TanglewGDd

i 8 8 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Fourth-of-July Celebration Monday, July 4, 1988

2:00 Gates Open

2:30-3:15 TheWUZ Theatre-Concert Hall

3:30-4:15 One O'ClockJump The Shed

4:30-5:15 Northern Lights Theatre-Concert Hall

5:30-6:15 One O'Clock Jump The Shed

6:30-7:15 Yankee Rhythm Kings Theatre-Concert Hall

7:30 Berkshire Highlanders Lawn in front of the Main He

9:00 Boston Symphony Orchestra Hugh Wolff conducting Sanford Sylvan, The Shed

Hurdy Gurdy, monkey & me; Murph the Physical Comedian; and The Waldo- Woodhead Show will perform throughout the afternoon on the lawn.

Fireworks over the Stockbridge Bowl following the evening concert. We applaud the Boston Symphony Orchestra and the Tknglewood Festival for adding a special sweetness to the Berkshire summer air for more than fifty years,

PYRAMIDA

THE PYRAMID COMPANIES • SYRACUSE, NY • BOSTON, MA. Tanglewopd

i 8 8 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Monday, July 4, at 8:30

Sponsored by the Pyramid Companies

HUGH WOLFF conducting

BARBER Overture to The Schoolfor Scandal, Opus 5

PROKOFIEV Excerpts from Romeo andJuliet Montagues and Capulets Juliet the Young Girl Minuet Masks Romeo and Juliet The Death of Tybalt

INTERMISSION arr. COPLAND Old American Songs The Boatmen's Dance The Little Horses The Dodger At the River Simple Gifts Ching-a-ring Chaw

SANFORD SYLVAN, baritone

TCHAIKOVSKY Romeo and Juliet, Overture-Fantasy after Shakespeare

This concert is a benefit performance for the Boston Symphony Orchestra Pension Fund.

Please do not take pictures during the concert. Flashbulbs, in particular, are distracting to the musicians as well as to other audience members.

RCA, Deutsche Grammophon, Philips, Telarc, CBS, EMI/Angel, Erato, New World, and Hyperion records Baldwin piano e t r

*Tames Cooke Thomas Martin §Joseph Conte Peter Hadcock §Joseph Scheer E-flat Clarinet Violas Bass Clarinet Burton Fine Craig Nordstrom Charles S. Dana chair Fa rla and Ha n ey Ch e Patricia McCartv Krentzman chair- Anne Stoneman chair. Bassoons fully funded in perpetuity Sherman Walt Ronald Wilkison Edward A. Faff chair Robert Barnes Roland Small Music Directorship endowed by Jerome Lipson iMatthew Ruggiero Moors Cabot Joseph Pietropaolo John § Donald Bravo Michael Zaretskv BOSTON SYMPHONY Marcjeanneret Contrabassoon ORCHESTRA Bettv Benthin Richard Plaster 1987-88 *MarkLudwig Horns * Roberto Diaz Charles Kavalovski First Violins Helen Cellos Sagoff Slosberg chair Malcolm Lowe Richard Sebring Jules Lskin Concertmaster Margaret Andersen Congleton chair Philip R. Allen chair Charles Munch chair Daniel Katzen _ Martha Babcock Tamara Smirnova-Sajfar Wadenpfuhl Vernon and Marion Alden chair Jay Associate Concertmaster Mischa Nieland Richard Mackev Helen Horner Mclntyre chair Esther S. andJoseph M. Shapiro chan Jonathan Mentis Max Hobarr Joel Moerschel Trumpets .Is 5 ista n t Concertmaster Sandra and Dai id Bakalar chair Charles Schlueter Robert L. Beal. and

