTTTTTtfTTTTTTTTTTTTTTTT Closed Mondays

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as it extends the classical idea of a brief thematic interplay into a section of 250 bars. It discloses vaster scenery, in which the foregoing elements are newly revealed, in their turn generating others. The The recapitulation (beginning with the famous passage where the horns mysteriously sound the returning tonic E-flat against a lingering dominant chord) restates the themes in the increased strength and Berkshire beauty of fully developed acquaintance.

But still the story is not told. In an unprece- Hills dented coda of 140 bars, the much exploited theme and its satellites reappear in fresh guise, as if the artist's faculty of imaginative growth could never expend itself. This first of the long codas is one of the most astonishing parts of the Symphony. A coda vJffer many cultural attractions until then had been little more than a brilliant close, an underlined cadence. With Beethoven it was to make your visit a pleasant one a resolution in a deeper sense. The repetition of the subject matter in the reprise could not be for during the Summer months. him the final word. The movement had been a You will find our region equally narrative of restless action — forcef ulness gather- ing, striding to its peak and breaking, followed by attractive in the Fall when the a gentler lyricism which in turn grew in tension until the cycle was repeated. The movement re- autumn foliage is at its best. Nature quired at last an established point of repose. The coda sings the theme softly, in confident reverie completes an incomparable trans- under a new and delicate figure. As the coda formation. Many of our inns and takes its quiet course, the theme and its retinue of episodes are transfigured into tone poetry whence hotels offer substantial reductions conflict is banished. The main theme, ringing and joyous, heard as never before, brings the end. in rates. The second movement, like the first, is one of And for year-round good living, a conflicting impulses, but here assuaging melody con- tends, not with overriding energy, but with the place to live, work or play, hundreds broken accents of heavy sorrow. The legato second strain in the major eases the muffled minor and the of good people who were formerly clipped notes of the opening "march" theme, to which the oboe has lent a special somber shadow- seasonal visitors have chosen ing. The middle section, in C major, begins with a calmer, elegiac melody, over animating staccato BERKSHIRE HILLS THE triplets from the strings. The triplets become more insistent, ceasing only momentarily for broad fate- May we assist you in providing ful chords, and at last permeating the scene with their determined rhythm, as if the composer were further details, our list of real setting his indomitable strength against tragedy it- self. opening section returns as the subdued estate agents, hotels, guest houses, The theme of grief gives its dark answer to the display and inns? Write: of defiance. But it does not long continue. A new melody is heard in a fugato of the strings, an episode of quiet, steady assertion, characteristic of the resolution Beethoven found in counterpoint. The whole orchestra joins to drive the point home. THE BERKSHIRE HILLS CONFERENCE But a tragic decrescendo and a reminiscence of the funeral first theme is again the answer. Now COUNTY COURT HOUSE Beethoven thunders his protest in mighty chords PITTSFIELD, MASS. over a stormy accompaniment. There is a long sub- sidence — a magnificent yielding this time — and a return of the first theme again, now set forth in (/Berkshire ^jredtival TANGLEWOOD, 1950

full voice. As in the first movement, there is still And now in the Finale, the tumults of exultant lacking the final answer, and that answer comes in strength are released. A dazzling flourish, and the another pianissimo coda, measures where peaceful- bass of the theme is set forward simply by the ness is found and sorrow accepted, as the theme, plucked strings. It is repeated, its bareness some- broken into incoherent fragments, comes to its last what adorned before the theme proper appears over concord. it, by way of the wood winds. The variations dis- The conquering life resurgence comes, not close a fugato, and later a new theme, a sort of "sec- shatteringly, but in a breath-taking pianissimo, in ond subject" in conventional martial rhythm but an the swiftest, most wondrous Scherzo Beethoven had inspiriting stroke of genius in itself. The fugato composed. No contrast more complete could be returns in more elaboration, in which the bass is imagined. The Scherzo is another exhibition of inverted. The music takes a graver, more lyric strength, but this time it is strength finely controlled, pace for the last variation, a long poco andante. The unyielding and undisputed. In the Trio, the horns, theme at this tempo has a very different expressive maintaining the heroic key of E-flat, deliver the beauty. There grows from it a new alternate theme principal phrases alone, in three-part harmony. The (first given to the oboe and violin). The principal Scherzo returns with changes, such as the repetition theme now strides majestically across the scene over of the famous descending passage of rhythmic dis- triplets of increasing placement in unexpected double time instead of syn- excitement which recall the slow movement. There is a copation. If this passage is "humorous," humor gradual dying away in must be defined as the adroit and fanciful play of which the splendor of the theme, itself unheard, still power. lingers. A presto brings a gleaming close.

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»#+++++»##»++###++»#+»++»+++4i Symphony No. 2, in D Major, Op. 43

Born December 8, 1865, at Tavastehus, Finland Begun in Italy in the spring of 1901, the symphony was completed in Finland before the end of the year. It was first performed on March 8, 1902, at Helsinki under the composer's direction. The first performance in this country was by the Chicago Symphony Orchestra, Theodore Thomas, Conductor, January 2, 1904. introduced it at the Boston Symphony Concerts on March 11 of the same year.

The Second Symphony proclaims Sibelius in his STOCKBRIDGE, MASSACHUSETTS first full-rounded maturity, symphonically speaking. Director William Miles, He has reached a point in his exuberant thirties (as did also Beethoven with his "Eroica" and Tchaikov- sky with his Fourth at a similar age) when the artist Week of July 17th first feels himself fully equipped to plunge into the "HARVEY" intoxicating realm of the many-voiced orchestra, By Mary Chase with its vast possibilities for development. Sibelius, like those other young men in their time, is irre- •

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Season continues through September 9th Nightly (except Sunday) at 8:45 ANTIQUES SHOW $2.94, $1.80, tax inc.

TOWN HALL • LENOX, MASS. Matinees Wednesday and Saturday at 2:30 $1.80, $1.20, tax inc. July 28th thru August 12th

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CORNELIA OTIS SKINNER in Management of a program of her famous sketches BERKSHIRE HILLS ANTIQUES INC. ^

fcern&hire ^redtival TANGLEWOOO 1950 II

pressible in his new power, teeming with ideas. His The World's Finest first movement strides forward confidently, pro- fusely, gleaming with energy. The Finale exults 3 Speed Record Changer and shouts. Who shall say that one or all of these three symphonies overstep, that the composer should Plays all records! have imposed upon himself a judicious moderation? Sober reflection was to come later in the lives of each, find its expression in later symphonies. Per- haps the listener is wisest who can forego his in- GARRARD clinations toward prudent opinion, yield to the mood of triumph and emotional plenitude, remember that that mood, once outgrown, is hard to recapture.

