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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 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 (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, , 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 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. Jim leaves his wife, Barbara, son David, and daughter Linda— all part of the BSO family at Tanglewood as well as a brother, two sisters, and four grandchildren. We share their sorrow and their loss.

At the request of his family, a memorial fund in Jim Kiley 's name has been estab- lished for the landscaping of the new Tanglewood Concert Hall. Donations may be sent to the Jim Kiley Memorial Fund, Development Office, Symphony Hall, Boston, MA 02115. Gala Concert

TANGLEWOOD ON PARADE

Wednesday, August 14, at 8 DEDICATED TO THE MEMORY OF JIM KILEY

For the benefit of the Tanglewood Music Center TANGLEWOOD MUSIC CENTER ORCHESTRA BOSTON UNIVERSITY TANGLEWOOD INSTITUTE YOUNG ARTISTS ORCHESTRA MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA

SEIJI OZAWA, CHARLES DUTOIT, LEON FLEISHER, and DAVID HOOSE, conductors

Opening Fanfares

RIMSKY-KORSAKOV Russian Easter Overture, Opus 36 BUTI YOUNG ARTISTS ORCHESTRA, DAVID HOOSE conducting

DVORAK Four Slavonic Dances

Opus 46, No. 1, in C Opus 72, No. 2, in E minor Opus 46, No. 3, in A-flat Opus 46, No. 8, in G minor TANGLEWOOD MUSIC CENTER ORCHESTRA, LEON FLEISHER conducting

INTERMISSION

BIZET UArlesienne Suite No. 2

Pastorale Intermezzo Menuetto Farandole TANGLEWOOD MUSIC CENTER ORCHESTRA, CHARLES DUTOIT conducting

TCHAIKOVSKY Ceremonial Overture, 1812

TANGLEWOOD MUSIC CENTER ORCHESTRA and MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA, SEIJI OZAWA conducting

Baldwin piano Some ofthe greatest works in musical history

were left unfinished.

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Donate a room for $60,000-500,000. Become a Founder for $10,000, $25,000, or $50,000. Or endow a seat for $2,500. Call the Tanglewood Development Office at 413-637-1600, ext. 141. And help bring the new Concert Hall to a rousing finish.

Support the newlanglewood Concert Hall. Notes

During much of 1887-88, Rimsky-Korsakov (1844-1908) was hard at work on the task of completing and orchestrating the opera Prince Igor, which had been left un- finished at the death of his friend Alexander Borodin in February 1887. This left him scant opportunity for original composition, but in the middle of the winter he paused in his generous labor on behalf of a deceased friend long enough to sketch out two newly conceived projects of his own. The following summer he took the sketches with him to a friend's country estate, and there he completed a large orchestral work in- spired by certain episodes in the Arabian Nights (Scheherazade) and a short piece built on liturgical themes from the obikhod, a collection of canticles for the Orthodox

Church (the collection, published in 1772, was the first music to be printed in Rus- sia). The Russian title of this latter work translates as The Bright Festival, a popular Russian name for Easter, but in English-speaking countries, for the sake of easy comprehensibility, it has become known as The Russian Easter. The composer himself described the materials of his overture in his memoir, My

Musical Life, from which the following extracts are taken:

The rather lengthy, slow introduction of the Easter Sunday Overture [sic] on the theme of "Let God Arise!" [heard at the very beginning in the woodwinds] alternat- ing with the ecclesiastical theme "An angel wailed" [solo cello], appeared to me, in

its beginning, as it were, the ancient Isaiah's prophecy concerning the resurrection of Christ. The gloomy colors of the Andante lugubre [which follows the opening] seemed to depict the holy sepulchre that had shone with ineffable light at the mo- ment of the resurrection — in the transition to the Allegro of the Overture. The begin- ning of the Allegro, "Let them also that hate Him flee before Him," led to the holi-

day mood of the Greek orthodox church service on Christ's matins. . . . The obikhod

theme, "Christ is arisen," which forms a sort of subsidiary part of the Overture [a broad lyrical theme in the upper strings], appeared amid the trumpet-blasts and bell-tolling, constituting also a triumphant coda.

