sign in sign up
<<
Home , Charles Fussell, Elliott Carter, Florence Millet, George Perle, Gustav Meier, Kermit Poling

Tanglewpd Music Center 1988-1989 Theodore Antoniou Season Music Director

September 24 KUCYNA INTERNATIONAL COMPOSITION COMPETITION < FINALISTS CONCERT 7 PM J. Bennett III, , K. Bokas, Greece, P. Borradori, , E. Cory, United States, S. Hodkinson, Canada, D. Minakakis, Greece, K. Olson, United States, W. Susman, United States, H. Vogt, Federal Republic of Germany, C. Wang, People's < Republic of China November 10 (American Music Week - Nov. 7-13) "THOSE WONDERFUL AMERICANS" 8:30 PM Brown, Cohen, Danielpour, Druckman, Lewis Hall, Perle, Welcher. 7:15 PM Meet the experimentalists: Cage, Headrick/Rogers

December 2 "ALEA'S ONGOING PARADE" 8:30 PM Phyllis Curtin, Joan Heller, Raphael Hillyer, Mark Kroll, Dana Mazurkevich, Yuri Mazurkevich, Roman Totenberg, Maria Clodes-Jaguaribe

February 10 'S WORKSHOP CONCERT 7PM Bresnick, Carl, Koblitz, Korde, Kyr, Nelson, Saunway

March 23 "ONGOING PANORAMA OF " 8:30 PM David, Constantinides, Gerhard, Yun, Balassa, Christodoulidis 7:15 Meet the experimentalists: Musgrave, Reidel

April 26 & 27 AN EVENING OF CONTEMPORARY 8:30 PM

A. Rogers, T.O. Lee, J. Legg

BOSTON UNIVERSITY CONCERT HALL 855 Commonwealth Avenue For concert details call (617) 353-3340 1988 FESTIVAL OF CONTEMPORARY MUSIC and Leon Fleisher, Festival Coordinators sponsored by the Tanglew(©d Music Leon Fleisher, Artistic Director Center , Chairman of the Faculty , Composer-in-Residence Oliver Knussen, Coordinator of Contemporary Music Activities

Richard Ortner, Administrator James E. Whitaker, Chief Coordinator Harry Shapiro, Manager

Works presented at this year's Festival were prepared under the guidance of the following Tanglewood Music Center Faculty:

Terry Dec i ma Gilbert Kalish Frank Epstein Oliver Knussen Fenwick Smith Margo Garrett Donald MacCourt Pascal Verrot Dennis Helmrich Gustav Meier Roger Voisin Philip Highfill John Oliver Max Hobart Carl St. Clair

1988 Visiting Composer/Teachers

Elliott Carter

The Tanglewood Music Center is maintained for advanced study in music and sponsored by the Orchestra.

Seiji Ozawa, Music Director Kenneth Haas, Managing Director Daniel R. Gustin, Manager of Tanglewood

The 1988 Festival of Contemporary Music is sponsored in part by a grant from the PepsiCo Foundation. .

Contemporary Music at Tanglewood

Celebrating a Silver Anniversary: Twenty-five Years of the Festival of Contemporary Music In 1964, the scattered new-music ac- at Tanglewood tivities of the Center were combined for the first time into a single week of intense New music has been an important part concert activity, designed (in Schuller's of the Tanglewood Music Center since the words) as "a forum for new ideas and direc- early years. The very constitution of the tions in music." Most of the concerts were school, with young taking part given by the Fellows of the Music Center, as much as instrumentalists, singers, and in varying combinations of small chamber conductors, encouraged interaction be- ensembles, large chamber ensembles (or tween creators and performers. But in the small orchestra), and full orchestra. There mid-1950s a large step was taken to pro- were, in addition, one or two programs mote that interaction in a more focused each year given by established profes- way. The late Paul Fromm, an immigrant sional musicians, whether drawn from the from Germany who made his living as a faculty of the Music Center or brought in wine importer, but who became one of the from the outside. most significant patrons of music in our Officially named the Festival of Contem- century, established a formal connection porary Music (FCM), the event was quickly between the Fromm Music Foundation and dubbed "Fromm week" in tribute to the the Berkshire Music Center (as it was then animating spirit and generous financial called). Beginning in 1957, the Fromm support of the Fromm Music Foundation. Foundation provided several fellowships Every year the Festival included recent each year specifically for performers who compositions of the most varied kinds, would play new music and who would "classic" modern works that had been par- work with the composers-in-residence on ticularly influential in the development of the preparation of new works. From ten musical language in the twentieth-century, fellowships in 1957, the number increased and brand new works, newly commis- to as many as forty by the early '70s. sioned by the Fromm Music Foundation Meanwhile an important change had and premiered at Tanglewood. Some com- taken place. When Erich Lei nsdorf became missions went to established composers, music director of the Boston Symphony of course, but many of them went to young Orchestra, he took an active role in the artists who had begun to make a name for program of the Music Center, beginning themselves. Very quickly the cachet of a with the season of 1 964. Rather than bring- "premiere at Tanglewood" became one of ing certain Fellows to Tanglewood as spe- the important lines in a composer's re- cialists in new music, every participant sume, and Tanglewood during "Fromm played in concerts of contemporary music, week" came to be widely regarded as one often with the composer present to coach, of the capitals of the new-music world. discuss, and explain. To be sure, some leveled criticisms at explained the logic behind the change: the notion of a "new-music ghetto," plac- "Creation (composition) and re-creation ing all (or most) of the contemporary activ- (performance) are inevitably linked; the ity into a single week, rather than scattering one cannot survive without the other. . . it throughout the entire season. And while

It therefore becomes the obligation of the ideal of a comfortable mixture of old every performing musician to keep the life- and new music on the programs of the stream of music—composition—going and Music Center (and, indeed, of the Boston moving forward." Symphony Orchestra or any other major performing organization) is without ques- centrated week of activity largely or- tion the healthiest way of organizing one's ganized by a composer of broad taste and

overall musical life, the very concentration enthusiasm. , as the com- of the FCM helped attract wide attention poser-in-residence for 1985, played the

and made it possible for those who really major role in that year's Festival. Since wanted to hear what was happening in the 1986, the FCM has been organized by musical world of the day to find out in a British composer Oliver Knussen, himself concentrated dose offered within a conve- a former Tanglewood student of Schuller's, nient time-frame. whose broad musical tastes and generous The Festival had an important effect on spirit he shares. Under his direction, recent the music-making of the participants over festivals have developed in several ways: the years. Those Fellows who had already they have emphasized first U.S. hearings taken an active part in the musical life of of younger European composers; a new their time before coming to Tanglewood program of Memorial Commis- had the opportunity to broaden their in- sions has been started, funded by the estate terests, to meet composers whose music of the late pianist; the Festival now in- they were playing, and to confirm their cludes a series of "electro-acoustic pre- dedication to the artistic life of the present ludes" of music on tape, a significant cate- day. And each year there are some students gory that had been underrepresented ear- in the program who have never before lier; and perhaps most important, the Festi- played a work by a living composer, cer- val seeks out and presents the work of the tainly not one by a composer who was youngest composers, the generation under present for the rehearsals and the perform- thirty, often providing their first hearings in ance. The opportunity to experience this a major forum. special thrill of developing a performance This year the Festival of Contemporary of something new, often with the collabora- Music celebrates its twenty-fifth anniver- tion of the artist who had created the piece, sary not only with a glance at the achieve- cannot help but be a memorable and ments of the past, but with great hope for stimulating experience. the future. With the same commitment and For twenty years the planning and energy that has been shown in the past, the scheduling of the Festival of Contemporary Festival of Contemporary Music will enter

