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.««8W!g^4sMi^^ -\.J1L Majestic pine lined drives, rambling elegant mfenor h^^, meandering lawns and gardens, velvet green mountain *4%ta! canoeing ponds and Laurel Lake. Two -hundred acres of the and present tastefully mingled.
Afulfillment of every vacation delight . . . executive conference fancy . . . and elegant home dream. A choice for a day ... a month . . . a year.
Savor the cuisine, entertainment in the lounges, horseback, sleigh, and carriage rides, health spa, tennis, swimming, fishing, skiing, golf
The great estate tradition is at your fingertips, and we await you graciously with information on how to be part of the Foxhollow experience.
Foxhollow . . . an tver growing select family.
Offerings in: Vacation Homes, Time- Shared Villas, Conference Center.
Route 7, Lenox, Massachusetts 01240 413-637-2000 Seiji Ozawa, Music Director
Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor
One Hundred and Second Season, 1982-83
Trustees of the Boston Symphony Orchestra, Inc.
Abram T. Collier, Chairman Nelson J. Darling, Jr., President Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer
Vernon R. Alden Mrs. John H. Fitzpatrick William J. Poorvu
J. P. Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley David G. Mugar Mrs. George R. Rowland Mrs. Norman L. Cahners Albert L. Nickerson Mrs. George Lee Sargent
George H.A. Clowes, Jr. Thomas D. Perry, Jr. William A. Selke Archie C. Epps III John Hoyt Stookey
Trustees Emeriti
Talcott M. Banks, Chairman of the Board Emeritus
Philip K. Allen E. Morton Jennings, Jr. Mrs. James H. Perkins Allen G. Barry Edward M. Kennedy Paul C. Reardon Richard P. Chapman Edward G. Murray John L. Thorndike John T. Noonan
Administration of the Boston Symphony Orchestra, Inc. Thomas W. Morris General Manager
William Bernell Edward R. Birdwell Daniel R. Gustin Artistic Administrator Orchestra Manager Assistant Manager
Caroline Smedvig Theodore A. Vlahos B.J. Krintzman
Director of Controller Director of Promotion Arlene Germain Planning Marc Solomon Financial Analyst Joyce Snyder Serwitz Director, Broadcasting Acting Director Nancy A. Kay and Special Projects of Development Director of Sales James E. Whitaker Katherine Whitty Charles Hall Manager, Rawson Coordinator of Symphony Hall Manager of Box Office Boston Council
James F. Kiley Anita R. Kurland Richard Ortner Operations Manager, Administrator of Administrator, Tanglewood Youth Activities Berkshire Music Center Steven Ledbetter Marc Mandel Jean Miller MacKenzie Director of Editorial Print Production Publications Coordinator Coordinator
Programs copyright ®1983 Boston Symphony Orchestra, Inc. Cover photo by Lincoln Russell i Orchestra, Inc. Board of Overseers of the Boston Symphony Chairman William J. Poorvu, Mrs. Lewis S. Dabney William M. Crozier, Jr. Vice-Chairman Vice-Chairman Mrs. Richard D. Hill Secretary
Gund E. James Morton Q. Adams Graham John John A. Perkins Weston Adams Mrs. R. Douglas Hall III Mrs. R. Pokross Richard E. Hartwell David Arnold, Jr. Mrs. David B. Curtis Prout Francis W. Hatch, Jr. Mrs. Hazen H. Ayer Radin M. Hilles Mrs. Eleanor Bruce A. Beal Ms. Susan BrachmanHoffma n Peter C. Read Mrs. Richard Bennink Mrs. Marilyn Kalman Harry Remis Bertozzi, Jr. Mrs. BelaT. Mrs. Edward J. S.Rice Louis L Kane Mrs. Peter van Peter A. Brooke Mrs. Charles Kasdon David Rockefeller, Jr. William M. Bulger Mrs. S. Kaye Mrs. Jerome Rosenfeld Louise Cabot Richard L. Mary William C. Rousseau Corning Kenly, Jr. Mrs. Julian Cohen Mrs. F. Kingsley Mrs. William H. Ryan Nat King Cole Mrs. Gordon F. Mrs. Francis P. Sears Congdon Mrs. Carl Koch Johns H. MarkL. Selkowitz Contas Robert K.Kraft Arthur P. Shalit C. Krentzman Gene Ms. Victoria L. Danberg Harvey Anthony Kutten Donald B. Sinclair William S. Edgerly Mrs. E. H. Lacy Richard A. Smith Alexander Ellis, Jr. Benjamin Mrs. Ralph Z. Sorenson John P. LaWare Frank L. Farwell Sprague Lawrence Peter J. A. Fibiger Mrs. James F. John Lyman Ray Stata Kenneth G.Fisher Mrs. Charles P. I. Strang Charles Marran Mrs. Arthur Peter H.B. Frelinghuysen C. Thompson August R.Meyer Mrs. Richard H. Thomas Galligan, Jr Mrs. Mrs. J. MarkTishler, Jr. William Middendorf II Thomas Gardiner J. Mrs. Ms. Luise Vosgerchian Garivaltis Paul M. Montrone Mrs. James Roger D. Wellington Goldberg Mrs. Hanae Mori Avram J. Donald B. Wilson Mrs. Stephen V.C. Morris Mrs. Mrs. Ray A.Goldberg Wilson Richard P. Morse John J. Jordan L. Golding Spurr Morse Nicholas T. Zervas Haskell R. Gordon Mrs. Thomas
Overseers Emeriti Mrs. Frank G.Allen Paul Fromm David W. Bernstein Carlton Fuller Leonard Kaplan
^sm THE TRADITIO CONTINUES...
