19 8 4 Tanglewood

BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

Tanglewood on Parade Tuesday, 14 August 1984 (For the benefit of the Berkshire Music Center)

2:00 Gates Open 4:30 University Tanglewood Institute 2:10 Brass fanfares at Chamber Music Concert Main Gate Drive: (Chamber Music Hall) Ronald Barron (Theatre Colonnade 6:00 Berkshire Music Center in case of rain) Fellowship Wind Music (Main House Porch; 2:30 Theatre-Concert Hall Tanglewood Institute >'h> if rain) Young Artists Orchestra (Shed) 7:00 Berkshire Highlanders Hfa (Lion Gate) 2:45 Berkshire Music Center Fellowship Vocal Concert 8:00 Eastover Train (Chamber Music Hall) (Main Gate)

3:00 Berkshire Music Center 8:15 Fanfare at rear of Shed: Fellowship Chamber Music Roger Voisin Concert 8:40 Fanfare from Shed stage: (Theatre-Concert Hall) Charles Schlueter 3:45 Boston University 9:00 Gala Concert Tanglewood Institute (Shed) Young Artists Chorus (Shed)

Hot air balloon courtesy Charles Joseph of New York City Artillery, cannon, and train supplied by Eastover, Inc. Scottish folk music courtesy of Berkshire Highlanders Fireworks over the Stockbridge Bowl following the Gala Concert 19 8 4 Tanglewnod

BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

TANGLEWOOD ON PARADE

Tuesday, 14 August at 9

BOSTON SYMPHONY ORCHESTRA BERKSHIRE MUSIC CENTER ORCHESTRA

SEIJI OZAWA, JOHN WILLIAMS, and GUNTHER SCHULLER conducting

YO-YO MA, cello

DVORAK Slavonic Dance in E minor, Opus 72, No. 2

DVORAK Cello Concerto in B minor, Opus 104 Allegro Adagio, ma non troppo Finale: Allegro moderato

YO-YO MA, cello BOSTON SYMPHONY ORCHESTRA, SEIJI OZAWA, conductor

INTERMISSION

RIMSKY-KORSAKOV Capriccio espagnole, Opus 34 BERKSHIRE MUSIC CENTER ORCHESTRA, JOHN WILLIAMS, conductor TCHAIKOVSKY Ceremonial Overture, 1812 BOSTON SYMPHONY ORCHESTRA and BERKSHIRE MUSIC CENTER ORCHESTRA, GUNTHER SCHULLER, conductor MEMBERS OF THE TANGLEWOOD FESTIVAL CHORUS AND THE TANGLEWOOD CHOIR, JOHN OLIVER, conductor BOSTON UNIVERSITY TANGLEWOOD INSTITUTE YOUNG ARTISTS CHORUS, LEONARD ATHERTON, conductor

Please do not take pictures during the concert. Flashbulbs, in particular, distract the musicians and other members of the audience.

Please be sure the electronic signal on your watch or pager is switched off during the concert.

Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, Hyperion, and RCA records Baldwin piano

The Berkshire Music Center is funded in part by a generous grant from the National Endowment for the Arts in Washington, D.C.

Notes

Dvorak received the impetus to compose his Cello Concerto—the most popular work of its type in the repertory—during his years as director of the National Conservatory in New York. The chairman of his cello faculty there was Victor Herbert, a German-trained Irishman who was the principal cellist of the Metro- politan Opera Orchestra and was also active as a conductor and composer. Within a matter of years Herbert would become the most successful of all American composers for the Broadway stage, but in the early 1890s his attention was almost totally directed to the creation of concert music. Victor Herbert had already composed a Suite for Cello and Orchestra and a Cello Concerto (his Opus 3 and

Opus 8, respectively), but it was the first performance of his best-known serious work, the Second Cello Concerto, with the New York Philharmonic under Anton Seidl on 9 and 10 March 1894 that proved epoch-making to Dvorak. Naturally Dvorak attended the premiere of this large work by a man who was not only a head of one of his departments, but a close friend as well. After the performance, Dvorak ran up to the composer-soloist and shouted enthusiastically, "Terrific,

,, absolutely terrific! Up to that time, Dvorak had always feared that the cello was too delicate and too low in pitch to be soloist in a concerto, but Herbert's composi- tion and performance persuaded him otherwise. The following year he began his own Cello Concerto, completing it on 9 February 1895. He made one substantial change after returning home to . At the death of his sister-in-law, Josefina Kaunitzova, with whom he had once been in love, Dvorak replaced four bars of music just before the end of the concerto with a substantial new section of serious character.

The concerto has always been popular for the warmth of its melodies, the brilliance of Dvorak's treatment of the solo instrument, and the skillful way in which he manages to employ his substantial orchestra without overpowering the solo cello. After the brilliant first movement comes a songful Adagio, the mood of which is colored by the news the composer received of the serious illness of his beloved sister-in-law. Recalling that she was especially fond of one of the songs from his Opus 82 of 1887-88, he worked the melody into the slow move- ment. The rondo tune of the finale is exuberant, though tempered by the lyricism of the interludes. Dvorak's dedicatee, the cellist Hanus Wihan, who worked with him on details of the cello part, desired to add an extensive cadenza to the finale, but the composer refused. When he learned that his sister-in-law died, he gave the concerto an ending very different from the traditional soloist's race-to-the- finish by adding an extended passage of quiet music—recalling the opening theme of the concerto and referring once more to his Opus 82 song—that brings a striking and unusually poignant quality to the score just before the final burst of high spirits. During the season of 1886-87, Nikolai Rimsky-Korsakov became especially interested in problems of violin technique as part of his continuing study of the orchestral instruments and their possibilities. Having composed a Fantasy on Two Russian Themes for violin and orchestra, he decided to write a similar

work on Spanish themes, though after sketching the work he laid it aside tem- porarily to take up his generous, self-imposed task of completing and orchestrat- ing Borodin's unfinished opera Prince Igor after that composer died suddenly in February 1887. While continuing his work on the Borodin opera in the summer of 1887, Rimsky interrupted work long enough to finish the previously sketched

composition on Spanish themes, though now it became primarily an orchestral showpiece, though with a few passages for solo violin remaining as evidence of his original plan.