Music was carried out largely by Gunther its second quarter-century next year with Schuller, a man of catholic taste and wide- renewed dedication to the proposition ex- ranging enthusiasms. And for a number of pressed so well by Gunther Schuller at the years, after Schuller took over the director- beginning: that performers have an obliga- ship of the Music Center, Theodore Antoniou tion to the composers of their time, and served as Assistant Director for Contempo- that only by fulfilling their responsibility rary Music Activities and contributed to can the performers do their part to assure the planning of the Festival. that musical creativity has a future. Schuller resigned his Tanglewood ac- —Steven Led better tivities after the 1984 season, and Fromm Musicologist & Program Annotator, turned his Foundation's support in other Boston Symphony Orchestra directions. But the Boston Symphony Or- chestra, parent organization of the Music Center, determined that the Festival should continue much as it had before, as a con- The works of Hans Werner Henze are published exclusively by SCHOTT MAINZ • LONDON • • TOKYO

Sole U.S. Agent: European American Music Distributors Corporation

Post Office Box 850 Valley Forge, Pennsylvania 19482 Contemporary Music at Tanglewood

This year's Festival programs grew from been possible to include this guest perform- three self-imposed "givens": the presence ance in our Festival. at Tanglewood of our dear friend and com- These four events are framed by two

poser-in-residence Hans Werner Henze; others more typical, I suppose, of what our wish to celebrate the 80th-birthday Tanglewood Contemporary Music Festival year of , which fortuitously concerts usually are: a mixture— hopefully coincided with his wish to musically com- lively—of commemorations (Feldman and memorate Paul Fromm; and my capricious Messiaen) and new or almost-new works idea —prompted by some particularly im- by younger composers from — in alphabet- pressive performances from the fellowship ical order—Argentina via the U.S. (Jorge pianists last summer—to build a program Liderman, the recipient of the second Paul framed by the Bach-Busoni Fantasia con- Jacobs Memorial Commission); via trappuntistica and the Bach-Stravinsky Australia (Julian Yu); Denmark (Anders Vom Himmel hoch, the latter as part of a Nordentoft); England (), longer-term intent to explore a neglected and the United States (Charles Porter and late Stravinsky work each year. John Watrous). And we welcome back to Elliott Carter and Hans Werner Henze Tanglewood a leading member of the may appear to have little in common, aes- younger American generation, Peter thetically or technically, but they are both Lieberson, to conduct two very recent essentially dramatic composers. Henze's works reflecting the exuberance so charac- extraordinarily impressive, expansive, and teristic of the best new music on this side of rich recent orchestral scores are audibly the Atlantic, while retaining a profoundly the product of the same man-of-the-theater serious attitude toward aims and means who has made opera the center of his life's that marks him, in my opinion, as a major work, and is one of (like his contemporary Matthews in England) the very few by a composer living figure in the process of synthesis that seems today that can without question be cal led a almost involuntarily to be becoming a cen- "classic." Carter, on the other hand, has tral concern of composers worldwide as expressed his dramatic instincts through our century draws toward its close. what could be described as an almost It remains for me to thank, once again, operatic approach to instrumental form Dan Gustin and Richard Ortner for their and characterization. The sweep and gran- help in arranging this Festival; Gustav deur of his major orchestral works can be Meier, George Mully, and the TMC Vocal heard in mighty compression in the two Department for throwing themselves al- recent orchestral pieces that will be heard most entirely into Elegy for so many weeks; here (one of which we are honored to pre- for planning what looks like sent in its world premiere), while a collec- a most interesting series of Electro-Acous- tion of late chamber works will be given in tic Preludes; and last but not least Gilbert the context of music by two of his most Kalish and James Whitaker in particular articulate advocates, the composer-writers and the Faculty in general for turning plans and Bayan Northcott. into reality.

Bridging the dramatic gap, if you like, is —Oliver Knussen Kurtag, whose large-scale but intimate Coordinator of song cycle after Kafka attains a theatrical Contemporary Music Activities, dimension through its very austerity, musi- Tanglewood Music Center cal and visual —some seventy minutes of concentrated intensity from a single voice and a violin. We are very happy that it has Contemporary Music at Tanglewood

Electronic music has evolved at an as- tonishing rate in the last few years. As re- cently as five years ago, rather extensive

knowledge and training was still required to make the existing synthesizers and com- puter music systems behave musically. The equipment needed to make such music was often one-of-a-kind research technol- ogy, and therefore expensive, with access limited to a relatively few musicians with academic or research institute connec- tions. The music produced with such sys- tems was generally heard only in special- ized concerts far from the musical mainstream, and talked about in academic journals and at scientific conferences. In 1984 this all suddenly changed for three important reasons. First, several major music instrument manufacturers (such as Yamaha and Roland) introduced computerized synthesizers that employed techniques discovered during the previous decade at major research institutes. These instruments were both musically sophisti- cated and relatively easy to use. Second, the personal computer revolution allowed individuals to become easily familiar with the powers of computing, especially with machines such as the Macintosh, for rela- tively low cost. And third, a standard method of sending information between any synthesizer and any computer (called MIDI, or Musical Instrument Digital Inter- face) was adopted throughout the elec- tronic instrument industry. This opened the door for a flood of software developed for the special requirements of composers and performing musicians.

Today, electronic music is far from the

ghetto it once was. Digital synthesizers with computer control have permeated the music industry, and can be found equally in contemporary , , music theater, rock, and film music. These systems are now being used in recording studios and on the concert stage, to capture Tanglew®d musical gesture and to print music manu- Music script, to teach ear training, , Center and instrument performance. Perhaps the botnick piece, the listener will nonetheless most important aspect of this explosion is certainly be struck by the vitality and phys- that it has allowed musicians of many dif- icality of this electronic music, as well as ferent aesthetic and expressive back- by the intriguing sonic hybrids that com- grounds to gain experience with the new bine acoustic and electronic sounds in in- digital music medium, to create new work novative ways. The excerpt from my own using it, and to help shape its future growth VALIS opera combines many of the above and development. In many ways, elec- techniques. I have always viewed com- tronic music has finally started to come of puter music as a logical addition to my age in these last few years. musical language, since my works attempt In the three Electro-Acoustic Preludes of to create a search for unity amidst highly this year's Festival we have tried to give a contrasted expressive materials. Paradoxi- representative sampling of some of the ex- cally, I have found computers the perfect citing work that is currently being pro- medium both for exaggerating the differ- duced with digital electronics. The pieces ences between things, and for providing the cover a very wide range, both aesthetical ly musical "glue" that eventually pulls them and in the musical approach to the avail- together into a single coherent context. able technical resources. Jonathan Harvey Development in electronic music will and , both active in the certainly continue at a very rapid pace. medium for more than twenty years, have Musicians are already demanding instru- attempted to adapt electronic materials to ments that far exceed present ones in sonic fit in with a musical language developed subtlety, gestural expressiveness, and ease for traditional acoustic music. Electronic of use. New aesthetic ideas are experi- sounds become an extension and counter- mented with as more and more composers point to a fairly classical discourse. Trevor become familiar with the medium. And it