It was the Slavonic Dances that made the name Antonin Dvorak (1841-1904) famous outside of his native country. It might even be fair to say that the first set, Opus 46, truly made Dvorak himself. He had composed some fine works, especially in the chamber music line, before then, but his determination to spread Czech, or rather Slavonic, nationalism in his music opened a wellspring of melodic invention that bubbled forth irresistibly. The idea for the work came from the publisher Simrock, who had recently agreed, on Brahms's recommendation, to bring out some of the music of this relatively un- known regional composer. Since Simrock had made a good profit from Brahms's Hun- garian Dances, he proposed something similar designed to reflect the newcomer's homeland and native traditions. Simrock paid Dvorak 300 marks for the eight dances and soon found himself repaid a thousandfold, as the set became enormously popu- lar. Simrock urged Dvorak to write a second set, though the composer was anxious to move to larger forms like the symphony. At first he said that he could never recapture the gaiety of his earlier set, but suddenly in June 1886 he found the proper mood, and the second set of eight dances came forth with almost the same ease and rapidity as the first, though—as Dvorak himself remarked—they are quite different from the earlier ones, somewhat more internalized and poetic, more delicately scored, com- pared to the vigorous and vital directness of the first set, and the basically simple "

form is extended with a greater multiplicity of themes. Dvorak invented his own mate- rial in characteristic dance types. The Opus 46 set consists entirely of Bohemian or Czech dance forms, while Opus 72 draws also on Slovak, Polish, or Yugoslavian dance forms. Like all the great masters of dance forms— Schubert, Chopin, Johann Strauss, Sousa, and Scott Joplin, to name a few very diverse examples—Dvorak is able to invent music of astonishingly varied character within the seemingly restrictive bounds of the characteristic meter and tempo. During his all too few thirty-seven years, Georges Bizet (1838-1875) developed a mastery of the musical stage scarcely known in France before or since. His final score, Carmen, has never been off the stage since its premiere. Even his earlier works, in which he was clearly learning his craft, have that sense of color and timing that is crucial to a dramatic composer. VArlesienne ("The Woman of Aries") was a play by Alphonse Daudet, better known as a novelist of the naturalist school, noted for his keen and observant portrayal of character. Bizet was commissioned to write a score of incidental music to accompany the play for an orchestra limited to twenty-six instruments. During the summer of 1872 he rapidly composed a virtuosic and deli- cate score, which was realized in the performance by an ensemble of superb musi- cians. Unfortunately the audience was bored with the play and the music (they consid- ered Bizet a "confounded Wagnerian"), and the show closed in three weeks. The type of music he had written —roughly corresponding to the background score accompany- ing a dramatic television program today—was in low estate, and none of the music critics even bothered to attend a performance. But the theater's conductor, Louis Reyer, himself a composer, declared the music a masterpiece. Bizet quickly arranged four numbers from the score into a suite for full orchestra. (The second suite, to be heard here, was assembled after Bizet's death by Ernest Guiraud, the composer who also adapted Carmen from an opera-comique [with spoken dialogue] to an opera purely sung, the version we hear most often today.) The play was set in Provence, and the music is full of Provengal color. Some of this comes from the use of traditional themes of the region, but Bizet assimilates them so perfectly that they might well have come originally from his pen. In 1880, Pyotr Ilyich Tchaikovsky (1840-1893) promised Nikolai Rubinstein that he would compose an occasional piece to celebrate the Silver Jubilee of Tsar

Alexander II, the "Tsar-Liberator," who had ascended the throne in 1855 and six years later issued the Edict of Emancipation that freed the serfs, who comprised one-third of the population of Russia. During the summer and early fall of 1880 Tchai- kovsky worked on the celebratory piece along with another work, composed purely for his own musical satisfaction. The latter was his Serenade for Strings, Opus 48. The former was a single-movement orchestral work that he labeled an overture with the formal title The Year 1812. To any Russian the date 1812 instantly conjured up the image of Napoleon's inva- sion of Russia, his conquest of Moscow, and his devastating, ignominious retreat with only a tiny percentage of his army, most of which had been destroyed by extremes of winter weather and lack of food. Tchaikovsky finished the overture on October 18 and wrote soon afterward to his patroness, Nadezhda von Meek, with news of his latest compositions: "The Overture will be very loud and noisy, but I wrote it with little warmth or love; therefore it will probably have small artistic worth. The Serenade, on the other hand, I wrote from inner compulsion: I felt it, and therefore venture to hope that it does not lack artistic quality. Tchaikovsky composed his musical tribute to the Russian victory essentially as a potboiler, aimed at popular success. Without question he achieved his goal. The quotation of familiar tunes (familiar, at any rate, to his Russian audience in the

1880s) guaranteed a patriotic response as it reminded them of the historical events: the hymn '"''God Preserve the Tsar" which opens the piece, the appearance of the "Marseillaise ," symbolizing the invading French army, the musical battle between the two sides and the gradual overwhelming of the "Marseillaise"''' by the Russian music, and finally the Imperial anthem, reinforced by bells and cannon— all this has made the overture a popular showpiece from its very first performance.

