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-f . ^ For 104 years we've been serious about people who make music.

In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the Boston University School of Music is still doing what it does best.

• Performance • Music Education • History and Literature • Theory and Composition

strings music history and literature Walter Eisenberg, violin 'Charles Kavaloski, French horn Karol Berger

* Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz "Bernard Kadinoff, viola 'David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition ' Robert Karol, viola ' Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin Harry Shapiro, French horn David Del Tredici 'Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman Martin, string bass 'Charles Yancich, French horn 'Leslie Alan MacMillan George Neikrug, cello percussion Joyce Mekeel ' Mischa Nieland, cello 'Thomas Gauger Malloy Miller Leslie Parnas, cello 'Charles Smith Gardner Read 'Henry Portnoi, string bass Allen Schindler 'Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence ' Alfred Schneider, violin music education 'Roger Shermont, violin piano Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura Jack O. Lemons Walter Trampler, viola Lenore Engdahl Mary Ann Norton Bela Boszormenyi-Nagy * Max Winder, violin musical organizations * Lawrence Wolfe, string bass Philip Oliver, staff accompanist Edith Stearns Adelaide Bishop, opera woodwinds Fredrik Wanger Warren Wilson, opera Edward Avedisian, clarinet Joseph Huszti, chorus 'Pasquale Cardillo, clarinet organ 'Joseph Silverstein, orchestra 'Doriot Anthony Dwyer, flute George Faxon 'Jerome Rosen, repertoire Roderick Ferland, saxophone Jack Fisher orchestra * Ralph Gomberg, oboe Max Miller 'Roger Voisin, wind ensemble * John Holmes, oboe harpsichord boston symphony orchestra 'Phillip Kaplan, flute Joseph Payne woodwind quintet in residence 'James Pappoutsakis, flute 'Doriot Anthony Dwyer, flute 'Richard Plaster, bassoon voice ' Ralph Gomberg, oboe 'Matthew Ruggiero, bassoon Eunice Alberts, contralto * Harold Wright, clarinet 'Felix Viscuglia, clarinet Germaine Arosa, diction * Sherman Walt, bassoon * Sherman Walt, bassoon Mary Davenport, contralto 'Charles Kavaloski, French horn 'Harold Wright, clarinet Terry Decima, vocal coaching empire brass quintet brass Ellalou Dimmock, soprano in residence * Ronald Barron, trombone Maeda Freeman, mezzo Charles A. Lewis, Jr., trumpet Peter Chapman, trumpet Robert Gartside, tenor * Rolf Smedvig, trumpet John Coffey, trombone Ituba Mac Morgan, baritone 'David Ohanian, French horn * Armando Ghitalla, trumpet Chloe Owen, soprano 'Norman Bolter, trombone Paul Gay, trombone Allen Rogers, vocal coaching Samuel Pilafian, tuba * Gordon Hallberg, Barbara Stevenson, soprano trombone Ituba Wilma Thompson, mezzo

Member of the Boston Symphony Orchestra Boston University School of Music

Wilbur D. Fullbright, Director • Robert Lee Tipps, Assistant to Director offering degrees at the bachelor, master, and doctoral levels.

School for the Arts: Music, Theatre, Visual Arts • Norman Dello Joio, Dean 855 Commonwealth Avenue, Boston, Massachusetts 02215 ^m ((- BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director ^\>

Seiji Ozawa, Music Director

Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

Ninety-Fifth Season 1975-76

The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks President

Philip K. Allen Sidney Stoneman John L. Thorndike Vice-President Vice-President Treasurer

Vernon R. Alden Mrs. Harris Fahnestock Albert L. Nickerson Allen G. Barry Harold D. Hodgkinson John T. Noonan Mrs. John M. Bradley David O. Ives Mrs. James H. Perkins

Richard P. Chapman E. Morton Jennings, Jr. Irving W. Rabb Abram T. Collier Edward M. Kennedy Paul C. Reardon

Nelson J. Darling, Jr. Edward G. Murray Mrs. George Lee Sargent Archie C. Epps III John Hoyt Stookey Trustee Emeritus Henry A. Laughlin

Administration of the Boston Symphony Orchestra

Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager

Gideon Toeplitz Daniel R. Gustin Dinah Daniels Assistant Manager Assistant Manager Director of Promotion Paul Bronstein Forrester C. Smith Richard C. White

Business Manager Development Director Assistant to the Manager

Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood John Kronenberger Program Editor

Programs copyright ® 1976 Boston Symphony Orchestra Inc.

Contents:

page page Tanglewood 6 Programs 13-27 Seiji Ozawa 9 Berkshire Music Center 29 Map 10 In and Around The Berkshires 33 Information 11 Friends 35,37 The Board of Overseers of the Boston Symphony Orchestra Inc.

David O. Ives, Chairman Hazen H. Ayer, Vice Chairman

Mrs. Arthur I. Strang, Secretary

Charles F. Adams Paul Fromm Richard P. Morse Mrs. Frank G. Allen Carlton P. Fuller David G. Mugar

Dr. Leo L. Beranek Mrs. Thomas J. Galligan, Jr. Dr. Barbara W. Newell David W. Bernstein Mrs. Thomas Gardiner Stephen Paine David Bird Mrs. John L. Grandin Mrs. Priscilla Potter Gerhard Bleicken Bruce Harriman Harry Remis Frederick Brandi Mrs. Richard D. Hill Mrs. Peter van S. Rice

Curtis Buttenheim Mrs. Amory Houghton, Jr. Mrs. Samuel L. Rosenberry

Mrs. Henry B. Cabot Richard S. Humphrey, Jr. Mrs. Jerome Rosenfeld Mrs. Mary Louise Cabot Mrs. Jim Lee Hunt Mrs. A. Lloyd Russell Mrs. Norman L. Cahners Leonard Kaplan William A. Selke

Levin H. Campbell, III Leon Kirchner Samuel L. Slosberg

Dr. George H.A. Clowes, Jr. Mrs. James F. Lawrence Richard A. Smith Arthur P. Contas Roderick MacDougall Mrs. Edward S. Stimpson The Hon. Silvio O. Conte John S. McLennan Mrs. Edward A. Taft

Robert Cushman Colman M. Mockler, Jr. Mrs. Richard H. Thompson

Michael J. Daly Mrs. Charles L. Moore Stokley P. Towles Mrs. C. Russell Eddy Mrs. Elting E. Morison D. Thomas Trigg Weston P. Figgins Frank E. Morris Julius Vogel

Boston University Tanglewood Institute

Norman Dello Joio, Executive Director Gary L. Zeller, Administrator Robert Lee Tipps, Music Coordinator

Eleventh Season

Summer Instrumental and Vocal Programs for the out- standing high school musician. Private study with master artists including members of the faculty of the Boston University School of Music and the Boston Symphony Orchestra. Chamber music, orchestral and vocal perform- ances at Tanglewood.

For information: Boston University Tanglewood Institute, 855 Commonwealth Avenue, Boston, Massachusetts 02215.

A program offered by the Boston University School for the Arts in association with the Berkshire Music Center. Todays Great Piano.

