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iSM&ic »«WBlfr# ;. For 104 years we've been serious about people who make music.

In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the Boston University School of Music is still doing what it does best.

• Performance • Music Education • History and Literature • Theory and Composition

strings music history and literature Walter Eisenberg, violin 'Charles Kavaloski, French horn Karol Berger

' Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz

' Bernard Kadinoff , viola 'David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition Robert Karol, viola ' Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin 'Harry Shapiro, French horn David Del Tredici 'Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman 'Leslie Martin, string bass 'Charles Yancich, French horn Alan MacMillan George Neikrug, cello percussion Joyce Mekeel ' Mischa Nieland, cello 'Thomas Gauger Malloy Miller Leslie Parnas, cello 'Charles Smith Gardner Read 'Henry Portnoi, string bass Allen Schindler 'Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence 'Alfred Schneider, violin music education 'Roger Shermont, violin piano Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura Jack O. Lemons Walter Trampler, viola Lenore Engdahl Mary Ann Norton Bela ' Max Winder, violin Boszormenyi-Nagy musical organizations 'Lawrence Wolfe, string bass Philip Oliver, staff accompanist Edith Stearns Adelaide Bishop, opera woodwinds Fredrik Wanger Warren Wilson, opera Edward Avedisian, clarinet Joseph Huszti, chorus 'Pasquale Cardillo, clarinet organ 'Joseph Silverstein, orchestra 'Doriot Anthony Dwyer, flute George Faxon ' Jerome Rosen, repertoire Roderick Ferland, saxophone Jack Fisher orchestra ' Ralph Gomberg, oboe Max Miller ' Roger Voisin, wind ensemble 'John Holmes, oboe harpsichord boston symphony orchestra 'Phillip Kaplan, flute Joseph Payne woodwind quintet in residence 'James Pappoutsakis, flute 'Doriot Anthony Dwyer, flute * Richard Plaster, bassoon voice ' Ralph Gomberg, oboe 'Matthew Ruggiero, bassoon Eunice Alberts, contralto 'Harold Wright, clarinet * Felix Viscuglia, clarinet Germaine Arosa, diction * Sherman Walt, bassoon * Sherman Walt, bassoon Mary Davenport, contralto * Charles Kavaloski, French horn 'Harold Wright, clarinet Terry Decima, vocal coaching empire brass quintet brass Ellalou Dimmock, soprano in residence * Ronald Barron, trombone Maeda Freeman, mezzo Charles A. Lewis, Jr., trumpet Peter Chapman, trumpet Robert Gartside, tenor 'Rolf Smedvig, trumpet John Coffey, tromboneltuba Mac Morgan, baritone 'David Ohanian, French horn * Armando Ghitalla, trumpet Chloe Owen, soprano 'Norman Bolter, trombone Paul Gay, trombone Allen Rogers, vocal coaching Samuel Pilafian, tuba ' Gordon Hallberg, Barbara Stevenson, soprano tromboneltuba Wilma Thompson, mezzo

'Member of the Boston Symphony Orchestra Boston University School of Music

Wilbur D. Fullbright, Director • Robert Lee Tipps, Assistant to Director offering degrees at the bachelor, master, and doctoral levels.

School for the Arts: Music, Theatre, Visual Arts • Norman Dello Joio, Dean 855 Commonwealth Avenue, Boston, Massachusetts 02215 Seiji Ozawa, Music Director

Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

Ninety-Fifth Season 1975-76

The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks President

Philip K. Allen Sidney Stoneman John L. Thorndike Vice-President Vice-President Treasurer

Vernon R. Alden Mrs. Harris Fahnestock Albert L. Nickerson Allen G. Barry Harold D. Hodgkinson John T. Noonan Mrs. John M. Bradley David O. Ives Mrs. James H. Perkins

Richard P. Chapman E. Morton Jennings, Jr. Irving W. Rabb Abram T. Collier Edward M. Kennedy Paul C. Reardon

Nelson J. Darling, Jr. Edward G. Murray Mrs. George Lee Sargent Archie C. Epps III John Hoyt Stookey Trustee Emeritus Henry A. Laughlin

Administration of the Boston Symphony Orchestra

Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager

Gideon Toeplitz Daniel R. Gustin Dinah Daniels

Assistant Manager Assistant Manager Director of Promotion Paul Bronstein Forrester C. Smith Richard C White Business Manager Development Director Assistant to the Manager

Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood John Kronenberger Program Ediior

Programs copyright ® 1976 Boston Symphony Orchestra Inc.

Contents:

page page

Tanglewood 6 Programs 13-27 Seiji Ozawa 9 Berkshire Music Center 29 Map 10 In and Around The Berkshires 33 Information 11 Friends 35,37 The Board of Overseers of the Boston Symphony Orchestra Inc.

David O. Ives, Chairman Hazen H. Ayer, Vice Chairman

Mrs. Arthur I. Strang, Secretary

Charles F. Adams Paul Fromm Richard P. Morse Mrs. Frank G. Allen Carlton P. Fuller David G. Mugar

Dr. Leo L. Beranek Mrs. Thomas J. Galligan, Jr. Dr. Barbara W. Newell David W. Bernstein Mrs. Thomas Gardiner Stephen Paine David Bird Mrs. John L. Grandin Mrs. Priscilla Potter Gerhard Bleicken Bruce Harriman Harry Remis Frederick Brandi Mrs. Richard D. Hill Mrs. Peter van S. Rice

Curtis Buttenheim Mrs. Amory Houghton, Jr. Mrs. Samuel L. Rosenberry

Mrs. Henry B. Cabot Richard S. Humphrey, Jr. Mrs. Jerome Rosenfeld Mrs. Mary Louise Cabot Mrs. Jim Lee Hunt Mrs. A. Lloyd Russell Mrs. Norman L. Cahners Leonard Kaplan William A. Selke

Levin H. Campbell, III Leon Kirchner Samuel L. Slosberg

Dr. George H.A. Clowes, Jr. Mrs. James F. Lawrence Richard A. Smith Arthur P. Contas Roderick MacDougall Mrs. Edward S. Stimpson The Hon. Silvio O. Conte John S. McLennan Mrs. Edward A. Taft

Robert Cushman Colman M. Mockler, Jr. Mrs. Richard H. Thompson

Michael J. Daly Mrs. Charles L. Moore Stokley P. Towles Mrs. C. Russell Eddy Mrs. Elting E. Morison D. Thomas Trigg Weston P. Figgins Frank E. Morris Julius Vogel

Boston University Tanglewood Institute

Norman Dello Joio, Executive Director Gary L. Zeller, Administrator Robert Lee Tipps, Music Coordinator

Eleventh Season

Summer Instrumental and Vocal Programs for the out- standing high school musician. Private study with master artists including members of the faculty of the Boston University School of Music and the Boston Symphony Orchestra. Chamber music, orchestral and vocal perform- ances at Tanglewood.

For information: Boston University Tanglewood Institute, 855 Commonwealth Avenue, Boston, Massachusetts 02215.

A program offered by the Boston University School for the Arts in association with the Berkshire Music Center. Todays Great Piano.

For many years Baldwin pianos have been the accompanist to the Boston Symphony Orchestra, The Berkshire Festival, Hie Berkshire Music Center,

and these 1976 Tanglewood artists:

Leonard Bernstein Arthur Fiedler Gilbert Kalish Seiji Ozawa Andre Previn Gunther Schulier Earl Wild Baldwi Tanglewood In August, 1934, a group of music- loving summer residents of the Berk- shires organized a series of three INTERNATIONAL SOCIETY outdoor concerts at Interlaken, to be FOR CONTEMPORARY MUSIC given by members of the New York Philharmonic under the direction of Henry Hadley. The venture was so World Music Days successful that the promoters incor- porated the Berkshire Symphonic 1976 Festival and repeated the experiment during the next summer. October 24-October 30 The Festival committee then invited Serge Koussevitzky and the Boston New England Conservatory of Music Symphony Orchestra to take part in the Boston, Massachusetts following year's concerts. The Orches- tra's Trustees accepted and on August

A festival of 13 concerts of contemporary 13, 1936, the Boston Symphony gave music representing composers its first concert in the Berkshires (at from 27 countries Holmwood, a former Vanderbilt estate, later the Foxhollow School). The series, again consisting of three concerts, was Performing groups include: given under a large tent, and a total of Boston Symphony Orchestra, nearly 15,000 people attended. New England Conservatory Symphony Orchestra, In the winter of 1936, Mrs. Gorham University of Iowa Orchestra, Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tap- Conductors: pan family estate, with its buildings and Seiji Ozawa, GuntherSchuller, James Dixon, Richard Pittman 210 acres of lawns and meadows, as a gift to Koussevitzky and the Orchestra. Chamber music concerts featuring The offer was gratefully accepted, and Boston MusicaViva, Collage, Societe de on August 12, 1937, the Festival's MusiqueContemporainedu Quebec, largest crowd thus far assembled under The Purcell String Quartet, and others. a tent for the first Tanglewood concert, a program of music by Wagner.

