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Tanglewood on Parade Wednesday, August 14, 1991 TanglewGDd DEDICATED TO THE MEMORY OF JIM KILEY Music Center For the benefit of the Tanglewood Music Center 2:00 Gates Open 4:15 Tanglewood Music Center Fellowship Vocal Concert 2:00 Boston University (Chamber Music Hall) Tanglewood Institute: Brass Fanfares at 5:30 Alpine Horn Demonstration Main Gate Drive (Lawn near Chamber Music (Rear of Shed in Hall; Shed if rain) case of rain) 5:45 Balloon Ascension 2:15 Cello/Electronic Music (Lawn near Box Lot, Demonstration with weather permitting) Yo-Yo Ma 6:00 Tanglewood Music Center (Theatre-Concert Hall) Fellowship Wind Music 3:00 Boston University (Main House porch; Tanglewood Institute Chamber Music Hall Chamber Music Concert in case of rain) (Chamber Music Hall) 7:00 Berkshire Highlanders 3:15 Tanglewood Music Center (Lion Gate; rear of Fellowship Chamber Music Shed in case of rain) (Theatre-Concert Hall) 8:00 Fanfares and 3:30 Boston University Gala Concert Tanglewood Institute (Koussevitzky Music Shed) Young Artists Chorus and Orchestra (Koussevitzky Music Shed) Hot air balloon courtesy of Mr. and Mrs. Charles Joseph of Lebanon, New Jersey Alpine horns courtesy of BSO horn player Daniel Katzen Artillery and cannon supplied by Eastover, Inc. Scottish folk music courtesy of the Berkshire Highlanders Fireworks over the Stockbridge Bowl following the Gala Concert A Message from Seiji Ozawa This year the Tanglewood Music Center in the next two years. Second, the revival begins the second fifty years of its life. of an opera training program at the TMC And we begin this year with the loss of —formerly one of the great glories of this three of the people who made Tangle- place— is necessary if we are to fulfill wood's first fifty years unique—Leonard our mission of giving the most talented Bernstein, Aaron Copland, and Jim young singers, instrumentalists, conduc- Kiley. Their spirits are still very much tors, and composers the skills and the alive here with us, though, just as Tangle- experience they will need to lead music wood's spirit remained alive with them. into the next century. Their passion and their commitment are And, finally, today we celebrate the models we follow now. We dedicate twenty-five years of the Boston University this Tanglewood on Parade to the memory Tanglewood Institute programs at the of Jim Kiley. TMC. The University has been our part- Today's wonderful celebration of the ner for half our history, offering programs Tanglewood Music Center helps us con- that supplement and enhance what the tinue training programs in which musical Music Center does with its Fellowship excellence is our only goal. Every ticket Program and Tanglewood Seminars. purchased today helps us to maintain this Enjoy this day of celebration! And tradition, and we thank you for your par- please help us renew the Tanglewood ticipation. Your support of the next gener- tradition as it begins its second half- ation of musicians means that our chil- century. dren will be able to enjoy the same level of cultural richness that our parents gave to us. The Tanglewood Music Center has survived very well for these fifty years, but two things are missing. First, the principal building in which we work at Seiji Ozawa Tanglewood has aged to the point where replacing it must become a priority. The old Theatre-Concert Hall is no longer a suitable home for our wonderful student orchestras and chamber and vocal and contemporary music concerts. Audiences and players both need a better facility. We also need a new facility for our distin- guished recital series at Tanglewood, and we have already raised over half of the money needed to build it. Completing that task will be our most urgent concern The Tanglewood Music Center Tanglewood is much more than a pleas- TMC recitals; each summer brings trea- ant, outdoor, summer concert hall; it is sured memories of exciting performances also the site of one of the most influential by talented young professionals beginning centers for advanced musical study in the a love affair with a great piece of music. world. Here, the Tanglewood Music The Tanglewood Music Center Orches- Center, which has been maintained by tra performs weekly in concerts covering the Boston Symphony Orchestra ever the entire repertory under the direction since its establishment under the leader- of student conductors as well as members ship of Serge Koussevitzky in 1940, of the TMC faculty and visitors who are provides a wide range of specialized in town to lead the BSO in its festival training and experience for young musi- concerts. The quality of this orchestra, cians from all over the world. Now in its assembled for just eight weeks each sum- seventh year under Artistic Director Leon mer, regularly astonishes visitors. It Fleisher, the Tanglewood Music Center would be impossible to list all the distin- celebrated its fiftieth anniversary in 1990. guished