nMSHnM

\f* TANGLEWOOD — .

This "New Orthophonic" High Fidelity Album won't be released until September BUT YOU MAY OWN IT NOW!

y:*KW ..HTIIOMKWK •- Berlioz III,;,. MUttMTY KHXMUHK4 5 fclv - fvfsr m THE DAMNATION OF FAUST

You may enjoy treasured "encores" of this masterful

interpretation without waiting! A limited is number of advance copies of this new album are v available to Festival patrons only at the

Tanglewood Music Shop on the Festival grounds. x* V "Ml

' ' >l« I.,.

INVITE MR. MUNCH AND MR. MONTEUX INTO YOUR HOMES!

Hear them conduct these *Romeo and Juliet t Symphonic Fantastique other Berlioz Cycle highlights Complete. Boston Symp. Orch. San Francisco Orchestra con-

as often as you choose . . conducted by Charles Munch. ducted by Pierre Monteux.

Hear the RCA Victor Collector's re-issue of "Harold in Italy' Primrose, Viola; Boston Symp. Orch., Koussevitsky, cond.

Other Munch Recordings Other Monteux Recordings * Richard Strauss: Don Quixote *Chausson: Poem of Love and with Piatigorsky, Cellist; Bur- the Sea with Gladys Swarthout, gin, Violinist; de Pasquale, Mezzo Soprano Violist. * Mozart: Concerto No. 12, in A, * Brahms: Piano Concerto No. 2 K. 414. Concerto No. 18, in B- with Artur Rubinstein, Pianist Flat, K. 456, with Lili Kraus, t Brahms: Symphony No. 4 Pianist Haydn: "London" Symphony * Liszt: Les Preludes t Munch conducts French Music Scriabin: Poeme d'Extase t Schubert: Symphony No. 2 t Stravinsky: The Rite of Spring

t Schumann: "Spring" Symph. Rimsky-Korsakoff: * Tchaikovsky: Violin Concerto Scheherazade, Op. 35 in D Nathan Milstein, Violinist tFranck: Symphony in D Minor

* A "New Orthophonic" High Fidelity Recording A High Fidelity Recording -f

rca\/ictor FIRST IN RECORDED MUSIC BOSTON SYMPHONY ORCHESTRA

CHARLES MUNCH, Music Director

^Berkshire Festival Season 1954 TANGLEWOOD, LENOX, MASSACHUSETTS

6 Concerts of Chamber Music in the Theatre-Concert Hall 6 Concerts by Members of the Boston Symphony Orchestra in the Theatre-Concert Hall 12 Concerts by the Boston Symphony Orchestra in the Music Shed THIRD WEEK

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

COPYRIGHT, I954, BY BOSTON SYMPHONY ORCHESTRA, INC. X

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 Palfrey Perkins John Nicholas Brown Alvan T. Fuller Francis W. Hatch Michael T. Kelleher Lewis Perry Edward A. Taft Raymond S. Wilkins Oliver Wolcott

Tanglewood Advisory Committee

Alan J. Blau Henry W. Dwight F. Anthony Hanlon George E. Mole Lenges Bull George W. Edman Lawrence K. Miller Whitney S. Stoddard Jesse L. Thomason Robert K. Wheeler H. George Wilde X George E. Judd, Manager

Assistant Managers: T. D. Perry, Jr., N. S. Shirk 1954 BERKSHIRE FESTIVAL Tanglewood

Symphoniana *•» The Berlioz Season The Berlioz performances at the Festival sum up a widespread recognition of the genius of this com- poser remembered in many places through the sesqui- centennial season. Mr. Munch conducted Romeo and Juliet in New York and Washington during the MUSIC. season past and the Damnation of Faust in Boston. A Berlioz Society recently formed has focused public IN COMFORT attention on these activities. This orchestra's re- cording of the first of these works has won a Grand Prix du Disque of 1954. A recording of the Imagine yourself entering a cool, Damnation of Faust made just after the perform- tastefully decorated studio a on hot ance is now available at the Tanglewood Music

summer . . day , relaxing in a comfortable Store before its release in September. The current easychair and listening to fine music (July) issue of High Fidelity Magazine features via quality high fidelity instruments the recordings of this composer.

. . fa pure ntasy you say . . , but, In Memory of Elizabeth Sprague Coolidge at Ki^^A^B Fantasy Becomes Reality.1 Berkshire County has long been richly provided Nowhere will you find a demonstration with chamber music through the beneficence of the locale to compare with ASCO's late Elizabeth Sprague Coolidge. The chamber con- much-discussed sound studios. Here certs which she gave at Tanglewood alone or through the Coolidge Foundation of the Library of the world of High Fidelity is opened to your Congress are continued in the Wednesday evening eyes and ears . . . and you will enjoy chamber series now part of the Festival ; the pro- recorded music as you never have before. ceeds of these concerts will be devoted to the Tangle- You're always welcome at ASCO . . . even wood Revolving Scholarship Fund. if just to browse around and talk to any The summer chamber music concerts established of the professional ASCO sound men, at South Mountain in 1918 by Mrs. Elizabeth specialists in the field of High Fidelity. Sprague Coolidge will begin July 10. This season Make sure you hear and see the ASCO six concerts will be given on Saturday afternoons at Miniature-compactly designed to make 4:00, under the joint sponsorship of the Elizabeth Coolidge Foundation of the Library of your summer listening —wherever it Sprague Congress and the Fromm Music Foundation of may be- High Fidelity listening. Chicago, in cooperation with the South Mountain If you would like complete Association. Programs include a Beethoven Sonata information on the ASCO Miniature Series by Alexander Schneider, violin, and Artur line, write to ASCO, Dept. C. Balsam, piano, July 10, 24 and August 7; Leontyne Price, soprano, and Samuel Barber, piano, July 17; John Barrows, horn, Alexander Schneider and Artur

Balsam, July 31 ; Juilliard String Quartet, August 14. A limited number of tickets are available without charge on written application to Mrs. Willem Willeke, Musical Director, South Moun- tain Association, Pittsfield, Massachusetts.

Exhibition at the Berkshire Museum An exhibition of the Willson Collection of por- traits of composers (engravings, etchings and litho- graphs) is being shown at the Berkshire Museum in Pittsfield throughout the Festival season. The Berkshire Museum announces exhibitions of special interest for July: paintings by Lawrence R. McCoy and "Massachusetts' Crafts of Today." For July and August there is an exhibition of rooms from the 16th Century to the present, reproduced in miniature by Andrew Zenorini. The Little ZAQnth Program

WEDNESDAY EVENING, JULY 21, at 8:30 THE ZIMBLER SINFONIETTA

{Members of the Boston Symphony Orchestra)

Vivaldi Concert! delle Stagioni (The Four Seasons) for String Orchestra

Spring

Allegro: *"Spring has come and the birds greet it joyously. The brooks flow with a sweet murmur. Thunder and lightning come and cover the sky with a black mantle. When the storm has passed the birds return to their sweet song. Largo: The goatherd with his faithful dog sleeps on the flowery meadows amidst the murmur of the leaves. Allegro: At the bright coming of spring, nymphs and shepherds dance to the festive sound of shepherds' pipes.

Summer

Allegro non molto: Men and flocks languish under the hot sun; the cuckoo's voice is heard and the dove sings. A gentle breeze is blowing, but Boreas suddenly appears. Adagio: The shepherd laments because he fears a tempest. The fear of lightning and thunder, as well as the flies, destroy his rest. Presto: Alas! His fears come true, for there is thunder and lightning from Heaven and the hail breaks the tops of the grain and the great trees.

Autumn

Allegro: Harvest is celebrated with dance and song. Many, heated by wine, finish their pleasure with sleep. Adagio: The temperate air is delightful and everyone leaves dance and song, for the season invites us all to the pleasure of sweetest sleep. Allegro: The huntsmen go forth at dawn with horns and guns. The beasts flee terrified but finally die.

Winter Allegro: In the midst of the fierce wind people run stamping their feet and their teeth chatter from the cold. Adagio: One passes quiet, contented days by the fireside while the outside is drenched by rain. Allegro: One walks on ice cautiously for fear of falling. One tumbles, rises and runs until the ice breaks and melts. This is winter with all the winds at war, but still it brings joy.

Violin Solo: GEORGE ZAZOFSKY Harpsichord: FERNANDO VALENTI

*I he score contains anonymous verses which the music describes. The above paraphrase was made by Margaret Fiske. INTERMISSION

Stravinsky . "Apollon Musagete," Ballet in Two Scenes

Scene I. The Birth of Apollo — Scene II. Variation of Apollo — Pas d'Action — Variation of Calliope — Variation of Polymnia — Coda (Apollo and the Muses) -- Apotheosis

Rossini Sonata for Violins, Cellos and Double Bass Allegro — Andante — Moderato

BALDWIN PIANO RCA VICTOR RECORDS 1954 BERKSHIRE FESTIVAL Tanglewood

Cinema will show foreign films, each Wednesday NBC Broadcasts through Saturday. The Boston Symphony Orchestra will be heard The glassed reception room next to the Main throughout the nation beginning next October when Gate at Tanglewood will have six picture exhibi- the first part of each Saturday evening concert will tions through the Festival weeks arranged by Stuart be broadcast from Symphony Hall over the NBC Henry, Curator of the Berkshire Museum. Sculp- network. ture by Homer Gunn is in the formal garden. Broadcasts of Festival Programs Friends of the Berkshire Music Center WGBH, the FM educational station at Sym- All lovers of music who are interested in the Bos- phony Hall, Boston, of which the Boston Symphony ton Symphony Orchestra's school at Tanglewood Orchestra is a member, will make tapes of the 18 are invited to the numerous performances — orches- orchestral concerts of the Festival for broadcast tral, operatic, chamber and choral, which will be weekly until the winter season begins. Tapes will given through the season. These performances are also be made of concerts, lectures and forums of the open to all who become members by a voluntary Berkshire Music Center and these will be broadcast contribution. A full listing will be found on page during the fall and winter season. 31. A New Scholarship Tanglewood on Parade A fund is being set up to provide an annual "Con- New and special features are planned for the ducting Scholarship" in memory of Serge Kousse- annual Tanglewood on Parade to be given at vitzky. If you would like to have a part in this, Tanglewood on Friday, August 13. The details please send your contribution to Paul K. Fodder, will be announced shortly. Trust Officer, Agricultural National Bank, Pitts- Charles Munch as Author field, Massachusetts.