Ever since its completion, the Capriccio has rightly been regarded as one of the great demonstrations of orchestral color. But the real significance of Rimsky's

achievement is that he accomplished these prodigies of timbral invention without greatly expanding the orchestra and without drawing on such modernists as Wagner. As he himself proudly pointed out, he had written his piece "within the limits of the usual make-up of Glinka's orchestra." The various sections of the Capriccio espagnole, played without break, are:

1. Alborada (Vivo e strepitoso), a brilliant 2/4 dance in A major that also returns, rondo-like, to give an overall shape to the whole; 2. Variazioni (Andante con moto), in F major, highlighting the horn section;

3. Alborada, a repeat of the opening in B-flat with the first appearance of the solo violin that recalls the work's genesis;

4. Scena e canto gitano (6/8, D minor), introduced by a series of solo cadenzas for

different instruments; it runs directly into

5. Fandango asturiano (3/4, A major), with full orchestral forces in kaleidoscopic display, including stringed instruments strummed like guitars and lots of violin

harmonics. This leads into the coda (2/4, A major), which is one last statement of the Alborada made as lively and brilliant as possible.

Tchaikovsky's concert overture with the official title "The Year 1812" was com-

posed in 1880 and first performed in Moscow on 20 August 1882. The central event of the year 1812 for any Russian, of course, was Napoleon's discomfiture at Moscow and his humiliating and devastating march back to western Europe. Tchaikovsky composed this musical tribute to the Russian victory essentially as a potboiler, aimed at popular success, and in that he was not mistaken. The quota- tion of familiar tunes (at least familiar to his Russian audience) guaranteed a patriotic response: the hymn "God preserve the Tsar," the appearance of La Marseil- laise gradually overwelmed by the "Russian" music, and the concluding Imperial anthem, reinforced by bells and cannon, have made the overture a popular showpiece from its very first performance.

—Steven Ledbetter

ARTISTS

Seiji Ozawa

While working with Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, whom he accompanied on the New York Philhar- monic's spring 1961 Japan tour, and he was made an assistant conductor of that or- chestra for the 1961-62 season. His first professional concert appearance in North America came in January 1962 with the San Francisco Symphony Orchestra. He was music director of the Chicago Symphony's Ravinia Festival for five summers beginning in 1964, and music director for four seasons of the Toronto Symphony Orchestra, a post he relinquished at the end of the 1968-69 season.

The 1983-84 season is Seiji Ozawa's Seiji Ozawa first conducted the Boston eleventh as music director of the Boston Symphony in Symphony Hall in January

Symphony Orchestra. In the fall of 1973 he 1968; he had previously appeared with the became the orchestra's thirteenth music orchestra for four summers at Tanglewood, director since it was founded in 1881. where he became an artistic director in Born in 1935 in Shenyang, China, to 1970. In December 1970 he began his inau- Japanese parents, Mr. Ozawa studied both gural season as conductor and music direc- Western and Oriental music as a child and tor of the San Francisco Symphony later graduated from Tokyo's Toho School Orchestra. The music directorship of the of Music with first prizes in composition Boston Symphony followed in 1973, and and conducting. In the fall of 1959 he won Mr. Ozawa resigned his San Francisco first prize at the International Competition position in the spring of 1976, serving as of Orchestra Conductors, Besancon, music advisor there for the 1976-77 season. France. Charles Munch, then music direc- As music director of the Boston Sym- tor of the Boston Symphony and a judge at phony Orchestra, Mr. Ozawa has the competition, invited him to strengthened the orchestra's reputation Tanglewood for the summer following, internationally as well as at home, leading and he there won the Berkshire Music concerts on the BSO's 1976 European tour Center's highest honor, the Koussevitzky and, in March 1978, on a nine-city tour of Prize for outstanding student conductor. Japan. At the invitation of the Chinese government, Mr. Ozawa then spent a week and Peter Lieberson's Piano Concerto has working with the Peking Central Philhar- been taped for New World records with monic Orchestra; a year later, in March soloist Peter Serkin. For Angel/EMI, he and 1979, he returned to China with the entire the orchestra have recorded Stravinsky's Boston Symphony for a significant musical Firebird and, with soloist Itzhak Perlman, and cultural exchange entailing coaching, the violin concertos of Earl Kim and Robert study, and discussion sessions with Starer. Mr. Ozawa holds honorary Doctor Chinese musicians, as well as concert of Music degrees from the University of performances. Also in 1979, Mr. Ozawa led and the Con- the orchestra on its first tour devoted exclu- servatory of Music. sively to appearances at the major music festivals of Europe. Most recently, Seiji Ozawa and the Boston Symphony cele- John Williams brated the orchestra's one-hundredth birth- day with a fourteen-city American tour in March 1981 and an international tour to Japan, France, Germany, Austria, and England in October/November that same year. Mr. Ozawa pursues an active interna- tional career. He appears regularly with the Berlin Philharmonic, the Orchestre de , the French National Radio Orchestra, the Vienna Philharmonic, the Philharmonia of London, and the New Japan Philhar- monic, and his operatic credits include Salzburg, London's Covent Garden, La Scala in Milan, and the , where he conducted the world premiere of Olivier

Messiaen's opera St. Francis of Assisi in November 1983. Mr. Ozawa has won an Emmy for the BSO's "Evening at Sym- phony" television series. His award- John Williams was named nineteenth winning recordings include Berlioz's Romeo Conductor of the Boston Pops in January et Juliette, Schoenberg's Gurrelieder, and the 1980. He was born in New York and moved Berg and Stravinsky violin concertos with to Los Angeles with his family in 1948. Itzhak Perlman. Other recordings with the There he attended UCLA and studied orchestra include, for Philips, Richard composition privately with Mario Castel- Strauss's Also sprach Zarathustra and Ein nuovo-Tedesco. After service in the Air Heldenleben, Stravinsky's Le Sacre du prin- Force, Mr. Williams returned to New York temps, Hoist's The Planets, and Mahler's to attend the Juilliard School, where he