Robert Riplev Roger Louis Vo is i n cha i Enid L. and Bruce A, Beal chair Luis Leguia Lucia Lin Peter Chapman Robert Bradford Xeivman chair Ford H. Cooper chair Ass ista nt Concertmaster Carol Procter Timothv Morrison Edward and Bertha C. Rose chair Lillian and Nathan Miller chair Bo Youp Hwang R. Steven Emerv Ronald Feldman John and Dorothy Wilson chair. Trombones *Jerome Patterson fully funded in perpetuity Ronald Barron ^Jonathan Miller Max Winder P. and Mary B. Barger chair. *Sato Knudsen J. Forrest Foster Collier chair fullyfunded in perpetuity Gottfried Wilfinger Basses Norman Bolter Fredv Ostrovsky Edwin Barker Bass Trombone Harold D. Hodgkinson chair Dorothy Q. and David B. Arnold, Jr. Douglas Yeo chair, fully funded in perpetuity Lawrence Wolfe Leo Panasevich Maria Xistazos Stata chair. Tuba Chester Schmitz Carolyn and Ceorge Rowland chair fully funded in perpetuity Sheldon Rotenberg Joseph Hearne Margaret and William C Rousseau chair Muriel C. Kasdon and Bela Wurtzler ley Timpani Mar i one C. Pa chair :John Salkowski Alfred Schneider 'Robert Olson Everett Firth Ravmond Sird 'James Orleans Sylvia Shippen Wells chair Ikuko Mizuno : Todd Seeber Percussion Amnon Lew Robert Caplin Charles Smith Richard Robinson Second Violins Peter and Anne Brooke chair Marvlou Speaker Churchill Flutes Arthur Press Fahne stock chair Doriot Anthonv Dwver Assistant Timpanist Wacheslav Uritsky Walter Piston chair Peter Andrew Lurie chair Charlotte and In ing W. Rabb chair Fenwick Smith Thomas Gauger Ronald Knudsen Myra and Robert Kraft chair Frank Epstein Edgar and Shirley Grossman chair Leone Buvse Harp Joseph McGaulev Ma nan Gray Lewis chair Ann Hobson Pilot Leonard Moss Piccolo Willona Henderson Sinclair chair Michael Vitale Lois Schaefer Harvev Seigel Evelyn and C. Charles Marran chair Personnel Managers Rosen Jerome Lvnn Larsen Sheila Fiekowsky Oboes Harrv Shapiro : Gerald Elias Alfred Genovese Ronan Lefkowitz Acting Principal Oboe Librarians *Nancv Bracken Mildred B. Remis chair Marshall Burlingame ^Jennie Shames Wavne Rapier William Shisler *Aza Ravkhtsaum English Horn James Harper * Valeria \llker Kuchment Laurence Thorstenberg Stage Manager ^Bonnie Bewick B era nek chair. Pont ion endoued by ^Tatiana Dimitnades fully funded in perpetuity Angelica Lloyd Clagett Alfred Robison * Pamcipating in a system of rotated Clarinets

seating i ktneadi tring ion Harold Wright Stage Assistant -On abba'.ical lea\ Ann S.M. Banks chair Harold Harris

t 'iz.Tanz ---ood 1988 Notes

During the summer of 1931, Samuel Barber (1910-81), then still a student at the Cur- tis Institute, lived with relatives of his fellow student Gian Carlo Menotti in the village of Cadegliano on the Italian side of Lake Lugano. From there the two budding com- posers traveled occasionally to Gressoney for sessions with Rosario Scalero, who in the winter was their composition teacher in Philadelphia. As Barber reticently wrote to his parents, "Our lessons went well, and my idea for a new orchestra piece got by." This idea that "got by" turned into his earliest orchestral work to be published and performed, a sprightly overture with a title drawn from the lively Restoration comedy of Sheridan. The composer admitted that the music was only "suggested by" the comedy and was not an attempt to depict the characters or the plot. Barber was in those days a great admirer of Brahms, whose pensive and rather pessimistic world view he shared. When he began the Schoolfor Scandal Overture, he mentioned to Menotti that he was going to try something that even Brahms couldn't do—compose areal scherzo. Menotti has recently recalled that Barber worked very hard to achieve the brilliant "light" quality of this score, though the listener will be hard put to find any strain. Barber's essentially lyrical approach to composition is alreadv fullv evident in this bubblv score. Sergei Prokofiev (1891-1953) was already an experienced ballet composer when, in the mid- 1930s, he began to work on a full-length version of Romeo and Juliet. He had

