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For 104 years we've been serious about people who make music.
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 Itub 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 tromboneltuba 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 J BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA y^ / Music Director y^ty
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 Tangli 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 RaldwTn 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 Koussevitsky 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 Sei|i Ozawa, GuntherSchuller. James Dixon, Richard Pittman 210 acres of lawns and meadows, as a gift to Koussevitsky 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 Koussevitsky 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 Koussevitsky 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 WAIilC rehearsals, the annual Festival of FM 90.3 mHz Contemporary Music, and almost daily 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. season offers only a The not where the next day's head- vast quantity of music but also a vast lines are often made. Enjoy range of musical forms and styles, all "All Things Considered," a of it presented with a regard for artistic excellence that makes the Festival fascinating magazine of news unique. Tanglewood and the Berkshire and issues. (Nothingelse like it
Music Center, projects with which in broadcasting !) Savor some Koussevitsky was involved until his of the most satisfying thea- death, have become a fitting shrine to tre productions ever aired. his memory, a living embodiment of Revel in delightful, intelligent the vital, humanistic tradition that was conversation. his legacy.
Listen . . . and if you like what you hear, write for our free monthly program directory. WAMC Albany Medical College Albany, New York 12208
National Public Radio py—ip> f° r eastern New York Q I LJ and western New England
The Shed under construction in 1938 DannonYogurt. If you dorft always eat right, it!s the right thing to eat.
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Strawberry UWFAT 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, Shostakovich'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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Available at the Tanglewood Music Store and fine stores everywhere. Or order directly from:
Cambridge, Mass. 02138 Harvard University Press , 79 Garden st,
Harvard University Press is the publisher of The Harvard Dictionary ofMusic. Belknap Press. $20.00
12 .
Tanglewood 1976
Weekend Prelude
Tanglewood Festival Chorus John Oliver, conductor
Friday, July 30, 1976 7 p.m.
Musicians Wrestle Everywhere (1945) Elliot Carter A Madrigal for Five Mixed Voices
Antiphonies (1963) World Premiere Jacob Druckman (Poems by Gerard Manley Hopkins)
Repeat that, repeat, . .
I wake and feel the fell of dark, not day. Glory be to God for dappled things
SANFORD SYLVAN, reader
Psalm 67 (1898) Charles Ives
Psalm 90 Charles Ives
PHILIP MOREHEAD, organ
Antiphonies (1963) (repeated) Jacob Druckman
In the Beginning (1947) Aaron Copland
BEVERLY MORGAN, mezzo-soprano
13 Jerome Lipson Robert Karol Bassoons Bernard Kadinoff Sherman Walt Edward A. Taft chair Mauricci Vincent Roland Small Earl Hedberg Matthew Ruggiero Joseph Pietropaolo Robert Barnes Contra bassoon Michael Zaretsky Richard Plaster
Cellos Horns Jules Eskin Charles Kavaloski Philip R. Allen chair 6°^ Helen Sagoff Slosberg chair Martin Hoherman Charles Yancich Mischa Nieland David Ohanian Jerome Patterson First violins Richard Mackey Robert Ripley Joseph Silverstein Ralph Pottle Luis Concertmaster Leguia Charles Munch chair Carol Procter Trumpets Emanuel Borok Ronald Feldman Armando Ghitalla Assistant Concertmaster Moerschel Joel Andre" Come Helen Horner Mclntyre Chair Jonathan Miller Rolf Smedvig Max Hobart Martha Babcock Rolland Tapley Gerard Goguen Roger Shermont Basses Trombones Max Winder Rhein William Ronald Barron Harry Dickson Harold D. Hodgkinson chair Gottfried Wilfinger Joseph Hearne William Gibson Fredy Ostrovsky Bela Wurtzler Norman Bolter Hallberg Leo Panasevich Leslie Martin Gordon Sheldon Rotenberg John Salkowski Alfred Schneider John Barwicki Tuba Stanley Benson Robert Olson Chester Schmitz Gerald Gelbloom Lawrence Wolfe Raymond Sird Henry Portnoi Timpani Ikuko Mizuno Everett Firth Sylvia Shippen Wells chair Cecylia Arzewski Flutes Levy Amnon Doriot Anthony Dwyer Percussion Walter Piston chair Charles Smith Second violins James Pappoutsakis Arthur Press Victor Yampolsky Paul Fried Assistant timpanist Fahnestock chair Thomas Gauger Marylou Speaker Frank Epstein Michel Sasson Piccolo Lois Schaefer Ronald Knudsen Harps Leonard Moss Bernard ZigheYa Bo Youp Hwang Oboes Ralph Ann Hobson Laszlo Nagy Gomberg Mildred B. Remis chair Michael Vitale John Holmes Personnel Managers Darlene Gray Wayne Rapier William Moyer Ronald Wilkison Harry Shapiro Harvey Seigel English Horn Jerome Rosen Laurence Thorstenberg Librarians Sheila Fiekowsky Victor Alpert Gerald Elias Clarinets William Shisler Vyacheslav Uritsky Harold Wright Ann S.M. Banks chair Stage Manager Violas Pasquale Cardillo Alfred Robison Burton Fine Peter Hadcock 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, July 30, 1976 9 p.m.
KLAUS TENNSTEDT conducting
Symphony No. 9 in D minor, Op. 125 Beethoven Allegro ma non troppo, un poco maestoso Molto vivace; presto Adagio molto e cantabile Allegro assai (soloists and chorus)
MARALIN NISKA, soprano; GWENDOLYN KILLEBREW, mezzo-soprano; SETH McCOY, tenor; PAUL PLISHKA, bass-baritone; TANGLEWOOD FESTIVAL CHORUS and TANGLEWOOD CHOIR, JOHN OLIVER, conductor
This concert is made possible with support from the Massachusetts Council on the Arts and Humanities.
