Boston Symphony Orchestra Concert Programs, Summer, 1994
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m m *» M .> m , *^f I Hi I The TANGLEWOOD MUSIC CENTER is maintained for advanced study in music and sponsored by the BOSTON SYMPHONY ORCHESTRA. Tanglew®d BOSTON SYMPHONY ORCHESTRA Music Seiji Ozawa, Music Director Center Kenneth Haas, Managing Director Daniel R. Gustin, Manager of Tanglewood Josiah Stevenson, Director ofDevelopment TANGLEWOOD MUSIC CENTER Leon Fleisher, Artistic Director Gilbert Kalish, Chairman ofthe Faculty, Charles E. Culpeper Foundation Chair Richard Ortner, Administrator Robin J. Yorks, Director of Tanglewood Development James E. Whitaker, ChiefCoordinator Harry Shapiro, Orchestra Manager Tanglewood on Parade TanglewdDd Tuesday, August 1994 2, Music For the benefit of the Tanglewood Music Center Center 2:00 Gates Open 5:15 Alpine Horn Demonstration (Lawn in front of Theatre- 2:00 Boston University Concert Hall; inside in case Tanglewood Institute: of rain) Brass Fanfares at Main Gate Drive 5:30 Balloon Ascension (Rear of Shed in (Front lawn of Highwood case of rain) Manor House, weather permitting) 2:30 Boston University Tanglewood Institute 6:00 Tanglewood Music Center Chamber Music Concert Fellowship Wind Music (Theatre-Concert Hall) (Tanglewood Manor House porch; Chamber Music Hall 2:30 Tanglewood Music Center in case of rain) Fellowship Vocal and 7:00 Berkshire Highlanders Chamber Music Concert (Lion Gate; rear of (Seiji Ozawa Hall) Shed in case of rain) 3:45 Boston University 8:00 Fanfares Tanglewood Institute (Koussevitzky Music Shed) Young Artists Orchestra and Chorus 8:30 Gala Concert (Koussevitzky Music Shed) (Koussevitzky Music Shed) Please note that portions of this concert are being videotaped for a documentary about the Tanglewood Music Center, and that pictures of the audience may be included. Hot air balloon courtesy of Mr. and Mrs. Charles Joseph of Lebanon, New Jersey Alpine horns courtesy of BSO horn player Daniel Katzen Artillery and cannon supplied by Eastover, Inc. Scottish folk music courtesy of the Berkshire Highlanders Fireworks over the Stockbridge Bowl following the Gala Concert A Message from Seiji Ozawa Welcome to Tanglewood on Parade—our attention on their music-making. There annual celebration made even more spe- is no other place in the world like Tangle- cial this year by the exciting changes that wood, where young artists are inspired by have taken place at Tanglewood since last the Boston Symphony Orchestra, the summer. This year we have, as a place to TMC Faculty, and the guest artists who create and hear music, the new Leonard perform here. Bernstein Campus. Also this year we The Tanglewood Music Center has have had the long-awaited opening of our held a very special place in my heart beautiful new concert hall. As I have since I arrived here in 1960. Making already said many times this summer, others feel welcome here has become an this "room for music" called Seiji Ozawa important part of my life. For two months Hall is not mine— it is first and foremost each year we live and work together, and for the Tanglewood Music Center, whose experience the joy of music and the land- important work you support by joining us scape together. This is the spirit that here today. welcomed me when I first arrived, and Our new concert hall and the other which I hope to pass on to others. Just as new facilities located on the Bernstein I found a home in music at Tanglewood, Campus provide our young musicians so do hundreds of aspiring young artists and faculty with performance spaces and who come here each summer. I thank you practice studios truly worthy of their for helping to make this possible. extraordinary talents. But buildings alone cannot sustain the Tanglewood Music Center. Each year generous pa- trons provide financial support in the form of Fellowships, Scholarships, and Faculty Chairs that make it possible to Seiji Ozawa maintain the TMC year after year. Without this help, and the support of music lovers like yourselves, the Tanglewood Music Center could not thrive. Every ticket sold today helps us con- tinue to offer tuition-free fellowships to the young musicians who come here each summer. Such freedom from financial concern allows them to focus all their The Tanglewood Music Center <3k Tanglewood provides much more than a chorus, which was written for the cere- setting for the concerts offered by the mony and arrived less than an hour before Boston Symphony Orchestra. It is also the event was to begin, but which made the site of the Tanglewood Music Center, such an impression that it has remained one of the world's most influential centers the traditional opening music each sum- for advanced musical study, and which mer. The TMC was Koussevitzky's pride has been maintained by the Boston Sym- and joy for the rest of his life. He assem- « phony Orchestra since its establishment bled an extraordinary faculty in composi- in 1940 under the leadership of Serge tion, operatic and choral activities, and Koussevitzky. With Leon Fleisher now in instrumental