—Steven Ledbetter

TanglewGDd Music Center

Artists

Seiji Ozawa is Music Director of the Boston Symphony Orchestra.

Pianist/conductor/teacher Leon Fleisher is Artistic Director of the Tanglewood Music Center. A frequent guest conductor with the Boston Symphony Orchestra, Charles Dutoit is Music Director of the Montreal Symphony Orchestra, Music Director of the Orchestre National de France, and Artistic Director of the Orchestra's summer concerts at the Mann Music Center and at the Saratoga Performing Arts Center.

David Hoose, conductor of the Boston University Tanglewood Institute Orchestra, is Music Director of the Cantata Singers and Ensemble, Chairman of the Conducting Department at Boston University, and Music Director-designate of Collage New Music. Tanglewood Music Center 1991 Fellowship Program

Violins Kiichi Watanabe, Tokyo, Japan Brynn Albanese, PalosVerdes, CA Boston Symphony Orchestra Fellowship Ruth S. Morse Fellowship Rebecca Whitling, Alberta, Canada Florence Altenburger, Besangon, France Carolyn and George Rowland Fellowship in Philip and Bernice Krupp Fellowship honor ofEleanor Panasevich Zoe Black, North Fitzroy, Australia Deborah Widdup, London, England City ofMelbourne/Henri Leon Wyler English-Speaking Union Fellowship Foundation Fellowship YuYuan, Shanghai, China Jennifer Carsillo, Menlo Park, CA Starr Foundation Fellowship Luke B. Hancock Foundation Fellowship Judith Chamberland, Quebec, Canada Violas Donald Bellamy Sinclair Memorial Joan DerHovsepian, Milwaukee, WI Fellowship Ben Bowers Fellowship Chung-Mei Chang, Sao Paulo, Brazil Steffen Drabek, Detmold, Germany Boston Symphony Orchestra Fellowship Mr. and Mrs. David B. Arnold, Jr., Robert Chiu, San Marino, CA Fellowship Gerald Gelbloom Memorial Fellowship Victoria Eanet, , NY Ariadne Daskalakis, Boston, MA Boston Symphony Orchestra Fellowship Bessie Pappas Fellowship Ralph Farris, Dover, MA Lisa Ferguson, , NY BayBanks Fellowship EdwardS. Brackett, Jr., Fellowship Anke Hendrichs, Detmold, Germany Takane Funatsu, Chiba, Japan Boston Symphony Orchestra Fellowship Boston Symphony Orchestra Fellowship Daniel Panner, Rochester, NY Sharon Gewirtz, Montreal, Canada Darling Family Fellowship Stanley Chappie Fellowship Dov Scheindlin, New York, NY Ayano Ito, Tokyo, Japan David R. and Muriel K. Pokross Fellowship Boston Symphony Orchestra Fellowship Laura Shuster, Cleveland Heights, OH Natalie Leggett, Northridge, CA James A. Macdonald Foundation Fellowship Bristol-Myers Squibb Foundation Fellowship Kathleen Sihler, Eugene, OR Wendy Putnam, Houston, TX Judy Gardiner Fellowship Morris A. Schapiro Fellowship Jennifer Stahl, Spring Valley, NY Aet Ratassepp, Tallinn, Estonia Frederic and Juliette Brandi Fellowship H. Eugene and Ruth B. Jones Fellowship Piotr Swic, Warsaw, Poland Emi Ohi Resnick, New York, NY Herbert and Jeanine Coyne Fellowship William Kroll Memorial Fellowship Sarah Wetherbee, Washington, D.C. Leah Roseman, Ottawa, Canada Albert L. and Elizabeth P. Nickerson Miriam and Sidney Stoneman Fellowship Fellowship Sarah Roth, Chelmsford, MA Theodore Edson Parker Foundation Fellowship Gabrielle Shek, San Francisco, CA Cellos Northern Fund Fellowship Darrett Adkins, Tacoma, WA Yeh Shen, Shanghai, China Leo L. Beranek Fellowship Boston Symphony Orchestra Fellowship Melissa Barnard, Roseville, Australia Sangeeta Swamy, Edwardsville, IL Country Curtains Fellowship Juliet Esselborn Geier Memorial Fellowship Alexander Ezerman, Williston, VT Josefina Vergara, Vina del Mar, Chile Bradley Fellowship Omar Del Carlo Tanglewood Fellowship Adam Fisher, Tenafly, NJ Jessica Wakefield, Minneapolis, MN Geraldine R. Dodge Foundation Fellowship Stokes Fellowship Eric Gaenslen, Burlingame, CA Hilary Walther, Concord, MA Stephen and Persis Morris Fellowship Harry and Marion Dubbs Fellowship! Bridget MacRae, Toronto, Canada Brookline Youth Concerts Awards Committee Fellowship Fellowship Andrea Markosh, Haifa, Israel Pierre Roy, Evansville, IN Naomi and Philip Kruvant Fellowship Clowes Fund Fellowship Achim Melzer, Sindelfingen, Germany Jennifer Weeks, Montreal, Canada Dr. Marshall N. Fulton Memorial Fellowship Boston Symphony Orchestra Fellowship Margaret Parkins, Detroit, MI Tricia Wlazlo, Osseo, MI Charles and Sara Goldberg Charitable Trust William Randolph Hearst Fellowship Fellowship Johan Stern, Laxa, Sweden Clarinets Mr. and Mrs. Robert E. Remis Fellowship Scott Andrews, Virginia Beach, VA Felix Wang, Okemos, MI Red Lion Inn Fellowship Boston Symphony Orchestra Fellowship Robert Olivia, Hingham, MA Sophie Wilier, Vancouver, Canada Wilhelmina Sandwen Fellowship Mr. and Mrs. Vincent J. Lesunaitis Fellowship Orit Orbach, Kiryat-Ono, Israel Lola and Edwin Jaffe Fellowship Erika Shrauger, Buffalo, NY

