CJanqlewoo 5^» a,«a? @%^ BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH A %c] CMusic Director «ikkW Berkshire Festival 1962 Q)harles <J)(lunch conducts the boston Symphony The talents of Charles Munch are particularly suited to the lush, romantic "Romeo and Juliet" by Tchaikovsky, and the playful, humorous antics of Strauss' "Till." Champion of the music of Ravel, Dr. Munch restores "Daphnis and Chloe" to a single, beautifully rounded work by presenting the delightful score in its entirety. Both albums are in Living Stereo and Monaural Hi-Fi. TCHAJKOVSKV ROMEO & JULIET STRAUSS TILL EULENSPIEGEL RCAVICTOR THE MOST TRUSTED NAME IN SOUND Boston Symphony Orchestra CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor Berkshire Festival, Season 1962 TWENTY-FIFTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS FOURTH WEEK Concert Bulletin, with historical and descriptive notes by John N. Burk Copyright, 1962 by Boston Symphony Orchestra, inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA. Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks Richard C Paine Abram Bebkowitz E. Morton Jennings, Jr. Sidney R. Rabb Theodore P. Ferris Henry A. Laughlin Charles H. Stockton Francis W. Hatch John T. Noonan John L. Thorndike Harold D. Hodgkinson Mrs. James H. Perkins Raymond S. Wilktns C D. Jackson Oliver YVolcott Trustees Emeritus Palfrey Perkins Lewis Perry Edward A. Taft Tangleivood Advisory Comtnittee Alan J. Blah Henry W. Dwight George E. Mole Robert K. Wheeler Lenges Bull George W. Edman Whitney S. Stoddard H. George Wilde Lawrence K. Miller Jesse L. Thomason Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Samuel H. Sprott Lenox, William T. McCormack Lee, C. Marcel Brunell Thomas D. Perry, Tr., Manager Norman S. Shirk, Assistant Manager James J. Brosnahan, Business Administrator Leonard Burkat, Music Administrator Rosario Mazzeo, Personnel Manager 3 — ^^^ac/iO^czc Ad&ewcc I A Cadillac travels in such wondrous silence that it is actually possible to whisper and be heard. VISIT YOUR LOCAL AUTHORIZED CADILLAC DEALER BOSTON SYMPHONY ORCHESTRA Friday Evening, July 27, at 8:00 CHARLES MUNCH, Conductor DEBUSSY "Printemps," Suite symphonique I. Tres modere II. Modere PISTON Symphony No. 6 I. Fluendo espressivo II. Leggerissimo vivace III. Adagio sereno IV. Allegro energico Intermission BRAHMS * Symphony No. 4, in E minor, Op. 98 I. Allegro non troppo II. Andante moderato III. Allegro giocoso IV. Allegro energico e passionato BALDWIN PIAXO *RCA VICTOR RECORDS — 5 Program Notes Friday Evening, July 27 "PRINTEMPS," SUITE SYMPHONIQUE Claude Debussy Born in St. Germain (Seine-et-Oise) , France, August 22, 1862; died in Paris, March 25, 1918 Debussy's Printemps, composed as a Prix de Rome Envoi, has no con- nection with an earlier work for chorus with the same title, composed as a Prix de Rome competition piece in 1882, and posthumously published as Salut, Printemps, to distinguish it from the later work. The third Image, Rondes de Printemps, is again an entirely different work. At Rome Debussy attempted two choral settings of texts according to the expectations of his benefactors, but neither Zuleima which became his first Envoi nor Diane aux Bois satisfied the self-searching composer. He did Your Year-Round Vacationland Your Permanent Home For gracious living, for unexcelled business opportunities, there's no place like the Berkshire Hills! A renowned resort area, the Berk- shires offer a skilled labor sup- ply, easy access to major markets and strategic materials, top-notch educational facilities and good transportation. Now that the Massachusetts Turnpike is opened, this thriving industrial area and its delightful suburbs are just a short drive from Boston and New York. For an informative brochure, write: BERKSHIRE HILLS CONFERENCE 100 North Street, Pittsfield, Mass. — 6 — — not readily find music to express "action" in the librettos and looked for something less binding, such as "states of soul." Botticelli's Primavera. which may well have excited his imagination in Florence, was his admitted inspiration for Printemps. In this he committed himself to no text whatever, but only wordless syllables. His increasing tendency to use voices as an element of color, blending in the orchestral palette, was frowned upon. The use of the "unorchestral" key of F-sharp major in Printemps brought lugu- brious head-shakings from the judges, who consisted of the following musicians, worlds removed from the ways of "impressionism": Thomas, Gounod, Delibes, Reyer, Massenet, Saint-Saens. The official report of the Secretary of the Academie des Beaux-Arts said this about Printemps: "His feeling for musical color is so strong that he is apt to forget the importance of accuracy of line and form. He should beware of this vague impressionism which is one of the most dangerous enemies of artistic truth. The first movement of M. Debussy's symphonic work is a kind of prelude an adagio. Its dreamy atmosphere and its