Boston Symphony Orchestra Concert Programs, Summer, 2007, Tanglewood

, W**"W #«r Tanglewood on Pa KM 1/ August 15 Tanglewood on Parade Wednesday, August 15, 2007 2:00 Gates Open 2:30 Tanglewood Music Center Fellows: Chamber Music Concert BEETHOVEN Quartet in E-flat for piano and strings, Opus 16 DVORAK Quintet in A for piano and strings, Opus 81 (Seiji Ozawa Hall) 2:30 Kids' Corner (Theatre Colonnade, until 5 p.m.) 4:00 Tanglewood Tours begin (Visitor Center in Main House) 5:00 Music by TMC Composition Fellows for Shakespeare's Macbeth with TINA PACKER and SHAKESPEARE & COMPANY actors STEFAN ASBURY, conductor TMC instrumentalists and THE NEW FROMM PLAYERS (Seiji Ozawa Hall) 5:00 Alpine Horn Demonstration Daniel Katzen, horn, Boston Symphony Orchestra (Lawn in front of Theatre) 6:00 Tuba Instrument Demonstration Michael Roylance, tuba, Boston Symphony Orchestra (Lawn near Cafeteria) 6:00 Celtic Fiddle Bonnie Bewick, violin, Boston Symphony Orchestra Benjamin Levy, double bass, Boston Symphony Orchestra Eric Everson, bouzouki Hilary Schrauf, fiddle (Main House Porch) 8:00 Tanglewood Music Center Fellows: Brass Fanfares Music of WILLIAMS, COPLAND, and DUKAS (Koussevitzky Music Shed) 8:30 Gala Concert Artillery and cannon supplied by Eastover, Inc. Fireworks over the Stockbrige Bowl following the Gala Concert Program copyright ©2007 Boston Symphony Orchestra, Inc. Cover design by Sametz Blackstone Associates, Boston, MA Program printed by The Studley Press, Dalton, MA Welcome I first came to Tanglewood (and fell in love with it!) in 1956 to hear my teacher, Rudolf Serkin, play the Schumann Piano Concerto with the BSO under Charles Munch. My very next visit wasn't until sixteen years later, when I returned as a guest conductor with the Boston Symphony Orchestra; to be here now as part of the BSO family is a joy beyond description. I've had the opportunity to make outdoor music at various festivals throughout my life, and I've always loved it. But what continues to excite me about Tanglewood is that it's a place where artistic nourishment and growth are available on so many levels—not just for the BSO and myself as we work on so much music in so concentrated a time, but likewise for the amazingly talented young musicians of the Tanglewood Music Center—instrumentalists, singers, composers, and conductors with conservatory or graduate-level training, some of them already pursu- ing careers as young professionals—who absorb so much in the way of artistry, and humanity, while working and performing here for eight weeks each summer. The Tanglewood Music Center is as multi-faceted as music itself. For the past few summers I've had a chance to watch and work here with the Fellowship orchestra, conductors, composers, and vocalists; this has been more gratifying than I can say. Everything about Tanglewood speaks to my belief that a complete musician must be comfortable with, and knowledgeable about, the many different kinds of music—orchestral, operatic, or chamber. The level of accom- plishment demonstrated by the TMCO in the performance of Verdi's Don Carlo we gave three weeks ago has, I hope, reflected a newly broadened musical perspective on the part of these young musicians, who arrive here already well-versed in the purely orchestral repertoire. And it's also more important than ever these days that Tanglewood open its doors, through the Boston University Tanglewood Institute, to the even younger, high- school- aged musicians who spend time here each summer. As you know, Tanglewood on Parade is the traditional opportunity each year for our audience to experience, in the space ofjust a single day, so much of what Tanglewood has to offer. At the same time, thanks to you, Tanglewood on Parade brings in additional funding to support all of the TMC's extraordinary endeavors, making it possible for the Music Center to provide each new class of Fellows with tuition, room, and board, let- ting them focus all their attention on music-making in keeping with the ideals set down by Serge Koussevitzky when he established this unique program in 1940. We take great pride in knowing that so many Music Center alumni can be counted among the world's great orchestras and opera companies, among those performing as soloists and chamber musicians on the world's great stages, and among those whose work as composers adds so much to the music being performed. We thank you for helping us continue to enrich this marvelous tradition. ','m- The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has become one of the world's most influential centers for advanced musical study. Serge Kous- sevitzky, the Boston Symphony Orchestra's music director from 1924 to 1949, founded the Center with the intention of creating a premier music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony Orchestra musicians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. "If ever there was a time to speak of music, it is now in the New World," said Koussevitzky, alluding to the war then raging in Europe. "So long as art and culture exist there is hope for humanity." Randall Thompson's Alleluia for unaccompanied chorus, specially written for the ceremony, arrived less than an hour before the event began but made such an impression that it continues to be performed at the opening ceremonies each summer. The TMC was Koussevitzky s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he him- self taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as the BSO's music director. Charles Munch, his successor in that position, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein Serge Koussevitzky and Aaron Copland to shape the school's programs. In 1963, new BSO Music Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO's programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher served as theTMC's Artistic Director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein was appointed Director of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC's Fellowship Program—advanced musicians who generally have completed all or most of their formal training—participate in an intensive program including chamber and orchestral music, opera, and art song, with a strong emphasis on music of the twentieth and twenty- first centuries. All participants receive full fellowships that underwrite tuition, room, and board. TMC Orchestra highlights this summer include a concert performance in the Koussevitzky Music Shed of Verdi's Don Carlo conducted by James Levine with a guest cast of internationally renowned singers; a TMCO concert led by Stefan Asbury in Ozawa Hall, and Beethoven's Ninth Symphony led by Rafael Fiiihbeck de Burgos in the Shed—the latter representing Tanglewood's traditional season-ending performance of that work. The season also includes a fully staged TMC production of Mozart's Costfan tutte conducted by James Levine (August 11-14 in the Theatre) and a third collaboration between the TMC Vocal Program and Keith Lockhart and the Boston Pops Orchestra—a concert performance of Rodgers & Hammerstein's clas- sic musical Carousel (July 10 in the Shed). The TMC season opens with a residency by the Mark Morris Dance Group, culminating in two performances by the company (June 28 and 29) of Mark Morris's choreography to Purcell's Dido and Aeneas, conducted by Stefan Asbury and featuring TMC singers and instrumentalists. All TMC Fellows participate in the TMC's ongoing chamber music programs in Ozawa Hall (Sunday mornings at 10 a.m., and on Saturdays at 6 p.m. prior to BSO concerts). The 2007 Festival of Contemporary Music—a five-day celebration of the music of our time—will be directed by John Harbison, and will focus on "The Generation of '38," highlighting the remarkable quality and diversity of music written by composers born in or near that year. The Fromm Concert at Tanglewood, the penultimate event of the Festival, will feature the Julius Hemphill Sextet and improvi- sations with Musica Elettronica Viva. The start of the TMC season again includes an intensive string quartet seminar; and a highlight of the Composition Program is the now regular collaboration with Shakespeare & Company on writing incidental music for the theater—this season a condensed version of Macbeth, featuring Tina Packer and actors from the company, on stage with TMC musicians in Ozawa Hall as part of Tanglewood on Parade on August 15. It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Besides Seiji Ozawa, prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, the late Leonard Bernstein, Stephanie Blythe, David Del Tredici, Christoph von Dohnanyi, the late Jacob Druckman, Lukas Foss, John Harbison, Gilbert Kalish (who head- ed the TMC faculty for many years), Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl Studer, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman.

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