THE BOSTON SYMPHONY ANNOUNCES A SEASON TO REMEMBER!
. For more than a century, the Boston Symphony has been renowned as an orchestra of international distinction. Join Seiji Ozawa and the Boston Symphony for a stunning 1983-84 season. Joining Ozawa and the
orchestra will be guest conductors Sir Colin Davis, Kurt Masur,
Joseph Silverstein, Michael Tilson Thomas, and in his BSO debut, Simon Rattle.
Soloists will include Rudolf Serkin, Emanuel Ax, Maurizio Pollini, Isaac Stern, Henryk Szeryng, Hildegard Behrens, and Frederica von Stade.
Highlights will include the first BSO performance of Mahler's magnificent ^ 'Das klagende Lied;' Berlioz' sublime I'Enfance du Christ;' and such masterpieces as Beethoven's 'Eroica,' the Brahms Fourth Symphony Mahler's
Symphony No. 4, and Mozart's Symphony No. 40. Subscribe now and join the
Boston Symphony in an extraordinary season at Symphony Hall.
.orchestra) To receive complete program and ticket information, call or write: ^'"'""'^ Symphony Hall, Boston, MA 02115. Tel. (617) 266-1492. YOU CAN TAKE IT WITH YOU...
Take home a taste of Tanglewood this summer by visiting the Glass House, Tanglewood's gift shop located by the Main Gate. From Tanglewood t-shirts to the Boston Symphony's centennial poster by American artist Robert Rauschenberg to the newest addition to the BSO family, Tanglewoodie the Raccoon, the Glass House offers a distinctive selection of gifts and souvenirs. The Glass House is open one hour before concerts, during intermissions and one hour after concerts, and weekdays from 10 a.m. to 4 p.m. l\MasterCharge and Visa credit cards are accepted.
?£;^ J* ^*l
TANGLEWOOD drawing a total of nearly 15,000 people. The Berkshire Festival In the winter of 1936, Mrs. In August 1934, a group of music- Gorham Brooks and Miss Mary loving summer residents of the Aspinwall Tappan offered Berkshires organized a series of Tanglewood, the Tappan family three outdoor concerts at estate, with its buildings and 210 Interlaken, to be given by members acres of lawns and meadows, as a of the New York Philharmonic gift to Koussevitzky and the under the direction of Henry orchestra. The offer was gratefully Hadley. The venture was so accepted, and on 5 August 1937 the successful that the promoters festival's largest crowd so far incorporated the Berkshire assembled under a tent for the first Symphonic Festival and repeated the Tanglewood concert, an all- experiment during the next Beethoven program. summer. At the all-Wagner concert which The Festival Committee then opened the 1937 festival's second invited Serge Koussevitzky and the weekend, rain and thunder twice Boston Symphony Orchestra to take interrupted the performance of the part in the following year's concerts. Rienzi Overture and necessitated the The orchestra's Trustees accepted, omission altogether of the Siegfried and on 13 August 1936 the Boston "Forest Murmurs," music too delicate Symphony gave its first concerts in to be heard through the downpour. the Berkshires (at Holmwood, a At the intermission. Miss Gertrude former Vanderbilt estate, later the Robinson Smith, one of the festival's W\M Center at Foxhollow). The series founders, made a fundraising appeal again consisted of three concerts and for the building of a permanent was given under a large tent. structure. The appeal was ./;"
References furnished request
Aspen Music School and Festival Gilbert Kalish Dickran Atamian Ruth Laredo Burt Bacharach Liberace David Bar-Illan Panayis Lyras Berkshire Music Center Marian McPartland and Festival at Tanglewood Zubin Mehta Leonard Bernstein Eugene Ormandy Jorge Bolet Seiji Ozawa Boston Pops Orchestra Philadelphia Orchestra Boston Symphony Orchestra Andre Previn Brevard Music Center Ravinia Festival Dave Brubeck Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Abbey Simon Cincinnati Symphony Orchestra Georg Solti Aaron Copland Beveridge Webster Denver Symphony Orchestra Earl Wild Ferrante and Teicher John Williams Interlochen Arts Academy and Wolf Trap Foundation for the National Music Camp Performing Arts Byron Janis Yehudi Wyner Billy Joel Over 200 others Raldwin
:i:M;S^,--^- » circular handed out at the two goers. By 1941, the Theatre-Concert remaining concerts, and within a Hall, the Chamber Music Hall, and short time enough money had been several small studios — all part of the raised to begin active planning for a Berkshire Music Center, which had "music pavilion/' begun operations the preceding Eliel Saarinen, the eminent year — were finished, and the festival architect selected by Koussevitzky, had so expanded its activities and its
proposed an elaborate design that reputation for excellence that it went far beyond the immediate attracted nearly 100,000 visitors. needs of the festival and, more Today Tanglewood annually important, went well beyond the draws more than 300,000 visitors; in budget of $100,000. His second, addition to the twenty-four regular simplified plans were still too concerts of the Boston Symphony, expensive, and he finally wrote that there are weekly chamber music
if the Trustees insisted on remaining concerts, "Prelude" concerts and within their budget, they would open rehearsals, the annual Festival have "just a shed," which "any of Contemporary Music, and almost builder could accomplish without daily concerts by the gifted young the aid of an architect." The Trustees musicians of the Berkshire Music then turned to a Stockbridge Center. The Boston Pops performs engineer, Joseph Franz, to make each summer as well. The season further simplifications in Saarinen's offers not only a vast quantity of plans in order to lower the cost. The music but also a vast range of
building that he erected remains, musical forms and styles, all of it
with modifications, to this day; it is presented with a regard for artistic
still called simply "the Shed." The excellence that makes the festival Shed was inaugurated for the first unique.
