E Sixth Annual Berkshire Symphonic Festival

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THE BOSTON SYMPHONY ORCHESTRA SERGE KOUSSEVITZKY, Conductor

SERIES A

Thursday, August 3, 8.30 p. m. Saturday, August 5, 8.30 p. m. Sunday, August 6, 3.30 p. m.

SERIES B

Thursday, August 10, 8.30 p. m. Saturday, August 12, 8.30 p. m.

Sunday, August 13, 3.30 p. m.

1 9 3 9

)`ANGLEWOOD Between Stockbridge and Lenox In the Berkshires, Massachusetts SERGE KOUSSEVITZKY BOARD OF TRUSTEES of

ghe aerkshire GlymiIonic gestival, cgnc.

MISS ROBINSON SMITH, President NORVAL H. BUSEY, JR., Vice-President GEORGE W. EDMAN, Clerk HENRY W. D WIGHT, Treasurer MILTON B. WARNER, Attorney Mrs. William Felton Barrett Mrs. Henry A. Francis Edward S. Rogers Mrs. Gorham Brooks Mrs. Charles C. Griswold Mrs. Arthur F. Schermerhorn Philip Marshall Brown Mrs. John B. Lloyd Albert Spalding William L Bull Mrs. John C. Lynch Robert K. Wheeler Mrs. Bruce Crane Mrs. Elisabeth C. T. Miller Laurence R. Connor John F. Noxon, Jr. HAROLD V. RUBACK, Mrs. Carlos M. de Heredia Miss Mary Parsons Executive Secretary

THE ADVISORY BOARD

ADAMS HARTFORD, CONN. NORTHAMPTON Mrs. Theodore R. Plunkett Mrs. Blanchard W. Means Miss Dorothy Bement Mrs. James Cashin HILLSDALE, N. Y. Bernard O'Shea AMHERST Mrs. Alexander Bloch PITTSFIELD Mrs. S. D. Goding HINSDALE Mrs. Robert H. Colton BECKET Miss Alma Haydock POUGHK EEPSIE, N. Y. Miss Esther McCormick HOLYOK E Miss Rebecca Rider BELLOWS FALLS, VT. Mrs. Richard Towne George Dickinson Mrs. Edwin Miner HOUSATONIC RICHMOND BENNINGTON, VT. Mrs. Charles Giddings Miss Inez Eldridge Ronald Sinclair HUDSON, N. Y. SALISBURY, SHARON Mrs. Otto Luening Mrs. Otis H. Bradley LAK EVIL L E, CONNECTICUT BOSTON KINDERHOOK, N. Y. Mrs. Maurice Firuski Mrs. Walter Atherton James E. Leath SCHENECTADY, N. Y. M. A. DeWolfe Howe LAN ESBORO Mrs. Dudley Diggs Mrs. Henry K. White Miss Margery Whiting SOUTH HADLEY BRATTLEBORO, VT. LEBANON VALLEY Mrs. Edward Hazen C. H. Presbrey, Jr. Mrs. Harry Adams SPRINGFIELD BROCKTON LEE Mrs. Hollis Carlisle Miss Marjorie R. Shaw Miss Kathleen Hayden STOCKBRIDGE BROOKFIELD LENOX Mrs. John C. Lynch Mrs. Blanchard W. Means Miss Estelle Hutchinson TORONTO, CANADA BURLINGTON, VT. Lester Roberts Sir Ernest MacMillan Harlie E. Wilson Los ANGELES, CALIFORNIA TORRINGTON, WINST ED, LITCHFIELD CANAAN AND TWIN LAKES, CONN. Mrs. Robert Osgood COLEBROOK, CONNECTICUT Miss Agatha Canfield MAINE Mrs. Bertrand Peck CHATHAM, N. Y. Mrs. Allan Craig (Bangor) TROY, N. Y. Miss Annabelle Terrell MARBLEHEAD Mrs. A. W. Bray CHESTER Mrs. Carl Dreyfus TYRINGHAM Elmer J. Smithies MIDDLEBURY, VT. Mrs. Harry C. Holloway DALTON Lewis J. Hathaway SOUTH WORCESTER COUNTY Mrs. Bruce Crane MILLB ROOK, N. Y. Mrs. Noah Nason (Westboro) DES MOINES, IOWA Miss Dorothea Wheaton WESTFIELD Mrs. Doris Adams Hunn MONTCLAIR, N. J. Mrs. John B. O'Brien DOUGLASTOWN, L. I., N. Y. Mrs. Clifford W. Elting WEST STOCKBRIDGE Mrs. Blaine J. Nicholas MONTEREY Miss Delphine Jastram DUBLIN, N. H. Mrs. Earle Stafford Mrs. Edward T. Thaw MONTREAL, CANADA WILLIAMSTOWN EASTHAMPTON Mrs. Graham Drinkwater Charles L. Safford Frederick Hyde NEW BOSTON Roderick Danaher GREAT BARRINGTON, SHEFFIELD Mrs. Norton Perkins WINDSOR, CUMMINGTON NORTH EGREMONT, SOUTH EGREMONT NEW ORLEANS, LOUISIANA Mrs. Elisabeth C. T. Miller Mrs. George L. Taylor Mrs. Justin Godchaux WOODSTOCK, N. Y. Henry Wigeland NORFOLK, CONNECTICUT Mrs. Frank London GREENFIELD Mrs. David Goodnow WORCESTER Mrs. Frere Champney NORTH ADAMS Mrs. Frank C. Smith Harold Leslie Mrs. Shelley W. Potter Mrs. Frederick Williams

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For Special Notices See Page 46 ;111E^fEf 00,tIS“Eff E ff011 VAI OE (At 0 100 t I ttrItAil o li tirof Er r E (tghttt(tti t litapqittltt UFF IFIIEFEE F ccrc i; ;;;JF rt,Pil!i t !

111-171:lft.

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4 First Programme

THURSDAY EVENING, August 3, at 8.30 o'clock

BACH . Brandenburg Concerto No. 3 in G major for string orchestra (with the Sinfonia from the Cantata "Christ lag in Todesbanden")

Allegro moderato Sinfonia Allegro

RIMSKY-KORSAKOV . "Scheherazade," Symphonic Suite (after "The Thousand Nights and a Night)" Op. 35

I. The Sea and Sindbad's Ship II. The Story of the Kalandar Prince III. The Young Prince and the Young Princess IV. Festival at Bagdad. The Sea. The Ship goes to Pieces against a Rock surmounted by a Bronze Warrior. Conclusion.

INTERMISSION OF TWENTY-FIVE MINUTES

BRAHMS . . Symphony No. 1 in C minor, Op. 68

I. Un poco sostenuto; Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio: Allegro non troppo, ma con brio

Recordings of the Orchestra may be had at the Festival Record Shop—main house on concert grounds—conducted each season by The Music House of Northampton, Massachusetts.

The Thursday Morning Club of Great Barrington invites you to patronize its refreshment tent. Cushions for Rent.

Kindly keep, and use this complete program for all concerts. k COMBINING convenience with charm and dignity- \ \ The Westbury attracts distinguished guests from everywhere. Ideally located in the quiet East side residential section—adjacent to Central Park . . . shopping and theatrical centers. Single, Double Rooms and Suites Available Furnished or Unfurnished Serving Pantries

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Direction KARL P. ABBOTT Ross W. Thompson, Mgr.

6 HISTORICAL AND DESCRIPTIVE NOTES By JOHN N. BURK

(Reprinted by permission of the Boston Symphony Orchestra, Inc.) CONCERTO, G MAJOR, No. 3 (OF THE BRANDENBURG SET) FOR THREE VIOLINS, THREE VIOLAS, THREE VIOLONCELLOS, WITH BASS BY THE CEMBALO (WITH THE SINFONIA FROM THE CANTATA "CHRIST LAG IN TODESBANDEN") By JOHANN SEBASTIAN BACH Born at Eisenach on March 21, 1685; died at Leipzig on July 28, 1750 rr HE set of Brandenburg concertos can be looked upon as an experiment in various -I- instrumental combinations. Of the six, this one is unique in being written for strings only, and in having no intervening slow movement to bring the customary contrast between the two allegros. The original title runs "Concerto 3zo a Ire Violini, tre Viole, e tre Violoncelli col Basso per it Cembalo," but the score definitely gives a place to the string basses, doubling the 'cellos, whereby the "cembalo" becomes merely a reinforcing instrument, unessential in the general balance. Bach thus divides his forces into three complete and equal string orchestras. At times, as in the first exposition, the three parts for each kind of instrument are in unison, making an ensemble of only three distinct voices (though the players themselves are distributed), giving a special sense of integration and solidity. At times the three parts (for violins, violas, or 'cellos) are at variance, giving an infinite diversity and richness in contra- puntal imitation. Using brief rhythmic figures, Bach establishes and sustains an astonishing vitality in their varied manipulation. "The two movements," writes J. A. Fuller-Maitland, "make up a composition that is surely without a rival as the expression of a frank and fear- less joy, a joy from which everyday mirth is not excluded and which yet is well fitted for a tribute of spiritual exultation." Philip Spitta speaks of the first movement as "instinct with life and genius." He draws the attention to a particular passage (from the 78th bar) which he considers "as fine as anything in the whole realm of German instrumental music; the chief subject is given out in the second violin part, the first violin then starts an entirely new subject which next appears on the second violin, drawing in more and more instruments, and is at last taken up by the third violin and the third viola, and given out weightily on their G strings; this is the signal for a flood of sound to be set free from all sides, in the swirl of which all polyphony is drowned for several bars. There is no adagio in regular form. Two long-held chords alone release the imagination for a moment, and then begins the concluding movement, a true concerto finale in 12-8 time." The two transitional chords (adagio), with a minor "Phrygian cadence" bringing momen- tary relief from the prevailing tonality of G major, have been amplified by Max Seiffert, editor of the edition, with a "free cadenza" for the violins. But Bach's two chords, unadorned, have been used in previous performances by this orchestra. Other conductors have at this point interpolated a slow movement of Bach. For the present performances, the introductory sinfonia to Bach's "Christ lag in Todesbanden" is used. The sinfonia, written for the string orchestra in E minor, has needed no transposition. Bach has given what might be called a "reversed precedent" for this interpolation. The first movement of this concerto (somewhat altered) was used by him as an introduction for his Whitsuntide Cantata—"Ich liebe den Hochsten von ganzem Gemiithe"—a transference of cheerful, lay music to pious purposes which has disturbed some judges of the aesthetic proprieties.

7 "SCHEHERAZADE," SYMPHONIC SUITE, AFTER "THE THOUSAND NIGHTS

AND A NIGHT," Op. 35

By NICOLAS A NDREJEVITCH RIMSKY-KORSAKOV

Born at Tikhvin, in the government of Novgorod, March 18, 1844; died June 21, 1908, at St. Petersburg

RIMSKY-KORSAKOV attached this paragraph to the score: "The Sultan Schahriar, persuaded of the falseness and the faithlessness of women, has sworn to put to death each one of his wives after the first night. But the Sultana Scheherazade saved her life by interesting him in tales which she told him during one thousand and one nights. Pricked by curiosity, the Sultan put off his wife's execution from day to day, and at last gave up entirely his bloody plan. "Many marvels were told Schahriar by the Sultana Scheherazade. For her stories the Sultana borrowed from poets their verses, from folk-songs their words; and she strung together tales and adventures." The composer relates how he has attempted to incite the imagination of his hearers rather than to enchain it by specific episodes: "The programme I had been guided by in composing `Scheherazade' consisted of sepa- rate, unconnected episodes and pictures from 'The Arabian Nights' : the fantastic narrative of the Prince Kalandar, the Prince and the Princess, the Baghdad festival, and the ship dash- ing against the rock with the bronze rider upon it. The unifying thread consisted of the brief introductions to Movements I, II, and IV and the intermezzo in Movement III, written for violin solo, and delineating Scheherazade herself as telling her wondrous tales to the stern Sultan. The conclusion of Movement IV serves the same artistic purpose. "In vain do people seek in my suite leading motives linked always and unvaryingly with the same poetic ideas and conceptions. On the contrary, in the majority of cases, all these seeming leit-motives are nothing but purely musical material, or the given motives for symphonic development. These given motives thread and spread over all the movements of the suite, alternating and intertwining each with the other. Appearing as they do each time under different moods, the self-same motives and themes correspond each time to different images, actions, and pictures. "My aversion for the seeking of a too defmite programme in my composition led me sub- sequently (in the new edition) to do away with even those hints of it which had lain in the headings of each movement, such as: The Sea and Sindbad's Ship'; the lialandar's Nar- rative,' etc. "In composing `Scheherazade' I meant these hints to direct but slightly the hearer's fancy on the path which my own fancy had traveled, and to leave more minute and particular conceptions to the will and mood of each listener. All I had desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied fairy-tale wonders, and not merely four pieces played one after the other and composed on the basis of themes common to all the four movements. Why, then, if that be the case, does my suite bear the name, precisely, of `Scheherazade'? Because this name and the subtitle (After "The Thousand and One Nights" ') connote in everybody's mind the East and fairy-tale wonders; besides, certain details of the musical exposition hint at the fact that all of these are various tales of some one person (which happens to be Scheherazade) entertaining therewith her stern husband."

8 SYMPHONY IN C MINOR, No. 1, Op. 68 By JOHANNES BRAHMS Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897

The First Symphony of Brahms had its initial performance November 4, 1876, at Carlsruhe, Otto Dessoff conducting.

OT until he was forty-three did Brahms present his First Symphony to the world. His N friends had long looked to him expectantly to carry on this particular glorious German tradition. As early as 1854 Schumann, who had staked his strongest prophecies on Brahms' future, wrote to Joachim • "But where is Johannes? Is he flying high, or only under the flowers? Is he not yet ready to let drums and trumpets sound? He should always keep in mind the beginning of the Beethoven symphonies: he should try to make something like them. The beginning is the main thing; if only one makes a beginning, then the end comes of itself." Schumann, that shrewd observer, knew that the brief beginnings of Brahms were apt to germinate, to expand, to lead him to great ends. Also, that Beethoven, symphonically speaking, would be his point of departure. To write a symphony after Beethoven was "no laughing matter," Brahms once wrote, and after sketching a first movement he admitted to Hermann Levi—"I shall never compose a symphony! You have no conception of how the likes of us feel when we hear the tramp of a giant like him behind us." To study Brahms is to know that this hesitancy was not prompted by any craven fear of the hostile pens which were surely lying in wait for such an event as a symphony from the newly vaunted apostle of classicism. Brahms approached the symphony (and the concerto too) slowly and soberly; no composer was ever more scrupulous in the commitment of his musical thoughts to paper. He proceeded with elaborate examination of his technical equip- ment—with spiritual self-questioning—and with unbounded ambition. The result— a period of fourteen years between the first sketch and the completed manuscript; and a score which, in proud and imposing independence, in advance upon all precedent—has absolutely no rival among the first-born symphonies, before or since. The symphony seemed formidable at the first hearing, and incomprehensible—even to those favored friends who had been allowed an advance acquaintance with the manuscript score, or a private reading as piano duet, such as Brahms and Ignatz Brun gave at the home of Friedrich Ehrbar in Vienna. Even Florence May wrote of the "clashing dissonances of the first introduction." Respect and admiration the symphony won everywhere. It was apprehended in advance that when the composer of the Deutsches Requiem at last fulfilled the prophecies of Schumann and gave forth a symphony, it would be a score to be reckoned with. The First Symphony soon made the rounds of Germany, enjoying a particular success in Berlin, under Joachim (November 11, 1877). In March of the succeeding year it was also heard in Switzerland and Holland. The manuscript was carried to England by Joachim for a performance in Cambridge, and another in London in April, each much applauded. The first performance in Boston took place January 3, 1878, under Carl Zerrahn and the Harvard Musical Association. When the critics called it "morbid," "strained," "unnatural," "coldly elaborated," "depressing and unedifying," Zerrahn, who like others of his time knew the spirit of battle, at once announced a second performance for January 31. Sir George Henschel, an intrepid friend of Brahms, performed the C minor Symphony, with other works of the composer, in this orchestra's first year.

9 OLD STAGE the place /ot GRILL AND BAR

f-! • A DELICIOUS LUNCHEON . . • THE PERFECT DINNER

• A BIT OF

LATE . . . SUPPER LENOX - MASS. AN EVENING OF fa Music 9.00 to 12.00 DANCING

TABLE D'HOTE AND A LA CARTE SERVICE 7.30 a. m. to MIDNIGHT

WINES AND LIQUORS UNTIL 1.00 a. m.

12TH AIR SEASON BERKSHIRE PLAYHOUSE COOLED Stockbridge Massachusetts WILLIAM MILES, Director July 31st BERKSHIRE FESTIVAL WEEKS August 7th JOHN BEAL DENNIS KING , "THE in PETRIFIED FOREST" "PETTICOAT FEVER" By Robert E. Sherwood By Mark Reed WITH THE PLAYHOUSE COMPANY

EVERY EVENING (EXCEPT SUNDAY) AT 8.45 — Prices: $2.75, $2.20, $1.65, $1.10 FESTIVAL MATINEES WEDNESDAY AND SATURDAY — Prices: $1.65 and $1.10

For Reservations: Write Berkshire Playhouse or Phone Stockbridge 99

WEEK of AUGUST 14th — "OUR TOWN" with THORNTON WILDER WEEK of AUGUST 21st — "FIRST LADY" with VIOLET HEMING WEEK of AUGUST 28th — "BICENTENNIAL" with EDITH BARRETT and RICHARD HALE

10 Second Programme

„....""•••■■-"'

SAT U R DAY EVE NING, August 5, at 8.30 o'clock

PISTON . . Concerto for Orchestra

I. Allegro ma energico

II. Allegro vivace

III. Adagio: Allegro moderato

SIBELITJS . Symphony No. 5 in E-flat major, Op. 82

I. { Tempo molto moderato

II. Allegro moderato, ma poco a poco stretto

III. Andante mosso, quasi allegretto

IV. Allegro molto

INTERMISSION OF TWENTY-FIVE MINUTES

BEETHOVEN . . Symphony No. 7 in A major, Op. 92

I. Poco sostenuto: Vivace

II. Allegretto

III. Presto: assai meno presto: Tempo primo

IV. Allegro con brio STEINWAY PIANO

Recordings of the Orchestra may be had at the Festival Record Shop—main house on concert grounds—conducted each season by The Music House of Northampton, Massachusetts.

