BOSTON SYMPHONY ORCHESTRA SEMI OZAWA Music Director For those of you who hunger afterculture.
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BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA Music Director
COLIN DAVIS Principal Guest Conductor
NINETY-FOURTH SEASON 1974-1975
TANGLEWOOD 1975
THE TRUSTEES OF THE CONTENTS BOSTON SYMPHONY ORCHESTRA INC.
Talcott M. Banks Mrs Harris Fahnestock The Weekend's Programs 13-28 President Harold D. Hodgkinson Philip K. Allen David O. Ives tanglewood 7 Vice-President E. Morton Jennings Jr M. Sidney Stoneman Edward Kennedy The Boston Symphony 29 Edward G. Murray Vice-President Orchestra Albert L. Nickerson John L. Thorndike John T. Noonan Berkshire Center Treasurer The Music 32 Mrs James H. Perkins Irving W. Rabb The Music Director 1 Vernon R. Alden Paul C. Reardon Allen G. Barry Mrs George Lee Sargent Map of Tanglewood 10 Mrs John M. Bradley John Hoyt Stookey Richard P. Chapman Festival Information 38 Abram T. Collier Henry A. Laughlin
Nelson J. Darling Jr Palfrey Perkins Archie C. Epps hi Trustees Emeritus
ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA
Thomas D. Perry Jr Thomas W. Morris Executive Director Manager The program magazine of the Bos- ton Symphony Orchestra and the Gideon Toeplitz Daniel R. Gustin Sylvia Davis Boston Pops is published monthly Assistant Director Administrator of Director of Promotion by the Boston Symphony Orches- Educational Affairs tra Inc., Symphony Hall, Boston, Bronstein Massachusetts 021 15. For informa- Paul Mary H. Smith Dinah Daniels tion about advertising space and Business Manager Assistant to the Manager Assistant Director rates please call Mr Stephen Camp- of Promotion bell, 1400 Statler Office Building, Forrester C. Smith Richard C. White Eleanor R. Jones Boston, Massachusetts tele- 02116, Development Director Assistant to the Manager Program Editor phone (617) 542-0478. In New York contact A.J. Landau Inc., 527 Madi- Donald W. Mackenzie James F. Kiley son Avenue, New York, New York Operations Manager, Operations Manager, 10022, telephone (212) 371-1818. Symphony Hall Tanglewood
TANGLEWOOD LENOX MASSACHUSETTS BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA Music Director COLIN DAVIS Principal Guest Conductor
THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC.
David O. Ives John T.G. Nichols Mrs Stephen V.C. Morris Chairman Vice-Chairman Secretary
Hazen H. Ayer Mrs Charles Garside David R. Pokross David Bird Mrs John L. Grandin Jr Mrs Priscilla Potter Gerhard D. Bleicken Bruce Harriman Harry Remis
J. Carter Brown Mrs Richard D. Hill Mrs Peter Van S. Rice Curtis R. Buttenheim Richard S. Humphrey Jr Mrs Samuel L. Rosenberry Mrs Henry B. Cabot Mrs Jim Lee Hunt Mrs Jerome Rosenfeld
Mrs Mary Louise Cabot Mrs Louis I. Kane Mrs George R. Rowland George H.A. Clowes Jr Leonard Kaplan Mrs A. Lloyd Russell Arthur P. Contas Leon Kirchner William A. Selke Silvio O. Conte Mrs James F. Lawrence Samuel L. Slosberg Robert Cushman Roderick MacDougall Richard A. Smith
Michael J. Daly John S. McLennan Mrs Arthur I. Strang Henry B. Dewey COLMAN M. MOCKLER JR Mrs Edward A. Taft Mrs C. Russell Eddy Mrs Charles L. Moore Mrs Richard H. Thompson Richard A. Ehrlich Mrs Elting E. Morison Stokley P. Towles Weston P. Figgins Frank E. Morris D. Thomas Trigg Carlton P. Fuller Richard P. Morse Julius Vogel
Mrs Thomas J. Galligan Jr David G. Mugar Vincent C. Ziegler Mrs Thomas Gardiner Dr Barbara W. Newell
They're playing our song:
"Rhapsody in Green"
What else would they play at of the faculty of the Boston Univer- University School for the Arts in Tanglewood? A pastorale. A sylvan sity School of Music and the Boston association with the Berkshire Music symphony. Symphony Orchestra. Private study Center. June 29 through August 24, Extraordinarily well. with master artists. Performance with 1975. They're outstanding young chamber music and orchestral musicians, selected through auditions groups. Or participation in an in- For further information about at high schools around the country to depth vocal program and the Tangle- the Institute, or about music pro- spend the summer at Boston Univer- wood Institute Chorus. And for grams leading to degrees at the sity Tanglewood Institute. students at the college and post- bachelor, master and doctoral Boston University Tangle- graduate level: seminars in piano and levels, contact: wood Institute, now in its tenth year, harp and an applied music program Norman Dello Joio, dean offers them the opportunity to study for experienced instumentalists. Boston University School for the Arts with some of the most distinguished Boston University Tangle- 855 Commonwealth Avenue artists available anywhere. Members wood Institute, offered by Boston Boston, Massachusetts 02215 Boston UniversityTanglewood Institute BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA Music Director COLIN DAVIS Principal Guest Conductor
Joseph Silverstein Assistant Conductor first violins cellos bass clarinet
Joseph Silverstein Jules Eskin Felix Viscuglia Concertmaster Philip R. Allen chair Charles Munch chair Martin Hoherman bassoons Emanuel Borok Mischa Nieland Max Hobart Jerome Patterson Sherman Walt Rolland Tapley Robert Ripley Edward A. Taft chair Roger Shermont Luis Leguia Ernst Panenka Max Winder Carol Procter Matthew Ruggiero Harry Dickson Ronald Feldman Gottfried Wilfinger Joel Moerschel contra bassoon Fredy Ostrovsky Jonathan Miller iMmc Leo Panasevich Martha Babcock Richard Plaster FM 90.3 mHz Sheldon Rotenberg Alfred Schneider basses horns Stanley Benson We bring you fine music Gerald Gelbloom Henry Portnoi Charles Kavaloski Raymond Sird Harold D. Hodgkinson chair Helen Sagoff Slosberg chair AND dozens of interesting Ikuko Mizuno William Rhein Charles Yancich events — live and without Cecylia Arzewski Joseph Hearne Harry Shapiro David Ohanian Amnon Levy Bela Wurtzler commercials. Sit in with us Leslie Martin Richard Mackey at the National Press Club, John Salkowski /'Ralph Pottle second violins | i John Barwicki where the next day's head- Clarence Knudson Robert Olson trumpets lines are often made. Enjoy Fahnestock chair Lawrence Wolfe Armando Ghitalla Marylou Speaker "All Things Considered," a Andre Come Michel Sasson flutes Rolf Smedvig fascinating Ronald Knudsen magazine of news Gerard Goguen Leonard Moss Doriot Anthony Dwyer andissues.(Nothingelselikeit William Waterhouse Walter Piston chair Laszlo Nagy James Pappoutsakis trombones in broadcasting!) Savor some Michael Vitale Paul Fried William Gibson of the most satisfying thea- Spencer Larrison Ronald Barron Darlene Gray tre productions ever aired. Gordon Hallberg Ronald Wilkison piccolo Revel in delightful, intelligent Harvey Seigel Lois Schaefer Bo Youp Hwang tuba conversation. Victor Yampolsky Chester Schmitz Jerome Rosen oboes
Ralph Gomberg Listen . . . and if you timpani Mildred B. Remis chair like what you hear, violas John Holmes Everett Firth write for our free monthly Wayne Rapier Sylvia Shippen Wells chair program bulletin. Burton Fine Charles S. Dana chair english horn Reuben Green percussion Eugene Lehner Laurence Thorstenberg Charles Smith WAMC George Humphrey Arthur Press Albany Medical College Jerome Lipson assistant timpanist Albany, York clarinets New 12208 Robert Karol Thomas Gauger Bernard Kadinoff Harold Wright Frank Epstein Vincent Mauricci Ann S. M. Banks chair National Public Radio Earl Hedberg Pasquale Cardillo for eastern New York *jb» npr and western New England Joseph Pietropaolo Peter Hadcock harps Robert Barnes E> clarinet Bernard Zighera Michael Zaretsky Ann Hobson
personnel manager librarians stage manager
William Moyer Victor Alpert Alfred Rob i son William Shisler place to think
An established, planned community designed to preserve the ecostruc- ture of the original forest-dirt roads, hiking paths, lakes and ponds, clean air, 4 to 6 acres all by yourself, neigh- boring on a 15,000 acre forest.
Strong protective covenants. Restricted to
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By appointment only. Tel. 413-623-8933 Tanglewood
r \ Jacob's Opposite the Lion Gate of the Tan- Hadley, and the venture was so suc- glewood grounds stands a small red cessful that the promoters in- cottage, a replica of the building in corporated the Berkshire Symphonic Pillow which Nathaniel Hawthorne lived from Festival and repeated the experiment Dance Festival the early summer of 1850 to November during the following summer. of 1851. The peace and beauty of the The Festival committee then invited America's FIRST Dance Festival Berkshires apparently agreed with Serge Koussevitzky and the Boston July 1 - August 23 at Lee, Mass. Hawthorne, for the time he spent here Symphony Orchestra to take part in 34th Year in the Ted Shawn Theatre Norman Walker, Director was an unusually productive one. the next summer's concerts. The Or- Grace Badorek, Comptroller Among the works he completed was chestra's Trustees accepted, and it was Donald Westwood, Promotional Director The Wonder Book, a collection of fan- on August 13 1936 that the Boston ciful tales which take place in a locale Symphony gave its first concert in the NEW PROGRAM EVERY TUESDAY AT 7:30 P.M. for which Hawthorne invented the Berkshires. The event took place at FIRST WEEK- July 1-5 name 'Tanglewood.' Shortly after- 'Holmwood,' a former Vanderbuilt es- Linda Di Bona & Chris Jensen wards he completed a similar volume tate, today Foxhollow School. The Theatre Dance Collection entitled Tanglewood Tales, and Wil- series, which again consisted of three Chiang Ching liam Aspinwall Tappan, a Boston mer- concerts, was given under a tent, and a chant and banker, in turn appropriated total of nearly 15,000 people attended. SECOND WEEK July 8-12 the name for his neighboring estate, an In the winter of 1936, the descendants Emily Frankel Joan Miller Dance Company Classical Pas de Deux (to be announced)
THIRD WEEK July 15-19 Murray Louis Dance Company
FOURTH WEEK July 22-26 Cliff Keuter Dance Company IVala Najan
FIFTH WEEK July 29 - August 2 Maria Alba Spanish Dance Company
SIXTH WEEK August 5-9 Boston Ballet Company E. Virginia Williams, Artistic Director
SEVENTH WEEK August 12-16 Margaret Beals Dancers — Soloists from American Ballet Theatre
EIGHTH WEEK August 19-23 Five by Two (Jane Kosminsky & Bruce Becker) and Guest Artists Jacob's Pillow Dancers Classical Pas de Deux (to be announced)
Performances: Performances are held Tuesday estate which would later become the of William Aspinwall Tappan, Mrs through Saturday. Curtain times: Tuesday, summer home of the Boston Sym- Gorham Brooks and Miss Mary As- 7:30 p.m. Wednesday, Friday and Saturday 8:40 p.m. Thursday and Saturday Matinees: phony Orchestra. Hawthorne was but pinwall Tappan, offered Tanglewood, 3:00 p.m. Tickets: $7.50, $6.50 and $5.00. one of several famous writers who with its buildings and 210 acres of Available at Ticketron or the Jacob's Pillow were drawn to the Berkshire coun- lawns and meadows, as a gift to Box Office, Box 287, Lee, Mass. 01238. tryside. Longfellow, and Mel- Koussevitzky and the Orchestra. The Holmes For information and reservations: ville were sometime residents, and so offer was gratefully accepted, and on call 10 a.m. -9 p.m. (413) 243-0745. too were many well-to-do Bostonians August 12 1937 the Festival's largest How to Reach Jacob's Pillow: Approx. 150 and New Yorkers, some of whom built crowd thus far assembled under a tent mi. from Boston or New York, near Tangle- magnificent in for the first concert, summer homes the Tanglewood a wood. Take the Lee-Pittsfield exit on the area, a location that had gained a rep- program of music by Wagner. As Massachusetts Turnpike. Public transportation utation as one of the great beauty Koussevitzky began The Ride of the from Boston via Greyhound; from New York via Greyhound or Bonanza Bus. For bus spots of New England. It was on one Valkyries, a storm erupted, over- information call (617) 423-5810 or such estate, the Dan Hanna Farm at powering the music and causing the (212) 594-2000. Interlaken, that a group of music lov- concert to be interrupted three times ing summer residents organized a before the first half could be com- Jacob's Pillow Dance Festival series of three outdoor concerts in Au- pleted. The second half of the program Box 287, Lee, Mass. 01238 gust 1934. These were performed by had to be changed, because of water (413) 243-0745 members of the New York Philhar- damage to some of the instruments, monic under the direction of Henry and when the concert ended, Miss I J Gertrude Robinson Smith, one of the Festival's founders, came to the stage and told the audience that the storm had proved conclusively the need for a shed. $100,000 would be needed for this purpose, she said, and the re- sponse to her plea was so generous that within a short time the amount was fully subscribed. Plans for the Music Shed were drawn up by the emi- nent architect Eliel Saarinen, and Ifmusic these were then modified by Josef Franz of Stockbridge, who also di- rected construction. Miraculously, the structure was completed on June 16 bethefood 1938, a month ahead of schedule, and seven weeks later Serge Koussevitzky led the inaugural concert, a perform- ance of Beethoven's Ninth Symphony. of love, For Koussevitzky, the event repre- sented the partial fulfillment of one of his fondest dreams, a dream that would be completely realized two sum- playon! mers later with the opening of the Berk- shire Music Center. He thought of the two institutions as a single entity, a 'creative musical center,' he wrote, 'where the greatest living composers will teach the art of composition; the greatest virtuosi, the art of perfect performance; the greatest conductors, the mystery of conducting orchestras it OGDEN FOOD SERVICES and choruses. The most eminent think- ^P ers and scholars will lecture there. A Providing food and drink to the patrons of Tanglewood for years. free cooperation of such an elite will certainly result in a creation of new and great values of art; in the radi- ation of the beams of culture over a nation and over the whole world; and, finally, in the education and training of a new generation of American art- ists.' By 1941, the Theatre-Concert Hall, the Chamber Music Hall and several small studios had been built, and the Festival had so expanded its activities
and its reputation for excellence as to attract nearly 100,000 visitors. Tan- glewood today draws nearly a quarter million visitors. In addition to the twenty-four regular concerts of the Boston Symphony, there are weekly 'Prelude' concerts and open rehearsals, there is the annual Festival of Con- temporary Music, and there are al- most daily concerts by the gifted young musicians of the Berkshire Mu- LEISURE lEE sic Center. Arthur Fiedler and the Boston Pops perform annually, and the A FOUR-SEASON VACATION COMMUNITY Festival also includes a series of con- 1 certs by popular artists. The season PRIVATE SKI SLOPE ... 3 /2 MILE offers not only a vast quantity of mu- NATURAL LAKE ... SANDY BEACH ... sic but also a vast range of musical BOAT DOCKS ... WOODED HOMESITES ... forms and styles, all of it presented PRIVATE ROADS ... MOUNTAIN CLEAN with a regard for artistic excellence AIR which makes the Festival truly unique. Tanglewood and the Berkshire Music Center, projects with which Koussevitzky was involved until the time of his death, have become a Fit- ting shrine to his memory, a living em- bodiment of the vital, humanistic tra- on Route 20 Lee, Mass. 413-243-1972 dition which was his legacy. SCULPTURE AT TANGLEWOOD
The sculptures displayed at Tanglewood this summer are by four distinguished artists: Harry Bertoia, Masayuki Nagare, Herbert Ferber and Forrest Myers.