Deutsche Grammophon Records Baldwin Piano Philips Records
15 Notes vigorous and impressive as are many portions of the finale, it is still the opening Allegro that one thinks of when the Ninth Symphony is mentioned. In Ludwigvon Beethoven (1770-1827) many respects it differs from other Symphony in D Minor, No. 9, Opus 125 first movements of Beethoven; every-
I. Allegro ma non troppo, un poco maestoso, thing seems to combine to make it the D minor, 2/4. Themes which are grad- greatest of them all." ually unfolded from mysterious mur- II. Molto vivace, D minor 3/4. For the murings in the orchestra — no uncom- only time in his symphonies, Beethoven mon experience nowadays — all date in this case put his scherzo second in back to the opening measures of the order and before the slow movement. Ninth Symphony, where Beethoven A scherzo it is in everything but name, conceived the idea of building a music with the usual repeats, trio, and da capo of indeterminate open fifths on the (with bridge passages added). There is dominant, and accumulating a great the dancelike character of earlier scher- crescendo of suspense until the theme zos, and an echo of rusticity in the trio, itself is revealed in the pregnant key recalling the Sixth and Seventh. Yet all of D minor, proclaimed fortissimo by the is lifted to the prevailing mood of rari- whole orchestra in unison. It might be fied purity as this movement, like the added that no one since has quite equal- others, adds a new voice to an old form. ed the mighty effect of Beethoven's This scherzo has been called "a miracle own precedent — not even Wagner, who of repetition in monotony," by virtue held this particular page in mystic awe, of the incessant impact of its rhythm and no doubt remembered it when he (associated with the kettledrums, tuned depicted the elementary serenity of the in octaves) which keeps its constant Rhine in a very similar manner at the impact through the most astonishing opening of the "Ring." The develop- variety in modulation, color, counter- ment in this, the longest of Beethoven's point. The movement begins as a five- first movements, moves with unflag- voice fugue, recalling the fact that ging power and majesty through many Beethoven first conceived the theme an episode, many a sudden illumination as the subject for a fugue — the earliest from some fragment of his themes. At of his sketches which eventually found the restatement of the main theme the its way into the symphony. The trio orchestra is flooded with the triumph continues the contrapuntal interest by of the D major long withheld. The long the combination of two themes. The coda, coming at the point where it would famous passage for the oboe against seem that nothing more could be said wind chords reminded Berlioz of "the on a much developed subject, calls forth effect produced by the fresh morning new vistas from the inexhaustible air, and the first rays of the rising sun imagination of the tone magician who in May." needed little more than the common III. Adagio molto e cantabile, B flat major, chord upon which to erect his vast 4/4. The slow movement is built upon schemes. Tovey writes of this move- two themes whose structural relation ment (in "Essays in Musical Analysis") lies principally in contrast: the first, that it "dwarfs every other first move- Adagio in B flat, 4/4 time, the second, ment, long or short, that has been Andante moderato in D major, triple time. written before or since," attaining its After the almost static Adagio, the stature, in his opinion, by a perfect second theme attains flowing motion balance in the organization of its parts. in its melody, which Beethoven has ,And Grove goes further still ("Beet- marked espressivo. This theme recurs in hoven and His Nine Symphonies"): alternation with the other, but unlike "Great as are the beauties of the second the other is hardly varied, except in the and third movements — and it is impos- instrumentation. The Adagio theme sible to exaggerate them — and original, undergoes variations of increasingly 16 intricate melodic ornament like those and basses gives an answer of plain by which Beethoven also lifted his last rejection; in the first two cases brusque- sonatas and quartets to such indescrib- ly, in the case of the Adagio softened by able beauty. a tender memory. Beethoven's instru- ments seem on the very verge of speech. IV. Allegro assai, D major, 4/4. The A hint of the coming choral theme is finale opens with a frank discord, fol- breathed in gentle accents by the wood- lowed by a stormy and clamorous presto winds, to which the recitative, now no of seven bars. It is as if the composer, longer confined to the strings, gives a having wrested from his first three convincing affirmative. Thereupon the movements the very utmost drop that theme in full is unfolded in its rightful was in them, is still restless and unsat- D major. It is first heard in the utter isfied. He must still advance upon his simplicity of the low strings in unison, divine adventure, cast off his tragic or piano. Gradually harmonies and instru- poignant moods, find some new expres- ments are added, until the exposition sion, spacious and radiant. A few mea- has been completely made, but not even sures of each movement are reviewed, yet has the composer left the instru- and after each a recitative in the cellos mental field.
Once more there is the noisy presto passage, and the composer introduces words for the first time into a symphony. The baritone has this recitative:
"O Freunde, nicht diese Tone, "G brothers, these sad tones no longer! sondern lasst uns angenehmere Rather raise we now together our voices, anstimmen, und freudenvollere." And joyful be our song!"
There immediately follow the first three verses of Schiller's ode, by the solo quartet and chorus:
Freude, schoner Gotterfunken, Joy, thou spark from flame immortal Tochter aus Elysium, Daughter of Elysium! Wir betreten feuertrunken, Drunk with fire, O heav'n born Goddess, Himmlische, dein Heiligthum. We invade thy halidom!
Deine Zauber binden wieder, Let thy magic bring together Was die Mode streng getheilt; All whom earth-born laws divide; Alle Menschen werden Brtider, All mankind shall be as brothers Wo dein, sanfter Fliigel weilt. 'Neath thy tender wings and wide.
