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In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the Boston University School of Music is still doing what it does best.

• Performance • Music Education • History and Literature • Theory and Composition

strings music history and literature Walter Eisenberg, violin 'Charles Kavaloski, French horn Karol Berger

'Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz 'Bernard Kadinoff, viola 'David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition ' ' Robert Karol, viola Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin 'Harry Shapiro, French horn David Del Tredici 'Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman 'Leslie Martin, string bass 'Charles Yancich, French horn Alan MacMillan George Neikrug, cello percussion Joyce Mekeel ' Mischa Nieland, cello 'Thomas Gauger Malloy Miller Leslie Parnas, cello 'Charles Smith Gardner Read "Henry Portnoi, string bass Allen Schindler " Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence ' Alfred Schneider, violin music education 'Roger Shermont, violin piano Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura Jack O. Lemons Walter Trampler, viola Lenore Engdahl Mary Ann Norton ' Max Winder, violin Bela Boszormenyi-Nagy musical organizations 'Lawrence Wolfe, string bass Philip Oliver, staff accompanist Edith Stearns Adelaide Bishop, opera woodwinds Fredrik Wanger Warren Wilson, opera Edward Avedisian, clarinet Joseph Huszti, chorus 'Pasquale Cardillo, clarinet organ 'Joseph Silverstein, orchestra 'Doriot Anthony Dwyer, flute George Faxon 'Jerome Rosen, repertoire Roderick Ferland, saxophone Jack Fisher orchestra

'Ralph Gomberg, oboe Max Miller ' Roger Voisin, wind ensemble 'John Holmes, oboe harpsichord boston symphony orchestra 'Phillip Kaplan, flute Joseph Payne woodwind quintet in residence 'James Pappoutsakis, flute 'Doriot Anthony Dwyer, flute 'Richard Plaster, bassoon voice 'Ralph Gomberg, oboe 'Matthew Ruggiero, bassoon Eunice Alberts, contralto ' Harold Wright, clarinet 'Felix Viscuglia, clarinet Germaine Arosa, diction * Sherman Walt, bassoon * Sherman Walt, bassoon Mary Davenport, contralto 'Charles Kavaloski, French horn 'Harold Wright, clarinet Terry Decima, vocal coaching empire brass quintet brass Ellalou Dimmock, soprano in residence * Ronald Barron, trombone Maeda Freeman, mezzo Charles A. Lewis, Jr., trumpet Peter Chapman, trumpet Robert Gartside, tenor 'Rolf Smedvig, trumpet John Coffey, trombone Ituba Mac Morgan, baritone 'David Ohanian, French horn * Armando Ghitalla, trumpet Chloe Owen, soprano 'Norman Bolter, trombone Paul Gay, trombone Allen Rogers, vocal coaching Samuel Pilafian, tuba * Gordon Hallberg, Barbara Stevenson, soprano trombone Ituba Wilma Thompson, mezzo

'Member of the Boston Symphony Orchestra Boston University School of Music

Wilbur D. Fullbright, Director • Robert Lee Tipps, Assistant to Director offering degrees at the bachelor, master, and doctoral levels.

School for the Arts: Music, Theatre, Visual Arts • Norman Dello Joio, Dean 855 Commonwealth Avenue, Boston, Massachusetts 02215 - *>

Seiji Ozawa, Music Director

Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

Ninety-Fifth Season 1975-76

The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks President

Philip K. Allen Sidney Stoneman John L. Thorndike Vice-President Vice-President Treasurer

Vernon R. Alden Mrs. Harris Fahnestock Albert L. Nickerson Allen G. Barry Harold D. Hodgkinson John T. Noonan Mrs. John M. Bradley David O. Ives Mrs. James H. Perkins

Richard P. Chapman E. Morton Jennings, Jr. Irving W. Rabb Abram T. Collier Edward M. Kennedy Paul C. Reardon

Nelson J. Darling, Jr. Edward G. Murray Mrs. George Lee Sargent Archie C. Epps III John Hoyt Stookey Trustee Emeritus Henry A. Laughlin

Administration of the Boston Symphony Orchestra

Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager

Gideon Toeplitz Daniel R. Gustin Dinah Daniels

Assistant Manager Assistant Manager Director of Promotion Paul Bronstein Forrester C. Smith Richard C. White

Business Manager Development Director Assistant to the Manager

Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood John Kronenberger Program Editor

Programs copyright ® 1976 Boston Symphony Orchestra Inc.

Contents:

page page

Tanglewood 6 Programs 13-27 Seiji Ozawa 9 Berkshire Music Center 29 Map 10 In and Around The Berkshires 33 Information 11 Friends 35,37 The Board of Overseers of the Boston Symphony Orchestra Inc.

David O. Ives, Chairman Hazen H. Ayer, Vice Chairman

Mrs. Arthur I. Strang, Secretary

Charles F. Adams Paul Fromm Richard P. Morse Mrs. Frank G. Allen Carlton P. Fuller David G. Mugar

Dr. Leo L. Beranek Mrs. Thomas J. Galligan, Jr. Dr. Barbara W. Newell David W. Bernstein Mrs. Thomas Gardiner Stephen Paine David Bird Mrs. John L. Grandin Mrs. Priscilla Potter Gerhard Bleicken Bruce Harriman Harry Remis Frederick Brandi Mrs. Richard D. Hill Mrs. Peter van S. Rice

Curtis Buttenheim Mrs. Amory Houghton, Jr. Mrs. Samuel L. Rosenberry

Mrs. Henry B. Cabot Richard S. Humphrey, Jr. Mrs. Jerome Rosenfeld Mrs. Mary Louise Cabot Mrs. Jim Lee Hunt Mrs. A. Lloyd Russell Mrs. Norman L. Cahners Leonard Kaplan William A. Selke

Levin H. Campbell, III Leon Kirchner Samuel L. Slosberg

Dr. George H.A. Clowes, Jr. Mrs. James F. Lawrence Richard A. Smith Arthur P. Contas Roderick MacDougall Mrs. Edward S. Stimpson The Hon. Silvio O. Conte John S. McLennan Mrs. Edward A. Taft

Robert Cushman Colman M. Mockler, Jr. Mrs. Richard H. Thompson

Michael J. Daly Mrs. Charles L. Moore Stokley P. Towles Mrs. C. Russell Eddy Mrs. Elting E. Morison D. Thomas Trigg Weston P. Figgins Frank E. Morris Julius Vogel

Boston University Tanglewood Institute

Norman Dello Joio, Executive Director Gary L. Zeller, Administrator Robert Lee Tipps, Music Coordinator

Eleventh Season

Summer Instrumental and Vocal Programs for the out- standing high school musician. Private study with master artists including members of the faculty of the Boston University School of Music and the Boston Symphony Orchestra. Chamber music, orchestral and vocal perform- ances at Tanglewood.

For information: Boston University Tanglewood Institute, 855 Commonwealth Avenue, Boston, Massachusetts 02215.

A program offered by the Boston University School for the Arts in association with the Berkshire Music Center. Todays Great Piano.

For many years Baldwin pianos have been the accompanist to the Boston Symphony Orchestra, The Berkshire Festival, The Berkshire Music Center,

and these 1976 Tanglewood artists:

Leonard Bernstein Arthur Fiedler Gilbert Kalish Seiji Ozawa Andre Previn Gunther Schuller Earl Wild TSaldwm Tanglewood In August, 1934, a group of music- loving summer residents of the Berk- shires organized a series of three INTERNATIONAL SOCIETY outdoor concerts at Interlaken, to be FOR CONTEMPORARY MUSIC given by members of the New York Philharmonic under the direction of Henry Hadley. The venture was so World Music Days successful that the promoters incor- porated the Berkshire Symphonic 1976 Festival and repeated the experiment during the next summer. October 24-October 30 The Festival committee then invited Serge Koussevitzky and the Boston New England Conservatory of Music Symphony Orchestra to take part in the Boston, Massachusetts following year's concerts. The Orches- tra's Trustees accepted and on August

A festival of 13 concerts of contemporary 13, 1936, the Boston Symphony gave music representing composers its first concert in the Berkshires (at from 27 countries Holmwood, a former Vanderbilt estate, later the Foxhollow School). The series, again consisting of three concerts, was Performing groups include: given under a large tent, and a total of Boston Symphony Orchestra, nearly 15,000 people attended. New England Conservatory Symphony Orchestra, In the winter of 1936, Mrs. Gorham University of Iowa Orchestra. Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tap- Conductors: pan family estate, with its buildings and Seiji Ozawa, GuntherSchuller, James Dixon, Richard Pittman 210 acres of lawns and meadows, as a gift to Koussevitzky and the Orchestra. Chamber music concerts featuring The offer was gratefully accepted, and Boston MusicaViva. Collage. Societe de on August 12, 1937, the Festival's MusiqueContemporainedu Quebec. largest crowd thus far assembled under The Purcell String Quartet, and others. a tent for the first Tanglewood concert, a program of music by Wagner.