The Thursday Morning Club of Great Barrington invites you to patronize its refreshment tent. Cushions for Rent.

Kindly keep, and use this complete program for all concerts.

11 iMERICAN ACADEMY of DRAMATIC ARTS

FOUNDED IN 1884 by FRANKLIN H. SARGENT

gHE foremost institution for Dramatic and Expressional Training in America. The courses of the Academy furnish the essential preparation for Teaching and Directing as well as for Acting.

FOR CATALOG ADDRESS SECRETARY

CARNEGIE HALL NEW YORK, N. Y.

WELCOME TO ME BERKSHIRE SYMPHONIC FESTI1AL

The Berkshire Symphonic Festival has come to be a trea- sured institution in this beautiful country. Another institution, of which the Berkshires is proud, is the Berkshire Life Insurance Company. Since 18 5 1 this growing organ- "There is music ization has been serving an ever-increasing number of wherever there is policy holders into whose lives it has brought "harmony, harmony, order, order, proportion." proportion." We want to extend our hearty welcome to all visitors at SIR THOMAS BROWNE the Festival. Many of you are our old friends. We hope, while you are here, you will find time to visit the Berk- shire's Home Office in Pittsfield, Massachusetts. It is always our pleasure to serve you in every possible way. BERKSHIRE LIFE INSURANCE CO. PITTSFIELD, MASSACHUSETTS • F. H. RHODES, President

12 CONCERTO FOR ORCHESTRA By WALTER PISTON Born in Rockland, Maine, on January 20, 1894 rr ms piece, which had its first performance by the Boston Symphony Orchestra in 1934, -I- is a "concerto" in the eighteenth century sense. It is not written to display the vir- tuosity of any single instrument. The first movement is in sectional form built upon two themes. As in the old concerti grossi and in the Brandenburg Concerti of Bach, there is an alternation of tutti and concertante in the instrumental grouping. The instruments used in the concertante, however, vary throughout the movement. The second movement (in D) is in the mood of a scherzo. After introductory rapid passages for the strings (pianissimo) there is a melody for the English horn. A short middle section gives the English horn theme to the solo violoncello. An imitative development leads to a recapitulation of the first section in retrograde, followed by a short coda. The third movement (in A) derives formally from the passacaglia. The theme is presented by the tuba and varied by the brass section. The following variations introduce in turn a fugato over the ostinato theme, a stretto of the theme, and later a canon. It is finally given to the full orchestra. "Walter Piston owes his patronymic to his grandfather, Pistone, an Italian by birth. The final 'e' fell off when Pistone came to America; he married an American woman, and his son, Walter Piston's father, married an American." Thus Nicholas Slonimsky, in his article on Piston in "American Composers on American Music." The same writer fits this composer into the American scheme: "Among American composers, Walter Piston appears as a builder of a future academic style, taking his defmition without any derogatory implications. There are composers who draw on folklore, and there are composers who seek new colors, new rhythms, and new harmonies. Walter Piston codifies rather than invents. His imagination supplies him with excellent ideas, and out of this material he builds his music, without words, descriptive titles, and literature. He is an American composer speaking the international idiom of absolute music." Mr. Piston studied violin with Messrs. Fiumara, Theodorowicz, and Winternitz in Boston, and piano with Harris Shaw. Attending Harvard University, he studied theory and composition in the music department there, and later went to Paris to study with Nadia Boulanger. He is Professor of the Department of Music at Harvard University.

SYMPHONY, E-FLAT MAJOR, No. 5, Op. 82 By JEAN SIBELIUS Born at Tavastehus, Finland, December 8, 1865; living at Jarvenpaa

The Fifth Symphony was composed in the last months of 1914, and first performed at Helsingfors, December 8, 1915. Sibelius revised the Symphony late in 1916, and the revision was performed December 14 of that year. There was a second revision which brought the score into its final form in the autumn of 1919. In this form it was performed at Helsingfors, November 24, 1919.

ARL EKMAN, in his book on Sibelius, shows how the composer wrote his Fifth Symphony K in response to an inner compulsion, and in spite of discouraging outward circumstances. The World War descended like a pall over Europe. It cut him off from his publishers in Germany, and from the royalties which should have come to him from performances. Six- teen "minor compositions," written between August and November, became to him a source

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14 of needed income, and a refuge from the dark period they marked. The Fifth Symphony, according to Mr. Ekman, was a reaction from these events. The composer who had in- creasingly developed a personal expression, independent of current musical tendencies, now withdrew quite definitely from the distraught external world into those inner symphonic springs which had always been the true source of his creative growth. There seems to have been a resurgence of radiant and vital qualities in his art, a kind of symphonic affirmation which had been dormant since the Second Symphony of 1902, the more restrained but bright-voiced Third of 1908. In the Fifth Symphony, this mood found a new awakening, a new expansion. As the Fifth Symphony was taking shape, Sibelius wrote of "this life that I love so infinitely, a feeling that must stamp everything I compose." And the following lines are taken from his diary, at the end of September: "In a deep dell again. But I begin already dimly to see the mountain that I shall certainly ascend . . . God opens his door for a moment and his orchestra plays the Fifth symphony." Questioned about his Fifth Symphony, Sibelius spoke of it with his usual disinclination to discuss his works. "I do not wish to give a reasoned exposition of the essence of symphony. I have expressed my opinion in my works. I should like, however, to emphasize a point that I consider essential: the directly symphonic is the compelling vein that goes through the whole. This in contrast to the depicting." The Fifth Symphony did indeed intensify the cleavage between the vividly descriptive music which was the invariable order of the day, and the thoughts of the lone symphonist, following some urge in no way connected with the public demand or general expectation of 1915. It is only in recent years that music steeped in exotic legend has become quite out- moded, and the symphony unadorned once again eminently desirable. To a world steeped in lavish colorings, tending toward swollen orchestrations, lush chromatizations, Sibelius gave a symphony elementary in theme, moderate, almost traditional in form, spare in instrumentation. The themes at first hearing are so simple as to be quite featureless; the succession of movements makes no break with the past. However, any stigma of retrogression or academic severity is at once swept aside by the music itself. It goes without saying that Sibelius set himself exactly those means which the matter in hand required, and using them with consummate effectiveness erected a sound structure of force, variety and grandeur which no richer approach could have bettered. Once embarked upon a movement, even from apparently insignificant beginnings, this unaccountable spinner of tones becomes as if possessed with a rhythmic fragment or a simple melodic phrase. When his imagination is alight, vistas unroll; the unpredictable comes to pass. There was in Beethoven a very similar magic; and yet Sibelius could never be called an imitator. It is as if an enkindling spark passed in some strange way across a century. The thematic basis of the first movement is the opening phrase, set forth by the French horn. The whole exposition of this theme is confined to the winds, with drums The second subject enters in woodwind octaves. The strings simultaneously enter with a characteristic background of rising tremolo figures, and in the background, through the first part of the movement, they remain. A poignant melody for the bassoon, again set off by the strings, brings a great intensification (in development) of the second subject. The climax is reached as the trumpets proclaim the motto of the initial theme, and the first movement progresses abruptly, but without break into the second, which in character is an unmistakable scherzo. The broad 12-8 rhythm of the first movement naturally divides into short bars of triple rhythm (3-4) as a dance-like figure is at once established and maintained for the duration of the movement. The initial subject of the first movement is not long absent, and brings the concluding measures. The slow movement consists of a tranquil and unvarying allegretto, for this symphony discloses no dark or agonized pages. The movement develops as if in variations a single

15 theme of great simplicity and charm, which changes constantly in melodic contour, but keeps constant rhythmic iteration until the end. The theme sometimes divides from quarter notes into an elaboration of eighths, after the classic pattern. There are tonal clashes of seconds, which, however, are no more than piquant. The little antiphonal five-bar coda in the wood winds is worthy of Beethoven or Schubert. Characteristic of the fmal movement (and of Sibelius in general) is its opening—a pro- longed, whirring figure which at first gathers in the strings, and as it accumulates momentum draws in the wind instruments. This introduces an even succession of half-notes (first heard from the horns) which, of elemental simplicity in itself, is to dominate the movement (Mr. Gray has discovered this very theme as an accompanying figure in the basses in the slow movement). Another important subject is given to the wood winds and 'cellos against chords of the other strings and the horns. An episode in G-flat major (misterioso) for strings, muted and divided, leads to the triumphant coda of heroic proportions, and the repeated chords at the end, with tense pauses between. "The Finale," as Lawrence Gilman has written, "is the crown of the work, and is in many ways the most nobly imagined and nobly eloquent page that Sibelius has given us."

SYMPHONY No. 7 IN A MAJOR, Op. 92 By LUDWIG VAN BEETHOVEN Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827

The Seventh Symphony, finished in the summer of 1812, was first performed on December 8, 1813, in the hall of the University of Vienna, Beethoven conducting.

EETHOVEN was long in the habit of wintering in Vienna proper, and summering in on B or another outlying district, where woods and meadows were close at hand. Here the creation of music would closely occupy him, and the Seventh Symphony is no exception. When he completed it in the summer of 1812, four years had elapsed since the Pastoral Symphony. It would require more than a technical yardstick to measure the true proportions of this symphony—the sense of immensity which it conveys. Beethoven seems to have built up this impression by wilfully driving a single rhythmic figure through each movement, until the music attains (particularly in the body of the first movement, and in the Finale) a swift propulsion, an effect of cumulative growth which is akin to extraordinary size. The three preceding symphonies have none of this quality—the slow movement of the Fourth, many parts of the "Pastoral" are static by comparison. Even the Fifth Symphony dwells in violent dramatic contrasts which are the antithesis of sustained, expansive motion. Schubert's great Symphony in C major, very different of course from Beethoven's Seventh, makes a similar effect of grandeur by similar means in its Finale. The long introduction (Beethoven had not used one since his Fourth Symphony) leads, by many repetitions on the dominant, into the main body of the movement, where the characteristic rhythm, once released, holds its swift course, almost without cessation, until the end of the movement. Where a more modern composer seeks rhythmic interest by rhythmic variety and complexity, Beethoven keeps strictly to his repetitious pattern, and with no more than the spare orchestra of Mozart to work upon finds variety through his in- exhaustible invention. It is as if the rhythmic germ has taken hold of his imagination and, starting from the merest fragment, expands and looms, leaping through every part of the orchestra, touching a new magic of beauty at every unexpected turn. Wagner called the symphony "the Dance in its highest condition; the happiest realization of the movements of the body in an ideal form." If any other composer could impel an inexorable rhythm, many times repeated, into a vast music—it was Wagner. In the Allegretto Beethoven withholds his headlong, capricious mood. But the sense of motion continues in this, the most agile of his symphonic slow movements (excepting the 16 entirely different Allegretto of the Eighth). It is in A minor, and subdued by comparison, but pivots no less upon its rhythmic motto, and when the music changes to A major, the clarinets and bassoons setting their melody against triplets in the violins, the basses main- tain the incessant rhythm. Beethoven was inclined, in his last years, to disapprove the lively tempo often used, and spoke of changing the indication to Andante quasi allegretto. The third movement is marked simply "presto", although it is a scherzo in effect. The whimsical Beethoven of the first movement is still in evidence, with sudden outbursts, and alterations of fortissimo and piano. The trio, which occurs twice in the course of the movement, is entirely different in character from the light and graceful presto, although it grows directly from a simple alternation of two notes half a tone apart in the main body of the movement. Thayer reports the refrain, on the authority of the Abbe Stadler, to have de- rived from a pilgrims' hymn familiar in Lower Austria. The Finale has been called typical of the "unbuttoned" (aufgekapft) Beethoven. Grove finds in it, for the first time in his music, "a vein of rough, hard, personal boisterousness, the same feeling which inspired the strange jests, puns and nicknames which abound in his letters." Schumann calls it "hitting all around" ("schlagen um sich"). "The force that reigns throughout this movement is literally prodigious, and reminds one of Carlyle's hero Ram Dass, who had 'fire enough in his belly to burn up the entire world'." Years ago the resemblance was noted between the first subject of the Finale and Beethoven's accompaniment to the Irish air "Nora Creina," which he was working upon at this time for George Thomson of Edinburgh.

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1 7 Third Programme

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SUNDAY AFTERNOON, August 6, at 3.30 o'clock

C. P. E. BACH . . Concerto in D major for Stringed Instruments (Arranged for Orchestra by Maximilian Steinberg)

I. Allegro moderato

II. Andante lento molto

III. Allegro

PROKOFIEFF . "Peter and the Wolf," an Orchestral Fairy Tale for Children, Op. 67 Narrator: RICHARD HALE

INTERMISSION OF TWENTY-FIVE MINUTES

TCHAIKOVSKY . . Symphony No. 4 in F minor, Op. 36

I. Andante sostenuto. Moderato con anima in movimento di Valse

II. Andantino in modo di canzona

III. Scherzo: Pizzicato ostinato

IV. Finale: Allegro con fuoco

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18 CONCERTO IN D MAJOR FOR STRINGS

By CARL PHILIPP EMANUEL BACH Born at Weimar, March 8, 1714; died at Hamburg, December 14, 1788 Arranged for Orchestra by MAXIMILIAN STEINBERG Born at Vilna, July 4, 1883

MANUEL BACH composed this concerto for stringed instruments at a date not ascertain- E able. It was arranged by Steinberg in 1912 for flute, two oboes (the second replaced in the slow movement by the English horn, labeled "oboe alto" in the score), bassoon, horn, and strings. Steinberg's arrangement was first performed in this country at a concert of the Boston Symphony Orchestra, October 24, 1925. The following paragraph is printed in the score: "The manuscript of this concerto bears no indication which could fix the date of its composition. It is written in four parts for viols, concertante. The manuscript is in the collection of Charles Guillon at Bourg-en-Bresse, France." Dr. Koussevitzky became acquainted with this concerto as performed by the Society of Ancient Instruments in Paris, a set of viols then being used. It was at his suggestion that Maximilian Steinberg made the present orchestral arrangement. Steinberg is known as Director of the Conservatory at Leningrad, in which position he succeeded Glazounov on the retirement of that musician. Steinberg received his musical education in this conservatory and studied under both Rimsky-Korsakov and Glazounov. He has composed a considerable amount of music, orchestral, vocal, chamber and for the stage. He married in 1908 the daughter of Rimsky-Korsakov, and it was for this occasion that Stravinsky, then a student at the Conservatory, composed his "Fireworks."

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"PETER AND THE WOLF," ORCHESTRAL FAIRY TALE FOR CHILDREN, Op. 67

By SERGE PROKOFIEFF Born at Sontsovka, Russia, April 23, 1891

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The score was completed in Moscow on April 24, 1936, and was first performed at a Children's Concert of the Moscow Philharmonic, in the large hall of the Moscow Conservatory, on May 2. The first performance in America was by the Boston Symphony Orchestra in Symphony Hall, March 25, 1938. Prokofieff conducting, Richard Hale narrator.

HE following explanation is printed in the score of "Peter and the Wolf" : "Each Tcharacter of this Tale is represented by a corresponding instrument in the orchestra: the bird by a flute, the duck by an oboe, the cat by a clarinet in a low register, the grandfather by a bassoon, the wolf by three horns, Peter by the string quartet, the shooting of the hunters by the kettledrums and the bass drum. Before an orchestral performance it is desirable to show these instruments to the children and to play on them the corresponding leitmotifs. Thereby the children learn to distinguish the sonorities of the instruments during the performance of this Tale." The text was written by the composer.