Basses Dr. Boris A . Jackson Memorial Fellowship Josee Deschenes, St. Elisabeth, Canada Jerome Simas, Carmichael, CA Aaron andAbby Schroeder Fellowship Tappan Dixey Brooks Fellowship William Everett, North Plainfield, NJ Koussevitzky Music Foundation Fellowship Bassoon/Contrabassoon Erik Gronfor, Anoka, MN Daniel Burdick, Los Angeles, Dr. John H. Knowles Memorial Fellowship CA Robert G. McClellan, Jr. and IBM Matching Jonathan Imsande, Greenville, NC Grant Fellowship Mr. and Mrs. William C. Rousseau Fellowship Kristen Marks, Northfield, MN William F. and Juliana W. Thompson Jacqueline Pickett, Atlanta, GA Fellowship Nat Cole Memorial Fellowship Daniel Matsukawa, Santa Fe, Argentina Tracy Rowell, Webster, TX Marion Callanan Memorial Fellowship Boston Symphony Orchestra Fellowship Shawn Mouser, Brookline, MA Jeffrey Weisner, Los Angeles, CA Rosamond Sturgis Brooks Fellowship Frederick W. Richmond Foundation Fellowship Steve Wangler, New York, NY Hannah and Raymond Schneider Fellowship

Flute/Piccolo Horns Nathalie Lacaille, Montreal, Canada Lia and William Poorvu Fellowship Beth Beeson, Summerfield, NC