concert of the 1938 festival. It has echoed with the music of the Boston Symphony Orchestra every summer The Berkshire Music Center since, except for the war years 1942- Tanglewood is much more than a 45, and has become almost a place of pleasant, outdoor, summer concert
hall; it is also the site of one of the most influential centers for h' advanced musical study in the United States. Here, the Berkshire Music Center, which has been MjH maintained by the Boston V-, « ;\ ,-v^ -Y He ^^^ Symphony Orchestra ever since its establishment under the leadership ^ ii B, ^ of Serge Koussevitzky in 1940, \ • i m i. provides a '; range spiecialized ^*^ i$hmSliHSk3i wide of * A«^ training and experience for young musicians from all over the world. The BMC was Koussevitzky's
pride and joy for the rest of his life. -""-i'T,,,! Ik':;. Hi Cfiim He assembled an extraordinary ' :«- - - . m :; . 1' \ '-'i^ ill iV \ !Bwl^imiyat^c^if^^iiw faculty in composition, operatic and Serge Koussevitzky choral activities, and instrumental J.i.
performance; he himself taught the most gifted conductors. The school TheNewJacob'sPillow opened formally on 8 July 1940, with speeches (Koussevitzky, alluding to the war then raging in Europe, said, Fifty-one and feisty "If ever there was a time to speak of Brash music, it is now in the New World") Bold and music, the first performance of Elegant Randall Thompson's Alleluia for unaccompanied chorus, which had International American been written for the ceremony and had arrived less than an hour before Futuristic the event was to begin, but which It's a new age of dance made such an impression that it has at Jacob's Pillow. remained the traditional opening music each summer. June 28-September 4 The emphasis at the Berkshire Music Center has always been not The Paul Taylor Dance Company on sheer technique, which students
Jazz Tap Ensemble learn with their regular private teachers, but on making music. Pillow Parade Although the program has changed New Directions: in some respects over the years, the Nina Wiener and Dancers; emphasis is still on ensemble Michael Moschen performance, learning chamber Hubbard Street Dance Company music with a group of talented Ballet '83: fellow musicians under the coaching New Views and Debuts of a master-musician-teacher. Many
Joyce Trisler Danscompany; of the pieces learned this way are Caick Hook Dance Theatre performed in the regular student
Ballet '83: recitals; each summer brings All That Glitters treasured memories of exciting performances by talented Jennifer Muller/The Works youngsters beginning a love affair Special Closing: A with a great piece of music. Anton Dolln In The Berkshire Music Center "Conversations... Diaghllev, NlJInsky, etc. ..." Orchestra performs weekly in concerts covering the entire Jacob's Pillow is located repertory under the direction of on George Carter Road student conductors as well as off Route 20 in Becket, members of the BMC staff and Massachusetts. visitors who are in town to lead the
Call Now: BSO in its festival concerts. The 413-243-0745 quality of this orchestra, put or write: together for just eight weeks each Jacob's Pillow Box Office summer, regularly astonishes Box 287 T Lee, Massachusetts visitors. It would be impossible to 01238 list all the distinguished musicians who have been part of that annual corps of young people on the verge of a professional career as educational programs at instrumentalists, singers, Tanglewood were extended to conductors, and composers. But it is younger students, mostly of high- worth noting that 18% of the school age, when Erich Leinsdorf members of the major orchestras in invited the Boston University School this country have been students at for the Arts to become involved with the Berkshire Music Center, and the Boston Symphony Orchestra's that figure is constantly rising. activities in the Berkshires. Today, Today there are three principal Boston University, through its programs at the Berkshire Music Tanglewood Institute, sponsors Center, each with appropriate programs which offer individual and subdivisions. The Fellowship ensemble instruction to talented Program provides a demanding younger musicians, with nine schedule of study and performance separate programs for performers for students who have completed and composers. most of their training in music and Today, alumni of the Berkshire who are awarded fellowships to Music Center hold important underwrite their expenses. It positions and play a vital role in the includes courses of study for musical life of the nation. instrumentalists, vocalists, Tanglewood and the Berkshire conductors, and composers. The Music Center, projects with which Tanglewood Seminars are a series of Serge Koussevitzky was involved A special instructional programs, this until his death, have become a summer including the Phyllis Curtin fitting shrine to his memory, Seminar for Singers, a Listening and a living embodiment of the vital, Analysis Seminar, and a Seminar for humanistic tradition that was Conductors. Beginning in 1966, his legacy. s^it;
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TANGLEWOOD INFORMATION
Ticket information for all Berkshire Festival events may be obtained at the desks at the Main Gate and at the Lion Gate or by calling 413-637-1940. Box office hours are from 10 a.m. until intermission on concert days, otherwise from 10 a.m. to 6 p.m.
Open rehearsals by the Boston Symphony Orchestra are held each Saturday morning at 10:30. Admission charge is $5.50, and the proceeds benefit the orchestra's Pension Fund.
The Lost and Found is in the superintendent's house near the Main Gate. Visitors who find stray property may hand it to any Tanglewood official.
Rest rooms and pay phones may be located on the map opposite.
The First Aid station is near the Main Gate. Physicians expecting calls are asked to leave their names and seat numbers with the guide at the Main Gate.
