TANGLEWOOD I contlucfo tfw £$o4ton Srumfentmu 0pme4faa
RCA Victor recreates all the eloquence of his interpretations in these brilliant "New Orthophonic" High Fidelity recordings
**Berlioz:The Damnation of Faust (complete)—Suzanne Danco, Soprano; David Poleri, Tenor; Martial Singher,
Baritone **Berlioz: Romeo and Juliet (complete)—Margaret Roggero, Contralto; Leslie Chabay, Tenor;
Yi-Kwei Sze, Bass **Brahms: Piano Concerto No. 2, in B Flat, op. 83—Artur Rubinstein, Piano *Beethoven:
Symphony No. 7, in A, op. 92 **Chopin: Piano Concerto No. 2, in F Minor. **Saint-Saens: Piano Concerto
No. 4, in C Minor—Alexander Brailowsky, Piano. **"New Orthophonic" High Fidelity. *High Fidelity. rcaVictor fIBST IN RECORDED MUSIC Hi BOSTON SYMPHONY ORCHESTRA
CHARLES MUNCH, Music Director
Berkshire Festival, Season 1955 (EIGHTEENTH SEASON) TANGLEWOOD, LENOX, MASSACHUSETTS FOURTH WEEK Concert Bulletin, with historical and descriptive notes by John N. Burk
COPYRIGHT, 1955, RY ROSTON SYMPHONY ORCHESTRA, INC.
Trustees of the Boston Symphony Orchestra, Inc.
Henry B. Cabot, President Jacob J. Kaplan, Vice-President Richard C. Paine, Treasurer Talcott M. Banks, Jr. Alvan T. Fuller C. D. Jackson Charles H. Stockton John Nicholas Brown Francis W. Hatch Michael T. Kelleher Edward A. Taft Theodore P. Ferris Harold D. Hodgkinson Palfrey Perkins Raymond S. Wilkins Oliver Wolcott
Trustees Emeritus Philip B. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry
Tanglewood Advisory Committee
Alan J. Blatj Henry W. Dwight F. Anthony Hanlon George E. Mole Lenges Bull George W. Edman Lawrence K. Miller Whitney S. Stoddard Jesse L. Thomason Bobert K. Wheeler H. George Wilde
Chairmen and Board of Selectmen (Ex officio): Stockbridge, Stephen W. Cooney; Lenox, Balph Henry Barnes; Lee, Warren A. Turner
THOMAS D. PEBBY, Jr., Manager G. W. Rector, N. S. Shirk, Assistant Managers 3. J. Brosnahan, Assistant Treasurer Rosario Mazzeo, Personnel Manager 1955 BERKSHIRE FESTIVAL Tanglewood Enjoy your own SYMPHONIANA THE 75TH ANNIVERSARY festival whenever f\N September 30th next jgjgjff; tne Boston Jp1 jk Symphony Orchestra you wish -on w begin its seventy- W *»m ^^ ^ fifth consecutive sea- son. Special events are RCA Victor Records planned for the anni- versary, including an Let these Berkshire Festival guest artists extended tour begin- be year-round guests in your record library ning October 10 and reaching as far south PIERRE MONTEUX...i(iWi7Vie as New Orleans. Fif- Boston Symph. Orch.: teen composers of this **mozart: Piano Concerto and other nations have No. 12 in A, (K. 414) ; Piano Concerto No. 18 in B Flat, been commissioned to (K. 456), Lili Kraus, Pianist write special works for **mszt: Les Preludes; Scri-
abin : Poeme d'Extase the season's concerts. *stravinsky: Rile of Spring Henry L. Higginson — A 75th anniversary ...with The San Francisco from a sketch by J. S. Sargent Symph. Orch.: permits reminiscence.
RIMSK Y-KORSAk'OFF : Schehe- In 1856 a young Bostonian began to study music razade, op. 35; franck: Symphony in D Minor in Vienna. His name was Henry Lee Higginson
. . . with The RCA Victor and lie was born to a family tradition of banking. Symph. Orch.: **chausson: Poem of Love His new experiences in that musical capital did not and the Sea, Gladys Swarth- result in making him a performing musician but Mezzo-soprano out, the} brought him a strong and lasting realization GREGOR PIATAGORSKY. 'Cello that music was a rare and precious thing, a more **STRAUSS, R.: Don Quixote, Boston Symph. Orch., deeply rewarding pursuit than the handling of dol- Munch, cond. lars. He also came to realize that his own country BRAHMS: Double Concerto in lacked, well to have, A Minor for 'Cello and Vio- and would do a symphony lin, Nathan Milstein, \ iolin; orchestra of standards then known only in Central Robin Hood Dell Symph. Europe. Mr. Higginson served in the Civil War Orch., Reiner, cond.
**bach, J. s. : Sonata No. 2 as major, duly went into banking, and eventually -in D; prokofieff: Sonata, accumulated enough money to bring to pass his Op. 119, Ralph Berkowitz, Piano fondest dream. RAVEL: Trio in A Minor; In 1881, or just 75 years ago, he gathered together *MKNDELSSOrtN : Trio No. 1 in D Minor, op. 49, Heifelz, Vi- an orchestra of the best musicians he could obtain olin; Rubinstein, Piano in Europe, a young German born conductor, Georg Tchaikovsky: Trio in A Mi- nor, Heifetz, Violin; Rubin- Henschel, to lead them, and announced concerts in stein, Piano downtown Boston. Through the years Mr. Higgin- ARTHUR FIEDLER ...and The son built his orchestra with a watchful eye. Wil- Boston "Poj)s" Orch. helm Gericke (1884-9; 1898-1906) drilled them *OFFENBACH: Gaitc Pari- sienne; Meyerbeer: Les into an immaculate ensemble and took them to New Patineurs York to the astonishment of that city. Arthur *straoss, j.: "Mr. Strauss Nikisch (1889-1893) was a poet of tones rather Comes to Boston"; 11 favor- ite Strauss compositions than a drill master, but Karl Muck (1906-08; 1912- Tenth Avenue *Slaughter on 18) was another perfectionist through whom the and other Ballet Selections; 14 modern ballet selections Boston orchestra became a byword of the utmost in *The Family All Together; orchestral performance. Ten family favorites The first World War brought the end of an era. *'*"New Orehophonic" High Fidelity. *Uigh Fidelity. The orchestra's owner after thirty-six years bowed to inevitable change and made it what all orchestras eventually had to be — a public trust. rcaVictor Pierre Monteux gave Boston a French regime FIRST IN RECORDED MUSIC (1919-1924) and then Serge Koussevitzky, a new and magic figure from Europe, became the conductor for 25 years. In these years the orchestra which at 5 Tanglewood . . .1955 BERKSHIRE FESTIVAL
gained something. first had been one of the few in the United States leave the hall without having could travel far and wide and find illustrious fellow They will not leave the hall without taking away orchestras on all sides. No longer a pioneer, the something enriching, something heart-warming. Boston orchestra remained a model. This is not the time to make analyses, to speak the In 1949 Koussevitzky retired and Charles Munch of the structure, the incomparable architecture, took his place. Mr. Munch was then one of the fore- absolute simplicity and clarity of the organisms most musicians in France and had been the con- that Beethoven knew how to create. We can see in ductor of four orchestras in Paris. He was more his sketchbooks what pain and suffering they cost. than a French artist. Strasbourg, his native town, What I should like to tell you about this music has two languages and lies between two cultures. today is briefly this: The principal reason why we Mr. Munch's mother was French, his father was musicians must always listen to this music and why Alsatian. He grew up literally surrounded by the we must make it heard is that it is above all human. music of Bach, for his father Ernest in Strasbourg Every one can find in it what he needs and what and his uncle Eugene in Mulhouse were leaders of he is searching for. And this is especially import- Bach's music in the cathedral of each city. Another ant for you my young friends. pupil Alsatian, Albert Schweitzer, who was once the This music, which is not sensual, not abstract, of Ernest, is the relative by marriage of Charles not dramatic in the sense of Wagner, not romantic Munch. in the sense of Schumann, not sentimental, not Mr. Munch has been conductor of the Boston pathetic — is all of them at once. And that is the this Symphony Orchestra for six years. In time reason why we must always live with it. his American public have come to know and admire It expresses everything that a human being can him as completely dedicated to his art, a musician feel: happiness and suffering. It is elevating and oblivious to outward show, who is not only absorbed ennobling. And it will forever be as necessary to by the music he is conducting but possessed by it, us who love music as faith is necessary to those who can penetrate and communicate it as perhaps who love Christ. It is Beethoven's message that other conductor living. In his book, "I a no Am gives to Schiller's words Conductor," recently published, Mr. Munch under- Briider, iiber'm Sternenzelt takes to advise musicians with ambitions, speaking Muss ein lieber Vater wohnen* out of his own experience. He describes his profes- significance that resounds throughout the entire sion as "a sacred calling, sometimes a priesthood." a world. And I hope with all my heart that our Fes- No profession is more exacting. "Fifteen years of tival, this guidance, will be a blessing that work and study do not make a conductor of a man under may unite us all — those who make music and those if he is not infused with an inner exaltation, an all- listen to it in a noble and fervent com- consuming flame, and a magnetism that can bewitch who — both the musicians of his orchestra and the audi- munion. ence. This is no boast. Mr. Munch is not in the *(Brothers, over the starry firmament must a loving Father dwell.) least concerned with describing his own attainments. He is essentially a modest man. He is holding up an ideal for all conductors, himself included. EXHIBITION AT THE BERKSHIRE MUSEUM WHY A SEASON OF BEETHOVEN An exhibition of photographs of famous musi- cians by George J. Kossuth is being shown at the CHARLES MUNCH, addressing the students of Berkshire Museum in Pittsfield. the Berkshire Music Center at its first assemblage The Berkshire Museum announces numerous on the July 3, defended his choice of Beethoven as exhibitions of interest through the Festival season, principal the Festival season: composer of including in July the works of Ezra Winter, the Please permit me to say a few words to those mural painter; water colors by Helmut Siber: of \ou who may perhaps be surprised and may even ''Paintings of the Weather"; prints by European reproach us for devoting a large part of the Festival artists and sculpture by Peter Abate. concerts to the music of Beethoven — as a large part of last year's was devoted to Berlioz. EXHIBITIONS IN THE GLASSED RECEPTION The fact is that if this music, written a hundred ROOM AT TANGLEWOOD: fifty years ago, does not always seem so immediate July 23-30: Sculpture by Peter Abate. Brookline, to the professionals, the musicians of our time, it Photographs of music and musicians, has never ceased to fascinate the music lovers, the Massachusetts; Stockbridge, Massachu- general public, the men of our time. by CLEMENS Kalischer, setts; 30-Aug. 6: Paintings, drawing, prints by What is the reason? Why does the public always July 6-14: come back to listen to the Eroica — or the Eighth Ture Bengtz, Lenox, Massachusetts; Aug. Symphony? Simply because music lovers know Sculpture and drawings by Miss Franc Epping, that after having heard this music, they will not Lenox, Massachusetts. 6 1955 BERKSHIRE FESTIVAL Tanglewood
NEW BOOKS CHAMBER SERIES Kroll, Rudolf Serkin, and A book by Mr. Munch, / am a Conductor, was William Isaac Stern, Piatigorsky, have generously offered their published last March by the Oxford University Press Gregor talents for the Chamber Concert Series, which and is a translation of Je suis Chef d'Orchestre, previously published in Paris. Copies of this book benefit the Revolving Scholarship Fund. may be had at the Tanglewood Music Store. COOLIDGE CONCERTS Music Under the Moon, by John G. W. Mahanna, The summer chamber music concerts established just published is on sale at the Music Store. It is a at South Mountain in Pittsfield in 1918 by Mrs. history of the Berkshire Festival from its beginnings Elizabeth Sprague Coolidge will begin July 30. in 1934. Of the 150 pages, 48 consist of illustrations. This season the South Mountain Association will present five concerts, on Saturday afternoons at PUBLIC REHEARSALS 4:00, in co-operation with the Elizabeth Sprague Coolidge Foundation in the Library of Congress and Boston The Saturday morning rehearsals by the the Fromm Music Foundation of Chicago. The through the remaining weeks Symphony Orchestra artists will be: July 30, the New Music String at a.m.) of the season (July 30; August 6, 13, 10 Quartet; August 6, the New York Woodwind Quin- to will be opened to the public, the receipts benefit tet with George Schick, piano; August 13, Alex- the Pension Fund of the Boston Symphony Orches- ander Schneider, violin, and George Schick, piano; tra. (Admission One Dollar.) August 20, Leontyne Price, soprano, Alexander Schneider, and an instrumental ensemble; August FESTIVAL BROADCASTS 27, the Budapest String Quartet. On Friday morn- ing, July 29, at 10 o'clock, the New Music String There will be broadcasts of Berkshire Festival per- Quartet will give a special "Young Audiences" Con- formances on the NBC Radio Network each Monday, cert for parents and children. A limited number of 8:15 to 9:00 E. D. T. Transcribed broadcasts will tickets are available without charge on application continue on Mondays through September 26. to Mrs. Willem Willeke, South Mountain Associa- tion, Pittsfield, Mass. TANGLEWOOD ON PARADE The photograph reproduced on the title page was will take place on Thursday, Aug. 11th for details see page 31 taken by Minot Beale, violinist of this Orchestra.
