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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. RAMIN Bernstein on Broadway "New York, New York," from On the Town "I^onely Town," from On the Town "America," from West Side Story WILLIAMS "Adventures on Earth," from E.T. (The Extra-terrestrial) BOSTON SYMPHONY ORCHESTRA, JOHN WILLIAMS conducting

TCHAIKOVSKY Ceremonial Overture, 1812 TANGLEWOOD MUSIC CENTER ORCHESTRA and BOSTON SYMPHONY ORCHESTRA, LEON FLEISHER conducting

Baldwin piano —

Notes

Ludwig van Beethoven's struggles with musical drama in his single completed opera Fidelio are well documented not only in the different versions of the opera itself (the earliest of which can now be heard on records, as Leonore) but also in the overtures no fewer than four! —that he composed for his work. Of these, three are called "Leo- nore Overtures," according to the title that Beethoven preferred (though it was not, in the end, used in performance since Giovanni Simone Mayr had recently written an opera with the same title), and the fourth is called simply the Fidelio Overture. Beethoven wrote what we now call No. 3 for a revised version of the opera given in

March 1806. The problem with the overture when connected to the opera is that it is too powerful, utterly overwhelming the light opening scenes. It remains one of the most dramatic and exciting overtures ever written. It begins with a slow introduction that slips surprisingly from the tonic C major to a dark B minor and then to A-flat, where Beethoven quotes the imprisoned Florestan's moving aria "/n des Lebens

Friihlingstagen'' ("In the springtime of my life"). It takes some time for Beethoven to return to his home key for the Allegro and the main body of the movement. The expos- ition of the Allegro modulates to E major for the secondary theme (another version, stated by clarinet, of Florestan's aria). The taut, exciting development climaxes in a gesture borrowed from the opera itself—an offstage trumpet signaling the arrival of help and the downfall of the villainous Don Pizarro's murderous intentions. The Concerto for Three Pianos, K.242, which Wolfgang Amadeus Mozart com- posed in Salzburg in February 1776, has always been somewhat patronized by critics. To be sure, given the extraordinarily high level of his writing for the genre of the piano concerto, the present work is not on the same empyrean plane. But the reason is not far to seek: Mozart composed the work on commission not for himself or any other

A Musical Partnership

The Boston Symphony Orchestra salutes the Baldwin Piano Company, which has provided pianos for young musicians and professional artists at Tanglewood for more than a half-century.

Tanglew®d Music Center "

virtuoso but for three lady amateurs who were a mother and two daughters. The com- poser was, of course, not concerned here with depths of emotion or heights of elo- quence; he simply wanted to write something pleasant and charming that would de- light the performers themselves and their guests. In that he surely succeeded, for this concerto is as galant as anything Mozart ever composed. As Voltaire said, "Being galant, in general, means seeking to please." In music this meant writing simple melodies of charming grace, lightly accompanied. The performers were Countess Lodron (a sister of Mozart's patron, the Archbishop Colloredo) and her two daughters, Louise and Josepha, both of them students of

Mozart's. If we assume that mother played the first piano part and the two daughters the second and third respectively, we can judge that Josepha was distinctly the weakest pianist. Mozart carefully wrote a part for her with fewer technical difficulties. Indeed, he later rewrote the three piano parts for two pianos without losing anything essential. In this smaller form he himself performed the concerto in Salzburg and Mannheim. A Bach concerto for three keyboard instruments would by highly contrapuntal, but Mozart's concerto is almost devoid of counterpoint. Tastes had changed drastically in a half-century, especially among the noble patrons whom Mozart was attempting to please. Delicacy, charm, grace, and tunefulness were of prime importance. The opening Allegro and the closing Rondo in minuet tempo and style are purely galant. The slow movement, on the other hand, is expressive in a way that we know even from

Mozart's greatest works, its passing chromaticisms embellishing the melodies with delicate sighs. Ever since the soaring, fanfare-like main theme that he composed for Star Wars brought him to prominence, John Williams has been in demand to write more fan- fares for special occasions. When the Boston Pops was invited to perform at the Fourth of July ceremony in 1986, at which the restored Statue of Liberty was unveiled and her torch relit, Williams was commissioned to write a new fanfare, to be heard 'round the world during the concert televised as part of the weekend's festivities. By their very nature, fanfares are brief and affirmative; they bring people together for a few minutes of celebration and remembrance, lifting spirits and lightening hearts. One of the many lives led by the late, multi-faceted Leonard Bernstein was as a composer for the Broadway stage, among the most gifted and influential we've ever had. Bernstein's first show, On the Town (1944), was also the first show for his col- laborators, Betty Comden and Adolph Green for book and lyrics, Jerome Robbins for direction and choreography. All four went on to significant careers in the theater. On the Town tells a simple story of three sailors stationed at the Brooklyn Naval Yard during World War II who enjoy twenty-four hours of leave in "New York, New York.