Limited parking facilities are available for invalids and the physically handicapped. Please ask the parking attendants.
Latecomers will be seated only at the first convenient pause in the program. Those listeners who need to leave before the concert is over are asked to do so between works, and not during the performance.
No smoking, eating, or drinking in the Tanglewood Shed, please. Your cooperation is appreciated.
The use of recording equipment at Tanglewood is forbidden at all times.
Cameras: You are welcome to bring cameras to Tanglewood, but please refrain from taking pictures during the music since the click of shutters, the winding of film, and the flash annoy your neighbors and distract the musicians. We thank you for your understanding and your courtesy.
Refreshments can be obtained in the area west of the Main Gate and at other locations on the grounds. Catering is by William Manewich. Visitors are invited to picnic before concerts.
T-shirts, posters, beach towels, postcards, books, and other souvenirs are on sale in the Glass House next to the Main Gate. Glass House hours are Monday through Saturday from 10 to 4; concert evenings from 6:30 to one hour after the concert; and Sunday from noon to one hour after the concert. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Berkshire Music Center.
The Tanglewood Music Store, adjacent to the Glass House and operated by the Boston Symphony Orchestra, stocks sheet music and musical supplies, scores, music books, and recordings. Whenever available, records and cassettes will feature the repertory and artists heard at Berkshire Music Festival concerts. The Tanglewood Music Store remains open for half an hour after the conclusion of each concert in the Shed.
BSO courtesy car provided by Hellawell Cadillac-Oldsmobile, Inc., Pittsfield.
Concerts of the Boston Symphony Orchestra and the Berkshire Music Center at Tanglewood are funded in part by the National Endowment for the Arts. Seiji Ozawa
His first professional concert appearance in North America came in January 1962 with the San Francisco Symphony Orchestra. He was music director of the Chicago Symphony's Ravinia Festival for five summers beginning in 1964, and music director for four seasons of the Toronto Symphony Orchestra, a post he relinquished at the end of the 1968-69 season. Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January of 1968; he had previously appeared with the orchestra for four summers at Tanglewood, where he This is Seiji Ozawa's tenth season as became an artistic director in 1970. music director of the Boston In December 1970 he began his Symphony Orchestra; in the fall of inaugural season as conductor and 1973 he became the orchestra's music director of the San Francisco thirteenth music director since its Symphony Orchestra. The music founding in 1881. directorship of the Boston Symphony Born in 1935 in Shenyang, China, followed in 1973, and Mr. Ozawa to Japanese parents, Mr. Ozawa resigned his San Francisco position studied both Western and Oriental in the spring of 1976, serving as music as a child and later graduated music advisor there for the 1976-77 from Tokyo's Toho School of Music season. with first prizes in composition and conducting. In the fall of 1959 he As music director of the Boston won first prize at the International Symphony Orchestra, Mr. Ozawa Competition of Orchestra Con- has strengthened the orchestra's ductors, Besan^on, France. Charles reputation internationally as well as Munch, then music director of the at home, leading concerts on the Boston Symphony and a judge at the BSO's 1976 European tour and, in competition, invited him to Tangle- March 1978, on a nine-city tour of wood for the summer following, and Japan. At the invitation of the he there won the Berkshire Music Chinese government, Mr. Ozawa Center's highest honor, the then spent a week working with the Koussevitzky Prize for outstanding Peking Central Philharmonic student conductor. Orchestra; a year later, in March While working with Herbert von 1979, he returned to China with the Karajan in West Berlin, Mr. Ozawa entire Boston Symphony for a came to the attention of Leonard significant musical and cultural Bernstein, whom he accompanied on exchange entailing coaching, study, the New York Philharmonic's spring and discussion sessions with Chinese 1961 Japan tour, and he was made musicians, as well as concert an assistant conductor of that performances. Also in 1979, orchestra for the 1961-62 season. Mr. Ozawa led the orchestra on its first tour devoted exclusively to include, for Philips, Richard Strauss's appearances at the major music Also sprach Zarathustra and Bin Helden- festivals of Europe. Seiji Ozawa and lehen, Stravinsky's Le Sacre du printemps, the Boston Symphony celebrated the Hoist's The Planets, and Mahler's orchestra's one-hundredth birthday Symphony No. 8, the Symphony of a with a fourteen-city American tour Thousand; for CBS, a Ravel collab- in March 1981 and an international oration with mezzo-soprano Frederica tour to Japan, France, Germany, von Stade and the Mendelssohn Austria, and England in October/ Violin Concerto with Isaac Stern; November that same year. and, for Telarc, Vivaldi's Four Seasons Mr. Ozawa pursues an active with violin soloist Joseph Silverstein, international career. He appears and music of Beethoven — the Fifth regularly with the Berlin Phil- Symphony, the Egmont Overture, harmonic, the Orchestre de Paris, and, with soloist Rudolf Serkin, the the French National Radio Orchestra, Fourth and Fifth piano concertos. the Philharmonia of London, and the Mr. Ozawa has also recorded Roger New Japan Philharmonic, and his Sessions's Pultizer Prize-winning operatic credits include the Paris Concerto for Orchestra and Andrzej Opera, Salzburg, London's Royal Panufnik's Sinfonia Votiva, both works Opera at Covent Garden, and commissioned by the Boston La Scala in Milan. Mr. Ozawa has Symphony Orchestra for its cen- won an Emmy for the BSO's tennial, for Hyperion records. With iJ^ "Evening at Symphony" television soloist Itzhak Perlman, Ozawa and series. His award-winning record- the orchestra recently recorded the ings include Berlioz's Romeo et Juliette, violin concertos of Earl Kim and Schoenberg's Gurrelieder, and the Robert Starer for Angel/EMI. Berg and Stravinsky violin con- Mr. Ozawa holds an honorary Doctor certos with Itzhak Perlman. Other of Music degree from the New recordings with the orchestra England Conservatory of Music. *7t
II WILL YOU TAKE A SEAT?
