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Next summer . . . walk to Tanglewood

. . .from your own country estate condominium, just down the road on a quiet preserve of

unspoiled woodlands and rolling meadows. This is White Pines at Stockbridge, part of the

Countess de Heredia's estate.

On these 95 acres, we have already completed more than a third of our 68 luxurious

units. . .some created within existing French Provincial buildings, others in totally new,

but architecturally harmonious, duplexes.

As a homeowner, you will enjoy White Pines exclusive recreational facilities, including a

four-season swimming pool, Har-Tru tennis courts, a private lakefront beach, acres of

undeveloped land for quiet strolling and cross-country skiing.

We invite you to visit our furnished model, open seven days a week.

Developers: Herbert & Edith Ross

Architect: David Rothstein

Construction: Allegrone Construction Co. Financing: Berkshire Bank & Essex Bank White Model Interiors: Barbara Lazarus

For an appointment, please call (413) 637-1140. Or contact our exclusive sales agent, Reinholt Pines Realty—Main Street, Lenox (413) 637-1251 or country estate Main Street, Stockbridge (413) 298-3664. For more information, write P.O. Box 529, condominiums Hawthorne Street, Stockbridge, MA 01262. at Stockbridge Featured in Stye Jfettf jjork SlltlCS '

Seiji Ozawa, Music Director

One Hundred and Fourth Season, 1984-85

' JfC";; A-**!' 4''-* Trustees of the Boston Symphony Orchestra, Inc.

Leo L. Beranek, Chairman Nelson J. Darling, Jr., President

J. P. Barger, Vice-President George H. Kidder, Vice-President

Mrs. George L. Sargent, Vice-President William J. Poorvu, Treasurer

:

Vernon R. Alden Mrs. Michael H. Davis E. James Morton

David B. Arnold, Jr. Archie C. Epps David G. Mugar I Mrs. John M. Bradley Mrs. John H. Fitzpatrick Thomas D. Perry, Jr. Mrs. Norman L. Cahners Mrs. John L. Grandin Irving W Rabb

George H. A. Clowes, Jr. Harvey Chet Krentzman Mrs. George R. Rowland

William M. Crozier, Jr. Roderick M. MacDougall Richard A. Smith Mrs. Lewis S. Dabney John Hoyt Stookey £81 H Trustees Emeriti

Philip K. Allen E. Morton Jennings, T. Noonan Jr. John « Allen G. Barry Edward M. Kennedy Mrs. James H. Perkins Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike

Administration of the Boston Symphony Orchestra, Inc.

Thomas W Morris, General Manager

Daniel R. Gustin, Assistant Manager Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator

. I. ,... 1-1. . I ... I Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Theodore A. Vlahos, Director of Business Affairs

Charles S. Fox, Director of Annual Giving Steven Ledbetter, Musicologist & Arlene Germain, Financial Analyst Program Annotator Charles Gilroy, Chief Accountant Marc Mandel, Publications Coordinator Vera Gold, Assistant Director of Promotion Richard Ortner, Administrator of Patricia Halligan, Personnel Administrator Tanglewood Music Center Nancy A. Kay, Director of Sales Robert A. Pihlcrantz, Properties Manager John M. Keenum, Director of Charles Rawson, Manager of Box Office wjAi Foundation Support Eric Sanders, Director of Corporate Development James F. Kiley, Operations Manager, Joyce M. Serwitz, Assistant Director Tanglewood of Development Nancy Knutsen, Production Manager Diane Greer Smart, Director of Volunteers Anita R. Kurland, Administrator of Nancy E. Tanen, Media/ Special Projects Youth Activities Administrator

'il&

Programs copyright ®1985 Boston Symphony Orchestra, Inc. Cover photo by Walter H. Scott Music After Tkiglew®cL.

Join the BSO in Boston and New York!

Join Music Director Seiji Ozawa and the Boston Symphony Orchestra in Symphony Hall for a 22-week season which spans the major masterpieces of the repertoire to some exciting new music. During the 1985-86 New York season at Carnegie Hall, Ozawa and the BSO will present three stunning , including appearances by Itzhak Perlman and Maurizio Pollini.

For music after Tanglewood, subscribe today. Free brochures with complete program information for the BSO's Boston and New York seasons are available at the Tanglewood Main Gate. Or contact the Subscription Office, Symphony Hall, Boston MA 02115, (617)266-1492. Board of Overseers of the Boston Symphony Orchestra, Inc. Harvey Chet Krentzman, Chairman

Avram J. Goldberg Mrs. August R. Meyer Vice-Chairman Vice-Chairman

Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Secretary

Mrs. Weston W. Adams Mrs. Ray A. Goldberg Mrs. Hiroshi Nishino Martin Allen Jordan L. Golding Vincent M. O'Reilly Bruce A. Beal Haskell R. Gordon Stephen Paine, Sr. Mrs. Richard Bennink Mrs. R. Douglass Hall III John A. Perkins

Peter A. Brooke Francis W. Hatch, Jr. Mrs. Curtis Prout William M. Bulger Mrs. Richard D. Hill Peter C. Read Mary Louise Cabot Susan M. Hilles Robert E. Remis James F. Cleary Glen H. Hiner Mrs. Peter van S. Rice

John F. Cogan, Jr. Mrs. Marilyn Brachman Hoffman David Rockefeller, Jr. Julian Cohen Mrs. BelaT. Kalman John Ex Rodgers Mrs. Nat King Cole Mrs. S. Charles Kasdon Mrs. Jerome Rosenfeld Arthur P. Contas Richard L. Kaye Mrs. William C. Rousseau Mrs. A. Werk Cook John Kittredge Mrs. William H. Ryan Phyllis Curtin Mrs. Carl Koch Gene Shalit A.V. dArbeloff Mrs. E. Anthony Kutten Malcolm L. Sherman D.V. dArbeloff John P. LaWare Donald B. Sinclair Mrs. Michael H. Davis Mrs. James F. Lawrence Ralph Z. Sorenson

Mrs. Otto Eckstein Laurence Lesser Mrs. Arthur I. Strang William S. Edgerly Mrs. Charles P. Lyman Mrs. Richard H. Thompson Mrs. Alexander Ellis Mrs. Harry L. Marks William F. Thompson

John A. Fibiger C. Charles Marran Mark Tishler, Jr.

Kenneth G. Fisher J. William Middendorf II Luise Vosgerchian Gerhard M. Freche Paul M. Montrone Mrs. An Wang Peter H.B. Frelinghuysen Hanae Mori Roger D. Wellington

Mrs. Thomas J. Galligan Richard P. Morse John J. Wilson Mrs. Thomas Gardiner Mrs. Robert B. Newman Brunetta Wolfman Mrs. James G. Garivaltis Nicholas T. Zervas

Overseers Emeriti Mrs. Frank G. Allen Paul Fromm Benjamin H. Lacy

Hazen H. Ayer Mrs. Louis I. Kane Mrs. Stephen V.C. Morris David W. Bernstein Leonard Kaplan David R. Pokross

Officers of the Boston Symphony Association of Volunteers Mrs. Michael H. Davis President Mrs. Hart D. Leavitt Mrs. Carl Koch Executive Vice-President Treasurer Mrs. Barbara W Steiner Mrs. August R. Meyer Secretary Nominating Chairman

Vice-Presidents Mrs. Gilman W. Conant, Regions Mrs. Craig W. Fischer, Tanglewood Phyllis Dohanian, Fundraising Projects Mrs. Hiroshi Nishino, Youth Activities Mrs. R. Douglas Hall III, Mrs. Mark Selkowitz, Tanglewood Development Services Mark Tishler, Public Relations

Chairmen of Regions Mrs. Roman W DeSanctis Mrs. Charles Hubbard Mrs. Frank E. Remick

Mrs. Russell J. Goodnow, Jr. Mrs. Herbert S. Judd, Jr. John H. Stookey Mrs. Baron M. Hartley Mrs. Robert B. Newman Mrs. Arthur I. Strang Drawing by Douglas McGregor People by Norman Rockwell Since 1773

A wonderful place to be in the Berkshires. Open every day for luncheons the road on Main Street and dinners. And . . . just a few minutes down in the center of St'ockbridge. The Red Lion Inn has catered to travelers and visitors since 1773.

From the informal Widow Bingham Tavern to the elegant antique filled dining room you'll enjoy fine food and hospitality in the traditional New manner.

Have cocktails downstairs at The Lion's Den. There is a wonderful menu from soups, salads and sandwiches to scrumptious desserts .... and you will have time to eat a light meal and still make the show. A great way to top off your evening is a visit to the Den to enjoy the nightly entertainment.

Phone for reservations (413)298-5545

Fine Food and Lodging IheRedLmInn

STOCKBRIDGE, MASSACHUSETTS 01262 TANGLEWOOD family estate, with its buildings and 210 acres of lawns and meadows, as a gift to The Tanglewood Festival Koussevitzky and the orchestra. The In August 1934, a group of music- offer was gratefully accepted, and on loving summer residents of the 5 August 1937 the festival's largest crowd Berkshires organized a series of three so far assembled under a tent for the outdoor concerts at Interlaken, to be first Tanglewood , an all- given by members of the New York Beethoven program. Philharmonic under the direction of At the all-Wagner concert which Henry Hadley. The venture was so opened the 1937 festival's second successful that the promoters incorpo- weekend, rain and thunder twice inter- rated the Berkshire Symphonic Festival rupted the performance of the Rienzi and repeated the experiment during the Overture and necessitated the omission next summer. altogether of the Siegfried "Forest The Festival Committee then invited Murmurs," music too delicate to be Serge Koussevitzky and the Boston heard through the downpour. At the Symphony Orchestra to take part in the intermission, Miss Gertrude Robinson following year's concerts. The orchestra's Smith, one of the festival's founders, Trustees accepted, and on 13 August made a fundraising appeal for the build-

1936 the Boston Symphony gave its first ing of a permanent structure. The appeal concerts in the Berkshires (at Holm- was broadened by means of a printed woodj a former Vanderbilt estate, later circular handed out at the two remain- the Center at Foxhollow). The series ing concerts, and within a short time again consisted of three concerts and enough money had been raised to begin was given under a large tent, drawing a active planning for a "music pavilion." total of nearly 15,000 people. Eliel Saarinen, the eminent architect In the winter of 1936, Mrs. Gorham selected by Koussevitzky, proposed an Brooks and Miss Mary Aspinwall Tap- elaborate design that went far beyond pan offered Tanglewood, the Tappan the immediate needs of the festival and,

A 1939 banner advertising that summer's Boston Symphony Tanglewood Festival Remembrance of Things Tanglew®d...

_The Glass House TANGLEWOOD'S DISTINCTIVE GIFT SHOP

MasterCard /VISA /American Express

LOCATED AT THE MAIN GATE, TANGLEWOOD, LENOX, MA 01 240

(413)637-1600

Monday through Saturday: 10am to 4pm Friday and Saturday: 6pm to closing of the grounds Weeknight Theatre concerts: 7pm to closing of the grounds Sunday: 12 noon to closing of the grounds

HI W.-'-jV. .A« more important, went well beyond the Center, which had begun operations budget of $100,000. His second, the preceding year—were finished, and simplified plans were still too expensive, the festival had so expanded its activities and he finally wrote that if the Trustees and its reputation for excellence that it insisted on remaining within their attracted nearly 100,000 visitors. budget, they would have "just a shed/' Today Tanglewood annually draws which "any builder could accomplish more than 300,000 visitors; in addition without the aid of an architect." The to the twenty-four regular concerts of Trustees then turned to a Stockbridge the Boston Symphony, there are weekly engineer, Joseph Franz, to make further chamber music concerts, "Prelude" simplifications in Saarinen's plans in concerts and open rehearsals, the an- order to lower the cost. The building nual Festival of Contemporary Music, that he erected remains, with modifica- and almost daily concerts by the gifted tions, to this day; it is still called simply young musicians of the Tanglewood "the Shed." The Shed was inaugurated Music Center. The Boston Pops per- for the first concert of the 1938 festival. forms each summer as well. The season

It has echoed with the music of the offers not only a vast quantity of music Boston Symphony Orchestra every but also a vast range of musical forms summer since, except for the war years and styles, all of it presented with a 1942-45, and has become almost a place regard for artistic excellence that makes of pilgrimage to millions of concert- the festival unique. goers. By 1941, the Theatre-Concert The Tanglewood Music Center Hall, the Chamber Music Hall, and several small studios—all part of what Tanglewood is much more than a was then called the Tanglewood Music pleasant, outdoor, summer concert hall;

We won't give you the Jacob'sPillow same old song and dance. June 25 - Sept. 1 For ten high-flying weeks the world's most innovative dancers, singers and musicians will be down To on the farm working up a sweat. reserve tickets call 413-243-0745. And setting your imagination on fire Or, just come up at 5:30 Each week hits you with something pm fresh and original. You'll see that for a visit— there's one visit to Jacob's Pillow won't be a lot going on that won't enough. cost you a penny.

The Ted Shawn Dance Festival Act now— Jazz at the Pillow or kick yourself later. Sunday Music from Aston Magna Mass. Pike, exit 2, The Inside/Out Lee/Pittsfield New Dance Festival Rt. 20 East to Jacob's Pillow rv The Inside/Out Or write Box 287A7, New Lee, MA 01238 1

it is also the site of one of the most in- fluential centers for advanced musical study in the world. Here, the Tangle- 57th Season wood Music Center, which has been Stockbridge, maintained by the Boston Symphony Massachusetts Orchestra ever since its establishment "One of the most (as the Berkshire Music Center) under prestigious festivals the leadership of Serge Koussevitzky in in the country ... a summer institution." 1940, provides a wide range of special- Clive Barnes N.Y. Post ized training and experience for young musicians from all over the world. This Mainstage year, becomes Artistic Member the Wedding of Director of the Tanglewood Music by Carson McCullers Center, succeeding Gunther Schuller, June 26-July 14 who held the position for twelve years Beyond Therapy until his departure at the end of the by Christopher Durang 1984 session. July 1 7-28 The TMC was Koussevitzky's pride Caught and joy for the rest of his life. He assem- by Bernard Kahn bled an extraordinary faculty in July 31 -August 1 com- position, operatic and choral activities, Paris Bound and instrumental performance; he him- by Philip Barry self taught the most gifted conductors. August 1 4-September 1 The school opened formally on 8 July Box Office 1940, with speeches (Koussevitzky, Information & alluding to the war then raging in Ticket Reservations Europe, said, "If ever there was a time (413)298-5576 to speak of music, it is now in the New American Express, MasterCard and Visa accepted. World") and music, the first perform- ance of Randall Thompson's Alleluia for unaccompanied chorus, which had been written for the ceremony and had arrived less than an hour before the event was to begin, but which made SOUTH MOUNTAIN such an impression that it has remained CONCERTS the traditional opening music each Pittsficld, Massachusetts summer. 67th Season of Chamber Music The emphasis at the Tanglewood

Aug. 3, Vermeer String Quartet Music Center has always been not on Aug. 24, Aulos Ensemble sheer technique, which students learn Aug. 31, Muir String Quartet with their regular private teachers, but And Peter Orth, on making music. Although the program Sept. 22, Beaux Arts Trio has changed in some respects over the Oct. 6, Fitzwilliam String Quartet years, the emphasis is still on ensemble For Brochure and Ticket Information Write performance, learning chamber music South Mountain Concerts Box 23 a of talented fellow musi- Pittsfield, Massachusetts 01202 with group Box Office 413 442-2106 cians under the coaching of a master- musician-teacher. Many of the pieces learned this way are performed in the regular student recitals; each summer brings treasured memories of exciting awarded fellowships to underwrite their performances by talented young profes- expenses. It includes courses of study sionals beginning a love affair with a for instrumentalists, vocalists, conduc- great piece of music. tors, and composers. The Tanglewood The Tanglewood Music Center Seminars are a series of special instruc- Orchestra performs weekly in concerts tional programs, this summer including covering the entire repertory under the the Phyllis Curtin Seminar for Singers, a direction of student conductors as well Listening and Analysis Seminar, and a as members of the TMC staff and visitors Seminar for Conductors. Beginning in who are in town to lead the BSO in its 1966, educational programs at festival concerts. The quality of this Tanglewood were extended to younger orchestra, put together for just eight students, mostly of high-school age, weeks each summer, regularly as- when Erich Leinsdorf invited the Boston tonishes visitors. It would be impossible University School for the Arts to become to list all the distinguished musicians involved with the Boston Symphony who have been part of that annual corps Orchestra's activities in the Berkshires. of young people on the verge of a profes- Today, Boston University, through its sional career as instrumentalists, Tanglewood Institute, sponsors pro- singers, conductors, and composers. grams which offer individual and en-

But it is worth noting that 20% of the semble instruction to talented younger members of the major orchestras in this musicians, with eleven separate pro- country have been students at the grams for performers and composers. Tanglewood Music Center, and that Today, alumni of the Tanglewood figure is constantly rising. Music Center play a vital role in the

Today there are three principal pro- musical life of the nation. Tanglewood grams at the Tanglewood Music Center, and the Tanglewood Music Center, each with appropriate subdivisions. The projects with which Serge Koussevitzky Fellowship Program provides a demand- was involved until his death, have be- ing schedule of study and performance come a fitting shrine to his memory, a for students who have completed most living embodiment of the vital, of their training in music and who are humanistic tradition that was his legacy.

BSO Music Director Seiji Ozawa working with the Tanglewood Music Center Orchestra mm WB&

I TANCLEWOOD LENOX, MASSACHUSETTS

ifl

lei TANGLEWOOD INFORMATION

Ticket information for all Berkshire Festival events may be obtained at the desks at the Main Gate and at the Lion Gate or by calling 413-637-1940. Box office hours are from 10 a.m. to 6 p.m. Visa, MasterCard, and American Express are accepted.

Open Rehearsals by the Boston Symphony Orchestra are held each Saturday morning at 10:30. Admission is $7.00 and the proceeds benefit the orchestra's Pension Fund.

The Lost and Found is in the superintendent's house near the Main Gate. Visitors who find stray property may hand it to any Tanglewood official.