It's their first visit and they're determined to make the most of it, seeing the sights and falling in love. One of the sailors spends the day in a vain search for Miss Turnstiles, with whom he has fallen in love from a subway advertisement; he finds New York to be a "Lonely Town." Following Wonderful Town and Candide, Bernstein composed West Side Story (1957), an adaptation of Shakespeare's Romeo and Juliet with a book by Arthur Lau- rents, lyrics by Stephen Sondheim (his first Broadway credit), direction and choreog- raphy by Robbins, and Leonard Bernstein's masterful score, the most musically un- ified and dramatic score yet composed for Broadway. The tragedy of two young people whose love crosses the boundary between two rival teen gangs, leading ultimately to death, is projected in music of extraordinary vividness and power. One of the show's most touching songs occurs in a fantasy sequence of the world as it is not: the yearn- ing "Somewhere." Most visitors from outer space in literature and films have been terrifying and threatening "bug-eyed monsters"; none has captivated the hearts of audiences as completely as a frightened and hapless extra-terrestrial biologist inadvertently aban- doned on earth and befriended by a lonely boy. John Williams's score for the 1982 film E.T. (The Extra-terrestrial) reaches nearly operatic levels of expressiveness in the climactic episode which historians of film music rank as one of the greatest scores

of all time. Few listeners can resist the stirring "lift" of the soaring "flying" music, when E.T. and Elliott evade their pursuers in a wonderful bicycle chase. In 1880, Pyotr Ilyich Tchaikovsky promised Nikolai Rubinstein that he would

compose an occasional piece to celebrate the Silver Jubilee of Tsar Alexander II, the "Tsar-Liberator," who had ascended the throne in 1855 and six years later issued the Edict of Emancipation that freed the serfs, who comprised one-third of Russia's popu-

lation. During the summer and early fall of 1880 Tchaikovsky worked on the celebra- tory piece along with another work, composed purely for his own musical satisfaction, his Serenade for Strings, Opus 48. The former, finished on October 18, was a single-

movement orchestral work that he labeled an overture with the formal title The Year 1812. To any Russian the date 1812 instantly conjured up the image of Napoleon's invasion of Russia, his conquest of Moscow, and his devastating, ignominious retreat with only a tiny percentage of his army, most of which had been destroyed by extremes of winter weather and lack of food. Tchaikovsky composed his musical tribute to the Russian victory essentially as a potboiler, aimed at popular success. Without ques- tion he achieved his goal. The quotation of familiar tunes (familiar, at any rate, to his

Russian audience in the 1880s) guaranteed a patriotic response as it reminded them

of the historical events: the hymn ''''God Preserve the Tsar," which opens the piece, the appearance of the "Marseillaise," symbolizing the invading French army, the musical battle between the two sides and the gradual overwhelming of the "Marseillaise" by the Russian music, and finally the Imperial anthem, reinforced by bells and cannon —all this has made the overture a popular showpiece from its very first performance. —Steven Ledbetter

Artists

Seiji Ozawa is Music Director of the Boston Symphony Orchestra.

Pianist/conductor/teacher Leon Fleisher is now in his tenth year as Artistic Director of the Tanglewood Music Center.

John Williams is Laureate Conductor of the Boston Pops and Artist-in-Residence at Tanglewood. Emanuel Ax has performed regularly with the Boston Symphony Orchestra at Symphony Hall and at Tanglewood since his BSO debut at Tanglewood in 1978. Italian pianist Maria Tipo made her Boston Symphony debut in December 1991 after nearly three decades' absence from performing in North America. Her appearance

this evening is her third at Tanglewood this summer, following a chamber music concert and this past weekend's performance as soloist with the BSO.