Charles Munch has written book: suis a "Je To New Yorkers chef d'orchestre" which is shortly to be published in Paris. The book is a study of a conductor's prob- A special round trip rate and service from New lems and privileges as viewed through the experience York City to Tanglewood and return for each Sun- of his career in Europe and America. day concert is offered by the New Haven Railroad.

HIGH FIDELITY MAGAZINE FEATURES IN JULY

As the headlines of this advertisement nique and art of recording and repro- claim, our July issue features a very ducing music have made every living wonderful article on the emergence of room a potential recital hall.

Berlioz . . . It is in this field that HIGH FIDELITY There's another "emergence" going Magazine has been so active for the on around you right now. It's some- past three years. Our purpose, in pub- thing unique and exciting, and you lishing the Magazine, is to help our

are a part of it. readers toward greater enjoyment of What's happening is this ... in these music, year round. To that end, for mid-century years, Americans have instance, our July issue includes the really, fully, for the first time, dis- Berlioz article; the usual 32 pages of THE EMERGENC OF HECTOR BERLIOZ

covered music. Part of the evidence is authoritative record reviews; the reg- now about you, in the unprecedented ular tested-in-the-home reports on the

crowds who have turned out this sum- newest high fidelity equipment . . . mer for Tanglewood and other music and, also as usual, a lot more. festivals. Single copies of HIGH FIDELITY are But the story is continued, year available at the Tanglewood Book- round, in the American home because store at 50c each. Subscriptions are $6 the vast advances which have been a year, $10 for two, $13.50 for three. made during recent years in the tech- Published at Great Barrington, Mass. AN EVALUATION OF HIS WORK BY JOHN N.BURK Tenth ^Program

FRIDAY EVENING, JULY 2 3, at 8:30

Handel Concerto Grosso for String Orchestra, Op. 6, No. 4

Larghetto affettuoso — Allegro — Largo e piano — Allegro

Haydn . Symphony in G major, "Military," No. 100

I. Adagio; Allegro

II. Allegretto

III. Menuetto

IV. Finale: Presto

INTERMISSION

Haydn Mass No. 3 in D minor ("Nelson")

Kyrie eleison, Christe eleison Gloria in excelsis — Qui tollis — Quoniam tu solus — Credo

Et incarnatus — Et resurrexit Sanctus -- Benedictus — Agnus Dei — Dona nobis pacem

Soprano: Naomi Farr Tenor: Marvin Worden

Contralto: Beatrice Krebs Bass: Thomas Stewart

Festival Chorus, Hugh Ross, Conducting

BALDWIN PIANO RCA VICTOR RECORDS 8 1954 BERKSHIRE FESTIVAL Tanglewood

Program Notes dSerhinlre f-^lauhouSe »•» STOCKB RIDGE, MASS. William Miles, Director Tenth 'Program

Week of July 5 Francesca Bruning in Concerto Grosso for String Orchestra, "PYGMALION" Op. 6, No. 4, in A Minor July 12 "MY THREE ANGELS" Georg Frideric Handel

July 19 To be announced Born in Halle, February 23, 1685; died in London, April 14-, 1759 July 26 MADAM, WILL YOU WALK?" Handel composed his set of twelve concerti grossi for strings between September 29 and October 30, 1739. A August in 2 ANNA RUSSELL notice in the London Daily Post on October 29 read: "This "TRAVELLERS' JOY" dav are published proposals for printing by subscription with His Majesty's royal license and protection, Twelve four violins, a tenor, August 9 "THE IRON GATE" a new play Grand Concertos in seven parts, for with a thorough-bass for the harpsichord. by John T. Chapman a violoncello, Composed by Mr. Handel. Price to subscribers two guineas. Ready to be delivered by April next. Subscrip- August 16 "CHARLEY'S AUNT" tions are taken by the author at his house in Brook Street, Hanover Square." The Concertos were published in the Season continues through September 4th. Nightly (except following April, and performed at the Theater Royal in Sun.) at 8:45 — $2.75, $1.85, $1.20. tax incl. Mats. Wed. Lincoln's Inn Fields. and Sat. at 2:30 — $1.85 and $1.20, tax incl. In 1739, twenty years after Bach composed his For reservations write Box Office or phone Stockbridge 460. Brandenburg concertos, Handel in London wrote these concerti grossi. Both composers based then- style upon Italian models, whence instrumental their music all derived at that time. Both knew consorted with the Corelli and Vivaldi : Handel had former at Rome, and Bach had carefully copied the works of the latter. Yet it takes no dissertation to show how very different are the orchestral concertos CRANE MUSEUM of the Kapellmeister at Cothen, and the magnificent musician then so familiar in London's theatres, who may almost be said to have composed before his Exhibits showing steps in making all -rag public. Purists have praised the carefully wrought papers and the progress of paper -making three movement form of Bach to the detriment of or six movements, "oscillating be- from Revolutionary times to the present. Handel's in four tween the suite and the sonata, with a glance toward the symphonic overture. It is this for which the theorists blame him," wrote Romain Rolland,* one of Handel's most persuasive champions, "and it is this for which I praise him. For he does not seek to impose a uniform cast on his thoughts, but leaves requires, it open to himself to fashion the form as he and the framework varies accordingly, following his inclinations from day to day. The spontaneity of his thought, which has already been shown by the extreme rapidity with which the Concerti were com- posed — each in a single day at a single sitting, and several in a week —constitutes the great charm of Open 2 to 5 p.m. Monday through Friday, these works. They are, in the words of Kretzsch- from June through September. Five miles east mar, grand impression pictures, translated into a the same time precise and supple, in which of Pittsfield on Route No. 9. form, at make itself easily DALTON. MASSACHUSETTS the least change of emotion can * "Handel" bv Romain Rolland, translated by A. Eagle- field Hull. )

954 BERKSHIRE FESTIVAL Tanglewood

felt. Truly they are not all of equal value. Their conception itself, which depended in a way on mere momentary inspiration, is the explanation of this extreme inequality." (The present editor takes ex- ception to these remarks, stoutly endorsing each of Elm Court the twelve — indeed the greater part of each of the twelve. .enox, a66aclvuieJmietti Symphony in G Major No. 100, "Military" Cordially Invites Franz Joseph Haydn You and Your Friends

Horn in Rohrau, Lower Austria, March 31, 1732; To Visit the Main House for died in Vienna, May 31, 1809 LUNCHEON. COCKTAILS Haydn composed this symphony for his second visit to and DINNER London, where it had its first performance on May 2, 1794.

been called This symphony might have "Turkish"

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sparkles prodigiously. The usual slow movement is replaced by an allegretto, built upon nothing else First Festival in America than a little French arietta, "La gentllle et jeune Avaloch presents: Lisette." Haydn showed his fondness for the

"catchy" and also workable tune by using it in three new yoRk different scores. In his Symphony No. 85, written for France, and known as La Rcinc, he also makes pRO-musica an allegretto from it, shaping the second phrase dif- ferently. Again he makes a movement of it in one of five concertos which he wrote for the lira or- Antique ganizzata for the delectation of the King of Naples, who cultivated that strange instrument. Here the Medieval, Renaissance and treatment is virtually the same, save for the different Baroque Music instrumentation — a reliance upon varying color combinations, rather than upon the traditional orna- August 18 8:30 P.M. mental variations which he used in La Reine. He Italian and English Music of the Renaissance and Baroque brings in his Turkish trio at each forte return of August 21 8:30 P.M. Court and Chapel Music of Henry V-Henry VIII the P'rench melody with a delightful tendency to August 22 1:30P.M. Music of the Spanish Renaissance diminish the boom-clash-tinkle combination to August 25 8:30P.M. pianissimo. Sprightliness is not forfeited in the English Medieval and Elizabethan Carols August 28 8:30P.M. minuet, nor in the finale which trips along in a Music of the German Renaissance and Baroque presto 6/8. There are quiet passages and sudden August 29 1:30 P.M. Vocal and Instrumental Works of outbursts in Haydn's best jocular vein. The Turk- Salamone Rossi, Hcbreo (Mantua 1587-1628) ish three return before the close. at Lenox Town Hall

Tickets: Subscription (6 concerts) $12.00 Visit Single admission, 12.40 the Information: New York Pro Musica Antiqua, TANGLEWOOD MUSIC STORE Dcpt. T, Lenox, Mass. — Phone 41

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[niniiiwn BRANCHES IN WORCESTER • SPRINGFIELD 954 BERKSHIRE FESTIVAL Tanglewooci 11

Mass No. 3, in D Minor, "Nelson" Franz Joseph Haydn CLOSEST TO TANGLEWOOD

Born in Rohrau, Lower Austria, March 31, 1732; died in Vienna, May 31, 1809

in Eisenstadt in 1 798, this was the AVALOCH Composed of the six masses which Haydn wrote between third A Country Inn 17^6 and 1802. It is the only one in the minor. The Mass is called in England the "Imperial" or • "Coronation" Mass. Yet it has been fairly defi- Offers Fine American Plan nitely linked with Lord Nelson. Accommoda tions "While Haydn worked on it," wrote Alfred Ein- stein, "the news of the Battle of the Nile arrived. The striking use of the trumpets in the Benedictus The dining room is open to the public, is usually thought to be associated with the news of featuring on Saturday evenings a magnifi- Nelson's decisive victory, which made a tremendous impression all over Europe. (After Haydn's death cent pre-concert buffet. Reservations are a chart of the Battle of the Nile was found among suggested. his papers.)"