Wem der grosse Wurf gelungen, He that's had that best good fortune, Lines Freundes Freund zu sein, To his friend a friend to be, Wer ein holdes Weib errungen, He that's won a noble woman, Mische seinen Jubel ein! Let him join our Jubilee!
]a — wer auch nur eine Seele Ay, and who a single other Sein nennt auf dem Erdenrund! Soul on earth can call his own; Und wer's nie gekonnt, der stehle But let him who ne'er achieved it Weinend sich aus diesem Bund. Steal away in tears alone.
Freude trinken alle Wesen Joy doth every living creature An den Brusten der Natur; Draw from Nature's ample breast; Alle Guten, alle Bbsen All the good and all the evil Folgen ihrer Rosenspur, Follow on her roseate quest. K'usse gab sie uns und Reben, Kisses doth she give, and vintage, Einen Freund, gepr'uft im Tod; Friends who firm in death have stood; Wollust ward dem Wurm gegeben, Joy of life ,the worm receiveth, Und der Cherub steht vor Gott. And the Angels dwell with God.
17 The four line chorus (to the unused fourth verse) summons in Beethoven's imagination a marching host, and he gives it to proud and striding measures alia marcia, adding piccolo, double bassoon, triangle, cymbals, and bass drum to his orchestra (again for the first time in a symphony). This is the verse, given to the tenor solo and chorus:
Froh, wie seine Sonnen fliegen Glad as burning suns that glorious Durch des Himmels pr'achl'ten Plan, Through the heavenly spaces sway, Wandelt, Br'uder, eure Bahn, Haste ye brothers, on your way, Freudig, wie ein Held zum Siegen. Joyous as a knight victorious.
After the excitement of this variation, Beethoven allows himself to be alone with his instruments once more, and for the last time, in a double fugue. The chorus next sings (Andante maestoso) the following short verse of far-flung import, calling upon three trombones to add to the impressiveness of the sonority:
Seid umschlungen, Millionen! O embrace now, all you millions, Diesen Kuss der ganzen Welt! With one kiss for all the world. Br'uder — uberm Sternenzelt Brothers, high beyond all stars Muss ein lieber Vater wohnen! Surely dwells a loving Father.
A religious Adagio in a mood of mystic devotion is the setting of the following verse:
lhr sturzl nieder, Millionen? Kneel before him, all you millions; Ahnest du den Schopfer, Welt? Know your true Creator, man! Such' ihn 'uberm Sternenzelt! Seek him high beyond all stars, lieber Sternen muss er wohnen. High beyond all stars adore Him.
But the key verse of the movement is the first: "Freude, schoner Gotterfunken," and this, with its chorus: "Seid umschlungen, Million- en," is resumed by the quartet and chorus, and finally exalted to its sweeping climax in the coda, prestissimo. The symphony is scored for two flutes, piccolo, two oboes, two clarinets, two bassoons, contra bassoon, four horns, two trumpets, three trombones, timpani, bass drum, triangle, cymbals, and strings.
— John N. Burk
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State Street Bank And Trust Company 18 Tanglewood 1976
Boston Symphony Orchestra Seiji Ozawa, Music Director
Saturday, July 31, 1976 8:30 p.m.
KLAUS TENNSTEDT conducting
Symphony No. 85 in B flat major Haydn Adagio; vivace Romanze: allegretto Minuetto: allegretto Finale: presto
INTERMISSION
Symphony No. 1 in D major Mahler Langsam. Schleppend wie ein Naturlaut Kraftig bevvegt, doch nicht zu schnell Feierlich und gemessen, ohne zu schleppen Sturmisch bewegt
This concert is made possible with support from the Massachusetts Council on the Arts and Humanities.
Deutsche Grammophon Records Baldwin Piano Philips Records
19 Notes Tendre amant de la jeune Lise Qui brtilez d'offrir un bouquet A l'amante qui le meprise, Melez-y la rose et l'oeillet! Franz Josef Haydn (1732-1809) Si la Belle fait la severe Pressez-la, mais soigneux de plaire Symphony No. 85 in B flat major Soyez toujours discret. ("La Reine de France") Quoiqu'elle fasse la farouche Et vous refuse un tendre aveu, Haydn wrote a set of six symphonies Soyez sur, soyez sur, des que 1'amour for a society in Paris known as the la touche, "Concert de la Loge Olympique." They D'etre un jour heureux. were ordered in 1784, when Haydn was living at Esterhaz. Composed in the That Haydn liked this tune is shown course of the years 1784-86, they are from the fact that he introduced a move- in C, G minor, E flat, B flat, D, A. ment of like character in a concerto for No. [82], in C, has been entitled "The the lira da braccio, one of five composed Bear"; No. [83], in G minor, has been for Ferdinand IV, King of Naples. entitled "The Hen"; and No. [85], in III. Minuetto, Allegretto, B flat major, B flat, is known as "The Queen of 3/4. Bassoon and oboes prominent in the France." ... It has been suggested that Trio. the title "Queen of France" was given to it because the symphony was a favor- IV. Finale. Presto, 2/4, B flat major. A ite of Marie Antoinette, but there is no strongly marked rondo, which has been authority for this surmise. The score described as "a veritable game of hand- calls for a flute, two oboes, two bas- ball in which themes, sections of themes, soons (only one is demanded for the and surprising chords are tossed about; Finale), two horns, and strings. especially sportive is the return to the first theme." Haydn in his earlier sym- I. Adagio, B flat major, 2/2; [vivace], phonies adopted for the finale the form 3/4. A frank, spirited movement with- of his first movement. Later he pre- out a second theme. At the beginning ferred the rondo form, with its coup- of the second section the walk of the lets and refrains, or repetitions of a bass is like that in the chorus (with bass short and frank chief theme. "In some solo) of priests in "The Magic Flute." finales of his last symphonies," says freer reins his fancy, II. Romania, E flat major, Theme and Brenet, "he gave to Variations. The theme, given to the and modified with greater independence strings, is the melody of an old French the form of his first allegros; but his Romance. Haydn changed the air slight- fancy, always prudent and moderate, ly in two measures. One of the Varia- is more like the clear, precise arguments tions, E flat minor, is for strings alone. of a great orator than the headlong inspiration a is In others there is solo work for flute, of poet. Moderation one bassoon, violoncello. The words of the of the characteristics of Haydn's genius; old song are as follows: moderation in the dimensions, in the sonority, in the melodic shape: the live-
La gentille et jeune Lisette liness of his melodic thought never Ne voudroit jamais s'engager; seems extravagant, its melancholy S'il falloit croire la follette never induces sadness."