Copiousness is surely the more admissible when it is undoubtedly the message of an individual, speaking in his own voice. The traits of Sibelius' symphonic style — the fertility of themes, their gradual divulging from fragmentary glimpses to rounded, songful completion, the characteristic ac- companying passages — these have their beginnings in the first tone poems, their tentative application to symphonic uses in the First Symphony, their full, 'Triumph integrated expression in the Second. Sibelius begins his Second Symphony with a char- fully automatic — acteristic string figure, a sort of sighing pulsation, with automatic stop! which mingles with the themes in the first pages and • PRICED LOWER THAN ANY PREVIOUS GARRARD recurs at the end of the movement. One would • INEXPENSIVELY INSTALLED IN YOUR PRESENT SET look in vain for a "first" and "second" theme in At Your Dealer Or Write To the accepted manner. There is a six-bar melody GARRARD SALES CORP. 164 DUANE ST. N. Y. 18

OMAR KHAYYAMS (ancient spelling pronounced comes) oDistinauidned Workd To TANGLEWOOD from the Carl Fischer Rental Library And when like her, O Saki, you shall pass Among the guests, star-scattered on the grass

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12 VSerK5nire ^jre&tival TANGLEWOOD 19 50

for the wood winds, a theme given out by the bas- cap his moments of greatest tension, and finally in- soons, another of marked and significant accent for creases it by twice its length to an eloquent period. the , and another, brief but passionate, for the The initial scraps of themes succeed each other, are violins. These themes are laid forth simply, one combined, gather meaning with development. The after the other, with no transitions or preparations. whole discourse unfolds without break, coheres in Yet the tale is continuous as if each suggested, quite its many parts, mounts with well-controlled gradua- naturally, the next. There follows the theme for tion of climax. The fusion of many elements is the flutes which Cecil Gray refers to as what "would beyond the deliberate analyst. It bespeaks a full in ordinary parlance, no doubt, be called the 'first heart, a magnificent fertility, an absorption which subject.' ' It appears as nothing more than a high pervades all things and directs them to a single end.

sustained C-sharp, followed by a sort of shake and i a descending fifth. The phrase would be quite The slow movement opens, as did the first, with a meaningless outside of its context, but Sibelius uses string figure which is an accompaniment and yet

it with sure effect over the initial string figure to far more than an accompaniment. Various wood

iiiiiHiiiMiiHimiimiiiiiiiimiiiM mm mimiimiiimmtiiiiiHmmiitmmi < miiiihiiii iiiiMiiiiiiiiiiimimiimm winds carry the burden of melody, introduced and maintained in an impassioned minor, lugubre. The- THE HOME of FINE WOOLENS matic snatches of melody follow each other in rich profusion. In the opening movement, Sibelius has Ljanhee &Ltoomd made telling use of the time-honored contrast be- tween the lyric and the incisive, proclamatory ele- Material for Every Member of the Family in a ments. In his andante this sharp opposition is no- tably increased. An oratorical, motto-like theme, wide variety of colors and patterns . . . Be sure to visit our Factory Salesroom during your stay launched by stormy, ascending scales, keeps drama in the . astir. As the melodic themes recur, an undercurrent of the spinning, whirring figures in the strings, such MAIN STREET DALTON, MASSACHUSETTS as are to be found in almost any score of Sibelius, Opposite Post Office Hours 9 to 5 Daily dramatizes lyricism itself. On Routes 8 and 9 to 1 on Saturday The third movement pivots upon a swift 6-8 MiiiiiMiiiiiiiiiiiiiiMiHiHiMiiiiiMiiitiririiiniiiiiiHiMiiuiiiiiiiiiiiiiiiiiiimmiiiiiiiiiimiiiiiiiiimiiiiiiiimiiiim mtimimiimin

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Doing business in STOCKBRIDGE since 1825 . . . will welcome any inquiry from you EIGHTH PROGRAM

Saturday Evening, July 2g, at 8:1$

SERGE KOUSSEVITZKY, Conducting

it

Bruckner Symphony No. 7, in E major

I. Allegro moderato III. Scherzo: Allegro; Trio: Etwas langsamer

II. Adagio: Sehr feierlich und langsam IV. Finale: Bewegt, doch nicht schnell

INTERMISSION

Debussy Two Nocturnes

Nuages Fetes

Debussy "La Mer," Trois Esquisses Symphoniques

I. De l'aube a midi sur la mer III. Dialogue du vent et de la mer

II. Jeux de vagues

BALDWIN PIANO RCA VICTOR RECORDS I

14 ffSerkdhire ^re&tival — T ANGLEWOOD, 1950

rhythm; it suggests Beethoven in its outward con- EIGHTH PROGRAM tour, but is more tumultuous than gay. A suspen- sive pause with pianissimo drum taps introduces the Symphony No. 7 in E Major tender trio in which the oboe sings a soft melody

which is echoed by its neighbors and subsides in a ANTON BRUCKNER

pianissimo the solo '. It is peaceful and from as Born at Ansfelden, in Upper Austria, September 4, 1824; unruffled in this symphony of violent contrasts as its died at Vienna, October 11, 1896 surroundings are stormy. The vivacissimo and trio The Seventh Symphony was composed in the years 1882 are repeated — with a difference. and 1883. It had its first performance at the Gewandhaus Concerts in Leipzig, , conductor, December There creeps into the trio, at first hardly percept- 30, 1884. ibly, the solemn chant of the finale, as yet but softly The first performance in the was at intoned, and adroitly, without any sense of hopping Chicago by the orchestra of Theodore Thomas, July 29, 1886. The first performance in Boston was at a Boston over an awkward stile, the master leads his hearers Symphony concert led by Mr. Gericke, February 5, 1887. straight into the finale, which is at once in full The score bears the dedication: "To his Majesty, King course. There are two principal themes, the first Ludwig II of Bavaria, in deepest reverence." making itself known as an elementary succession of The Seventh Symphony was the direct means of half notes, the second a longer breathed, incendiary Bruckner's general (and tardy) recognition. For melody with an accompanying scale figure adding years he had dwelt and taught at Vienna under the fuel to its flame. The structure of the movement is shadow of virtual banishment from its concert halls. traditional, with two themes alternating, interlarded In this stronghold of anti-Wagnerism there could have been no greater offense than the presence of a with episodic matter; the simple scheme serves its symphonist who accepted the tenets of the "music contriver in building with great skill a long and of the future" with immense adoration. Bruckner, gradual ascent to a climax in full splendor. Rising with his characteristic zeal to which nothing could sequences, mounting sonorities, contribute to the give pause, composed symphony after symphony, each impressiveness of the final conflagration. bolder and more searching than the last.

»»»»»» y W W W W *'V W W * V V V * » » V V V' V V » T » ^r^-

Faculty of the Conservatory includes many members of the Faculty of NEW ENGLAND the Berkshire Music Center and members of the Boston Symphony Orchestra. CONSERVATORY OF MUSIC FALL TERM BEGINS SEPT. 18 •

HARRISON KELLER, Director For full information write the Dean 290 Huntington Ave., Boston, Mass.

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< *• .,„ •* • >> «* *. > >.,>* ,,> *• ,,,.V,. »• >>>. *A On December 29, 1884, Hugo Wolf, the intrepid Wagnerian, asked the rhetorical question: "Bruck- ner ?r Bruckner? Who is he? Where does he live? What does he do? Such questions are asked by For Cool Refreshment . . . people who regularly attend the concerts in Vienna." > the ft* The answer came from Leipzig, where, on ft* For Rich Flavor . . . •> next day, a young enthusiast and ex-pupil of the *• ft* sixty-year-old Bruckner gave the Seventh Symphony its first performance. The place was the Gewand- haus; the conductor, Arthur Nikisch. It was one of his flaming readings — an unmistakable act of revelation which the audience applauded for fifteen ft* minutes. As Bruckner took his bows, obviously ^rVs ^Jsrooad touched by the demonstration, one of the critics was moved to sentiment: "One could see from the ICE CREAM trembling of his lips and the sparkling moisture in his eyes how difficult it was for the ,old gentleman to suppress his deep emotion. His homely but honest countenance beamed with a warm inner happiness such as can appear only on the face of one who is too good-hearted to succumb to bitterness even under the pressure of most disheartening circumstances. Having heard his work and now seeing him in per- ft* in amazement, 'How is it son, we asked ourselves SMOOTH and DELICIOUS possible that he could remain so long unknown to " US ?'

symphony of the hitherto almost unknown Kt *• *. >. * * #. .> #. > *. ... * * * > ,• . ** .* .* > .* , #. #„ .* <• *.» •> *,t * T The *» > • V# V • •> •V # > V # *V * •> > •*• > V • *

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SERGE KOUSSEVITZKY

In his musicians he has created the clear, simple statement of his devotion and genius.