For many years Baldwin pianos have been the accompanist to the Boston Symphony Orchestra, The Berkshire Festival, The Berkshire Music Center,

and these 1976 Tanglewood artists:

Leonard Bernstein Arthur Fiedler Gilbert Kalish Seiji Ozawa Andre Previn Gunther Schuller Earl Wild Baldwin Tanglewood In August, 1934, a group ot music- loving summer residents of the Berk- shires organized a series of three INTERNATIONAL SOCIETY outdoor concerts at Interlaken, to be FOR CONTEMPORARY MUSIC given by members of the New York Philharmonic under the direction of Henry Hadley. The venture was so World Music Days successful that the promoters incor- porated the Berkshire Symphonic 1976 Festival and repeated the experiment during the next summer. October 24-October 30 The Festival committee then invited Serge Koussevitzky and the Boston New England Conservatory of Music Symphony Orchestra to take part in the Boston, Massachusetts following year's concerts. The Orches- tra's Trustees accepted and on August

A festival of 13 concerts of contemporary 13, 1936, the Boston Symphony gave music representing composers its first concert in the Berkshires (at from 27 countries Holmwood, a former Vanderbilt estate, later the Foxhollow School). The series, again consisting of three concerts, was Performing groups include: given under a large tent, and a total of Boston Symphony Orchestra, nearly 15,000 people attended. New England Conservatory Symphony Orchestra, In the winter of 1936, Mrs. Gorham University of Iowa Orchestra. Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tap- Conductors: pan family estate, with its buildings and Seiji Ozawa, GuntherSchuller, James Dixon, as a Richard Pittman 210 acres of lawns and meadows, gift to Koussevitzky and the Orchestra. Chamber music concerts featuring The offer was gratefully accepted, and Musica Viva. Collage, Societe de Boston on August 12, 1937, the Festival's MusiqueContemporainedu Quebec. largest crowd thus far assembled under The Purcell String Quartet, and others. a tent for the first Tanglewood concert, a program of music by Wagner.

For information: As Koussevitzky began The Ride of the ISCM Valkyries, a storm erupted, overpowering New England Conservatory the music and causing the concert to be 290 Huntington Avenue interrupted three times before the first Boston, Massachusetts 02115 half could be completed. The second half Tel. 617-262-0122 of the program had to be changed, because of water damage to some of the instruments, and when the concert ended, Miss Gertrude Robinson Smith, one of the Festival's founders, came to the stage and told the audience that the storm had demonstrated the need for a permanent structure. A hundred thousand dollars, she said, would be needed for this purpose, and the response to her plea was so generous that within a short time the amount was fully subscribed. Plans for the Music Shed were drawn up by the eminent i

architect Eliel Saarinen, and, as modi- fied by Josef Franz of Stockbridge, who also directed construction, it was com- pleted on June 16, 1938, a month ahead of schedule. Seven weeks later, Serge Koussevitzky led the inaugural concert, which included a performance of Beet- hoven's Ninth Symphony. By 1941, the Theatre-Concert Hall, the Chamber Music Hall and several small studios — all part of the Berkshire Music Center, which had begun operations the pre- ceding year — were finished, and the Festival had so expanded its activities and its reputation for excellence that it attracted nearly 100,000 visitors. Today Tanglewood annually draws close to a quarter of a million visitors; in addition to the twenty-four regular concerts of the Boston Symphony, there are weekly "Prelude" concerts and open UJAIilC rehearsals, the annual Festival of FM 90.3 mHz Contemporary Music, and almost daily concerts by the gifted young musicians We bring you fine music of the Berkshire Music Center. Arthur AND dozens of interesting Fiedler and the Boston Pops perform events — live and without each summer, and the Festival also commercials. Sit in with us includes a series of concerts by popular at the National Press Club, artists. The season offers not only a where the next day's head- vast quantity of music but also a vast lines range of musical forms and styles, all are often made. Enjoy of it presented with a regard for artistic "All Things Considered," a excellence that makes the Festival fascinating magazine of news

unique. Tanglewood and the Berkshire and issues. (Nothing else like it Music Center, projects with which in broadcasting !) Savor some Koussevitzky was involved until his of the most satisfying thea- death, have become a fitting shrine to tre productions ever aired. his memory, a living embodiment of Revel in delightful, intelligent the vital, humanistic tradition that was conversation. his legacy.

Listen . . . and if you like what you hear, write for our free monthly program directory. WAMC Albany Medical College Albany, New York 12208

j— National Public Radio —¥ for eastern New York r —10 I LJI and western New England

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Straw/berry UWFAT Y66URT Seiji Ozawa, Music Director

Seiji Ozawa became Music Director of Director of the Berkshire Music Festi- the Boston Symphony Orchestra in the val, and in December of that year he fall of 1973 and is the thirteenth con- began his inaugural season as Con- ductor to head the Orchestra since its ductor and Music Director of the San founding in 1881. Francisco Symphony Orchestra, titles He was born in Hoten, Manchuria, he held concurrently with his position in 1935, and graduated from the Toho as Music Director of the Boston Sym- School of Music in Tokyo with first phony until he resigned them this prizes in composition and conducting. spring. (He will be Honorary Conductor When he won first prize at the Inter- in San Francisco for the 1976-1977 national Competition of Conducting at season.) Besangon, France, shortly after his In February and March of this year graduation, one of the judges of the Mr. Ozawa led the Boston Symphony's competition was the late Charles celebrated eleven-city tour of Europe. Munch, then Music Director of the Late this spring he directed a fully- Boston Symphony, who invited him staged production of Boris Godunov in to study at Tanglewood during the Tokyo. Besides Tanglewood, his sched- following summer. Mr. Ozawa's asso- ule this summer includes an appearance ciation with the Orchestra began during at the Salzburg Festival, leading the that session of the Berkshire Music Dresden Philharmonic. His recordings Center as a student of conducting in with the Orchestra on the Deutsche 1960. He was a guest conductor with Grammophon label include Berlioz's the Orchestra first in 1964. Symphonie fantastique and La damnation de Beginning with the summer of 1964, Faust, Beethoven's Piano Concerto No. 5 Mr. Ozawa was for five seasons Music with soloist Christoph Eschenbach, and Director of the Ravinia Festival, and the complete orchestral music of Ravel. at the beginning of the 1965-66 season This fall DG has three new Ozawa/BSO he became Music Director of the collaborations scheduled for release:

Toronto Symphony, a post he relin- Berlioz's Romeo et Juliette, Shostakovitch's quished after four seasons to devote Cello Concerto No. 2 (with soloist his time to study and guest conducting. Mstislav Rostropovich) and Charles In 1970 Mr. Ozawa became Artistic Ives's Fourth Symphony.

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12 TANGLEWOOD 1976

Weekend Prelude

Earl Wild, piano

Friday, August 13, 1976 7 p.m.

Etude in E major, Op. 10, No. 3 Chopin Fantasie Impromptu in C sharp minor Scherzo in B flat minor, Op. 31

Liebestraum Liszt Gnomenreigen Hungarian Rhapsody No. 4

Three Preludes Gershwin Allegro ben ritmato e deciso Andante con moto e poco rubato Allegro ben ritmato e deciso

Mr. Wild plays the Baldwin piano.

13 Jerome Lipson Robert Karol Bassoons Bernard Kadinoff Sherman Walt Edward A. Taft chair BOSTON Vincent Mauricci Roland Small Earl Hedberg Matthew Ruggiero SYMPHONY Joseph Pietropaolo ORCHESTRA Robert Barnes Contra bassoon Michael Zaretsky SEIJT OZAWA Richard Plaster Music Director Cellos Horns Jules Eskin Charles Kavaloski Philip R. Allen chair Helen Sagoff Slosberg chair Martin Hoherman Charles Yancich Mischa Nieland David Ohanian Jerome Patterson First violins Richard Mackey Robert Ripley Joseph Silverstein Ralph Pottle Luis Leguia Charles Munch chair Carol Procter Trumpets Emanuel Borok Ronald Feldman Armando Ghitalla Assistant Concertmaster Moerschel Joel Andre* Come Helen Horner Mclntyre Chair Miller Jonathan Rolf Smedvig Max Hobart Martha Babcock Rolland Tapley Gerard Goguen Roger Shermont Basses Max Winder Trombones William Rhein Ronald Barron Harry Dickson Harold D. Hodgkinson chair William Gibson Gottfried Wilfinger Joseph Hearne Fredy Ostrovsky Bela Wurtzler Norman Bolter Hallberg Leo Panasevich Leslie Martin Gordon Sheldon Rotenberg John Salkowski Alfred Schneider John Barwicki Tuba Schmitz Stanley Benson Robert Olson Chester Gerald Gelbloom Lawrence Wolfe Timpani Raymond Sird Henry Portnoi Ikuko Mizuno Everett Firth Sylvia Shippen Wells chair Cecylia Arzewski Flutes Amnon Levy Doriot Anthony Dwyer Percussion Walter Piston chair Charles Smith Second violins James Pappoutsakis Arthur Press Victor Yampolsky Paul Fried Assistant timpanist Fahnestock chair Thomas Gauger Speaker Marylou Frank Epstein Michel Sasson Piccolo Lois Schaefer Ronald Knudsen Harps Leonard Moss Bernard ZigheYa Bo Youp Hwang Oboes Ralph Gomberg Ann Hobson Laszlo Nagy Mildred B. Remis chair Michael Vitale John Holmes Personnel Managers Darlene Gray Wayne Rapier William Moyer Ronald Wilkison Harry Shapiro Harvey Seigel English Horn Jerome Rosen Laurence Thorstenberg Librarians Sheila Fiekowsky Victor Alpert Gerald Elias Clarinets William Shisler Vyacheslav Uritsky Harold Wright Ann 5.M. chai Stage Manager Pasquale Cardillo Violas Alfred Robison Burton Fine Peter Hadcock Charles 5. Dana chair E-flat clarinet Reuben Green Eugene Lehner Bass Clarinet George Humphrey Felix Viscuglia