A red ribbon of the French Le- A huge red silk handkerchief
gion of Honour in his button- dangling from his coat-tail-
hole-Franz Liszt, playing the Richard Wagner, conducting. Beethoven "Emperor" Con- The red-letter occasion — the
certo. The Budapest Municipal Budapest Wagner-Liszt con-
Concert Hall was crowded. . . cert, March 10, 1875. . .
In the JULY issue of HIGH FIDELITY, the Magazine for Music Listeners, Vilmos Gergeley writes of this history-making musical event. Also in July: a complete Aaron Copland Discography by Arthur Berger; a new "Living with Music" adventure article by Jacques Barzun.
SINGLE COPIES available at the Tanglewood Bookshop-50c
Subscriptions: $6 a year, $10 for two, $13.50 for three. 4207 Publishing House, Great Barrington, Mass. :
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Griming mif Kahlen- und Leopoldiberg tur Zeit BeethQven$
Thirteenth Program THEATRE-CONCERT HALL
Wednesday Evening, July 27, at 8:30
NEW MUSIC STRING QUARTET
Broadus Erle, Violin Walter Trampler, Viola
Matthew Raimondi, Violin David Soyer, Cello BEETHOVEN
String Quartet in G major, Op. 18, No. 2
I. Allegro
II. Adagio cantabile
III. Scherzo: Allegro
IV. Allegro molto, quasi presto
String Quartet in E-flat major, Op. 127
I. Maestoso; Allegro
II. Adagio ma non troppo e molto cantabile
III. Scherzando vivace
IV. Finale (Allegro)
INTERMISSION
String Quartet in A minor, Op. 132
Assai sostenuto; Allegro
Allegro ma non tanto
Song of thanksgiving, in the Lydian mode, offered to the Divinity by one cured of illness Molto adagio; Andante
Alia marcia, assai vivace; Allegro appassionato
BALDWIN PIANO RCA VICTOR RECORDS 8 1955 BERKSHIRE FESTIVAL Tanglewood PROGRAM NOTES k BERKSHIRE PLAYHOUSE STOCKBRIDGE, MASS. Fourteenth Program William Miles, Director
Week of Suite for Orchestra (from the July 25 ••RECLINING FIGURE" Water Music) with Paul Lipson George Frideric Handel
Aug. 1 "EDWARD, MY SON" with Gage Clarke. Born in Halle, February 23, 1685: died in London. Howard Erskine and Eleanor Wilson April 14, 1759 Arranged by Sir Hamilton Harty* Aug. 8 "THE TENDER TRAP" Handel's Water Music was probably composed and per- formed in parts in 1715 and 1717. The original autograph Aug. 15 Shepperd Strudwick & Dierdre Owens in •SHADOW AND SUBSTANCE" has been lost. A suite from the music was published by John Walsh in 1720 and another version, differently ar- ranged, in 1740. The full suite of 20 movements was pub- Aug. 22 •TIME OUT FOR GINGER" lished in the Samuel Arnold edition (1785-1797). and ap- peared in the complete works as edited by Chrysander. Aug. 29 C\INE MUTINY COURT MARTIAL" Sir Hamilton Harty, arranged a suite of six movements in with Kendall Clark 1918, and then performed it at the Halle Concerts. In Handel's time, parties on the Thames were a Season co ntinues through Sept. 3. Nightly except favorite recreation of Londoners in the summer sea- at 8 45 -- tax incl. Mats. Sun. $2.75. $1.85, $1.20, son. R. A. Streatfield has described the custom in Wed. and Sat. at 2:30 — $1.85 and $1.20, tax incl. his Life of Handel (1909) : "The River Thames was then, far more than now, one of the main highways Foi • reservations write or telephone Box Office, Stockbridge 460 of London. It was still Spenser's 'silver Thames." and on a summer's day it must have presented a picture of life and gaiety very different from its present melancholy and deserted aspect. It was peopled by an immense fleet of boats devoted solely to passenger traffic, which were signalled by passing wayfarers from numerous piers between Blackfriars and Putney, just as one now signals a hansom or CRANE MUSEUM taxicab. Besides the humble boats that plied for hire, there were plenty of private barges fitted up with no little luxury and manned by liveried serv- Exhibits showing steps in making all -rag ants. The manners and customs of the boatnie'ii were peculiar, and their wit-combats, carried on in papers and the progress of paper -making (he rich and expressive vernacular of Billingsgate, from Revolutionary times to the present. were already proverbial . . . George I liked the River. When the Court was at Whitehall water parties to Richmond or Hampton Court were of frequent occurrence, and as often as not the royal barge was accompanied by an attendant boat laden with musicians." Handel, serving as Kapellmeister to Georg Lud- wig, Elector of Hanover, obtained leave of absence to visit England in 1712. He not only overstayed his leave, but came under the open patronage of the reigning Queen Anne, between whom and Georg there was no love lost. Handel, while thus still bound to the House of Hanover, composed his Ode Open 2 to 5 p.m. Monday through Friday, to Queen Anne, and his Te Deum and Jubilate for from June through September. Five miles east the hated Peace of Utrecht. When the Queen died in 1714, George was crowned George I of England Piltsfield on Route No. 9. of and Handel's position became suddenly precarious. DALTON, MASSACHUSETTS He was pointedly ignored by the new monarcb and
* Horn at Hillsborough, County Down. Ireland, December
One of Handel's true friends was Francesco To Visit the Main House for Geminiani, violinist and composer for the violin, two years younger than himself. Geminiani, so the LUNCHEON, COCKTAILS story goes, was asked to play one of his concertos and DINNER at Court, and replying, admitted a rubato in his style so incorrigible that no one could be trusted to accompany him and not be thrown off but Handel himself. Handel was accordingly asked, and accord- The Formal Gardens and Greenhouses ingly reinstated. But Handel had other colleagues equally ready are open for your pleasure to claim the credit for the good deed. One was the Baron von Kielmansegger, Royal Master of the Horse to King George, and his wife who was the natural daughter of the King's father by the Count- LENOX 670 ess von Platen.*
According to Mainwaring, Handel's first biog- rapher, in 1760, the year after his death, Kielman- segger took advantage of a projected water party by the King and his retinue on the Thames from Whitehall to Limehouse on August 22, 1715. He quietly arranged for Handel to compose and con- duct music on a barge within convenient hearing distance, but out of sight. The King was so pleased that he inquired as to the composer of the delightful OF BERMUDA open air music drifting across the water, and ac- cepted him on the spot. This is one of several WALKER STREET, LENOX, MASS. tales, none of which completely agree, and none of which can be absolutely relied upon. There can be no no precise information about the original score, for the autograph and parts are lost, COTTONS but twenty movements were published by Arnold in the first collected edition, and by Chrysander in CASHMERES 1886 — probably enough to have provided more than one royal Thames party, even though in each SUITS case the music went well into the evening. Early writers presumably did not know of these many DRESSES movements and were accordingly misled. John Walsh published (in parts only) a short suite in Accessories for Men and * This unprepossessing couple had made their way in the monarch's wake Women to Englund, and were there heartily disliked. The Baroness was "the King's principal favorite," in the circumspect language of Felix Borowski (in the notes of the Chicago Orchestra), "whose code of morality did not rest on a higher plane than that of her husband." Others have spoken more freely about the relation to her half brother of this truly Open Daily (Except Sunday) Hogarthian specimen of that lax era. Thackeray, in "The Four Georges," described her as "a large-sized noblewoman . . . denominated the Ele- 9:30 to 5:30 phant," and Horace Walpole as a boy was terrified by her girth: "Two fierce black eyes, large and rolling beneath two lofty, arched eyebrows, two acres of cheeks spread with crimson, an ocean of neck that over- Telephone Lenox 743 flowed and was not distinguished from the lower part of her jaw, and no part restrained by stays — no wonder that a child dreaded such an ogress!" 10 1955 BERKSHIRE FESTIVAL . . . Tanglewood
1720,* and on the strength of its popularity brought 5 SUMMER EVENING CONCERTS out in 1740 what he called "Handel's Celebrated new yopk Water Musick Compleat." But this was far from "compleat" — it had only eight movements. Pro musica Since the Water Music was intended for out-of- door uses, it naturally afforded Handel the oppor- antique tunity first to introduce the French horn into a score of his Noah Greenberg, Musical Director own. The horn was then regarded as Bernard Krainis, Associate Director an instrument for fanfares, and far too coarse for symphonic purposes. The length of this accumula- PROGRAMS of MEDIEVAL, RENAISSANCE and tion of short movements (for it is nothing else) and BAROQUE MUSIC the uncertainty as to its original instrumentation
Saturday, August 13 8:30 P.M. has afforded Sir Hamilon Harty an unquestionable French Chanson and English Madrigals right to choose his own suite and order it to present Saturday, August 20 8:30 P.M. needs as he has likewise done with the Fire Music. Italian Baroque Music * For "two French Horns, Violins or Hoboys, Tenor and Thorough Bass Saturday, August 27 8:30 P.M. for the Harpsichord, or Bass Violin." It is by no means certain that this William Byrd — Sacred and Secular Works was Handel's original orchestration.
Saturday, September 3 8:30 P.M. The Virgin in Medieval and Renaissance Music Symphony in D minor, No. 4, Op. 120 Sunday, September 4 8:30 P.M. Music of Spain and Germany Robert Schumann at the Hall, Town Born in Zwickau, June 8, 1810; died in Endenich, STOCKBRIDGE, MASSACHUSETTS July 29, 1856
Subscription to the series of 5 concerts: $10.00 Composed in 1841, at Leipzig, this symphony was first Single admission: $2.40 performed at a Gewandhaus concert on December 6 of the Please address inquiries, or make checks payable to same year. Schumann made a new orchestration in De- NEW YORK PRO MUSICA ANTIQUA cember, 1851, at Diisseldorf, and the revision was performed P.O. Box 31, Stockbridge, Massachusetts there on March 3, 1853, at the Spring Festival of the lower or phone Lenox 102M Rhine. It was published in December, 1853, as his Fourth Symphony.