earned a reputation in the West as a composer of advanced tendencies . but that music had not been well received in the Soviet Union, where art that did not appeal to the broadest masses was suspicious. After his return to Moscow in 1933. then, his musical style underwent a marked process of simplification as he sought larger audiences than before. His considerable success in this change mav be indicated simplv by listing some of the works composed in those first vears back in Russia: Lieutenant Kije. the Second Violin Concerto, Romeo and Juliet, Peter and the Wolf, and the film score for Eisenstein's Alexander Nevsky. Prokofiev planned the scenario for a Romeo ballet in the spring of 1935 and com- pleted the piano score that September; the orchestration followed. But the Bolshoi declared the music impossible to dance to and refused to produce it. In an attempt to salvage the music, Prokofiev arranged two orchestral suites of selections from the ballet. These became exceedingly popular and eventuallv brought pressure for a full theatrical production. Even so. the rehearsal period was difficult. The dancers could not understand Prokofiev's music, and thev insisted that the scoring was too delicate to be heard from the stage. The composer stood on the stage to listen and insisted

The Boston Symphony Pension Institution

Established in 1903. the Boston Svmphonv Pension Institution is the oldest among the American svmphonv orchestras. During the past few vears the Pension Institution has paid nearlv SI million annuallv to nearlv one hundred

pensioners or their widows. Pension Institution income is derived from Pension Fund concerts, from Open Rehearsals at Svmphonv Hall and atTanglewood. and from radio broadcasts through the Boston Svmphonv Transcription Trust. Contributions are also made each vear by the Boston Svmphonv Orchestra. Inc. Representatives of the players and the Corporation are members of the Pension Institution's Board of Directors. that he could hear everything (though, of course, he probably did not try to dance himself while making this test). Eventually the ballet became one of the greatest triumphs in the careers of the composer and of the ballerina, Galina Ulanova, the first Juliet. The selections to be heard here come from different parts of the ballet, arranged for musical variety rather than as a summary of the story. The selections open with music depicting the fighting of the two families at odds, the Montagues and Capulets. Our first glimpse of the fourteen-year-old heroine, Juliet the Young Girl, follows. She jokes and frolics, not wanting to get dressed for the evening. But when she sees herself in a mirror and realizes that the figure gazing back at her is a young woman, she falls into a moment of pensive thought, then runs out. The Minuet accompanies the arrival of the guests at Capulets party. Among the arrivals are Romeo, Mercutio, and Benvolio, wearing Masks. Mercutio and Benvolio make jokes; Romeo is thoughtful. The next selection comes from the beginning of the ballet's third act; the scene opens in Juliet's bedroom with Romeo and Juliet together just before dawn. But earlier, before the young couple had consummated their love, there had been a violent fight in which Romeo's friend Mercutio was killed by Juliet's cousin Tybalt. During the musical segment entitled The Death of Tybalt, Romeo challenges Tybalt and they fight furiously, to the death. Romeo kills Tybalt. One of the ways Aaron Copland (b.1900) sought to create a music that was recog- nizably "American" to the average listener was to investigate the wealth of folk music produced in this country. There is a certain irony here in that an urban composer, trained in Europe and long resident in New York, should choose to set many songs that he had surely never heard in their original "folk" context. Yet the musical lan- guage that he evolved in composing his popular ballets Billy the Kid, Rodeo, and Appalachian Spring was so appropriate that his Old American Songs were quickly recognized as masterful artistic interpretations of American folk material (much like the work that Vaughan Williams, Hoist, and later Britten accomplished with the folk song traditions of their native England). The two sets of Old American Songs, each consisting of five songs, were composed in 1950 and 1952. The songs range from folk ballads, lullabies, and revivalist hymns to numbers from the popular theater. Copland found the original music, in most cases, in the extraordinary Harris Collection at Brown University.