studied effects result in confusion. The second movement is a bizarre, incoherent transformation of the first, but the rhythmical combinations make it somewhat clearer and more compre- hensive. The Academy awaits and expects something better from such a gifted musician as M. Debussy." v These 9€W pianists Evelyn Crochet Leon Fleisher featured this season at Claude Frank the Berkshire Festiyai Gary Graffman play only Eugene Istomin r Byron Janis THE STMWAY Rudolf Serkin Vronsky and Babin r IN MASSACHUSETTS AND NEW HAMPSHIRE NEW STEINWAY PIANOS ARE SOLD ONLY BY M. STE1NERT & SONS 162 BOYLSTON ST. BOSTON • WORCESTER, SPRINGFIELD Printemps lay quite unnoticed until the Revue Musicale published it as a supplement in 1904 in a version for six voice parts with accompaniment of piano duet. Durand published it in the same year, and in 1913 brought out the definitive version, without chorus. The parts for two pianists were pre- served and the orchestration restored. Debussy called upon Henri Biisser who had orchestrated his Petite Suite in 1907. SYMPHONY NO. 6 Walter Piston Born in Rockland, Maine, January 20, 1894 Walter Piston's Sixth Symphony was commissioned by the Boston Symphony Orchestra and the Koussevitzky Music Foundation for this Orchestra's seventy-fifth anniversary season and is dedicated to the memory of Serge and Natalie Koussevitzky. In answer to a request for information about his new Symphony, the composer sent the following interesting communication: "It is known that no two orchestras sound alike, and that the same orchestra sounds differently under different conductors. The composer of orchestral music must be aware of this, and his mental image of the sound of his written notes has to admit a certain flexibility. This image is in a sense a composite resulting from all his experience in hearing orchestral sound, **** AVAVOO* ***• A COUNTRY INN LENOX, MASSACHUSETTS Just across the Road-AVALOCH offers two fine restaurants of different and exciting character . Continental Dining high in the Berkshires An open air room for summer dining. Special Sunday BUFFET in the GAZEBO that you can't afford to miss! FIVE REASONS STEAK & ALE HOUSE A superb Steak House featuring 30 varieties of Foreign Beer and Ale. Huge steak and half-pound hamburger. Dancing Wed. thru Sat. to music of "Tempo 44" FOR RESERVATIONS PHONE LENOX 41 -ALL RESORT FACILITIES — 8 — — 99) whether produced by one or two instruments or by the entire orchestra in tutti. "While writing my Sixth Symphony, I came to realize that this was a rather special situation in that I was writing for one designated orchestra, one that I had grown up with, and that I knew intimately. Each note set down sounded in the mind with extraordinary clarity, as though played immediately by those who were to perform the work. On several occasions it seemed as though the melodies were being written by the instruments themselves as I followed along. I refrained from playing even a single note of this symphony on the piano. "Little need be said in advance about the symphony. Indeed, I could wish that my music be first heard without the distraction of preliminary explanation. The headings listed in the program are indicative of the general character of each movement. The first movement is flowing and expressive, in sonata form; the second a scherzo, light and fast; the third a serene adagio, theme one played by solo cello, theme two by the flute; and the fourth an energetic finale with two contrasting themes. The symphony was composed with no intent other than to make music to be played and listened to. "I take this occasion to express my immense indebtedness to the mem- bers of the Boston Symphony Orchestra and to the conductors Serge Kousse- vitzky, Richard Burgin, and Charles Munch, for the many superb perform- ances of my music." MUSIC AT BOSTON UNIVERSITY • Scholarship Awards to outstanding high school seniors one to four years full tuition. • Freshman Applications now being processed for 1963- 1964 admission. Auditions held monthly. • Graduate Assistantships and Doctoral Fellowships up to $1800 per year. • For complete information write School of Fine and Applied Arts Boston University 855 Commonwealth Avenue Boston 15, Massachusetts 9 — ; SYMPHONY XO. 4. IX E MINOR. Op. 98 Johannes Brahms ~. ; 189~ Born in Hamburg, May 1> : died in Vienna. April 3, When Brihms composed his Fourth Symphony and submitted it tor performance in the Principality of Meimngen on October 25, 1885, he had an established reputation, but his symphonies were not yet widely and clearly understood. A proof of this is the report of Max Kalbeck. Brahms' eventual biographer but then his young adherent, of a pre-concert reading of the score in a two-piano version at which Kalbeck was present. The custom was established before each of the symphony premieres of a gathering of friends at the piano warerooms of Fnedrich Ehrbar. This was a highly expert representation. There was Eduard Hanslick.