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M. STEINERT & SONS 162 B0YLST0N ST., BOSTON • ALSO WORCESTER, SPRINGFIELD Fourteenth Program MUSIC SHED
Friday Evening, July 29, at 8:30
Handel Suite for Orchestra (From the Water Music) Arranged by Sir Hamilton Harty
I. Allegro IV. Hornpipe
II. Air V. Andante espressivo
III. Bourree VI. Allegro deciso
Schumann Symphony No. 4, in D minor, Op. 120
I. Ziemlich langsam; Lebhaft III. Scherzo: Lebhaft
II. Romanze : Ziemlich langsam IV. Langsam; Lebhaft (Played without pause)
Barber "Prayers of Kierkegaard" for Mixed Chorus, Soprano Solo, and Orchestra, Op. 30
Festival Chorus, Hugh Ross, Conductor
Soprano: LEONTYNE PRICE
Contralto: REGINA SARFATY Tenor: ARTHUR SCHOEP
INTERMISSION
Brahms Symphony No. 4 in E minor, Op. 98
I. Allegro non troppo III. Allegro giocoso
II. Andante moderato IV. Allegro energico e passionato
BALDWIN PIANO RCA VICTOR RECORDS 12 1955 BERKSHIRE FESTIVAL Tanglewood
Schumann wrote this symphony a few months ' S after the completion of his First Symphony in B-flat. ET PA «AD The D minor Symphony was numbered four only 0^ /5 £ because he revised it ten years later and did not publish it until 1853, after his three others had been written and published (the Second in 1846, the
Third in 1850) . This symphony, then, was the second in order of composition. It belongs to a year notable in Schumann's development. He and Clara were married in the autumn of 1840, and this event seems to have stirred in him a new and sig- nificant creative impulse: 1840 became a year of songs in sudden and rich profusion, while in 1841 Famous for he sensed for the first time in full degree the mastery of symphonic forms. He had written two Fine Food and Grog years before to Heinrich Dorn, once his teacher in OPEN EVERY DAY composition: "I often feel tempted to crush my piano — it is too narrow for my thoughts. I really Recommended by have very little practice in orchestral music now; still I hope to master it." products of 1841 A. A.A., Gourmet & Duncan Hines The show that he worked as well as dreamed toward TRADITIONALLY that end. As Mr. W. J. Henderson has well de- scribed this moment of his life: "The tumult of END OF PERFECT DAY AT THE A young love lifted him from the piano to the voice. The consummation of his manhood, in the union ON ROUTE 44 with a woman of noble heart and commanding in- Between Canaan and Norfolk, Connecticut tellect, led him to the orchestra. In 1841 he rushed into the symphonic field, and composed no less than Telephone Taylor 4-7495 three of his orchestral works."'"'
These works were the First, the "Spring" Sym- phony, which he began in January 1841, four months after his marriage, and completed in a few weeks; the "Overture, Scherzo and Finale" of April and May, and the D minor Symphony, which oc- months. There might also be For a Unique Vacation ••• cupied the summer mentioned the "Phantasie" in A minor, composed in the same summer, which was later to become the first movement of the piano concerto. But the two symphonies, of course, were the triumphant scores of the year. The D minor Symphony, no less than UNITY HOUSE its mate, is music of tender jubilation, intimately bound with the first full spring of Schumann's life in the Poconos — like the other a nuptial symphony, instinct with Thousand -acre woodland paradise... the fresh realization of symphonic power. 3-mile private lake. ..luxurious comfort... tempt- The Symphony is integrated by the elimination of ing cuisine... sparkling entertainment ... always pauses between the movements, and by thematic re- an interesting "crowd." currence, the theme of the introduction reappearing MORE FOR YOUR MONEY: owned and at the beginning of the slow movement, a phrase operated on a non-profit basis by the from the slow movement in the Trio of the Scherzo. INTERNATIONAL LADIES' GARMENT WORKERS' the first is used UNION at Forest Park, Pa., a short run from N. Y. The principal theme of movement or Philadelphia. EVERYBODY WELCOME! in the Finale, and a subsidiary theme in the first BROADWAY COMES TO THE POCONOS: movement becomes the leading theme in the Finale. Premier season! Unity House's ultra modern, air- This was a true innovation, foreshadowing the cyclic cooled theatre brings you new entertainment symphonies of many years later. "He desires," in thrills. the opinion of Mr. Henderson, "that the hearer's RESERVE NOW: N. Y. Office, 1710 Broadway, feelings shall pass, as his own did, from one state CO 5-7000; Phila. Office, 929 North Broad Street, to the next without interruption. In a word, this is ST 7-1004. Special rates to members of all bona fide unions. Booklet on request. the first symphonic poem, a form which is based upon the irrefutable assertion that 'there is no break
between two successive emotional states.' ' Its
*"Preludee and Studie«." — W. J. Henderson. 13 Tanglewood . . .1955 BERKSHIRE FESTIVAL
Foundation, completed in January "community of theme is nothing more or less than the Koussevitzky Music 1954, and dedicated "to the memory of Serge and Natalie an approach to the leit motive system." The Sym- Koussevitzky." The first performance was by this orchestra example of the symphonic phony is the most notable in Boston, December 3, 1954. customary formal procedure Schumann abandoning The composer has selected several prayers inter- romantic imagination take hold and shape to let his polated through Kierkegaard's writings and ser- matter to what end it will. It should be borne his mons, written between 1847 and 1855. They are in mind that the Symphony was first thought of by found in his Journals, in The Unchangeableness of its composer as a symphonic fantasia, that it was God and in Christian Discourses. published by him as "Introduction, Allegro, Ro- Mr. Barber is inclined to allow his music to speak manze, Scherzo and Finale, in One Movement." It in its own voice without verbal assistance from him- was in this, the published version, that he eliminated self. He admits however, on inquiry from this de- pauses between the movements, although this does partment, to having "delved a good bit into Kierke- not appear in the earlier version save in the join- gaard and writings about him." He remarks in a ing of the scherzo and finale. The work, save in letter: "His name was practically unknown in our the slow movement, has no "recapitulations" in the country until the late 1930's, even though a Kierke- traditional sense, no cut and dried summations. gaard renaissance had been in full swing in Europe Warming to his theme, Schumann expands to new during the previous quarter of a century. Then in thematic material and feels no necessity for return. the decade after 1936 almost the entire body of his The score is unmistakably of one mood. It is in- writings appeared here. American readers soon be- tegrated by the threads of like thoughts. Thematic came aware of Kierkegaard as a major literary recurrence becomes inevitable, because this unity figure and an exciting but enigmatic intellectual Prayers of Kierkegaard Visit the Little White Church On The Hill at New Concord, N. Y. (Dutch Ref.) for inspira- for Mixed Chorus, Soprano Solo and tion, peace, friendliness. Charming rural set- Orchestra, Op. 30 ting, quaint old village. Half hour west from Tanglewood. Route 41 north to 295, west to Samuel Barber East Chatham, then southwest one mile on county route 9. Born in West Chester, Pa., March 9, 1910 Worship Sunday at eleven. 'Prayers of Kierkegaard" was composed by commission of LEORA DANA • HURD HATFIELD POLLY ROWLES • CHRISTOPHER PLUMMER • JOAN CHANDLER and RODDY McDOWALL with a Company of Sixty in M 99 mw®^ (b&bs&ib" • "ffiais sssaiPBS'ff Performances as follows: JULIUS CAESAR-Eves.: July 12, 13, 14, 15, 16, 18, 19, 20, 21, 22, 23, 27, 29; Aug. 2, 4, 6, 8, 10, 12, 16, 18, 20, 22, 24, 26, 30; Sept. 1, 3. Mats.: July 13, 16, 20, 23, 30; Aug. 3, 13, 17, 27, 31. July Aug. 6, THE TEMPEST-Eves.: July 26, 28, 30; Aug. 1, 3, 5, 9, 11, 13, 15, 17, 19, 23, 25, 27, 29, 31; Sept. 2. Mats.: 27; 10, 20, 24; Sept. 3. TUESDAY, JULY 12th thw SATURDAY, SEPT. 3rd Write for information booklet. Plenty of hotel and room accommodations available. THEATRE COMPLETELY AIR-CONDITIONED i 14 1955 BERKSHIRE FESTIVAL Tanglewood World War II by reports about his influence upon the leading Existentialists. Indeed the contemporary The label with the great tradition . . . since 1898 philosophers, Sartre, laspers and Heidegger, have all paid tribute to this 'autumnal man.' Thus Kierkegaard's thought became a great force in our religious life even as it had become in Europe. It became the father of both the 'crisis theology' in Protestantism as well as of 'atheistic' Existentialism. He also influenced French Catholic thought." Male Chorus a cappella, repeated by full chorus: O Thou who art unchangeable, Whom nothing changes! May we find our rest and remain at rest in Thee unchang- ing. Thou art moved and moved in infinite love, by all things: the need of a sparrow, even this moves Thee; and what we scarcely see, a human sigh, this moves Thee, O infinite Love! But nothing changes Thee, O Thou un- ^>ujd1wml$ changing. Soprano solo: are now available in Lord Jesus Christ who suffered all life long that I, too, THE HANDSOME NEW STANDARD PACKAGE might be saved, and whose suffering still knows no end, this, too, wilt Thou endure: saving and redeeming me, this for the music-Iover-on-a-budget patient suffering of me with whom Thou hast to do — I who and so often go astray. THE GALA "PERFECTIONIST" PACKAGE Chorus: factory-sealed, with libretto, notes, etc. Father in Heaven, well we know that it is Thou that giveth both to will and to do, that also longing, when it Ask your friendly, informed New England dealer leads us to renew the fellowship with our Saviour and Re- for the complete Angel Records catalogue, or write: deemer, is from Thee. Father in Heaven, Longing is Thy Dario Soria, Pres., Electric & Musical Industries (U.S.) Ltd. gift. 38 West 48 Street, New York City Soloists with Chorus: But when longing lays hold of us, O that we might lay hold of the longing! when it would carry us away, that we also might give ourselves up! when Thou art near to sum- mon us, that we also in prayer might stay near Thee! when Thou in the longing dost offer us the highest good, Oh, that we might hold it fast! S. HUROK Triple Chorus: is honored to announce Father in Heaven! An Extraordinary Series of 5 Concerts Chorale: by Hold not our sins up against us but hold us up against ARTUR our sins: So that the thought of Thee should not remind us of what we have committed but of what Thou didst for- RUBINSTEIN give; Not how we went astray, but how Thou didst save us! with LEONTYNE PRICE was born in Laurel, Mississippi, where she began her musical studies as a pianist. She at- Symphony tended Wilberforce College in Ohio and won a scholarship for study at the Juilliard School of Music in New York. Orchestra She sang in the revivals of Virgil Thomson's Four Saints in Three Acts and Gershwin's Porgy and Bess. Studying in the conducted by ™~- Opera Department of the Berkshire Music Center at Tangle- ALFRED wood in 1951, she sang in Strauss' Ariadne auf Naxos. In WALLENSTE1N 1953 she appeared with William Warfield (her husband) in a concert version of Porgy and Bess (Act II) at "Tangle- In Programs Devoted to the Great Works for wood on Parade." Piano and Orchestra Including all the Beethoven and Brahms Concert CARNEGIE HALL, TUES. Eve., FEB. 7; FRI. Eve., FEB. 10; WED. Eve., FEB. 15; FRI. Symphony in E minor, No. 4, Op. 98 Eve., FEB. 17; SUN. Eve.,. FEB. 19, 1956 Johannes Brahms Born in Hamburg, May 7, 1833; died in Vienna, Subscription Prices for Five Concerts: Parquet April 3, 1897 & First Tier Boxes $21 .60; Second Tier Boxes $18.90; Dress Circle $16.20 & $14.60; Balcony The first two movements were composed in the summer of $11.25 & $9.00; Family Circle $6.75. Tax Incl. in of 1885. Sym- Please make checks payable and matt to 1884; the remaining two the summer The Carnegie Hall, 7th Ave. & 57th St., N. Y. 19 phony had its first performance at Meiningen, October 25, and enclose a Stamped, self-addressed envelope. 