SYMPHONY IN F MINOR, No. 4, Op. 36

By PETER ILITSCH TCHAIKOVSKY Born at Votkinski, in the government of Viatka, Russia, May 7, 1840; died at St. Petersburg, November 6, 1893

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HE year 1877 was a critical one in Tchaikovsky's life. He suffered a serious crisis, and T survived it through absorption in his art, through the shaping and completion of his Fourth Symphony. The dramatic conflict and emotional voice of this symphony and the two that followed somehow demand a programme, and it may be worth inquiring to what extent the Fourth Symphony may have been conditioned by his personal life at the time. Tchaikovsky admitted the implication of some sort of programme in the Fourth. He voluntarily gave to the world no clue to any of them, beyond the mere word "Pathelique" for the last, realizing, as he himself pointed out, the complete failure of words to convey the intense feeling which found its outlet, and its only outlet, in tone. He did indulge in a fanciful attempt at a programme for the Fourth, writing confidentially to Mme. von Meck, in answer to her direct question, and at the end of the same letter disqualified this attempt as inadequate. These paragraphs, nevertheless, are often quoted as the official gospel of the symphony, without Tchaikovsky's postscript of dismissal. It would be a good deal more just to the composer to quote merely a single sentence which he wrote to Taneiev : "Of course my symphony is programme music, but it would be impossible to give the programme in words; it would appear ludicrous and only raise a smile." The programme devolves upon the cyclic brass theme of "inexorable fate" which opens the work and recurs at the end. Again, a fragmentary sketch of a programme for the Fifth Symphony has been recently discovered, in which "fate" is found once more. The word, to most of those who read it, is probably a rather vague abstraction. It would be more to the point to know what it meant to the composer himself. As a matter of fact, the months in which Tchaikovsky worked out this symphony he was intensely unhappy—there was indeed a dread shadow hanging over his life. He uses the

word significantly in a letter to Mme. von Meck, acquainting her with his intention to marry a chance admirer whom he scarcely knew and did not love (the reason he gave to his benefactress and confidante was that he could not honorably withdraw from his promise). "We cannot escape our fate," he said in his letter, "and there was something fatalistic about my meeting with this girl." Even if this remark could be considered as something more sin- cere than an attempt to put a face upon his strange actions before his friend, it is incon- ceivable that the unfortunate episode (which according to recently published letters was more tragic than has been supposed) could have been identified in Tchaikovsky's mind with this ringing and triumphant theme. Let the psychologists try to figure out the exact relation between the suffering man and his music at this time. It is surely a significant fact that this symphony, growing in the very midst of his trouble, was a saving refuge from it, as Tchaikov- sky admits more than once. He never unequivocally associated it with the events of that summer, for his music was to him a thing of unclouded delight always, and the days which gave it birth seemed to him as he looked back (in a letter to Mme. von Meck of January 25, 1878) "a strange dream; something remote, a weird nightmare in which a man bearing my name, my likeness, and my consciousness acted as one acts in dreams; in a meaningless, dis- connected, paradoxical way. That was not my sane self, in possession of logical and reason- able will-powers. Everything I then did bore the character of an unhealthy conflict between will and intelligence, which is nothing less than insanity " It was his music, specifically his symphony to which he clung in desperation, that restored his "sane self." Tchaikovsky went to Italy in November, whence he wrote to his unseen friend in elation about the completion of the symphony. "I may be making a mistake, but it seems to me this symphony is not a mediocre work, but the best I have done so far. How glad I am that it is ours, and that, hearing it, you will know how much I thought of you with every bar." Mme. von Meck was present at the first performance, given in Moscow by the Russian Musical Society, February 22, 1878. The composer, in Florence, awaited the telegrams of congratulation from his friends. The symphony caused no particular stir in Moscow—the critics passed it by, and Tchaikovsky's intimate friends, Nicholas Rubinstein, who conducted it, and Serge Taneiev, wrote him letters picking the work to pieces with devastating candor. But Tchaikovsky was now impregnable in his cheerful belief in his work. The keynote of his state of mind is in this exuberant outburst—one of many—to his friend, from San Remo: "I am in a rose-colored mood. Glad the opera is finished, glad spring is at hand, glad I am well and free, glad to feel safe from unpleasant meetings, but happiest of all to possess in your friendship, and in my brother's affection, such sure props in life, and to be conscious that I may eventually perfect my art."

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21 Fourth Programme

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THURSDAY EVENING, August 10, at 8.30 o'clock

BEETHOVEN . . Symphony No. 2 in D major, Op. 36

I. Adagio molto: Allegro con brio II. Larghetto III. Scherzo IV. Allegro molto

STRAUSS . "Also Sprach Zarathustra," Tone Poem, Op. 30 (Freely after Friedrich Nietzsche)

INTERMISSION OF TWENTY-FIVE MINUTES

MOUSSORGSKY . "Pictures at an Exhibition," Pianoforte Pieces arranged for Orchestra by Maurice Ravel Promenade — Gnomus— Il Vecchio Castello—Tuileries—Bydlo- Ballet of Chicks in their Shells—Samuel Goldenburg and Schmuyle —Limoges: The Marketplace—Catacombs (Con mortuis in lingua mortua)—The Hut on Fowls' Legs—The Great Gate at Kiev.

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SYMPHONY No. 2, IN D MAJOR, Op. 36 By LUDWIG VAN BEETHOVEN Born at Bonn, December 16 (P), 1770; died at Vienna, March 26, 1827

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The Second Symphony, composed in 1802, was first performed April 5, 1803, at the Theater-an-der Wien in Vienna.

OOKING down from the Kahlenberg "towards Vienna in the bright, sweet springtime," T Thayer found the countryside where Beethoven worked out so much of his greatest music indescribably lovely. "Conspicuous are the villages, Dobling, hard by the city Nuss- dorfer line, and Heiligenstadt, divided from Dobling by a ridge of higher land in a deep gorge." Among these landmarks of Beethoven, now probably obliterated by population and habitation, there stood forth most notably the once idyllic Heiligenstadt, Beethoven's favorite haunt when music was in process of birth. There in the year 1802, "Dr. Schmidt having enjoined upon Beethoven to spare his hearing as much as possible, he removed for the summer. There is much and good reason to believe that his rooms were in a large peasant house still standing, on the elevated plain beyond the village on the road to Nussdorf, now with many neat cottages near, but then quite solitary. In those years, there was from his windows an unbroken view across fields, the Danube, and the Marchfeld, to the Carpathian Mountains that line the horizon. A few minutes' walk citywards brought him to the baths of Heiligenstadt; or, in the opposite direction, to the secluded valley in which, at another period, he composed the 'Pastoral' Symphony."

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23 At Heiligenstadt in 1802, almost simultaneously Beethoven expressed himself in two startlingly different ways. In October he wrote the famous "Heiligenstadt testament," pouring out his grief at the full realization that his deafness was incurable, into a document carefully sealed and labelled "to be read and executed after my death." Before this and after, working intensively, making long drafts and redrafts, he composed the serene and joyous Second Symphony. Writers have constantly wondered at the coincidence of the agonized "testament" and the carefree Symphony in D major. Perhaps it must be the expectation of perennial roman- ticism that a "secret sorrow" must at once find its voice in music. Beethoven at thirty-two had not yet reached the point of directly turning a misfortune to musical account—if he ever reached such a point. He was then not quite ready to shake off the tradition of Haydn and Mozart, who had their own moments of misery, but to whom it would never have re- motely occurred to allow depressed spirits to darken the bright surfaces of their symphonies. Beethoven found a way, soon after, to strike notes of poignant grief or of earth-shaking power such as music had never known. He found the way through the mighty conception of an imaginary hero—not through the degrading circumstance that the sweet strains of music were for him to be displaced by a painful humming and roaring, the humiliating thought that he was to be an object of ridicule before the world—a deaf musician. That terrible prospect might reasonably be expected to have driven him to take glad refuge in his powers of creation, to exult in the joyous freedom of a rampant imagination, seizing upon those very delights of his art from which the domain of the senses was gradually shutting him out. And indeed it was so. Writing sadly to Dr. Wegeler of his infirmity, he added: "I live only in my music, and I have scarcely begun one thing when I start another. As I am now working, I am often engaged on three or four things at the same time." He composed with unflagging industry in the summer of 1802. And while he made music of unruffled beauty, Beethoven maintained the even tenor of his outward life. Ferdinand Ries, who was very close to Beethoven at this time, has told the following touching incident: "The beginning of his hard hearing was a matter upon which he was so sensitive that one had to be careful not to make him feel his deficiency by loud speech. When he failed to understand a thing he generally attributed it to his absent-mindedness, to which, indeed, he was subject in a great degree. He lived much in the country, whither I went often to take a lesson from him At times, at 8 o'clock in the morning after breakfast, he would say: 'Let us first take a short walk.' We went, and frequently did not return till 3 or 4 o'clock, after having made a meal in some village. On one of these wanderings Beethoven gave me the first striking proof of his loss of hearing, concerning which Stephan von Breuning had already spoken to me. I called his attention to a shepherd who was piping very agreeably in the woods on a flute made of a twig of elder. For half an hour Beethoven could hear nothing, and though I assured him that it was the same with me (which was not the case), he became extremely quiet and morose. When occasionally he seemed to be merry it was generally to the extreme of boisterousness; but this happened seldom." It may have been this pathetic episode of the shepherd's pipe which brought before Beethoven with a sudden vivid force the terrible deprivation of his dearest faculty. It may have precipitated the Heiligenstadt paper, for in it he wrote: "What a humiliation when one stood beside me and heard a flute in the distance and I heard nothing, or someone heard the shepherd singing and again I heard nothing; such incidents brought me to the verge of despair. A little more, and I would have put an end to my life—only art it was that with- held me. Ah, it seemed impossible to leave the world until I had produced all I felt called upon to produce." To his more casual friends there could have been no suspicion of the crisis, the thoughts

24 of suicide which were upon him at this time. He dined with them as usual, made music and joked with them, wrote peppery letters to his publishers, composed constantly. His serious attentions to Giulietta Guicciardi were then brought to an abrupt end, it is true, but it was known that this was not his first affair of the heart. Only after his death did the publication of the "Heiligenstadt Testament" make known the hopeless and anguished mood of Bee- thoven in 1802. This remarkable document was signed on October 6, and must have been written at the end of his summer's sojourn in the then idyllic district of Heiligenstadt. The Symphony in D major was sketched in part by the spring of that year (Nottebohm, studying the teeming sketchbooks of this time, found extended and repeated drafts for the Finale, and the theme of the Larghetto (first written for horns). The symphony must have been developed in large part during the summer It was certainly completed by the end of the year, in Beethoven's winter quarters. It hardly appears that Beethoven spent this period in futile brooding. The three Violin Sonatas, Op. 30, were of this year; also the first two Pianoforte Sonatas, Op. 31, the Bagatelles, Op. 33, the two sets of variations, Op. 34 and 35, and other works, including possibly, the Oratorio "Christ on the Mount of Olives," and the Pianoforte Con- certo in C minor, the date of whose completion is uncertain. "De profundis clamavit!" added Thayer, after quoting the document, and others have looked upon it as a poignant and intimate confession, made under the safety of a seal by one who had in conversation kept a sensitive silence on this subject. Sceptics have looked rather askance at the "testament" on account of its extravagance of language, its evident romantic self-dramatization, its almost too frequent apostrophes of the Deity. It was indeed the effusion of a youthful romantic, whose lover's sighs had lately produced something as endur- ing as the "Moonlight" Sonata. The sorrow of the "testament", however expressed, was surely real enough to Beethoven. He was brought face to face at last with the necessity of openly admitting to the world what had long been only too apparent to all who knew him, although he had mentioned it only to his most intimate friends. The knowledge of his deafness was not new to him. In the summer of 1800 (or as Thayer conjectures, 1801), he wrote to Carl Amenda, "Only think that the noblest part of me, my sense of hearing, has become very weak," and spoke freely of his fears. In the same month (June) he wrote at length to his old friend Dr. Wegeler at Bonn: "I may truly say that my life is a wretched one. For the last two years I have avoided all society, for it is impossible for me to say to people 'I am deaf.' Were my profession any other, it would not so much matter, but in my profession it is a terrible thing; and my enemies, of whom there are not a few, what would they say to this?"

TONE POEM, "THUS SPAKE ZARATHUSTRA" (FREELY AFTER FRIEDRICH NIETZSCHE), Op. 30 By RICHARD STRAUSS Born at Munich, June 11, 1864

"Also sprach Zarathustra, Tondichlung (frei nach Friedrich Nietzsche) fiir grosses Orchester," was composed at Munich from February through August, in the year 1896. The first performance was at Frank- furt-am-Main, November 27 of that year.

RIEDRICH NIETZSCHE'S "Also Sprach Zarathustra," which moved Richard Strauss to the Fcreation of his large-scaled tone poem in 1896, is surely no less a poem in prose than a philosophical treatise. Nietzsche's sister referred to it as "dithyrambic and psalmodic"— certainly with more understanding than those early opponents of programme music who

25 reproached Strauss with having set philosophy to music. Strauss' statement on the occasion of the first performance of the work at Frankfort-on-the-Main might still have been considered a large order: "I did not intend to write philosophical music or portray Nietzsche's great work musically. I meant to convey by means of music an idea of the development of the human race from its origin, through the various phases of development, religious as well as scientific, up to Nietzsche's idea of the Superman." Nietzsche found a name for the dominating figure of his poem in Zoroaster, the Persian seer who is supposed to have lived about 1000 B.C. Beyond this, the two seem to have few points in common The German philosopher wrote of the real Zoroaster: "He created the most portentous error, morality. Consequently, he should also be the first to perceive that error . . . the overcoming of morality through itself—through truthfulness, the overcoming of the moralist through his opposite—through me: that is what the name Zarathustra means in my mouth." This paragraph from Zarathustra's introductory speech is printed opposite the title page on Strauss' score : "Having attained the age of thirty, Zarathustra left his home and the lake of his home and went into the mountains There he rejoiced in his spirit and his loneliness, and for ten years did not grow weary of it. But at last his heart turned—one morning he got up with the dawn, stepped into the presence of the Sun and thus spake unto him • 'Thou great star! What would be thy happiness, were it not for those whom thou shinestP For ten years thou has come up here to my cave. Thou wouldst have got sick of thy light and thy journey but for me, mine eagle and my serpent. But we waited for thee every morning and receiving from thee thine abundance, blessed thee for it. Lo! I am weary of my wisdom, like the bee that hath collected too much honey; I need hands reaching out for it. I would fain grant and distribute until the wise among men could once more enjoy their folly, and the poor once more their riches. For that end I must descend to the depths; as thou dost at even, when sinking behind the sea, thou givest light to the lower regions, thou resplendent star! I must, like thee, go down, as men say—men to whom I would descend. Then bless me, thou impas- sive eye, that canst look without envy even upon over-much happiness. Bless the cup which is about to overflow, so that the water golden-flowing out of it may carry everywhere the reflection of thy rapture. Lo! this cup is about to empty itself again, and Zarathustra will once more become a man.'—Thus Zarathustra's going down began." There is a simple but impressive introduction, in which there is a solemn trumpet motive, which leads to a great climax for full orchestra and organ on the chord of C major. There is this heading, "VON DEN HINTERWELTLERN" (Of the Dwellers in the Rear World). These are they who sought the solution in religion. Zarathustra, too, had once dwelt in this rear-world. (Horns intone a solemn Gregorian "Credo"). The next heading is "VON DER GROSSEN SEHNSUCHT" (Of the Great Yearning). This stands over an ascending passage in B minor in violoncellos and bassoons, answered by wood-wind instruments in chromatic thirds. The next section begins with a pathetic cantilena in C minor (second violins, oboes, horn), and the heading is: "VON DEN FREUDEN UND LEIDENSCHAFTEN" (Of Joys and Passions). "GRABLIED" (Grave Song). The oboe has a tender cantilena over the Yearning motive in violoncellos and bassoons. "VON DER WISSENSCHAFT" (Of Science). The fugued passage begins with violoncellos and double-basses (divided). The subject of this fugato contains all the diatonic and chromatic degrees of the scale, and the real responses to this subject come in successively a fifth higher. Much farther on a passage in the strings, beginning in the violoncellos and violas, arises from B minor "DER GENESENDE" (The Convalescent).

26 TANZLIED The dance song begins with laughter in the wood wind. "NACHTLIED" ("Night Song"). "NACHTWANDERLIED" ("The Song of the Night Wanderer," though Nietzsche in later editions changed the title to "The Drunken Song"). The song comes after a fortissimo stroke of the bell, and the bell, sounding twelve times, dies away softly.

"PICTURES AT AN EXHIBITION," (PIANOFORTE PIECES) By MODEST PETROVITCH MOUSSORGSKY Born at Karevo, district of Toropeta, in the government of Pskov, on March 21, 1839; died at St. Petersburg on March 28, 1881.

Arranged for Orchestra by MAURICE RAVEL Born at Ciboure, Basses-Pyrenees, on March 7, 1875; died in Paris, December 28, 1937

Maurice Ravel made his orchestral setting of Mous. Jrgsky's piano score (1874) in 1923. The first performance of this orchestration was at a "Koussevitzky Concert" in Paris, May 3, 1923.

OUSSORGSKY composed his suite of piano pieces in June, 1874, on the impulse of his M friendship for the architect Victor Hartmann, after a posthumous exhibit of the artist's work which immediately followed his death. "It almost asks for orchestration," wrote A. Eaglefield Hull of the music, some years ago, and indeed no less than LIN e musicians have been tempted to try a hand at the task. Toushmalov (in St. Petersburg, 1891) set eight of the pieces, and in more recent years Sir Henry Wood in London. Leonidas Leonardi in Paris, and Maurice Ravel in Paris, have arranged the whole suite. Ravel made his setting in 1923 for Dr. Koussevitzky, at the conductor's suggestion. There has been still another orchestration by Lucien Cailliet.

PROMENADE. As preface to the first "picture," and repeated as a link in passing from each to the next, so far as the fifth, is a promenade. It is an admirable self-portrait of the composer, walking from picture to picture, pausing dreamily before one and another in fond memory of the artist. Moussorgsky said that his "own physiognomy peeps out through all the intermezzos," an absorbed and receptive face "nel modo russico." The theme, in a characteristically Russian 11-4 rhythm suggests, it must be said, a rather heavy tread. * GNOMUS. There seems reason to dispute Riesemann's description: "the drawing of a dwarf who waddles with awkward steps on his short, bandy legs; the grotesque jumps of the music, and the clumsy, crawling movements with which these are interspersed, are forcibly suggestive." Stassov, writing to Kerzin in reply to the latter's inquiry explained: "the gnome is a child's plaything, fashioned, after Hartmann's design in wood, for the Christmas tree at the Artist's Club (1869). It is something in the style of the fabled Nutcracker, the nuts being inserted in the gnome's mouth. The gnome accompanies his droll movements with savage shrieks." IL VECCHIO CASTELLO. A troubadour sings a melancholy song before an old tower of the middle ages. Moussorgsky seems to linger over this picture with a particular fascination. (Ravel utilized the best coloristic possibilities of the saxophone). TUILERIES. Children disputing after their play. An alley in the Tuileries gardens with a swarm of nurses and children. The composer, as likewise in his children's songs, seems to have caught a plaintive intonation in the children's voices, which Ravel scored for the high wood winds.

