TANGLEWOOD — .
This "New Orthophonic" High Fidelity Album won't be released until September BUT YOU MAY OWN IT NOW!
Berlioz THE DAMNATION OF FAUST
You may enjoy treasured "encores" of this masterful interpretation without waiting! A limited number of advance copies of this new album are available to Festival patrons only at the
Tanglewood Music Shop on the Festival grounds.
INVITE MR. MUNCH AND MR. MONTEUX INTO YOUR HOMES!
Hear them conduct these *Romeo and Juliet tSymphonle Fantastique other Berlioz Cycle highlights Complete. Boston Symp. Orch. San Francisco Orchestra con- as often as you choose . . conducted by Charles Munch. ducted by Pierre Monteux.
Hear the RCA Victor Collector's re-issue of "Harold in Italy' Primrose, Viola; Boston Symp. Orch., Koussevitsky, cond.
Other Munch Recordings Other Monteux Recordings * Richard Strauss: Don Quixote *Chausson: Poem of Love and with Piatigorsky, Cellist; Bur- the Sea with Gladys Swarthout, gin, Violinist; de Pasquale, Mezzo Soprano Violist. * Mozart: Concerto No. 12, in A, * Brahms: Piano Concerto No. 2 K. 414. Concerto No. 18, in B- with Artur Rubinstein, Pianist Flat, K. 456, with Lili Kraus,
t Brahms: Symphony No. 4 Pianist Haydn: "London" Symphony * Liszt: Les Preludes t Munch conducts French Music Scriabin: Poeme d'Extase t Schubert: Symphony No. 2 t Stravinsky: The Rite of Spring
t Schumann: "Spring" Symph. Rimsky-Korsakoff: * Tchaikovsky: Violin Concerto Scheherazade, Op. 35 in D Nathan Milstein, Violinist + Franck: Symphony in D Minor
* A "New Orthophonic" High Fidelity Recording \ A High Fidelity Recording
rca V^7011 FIRST IN RECORDED MUSIC 4
BOSTON SYMPHONY ORCHESTRA
CHARLES MUNCH, Music Director
^Berkshire Festival Season ig; TANGLEWOOD, LENOX, MASSACHUSETTS
6 Concerts of Chamber Music in the Theatre-Concert Hall 6 Concerts by Members of the Boston Symphony Orchestra in the Theatre-Concert Hall 12 Concerts by the Boston Symphony Orchestra in the Music Shed SECOND WEEK
Concert Bulletin, with historical and descriptive notes by John N. Burk
COPYRIGHT, I954, BY BOSTON SYMPHONY ORCHESTRA, INC. X
Trustees of the Boston Symphony Orchestra, Inc.
Henry B. Cabot, President Jacob J. Kaplan, Vice-President Richard C. Paine, Treasurer Philip R. Allen Theodore P. Ferris N. Penrose HallowelV M. A. De Wolfe Howe Palfrey Perkins John Nicholas Brown Alvan T. Fuller Francis W. Hatch Michael T. Kelleher Lewis Perry Edward A. Taft Raymond S. Wilkins Oliver Wolcott
Tanglewood Advisory Committee
Alan J. Blau Henry W. Dwight F. Anthony Hanlon George E. Mole Fences Bull George W. Fdman Lawrence K. Miller Whitney S. Stoddard
J esse F. Thomason Robert K. Wheeler H. George Wilde
George E. Judd, Manager Assistant Managers: T. D. Perry, Jr., N. S. Shirk. »
1954 BERKSHIRE FESTIVAL Tanglewood
^umpltoniunu
ENJOY • The Berlioz Season
The Berlioz performances at the Festival sum up MUSIC... a widespread recognition of the genius of this com- poser remembered in many places through the sesqui- IN centennial season. Mr. Munch conducted Romeo and COMFORT Juliet in New York and Washington during the season past and the Damnation of Faust in Boston. Imagine yourself entering a cool, A Berlioz Society recently formed has focused public tastefully decorated studio on a hot attention on these activities. This orchestra's re- cording of the first of these works has won a Grand summer day . . . relaxing in a comfortable Prix du Disque of 1954. recording of the easychair and listening to fine music A Damnation of Faust made just after the perform- via quality high fidelity instruments ance is available at Tanglewood before its release in
. . . pure fantasy you say . . . but, September. The current (July) issue of High at lE^T^^H Fantasy Becomes Reality/ Fidelity Magazine features the recordings of this Nowhere will you find a demonstration composer. locale to compare with ASCO's much-discussed sound studios. Here In Memory of Elizabeth Sprague Coolidge the world of High Fidelity is opened to Berkshire County has long been richly provided
your . . eyes and ears . and you will enjoy with chamber music through the beneficence of the recorded music as you never have before. late Elizabeth Sprague Coolidge. The chamber con- You're always certs which she gave at Tanglewood alone or welcome at ASCO . . . even Library of if just to browse around and talk to any through the Coolidge Foundation of the are continued in the Wednesday evening of the professional ASCO sound men, Congress chamber series now part of the Festival ; the pro- specialists in the field of High Fidelity. ceeds of these concerts will be devoted to the Tangle- Make sure you hear and see the ASCO wood Revolving Scholarship Fund. Miniature-compactly designed to make The summer chamber music concerts established your summer listening —wherever it at South Mountain in 1918 by Mrs. Elizabeth may be- High Fidelity listening. Sprague Coolidge will begin July 10. This season If you would like complete six concerts will be given on Saturday afternoons at information on the ASCO Miniature 4:00, under the joint sponsorship of the Elizabeth line, write to ASCO, Dept. C Sprague Coolidge Foundation of the Library of Congress and the Fromm Music Foundation of Chicago, in cooperation with the South Mountain Association. Programs include a Beethoven Sonata Series by Alexander Schneider, violin, and Artur Balsam, piano, July 10, 24 and August 7; Leontyne Price, soprano, and Samuel Barber, piano, July 17; John Barrows, horn, Alexander Schneider and Artur
Balsam, July 31 ; Juilliard String Quartet, August 14. A limited number of tickets are available without charge on written application to Mrs. Willem Willeke, Musical Director, South Moun- tain Association, Pittsfield, Massachusetts.
Exhibition at the Berkshire Museum
An exhibition of the Willson Collection of por- traits of composers (engravings, etchings and litho- graphs) is being shown at the Berkshire Museum in Pittsfield throughout the Festival season. Fifth Program
WEDNESDAY EVENING, JULY 14, at 8:30 ALBENERI TRIO
Erich Itor Kahn, Piano
Giorgio Ciompi, Violin
Benar Heifetz, Cello
Brahms Trio in B major, Op. 8
I. Allegro con brio
II. Allegro molto
III. Adagio
IV. Allegro
Martinu Trio in D minor
I. Allegro moderato
II. Adagio
III. . Allegro
.INTERMISSION
Beethove N Trio in B flat major, Op. 97 ("Archduke")
I. Allegro moderato
II. Scherzo: Allegro
III. Andante cantabile, ma pero con moto
IV. Allegro moderato
BALDWIN PIANO RCA VICTOR RECORDS :
6 1954 BERKSHIRE FESTIVAL Tanglewood
in The Berkshire Museum announces exhibitions of chef d' or i lustre" which is shortly to be published special interest for July: paintings by Lawrence R. Paris. The book is a study of a conductor's prob- McCoy and "Massachusetts' Crafts of Today." lems and privileges as viewed through the experience For July and August there is an exhibition of rooms of his career in Europe and America. from the 16th Century to the present, reproduced NBC Broadcasts The Little in miniature by Andrew Zenorini. The Boston Symphony Orchestra will be heard will show foreign films, each Wednesday Cinema throughout the nation beginning next October when through Saturday. the first part of each Saturday evening concert will The glassed reception room next to the Main be broadcast from Symphony Hall over the NBC Gate at Tanglewood will have six picture exhibi- network. tions through the Festival weeks arranged by Stuart Broadcasts of Festival Programs Henry, Curator of the Berkshire Museum. Sculp- WGBH, the FM educational station at Sym- ture by Homer Gunn is in the formal garden. phony Hall, Boston, of which the Boston Symphony Friends of the Berkshire Music Center Orchestra is a member, will make tapes of the 18 the Festival for broadcast All lovers of music who are interested in the Bos- orchestral concerts of begins. will ton Symphony Orchestra's school at Tanglewood weekly until the winter season Tapes of concerts, lectures forums of the are invited to the numerous performances — orches- also be made and Berkshire Music Center and these will be broadcast tral, operatic, chamber and choral, which will be the fall and winter season. given through the season. These performances are during open to all who become members by a voluntary A New Scholarship contribution'. A full listing will be found on page A fund is being set up to provide an annual "Con- 31. ducting Scholarship" in memory of Serge Kousse- Tanglewood on Parade vitzky. If you would like to have a part in this, please send your contribution to Paul K. Fodder, New and special features are planned for the Trust Officer, Agricultural National Bank, Pitts- annual Tanglewood on Parade to be given at field, Massachusetts. Tanglewood on Friday, August 13. The details will be announced shortly. To New Yorkers A special round trip rate and service from New Charles Munch as Author York City to Tanglewood and return for each Sun- Charles Munch has written a book Jc sins day concert is offered by the New Haven Railroad.
HIGH FIDELITY MAGAZINE FEATURES IN JULY
As the headlines of this advertisement nique and art of recording and repro- claim, our July issue features a very ducing music have made every living wonderful article on the emergence of room a potential recital hall.
