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SMIRN0FF®VODKA.80&100 PROOF. DISTI LLED FROM GRAIN. STE. PI ER RE SMIRNOFF FLS. (DIVISION OF H EUBLEI N. I NCORPORATED ) HARTFORD. CONNECTICUT Seiji Ozawa, Music Director
Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor
Ninety- Sixth Season 1976-1977
The Trustees of the Boston Symphony Orchestra Inc.
Talcott M. Banks, President Philip K. Allen, Vice President Sidney Stoneman, Vice-President Mrs. Harris Fahnestock, Vice-President John L. Thorndike, Treasurer
Vernon R. Alden Nelson J. Darling, Jr. Albert L. Nickerson Allen G. Barry Archie C. Epps III Mrs. James H. Perkins
Dr. Leo L. Beranek E. Morton Jennings, Jr. Irving W. Rabb Mrs. John M. Bradley Edward M. Kennedy Paul C. Reardon
Richard P. Chapman George Kidder David Rockefeller Jr. Dr. George Clowes Edward G. Murray Mrs. George Lee Sargent Abram T. Collier John Hoyt Stookey Trustees Emeriti Harold D. Hodgkinson John T. Noonan
Administration of the Boston Symphony Orchestra
Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager
Gideon Toeplitz Daniel R. Gustin Assistant Manager Assistant Manager
Joseph M. Hobbs Walter Hill Dinah Daniels
Director of Development Director of Business Affairs Director of Promotion Richard C. White Anita R. Kurland Niklaus Wyss
Assistant to the Manager Administrator of Youth Activities Advisor for the Music Director
Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood Michael Steinberg
Director of Publications
Programs copyright ® 1977 Boston Symphony Orchestra Inc.
Contents: page page Tanglewood 4 Programs 1 1-38 Seiji Ozawa 7 Berkshire Music Center 46 Map 8 Friends 47, 51 Information 9
The cover photo is by Walter H. Scott, Stockbridge. The Board of Overseers of the Boston Symphony Orchestra Inc.
Dr. Leo L. Beranek Chairman
Mrs. Norman L. Cahners Weston P. Figgins Mrs. Arthur I. Strang Vice Chairman Vice Chairman Secretary
Charles F. Adams Mrs. Thomas Gardinei David G. Mugar Mrs. Frank G. Allen Mrs. James Garivaltis •Dr. Barbara W. Newell Mrs. Richard Bennink Mrs. Robert Gibb Stephen Paine David W. Bernstein Jordan Golding Harry Remis David Bird Mrs. John L. Grandin Mrs. Peter van S. Rice Gerhard Bleicken Mrs. R. Douglas Hall, III Mrs. Samuel L. Rosenberry Frederick Brandi Mrs. Howard E. Hansen Mrs. Jerome Rosenfeld Curtis Buttenheim Bruce Harriman Mrs. George Rowland Mrs. Henry B. Cabot Mrs. Richard D. Hill Mrs. A. Lloyd Russell Mrs. Mary Louise Cabot Mrs. Amory Houghton, Jr Mrs. William Ryan
Levin H. Campbell, III Richard S. Humphrey, Jr. Francis P. Sears, Jr. Johns H. Congdon Mrs. Jim Lee Hunt William A. Selke
Arthur P. Contas Mrs. Louis I. Kane Gene Shalit Robert Cushman Leonard Kaplan Samuel L. Slosberg
Michael J. Daly Benjamin Lacy Richard A. Smith Mrs. C. Russell Eddy Mrs. James F. Lawrence Mrs. Edward S. Stimpson Paul Fromm Roderick MacDougall Mrs. Richard H. Thompson Carlton P. Fuller John S. McLennan D. Thomas Trigg
Mrs. Thomas J. Galligan, Jr. Colman M. Mockler, Jr. Roger Woodworth Mrs. Elting E. Morison Richard P. Morse
Boston University Tanglewood Institute Norman Dello Joio, Executive Director
Summer Instrumental and Vocal Programs for the outstanding high school/ college-age musician. Private study with master artists including members of the faculty of the Boston University School of Music and the Boston Symphony Orchestra. Chamber music, orchestral and vocal performances at Tanglewood.
For information: Boston University Tanglewood Institute, 855 Commonwealth Avenue, Boston, Massachusetts 0221 5.
A program offered by the Boston University School for the Arts in association with the Berkshire Music Center/Boston Symphony Orchestra. Twelfth Season The Berkshires are a perfect place ... for people, If you have the opportunity to move a business, for families and for businesses. The kind of place or influence a business relocation, consider the where an unsurpassed quality of life is available. Berkshires At Berkshire County Development
In the Berkshires the average commute is 10 Commission, we have compiled data to prove that minutes. Golf courses, tennis clubs, ski resorts, the Berkshires add up for business reasons Come see theatres, lakes, and fine restaurants are at your us or write on your letterhead for more information. doorstep. We provide excellent schools — both public Or. if you know of a business contemplating and private — and the Berkshires are the perfect place relocation, let us know We welcome your business to raise a family.
It's no accident that titans of industry have lived and worked in the Berkshires. Our labor force still believes in a day's work for a day's pay. And the the Berkshires Berkshires offer a readily available pool of labor. Our schools offer vocational programs and governmental Alan C. Marden training dollars are available.
Most important, we want businesses to locate in Berkshire County Development Commission the Berkshires. That's why our banks have launched 205 West Street a program of financial assistance to attract new Pittsfield. Massachusetts 01201 industry and the County funds a full-time organization to assist you. Phone: (413) 499-4474 Tanglewood
In August, 1934, a group of music- loving summer residents of the Berk- 44 shires organized a series of three Definitely not outdoor concerts at Interlaken, to be given by members of the New York to be missed... Philharmonic under the direction of "Herbert Kupferberg's Tanglewood Henry Hadley. The venture was so is bursting with information that successful that the promoters incor- even some of us who worked there porated the Berkshire Symphonic had missed ... It catches the spirit Festival and repeated the experiment and truth of that beautiful place." during — Francis Robinson, the next summer. N.Y. Metropolitan Opera The Festival committee then invited "Reads as excitingly as a who- Serge Koussevitzky and the Boston done-it!" —Julius Rudel, Symphony Orchestra to take part in the New York City Opera following year's concerts. The Orches- "Unquestionably the definitive tra's Trustees accepted and on August Tanglewood history to date." 13, 1936, the Boston Symphony gave — Christian Science Monitor. its first concert in the Berkshires (at TANGLEWOOD Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The series, again consisting of three concerts, was given under a large tent, and a total of nearly 15,000 people attended. In the winter of 1936, Mrs. Gorham Brooks and Miss Mary Aspinwall by Tappan offered Tanglewood, the Tap- Herbert pan family estate, with its buildings and Kupferberg 210 acres of lawns and meadows, as a 8x10. 280 pages. gift to Koussevitzky and the Orchestra. Over 150 photos. The offer was gratefully accepted, and paperback. Index. $9.95 on August 12, 1937, the Festival's McGRAW-HILL BOOK COMPANY m largest crowd thus far assembled under a tent for the first Tanglewood concert, a program of music by Wagner.
As Koussevitzky began The Ride of the Valkyries, a storm erupted, overpowering the music and causing the concert to be HANCOCK SHAKER interrupted three times before the first VILLAGE half could be completed. The second half of the program had to be changed, because of .water damage to some of the instruments, and when the concert Original 18th Century ended, Miss Gertrude Robinson Smith, Village Restored one of the Festival's founders, came to Open daily 9:30-5:00 the stage and told the audience that the storm had demonstrated the need for a Adults $3 Children $1 permanent structure. A hundred thousand dollars, she said, Route 20 Five miles West would be needed for this purpose, and of Pittsfield, Mass. the response to her plea was so generous that within a short time the amount was fully subscribed. Plans for the Music Shed were drawn up by the eminent architect Eliel Saarinen, and, as modi- fied by Josef Franz of Stockbridge, who
also directed construction, it was com- pleted on June 16, 1938, a month ahead of schedule. Seven weeks later, Serge Koussevitzky led the inaugural concert, which included a performance of Beet- hoven's Ninth Symphony. By 1941, the Theatre-Concert Hall, the Chamber Music Hall and several small studios — all part of the Berkshire Music Center, which had begun operations the pre- ceding year — were finished, and the Festival had so expanded its activities
and its reputation for excellence that it attracted nearly 100,000 visitors. Today Tanglewood annually draws close to a quarter of a million visitors; in addition to the twenty-four regular concerts of the Boston Symphony, there are weekly "Prelude" concerts and open UlAlilC rehearsals, the annual Festival of FM 90.3 mHz Contemporary Music, and almost daily We bring you fine music concerts by the gifted young musicians of the Berkshire Music Center. Arthur AND dozens of interesting Fiedler and the Boston Pops perform events — live and without each summer, and the Festival also commercials. Sit in with us includes a series of concerts by popular at the National Press Club, artists. The season offers not only a where the next day's head- vast quantity of music but also a vast lines are often made. Enjoy range of musical forms and styles, all "All Things Considered," a of it presented with a regard for artistic fascinating m agazine of news excellence that makes the Festival and issues. (Nothingelselikeit unique. Tanglewood and the Berkshire Music Center, projects with which in broadcasting !) Savor some Koussevitzky was involved until his of the most satisfying thea- death, have become a fitting shrine to tre productions ever aired. his memory, a living embodiment of Revel in delightful, intelligent the vital, humanistic tradition that was conversation. his legacy.
Listen . . . and it you like what you hear, write tor our tree monthly program directory. WAMC Albany Medical College Albany, New York 12208
National Public Radio for eastern New York npr and western New England
The Shed under construction in 193 8 Why do I work seven days a week? That's all there are. Besides
if you really love what you do
it's not work.
Robert J. Lurtsema Host, Morning Pro Musica Everyday 7am-Noon
The Boston Symphony Orchestra at Tanglewood Fridays at 9pm, Saturdays at 8:30pm, Sundays 30pm and August
Artists in the Night Hayes Burnett plays a great mix of jazz sounds. Mon-Fri ll-2:30am
The Spider's Web — our storybook for the entire family Mon-Fri. 7:30pm 'GBH Radio 89.7FM
All Things Considered — the best news Radio that makes sense program of its kind — every day at 5pm of your day. Seiji Ozawa tor of the Berkshire Music Festival, and in December of the same year he began Seiji Ozawa became Music Director of his inaugural season as Conductor and the Boston Symphony Orchestra in the Music Director of the San Francisco fall of 1973. He is the thirteenth con- Symphony Orchestra, titles that he held ductor of the Orchestra since its found- concurrently with his position as Music ing in 1881. Director of the Boston Symphony. In He was born in Hoten, Manchuria in the spring of 1976 he resigned his San 1935, and studied both Western and Francisco position although he remained Oriental music as a child. He attended Honorary Conductor for the Toho School of Music in Tokyo and 1976-77 season. graduated with first prizes in composi- Mr. Ozawa's recordings include: on tion and conducting. Shortly after his the Deutsche Grammophon label, Ber- graduation, he won first prize at the lioz's Symphonie fantastique, La damnation de International Competition of Conduc- Faust, Romeo et Juliette (which was ting at Besancon, France, and was in- awarded a Grand Prix du Disque), Ives's vited by Charles Munch, then Music Symphony No. 4 and Central Park in the Director of the Boston Symphony and a Dark, and de Falla's Three-cornered Hat, judge at the competition, to spend a and, on the New World Records label, summer studying at Tanglewood. Griffes's Songs of Fiona McLeod. Record- In 1964 and for the next five seasons, ings soon to be released are: Bartok's Mr. Ozawa was Music Director of the Miraculous Mandarin Suite and Music for Ravinia Festival. At the beginning of the Percussion, Strings, and Celeste, Tchaikov- 1965-66 season he became Music Direc- sky's Symphony No. 5, Brahms's Sym- tor of the Toronto Symphony, a posi- phony No. 1, and Rimsky-Korsakov's tion he relinquished four seasons later Sheherazade on Deutsche Grammophon, to study and guest conduct. In 1970 he and Sessions' When Lilacs Last in the Door- accepted the position of Artistic Direc- yard Bloom'd on New World Records.