For information: As Koussevitzky began The Ride of the ISCM Valkyries, a storm erupted, overpowering New England Conservatory the music and causing the concert to be 290 Huntington Avenue interrupted three times before the first Boston, Massachusetts 02115 half could be completed. The second half Tel. 617-262-0122 of the program had to be changed, because of water damage to some of the instruments, and when the concert ended, Miss Gertrude Robinson Smith, one of the Festival's founders, came to the stage and told the audience that the storm had demonstrated the need for a permanent structure. A hundred thousand dollars, she said, would be needed for this purpose, and the response to her plea was so generous that within a short time the amount was fully subscribed. Plans for the Music Shed were drawn up by the eminent architect Eliel Saarinen, and, as modi- fied by Josef Franz of Stockbridge, who also directed construction, it was com- pleted on June 16, 1938, a month ahead of schedule. Seven weeks later, Serge Koussevitzky led the inaugural concert, which included a performance of Beet- hoven's Ninth Symphony. By 1941, the Theatre-Concert Hall, the Chamber Music Hall and several small studios — all part of the Berkshire Music Center, which had begun operations the pre- ceding year — were finished, and the Festival had so expanded its activities and its reputation for excellence that it attracted nearly 100,000 visitors. Today Tanglewood annually draws close to a quarter of a million visitors; in addition to the twenty-four regular concerts of the Boston Symphony, there Ill m m^^ill are weekly "Prelude" concerts and open ml rehearsals, the annual Festival of Contemporary Music, and almost daily FM 90.3 mHz concerts by the gifted young musicians We bring you fine music of the Berkshire Music Center. Arthur AND dozens of interesting Fiedler and the Boston Pops perform events — live and without each summer, and the Festival also commercials. Sit in with us includes a series of concerts by popular artists. The season offers not only a at the National Press Club, vast quantity of music but also a vast where the next day's head- range of musical forms and styles, all lines are often made. Enjoy of it presented with a regard for artistic "All Things Considered," a excellence that makes the Festival fascinating magazine of news unique. Tanglewood and the Berkshire and issues. (Nothingelselikeit Music Center, projects with which in broadcasting !) Savor some Koussevitzky was involved until his of the most satisfying thea- death, have become a fitting shrine to tre productions ever aired. his memory, a living embodiment of the vital, humanistic tradition that was Revel in delightful, intelligent his legacy. conversation.

Listen . . . and if you like what you hear, write for our free monthly program directory. WAMC Albany Medical College Albany, New York 12208

National Public Radio 0r~^r~lP for eastern New York I U and western New England

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Strawberry U6WFAT YOGURT Seiji Ozawa, Music Director

Seiji Ozawa became Music Director of Director of the Berkshire Music Festi- the Boston Symphony Orchestra in the val, and in December of that year he fall of 1973 and is the thirteenth con- began his inaugural season as Con- ductor to head the Orchestra since its ductor and Music Director of the San founding in 1881. Francisco Symphony Orchestra, titles He was born in Hoten, Manchuria, he held concurrently with his position in 1935, and graduated from the Toho as Music Director of the Boston Sym- School of Music in Tokyo with first phony until he resigned them this prizes in composition and conducting. spring. (He will be Honorary Conductor When he won first prize at the Inter- in San Francisco for the 1976-1977 national Competition of Conducting at season.) Besangon, France, shortly after his In February and March of this year graduation, one of the judges of the Mr. Ozawa led the Boston Symphony's competition was the late Charles celebrated eleven-city tour of Europe. Munch, then Music Director of the Late this spring he directed a fully- Boston Symphony, who invited him staged production of Boris Godunov in to study at Tanglewood during the Tokyo. Besides Tanglewood, his sched- following summer. Mr. Ozawa's asso- ule this summer includes an appearance ciation with the Orchestra began during at the Salzburg Festival, leading the that session of the Berkshire Music Dresden Philharmonic. His recordings Center as a student of conducting in with the Orchestra on the Deutsche 1960. He was a guest conductor with Grammophon label include Berlioz's the Orchestra first in 1964. Symphonie fantastique and La damnation de Beginning with the summer of 1964, Faust, Beethoven's Piano Concerto No. 5 Mr. Ozawa was for five seasons Music with soloist Christoph Eschenbach, and Director of the Ravinia Festival, and the complete orchestral music of Ravel. at the beginning of the 1965-66 season This fall DG has three new Ozawa/BSO he became Music Director of the collaborations scheduled for release:

Toronto Symphony, a post he relin- Berlioz's Romeo et Juliette, Shostakovitch's quished after four seasons to devote Cello Concerto No. 2 (with soloist his time to study and guest conducting. Mstislav Rostropovich) and Charles In 1970 Mr. Ozawa became Artistic Ives's Fourth Symphony.

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1 3 w en 00 R 60 v*h QJ 2 O QJ y-vS fO QJ TO ^ "3 o O 'T. rH ^ r X C £ QJ r^ ^ — « ^- c at -t-> T3 ^ C c QJ VC QJ s-1 r^ S E b en j_i en ^ ^ 60 OJ O qj QJ en J2 qj 5 s to° u X ^ X «5 X X qj QJ ej -t-1 ^ TZ3 T3 to TO 3 4-> TO - QJ ^ r— _G X TO .C -8 J <; x o to -J .3 X ^ U U exx H o a -a u H TO H TO 11 "Ifeel that there has to be a way of speaking about music with intelligent but

non-professional music lovers...studentst nonstuaents, the cop on the corner, my motherland the best way I havefound is by setting up a working analogy with language, something everyone snares anauses, and knows about..!' Leonard Bernstein's celebrated Norton Lectures on the future course of music are now a book. If you are a music lover, this is your book. One you'll read, refer to, revel in. The Unanswered Question Six Talks at Harvard Leonard Bernstein Boxed. With 3 Records. $20.00

Available at the Tanglewood Music Store and fine stores everywhere. Or order directly from:

Harvard University Press, 79 Garden st., Cambridge, Mass. 02138

Harvard University Press is the publisher of The Harvard Dictionary ofMusic. Belknap Press. $20.00

12 Tanglewood 1976

Weekend Prelude

Maureen Forrester, contralto Benjamin Luxon, baritone Yehudi Wyner, piano

Friday, August 27, 1976 7 p.m.

Songs from Des Knaben Wunderhorn Mahlei

Revelge (Mr. Luxon)

Das irdische Leben (Miss Forrester)

Lob des hohen Verstandes (Mr. Luxon)

Rheinlegendchen (Miss Forrester)

Der Schildwache Nachtlied (Duet)

Wer hat dies Liedlein erdacht? (Miss Forrester)

Verlor'ne Muh (Duet)

Der Tamboursg'sell (Mr. Luxon)

Trost im Ungluck (Duet)

Wo die schonen Trompeten blasen (Miss Forrester)

Des Antonius von Padua Fischpredigt (Mr. Luxon)

Lied des Verfolgtem im Turm (Duet)

Mr. Wyner plays the Baldwin piano.