They respond to his direction with the sensi- tivity of a single instrument ... a tone uniquely Koussevitzky's which can be likened to no other orchestral sound.

Symphony No. 3, in E-Flat, Op. 55 ("Eroica")—

Beethoven. Album of six records.

Symphony No. 4, in F Minor, Op. 36 — Tchaikovsky. Album of five records.*

Gymnopedie — Satie-Debussy. Single record.

Symphony No. 4, in A, Op. 90 ("Italian") — Mendels- sohn. Album of three records.*

Serenade in C, Op. 48 — Tchaikovsky. Final side, The Impresario: Overture — Mozart. Album of four records.*

Symphony No. 39, in E-Flat, K. 543 — Mozart. Album of three records. V

!*..

LEONARD BERNSTEIN

Composer, pianist and conductor — Bernstein came here to study with Dr. Koussevitzky at

Tanglewood's first session. In

his own work and in his work with students can be read the story of Tanglewood's tremendous years.

An American in Paris — Gershwin. The RCA Victor Symphony Orchestra. Album of two records.*

Ballet Suite from Billy the Kid — Copland. The RCA Victor Symphony Orch. Album of three records.*

Concerto for Piano and Orchestra (1932) — Ravel. Leonard Bernstein, Pianist- Conductor. The Philharmonic Orchestra of

London. Album of three records (78 rpm).

On The Town — Bernstein. RCA Victor Chorale and Orchestra. Album of four records (78 rpm).

•These selections available on Long (33 3 ) Play, in addition to 45 rpm and conventional records.

THE WORLD'S GREATEST ARTISTS ARE ON

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i8 (JSerkihire Zrestivat TANGLEWOOD, 1950

Bruckner made a quick and triumphant progress. HEAR YE! HEAR YE! Hermann Levi gave it in Munich (March 10, 1885) All and sundry wayfarers in and made the remark that this was "the most sig- the Berkshires will be wel- come at the Williamsburg nificant symphonic work since 1827." An obvious Blacksmiths and Village Gilt dig at Brahms, Store. Located on the Berk- who had lately made some stir in the shire Trail, Route 9, 8 miles world with three symphonies. , another from Northampton towards Pittsfield. It's a beautiful youthful admirer of Bruckner, was the first to New England drive from carry the symphony into Austria, conducting it at Tanglewood to Williamsburg. Graz. Even Vienna came to it (a Philharmonic If you cannot visit us, we know you will enjoy reading concert led by Richter, March 21, 1886). Bruck- a 20-page exact reproduction ner tried to of an Early American gem of prevent the performance by an injunc- 1793, containing quaint prov- tion, fearing further insults, but the success of the erbs, humorous sayings, and odd recipes. This booklet has work drowned out the recalcitrant minority. Even been combined with our new Dr. Hanslick was compelled to that the catalog of many gifts in cop- admit per, brass, and iron for home composer was "called to the stage four or five and garden. All for 251 stamp or coin. times after each section of the symphony," but he held out against the music with the stubbornness of 99 Buttonshop Road a Beckmesser, finding it "merely bombastic, sickly, Williamsburg, Mass. and destructive." _, o On Wagner's death, February 13, 1883, the WILLIAMSBURG BLACKSMITHS Adagio was at once associated with his memory, al- though this movement had been completed in Oc- tober, 1882. The biographers refer to this as the adagio of "premonition," and indeed Bruckner wel- Special Event comed the connection between this poignant move- 'TANGLEWOOD ON PARADE" ment and the memory of the "great Master." He wrote to Felix Mottl about a coming performance Friday, August 1 in Karlsruhe, in 1885, mentioning in connection with the adagio: "Funeral music for tubas and Special Announcement on Page 29 horns" and "Please take a very slow and solemn

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tempo. At the close in the dirge (in memory of the death of the Master), think of our Ideal! — Kindly do not forget the fff at the end of the Dirge." Elm Court

Two Nocturnes ("Clouds and cJLenox, il/lai5ackuietli Festivals")

CLAUDE DEBUSSY Cordially Invites

Born at St. Germain (Seine-et-Oise), France, August 22, 1862; died at Paris, March 25, 1918 You and Your Friends The "Nocturnes" were completed in 1899. "Nuages" and Visit Our "Fetes" were first performed by the Lamoureux Orchestra To of Paris under Chevillard, December 9, 1900. GREEN HOUSES AND GARDENS The world waited six years after hearing De- bussy's first purely orchestral work, the "Prelude a I'Apres-midi d'un Faune," before his "Nocturnes" were made known. The "Nocturnes," composed in AT THE the years 1897-99, were but an interlude in De- bussy's labors upon "Pelleas," which had been oc- MANSION HOUSE cupying the composer since 1892 and was not to COCKTAILS ~ LUNCHEON - TEA attain performance until 1902, two years after the DINNER - ROOMS instrumental nocturnes.

The Paris performances brought applause and Lenox 670 general critical praise upon Debussy. He had estab- lished himself with the "Faune," set up a new style of undeniable import, suffering nothing from the subdued grumbles of the entrenched old-school form- * T V W V alists. The "Nocturnes" were very evidently an advance, and a masterly one, in the quest of har- monic and modulatory liberation. What Mallarme and his fellow symbolist poets had done in the way of freeing poetry from the metrical chains of the Parnassians, this Debussy had done for the musical formulae of two centuries past. Periodic melody and rigid orientation of tonality were gone. Debussy conjured his serial sound structures with all the free- dom which the "tachistes," dropping conventions of line, could cultivate. It was inevitable that Debussy should turn to the impressionist painters for a title that would not confine, and from Whistler, no doubt, he took the convenient abstraction "nocturne," which no more than points the composer's purpose of DRAGON'S f-2 Milk Bar & Restaurant evoking a mood. Telephone Sheffield 8114 . . Five Miles South of Debussy, who was wary of wordy explanations of Great Harrington on Route 7 his music, is said to have written this description of OPEN ALL YEAR . . .8:30 A.M. to 10:00 P.M. his intentions in the "Nocturnes":

Jumbo Frog Legs . . . Soft Shell Crabs . . . Shad "The title," writes the composer, "to be taken in a general and, more particularly, in a decorative Roe and Bacon . . . Oysters . . . Shrimps . . . sense. Therefore, it is not meant to designate the Scallops . . . Fillet of Sole . . . Roasts . . . Steaks usual form of the Nocturne, but rather all the vari- Italian Spaghetti . . Chow Mein . . Roast Turkey ous impressions and the special effects of light that Corned Beef and Cabbage the word suggests. 'Nuages' renders the immutable All of the above and more on our menu every day. aspect of the sky and the slow, solemn motion of the clouds, fading into poignant grey softly touched with Fountain Service white. 'Fetes' gives us the vibrating, dancing rhythm '

20 USerhihire ^jreitivat — TANGLEWOOD, 1950

of the atmosphere with sudden flashes of light. There is also the episode of the procession (a daz- zling fantastic vision) which passes through the

festive scene and becomes merged in it. But the

background remains persistently the same : the festi- val with its blending of music and luminous dust participating in the cosmic rhythm."