For information: As Koussevitzky began The Ride of the ISCM Valkyries, a storm erupted, overpowering New England Conservatory the music and causing the concert to be 290 Huntington Avenue interrupted three times before the first Boston. Massachusetts 02115 half could be completed. The second half Tel. 617-262-0122 of the program had to be changed, because of water damage to some of the instruments, and when the concert ended, Miss Gertrude Robinson Smith, one of the Festival's founders, came to the stage and told the audience that the storm had demonstrated the need for a permanent structure. A hundred thousand dollars, she said, would be needed for this purpose, and the response to her plea was so generous that within a short time the amount was fully subscribed. Plans for the Music Shed were drawn up by the eminent architect Eliel Saarinen, and, as modi- fied by Josef Franz of Stockbridge, who also directed construction, it was com- pleted on June 16, 1938, a month ahead of schedule. Seven weeks later, Serge Koussevitzky led the inaugural concert, which included a performance of Beet- hoven's Ninth Symphony. By 1941, the Theatre-Concert Hall, the Chamber Music Hall and several small studios — all part of the Berkshire Music Center, which had begun operations the pre- ceding year — were finished, and the Festival had so expanded its activities and its reputation for excellence that it attracted nearly 100,000 visitors. Today Tanglewood annually draws close to a quarter of a million visitors; in addition to the twenty-four regular concerts of the Boston Symphony, there are weekly "Prelude" concerts and open rehearsals, the annual Festival of WAIilC 90.3 mHz Contemporary Music, and almost daily FM concerts by the gifted young musicians We bring you fine music of the Berkshire Music Center. Arthur AND dozens of interesting Fiedler and the Boston Pops perform events — live and without each summer, and the Festival also commercials. Sit in with us includes a series of concerts by popular at the National Press Club, artists. The season offers not only a vast quantity of music but also a vast where the next day's head- range of musical forms and styles, all lines are often made. Enjoy of it presented with a regard for artistic "All Things Considered," a excellence that makes the Festival fascinating m agazine of news unique. Tanglewood and the Berkshire and issues. (Nothing else like it Music Center, projects with which in broadcasting !) Savor some Koussevitzky was involved until his of the most satisfying thea- death, have become a fitting shrine to tre productions ever aired. his memory, a living embodiment of Revel in delightful, intelligent the vital, humanistic tradition that was his legacy. conversation.

Listen . . . and if you like what you hear, write for our free monthly program directory. WAMC Albany Medical College Albany, New York 12208

National Public Radio for eastern New York npr and western New England

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Strawberry LOWFAT YOGURT Seiji Ozawa, Music Director

Seiji Ozawa became Music Director of Director of the Berkshire Music Festi- the Boston Symphony Orchestra in the val, and in December of that year he fall of 1973 and is the thirteenth con- began his inaugural season as Con- ductor to head the Orchestra since its ductor and Music Director of the San founding in 1881. Francisco Symphony Orchestra, titles He was born in Hoten, Manchuria, he held concurrently with his position in 1935, and graduated from the Toho as Music Director of the Boston Sym- School of Music in Tokyo with first phony until he resigned them this prizes in composition and conducting. spring. (He will be Honorary Conductor When he won first prize at the Inter- in San Francisco for the 1976-1977 national Competition of Conducting at season.) Besangon, France, shortly after his In February and March of this year graduation, one of the judges of the Mr. Ozawa led the Boston Symphony's competition was the late Charles celebrated eleven-city tour of Europe. Munch, then Music Director of the Late this spring he directed a fully- Boston Symphony, who invited him staged production of Boris Godunov in to study at Tanglewood during the Tokyo. Besides Tanglewood, his sched- following summer. Mr. Ozawa's asso- ule this summer includes an appearance ciation with the Orchestra began during at the Salzburg Festival, leading the that session of the Berkshire Music Dresden Philharmonic. His recordings Center as a student of conducting in with the Orchestra on the Deutsche 1960. He was a guest conductor with Grammophon label include Berlioz's the Orchestra first in 1964. Symphonie fantastique and La damnation de Beginning with the summer of 1964, Faust, Beethoven's Piano Concerto No. 5 Mr. Ozawa was for five seasons Music with soloist Christoph Eschenbach, and Director of the Ravinia Festival, and the complete orchestral music of Ravel, at the beginning of the 1965-66 season This fall DG has three new Ozawa/BSO he became Music Director of the collaborations scheduled for release:

Toronto Symphony, a post he relin- Berlioz's Romeo et Juliette, Shostakovitch's quished after four seasons to devote Cello Concerto No. 2 (with soloist his time to study and guest conducting. Mstislav Rostropovich) and Charles In 1970 Mr. Ozawa became Artistic Ives's Fourth Symphony.

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11 "Ifeel that there has to be a way of nonstudents, the cop on the corner, my motherland the best way I havefound is by setting up a working analogy with language, something everyone snares anauses, and knows about..!9 Leonard Bernstein's celebrated Norton Lectures on the future course of music are now a book. If you are a music lover, this is your book. One you'll read, refer to, revel in. The Unanswered Question Six Talks at Harvard Leonard Bernstein Boxed. With 3 Records. $20.00

Available at the Tanglewood Music Store and fine stores everywhere. Or order directly from:

Harvard University Press, 79 Garden st, Cambridge, Mass. 02138

Harvard University Press is the publisher of The Harvard Dictionary ofMusic. Belknap Press. $20.00

12 Tanglewood 1976

Weekend Prelude

Members of The Boston Symphony Chamber Players with Gilbert Kalish, guest artist

Friday, August 20, 1976 7 p.m.

Piano Quartet in G minor, K. 478 Mozart Allegro Andante Rondo

Piano Quartet in E flat major, K. 493 Mozart Allegro Larghetto Allegretto

GILBERT KALISH, piano JOSEPH SILVERSTEIN, violin BURTON FINE, viola JULES ESKIN, cello

Mr. Kalish plays the Baldwin piano

Deutsche Grammophon Records Baldwin Piano 13 Jerome Lipson Robert Karol Bassoons Bernard Kadinoff Sherman Walt Edward A. Taft chair Vincent Mauricci Roland Small Earl Hedberg Matthew Ruggiero Joseph Pietropaolo Robert Barnes Contra bassoon Michael Zaretsky Richard Plaster