1885, under the direction of the composer. SEATS FOR SINGLE CONCERTS NOT AVAIL- ABLE UNTIL NOV. 13, 1955 When Brahms returned to Vienna at the end of September 1885, Max Kalbeck sat with him over a Fifteenth Program MUSIC SHED Saturday Evening, July 30, at 8 :30 BEETHOVEN Overture to Goethe's "Egmont," Op. 84 Concerto for Pianoforte No. 5 in E-flat major, Op. 73 ("Emperor") I. Allegro II. i Adagio un poco mosso III. \(Rondo: Allegro ma non tanto INTERMISSION Symphony No. 3 in E-flat major, "Eroica," Op. 55 I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto Soloisl RUDOLF SERKIN BALDWIN PIANO RCA VICTOR RECORDS 16 1955 BERKSHIRE FESTIVAL. . . Tanglewood cup of coffee and pressed him as far as he dared for news about the musical fruits of the past sum- You Feel Better mer. He asked as a leading question whether there might be a quartet. " 'God forbid,' said Brahms, ac- in the cording to Kalbeck's account in his biography, 'I have not been so ambitious, I have put together only Berkshire Hills a few bits in the way of polkas and waltzes. If you would like to hear them, I'll play them for you.' I of Massachusetts went to open the piano. 'No,' he protested. 'Let it alone. It is not so simple as all that. We must get It's fun to visit the Berkshires. Nearly hold of Nazi.' He meant Ignaz Briill and a second piano. Now I realized that an important orchestral everyone will agree that the beautiful work, probably a symphony, was afoot, but I was scenery, invigorating air, endless attrac- afraid to ask anything more for I noticed that he tions friendly people the Berk- and make already regretted having let his tongue run so far. shires an ideal vacation location every "A few days later he invited me to an Ehrbar eve- season of the year. You just feel more ning — a musical gathering in the piano ware- alive in the Berkshires. rooms of Friedrich Ehrbar. There I found Hanslick, * Billroth, Brahms, Hans Richter, C. F. Pohl, and Gustav Dompke. While Brahms and Briill played, Here's a worthwhile suggestion: plan Hanslick and Billroth turned the manuscript pages. a Fall vacation in the Berkshires. You'll Dompke and I, together with Richter, read from the enjoy nature's breathtaking spectacle as score. It was just as it had been two years before at the trying-out of the Third Symphony, and yet the foliage turns to riotous colors. And it was quite different. After the wonderful Allegro, there'll be hundreds of sights to see, one of the most substantial, but also four-square places to go! and concentrated of Brahms' movements, I waited * for one of those present to break out with at least a Bravo. I did not feel important enough to raise Don't forget Winter is an important my voice before the older and more famous friends Berkshire season, too! Happy hours of of the master. Richter murmured something in his skiing and other winter sports attract blond beard which might have passed for an expres- thousands from every quarter. There's sion of approval; Briill cleared his throat and nothing quite like an evening in front fidgeted about in his chair. The others stubbornly made no sound, and Brahms himself said nothing of the fire after a busy, fun-packed to break the paralyzed silence. Finally Brahms Berkshire day! growled out, 'Well, let's go on!' — the sign to con- No matter what time of year you visit tinue: whereupon Hanslick uttered a heavy sigh as if he felt that he must unburden himself before it these world-famed Hills, you'll enjoy the was too late, and said quickly, 'The whole move- never-ending hospitality of fine hotels, ment gave me the impression of two people pum- inns, motels and guest houses. melling each other in a frightful argument.' Every- one laughed, and the two continued to play. The And speaking of hospitality, the Berk- strange-sounding, melody-laden Andante impressed shires are ideal for your next group me favorably, but again brought no comment, nor meeting or convention. You'll find could I bring myself to break this silence with some complete facilities for meetings of all clumsy banality." types, in surroundings which cannot be Kalbeck, who had borne nobly with Brahms up equalled. to this point, found the Scherzo "unkempt and heavily humorous," and the finale a splendid set For details about this beautiful region, of variations which nevertheless in his opinion had list of real estate agents, and informa- no place at the end of a symphony. But he kept his tion on places to stay, write: counsel for the moment, and the party broke up rather lamely with little said. When he met Brahms the next day it was clear that the composer had been taken aback by this reception of his score. BERKSHIRE HILLS CONFERENCE " 'Naturally I noticed yesterday that the symphony didn't please you and I was much troubled. If County Court House, Pittsfield 30, Mass. people like Billroth, Hanslick, or you others do not like my music, who can be expected to like it?' 'I 17 Tanglewood . . .1955 BERKSHIRE FESTIVAL don't know what Hanslick and Billroth may think Fifteenth Program of it,' I answered, 'for I haven't said a word to them. I only know that if I had been fortunate enough to be the composer of such a work, and Overture to Goethe's "Egmont," Op. 84 could have the satisfaction of knowing that I had put three such splendid movements together, I would Ludwig van Beethoven not be disturbed. If it were for me to say, I would Born in Bonn, December 16 (?), 1770; died in Vienna, March 1827 take the scherzo with its sudden main theme and 26, in 1810, the Overture (together with the in- banal second thoughts and throw it in the waste- Composed cidental music) was first performed at a production of basket, while the masterly chaconne would stand Goethe's play by Hartl in the Hofburg Theater in Vienna. variations, leaving the remain- on its own as a set of May 24, 1810. ing two movements to find more suitable com- It is said that Beethoven hoped to get a commis- panions.' " Kalbeck was surprised at his own te- sion for music to Schiller's William Tell, and would merity in venturing so far with the sensitive and have preferred it. Certainly there are no signs of irascible composer, and waited for the heavens to half-heartedness in the Egmont music. descend, but Brahms received this judgment meekly, The heroic Count of the Netherlands, champion only protesting that the piano could give no ade- of liberty and independence for his people, meeting quate idea of the scherzo, which had no connection death on the scaffold under an unscrupulous dic- whatever with the keyboard, and that Beethoven tator, was an ideal subject for the republican Bee- in the Eroica and elsewhere had made use of a vari- thoven. His deep admiration for Goethe is well ation finale. It was plain that he was in serious known. doubt as to whether the symphony would be ac- Without going into musical particularization, it is cepted at all. He decided, however, after a long easy to sense in the overture the main currents of conversation, that having gone so far he must see the play: the harsh tyranny of the Duke of Alva, it through, and that a rehearsal with orchestra at who lays a trap to seize Egmont in his palace, and Meiningen could be hoped to give a more plausible account of the symphony and even to give the "nasty scherzo" a presentable face. The opinion of the discerning Von Biilow was more encouraging. He wrote after the first re- NEW ENGLAND'S FINEST AND hearsal : "Number four is stupendous, quite original, MOST COMPLETE MUSIC HOUSE individual, and rock-like. Incomparable strength from start to finish." But Brahms may have dis- SHEET MUSIC • RECORDS • ALBUMS counted this as a personally biased opinion, as he • Literature and Study Books Instruments certainly discounted the adoring Clara Schumann • Excellent stock of small scores Musical Gifts and Lisl Herzogenberg, when he weighed their • Organs Pianos words against the chilling skepticism of his male WE MAIL EVERYWHERE cronies. • The Fourth Symphony was greeted at its first per- 116 BOYLSTON STREET BOSTON 16 formances with a good deal of the frigidity which Brahms had feared. The composer was perforce ad- mired and respected. The symphony was praised — with reservations. It was actually warmly re- At Home, Enjoy the Finest Music ceived at Leipzig, where there was a performance at the Gewandhaus on February 18, 1886. In Vienna, with a jSOQC^tt Hi-Fi System where the symphony was first heard by the Phil- harmonic under Richter, on January 17, it was dif- It's easy to enjoy a famous custom hi-fi music ferent. "Though the symphony was applauded by system by Bogen. For as little as $200 you the public," writes Florence May, "and praised by can have a superb radio-phonograph system all but the inveterately hostile section of the press, that will reproduce music with the "presence" it did not reach the hearts of the Vienna audience in the same unmistakable manner as its two immedi- of the live concert itself. See and hear it at: ate predecessors, both of which had made a more 2nd floor - 11 No. Pearl St. striking impression on a first hearing in Austria Hi-Fidelity Centre Home Savings Bank Bldg. than the First Symphony in C minor" (apparently Albany, New York Vienna preferred major symphonies!). Even in Meiningen, where the composer conducted the Sym- phony with Biilow's orchestra, the reception was Refreshments are served at the Tanglewood mixed. It took time and repetition to disclose its Cafeteria before concerts and at intermission. great qualities. 18 1955 BERKSHIRE FESTIVAL Tanglewood terrorizes the burghers of Brussels, as his soldiery the serious, sober, thoughtful man of reason, and patrol the streets, under the decree that "two or the genial, carefree soul replete with life and power, three, found conversing together in the streets, are, believing in the stars and rejecting judicial circum- without trial, declared guilty of high treason"; the spection. Egmont's spirit is akin to his; he is in- dumb anger of the citizens, who will not be perma- deed blood of his blood." The poet wrote his play nently cowed; the noble defiance and idealism of scene by scene in the ensuing years, completing it Egmont which, even after his death, is finally to in Rome in 1787. prevail and throw off the invader. It has been objected that the Egmont of histon Goethe in the autumn of 1775 happened upon a was not the romantic martyr of Goethe ; that he was history of the Netherlands, written in Latin by a family man who was compelled to remain in Strada, a Jesuit. He was at once struck with the Brussels as the danger increased, because he could alleged conversation between Egmont and Orange, not have fled with all of his children. Yet Goethe in which Orange urges his friend in vain to flee stated, not unplausibly, in 1827, that no poet had with him, and save his life. "For Goethe," writes known the historical characters he depicted; if he Georg Brandes, "this becomes the contrast between had known them, he would have had hard work in utilizing them. "Had I been willing to make Eg- mont, as history informs us, the father of a dozen CHESTERWOOD children, his flippant actions would have seemed too absurd ;and so it necessary to Stockbridge, Massachusetts was for me have another Egmont, one that would harmonize better with the scenes in which he took part and my poeti- The Studio of cal purposes; and he, as Clarchen says, is my Eg- DANIEL CHESTER FRENCH mont. And for what then are poets, if they wish famous American sculptor only to repeat the account of a historian?" Open June 26 to October 3 Concerto No. 5, E-flat, for Pianoforte 11:00 a.m. to 6:00 daily, except Mondays and Orchestra, Op. 73 Ludwig van Beethoven Admission — Fifty Cents Born in Bonn, December 16 (?), 1770; died in Vienna, A ^ March 26, 1827 Beethoven's "Emperor" Concerto was completed in the year 1809. Its first performance took place in Leipzig prob- SOUTH MOUNTAIN CONCERTS ably in the year 1810 when Johann Schneider was the pianist. The first performance in Vienna was on February Five Saturday Afternoons at 4 12, 1812, Karl Czerny taking the solo part. Pittsfield, Mass. In the very first measures (three broad chords New Music