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Boston Symphony Orchestra Concert Programs, Summer, 1970

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Boston Symphony Orchestra Concert Programs, Summer, 1970 ISM /, *w*s M •*r:;*. KUCJCW n;. ,-1. * Tanglewood 1970° Seiji Ozawa, Gunther Schuller, Artistic Directors Leonard Bernstein, Advisor FESTIVAL OF CONTEMPORARY MUSIC August 16 — August 20, 1970 Sponsored by the BERKSHIRE MUSIC CENTER In Cooperation with the FROMM MUSIC FOUNDATION PERSPECTIVES NEWOF MUSIC PERSPECTIVES OF NEW 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 problems of the composer. Published for the Fromm Music Foundation by Princeton University Press. Editor: Benjamin Boretz Advisory Board: Aaron Copland, Ernst Krenek, Darius Milhaud, Walter Piston, Roger Sessions, Igor Stravinsky. Semi-annual. $6.00 a year. $15.00 three years. Foreign Postage is 25 cents additional per year. Single or back issues are $5.00. Princeton University Press Princeton, New Jersey I 5fta 'V. B , '*•. .-.-'--! HffiHHMEffl SiSsi M^lll Epppi ^EwK^^bJbe^h 1 * - ' :- HMK^HRj^EI! 9HKS&k 7?. BCJB1I MQ50 TANGLEWOOD SEIJI OZAWA, GUNTHER SCHULLER, Artistic Directors/LEONARD BERNSTEIN, Adviser THE BERKSHIRE MUSIC CENTER Joseph Silverstein, Chairman of the Faculty Harry J. Kraut, Administrator Aaron Copland, Chairman of the Faculty Emeritus Daniel R. Gustin, Assistant Administrator Leon Barzin, Head, Orchestral Activities James Whitaker, Chief Coordinator ,vvv /ss. Festival of Contemporary Music presented in cooperation with The Fromm Music Foundation Paul Fromm, President Fellowship Program Contemporary Music Activities Gunther Schuller, Head George Crumb, Charles Wuorinen, and Chou Wen-Chung, Guest Teachers Paul Zukofsky, Assistant The Berkshire Music Center is maintained for advanced study in music Sponsored by the Boston Symphony Orchestra William Steinberg, Music Director Michael Tilson Thomas, Associate Conductor Thomas D. Perry, Jr., Manager BALDWIN PIANO RCA VICTOR RECORDS tracing its origins to 1783 and the beginning of music publishing in America, the THEODORE PRESSER COMPANY stands for one of the world's great catalogs of music . INSTRUMENTS, solo and ensemble, Keyboard, Wind, Brass, Percussion, String - CHAMBER MUSIC - ORCHESTRA - BAND - VOICES, solo and ensemble - CHORUS - OPERA - BALLET THEODORE PRESSER COMPANY includes: ELKAN-VOGEL, INC. (A subsidiary of Theodore Presser Company) Beekman Music, Inc. John Church Co. Sole American Representative for: Oliver Ditson Co. Durand & Cie. Liturgical Press, Inc. Jean Jobert Mercury Music Corp. H. Lemoine & Cie. Music, Inc. Merion Editions Philippo Merrymount Music, Inc. Consortium Musical Music Press La Schola Cantorum & Procure Generale New Music Edition Edition Heuwekemeijer Society for the Publication of American Music, Inc. Ars Nova Weaner Levant Hamelle & Cie. Rideau Rouge Sole American Representative for: Columbia Music Co. Robert Fairfax Birch Publications Gentry Publications Lea Pocket Scores Mowbray Music Publishers Now Music Corp. Tritone Press & Tenuto Publications Editions Musicales Transatlantiques Heugel & Cie. Impero Verlag Universal Edition THEODORE PRESSER COMPANY 1 1 1 West 57th Street, New York, N.Y. 10019 and Bryn Mawr, Pennsylvania 1 90 1 mm. 9h&>•% i fZJ@Br <*7V.'a.-: THE BERKSHIRE MUSIC CENTER In 1 940, the Berkshire Music Center was established at Tanglewood by the Boston Symphony Orchestra in fulfillment of the dream of Serge Koussevitzky, its Music Director, to provide an environment in which young musicians could continue their professional training and add to their artistic experience through the guidance of eminent musicians. The Center was developed under his leadership until his death in 1951, when he was succeeded by Charles Munch. Erich Leinsdorf became the next Music Director in 1963, to be succeeded by a tripartite directorship comprising two Artistic Directors, Seiji Ozawa and Gunther Schuller, and Leonard Bernstein as Artistic Advisor. Since the founding of the Center, one of the principal sponsors of composers and contemporary music at Tanglewood has been the Koussevitzky Music Foundation, established in 1942 by Serge Koussevitzky, then Music Director of the Boston Symphony Orchestra, in memory of his wife Natalie. THE FROMM MUSIC FOUNDATION The Fromm Music Foundation is dedicated to the furtherance of contemporary music. The Founda- tion commissions new works, awards prizes for existing works, and sponsors the study, performance, publi- cation and recording of contemporary music. The Foundation supports the magazine, "Perspectives of New Music," published by the Princeton University Press, and sponsors the yearly Festival of Contemporary Music at Tanglewood. The Fromm Music Foundation is headed by Paul Fromm of Chicago, its president and founder. CONTEMPORARY MUSIC AT TANGLEWOOD The Contemporary Music