Ci. A. Griesinger wrote of a visit by Lord Nelson FOR AFTERNOON AND EVENING SNACKS AND DRINKS and Lady Hamilton to the Esterhazys at Eisenstadt in September, 1800. "In Lady Hamilton Haydn found a great admirer. She visited the Esterhazy THE FIVE REASONS TAVERN esrate in Hungary but paid little attention to its AT AVALOCH splendors, and for two days did not budge from Haydn's side." Lady Hamilton contributed to the art of music by singing (of the value of this con- AVALOCH • West Street, Lenox, Tel. 41 tribution we are not informed). At any rate, she asked Haydn for vocal music of his own.

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12 1954 BERKSHIRE FESTIVAL Tanglewood

Ehven th T^rogram

Jean Morel

Jean Morel was born in Abbeville (Somme) in France. He studied piano with Isidor Philipp, composition with Noel Gallon and Gabriel Pierne. " e "SCORDIN6Recording "aN ° He studied the interpretation of lyric repertoire with Reynaldo Hahn and taught this subject at Fontainebleau at the age of 20. He became a con- ductor at the Opera Comique in 1936, the Orchestre Symphonique de Paris in 1939; in the same year he went to South America, conducting both concert and opera. From there he came to North America, THE LABEL THE TALK where he has conducted the New York City Sym- WITH THE OF THE phony (1939), and the New York City Center Opera (1944-51). He has appeared as guest in GREAT ENTIRE other cities of the United States, in Mexico and in TRADITION COUNTRY Canada. In 1948 he became head of the orchestral department at the Juilliard School of Music. In the past spring he conducted a performance of . . . since 1898 . . . since Nov., 1953 Debussy's Pelleas on TV (NBC Opera Theatre) and the two concerts of the NBC Orchestra follow- Ask your friendly, informed New England dealer for the ANGEL CATALOGUE and FIRST SUPPLEMENT... ing: the retirement of Toscanini. or write Dario Soria, President »•» Electric & Musical Industries (U.S.) Ltd. 38 West 40th Street, New York 36 Symphony No. 6, in E-Flat Minor, Op. Ill Serge Prokofieff

Born in Sontsovka, Ekaterinoslav, Russia, April 23, 1891 NEW SCORES died near Moscow, March 4, 1953 Prokofieff began his Sixth Symphony in 1945 and com- pocket scores pleted it in the summer of 1947.

BACH (ed. Gal). Musical Offering $1 .50 Prokofieff described the progress of his Sixth COPLAND. Quartet (Piano and Strings) 1 .25 Symphony in a communication printed in the New SCHOECK. Concerfo for Horn 1 .25 York Times, April 20, 1947 : "The Sixth Symphony R. STRAUSS. Symphonie fur Blaser 6.00 in E minor is in three movements; two of them were STRAVINSKY. Septet 1 .25 sketched last summer and at present I am working on the third. I am planning to orchestrate the full scores whole symphony this autumn. The first movement GINASTERA. Variaciones Concertantes 6.50 is agitated in character, lyrical in places and austere PREVITALI. Due Pezzi 3.75 in others. The second movement, andante, is lighter STRAVINSKY. Three Songs from William Shakespeare. 2.50 and more songful. The finale, lighter and major in WEINBERGER. Preludes Religieux et Profanes. its character, would be like the finale of my Fifth Vol. I 4.50 Symphony, but for the austere reminiscences of the Vol. II 6.50 first movement." Vol. Ill 3.75 The first movement divulges, after a heavy de- Available at the Tanglewood Music Store scending scale of short notes, the theme which is to or from Boosey and Hawkes predominate. It is in 6/8 rhythm, but darkly

Representing the music of

BARTOK • BENJAMIN BRITTEN COPLAND HAIEFF KODALY MARTINU PISTON SUN -INSIDE PROKOFIEFF . R. STRAUSS . STRAVINSKY others Prop. F. LANCOME Catalogs on request. Monterey Rte. 23 Tel. Gr. Barringt an 1148M3 30 WEST 57fh ST., N. Y. C. FRENCH CUISINE BOOSEY and HAWKES- LUNCHEON AAA APPROVED INN DINNER Eleventh Program

SATURDAY EVENING, JULY 24, at 8:30

JEAN MOREL, Conductor \

.

Prokofieff Symphony No. 6, in E-flat minor, Op. 11 1

Ij

I. Allegro moderato

II. Largo

III. Vivace

I'

v Liszt Concerto for Pianoforte, in E-flat major, No. i INTERMISSION

Strauss "Don Juan," Tone Poem (after Nikolaus Lenau), Op- 2o

Elgar Variations on an Original Theme, Op. 36 Enigma: Andante

Variations:

I. "C.A.E." L'istesso tempo VIII. "W.N." Allegretto

II. "H.D.S.-P." Allegro IX. "Nimrod" Moderato

III. "R.B.T." Allegretto X. "Dorabella-Intermezzo" Allegretto

IV. "W.M.B." Allegro di molto XL . "G.R.S." Allegro di molto

V. "R.P.A." Moderato XII. "B.G.N." Andante

VI. "Ysobel" Andantino XIII. "***-Romanza" Moderato

VII. "Trovte" Presto XIV. "E.D.U.-Finale"

Soloist . . . NICOLE HENRIOT

Miss Henriot uses the Baldwin Piano \,

BALDWIN PIANO RCA VICTOR RECORDS 14 954 BERKSHIRE FESTIVAL Tanglewood

treated throughout. An andante molto 4/4 brings in a somber second theme colored by the English horn. Your Time Is Our Time The 6/8 theme furnishes the greater part of the development with a brief recurrence of the andante At The Connecticut Yankee, a new store subject before the close which is quiet and in slower tempo, but tragic in character. The largo (which in an old house on the Sharon Green. the composer described in advance as "andante") is JZ. broad, full, and melodic, trombone chords intro- ducing a middle section with a melody from the SPORTSWEAR ft EXCLUSIVE HANDCRAFTS bassoons and cellos. Leopold Stokowski, when he gave this symphony its first performance in America, TOYS ft COSTUME JEWELRY & HATS remarked of the slow movement in the New York COSMETICS ft COURMET FOODS Philharmonic program notes: "The harmonies and texture are extremely complex — I think this part will need several hearings to be fully understood." The movement, while melodic throughout, gathers The great intensity and becomes starkly dramatic. The Connecticut finale has some suggestion of a scherzo as the voices of the wood winds are heard successively over a lively rhythmic figure in the strings. The bassoon and tuba lead another theme far into the bass. The first theme returns and carries through to the end, A Town & Country Store save for an interruption in which the principal theme Route 41 of the first movement, in 6/8, brings back its dark shadow. SHARON, CONNECTICUT It was on February 11, 1948, four months after the first performance of the new Symphony, then

Hilda & Eben Whitman Open from 10 to 6 • received in critical silence and soon shelved so far as Russia was concerned, that a resolution was pro- nounced by the Central Committee of the Com- munist Party condemning the foremost composers of Russia, including Prokofieff, Shostakovitch, Khatchaturian, Miaskovsky (since deceased), Mu- radeli, Popov and Shebalin. These were accused of "confusing and neuropathic combinations which turn music into cacophony and a chaotic accumula- tion of sounds." In them there deplorably sur- vived "a bourgeois ideology fed by the influence of 3i ../ /. contemporary, decadent Western European and

American music. . . . Many Soviet composers, in pursuit of falsely conceived innovation, have lost contact with the demands and the artistic taste of the Soviet people, have shut themselves off in a nar- row circle of specialists and musical gourmands, FOUR CHiMNEYS have lowered the high social role of music and nar- rowed its meaning, limiting it to a satisfaction of the distorted tastes of aesthetic individualists." Enjoy a leisurely, picturesque drive to historic Relax and dine in setting of Old Bennington. a It can be imagined how Prokofieff, remembered gracious Colonial charm. from his visit to Boston in 1938 as a serious and uncompromising artist, would be affected by advice 12 to 12 Every Open Day from those who knew less than himself on how to LUNCHEON 12-4 DINNER 5-10:30 compose. How he really felt about this political jargon may never be known. It was reported by Cocktails till Midnight

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954 BERKSHIRE FESTIVAL Tanglewood 15

5« tJ» *Zt iZt »Sr iSf t«r %Sf *Zt 1-t «Sf *S» tSt t5» *5> \2f »S» \Sr %St %St \St the party is right, 5X AT to in Berkshires, that the party wishes me well, and that I must »X the beautiful to 5* to search for and find creative paths which lead me 8* you will find a wide variety of to to Soviet realistic popular art." That the tactless '•* to '•X things to do, places to go, sights to Prokofieff could have made many enemies among '•X to »* to see. In the Fall, Berkshire to '•X to * "My Three Years in Moscow," New York Times, No- '•X foliage attracts thousands of to vember 25, 1949. «x to '3X people who come to enjoy the to '?X to tThe description of his intractability and his occasional ••X unsurpassed spectacle of Na- to rude outbursts by Nicolas Nabokov (Old Friends and Neiv '•X to '•X ture's brilliant and breath-taking to Music) is in keeping with his public statement when he •X to came to Boston to conduct this Orchestra. He was reported ••X array of colors. to in the press of March 23, 1938, as angry because the public '•X to '•X and critics had been "very insulting" in their reception of •X to his Fourth Symphony in 1931. ''If the public in Boston '•X to '•X to cannot understand my serious music, why should I break Traditional Berkshire Hills '•X to my baton? I am not going to puzzle them, but give '•X them hospitality is quickly evident to simple things." Whereupon he gave them Peter and the •X to '•X to Wolf (which, by the way, has been as consistently re- when you stop at one of our »x to peated and enjoyed ever since in this part of the world as 'IX many fine hotels, inns, motels or to the Fourth Symphony has been ignored). '•X to ft* guest houses. You'll always to '•X to •X enjoy the touch of friendly to '•X to '•X cordiality to '•X to '•X to ••X to NEW ENGLAND'S FINEST AND '•X to ••X to »x And for year 'round good liv- to MOST COMPLETE MUSIC HOUSE '•X to '•X ing, a place to build, work or to SHEET MUSIC RECORDS • ALBUMS •X to 'X play, hundreds of good folks to • Literature and Study Books • Instruments •JX to '•X who were formerly seasonal vis- to • Excellent stock of small scores • Musical Gifts '•X to • Organs • Pianos iX itors have chosen the Berkshire to <-X to We Mail Everywhere •X Hills as a permanent residence. to <5X to C'X to 116 BOYLSTON STREET BOSTON 16 X to '•X to '•X For further details about it •X the *» '•X region, our list of real estate JR. JR. X. JR. JR. * J*. JR. JR. JR. J*> JR. JK-JK. ;R--* ** «*AA -J* jR- jR- 101 t-i i.t *- t «.. <-» *-» *.i <-l «•• *•» t*\ t»» .gk /-« *£\ «•* 4£i 4»\ *•» *ii **i *»