musicians who have been part of The school opened formally on July 8, this annual corps of young people on the 1940, with speeches — Koussevitzky, verge of a professional career as in- alluding to the war then raging in Europe, strumentalists, singers, conductors, and said, "If ever there was a time to speak of composers. But it is worth noting that music, it is now in the New World"—and 20% of the members of the major orches- music, the first performance of Randall tras in this country have been students at Thompson's A lleluia for unaccompanied the Tanglewood Music Center, and that chorus, which was written for the cere- figure is constantly rising. mony and arrived less than an hour before Today there are three principal pro- the event was to begin, but which made grams at the Tanglewood Music Center, such an impression that it has remained each with appropriate subdivisions. The the traditional opening music each sum- mer. The TMC was Koussevitzky's pride and joy for the rest of his life. He assem- bled an extraordinary faculty in composi- tion, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. The emphasis at the Tanglewood Music Center has always been not on sheer technique, which students learn with their regular private teachers, but on making music. Although the program has changed in some respects over the years, the emphasis is still on ensemble per- formance, learning chamber music and the orchestral literature with talented fellow musicians under the coaching of a master musician/teacher. Many of the pieces learned this way are performed ir Serge Koussevitzky TMC Opening Exercises in the late 1940s: among those pictured are (front bench, from left) Lukas Foss, TMC Dean Ralph Berkowitz, Aaron Copland, and Serge Koussevitzky Tanglew®d Music Center Fellowship Program provides a demanding sity, through its Tanglewood Institute, schedule of study and performance for sponsors programs that offer individual students who have completed most of and ensemble instruction to talented their training in music and who are younger musicians, with twelve separate awarded fellowships to underwrite their programs for performers and composers. expenses. It includes courses of study for Today, alumni of the Tanglewood Music instrumentalists, vocalists, conductors, Center play a vital role in the musical life and composers. The Tanglewood Seminars of the nation. Tanglewood and the Tangle- are a series of special instructional pro- wood Music Center, projects with which grams, this summer including the Phyllis Serge Koussevitzky was involved until his Curtin Seminar for Singers and a Seminar death, have become a fitting shrine to his for Conductors. Beginning in 1966, edu- memory, a living embodiment of the cational programs at Tanglewood were vital, humanistic tradition that was his extended to younger students, mostly of legacy. At the same time, the Tanglewood high-school age, when Erich Leinsdorf Music Center maintains its commitment invited the Boston University School for to the future as one of the world's most the Arts to become involved with the important training grounds for the com- Boston Symphony Orchestra's activities posers, conductors, instrumentalists, in the Berkshires. Today, Boston Univer- and vocalists of tomorrow. Seiji Ozawa conducts the Tanglewood Music Center Orchestra — IN MEMORIAM James F. Kiley September 22, 1924-February 19, 1991 The Boston Symphony Orchestra lost a beloved and valued family member in February with the death of Jim Kiley. Facilities Manager of Tanglewood since 1973, Jim began working at the BSO's summer home in 1949 and later became Tanglewood's Superin- tendent of Buildings and Grounds. He devoted his considerable working hours to Tanglewood and the Boston Symphony for more than forty years. Among other things, Jim was responsible for maintaining the beauty of the Tanglewood landscape. One of his proudest achievements was the maintenance of Tanglewood's spacious lawns, through a process that he devised himself over the years. Together with his wife Barbara, he established the tradition of growing every one of Tanglewood's flowering plants in Tanglewood's own greenhouses. He also found various ingenious—and harmless —means to discourage birds from nesting in the Koussevitzky Music Shed; the inflated plastic owls he used in the mid-1980s made national headlines. These were among his most visible achievements; the multitude of hats he wore at Tangle- wood were beyond counting. Born in West Stockbridge, James F. Kiley graduated from Williams High School, served in the Navy aboard the U.S.S. Arkansas during World War II, and then worked at General Electric before coming to Tanglewood. He served on the Stockbridge Board of Selectmen from 1969 to 1978, the last three years as chairman. He was also a Berkshire County sheriff, active in politics, and served on the Boards of the Berkshire Hills Conference and the Berkshire County Extension Service.