The Boston Symphony Orchestra would like to offer you a permanent place in the Shed at Tanglewood, along with the masters of great music. During our birthday celebration, your gift of $2,500 to the Hundredth Anniversary Fund will endow your favorite seat. Your name, or that of someone you wish to honor, will be inscribed on a plaque affixed to the chair. This special contribution will insure the enjoyment of BSO concerts at Tanglewood not only for our 100th season but for years to come. Further, it provides a rare opportunity for a very personal association with the Orchestra. Please, won't you be seated?
For further information, please contact the Friends' Office, Tanglewood, Lenox, Massachusetts 01240; telephone: (413) 637-1600 'Aza Raykhtsaum Pasquale Cardillo 'Nancy Mathis Peter Hadcock E-flat Clarinet Violas Burton Fine Bass Clarinet S. Dana chair Charles Craig Nordstrom Patricia McCarty Stoneman chair Mrs. David Bassoons Wilkison Ronald Sherman Walt Robert Barnes Edward A. Taft chair Jerome Lipson Roland Small Bernard Kadinoff Ruggiero Music Direciorship endowed by Matthew Joseph Pietropaolo John Moors Cabot Michael Zaretsky Contrabassoon Marc Jeanneret Richard Plaster BOSTON SYMPHONY Betty Benthin ORCHESTRA *Lila Brown Horns *Mark Ludwig Charles Kavalovski 1982/83 Helen Sagoff Slosberg chair Cellos Richard Sebring Jules Eskin First Violins Daniel Katzen Philip R. Allen chair Richard Mackey Joseph Silverstein Martha Babcock Concertmaster Vernon and Marion Alden chair Jay Wadenpfuhl Charles Munch chair Charles Yancich Emanuel Borok Mischa Nieland Esther 5. and Joseph M. Shapiro chair Assistant Concertmaster Trumpets Helen Horner Mclntyre chair Jerome Patterson Schlueter Max Hobart Robert Ripley Charles Roger Louis Voisin chair Robert L. Beal. and Luis Leguia Andre Come Enid and Bruce A. Beal chair Carol Procter Timothy Morrison Cecylia Arzewski *Ronald Feldman Edward and Bertha C. Rose chair Moerschel Bo Youp Hwang *Joel Trombones Miller John and Dorothy Wdson chair *Jonathan Ronald Barron chair Max Winder *Sato Knudsen ].P. and Mary B. Barger Bolter Harry Dickson Basses Norman Forrest f. Collier chair Hallberg Edwin Barker Gordon Gottfried Wilfinger Harold D. Hodgkinson chair Tuba Fredy Ostrovsky Lawrence Wolfe Schmitz Leo Panasevich Hearne Chester Joseph and William C Rousseau chai Carolyn and George Roudand chair Margaret Bela Wurtzler Sheldon Rotenberg Leslie Martin Timpani Alfred Schneider John Salkowski Everett Firth Raymond Sird chair John Barwicki Sylvia Shippen Wells Ikuko Mizuno *Robert Olson Amnon Levy Percussion *James Orleans Charles Smith Flutes Arthur Press Second Violins Timpanist Doriot Anthony Dwyer Assistant Churchill Marylou Speaker Walter Piston chair Thomas Gauger chair Fahnestock Fenwick Smith Frank Epstein Uritsky Vyacheslav Mr. and Mrs. Robert K. Kraft chair Charlotte and Irving W. Rabh chair Harp Ronald Knudsen Piccolo Ann Hobson Pilot Joseph McGauley Lois Schaefer Willona Henderson Sinclair chair Evelyn and C Charles Marran chair Leonard Moss Laszlo Nagy Oboes Personnel Managers *Michael Vitale Ralph Gomberg William Moyer *Harvey Seigel Mildred B. Remis chair Harry Shapiro *Jerome Rosen Wayne Rapier *Sheila Fiekowsky Alfred Genovese Librarians *Gerald Elias English Horn Victor Alpert *Ronan Lefkowitz Laurence Thorstenberg William Shisler *Nancy Bracken Phyllis Knight Beranek chair James Harper *Joel Smirnoff Clarinets *Jennie Shames Harold Wright Stage Manager *Nisanne Lowe Ann S.M. Banks chair Alfred Robison
*Participating in a system of rotated seating within each string section. The BSO Salutes Business
On Tuesday, June 21, John Williams conducted the Boston Pops in a special concert: Presidents at Pops 1983. Over 100 leading New England busiaesses were in attendance — each receiving 20 tickets for their senior management, key clients and friends.
A special gourmet picnic dinner and champagne is served at this festive occasion. Participation also includes the Leadership Dinner: an elegant dinner dance held on the floor of Symphony Hall, honoring the president or Chief Executive Officer of each company. Plan now to participate in Presidents at Pops 1984. The Program is sure to sell out quickly.