Wishart, Alejandro Vinao, Michael McNabb, is likely that electronic music will drift ever and Jacques Lejeune on the other hand closer to the musical mainstream, helping have all used electronics to explore the to create a form of expression in the near expressive possibilities of sound itself. future in which virtuosic human and intelli- Their music combines recorded sounds gent machine, acoustic and electronic in- with computer transformation and purely strument, and diversely contrasted musical synthetic sound. Each has created patterns materials, blend in exciting new ways. of contrast, changing density, and spark- —Tod Machover ling rhythmic bursts. They have attempted to replace most traditional concepts of and with new principles that describe the behavior of "sound sym- bols" in "sound landscapes." Especially in McNabb's case, the listener will notice a new aesthetic based on the ambiguity of sonic objects, since the computer allows sounds to transform one into the other in marvelously expressive, and often mysteri- ous, ways. has long been concerned with electronic music as a The Tanglewood Music Center is grateful live performance medium. While techni- to Tod Machover of MIT for his assistance cal considerations require us to listen this in coordinating this year's Electro-Acoustic evening to a recording of a recent live Su- Preludes. 5 )

mm m

1988 Festival of Contemporary Music

Thursday, August 4, at 8:30 p.m. Theatre-Concert Hall, Tanglewood

HEINZ HOLLIGER, with ERICA GOODMAN, harp MALCOLM LOWE, violin HIROFUMI FUKAI, JULES ESKIN, DORIOT ANTHONY DVVYER, flute

W.A. MOZART Quartet in F for oboe, violin, (1756-1791) viola, and cello, K.370(368b)

Allegro Adagio Rondeau

Sonata for oboe and harp, K.1

Andante maestoso Allegro grazioso

Adagio, K.580a, for English horn, violin, viola, and cello

Adagio and Rondo, K.617, for flute, oboe, viola, cello, and harp

INTERMISSION

HEINZ HOLLIGER Studie uber Mehrklange, (b.1939) for solo oboe (1971)

Studie Nr. 2, for solo oboe (1 981

Trio for Oboe, Viola, and Harp (1966)

Heinz Holliger performs Elliott Carter's Pastoral for English horn, marimba, and strings on tomorrow night's Boston Symphony Orchestra concert at 9 under Seiji Ozawa, in conjunction with the 1988 Festival's commemoration of Elliott Carter's 80th-birthday year. 1988 Festival of Contemporary Music

Saturday, August 6, at 2 p.m. Theatre-Concert Hall, Tanglewood

FELLOWS OF THE TANGLEWOOD MUSIC CENTER

MORTON FELDMAN Madame Press Died Last Week at Ninety (1970) (1926-1987) (performed in memory of the composer) MARKUSSTENZ, conductor

ANDERS NORDENTOFT Entgegen (1985) (b.1958) (United States premiere)

I. Allegro, moltoritmicoebenarticolato

II. Unpocosostenuto

OLIVER KNUSSEN, conductor

CHARLES PORTER Lyricscape, for chamber orchestra (1987) (b.1952) (world premiere)

CARL ST. CLAIR, conductor

INTERMISSION

PETER UEBERSON Z///'(1987) (b.1946) PETER LIEBERSON, conductor

JOHNWATROUS Intermezzi, for violin, harp, , (b.1955) and percussion (1986)

KATIE LANSDALE, violin FRANK EPSTEIN, conductor

OLIVIERMESSIAEN Sept Haikai, Japanese sketches for piano solo (b.1908) and small orchestra (1962) (commemorating the composer's 80th-birthday year)

I. Introduction

II. The park at Nara and the stone lanterns

III. Yamanaka-cadenza IV. Gagaku V. Miyajimaandthetorii inthesea VI. The birds of Karuizawa VII. Coda

FLORENCE MILLET, piano PASCAL VERROT, conductor

Baldwin piano

The 1988 Festival of Contemporary Music continues on tonight's Boston Symphony Orchestra concert at 8:30, when Seiji Ozawa conducts Hans Werner Henze's Symphony No. 7. 1988 Festival of Contemporary Music

Sunday, August 7, at 10 a.m. Theatre-Concert Hall, Tanglewood

FELLOWS OF THE TANGLEWOOD MUSIC CENTER

'About Bach"

IGOR STRAVINSKY J.S. Bach:ChoraleVariationsonthe (1882-1971) Christmas Song «Vom Himmel hoch da komm' ichher," set for chorus and orchestra (195 6) Chorale

Variation 1 : Incanoneall'Ottava Variation 2: Alio modo in canone alia Quinta Variation 3: In canone alia Settima Variation 4: In canone all'Ottava per augmentationem

Variation 5 : L'altra sorte del canone al rovescio BOSTON UNIVERSITYTANGLEWOOD INSTITUTE YOUNG ARTISTS CHORUS, STEVEN LIPSITT, conductor OLIVER KNUSSEN, conductor

Tanglew(®d Music Center —

Tanglew®d Music Center

PERN0RGAARD Prelude and Ant Fugue-with a Crab Canon (b.1932) ("Hommage a M.C. Escher"), for instrumental ensemble (1982)

I. Prelude

II. Ant Fugue

ELIZABETH SCHULZE, conductor

JULIAN YU Medium Ornamented Fuga Canonica, (b.1957) for woodwind quintet (1988) (United States premiere)

DONALD MacCOURT, director

ANTON WEBERN J.S. Bach: Fuga(Ricercataa6)from (1883-1945) The Musical Offering, transcribed for orchestra (1935)

YEHUDI WYNER, conductor

INTERMISSION

ARVO PART Wenn Bach Bienen gezuchtethatte . . . {If Bach

had been a bee-keeper . . for piano, string (b.1935) . ), orchestra, and (1976/84)

STEPHEN STEIN, conductor

FERRUCCIOBUSONI Fantasia contrappuntistica, Chorale Variations on

(1866-1924) >>Ehre sei Gott in der Hohe" fol lowed by a quadruple fugue on a Bach fragment, for two (1912/22)

Choral-Variationen — Fuga I — Fuga II — Fuga III

Intermezzo—Variatio I — Variatio II —Variatio Ill- Cadenza— Fuga IV—Corale— Stretta

JUDITH GORDON and ERICZIVIAN, pianists

Baldwin piano 1988 Festival of Contemporary Music

Sunday, August 7, at 8:30 p.m. Theatre-Concert Hall, Tanglewood

FELLOWS OF THE TANGLEWOOD MUSIC CENTER

HANS WERNER HENZE Elegy forYoung Lovers, Opera in three acts (b.1926) by W.H. Auden and Chester Kail man

GUSTAV MEIER, conductor GEORGE MULLY, director

Gregor Mittenhofer, a Poet PERRY WARD, baritone

Dr. Wilhelm Reischmann, a Physician .... STEPHEN MORSCHECK, bass-baritone Toni Reischmann, his Son RANDOLPH LACY, tenor Elizabeth Zimmer DOMINIQUE LABELLE, soprano Carolina, Countess of Kirchstetten, Secretary to Mittenhofer ANDREA GALASSI, mezzo-soprano Hilda Mack, a Widow LISASAFFER, soprano Josef Mauer, an Alpine Guide GEORGE BERGEN

Percussionist RANDALL FLEISCHER

Set and Lighting: George Mully Assistant Conductor: Assistants to the Director: Kit Baker, Karen Nixon Musical Preparation: Terry Decima, Margo Garrett, Dennis Helmrich (Head Vocal Coach), Philip Highfill, Raphael Rochet, Mark Trawka Stage Manager: Douglas Whitaker

There will be intermissions after Act I and Act II.

Baldwin piano

Scene : "Der schwarze Adler," an inn in the Austrian Alps, 1910.