''The Sea" (Three Orchestral Sketches) on Williams College Campus in lovely Williamstown Born at St. Germain (Seine-et-Oise), France, August 22, 1862; died at Paris, March 25, 1918 A short and beautiful drive When Debussy composed "La Mer: Trois Es- to the top of the Berkshires. quisses Symphoniques," he was secure in his fame, the most argued composer in France, and, to his Lobster — Steak annoyance, the most imitated. L'Apres-midi d'un Native Brook Trout Faune of 1894 and the Nocturnes of 1898 were Cocktails almost classics, and the first performance of Pelleas et Melisande was a recent event (1902). Piano, Gourmet and Duncan Hines Recommended by chamber works, songs were to follow La Mer with some regularity; of larger works the three orches- The first of 12 Treadway Inns located in tral Images were to occupy him for the next six New England and New York State. years. Le Martyr de St. Sebastien was written in Ml Am 1911,-/Mucin 1912.

•*»**%****** > * . * * .* „ ... . «• * . > .» > . _ *. »„ ,* »„* •> >> *, * **** • *> > * V 4V %> > > *•••• •> *» There could be no denying Debussy's passion for

the sea ; he frequently visited the coast resorts, spoke and wrote with constant enthusiasm about "my old friend the sea, always innumerable and beautiful." He often recalled his impressions of the Mediter- ranean at Cannes, where he spent boyhood days. It is worth noting, however, that Debussy did not seek the seashore while at work upon his La Mer. His score was with him at Dieppe, in 1904, but most of H*M (BARN it was written in Paris, a milieu which he chose, if • the report of a chance remark is trustworthy, "be- cause the sight of the sea itself fascinated him to Fine Food and Grog such a degree that it paralyzed his creative faculties." Open Daily — Route 44 When he went to the country in the summer of • of La Mer, CANAAN — CONNECTICUT 1903, two years before the completion it was not the shore, but the hills of Burgundy, * whence he wrote to his friend Andre Messager Visit our • (September 12): "You may not know that I was YEARS AGO COUNTRY STORE destined for a sailor's life and that it was only quite by chance that fate led me in another direction. But Gourmet's Paradise * I have always retained a passionate love for her [the Where Shopping Can Be Fun sea]. You will say that the Ocean does not exactly 1117 ELGIN STREET, HOUSTON, TEXAS wash the Burgundian hillsides — and my seascapes • • might be studio landscapes; but I have an endless store of memories, and to my mind they are worth more than the reality, whose beauty often deadens • • thought." Debussy's deliberate remoteness from reality, con- sistent with his cultivation of a set and conscious to style, may have drawn him from salty actuality ** ••• *• *• • ••• •» « • • • • * •* * * • * • * • * * * * * • * •* * * * * * * ** * * * * NINTH PROGRAM

Sunday Afternoon, July JO, at J:00

Conducted by LEONARD BERNSTEIN

*

Shapero Adagio, Symphony (for Classical Orchestra)

Diamond Timon of Athens, A Symphonic Portrait (after Shakespeare)

Lukas Foss "The Song of Songs," Second Biblical Solo Cantata, for Soprano and Orchestra

I. Allegro ma non troppo III. Grave

II. Allegretto con moto IV. Lento

INTERMISSION

Brahms Symphony No. 4 in E minor Op. 98

I. Allegro non troppo III. Allegro giocoso

II. Andante moderato IV. Allegro energico e passionato

Soloist ELLABELLE DAVIS

BALDWIN PIANO RCA VICTOR RECORDS 22 (/Berkshire ^reAtival TANGLEWOOD, 1950

»• •** •• •• • ••« >• •« »v * •« * »v •» • •. >••• »*« *• •« «• •» »•« .*. J* «•* KKJ* K « the curling lines, the rich detail and balanced sym- metry of SEE OUR STUDIO handprinted linens and Hokusai's The Wave. In any case, he had the cottons and other interesting crafts. famous print reproduced upon the cover of his score. His love for Japanese art tempted him to purchases which in his modest student days were a strain upon his purse. His piano piece, Poissons d'or, M. WALLACH of MUNICH of 1907, was named from a piece of lacquer in his possession. in LIME ROCK, Conn, just off Route 7

12 miles south from Mass. State Line NINTH PROGRAM

LEONARD BERNSTEIN, born in Lawrence, Massachu- setts, August 25, 1918, attended Harvard College and the We Mail Everywhere Curtis Institute of Music in Philadelphia. At the first two sessions of the Berkshire Music Center at Tanglewood, he was accepted by Serge Koussevitzky in his conducting class. Mr. since d5odton if/udic L^o. Bernstein has been on the faculty 19+6. In the season 19+3-44, he was assistant conductor of the ENGLAND'S FINEST NEW AND MOST COMPLETE Symphony Society. From 19+5- 19+8 he was director of the New York City Symphony. J\iusic House He has conducted orchestras abroad as guest during the last SHEET MUSIC — RECORDS — ALBUMS five summers, including this one.

Literature and Study Books He has written a symphony, Jeremiah, and the ballets Excellent stock of small scores Fancy Free and Facsimile, the Broadway Musical On the Town, and incidental music for the current production of Instruments Peter Pan. Music in the smaller forms includes a Clarinet Musical Gifts Sonata, the song cycles Five Kid Songs; I hate music, and 116 BOYLSTON STREET • BOSTON 16 La Bonne Cuisine. His symphony with piano solo, based on W. H. Auden's Age of Anxiety, was introduced at these concerts in the 19+8-+9 season.

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»1 >«»n«^< >«»!*• »i»«MM i «» I >« (JSerKihire ^srestival TANGLEWOOD 19 50 2 3

Symphony for Classical Orchestra "Timon of Athens"

HAROLD SHAPERO A Symphonic Portrait (after Shakespeare) Born in Lynn, Massachusetts, April 29, 1920 DAVID DIAMOND Harold Shapero completed his Symphony in 1947. He Born in Rochester, N. Y., July 9, 1915 composed it by commission of the Koussevitsky Music the occasion of the first performance of this work, by Foundation and dedicated it to the memory of Natalie On Koussevitzky. the Louisville Philharmonic Society on February 1, 1950, the composer provided the following explanation for the The subtitle "For Classical Orchestra" calls program: attention to Mr. Shapero's sparing use of his orches- tral forces. The composer has had the benefits of "Ideas for works, thematic germs live within me, distinguished instruction : He has studied with Mile. germinate, so to speak, months and often years before Boulanger, with Hindemith, Krenek, Slonimsky and I actually compose them on score paper. Ideas Stravinsky. Attending Harvard College (from for 'Timon' came on first reading of this great trag- which he graduated in 1941), he studied with edy (one I consider even greater than 'King Lear,' Walter Piston there. His latest advisory studies despite the technical imperfections) as far back as were with at the Berkshire Music 1939. I did not envisage a suite of incidental music Center at Tanglewood. to accompany the play's action. It was Timon the man that fascinated me; not the play. Five years Mr. Shapero was awarded at Harvard the Knight ago I began to make some sketches, but it was not Prize, the Naumburg Fellowship, and the Paine Fel- until the Louisville Orchestra asked me to write lowship. He took the Prix de Rome (for his "Nine a work did I find the real incentive. Minute Overture") in 1941. In 1946 he was " awarded the Joseph H. Beams Prize from Columbia 'Timon of Athens' is one of Shakespeare's later University for his Serenade for String Orchestra. plays (circa 1609). It is the psychological study He also received a Guggenheim Fellowship. His of a psychopathic tragic figure in two phases: his chamber music includes Three Pieces for Three generous, noble, altruistic state; and his mad, curs- Pieces (flute, clarinet, bassoon) (1938); ing, distraught and finally subjective and resigned