27 BYDLO. "Bydlo" is the Polish word for "cattle." A Polish wagon with enormous wheels comes lumbering along, to the tune of a "folksong in the Aeolian mode, evidently sung by the driver." There is a long crescendo as it approaches—a diminuendo as it dis- appears in the distance. Calvocoressi finds in the melody "une peneiranle poesie." (Ravel, again departing from usual channels, has used a tuba solo for his purposes.) BALLET OF CHICKS IN THEIR SHELLS "In 1870," says Stassov, "Hartmann designed the costumes for the staging of the ballet 'Trilby' at the Maryinsky Theatre, St. Petersburg. In the cast were a number of boy and girl pupils of the theatre school, arrayed as canaries:1 - Others were dressed up as eggs." SAMUEL GOLDENBURG AND SCHMUYLE. Two Polish Jews, the one rich, the other poor. "The two Jews were drawn from life in 1868, and so delighted was Moussorgsky that Hart- mann promptly presented him with the picture" (Stassov). Riesemann calls this number

" one of the most amusing caricatures in all music—the two Jews, one rich and comfortable and correspondingly close-fisted, laconic in talk, and slow in movement, the other poor and hungry, restlessly and fussily fidgeting and chatting, but without making the slightest impression on his partner, are musically depicted with a keen eye for characteristic and comic effect. These two types of the Warsaw Ghetto stand plainly before you—you seem to hear the caftan of one of them blown out by the wind, and the flap of the other's ragged fur coat. Moussorgsky's musical power of observation scores a triumph with this unique musical joke; he proves that he can reproduce the 'intonations of human speech' not only for the voice, but also on the piano." (Ravel has made the prosperous Jew speak from the low- voiced strings, in unison. His whining neighbor has the voice of a muted trumpet.) LIMOGES. The Market-place. Market women dispute furiously. "Hartmann spent a fairly long time in the French town in 1866, executing many architectural sketches and genre pictures" (Stassov). CATACOMBS. In this drawing Hartmann portrayed himself, examining the interior of the Catacombs in Paris by the light of a lantern. In the original manuscript, Moussorgsky had written above the Andante in B minor: "The creative spirit of the dead Hartmann leads me towards skulls, apostrophizes them—the skulls are illuminated gently from within." (" 'The Catacombs,' with the subtitle Sepulchrum romanum,' are invoked by a series of sustained chords, now pp, now ff. Then comes under the title 'Con mortuis in lingua morlua' (sic) a de-rhythmed transformation of the 'Promenade' theme."—Calvocoressi.) THE HUT ON FOWLS' LEGS. "The drawing showed a clock in the form of Baba-Yaga's, the fantastical witch's but on the legs of fowls. Moussorgsky added the witch rushing on her way seated in her mortar." To every Russian this episode recalls the verses of Pushkin in his introduction to "Russlan and Ludmilla " THE GATE OF THE BOGATIRS AT KIEV "Hartmann's drawing represented his plan for constructing a gate at Kiev, in the old Russian massive style, with a cupola shaped like a Slavonic helmet." This design was said to be a great favorite of Moussorgsky. Stassov calls his music "a majestic picture in the manner of the `Slaysya,' and in the style of Glinka's `Russian' music." *One recalls the story of Bernard Shaw, reviewing an exhibition of Alpine landscapes in London, tramping through the galleries in hob-nailed boots. ?Mixed ornithology in ballets and descriptive suites is apparently of no consequence.

MILL OFNL OTSHSE TAVERN NEW ASHFORD, MASS. Telephone, Williamstown 661-M•4 12 MILES NORTH OF PITTSFIELD ON ROUTE 7 DELICIOUS MEALS—ATTRACTIVE ROOMS 6-+.o Helen DeWolf Goodwin

PALMS MUSIC SHED DONATION BLANK It gives me great pleasure to make a donation toward the completion of the Music Shed of the Berkshire Symphonic Festival and thereby assist in establishing this American musical center. I wish to contribute in full or in part as follows : Amount in Full Amount in Part ❑ 1. Roll curtains to close in Shed against storms $ 22,000. 00 ❑ 2. Chairs 13,500 00 ❑ 3. Permanent lighting of parking fields and grounds 5,000 00 ❑ 4. Cover, panel, and paint inside walls 4,220 .00 I=1 5. Completing stage and shell 2,500 00 ❑ 6. Parking fields, roads and fences 8,000. 00 $ 55,220 . 00 ❑ 7. Miscellaneous and extras unforeseen, 10% 5,522.00 $ 60,742 . 00 If the necessary amount is or is not raised for the item I have chosen above, the Board of Trustees may use my donation for other work connected with the completion of the building.

You will find enclosed my check for $ made payable to the Berkshire Symphonic Festival, Inc., in full payment or I will send a check on the following dates and in the following amounts; September 1, 1939 $

November 1, 1939 $

January 1, 1940 $

Signature

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Date All donations made to the Berkshire Symphonic Festival, Inc. may be deducted from Federal income tax returns, and are deductible in many states. Tear out and mail to the Berkshire Symphonic Festival, Stockbridge, Massachusetts, or Telephone: Stockbridge 400. 29

1940 BERKSHIRE SYMPHONIC FESTIVAL

The Board of Trustees invite you to become a member of the Berkshire Symphonic Festival, Inc., which is limited to 3,000 and thereby benefit by the special privileges that are offered: 1. Tickets at lower rates. 2. First choice of reserved seats. 3. Attending a rehearsal.

Membership Must Be Accepted Before NOVEMBER 1st, 1939 I accept the invitation to become a member of the Berkshire Symphonic Festival, Inc. and have indicated below my choice of seats. You will find enclosed my check for $ or I will send my check before February 1st, 1940 made payable to the Berkshire Symphonic Festival, Inc. PATRON ❑ BOX SEATING SIX—Series A and B (6 Concerts) $150.00 ❑ BOX SEATING SIX—for ❑ Series A or ❑ Series B (3 concerts) $ 75.00 FULL MEMBERSHIP AT $10.00 Entitles a Member to Attend Both Series (6 concerts) with a choice of: ❑ One Reserved Seat in Front Section $ 10.00 or ❑ Two Reserved Seats in Rear Section $ 10.00 By Paying $3.00 Extra: (or a total of $13.00) ❑ One Reserved Seat in Front Section $ 13.00 or ❑ Two Reserved Seats in Rear Section $ 13.00 SINGLE MEMBERSHIP AT $5.00 Entitles a Member to Attend Either Series ❑ A or Series ❑ B (3 concerts) with a choice of: ❑ One Reserved Seat in Front Section $ 5.00 ❑ Two Reserved Seats in Rear Section $ 5.00 By Paying $1.50 Extra: (or a total of $6.50) ❑ One Reserved Seat in Front Section $ 6.50 Or ❑ Two Reserved Seats in Rear Section $ 6.50

❑ I should like the same box or seats as I had in 1939. The privilege of membership expires November 1, 1939. No refunds. Date Signature Name (Kindly Print) Summer Address Winter Address Kindly tear out and mail this membership blank to the BERKSHIRE SYMPHONIC FESTIVAL, INC., Stockbridge, Mass. (Telephone Stockbridge 400).

30 Fifth Programme

SATURDAY EVENING, August 12, at 8.30 o'clock

HAYDN . . Symphony in B-flat, No. 102

I. Largo: Allegro vivace II. Adagio: III. Menuetto: Allegro: Trio IV. Finale- Presto

STRAVINSKY . "Le Sacre du Printemps" ("The Rite of Spring") Pictures of Pagan Russia

I. The Adoration of the Earth. Introduction—Harbingers of Spring—Dance of the Adolescents- Abduction—Spring Rounds—Games of the Rival Towns—The Procession of the Wise Men—The Adoration of the Earth (The Wise Man)—Dance of the Earth. II. The Sacrifice. Introduction—Mysterious Circles of the Adolescents—Glorification of the Chosen One—Evocation of the Ancestors—Ritual of the Ancestors—The Sacrificial Dance of the Chosen One.

INTERMISSION OF TWENTY-FIVE MINUTES

Overture to "Der Fliegende Hollander" Prelude to "Lohengrin" WAGNER . S Bacchanale from "Tannhauser" Prelude to "Die Meistersinger von Nurnberg"

Recordings of the Orchestra may be had at the Festival Record Shop—main house on concert grounds—conducted each season by The Music House of Northampton, Massachusetts.

The Thursday Morning Club of Great Barrington invites you to patronize its refreshment tent. Cushions for Rent.

Kindly keep, and use this complete program for all concerts.

31 A YEAR AGO

YEAR AGO this Music Shed was inaugurated. Dr. Koussevitzky wanted it. His friend, Eliel A Saarinen, drafted the tentative plans. Joseph Franz worked out the detail drawings, let the contracts, and supervised the construction. The public made it all possible by their generous gifts. On the evening of August 4th, Dr. Koussevitzky mounted the podium amidst wild applause—the Boston Symphony Orchestra started playing, the Cecilia Society Chorus of Boston started singing, and the first notes heard in the new Music Shed were those of the Bach cantata "Ein feste Burg ist unser Gott." The public instantly confirmed Professor Richard F. Fay's prediction that the acoustics were perfect. Miss Robinson Smith, president of the Berkshire Symphonic Festival, and Mr. Bentley W. Warren, president of the Boston Symphony Orchestra, made dedicatory speeches. Miss Robinson Smith reviewed the history of the Festival during the five years since it was organized and Mr. Warren most gracious- ly praised the Board of Trustees for their "foresight, energy and success in making available this adequate and admirable" Music Shed. The surprise of the evening was when Dr. Koussevitzky made an impromptu speech in which he explained why he had chosen Beethoven's Ninth Symphony and then invited the audience to join with the chorus in singing the Bach Chorale. This is the story of a year ago. This year there will be an equally great musical treat but hard facts must also be faced, this in the form of cold cash. It was hoped, last fall, that sufficient money would be raised to complete the building but early in September the international problems began again to disturb everyone and it seemed ill-advised to attempt to conduct a money-raising campaign. If you and everyone attending these concerts will send in a check, either large or small, the work can be started immediately. The shutters must be ordered for protection to the Shed during the winter and to the audience in case of bad weather during the concerts. Chairs instead of the benches in the rear section will greatly add to the comfort of the public. Permanent lighting is necessary and the parking fields and roads must be finished to save the expense incidental to periodic storms. For your comfort and that of thousands of music lovers from all over this country, it is necessary to complete the Music Shed, the roads, and the parking fields. On the opposite page you will find the estimated cost to accomplish this work.

The Layman's Music Course The Board of Trustees for several years have wished to broaden the scope of the Berkshire Symphonic Festival by giving the school children of Berkshire County an opportunity of having greater musical appreciation. This last fall Miss Alice Riggs was asked to study the problem. After carefully covering the field she recommended opening a series of classes under the Layman's Music Course. The Board of Trustees ap- proved her plan and appropriated sufficient money to engage Miss Harriet Johnson and her assistant to give a series of 14 lessons in six of the high schools of the county. Approximately 1,500 children took the course. In two high schools they remained after school hours while in four schools the lessons were made a part of the regular curriculum. At the end of the school year a quiz was given and prizes of tickets to the concerts were awarded. In addition to this, all the students have been invited to the Saturday morning rehearsals. A number of other schools in the county have asked for these classes next year and it is the hope of the Board of Trustees that all will be taken care of.

Members Membership in the Berkshire Symphonic Festival is limited to 3,000 members. The list will be closed on November 1st, or as soon as the limit is reached. Members have special privileges including an invitation to attend a rehearsal, the same seats from year to year, and tickets at a lower price.

The Berkshire Symphonic Festival is a non-profit-making organization. It has assumed national im- portance in the world of music. The Board of Trustees, therefore, invite you to make a donation towards the completion of the Shed, as well as to become a member.

NOTE: A membership application blank will be found on page 30. It is to your advantage to send it promptly to the office.

32 A Tanglewood Audience in the Music Shed.

Will You Help to Complete this Shed? ESTIMATED COST

Roll curtains to close in Shed against storms $22,000.00

Chairs . 13,500.00

Permanent lighting of parking fields and grounds 5,000.00

Cover, panel, and paint inside walls 4,220.00

Completing stage and shell 2,500.00

Parking fields, roads and fences 8,000 . 00

$55,220.00

Miscellaneous and extras unforeseen, 10% . . 5,522.00

$60,742.00

NOTE: The donation blank will be found on page 29 and we hope you will state the amount you wish to contribute towards the completion of the music shed.

33 SYMPHONY IN B-FLAT MAJOR, No. 102, (No. 9 OF THE LONDON SERIES) By JOSEPH HAYDN Born at Rohrau, Lower Austria, March 31, 1732; died at Vienna, May 31, 1809

rr ms symphony is one of the six which Haydn composed for his second visit to London -I- in 1794 and 1795—he composed twelve in all for performance by the orchestra of Salomon in the British capital. The symphony was written, according to C. F. Pohl, Haydn's biographer, in 1795, and must accordingly have been performed in that year. Haydn was required by the terms of his agreement with Salomon to write a new work for each of the weekly concerts in the subscription series which that impressario arranged, and the composer was as good as his word. He stipulated (hearing, perhaps, that the British

public had late-coming , habits) that the new piece should be played always at the beginning of the second part of the programme When each particular symphony was played it is usually impossible to tell, for the programmes simply state: "New Grand Overture (Sym- phony)," or "Grand Overture (Symphony) mss." There is every evidence that England took the twelve symphonies to its heart. The concerts were crowded, and another management had only to announce a work of Haydn to be sure of an audience. The Morning Chronicle probably voiced the general opinion when it praised the "agitating modulations" of the symphonies, and the "larmoyant passages" in their slow movements. Everyone was charmed by Haydn's grace and humor, and the arias and choruses of Handel were momen- tarily overlooked in the interest of those unaccustomed forms to which Haydn had given such abundant life—the symphony and the string quartet. The second of the London symphonies (in D major), and the "Surprise" Symphony were singled out for special favor, and often repeated. Also of the Salomon series were the so-called "Clock," "Drum Roll," and "Military" symphonies.

The symphony is innocent of clarinets. As elsewhere among his final symphonies, Haydn dispenses with the ceremonious portal of a broad coup d'archet. A soft chord suffices to introduce the tender largo, with its gentle syncopated pulsations. The sprightly allegro vivace takes sudden possession of the movement. Speaking of its formal mastery, Professor Tovey puts himself on record as setting this work together with the Symphony in D major (No. 104) and the String Quartet in F, Op. 77, No. 2, as Haydn's "three greatest instrumental works." He points out at length Haydn's success in obtaining that symmetry expected of a symphony in the eighteenth century, while avoiding the rather barren means of an almost identical recapitulation, to balance the exposition. "What the orthodox textbooks assume to be Haydn's recapitulation is neither more nor less than a true Beethoven coda of the ripest kind. Where then does the symmetry come in? It comes in at the end of the exposition, which Haydn always rounds off very neatly in a phrase quietly reproduced at the end of the movement, just where it is the last thing you would expect. . . . The only way to get the benefit of Haydn's or any great composer's sense of form is to listen naively to the music, with expectation directed mainly to its sense of movement. Nothing in Haydn is difficult to follow, but almost everything is unexpected if you listen closely, and without preconceptions." Haydn, the subtle vagrant in modulation, here plies his skill to the utmost. Near the end of the exposition he drops his ingratiating ways to establish his new keys with sudden loud chords. They have a boldness foretelling Beethoven, but none of the provoca- tive challenge of the master to come. The Adagio is in effect the development of a single theme. There is no middle section, no arbitrary sequence of variation patterns, no break in the general rhythmic scheme of

34 triple time with a constant accompanying figuration of sixteenth notes; no marked variety in the instrumentation, wherein the first violins, doubled by a single flute, usually carry the melody. The charm of the music lies in its delicacy and variety of detail, in which the device of a duple against a triple rhythm is much used. It is a single melodic unfolding of infinite resource, a mood so enkindled that it need never lapse into formula. This Adagio must have been a favorite with Haydn, for it also appears in a Piano Trio, where the key is F-sharp, a half tone higher than in the symphony. The Trio was dedicated to Haydn's very special friend Mrs. Schroeter, who, according to Dr. Pohl, fondly cherished this piece. The Minuet, together with its trio, re-establishes the tonic key. In the second part, the humor which sparkled in the opening movement reasserts itself in triple bass chords. The Finale, like most finales of Haydn when invention was fully unloosed, is indescribable. W. H. Hadow, in his study of Haydn as a "Croation composer," detects in the opening theme a march tune commonly played in Turopol at rustic weddings. The melodic first phrase of the largo which introduces the symphony, Mr. Hadow finds similar to a Slavonic folk ballad: "Na placi sem stal."

"LE SACRE DU PRINTEMPS", ("THE RITE OF SPRING") PICTURES OF PAGAN RUSSIA, IN Two PARTS By IGOR STRAVINSKY Born at Oranienbaum, near St. Petersburg, Russia, on June 17, 1882

Stravinsky composed "Le Sacre du Prinlemps" in the years 1912 and 1913. The first performance was by the Ballet Russe of Diaghilev, at the Theatre des Champs-Elysées, Paris, May 29, 1913. Pierre Monteux conducted, and introduced the music in concert form at his own concerts at the Casino, April 5, 1914. The first performance in this country was by the Philadelphia Orchestra in Philadelphia, March 3, 1922.