3Q .-.;... : Tanglewood Music Center 1994 Fellowship Program

Violin Ashley Stevens, Cheltenham, England Jorge Avila, San Pedro Sula, Honduras Rapaporte Foundation Fellowship Omar Del Carlo Tanglewood Fellowship Vita Wallace, Philadelphia, PA Nurit Bar-Josef, Needham, MA Presser Foundation Fellowship Hannah and Raymond Schneider Fellowship Katherine Wolfe, Minnetonka, MN liana Blumberg, El Cerrito, CA Gerald Gelbloom Memorial Fellowship Karl Burack Memorial Fellowship Bing JingYu, Levittown, PA Glen Cherry, Vermillion, SD Starr Foundation Fellowship Carolyn and George Rowland Fellowship in Honor ofEleanor Panasevich Viola Guillaume Combet, Chatellerault, France Karin Addis, Iowa City, IA Florence Gould Foundation Fellowship Dr. Marshall N. Fulton Memorial Fellowship Amy Cutler, San Ramon, CA Andrew Cahoon, Vienna, VA Anonymous Fellowship Frederic and Juliette Brandi Fellowship Sara DeCorso, Fairbanks, AK Chung-Hoon Peter Chun, Seoul, Korea Mr. and Mrs. Robert E. Remis Fellowship Daphne Brooks Prout Fellowship Joseph Evans, Salt Lake City, UT Matthew Dane, Veazie, ME Patricia Plum Wylde Fellowship Marion Callanan Memorial Fellowship Gregory Ewer, Houston, TX Marka Gustavsson, Greencastle, IN Jane W. Bancroft Fellowship Red Lion Inn Fellowship Jason Horowitz, Amherst, MA Jessica Nance, Ann Arbor, MI Eunice Cohen Fellowship Helena Segy Foundation Fellowship Helen Kim, Timonium, MO Irina Naryshkova, Novosibirsk, Russia Mr. and Mrs. David B. Arnold, Jr. Fellowship Miriam and Sidney Stoneman Fellowship Beth Kipper, New York, NY Charles Noble, Puyallup, WA Bristol-Meyers Squibb Foundation Anonymous Fellowship Fellowship Mari Sawada, Tokyo, Japan Joan Kwuon, Los Angeles, CA Boston Symphony Orchestra Fellowship Mr. and Mrs. Frank M. Moody Fellowship Naoko Shimizu, Tsukuba, Japan Maria Lin, Tappan, NY Boston Symphony Orchestra Fellowship Edward S. Brackett, Jr. Fellowship Jessica Troy, Setauket, NY Noriko Matsuda, Tokyo, Japan James A. Macdonald Foundation Fellowship William Kroll Memorial Fellowship Joli Wu, Santa Monica, CA Ioana Missits, Cluz, Romania Gilbert Cohen Memorial Fellowship Ruth and Alan Sagner Fellowship Yoe Miyazaki, Tokyo, Japan Cello Leo L. Beranek Fellowship Hilary Brown, Nova Scotia, Canada Lyrico Nakajima, Tokyo, Japan Klaus and Bobbie Hallig Fellowship Aso Tavitian Fellowship Katherine Cherbas, Bloomington, IN Atsuko Neriishi, Yokohama, Japan Mr. and Mrs. William C. Rousseau Morris A. Schapiro Fellowship Fellowship Evangeline Peters, New Albany, IN Kari Docter, Bloomington, MN Max Winder Violin Fellowship Harry and Mildred Remis Fellowship Anna Presler, Berkeley, CA Julian Hersh, Mill Valley, CA Albert L. and Elizabeth P. Nickerson Naomi and Philip Kruvant Fellowship Fellowship Ludmila Konstantinova, Sofia, Bulgaria Kathryn Robertson, Fort Wayne, IN Dr. John H. Knowles Memorial Fellowship Clowes Fund Fellowship Jason McComb, Vancouver, WA Leslie Ryang, East Amherst, NY Mr. and Mrs. Richard M. Fraser Fellowship Edward G. Shufro Fellowship Jennifer Morsches, New York, NY Anait Seiranian, Pittsburgh, PA Mr. and Mrs. Belvin Friedson Fellowship Philip and Bernice Krupp Fellowship Katie Schlaikjer, Concord, MA Clarinet Susan Kaplan/Ami Trauber Fellowship Scott Andrews, Virginia Beach, VA Rebecca Thornblade, Newton, MA Barbara Lee/Raymond E. Lee Foundation Priscilla H. Garlock Fellowship Fellowship Julia Tom, Berkeley, CA Igor Begelman, Brooklyn, NY Luke B. Hancock Foundation Fellowship Kandell Family Fellowship Benjamin Wolff, New York, NY Eric Bradbury, Boston, MA Charles E. Culpeper Foundation Fellowship Housatonic Curtain Company Fellowship Amos Yang, San Francisco, CA Hana Kim, Seoul, Korea Northern California Fund Fellowship Boston Symphony Orchestra Fellowship Jocelyn Langworthy, Woodbury, MN Double Bass Helene R. and Norman Cahners Fellowship Scott Best, Newton, MA Lucy Lowell Fellowship Bass Clarinet John Grillo, Oceanside, NY David Chalick, Santa Barbara, CA Surdna Foundation Fellowship Leonard Bernstein Fellowship Donald Howey, Sudbury, MA BayBanks Fellowship Saxophone Jeremy Hulick, Vergennes, NY John Miller, Glasgow, Scotland Stanley Chappie Fellowship English-Speaking Union Fellowship Michael Kazepides, British Columbia Anonymous Fellowship Bassoon/Contrabassoon David Moore, Los Angeles, CA Lynne Feller, Rochester, NY Koussevitzky Music Foundation Fellowship Boston Symphony Orchestra Fellowship in Memory ofMargaret Grant Hiromi Imura, Osaka, Japan Burke Shaw, Poughkeepsie, NY Sherman Walt Fellowship Caroline Grosvenor Congdon Memorial J. Christopher Marshall, Hurst, TX Fellowship Robert G. McClellan, Jr. and IBM Matching Grant Fellowship