Rest rooms and pay phones may be located on the map opposite.

The First Aid station is near the Main Gate. Physicians expecting calls are asked to leave their names and seat numbers with the guide at the Main Gate.

Limited parking facilities are available for invalids and the physically handicapped. Please ask the parking attendants.

Latecomers will be seated only at the first convenient pause in the program. Those listeners who need to leave before the concert is over are asked to do so between works, and not during the performance.

No smoking, eating, or drinking in the Tanglewood Shed, please. Your cooperation is appreciated.

The use of recording equipment at Tanglewood is forbidden at all times.

Cameras: You are welcome to bring cameras to Tanglewood, but please refrain from taking pictures during the music since the click of shutters, the winding of film, and the flash annoy your neighbors and distract the musicians. Thank you for your understanding and your courtesy.

Please note: In consideration of our patrons and artists, children under four years of

age will not be permitted into the Shed or Theatre-Concert Hall for concerts. While all ages are admitted onto the lawn, everyone, including children, must pay full lawn admission price.

The Tanglewood Tent next to the Shed offers bar service and picnic space to Tent members on concert days. Tent membership is a benefit available to donors through the Tanglewood Friends' Office.

Refreshments can be obtained in the area west of the Main Gate and at other locations on the grounds. Visitors are invited to picnic before concerts.

T-shirts, posters, beach towels, postcards, books, and other souvenirs are on sale in the Glass House next to the Main Gate. Glass House hours are from 10 a.m. to 4 p.m. Monday through Saturday; from 6 p.m. until the grounds close Friday and Saturday nights; from 7p.m. Theatre concert nights; and from 12 noon on Sunday. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

The Tanglewood Music Store, adjacent to the GlassHouse and operated by the Boston Symphony Orchestra, stocks sheet music and musical supplies, scores, music books, and recordings. Whenever available, records and cassettes will feature the repertory and artists heard at Tanglewood Festival concerts. The Tanglewood Music Store remains open for half an hour after the conclusion of each concert in the Shed.

Concerts of the Boston Symphony Orchestra and the Tanglewood Music Center are funded in part by the National Endowment for the Arts. ' ' 'Mr I • I ' 1 /I'A *'.

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THE THINKING CHILDS TOY STORE • (518) 482-8818 ourhjus. cosmic. Repertory Performances CCCl/CC ccczv. Throughout the Summer AN EXCITING COLLECTION OF JINGLES, JANGLES AND Thursdays through Mondays JEWELS, WILD T-SHIRTS WITTY GREETING CARDS ~-=^ Call (413) 445-4634 "SOUTHWOOL" HAND-KNIT SWEATERS AND MUCH, MUCH MORE! MM

Maintaining the majesty ,.-. THE SEVENTEENTH ANNUAL of the Tanglewood trees . BACHNEW ENGLAND FESTIVAL BLANCHE HONEGGER MOYSE, Artistic Director HHUPT SEPTEMBER 23 - OCTOBER 15, 1985 For program and ticket information write The Brattleboro Music Center, Box T The Haupt Tree Company 15 Walnut Street, Brattleboro, Vermont 05301 Sheffield, Massachusetts 01257 or call the Festival office, 802/257-4523 413-229-8565

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.' HI *i H

'•••• : -.•'•.. I -' " Seiji Ozawa

January 1962 with the San Francisco Symphony Orchestra. He was music director of the Ravinia Festival for five summers beginning in 1964, and music director for four seasons of the Toronto Symphony Orchestra, a post he relin- quished at the end of the 1968-69 season.

Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he became an artis- tic director in 1970. In December 1970 he began his inaugural season as conductor and music director of the San Francisco Symphony Orchestra. The music direc-

The 1984-85 season is Seiji Ozawa's torship of the Boston Symphony fol- twelfth as music director of the Boston lowed in 1973, and Mr. Ozawa resigned

Symphony Orchestra. In the fall of 1973 his San Francisco position in the spring he became the orchestra's thirteenth of 1976, serving as music advisor there music director since it was founded for the 1976-77 season. in 1881. As music director of the Boston Sym- Born in 1935 in Shenyang, , to phony Orchestra, Mr. Ozawa has Japanese parents, Mr. Ozawa studied strengthened the orchestra's reputation both Western and Oriental music as a internationally as well as at home, begin- child and later graduated from Tokyo's ning with concerts on the BSO's 1976

Toho School of Music with first prizes in European tour and, in March 1978, on a composition and conducting. In the fall nine-city tour of Japan. At the invitation of 1959 he won first prize at the Inter- of the Chinese government, Mr. Ozawa national Competition of Orchestra Con- then spent a week working with the ductors, Besancon, France. Charles Peking Central Philharmonic Orchestra; Munch, then music director of the a year later, in March 1979, he returned Boston Symphony and a judge at the to China with the entire Boston Sym- competition, invited him to phony for a significant musical and Tanglewood, where in 1960 he won the cultural exchange entailing coaching, Koussevitzky Prize for outstanding study, and discussion sessions with student conductor, the highest honor Chinese musicians, as well as concert awarded by the Berkshire Music Center performances. Also in 1979, Mr. Ozawa (now the Tanglewood Music Center). led the orchestra on its first tour devoted While working with Herbert von exclusively to appearances at the major Karajan in West Berlin, Mr. Ozawa came music festivals of Europe. Seiji Ozawa to the attention of Leonard Bernstein, and the Boston Symphony celebrated whom he accompanied on the New the orchestra's one-hundredth birthday York Philharmonic's spring 1961 Japan with a fourteen-city American tour in tour, and he was made an assistant March 1981 and an international tour to conductor of that orchestra for the 1961- Japan, France, Germany, Austria, and

62 season. His first professional concert England in October/November that appearance in North America came in same year. Most recently, in August/ September 1984, Mr. Ozawa led the leben, Stravinsky's he Sacre du printemps, orchestra in a two-and-one-half-week, Hoist's The Planets, and Mahler's Sym- eleven-concert tour which included phony No. 8, the Symphony of a appearances at the music festivals of Thousand. For CBS, he has recorded Edinburgh, London, Salzburg, Lucerne, music of Ravel, Berlioz, and Debussy and Berlin, as well as performances in with mezzo- Frederica von Munich, Hamburg, and Amsterdam. Stade and the Mendelssohn Violin Con- Mr. Ozawa pursues an active inter- certo with ; in addition, he national career. He appears regularly has recorded the Schoenberg/Monn with the Berlin Philharmonic, the Or- Cello Concerto and Strauss's Don Quixote chestre de Paris, the French National with cellist Yo-Yo Ma for future release. Radio Orchestra, the Vienna Philhar- ForTelarc, he has recorded the complete monic, the Philharmonia of London, cycle of Beethoven piano concertos and and the New Japan Philharmonic. His the Choral Fantasy with Rudolf Serkin. operatic credits include Salzburg, Mr. Ozawa and the orchestra have London's Royal at Covent Gar- recorded five of the works commis- den, La Scala in Milan, and the Paris sioned by the BSO for its centennial: Opera, where he conducted the world Roger Sessions's Pulitzer Prize-winning premiere of Olivier Messiaen's opera Concerto for Orchestra and Andrzej

St. Francis ofAssisi in November 1983. Panufnik's Sinfonia Votiva are available Messiaen's opera was subsequently on Hyperion; Peter Lieberson's Piano awarded the Grand Prix de la Critique Concerto with soloist Peter Serkin, John

1984 in the category of French world Harbison's Symphony No. 1, and Oily premieres. Wilson's Sinfonia have been taped for Mr. Ozawa has won an Emmy for the New World records. For Angel/EMI, he Boston Symphony Orchestra's "Evening and the orchestra have recorded at Symphony" television series. His Stravinsky's Firebird and, with soloist award-winning recordings include Itzhak Perlman, the violin concertos of Berlioz's Romeo et Juliette, Schoenberg's Earl Kim and Robert Starer. Gurrelieder, and the Berg and Stravinsky Mr. Ozawa holds honorary Doctor of violin concertos with Itzhak Perlman. Music degrees from the University Other recordings with the orchestra of Massachusetts, the New England include, for Philips, Richard Strauss's Conservatory of Music, and Wheaton Also sprach Zarathustra and Ein Helden- College in Norton, Massachusetts. WILL YOU TAKE A SEAT?

The Boston Symphony Orchestra would like to offer you a permanent place in the Shed at Tanglewood, along with the masters of great music. Your gift of $2,500 will endow your favorite seat. Your name, or that of someone you wish to honor, will be inscribed on a plaque affixed to the chair. This special contribution will insure the enjoyment of BSO concerts at Tanglewood for years to come. Further,

it provides a rare opportunity for a very personal association with the Orchestra. Please, won't you be seated?

For further information, please contact Joyce Serwitz in the Friends' Office, Tanglewood, Lenox, Massachu- setts 01240; telephone (413) 637-1600 "Aza Raykhtsaum Peter Hadcock "Nancy Mathis DiNovo E-flat Violas Clarinet Burton Fine Craig Nordstrom Charles S. Dana chair Patricia McCarty Sherman Walt Anne Stoneman chair Edward A. chair Ronald Wilkison Taft Roland Small Robert Barnes Matthew Ruggiero Jerome Lipson Bernard Kadinoff Music Directorship endowed by Joseph Pietropaolo Richard Plaster John Moors Cabot Michael Zaretsky Horns BOSTON SYMPHONY Marc Jeanneret ICharles Kavalovski ORCHESTRA Betty Benthin Helen Sagoff Slosberg chair Mark Ludwig Richard Sebring 1984/85 Daniel Katzen Cellos Jay Wadenpfuhl First Violins Jules Eskin Richard Mackey Malcolm Lowe Philip R. Allen chair Menkis Concertmaster Martha Babcock Jonathan Charles Munch chair Vernon and Marion Alden chair Mischa Nieland Emanuel Borok Charles Schlueter Assistant Concertmaster Esther S. and Joseph M. Shapiro chair Roger Louis Voisin chair Helen Horner Mclntyre chair Jerome Patterson Andre Come Max Hobart "Robert Ripley Ford H. Cooper chair Robert L. Beal, and Luis Leguia Charles Daval Enid and Bruce A. Beal chair Cecylia Arzewski Carol Procter Peter Chapman Ronald Feldman Edward and Bertha C. Rose chair Bo Youp Hwang Moerschel "Joel Ronald Barron John and DorothyWilson chair Sandra and David Bakalar chair P. and Mary B. Barger chair Max Winder "Jonathan Miller J. Norman Bolter Harry Dickson "Sato Knudsen Forrest Foster Collier chair Bass Basses Gottfried Wilfinger Douglas Yeo Fredy Ostrovsky Edwin Barker Harold D. Hodgkinson chair Leo Panasevich Lawrence Wolfe Chester Schmitz Carolyn and George Rowland chair Maria Stata chair Sheldon Rotenberg Margaret and William C. Joseph Hearne Rousseau chair Muriel C. Kasdon and Bela Marjorie C. Paley chair Wurtzler Alfred Schneider Leslie Martin Everett Firth Raymond Sird John Salkowski Sylvia Shippen Wells chair Barwicki Ikuko Mizuno John Percussion *Robert Olson Amnon Levy Charles Smith "James Orleans Peter and Anne Brooke chair Second Violins Arthur Press Marylou Speaker Churchill Assistant Timpanist Fahnestock chair Doriot Anthony Dwyer Thomas Gauger Vyacheslav Uritsky Walter Piston chair Charlotte and Irving W. Rabb chair Fenwick Smith Frank Epstein Ronald Knudsen Myra and Robert Kraft chair Harp Leone Buyse Joseph McGauley Ann Hobson Pilot Leonard Moss Piccolo Willona Henderson Sinclair chair Laszlo Nagy Lois Schaefer Personnel Managers "Michael Vitale Evelyn and C. Charles Marran chair William Moyer ""Harvey Seigel Harry Shapiro "Jerome Rosen JRalph Gomberg *Sheila Fiekowsky Librarians Mildred B. Remis chair "Gerald Elias Marshall Burlingame Wayne Rapier *Ronan Lefkowitz William Shisler Alfred Genovese ItB HTiil tflwrrrn "Nancy Bracken James Harper "Joel Smirnoff English Horn Stage Manager "Jennie Shames Laurence Thorstenberg Position endowed by "Nisanne Lowe Phyllis Knight Beranek chair Angelica Lloyd Clagett Alfred Robison Stage Assistants *Participating in a system of rotated Harold Wright 1 seating within each string section Ann S.M. Banks chair Harold Harris XOn sabbatical leave Thomas Martin Cleveland Morrison How can an ad agency survive two miles up a dirt road?

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There's A Great Spirit A Brief History of the Boston Symphony Orchestra

For many years, philanthropist, Civil ginson's wish to give "concerts of a War veteran, and amateur musician lighter kind of music." These concerts, Henry Lee Higginson dreamed of found- soon to be given in the springtime and ing a great and permanent orchestra in renamed first "Popular" and then his home town of Boston. His vision "Pops," fast became a tradition. approached reality in the spring of 1881, During the orchestra's first decades, and on 22 October that year the Boston there were striking moves toward expan- Symphony Orchestra's inaugural concert sion. In 1915, the orchestra made its first took place under the direction of con- transcontinental trip, playing thirteen ductor Georg Henschel. For nearly concerts at the Panama-Pacific Exposi- twenty years, symphony concerts were tion in San Francisco. Recording, begun held in the old Boston Music Hall; with RCA in the pioneering days of Symphony Hall, the orchestra's present 1917, continued with increasing fre- home, and one of the world's most quency, as did radio broadcasts of con- highly regarded concert halls, was certs. The character of the Boston Sym- opened in 1900. Henschel was succeed- phony was greatly changed in 1918, ed by a series of German-born and when Henri Rabaud was engaged as -trained conductors—Wilhelm Gericke, conductor; he was succeeded the follow- Arthur Nikisch, Emil Paur, and Max ing season by Pierre Monteux. These Fiedler—culminating in the appoint- appointments marked the beginning of ment of the legendary Karl Muck, who a French-oriented tradition which would served two tenures as music director, be maintained, even during the Russian- 1906-08 and 1912-18. Meanwhile, in July born Serge Koussevitzky's time, with 1885, the musicians of the Boston Sym- the employment of many French-trained phony had given their first "Prom- musicians. enade" concert, offering both music and The Koussevitzky era began in 1924. refreshments, and fulfilling Major Hig- His extraordinary musicianship and

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

•-<•

811111 I—

electric personality proved so enduring that he served an unprecedented term of twenty-five years. In 1936, Koussevitzky led the or-

chestra's first concerts in the Berkshires, and a year later he and the players took up annual summer residence at Tangle- wood. Koussevitzky passionately shared Major Higginson' s dream of "a good honest school for musicians," and in 1940 that dream was realized with the founding at Tanglewood of the Berk- shire Music Center (now called the Tanglewood Music Center), a unique summer music academy for young Henry Lee Higginson artists. Expansion continued in other areas as well. In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Will- iams in 1980. The Boston Pops celebrates

its hundredth birthday this year under Mr. Williams's baton. Charles Munch followed Kousse- vitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contemporary composers M and introduced much music from the Georg Henschel French repertory to this country. During his tenure, the orchestra toured abroad

for the first time, and its continuing

Karl Muck Pierre Monteux Serge Koussevitzky .

series of Youth Concerts was initiated. Sandor Balassa, Leonard Bernstein, Erich Leinsdorf began his seven-year John Corigliano, Peter Maxwell Davies, term as music director in 1962. Leinsdorf John Harbison, Leon Kirchner, Peter presented numerous premieres, re- Lieberson, Donald Martino, Andrzej stored many forgotten and neglected Panufnik, Roger Sessions, Sir Michael works to the repertory, and, like his Tippett, and Oily Wilson—on the occa- two predecessors, made many record- sion of the orchestra's hundredth birth- ings for RCA; in addition, many con- day has reaffirmed the orchestra's certs were televised under his direction. commitment to new music. Under his Leinsdorf was also an energetic director direction, the orchestra has also ex-

of the Berkshire Music Center, and panded its recording activities to include under his leadership a full-tuition fel- releases on the Philips, Telarc, CBS, lowship program was established. Also Angel/EMI, Hyperion, and New World during these years, the Boston Sym- labels.

phony Chamber Players were founded, From its earliest days, the Boston in 1964; they are the world's only per- Symphony Orchestra has stood for manent chamber ensemble made up of imagination, enterprise, and the highest a major symphony orchestra's principal attainable standards. Today, the Boston players. Symphony Orchestra, Inc., presents William Steinberg succeeded Leins- more than 250 concerts annually. At- dorf in 1969. He conducted several tended by a live audience of nearly 1.5 American and world premieres, made million, the orchestra's performances recordings for Deutsche Grammophon are heard by a vast national and inter- and RCA, appeared regularly on televis- national audience through the media of ion, led the 1971 European tour, and radio, television, and recordings. Its directed concerts on the east coast, in annual budget has grown from Higgin- the south, and in the mid-west. son's projected $115,000 to more than Seiji Ozawa, an artistic director of the $20 million. Its preeminent position in Tanglewood Festival since 1970, became the world of music is due not only to the the orchestra's thirteenth music director support of its audiences but also to in the fall of 1973, following a year as grants from the federal and state govern- music adviser. Now in his twelfth year ments, and to the generosity of many as music director, Mr. Ozawa has con- foundations, businesses, and individu- tinued to solidify the orchestra's reputa- als. It is an ensemble that has richly tion at home and abroad, and his pro- fulfilled Higginson's vision of a great gram of centennial commissions—from and permanent orchestra in Boston.