It is only an urgent recapitulation of the earlier subject-matter with quickened, livelier rhythm, and contains no new motive, as will be clear to you by a glance at the score. This kind of binding together Tifnt. S. ^tUfrttet @a. and rounding off a whole piece at its close is some- what my own, but it is quite maintained and justified from the standpoint of musical form. The trom- MAKERS OF HIGH GRADE BOEHM FLUTES bones and basses take up the second part of the motive of the Adagio (B major). The pianoforte 12 PIEDMONT ST. BOSTON 16. MASS. figure which follows is no other than the reproduc- tion of the motive which was given in the Adagio by flute and clarinet, just as the concluding passage THE Tone Heard 'Round the World' is a Variante and working-up in the major of the motive of the Scherzo, until finally the first motive 33=5«3=S«5=SP55=S=5WJ=SPS«5=^^ on the dominant pedal B-flat, with a shake-accom- MANHATTAN SCHOOL OF MUSIC Janet D. Schenck, Director BACHELOR and MASTER of MUSIC DEGREES Distinguished faculty includes: DlRAN ALEXAN1AN John Brownlee Bernard Greenhouse Franco Autori VlTTORIO GlANNlNl Howard Murphy Raphael Bronstein Robert Goldsand Jonel Perlea Hugh Ross CATALOG ON REQUEST

238 EAST 105TH STREET • • • NEW YORK 29, NEW YORK 1954 BERKSHIRE FESTIVAL Tanglewood 17

for oboe solo. (Mauke, who has earlier in paniment, comes in and concludes the whole. ody found a place for Mozart's Zerlina, tells "The scherzo in E-flat minor, from the point the score the object of the first episode in this section where the triangle begins, I employed for the effect us that is is the Countess, while the melody for the oboe of contrast." Anna.) The closing section is in the mood of the HENRIOT was born in Paris on January 23, NICOLE first, but it is no mere recapitulation ; the resourceful the 1925. She studied with Marguerite Long and entered Strauss injects important new matter, and works the Paris Conservatory at the age of twelve, taking a first played guise, riotous and frenetic. second prize in a vear and a half. During the war she old in a new A with the principal orchestras of Paris and Belgium. Her principal Don Juan theme is introduced, a full- she was New York press bureau gives the information that rigged Straussian horn motive; the oboe theme and active in the French Resistance together with her two others are alluded to in the development, which brothers. Since the war she has played in numerous the of Lenau, to whom the European cities. She made her American debut January plainly depicts Don Juan 29, 1948, the first of many concerts in this country. fruits of conquest turn bitter as they are grasped. The climax is one of catastrophe.

"Don Juan," Tone Poem (after Nikolaus Lenau), Op. 20 Variations on an Original Theme, Richard Strauss Op. 36 Born in Munich, June 11, 1864; died in Garmisch, Sir Edward Elgar September 8, 1949 Born in Broadheath, near Worcester, England, June 2, place at The first performance of "Don Juan" took 1857; died in Worcester, February 23, 1934 Weimar under the composer's direction, November 11, 1889. Written at Malvern, the composer's home, in 1899, these The Don Juan of Lenau, whom Strauss evidently variations were first performed at one of Hans Richter's concerts in London, June 19, 1899. chose in preference to the ruthless sensualist of Ponte, was a more engaging figure of Byron or Da "One evening, after a long and tiresome day's quest of ideal woman- romance, the philosopher in teaching," according to the composer's account, drops his sword in a hood, who in final disillusion Elgar "musingly played on the piano the theme as duel and throws his life away. Lenau said (accord- it now stands." His wife asked, "What's that?" L. Frankl) : "Goethe's ing to his biographer, A. "Nothing," he replied, "but something might be great poem has not hurt me in the matter of Faust made of it. Powell would have done this [Varia- Byron's Don Juan will here do me no harm. and tion II], or Nevinson would have looked at it like human being, is an individual Each poet, as every this" [Variation XII]. "Thus the work grew into 'ego.' Don Juan is no hot-blooded man My the shape it has now." eternally pursuing women. It is the longing in him to find a woman who is to him incarnate woman- hood, and to enjoy, in the one, all the women on earth, whom he cannot as individuals possess. Be- ANTIQUES SHOW cause he does not find her, although he reels from TOWN HALL • LENOX, MASS. one to another, at last Disgust seizes hold of him, and this Disgust is the Devil that fetches him." July 30th thru August 14th Then, as later, the composer fell prey to the (Closed Sundays) skillful but irrepressible zeal of his analysts. Wil- DAILY from 11 A.M. to 10 P.M. helm Mauke divided the score into small bits and labelled each. He even went so far as to forget— Lenau, and to bring in Mozartean characters JACOB'S PILLOW Donna Anna and Zerlina, finding a place for the DANCE FESTIVAL statue and the fatal supper — a cataclysm quite alien to Lenau's story. In this light, Ernest Newman is Ten Weeks — July 2nd-Sept 4th hardly justified in reproaching Strauss for "the Famous Stars and Companies to the extraneous tendency overburden music with Tel.: Lee 745 • Write: Box 87, Lee, Mass. and inassimilable literary concepts," such as identi- fying a certain four-bar phrase with "Don Juan's satiety" — a thing the composer obviously did not do. * * LITTLE CINEMA riffle teksMras Without such distracting details, it is possible to SIXTH SEASON discern these main outlines in the music — at first The Finest of Foreign & American Films a portrait of the impulsive and fiery hero of Lenau Wednesdays thru Fridays 8:15 P.M. Saturdays at 7 and 9 P.M. — a romantic idealist, but certainly no ascetic. The (Some programs run a full week) middle section is patently a love episode. A theme No popcorn, no previews - Always cool and comfortable for the deeper strings becomes the shimmering and * THE BERKSHIRE MUSEUM. PHtsfield, Mass. * glamorous accompaniment to another amorous mel- 18 954 BERKSHIRE FESTIVAL Tanglewood

So there developed the "Variations on an Original Theme." Over each variation the composer in- scribed the initials of a friend ("musical or other- wise"), and over the theme itself, where according to custom the word "Theme" or "Tenia" would have appeared, he wrote merely the word "Enigma." It all seemed simple enough: His friends would read these initials and recognize in each of the fourteen On Williams College Campus variations the original of the musical portrait, or r.t least Elgar's intention of one. As for the world at A short, beautiful drive large — they were at liberty to take the music as thru the Berkshires music, and need know nothing of its personalit es or intimacies. The wT orld (more especially England, of course) did readily take to the music. A copy fell into the hands of Hans Richter on the continent, Lobster Pie, Treadway Inn Style through his agent. Although Richter had never met

Elgar ( then none too well known , he forthwith Brook Trout • Steak • Guinea Hen ) toured with the piece in June of the same year Distinguished Wine Cellar (1899), and firmly established the fame of its com- poser. ALL FOOD SERVED DAY The "enigma" aspect of the variations at first seemed nothing more than a deft screen set up by the composer against the glare of full public scrutiny. Recommended by Gourmet and Duncan Hines "The variations have amused me," he remarked, "because Eve labelled 'em with the nicknames of

my particular friends. That is to say Eve written The first of 15 \JieadwaU JmU located in the variations each one to represent the mood of the New England, New York State and Florida 'party.' It's a quaint idea and the result is amusing to those behind the scenes and won't affect the reader " who 'nose nuffin.'

FOLK AND JAZZ ROUNDTABLE TS PA **Di G UP^ S£, AUGUST 15 to SEPTEMBER 6 For the fifth year ja7z and folk musicians, anthropoloqists folk lorists and musicologists will gather at Music Inn to

perform, lecture — and argue . . . MARSHALL STEARNS, President of the Institute of Jazz Studies, will direct the three weeks' activities ... he was recently articled in N. Y. Tribune's THIS WEEK under the heading "THE JAZZ SCHOLAR" (teaches Chaucer at Hunter — Jazz Studies at

New York University) . . . First week of Roundtable on Eurooean and Negro folk music will have on hand poet

LANGSTON HUGHES for opinion and enlightenment . . . From Atlanta, Georgia, WILLIS JAMES, world authority on Negro hollers, shouts and cries, is bringing newly gathered

examples . . . GEOFFREY HOLDER, up from Trinidad, is planning the second week's program of Caribbean music, from steel drums to island dances ... an exhibition of his painting"; and photography, too. ^jramoui toy HAROLD COURLANDER, co-editor of Ethnic Folkways Records, is back from Europe. Key man in last year's Caribbean program, he will probably be present for part of

the time . . . ARTHUR ALBERTS, returning soon from Africa, ^jrlyie ^jrooa and ^-j^oa was one of the originators of the ROUNDTABLE . . . the premiere of his Gold Coast recordings was a highlight of

the 1950 program . . . NAT HENTOFF, editor of Downbeat OPEN EVERY DAY will be present to help weave all threads together. RUDI BLESH of the russet beard, top jazz historian, will defend

. to tangle with Recommended by the jazz primitives . . may be expected hirsute AL COLLINS of WNEW . . . Semanticist $. I. HAYAKAWA includes jazz jargon and blues among his A.A.A., Gourmet & Duncan Hines lore, and is a preferred accompanist to MAMA YANCEY