String Quartet July 30 for the orchestra, each followed by slow passages of Alexander Schneider, violin Aug. 6 elaborate bravura) there is established at once the George Schick, piano then unprecedented atmosphere of sweeping and N. Y. Woodwind Quintet Aug. 13 Leontyne Price, soprano Aug. 20 imperious grandeur. Beethoven's last concerto was Budapest String Quartet Aug. 27 the climax of a steady advance in this direction New Music Quartet "Young Audiences" Concert for from the Mozartean B-flat Concerto of twelve years parents and children earlier. The progress could be compared with that FRIDAY MORNING, JULY 29, al 10:00 from the First Symphony to the Eroica (the latter Write: South Mountain Ass'n Phone: Pittsfield 6517 PITTSFIELD, MASS. indeed composed five years earlier than this Con- certo). MANHATTAN SCHOOL OF MUSIC Janet D. Schenck, Director Bachelor and Master of Music Degrees , . • ronstein • • „. . . , , (Franco Autori Raphael Bron John Brownlee Vittorio Distinguished faculty J . .. f . RobertB„w ftnlHGoldsandMnH • Hugh Ross • Bernard Greenhouse in clud es • 1 Howard Murphy Jonel Perlea Catalog on Request 238 EAST 105TH STREET, • • NEW YORK 29, NEW YORK 19 Tanglewood . . .1955 BERKSHIRE FESTIVAL He is playing for the first time at Tanglewood. Mr. and There is more than the "heroic" key of E-flat Mrs. Serkin (who was the daughter of Adolf Busch) make major to suggest a similarity between the Eroica their home in Brattleboro, Vermont. and the "Emperor" Concerto. One is the long ex- position which follows the introduction in the Con- certo. The orchestra alone presents the thematic Symphony No. 3 in E-flat, "Eroica," Op. 55 material at length and, as in the opening movement Ludwig van Beethoven of the Eroica, it is no simple matter of a first and second theme but a complex of thematic ideas, each Born in Bonn, December 16 (?), 1770; died in Vienna, March 26, 1827 engendered by the last. After they have been spread forth with leisurely amplitude the piano at last Composed in the years 1802-1804, the Third Symphony claims its prerogative and assumes the first place, was first performed at a private concert in the house of Prince von Lobkowitz in Vienna, December, 1804, the com- making the erstwhile symphonic themes primarily poser conducting. The first public performance was at its solo part traverses elaborate figures own. The the Theater an der Wien, April 7, 1805. which, however, never obscure the thematic outlines, Those who have listened to the Eroica Symphony but unfailingly intensify them and enhance the de- have been reminded, perhaps too often, that the velopment. Beethoven* writes his own cadenza of composer once destroyed in anger a dedication to twenty measures into the score, and, by explicit di- Napoleon Bonaparte. The music, as one returns to rection, forestalls weakling interpolations. The it in the course of succeeding years, seems to look slow movement (in B major) is short, like that beyond Napoleon, as if it really never had any- of the G major Concerto, and like that illustrious thing to do with the man who once fell short of predecessor consists of a sort of duologue between receiving a dedication. Sir George Grove once orchestra and piano. Here the muted strings intone wrote: "Though the Eroica was a portait of Bona- their noble and tender theme, which the piano an- parte, it is as much a portrait of Beethoven himself swers with a pianissimo passage of its own, in — but that is the case with everything he wrote." gently descending triplets. The free, searching im- Sir George's second remark was prophetic of the provisation of the piano ascends by trills in half- present point of view. The name of Napoleon is now steps, arousing a sense of expectancy which is little associated with the score, except in the form resolved as it is clarified at last upon the theme of of an often repeated anecdote. the orchestra. The piano sings the theme in a full The concept of heroism which plainly shaped exposition. Wood winds and strings are then softly blended with a dreamy and constantly shifting figure from the piano. The music dies away upon a Art Film Theatre mysterious sense of anticipation, and over a sus- LITTLE CINEMA S the Berkshires tained note of the horns the piano gives a soft SEVENTH SEASON intimation, still in the adagio tempo, of the lively NEW! Projection — Sound — Wide Screen! rondo theme which immediately follows. The piano Nightly at 8:15, Saturdays Continuous from 7:00 p.m. takes the thematic lead in this finale, which is long, Always cool and comfortable and brilliantly developed. The theme which leads • THE BERKSHIRE MUSEUM, Pittsfield, Mass. * off the final rondo, if one could hear it without knowing what was to follow, would seem little more Jacob's Pillow Dance Festival than a leaping figure on the elementary skeleton chord do-mi-sol-do. It is the development which Ten Weeks — July 1st - Sept. 3rd reveals in the theme vitality impulsion. and Famous Stars and Companies There is no need to question the rapid changes of Telephone: Lee 745 • Write: Box 87, Lee, Mass. mood in this Concerto. The first movement by turn proclamatory, nobly assertive, gently pensive; the slow movement which lifts the hearer to a special realm of dreaming, the finale which strides and leaps and shifts suddenly from the impetuous to the tender: these sudden changes would make no logical sense in literature or in any prosaic train of thought. LIKE MAGIC . .YOU frame any size In music and particularly in Beethoven where no art print or photo beautifully with mood is exactly like a mood of any non-musical experience, they are logic itself — the true com- BRAQU ponents of a rounded and masterly structure. the quality adjustable picture frame. RUDOLF SERK1N was born in Eger, Bohemia (Czecho- Lucite or Stainless Steel, $1.50 each. slovakia) in 1903. He had his musical education in Vienna where he studied piano with Richard Robert and composi- BRAQUETTE, INC., LENOX, MASS., DEPT. BA tion with Arnold Schoenberg. He was seventeen when he first became associated with the late Adolf Busch, playing sonatas for violin and piano in Europe, and it was in these recitals that he made his debut in the United States in 1936. 20 1955 BERKSHIRE FESTIVAL. . . Tanglewood this symphony, and which sounds through so much of Beethoven's music, would give no place to a self- styled "Emperor" who was ambitious to bring all Europe into vassalage, and ready to crush out countless lives in order to satisfy his ambition. If the Eroica had ever come to Napoleon's attention, which it probably did not, its inward nature would have been quite above his comprehension — not to speak, of course, of musical comprehension. Its Williams Inn suggestion is of selfless heroes, those who give their lives to overthrow tyrants and liberate oppressed WILLIAMSTOWN, MASStts peoples. Egmont was such a hero, Leonore such a heroine. motive on Williams College Campus The that gave musical birth to those two characters also animated most of Bee- Plan a trip to Williamstown, the Village Beautiful thoven's music, varying in intensity, but never in kind. It grew from the thoughts and ideals that • Williamstown Summer Theatre had nurtured the French Revolution. Beethoven was never more completely, more erup- • 18 Hole Taconic Golf Course tively revolutionary than in his Eroica Symphony. Its first movement came from all that was defiant • Sterling and Francine Clark Art Institute in his nature. He now tasted to the full the intoxica- (Housing one of the greatest collections of tion artistic Fine Art in America) of freedom. This hunger for freedom was one of his deepest impulses, and it was piqued • Luncheon, Cocktails and Dinner at this lovely by his sense of servitude to titles. Just or not, the Treadway Inn resentment was real to him, and it increased his kinship with the commoner, and his ardent repub- John F. Treadway, Innkeeper licanism. The Eroica, of course, is no political document, except in the degree that it the Telephone — Williamstown 550 was deep and inclusive expression of the composer's point of view at the time. And there was much on his heart. This was the first outspoken declaration of independence by an artist who had outgrown the mincing restrictions IN THE of a salon culture in the century just ended. But, more than that, it was a reassertion THEATRE Adams Memorial Theatre of will power. The artist, first confronted with the FOUNDATION, INC. ON THE CAMPUS OF downright threat of total deafness, answered by an unprecedented outpouring of his creative faculties. Williams College There, especially, lie the struggle, the domination, the suffering, and the triumph of the Eroica Sym- phony. The heroism that possesses the first move- Week oj ment is intrepidity where faith and strength be- June 28 "THE TIME OF THE CUCKOO" come one, a strength which exalts and purifies. July 5 "LIGHT UP THE SKY" The funeral march, filled with hushed mystery, has no odor of mortality; death had no place in Bee- July 12 "GIGI" thoven's thoughts as artist. The spirit which gathers and rises in the middle portion sweeps inaction aside July 19 "THE CRUCIBLE" and becomes a life assertion. The shouting triumph July 26 "PICNIC" of the variation Finale has no tramp of heavy, crushing feet; it is a jubilant exhortation to all August 2 "TOVARICH" mankind, a foreshadowing of the Finales of the August 9 "THE LATE GEORGE APLEY" Fifth and Ninth Symphonies. It is entirely incon- gruous as applied to the vain and preening Corsican August 16 "THE RAINMAKER" and his bloody exploits. Beethoven may once have had some misty idea of a noble liberator; he was August 23 A New Play (lo be announced) to have an increasingly bitter experience of the August 30 "ONDINE" misery which spread in Napoleon's wake. TUES. through SAT. EVE. - SAT. MAT. PUBLIC REHEARSALS $1.10 - $1.65 - $2.20 (Tax Incl.) ADMISSION $1 EACH Box Office Williamstown 538 July 30, August 6, 13 at 10 A.M. Sixteenth Program MUSIC SHED Sunday Afternoon, July 31, at 2:30 PIERRE MONTEUX, Conductor BRAHMS Academic Festival Overture, Op. 80 Concerto for Violin and Cello with Orchestra, -in-A-min or, Op.102 I. Allogro II. Andante HI. Vivuuu non troppo INTERMISSION Symphony No. 1 in C minor, Op. 68 I. Un poco sostenuto; Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio; Allegro non troppo ma con brio SoloisM ISAAC STERN ' GREGOR PIATIGOROir BALDWIN PIANO RCA VICTOR RECORDS 22 1955 BERKSHIRE FESTIVAL . . . Tanglewood Sixteenth Program Be sure and make reservations PIERRE MONTEUX was born in Paris, April 4, 1875. for the He began his career as violist at the Opera Comique and the Concerts Colonne. From 1912 he conducted Diaghileff's SATURDAY NIGHT Ballet Russe, introducing such music as Stravinsky's Pe- trouchka, Le Sacre du Printemps, and Le Rossignol; Ravel's SMORGASBORD Daphnis et Chloe and Debussy's Jeux. He toured the United States with the Ballet Russe in 1916-17. He conducted at the Paris Opera and his own Concerts Monteux in Paris. He became conductor at the Metropolitan Opera House in all you can eat only Jfp^j. \)o 1917-18 and was the conductor of the Boston Symphony enjoy our Orchestra 1919-24. In the ten years following he was a regular conductor of the Amsterdam Concertgebouw and the 1 OWNE ROOM A spacious and charming setting for Orchestra Symphonique de Paris. He became conductor excellent dining — served with just a hint of grandeur of the San Francisco Orchestra in 1935, a position from you'll like. Breakfast, lunch and dinner. which he has now retired. Mr. Monteux returned to con- duct the Boston Symphony Orchestra January, 1951, and WENDELL LOUNGE Music nightly in gay, colorful has conducted each season since, in Boston, and at Tangle- surroundings. Your favorite mixed drinks in an atmosphere wood. He shared with Mr. Munch the concerts of the of intimate relaxation. European tour in May, 1952, the transcontinental tour in May, 1953. On his eightieth birthday last April he con- LUr N oAULER A modern fountain - restaurant for ducted this Orchestra at a concert for the benefit of its the hasty snack or a complete dinner for the streamlined Pension Fund. He continues as guest conductor of the budget. Cooling soft drinks and ice cream specialties. Metropolitan Opera Company. 