13 Jerome Lipson Robert Karol Bassoons Bernard Kadinoff Sherman Walt Edward A. Taft chair Vincent Mauricci Roland Small Earl Hedberg Matthew Ruggiero Joseph Pietropaolo Robert Barnes Contra bassoon Michael Zaretsky Richard Plaster

Cellos Horns Jules Eskin Charles Kavaloski Philip R. Allen chair Helen Sagoff Slosberg chair Martin Hoherman Charles Yancich Mischa Nieland Peter Gordon Patterson First violins Jerome David Ohanian Ripley Joseph Silverstein Robert Richard Mackey Luis Leguia Concerttnaster Ralph Pottle Charles Munch chair Carol Procter Emanuel Borok Ronald Feldman Trumpets Assistant Concerttnaster Joel Moerschel Armando Ghitalla Helen Horner Mclniyre Chair Jonathan Miller Andre" Come Max Hobart Martha Babcock Rolf Smedvig Rolland Tapley Gerard Goguen Roger Shermont Basses Max Winder William Rhein Trombones Harry Dickson Harold D. Hodgkinson chair Ronald Barron Gottfried Wilfinger Joseph Hearne William Gibson Fredy Ostrovsky Bela Wurtzler Norman Bolter Leo Panasevich Leslie Martin Gordon Hallberg Sheldon Rotenberg John Salkowski Alfred Schneider John Barwicki Tuba Stanley Benson Robert Olson Chester Schmitz Gerald Gelbloom Lawrence Wolfe Raymond Sird Henry Portnoi Timpani Ikuko Mizuno Everett Firth Cecylia Arzewski Flutes Sylvia Shivven Wells chair Amnon Levy Doriot Anthony Dwyer Walter Piston chair Percussion James Pappoutsakis Second violins Charles Smith Paul Fried Victor Yampolsky Arthur Press Fahnestock chair Assistant timpanist Marylou Speaker Thomas Gauger Piccolo Michel Sasson Frank Epstein Ronald Knudsen Lois Schaefer Leonard Moss Oboes Harps Bo Youp Hwang Bernard Zighe'ra Ralph Laszlo Nagy Gomberg Mildred B. Remis chair Ann Hobson Michael Vitale John Holmes Darlene Gray Wayne Rapier Personnel Managers Ronald Wilkison William Moyer Harvey Seigel English Horn Harry Shapiro Jerome Rosen Laurence Thorstenberg Sheila Fiekowsky Librarians Gerald Elias Clarinets Victor Alpert Vyacheslav Uritsky Harold Wright William Shisler Ann S.M. Banks chair Violas Pasquale Cardillo Stage Manager Burton Fine Peter Hadcock Alfred Robison Charles S. Dana chair E-flat clarinet Reuben Green Eugene Lehner Bass Clarinet George Humphrey Felix Viscuglia

14 Tanglewood 1976

Boston Symphony Orchestra Seiji Ozawa, Music Director

Friday, August 27, 1976 9 p.m.

SEIJI OZAWA conducting

Symphony No. 5 in C sharp minor Mahler

Part 1 Trauermarsch (funeral march) Stiirmisch bewegt (with stormy movement)

Part 2 Scherzo (CHARLES KAVALOSKI, French horn obbligato)

Part 3 Adagietto Rondo; finale

Seiji Ozawa and the Baldwin Piano Boston Symphony Orchestra record exclusively for Deutsche Grammophon

15 Notes drew these titles. If the listening world could have found a liberation of the imagination in the writings of E.T.A. Hoffmann, as Mahler did in composing Gustav Mahler (1860-1911) his First Symphony, they would have grasped at once the roaming, fancy- Symphony No. 5 in C sharp minor free spirit of those works. Did not Gustav Mahler composed his Fourth Hoffmann himself say, through the Symphony at Maiernigg on the Wor- mouth of his Kreisler: "Music opens thersee in the summer of 1900. During for man an unknown continent, a world the two summers following, at his little that has nothing in common with the cottage in this idyllic spot of Carinthia exterior world of sense that surrounds which has inspired great music at other it, and in which he leaves behind all times, he worked upon his Fifth Sym- determinate feelings in order that he phony and likewise set five songs from may give himself up to indescribable Rtickert, and two of the "Kindertoten- yearning"? lieder." The Fifth Symphony was com- There had been the same difficulty pleted in the summer of 1902. It was with the philosophic, the symbolic in March of that year that he married implications of the Second Alma Maria Schindler. Symphony as the Fifth. A truly sympathetic under- The Fifth Symphony, in Mahler's standing of the Second must derive own words, marked a new departure from the music as a personal expression in his life as an artist. Experienced as of Mahler, rather than from the bald he was in the technical handling of an references of the sung text to "death" orchestra through his conducting and and "resurrection." through the magnificent scores he had Bruno Walter wrote: "If we understand the titles already written, the Fifth seemed to Mahler gave his works in the mystical require a reconstitution of his instru- and only possible sense, we must not mental forces. He was not satisfied expect any explanation of the music with it, and several times revised the orchestration. by means of them; but we may hope that the music itself will throw the When this symphony was performed most penetrating light upon the sphere in Berlin and in Dresden in 1905, there of emotion which the titles suggest. were the usual expectations of enlight- Let us be prudent enough to free these enment from the composer, but the titles from an exact meaning, and re- composer had become more wary than member that in the kingdom of beauty ever of verbal explanations. No ana- nothing is to be found except 'Gestaltung, lyses or descriptions of any sort were Umgestaltung, des ewigen Sinnes ewige Unter- to be foun'd in the printed programs. haltung' (Formation, Transformation, The composer did not remain adamant the Eternal Mind's Eternal Recreation). on this point. Analyses of the Fifth Should we attach to those program- Symphony, and elaborate ones, ap- matical schemes fixed names, the 'trans- peared in print before and after 1905 — formation' would prove us wrong in without recorded protest from Mahler. the next minute. We must not think On composing his First Symphony of that 'which the flowers of the (and also his Third) he had hoped to meadow tell' [Third Symphony], but assist the public mind in following the of everything that touches our hearts paths of his free-reined imagination with gentlest beauty and tenderest by allowing titles to the movements charm." which were printed at early perfor- mances. When he found, as other com- Not only did the general public fail posers have, that such signposts usually to achieve this enlightened approach divert well-intentioned but literal souls — the annotators and guides (some- into verbal thickets where the music times self-appointed) did not always

itself is all but lost from sight, he with- achieve it. At the time the Fifth Sym- 16 .

phony was being performed without modified as the violins dominate in verbal aid to the inquisitive listener, lyrical episodes or hold the center of Mahler made a speech on the subject interest in a quicker section in passages of explanations, which was reported "anguished" and "wild." The chords of by Ludwig Scheidermair. It followed a chorale are introduced before the a performance of the Second Symphony close. by the Hugo Wolf Society in Munich. The second movement opens "storm- "After the concert there was a supper, ily," but the storminess, however dra- and in the course of the conversation, matic, is not the prevailing mood, which someone mentioned program-books. is soaringly melodic. The predominant Then was it as though lightning flashed theme is derived from the first move- in a joyous sunny landscape. Mahler's ment; it is first heard from the cellos. eyes were more brilliant than ever, his The tempo is that of the Funeral March, forehead wrinkled. He sprang in excite- but the heaviness is gone. The accom- ment from the table and exclaimed in panying figures are no longer triplets passionate tones, 'Away with program- — they support rather than overbear books, which spread false ideas! The the dominating refrain. audience should be left to its own In the Scherzo, all tragic implications thoughts over the work that is per- have vanished, as if what has preceded formed; it should not be forced to read was the composer's obsession with

during the performance; it should not nothing more personal than the allure- be prejudiced in any manner. If a com- ment of a solemn rhythm. This second poser by his music forces on his hearers movement is a long waltz, or rather the sensations which streamed through an assortment of waltzes developed in his mind, then he reaches his goal. The repetition. The sections are introduced, speech of tones has then approached or connected, by soft and nostalgic

the language of words, but it is far passages for the horns or the trumpets. more capable of expression and decla- The first waltz is brilliant; a second is ration.' And Mahler raised his glass gentler ("ruhiger") and lighter with piz- and emptied it with 'Pereat den Program- zicato accompaniment; another is slow mem/'" and langorous. Often the composer Philip Hale, preparing notes for a turns his wit of counterpoint to the performance of this symphony in 1906, enrichment of texture or to melodic wrote: "Let us respect the wishes of interweaving. Mr. Mahler," and refrained from quot- The Adagietto is a song movement ing any analysis or description of it. for the string orchestra, the first violins Lawrence Gilman, in his notes for the carrying the burden of melody. They Philharmonic Symphony Society of are eloquently supported and (except New York, concurred with Mr. Hale in the middle section) accompanied by and likewise allowed the Fifth Sym- harp arpeggios. phony to be "listened to without bene- The Rondo-Finale is a fully developed fit of the annotative clergy." But it movement brimming with invention. would seem unnecessary to prolong The rondo theme, first stated by the the abstention indefinitely, and to with- full wind choirs, is wholly gay, as in- hold descriptions which have for many deed is the whole movement to follow.

years stood in print for any to read. . . By contrast the strings set forth a The first movement ("in a strong, bright fugato. The rondo theme returns measured step — like a procession") always in new guise, and engenders sets its character at once with a trum- new episodes. There are references to pet fanfare in a triple-to-first-beat the early chorale and the Adagietto. rhythm. The "measured step," empha- The close is in an exultant D major. sized by a striding bass, persists through the whole movement. The sense of — John N. Burk solemnity is never quite lost, and the heavy initial beat is only occasionally 17 Tanglewood 1976

Boston Symphony Orchestra Seiji Ozawa, Music Director

Saturday, August 28, 1976 8:30 p.m.