Born in San Lorenzo, Italy, Harry Bertoia represented by the Staempfli Gallery. studied with Eliel Saarinen in this country, Herbert Ferber's work, which is exhibited has worked extensively in metal work, ab- widely here and abroad, appears in impor- stract jewelry, graphics and sculpture, and tant private collections as well as in leading has exhibited in the leading museums of museums. Represented by the Emmerich the United States. Gallery in New York, he divides his time Masayuki Nagare's background is deeply between New York and North Egremont. rooted in the traditional religion and art of Forrest Myers, a founding member of the Japan. His life has known years of contem- Park Place Gallery in New York, is a fre- plation and intense periods of self-study in quent visitor to Great Barrington. His work sculptural forms. Nagare's commissions in- appears in the Whitney Museum of Ameri- clude works for the fuilliard School and the can Art, the Philadelphia Museum of Art Metropolitan Opera. Bertoia and Nagare are and the San Francisco Art Institute.
Masayuki Nagare: Loneliness, 1966 Herbert Ferber: Morgan II, 1971 Staempfli Gallery, New York Andre Emmerich Gallery, New York w Spend an evening-or a week-with us!
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Welcome is just the beginning PLAZA LEVEL, BERKSHIRE COMMON, PITTSFIELD Berkshire Common, Pittsfield (413) 499-2000
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10 The Music Director
Pierre Monteux, Serge Koussevitzky summer of 1969 he conducted opera and Charles Munch, Mr Ozawa had for the first time — Cost fan tutte at served as Music Adviser during the Salzburg, where he conducts again this preceding season, and before that he summer — and served also as principal had appeared on numerous occasions guest conductor of the Ravinia festi- as guest conductor of the Orchestra. val. That fall he opened the New York Born in Hoten, Manchuria, in 1935, Philharmonic season and later ap- he graduated from the Toho School of peared as guest conductor of Music, Tokyo, with first prizes in L'Orchestre de Paris, the Cleveland composition and conducting, and then Orchestra and the Berlin Philharmon- went to Europe, where he won first ic. He will return to Berlin in 1976 to prize at the International Competition conduct the Philharmonic in perform- of Conducting at Besancon, France. ances of Mahler's Eighth Symphony One of the judges, the late Charles and the Berlioz Requiem. Munch, then Music Director of the In 1970 Mr Ozawa became Artistic Boston Symphony, invited him to Director of the Berkshire Music Festi- study at Tanglewood during the fol- val, and in December of that year he lowing summer, and it was there that began his inaugural season as Con- Mr Ozawa's association with the Or- ductor and Music Director of the San chestra began. He was made an assis- Francisco Symphony Orchestra, titles tant conductor of the New York Phil- he holds concurrently with his position harmonic at the beginning of the 1961- as Music Director of the Boston Sym- 1962 season, and it was during that phony. His recordings with the Or- same season that he made his first chestra on the Deutsche Grammophon full-length professional concert ap- label include Berlioz' Symphonie fan- pearance in North America, with the tastique and La damnation de Faust, San Francisco Symphony Orchestra. Beethoven's Piano Concerto No. 5 Beginning with the summer of 1964 with soloist Christoph Eschenbach, he was for five seasons Music Director and Ravel's Bolero, Rapsodie espag- Seiji Ozawa, who became Music Direc- of the Ravinia Festival, and at the nole and La Valse. He and the Orches- tor of the Boston Symphony in the fall start of the 1965-1966 season he be- tra are currently recording the com- of 1973, is the thirteenth conductor to came Music Director of the Toronto plete orchestral music of Ravel. Mr have headed the Orchestra since its Symphony, a post he relinquished after Ozawa and the Boston Symphony Or- founding in 1881. The successor of four seasons in order to devote his chestra are scheduled to tour Europe such historic figures as Karl Muck, time to guest-conducting. During the in February of 1976.
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Hector Berfiaz LaDamnaBonde Faust FajscVfadrfrniiifc TheDarnnanonofFausr EMiDMb Stuart Burrows b Donald Mdjtyre-Thomas Paul fenglewood Festival Chorus BosffinSympnonyOrdiestra SapOzawa ThetrLatest Recording? Berlioz: The Damnation of Faust
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Festival Chorus • Boston Symphony Orchestra Marketed in the USA by Polydor Incorporated
Seiji Ozawa • 2709048 • 3 LPs 810Seventh Avenue, New York, N.Y. 10019
BEETHOVENKIxWIERKONZERT XR.5 ES-DUR PIANO CONCERTO NO.5 IN E FIAT MAJOR
< HRISTOl'H ESCHENBAC'H. PIANO BOSTON SYMPHONY ORCHESTRA SEI.fi OZAWA ~ ' ; ' ~^—<^4]l STEREO |^j
2530438 2530358 2530475 First Recording in 's Ravel Cycle! BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA ^0 Music Director BOSTON TANGLEWOOD 1975 SYMPHONY ORCHESTRA
SEIJI OZAWA Mum D,r,cl*r W
3
Friday August 1 1975 GALINA VISHNEVSKAYA at 7pm Soprano Galina Vishnevskaya, a native of Len- ingrad, began performing on stage when she was sixteen, and a year later was invited to join the Leningrad Operetta Weekend Prelude Theatre. Soon after she won a compe- tition to join the Bolshoi Opera where GALINA VISHNEVSKAYA soprano she immediately became a leading so- MSTISLAV ROSTROPOVICH piano prano. She scored her first great suc- cess as Tatiana in Tchaikovsky's Eu- gene Onegin, and since that perfor- mance has triumphed in numerous leading operatic roles. It was for Galina MUSSORGSKY Vishnevskaya that Benjamin Britten wrote the soprano part in his War Where are You, Little Star? Requiem. Both Britten and Dmitri Shos- takovich have dedicated song cycles to Go to sleep and sleep my Peasant Son her. Just last year she sang the first performance of Shostakovich's Sym- Svetik Savishna (Darling Savishna) phony No. 14, subsequently recording the work with Rostropovich conducting. The recording has been awarded the Grand Prix du Disque, and Mme Vish- Two Folksongs (Transcribed by Serge Prokofiev) nevskaya was herself awarded the Lyric Zilonaya Roschitsa Prize. Galina Vishnevskaya made her Katerina American debut in 1960 with the Mos- cow State Symphony and returned the following season to appear with the Metropolitan Opera in A\'da and Ma- dame Butterfly. Since then she has been RACHMANINOFF heard in concert with the Moscow Phil- harmonic and in a series of recitals with her husband, Mstislav Rostropo- Do Not Sing Again vich, as her partner. She has been a guest Music, Opus 34, No. 8 artist in London's Royal Opera House, Covent Garden, the Vienna State Opera Spring Waters and Milan's La Scala. Mme Vishnev- skaya is a People's Artist of the U.S.S.R. and has been awarded the Order of Lenin, the highest award granted by the Soviet Union. Mstislav Rostropovich is playing the Baldwin Piano
Mstislav Rostropovich Conductor, piano
Mstislav Rostropovich was born in Baku, Azerbaijan on March 27 1927. His father was a cellist and his mother a pianist. At the age of four the young Rostropovich began to compose and to The Boston Symphony Orchestra records exclusively for Deutsche Grammophon play the piano. From the time he was BALDWIN PIANO / DEUTSCHE GRAMMOPHON & RCA RECORDS eight he studied cello with his father at the Children's Music School in Mos-
13 BROADCASTING SCHEDULE
The Friday evening concerts at Tanglewood will be broadcast live by:
WCRB-AM-FM Boston
(102.5 FM & 1330 AM)
WAMC-FM Albany (90.3)
WGBH-FM Boston (89.7)
WFCR-FM Amherst (88.5)
Galina Vishnevskaya Mstislav Rostropovich WMEH-FM Orono, Me. (90.9)
WMEA-FM Portland, Me. (90.1) cow. From there he entered the Moscow He made his conducting debut in this Conservatory where he studied cello and country earlier this year with the Na- composition under Dmitri Shostakovich. tional Symphony Orchestra in Wash- Rostropovich made his debut appear- ington, D.C. and will make his Ameri- ance at the age of thirteen in Slaviansk can operatic conducting debut with the The Saturday evening concerts and one year later performed in the San Francisco Opera in the fall. At will be broadcast live by: triple role of cellist, pianist and com- the present time Rostropovich is visiting poser at the Composer's Concert in Tanglewood as a Granrud Artist-in- Orenburg. As a young musician, he Residence at the Berkshire Music Center. WCRB-AM-FM Boston participated in three major international WGBH-FM Boston competitions where he received First Prize: Prague (where he was awarded WAMC-FM Albany First Prize twice) and Budapest. He WFCR-FM Amherst concertized outside the Soviet Union for the first time in 1947, and since Simon's WMEH-FM Orono, Me. that time has appeared in recital, and in with leading orchestras through- WMEA-FM Portland, Me. concert out the world. Rock Among the many honors bestowed upon Rostropovich are Honorary Mem- Early College berships in the Academy of St Cecilia The of Rome, the Academy of Arts and The Sunday afternoon concerts Sciences of the United States and the will be broadcast live by: Royal Academy of Music in England, as well as Honorary Degrees from Har- WGBH-FM (Boston) vard University, the Curtis Institute and the Universities of Hartford, Winnipeg WAMC-FM Albany and St Andrew's University in Scotland. WFCR-FM Amherst Mstislav Rostropovich has received a Gold Medal from the Royal Philhar- WMEH-FM Orono, Me. monic Society of Great Britain and he
is a Commander of Arts and Letters WMEA-FM Portland, Me. in France. In the U.S.S.R. he was awarded the Lenin Prize, the State Prize and —the highest honor in the Soviet Union—the People's Artist of the U.S. S.R. Among the many famous compo- For students who have completed grade Acoustic Research Speaker Sys- sers who have dedicated works to him 1 0, a four-year residential program of in- tems are used to monftor the ra- are Prokofiev, Shostakovich, Miaskov- terdisciplinary study in the liberal arts dio broadcasts of the Boston sky, Khachaturian, Kabalevsky, Sau- and sciences leading to the B.A. degree. Symphony Orchestra. ADS, guet, Piston, Bernstein and Britten. Ros- Analog & Digital Systems of tropovich gave the American premiere Cambridge, also provides of Benjamin Britten's Cello Concerto BRA UN high fidelity loudspeak- when he- made his debut with the Bos- ers for the monitoring and ton Symphony in 1965 —a memorable recording of concerts. Simon's Rock concert in which he also was soloist On the Alford Road, Great Barrington, Mass. in Haydn's Cello Con- performances of (413)528-0771 or 528-9535 certo in C and Dvorak's in B minor.
14 BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director
TANGLEWOOD 1975
Program Notes Friday August I 1975 at 9pm
Sergey Rachmaninoff 1873—1943 BOSTON SYMPHONY ORCHESTRA Caprice Bohemien op. 12 EDO DE WAART Program note by George Harper conductor It may often be true that 'the sins of the fathers are visited on the children,' but the case of Sergey Rachmaninoff argues RACHMANINOFF quite the opposite. Had Vasily Rach- maninoff not been a ne'er-do-well alto- gether too fond of gambling and high living, his son Sergey in all probability Caprice Bohemien op. 12 would not have studied music, but instead would have followed in his first performance by the Boston Symphony Orchestra father's bootsteps as an officer in the army of the Tsar. Although Sergey had shown a great deal of musical talent early in life —enough so that his parents MENDELSSOHN engaged for him an expensive tutor —his father dismissed any talk of a career for him other than in the military, insisting that this was the only appropriate voca- Violin Concerto in E minor op. 64 tion for the son of a gentleman. He was to Allegro molto appassionato be entered in the elite military college for Andante officers of the Imperial Guard. Fortu- nately, when the time came for Sergey to Allegro vivace molto be enrolled, the family fortunes had sunk so low that they were unable to send him. JOSEPH SILVERSTEIN In 1882 the last of the family estates was sold at auction and the entire family moved to St Petersburg. Vasily aban- doned his wife and children soon after INTERMISSION arriving. In this unsettled situation, Ser- gey's mother and tutor were able to advance their plans for his further musi- BEETHOVEN cal training, and an appointment to the St Petersburg Conservatory was obtained for him.
In 1 885 the twelve year old Sergey went Symphony No. 7 in A op. 92 to Moscow to further his studies. While enrolled at the Moscow Conservatory he Poco sostenuto - vivace came into association with Peter Ilyich Allegretto Tchaikovsky. The older musician took an Presto - assai meno presto - tempo primo immediate interest in the talented stu- Allegro con brio dent, and a close father-son relationship developed. This bond was of singular significance to Rachmaninoff's develop- ment as a musician. Many of his earlier compositions show the unmistakable in- fluence of Tchaikovsky's style. Tchai- This concert is made possible with support from the kovsky greatly admired him, furnishing Massachusetts Council on the Arts and Humanities him with ideas and encouragement, even going so far as to recommend him to the publishing house of Guthiel when he began to compose seriously. Understand- ably, Rachmaninoffs life was thrown The Boston Symphony Orchestra records exclusively for Deutsche Grammophon into turmoil by Tchaikovsky's untimely
BALDWIN PIANO / DEUTSCHE GRAMMOPHON & *RCA RECORDS death in late 1893. In a letter to his friend Mikhail Slonov
IB dating from July, 1894, Rachmaninoff Felix Mendelssohn 1809— 1847 The andante follows without break, mentions works then in progress: 'Before Violin Concerto in E minor op. 64 the violin taking the lead in the presenta- June 20 I wrote one other thing (or tion of the theme. The middle section is rather, sketched one) . . . This is a piece of an impassioned character, its agitation Program note by John N. Burk for orchestra alone, and will be called increased by a tremolo accompaniment "Capriccio on gypsy themes." This com- It was in 1844, three years before his which extends to the solo part itself. A position is already completed in my death, that Mendelssohn put the last short reprise leads, by way of a transi- head.' The work, Capriccio bohemien touches upon his Concerto for the Violin. tional allegretto, to the finale, allegro (Op. 12), was finished in August of the Such a work was an idea long cherished molto vivace. The violin again leads off same year. John Culshaw in his book by him, and dates back to the year 1823 with a scherzo-like theme, which it fol- Rachmaninoff: The Man and His Music when, a boy of fourteen, he made two at- lows with a constant sparkle of passage writes, 'Little need be said about the early tempts at the form. They figured among work and thematic iteration.