7 a.m. to 12 midnight. Academic Festival Overture, Op. 80 Johannes Brahms Pittsfield. Mass. Born in Hamburg, May 7, 1833; died in Vienna, formerly the Sheraton Hotel April 3, 1897 Telephone 4511 The overture was composed in 1880; first performed January 4, 1881, at the University of Breslau. When the University at Breslau conferred upon THE BERKSHIRE MUSIC BARN Brahms, in the spring of 1879, the degree of Doctor Lenox, Mass. {adjacent to Music Inn) of Philosophy, the composer responded in kind, and FAMILY REUNION made the institution the handsome present of an "BRAHMS or BASIE the COUNT?" (Editorial in the BOS- on student airs. Presents of this sort are TON GLOBE tor April 29) "Visitors to Western Massachu- overture setts will have their choice this summer with the opening ot not to be unduly hastened when artistic good faith the BERKSHIRE MUSIC BARN, not to be confused with the SHED at TANGLEWOOD just down the road ... But there and the heritage of the musical world are consid- need be no eyebrows lifted at the prospect of JAZZ and ered. Brahms composed and destroyed another SYMPHONY sharing the echoes of the Berkshire Hills. If America has a native musical voice it speaks through jazz. . . "Academic" overture before this one, if Heuberger Professors and mechanics, students and business people re- the follow- spond to it just as they do to the familiar beauty of Bach and is not mistaken. The performance came Beethoven. This is no case of the lion and the lamb. Just a ing January, when Brahms conducted it at Breslau, first cousin once removed. It looks as though a family reunion is under way." Six outstanding exponents of modern iazz will while the Herr Rektor and members of the philo- be presented. Sunday, July 10, ART FARMER with Gigi Gryce, sophical faculty sat in serried ranks, presumably Art Taylor, Addison Farmer, Freddie Redd. . On July 17, Sunday, MAX ROACH, considered by many the outstanding gowned, in the front rows. drummer of modern jazz, brings CLIFFORD BROWN, Ritchie saying that both Brahms and his Powell, Harold Land, George Morrow. . . . THELONIUS It goes without MONK arrives for July 24 Concert and TEDDY CHARLES, overture were quite innocent of such "academic" praised in June HARPERS, brings J. R. Montrose, Charlie Mingus, Rudy Nichols on July 31. . . . THE MODERN JAZZ formality. It is about a tavern table, the faculty QUARTET, featured on the cover of HIGH FIDELITY, with JOHN LEWIS, MILT JACKSON, PERCY HEATH and CONNIE forgotten, that music enters spontaneously into KAY will play two concerts — August 7, Sunday and August 8, German college life. Although Brahms never at- Monday. , . . The last of the modern jazzi series is, in the opinion of many critics, the greatest of the progressive jazz tended a university he had tasted something of this musicians, DIZZY GILLESPIE and his Quintet, who will appear life at Gottingen when, as a younger man, he visited August 15. All these at 8:30 P.M. . . . COUNT BASIE and his band will play a special concert Thursday evening, July with Joachim, who was studying at the University. 28. . . Folk music will be represented by RICHARD DYER- BENNET (in the. words of DOWNBEAT "A brilliant musical Brahms did not forget the melody that filled the artist") in a series of five Saturday afternoon concerts. Mr. Kneipe, inspired by good company and good beer. Dyer-Bennet will present a comprehensive sweep of English, Scotch, Colonial and mountain ballads and songs, July 16, 23, Student songs, with their Volkslied flavor, inevitably 30, August 6, 13, at 4:00 P.M. . . . Tuesday evening July 26 at 8:30, the WAYFARERS, in international folk songs. . . An un- usual opportunity on August 2 to hear the world's greatest Flamenco Guitarist, CARLOS MONTOYA, 8:30 P.M. . . . Sixth annual JAZZ and FOLK ROUNDTABLE, August 14 to "TANGLEWOOD ON PARADE" September 4, directed by Dr. MARSHALL STEARNS; Ragtime, Dixie, Calypso, Swing, Rhythm and Blues, Gospel Songs; THURSDAY, AUGUST 11 Write for program ... or phone. . . THE BERKSHIRE MUSIC BARN LENOX 695 See page 31 Tanglewood . . .1955 BERKSHIRE FESTIVAL 23 interested him. He found use for four of them. to her to the effect that he could not believe the "Wir hatten gebauet ein stdttliclies Haus" is first charges against her had been read in court and had given out by the trumpets. "Der Landesvater" influenced the decision against Joachim. When, at ("Hort, ich sing' das Lied der Lieder") is used length, the two old friends were ready to make their rhythmically, delightfully developed. The "Fuchs- peace, Brahms sent him a score of this concerto lied" or Freshman's Song ("Was kommt doit von with the unadorned inscription: "To Him for Whom der H'6K ") is the choice of the unbuttoned Brahms, It Was Written." and leaves all educational solemnities behind. The Brahms admitted, in a letter to Clara Schumann, air is introduced by two bassoons. When Brahms that he was not so much at ease writing for the wrote Kalbeck that he had composed "a very jolly violin and 'cello as for his own instrument, the potpourri on students' songs a la Suppe," Kalbeck piano. "Indeed, it is not at all the same thing to inquired jokingly whether he had used the "Fox write for instruments whose nature and timbre one song." "Oh, yes," said Brahms complacently. Kal- has in one's head as it were only from time to time, beck, taken aback, protested that he could not and which one hears only with one's intelligence, imagine any such tune used in homage to the "leath- as it is to write for an instrument which one knows ery Herr Rektor," and Brahms answered: "That is wholly unnecessary." Brahmsian horseplay does not ANTIQUES SHOW get quite out of hand, and the dignities are saved Town Hall Lenox, Mass. beyond doubt when the full orchestra finally intones the hearty college hymn, "Gaudeamus Igitur." August 4th through August 13th (Closed on Sunday) Daily from 11:00 A.M. to 10:00 P.M. Concerto in A minor for Violin and Violoncello, Op. 102 #######**########*###############*############ Johannes Brahms Born in Hamburg, May 7, 1833; died in Vienna, April 3, 1897 E. J. CRAMER Brahms composed this concerto in the summer of 1887 at Thun in Switzerland. General Contractor Brahms' "double" concerto was his last orchestral work. It followed the Fourth Symphony by two years, the Second Piano Concerto by at least five. Perhaps this was the closest approach he could man- age to undertake to that medium which seems to have been carefully avoided by most of the "great" PITTSFIELD, MASSACHUSETTS composers — the concerto for violoncello. It is plain that he composed this work with Joseph Joachim in mind, and it may be guessed that he >+###»#»+»»########+####++#++»»»+»»»+»»#»»##++»« would not have been disposed at this mellow period of his artistic life to write a second violin con- certo for a virtuoso, involving as it would a larger amount of display passagework than would have been to his taste at the time. Largest Photo House in U. S. A. Joachim had been separated from his wife, and when he had sued for divorce Brahms had been in Best Wishes — Ollie Mow, President s) mpathy with Frau Joachim. A letter from him 350 W«rt 30th St., N«w York 19, N. Y. SPRAGUE ELECTRIC COMPANY NORTH ADAMS, MASSACHUSETTS Dependable Electronic Components 24 1955 BERKSHIRE FESTIVAL. . . Tanglewood through and through as I do the piano. In this drums and trumpets sound? He should always keep in the case I know thoroughly what I am writing and why mind beginning of the Beethoven sym- phonies: he should try to I write in this way or that." But Brahms, addicted make something like to understatement, was to prove in the music itself them. The beginning is the main thing; if only one that he knew a thing or two about the handling of makes a beginning, then the end comes of itself." string instruments, and how to match their double Schumann, that shrewd observer, knew that the discouse with symphonic development to a good end. brief beginnings of Brahms were apt to germinate, to expand, to lead him to great ends. Also, that Beethoven, symphonically speaking, would be his point of departure. Symphony in C minor, No. 1, Op. 68 To write a symphony after Beethoven was "no Johannes Brahms laughing matter," Brahms once wrote, and after sketching a first movement he admitted to Hermann Born in Hamburg, May 7, 1833; died in Vienna, April 3, 1897 Levi — "I shall never compose a symphony ! You have no conception of how the likes of us feel when The First Symphony of Brahms had its initial perform- ance November 4, 1876, at Carlsruhe, Otto Dessoff conduct- we hear the tramp of a giant like him behind us." ing. To study Brahms is to know that this hesitancy Not until he was forty-three did Brahms present was not prompted by any craven fear of the hostile his First Symphony to the world. His friends had pens which were surely lying in wait for such an long looked to him expectantly to carry on this event as a symphony from the newly vaunted particular glorious German tradition. As early as apostle of classicism. Brahms approached the sym- 1854 Schumann, who had staked his strongest phony (and the concerto too) slowly and soberly; prophecies on Brahms' future, wrote to Joachim: no composer was ever more scrupulous in the com- "But where is Johannes? Is he flying high, or mitment of his musical thoughts to paper. He pro- only under the flowers? Is he not yet ready to let ceeded with elaborate examination of his technical equipment — with spiritual self-questioning — and with unbounded ambition. The result — a period of fourteen years between the first sketch and the com- A WORD ON pleted manuscript; and a score which, in proud and imposing independence, in advance upon all prece- Traffic Conditions dent — has absolutely no rival among the first-born symphonies, before or since. His first attempt at a symphony, made at the age of twenty, was diverted in its aim, the first two of cars coming to the Berkshire Festival The large number movements eventually becoming the basis of his Concerts taxes the highway approaches to Tanglewood and piano concerto No. 1, in D minor. He sketched traffic congestion. The Massachusetts State makes for another first movement at about the same time Department of Public Works, police officials of Police, the (1854), but it lay in his desk for years before he Pittsfield and the administra- Lenox, Stockbridge, Lee and felt ready to take the momentous plunge. "For tion of the concerts are cooperating fully to improve the about fourteen years before the work appeared," there is to be some traffic situation. Nevertheless bound writes D. Millar Craig,* "it was an open secret visitors are urged to be recon- traffic delay, and Festival among Brahms' best friends that his first symphony ciled to it* in advance. You can help in several ways. was practically complete. Professor Lipsius of Leip- zig University, who knew Brahms well and had 1. FOLLOW THE TANGLEWOOD SIGNS, which have been placed by the State Police and the Depart- often entertained him, told me that from 1862 on- ment of Public Works to show the least congested wards, Brahms almost literally carried the manu- approaches. script score about with him in his pocket, hesitating to have it made public. Joachim and Frau Schu- 2. COME EARLY. The grounds will open at noon on Sunday and at six o'clock for evening concerts. The mann, among others, knew that the symphony was buffet at Tanglewood will serve sandwiches, soups, finished, or at all events practically finished, and concerts. beverages and other light meals before urged Brahms over and over again to let it be heard. Many visitors bring picnic meals to eat on the But not until 1876 could his diffidence about it be grounds. overcome." 