KAZUYOSHI AKIYAMA conducting

Overture to Benvenuto Cellini Berlioz

Ma mere I'oye (Mother Goose) Ravel

Prelude et danse du rouet (Introduction and dance of the spinning wheel)

Pavane de la Belle au hois dormant (Pavane of the sleeping beauty)

Petit Poucet (Tom Thumb)

Laideronette, imperatrice des Pagodas (The ugly little empress of the Pagodas)

Les entretiens de la Belle et de la Bete (The conversation between Beauty and the Beast)

he jardin feerique (The fairy garden)

INTERMISSION

Symphony No. 2 in D major, Op. 73 Brahms Allegro non troppo Adagio non troppo Allegretto grazioso, quasi andantino Allegro con spirito

This concert is made possible with support from the Massachusetts Council on the Arts and Humanities.

Seiji Ozawa and the Baldwin Piano Boston Symphony Orchestra record exclusively for Deutsche Grammophon 18 Notes Cellini, while occupied with his statue of Perseus, falls in love with Teresa, the daughter of Balducci, treasurer to the Pope. Teresa having been promised to another by her father, Cellini plots Hector Berlioz (1803-1869) to elope with her and attends the Overture to Benvenuto Cellini, Op. 2 3 Roman Carnival in disguise as part of The opera Benvenuto Cellini was the ful- his scheme. He stabs an opponent and fillment of a special ambition of Berlioz. is accused of murder, but the comple- To him a pronounced success at the tion of the wondrous statue results Opera in Paris was a very vital matter. in his pardon. N. Burk Much in need of the assurance of an — John official position with a fixed income, Maurice Ravel (1875-1937) he never received more than scant or Ma mere I'oye (Mother Goose) grudging favor from the Conservatoire, while at the Opera, where a reasonable Ravel wrote Ma mere I'oye, cinq pieces recognition would have solved his enfantines, in 1908, for piano four hands. financial harassment once and for all, Three years later he orchestrated the he invariably met with veiled hostility suite, and it was produced in Paris as or evasion. For this reason Berlioz had a ballet at the end of January, 1912. to go on earning his living as a feuille- The following synopsis is taken in part tonist, violently disliking the routine from the headings printed in the score, which kept him from his creative and in part from the composer's thoughts. scenario. Forced to arrange his own concerts Princess Florine, fated to fall into a if his music were to be heard, he would deep sleep should she prick her finger, engage battalions of players, and as strays into a remote chamber, high up often as not find himself bankrupt in her parents' castle. An old crone when the affair was over. These were sits at her spinning wheel. Florine trips, the reasons why such a venture as the spindle pricks her finger, and the Benvenuto Cellini was of extreme impor- evil spell immediately begins to work. tance to him. The plans and the com- Her courtiers and waiting women try pletion of the score occupied three to waken her, but in vain. The old years of his life. woman doffs her rags and is trans- "The strange career of Benvenuto formed into the Good Fairy. She com- Cellini," he wrote in his memoirs, "had mands two small black boys to guard made such an impression on me that the sleeping princess. The Pavane depicts

I stupidly concluded that it would be Florine asleep. both dramatic and interesting to other Here the story changes abruptly. The people. I therefore asked Leon de Wailly score of Tom Thumb is headed by a and Auguste Barbier to write me a passage from Perrault: "He thought libretto on it. I must own that even that he would find his way easily with our friends thought it had not the ele- the help of the bread crumbs which ments essential to success, but it pleased he had scattered on his path. But he me, and even now I cannot see that it was surprised not to be able to find a is inferior to many others that are single crumb: the birds had come and played daily." eaten them all up." In the ballet, the Berlioz had hit upon a subject which woodcutter's seven children have lost was to be used by many for operatic their way in the forest. Night has purposes in succeeding years. But fallen. Tom Thumb reassures his neither its first audiences nor the brothers and sisters by pointing out opinion of posterity has confirmed this the crumbs that he has scattered along effort of his librettists as successful. their path. They go to sleep content. It concerns an imaginary love affair Birds then appear and gobble up the in the life of the Renaissance goldsmith. crumbs. The children wake up, see that 19 their trail markers have disappeared, "The Beast had disappeared, and she and wander sadly away. saw at her feet a Prince more beautiful The scene now changes to the bath- than Love itself, who thanked her for chamber of the ugly little Empress of having broken his enchantment." the Pagodas. The Princess Laideronette The music of this movement is extra- has been cursed in her cradle by ordinarily reminiscent of Satie — so Magotine, a wicked fairy, to be woefully much so that Roland-Manuel, Ravel's ugly. So unhappy is she when she grows earliest biographer, referred to it as up that she hides in a remote castle. "the fourth Gymnopedie." In a nearby forest she meets a huge In the final scene, The fairy garden, green serpent, who tells her that he we return to the story of the Sleeping was once handsomer than she was. Beauty. Prince Charming arrives as They go away to sea together on a the Princess is waking from her deep little boat. Shipwrecked, they are sleep. The sun dawns over the horizon. washed ashore on the coast of the land Tom Thumb, his brothers and sisters, of the Pagodas, little beings whose the birds, the green serpent, Laide- bodies are made of porcelain, crystal ronette and the Pagodas, Beauty and and jewels. Laideronette becomes the Beast all appear, and surround Empress and marries the green serpent, Florine and Prince Charming as the who, it turns out, has also been en- Good Fairy gives them her blessing. chanted by Magotine, and is really the — Andrew Raeburn Emperor. The spells are broken: the serpent is transformed into a handsome Johannes Brahms (1833-1897) prince, Laideronette turns into a beau- Symphony No. 2 in D, Op. 73 tiful princess, and they live happily ever after. In Ravel's tableau the Looking back over the ninety-odd years Empress "undressed and got into her which have passed since Brahms's bath. At once the Pagodas and Pagodins Second Symphony was performed for began singing and playing their instru- the first time, one finds good support ments. Some had lutes made of walnut for the proposition that music found shells, others viols made of almond disturbingly "modern" today can be- shells, for it was of course important come universally popular tomorrow. that the instruments should be pro- This symphony, surely the most con- portioned to their size." sistently melodious, the most thorough- Now comes the excerpt from Mme ly engaging of the four, was once re- its hearers as a disagreeable Leprince de Beaumont's Beauty and the jected by concoction of the intellect, by all Beast. means to be avoided. "'When I think how noble hearted Leipzig, the Second you are [said the Princess], you do not In when Sym- appear so ugly to me.' phony was introduced in 1880, even Dorffel, the most pro-Brahms of the 'O yes, my lady. I have a noble heart, critics there, put it down as "not dis- but I am a monster.' 'There are many men more mon- tinguished by inventive power"! It was strous than you.' a time of considerable anti-Brahms agitation in Central Europe, not uncon- 'Were I witty, I should invent a fine compliment to express my thanks, but nected with the Brahms-versus-Wagner feud. There were also repercussions I am but a beast.'" in America. When in the first season of the Boston Symphony Orchestra "'Beauty, will you be my wife?' (February 24, 1882) Georg Henschel 'No, Beast.' conducted the Second Symphony, the 'I die happy, since I have the pleasure critics fell upon it to a man. They re- of seeing you again.' spected Mr. Henschel's authority in the 'No, dear Beast, you shall not die. matter because he was an intimate You shall live to be my husband.'" friend of Brahms. For Brahms they 20 showed no respect at all. The Transcript called it "wearisome," "turgid"; the Traveler, "evil-sounding," "artificial," Tanglewood lacking "a sense of the beautiful," an "unmitigated bore." The Post called it Festival Chorus "as cold-blooded a composition, so to Auditions speak, as was ever created." The critic of the Traveler made the only remark one can promptly agree with: "If On September 8th and 10th, the really had anything to say in Brahms Tanglewood Festival Chorus, it, we have not the faintest idea what John Oliver, Conductor, will be it is." This appalling blindness to beauty holding auditions for its 1976-77 should not be held against Boston in Boston/Tanglewood season of particular, for although a good part of the audience made a bewildered appearances with the Boston departure after the second movement, Symphony Orchestra. the courageous believers in Mr. Hen- The auditions will be held in schel's good intentions remained to the Boston. For further informa- end, and from these there was soon tion, please call (617) 266-1492, to develop a devout and determined ext. - Friday type who stoutly defended Brahms. 235, Monday from New York was no more enlightened, 10 a.m. to 3 p.m. (through to judge by this astonishing suggestion September 10th). in the Post of that city (in November 1887): "Why not play instead Rubin- stein's Dramatic Symphony, which is shamefully neglected here and any one movement of which contains more evidence of genius than all of Brahms's The sculpture displayed this summer symphonies put together?" in Tanglewood's Glass House (next to Many years had to pass before people the main gate) is by the American artist looked upon Brahms's Second for what Clement Meadmore, who came to New it is — bright-hued throughout, every York from his native Australia in 1963. theme singing smoothly and easily, Mr. Meadmore has exhibited his work every development both deftly inte- in London, Hong Kong, Australia and grated and effortless, a masterpiece of New York; in this country it is in a delicate tonal poetry in beautiful articu- number of collections, public and pri- lation. To these qualities the world at vate — among others those of Nelson large long remained strangely imper- Rockefeller, Princeton University and vious, and another legend grew up: the Chicago Art Institute. He has re- Brahms's music was "obscure," "intel- ceived an award in art from the Ameri- lectual," to be apprehended only by can Academy of Arts and Letters; the the chosen few. citation praised his "forceful sculpture

