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Home , Bridge Records, ChucK, Donald Martino, George Perle, George Schuller, Hugh Ross (musician)

FESTIVAL OF CONTE

AUGUST 4th - 9th 1990 j:*sT?\€^ S& -&B) t*v^v- iT^^ RECENT ADDITIONS TO OUR CONTEMPORARY MUSIC CATALOGUE

P66438a John Becker for and Orchestra. $20.00 Violin and Piano (Edited by Gregory Fulkerson)

P67233 String Quartet no. 3 $40.00 (Score and Parts) (1988 Walter Hinrichsen Award)

P66832 Apparition $20.00 Elegiac Songs and Vocalises for Soprano and Amplified Piano

P67261 $35.00 String Orchestra (Score)* (1989 Pulitzer Prize)

P67283 Bruce J. Taub Of the Wing of Madness $30.00 Chamber Orchestra (Score)*

P67273 Spiral $15.00 Vc, Pf and Perc (Score) (1989 Grawemeyer and Friedheim Award)

P66532 The Blue Bamboula $15.00 Piano Solo

* Performance materials availablefrom our rental department C.F. PETERS CORPORATION ^373 Park Avenue So./, NY 10016/Phone (212) 686-4l47/Fax (212) 689-9412 1990 FESTIVAL OF CONTEMPORARY MUSIC , Festival Coordinator by the sponsored TanglewGDd Music Leon Fleisher, Artistic Director Center Gilbert Kalish, Chairman of the Faculty , -in-Residence Oliver Knussen, Coordinator of Contemporary Music Activities Bradley Lubman, Assistant to Oliver Knussen Richard Ortner, Administrator Barbara Logue, Assistant to Richard Ortner James E. Whitaker, Chief Coordinator Carol Wood worth, Secretary to the Faculty Harry Shapiro, Orchestra Manager

Works presented at this year's Festival were prepared under the guidance of the following Tanglewood Music Center Faculty:

Frank Epstein Donald MacCourt Norman Fischer John Oliver Gilbert Kalish Peter Serkin Oliver Knussen Joel Smirnoff loel Krosnick

1990 Visiting Composer/Teachers

Elliott Carter Tod Machover

The 1990 Festival of Contemporary Music is supported by a gift from Dr. Raymond and Hannah H. Schneider.

The Tanglewood Music Center is maintained for advanced study in music and sponsored by the Orchestra.

Seiji Ozawa, Music Director Kenneth Haas, Managing Director Daniel R. Gustin, Manager of Tanglewood Tanglewood Music Center Opening Exercises in the late 1940s: among those pictured are (seat- ed at extreme left) Alfred Zighera and Louis Speyer; (front bench, from left) Lukas Foss, TMC Dean Ralph Berkowitz, , , William Kroll, Hugh Ross, Zvi Zeitlin; Sarah Caldwell (seated just behind Koussevitzky and Kroll); and Felix Wolfus (behind Kroll and Ross). 1990 Festival of Contemporary Music: A Personal Introduction

Even in a world of ever more encroach- poser" Lukas Foss as Composer-in-Resi- ing conservatism a festival of contempo- dence for a second consecutive season, rary music and a fiftieth anniversary retro- and to register our gratitude for his refresh- spective should, by definition, be mutually ingly unorthodox and always thought-pro- exclusive even if one stretches "contempo- voking musicality, which has stimulated rary" to include the recent past. (Perhaps all of us here in one or other of his multifari- this is the place to remind ourselves that a ous roles. mere decade from now the phrase "twen- The performance of 's tieth century music" will have a quite other Giardino Religioso will have a real poi- resonance to it.) Nonetheless, ideological gnance for those who, like myself, came stances aside, that is precisely what this into contact with him here in the early particular Festival is. As a result, our con- 1970s, shortly before his shockingly early cern to make its selective reflection of a death. His personal charm was such that continuum of new music at Tanglewood one scarcely noticed how much wisdom over fifty years not too backward-looking he communicated in his teaching and re- or laurel-resting has led, paradoxically, to hearsal methods, and no musician can a higher concentration of music from the have been more discussed and missed by decade just past than hitherto. his colleagues to this day. I would also like Our opening concert, for instance, to mention here 's new which honors some notable Tanglewood Introitus: for piano and chamber Fellows of the 1940s and '50s, commences orchestra, the first section of a projected with a late and little-known fanfare by evening-long work-in-progress. This is a Aaron Copland (who was the subject of a very brief but highly charged and expres- major retrospective here last summer) and sive tribute to Michael Vyner, the longtime proceeds with some highly characteristic Artistic Director of the London examples of Messrs. Berio, Crumb, who died last October at 46. He was a Druckman, and Foss's work from the close friend and supporter of both Henze 1980s. The following day's events focus on and myself, and no one of his generation some notable residents during the long did more for the promotion and perform- tenure of , and a substan- ance of new music that I know of. I am tial recent work of his own will be heard most grateful to Mr. Henze for allowing us under the direction of the present Artistic to unveil this fragment in the USA, both as Director Leon Fleisher. On Tuesday and a personal "thank you" to Michael and an Thursday the spotlight turns onto recent acknowledgment of the close ties that have developments in the contemporary music formed between Hans Werner Henze and wing of the TMC, with works by young the TMC in recent years. from Argentina, China, and I have the unsettling feeling that this is Germany as well as closer to home, and becoming a rather elegiac picture of a Festi- culminating in the premiere of White Heat val. Perhaps "nostalgic" is more appro- by Randall Woolf, the recipient of this priate: a few weeks ago, one of the com- year's Memorial Commission. poser Fellows remarked about Lukas Foss's Beyond these simple chronological con- Baroque Variations that in a sense Lukas cerns, it is our hope that the resulting pro- had unwittingly invented post-modernism grams are their own justification, but in this work. Whatever the truth of that, it is perhaps a few personal observations are in certainly no coincidence that also lurking order here and there. in these programs is a layer of music about

Firstly, it is a special pleasure to wel- other music, whether Harbison on come back the original "Tanglewood Com- Schubert, Glanert on Mahler, or Martino's mysterious Schonberg cabaret. And de- spite the Tanglewood-retrospectiveness of

the season, I could not resist programming non-alumnus Robin Holloway's lovingly outrageous Parsifal waltzes close to alum- nus Fred Lerdahl's Waltzes. One big thing that composers like Berio, Foss, and Maderna have taught younger generations

by example is that it is still possible for serious, literate music to make us smile.

It is worth bearing in mind that the Festi- val of Contemporary Music has a double function: as well as being designed to in-

form and entertain our audiences, it also attempts to give the young players who come here as much experience in different technical and musical challenges as our necessarily limited time will allow. So the continuing inclusion of "contemporary classics" such as Stravinsky, Wolpe, and Carter in our programs should be seen in this light rather than the retrospective one.

But it is very exciting for us to have been partly involved in the evolution of 's Three Occasions for Orchestra via the second movement, Remembrance, which was premiered here in 1988, and a real treat to be able to present a rare per- formance of Stravinsky's late and certainly entertaining problem-child The Flood, written for television in 1962 and perhaps now ripe for reassessment as the master-

piece some of us feel it always has been.