Sonata (1939) ; String Quartet (1940) ; Four-Hand madness. In painting a musical portrait, these two

Piano Sonata ( 1941 ) ; Violin Sonata ( 1942) ; Three phases establish the two formal poles of the music. Amateur Sonatas (Piano) (1944). The structure of the work is evolved from the plan

^rn C*ue for UiLC FESTIVAL RECORDINGS, INC. presents MOZART'S CORONATION MASS IN C K.317 by Martha Burnham Humphrey A different and distinguished book on symphonic music performed by the Chorus and Orchestra oj the in rehearsal and performance. Vivid action sketches. 1949 Salzburg Festival, conducted by Prof. Joseph Messner Delightful commentary by the artist. One 12-inch Long Playing record • (FLP 100 $5.95) Koussevitzky, Bernstein, Carvalho and many others may be purchased at the Tanglewood Music Store On sale at the Tanglewood Music Store, $3.50 A Igonquin Press — Boston MERRYWOOD at LENOX f-^aintin^i & Ujr)rawtna6 A unique summer's experience in Music and the Arts for girls — 6 to 16 years. by REMY Merrywood has its own children's theatre for train- ing in the Drama and in the Dance. Swimming, Free Exhibit July through September Canoeing and Riding under expert instruction.

Briar Hill • South Ashfield, Mass. Valerie Deucher, Director (Old Town Farm) Lenox, Mass., Old Stockbridge Road (Tel. Lenox 79)

oLenox Summer ^rrt School 5E BROOKSIDK SCHOOL ?%£*. Adjacent to Tanglewood • Wheatleigh, Lenox, Mass. GREAT BARRINGTON, MASS.

Beginners and Advanced Students Junior and Senior High School and Practical Courses.

All Media Calligraphy Also Lower Grades. Tutoring. Competent Instructors.

Excellent Staff of Artists Shops. All arts. Sports. Visit our beautiful campus. 24 VSerh&hire festival TANGLEWOOD, 1950

FOR DELIGHTFUL LUNCHING and DINING of tragic action : (1) start, (2) rise, (3) height, (4) change, (5) close. The first two encompass the Olljrtstmajs Qxn (ifcrrare exposition, three and four the development, a bridge from four to five, and five, the coda. Late suppers served after the concert

Tea Cocktails • 4-7 "It is a portrait (more accurately, a psycho-orches- Late suppers • 9-12 tral study — if I may invent such a dual delinea- Sunday suppers • 5-10 tion) of a munificent man whose false generosity Saute X - between ^tnrkbnoge ana SJettnx betrays him. In other words, he doesn't know how to be generous. He is — as W. H. Auden said, 'like _Xr ~J>umplionu in ^J~ the kleptomaniac who steals and then returns the stolen goods as gifts ... we are all members, we A resort with an F major for fun, fine food, and fabulous location. Tennis, golf, riding, cannot take without giving and give without tak- swimming and dancing. Open until Novem- ing.' Timon is generous so long as people respect ber. Transient meals served. Sunday buffet supper at 5:30. his generosity. When he is no longer wealthy and Recommended by Duncan Hinet cannot stave off his creditors, people turn from him Lunch $1.75 Dinner $2.00 and his ensuing mental disintegration reveals one of EASTOVER - - - - lenox. massachusetts the greatest examples of misanthropic terror. He no

longer feels he belongs to humanity; it has let him led fctua I J4ou6e . . . AT LENOX, MASS down in his need. He curses humanity, goes to Telephone: Lenox 8107 the forest to live among the animals in dark despair, but not without a certain nobility of spirit that can- Accommodations — European Plan • Public Dining Room Serving Delicious, Inexpensive Meals • Canteen Open to not leave him. Only the relation between the giving the Public • Soft Drinks, Sundaes, Sandwich Grill, Souvenirs, and the getting among humans has confused Timon Notions • in Before and After Concerts. Come and driven him to despair. But in his misanthropic madness there is always a noble and resigned agony. We leave him that way. STAY AT MUSIC INN and WALK to Tanglewood for the concerts "This work augments the series of works inspired this summer by Shakespearean drama. In 1944, I composed the Fishing, swimming, boating, tennis score for Margaret Webster's production of 'The ioo acres for loafing Our Berkshire Almanac available on request Tempest;' in 1949, 'Romeo and Juliet' for the Write to Stephanie Frey Barber, Lenox, Mass. Little Orchestra Society of New York, and now " New York Phone — Murray Hill 5-0866 'Timon of Athens.' SHEFFIELD INN "The Song of Songs" Sheffield, Massachusetts Second Biblical Solo Cantata for Soprano and Route No. 7 on Orchestra Stuart M. Beard, 2nd, Owner and Mgr. LUKAS FOSS An Inn for Discriminating People Born in Berlin, August 15, 1922 Lukas Foss composed "The Song of Songs" in the summer of 1946.

OlOOf riELO.COHH The composer has chosen his text from "The version). first Table D'hote Luncheon Dinner A la Carte Song of Solomon" (King James The "Druid" Bar Parlour of the four movements is a free fugue combined with Peter Walters at the piano Telephone Ridgefield 232 Luxurious overnight accommodations the variation form. The second movement is an VICTOR GILBERT, Skinker OPEN EVERY DAY aria in which the second verse is a virtual repetition, On Route 7 Danbury Norwalk Road, musically speaking. The third movement takes the 13 miles from Merritt Parkway THE YELLOW ASTER PITTSFIELD-LENOX ROAD SUN-INSIDE PITTSFIELD, MASSACHUSETTS Prop. Fred Lancome

Luncheon Cocktail Lounge Dinner Monterey, Rte. 23 • Tel.: Gr. Barrington 1148M3 12.00 to 2.00 S.30 to 9.00 IN BEST FRENCH TRADITION Sundays 12.30 to 3.00 • 5.30 to 8.00 FOOD THE MRS. A. CASSANI, Owner and Manager AFTERNOON TEA ; ; ; :

teerkihire Zrestit/al TANGLEWOOD, 1950 25

an BIRD SPORT SHOP form of a dramatic recitative, leading by way of BLUE which . . . MASS. orchestral interlude directly into the finale, MAIN STREET STOCKBRIDGE, the composer defines as a "Prayer." Distinctive Woolen Sportwear WINTER SHOP I 52 GREEN STREET, NORTHAMPTON, MASS. Awake, O north wind; (Opposite Smith College Campus) and come, thou south blow upon my garden until the day break, and the shadows flee away ( SOLE SUPPLIERS OF CHOCOLATE blow upon my garden ( SPECIALTIES TO THE BERKSHIRE FESTIVAL Until the day break, 1 and the shadows flee away turn, my beloved, I cJjoily. rf/liu C^andied and be thou like a roe or a young hart mountains of Bether. BOSTON, MASS. upon the L J

II Come, my beloved, DAILY TRIPS to and from NEW YQRK let us go forth into the field; • door-to-door • let us lodge in the villages. New York Office Berkshire Office get up early to the vineyards; Let us 2148 Aqueduct Avenue Great Barrington, Mass. let us see if the vine flourish, whether the tender grape appear, N.Y. 53 CYpress 8-1312 Phone 940 and the pomegranates bud forth: BERKSHIRE LIMOUSINE SERVICE, INC. there will I give thee my loves. My beloved spake, and said unto me: I.C.C. licensed insured Rise up, my love, my fair one, and come away. - For, lo, the winter is past, ENJOY YOURSELF NOW - - the rain is over and gone But after vacation SELL PRODUCTS earth YOUR the flowers appear on the ;

! U. S. the time of the singing of birds is come, with MOSS PHOTOS Largest Photo House in A. our land: and the voice of the turtle is heard in Best Wishes — OIlie Moss, President Arise, my love, my fair one, and come away. MOSS PHOTO SERVICE, Inc. 155 West 46th Street New York 19, N. Y. Ill By night on my bed I sought him whom my soul loveth I sought him, but I found him not; ~J-rawthorne i^oua e I called him, but he gave me no answer. ZJne 9 The watchmen that went about the city found me, they smote me, It was at Tanglewood that they wounded me; lived for 18 months in 1850-1851, occupying the I charge you, O daughters, I charge you, relating still if ye find my beloved, that ye tell him, "Little Red House," and there the that I am sick of love. unwritten Tanglewood Tales to his children. The

cottage, destroyed by fire in 1891, has been rebuilt IV in replica on the original site, through the generosity Set me as a seal upon thine heart, of the National Federation of Music Clubs. as a seal upon thine arm: for love is strong as death.