For information, please call Eric Sanders, Director of Corporate Development at Symphony Hall, phone: 617-266-1492. These companies participated in "PRESIDENTS AT POPS 1983"
ADCO Publishing, Inc. Houghton Mifflin Company Affiliated Publications Howard Johnson Company (The Boston Globe) E.F. Hutton& Company, Inc. Alpha Industries IBM Corporation Analog Devices, Inc. Ionics Incorporated Augat, Inc. John Hancock Bank of New England Mutual Life Insurance Company Barry Wright Corporation Johnson, O'Hare Company, Inc. BayBanks, Inc. Jones & Vining, Inc. Bell Manufacturing Company Kaufman & Co. Bentley College Kenyon & Eckhardt Blyth Eastman Paine Webber, Inc. Knapp King- Size Bolt Beranek and Newman Inc. LEA Group The Boston Consulting Group Label Art, Inc. Boston Edison Company Leach & Gamer Company Buckley & Scott Co. Lee Shops, Inc. Burgess & Leith Incorporated Liberty Mutual Insurance Co. Burr, Egan, Deleage & Company Marks International Cahners Publishing Co., Inc. Mercury International Trading Corp. Cesari & McKenna Narragansett Capital Corporation Charles River Breeding Laboratories, Inc. New England Mutual Citicorp, Inc. Life Insurance Company Clark- Franklin- Kingston Press New England Telephone Commercial Union Insurance Companies Newsome & Co., Inc. Computer Partners, Inc. Ocean Spray Cranberries Inc. Coopers & Lybrand O'Donnell-Usen Fisheries Country Curtains Parlex Corporation Creative Gourmets, Ltd. Patriot Bancorporation Cullinet Software, Inc. Peat, Marwick, Mitchell & Co. Damon Corporation Plymouth Rubber Company, Inc. Daniels Printing Pneumo Corporation Data Packaging Corporation Prime Computer, Inc. Digital Equipment Corporation Printed Circuit Corporation Dunkin' Donuts Prudential Insurance Company of America Dynatech Corporation Raytheon Company Eastern Gas & Fuel Associates Shawmut Bank of Boston Econocorp, Inc. Shaw's Supermarkets, Inc. Epsilon Data Management Signal Technology Corporation Ernst & Whinney Spencer Companies, Inc. Farrell, Healer & Co. State Stt-eet Bank & Trust Co. Wm. Filene's Sons Company The Stop & Shop Companies, Inc. First Boston Corporation The Stride Rite Corporation First National Bank of Boston Systems Engineering & Mfg. Corporation The Forum Corporation TA Associates Framingham Trust TAD Technical Services Corporation Frank B. Hall & Company Touche Ross & Co. of Massachusetts, Inc. Towle Manufacturing Company GTE Products Corporation Trans National, Inc.. Gadsby & Hannah Tucker, Anthony & R. L. Day General Cinema Corporation United States Trust Company The Gillette Company WBZ-TV h Giltspur Exhibits/Boston WCVB-TV Haemonetics Corporation WNEV-TV Hatoffs Wang Laboratories, Inc. Helix Technology Wheelabrator-Frye, Inc. Heritage Travel, Inc. Woodstock Corporation Herrick & Smith Zayre Stores
I JlH - -V».f-"
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D My check is enclosed. D Please bill me. character of the Boston Symphony A Brief History of the was greatly changed in 1918, when Boston Symphony Orchestra Henri Rabaud was engaged as conductor; he was succeeded the For many years. Civil War veteran, season Pierre Monteux. philanthropist, and amateur following by musician Henry Lee Higginson These appointments marked the beginning of a French-oriented dreamed of founding a great and tradition which would be permanent orchestra in his home maintained, even during the town of Boston. His vision Russian-born Serge Koussevitzky's approached reality in the spring of time, with the employment of many 1881, and on 22 October that year French-trained musicians. the Boston Symphony Orchestra's inaugural concert took place under the direction of conductor Georg Henschel. For nearly twenty years, symphony concerts were held in the old Boston Music Hall; Symphony Hall, the orchestra's present home, and one of the world's most highly regarded concert halls, was opened in 1900. Henschel was succeeded by a series of German-born and -trained conductors — Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler — culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906-08 and 1912- 18. Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first "Promenade" concert, offering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of music." These Henry Lee Higginson concerts, soon to be given in the springtime and renamed first The Koussevitzky era began in "Popular" and then "Pops," fast 1924. His extraordinary became a tradition. musicianship and electric personality During the orchestra's first proved so enduring that he served decades, there were striking moves an unprecedented term of twenty- toward expansion. In 1915, the five years. In 1936, Koussevitzky led orchestra made its first the orchestra's first concerts in the transcontinental trip, playing Berkshires, and a year later he and thirteen concerts at the Panama- the players took up annual Pacific Exposition in San Francisco. summer residence at Tanglewood. Recording, begun with RCA in the Koussevitzky passionately shared pioneering days of 1917, continued Major Higginson's dream of "a good with increasing frequency, as did honest school for musicians/' and in radio broadcasts of concerts. The 1940 that dream was realized with Drawing by Douglas McGregor People by Norman Rockwell
Since 1773
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the founding at Tanglewood of the Symphony Youth Concerts was initi- Berkshire Music Center, a unique ated. Erich Leinsdorf began his summer music academy for young seven-year term as music director in artists. Expansion continued in 1962. Leinsdorf presented numerous other areas as well. In 1929 the free premieres, restored many forgotten Esplanade concerts on the Charles and neglected works to the repertory, River in Boston were inaugurated by and, like his two predecessors, made Arthur Fiedler, who had been a many recordings for RCA; in member of the orchestra since 1915 addition, many concerts were and who in 1930 became the televised under his direction. eighteenth conductor of the Boston Leinsdorf was also an energetic Pops, a post he would hold for half a director of the Berkshire Music century, to be succeeded by John Center, and under his leadership a Williams in 1980. full-tuition fellowship program was Charles Munch followed Kousse- established. Also during these years, vitzky as music director in 1949. the Boston Symphony Chamber Munch continued Koussevitzky's players were founded, in 1964; they practice of supporting contemporary are the world's only permanent composers and introduced much chamber ensemble made up of a music from the French repertory to major symphony orchestra's this country. During his tenure, the principal players. William Steinberg orchestra toured abroad for the first succeeded Leinsdorf in 1969. He time, and the current series of Boston conducted several American and OPERfi FESTIVAL
