Tanglewapd Music Center

Tanglewapd Music A M Center

50 Years of Tanglewood

Tanglewood fifty - impossible! But great ideas are forever new, and Tanglewood is, above all, a great idea. The sharing of knowledge, the commitment to one's work, and the belief that in this mad world art and music have a healing presence - - all are ideals part of the Tanglewood dream.

My teacher, Maestro Serge Koussevitzky, founder of this dream and of Tanglewood as well, liked to speak of "The Central Line" -- the path of learning and discovery, of dreaming and searching after the truth followed by any musician who works to be an artist. Koussevitzky's own "Central Line" has, over these fifty years, led out from the Berkshire Hills of Massachusetts all over the world, as the musicians and music-lovers who have passed through Tanglewood have spread to every place where music flourishes.

This summer the Tanglewood Dream itself, embodied in the young musicians of the 1990 Tanglewood Music Center Orchestra, emerges for the first time from its mountain home, for audiences in Europe to experience firsthand. May you share in our joy.

Leonard Bernstein

BALDWIN PIANO "Our problem is to help artists with good training and knowledge to acquire a penetrating and vivid conception of the music they create and interpret; to stir their imagination to new heights and new depths, because imagination invokes in the creator and interpreter the right intuition and emotions to conceive the inner meaning of their art . . . We want to be modest in our prom- ises. But by no means do we want to be modest in our aspirations. We are confident that our students will receive the very best of our ability and practical experience, as well as our spiritual guidance." Serge Koussevitzky Opening Exercises, 1941

Serge Koussevitzky's dream of a community devoted to the service of music rests firmly on the commitment of senior artists to share their wisdom and experience with young musicians. For fifty years the program Koussevitzky founded in 1940 has helped young musicians enter the profession alongside their more experienced colleagues. The teaching and performance activities of the Music Center are supported by the following permanently endowed Chairs and endowment funds:

Berkshire Chair — Roger Voisin Dr. and Mrs. Edward L. Bowles Chair — Fenwick Smith Richard Burgin Chair — Eugene Lehner Charles E. Culpeper Chair (Chairman of the Faculty) — Gilbert Kalish Georges & Renee Longy Chair, a gift of Jane & John Goodwin — Dennis Helmrich Marian Douglas Martin Chair, endowed by Marilyn Brachman Hoffman — Peter Serkin Beatrice Sterling Procter Chair — Louis Krasner Sana H. Sabbagh and Hasib J. Sabbagh Chair — Gustav Meier Surdna Foundation Chair — Edwin Barker

Eleanor Naylor Dana Visiting Artist Fund Paul Jacobs Memorial Commissioning Fund Louis Krasner Fund for Teaching & Performance, established by Marilyn Brachman Hoffman Northern California Audition Fund

The Friends of Music at Tanglewood are invited to all concerts of the Tanglewood Music Center with a Family Season Membership of $75 or an Individual Season Membership of $50. Others attending each TMC event are asked to contribute a minimum of $5.00 at the gate, $6.00 for orchestra concerts. The Tanglewood Music Center is also supported by a grant from the National Endowment for the Arts.

Tanglewd Music G R A Center

50th Anniversary Season

TANGLEWOOD MUSIC CENTER ORCHESTRA Seventh Concert

Tuesday, August 14, 1990 at 8:30 P.M. Shed

Beethoven Overture "Leonore" No. 3, Op. 72a

Stefan Anton Reck, conductor Sinzheim, West Germany

Berlioz Overture "Roman Carnival," Op. 9

Ravel Concerto for the Left Hand in D

Leon Fleisher, piano

Stefan Asbury, conductor Oxford, England

Intermission

Copland Symphony No. 3 (1946) Molto moderato Allegro molto Andantino quasi allegretto Molto deliberato; Fanfare; Allegro risoluto

Leonard Bernstein, conductor

This program was prepared under the supervision of Leonard Bernstein and Gustav Meier.