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(/) en c "3 O ^ en^ to u "3 "3 01 JC '3 QJ QJ - en qj £ « -3 QJ 3 > JZ a. TO ^ CX 1_ 60 cr o -t-i 2 TO JC a h Qj Qj c O In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 105 years later the Boston University School of Music is still doing what it does best. • Performance • Music Education • History and Literature • Theory and Composition strings brass (cont.) music history and literature Walter Eisenberg, violin Paul Gay, trombone Karol Berger Madeline Foley, chamber music 'Gordon Hallberg, tromboneltuba Murray Lefkowitz 'Gerald Gelbloom, violin 'Charles Kavaloski, French horn Joel Sheveloff 'Bernard Kadinoff, viola Charles A. Lewis, Jr., trumpet theory and composition Endel Kalam, chamber music 'David Ohanian, French horn David Carney 'Robert Karol, viola Samuel Pilafian, tuba David Del Tredici 'Eugene Lehner, chamber music * Rolf Smedvig, trumpet John Goodman * Leslie Martin, string bass 'Harry Shapiro, French horn Alan MacMillan George Neikrug, cello * Roger Voisin, trumpet Joyce Mekeel 'Mischa Nieland, cello 'Charles Yancich, French horn Malloy Miller Leslie Pamas, cello percussion Gardner Read 'Henry Portnoi, string bass 'Thomas Gauger Allen Schindler * William Pvhein, string bass 'Charles Smith Robert Sirota Kenneth Sarch, violin Tison Street 'Roger Shermont, viohn harp 'Joseph Silverstein, violin Lucile Lawrence music education Roman Totenberg, violin piano Lee Chnsman Walter Trampler, viola ManaClodes Phyllis Elhady Hoffman 'Max Wmder, violin Allen Anthony di Bonaventura Lannom 'Lawrence Wolfe, string bass Lenore Engdahl Jack O. Lemons Bela Boszormenyi-Nagy Mary Ann Norton Phillip Oliver, staff accompanist musical organizations woodwinds Edith Steams Adelaide Bishop, opera Edward Avedisian, clarinet Frednk Wanger Warren Wilson, opera 'PasqualeCardillo, clarinet organ Joseph Huszti, chorus 'Donot Anthony Dwyer, flute George Faxon 'Joseph Silverstein, orchestra Rodenck Ferland, saxophone Jack Fisher * Roger Voisin, wind ensemble ' Ralph Gomberg, oboe Max Miller 'John Holmes, oboe ' Phillip Kaplan, flute harpsichord boston symphony orchestra ' James Pappoutsakis, flute Joseph Payne woodwind quintet in residence •Richard Plaster, bassoon 'Doriot Anthony Dwyer, flute voice 'Matthew Ruggiero, bassoon 'Ralph Gomberg, oboe Eunice Alberts, contralto * Felix Viscuglia, clarinet * Harold Wright, clarinet Germaine Arosa, diction 'Sherman Walt, bassoon 'Sherman Walt, bassoon Mary Davenport, contralto * 'Harold Wright, clarinet Charles Kavaloski, French horn Ellalou Dimmock, soprano Maeda Freeman, mezzo empire brass quintet brass Robert Gartside, tenor in residence •Ronald Barron, trombone Mac Morgan, baritone Charles A. Lewis, Jr., trumpet * Norman Bolter, trombone Chloe Owen, soprano * Rolf Smedvig, trumpet Peter Chapman, trumpet Allen Rogers, vocal coaching •David Ohanian, French horn John Coffey, tromboneltuba Barbara Stevenson, soprano •Norman Bolter, trombone * Armando Ghitalla, trumpet Wilma Thompson, mezzo Samuel Pilafian, tuba ' Member of the Boston Symphony Orchestra Boston University School of Music Wilbur Di Fullbrigh t, Director • Robert Lee Tipps, Assistant to Director offering degrees at the bachelor, master, and doctoral levels. School for the Arts: Music, Theatre, Visual Arts • Norman Dello Joio, Dean 855 Commonwealth Avenue, Boston, Massachusetts 02215 10 Tanglewood 1977 Weekend Prelude Janos Starker, cellist Gilbert Kalish, pianist Friday, 26 August at 7 BARTOK Rhapsody No. 1 BRAHMS Sonata No. 1 in E minor, Opus 38 Allegro non troppo Allegretto quasi Menuetto Allegro Gilbert Kalish plays the Baldwin piano. 11 *£_ $>-* Robert Karol Bernard Kadinoff Bassoons Vincent Mauricci Sherman Walt Edward A. Taft chair Earl Hedberg Roland Small BOSTON Joseph Pietropaolo Matthew Ruggiero SYMPHONY Robert Barnes ORCHESTRA Michael Zaretsky Contra bassoon SEIJl OZAWA /^ Music Director \l| Richard Plaster ^ Cellos Jules Eskin Philip R. Allen chair Horns Martin Hoherman Charles Kavalovski Mischa Nieland Helen Sagoff Slosberg chair Charles Yancich First violins Jerome Patterson Peter Gordon Joseph Silverstein Robert Ripley Concertmaster Luis Leguia David Ohanian Charles Munch chair Carol Procter Richard Mackey Emanuel Borok Ronald Feldman Ralph Pottle Assistant Concertmaster Joel Moerschel Helen Horner Mclntyre chair Jonathan Miller Max Hobart Trumpets Martha Babcock Rolland Tapley Armando Ghitalla Roger Roger Shermont Louis Voisin chair Max Winder Basses Andre Come Harry Dickson William Rhein Rolf Smedvig Acting Principal Gottfried Wilfinger Gerard Goguen Harold D. Hodgkmson chair Fredy Ostrovsky Joseph Hearne Panasevich Leo Bela Wurtzler Trombones Sheldon Rotenberg Leslie Martin Ronald Barron Alfred Schneider John Salkowski Norman Bolter Gerald Gelbloom John Barwicki Gordon Hallberg Raymond Sird Robert Olson William Gibson Ikuko Mizuno Lawrence Wolfe Cecylia Arzewski Henry Portnoi Tuba Amnon Levy Chester Schmitz Bo Youp Hwang Flutes Doriot Anthony Dwyer Timpani Second violins Walter Piston chair Everett Firth Victor Yampolsky James Pappoutsakis Sylvia Shippen Wells chair Fahnestock cnair Marylou Speaker Paul Fried Percussion Michel Sasson Charles Smith Ronald Knudsen Piccolo Arthur Press Lois Schaefer Leonard Moss Assistant timpanist Vyacheslav Uritsky Thomas Gauger Laszlo Nagy Oboes Frank Epstein Michael Vitale Ralph Gomberg Darlene Gray Mildred B. Remis chair Ronald Wilkison Wayne Rapier Harps Harvey Seigel Bernard Zighera Jerome Rosen English Horn Ann Hobson Sheila Fiekowsky Laurence Thorstenberg Gerald Elias Personnel Managers Ronan Lefkowitz Clarinets William Moyer Harold Wright Harry Shapiro Ann Banks chair Violas 5.M. Pasquale Cardillo Burton Fine Librarians Charles 5. Dana chair Peter Hadcock Victor Alpert E-flat clarinet Reuben Green William Shisler Eugene Lehner George Humphrey Bass Clarinet Stage Manager Jerome Lipson Felix Viscuglia Alfred Robison 12 BOSTON SYMPHONY ORCHESTRA BOSTON Seiji Ozawa, Music Director SYMPHONY Colin Davis, Principal Guest Conductor ORCHESTRA SEIJI OZAWA Joseph Silverstein, Assistant Conductor i Mum ! Tanglewood 1977 Friday, 26 August at 9 SEIJI OZAWA, conductor BARTOK Music for String Instruments, Percussion and Celesta Andante tranquillo Allegro Adagio Allegro molto INTERMISSION BRAHMS Piano Concerto No. 1 in D minor, Opus 15 Maestoso Adagio Allegro non troppo CLAUDIO ARRAU Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. Baldwin piano Claudio Arrau plays the Steinway. 13 » "Very impressive, perhaps more knowledgeable than anyone else writing in Boston now.'9 "Young, but knows what he's doing, works nard all the time to expand nis knowledge!' "Should be read!' When performers got the opportunity to criticize the critics* that's what they said about Thor Eckert, music critic for The Christian Science Monitor. Readers have come to depend on the Monitor's perceptive coverage of the arts, as well as its fair, balanced coverage of national and international news. To subscribe to this award-winning daily newspaper, just call toll free: 800-225-7090. (In Massachusetts, call collect 617-262-2300.) Or use the coupon below. *The Real Paper, November 13, 1976. News.The way you need it. -M QfBIlAN SCIENCE MONTTOR. THE CHRISTIAN SCIENCE MONITOR Box 125, Astor Station, Boston, MA, U.S.A. 02123 Please start the Monitor coming in the mail every Monday through Friday for: 3 months $12.50 rj 6 months $25 rj 9 months $37.50 rj One year, only $45- a $5 saving Check/money order enclosed* Bill me later Name (please print) Street ; Apt. M i— City State ZIP 2. •Outside U.S.A. use current local exchange rate. 14 Notes Bela Bartok Music for String Instruments, Percussion and Celesta Bartok was born 25 March 1881 at Nagyszent- miklos, Hungary, and died 26 September 1945 in New York City. Paul Sacher, founder and conductor of the Basel Chamber Orchestra, commissioned the Music for String Instru- ments, Percussion and Celesta and gave the first performance in Basel, 2 1 January 1937, in celebration of his orchestra's tenth anniversary. Bartok had completed the score in Budapest, 7 September 193 6. John Bar- birolli introduced it to this country at concerts of the New York Philharmonic -Symphony Bela Bartok, 1932. Society on 28-29 October 1937. for Boston, and by Yehudi Menuhin was Introducing Music for String Instruments, literally life-saving. To imagine, how- Percussion and Celesta to his New York ever, that Bartok's whole life was spent Herald-Tribune readers in 1937, Lawrence in the condition of unrecognized genius Gilman characterized Bartok thus: is to have the picture quite wrong. "Acrid, powerful, intransigent; the There were, to be sure, failures and musician of darkly passionate imagina- frustrations, like Mengelberg's cancel- tion, austerely sensuous, ruthlessly log- lation of the New York premiere of the ical, a cerebral rhapsodist; a tone-poet Piano Concerto No. 1 on Bartok's first who is both an uncompromising mod- American tour, or the endless delays ernist and the resurrector of an ancient and unpleasantnesses that dogged the past." If there is one quintessential Bar- early career of The Miraculous Mandarin, tok composition, one work in which we but since the triumphant Budapest pre- can find all his strengths, the paradoxes miere in 1917 of his choreographic poem, in his music and the contradictions, the The Wooden Prince, his importance was Music for String Instruments, Percussion and understood, he had a good contract with Celesta is it. a first-rate publisher ("This is a splendid In 1936, Bartok was fifty-five and at thing . . . [it] counts as my greatest the summit of his powers and reputation. success as a composer so far"), and his He had begun to compose at eight and music was widely and well performed. had played the piano in public since he He accepted Paul Sacher's commission was ten. At twenty-six he had become on 27 June 1936, indicating in his letter professor of pianoforte at the Con- that he was thinking of a work "for servatory in Budapest, succeeding his strings and percussion (thus, besides the teacher, Istvan Thoman, and over strings, there would be piano, celesta, the course of thirty years he had earned harp, xylophone, and percussion instru- an enviable reputation as a collector and ments)," and he completed the score scholar of Hungarian, Rumanian, Bul- ten weeks later, on 7 September. Though garian, and Arabic folk music. He he seems to have entertained ideas about was even a success as a composer. renaming the piece later, he retained its It is true that his last American working title, Musique pour instruments a years were wretched, medically and fis- cordes, batterie et celeste en quatre mouvements. cally, that he was discouraged to the The other percussion turned out to be point of giving up, that the support small drums, with and without snares, tendered by Serge Koussevitzky, who cymbals, tam-tam, bass drum, and kettle- commissioned the Concerto for Orchestra drums. In the finale, the piano part is 15 sometimes for four hands, the third and harmonization and a rhythmic guise that fourth being those of the celesta player. might have been invented by Bartok's Bartok wants the strings on stage in two compatriot and friend, Zoltan Kodaly. separated groups, and in his score in- And so this work is in Bartok's life a cludes a suggesting seating plan which marker from which we can look both puts first and second violins, first violas, back and forward: the first movement and first cellos on the left, third and is the summation of his endeavors from fourth violins, second violas, and second about 1919 into the middle thirties, the cellos on the right, basses across the time of the tough, concentrated, often back (firsts on the left, seconds on the fiercely dissonant music of The Miracu- right), and the other instruments in the lous Mandarin, the Dance Suite, the two middle, piano and celesta toward the Sonatas for violin and piano, the first left, harp and xylophone toward the right. two Piano Concertos, the Quartets First, a dark fugue. The instruments Nos. 3, 4, and 5, the Cantata profana, while are muted and it is a long time before the radical reinterpretation of that ma- they rise from pianissimo. The gait is terial in the finale anticipates the "easier" irregular and mystifying. The theme writing of the later years, of the Violin itself is constricted, its range only a Concerto No. 2, the Concerto for Or- fifth. The texture is dense and tight. chestra, and the Piano Concerto No. 3. Then, mutes are removed, the tempo — Michael Steinberg quickens, kettledrums and cymbals join, and a thwack on the bass drum signals Johannes Brahms the arrival of a tearing climax. The music drops rapidly from this height: Piano Concerto No. 1 in D minor, the mutes return, the celesta adds new Opus 15 and magic colors, and the sounds dis- Johannes Brahms was born in Hamburg, 7 May appear into the silence from which they 1833, and died in Vienna on 3 April 1897. had come. He wrote his Piano Concerto No. 1 in 1858, That music is the source of most of using some material that goes back as far as the rest. The shapes in the second move- 1854 and that was originally intended for ment are derived from it, though this other purposes and designs. With Joseph Joachim Allegro comes in as drastic contrast — conducting, Brahms himself played the first quick, bright, inclined to be regular in performance in Hanover on 22 January 1859. its rhythms (though often and delight- The first American performance was given fully syncopated). Piano and harp make 13 November 1875 by Nannetta Falk-Auerbach, their first appearance, and there is con- with Carl Bergmann leading