Berlioz . . . It is in this field that HIGH FIDELITY There's another "emergence" going Magazine has been so active for the on around you right now. It's some- past three years. Our purpose, in pub- thing unique and exciting, and you lishing the Magazine, is to help our
are a part of it. readers toward greater enjoyment of What's happening is this ... in these music, year round. To that end, for mid-century years, Americans have instance, our July issue includes the really, fully, for the first time, dis- Berlioz article; the usual 32 pages of THE EMERGENCE OF HECTOR BERLIOZ
covered music. Part of the evidence is authoritative record reviews; the reg- now about you, in the unprecedented ular tested-in-the-home reports on the
crowds who have turned out this sum- newest high fidelity equipment . . . mer for Tanglewood and other music and, also as usual, a lot more. festivals. Single copies of HIGH FIDELITY are But the story is continued, year available at the Tanglewood Book- round, in the American home because store at 50c each. Subscriptions are $6 the vast advances which have been a year, $10 for two, $13.50 for three. made during recent years in the tech- Published at Great Barrington, Mass. AN EVALUATION OF HIS WORK BY JOHN N.BURK Cothen naoh Merian im Jahre 1650
Sixth Program
FRIDAY EVENING, JULY 16, at 8:30
Bach . Cantata No. 93, "Wer nur den lieben Gott lasst walten"
I. Chorus
II. Chorale, Recitative, Arioso (Bass)
III. Aria (Tenor)
IV. Soprano and Alto with Chorus
V. Chorale, Recitative (Tenor)
VI. Aria, Soprano with Orchestra
VII. Chorale
Soprano: Theresa Green Tenor: David Lloyd
Contralto: Beatrice Krebs Baritone: McHenry Boatwright
Festival Chorus, Hugh Ross Conducting
INTERMISSION
Bach Suite No. 1, in C major
Grave; Allegro — Courante — Gavottes I and II — Forlane —
Minuets I and II — Bourses I and II — Passepieds I and II
Bach Suite No. 4, in D major
Overture — Bourses I and II — Gavotte — Minuets I and II — R6jouissance
BALDWIN PIANO RCA VICTOR RECORDS 8 1954 BERKSHIRE FESTIVAL Tanglewood
"Program Notes JSerkihhre [^lauhouSe STOCKBRIDGE, MASS. --
William Miles, Director 4 Sixth 'Program
Week of
July 5 Francesca Bruning in Johann Sebastian Bach "PYGMALION" Born in Eisenach, March 21, 1685; died in Leipzig, July 28, 1750 July 12 "MY THREE ANGELS"
July 19 To be announced Cantata No. 93, "Wer nur den lieben July 26 "MADAM, WILL YOU WALK?" gott lasst walten" (If Thou Wilt Suffer God to Guide Thee) August 2 ANNA RUSSELL in "TRAVELLERS' JOY" Composed about 1728, this Cantata was intended for the fifth Sunday after Trinity. It is based August 9 "THE IRON GATE" a new play throughout upon Georg Neumark's Chorale of this by John T. Chapman title. Christian Friedrich Henrici ("Picander") expanded the text to suit Bach's musical purposes. August 16 "CHARLEY'S AUNT" The score calls for a simple orchestra — strings oboes and continuo. Season continues through September 4th. Nightly (except with two Sun.) at 8:45 — $2.75, $1.85, $1.20, tax incl. Mats. Wed. The chorale unembellished becomes the final and Sat. at 2:30 — $1.85 and $1.20, tax incl. (seventh) movement, and the six preceding are For reservations write Box Office or phone Stockbridge 460. elaborations upon it. In the first, two voices and the chorus alternate in the phrases of the chorale, with orchestral commentary. In the second move- ment the bass alternates phrases with recitative pas- sages. The third is an aria for tenor, a variant upon the theme. There follows a duet between soprano and contralto (also known as a chorale prelude for organ*). In the fifth, the tenor follows CRANE MUSEUM the procedure of interrupting recitatives given pre- viously to the bass. The sixth, an aria for soprano,
is another fine elaboration. Only at this point is Exhibits showing steps in making all -rag the chorale introduced in all its simplicity. papers and the progress of paper -making from Revolutionary times to the present. Wer nur den lieben Gott lasst waken, Und hoffet auf ihn allezeit, Den wird er wunderlich erhalten, In allem Kreuz und Traurigkeit, Wer Gott, dem Allerhochsten, traut Der hat auf keinen Sand gebaut.
II Was helfen uns die schweren Sorgen? Sie driicken nur das Herz mit Centner Pein, mit tausend Angst und Schmerz. Was hilft uns unser Weh und Ach? Es bringt nur bitt'res Ungemach. Was hilft es, dass wir alle Open 2 to 5 p.m. Monday through Friday, Morgen mit Seufzen von dem Schlaf aufstehn, und mit bethrantem Angesicht des Nachts zu Bette gehn? Wir from June through September. Five miles east machen unser Kreuz und Leid durch bange Traurigkeit of Pittsfield on Route No. 9. nur grosser. Drum thut ein Christ viel besser, er tragt DALTON. MASSACHUSETTS sein Kreuz mit christlicher Gelassenheit.
* Third Schubler Chorale Prelude (647). 954 BERKSHIRE FESTIVAL Tanglewood 9
III * Man halte nur ein wenig stille, Wenn sich die Kreuzes Stunde naht, t t Denn unsres Gottes Cnaden Wille Elm Court Verlass't uns nie mit Rath und That. Gott, der die Auserwahlten kennt, t Gott, der sich uns ein Vater nennt, oieenox, aiiaclviASells Winl endiich alien Kummer wenden, Und seinen Kindern Hiilfe senden.
IV Cordially Invites Er kennt die rechten Freudenstunden, You and Your Friends F.r weiss wohl, wenn es niitzlich sei, Visit trie Main House for Wenn er uns nur hat treuerfunden To Und merket keine. Heuchelei, LUNCHEON, COCKTAILS So kommt Gott, eh' wir's uns versehn, and DINNER Und liisset uns vie] Gut's geschehn. *
Denk' nicht in deiner Drangs als Hitze, wenn Blitz und Dormer kracht, und dir ein schwiiles Wetter bange macht, 7 he Formal Gardens ana Greenhouses (la>s du von Gott verlassen seist. (}ott bleibt auch in der f r are open for your pleasure ^rovsten Noth, ja gar bis in den Tod mit seiner Gnade bei den Seinen. Du darfst nicht meinen, dass dieser Gott im Schoosse sitze, der taglich, wie der reiche Mann, in lust und Freuden leben kann. Der sich stetem mit Gliicke Lenox 670 £ speist, bei lauter guten Tagen, muss oft zuletzt, nachdem er sich an eitler Lust ergotzt: "Der Tod in Topfen!" I * sagen. Die Folgezeit verandert viel ! Hat Petrus gleich die ganze Nacht mit Ieerer Arbeit zugebracht, und nichts gefangen: auf Jesu Wort kann er noch einen Zug erlangen. Drum traue nur in Armuth, Kreuz und Pein auf deines Jesu Giite mit glaubigem Gemiithe. Nach Regen giebt er Sonnenschein, und setzet Jeglichem sein Ziel.
VI KEY Ich will auf den Herren schau'n, THE RIGHT Und stets meinem Gott vertrau'n, FOR HAPPY TRAVELING Er ist der rechte Wundersmann, NATIONAL CITY BANK Der die Reichen arm und bloss, TRAVELERS CHECKS [ nd die Armen reich und gross Nach seinem Willen machen kann. • Spendable everywhere— just like cash
• Safe—prompt refund if lost or stolen YOU ARE MISSING MUCH • Good until used • Cost only 7H per $100 IF YOU DO NOT VISIT • Buy them at your bank The Wallach Studio NCB in Lime Rock, Conn., 1 mile off Route 7 TRAVELERS CHECKS 9 miles south of the Mass. State Line
You will find in a house of old European charm table linens printed with wooden blocks, in Lime Rock, cotton skirts, imported Bavarian dirndl dresses, and many other interesting items.
BACKED BY THE NATIONAL C I T If BANK OF NEW YORK
Stint in "/{oj'/f/ '///<•/<- £8ari/wn VII Sing', bet' und geh' auf Gottes Wegen, First Festival in America Verricht' das Deine nur getreu, Und trau' des Himmels reichem Segen, Avaloch presents: So wird er bei dir werden neu; Denn welcher seine Zuversicht, new yoRk Auf Gott setzt, den verlasst er nicht. pRo-musica Suites Nos. 1 in C Major, 4 in D Major Antique Bach's four orchestral suites are usually attributed to the period (1717-23) in which he was Kapell- Medieval, Renaissance and meister to the young Prince Leopold of Anhalt- Baroque Music Cothen. Albert Schweitzer conjectures that they may belong to the subsequent Leipzig years, for August 18 8:30 P.M. Bach included them in the performances of the Italian and English Music of the Renaissance and Baroque Telemann Musical Society, which he conducted August 21 8:30 P.M. Court and Chapel Music of Henry V-Henry VIII from the years 1729 to 1736. But the larger part August 22 1:30 P.M. of instrumental belongs at Music of the Spanish Renaissance his music to the years August 25 8:30 P.M. Cothen where the prince not only patronized but English Medieval and Elizabethan Carols August 28 8:30 P.M. practised this department of the art — it is said that Music of the German Renaissance and Baroque he could acquit himself more than acceptably upon August 29 1:30P.M. Vocal and Instrumental Works of the violin, the viola da gamba, and the clavier. It Salamone Rossi, Hcbreo (Mantua 1587-1628) was for the pleasure of his Prince that Bach com- at Lenox Town Hall posed most of his chamber music, half of the Well- tempered Clavichord, the inventions. Composing the Tickets: Subscription (6 concerts) $12.00 Single admission, $2.40 six concertos for the Margraf of Brandenburg at Information: New York Pro Musica Antiqua, this time, he very likely made copies of his manu- Dept. T, Lenox, Mass. — Phone 41 scripts and performed them at Cothen. STEIRfWAY In Massachusetts and New Hampshire new Steinway Pianos are sold ONLY by A century of devotion to all that is best M. STEINERT & SONS in piano craftsmanship has inspired world- wide confidence in the name Steinway as a standard of quality. Your security in piano investment can be safely based on this tradition. M. STEINERT & SONS Jerome F Murphy, President 162 BOYLSTON STREET • BOSTON rnrnmTTn BRANCHES IN WORCESTER • SPRINGFIELD 1954 BERKSHIRE FESTIVAL Tanglewood 11 The first suite adds two oboes and bassoon to the string orchestra. The last includes timpani and a CLOSEST TO larger wind group: three oboes, bassoon and three TANGLEWOOD trumpets. There is in each score a figured bass for the presiding harpsichordist. The suites, partitas, and "overtures," so titled, by AVALOCH Bach were no more than variants upon the suite form. When Bach labeled each of his orchestral A Country Inn suites as an "ouverture," there is no doubt that the • French ouverture of Lully was in his mind. This Offers Fine American Plan composer, whom Bach closely regarded, had de- veloped the operatic overture into a larger form Accommodations with a slow introduction followed by a lively allegro of fugal character and a reprise. To this "over- ture" were sometimes added, even at operatic per- The dining room is open to the public, formances, a stately dance or two, such as were a featuring on Saturday evenings a magnifi- integral part of the operas of the customary and cent pre-concert buffet. Reservations are period. These overtures, with several dance move- suggested. ments, were often performed at concerts, retaining the title of the more extended and impressive "open- movement. Georg MufTat introduced the cus- ing" FOR AFTERNOON AND EVENING SNACKS AND DRINKS tom into Germany, and Bach followed him. Bach held to the formal outline of the French ouverture, THE FIVE REASONS TAVERN but extended and elaborated it to his own purposes. In the dance melodies of these suites, Albert AT AVALOCH Schweitzer has said "a fragment of a vanished world of grace and eloquence has been preserved for us. AVALOCH • West Street, Lenox, Tel. 41 They are the ideal musical picture of the rococo period. Their charm resides in the perfection of their blending of strength and grace." , , i w w „ ^. w.^.^.