Program at the Berkshire Music Center comprises two kinds of activity: the study and performance of contemporary music, and instruction in composition for a limited number of composers whose previous studies and experiences have prepared them for work on an advanced level. The program is headed by Gunther Schuller, President of the New England Conservatory of Music. Student composers not only receive instruction from Mr. Schuller and this year's guest teacher, George Crumb, but also participate in a series of seminars conducted by, in addition to Mr. Crumb : Charles Wuorinen and Chou Wen-Chung. Compositions by the student composers are performed at various Berkshire Music Center concerts, and prepared, as are the concerts of the Festival of Contemporary Music, under the super- vision of Mr. Schuller. Mr. Schuller replaces Aaron Copland who retired in 1965 after twenty-five years as head of the Composition Department at the Center. THE FESTIVAL "The Festival of Contemporary American Music was initiated in 1963. The generous support of the Fromm Music Foundation has made possible this week-long confrontation with contemporary music an institution at Tanglewood — a festival within a Festival. "Its purposes are manifold. It provides a forum for new ideas and directions in music, and as such has become one of the most important annual events in the vital task of keeping the lines of communica- tion open between composer and public. It also reaffirms the position that music can only survive in our society through the careful nurturing of the creative mind. But creation (composition) and recreation (performance) are inextricably linked: the one cannot survive without the other. The emphasis on museum policies possible in the other arts, particularly the visual arts, can only lead to attrition in music for the very simple reason that, unlike a painting which exists and can be viewed at leisure, a composition has to be performed in order to exist. It ceases to exist, except as a memory, the moment the performance has ended. It therefore becomes the obligation of every performing musician to keep the life-stream of music — composition — going and moving forward. The young men and women who come to Tanglewood as Fellowship students, performing in addition to 19th Century music a wide variety of contemporary music, are meeting this challenge as a part of their professional commitment to music in all its breadth and depth. "The Fromm Music Foundation and the Berkshire Music Center provide a special stimulus to these activities by annually commissioning a number of works by young composers about to establish themselves in the field of music. "The Festival does not claim to be comprehensive or all-permissive, but has presented over the years a wide sampling of contemporary music, ranging from young 'unknowns' to the well-established figures." GUNTHER SCHULLER TRENDS CONCERTS Another manifestation of contemporary musical life is the Contemporary Trends Concerts, now in their third year. These concerts are based on the premise that the so-called "serious" music of our Western European culture represents but a small segment of the total spectrum of contemporary music. With the vastly expanding media of communication and dissemination, the world's musics are available to all of us, virtually for the asking, and, as a result, the barriers between many of these musics are rapidly breaking down, particularly for the younger generations. We believe that music at Tanglewood, if it is to be truly representative of today's contemporary musical life, must offer the best creative efforts in jazz, rock, folk, gospel and the various ethnic crosscurrents which fundamentally affect our music culture. Another Festival Event: Tuesday, August 18, at 6:00 p.m. CONTEMPORARY TRENDS CONCERT Shed, Tanglewood Bill Graham presents from the Fillmore: Santana — Miles Davis The Voices of East Harlem :*..' ^^IB FESTIVAL OF CONTEMPORARY MUSIC BERKSHIRE MUSIC CENTER ORCHESTRA Gunther Schuller, conductor Sunday, August 16, at 8:30 p.m. Theatre-Concert Hall, Tanglewood 'Program^ Krzysztof Penderecki Anaklasis (1960) First United States Performance Olly Wilson Voices (1970) Commissioned by the Berkshire Music Center and the Fromm Music Foundation First Performance George Crumb Echoes of Time and the River (1967) intermission Luigi Nono II Canto Sospeso (1956) First United States Performance BALDWIN PIANO •-••• • p theARSa: the critics' choice AMERICAN record guide (Larry Zide) "In choral works and other music of relatively 'heavy' content, the AR-3a simply eliminates any mid-range lack of clarity ... I find myself repeating what I said in 1959 [about the AR-3]. The AR-3a easily succeeds its prototype as a speaker that I consider 'as close to musical realism in the home ... as the present state of
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