Aublic iKehear&ai6 ELLABELLE DAVIS was born and spent her earlier The public will be admitted to three Saturday years in New Rochelle, New York, in humble circum- morning rehearsals the Boston stances. At the age of fifteen she developed her voice by by Symphony Or- singing in a local church choir and high school glee club. chestra in the Shed (July 29, August 5, August 12). Appearances with symphony orchestras and in recital were The admission fee will be $1, the proceeds to be followed by tours of Mexico and cities of Central and devoted to the Pension Fund of the Orchestra mem- South America. Miss Davis sang with this orchestra in bers. Each rehearsal begins at 10 A.M. promptly. the first performances of "The Song of Songs" (in the season 1947-1948). ''

20 (fSerhshire Zredtivat T ANGLEWOOD, 1950

SERVICES IN LENOX Symphony in E Minor, No. 4, Op. 98 BERKSHIRE FARM AGENCY JOHANNES BRAHMS Lenox, Mass. East Chatham, N. Y. Born at Hamburg, May 7, 1833; died at Vienna,

Choice lake sites on beautiful Laurel Lake, April 3, 1897 three miles from Tanglewood. From $750. The first two movements were composed in the summer Farms, estates, resort property of 1884; the remaining two in the summer of 1885. The literature upon request Symphony had its first performance at Meiningen, Octo- Lenox 238 " Chatham 5-5363 ber 25, 1885, under the directoin of the composer.

When Brahms returned to Vienna at the end of CARR HARDWARE CO. September, 1885, Max Kalbeck sat with him over a cup of coffee and pressed him as far as he dared Plumbing Supplies, Paints, Electrical and for news about the musical fruits of the past sum- Household Supplies, Lighting Fixtures mer. He asked as a leading question whether there might be a quartet. ' 'God forbid,' said Brahms, 413-415 North Street, Pittsfield Phone 2-1581 according to Kalbeck's account in his biography, 'I have not been so ambitious. I have put together only a few bits in the way of polkas and waltzes. If you would like to hear them, I'll play them for WILLIAM T. LAHART you.' I went to open the piano. 'No,' he pro- tested, 'let it alone. It is not so simple as all that. must get hold of Nazi/ He meant Ignaz C^lectrical (contractor We Briill and a second piano. Now I realized that an important orchestral work, probably a symphony, SHOP was afoot, but I was afraid to ask anything more for I noticed that he already regretted having let Church Street, Lenox Phone .... 146W his tongue run so far. • "A few days later he invited me to an Ehrbar HOME evening — a musical gathering in the piano ware- School Street, Lenox .... Phone 146R rooms of Friedrich Ehrbar. There I found Han- slick, Billroth, Brahms, Hans Richter, C. F. Pohl, and Gustav Dompke. While Brahms and Briill

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^^^^W^Tr-VV + WVWWW*^ ^VW ' (iDerkihire Zrestival TANGLEWOOD, 1950 27

played, Hanslick and Billroth turned the man- uscript pages. Dompke and I, together with Rich- ter, read from the score. It was just as it had been two years before at the trying-out of the Third Symphony, and yet it was quite different. After the wonderful Allegro, one of the most substantial, but also four-square and concentrated of Brahms' movements, I waited for one of those present to break out with at least a Bravo. I did not feel important enough to raise my voice before the older and more famous friends of the master. Richter murmured something in his blond beard which might have passed for an expression of ap- proval. Brull cleared his throat and fidgeted about in his chair. The others stubbornly made no sound, and Brahms himself said nothing to break the paralyzed silence. Finally Brahms growled out, 'Well, let's go on!' — the sign to continue: whereupon Hanslick uttered a heavy sigh as if he felt that he must unburden himself before it was too late, and said quickly, 'The whole movement gave me the impression of two people pummelling each other in a frightful argument.' Everyone laughed, and the two continued to play. The strange-sounding, melody-laden Andante impressed me favorably, but again brought no comment, nor could I bring myself to break this silence with some clumsy banality." Kalbeck, who had borne nobly with Brahms up ROUTES TO TANGLEWOOD to this point, found the Scherzo "unkempt and heavily humorous," and the finale a splendid set of variations which nevertheless in his opinion had no A WORD ON place at the end of a symphony. But he kept his Conditions counsel for the moment, and the party broke up Traffic rather lamely with little said. When he met The large number of cars coming to the Berkshire Brahms the next day it was clear that the composer Festival Concerts overtaxes the highway approaches had been taken aback by this reception of his score. to Tanglewood and makes for traffic congestion. " 'Naturally I noticed yesterday that the symphony The Massachusetts State Police, Dept. of Public didn't please you and I was much troubled. If Works, police officials of Lenox, Stockbridge, Lee people like Billroth, Hanslick, or you others do and Pittsfield and the administration of the concerts not like my music, who can be expected to like it?' are cooperating fully to improve the traffic situa- 'I don't know what Hanslick and Billroth may tion, but Festival visitors are urged to reconcile in to think of it,' I answered, 'for I haven't said a word themselves advance some delay. You can help several to them. I only know that if I had been fortunate in ways. enough to be the composer of such a work, and 1 . FOLLOW THE TANGLEWOOD SIGNS, which have been could have the satisfaction of knowing that I had placed to show the least congested routes. put three such splendid movements together, I 2. COME EARLY. The grounds will open at noon on would not be disturbed. If it were for me to Sunday and at six o'clock for evening concerts say, I would take the scherzo with its sudden main The buffet at Tanglewood will serve hot meals as banal second thoughts and throw it in theme and well as light refreshments before each concert. the wastebasket, while the masterly chaconne would Many bring picnic meals. stand on its own as a set of variations, leaving 3. STAY LATE. The sudden outpouring of cars onto the remaining two movements to find more suitable the highways at the close of the concerts is the companions.' ' Kalbeck was surprised at his own principal cause of traffic delay. The gardens at temerity in venturing so far with the sensitive and Tanglewood will be open and lighted for at least an irascible composer, and waited for the heavens to hour after every concert. You are invited to stay as long as descend, but Brahms received this judgment meekly, convenient to enjoy them. only protesting that the piano could give no ade- 4. HAVE PATIENCE. './