What the early revilers of Brahms of twisting forms . . . direct, masculine failed to understand was that the "ob- and moving." Mr. Meadmore's works, scurity" they so often attributed to executed in black plastic or Cor-ten him really lay in their own noncom- steel, have been enlarged to monu- prehending selves'. Their jaws would mental size for various city sites, muse- have dropped could they have known ums, universities and private collec- that these "obscure" symphonies would tions, in some cases reaching lengths one day become (next to Beethoven's) and heights of thirty feet and more. the most generally beloved — the most enduringly popular of all.

John N. Burk 21 Tanglewood 1976

Boston Symphony Orchestra Seiji Ozawa, Music Director

Sunday, August 29, 1976

SEIJI OZAWA conducting

The Passion According to St. Matthew Bach

Part I (1 p.m.)

INTERMISSION

Part II (3:15 p.m.)

PHYLLIS BRYN-JULSON, soprano MAUREEN FORRESTER, contralto KENNETH RIEGEL, tenor (Evangelist) SETH McCOY, tenor RICHARD STILWELL, baritone (Jesus) BENJAMIN LUXON, baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BOSTON BOY CHOIR, THEODORE MARIER, conductor

JEROME ROSEN, harpsichord JOHN GIBBONS, organ CAROL PROCTER, viola da gamba LAURENCE THORSTENBERG and WAYNE RAPIER, oboi d'amore and oboi da caccia

Assisting artists: BENJAMIN LUXON (Pilate) JOHN KERN (Judas) KEITH KIBLER (Peter) BETSY SMITH (Pilate's Wife) JERROLD POPE (1st Priest) GREGORY REINHART (2nd Priest) CHERYL STUDER (1st Maid) DONNA HEWITT (2nd Maid and 2nd Witness) RINDE ECKERT (1st Witness)

Seiji Ozawa and the Boston Symphony Orchestra Baldwin Piano record exclusively for Deutsche Grammovhon 22 .

lowing the example of Schiitz and Notes Telemann, uses a string quartet to surround the personality of the Lord with a kind of halo. This recitative is Johann Sebastian Bach (1685-1750) transformed into an arioso only once: when at the last supper Jesus explains The Passion According to St. Matthew the mystic significance of bread and Bach composed his Passionmusik nach dem wine. And the accompanying strings Evangelisten Matthaus in 1728 and the are silenced only once: when Christ early spring of 1729, leading its first in agony cries out 'My God, why hast performance on Good Friday (April 15), thou forsaken me?' — the halo is ex- 1729, in Leipzig's Thomaskirche — the tinguished. church where he was Cantor for the "One indication of the great impor- last twenty-seven years of his life. tance Bach attached to the work is the Although the work received other vast musical forces needed to perform performances in Leipzig up to the end it. They far exceed those in the St. John of the eighteenth century — infrequent Passion; indeed they exceeded those ones, to be sure, given its length and of virtually all his other compositions. the performing forces required — it In its definitive form the St. Matthew remained virtually unknown to the Passion employs two mixed choruses, rest of the world until the twenty- two orchestras, and another group of year-old Felix Mendelssohn led a pub- boy-singers for the cantus firmus of lic performance at Berlin's Singakadamie the first chorus. If there are no inde- on Good Friday (April 17), 1829 . . . pre- pendent parts for each of the eight cisely one hundred years after its Leip- voices of the two choirs, Bach prescribed zig premiere. From this date forward, which choir should perform an individ- the nineteenth century "rediscovery" ual number, or whether they should of Bach proceeded rapidly. join forces. . . Comparing the St. Matthew Passion "The St. Matthew Passion represents with Bach's only other work in this the climax of Bach's music for the form to have survived intact — the Protestant Church. His own conception St. John Passion, which had received of its importance is clearly revealed its first performance on Good Friday, in the exquisite score he made of it for 1724 — Karl Geiringer has written: a subsequent performance, a score "Despite their structural relationship which is unique even among his many Bach's two Passions are very different beautiful manuscripts. He worked on in character. The later composition it with ruler and compass, and he used radiates tenderness and love; harsh red ink for the utterances (recitatives) contrasts are toned down, and a heart- of the Evangelist to distinguish the stirring blend of bliss and grief, such divine message from the rest of the as only Bach could create, prevails text. The composer wanted this Passion throughout. According to the gospel, to be of general appeal, and indeed the Christ of the St. John Passion was there is in this work a simplicity and endowed with sublime calm and re- directness not often to be found in moteness. The gospel of St. Matthew, Bach's larger compositions however, allowed Bach to express his The Boston Symphony performed own fervent Jesusminne (devotion to the St. Matthew Passion in its entirety Jesus). Here no unbridgeable gap exists for the first time on March 26, 1918, between the human and the divine; with Ernst Schmidt conducting in place the Lord in his suffering approaches of the interned Karl Muck. The most mankind, and mankind suffers with recent performances by the Orchestra him. While in the earlier Passion the took place this spring on April 16 and utterances of Christ are presented in 17, and were led by Seiji Ozawa. recitatives accompanied only by the organ, the St. Matthew Passion, fol- -J.K. 23 Guest Artists an album of Wolf lieder already to his credit, he is recording all the Schubert song cycles. Mr. Luxon made his debut with the Boston Symphony in March Maureen Forrester as a soloist in the Beethoven Ninth Maureen Forrester, who has appeared Symphony. with the Orchestra on many occasions, is a native of Montreal. She made her Yehudi Wyner American debut in 1956, and since then Yehudi Wyner is a composer, pianist, she has appeared in recital and as solo- conductor and teacher. He teaches ist with of the leading orchestras many composition and chamber music at Yale, and abroad. During in this country where he was chairman of the compo- recent seasons she has appeared with sition faculty from 1969 to 1973. He York Handel Society in Saul, the New has been Music Director of the New with the Bach Aria Group in Alice Haven Opera Theater since 1968, con- Tully Hall, with the Clarion Concerts ducting its major productions; he also in York, and as soloist at the New performs as keyboard artist for the Festivals and at the Ravinia and Aspen Bach Aria Group, regularly touring the Cincinnati Festival. May country and participating in the Group's Miss Forrester has appeared with the annual series at Lincoln Center and in Quebec Opera, the Stratford (Ontario) all recordings. Festival, the National Arts Centre Mr. Wyner's music has been recorded Opera Company, the New York City by CRI; his most recent record releases Opera Company, and at the Saratoga, are Three Short Fantasies for Piano Caramoor and Aspen Festivals. She and Intermedio, Lyric Ballet for Soprano made her Metropolitan Opera debut and Strings — the latter performed in February 1975, as Erda in Das Rhein- during this summer's Festival of Con- gold, a role she later sang there in Sieg- temporary Music at Tanglewood and fried. Miss Forrester's recordings with scheduled for its first New York per- RCA include Mahler's Songs of a Way- formance at Lincoln Center next Febru- farer and Beethoven's Ninth Symphony. ary. He has received commissions from She has also recorded for the Columbia, the Ford, Fromm and Koussevitzky Vanguard, London, Westminster and Foundations, Yale, the University of Desto labels. Her most recent appear- Michigan and the National Endowment ance with the Boston Symphony was for the Arts. last April's performances of the St. Often collaborating with singers, Mr. Matthew Passion. Wyner gives a large number of con- certs with his wife, soprano Susan Benjamin Luxon Davenny Wyner, and conducts his own Benjamin Luxon was born in Cornwall, music in recital and recordings. This England, and completed his studies at summer he has been performing Bee- the Guildhall School of Music, where thoven chamber music with the Berk- he won the school's Gold Medal. During shire Quartet, touring with the Bach his early career he was closely associ- Aria Group and serving as member of ated with the English Opera Group; the Composition and Chamber Music he sang the title role in the BBC-TV Faculty at Tanglewood. premiere of Benjamin Britten's opera Owen Wingrave (seen here on public Kazuyoshi Akiyama television), and in 1972 made his Glyne- bourne debut as Ulysses in Monte- Kazuyoshi Akiyama, who was born in