Charles Munch Erich Leinsdorf William Steinberg

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Lobster pie, crisp native duck- ling, prime ribs, baked Indian pudding, grasshopper pie. Our hearty Yankee fare and libations taste as good as they sound. At The Publick House, traditions of cooking and hospitality go back about as far as symphonic ones. Why, we were feeding hungry travellers before Beethoven had his first birthday! We invite you to partake of dinner en route to Tanglewood, or supper on your way home. We're located only a few minutes (and two centuries) from the Massachusetts Turnpike and 1-84. So break your journey by breaking bread with us. ^^U. Buddy Adler Innkeeper n 1 4 • i / Jkr\ T ¥ rublick U^Py House

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'.'•.."•'''"' Enter the Raffle Tickets available at the Drawing — Friends Office. Or visit the Tanglewood-on-Parade of a Baldwin Baby Raffle Booth located on Tuesday, August 27, 1985 Grand Piano* Played the grounds near The Winner will be notified. This Summer at Glass House and *a smaller piano (spinet

Tanglewood Tanglewood Music Store; or console) available, if ($15,000 value). open from 6 pm through preferred. Delivery included, intermission of each continental U.S. Employees Donation -$2/ Ticket BSO concert. of the BSO and their $10 /Book of Six Tickets families not eligible.

66 Tangtewqpd

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BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director

Sunday, 25 August at 2:30

SEIJI OZAWA conducting

STRAUSS Don Juan, Tone poem after Lenau, Opus 20

INTERMISSION

ORFF Fortuna imperatrix mundi (Fortune, empress of the world)

I. Primo vere (In springtime) Uf dem Anger (On the green)

II. In taberna (In the tavern)

III. Cour d' amours (The court of love) Blanziflor et Helena (Blanziflor and Helena) Fortuna imperatrix mundi ERIE MILLS, soprano JOHN ALER, HAKAN HAGEGARD, TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BOSTON BOY CHOIR, THEODORE MARIER, director

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67 Week IX Inaugural Chamber Concerts

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68 — " —

NOTES

Richard Strauss Don Juan, Tone poem after Lenau, Opus 20

Richard Strauss was born in Munich, Germany, on 11 June 1864 and died in Garmisch- Partenkirchen, Bavaria, on 8 September 1949. He began work on Don Juan in 1888 and completed it the following year, dedicating it to "my dear friend Ludwig Thuille" and conducting the first performance with the Court Orchestra in the Grand Ducal Theater of

Weimar on 11 November 1889. The Boston Symphony Orchestra gave the first American performance on 30 October 1891 under the direction of Arthur Nikisch. Don Juan is scored for three flutes and piccolo, two oboes and English horn, two clarinets, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, , , triangle, harp, and strings.

The Grand Ducal Court Orchestra at Weimar acquired in the autumn of 1889 an "assistant Kapellmeister" whose proven abilities belied his years. Richard Strauss was then only twenty-five, but he had taken full charge of the Meiningen Orchestra for a season (1885-86), and then had taken subordinate control at the Munich Opera. As a composer he had long made his mark, and from orthodox beginnings had in the last three years shown a disturbing tendency to break loose from decorous symphonic ways with a "Symphony" Aus Italien, and a "Tone Poem" Macbeth. He had ready for his Weimar audience at the second concert of the season a new tone poem, Don Juan, which in the year 1889 was a radical declaration indeed. If many in the auditorium were dazed at this headlong music, there was no resisting its brilliant mastery of a new style and its elaborate instrumentation. There were five recalls and demands for a repetition. Hans von Biilow, beholding his protege flaunting the colors of the anti-Brahms camp, was too honest to withhold his enthusiasm. He wrote to his wife: "Strauss is enor- mously popular here. His Don Juan, two days ago, had a most unheard-of success."

And producing it at Berlin a year later, he wrote to its creator, "Your most gran- diose Don Juan has taken me captive." Only the aging Dr. Hanslick* remained unshaken by the new challenger of his sworn standards. He found in it "a tumult of dazzling color daubs," whose composer "had a great talent for false music, for the musically ugly. The Don Juan of Lenau, whom Strauss evidently chose in preference to the ruthless sensualist of Byron or da Ponte, was a more engaging figure of romance, the philosopher in quest of ideal womanhood, who in final disillusion drops his sword in a duel and throws his life away. Lenau said (according to his biographer, L. A. Frankl): "Goethe's great peom has not hurt me in the matter of Faust and Byron's Don Juan will here do me no harm. Each poet, as every human being, is an individual 'ego.' My Don Juan is no hot-blooded man 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 indi- viduals possess. Because he does not find her, although he reels from one to another, at last Disgust seizes hold of him, and this Disgust is the Devil that fetches him."

*Eduard Hanslick (1825-1904), music critic and champion of Brahms—Ed. m 69 Week IX

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70 Strauss, sending the score to Bulow for performance, stipulated, after detailed directions as to its interpretation, that no thematic analysis should be given out.

Then, as later, the composer fell prey to the skilful but irrepressible zeal of his analysts. Wilhelm Mauke divided the score into small bits and labeled each. He even went so far as to forget Lenau, and to bring in Mozartian characters—Donna Anna and Zerlina, finding a place for the statue and the fatal supper—a cata- clysm quite alien to Lenau's story. In this light, Ernest Newman is hardly justified in reproaching Strauss for "the tendency to overburden the music with extrane- ous and inassimilable literary concepts," such as identifying a certain four-bar phrase with "Don Juan's satiety" —a thing the composer obviously did not do.

Without such distracting details, it is possible to discern these main outlines of the music—at first a portrait of the impulsive and fiery hero of Lenau—a roman- tic idealist, but certainly no ascetic. The middle section is patently a love episode. A theme for the deeper strings becomes the shimmering and glamorous accom- paniment to another amorous melody for solo. (Mauke, who has earlier in the score found a place for Mozart's Zerlina, tells us that the object of the first episode in this section is the Countess, while the melody for the oboe is Anna.)

The closing section is in the mood of the first, but it is no mere recapitulation; the resourceful Strauss injects important new matter, and works the old in a new guise, riotous and frenetic. A second principal Don Juan theme is introduced, a full-rigged Straussian horn motive; the oboe theme and others are alluded to in the development, which plainly depicts the Don Juan of Lenau, to whom the fruits of conquest turn bitter as they are grasped. The climax is one of catas- trophe.

—from notes by John N. Burk

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71

Carmina burana—Cantiones profane cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis

Carl Orff was born on 10 July 1895 in Munich, Germany, where he died on 29 March

1982. He composed Carmina burana in 1935-36. The work was first presented in a staged production at the Frankfurt Opera on 8 June 1937, Bertil Wetzelsberger conducting, with staging by Otto Walterlin and sets and costumes by Ludwig Sievert. The first performance in America was given in San Francisco at the War Memorial Opera House on 10 January 1954 at a concert of the University of San Francisco Schola Cantorum, Giovanni Camajani conducting and with Maria Segale, Gordon Zimmerman, and Ronald Dutro as soloists.

The score calls for soprano, tenor, and baritone solos, with brief solo assignments also for two , baritone, and two basses; a large mixed chorus, a small mixed chorus, a boys' chorus, and an orchestra constituted as follows: three flutes (two doubling piccolos), three oboes (one doubling English horn), three clarinets (one doubling E-flat clarinet and one doubling ), two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, three , , , ratchet, small bells, triangle, antique cymbals, crash cymbals, suspended , tam-tam, , , snare , , , two , and strings.

Let us begin with the title. ''Carmina burana"—the accent in Carmina falls on the first syllable—means "songs from Beuern," which is itself a variant of Bayern, the German name for Bavaria. And the rest: "Secular songs to be sung by singers and choruses to the accompaniment of instruments and also of magic pictures."

Beuern is Benediktbeuern, a village in the foothills of the Bavarian Alps about thirty miles south of Munich. It takes its full name from a Benedictine monastery founded there in 733. When, as part of the arrangements in a newly forged al- liance of Elector Maximilian IV Joseph with Napoleon, the Bavarian monasteries were secularized in 1803, the contents of their libraries went to the Court Library in Munich. In 1847, Johann Andreas Schmeller, the Court Librarian, published a modern edition of the most remarkable of these acquisitions, an ample and richly illuminated parchment manuscript of poems, most of them in Latin, but with a fair number in Middle High German with some infusion of French and Greek.

Schmeller invented the title Carmina burana for his edition. British and American readers first encountered Carmina burana in 1884 when the English historian, poet, essayist, and biographer, John Addington Symonds, published a little volume called Wine, Women, and Song, which included his fragrant translations of forty-six poems from the collection. Orff's vibrant cantata drew the attention of thousands more to these treasures, and in the 1950s, when Walter Lipphardt, a German scholar, deciphered and transcribed the original melodies and groups like the Early Music Quartet began to perform them, the circle was complete. Orff encountered Carmina burana in Schmeller's edition, which by the way is still in print, and enlisted the help of the poet Michel Hofmann in organizing twenty-four of the poems into a libretto. (He did not, of course, know the original melodies; in fact he did not even know they existed.) After the riotously success- ful premiere in June 1937, he told the house of Schott, his only publisher since

1927, "Everything I have written to date, and which you have, unfortunately, printed, can be destroyed. With Carmina burana my collected works begin."

72 He was just about to turn forty-two when he wrote that letter: it had been a long, long upbeat. His family background was military; he himself was from childhood passionately interested in music, words, and theater. He got a story published in a children's magazine when he was ten, at which point he was al- ready composing music to go with the puppet plays he had written for a theater he had built himself. He had lessons on the piano, organ, and cello, but his par- ents said no to the instrument he most wanted to play, the timpani. He had some guidance in composition from Anton Beer-Walbrunn and Hermann Zilcher, and in his middle twenties he studied for a while with Heinrich Kaminski, a most interesting composer, but essentially he was self-taught. He composed prolif- ically, works, one infers, of large ambition and originality of coloring; he worked in theaters in Munich, Mannheim, and Darmstadt as conductor and coach; he devoted much time to the study of Renaissance and early Baroque music and also to African music; he followed eagerly the development of modern dance, particularly the work of Mary Wigman; with Dorothee Gunther he founded a school for music, gymnastics, and dance, making imaginative and productive contributions to music education that were eventually codified in the Orff-Schul- werk published bit by bit since 1930 in collaboration with several of his students; he made versions for the modern theater of several works by Monteverdi and staged such works as the St. Luke Passion that was falsely ascribed to J.S. Bach and the Resurrection Oratorio of Heinrich Schutz. His allegiance was to Expressionism: he absorbed every note of Schoenberg's Five Pieces for Orchestra and transcribed

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73 the Chamber Symphony for piano duet, and the center of his literary universe was Franz Werfel. And there exists a photograph from the year 1920 that presents him to us as A most intense young man, A soulful-eyed young man, An ultra-poetical, super-aesthetical, Out-of-the-way young man!

"[Orff] imposed on me the strict condition that my book should be concerned exclusively with his music; all those biographical details in which psychologists or a sensation-hungry public might be interested, were to be excluded. ... A life story cannot be written,' he says, 'until the life is completed. Anything else is deceit and self-deception.'" Thus Andreas Liess in the "Prelude" to his mono- graph on the composer. Orff was consistent in his quest for privacy; we have, therefore, no precise knowledge of just what happened in 1935 on the road to Damascus when Orff came across Carmina burana and saw what manner of music he had to invent for these poems. The Pauline metaphor is strong, but hardly too strong for Orff's extreme revulsion from his previous compositional concerns to the audacious simplicities of Carmina burana. And it was a conversion for life. The

"collected works" that begin with Carmina burana, almost all for voices and the largest part of them written for the stage, are anything other than unvaried in substance, intent, and effect, but they all stand upon the common principle that directness of speech and of access are paramount.*

f Chief among Orff's works since 1936 are and , which, together with Carmina burana, make up a full-length theater piece under the title of ; settings of ' and Tyrannus in the translations of Holderlin and of Aeschylus' ; on German folk sources, among them , , , and Astutuli; a setting of A Midsummer Night's Dream in the Schlegel transla-

tion that is a fusion of spoken and musical theater; and three sacred mystery plays, . Comoedia de Christi resurrectione (for Easter), Ludus de nato infante mirificus (for Christmas), and De temporum fine comoedia.

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74 One might say that Carmina burana represents, in Orff's life, integration as well as revolution. The ideal of a drastically direct physicality in music was already central in his educational endeavors, and he had explored the possibilities of medieval theater in his adaptation of the St. Luke Passion. He discovered in him- self a remarkable gift for writing tunes that sound as though they had always been there. He leaned heavily on Stravinsky (Les Noces and Oedipus Rex are the principal source works), though removing the wit and the delight in the unpre- dictable that make Stravinsky Stravinsky. Since boyhood, when he had written music for his puppet theater for a combination of piano, violin, zither, glock- enspiel, and the kitchen stove, he had always enjoyed the coloristic aspects of composition and he scored Carmina burana with a sure hand.* Here too—and often in later years—he looks to Stravinsky, especially to the pianos and percus- sion of Les Noces; however, Stravinsky's brilliant and imaginative economy is translated into a lavish generosity with sonorities and confidently brought-off effects, rather as though Orff had devised a "Les Noces Coloring Book." He had found a winning combination. Carmina burana was an instant popular success, and, though its international circulation had to wait until after World

War II, it has kept its hold on audiences. And undeniably, the constellation of esthetic and historical considerations that, so to speak, "place" Carmina burana— its popularity and the courting of that popularity in part by the avoidance of complexities in harmony and rhythm (not to mention the absence of polyphony), also that this is the music of a man who found Germany in 1936 (and thereafter) a comfortable place to work—has made it a controversial piece, t But however suspect one might find the composer's ends and means, it is impossible to deny his skill in pacing and design, the catchiness of his tunes (so consonant with the blunt end-rhymes in the poems), the splendid way in which everything

"sounds," and, not least, that it took some sort of perverse courage to sit down in 1935 or 1936 and write

r r r * * 9 > i tit '

Had Orff ever felt called upon to defend his one-dimensional masterpiece, he B HRESSa i might have repeated his answer to a question about his preference for "old mate- M *The orchestration lists that Liess gives us for the suppressed and destroyed pieces from 1912 on make fascinating reading. Liess tells us that in scoring Carmina burana Orff sought and received the advice of his friend and colleague Werner Egk. IT tProfessional musicians tend to speak ill of Carmina burana, and that includes some famous conductors who have had great success with it. Singers are the exception: for the most part H8ua they enjoy it (not least its considerable difficulties, though many a baritone has wished that Orff had not written high G's etc. as though there were no tomorrow.

75 Week IX ^m

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««-.Ti

4. « rial" as subjects of his stage works: "I do not feel it to be old, only valid. The dated elements are lost and the spiritual strength remains." Orff was immediately captivated by ",/velut Luna" ("O Fortune, like the moon"), the first poem in Carmina burana and its accompanying Wheel of Fortune miniature.* He saw this bitter meditation as a strong frame, inside which he groups poems in three chapters:

I. In Springtime and On the Green (pastoral and genre poems)

II. In the Tavern

III. The Court of Love, concluding with the ecstatic address to Blanziflor (Blanchefleur) and Helena

O Fortuna is a massive structural pillar—a brief exordium, then a crescendo and acceleration built over nearly one hundred measures, all of them glued to the insistent tonic D. Fortune plango vulnera, with its chantlike beginning, is a variant on a smaller scale of the opening chorus.

The three spring poems introduce brighter colors, though the first two, Veris leta facies and Omnia sol temperat, continue with melodies close to chant. With (the source of the tune quoted on page 75), Orff completes the trans- formation of atmosphere by moving into the major mode. The sequence on the green begins with a lively dance for the orchestra alone: the harmony sticks to tonic and dominant, as after all it does virtually throughout the cantata, but Orff allows himself delightful metrical dislocations. Floret silva alternates the big and small choruses: the sly slurs on "meus amicus" are charm- ing, as is the picture of the lover riding off into the distance (in Latin, "hinc eauitavit," and in German, "der ist geritten hinnen"). Another instrumental dance—Orff makes it andante poco esitante—separates the softly curved Chramer, gip die varwe mir, the song of the girl out to buy some makeup, from the un- inhibited Swaz hie gat umbe. Were diu werlt alle min, in which erotic ambition extends to nothing less than possession of the Queen of England (the energetic

It turns out that O Fortuna was originally not the first poem at all. At some point in its history the manuscript had been taken apart or had just come apart, and when it was rebound its fascicles were assembled in the wrong order.

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Eleanor of Provence, wife of Henry III), is enclosed in fanfares and ends with an exultant shout. Orff regards the tavern as a male preserve and he begins with an unbridled setting for baritone solo of Eshians interius. Then comes one of the most famous and original pieces in Carmina burana, Olim lacus colueram (the Lament of the

Roast Swan).* It is the that initiates the pitiful keening, which is then carried on by a tenor with the sympathetic assistance of piccolo, E-flat clarinet, and muted trumpet; flutes, violas, a muted trombone, and assorted percussion do musical goose (swan?)-flesh. The Abbot of Cockaigne, who has been tanking up on more than just roast swan, lurches forward to speak his fierce little credo, whereupon the whole male chorus plunges into its whirling catalogue of toasts and drinkers. After a pause for breath, we enter the Cour d'amours and go to the delicate sound of flutes and soprano voices (including those of a boys' chorus). In Dies, nox et omnia, the baritone bemoans his lovelorn state with enormous pathos

("tender but always exaggerated" is Orff's direction to him) and in falsetto flourishes that send him clear to high B. In Stetit puella, the soprano sets before us the picture of the girl in the red dress with her irresistible erotic radiance.

Si puer cum puellula, which Symonds aptly titles A Poem of Privacy, is set for a chattering, leering sextet of male voices. Veni, veni, venias is a love song full of bird noises. For In trutina, the song of the girl who finds it after all not so very difficult to choose between "lascivus amor" and "pudicitia, " the soprano is held to her most seductive low register, projected against a softly pulsating accompani- ment. It is the loveliest lyric inspiration in the Carmina. The baritone and chorus heat things up still more in the restless and vigorous Tempus est iocundum, and then, in a wonderful musical and dramatic stroke, the girl fulfills the promise of In trutina: Dulcissime soars "con abbandono," and to the very highest reaches of the soprano's voice. The brief but sonorous address to Blanziflor et Helena makes a bridge to the reprise of the Fortuna chorus (about whose ringing close few of us would guess that the words are an exhortation, "mecum omnes plangite!"—

"Come, all, and weep with me!").