Patricia A . Mertz Fellowship Melissa Mielens, Albany, NY Helene R. and Norman Cahners Fellowship Elizabeth Cook, Durand, MI Berkshire Insurance Makiko Nishio, Saitama, Japan Life Company Fellowship Boston Symphony Orchestra Fellowship Suzanne George, Schenectady, NY Christina Smith, Stevens Point, WI Merrill Lynch Fellowship Arthur FiedlerI Leo Wasserman Memorial Fellowship Kristin Jurkscheit, New York, NY Charles E. Culpeper Foundation Fellowship Lisa Wienhold, Birmingham, AL Mr. and Mrs. Frank M. Moody Fellowship! Andrea Menousek, Northampton, MA Idah L. Salzman Fellowship Harry Stedman Fellowship John Rieckhoff, Quincy, IL Karl Burack Memorial Fellowship Oboe/ English Horn Marion Arthur, Arlington, VA Augustus Thorndike Fellowship Gustav Highstein, New York, NY Fernand Gillet Memorial Fellowship Trumpets Piano/Keyboard Zhong-Hui Dai, Shen Yang, China Eugene Alcalay, , Rita Meyer Fellowship Felicia Montealegre Bernstein Fellowship Brian Neal, Miami, FL Joel Fan, New York, NY Andre Come Memorial Fellowship Marie Gillet Fellowship Donald Sipe, Milwaukee, WI Francine Kay, Toronto, Canada Armando A. Ghitalla Fellowship Peggy Rockefeller Fellowship Herbert Smith, Cincinnati, OH Tomer Lev, Kfar-Sava, Israel Wynton Marsalis Fellowship Susan Kaplan/Ami Trauber Fellowship Matthew Sonneborn, Madison, WI Marc Ryser, Cambridge, MA Caroline Grosvenor Congdon Memorial Paul Jacobs Memorial Fellowship Fellowship Reiko Uchida, Rolling Hills Estates, CA Boston Symphony Orchestra Fellowship Catherine Weill-Laor, Paris, France Tenor Trombones R. Amory Thorndike Fellowship Darren Acosta, Metairie, LA CD. Jackson Fellowship Jon Etterbeek, Sacramento, CA Conductors Harry and Mildred Remis Fellowship Lothar Konigs, Aachen, Germany Mark Hetzler, Saratosa, FL Seiji Ozawa Fellowship Jane W. Bancroft Fellowship Alexander Piatt, Westport, CT William and Mary Greve Foundation Fellowship Bass Trombone Mark Stringer, Brooklyn, NY Randall Hestand, Irving, TX Leonard Bernstein Fellowship J. P. and Mary Barger Fellowship

Composers Tuba Nag Bhushan, Sandur, India David Moen, St. Louis, MO Anonymous Fellowship Robert and Sally King Fellowship John Costa, Taunton, MA Reader's Digest Fellowship Timpani/Percussion Alexandra Harwood, London, England Scott Jackson, Glendora, CA Benjamin Britten Memorial Fellowship Anonymous Fellowship Hi Kyung Kim, Seoul, Korea Brian Jones, Lake Jackson, TX Otto Eckstein Family Fellowship Boston Symphony Orchestra Fellowship Jan Miiller-Wieland, Hamburg, Germany Ronald Kushmaul, Columbus, OH Leonard Bernstein Fellowship William J. Rubush Memorial Fellowship Jody Rockmaker, Palo Alto, CA Brent Kuszyk, Sassamansville, PA Ina and Haskell Gordon Fellowship Betty 0. and Richard S. Burdick Fellowship Geoffrey Stanton, Ann Arbor, MI Gregory White, Detroit, MI Koussevitzky Music Foundation Fellowship Mrs. Harris Fahnestock Fellowship in memory ofMargaret Grant Peter Wilms, Beek, The Netherlands Ruth and Alan Sagner Fellowship