28 d5erhdhire ^redlivat TANGLEWOOD, 1950

RCA VICTOR RECORDS quate idea of the scherzo, which had no connection Boston Symphony Orchestra whatever with the keyboard, and that Beethoven in Recorded under the direction of Serge Koussevttzky the Eroica and elsewhere had made use of a varia- Bach, C. P. E. for Orchestra in D major tion finale. It was plain that he was in serious M **6 Bach, J. S. Brandenburg Nos. l, 2, 3, 4, 5, doubt as to whether the symphony would be accepted Suites **1, 2, 3, **4; Prelude in E major at all. He decided, however, after a long conver- Beethoven Symphonies Nos. 2, *3, **5, 8, and **9 ; Missa sation, that having Solemnis ; Overture to "Egmont" gone so far he must see it Berlioz Symphony, "Harold in Italy" (Primrose) Three ; through, and that a rehearsal with orchestra at Pieces, "Damnation of Faust"; Overture, "The Roman Meiningen could be hoped Carnival" to give a more plaus- Brahms Symphonies Nos. **3, 4; Violin Concerto ible account of the symphony and even to give the

(Heifetz) ; Academic Festival Overture "nasty scherzo" a presentable face. Copland "El Salon Mexico," "," "A " The opinion of the discerning Von Bvilow was Debussy "La Mer," Sarabande more encouraging. Faure "Pelleas et Melisande," Suite He wrote after the first re-

Foote Suite for Strings hearsal : "Number four is stupendous, quite original, Grieg "The Last Spring" individual, and rock-like. Incomparable strength Handel Larghetto (Concerto No. 12) ; Air from "Semele" from start (Dorothy Maynor) to finish." But Brahms may have dis- Hanson Symphony No. 3 counted this as a personally biased opinion, as he Harris Symphony No. 3 certainly discounted the adoring Clara Schumann Haydn Symphonies Nos. *94, "Surprise" (new record- and Liesl Herzogenberg, when he weighed their ing) ; 102 (B-flat) Khatchatourian ** (Kapell) words against the chilling skepticism of his male Liadov "The Enchanted Lake" cronies. Liszt Mephisto Waltz Mendelssohn Symphony No. **4 "Italian" (new) So far as the public was concerned the Fourth Moussorgsky "Pictures at an Exhibition"; Prelude to "Khovanstchina" Symphony fared as many other prodigious new in major major Mozart Symphonies E (26) ; A (29) ; works in their time — those who were puzzled or

*B flat (33) ; C major (34) ; *C major (36) ; *E flat even dazed by it already felt its beauty and power. (39) ; Serenade for Winds; Overtures, "Idomeneo," "La Clemenza di Tito"; Air from "Magic Flute" Florence (Dorothy Maynor) May has described a performance in Piston Prelude and Allegro (Organ: E. Power Biggs) Vienna, on March 7, 1897, at a Philharmonic con-

"Classical Symphony (new recording) ; Violin Prokofieff cert. Brahms was then a sick man; he had less Concerto No. 2 (Heifetz); "Lieutenant Kije," Suite; than a month to live: "Love for Three Oranges," Scherzo and March ; ""; Suite No. 2, "Romeo and Juliet"; Dance from "Chout"; **Symphony No. 5 "The fourth symphony had never become a favor-

Rachmaninoff "Isle of the Dead" ; "Vocalise" ite work in Vienna. Received with reserve on its Ravel "Daphnis and Chloe," Suite No. 2 (new record- first performance, it had not since gained much ing) ; Rapsodie Espagnole; **"Mother Goose" (new recording) **Bolero more from the general public of the city than the Rimsky-Korsakov "The Battle of Kerjenetz"; Dubin- respect sure to be accorded there" to an important ushka work by Brahms. Today, however, a storm of Satie "Gymnopedie" 1 and 2 applause broke out at the end of the first move- Schubert **"Unfinished" Symphony (new recording) ;

Symphony No. 5 ; "Rosamunde," Ballet Music ment, not to be quieted until the composer, com- Symphony No. 1 ("Spring") Schumann ing to the front of the artist's box in which he Shostakovitch Symphony No. 9 was seated, showed himself to the audience. The Sibelius Symphonies Nos. 2 and 5 ; "Pohjola's Daugh- ter"; "Tapiola"; "Maiden with Roses" demonstration was renewed after the second and Sousa "The Stars and Stripes Forever"; "Semper Fidelis" the third movements, and an extraordinary scene Strauss, J. Waltzes: "Voices of Spring"; "Vienna Blood" followed the conclusion of the work. Strauss, R. "" The applaud- "Till Eulenspiegel's Merry Pranks"; »"Don Juan" ing, shouting house, its gaze riveted on the figure (Sanroma) Song of the Volga Stravinsky Capriccio ; standing in the balcony, so familiar and yet in pres- Bargemen ent aspect so strange, seemed Tchaikovsky Symphonies Nos. **4, **5, 6; **String unable to let him

Serenade) ; Overture "Romeo and Juliet"; "Francesca go. Tears ran down his cheeks as he stood there, da Rimini" shrunken in form, with lined countenance, strained Thompson "The Testament of Freedom" expression, white hair hanging lank; and through Vivaldi Concerto Grosso in D minor Wagner Prelude and Good Friday Spell, "Parsifal" the audience there was a feeling of a stifled sob, Weber Overture to "Oberon" for each knew that they were saying farewell. An- Recorded under the direction of Charles Munch other outburst of applause and yet another; one Beethoven **Symphony No. 7 more acknowledgment from the master; and

•Also 45 r.p.m. **Also 33 1/3 (L.P.) and 45 r.p.m. Brahms and his Vienna had parted forever." 2 (fJerkdliire ^J-edt'wai TANGLEWOOD, 1950 9 ANNOUNCEMENT!

Friday August 1 1 . . . Events from 6 to 1 1 P. M.

(RAIN or SHINE )

For the Benefit of the Berkshire Music Center

ASSEMBLY and PARADE of the Berkshire Music Center

After which all will be invited to attend the activities of the school

SYMPHONY ORCHESTRA . OPERA SCENES • THE CHORUS . CHAMBER MUSIC

LAWN PARTY PICNIC SUPPER

THE BOSTON SYMPHONY ORCHESTRA

Will Give a Concert in The Shed

SERGE KOUSSEVITZKY, Conductor

In the following program:

HAYDN "Oxford" Symphony

PROKOFIEFF "Peter and the Wolf"

DVORAK Symphony, "From the New World"

The Berkshire Music Center announces with gratitude that MRS. ELEANOR ROOSEVELT has accepted the invitation to appear as the narrator in "Peter and the Wolf".

DOOR PRIZES .... WALTZING ON THE LAWN

Watch for further announcements

TICKETS NOW . . .Box Seats — $$ Reserved Sections — $4

Unreserved Section $2.50 {Admits to all above events) . —

3° (/Jerkdli 2 ~J~edliva TANGLEWOOD 19 50

July 27, Thursday — Shed at 8:15 Berkshire Festival Concert — A-l Beethoven: Symphony No. 3 ("Eroica") Sibelius: 4

(Including Berkshire Festival Programs) July 28, Friday — Shed at 4:30 *Dept. II Orchestra

TANGLEWOOD, 1950 Shed at 8:15 Dept. II ( This schedule is subject to change. Friends of the Berk- •Concert in honor of the 200th Anniversary of the shire Music Center should confirm dates of student per- death of , including concertos formances before coming to Tanglewood. Hours indicated for two, three, and four pianos, and for two violins are Daylight Saving Time. Starred events (*) are open by invitation to the Friends of the Berkshire Music Center July 29, Saturday — Shed at 10:00 a.m. 'within the limits of the seating space available. The opera Boston Symphony Orchestra Rehearsal productions of August 7 and 8 (**) will require special (Benefit: Pension Fund) tickets.) Shed at 8:15 Berkshire Festival Concert — A-2 FESTIVAL REHEARSALS — Admission to Bruckner: Symphony No. 7 — Debussy: Two Noc- three Saturday morning rehearsals (July 29, turnes — La Mer. Serge Koussevitzky conducting August 5 and August 12) at 10 A.M., $1 each,

proceeds for the benefit of the Orchestra's Pen- July 30, Sunday — Chamber Music Hall at 10:00 a.m. sion Fund. *Dept. II Chamber Music