ACT ONE: The emergence of the bridegroom

I. Forty years past (Hilda)

II. The order of the day (Carolina, Dr. Reischmann)

III. A scheduled arrival (Dr. Reischmann, Carolina, Toni) IV. Appearances and visions (Carolina, Hilda, Mittenhofer, Toni, Dr. Reischmann, Elizabeth) V. Worldly business (Mittenhofer, Dr. Reischmann, Carolina) VI. Help (Mittenhofer, Carolina, Dr. Reischmann) VII. Unworldly weakness (Carolina, Dr. Reischmann) VIII. Beauty in death (Carolina, Dr. Reischmann, Mauer)

IX. Who is to tell her (Dr. Reischmann, Carolina, Mauer) X. To-day's weather (Hilda, Elizabeth, Mittenhofer) XI. A visionary Interlude (Toni) XII. To-morrow: Two follies cross (Hilda, Toni)

w )

ACT TWO (Some days later): The emergence of the bride

I. A passion {Toni, Elizabeth, Carolina)

II. Sensible talk {Dr. Reischmann, Toni, Carolina, Elizabeth)

III. Each in his place {Elizabeth, Toni, Carolina) IV. The master's time {Carolina, Toni, Elizabeth, Mittenhofer) V. Personal questions {Mittenhofer, Elizabeth, Carolina) VI. The troubles of others {Elizabeth, Toni) VII. What must be told {Elizabeth, Toni, Carolina) VIII. The wrong time {Elizabeth, Toni, Mittenhofer, Dr. Reischmann, Carolina) IX. The bride {Hilda, Mittenhofer, Carolina, Toni, Dr. Reischmann, Mauer) X. The young Lovers {Mittenhofer, Elizabeth, Hilda, Toni, Dr. Reischmann, Mauer) XI. The flower {Toni, Elizabeth, Dr. Reischmann, Mittenhofer, Hilda) XII. The vision of to-morrow {Elizabeth, Toni, Hilda, Dr. Reischmann, Mittenhofer, Carolina, Mauer) XIII. The end of the day {Mittenhofer, Hilda)

ACT THREE (The next morning): Man and wife

I. Echoes {Elizabeth, Toni, Hilda, Dr. Reischmann, Mittenhofer, Carolina)

II. Farewells {Hilda, Carolina, Mittenhofer, Dr. Reischmann)

III. Scheduled departures {Dr. Reischmann, Carolina, Toni) IV. Two to go {Mittenhofer, Carolina, Mauer) V. Mad happenings {Mittenhofer, Carolina) VI. A change of scene {Elizabeth, Toni) VII. Man and wife {Elizabeth, Toni) VIII. Toni and Elizabeth {Elizabeth, Toni) IX. Elegy for young lovers {Mittenhofer, Carolina [Hilda, Elizabeth, Toni, Dr. Reischmann]

We wish to acknowledge the following for their special gifts to underwrite this production of Elegy for Young Lovers:

Mr. and Mrs. Benjamin England Mr. and Mrs. Milton Schneider, in honor of Dr. Raymond Schneider's 70th birthday Mr. and Mrs. Harry Horwitz, in honor of Dr. and Mrs. Raymond Schneider

Special thanks also to:

Arcadian Shop, Lenox, for the loan of alpenstocks Berkshire Public Theatre, Pittsfield (Ruth Moe, Tom Kieffer), for assistance with sets and props DeSisto School, Stockbridge (Nick Rinaldi), for the loan of lights and drapes GE Plastics, Pittsfield (Leslie Blake), for the donation of materials Jenifer House, Great Barrington (Mr. and Mrs. Karl Lipsky), for the loan of props and costume elements Kingsleigh Antiques, Lee, for the loan of antique props Of Things Past, Antiques, Great Barrington, for props Wood Brothers Music Store, Pittsfield, for the loan of guitar amplifier

Robert Bartle, sculptor, for help with set construction, and the Image Gallery in Stockbridge, for helpful assistance

Clemens Kalischer, for still photography Jefferson Voorhees and Don Hagar, for their invaluable assistance with every phase of this production C BMI 1988

For BMI's new brochure on Elliott Carter, contact Concert Music Administration, BMI, 320 W. 57th Street, New York, NY 10019 (212) 586-2000 1988 Festival of Contemporary Music

Electro-Acoustic Prelude I Monday, August 8, at 7:30 p.m. Hall, Tanglewood

TREVORWISHART Vox 5 (1986) (b.1947) (IRCAM)

JONATHAN HARVEY "Morgens" from Nachtlied (1984) (b.1939) (City University, London)

KAREN RICHARDS, soprano KAYO IWAMA, piano

ALEJANDROVINAO Co (1981) (b.1951) (City University, London)

Baldwin piano

From ROBERT KING MUSIC CO. Yves CHARDON SONATA for D Trumpet and Violoncello score/parts $10.00

Gail KUBIK DIVERTIMENTO I for thirteen players— Fl (Pice), Ob, B CI, Bn, F Hn, B^ Trpt, Trbn, Perc, Pf,Vn1,Va,Vc,Bass $50.00

DIVERTIMENTO II for eight players— Fl, Ob, CI, Bn, Trpt, Trbn, Va, Pf $20.00

From ALPHONSE LEDUC et Cie. O.MESSIAEN SAINT FRANQOIS D'ASSISE, Opera en 3 Actes e et 8 Tableaux, Acte l-3 Tableau Score $1 51 .85 PETITES ESQUISSES D'OISEAUX, Piano Solo $25.00

Soon to be published: Edison DENISOV DUO for Flute and Viola Betsy JOLAS Episode Huitieme for

Episode I for Flute Alone

ROBERT KING MUSIC SALES, INC. 28 Main Street, Bldg. #15 North Easton, MA 02356 . . . . a

1988 Festival of Contemporary Music

Monday, August 8, at 8:30 p.m. Theatre-Concert Hall, Tanglewood

ROLF SCHULTE, violin ADRIENNE CSENGERY, soprano

GYORGYKURTAG Kafka Fragments, Opus 24 (b.1926) (For Marianne Stein)

Parti

1 The good march in step . . 2. Lake a pathway in Autumn

3. Hiding-places (Version I) 4. Restless

5. Berceuse I 6. Nevermore (Excommunicatio) 7. "But he just won't stop asking me" 8. Someone tugged at my clothes 9. The seamstresses 10. Scene at the station

1 1 Sunday 19th July 1910 (Berceuse ll)/Hommage Jeney

12. My ear . .

1 3. Once I broke my leg (Chassidic ) 14. Enamoured

1 5. Two walking-sticks (Authentic Plagal) 16. No going back 17. Pride(15th November 1910, 10o'clock)

1 8. The flower hung dreamily (Hommage a Schumann) 20. Nothing of the kind

Part II

The true path (Hommage-message a )

Part III

1 To have? 2. Coitus as punishment (Canticulum Mariae Magdalenae) 3. My prison-cell —My fortress

4. I am dirty, Milena. . 5. Miserable life (Double) 6. The closed circle 7. Destination, path, hesitation 8. As tightly 9. Offensively Jewish

10. Hiding-places (Version II)

1 1 Amazed, we saw the great horse

12. Scenaonatram(1910: "In a dream I asked the

dancer Eduardowa if she would kindly dance the csardas once more") Tanglew(©d Music Center

PartIV

1. Too late (22 October 1913) 2. A long story 3. In memoriam Robert Klein 4. From an old notebook 5. Leopards 6. In memoriam JohannisPilinszky 7. Again, again 8. The moonlight dazzled us

There will be no intermission.