"The Boatmen's Dance" is a minstrel song published in 1843 in Boston as an "original banjo melody" by Dan D. Emmett, who later composed "Dixie." "The Little Horses" was a children's lullaby originating in the southern states. A version of the campaign song "The Dodger" appeared in the collection Our Singing Country pub- lished by John A. and Alan Lomax; the song was supposedly used in the Cleveland- Blaine presidential campaign in the 1880s. "At the River" is a well-known hymn tune with words and music created by the Reverend Robert Lowry in 1865. "Simple Gifts" is a Shaker hymn tune from the period 1837-47; it has become the best-known of all such tunes from Copland's use of it in Appalachian Spring. "Ching-a-ring Chaw" was a minstrel song, from the form of musical theater that was most popular in the United States during the middle years of the nineteenth century. Pyotr Ilyich Tchaikovsky (1840-93) wrote his first masterpiece, Romeo and Juliet, at the instigation of Mily Balakirev, who loved nothing more than to give ideas to other composers and then browbeat them until they were used. Balakirev suggested the idea of Romeo andJuliet and even outlined a ground plan and key scheme for the work, but all of that was gratuitous, and once he got underway, in the fall of 1869, Tchai- kovsky finished his score rather quickly. But Balakirev had his doubts about the piece, and, after hearing the first performance, Tchaikovsky agreed with him. He spent . . . . .

much of the summer of 1870 rewriting the opening material and the climax of the "love theme." Ten years later he returned to the score one more time and reworked

its closing bars. In that final version, Romeo andJuliet has been an orchestral staple ever since.

A soft opening hints at liturgical music (a reference to Friar Laurence); gradually it grows more forceful, foreboding. A single chord, echoed between strings and wood- winds, faster and faster, suddenly explodes into the violent principal theme of the feuding families. The music seems ready to modulate from the main key of B minor

to its relative major, D, for the expected "second theme," but at the last moment Tchai-

kovsky springs a wonderful surprise by letting it sink a half-step to the distant and wholly unexpected key of D-flat, where we hear just a phrase of the famous love theme, one of Tchaikovsky's greatest lyric inspirations. Then the muted strings take over with a lush hovering figure that slowly builds up to a climax when the flute and oboe rush up the scale to present a full statement of the soaring and drooping love

theme. The tension-filled development is built from all the ideas except the love theme, which thus returns in the recapitulation in a powerful climactic statement. The work ends with a sudden collapse and poignant recollection of the dead lovers.

—Steven Ledbetter

The Boatmen's Dance (Minstrel Song) The Little Horses (Lullaby)

High row the boatmen row, Hush you bye, don't you cry, floatin' down the river the Ohio. go to sleepy little baby. When you wake, you shall have, The boatmen dance, the boatmen sing, all the pretty little horses. the boatmen up to ev'rything. And when the boatmen gets on shore Black and bays, dapples and grays,

he spends his cash and works for more. Coach and six-a little horses . .

Then dance the boatmen dance, Hush you bye, don't you cry, O dance the boatmen dance, go to sleepy little baby.

O dance all night 'til broad daylight When you wake, you'll have sweet cake, and go home with the gals in the mornin' and all the pretty little horses.

High row the boatmen row, A brown and a gray, and a black and a bay,

floatin' down the river the Ohio. and a coach and six-a little horses . .

I went on board the other day to see what the boatmen had to say. The Dodger (Campaign Song) There I let my passion loose, Yes the candidate's a dodger, an' they cram me in the callaboose. yes a well known dodger, yes the candidate's a dodger, yes O dance the boatmen dance, and I'm a dodger too.

dance the boatmen dance . .

He'll meet you and treat you High row the boatmen row and ask you for your vote, floatin' down the river the Ohio. but look out boys, he's a-dodgin' for a note. The boatman is a thrifty man, Yes we're all dodgin' a-dodgin', dodgin', there's none can do as the boatman can. yes we're all dodgin' out a way through the world. 1 never see a pretty gal in my life but that she was a boatman's wife. Yes the preacher he's a dodger,

yes a well known dodger . .

O dance the boatmen dance . .