Symphony No. 8, the Symphony of a studied piano with Madame Rosina Thousand. For CBS, he has recorded music Lhevinne. While in New York, he also of Ravel, Berlioz, and Debussy with mezzo- worked as a jazz pianist, both in clubs and soprano Frederica von Stade and the Men- on recordings. Williams again moved to delssohn Violin Concerto with Isaac Stern, Los Angeles and began his career in the and for Telarc he has recorded the complete film studios, working with such composers cycle of Beethoven piano concertos and the as Bernard Herrmann, Alfred Newman, Choral Fantasy with Rudolf Serkin. and Franz Waxman. He went on to write Mr. Ozawa and the orchestra have recorded music for many television programs in the three of the works commissioned by the 1960s, winning two Emmys for his work. BSO for its centennial: Roger Sessions's Mr. Williams has composed the music Pulitzer Prize-winning Concerto for and served as music director for over sixty Orchestra and Andrzej Panufnik's Sinfonia films, including Goodbye, Mr. Chips; The Votiva are available on Hyperion records, Poseidon Adventure, Jaws, Star Wars, Close Encounters of the Third Kind, Superman, The Gunther Schuller Empire Strikes Back, Raiders of the Lost Ark, E.T. (the Extra-Terrestrial), Return ofthejedi, and Jones and the Temple of Doom. He has received nineteen Academy Award nominations and has been awarded four Oscars and fourteen Grammies, as well as several gold and platinum records. His most recent Oscar was for Best Original Score for a Motion Picture, for E. T In addition to his film music, Williams has written many concert pieces, including two symphonies, and a flute concerto and violin concerto recorded by the London Symphony Orchestra. His Jubilee 350 Fanfare heralded the 350th birthday of the City of Boston in September 1980, and he opened the 1984 Pops season with The Esplanade Overture written especially for the Boston Pops. The soundtrack album to Star Wars has Born in New York City in 1925, composer/ sold over four million copies, more than conductor/educator/author/administrator any non-pop album in recording history. Gunther Schuller has maintained a long- His highly acclaimed albums with the standing association with the Boston Sym- Boston Pops include Pops in Space, That's phony Orchestra: he was acting head of the Entertainment (Pops on Broadway), Pops on the composition department of the Berkshire March, Pops Around the World (Digital Over- Music Center at Tanglewood from 1963 to

tures), Aisle Seat, Pops Out of This World, and 1965; in 1965 he succeeded Aaron Copland Pops on Stage. as head of that department and became Since his appointment as Pops Conduc- responsible for directing contemporary tor, Williams has led the Pops in New York, music activities; and in 1970 he was ap- Chicago, Los Angeles, Detroit, and many pointed to his present post of artistic direc- other American cities. In addition, he has tor of the Berkshire Music Center. He has appeared as guest conductor with the been guest conductor with the Boston major orchestras of London, Pittsburgh, Symphony on numerous occasions since Dallas, Toronto, and Los Angeles. In the his first appearance in 1964, and his music fl past few years he has received several has been performed at Boston Symphony honorary degrees from American colleges concerts under the direction of Erich and universities, including the Boston Leinsdorf, William Steinberg, Bruno Conservatory of Music, Berklee College of Maderna, Seiji Ozawa, and Mr. Schuller Music in Boston, Northeastern University, himself. the University of South Carolina at Colum- Mr. Schuller was playing in the New bia, and Tufts University. York Philharmonic under Toscanini at Mr. Williams was commissioned to sixteen, was appointed principal horn of compose the official theme and fanfare for the Cincinnati Symphony at seventeen, this summer's Olympic Games in Los was soloist with that orchestra the follow- Angeles, and he conducted this music at ing season in his own horn concerto, and the Opening Ceremonies in Los Angeles by nineteen had accepted a position with last month. He is currently working on the the Metropolitan Opera orchestra. In 1959, film score for Universale The River, starring Mr. Schuller resigned as solo horn of the Sissy Spacek and Mel Gibson. Metropolitan to devote full time to composi- tion, and he has received commissions from the Chicago Symphony, the New York Philharmonic, and, through a Ford Founda- tion grant, the Minneapolis Symphony. He has composed works for the New York the University of Illinois, Colby College, Ballet and the Hamburg State Opera, and Williams College, and the New England his recent scores include a trombone con- Conservatory of Music. Mr. Schuller is a certo entitled Eine kleine Posaunenmusik; a member of the National Institute of Arts Contrabassoon Concerto; In Praise of Winds: and Letters and the National Council of the Symphony for Large Wind Orchestra; the Arts. In June 1979, Mr. Schuller was elected Duologue for violin and piano written for president of the National Music Council, Rafael Druian; a Concerto for Saxophone; a and he is a member of the American Piano Trio; and a Piano Quartet. Academy of Arts and Letters. Mr. Schuller's appearances as conductor have included the orchestras of Boston, Chicago, New York, Philadelphia, Cleve- Yo-Yo Ma land, Los Angeles, and San Francisco, and, in Europe, the Berlin Philharmonic, Lon- don's BBC Symphony and Philharmonia orchestras, the French Radio Orchestra, and the Bavarian Radio Symphony. From 1963 through 1965, Mr. Schuller organized and conducted "Twentieth-Century Inno- vations," a history-making concert series sponsored by the Carnegie Hall Corpora- tion. He broadcast a weekly series of 153 programs on "Contemporary Music in Evolution" over New York's WBAI radio, later heard on seventy-seven stations throughout the country, and in 1973 he wrote and hosted "Changing Music," a series of contemporary music produced for PBS by WGBH in Boston. His work with the New England Conservatory Ragtime Ensemble, particularly his reorchestrations Cellist Yo-Yo Ma gave his first public recital of Scott Joplin works derived from the at the age of five. By the time he was nine- composer's long-lost Red Back Book and teen, critics were comparing him to such recorded for Angel records, was a major masters of the cello as Mstislav Rostro- factor in the popular ragtime revival of the povich and Pablo Casals. In 1978, Mr. Ma mid-seventies, and he conducted the won the coveted Avery Fisher Prize, and Broadway premiere of Joplin's opera he has since been acclaimed throughout Treemonisha in October 1975. the world. He has appeared with such As an educator, in addition to his work major orchestras as the Berlin Philhar- at Tanglewood, Gunther Schuller taught monic, Boston Symphony, Chicago Sym- horn at the Manhattan School of Music phony, Israel Philharmonic, London Sym- from 1952 through 1964. He also served on phony, and New York Philharmonic, the music faculty of Yale University as among others, and he has performed with associate professor of composition, a post such eminent conductors as Claudio he left to become president of the New Abbado, Sergiu Comissiona, Herbert von England Conservatory of Music, where he Karajan, Lorin Maazel, Zubin Mehta, Seiji remained from 1967 to 1977. Mr. Schuller is Ozawa, and Andre Previn. His national the recipient of numerous honors, includ- and international tours include solo recitals ing the National Institute of Arts and Letters as well as chamber music appearances with Award, the Brandeis Creative Arts Award, such artists as Leonard Rose, Pinchas two successive Guggenheim fellowships, Zukerman, Gidon Kremer, Yehudi Menu- the Darius Milhaud Award, the Alice M. hin, and, most recently, pianist Emanuel Ditson Conducting Award, and the Rodgers Ax. One of the most sought-after artists in and Hammerstein Award. He holds honor- the world, Yo-Yo Ma plays frequently in ary degrees from Northeastern University, New York to sold-out houses. Performances of his favored Bach Suites for unaccom- of Beethoven sonatas for cello and piano panied cello and the Suites for gamba and with Emanuel Ax, his own transcriptions harpsichord with Kenneth Cooper in a of music by Paganini and Kreisler, and the series of recitals at Alice Tully Hall high- Bach Sonatas for viola da gamba and lighted his 1981-82 season. In the spring of harpsichord with Kenneth Cooper. His 1982 he was invited to perform with the newest releases include the six Bach Suites London Symphony Orchestra at the newly for unaccompanied cello and the Shos- opened Barbican Hall with Queen Elizabeth takovich and Kabalevsky cello concertos in attendance. During the 1982-83 season with Eugene Ormandy and the Philadel- he toured Europe with the Los Angeles phia Orchestra. He will record the Brahms Philharmonic under Zubin Mehta, perform- cello sonatas with Emanuel Ax for RCA ing the Brahms Double Concerto with records. violinist Gidon Kremer. Other European Born in Paris in 1955 to Chinese parents, u?J! tours have included appearances with the Mr. Ma began his cello studies with his Amsterdam Concertgebouw, Berlin Philhar- father at age four. He later studied with monic, London Philharmonia, and Stock- Janos Scholz, and in 1962 he entered the I Symphony, as well as a series of Juilliard School and began his studies with holm * %*" recitals in London, Munich, and Berlin Leonard Rose. A graduate of Harvard performing the Bach Suites. This season University, where he was artist-in- Mr. Ma tours the Far East and gives perform- residence for three years, he lives with his ances with the Detroit Symphony, Lon- wife Jill and his son Nicholas in Winchester, don Symphony, National Symphony, New Massachusetts. Mr. Ma's instrument is a York Philharmonic, Pittsburgh Symphony, Montagnana from Venice dating from 1733. Royal Philharmonic, and Toronto Sym- Mr. Ma made his Boston Symphony debut phony, among others. He also tours the with the Dvorak Cello Concerto in B minor Bi for trio performances with in February 1983 under Seiji Ozawa's direc- HB3SK Emanuel Ax and violinist Young-Uck Kim. tion, a performance repeated at Tangle-