—Michael Steinberg

Now Artistic Adviser of the San Francisco Symphony, Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979. His program note on Carmina burana appeared originally in the program book of the San Francisco Symphony copyright ®1981 and appears here by permission of that orchestra.

The great nineteenth-century hostesses still served swan on occasion. After Tchaikovsky

and Petipa, Saint-Saens and Pavlova, many of us would find it distinctly strange to eat swan. It is not at all easy to come by, except of course for shoot-it-yourself shoppers,

cf . R. Wagner, Parsifal, Act I. tCockaigne is that medieval Utopia where, in the words of the Encyclopaedia Britannica,

"life was a round of luxurious idleness. . . . The rivers were of wine, the houses were built of cake and barley sugar, the streets were paved with pastry and the shops supplied goods for nothing. Roast geese and fowls wandered about inviting folks to eat them, and buttered larks fell from the sky like manna." The thirteenth-century English poem The Land

of Cockaigne is presented as a satire on monastic life, and it is in that tradition that our reel- ing baritone introduces himself as an Abbot. The , those wandering students and clerks who were the authors of most of the Carmina burana, were fond of satiric imitations of ecclesiastic orders and ceremonies, and the collection includes several "anti-masses" for drinkers, gamblers, etc. Decius was the head of the order of dice-throwers.

79 Week IX Texts

FORTUNA FORTUNE IMPERATRIX MUNDI EMPRESS OF THE WORLD

1. Fortuna (Chorus) O Fortuna, O Fortune! velut Luna Like the Moon statu variabilis, Everchanging semper crescis Rising first aut decrescis; Then declining; vita detestabilis Hateful life nunc obdurat Treats us badly et tunc curat Then with kindness ludo mentis aciem, Making sport with our desires, egestatem, Causing power potestatem And poverty alike dissolvit ut glaciem. To melt like ice.

Sors immanis Dread Destiny et inanis, And empty fate, rota tu volubilis, An ever turning wheel, status malus, Who make adversity vana salus And fickle health semper dissolubilis, Alike turn to nothing, obumbrata In the dark et velata And secretly michi quoque niteris; You work against me; nunc per ludum How through your trickery dorsum nudum My naked back fero tui sceleris. Is turned to you unarmed.

Sors salutis Good fortune et virtutis And strength michi nunc contraria Now are turned from me. est affectus Affection et defectus And defeat semper in angaria. Are always on duty, Hac in hora Come now sine mora Pluck the strings corde pulsum tangite; Without delay; quod per sortem And since by fate sternit fortem, The strong are overthrown mecum omnes plangite! Weep ye all with me.

2. Fortune plango vulnera (Chorus)

Fortune plango vulnera I lament the wounds that Fortune deals stillantibus ocellis, With tear-filled eyes quod sua michi munera For returning to the attack subtrahit rebellis. She takes her gifts from me. verum est, quod legitur It is true fronte capillata, As they say, sed plerumque sequitur The well-thatched pate occasio calvata. May soonest lose its hair.

80 —

In Fortune solio Once on Fortune's throne sederam elatus, I sat exalted prosperitatis vario Crowned with a wreath flore coronatus; Of Prosperity's flowers. quicquid enim florui But from my happy felix et beatus, Flower-decked paradise nunc a summo corrui I was struck down gloria privatus. And stripped of all my glory.

Fortune rota volvitur: The wheel of Fortune turns descendo minoratus; Dishonoured I fall from grace alter in altum tollitur; And another is raised on high. nimis exaltatus Raised to over dizzy heights of power rex sedet in vertice The King sits in majesty caveat ruinam! But let him beware his downfall! nam sub axe legimus For 'neath the axle of Fortune's wheel Hecubam reginam. Behold Queen Hecuba.

PRIMO VERE SPRINGTIME

3. Verts leta fades (Small Chorus) Veris leta facies The joyous face of Spring mundo propinatur Is presented to the World. hiemalis acies Winter's army victa iam fugatur, Is conquered and put to flight. in vestitu vario In colourful dress

Flora principatur, Flora is arrayed nemorum dulcisono And the woods are sweet que cantu celebratur. With birdsong in her praise.

Flore fusus gremio Reclining in Flora's lap Phobus novo more Phoebus again risum dat, hoc vario Laughs merrily iam stipatur flore Covered with many coloured flowers. Zephyrus nectareo Zephyr breathes around spirans in odore; The scented fragrance; certatim pro bravio Eagerly striving for the prize curramus in amore. Let us compete in love.

Cytharizat cantico Trilling her song dulcis Philomena, Sweet Philomel is heard flore rident vario And smiling with flowers prata iam serena, The peaceful meadows lie, salit eetus avium A flock of wild birds silve per amena, Rises from the woods; chorus promit virginum The chorus of maidens iam gaudia millena. Brings a thousand joys.

4. Omnia Sol temperat (Baritone) Omnia Sol temperat All things are tempered by the Sun purus et subtilis, So pure and fine. novo mundo reserat In a new world are revealed facies Aprilis, The beauties of April, ad amorem properat To thoughts of love animus herilis, The mind of man is turned et iocundis imperat And in pleasure's haunts deus puerilis. The youthful God holds sway.

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81 Rerum tanta novitas Nature's great renewal in solemni vere In solemn Spring et veris auctoritas And Spring's example iubet nos gaudere; Bid us rejoice; vias prebet solitas, They charge us keep to well-worn paths, et in tuo vere And in your Springtime

fides est et probitas There is virtue and honesty tuum retinere. In being constant to your lover.

Ama me fideliter! Love me truly! fidem meam nota: Remember my constancy. de corde totaliter With all my heart et ex mente tota And all my mind

sum presentialiter I am with you absens in remota. Even when far away. quisquis amat taliter, Whoever knows such love volvitur in rota. Knows the torture of the wheel. ^1 m 5. Ecce gratum (Chorus) Ecce gratum Behold the welcome et optatum Long awaited Ver reducit gaudia, Spring which brings back pleasure purpuratum And with crimson flowers floret pratum, Adorns the fields.

Sol serenat omnia, The Sun brings peace to all around: iamiam cedant tristia! Away with sadness! Estas redit, Summer returns nunc recedit And now departs Hyemis sevitia. Cruel winter.

lam liquescit Melt away et decrescit And disappear grando, nix et cetera, Hail, ice and snow. bruma fugit, The mists flee

et iam sugit And Spring is fed

Ver Estatis ubera: At Summer's breast.

illi mens est misera, Wretched is the man qui nee vivit, Who neither lives nee lascivit Nor lusts sub Estatis dextera. Under Summer's spell.

Gloriantur They taste delight te letantur And honeyed sweetness in melle dulcedinis Who strive for qui conantur, And gain ut utantur Cupid's reward. premio Cupidinis; Let us submit simus jussu Cypridis To Venus's rule gloriantes And joyful et letantes And proud pares esse Paridis. Be equal to Paris.

82 UF DEM ANGER ON THE GREEN

6. Tanz

7. Floret silva (Chorus) Floret silva nobilis The noble forest

flor-ibus et foliis. Is decked with flowers and leaves.

Ubi est antiquus Where is my old meus amicus? My long-lost lover? hinc equitavit, He rode away on his horse. eia, quis me amabit? Alas who will love me now?

Floret silva undique. The forest all around is in flower

nach mime gesellen ist mir we. I long for my lover

Gruonet der wait allenthalben, The forest all around is in flower

wa ist min geselle alse lange? Whence is my lover gone? der ist geriten hinnen, He rode away on his horse. owi, wer sol mich minnen? Alas, who will love me now?

8. Chramer, gip die varwe mir (Chorus) Chramer, gip die varwe mir, Salesman! give me coloured paint, die min wengel roete, To paint my cheeks so crimson red,

damit ich die jungen man That I may make these bold young men

an ir dank der minnenliebe noete. Whether they will or no, to love me.

Seht mich an, Look at me,

jungen man! Young men all!

lat mich iu gevallen! Am I not well pleasing?

Minnet, tugentliche man, Love, all you right-thinking men, minnecliche frouwen! Women worthy to be loved! minne tuot iu hoch gemuot Love shall raise your spirits high unde lat iuch in hohlen eren And put a spring into your step. schouwen.

Seht mich an, Look at me, jungen man! Young men all!

lat mich iu gevallen! Am I not well pleasing?

Wol dir, werlt, das du bist Hail to thee, o world that art also freudenriche! In joy so rich and plenteous!

ich wil dir sin undertan I will ever be in thy debt durch din liebe immer sicherliche. Surely for thy goodness's sake!

Seht mich an, Look at me,

jungen man! Young men all!

lat mich iu gevallen! Am I not well pleasing?

9. Reie Swaz hie gat umbe (Chorus) Swaz hie gat umbe, They who here go dancing round daz sint allez megede, Are young maidens all die wellent an man Who will go without a man alle disen sumer gan. This whole summer long.

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Chume, chum geselle min (Small Chorus) Chume, chum geselle min, Come, come, dear heart of mine,

ih enbite harte din, I so long have waited for thee,

ih enbite harte din, I so long have waited for thee, chume, chum geselle min. Come, come, dear heart of mine!

Suzer rosenvarwer munt, Sweetest rosy coloured mouth, chum unde mache mich gesunt, Come and make me well again! chum unde mache mich gesunt, Come and make me well again! suzer rosenvarwer munt. Sweetest rosy coloured mouth.

Swaz hie gat umbe (Chorus) Swaz hie gat umbe, They who here go dancing round daz sint allez megede, Are young maidens all die wellent an man Who will go without a man alle disen sumer gan. This whole summer long.

10. Were diu werlt alle min (Chorus) Were diu werlt alle min If the whole world were but mine von dem mere unze an den Rin, From the sea right to the Rhine

des wolt ih mih darben, Gladly I'd pass it by

daz diu chiinegin von Engellant If the Queen of England fair

lege an minen armen. In my arms did lie.

II IN TABERNA IN THE TAVERN

1 1. Estuans interius (Baritone) Estuans interius Seething inside ira vehement! With boiling rage in.amaritudine In bitterness

loquor mee menti: I talk to myself. factus de materia, Made of matter cinis elementi Risen from dust

similis sum folio, I am like a leaf de quo ludunt venti. Tossed in play by the winds.

Cum sit enim proprium But whereas it befits viro sapienti A wise man supra petram ponere To build his house sedem fundamenti, On a rock,

stultus ego comparor I, poor fool, fluvio labenti Am like a meandering river sub eodem tramite Never, keeping nunquam permanenti. To the same path.

Feror ego veluti I drift along sine nauta navis, Like a pilotless ship ut per vias aeris Or like an aimless bird. vaga fertur avis; Carried at random through the air non me tenent vincula, No chains hold me captive, non me tenet clavis, No lock holds me fast,

quero mihi similes, I am looking for those like me et adiungor pravis.

84 Mihi cordis gravitas The burdens of the heart res videtur gravis; Seem to weigh me down;

iocus est amabilis Jesting is pleasant dulciorque favis; And sweeter than the honeycomb. quicquid Venus imperat, Whatever Venus commands

labor est suavis, Is pleasant toil que nunquam in cordibus She never dwells habitat ignavis. In craven hearts.

Via lata gradior On the broad path I wend my way

more iuventutis, As is youth's wont,

inplicor et vitiis, I am caught up in vice immemor virtutis, And forgetful of virtue, voluptatis avidus Caring more for voluptuous pleasure magis quam salutis, Than for my health, mortuus in anima Dead in spirit, curam gero cutis. I think only of my skin.

12. Olim lacus colueram (Tenor and Male Chorus)

Olim lacus colueram, Once in lakes I made my home olim pulcher extiteram Once I dwelt in beauty dum cignus ego fueram. That was when I was a swan. Miser, miser! Alas, poor me! modo niger Now I am black et ustus fortiter! And roasted to a turn!

Girat, regirat garcifer; On the spit I turn and turn; me rogus urit fortiter: The fire roasts me through propinat me nunc dapifer, Now I am presented at the feast Miser, miser! Alas, poor me! modo niger Now I am black et ustus fortiter! And roasted to a turn!

Nunc in scutella iaceo, Now in a serving dish I lie et volitare nequeo, And can no longer fly dentes frendentes video: Gnashing teeth confront me. Miser, miser! Alas poor me!

modo niger Now I am black et ustus fortiter! And roasted to a turn!

1 3. Ego sum abbas (Baritone and Male Chorus)

Ego sum abbas Cucaniensis I am the abbot of Cucany et consilium meum est cum bibulis, And I like to drink with my friends. et in secta Decii voluntas mea est, I belong from choice to the sect of Decius, et qui mane me quesierit in taberna, And whoever meets me in the morning at the tavern post vesperam nudus egredietur, By evening has lost his clothes, et sic denudatus veste clamabit: And thus stripped of his clothes cries out Wafna, wafna! Wafna! Wafna quid fecisti sors turpissima? What has thou done, oh wicked fate?

Nostre vite gaudia All the pleasures of this life abstulisti omnia! Thus to take away!

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14. /« taberna quando sumus (Male Chorus) , When we are in the tavern non curamus quid sit humus, We spare no thought for the grave sed ad ludum properamus, But rush to the gaming tables cui semper insudamus. Where we always sweat and strain. Quid agatur in taberna, What goes on in the tavern ubi nummus est pincerna, Where a coin gets you a drink

hoc est opus ut queratur, If this is what you would know

si quid loquar, audiatur. Then listen to what I say.

Quidam ludunt, quidam bibunt, Some men gamble, some men drink, quidam indiscrete vivunt. Some indulge in indiscretions, Sed in ludo qui morantur, But of those who stay to gamble ex his quidam denudantur, Some lose their clothes, quidam ibi vestiuntur, Some win new clothes, quidam saccis induuntur. While others put on sack cloth,

Ibi nullus timet mortem, There no-one is afraid of death sed pro Bacho mittunt sortem: But for Bacchus plays at games of chance.

Primo pro nummata vini; First the dice are thrown for wine: ex hac bibunt libertini, This the libertines drink. semel bibunt pro captivis, Once they drink to prisoners, post hec bibunt ter pro vivis, Then three times to the living, quater pro Christianis cunctis, Four times to all Christians, quinquies pro fidelibus defunctis, Five to the faithful departed, sexies pro sororibus vanis, Six times to the dissolute sisters, septies pro militibus silvanis. Seven to the bush-rangers.

Octies pro fratribus perversis, Eight times to delinquent brothers, nonies pro monachis dispersis, Nine to the dispersed monks, decies pro navigantibus, Ten times to the navigators, undecies pro discordantibus, Eleven to those at war, duodecies pro penitentibus, Twelve to the penitent, tredecies pro iter angentibus. Thirteen to travellers. Tarn pro papa quam pro rege They drink to the Pope and King alike, bibunt omnes sine lege. All drink without restraint.

Bibit hera, bibit herus, The mistress drinks, the master drinks, bibit miles, bibit clerus, The soldier drinks, the man of God,

bibit ille, bibit ilia, This man drinks, this woman drinks, bibit servus cum ancilla, The manservant with the serving maid, bibit velox, bibit piger, The quick man drinks, the sluggard drinks, bibit albus, bibit niger, The white man and the black man drink, bibit constans, bibit vagus, The steady man drinks, the wanderer drinks, bibit rudis, bibit magus. The simpleton drinks, the wiseman drinks.

Bibit pauper et egrotus, The poor man drinks, the sick man drinks, bibit exul et ignotus, The exile drinks and the unknown, bibit puer, bibit canus, The boy drinks, the old man drinks, bibit presul et decanus, The Bishop drinks and the Deacon, bibit soror, bibit frater, Sister drinks and brother drinks, bibit anus, bibit mater, The old crone drinks, the mother drinks,

bibit ista, bibit ille, This one drinks, that one drinks, bibunt centum, bibunt mille. A hundred drink, a thousand drink.

Parum sexcente nummate Six hundred coins are not enough durant cum immoderate When all these drink too much. bibunt omnes sine meta And without restraint

86 Quamvis bibant mente leta; Although they drink cheerfully. sic nos rodunt omnes gentes, Many people censure us et sic erimus egentes. And we shall always be short of money, Qui nos rodunt confudantur May our critics be confounded et cum iustis non scribantur. And never be numbered among the just.

Ill COUR D'AMOURS THE COURT OF LOVE

15. Amor volat undique (Soprano and Boys Chorus) Amor volat undique, Love flies everywhere captus est libidine. And is seized by desire, Iuvenes, iuvencule Young men and women coniunguntur merito. Are matched together.

Siqua sine socio, If a girl lacks a partner caret omni gaudio, She misses all the fun; tenet noctis infima In the depths of her heart sub intimo Is darkest night; cordis in custodia-. It is a bitter fate. fit res amarissima.

16. Dies, nox et omnia (Baritone) Dies, nox et omnia Day, night and all the world mihi sunt contraria, Are against me, virginum colloquia The sound of maidens' voices me fay planszer, Makes me weep. oy suvenz suspirer, I often hear sighing plu me fay temer. And it makes me more afraid.

O sodales, ludite, O friends, be merry, vos qui scitis dicite, Say what you will, michi mesto parcite, But have mercy on me, a sad man, grand ey dolur, For great is my sorrow, attamen consulite Yet give me counsel per voster honur. For the sake of your honour.

Tua pulchra facies, Your lovely face me fey planszer milies, Makes me weep a thousand tears pectus habens glacies, Because your heart is of ice, a remender But I would be restored statim vivus fierem At once to life per un baser. By one single kiss.

17. Stetit puella (Soprano) Stetit puella There stood a young girl rufa tunica; In a red tunic; si quis earn tetigit, If anyone touched her tunica crepuit. The tunic rustled. Eia. Heigho. Stetit puella, There stood a girl tamquam rosula; Fair as a rose, facie splenduit, Her face was radiant, os eius floruit. Her mouth like a flower. Eia. Heigho.

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87

inn 18. Circa mea pectora (Baritone and Chorus) Circa mea pectora My breast multa sunt suspiria Is filled with sighing de tua pulchritudine, For your loveliness

que me ledunt misere. And I suffer grievously.

