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Boston Symphony Orchestra Concert Programs, Summer, 1991

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Boston Symphony Orchestra Concert Programs, Summer, 1991 q#.H- RECENT ADDITIONS TO OUR CONTEMPORARY MUSIC CATALOGUE P67101 WILLIAM ALBRIGHT Sonata for Alto Saxophone and Piano .$22.00 P67287 ELINOR ARMER A Season of Grief $10.00 Baritone or Mezzo-Soprano and Piano P67169 RICHARD DANIELPOUR Psalms $11.00 Piano Solo P67213 MARIO DAVIDOVSKY Synchronisms No. 9 (Score) $12.50 Violin and Tape P67298 MATTHEW HARRIS Music After Rimbaud (Score) $11.00 Fl, Cl, Vn, Vc P67284 WILLIAM HOLAB Rhapsody $6.00 Guitar Solo P67157 JOHN HUGGLER CAPRICCIO SREGOLATO (Score) $13 75 Fl, Cl(Bcl), Vn, Va, Vc, Pf P67257 URSULA MAMLOK Stray Birds $25.00 Sop, Fl(Picc, Alto), Vc P67197 BRUCE J. TAUB Preludes (12) $20.00 Piano Solo P67064 GEORGE BALCH WILSON Cornices, Architraves and Friezes $12.00 Violoncello Solo P67113 ARTHUR WOODBURY Between Categories $19.25 Alto Saxophone and Piano P66929 CHARLES WUORINEN Divertimento $16.50 Alto Saxophone and Piano C. F. PETERS CORPORATION 373 Park Avenue South, New York, NY 10016 • (212) 686-4147 1991 FESTIVAL OF CONTEMPORARY MUSIC Oliver Knussen, Festival Director sponsored by the TANGLEWOOD MUSIC CENTER Leon Fleisher, Artistic Director Gilbert Kalish, Chairman of the Faculty Andrew Imbrie, Composer-in-Residence Oliver Knussen, Head of Contemporary Music Activities Bradley Lubman, Assistant to Oliver Knussen Richard Ortner, Administrator Barbara Logue, Assistant to Richard Ortner James E. Whitaker, Chief Coordinator Carol Wood worth, Secretary to the Faculty Harry Shapiro, Orchestra Manager Works presented at this year's Festival were prepared under the guidance of the following Tanglewood Music Center Faculty: Phyllis Bryn-Julson Donald MacCourt Dennis Helmrich Fenwick Smith Gilbert Kalish Yehudi Wyner Ron an Lefkowitz 1991 Visiting Composer/Teachers David Del Tredici Jacob Druckman Colin Matthews Judith Weir The 1991 Festival of Contemporary Music is supported by a gift from Dr. Raymond and Hannah H. Schneider. The Tanglewood Music Center is maintained for advanced study in music and sponsored by the Boston Symphony Orchestra. Seiji Ozawa, Music Director Kenneth Haas, Managing Director Daniel R. Gustin, Manager of Tanglewood Annual Composers' Competition d± VI 25 V 23^ d_S^ Entry Deadline: December 31, 1991 First Prize • $750 Cash Prize and New York City Premiere Performance at Weill Recital Hall, Carnegie Hall Write for Guidelines: NMYE • New Music for Young Ensembles 12 West 72nd Street • Suite 9E New York, New York 10023 CONTEMPORARY MUSIC REVIEW Also forthcoming: Editor in Chief: Nigel Osborne, Edinburgh University, UK Computer Music * Australian Is- Regional Editors: Fred Lerdahl, Torn Takemitsu and USA, sue • Opera • Music and Time Jo Kondd, Japan, Peter Nelson, UK, Stephen McAdams, France New Music and Dance • Soviet Editorial Board: Electronic Music • Percussion in UK: Paul Driver, Alexander Goehr, Oliver Knussen, Performance • Contemporary Ger- Bayan Northcott and Anthony Payne man Music • New Music in France USA: John Adams, Jacob Druckman, John Harbison and • Music and Biological Science * Machover Tod Music, Society and Imagination in JAPAN: Joaquim M. Benitez SJ, Susumu Shono and Contemporary France • New Brit- Yoshihiko Tokumaru ish Music • Flute and Shakuhachi USSR: Edward Artemyev, Edison Denisov, Yuri Kholopov, • Contemporary Music in Latin Alfred Schnittke and Vsevolod Zaderatsky America • Contemporary Music in Music Therapy • Varese • Contem- NEW TONALITY Volume 6, Part 2 porary Music and Religion • Sec- ond International Conference on Issue Editors: Paul Moravec and Robert Beaser Music and the Cognitive Sciences An exciting new survey of the use of tonality in • Unheard Voices contemporary music, including an interview with David Subscription Information: Del Tredici and articles by Schwertsik, Andriessen, ISSN 0749-4467 • Base list price Harbison, Perle and Lerdahl. per volume: $67.00 Issues are available for sale sepa- Expected publication date: Summer 1991 rately as well as on subscription. Next issue: For further information: TEL: (212) 206-8900 or FAX: (212) 645-2459 LIVE ELECTRONICS Volume 6, Part J To order call: (800) 545-8398 Harwood Academic Publishers, Issue editors: Stephen Montague and Peter Nelson c/o STBS Order Dept. P.O.Box 786 Expected publication date: Summer 1991 Cooper Station, New York, NY iQI ^m 1991 Festival of Contemporary Music: Introduction by Oliver Knussen If any one thread can be seen to bind the Center 50th Anniversary Commissions, programs of this festival together, I hope and we have added another recent piece that might be the avoidance of rigid stylistic on the same day to give it some further polarisation —which seems more and more context. It is a particular pleasure to wel- to be thrust at us as what characterises come my colleague Colin Matthews here composition these days. Each "-ism" mer- as guest teacher— he is a highly cultured chant thinks the others invalid, of course, composer of great integrity and wide extra- and vacuums galore prevail. I prefer a ten- compositional