3. STAY LATE. The sudden outpouring of cars onto The First Symphony soon made the rounds of the highways at the close of the concerts is the prin- Germany, enjoying a particular success in Berlin, cipal cause of traffic delay. You are invited to stay under Joachim (November 11, 1877). The first per- at Tanglewood as long as convenient. The formal gardens will be open and lighted for at least an hour formance in Boston took place January 3, 1878, after every concert. under Carl Zerrahn and the Harvard Musical Asso- ciation. When the critics called it "morbid," 4. HAVE PATIENCE. "strained," "unnatural," "coldly elaborated," "de- * British Broadcasting Corporation Orchestra program notes. 25 Tanglewood . . .1955 BERKSHIRE FESTIVAL pressing and unedifying," Zerrahn. who like others fictitious characters conversed, the dialectical, the of his time knew the spirit of battle, at once an- Socratic method of speculation. This gives some nounced a second performance for January 31. meaning to the title of his great two-volume work. Georg Henschel, an intrepid friend of Brahms, per- Either/Or. Kierkegaard was constantly confronted formed the C minor Symphony, with other works with the necessity of choice. He often turned up a of the composer, in this orchestra's first year. paradox. Much ink has been expended on a similarity ad- Kierkegaard was never a happy man. He was mitted even 1>\ Florence May between the expansive delicate in health. Ill adapted to the amenities of and joyous C major melody sung by the strings in social intercourse, he developed as a student a ihe Finale, and the theme of the Hymn to Joy in mental brilliance which could become sarcastic and Beethoven's Ninth. The enemy of course raised the wounding. But the true conflict in his nature was cry of "plagiarism." But a close comparison of the inward. In many pages of his Journals there are two themes shows them quite different in contour. agonized prayers addressed to God. His father was Each has a diatonic, Volkslied character, and each an intellectual, a deeply and also rigidly religious is introduced with a sudden radiant emergence. man with a dominating will. The father-son rela- The true resemblance between the two composers tionship was one of love and dissension, resulting in might rather lie in this, that here, as patently as any- an inevitable break. Soren went through a period where, Brahms has caught Beethoven's faculty of of dissipation and remorse. He was thrown into soaring to great heights upon a theme so naively despair on learning that his father had married by simple that, shorn of its associations, it would be compulsion as the result of an affair with a serving about as significant as a subject for a musical maid. This was a terrible secret, it became his primer. Beethoven often, and Brahms at his occa- heritage of original sin, or "inherited sin," which sional best, could lift such a theme, by some strange is the Danish phrase. When he fell in love he was power which entirely eludes analysis, to a degree tortured by the thought that if he married he would of nobility and melodic beauty which gives it the have to betray this "secret," and confess his own unmistakable aspect of immortality. carnal sins. And so his "Regina" who deeply loved him waited in vain. In his book The Existence-Spheres of Life, Kierke- Entr'acte gaard outlines the structure of his belief. "There are three existence-spheres," he writes, "the esthetic, the KIERKEGAARD — The Man of Ruthless Faith ethical, the religious. . . . The esthetic sphere is that As a religious thinker of a century ago, Kierke- of immediacy, the ethical is that of requirement, the gaard has put himself startlingly in accord with the religious sphere is that of fulfillment." The esthetic psychological trends of our own day. He has been sphere is our everyday, our life experience, from analyzed as a prime psychological case: a man which all our knowledge must derive. By "immedi- intensely introspective, morose, self-torturing, con- science-stricken, father-ridden, socially aloof, physi- call\ ill-adjusted. But nothing could approach his Main Street • Lenox, Mass. own self-analvsis. which was his life's entire Lenox 584 occupation. t)t*fg Soren Aabye Kierkegaard (1813-1855) became Known for the Finest in Photography - Equipment an arresting force in the religious thought of Den- for the Professional - Films mark. He practiced, both in his endless walks along 1939 - 16 years in the Berkshires - 1955 the streets of Copenhagen and in his books where New York Studio: 124 West 72 Street - TRafalgar 4-5163 Treat yourself to "the very best" ELR0SE FULL 90 PROOF BLENDED WHISKEY.40% STRAIGHT WHISKIES, 60% GRAIN NEUTRAL SPIRITS. MELROSE DISTILLERS INC., N.Y. 26 . 1955 BERKSHIRE FESTIVAL. . Tanglewood acy" he refers to our sense perceptions through which we exist, and it is here that his favorite con- VISIT THE cept of existentialism comes in. His existentialism was his dependence upon "reality" which led him TANGLEWOOD MUSIC to dissent with the logical method of Hegel, the philosopher of the day. Kierkegaard considered STORE philosophy as "irreconcilable with Christianity." (near the main gate) He was fond of quoting Lichtenberger as echoing his own opinion on this: "It is about like reading out of a cookbook to a man who is hungry." If man lived only in the esthetic sphere his object would be happiness through the enjoyment of the senses — the Hedonistic philosophy. The aim would be selfish. It would also lead in the end to satiety and boredom In Kierkegaard's case it could have led to madness or suicide The second stage brings in the communal, the re- lationship to society, or moral duty. In the last two spheres, wrote Kierkegaard, "the esthetic one is not abolished but dethroned." The last sphere, that of ultimate faith, is found by partial denial of the first COPIES OF MR. MUNCH'S NEW BOOK two. The Christian martyr is an example of those NOW AVAILABLE who have found the ultimate sphere. It was reached Souvenirs of Tanglewood: A large assortment of books through suffering, through "despair," a word much on music. Recordings and miniature scores, including used by Kierkegaard, who looked upon the agony works given at the Festival concerts. Also, postcards, of Christ as the supreme example of the act of pure films, etc. faith. He who enters it does so unaided, unbolstered by any support whatever but his self-found personal (Operated by the Boston Symphony Orchestra) conviction. The motive force of Luther was of this sort, growing from inner conviction until it became ruthless in its strength. When Kierkegaard wrote in his journals "Some day not only my writings SAMMY VINCENT MUSIC CENTER but my whole life will be studied and studied," he 23 North Street, Pittsfield spoke with a characteristic arrogance, but an ar- BERKSHIRE'S LARGEST MUSIC CENTER rogance born of conviction rather than self-vaunting. Kierkegaard has used the Biblical tale of Abraham Records • Radios • Hi-Fi Equipment and Isaac to illustrate his third "sphere" of inward Baldwin Pianos unshakable faith. Abraham, ready to sacrifice his son, would have been going against every personal inclination of his nature as a father. From the point of view of the second sphere, he would have Child rch 4 Cdtta 9 been breaking with social sanction, simply commit- ting murder. (Agamemnon, on the other hand, sac- (Near Mohawk Ski Area) rificing his daughter CORNWALL, CONN. for the safety of the Greek Tel. Orleans 2-6275 fleet, Brutus, killing his own son to uphold the Roman law, were at least not violating the second Children Welcome to our supervised playground sphere where the public good was paramount.) A uniquely different shop featuring gifts, toys and Abraham had an inward direct communion with apparel (sizes: infants to 14), designed to make shopping God which was strong enough to disregard every an enchanting experience for adults and children. natural, every ethical, every universal law. Kierke- At the top of Cathedral Pines. gaard has related that a preacher in the pulpit praised Store Hours: 10:00 A.M. - 5:30 P.M. Closed Sundays Abraham for having "loved God most." A man in the congregation taking him at his word wanted to imitate Abraham by killing his own son. "The preacher expostulated INDIAN HILL Stockbridge, Massachusetts with him. But the man replied: 'This is what you yourself preached in A SUMMER WORKSHOP IN THE BERKSHIRE HILLS your sermon on Sunday.'" Abraham, according to Mordecai Bauman, Director Kierkegaard, did indeed reach that degree of "lov- For TEEN-AGE boys and girls interested in ing God most," but few others, if any, have done so. MUSIC • ART • DANCE • THEATRE A quotation from a letter (June 1, 1835, trans- Call Stockbridge 504 for information about 1956 enrollment lated by Walter Lowrie) will give a first-hand idea of Kierkegaard's point of view. 27 Tanglewood . . .1955 BERKSHIRE FESTIVAL clear in my "What I really need is to become — RCA VICTOR RECORDS own mind what I must do, not what I must know BOSTON SYMPHONY ORCHESTRA except in so far as a knowing must precede every is to understand what action. The important thing Recorded under the leadership of Charles Munch to perceive what the Deity wants I am destined for, Beethoven Symphony No. 7, Symphony No. 1 me to do; the point is to find the truth which is Berlioz "Romeo and Juliet" (complete) truth for me, to find that idea for which I am ready "The Damnation of Faust" (complete) to live and die. What good would it do me to dis- Brahms Piano Concerto No. 2 (Rubinstein) cover a so-called objective truth, though I were to Symphony No. 4 work my way through the systems of the philos- Brack Violin Concerto No. 1 (Menuhin) ophers and were able, if need be, to pass them in Chopin Piano Concerto No. 2 (Brailowsky) I Handel "Water Music" review? . . . What good would it do me that were able to develop a theory of the State [like Hegel] Haydn Symphonies No. 103, No. 104 and out of particulars fetched from many quarters Honegger Symphony No. 5, Symphony No. 2 put together a totality, construct a world wherein Menotti Violin Concerto (Spivakovsky) again I did not live but which I merely held up to Mozart Overture to "The Marriage of Figaro" the gaze of others? What good would it do me if I Roussel "Bacchus and Ariane" were able to expound the significance of Christi- Saint-Saens Piano Concerto No. 4 (Brailowsky) anity, to explain many individual phenomena, if for Schubert Symphony No. 2 me and for my life it did not have any really pro- Schumann Symphony No. 1, Overture, "Genoveva" (Soloist, Piatigorsky) found importance? . . . What good would it do me Strauss "Don Quixote" that truth stood before me cold and naked, indif- Tchaikovsky Violin Concerto (Milstein) ferent as to whether I recognized it or not, pro- ALBUM: Ravel, "Rapsodie Espagnole," "La Valse"; Over- ducing rather a fearful shudder than a trustful tures, Berlioz, "Beatrice and Benedick" ; halo, "Le Roi d'Ys"; Saint-Saens, "La Princesse Jaune" devotion? To be sure, I am willing to recognize to admit an imperative of the understanding and Among the recordings under the leadership of that persons may be influenced through this; but Serge Koussevitzky then it must be livingly embodied in me — and this Bach Brandenburg Concertos Nos. 1, 6, Suites Nos. 1 and 4 it is I now recognize as the principal thing. It is Beethoven Symphonies Nos. 3, 5, and 9 for this my soul thirsts as the deserts of Africa Berlioz "Harold in Italy" (Primrose) ." thirst after water. . . Brahms Symphony No. 3, Violin Concerto (Heifetz) Copland "Appalachian Spring," "El Salon Mexico," W. H. Auden has written : "The world has changed "A Lincoln Portrait" greatly since Kierkegaard's time and all too many of Hanson Symphony No. 3 his pathetic insights have come to pass. The smug Harris Symphony No. 3 bourgeois Christendom he denounced has crumbled Haydn Symphonies No. 92, in G, "Oxford"; 94, "Surprise" and what is left is an amorphous despairing mass of Kliatchaturian Piano Concerto (Kapell) displaced persons and paralyzed Hamlets. Though Mendelssohn Symphony No. 4, "Italian" his writings are often brilliantly poetic and often Mozart Eine kleine Nachtmusik, Serenade No. 10, deeply philosophic, Kierkegaard was neither a poet Symphonies K. 425, "Linz"; E-Flat, K. 543 nor a philosopher, but a preacher, an expounder Prokofieff Violin Concerto No. 2 (Heifetz) and defender of Christian doctrine and Christian Symphony No. 5, Classical Symphony, conduct." j. pj. b # "Romeo and Juliet," "Lt. Kije" Rachmaninoff "Isle of the Dead" Ravel Bolero, Ma Mere L'Oye Suite TANGLEWOOD PICTORIAL BOOKLET Schubert Symphony in B Minor, "Unfinished" in Symphonies Nos. 4 & 5 Fifty Cents Tchaikovsky Serenade C, Op. 48, commemorative album Sibelius Symphony No. 2, in D, Op. 43, R. Strauss Souvenirs of Tanglewood: A large assortment of books on Don Juan, Op. 20, Wagner Siegfried Idyll music. Recordings and miniature scores, including works given at the Festival concerts. Also postcards, films, etc. Recorded under the leadership of Leonard Bernstein Tanglewood Music Store Stravinsky "L'Histoire du Soldat," (Operated by the Boston Symphony Orchestra) Octet for Wind Instruments Recorded under the leadership of Pierre Monteux Liszt "Les Preludes" Mozart Piano Concertos, K. 415, 456 (Lili Kraus) Scriabin "The Poem of Ecstasy" Refreshments are served at the Stravinsky "Le Sacre du Printemps" Tanglewood Cafeteria before Also many recordings by the BOSTON POPS concerts and at intermission. ORCHESTRA, ARTHUR FIEDLER, Conductor. 