Tonight's concert is a preview of the programs which European audiences will hear beginning August 25th, when Leonard Bernstein leads the TMC Orchestra on a seven-concert Tour to celebrate the 50th Anniversary of the founding of the Music Center. In Kiel, Dusseldorf, East and West Berlin, Santander, and Vienna, Mr. Bernstein will lead the Copland Symphony No. 3, and Mr. Fleisher will perform as soloist in the Ravel Concerto. Other works, conducted by Fellows Stefan Asbury and Stefan Reck, will change from city to city. We acknowledge with thanks the work of Peter Schwenkow and Ulrike Palme of City-Concept (Berlin), and of Axel Utecht of Schenker Reisebaro (Frankfurt), in planning the myriad details of this Tour, along with Barbara Logue and Scott Schillin of the BSO staff. We also acknowledge the generosity of Neiman Marcus, who has provided garment bags and other items to be used by the Orchestra on tour. Special thanks to Mark Stringer for his expert assistance in preparation of the Copland symphony.

BALDWIN PIANO •

"Our problem is to help artists with good training and knowledge to acquire a penetrating and vivid conception of the music they create and interpret; to stir their imagination to new heights and new depths, because imagination invokes in the creator and interpreter the right intuition and emotions to conceive the inner meaning of their art . . . We want to be modest in our prom- ises. But by no means do we want to be modest in our aspirations. We are confident that our students will receive the very best of our ability and practical experience, as well as our spiritual guidance." Serge Koussevitzky Opening Exercises, 1941

• • ORCHESTRA PERSONNEL (listed alphabetically)

Violins Flutes Percussion

Jennifer Carsillo Jane Garvin Riely Francis Susanne Ebner Dita Krenberga Timothy Genis Mahoko Eguchi Daniel Pailthorpe Scott Jackson *Steven Frucht John Thorne Gabriela Jimenez Janice Graham Lisa Wienhold John Piskora Yayoi Hasegawa Eric Schweikert Adrianna Hulscher Ying Jiang Oboes Yoshiko Kawamoto Harps Win-Young Kim Washington Barella Melissa Kleinbart Gustav Highstein Licia Jaskunas Steven Miller Phillip Koch Emily Laurance Janet Orenstein Thomas Nugent Ellen Pendleton Paul Opie Movses Pogossian Piano Helene Pohl Wendy Putnam Clarinets Joel Fan Wen Qian Sarah Roth Daniel Gilbert Seiko Sato Gary Ginstling Celesta +Andrea Schultz Marianne Gythfeldt Timothy Schwarz Jerome Simas & Mark Stringer "Gabrielle Shek Jo-Ann Sternberg Ann Shiau Keiko Shibota Librarian Francine Trester Bassoons Josefina Vergara John Perkel Jessica Wakefield John Clouser Rui-Tong Wang Susan Heineman Yu Yuan Kristen Marks Orchestra Manager Liana Zaretsky Daniel Matsukawa Kristin Wolfe Harry Shapiro

Violas Horns Stage Manager Joan DerHovsepian Jenny Douglass Lisa Aplikawski Christopher A. Schaetzly **Ralph Farris Nancy Billmann Tatjana Mead David Denniston Ayako Nitta Jennifer Dugle Daniel Panner Jennifer Scriggins I 'David Qui ggle Jill Wilson Jennifer Stahl First half Stefanie Taylor + concertmaster Judith Ablon Vann Trumpets ##principal second Terri Van Valkinburgh **principal Stephen Werczynski Wayne duMaine Clark Irwin Second half Rodney Mack * concertmaster Cellos Paul Merkelo "principal second Matthew Sonneborn ++principal Gianna Abondolo +4Darrett Adkins & member, conducting seminar Amy Controulis Trombones Alexander Ezerman Charles Jacot Brian Diehl Laura Koehl Jon Etterbeek Karen Krunmel Douglas Wright **Achim Melzer Hilary Metzger Eileen Moon Bass trombone Margaret Parkins Brent Samuel Scott Cochran Brooks Whitehouse