Berkshire Music Center 1984 Fellowship Program

Violins Clarisse Atcherson, Iowa City, Iowa Rachel Goldstein, Iowa City, Iowa Archie Peace Memorial Fellowship Dr. Marshall N. Fulton Memorial Fellowship Leslie Braidech, South Euclid, Ohio Audur Hafsteinsdottir, Reykjavik, Iceland Theodore Edson Parker Foundation Bradley Fellowship Fellowship Thomas Hanulik, Westport, Connecticut Susan Brenneis, Miami Springs, Florida Juliet Esselborn Geier Memorial Fellowship CD. Jackson Master Award Fellowship Stefan Hersh, Mill Valley, Bo Chao, Shanghai, China Northern California Fund Fellowship Hodgkinson Fellowship Rebecca Hirsch, London, England Judith Cox, Dayton, Ohio Betty O. & Richard S. Burdick Fellowship & Anonymous Donor & English Speaking Union Fellowship Berkshire County Savings Bank Fellowship Teri Hopkins, Menlo Park, California Leo Ficks, Coraopolis, Pennsylvania Hugh Cecil Sangster Memorial Fellowship Arthur Fiedler/Leo Wasserman Memorial Hyun-Mi Kim, Seoul, Korea Fellowship Boston Symphony Orchestra Fellowship Hi F

Yumi Kobayashi, Tokyo, Japan Cellos The Fitzpatrick Fellowship Richard Andaya, San Francisco, California Melanie Kupchynsky, East Brunswick, Sarah Ann Leinbach & Lillian C. Norton New Jersey Fellowship Gerald Gelbloom Memorial Fellowship Patrick Binford, Lexington, Kentucky Frederick Lifsitz, Waban, Massachusetts Boston Symphony Orchestra Fellowship & Leo Panasevich Fellowship Israel & Rita Kalish Foundation Fellowship Lynette Lim, Singapore Elizabeth Dolin, Toronto, Canada