performance; he himself his tenth year as its Artistic Director, the taught the most gifted conductors. Tanglewood Music Center continues to The emphasis at the Tanglewood Music Hi provide a wide range of specialized train- Center has always been not on sheer ing and experience for young musicians technique, which students learn with from all over the world. their regular private teachers, but on With the 1994 session this summer, making music. Although the program has n the Tanglewood Music Center enters a changed in some respects over the years, new era. The newly constructed Seiji the emphasis is still on ensemble per- H Ozawa Hall—along with its backstage formance, learning chamber music, vocal facilities, Green Room, TMC orchestra music, and the orchestral literature with library, and instrument storage space all talented fellow musicians under the located in the Leonard Bernstein Perform- coaching of a master-musician-teacher. ers Pavilion— serves as the focal point of Many of the pieces learned this way are the new Leonard Bernstein Campus, performed in TMC recitals; each summer which also encompasses the Leon brings exciting performances by talented Fleisher Carriage House with chamber young professionals beginning a love music coaching studios and offices; the affair with a great piece of music. Aaron Copland Library, in a cottage adjacent to the refurbished carriage house; a new Rehearsal Hall; and addi- tional coaching studios throughout the campus. With the inauguration of Seiji Ozawa Hall on July 7, 1994, and the opening of the Leonard Bernstein Cam- pus this summer, all involved with the Tanglewood Music Center look toward the twenty-first century newly inspired, with a renewed sense of purpose. The school opened formally on July 8, 1940, with speeches—Koussevitzky, alluding to the war then raging in Europe, said, "If ever there was a time to speak of music, it is now in the New World"—and music, the first performance of Randall Thompson's Alleluia for unaccompanied Serge Koussevitzky The Tanglewood Music Center Orches- Conducting Class, from which members tra performs weekly in concerts covering are selected for public performance, and the entire repertory under the direction the Phyllis Curtin ^eminar for Singers. In of student conductors as well as members 1966. educational programs at Tangle- of theTMC faculty and guest conductors wood were extended to younger students, present at Tanglewood to lead BSO con- mostly of high-school age. when Erich certs. The quality of theTMC Orchestra. Leinsdorf invited the Boston I niversitv assembled for just eight weeks each sum- School for the Arts to become involved mer, regularly astonishes visitors. It with the Boston Symphony Orchestra's would be impossible to list all the distin- activities in the Berkshires. Todav. Boston guished musicians who have been part of L niversitv. through its Tanglewood Insti- this annual corps of young people on the tute, sponsors programs that offer indi- verge of professional careers as instru- vidual and ensemble instruction to mentalists, singers, conductors, and talented younger musicians, with eleven composers. But it is worth noting that separate programs for performers and 'lOfy of the members of the major orches- composers. tras in this country have been students at Today, alumni of the Tanglewood Music the Tanglewood Music Center, with that Center play a vital role in the musical life figure constantly rising. of the nation. Tanglewood and the Tangle- Today there are three principal pro- wood Music Center, projects with which grams at the Tanglewood Music Center, Serge Koussevitzky was involved until his each with appropriate subdivisions. The death, have become a fitting shrine to his Fellowship Program provides a demanding memory, a living embodiment of the schedule of study and performance for vital, humanistic tradition that was his students who have completed most of legacy. At the same time, the Tanglewood their training in music and who are Music Center maintains its commitment awarded fellowships to underwrite their to the future as one of the world's most expenses. It includes courses of study for important training grounds for the com- instrumentalists, singers, and composers. posers, conductors, instrumentalists, Other courses of instruction include the and vocalists of tomorrow. TMC Artistic Director Leon Fleisher working uith the Tangleuood Music Center Orchestra Gala Concert TANGLEWOOD ON PARADE Tanglew(©d Sftr DMA Tuesday, August 2, at 8:30 Music v • Center For the benefit of the Tanglewood Music Center TANGLEWOOD MUSIC CENTER ORCHESTRA BR BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA, LEON FLEISHER, and JOHN WILLIAMS, conductors MARIA TIPO, EMANUEL AX, and JOHN WILLIAMS, piano soloists BEETHOVEN Leonore Overture No. 3 TANGLEWOOD MUSIC CENTER ORCHESTRA, SEIJI OZAWA conducting MOZART Concerto in F for Three Pianos, K.242 Allegro Adagio Rondeau. Tempo di Menuetto MARIA TIPO, EMANUEL AX, and JOHN WILLIAMS, pianos BOSTON SYMPHONY ORCHESTRA, SEIJI OZAWA conducting INTERMISSION WILLIAMS Liberty Fanfare arr.