TANGLEWOOD SIXTH WEEK August 7, 8, 9, 1964 Two notable firsts by Erich Leinsdorf and the \ Boston Symphony k\ Victor BRAHMS SYMPHONY No. t Mahler/Symphony No. 1 BOSTON SYMPHONY ORCHESTRA Boston Orch. Symphony ERICH LEINSDORF Erich Leinsdorf <Me©&&mt These two albums illustrate undeniably the unique capacity of Leins- dorfand the Boston Symphony to reconcile the opposing values in each of these works. In their reading of the prophetic Mahler First, they achieve color devoid of bombast, songfulness without sentimentality, and consistently sustain a unified conception of the work in its entirety. Their interpretation of the Brahms First combines classical restraint with emotional freedom, intensity with spaciousness, clarity of texture with richness ofsound. Both albums bril- D f^ A VjffnrmF^ liantly recorded in Dynagroove sound. @The most trusted name in sound w^^ Boston Symphony Orchestra ERICH LEINSDORF, Music Director RICHARD BURGIN, Associate Conductor Berkshire Festival, Season 1964 TWENTY-SEVENTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS SIXTH WEEK Concert Bulletin, with historical and descriptive notes by John N. Burk Copyright, 1964 by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks Richard C Paine Abram Berkowitz C. D. Jackson Sidney R. Rabb Theodore P. Ferris E. Morton Jennings, Jr. Charles H. Stockton Francis W. Hatch Henry A. Laughlin John L. Thorndike Harold D. Hodgkinson John T. Noonan Raymond S. Wilkins Mrs. James H. Perkins Trustees Emeritus Paefrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Tanglewood Advisory Committee Alan J. Blau Henry W. Dwight George E. Mole Lenges Bull George W. Edman Whitney S. Stoddard Robert T. Capeless Lawrence K. Miller Jesse L. Thomason Robert K. Wheeler H. George Wilde Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Robert Minkier Lenox, John Pignatelli Lee, William O'Brien Thomas D. Perry, Jr., Manager Norman S. Shirk Rosario Mazzeo James J. Brosnahan Assistant Manager Orchestra Personnel Manager Business Administrator Assistant Administrators Sarah M. Hempel Harry J. Kraut i RICHARD BURGIN Richard Burgin is the Associate Con- ductor of the Boston Symphony Orches- tra, a post he has held for many years. these are He was the Orchestra's Concertmaster until his retirement from that position in the summer of 1962. Garrard's SOLOISTS PHYLLIS CURTIN has sung with this Orchestra on notable occasions both in Boston and at Tanglewood. She sang the principal soprano part in Britten's War Requiem at Tanglewood at the Festival of last summer and in the winter season in Boston and New York. She also sang with this Orchestra in Berg's Wozzeck in the season past. She had had earlier experience in the Opera Department of the Berkshire Music Center before her distinguished career in opera and concert in many parts of TYPE A the world. $84. 50 LILI CHOOKASIAN, who was born in Chicago of Armenian parents, has sung contralto and mezzo soprano parts in both oratorio and opera, the latter notably with the Metropolitan Opera Company since 1959, where she has appeared in La Gioconda, The Masked Ball, The Flying Dutchman and An- AT6 drea Chenier. She has sung at the $59.50 Spoleto Festivals in the last two seasons. This new concept.in record playing JORGE BOLET, born in Havana, units combines the flawless perform- Cuba, was a musical prodigy and came ance of dynamically balanced tone to this country to study at the Curtis arms, full-size heavy turntables and Institute of Music under David Saper- the Laboratory Series® motor with the ton. He was the soloist at the Festival tremendous convenience of automatic concert of August 11 last season. His play when you want it. Build your com- reputation is extensive in Europe and ponent music system around a the Americas. Garrard or look for it as the hallmark of quality in the finest consoles. JUSTINO DIAZ has sung several roles with the Metropolitan Opera Com- pany in the season past, having won the Metropolitan Opera Auditions of 1963. There's a Garrard for every high fidelity system. He has had many engagements in opera Type A, $84.50; AT6, $59.50; Autoslim, $44.50. oratorio For literature, write Dect. GY-634. and in various centers of the Garrard, Port Washington, N.Y. United States, Canada and Puerto Rico. He also sang at the Spoletto Festival this summer. — 4 — ) ) ) BOSTON SYMPHONY ORCHESTRA Friday Evening, August 7, at 8:00 RICHARD BURGIN, Conductor TCHAIKOVSKY * Symphony No. 6, in B minor, Op. 74, "Pathetique" I. Adagio; allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Finale: Adagio lamentoso Intermission SCHULLER tSeven Studies on Themes of Paul Klee I. Antike Harmonien ( Antique Harmonies II. Abstraktes Terzett (Abstract Trio) III. Kleiner Blauer Teufel (Little Blue Devil) IV. Die Zwitschermaschine (The Twittering Machine) V. Arabische Stadt ( Arabian Town VI. Ein Unheimlicher Moment (An Eerie Moment) VII. Pastorale ( Conducted by the composer DEBUSSY *"La Mer" (The Sea), Three Symphonic Sketches I. De l'aube a midi sur la mer (From Dawn to Noon on the Sea) II. Jeux de vagues (The Play of the Waves) III. Dialogue du vent et de la mer (Dialogue of the Wind and the Sea) fFirst performance at the Festival concerts BALDWIN PIANO RCA VICTOR RECORDS — 5 Program Notes Friday Evening, August 7 SYMPHONY NO. 6, IN B MINOR, "PATHZTIQUE," Op. 74 By Peter Ilyitch Tchaikovsky Born in Votkinsk in the government of Viatka, Russia, May 7, 1840; died in St. Petersburg, November 6, 1893 Completed in 1893, Tchaikovsky's Sixth Symphony was first performed at St. Petersburg, October 28 of the same year. There have always been those who assume that the more melancholy music of Tchaikovsky is a sort of confession of his personal troubles, as if music were not a work of art, and, like all the narrative arts, a structure of the artist's fantasy. The Symphony, of course, is colored by the character of the artist himself, but it does not mirror the Tchaikovsky one meets in his letters and diaries. The neurotic fears, the mental and physical miseries as found in the diaries have simply nothing to do with musical matters. Tones to Tchaikovsky were pure sensuous delight, his salvation when life threatened to become insupportable. And he was neither the first nor the last to resort At the ONLY the Berkshire Festival this Season • • STEINWAY M. STEINERT & SONS 162 boylston st. boston • Worcester, Springfield — 6 to pathos for the release of music's most affecting and luxuriant expression. The fact that he was subject to periodical depressions and elations (he showed every sign of elation while at work upon this Symphony) may well have attuned him to nostalgic music moods. But the general romantic trend of his time certainly had a good deal more to do with it. His generation revelled in the depiction of sorrow. The pathos of the jilted Tatiana of Pushkin actually moved Tchaikovsky to tears and to some of his most dramatic music. But Tchaikovsky enjoyed nothing more than to be moved to tears—as did his admirers, from Nadejda von Meek down. "While composing the [sixth] symphony in my mind," Tchaikovsky had written to his nephew, "I frequently shed tears." There can be no denying that the emotional message of the "Pathetique" must have in some way emanated from the inmost nature of its composer. But the subtle alchemy by which the artist's emotional nature, conditioned by his experience, is transformed into the realm of tone patterns is a process too deep-lying to be perceived, and it will be understood least of all by the artist himself. Tchaikovsky, addicted like other Russians to self-examination, some- TIRED OF THE CITY GRIND? LOCATE IN THE BERKSHIRES WHERE YOU CAN MIX BUSINESS WITH PLEASURE-PROFITABLY Wouldn't it be nice to be at your office 1 minutes after leaving your home? No subway hordes to buck. And year-round outdoor fun only minutes away. Anyway you look at it, you'll live better, feel better by locating your busi- ness here in the Berkshires permanently. We have skilled labor, industrial plant sites and shell buildings, educational facilities, accessibility to major markets and financiers eager to help solve your problem. Why not get full details now at the address below? Your inquiry will be handled confidentially and promptly. 'Berkshire -Wills Conference INCORPORATED 100 NORTH STREET. PITTSFIELD. MASS. PHONE HI 3-9186. AREA CODE 413 7 — , times tried to explain his deeper feelings, especially as expressed in his music, but invariably he found himself groping in the dark, talking in high-sounding but inadequate generalities. At such times he accused himself of "insincerity"; perhaps we could better call it attitudinizing to cover his own vague under- standing. Only his music was "sincere"—that is, when he was at his best and satisfied with it, as in the "Pathetique." He wrote to Davidoff, to whom he was to dedicate the Symphony, "I certainly regard it as quite the best—and especially the most sincere—of all my works. I love it as I never loved any one of my musical offspring before." Here is a case where the artist can express himself as the non-artist cannot; more clearly even than he consciously knows himself. Manhattan School of Music John Brownlee, Director In the Musical Center of Our Country. Offering Artist Training by an Internationally Renowned Faculty. Courses Lead to the Bachelor and Master of Music Degrees. For information concerning admission and scholarships write to: Admissions Officer MANHATTAN SCHOOL OF MUSIC 238 EAST 105th STREET, NEW YORK, N. Y. 10029 8 — SEVEN STUDIES ON THEMES OF PAUL KLEE By GUNTHER SCHULLER Born in New York, November 22, 1925 This Suite was composed for the Minneapolis Symphony Orchestra and was first performed under the direction of Antal Dorati, to whom the work was dedicated, on November 27, 1959.