14 TANGLEWOOD 1976

Boston Symphony Orchestra Seiji Ozawa, Music Director

Friday, August 13, 1976 9 p.m.

ARTHUR FIEDLER conducting

Cuban Overture Gershwin

Concerto in F for Piano and Orchestra Gershwin Allegro Andante con moto Allegro agitato

EARL WILD, piano

Mr. Wild plays the Baldwin piano.

INTERMISSION

Porgy and Bess: A Symphonic Picture Gershwin (arranged by Robert Russell Bennett)

Selections from Girl Crazy Gershwin

I Got Rhythm — Embraceable- You Bidin' My Time — But Not For Me (arranged by Leroy Anderson)

Seiji Ozawa and the Baldwin Piano Boston Symphony Orchestra record exclusively for Deutsche Grammophon 15 Notes agreed not only to compose such a work but to include a piano part which he himself would perform. He further determined that, unlike the Rhapsody, George Gershwin (1898-1937) which had been orchestrated by Ferde Cuban Overture Grofe, the new piece would be entirely his own work. The result was the Con- In the spring of 1932, Gershwin had certo in F, whose premiere was given intended to take a vacation trip to Eu- on December 3, 1925, in Carnegie Hall. rope, but the death of his father caused Gershwin's own succinct analysis of him to alter his plans and he later sub- the music is as follows: "The first move- stituted a brief holiday in Havana. While ment employs the Charleston rhythm. there, he was intrigued by the music It is quick and pulsating, representing he heard about him; sure that he wanted the young enthusiastic spirit of Ameri- to try his hand in the native idiom, he can life. It begins with a rhythmic motif brought a number of authentic Cuban given out by the kettledrums, supported instruments with him when he return- by other percussion instruments, and ed to New York. with a Charleston motif introduced by That July, working towards an im- the bassoon, horns, clarinet and violas. minent all-Gershwin concert at Lewi- The principal theme is announced by sohn Stadium, he composed a brief the bassoon. Later, a second theme is work in the Latin vein that was at first introduced by the piano. titled Rhumba and only later given its "The second movement has a poetic now familiar name of Cuban Overture. nocturnal atmosphere which has come The work, he wrote, "endeavored to to be referred to as the American blues, combine the Cuban rhythms with my but in a purer form than that in which own thematic material/' but the way they are usually treated. the material was handled — with coun- "The final movement reverts to the terpoint, a polytonal canon, the use of style of the first. It is an orgy of rhy- ostinato passages and the rapid stretto of thms, starting violently and keeping the finale — reflected not so much his to the same pace throughout." vacation as his recent studies with Joseph Schillinger, a musical theorist — Harry Neville whose approach bordered on the math- ematical. The manuscript score bears Porgy and Bess: A Symphonic Picture a "Conductor's note" indicating that (Arranged for orchestra by Robert Russell the Cuban instruments called for (Cu- Bennett) ban sticks, bongo, gourd and maracas) Porgy and Bess, Gershwin's one contri- should be placed "right in front of the bution to the repertory of serious opera, conductor's stand," and a careful little is based on the play Porgy, by DuBose drawing of each instrument by the and Dorothy Heyward — a play whose composer. action takes place in Catfish Row, -J.K. Charleston. Gershwin wrote of the opera that the only research he did was Concerto in F for Piano and Orchestra to take a house at Charleston and live When Gershwin's Rhapsody in Blue was there five weeks. "I also went to some first performed by the Whiteman Band Negro church services," he added. "I in 1924, among the audience was Walter had problems in the opera that never Damrosch, conductor of the Philhar- had come up previously in my career. monic-Symphony Society of New York. I'd never written for trained voices — He was impressed by the work and mostly for dancers' voices, and there made up his mind to ask the composer was a treatment of the choir which I to create a regular symphonic piece had never done before." which could be played at one of his The opera was given its first per- Carnegie Hall concerts. Gershwin formance at the Colonial Theater, 16 —

Boston, on September 30, 1935, and Next week's programs: the production shortly afterwards moved to New York, where the Broad- way run met with only moderate criti- 1976 FESTIVAL OF cal success. Esteem for the music rose CONTEMPORARY MUSIC sharply, however, and by the early August 14 - 18 of 1940s Fritz Reiner, then conductor Presented by the Berkshire Music Center and the Pittsburgh Symphony, was suffic- the Fromm Music Foundation at Harvard iently impressed that he asked Robert Russell Bennett to make a "Symphonic Saturday, August 14, 2:30 p.m. (Theatre) Picture" of the opera. Mr. Bennett has David Stock Dreamwinds (1975) written as follows about his work on Ahmed Essyad Sultanes (1975) Gershwin's score: "Dr. Reiner selected Yoshihisa Taira Hierophonie V (1973) the portions of the opera that he wanted Dennis Riley Concertino** (1976) to play, and also set the sequence of William McKinley Paintings No. 2 (1975) the excerpts. He expressed his ideas as to instrumentation, wishing to make generous use of saxophones and banjos, Sunday, August 15, 8:30 p.m. (Theatre) THEODORE ANTONIOU, conductor and to dispense with Gershwin's pet Nikos Skalkottas Octet (1931) instrument, the piano. I proceeded not Chinary Ung Mohori (1974) only to follow Dr. Reiner's ideas faith- Theodore Antoniou Jeux (1963) fully but also to remain completely loyal Luigi Dallapiccola Una Piccola Musica Notturna to George's harmonic and orchestral Christian Wolff Septet (1964) intentions. In other words, although Betsy Jolas D'Un Opera de Voyage (1967) carrying out Dr. Reiner's approach, I have been careful to do what I know Monday, August 16, 8:30 p.m. (Theatre) after many years of association with BOSTON SYMPHONY CHAMBER Gershwin — Gershwin would like as a PLAYERS symphonic version of his music." Ruth Crawford Seeger Suite for piano and — Harry Neville woodwind quintet (1927/29) George Crumb Eleven Echoes of Autumn (1965) Betsy Jolas Episode (1964) for solo flute Selections from Girl Crazy Fusain (1971) for solo flute

Already a bit old-fashioned (coming Thea Musgrave Chamber Concerto No. 7 as it did between Strike Up the Band, (1962) with its suppressed anti-militarist pas- sions, and Of Thee I Sing, with its overt Tuesday, August 17, 8:30 p.m. (Theatre) anti-politico cynicism), Girl Crazy was BERKSHIRE MUSIC CENTER the last of the conventional Twenties- ORCHESTRA style musicals that George and Ira GUNTHER SCHULLER, conductor Gershwin would write for Broadway; Carl Ruggles Of Men and Mountains (1927) it opened in October, 1930. Today its Ira Taxin Fanfares and Dialogues (1976)** John Harbison Elegiac Song (1974) plot is completely forgotten. What is Paul Chihara Celebration V (1974) remembered are its extraordinary pro- fusion of hit tunes (extraordinary even for a Gershwin show) and the debut Wednesday, August 18, 8:30 p.m. (Theatre) of a name new to Broadway, who — as Robert Suderburg Chamber Music III (1973) Jablonski and Stewart put it in The Gunther Schuller Quartet for Four Basses Gershwin Years — to "managed make (1947) every syllable of her songs in heard the Milton Babbitt Two Sonnets (1973) last row." With "I Got Rhythm," Ethel Yehudi Wyner Intermedio (1974) Merman had arrived to stay. Lucia Dlugoszewski Abyss and Caress (1975) -J.K.