Flute Valentin Martchev, St. Zagora, Bulgaria Jennifer Dame, Phoenix, MD Mr. and Mrs. John C. Haas Fellowship James and Athena Garivaltis Fellowship Ryan Simmons, Huntington Beach, CA Shannon Finney, Chicago, IL Mrs. Harris Fahnestock Fellowship Susan Morse Hilles Fellowship Christina Jennings, Ann Arbor, MI Horn Tappan Dixey Brooks Fellowship Christopher Caudill, The Woodlands, TX Zara Lawler, New York, NY Boston Symphony Orchestra Fellowship Anonymous Fellowship Christopher Cooper, Millbrae, CA Demarre McGill, Chicago, IL Rosamond Sturgis Brooks Fellowship Nathan Cummings Foundation Fellowship Christopher Gongos, Ontario, Canada Lia and William Poorvu Fellowship Oboe Stephen Kostyniak, Burnt Hills, NY Erin Gustafson, Puyallup, WA Frelinghuysen Foundation Fellowship Augustus Thorndike Fellowship Elizabeth Rhodes, Whitewater, WI Eugene Izotov, Highland Park, NJ Boston Symphony Orchestra Fellowship Geraldine R. Dodge Foundation Fellowship George Warnock, Boulder, CO Alexandra Knoll, Pietermaritzburg, Arthur Fiedler/ Leo Wasserman Fellowship South Africa Mr. and Mrs. Hugh Downs Fellowship Trumpet Kathy Lord, Springfield, PA Daniel Duncan, Waltham, MA Stephen and Persis Morris Fellowship Andre Come Memorial Fellowship Marilyn Schram, Anaheim, CA Mark Inouye, New York, NY Fernand Gillet Memorial Fellowship Country Curtains Fellowship Gary Peterson, Brookline, MA Armando A. Ghitalla Fellowship Richard Watson, Danvers, MA Boston Company Fellowship Jeffrey Work, Ann Arbor, MI Hiroko Sasaki, Tsu-City, Japan Wynton Marsalis Fellowship Marie Gillet Fellowship Michael Torre, San Bruno, CA Tenor Trombone Paul Jacobs Memorial Fellowship Mark Horner, Bar Harbor, ME Orit Wolf, Mevaseret, Israel Judy Gardiner Fellowship Marilyn Brachman Hoffman Fellowship Eran Levy, Naharia, Israel Lola and Edwin Jaffe Fellowship Composition Scott Pemrick, Brookline, MA Anthony Brandt, Cambridge, MA J. P. and Mary Barger Fellowship Aaron Copland Fundfor Music Fellowship Gregory D'Alessio, New York, NY Bass Trombone Otto Eckstein Family Fellowship Jeremy Van Hoy, Detroit, MI Ronald Ford, Amsterdam, The Netherlands Robert and Sally King Fellowship Ann and Gordon Getty Foundation Fellowship Tuba Micha Hamel, Amsterdam, The Netherlands Steve Campbell, Brenham, TX Benjamin Britten Memorial Fellowship David R. and Muriel K. Pokross Fellowship Chris Theofanidis, Stamford, CT Bessie Pappas Fellowship Timpani/Percussion Alessandrolimossi, Genoa, Italy Barry Dove, Baltimore, MD Olivetti Foundation Fellowship Frederick W. Richmond Foundation Jason Uechi, Kealakekua, HI Fellowship DeWitt Wallace-Reader s Digest Fund Jonathan Fox, Norwood, MA Fellowship Edward G. Shufro Fellowship Jerome LaCorte, Mentor, OH Conducting Class Juliet Esselborn Geier Memorial Fellowship Pei-Yu Chang, Taipei, Taiwan Charles Lawyer, Bloomington, IN Mr. and Mrs. Allen Z. Kluchman Fellowship Boston Symphony Orchestra Fellowship Stephen D'Agostino, Lindenhurst, NY Alex Orfaly, Belmont, MA Leonard Bernstein Fellowship Rita Meyer Fellowship Achim Fiedler, Aichtal, Germany JohnTanzer, Bedford, MA Willy Schaller Fellowship Berkshire Insurance Company Life Jurjen Hempel, Almere, The Netherlands Fellowship Seiji Ozawa Fellowship Eric Lindholm, Stamford, CT Harp William and Mary Greve Foundation Han, Seoul, Korea June Fellowship John and Susanne Grandin Fellowship Kevin Noe, Houston, TX Elisabeth Remy, Brewster, MA Maurice Abravanel Scholarship Harry and Marion Dubbs Fellowship! Jonathan Shames, Ithaca, NY Brookline Youth Concerts Awards Koussevitzky Music Foundation Fellowship Committee Fellowship and Kathleen Hall Keri-Lynn Wilson, New York, NY Banks Fellowship Edward and Joyce Linde Scholarship Piano/Keyboard Chamber Ensemble Residency Melvin Chen, Nashville, TN William R. Housholder Fellowship Rackham String Quartet Yuliya Gorenman, Walnut Creek, CA