It remains to thank Peter Serkin, Tod Machover, and Marimolin for so enriching the scope of this Festival; Leon Fleisher, Gilbert Kalish, and the other members of the Faculty who have worked so hard in the preparation of these performances; Dan Gustin, Richard Ortner, and the inde- fatigable James Whitaker and Carol Wood-

worth for making it all possible once again. —Oliver Knussen Coordinator of Contemporary Music Activities, Tanglewood Music Center July 28, 1990 1990 Festival of Contemporary Music: Electro-Acoustic Preludes

In the three summers that I have or- indicating Berio's uncanny sense of posing ganized Tanglewood's series of Electro- many musical problems that remain chal-

Acoustic Preludes, I have attempted to con- lenging to the present day. vey an overall sense of the diversity and The compositions presented this season vitality of the electronic music field today. fall into three major categories in terms of

In 1988, the programs were chosen to em- the way that musical material is treated in phasize the appropriation of commercially an electronic context. The first category is available personal computers and digital the integration of "non-musical" sounds music technology by serious composers, into a musical discourse by electronic highlighting the movement of electronic means. Berio's Omaggio a Joyce is one of music from specialized research centers the earliest and most famous examples of towards the musical mainstream. In 1989, this tendency. As Berio pointed out in his pieces were selected that used the com- 1958 essay "Poesia e Musica— un'es- puter not just for the production of new perienza": "We often seem to discover sounds, but as aids — and even surro- more 'poetry' in prose than in poetry itself gates — to the compositional process itself, and more 'music' in speech than in agreed- thus raising many issues about the prom- upon musical sounds." For Berio, this ises and limits of machine "intelligence" meant proposing a new relationship be- and creativity. tween speech and music in which one This year's programs provide the greatest could transform effortlessly into the other. diversity of all, in terms of the generation He couldn't have found a more perfect and geography of composers represented, object than the highly musical prose of the technology used, and the composi- 's Ulysses, from which Cathy tional aesthetics evidenced. The first Berberian's reading of the beginning of its period of "classic" electronic music is rep- eleventh chapter becomes the entire sound resented by 's Omaggio a material for the work. This text is some- Joyce from 1959, composed not long after times understandable, more often treated his summer spent as a Tanglewood Fellow. electronically to produce complex sound Works by (another Tangle- patterns, yielding a musical reinterpreta- wood alumnus) and Jonathan Harvey rep- tion of the text. Compared to Berio's primi- resent the first generation of composers tive studio techniques (tape splicing, basic who merged computers with live instru- sound modulation and filtering, etc.), mental performance, helping to establish Christopher Penrose produced his Lesion as a viable and important with the most advanced computer-based genre. Diana Dabby, Robert Rowe, sound transformation technology currently Michael Starobin, and myself represent a available, featuring special software pro- generation of composers who grew up with grams to analyze, process, and transform a computers as a natural and inevitable part very wide range of acoustic sources, in- of musical life, each integrating its pos- cluding bicycle spokes and Merman's sibilities into compositional work in dis- voice. tinctly different ways. It is interesting to Jonathan Harvey's Ritual Melodies takes note that the work of the youngest com- yet another approach to the electronic inte- poser represented on these Preludes, Chris- gration of diverse sounds into a unified topher Penrose, combines materials and musical context. Harvey uses sophisti- techniques in ways that are more reminis- cated computer programs at IRCAM to cent of Berio's work than of any of the analyze natural sounds (in this case in- more recent computer music played here, struments of different cultures) and then to store them in the computer as software voice of Enrico Caruso singing "Vesti la models. Since these models are actually giubba" from / pagliacci, separated from "abstractions" of the original sounds, Har- its original accompaniment by computer, vey is able to change various parameters to and then resynthesized using special pro- make one sound melt magically into the grams developed by Dodge. This rather other, creating a kind of continuously am- disembodied voice spends the composi- biguous mutation. Unlike the Berio and tion searching for an accompaniment, Penrose pieces, Harvey has chosen sounds sometimes provided live and sometimes with rather strong pitched quality, a charac- by computer, using the very disparity of teristic he uses to build the "melodies" of live and recorded sounds as an expressive the title, and to play on the relationship compositional device. between harmonic spectra and purely elec- As interesting as the live performer/pre- tronic sonorities in a way that only the recorded tape genre is, it has posed certain computer enables. problems. It is not particularly fun for a The pieces by Michael Starobin, Diana performer to synchronize to a rhythmically Dabby and Charles Dodge make signifi- immovable accompanist; the electronic cant contributions to the now well-estab- part can not be "reinterpreted" by different lished genre of combininga live instrumen- performers; the electronic part, being pre- tal soloist with a pre-recorded, computer- determined, cannot use the computer's generated tape. This genre has been so rapidly expanding ability to react to a live attractive to composers since it provides a performance situation and, in a very real logical way to extend the capabilities of a sense, to "add its two-cents' worth"! Such single instrument, and allows for a preci- drawbacks have led many composers to sion of synchronization, and therefore a explore the domain of live computer per- freedom and richness of accompaniment, formance, the most rapidly growing area that would be much more difficult to of computer music at the present time, achieve with a large group of live musi- which demands answers to many ques- cians. Starobin's Chase is a brilliant tour de tions: What role is the computer to play in force for the solo guitar, which must play relation to the human performer, and how complex rhythmically hocketed material much independence should it be given? in synchrony with the accompanying tape, What must the computer "know" about leading to the kind of frenetic hide-and- the music that is being played, and about seek implied by the title. Although Dabby's how it is being played, in order to interact

Lopez is only eight minutes long, it feels sensitively and meaningfully? How much like a small-scaled . Or- of the computer's response should be deter- ganized in three contrasting movements, mined in advance of the concert, and how the synthetic accompaniment is orchestral much should be left "free" to adapt to a in quality and alternately enhances the particular musical situation? How can we piano part, enters into dialogue with it, best connect traditional instruments to and, in the impressive final section, en- such live computer systems, and are there gages in a complex musical development totally new performance instruments that of themes and sonorities found throughout might need to be developed to allow for the work. Dodge's Any Resemblance is better gestural control of new sonic and Purely Coincidental takes a different, more structural resources that are quickly be- tongue-in-cheek approach to the soloist coming available? and tape genre. Here the "soloist" is not Robert Rowe's Floodgate and my own the live performer at all, but rather the Bug-Mudra provide two different ap- proaches to this new field of live, interac- most recent piece to use this technique. In tive computer performance. Rowe has set it, two guitars and an electronic percussion up an environment where the computer controller are connected to a computer acts as a creative member of a performing running artificial intelligence software that trio. His sophisticated programs are di- enhances the instrumental playing as de- vided up into "listening" and "composing" scribed above. A new feature in this work halves. The listening partfollows the music is that the conductor (myself in this case) that is being played live by the violin and wears a specially-developed "dataglove" keyboard, analyzing it according to musi- on the left hand. All the music literally cal "features" that it has been programmed passes through this glove, allowing the to detect (such as density of musical event, conductor to shape articulation, timbre, melodic contour, chord versus melody, phrasing, and certain aspects of rhythm by harmonic content, etc.). The information delicate hand gestures. Approaches such gleaned from these analyses is then fed into as this, and Robert Rowe's, point to a time the program's "composing" section, which in the not too distant future when sophisti- uses this information, plus rules about cated computers will be thoroughly inte- composing that Rowe has fed into the grated into large instrumental ensembles, machine, to make up music "on the fly" as creating a new kind of musical hybrid, a reaction to, or accompaniment for, the both sonically and compositionally. music played by the human performers. In terms of aesthetic position, anyone Rowe's program also automatically follows listening to the eight pieces presented on the musical progression of these perform- these Preludes will quickly become con- ers, changing the computer's reaction, and vinced that there is far more musical diver- redefining what it is "listening" for, in each sity here than there is similarity, and that section of the work. My own approach to there is in fact no such thing as a single live computer performance has been to "computer music aesthetic." In fact, it may

develop what I term "hyperinstruments." turn out that it is the very neutrality of the