Capriccio bohemien . . . [which is] tech- the astonishing number of manuscripts nically immature and [reveals] far too which he neatly turned out from the age Ludwig Van Beethoven 1770—1827 much undigested Tchaikovsky.' Though of twelve —symphonies and operas in- it contains a certain amount of truth, this cluded —and for the most part never pub- Symphony No. 7 in A op. 92 criticism is not entirely fair. While the lished. Among the many accomplish- Program note by John N. Burk piece is not of Rachmaninoffs later ments of the young Felix were the violin standards, it certainly merits attention. and viola, although the piano remained Beethoven was long in the habit of The work lies in four sections, each of his chosen instrument. wintering in Vienna proper, and summer- which is based on the same theme. The The violinist proceeds at once with the ing in one or another outlying district, first calls for some virtuoso playing from songful main theme, to an accompani- where woods and meadows were close at the woodwinds. The short second section ment of the string orchestra. After a con- hand. Here the creation of music would assigns its particularly plaintive variant siderable amount of displayful passage closely occupy him, and the Seventh of the main theme to low strings. The work, the soloist yields first place to the Symphony is no exception. It was in the third passes the theme from solo clarinet orchestra, which makes its own exposi- summer of 1812 that the work was com- to flute to strings. The fourth section tion to a violin obbligato. The second pleted. Four years had elapsed since the begins with a Mahler-like passage for theme is intoned in soft harmonies by the Pastoral Symphony, but they were not cello and woodwinds, and develops a flutes and clarinets over a pedal G in the unproductive years, and the Eighth was delightful counter-theme which appears solo part. The development of the themes to follow close upon the Seventh, being first juxtaposed with, and later in con- is considerable, following conventional completed in October 1812. Beethoven at junction with, the final variant of the courses. The cadenza before the recapitu- that time had not yet undertaken the de- main theme. The work ends in a suitably lation is conspicuous in trills and arpeg- vastating cares of a guardianship, or the wild Bohemien dance. gios. lawsuits which were soon to harass him.
PHILIPS
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16 His deafness, although he still attempted nant, into the main body of the move- to conduct, allowed him to hear only the ment, where the characteristic rhythm, louder tones of an orchestra. He was not once released, holds its swift course, al- without friends. His fame was fast grow- most without cessation, until the end of ing, and his income was not inconsider- the movement. Where a modern compo- able, although it showed for little in the ser seeks rhythmic interest by rhythmic haphazard domestic arrangements of a variety and complexity, Beethoven keeps restless bachelor. strictly to his repetitious pattern, and
It would require more than a technical with no more than the spare orchestra of yardstick to measure the true proportions Mozart to work upon finds variety of the Seventh Symphony —the sense of through his inexhaustible invention. It is immensity which it conveys. Beethoven as if the rhythmic germ has taken hold seems to have built up this impression by of his imagination and, starting from the wilfully driving a single rhythmic figure merest fragment, expands and looms, sr-^ through each movement, until the music leaping through every part of the orches- attains (particularly in the body of the tra, touching a new magic of beauty at first movement, and in the Finale) a every unexpected turn. Wagner called the swift propulsion, an effect of cumulative symphony 'the Dance in its highest con- growth which is akin to extraordinary dition; the happiest realization of the size. The three preceding symphonies movements of the body in an ideal form.' BOSTON POPS have none of this quality —the slow If any other composer could impel an in- PENSION FUND movement of the Fourth, many parts of exorable rhythm, many times repeated, CONCERT the Pastoral are static by comparison. into a vast music —it was Wagner. Even the Fifth Symphony dwells in vio- In the Allegretto Beethoven withholds lent dramatic contrasts which are the his headlong, capricious mood. But the Tuesday August 5 antithesis of sustained, expansive mo- sense of motion continues in this, the at 8.30pm tion. Schubert's great Symphony in C most agile of his symphonic slow move- major, very different of course from Bee- ments (excepting the entirely different POPS-AT-TANGLEWOOD thoven's Seventh, makes a similar effect Allegretto of the Eighth). It is in A of grandeur by similar mean's in its minor, and subdued by comparison, but Finale. pivots no less upon its rhythmic motto, ARTHUR FIEDLER The long introduction (Beethoven had and when the music changes to A major, conductor not used one since his Fourth Symphony) the clarinets and bassoons setting their leads, by many repetitions on the domi- melody against triplets in the violins, MYRON ROMANUL the basses maintain the incessant rhythm. piano The third movement is marked simply
'presto', although it is a scherzo in effect. The whimsical Beethoven of the first a program including movement is still in evidence, with sud- Roxy Abrams den outbursts, and alternations of fortis- BERLIOZ simo and piano. The trio, which occurs was floating Rakoczi March, twice in the course of the movement, is from around entirely different in character from the 'The Damnation of Faust' light and graceful presto, although it Guatemala grows directly from a simple alternation GRIEG of two notes half a tone apart in the main one day . . . body of the movement. Thayer reports Piano Concerto in A Minor the refrain, on the authority of the Abbe and decided to try to sell some books Stadler, to have derived from a pilgrims' Medley of for publisher-friends David Silver- hymn familiar in Lower Austria. BURT BACHARACH stein and Gerry Hausman of the The Finale has been called typical in Tunes Bookstore Press here in Lenox. On the 'unbuttoned' (aufgeknopft) Beetho- her first call the proprietor of the ven. Grove finds in it, for the first time in Tribute to shop produced a book he claimed his music, 'a vein of rough, hard, per- LEROY ANDERSON had also come from 'Massachusetts sonal boisterousness, the same feeling U.S.A.' Sure enough, like the books Fiddle Faddle which inspired the strange jests, puns and Serenata she was trying to sell, it was printed nicknames which abound in his letters'. at the Studley Press. He placed a Bugler's Holiday Schumann calls it 'hitting all round' nice order with Roxy, and there are (schlagen um sich). 'The force that reigns now eight different titles on sale in throughout this movement is literally Guatemala that were printed by us. Tickets priced at prodigious, reminds and one of Carlyle's $4.50, $5.50, So, if you are a publisher or an $6, $7, hero Ram Dass, who had "fire enough in author with a book to be printed, $8, $8.50, $9, $10, $11 his belly to burn up the entire world." ' call us. We could go far together. Years ago the resemblance was noted be- tween the first subject of the Finale and Available now from Beethoven's accompaniment to the Irish FESTIVAL BOX OFFICE Studley Press air Nora Creina, which he was working TANGLEWOOD upon at this time for George Thomson LENOX MASS 01240 of Edinburgh. DALTON, MASSACHUSETTS TEL: (413)637-1600 Telephone (413)684-0441 The Boston Symphony Orchestra, con- New York Office: (212)533-3663 ducted by Erich Leinsdorf, has recorded Beethoven's Symphony No. 7 for RCA.
17 Boston Symphony and Tanglewood Souvenirs
The Music Store and the Edo de Waart Joseph Silverstein Office of the Friends of Mu-
sic at Tanglewood currently Edo de Waart studied at the Curtis Institute in Phila- Conductor delphia, and later with Josef Gingold have in supply some attrac- and Mischa Mischakoff. He was a prize Edo De Waart, Music Director of the tive souvenirs, the sales of winner in the 1959 Queen Elisabeth of Rotterdam Philharmonic and recently Belgium International Competition, and which benefit the Boston appointed Principal Guest Conductor a year later won the Naumberg Founda- of the San Francisco Symphony Orches- Symphony Orchestra and tion Award. Before coming to Boston tra, was born in Amsterdam in 1941. the Berkshire Music Center. he played in the orchestras of Houston, He started his conducting career while Denver and Philadelphia. Joseph Sil- Available are a Seiji Ozawa still an oboe player with the Concert- verstein has established an international gebouw Orchestra. In 1964 Edo de Waart jigsaw puzzle, Boston Sym- reputation as soloist and as first vio- won first prize at the Dimitri Mitro- linist of the Boston Symphony Chamber phony Orchestra gift wrap- poulos Competition and as a result Players. In 1967 he led their tour to the worked as assistant to Leonard Bern- ping paper and ceramic tiles, Soviet Union, Germany and England, in stein with the New York Philharmonic and a handsome Tangle- 1969 a tour to the Virgin Islands and during the 1965-1966 season. The same Florida. During past seasons he has per- wood poster designed by season he conducted at the Spoleto formed over 30 concertos with the Or- Festival. He returned to Holland in Catryna Ten Eyck. chestra, and has recorded those by Bar- 1966 to be assistant conductor of the tok and Stravinsky for RCA. Concertgebouw Orchestra. After one As violinist of the Boston Symphony year, at the age of twenty-six, he was Chamber Players Joseph Silverstein has appointed one of the two permanent made many recordings of chamber music conductors of the Rotterdam Philhar- for Deutsche Grammophon. Chairman monic. He made his debut in London of the Faculty of the Berkshire Music in 1968 conducting the Royal Philhar- Center at Tanglewood, he is also Ad- monic and since then has appeared with junct Professor of Music at Yale Uni- many of the world's major orchestras versity and Boston University. In addi- including the London Symphony, the tion he teaches privately. In 1970 he Scottish National, the Halle, the Chi- received an honorary Doctorate of Mu- cago Symphony, the Los Angeles Phil- sic from Tufts University. During the harmonic, the Pittsburgh Symphony and 1969-1970 season he made his debut as the Minnesota Orchestra. He has also conductor with the Boston Symphony conducted opera with the Netherlands and Boston Pops Orchestra. Opera and at the Santa Fe Opera Fes- tival. Edo de Waart made his first appearance with the Boston Symphony TANGLEWOOD NUT MEGGERS! at Tanglewood in July 1973. His most recent appearance with the Orchestra Dine Well was last February in a series of con- en route at certs in Boston and on tour. He re- Tanglewood cords for Philips Records. otis r^> (grouse Boston Symphony Orchestra Joseph Silverstein (House Violinist an un-city informal Joseph Silverstein, assistant conductor Country Inn of the Boston Symphony Orchestra since the beginning of the 1971-1972 FQOD.DRINK season and concertmaster since 1962, LODGING
TORfilNGTON 29 joined the Orchestra in 1955. He was , WATERBURY 48 ROUTE 23, OTIS NEW HAVEN 72 then, at the age of twenty-three, the NEW YORK 122 (413) 269-4446 youngest member. Born in Detroit, he
18 BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director
TANGLEWOOD 1975 Program Notes
Giuseppe Verdi 1813—1901 Requiem Mass for Four Solo Voices, Chorus and Orchestra
Program note by John N. Burk Saturday August 2 1975 at 8.30pm In 1873, having reached the age of sixty, Verdi contemplated a quiet and with-
drawn life. He had gathered fame and wealth with twenty-six operas, of which BOSTON SYMPHONY ORCHESTRA the latest Aida (1871), seemed at the MSTISLAV ROSTROPOVICH time his last word in the form, and those operas, aside from the labor of writing conductor them, had entailed no end of bothersome negotiation with publishers, impresarios, singers and, not least, censors. His pri- vate letters show that he was not an in- VERDI wardly peaceful man at the time. He was much annoyed by the theorizing of critics, who held up the spectre of Wag- ner and made him out to be an imitator Requiem Mass for Four Solo Voices, of northern ways. He found, by contrast, Chorus and Orchestra much content in the tranquil home life of his villa, Sant' Agata, near Busseto, with Requiem and Kyrie his dogs, his horses, his flower beds and Dies irae grape culture. However, destiny held for him twenty-eight more years of excellent health, and in those years he was to be moved to compose on his own initiative INTERMISSION and not by commission three prodigious works. Each was to be richly wrought, each a bold advance on anything he had done. They were his first venture into re- ligious music, the Requiem mass of 1874, Offertorium: Domine Jesu Christe and his two remarkable settings from Sanctus Shakespeare: Otello (1887) and Falstaff Agnus Dei (1893). It was with great suddenness, on Lux aeterna the death of a friend, that he undertook Libera me the first of these new paths. Alessandro Manzoni, master of prose and poetry, agitator for the unification of soprano GALINA VISHNEVSKY YA the Italian people, died in Milan on May LILI contralto CHOOKASIAN 22 1873 at the age of eighty-eight. Verdi tenor SETH McCOY confided to Giulio Ricordi in a letter the EZIO FLAGELLO bass next day: 'I am profoundly grieved at the TANGLEWOOD FESTIVAL CHORUS John Oliver conductor death of our Great One. But I shall not
go to Milan tomorrow. I could not bear
to attend his funeral. However, I shall come soon, to visit the grave, alone, un- seen, and perhaps (after more reflection
and after I have taken stock of my strength) —to propose a way to honor his This concert is made possible with support from the memory.' Massachusetts Council on the Arts and Humanities He did visit the grave, in complete secrecy, for he could not face public dem- onstrations, and within a fortnight acted upon the 'reflection' thus cautiously men- tioned to his publisher's son. He wrote to the Mayor of Milan, offering to compose The Boston Symphony Orchestra records exclusively for Deutsche Grammophon a requiem mass to be performed there on the anniversary of the poet's death. Need- BALDWIN PIANO / DEUTSCHE GRAMMOPHON & *RCA RECORDS less to say, the gratuitous offer by the
19 composer whose Aida was less than two was also no churchman; and who treated years old was eagerly accepted. Verdi the same subject as an artist, a depictor. worked on his score, both at Sant' Agata Verdi calls upon his utmost dramatic 1975 FESTIVAL OF and in Paris, and was ready with it within resources and paints a terrible picture, CONTEMPORARY MUSIC the appointed time. in which countless souls cry in fearful The work is often called the 'Manzoni suspense, not 'Salvaeum', but 'salvame', Requiem' as if it were simply a personal or at last 'Libra me!'