Lenora-Marya Anop, Rochester, NY Billy Joel Keyboard Fellowship William Randolph Hearst Foundation Fellowship Paige Hoffman, New York, NY Baldwin Piano and Organ Company Laurel Butler, Rochester, NY Fellowship Haskell Gordon Memorial Fellowship Hsing-Chwen Hsin, Taipei, Taiwan Kenneth Martinson, Rochester, NY Merrill Fellowship William J. Rubush Memorial Fellowship Lynch Pei-Yee Lee, Taipei, Taiwan Andrew Ruben, Rochester, NY Peggy Rockfeller Fellowship William F. and Juliana W. Thompson Fellowship Amernet String Quartet Cristina Stanescu, Craiova, Romania Javier Arias-Flores, Mexico City, Mexico Stokes Fellowship Omar Del Carlo Tanglewood Fellowship Valerie Trujillo, Tallahassee, FL Malcolm Johnston, Glasgow, Scotland Mrs. Peter LB. Lavan Fellowship Ruth S. Morse Fellowship Kyoko Kashiwagi, Cincinnati, OH Phyllis Curtin Seminar for Singers Darling Family Fellowship Michelle Abadia, Caguas, Puerto Rico Marcia Littley de Arias, Cincinnati, OH Boston Symphony Orchestra Scholarship Boston Symphony Orchestra Fellowship Heidi Anderson, Sharon, MA Berkshire County Savings Bank Scholarship Voice Anne Berg, Brookline, MA Laura Bewig, Andover, MA Boston Symphony Orchestra Scholarship Theodore Edson Parker Foundation Anna-Maria Bogner, Dachau, Germany Fellowship Aaron Borst, Bay Village, OH Stephanie Blythe, Potsdam, NY Evelyn and Phil Spitalny Scholarship Bernice and Lizbeth Krupp Fellowship Jacqueline Bozza, Massapequa, NY SeongSook Choi, York, New NY William E. Crofut Family Scholarship Leonard Bernstein Fellowship David Dillard, Austin, TX Robert Eich, Sound Beach, NY Leah Jansizian Memorial Scholarship Francis and Caryn Powers Fellowship Stacey Fraser, Glasgow, Nova Scotia Margery Hellmold, York, New NY Boston Symphony Orchestra Scholarship Nancy Lurie Marks Fellowship Jenny Shang-Chen Fu, Taiwan Randall Jakobsh, Toronto, Ontario, Canada Stuart Haupt Scholarship Donald Bellamy Sinclair Fellowship Virginia Green, Durham, NC Yoon-Sook Lee, Seoul, Korea Dorothy and Montgomery Crane Scholarship Mr. and Mrs. Victor P. Levy Fellowship Jennifer Griffith, Baltimore, MD Thomas Lehmkuhl, Lafayette, CA Mary H. Smith Scholarship Mildred A. Leinbach Fellowship Anne Harley, Brighton, MA Deanne Meek, New York, NY Elizabeth Kennedy, St. Louis, MO Ann and Gordon Getty Foundation Boston Symphony Orchestra Scholarship Fellowship Jennifer Marquette, Indiana, PA Thomas Meglioranza, Wayne, NJ Julia Oesch, Hattershein, Germany Geraldine R. Dodge Foundation Fellowship Claire and Millard Pryor Scholarship Kelley Nassief, Beaverton, OR David Ossenfort, Tuckahoe, NY Abby and Joe Nathan Fellowship Tanglewood Programmers and Ushers Helena Rasker, Amsterdam, The Netherlands Scholarship Charles L. Read Foundation Fellowship Savitri Pedraglio, Wardha, India Vocal Accompaniment Sarah Pelletier, Attleboro, MA Cynthia L. Spark Scholarship Chien Chou, Toronto, Ontario, Canada Cynthia Plumb, Storrs, CT Boston Symphony Orchestra Fellowship Eugene Cook Scholarship John Churchwell, Minneapolis, MN Anne Riesenfeld, Cambridge, Harry Stedman Fellowship MA Chad Smith, Gettysburg, PA Jonathan Faiman, New York, NY Tisch Foundation Scholarship Wilhelmina Sandwen Fellowship Katherine Soscia, Rochester, NY Joseph Lawson, Los Angeles, CA Richard F. Gold Memorial Scholarship Ruth and Jerome Sherman Fellowship Lynn Spurgat, St. Joseph, MO Caren Levine, Valley Stream, NY R. Amory Thorndike Fellowship Leah Summers, Miami, FL Andrall Joanne Pearson Scholarship Anna Marchwinska, Warsaw, Poland and Felicia Montealegre Bernstein Fellowship Christine Szabo, Ontario, Canada Kyle Nobles, Stamford, CT Shawn Verges, Sudell, LA Boston Symphony Orchestra Scholarship Mr. and Mrs. Vincent J. Lesunaitis Fellowship Jennifer Wagner, Louisville, KY Dana Whiteside, Jamaica Plain, MA Nat Cole Memorial Scholarship Boston Symphony Orchestra 1993-94