Mr. &Mrs. David B. Arnold, Jr., Fellowship General Cinema Corporation Fellowship Sunghae (Anna) Lim, Cambridge, Leighton Fong, Sacramento, California Massachusetts Mr. & Mrs. Kenneth Warner Pfleger Memorial 17. S. Components, Inc. Fellowship & Fellowship Spencer Fellowship Sally Gibson, Marietta, Georgia Danielle Maddon, Athens, Ohio Joseph & Lillian Miller Fellowship William Kroll Memorial Fellowship Joshua Gordon, Whippany, New Jersey Muneko Ohtani, Tokyo, Japan Martha & William Selke Fellowship Harry & Mildred Remis Fellowship Shohei Hirata, Chiba, Japan Sara Parkins, San Francisco, California Jane & William Ryan Fellowship The Luke B. Hancock Foundation Fellowship Paul Kushious, Warwick, Craig Reiss, Sacramento, California Ina & Haskell R. Gordon Fellowship Brownie & Gil Cohen Fellowship Dale Root, Manheim, Pennsylvania Laura Rosky, Louisville, Kentucky CD. Jackson Master Award Fellowship H. Eugene and Ruth B. Jones Fellowship William Rounds, Rapid City, South Dakota Nancy Schechter, Syosset, New York Marion Callanan Memorial Fellowship Hannah & Raymond Schneider Fellowship Wendy Smith, Okemos, Susan Shipley, Wheeling, West Virginia Rosamond Sturgis Brooks Memorial Jason & Elizabeth Starr Fellowship Fellowship Elizabeth Suh, Overland Park, Kansas Surdna Foundation Inc. Fellowship Basses Keiko Takahashi, Tokyo, Japan Constance Deeter, Forth Worth, Texas Tanglewood Council Fellowship Boston Symphony Orchestra Fellowship & Kathryn Votapek, East Lansing, Michigan Kimberly-Clark Foundation Fellowship Lucy Lowell Fellowship Elizabeth Foulser, Elmhurst, Illinois Kandell Fellowship Violas Todd Seeber, Battleground, Washington Valerie Dimond, Summit, New Jersey Julius & Eleanor Kass Fellowship & Geraldine R. Dodge Foundation Fellowship Marlene Kitzel Green & Family Fellowship Ronald Houston, Stratford, Connecticut Doug Sommer, Foster City, California Boston Symphony Orchestra Fellowship Country Curtains Fellowship

Marcelo Jaffe, Sao Paulo, Brazil Al Tedesco, Roslindale, Massachusetts Omar Del Carlo Tanglewood Fellowship Miriam E. Silcox Fellowship & Claire Norman, New York, New York Lillian & Lester Radio Fellowship Boston Symphony Orchestra Fellowship Nick Tsolainos, Lyndhurst, Ohio Heather Porter, Boston, Massachusetts Koussevitzky Music Foundation Fellowship David Yavornitzky, Strongsville, Ohio J. P. & Mary Barger Fellowship Helen Reich, New Milford, New Jersey Harry & Mildred Remis Fellowship The Frelinghuysen Foundation Fellowship Paul Swantek, Plymouth, Michigan Flutes Boston Symphony Orchestra Fellowship Adam Kuenzel, Cincinnati, Ohio Leslie Tomkins, New York, New York Leonard Bernstein Fellowship Dorothy & Montgomery Crane Fellowship Lisha McDuff, Edmond, Oklahoma Carol Traut, New York, New York Miriam Ann Kenner Memorial Fellowship & Barbara Lee/Raymond Lee Foundation Irma & Allan Mann Fellowship Fellowship Karen Munson, Mill Valley, California Nancy Yagiela, Grand Rapids, Michigan John & Susan Grandin Fellowship Koussevitzky Music Foundation Fellowship Kathleen Reynolds, Santa Rosa, California in memory of Margaret Grant Red Lion Inn Fellowship Rebecca Young, Metuchen, New Jersey Jeffrey Zook, Jackson, Michigan Lia & William Poorvu Fellowship Ruth S. Morse Fellowship 10 Oboes Trumpets Disa English, Bellevue, Washington Dominic Derasse, Maison-Alfort, France Fernand Gillet Memorial Fellowship Tanglewood Council Fellowship Cynthia Koledo, Royal Oak, Michigan Doug Prosser, Golden, Colorado Augustus Thorndike Fellowship Stuart Haupt Fellowship Jeffrey Rathbun, Abilene, Texas Daryl Robbins, Brookline, Massachusetts The Frelinghuysen Foundation Fellowship Empire Brass Quintet Fellowship Robert Sheena, San Francisco, California Phil Snedecor, Richardson, Texas Stephen & Persis Morris Fellowship Irene & David Bernstein Fellowship Keisuke Wakao, Tokyo, Japan Robert Sullivan, Norwood, Massachusetts Margaret T. & Bruce R. Gelin Fellowship Armando A. Ghitalla Fellowship IP Clarinets Trombones Curt Blood, West Hartford, Connecticut Bradley Cornell, Midland, Texas I U.S. Components, Inc. Fellowship & Berkshire Life Insurance Co. & Jane & Peter Rice Fellowship Berkshire Hilton Inn Fellowship Ross Edwards, Montreal, Quebec Robert Couture, Boston, Massachusetts Claire Fellowship & Millard Pryor & Surdna Foundation, Inc. Fellowship Mr. &Mrs. Albert}. Sandler Fellowship Julie Josephson, Cassadagua, New York David Martins, Tewksbury, Massachusetts Fromm Music Foundation Fellowship Alfred E. Chase Fellowship Donald Robinson, Daly City, California Todd Nickow, Lincolnwood, Illinois Mary & Harry W. Harrison, Jr. , Fellowship CD. Jackson Master Award Fellowship William Somers, Jenkintown, Pennsylvania Tuba General Electric Plastics Fellowship Matthew Good, Big Flats, New York Mark Spuria, Carlisle, Massachusetts Fromm Music Foundation Fellowship WCRB Fellowship in honor of Senator Paul E. Tsongas Percussion Bassoons Braham Dembar, Boston, Massachusetts James Compton, Long Beach, California Leonard Bernstein Fellowship James A. MacDonald Foundation Fellowship Edward Harrison, Oak Ridge, New Jersey Anders Engstrom, Solna, Sweden Albert L. & Elizabeth P. Nickerson Fellowship Robert Jurkscheit, Columbia, Maryland Jenifer House Fellowship /*•».. George Sakakeeny, Somerville, Fromm Music Foundation Fellowship Massachusetts Thomas Suta, Bradenton, Florida Stanley Chappie Fellowship Anonymous Donor Katherine Thompson, Baltimore, Maryland Berkeley Williams, Boston, Massachusetts Dr. &Mrs. Alexander B. Russell Fellowship & Arthur Fiedler Fellowship Mary Gene & William F. Sondericker Greg Zuber, Chicago, Illinois Wm Fellowship Anonymous Donor & Larry Tilson, Parsippany, New Jersey John Major Nolle Fellowship