GYORGY KURTAG

SELECTED WORKS S.K. Remembrance Noise, Op 12 (1975) Kafka Fragments, Op 24 7 songs to poems by Dezsb Tandori for soprano solo and violin (1987) 4 books of songs from Kafka's diaries for soprano and violin

Scenes from a Novel, Op 19 (1981-1982) 15 songs to poems by Rimma Dalos for soprano, violin, double-bass and cimbalom

Messages of the Late Miss R.V. Troussova, Op 17 EDITIO MUSICA BUDAPEST (1976-1980) ^V^^* to 21 poems by Rimma Dalos Sole U.S. Agent: for soprano and chamber ensemble

The Little Fix, Op 15b (1979) for piccolo, trombone and guitar mm Boosey & Hawkes Inc. 12Microludesfor 24 West 57th Street, New York, NY 10019 , Op 13 Telephone (212) 757-3332 (1977) G- Schirmer and Associated Music Publishers warmly wish Elliott Carter a Happy 80th Birthday!

Carter's AMP publications—including the chamber pieces String Quartets No. 1-3, Brass and Woodwind Quintets; vocal pieces Syringa, A Mirror on Which to Dwell, Three Poems of Robert Frost; and the orchestral music from the Symphony No.l through A Symphony of Three — are for sale at the Tanglewood Store.

For further information, contact:

G. Schirmer, Inc. Promotions Department: 24 East 22nd Street, New York, NY 10010 ^212 254-2100 Rental Department: 5 Bellvale Road, Chester, NY 10918 ^914 469-2271

Printed music is distributed exclusively through the Hal Leonard Publishing Corporation. 1988 Festival of Contemporary Music

Electro-Acoustic Prelude II Tuesday, August 9, at 7:30 p.m. Chamber Music Hall, Tanglewood

MORTON SUBOTNICK "Friday Saturday Coda/' Songs (1985) (b.1933) from The Key to (Yamaha YCAMS System)

MICHAEL McNABB Dreamsong^978) (b.1952) (CCRMA/Stanford)

MARIO DAVIDOVSKY Synchronisms No. 9 (1988) Laboratory) (b.1934) (MIT Media ROLF SCHULTE, violin

- * .rV \ #^J*jf~ .J* ^v

e v rP -F4 <^ * #- . * ,*> ->* csT^ / ^ ^ #V of s / ^ ^ r

Jane Lambert, Music Department Chair Administrator Chuck Deardorf. Jazz Administrator Matthew Kocmieroski. Classical

BFA degrees in Music

Emphasis on instrumental performance, vocal performance and composition & A &, COLLEGE OF T HE ARTS 323-1400. ext. 205 or 323-1487 710 E. Roy Street. Seattle. WA 98102 (206) 80th Birthday -December 11, 1988

Remembrance (1988) 5' Riconoscenza per (1984) 4' for orchestra for solo violin

1.2 picc.2.corA.2.bcl.2.dbn —4.3.3.1- Canon for 4 Homage to William (1984) 5' timp.perc(l)— pft(==cel)— strings for flute, bass clarinet, violin, and cello

Enchanted Preludes (1988) 6' Changes for flute and cello (1983) T for guitar

Oboe (1987) c.20' Triple Duo 20' for oboe, concertino, and chamber orchestra (1983) for 6 players Concertino: perc(l,incl.timp) —4 fl(=picc).cl(=Ebcl,bcl) perc(l) Orchestra: l(=afl,picc).0.1.0-1.0.1.0-perc(l)- — — pft —vln.vlc strings In Sleep, In Thunder (1981) 21' Six Poems ofRobert Lowell for tenor and 14 A Celebration of some 100 x 150 notes (1986) 3' instrumentalists for orchestra l(=picc.afl).l(=corA).l(=bcl).l-1.1.1.0- 2.picc.2.corA.2.bcl.2.dbn— 4.3.3.1— perc(l) -pft -1.1.1.1.1 timp.perc(l) —pft(=cel)— strings

String Quartet No. 4 (1986) 24' HENDON MUSIC Penthode (1985) 18' b for five groups of four instrumentalists l(=picc.afl).l(=corA).l(=Ebcl).bcl(=dbcl).l- jOqsy&hME L2.Ll-perc(3) -pft-harp- 1.1.1.1.1 Boosey & Hawkes Inc. Esprit rude/Esprit doux (1984) 5' 24 West 57th Street, New York, NY 10019 for flute and clarinet Telephone: (212) 757-3332

ELLIOTT CARTEk 1988 Festival of Contemporary Music

Tuesday, August 9, at 8:30 p.m. Theatre-Concert Hall, Tanglewood

FELLOWS OF THE TANGLEWOOD MUSIC CENTER

Honoring Elliott Carter's 80th-Birthday Year

ELLIOTT CARTER Canon for 4-Homage to William (1984) (b.1908) Riconoscenza per Goffredo Petrassi, for solo violin (1984) Esprit rude/ Esprit doux pour Pierre Boulez, for flute and clarinet (1984) Enchanted Pre/udes for Ann Santon's birthday, for flute and cello (1988)

MARGARET BICHTELER, violin SCOTT KLUKSDAHL, cello LEONARD GARRISON, flute NATHAN WILLIAMS, clarinets

DAVID SCHIFF Scenes From Adolescence (1987) (b.1945)

CARTER Brass Quintet (1974)

DEBORAH STEPHENSON, horn JEFFREY KAYE, trumpet PETER CHAPMAN, trumpet* THOMAS HUTCHINSON, trombone MATTHEW GUILFORD, bass trombone OLIVER KNUSSEN, conductor

INTERMISSION

BAYAN NORTHCOTT Sextet (1984-85) (b.1940) (United States premiere)

I. Adagio maestoso

II. Allegro molto

CARL ST. CLAIR, conductor

PETER LIEBERSON Raising the Gaze (1988) (b.1946) PETER LIEBERSON, conductor

:

CARTER Triple Duo (1983)

OLIVER KNUSSEN, conductor

*member, Boston Symphony Orchestra

Baldwin piano y

1988 Festival of Contemporary Music

Electro-Acoustic Prelude III Wednesday, August 10, at 7:30 p.m. Chamber Music Hall, Tanglewood

JACQUES LEJEUNE Deux aperqus du jardin qui s 'eve ille (1983) (b.1949) (Groupe de Recherches Musicales, )

TODMACHOVER Excerpt from VALIS ( 1987/88) (b.1953) (MITMedia Laboratory/ IRCAM)

MARGUN MUSIC (bmd GUNMAR MUSIC (ascap)

Published works for instrumentalists, vocalists, chamber groups, orchestras, choruses, band/wind ensembles, jazz/ragtime/ ensembles Including music by more than ninety living composers: Oliver Knussen, George Perle, Theodore Antoniou, Lucia Dlugoszewski, Timothy Geller, Vic Firth, Brian Fennelly, , Josef Alexander, Thomas Oboe Lee, , Gunther Schuller, , W. T. McKinley, Lewis Spratlan, Oily Wilson, Martin Brody, Steven Mackey, , Hayes Biggs, Henry Martin and others.

Scores, recordings and catalogues available at the Tanglewood Music Store.

Call us for more information at (617)332-6398.