. . . HENRY COWELL, extreme modernist in music and perambulating encyclopedia of information on world music will join with TREMAINE McDOWELL, head of Minnesota Jraditionailu — University's Dept. of American Studies, in relating this to that. Instrumentalists, singers, dancers usually outnumber professors

about eight to one . . . AT THE END OF A PERFECT DAY LOUIS ARMSTRONG, speaking on the Roundtable ^ ". things for jazz ON ROUTE 44 Music Inn said . they're doing wonderful ." up there . . they're really helping make music history . Between Canaan & Norfolk, Connecticut WRITE MUSIC INN, LENOX, MASS., OR Telephone Taylor 4-7495 PHONE LENOX 695 FOR INFORMATION *»- -*- * +, + ^/- * --*-*.A,AAA.». lAAM Twelfth Program

SUNDAY AFTERNOON, JULY 2 5, at 2:30

Berlioz . Overture to "Beatrice et Benedict"

Berlioz "Harold in Italy": Symphony with Viola Solo, Op. 16

I. Harold in the Mountains, Scenes of Melancholy, Happiness and Joy (Adagio; Allegro)

II. March of Pilgrims Singing their Evening Hymn (Allegretto)

III. Serenade of a Mountaineer of the Abruzzi to his Mistress

(Allegro assai; Allegretto)

IV. Orgy of Brigands; Recollections of the Preceding Scenes

(Allegro frenetico) INTERMISSION

Toch . Symphony No. 2, Op. 73

I. Allegro fanatico (Like an oath)

II. Very light, skimming, shadowy

III. Adagio

IV. Allegro

Soloist . . . WILLIAM PRIMROSE

BALDWIN PIANO RCA VICTOR RECORDS :

20 1954 BERKSHIRE FESTIVAL Tanglewood

Shakespeare, with the interpolation of the character c Twelfth Progratn of Somarone, a musician, ("maitre de chapelle"), which was considered as a caricature of his adverse critic, Fetis. Berlioz was 59 when he first conducted his opera comique, and far from well. In fact, he to "Beatrice et Benedict" Overture was in acute distress during the performance. Ac- Hector Berlioz cording to the medical enlightenment of that time his ailment was "intestinal neuralgia." The com- Bom in Cote-Saint-Andre, December 11, 1803; died in poser was honored and applauded, the production Paris, March 8, 1869 given him was excellent, and the Beatrice, Mmc. Berlioz' Opera Comique, Beatrice et Benedict, was first Charton-Demeur, so delighted him that he insisted of completed February 25, sketched in the autumn 1860, none other must sing Dido in his Les Troy ens. This 1862, and first performed at Baden, August 9, 1862, at the she did, to his great satisfaction. There was a Theatre de Bade, the composer conducting. second performance and a production of Beatrice at friend On January 19, 1833, Berlioz wrote to his Weimar on April 8, 1863, the libretto having been d'Ortigue: 'A propos, I am going to write a very translated from the French into German by Richard lively opera upon Shakespeare's comedy, Much Ado Pohl. Berlioz reported to his friend Ferrand a About Nothing. Such being the case, I will ask "signal success," the same phrase he had used in you to lend me the volume containing it." This reference to the Baden performance. But the re- plan, formed at a time when Berlioz was deep in views were not all that he made them out to be. Shakespeare, did not take effect for twenty-seven He was not looked upon as suited for the opera years, and indeed his single venture into a comedy comique style. The grudging Hanslick, who re- was destined to become his last work. He composed viewed the Weimar production in "The Musician," it at the insistence of Benazet, the manager of the could not imagine "the man with the unkempt gray theatre at Baden-Baden. He expanded his original forest of hair, with the gloomy glance and the pessi- plan of one act into two as the music progressed. mistic contempt for the whole world as cut for this He wrote the libretto himself, faithfully following pattern." The overture in part he praised, calling

Shakespeare's text and concentrating upon the char- it: "No masterpiece, it is true, but a genuine comedy acters of Beatrice and Benedick.* Berlioz admitted overture, and in any case a great deal more natural, title, in a letter that Shakespeare's original which he I may say ; musically speaking more seemly than the quoted as "Beaucoup de bruit pour ricn" (in Ger- overtures to Waverley, 'Les francs juges,' and Le man it becomes Vie I harm u/u Nichts) was a dan- Corsaire." The general opinion seems to have been gerous one which would enable his enemies to apply that whereas the musical genius of Berlioz had pro- the phrase to the music contained. His text was a duced a charming score with some delightful mo- close translation of chosen passages from the original ments, the stage piece as a whole, with its spoken dialogue, did not come off, and the composer's literal * The title-page of the published score gives the title in translation of the original banter of the reluctant English as "Beatrice and Benedict," an error generally lovers seemed to have lost its lightness, without made on account of the French version of the name. which the adroit thrusts in word play become merely rudeness. Says "Signior Benedick of Padua" on SAMMY VINCENT first encountering Beatrice: MUSIC CENTER "What, my dear Lady Disdain! Are you yet living?" 23 North Street, Pittsfield Berlioz renders this BERKSHIRE'S LARGEST MUSIC CENTER "Eh! quoi, Signora Dedain, vous vivez encore?' In German it comes out this way: Records • Radios • Television • Baldwin Pianos NEW ENGLAND CONSERVATORY OF MUSIC Harrison Keller, President

Faculty of the Conservatory includes the following members of the Faculty of the Berkshire Music Center. DORIOT ANTHONY FERNAND GILLET WILLEM VALKENIER RICHARD BURGIN *BORIS GOLDOVSKY ROGER VOISIN JOSEPH DE PASQUALE ALFRED KRIPS SHERMAN WALT r.ORNA COOKE DE VARON SAMUEL MAYES FELIX WOLFES GASTON DUFRESNE ROSARIO MAZZEO ALFRED ZIGHERA GEORGES FOUREL GEORGES MOLEUX BERNARD ZIGHERA * On leave summer 1954.

For full information write the Dean, 290 Huntington Ave., Boston, Mass. FALL TERM BEGINS SEPTEMBER 13 1954 BERKSHIRE FESTIVAL Tanglewood 21

"Wie! Mein liebes ' Frdulein Verraehtung ! Lebt RCA VICTOR RECORDS Ihr auch nochf" BOSTON SYMPHONY ORCHESTRA Berlioz was well aware that Beatrice et Benedict was not likely to be embraced by his French public,

did it nor make much of an impression when it was Recorded under the leadership of Charles Munch there produced after his death. However, the duo Beethoven Symphony No. 7, Symphony No. 1 nocturne between Hero and Ursula, "Vous soupirez, Berlioz "Romeo and Juliet" (complete) madaiiie," became a popular concert number. "The Damnation of Faust" (complete)

The overture is principally based upon the alle- Brahms Symphony No. 4 gretto from the duettino at the end of the opera Piano Concerto No. 2 (Soloist, Artur Rubinstein) Bruch Violin Concerto No. 1 (Soloist, Yehudi Menuhin) where the lovers are at last reconciled, "Uamour est Handel Water Music tin flambeau." A second theme, andante, is found Haydn Symphonies No. 103 ("Drum Roll"), No. 104 in Beatrice's air in the second act, "II souvient men ("London") Ic jour du depart de I'aimee," which Tiersot has Honegger Symphony No. 5 referred to as "line magnifique phrase a la Gluck." Roussel "Bacchus and Ariane" Schubert Symphony No. 2

Schumann Symphony No. 1, Overture, "Genoveva" "Harold in Italy," Strauss "Don Quixote" (Soloist, Gregor Piatigorsky) Tchaikovsky Violin Concerto (Soloist, Nathan Milstein) Symphony in four movements with ALBUM : Ravel, "Rapsodie Espagnole," "La Valse" ; Over- Viola Solo, Op. 16 tures, Berlioz, "Beatrice and Benedick"; Lalo, "Le Roi d'Ys"; Saint-Saens, "La Princesse Jaune" Hector Berlioz Among the recordings under the leadership of Born in Cote Saint-Andre (Isere), December 11, 1803; Serge Koussevitzky died in Paris, March 8, 1869

Bach Brandenburg Concertos Nos. 1 and 6, Suites No. 1 ''Harold en Italic, Symphonie en IV parties avec un alto and 4 principal, Op. 16," was composed in 1834. It had its first Beethoven Symphonies Nos. 3, 5, and 9 performance at a concert given by Berlioz at the Con- Brahms Symphony No. 3, in F servatoire in Paris, November 23, 1834. Narcisse Girard Haydn Symphonies No. 92, in G, "Oxford" ; 94, "Surprise" conducted at this performance, and Chretien Urhan took the part for viola. Khatchaturian Piano Concerto (Soloist, William Kapell) Copland "Appalachian Spring"

Berlioz tells us in his Memoirs that his intention Mendelssohn Symphony No. 4, "Italian" in composing his "Harold in Italy" was "to write Mozart Eine kleine Nachtmusik for the orchestra a series of scenes in which the solo Serenade No. 10, in B-Flat, K. 361 Symphonies K. 425, "Linz"; E-Flat, K. 543 viola should figure as a more or less active personage Prokofieff Violin Concerto No. 2 (Soloist, Heifetz) Symphony No. 5 Peter and the Wolf (Narrator, Eleanor Roosevelt) VISIT THE Ravel Bolero Ma Mere L'Oye Suite TANGLEWOOD MUSIC Schubert Symphony in B Minor, "Unfinished" Tchaikovsky Serenade in C, Op. 48 STORE Symphonies Nos. 4 and 5 (near the main gate) COMMEMORATIVE ALBUM

Sibelius Symphony No. 2, in D, Op. 43, R. Strauss Don Juan, Op. 20i, Wagner Siegfried Idyll

Recorded under the leadership of Leonard Bernstein Stravinsky "L'Histoire du Soldat," Octet for Wind Instruments

Recorded under the leadership of Pierre Monteux Liszt "Les Preludes"