the New York stant antiphonal play between the two Philharmonic. string orchestras. At its recapitulation, the first theme is pushed together so Admit, when you think of Brahms, that what took four beats before is you probably think of him as he is in the allowed only three. famous von Beckerath drawing of him The Adagio, beginning and ending with at the piano — and older man with grey atmospheric dialogues of xylophone'and hair and flowing white beard, stout, kettledrums, traverses many moods, sure to light a cigar when he is finished successive phrases of the fugue subject playing, then off to a place called The heralding the appearance of each new Red Hedgehog for wine and smoke and section. The finale is country dance conversation, gruff and sometimes out- music: right at the beginning, the first right rude but still capable of turning orchestra strums, and the second has a on charm for the ladies, going for long headlong Bulgarian tune. Here, too, the walks, writing many letters, some of first movement's theme returns, but them distressingly arch, spending sum- transformed, its intervals stretched mers composing in places with names wide, its harmonies open and unambig- like Portschach, Miirzzuschlag, and Bad uous, and at the end, even the wild Ischl, but unable to tolerate any of them Bulgarian tune turns expansive in a more than three years in a row, and of 16 reveal itself to us step by step, but -who, like Minerva, would spring fully armed, from the head ol Zeus. And he is i ome, a young man over whose cradle gra and heroes have stood watt h. 1 lis name is Johannes Brahms . . . and In |bean>| even outwardly those signs thai pro claim: here is one of the elect Ih.Jt year, Brahms had tonic to the Schu- manns in Diisseldorf as a shy, awkward, nearsighted young man, boyish in ap- pearance as well as manner (the beard was still twenty- two years away), blond, delicate, almost wispy. His two longest closest musical friendships began in 1853— with the violinist, conductor, ^nd The famous von Beckerath drawing of Brahms. composer, Joseph Joachim, and with Clara Schumann. Both went through course writing solid masterpiece after turbulent, painful stages, the one with solid masterpiece. Joachim much later, but that with Clara Right enough, but it has nothing to do almost at once. On 27 February 1854, with the twenty-five-year old Brahms Robert Schumann, whose career as con- struggling to bring his D minor Piano — ductor had collapsed and who had begun Concerto to completion "I have no to suffer from auditory and visual hallu- judgment about this piece any more, nor cinations, tried to drown himself, and any control over it," he writes to Joseph five days later he was committed to an Joachim on 22 December 1857. Four asylum in Endenich. Clara, pregnant years earlier, on 28 October 1853, Robert with their seventh child, was desperate, Schumann closed his career as music and in the following weeks, Brahms s critic with the celebrated, oft-invoked kindliness, friendship, and gratitude, article New Paths: "... I have always were transmuted into the condition of thought that some day, one would be being passionately in love with this to appear, one called to bound suddenly gifted, strong, captivatingly charming articulate in ideal form the spirit of his and beautiful thirty - five - year old time, one whose mastery would not woman. Moreover, she returned his feeling. In their correspondence there is reference to "the unanswered question." Schumann's death in July 1856 was a turning point in Brahms's relations with Clara, though not the one for which he must have hoped. She seemed more married to Robert than ever, they pulled apart, and it took a while before they settled into the loving, nourishing friend- ship that endured until Clara's death in May \$Qb. All this time, the music we now know as the D minor Piano Concerto was in Brahms's head, occupying more and more pages of his notebooks, being tried OUt at the piano (or at two), sent to Joachim for criticism, discussed in letters. It is surely marked by the turmoil of those years, by Robert Schumann's Johannes Brahms al twenty-five. madness and death, by Brahms's love 17 for Clara and hers for him, by their the despairing sentence already quoted: retreat from their passion. Its compo- "I have no judgment about this piece sition was marked as well by purely any more, nor any control over it," musical troubles, by the mixed effect of adding, "Nothing sensible will ever come the very young man's originality, his of it." To which Joachim sensibly replied, ambition, his inexperience (particularly "Aber Mensch, but I beg you, man, please with respect to writing for orchestra), for God's sake let the copyist get at the his almost overpowering feeling for the concerto." "I made more changes in the past, his trembling sense of his own first movement," Brahms reported in audacity at inserting himself into histo- March 1858 and even risked not sending ry as, somehow, a successor of Bach and them to Joachim. That good friend made Handel, Haydn and Mozart, Beethoven, his orchestra available for a reading Schubert, and Schumann. rehearsal in Hanover in April, and bit He set out in 1854 to write a sonata by bit, Brahms came to face the inevi- for two pianos, but by June of that table — he must let it go and perform it. year, he was already uncertain about it The premiere in Hanover went well and wrote to Joachim: "I'd really like to enough, but the performance in the put my minor Sonata aside for a D more important city of Leipzig a few long time. I have often played the first days later was a disaster: "No reaction three movements with Frau Schumann. at all to the first and second movements. (Improved.) Actually, not even two At the end, three pairs of hands tried pianos are really enough for me ... I am slowly to clap, whereupon a clear hissing in so confused and indecisive a frame of from all sides quickly put an end to any mind that I can't beg you enough for a such demonstration ... I think it's the good, firm response. Don't avoid a nega- best that could happen to one, it forces tive one either, it could only be useful you to collect your thoughts and it raises to me." In March he had traveled the courage. After all, I'm still trying and miles from Diisseldorf to Cologne few groping. But the hissing was really too in hear the order to Beethoven Ninth much, yes?" for the first time. More than twenty-two years would pass before he allowed him- "For all that," Brahms wrote in the same letter to Joachim, "one day, when self to complete a symphony and have it I've improved its bodily structure, this performed, but still, from then on, the will please, a second idea of writing such a work gave him no concerto and one peace. Before long, the sonata for which will sound very different." He was right two pianos were not enough turned into on both points (though, in fact, he revised only some details). He became a the symphony it had really wanted to be sarabande-like in the first place (and the choice of master. For the solemn, D minor, the key of the Beethoven slow movement of the D minor Sym- that -never -was, he found a Ninth, for this sonata/symphony is no phony- coincidence). He was reluctant, though, beautiful use when he set to it the to face the idea of symphony, nor would words, "For all flesh is as grass, and all the sonority of the piano go away. To the glory of man as the flower of grass" Requiem. turn the music into a piano concerto in his German And who would other seemed to be the answer, and by April want the D minor Concerto to be is, edges, 1856 he was sending drafts to Joachim. than it great and with rough For nearly two years, bundles of daring and scarred, hard to make sound manuscript went back and forth, with well, and holding in its Adagio, over criticisms, pleas, suggestions, decisions which he once inscribed the words Bene- dictus qui venit in nomine Domini, all that to leave certain things alone after all, loyalty and inquiries about horn transpositions, dis- in his painful, Werther-like and cussion of the risk involved in assigning love he had felt about Robert Clara a solo to the third horn or of the Schumann? advisability of omitting the piccolo — M.S. altogether. In December 1857, he wrote 18 BOSTON SYMPHONY ORCHESTRA BOSTON Seiji Ozawa, Music Director SYMPHONY Colin Davis, Principal Guest Conductor ORCHESTRA SI 111 O/AWA Joseph Silverstein, Assistant Conductor Tanglewood 1977 Saturday, 27 August at 8:30 JOSEPH SILVERSTEIN, conductor DVORAK Symphony No. 8 in G, Opus 88 Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo INTERMISSION SCHUMANN Cello Concerto in A minor, Opus 129 Nicht zu schnell (not too fast) Langsam (slow) Sehr lebhaft (very lively) JANOS STARKER STRAUSS Till Eulenspiegel's Merry Pranks, after the old rogue's tale, set in rondo- form for large orchestra Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. Baldwin piano 19 . Coach® Belts are very well made out of very good leather and come in men's and women's sizes* Coach" Bags and Belts are made in New York City and are sold in fine stores throughout the world For catalogue write Coach Leatherware. 516 West 34th Street. New York 10001 20 Notes Dvorak's fame at home had begun with the performance in 1873 of his patriotic cantata Heirs of the White Moun- tains.* An international reputation was made for him by the first series of Antoin Dvorak Slavonic Dances of 1878 and also by the Symphony No. 8 in G, Opus 88 Stabat Mater. The success in England of the latter work was nothing less than Antonin Dvorak was born at Muhlhausen sensational, and Dvorak became a be- (Nelahozeves), Bohemia, on 8 September 1841 loved and revered figure there, particu- and died in Prague on 1 May 1904. He wrote larly in the world of choir festivals, his Symphony No. 8 between 26 August and much as Mendelssohn had been in the 8 November 1889 and conducted the first per- century's second quarter (but see G. B. formance in Prague on 2 February 1890. Shaw's reviews of Dvorak's sacred When it comes to muddle over works). In the nineties, this humble numbering of works, Dvorak can hold man, who had picked up the first rudi- his own against all comers, Haydn and ments of music in his father's com- Schubert included. He himself some- bination of butcher-shop and pub, times assigned the same opus number to played the fiddle at village weddings, different pieces, and his principal pub- and sat for years among the violas in lisher, Fritz Simrock, was inclined to the pit of the opera house in Prague (he assign deceptively high numbers to early was there for the first performance of works that he was just getting around Smetana's Bartered Bride), would conquer to issuing, angering the composer and America as well, even serving for a muddling our sense of chronology. The while as Director of the National Con- Symphony No. 8 in G is one that older servatory in New York. Johannes listeners and record-collectors will re- Brahms was an essential figure in member as No. 4. Dvorak wrote nine Dvorak's rise, providing musical in- symphonies. Five were published in his spiration, but also helping his younger lifetime, as of course Nos. 1 through 5, colleague to obtain government stipends but even on its own terms that number- that gave him something more like the ing turns out to be wrong because the financial independence he needed, and, first of those five in order both of perhaps most crucially, persuading his composition and performance, the own publisher, Simrock, to take him on.t F major, was only the third to be published Unlike Haydn and Beethoven, Dvorak and circulated for more than sixty years never sold the same work to two differ- as No. 3. Only in the 1950s, with the ent publishers, but on a few occasions, appearance in print of all four early sym- and in clear breach of contract, he fled phonies, did we begin to use the current, the Simrock stable, succumbing to the chronologically sensible numbering. willingness of the London firm of Novello to outbid their competition in Berlin. This table may be helpful: One of these works was the G major new old Symphony. number number ke y date 1 C minor 1865 (Bells of *The defeat of the Bohemians by the Aus- Zlonice) trians at the battle of the White Mountain 2 B flat 1865 just outside Prague in 1620 led to the ab- 3 E flat 1873 sorption of Bohemia into the Habsburg em- 4 D minor 1874 pire, a condition that obtained until 28 Octo- 5 3 F 1875 ber 1918. 6 1 D 1880 tAfter talent, nothing matters so much to a 7 2 D minor 1885 young composer as having a responsible and 8 4 G 1889 energetic publisher to get the music into 9 5 E minor 1893 (New World) circulation. See, for example, Bela Bartok's remark on page 15. Many living composers could speak eloquently to this subject. 