Harps John Carrington, Seattle, WA Kathleen Hall Banks Fellowship Susan Robinson, Belmont, MA John and Susanne Grandin Fellowship Chamber Ensemble Residency Vocal Coaches Lions Gate Trio Keith Burton, New York, NY Scott Kluksdahl, New York, NY Baldwin Piano and Organ Company Koussevitzky Music Foundation Fellowship Fellowship in memory ofAaron Copland Laura Dahl, Boston, MA Katie Lansdale, Bethesda, MD Mrs. Peter I. B. Lavan Fellowship Mr. and Mrs. Allen Z. Kluchman Shiela Kibbe, Boston, MA Fellowship Frelinghuysen Foundation Fellowship Florence Millet, Paris, France Todd Sisley, Scotia, NY Florence Gould Foundation Fellowship Ann and Gordon Getty Foundation Fellowship Westbrook String Quartet Nathalie Steinberg, Paris, France Susan Brenneis, Miami, FL Ruth and Jerome Sherman Fellowship Dorothy and Montgomery Crane Fellowship Andrew Bruck, Detroit, MI Phyllis Curtin Seminar for Singers Daphne Brooks Prout Fellowship Anne Adams, New York, NY Cynthia Kempf, Bismarck, ND Stuart Haupt Scholarship Lucy Lowell Fellowship Gayla Bauer, Brookline, MA Chizuko Matsusaka, Boston, MA Eugene Cook Memorial Scholarship Andrall and Joanne Pearson Fellowship Karen Carlisle, Felton, CA William E. Crofut Family Scholarship Erik Chalfant, Bourbonnais, IL Voice Boston Showcase Company Scholarship Jeffrey Adelson, New York, NY Christina Clark, Maumee, OH Geraldine R. Dodge Foundation Fellowship Claire and Millard Pryor Scholarship Tom Allen, New York, NY Lisa Graf, Newcastle, ME Mildred A. Leinbach Fellowship Boston Symphony Orchestra Scholarship Marianne Bindig, Toronto, Canada Judith Hill, Williamsville, NY Ina and Eugene Schnell Fellowship Leah Jansizian Memorial Scholarship Mary Bozzuti, Boston, MA Rebecca Karpoff, Baltimore, MD Bernice and Lizbeth Krupp Fellowship Mr. and Mrs. Victor P. Levy Scholarship Martin Bruns, Arlesheim, Switzerland Lorraine Langer, Minneapolis, MN Surdna Foundation Fellowship Mary H. Smith Scholarship Richard Clement, Tucker, GA Gaye Matravers, Boston, MA Francis Powers Fellowship and Caryn Claudette SorellMu Phi Epsilon Scholarship Kenneth Goodson, Boston, MA Katerina Papadolias, Ottawa, Canada E. Chase Fellowship Alfred Boston Symphony Orchestra Scholarship Deanna Grayson, Atlanta, GA Sandy Radvanovsky, Laguna Niguel, CA Boston Symphony Orchestra Fellowship Palm Springs Scholarship Margaret Morrison, Granada Hills, CA Maria Riedstra, Elmira, Canada Abby and Nathan Fellowship Joe Boston Symphony Orchestra Scholarship Sanghoon Oak, Seoul, Korea Frank Strnad, Whittier, CA Boston Symphony Orchestra Fellowship Tanglewood Programmers and Ushers Michele Patzakis, San Marino, CA Scholarship Boston Symphony Orchestra Fellowship Erika Sunnegardh, New York, NY Xin Jilin, Wei Zhang, China Patricia P. Wylde Scholarship Boston Symphony Orchestra Fellowship Catherine Watson, San Antonio, TX Tisch Foundation Scholarship David Whitley, New York, NY Mr. and Mrs. James S. Deely Scholarship Anne Marie Wright, Toronto, Canada Boston Symphony Orchestra Scholarship Cynthia Wuco, New York, NY Boston Symphony Orchestra Scholarship Seminar for Conductors Benjamin Loeb, Philadelphia, PA Susan Clarke, Newton, MA Mr. and Mrs. Leonard Kandell and Alice Boston Symphony Orchestra Scholarship Kandell Scholarship Philippe de Chalendar, Paris, France Rossen Milanov, Sofia, Bulgaria Berkshire County Savings Bank Scholarship Boston Symphony Orchestra Scholarship Karen Deal, Annapolis, MD Karen Pinoci, Montclair, NJ William and Mary Greve Foundation Maurice Abravanel Scholarship Scholarship Pio Salotto, Cagliari, Bjarte Engeset, Aalesund, Norway Olivetti Foundation Scholarship Boston Symphony Orchestra Scholarship Valerie Taylor, Lexington, MA Ming-Feng Hsin, Taipei, Taiwan Edward G. Shufro Scholarship Boston Symphony Orchestra Scholarship Lara Webber, Beeville, TX Alan Kay, Weehawken, NJ Elaine and Harvey Rothenberg Scholarship Evelyn and Phil Spitalny Scholarship David Wroe, Yorkshire, England Kim Kluge, Alexandria, VA Edward and Joyce Linde Scholarship Barbara Lee/Raymond E. Lee Foundation Scholarship

TheTANGLEWOOD MUSIC CENTER is maintained for advanced study in music and sponsored by the BOSTON SYMPHONY ORCHESTRA.

