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^'^.._, KlLBu**%m*lJcML^teff-'il Btf^^flB IS^.'^I For 104 years we've been serious about people who make music.
In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the Boston University School of Music is still doing what it does best.
• Performance • Music Education • History and Literature • Theory and Composition
strings music history and literature Walter Eisenberg, violin Charles Kavaloski, French horn Karol Berger
' Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz Bernard Kadinoff, viola David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition ' Robert Karol, viola Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin ' Harry Shapiro, French horn David Del Tredici 'Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman 'Leslie Martin, string bass ' Charles Yancich, French horn Alan MacMillan George Neikrug, cello percussion Joyce Mekeel ' Mischa Nieland, cello * Thomas Ganger Malloy Miller Leslie Parnas, cello ' Charles Smith Gardner Read 'Henry Portnoi, string bass Allen Schindler 'Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence " Alfred Schneider, violin music education * Roger Shermont, violin piano Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura Jack O. Lemons Walter Trampler, viola Lenore Engdahl Mary Ann Norton 'Max Winder, violin Bela Boszormenyi-Nagy musical organizations 'Lawrence Wolfe, string bass Philip Oliver, staff accompanist Edith Stearns Adelaide Bishop, opera woodwinds Fredrik Wanger Warren Wilson, opera Edward Avedisian, clarinet Joseph Huszti, chorus ' Pasquale Cardillo, clarinet organ 'Joseph Silverstein, orchestra 'Doriot Anthony Dwyer, flute George Faxon ' Jerome Rosen, repertoire Roderick Ferland, saxophone Jack Fisher orchestra 'Ralph Gomberg, oboe Max Miller 'Roger Voisin, wind ensemble 'John Holmes, oboe harpsichord boston symphony orchestra ' Phillip Kaplan, flute Joseph Payne woodwind quintet in residence 'James Pappoutsakis, flute 'Doriot Anthony Dwyer, flute * Richard Plaster, bassoon voice ' Ralph Gomberg, oboe 'Matthew Ruggiero, bassoon Eunice Alberts, contralto * Harold Wright, clarinet * Fehx Viscuglia, clarinet Germaine Arosa, diction * Sherman Walt, bassoon * Sherman Walt, bassoon Mary Davenport, contralto 'Charles Kavaloski, French horn 'Harold Wright, clarinet Terry Decima, vocal coaching empire brass quintet brass Ellalou Dimmock, soprano in residence 'Ronald Barron, trombone Maeda Freeman, mezzo Charles A. Lewis, Jr., trumpet Peter Chapman, trumpet Robert Gartside, tenor ' Rolf Smedvig, trumpet John Coffey, tromboneltuba Mac Morgan, baritone 'David Ohanian, French horn * Armando Ghitalla, trumpet Chloe Owen, soprano * Norman Bolter, trombone Paul Gay, trombone Allen Rogers, vocal coaching Samuel Pilafian, tuba ' Gordon Hallberg, Barbara Stevenson, soprano tromboneltuba Wilma Thompson, mezzo
* Member of the Boston Symphony Orchestra Boston University School of Music
Wilbur D. Fullbright, Director • Robert Lee Tipps, Assistant to Director offering degrees at the bachelor, master, and doctoral levels.
School for the Arts: Music, Theatre, Visual Arts • Norman Dello Joio, Dean 855 Commonwealth Avenue, Boston, Massachusetts 02215 Seiji Ozawa, Music Director
Colin Davis, Principal Guest Conductor
Joseph Silverstein, Assistant Conductor
Ninety-Fifth Season 1975-76
The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks President
Philip K. Allen Sidney Stoneman John L. Thorndike Vice-President Vice-President Treasurer
Vernon R. Alden Mrs. Harris Fahnestock Albert L. Nickerson Allen G. Barry Harold D. Hodgkinson John T. Noonan Mrs. John M. Bradley David O. Ives Mrs. James H. Perkins
Richard P. Chapman E. Morton Jennings, Jr. Irving W. Rabb Abram T. Collier Edward M. Kennedy Paul C. Reardon
Nelson J. Darling, Jr. Edward G. Murray Mrs. George Lee Sargent Archie C. Epps III John Hoyt Stookey Trustee Emeritus Henry A. Laughlin
Administration of the Boston Symphony Orchestra
Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager
Gideon Toeplitz Daniel R. Gustin Dinah Daniels Assistant Manager Assistant Manager Director of Promotion Paul Bronstein Forrester C. Smith Richard C. White
Business Manager Development Director Assistant to the Manager
Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood John Kronenberger Program Editor
Programs copyright © 1976 Boston Symphony Orchestra Inc.
Contents:
page page Tanglewood 6 Programs 13-27 Seiji Ozawa 9 Berkshire Music Center 29 Map 10 In and Around The Berkshires 33 Information 11 Friends 35,37 The Board of Overseers of the Boston Symphony Orchestra Inc.