Mozart Piano Concertos (No. 12, K. 414, No. 18, K. 456) (Soloist, Lili Kraus) Scriabin "The Poem of Ecstasy" Tanglewood Pictorial Booklet - 50^ Stravinsky "Le Sacre du Printemps" Souvenirs of Tanglewood: A large assortment of books on music. Recordings and miniature scores, including The above recordings are available on both Long Play (33 1/3 1 r.p.m.) and 45 r.p.m. works given at the Festival concerts. Also, postcards, films, etc. Also many recordings by the BOSTON POPS (Operated by the Boston Symphony Orchestra) ORCHESTRA, ARTHUR FIEDLER, Conductor. 22 1954 BERKSHIRE FESTIVAL Tanglewood

of constantly preserved individuality ; I wished to giants, whom I had never seen and whose appearance put the viola in the midst of poetic recollections left moved me profoundly, was alone and waiting for me by my wanderings in the Abruzzi, and make it a me in the hall, stopped me to press my hand, over- sort of melancholy dreamer, after the manner of whelmed me with burning praise, which set fire to

Byron's Childe Harold. Hence the title, 'Harold my heart and head : it was Paganini! en Italic' in the Symphonic Fantastique , a chief As "Some weeks after this vindicatory concert of theme (the first song of the viola) reappears which I have spoken, Paganini came to see me. 'I throughout the work; but there is this difference: have a marvelous viola,' he said, 'an admirable the theme of the Symphonic Fantastique, the 'fixed Stradivarius, and I wish to play it in public. But idea,' interposes itself persistently as an episodic and I have no music ad hoc. Will you write a solo piece passionate thought in the midst of scenes which are for the viola? You are the only one I can trust foreign to it modifies ; and them while the song of for such a work.' Harold is added to other songs of the orchestra with " 'Yes, indeed,' I answered, 'your proposition which it is contrasted both in movement and char- flatters me more than I can say, but, to make such acter and without any interruption of the develop- a virtuoso as you shine in a piece of this nature, it is ment." The text of Byron's Childe Harold is not necessary to play the viola, and I do not play it. involved in Berlioz's plans. The composer no more You are the only one, it seems to me, who can solve than borrowed from the melancholy Englishman the the problem.' 'No, no; I insist,' said Paganini; 'you concept of the romantic poet wandering about the will succeed ; as for me, I am too sick at present to Italian countryside, adding his individual comment compose; I could not think of it.' to the scenes which passed before his eyes. "I tried then to please the illustrious virtucso by

The history of Berlioz's Harold in Italy began, writing a solo piece for the viola, but a solo com according to the Memoirs, with a concert at the bined with the orchestra in such a manner that it Paris Conservatoire on December 22, 1833, a con- would not injure the expression of the orchestral cert where the Symphonic Fantastique had a remark- mass, for I was sure that Paganini, by his incom- able success, "taking the whole room by storm" and parable artistry, would know how to make the viola turning the tide of popularity in his favor. "And always the dominating instrument. then," says Berlioz, "to crown my happiness, after "His proposal seemed new to me, and I soon had the audience had gone out, a man with a long mane developed in my head a very happy idea, and I was of hair, with piercing eyes, with a strange and hag- eager for the realization. The first movement was gard face, one possessed by genius, a colossus among hardly completed, when Paganini wished to see it.

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He looked at the rests for the viola in the allegro the Abruzzi, were probably more congenial, as the and exclaimed: 'No, it is not that: there are too viola solo wove its way at will through the developing many rests for me; I must be playing all the time.' score. Berlioz did not bother with Paganini's ad-

'I told you so,' I answered; 'you want a viola con- monition against rests. His incomparable orchestral certo, and you are the only one who can write such instincts must have told him that the magic of color a concerto for yourself.' Paganini did not answer; which lies in the viola is best caught by evocative he seemed disappointed, and left me without speak- backgrounds and intermittent relief — that it is ing further about my orchestral sketch. Some days most surely lost by over-insistence and displayful afterwards, suffering already from the affection of passage work. the larynx which ultimately killed him, he went to WILLIAM PRIMROSE was born in Glasgow, Scotland, Nice, and returned to Paris only at the end of three August 23, 1904. The son of a professional viola player, years." he nevertheless studied the violin, and first toured as a violin virtuoso. After studying with Eugene Ysaye, he Adolphe Boschot, who, has applied the suspicious followed that master's advice, and made the viola his in- strument. first eye of the sleuth as well as the scrutinizing eye of He came to the United States in 1930 as violist in the London String Quartet, with which group he the scholar to the writings of Berlioz, is constrained to doubt the narrative up to this point. There are indications that Paganini was not present at the concert of December 22, and that Berlioz may have met him in the year previous. Since a large part of Child ren* Cofta Berlioz's statements will never be tracked down for f final verification, it may be wisest to rest on the observation that Berlioz leans to magnification (Near Mohawk Ski Area) rather than distortion, that even when duly dis- Tel. ORleans 2-6275 counted, his narrative remains characteristic and interesting. 'The verities are not greatly disturbed. Cornwall, Conn. The magic of color, the dark hues of the "alto," were necessarily intermittent, were matched and in- terwoven with the surrounding instruments only ^^ when a natural confluence brought this about. For the most part, Berlioz's viola is a distinct voice like a spectator to the scene, sympathetic to its mood, CHILDREN WELCOME now as a leading voice, now in an evocative back- ground of arpeggios. Berlioz worked into his score To our supervised playground usable, stored-up theme fragments: one he had in- tended for his Rob Roy Overture, others gleaned A uniquely different shop featuring g.'fts, from his travels in Italy (although presumably his toys and apparel (sizes: infants to 8x), de- own). His sketches took symphonic proportions and grew into four movements. He referred to signed to make shopping an enchanting ex- his project in letters simply as a "symphony." Its perience for adults and children. local allusions and its unsymphonic features seemed still to call for something programmatic, whereupon At the top of Cathedral Pines. he borrowed his title from Byron.

Berlioz has nothing to say in his Memoirs about Store Hours: 10 A. M. - 5:30 P. M. Closed Sundays the last moments of Maria Stuart. Memories of his adventures in Italy, the brigands he had met in

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24- 1954 BERKSHIRE FESTIVAL Tanglewood also toured this country when it was reorganized. In more than any of those who live today and equal 1938, he became first viola with the NBC Orchestra in only to a handful of those who lived in the past. New York. He has devoted a large part of his time in recent seasons to appearances as solo viola and in chamber This vital experience I sought to express in the music, assisting in the Chamber Music Department of the words of my dedication Berkshire Music Center in 1947. To the man who kindled this work, in me To the lonely seer in a time of darkness To the only victor in a world of victims Symphony No. 2, Op. 73 Albert Schweitzer Ernst Toch (Schweitzer and I have never met personally, and Born in Vienna, December 7, 1887 I had never in any way corresponded with him.) Composed in Zurich in 1951 this symphony had its first "Another source of powerful inspiration has been performance by the Wiener Symphoniker at the Grosser to the Bible text: Musikvereins-Saal, Vienna, Herbert Hafner conducting, me " January 11, 1952. 'I will not let thee go except thou bless me.' " (Jacob's struggle with the angel, Genesis When this symphony had its first performance in XXXII/26.) Vienna the program bore a message from the com- completion poser, here translated by himself: "Thus, after of my symphony I put this text as a motto to the score, hoping that it "For many years I had been moved profoundly might vaguely convey in words that which the music by the figure of a, man whom I had come to revere had to say. For as my work proceeded this sentence assumed ever richer and more varied connotations. The very life of Schweitzer appeared to me as a symbolic representation of it, climaxed by his return at the age of seventy-seven from Europe to Lam- barene, the place of his sacrifice and consecration. The Finally — as it may be experienced by many a crea- tive artist — the ever so imperious summons of the work itself retrovertetl to the author, from its first Choice nebulous conception up to the last stroke of the pen 'I will not let thee go except thou bless [complete] of me.' "It must remain an open question whether a work Tanglewood can be brought nearer to the comprehension of the listener by hints as to the history of its origin in the

mind of its author. Perhaps the author is the only on Parade one for whom this has any relevance, and perhaps the listener would be better served by a naive ap-

proach to the music. The one thing on which I

have no doubts is the fact that form analyses and discussions of stylistic problems assuredly lead no-

where and are of use to no one. I therefore beg to be forgiven if I have attempted to lead through another door, if lead there must be."

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ELGAR'S Suffice it to say that the music, intense and rhap- SOLVING ENIGMA builds in the first movement and sodical in character, »•» last two to powerful climaxes. The first movement thus ends with a broad clear statement of its prin- never been inclined to leave even cipal theme by the strings in full force. The second The world has " harmless mystification to lie unsolved in movement which is marked sehr leicht, hiischcnd, the most to schattenhaft," is a sort of scherzo in which a basis peace. It has been disposed suspect a deeper and of runs or arpeggio passages by the two pianists or subtler riddle in Elgar's "Enigma" Variations than flute identities, two harps is maintained, at last resolving to a a mere string of and Sir Edward cannot solo. The Adagio is brief, with ornamental figures be acquitted of amusing himself by feeding the for the various instruments. This movement works Hame of mystification with cryptic remarks or eva- up to a tense climax and subsides into silence with sive answers. "The Enigma," he wrote at about the voice of the solo violin. The final Allegro has the time of the first performance, "I will not ex- an accompaniment of persistent running figures plain -— its dark saying must be left unguessed, and which are characteristic of the whole symphony. I warn you that the apparent connection between The last pages are molto maestoso for the full or- the Variations and the Theme is often of the slight- chestra with organ. est texture; further, through and over the whole

set another and larger theme 'goes' but is not Ernst Toch studied piano in Vienna and later in played So the principal theme never appears, even Frankfort-am-Main. As a composer he is entirely — as in some late dramas, e. self-taught. From 1913 to 1929 he was a teacher g., Maeterlinck's 'LTn-