Manda liet, Manda liet,

manda liet, Manda liet, min geselle My sweetheart chumet niet. Comes not. Tui lucent oculi Your eyes shine sicut solis radii, Like sunlight, sicut splendor fulguris Like the splendour of lightning lucem donat tenebris. In the night.

Manda liet, Manda liet,

manda liet, Manda liet, min geselle My sweetheart chumet niet. Comes not. Vellet deus, vellent dii, May God grant, may the Gods permit

quod mente proposui, The plan I have in mind ut eius virginea To undo the bonds reserassem vincula. Of her virginity.

Manda liet, Manda liet,

manda liet, Manda liet, min geselle My sweetheart chumet niet. Comes not.

19. Sie puer cum puellula (Six Male Soloists)

Si puer cum puellula If a boy and a girl moraretur in cellula, Linger together,

felix coniunctio. Happy is their union; Amore sucrescente, Increasing love pariter e medio Leaves tedious propulso procul tedio, Good sense far behind,

fit ludus ineffabilis And inexpressible pleasure fills membris, lacertis, labiis. Their limbs, their arms, their lips.

20. Veni, veni, venias (Double Chorus) Veni, veni, venias, Come, come pray come, ne me mori facias, Do not let me die, hyrca, hyrca, nazaza, Hyrca, hyrca, nazaza,

trillirivos . . . Trillirivos . . .

Pulchra tibi facies, Lovely is your face, oculorum acies, The glance of your eyes, capillorum series, The braids of your hair, o quam clara species! Oh how beautiful you are!

Rosa rubicundior, Redder than the rose, lilio candidior, Whiter than the lily, omnibus formosior, Comelier than all the rest; semper in te glorior! Always I shall glory in you.

88

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21. In trutina (Soprano) In trutina mentis dubia In the scales fluctuant contraria Of my wavering indecision lascivus amor et pudicitia. Physical love and chastity are weighed.

Sed eligo quod video, But I choose what I see. collum iugo prebeo; I bow my head in submission ad iugum tamen suave transeo. And take on the yoke which is after

all sweet.

22. Tempus est iocundum (Soprano, Baritone, Chorus and Boys Chorus)

Tempus est iocundum, Pleasant is the season o vtrgines, O maidens, modo congaudete Now rejoice together vos iuvenes. Young men.

Oh — oh, Oh, oh, totus floreo, I blossom iam amore virginali Now with pure love totus. ardeo, I am on fire! novus, novus amor This love is new, is new, est, quo pereo. Of which I perish.

Mea me confortat My love brings me comfort, promissio, When she promises, mea me deportat But makes me distraught negatio. With her refusal.

Oh — oh, Oh, oh, totus floreo, I blossom iam amore virginali Now with pure love totus ardeo, I am on fire! novus, novus amor This love is new, is new, est, quo pereo. Of which I perish.

Tempore brumali In Winter time vir patiens, The man is lazy animo vernali In Spring he will get lasciviens. Gaily.

Oh — oh, Oh, oh, totus floreo, I blossom iam amore virginali Now with pure love totus ardeo, I am on fire! novus, novus amor This love is new, is new, est, quo pereo. Of which I perish.

Mea mecum ludit My chastity virginitas, Teases me mea me detrudit But my innocence simplicitas. Holds me back!

1Hi ; '- — Please turn the page quietly. mi 89

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Oh — oh, Oh! Oh!

totus floreo, I blossom, iam amore virginali Now with pure young love

totus ardeo, I am on fire!

novus, novus amor This love is new, is new,

est, quo pereo. Of which I perish.

Veni, domicella, Come my darling, cum gaudio, Come with joy, veni, veni, pulchra, Come with beauty,

iam pereo. For already I die!

Oh — oh, Oh! Oh!

totus floreo, I blossom, iam amore virginali Now with pure young love ^H totus ardeo, I am on fire! novus, novus amor This love is new, is new,

est, quo pereo. Of which I perish.

23. Dulcissime (Soprano) i Dulcissime, Sweetest boy totam tibi subdo me! I give my all to you!

BLANZIFLOR ET HELENA BLANZIFLOR AND HELENA

24. Ave formosissima {Chorus) Ave formisissima, Hail to thee most lovely gemma pretiosa, Most precious jewel, ave decus virginum, Hail pride of virgins! virgo gloriosa, Most glorious virgin! ave mundi luminar Hail light of the world! ave mundi rosa, Hail rose of the world! Blanziflor et Helena, Blanziflor and Helena! Venus generosa. Noble Venus, Hail. FORTUNA FORTUNE IMPERATRIX MUNDI EMPRESS OF THE WORLD

25. Fortuna (Chorus) O Fortuna, O Fortune! velut Luna Like the Moon statu variabilis, Everchanging semper crescis Rising first aut decrescis; Then declining;

vita detestabilis Hateful life nunc obdurat Treats us badly et tunc curat Then with kindness ludo mentis aciem, Making sport with our desires, egestatem, Causing power potestatem And poverty alike

dissolvit ut glaciem. To melt like ice.

90 Sors immanis Dread Destiny et inanis, And empty fate, rota tu volubilis, An ever turning wheel, status malus, Who make adversity vana salus And fickle health semper dissolubilis, Alike turn to nothing, obumbrata In the dark et velata And secretly michi quoque niteris; You work against me; nunc per ludum How through your trickery dorsum nudum My naked back

fero tui sceleris. Is turned to you unarmed.

Sors salutis Good fortune et virtutis And strength michi nunc contraria Now are turned from me. est affectus Affection et defectus And defeat semper in angaria. Are always on duty, Hac in hora Come now sine mora Pluck the strings corde pulsum tangite; Without delay; quod per sortem And since by fate sternit fortem, The strong are overthrown mecum omnes plangite! Weep ye all with me.

Copyright ® 1937 by Schotts Sonne, Mainz. Copyright renewed. English translation: Copyright 1953 by B. Schotts Sonne. Used by sole permission of European American Music Distributors Corp., sole U.S. agent for Schott.

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92 ,

ARTISTS

Erie Mills

Germany singing Zerbinetta in Ariadne aufNaxos with the Hamburg State Opera. Ms. Mills opened her 1984-85 season with the role of Anne Trulove in New York City Opera's new production of Stravinsky's The Rake's Progress. High- lights of her 1984-85 schedule in the have included appear- ances with the Chicago Symphony under the baton of Erich Leinsdorf Mandel's Messiah with the Montreal Symphony, and a return engagement with the Houston Opera as Pamina in The Magic . This summer she per- In recent seasons, American soprano forms with the New York City Opera as Erie Mills has captured the attention of Marie in Daughter of the Regiment, a role the music world and drawn critical she will repeat with the Washington acclaim. Her 1983-84 season included a Opera. Also scheduled for 1985-86 are return engagement with Houston Grand Houston Grand Opera engagements in Opera performing the role of Comte d'Ory and Ariadne aufNaxos.

Cunegonde in a revival of the City In the fall of 1979 Erie Mills made her Opera production of Candide, as well as debut with the Chicago Lyric Opera; her first Lucia di Lammermoor in Tulsa she made her San Francisco Opera Opera's new production, a debut with debut a year later. Ms. Mills's appear- the Santa Fe Opera as Carolina in ances with orchestra have included the

7/ matrimonio segreto, debuts with the Milwaukee Symphony and the Los Angeles Philharmonic, and a reengage- ment with the St. Paul Chamber Orchestra. In June 1983, Ms. Mills made : -fi!i^ her European debut singing the role of ie; Madame Herz in Mozart's Impresario at the Vienna Festival. That same summer, she also performed in a gala concert with the Opera Theatre of St. Louis at the Edinburgh Festival. In the spring of 1984, she made her La Scala debut in the role of Giunia in Mozart's Lucio Silla, a role she repeated for her Dutch and French debuts at the Concertgebouw with the Radio Kamerorkest and at ^M mc Patrice Chereau's Theatre in Nanterre, respectively She later returned to HM

93 -''•u>

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Houston Symphony, the Minnesota John Aler Orchestra, the St. Louis Symphony and the St. Paul Chamber Orchestra, with which she made her New York debut in November 1981. A favorite at many of the major summer festivals, she has appeared at New York's Mostly Mozart Festival, the Hollywood Bowl, Blossom, Carnegie Hall's Serenades JU. Festival, and the Ravinia Festival. She made her Boston Symphony Orchestra debut at Tanglewood in 1983 as Amor in Gluck's Orfeo ed Euridice. Ms. Mills's per-

\ formance in the National Arts Center of AS Ottawa's production of Mozart's The Bin Abduction from the Seraglio was televised nationally by the CBC. Erie Mills was born in Illinois. After pre-college studies with Dale Moore, she went on to study One of America's preeminent young at the College of Wooster with Karl tenors, John Aler has performed widely Trump, and later with Grace Wilson at throughout the United States and the University of Illinois. Europe in opera, oratorio, orchestral

is her current teacher. concerts, and as a recitalist, in repertory ranging from the Baroque era through the bel canto demands of Rossini, Bellini, and Donizetti to music of con- temporary composers. The 1985-86 season brings his debut with the Chicago Symphony under Leonard Slatkin in Britten's War Requiem, as well as return engagements with the , the Cincinnati Symphony, and the Boston Symphony Orchestra, with which he performs Bach's B minor Mass in December. Mr. Aler has performed with virtually every major symphony orchestra in America, with such distinguished con- ductors as Seiji Ozawa, Carlo Maria Giulini, Bernard Haitink, and Klaus Tennstedt. He has been particularly

FASHION OUTLETS RT. 7 LENOX, MASS. acclaimed in France, where this season he returns to the Berlioz Festival in Lyon Cotton 100% for performances of the Requiem; he also TURTLENECKS joins Frederica von Stade for six per- $C99 formances of La Cenerentola at the 6 Theatre Municipal de Paris, following 30 Colors! that with a recital at the Theatre OPEN MON-FRI10-9 Call Athenee. Mr. Aler has appeared for SAT 10-6 SUN 12-5 443-3406 three consecutive summers at the Aix-

94 en-Provence Festival; he has performed Gluck's Iphigenie en Tauride for Philips. with the Orchestre National de France, John Aler was born in Baltimore and the Ensemble Orchestre de Paris, and began to study voice while attending with the opera companies of Lausanne, Catholic University in Washington, Strasbourg, Lyon, and Nancy. His Amer- D.C. A Tanglewood Music Center alum- ican operatic appearances in 1985-86 nus, he attended the Juilliard School include Arturo in Bellini's 7 puritani with and participated in both the American New York City Opera, and he will travel Opera Center and the Goldovsky Opera to Chile for Mozart's Cosifan tutte. He Theater. His first operatic appearance has appeared in II barbiere di Siviglia and was as Ernesto in Don Pasquale at the Don Giovanni at the Vienna State Opera, American Opera Center, and his New and he returned to Glyndebourne in York City Opera debut was in 1981 as 1985 as Idamante in Idomeneo, a role Don Ottavio in Don Giovanni. He re- which he also performed at The Proms turned there later the same season as in London. Mr. Aler's prominence on Arturo in Bellini's I puritani. In addition the American musical scene was man- to appearing regularly throughout ifest this past season when he made France and at the Vienna State Opera, nine major appearances at Lincoln his European appearances have in- Center and Carnegie Hall, among cluded the opera companies of Geneva, them the Mostly Mozart Festival, the Brussels, and Hamburg. Mr. Aler is also Chamber Music Society of Lincoln a noted recitalist and has given concerts Center's Bach Festival, and the Carnegie at the Aix-en-Provence Festival as well Hall Bach Festival; he continues to ap- as in Washington, D.C, Baltimore, and pear frequently at America's major Dallas. Since his Boston Symphony music festivals. His growing discog- debut in Monteverdi's Vespers in January raphy includes major recordings for 1974, Mr. Aler has rejoined the orchestra RCA—among them Carl Orff's Carmina for music of Stravinsky, Bach, Haydn, burana and Handel's Messiah—Erato, John Knowles Paine, Beethoven, and and Telarc. Awaiting release are record- Berlioz, most recently as the Narrator in ings of Offenbach's La belle Helene for Berlioz's L'Enfance du Christ in April 1984 EMI/Angel opposite Jessye Norman and at Symphony Hall.

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95 THE AMERICAN ORIGINAL Original Versions And Never-Before-Recorded Piano Works By Michael Tilson Thomas.

"The initial purpose of this project was to Gershwin: Rhapsody In Blue Second Rhapsody • Preludes restore the Rhapsody In Blue and the Unpublished Piano Works Second Rhapsody to their original orches- Los Angeles Philharmonic tration and style ofperformance. Thanks Michael Tilson Thomas to Ira Gershwin's excitement about these restorations, he gave me manuscripts and sketches ofseveral other works, many totally unknown, which appear for the first time on this album." Michael Tilson Thomas DIGITAL mms

GERSHWN I WITH A FRENCH TWIST Classic Works Including Summertime, I Got Rhythm and An American In Paris Transcribed For Flute From Jean-Pierre Rampal FASCINATIN' RAMPAL "Gershwin didn't write any music specifi- JEAN-PIERRE RAMPAL cally for the flute. Although longing to per- plays GERSHWIN form his works, I hesitated for fear of not finding suitable arrangements. But my reluctance was swept away the moment I heard Michel Colombier's brilliant tran-

scriptions. At last I could share in the talent and humanity of George Gershwin." Jean-Pierre Rampal

^ i On CBS Masterworks and CBS Records and Cassettes.

'CBS," "Mastervrarks.YQb are trademarks ol CBS Inc. ' 1985 CBS Inc.

96 Hakan Hagegard

Orchestra, several duo-recitals with soprano Judith Blegen, solo recitals in such major musical centers as New York, San Francisco, and Rochester, and performances of Alban Berg's Seven Early Songs with Seiji Ozawa and the Boston Symphony Orchestra in Boston and New York. Under his contract with RCA, Mr. Hagegard has recorded perform- ances considered definitive of Carl Orff's Camina burana, Schumann's Dichterliebe, and Schubert's Winterreise; he has per- formed the Schumann and Schubert song cycles to recital audiences through- Renowned for his appearances in opera, out the United States. His most recent recital, and symphonic concerts, as well recordings include an album of Lieder as for his recordings, Swedish lyric by Strauss and Wolf, and the Brahms baritone Hakan Hagegard is one of German Requiem with Kathleen Battle, today's most accomplished and James Levine, and the Chicago Sym- applauded performers. A leading phony. Mr. Hagegard's extensive reper- member of the Stockholm Royal Opera toire ranges from Mozart concert arias since 1968, he was catapulted to fame and Mahler songs to the most contempo- with his appearance as Papageno in rary works of Dallapiccola and Argento. Ingmar Bergman's film version of The baritone version of Alban Berg's Mozart's Die Zauberflote. Mr. Hagegard Seven Early Songs, music usually per-

is now a favorite guest with many of this formed by soprano, was prepared espe- country's outstanding musical organiza- cially for him. Mr. Hagegard made his tions, including the symphony orches- Boston Symphony Orchestra debut tras of Atlanta, Baltimore, Chicago, in April 1984 as Joseph in Berlioz's Cincinnati, Dallas, Pittsburgh, and L'Enfance du Christ under the direction Seattle. He made his Metropolitan of Seiji Ozawa. Mr. Hagegard may be Opera debut in 1978 as Dr. Malatesta in heard in recital in the Theatre-Concert a new production of Donizetti's Don Hall at Tanglewood this Thursday night. Pasquale, and he has also appeared there

in the title role of Rossini's II barbiere di Siviglia, as Wolfram in Tannhauser, and as Guglielmo in Cost fan tutte. He is scheduled to sing Eisenstein in a new Met production of Die Fledermaus in 1986. In addition, he has sung Danilo in The Merry Widow at the San Francisco Opera and Rossini's Figaro with Santa Fe Opera. Highlights of his North Amer- ican tour during the 1984-85 season included performances of Mahler's

Songs of a Wayfarer with the Minnesota

97 Tanglewood Festival Chorus John Oliver, conductor

tion for its participation in the world premiere performances under Sir Colin

Davis of Sir Michael Tippett's The Mask of Time, commissioned by the Boston Sym-

phony Orchestra for its centennial in 1981. Unlike most other orchestra choruses, fl the Tanglewood Festival Chorus under John Oliver also includes regular per-

formances of a capella repertory in its schedule, requiring a very different sort of discipline from performance with orchestra, and ranging in musical con- tent from Baroque to contemporary. In the spring of 1977, John Oliver and the This season, the Tanglewood Festival chorus were extended an unpre- H Chorus is celebrating its fifteenth an- cedented invitation by Deutsche Gram- niversary with its founding conductor, mophon to record a program of a cappella John Oliver. Co-sponsored by the twentieth-century American choral Tanglewood Music Center and Boston music; this record received a Grammy University, the chorus was organized in nomination for best choral performance the spring of 1970 when Mr. Oliver in 1979. The most recent recordings by became director of vocal and choral Mr. Oliver and the chorus include music activities at the Tanglewood Music of Luigi Dallapiccola and Kurt Weill on Center. Originally formed for perform- Nonesuch, Beethoven's Choral Fantasy ances at the Boston Symphony Orches- with Seiji Ozawa, Rudolf Serkin, and

tra's summer home, the chorus was the Boston Symphony Orchestra on soon playing a major role in the or- Telarc, and Debussy's La Damoiselle elue chestra's Symphony Hall season as well. with the orchestra and mezzo-soprano Now the official chorus of the orchestra, Frederica von Stade on CBS.

the Tanglewood Festival Chorus is re- The Tanglewood Festival Chorus has garded by conductors, press, and public collaborated with the Boston Symphony as one of the great orchestra choruses of Orchestra on numerous recordings for the world. The members of the chorus Deutsche Grammophon, New World, donate their services, and they perform and Philips. For the chorus' first appear- regularly with the Boston Symphony ance on records, in Berlioz's Damnation

Orchestra in Boston, New York, and at of Faust, John Oliver and Seiji Ozawa Tanglewood, working with Music Direc- received a Grammy nomination for best tor Seiji Ozawa, John Williams and the choral performance of 1975. The Tangle- Boston Pops, and such prominent guests wood Festival Chorus may be heard on as Sir Colin Davis, Leonard Bernstein, the Philips releases of Schoenberg's Claudio Abbado, Klaus Tennstedt, Gurrelieder, taped live during Boston Mstislav Rostropovich, and Andre Pre- Symphony performances and named vin. In April 1984 at Symphony Hall, best choral recording of 1979 by the chorus received international atten- Gramophone magazine, and Mahler's

98 Symphony No. 8, the Symphony of a Boston Boy Choir Thousand. Other recordings with the Theodore Marier, director orchestra include music of Ravel, Liszt, and Roger Sessions, and the chorus has also recorded with John Williams and Now in its twenty-first year, the Boston the Boston Pops. Boy Choir has been acclaimed from In addition to his work with the Maine to California and throughout Tanglewood Festival Chorus, John Europe, where the ensemble toured in

Oliver is conductor of the MIT Choral 1972. The choir lists frequent appear- Society, a senior lecturer in music at ances with the Boston Symphony MIT, and conductor of the John Oliver Orchestra among its performances,

Chorale. Since its inception eight years including Berlioz's Damnation of Faust, ago, the John Oliver Chorale has built Mendelssohn's Elijah, and Mahler's an impressive repertoire ranging from Eighth Symphony, as well as stagings at masterpieces by Bach, Beethoven, Tanglewood of Puccini's Tosca and scenes

Mozart, and Stravinsky to less fre- from Mussorgsky's Boris Godunov, all quently performed works by Carissimi, under the direction of Seiji Ozawa. With Bruckner, Ives, Martin, and Dallapic- Seiji Ozawa and the Boston Symphony, cola. The Chorale has recorded Charles the Boston Boy Choir may be heard on

Ives's The Celestial Country and Charles recordings of The Damnation of Faust for Loeffler's Psalm 137 for Northeastern Deutsche Grammophon and Mahler's Records and Donald Martino's Seven Eighth Symphony for Philips. Members Pious Pieces for New World Records. of the chorus recently took part in a recording of Kurt Weill's Recordare with John Oliver and the Tanglewood Festival Chorus for Nonesuch records. Most recently, the chorus participated with Seiji Ozawa and the Boston Symphony Orchestra in performances of 's Jeanne d'Arc au bucher in

December 1984 and in Bach's St. Matthew Passion here at Tanglewood this past weekend.