Tout amant est faux et leger. I have been unable to find any record Laissez dire la jeune Lise, of a performance of this symphony by Attendez l'instant de la crise, any Boston orchestra in a Symphony Et l'heure du berger. concert since 1839. No doubt the sym- Jeune fille fait la severe, phony has been played here, for Haydn's Mais il faut qu'elle aime a son tour. symphonies were on the programmes Tot ou tard, tot ou tard, meme la plus fiere of orchestra concerts in Boston from Se rend a 1'amour. 1793 to 1800. It is impossible to identify 20 them, for they were announced as Next Weekend's Programs "Grand Symphony of Haydn," "Over- ture of Haydn/' or "Full Piece of Haydn." Friday, August 6, 1976
— Philip Hale (1919) 7 p.m. Prelude Mr. Hale wrote the above note during the Weekend 1919-20 season, on the occasion of the only MALCOLM FRAGER, piano previous Boston Symphony performances Beethoven Sonatas of this work. 9 p.m. COLIN DAVIS conducting Gustav Mahler (1860-1911)
Symphony No. 1 in D Major Beethoven: Corialan Overture Completed probably in 1888, Mahler's First Symphony No. 1 Symphony had its initial performance at Buda- Symphony No. 7 pest, November 20, 1889. It was performed
in Hamburg in the autumn of 1892, and Saturday, August 7, 1976 through the efforts of Richard Strauss at Weimar, in June, 1894. The symphony was heard in Ber- 8:30 p.m. lin as part of a Mahler program, March, 1896. COLIN DAVIS conducting When Mahler sketched out the vast Beethoven: proportions of his First Symphony, he was a youthful idealist of soaring artis- Missa Solemnis tic ambitions and little recognition. He had written much, but his music lay in SUSAN DAVENNY WYNER, soprano; manuscript, unperformed. He had lit ANNA REYNOLDS, contralto; his torch from Wagner and Bruckner, ERIC TAPPY, tenor; steeped himself in the romancers of MARIUS RINTZLER, bass; Germany's past — her poets and philo- TANGLEWOOD FESTIVAL CHORUS sophers. But while his head was in the and TANGLEWOOD CHOIR, clouds, his feet were planted before the OLIVER, conductor conductor's desk of one provincial JOHN theater and another, where there fell to him the "second" choice of operas by Sunday, August 8, 1976 Lortzing or Meyerbeer. When he had 2:30 p.m. the opportunity to conduct Wagner and Mozart at Olmiitz, he could not bring KLAUS TENNSTEDT conducting himself to "profane" their music with the sorry forces at his disposal. That Beethoven: Mahler profited by his conductorial apprenticeship is indicated by the de- Egmont Overture tailed command of orchestration shown in this symphony; also by his sudden Piano Concerto No. 3 success and popularity as conductor MALCOLM FRAGER, piano when the opportunity came to him in Leipzig in 1884. Mahler probably work- Symphony No. 5 ed upon his First Symphony in the years 1883 and 1884, when he was second conductor at Cassel. The "Lieder eines fahrenden Gesellen" ("The Songs of a Jour- neyman," for voice and orchestra) were also written about this time, and one of them found its way into the symphony.
21 His duties as conductor were far from Gypsy musicians and music-making cats, inspiring. Where his heart lay is indi- frogs, crows, etc.; and deer, stags, foxes, and other four-footed and feathered deni- cated by a pilgrimage to Bayreuth, zens of the forest accompany the proces- where he was deeply moved by the sion in comic postures. In the present piece disclosure of Parsifal, and another to the imagined expression is partly ironically Wunsiedel, to sense the landscape of gay, partly gloomily brooding, and is imme- Jean Paul Richter. Having become a diately followed by conductor of outstanding fame through 5. DaW Inferno al Paradiso (allegro furioso), engagements at Leipzig and at Prague, the sudden outbreak of a profoundly Mahler became Director of the Royal wounded heart. Opera at Pesth in 1888, and in 1889 had Mahler, composing, no doubt, in a the opportunity to perform his sym- spirit of romantic fantasy, probably phony at a Philharmonic concert (No- wrote down such word images as occur- vember 20), before a public which had red to him, in something of the free come to admire and respect his abil- and ranging mood of Jean Paul, who, ities in the highest degree. It must be describing the intoxicating idealism and reported that, with every good will godlike virtue of his hero, could catch towards their conductor, the Hun- up a listener sufficiently attuned into garian audience found the symphony a sympathetic transport. It was a state perplexing. of mind in which Jean Paul, a Callot It was with later experience that engraving, and a naive French canon Mahler learned to abhor "programs" could merge into a single musical epi- for his symphonies. This one was first sode without inconsistency. Mahler had heard with fanciful titles sanctioned cause to learn that the general under- by the composer. At the original Buda- standing was not so fancy-free and pest performance, it was named as a pliable. There are those who must have "Symphonic Poem in two parts." Mah- the full story, if there is any hint of one. ler, hoping perhaps to induce an under- If there is a funeral march they-demand standing of his emotional approach, the full particulars — and ask, "Who is gave out a title for the subsequent being buried?" performances in Hamburg and Weimar: — N. Burk "The Titan," referring to the novel of John that name by Jean Paul, and these indi- cations of the movements:
Part I. Days of Youth. Youth, flowers and thorns.