My idea has been to use the computer's computer, its profound mutability, that al- knowledge of, and sensitivity to, a live lows each composer to shape a musical human performer to enhance and expand world after his or her imagination, and that the musical virtuosity of that performer. makes this medium one of the most promis- This can happen in many different ways: ing for opening exciting possibilities of by adding computer embellishments and truly new musical experience. ornaments; by generating many levels of —Tod Mac hover richly orchestrated sonorities; by allowing the performer to "shape" complex musical events which have been pre-programmed into the machine; by increasing rhythmic precision or, conversely, by allowing for great rhythmic and textural complexity. The key to "hyperinstruments," however, is that the control of the interactive system must always remain with the virtuosic per- former, and the computer extension of The Tanglewood Music Center is grateful playing must always feel as if it is a natural to Tod Machover of MIT for his assistance extension of that performer's gestuality and in coordinating this year's Electro-Acoustic musical interpretation. Bug-Mudra is my Preludes. :

G- Schirmer, Inc. Associated Music Publishers, Inc.

Join us in congratulating our prize-winning composers: John Eaton John Eaton

1 990 MacArthur Fellow John Harbison

I 989 MacArthur Fellow

J 990 John Harbison Duplicates : a Concerto for Two Pianos William Schuman

1 989 Kennedy Center Honor Happy 80th Birthday! 4 August 1990

1 990 for Music Composition Silver Ladders

For perusal materials G. Schirmer Promotion Department 225 Park Avenue South, 18th floor New York, NY 10003 (212)254-2100

For performance materials: G. Schirmer Rental and Performance Department

5 Bellvale Road Chester, NY 10918 (914)469-2271 William Schuman Joan Tower 1990 Festival of Contemporary Music

Saturday, August 4, at 2 p.m. Theatre-Concert Hall, Tanglewood

FELLOWS OF THE TANGLEWOOD MUSIC CENTER

AARON COPLAND Ceremonial Fanfare (1969) (b.1 900; TMC Faculty LUKASFOSS, conductor 1940-1965)

GEORGE CRUMB An Idyll for the Misbegotten (1985) (b.1929;TMC55; DITAKRENBERGA, flute 1970 TMC Composer- ERIC SCHWEIKERX percussion in-Residence) TIMOTHY GENIS, percussion GABRIELA JIMENEZ, percussion

JACOB DRUCKMAN String Quartet No. 3(1981) (b.1928;TMC'48-'50; I. Variations 1-3; Marcia-ritornello; 1978 TMC Composer- Scherzo ; Ritornello in-Residence) 1 II. Variations 4-6

III. Marcia-ritornello; Scherzo 2; Variations 7-9

FIDELIO QUARTET STEVEN MILLER, violin CAROLINE WOLFF, HELENEPOHL, violin GREGORY SAUER, cello

INTERMISSION

LUKASFOSS Solo Observed (1982) (b.1922;TMC'40-'42; BRIAN GANZ, piano 1989 and 1990 TMC BRADLEY LUBMAN, conductor Composer-in-Residence)

LUCIANO BERIO Requies (1983-85) (b.1925;TMC52; ROBERT SPANO, conductor" 1982 TMC Coordinator of Contemporary Music)

The 1990 Festival of Contemporary Music continues on tonight's Boston Symphony Orchestra concert at 8:30 when Dennis Russell Davies conducts the premiere of 's MCMXC Tanglewood, written for the 50th anniversary of the Tanglewood Center, Music and William Schuman's Symphony No. 3 r celebrating the composer's 80th birthday.

"Boston Symphony Orchestra Assistant Conductor-designate

Baldwin piano 1990 Festival of Contemporary Music

Sunday, August 5, at 10 a.m. Theatre-Concert Hall, Tanglewood

FELLOWS OF THE TANGLEWOOD MUSIC CENTER

JOHN HARBISON November 19, 7828(1989) (b.1938;TMC59; Hallucination in four episodes 1984TMCComposer- for piano and in-Residence)

I. Introduction: Schubert crosses into the next world.

II. Suite: Schubert finds himself in a hall of mirrors

1. Theme 2. Ecossaise 3. Moment Musicale 4. Impromptu 5. Valse

III. Rondo: Schubert recalls a rondo fragment from 1816

IV. Schubert continues the fugue subject (S-C-H-U-B-E-R-T) which Sechter assigned him.

OLGA GROSS, piano MAHOKO EGUCHI, violin TERRI VAN VALKINBURGH, viola CHARLES JACOT, cello

££ELd> New Music on s BRIDGE

Milton Babbitt, William Bland, Elliott Carter, George Crumb, , Hans Werner Henze, John Harbison, , Sandor Jemnitz, Kecak from Bali, Barbara Kolb, Gyorgy Kurtag, John Anthony Lennon, , Gyorgy Ligeti, Tod Machover, Bayan Northcott, Ronald Roxbury, Robert Saxton, , Seymour Shifrin, Stephen Sondheim, Michael Starobin, Toru Takemitsu, , Charles Wuorinen.

Bridge Records, Inc. BRIDGE ® GPO Box 1864 (516) 487-1662 New York, NY 10116 II

DONALD MARTINO From the Other Side, A Divertimento (b.1931; 1965-1967 and forflute, violoncello, percussion 1969 TMC Visiting Faculty; and piano (1988) 1973 TMC Composer- I in-Residence) I. Introduction and Slow Dance

II. Tangodei Grulli

III. Dance of the Reluctant Flamapoo IV. BalladforaBlueBill V. Das magische Kabarett des Doktor Schonber^

JANE GARVIN, flute AMY CONTROULIS, cello JOHN PISKORA, percussion JOEL FAN, piano

INTERMISSION

JUDITH WEIR Airs from Another Planet (1 988) (b.1954;TMC'75) Traditional Music from Outer Space

I. Strathspey and Reel

II. Traditional Air

III. Jig IV. Bagpipe Air, with Drones

LISA WIENHOLD, flute THOMAS NUGENT, oboe JO-ANN STERNBERG, clarinet SUSAN HEINEMAN, bassoon LISA APUKOWSKI, horn OLGA GROSS, piano