truse and ' Les Sept Princesses' the chief character at the Hochschule fur Musik in Mannheim, a period interrupted by service in the Austrian army during is never on the stage."* the First World War. Coming to America he This remark set many wits at work and started taught composition at the New School for Social prodigious guessing. Was the "larger theme," which Research in New York in 1935. He was appointed haunted the whole but never appeared, a well- professor of composition at the University of South- known melody which would "go" with the original ern California in 1940, and it is in California that theme in counterpoint, or fit into his harmony? he has become an American citizen and made his Various melodies were suggested — "Auld Lang home. Syne," the "Reine Thor" motive from Parsifal, even "Pop Goes the Weasel." But none of them The list of his compositions is long; it includes would really fit, and when Elgar himself was cor- scores for several motion pictures made for Holly- nered and questioned by Jaeger, the "Nimrod" of wood. His Concerto for Piano and Orchestra, Op. Variation IX, or Mrs. Richard Powell (the "Dora- 38, was performed by this orchestra December 28, bella" of Variation X), or Mr. Griffith (the 1928 with Jesus Maria Sanroma as soloist, and re- "Troyte" of Variation VII), each of whom had a peated in 1932 with the composer as soloist. His sort of proprietary right by their inclusion, Sir Big Ben, Variation-Fantasy on the Westminster Edward would promptly dismiss the solutions put Chimes, had its first performance here December 20, forward but divulge none of his own. The con- 1934. Other works performed by this Orchestra ductor Sir Landon Ronald decided that there was are the Little Theatre Suite, Op. 54 — December no such theme, and that it was all a pleasant bit of 4, 1931, Pinocchio, a Merry Overture — November "leg pulling" on the part of the composer. 3, 1939 — the Bunte Suite for Orchestra, Op. 48, * There is also the girl of Aries in Daudet's "L'Arlesienne" March 25, 1932. and the more recent "Rebecca" of Daphne du Maurier.

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26 1954 BERKSHIRE FESTIVAL Tanglewood

After Sir Edward Elgar's death, Ernest New- Elgar's assorted remarks), one may take comfort man, the detective par excellence among all music in a passage from Sir Thomas Browne's "Religio critics, went into the case to the extent of four Medici" discovered by "a lady from Wimbledon" weeks of leading articles in the Sunday Times (April and triumphantly quoted to Mr. Newman: "There 16-May 7, 1939). With characteristic thorough- are wonders in true affection. It is a body of enig- ness he gathered and weighed every scrap of evi- mas, mysteries and riddles ; wherein two so become dence, with the not unusual result of roundly dis- one as they both become two: I love my friend posing of every theory to date, and then confessing before myself, and yet, methinks, I do not love himself baffled to find any explicit answer. Mr. him enough." "If it be pure coincidence," con- Newman's ultimate logic was that by a "larger cludes Mr. Newman, "that Elgar, writing a work theme" Sir Edward could not have meant a "longer" the soul of which is admittedly his own loves and one, which necessarily would not fit, nor indeed friendships, should employ to describe his basic could he have meant a "theme" at all in the sense 'theme,' precisely the same curious word, 'Enigma,' of a "tune," since it is extremely unlikely that any that Browne has employed to express his view known tune could possibly fit certain individual har- of the esoterics of friendship, all I can say is that monic turns in the accompaniment to the "Original it is one of the oddest coincidences imaginable!" Theme." Mr. Newman is inclined (or perhaps Until his death, the names of those portrayed, forced) to take "another and larger theme" in the although easily ascertainable among Elgar's circle non-musical sense of a "broader" overlying "thesis," of friends, remained a gentleman's secret so far as a composite of affectionate memories which became publication was concerned. Sir Adrian Boult has nostalgic as the years passed and some of the friends long possessed a score on the fly leaf of which, in died, something non-communicable to strangers, and 1920, the composer wrote the list of names. The hence in any deep sense enigmatic to them. Elgar solution is here given once wrote to Jaeger after listening to the Varia- Enigma — The theme (Andante 4-4) begins in tions — "My procession of friends dear to me was the strings in a somber G minor, which after a short nice to see — I mean hear — but the sounds I have phrase in G major, for a fuller orchestra, is re- connected with them are very vivid (to me), and peated. Its contour of delayed stress and the falling I feel the corporeal presence of each one as the sevenths will be readily recognizable later. music goes by." I. (C. A. E.) Andante, G minor, 4-4. If one is to accept this solution (in spite of an This variation has been identified as Alice Elgar, uneasy sense that it fails to accord completely with the composer's wife. According to Felix Borowski, Lady Elgar "is not only a musician of keen discern- ment, but has written the texts of a number of her husband.'s songs." The theme is rhythmically trans- PUBLIC REHEARSALS formed, orchestrally elaborated, ending in a gentle pianissimo. + •» II. (H. D. S.-P.) Allegro, G minor, 3-8. The Saturday morning rehearsals of the Boston Sym- This was H. D. Stuart-Powell, a pianist who phony Orchestra will be open to the public at a nominal often played trios to Elgar's violin and Nevinson's charge, the receipts to benefit the Pension Fund of the 'cello. A pervading staccato figure in the strings Boston Symphony musicians. could suggest a pianist exercising his fingers.

(R. B. T.) Allegretto, major, 3-8. ADMISSION $1 EACH III. G Richard Baxter Townshend was an amateur actor July 17, August 7, 14 at 10 A.M. 10, 24, 31, with the knack of throwing his deep voice into a high falsetto. The oboe, scherzando, plays with the theme, the bassoon and 'cellos answer.

IV. (W. M. B.) Allegro di molto, G major and Jhe Ujelvow ^rster minor, 3-4. PITTSFIELD LENOX ROAD This refers to William M. Baker, a "Gloucester- ROUTES 7 AND 20 shire squire of the old-fashioned type; scholar, gen-

LUNCHEON • DINNER COCKTAIL LOUNGE MUSIC VuU ike Rudolph W. Schrader Tanglewood Music Store Proprietor (Located to the right of the Main Gate) Telephone — Pittsfield 9277 and the Hawthorne Cottage 1954 BERKSHIRE FESTIVAL Tanglewood 27 tleman, keen amateur of music, a man of abundant energy" (so writes Ivor Atkins, who knew Elgar and his friends). Here for the first time we have The Personnel of the the full orchestral sonority, in a forthright declara- Boston Symphony Orchestra tion. (Seventy-third Season, 1953-1954) V. (R. P. A.) Moderato, C minor, 12-4, 4-4. Charles Munch, Music Director This is Richard Arnold, the son of Matthew Richard Burgin, Associate Conductor Arnold, the poet and critic. The strings develop a new broad counter melody, largamente. The music indicates a man of depth and versatility. Violins Piccolo Madsen (Ysobel) Andantino, major, 3-2. Richard Burgin, George VI. C Concert-master Miss Isabel Fenton was a viola player who took Alfred Krips Oboes George Zazofsky part in frequent sessions of chamber music at Mal- Rolland Tapley Ralph Gomberg Norbert Lauga Jean Devergie vern — an enthusiastic amateur. A viola solo is Vladimir Resnikoff John Holmes suitably prominent. Harry Dickson Gottfried Wilfinger English Horn Einar Hansen Louis Speyer VII. (Troyte) Presto, C major, 4-4. Joseph Leibovici Emil Kornsand The reference is to Arthur Troyte Griffith — "a Roger Shermont Clarinets Carlos Pinfield writes Atkins Gino Cioffi well-known figure at Malvern," Ivor Paul Fedorovsky Manuel Valerio in his interesting revelations about Elgar's group of Minot Beale Herman Silberman Pasquale Cardillo Clarinet friends,* "a refreshing but highly argumentative Stanley Benson E]q Harrovian with whom Elgar delighted to spar." Leo Panasevich Sheldon Rotenberg Bass Clarinet This tumultuous variation would indicate heated Fredy Ostrovsky Clarence Knudson Rosario Mazzeo conviction. Pierre Mayer Manuel Zung Bassoons VIII. (W. N.) Allegretto, G major, 6-8. Samuel Diamond Victor Manusevitch Sherman Walt Panenka This was Miss Winifred Norbury, of Worcester. James Nagy Ernst Leon Gorodetzky Theodore Brewster "At the time the Variation was written," we quote Raphael Del Sordo Melvin Bryant living in Contra-Bassoon Ivor Atkins again, Miss Norbury "was a Stonestreet Lloyd Richard Plaster charming old-world house in this country. The Saverio Messina William Waterhouse picture Elgar has painted here is of a gracious lady William Marshall Horns Leonard Moss who reflected to him the old-world courtesy of James Stagliano Charles Yancich another age." Violas Harry Shapiro Joseph de Pasquale Harold Meek IX. (Nimrod) Moderato, E-flat major, 3-4. Jean Cauhape Paul Keaney Eugen Lehner Walter Macdonald August Jaeger, editor of The Musical Times and Albert Bernard Osbourne McConathy Georges Fourel adviser to the music publishing firm Novello and of George Humphrey Trumpets Company. Hence a business man of music, but, as Jerome Lipson Louis Artieres Roger Voisin the variation eloquently attests, a passionate devotee Robert Karol Marcel Lafosse Reuben Green Armando Ghitalla of the art. (The title is easily solved, since "Jaeger" Bernard Kadinoff Gerard Goguen means "hunter" in German, and Nimrod, son of Vincent Mauricci Trombones, Cush, was the biblical hunter.) Elgar, confessing Violoncellos Jacob Raichman the origin of this variation, called it the "record of Samuel Mayes William Moyer Alfred Zighera Kauko Kahila a long talk, summer evening when my friend Jaeger Jacobus Langendoen Josef Orosz grew nobly eloquent — as only he could — on the Mischa Nieland Karl Zeise Tuba grandeur of Beethoven, and especially of his slow Joseph Zimbler Smith movements." Bernard Parronchi K. Vinal Leon Marjollet Martin Hoherman Harps * The Musical Times, April and May, 1934. Louis Berger Bernard Zighera Basses Olivia Luetcke PRE-CONCERT SUPPERS Georges Moleux Willis Page Timpani Ludwig Juht Roman Szulc For the accommodation of Festival Irving Frankel Charles Smith Henry Freeman visitors, suppers will served the Henry Portnoi be by Gaston Dufresne Percussion Henri Girard Harold Farberman parishioners of the Church on the Hill John Barvvicki Everett Firth Harold Thompson (on Main St., Lenox) before the Satur- Flutes Doriot Anthony Dwyer Librarians day night concerts on July 17, 24, 31 James Pappoutsakis Leslie Rogers Phillip Kaplan Victor Alpert, Ass't and August 7 and 14. 28 1954 BERKSHIRE FESTIVAL Tanglewood