HE score is in two distinct sections: "The Adoration of the Earth" and "The Sacrifice." TThe various episodes (including the introductions to each part) are each an entity in itself. They are played in continuous succession, but without preamble or "bridge" passages. Stravinsky in this music is nothing if not direct and to the point. Much has been written about the influence of "Le Sacre" upon the course of musical composition. One of its most obvious effects was to clear away the nineteenth-century verbiage of preparatory, mood-establishing measures, circuitous development, and repetitious conclusions. The introduction, which has been called "the mystery of the physical world in spring," is a slow and ceremonious music, opening in the unfamiliar top register of the bassoon, and weaving its way through the wind choir, with no more than a slight reinforcement in the strings. The curtain (in the original ballet) rises upon a ritual dance of the adolescents, youths and maidens who perform a ceremonial of earth worship, stamping to a forceful rhythm of displaced accents, which produce a pattern by their regular recurrence. A mock abduction "Jeu de rapt" follows as part of the ceremony, a presto of even more complexity and interest of rhythm, with changes of beat from measure to measure 3-8, 5-8, 3-8, 4-8, 5-8, 6-8, 2-8, etc. There follows a round dance of spring ("Rondes Printanieres"), which begins, tranguillo, with a folk-like tune, after which a curious syncopated rhythmic figure works up to a furious climax and brings a return of the tranguillo measures. The games of the rival communities is a motto allegro, again in rapidly changing rhythmic signatures. This introduces the "Procession of the Sage," the oldest member of the tribe, "the celebrant, whose function it is to consecrate the soil for its coming renewal." The tubas introduce him with a ponderous theme. The first part ends with a "dance of the earth," prestissimo, a music of rising excitement, with intricate fanfares from the eight horns.

35 The second part opens with a mysterious largo which Stravinsky is said to have described as "the Pagan Night," although the score bears merely the word "Introduction." It is largely a music of poignant shifting harmonies, pianissimo, from which rises in the strings a melody of haunting suggestion. "A deep sadness pervades it," wrote Edwin Evans, "but this sadness is physical, not sentimental. . . . It is gloomy with the oppression of vast forces of Nature, pitiful with the helplessness of living creatures in their presence." This leads into the "Mysterious Circles of the Adolescents," andante, with a reference to the introduction, and a theme first set forth by the bass flute, with answer by two clarinets in consecutive sevenths. "The Glorification of the Chosen One" : again there are complex rhythms of increasing excitement. The "Evocation of the Ancestors" moves through chords of a ponderous solemnity to the "Ritual of the Ancestors" : a light and regular pizzicato with a sinuous duet for English horn and bass flute to which other wind instruments are joined in increasing elaboration. "The Sacrificial Dance of the Chosen One" : The dance is of extraordinary elaboration of rhythm, in which the orchestra is used more massively than before. "Now the elected victim, who has thus far remained motionless throughout these activities, begins her sacrifice; for the final act of propitiation has been demanded, and she must dance herself to death. The music expresses the mystical rapture of this invocation of vernal fertility in rhythms of paroxysmal frenzy, reaching edelirious culmination as the victim falls dead."

OVERTURE TO "DER FLIEGENDE HOLLANDER" ("THE FLYING DUTCHMAN")

By RICHARD WAGNER Born at Leipzig, May 22, 1813; died at Venice, February 13, 1883

N 'nib year 1839, Richard Wagner, escaping his pressing creditors at Riga and eager to I try his fortunes elsewhere, managed without passport to cross the Russian border with his young wife, and such possessions as the two could take with them, including their New- foundland dog. They sailed from Pillau for England, with Paris as their objective. The small boat, which was not intended for passengers and had no accommodations, encountered fearful storms in the Baltic sea, and was driven for safety to the coast of Norway. "The passage through the Norwegian fjords," wrote Wagner in "Mein Leben," "made a wondrous impression on my fancy. A feeling of indescribable content came over me when the enormous granite walls echoed the hail of the crew as they cast anchor and furled the sails. The sharp rhythm of this call clung to me like an omen of good cheer, and shaped itself presently into the theme of the seamen's song in my `Fliegender Hollander.' The idea of this opera was even at that time ever present in my mind, and it now took on a definite poetic and musical color under the influence of my recent impressions." Wagner had been much taken with the legend of the Dutch captain who had sworn with vows holy and unholy that he would round the Cape of Good Hope though it took eternity to do it, whereby he was condemned by the Devil to that eternal quest in a phantom vessel often seen by sailors when the seas were high. If Wagner needed further experience to give the taste of actuality to his imaginative current, he found it when their boat struck a worse storm and was nearly wrecked before the couple took port in England after a voyage of three and one-half weeks. In Paris, unable to find acceptance for his opera "Rienzi," completed there, Wagner turned in earnest to his legend of the unfortunate Dutchman, wrote the libretto in May, 1841, and in July and August, within the space of seven weeks, composed the music. He had difficulty finding a producer for "Der Fliegende Hollander," but when "Rienzi," accepted by Dresden, was performed there with great success on October 20,

36 1842, the mounting of "Der Fliegende Hollander" followed at the beginning of the new year, partly, no doubt, on the strength of the triumph of "Rienzi." "Der Fliegende Hollander," being, unlike "Rienzi,"a bold departure from the traditional ingredients of a successful opera in the year 1843, was a failure. Wagner had written his first dominantly "psycholog- ical" drama; interest throughout, to which visual action was subordinated, lay in the tragic anguish of the condemned captain, his search for the woman whose complete and selfless devotion alone could deliver him from his curse. Senta was this embodiment of redeeming womanhood. The Overture opens with the music of the storm which also is to dominate the beginning of the first act. The initial motive is that of the Dutchman and the curse which has been laid upon him. The slow, lyric middle section is based upon the theme of Senta's ballad from the second act. There is a return to the stormy music in which the themes both of the Dutchman and Senta are developed. The sailors' chorus from the third act is briefly heard before the coda. "One feels tempted," wrote Liszt of the Overture, "to exclaim, as in looking at Preller's marine paintings, 'It is wet!' One scents the salt breeze in the air. . . . One cannot escape the impressiveness of this ocean music. In rich, picturesque details it must be placed on a level with the best canvases of the greatest marine painters. No one has ever created a more masterly orchestral picture. Without hesitation it must be placed high above all analogous attempts that are to be found in other musico-dramatic works."

PRELUDE TO "LOHENGRIN" By RICHARD WAGNER Born at Leipzig, May 22, 1813; died at Venice, February 13, 1883

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N MARCH of 1848, Wagner put the last touches upon his "Lohengrin," and in May of that I year his political activities resulted in his exile from Germany. He therefore had no hand in the early productions of the work, nor did he hear it until May 15, 1861, in Vienna, following his pardon and return. "Lohengrin" had its first performance at the instigation of his ministering friend, Liszt, August 28, 1850, with such forces, scarcely adequate, as the court at Weimar permitted. It found favor, and in the next few years went the rounds of the principal opera houses of Germany and Austria. The Prelude is based upon a single motive of the Holy Grail. The explanation of the composer follows: "Love seemed to have vanished from a world of hatred and quarrelling; as a lawgiver she was no longer to be found among the communities of men. Emanicipating itself from barren care for gain and possession, the sole arbiter of all worldly intercourse, the human heart's unquenchable love-longing again at length craved to appease a want, which, the more warmly and intensely it made itself felt under the pressure of reality, was the less easy to satisfy, on account of this very reality. It was beyond the confines of the actual world that man's ecstatic imaginative power fixed the source as well as the outflow of this incomprehensible impulse of love, and from the desire of a comforting sensuous conception of this supersensuous idea invested it with a wonderful form, which, under the name of the 'Holy Grail,' though conceived as actually existing, yet unapproachably far off, was believed in, longed for, and sought for. The Holy Grail was the costly vessel out of which, at the Last Supper, our Saviour drank with his disciples, and in which His blood was received when out of love for His brethren He suffered upon a cross, and which till this day has been preserved with lively zeal as the source of undying love; albeit, at one time this cup of salvation was taken away from unworthy mankind, but at length was brought back again from the heights

37 of heaven by a band of angels, and delivered into the keeping of fervently loving, solitary men, who, wondrously strengthened and blessed by its presence, and purified in heart, were consecrated as the earthly champions of eternal love. "This miraculous delivery of the Holy Grail, escorted by an angelic host, and the handing of it over into the custody of highly favored men, was selected by the author of lohengrin,' a knight of the Grail, for the introduction of his drama, as the subject to be musically portrayed; just as here, for the sake of explanation, he may be allowed to bring it forward as an object for the mental receptive power of his hearers."

BACCHANALE (THE VENUSBERG) FROM "TANNHAUSER" By RICHARD WAGNER Born at Leipzig, May 22, 1813; died at Venice, February 13, 1883

Wagner composed his "Tannhauser" between the summer of 1842 and the end of 1844, producing the opera in Dresden, October 19, 1845. "Tannhauser" was introduced to Paris at the Opera, March 13, 1861, when the Bacchanale, written for the purpose, was inserted.

N EXILE in Paris in 1860, and anxious for a musical hearing, Wagner came to the in- A terested attention of influential people, notably the Princess Metternich, wife of the Austrian ambassador, who prevailed over Napoleon III to order a production of "Tann- hauser" at the Opera. Wagner, not without skepticism as to the result, saw to the translation of his text into French. It was considered imperative for the success of the production that a ballet be introduced in the second act according to operatic custom. "The sub- scribers", wrote Wagner, "always reached the theatre somewhat late after a heavy dinner, never at the commencement." The composer, of course, could not conceive of introducing tripping ballerinas into the sedate hall of song at the Wartburg. Nevertheless, the idea of enlarging the introductory Venusberg scene by bringing in seductive bacchantes greatly appealed to him. The ripened dramatic sense of the composer who had since written "Lohengrin," "Dos Rheingold," "Die Walkure," part of "Siegfried" and "Tristan and Isolde" realized that to fill out and strengthen the element of profane love in "Tannhauser" would greatly enhance the effect of the coming struggle between Venus and Elisabeth for the soul of Tannhauser. He therefore wrote an elaborate ballet and enriched the ensuing dialogue between Venus and Tannhauser. Needless to say, the Jockey Club and their kind, the "heavy diners," were by no means placated. Wagner relates in some of the most absorb- ing pages of "Mein Leben" how, some support and much opposition humming around him, he stepped in and took personal charge of the "grotesque undertaking." He chose and drilled the dancers, coached the singers in every inflection and gesture of music entirely baffling to them, and stood over the conductor at the almost endless rehearsals, establishing the tempi. There were three performances, each of them almost howled and whistled off the stage by the organized demonstration of the Jockey Club, the fashionable dandies who pre- ferred the lighter diversions at Auber or of Offenbach. The opera was withdrawn at Wagner's insistence. Overnight he had become famous (or infamous) in Paris, the topic of the salons and boulevards. The hardens at Tanp,le wood You are invited to visit and enjoy the gardens at Tanglewood. They are west of the main house and may be approached from the rear of the refreshment tent or across the front lawn. PRELUDE TO "DIE MEISTERSINGER VON NURNBERG"

By RICHARD WAGNER Born at Leipzig, May 22, 1813; died at Venice, February 13, 1883

AGNER, whose ideas for music dramas were always considerably ahead of their fruition, Wfirst conceived plans for "Die Meistersinger" (and "Lohengrin" as well) in the summer of 1845, when having completed "Tannhauser" he was anticipating its first production. A humorous treatment of the early guilds, of Hans Sachs and his fellow tradesmen, occurred to him as an outgrowth from the Wartburg scene in "Tannhiiuser" and its contest of song. He carried the project in the back of his mind while more immediate concerns—"Lohengrin" and the "Ring"—occupied him. Then came "Tristan," and only after the "Tannhauser" fiasco in Paris, in 1861, did he give his complete thoughts to his early Nurembergers, and draw his libretto into final form. At once, with a masterful assembling of fresh forces as remarkable as that which he had shown in plunging into "Tristan", he put behind him the impassioned chromaticism of the love drama and the Bacchanale, and immersed himself in the broad and placid periods, the naive folk style of the early guilds. He built up readily, and for the first time, a strictly human world, free of gods, legendary heroes, and magic spells. He went to Biebrich on the Rhine to compose "Die Meistersinger" and in the early spring of 1862 had completed the Prelude, begun the first act, and sketched the prelude to the third—fragments implicating a fairly complete conception of the ultimate score. Wagner even planned on fmishing "Die Meistersinger" for performance in the autumn season of 1862, but intruding troubles—the financial entanglements, the summons to Munich by King Ludwig, and his enforced departure from that city—these things delayed his score, which was not finished until October, 1867. The Prelude was performed from the manuscript at a concert especially arranged by Wendelin Weissheimer at the Leipzig Gewandhaus, November 1, 1862. Wagner conducted the "new" prelude and the overture to "Tannh;inser." There was an almost empty hall, but the Prelude was encored. The critics were divided between praise and strong denouncement. There were performances in other cities in 1862 and 1863. The entire work had its first presentation at Munich, June 21, 1868.

Montreal Music Festival .. .

MONTREAL will hold its FIFTH ANNUAL MUSIC FESTIVAL in the college grounds at St. Laurent in June, 1940. The press comments on the 1939 Festival were most favourable. H. P. Bell of the Montreal Daily Star had this to say: "A great event in the musical history of Montreal." Thomas Archer of the Montreal Gazette: "Eugene Ormandy scores triumph. Annual Music event maintains high standard." * For complete information please address, Office: 17 Windsor Hotel, Montreal, Canada.

39 Sixth Programme

SUN DAY AF TERNOON, August 13, at 3.30 o'clock

SCHUMANN . . Symphony No. 4 in D minor, Op. 120

I. Andante; Allegro

II. Romanza

III. Scherzo

IV. Largo; Finale (Played without pause)

DEBUSSY . Prelude a "L'Apres-midi d'un Faune" (Eclogue of Stephan Mallarme)

RAVEL . . "La Valse," Choreographic Poem

INTERMISSION OF TWENTY—FIVE MINUTES

SIBELIUS . Symphony No. 2 in D major, Op. 43

I. Allegretto

II. Tempo andante ma rubato

III. { Vivacissimo; Lento suave

IV. Finale Allegro moderato

Recordings of the Orchestra may be had at the Festival Record Shop main house on concert grounds—conducted each season by The Music House of Northampton, Massachusetts.

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40 SYMPHONY IN D MINOR, No. 4, Op. 120

By ROBERT SCHUMANN Born at Zwickau, June 8, 1810; died at Endenich, July 29, 1856

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Composed in 1841, at Leipzig, this symphony was first performed at a Gewandhaus concert on December 6 of the same year. Schumann made a revision in December, 1851, at Dusseldorf, and this was performed there on March 3, 1853, at the Spring Festival of the lower Rhine. It was published in December, 1853, as his Fourth Symphony.

ANN wrote this symphony a few months after the completion of his First Symphony SCHUM B-flat. The D minor Symphony was numbered four only because he revised it ten years later and did not publish it until 1853, after his three others had been written and published (the Second in 1846, the Third in 1850). This symphony, then, was the second in order of composition. It belongs to a year notable in Schumann's development. He and Clara were married in the autumn of 1840, and this event seems to have stirred in him a new and significant creative impulse: 1840 became a year of songs in sudden and rich profusion, while in 1841 he sensed for the first time in full degree the mastery of symphonic forms. He had written two years before to Heinrich Dorn, once his teacher in composition: "I often feel tempted to crush my piano—it is too narrow for my thoughts. I really have very little practice in orchestral music now; still I hope to master it." The products of 1841 show that he worked as well as dreamed toward that end. The expectant bridegroom turned ardently from piano pieces to songs. The husband, strengthened in confidence, ennobled in spirit by the consummation of his long delayed marriage to Clara Wieck, plunged boldly into the symphonic realm. These works were the First, the "Spring" Symphony, which he began in January 1841, four months after his marriage, and completed in a few weeks; the "Overture, Scherzo and Finale" of April and May, and the D minor Symphony, which occupied the summer months. There might also be mentioned the "phantasie" in A minor, composed in the same summer, which was later to become the first movement of the piano concerto. But the two symphonies, of course, were the triumphant scores of the year. The D minor Symphony, no less than its mate, is music of tender jubilation, intimately bound with the first full spring of Schumann's life—like the other, a nuptial symphony, instinct with the fresh realization of symphonic power. The Symphony is integrated by the elimination of pauses between the movements, and by thematic recurrence, the theme of the introduction reappearing at the beginning of the

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117 State Street, Albany, New York CHURCH STREET LENOX, MASS. slow movement, a phrase from the slow movement in the Trio of the Scherzo. The principal there e of the first movement is used in the Finale, and a subsidiary theme in the first movement becomes the leading theme in the Finale. This was a true innovation, foreshadowing the cyclic symphonies of many years later. "He desires," in the opinion of Mr. Henderson, "that the hearer's feelings shall pass, as his own did, from one state to the next without interruption. In a word, this is the first symphonic poem, a form which is based upon the irrefutable assertion that 'there is no break between two successive emotional states'." Its "community of theme is nothing more or less than an approach to the left motive system." The Symphony is the most notable example of the symphonic Schumann abandoning customary formal procedure to let his romantic imagination take hold and shape his matter to what end it will. It should be borne in mind that the Symphony was first thought of by its composer as a symphonic fantasia, that it was published by him as "Introduction, Allegro, Romanze, Scherzo and Finale, in One Movement." It was in this, the published version, that he eliminated pauses between the movements, although this does not appear in the earlier version save in the joining of the scherzo and finale. The work, save in the slow movement, has no "recapitulations" in the traditional sense, no cut and dried summations. Warming to his theme, Schumann expands to new thematic material and feels no necessity for return. The score is unmistakably of one mood. It is integrated by the threads of like thoughts. Thematic recurrence becomes inevitable, because this unity of thought makes it natural. The first movement is finely oblivious of academic requirements. The whole movement hangs upon the reiteration of the principal theme, a restless, running figure in sixteenth notes which appears and reappears constantly in every part of the orchestra, entwined with others. There is no contrasting second theme, but only a slight deviation from this one. Two episodic themes—the one consisting of brief rhythmic chords, the other of a flowing melody—carry the movement to its end in a triumphant D major. The Romanze is in song form. The melody from the introduction to the first movement is introduced in the first part, while in the middle section the violin solo weaves a delicate embroidery. The Trio of the Scherzo is based upon the ornamental solo passage from the slow movement. After the repetition of the main section, the Trio again begins, recalling the precedent of Beethoven where the Scherzo theme would be expected to break in and bring a conclusion. Instead, the Trio dies away in a long diminuendo, and leads into the introduction to the Finale (a true bridge passage, which has been compared to the famous pages which connect the last two movements of Beethoven's Fifth Symphony). This introduction brings back the motto- like principal theme of the first movement, which still appears as an accompaniment to the initial theme of the Finale—broadly proclaimed. The second subject recalls the Larghetto from Beethoven's Second Symphony. The development and conclusion are characteristically free. *•Preludes and Studies."—W. J. Henderson.

