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Boston Symphony Orchestra Concert Programs, Summer, 1965-1966

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NGLEWOOD ^Jffl Festival of Contemporary American Music August 15, 16, 17, 18, 19, 1965 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation The Boston Symphony PR0K0F1EFF: SYMPHONY No. 5 BOSTON SYMPHONY ORCHESTRA under Leinsdorf ERICH LEINSDORF Prokofieff's Fifth Symphony was given its American premiere by the Boston Symphony, so it was only fitting that Leinsdorf should choose this work to initiate the widely acclaimed Prokofieff series. Like the other performances in this series, this recording is characterized by penetrating insight and drama and sets the standard by which to judge any future interpretations. Hear the magnificence of the Boston Symphony under Leinsdorf captured m^fmm jjgvB&sg in Dynagmove sound on RCA Victor Red Seal recordings. Victor^ ««mThe most trusted name in sound ^»L BERKSHIRE MUSIC CENTER Erich Leinsdorf, Director Aaron Copland, Chairman of the Vacuity Louis Speyer, Assistant Director Victor Babin, Chairman of the Tanglewood Institute Richard Burgin, Associate Chairman of the Faculty (on sabbatical leave, 1965) Harry J. Kraut, Administrator FESTIVAL OF CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director PERFORMANCE DEPARTMENT Contemporary Music Activities Aaron Copland, Chairman Gunther Schuller, Supervisor Elliott Carter, Zoltan Kodaly, and Donald Martino, Guest Teachers James Whitaker, Chief Coordinator David Walker, Administrative Assistant Viola C. Aliferis, Assistant Administrator The Berkshire Music Center is maintained for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D. Perry, Jr., Manager BALDWIN PIANO RCA VICTOR RECORDS _ PERSPECTIVES NEWOF MUSIC Participants in this year's Festival are invited to subscribe to the American journal devoted to im- portant issues of contemporary music and the Vt problems of the composer. Published for the Fromm Music Foundation by Princeton University Press. Co-Editors: Benjamin Boretz, Edward Cone "x Advisory Board: Aaron Copland, Ernst Krenek, Darius Milhaud, Walter Piston, Roger Sessions, Igor Stravinsky. Editorial Board: Milton Babbitt, Arthur Berger, Ben- jamin Boretz, Elliott Carter, Lukas Foss, Andrew Imbrie, Leon Kirchner, Billy Jim Layton, George Perle, Mel Powell, Gunther Schuller, Seymour Shifrin. Semi-annual. $5.00 a year. $12.50 three years. For- eign Postage is 25 cents additional per year. $3.00 single issues. Princeton University Press Princeton, New Jersey — 2 Erich Leinsdorf THE BERKSHIRE MUSIC CENTER In 1940, the Berkshire Music Center was established at Tanglewood by the Boston Symphony Orchestra in fulfillment of the ambition of Serge Koussevitzky, then Music Director of the Orchestra, to provide a center where young musicians could continue their professional training and add to their artistic experience under the guidance of eminent musicians and teachers. Dr. Koussevitzky served as Director of the Berkshire Music Center from its founding until his death in the spring of 1951, when he was succeeded by Charles Munch. Erich Leinsdorf has been Director of the Berkshire Music Center since the 1963 session. Paul Fromm THE FROMM MUSIC FOUNDATION The Fromm Music Foundation is dedicated to the furtherance of con- temporary music. Wishing to bring the living flow of musical creation closer to the public, the Foundation aims to return the initiative to the composer and to strengthen the most vital source of a healthy musical culture: composition. To foster the realization of this aim, the Foundation commissions new works, awards prizes for existing works, and sponsors the study, performance, publication and recording of contemporary music. The Foundation is headed by Paul Fromm of Chicago, its founder and President, and Alexander Schneider, its Associate Director. The Fromm Music