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Boston Symphony Orchestra Concert Programs, Summer, 1993 Tanglew®d Music Center I f ^ m n *-# ^-^ -a-e- S S e /. ^^%f 1993 Festival of Contemporary Music July 31 -August 2 August 22-26 NEW MUSIC ON COMPACT DISC from BRIDGE Elliott Carter, Jacob Druckman, George Crumb, Charles Ives, Tod Machover, Arnold Schoenberg, Jonathan Harvey, Charles Wuorinen, William Bland, Neil Rolnick, Gyorgy Kurtag, Sandor Jemnitz, Milton Babbitt, Paul Hindemith, Hans Werner Henze, Tom Takemitsu, Barbara Kolb, John Anthony Lennon, Stephen Sondheim, Robert Saxton, Poul Ruders, Humphrey Searle, Stephen Jaffe, Ronald Roxbury, Joaquin Rodrigo, Richard Wemick, Seymour Shifrin, Benedict Mason, Mario Davidovsky, Roger Reynolds, Mel Powell, Paul Lansky, Michael Starobin, Michael Calvert, Kecak from Bali, Gyorgy Ligeti, Peter Lieberson, John Harbison BRIDGE RECORDS, INC., GPO BOX 1864, NEW YORK, NY 10116 CARROLL MUSICAL INSTRUMENT RENTALS SERVING NEW YORK'S THEATERS, RESTAURANTS, CONCERT HALLS, NIGHTCLUBS, PHOTOGRAPHERS, & MOTION PICTURE INDUSTRY STEIN WAY WE ALSO RENT: BALDWIN SOUND SYSTEMS YAMAHA STAGING KAWAI DRUMS HAMMOND B-3 PERCUSSION SYNTHESIZERS AMPS &. GUITARS WE ALSO REBUILD, REFINISH, &TUNE PLAJnJOS 212'868'4120 OPEN 7 DAYS FAMILY OWNED & OPERATED SINCE 194 5 351 WEST 41ST STREET, NEW YORK, NY 10036 1993 FESTIVAL OF CONTEMPORARY MUSIC Oliver Knussen, Festival Director sponsored by the TANGLEWOOD MUSIC CENTER Leon Fleisher, Artistic Director Gilbert Kalish, Ciiairman of the Faculty Alexander Goehr, Composer-in-Residence Oliver Knussen, hiead of Contemporary Music Activities Bradley Lubman, Assistant to Oliver Knussen Richard Ortner, Administrator Barbara Logue, Assistant to Richard Ortner James E. Whitaker, Chief Coordinator Carol Wood worth, Secretary to the Faculty Virginia Hecker, Vocal Music Coordinator Harry Shapiro, Orchestra Manager Works presented at this year's Festival were prepared under the guidance of the following Tanglewood Music Center Faculty r. Margo Garrett Peter Serkin Kenneth Griffiths Joel Smirnoff Dennis Helmrich Alan Smith Gilbert Kalish Fenwick Smith and guest teachers Reinbertde Leeuw Lucy Shelton 1993 Visiting Composer/Teachers Eric Chafe Ralph Shapey William Kraft John Williams 1-' George Perle The 1993 Festival of Contemporary Music is supported by a gift from Dr. Raymond and Hannah H. Schneider. The Tanglewood Music Center is maintained for advanced study in music and sponsored by the Boston Symphony Orchestra. Seiji Ozawa, Music Director Kenneth Haas, Managing Director Daniel R. Gustin, Manager of Tanglewood I — 1993 Festival of Contemporary Music Over and out This year the Festival of Contemporary of Sonne of our composers' works is at least Music is, in effect, two mini-festivals— a step in the right direction. prefer to call them "clusters"—separated The first group of concerts is centered by three weeks, and as we have already around the work of our distinguished Com- been asked many times "why split it in poser-in-Residence Alexander Goehr. Two half?" perhaps the most useful introduction major works from the 1960s and two from is a word of explanation. recent years will, I hope, give some sense The "traditional" format of a five-day-long of why an increasing number of musicians Festival is certainly a more convenient consider his to be some of the most con- "package," but several of my colleagues tinually fascinating and rewarding music on the Faculty and I have observed over being written today, and that this is music the years that the presentation of four full that will endure. The program on August 1 programs (and sometimes more) of pre- is, to a certain extent, "about" Goehr dominantly new music in that time-span Eisler was a teacher and Holloway a pupil, imposes an enormous strain on the ener- while Busoni and Wolpe are composers gies of the performing Fellows. Likewise who both fascinate Goehr and evince a the side-effect ofvirtuallyghetto-izing con- comparable force of individualistic musi- temporary music within the season does cal personality without obvious self-adver- not truly reflect an ideal of integrating old tisement. and new music within "the Tanglewood It may seem curious to program three experience." The appearance of Alexander works of Ferruccio Busoni in the context of Goehr's Colossos or Panic in the Kous- a contemporary music festival, but the op- sevitzky Memorial Concert on August 1, portunity to hear three of his six orchestral and the availability of the performance of elegies in reasonable proximity to each Peter Lieberson's King Cesar— a major other will justify itself. The Berceuse new American work in its US premiere— at elegiaque is becoming reasonably familiar the end of the season, suggested the idea of in its chamber incarnation, but the Noc- clustering concentrated groups of concerts turne symphonique and Gesang vom around these two big events. As Tangle- Reigen der Geister are not only seldom wood is one of the few institutions with heard but hardly heard of. This is our loss, facilities to mount a performance