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OLD CHATHAM NEWyORK12136 • (518)766-2222 Johannes Brahms necessarily from the composer of 7 May 1833 — 3 April 1897 "the music of the future," Wagner. It is ironic that so much ink was spilled over the two composers and their followers, when, in fact, both of them claimed allegiance to the same source: Beethoven. Each found what he needed there — and they were very different things, to be sure. Brahms was unusually knowledge- able about the music of the past. In fact, even today, when we have thousands of historical recordings to listen to and dozens of editions of
composers from all periods, a composer with the sheer historical learning of a Brahms would be regarded as a phenomenon. Brahms
learned it all the hard way — studying old scores and manuscripts, which he collected, reading centuries- The 150th anniversary of Brahms's old musical treatises and annotating birth is being celebrated during the their points of dispute with one 1983-84 season. another. (His library, still kept together at the Gesellschaft der Musikfreunde in Vienna, bears witness to his boundless thirst for
In an age of outspoken egotists knowledge on all subjects musical.) eager to proclaim their artistic values In a lighter vein, perhaps, especially in feisty manifestos, he was a quiet, to students who have struggled private man who preferred to let his through music theory courses, work speak for itself, even when Brahms kept a private catalogue of some outspoken critics blatantly passages in which the great com- misunderstood it. Against his will he posers broke one of the fundamental found himself chosen as the symbol rules of part-writing: the avoidance of a campaign against the musical of parallel fifths or octaves. But for trends headed by Wagner. The rift Brahms it was not simply a matter between the "Brahmsians" and the of catching Homer nodding — his
"Wagnerians" is one of the more manuscript contains citations from ridiculous aspects of nineteenth- Bach, Beethoven, and Mozart, some century music, and it was only in of his personal heroes, as well as this century that a composer could composers going well back into the safely espouse the two camps sixteenth century — as it was an together, as Schoenberg did when he attempt to learn why and when the wrote his famous essay "Brahms the "rules" can be broken and what
Progressive," which demonstrated artistic purpose it serves. brilliantly that many important techniques of modern music grew Brahms might be considered the quite naturally out of the things first "modern" composer in the
Brahms had done all along, not special sense that he was the first —
composer to take active part in the techniques but actually by recreating musicological movement. He edited them in terms of his own musical Schubert's symphonies for the first needs. Today there is scarcely any complete edition of that composer's composer who has not, at some works, and he edited keyboard music time, been powerfully influenced by of the French Baroque composer music written generations, even Francois Couperin as well. He may centuries, before his time. Until be the very first exemplar of a kind Brahms came along, that never
of composer that is now rather happened; if a composer knew even familiar — one to whom the entire his musical grandfathers, he was history of music is present and remarkably learned. available as a source of learning and The significance of Brahms's inspiration. Brahms's familiarity with studies of older music shows up older music played a powerful role in most directly, perhaps, in his choral
his own creative work, for he music. That is the medium in which reinvigorated forms and techniques the vast majority of older composers
such as the passacaglia in the last had written, and it is a medium that movement of the Fourth Symphony most nineteenth-century composers or the ground bass finale of the handled with little real under- Haydn Variations — that were regarded standing of the importance of as hopelessly antiquated. And he contrapuntal line. Most nineteenth- did it not simply by copying the century choral music is purely
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harmonic in interest and often painfully simplistic in its conception as a series of interweaving lines, which was always the glory of earlier centuries. But Brahms understood this. His choral music is never simply an imitation of the past (though he occasionally offers homage to such great predecessors as Schiitz or Bach), but it is always conceived fundamentally in accord with the linear nature of the ensemble; the result is a body of music that retains its strength today, when most of the vast ocean of
Romantic choral compositions have Brahms in his thirties dropped out of sight. Brahms's interest in line also plays As for the orchestra, Brahms's a part in his work as a song writer. work has never been as fundamental
He was not a devotee of poetry who as Beethoven's, though it has sought to capture every inflection of certainly remained firmly entrenched a text in his music. The melody came in the standard repertory ever since first, in partnership with the bass it first arrived there (which is to say, line; all else followed from that. after overcoming various degrees of He played a great deal of chamber prejudice and antipathy in various music himself, and he seemed to be places). The four symphonies are able to find new ways of treating the never long absent, and the four traditional genres that left him concertos — two for piano, one for indisputably the greatest composer violin, and one for violin and cello — of chamber music of the whole last have always been touchstones of a half of the century. The require- certain gigantic level of technique ments for the genres included, first of all, giving each player something interesting to do. Brahms's boundless technique could enliven a passage with a new countermelody, a syncopated accompaniment, an evocative rescoring. Always he recreated his materials, even from the beginning to the end of the movement — rare indeed is a simple repetition of something that has gone before. The beneficiaries of his bounty — the stringed instruments, piano, clarinet, and horn — have been endlessly grateful for the last century and have made his chamber music, along with Beethoven's, the foundation of the repertory.