Foundation program at Tanglewood was begun in 1956. — 3 — M BARTOK Contrasts 5.00 (Violin, Clarinet & Piano) String Quartet No. 1 7.00 String Quartet No. 2 7.00 String Quartet No. 3 7.00 String Quartet No. 4 7.00 String Quartet No. 5 7.00 String Quartet No. 6 7.00 BRITTEN Phantasy Quartet Op. 2 3.50 (Oboe, Violin, Viola & Cello) String Quartet No. 1, Op. 25 10.00 String Quartet No. 2, Op. 36 10.00 COPLAND Piano Quartet 5.00 Sextet 7.50 (Clarinet, Piano & String Quartet) Two Pieces for String Quartet 5.00 DAHL Concerto a Tre 3.75 (Violin, Cello & Clarinet) DENNY String Quartet No. 2 5.00 FROMM, H. String Quartet 6.00 KODALY String Quartet No. 1 5.00 LEES String Quartet No. 1 5.00 PISTON String Quartet No. 3 7.50 PROKOFIEFF Overture on Jewish Themes, Op. 34 4.50 (Clarinet, Piano & String Quartet) String Quartet, Op. 50 6.00 Quintet in G Minor, Op. 39 7.50 (Oboe, Clarinet, Violin, Viola & Bass) STRAVINSKY Octet 11.75 (Flute, Clarinet, Bassoons, Trumpets, Trombones) Septet (Clarinet, Bassoon, Horn, Piano, Violin, Viola & Cello) Three Pieces for String Quartet THOMSON String Quartet No. 1 5.00 String Quartet No. 2 5.00 USMANBAS String Quartet 5.00 For further information, please write B00SEY and HAWKES Oceanside, N. Y. 4 — Aaron Copland GUNTHER SCHULLER COMPOSERS AT TANGLEWOOD The Contemporary Music Activities Program of the Berkshire Music Center offers instruction, on an advanced level, for a limited number of especially talented composers. The course is directed toward the composer whose previous studies and experience have prepared him for work in more advanced forms. A series of seminars and individual instruction in composi- tion have been offered during the 1965 session, and compositions of the students have been performed at two Composers' Forums. Aaron Copland is Chairman of the Faculty and has been head of Contemporary Music Activities since the founding of the Center in 1940. Gunther Schuller has been super- visor of contemporary music performance and acting head of composition seminars since 1963. Mrs. Serge Koussevitzky THE KOUSSEVITZKY MUSIC FOUNDATION Throughout the existence of the Berkshire Music Center, a major sup- porter of composers and contemporary music at Tanglewood has been the Koussevitzky Music Foundation, which was established in 1942 by Serge Koussevitzky to foster the development of music and music education. In addition to the establishment of a manuscript and music collection at the Library of Congress, the Foundation commissions compositions and provides scholarships for study at the Berkshire Music Center. Last month, the Founda- tion, in conjunction with the National Federation of Music Clubs, dedicated the site for the Seranak Composers Studio on the Koussevitzky estate near Tanglewood. Mrs. Serge Koussevitzky is President of the Foundation. — 5 — . Some of the younger composers represented by Associated Music Publishers: BABBITT •BALLIF* BANKS BLOMDAHL • BROWN • BURT CARTER • DAVIES • DONATONI VON EINEM • ERBSE • ETLER FORTNER • GOEHR • GUARNIERI HAMILTON • HEIDEN • HENZE HOLLIGER • HOVHANESS • KAY KELEMEN • KIRCHNER • KLEBE LEIBOWITZ • MADERNA MARTINON • MARTIRANO NONO • REIMANN • SCHULLER SEARLE • SHEINKMAN • SHIFRIN SURINACH • SYDEMAN TIPPETT • VEERHOFF • VOGEL WESTERGAARD • WIMBERGER WYNER • XENAKIS • YANNATOS YUN • ZIMMERMANN Associated Music Publishers, Inc. amp A SUBSIDIARY OF C SCHIRMER INC. 60S FIFTH AVENUE. NEWYORK. N . Y. 10017 — 6 — PURPOSES The Contemporary American Music Festival is specifically designed to provide a rallying point for the young professional composer who, after having enjoyed the benefits of fellowships, prizes, and grants as a student, finds himself abandoned at the very moment he is ready to make his con- tribution to his art. This Festival consists largely of performances of works by five composers who have received commissions for the Festival and by alumni of the Berk- shire Music