21 taste of national flavor, Dvorak becomes more Czech than ever in the finale, which one might describe as sort of footloose variations, and which is full of delightful orchestral effects, the virtu- osic flute variation and the mad, high trilling of the horns from time to time being perhaps the most remarkable of these. — Michael Steinberg Robert Schumann Cello Concerto in A minor, Opus 129 Robert Alexander Schumann was born in Zwickau, Saxony, on 8 June 1810 and died in Endenich near Bonn, 29 July 1856. He composed his Cello Concerto in October 1850, but the first Antonin Dvorak in 1892. performance was posthumous, given on 9 June 1860 by Ludwig Ebert in honor of the com- It had been four years since his last poser's fiftieth birthday. symphony, the magnificent — and very Brahmsian — D minor, No. 7. During It was in new surroundings, which those years he had made yet another might not have been considered favor- attempt to make a success in opera, this able for composition, that Schumann time with a political-romantic work wrote his Concerto for Violoncello. called The jacobin (and full, by the way, of About two months before, he had superb music), he had revised the Violin installed himself at Diisseldorf . He had Concerto into its present form, written accepted the post of orchestral and a second and even finer series of Sla- choral leader, not without some hesita- vonic Dances, and had composed what tion, for Mendelssohn, who had con- is probably both his most admired and ducted there, spoke not too well of the most performed piece of chamber music, quality of the musicians. But the duties the A major Piano Quintet, as well as were light enough not to tax his strength the engaging Piano Quartet in E flat, or to intrude seriously upon the realm Opus 87. of the creative imagination. The new symphony opens strikingly The Schumanns, taking their farewell with an introduction in tempo, notated in of Dresden, accordingly moved to the G major like the main part of the move- Rhine city on 2 September 1850. Clara ment, but actually in G minor. This was distressed at the noisy lodgings melody, which sounds gloriously rich they were at first compelled to take, in cellos, clarinets, bassoons, and horns, because her husband's failing health was actually an afterthought of required a peaceful environment. But Dvorak's, and he figured out how most the local musicians gave the pair a splendidly to bring it back at crucial heartening welcome, with a serenade, points during the movement. After a a combined concert, supper and. ball on broad Adagio, which spends quite some 7 September. Choral and orchestral re- time in E flat before settling into its hearsals began and promised well. This real home of C major, Dvorak gives us promise was not to be fulfilled; Schu- an enchanting quasi- scherzo, a loping mann, unequal to the requirements of sort of movement in minor. The middle the position, later encountered friction part, in major, which comes back trans- which resulted in his forced resignation. formed to serve as a brief and quick But in October 1850, Schumann was coda, he borrowed from his 1874 comic still optimistic over his new situation. opera The Stubborn Lovers. After this strong Neither the necessity of adjustment to 22 new routine, nor the strain of making and orchestra, that forms the bridge new acquaintances prevented him from from second movement to finale. Each composing industriously. A visit to movement is linked to the next and the Cologne and the Cathedral there on middle one, though it sets out in glori- 29 September made its impress upon ously expansive song, has in itself some- the Rhenish Symphony, which he com- thing of the character of bridge or inter- posed in November. mezzo. The shift into six-eight time for Before this he composed his Concerto the last pages of the finale is a device for Violoncello and Orchestra. The work that Brahms obviously found worth was sketched between 10 and 16 Octo- imitating. Just before that happens in ber; the full score completed by 24 Oc- this concerto, Schumann introduces a tober. Clara Schumann entered in her brief cadenza. Cellists have often found it a it is diary, 16 November: "Robert is now at problem — to begin with puz- work on something. Ido not know what, zling as an idea and unsatisfying in effect for he has said nothing to me about it that in a concerto whose solo line flies [this was the Symphony in E flat]. Last easily so high, dangerously high, the month he composed a concerto for vio- cadenza should be confined to the low loncello that pleased me very much. It register — and Janos Starker will sub- seems to me to be written in true violon- stitute one of his own. cello style." There is another reference —John N. Burk/M.S: to the Concerto the following year. "I have played Robert's Violoncello Con- certo again," Mme. Schumann wrote, Richard Strauss 11 October 1851, "and thus gave to Till Eulenspiegel's Merry Pranks, after myself a truly musical and happy hour. the old rogue's tale, set in rondo The romantic quality, the vivacity, the form for large orchestra, Opus 28 freshness and the humor, and also the highly interesting interweaving of vio- Richard Strauss was born in Munich on 11 June loncello and orchestra are indeed 1 864 and died in Garmisch, 8 September 1 949. wholly ravishing, and what euphony He completed Till Eulenspiegel on 6 May and Franz Wullner conducted the and deep feeling there are in all the 1895, first melodic passages!" performance in Cologne on 5 November that year. The Boston Symphony, Emil Paur con- Schumann himself does not seem to ducting, introduced the work in this country have been entirely satisfied. He con- on 21 February 1896. templated a performance at one of the Diisseldorf concerts two years later There was a real Till Eulenspiegel, (May, 1852), but apparently withdrew born early in the fourteenth century the work. He did not give it to a pub- near Brunswick and gone to his reward lisher until 1854, and corrected the — in bed, not on the gallows as in proofs early in that year, shortly before Strauss's tone poem — in 1350 at Molln the sorrowful event which made re- in Schleswig-Holstein. Stories about straint necessary — his attempt at suicide him have been in print since the begin- by throwing himself into the river Rhine. ning of the sixteenth century, the first In this concerto we glimpse the ex- English version coming out around 1560 perimental side to Schumann's tem- under the title, Here beginneth a merye Jest perament. He is interested here in com- of a man that was called Howleglas (Eule in pression and in new ways of connecting German means owl and Spiegel mirror or the parts of multi-movement compo- looking-glass). The consistent and seri- sitions. Both the initial woodwind chords ous theme behind his jokes and pranks, and the wonderful cello melody to which often in themselves distinctly on the they open the door have more than local coarse and even brutal side, is that here functions. The idea of the chords per- is an individual getting back at society, vades the slow movement, and the cello more specifically the shrewd peasant theme turns into a recitative, shared more than holding his own against a fascinatingly and poignantly by soloist stuffy bourgeoisie and a repressive 23 [i.,«kfc-Ad».t^«^f|1 fay Strauss's autograph manuscript of Till Eulenspiegel, the beginning of the epilogue. clergy. The most famous literary version rogue with too superficial a dramatic of Till Eulenspiegel is the one published personality, and developing his charac- in 1866 by the Belgian novelist, Charles ter in greater depth, taking into account de Coster: set in the period of the Inqui- his contempt for humanity, also pre- sition in the sixteenth century, it is also sents considerable difficulties." the most explicitly politicized telling of But if Strauss could not see Master the story, and it is the source of one Till, he could hear him, and before of the great underground masterpieces 1894 was out, he had begun the tone of twentieth-century music, the oratorio poem that he finished on 6 May 1895. Thyl Claes by the Russian -German com- As always, he could not make up his poser, Vladimir Vogel. mind whether he was engaged in tone Strauss knew de Coster's book, and it painting or "just music." To Franz seems also that in 1889 in Wiirzburg he Wiillner, who was preparing the first saw an opera called Eulenspiegel by Cyrill performance, he wrote: "I really cannot Kistler, a Bavarian composer whose ear- provide a program for Eulenspiegel. Any lier opera Kunihild had a certain currency words into which I might put the thoughts in the eighties and early nineties, and for that the several incidents suggested to which he was proclaimed as Wagner's me would hardly suffice; they might heir. Indeed, Strauss's first idea was to even offend. Let me leave it, therefore, compose an Eulenspiegel opera, an idea to my listeners to crack the hard nut the that appealed to him especially after the Rogue has offered them. By way of failure of his own exceedingly Wagnerian helping them to a better understanding, Guntram in 1894. He sketched a scenario it seems enough to point out the two and later commissioned another from Eulenspiegel motives [Strauss jots down Count Ferdinand von Sporck, the libret- the opening of the work and the virtu- tist of Kistler's Kunihild, but somehow osic horn theme], which, in the most the project never got into gear. "I have diverse disguises, moods, and situations, already put together a very pretty sce- pervade the whole up to the catastrophe nario," he wrote in a letter, "but the when, after being condemned to death, figure of Master Till does not quite Till is strung up on the gibbet. For the appear before my eyes. The book of rest, let them guess at the musical joke a folk- tales only outlines a generalized Rogue has offered them." 24 7 On the other hand, for Wilhelm Mauke, the most diligent of early Strauss exe- getes, the composer was willing to offer a more detailed scenario — Till among the market-women, Till disguised as a Allan-Albert, Artistic Director priest, Till paying court to pretty girls, BERKSHIRE PLAYHOUSE and so forth — the sort of thing guaran- July 6-1 WILLIAM ATHERTON teed to have the audience anxiously GILDA RADNER reading the program book instead of Dunning & Abbott's CHRIS SARANDON BROADWAY JILLHAWORTH listening to the music, probably con- fusing priesthood and courtship anyway, Saul Bellow's July 20-31 THE LAST ANALYSIS RON LEIBMAN wondering which theme represents "Till confounding the Philistine pedagogues," Rodgers & Hart's Aug. 3-14 I MARRIED AN ANGEL PHYLLIS NEWMAN and missing most of Strauss's dazzling William Inge's Aug. 1 7-28 invention in the process. (Also, if you've COME BACK, DANA ANDREWS ever been shown in a music appreciation LITTLE SHEBA ESTELLE PARSONS class how to "tell" rondo form, forget UNICORN THEATRE, it It is probably useful to identify now.) Three New Musicals the two Till themes, the very first violin July 7-24 July 26-August 14 melody and what the horn plays about THE WHALE SHOW A FABLE o by Jean-Claude van Italie fifteen later*, seconds and to say that August 1 6-28 and Richard Peaslee the opening music is intended as a THE CASINO once- upon -a- time prologue that re- PROPOSITION THEATRE turns after the graphic trial and hanging July 8-August 28 as a charmingly formal epilogue (with THE PROPOSITION rowdily humorous "kicker"). For the Performance Times for the Playhouse Wed., Thurs., Fri. 8:30 p.m.; Sat. 9 p.m.; Sun. 7 p.m. rest, Strauss's compositional ingenuity Evgs.: Mats.: Thurs. 2 p.m.; Sat. 5 p.m.; Sun. 3 p.m. and orchestral bravura plus your Prices for the Playhouse Broadway, The Last Analysis, Come Back, Little Sheba attention and fantasy will see to the Fri. & Sat. (9 p.m. pert, only) $8.95. 7.50; other perfs. $7.95, 6.50 telling of the tale. All I Married An Angel Fri. & Sat. (9 p.m. pert, only) $9.95. 8.50: —M.S . All other perfs. $8.95, 7.50 MAIL ORDERS FILLED PROMPTLY! *It is told that Strauss's father, probably Berkshire Theatre Festival, Stockbridge. Mass. both the most virtuosic and the most 01262 Enclose stamped, self-addressed envelope RESERVE BY PHONE! Call 413 • 298-5536 or 298-4800 artistic horn player of his time, protested the unplayability of this flourish. "But Papa," said the composer, "I've heard you warm up on it every day of my life." 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Custom-built homes from $29,900, house and land. 10% down, 20 year mortgages at 8 3/4%. Example: a $29,900 home requires just $2900 down,- $239 a month, principal RUSTIC and interest. CONTEMPORARY Rt. 8, Otis, MA 01 253 Tel: (413) 269-4477 HOMES 26 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Tanglewood 1977 Sunday, 28 August at 2:30 SEIJI OZAWA, conductor MAHLER Symphony No. 3 First Part 1. Kraftig. Entschieden. Forceful. Decisive. INTERMISSION Second Part 2. Tempo di Menuetto. Sehr massig. Ja nicht eilen! Grazioso. In minuet tempo. Very moderate. On no account hurry! Graceful. 3. Comodo. Scherzando. Ohne Hast. Easy-going. Jesting. Without haste. 4. Sehr langsam. Misterioso. Durchaus ppp. Very slow. Mysterious, ppp throughout. (words by Nietzsche) 5. Lustig im Tempo und keck im Ausdruck. Cheerful in tempo and jaunty in expression. (words from The Boy's Magic Horn) 6. Langsam. Ruhevoll. Empfunden. Slow. Peaceful. Deeply felt. BIRGIT FINNILA, contralto TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BOSTON BOY CHOIR, THEODORE MARIER, conductor Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Gratnrnophon. Baldwin piano 11 fta. *THE BOSTON SYMPHONY CHAMBER PLAYERS fcj ^ Three Sundays that can helpyou face Monday The Brahms Quintet op. 115. Stra- vinsky's L'Histoire du Soldat. The Schubert E Flat Piano Trio. These and other major chamber music works make up the Boston Sym- phony Chamber Players 1977-78 program. The twelve principal players of the Boston Symphony Orchestra will perform at Jordan Hall at 4:00 p.m. on Nov. 6, 1977 and Feb. 19 and April 9, 1978. Gilbert Kalish will be the guest pianist. For complete program information, write to Subscription Office, Symphony Hall, Boston, Mass. 02115, or call 266-1492. 