presented in association with tribute. Manzoni, in Verdi's mind, was While listening to the music, it is easy the Fromm Music Foundation far more than a friend. He had been the to understand why Verdi was tempted at Harvard most illustrious spokesman in the risorgi- by this mightiest of all subjects, reaching mento —the ideal of the nationalist move- the greatest emotional intensity, the ment for many years. He had written his greatest opportunity for contrast be- revolutionary drama Conte di Carmag- tween the awesome and the beatific. He August 10 8.30pm Theatre nola as early as 1820. On the death of had vast performing forces at his dis- Napoleon Bonaparte, he wrote the ode // posal, and was unhampered by such OLIVIER MESSIAEN, cinque Maggio (1822). His novel of troublesome operatic matters as exposi- YVONNE LORWD, pianists seventeenth-century Milan, / promessi Judith Nicosia, soprano tory dialogue, prima donna protocol, MESSIAEN sposi (1827), was considered a model of or getting a chorus on and off. His Italian prose in the romantic manner. He score could maintain a high tension. It Poemes pour Mi (1936) took part in the revolt of Milan in 1848, became close-knit, compact, unencum- Visions de I'Amen (1943) and later served the Italian cause, al- bered. He took advantage of his freedom
though on his death he had long since and poured into it everything he had and August 11 8.30pm Theatre retired from writing or real political par- knew, obviously welcoming the oppor- ticipation. When Victor Emmanuel had tunity to build up a great ensemble FELLOWS OF THE formed the Italian Parliament in at will. BERKSHIRE MUSIC CENTER 1860, Verdi had become a deputy in the Still, his ingrained operatic manner Beverly Morgan, struggle to free his home territory from became the basis of each number. The mezzo-soprano Austrian domination, and Manzoni had Verdi melody remains in the ascendancy TIBOR PUSZTAI sat as Senator to the Kingdom. and is heard throughout; we meet the Woodwind Quintet (1975)* familiar likeness of solo airs with their JOYCE MEKEEL But the inception of the Requiem goes characteristic final cadences; Verdian Serena (1975)* back to a date earlier than the death of duets, trios, quartets; the kind of en- ERNST KRENEK Manzoni. Verdi had been likewise moved sembles with chorus or choral interjec- Austrian Travelbook by the death of Rossini, in 1868. He (excerpts) tions also encountered in the operas. (1929) wrote at the time to the Contessa Maf- (in honor of the composer's In each case, in the heat of his subject, fei: 'Rossini's reputation was the most 75th birthday) the score grows lavish in episode the widespread and the most popular of our — MARC ANTONIO CONSOLI dawning symphonic Verdi emerges. The it of the glories of Italy. Music for Chambers times; was one counterpoint becomes imposingly rich. ANESTIS LOGOTHETIS When the other like unto it (Manzoni) The orchestra becomes more prominent, Odyssey (graphic score)** exists no longer, what will remain to us?' more brilliant than in any opera pre- He soon made a proposition that a vious to Otello (which was to follow), requiem be composed jointly by thirteen its color more varied, while never cover- composers (including himself), each to August 12 8.30pm Theatre ing the voices. If, as someone has said, contribute a movement. The project, this is Verdi's 'sacred opera', it could which would surely have been hopelessly FELLOWS OF THE also be said that not one of the operas BERKSHIRE MUSIC CENTER miscellaneous, fell through, but the final can equal it musically speaking in wealth THEODORE ANTONIOU Libera me, which he actually composed, of invention, complexity of development, conductor undoubtedly lingered in his thoughts as sustained, constantly renewed excite- Suzanne Cheetham a path to be pursued. ment. As Camille Bellaique wrote in his pianist Since no dramatic situation was ever biography of the composer: 'This Re- Daisy Newman, soprano imagined by man more tremendous than Roberta Cobos, soprano quiem is not a work of mysticism, but the Last Judgment, it is hardly sur- of action.' SHULAMIT RAN prising that he was fired by this one. Ensembles 17 for (1975)]] Either because his Latin was not all OLIVIER MESSIAEN that it might have been or because he Oiseaux Exotiques (1955) wanted to feel the full force of every LUCIANO BERIO -'*i:k& word, he provided himself with an Ital- P Folksongs (1965) EARLE BROWN ian translation while working on his Synergy II (1967-68) score. As a church service, the Requiem (Earl Brown and Theodore is based upon the belief that the soul A Very Special Toy Shop Antoniou, conductors) of one who has died may be saved by
intercession. Without this belief it is Pinatas
hardly a memorial service. Needless to Dolls - both antique and new
say, there is nothing retrospective about Dollhouses - custom made the Day of Wrath, which is still to come, Accessories / * first performance Miniatures and awaits us all. Its multitudes, as con- ** first American performance Toys - handmade by local & European craftsmen veyed to us by the composer, seem too ] first performance; commissioned by the Violins Berkshire Music Center in cooperation numerous for singling out. We, as des- Children's Art Gallery with the Fromm Music Foundation at tined participants, are no less concerned Open Daily Harvard than Alessandro Manzoni or any indi- ft commissioned by the Fromm Music Gladys Flower vidual in its awe, its terrors, its sup- Foundation at Harvard plications. Verdi is unsparing—as un- Pine & Shamrock Streets • Stockbridge, Mass. sparing as his predecessor, Berlioz, who
20 !
REQUIEM AND KYRIE Mors stupebit et natura Cum resurget creatura Over muted strings the Requiem is Judicanti responsura. softly intoned by the chorus. Te decet 1975 FESTIVAL OF hymnus draws the parts into a texture. Death and Nature shall be astounded CONTEMPORARY MUSIC The music becomes more animated and when the creature shall rise again to openly dramatic as the tenor solo intro- answer to the Judge. duces the Kyrie, the bass the Christe eleison. The chorus and quartet develop August 13 8.30pm Theatre The mezzo-soprano in tones still awed, it. The appeal for mercy is, of course, immutable judge, with pianis- the keynote of the entire work. sings of the FELLOWS OF THE simo interjections of Dies irae by the BERKSHIRE MUSIC CENTER Requiem aeternam dona eis Domine: chorus, until the Dies irae in full power Sanford Sylvan, baritone et lux perpetua luceat eis. Te decet returns. OLIVER KNUSSEN Deus, in Sion, et tibi reddetur hymnus, Trumpets (1975)** votum in Jerusalem. Exaudi orationem Liber scriptus proferetur DONALD HARRIS In quo totum continetur meam: ad te omnis caro veniet. Lucius II (1973) Unde mundus judicetur. SCHULLER Grant them eternal rest, O Lord: and GUNTHER Symphony for Brass & Percussion let everlasting light shine on them. To A written book shall be brought forth (1949) thee, O God, praise is meet in Sion, in which shall be contained all for PRESTON TROMBLY and unto thee shall the vow be per- judged. which the world shall be chamber Concerto for piano with formed in Jerusalem. Hearken unto my ten instruments & percussion^ Judex ergo cum sedebit prayer: unto thee shall all flesh come. THEODORE ANTONIOU Quidquid latet apparebit: Chorochronos II Nil inultum remanebit. Kyrie eleison. And therefore when the judge shall sit, Christe eleison: August 14 8.30pm Theatre whatsoever is hidden shall be manifest; Kyrie eleison. and naught shall remain unavenged. BERKSHIRE MUSIC CENTER Lord, have mercy on us: Dies irae, dies ilia ORCHESTRA Christ, have mercy on us: Solvet saeclum in favilla GUNTHER SCHULLER Lord, have mercy upon us. conductor Teste David cum Sibylla. AARON COPLAND DIES IRAE The day of wrath, that day shall dis- Connotations for Orchestra (1962) solve the world in ashes, as witnesseth (in honor of the composer's The thunders of the Day of Wrath David and the Sibyl. 75th birthday) are suddenly released by the full orches- OLIVIER MESSIAEN tra and shouting chorus. 'A composi- The Quid sum miser follows to an ac- {'Ascension (1932) at once sinuous and omi- STEPHEN ALBERT tion,' Dyneley Hussey calls it, 'of Michel- companiment Voices within (1975)* nous, by the bassoon. It begins as an angelesque grandeur, power, and terri- PIERRE BOULEZ aria-like melody for the mezzo-soprano bilita.' the subsides, it As music becomes Rituel (1975)** and becomes a trio, in which soprano even more fearful. The whispered warn- (In memoriam: Bruno Maderna) tenor join. ing of the chorus Quantus tremor is and followed by the voices of unearthly Quid sum miser tunc dicturus, trumpets, at first as if from a distance, August 15 7pm Shed Quern patronum rogaturus, entering in pairs until they make a great Cum vix Justus sit securus? fanfare and build with the chorus BERKSHIRE FESTIVAL to a PRELUDE CONCERT new trememdous climax. This is sud- What shall I say in my misery? Whom denly broken off, and the bass solo in shall I ask to be my advocate, when YVONNE LORIOD ghostly tones over pizzicato chords, scarcely the righteous may be without piano JOSEPH SILVERSTEIN begins Mors stupebit as if death itself fear? violin were stunned. The Rex tremendae majestatis is as JULES ESKIN cello Dies irae, dies ilia imposing as its words, and brings from HAROLD WRIGHT Solvet saeclum in favilla both the choral and solo singers the clarinet Teste David cum Sibylla. pleading and anguished interjections, OLIVIER MESSIAEN "Salva me." The day of wrath, that day shall dis- Quatour pour la fin du temps (1941) solve the world in ashes, as witnesseth Rex tremendae majestis David and the Sibyl. Qui salvandos salvas gratis; August 16 8.30pm Shed Salva me, fons pietatis. Quantus tremor est futurus Quando judex est venturus King of awful majesty, who freely savest BERKSHIRE FESTIVAL Cuncta stride discussurus! the redeemed; save me, O fount of CONCERT mercy. BOSTON SYMPHONY What trembling shall there be when ORCHESTRA the Judge shall come who shall thresh The Recordare is a tender prayer to SEIJI OZAWA, conductor YVONNE LORIOD out all thoroughly Jesus, a duet for the soprano and mezzo. piano Tuba, mirum spargens sonum Recordare, Jesu pie, JEANNE LORIOD Per sepulcra regionum, Quod sum causa tuae viae ondes Martenot Coget omnes ante thronum. Ne me perdas ilia die. OLIVIER MESSIAEN Turangalila- Symphonie (1 949) The trumpet, scattering a wondrous Remember, merciful Jesus, that I am sound through the tombs of all lands, the cause of thy journey, lest thou lose shall drive all unto the Throne. me in that day.
21 Quaerens me sedisti lassus; thou, good Lord, show mercy, lest I Redemisti crucem passus. burn in everlasting fire. Tantus labor non sit cassus. Inter oves locum praesta Seeking me didst thou sit weary: thou Et ab haedis me sequestra, didst redeem me, suffering the cross: Statuens in parte dextra. let not such labor be frustrated. TANGLEWOOD Give me place among thy sheep and TALKS & WALKS Juste Judex ultionis put me apart from the goats, setting Donum fac remissionis me on the right hand. Ante diem rationis.
just judge of vengeance, give the The bass breaks in with the stern A fascinating series of Thursday gift of remission before the day of warning Confutatis maledictis. The mu- lecture-luncheons at noon in the reckoning. sic continues to inspire terror, and leads Tanglewood Tent, followed by a directly into a return of the choral out- special guided tour of Tangle- The tenor's aria, another plea for burst 'Dies irae'. wood. Guest speakers include the mercy, is marked 'dolce con calma', musicians, conductors and staff of Confutatis maledictis but it is not free of anguish. the Boston Symphony Orchestra Flammis acribus addictis, and Berkshire Music Center. Bring Ingemisco tanquam reus: Voca me cum benedictis. a lunch —we'll provide liquid re- Culpa rubet vultus meus. When the damned are confounded and freshments. Please call the Tangle- Supplicanti parce, Deus. devoted to sharp flames, call thou me wood Friends Office at 413/637- 1 groan as one guilty; my face blushes with the blessed. 1600 for reservations. at my sin. Spare, O God, me, thy suppliant. Oro supplex et acclinis, Cor contritum quasi cinis, Qui absolvisti Mariam Gere curam mei finis. Et latronem exaudisti, / pray, kneeling in supplication, a heart Mihi quoque spem dedisti. contrite as ashes, take thou mine end Thou who didst absolve Mary, and unto thy care. didst hear the thiefs prayer, hast given August 7 hope to me also. Dies irae, dies ilia, INCREDIBLE Solvet saeclum in favilla, Preces meae non sunt dignae, STRING QUARTET Teste David cum Sibylla. Sed tu bonus fac benigne, Joseph Hearm,bass The day of wrath, that day shall dis- Ne perenni cremer igne. Robert Olsen, bass solve the world in ashes, as witnesseth John Salkowski, bass My prayers are not worthy, but do David and the Sibyl. Lawrence Wolfe, bass
The Lacrimosa is a sort of appen- dage, a pathetic melody, introduced, largo, by the mezzo-soprano, to which the other solo voices and the chorus 1771 are added, a new and fine complex of voices and orchestra. The music sub- was a good sides and ends with a prayer for peace August 21 and returns to the souls awaiting judg- WILLIAM MOYER ment. Personnel Manager year for our Lacrimosa dies ilia Boston Symphony Orchestra Qua resurget ex favilla Lobster Pie. Judicandus homo reus. Lamentable is that day on which guilty man shall arise from the ashes to be This year it's judged. Huic ergo parce, Deus, Pie Jesu Domine: even better. Dona eis requiem. Amen.
Spare then this one, O God, merciful 1771 Lord Jesu: give them peace. Amen. LUNCHEON 12.15 TALK 1.00 WALK 1.30 OFFERTORIUM Over a figure for the cellos the mezzo and tenor sing the phrase which the bass also takes up. The soprano enters Friends of Music at Tanglewood alone on a sustained note to address Lenox, Massachusetts 01240 the 'standard bearer, Saint Michael', (413)637-1600 in behalf of the dead. The chorus which has been silent, Publick House remains so through the Hostias, begun 3*173313 On the Common-Sturbridge.Mass.- (617) by the tenor and developed by the quar- Exit9Mass.Tpkc.orExit3 from I 86. tet. The movement dies away on high tremolo strings.