1. Spring without end. The introduction represents the awakening of nature at DINING FOR THOSE WHO KNOW early dawn. [In Hamburg, it was called "Winter Sleep."] 2. A Chapter of Flowers. [This move- ment, an andante, was omitted altogether 1 (Only 9 Miles) after the Weimar performance.] FROM ANGLEWOOD 3. Full sail! (Scherzo.) to Route 41 and 295 Part II. Commedia umana. OPEN FOR DINNER 4. Stranded. A funeral march a la Callot. Weekly 5:00 to 10:30 p.m. [At Weimar it was called "The Hunter's Funeral Procession."] The following re- Sunday 4:00 to 10:30 p.m. marks may serve as an explanation, if neces- YOUR HOSTS sary. The author received the external in- JEAN and DOLORES PETIT citement to this piece from a pictorial parody well known to all children in South PHONE: 518-781-4451 Germany, "The Hunter's Funeral Proces- 518-781-9994 sion." The forest animals accompany the dead forester's coffin to the grave. The QUEECHY LAKE • CANAAN, N. Y. hares carry flags; in front is a band of
22 Tanglewood 1976
Boston Symphony Orchestra Seiji Ozawa, Music Director
Sunday, August 1, 1976 2:30 p.m.
COLIN DAVIS conducting
Tapiola, Op. 112 Sibelius
Concerto for Violin and Orchestra in D minor, Op. 47 Sibelius Allegro moderato Adagio di molto Allegro ma non tanto
MIRIAM FRIED, violin
INTERMISSION
Symphony No. 2 in D major, Op. 43 Sibelius Allegretto Tempo andante ma rubato Vivacissimo; lento and suave Finale: allegro moderato
Deutsche Grammophon Records Baldwin Piano Philips Records
23 Notes entirely to composition, turned once in his life to the concerto as a form. He first intended his Violin Concerto for the virtuoso Willy Burmester, who had Jean Sibelius (1865-1957) been concertmaster of the orchestra Tapiola, Op. 112 of Kajanus at Helsinki. Whatever the reason may have been, Burmester Tapiola was written in 1924 for the played the Concerto of Tchaikovsky Symphony Society of New York and instead, and Viktor Novacek played the performed by that group under Walter new work in Helsinki on February Damrosch in 1926. The first perfor- 8, 1904, Sibelius conducting. Karl Teodor mance by the Boston Symphony was in Flodin, a prominent critic for 1932, and the most recent performance who was years the well-meaning mentor of under Colin Davis's direction in Novem- Sibelius, objected that, having the ber, 1975. choice between an orchestral work with Tapiola is the mythological name for an integral obbligato violin part and Finland — more particularly the word a traditional display piece, Sibelius had signifies the domain of Tapio, the forest leaned toward the latter alternative; god, who was often invoked by the Sibelius, so Harold E. Johnson tells us, heroes of the "Kalevala" (the great epic accordingly revised his score in the of Finland) in their hunt for game. direction of orchestral interest. Tapiola is a conspicuous instance of I. Allegro moderato, D minor, various Sibelius's favorite device of taking a rhythms. This movement is somewhat fragment of a theme and through many in the nature of an improvisation. The repetitions and transformations build- traditional two themes are to be recog- ing up an imposing structure. Cecil nized clearly, but they are treated in Gray's description is in order: "It begins a rhapsodic rather than formal manner. with a phrase given by the strings which first chief theme, given to the solo consists of two bars of a few notes only, The violin at the beginning, over an accom- moving in conjunct motion within the paniment of violins, divided and muted, compass of a fourth — as plain and is of a dark and mournful character. straightforward outwardly as a frag- ment of Gregorian chant, yet so preg- It is treated rhapsodically until an unac- companied passage for the solo violin nant with possibilities that it is no a climax. short orchestral exaggeration to say that the entire work leads to A tutti brings in the announcement by evolves from it. At the very outset it the solo instrument of the more tran- is repeated with variations by different instrumental combinations no fewer quil second theme. After the develop- is a long than 22 times, and the transformations ment of this motive, there tutti passage; then the solo violin, it subsequently undergoes are infinite having had an unaccompanied cadenza, in number and extent. Even when the states again the dark first theme. The theme itself is not actually there in second one reappears, but in altered some form or another, it makes its rhythm. The movement ends in a bril- spiritual presence felt throughout." liant climax. The time taken by the solo violin in this movement to develop the — John N. Burk themes without orchestral aid deserves attention. Concerto in D minor for Violin and II. Adagio di molto, B flat major, 4/4. Orchestra, Op. 4 7 A contemplative romanza, which in- Violin Concerto composed in The was 1903, cludes a first section based on the subjected to a considerable revision, and in its melody sung by the solo violin after a later played on October 1905. form first 19, short prelude, and a contrasting middle Sibelius, who in his youth studied section. The latter begins, after an or- the violin and played it on occasion in chestral passage, with a motive given public before he devoted his efforts to the solo instrument. There is elabor- 24 ate passage-work used as figuration is an accompaniment and yet far more against the melodious first theme, now than an accompaniment. Various wood- for the orchestra. The solo violin has winds carry the burden of melody, the close of this melody. There is a introduced and maintained in an impas- short conclusion section. sioned minor, "lugubre." Thematic
III. Allegro, ma non tanto, D major, snatches of melody follow each other 3/4. The first theme of this aggressive in rich profusion. In the opening move- rondo is given to the solo violin. The ment, Sibelius has made telling use of development leaps to a climax. The the time-honored contrast between the