Cellos Horns Eskin Jules Charles Kavaloski Philip R. Allen chair Helen Sagoff Slosherg chair Martin Hoherman Charles Yancich Mischa Nieland Peter Gordon First violins Jerome Patterson David Ohanian Joseph Silverstein Robert Ripley Richard Mackey Concertmaster Luis Leguia Ralph Pottle Charles Munch chair Carol Procter Emanuel Borok Ronald Feldman Trumpets Assistant Concertmaster Joel Moerschel Armando Ghitalla Helen Horner Mclntyre Chair Jonathan Miller Max Hobart Andre* Come Martha Babcock Rolf Smedvig Rolland Tapley Roger Gerard Goguen Shermont Basses Max Winder William Rhein Trombones Harry Dickson Harold D. Hodgkinson chair Ronald Barron Gottfried Wilfinger Joseph Hearne William Gibson Fredy Ostrovsky Bela Wurtzler Norman Bolter Leo Panasevich Leslie Martin Sheldon Rotenberg John Salkowski Gordon Hallberg Alfred Schneider John Barwicki Tuba Stanley Benson Robert Olson Gerald Gelbloom Lawrence Wolfe Chester Schmitz Raymond Sird Henry Portnoi Ikuko Mizuno Timpani Everett Firth Cecylia Arzewski Flutes Sylvia Shippen Wells chair Amnon Levy Doriot Anthony Dwyer Walter Piston chair Percussion James Pappoutsakis Second violins Charles Smith Paul Fried Victor Yampolsky Arthur Press Fahnestock chair Assistant timpanist Marylou Speaker Thomas Piccolo Gauger Michel Sasson Frank Epstein Ronald Knudsen Lois Schaefer Leonard Moss Oboes Harps Bo Youp Hwang Bernard Zighe'ra Laszlo Nagy Ralph Gomberg Mildred B. Remis chair Ann Hobson Michael Vitale John Holmes Darlene Gray Wayne Rapier Personnel Managers Ronald Wilkison William Moyer Harvey Seigel English Horn Harry Shapiro Jerome Rosen Laurence Thorstenberg Sheila Fiekowsky Librarians Gerald Elias Clarinets Victor Alpert Vyacheslav Uritsky Harold Wright William Shisler Ann 5.M. Banks chair Violas Pasquale Cardillo Stage Manager Burton Fine Peter Hadcock Alfred Robison Charles S. Dana chair E-flat clarinet Reuben Green Eugene Lehner Bass Clarinet George Humphrey Felix Viscuglia

14 Tanglewood 1976

Boston Symphony Orchestra Seiji Ozawa, Music Director

Friday, August 20, 1976 9 p.m.

JORGE MESTER conducting

Scherzo Capriccioso, Op. 66 Dvorak

Symphony No. 22 in E flat major ("Der Philosoph") Haydn Adagio Presto Menuet Presto

INTERMISSION

Concerto for Orchestra Bartok Andante non troppo; allegro vivace Allegro scherzando Elegy: andante non troppo Intermezzo interrotto; allegretto Finale: presto

Seiji Ozawa and the Baldwin Piano Boston Symphony Orchestra record exclusively for Deutsche Grammovhon 15 Notes its effect. "Whereas Haydn was limited up to 1761," says Robbins Landon, "by his own technique on the violin and clavier — the Concerto in F for violin, Antonin Dvorak (1841-1904) harpsichord and orchestra indicates both limitations simultaneously — he Scherzo Capriccioso, Op. 66 now had a superb violinist and equally The Scherzo Capriccioso may be in the proficient technicians on the 'cello, traditional third-movement form flute, oboe and horn." And the challenge (scherzo-trio-scherzo) but it is informed quickly matured his symphonic talents. from first to last with an imaginative Within these first years, he had freedom that belies any restriction of loosely settled on the form that would formal structure. The scherzo proper serve him for all but a handful of his is divided into two thematic areas — later symphonies, and, indeed, would one the strong hunt-like motif an- continue to serve most of the composers nounced at the very beginning by the to follow him in the next century and horns, the other a wonderfully roman- a half: fast first movement in sonata tic and evocative waltz that insinuates form, slow second movement, minuet itself and lingers in the ear. After both (this would remain optional for a time) scherzo groupings have been twice and a fast finale. He used this sequence heard, the trio is introduced by the for more than half of the symphonies English horn, providing material both he produced between 1761 and 1765, thoughtful and dramatic for winds and when he and his musicians, with the strings before suggestions of the open- rest of the Prince's court, moved to the ing horn call are heard and, bit by bit, new Versailles-like palace of Eszterhaz. the main scherzo theme reassembles Yet three symphonies of this period itself for its harmonically altered re- (Nos. 18, 21 and 22) were set in a some- turn. After the waltz has reappeared, what different mold. For them, Haydn the work subsides a bit in energy, as adopted the form of the baroque church the horn call and waltz theme are heard sonata, with its slow movement placed in alternation; then, with a brief ca- first. In the Twenty-Second Symphony denza for the harp, the work moves he went so far as to borrow a church to its altogether brilliant coda. The chorale for the opening Adagio, solemnly Scherzo Capriccioso, wrote Alec Robertson, setting it in cantus firmus style for horns "can take its place amongst the greatest and English horns, and the effect ob- short orchestral works by any composer. tained has made more than one modern Had Dvorak ever written a symphony listener think ahead to The Magic Flute. with three other movements of equal Of the Presto that follows, Robbins ". quality one could say that he had Landon says: . .like the second move- reached the snows." ments of Nos. 18 and 21 its primary -J.K. function is to dissipate the intimate mosaic of sound created in the Adagio; Franz Josef Haydn (1732-1809) and as such it succeeds. Haydn even creates new tonal delights in his treat- Symphony No. 22 in E flat ment of the English horns: instead of ("Der Philosoph") producing the exotic tones of the Adagio By 1764, when he wrote the Twenty- the English horns are used in a quaint Second Symphony, Haydn had been and humorous fashion at the end of employed as Vice-Capellmeister at the the exposition and recapitulation, Castle of Eisenstadt for three years; where, by imitating the violins, they he was still in the dawn of his nearly emit sounds not unlike quacking ducks." three decades of service to the princely Haydn continues to exploit the English Eszterhazy family, and the stimulating horn (an instrument he was to use in presence of a full-time orchestra need- no other symphony) in the Menuet, as ing music to play was already having solo instrument in the trio, together

16 with the horns. The Presto finale, a between August 15 and October 8, little hunting gigue that bounces along that he wrote the Concerto for Orchestra. in 6/8 time, completes the work in a The first performances took place on jaunty manner that could not be much December 1 and 2, 1944, in Symphony further from its beginnings. Hall, Boston, with Koussevitzky con- -J,K. ducting, and so successful were those Friday and Saturday concerts that the Bela Bartok (1881-1945) work was repeated on December 29 and 30 of the same season. Ever since Concerto for Orchestra that time, the Concerto has been a reper- In 1943, Bartok was a sick and some- tory staple not only of the Boston what embittered man, the despair both Symphony but of orchestras the world of his doctors and friends. Neglect of over. The wit, power and affirmation his music was a source of aggravation of this work are immediately apparent to him, as were his impecunious circum- to the listener. As to the structure, stances. But on top of this he was suf- Bartok's own analytic precis, written fering from the leukemia which would for the program notes of the Boston claim his life a little more than two Symphony, says all that needs to be years later. By the summer of that said: year he was confined to a small New ". . . the first and fifth movements are York hospital room, and it was there written in a more or less regular sonata that one day arrived an unannounced form. The development of the first caller, Serge Koussevitzky. The great contains fugato sections for brass; the conductor had come alone, and, accept- exposition in the finale is somewhat ing the only chair, he drew it close to extended, and its development consists the bed and began at once to explain of a fugue built on the last theme of his mission. that the fiercely Aware the exposition. Less traditional forms proud composer would accept neither are found in the second and third move- charity nor an assignment he did not ments. The main part of the second feel able to undertake, the conductor consists of a chain of independent short did not "offer" a commission to the sections, by wind instruments consecu- desperately ill Bartok. Instead, lying tively introduced in five pairs (bassoons, as matter-of-factly as could, he re- he oboes, clarinets, flutes and muted ported that he acting as a courier was trumpets). Thematically, the five sec- for the Koussevitzky Foundation (set tions have nothing in common. A kind up as a memorial to his late wife Natalie) of 'trio' — a short chorale for brass and that he to leave a check was bound instruments and side-drum — follows, for $500 with Bartok whether or not after which the five sections are reca- any new piece would be forthcoming. pitulated in a more elaborate instru- This figure, he added, was only half mentation. The structure of the third of what had been set aside. Another movement likewise is chain-like; three $500 would be paid upon receipt of themes appear successively. These con- the score it was hoped that Bartok stitute the core of the movement, which could write. But the first $500 was is enframed by a misty texture of rudi- his irrevocably. mentary motifs. Most of the thematic Orthodox medicine has no explana- material of this movement derives tion for the speedy, if temporary, recu- from the 'Introduction' to the first peration that ensued. The grimmest movement. The form of the fourth prognoses would be confirmed soon movement — Intermezzo interrotto — could enough, but after Koussevitzky 's visit be rendered by the letter symbols ABA Bartok rallied so astonishingly that the — interruption — ABA." incredulous specialists authorized his discharge from the hospital. The com- — Harry Neville poser then went south, to Asheville, North Carolina, and it was there,

17 Tanglewood 1976

Boston Symphony Orchestra Seiji Ozawa, Music Director

Saturday, August 21, 1976 8:30 p.m.