IBM***Robert G. McClellan, Jr., Fellowship Harps Horns Paula Provo, Phoenix, Arizona Jean Bennett, Poughkeepsie, New York Kathleen Hall Banks Fellowship Leo L. Beranek Fellowship Barbara Wehlan, Memphis, Tennessee Todd Dimsdale, Arlington, Texas Claudette Sorel/Mu Phi Epsilon Fellowship & Charles & Sara Goldberg Charitable Trust Mrs. Houghton P. Metcalf Fellowship Fellowship Michael Pandolfi, North Scituate, Keyboard Rhode Island Judith Gordon, Baltimore, Maryland Mildred A. Leinbach Fellowship Judith & Stewart Colton Fellowship Lynda Pickney, Fort Lauderdale, Florida John Mugge, New York, New York Leonard Bernstein Fellowship Marie Gillett Fellowship Jonathan Ring, Coral Gables, Florida Bryan Pezzone, New Castle, Pennsylvania Dynatech Corporation Fellowship Wulsin Fellowship Krista Smith, Boston, Massachusetts Raymond Pickins, East Liverpool, Ohio Fromm Music Foundation Fellowship R. Amory Thorndike Fellowship

11 Larissa Schneur, Toronto, Ontario Vocal Coaches Felicia Montealegre Bernstein Fellowship Roy Hakes, Sierra Vista, Arizona Cheryl Tschanz, Lima, Ohio Stokes Fellowship Wulsin Fellowship Walter Huff, East Point, Georgia

Astrith Zorman, Tel-Aviv, Israel William J. Rubush Memorial Fellowship

Mr. & Mrs. Edwin A. Jaffe Fellowship Karl Paulnack, Allentown, Pennsylvania Hon. &Mrs. Peter LB. Lavan Fellowship Nancy Revzen, St. Louis, Missouri National Federation Music Clubs Conductors of Fellowship honoring Ada Holding Miller & Tang, Muhai Shanghai, China Mead Corporation Fellowship Daphne Brooks Prout Fellowship Mary Satterthwaite, Peachtree City, Georgia Naohiro Totsuka, Tokyo, Japan CD. Jackson Master Award Fellowship Seiji Ozawa Fellowship established by Mr. &Mrs. Allen C. Barry Composers Jeffrey Brooks, Minneapolis, Minnesota Fromm Music Foundation Fellowship William Coble, Syracuse, New York Vocal Fellows Caroline Grosvenor Congdon Memorial Candice Burrows, Eugene, Oregon Fellowship Seven Hills Fellowship Sidney Friedman, Northbrook, Illinois Young-Ae Kim Cho, Seoul, Korea ASCAP/Rufolf Nissim Fellowship in Leonard Bernstein Fellowship Composition Mark Fularz, Boston, Massachusetts Stephen Fullenwieder, New York, New York Boston Symphony Orchestra Fellowship Fromm Music Foundation Fellowship Betsy Gintz, New York, New York Tim Geller, Fort Collins, Colorado Harry Stedman Fellowship Koussevitzky Music Foundation Fellowship Roberta Gumbel, Kansas City, Missouri Marjorie Hess, Princeton, New Jersey Nat King Cole Memorial Fellowship Margaret Lee Crofts Fellowship William Hite, New Castle, Pennsylvania Laura Karpman, Beverly Hills, California David R. & Muriel K. Pokross Fellowship Ina and Eugene Schnell Fellowship & James Kleyla, Miami, Florida Aaron & Abby Schroeder Fellowship Freida & Samuel Strassler Fellowship Todd Levin, Farmington Hills, Michigan Marjorie McDermott, Boston, Massachusetts Leonard Bernstein Fellowship Helene R. & Norman L. Cahners Fellowship Steven Mackey, Stateline, Nevada Richard Morrison, Oakland, California William and Mary Greve Foundation Leonard Bernstein Fellowship Fellowship Fritz Robertson, Brookline, Massachusetts Steve Martland, Liverpool, England Boston Symphony Orchestra Fellowship British Broadcasting Corporation Fellowship Petger Schaberg, Oswego, Illinois James Primosch, Highland Heights, Ohio Leonard Bernstein Fellowship Margaret Lee Crofts Fellowship Jayne West, Boston, Massachusetts Daniel Schroyens, Mechelen, Belgium Anna Gray Sweeney Noe Fellowship Leonard Bernstein Fellowship

The BERKSHIRE MUSIC CENTER gratefully The BERKSHIRE MUSIC CENTER is also acknowledges the Charles E. Culpeper supported in part through a generous grant Foundation, Inc., of New York City for endow- from the National Endowment for the Arts in ing the position of Chairman of the Faculty at Washington, D.C., a Federal agency created the Berkshire Music Center at Tanglewood. by Act of Congress in 1965.

The BERKSHIRE MUSIC CENTER gratefully The BERKSHIRE MUSIC CENTER acknowl- acknowledges the generosity of Marilyn edges with gratitude the generosity of Acous- Brachman Hoffman for endowing the posi- tic Research, NAD, and Sruder-Revox tion of Head of Keyboard Activities at the America, who provided recording equip- Berkshire Music Center at Tanglewood in ment for the 1984 session. memory of Marian Douglas Martin.

12 FELLOWSHIPS AT THE BERKSHIRE MUSIC CENTER

Fellowship gifts to the Berkshire Music Center at Tanglewood enable over 130 students to continue their professional training and gain experience under the guidance of eminent musicians and teachers. The Fellowships listed below were awarded in 1984. We are grateful to these individuals and organizations for their generosity.