second theme — it is of a resolute nature lyric and the incisive, proclamatory — is given to the orchestra with the elements. In his Andante this sharp oppo- melody in violins and violoncellos. The sition is notably increased. An oratori- movement is built chiefly on these two cal, motto-like theme, launched by motives. A persistent and striking stormy, ascending scales, keeps drama rhythmic figure is coupled with equally astir. As the melodic themes recur, an persistent harmonic pedal-points. undercurrent of the spinning, whirring figures in the strings, such as are to be — John N. Burk found in almost any score of Sibelius, dramatizes lyricism itself. Symphony No. 2 in D major, Op. 43 The third movement pivots upon a Sibelius begins his Second symphony, swift 618 rhythm; it suggests Beethoven which he composed in 1901, with a in its outward contour, but is more characteristic string figure, a sort of tumultuous than gay. A suspensive sighing pulsation, which mingles with pause with pianissimo drum taps intro- the themes in the first pages and recurs duces the tender trio in which the oboe at the end of the movement. One would sings a soft melody which is echoed by look in vain for a "first" and "second" its neighbors and subsides in a pianis- theme in the accepted manner. There simo from the solo cello. It is as peaceful is a six-bar melody for the woodwinds, and unruffled in this symphony of a theme given out by the bassoons, violent contrasts as its surroundings are another of marked and significant stormy. The vivacissimo and trio are accent for the violins, and another, brief repeated — with a difference. but passionate, for the violins, These There creeps into the trio, at first themes are laid forth simply, one after hardly perceptibly, the solemn chant another, with no transitions or prepara- of the finale, as yet but softly intoned; tions. Yet the tale is continuous, as if and adroitly, without any sense of hop- each suggested, quite naturally, the ping over an awkward stile, the master next. There follows the theme for the leads his hearers straight into the finale, flutes which Cecil Gray refers to as which is at once in full course. There what "would in ordinary parlance, no are two principal themes, the first doubt, be called the 'first subject'." It making itself known as an elementary appears as nothing a more than high succession of half notes, the second a sustained C sharp, followed by a sort longer breathed, incendiary melody of srnke and a descending fifth. The with an accompanying scale figure add- phrase would be quite meaningless out- ing fuel to its flame. The structure of side of its context, but Sibelius uses it the movement is traditional, with two sure effect initial with over the string themes alternating, interlarded with figure cap his to moments of greatest episodic matter; the simple scheme tension, and finally increases it by twice serves its contriver in building with its length to an eloquent period. The great skill a long and gradual ascent to initial scraps of themes succeed each a climax in full splendor. Rising se- other, are gather combined, meaning quences, mounting sonorities, contri- with development. bute to the impressiveness of the final The slow movement opens, as did conflagration. the first, with a string figure which — John N. Burk 25 Guest Artists Tennstedt was guest conductor of the Gewandhaus Orchestra in Leipzig, the Colin Davis Dresden Philharmonic, the Dresden State Orchestra, the Radio Symphony Colin Davis, the Principal Guest Orchestra in Berlin, the Philharmonic Conductor of the Boston Symphony, in Bruno and the Comic Opera in Berlin. is Musical Director of the Royal Opera Since his flight to West Germany in House, Covent Garden. His conducting 1971, he has been guest conductor of career began in 1949; in 1957 he became the State Operas of Berlin, Hamburg assistant conductor of the BBC Scot- and Munich, as well as of the Philhar- tish Orchestra, and, soon after taking monic State Orchestra of Hamburg, the place of an ailing Otto Klemperer the Bamburg Symphony Orchestra, the at short notice for a concert in Festival Cleveland Orchestra, and the Toronto Hall, he was appointed Musical Director Symphony. Last summer, Mr. Tenn- of the Sadlers Wells Opera. He made stedt made two appearances at Tangle- his United States debut with the wood, conducting the music of Beet- Minneapolis Symphony and has guest hoven and Bruckner. conducted the New York Philharmonic as well as the Boston Symphony. In Miriam Fried 1967 Colin Davis became Chief Con- ductor of the BBC Symphony, a post Born in Rumania in 1946, Miriam which he relinquished at the end of the Fried went with her family to Israel 1970-71 season to take up his duties two years later. She studied in Tel Aviv at Covent Garden. His performances with Alice Fenyves, in Geneva with at Covent Garden of La Clemenza di Tito, Norand Fenyves, and in this country Peter Grimes and the much discussed with Joseph Gingold and Ivan Galamian. new production of Wagner's Ring have Two years after her 1964 New York been highlights of his conducting career debut at Carnegie Hall, she won first during the past year, and he has been prize in the Queen Elisabeth of Belgium invited to conduct both at the Paris International Competition. Since then Opera and at the Bayreuth Festival. she has appeared with virtually all of Last fall, Mr. Davis spent a month as the major orchestras in America includ- guest conductor with the Amsterdam ing the Chicago Symphony, Philadel- Concertgebouw. He records exclusively phia Orchestra, the Pittsburgh, Boston, for Philips Records, and has embarked Cincinnati, Detroit and Seattle Sym- also in upon i series of the complete sym- phonies. She has toured Europe phonies of Sibelius for that company and Australia playing with the BBC with the Boston Symphony Orchestra. Orchestra, the Rotterdam and Amster- dam Philharmonics and has played for Klaus Tennstedt three summers at the Marlboro Festival in Vermont. Miss Fried last appeared Klaus Tennstedt, who made his at Tanglewood during the summer of Boston Symphony debut in December, 1973. 1974, was born in Merseburg, Germany, in 1926, and studied piano, violin and composition at the Leipzig Conserva- Gwendolyn Killebrew tory. In 1948 he became concertmaster Born into a musical family, Gwendolyn at the Municipal Theater in Halle/Saale, Killebrew started her musical studies later becoming conductor there. From at the age of five. While at Temple 1954 to 1958 he was conductor at the University she was chosen to appear as theater in Karl-Marx-Stadt. In 1958 soloist with the Philadelphia Orchestra he became Music Director at the under Pablo Casals in the oratorio El Dresden Opera, and in 1962 director Pesebre. She studied with Hans Heinz at of the State Orchestra and theater in Juilliard and in 1969 won first prize in Schwerin. During his residence in the the Belgian International Vocal Com- German Democratic Republic, Mr. petition.