The Boston Boy Choir is in residence at St. Paul's Church in Cambridge, Massachusetts, where Theodore Marier

was named first music director of the Boston Archdiocesan Choir School in 1963. Mr. Marier, recognized as both an outstanding conductor and a distin- guished church musician, was organist and choir director of St. Paul's before founding the choir school.

99 Tanglewood Festival Chorus Auditions

The Tanglewood Festival Chorus, John Oliver, conductor, has openings in all sections for its 1985-86 season with the Boston Symphony Orchestra. Works to be performed are the Bach B minor Mass, Mahler's Symphony

No. 3, and the American premiere of Three Tableaux from Olivier Mes-

siaen's opera St. Francis ofAssisi, all under the direction of Music Director Seiji Ozawa, as well as Robert Schumann's Das Paradies und die Peri with Giuseppe Sinopoli. The Messiaen will be performed in both Boston and New York. Auditions for the chorus will be held on Wednesday, 4 September at 6 p.m. in the Cohen Annex of Symphony Hall, 301 Massachusetts Avenue, Boston. No appointment is necessary. For further information, please call the Chorus Office at (617) 266-3513.

At the Red Lion Inn in Stockbridge, MA 413-298-4938

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Monday through Wednesday 10 AM - 6 PM Thursday and Friday 10 AM -8 PM Saturday 10 AM - 6 PM Sunday 12 Noon to 6 PM

100 Tanglewood Festival Chorus John Oliver, conductor

Sopranos Dorrie Freedman Peter Pulsifer Redgrave Margaret Aquino Paula Folkman David A. Dorrie Fuchs Robert D. Ruplenas Stawn Barber Irene Gilbride Barry Singer Ingrid Bartinique Terence Stephenson Michele M. Bergonzi Donna Gonzalez-Velasco Donna Hewitt-Didham Don P. Sturdy Cathy E. Carberry Leah Jansizian Dean Stevens Susan Cavalieri Nancy H. Chittim Angeline Lakis Mark Wilson D. Link R. Spencer Wright Bonita Ciambotti Suzanne Gale T. Livingston Joanne L. Colella Margo Connor Dorothy W. Love Basses April Merriam Mary A. V. Crimmins Peter T. Anderson Vanessa M. Ovian Helen Eberle Daly David J. Ashton Lou Ann David Ellen D. Rothberg Barrington Bates Deborah Ann Ryba J. Suzanne T. Dobson Daniel E. Brooks Jeanne Duffy Linda Kay Smith James W. Courtemanche M.K. Kamala Soparkar Amy G. Harris Agostino M. DeBaggis Steinhilber Cecile A. Hastie Julie Douglas A. Dittman Helen T. Taylor Lisa Heisterkamp James E. Dobson Tierney Alice Honner-White Judith John Duffy Lorraine Walsh Christine M. Jaronski James Owen Evans JoAnne Warburton-Russell Frances V. Kadinoff Mark L. Haberman Natasha Wei Carol Kirtz Fred G. Hoffman Kathryn Komidar John Knowles Eve Kornhauser Tenors G. Paul Kowal Carol McKeen Nicholas Aiuto Timothy Lanagan Patricia Mitchell Kent Anderson Kenneth L. Lawley Betsy Moyer Antone Aquino Lee B. Leach Annette L. Steven Ledbetter Murphy John C. Barr H. Diane Norris Ralph A. Bassett Paul A. Livingston Fumiko Ohara Donato Bracco David K. Lones Nancy Lee Patton Sandy Macfarlane William A. Bridges, Jr. Kristen M. Peterson Victor Calcaterra Henry Magno Jennifer M. Pigg David B. McCarthy John T. Crawford Charlotte C. Russell Priest Mark Dapolito Cliff McGee Jamie Redgrave Reginald Didham Robert S. McLellan Lisa Saunier Merken Willis Emmons Gary J. Pernice Sherman L. Milne Joan William E. Good Jack Diane M. Stickles Rene A. Miville J. Stephen Groff David M. Halloran Clark Nelson Mezzo- Dean Armstrong Hanson Christopheren Nomura Maisy Bennett John W Hickman Stephen H. Owades Martin R. Pierce Karen Bergmann Richard P. Howell R. Christine Billings Stanley Hudson Frank Sherman Sharon R. Brown Hal Katzman Peter S. Strickland Pieter White Ann Caradonna James R. Kauffman Conrad Howard Wilcox Rebecca Chamberlain Edward J. Kiradjieff Arnalee Cohen Frank Levar Barbara Cooper Henry Lussier Ethel Crawford John Vincent Maclnnis Catherine Diamond F. Brian McConville Sarah Harrington, Sara Dorfman David E. Meharry Manager Patricia V. Dunn David R. Norris Kitty DuVernois John H. Northrup Susan Almasi, Mary F. Ellis Dwight E. Porter Rehearsal pianist

101 &

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SMR2 B\QUET'S Symphony In Sea.

29th Music Festival at Sea. Aboard the M/S Mermoz in the Caribbean January 9-22, 1986

For 16 years, Paquet French Cruises has been offering Music Festivals at Sea with most of the world's greatest masters. Each cruise has equalled or surpassed its predecessor in elegance, festivities and musical magnificence. Indeed, the 29th Music Festival will bring together an extraordinary group of artists. Here is a partial listing of those expected to join us for this celebration of music next January.

Piano: Byron Janis, Tamas Vasary, Philippe Moll, Joseph Villa. Violin: Viktoria Mullova, Uto Ughi. Cello: Frans Helmerson. Flute: James Galway. Trumpet: Maurice Andre. Viola: Milton Katims. Voice: Wilhelmenia Fernandez, Kimball Wheeler. Oboe: Hans de Vries. Ensemble: Meliora String Quartet. Orchestra: Polish Chamber Orchestra. Recorder: Michala Petri. Special Appearance: Free Flight, Cy Coleman, Bobby Mac Ferrin. Musical Host and Pianist: Dr. Karl Haas.

Itinerary: Port Everglades, Cap Haitien, Willemstad, Cartagena, San Bias Islands, Cristobal, Gatun Lake (Panama Canal), Playa del Carmen, Port Everglades. rFor more information on reservations, contact your travel agent or send the coupon to: Catherine Coste-Ferre, Paquet Cruises, 1007 North America Way, Miami, FL33132.

Name

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City/State/Zip Ship's Registry: BS85 Bahamas FRENCH CRUISES

Festival as fundraiser. L ) Please send me information on your Music . . . and enjoy special benefits all season long!

Support Tanglewood by joining the Friends of Music at Tanglewood and take advantage of the following benefits that are yours when you make a gift.

Contributors Individuals (and families, including children 21 years and of $40 enjoy an younger) may attend, without charge, concerts performed Individual by students of the Tanglewood Music Center, the BSO's Membership distinguished academy for advanced study of music. Enjoy chamber music, full orchestra programs, vocal Contributors performances and the Festival of Contemporary Music. enjoy a of $60 Take advantage of the popular Talks and Walks lecture Family series, available only to Friends of Music at Tanglewood. Membership Accept an invitation from the Orchestra to attend "An Open House at Seranak," former home of Serge Koussevitzky.

Contributors In addition to all membership benefits, receive the of $150 Tanglewood Advance Ticket Order Form in the early spring, before tickets go on sale to the general public. Also, enjoy the hospitality of the Tanglewood Tent, a pleasant gathering place where bar service and picnic space are available on concert days.

Contributors Receive the added benefit of conveniently located special of $250 parking.

Contributors Become eligible to attend pre-concert suppers (for a fixed of $650 price) Friday and Saturday evenings at charming Seranak. While dining, parking will be reserved on the Tanglewood grounds.

Contributors Enjoy membership in the Koussevitzky Society, of $1,000 Tanglewood' s most prestigious support group. Receive special box office assistance, attend a gala event at Seranak, and enjoy gold card parking privileges as well as special extra benefits. Become a Friend of Music at Tanglewood by sending your contribution now to the Tanglewood Annual Fund.

ifa , I want to become a Friend of Music at Tanglewood and enjoy membership benefits. Enclosed is my check for $

Name

Address

City State Zip

Home Phone

Please make checks payable to "Friends of Music at Tanglewood" and mail to:

Friends Office, Tanglewood, Lenox, MA 01240 (413) 637-1600 BHHH Simply elegant dining.

The earthy flavor of fresh morels, combined with a silken veal mousse. A warm squab and truffle salad. A chilled artichoke soup. Lobster sim- mered with ripe tomatoes, cognac and fresh herbs. An unparalleled selection of native and imported cheese. A sumptuous array of fine pastries. Dining at Wheatleigh. Where nothing is standard, save the proper preparation of

superb ingredients, and the creation of cuisine is serious art.

Wheatleigh West Hawthorne Road Lenox, Massachusetts 01240 (413) 637-0610

Breakfast 8-10:30 • Dinner 6-1 1 • Sunday Brunch 8-2 • Reservations are required Q)ldbroofeeY7Ulagg ^^ • at Cramtfell- *

lust a short drive A Coldbrooke Village villa is more than just a place in the country. home It's a golf course at your doorstep. It's a home with an interior

designed by you. It's a short walk

to restaurants and a health club.

And Tanglewood, Jacob's Pillow

and the theatres are just around

the corner.

Coldbrooke Village at Cranwell-

the sales office is now open.

55 Lee Road (Route 20) Lenox, MA 01240 SEIJI OZAWA - CLAUDIO ABBADO

LEONARD BERNSTEIN - CHARLES DUTOIT

ZUBIN MEHTA - MICHAEL TILSON THOMAS CHRISTOPH VON DOHNANYI PHYLLIS CURTIN SHERRILL MILNES LEONTYNE PRICE SHIRLEY VERRETT BURT BACHARACH JACOB DRUCKMAN -DAVID DEL TREDICI

What do these names have in common, along with hundreds ofmusicians who perform in America 's major symphony orchestras ?

All are distinguished alumni of a unique program founded in 1940 as the fulfillment of Serge Koussevitzky's vision of the ideal musical community. Today, the Tanglewood Music Center continues to be the nation's preeminent academy for advanced musical study and performance. Maintained and financed by the Boston Symphony Orchestra, the Tanglewood Music Center offers exceptional young instrumentalists, singers, composers, and conductors a comprehensive and exhilarating eight-week program of musical training, under the direction of the world's greatest concert artists.

Since admission to the TMC is based solely on musical ability rather than the ability to pay, the Center operates each year at a substantial loss to the BSO. We need your support. Please contribute Tanglew(©d to the Tanglewood Music Center. When you do, you contribute to the future of music itself.

Music Please make checks payable to the Tanglewood Music Center and mail to the Friends Office, Tanglewood, Lenox, Center MA 01240. For further information, please contact Joyce Serwitz in the Friends Office at Tanglewood, or call (413)637-1600. MBwm

Boston Symphony Association of Volunteers Tanglewood Association Executive Committee

Mrs. Craig F. Fischer Mrs. Mark L. Selkowitz Co-Chairmen Mrs. Leonard H. Cohen Talks & Walks

Mr. Joseph T. Duffy Sales & Information Mrs. George Elvin Opening Ceremony Mr. Hilbert H. Finn Tanglewood Business Mrs. James Garivaltis Fellowship Luncheon Mr. & Mrs. Paul Hickey Boston Symphony Chamber Players Concert Mr. David Kalib Phonathon Mrs. Eugene Leibowitz Days in the Arts Mrs. Karl K. Lipsky Fellowship Students Mrs. Anthony G. Massimiano Sales & Information Mr. Paul C. Merlino Open 7 days 10-6 Secretary/Treasurer Dr. Thomas S. Morse The Mews Stockbridge Community Affairs

298-4436 Mrs. Thomas S. Morse \j2JLJL±L£- Nominating Committee; Seranak Mrs. Kenneth M. Nash Talks & Walks Mrs. Arthur W. Paddock Opening Ceremony

Ms. B. Like good music, Julia Polk Fellowship Students goodprinting bringsjoy \ Mr. & Mrs. Jeffrey P. Rayner to those whoproduce it. Berkshire Day Mrs. William Ryan Seranak

Mr. Mark L. Selkowitz Nominating Committee Mrs. Raymond H. Schneider Patron Dinner STUDLEY Mrs. Scott Singleton Fellowship Luncheon Mr. & Mrs. Robert A. Wells Tea Dance Dalton, Massachusetts 1985 Tanglewood Talks & Walks

Exclusively available to the Friends of June 27 Emanuel Borok Music at Tanglewood is a stimulating Assistant series of six lecture-luncheons in the BSO Concertmaster

Tanglewood Tent. The tent opens at i 2 noon with table space reserved for picnics; July 11 Louis Krasner the talk begins at 1 p.m. and is followed by Senior String Faculty a guided tour of the Tanglewood grounds Tanglewood Music Center at approximately 1 :45. Bring a picnic lunch; coffee and tea will be available. July 25 Christopher Hogwood Reservations must be prepaid and Conductor cannot be accepted by phone. Seating will be determined in the order reservations are received. Special seating requests will August 1 Leon Kirchner extent possible. be accommodated to the Composer-in-Residence Because seating in the tent is limited, Tanglewood Music Center we urge you to reserve now. If you are unable to keep your reservation, please August 8 David Kneuss call the Tanglewood Friends' Office (637-

1 600, ext. 1 05) so that those on a waiting Opera Director

list may be accommodated.

The series of six Talks & Walks is avail- August 22 Michael Tilson Thomas able at $1 8. Individual tickets may be Conductor purchased for $3.50 per program. Ticket requests will be accepted only from Friends of Music at Tanglewood.

Reservations may be made through the Tanglewood Friends' Office or by mail- ing your request to: Talks & Walks Tanglewood Checks should be made payable to Lenox, Massachusetts 01240 "BSO/Talks & Walks"

FOR THE EVERYDAY GOURMET Lunch or Dinner

664 Pittsfield-Lenox Rd., Lenox MA 01240 443-3433 Don't you wish that for just one concert you didn't have to drag out the tired old basket, paper plates, and stadium blanket that's seen too many football games? Instead of that old basket, don't you wish you had this spacious hand woven rattan hamper holding a complete service for four with white plastic plates, knives, forks, and spoons? Instead of a blanket that's seen better days, don't you wish you had a brightly striped 52 "x 52 "flannel backed cloth with special clips to secure it on windy days? Don't you wish you had striped tumblers and dinner size napkins, food storage jars and a beverage bottle, corkscrew, cutting board, and serrated knife? And don't you wish you'd spent $69.95 for this exclusive 34-piece set at the Crate and Barrel instead of spending one more concert without it? ^n-^x Well, cheer up. There's another concert tomorrow. Cfcrte&Barr€N

48 Brattle Street, Harvard Square in Cambridge, FaneuilHall Marketplace and Copley Place in Boston, and The Mall at Chestnut Hill. DAYS IN THE ARTS

An Adventure for Youth at Tanglewood

The Boston Symphony Orchestra's DAYS IN THE ARTS (DARTS) program makes a positive impact on hundreds of urban and suburban youngsters who spend a week at Tanglewood totally involved in the arts. The natural beauty and artistic stimula- tion of Tanglewood and the Berkshires, coupled with daily arts and recreational activities, offer these young people an incomparable experience.

Currently in its eighteenth year, DARTS enables fifth and sixth graders from the Boston, Cambridge, and Somerville schools, neighboring suburban schools, and Pittsfield schools the opportunity to enjoy many activities with their peers from different social and economic backgrounds. Together they share a sense of discovery about the ways in which the arts can enrich life.

The youngsters attend rehearsals and concerts at Tanglewood, and they are intro- duced to dance, drama, and the visual arts at a variety of the area's illustrious cul- tural institutions, such as Jacob's Pillow, the Clark Art Institute, Chesterwood, the Rockwell Museum, the Berkshire Theatre Festival, Williamstown Theatre, Shake- speare & Co., and the Berkshire Ballet. Time is also provided for recreational activities such as swimming in the Tanglewood lake, a vigorous game of Softball, or a quiet moment watching a spectacular sunset over the Berkshire hills.