Boston Symphony Orchestra Seiji Ozawa, Music Director

Music Directorship endowed by John Moors Cabot

First Violins Joseph McGauley Luis Leguia Malcolm Lowe Leonard Moss Robert Bradford Newman chair Concertmaster * Harvey Seigel Carol Procter Charles Munch chair * Nancy Bracken Lillian and Nathan R. Miller chair Tamara Smirnova-Sajfar * Ronald Feldman *Aza Raykhtsaum Associate Concertmaster Charles and JoAnne Dickinson Helen Horner Mclntyre chair Ronan Lefkowitz chair Victor Romanul *Bonnie Bewick *Jerome Patterson Assistant Concertmaster *James Cooke *Jonathan Miller Robert L. Beal, and §Joseph Conte *Owen Young Enid L. and Bruce A. Beal chair §Joseph Scheer John F. Cogan, Jr., and Laura Park Mary Cornille chair Assistant Concertmaster §Lisa Crockett Edward and Bertha C. Rose chair Basses Bo Youp Hwang Violas Edwin Barker and Dorothy Wilson chair, John Rebecca Young Principal fullyfunded in perpetuity Principal Harold D. Hodgkinson chair Lucia Lin Charles S. Dana chair Lawrence Wolfe Forrest Foster Collier chair Assistant Principal Leo Panasevich Assistant Principal Maria Nistazos Stata chair, Carolyn and George Rowland Anne Stoneman chair, fullyfunded in perpetuity chair fullyfunded in perpetuity Joseph Hearne Gottfried Wilfinger Ronald Wilkison Leith Family chair, Dorothy Q. and David B. Arnold, Lois and Harlan Anderson chair fullyfunded in perpetuity Jr., chair, fullyfunded in Robert Barnes John Salkowski perpetuity Burton Fine Joseph and Jan Brette Hearne chair Alfred Schneider * Robert Olson Muriel C. Kasdon and Joseph Pietropaolo *James Orleans Marjorie C. Paley chair Michael Zaretsky *Todd Seeber Raymond Sird Marc Jeanneret Ruth and Carl Shapiro chair *Mark Ludwig *John Stovall Ikuko Mizuno * Dennis Roy * Rachel Fagerburg Amnon Levy * Theodore W. and Evelyn Berenson Edward Gazouleas Flutes Family chair *Kazuko Matsusaka

*Jerome Rosen § Emily Bruell Principal Walter Piston chair * Sheila Fiekowsky *Jennie Shames Cellos Assistant Principal * Valeria Vilker Kuchment Jules Eskin Marian Gray Lewis chair, *Tatiana Dimitriades Principal fullyfunded in perpetuity Philip R. Allen chair *Si-Jing Huang Fenwick Smith Martha Babcock Acting Assistant Principal Second Violins Assistant Principal Myra and Robert Kraft chair Vernon and Marion Alden chair Marylou Speaker Churchill § Catherine Payne Principal Sato Knudsen Fahnestock chair Esther S. and Joseph M. Shapiro Piccolo Vyacheslav Uritsky chair Geralyn Coticone Assistant Principal Joel Moerschel Evelyn and C. Charles Marran Charlotte and Irving W. Rabb Sandra and David Bakalar chair chair chair * Robert Ripley Oboes Ronald Knudsen Richard C. and Ellen E. Paine Edgar and Shirley Grossman chair chair, fullyfunded in perpetuity Alfred Genovese Principal Mildred B. Remis chair Wayne Rapier *Participating in a system of rotated Keisuke Wakao seating Assistant Principal %0n sabbatical leave