of Stock- as they are both masterpieces of the fugi- hausen's path-breaking early masterpiece tive, half-lit sound world which was Bu- Gruppen for three orchestras (which I've soni's own forward- and sideways-looking long wanted to do here), and as this re- contribution to the golden age of musical quires many weeks of rehearsal, the new innovation. plan seems to make practical as well as It is also a pleasure to introduce Reinbert philosophical sense. For our audience it de Leeuw, one of the foremost musicians means two widely separated events; for in the Netherlands, a tireless animateur our performers, it means more time to as- and remarkable performer of twentieth- similate and rehearse in depth some very century music new and old, who will intro- rewarding music. duce John Adams' new Chamber Sym- Another small innovation is the integra- phony (premiered by his Schoenberg En- tion within the Festival of some music by semble in Holland earlier this year) to our Fellowship composers— it has always Tanglewood and share the podia with seemed to me a pity that the audience Robert Spano and myself in the perform- which comes to these concerts does not ance of Gruppen as well as preparing a get to hear the music actually being made performance of Arnold Schoenberg's Kam- "on campus," and I hope thatthe inclusion mersymphonie on August 23. On August which will give some context to the per- 22 I have also programmed two representa- — tives of the remarkably fertile and vital formance on August 22 of his new piano younger generation of composers in Hol- quintet, in a performance coached by Peter land, Theo Verbey and Rob Zuidam, both Serkin, who gave the first performances on rapidly gaining international reputations the west coast with the Guarneri Quartet. with music of real personality and charm. This is my final season as Head of Con- The music of Peter Lieberson is well temporary Music Activities— I think fre- known to Tanglewood audiences, and quent new brooms for new music festivals King Cesar will be preceded by a few days are necessary, and I want more time to with a performance of his ravishing Three compose. I would like to thank Leon Songs, an earlier collaboration with the Fleisher, Gil Kalish, and everybody on the author of the libretto of the new work, Faculty who has helped to make "my" Douglas Penick. There are also recent seven seasons happen; and also Dan Gus- works by former TMC Composition Fel- tin, Richard Ortner, Barbara Logue, Brad lows Harue Kunieda, Michael Gandolfi, Lubman, and, last but not least, the endless Edmund Campion, and Armand Quallio- patience of James Whitaker and Carol tine, the last two new works commissioned Woodworth. Good luck! through the Fromm Music Foundation at Harvard and the Paul Jacobs Memorial —Oliver Knussen Fund, respectively. The New York Virtuoso Head of Singers bring works by George Perle, Ned Contemporary Music Activities Rorem, and David Lang, as well as Hans Tanglewood Music Center Werner Henze's Orpheus Behind the Wire July 22, 1993 Original cover design by Marian E. Olin, West Nyack, NY The Tanglewood Music Center acknowledges with gratitude • the generosity of Acoustic Research, which provided loudspeakers for the 1993 Tangle- wood season • the generosity of the Bose Corporation, which has provided loudspeaker systems for Theatre-Concert Hall performances during the 1993 Tanglewood season • TDK Electronics Corporation, for the donation of audio cassettes for use in recording • a grant from The Pew Charitable Trusts, which underwrites the residency of Alexander Goehr, the Tanglewood Music Center's 1993 Composer-in-Residence The Tanglewood Music Center is also supported in part through a grant from the National Endowment for the Arts. 1993 Festival of Contemporary Music Saturday, July 31, at 2 p.m. Theatre-Concert Hall, Tanglewood FELLOWS OF THE TANGLEWOOD MUSIC CENTER ALEXANDER GOEHR Overtu re to /Arden Must D/e, Opus 21a (1966) (b.1932; TMC Composer- OLIVER KNUSSEN, conductor in-Residence 1969 and 1993) HARUEKUNIEDA Field III (1990) (b.l958;TMC'86) (United States premiere) DANIEL HARDING, conductor FABER ^I^^MUSIC A fascinating catalogue of music for orchestras, instrumental and choral ensembles, opera companies and soloists by British and Australian composers THOMAS ADES MALCOLM ARNOLD GEORGE BENJAMIN HOWARD BLAKE BENJAMIN BRITTEN CARL DAVIS JONATHAN HARVEY OLIVER KNUSSEN COLIN MATTHEWS DAVID MATTHEWS NICHOLAS MAW DOMINIC MULDOWNEY PETER SCULTHORPE ROBERT SIMPSON JOHN WOOLRICH For information on these and other composers in our catalogue, please contact FABER MUSIC INC. 50 Cross Street Winchester MA 01890 (617)756-0323 OLIVER KNUSSEN SongsWithoutVoices,Opus26 (1991-92) (b.l952;TMC'70, '71/73; I. Fantastico (Winter's Foil) TMC Composer-in-Residence II. Maestoso (Prairie Sunset) 1986) III. Leggiero (First Dandelion) IV. Adagio (Elegiac Arabesques) BRADLEY LUBMAN, conductor INTERMISSION MICHAEL GANDOLFI Caution to the Wind (1992) (b.l956;TMC'86) I. Introduction II. Excursion III. Recitative IV.
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