26 Active in both concert and opera Company of Boston. She made her throughout the United States and Boston Symphony debut as Desdemona Europe, she has made appearances with in a Tanglewood concert version of such orchestras as the New York Phil- Otello in 1969, and has appeared fre- harmonic, the Seattle Symphony, the quently as guest soloist with the Minne- Los Angeles Philharmonic and the St. sota and Philadelphia orchestras and Louis Symphony, and with such con- the BBC Symphony. ductors as von Karajan, Bernstein, Paul Plishka Boehm, Boulez, Mehta, Levine, Rudel and Schippers. She has sung with many Paul Plishka is a native of Old Forge, opera companies, including the Metro- Pennsylvania, and attended Montclair politan and New York City Opera, and State College in New Jersey, where he has been artist-in-residence at the trained under Armen Boyajian and the Dartmouth Music Festival. Paterson Lyric Opera Theatre. At 23, This year marks her debut with the he won the Baltimore Opera Auditions, San Diego Opera and the Santa Fe and shortly thereafter joined the Opera and at Tanglewood. National Company of the Metropolitan Opera. In 1967 he joined the Met's Seth McCoy parent company, making his debut in Born in Greensboro, North Carolina, La Gioconda, since then he has performed Seth McCoy began his professional over thirty roles with them. Mr. career as a soloist with the Robert Shaw Plishka's schedule includes engage- Chorale. In the years since, he has ments in the United States and Europe performed with most major American and recording with the Cincinnati orchestras — among them the Phila- Symphony under Maestro Thomas delphia Orchestra, the San Francisco Schippers. He last appeared at Tangle- Symphony, the Pittsburgh Symphony, wood during the summer of 1968. and the Cleveland Orchestra — and he Tanglewood Festival Chorus was chosen to appear during the inau- gural week of the Kennedy Center in Tanglewood Choir Washington. He has given recitals in The Tanglewood Festival Chorus was many parts of this country; in addition, formed under the joint auspices of the he is a permanent member of the Bach Berkshire Music Center and Boston Aria Group. He made his Symphony University in 1970. The director since Hall debut with the Boston Symphony its foundation, John Oliver, is director this past March, and has for several of choral and vocal activities for Tangle- seasons appeared at the orchestra's wood, a member of the MIT faculty and concerts at Tanglewood — most recent- director of the MIT Glee Club and ly in last summer's performance of Choral Society. Members of the chorus Verdi's Requiem. come from the Greater Boston area and from all walks of life, and they rehearse Maralin Niska throughout the year. The Festival Maralin Niska, currently a leading Chorus made its debut at Symphony soprano with both the Metropolitan Hall in a 1970 performance of Beet- Opera and the New York City Opera, hoven's Ninth Symphony, and has since first gained national recognition during taken part in concerts directed by tours of the Metropolitan National William Steinberg, Seiji Ozawa, Eugene Opera Company, when she made her Ormandy, Colin Davis, Arthur Fiedler debut in the title role of Carlisle Floyd's and Michael Tilson Thomas. Its most Susannah. In recent years, she has sung recent appearance with the Boston Tosca and Elena (in 1 Vespri Siciliani) Symphony was in last April's perfor- at the Met, Salome and Cherubini's mances of Bach's St. Matthew Passion. The Medea at the New York City Opera, Tanglewood Choir consists of students and Cassandra (in the first American in the Berkshire Music Center's vocal full-length Les Troyens) with the Opera program. 27 s1 CLIP AND REDEEM AT DEERSKIN 1 10% off any purchase i at Deerskin, the No. 1 Leather Store. Everything in Leather Fashions, Accessories, Footwear.