High row the boatmen row . . Please turn the page quietly. L E B R A T I N

While the Boston Symphony Orchestra is celebrating the Music Shed's 50th anniversary, The Music Box is celebrating our 60th year of business in Wellesley. The qualities of commitment and dedication enabled Serge Koussevitzky to create a living legacy of music through the Boston Symphony Orchestra. These same qualities are alsojundamental to our business success. The Music Box's long-standing commitment and dedication to customer service is ourfoundationfor success.

The Music Box along with Denon, Luxman and KEF are pleased to contribute to the success of the 1988 season of the Boston Symphony Orchestra atTanglewood.

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He'll preach you a gospel Ching-a-ring Chaw (Minstrel Son^ and tell you of your crimes, Ching-a-ring-a ring ching ching, but look out boys, Ho-a ding-a ding kum larkee . . he's a-dodgin' for your dimes. Yes we're all dodgin', a-dodgin', dodgin' Brothers gather round, listen to this story, the lover he's a dodger, Yes 'bout the promised land,

yes a well known dodger . . an' the promised glory.

He'll hug you and kiss you You don' need to fear, and call you his bride, if you have no money, but look out girls, you don' need none there, he's a-tellin' you a lie. to buy you milk and honey. Yes we're all dodgin', a-dodgin, dodgin'

There you'll ride in style, coach with four white horses, At the River (Hymn Tune) there the evenin' meal, has one two three four courses. Shall we gather by the river, where bright angels feet have trod,

Ching-a-ring-a ring . . with its crystal tide forever flowing by the throne of God. Nights we all will dance, to the harp and fiddle, Yes we'll gather by the river, waltz and jig and prance, the beautiful, the beautiful river, "Cast off down the middle." gather with the saints by the river that flows by the throne of God. When the mornin' come, all in grand and splendour, Soon we'll reach the shining river, stand out in the sun, soon our pilgrimage will cease, and hear the holy thunder. soon our happy hearts will quiver with the melody of peace. Brothers hear me out, the promised land's a-comin', Yes we'll gather by the river . . dance and sing and shout,

I hear them harps a-strummm .

Simple Gifts (Shaker Song)

Ching-a-ring ching ching . . 'Tis the gift to be simple

'tis the gift to be free

'tis the gift to come down where you ought to be. And when we find ourselves in the place just right 'twill be in the valley of love and delight.

When true simplicity is gained vrik to bow and to bend we shan't be ashamed to turn, turn will be our delight

'till by turning, turning we come round right. ARTISTS

Hugh Wolff

Ottawa, the London Philharmonic, the Stockholm Philharmonic, and the Or- chestre National de France. Mr. Wolff made his Chicago Symphony debut in the 1985-86 season, conducting the orchestra in a five-concert tour. He made his New York City Opera debut in the summer of 1986, leading five per- formances of Mozart's Marriage ofFigaro. Hugh Wolff was born in Paris in 1953 to American parents. A former piano student of Leon Fleisher and composi- tion student of George Crumb, he ma- jored in music composition at Harvard with Leon Kirchner, studied piano with Music director of the New Jersey Sym- Leonard Shure, and graduated magna phony Orchestra and principal conduc- cum laude and Phi Beta Kappa in 1975. tor of the St. Paul Chamber Orchestra, He spent a year of fellowship study at Hugh Wolff makes his first appearances the Paris Conservatoire, where he this summer with both the Boston Sym- studied conducting with Charles Bruck phony Orchestra and the Israel Philhar- and composition with Olivier Messiaen. monic. During the 1988-89 season he He then did three years of graduate leads the New Jersey Symphony Orches- study with Leon Fleisher at the Peabody tra in twenty-nine performances, includ- Conservatory in Baltimore. Mr. Wolff ing a Carnegie Hall concert, and, in his began his conducting career during the first season as principal conductor, con- 1979-80 season as Exxon/Arts Endow- ducts the St. Paul Chamber Orchestra ment Conductor of the National Sym- on a national tour to include an appear- phony and made his debut when he ance at Avery Fisher Hall. In February substituted for Antal Dorati, leading two 1989 he makes his debut with the New weeks of concerts at short notice. During York Philharmonic. Also during 1988-89 the 1980-81 season he made his Car- he makes his first appearances with the negie Hall debut with the National Sym- symphonies of Montreal, Toronto, phony, with his mentor, Mstislav Ros- Jerusalem, Milwaukee, and Detroit, tropovich, as soloist; the same season returns to the National Symphony and brought his professional opera debut, the Rochester Philharmonic, conducts with the Washington Opera. In 1982 he the New World Symphony and Balti- was named associate conductor of the more's Peabody Conservatory Orchestra, National Symphony, a post he relin- and leads five performances of Mozart's quished upon his appointment to the with the Minnesota Opera. New Jersey Symphony in 1985. Also in Mr. Wolff's 1987-88 season included 1985 he received one of the first Seaver/ guest appearances with the orchestras of NEA Conductors Award, a major study Philadelphia, Chicago, Indianapolis, grant designed to develop the talent of and Denver. In Europe he led the City American conductors on the threshold of Birmingham Symphony Orchestra of major international careers. In early and returned to Goteborg, Sweden, for 1987 he conducted Rostropovich and his third consecutive season. Guest the National Symphony at Carnegie appearances have also taken him to Hall and at the Kennedy Center as part St. Louis, Houston, Atlanta, Seattle, of the celebrations marking the cellist's Syracuse, the National Arts Centre of sixtieth birthday. Sanford Sylvan