DAYS IN THE ARTS might just be the spark some child needs to become a suppor- ter of the arts, or even a performing artist of the future.

The DARTS program gratefully acknowledges the following contributors: The Marilyn Brachman Hoffman Endowment, Alice Willard Dorr Foundation, Arthur D.

Little, Inc., Polaroid Foundation, Stride Rite Charitable Foundation, and all those individuals who have generously supported Days in the Arts. In addition, the following have contributed under the auspices of the Associated Grantmakers of Massachusetts: Boston Safe Deposit and Trust Company— Trustee of the Peter E. Strauss Trust, Clipper Ship Foundation, Jessie B. Cox Charitable Trust, Mutual Bank Foundation, NEBS Foundation, Theodore Edson Parker Foundation, Raytheon

Company, The Riley Foundation, Nathaniel and Elizabeth P. Stevens Foundation, and Charles Irwin Travelli Fund.

For further information, please contact the Youth Activities Office, Boston Sym- phony Orchestra, Symphony Hall, Boston, MA 02115.

WQBb 4 Can you believe her? Every night at St. Andrews she played the field in those expensive sleek designer dresses. "I love scotch and pearls" she cooed, then flew _*. off to Pebble Beach with a different wardrobe. Just look at her drive! Sports to that woman are IB fashion shows in disguise. Whether

the party is in Augusta or in Canandaigua, she's dressed to a tee. Certainly she's not up to our tax i bracket. How can that woman keep herself in such expensive play clothes?"

Designer fashions for men and women at prices worth a trip from anywhere.

43 Mohawk St., Cohoes, NY (518) 237-0524 East Windsor, CT; Providence, RI & Rochester, NY The businesses and professional organizations listed below have all contributed to Tanglewood. By donating $250 or more, each company has become a Business Friend of Tanglewood for the 1985 season. Con- tributors of $1,000 or more are indicated in capital letters. We are very grateful for their support and we encourage you to patronize the follow- ing businesses in appreciation of their commitment to Tanglewood. Hilbert H. Finn Robert L. Plageman Tanglewood Business Committee

Antiques/Art Galleries COMFED Savings Bank S & S Distributing Pittsfield, Springfield, Chicopee, Henry B. Holt Gallery, Inc. MA Lowell (413) 593-5704 Essex Fells, NJ (413) 447-8400 (201) 228-0853 FIRST 7 Arts Antiques AGRICULTURAL Stockbridge, MA BANK Clothing Pittsfield, MA (413) 298-3577 The Bagatelle, Inc. (413) 499-3000 Miami, FL Architects Great Barrington Savings (305) 576-1676 Bank Bradley Architects, Inc. Besse-Clarke Great Barrington, MA Pittsfield, MA Pittsfield, MA (413) 528-1190 (413) 448-8253 (413) 447-7361 The Lee National Bank Hallock Architects, Inc. Elise Farar, Inc. Lee, MA Pittsfield, MA Lenox, MA (413) 243-0115 (413) 499-0536 (413) 637-1131 Lee Savings Bank England's Automotive Lee, MA Pittsfield, MA (413) 243-0117 Berkshire Foreign Auto Parts (413) 443-3561 Pittsfield, MA Lenox National Bank The Talbots (413) 499-1130 Lenox, MA Lenox, MA (413) 637-0017 Central Berkshire New Car (413) 637-3576 Dealers Associates Lenox Savings Bank Pittsfield, MA Lenox, MA (413) 442-1584 (413) 637-0147 Contracting/Outdoor Services S&W Sales Co., Inc. North Adams Hoosac County Concrete Corp. Ridgewood, NY Savings Bank Pittsfield, MA (718) 821-3060 North Adams, MA (413) 499-4980 (413) 663-5353 Banking Joseph Francese, Inc. The Pittsfield Co-Operative Bank of Boston, Western Bank Pittsfield, MA (413) 442-8500 Mass., N.A. Pittsfield, MA Pittsfield, MA (413) 447-7304 The Haupt Tree Company, (413) 445-5651 Inc. BAYBANKS, INC. Sheffield, MA 229-8565 Boston, MA (413) Beverage Sales/Distribution (617) 482-1040 Hutchinson Sand & Gravel BERKSHIRE BANK & Coca-Cola Bottling Co. of Co., Inc. TRUST COMPANY Northampton, MA Cheshire, MA (413) 584-2050 (413) 743-5522 Pittsfield, MA (413) 499-1600 The Fahey Beverage Co., William T Lahart & Son, BERKSHIRE COUNTY Pittsfield, MA Lenox, MA SAVINGS BANK (413) 442-7313 (413) 637-0146 Pittsfield, MA Goshen Wine & Spirits J.H. Maxymillian, Inc. (413) 443-5601 Goshen, CT Pittsfield, MA 491-2078 499-3050 Citicorp/Citibank (203) (413) Boston, MA Kelly-Dietrich, Inc. Petricca Industries, Inc. (617) 742-0303 Pittsfield, MA Pittsfield, MA 447-7371 499-2779 City Savings Bank of (413) (413) MM Pittsfield Merchant Du Vin Ward's Nursery, Inc. m Pittsfield, MA Lenox, MA Great Barrington, MA (413) 443-4421 (413) 637-2811 (413) 528-0166 NHm ^h

M.F. Webber Landscaping, New Yorker Electronics Co., GTE CORPORATION Inc. Inc. Stamford, CT West Stockbridge, MA Mamaroneck, NY (203) 965-2000 (413) 528-0275 (914) 698-7600 Williams Construction Industrial Products Energy/Utilities West Stockbridge, MA Butler Wholesale Products, (413) 232-7003 The Berkshire Gas Company Inc. Pittsfield, MA Adams, MA Dentistry (413) 442-1511 (413) 743-3885 Craig W. Fischer, D.M.D. EXXON CORPORATION J. Gerber & Co., Inc. Pittsfield, MA New York, NY New York, NY (413) 499-2862 (212) 398-3000 (212) 613-1100 Alan Green, D.D.S. The Home Gas Corporation Commack, NY Great Barrington, MA Insurance (516) 266-1616 (413) 528-1910 BERKSHIRE LIFE Elliot M. Greenfeld, D.D.S. Lipton Energy INSURANCE COMPANY Pittsfield, MA Pittsfield, MA Pittsfield, MA (413) 499-4540 (413) 443-9191 (413) 499-4321

Jeffrey Kochman, D.D.S. Biener Agency, Inc. New York, NY Financial Services Great Neck, NY (516) 482-7700 (212) 753-3560 American Express Company Joseph M. Weinstein, D.D.S. New York, NY Bradford, Brownlow & New York, NY (212) 323-3474 Associates 927-1117 Pittsfield, MA (212) A.G. Edwards & Sons, Inc. (413) 443-6441 Pittsfield, MA Education (413) 443-4931 Colt Insurance Agency, Inc. Pittsfield, MA Berkshire Christian College Gelfand, Rennert & Feldman Lenox, (413) 445-5648 MA New York, NY (413) 637-0838 (212) 682-0234 Mole & Mole Berkshire Country Day Lenox, MA Kenneth J. Loveman & Co., (413) 637-0061 School, Inc. CPA's Lenox, MA Pittsfield, MA Reynolds, Barnes & Hebb, 637-0755 (413) (413) 443-9122 Inc. Pittsfield, MA Berkshire Hills Regional Christopher D. Morse Assoc. (413) 447-7376 District Integrated Resources Stockbridge, MA Equity Corp. Stevenson & Co., Inc. (413) 298-3711 Stockbridge, MA Pittsfield, MA The Berkshire Learning (413) 298-3355 (413) 443-3581

Center Ernest S. Sagalyn, CLU Pittsfield, MA Pittsfield, MA Legal (413) 442-0141 (413) 442-1779 JoelS. Greenberg, PC. Desisto Schools, Inc. Michael K. Schaefer, CPA Pittsfield, MA West Stockbridge, MA Boston, MA (413) 499-2244 298-3776 (413) (617) 227-1931 Howland & Sheppard, PC. Miss Hall's School Amherst, MA Pittsfield, MA Hardware/Home Supplies (413) 549-4570 443-6401 (413) Carr Hardware & Supply Otterbourg, Steindler, Stanley H. Kaplan Co., Inc. Houston & Rosen, PC. Educational Center, Ltd. Pittsfield, MA New York, NY Newton Centre, MA (413) 443-5611 (212) 661-9100 (617) 244-2202 Dettinger Lumber Co., Inc. Rutberg & Heller The Kolburne School, Inc. Pittsfield, MA Lenox, MA New Marlborough, MA (413) 442-6916 (413) 637-2255 (413) 229-8787 Dresser-Hull Lumber Co. Shepard & Darrin, PC. Valleyhead, Inc. Lee, MA Pittsfield, MA Lenox, MA (413) 243-1400 (413) 499-0316 (413) 637-3635 Pittsfield Supply Company Williams College Executive Pittsfield, MA Management/Business Program (413) 445-4589 Consulting Williamstown, MA West End Lumber Yard, Inc. Canter, Achenbaum, (413) 597-2544 Bridgeport, CT Associates, Inc. (203) 333-2178 New York, NY Electronics (212) 751-9630 Technology ARGIL ELECTRONICS, High Colonial Consulting LTD. DYNATECH CORP. Corporation, Inc. New York, NY Burlington, MA New York, NY (212) 691-8111 (617) 272-3304 (212) 307-1830 m Right Associates GENERAL CINEMA Beloit Corporation Providence, RI CORPORATION Jones Rader Division (401) 331-1729 Chestnut Hill, MA Dalton, MA (617) 232-8200 (413) 443-5621 Manufacturing "Getting Married/ Berkshire Paper Co., Inc. Bond Adhesives Company A Planning Guide" Great Barrington, MA Newark, NJ Boston, MA (413) 528-2602 824-8100 739-3349 (201) (617) C.T Brigham Co. In Loving Memory of International Television Pittsfield, MA Stephen Siner J. Trading Corp. (413) 445-5646 Boyd Converting Company, South Egremont, MA Crane & Company, Inc. Inc. 528-9010 (413) Dalton, MA South Lee, MA National Broadcasting (413) 684-2600 (413) 243-2200 Company, Inc. MEAD CORPORATION Clark Aiken Company New York, NY Specialty Paper Division Lee, MA (212) 664-4458 South Lee, MA (413) 243-1261 Pittsfield News Co., Inc. (413) 243-1231 Culbro Corporation Pittsfield, MA Sheaffer Eaton Textron New York, NY (413) 445-5682 Pittsfield, MA (212) 561-8700 Virstal Theatrical (413) 499-2210 Davison Trading Company Productions SPENCER PRESS, INC. Holyoke, MA Sheffield, MA Hingham, MA (413) 534-7748 WCRB-FM (617) 749-5000 General Electric Waltham, MA Studley Press, Inc. Ordnance Systems 893-7080 (617) Dalton, MA Division (413) 684-0441 Pittsfield, MA Medical/Science 494-1110 Walden Printing Company (413) Berkshire Associates for Walden, NY GENERAL ELECTRIC Neurological Diseases, (914) 778-3575 PLASTICS BUSINESS Inc. GROUP Pittsfield, MA Photography Pittsfield, MA (413) 499-2831 494-1110 Shop, Inc. (413) Berkshire Orthopaedic Photo Pittsfield, Lakewood Mold Co., Inc. Associates, Inc. MA (413) 442-6411 Pittsfield, MA Pittsfield, MA (413) 442-3002 (413) 499-1190 Walter Hilton Scott, Photographer Lee Lime Corporation BERKSHIRE UROLOGICAL Stockbridge, Lee, MA ASSOCIATES, INC. MA (413) 298-3651 (413) 243-0053 Pittsfield, MA (413) 499-0300 Lipton Steel & Metal Real Estate Products Damon Corporation Cohen & White Associates Pittsfield, MA Needham Heights, MA m Lenox, MA (413) 499-1661 (617) 449-0800 (413) 637-1086 H Mount Tom Box Co., Inc. John Gait, M.D., Inc. Corashire Realty West Springfield, MA Pittsfield, MA l Great Barrington, MA sflH (413) 781-5300 (413) 445-4564 (413) 528-0014 The Mutterperl Group William E. Knight, M.D. Evergreen Realty New York, NY Pittsfield, MA Pittsfield, MA (212) 239-0345 (413) 442-4438 (413) 499-4610 A. Shapiro & Sons 510 Medical Walk-In Center Hara Fischer-Reinholt North Adams, MA Pittsfield, MA Stockbridge, MA (413) 663-6525 (413) 499-0237 (413) 637-1140 U.S. COMPONENTS, INC. Bohemia, NY Moving/Storage Sheldon Gross Realty, Inc. West Orange, NJ (516) 589-8080 Frank L. Castine, Inc. m Ha (201)325-6200 Pittsfield, MA Media/Entertainment (413) 499-4982 Realty Associates, Inc. Berkshire Broadcasting Co., Mullen-Mayflower Movers New York, NY (212) 239-9790 Inc. Pittsfield, MA North Adams, MA (413) 499-0815 Prestige Realty +918! ESS (413) 663-6567 Springfield, Security Self Storage MA tcQlFOWjHNjM*'' (413) 788-0985 EAGLE PUBLISHING Pittsfield, MA COMPANY (413) 445-5181 Esther Quinn Realty Pittsfield, MA 01201 Pittsfield, MA (413) 447-7311 Paper Products/Printing (413) 499-4646

CBS, Inc. BRM Associates, Inc. The Rose Agency New York, NY New York, NY Pittsfield, MA (212) 975-3388 (212) 249-0505 (413) 443-7211 Drive HomeWith The Classics

wmht|nnl fmS3.

Stereo Classical Music 24 Hours A Day

Serving Eastern NY, Vermont and Western New England Ruffer Realtors KAY-BEE TOY & HOBBY Susse Chalet Motor Lodge Pittsfield, MA SHOPS, INC. Lenox, MA (413) 445-5661 Lee, MA (413) 637-3560 (413) 243-2000 White Pines at Stockbridge The Village Inn Stockbridge, MA The Lemon Tree Lenox, MA (413) 637-1140 Lenox, MA (413) 637-0020 637-1024 (413) The Weathervane Inn Tourism/Resorts/Camps Lenox Kites South Egremont, MA Berkshire Hills Conference Lenox, MA (413) 528-9580 637-2115 Pittsfield, MA (413) Wheatleigh Hotel & 443-9186 (413) Loeb's Foodtown of Lenox Restaurant Butternut Basin, Inc. Lenox, MA Lenox, MA Great Barrington, MA (413) 637-0270 (413) 637-0610 528-2000 (413) McClelland Drug Store The Williams Inn Camp Mah-Kee-Nac Lee, MA Williamstown, MA Stockbridge, MA (413) 243-0135 (413) 458-9371 (413) 637-0781 Monterey General Store Windflower Inn, Inc. Eastover Incorporated Monterey, MA Great Barrington, MA Lenox, MA (413) 528-4437 (413) 528-2720 (413) 637-0625 Price Chopper Supermarkets Yankee Motor Lodge, Inc. Seven Hills Country Inn & Schenectady, NY Lenox, MA Resort (518) 355-5000 (413) 499-3700 Lenox, MA The Record Store, Inc. (413) 637-9877 Williamstown, MA Other (413) 458-5418 Where to Eat BALDWIN PIANO & The Sounds of Music ORGAN COMPANY Church Street Cafe Lenox, MA New York, NY Lenox, MA (413) 637-0908 (212) 245-6700 (413) 637-2745 Taft Farms Joe Chuckrow Sales, Inc. Michael's Great Barrington, MA Latham, NY Stockbridge, MA (413) 528-1515 (518) 783-6158 (413) 298-3530 Covenant Foundation Shaker Mill Tavern Where to Stay Chestnut Hill, MA West Stockbridge, MA (413) 232-8565 Apple Tree Inn Crestar Ltd. /Pilot Pens Lenox, Montreal, PQ, Canada Sullivan Station Restaurant MA 637-1477 481-8573 Lee, MA (413) (514) (413) 243-2082 Black Swan Inn Galston Corporation Lee, Lenox, Yankee Tavern MA MA (413) 243-2700 (413) 637-0757 Pittsfield, MA (413) 499-3111 Blantyre General Systems Company, Lenox, MA Inc. Where to Shop (413) 637-3556 Pittsfield, MA (413) 499-2880 Allendale Shopping Center Gateways Inn, Inc. Pittsfield, MA Lenox, MA Hickey-Birches Funeral (914) 967-7500 (413) 637-2532 Home Great Barrington, MA Bazaar Stores Laurel Hill Motel (413) 528-3080 New York, NY Lee, MA (212) 988-7600 (413) 243-0813 J-L Distributors, Inc. COUNTRY CURTAINS Mayflower Motor Inn Pittsfield, MA (413) 443-7185 Stockbridge, MA Lenox, MA (413) 243-1474 (413) 443-4468 Sarum Tea Company Inc. Salisbury, CT Guido's Fresh Marketplace Monument Mountain (203) 435-2086 Pittsfield, MA Motel, Inc. (413) 442-9909 Great Barrington, MA Southern Berkshire Hagyard Pharmacy (413) 528-3272 Welding, Inc. Lee, MA Lenox, MA Morgan House (413) 243-1189 (413) 637-0048 Lee, MA HOUSATONIC (413) 243-0181 Taylor Rental Center CURTAIN CO. Quincy Lodge Pittsfield, MA 443-4072 Housatonic, MA Lenox, MA (413) (413) 274-3317 (413) 637-9750 JENIFER HOUSE THE RED LION INN Great Barrington, MA Stockbridge, MA (413) 328-1500 (413) 298-5545 More

^m of what you're here for.

B

SOUTH POND FARM • country houses

o nee known as South Pond, Richmond Pond sleeps quietly,

wrapped in the seemingly endless views of the Berkshire Hills . . . tucked away for keeps.