Endowed Fellowships Stephen & Persis Morris Margaret Lee Crofts A Fellowship may be Fellowship Fellowship endowed with a gift of Ruth S. Morse Fellowship Dynatech Corporation $50,000 Albert L. & Elizabeth P. Fellowship Nickerson Fellowship General Cinema Mr. & Mrs. David B. Northern California Fund Corporation Fellowships

Arnold, Jr. Fellowship Fellowships General Electric Plastics Kathleen Hall Banks Theodore Edson Parker Fellowship Fellowship Foundation Fellowship William & Mary Greve Leo L. Beranek Fellowship David R. & Muriel K. Foundation Fellowship Leonard Bernstein Pokross Fellowship Mary & Harry W. Fellowships Daphne Brooks Prout Harrison, Jr. Fellowship Helene R. & Norman L. Fellowship Leo Panasevich Fellowship Cahners Fellowship Harry & Mildred Remis Lia & William Poorvu Stanley Chappie Fellowships Fellowship Fellowship Hannah & Raymond Red Lion Inn Fellowship Alfred E. Chase Fellowship Schneider Fellowship Tanglewood Council Nat King Cole Memorial Surdna Foundation, Inc. Fellowships Fellowship Fellowships Caroline Grosvenor R. Amory Thorndike Congdon Memorial Fellowship Fellowship Augustus Thorndike Annual Fellowships Dorothy & Montgomery Fellowship A Fellowship may be Crane Fellowship named with a minimum Omar Del Carlo annual gift of $2, 250. Tanglewood Fellowship Arthur Fiedler/ Fellowship Guarantors ASCAP/Rudolf Nissim Leo Wasserman Fellowship Individuals, founda- in Memorial Fellowship Composition tions, and corporations Dr. Marshall N. Fulton Berkshire Life Insurance may act as Guarantors Memorial Fellowship Co. & Berkshire Hilton of a Fellowship Juliet Esselborn Geier by con- Inn Fellowship tributing the total actual Memorial Fellowship Felicia Montealegre Gerald Gelbloom cost of supporting a Bernstein Fellowship Memorial Fellowship Fellow at Tanglewood Irene & David Bernstein Armando A. Ghitalla ($5,450 in 1984). Fellowship Fellowship Marion Callanan Fernand Gillet Memorial J. P. & Mary Barger Memorial Fellowship Fellowship Fellowship Brownie & Gil Cohen Marie Gillet Fellowship Leo L. Beranek Fellowship Fellowship John & Susanne Grandin BMC Alumni Fellowship Judith & Stewart Colton Fellowship Bradley Fellowship Fellowship The Luke B. Hancock British Broadcasting Margaret Lee Crofts Foundation Fellowship Corporation Fellowship Fellowship Hodgkinson Fellowship Rosamond Sturgis Brooks Geraldine R. Dodge CD. Jackson Master Memorial Fellowship Foundation Fellowship Award Fellowships Country Curtains Empire Brass Quintet Lucy Lowell Fellowship Fellowship Fellowship

13 Arthur Fiedler Fellowship, Seiji Ozawa Fellowship, Miriam Ann Kenner established by the established by Memorial Fellowship National Distillers and Mr. & Mrs. Allen G. Kimberly-Clark Chemical Corporation Barry Foundation Fellowship Fitzpatrick Fellowship Archie Peace Memorial Irma & Allen Mann The Frelinghuysen Fellowship Fellowship Foundation Fellowships Mr. & Mrs. Kenneth Mead Corporation Fromm Music Foundation Warner Pfleger Fellowship Fellowships Memorial Fellowship National Federation of

Margaret T. & Bruce R. William J. Rubush Music Clubs Fellowship Gelin Fellowship Memorial Fellowship honoring Ada Holding Charles & Sara Goldberg Jane and William Ryan Miller Charitable Trust Fellowship Katharine H. Metcalf Fellowship Hugh Cecil Sangster Fellowship Ina & Haskell R. Gordon Memorial Fellowship John Major Nalle Fellowship Martha & William Selke Fellowship William & Mary Greve Fellowship Claire & Millard Pryor Foundation Fellowship Seven Hills Fellowship Fellowship Stuart Haupt Fellowship Jason and Elizabeth Stan- Lillian & Lester Radio IBM***RobertG. Fellowship Fellowship

McClellan, Jr. Harry Stedman Fellowship Jane & Peter Rice Fellowship Stokes Fellowship Fellowship Mr. & Mrs. Edwin A. Frieda & Samuel Strassler Dr. & Mrs. Alexander B. Jaffe Fellowship Fellowship Russell Fellowship

Jenifer House Fellowship WCRB Fellowship, Mr. & Mrs. Albert J. H. Eugene & Ruth B. in honor of Senator Paul Sandler Fellowship Jones Fellowship E. Tsongas Mary Gene & William F. Kandell Fellowship Wulsin Fellowships Sondericker Fellowship Koussevitzky Music Spencer Fellowship Foundation Fellowships U.S Components, Inc. Koussevitzky Music Fellowships Foundation Fellowship in memory of Margaret Shared Fellowships Grant Prizes and Awards A Shared Fellowship William Kroll Memorial Cynthia Busch Award may be named with a Fellowship Gustav Golden Award Mrs. Peter I.B. minimum annual gift of Hon. & CD. Jackson Master Lavan Fellowship $1,500. Awards Barbara Lee/Raymond Lee Henri Kohn Award Foundation Fellowship Berkshire County Savings Cecil S. Mapes Memorial Bank Fellowship Mildred A. Leinbach Award Fellowship Betty O. & Richard S. Pierre Mayer Award Sarah Ann Leinbach & Burdick Fellowship Harry Shapiro Award Lillian C. Norton English Speaking Union Fellowship Fellowship James A. Macdonald Marlene Kitzel Green & Anonymous Gifts Foundation Fellowship Family Fellowship Several anonymous gifts Joseph & Lillian Miller Israel & Rita Kalish Fellowship Fellowship have enabled young art- attend the Berk- Anna Gray Sweeney Noe Julius & Eleanor Kass ists to Fellowship Fellowship shire Music Center.