22 Domine Jesu Christe, Rex gloriae, libera LUX AETERNA endi sunt et terra; dum veneris judi- animas omnium fidelium defunctorum Over tremolo strings, pianissimo, a care saeculum per ignem. de poenis inferni et de profundo lacu; trio (mezzo, tenor and bass) sing this Deliver me, O Lord, from eternal death libera eas de ore leonis, ne absorbeat quasi-liturgical number. The prayer for in that awful day when the heavens eas Tartarus, ne cadant in obscurum. light becomes a requiem, as at the and the earth shall be moved: when Sed signifer sanctus Michael reprasentet beginning. thou shalt come to judge the world eas in lucem sanctam: quam olim Abra- eis, Domine, by fire. hae promisiste et semini ejus. Lux aeterna luceat cum Sanctis tuis in aeternum, quia pius es. Tremens factus sum et timeo, dum O Lord, Jesu Christ, King of glory, Let everlasting light shine on them, discussio venerit atque ventura ira, quan- deliver the souls of all the departed Lord, with thy saints for ever; for do coeli movendi sunt et terra. faithful from the torments of hell and O thou art merciful. from the bottomless pit; deliver them / am become trembling, and I fear the from the mouth of the lion; lest Tar- time when the trial shall approach and Requiem aeternam dona eis, Domine, tarus swallow (hem; lest they fall into the wrath to come; when the heavens et lux perpetua luceat eis. the darkness. But let Saint Michael the and the earth shall be moved. standardbearer bring them forth into Grant to the departed eternal rest, O Dies irae, dies ilia calamitatis et mis- the holy light: which thou didst once Lord: and let everlasting light shine eriae, dies magna et amara valde. promise unto Abraham and his seed. on them.
day wrath, that day calamity Hostias et preces tibi, Domine, laudis A of of LIBERA ME woe, bitter indeed. offerimus. Tu suscipe pro animabus and a great day and The Libera me is not a part of the illis quarum hodie memoriam facimus. Requiem aeternam dona eis, Domine, in church ser- Fac eas, Domine, de morte transire ad Mass for the Dead the et lux perpetua luceat eis. vitam: quam olim Abrahae promisisti vice, but a separate liturgy. It here serves, musically speaking, as a sort et semini ejus. Grant them, O Lord, eternal rest, and of reprise of the initial Requiem and may light everlasting shine upon them. To thee, O Lord, we render our offer- Agnus Dei material. The soprano begins ings and prayers with praise. Do thou the liturgy in an unmeasured chant. The
receive them for those souls which we chorus takes it up. Chorus and soloists The Boston Symphony Orchestra, con- commemorate today. Make them; O combine in their plea to be freed, the ducted by Erich Leinsdorf has recorded Lord, pass from death unto life: which soprano standing out from the rest in the Requiem for RCA. Vocal parts are thou didst once promise unto Abraham sotto voce tones: 'Tremens factus sum.' sung by Birgit Nilsson, Lili Chookasian, and his seed. Libera me, Domine, de morte aeterna Carlo Bergonzi, Ezio Flagello and the in die ilia tremenda quando coeli mov- Chorus Pro Musica. SANCTUS
The Sanctus is again an onslaught, an assertion of power introduced by trumpets, developing to mighty ends as a fugue for double chorus. This by The best advice exception is music of praise rather than terror. you'll ever get Sanctus, sanctus, sanctus, Domine Deus Sabaoth. Pleni sunt coeli et terra gloria about how to buy tua. Hosanna in excelsis. system Holy, holy, holy, Lord God of Sabaoth. a music Heaven and earth are full of thy glory. Hosanna in the highest. It's mostly common sense. Benedictus qui venit in nomine Domini. A music system can cost you a lot of money Hosanna in excelsis. and practically every dealer will recommend Blessed is he that cometh in the name of the Lord. Hosanna in the highest. a different system for what you have to spend. I So listen to a lot of them before you buy. AGNUS DEI Go to any place you can think of The Agnus Dei like the Lux aeterna
that follows is a prayer for the dead. then come to AUDIO DESIGN The Agnus Dei resembles a chant, the or come to AUDIO DESIGN FIRST, it doesn't matter suggestion underlined by its uncompro- mising treatment, at first in octave uni- then take the best deal. son by the two sopranos unaccompanied, May the best store win. then similarly by the chorus and orches- tra with little embellishment of added Audio Design, Inc. parts.
Agnus Dei qui tollis peccata mundi; 2 South St. dona eis requiem. Agnus Dei qui tollis Berkshire Common peccata mundi; dona eis requiem sem- piternam. Pittsfield
Lamb of God, that takest away the 413-499-4711
sins of the world: give them rest, . . . give them eternal rest.
23 N-
Lili Chookasian Seth McCoy Ezio Flagello John Oliver
Lili Chookasian tival. His professional career began when Alfonso in Lucrezia Borgia. He has Contralto he was chosen to be soloist with the also sung at the Vienna Staatsoper and Robert Shaw Chorale. During the eleven the Deutsche Oper in Berlin. His many Lili Chookasian first came to promi- years since, Seth McCoy has appeared recordings are on the RCA, London, Co- nence when she appeared with the Chi- with most of the leading American Or- lumbia, Deutsche Grammophon, Scope, cago Symphony under Bruno Walter's chestras, among them the Symphonies Internos and Delphia labels. direction. She was immediately re- of Chicago, Cincinnati, Detroit, Wash- engaged for a performance of Mahler's ington, Toronto, Atlanta and Baltimore, Symphony No. 2, and shortly after- as well as the Philadelphia, Cleveland Tanglewood Festival Chorus wards made her operatic debut in Little and Minnesota Orchestras. He was cho- John Oliver, Conductor Rock, Arkansas, as Adalgisa. After hear- sen to appear during the inaugural week ing a tape of the Norma performance of the Kennedy Center for the Perform- The Tanglewood Festival Chorus spon- Thomas Schippers engaged her for the ing Arts in Washington, and has sung at sored under the joint auspices of the Festival of Two Worlds at Spoleto and many festivals, including Grant Park, Berkshire Music Center and Boston Uni- for appearances with the New York Saratoga, Ravinia, Blossom, Wolf Trap, versity, was formed in 1970. John Oliver, Philharmonic. The following year, 1962, is director Aspen, Marlboro and the Bach Festi- who of choral and vocal ac- Lili Chookasian made her debut at the tivities for val at Baldwin Wallace College. During Tanglewood, a member of Metropolitan in La Gioconda. the recent seasons he has sung with the faculty of MIT, and director of the Since that time she has appeared regu- Philadelphia Orchestra, the San Fran- MIT Glee Club and Choral Society, has larly at the Metropolitan in new and cisco Symphony, the Ottawa Symphony, been director of the Festival Chorus classic operas, The Last Savage, Eu- the Minnesota Symphony, the Atlanta since its foundation. Members of its A'i'da, chorus, gene Onegin, Falsi off, Trovatore, Symphony and the Pittsburgh Sym- who come from the Greater Peter Grimes, Hollander, area all walks Der fliegende, phony, and has given recitals in many Boston and from of Siegfried, and Gbtierd'dmmerung to life, rehearse throughout the year. They parts of the United States. He also is a name a few. This season she appeared permanent member of the Bach Aria made their debut in 1970 at Symphony in the Metropolitan's production of the Group. Seth McCoy's large repertoire Hall in a performance of Beethoven's complete Ring cycle. She has also per- ranges from Handel and Bach to Bar- Ninth Symphony, conducted by Leonard formed with the New York City Opera ber and Penderecki. He has recorded on Bernstein, and have since taken part in performances directed by William Stein- the title role in The Medium. She sings the RCA label. recitals in all parts of the United States, berg, Seiji Ozawa, Eugene Ormandy, and has appeared with many of the Colin Davis, Arthur Fiedler and Mi- world's leading orchestras, the Phila- chael Tilson Thomas. Among the many Ezio Flagello delphia Orchestra, the Los Angeles Phil- works they have sung are Mahler's Sym- Bass harmonic, the San Francisco Symphony phony No. 8, Berlioz' Grande messe and the Toronto Symphony among Ezio Flagello, leading bass of the Metro- des morts and La Damnation de Faust, them. During recent seasons she has politan Opera, appeared most recently Haydn's Lord Nelson Mass, The Sea- sung in Rio de Janeiro and Buenos with the Boston Symphony here at sons and The Creation, Verdi's Requiem, Aires, at the Robin Hood Dell, and at Tanglewood in August of 1973 in a per- Tchaikovsky's Eugene Onegin, Schoen- the Ravinia, Gulbenkian (Portugal), formance of the Verdi Requiem. A na- berg's Gurrelieder, Ravel's L'Enfant et Bayreuth and Salzburg Eastern Festi- tive of New York, he studied with Fried- les Sortileges and Daphnis et Chole' and vals, as well as with the San Francisco rich Schorr at the Manhattan School, Bach's Magnificat in D. and Metropolitan Opera companies. Lili and later went to Italy, where he was Chookasian has sung with the Boston engaged by the Teatro dell' Opera in Symphony on many occasions. Her most Rome. He made his debut at the Metro- recent appearance with the Orchestra politan in 1957, and since that time has COMING EVENTS was here at Tanglewood last summer in sung more than thirty leading roles with AT TANGLEWOOD a performance of Schoenberg's Gurre- the Company. Meanwhile he has ap- lieder. Miss Chookasian's recordings are peared with many other opera companies on the Columbia and Deutsche Gram- and orchestras, among them the San Details of next week's concerts by the mophon labels. Francisco Opera, the Philadelphia Lyric, Boston Symphony Orchestra, and of the Berkshire Music Center events open to the Dallas Civic, the Houston , Grand the public, are included on a special infor- Seth McCoy Opera Association, the Opera Guild mation sheet, which is available at the Tenor of Miami, and the symphony orches- tras of New York, Philadelphia, Chi- entrances to the Tanglewood grounds. Seth McCoy, a native of Greensboro, cago, Cleveland, Los Angeles and Ber- North Carolina, made his Boston Sym- lin. In 1970 Ezio Flagello made his phony debut at the 1972 Berkshire Fes- debut at La Scala, Milan, singing Don
24 BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director
TANGLEWOOD 1975
Sunday August 3 1975 at 2.30pm
Program Notes BOSTON SYMPHONY ORCHESTRA EDO DE WAART conductor Charles Ives 1874—1954 'Washington's Birthday'
Program note by Harry Neville IVES Washington's Birthday is one of four pieces written between 1904 and 1913 Birthday Washington's which Ives assembled into a set that has first performance at the Berkshire Music Festival acquired various titles. A Symphony: Holidays, Holidays Symphony and New England Holidays are among them, and HAYDN Ives himself labelled the folder into which he placed the scores '4 N.E. Holi- days.' He also described the works as Symphony No. 88 in G 'Recollections of a boy's holidays in a Connecticut country town,' adding, with characteristic disdain of artistic stric- tures, that the movements 'may be played Allegro as separate pieces' or 'lumped together Largo as a symphony.' But aside from its or- Menuetto & trio chestral medium and four-movement Allegro con spirito form the set has nothing in common with the traditional symphony. The movements stand as separate entities, a series of tone poems related to each INTERMISSION other only by the fact that each de- scribes a holiday that has —or, more accurately, once had —special signifi- BERLIOZ cance in New England. The holidays Ives chose to describe are Washington's Birthday, Decoration Symphonie fantastique op. 14a Day, the Fourth of July and Thanks- giving, and the montage-like technique Day dreams; passions he used to depict these events is by now Largo -allegro agitato e appassionato assai the most familar ingredient of Ive's style: a bewilderingly complex and free-swing- A ball ing harmonic, contrapuntal and metrical Waltz: allegro non troppo inventiveness which is combined or con- trasted with elements —sometimes musi- Scene in the fields cal quotations —of a rugged, homespun Adagio nature. Washington's Birthday, com- posed in rescored in March to the scaffold 1909 and 1913, provides an exceptionally lively example Allegretto non troppo in its barn dance episode, where the Dream of a witches' sabbath piling-on of one melody after another results in a brilliantly compressed, ka- Larghetto - allegro leidoscopic impression of the event.