GM RECORDINGS Featuring the best in classical, contemporary and jazz from today's finest artists: the Kronos Quartet, Eric Dolphy, Louis Krasner, Collage, the Sequoia String Quartet, Frederick Moyer, Orange Then Blue, Paul Motian, the Quartet, Ran Blake, Robert Dick, Louis Gruenberg, Thomas Oboe Lee, Marimolin and many others. On audiophile LP and Compact Disc. 1988 Festival of Contemporary Music

Wednesday, August 10, at 8:30 p.m. Theatre-Concert Hall, Tanglewood

TANGLEWOOD MUSIC CENTER ORCHESTRA OLIVER KNUSSEN, conductor

ELLIOTT CARTER A Celebration of Some 100x150 Notes (1986) (b.1908)

CARTER Remembrance-\n memory of Paul Fromm (1988) (world premiere; commissioned by the Fromm Music Foundation for the Tanglewood Music Center in memory of Paul Fromm)

HANSWERNERHENZE Sieben Liebeslieder for eel lo and orchestra ( 1 984-85) (b.1926) (United States premiere)

I. Ruhig, verhalten

II. J = 72

III. Bewegt, heftig, sturmisch IV. Ernst, getragen V. Themaund Variationen VI. Tango VII. Sonett

YO-YO MA, cello HANS WERNER HENZE, conductor

INTERMISSION

JORGE LIDERMAN For Orchestra (1987-88) (b.1957) (world premiere; commissioned by the Tanglewood Music Centerthrough the Paul Jacobs Memorial Commissioning Fund)

COLIN MATTHEWS Fourth Sonata for Orchestra (1974-75) (b.1946) (United States premiere)

Baldwin piano SEIJI OZAWA CHARLES DUTOIT

ZUBIN MEHTA - MICHAEL TILSON THOMAS CHRISTOPH VON DOHNANYI PHYLLIS CURTIN

SHERRILL MILNES - SHIRLEY VERRETT BURT BACHARACH - OLIVER KNUSSEN

What do these names have in common, along with hundreds ofmusicians who perform in

America 's major symphony orchestras ?

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

Since admission to the TMC is based solely on musical ability rather than the ability to pay, the Center operates each year at a substantial loss to the BSO. We need your support. Please contribute TangJewoDd to the Tanglewood Music Center. When you do, you contribute to the future of Music music itself. Please make checks payable to the Tanglewood Music Center and mail to Center the Friends Office, Tanglewood, Lenox MA 01240. For further information, please contact John Keenum in the Friends Office at Tanglewood, or call (413)637-1600. Tanglewood Music Center 1988 Fellowship Program

Violins Andrea Schultz, Ossining, NY

Kikuko Agishi, Tokyo, Japan . Surdna Foundation Fellowship Brownie and Gil Cohen Fellowship Katharina Wolff, Belmont, MA Rafael Altino, Recife, Pernamboco, Brazil Dr. Boris A. and Katherine F. Jackson Fellowship Mr. and Mrs. David B. Arnold, Jr., Fellowship Xia, Shanghai, Jill Arbetter, Windsor, CT Xiao-Cao China Gerald Gelbloom Memorial Fellowship Tanglewood Association Fellowship Margaret Bichteler, Austin TX Zhao Xin, Beijing, China Arthur Fiedler/ Leo Wasserman Fellowship Berkshire Life Insurance Company Fellowship Jennifer Bryan, Dallas, TX Nitai Zori, Givataime, Israel William Kroll Memorial Fellowship/ Philip and Bernice Krupp Fellowship Hugh Cecil Sangster Memorial Fellowship Nancy Dahn, Lunenburg, Nova Scotia, Canada Violas Darling Family Fellowship Judith Ablon, Brooklyn, NY Corine van Eikema Hommes, Amsterdam, Frederic and Juliette Brandi Fellowship Holland Elizabeth Derderian-Wood, Maitland, FL Karl and Marianne Lipsky Fellowship yane W. Bancroft Fellowship

Sheila Falls, Greenville, Rl Helenejamet, Brunoy,

Caroline Grosvenor Congdon Memorial Florence J. Gould Foundation Fellowship Fellowship Jorge Pena, San Pedro Sula, Cortes, Honduras Dian Folland, Owatonna, MN Omar del Carlo Tanglewood Fellowship Carolyn and George Rowland Fellowship Nestor Pou, Rio Piedras, Puerto Rico

in honor of Leo Panasevich Helene R. and Norman L. Cahners Fellowship Steven Frucht, New York, NY Brian Quincey, San Diego, CA Miriam and Sidney Stoneman Fellowship Anonymous Fellowship Alison Harney, Palmdale, CA Jenny Ries, Kensington, MD Brookline Youth Concerts Awards James A. Macdonald Foundation Fellowship Committee Fellowship John Rogers, Christchurch, New Zealand Ying Jiang, , CA Dr. John H. Knowles Memorial Fellowship The Luke B. Hancock Foundation Fellowship KurtRohde, Highland, NY Jeffrey Kellogg, Washington, D.C. Ruth S. Morse Fellowship Leo L. Beranek Fellowship Peter Sulski, Worcester, MA Veronica Kulig, Bloomfield, CT BayBanks Fellowship Claire and Millard Pryor Fellowship Heidi von Bernewitz, Arlington, VA Laurie Landers, Brooklyn, NY iane and Peter Rice Fellowship Lucy Lowell Fellowship Sonya White, Framingham, MA Katie Lansdale, Bethesda, MD Nat Cole Memorial Fellowship Red Lion Inn Fellowship Ruotao Mao, Beijing, China Hodgkinson Fellowship Angela Myles Beeching, East Setauket, NY Naoki Matsui, Niiza, Saitama, Japan Sandra L. Brown Fellowship Mr. and Mrs. Robert Remis Fellowship Maya Beiser, Kibbutz Gazit, Israel Janet Orenstein, Wyncote, PA Leonard Bernstein Fellowship Stanley Chappie Fellowship Melissa Brooks, New York, NY

Carrte Rehkopf, Elmwood Park, IL Morris A. Schapiro Fellowship CD. Jackson Fellowship Raz Cohen, Israel Daniela Rodnite, Orinda, CA Kandell Family Fellowship/ Naomi and Stokes Fellowship Philip Kruvant Fellowship Cynthia Romeo, Harrisburg, PA Emmanuel Feldman, Great Neck, NY Anonymous Fellowship Sarah A. Leinbach and Lillian C. Norton Charys Schuler, Stevens Point, Wl Fellowship Clowes Fund Fellowship CONTEMPORARY COUNTERPARTS

ASCAP, the home ofAmerican composers, salutes the

Tanglewood Contemporary Music Festival.

A S C A P AMERICAN SOCIETY OF COMPOSERS, AUTHORS & PUBLISHERS Clarinets Sonna Kim, Bedminster, NJ Guilford, CT Geraldine R. Dodge Foundation Fellowship Kathleen Holcomb, Boston Symphony Orchestra Fellowship Maria Kitsopoulos, Summit, NJ San Diego, CA Bessie Pappas Fellowship Christopher Jepperson, Mr. and Mrs. Richard S. Burdick Fellowship Scott Kluksdahl, San Rafael, CA Country Curtains Fellowship Sharon Kam, Tel-Aviv, Israel Mrs. Fdwin A. Jaffee Fellowship Xin-Hua Ma, Shanghai, China Mr. and Thornhill, Ontario, Canada Starr Foundation Fellowship Michael Rusinek, Charles and Sara Goldberg Charitable Trust John Oshita, , CA Fellowship Juliette Fsselborn Geier Memorial Fellowship Williams, Weaverville, NC Brooks Whitehouse, Peterborough, NH Nathan Albert and Flizabeth Nickerson Fellowship Rosamond Sturgis Brooks Memorial Fellowship Bassoons Hillel Zori, Givataime, Israel TX Hannah and Raymond Schneider Fellowship Noe Cantu, Huffman, Susan Kaplan and Ami Trauber Fellowship