Brahms in later life 'X^iM
(Seoar^ 'sz
Anyone with an ear for music can join the BSQ
Tune in to concerts by the Boston Symphony Orchestra. Fridays at 9 p.m. on WCRB 102.5 FM. New England's 24-Hour Classical Music Station.
Together, we can find the answers. Honeywell and bold musicianship. It is hard for middle of things (though not an us to realize now what a struggle all "outsider" either). His music often these works had originally to make hints at the ends of things — he sings their mark and be established in the of autumn, old age, and death, and repertory. As recently as 1900, when always in elegiac rather than Symphony Hall was being built, the dramatic terms. Perhaps, then, the joke went around Boston that the quintessential Brahms composition is required exit signs over the doors the Alto Rhapsody, in which Goethe's should say, "Exit in case of Brahms." text tells of one who is "ahseits" ("off This was a full quarter-century after to the side"), seeking from the the First Symphony, and three years psalter of the "Father of Love" the after the composer's death! But single chord that would reconcile familiarity has gradually helped us to him with humanity. Perhaps it is comprehend the rich inventiveness this strain of yearning to rejoin our of the composer's musical mind, fellow human beings that strikes
which is probably what made him such a responsive chord in our seem so difficult in the first place. personal isolations today. Certainly, Brahms always considered himself as the 150th birthday of Brahms an "Abseiter," someone who is "off passes, he is more than ever a to the side" of life, not quite in the musical presence among us.
— Steven Ledbetter
A BRAHMS CELEBRATION AT TANGLEWOOD marking the 150th anniversary of the composer's birth
The Four Symphonies: No. 1 (Friday, 8 July); No. 2 (Friday, 12 August); No. 3 (Sunday, 31 July); No. 4 (Friday, 12 August)
The Concertos: Piano Concerto No. 1 (Friday, 15 July); Piano Concerto No. 2 (Friday, 19 August); Violin Concerto (Saturday, 9 July); Double Concerto (Saturday, 16 July)
Academic Festival Overture (Sunday, 21 August); Tragic Overture (Friday, 22 July); Variations on a Theme by Haydn (Sunday, 17 July); Serenade No. 2 (Saturday, 16 July)
Alto Rhapsody (Friday, 29 July); A German Requiem (Saturday, 30 July)
Chamber Music: Violin Sonatas No. 1 (Thursday, 7 July), No. 2 (Friday, 12 August — Prelude), No. 3 (Friday, 19 August — Prelude); Cello Sonatas No. 1 (Friday, 8 July — Prelude), No. 2 (Wednesday, 3 August); Piano Quartet No. 1 in G minor. Op. 25 (Friday, 15 July — Prelude); Piano Quintet in F minor, Op. 34 (Thursday, 30 June); String Quartet No. 1 (Thursday, 30 June), String Sextet in B-flat (Friday, 1 July); Clarinet Trio (Friday, 1 July); Horn Trio (Saturday, 2 July)
Songs (Friday, 8 July — Prelude); Four Serious Songs (Thursday, 28 July); Choral Music (Friday, 29 July — Prelude) Music to your mouth.
Lobster pie, crisp native duck- ling, prime ribs, baked Indian pudding, grasshopper pie. Our hearty Yankee fare and libations taste as good as they sound. At The Publick House, traditions of cooking and hospitality go back about as far as symphonic ones. Why, we were feeding hungry travellers before Beethoven had his first birthday! We invite you to partake of dinner en route to Tanglewood, or supper on your way home. We're located only a few minutes (and two centuries) from the Massachusetts Turnpike and 1-86. So break your journey by breaking bread with us. ^.-^^y^ Buddy Adler Innkeeper n 1 i- i / j4r\T ¥ rublick U^Py House
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OOD TIME
The quiet woods and meadows and unpaved paths of New England's Old Sturbridge Village offer a pleasant respite from urban sprawl. Come see the lambs finding their legs near the 150-year-old steepled meetinghouse, and wildflowers brushing clapboard houses. Then visit with authentically- dressed artisans crafting their wares at the iciln, the blacksmith shop and ^ down the roads of this re-created village of the 1 830's. The traditions of a simpler America thrive here amid the old water-driven mills, the woridng farm, and the several homes aglow with period furnishings. * Come, relax and enjoy. It's time for you.
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July 16 7:30PM July 23 7:30PM Bach Verdi Mass in B Minor Aida ( ACT II)
Charles Dodsley Walker And... July 30 7:30PM Wagner Mozart Meirtersthger Solemn Vespers (SCENES) Mai 5 in CMinor John Mauceri
"-They are beautiful evenings, filled with great I music, the 100-voice Berkshire Festival Chorus, outstanding soloists and conductors, The Springfield Symphony Orchestra, the green lawns of a 500-acre campus, and the stars. Come. With family, with friends. Have a picnic. Wine & cheese are available on the grounds. Box seats: $12.00; Orchestra: $7.00. For reservations,.call (413) 229-6634 after 4 July. Tickets also avail- able at performances. The concert shed is on the campus of The Berkshire School in SW Mass., just north of Salisbury, Conn. Entry, parking, departure are all mercifully swift and simple. Sincerely Johann, Giuseppe, Richard, Wolfgang, Johannes and the Berkshire Choral Festival Berkshire School Ices on the west side of Route 4 t in southwestern Massachusetts, ,).5 miles north of Salisbury. Connecticut, or 3 miles south of the intersection of Routes 23 and 41 near South Egremont. Massachusetts,