accomplishment (most pub- dency toward cross-fertilisations, and the licly as Britten's amanuensis in his last individual view of where we stand, histori- years, and as a contributor to Deryck cally speaking. Cooke's Mahler Tenth Symphony realisa- There are certainly three primary tion) with a very special sense of history strands: firstly, a cross-section of the output which may be partially gleaned from read- of our Composer-in-Residence Andrew Im- ing his statement in this brochure and, bet- brie, one of this country's most distin- ter still, by hearing his music. Sir Harrison guished senior composers and teachers, to Birtwistle's Meridian for mezzo-soprano, whom a very warm welcome to Tangle- horn, cello, and an extraordinary assort- wood. Mr. Imbrie writes about his work ment of accompanying forces is quite simply elsewhere in this brochure, so I'll simply (in my opinion) a wonderful piece of music add that we are very happy to fol low up the which has lain dormant like the Sleeping enthusiasm generated by the performances Beauty for twenty years, despite some ex- of his Pilgrimage here and elsewhere in cellent early performances. A central episode recent years. quotes substantially from his earlier I was present at rehearsals and perform- Tragoedia, which we are playing in the ance of David Del Tredici's The Lobster same program at the composer's sugges- Quadrille under the late and much-missed tion. Aaron Copland in London in 1969, and am There are two small follies buried within delighted to be able to present the very these concerts: one is a very small and belated first complete performance of his offbeat tribute to the celebrated bicenten- frighteningly bold and original Alice Sym- narian of the year from Messrs. Henze, phony (of which the quadrille is the second Kagel, and Matthews; the other is the part). Around this centerpiece I have as- grouping together of the works by Ligeti, sembled a personal assortment of recent American music which represents some very striking and — in most cases— under- noticed work, by Martin Bresnick, Ronald Ford, John Gibson, Shulamit Ran, Yehudi Wyner, and this year's Paul Jacobs Memo- rial Commissionee, Carolyn Yarnell. I have for once thrown thoughts of chauvinism to the four winds and pro- grammed music by three very different British composers, all of them established in different degrees but none as yet overly exposed here. Judith Weir, one of the most Tangjew®d quietly individual composers around, has Music written a work for the Boston Symphony Orchestra as part of the Tanglewood Music Center Ford, Matthews, and Zuidam to form a sort without whom no Festival of Contempo- of commentary on some stranger conse- rary Music would be possible: Richard Ort- quences of the minimalist movement. I ner, Barbara Logue, Dan Gustin; Leon shall say no more except to point out that Fleisher; Gilbert Kalish and his faculty; Hans Werner Henze's Agnus Dei stands my assistant Bradley Lubman, and last but emphatically apart from this notion for pur- not least the indefatigable James Whitaker poses of contrast, and that we are most and Carol Woodworth, schedulers extra- grateful to Maestro Henze for allowing us ordinaire. to participate step by step in the growth of —Oliver Knussen his evening-long instrumental Requiem, in Head of progress, beginning with the Introitus last Contemporary Music Activities, summer. Tanglewood Music Center It remains for me to thank those people July 19, 1991 Observations by Andrew Imbrie Here We Stand (to be performed Satur- a whole. This concluding movement is day afternoon, August 3) — a fanfare for bright in coloration and exploits the vir- double brass ensemble—was written for a tuosity of the performers. celebration of the preservation of a grove Dandelion Wine (Sunday morning, Au- of redwood trees on the Berkeley campus gust 4) is the title of a novel by Ray Brad- of the University of California. The trees bury concerning memories of a boyhood were scheduled to be cut down to make spent in a small town. It describes the bot- way for a cross-campus thoroughfare. Vig- tling of dandelion wine, with each bottle orous responses by the campus community dated. When a bottle is opened the follow- resulted in a revision of the plan and led to ing winter, its date recalls a particular sum- the construction of a less wide, limited-ac- mer day and its activities. My piece at- cess road. The spatial separation of the two tempts to implant and then, at the end, brass choirs gives opportunities for various recall certain musical ideas in new con- kinds of antiphonal interplay. texts, to give the effect of poignant Piano Trio No. 2 (also Saturday afternoon, memories, all "bottled" in a very brief con- August 3) is my most recent composition. tainer. It was written for the Francesco Trio and Dream Sequence (Monday evening, Au- commissioned by Meet the Composers/ gust 5), commissioned by Frank Taplin, de- Reader's Digest, in partnership with the rives its title from the world of the movies National Endowment for the Arts and or the musical stage, in which an appar- Chamber Music America.
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