Serban at the American Repertory Theatre, a production also acclaimed at the American Music Theater Festival in Philadelphia. Most recently Mr. Sylvan originated the role of Chou En-lai in performances ofJohn Adams' at Houston Grand Opera, the Brooklyn Academy of Music, the Kennedy Center in Washington, and at Nether- lands Opera; Nixon in China was telecast this past March on PBS's "Great Perform- ances" series and may be heard on Nonesuch records under conductor Edo de Waart.

Mr. Sylvan is equally highly regarded Baritone Sanford Sylvan has been widely as a recitalist and chamber musician. He praised for his appearances in recital, has been a featured vocalist on tour with with orchestra, and in opera, in perform- Music From Marlboro, performing ances ranging from medieval cantica Barber's Dover Beach, Beethoven's Scottish nova, Bach cantatas, and Handel opera Songs, and Ravel's Chansons madecasses, to the world premieres of contemporary and his chamber music performances works. A graduate of the Manhattan have included festival engagements in School of Music, and a Vocal Fellow for Greece with the new music ensemble three summers at the Tanglewood Music Alea III. Since 1978 he has collaborated Center, where he studied with Phyllis in recital with pianist David Breitman, Curtin, Mr. Sylvan has performed with giving highly acclaimed recitals through- the under Pierre out the United States. Earlier this season, Boulez, the San Francisco Symphony, in Boston, he sang Mahler's Songs ofa the French National Radio Orchestra, Wayfarer in a program entitled "Nureyev and the Boston Symphony Chamber and Friends," featuring Rudolf Nureyev

Players. Mr. Sylvan is well-known for his in original choreography. Among Mr. performances in the productions of Sylvan's engagements for the 1988-89 stage director and music season are performances in Bach's director Craig Smith. In 1982 he sang St. John Passion with the San Francisco the title role in their production of Symphony and in the St. Matthew Passion Handel's Orlando at the American Reper- with Blanche Moyse and the New Eng- tory Theatre in Cambridge. At the 1986 land Bach Festival, appearances as guest and 1987 PepsiCo Summerfare festivals artist with the Auryn Quartet, the pre- he appeared as Don Alfonso in the miere with the St. Paul Chamber Orches- Sellars/Smith Cost fan tutte, a production tra of a new piece written for him by that traveled to Europe, and this month , performances in Boston he appears as Figaro in the new Sellars/ with Banchetto Musicale and with the Smith production of Mozart's Le none di Handel and Haydn Society, and per- Figaro at the 1988 PepsiCo festival. formances on tour with the medieval

Mr. Sylvan also appeared in the Amer- music ensemble Sequentia. He is making ican premiere of ' his Boston Symphony Orchestra debut staged by Peter Sellars at on this summer's July Fourth concert at the Boston Shakespeare Company, and Tanglewood. in the world premiere of the opera The Juniper Tree directed by Andrei —