ROBIN HOLLOWAY Souvenirs de Monsalvat, Waltz-Synthesis (b.1943) on favourite themes from 's Parsifal done for two players at one pianoforte

Introduction 1. Sin, Guilt, and Suffering 2. Parsifal & Herzeleide 3. Flowermaidens 4. Kundry, Kiss, and Mystic Marriage 5. Pastorale Intermezzo 6. Pentecost-Sarabande PREDRAGMUZIJEVICand BRIAN GANZ, piano

Baldwin piano 1990 Festival of Contemporary Music

Sunday, August 5, at 8:30 p.m. Theatre-Concert Hall, Tanglewood

FELLOWS OF THE TANGLEWOOD MUSIC CENTER

MARCNEIKRUG ChetroKetl (1985) (b.1946;TMC70) STEFAN ASBURY, conductor

STEFAN WOLPE Piece in Two Parts for Six Players (1961 -62) (1902-1972) J -72 J= 120

Directed by PETER SERKIN

GUNTHERSCHULLER Chamber Symphony (1989) (b.1925;TMC Artistic (celebrating the composer's 65th Director, 1970-1984) birthday year)

I. Calmo

II. Arioso. Adagio

III. Vivo

LEON FLEISHER, conductor

INTERMISSION

GEORGE PERLE of Order (String Quartet No. 8), (b. 1915; 1967, 1980, and in one movement (1988) 1987 TMC Composer- (celebratingthe composer's 75th in-Residence) birthday year)

STEVEN FRUCHT, violin LIANA ZARETSKY, violin DAVID QUIGGLE, viola MARGARET PARKINS, cello

BRUNO MADERNA Giardino Religioso (1972) (1920-1973; 1971 TMC OLIVER KNUSSEN, conductor Composer-in-Residence; 1972 TMC Coordinator of Contemporary Music)

Baldwin piano 1990 Festival of Contemporary Music Prelude Concert Monday, August 6, at 7:30 p.m. Hall, Tanglewood

MARIMOLIN Sharan Leventhal, violin Nancy Zeltsman, marimba

GUNTHER SCHULLER Phantasmata (1989) (b.1925;TMC Artistic (celebrating the composer's 65th Director, 1970-1984) birthday year) Maestoso Lively Molto adagio Grave

SIMON BAINBRIDGE Marimolin Inventions, Book 1 (1990) (b.1952;TMC'73-'74) (in three movements)

Margun/GunMar Music proudly presents one of the great catalogues ofAmerican living composers

Josef Alexander Allen Anderson Theodore Antoniou Hubert Arnold Hayes Biggs Roger Bourland Martin Brody Richard Busch John Carisi Rob Carriker David Chaitkin Sheree Clement Marc-Antonio Consoli Matt Darriau Avram David Robert DiDomenica Lucia Dlugoszewski William Doppmann Dennis Eberhard Brian Fennelly Charles Fernandez Ian Finkel Vic Firth Tom Flaherty Martin Flowerman Primous Fountain EI Donal Fox Andrew Frank Timothy Geller Jimmy Giuffre Daniel Godfrey Donald Harris Douglas Hill John Huggler Jere Hutcheson Chuck Israels Oliver Knusson David Koblitz Stefan Kozinski Steve Lacy Kenneth Laufer Thomas Oboe Lee Paul Alan Levi Gerald Levinson James Lewis Rodney Lister Edwin London Vincent Luti Joseph Gabriel Maneri Henry Martin William Thomas McKinley John Stewart McLennan Joyce Mekeel John Melby Gerry Mulligan Harold Oliver Richard Peaslee George Perle Morgan Powell James Primosch Tibor Pusztai Verne Reynolds Amelia Rogers Rodney Rogers Carl Roskott George Russell William Russo Edwin Schuller George Schuller Gunther Schuller Elliott Schwartz Allen Shawn Gary Smart Daniel Spector Lewis Spratlan David Stock Patrick Stoyanovich Ignace Strasfogel Andrew Thomas Nicholas Thorne Oily Wilson Byron Yasui

Sole Agent: Jerona Music Corporation P.O. Box 5010 • Hackensack, NJ 07606-4210 • 201-488-0550 1990-1991 Season

November 12, 1990 DREAMS AND SCHEMES Conducted by David Hoose

Joan Heller, soprano Works by Imbrie, Swafford, Berio, Lazarof

January 14, 1991 SILENCE REIGNS Conducted by Gunther Schuller , baritone

Joan Heller, soprano

Works by Geller, Schuller, Powell

February 24, 1991 COLLAGE PERFORMS AT SYMPHONY HALL Special concert by COLLAGE New

Music in Symphony Hall. Guest conductor

to be announced.

Frank Epstein, Music Director

Programs subject to change.

Tickets: $25.00 subscription; $10.00 general

admission; $5.00 students & senior citizens.

For information, call Nancy Shafman, Manager,

at (617) 776-3166. .

1989 Festival of Contemporary Music

Monday, August 6, at 8:30 p.m. Theatre-Concert Hall, Tanglewood

BOSTON SYMPHONY CHAMBER PLAYERS Malcolm Lowe, violin Richard Svoboda, bassoon Burton Fine, viola Charles Kavalovski, horn Jules Eskin, cello Charles Schlueter, trumpet Edwin Barker, Ronald Barron, trombone Alfred Genovese, oboe Everett Firth, percussion Harold Wright, clarinet

GILBERT KALISH, piano SANFORD SYLVAN, baritone LEONE BUYSE, flute LAURENCE THORSTENBERG, English horn ANN HOBSON PILOT, harp

FREDLERDAHL Waltzes (1981), for violin, viola, cello, (b.1943;TMC'64,'66) and double bass

Messrs. LOWE, FINE, ESKIN, and BARKER

AARON COPLAND Four Piano Blues (1947, 1934, 1948, 1926) (b.1900;TMC Faculty 1 Freely, poetic (For Leo Smit) 1940-1965) 2. Soft and languid (For AndorFoldes) 3. Muted and sensuous (For William Kapell) 4. With bounce (For John Kirkpatrick)

Mr. KALISH

COPLAND Elegies, for violin and viola (1932)

Messrs. LOWE and FINE

INTERMISSION

ROGER KELLAWAY Esque, for trombone and double bass (1972) (b.1939) Messrs. BARRON and BARKER

JOHN HARBISON Words from Paterson, for baritone, flute and (b.1938;TMC59; alto flute, oboe and English horn, viola, 1984TMCComposer- cello, harp, and piano (1989) in-Residence) Text from William Carlos Williams' Paterson, bookV

Parti (In old age the mind casts off . . .)

Part II (Edward Paterson has grown older . . .)