Center in celebration of the Center's 25th anniversary. Four composers have received Fromm Music Foundation Commissions: Charles Dodge, of Ames, Iowa and New York City; Fredric Myrow, of Los Angeles, California and Buffalo, New York; James Randall, of Cleveland, Ohio and Princeton, New Jersey; and David Reck, of McAllen, Texas and New York City. The fifth commission was made available by Samuel Wechsler of New York City. This was awarded to Donald Harris of St. Paul, Minnesota and Paris, France. Other composers are also represented on the programs (numerals indicate their years with the Berkshire Music Center) : Easley Blackwood ('48, '49, '50), Elliott Carter, Barney Childs ('53, '54), Michael Colgrass ('52, '54), George Crumb ('55), Donald Martino ('64), Thea Musgrave ('58), Julian Orbon ('46), Carl Ruggles, Harold Shapero ('40, '41, '46). In addition to three concerts of vocal and instrumental chamber music and one concert of larger orchestral works, performed by members of the Performance Department of the Berkshire Music Center, there will be a concert devoted to the music of Aaron Copland. This concert will be per- formed in honor of Mr. Copland's twenty-five years of teaching at the Berk- shire Music Center by Fellows of the Berkshire Music Center, Members of the Boston Symphony Chamber Players with Claude Frank, pianist, and William Masselos, pianist. This Festival is intended to represent not contemporary American music as a whole but mainly that of the most recent generation of composers. Each commissioned composer is not only represented by a performance of his com- missioned work but also by a performance of another characteristic work. In addition to receiving a commission, all five composers were invited by the Fromm Music
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  • Thefairophelia Joseph Summer’S the Shakespeare Concerts Series

    Thefairophelia Joseph Summer’S the Shakespeare Concerts Series

    Joseph summer’s The Shakespeare Concerts Series 2 TheFairOphelia Joseph summer’s The Shakespeare Concerts Series The Fair Ophelia is the second offering in Navona’s THE SHAKESPEARE CONCERTS SERIES, consisting of diverse settings of Ophelia’s mad scene and Gertrude’s reflection on Ophelia’s death from Shakespeare’s The Tragedy of Hamlet, Prince of Denmark by Berlioz, Brahms, Schumann, Saint-Saëns, Strauss, Cage, and Summer. The parallax views of Ophelia experienced by the composers present the listener with an unusual opportunity to hear Ophelia in a three dimensional perspective. Is this tragic Shakespearean maiden mad because she’s angry with those characters who inhabit her world, or should we be angry with those characters who inhibit her predilections, and thus have made mad the hapless heroine? The next offering in Navona’s THE SHAKESPEARE CONCERTS SERIES is GODDESSES, featuring The Tempest’s three goddesses: Juno, Ceres, and Iris in a setting of Honour, Riches, Marriage-Blessing by Joseph Summer. Other highlights are Andrea Chenoweth singing Ariel songs by Thomas Linley accompanied by Massachusetts’ renowned period ensemble, Arcadia Players, under the direction of Ian Watson; mezzo-soprano Kellie Van Horn performing Shall I compare Thee To A Summer’s Day with Jessica Lizak on flute; and In The Old Age Black Was Not Counted Fair with tenor Luke Grooms, baritone Paul Soper, and Clark Matthews on French horn. 2 Program Notes BY JOSEPH SUMMER 3 Introduction There being a myriad of interpretations of the character of Ophelia from Shakespeare’sThe Tragedy of Hamlet, Prince of Den- mark, when it was time for me to create program notes for the 2012 concert, it seemed to me that like the program itself, within which seven composers’ interpretations were realized, the program books should reflect this diversity; ergo, instead of creating a singular template from which every copy would be manufactured, I drew up many different versions.