Basses Marc Feldman, Rockvi lie Centre, NY Robert McClellan, Jr., and IBM Matching Jeffrey Allen, Tenafly, NJ Koussevitzky Music Foundation Fellowship Grant Fellowship Morgan, Graham, NC Brad Annis, LaCrosse, Wl Janet Marion Callanan Memorial Fellowship Idah L Salzman Fellowship Rose, Peterborough, Ontario, Christopher Brandt, Dayton, OH Gwendolynn Karl Burak Memorial Fellowship Canada Harry and Mildred Rem is Fellowship Joseph Carver, Aurora, CO Ruze, Concord, MA Carole K. Newman Fellowship John Alfred F. Chase Fellowship Pascale Delache, L'Union, France Olivetti Foundation Fellowship Horns Alison Gaines, Arcadia, CA Angeles, CA Northern California Fund Fellowship Mark Adams, Los Fellowship William F. and Juliana Thompson Thomas Vassalotti, Garden City, NY Chattanooga, TN Mrs. Harris Fahnestock Fellowship Bruce Henniss, Bradley Fellowship

Flutes Richard King, West Islip, NY Fellowship Christine Feierabend, Oshawa, Ontario, General Cinema Canada Daniel O'Connell, Canton, IL Donald B. Sinclair Memorial Fellowship Fmpire Brass Fellowship Leonard Garrison, Billings, MT Steven Replogle, San Jose, CA Stephen and Persis Morris Fellowship Ruth and Alan Sagner Fellowship Karen Jones, Beckenham, Kent, England Deborah Stephenson, Dallas, TX Fnglish-Speaking Union Fellowship David R. and Muriel K. Pokross Fellowship Catherine Wendtland, Waukesh, Wl Miriam Ann Kenner Memorial Fellowship/ Trumpets Dr. Norman and Irma Mann Stearns David Bamonte, Mattydale, NY Fellowship Andre M. Come Memorial Fellowship Bibi Black, Decatur, AL Armando A. Ghitalla Fellowship Jeannette Bittar, Madison, Wl Wayne duMaine, St. Louis, MO Miriam Silcox Fellowship Wynton Marsalis Fellowship Rebecca Brown, San Diego, CA Daniel Gelfand, Boca Raton, FL Augustus Thorndike Fellowship Herbert and Jeanine Coyne Fellowship

Willa Henigman, Long Beach, NY Jeffrey Kaye, New York, NY H. Fugene and Ruth B. Jones Fellowship Charles F. Culpeper Foundation Fellowship Adrian Holliday, Memphis, TN Fernand Gillet Memorial Fellowship Rebecca Schalk Nagel, Columbia, SC Mr. and Mrs. Thomas H.P. Whitney Fellowship A New Theater-Concert Hall at Tanglewood

*$ -^

+. ^ V -: M ' al -J f v * n -•* :,, - j&S * - ft^V- fcjj

-.-V' .

'% $1 ,

~ : ** "- ,-' F-'** -JpS » § . V 4? -'irt >" '.* -' *

***<-?; lSC-jfWJf»"M-%

The Theater-Concert Hall was built in 1941 and has been the setting for countless memorable musical events. The Hall can no longer adequately serve the growing needs of Tanglewood's performers and their audiences.

The new Theater-Concert Hall will be the home of the Tanglewood Music Center Fellows, as well as an important recital and concert venue for internationally renowned artists.

A 1,200-seat facility with superb acoustics is planned. Funds are needed to realize this dream.

Important Naming Opportunities Include:

Naming the new Hall — $2.5 million Naming spaces in the Hall — $75 ,000 -$200 ,000 Becoming a Founder — $25 ,000 -$50 ,000 Endowing a seat — $2,500

Tanglewod Music Center

Information on how you can help is available in the Tanglewood Development Office or Friends Office. Or write to "New Theater-Concert Hall, Tanglewood, Lenox, MA 01240" for a brochure. Trombones Conductors John DiLutis, Perry Hall, MD , New York, NY

Mary and J. P. Barger Fellowship Leonard Bernstein Fellowship Jay Evans, Casselberry, FL Martin Fischer-Dieskau, Berlin, West Germany Robert and Sally King Fellowship Leonard Bernstein Fellowship Matthew Guilford, Jamaica Plain, MA Elizabeth Schulze, Evanston, IL Theodore Edson Parker Foundation Helena Rubinstein Fellowship Fellowship Markus Stenz, Ahrweiler, West Germany Thomas Hutchinson, Toms River, NJ Seiji Ozawa Fellowship Harriet B. Harris Memorial Fellowship KateTamarkin, Baltimore, MD William and Mary Greve Foundation Tuba Fellowship Charles Villarrubia, New Orleans, LA Anna Gray Sweeney Noe Fellowship Vocal Fellows Brad Cresswell, Joliet, IL Percussion Harry Stedman Fellowship Bruce Berg, Wheeling, IL liana Davidson, Elkins Park, PA Esther E. Salzman Fellowship Mildred A. Leinbach Fellowship David Conner, Johnstown, PA Haijing Fu, Dalian Province, China WCRB-FM 102.5 Fellowship Tanglewood Association Fellowship in honor of Dr. Karl Haas Andrea Galassi, Savannah, TN Christopher Deviney, Gulf Breeze, FL R)R Nabisco Fellowship Boston Showcase Fellowship/ Dr. and Dominique Labelle, Montreal, Quebec, Mrs. Alexander Russell Fellowship Canada Richard Kelly, Albuquerque, NM Leonard Bernstein Fellowship General Electric Plastics Fellowship Randolph Lacy, Houston, TX Jeffrey Mi larsky, Philadelphia, PA Mr. and Mrs. William C. Rousseau Fellowship Frederick W. Richmond Foundation Stephen Morscheck, Ann Arbor, Ml Fellowship William Randolph Hearst Fellowship Warner, Portland, Luanne OR Michael Orzechowski, Chicago, IL Fellowship Tappan Dixey Brooks Memorial Julius and Eleanor Kass Fellowship Heidi Person, Corvalis, OR Harps Abby and Joe Nathan Fellowship Gillian Vivia Benet, Belvedere, CA LisaSaffer, New York, NY Kathleen Hall Banks Fellowship Tanglewood Friends Fellowship Kayo Ishimaru, Osaka, Japan Perry Ward, Knoxville, TN John L. and Susanne Grandin Fellowship Bernice and Lizbeth Krupp Fellowship MajieZeller, Danville, PA Keyboard Francis and Garyn Powers Fellowship Christina Dahl, Glendale, CA Hon. and Mrs. Peter I.B. Lavan Fellowship Vocal Coaches Judith Gordon, Baltimore, MD Michael Beattie, Landsdale, PA Peggy Rockefeller Fellowship R. Amory Thorndike Fellowship Margaret Kampmeier, Rochester, NY Todd Camburn, Los Angeles, CA Astral Foundation Fellowship William J. Rubush Memorial Fellowship/ Sara Laimon, Vancouver, British Columbia, Jane and William Ryan Fellowship Canada Kayo Iwama, Rumson, NJ Mr. and Mrs. Vincent). Lesunaitis Fellowship C.D. Jackson Fellowship , St. Germain-en-Laye, France Raphael Rochet, Troyes, Champagne, France Olivetti Foundation Fellowship Baldwin Piano and Organ Co. Fellowship in Mary Wu, Hong Kong Memory of Jack Romann Felicia Montealegre Bernstein Fellowship MarkTrawka, Erie, PA Eric Zivian, Toronto, Ontario, Canada Marie Gillet Fellowship Paul Jacobs Memorial Fellowship —

THE BEST OF BOTH WORLDS! MusicalAmerica

There's only one magazine that covers both sides of the performing arts scene Musical America (incorporating Opus). From live performances to recordings old and new, Musical America/Opus presents insightful, au- thoritative reviews, articles and features about the music, the trends, and the people that make up today's world of serious music. From to the Sydney Opera House, from Boston to Bay- reuth to Beijing, from orchestra boardrooms to summer festivals to class- rooms, from center stage to backstage, Musical America/Opus puts you in touch with what's happening and who's happening. Musical America has covered the performing arts scene since 1898; now, with the inclusion of Opus, a magazine noted for its reviews of re- cordings, it gives you the complete picture.