SANFORD SYLVAN, baritone Ms. BUYSE, Messrs. GENOVESE and THORSTENBERG, Mr. FINE, Mr. ESKIN, Ms. HOBSON PILOT, and Mr. KALISH

Bald win piano Nonesuch, DG, RCA, and New World records

I 1990 Festival of Contemporary Music

Tuesday, August 7, at 8:30 p.m. Theatre-Concert Hall, Tanglewood

FELLOWS OF THE TANGLEWOOD MUSIC CENTER PETER SERKIN, piano

MICHAEL DAUGHERTY SNAP! (1987) (b.1954;TMC81) LARRY RACHLEFF, conductor*

JORGE LIDERMAN A Cinque (1989) (b.1957;TMC87) JOHN THORNE, flute DANIEL GILBERT, clarinet MELISSA KLEINBART, violin HILARY METZGER, cello PREDRAG MUZIJEVIC, piano

DETLEVGLANERT Mahler-skizze (1989) (b.1960;TMC'86) ( premiere)

STEFAN ANTON RECK, conductor

INTERMISSION

HANS WERNER HENZE Introitus: Requiem (1990) (b.1926; 1983 and 1988 (United States premiere) TMC Composer-in- PETER SERKIN, piano Residence) OLIVER KNUSSEN, conductor

MARTI EPSTEIN Grand Island 0987) (b.1959;TMC'86,'88) BRADLEY LUBMAN, conductor

MICHAEL GANDOLFI Points of Departure (1988) (b.1956;TMC'86) I. Spirale

II. Strati

III. Visione IV. Ritorno

BRADLEY LUBMAN, conductor

*Faculty, Boston University Tanglewood Institute

Baldwin piano 1990 Festival of Contemporary Music

Electro-Acoustic Prelude I Wednesday, August 8, at 7:30 p.m. Chamber Music Hall, Tanglewood

LUCIANO BERIO Omaggio a Joyce (1959) (b.1925;TMC52; (Studio di Fonologia, Milan) 1982 TMC Coordinator of Contemporary Music)

ROBERT ROWE Floodgate (1989) (b.1954) (MIT Media Laboratory)

STEVEN FRUCHT, violin JOEL FAN, keyboard

JONATHAN HARVEY Ritual Melodies (1990) (b.1939) (IRCAM, Paris) (United States premiere)

DIANA DABBY Lopez, for piano and tape (1990) (b.1950) (MIT Media Laboratory)

DIANA DABBY, piano

Baldwin piano

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9»^ 1990 Festival of Contemporary Music

Wednesday, August 8, at 8:30 p.m. Theatre-Concert Hall, Tanglewood Nakamichi Chamber Music Series

PETER SERKIN, piano

PETER LIEBERSON Fantasy Pieces (1989) (b.1946;1988TMC (world premiere) Visiting Faculty) Breeze of Delight Dragon'sThunder Memory's Luminous Wind

OLIVER KNUSSEN Variations, Opus 24 (1989) (b.1952;TMC'70-'71,'73;1981 TMC Visiting Faculty; 1986TMC Composer-in-Residence; 1987-presentTMCCoordinatorof Contemporary Music Activities)

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LISTENING COMPOSER GEORGE PERLE Perle takes us into the composer's workshop as he reevaluates what we call "20th-century music"—a term used to refer to new or modern or contemporary music that represents a radical break from the tonal tradition, or "common practice," of the preceding three centuries. He proposes that this music, in the course of breaking with the tonal tradition, presents coherent and definable elements of a new tradition. In spite of the disparity in their styles, idioms, and compositional methods, he argues, what unites Scriabin, Stravinsky, Bartok, and the Viennese circle (Schoenberg, Berg, and Webern) is more important than what separates them. Ernest Bloch Lectures

$18.95 at bookstores or order toll-free 1-800-822-6657. Visa & MasterCard only. University of California Press • Berkeley 94720 in real time (1988) (b.1932; 1969 TMC Composer- in-Residence;1987TMC Visiting Faculty)

BEETHOVEN Six Bagatelles, Opus 126 (1770-1827) Andante con motocantabilee compiacevole Allegro Andante cantabi le e grazioso Presto Quasi Allegretto Presto—Andante amabi le e con moto— Presto

INTERMISSION

LUCIANO BERIO Feuer/c/aw'er(1988) (b.1925;TMC52; 1982 TMC Coordinator of Contemporary Music)

HANS WERNER HENZE Piece for Peter (1988) (b.1926; 1983 and 1988 TMCComposer-in Residence)

TOBIAS PICKER Three Pieces for Piano (1988) (b.1954)

LEONKIRCHNER Interlude (1989) (b.1919; 1959-1961 TMC Visiting Faculty; 1985 TMC Composer-in-Residence)

TORUTAKEMITSU LesYeuxclosll (1988) (b.1930; 1986TMC Visiting Faculty)

LIEBERSON Scherzo I (1989)

Peter Serkin plays the Steinway piano. 1990 Festival of Contemporary Music

Electro-Acoustic Prelude II Thursday, August 9, at 7:30 p.m. Chamber Music Hall, Tanglewood

CHRISTOPHER PENROSE Lesion (1990) (b.1967) (University of California, San Diego)

MICHAEL STAROBIN Chase, for guitar and tape (1987) (b.1956) DAVID STAROBIN, guitar

CHARLES DODGE Any Resemblance is Purely Coincidental,

(b.1942;TMC64) for piano and tape (1 980) (Center for Computer Music, College)

OLGA GROSS, piano

TOD MACHOVER Bug-Mudra, for acoustic guitar, electric (b.1953; 1988-1990 Coordinator guitar, electronic percussion, conductorwith of Electro-Acoustic Preludes) hard-tracking controller, and live computer "hyperinstruments" (1989-90) (MIT Media Laboratory) Video version (with digital sound) of live performance at Tokyo's Bunkamura Theater)

Baldwin piano

What kind of music? Great Music! Da Capo Chamber Players John Knowles Paine Elliott Carter/ St. Peter: an oratorio An early American masterpiece George Perle for chorus and orchestra, "lost" Powerful performances of - for 115 years! Gunther Schuller, several works both early j Pro Arte Orchestra. Back lia\ and recent - by two modern Chorale and soloists in a masters. Rendered with glorious live performance. passion and virtuosity; a GM2027 (2 CD set) flB truly important recording. GM2020 (CD)

George Schuller 1 Minneapolis Lookin' Up From ! Artists Ensemble Down Below Mozart/Hummel Hot original jazz from rarity for lovers of Mozart: Boston's favorite young a contemporaneous drummer; with Tiger Okoshi, transcription of "Sinfonie , , Concertante" (K.364) for string , et al. sextet; set alongside Hummel's GM3013 (CD) lovely "Quintet" Op.87. GM2025 (CD) Cj^T8 GM RECORDINGS: GREAT MUSIC! ] ^^^ /%/ Distributed by Harmonia Mundi USA I I VI J GM Recordings, 167 Dudley Rd., Newton Centre, MA 02159 The 1990 GM Recordings Catalogue offers some of the finest Twentieth century , jazz and historical recordings available today, recorded, annotated and manufactured with skill and loving care. Please contact us for a free copy. 1990 Festival of Contemporary Music

Thursday, August 9, at 8:30 p.m. Theatre-Concert Hall, Tanglewood

TANGLEWOOD MUSIC CENTER ORCHESTRA OLIVER KNUSSEN, conductor

JULIAN YU WuYu(1987) (b.1957;TMC88) (United States premiere)