verdi's 11 ritorno d'Ulisse in patria. He has Tokyo in 1941, began piano studies at since appeared at Covent Garden in the age of three and entered the famed works by Peter Maxwell Davies, Brit- Toho School of Music at fifteen. He ten, Puccini and Tchaikovsky, and, with later changed his major to conducting, 24 studying under the late Hideo Saito and Sutherland. A resident of Maryland, graduating in 1963 — the only graduate Miss Bryn-Julson is a member of the in conducting since Seiji Ozawa in 1958. Washington Theater Chamber Players After his conducting debut with the and is on the faculty of the University Tokyo Symphony in 1964, he was ap- of Maryland at College Park. She has pointed as its permanent Conductor already appeared this summer with the and Music Director and in 1965 he Boston Symphony at Tanglewood as became Principal Guest Conductor of soloist for Griffes's Three Poems of Fiona the Japan Philharmonic. Three years Macleod. later he was appointed Principal Con- ductor of the Osaka Philharmonic, and Richard Stilwell he continues to hold all three posts. American baritone Richard Stilwell, Mr. Akiyama named Assistant was who made his Boston Symphony Or- of the Conductor Toronto Symphony chestra debut as Eugene Onegin in the for the 1968/69 season and in 1972 1974 Tanglewood production, was appointed Resident was Conductor and trained at Indiana University in Bloom- Music Director of the Vancouver Sym- ington and currently studies with phony Orchestra, a position he holds Daniel Ferro in New York. He is a concurrently the three with Japanese winner of the Fisher Foundation Award posts. In addition to his duties in Van- of the Metropolitan Opera Auditions; couver, he is the Music Director for after his military service, he auditioned the American Symphony Orchestra and for the New York City Opera and was was awarded the 1974 Torii Prize for immediately engaged, making his New his "outstanding contribution to the York debut in 1970 as Pelleas in a new development and advancement of clas- production of Pelleas et Melisande. After sical music in Japan." Mr. Akiyama a 1974 New York revival, he made his resides in Vancouver with his wife and debut as Pelleas at London's Royal three children and this summer marks Opera House, Covent Garden, in a his debut with the Boston Symphony production conducted by Colin Davis. Orchestra. In the spring of 1975 he sang at the Houston Opera in La Boheme and later Phyllis Bryn-Julson opened the season of the Glyndebourne Festival Opera in the title role of Eugene Born in North Dakota of Norwegian Onegin in Russian. Other entries in his parents, Phyllis Bryn-Julson was first calendar recently have been a new pro- interested in a career as a pianist, but duction of Monteverdi's L'lncoronazione Gunther Schuller encouraged her to di Poppea for the San Francisco Opera, pursue voice at the Berkshire Music a Metropolitan Opera debut in Cosi fan Center at Tanglewood. There she re- tutte and Met performances of 11 Barbiere ceived the Fromm Foundation Scholar- di Siviglia, and the New York City Opera ship, the High Fidelity Magazine Award production of Monteverdi's 11 ritorno and the Composition-Performance d'Ulisse in patria. He last appeared with Award. the Orchestra this April, singing the Miss Bryn-Julson has appeared in re- part of Jesus in the Symphony Hall cital across the country and has ap- performances of the St. Matthew peared with leading American orches- Passion. tras. This spring she made her operatic debut (in the principal role of Malinche Kenneth Riegel in the Opera Company of Boston's American premiere of Roger Sessions' A leading tenor with the Metropolitan Montezuma) and a debut with the Chicago Opera and other American opera com- Symphony in the world premiere of panies, Kenneth Riegel is also a frequent Alan Stout's Passion. soloist with the nation's major orches- She also gives joint recitals for voice tras. After studying at the Manhattan and organ with her husband, Donald School of Music and the Berkshire 25 Music Center, he made his professional Seth McCoy debut in 1965 in the American premiere Born in Greensboro, North Carolina, of Henze's The Stag King with the Santa Seth McCoy began his professional Fe Opera. In 1969 he debuted with career as a soloist with the Robert Shaw the York City Opera; during the New Chorale. In the years since, he has 1972-73 season he sang five major roles performed with most major American that The same season with company. orchestras — among them the Phila- his first appearance with eight he made delphia Orchestra, the San Francisco them the American orchestras, among Symphony, the Pittsburgh Symphony, Philharmonic, the Phila- New York and the Cleveland Orchestra — and he delphia Orchestra, the Pittsburgh Sym- was chosen to appear during the inau- phony, the Chicago Symphony, the gural week of the Kennedy Center in American Symphony and the Boston Washington. He has given recitals in Symphony. He made his Metropolitan many parts of this country; in addition, Opera debut in 1973, in performances he is a permanent member of the Bach Berlioz's Les Troyens, and has since of Aria Group. He made his Symphony in productions of Wozzeck, appeared Met Hall debut with the Boston Symphony Fidelio and Die Meistersinger. In the coming this past March, and has for several year he will for the first time be singing seasons appeared in the orchestra's Narraboth in Salome and Tamino in The concerts at Tanglewood — most recent- Magic Flute at the Met, and will in addi- ly in this summer's performance of tion make his debuts at the Flanders Beethoven's Ninth Symphony. Festival, the Vienna State Opera and the Paris Opera. His most recent ap- Boston Choir pearance with the Boston Symphony The Boy came earlier this summer in the Liszt The Boston Archdiocesan Choir School Faust Symphony conducted at Tangle- of Saint Paul's Church, Cambridge, wood by Leonard Bernstein. was founded eleven years ago under the patronage of the late Cardinal Tanglewood Festival Chorus Gushing. The pupils, ranging in age from ten to fourteen, receive a full The Tanglewood Festival Chorus was academic training in addition to an formed under the joint auspices of the extensive musical education. They also Berkshire Music Center and Boston take part regularly in the services of University in 1970. The director since Saint Paul's Church, located near its foundation, John Oliver, is director Harvard Square. The Choir has taken of choral and vocal activities for Tangle- part in Youth Concerts at Symphony wood, a member of the MIT faculty and Hall, and has sung in concerts with director of the MIT Choral Society. The the Harvard-Radcliffe Choral Society, Festival Chorus made its debut at Sym- with the MIT Choral Society and with phony Hall in a 1970 performance of the Boston Symphony Orchestra at Beethoven's Ninth Symphony, and has Tanglewood and in Symphony Hall; since taken part in concerts directed its most recent performance with the by William Steinberg, Seiji Ozawa, Orchestra was the Si. Matthew Passion Eugene Ormandy, Colin Davis, Arthur last April. Theodore Marier, a resident Fiedler and Michael Tilson Thomas. of Belmont, has been Music Director Members of the chorus come from the of the School since its founding. Greater Boston area and from all walks of life, and they rehearse throughout the year. The Chorus's first appearance After 30 years' service, Stanley Benson, on records, in the Boston Symphony's a member of the first violins, and John Damnation of Faust, conducted by Seiji Holmes, second oboe, will retire from Ozawa, was nominated for a Grammy the Orchestra at the end of the 1976 as the best choral recording of the year. Tanglewood season.