If you love music, you'll love Musical America/Opus Subscribe now, and be assured of receiving the magazine that gives you the best of both worlds. By becoming a subscriber, you can save up to 30% off the newsstand price.

I'd like to subscribe to Musical America/Opus Payment enclosed Bill me later

One year (6 issues) $26.00 Two years (12 issues) $48.00 Three years (18 issues) $63.00

NAME

STREET APT#

CITY/STATE/ZIP + 4

COUNTRY. Return this form to Musical America/Opus, P.O. Box 10037, Des Moines, IA 50340-0037, OR CALL TOLL-FREE: 1 -(800) 666-3977 J8X1 Composers Kermit Poling, Cleveland, OH William Doerrfeld, New Haven, CT Berkshire County Savings Bank Scholarship Frieda and Samuel Strassler Fellowship Victor Puhl, Metz, France Thomas Donecker, Moers, West Germany Edward H. Michaelsen Scholarship Reader's Digest Fellowship Tony Rowe, Cheshire, England Marti Epstein, Allston, MA Dr. Marshall N. Fulton Memorial Fellowship Otto Eckstein Family Fellowship Lan Shui, Hang Zhou, China Christopher Fulkerson, Sacramento, CA CD. Jackson Fellowship Aaron and Abby Schroeder Fellowship/ ItayTalgam, Jerusalem, Israel Margaret Lee Crofts Fellowship Tisch Foundation Scholarship Stefan Hakenberg, Wuppertal, West Germany Juan deUdaeta, Madrid, Spain Leonard Bernstein Fellowship General Host Corporation Scholarship Robert Keeley, Bridgend, Wales Memorial Fellowship Phyllis Curtin Seminar for Singers Gary Philo, Larchmont, NY Jeanine Bowman, Cincinnati, OH Judith and Stewart Colton Fellowship Mr. and Mrs. Joseph W. Rosgen Scholarship Armand Qualliotine, Brooklyn, NY Connie-lin Chmura, Pittsfield, MA Leonard Bernstein Fellowship Barbara Lee/ Raymond Lee Foundation Toshiro Saruya, Tokyo, Japan Scholarship Koussevitzky Music Foundation Fellowship in Andrea Ehrenreich, Buffalo, NY Memory of Margaret Grant Ruth and Victor Levy Scholarship Julian Yu, Beijing, China Madeleine Gray, New York, NY Margaret Lee Crofts Fellowship Ada Holding Miller Scholarship Julie Hanson, Seattle, WA Chamber Ensemble Residency Eugene Cook Memorial Scholarship The Fields Quartet Rica Julie, New York, NY Dionisia Fernandez, Upper Saddle River, NJ Ann and Gordon Getty Foundation Frelinghuysen Foundation Fellowship Scholarship Rachel Gruber, Cleveland, OH Theresa Ludden, Albany, NY Haskell and Ina Gordon Fellowship Claudette Sorel/Mu Phi Epsilon Scholarship Eric Koontz, New Haven, CT Karen Richards, Baldwinville, MA William and Lia Poorvu Fellowship Stuart Haupt Scholarship Elizabeth Suh, Overland Park, KS Robin Rubendunst, New Haven, CT Daphne Brooks Prout Fellowship Katherine Metcalf Scholarship AnnaSoranno, , NY Other Participants Lillian and Lester Radio Scholarship Seminar for Conductors Frank Timmerman, Thomasville, GA Yves Abel, Toronto, Ontario, Canada CD. Jackson Fellowship Dorothy and Montgomery Crane Scholarship Franklin Zigman, Philadelphia, PA Randall Fleischer, New York, NY James S. Deely Scholarship Mr. and Mrs. Andrall E. Pearson Scholarship Alan Gilbert, New York, NY William and Mary Greve Foundation Fellowship David Jones, Londonderry, Northern Ireland William E. Crofut Family Scholarship

The TANGLEWOOD MUSIC CENTER is also supported in part through a generous grant from the National Endowment for the Arts. References furnished on request

Peter Allen Denver Symphony Andre Previn Aspen Music Festival Orchestra Ravinia Festival Burt Bacharach Michael Feinstein Leonard Bernstein Ferrante and Teicher Santiago Rodriguez Bolcom and Morris George Shearing Jorge Bolet Eric Hamelin Bobby Short Boston Pops Orchestra Dick Hyman Abbey Simon Boston Symphony Interlochen Arts Academy Orchestra and National Music Camp Stephen Sondheim Brevard Music Center Adam Makowicz Tanglewood Music Center Dave Brubeck Marian McPartland Chicago Symphony Earl Wild Orchestra Metropolitan Opera John Williams Cincinnati May Festival Mitchell-Ruff Duo Wolf Trap Foundation for Cincinnati Symphony Seiji Ozawa the Performing Arts Orchestra Alexander Peskanov Yehudi Wyner Over 200 others Baldwin TODAY'S STANDARD OF MUSICAL EXCELLENCE. Monday Evening 1 988-1 989 Subscription Series Longy School of Music

November 7, 1988 "Cross Currents" Christopher Kendall, conductor. Works by Cage, Foss, Bazelon, Willey, Kim.

January 30, 1989 "A Tribute to MLK and The Black Composer" Gunther Schuller, conductor. Works by Wilson, Walker, Anderson, Singleton.

April 3, 1989 "Short Circuits": An Electronic Program , conductor. Works by Dashow, Perera, Ravel, Subotnick.

Programs Subject to Change

Tickets

Subscriptions: $25 (15% savings I) Single Tickets: $10, $5 (students, seniors)

CaH or write us for more information: Collage New Music 295 Huntington Avenue, #208 Boston, MA 02115 ) (617)437-0231 collage new music ^^ r ^•EDITION PETERS -*X3 A

RECENT ADDITIONS TO OUR CONTEMPORARY MUSIC CATALOGUE

P67021 WILLIAM ALBRIGHT Saints Preserve Us $5.00 Clarinet Solo

P6701 1 DAVID AMRAM Across the Wide Missouri (Score)* 17.50 Orchestra

P67065 Viola Variations 20.00 Viola and Piano

P66972 JO KONDO Retard 12.50 Violin Solo

P67154 JOHN ANTHONY LENNON Voices (Score) 15.00 String Quartet

P67H5 OTTOLUENING Opera Fantasia 15.00 Violin and Piano

P66298 TORU TAKEMITSU Asterism (Score)* 20.00 Orchestra

P67066 Crossfire (Score)* 20.00 Orchestra

P67091 ROLV YTTREHUS Sextet (Score)* 16.50 Hrn, Trp, Pf, P, Vn, Cb * Performance materials available from our rental department

C.F. PETERS CORPORATION 373 Park Avenue South, New York, NY 10016 • (212)686-4147