SEIJI OZAWA conducting

Romeo et Juliette, Symphonie Dramatique, Op. 17 Berlioz Introduction: Tumult and strife; the Prince intervenes. Prologue (choral recitative with contralto solo) Stanzas (contralto and chorus) Recitative and scherzetto (tenor and chorus) Romeo alone; his sadness; concert and ball; fete at the Capulets Calm night (with chorus); love scene Scherzo: Queen Mab or the Dream-Sprite

INTERMISSION

Juliet's funeral procession (with chorus) Romeo in the tomb of the Capulets: invocation; Juliet's awakening; joy and despair, agony and death Finale: Cemetery brawl; Friar Lawrence's recital- oath of reconciliation (chorus and bass solo)

JAN DE GAETANI, mezzo-soprano JEAN DUPOUY, tenor PAUL PLISHKA, bass NEW ENGLAND CONSERVATORY CHORUS LORNA COOKE deVARON, conductor

Seiji Ozawa and the Boston Symphony Orchestra Baldwin Piano record exclusively for Deutsche Grammophon 18 Notes attending endless concerts and writing paragraphs about them, together with other routine duties involving liveli- hood, he needed just this liberation to Hector Berlioz (1803-1869) take a long breath and compose exactly

Romeo et Juliette, symphonie dramatique what he pleased. After the failure of composee d'apres la tragedie de Shakespeare, Benvenuto Cellini, which had barely attain- Op. 17 ed a fourth performance at the Opera, he needed a boost to his self-esteem. Over Berlioz wrote Romeo et Juliette in 1839, and above this, the circumstances of conducting the first performance himself in the the gift created discussion on all sides. in Paris on auditorium of the Conservatoire What was Paganini's motive? He had November 24 that year. The score was pub- of a reputation for being close-fisted lished, after revisions, in 1847, and again, ("grippe-sou"), a reputation contradicted ten years later. The in a second revised form, by many generous actions. (The com- text was by Emile Deschamps. The dedication ment of Jacques Barzun is to the point: was to Niccolo Paganini. "When Paganini refused to play for The first performance in Boston was given another artist's benefit, he was a 'miser/ on October 14, 1881; George Henschel sang but when he played in the cholera- the solo bass part — eight days before he con- infested city for the benefit of the ducted the inaugural concert the Boston of plague victims, no one bothered to call Symphony Orchestra. Though the Orchestra him a hero.") Some accused the "virtuose played excerpts from Romeo et Juliette infernal" of trying to make an impression frequently between 1888 and 1950, it was upon the public and the critics; others not until February 20, 1953, that the complete said he was taking the credit of an work was given; the conductor on that occasion anonymous donor. Berlioz indignantly was Charles Munch, and it was with Romeo repudiated these cabals. His gratitude et Juliette that Mr. Munch made his last to Paganini was beyond words. Even appearances leading the Orchestra, in January, his enemies were impressed by the fact 1968. The Boston Symphony's most recent that Paganini had knelt before Berlioz performances the work were given in October, of and called him the only one to succeed 1975, Seiji Ozawa conducting Beethoven. The Introduction calls for 2 flutes, 2 oboes, Berlioz at this time was by no means 2 clarinets, 4 bassoons, 4 horns, 2 trumpets, without backers. He had become a 2 cornets-a-piston, 3 trombones and tuba controversial topic, across tables and (ophicleide), and strings. The Prologue adds a in many columns of print. Jules Janin harp, the Stanzas an English horn, the Scher- defended him stoutly; Joseph d'Ortigue zetto a piccolo, the Ball scene a bass drum, wrote a full length book in defense of cymbals, triangle, 2 tambourines and a second Berlioz as an operatic innovator com- harp; in the Love scene the English horn is again parable to Gluck. Praise obviously introduced. In the Queen Mab scherzo antique biased, more provocative than persua- cymbals are added. sive, nurtured skepticism and antagon- It was in December, 1838, that Paganini, ism, as it has before and since. Curiosity excited by a performance of Berlioz's filled the house for Romeo et Juliette. Many Harold in Italy, knelt down upon the notables were present, and a good part stage in the presence of lingering mem- of intellectual Paris. The performing bers of the orchestra and kissed the forces were "satisfactory," to use composer's hand — this according to the Berlioz's words. The Ball music brought memoirs of Berlioz, who also tells how shouts of enthusiasm, and the scherzo he received from Paganini a note of was accounted extraordinary; the appreciation enclosing a bank draft for rather theatrical close brought renewed 20,000 francs. cheers. But the first part mystified the There could not have been a greater audience, the funeral music of Juliet boon for Berlioz at that moment. was received coldly, and the Love scene Weighted down by the necessity of puzzled them and was received with 19 more respect than warmth. There were The music of the ball obviously three performances, and the net return, admitted to interpolation of voices. as Berlioz remarked bitterly in a letter, The "scene -d'amour" is proof in itself that was 1100 francs. Berlioz could pour out his heart and Berlioz opened a preface to the score use his skill more intensely, more com- with these words: "There is no doubt pletely with only the orchestra, just that the character of this work will as Wagner reached his supreme mo- not be misunderstood." The statement ments in the orchestra when his singers may well have been ironic. Already were silent. Thus the gossamer magic looked upon as a preposterous inno- of the Queen Mab scherzo would have vator, Berlioz was here proposing a been destroyed at once by a text. When work which was "neither an opera in in the end Friar Laurence addresses concert form nor a cantata, but a sym- the two rival houses, the action is over. phony with chorus" — a dramatic sym- A moral can be suitably drawn in vocal phony. He had been obstinately mis- lines and the final reconciliation natu- understood by his vociferous opponents rally provides a choral close in the for reactionary or personal reasons. grand manner. The symphony has the general plan — John N. Burk of four movements with a Prologue as a vocal introduction to the first. If Berlioz had numbered the introductory and "Fete" movements as one, the nu- merical succession would have taken the natural symphonic division. The Love scene and the Queen Mab scherzo, both instrumental, correspond to the The sculpture displayed this summer slow movement and scherzo, while the in Tanglewood's Glass House (next to finale the whole. choral rounds out the main gate) is by the American artist The subject and its verbal treatment Clement Meadmore, who came to New add various episodes to this scheme. York from his native Australia in 1963. The composer had restricted the solo Mr. Meadmore has exhibited his work voices to narration, realizing that if in London, Hong Kong, Australia and given dialogue or musical they were New York; in this country it is in a characterization he would have found number of collections, public and pri- himself writing an opera or a cantata. vate — among others those of Nelson He has solved the problem of main- Rockefeller, Princeton University and taining a symphonic medium by rele- the Chicago Art Institute. He has re- gating the textual exposition to the ceived an award in art from the Ameri- first part of the symphony, in which can Academy of Arts and Letters; the he outlines the whole story in recitative citation praised his "forceful sculpture style. In this way he has disencumbered of twisting forms . . . direct, masculine himself of verbal impedimenta and is and moving." Mr. Meadmore's works, free to translate into purely orchestral executed in black plastic or Cor-ten tones the supreme moments of Shake- steel, have been enlarged to monu- speare's tale as he had seen and expe- mental size for various city sites, muse- rienced them years before. ums, universities and private collec- To be specific, then, the protagonists tions, in some cases reaching lengths in Romeo et Juliette are not, as one might and heights of thirty feet and more. suppose, the two lovers. The contralto soloist acts, with the chorus, as a nar- rator. As for the actual characters represented, the tenor takes the role of Mercutio, the bass that of Friar Laurence and the chorus becomes the families of the Montagues and Capulets. 20 Tanglewood 1976

Boston Symphony Orchestra Seiji Ozawa, Music Director

Sunday, August 22, 1976 2:30 p.m.