28 — Notes urge to display their vast memories as experienced conductors." No, this beginning is allusion and reference, both Gustav Mahler to a particular monument of the sym- Symphony No. 3 phonic tradition and to a type of trium- phal song. Mahler lived ambivalently in Gustav Mahler was born in Kalischt (Kaliste) tradition, wanting at the same time near the Moravian border of Bohemia on 7 July to be part of it and, in Henry- Louis I860 and died in Vienna, 18 May 1911. de la Grange's word, to "insult" it. The He did the main work on the Third Symphony Third, the biggest of his symphonies as in the summers of 1895, when he composed well as the most extraordinary in pro- the second through sixth movements, and 1896, portions and design, is the most massive when he added the first. Two songs, Ablosung of his insults. im Sommer (Relief in Summer) and Das When Mahler visited Sibelius in 1907 himmlische Leben (Life in Heaven), pro- he was then near to completing his vide source material some the symphony, for of Eighth Symphony — the two composers and they go back to about 1890 and February argued about "the essence of symphony," 1892 respectively. Mahler made final revisions Mahler rejecting his colleague's creed in May 1899. The symphony was introduced of severity, style, and logic, by counter^ piecemeal. Arthur Nikisch conducted the second ing with "No, a symphony must be like movement, then presented as Blumenstiick the world. It must embrace everything." (Flower Piece), with the Berlin Philharmonic Twelve years earlier, while actually at on 9 November 1896. Felix Weingartner gave work on the Third, he had remarked the second, third, and sixth movements with the that to "call it a symphony is really Royal Orchestra, Berlin, on 9 March 1897. incorrect, as it does not follow the With L Geller-Wolter singing the alto solos, usual form. The term 'symphony'— to Mahler himself conducted the first complete me this means creating a world with all performance at the Festival the Allgemeiner of the technical means available." Deutscher Musikverein in Krefeld on 9 June The completion of the Second Sym- 1902. Ernst Kunwald introduced the Third phony the previous summer had given Symphony in the United States at the Cincinnati him confidence: he was sure of being "in May Festival, 9 May 1914. perfect control" of his technique. Now, "Any ass can see that," said Brahms in the summer of 1895, escaped for when someone pointed out the resem- some months from his duties as principal blance of the big tune in the finale of his conductor at the Hamburg Opera, in- First Symphony to the one in Bee- stalled in his new one-room cabin in thoven's Ninth. It is not recorded what Steinbach on the Attersee some twenty Mahler said when someone — and some- miles east of Salzburg, with his sister one must have — remarked on his begin- Justine and his friend Natalie Bauer- ning the Third Symphony with the Lechner to look after him (this most Brahms First, as it were. That, too, any crucially meant silencing crows, water- ass can see, and we know what Mahler birds, children, and whistling farmhands), thought of such asses (cf . his song about Mahler set out to make a pantheistic the ass, the cuckoo, and the nightingale world to which he gave the overall title — Lob des hohen Verstandes (Praise of Lofty The Happy Life —A Midsummer Night's Dream Intellect) — composed in June 1896, mid- (adding "not after Shakespeare, critics way through his work on the Third and Shakespeare mavens please note"). Symphony). Mahler was neither forget- Before he wrote any music he worked ful nor a plagiarist, and more than forty out a scenario in five sections, entitled years ago Donald Francis Tovey as- What the forest tells me, What the trees tell me, serted the view than considered hetero- What twilight tells me ("strings only" he dox that "we cannot fall back upon the noted), What the cuckoo tells me (scherzo), device of classifying Mahler as one of and What the child tells me. He changed all the conductor- composers who have that five times during the summer as drifted into composition through the the music began to take shape in his 29 mind and, with a rapidity that astonished Science was still part of the title at the him, on paper as well. The Happy Life beginning of the summer, coupled with disappeared, to be replaced for a while what had become A Midsummer Noon's by the Nietzschean Gay Science (first My Dream, but in the eighth and last of Gay Science). The trees, the twilight, and Mahler's scenarios, dated 6 August 1896, the cuckoo were all taken out, their the superscription is simply A Mid- places taken by flowers, animals, and summer Noon's Dream, with the following morning bells. He added What the night titles given to the individual movements: tells me and saw that he wanted to begin First Part: with the triumphal entry of summer, Pan awakes. Summer comes marching in which would include an element of some- (Bacchic procession). thing Dionysiac and even frightening. In less than three weeks he composed Second Part: what are now the second, third, fourth, What the flowers in the meadow tell me and fifth movements. He went on to the What the animals in the forest tell me Adagio and, by time his composing vaca- What humanity tells me What the angels tell me tion came to an end on 20 August, he What love tells me had made an outline of the first move- ment and independent composed two At the premiere, the program page songs, Lied des Verfolgten in Turm (Song of the showed no titles at all, only tempo, Prisoner in the Tower), and Wo die schonen generic, and character indications. Trompeten blasen (Where the beautiful trumpets "Beginning with Beethoven," wrote Mahler sound). It was the richest of summer to the critic Max Kalbeck that year, his life. "there is no modern music without its In June 1896, he was back at Stein- underlying program. — But no music bach. He had made some progress scoring is worth anything if you first have to the new symphony and he had compli- tell the listener what experience lies cated his life by an intense and stormy behind it, respectively what he is affair with a young, superlatively gifted supposed to experience in it. —And so dramatic soprano newly come to the yet again: pereat every program! — You Hamburg Opera, Anna von Mildenburg. just have to bring along ears and a He also discovered when he got to heart and — not least — willingly sur- Steinbach that he had forgotten to bring render to the rhapsodist. Some residue the sketches of the first movement, and of mystery always remains, even it was while waiting for them that he for the creator." composed his little bouquet for critics Writing at about the same time to Lob des hohen Verstandes. In due course the the conductor Josef Krug-Waldsee, sketches arrived, and Mahler, as he Mahler elaborated: "Those titles were worked on them, gradually realized that an attempt on my part to provide non- the Awakening of Pan and the Trium- musicians with something to hold on to phal March of Summer wanted to be and with a signpost for the intellectual, one movement instead of two. He also or better, the expressive content of the saw, rather to his alarm, that the first single movements and of their relation- movement was growing hugely, that it ships to each other and to the whole. would be more than half an hour long, That it didn't work (as, in fact, it could and that it was also getting louder and never work) and that it led only to lo.uder. He deleted his finale, What the misinterpretations of the most horren- child tells me, which was the Life in Heaven dous sort became painfully clear all too song of 1892, putting it to work a few quickly. It's the same disaster that had years later to serve as finale to the overtaken me on previous and similar Fourth Symphony. That necessitated occasions, and now I have once and for rewriting the last pages of the Adagio, all given up commenting, analyzing, all which was now the last movement, but such expediencies of whatever sort. essentially the work was under control These titles . . . will surely say some- by the beginning of August. The Gay thing to you after you know the score. 30 choices Mahler made as he composed. We, too, can draw intimations from them, and then remove them as scaf- folding we no longer need. And with that, let us turn to a brief look at the musical object Mahler left us. The first movement accounts for roughly one third of the symphony's length. Starting with magnificent gaiety, it falls at once into a mood of tragedy — see-sawing chords of low horns and bassoons, the drumbeats of a funeral procession, cries and outrage. Myste- rious twitterings follows the suggestion of a distant quick march, and a grandly rhetorical recitative for the trombone. Against all that, Mahler poses a series of quick marches (the realization of what he had adumbrated earlier for just a few seconds), the sorts of tunes you can't believe you haven't known all your life and the sort that used to cause critics to complain of Mahler's "banality," elab- Gustav Mahler, 1907. orated and scored with an astounding You will draw intimations from them combination of delicacy and exuberance. about how I imagined the steady inten- Their swagger is rewarded by a collision sification of feeling, from the indistinct, with catastrophe, and the whole move- unbending, elemental existence (of the ment — with its outsize dimensions as forces of nature) to the tender forma- classical a sonata form as Mahler ever tion of the human heart, which in turns made — is the conflict of the dark and the points toward and reaches a region bright elements, culminating in the vic- beyond itself (God). tory of the latter. "Please express that in your own In the division of the work Mahler language, without quoting those ex- finally adopted, the first movement is tremely inadequate titles, and that way the entire first section. What follows is, you will have acted in my spirit. I am except for the finale, a series of shorter very grateful that you asked me [about character pieces, beginning with the the titles], for it is by no means inconse- Blumenstuck, the first music he composed quential to me and for the future of my for this symphony. It is a delicately work how it is introduced into public life." sentimental minuet with access, in its Words a program annotator quotes at contrasting section, to slightly sinister his peril. But the climate has changed in sources of energy. Curiously, it antici- these seventy-five years and today's au- pates music not heard in the symphony dience is very much inclined to come to at all, that is to say, the scurrying runs Mahler with that willingness to surrender from the Life in Heaven song that was for which he hoped. We do well to ignore dropped from this design and finally the "Titan" claptrap Mahler imposed on made its way into the Fourth Symphony. his First Symphony years after its com- In the last measures, Wagner's Parsifal position. When, however, we look at the flower -maidens make a ghostly ap- titles in the Third Symphony, we are, pearance in Mahler's Upper Austrian even though they were finally rejected, pastoral. looking at an attempt, or a series of In the third movement, Mahler draws attempts, to put into few words the on his song Ablosung im Sommer (Relief material, the world of ideas, emotions, in Summer), whose text tells of waiting and associations that lay behind the for Lady Nightingale to start singing as 31 soon as the cuckoo is through. The Low strings rock to and fro, the harps marvel here is the landscape with the accenting a few of their notes, the posthorn, not only the lovely melody see-sawing horn chords from the first itself, but the way it is introduced (the pages return, and a human voice intones magic transformation of the very the Midnight Song from Friedrich Nietz- "present" trumpet into distant posthorn, sche's Thus spoke Zarathustra. (See page 34). the gradual change of the posthorn's Each of its eleven lines is to be imagined melody from fanfare to song, the inter- as coming between the strokes of mid- lude for flutes, and, as Arnold Schoen- night. Pianississimo throughout, warns berg points out, the accompaniment "at Mahler. The harmony is almost as static first with the divided high violins, then, as the dynamics, being frozen in all but even more beautiful if possible, with a few measures to a pedal D (the begin- the horns." After the brief return of this ning and end, which frame that D in its idyll and before the snappy coda, Mahler own dominant, A, are exceptions, and makes spine-chilling reference to the so is the setting with solo violin of "Great Summons" music in the Second "Lust tiefer noch als Ewigkeit (Joy deeper still Symphony's finale. than heartbreak)." ^s w Twin Fires Arcade 12 unique and exciting shops dealing in Antiques to include Prized Acquisitions from London Early Welsh, Georgian & Victorian stripped pine furniture and numerous, assorted & interesting accent and decorator pieces from England The Arcade is a re-creation of mid-1 800's shops and "stalls" of Camden Passage, Islington, London, England, and is located indoors in a recently refurbished barn on the former Walter Pritchard Eaton estate at the junction of Under Mountain Road (Rt. 41) and Berkshire School Road - Sheffield, Massachusetts 413-229-8307 From N.Y. Taconic to Route 23, turn right (6 miles) to Route 4 1, turn right 3 miles to Berkshire School Rd. in Sheffield, turn left 1 block on left is Barn. From Conn. Route 7 into Sheffield, turn left into Berkshire School Rd. to end of road — on right is Twin Fires Antiques. From Mass. (Tanglewood) Route 7 into Sheffield, turn right on Berkshire School Rd. to end of road — on right is Barn. 32 From here, the music moves forward without a break, and as abruptly and drastically as it changed from the scherzo to Nietzsche's midnight, so does it change from that darkness to the bells and angels of the