§ Substituting, Tanglewood 1994 English Horn Trombones Librarians Robert Sheena Ronald Barron Marshall Burlingame Beranek chair, fullyfunded Principal Principal in perpetuity J.P. and Mary B. Barger chair, William Shisler fullyfunded in perpetuity James Harper Clarinets Norman Bolter Assistant Conductors Principal Bass Trombone Thomas Dausgaard Ann S.M. Banks chair Douglas Yeo Thomas Martin Elizabeth and Allen Z. Kluchman Acting Principal Tuba chair William R. Hudgins David Wroe Chester Schmitz Anna E. Finnerty chair Acting Assistant Principal Margaret and William, C. § Julie Vaverka Rousseau chair Personnel Managers Bass Clarinet Timpani Lynn Larsen Bruce Craig Nordstrom ^Everett Firth M. Creditor Farla and Harvey Chet Sylvia Shippen Wells chair Krentzman chair Stage Manager Percussion Position endowed by Bassoons Thomas Gauger Angelica Lloyd Clagett Richard Svoboda Peter and Anne Brooke chair Peter Riley Pfitzinger Principal Frank Epstein Edward A. Taft chair Stage Assistant J. William Hudgins Roland Small Harold Harris Richard Ranti Timothy Genis Associate Principal Assistant Timpanist Contrabassoon Harps Gregg Henegar Ann Hobson Pilot Helen Rand Thayer chair Principal Willona Henderson Sinclair chair Horns Sarah Schuster Ericsson Charles Kavalovski Principal Helen SagojfSlosberg chair Richard Searing Associate Principal Margaret Andersen Congleton chair Daniel Katzen Elizabeth B. Storer chair Jay Wadenpfuhl Richard Mackey Jonathan Menkis Trumpets Charles Schlueter Principal Roger Louis Voisin chair Peter Chapman Ford H. Cooper chair Timothy Morrison Associate Principal Thomas Rolfs

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First Violin Sang-hee Moon, Taipei Karin Brown, Santa Cruz, CA Cathey Park, Beaverton, OR %' Shinn Hirayama, Colmar, France Cynthia Racine, Haiti Christine Kiang, Bridgewater, NJ Jacob Szekely, Lexington, KY Aimee Llewellyn, Fairfax, VA Stacy Markowitz, Ithaca, NY Double Bass Kaycee Milne, Las Vegas, NV Eric Bernasek, Lawrenceville, NJ Monica Ransom, Farmington, CT Charles Carleton, Westport, CT Pamela Saxena, Montclair, NJ Stephen Dress, Longmeadow, MA Ji Hyun Son, Tenafly, NJ David Grossman, New York, NY JWeF William Stadel, Stamford, CT Karen Levy, Greer, SC Timothy Walt, Williamstown, MA Colin O'Bryan, Troy, NY Hilan Warshaw, New York, NY Michael O'Connell, Newport, RI Amy Wood, Harvard, MA Flute Second Violin Julee Avallone, Amston, CT Adam Baer, Bellmore, NY Amy Guitry, Worthington, OH imepe Jessica Chow, Davis, CA Robert Pagan, Brooklyn, NY Marlisa del Cid, Fairfax, VA Joan Susie Woo, Glendale, CA SfilBl Noah Gedrich, Irvington, NY William Hakim, Summit, NJ Oboe I Katharina Karner, Graz, Austria Naomi Bensdorf, Evanston, IL Lauren Kim, Jasper, AL Katrena Mergen, Mt. Kisco, NY I Susannah Kussmaul, Media, PA Katinha Montoya, Coon Rapids, MN a. < • * Melissa Lesniak, Boca Raton, FL Amber Vora, Houston, TX Aron Mujumdar, Birmingham, AL Alexia Taylor, Lee, NH Clarinet Hillary Zipper, Cumberland, ME David Chang, Corona, CA Emily Codieck, Eugene, OR Viola Keith Lipson, Malibu, CA George Davis, Montgomery, AL Daniel Schwab, Berkeley, CA Karen Freeman, Bedford, MA Julie Giattina, Birmingham, AL Bassoon Isabel O'Meara, Northport, NY Patricia Dusold, Glenn Dale, MD Ben Landsverk, Portland, OR Erik Holtje, Wilmette, IL Hannah Richmond, Newton Ctr., MA Hazel Malcomson, Carlisle, MA Doris Tse, Kowloon, Hong Kong Laurel Sharp, Johnstown, OH Mercy Vaillancourt, Woonsocket, RI Abigail Wilson, Charlottesville, VA Horn Russell Beebe, Billerica, MA Cello Nicole Cash, Annandale, VA Susan Babini, Mesa, AZ Katherine Higgins, Wadsworth, OH Michael Buck, Scarsdale, NY Jennifer Montone, Burke, VA Gretta Cohn, Dix Hills, NY Hans Sachs, Tacoma, WA Ariel de Wolf, Richmond, CA Jennifer Eldridge, Kingsport, TN Trumpet Fay Ferency, Hingham, MA Paul Bhasin, Westfield, NJ Renee Goubeaux, Upper Arlington, OH Daniel Lee, Vienna, VA Michael Hakim, Summit, NJ Robert Singer, Reston, VA Antonio Innaimo, Middlebury, CT Michael Zonshine, Agoura Hills, CA Douglas Jameson, Newport, RI Kristen Jones, Delmar, NY Matthew McFarlane, Montreal, Quebec Tenor Trombone Orchestra Librarian Sarah Privler, Sterling, VA Christopher Caproni Colin Williams, Westboro, MA Stage Management Bass Trombone Matt Filippi Sean Gavin, St. Paul, MN Michael Cormier