28 1955 BERKSHIRE FESTIVAL Tanglewood A CALENDAR OF EVENTS (Including Berkshire Festival Concerts) Seventy-fifth anniversary season of the TANGLEWOOD, 1955 Boston Symphony Orchestra (This schedule is subject to cluinge. Friends of the Berk- shire Music Center CHARLES MUNCH, Music Director should confirm dates of student per- formances before coming to Tanglewood. Hours indicated are Daylight Saving Time. Starred events (*) are open by invitation to the Friends of the Berkshire Music Center September 30, the Boston Symphony On within the limits of the seating space available. The opera Orchestra will begin its seventy-fifth season, productions of August 1, 8 and 9 will require special tickets.) and the seventh under the leadership of Charles Munch. FESTIVAL REHEARSALS. Admission to three Saturday The season will consist of four series of concerts in morning rehearsals of the Boston Symphony Hall, Boston: twenty-four pairs of Friday Symphony Orchestra at 10 A.M., $1 each, pro- afternoon and Saturday evening concerts, nine Tues- ceeds for the benefit of the Orchestra's Pen- day evenings and six Sunday afternoons. There will sion Fund. (July 30, August 6, 13.) be series in Sanders Theatre, Cambridge; Carnegie Hall, New York; Academy of Music, Brooklyn; Constitu- tion Hall, Washington, D. C; Veterans' Memorial Audi- torium, Providence, and concerts in New Haven (2), THE BERKSHIRE MUSIC CENTER Northampton, Newark, Springfield, New London, Phila- delphia, Hartford, and New Brunswick. a summer school maintained by the Boston Sym- phony Orchestra, provides an opportunity for music Orchestra will tour in The make an extended beginning study in connection with the Berkshire Festival tlie third week of the season (October 10-25), giving con- concerts given annually at Tanglewood. Young certs in Norfolk, Va., Charlotte, N. C. Birmingham. Ala.. musicians of high skill — players, conductors, New Orleans, La., Shreveport, La., Jackson, Miss., singers, many on the threshold of distinguished Atlanta, Ga., Chattanooga, Tenn., Urbana, III., Lafayette. careers, come from all parts of the United States Ind., Fort Wayne, Ind., Detroit, Mich., Saginaw, Mich.. and abroad. Ann Arbor, Mich., and Utica, N. Y. A school of performance, the Berkshire Music- Center presents many concerts, listed in this Cal- endar, by its students at Tanglewood. The school invites to its concerts members of the Friends of the Berkshire Music Center, subject only to the limitations of seating capacity. A voluntary con- tribution constitutes membership in the Friends. Checks should be made payable to the Boston CARNEGIE HALL * NEW YORK Symphony Orchestra, Inc., and addressed to (70TH SEASON IN NEW YORK) Friends of The Berkshire Music Center, Tangle- wood, Lenox, Massachusetts. 75th Anniversary July 27, Wednesday — Theatre at 8:30 New Music Strinc Quartet Season • 1955-1956 July 28, Thursday — Shed at 8:30 Boston Symphony Orchestra *Dept. I Orchestra July 29, Friday — Shed at 8:30 CHARLES MUNCH, Music Director Festival Concert — Orchestra Chorus and soloists July 30, Saturday — Shed at 10:00 a.m. Two Series of Five Concerts Each Open Rehearsal 5 Wednesday Evening Concerts at 8:45 Shed at 8:30 5 Saturday Afternoon Concerts at 2 :30 Festival Concert — Orchestra Rudolf Serkin, soloist NOVEMBER 16-19 JANUARY 11-14 Sunday Chamber Music Hall at 10:00 a.m. DECEMBER 7-10 FEBRUARY 8-11 July 31, — *Dept. I Chamber Music MARCH 21-24 Shed at 2:30 Festival Concert — Orchestra A limited number of balcony seats available Pierre Monteux conducting for five concerts. at $9 and $7.50 Address Season Isaac Stern and Gregor Piatigorsky, soloists Office, Hall, Ticket Symphony Boston 15, Mass. Chamber Music Hall at 8:30 *Dept. Ill Composers' Forum Tanglewood 1955 BERKSHIRE FESTIVAL 29 August 1, Monday — Theatre at 8:30 *Depts. II and IV Concert of Chorus and Opera © (Special tickets required) THE BOSTON SYMPHONY CONCERT BULLETIN, BOSTON AND CIRCUIT • THE BERKSHIRE FESTI- August 2, Tuesday — Theatre at 8:30 *Dept. IV Opera Scenes VAL PROGRAM • THE BOSTON POPS PROGRAM August 3, Wednesday — Theatre at 8:30 Rudolf Serkin (Piano Recital) August 4, Thursday - Shed at 8:30 The BOSTON SYMPHONY ORCHESTRA *'Dept. I Orchestra PUBLICATIONS August 5, Friday — Shed at 8:30 Festival Concert — Orchestra Offer to advertisers wide coverage of a special group Leonard Bernstein, conducting of discriminating people. For both merchandising Chorus and soloist- and institutional advertising they have proved over August 6, Saturday — Shed at 10:00 a.m. man) years to be excellent media. Open Rehearsal Chamber Music Hall at 3:00 TOTAL CIRCULATION MORE THAN 500,000 *Dept. Ill Composers' Forum Shed at 8:30 Festival Concert — Orchestra Margaret Harshaw. soloist For Information and Rales Call: August 7, Sunday — Chamber Music Hall at Mrs. Dana Somes. Advertising Manager 10:00 a.m. *Dept. I Chamber Musk Tel. CO 6-1492. or write: Symphony Hall. Shed at 2:30 Boston 15. Mass. Festival Concert — Orchestra Eugene Istomin, soloist August 8, Monday — Theatre at 8:30 *Dept. [V Opera (Special tickets required) Delightful Places to Stay, Lunch, or Dine August 9, Tuesday — Theatre at 8:30 *Dept. 1\ Opera Closest To Tanglewood (Special tickets required) AVALOCH INN August 10, Wednesday — Theatre at 8:30 Fine American Plan Resort — Public Dining Room Grecor Piaticokski (Cello Recital) Also THE FIVE REASONS August 11, Thursday Steak and Ale House Tanglewood On Parade (Watch for Special Vnnounce- ment) A Falstaffian Gathering Place for Arbiters of Old Wine. Fine Ale, Tender Beef, and Good Companionship, Special- August 12, Friday -r- Shed at 8:30 izing in Imported Beers, Luncheon and Evening Snacks, and Festival Concert — Orchestra Magnificent Gregor Piatigorsky. soloist CHARCOAL BROILED STEAKS Avaloch, A Country Inn Telephone Lenox 41 August 13, Saturday — Shed at 10:00 a.m. .- * -. -. ^ .•^-.AAAAA Open Rehearsal Shed at 3:00 *Dept. I Orchestra You will enjoy a visit to the Shed at 8:30 Festival Concert — Orchestra ©lit mm (Srillr- Pierre Monieux conducting at the CURTIS HOTEL in Lenox Village August 14, Sunday — Theatre at 10:00 a.m. The Peacock Cock i mi Lot nck *Dept. I Chamber Mi si< Shed at 2:30 BREAKFAST • LUNCH • DINNER Festival Concert — Orchestra Re/ax in the Terrace Garden and enjoy sandwiches, Chorus and Soloists coffee, desserts and beverages serial alter the concerts Full programs on request at the Friend's office. George \. Turain, Host Programs subject to change. 30 1955 BERKSHIRE FESTIVAL Tanglewood Delightful Places to Stay, Lunch, or Dine Services (Continued) A RARE TREAT . . . BERKSHIRE LEATHER CO. in FOOD and SETTING Distinctive leather gifts Luncheon a la carte Quality Dinners $2.50 picnic kits — cushion robes BARN RESTAURANT at the BIRD SANCTUARY 67 Eagle Street Pittsfield Five Minutes from Tanglewood Telephone 6572 Telephone Lenox 320-M C. T. BRIGHAM COMPANY CHEF KARL'S The Original Paper Lenox Jobber of Western Massachusetts LUNCH 12-2 DINNER 6-9 Paper Supplies for Retail Stores, Restaurants and Institutions SUNDAY 12 to 8 P.M. Pittsfield • Tel. 2-5540 Telephone Lenox 698 CARR HARDWARE CO. (Hhrtetmas Imt ®m Plumbing Supplies, Paints, Electrical and LENOX RD. ROUTE 7 Household Supplies, Lighting Fixtures STOCKBRIDGE, MASS. Telephone 13 COUNTRY ATMOSPHERE 413-415 NORTH STREET, PITTSFIELD Pleasant Rooms • Delicious Meals Telephone Pittsfield 2-1581 Olive & Ralph Scott, Proprietors WILLIAM T. LAHART EASTOVER In Lenox . . . ELECTRICAL CONTRACTOR a distinguished resort with the full- est and finest recreational facilities. Ideally equipped to handle conven- tions, one-day outings, meetings, anil SHOP Housatonic Street, Lenox banquets. For detailed information HOME. . .School Street, Lenox, Telephone 146 write Box C, Lenox, Mass. EGREMONT TAVERN Lenox National Bank Comfortable Home-like Rooms Delicious Wholesome Meals Cocktails served in our Lounge General Banking Service or on our Garden Terrace. Routes 23 and 41, South Egremont, Mass. Travellers Cheques • Safe Deposit Boxes Telephone: Great , Harrington 827 Jn Ihe Berkshire nills at jlockbridqe THE LIONS DEN LENOX PACKAGE STORE STOCKBRIDGE'S OUTSTANDING PLAY ROOM Imported and Domestic Wines and Liquors for gay refreshment AT THE RED LION INN CHURCH STREET • LENOX, MASS. STOCKBRIDGE 46 at the intersection of Telephone Lenox 57 Routes 102 and 7 and The-^ed I/ionlnn Prospect Hill Road 1929 26th SEASON 1955 J. H. Johnson's Sons, Inc. SHEFFIELD INN Sheffield, Massachusetts on Route No. 7 PLUMBING CONTRACTORS An Inn for Discriminating People ELEVATOR Lenox, Massachusetts Telephone 12W Stuart M. Beard, II, Owner & Mgr. Stuart M. Beard, III Telephone Sheffield 9-8732 WENDOVER DAIRY BAR VISIT THE Church Street - - - Lenox TANGLEWOOD MUSIC BREAKFAST • LUNCHES • SUPPERS STORE FOUNTAIN SERVICE • AIR CONDITIONED (near the main gate) Holders of Boxes and Reserved Seats are invited to a special performance of Opera in the Formal Garden at four o'clock Thursday, August 11 . . . events from 6 to 11 p.m. (Rain or Shine) a Tanglewood on Parade ?? For the Benefit of the Berkshire Music Center Concert in the Shed at 8:15 THE BOSTON SYMPHONY ORCHESTRA Conducted by LEONARD BERNSTEIN Suite from "On the Waterfront" Bernstein (First Performance) "A Lincoln Portrait" Copland (Speaker to be announced) THE BOSTON POPS ORCHESTRA ARTHUR FIEDLER, Conductor Spanisli Caprice Rimsky-Korsakov Alborada — Scene and Gypsy Song — Fandango of the Asturias Rhapsody in Blue, for Piano and Orchestra . . . Gershwin Soloist — LEONARD BERNSTEIN Suite from the Ballet "Graduation Ball" . . . Strauss-Dorati Acceleration Waltz — Perpetual Motion — Nocturne — March — Galop (Encores may be expected!) Lawn Party . . . Picnic Supper . . . Door Prizes . . . Waltzing on the Lawn Watch for further announcements Box Seats - $5 . . Front Sections (All seats reserved) - $4 and $3 . . Unreserved Section - $2.50 All who purchase tickets will be invited to attend the activities of the school at 6 o'clock SYMPHONY ORCHESTRA . OPERA SCENES • THE CHORUS • CHAMBER MUSIC . >v«*. :& -?-' * JkT^&H'f-W&r* V*> > •1. *,W ! "immmimm**»•*»** iftHii ?fc».-A : ^fS&S ** '"US}- ' ^ if/ie Tanglewood Tradition . . . . . embodies the finest in musical standards and achievements. Year after year, the Berkshire Festival concerts of the Boston Symphony offer the world's great music to audiences of international character; the Berkshire Music Center is unmatched in the distinction of its faculty and its students. There can he no compromise with ideals in the maintenance of such a tradition as Tanglewood. The choice of Baldwin by the Boston Symphony Orchestra, the Berkshire Festival and the Berkshire Music Center is a significant measure of the degree to which the Baldwin Piano Company has attained new standards of excellence in the art of Piano making. For an important gift, or for your own use, make Baldwin your choice too. PaJ&tnin Established 1862 Baldwin, Acrosonic and Hamilton Pianos, Baldwin and Orga- sonic Electronic organs, used exclusively at the Berkshire Music Center and Berkshire Music Festival, are sold by leading dealers in all principal cities. El: 55