^.. Yehudi Menuhin world-famous violinist, chooses THE INCOMPARABLE New High Fidelity Phonograph . . . AM-FM Radio "Music reproduced with the fidelity achieved by this new Capehart is a joy to hear. Or- chestra and soloist seem to be present in my living room. This magnificent Capehart is high fidelity worthy of the name — an instru- ment the most exacting music lover will be delighted to own." For a thrilling musical experience, hear this new Capehart Phonograph-Radio (Model RP154) at your CAPEHART dealer today. Your classified directory lists your nearest CAPEHART dealer or write CAPEHART-FARNSWORTH COMPANY Fort Wayne 1, Indiana A Division of Mr. Menuhin listening to his CAPEHART High Fidelity Phonograph-Radio International Telephone and Telegraph Corporation 1 12 1954 BERKSHIRE FESTIVAL . . . Tangle-wood Seventh ^Program #y Excerpts, "The Martyrdom of Saint Sebastian" ^CORDINO^ (Mystery Play of Gabriele d'Annunzio) ^ Claude Debussy Horn in Saint-Germain (Seine-et-Oise) , France, August 22, 1862; died in Paris, March 25, 1918 ^>uiel1word$ Debussy composed his music to the play of d'Annunzio in the year 1911. The first production took place at the Theatre Clidtelet in Paris, Monday, May 22, 1911. THE LABEL THE TALK When, in the spring of 1911, a new score of WITH THE OF THE Debussy was announced for performance at the Chatelet — incidental music to a play of d'Annunzio GREAT ENTIRE in French verse — "he Martyre de Saint Sebastien," which had been commissioned by Mme. Ida Rubin- TRADITION COUNTRY stein, musicians shook their heads in doubt. It was probably just another of the commissions which the . . . since 1898 . . . since Nov., 1953 composer accepted for the fee it would bring, and looked upon with unmistakable dislike, such as the Ask your friendly, informed New England dealer for the incidental music to "King Lear," or the ballet for ANGEL CATALOGUE and FIRST SUPPLEMENT... or write Dario Soria, President Diaghilev, "Masques et Bcrgamasques" (which he Electric & Musical Industries (U.S.) Ltd. never wrote), or another ballet, " Khanuna," which 38 West 40th Street, New York 36 he sketched for Maud Allan, and handed over to Charles Koechlin to orchestrate. Those who looked for an oeuvre de eireonstance of this sort in "he Martyre de Saint Sebastien' were mistaken. The figure of the Archer of ( Jod, the fair "athlete AARON COPLAND of Christ," suggesting at once sensuous grace and a pure ilame of faith, an intriguing symbolism clothed new publications in an archaic simplicity of style, appealed to him immensely. The Saint as d'Annunzio presented OLD AMERICAN SONGS (Set I) him to Debussy was limned in a tragic mystery play, Med. Voice & Piano . $1 .50 a figure as he might have been depicted in a stained OLD AMERICAN (Set II) SONGS glass window. "I have dreamed for a long time of Med. Voice & Piano . . in prep. the bleeding youth," wrote the Italian poet, "trans- TWELVE POEMS OF EMILY DICKINSON figured in the Christian myth, like the beautiful Med. Voice & Piano . . 3.00 wounded god mourned by the women of Byblus be- THE TENDER LAND (Opera in 2 Acts) Libretto ... .50 fore the catafalque of ebony and purple, in the vernal QUARTET (Piano & Strings) Parts . . . 5.00 equinox. I had chosen this line from verse Pockef Score . . 1 .25 a of Veronica the great Italian SEXTET (Clarinet, Piano & Strings) Parts . . 7.50 Gambara, poetess of the Pocket Score . 1 .50 Renaissance: 'He that loves me most, wounds me.' (for JOHN HENRY Orchestra) Full Score . . 2.50 My mystery play is a development of this theme. PREAMBLE FOR A SOLEMN OCCASION The saint, holding fast the laurel at the hour of (for Orchestra) Full Score . . 3.00 execution, said to the archers of Emesa: Available at the Tanglewood Music Store 7 say unto you, I say unto you, or from Boose/ and Hawkes lie tliat wounds me the more deeply, the more " deeply loves me.' Also representing the music of BARTOK . BENJAMIN . BRITTEN . HAIEFF SUN -INSIDE KODALY . MARTINU . PISTON . PROKOFIEFF R. STRAUSS . STRAVINSKY . and others Prop. F. LAINCOME Monterey Rte. 23 Tel. Gr. Barringt on 1148M3 30 WEST 57th ST., N. Y. C. FRENCH CUISINE BOOSEY and HAWKES— LUNCHEON AAA APPROVED INN DINNER Seventh Program SATURDAY EVENING, JULY 17, at 8:30 PIERRE MONTEUX, Conductor Debussy Excerpts (Act I) from "Le Martyre de Saint-Sebastien" (Mystery Play by Gabriele d'Annunzio) Prelude: The Court of the Lilies Dance of Ecstasy and Finale Franck . "Les Djinns," Symphonic Poem for Piano and Orchestra Debussy "La Mer," Trois Esquisses Symphoniques I. De l'aube a midi sur la mer II. Jeux de vagues III. Dialogue du vent et de la mer INTERMISSION Franck Symphony in D minor I. Lento; Allegro non troppo II. Allegretto III. Allegro non troppo Soloist .... VERA FRANCESCHI B A L O W IN I' I A N RCA VICTOR RECORDS 14 1954 BERKSHIRE FESTIVAL Tanglewood Debussy has introduced each act, or "mansion" (according to an antique terminology) by a prelude. Your Time Is Our Time The introduction to the final act becomes an "inter- lude," because it follows without break upon the At The Connecticut Yankee, a new store fourth (the scene of the laurel grove). He has in an old house on the Sharon Green. introduced choral passages freely through the score, and to the divine commentaries of the groups are SPORTSWEAR "Les Djinns," Symphonic Poem for A Town & Country Store Piano and Orchestra Route 41 Cesar Franck SHARON, CONNECTICUT Born in Liege, December 10, 1822; died in Paris, November 8, 1890 Hilda & Eben Whitman Open from 10 to 6 ' Franck composed Les Djinns in 1884. He wrote ******* ******** it at Quincy during the summer of that year at the request of the pianist Caroline Montigny-Remaury (Mme. de Serres), who nevertheless never per- formed it. The first performance was at a Colonne concert in Paris March 15, 1885, when the pianist was Louis Diemer. This was Franck's first notable work for the piano, although he had studied to be- come a pianist in his student years. (His Variations Symphoniques was to be composed in the following year). D'Indy makes much of Franck's treatment of the piano style which he considered to have made no progress since Beethoven. He commended the use of the piano in this work as interwoven with the orchestral writing at a time when such com- posers as Liszt were treating it as a purely virtuoso four e#mv£ys instrument. Indeed d'Indy later showed his admira- tion by his own Symphony on a Mountain Air* Enjoy a leisurely, picturesque drive to historic * Philip Hale, in his notes upon this work, quoted Old Bennington. Relax and dine in a setting of d'Indy's remark that the piano had lost after Beethoven its gracious Colonial charm. "true patent of nobility and was destined, artistically speaking, to a sterile decadence." "How about Chopin, Open 12 to 12 Every Day M. d'Indy?" added Mr. Hale. This editor, who was no great lover of Brahms, might have mentioned that com- LUNCHEON 12-4 DINNER 5-10:30 poser's two piano concertos, in which the integration of the piano in an orchestral score is not negligible. Cocktails till Midnight ON ROUTE 7 [route" OLD BENNINGTON, VT. l^. L^aiiilupAO of BERMUDA Walker Street, Lenox, Mass. Present a new and enlarged collection of their inimitable clothes for men and women. Open daily (except Sunday), from 9:30 to 5:30, and on Thursdays until 9:00 P.M. ! 1954 BERKSHIRE FESTIVAL Tanglewood 15 Les Djinns was inspired by the poem of that to name by Victor Hugo, the poem which by its special to •IX to character is often used as an exercise in declamation. 9X to Its form has been described as a poetic "lozenge" in ex zAbout the m ex to that the verses begin with two-syllable lines softly ex 1(8 eight eX to spoken, increase verse by verse to a length of ex to syllables, and are gradually reduced to the original ex "Berkshire Hills to ex brevity. It begins: ex to ex to Murs, ville, Town, tower, ex to port, ex to Et And shore, ex to Asile Refuge ex to ex to De mort, Of death, ex to ex every season of the year to Mer grise Waves gray — ex AT to in the beautiful Berkshires, Ou brise Where play ex to ex to La brise, Winds gay — ex you will find a wide variety of to ex to Tout dort. All asleep. ex things to do, places to go, sights to ex to The poem ends in a monosyllabic evanescence as the ex to see. In the Fall, Berkshire to legendary creatures of the East disappear in the ex to ex foliage attracts thousands of to distance. It cannot be said that Franck followed ex to ex people who come to enjoy the to this plan strictly in a musical sense, although it ex of to begins pianissimo, reaches a large sonority, and ends ex unsurpassed spectacle Na- to ex to as it began. ex ture's brilliant and breath-taking to ex to The jinn (singular: jinnee or genie) were char- ex array of colors. to ex to acters in Arabian mythology referred to in the ex to ex to Koran as created by Allah from fire without smoke. ex to They sometimes resembled human beings, sometimes ex Traditional Berkshire Hills to ex to animals. They also had the human properties of ex hospitality is quickly evident to ex to propagation and mortality. Most familiar in the ex when you stop at one of our western world as creatures of the Arabian Nights, ex 1 ex many fine hotels, inns, motels or its they become invisible at will and are bound to serve ex to ex guest houses. You'll always to ex to ex enjoy the touch of friendly to ex to ex cordiality ex ex ex NEW ENGLAND'S FINEST AND ex ex to ex And for year 'round good liv- MOST COMPLETE MUSIC HOUSE ex to ex ing, a place to build, work or SHEET MUSIC • RECORDS • ALBUMS ex ex play, hundreds of good folks • Literature and Study Books • Instruments ex to ex who were formerly seasonal vis- to • Excellent stock of small scores • Musical Gifts ex to • Organs • Pianos ex itors have chosen the Berkshire to ex to We Mail Everywhere ex Hills as a permanent residence. ex ex to 16 BOYLSTON STREET • BOSTON 16 ex ex s ex For further details about the to ex to ex region, our list of real estate to ex to MAPLE GROVE ex agents, and information on to ex ex places to stay write: Vermont's finest ex ex Maple Confections ex to ex to On display and sale at the ex to ex BERKSHIRE HILLS TANGLEWOOD REFRESHMENT CENTER ex and the ex to ex CONFERENCE to TANGLEWOOD MUSIC STORE ex to ex to ex County Courthouse When in Vermont, come see us! ex ex MAPLE GROVE, Inc. ex to ex Pittsfield 30, Mass. to St. Johnsbury, Vermont ex to ex to *•**** . JS. .*. J£. *. -* JH. JR. JS. Jfr JR. *• Ji- -* -* JR.-&..*. Jd. A * A * *«* *«*** '2- #3 ^^^^t^i.w;) t*> t»\ *±\ 7$i tS S 'f «» S <=» "The Sea" (Three Orchestral There could be no denying Debussy's passion for Sketches) the sea: he frequently visited the coast resorts, spoke and wrote with constant enthusiasm about "my old Claude Debussy friend the sea, always innumerable and beautiful." Bom in Saint-Germain (Seine-et-Oise), France, August He often recalled his impressions of the Mediter- 22, 1862; died in Paris, March 25, 1918 ranean at Cannes, where he spent boyhood days. It is worth noting, however, that Debussy did not seek It was in the years 1903-05 that Debussy composed "La Mer." It was first performed at the Concerts Lamoureux the seashore while at work upon his "La Mer." in Paris, October 15, 1905. The first performance in the His score was with him at Dieppe, in 1904, but United States was at the Boston Sy'mphony concerts on most of it was written in Paris, a milieu which he March 2, 1907, Dr. Karl Muck conductor. chose, if the report of a chance remark is trust- When Debussy composed "La Mer: Trois Es- worthy, "because the sight of the sea itself fascinated ," quisses Symphonic/ ties he was secure in his fame, him to such a degree that it paralyzed his creative the most argued composer in France, and, to his faculties." When he went to the country in the annoyance, the most imitated. "L'Apres-midi d'un summer of 1903, two years before the completion of "La Mer," it was not the shore, but the hills of Burgundy, whence he wrote to his friend Andre Messager (September 12) : "You may not know that I was destined for a sailor's life and that it 70m. 