Despite its title, Washington's Birth- This concert is made possible with support from the day could be an evocation of almost any Massachusetts Council on the Arts and Humanities wintry day in the New England country- side at the turn of the century. Here is the composer's own descriptive com- The Boston Symphony Orchestra records exclusively for Deutsche Grammophon ment: 'Cold and Solitude,' says Thoreau, BALDWIN PIANO / DEUTSCHE GRAMMOPHON & *RCA RECORDS 'are friends of mine. Now is the time
25 before the wind rises to go forth and the device of a silver lyre on a sky- seats. Marie Antoinette and the Lords see the snow on the trees.' blue ground. The concerts succeeded and Ladies of her court attended in
'And there is at times, a bleakness, those of the Concert des Amateurs, numbers. Toilettes of the utmost ela- without stir but penetrating, in a New which, founded in 1769, ceased in 1781. boration were formally required, and England mid-winter, which settles down The performances of the Concert de la the musicians wore brocaded coats, full grimly when the day closes over the Loge Olympique were given from 1786 lace ruffles, swords at their sides, and broken-hills. In such a scene it is as in the Salle des Gardes of the Palace plumed hats which they were allowed though nature would but could not of the Tuileries. In the personnel ama- to place beside them on the benches easily trace a certain beauty in the som- teurs were mingled with professionals, while they played. When the drums of bre landscape! —in the quiet but rest- but it is probable that the amateur the French Revolution sounded in Paris less monotony! Would nature reflect the players v/ere more rigorously selected in 1789, the Concert de la Loge Olym- sternness of the Puritan fibre or the than the players of the Concert des pique came to a sudden end. self-sacrificing part of his ideals. Amateurs, which had as many as sixty The Adagio introduction, with its string players in its ranks. At the con- short but full-sounding chords, brings 'The older folks sit certs of the Loge Olympique, Giovanni in complete contrast the sprightly open- "the clean winged hearth about Battista Viotti, the eminent violinist and ing subject, stated softly by the strings. Shut in from all the world without accompanist to the Queen of France, The second subject, chromatic and suave, Content to let the north-wind roar stepped in as leader. The orchestra was duly comes in in the dominant D major. In baffled rage at pane and door" placed on an especially erected stage in The composer begins his development (Whittier) the Salle des Gardes, and the audience with light play upon a rippling string
took its place in surrounding tiers of figure which has accompanied the first 'But to the younger generation, a winter holiday means action! —and down through 'Swamp hollow' and over the hill-road they go, afoot or in sleighs, through the drifting snow, to the barn MANHATTAN dance at the Centre. The village band SCHOOL OF MUSIC of fiddles, fife and horn keep up an un- ending 'breakdown' medley and the George Schick, President young folks 'salute their partners and .balance corners' till midnight; —as the STRING FACULTY party breaks up, the sentimental songs of those days are sung half in fun, half VIOLIN: seriously and with the inevitable 'adieu Samuel Applebaum to the ladies' the 'social' gives way to Stanley Bednar the grey bleakness of the February night.' Ariana Bronne Raphael Bronstein Erik Friedman Franz Joseph Haydn 1732 — 1809 Symphony No. 88 in G Carroll Glenn Jaime Laredo Program note adapted from the notes Rachmael Weinstock John N. Burk of Paul Zukofsky The name of Haydn first became emi- VIOLA: nent in Paris when his Stabat Mater Lillian Fuchs was performed there at a Concert Spiri- Julius Shaier tuel in 1781. Purely instrumental music VIOLONCELLO: until then took a subservient place in the general estimation as compared with Ardyth Alton opera or choral music. Yet symphonies Evangeline Benedetti of Haydn, performed at the Concert Jacob Bernstein Spirituel, and published in the French Bernard Greenhouse capital, were enthusiastically received. Heinrich Joachim approached at Esterhazy Haydn was David Wells in 1786 by the Concert de la Loge Olympique, a rival organization, which DOUBLE BASS: was often patronized by Queen Marie Alvin Brehm symphonies. Antoinette, for a series of Orin O'Brien These were duly forthcoming. The Sym- David Walter phony in G, although not one of the six written for this society, was com- posed in the year 1787 for the violinist Johann Peter Tost, who brought it (and the Symphony No. 89) to Paris for per- formance in that city. The Concert de la Loge Olympique was a highly fashionable and decidedly For information concerning admission exclusive institution. It was affiliated and scholarships, write to: with freemasonry, and its subscribers, admitted only after solemn examination MANHATTAN SCHOOL OF MUSIC and ritual, gained admission to the con- 749-2802 certs by paying two louis d'or a year, 120 Claremont Ave., N.Y., N.Y. 10027 (212) and wearing as a badge of admission
26 —
statement for full orchestra of the main in music, nor its first part as a 'Faust' subject. This figure, leaping about from symphony. In 1830 Berlioz had never key to key, sometimes in the minor, talked to Miss Smithson. He was what appearing in each part of the orchestra, would now be called a 'fan' of the fa- gracefully setting off the theme itself, mous Irish actress, for she scarcely knew becomes the principle fabric of the de- of the existence of the obscure and per- velopment. The Largo, in D major, de- haps crazy young French composer who velops from a graceful and songful did not even speak her language. Her theme which brings three times an im- image was blended in the thoughts of fortissimo outburst by the full the entranced artist with the parts in passioned for the benefit of the orchestra. This Largo gives more than which he beheld her on the boards BERKSHIRE MUSIC CENTER one premonition of the early slow move- Ophelia or Juliet —as Berlioz shows in ments of Beethoven. The Minuet, with his excited letters to his friend Ferrand little ornamental flourishes, is more at the time. Can that image be recon- Tuesday August 19 courtly than some of Haydn's sym- ciled with the 'courtesan' of the last phonic minuets. But in the Trio true movement, who turned to scorn all that BERKSHIRE MUSIC CENTER peasant Gemutlichkeit is suggested by was tender and noble in the beloved CONCERTS the Idee The Berlioz spe- the droning bass in open fifths under theme, fixe? all afternoon, beginning at 2.30pm the flowing theme. As soon as the de- cialists have been at pains to explain lightful subject of the finale has made the 'affreuses verites' with which Ber- its first appearance, one knows that a lioz charged her in his letter to Ferrand GALA CONCERT at 8.30pm strict rondo is in order, so that it may (April 30 1830). These truths, unex- make as many 'happy returns' as pos- plained, may have been nothing more sible. It does so duly, sometimes en- frightful than his realization that Miss HANDEL Smithson was less a goddess than a hanced by suspensive preparation (again Suite from the Music for hint for Beethoven's later uses). One's flesh and blood human being who, also, a the Royal Fireworks lingering impression of the symphony was losing her vogue. The poet's 'ven- is an abundance of little felicities in geance' makes no sense, except that illo- members of the dynamic contrast, color variety and mod- gic is the stuff of dreams. It would also be BOSTON SYMPHONY ulation, an inexhaustible store of adroit- an oversimplification to say that Berlioz ORCHESTRA, ness masquerading as naivete. merely wanted to use a witches' sabbath the BERKSHIRE MUSIC CENTER in his score and altered his story accord- ORCHESTRA and the BOSTON UNIVERSITY YOUNG ARTISTS ingly. At first, when he drafted and re- ORCHESTRA conducted by Hector Berlioz 1803—1869 drafted the story, he cannot be acquitted ARTHUR FIEDLER of having tried Symphonie fantastique op. 14a to draw the attention of Paris to his music, and it is equally plain that to put a well-known stage Program note by John N. Burk GERSHWIN figure into his story would have helped An American in Paris A few times in musical history a com- his purpose. The sensational character poser has suddenly come forth with of the music could also have been in- BERKSHIRE MUSIC CENTER startling, opening tended to capture public attention something completely ORCHESTRA conducted by a new road as if there were no such which it did. But Berlioz has been too GUNTHER SCHULLER thing as hereditary direction. There often hauled up for judgment for incon- have been a half dozen such unaccount- sistencies in what he wrote, said, and able miracles where the composer, up- did. His critics (and Adolphe Boschot is COPLAND setting custom and probably surprising the worst offender in this) have been too El Salon Mexico himself, has discovered fresh territory ready to charge him with insincerity or where he will dwell and where others pose. His music often contradicts such BERKSHIRE MUSIC CENTER will follow. Beethoven called his Eroica charges, or makes them inconsequential. ORCHESTRA conducted by Symphony a 'new road', but there have It would be absurd to deny that some AARON COPLAND been other new roads since then. There kind of wild phantasmagoria involving the composer's experience of love, litera- is the Symphonie fantastique, Das TCHAIKOVSKY Rheingold, Till Eulenspiegel, L'apres ture, the stage, and much else must have 1812, Ouverture Solennelle midi d'un faune, Le sacre du printemps. had a good deal to do with the motiva- Berlioz's plunge into descriptive tonal tion of the Symphony. Jacques Barzun (with cannon) fantasy is not the least of these. Thus in his book Berlioz and the Romantic there began in 1830 program music in Century (1950), brilliantly demonstrates BOSTON SYMPHONY ORCHESTRA and the earnest and with it the that through Chateaubriand Berloiz well perennial pastime BERKSHIRE MUSIC CENTER of trying to account for the art of tones knew the affecting story of Paul and ORCHESTRA conducted by in other than tonal terms. Virginia, of the fates of Dido and of SEIJI OZAWA There have been many attempts to Phedre, of the execution of Chenier. explain the Symphonie fantastique. Ber- E.T.A. Hoffmann's Tales filled him with -fireworks over Lake Mahkeenac- lioz himself was explicit, writing of the the fascination of the supernatural and 'Episode in the life of an artist' as 'the De Quincey's Confessions of an Opium history of my love for Miss Smithson, Eater, in de Musset's translation, may TICKETS PRICED AT $4.50, $5.50, $6, $7, $8, my anguish and my distressing dreams'. well have contributed. But who in this $8.50, $9, $10, $11 This in his Memoirs; but he also wrote age, so remote from the literary aesthetic there: 'It was while I was still strongly of that one, will attempt to 'understand' AVAILABLE NOW FROM under the influence of Goethe's poem Berlioz in the light of all these influ- FESTIVAL BOX OFFICE TANGLEWOOD (Faust) that I wrote my Symphonie ences, or reconcile them with a 'love LENOX MASS 01240 fantastique'. affair' existed in his which purely own tel: (413) 637-1600 Yet the 'Episode' cannot be put down imagination? The motivation of the sim- simply as a sort of lover's confession plest music is not to be penetrated —let
27 .
alone this one. Enough that Berlioz di- Part Two the tread of heavy feet follows without rected his rampant images, visual, mu- A Ball transition upon the most resounding out- sical or literary, into what was not only He sees his. beloved at a ball, in the bursts. At the end, the fixed idea reap- a symphonic self-revelation, but a well- midst of the tumult of a brilliant fete. pears for an instant, like a last love- proportioned, dramatically unified sym- thought interrupted by the fatal stroke. phony, a revolution in the whole con- cept of instrumental music comparable Part Three Part Five only to the Eroica itself. Scene in the Fields Dream of a Witches' Sabbath One summer evening in the country he He sees himself at the witches' sabbath, The Program the of hears two shepherds playing a Ranz- in the midst of a frightful group of Fantastic Symphony des-vaches in alternate dialogue; this ghosts, magicians, and monsters of all On early issues of the full score of the pastoral duet, the scene around him, sorts, who have come together for his Fantastic Symphony, Berlioz had this the light rustling of the trees gently obsequies. He hears strange noises, direction printed: 'At concerts at which swayed by the breeze, some hopes he groans, ringing laughter, shrieks to which this Symphony is played, the distribution has recently conceived, all combine to other shrieks seem to reply. The beloved his of this program to the audience is indis- restore an unwonted calm to heart melody again reappears; but it has lost coloring pensable to the complete understanding and to impart a more cheerful its noble and timid character; it has be- of the dramatic plan of the work.' Later to his thoughts; but she appears once come an ignoble, trivial, and grotesque his is agi- he revised the program, and moderated more, heart stops beating, he dance-tune; it is she who comes to the tated with painful presentiments; if she his stipulation for the necessity of giving witches' sabbath. . . . Howlings of joy
were to betray him! . . . One of the it to the audience. However, he continued at her arrival . . . she takes part in the shepherds resumes his artless melody, to insist on its distribution when the diabolic orgy. . . . Funeral knells, bur- Symphony was given with Lelio. Readers the other no longer answers him. The lesque parody on the Dies Irae. Witches' who want to explore this subject further sun sets . . . the sound of distant thun- dance. The witches' dance and the Dies are referred to an article by Nicholas der . . . solitude . . . silence. . . . Irae together. Temperley (The Symphonic fantastique and its program), which appeared in The Part Four The Boston Symphony Orchestra, con- Musical Quarterly of October 1971. Re- March to the Scaffold ducted by Seiji Ozawa, has recently printed here is William Foster Apthorp's He dreams that he has killed his be- recorded the Symphonie fantastique for translation of Berlioz's final version of loved, that he is condemned to death, Deutsche Grammophon. There are also the program, written in 1855. and led to execution. The procession two recordings by the Orchestra avail- A young musician of morbid sensi- advances to the tones of a march which able on the RCA label. One is conducted bility and ardent imagination poisons is now sombre and wild, now brilliant by Charles Munch; the other by Georges himself with opium in a fit of amorous, and solemn, in which the dull sound of Pretre. despair. The narcotic dose, too weak to result in death, plunges him into a heavy sleep accompanied by the strangest visions, during which his sensations, sen- timents, and recollections are translated in his sick brain into musical thoughts ic 1974 CBS Inc and images. The beloved woman her- self has become for him a melody like a fixed idea which he finds and hears everywhere. "....the most successful piece of 'new' musical far... great lovable Part One: theater in this country so a Day Dreams, Passions WOrk!—Alan Rich, New York I2RECORDSET He first recalls that uneasiness of soul, that vague des passions, those moments jElephant of causeless melancholy and joy, which " 'ELEPHANT STEPS' forges Steps he experienced before seeing her whom modern musical and psychological i Pop Singers, ! Opera Singers, he loves; then the volcanic with love styles to the imaginative structure of I Orchestra, Bock Band, Electronic which she suddenly inspired him, his I Tape, the radio play It is indeed . . .'a moments of delirious anguish, of jeal- fearful radio show'.'lGeoflfrey Stokes, TipeBecordei, ous fury, his returns to loving tender- Village Voice Gypsy Ensemble, ness, and his religious consolations. "One of the freshest and most AUUiiertitDincHimit original of recent contributions to Michel Tilson the lyric Stage.'-John W. Freeman, Opera News Thomas M2X 33044
"... .a zany romp through life . . ". COMING EVENTS ranges from early Bach to late . . . in the lineage of the Who's
AT TANGLEWOOD Beatles ... all managed with great 'TOMMY'. . . a compelling ex- skill. I recommend it."-Eric Salzman, perience."—Joseph McLellan, Review The Washington Post Details of next week's concerts by the Stereo Boston Symphony Orchestra, and of the On Columbia Records Berkshire Music Center events open to 1 the public, are included on a special infor- Smarcasreg phinicdinusa Specially priced at all record shops. mation sheet, which is available at the entrances to the Tanglewood grounds. THE BOSTON SYMPHONY ORCHESTRA Campers
Henry Lee Higginson, soldier, phi- day evening] under that gentleman's lanthropist and amateur musician, baton amply and doubly proved the dreamed many years of founding a wisdom of the choice, for there has great and permanent orchestra in his not been a leader in our musical cir- home town of Boston. When at last his cles during recent years who has suc- dreams approached reality, in the ceeded in imparting so much of his spring of 1881, he committed to paper own musicianly qualities and magnet- a statement which described his pur- ism as did Mr Henschel on Saturday
.' poses and intentions. He explored evening . . Looking for something more? many specifics, among them the en- Visit gagement of conductor and players, 'reserving to myself the right to all Tickets for the season had gone on sale their time needed for rehearsals and about six weeks earlier, and by six for concerts, and allowing them to o'clock on the morning of first book- Klondike give lessons when they had time'. He ing, there was a line of seventy-five m camping resort planned 'to give in Boston as many people outside the Box Office, some of New England's First Private serious concerts of classical music as whom had waited all night. By the end were wanted, and also to give at other of the season concerts were sold out, Campground where you can times, and more especially in the sum- and ticket scalpers had already started actually OWN your own mer, concerts of a lighter kind of mu- operations. Mr Higginson wrote a let- exclusive campsite sic'. Prices of admission were to be ter to the press, which was published kept 'low always'. The conductor's on March 21 1882: 'When last spring Complete Recreation charge was to 'select the musicians the general scheme for the concerts of Full-Service Hookups when new men are needed, select the the Boston Symphony Orchestra was Large, Wooded Campsites programmes, . . . conduct all the re- put forth, the grave doubt in my mind Open 7 days a week Route 8, hearsals and concerts . . . and general- was whether they were wanted. This ly be held responsible for the proper doubt has been dispelled by a most 9:00 AM to 5:00 PM Otis, Mass. production of all his performances.' kindly and courteous public, and there- Call (413) 269-4577 Administrative help and a librarian fore the scheme will stand.' were also to be engaged.