42 PRELUDE TO "THE AFTERNOON OF A FAUN", (AFTER THE ECLOGUE OF

STEPHANE MALLARME)

By CLAUDE DEBUSSY Born at St. Germain (Seine and Oise), August 22, 1862; died at Paris, March 26, 1918

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Debussy completed his "Prelude to the Afternoon of a Faun" in the summer of 1894. The Prelude was performed at the concerts of the Societ6 Nationale, December 22, 1894, Gustave Doret conducting.

ALLARME had published his eclogue, "L' Apres-midi d'un Faune" in 1876 in pamphlet – -I- form, with illustrations by Manet, after its refusal by the Parnasse Contemporain. Debussy was probably following his best instincts in scrupuously avoiding anything like an interlinear depiction of the poem. His music stands carefully aside from the delicate and tentative dream images of the poet, and sets its own remoter reflection as if apart, in antici- pation or preparation. Mallarme was enthusiastic about the score, and is quoted by Debussy (in a letter to Jean Aubry) as having said: "This music prolongs the emotion of my poem and fixes the scene much more vividly than color could have done." And the poet inscribed the following verse upon a copy: Sylvain, d'haleine premiere, Si to flate a reussi, Ouis Joule la lumiere Qu'y soufflera Debussy. It would require a poet of great skill and still greater assurance to attempt a translation of Mallarme's rhymed couplets, his complex of suggestions, his "labyrinth," as he himself called it, "ornamented by flowers." Arthur Symons (in his "The Symbolist Movement in Modern Literature") wrote: "The verse could not, I think, be translated," and this plain dictum may be considered to stand. We shall therefore quote the faithful synopsis (quite unsuperseded) which Edmund Gosse made in his "Questions at Issue": "It appears in the florilege which he has just published, and I have now read it again, as I have often read it before. To say that I understand it bit by bit, phrase by phrase, would be excessive. But, if I am asked whether this famous miracle of unintelligibility gives me pleasure, I answer, cordially, Yes. I even fancy that I obtain from it as definite and as solid an impression as M. Mallarme desires to produce. This is what I read in it: A faun—a simple, sensuous, passionate being—wakens in the forest at daybreak and tries to recall his experience of the previous afternoon. Was he the fortunate recipient of an actual visit from nymphs, white and golden goddesses, divinely tender and indulgent? Or is the memory he seems to retain nothing but the shadow of a vision, no more substantial than the 'arid rain' of notes from his own flute? He cannot tell. Yet surely there was, surely there is, an animal whiteness among the brown reeds of the lake that shines out yonder. Were they, are they, swans? No! But Naiads plunging? Perhaps! Vaguer and vaguer grows that impression of this delicious experience. He would resign his woodland godship to retain it. A garden of lilies, golden-headed, white-stalked, behind the trellis of red roses? Ali! the effort is too great for his poor brain. Perhaps if he selects one lily from the garth of lilies, one benign and beneficent yielder of her cup to thirsty lips, the memory, the ever-receding memory, may be forced back. So when he has glutted upon a bunch of grapes, he is wont to toss the empty skins in the air and blow them out in a visionary greediness. But no, the delicious hour grows vaguer; experience or dream, he will never know which it was. The sun is warm, the grasses yielding; and he curls himself up again, after worshipping the efficacious star of wine, that he may pursue the dubious ecstacy into the more hopeful boskages of sleep.

43 "This, then, is what I read in the so excessively obscure and unintelligible `L'Apres-Midi d'un Faune'; and, accompanied as it is with a perfect sauvity of language and melody of rhythm, I know not what more a poem of eight pages could be expected to give. It supplies a simple and direct impression of physical beauty, of harmony, of color; it is exceedingly mellifluous, when once the ear understands that the poet, instead of being the slave of the Alexandrine, weaves his variations round it, like a musical composer." According to a line attributed to Debussy, the Prelude evokes "the successive scenes of the Faun's desires and dreams on that hot afternoon."

"LA VALSE," A CHOREOGRAPHIC POEM

By MAURICE RAVEL

Born at Ciboure, Basses-Pyrenees, March 7, 1875; died at Paris, December 28, 1937

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Ravel completed "La Valse," in 1920. The piece was played from the manuscript at a Lamoureux concert in Paris, December 12, 1920.

AVEL based his "poeme choreographique," upon measures which one of the Strausses R might have written, but used them with implications quite apart from the light abandon and sweet sentiment which old Vienna offered him. The composer, according to information from Alfredo Casella, had some thought of a dance production, but no direct commission or intent. Ravel gives the tempo indication: "Movement of a Viennese waltz," and affixes the following paragraph to his score: "At first the scene is dimmed by a kind of swirling mist, through which one discerns, vaguely and intermittenly, the waltzing couples. Little by little the vapors disperse, the illumination grows brighter, revealing an immense ballroom filled with dancers; the blaze of the chandeliers comes to full splendor. An Imperial Court about 1855." Misia Sert, who received the dedication, is the painter who designed the scenes for Richard Strauss' Ballet, "The Legend of Joseph," as produced by Diaghilev's Ballet Russe. Raymond Schwab, listening to the first performance in Paris, discerned in the music an ominous undercurrent. "To the graces and languors of Carpeaux is opposed an implied anguish, with some Prod'homme exclaiming 'We dance on a volcano'."

SYMPHONY No. 2, IN D MAJOR, Op. 43

By JEAN SIBELIUS Born December 8, 1865, at Tavastehus, Finland

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Begun in Italy in the spring of 1901, the symphony was completed in Finland before the end of the year. It was first performed on March 8, 1902, at Helsingfors under the composer's direction. rrHE Second Symphony proclaims Sibelius in his first full-rounded maturity, symphonically speaking. He has reached a point in his exuberant thirties (as did also Beethoven with his "Eroica" and Tchaikovsky with his Fourth at a similar age) when the artist first feels himself fully equipped to plunge into the intoxicating realm of the many-voiced orchestra, with its vast possibilities for development. Sibelius, like those other young men in their time, is irrepressible in his new power, teeming with ideas. His first movement strides forward confidently, profusely, gleaming with energy. The Finale exults and shouts. Who shall say that one or all of these three symphonies overstep, that the composer should have imposed upon himself a judicious moderation? Sober reflection was to come later in

44 the lives of each, find its expression in later symphonies. Perhaps the listener is wisest who can forego his inclinations toward prudent opinion, yield to the mood of triumph and emotional plenitude, remember that that mood, once outgrown, is hard to recapture. Copiousness is surely the more admissible when it is undoubtedly the message of an individual, speaking in his own voice. The traits of Sibelius' symphonic style—the fertility of themes, their gradual divulging from fragmentary glimpses to rounded, songful completion, the characteristic accompanying passages—these have their beginnings in the first tone poems, their tentative application to symphonic uses in the First Symphony, their full, integrated expression in the Second.

Sibelius begins his Second Symphony with a characteristic string figure, a sort of sighing pulsation, which mingles with the themes in the first pages and recurs at the end of the movement. One would look in vain for a "first" and "second" theme in the accepted manner. There is a six bar melody for the wood winds, a theme given out by the bassoons, another of marked and significant accent for the violins, and another, brief but passionate, for the violins. These themes are laid forth simply, one after the other, with no transitions or preparations. Yet the tale is continuous as if each suggested, quite naturally, the next. There follows the theme for the flutes which Cecil Gray refers to as what "would in ordinary parlance, no doubt, be called the 'first subject.' " It appears as nothing more than a high sustained C-sharp, followed by a sort of shake and a descending fifth. The phrase would be quite meaningless outside of its context, but Sibelius uses it with sure effect over the initial string figure to cap his moments of greatest tension, and finally increases it by twice its length to an eloquent period. The initial scraps of themes succeed each other, are combined, gather meaning with development. The whole discourse unfolds without break, coheres in its many parts, mounts with well-controlled graduation of climax. The fusion of many elements is beyond the deliberate analyst. It bespeaks a full heart, a magnificent fertility, an absorption which pervades all things and directs them to a single end. The slow movement opens, as did the first, with a string figure which is an accompaniment and yet far more than an accompaniment. Various wood winds carry the burden of melody, introduced and maintained in an impassioned minor, lugubre. Thematic snatches of melody follow each other in rich profusion. In the opening movement, Sibelius has made telling use of the time-honored contrast between the lyric and the incisive, proclamatory elements. In his andante this sharp opposition is notably increased. An oratorical, motto- like theme, launched by stormy, ascending scales, keeps drama astir. As the melodic themes recur, an undercurrent of the spinning, whirring figures in the strings, such as are to be found in almost any score of Sibelius, dramatizes lyricism itself. The third movement pivots upon a swift 6-8 rhythm; it suggests Beethoven in its outward contour, but is more tumultuous than gay. A suspensive pause with pianissimo drum taps introduces the tender trio in which the oboe sings a soft melody which is echoed by its neighbors and subsides in a pianissimo from the solo 'cello. It is as peaceful and unruffled in this symphony of violent contrasts as its surroundings are stormy. The vivacissimo and trio are repeated—with a difference. There creeps into the trio, at first hardly perceptibly, the solemn chant of the finale, as yet but softly intoned, and adroitly, without any sense of hopping over an awkward stile, the master leads his hearers straight into the finale, which is at once in full course. There are two principal themes, the first making itself known, as an elementary succession of half notes, the second a longer breathed, incendiary melody with an accompanying scale figure adding fuel to its flame. The structure of the movement is traditional, with two themes alternating, interlarded with episodic matter; the simple scheme serves its contriver in building with great skill a long and gradual ascent to a climax in full splendor. Rising sequences, mounting sonorities, contribute to the impressiveness of the final conflagration.

45 NOTICES Come Early The gates will be opened at 6 p.m., for evening concerts and at 2 p.m. for the matinees. Allow ample time to park and get to your seat as all concerts will begin promptly.

Picnic and Refreshments Enjoy a picnic supper on the lawns at Tanglewood. Refreshment tent operated by the Thursday Morn- ing Club of Great Barrington. First Aid Through the courtesy of the Berkshire Health District a first aid room is located in the main house where a registered nurse is in attendance. Wheel Chairs Arrangements for wheel chairs may be made by telephoning the office at Stockbridge 400.

Lost and Found The lost and found department is at the checking counters in the rear of the Shed.

Telephone and Telegraph Public telephones and Western Union are in the main house.

Pleasant Valley Bird and Wild Flower Sanctuary, Lenox A most picturesque place for visitors to see is the Pleasant Valley Bird and Wild Flower Sanctuary in Lenox. There are 10 miles of woodland walks, and picnic places are near the ponds on the mountain. Bird and Flower walks are led by the resident Warden George J. Wallace, Ph.D. and a museum of Natural History and Berkshire traditions is located in the remodelled barn. On the veranda of the house or on the lawn one may enjoy afternoon tea and by telephoning Lenox 230 reservation may be made for lunch or supper.

Berkshire Museum The Berkshire Museum at Pittsfield will have three memorable exhibits on display during the period of the Berkshire Symphonic Festival. The exhibits will include paintings and wash drawings of the Boston Symphony Orchestra by Donald Greason; "The World Today," paintings by New York artists assembled by Elizabeth McCausland and the second Berkshire National Photographic Exhibition under auspices of the Berkshire Museum Camera Club. Open daily except Mondays from 10.00 to 5.00 and Sundays from 2.00 to 5.00. Music in the Hills South Mountain in Pittsfield, where Mrs. Elizabeth Sprague Coolidge established in 1918 a distinguished music colony, presents chamber music concerts every Sunday afternoon during the summer During the two Festival weeks, these concerts will be given Friday afternoons at 4.00 P. M. Admission is without charge— tickets may be had upon application to Willem Willeke, musical director of the South Mountain Association. Concerts are also presented at Music Mountain in Falls Village, Conn., Sunday afternoons, at Alexander Bloch's in Hillsdale, N. Y. Fridays, and at the Playhouse-in-the-Hills, Cummington, Mass., Friday afternoons.

RECREATION in the BERKSHIRES For those who are pleasure bent, complete information regarding the wide variety of recreational oppor- tunities that await them . . . Write—Phone or Visit .. . THE BERKSHIRE HILLS CONFERENCE, INC. The Berkshire County Court House Building PITTSFIELD, MASSACHUSETTS

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the HISTORICAL EDUCATIONAL CULTURAL

SISSON Air-view of Tanglewood

This book arranged and printed by the SUN PRINTING COMPANY, INC. Pittsfield Massachusetts HE magic flames of Loge, encircling the sleeping TBriinnhilde in Wagner's beautiful "Die Walkiire," offered protection against intrusion. For only the most valiant hero would brave the fire to rescue the maiden. But magic flames exist only in the artist's immortal dream. Fire more often is destroyer rather than pro- tector—a force against which men must seek protection. To this end, we offer the outstanding facilities of the Berkshire Mutual Fire Insurance Company. For more than a century our business has been to arm humanity with its best weapon to fight fire. Our experience in this field can be your "magic circle of protection" for property and possessions subject to the hazards of fire. BERKSHIRE MUTUAL FIRE INSURANCE COMPANY Pittsfield, Mass.— Incorporated 1835 Over One Hundred Years of Continuous Service

48 PALM E Greylock, 3505 feet high, showing War Memorial at summit. Scarred by landslides over 35 years ago. THE BERKSHIRE HILLS

CULTURAL, HISTORICAL, EDUCATIONAL, AND SCENIC LL Berkshire shares in the glory of the Berkshire Symphonic Festival the most outstanding cultural development of an area rich in such associations for many years. From the towering Greylock region on the north to its sister peak, Mt. Everett on the south, and from the rugged Hoosacs which march along its eastern border to the Taconic skyline on the west the region is filled with shrines of beauty, literature, art, music, history and intensive gardening in education. Hardly a town can be mentioned without there at once appearing some memory out of the storied past to glorify its name and to interest those who come from other parts for a visit to the Berkshire Hills. This is a region of deep, lovely valleys and high mountain ranges which lift the traveler to splendid vistas overlooking a land that world travelers declare to be unique in its scenic beauty. A colorful past has given to the towns that lie deep down in the vales or perch upon the mountain ridges, traditions that will not die. Lenox, the seat of social and literary activities and for years as well the county seat had its "Golden Age" from the 1850's to the early 90's when such luminaries as Hawthorne, Longfellow, Holmes, Harte, Channing, Beecher, Fanny Kemble and a host of others formed a unique and lively group of intellegentsia here. Tanglewood, which lies between Stockbridge and Lenox with the light and shadow of sunny lawns, the tall trees, and its view of the lake, is itself a reminder of the shy magician of words who wrote "The House of Seven Gables" and "The Wonder Book" and who was, while a resident here, inspired to write "Tangle- wood Tales."

THE 1750 HOUSE OUR DOORWAY To A CORDIAL WELCOME J. STUART HALLADAY HERREL GEORGE THOMAS SHEFFIELD MASSACHUSETTS • We wish to thank those whose patronage made it possible for us to enjoy a successful year.

• Additional rooms have been arranged in our Treasure House to permit larger and more attractive displays of authentic and varied antiques. • And you will find even a greater interest in our private collection of American provincial Paintings.

Enjoy the thrill of turning back time.

49 HOUSATONIC NATIONAL BANK.

Erected in 1825 in the village of Stockbridge on Plain Street, then so-called, this building has been in continuous use for one hundred and fourteen years by the Housatonic National Bank of Stockbridge.

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Or PERMANENTLY

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50 CRANWELL A New PREPARATORY SCHOOL Note in -No ..21 NEW preparatory school ELECTRIC for boys, located on the estate COOKING! of the former Berkshires Hunt and Country Club and directed by the Jesuit Fathers, will open on September 26, 1939 in Lenox, Massachusetts.

Boarding Rates $1000 a year Day Student Rates . . $300 a year THIS new portable Universal Oven offers all the superior roasting, baking and broiling ad- FOUR YEAR HIGH SCHOOL COURSES vantages of a modern electric range, including automatic heat control. Priced low and operates WILL BE CONDUCTED from any wall outlet at low cost. Investigate now! For further information, call or write Southern Berkshire THE HEADMASTER CRANWELL PREPARATORY SCHOOL Power & Electric Co. LENOX, MASSACHUSETTS

Fanny Kemble, talented actress, author and socialite held court at "The Perch" on Kemble Street, the road between Lenox and Stockbridge. Catherine Sedgwick wrote and taught young ladies at what is now the fine Lenox Boys' School on the same shaded avenue, and her brother, Charles, added his versatile graces to the gatherings of those earlier days. There came and went or lingered on, such personages as Matthew Arnold, Henry Ward Beecher, Harriet Beecher Stowe, Lowell, I'an M' Laren, G. P. R. James. Sedgwick Hall, today's dignified public library, was Berkshire County's Court House until 1871. Here centered prominent jurists and barristers whose devotion to legal matters became translated into an ir- resistible attraction to the town and its surroundings. Stockbridge has its own native associations and memories and memorials. Here the first Indian Mission was established; here the Sedgwicks reined before coming to Lenox, here Mark Hopkins was born, here the famous Fields, preacher and inventor, lived and worked. Here John Sergeant and Jonathan Edwards taught the redskins religion and wrote great tracts and sermons in the beautiful old Colonial Mission House, a memorial to them and their work, beautifully restored by Miss Mabel Choate. Also in Stockbridge is the Berkshire Garden Center open to the public. To the Mohican (Stockbridge) Indians there stands an appropriate pillar of native granite to mark "The Burial Place of His Fathers," as immortalized in Bryant's poem. Here existed a cohesive native neighborhood of culture. The village green about Town Hall, Church and Field Chime Tower is, in its own way, as remarkable as the Campanile at Venice. Berkshire's oldest newspaper, the Western Star, was established here in 1788. Bryant visited here, and Hawthorne, Holmes and Melville clambered through the cool, green depths of Ice Glen where annual torchlight parades were held. Daniel Chester French lived here and erected a memorial, a stone seat on lovely Laurel Hill, unique village recreation and sanctuary area. The Berkshire Playhouse, one of the most successful and praiseworthy of "summer theatres" has flourished for a decade in Stockbridge as replacement for the old Casino and its art exhibits. Stockbridge, by main route (U. S. 7) is but six miles from Lenox, Lee is to the east, on U. S. 20. Passing lovely Laurel Lake between Lenox and Lee one gets distant glimpses of "The Mount," on the opposite shore, where Edith Wharton wrote "Summer" and "Ethan Frome" and others of her works, and of lofty, magnificent "Shadowbrook" where Andrew Carnegie lived and died, now a Jesuit novitiate and of "Erskine Park" the estate of George Westinghouse, now Foxhollow School for girls, and also the property of the Berk- shires Hunt and Country Club on which has been recently established the Cranwell Preparatory School for boys, directed by the Jesuit Fathers. In Lee you find the deep, shining man-made caverns from which are taken tons of marble, some of it in the Capitol at Washington, much of it headstones for the graves of soldiers in Arlington cemetery. Lee has its most picturesque historical background in the Shays' Rebellion, memorialized in "Peter's Cave" on Ferncliffe which shades the town in morning Near Lee rises October Mountain, once the "Honeymoon Cottage" site of Harry Payne Whitney and a great game park, now the state's hugest State Forest of 14,000 acres.