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28 The Berkshire Music Center

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The late Serge Koussevitzky fervent- ly shared Henry Lee Higginson's vision of a "good honest school for musicians" —an academy where young musicians Getaway to Yesterday could extend their artistic training and Visit the Inn in the Berkshires with two broaden their experience under the centuries of tradition, and all the modern guidance of eminent professionals. amenities. Live amidst antiques. Savor lobster, homemade apple pie, potables any other person, it was More than from our tavern. Call (413) 298-5545 Koussevitzky who made the vision a for reservations. reality; he was Director of the Berkshire 2tSB Hie Red Lion Inn Music Center from its founding in 1940 Since 1773, Stockbridge, Mass. 01262 until his death in 1951, and his vigorous On Rte. 7, south of Tanglewood leadership has remained an inspiring example in the years since. Serge Koussevitzky was succeeded by

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Tucked into a lovely New England village, Pittsfield, Mass. Wykeham offers the warmth of a small girls' school the cultural advantages of a unique and truly outstanding program in music and 443-0051 the other creative and performing arts, and the benefits of strong college preparatory academics with an exceptional range of course options. Through cooperation with a nearby private school for boys, many courses and activities are co-educational We try harder. With a balanced involvement in academics, arts and athletics, Wykeham girls (grades 9-12) develop a keen sense of personal direction, independence and confidence. For catalog, write or phone:

Director of Admissions Wykeham Rise Wykeham Road Washington, CT 06793 Tel. 203/868-7347 Avis

30 cooperation with the Fromm Music Foundation at Harvard, offers a broad spectrum of the most advanced music of today's composers in a gala week of performances. The Boston Symphony's Concert- master and Assistant Conductor Joseph Silverstein heads a faculty that includes principal players and members of the Orchestra and faculty members of Bos- ton University's School of Fine Arts, plus leading soloists, conductors and composers. The Center has numerous studios for practice and chamber music, and an extensive library of music litera- ture and scores. Rehearsals and con- certs of the Berkshire Music Center IXIlllllXllllXllllllflXllllXllilXlllilllX.P'IIXM Orchestra and other student groups "Expect the Unexpected" take place mostly in the Theatre-Con- The Square Rigger Restaurant and Cabaret ispi cert Hall, while lectures, seminars, con- known for "Good Country Cooking." An informal atmosphere of ship hatch tables, rock^ ducting classes, vocal and choral re- = fern gardens. Tiffany lamps, and stain glass hearsals, composers' forums and cham- windows, located by the Shaker Mill Pond. ber music concerts take place in the Serving their famous Rigger Burgers and pizzas, Chamber Music Hall, in the West Barn, steaks, seafood, homemade soups and deserts. in the Hawthorne Cottage, on the X Brunch, lunch, dinner, nite owl snaks, from = 10 am to 2 am, seven days a week. Rehearsal Stage, and in the small stu- The Back Room . . . Free Movie Festival plus dios both on the Tanglewood grounds "The Music Showcase of the Berkshires" and in buildings leased in Lenox. Each West Stockbridge, Mass. summer the Baldwin Piano and Organ 413-232-8565

Company generously provides nearly . . . and don't miss Mike Schiffer: 100 keyboard instruments for individ- Ballads & Blues on a Steinway grand ual practice; other instruments —per- Six nights a week 'til 2 a.m. cussion, for example —are provided by The Ice Cream Emporium | Inn the Orchestra. at the Westbridge I IMIMIMIIHIIMIIIIMIIIMIIMIIIB The Boston Symphony is assisted in supporting the Center by the National Endowment for the Arts, a federal agency, as well as by individual and Academics &Music corporate sponsors. Scholarships are Unusual boarding and day school offering fully accredited college preparatory program and musical training for the talented musician and for those seeking awarded to the majority of the students, enrichment in the performing arts. Established in 1893. Grade 7-12. STUDY appljed instrumental and vocal music for credit with teachers from Boston who are chosen by audition on a com- University's School of Music, many of whom are members of the Boston Symphony Orchestra. PERFORM with the Greater Boston Youth Symphony petitive basis. cost of the scholar- Orchestras or other regional orchestras. ATTEND open rehearsals and per- The formances of the B.S.O. plus concerts on campus. ELECT music theory and history courses, composition, theatre, dance and fine arts. Join our ship program is large and adds sub- choral and instrumental ensembles. Recipient of National Humanities Faculty Grant, Massachusetts Council for the Arts and Humanities recognition and stantially to the Orchestra's yearly Edward Ford Foundation Grant. 47 acre suburban campus 25 minutes from Boston's artistic resources. Audition or tape required. Scholarships available. deficit — one major for the reason es- Advisory Board: Wilbur D.Fullbright tablishment of the Friends of Music at (Director. B.U. School of Music)

Thomas D. Perry. Jr. ( Director, Tanglewood, a group that provides Boston Symphony Orchestra) Gunther Schuller (President, critical support for the Center. A brief New England Conservatory) Roman Totenberg account of members' privileges is print- (B.U. Professor of Music). ed on page 37, and more information Faculty: Daniel Moore John Daverio may be had at the Friends' Office near Martha Yacyshyn the Main Gate. We invite you to see Adele Babcock and hear for yourself the remarkable Walnut Hill School caliber of the Center's young musicians. For catalog, call (617) 653-4312 or write: 255 Highland. Natick, Mass. 01760

31 NEW ENGLAND'S FAMOUS YEAR 'ROUND RESORT GREAT BICENTENNIAL TOUR BASE 1/2 OFF LIST for all Nonesuch LP's at

berkshire record outlet inc.

910 South Street, Pittsfield, Ma. 01201 Jug Cnd "At least 1/3 off all records at all times" Hours: 1 1 :30 - 6 Monday thru Saturday

on 1200 acres. . . All Summer & Winter Sports, 18 hole golf course open to the public, Tennis & Swimming year 'round. Trail riding and instruction, Gift Shop, Fine food & entertain- ment nightly, cocktail lounge, Popular con- vention center. Also great Bicentennial Tour years later, Base. Close to Tanglewood, Norman Rockwell, 200 "right in the heart of where it all began." still Stop in after the concerts and hear the best and we're entertainment in the Berkshires. providing that good FOR RATES & COLOR BROCHURE Yankee cooking, & BICENTENNIAL TOURS DATA Write: Box 720 drink and lodging. SOUTH EGREMONT, MASS. 01258 Back in 1771, when my place was a stopover for hungry travelers, we had a Tel.: (413) 528-0434 reputation for our generous meals. And we're still serving that good Yankee cooking today. Like roast whole Cornish game hen, sirloin steak, and our individual baked lobster pie. All just yi mile from historic Old ESSES PEDLAR IB8 } Sturbridge Village, and a few minutes : OPERA HOUSE from Exit 9 of the Mass. Turnpike. Send 36 Luxury Rooms FOOD«DR!fiK»LODG«NG for my free brochure. 16-1-91 Exit Buddy Adler , Innkeeper Holyoke, Mass. (413) 532-9494

For information about advertising in the Boston Symphony's programs, please contact Steve Ganak Ad Reps, Statler Publick House Office Building, Boston MA 02116. On the Common -Sturbridge. Mass. -(6 1 7) 347 3313 (617) 542-6913

32 In and Around VISIT BERKSHIRE LAKES ESTATES the Berkshires EXPERIENCE COUNTRY LIVING AT ITS BEST! Tanglewood is but one of the many Small Lakefront Community activities and events constantly enrich- ing the Berkshires; a complete listing Swim and boat on 2 crystal clear mountain may be found in Berkshire Week, a summer lakes. Play tennis, badminton, volleyball magazine of the Berkshire Eagle and and basketball on community courts. Live Torrington Register. Copies are avail- in privacy adjacent to a large state forest. the Lion able at the Main Gate and Berkshire Lakes Estates Gate. Some highlights: Yokum Pond Road