fifth movement. The text comes from the folk-song collection Des Knaben Wunderhorn (The Boy's Magic Horn), though the interjections of "Du sollst ja nicht weinen (But you mustn't weep)" are Mahler's own. A three-part chorus of women's voices carries most of the text, POXHCyoT though the contralto returns to take the part of the sinner. The boys' chorus, IlThe new resort confined at first to bell noises, joins later in the exhortation "Liebe nur Gott (Only in the love God)" and for the final stanza. This Berkshires movement, too, foreshadows the Life in with a purpose Heaven that will not, in fact, occur until the Fourth Symphony: the solemnly "To create an environment archaic chords first heard at "Ich hab iiber- where awareness can be treten die Zehen Gebot (I have trespassed expanded through the against the Ten Commandments)" will experience of participation be associated in the later work with and sharing." details of the domestic arrangement in that mystical, sweetly scurrile picture of Sunday Brunch $2.95 Served: 9-1:30 heaven. Violins are silent in this softly THE sonorous movement. CENTER AT FOXHOLLOW Lenox, MA 01240 The delicate balance between the 413-637-2000 regions of F (the quick marches of the on Route 7 between first third fifth movement, and the and Lenox and Stockbridge movements) and D (the dirges in the first movement, the Nietzsche song, and, by extension, the minuet, which is in A major) is now and finally resolved in favor of D. Mahler perceived that the decision to end the symphony with an Adagio was one of the most special this is a movement, like the first, on a he made: "In Adagio movements," he very large scale — Ixion's flaming wheel explained to Natalie Bauer- Lechner, can hardly be conceived of as standing "everything is resolved in quiet. The still. In his opening melody, Mahler Ixion wheel of outward appearances is invites association with the slow move- at last brought to a standstill. In fast ment of Beethoven's last quartet, Opus movements — Minuets, Allegros, even 135. Soon, though, the music is caught Andantes nowadays — everything is in "motion, change, flux," and before motion, change, flux. Therefore I have the final triumph, it encounters again ended my Second and Third symphonies,— the catastrophe that interrupted the contrary to custom ... with Adagios first movement. The Adagio's original the higher form as distinguished from title, What love tells me, refers to Christian the lower." love, agape, and Mahler's drafts carry the A noble thought, but, not uniquely superscription: "Behold my wounds! Let in Mahler, there is some gap between not one soul be lost." The performance theory and reality. The Adagio makes its directions, too, seem to speak to the way at the last to a sure and grand issue of spirituality, for Mahler enjoins conquest, but during its course — and that the immense final bars with their 33 thundering kettledrums be played "not sound and silence at the end of this with brute strength, [but] with rich, most riskily and gloriously comprehen- noble tone" and that the last measure sive of Mahler's "worlds." "not be cut off sharply" so that there — Michael Steinberg is some softness to the edge between O Mensch ! Gib Acht! Oh man, give heed! Was spricht die tiefe Mitternacht? What does deep midnight say? Ich schlief! I slept! Aus tiefem Traum bin ich erwacht! From a deep dream have I waked Die Welt ist tief! The world is deep, Und tiefer als der Tag gedacht! And deeper than the day had thought! Tief ist ihr Weh! Deep is its pain! Lust tiefer noch als Herzeleid! Joy deeper still than heartbreak! Weh spricht: Vergeh! Pain speaks: Vanish! Doch alle Lust will Ewigkeit! But all joy seeks eternity, Will tiefe, tiefe Ewigkeit! Seeks deep, deep eternity. Friedrich Nietzsche Es sungen drei Engel einen siissen Three angels were singing a sweet song: Gesang, Mit Freuden es selig im Himmel klang; With joy it resounded blissfully in heaven. Sie jauchzten frohlich auch dabei, At the same time they happily shouted with joy Dass Petrus sei von Siinden frei. That Peter was absolved from sin. Denn als der Herr Jesus zu Tische sass, For as Lord Jesus sat at table, Mit seinen zwolf Jtingern das Abendmal ass, Eating supper with his twelve apostles, So sprach der Herr Jesus: "Was stehst du So spoke Lord Jesus: "Why are you standing denn hier? here? Wenn ich dich anseh', so weinest du mir." When I look at you, you weep." "Und sollt ich nicht weinen, du giitiger "And should I not weep, you kind God! Gott Du sollst ja nicht weinen! No, you mustn't weep. Ich hab (ibertreten die Zehen Gebot; I have trespassed against the Ten Commandments. Ich gehe und weine ja bitterlich I go and weep, and bitterly Du sollst ja nicht weinen! No, you mustn't weep. Ach komm und erbarme dich iiber Ah, come and have mercy on me!" mich!" "Hast du denn ubertreten die Zehen "If you have trespassed against the Ten Gebot, Commandments, So fall auf die Knie und bete zu Gott, Then fall on your knees and pray to God, Liebe nur Gott in alle Zeit, Love only God for ever, So wirst du erlangen die himmlische And you will attain heavenly joy." Freud." Die himmlische Freud ist eine selige Heavenly joy is a blessed city, Stadt, Die himmlische Freud, die kein End Heavenly joy, that has no end. mehr hat; Die himmlische Freud war Petro bereit Heavenly joy was prepared for Peter Durch Jesum und alien zur Seligkeit. By Jesus and for the salvation of all. from The Boy's Magic Horn 34 Guest Artists has also recorded the Road to Cello Playing, an educational recording which demon- strates his system of study, and has developed the so-called Starker Bridge, Janos Starker a wooden bridge with cone-shaped holes Budapest-born Janos Starker began which magnify the quality and quantity cello studies at the age of six and per- of a cello's tone. This is his first per- forming in Hungary at ten. He attended formance with the Boston Symphony. Budapest's Franz Liszt Academy until he dropped out at fifteen. After World War II he became principal cellist with the Budapest Opera and Philharmonic Gilbert Kalish Orchestra. Disillusioned with the poli- Gilbert Kalish, born in 1935, studied tical atmosphere of central Europe, he piano with Leonard Shure, Isabella Ven- emigrated to the United States in 1948. gerova, and Julius Hereford, and earned He joined the Dallas Symphony as first an A.B. at Columbia College. He has cellist, later the Metropolitan Opera, long been the pianist for the Contem- and then the Chicago Symphony under porary Chamber Ensemble and has per- the late Fritz Reiner, and in 1958, he formed twentieth-century concertos by joined the faculty of Indiana University Berg, Carter, Messiaen, and Stravinsky. in Bloomington, where he is now Dis- He appears regularly with the Boston tinguished Professor. During the 1976-77 Symphony Chamber Players with season he performed music of twentieth- whom he has toured in Europe and century composers including Kodaly, throughout the United States. As a Debussy, Prokofiev, Barber, and Martinu soloist he has performed in the United and toured throughout the United States, States, Europe, Australia, and New Zea- Europe, and in Israel. His recordings land. He recently recorded three volumes include the complete Bach suites for of Haydn piano sonatas and the Concord unaccompanied cello, Peter Mennin's sonata of Charles Ives for Nonesuch. Concerto with the Louisville Orchestra, He is currently Artist-in-Residence at the Brahms trios with Julius Katchen the State University of New York at and Josef Suk, and Ernest Bloch's Schelomo Stony Brook and Head of Keyboard and Voice in the Wilderness with the Israel Activities at the Berkshire Music Center Philharmonic under Zubin Mehta. He at Tanglewood. 35 Claudio Arrau Joseph Silverstein Chilean-born pianist Claudio Arrau, Joseph Silverstein joined the Boston born in 1903, first performed at the age Symphony Orchestra in 1955 at the age of five, and in 1910 was sent by the of 23. He has been Assistant Conductor Chilean government to Berlin where he since the beginning of the 1971-72 sea- studied with Martin Krause. During son, and Concertmaster since 1962. A 1914-15 he gave recitals in Germany native of Detroit, he began his musical and Scandinavia, and after World War I studies with his father, a violin teacher, he performed throughout Europe, re- and later attended the Curtis Institute. turning to South America in 1921. He His teachers have included Joseph made his debut in the United States in Gingold, Mischa Mischakoff, and 1923 and with the Boston Symphony Efrem Zimbalist. Orchestra in 1924. Between 1925 and Mr. Silverstein has appeared as soloist 1940 he lived primarily in Berlin and with the orchestras of Detroit, Den- taught at Stern's Conservatory. In 1927 ver, Los Angeles, New York, Indianap- he won the Grand Prix International des olis, Milwaukee, Philadelphia and Ro- Pianistes at Geneva. In 1941 he settled chester, and abroad in Jerusalem and in the United States, and has since made Brussels. He appears regularly as soloist frequent tours. His most recent 1974- with the Boston Symphony and con- 75 tour included the United States, ducts the Orchestra frequently. He has Europe, South America, Tokyo, Sydney, also conducted, among others, the Los Melbourne, Tel Aviv, Baalbek, and Te- Angeles Philharmonic, the Rochester heran. Among his recordings are Bee- Philharmonic and the Jerusalem Sym- thoven's thirty-two piano sonatas and phony. In 1959 he was one of the five concertos, Brahms's concertos, and winners of the Queen Elisabeth of Bel- the complete Chopin works for piano gium International Competition, and in and orchestra. He is currently recording 1960 he won the Walter W. Naum- the complete piano works of Schumann, burg Award. as well as the major works of Liszt Mr. Silverstein is first violinist and and Chopin, and he is also working on a music director of the Boston Symphony new edition of Beethoven's piano so- Chamber Players and led their 1967 natas for Peters in Frankfurt. His most tour to the Soviet Union, Germany and recent appearance with the BSO in 1964 England. He has participated with this was a performance of Mozart's Concerto group in many recordings for RCA in D major, K. 451. Victor and Deutsche Grammophon and 36 recently recorded works of Mrs. H.H.A. Beach and Arthur Foote for New World Records with pianist Gilbert Kalish. He 40% OFF LIST is Chairman of the Faculty of the Berk- on all shire Music Center at Tanglewood, and D.G. and PHILLIPS Assistant Professor of Music at Boston University. Last fall, Mr. Silverstein led the Bos- ton University Symphony Orchestra to a silver medal prize in the Herbert von Karajan Youth Orchestra Competition in Berlin. 910 South St. • Pittsfleld, Mass. 01201 Birgit Finnila At least 1/3 off all records at all times 11:30 - 6:00 Monday thru Saturday Contralto Birgit Finnila was born in Stop in & let us put you western Sweden near Falkenberg. As a on our mailing list. child she heard a great deal of chamber music performed at home, and at seven- teen she began voice studies in Goete- borg. Marriage and a new home in phonies, and the orchestras of Oslo, Finland interrupted her studies for two Stockholm, and Copenhagen. She has years until, upon returning to Goete- also performed with the Israel Phil- borg, she resumed her studies and made harmonic, the Melbourne and Sydney her debut there in 1963. After coaching orchestras, and in America with the with Roy Henderson in London, she New York and Los Angeles philharmonic soon began singing with European orchestras, the Philadelphia and Min- opera houses and orchestras including nesota orchestras, the National, Detroit, the London Philharmonia, the Halle Cincinnati, Baltimore, Houston, and San Orchestra of Manchester, the Concert- Francisco symphonies. Among her many gebouw of Amsterdam, the Berlin Phil- recordings is Vivaldi's Juditha Triumphans, harmonic, the Prague and London sym- recorded in Berlin under Vittorio Negri, for which she received a Grand Prix du Disque. She performed with the Boston Symphony Orchestra last April in Mahler's Third Symphony. Boston Boy Choir The Boston Boy Choir of the Boston Archdiocesan Choir School, which was founded in 1963 under the patronage of the late Cardinal Cushing, is in resi- dence at St. Paul's Church in Cambridge. Members are students ranging in age from nine to fourteen who receive full academic training as well as an extensive musical education; its music director is Theodore Marier. The choir performs in the Boston area and throughout New England. Their most recent performance with the Boston Symphony was in Mahler's Third Symphony last April. 