Basses Tuba

**Kilian Forster Anthony Kniffen Jonathan Imsande Jean Posekany Dianna Richardson .}Stephen Schermer Walter Schick Paul Sharpe Program Notes

Beethoven (17 December 1770 - 26 March 1827) - Leonore Overture No. 3 Beethoven's struggles with music drama in his single completed opera "Fidelio" are well-documented. Of the four overtures which exist for the Opera, the present work (No. 3), written for a revised version of the opera in March 1806, is the most powerfully dramatic -- so much so, in fact, that when used as the overture to a stage production of the opera it virtually overwhelms the light opening scenes. With its shifts from major to minor and back, and its quotes from the body of the opera itself (literal quotes of Florestan's "In des Lebens Fruhlingstagen," and of the off-stage trumpet calls which signal the arrival of help and the down fall of Don Pizarro, the Leonore Overture No. 3 has come to symbolize the action of the entire opera for many concertgoers.

Berlioz (11 December 1803 - 8 March 1869) - Overture. Roman Carnival Berlioz conceived this piece as an afterthought to his opera Benvenuto Cellini, a fictionalized treatment of the life of the famous Renaissance sculptor. The opera had been performed in 1838; five years later Berlioz decided to add an introduction to the second act to capture the vivacity of the traditional Carnival season in Rome (the weeks before the beginning of Lent, which had for centuries been devoted to excesses of all kinds). The new introduction, which Berlioz christened with the name by which it is now known, was first performed with enormous success in 1844 and quickly became a staple of the concert repertoire.

Ravel (17 March 1875 - 28 December 1937) - Piano Concerto for the Left Hand Maurice Ravel composed the Piano Concerto for the Left Hand at the same time as the G Major Piano Concerto in the years 1929-1931. The concerto in D was completed in August 1930 for Paul Wittgenstein, an accomplished pianist who lost his right arm in World War I. The work was premiered in Paris on 17 January 1933 with Mr. Wittgenstein as soloist. The first American performance of the concerto was given by the Boston Symphony _Orchestra under Serge Koussevitzky on 9 November 1934, with Mr. Wittgenstein as soloist. This concerto was a far more serious work than his lighter, brilliant G Major Concerto. Of the left-hand concerto, Ravel commented: "In a work of this sort, it is essential to avoid the im- pression of insufficient weight in the sound-texture, as compared to a solo part for two hands. So I have used a style which is much more in keeping (than that of the lighter G Major work) with the consciously imposing style of the traditional concerto." The work is one long movement divided into Lento and Allegro sections. It begins with low, dark strings and contrabassoon and builds to a climax featuring the piano in a cadenza of extraordinary virtuosity. Ravel describes this section as being "like an improvisation," reflecting on his exposure to American jazz in a recent trip. The "jazz episode" is built from themes introduced in the first section. Ravel rightly considered this (his last complete large-scale work) a supreme piece of illusion.

Copland (born 14 November 1900) - Symphony No. 3 Copland's Third Symphony was commissioned by the Koussevitzky Music Foundation from 1944 to 1946, during the closing days and just after the end of the most devastating war in human history. This was a time of elation; music of the time tended to reflect affirmation and a positive outlook on the future. The Symphony No. 3 was Copland's first abstract orchestral score in a decade. He was determined not to rush the evolution of this composition, and worked at it slowly and steadily in such varied places as Topotzlan, Mexico and the MacDowell Colony in Peterborough, New Hampshire. The key to this work may be found in a fanfare composed in 1942 for the Cincinnati Symphony Orchestra -- "Fanfare for the Common Man," which is used in its entirety in the last movement of the Third Symphony. Upon close examination, one finds the entire symphony is based upon this basic fanfare. Serge Koussevitzky conducted the Boston Symphony Orchestra in the world premiere of Symphony No. 3 on 18 and 19 October 1946. He also led the first BSO Tanglewood performance of it the following summer, on 26 July 1947.