Symphony concerts continued to be In this Bicentennial Year The initial number of the players was held in the old Music Hall for nearly to be 70, and in addition to concerts twenty years, until Symphony Hall return to the heritage that was there were to be public rehearsals. As was opened in 1900. The new building rural New England for the orchestra's financial structure, was immediately acclaimed as one of of the estimated annual cost of the world's most acoustically perfect DISCOVER $115,000 Major Higginson reckoned to concert rooms. Georg Henschel was provide himself for the deficit of succeeded by Wilhelm Gericke, Arthur $50,000. He continued: 'One more Nikisch, Emil Paur, and the legendary Lincoln Farm thing should come from this scheme, Karl Muck, all of them German-born. namely, a good honest school of musi- on the historic General Knox Trail cians. Of course it would cost us some in Otis, Massachusetts money, which would be well spent.' Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first 'Promenade concert', to ful- The inaugural concert took place on Oc- fill Mr Higginson's wish to give Bos- tober 22 1881. The correspondent of ton 'concerts of a lighter kind of mu- the Boston Daily Evening Traveller sic'. From the earliest days there were wrote two days later: 'Music Hall was both music and refreshments at the the scene of a large and brilliant gath- 'Promenades'— a novel idea to which ering on Saturday evening at the open- Bostonians responded enthusiastically. ing concert of the Boston Symphony The concerts, soon to be given in the Orchestra under the direction of Mr springtime and to be renamed 'Popu- Georg Henschel. We find it necessary lar', and later 'Pops', fast became a only to refer to the princely munifi- tradition. planned cence of Mr Higginson, who instituted A the course, and to whose efforts alone recreational community more credit is due for the best inter- The character of the Boston Symphony whose members ests of music than all the "close cor- was greatly changed in 1918. The poration societies" ever organized in vicious anti-German feeling then prev- will share in the this city. The selection of Mr Georg alent resulted in the internment and cherished lifestyle Henschel as director of the orchestra later dismissal of Dr Muck. Several of of a magnificent is an evidence of the founder's astute- the German players also found their ness and sound common sense, for al- contracts terminated at the same time. New England farm though the announcement raised some Mr Higginson, then in his eighties, felt Starting at Telephone criticisms which are far from com- the burden of maintaining the Orches- $8,950 (413)269-4247 plimentary, the results attained [Satur- tra by himself was now too heavy, and 29 entrusted the Orchestra to a Board of Trustees. Henri Rabaud was engaged as Conductor, to be succeeded the fol- lowing season by Pierre Monteux.
During Monteux's first year with the Orchestra, there was a serious crisis. The Boston Symphony at that time was the only major orchestra whose members did not belong to the Musi- want cians Union. This was a policy strictly We upheld by Mr Higginson, who had al- ways believed it to be solely the re- sponsibility of the Conductor to choose the Orchestra's personnel. But to turn you into the players were restive, and many wanted Union support to fight for higher salaries. There came a Saturday evening when about a third of the Or- chestra refused to play the scheduled Lifesaver. concert, and Monteux was forced to a change his program minutes before the concert was due to start. The Trustees And pay you the highest savings interest you meanwhile refused to accede to the can get. Come on in and start your Lifesaver players' demands. account today.
The Boston Symphony was left short of about thirty members. Monteux, dem- onstrating characteristic resource, tact Harrington Savings. Great. and enterprise, first called on the Or- 244 Main Street, Great Barrington 528-1190 chestra's pensioners, several of whom Main Street, Sheffield 229-8516 responded to his appeal, then held au- Depot Street, West Stockbridge 232-8542 ditions to fill the remaining vacancies. Two present members of the Orches- tra, the violinists Rolland Tapley and Clarence Knudson, were among the young Americans engaged. During the following seasons Monteux rebuilt the Orchestra into a great ensemble. In BERKSHIRE LAKES ESTATES 1924 Bostonians gave him a grateful farewell, realising that he had once more given the city an orchestra that ranked with the world's finest. It was not until 1942 that the conductor and players of the Boston Symphony final- ly joined the Musicians Union.
The Koussevitzky era began in 1924. His extraordinary musicianship, elec- tric personality, and catholic taste proved so enduring that he served an unprecedented term of twenty-five years. There were many striking moves towards expansion: recording, Country Living at its best! begun with RCA in the pioneering days of 1917, continued with increas- Swimming and boating on a crystal clear lake. Tennis courts and ing frequency, as did radio broadcasts boat docks. Adjacent to large state forest for privacy. Lake front, of concerts. In 1929 the free Esplanade lake view, lake access lots (one acre or larger) from $1 0,000. Pres- Concerts on the Charles River were tigious community. inaugurated by Arthur Fiedler, who had been a member of the Orchestra TO VISIT: Take Mass. Turnpike to Lee, Mass. Take Rt. 20 East. since T915, and who became the fol- Continue 4 miles to Belden's Tavern left for two miles to Berkshire lowing year the eighteenth Conductor Lakes Estates. of the Boston Pops, a post he contin- ues to hold today. In 1936 BERKSHIRE LAKES ESTATES Koussevitzky led the Orchestra in YOKUM POND ROAD their first concerts here in the Berk- BECKET, MASS. 01223 shires, ^and two years later he and the TEL: 413-623-8747 players took up annual summer resi- dence at Tanglewood.
30 .
Henry Lee Higginson's dream of 'a student in 1960, he has been closely good honest school for musicians' was associated with the Orchestra in the passionately shared by Serge years since that time. He has made Koussevitzky. In 1940 the dream was many recordings with the Orchestra realized when the Orchestra founded on the RCA and Deutsche Grammo- the Berkshire Music Center at Tan- phon labels, and with the latter com- glewood. This summer academy for pany he is currently in the midst of a young artists was and remains unique, project that will include the complete and its influence has been felt on mu- orchestral music of Ravel. In addition sic throughout the world. (An article to his duties in Boston, he is con- about the Center is printed elsewhere ductor and Music Director of the San in the book.) Francisco Symphony Orchestra.
In 1949 Koussevitzky was succeeded as In 1964 the Orchestra established the the Great Apple Pie Music Director of the Orchestra by Boston Symphony Chamber Players, Controversy Charles Munch. During his time in an ensemble made up of its principal Our Chef says Apple Pie must be home- Boston Dr Munch continued the tradi- players. Each year the Chamber Play- baked, hot, and topped with cheddar. So we tion of supporting contemporary com- ers give concerts in Boston, and have serve it that way. But our Innkeeper insists posers, and introduced much music made several tours both of the United on home-baked Apple Pie, cold, without from the French repertoire to this States and of foreign countries, in- cheddar. So we serve it that way, too. Help us settle The Controversy. country. The Boston Symphony toured cluding England, Germany, Italy, Dine here anytime from early morning abroad for the first time, Spain, France and the and was the USSR. They until late m the evening. Choose Apple first American orchestra to appear in have appeared on television and have Pie, any style. the USSR. In 1951 Munch restored made many recordings for Deutsche While you're at it, choose Roast the Open Rehearsals, an adaptation of Grammophon and RCA. Prune Ribs of Beef in our Dining Room . . or dine by candlelight in our flower-laden Mr Higginson's original Friday 're- Courtyard ... or enjoy delightful cocktails hearsals', which later had become the in The Widow Bingham's Tavern ... or regular Friday afternoon concerts we Today the Boston Symphony Orches- sandwiches (with entertainment) in The know today. tra Inc. presents concerts of the Bos- Lion's Den. Enjoy an overnight or weekend ton Symphony and Boston Pops Or- stay, too, in one of our air conditioned bedrooms overlooking the Berkshires. chestras and of the Boston Symphony Call (413) 298-5545 for reservations. Erich Leinsdorf became Music Direc- Chamber Players, is active in the tor in the fall of 1962. During his sev- sponsorship of Youth Concerts in Bos- d& The Red Lion Inn en years with the Orchestra, he ton, is deeply involved in television, Since 1773. Stockbndge, Mass. 01262. presented many premieres and restored radio and recording projects, and is On Rt. 7, south of Tanglewood. many forgotten and neglected works to responsible for the maintenance of the repertoire. As his two predecessors Symphony Hall in Boston and the es- had done, he made many recordings tate here at Tanglewood. Its annual for RCA, including the complete sym- budget has grown from Mr Higgin- 3oxdollow Sc&ool phonies of Brahms and Beethoven, and son's projected $115,000 to a sum a major cycle of Prokofiev's music. more than $6 million. It is supported Lenox, MA. Mr Leinsdorf was an energetic Direc- not only by its audiences, but by tor of the Berkshire Music Center, and grants from the Federal and State gov- under his leadership a full-tuition Fel- ernments, and by the generosity of A small, country day and lowship program was instituted. Many many businesses and individuals. boarding school for girls in concerts were televised during his ten- Without their support, the Boston ure. Symphony Orchestra would be unable grades 8-12. to continue its pre-eminent position in the world of music. A community of students William Steinberg succeeded Mr Leins- dorf in 1969. During his tenure he con- and teachers working to- ducted several American and world gether to provide the best premieres, led the 1971 European tour possible environment and directed concerts in cities on the learning, for East Coast, in the South and in the for Mid-West. He made recordings for self-development, Deutsche Grammophon and RCA, in- and for understanding. cluding some of the world's first issues in quadraphonic sound. Mr Steinberg appeared regularly on televison, and Call or Write: during his tenure concerts were broad- cast for the first time in four-channel Mrs. Jean L. Ryan sound over two of Boston's radio sta- tions. Director of Admissions Foxhollow School Seiji Ozawa, Artistic Director of the Berkshire Festival since 1970, became Lenox, MA. 01240 Music Director of the Orchestra at the 413-637-0071 beginning of the 1973-1974 season, fol- lowing a year as Music Adviser to the Boston Symphony. Invited by Charles Munch to Tanglewood as a conducting
31 The Berkshire Music Center SOUTH MOUNTAIN CONCERTS one mile south of Pittsfield on Routes 7 and 20 When the Boston Symphony established Schuller, composer, writer, conductor, Saturday, August 2 the Berkshire Music Center at Tan- educator and President of the New Vermeer String Quartet glewood in 1940, the dream of two of England Conservatory. Saturday, August 16 the Orchestra's most illustrious figures Each summer young people from all Arnold Steinhardt, violin became a reality. Henry Lee Higgin- parts of the world come to Tan- Jules Eskin, cello Virginia Eskin, piano son clearly recognized the importance glewood for the annual eight-week ses- Harold Wright, clarinet of a highly professional training envi- sion of the Center. They study under Sunday, September 21 ronment to young musicians, and when the supervision of musicians of great Beaux Arts Trio of New York he founded the Orchestra in 1881 he experience in orchestral and chamber wrote of his wish to establish also a music performance, in conducting and All concerts at 3 pm 'good honest school for musicians.' It composition. Joseph Silverstein, Con- Information and Programs: was a wish that was not to be realized certmaster and Assistant Conductor of Box 23. Pittsfield. Mass. 01201 for a good many years— not, in fact, the Boston Symphony, is Chairman of Telephone (413) 443-6517 until the advent of Serge Koussevitzky, the Faculty, which includes principal Conductor and Music Director from players and members of the Orchestra, 1924 until 1949. Koussevitzky fer- faculty members of the Boston Univer- DINING FOR THOSE WHO KNO W vently shared Higginson's vision of an sity School of Fine Arts, as well as academy where young musicians could leading soloists, conductors and com- extend their professional training and posers. The emphasis is on group per- broaden their artistic experience under formance, carried out under profes-
FROM TANGLEWOOD (Only 9 Miles) to Route 41 and 295 OPEN FOR DINNER Weekly 5:00 to 10:30 p.m. Sunday 4:00 to 10:30 p.m. YOUR HOSTS LES CHEVALLIERS
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Original 18th Century- Village Restored Open daily 9:30-5:00
Adults $2 Children 50e< the guidance of eminent international sional conditions. In addition to the Annual Kitchen Festival musicians. More than any other single Center's Fellowship program for in-
Week of August 4th person, it was Koussevitzky who made strumentalists, conductors, singers and the vision a reality. Koussevitzky was composers, Boston University offers Route 20 Five miles Director of the Center from its found- programs for talented high school in- of Pittsfield, West ing until his death in 1951, and his strumentalists and singers, a piano Mass. vigorous leadership has remained an seminar, applied music classes, and inspiring example. Today Leonard programs in such related arts as dance Bernstein, his student and assistant and theater. These programs offer col- during the early days of the Berkshire lege-level credit through the Univer- Festival, maintains his close associ- sity's School of Fine Arts. ation with Tanglewood and with the Among the resources available to Center. Succeeding Koussevitzky was the Berkshire Music Center are nu-
appaoofixcy Charles Munch, and it is another trib- merous studios for practice and cham- ute to the continuity and success of ber music, and an extensive library of scores. Rehear- now at the Center that the present Music Di- music literature and rector, Seiji Ozawa, studied there dur- sals and concerts of the Berkshire Mu- THE LEMON TREE ing the Munch era. From 1963 until sic Center Orchestra and other per- 102 Main Street 1969 Erich Leinsdorf was Director of forming groups take place mostly in lec- Lenox, Mass. 01240 the Center, and it was during his ten- the Theatre-Concert Hall, while ure that Michael Tilson Thomas, an- tures, seminars, conducting classes, Open Mon. -Sat. 10-5 other conductor who would become vocal and choral rehearsals, com- and concerts of cham- Gifts • Accessories • Imports closely associated with the Orchestra, posers' forums was a student at the Center. Today the ber music take place in the Chamber primary responsibility for the Center's Music Hall, in the West Barn, on the direction is in the hands of Gunther Rehearsal Stage, in the Hawthorne
32 Cottage, and in small studios situated both on the Tanglewood grounds and in buildings in Lenox leased by the Or- IN AND AROUND chestra for the summer. The Baldwin Piano and Organ Company generously THE BERKSHIRES provides, without charge, nearly 100 keyboard instruments for individual practice each year, while other in- struments—percussion, for ex- The Berkshires is extraor- paintings dinarily rich in its activities and ample—are provided by the Orchestra. sculpture events. these, Tanglewood is The average enrollment of the Cen- Of but one. A complete listing of graphics ter is somewhat over 400, of which ap- old prints proximately 175 are members of the events in and around the Berk- Fellowship Program. The program shires appears in Berkshire fine of provides free tuition and a living ex- Week, a summer magazine handcrafts pense stipend to a number of students The Berkshire Eagle and Tor- Copies are of post-graduate caliber. In addition to rington Register. MYRNA LIEB CITRON 413-298-4767 the Fellowship Program and the Tan- available at the Main Gate and glewood Institute — the Center's prin- the Lions Gate. cipal divisions— the Center now con- ducts a Listening and Analysis Semi- nar, which is open to laymen as well as to teachers and performers. This Berkshire Theatre Festival special program uses the Berkshire Stockbridge Festival programs of the Boston Sym- phony as the basis of classes devoted Lenox Arts Center to musical analysis, history and appre- Lenox ciation. A high point of the Center's activities each summer is the Festival Williamstown Theatre of Contemporary Music, August 10 Williamstown through 14 this year, which is present- ed in cooperation with the Fromm Jacob's Pillow Dance Festival Music Foundation at Harvard. This Lee internationally known 'festival within a festival' presents a broad spectrum Aston Magna CBBV 7-OOA.M.-£oOA.M. of the most advanced music of today's Great Barrington composers. For many years now alumni of the Berkshire Music Center Berkshire Museum have been among the most prominent Pittsfield Your host Saturday Eves in and active members of the music the Tanglewood Tent world. More than ten percent of the Clark Art Institute of this country's major or- members Williamstown chestras are graduates of the Center, THE as are many of the world's notable Hancock Shaker Village conductors, instrumental soloists and Hancock WILLIAMSVILLE singers.