51 Tennis Courts at Miss Hall's School surfaced by Berkshire Gravel Co.

Berkshire Gravel Co. SAND . . . GRAVEL . . . PREMIXED ASPHALT FOR SURFACING CRUSHED STONE TENNIS COURTS DRIVES AND WALKS Telephones: Lee 293—Pittsfield 2-6313

• • OAKWOOD ]INN GREAT BARRIrIGTOrl MASS. YEARS AGO Cgnvites (You Reg. U. S. Pat. Off. • GREAT BARRINGTON To spend your vacation MASSACHUSETTS ALSO NORTH EGREMONT ROAD gor a Day ... a Week ... or the Summer

MRS. J. VAN VLECK BROTHERS IVY L. CLOUGH, Owner Telephone 221-Y ADOLF WENDT, Mgr.

a charming country home ajak/VJ . . INC. VAKE ROBIN PERMArlalT WAVE SPECIALISTS INN • • • REVLOfl MAIIICURES LAKEVILLE, CONN. GAST011 DE PARIS COSMETICS <4;•1 LuncHEon Cooked with skill TER Served with grace ELIZABETH fl. HOTCHKISS DinnER ) Eaten with delight

337 mAln STREET Telephone 192 Tel. 49 GT. BARRIIIGT011 Reservations would be appreciated

52 South Lee, a quaint little suburb of Lee possesses one of the finest examples of old, wooden covered bridges in New England. Behind the village looms the long, lofty ridge of Beartown Mountain, a state Forest recreational center of unusual interest. Southerly from Stockbridge on U. S. 7 Monument Mountain thrusts its white quartz crags, guarded by a Reservation against invasion save afoot from the Squaw Peak roadway. Bryant pictured it poetically and preserved in amber verse the legends of the Indians whose strange stone cairn still stands beside one of the trails. Above the prodigous pillar of the Devil's Pulpit falcons nest and scream. The road descends, curving sharply between reddish cliff and deep pine scented ravine, to the Housa- tonic plains about Great Barrington. Belcher Square marks the eastern entrance to the town, with Bung Hill, a tree-softened pile of rock hiding Belcher 's Cave where the notorious counterfeiter of Colonial times hid and was taken and hanged. Great Barrington, site of the Great Wigwam of the Mohicans, near the Great Ford and in the path of the Great Road, was honored by the residence of Bryant and his service as town clerk, and who deserted the law to become the premier poet of America. His marriage house, called the Bryant House and his residence after the wedding, the Ives (now Taylor) house, still stand, well kept, beautiful. Opposite them on South Main Street loom the high, gray walls of the former Searles Estate, and now the seat of the Barrington School for Girls, amid such magnificent surroundings as one could hardly dream to find so neatly hidden by those walls and tall Norway spruces. It runs for half a mile along the street. This school has not only achieved a high scholastic standard but has established a regime that has emphasized physical health and appreciation of the arts, a sound mental development and an understanding of personal responsibility and judgment to meet the problems of life. Also here is the Taconic School which aims to give children adequate preparation which must cultivate and provide scope for imagination, the impulse to create and the capacity to enjoy. The Gale House School aims to form good work habits, independence of thought and action and appreciation of music, rhythms, dramatics, social sciences and various forms of creative art expression. Town Hall was where stood Berkshire's first court house and here was the first armed resistance to British rule before the Revolution, a modest marker tells us. At Brookside, southeasterly, lived William Stanley, inventor of the alternating current transformer, who had a tiny factory here. The road to Egremont (41-17) crosess the limpid, emerald Green River where Bryant strolled and wrote. South Egremont is now "Olde Egremont," partially restored Colonial village, in the shadow of Mt. Everett which rises second highest in the State, with its "Dome" topped by a tower. This is a peak of Mt. Washington ancient "Taughonnuck" of the Indians. On its lower slopes lived the "Sky Farm Poets," Goodale sisters of "Apple Blossom" fame.

TA, VILLAGE INN CURTIS HOTEL LENOX, MASS. AT LENOX EXHIBITION O F A Meal Quiet PLASTIC PORTRAITS A Week-end Pleasant BY ELISABETH JASTROW or the Season Attractive

AUGUST 9-15. 1939 OPEF1 ALL YEAR MRS. E. I. BUNNELL

The Lenox 'national $ank

LENOX, MASS.

OFFERS TO 2. guests

THE FACILITIES OF ITS BANKING SERVICES

ii PALMS In all seasons—Inspiration from every window.

Always worth seeing—Bash Bish Falls al Tri-State Park. PALME

BOOKS and ✓ i gamily operated Cqnn PRINTS of EAST LEE FLOWERS I BIRDS on ROUTE 20 THEATRICAL • NN AT EAST LEE COSTUMES LUNCHEONS and DINNERS Telephone 282 OR—if you MUST HURRY—TRY OUR Open from 11 a.m. to 1 p.m., or by appointment SNACK CUPBOARD NEXT DOOR TO THE HARPER HAIRDRESSERS For Reservations phone Lee 465 Pine Street K. GREGORY Stockbridge

NEW ENGLAND FARM HOUSE *LUMBER and and Thirty - one Acres in Richmond Valley BUILDING MATERIALS FOR SALE! BUILDERS' HARDWARE Property on both sides of road. Barn has z PAINTS, OILS and GLASS stables for several horses. Included in the arrangement of the house are 4 Master * CROSLEY REFRIGERATORS Bed Rooms, 4 Bath Rooms, Electricity, RADIOS and WASHING MACHINES Steam Heat, Unlimited Water Supply from Spring. z TELEPHONE 217 Price, $13,000 See Miss R. M. FURNISS, Stockbridge, Mass. A * STOCKBRIDGE, MASS. TELEPHONE 243-w

54 North Egremoni, sister village, claims proudly an encampment of Gen. Knox's army as it dragged Ticonderoga cannon toward Cambridge and skirmished with guerrilla Tories at "Little York." The Under Mountain Road (41) runs south, close beneath the Taconic Range into Sheffield, passing the "Twin Fires" home of Walter Prichard Eaton, bountiful writer on the Berkshires. Here also is the Berkshire Boys' School, a splendidly equipped institution for younger boys with a magnificent "back yard" running up steep trails on Mt. Everett. A cross-road, running east, connects with U. S. 7 at the main village of Sheffield, a fine return route through a quiet, wide-streeted town with the flavor of antiquity in its houses and giant trees and two century old covered bridges and beautiful Bartholomew's Cobble. For thrills, there is Black Rock, haunt of rattle- snakes, on Mt. Everett's steep side, the happy hunting ground of Dr. Raymond L. Ditmars, zoologist. From Great Barrington there is easy access to several southern Berkshire towns with unique interest within them. Tyringham enjoyed its golden age when Richard Watson Gilder attracted here Mark Twain and Grover Cleveland and other distinguished persons, who became charmed by its isolation amid the steep, green hills that had been colonized, before, by Shakers. "Glencote," where Mark Twain lived; "Four Brooks Farm," Gilder's home, "Ashintully," a huge mansion on a hillside, built by Robb De Puyster Tyler, and the curious spiraled house of Henry Hudson Kitson, sculptor, are among its distinctive sights. Monterey is the home of a unique educational venture in the Altaraz School which was established in 1927 to discover and unfold the aptitude, talents and abilities of its students. It provides academic training from pre-school to college and is coordinated with learning by doing. Instead of enforcing the same curriculum upon every child, regardless of mental development each character is developed as an individual personality. Bass-haunted Lake Bud and Lake Garfield are also situated in Monterey. West Stockbridge is haunted by the memory of "The Murdered Traveler" of Bryant's tragic poem and last year celebrated its 100th anniversary as the first Steam railroad station in the State. New Marlboro, southeast of Great Barrington, has its marker to Elihu Burrilt, the "Learned Blacksmith." Returning through Lenox toward Pittsfield, travelers find themselves half-halted on steep Church Hill by a dignified old white church of ancient origin where Dr. Parkhurst preached and two miles further on is a sign marked Pleasant Valley Wild Flower and Bird Sanctuary. Here will be found beavers, a barn museum, Colonial cottage, naturalist caretaker, nature trails and unspoiled beauty of woodlands, fields and brook. At Pittsfield the axis of traffic, history and civic life is The Park. A sundial marks where once rose the giant Old Elm, of beloved memory—and other markers tell of events of olden days. Holmes composed his "Ploughman" for a famous Jubilee held here. The first Agricultural fair in the country was established here by Elkanah Watson. The World War Memorial, a heroic group by the late Augustus Lukeman, whose little studio is located in Larrywaug, Stockbridge, is in Memorial Park, just off South Street. The handsome new High School occupies Elm Knoll, the site of Longfellow's honeymoon home, where he was inspired to write "The Clock on the Stairs." For thirty-three years the Pittsfield Day Nursery which has met the requirements of the National Fed- eration of Day Nurseries, has trained children in scholarship, good citizenship and behavior. The southern entrance to the city (U. S. 7) runs between South Mountain, the home of the Elizabeth Sprague Coolidge endowed Chamber Music Colony and the Country Club of Pittsfield, with Broad Hall, Colonial mansion of 1782, as its clubhouse. Here once lived Thomas Melville, uncle of Herman, who visited

Lee

LEE NATIONAL BANK Savings Bank LEE, MASSACHUSETTS SAVINGS syclatrir

MEMBER OF MAL WINGS CUM. MD

FEDERAL DEPOSIT INSURANCE

CORPORATION THIRD OLDEST SAVINGS BANK IN BERKSHIRE •

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55 EARLY STOCKBRIDGE MUSEUM INDIAN AMERICAN 1739 MISSION HOUSE RELICS

Mission House Kitchen ADMISSION TWENTY-FIVE CENTS FANTINI Established 1905 6xclusive ,Cadies ' Jailor LENOX

Gfelections for the giscriminatim g . FINEST VICUNAS SPORT SUITS—COATS SHETLANDS RIDING HABITS ENGLISH, SCOTCH LATEST STYLES HOMESPUNS AND TWEEDS

THE WORKMANSHIP F. GABRON, Proprietor OF EXPERIENCE PHONE LENOX 95

56 In a blaze of color nature prepares for winter.

here, then built his "Arrowhead" over on Holmes Road and sat beside his chimney writing "Moby Dick" and "My Chimney and I" and "Piazza Tales," as he gazed north to Greylock and south to old October Mountain. Holmes lived at "Holmesdale," on the same street, for seven years and wrote beneath a pine that soars now toward the sky and in a tiny study on the grounds of the present Miss Hall's School for Girls, Pittsfield's modern replacement of ancient Maplewood. Hawthorne's desk is among the important antiquities in the Berkshire Museum of Natural History and Art on South Street, Peary's North Pole sledge—and invaluable art treasures, minerals and wild life speci- mens are also to be seen. The Athenaeum, on Bank Row, around the corner, prides itself on having a historical collection of rare value as well as a very extensive circulating library. Many an author has done re- search here while residing in the Berkshires for the outside atmosphere. Near the Museum is a marker on the site of famous Easton's Tavern where the successful attack on Ft. Ticonderoga by Ethan Allen and his men was planned. Dalton, six miles east, via the Berkshire Trail (Route 9) is the seat of fine paper manufacturing, now busy making a million dollars worth of silk-shot bond for our 1940 paper currency. Route 9 climbs Windsor Hill to the town of Windsor at 2020 feet altitude and descends to Cumminglon, Bryant's birthplace. The house is preserved as a semi-public museum. Here is the "Music-Box-in-the-Hills" (of Hampshire) and the Cummington Playhouse. At Richmond is Morningface School, similar in function to the Taconic and Gate House Schools in the southern part of the county. STOCKBRIDGE 1739 - 1939 A Chronicle By SARAH CABOT SEDGWICK and CHRISTINA SEDGWICK MARQUAND FOREWORD by RACHEL FIELD

BICENTENNIAL LIMITED EDITION THE HISTORY, which covers 200 years of the on sale throughout Berkshire County. Mail orders life of the town, is illustrated. should be addressed to the Bicentennial Book Com- mittee, Stockbridge, Massachusetts. PRICE $2.75

57 PALME Another picturesque waterfall in the Berkshires.

Scenes like this along almost any road in the Berkshires.

CJGte MAPLEWOOD OAKLAWN CLEANSERS & DYERS INN . . . . On Route 7 BERKSHIRE MASTER CLEANSERS Stockbridge, Mass. CASH DIAL 2-1595 CALL QUALITY — PRICE Handy to Everything CARRY SERVICE DELIVER in the Berkshires Church Street: LENOX A PLACE YOU'LL ENJOY 315 Dalton Avenue 438 North Street

American or H. V. HOWARD 1 52 Elm Street proprietors European J. F. WOOD PITTSFIELD, MASS.

PITTSFIELD MILK EXCHANGE, INC. "A Loyally Owned Institution" BERKSHIRE COUNTY'S LEADING DISTRIBUTOR OF DAIRY PRODUCTS AND HOME OF

"Berkshire's Famous Frozen Dessert" F. A. CARROLL, Gen. Mgr.

58 Traveling northerly from Pittsfield is to follow the ancient "Pontoosuc Path," the Indian name for Pittsfield, past the lake of that name into Lanesboro. Pontoosuc lake was "Moonkeek-Shoonkeek" to the Mohicans, from a legend of lovers who died beneath its waves when tribal laws forbade them to wed. Lanesboro was the birthplace of Henry S. Shaw who became famous as a rustic humorist under the pen- name of Josh Billings. The old Shaw homestead stands on the shoulder of Constitution Hill, west of the village center, a memorial to Jonathan Smith, that "plain farmer" whose homespun eloquence induced Massachusetts to ratify the Federal Constitution of 1787. In front of the Baptist Church, where the Pontoosuc Path turns easterly toward Cheshire, is a marker to his memory. At the far northerly end of Lanesboro a macadam road divides from U. S. 7 to take a seven mile climb to the summit of mighty Mt. Greylock with its 3505 feet altitude, highest in Massachusetts, a peak with a 9000 acre public reservation surrounding it of rare wild beauty, its glories immortalized by Hawthorne, Thoreau and others who visited it. An over-the-top ride is now possible via the Rockwell Road from Lanes- boro and down Notch Road to North Adams, one of the grandest mountain tours in the east. North of Lanesboro is quaint New Ashford, five times since 1916 the first town to report its vote in national elections. Next north is the quiet corner suburb of South Williamstown, in the Green River Valley. From the main road just beyond the village may be seen a grand panorama of valley and mountain, including the deep, shadowy Hopper and the summit of Greylock with its 100-foot granite World War Memorial. The Taconic Trail, ascending Petersburg Mountain turns off U. S. 7 near Williamstown, leads into the Hoosac Valley on the other side. All main roads into Williamstown touch or traverse the campus of old Williams College, founded by Col. Ephraim Williams who ended his brilliant career as an Indian fighter in the 1750's. The classic Tra- dition has been carried out in campus and curriculum at Williams and the college has been the chief inspiration for the creation here of one of the loveliest of New England towns. Bryant was a student here and is said to have been inspired by visits to woodland glade and brook to write, later at Cummington, his early masterpiece, "Thanatopsis." Flora's Glen, is, traditionally, the exact spot where Bryant gained his first inspiration for the poem. Here, north of the little park stands a marker to old Fort Hoosac of French and Indian warfare days. On the north campus is the famous Haystack Monument, commemorating the founding of a wide-spreading foreign missionary movement among the college students. Thompson Memorial Chapel with its gothic spires, and almost all the college buildings are architecturally of interest and the whole town, surrounded by

The Berkshire's Finest Sports Club Wm. B. Bull Sons, Inc. JUG END BARN AMERICAN PLAN Chevtoiet $21.00 TO $28.00 WEEKLY SALES and SERVICE TRANSIENT MEALS SERVED LENOX HORSEBACK RIDING • BICYCLING Automobiles for Hire for Exclusive SWIMMING • TENNIS Scenic Trips SOUTH EGREMOrn, MFISS. TAXI SERVICE Telephone 476-M Restricted Clientele Seven Miles from Great Barrington Phone Lenox 24

REAL ESTATE Compliments o DELAFIELD & BROWN For Rent or Sale, Lenox and Vicinity LENOX INSURANCE—LUCY C. BROWN Tel. Lenox 83•1 Agent SAVINGS BANK

Drug S tore BENJAMIN PHARMACY, INC Stockbridge, Massachusetts

Chiropodist—Foot Specialist LENOX DR. T. EDWARD QUINN MASSACHUSETTS Wendell Hotel Bldg. Pittsfield

59 BAILEY Halloween atmosphere in the Berkshires.

Sentinels in the march of time— Stone faces, Monument Mt.