. Becket, Mass. 01223 Berkshire Theatre Festival Tel. 413-623-8747 Stockbridge TO VISIT: Mass. Turnpike to Lee, Mass.-Rt. 20 Lenox Arts Center East. Continue 4 miles to Belden's Tavern. Left Lenox for 2 miles to Berkshire Lakes Estates. Williamstown Theatre Williamstown Jacob's Pillow Dance Festival Grand Hotel Lee Aston Magna Curtis on the Village Green Great Barrington Lenox, Mass. (413) 637-0016

Berkshire Museum Amid the echoes of Tanglewood, Pittsfield Stay and dine in old world elegance. Clark Art Institute Delightful accommodations, Williamstown Elevator and telephone service — Al fresco dining on the piazzas Hancock Shaker Village Surrounding the heated pool, Hancock Dancing nightly in the lounge, Chesterwood Studio Museum Supper dining in the garden Glendale After each concert. A Complete Lenox Library Berkshire Experience! Lenox Under New Management Stockbridge Historical Society Stockbridge Naumkeag Stockbridge ARROWHEAD

Mission House Where Herman Melville wrote Stockbridge Old Corner House MOBY-DICK Stockbridge Berkshire Garden Center Headquarters Stockbridge Berkshire County Historical Society 780 Holmes Rd., Pittsfield, Ma. Pleasant Valley Wildlife Sanctuary Lenox Open: Mon. - Sat. 10 - 5 South Mountain Concerts Sun. 1-5 Closed Tues. Pittsfield Aduits $1.00 Students .50

33 CHESTERWOOD STOCKBRIDGE BgKSHII

FESTIVAL Stockbridge

June 22 - July 11 The Pulitzer Prize-winning musical comedy

OF THEE I SING by George and Ira Gershwin, George S. Kaufman and Morrie Ryskind

July 13 - July 25

James Coco and Dody Goodman in GEORGE WASHINGTON SLEPT HERE

by Moss Hart and George S. Kaufman

July 27 - August 8

Beatrice Straight & Kevin IvtcCarthy in Summer Home and Studio of THE LION IN WINTER DANIEL CHESTER FRENCH by James Goldman August 10 - August 29 Sculptor of the Lincoln Memorial Ruth Gordon in HO! HO! HO! A new comedy by Miss Gordon, directed by Garson Kanin

Garden, Nature Trail, Fritz Holt and Barry M. Brown, Producers

Paintings, Barn Sculpture Gallery Tues. Wed. & Thurs. Eves at 8:30; Sun. Eve at 7:30; Wed. Mat. at 2:30; Sat. Mat. at 5:00; prices $7.50 & $6.00; Fri., Sat. Eves at 9:00; prices $8.50 & $7.00 (413) 298-5536 Adults $1.75 • Children $.75 Also At The Festival: In the Unicorn (barn) Daily 10-5 Theatre, three new American plays; Thursdays through Sundays. In the Proposition Theatre, the Proposition Company of Boston, with after- theatre entertainment, Thursdays through Sun- a property of days, and a children's theatre Thursday, Saturday, The National Trust for Historic Preservation Sunday afternoons. ASIAN GALLERY Far Eastern Art

CURTIS HOTEL MAIN STREET, LENOX, MASS. 01240

24 EAST 80th STREET, NEW YORK, N.Y. 10021

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34 —

The Executive Committee Tanglewood Council of the \ Boston Symphony Orchestra

Mrs. John S. McLennan Pillow Mr. Peter van S. Rice Located in the Township of Becket, Mass. Norman Walker, Director Co-Chairmen June 29—July 3 August 10-14 Eight Soloists from the Teodoro Morca Royal Danish Ballet The Claude Kipnis Mr. John Kittredge Mime Theatre July 6-10 Secretary/Treasurer Suzanne Farrell August 17-21 & Peter Martins Jo-Ann Bruggemann & The Danscompany Bob Bowyer Classical Pas de Deux Mr. and Mrs. David Klein Annabelle Gamson Jacob's Pillow Dancers Jacob's Pillow Dancers Talks and Walks July 13-17 The Maria Alba Spanish Dance Company Performances: Mrs. Richard Marcure July 20-14 Tues. through Sat, Mrs. George Vazakas The Nikolais Dance Curtain times: Tues., Theatre 7:30 pm.,Wed.,Fri.,& Tent Sat. ,8:40 pm., Thurs. Julv 27-31 and Sat. .Matinees: 3:00 pm. Emily Frankel — Mrs. Arthur Aronoff Charles Moore Classical Pas de Deux Tickets: Peace Jacob's Pillow Dancers Mrs. Archie $7.50, $6.50 and $5.00. Student Affairs August 3-7 Available at Ticketron, The Milwaukee Ballet or the Jacob's Pillow Company with guest Box Office. artist Ted Kivitt Mrs. Desmond Tivy How to Reach Jacob's Pillow: Tent tea and coffee Approx.150 miles from Boston near Tangle- wood. Lee-Pittsf ield exit on the Mass. Turnpike. Public transportation from Boston via Grey- hound to Lee, Mass. Mrs. Samuel Boxer For information and reservations: Mrs. Roger Voisin Call 10 a.m.— 9 p.m. Mon. thru Sat. (413) 243-0745 Sales and Information Dance Festival America's FIRST Dance Festival, Richard S. Jackson Mr. Box 287, Lee, Mass. 01238. Mr. Robert A. Wells I J Public Relations and Membership

Mr. Jeffrey R. Winslow THE Business OLD CORNER HOUSE

Mrs. James Garivaltis Musical Marathon Co-ordinator

Mrs. James Garivaltis Mrs. Charles Capers Mrs. Kelton M. Burbank Benefits, receptions and meetings

Mrs. Peter van S. Rice Paintings by Tanglewood-Boston liaison NORMAN ROCKWELL On permanent exhibit Mrs. Anatole Haemmerle Open Year Round — Daily 10-5 p.m. Boston-Tanglewood liaison Except Tuesdays Adults $1.00 Children 25C

35 a

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36 The Friends of Music at Tanglewood

Membership provides you with exciting opportunities and privileges all year long. It's the secret buy of the Berkshires!

Free Berkshire Music Tent Membership: Center Concerts: The Tanglewood Tent, available to Over 40 concerts each summer by the contributors of $75 and over, provides members of the Berkshire Music Cen- a hospitable gathering place behind the ter, the Boston Symphony Orchestra's Music Shed where food and drink may summer academy for the advanced be purchased on concert days. Hot study of music. These outstanding mid- buffet dinners are served on Saturday week concerts include chamber music evenings beginning at 6:30 p.m. (Reser- recitals, full orchestra concerts, vocal vations must be made through the and choral programs, and the annual Friends Office no later than 12:00 noon Festival of Contemporary Music, on the Wednesday preceding each Tanglewood's "festival within a festi- Saturday evening buffet.) val." Friends Concert Memberships for Special Parking For individuals and families are available Friends: for $25.00. Two convenient reserved parking areas are available to all donors of Advance Program Information $150 or more for all Boston Symphony Orches- and Ticket Ordering Forms: tra concerts: either the Box Parking Approximately one month before the Lot (Hawthorne Street entrance), or public sale of seats in the early spring, the Tent Parking Lot (West Street Friends will be sent the advance Berk- entrance). shire Festival programs and a priority For information, contact: ticket application. Friends will also Friends of Music at Tanglewood receive the monthly Boston Symphony Lenox, Ma. 01240 Orchestra publication, "BSO." (413) 637-1600

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Ideally located in the heart of the scenic Berkshire Mountains, close by to Tanglewood and Jacobs Pillow, Rolling Hills offers the ultimate in spacious duplex homes. Features include 2 bedrooms, 2 full baths, fully applianced kitchen, large living and dining areas, a balcony, and lower level recreation room. As much as 1942 square feet of living space all air-conditioned and carpeted. For recreation we have ' 2 tennis courts, swimming pool, putting green, a clubhouse, saunas and whirlpool bath.

For a pleasurable afternoon, take a drive through the Berkshires to Lenox, Mass. on route 7-20, you'll delight in discovering this most complete condominium community with prices starting at $29,900.

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