RANDALL WOOLF White Heat (1990) (b.1959;TMC89) (world premiere; commissioned by the Tanglewood Music Center through the Paul Jacobs Memorial Commissioning Fund)

LUKASFOSS Baroque Variations (1967) (b.1922;TMC'40-'42; 1989and1990TMC I on a Handel Larghetto Composer-in-Residence) II on a Scarlatti Sonata III on a Bach Prelude (Phorion)

LUKASFOSS, conductor

INTERMISSION

ELLIOTT CARTER Three Occasions (b.1908) I. A Celebration of Some 150x100 Notes (1986)

II. Remembrance (1988, in memory of Paul Fromm) BRIAN DIEHL, trombone

III. Anniversary (1989)

IGOR STRAVINSKY The Flood, A musical play (1962) (1882-1971) Prelude Melodrama The Building of the Ark The Catalogue of the Animals The Comedy (Noah and his Wife) The Flood The Covenant of the Rainbow

Narrator EVANS Ml RAGEAS Noah CHRISTOPHER VASQUEZ Noah's Wife CARLEEN GRAHAM Caller BENEDICT MASON Lucifer, Satan PAUL KIRBY, tenor God KENNETH GOODSON and DONALD WILKINSON, baritones MEMBERS OF THE BOSTON UNIVERSITY TANGLE- WOOD INSTITUTE YOUNG ARTISTS CHORUS, STEVEN LIPSITT, conductor

Nathalie Steinberg, rehearsal pianist Baldwin piano We wish to acknowledge the special gifts of the following Friends of the FESTIVAL OF CONTEMPORARY MUSIC:

Deborah Drattell Alfred Lerdahl

Harriett Eckstein Claude A. Wilson, Jr. Joseph and Alice Harnell Geoffrey D. Wright John Lennon

The TANGLEWOOD MUSIC CENTER acknowledges with gratitude the generosity of Acoustic Research, which provided loudspeakers for this year's Electro-Acoustic Preludes.

The TANGLEWOOD MUSIC CENTER is also supported in part through a generous grant from the National Endowment for the Arts.

The TANGLEWOOD MUSIC CENTER is grateful to TDK Electonics Corporation for the donation of audio cassettes for use in recording.

References furnished on request

Armenta Adams David Korevaar American Ballet Theater Garah Landes Michael Barrett Michael Lankester Marion McPartland William Bolcom John Nauman Jorge Bolet Boston Pops Orchestra Luciano Pavarotti Boston Symphony Alexander Peskanov Chamber Players Andre Previn Boston Symphony Orchestra Santiago Rodriguez Boston University School Kathryn Selby of Music George Shearing Boys Choir of Harlem Brooklyn Philharmonic Leonard Shure Epve Brubeck Abbey Simon Aaron Copland Stephen Sondheim Herbert Stessin Phyllis Curtin Tanglewo oltl^lusic Rian de Waal Center Michael Feinstein Nelita True Lukas Foss Craig Urqunart Philip Glass Earl Wild Karl Haas John Williams John Fi Kennedy Center Yehudi Wyner for Performing Arts and 200 others

BID Baldwin Tanglewood Music Center 1990 Fellowship Program

Violins FrancineTrester, Great Neck, NY Jennifer Carsillo, Menlo Park, CA Dr. Boris A. Jackson Memorial Fellowship Northern California Fund Fellowship Josefina Vergara, Vina del Mar, Chile Susanne Ebner, Hamburg, West Germany Helene R. and Norman Cahners Fellowship

Mr. and Mrs. David B. Arnold, Jr., Fellowship Jessica Wakefield, Minneapolis, MN Mahoko Eguchi, Yokohama, Japan Harry and Mildred Rem is Fellowship Rita Meyer Fellowship Rui-Tong Wang, Beijing, China Steven Frucht, New York, NY Starr Foundation Fellowship Dr. John H. Knowles Memorial Fellowship Yu Yuan, Shanghai, China Janice Graham, Middlesex, England JoAnne and Charles Dickinson Fellowship English-Speaking Union Fellowship Liana Zaretsky, Boston, MA Yayoi Hasegawa, Tokyo, Japan Gerald Gelbloom Memorial Fellowship Boston Symphony Orchestra Fellowship Hulscher, Seattle, Adrianna WA William Kroll Memorial Fellowship Joan DerHovsepian, Milwaukee, Wl Yingjiang, Shanghai, China William Randolph Hearst Fellowship Berkshire Life Insurance Company Fellowship Jenny Douglass, Boston, MA Yoshiko Kawamoto, Chiba, Japan Mr. and Mrs. Allen Z. Kluchman Fellowship Stephen and Persis Morris Fellowship Ralph Farris, Boston, MA Kim, East Patchogue, Min-Young NY Jappan Dixey Brooks Fellowship Edward John Noble Foundation Fellowship Tatjana Mead, Bountiful, UT Melissa Kleinbart, York, New NY Lucy Lowell Fellowship Charles E. Culpeper Foundation Fellowship Ayako Nitta, Chiba, Japan Lee, Buenos Aires, Jin-Kyung Argentina Boston Symphony Orchestra Fellowship Edward S. Brackett, jr. Fellowship Daniel Panner, Rochester, NY Ellen Pendleton, Winter Park, FL Li a and William Poorvu Fellowship Mr. and Mrs. Karl K. Lipsky and David Quiggle, , CA Mr. and Mrs. Seth A. Lipsky Fellowship Bessie Pappas Fellowship Movses Pogossian, Yerevan, U.S.S.R. Jennifer Stahl, Spring Valley, NY H. Eugene and Ruth B. Jones Fellowship Merrill Lynch Fellowship Wendy Putnam, Houston, TX Stefanie Taylor, Clarendon, VT Mr. and Mrs. William C. Rousseau Fellowship James A. Macdonald Foundation Fellowship Wen Qian, Beijing, China Judith Ablon Vann, Omaha, NE Karl Burack Memorial Fellowship Country Curtains Fellowship Sarah Roth, Chelmsford, MA Terri Van Valkinburgh, Spokane, WA Theodore Edson Parker Foundation Boston Symphony Orchestra Fellowship Fellowship Stephen Werczynski, Lansdale, PA Seiko Sato, Osaka, Japan Leonard Bernstein Fellowship Boston Symphony Orchestra Fellowship Andrea Schultz, Ossining, NY Carolyn and George Rowland Fellowship Cellos in honor of Eleanor Panasevich Gianna Abondolo, Sherman Oaks, CA Timothy Schwarz, Abington, PA William F and Juliana W. Thompson Stokes Fellowship Fellowship Gabrielle Shek, San Francisco, CA Darrett Adkins, Tacoma, WA Luke B. Hancock Foundation Fellowship Harry Stedman Fellowship Ann Shiau, Boston, MA Amy Controulis, Morristown, NJ Harry and Marion Dubbs Fellowship/ Frelinghuysen Foundation Fellowship Brookline Youth Concerts Awards Committee Alexander Ezerman, Williston, VT Fellowship Juliet Esselborn Geier Memorial Fellowship Keiko Shibota, Sendai, Japan Charles Jacot, Honolulu, HI Boston Symphony Orchestra Fellowship Morris A. Schapiro Fellowship Laura Koehl, San Francisco, CA Clarinets Naomi and Philip Kruvant Fellowship Daniel Gilbert, New York, NY Karen Krummel, South Bend, IN General Host Fellowship Clowes Fund Fellowship Gary Ginstling, New York, NY Achim Melzer, Stuttgart, West Germany Miriam and Sidney Stoneman Fellowship Dr. Marshall N. Fulton Memorial Fellowship Marianne Gythfeldt, Morristown, NJ Hilary Metzger, New York, NY Sigma Alpha lota Fellowship Surdna Foundation Fellowship Jerome Simas, Carmichael, CA Eileen Moon, Los Altos, CA Red Lion Inn Fellowship Jane W. Bancroft Fellowship Jo-Ann Sternberg, New York, NY Margaret Parkins, East Setauket, NY Hannah and Raymond Schneider Fellowship Darling Family Fellowship