Enjoy Everything the ALLEN offers.

HOTEL ILLEN . . • Wendell Ave. Ext.—off Park Square PITTSFIELD THE PATRONAGE of BUSINESS MEN establishes this BERKSHIRE COUNTY SAVIKS BANK Hotel as an economical and satisfactory place to live.

SAME RATES TO ALL GUESTS during the week or '5 the week-end. Dining Room for your convenience.

Rates $1.50 and up 0. A. STURGIS, PITTSFIELD, MASSACHUSETTS Phone 7066 Manager

SEARS, ROEBUCK & COMPANY BRADY COLDSPOT REFRIGERATORS KENMORE WASHERS Cleaners PROSPERITY RANGES SILVERTONE RADIOS Dyers MASTER MIXED HOUSE PAINT ELGIN BICYCLES Individual CROSS COUNTRY BATTERIES and OIL Cleaning WEST HOUSATONIC HONORBILT FURNITURE Service 10 8 STREET PITTSFIELD, MASS. Dial 2-1428 539 NORTH ST. PITTSFIELD, MASS. Telephone 6488

60 "The Mountains of Eph," as an ancient college anthem has it, lies in a setting of splendid scenic beauty. Through the town runs the Mohawk Trail, westerly into the York state Hoosacs and northerly the Ethan Allen highway mounts sinuously up the foothills of the Green Mountains of Vermont to historic Bennington with its mighty monument, commemorating the decisive battle where Berkshire Boys filled the thin lines of Stark's Green Mountain and Granite State militia at Waloomsac to stop Burgoyne's drive for army stores at Bennington and save New England from threatened invasion from the west. The main street of Williamstown is the Mohawk Trail. It leads easterly between the college buildings and dignified, beautiful old Colonial houses, toward North Adams, passing a replica of the ancient log-built Fort Massachusetts which is open as a public museum in summer In the heart of North Adams, where Main and Furnace streets join was the junction of Mohawk Trail and Pontoosuc Path when none but moccasined feet traversed these wild lands. Here is a bustling industrial city, proud of being the "western gateway" of Massachusetts by way of the Trail and Hoosac Tunnel, which was bored through the mountains nearly five miles from the Deerfield to the Hoosac Valley. Among the wonders of America is the Natural Bridge of marble on a branch of the Hoosick River at the northeastern edge of the city. It is splendidly described by Hawthorne in his "American Notes" and has been much studied by geologists who declare it to be the finest example in the east of a bridge formed from a cave by the action of flowing water. South of the city is Adams, once known as South Adams, while North Adams was Adams; now un- tangled from each other as corporate identities. Adams is the birthplace of Susan B. Anthony, woman suffragist pioneer. Her birthplace is preserved in the south part of town. Adams is an old Quaker settlement and the Quaker Meeting House of the early 18th century stands intact in the town cemetery. It is said to be the sole surviving building of its sort in western New England. Route 116 out of Adams is the Stafford Trail to Savoy and the entrance to the huge Savoy State Forest with Tannery Falls, the highest waterfall in Massachusetts pouring down from basaltic ledges into a spruce- clad gorge. A round-trip through the public parklands to the Mohawk Trail, back to North Adams may be

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gui, a 9reai giace to grade Picture Frames - - BENJAMIN CARPINO COMPLETE PITTSFIELD Etchings, Lithographs, Frames ••-) SERVICE DALTON 22 Edwin St. Pittsfield 6626 FOOD STORES GT. BARRINGTON

RETIRE ON AN INCOME FOR LIFE

• If you can qualify, a $100 a Month Retirement Income Plan can provide: (1) An income of $100 a month for life, beginning when you're 65. (2) A payment of $12,500 to your wife if your death results from natural causes before age 65. (3) If you are totally disabled for © 1939 six months or more before age 60, you will not have to pay any premiums falling due during your disability. A free, illustrated booklet describ- ing the Phoenix Mutual Retirement Income Plan is yours for the asking. There is no cost— no obligation. Just write or phone- WILLARD M. SISTARE and DUDLEY S. TURNER representing the PHOENIX MUTUAL LIFE INSURANCE COMPANY OF HARTFORD, CONNECTICUT 50 South Street, Pittsfield, Mass. Telephone 5432

61 PALME You ride both ways at Bousquet's popular ski run.

Winter's handiwork at Race Brook Falls. BAILEY

MARKING A GREAT ACHIEVEMENT

URING this, its 150th year of service to Berkshire people, the D Eagle has witnessed the birth and development of hundreds of projects destined to increase the fullness and usefulness of the lives of people here and all over the world. One of the greatest accomplishments of Berkshire people within the last century and a half has been the creation of the now famous Berkshire Symphonic Festival. It was with no little satisfaction that the Eagle, in celebrating its 150th anniversary, found an opportunity to reflect this achievement in pictures and in type. We hope you will find in the rotogravure picture pages being distributed at the Festival, a pleasing and lasting memento of your visit to Tanglewood. We also believe that you may heighten your enjoyment by reading Mr. Jay Rosenfeld's commentaries and the full news and pictorial coverage appearing daily in the Eagle. 1789 • The Berkshire Evening Eagle • 1959

62 made from the Falls for variety of view. This route passes through the lofty town of Florida, over Whitcomb Summit on the Mohawk Trail, marked by the magnificent bronze statue of an Elk, which seems to gaze out over the splendid wild country into the Deerfield Valley and to the Green Mountains of Vermont. South of Adams is Cheshire, where was made the famous big cheese which weighed almost a ton and was taken to Washington to be carved up by Thomas Jefferson, a token of the high esteem in which the President was held by the farmers of the town. Near Cheshire village, northeast, a striking stone tower stands on a hill. outlined against the southern sky, the "Pioneers' and Patriots' Memorial" atop Stafford's Hill, which was the center of the first settlement, called New Providence. The tower is a replica of the Newport Stone Mill credited to Governor Benedict Arnold of Rhode Island, and which was for some time mistakenly supposed to be of Norse origin. It memorializes heroes of the Revolution. Hoosac Lake, headwaters of the Hoosic River, lies in Cheshire and gathers the swift waters of brooks from Greylock into its reservoir. The road passes south of it and into tiny Berkshire, a quiet, off-road suburb, in the town of Lanesboro and the home of the Blake Art School. From here it is a short run to Coltsville, where roads branch easterly to Dalton and westerly to Pittsfield passing, enroute to Dalton, the "Government Mill" and westerly, the huge plant of the General Electric Company, largest industry in Berkshire County. In its experimental laboratory the first "million volt flash" of "artificial lightning" was demonstrated—to be "stepped up" in late years to ten million volts and more. Mount Lebanon summit, on Route 20, at Hancock, westerly from Pittsfield, is a beautiful location from which to view Lebanon Valley in New York State. Beneath the hills is the Shaker Settlement and the Lebanon

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194 Wendell Avenue BERKSHIRE'S LARGEST HOTEL

14 Large Rooms ... 2 for servants 96 ft. Front All Modern Conveniences at Moderate Rates. 5 Baths 400 ft. Deep 15 Minutes Drive to Symphonic Festival 9 Extension Phones Concerts—August 3rd-5th-6th-10th-12th-13th. Insulated Mineral Wool 3-car Garage S For Further Particulars Apply to Mrs. C. D. Robins PA- 150476E N. A. CAMPBELL, Manager

BERKSHIRE HILLS IRVING HOUSE DALTON, MASSACHUSETTS ANTIQUES SHOW A. V. HANSON, Res. Mgr. at Town Hall, Lenox WILLIAMS INN WILLIAMSTOWN, MASSACHUSETTS

Aug. 4th-5th-- 7th thru 12th i/g? (Closed Sunday, August 6th) eal 011ew 6nglancl Cqnns Daily 10 A.M. to 10 P.M. L. G. TREADWAY, Mng. Dir.

Management — Berkshire Hills Antiques, Inc. We Please Particular People

Wall-Streeter Shoe Co. ghe MANUFACTURERS OF ORGET-ME-NOT MEN'S FINE SHOES INN . . . . and TEA ROOM ONE OF BERKSHIRE COUNTY'S FINE EATING PLACES POtPah t AND YOU'LL ENJOY MAIN STREET forMen OUR GIFT SHOP WILLIAMSTOWN, MASS.

THERZA C. VAN ETTEN, Hostess North Adams, Mass.

63 School for Boys, the idea of which was developed around the thought that the philosophy of the Shakers' is still a power. Therefor, the character training of this school is based on the principle of work, prayer, service and honesty. The "Bryant Elm," a great old tree between Hancock and South Williamstown is said to have been visited by Bryant while at Williams. At Jacob's Pillow just off Jacob's Ladder (U. S. 20) in Becket is the summer studio of Ted Shawn and his men dancers, and at Hinsdale is a monument to Francis E. Warren, U. S. Senator and Governor of Wyoming who was born here. There is a memorial to U. S. Senator Winthrop Murray Crane and going back to Stockbridge is Laura's Rest (Monument Mt.—Indian's sacrifice rock) and Laurel Hill—a unique park and sanctuary area. You will find the Patterson-Eggleston Monument at Lenox and at Pittsfield the Peace Party House, the Brattle House, Sarah Deming's Grave, and the Lazing Thompson Civil War Memorial. Yes, the Berkshires are industrial as well as beautiful and cultural, but the agricultural industry which inspired Holmes "Ploughman" has passed—and the world awaits a poet to sing of the swift flash of Jovian light which has galvanized the hills in modern times.

FOXHOLLOW SCHOOL FOR GIRLS •

LENOX MASSACHUSETTS

TELEPHONE LEE 446

MUSIC MOUNTAIN . . . FALLS VILLAGE, CONN. (juniTE 7) FOUR OUTSTANDING PROGRAMS DURING THE BERKSHIRE SYMPHONIC FESTIVAL GORDON STRING QUARTET SATURDAY AFTERNOON, AUG. 5th SATURDAY AFTERNOON, AUG. 12th ROBERT McBRIDE, Oboe (Assisting) ADA MAcLEISH, Soprano (Assisting) Boccherini; Mozart; McBride; Ravel. Beethoven, The "Great Fugue"; Schonberg, Quartet SUNDAY AFTERNOON, AUG. 6th with voice; Poulenc; Di,ttersdorf. BEETHOVEN PROGRAM SUNDAY AFTERNOON, AUG. 13th String Quartets: Op. 74; Op. 135 and Op. 18 No. 2. String Quartets: Haydn; Bloch; Dohnanyi.

SATURDAYS at 3.30 p. m. — SUNDAYS at 4.00 p. m. . . ADMISSION $1.00

WIGGINS OLD TAVERN AND ERKSHIRE HOTEL NORTHAMPTON B NORTHAMPTON, MASS. RESTAURANT "An Inn of Colonial Charm" Where GOOD FOOD and About an Hour's Drive from Tanglewood QUALITY Never Vary EXCELLENT FOOD . . . POPULAR PRICES This unique and delightful place has the most extensive SEA FOOD A SPECIALTY and interesting collection of Early Amer ican Tavern and Household furnishings in New England. 143 WEST STREET Parking in rear by the Country Store Phone 2-0512 PITTSFIELD, MASS. LEWIS N. WIGGINS, Landlord

64 THE WORLD'S GREATEST ARTISTS ARE ON VICTOR RECORDS

* `PP Repeat these great concerts in your own home whenever you wish

Symphony No. 5 in E Flat Major and Symphony No. 39 in E Flat Major Mozart Pohjola's Daughter Sibelius B.B.C. Symphony Orchestra, Bruno Wal- Serge Koussevitzky and the Boston Sym- ter, conductor. Album M-258 (AM-258 for phony Orchestra. Album M-474 (AM-474 automatic operation). 6 sides, with de- for automatic operation) 10 sides, with scriptive booklet, $5.00. descriptive booklet, $10.00. Symphony No. 2 in D Major Beethoven Symphony No. 4 in F Minor Vienna Philharmonic Orchestra, Clemens Tschaikowsky Krauss, conductor. Album M-131 (AM-131 Serge Koussevitzky and the Boston for automatic operation) 8 sides, with Symphony Orchestra. Album M-327 (AM- descriptive booklet, $6.50. 327 for automatic operation) 10 sides, with descriptive booklet, $10.00. Symphony No. 4 in D Minor Schumann Minneapolis Symphony Orchestra, Eugene La Valse Ravel Ormandy, conductor. Album M-201 (AM- Serge Koussevitzky and the Boston 201 for automatic operation) 6 sides, with Symphony Orchestra. Records No. 7413 descriptive booklet, $6.50. and 7414, each $2.00. "Pictures at an Exhibition" Symphony No. 13 in G Major Haydn Moussorgsky-Ravel Arturo Toscanini and the NBC Symphony Serge Koussevitzky and the Boston Sym- Orchestra. Album M-454 (AM-454 for phony Orchestra. Album M-102 (AM-102 automatic operation) 6 sides, with de- for automatic operation) 8 sides, with scriptive booklet, $6.50. descriptive booklet, $8.00. Brandenburg Concerto No. 3 in G Major Symphony No. 2 in D Major Sibelius Bach Serge Koussevitzky and the Boston Sym- Alfred Cortot and Ecole Normale Chamber phony Orchestra. Album M-272 (AM-272 Orchestra, Records No. 4225 and 4226, for automatic operation) 11 sides, with each, $1.00. descriptive booklet, $11.00. Scheherazade Rimsky-Korsakow Also Sprach Zarathustra Richard Strauss Leopold Stokowski and the Philadelphia Serge Koussevitzky and the Boston Sym- Orchestra. Album M-269 (AM-269 for phony Orchestra. Album M-257 (AM-257 automatic operation) 12 sides, with de- for automatic operation) 9 sides, with scriptive booklet, $12.00. descriptive booklet, $9.00. Sacre du Printemps Strawinsky "Peter and the Wolf" Prokofieff Leopold Stokowski and the Philadelphia Serge Koussevitzky and the Boston Sym- Orchestra. Album M-74 (AM-74 for auto- phony Orchestra. Richard Hale, narrator. matic operation) 8 sides, with descriptive Album M-566 (AM-566 for automatic booklet, $8.00. operation) 6 sides, with descriptive booklet, The Flying Dutchman Overture Wagner $6.50. The Philharmonic-Symphony Orchestra of Symphony No. 7 in A Major Beethoven New York, Willem Mengelberg, conductor. Arturo Toscanini and the Philharmonic- Record No. 6547, $2.00. Symphony Orchestra of New York. Album Lohengrin, Prelude to Act 1 Wagner M-317 (AM-317 for automatic operation) Arturo Toscanini and the Philharmonic- 10 sides, with descriptive booklet, $10.00. Symphony Orchestra of New York. Record Symphony No. 1 in C Minor Brahms No. 14006, $2.00. Leopold Stokowski and the Philadelphia Meistersinger Overture Wagner Orchestra. Album M-301 (AM-301 for Chicago Symphony Orchestra, Frederick automatic operation). 10 sides, with Stock, conductor. Record No. 6651, $2.00. descriptive booklet, $10.00. Siegfried's Journey To The Rhine "L'Apres -midi d'un Faune" Debussy Wagner Leopold Stokowski and the Philadelphia Albert Coates—S y m p h o n y Orchestra. Orchestra. Record No. 6696, $2.00. Record No. 9007, $1.50.

NEW WA VICTOR RECORDS —1,6JOIOU-111•*,, ‘• Trade-mark "Victor" Reg. U. S. Pat. Off. by RCA Mfg. Co., Inc.

- ,-c--- .-c-- -,,------,c.--c--,.-,--- -,--- -,,,.--,..<-,c,_-,?-•:.

FIFTY-NINTH SEASON, 1939-1940 OCTOBER 13 — MAY 4 ,—.....-- Boston Sym hony Orchestra SERGE KOUSSEVITZKY, Conductor ----.--- SYMPHONY HALL . . BOSTON 24 FRIDAY AFTERNOONS 6 TUESDAY AFTERNOONS 24 SATURDAY EVENINGS 6 MONDAY EVENINGS CARNEGIE HALL . . NEW YORK CITY 5 EVENING CONCERTS 5 SATURDAY AFTERNOONS

ACADEMY OF MUSIC . . . BROOKLYN, NEW YORK 5 EVENING CONCERTS

METROPOLITAN THEATRE . . . PROVIDENCE, R. I. .? 5 TUESDAY EVENINGS

The Orchestra will also give concerts in Cambridge (8); Hartford (2); New Haven (2); Rochester, N. Y.; Buffalo, N. Y.; Cleveland, Ohio; Ann Arbor; Chicago; Pittsburgh (2); Northampton, Mass.; Springfield, Mass.; New Brunswick, N. J.; Montclair, N. J.; Philadelphia. For Season Ticket Information Address: G. E. JUDD, Manager, Symphony Hall, Boston

THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, INC.

ERNEST B. DANE, President

(13* HENRY. B. SAWYER, Vice-PresideE nt ERNEST B. DANE, Treasurer

HENRY B. CABOT N. PENROSE HALLOWELL RICHARD C. PAINE ALVAN T. FULLER M. A. DEWOLFE HOWE EDWARD A. TAFT

JEROME GREENE ROGER I. LEE BENTLEY W. WARREN Pi. D.

G. E. JUDD, Manager C. W. SPALDING, Assistant Manager

/I),, Anyone leaving name and address (specifying the series in which they are interested) with the Berkshire Symphonic Festival Box Office,—will receive full information.

• •