37 Tanglewood Festival Chorus The Tanglewood Festival Chorus was formed under the joint auspices of the Berkshire Music Center and Boston University in 1970. The director since its foundation, John Oliver, is director of choral and vocal activities for Tangle- wood, a member of the MIT faculty and director of the MIT Choral Society. The Festival Chorus made its debut at Symphony Hall in a 1970 performance of Beethoven's Ninth Symphony, and has since taken part in concert directed by William Steinberg, Seiji Ozawa, Eu- gene Ormandy, Colin Davis, Arthur Fiedler, and Michael Tilson Thomas. Members of the chorus come from the Greater Boston area and from all walks of life, and they rehearse throughout the year. The Chorus's first appearance as the best choral recording of the on records, in the Boston Symphony's year. Their most recent appearance Damnation of Faust, conducted by Seiji with the BSO was last week in Berlioz's Ozawa, was nominated for a Grammy Requiem, Seiji Ozawa conducting. Sopranos Jane Stein Laurie Stewart John Smith Margaret Aquino Janet Wade Florence A. St. George Douglas Thompson Cynthia Armstrong Pamela Wolfe Lisa Tatlock Deborah London Berg Kathi Tighe Basses Marie-Christine Casey Altos Susan Watson Peter Anderson Susan Chapman Mary Bennett Maria E. Weber Mitchell Brauner Margo Connor Skye Burchesky Mary J. Westbrook Neil Clark Susan R. Cook Anne Butler John W. Ehrlich Lou Ann David Bette Carey Tenors Bill Good Kathrin Davidovich Doris Halvorson Coe Antone Aquino John Henry Rebecca Flewelling Elizabeth H. Colt Kent E. Berwick Carl D. Howe Yvonne Frazier Mary Crowe Paul Blanchard Daniel J. Kostreva Marilyn L. Haskel Mary Curtin Sewell E. Bowers, Jr. Paul Kowal Alice Honner Catherine Diamond Richard Breed Henry Magno, Jr. Beth Howard Ann Ellsworth Albert R. Demers Martin Mason Frances Kadinoff June Fine Paul Foster Jim Melzer Carole Stevenson Kane Roberta A. Gilbert Robert Greer Frank G. Mihovan Vivian LaMorder Thelma Hayes Dean A. Hanson John P. Murdock Barbara Levy Donna Hewitt Wayne Henderson Jules Rosenberg Joyce Lucia Beth Holmgren James P. Hepp Peter Rothstein Virginia Lambert Mason Karol Hommen Jeffrey Hoffstein Andrew Roudenko Betsy Moyer Leah Jansizian Richard P. Howell Vladimir Roudenko H. Diane Norris Alison D. Kohler Peter Krasinski Robert Schaffel Joan Pernice Dorothy Love Gregg Lange Frank Sherman Richard M. Sobel Nancy Peterson Sharron J. Lovins Henry L. Lussier, Jr. Gail Ransom Nina Saltus Jack Maclnnis Douglas Strickler Rhonda Rivers Frances Schopick Al Newcomb Jean Renard Ward Judith L. Rubenstein Janet Shapiro Ray Parks Nathaniel Watson Barbara A. Scales Amy Wing Sheridan Peter D. Sanborn Pieter Conrad White Bette L. Snitzer Lynne Stanton Robert W. Schlundt Robert T. Whitman Ann K. Staniewicz Nancy Stevenson William Severson Howard J. Wilcox 38 One of Soviet Georgia's senior citizens thought Dannoh was an excellent yogurt. She ought to know. She's been eating yogurt for 137 years. CAMACHICH KVITZINIA PHOTOGRAPHED IN ATRARA. SOVIET GEORGIA 39 William Gibson George Humphrey Farewell and thanks Five members of the Boston Symphony are leaving the orchestra at the end of the season that concludes with these concerts. They are trombonist William Gibson, who joined in 1955, violists George Humphrey and Robert Karol, who joined in 1934 and 1950 respectively, bass player Henry Portnoi, who joined in 1943, and principal second violinist Victor Yampolsky, who joined in 1973. 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Routt 1 Mill North o( 3rt»l B*rnngvcB Telephone \:a:t .soo Htm.inhf. ».«»/ Ai.n.Vi »..« f/r. /<. rA./iir. , ( r ».»< n«mn'l «. • » JthittH mni^t 41 DAYS THE IN THE OLD CORNER HOUSE r\l\ 1 ^/ a cooperative &i/% venture of the Boston Symphony Or- chestra and the Boston Public Schools, is designed to give middle school students from the city and three suburban com- munities an all-encompassing arts and integration experience. Funded by the Massachusetts Department of Education, Bureau of Equal Educational Opportunity, the program offers 50 children weekly Paintings by over a seven week period the opportunity NORMAN ROCKWELL to spend five days at Tanglewood. By On permanent exhibit utilizing the cultural and natural re- Open Year Round — Daily 10-5 p.m. sources of the Berkshires, the participants Except Tuesdays share a variety of unique and meaning- Adults $1.00 Children 25« ful activities: a rehearsal and concert at Tanglewood, instrument demonstrations by members of the Boston Symphony workshops, led by members of the Days and the Berkshire Music Center, a dance in the Arts staff, each of whom has workshop at Jacob's Pillow, trips to the expertise in some area of the arts. Clark Institute, Chesterwood, Rockwell The key to the great success of the Museum, Berkshire Garden Centre, at- program has been two-fold: a low-key tendance at a theatrical performance or exposure to the arts as a part of a dance concert, as well as sports and typical day's experiences, and the mag- swimming daily. In addition, the young- nificent physical and aesthetic attributes sters take part in small informal art of Tanglewood and the Berkshires. IF YOU ENJOYED THE CONCERT, YOU SHOULD BE READING HIGH FIDELITY. Tanglewood music lovers also enjoy their music at home. They find High Fidelity magazine an indispensible aide for record collecting. Each issue contains test reports, record reviews and exciting fea- ture articles. If you're a regular at live performances, buy the Musical America version of High Fidelity and get 40 extra pages of news, reviews and reports on live music events all over the world— I HIGH FIDELITY, dept. D7T, 1 sound ave., marion, ohio 43302 I D Payment enclosed G Bill me I D OK. II take High Fidefty at the special Tanglewood D I'm a live performance buff. Send me 12 issues of I offer of 12 issues for $4.87 (regularly $8.95.) the Musical America edition for $9— a savings of $9 off the regular price. I I I NAME. I I STREET. .APT. I CITY. I .STATE. .ZIP. I OR: Enter your High Fidelity order by calling, toll free, (800) 247-2160. D7T L 42 Hove a face to face folk with Elizabeth Grady Joseph Silverstein conducts Introducing our new half hour The Boston University maintenance rrearmenr for young normal healthy skin only $10 Symphony Orchestra Our regular one hour facial pore in Boston and Berlin cleansmgs srill only S 1 7. 50. Never a chcrge for consultation/ "A shouting ovation and six returns skin analysis. Call Ms. for ." Grady an to the stage. . appointment 536-4447. 39 Newbury Paul Moor The Street Doston. Boston Globe (from Berlin) This two- record stereo album captures the ELIZABETH Silver Medal-winning performance of the GB4DY only American orchestra invited to compete K FACE FIRST > in the Herbert von Karajan Festival of Student Orchestras last season in Berlin, Germany. Selections include works performed by the 92-piece orchestra in Berlin as well as at Symphony Hall, Boston, just prior to departure. Franz Joseph Haydn Symphony No 96 QatewSyg Imi in D major and tfggtau&nt Richard Wagner Prelude to Die Meistersinger von Nurnberg 637-2532 1 Walker St. Norman Dello Joio Meditations on Reservations Preferred Lenox, Ma Ecclesiastes for String Orchestra In the Heart of Lenox Bela Bartok Concerto for Orchestra Serving Breakfast Available in limited edition, $795 Lunch, Dinner & Late Supper 7b order, write Boston University School Especially Prepared for You for the Arts by Internationally Renowned Department A Chef-Owner, Gerhard Schmid 855 Commonwealth Avenue Cafe Hour on the Terrace Boston. Massachusetts Throughout the Tanglewood Season 02215 Cocktail Lounge Ample Free Parking Make checks payable to Boston University (Mail orders add 75? for postage and handling) 43 We are grateful to the Berkshire County businesses listed below for giving generously to help support Tanglewood and the Berkshire Music Center. Colin MacFadyen and Ashley Smith Co -Chairmen for Business Support Business Contributions City Savings Bank' Kelly- Dietrich, Inc. Research and and Pledges The Clark-Aiken Co. Kelly Fun House Action, Inc. Clearwater Kelly Funeral The Restaurant Abdalla's Elm Street Mkt. Home Natural Foods Reynolds, Barnes and Adam's Laundry Kimberly-Clark Colt Insurance Agency Hebb, Inc. Adam's Supermarket William T. Lahart & Son Country Curtains A. H. Rice Co. Laurel Hill Motel Alice's at Avaloch Cramer Construction Rising Paper Company ALNASCO Lee Audio Crane and Co. Robinson Leech Arcadian Shop Lee Ford Curtel Corp. Associates Lee High School Arnold Print Works Rogers Jewelry D. E. Dapson Lee Lime ASCAP Optician, Inc. Rose Agency & Lee National Bank Tucker Assoc. John Astore Davis and Norton, Inc. Lee News Astro Beef Deacon Cook House D. O. Ruffer, Inc. Lee Pizza A. W. Baldwin Co. Antiques Samel's Deli Lee Savings Baldwin Piano Dee's Department Store Bank Sears, Roebuck and Co. Lenox Memorial Bardwell, D'Angelo, Dery Funeral Home Seven Hills High School Bowlby Insurance Dettinger Lumber Co. Seven Arts Antiques Lenox National Bank Barnbrook Antiques Different Drummer Shaker's Food Store Lenox Oil Co. Nat Beacco Dresser-Hull Co. Shandoff's Lenox Package Store Ben's Shop Eastover W. H. Shedd & Son, Inc. Lenox Savings Bank Berkmatics Inc. East Lee Steak House Shire Shop Lenox Twin Maples Berkshire Aviation Eaton Paper Co. Smith's Rent-Alls, Inc. Enterprises Lenoxdale Package 1888 Shop Jeffrey Sosne Store J. Berkshire Bank Edward Karam Sound of Music and Trust Ella Lerner Gallery Insurance South Adams Berkshire Beef Loeb's Foodtown Elaine's Specialty Shop Savings Bank Berkshire Luau Hale Restaurant Elise Farar Southern Berkshire Broadcasting Co. Colin MacFadyen England Bros. Chamber of Berkshire County Massachusetts Commerce Agency — Berkshire Exeter Dental Purchasing Group Sprague Electric Life Laboratory James H. Maxymillian Company Berkshire County First Agricultural Bank McClellan Drug Stanley Home Products Savings Bank First Albany Corp. McCormick & Toole Steven's Inc. Berkshire Eagle Flying Cloud Inn Insurance Agency Stevenson & Co., Inc. Berkshire Frosted Foods Folklorica Mead Corporation Stockbridge Chamber of Berkshire Friendly Ice Cream Corp. Gas Co. Miller Supply Commerce Gateways Restaurant Berkshire Hardware Minkler Insurance Stockbridge Fuel Berkshire Hills Regional General Electric and Grain Mohawk Beverages, Inc. School District Giftos Bros. Mole & Mole Stockbridge Berkshire Life Insurance Pharmacy, Inc. Girrardi Morgan Grampian Berkshire Paper Co. Distributors, Inc. The Stockpot Morgan House Berkshire Plate Glass Co. Graphic Arts Sunset Motel Morpheus Arms Motel Berkshire Press, Inc. Guitian Realty Swiss Chalet Nejaime's Berkshire Traveller J. W. Gull Oil & Coal The Talbots, Inc. North Adams Hoosac Press Hagyard Pharmacy Savings Bank Town and Country BESSE — CLARKE Motor Lodge Hall's Auto Service North Adams Birchard Buick Hellawell Transcript Union Federal Savings Bland Electric Cadillac -Oldsmobile U. S. Components, Inc. Oak 'n Spruce The Book Store David Herrick, Inc. O'Connell Vee Records Boosey and Hawkes High Fidelity/ Chevrolet, Inc. The Village Inn Musical America Braun's Package Store The Old Corner House Vlada Boutique High Lawn Farm C. T. Brigham J. T. Owens Apparel for Warner Cable Hoff's Mobil Paper Products Men & Boys WBEC, Inc. Holiday Inn Brothership Parker Tours, Inc. WCRB, Inc. Clothing, Inc. Household Finance Penny Saver West Stockbridge Business Services Howard Johnson's Pete's Chrysler Plymouth Enterprises, Inc. for Medicine Ida and John's Petricca Construction Wheeler & Taylor, Inc. Butler Wholesale Isgood Realty Wheeler's Package Store Products Pittsfield Agency of IT Lodge #564 Berkshire Life White Hart Inn Butternut Basin AM Joe's Diner Pittsfield Co-operative William Henry Inn Cain, Hibbard & Bank Myers, Esq. H. A. Johansson Williams & Sons Pittsfield National Bank Country Store B. Caligari and Son J. H. Johnson & Sons Pittsfield Supply Williamstown Camp Lenox Johnson National Pleasant Valley Motel Bank Camp Mahkeenac Lincoln-Mercury Prudential Lines, Inc. Winard Advertising Carr Hardware Katherine Meagher Dress Shop Quincy Lodge Agency, Inc. and Supply Co. Kaufman Bros. The Record Store Yankee Motor Lodge Childs and Bishop Yellow Aster, Inc. Floor Covering The Red Lion Inn 44 What's Happening in the Derkshires? Phone Toll- Free and Find Out! Things to do today - exhibits, arts, music, theatre, ballet, garden shows, special tours, all the current events in the Berkshires. SOUTHERN BERKSHIRES 528-2677 From Great Barnngton, \ Sheffield. West Stockbndge CENTRAL BERKSHIRES NORTHERN BERKSHIRES 607-2677 662-2677 From Stockbndge. Lee From Wilhamstown Isaac Witkin, sculptor Lenox. PrrtsfiekJ Adams. North Adams Selections from Isaac Witkin's Spill Series, A service of the Berkshire Vacation Bureau sculpture created with the molten overflow of 205 West St., Pittsfield, Mass. industrial steel, may be seen at the Glass House, (A Division of the Berkshire Hills Conference) Tanglewood's exhibition room, located at the Main Gate. Isaac Witkin was born in Johannes- burg, South Africa, in 1936 and moved to England in 1956. From 1957 to 1960 he studied with the English sculptor UXLoaaas {JuruttveAJL/ ijwLicujLe& Anthony Caro at St. Martin's School of Art in London. He has since been assis- Route 57 Tolland, Mass. tant to Henry Moore and has taught at St. Martin's School of Art, Maidstone College of Art in Kent, Ravensbourn Telephone 413 - 258-4538 School of Art, and Parsons School of Design in New York City. He has pre- A wide selection of antiques ranging sented his works in one-man and group from furniture, china and paintings. exhibitions in Europe, Australia, and We also feature an extensive America, and is now represented by the collection of primitive art Marlborough Gallery in New York. from New Guinea. Currently he is on leave of absence from his position of artist-in-residence at Ben- Open by appointment every day nington College in Vermont to organize except Sunday. a state-sponsored sculptors' workshop in Binghamton, New York. 45 The Berkshire Music Center "One more thing should come from this scheme, cooperation with the Fromm Music namely, a good honest school of musicians." Foundation at Harvard, offers a broad — Henry Lee Higginson, on founding the Boston spectrum of the most advanced music of Symphony Orchestra. today's composers in a gala week of performances. The late Serge Koussevitzky fervent- ly shared Henry Lee Higginson's vision The Boston Symphony's Concert- of a "good honest school for musicians" master and Assistant Conductor Joseph — an academy where young musicians Silverstein heads a faculty that includes could extend their artistic training and principal