A group of musicians who play jazz of the '30s, '40s, and '50s—the music that once "was" The WUZ is made up of Boston Symphony Orchestra members Tom Gauger on vibraphone and Arthur Press on drums, with pianist Ray Santisi, clarinetist Tom Ferrante, and bass player Mark Henry, the group's newest member. Since its debut in the spring of 1975, the WUZ has performed on behalf of the Boston Symphony Orchestra's "Musical Marathon" and "Salute to Symphony," given benefit performances for various educational institutions, been fea- tured in a BBC film entitled "Inside the Boston Symphony," and been featured on "The Good Morning Show." The tongue-in-cheek combination of symphonic themes with pop and jazz tunes is a special feature of the WUZ's unique musical style.

The four-member band Northern Lights has performed at bluegrass and folk festivals across the country, at various New England colleges, clubs, and coffee houses, and at Boston's First Night celebrations in 1986, 1987, and 1988. Founding member Taylor Armerding, who plays mandolin and sings lead and high tenor harmonies, played folk music in high school and college, and dabbled in pop and rock before settling on bluegrass. The group also includes guitarist Bill Henry, master banjo stylist Mike Kropp, and electric bass player Oz Barron; their experience includes membership in a variety ofjazz, swing, pop, folk, rock, and blue- grass groups. Northern Lights has recorded several albums for the Revonah label.

Formed in 1974 as an eight-memberjazz ensemble, The Yankee Rhythm Kings maintain a collective musical philosophy embodying the spirit of the great jazz pioneers of the 1920s. A reorganization of the band in 1981 resulted in the replacement of four members with two new musicians, and a change from a stomping "chain drive engine" sound to a more subtle, flexible blend of instruments capable of deeper exploration of the nuances in the works performed. The Yankee Rhythm Kings give more than 150 in-school performances annually, enabling them to cultivate a new audience and to offer young people an alternative listening experience.

For more than ten years, The Berkshire Highlanders Pipe Band has been a crowd-pleasing part of hundreds of events throughout New England and New York, including Tanglewood on Parade, in which they have participated since 1977. Under the direction of Pipe Major Nancy CrutcherTunnicliffe, who has made several solo appearances with the Boston Pops Orchestra, the band has performed its foot-tapping jigs and reels, as well as haunting slow airs, at New York's , at the Saratoga Performing Arts Center, and at numerous Scottish games, highland gatherings, parades, athletic events, and other civic celebrations.

With his authentic hurdy-gurdy organ and trained monkey, Hurdy Gurdy, monkey & me's Tony Lupo evokes the days of yesteryear when children would gather at the mere sound of a hurdy-gurdy to hear the magical instrument and watch the animal's antics. Their appear- ances on national and local television programs, and at fairs, festivals, shopping malls, con- ventions, fundraisers, colleges, and businesses throughout New England, have created thousands of special memories for adults and children alike.

Murph, the physical comedian began his entertainment career after receiving a degree in physical education from East Stroudsburg University in Pennsylvania. In addition to compet- ing as a professional freestyle skier, he co-founded two touring companies, was an instructor at the Ringling Brothers Barnum and Bailey Clown College, and taught juggling at the Ecole Nationale du Cirque in Paris. Combining the magic of circus acts, the bite of the stand- up comedian, and the refined movements of the mime and gymnast, Murph has brought his unique style to festivals, comedy clubs, colleges, universities, and special events throughout the world. He is making a return appearance at Tanglewood.

The antics of The Waldo-Woodhead Show, a three-man performing group in the vaudeville tradition, include lively music, unusual juggling, and slapstick comedy. The group includes Woodhead (Mark Keppel), slapstick comedian, musician, and brave patriot; Waldo (Paul G. Burke, Esq.), a master of physical skill and circus technique; and Witlo (Ron Labbe), the manager, who owns an automobile. Making their third Fourth ofJuly appearance at Tangle- wood, the Waldo-Woodhead Show has appeared at Caesar's Palace, has opened for the New York City Ballet, and has toured Europe, the Far East, and Australia.