JOSEPH SILVERSTEIN conducting

"Classical" Symphony, Op. 25 Prokofiev Allegro Larghetto Gavotte Finale

Piano Concerto No. 2 in G minor, Op. 16 Prokofiev Andantino; allegretto Scherzo Intermezzo Finale

HORACIO GUTIERREZ, piano

Mr. Gutierrez plays the Steinway piano

INTERMISSION

Symphony No. 5, Op. 100 Prokofiev Andante Allegro marcato Adagio Allegro giocoso

Seiji Ozawa and the Baldwin Piano Boston Symphony Orchestra

record exclusively for Deutsche Grammophon 21 Notes Piano Concerto No. 2, in G minor, Op. 16

In 1913, Serge Prokofiev, still a student Serge Prokofiev (1891-1953) at the St. Petersburg Conservatory, "Classical" Symphony, Op. 25 caused considerable commotion in Written in 1916-17, considerably be- musical circles by performing his Sec- fore "neo-classicism" set in, this Sym- ond Concerto at Pavlovsk. His First phony in miniature surely cannot be Concerto, heard the year before, had looked upon as a pledge to past ways. warned conservative listeners to expect It might rather be considered a momen- from the brilliant young pianist (there tary dalliance with the eighteenth- was no denying his ability as a per- century formula. It would probably be former) an unbridled onslaught upon as mistaken to look for reverence in traditional harmony. The Second Con- the "Symphonie Classique" as to look for certo sounded even bolder than the irreverence in it. Let us say that the First. The critics of St. Petersburg must composer had a single and passing have considered the composer as news- impulse to weave his own bright threads worthy, if only from the point of view into an old pattern. of scandal, for they seemed to have Prokofiev gives himself precisely the been present in Pavlovsk in force. orchestra of Mozart or Haydn; he is Almost unanimously they attacked punctilious in his formal procedure. He him. "The debut of this cubist and is also concise — so much so that the futurist," said the reviewer in the four movements occupy no more than Petersburgskaya Gazeta, "has aroused uni- eleven minutes — about half the usual versal interest. Already in the train duration of the symphonies which he to Pavlovsk one heard on all sides took as model. 'Prokofiev, Prokofiev, Prokofiev/ A D major is the prevailing key. The new piano star! On the platform appears first movement, with clipped phrases, a lad with the face of a student from staccato and to the point, sets forth its the Peterschule [a fashionable school]. themes, its development, its recapitu- He takes his seat at the piano and lation and coda, all complete. The appears to be either dusting off the Larghetto is in simple rondo form, begin- keys, or trying out notes with a sharp, ning and ending with a charming pizzi- dry touch. The audience does not know catto in the strings, pianissimo, a mere what to make of it. Some indignant accompanying figure which neverthe- murmurs are audible. One couple gets less lingers in the memory. The theme up and runs toward the exit. 'Such and its development has a suggestion music is enough to drive you crazy!' of eighteenth-century ornamentation, is the general comment. The hall emp- but is in less serious vein. Prokofiev ties. The young artist ends his con- departs from the letter rather than certo with a relentlessly discordant the spirit of his models in choosing a combination of brasses. The audience gavotte instead of the rigidly customary is scandalized. The majority hisses. minuet. The Finale gives, naturally, a With a mocking bow Prokofiev resumes far greater freedom to his fancy, his seat and plays an encore. The audi- although he sets himself a first theme ence flees, with exclamations of: 'To upon the common chord which his the devil with all this futurist music! forebears might have found quite in We came here for enjoyment. The cats order and to their own purposes. The on our roof make better music than working out, recapitulation, and coda this!'" Other Petersburg critics spoke are virtuously observed. The episodic of "a babble of insane sounds," a "musi- byplay turns up a sauce of "modern" cal mess." A lone voice was that of wit which the periwigged masters could V.G. Karatygin, who reported "The scarcely have approved. fact that the public hissed means no- — John N. Burk thing. Ten years from now it will atone 22 for last night's catcalls by unanimous challenging; the First Concerto had applause for this new composer." been labelled by one critic as "football

It is hard to recognize the Concerto music," presumably on account of the in the epithets which were hurled at way the harmony was kicked around. his it by the early critics. The "babel of When Prokofiev brought forth its insane sounds" is in reality a clear, Scythian Suite (1916) with piquant lightly scored and delicately wrought barbarism and Sept Us sont sept (1917), piece, mostly in elementary common which was even more primitive, Proko- time, with an elementary bass and a fiev began to be called an "enfant terrible," iyric piano part, varied by pianistic as if he either enjoyed shocking staid embellishment. What apparently dis- people or used violence for the purpose turbed its hidebound hearers were the of attracting attention to himself. He then unaccustomed melodic skips and became a topic and was compared to occasional untraditional harmonies, the cubists, although he had no very the very characteristics which were special interest in that school of paint-

later found to be fresh, piquant, and ing. . . . Any resemblance between often entirely charming, the exclusive Prokofiev's early music and the work outcome of this composer's special of the cubists or futurists lay in an fantasy in lyricism. The Concerto be- impulse to break up conventional lines gins quietly and elegantly, the solo part and express himself boldly and vividly. lightly, but colorfully supported. Here, The comparison was just about as nebu- and throughout, the pianist's aim must lous as the linking of Debussy with be the utmost crispness and delicacy the French impressionist poets. of touch. There is a middle section — John N. Burk with a melody which could have been

written by none other than the destined Symphony No. 5, Op. 100 composer of the March from The Love for Three Oranges. A part for the soloist Prokofiev wrote his Fifth Symphony unaccompanied is not a cadenza but a in Russia in one month of the summer continuation of the development. This of 1944, fifteen years after his Fourth. leads to a climax by the full orchestra He gave out a statement at the time and a pianissimo close by the pianist, that he intended it as "a hymn to free as if to assure us that this is after all and happy Man, to his mighty powers, no concerto in the grand style. his pure and noble spirit." Such a dedi- cation was in accord with official Soviet The Scherzo is a swift moto perpetuo pronouncements that music should be for the soloist, in breathless and un- addressed directly to the people. The broken sixteenths by the two hands sentiment was all very fine, but Proko- in octave unison. fiev evidently considered it too broadly The Intermezzo opens on a theme inclusive, for he added a personal claim: with a flavor of the Scythian demons "I cannot say that I deliberately chose or the Suggestions diaboliques. A repeated this theme. It was born in me and bass theme with varying embellishment clamored for expression. The music of delicate piano figures approximates matured within me. It filled my soul." a passacaglia. The treatment, though traditional The Finale at last injects into the in form, is deeply felt, subjective and Concerto a more traditional bravura. daring, and seems at times possessed The pianist has still the commanding of the dramatic tensions of the war part, a dramatic "cadenza" carrying on period in which it was composed. The the development, as in the first move- Symphony had its premiere in Moscow ment, and building to a now expectedly in January, 1945, with the composer brilliant close. conducting. In November of that year The emergent young man was im- Serge Koussevitzky and the Boston possible to ignore. The several piano Symphony introduced the score to pieces he had written were violently America. 23 The opening movement is an An- Next Weekend's Programs: dante, built on two full-voiced melodic themes, the first in triple, the second Friday, August 27, 1976 in duple beat. Contrast is found in the alternate rhythm as both are fully 7 p.m. developed. Following the recapitulation, Weekend Prelude an impressive coda brings the move- Selections from Des Knaben Wunderhorn ment to a close. The second movement (Mahler) has earmarks of the classical scherzo. MAUREEN FORRESTER, contralto Under the theme there is a steady reite- baritone ration of a staccato accompaniment. BENJAMIN LUXON, WYNER, piano The melody, passed by the clarinet to YEHUDI the other woodwinds and by them p.m. variously treated, plays over the marked 9 conducting and unremitting beat. A bridge passage SEIJI OZAWA for a substantial wind choir ushers in Mahler: (and is to usher out) the trio-like Symphony No. 5 middle section, which is in 3/4 time and also rhythmically accented, the clarinet first bearing the burden of the Saturday, August 28, 1976 melody. The first section, returning, 8:30 p.m. is freshly treated. At the close, the rhythm becomes more incisive and KAZUYOSHI AKIYAMA conducting intense. The Adagio slow movement has, like Berlioz: the scherzo, a persistent accompani- Benvenuto Cellini Overture ment figure. It opens with a melody set forth espressivo by the woodwinds, Ravel: carried by the strings into their high Mother Goose Suite register. The movement is tragic in mood, rich in episodic melody. It carries Brahms: the Symphony to its deepest point of Symphony No. 2 tragic tension, as descending scales give a weird effect of outcries. But Sunday, August 29, 1976 this tension suddenly passes, and the 1:00 p.m. (Note special time) reprise is serene. The Finale opens allegro giocoso, and, after a brief tranquil SEIJI OZAWA conducting (and reminiscent) passage for divided cellos and basses, gives its light, rondo- Bach: like theme. There is a quasi-gaiety in St. Matthew Passion (3-1/2 hours) the development section, but, as throughout the Symphony, something PHYLLIS BRYN-JULSON, soprano more ominous seems always to lurk MAUREEN FORRESTER, contralto around the corner. The awareness of BENJAMIN LUXON, baritone brutal warfare broods over it and comes RICHARD STILWELL, baritone forth in sharp dissonance — as at the KENNETH RIEGEL, tenor end. SETH McCOY, tenor — John N. Burk TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BOSTON BOY CHOIR, THEODORE MARIER, conductor