**commissioned by the Berkshire Music Center and the

Fromm Music Foundation at Harvard for the 1976 Festival

17 Tanglewood 1976

Boston Symphony Orchestra Seiji Ozawa, Music Director

Saturday, August 14, 1976 8:30 p.m.

SEIJI OZAWA conducting

Echoes of Time and the River (Echoes II) Crumb Four Processionals for Orchestra

I. Frozen Time

II. Remembrance of Time

III. Collapse of Time IV. Last Echoes of Time

Three Poems of Fiona Macleod, Op. 11 Griffes The Lament of Ian the Proud Thy Dark Eyes to Mine The Rose of the Night

PHYLLIS BRYN-JULSON, soprano

INTERMISSION

Symphony No. 4 Ives Prelude: Maestoso Allegretto Fugue: Andante moderato Very slowly: largo maestoso

Solo piano: JEROME ROSEN TANGLEWOOD CHOIR JOHN OLIVER, conductor

Seiji Ozawa and the Baldwin Piano Boston Symphony Orchestra record exclusively for Deutsche Grammophon 18 Notes from one instrument to another. The conclusion, however, is serene. Muted violins, seeming distant, offer the poig- nant hymn tune, "Were You There

George Crumb (1929- ) When They Crucified My Lord?" III. sharp croaking of nonsense Echoes of Time and the River (Echoes 11) The syllables, "Krek-tu-dai!" announces the Four Processionals for Orchestra dramatic Collapse of Time; meanwhile, This work was commissioned in 1967 by the softly and timidly, the xylophone taps University of Chicago for the celebration of its out the composer's name in Morse code. 75th anniversary and was premiered by the The cautious whispering gradually Chicago Symphony Orchestra in May of that builds to loud shouting, and more pas- year. In 1968 the work was awarded the sages of circle music indulge first the Pulitzer Prize for Music. Its first performance brass and then pianos and percussion. by the Boston Symphony took place in February IV. The foregoing overlaps with the of this year. It is scored for 3 piccolos, 3 flutes, finale, Last Echoes of Time, designated 3 clarinets, 3 trumpets, 3 horns, 3 trombones, "Extremely slow, as if poised in time." harp, mandolin, 2 pianos, strings, and 6 per- Echoing what has come before, Crumb's cussionists who play a large variety of instru- vision loses all contact with the regu- ments. Pairs of antique cymbals are played by larity of time symbolized by the clock; all the percussionists as well as by a number of the feeling is that of awesome solitude the wind players. as the music fades to whistling. Crumb's forms are simple, his proce- — Mary Ann Feldman dures non-academic; traditional coun- Reprinted with permission of the Minnesota Orchestra. terpoint has no place in the evolution of his sonic While hallmarks metaphors. Charles Tomlinson Griffes of his style may suggest other com- (1884-1920) posers — the nocturnal atmospheres of Three Poems Fiona Macleod, Op. 7 2 Bartok or perhaps the fragile textures of of Webern, the sum total of his music The short, relatively frustrating life is fresh, unique, stirring. of Charles T. Griffes breaks down

I. The glinting ring of percussion through a kind of geographic short- eerily tools through the unworldly hand into three distinct periods. He atmosphere of Frozen Time. Overlapping was born and grew up in Elmira, N.Y., patterns of seven beats dissolve the where he studied piano and graduated bondage of traditional meter. Three from high school. He spent the next percussionists march solemnly across four years in Berlin studying piano, the stage chanting in staccato whispers, theory and composition (including some "Montani semper liberi?" Suddenly the lessons with Humperdinck), thanks to music swells to quadruple forte, marked the generosity of his Elmira piano by shrieking glissandi gliding across teacher. He returned to the United the strings. Standing to play, the man- States in 1907 and became music in- dolinist exits while echoing the m'otto structor and choir director at a Tarry- of the state of West Virginia. town, N.Y., "cram school" — an unin- II. A gossamer texture of piano, harp, spiring job that he would hold for the and percussion creates the haunting rest of his life. Though his salary was mood of Remembrance of Time. As if from painfully low, varying with the number afar, trumpets and horn blow through of students who decided they wanted their instruments to evoke the wailing to take piano, his lifelong habit of care- of the wind, prefacing a fragment of ful money management allowed him Lorca, "Los arcos rotos donde sufre el tiempo," to get by and even send money home whispered into the trombones. Joyous to his family; but his death from com- interruptions from winds and brass, plications brought on by influenza at offstage and on, break the gloom, and the age of 35 certainly resulted in part a circle of exuberant phrases is passed from' the strain of attending to a hun- 19 dred petty school-related chores while Not the least unhappy aspect of trying to compose and, more impor- Griffes's story is that in the months tant still, to achieve some recognition preceding his death he finally appeared for his highly original work. to be attaining the stature he sought For all of Griffes's German training, as a major American composer. In within three or four years of his return November, 1919, his Poem for flute and to this country his personal artistic orchestra was given its first perfor- bent led him away from the academic mance by the flutist George Barrere models he had studied in Berlin. By then with the New York Symphony Society, he had written a number of songs (some Walter Damrosch conducting, and the of which were commercially published) response from audience and critics alike to various German poets. From 1911 was tremendously enthusiastic. Less forward, however, he chose to set only than two weeks later, Pierre Monteux English texts, and the musical style he led the Boston Symphony in the pre- evolved for these later songs and his miere of his Pleasure-Dome of Kubla Khan piano pieces of this period ranged far to even greater acclaim. Griffes's tri- afield from the "correct" German school umph was then repeated when the of composition. "It is only logical," he Orchestra journeyed to New York's would later say, "that when I began to Carnegie Hall and performed Kubla Khan write I wrote in the vein of Debussy to wild applause and critical praise. Four and Stravinsky; those particular wide- days later he collapsed with what would intervaled dissonances are the natural prove to be his final illness. medium of the composer who writes -].K. today's music." And from the later Charles Ives (1874-1954) French modernists and (in many cases) Symphony No. 4 Oriental influences Griffes synthesized The first performance the Fourth Symphony his mature style. of was given on April 1965, under the In 1918 he completed settings for 26, direction Leopold Stokowski. At that time three poems of "Fiona Macleod," a of pseudonym that the Scottish writer and he found it expedient to use three conductors. Since then, Gunther Schuller has made slight editor William Sharp had adopted for work that expressed the more mystical revisions which enable the work to be performed with only one conductor. The first performance and feminine side of a consciously divid- by the Boston was given in November ed personality; the hoax hadn't been Symphony Schuller conducting; the most discovered until after Sharp's death in 1966, with Mr. 1905. Another poem of Sharp/Mac- recent was led by Seiji Ozawa in February of leod's, "The White Peacock," had already this year. provided Griffes with inspiration for a The instrumentation is as follows: 4 flutes piano work of the same name. Of the (2 also play piccolo), 2 oboes, 3 clarinets, circumstances of their composition, not 3 bassoons, B-flat tenor saxophone, 4 horns, cornets, trumpets, tuba, much is known about the Op. 11 songs. 2 4 4 trombones and The last of the three, "The Rose of the orchestral piano (4 hands), solo piano, celesta, Night," was in fact the first to be set, piano with quarter-tone tuning, organ (optional), in January of 1918, and the other two timpani, snare drum, military drum, tom-tom, songs followed four months later. bass drum, triangle, cymbals, bells (high, low), Griffes originally arranged them for 2 gongs (light, heavy) 2 harps and strings. voice and orchestra, but his publisher Writing about his Fourth Symphony, apparently preferred a piano-accom- Charles Ives said: "The aesthetic pro- paniment version, and it was in this gram of the work is that of the searching form that they first saw print and were questions of 'What?' and 'Why?' which heard in concert. In March of 1919 the the spirit of man asks of life. This is original orchestral arrangements were particularly the sense of the Prelude. used at a concert of the Philadelphia The three succeeding movements are Orchestra. This is their first perfor- the diverse answers in which existence mance by the Boston Symphony. replies." 20 I. Prelude: Maestoso are quoted, including Marching Through The first movement is scored for Georgia; In the Sweet Bye and Bye; Turkey two distinct groups, the main orchestra in the Straw; Camptown Races; Throw Out (including piano and voices) and a dis- the Lifeline; Beulah Land; Yankee Doodle;