14 Members of the Tanglewood Festival Chorus John Oliver, conductor

Sopranos Mezzo-sopranos Reginald Didham Sharon Carter Dean Armstrong Hanson Joanne L. Colella Arnalee Cohen' George Harper Ann David Lou Thelma Hayes James R. Kauffman Lois Himml Donna Hewitt-Didham F. Brian McConville Paula Jacobson Dorothy W. Love Peter Pulsifer Frances V. Kadinoff David A. Redgrave Julie Steinhilber Carol Kirtz Judith Tierney Basses Patricia Mitchell Nancy Lee Patton Lee. B. Leach Tenors Charlotte C. Russell Priest Stephen H. Owades Jamie Redgrave Donato Bracco Jorge L. Rodriguez Lisa Saunier Michael Conran Joel S. Sadler

Tanglewood Choir John Oliver, conductor

Sopranos Mary VanderLinden John P. Delmore Jayne West William Hite Mary Louise Cannon Carolyn Whyte Stephen K. Jones Young-Ae Cho Kemal Khan Maria Freeman Mezzo-sopranos Marc Lowenstein Betsy Gintz Fritz S. Robertson Marie Giordano Candice S. Burrows Petger Schaberg Roberta Gumbel Elizabeth A. Dyrud Hi Margery Hellmold Nan Hughes Basses Robin Jenness Marjorie McDermott Lavina Riley W Mark Fularz Lorraine J. Kelley Julia Ann Scheer Julie A. Kierstine James E. Kleyla HeI Karen Richards Richard Morrison Rhea Stone Tenors David B. Stoneman C.K. Taft Lynn A. Torgove William J. Cotten David

Boston University Tanglewood Institute Young Artists Chorus '"4 Leonard Atherton, conductor

Elyse Alexander Stephanie Haber Alisa Pearson Kelly Anderson *Eugenia Hinson Davida Pines Shannon Anderson Benjamin Hoick Risa Polishook Andrew Appel Kristin James Laura Proctor Emily Baehr *Steven Karidoyanes C. Martin Schaljo Molly Barber Anne Katsas Ina Scherl "Valerie Becker Sibylle Kazeroid Andrew Shattuck Katherine Buchanan Paige Kean Vivian Slade Timothy Burdsall Julie Kearney *Gregory Slowik Susan Burke David Kegler Sandra Smith Jessica Case Jamie Kelly Nell Snaidas R. Hawkins Cramer Julie Kopp Lucy Spalding Jody Cutler Steven Kubick Sarah Strasser Laura DiBello Catherine Leeman *Sue Ann Stutheit Mark Donovan Ella McCrystal Cassandra Sullivan Pamela Dougherty Joanna Miller Elizabeth Temin Stephanie Gonye *Karen Nestvold *Patricia Thorn Bryan Gonyo Bronwyn Niece Andrea Trbovich

Marcial Gonzalez Jill Nurenberg Caterina Veronesi *Nick Gray Christina O'Hearne Patricia Whooley Wendy Gudeman Deborah Winkler

*Member, Young Artists Vocal Program Staff 15 *Aza Raykhtsaum Clarinets *Nancy Mathis DiNovo Harold Wright Ann S.M. Banks chair Violas Pasquale Cardillo Burton Fine Peter Hadcock Charles S. Dana chair E-flat Clarinet Patricia McCarty Mrs. David Stoneman chair Bass Clarinet Ronald Wilkison Craig Nordstrom Robert Barnes Bassoons Jerome Lipson Sherman Walt Music Directorship endowed by Bernard Kadinoff Edward A. Taft chair Moors Cabot John Joseph Pietropaolo Roland Small Michael Zaretsky Matthew Ruggiero BOSTON SYMPHONY Marc Jeanneret Contrabassoon Betty Benthin ORCHESTRA Richard Plaster *Lila Brown 1983/84 *Mark Ludwig Horns Charles Kavalovski First Violins Cellos Helen Sagoff Slosberg chair Silverstein Joseph Jules Eskin Concertmaster Richard Sebring Philip R. Allen chair Charles Munch chair Daniel Katzen Martha Babcock Emanuel Borok Jay Wadenpfuhl Vernon and Marion Alden chair Assistant Concertmaster Richard Mackey Helen Horner Mclntyre chair Mischa Nieland Esther S. and Joseph M. Shapiro chair Max Hobart Trumpets Robert L. Beal, and Jerome Patterson Charles Schlueter Enid and Bruce A. Beal chair *Robert Ripley Roger Louis Voisin chair Cecylia Arzewski Luis Leguia Andre Come Edward and Bertha C. Rose chair Carol Procter Charles Daval Bo Youp Hwang Ronald Feldman Peter Chapman John and Dorothy Wilson chair *Joel Moerschel Max Winder Trombones "Jonathan Miller Harry Dickson Ronald Barron *Sato Knudsen Forrest Foster Collier chair J. P. and Mary B. Barger chair Gottfried Wilfinger Basses Norman Bolter Fredy Ostrovsky Edwin Barker Gordon Hallberg Leo Panasevich Harold D. Hodgkinson chair Tuba Carolyn and George Rowland chair Lawrence Wolfe Chester Schmitz Maria Stata chair Sheldon Rotenberg Margaret and William C. Alfred Schneider Joseph Hearne Rousseau chair Bela Wurtzler Raymond Sird Timpani Leslie Martin Ikuko Mizuno Everett Firth Amnon Levy John Salkowski Sylvia Shippen Wells chair John Barwicki Second Violins Percussion "Robert Olson Marylou Speaker Churchill Charles Smith "James Orleans Fahnestock chair Arthur Press , Vyacheslav Uritsky Flutes Assistant Timpdnist Charlotte and Irving W. Rabb chair Doriot Anthony Dwyer Thomas Gauger Ronald Knudsen Walter Piston chair Frank Epstein Joseph McGauley Fenwick Smith Harp Leonard Moss Myra and Robert Kraft chair Ann Hobson Pilot Laszlo Leone Buyse Nagy Willona Henderson Sinclair chair *Michael Vitale Piccolo Personnel Managers *Harvey Seigel Lois Schaefer William Moyer *Jerome Rosen Evelyn and C. Charles Marran chair Harry Shapiro *Sheila Fiekowsky Oboes *Gerald Elias Ralph Gomberg Librarians *Ronan Lefkowitz Mildred B. Remis chair Victor Alpert *Nancy Bracken Wayne Rapier William Shisler "Joel Smirnoff Alfred Genovese James Harper "Jennie Shames English Horn Stage Manager *Nisanne Lowe Laurence Thorstenberg Position endowed by Angelica Lloyd Clagett Phyllis Knight Beranek chair ^Participating in a system of rotated Alfred Robison seating within each string section.