24 Guest Artists Jean Dupouy The tenor Jean Dupouy was born in 1938 in Pau, France, and studied there Jorge Mester at the Conservatory. He entered the Paris Conservatory in October, 1964, Jorge Mester is Music Director of the and won its Voice Prize in June, 1965. Louisville Orchestra and the Aspen Following a number of awards and seasons he has con- Festival. In recent operatic appearances throughout ducted as well the Philadelphia Or- France, Mr. Dupouy was engaged by chestra in Philadelphia and at the Robin the Paris Opera for the title role in Hood Dell, and the Grant Park Con- Berlioz's Benvenuto Cellini; he has since certs in Chicago, the orchestras of sung a number of other roles in Italian Pittsburgh, San Francisco, Cincinnati, and French in the same house. Mr. Washington and New Orleans, and the Dupouy made his United States debut, Royal Philharmonic in London. He has as well as his first appearance with also appeared in Paris, Brussels, Hono- the Boston Symphony Orchestra, last lulu and Ottawa, and has conducted October; at the same time he partici- several operas at the New York City pated in the Deutsche Grammophon Opera including La Boheme and highly recording of Romeo et Juliette conducted successful revivals of Rossini's La Cene- by Seiji Ozawa. rentola and Mozart's Cosi fan tutte. In 1968 he led Amahl and the Night Visitors and The Medium for the Washington Paul Plishka

Opera Society; Columbia Records re- Paul Plishka is a native of Old Forge, corded The Medium with Mr. Mester Pennsylvania, and attended Montclair and the Washington cast. He has in State College in New Jersey, where he addition made over fifty premiere re- trained under Armen Boyajian and the cordings of twentieth century works, Paterson Lyric Opera Theatre. At 23, most of them with the Louisville he won the Baltimore Opera Auditions, Orchestra. and shortly thereafter joined the National Company of the Metropolitan Opera. In 1967 he joined the Met's Jan De Gaetani parent company, making his debut in Jan de Gaetani, a native of Ohio, is a La Gioconda, since then he has performed graduate of the Juilliard School. Though over thirty roles with them. Mr. she frequently performs contemporary Plishka's schedule includes engage- works, she also sings in oratorio and ments in the United States and Europe opera, chamber music and solo recitals, and recording with the Cincinnati on radio and on television. She has Symphony under Thomas Schippers. appeared with such ensembles as the New York Pro Musica, the Beaux Arts String Quartet, the Fine Arts Quartet New England Conservatory Chorus and the Contemporary Chamber En- The New England Conservatory Cho- semble; her concert performances in- rus, under the direction of Lorna Cooke clude appearances with the San Fran- deVaron, has contributed significantly cisco Symphony, the New York Phil- to Boston's musical life and has become harmonic, the Atlanta Symphony and known internationally through its tours the Cincinnati Symphony. She has sung and recordings; it is composed of stu- abroad in London, Vienna and Amster- dents from all departments of the dam, and has been Artist-in-Residence Conservatory. For the past twenty- at the University of Wisconsin and at four years the Chorus has sung with the Aspen Music Festival. She has also the Boston Symphony each season and been on the faculty of the Juilliard has made many recordings with the School. At present she is Professor of Orchestra. The Chorus participated in Voice at the Eastman School of Music. the Charles Munch recording of Romeo 25 et Juliette for RCA Victor, and last Octo- Boston Symphony Chamber Players ber took part in the new Deutsche Formed as a distinct performing en- Grammophon recording of the work semble in 1964, the Boston Sym- conducted by Seiji Ozawa. phony Chamber Players comprise twelve basic members — the Orchestra's Gilbert Kalish string, woodwind and brass Principals Gilbert Kalish, a graduate of Columbia and the solo timpanist. The ensemble College, has studied piano with Leonard has toured Europe three times and has Shure, Isabelle Vengerova and Julius made much-acclaimed tours to South Hereford. Previously on the faculty of America and the Soviet Union. Each Rutgers University, Mr. Kalish is pre- year they also travel to different areas sently Artist-in-Residence at the State of the United States to present concerts University of New York at Stony Brook; and master classes. he has been a member of the faculty of Among the ensemble's numerous the Berkshire Music Center at Tangle- recordings (some thirty works from wood since 1968. He appears regularly their repertoire of over 150 composi- with the Boston Symphony Chamber tions), several have received honors, Players, with whom he toured Europe including the Grammy Award for out- in 1971, and has made solo appearances standing chamber music performance with the Boston Symphony Orchestra given their first recording (RCA Victor) and Buffalo Philharmonic. Well known and the Grammy nomination given for his work in the contemporary field, their second Deutsche Grammophon Mr. Kalish has for many years been the release, American Chamber Music of the pianist for the Contemporary Chamber 20th Century. Ensemble and has performed as soloist in major twentieth century concerti by Horacio Gutierrez Berg, Carter, Messiaen and Stravinsky. Horacio Gutierrez was born in Havana, He has recorded for Columbia, CRI, Cuba, and came to the United States Desto, Folkways and Nonesuch. with his family in 1962. In the year that he became an American citizen, Joseph Silverstein 1967, he took first prize in the San Francisco Symphony auditions. Three Joseph Silverstein, assistant conductor years later he won a silver medal at of the Boston Symphony Orchestra the 1970 Tchaikovsky Competition in since beginning of the 1971-72 the Moscow, and was the only contestant season, and concertmaster since 1962, to give special recitals in Moscow and Orchestra in 1955 at the age joined the Leningrad immediately following the in Detroit, he of twenty-three. Born competition. studied at the Curtis Institute in Phila- Mr. Gutierrez has made appearances delphia and with Josef Gingold and on major American recital stages and Mischa Mischakoff. He was a prize with leading orchestras as well as winner in the Queen Elisabeth of making tours of Europe, South Ameri- Belgium International Competition ca, Israel and the U.S.S.R. During the a later the Naumberg and year won 1975-76 season he performed with the has established Foundation Award. He Orchestras of Philadelphia, Chicago, an international reputation as soloist Cleveland, Denver, Toledo, Toronto, and as first violinist of the Boston Sym- Salt Lake and Phoenix — also returning Players; during past phony Chamber to Mexico City, South America and seasons he has performed over 30 con- Europe. His first records on the Angel certos with the Boston Symphony and label are being issued this year. has recorded those by Bartok and Stra- vinsky for RCA Victor. Mr. Silverstein is Chairman of the Faculty of the Berk- shire Music Center at Tanglewood. 26 HANCOCK SHAKER Corporate Benefactors VILLAGE of the Boston Symphony Orchestra Original 18th Century Village Restored Charles River Open daily 9:30-5:00 Broadcasting Company Adults $3 Children $1 Wm Filene's Sons Company Annual Kitchen Festival Week of August 2nd The First National Bank Boston Route 20 Five miles West Of Mass. of Pittsfield, The Gillette Company