tant, ethereal chamber ensemble of harp Jesus, Lover of My Soul; and Ives's perennial and solo strings. It is a setting of the favorite, Columbia, the Gem of the Ocean.

hymn Watchman, Tell Us of the Night, a III. Fugue: Andante moderato particular favorite of Ives's that he had Ives characterized the second answer used in previous compositions. The to the first movement as "an expres- Prelude opens with the orchestral basses sion of the reaction of life into formal- playing heavily and loudly against the ism and ritualism." It is actually an soft background provided by the cham- orchestral transcription of the first ber group, which repeats a middle movement of the First String Quartet, phrase from the hymn Nearer, My God, subtitled "A Revival Meeting," written

to Thee. The melody is in the harp, and, in 1896. The movement is a double with brief respites, the motif continues fugue on the hymns From Greenland's to the end of the movement. ley Mountains and All Hail the Power. After Violins enter with a tune that sounds a brief exposition of the first hymn, like My Bonnie Lies Over the Ocean but is the trombone, doubled by the horn, actually the verse to In the Sweet Bye and introduces the second, which eventually Bye. Flute and first violins begin to play demonstrates that it can provide a Nearer, My God, to Thee from the begin- pleasing counterpoint to the first. An ning, at the same moment that the organ is brought in, first for a brief chorus enters with its hymn: one-measure interlude and then, at the fugue's pedal point, to double the Watchman, tell us of the night, orchestra. What the signs of promise are: IV. Maestoso Traveler, o'er yon mountain's Largo height, "The last movement," explains the composer, "is an apotheosis of the pre- See that Glory-beaming star! ceding content, in terms that have Watchman, aught of joy or hope? something to do with the reality of Traveler, yes; it brings the day, existence its religious experience." Promised day of Israel and This slow, ominous finale begins softly Dost thou see its beauteous ray? in the percussion, which exists as an II. Allegretto entity in itself — and which marches this Of first answer to the "What?" throughout the movement in a tempo and of first "Why?" the movement, Ives distinct from the rest of the orchestra. wrote: "The second movement is not Superimposed on the percussion, the a scherzo in an accepted sense of the double basses intone the opening motif word, but rather a comedy — in which of Nearer, My God, to Thee, upon which an exciting, easy and worldly progress hymn the entire movement is built. through life is contrasted with the trials When the main orchestra enters, it is of the Pilgrims in their journey through answered by a distant choir of five the swamps and rough country. The violins and harp. Thus, there are three occasional slow episodes — Pilgrims' independent instrumental groups in hymns — are constantly crowded out this finale: the percussion, the main and overwhelmed by the former. The orchestra, and the distant ensemble. dream, or fantasy, ends with an inter- To them, at a later point, a wordless ruption of reality the Fourth of — July chorus is added. At the close of the in Concord brass bands, drum corps, — movement, all gradually fade away, etc." leaving the final word to the faint The "comedy" is of the utmost com- percussion. plexity, superimposing complex rhy- — Mary H. Smith thms with accelerandos, ritardandos and unbarred passages. Dozens of tunes

21 Tanglewood 1976

Boston Symphony Orchestra Seiji Ozawa, Music Director

Sunday, August 15, 1976 2:30 p.m.

SEIJI OZAWA conducting

Concerto for Violin and Orchestra Rochberg Part One: Introduction Intermezzo (A) Fantasia Part Two: Intermezzo (B) Epilogue

ISAAC STERN, violin

INTERMISSION

Symphony No. 1 in C minor, Op. 68 Brahms Un poco sostenuto; allegro Andante sostenuto Un poco allegretto e grazioso Adagio; allegro non troppo ma con brio

Seiji Ozawa and the Baldwin Piano Boston Symphony Orchestra record exclusively for Deutsche Grammophon

22 Notes "While every movement but V has passages for the vioiin .done which approach the bravura, released attitude

of the traditional cadenza, it is only in

George Rochberg (1918- ) IV that an extended cadenza occurs. Concerto for Violin and Orchestra The duration of the wurk. is approxi- mately 40 minutes." The Violin Concerto was commissioned by the The instrumentation calls for piccolo, Pittsburgh Symphony Orchestra for Isaac Stern 3 flutes, 3 oboes, English horn, 3 clari- in memory of the late Donald Steintirst, long- nets, bass clarinet, 2 bassoons, contra- time music critic (or -he Pittsburgh Post- bassoon, 4 horns, 3 trumpets in C, Gazette, and composed during the spring and 2 tenor trombones, bass trombone, summer of 19 74. The first performances of tuba, timpani, 2 harps, celesta, and the the Concerto were played by the Pittsburgh strings. Symphony Orchestra with Isaac Stern as solo- ist and with William Steinberg conducting Reprinted with permission of the Chicago Symphony Orchestra. in April, 1975. This is the Concerto's first performance by the Boston Symphony. Johannes Brahms (1833-1897) The composer has written of his Con- Symphony No. 1 in C minor, Op. 68 certo; "The bulk of the writing of my violin concerto took place in the spring It is not without significance that and summer of 1974. It is an elegiac Brahms required twenty years to com- work — even romantic in spirit. From plete his First Symphony and that only the first ideas that came to me through in his forty-second year was he ready their eventual realization, I was con- to present it for performance and public scious of one thing: to work out of the inspection. An obvious reason, but only tradition of the violin concerto which a contributing reason, was the com- began with Mozart and continued poser's awareness of a skeptical and through Bartok and Schoenberg. It was in many cases a hostile attitude on the this tradition which established the con- part of his critics. Robert Schumann certo in symphonic terms so that the had proclaimed him a destined sym- orchestra plays an important role, vari- phonist, thereby putting him into an ously supporting the soloist, comment- awkward position, for that was in 1854 ing on what he does, sharing musical when the reticent composer was young, ideas with him, asserting its indepen- unknown, and inexperienced. When dence from him when the flow of the two years later he made his first sketch design demands it. I have adapted this for a symphony he well knew that to tradition to my own needs and interests. come forth with one would mean to "Basically my concerto is a tonal be closely judged as a "Symphoniker," work with occasional excursions into accused of presuming to take up the atonal chromaticism. The predominant torch of Beethoven, whose Ninth Sym- key centers of the work are D and,B flat. phony had in the course of years had

"Movements I, III, and V share ideas nothing approaching a successor. in common although each has its own Brahms was shaken by this thought. emotional and structural character. The most pronounced skeptics were Movements II and IV are essentially the Wagnerians, who considered the different from each other despite their symphonic form obsolescent. A sym- common designation as 'intermezzi/ phony by Brahms would be a challenge Movement II is a kind of burletta; IV a to this point of view. Brahms, hesitant kind of berceuse (or lullaby) combined to place a new score beside the immor- with scherzando-like material which tal nine, was nevertheless ambitious. bears close relation to some ideas in II. His symphonic thoughts inevitably took A march tune which is treated fully in broader lines, sturdier sonorities, and IV is alluded to in II but in an incomplete more dramatic proportions than Schu- state. bert's, Schumann's or Mendelssohn's.