Tuba Boston University Charles Kerrigan, Rockville, NY Bruce MacCombie, Dean, Schoolfor the Arts, Artistic Director, BUTI Timpani/Percussion Christopher Kendall, Director, Music Division, Marc Damoulakis, Westborough, MA Music Director, BUTI Daniel Dupuis, Laguna Niguel, CA Phyllis Curtin, Artistic Advisor Michael LaMattina, Lawrenceville, Ga Karen Minzer, Cedar Knolls, NJ Tanglewood Institute Mike Shepherd, Eden, NC Ruthann M. C angelosi, Administrator Julie Anne Phaneuf, Director of Scheduling, Coordinator Sr. StaffAssistant

J. Samuel Pilafian Sheri Mule, Office Assistant Jonathan Newman, Office Assistant Associate Coordinator/Manager Valerie Wagenfeld, Office Intern John Yaffe Patty Foley, Director of Operations, West Street Campus

The Boston University Tanglewood Institute

This summer marks the 29th season of the Boston University Tanglewood Institute. Since 1966, the Boston University Tanglewood Institute has been a summer program of Boston University and the Tanglewood Music Center. The Institute includes four Young Artists Programs for students aged 14 to 18 (Instrumental, Vocal, Piano, and Composition), six Institute Seminars for students aged 14 and older (Flute, Harp, Clarinet, Empire Brass, Saxophone, and Listening and Analysis), and the Adult Music Seminars. Many of the Institute's students receive financial assistance from funds contributed by individuals, foundations, and corporations to the Boston Uni-

versity Tanglewood Institute Scholarship Fund. If you would like further information about the Institute, please stop by the BUTI Office on Tanglewood's Leonard Bern- stein Campus or call (413) 637-1430. —

Additional Acknowledgments

The Tanglewood Music Center acknowledges with gratitude the following gifts to under- write faculty positions in 1994:

Berkshire Chair—Phyllis Curtin Dr. and Mrs. Edward L. Bowles Chair—Fenwick Smith, flute Richard Burgin Chair—Eugene Lehner, viola Charles E. Culpeper Foundation Chair—Gilbert Kalish, Chairman of the Faculty Renee Longy Chair, a gift of Jane and John Goodwin—Dennis Helmrich, vocal music coach Marian Douglas Martin Chair, endowed by Marilyn Brachman Hoffman Peter Serkin, piano Beatrice Sterling Procter Chair—Louis Krasner, violin Frederick W. Richmond Foundation Chair—Joel Krosnick, cello Sana H. Sabbagh and Hasib J. Sabbagh Chair—Gustav Meier, conductor Surdna Foundation Chair—Edwin Barker, double bass

The following endowed funds provide extraordinary support for the teaching activities of the Tanglewood Music Center: Louis Krasner Fund, established by Marilyn Brachman HofFman Eleanor Naylor Dana Visiting Artist Fund Paul Jacobs Memorial Commissioning Fund

The Tanglewood Music Center also acknowledges with gratitude

• the generosity of the Bose Corporation, which has provided loudspeaker systems for performances in Seiji Ozawa Hall throughout the 1994 Tanglewood season • TDK Electronics Corporation, for the donation of audio cassettes for use in recording

The Tanglewood Music Center is also supported in part through a grant from the National Endowment for the Arts.

Cover art from an original watercolor by Marilyn Larkin

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