Shed at 3:00 Berkshire Festival Concert — A-3 The Berkshire Music Center Shapero: Adagietto — Diamond: Timon of Athens — Foss: The Song of Songs (Ellabelle Davis) — Brahms: SERGE KOUSSEVITZKY, Director Symphony No. 4. Leonard Bernstein conducting ' Forum The young musicians of the school at Tanglewood Chamber Music Hall — Dept. Ill — at 8:15 are ready to share with all who will endorse their efforts the music they are producing almost daily in July 31, Monday — Theatre at 8:15 the three auditoriums. *Dept. IV Opera Scenes, including "The Jumping Frog" (By Lukas Foss) A voluntary contribution constitutes membership in the Friends of the Berkshire Music Center. As August 1, Tuesday — Theatre at 4:30 a Friend you are invited to its performances subject Dept. V Small Choir only to limitations of seating capacity. Checks should be made payable to the Boston Symphony Theatre at 8:15 Orchestra, Inc., and addressed to Friends of the Coolidce Concert Berkshire Music Center, Tanglewood, Lenox, (•Alexander Schneider, Violin) Solo sonatas and suites Massachusetts. of Bach

August 2, Wednesday — Theatre at 8:/£ Coolidce Concert The Berkshire Music Center was initiated in 1940 (•Alexander Schneider, Violin) Solo sonatas and suites by Serge Koussevitzky and founded by the Boston of Bach Symphony Orchestra to provide an opportunity for music study in connection with the Berkshire Festi- August 3, Thursday — Shed at 8:15 val Concerts given annually by the Orchestra at Berkshire Festival Concert — B-l Tanglewood. It offers trained musicians experience Brahms: Academic Festival Overture — Schubert: in group performance in association with dis- a "Unfinished" Symphony — Respighi: "Pines of Rome" tinguished faculty, including the principals of the — Gould: "Spirituals", for String Choir and Orchestra Boston Symphony Orchestra. — Wagner: Prelude and Love-Death, "Tristan and Isolde" conducting

August Friday Hall at Baldwin Piano RCA-Victor Records 4, — Chamber Music 4:30 Programs Subject to Change •Depts. II & IV Song Recital

Shed at 8:15 •Dept. II Orchestra — —

dSerhskire festival TAN6LEWOOD 19 50 3 1

August 5, Saturday — Shed at 10:00 a.m. Boston Symphony Orchestra Rehearsal (Benefit: Boston Symphony Orchestra Pension Fund) I

Chamber Music Hall at 3:00 ( (Sixty-ninth Season, 1949-1950) *Dept. Ill Composers' Forum CHARLES MUNCH, Conductor Shed at 8:15 j Richard Burgin, Associate Conductor Berkshire Festival Concert — B-2 Bach: Sinfonia from the Christmas Oratorio — Mozart: ) PERSONNEL Symphony in E-flat major, K. 543 Berlioz: Overture "The Roman Carnival" — Ghedini: Pezzo Concertante ) Violins Flutes Richard Burgin, Georges J Laurent — Beethoven: Symphony No. 5, in C minor Victor de ( Concert-master James Pappoutsakis Sabata conducting j Alfred Krips Phillip Kaplan { Gaston Elcus Rolland Tapley Piccolo August 6, Sunday — Chamber Music Hall at 10:00 a.m. j [ Norbert Lauga George Madsen *Dept. II Chamber Music j George Zazofsky { Paul Cherkassky Oboes Harry Dubbe Shed at 3:00 J Vladimir Resnikoff John Holmes Berkshire Festival Concert — B-3 Jean Devergie 5 Joseph Leibovici Einar Hansen Joseph Lukatsky Ravel: Suite, "Mother Goose" — Alborada del Gra- I Daniel Eisler j English cioso — Piano Concerto (Leonard Bernstein) Ber- ' Horn lioz: Romeo and Juliet (excerpts) Leonard Bernstein 5 Carlos Pinfield conducting £ Paul Fedorovsky I Harry Dickson Clarinets I Minot Beale Manuel Valerio August 7, Monday — Shed at 4:30 Attilio Poto *Dept. Orchestra Pasquale Cardillo V Clarence Knudson J Efr Clarinet 1 Pierre Mayer Theatre at 8:15 Manuel J Zung Bass Clarinet V Samuel Diamond Dept. IV Opera Rosario Mazzeo 1 Victor Manusevitch Ibert: **"Le Roi D'Yvetot" . James Nagy Bassoons "5 Leon Gorodetzky ' August 8, Tuesday — Chamber Music Hall at 4:30 Raphael Del Sordo Raymond Allard 5 Melvin Bryant Ernst Panenka *Dept. V Small Choir I John Murray Theodore Brewster J Lloyd Stonestreet Program of contemporary American choral music V Henri Erkelens Contra-Bassoon J Saverio Messina Theatre at 8:15 Boaz Pi Her \ Herman Silberman Dept. IV Opera j Stanley Benson Horns I Sheldon Rotenberg Ibert: **"Le Roi D'Yvetot" Willem Valkenier James Stagliano Principals August 9, Wednesday — Theatre at 8:15 Harry Shapiro Coolidge Concert : Violas Harold Meek Joseph de Pasquale Paul Keaney Walter Bach: Including "The Musical Offering" j Jean Cauhap6 Macdonald { Georges Fourel Osbourne McConathy Eugen Lehner August 10, Thursday — Shed at 5 to 6:30 & 8:15 J £ Albert Bernard Berkshire Festival Concert — C-l \ Emil Kornsand Georges Mager George Humphrey Bach: Mass in B minor (in two parts) (Adele Addi- [ j Louis ArtiSres Principals son— David Lloyd — — ) I Charles Van Wynbergen Marcel Lafosse Jerome Lipson Serge Koussevitzky conducting J Harry Herforth I Siegfried Gerhardt Ren6 Voisin August 11, Friday Trombones "Tanglewood on Parade" Jacob Raichman I Violoncellos (See page 29) Lucien Hansotte f Samuel Mayes John Coffey '. Alfred Zighera Josef Orosz August 12, Saturday — Shed at 10:00 a.m. f Jacobus Langendoen Boston Symphony Orchestra Rehearsal * Mischa Nieland Tuba Hippolyte Droeghmans Vinal Smith (Benefit: Pension Fund) J 5 Karl Zeise f Josef Zimbler Harps Shed at 3:00 Bernard Parronchi j Bernard Zighera f Enrico Fabrizio •Dept. II Orchestra Elford Caughey Leon Marjolletj J Shed at 8:15 Timpani Berkshire Festival Concert — C-2 Roman SzjIc Charles Smith 1 Basses Berlioz: Harold in Italy (Joseph de Pasquale) — J Georges Moleux Percussion Ibert: Escales — Villa-Lobos: Choros 10 Willis Page / Max Polster conducting : Liidwig Juht Simon Sternburg / Irving Frankel ! Henry Greenberg] Piano August 13, Sunday — Theatre at 10:00 a.m. / Henry Portnoi i Gaston Dufresne Lukas Foss •Dept. II Chamber Music Henri Girard f Librarian Prokofiefi: Symphony No. 6 — Brahms: Symphony ! Henry Freeman f John Barwicki Leslie Rogers No. 1 Serge Koussevitzky conducting 'c*o &4WI/ /case*fi&*C0 400

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