Brent Samuel, Claremont, CA Bassoons Charles and Sara Coldberg Charitable Trust John Clouser, Memphis, TN Fellowship Robert G. McClellan, Jr. and IBM Matching Grant Fellowship Basses Susan Heineman, , PA Kilian Forster, Munich, West Germany Mr. and Mrs. Robert F. Remis Fellowship Leonard Bernstein Fellowship Kristen Marks, Sepulveda, CA Jonathan Imsande, Greenville, NC Anonymous Fellowship Albert L. and Flizabeth P. Nickerson Daniel Matsukawa, Santa Fe, Argentina Fellowship Boston Symphony Orchestra Fellowship Jean Posekany, Salem, OR Kristin Wolfe, East Holden, ME Claudette Sorel/Mu Phi Epsilon Fellowship Marion Callanan Memorial Fellowship Dianna Richardson, Cleveland Heights, OH Boston Symphony Orchestra Fellowship Stephen Schermer, Kirkland, WA Horns Koussevitzky Music Foundation Fellowship Lisa Aplikowski, St. Paul, MN Walter Schick, Harrington, NJ Ruth and Alan Sagner Fellowship Ceraldine R. Dodge Foundation Fellowship Nancy Billmann, Sheboygan Falls, Wl Paul Sharpe, Anchorage, AK CD. Jackson Fellowship Arthur Fiedler/ Leo Wasserman Fellowship David Denniston, Ridgewood, NJ Geraldine R. Dodge Foundation Fellowship

Flutes Jennifer Dugle, Macomb, IL Jane Garvin, Maiden, MA Frieda and Samuel Strassler Fellowship BayBanks Fellowship Jennifer Scriggins, Greenbelt, MD Dita Krenberga, Riga, Latvia, USSR RJR Nabisco Fellowship

Frederic and Juliette Brandi Fellowship Jill Wilson, Huntsville, TX Daniel Pailthorpe, London, England Boston Symphony Orchestra Fellowship Leonard Bernstein Fellowship John Thorne, New York, NY Trumpets Betty O. and Richard S. Burdick Fellowship Wayne duMaine, St. Louis, MO Lisa Wienhold, Anchorage, AK Fellowship Miriam Ann Kenner Memorial Fellowship/ Clark Irwin, Dryden, Ml Idah L. Salzman Fellowship Armando A. Ghitalla Fellowship Oboes Rodney Mack, New Orleans, LA Empire Brass Fellowship Washington Barella, San Paulo, Brazil Paul Merkelo, Urbana, IL Omar Del Carlo Tanglewood Fellowship Andre Come Memorial Fellowship Gustav Highstein, New Rochelle, NY Matthew Sonneborn, Madison, Wl Fernand Gillet Memorial Fellowship Caroline Grosvenor Congdon Memorial Philip Koch, LeMars, IA Fellowship Ruth and Gilbert Cohen Fellowship Thomas Nugent, San Francisco, CA Ann and Cordon Getty Foundation Fellowship Trombones Paul Opie, Hereford, England Scott Cochran, Dalton, GA Augustus Thorndike Fellowship Robert and Sally King Fellowship Brian Diehl, Lisbon Falls, ME Composers Judy Gardiner Fellowship Philip Cashian, London, England Jon Etterbeek, Sacramento, CA Benjamin Britten Memorial Fellowship

J. P. and Mary Barger Fellowship David Dzubay, Seattle, WA Douglas Wright, Hopewell, VA Koussevitzky Music Foundation Fellowship Boston Symphony Orchestra Fellowship in memory of Margaret Grant Osvaldo Golijov, Argentina Tuba Lola and Edwin Jaffe Fellowship Anthony Kniffen, Kirkwood, MO Bradley Lubman, Kings Park, NY Anna Gray Sweeney Noe Fellowship Otto Eckstein Family Fellowship Benedict Mason, London, England Percussion Boston Symphony Orchestra Fellowship Riely Francis, Houston, TX David Soley, Palo Alto, CA Mrs. Harris Fahnestock Fellowship Nat Cole Memorial Fellowship Timothy Genis, San Carlos, CA Carolyn Yarnell, Austin, TX Frederick W. Richmond Foundation Fellowship Reader's Digest Fellowship

J. Scott Jackson, Glendora, CA Robert Zuidam, , Holland Fsther Fngel Salzman Fellowship Leonard Bernstein Fellowship Gabriela Jimenez, Mexico City, Mexico Donald Bellamy Sinclair Memorial Fellowship Chamber Ensemble Residency John Piskora, Belmar, NJ Fidelio Quartet General Flectric Plastics Fellowship Steven Miller, New York, NY Eric Schweikert, Fort Wayne, IN Edward John Noble Foundation Fellowship Susan Kaplan/Ami Trauber Fellowship HelenePohl, Ithaca, NY Tanglewood Fans Fellowship Harps Gregory Sauer, Davenport, IA L. Fellowship Licia Jaskunas, Indianapolis, IN Leo Beranek Kathleen Hall Banks Fellowship Caroline Wolff, New York, NY Fellowship Emily Laurance, Ann Arbor, Ml Ruth S. Morse John and Susanne Grandin Fellowship Guild Trio Janet Orenstein, Philadelphia, PA Keyboard Philip and Bernice Krupp Fellowship Joel Fan, York, New NY Patricia Tao, Miami, FL R. Amory Thorndike Fellowship Peggy Rockefeller Fellowship Brian Ganz, Baltimore, MD Brooks Whitehouse, Boston, MA Astral Foundation Fellowship Bradley Fellowship Olga Gross, Montreal, Quebec, Canada

Mr. and Mrs. Vincent J. Lesunaitis Fellowship Noriko Hayashi, Hiroshima, Japan Voice Felicia Montealegre Bernstein Fellowship Christine Abraham, New York, NY Kwang-Wu Kim, Baltimore, MD Stanley Chappie Fellowship Mrs. Peter I.B. Lavan Fellowship Drew Abbott, Cincinnati, OH Predrag Muzijevic, Sarajevo, Yugoslavia Francis and Caryn Powers Fellowship Paul Jacobs Memorial Fellowship Suzanne Balaes, Massapequa, NY Reiko Uchida, Torrance, CA Mildred A. Leinbach Fellowship Marie Gillet Fellowship/ Mary Bozzuti, Wilton, CT William J. Rubush Memorial Fellowship Daphne Brooks Prout Fellowship Tomoko Yazawa, Tokyo, Japan Yu Chen, Wuhan, China Julius Katchen Fellowship Bernice and Lizbeth Krupp Fellowship Theresa Cincione, Columbus, OH Conductors David R. and Muriel K. Pokross Fellowship Stefan Asbury, Oxford, England Richard Clement, Cincinnati, OH Leonard Bernstein Fellowship Boston Symphony Orchestra Fellowship Stefan Anton Reck, Sinzheim, West Germany Pamela Dillard, Atlanta, GA Seiji Ozawa Fellowship Hodgkinson Fellowship works in musical history

were left unfinished.