TanglewoDd BOSTON SYMPHONY ORCHESTRA Music Seiji Ozawa, Music Director Kenneth Haas, Managing Director Center Daniel R. Gustin, Manager ofTanglewood

TANGLEWOOD MUSIC CENTER Leon Fleisher, Artistic Director Gilbert Kalish, Chairman ofthe Faculty, Charles E. Culpeper Foundation Chair Richard Ortner, Administrator James E. Whitaker, ChiefCoordinator Harry Shapiro, Orchestra Manager Boston University Tanglewood Institute Young Artists Orchestra

First Violins Violas Glen Cherry, Vermillion, SD Leo Suzuki, Portland, OR Rachel Noyes, Portland, ME Kimberly Foster, Tualatin, OR Victoria Ferris, Salt Lake City, UT Andrew Kamii, Tarzana, CA Lisa Berman, Edina, MN Catherine DiRuzza, Fall River, MA Patrick Kwon, La Grangeville, NY Carina Lim, Exeter, NH Karl Orvik, Falmouth, ME Brian Oh, Dix Hills, NY Oren Tsor, Tel Aviv, Israel Katie Kaltenborn, Concord, NH Suzanne Walter, Woodbury, NY Asya Ollis, East Lansing, MI Melinda Bassett, Spokane, WA Joel Kennedy, Oregon City, OR Erika Sato, Portland, OR Elana Oko, Tamarac, FL Alison Johnson, Jersey City, NJ Emma Lively, Wilton, ME Marcelo Cuellar, Cranston, RI Carolyn Balfe, Sunnyvale, CA Cellos Duane Padilla, Glendale, CA Jason Lippmann, Cincinnati, OH Sophie Dean, Orleans, New LA I-Bei Lin, Koohsiung, Taiwan Robert Cheng, Midland, MI Kim Burkland, Eugene, OR Alexander Waterman, Delmar, NY Second Violins Michael Weisner, Los Angeles, CA

Nathalie Shim, Lynnfield, MA Joseph Ngai , Hong Kong, China Clinton Dewing, Newton, MA Nicholas Photinos, Concord, CA Douglas Johnson, Brandon, FL Douglas Kelley, Guilford, CT Sarah Polisner, Portland, ME LiaTaddei, Ridgewood, NJ Thomas McLean, Fairbanks, AK William Skeen, Miami, FL Rebecca Asmar, West Simsbury, CT Elise Pittenger, Baltimore, MD Gillian Smith, Halifax, Nova Scotia Colin Meek, Halifax, Nova Scotia Nick Wiedman, Boston, MA Trevor de Clerq, Naples, FL Hallie Smith, Memphis, 77V Michael Senior, Bucks, England Basses Daniel Padilla, Glendale, CA Gary Wicks, Albany, NY Michelle Kiang, Bridgewater, NJ Erin Bewsher, Bourne, MA Victoria Su, Chesapeake, VA Eric Larson, Westminster, MD Renia Piotrowski, Manchester, NH Donald Howey, Sudbury, MA Rachel Teukolsky, Ithaca, NY Hemraj Sodhi, Hanover, NH Mayumi Repp, North Haven, CT Bridgette Johnson, Catkam, NY Flutes Trumpets Christopher Chaffee, Honesdale, PA Brent Dodson, Forest Lake, MN Wendy Lin, Buena Park, CA Jeremy Gardinier, Tivoli, NY Cathy Lum, Sunnyvale, CA Brian Lambert, Edmond, OK Winslow Taub, Irvine, CA Trombones Oboes John Graham, Tacoma, WA David Austin, Chatham, NJ Tim Simcoe, Westboro, MA Trudi Goldberg, Dublin, Ireland Jarod Vermette, Wilbraham, MA Amanda Paine, Belmont, MA Eliza Slavet, Welies ley, MA Tuba Charles Ortega, McAllen, TX Clarinets Samuel Caviezel, Tacoma, WA Percussion Ben Freimuth, Upper Marlboro, MD Brian Bartel, Windom, MN Nobuko Igarashi, Memphis, TN David Kostiner, Storrs, CT Brian Kim, Livingston, NJ Esteban Ramos, Turrialba, Costa Rica I Leonard Sakofsky, Spring Valley, NY Bassoons Matthew Strauss, Dix Hills, NY Glenn Davis, Lexington, MA Laura Fried, Kingston, MA Stage Crew Larisa Gelman, Fairport, NY Matt Filippi Ira Pedlikin, Lexington, MA Patrick Roulet

Horns Beth Graham, Ridgewood, NJ Jamie Hersch, Reston, VA Stephen Kostyniak, Burnt Hills, NY Talley Leger, Toronto, Ontario Kimberly Penrod, San Antonio, TX