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28 The Berkshire Music Center

"One more thing should come from this scheme, namely, a good honest school of musicians." — Henry Lee Higginson, on founding the Boston Symphony Orchestra

The late Serge Koussevitzky fervent- ly shared Henry Lee Higginson's vision of a "good honest school for musicians" —an academy where young musicians Getaway to Yesterday could extend their artistic training and Visit the Inn in the Berkshires with two broaden their experience under the centuries of tradition, and all the modern guidance of eminent professionals. amenities. Live amidst antiques. Savor lobster, homemade apple pie, potables than any other person, it was More from our tavern. Call (413) 298-5545 Koussevitzky who made the vision a for reservations. reality; he was Director of the Berkshire Lion Inn Music Center from its founding in 1940 2JB Hie Red Since 1773, Stockbridge, Mass. 01262 until his death in 1951, and his vigorous On Rte. 7, south of Tanglewood leadership has remained an inspiring example in the years since. Serge Koussevitzky was succeeded by Charles Munch, and it is a mark of the Center's success that the Boston Sym- cPT^ phony's present Music Director, Seiji Ozawa, studied here during the Munch era. Alumni of the Center are among the most prominent and active mem- bers of the music world; more than ten percent of the members of this coun- CURTAINS try's major orchestras are graduates of the Center, as are many of the world's At TkE RedLkn Inn notable conductors, instrumental solo- STOCKBRIDGE MASSACHUSETTS ists and singers. 0IZ62

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Director of Admissions Wykeham Rise Wykeham Road Washington, CT 06793 Tel. 203/868-7347 Avis

30 cooperation with the Fromm Music Foundation at Harvard, offers a broad spectrum of the most advanced music of today's composers in a gala week of performances. The Boston Symphony's Concert- master and Assistant Conductor Joseph Silverstein heads a faculty that includes principal players and members of the Orchestra and faculty members of Bos- ton University's School of Fine Arts, plus leading soloists, conductors and composers. The Center has numerous studios for practice and chamber music, and an extensive library of music litera- ture and scores. Rehearsals and con- certs of the Berkshire Music Center Orchestra and other student groups "Expect the Unexpected" take place mostly in the Theatre-Con- The Square Rigger Restaurant and Cabaret is cert Hall, while lectures, seminars, con- known for "Good Country Cooking." An informal atmosphere of ship hatch tables, rock ducting classes, vocal and choral re- fern gardens, Tiffany lamps, and stain glass hearsals, composers' forums and cham- windows, located by the Shaker Mill Pond. ber music concerts take place in the Serving their famous Rigger Burgers and pizzas, Chamber Music Hall, in the West Barn, steaks, seafood, homemade soups and deserts. in the Hawthorne Cottage, on the Brunch, lunch, dinner, nite owl snaks, from 10 am to 2 am, seven days a week. Rehearsal Stage, and in the small stu- The Back Room . . . Free Movie Festival plus dios both on the Tanglewood grounds "The Music Showcase of the Berkshires" i and in buildings leased in Lenox. Each West Stockbridge, Mass. summer the Baldwin Piano and Organ 413-232-8565

Company generously provides nearly . . . and don't miss Mike Schiffer: 100 keyboard instruments for individ- Ballads & Blues on a Steinway grand ual practice; other instruments —per- Six nights a week 'til 2 a.m. cussion, for example —are provided by The Ice Cream Emporium the Orchestra. at the Westbridge Inn MlllMlMIIIMIIMilMllMM The Boston Symphony is assisted in supporting the Center by the National Endowment for the Arts, a federal agency, as well as by individual and Academics &Music corporate sponsors. Scholarships are Unusual boarding and day school offering fully accredited college preparatory program and musical training for the talented musician and for those seeking awarded to the majority of the students, enrichment in the performing arts. Established in 1893. Grade 7-12. STUDY appljed instrumental and vocal music for credit with teachers from Boston who are chosen by audition on a com- University's School of Music, many of whom are members of the Boston Symphony Orchestra. PERFORM with the Greater Boston Youth Symphony petitive basis. cost of the scholar- Orchestras or other regional orchestras. ATTEND open rehearsals and per- The formances of the B.S.O. plus concerts on campus. ELECT music theory and history courses, composition, theatre, dance and fine arts. Join our ship program is large and adds sub- choral and instrumental ensembles. Recipient of National Humanities Faculty Grant, Massachusetts Council for the Arts and Humanities recognition and stantially to the Orchestra's yearly Edward Ford Foundation Grant. 47 acre suburban campus 25 minutes from Boston's artistic resources. Audition or tape required. Scholarships available. deficit — one major for the reason es- Advisory Board: Wilbur D.Fullbright tablishment of the Friends of Music at (Director, B.U. School of Music) Thomas D. Perry. Jr.lDirector. Tanglewood, a group that provides Boston Symphony Orchestra) Gunther Schuller (President, critical support for the Center. A brief New England Conservatory) Roman Totenberg account of members' privileges is print- (B.U. Professor of Music). ed on page 37, and more information Faculty: Daniel Moore John Daverio may be had at the Friends' Office near Martha Yacyshyn the Main Gate. We invite you to see Adele Babcock and hear for yourself the remarkable WakmtHUl School caliber of the Center's young musicians. For catalog, call (617) 653-4312 or write: 255 Highland. Natick. Mass. 01760

31 NEW ENGLAND'S FAMOUS YEAR 'ROUND RESORT GREAT BICENTENNIAL TOUR BASE 1/2 OFF LIST for all Nonesuch LP's at

berkshire record outlet inc.

910 South Street, Pittsfield, Ma. 01201 Jug Cnd "At least 1/3 off all records at all times"

Hours: 1 1 :30 - 6 Monday thru Saturday

on 1200 acres. . . All Summer & Winter Sports, 18 hole golf course open to the public, Tennis & Swimming year 'round. Trail riding and instruction. Gift Shop, Fine food & entertain- ment nightly, cocktail lounge, Popular con- vention center, Also great Bicentennial Tour 200 years later, Base. Close to Tanglewood, Norman Rockwell, "right in the heart of where it all began." still Stop in after the concerts and hear the best and we're entertainment in the Berkshires. providing that good FOR RATES & COLOR BROCHURE Yankee cooking, & BICENTENNIAL TOURS DATA Write: Box 720 drink and lodging. SOUTH EGREMONT. MASS. 01258 Back in 1771, when my place was a stopover for hungry travelers, we had a Tel.: (413) 528-0434 reputation for our generous meals. And we're still serving that good Yankee cooking today. Like roast whole Cornish game hen, sirloin steak, and our individual baked lobster pie. All just % mile from historic Old Sturbridge Village, and a few minutes AND : OPERA HOUSE from Exit 9 of the Mass. Turnpike. Send 36 Luxury Rooms FOOD»DRlr1K»LODG«NG for my free brochure. 16-1-91 Exit Buddy Adler , Innkeeper Holyoke, Mass. (413) 532-9494 \m

For information about advertising in the Boston Symphony's programs, please contact Steve Ganak Ad Reps, Statler Publick House Office Building, Boston MA 02116. On the Common -Sturbridge. Miss. -(6 1 7) 347 3313 (617) 542-6913