Tliis shouldn't be one of them.

CABUL

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 newTanglewood (hncert Hall. Kenneth Goodson, Ann Arbor, Ml Angelique Leydier, Montreal, Quebec, Canada Ina and Haskell Gordon Fellowship Dr. and Mrs. Alexander B. Russell Scholarship

Paul Kirby, Riverton, IL Sarah Jane Liberman, Boston, MA Abby and joe Nathan Fellowship Leah Jansizian Memorial Scholarship Christopher Vettel, Oyster Bay, NY Charlotte Paulsen, Westchester, PA Carole K. Newman Fellowship Elaine and Harvey Rothenberg Scholarship Donald Wilkinson, Marblehead, MA Risa Polishook, New York, NY

Alfred E. Chase Fellowship William E. Crofut Family Scholarship Jami Rogers, Knoxville, TN Eugene Cook Memorial Scholarship Vocal Coaches Stephen Salters, Boston, MA Andrew Adams, Urbana, IL WCRB 102.5 Scholarship in Honor of Baldwin Piano and Organ Company the Rev. Theodore Jones Fellowship Carmen Santos, Cathedral City, CA Keith Burton, New York, NY Andrall and Joanne Pearson Scholarship Wilhelmina Sandwen Fellowship Christopher Vasquez, Buffalo, NY Frank Corliss, Boston, MA Patricia P. Wylde Scholarship Ruth and Jerome Sherman Fellowship David Williams, Brookline, MA Kristin Pankonin, San Francisco, CA Stuart Haupt Scholarship Rosamond Sturgis Brooks Fellowship Nathalie Steinberg, Paris, France Seminar for Conductors Florence Could Foundation Fellowship Anthony Aibel, New York, NY William and Mary Greve Foundation Scholarship Flavio Chamis, Sao Paulo, Brazil Phyllis Curtin Seminar for Singers Omar Del Carlo Tanglewood Scholarship Elisa Billey, Pittsburgh, PA Federico Cortese, Rome, Italy Edward G. Shufro Scholarship Olivetti Foundation Scholarship Brigitte Billings, Norwalk, CT Robert Debbaut, Ann Arbor, Ml Claire and Millard Pryor Scholarship Maurice Abravanel Scholarship Johanne Blank, Shaker Heights, OH Nicolas Dyadyura, Kiev, U.S.S.R. Dorothy and Montgomery Crane Scholarship Herbert and Jeanine Coyne Scholarship Carolyn Brown, Baltimore, MD Shuya Okatsu, Tokyo, Japan Mr. and Mrs. Joseph W. Rosgen Scholarship Aaron and Abby Schroeder Scholarship Michael Drumheller, Boston, MA Liu Chang Pei-Yu, Taiwan Mary H. Smith Scholarship Barbara Lee/ Raymond Lee Foundation Geoffrey Fine, Bethesda, MD Scholarship Mr. and Mrs. James S. Deely Scholarship Boris Perrenoud, Neuchatel, Switzerland Carleen Graham, Boston, MA Berkshire County Savings Bank Scholarship Tanglewood Programmers and Ushers Donald Schleicher, Ann Arbor, Ml Scholarship Mr. and Mrs. Leonard Kandell and Katherine Halpenny, Ottawa, Ontario, Canada Alice Kandell Scholarship David W. Bernstein Memorial Scholarship Mark Stringer, Brooklyn, NY Tanya Kantor, Boston, MA William and Mary Greve Foundation Edward and Joyce Linde Scholarship Scholarship Nancy King, North Bay, Ontario, Canada Alexander Titov, Leningrad, U.S.S.R.

Mr. and Mrs. Victor P. Levy Scholarship Herbert and Jeanine Coyne Scholarship Allie Laurie, Lakewood, OH Pei-Kun Xi, Shanghai, China Tisch Foundation Scholarship Boston Showcase Company Scholarship Tanglew(©d Jazz Festival '90 LABOR DAY WEEKEND

FRIDAY, AUGUST 31, 8:00PM

GUNTHERSCHULLER, conductor

with a 31 -piece all-star jazz orchestra

CHARLES MINGUS' 'EPITAPH'

SATURDAY,

SEPTEMBER 1, 7:00PM

HARRY CONNICK, JR. with

special guest Anita O'Day

Grounds open at 4:00pm with an

appearance by Full Circle

SUNDAY, SEPTEMBER 2, 7:00PM MILES DAVIS Grounds open at 4:00pm with an appearance by Larry Coryell

Ticket prices: Shed-$30.00, $25.00, $22.50, $20.00 Lawn-$12.00

Tickets are available at the Tanglewood Box Office, all Ticketmaster locations, or by calling Ticketmaster and charging the tickets on a major credit card: BOSTON (617)931-2000

OTHER AREAS 1 (800)347-0808

^THI

Presented by Tea Party Concerts in association with the Boston Symphony Orchestra. TANGLEWOOD MUSIC CENTER 1990 FESTIVAL OF CONTEMPORARY MUSIC COVER KEY

1. Charles Strouse. 2. George Perle. 3. William Bolcom. 4. Koussevitzky and others,

ca. 1949. 5. Judith Weir. 6. Arthur Honegger. 7. . 8. Luciano Berio.

9. . 10. Theodore Antoniou. 11. Marc Neikrug. 12. Benjamin Britten. 13.TMC Artistic Director Leon Fleisher. 14. Irving Fine. 15. . 16. Paul Fromm, early patron of contemporary music atTanglewood. 17. David Lang. 18. Photo ca. 1946, including Lukas Foss, Juan Orrego-Salas, Leonard Bernstein, Irving Fine, and Alberto Ginastera. 19. Bohuslav Martinu. 20. . 21. Gunther Schuller, TMC Artistic Director, 1970-84. 22. Randall Woolf. 23. Aaron Copland. 24. John Harbison. 25. Aaron Copland. 26. George Crumb. 27. David Del Tredici. 28. Oliver Knussen. 29. BSO Music Director Seiji Ozawa. 30. , BSO Music Director, 1962- 69. 31. Hans Werner Henze. 32. Serge Koussevitzky, BSO Music Director, 1924-49. 33. Leonard Bernstein. 34. Lukas Foss COVER DESIGN BY WINSTANLEY ASSOCIATES, LENOX, MA y

*sS3ili

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