Steven Karidoyanes, Orchestra Manager Neal Hampton, Assistant Orchestra Manager/Librarian

This season marks the 25th anniversary of the Boston University Tanglewood Institute. Since 1966, the Boston University Tanglewood Institute has been a summer program of Boston University and the Tanglewood Music Center. The Institute includes five Young Artists Programs for students aged 15 to 18, (Instrumental, Vocal, Piano, Composition, and Quartet), five Institute Seminars for students aged 15 and older, (Flute, Harp, Clarinet, Empire Brass, and Listening and Analysis), and the Adult Music Seminars. Many of the Institute's students receive financial assistance from funds contributed by individuals, foundations, and corporations to the Boston University Tanglewood Institute Scholarship Fund. If you would like further information about the Institute, please contact our Tanglewood office at (413) 637-1430. Members of the Boston Symphony Orchestra

First Violins Cellos Horn

: Tamara Smirnova-Sajfar Robert Ripley Daniel Katzen Max Hobart Luis Leguia Leo Panasevich Carol Procter Trumpet Sheldon Rotenberg Jonathan Miller Charles Schlueter Raymond Sird Ikuko Mizuno Basses Bass Trombone Amnon Levy Lawrence Wolfe Douglas Yeo Bela Wurtzler Second Violins John Salkowski Tuba Marylou Speaker Churchill Todd Seeber Chester Schmitz Vyacheslav Uritsky Joseph McGauley Bass Clarinet Percussion Jerome Rosen Craig Nordstrom Epstein Frank r^ Valeria Vilker Kuchment Bassoon Personnel Manager Violas Roland Small Harry Shapiro Burton Fine Robert Barnes Michael Zaretsky Marc Jeanneret

A Baldwin pianist for 47 years. A world treasure for eternity

Leonard Bernstein (1918-1990)

Baldwin —

Additional Acknowledgments

The TANGLEWOOD MUSIC CENTER acknowledges with gratitude thefollowing gifts to underwritefaculty positions in 1991:

Endowed Gifts Berkshire Chair—Phyllis Curtin Dr. and Mrs. Edward L. Bowles Chair—Fenwick Smith, flute Richard Burgin Chair—Eugene Lehner, viola Charles E. Culpeper Foundation Chair—Gilbert Kalish, Chairman of the Faculty Renee Longy Chair, a gift of Jane and John Goodwin—Dennis Helmrich, vocal music coach Marian Douglas Martin Chair, endowed by Marilyn Brachman Hoffman Peter Serkin, piano Beatrice Sterling Procter Chair—Louis Krasner, violin Sana H. Sabbagh and Hasib J. Sabbagh Chair— Gustav Meier, conductor Surdna Foundation, Inc. Chair—Edwin Barker, double bass

Annual Gifts Dynatech Chair— Roger Voisin, trumpet, teacher of solfege Frederick W. Richmond Foundation Chair—Joel Krosnick, cello

Thefollowing endowedfunds provide extraordinary supportfor the teaching activities of the TANGLEWOOD MUSIC CENTER: Honorable and Mrs. John H. Fitzpatrick Fund Louis Krasner Fund, established by Marilyn Brachman Hoffman Eleanor Naylor Dana Visiting Artist Fund Paul Jacobs Memorial Commissioning Fund

The TANGLEWOOD MUSIC CENTER acknowledges with gratitude the generosity of Acoustic Research, which provided loudspeakers for the 1991 season.

The TANGLEWOOD MUSIC CENTER acknowledges with gratitude the generosity of the Bose Corporation, which provided loudspeaker systemsfor Theatre-Concert Hall perform- ances throughout the 1991 Tanglewood season.

The TANGLEWOOD MUSIC CENTER is grateful to TDK Electronics Corporationfor the donation ofaudio cassettes for use in recording.

The TANGLEWOOD MUSIC CENTER acknowledges with gratitude a grantfrom the Pew Charitable Trusts, which underwrites the residencies ofAndrew Imbrie, 1991 Composer-in-Residence, and of Oliver Knussen, Head of Contemporary Music Activities, providing ongoing supportfor the Music Centers Composition Program.

The TANGLEWOOD MUSIC CENTER is also supported in part through a grantfrom the National Endowmentfor the Arts.

Cover art by B. Johnson