X. (Dorabella: Intermezzo) Allegretto, major, 'i Mi^i^iMi^iMiMiMiMi^i^iMiMi^ityii^i^i^i^iiyii^i^ G 3-4.

This was Miss Dora Penny. "It is the picture of Seventy-Fourth Season • 1954-1955 a lady, then Miss Penny, the charm of whose con- versation was much enhanced by a pretty hesitation in speech." The composer himself spoke of this

music as "a dance of fairy-like lightness," and it BOSTON SYMPHONY will be seen with what rare tact he treated what might have been a delicate point. ORCHESTRA XI. (G. R. S.) Allegro di molto, G minor, 2-2. Here we have George Robertson Sinclair, organist Charles Munch, Music Director at Hereford Cathedral, and Elgar's neighbor. One would naturally be reminded of furious passage »•» work at the organ, but Sir Ivor Atkins prefers to discover in it Sinclair's bulldog Dan, "hurling him- self down the bank of the Wye, paddling against Concerts in the current," barking abruptly, and at last "engaged in a little ratting at the water's edge." BOSTON (Symphony Hall) (Oct. 8-April 30) XII. (B. G. N.) Andante, G minor, 4-4. 24 Friday Afternoons Basil Nevinson. "It would be easy to guess from the nature of the opening," writes Atkins, "that 24 Saturday Evenings Basil Nevinson was a 'cello player. And such was 9 Tuesday Evenings the case: he used to take part in pianoforte trios with Elgar and Stuart-Powell." 6 Sunday Afternoons XIII. (***: Romanza) Moderato, G major, 3-4.

As in the Intermezzo, there is no more than a CAMBRIDGE (Sanders Theatre) trace of the original theme to be found. Sir Ed- ward's three stars in the place of initials have not 6 Tuesday Evenings prevented those close to him from knowing that he was thinking of Lady Mary Lygon (later Lady PROVIDENCE (Veterans Auditorium) Mary Trefusis). At that time she was on the high seas, bound for Australia, and the composer has let 5 Tuesday Evenings it be known that "drums suggest the distant throb of the engines of a liner," over which the clarinet NEW YORK (Carnegie Hall) quotes a passage from Mendelssohn's Calm Sea and Prosperous Voyage. 5 Wednesday Evenings XIV. (E. D. U.: Finale) Allegro, G major, 4-4. 5 Saturday Afternoons The initials are a disguised form of "Edoo," his wife's nickname for "Edward." This finale thus BROOKLYN (Academy of Music) appears as the composer's own summation of a theme he has presented in the light of other personalities. 5 Friday Evenings It serves the further purpose of satisfying Hans Richter's insistence that the whole work be brought to a rounded conclusion. And above this it brings WASHINGTON (4), NEW HAVEN (2), HART- in another number and avoids thirteen. FORD, NEW LONDON, NORTHAMPTON, the curse of a This conclusion is considerably developed, with remi- BRUNS- NEWARK, PHILADELPHIA, NEW niscences of what has gone before. WICK, COLUMBUS, DETROIT, ANN ARBOR, EAST LANSING, KALAMAZOO

Refreshments are served at the To receive later announcements leave your name and address at the ticket office, or address Ticket Office, Tanglewood Cafeteria before Symphony Hall, Boston. concerts and at intermission.

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Traffic Conditions cJLenox I latlonal (J->ank GENERAL BANKING SERVICE The large number of cars coming to the Berkshire Festival Concerts taxes the approaches to and TRAVELLERS CHEQUES • SAFE DEPOSIT BOXES highway Tanglewood makes for traffic congestion. The Massachusetts State Police, the Department of Public Works, police officials of Lenox, Stockbridge, Lee and Pittsfield and the administra- tion of the concerts are cooperating fully to improve the cJLenox j-^ackaae S^tc traffic situation. Nevertheless there is bound to be some traffic delay, and Festival visitors are urged to be recon- Imported Wines and Liquors ciled to it in advance. You can help in several ways.

CHURCH STREET • LENOX, MASS. 1. FOLLOW THE TANGLEWOOD SIGNS, which have State Police and the Department Telephone Lenox 57 been placed by the of Public Works to show the least congested ap- proaches.

2. EARLY. The grounds will open at noon on For Cool Refreshment . . COME Sunday and at six o'clock for evening concerts. The buffet at Tanglewood will serve sandwiches, soups, For Rich Flavor . beverages and other light meals before concerts. Many visitors bring picnic meals to eat on the grounds.

^jrt $ ^rwoods 3. STAY LATE. The sudden outpouring of cars onto the highways at the close of the concerts is the prin- ICE CREAM cipal cause of traffic delay. You are invited to stay at Tanglewood as long as convenient. The formal gardens will be open and lighted for at least an hour after every concert. SMOOTH and DELICIOUS 4. HAVE PATIENCE. July 29, Thursday — Shed at 8:30 zA Calendar Events *Dept. I Orchestra of July 30, Friday — Theatre at 8:30 Festival Concert — Chamber Orchestra (Including Berkshire Festival Concerts) Doriot Anthony, flutist 1954 TANGLEWOOD, July 31, Saturday — Shed at 10:00 a.m. (This schedule is subject to change. Friends of the Berk- Boston Symphony Rehearsal shire Music Center should confirm dates of student per- Shed at 8:30 formances before coming to Tanglewood. Hours indicated Festival Concert — Boston Symphony are Daylight Saving Time. Starred events (*) are open August 1, Sunday — Chamber Music Hall at 10:00 a.m. by invitation to the Friends of the Berkshire Music Center *Dept. I Chamber Music within the limits of the seating space available. The opera 2** Shed at 2 :30 productions of July 27**, August , and J**, will require special tickets.) Festival Concert — Boston Symphony FESTIVAL REHEARSALS. Admission to the Richard Burgin, conductor; Ruth Posselt, violinist six Saturday morning rehearsals of the Boston Chamber Music Hall at 8:30 Symphony Orchestra at 10 A.M., $1 each, pro- *Dept. Ill — Composers' Forum ceeds for the benefit of the Orchestra's Pension August 2, Monday, and 3, Tuesday — Theatre at 8 :30 Fund. **Dept. IV — Opera The 'Berkshire <^Music Qenter August 4, Wednesday — Theatre at 8:30 Festival Concert — Chamber Music a summer school maintained by the Boston Sym- Kroll String Quartet provides opportunity for phony Orchestra, an music August 5, Thursday — Shed at 8 :30 study in connection with the Berkshire Festival *Dept. I Orchestra concerts given annually at Tanglewood. Young August 6, Friday — Theatre at 8 :30 musicians of high skill — players, conductors, Festival Concert — Chamber Orchestra singers, many on the threshold of distinguished Lukas Foss, conductor; Seymour Lipkin, pianist careers, come from all parts of the United States and abroad. August 7, Saturday — Shed at 10:00 a.m. Boston Symphony Rehearsal A school of performance, the Berkshire Music Center presents many concerts, listed in this Cal- Shed at 3:00 endar, by its students at Tanglewood. The school *Organ Recital invites to its concerts members of the Friends of E. Power Biggs the the Berkshire Music Center, subject only to Shed at 8:30 voluntary con- limitations of seating capacity. A Festival Concert — Boston Symphony tribution constitutes membership in the Friends. Eleanor Steber, Soprano Checks should be made payable to the Boston August 8, Sunday — Chamber Music Hall at 10:00 a.m. Symphony Orchestra, Inc., and addressed to *Dept. I Chamber Music Friends of The Berkshire Music Center, Tangle- wood, Lenox, Massachusetts. Shed at 2:30 Festival Concert — Boston Symphony July 20, Tuesday — Theatre at 8 :30 Zino Francescatti, violinist *departments ii and iv — concert of chorus and Chamber Music Hall at 8:30 Opera *Dept. Ill Composers' Forum July 21, Wednesday — Theatre at 8:30 Festival Concert — Chamber Music August 10, Tuesday — Theatre at 8 :30 Zimbler Sinfonietta Departments II and IV — Concert of Chorus and Opera July 22, Thursday — Shed at 8:30 *Dept. I Orchestra August 11, Wednesday — Theatre at 8 :30 Festival Concert — Chamber Music July 23, Friday — Theatre at 8:30 Zino Francescatti and Artur Balsam Festival Concert — Chamber Orchestra August 12, Thursday — Theatre at 8 :30 July 24, Saturday — Shed at 10:00 a.m. Festival Concert — Chamber Orchestra Boston Symphony Rehearsal Jean Morel, conductor Shed at 3:00 August 13, Friday *Organ Recital Tanglewood on Parade E. Power Biggs (Watch for Special Announcement) Shed at 8:30 August 14, Saturday — Shed at 10:00 a.m. Festival Concert — Boston Symphony Boston Symphony Rehearsal Jean Morel, conductor Shed at 3:00 Nicole Henriot, pianist *Dept. I Orchestra July 25, Sunday — Chamber Music Hall at 10:00 a.m. Shed at 8:30 *Dept. I Chamber Music Festival Concert — Boston Symphony Shed at 2:30 Festival Concert — Boston Symphony August 15, Sunday — Theatre at 10:00 a.m. *Dept. I William Primrose, violist Chamber Music at Chamber Music Hall at 8 :30 Shed 2:30 *Dept. Ill Composers' Forum Festival Concert — Boston Symphony July 27, Tuesday — Theatre at 8:30 Full programs on request at the Friend's office. •Departments II and IV — Chorus and Opera (Note changes in the programs of July 28, Wednesday — Theatre at 8:3/) July 24, August 1, and August 14) Festival Concert — Chamber Music Griller String Quartet Programs subject to change. the Tanglewood Tradition ...

. . . embodies the finest in musical standards and achievements. Year after year, the

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