'rfyaymea @a. was only quite by chance that fate led me in another S. direction. But I have always retained a passionate love for her [the sea]. You will say that the Ocean MAKERS OF HIGH GRADE BOEHM FLUTES does not exactly wash the Burgundian hillsides — and my seascapes might be studio landscapes; but I have an endless store of memories, and to my mind 12 PIEDMONT ST. 16. BOSTON MASS. they are worth more than the reality, whose beauty often deadens thought." THE Tone Heard 'Round the World' * This draft, dated "Sunday, March 5 at six o'clock in the evening," is in present possession of the Eastman School 3«J=»5=SMP$^^=0=35^^ of Music at Rochester. MANHATTAN SCHOOL OF MUSIC Janet D. Schenck, Director BACHELOR and MASTER of MUSIC DEGREES Distinguished faculty includes: DlRAN Al.EXANIAN John Brownlee Bernard Greenhoi SB Franco Autori VlTTORIO GlANNINI Howard Murphy Raphael Bronsimn Robert Goi.dsand jonki. pfri.ea Hugh Ross CATALOG ON REQUEST 238 EAST 105TH STREET NEW YORK 29, NEW YORK 1954 BKRkSHIRE FESTIVAL Tanglewood 17 Debussy's deliberate remoteness from reality, con- Symphony in D Minor sistent with his cultivation of a set and conscious style, may have drawn him from salty actuality to Cesar Franck tbe curling lines, the rich detail and balanced sym- Born in Liege, Belgium, December 10, 1822; died in Paris, November 1890 metry of Hokusai's "The Wave." In any case, he 8, had the famous print reproduced upon the cover of The Symphony of Cesar Franck had its first performance by the Conservatoire Orchestra of Paris, February 17, 1889. his score. His love for Japanese art tempted him to purchases which in his modest student days were a "One autumn evening in 1888," wrote Guy strain upon his purse. His piano piece, "Poissons Ropartz, devout disciple of Franck, "I went to pay piece of lacquer d'or," of 1907, was named from a the master a visit at the beginning of vacation time. in his possession. theme for brass, also in the A 'Have you been working?' I inquired. 'Yes,' was sketch, becomes an integral part of the final opening Franck's reply, 'and I think that you will be pleased to set the imagination aflame, it peroration. Music with the result.' He had just completed the Sym- induced from the pen of Lawrence one of Gilman phony in 1), and he kindly played it through to me his pictures: most evocative word on the piano.* I shall never forget the impression "Debussy had what Sir Thomas Browne would made upon me by that first hearing." have called 'a solitary and retired imagination.' So, The first performance, at the Paris Conservatoire, when he essays to depict in his music such things as when the members of the orchestra were opposed to and noon at sea, sport of the waves, gales and dawn it, the subscribers bewildered, and some of Franck's surges and far horizons, he is less the poet and colleagues spitefully critical, has been described with painter than the spiritual mystic. It is not chiefly gusto by d'Indy in his much quoted book, the bible of those aspects of winds and waters that he is of the Franck movement. telling us, but of the changing phases of a sea of It is not hard to sympathize with the state of mind dreams, a chimerical sea, a thing of strange visions of Franck's devoted circle, who beheld so clearly and stranger voices, of fantastic colors and incal- the flame of his genius, while the world ignored and culable winds — a phantasmagoria of the spirit, rife passed it by. They were naturally incensed by the with evanescent shapes and presences that are at inexplicable hostility of some of Franck's fellow pro- times sunlit and dazzling. It is a spectacle perceived fessors at the Conservatoire, and moved to winged as in a trance, vaguely yet rhapsodically. There is words in behalf of their lovable " inattre," who, ab- a sea which has its shifting and lucent surfaces, sorbed and serene in his work, never looked for either which even shimmers and traditionally mocks. But performance or applause — was naively delighted it is a sea that is shut away from too curious an when those blessings sparingly descended upon him. inspection, to whose murmurs or imperious command But the impatience of the Franck disciples extended, not many have wished or needed to pay heed. less reasonably, to the public which allowed him to "Yet, beneath these elusive and mysterious over- die before awaking to the urgent beauty of his art. tones, the reality of the living sea persists: the im- Ropartz, for instance, tried to console himself with memorial fascination lures and enthralls and ter- the philosophical reflection: "All true creators must rifies; so that are we almost tempted to fancy that be in advance of their time and must of necessity be the two are, after all, identical — the ocean that misunderstood by their contemporaries: Cesar seems an actuality of wet winds and tossing spray Franck was no more of an exception to this rule and inexorable depths and reaches, and that un- than other great musicians have been ; like them, he charted and haunted and incredible sea which opens was misunderstood." A study of the dates and per- before the magic casements of the dreaming mind." formances, which d'Indy himself has listed, tends to exonerate the much berated general public, which has been known to respond to new music with toler- JACOB'S PILLOW able promptness, when they are permitted to hear DANCE FESTIVAL it even adequately presented. The performances of Franck's music while the composer lived were patchy ren Weeks — July 2nd-Sept. 4rli and far between. Famous Stars and Companies * DTnclv lists the Svmphonv as having been begun in I'el.: T.ee 745 • Write: Box 87, Lee, Mass. 1886. ANTIQUES SHOW * LITTLE CINEMA K'LSs * SIXTH SEASON TOWN HALL • LENOX, MASS. The Finest of Foreign & American Films July 30th thru August 14th Wednesdays thru Fridays 8:15 P.M. Saturdays at 7 and 9 P.M. (Some programs full (Closed Sundays) run a week) No popcorn, no previews - Always cool and comfortable DAILY from 11 A.M. to 10 P.M. * THE BERKSHIRE MUSEUM, Pittsfield, Mass. * 18 1954 BERKSHIRE FESTIVAL Tanglewood Through almost all of his life, Paris was not WaUAMSTOWN. MASlH even aware of Franck. Those who knew him casu- ally or by sight must have looked upon him simply Juuneat as a mild little organist* and teacher at the Con- servatoire, who wrote unperformed oratories and operas in his spare time. And such indeed he was. It must be admitted that Franck gave the world little opportunity for more than posthumous recog- On Williams College Campus nition — and not so much because this most self- effacing of composers never pushed his cause, as mm if A short, beautiful drive because his genius ripened so late. When he had KM thru the Berkshires reached fifty-seven there was nothing in his consid- erable output (with the possible exception of La Redemption or Les Eolides) which time has proved Lobster Pie, Treadway Inn Style to be of any great importance. Les Beatitudes, which he completed in that year (1879) had neither Brook Trout • Steak • Guinea Hen a full nor a clear performance until three years after his death, when, according to d'Indy, "the effect was Distinguished Wine Cellar overwhelming, and henceforth the name of Franck was surrounded by a halo of glory, destined to grow FOOD SERVED ALL DAY brighter as time went on." The masterpieces — Psyche, the Symphony, the String Quartet, the Violin Sonata, the Three Organ Chorales, all came Recommended by Gourmet and Duncan Hines within the last four years of his life, and the Sym- phony — that most enduring monument of Franck's genius, was first performed some twenty months The first of 15 JieadwOU IftflS located ii * d'Indy pours just derision upon the ministry who, as New England, New York State and Florida late as August, 1885, awarded the ribbon of Chevalier of the Legion of Honor to "Franck (Cesar Auguste), pro- fessor of organ." ' £T s PAp FOLK AND JAZZ ROUNDTABLE oU^ ^ /5 AUGUST 15 to SEPTEMBER 6 G L £ For the fifth year jazz and folk musicians, anthropologists folklorists and musicologists will gather at Music Inn to perform, lecture — and argue . . . MARSHALL STEARNS, President of the Institute of Jazz Studies, will direct the three weeks' activities ... he was recently articled in N. Y. Tribune's THIS WEEK under the heading "THE JAZZ SCHOLAR" (teaches Chaucer at Hunter — Jazz Studies at New York University) . . . First week of Roundtable on European and Negro folk music will have on hand poet LANGSTON HUGHES for opinion and enlightenment . . . From Atlanta, Georgia, WILLIS JAMES, world authority on Negro hollers, shouts and cries, is bringing newly gathered examples . . . GEOFFREY HOLDER, up from Trinidad, is planning the second week's program of Caribbean music, from steel drums to island dances ... an exhibition of his paintings and photography, too. ^jramouS fofor HAROLD COURLANDER, co-editor of Ethnic Folkways Records, is back from Europe. Key man in last year's Caribbean program, he will probably be present for part of the time . . . ARTHUR ALBERTS, returning soon from Africa, -jrivie -jrood avid ^-j^oa was one of the originators of the ROUNDTABLE . . . the premiere of his Gold Coast recordings was a highlight of the 1950 program . . . NAT HENTOFF, editor of Downbeat OPEN EVERY DAY will be present to help weave all threads together. RUDI BLESH of the russet beard, top jazz historian, will defend the jazz primitives . . . may be expected to tangle with Recommended by hirsute AL COLLINS of WNEW . . . Semanticist S. I. Duncan Hines HAYAKAWA includes jazz jargon and blues among his A.A.A., Gourmet & lore, and is a preferred accompanist to MAMA YANCEY . . . HENRY COWELL, extreme modernist in music and perambulating encyclopedia of information on world music ^Jvadltloviatiu — will join with TREMAINE McDOWELL, head of Minnesota 1 University's Dept. of American Studies, in relating this to that. Instrumentalists, singers, dancers usually outnumber professors AT THE END OF A PERFECT DAY about eight to one . . . LOUIS ARMSTRONG, speaking on the Roundtable at ON ROUTE 44 ". Music Inn said . they're doing wonderful things for jazz history . ." Between Canaan & Norfolk, Connecticut up there . . they're really helping make music Telephone Taylor 4-7495 WRITE MUSIC INN. LENOX. MASS.. OR PHONE LENOX 695 FOR INFORMATION '-"-tAAAAAA, Eighth Program SUNDAY AFTERNOON, JULY 18, at 2:30 Debussy "Iberia," "Image" for Orchestra, No. 1 Copland Concerto for Piano and Orchestra INTERMISSION Berlioz Fantastic Symphony, Op. 14A I. Reveries, Passions Largo: Allegro agitato e appassionato assai II. A Ball Waltz: Allegro non troppo III. Scene in the Meadows Adagio IV. March to the Scaffold Allegretto non troppo V. Dream of a Witches' Sabbath Larghetto: Allegro Soloist . . . LEO SMIT BALDWIN PIANO RCA VICTOR RECORDS : 20 954 BERKSHIRE FESTIVAL Tanglewood before his death. In the last year of his life, musi- pected for the summer of 1906. They were not cians rallied to the masterly new scores as soon as forthcoming. The musician who could once linger they appeared, and lost no time in spreading the over his scores at will, rewriting, refining, repolish- gospel of Franck — a gospel which was readily ing, while the world cared little, was now the apprehended. Ysaye played the Violin Sonata (ded- famous composer of "Pelleas." Publishers, orches- icated to him) in town after town; the Quartet was tras, were at his doorstep, expectant, insistent, men- performed at the Salle Pleyel by the Societe Nation- tioning