23 He approached the form cautiously its final shape. The Symphony took and by steps, not primarily because he much longer because the composer had feared critical attack, but because, being far to go before he could satisfy his a thorough self-questioner, he well own inner requirements. Another com- knew in 1856 that he was by no means poser would have turned out a suc- ready. As it turned out, twenty years cession of symphonies reflecting the was the least he would require for stages of his approach to full mastery. growth in character, artistic vision, Brahms would not commit himself. It craft. These twenty years give us plen- was not until 1872 that he took up his tiful evidence of such growth. From early sketch to re-cast it. He composed the point of view of orchestral handling, the remaining three movements by the stages of growth are very clear 1876. indeed. His first orchestral scores, the The Symphony thus became a sort two serenades (1857-1859), were light- of summation of twenty years of textured, of chamber proportions as growth. Some of the early stormy mood if growing from the eighteenth century. was retained in the first movement. The D minor Piano Concerto, com- The slow movement and scherzo with pleted after a long gestation in 1858, their more transparent coloring were had grandeur of design, was at first a matured reflection of the lyric Brahms intended as a symphony, and became of the orchestral variations. The finale in effect a symphonic concerto, a score revealed the Brahms who could take in which the composer could not yet fire from Beethoven's sweep and gran- divorce himself from the instrument deur and make the result his own. of his long training to immerse him- In the same tonality as the Fifth self entirely in the orchestral medium. Symphony, Brahms's First begins dark- The Haydn Variations of 1873 show ly, proceeds with dramatic power, and that he had by this time become a com- in the last movement emerges Beet- plete master of orchestral writing but hoven-wise, in a resplendent C major. indicate that he was not yet ready to Brahms was aware that there would probe beneath the surface of agree- be derisive comparisons. He knew that able and objective lyricism. the broad hymn-like C major theme Nevertheless the earlier Brahms of would be called an imitation of the 1856, the Brahms of twenty-three, was theme of Beethoven's "Ode to Joy." already the broad schemer whose tonal The character was similar, the shape images were often dark, often wildly of the notes was not. He faced such impetuous. He was then in his "storm comparisons knowing that his Sym- and stress" period, when he was deeply phony followed but did not imitate disturbed by the misery of the Schu- Beethoven — its strength was its own. mann couple whom he loved, anxious Its strength was also the strength of for the master in the last stages of his integration, so pervasive that the move- insanity, concerned for the distraught ments, traversing the earlier and the "Frau Clara." This was the openly ro- intermediate Brahms, became a coher- mantic Brahms, who had not yet ac- ent unity. quired a sobering reserve in his music, —John N. Burk who was at the moment looked upon hopefully by Liszt as a possible acqui- sition for his neo-German stronghold at Weimar. This violent mood found expression in the D minor Piano Concerto, first conceived as a symphony in 1854. Two years later, similarly inclined, he sketch- ed what was to be the opening move- ment of the C minor Symphony. The Concerto required four years to find 24 Guest Artists concerts. In 1929 his efforts bore fruit, establishing the Esplanade Concerts that have taken place every summer since on the east bank of the Charles Arthur Fiedler River. (The twenty-fifth anniversary of these concerts would be celebrated For nearly half a century, leading with the dedication of the Arthur the Boston Pops with an entirely Fiedler Bridge over what is now Storrow original blend of warmth, style, show- Drive.) manship and artistry, Arthur Fiedler In the spring of 1930, Mr. Fiedler was has helped mold the musical tastes of appointed the eighteenth conductor of millions around the globe. In so doing the Boston Pops, in which capacity he he has become Boston's best-known has now (1976) served for two seasons citizen. more than all seventeen of his prede- Born in that city on December 17, cessors combined. Under his direction 1894, he inherited a rich family back- the Pops has made the most recordings ground of European musical culture. of any orchestra in the world; one His father, the Austrian-born violinist famous example {Jalousie, a forgotten Emanuel Fiedler, played in the Boston composition by Jacob Gade) alone has Symphony for twenty-five years, and sold more than a million copies. Today his mother, a gifted amateur musician, the total sales of Pops albums, singles, was his first piano teacher. "I didn't tapes and cassettes have risen close to like music more than any other kid," fifty million. remembers Mr. Fiedler. "Practice and In addition to his Boston Pops acti- lessons were drudgery." But practice vities, Mr. Fiedler has been closely he did, and his mother occasionally associated with the San Francisco Pops rewarded his progress with trips to Orchestra during the past twenty-five one of Boston's famous old vaudeville summers. He has also conducted a long houses, which undoubtedly helped list of American orchestras, including kindle his ambition to conduct. They the Boston Symphony, as well as may also have played a part in his later orchestras in South America, Europe, success as a showman. Africa and Australia. Young Arthur was a pupil at the Prince School and at Boston Grammar Phyllis Bryn-Julson Latin until his father retired from the Boston Symphony, whereupon the Born in North Dakota of Norwegian family returned to its native Austria. parents, Phyllis Bryn-Julson was first In Vienna and later in Berlin, Arthur interested in a career as a pianist, but worked in the publishing business Gunther Schuller encouraged her to before entering the Royal Academy, pursue voice at the Berkshire Music Berlin, to study violin, piano and con- Center at Tanglewood. There she re- ducting. At the outbreak of World War I ceived the Fromm Foundation Scholar- he returned to Boston, and in 1915 ship, the High Fidelity Magazine Award joined the Orchestra as a violinist under and the Composition-Performance Karl Muck. Nine years later his con- Award. ducting ambitions led him to form the Miss Bryn-Julson has appeared in re- Boston Sinfonietta, a chamber orchestra cital across the country and has ap- composed of Boston Symphony players. peared with leading American orches- He combined this activity with his own tras. This spring she made her operatic work as a member of the Boston debut (in the principal role of Malinche Symphony, in which he served not only in the Opera Company of Boston's as a violinist but also as violist, pianist, American premiere of Roger Sessions' organist and percussionist. Montezuma) and a debut with the Chicago For several years he spearheaded a Symphony in the world premiere of campaign for a series of free outdoor Alan Stout's Passion.