32 In and Around VISIT BERKSHIRE LAKES ESTATES the Berkshires EXPERIENCE COUNTRY LIVING AT ITS BEST! Tanglewood is but one of the many Small Lakefront Community activities and events constantly enrich- ing the Berkshires; a complete listing Swim and boat on 2 crystal clear mountain may be found in Berkshire Week, a summer lakes. Play tennis, badminton, volleyball magazine of the Berkshire Eagle and and basketball on community courts. Live Torrington Register. Copies are avail- in privacy adjacent to a large state forest. the Lion able at the Main Gate and Berkshire Lakes Estates Gate. Some highlights: Yokum Pond Road Becket, Mass. 01223 Berkshire Theatre Festival Tel. 413-623-8747 Stockbridge TO VISIT: Mass. Turnpike to Lee, Mass.-Rt. 20 Lenox Arts Center East. Continue 4 miles to Belden's Tavern. Left Lenox for 2 miles to Berkshire Lakes Estates. Williamstown Theatre Williamstown Jacob's Pillow Dance Festival Grand Hotel Lee Curtis Aston Magna on the Village Green Great Barrington Lenox, Mass. (413) 637-0016 Berkshire Museum Amid the echoes of Tanglewood, Pittsfield Stay and dine in old world elegance. Clark Art Institute Delightful accommodations, — Williamstown Elevator and telephone service Al fresco dining on the piazzas Hancock Shaker Village Surrounding the heated pool, Hancock Dancing nightly in the lounge, Chesterwood Studio Museum Supper dining in the garden Glendale After each concert. A Complete Lenox Library Berkshire Experience! Lenox Under New Management Stockbridge Historical Society Stockbridge Naumkeag Stockbridge ARROWHEAD

Mission House Where Herman Melville wrote Stockbridge Old Corner House MOBY-DICK Stockbridge Berkshire Garden Center Headquarters Stockbridge Berkshire County Historical Society 780 Holmes Rd., Pittsfield, Ma. Pleasant Valley Wildlife Sanctuary Lenox Open: Mon. - Sat. 10 - 5 South Mountain Concerts Sun. 1-5 Closed Tues. Pittsfield Adults $1.00 Students .50

33 CHESTERWOOD STOCKBRIDGE BERKSHI

FESTIVAL Stockbridge

June 22- July 11 The Pulitzer Prize-winning musical comedy

OF THEE I SING by George and Ira Gershwin, George S. Kaufman and Morrie Ryskind

July 13- July 25

James Coco and Dody Goodman in GEORGE WASHINGTON SLEPT HERE by Moss Hart and George S. Kaufman

July 27 - August 8

Beatrice Straight & Kevin McCarthy in Slimmer Home and Studio of THE LION IN WINTER DANIEL CHESTER FRENCH by James Goldman August 10 - August 29 Sculptor of the Lincoln Memorial Ruth Gordon in HO! HO! HO! A new comedy by Miss Gordon, directed by Garson Kanin

Garden, Nature Trail, Fritz Holt and Barry M. Brown, Producers

Paintings, Barn Sculpture Gallery Tues. Wed. & Thurs. Eves at 8:30; Sun. Eve at 7:30; Wed. Mat. at 2:30; Sat. Mat. at 5:00; prices $7.50 & $6.00; Fri., Sat. Eves at 9:00; prices $8.50 & $7.00 (413) 298-5536 Adults $1.75 • Children $.75 Also At The Festival: In the Unicorn (barn) Daily 10-5 Theatre, three new American plays; Thursdays through Sundays. In the Proposition Theatre, the Proposition Company of Boston, with after- theatre entertainment, Thursdays through Sun- a property of days, and a children's theatre Thursday, Saturday, The National Trust for Historic Preservation Sunday afternoons. ASIAN GALLERY Far Eastern Art

CURTIS HOTEL MAIN STREET, LENOX, MASS. 01240

24 EAST 80th STREET, NEW YORK, N.Y. 10021

(413) 637-0016 (212) 734-1379

34 —

The Executive Committee

I 44TH SEASON I Tanglewood Council of the ) Boston Symphony Orchestra Jacobs

Mrs. John S. McLennan Pillow Mr. Peter van S. Rice Located in the Township of Becket, Mass. Norman Walker, Director Co-Chairmen June 29—July 3 August 10-14 Eight Soloists from the Teodoro Morca Royal Danish Ballet The Claude Kipnis Mr. John Kittredge Mime Theatre July 6-10 Secretary/Treasurer Suzanne Farrell August 17-21 & Peter Martins Jo-Ann Bruggemann & The Danscompany Bob Bowyer Classical Pas de Deux Mr. and Mrs. David Klein Annabelle Gamson Jacob's Pillow Dancers Jacob's Pillow Dancers Talks and Walks July 13-17 The Maria Alba Spanish Dance Company Performances: Mrs. Richard Marcure July 20-14 Tues. through Sat, Mrs. George Vazakas The Nikolais Dance Curtain times: Tues., Theatre 7:30 pm.,Wed.,Fri.,& Tent Sat. ,8:40 pm., Thurs. JulV 27-31 and Sat. .Matinees: Emily Frankel — 3:00 pm. Mrs. Arthur Aronoff Charles Moore Classical Pas de Deux Tickets: Jacob's Pillow Dancers Mrs. Archie Peace $7.50, $6.50 and $5.00. Student Affairs August 3-7 Available at Ticketron, The Milwaukee Ballet or the Jacob's Pillow Company with guest Box Office. artist Ted Kivitt Mrs. Tivy Desmond How to Reach Jacob's Pillow: Tent tea and coffee Approx.150 miles from Boston near Tangle- wood. Lee-Pittsfield exit on the Mass. Turnpike. Public transportation from Boston via Grey- hound to Lee, Mass. Mrs. Samuel Boxer For information and reservations: Mrs. Roger Voisin Call 10 a.m.—9 p.m. Mon . thr u Sat. (413) 243-0745 Sales and Information Dance Festival America's FIRST Dance Festival, Richard S. Mr. Jackson Box 287, Lee, Mass. 01238. Mr. Robert A. Wells I J Public Relations and Membership

Mr. Jeffrey R. Winslow THE Business OLD CORNER HOUSE

Mrs. James Garivaltis Musical Marathon Co-ordinator

Mrs. James Garivaltis Mrs. Charles Capers Mrs. Kelton M. Burbank Benefits, receptions and meetings

Mrs. Peter van S. Rice Paintings by Tanglewood-Boston liaison NORMAN ROCKWELL On permanent exhibit Mrs. Anatole Haemmerle Open Year Round — Daily 10-5 p.m. Boston-Tanglewood liaison Except Tuesdays Adults $1.00 Children 25

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Seiji Ozawa mMB The Boston Symphony The Berkshire Festival 1976

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'Ac;* Polydor International GmbH Hamburg, Germany

36 The Friends of Music at Tanglewood

Membership provides you with exciting opportunities and privileges all year long. It's the secret buy of the Berkshires!

Free Berkshire Music Tent Membership: Center Concerts: The Tanglewood Tent, available to Over 40 concerts each summer by the contributors of $75 and over, provides members of the Berkshire Music Cen- a hospitable gathering place behind the ter, the Boston Symphony Orchestra's Music Shed where food and drink may summer academy for the advanced be purchased on concert days. Hot study of music. These outstanding mid- buffet dinners are served on Saturday week concerts include chamber music evenings beginning at 6:30 p.m. (Reser- recitals, full orchestra concerts, vocal vations must be made through the and choral programs, and the annual Friends Office no later than 12:00 noon Festival of Contemporary Music, on the Wednesday preceding each Tanglewood's "festival within a festi- Saturday evening buffet.) val." Friends Concert Memberships for Special Parking For individuals and families are available Friends: for $25.00. Two convenient reserved parking areas are available to all donors of or Advance Program Information $150 more for all Boston Symphony Orches- and Ticket Ordering Forms: tra concerts: either the Box Parking Approximately one month before the Lot (Hawthorne Street entrance), or public sale of seats in the early spring, the Tent Parking Lot (West Street Friends will be sent the advance Berk- entrance). shire Festival programs and a priority For information, contact: ticket application. Friends will also Friends of Music at Tanglewood receive the monthly Boston Symphony Lenox, Ma. 01240 Orchestra publication, "BSO." (413) 637-1600

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