dates. Debussy was still unhurried, reluc- ale de Musiquc (April 19, 1890), and the whole tant to give to his publisher a score which might audience, so we are told, rose to applaud the com- still be bettered. He wrote to Durand in August poser. And after Franck's death, his music, aided of 1906: "1 have before me three different endings (or hindered) by the zealous pronouncements of the for 'Iberia' ; shall I toss a coin — or seek a fourth?" militant school which had grown at his feet, made To Durand, July 17, 1907: "Don't hold it against its way increasingly to popular favor. me that I am behind ; I am working like a laborer — and making some progress, in spite of terrible and - tiring setbacks!" Two months later he promises that "Iberia" will be ready as soon as the "Rondes de Printemps," the third of the "Images" is "right Eighth 'Program and as I wish it." By Christmas of 1908, the first full draft of "Iberia" was completed, but the com- poser was by that time involved in a project for an "Iberia n "Images," for Orchestra opera on Poe's "Fall of the House of Usher," imme- diately followed by another operatic project which, No. 2 like the first, came to nothing: "The Devil in the Claude Derussy Belfry." Born in St. Germain (Seine-et-Oise), France, August 22, The movements are as follows 1862; died in Paris, March 25, 1918 I. "Par les rues et par les chemins" ("In the Debussy completed the "Rondes de Printemps" in 1909, streets and byways"). Assez anime (dans un •Iberia" 'in 1910, and "Gigues" in 1912. The three rhythme alertc mais precis). "Images" as published bore numbers in reverse order. II. "Les parfums de la unit" ("The fragrance "Iberia" was first performed by Gabriel Pierne at a of the night"). Lent et revcur. (olonne concert in Paris, February 20', 1910. III. " Lc matin d' un jour de fete" ("The morn- Debussy wrote to Durand, his publisher, on May ing of a festival day"). Dans un rhythme de 16, 1905, of his plan to compose a set of "Images" marche lointaine, alertc et joycusc. (a conveniently noncommittal title) for two pianos, There was a considerable expression of dissatis- to be called I. "Gigues Tristes," II. "Iberia," III. faction with "Iberia" in Paris, when it was first "Vaises })" Before long the project had become ( heard. "Half the house applauded furiously," re- an orchestral one, and the questioned "Vaises" had ported a newspaper correspondent, "whereupon been dropped. The two orchestral pieces were ex- hisses and cat calls came from the other half. I think the audience was about equally divided." There was also much critical disfavor, while certain SAMMY VINCENT individuals pronounced roundly in favor of "Iberia." MUSIC CENTER Since time has vindicated the piece, two of these early champions, not without subsequent achieve- 23 North Street, Pittsfield ment of their own, may be quoted here to their BERKSHIRE'S LARGEST MUSIC CENTER credit. They are Manuel de Falla and Maurice Records • Radios • Television • Baldwin Pianos Ravel. NEW ENGLAND CONSERVATORY OF MUSIC Harrison Keller, President Faculty of the Conservatory includes the following members of the Faculty of the Berkshire Music Center. DORIOT ANTHONY 1ERNAND GILLET WILLEM VALKENIER RICHARD rSURGIN BORIS GOLDOVSKY ROGER VOISIN [OSEPH DE PASQUALE ALFRED KRIPS SHERMAN WALT "I.ORN A COOKE DE VARON SAMUEL MAYES FELIX WOLFES CASTON DUFRESNE ROSARIO MAZZEO ALFRED ZIGHERA GEORGES FOUREL GEORGES MOLEVX ISERNARD ZIGHERA I In leave summer 1954. For full information write the Dean, 290 Huntington Ave., Boston, Mass. FALL TERM BEGINS SEPTEMBER 13 1954 BERKSHIRE FESTIVAL Tanglewood 21 The Spanish composer wrote in an article printed in the Chesterian: RCA VICTOR RECORDS "The echoes from the villages, a kind of sevillana BOSTON SYMPHONY ORCHESTRA — the generic theme of the work — which seems to Moat in a clear atmosphere of scintillating light; the Recorded under the leadership of Charles Munch intoxicating spell of Andalusian nights, the festive Beethoven Symphony No. 7, Symphony No. 1 gaiety of a people dancing to the joyous strains of Berlioz "Romeo and Juliet" (complete) a banda of guitars and bandurrias ... all this Brahms Symphony No. 4 whirls in the air, approaches and recedes, and our Piano Concerto No. 2 (Soloist, Artur Rubinstein) imagination is continually kept awake and dazzled Bruch Violin Concerto No. 1 (Soloist, Yehudi Menuhin) by the power of an intensely expressive and richly Handel Water Music ."* varied music. . . Haydn Symphonies No. 103 ("Drum Roll"), No. 104 ("London") * Falla further states that Debussy thus pointed the way Honegger Symphony No. 5 to Albeniz towards the use of the fundamental elements of Roussel "Bacchus and Ariane" popular music, rather than folk-tunes as such. Vallas Schubert Symphony No. 2 points out that the first part of Albeniz's "Iberia" suite Schumann Symphony No. 1, Overture, "Genoveva" appeared as early as 1906, and was well known to Debussy, Strauss "Don Quixote" (Soloist, Gregor Piaticorsky ) who delighted in it and often played it. The last part or Violin the "Iberia" of Albeniz appeared in 1909, at which time Tchaikovsky Concerto (Soloist, Nathan Milstein) its composer probably knew nothing of Debussy's score. ALBUM : Ravel, "Rapsodie Espagnole," "La Valse" ; Over- Debussy was thus evidently indebted to Albeniz, for he tures, Berlioz, "Beatrice and Benedick"; Lalo, "Le Roi never made the visit to Spain which could have given him d'Ys" ; Saint-Saens, "La Princesse Jaune" material at first hand. The ''realism" which many have found in Debussy's "Iberia" was not of this sort. Among the recordings under the leadership of Serge Koussevitzky Bach Brandenburg Concertos Nos. 1 and 6, Suites No. 1 Concerto for Piano and Orchestra and 4 Beethoven Symphonies Nos. 3, and 9 Aaron Copland 5, Brahms Symphony No. 3, in F Born in Brooklyn, New York, November 14, 1900 Haydn Symphonies No. 92, in G, "Oxford" ; 94, "Surprise" Khat( haturian Piano Concerto (Soloist, William Kapell) This Concerto was composed at the suggestion of Serge Copland "Appalachian Spring" Koussevitzky, between January and November, 1926. Mr. Copland completed it in New York City, after working Mendelssohn Symphony No. 4, "Italian" upon it during the summer at Guethary, "a Basque village Mozart Eine kleine Nachtmusik in France. The Concerto was performed for the first time Serenade No. 10, in B-Flat, K. 361 when Dr. Koussevitzkv presented it at the Boston Sym- Symphonies K. 425, "Linz" ; E-Flat, K. 543 phony Orchestra concerts on January 28, 1927. Prokofieff Violin Concerto No. 2 (Soloist, Heifetz) Symphony No. 5 Peter and the Wolf (Narrator, Eleanor Roosevelt) Ravel Bolero VISIT THE Ma Mere L'Oye Suite TANGLEWOOD MUSIC Schubert Symphony in B Minor, "Unfinished" Tchaikovsky Serenade in C, Op. 48 STORE Symphonies Nos. 4 and 5 (near the main gate) COMMEMORATIVE ALBUM Sibelius Symphony No. 2, in D, Op. 43, R. Strauss Don Juan, Op. 20', Wagner Siegfried Idyll Recorded under the leadership of Leonard Bernstein Stravinsky "L'Histoire du Soldat," Octet for Wind Instruments Recorded under the leadership of Pierre MoNTEUX Liszt "Les Preludes" Mozart Piano Concertos (No. 12, K. 414, No. 18, K. 456) (Soloist, Lili Kraus) Scriabin "The Poem of Ecstasy" Tanglewood Pictorial Booklet - 50^ Stravinsky "Le Sacre du Printemps" Souvenirs of Tanglewood: A large assortment of books above both Play on music. Recordings and miniature scores, including The recordings are available on Long (33 1/3 r.]j.m.) and 45 r.p.m. works given at the Festival concerts. Also, postcards, films, etc. Also many recordings by the BOSTON POPS rai I b\ ilw Boston S": mphony Orche ORCHESTRA, ARTHUR FIEDLER, Conductor. * A A A. . * * A A : 22 1954 BERKSHIRE FESTIVAL Tanglewood When Mr. Copland performed this work with Nabokov. Fellowships enabled him to spend two years in Rome, where he composed his Overture "The Parcae," per- the Boston Symphony Orchestra, he wrote the fol- formed by this orchestra. Last season he was given the lowing description of it for these programs Horblit Award. Though played without interruption, the Concerto is really divided into two contrasted parts, which are linked thematically. The first is a slow, lyric sec- Fantastic Symphony tion, the second a fast rhythmic one. (Symphonie Fantastique), Op. 14A A short orchestral introduction announces the Hector Berlioz principal thematic material. The piano enters Born in Cote Saint-Andre (Isere), December 11, 1803; quietly and improvises around this for a short space, died in Paris, March 8, 1869 then the principal theme is sung by a flute and clarinet in unison over an accompaniment of muted The Symphony, composed in 1830, had its first perform- ance December 5 of that year at the Conservatoire in Paris, strings. This main idea recurs twice during the Habeneck conducting. course of the movement — once in the piano with T imitations by the wood-w ind and French horns, and There have been many attempts to explain that later in triple canon in the strings, mounting to a extraordinary musical apparition of 1830, the Sym- sonorous climax. phonie Fantastique. Berlioz himself was explicit, A few transitional measures lead directly to the writing of the "Episode in the Life of an Artist" second part which, roughly speaking, is in sonata which included this and Lelio as "the history of my form without recapitulation. The first theme, an- love for Miss Smithson, my anguish and my distress- nounced immediately by the solo piano, is consider- ing dreams." This in his Memoirs; but he also ably extended and developed before the second idea wrote there: "It was while I was still strongly is introduced by a soprano saxophone. The develop- under the influence of Goethe's poem [Faust] that ment, based entirely on these two themes, contains I wrote my Symphonie Fantastique/' a short piano cadenza presenting difficulties of a Yet the "Episode" cannot be put down simply as rhythmic nature. Before the end, a part of the first a sort of lover's confession in music, nor its first part movement is recalled. This is followed by a brief as a "Faust" symphony. In 1830, Berlioz had never coda. talked to Miss Smithson. He was what would now be called a "fan" of the famous Irish actress, for LEO SMIT was born in Philadelphia in 1921. He of the existence of the obscure studied piano with Mme. Isabelle Vengerova at the Curtis she scarcely knew Institute at Philadelphia and composition with Nicolas and perhaps crazy young French composer who did PwupMoimis J / ft in -the NEW AWft^C/ -/T CIOSE2 /t&Q/fJ 70 KEEP KING SIZE or CtQARETrES FRESH/ REGULAR SPRAGUE ELECTRIC COMPANY NORTH ADAMS, MASSACHUSETTS Manufacturers of Electrical Components i* ,* * 1954 BERKSHIRE FESTIVAL Tanglewood 23 not even speak her language. Her image was liantly demonstrates that through Chateaubriand blended in the thoughts of the entranced artist with Berlioz well knew the affecting story of Paul and the parts in which he beheld her on the boards — Virginia, of the fates of Dido and of Phedre, of the Ophelia or Juliet — as Berlioz shows in his ex- execution of Chenier. E. T. A. Hoffmann's Tales cited letters to his friend Fernand at the time. Can filled him with the fascination of the supernatural that image be reconciled with the "courtesan" of and De Quincy's Confessions of an Opium Eater, the last movement, who turned to scorn all that in de Musset's translation, may well have con- was tender and noble in the beloved theme, the idee tributed. But who in this age, so remote from the fixe? The Berlioz specialists have been at pains to literary aesthetic of that one, will attempt to explain the "affreuses