25 She also gives joint recitals for voice 1965 and is an officer of the America- and organ with her husband, Donald Israel Cultural Foundation, which has Sutherland. A resident of Maryland, promoted cultural exchange and spon- Miss Bryn-Julson is a member of the sored scholarship students from Israel Washington Theater Chamber Players at America's leading conservatories. In and is on the faculty of the University January, 1975, Isaac Stern was the re- of Maryland at College Park. cipient of the first Albert Schweitzer Music Award given "for a life work Earl Wild dedicated to music and devoted to humanity." Earl Wild's career was launched with an appearance with Arturo Toscanini Tanglewood Choir, and the NBC Symphony, which marked John Oliver, conductor the first time an American soloist had appeared with the Maestro and his The Tanglewood Choir consists of stu- Orchestra. He was the first pianist to dents in the Berkshire Music Center's perform a recital on television and he vocal program. Its director, John Oliver, has played for seven successive Presi- is director of choral and vocal activities dents of the United States, including for Tanglewood, director of the Tangle- the inauguration of President John F. wood Festival Chorus, a member of the Kennedy. He has broadcast on radio MIT faculty and director of the MIT most of the important chamber music Choral Society. literature with great artists such as Ruggiero Ricci and Leonard Rose. Mr. Wild now records for Pickwick Records; his English recording Earl Wild Plays Liszt was selected "Record of the Year" by the London Times. His recent or- The sculpture displayed this summer chestra engagements have included in Tanglewood's Glass House (next to the Philadelphia Orchestra, the New the main gate) is by the American artist York Philharmonic, the Baltimore Sym- Clement Meadmore, who came to New phony, and the Symphonies of Cincin- York from his native Australia in 1963. nati, Nashville, Albany and Seattle. He Mr. Meadmore has exhibited his work last appeared at Tanglewood in August, in London, Hong Kong, Australia and 1974. New York; in this country it is in a number of collections, public and pri- Isaac Stern vate — among others those of Nelson Rockefeller, Princeton University and Isaac Stern's accomplishments as a the Chicago Art Institute. He has re- musician, cultural and civic leader and ceived an award in art from the Ameri- friend of young artists have been re- can Academy of Arts and Letters; the markably varied. Since he began his citation praised his "forceful sculpture career as a teenager, he has been ap- of twisting forms ... direct, masculine pearing around the world in recital and moving." Mr. Meadmore's works, with his long-time partner Alexander executed in black plastic or Cor-ten Zakin, as a soloist with the major or- steel, have been enlarged to monu- chestras of the United States, and as mental size for various city sites, muse- a member of the celebrated Stern-Isto- ums, universities and private collec- min-Rose trio. His persistence and per- tions, in some cases reaching lengths severance saved Carnegie Hall from and heights of thirty feet and more. demolition, and he was able to convince New York City to buy the hall and

lease it to a non-profit organization, of which he is still the president. In addition, he was a founder-member of the National Council on the Arts in 26 HANCOCK SHAKER Corporate Benefactors VILLAGE of the Boston Symphony Orchestra Original 18th Century Village Restored Charles River Open daily 9:30-5:00 Broadcasting Company Adults $3 Children $1 Wm Filene's Sons Company Annual Kitchen Festival Week of August 2nd The First National Bank Boston Route 20 Five miles West Of of Pittsfield, Mass. The Gillette Company

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28 The Berkshire Music Center

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Tucked into a lovely New England village, Pittsfield, Mass. Wykeham offers the warmth of a small girls' school, the cultural advantages of a unique and truly outstanding program in music and 443-0051 the other creative and performing arts, and the benefits of strong college preparatory academics with an exceptional range of course options. Through cooperation with a nearby private school for boys, many courses and activities are co-educational We try harder. With a balanced involvement in academics, arts and athletics, Wykeham girls (grades 9-12) develop a keen sense of personal direction, independence and confidence. For catalog, write or phone:

Director of Admissions Wykeham Rise Wykeham Road Washington, CT 06793 Tel. 203/868-7347 Avis

30 cooperation with the Fromm Music Foundation at Harvard, offers a broad spectrum of the most advanced music of today's composers in a gala week of performances. The Boston Symphony's Concert- master and Assistant Conductor Joseph Silverstein heads a faculty that includes principal players and members of the Orchestra and faculty members of Bos- ton University's School of Fine Arts, plus leading soloists, conductors and composers. The Center has numerous studios for practice and chamber music, and an extensive library of music litera- ture and scores. Rehearsals and con- certs of the Berkshire Music Center Orchestra and other student groups ''Expect the Unexpected" take place mostly in the Theatre-Con- The Square Rigger Restaurant and Cabaret isgl cert Hall, while lectures, seminars, con- known for "Good Country- Cooking." An informal atmosphere of ship hatch tables, rock ducting classes, vocal and choral re- = = fern gardens, Tiffany lamps, and stain glass hearsals, composers' forums and cham- windows, located by the Shaker Mill Pond. ber music concerts take place in the Serving their famous Rigger Burgers and pizzas, Chamber Music Hall, in the West Barn, ^ steaks, seafood, homemade soups and deserts. in the Hawthorne Cottage, on the X Brunch, lunch, dinner, nite owl snaks, from Hi 10 am to 2 am, seven days a week. Rehearsal Stage, and in the small stu-

The Back Room . . . Free Movie Festival plus dios both on the Tanglewood grounds "The Music Showcase of the Berkshires" buildings leased in and in Lenox. Each w West Stockbridge, Mass. summer the Baldwin Piano and Organ A 413-232-8565

Company generously provides nearly . . . and don't miss Mike Schiffer: 100 keyboard instruments for individ- Ballads & Blues on a Steinway grand ual practice; other instruments —per- Six nights a week 'til 2 a.m. I cussion, for example—are provided by The Ice Cream Emporium the Orchestra. at the Westbridge Inn I lIMWHillMlllMMMIIMIIIMllM The Boston Symphony is assisted in supporting the Center by the National Endowment for the Arts, a federal agency, as well as by individual and Academics &Music corporate sponsors. Scholarships are Unusual boarding and day school offering fully accredited college preparatory program and musical training for the talented musician and for those seeking awarded to the majority of the, students, enrichment in the performing arts. Established in 1893. Grade 7-12. STUDY appljed instrumental and vocal music for credit with teachers from Boston who are chosen by audition on a com- University's School of Music, many of whom are members of the Boston Symphony Orchestra. PERFORM with the Greater Boston Youth Symphony petitive basis. cost of the scholar- Orchestras or other regional orchestras. ATTEND open rehearsals and per- The formances of the B.S.O. plus concerts on campus. ELECT music theory and history courses, composition, theatre, dance and fine arts. Join our ship program is large and adds sub- choral and instrumental ensembles. Recipient of National Humanities Faculty Grant, Massachusetts Council for the Arts and Humanities recognition and stantially to the Orchestra's yearly Edward Ford Foundation Grant. 47 acre suburban campus 25 minutes from Boston's artistic resources. Audition or tape required. Scholarships available. deficit — one major for reason the es- Advisory Board: Wilbur D. Fullbright tablishment of the Friends of Music at (Director, B.U. School of Music)

Thomas D. Perry. Jr. (Director. Tanglewood, a group that provides Boston Symphony Orchestra) Gunther Schuller (President, critical support for the Center. A brief New England Conservatory) Roman Totenberg account of members' privileges is print- (B.U. Professor of Music). ed on page 37, and more information Faculty: Daniel Moore John Daverio may be had at the Friends' Office near Martha Yacyshyn Adele Babcock the Main Gate. We invite you to see and hear for yourself the remarkable WalnutHM School caliber of the Center's young musicians. For catalog, call (617) 653-4312 or write: 255 Highland. Natick. Mass. 01760

31 1 3

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"right in the heart of where it all began." Stop in after the concerts and hear the best and we're still entertainment in the Berkshires. providing that good FOR RATES & COLOR BROCHURE Yankee cooking, & BICENTENNIAL TOURS DATA Write: Box 720 drink and lodging. SOUTH EGREMONT, MASS. 01258 Back in 1771, when my place was a stopover for hungry travelers, we had a Tel.: (413) 528-0434 reputation for our generous meals. And we're still serving that good Yankee cooking today. Like roast whole Cornish game hen, sirloin steak, and our individual baked lobster pie. YANKEE PEDLAR INN All just % mile from historic Old AND Sturbridge Village, and a few minutes OPKRA HOUSE 1 from Exit 9 of the Mass. Turnpike. Send 36 Luxury Rooms FOOD-DR1NK.LODGING for my free brochure. Exit 16-1-91 Buddy Adler , Innkeeper Holyoke, Mass.