players and members of the broaden their experience under the Orchestra and faculty members of Bos- guidance of eminent professionals. ton University's School of Fine Arts, More than any other person, it was plus leading soloists, conductors and Koussevitzky who made the vision a composers. The Center has numerous reality; he was Director of the Berkshire studios for practice and chamber music, Music Center from its founding in 1940 and an extensive library of music litera- until his death in 1951, and his vigorous ture and scores. Rehearsals and con- leadership has remained an inspiring certs of the Berkshire Music Center example in the years since. Orchestra and other student groups Serge Koussevitzky was succeeded by take place mostly in the Theatre- Hall, Charles Munch, and it is a mark of the Concert while lectures, seminars, Center's success that the Boston Sym- conducting classes, vocal and choral re- phony's present Music Director, Seiji hearsals, composers' forums and cham- Ozawa, studied here during the Munch ber music concerts take place in the era. Alumni of the Center are among Chamber Music Hall, in the West Barn, the most prominent and active mem- in the Hawthorne Cottage, on the Re- bers of the music world; more than ten hearsal Stage, and in the small studios percent of the members of this country's both on the Tanglewood grounds and in major orchestras are graduates of the buildings leased in Lenox. Each summer Center, as are many of the world's the Baldwin Piano and Organ Company notable conductors, instrumental solo- generously provides over 100 keyboard instruments for individual practice; ists and singers. Today the primary responsibility for other instruments — percussion, for ex- provided the Orchestra. the Center's direction is in the hands of ample — are by Gunther Schuller, composer, writer, The Boston Symphony is assisted in conductor and President of the New supporting the Center by the National England Conservatory until June 1977. Endowment for the Arts, a Federal Average enrollment is somewhat over agency, as well as by individual and 400 each summer, of which approxi- corporate sponsors. Scholarships are matelyl40 are members of the Center's awarded to the majority of the students, Fellowship Program; this provides free who are chosen by audition on a com- tuition (and in many cases free board petitive basis. The cost of the scholar- and expenses) for instrumentalists, ship program is large and adds sub- singers, conductors and composers of stantially to the Orchestra's yearly post-graduate calibre. In addition to the deficit — one major reason for the estab- Fellowship Program, Boston University, lishment of the Friends of Music at through its Tanglewood Institute, offers Tanglewood, a group that provides several college-credit programs for tal- critical support for the Center. A brief ented high school musicians; the noted account of members' privileges is printed soprano Phyllis Curtin directs a singers' on page 41, and more information may seminar highlighted by her own master be had at the Friends' Office near the classes. Finally, each summer the Cen- Main Gate. We invite you to see and ter's Festival of Contemporary Music hear foryourself the remarkable calibre (August 13-17 this year), presented in of the Center's young musicians. 46 The Friends of Music At Tanglewood Membership provides you with exciting opportunities and privileges all year long, It's the secret buy of the Berkshires! Free Berkshire Music Tent Membership: Center Concerts: The Tanglewood Tent, available to con- There are over 40 concerts each sum- tributors of $75 and over, provides a mer performed by the members of the hospitable gathering place behind the Berkshire Music Center, the Boston Music Shed where food and drink may be Symphony Orchestra's summer academy purchased on concert days. Hot buffet for the advanced study of music. These dinners are served on Saturday evenings outstanding mid-week concerts include beginning at 6:30 p.m. (Reservations chamber music recitals, full orchestra must be made through the Friends concerts, vocal and choral programs, Office no later than the Thursday after- and the annual Festival of Contem- noon preceding each Saturday porary Music, Tanglewood's "festival evening buffet.) within a festival." Friends Concert Special parking for Friends: Memberships for individuals and Two convenient reserved parking areas families are available for $25.00. are available to all donors of $150 or Advance program information and more for all Boston Symphony Orches- ticket ordering forms: tra concerts: either the Box Parking Lot Approximately one month before the (Hawthorne Street entrance), or the public sale of seats in the early spring, Tent Parking Lot (West Street entrance). Friends will be sent the advance Berk- For information, contact: shire Festival programs and a priority Friends of Music at Tanglewood ticket application. Friends will also re- Lenox, Ma. 01240 ceive the monthly Boston Symphony (413) 637-1600 Orchestra publication, BSO. i in: •: vi. 1. 1-: iti a iL arabis CONTEMPORARY AMERICAN DESIGN DISTINCTIVE FOOD BookoWt; DELIGHTFUL AMBIENCE OUTSTANDING CRAFTS TO GIVE OR TO TREASURE I22XOIM II M. riTI XI ll-LII 47 WeCurtisHotel Food & Lodging DELI -SHOP SANDWICHES • CATERING LENOX, 637-0016 TAKE OUT SERVICE 115 Elm Street. Pittsfteld. Massachusetts. A BOOK "TO DO" NOT Tel. 442-5927 Featuring Hot Pastrami & Hot Corned Beef "JUST TO READ" Sandwiches Hebrew (National Delicatessen • Rolls & Bagels baked daily • Imported & Domestic cheeses • Lox & smoked fish • Barbecued chicken • Fresh made salads • Party Platters Open Daily 8 to 6 A BERKSHIRE SOURCEBOOK Your personal guide to Berkshire County: The new home of its history, geography and major land- theworld famous marks. Available at area bookstores and $ gift shops for just 2.95. Published by The Alices Restaurant Junior League of Berkshire County, Inc. Breakfast • Brunch AT AVflLOCH • Lunch • Dinner "HE • Late Supper • Cocktail Lounge WILL AMSVILLE- • Entertainment • MOTEL • tennis • pool INN 8>34*M?Sfc across the roadfrom Tanglewood rte. 183 Lenox 637-0897 A fine, small inn featuring superb Country French Cuisine LUNCH* DINNER The Sunshine Stage, Light Supper After Tanglewood HolHston Theatre, Route 183, Lenox, Mass. 01240. Tel. 413-637-0534. Rte. 41 , between W. Stockbridge and Gt. Barrington Year-round professional regional theatre featuring plays, films and children's theatre. Cafe on prem- Reservations Recommended by ises Frank Bessell. Artistic Director. 413-274-6580 INN PERSPECTIVE i ' THECLOTHESLOFT I "a little jewel in the Berkshires" C*Sap a -tcT for private ^IdStonemiUforp Accommodations parties. We J*M cater to parties, banquets and social Route 8, Grove St., Adams, Ma. gatherings. Orders to take out. Chinese Polynesian Restaurant HANDPRINT WALLPAPER LENOX. MASS. For Reservations Factory Outlet (413)443-4745 OpenMon-Fri 10-4, Sat 9-1 2:30 Open Daily 1 1 30 'til 10 pm. Fn & Sat til 1 am £H5r Fashion Doesn't Stop At Size 14 frlfefITLH(aL ^ BEAUTIFUL CLOTHES FOR 9 FANTASY MAN LARGE SIZE WOMEN TI^ E Food, drink, lodging. Live music week nd s ends. After concert, a 10 minute Criffqrobe^* ^ c™, o walk from the Lion's Gate. 179 mrtiR street 413528-3118 WHEATLE1GH 637-0610 S. ms. Gr. Barrington 48 WHY WAIT TO ENTER COLLEGE? SIMON'S ROCK EARLY COLLEGE Designed for the student who wishes to avoid the duplication of high school and college work Liberal Arts - B.A. and A.A. Degrees - Fully Accredited The interest of those who have completed the 10th or 11th grade of high school is invited Admissions Office Simon's Rock Early College Great Barrington, MA 01230 Telephone: 413-528-0771 Tanglewood Wjlliamstown Tradition Theatre festival Our outdoor Courtyard — colorfully abounding with Impatient plants— serves luncheons, dinners, snacks and drinks. Our indoor Nikos Psacharopoulos Lion's Den features sandwiches, Our 23rd Season Includes: drinks and live entertainment. Misalliance, Sherlock Holmes. Alter the Fall. Both are open till 1 a.m. Phone: Platonov and Learned Ladies 413-298-5545. Route 7, Stockbridge, June 30 - August 27 Massachusetts. Since 1773. Phone Reservations: 413-458-8146 P.O. Box 517, Williamstown, Ma 02167 'JS The Red Lion Inn If you'd like your own tote bag showijjgarpu support public broadcasting (other sttf&4fts the Channel 17 logo), cu>3nd send to; WMHT, Box 17, Schenectady, Ny 12301. HI $60 Sustaining Member '^Regular Member Name — i Address City _ State Zip 49 erksbire lUmmer festival 6 days 5 nights 1 1 meals Per person dbl occup 4OQ50 plus tx & tips I05J Delux Accommodations Located in the Township of Becket, Mass. All Norman Walker, Director admissions to: TANGLEWOOD, Grace Badorek, Comptroller BERKSHIRE PLAYHOUSE,JACOBS Donald Westwood, Promotional Director PILLOW, STORROWTON FIRST WEEK—July 5—9 SEVENTH WEEK— Eight Soloists from the August 16—20 plus Naumkeag...Chesterwood... Corner Royal Danish Ballet Dennis Wayne's Dancers House. ..Hancock Shaker Village.. .Scenic SECOND WEEK- EIGHTH WEEK— tours. . . . July 12—16 August 23—27 Swimming. .tennis. . golf. . . & more . Cultural Center of the Contemporary Dancers Philippines Dance Co. of Winnipeg r~WHte or call direct for free brochure to (American debut (United States debut of the Company) of the Company) Oakn Spruce resort— THIRD WEEK—July 19— 23 Joyce Cuoco & Youri Vamos Jacob's Pillow Dancers Teodoro Morca I south lee, /wa.01260 « 1-800-628-5073 (Flamenco in Concert) Special Added Event Jacob's Pillow Dancers, September 2—4 Classical Pas de Deux Hartford Ballet — FOURTH WEEK Performances: Perform- July 26—30 ances are held Tuesday Anne Marie DeAngelo through Saturday, Curt- and Lawrence Rhodes ain times: Tuesday, May O'Donnell 7:30 p.m., Wednesday, Concert Dance Company Friday and Saturday, Bhaskar (dances of India) 6. 40 p.m., Thursday and FIFTH WEEK— August 2- Saturday Matinees: Twyla Tharp 3:00 p.m. Tickets: Dancers and Dances $8.00 and $6.00. Avail- tUSB JfifiUft i able at Ticketron, M SIXTH WEEK— August 9 13 Bloomingdale's or the Ohio Ballet Company Jacob's Pillow Box Office l*e OPERA HOUSE How to Reach Jacob's Pillow: 36 Luxury Rooms Approx.150 miles from Boston near Tangle- FOOD»DRINK»LODGING wood. Lee-Pittsfield exit on the Mass.Turnpike. Public transportation from Boston via Exit 16-1-91 Greyhound to L^e, Mass. Holyoke, Mass. 532-9494 America's FIRST Dance Festival (413) Jacob's Pillow Dance Festival Mailing Address: Box 287, Lee, Mass. 01238 (413) 243-0745 i j 1 VISIT "aniaue- arvcl cxeati^e ruuAe/ cajumtuiJ BERKSHIRE LAKES ESTATES EXPERIENCE COUNTRY LIVING AT ITS BEST! Brunch Dinner Small Lakefront Community Picnic After-Concert Swim and boat on 2 crystal clear mountain Baskets Supper lakes. Play tennis, badminton, volleyball and basketball on community courts. Live in privacy adjacent to°a large state forest. Berkshire Lakes Estates J. Perspico Factor Yokum Pond Road Restaurant Becket, Mass. 01223 ° Tel. 413-623-8747 . o Open Till 1 A.M. TO VISIT: Mass. Turnpike to Lee, Mass.-Rt. 20 East. Continue 4 miles to Belden's Tavern. Left 25 Church St. • Lenox, Mass. 637-2996 for 2 miles to Berkshire Lakes Estates. 50 3 CHESIBQA/ODD The Executive Committee STOCKBRIDGE Tanglewood Council of the Boston Symphony Orchestra Mrs. James Garivaltis Mr. Curtis Buttenheim Co- Chairmen Mr. John Kittredge Secretary/Treasurer Mrs. Stephen V.C. Morris Mrs. Murray Klein Talks and Walks Mr. Colin MacFadyen Summer Estate of Mr. Ashley Smith DANIEL CHESTER FRENCH Business Mrs. Kelton M. Burbank Sculptor of the Mrs. John Kittredge Lincoln Memorial Benefits Studio, Residence, Barn Mrs. Charles Capers Sculpture Gallery, Period Receptions Garden, Nature Trail Mr. Robert A. Wells Daily 10-5 Community Affairs May - October Mrs. D.H. Potter off Rte. 183, Glendale Mr. William Harris a property of Tent the National Trust for Historic Preservation Mrs. Jean Massimiano Mr. Joseph Duffy Sales and Information Mrs. Gary A. Lopenzina Mrs. William H. Ryan 1771 was a good Student Affairs year for our Lobster Pie. Mrs. Archie Peace This year Foreign Students Mrs. John Kittredge it's even better. Tanglewood- Boston Liaison Mrs. A. Lloyd Russell Boston -Tanglewood Liaison Mr. Peter van S. Rice Mrs. John S. McLennan Nominating Publick House Good Yankee cooking, drink and lodging. On the Common — Sturbndgc. Mass. — (617) 3*47-33 1 51 Introducing the Bose 901® Series III in comparison to any Series III: the most innovative new other speaker, regardless of size or speaker since the legendary price. Bose 901 was introduced in 1968. For a full color 901 HI The 901 Series III reproduces brochure, write Bose, Dept. BSO, music with spaciousness and The Mountain, Framingham, realism unequalled, we believe, by Massachusetts any other speaker. Yet, due to its 01701. new, ultra-high-efficiency drivers, the 901 Series III requires less than Vz as much power as the original 901 : that means, for example, it can produce the same sound vol- ume with a 15 watt amplifier as the original 901 with a 50 watt ampli- fier. Outstanding bass perform- ance is made possible by the unique injection molded Acoustic Matrix™ enclosure (shown in this photograph of the 901 III with its grille and walnut veneer cabinet panels removed). To fully appreci- Patents issued and pending. Copyright © ate its spectacular performance, 1977 Bose Corp. Cabinets are walnut veneer. ask a Bose dealer to play the 901 Pedestals optional at extra cost. 52 .This This is is otic of the workfls other. most popular j wines. -h ipeg* fa, i#*\ft5 casta tasrei &**• ^*t VINO A A SOFT sen ESTATE ^£ttZgp£s * *«>» ». 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