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Wykeham offers the warmth of a small girls' school the cultural advantages of a unique and truly outstanding program in music and 443-0051 the other creative and performing arts, and the benefits of strong college preparatory academics with an exceptional range of course options. Through cooperation with a nearby private school for boys, many courses and activities are co-educational. We try harder. With a balanced involvement in academics, arts and athletics, Wykeham girls (grades 9-12) develop a keen sense of personal direction, independence and confidence. For catalog, write or phone: 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 take place mostly in the Theatre-Con- cert Hall, while lectures, seminars, con- Expect the Unexpected" W ducting classes, vocal and choral re- hearsals, composers' forums and cham- Square S^The Rigger Restaurant and Cabaret is ber music concerts take place in the known for "Good Country Cooking." An Chamber Music Hall, in the West Barn, -g informal atmosphere of ship hatch tables, rock fern gardens. Tiffany lamps, and stain glass in the Hawthorne Cottage, on the windows, located by the Shaker Mill Pond. ! Rehearsal Stage, and in the small stu- = Serving their famous Rigger Burgers and pizzas, dios both on the Tanglewood grounds T steaks, seafood, homemade soups and deserts. and in buildings leased in Lenox. Each ^=g Brunch, lunch, dinner, nite owl snaks, from | 10 am to 2 am, seven days summer the Baldwin Piano and Organ a week. The Back Room . . . Free Festival Company generously provides nearly Movie plus "The Music Showcase of the Berkshires" 100 keyboard instruments for individ- West Stockbridge, Mass. | ual practice; other instruments —per- 413-232-8565 cussion, for example—are provided by ! li IHl I ll lN l lff lNfli lNlNH the Orchestra. M M 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 corporate sponsors. Scholarships are HANCOCK SHAKER awarded to the majority of the students, VILLAGE who are chosen by audition on a com- petitive basis. The cost of the scholar- ship program is large and adds sub- Original 18th Century stantially to the Orchestra's yearly Village Restored deficit — one major reason for the es- Open daily 9:30-5:00 tablishment of the Friends of Music at Tanglewood, a group that provides Adults $3 Children $1 critical support for the Center. A brief Annual Kitchen Festival account of members' privileges is print- Week of August 2nd ed on page 37, and more information Route 20 Five miles West may be had at the Friends' Office near of Pittsfield, Mass. the Main Gate. We invite you to see and hear for yourself the remarkable caliber of the Center's young musicians. 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" intfoferi&res Hours: 1 1 :30 - 6 Monday thru Saturday on 1 200acres ... 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 years later, Base. Close to Tanglewood, Norman Rockwell, 200 "right in the heart of where it all began." Stop in after the concerts and hear the best and we're still 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 yi mile from historic Old YANKEE PEDLAR INN } Sturbridge Village, and a few minutes : OPERA HOUSE from Exit 9 of the Mass. Turnpike. Send 36 Luxury Rooms FOOD»DR!NK«LODG«MG for my free brochure. 16-1-91 Exit Buddy Adler , Innkeeper Holyoke, Mass. (413) 532-9494 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 - Sturbndge. Miss. -|6I 7) 347 3313 (617) 542-6913 32 In and Around the Berkshires COUNTRY LIVING AT ITS BEST! Tanglewood is but one of the many activities and events constantly enrich- SMALL PRESTIGIOUS LAKEFRONT COMMUNITY ing the Berkshires; a complete listing Swim and boat on two crystal clear may be found in Berkshire Week, a summer mountain lakes. Play tennis, badminton, Eagle and magazine of the Berkshire volleyball and basketball on community Torrington Register. Copies are avail- courts. Live in privacy adjacent to a able at the Main Gate and the Lion large state forest. Gate. Some highlights: Berkshire Lakes Estates Berkshire Theatre Festival Yokum Pond Road Stockbridge Becket, Mass. 01223 Tel. 413-623-8747 Lenox Arts Center Lenox 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 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 Summer 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, a children's theatre Thursday, Saturday, The National Trust for Historic Preservation and 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 Tanglewood Council of the Boston Symphony Orchestra 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. Desmond Tivy 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. thru 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 254 35 m „ Deutsche \jiHimTrwprwn salutes Seiji Ozawa The Boston Symphony The Berkshire Festival 1976 ^MTf&fis HSESal Rl i V miw& 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 Advance Program Information $150 or 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 Take the music home with you . . . the finest in stereo classical music WMHT-FM 89.1 37 Bring home a legend. When you go out to buy a feeling of a live, concert-hall than a loudspeaker system stereo system, you'll be performance, a sound that for thousands of music matching sophisticated, ex- reviewers all over the world lovers all over the world. since the 901 pensive components from a have praised For a full-color brochure on vast array of choices. was introduced eight years the 901 loudspeaker system, More important (be- ago. write: Bose, Dept. BPT, cause good music means a The unique sound of the The Mountain, Framingham, lot to you), you'll be select- Bose 901 Direct/Reflecting® Mass. 01701. ing an important part of your loudspeaker system is the Patents issued and pending. personal environment. result of three interrelated So you don't want to technical developments: be let down, not even a little proper balancing of reflected bit. That's why the speakers and direct sound; the use of you bring home should be multiple full-range drivers Bose 901s.® (rather than conventional You'll be impressed with woofers and tweeters); and your new 901s as soon as you the use of electronic active unpack them. They're beau- equalization. tifully crafted and surpris- We invite you to go to a ingly compact. Bose dealer, listen, and com- When you turn them on pare the 901 to any other for the first time, you'll hear speaker, regardless of size or an extraordinarily open, price. Then you'll begin to spacious sound that very know why the Bose 901 has The Mountain effectively reproduces the become something more Framingham, Mass. 01701 38 Rolling Jt ^ CONDOMINIUMS The most complete condominium community in all of New England Ideally located in the heart of the scenic Berkshire Mountains, close by to Tanglewood and Jacobs Pillow, Rolling Hills offers the ultimate in spacious duplex homes. 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