verites" with which Berlioz "understand" Berlioz in the light of all these in- charged her in his letter to Fernand (April 30, fluences, or reconcile them with a "love affair" 1830). These truths, unexplained, may have been which existed purely in his own imagination? The nothing more frightful than his realization that motivation of the simplest music is not to be pene- Miss Smithson was less a goddess than a flesh and trated — let alone this one. Enough that Berlioz blood human being who, also, was losing her vogue. directed his rampant images, visual, musical or The poet's "vengeance" makes no sense, except that literary, into what was not only a symphonic self- illogic is the stuff of dreams. It would also be an revelation, but a well-proportioned, dramatically over-simplification to say that. Berlioz merely wanted unified symphony, a revolution in the whole concept to use a witches' sabbath in his score and altered his of instrumental music comparable only to the Eroica story accordingly. Berlioz did indeed decide at last itself. to omit the story from his programs (for perform- For it should be borne in mind that symphonic ances of the Symphony without the companion piece music by the year 1830 had never departed from Lelio). He no doubt realized that the wild story strictly classical proprieties. The waltz had never made for distraction and prejudice, while the bare risen above the ballroom level. Beethoven had been titles allowed the music to speak persuasively in its dead but a few years and the Pastoral Symphony own medium. At first, when he drafted and re- and Leonore Overtures were still the last word in drafted the story, he cannot be acquitted of having descriptive music. Even opera with its fondness for tried to draw the attention of Paris to his music, eerie subjects had produced nothing more graphic and it is equally plain that to put a well-known than the Wolf's Glen scene from "Dcr Freischiitz" stage figure into his story would have helped his — musical cold shivers which Berlioz had heard at purpose. The sensational character of the music the Opera and absorbed with every fibre in his being. could also have been intended to capture public at- Wagner was still an unknown student of seventeen tention — which it did. But Berlioz has been too with all of his achievement still ahead of him. Liszt often hauled up for judgment for inconsistencies in was not to invent the "symphonic poem" for nearly what he wrote, said, and did. His critics (and twenty years. That composer's cackling Mephistoph- Adolphe Boschot is the worst offender in this) have eles, various paraphrases of the Dies Irae, Till on been too ready to charge him with insincerity or the scaffold — these and a dozen other colorful pose. His music often contradicts such charges, or high spots in music are direct descendants of the makes them inconsequential. Fantastique. It would be absurd to deny that some kind of wild phantasmagoria involving the composer's ex- Uisit the periences of love, literature, the stage, and much else must have had a good deal to do with the Tanglewood Music Store motivation of the Symphony. Jacques Barzun * bril- (Located to the right of the Main Gate) and the Hawthorne Cottage * Berlioz and the Romantic Century, 1950. BERKSHIRE RESTAURANT, Inc. Sea Food Our Specialty — Choice Liquors 141 - 143 WEST STREET, PITTSFIELD, MASS. - - Tel. 2-0512 SEATING CAPACITY — 600 GUESTS -A—*-A„A. A , 21 1954 BERKSHIRE FESTIVAL Ttinglewood Since the Fantastique was the forerunner of a of a musical analysis such as Schumann wrote, or century of "program music," the blame for this now more recently T. S. Wotton."* practice diminishing but dubious has been laid upon The "Estelle" melody is the subject of the intro- Berlioz. Barzun in defense of Berlioz has shown duction (played after the opening chord, by the that "imitations of nature" in music long antedated muted strings). The melody proper, the idee fixe, him, and that Berlioz expressed himself clearly and which opens the main body of the movement and judiciously on what he called the "genre instru- which is to recur, transformed, in each succeeding movement, contains the "Estelle" phrase from its mentale expressif" while composing in like good sixteenth bar, in mounting sequences of the lover's taste. Mr. Barzun makes a penetrating and illumi- sighs. nating study of program music in a long chapter The first movement, like the slow movement, which is recommended to those who may hope to which makes full use of the is character- reach an understanding on that vexed subject. This idee fixe, ized by its ample, long-lined melody, never in the writer clears away the considerable underbrush from least obscured, but rather set off in high relief by what he calls "the intellectual thickets" which have the harmonic color, the elaborate but exciting effect grown up about Berlioz' supposed program inten- of the swift, running passages in the accompaniment. tions and draws our attention to the fact that "if we Even the rhapsodic interjections accentuate and could by magic clear our minds of cant, all we should dramatize the melodic voice of the "artist" declar- need as an introduction to the score would consist ing his passion. For all its freedom, there is a clear exposition with a second theme in the dominant, followed by a repeat sign, a development (unortho- dox and richly resourceful), a return to the original form of the theme with the added voice of the solo oboe (the happy inspiration of a re-working, praised b\ Schumann) and a pianissimo coda, "religiosa- The mente." In the same line of thought, the "ball scene" is the waltz-scherzo. Its main theme, which is intro- Choice duced simply by the violins after a sweeping intro- duction of harp chords and string tremolos, is of sinuous and swaying in a way which must have re- vealed to audiences of 1830 new possibilities in the Tanglewood "valse" then still constrained by the stilted, hopping rotations of the German dance. But presently the idee fixe (sounding quite natural in the triple on Parade rhythm) is introduced by the flute and oboe. The waltz theme proper returns to complete the move- ment, except for a pianissimo interruption by the persistent motive (clarinet and horn) before the close. * Berlioz: Four Works (Musical Pilgrim Series) gives an admirable detailed analysis with notations. NOT A BEER— NOT AN ALE Haffenreffer Private Stock Malt Liquor The flavor sensation of the year! JUST ASK FOR t&n/iefwL HAFFENREFFER & CO., INC., BOSTON 954 BERKSHIRE FESTIVAL Tanglewood 25 The Scene au Champs opens with a gentle duet again softly brings in the ubiquitous theme, but now between the English horn and the oboe "in the its grace and ardor is gone, and presently the violins distance," as of one shepherd answering another. At defile it with sharp accents and sardonic, mocking the the close of the movement, the voice of the English trills. The E-flat clarinet squeals it out and horn returns, but the melancholy pipings have no whole orchestra becomes vertiginous with it. Then response save the soft rumbling of distant thunder, come the tolling bells and the chant of death. The 6-8 as in the last remnants of a dying storm. This bu- theme which rocks along in a rhythm, fore- colic prelude and postlude have no relation to the shadowing a certain apprentice sorcerer, becomes main body of the movement by notation, musical the subject of a double fugue in the final section, precedent, or any plausible "program." Yet any entitled "Ronde du Sabbat," where it is ingeniously sensitive musician submits willingly to the spell of combined with the Dies Irae. what is probably the most intense and highly imagi- native movement of the symphony, where the idee fixe, by now pretty thoroughly worked, appears in A WORD ON the fresh and entrancing guise of a sort of romantic exaltation. Traffic Conditions The march to the gallows rolls inexorably with resolute and unrelaxing rhythm to its thundering close, just before which the clarinet fills a sudden The large number of cars coming to the Berkshire Festival silence with a tender reminiscence of the idee fixe, Concerts taxes the highway approaches to Tanglewood and heard only this once, until it is cut short with a makes for traffic congestion. The Massachusetts State mighty chord. This ironclad movement is in com- Police, the Department of Public Works, police officials of plete and violent contrast with all that has gone Lenox, Stockbridge, Lee and Pittsfield and the administra- tion of the concerts are cooperating fully to improve the before. But the finale, the Songe d'une Nuit de traffic situation. Nevertheless there is bound to be some Sabbat, is fearsome in another way — its many traffic delay, and Festival visitors are urged to be recon- weird effects, then undreamt of in a symphony, must ciled to it in advance. You can help in several ways. have been more than startling in the correct and 1. FOLLOW THE TANGLEWOOD SIGNS, which have musty concert world of its day. Only Berlioz could been placed by the State Police and the Department have summoned such new colors from the depths of Public Works to show the least congested ap- and heights of the orchestra. The first allegro proaches. 2. COME EARLY. The grounds will open at noon on Sunday and at six o'clock for evening concerts. The PUBLIC REHEARSALS buffet at Tanglewood will serve sandwiches, soups, beverages and other light meals before concerts. »•» Many visitors bring picnic meals to eat on the grounds. The Saturday morning rehearsals of the Boston Sym- 3. STAY LATE. The sudden outpouring of cars onto phony Orchestra will be open to the public at a nominal the highways at the close of the concerts is the prin- charge, the receipts to benefit the Pension Fund of the cipal cause of traffic delay. You are invited to stay Boston Symphony musicians. at Tanglewood as long as convenient. The formal gardens will be open and lighted for at least an hour every concert. ADMISSION $1 EACH after 4. HAVE PATIENCE. July 10, 17, 24, 31, August 7, 14 at 10 A.M. 1^3? The whiskey you'll "Personally Recommend' E1ROSE RARI FULL 90 PROOF BLENDED WHISKEY. 