Springland Associates has chosen this quiet landscape as the setting for its

South Pond Farm Country Houses. In this country setting, a harmony will be created between the quiet of nature's own music and the crescendo

of another world, away from time ... yet within the heart of everything you love about the Berkshires.

South Pond Farm, Barker Road, Pittsfield, Massachusetts 01201

(just over the Richmond line) Proposed for 1986 occupancy.

for information: Springland Associates Inc., 17 Battery Place, New York, NY 10004, 212-943-0347 COMING CONCERTS AT TANGLEWOOD

Friday, 16 August at 8 COPLAND Saturday, 17 August at 8 Appalachian Spring BOSTON SYMPHONY ORCHESTRA (commemorating the composer's 85th birthday) SEIJI OZAWA, conductor EDITH MATHIS, soprano GERSHWIN CAROLYN WATKINSON, mezzo-soprano Rhapsody No. 2 for piano and orchestra ANTHONY ROLFE JOHNSON, tenor BARTOK KEITH LEWIS, tenor Concerto for Orchestra BENJAMIN LUXON, baritone RICHARD STILWELL, baritone TANGLEWOOD FESTIVAL CHORUS Saturday, 24 August at 8:30 JOHN OLIVER, conductor BOSTON SYMPHONY ORCHESTRA BOSTON BOY CHOIR, MICHAEL TILSON THOMAS, THEODORE MARIER, director conductor Stage direction: David Kneuss CHO-LIANG LIN, violin Design: John Michael Deegan and MOZART Sarah G. Conly Symphony No. 34 BACH STRAVINSKY St. Matthew Passion Violin Concerto BEETHOVEN Sunday, 18 August at 2:30 Symphony No. 8 BOSTON SYMPHONY ORCHESTRA KURTMASUR, conductor ANDRAS SCHIFF, piano Sunday, 25 August at 2:30 SCHUBERT BOSTON SYMPHONY ORCHESTRA Overture to Rosamunde SEIJI OZAWA, conductor GRIEG ERIE MILLS, soprano Piano Concerto JOHN ALER, tenor HAKAN HAGEGARD, baritone BRAHMS TANGLEWOOD FESTIVAL CHORUS Symphony No. 2 JOHN OLIVER, conductor BOSTON BOY CHOIR, Tuesday , 20 August at 8:30 THEODORE MARIER, director (Theatre-Concert Hall) STRAUSS BOSTON SYMPHONY CHAMBER Don Juan PLAYERS ORFF GILBERT KALISH, piano Carmina Burana BENJAMIN LUXON, baritone

Mahler's Songs of a Wayfarer as arranged for chamber ensemble by Arnold Tuesday, 27 August Schoenberg, and music of Haydn, TANGLEWOOD ON PARADE Schumann, and Brahms Afternoon events beginning at 2:30 (Gates open at 2) Friday, 23 August at 7 Gala concert at 9 with the (Weekend Prelude) BOSTON SYMPHONY ORCHESTRA TANGLEWOOD FESTIVAL CHORUS TANGLEWOOD MUSIC CENTER JOHN OLIVER, conductor ORCHESTRA MEMBERS OF THE BOSTON BOY CHOIR, BOSTON UNIVERSITY TANGLEWOOD THEODORE MARIER, director INSTITUTE YOUNG ARTISTS ORCHESTRA Music of Bach and Strauss SEIJI OZAWA and JOHN WILLIAMS, Friday, 23 August at 7 conductors BOSTON SYMPHONY ORCHESTRA Program to include Tchaikovsky's MICHAEL TILSON THOMAS, 1812 Overture conductor and pianist : af H **

(Jnnouncing tf)eOROWP5 (\ most gracioas Gxmtrx Ina

The Orchards, in For some, the Williamstown, true mark of a fine Massachusetts, is a inn is its guest different sort of accommodations. country inn. One There are forty-nine that combines the rooms and suites at charm and dignity the Orchards. of the past with the amenities Many have wood-burning and comfort of the present. fireplaces. And Be our guest for dinner. all are furnished You will find that our cuisine so magnificently, compares favorably with any your first im- first class restaurant in Amer- pression will be ica or abroad. A continental that you are touch is the serving of after- actually staying dinner coffee and liqueurs in in a private home. the living room — so inviting, The Orchards is also the with its massive stone ideal location for every fireplace and cozy antique important occasion. We offer furnishings. Or, join us for full conference facilities. And afternoon our extraordinary staff is tea in our capable of executing every parlour. The minute detail of every special tea is real leaf event, from weddings to tea, the service is on the finest meetings. English china, the pastries Please call for further are always freshly baked. information or reservations.

tl)eORCHaRP5 Williamstown, Massachusetts 01267 (413) 458-9611 —5

Thursday, 29 August at 8:30 Saturday, 31 August at 8:30 (Theatre-Concert Hall) BOSTON SYMPHONY ORCHESTRA HAKAN HAGEGARD, baritone SEIJI OZAWA, conductor WARREN JONES, piano MAHLER Schumann's Dichterliebe, and music of Wolf, Symphony No. 9 Stenhammer, Grieg, Sibelius, and Brahms Sunday, 1 September at 2:30 BOSTON SYMPHONY ORCHESTRA Friday, 30 August at 7 SEIJI OZAWA, conductor (Weekend Prelude) ITZHAK PERLMAN, violin EMPIRE BRASS ALL-BEETHOVEN PROGRAM Music of Handel, Scarlatti, and Bach Violin Concerto Symphony No. 7 Friday, 30 August at 9 Shed Recital ( ) Programs subject to change. ITZHAK PERLMAN, violin SAMUEL SANDERS, piano

Program to be announced

to order call 4>( 3) 6371785 Pick up at Courtyard 100 Main Street, Lenox, Mass. Fabulous SWovable ^east of Lenox. Mass.® ^feltlde: Fresh Fruit in Season Picnics At A Gold Qoufmet^oup

Vichyssoise (Tir) Gazpacho leek potato base tomato base "Moment's and Q c Salade de Pou\et a la ^ebussy^ chunks of chicken, whole grapes, walnut halves with tarragon accent Notice ^Boeuf a la ^ratims roast beef slices, horseradish-mustard sauce, on the side ^

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, includes: freshly baked bread, ^p %J 7 Thurs/Fri/Sat Sunday / thick napkin and cutlery ^n ^^k — 9:30am-8pm 9:30 am -2 pm Take the worry out of growing older,

take the bother out of daily life ... m COMEWEATSWEETWOOD

If you're 65 or over, you've probably spent the better part of your life

working hard. Now it's time to spend the best part of it relaxing and having

fun living at Sweetwood — where life is one long vacation, free from chores and concerns.

Sweetwood is the new continuing care community which is being built in Williamstown, Massachusetts. It will consist of 52 one and two bedroom apartments and will offer the amenities of a fine residential hotel, the activities of a top-notch resort and the security of superb medical attention

whenever you need it.

At Sweetwood, bothersome chores are done for you. All interior and exterior maintenance, weekly linen laundering and housekeeping, plus a daily meal (special diets available) are included. So you can spend your time enjoying Sweetwood's many activities, or taking advantage of Williamstown's cultural offerings. Most importantly, once you become a resident of Sweetwood, your living and health care concerns are taken care of for the rest of your life.

When the day comes, as it does for most of us, when more extensive medical

treatment is necessary, it will be immediately available to you, either in your own apartment or on a continuing basis at our affiliated, neighboring skilled nursing facility, Sweet Brook.

If you would like to know more about Sweetwood, call Rick Driscoll at 413-458-8371. He will be happy to answer any questions you may have. And,

if you wish, he will send you an informative brochure on Sweetwood. )WeetwooD in affiliation with 6weet Brook Nursing. Home. Inc. Cold Spring Road. Williamstown. MA 01267 (413) 458-8371 THE TANGLEWOOD MUSIC CENTER Leon Fleisher, Artistic Director-Designate 1985 Concert Schedule

Tuesday, 2 July at 2 p.m. Sunday, 28 July at 10 a.m. Tanglewood Music Center Chamber Music—Fellows Opening Exercises Monday, 29 July at 8:30 p.m. (admission free; Chamber Music—Fellows open to the public) Tuesday, 30 July at 8:30 p.m. Monday, 8 July at 8:30 p.m. Vocal Recital—Fellows Tanglewood Music Center Orchestra Wednesday, 31 July at 8:30 p.m. Seiji Ozawa and Chamber Music—Young Artists Conducting Fellows conducting Program to include Thursday, 1 August through Beethoven Symphony No. 3, Eroica Wednesday, 7 August Thursday, 11 July at 8:30 p.m. FESTIVAL OF Vocal Recital—Fellows CONTEMPORARY MUSIC Sunday, 14 July at 10 a.m. Thursday, 1 August Chamber Music—Fellows —Concord String Quartet, 8:30 p.m.* Friday, 2 August Sunday, 14 July at 8:30 p.m. Tanglewood Music Center Orchestra —Jan DeGaetani, mezzo-soprano, and Gustav Meier and Gilbert Kalish, piano, 7 p.m.* Conducting Fellows conducting Saturday, 3 August Fellows of the Tanglewood Program to include — Center, 2 p.m. Rachmaninoff Symphonic Dances, Opus 45 Music Sunday, 4 August Monday, 15 at 8:30 p.m. July —Fellows of the Tanglewood Artists Orchestra Young Music Center, 10 a.m. Michael Charry conducting —Fellows of the Tanglewood to include Program Music Center, 8:30 p.m. Franck in minor Symphony D Monday, 5 August Tuesday, 16 July at 8:30 p.m. —Fellows of the Tanglewood Vocal Recital—Fellows Music Center; Tanglewood Music Center Orchestra, 8:30 p.m. Wednesday, 17 July at 8:30 p.m. Tuesday, 6 August Chamber Music—Young Artists —Boston Symphony Chamber Saturday, 20 July at 2 p.m. Players, 8:30 p.m.* Tanglewood Music Center Orchestra Wednesday, 7 August Conducting Fellows conducting —Tanglewood Music Center Sunday, 21 July at 10 a.m. Orchestra, 8:30 p.m. Chamber Music—Fellows Monday, 22 at 8:30 p.m. July Saturday, 10 August at 2 p.m. Chamber Music Young Artists — Young Artists Orchestra Tuesday, 23 July at 8:30 p.m. Leonard Atherton conducting; Chamber Music—Fellows Benjamin Luxon, baritone Program to include Wednesday, 24 July at 8:30 p.m. (Shed) Tanglewood Music Center Orchestra Vaughan Williams Dona nobis pacem Leonard Bernstein and Sunday, 11 August at 10 a.m. Conducting Fellows conducting Chamber Music—Fellows Program to include Sunday, 11 August at 8:30 p.m. Copland Symphony No. 3 Vocal Recital—Fellows Saturday, 27 July at 2 p.m. Monday, 12 August at 8:30 p.m. Young Artists Orchestra Chamber Music—Young Artists Leonard Atherton, Robert Sirota, 13 August at 8:30 p.m. and Joseph Silverstein conducting; Tuesday, Music Young Artists Norman Fischer, cello Chamber — Program to include Thursday, 15 August at 8:30 p.m. Sirota Cello Concerto Chamber Music—Fellows

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TORTELLIN1 AND BLACK FOREST HAM, CARROTS WITH THYME, LOBSTER , CRAB, WM LEEKS VINAIGRETTE, MUSHROOMS a'LA'GRECQUE, WHITE BEANS WITH CAVIAR, STUFFED TOMATOES, ROBIN'S GINGER CHICKEN, ENTREES BAKED HAM, CHICKEN CURRY, LASAGNA, VEALTONNATQ BAKED FISH IN CRUMBS, SWEDISH MEAT BALLS, PORK WITH GREEN PEPPER MAYONNAISE, HLET OF BEEF, VEAL MARENGO STUFFED ONION, ZUCCHINI OR PEPPER, FRIED CHICKEN, ROAST BEEF, COQ AU VIN, SOLE STUFFED WITH CRAB MEAT, BEEF BURGUNDY, CHICKEN KIEV, STUFFED CHICKEN BREAST, VEAL ORLOFF, ^^^ / DESSERTS

PECAN PIE, PROFITEROLES, OLD FASHION CHOCOLATE LAYER CAKE, LEMON MOUSSE, BRANDIED FRUIT SALAD, CHOCOLATE TORTE, CHEESE CAKE, COOKIES, RUGULACH, POACHED PEARS IN RED WINE, CHOCOLATE MOUSSE, LEMON SQUARES, BROWNIES, APPLE TURNOVER, WE HAVE A SELECTION OF OVER SIXTY IMPORTED AND DOMESTIC CHEESES.

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62 CHURCH STREET LENOX, MASS. 01240 TELEPHONE 637-3396 OPEN SEVEN DAYS Saturday, 17 August at 2 p.m. Tanglewood Music Center Orchestra Kurt Masur and Conducting Fellows conducting

Sunday, 18 August at 10 a.m. Chamber Music—Fellows Sunday, 18 August at 8:30 p.m. Young Artists Orchestra Eiji Oue conducting Program to include Mahler Symphony No. 1

Monday, 19 August at 8:30 p.m. Vocal Recital—Fellows Wednesday, 21 August at 8:30 p.m. Chamber Music—Fellows Thursday, 22 August at 8:30 p.m. Chamber Music—Young Artists Saturday, 24 August at 2 p.m. Tanglewood Music Center Orchestra Conducting Fellows conducting

Sunday, 25 August at 10 a.m. Chamber Music—Fellows Schedule subject to change.

Sunday, 25 August at 8:30 p.m. Current information available each week at Vocal Recital—Fellows the Tanglewood Main Gate. Monday, 26 August at 8:30 p.m. Chamber Music Fellows — Except where noted, admission is by a $5 Tuesday, 27 August donation for chamber music and vocal con- TANGLEWOOD ON PARADE certs, and by a $6 donation for orchestra (Afternoon events begining at 2:30, concerts. Members of the Friends of Music at followed by a gala orchestra concert at 9 Tanglewood are admitted to all Tanglewood featuring the Tanglewood Music Center Music Center events without charge. and Young Artists orchestras as well as the Boston Symphony Orchestra.)* Tanglewood Festival ticket required

Programs designated "Fellows" events are performed by members of the Tanglewood Music Center's Fellowship Program for advanced young performers 18 years of age and older. The Tanglewood Music Center Orchestra is comprised of members of the Fellowship Program.

Programs designated "Young Artists" events are performed by members of the Boston University Tanglewood Institute's Young Artists Instrumental and Vocal Programs for high-school age musicians.

"Tanglewood on Parade" is a day-long series of concert performances and other events highlighting the entire spectrum of Tanglewood performance activities, including the Tanglewood Music Center Fellowship Program, the Boston University Tanglewood Insti- tute's Young Artists Programs, and the Boston Symphony Orchestra itself. "Tanglewood on Parade" is presented as a benefit for the Tanglewood Music Center and concludes with a gala concert at 9:00 p.m. featuring the Boston Symphony Orchestra, the Tanglewood Music Center Orchestra, the Young Artists Orchestra, and conductors including Seiji Ozawa and John Williams. Tanglewood Festival tickets are required and are available at the Tanglewood box office. fl

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Select The Right Program For Your Child.

BELVOIR TERRACE, girls, Indiv. programs LENOX FOR BOYS. Spirit, tradition, top in- fine, perform arts. Prof, insruet. Estate living. struct.all team, indiv. sports. Girls teen sports Edna Schwartz, Nancy Goldberg. Lenox 637 0555 camp. Monty Moss, Richard Moss. Lee 243 2223

CRANE LAKE, coed. Full sports, cultural program MAH.-KEE-NAC, boys. Emphasis on participa- in caring atmosphere. Private lake, and new pool, tion, skill dev. all land, water sports. Three div.

Barbara, Ed Ulanoff . W.Stockbridge 232 4257 Jim O'Neil, Danny MetzgerXenox 637 0781

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Ann Miller, D. Metzker, J. O'Neill. Peru 655 2727 ski camp. Ralph Schulman . Cheshire 443 9843

EMERSON, coed. Sports, other camp activities, ROMACA FOR GIRLS. Active program, dynamic, unpressured atmosphere, indiv & group choice. fun, led by enthusiastic skilled men and women. Addle, Marvin Lein. Hinsdale 655 8123 Karen, Arnold Lent, Hinsdale 655 2715

GREYLOCK FOR BOYS. Active program all TACONIC, coed. Individualized program directed land, water sports. Forest beside sparkling lake. by mature staff. Traditional activities plus. Bert Margolis, Irv Schwartz, Becket 623 8921 Barbara, Robert Ezrol. Hinsdale 655 2717

HALF MOON FOR BOYS. Trad'l. well balanced WATITOH, coed.Full camping program, water- camp program. Special care for younger boys. sports, tripping. Ideal setting atop Berkshires. Mr. & Mrs, Edward Mann. Monterey 528 0940 Mr, and Mrs. Sheldon Hoch. Becket 623 8951

LENORE-OWAISSA, girls, Instill a feeling ofself WINADU, boys. Character training in sports. worth. Indiv, skill dev. Leadership training. Great athletic instruction. Excellent facilities. Dorothy and Joseph Langer. Hinsdale 655 2733 Arlene, Shelley Weiner. Pittsfield 447 8900

I At home in an area renown- and testing equipment; GE Plastics ed for its natural beauty and leading-edge, computer- cultural wealth, GE Plastics' aided design, engineering Technology Technology Center in and processing systems; Pittsfield brings a new over thirty different, highly Center: dimension of excellence to specialized laboratories. the Berkshires. Here, in the At this new world-class Making world's foremost facility for Technology Center, the engineering plastics research premier achievers in the and application develop- global plastics industry Vision ment, creative vision take inspiration from becomes reality in high- unmatched surroundings. Reality performance products that If you Would like to see the bring good things to Hfe. Plastics Technology Center, In The Behind the vaulted please call (413) 494-4601 entrance— itself a product of and make reservations for Berkshires GE technology in LEXAN® the public tours that will be polycarbonate glazing— are conducted at 4:30 p.m. all the resources that let each Monday, Wednesday innovation flourish: the most and Friday in July and advanced molding, finishing August, 1985. tenuta S. Anna

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