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32 In and Around VISIT BERKSHIRE LAKES ESTATES the Berkshires EXPERIENCE COUNTRY LIVING AT ITS BEST! Tanglewood is but one of the many Small Lakefront Community activities and events constantly enrich- ing the Berkshires; a complete listing Swim and boat on 2 crystal clear mountain may be found in Berkshire Week, a summer lakes. Play tennis, badminton, volleyball magazine of the Berkshire Eagle and and basketball on community courts. Live Torrington Register. Copies are avail- in privacy adjacent to a large state forest. at the Gate and the Lion able Main Berkshire Lakes Estates Gate. Some highlights: Yokum Pond Road Becket, Mass. 01223 Berkshire Theatre Festival Tel. 413-623-8747 Stockbridge TO VISIT: Mass. Turnpike to Lee, Mass.-Rt. 20 Lenox Arts Center East. Continue 4 miles to Belden's Tavern. Left Lenox for 2 miles to Berkshire Lakes Estates. Williamstown Theatre Williamstown Jacob's Pillow Dance Festival Grand Hotel Lee Aston Magna Curtis on the Village Green Great Barrington Lenox, Mass. (413) 637-0016

Berkshire Museum Amid the echoes of Tanglewood, Pittsfield Stay and dine in old world elegance. Clark Art Institute Delightful accommodations, Williamstown Elevator and telephone service — Al fresco dining on the piazzas Hancock Shaker Village Surrounding the heated pool, Hancock Dancing nightly in the lounge, Chesterwood Studio Museum Supper dining in the garden Glendale After each concert. A Complete Lenox Library Berkshire Experience! Lenox Under New Management Stockbridge Historical Society Stockbridge Naumkeag Stockbridge ARROWHEAD

Mission House Where Herman Melville wrote Stockbridge Old Corner House MOBY-DICK Stockbridge Berkshire Garden Center Headquarters Stockbridge Berkshire County Historical Society 780 Holmes Rd., Pittsfield, Ma. Pleasant Valley Wildlife Sanctuary Lenox Open: Mon. - Sat. 10 - 5 South Mountain Concerts Sun. 1-5 Closed Tues. Pittsfield Adults, $1.00 Students .50

33

m CHESTERWOOD STOCKBRIDGE

FESTIVAL Stockbridge

June 22 - July 11 The Pulitzer Prize-winning musical comedy

OF THEE I SING by George and Ira Gershwin, George S. Kaufman and Morrie Ryskind

July 13 - July 25

James Coco and L/ody Goodman in GEORGE WASHINGTON SLEPT HERE by Moss Hart and George S. Kaufman

July 27 - August 8

Beatrice Straight & Kevin lYIcCarthy in Summer Home and Studio of THE LION IN WINTER DANIEL CHESTER FRENCH by James Goldman August 10 - August 29 Sculptor of the Lincoln Memorial Ruth Gordon in HO! HO! HO! A new comedy by Miss Gordon, directed by Garson Kanin

Garden, Nature Trail, Fritz Holt and Barry M. Brown, Producers

Paintings, Barn Sculpture Gallery Tues. Wed. & Thurs. Eves at 8:30; Sun. Eve at 7:30; Wed. Mat. at 2:30; Sat. Mat. at 5:00; prices $7.50 & $6.00; Fri., Sat. Eves at 9:00; prices $8.50 & $7.00 (413) 298-5536 Adults $1.75 • Children $.75 Also At The Festival: In the Unicorn (barn) Daily 10-5 Theatre, three new American plays; Thursdays through Sundays. In the Proposition Theatre, the Proposition Company of Boston, with after- theatre entertainment, Thursdays through Sun- a property of days, and a children's theatre Thursday, Saturday, The National Trust for Historic Preservation Sunday afternoons. ASIAN GALLERY Far Eastern Art

CURTIS HOTEL MAIN STREET, LENOX, MASS. 01240

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34 —

The Executive Committee Tanglewood Council of the Boston Symphony Orchestra

Mrs. John S. McLennan Pillow Mr. Peter van S. Rice Located in the Township of Becket, Mass. Norman Walker, Director Co-Chairmen June 29—July 3 August 10-14 Eight Soloists from the Teodoro Morca Royal Danish Ballet The Claude Kipnis Mr. John Kittredge Mime Theatre July 6-10 Secretary/Treasurer Suzanne Farrell August 17-21 & Peter Martins Jo-Ann Bruggemann & The Danscompany Bob Bowyer Classical Pas de Deux Mr. and Mrs. David Klein Annabelle Gamson Jacob's Pillow Dancers Jacob's Pillow Dancers Talks and Walks July 13-17 The Maria Alba Spanish Dance Company Performances: Mrs. Richard Marcure July 20-14 Tues. through Sat, Mrs. George Vazakas The Nikolais Dance Curtain times: Tues., Theatre 7:30 pm.,Wed.,Fri.,& Tent Sat. ,8:40 pm., Thurs. Julv 27-31 and Sat. .Matinees: Emily Frankel — 3:00 pm. Mrs. Arthur Aronoff Charles Moore Classical Pas de Deux Tickets: Jacob's Pillow Dancers Mrs. Archie Peace $7.50, $6.50 and $5.00. Student Affairs August 3-7 Available at Ticketron, The Milwaukee Ballet or the Jacob's Pillow Company with guest Box Office. artist Ted Kivitt Mrs. Desmond Tivy How to Reach Jacob's Pillow: Tent tea and coffee Approx.150 miles from Boston near Tangle- wood. Lee-Pittsfield exit on the Mass. Turnpike. Public transportation from Boston via Grey- hound to Lee, Mass. Mrs. Samuel Boxer For information and reservations: Mrs. Roger Voisin Call 10 a.m.— 9 p.m. Mon. thru Sat. (413) 243-0745 Sales and Information Dance Festival America's FIRST Dance Festival, Richard S. Jackson Mr. Box 287, Lee, Mass. 01238. Mr. Robert A. Wells I J Public Relations and Membership

Mr. Jeffrey R. Winslow THE Business OLD CORNER HOUSE

Mrs. James Garivaltis Musical Marathon Co-ordinator

Mrs. James Garivaltis Mrs. Charles Capers Mrs. Kelton M. Burbank Benefits, receptions and meetings

Mrs. Peter van S. Rice Paintings by Tanglewood-Boston liaison NORMAN ROCKWELL On permanent exhibit Mrs. Anatole Haemmerle Open Year Round — Daily 10-5 p.m. Boston-Tanglewood liaison Except Tuesdays Adults $1.00 Children 254

35 „ Deutsche \jiHimTTwphvn

salutes

Seiji Ozawa The Boston Symphony The Berkshire Festival 1976

Polydor International GmbH Hamburg, Germany

36 The Friends of Music at Tanglewood

Membership provides you with exciting opportunities and privileges all year long. It's the secret buy of the Berkshires!

Free Berkshire Music Tent Membership: Center Concerts: The Tanglewood Tent, available to Over 40 concerts each summer by the contributors of $75 and over, provides members of the Berkshire Music Cen- a hospitable gathering place behind the ter, the Boston Symphony Orchestra's Music Shed where food and drink may summer academy for the advanced be purchased on concert days. Hot study of music. These outstanding mid- buffet dinners are served on Saturday week concerts include chamber music evenings beginning at 6:30 p.m. (Reser- recitals, full orchestra concerts, vocal vations must be made through the and choral programs, and the annual Friends Office no later than 12:00 noon Festival of Contemporary Music, on the Wednesday preceding each Tanglewood's "festival within a festi- Saturday evening buffet.) val/' Friends Concert Memberships for Special Parking For individuals and families are available Friends: for $25.00. Two convenient reserved parking areas are available to all donors of $150 or Advance Program Information more for all Boston Symphony Orches- and Ticket Ordering Forms: tra concerts: either the Box Parking Approximately one month before the Lot (Hawthorne Street entrance), or public sale of seats in the early spring, the Tent Parking Lot (West Street Friends will be sent the advance Berk- entrance). shire Festival programs and a priority For information, contact: ticket application. Friends will also Friends of Music at Tanglewood receive the monthly Boston Symphony Lenox, Ma. 01240 Orchestra publication, "BSO." (413) 637-1600

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