40% STRAIGHT WHISKIES, 7 YEARS OLD. 60% GRAIN NEDTRAL SPIRITS. MELROSE DISTILLERS, INC., N. Y. 26 1954 BERKSHIRE FESTIVAL . . . Tanglewood c Qharles <^Munch Defi?ies Cesar franck: "pater seraphicus"? His zArt -• » Addressing the students of the Berkshire Music Center It can be said of Franck, as of no other composer at the opening exercises of the school on July 4, Mr. Munch, as Director, made the following observations: in the halls of fame, that until the age of fifty he attention, nor indeed, IT USED to be said in the 18th Century that music had neither achieved public was the art of combining sounds in a manner until The Redemption of 1870, found himself as agreeable to the ear — a very vague definition, be- a composer. He was known as an organist (a there are as different ideas of what pleases cause many musical species then not highly rated in Paris), who the ear as there are listeners. gave organ lessons at the Conservatoire by the good In the documents of the 19th Century we find fortune of a recent appointment, and as a teacher of the definition changed. Music aligns itself with the visual arts. Berlioz tells us that his teacher, Lesueur, piano who went about from house to house, also always said that the aim of music was to picture. taking any job as accompanist that would add a few In fact, we can cite innumerable examples of de- francs to the small family budget. He had com- scriptive music from "The Song of the Birds" by posed, perhaps with many secret hopes, and from the Jannequin to Honegger's "Pacific 2-3-1." But notes age of nineteen, many pieces for piano, for organ, can only rarely describe a visual impression as pre- for voices (mostly for church use). There was an cisely as words or a painter's brush. And this brings us to another definition — that oratorio, Ruth, of 1846, an opera comedy, Le Valet music translates a thought : that music is the art of de Ferme (1852), a Mass, many smaller works, thinking in sound, which seems to me to be the best while The Beatitudes was a project for years un- definition because it is the most general. But we completed. It was futile for his devotees later on must add that these thoughts belong to another to raise the cry of "Neglect!" Not one of his works world, an inner world, more profound and more mysterious. before the Panis Angelicas of 1872 is performed There is a story about Beethoven playing one of now, except as a curiosity. his piano sonatas to a lady of his acquaintance. Franck for the most part followed the line of When he had finished, she asked him what it meant. mediocrity then current, indeed showing glimpses He did not answer, but sat down at the piano again finer and played the entire sonata a second time. At the of a musical quality which attracted the atten- end, he turned to the lady and said: "That is what tion of discerning individuals. Liszt befriended him it means." as a youth and carried his Opus 1 (the trios of even if But we can say that music serves to formu- 1841) to Germany for performance. Von Biilow late a thought, or to express a feeling, or to suggest wrote him warm letters. He was continually sin- an image, music will always remain the least defin- gled out as a composer of promise at home (that is able of all the arts and everyone will understand and love it in his own way. I say "love" because to love to say, in France; he was technically a Belgian until music will always be the essential thing. 1872), but still by individuals. Vallas* demon- You, dear listeners, have the right to criticize, to strates how the music of the early Franck found find a piece of music boring. You have the right to frequent performances of which d'Indy (considered say that a work seems incomprehensible when it does until now his definitive biographer) has told us not fall in with your listening habits. But who nothing, and encouraging attention in the press. knows? A day may come when you will know the work better and take it to your hearts. Skeptical critics were in evidence, but they were in In the history of humanity, spiritual values are the minority. the most precious gift that is passed on from gener- That Franck never pushed his cause nor obtruded ation to generation. It is only by protecting and his creative ambitions will not alone explain his slow supporting spiritual values that we find the road to development. For one thing, circumstances salvation. "What does it profit a man, to gain the were whole world and forfeit his soul ?" against him. His father, with no apparent under- Never forget that the aim of music is above all to standing of his son's character, dominated him from elevate us beyond our miserable condition. human childhood and systematically groomed him to dazzle Music will reward us a hundredfold if we try to hear its message with all our hearts and to listen * Cesar Franck, by Leon Vallas, translated by Hubert Foss (George Ltd., to it with a kind of wonder reflected in the clear and G. Harrep and Co., London, 1951). The definitive biographer of Debussy here supplants what innocent eyes of a child dazzled by the lights of a he calls d'Indy's "hagiolatry" with an illuminating factual Christmas tree. record, to which this account is largely indebted. 954 BERKSHIRE FESTIVAL Tang/ewoot 27 the world as a piano virtuoso, having named him lioz must be mentioned separately as an exception Cesar-Auguste. The name must have been a cross to all category. He was something of an atheist, to the mild young man, especially when he was the and in other ways Franck's opposite. Their asso- subject of constant sly irony from patronizing critics ciation was never close, although Franck admired who compared his efforts as composer and as pianist him and borrowed a few ideas. Faure, Franck's with the earlier but more successful efforts of the junior by twenty-three years, developed slowly and Imperial Caesar to conquer Gaul. On coming of late for much the same reason that Franck did. age, Cesar-Auguste dropped the "Auguste" with Franck's ear was alert to the great past masters, alacrity. Bach and Beethoven in particular, and as d'Indy tells us, to the Lieder of Schubert, the piano music Poorly paid for his efforts as teacher and organist, of one of his minor gods. Franck had to devote most of his time for many Schumann. Mehul was Liszt he admired and copied. Felicien David, who years to routine, and very little to composing. But started a passing craze for exotic coloring, touched there was a more serious reason than this. Franck, as well. with pure classical tendencies and a keen aptitude him in counterpoint, was surrounded by music of super- He was infected, as were all others for a time, ficial standards. The organs of Paris were inade- by the Wagnerian domination. Franck heard the quate until Franck was appointed to the church of first act of Tristan at the Lamoureux concerts in St. Clothilde, which had a fine one with, inci- 1884 (lacking the price of a journey to Bayreuth) dentally, adequate pedals. Bach was little played. and was enthralled. He took more than a hint What Franck plainly needed was a clear and gleam- from that sudden inundation of passion and of ing purpose, a sharp power of rejection. This last, chromaticism. But did riot Bach and Mozart find for the greater part of his life, he sadly lacked. He sustenance outside of their immediate (and limited) would express his delight in the music of another surroundings? The proof of Franck's true stature which was obviously shoddy, or smile complacently was that he at last transformed the ideas of others over an effort of his own which was lame and into his own image. D'Indy coins a word for this impotent. phenomenon : "originaliser." Debussy (in Monsieur Croche) pointed out as At the age of fifty, Franck began to emerge from Franck's most outstanding trait his "ingenuousness." his obscurity. He had had, and continued to have, His simplicity was his saving grace, but it was also many devoted friends who believed in his music his undoing. He would listen to almost anyone's because it reflected the sweet nature of the little, advice. He would accept any text if the subject unnoticed man whom they loved. Their enthusiasms appealed to him, and he usually received miserable were of little avail because enthusiasm is never really ones such as The Beatitudes, before which in shared except at first hand. When people in num- Debussy's words "even the most stout-hearted man bers actually heard the articulate Franck, which is must recoil." As Debussy further put it, "he was to say after his death, the Symphony having preceded a man without malice to whom the finding of a his death by one year, they responded quickly enough. beautiful harmony was sufficient for a whole day of One step in this direction was the founding, in contentment." 1870, of the Societe Nationale by Saint-Saens and Bussine. tastes of the Society This is not the principle of development. Nor is The were diverse, it the principle of revolt, and the spirit of revolt he but their motto, inspired by patriotism for a de- had eventually to find, for his true nature, Walloon, feated France, was " Ars Gallica," and their purpose French, Austrian, mystic — what you will — was was "to act in brotherly unity." Since the Societe completely at odds with every musical tendency Nationale consisted of Franck's devoted friends, about him. The older men in the seats of fame in Massenet, Faure, Guiraud, Dubois, Duparc, soon France were Meyerbeer, Rossini, Adam, Thomas, to be joined by d'Indy, in deference to their senior Offenbach, Gounod, composers of the theatre, which member the group gave performances of Franck's was never his field. His younger contemporaries, music almost weekly to all who would come and Massenet, Lalo, Bizet, Delibes, Saint-Saens, were listen. also not unconnected with the theatre (where, of The real awakener however was the Piano Quin- course, profit lay). Nor were they any closer to tet of 1879. It revealed a new Franck, an un- the Bachian spirit of religious contemplation. Ber- churchly Franck of open Romantic fervor, of mount- 28 1954 BERKSHIRE FESTIVAL . . . TanglewooJ ing periods, with a sensuousness that must have logic which might turn the good Abbe into a derived from Wagner, but which was more chaste, Diabolus. and no mere copy of Wagner. The music imme- A man's music is in some degree a reflection of diately took hold of its audiences, but disturbed some his nature, but as a creation of his fantasy it is not of the master's purer adherents. One wonders why necessarily autobiographical. Franck was angelic in d'Indy, minutely analyzing each major work, slides his serenity, his lack of guile or rancor, his infinite quickly past the Quintet. patience before the jealous hostility of certain col- Deliberately studying the musical forms then leagues and the loud protestations of his followers. current and successful, Franck tried his hand at His church may have been his sanctuary, but it was each. He produced two symphonic poems (Les also by force of circumstances his workshop and his Aeolides audit) Variations daily bread. D'Indy was indignant with those and he Chasseur M , the symphoniques (for Diemer), the Quintet, the String "short-sighted writers who tried to compare Franck's ideal of Christ . . . that Quartet (which Ysaye fell upon in 1889 and played with ambiguous philan- far and wide), the Symphony (Vallas, refuting thropist whom Ernest Renan has presented to us d'Indy, claims that Franck may well have known under His name." What d'Indy does not tell us and studied Saint-Saens' Organ Symphony, pub- 'is that Franck, who was evidently a free-thinker doctrinaire, lished in 1886, and performed at the Conservatoire and no was much taken with the his- in 1887). torical, the human presentation of Jesus in the Vie de Jesus until his strict Roman Catholic pupil talked From 1872, Franck began to be increasingly him out of it. noticed and respected. In that year he was made If Franck was as lofty as d'Indy describes him, Professor of Organ at the Conservatoire. The red as unconcerned with "glory, money, or immediate ribbon of the Legion of Honor tardily came to him. success," he would be a far less humanly lovable By force of circumstances not of his own making man than he was. He was invariably delighted he found himself at the head of the Societe Nationale when an audience showed signs of pleasure. He in place of the much peeved Saint-Saens. The was always looking hopefully for recognition. He number of followers increased and became a cult. had to chase after francs too long, for household The Franckists had their day, as the fervid style of reasons, to be indifferent to them. It is hard to the master was perpetuated in the music of Lekeu, believe that he ventured into the entirely uncon- Chausson, and Duparc. But only too soon the genial field of opera without thought of the fortune Pelleastres took the center of attention. opera might bring. D'Indy has given posterity the vivid picture, His attempts at operas, which had unconvincing backed by the familiar painting of Jeanne Rongier, librettos, and