The Boston Symphony is assisted in Chesterwood Studio Museum supporting the Center by the National INN Glendale Endowment for the Arts, a federal Dinner and Entertainment Nightly agency, as well as by individual and Lenox Library after Tanglewood corporate sponsors. Scholarships are Lenox French Cuisine served in a quiet awarded to the majority of the stu- Superb country setting. Reservations necessary dents, who are chosen by audition on a 1 Stockbridge Historical Society competitive basis. The cost of the (413) 274-6580 Stockbridge scholarship program is large and adds RTE 41, WEST STOCKBRIDGE, MASS each year substantially to the deficit Naumkeag of the Boston Symphony Orchestra. Stockbridge Details of how you may help are print- ed elsewhere in the program. We invite Mission House you to hear and see for yourself the Stockbridge remarkable caliber of these young mu- DONALD O I IjCYJ f sicians. Old Corner House Stockbridge REALTORS Berkshire Garden Center Stockbridge
Pleasant Valley Wildlife 163 NORTH STREET Sanctuary Lenox PITTSFIELD, MASS. 01201 *&*&*0*i0yt&*0y&H0*t0K0yt 413 - 445-5661
33 Everyone's Guide to the Friends of Music or.~
Membership in the Friends of Music TENT The Tanglewood Tent, available to con- tributors of $50 and over, provides a hospi- at Tanglewood provides you with many exciting MEMBERSHIP table gathering place behind the Music opportunities and priviliges all year long. Shed where food and drink may be pur- chased on concert days. Hot buffet dinners It's the secret buy of the Derkshires! are served on Saturday evenings begin- ning at 6:30 p.m. Reservations must be made through the Friends Office no later than 10:00 a.m. on the Friday morning pre- ceding each Saturday evening buffet.
FREE Over 40 concerts each summer by the SPECIAL Two convenient reserved parking areas are BERKSHIRE members of the Berkshire Music Center, PARKING available to all donors of $100 or more for MUSIC CENTER the Boston Symphony Orchestra's summer FOR FRIENDS all Boston Symphony Orchestra concerts: CONCERTS academy for the advanced study of music. either the Box Parking Lot (Hawthorne FOR ALL These outstanding mid-week concerts in- Street entrance), or the Tent Parking Lot MEMBERS clude chamber music recitals, full orches- (West Street entrance). tra concerts, vocal and choral programs, and the annual Festival of Contemporary Music, Tanglewood's "festival within a BERKSHIRE Contributors of $250 and over may audit festival." Individual memberships in the selected classes in the Berkshire Music Friends are available for $15.00; Family MUSIC Center's Listening and Analysis Seminar. memberships are available for $25.00. CENTER CLASSES Those wishing to attend should check with the Berkshire Music Center Office in the ADVANCE In the early spring, all Friends will be sent Main House at Tanglewood for a class PROGRAM advance Berkshire Festival programs and schedule. INFORMATION ticket ordering forms, as well as receive AND TICKET the "Symphony/Tanglewood Newsletter." ORDERING NAMED Fellowships are awarded each summer to FORMS FELLOWSHIPS the Berkshire Music Center's most promis- ing members. $1,000 Fellowships and $500 Associate Fellowships are awarded in the A fascinating series which grows more TANGLEWOOD name of the donor or whomever the donor popular each year, these informal talks on TALKS elects, and will help to underwrite the Thursdays at 12:30 in the«Tanglewood Tent AND WALKS cost of one Berkshire Music Center mem- present a member of the Boston Symphony ber's 8-week study program. Orchestra or visiting guest artist, followed by a special guided tour of the Tanglewood grounds. Those attending bring a picnic FRIENDS OF MUSIC AT TANGLEWOOD lunch — refreshments provided! Please call the Friends Office for reservations. LENOX, MASSACHUSETTS 01240 413/637-1600
34 The Friends of Music at TANGLEWOOD
The Friends of Music at Tan- glewood are hundreds of people concerned with keeping beautiful music in the Berkshires. Not only do the Friends help bring famous conductors and soloists to Tanglewood for the Berkshire Festival concert, but they also provide the critical support for >o the Berkshire Music Center, the Boston Symphony Orchestra's *- o training institution for tomor- row's great musicians. Further 0)£ information about becoming a Friend of Music at Tanglewood, O and about Berkshire Music Cen- D
Mr John Kittredge Membership Chairman
Mrs James Garivaltis Special Events Chairman
Mrs Desmond Tivy Mrs Richard W. Marcure Mrs Arthur Aronoff Mr and Mrs David Klein Vice-Chairmen
Mrs Peter van S. Rice Mr William A. Selke Nominating Co-Chairmen
35 RECENT RECORD RELEASES BY THE Shh... BOSTON SYMPHONY ORCHESTRA
rm conducted by RAFAEL KUBELIK BARTOK listening Concerto for Orchestra DG/2530 479
conducted by SEIJI OZAWA UimHT-Fmi BEETHOVEN Piano Concerto No. 5 in Et> op. 73 'Emperor' with Christoph Eschenbach DG/2530 438 89.1 BERLIOZ The Damnation of Faust DG/2709 048 with Edith Mathis, Stuart Burrows, Donald Mclntyre, Thomas Paul and the Tanglewood Festival Chorus
Symphonie fantastique DG/2530 358
RAVEL Bolero Rapsodie espagnole the finest in La Valse DG/2530 475
classical music Daphnis et Chloe (complete ballet) fall release DG/2530
THE GREAT STRAVINSKY BALLETS F YOU ARE A KID (album includes Petrushka and YOU HAVE A KID Suite from The Firebird) RCA VCS 7099 YOU KNOW A KID YOU FEEL LIKE A conducted by EUGEN JOCHUM There Is Only- One Store MOZART & SCHUBERT In the Berkshires Symphony No. 41 in C K. 551 'Jupiter' Symphony No. 8 in B minor 'Unfinished' DG/2530 357
conducted by MICHAEL TILSON THOMAS STRAVINSKY We carry fabulous miniatures, Ma- Le sacre du printemps dame Alexander & handmade dolls, Le roi d'etoiles DG/2530 252 imaginative adult games & puzzles, Lego, ^Meccano & other construction sets, the largest selection of kites, boats & planes, creative coloring, conducted by ARTHUR FIEDLER game & antique replica books, Steiff & Beatrix Potter stuffed animals & THE WORLD'S FAVORITE SYMPHONIES lots more! (album includes the 'New World' Symphony of Dvorak) RCA/LSC 3315 Stop In & Browse for One of the Best Times of Your Vacation THE BOSTON SYMPHONY ORCHESTRA ON
il'U//J - DUCBZ/D THER -J 84 North St. Open Mon.-Sat. 10-5:30 Pittsfield, Mass. Thurs. 10-9 P.M.
36 Williamstown Theatre festival
Nikos Psacharopoulos
One hundred seventy-five performances of thirty-five events JULY 3-AUG. 30
PHONE RESERVATIONS: 413-458-8146 P.O. BOX 675 WILLIAMSTOWN, MASS. 02167
Auster-Lodge
15 MIN. FROM TANGLEWOOD ENTREES PREPARED ACCORDING TO AUTHENTIC VIENNESE- GERMAN RECIPES TORTE IMPORTED FROM WORLD FAMOUS SACHER HOTEL IN VIENNA OPEN FOR DINNER WEEKLY 5:30 TO 9:30 PM SUNDAY 4:30 TO 9:30 PM SOUPE 9:00 TO 10:30 PM
RT. 22 AUSTERLITZ, N.Y. (518)392-9996
You are always welcome at The Only Botanical Garden in the Berkshires THE BERKSHIRE GARDEN CENTER
Stockbridge, Mass. on Routes 1 83 & 1 02 (10 minutes from Tanglewood)
Herb Garden & Shop Plant Windows Perennial Borders Seasonal Exhibits Garden Gift Shop Youth Center Lectures
Open Free Nonprofit • Daily Admission
John Ganson 37 .
FESTIVAL INFORMATION University of Rochester EASTMAN SCHOOL OF MUSIC
A map of Tanglewood, which shows the location of concert halls, parking Robert Freeman, director areas, offices, telephones and rest rooms, is printed on page 10 of the program. During performances the rest rooms at the rear of the Shed are closed. announcing recent appointments to the senior performing faculty:
Latecomers will not be seated until the first convenient pause in the pro- Helen Boatwright, soprano gram. Members of the audience who wish to leave before the concert's end David Burge, piano are earnestly asked to do so between works, not during the performance. Jan DeGaetani, mezzo-soprano
James Galway, flute Open rehearsals. The open rehearsals by the Boston Symphony Orchestra Sydney Hodkinson, composer-conductor held each Saturday morning at 10.30 are open to the public. The charge Gustav Meier, conductor for admission is $3. The open rehearsals benefit the Orchestra's Pension Fund. Yi-Kwei Sze, bass Thomas Paul, bass
Philip West, oboe-chamber music Ticket information for all Berkshire Festival events may be obtained from the Festival Ticket Office at Tanglewood (telephone 413-637-1600). The Office is open from 9 to 6 daily, and until intermission on concert and returning to the Eastman Faculty am pm days. Please note that children regardless of age pay full admission. as Distinguished University Professor: Cecile Staub Genhart. piano
The taking of photographs during musical performances is not allowed.
for further information, contact:
Philip Swanson, director of admissions The use of recording equipment at Tanglewood is not allowed at any time.
Eastman School of Music 26 Gibbs Street, Rochester, N.Y. 14604 Articles lost and found. It will be much appreciated if visitors who find stray property will hand it in to any Tanglewood official. Any visitor who wishes to recover a lost article should call at the Lost and Found Office located in the house of the Superintendent near the Main Gate.
Refreshments can be obtained in the area to the west of the Main Gate and 1/2 OFF LIST visitors are invited to picnic on the grounds before concerts. Catering is by for Ogden Foods Inc.
SIR GEORG SOLTI and the The Tanglewood Music Store is located near the Main Gate. Phonograph records, sheet music, books, postcards, films, etc., are obtainable. The CHICAGO SYMPHONY store remains open for half an hour after the end of each concert in the on Shed. The store is managed by Van Curler Music Company of Albany, LONDON RECORDS New York. n at Limited parking facilities are available for invalids and physically handi- capped persons. Please consult the parking attendant.
First Aid is available at the first aid station situated near the Main Gate. In case of emergency, please see the nearest usher.
Rest rooms are located throughout the grounds. Please note, however, that all rest rooms located in the Shed are closed during the concerts.
"at least 1/3 off all records Physicians and others expecting urgent calls are asked to leave their name at all times" and seat number with the Guide at the Main Gate booth.
10-6 Mon. -Wed. The Boston Symphony Orchestra and the Boston Symphony Chamber 10-9 Thurs. -Sat. Players record exclusively for DEUTSCHE GRAMMOPHON.
ROUTE 7-20 PITTSFIELD ACROSS FROM YELLOW ASTER BALDWIN is the offical piano of the Boston Symphony Orchestra and the Berkshire Music Center. 38 THE Corporate Benefactors CHESTERWOOD STOCKBRIDGE OLD CORNER HOUSE of the Boston Symphony Orchestra
CHARLES RIVER BROADCASTING COMPANY WM FILENE'S SONS COMPANY THE FIRST NATIONAL BANK OF BOSTON THE GILLETTE COMPANY
Slockbridge JOHN HANCOCK MUTUAL Summer Home and Studio of LIFE INSURANCE COMPANY Historical Exhibits DANIEL CHESTER FRENCH NEW ENGLAND MERCHANTS Sculptor of the with NATIONAL BANK Lincoln Memorial Original Paintings by NEW ENGLAND MUTUAL LIFE INSURANCE COMPANY Garden, Nature Trail, Paintings, Barn Sculpture Gallery NORMAN ROCKWELL NEW ENGLAND TELEPHONE AND TELEGRAPH COMPANY On permanent exhibit Adults $1.50 • Children $.75 THE SHAWMUT Autographed ASSOCIATION BANKS Daily 10-5 Candlelight Tours and books available. prints STATE STREET BANK Monday & Wednesday • 8-10 pm Open Year Round — Daily 10-5 p.m. AND TRUST COMPANY Except Tuesdays a property of Adults $1.00 Children 25c The National Trust for Historic Preservation
Now There's Lots of Living in the Berkshires as Exciting as Tanglewood
NEAR HEMLOCK BROOK IN WILLIAMSTOWN Tanglewood Sterlings Francine Clark Art Institute Brodie & Jiminy Peak Williamstown Theatre Festival Jacobs Pillow Dance Festival Cross Country Skiing Summer Stock Theatres Williams Museum of Art Many Hiking Trails Adams Memorial Theatre Country Clubs Concerts/Lectures Sailing Fine Restaurants Fishing Golf Courses Hunting JUST OVER VERMONT JUST OVER BORDER NEW YORK BORDER Skiing Horse Racing Summer Home of — Art Centers — NYC Ballet and Crafts/Pottery/Painting Philadelphia Music Festival Orchestra Variety of Museums Harness Racing ijemloekbiool^
301 North Hemlock Lane, Williamstown, Massachusetts 01267
Hemlock Brook Town Home Condominiums are a unique mixture of Early America with modern con- veniences. Nowhere in the Northeast will you find Townhouses with as charming a setting or as magnifi- cent a view of the Berkshires. Every home includes 2 bedrooms, 2/4 baths, master suite, and lots of amenities such as Tennis Courts, Swimming Pool, Trout fishing in the brook and ample room to stroll or jog 1 on the 1 -acre site. Prices range from $39,000 - $48,400. You must see Hemlock Brook to appreciate this value. It's a perfect four-seasonal home for year-round or vacation enjoyment. COME SEE FOR
YOURSELF any day from 1 :00 p.m. till dusk, or call us collect (413) 458-4060.
Hemlock Brook is on Rte. 7 just north of the junctions of Rts. 2 & 7, and only a 3 hour drive from New York City or Boston
39 Thispianowas only used for 8weeks by a little ladty in Tanglewood.
This might sound like the classic used car come-on,
if it weren't the truth.
After the Festival, all Baldwin pianos and organs are ready to perform a beautifully-priced encore
in your home.
Baldwin Annual Tanglewood Sale September2 thru September30
In Boston at Paine Furniture, 81 Arlington Street Phone 426-0775 In Burlington at Baldwin Piano & Organ Company Factory Showrooms, 54 Middlesex Turnpike (Exit 42 east from Rt.1 28) Phone 273-0450