which leaned with an unfortunate of the Maitre in his organ loft at St. Clothilde insistence upon the style of Meyerbeer, bring up improvising to the amazement of all hearers. The the claim of Vallas that Franck was always the improvisations may have sometimes reached celestial puppet of stronger wills. According to this writer, heights, but one must reflect that they grew from he composed Le Valet de Ferine and Hulda to something far less inspired. The very habit of satisfy his actress wife and her inborn allegiance to improvisation must have begun with the postludes the theatre, Ghiselle in 1888 to placate her in her familiar in all churches, the convenient dalliance bitter opposition to the Quintet and its adherents, with sustained chords and alternating stops the as who included his fair pupil Augusta Holmes. If congregation, minds already on Sunday dinner, make Franck submitted to a tyrant in his father, he also their way out. The fine organ at St. Clothilde broke away from him. He came under a new domi- which was Franck's from 1858 surely gave birth to nation by his more zealous pupils in the last years some of his finest thoughts. Yet one suspects that as they, loudly crying his cause, pushed him to de- the really fine ones somehow got written down. velop his style of instrumental classicism, in the Few would disagree with d'Indy's opinion that face of the disapproval of his wife and his son unassertive Franck, choosing subjects which contrasted the Georges. But one suspects that in his way he had a mind of his own. Even his saintly forces of good and evil, was far more convincing in silence in the face of enmity, as when his envious the former. Satan in the Beatitudes is "pompous colleagues at the Conservatoire withheld and theatrical," rebellion and tyranny negative awards from his pupils out of sheer spite, well have quantities, musically speaking, while beside the may been a wise avoidance of petty intra-mural quarrel- choruses of the heavenly host in the Redemption ing. strong and confident voice of the he finds even Perugino's angels "somewhat affected The musical final years bespeaks the self-sufficient Franck. in their attitudes." Franck's music shows him an unworldly person, just as Liszt's Mephistopheles, who is a far more interesting musical figure than FRIDAY, AUGUST 13 his St. Elizabeth, shows that composer a man of the "TANGLEWOOD ON PARADE" world. But to cany the identification further and Watch for Special Announcement describe Franck as a Pater seraphicus is a line of 954 BERKSHIRE FESTIVAL Tanglewood 29 DELIGHTFUL PLACES TO STAY, LUNCH, OR DINE COTTONWOOD INN Rt. 44, V/2 Miles East of Parkway, Millbrook, New York LUNCHEON • DINNER • COCKTAILS Welcome to ®latltgr t for discriminating people Telephone 519 Cocktail Lounge Dancing Nightly Sandwich plates 75$ g to 1 a.m. Luncheons 2.50 Six Course Dinners 2.85 - 4.95 DANIELE'S RESTAURANT ,. 1 5; 30 to 9 Saturdays c 1 a 1 S ' When in Millbrook, N. Y., stop in the Millbrook Diner Festival DeLuxen Buffetsa 1 ( 12:30 to 8 Sundays or Daniele's Restaurant. • . • Air-Conditioned James Daniele, Proprietor Guest Accommodations — American Plan Route 20 - Lenox Next to Cranwell School Tel. 475 EASTO VER Orchestra — Entertainment Nightly In Lenox . . . a distinguished resort with the full- est and finest recreational facilities. Ideally equipped to handle conven- tions, seminars, meetings, and ban- quets. For detailed information write Box 474, Lenox, Mass. F-2 Restaurant & Coffee Shop 8 A.M. — 10 P.M. BREAKFAST — LUNCH — DINNER or a REFRESHING SNACK Visit the Mexican Novelty Barn down the driveway Route 7 Sheffield, Mass. WEST COPAKE You will enjoy a visit to the V2 hour from the Festival. Limited to 50 couples. Free Golf. Chil- ©lit (Enarb drill? dren's camp program 8 A.M. to bed- time with expert counsellors, chil- at the CURTIS HOTEL in Lenox Village dren's dining room, night patrol. SPECIAL FAMILY RATES Pearl Cheifetz, Dir.; Copake 46, N. Y. BREAKFAST • LUNCH • DINNER Your favorite cocktail served in the garden or Cocktail Lounge L^hef ^-J\ari S On Route ] and 20 Tel. Lenox 16 LUNCH DINNER 1929 25th ANNIVERSARY 1954 Cuisine Par Excellence SHEFFIELD INN Sheffield, Massachusetts on Route No. 7 COCKTAILS An Inn for Discriminating People GUEST ROOMS Stuart M. Beabd, II, Owner & Mgr. Stuart M. Beard, III Center of Lenox, Route 7-20 Telephone 8570 WENDOVER DAIRY BAR Church Street - - - Lenox QUjrtstmaa QJm Jntt BREAKFAST • LUNCHES • SUPPERS LENOX RD. ROUTE 7 FOUNTAIN SERVICE • AIR CONDITIONED STOCKBRIDGE, MASS. Tel. 13 COUNTRY ATMOSPHERE Refreshments are served at the Tanglewood Pleasant Rooms • Delicious Meals at intermission. Olive & Ralph Scott, Prop. Cafeteria before concerts and . 30 1954 BERKSHIRE FESTIVAL . . . Tanglewood DELIGHTFUL PLACES TO STAY, LUNCH, OR DINE SERVICES C. T. BRIGHAM COMPANY The Original Paper Jobber of Western Massachusetts PITTSFIELD LENOX ROAD Paper Supplies for Retail Stores, Restaurants and Institutions ROUTES 7 AND 20 Pittsfield • Tel. 2-5540 LUNCHEON • DINNER COCKTAIL LOUNGE MUSIC CARR HARDWARE CO. Plumbing Supplies, Paints, Electrical and Rudolph W. Schrader Household Supplies, Lighting Fixtures Proprietor 413 - 415 North Street, Pittsfield Telephone — Pittsfield 9277 Phone 2-1581 PRE-CONCERT SUPPERS /j. _Ar. /Johnsons J^>ons Jrnc. For the accommodation of Festival ; visitors, suppers will be served by the PLUMBING CONTRACTORS Hill parishioners of the Church on the Lenox, Massachusetts Phone 12W (on Main St., Lenox) before the Satur- day night concerts on July 17, 24, 31 'illiam ^J. oLahart and August 7 and 14. ELECTRICAL CONTRACTOR SHOP Housatonic Street, Lenox are served at the Refreshments HOME School Street, Lenox, Phone 146 Tanglewood Cafeteria before concerts and at intermission. cJLenox i lational d5anh • THE BOSTON SYMPHONY CONCERT BULLETIN, GENERAL BANKING SERVICE BOSTON AND CIRCUIT • THE BERKSHIRE FESTI- TRAVELLERS CHEQUES • SAFE DEPOSIT BOXES VAL PROGRAM • THE BOSTON POPS PROGRAM cJLenox f-^ackaae\ae J^>tc)Core The BOSTON SYMPHONY ORCHESTRA PUBLICATIONS Imported Wines and Liquors CHURCH STREET • LENOX, MASS. Offer to advertisers wide coverage of a special group Telephone Lenox 57 of discriminating people. For both merchandising and institutional advertising they have proved over many years to be excellent media. For Cool Refreshment . . TOTAL CIRCULATION MORE THAN 500,000 For Rich Flavor For Information and Rates Call: JsV& ^rTOodd Mrs. Dana Somes, Advertising Manager ICE CREAM Tel. CO 6-1492, or icrite: Symphony Hall, Boston 15, Mass. SMOOTH and DELICIOUS July 29, Thursday — Shed at 8:30 zA Qalendar Events Dept. I Orchestra of July 30, Friday — Theatre at 8:30 Festival Concert — Chamber Orchestra (Including Berkshire Festival Concerts) Doriot Anthony, flutist TANGLEWOOD, 1954 July 31, Saturday — Shed at 10:00 a.m. (This schedule is subject to change. Friends of the Berk- Boston Symphony Rehearsal shire Music Center should confirm dates of student per- Shed at 8:30 formances before coming to Tanglevuood. Hours indicated Festival Concert — Boston Symphony are Daylight Saving Time. Starred events (*) are open August 1, Sunday — Chamber Music Hall at 10:00 a.m. by invitation to the Friends of the Berkshire Music Center *Dept. I Chamber Music within the limits of the seating space available. The opera Shed at 2:30 productions of July 27**, August 2**, and 3**, will require special tickets.) Festival Concert — Boston Symphony Richard Burgin, conductor; Ruth Posselt, violinist FESTIVAL REHEARSALS. Admission to the six Saturday morning rehearsals of the Boston Chamber Music Hall at 8:30 Symphony Orchestra at 10 A.M., $1 each, pro- *Dept. Ill — Composers' Forum for the benefit of the Orchestra's Pension ceeds August 2, Monday, and 3, Tuesday — Theatre at 8 :30 Fund. **Dept. IV — Opera July 14, Wednesday Theatre at 8:3(1 August 4, Wednesday — Theatre at 8:30 Festival Concert - OiAMBKK Music Festival Concert — Chamber Music Albeneri Trio Kroll String Quartet July 15, Thursday — Shed at 8 :30 August 5, Thursday — Shed at 8:30 *Dept. I Orchestra Dept. I Orchestra July 16, Friday — Theatre at 8 :30 August 6, Friday — Theatre at 8:30 Festival Concert — Chamber Orchestra Festival Concert — Chamber Orchestra Foss, Lipkin, pianist July 17, Saturday — Shed at 10:00 a.m. Lukas conductor; Seymour Boston Symphony Rehearsal August 7, Saturday — Shed at 10:00 a.m. Shed at 8:30 p.m. Boston Symphony' Rehearsal Festival Concert — Boston Symphony Shed at 3:00 Pierre Monteux, conductor; Vera Franceschi, pianist *Orcan Recital E. Power Biggs July 18, Sunday — Chamber Music Hall at 10:00 a.m. *Dept. I Chamber Music Shed at 8:30 Shed at 2:30 Festival Concert — Boston Symphony Festival Concert — Boston Symphony Eleanor Steber, Soprano Leo Smit, pianist August 8, Sunday — Chamber Music Hall at 10:00 a.m. Chamber Music Hall at 8:30 Dept. I Chamber Music *Dept. Ill Composers' Forum Shed at 2:30 Festival Concert Boston Symphony July 20, Tuesday — Theatre at 8:30 — Zino Francescatti, violinist Departments II and IV — Concert of Chorus and Opera Chamber Music Hall at 8:30 July 21, Wednesday — Theatre at 8 :30 Dept. Ill Composers' Forum 1 Festival Concert — Chamber Music August 10, Tuesday — Theatre at 8 :30 Zimbler Sijifonietta Departments II and IV — Concert of Chorus and July 22, Thursday — Shed at 8:30 Opera *Dept. I Orchestra August 11, Wednesday — Theatre at 8 :30 July 23, Friday — Theatre at 8:30 Festival Concert — Chamber Music Festival Concert — Chamber Orchestra Zino Francescatti and Artur Balsam July 24, Saturday — Shed at 10:00 a.m. August 12, Thursday — Theatre at 8:30 Boston Symphony Rehearsal Festival Concert — Chamber Orchestra Shed at 3:00 Jean Morel, conductor *Organ Recital August 13, Friday E. Power Biggs TANGLEWOOD ON PARADE (Watch for Special Announcement) Shed at 8:30 Festival Concert — Boston Symphony August 14, Saturday — Shed at 10:00 a.m. Jean Morel, conductor Boston Symphony Rehearsal Nicole Henriot, pianist Shed at 3:00 July 25, Sunday — Chamber Music Hall at 10:00 a.m. Dept. I Orchestra *Dept. I Chamber Music Shed at 8:30 Shed at 2:30 Festival Concert — Boston Symphony Festival Concert — Boston Symphony August 15, Sunday — Theatre at 10:00 a.m. William Primrose, violist Dept. I Chamber Music Chamber Music at 8:30 Shed at 2:30 *Dept. Ill Composers' Forum Festival Concert — Boston Symphony July 27, Tuesday — Theatre at 8:30 Departments II and IV — Chorus and Opera July 28, Wednesday — Theatre at 8:30 Full programs on request at the Friend's office. Festival Concert — Chamber Music Griller String Quartet Programs subject to change . w W Mfc -$a* jfe,- m w.% m »•*»»*«»**.«». "*»«« ****»**. the Tanglewood Tradition . . . . . embodies the finest in musical standards and achievements. Year after year, the Berkshire Festival concerts of the Boston Symphony offer the world's great music to audiences of international character; the Berkshire Music Center is unmatched in the distinction of its faculty and its students. There can he no compromise with ideals in the maintenance of such a tradition as Tanglewood. The choice of Baldwin by the Boston Symphony Orchestra, the Berkshire Festival and the Berkshire Music Center is a significant measure of the degree to which the Baldwin Piano Company has attained new standards of excellence in the art of Piano making. For an important gift, or for your own use, make Baldwin your choice too. jial&toin Established 1862 Baldwin, Acrosonic and Hamilton Pianos, Baldwin and Orga-sonic Electronic organs, used exclusively at the Berkshire Music Center and Berkshire Music Festival, are sold by leading dealers in all principal cities. B: 54