David O. Ives, Chairman Hazen H. Ayer, Vice Chairman
Mrs. Arthur I. Strang, Secretary
Charles F. Adams Paul Fromm Richard P. Morse Mrs. Frank G. Allen Carlton P. Fuller David G. Mugar
Dr. Leo L. Beranek Mrs. Thomas J. Galligan, Jr. Dr. Barbara W. Newell David W. Bernstein Mrs. Thomas Gardiner Stephen Paine David Bird Mrs. John L. Grandin Mrs. Priscilla Potter Gerhard Bleicken Bruce Harriman Harry Remis Frederick Brandi Mrs. Richard D. Hill Mrs. Peter van S. Rice
Curtis Buttenheim Mrs. Amory Houghton, Jr. Mrs. Samuel L. Rosenberry
Mrs. Henry B. Cabot Richard S. Humphrey, Jr. Mrs. Jerome Rosenfeld Mrs. Mary Louise Cabot Mrs. Jim Lee Hunt Mrs. A. Lloyd Russell Mrs. Norman L. Cahners Leonard Kaplan William A. Selke
Levin H. Campbell, III Leon Kirchner Samuel L. Slosberg
Dr. George H.A. Clowes, Jr. Mrs. James F. Lawrence Richard A. Smith Arthur P. Contas Roderick MacDougall Mrs. Edward S. Stimpson The Hon. Silvio O. Conte John S. McLennan Mrs. Edward A. Taft
Robert Cushman Colman M. Mockler, Jr. Mrs. Richard H. Thompson
Michael J. Daly Mrs. Charles L. Moore Stokley P. Towles Mrs. C. Russell Eddy Mrs. Elting E. Morison D. Thomas Trigg Weston P. Figgins Frank E. Morris Julius Vogel
Boston University Tanglewood Institute
Norman Dello Joio, Executive Director Gary L Zeller, Administrator Robert Lee Tipps, Music Coordinator
Eleventh Season
Summer Instrumental and Vocal Programs for the out- standing high school musician. Private study with master artists including members of the faculty of the Boston University School of Music and the Boston Symphony Orchestra. Chamber music, orchestral and vocal perform- ances at Tanglewood.
For information: Boston University Tanglewood Institute, 855 Commonwealth Avenue, Boston, Massachusetts 02215.
A program offered by the Boston University School for the Arts in association with the Berkshire Music Center. Todays Great Piano-
For many years Baldwin pianos have been the accompanist to the Boston Symphony Orchestra, The Berkshire Festival, The Berkshire Music Center,
and these 1976 Tanglewood artists:
Leonard Bernstein Arthur Fiedler Gilbert Kalish Seiji Ozawa Andre Previn Gunther Schuller Earl Wild BaldWTn Tanglewood In August, 1934, a group of music- loving summer residents of the Berk- shires organized a series of three INTERNATIONAL SOCIETY outdoor concerts at Interlaken, to be FOR CONTEMPORARY MUSIC given by members of the New York Philharmonic under the direction of Henry Hadley. The venture was so World Music Days successful that the promoters incor- porated the Berkshire Symphonic 1976 Festival and repeated the experiment during the next summer. October 24-October 30 The Festival committee then invited Serge Koussevitsky and the Boston New England Conservatory of Music Symphony Orchestra to take part in the Boston, Massachusetts following year's concerts. The Orches- tra's Trustees accepted and on August
A festival of 13 concerts of contemporary 13, 1936, the Boston Symphony gave music representing composers its first concert in the Berkshires (at from 27 countries Holmwood, a former Vanderbilt estate, later the Foxhollow School). The series, again consisting of three concerts, was Performing groups include: given under a large tent, and a total of Boston Symphony Orchestra, nearly 15,000 people attended. New England Conservatory Symphony Orchestra, In the winter of 1936, Mrs. Gorham University of Iowa Orchestra, Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tap- Conductors: pan family estate, with its buildings and Seiji Ozawa, GuntherSchuller, James Dixon, Richard Pittman 210 acres of lawns and meadows, as a gift to Koussevitsky and the Orchestra. Chamber music concerts featuring The offer was gratefully accepted, and Boston MusicaViva, Collage. Societe de on August 12, 1937, the Festival's Musique Contemporainedu Quebec, largest crowd thus far assembled under
The Puree 1 1 String Quartet, and others. a tent for the first Tanglewood concert, a program of music by Wagner.
For information: As Koussevitsky began The Ride of the ISCM Valkyries, a storm erupted, overpowering New England Conservatory the music and causing the concert to be 290 Huntington Avenue interrupted three times before the first Boston, Massachusetts 02115 half could be completed. The second half Tel. 617-262-0122 of the program had to be changed, because of water damage to some of the instruments, and when the concert ended, Miss Gertrude Robinson Smith, one of the Festival's founders, came to the stage and told the audience that the storm had demonstrated the need for a permanent structure. A hundred thousand dollars, she said, would be needed for this purpose, and the response to her plea was so generous that within a short time the amount was fully subscribed. Plans for the Music Shed were drawn up by the eminent .
architect Eliel Saarinen, and, as modi- fied by Josef Franz of Stockbridge, who also directed construction, it was com- pleted on June 16, 1938, a month ahead of schedule. Seven weeks later, Serge Koussevitsky led the inaugural concert, which included a performance of Beet- hoven's Ninth Symphony. By 1941, the Theatre-Concert Hall, the Chamber Music Hall and several small studios — all part of the Berkshire Music Center, which had begun operations the pre- ceding year — were finished, and the Festival had so expanded its activities and its reputation for excellence that it attracted nearly 100,000 visitors. Today Tanglewood annually draws close to a quarter of a million visitors; in addition to the twenty-four regular concerts of the Boston Symphony, there are weekly "Prelude" concerts and open rehearsals, the annual Festival of EUAIilC FM 90.3 mHz Contemporary Music, and almost daily concerts by the gifted young musicians We bring you fine music of the Berkshire Music Center. Arthur AND dozens of interesting Fiedler and the Boston Pops perform events — live and without each summer, and the Festival also commercials. Sit in with us includes a series of concerts by popular at the National Press Club, artists. The season offers not only a vast quantity of music but also a vast where the next day's head- range of musical forms and styles, all lines are often made. Enjoy of it presented with a regard for artistic "All Things Considered," a excellence that makes the Festival fascinating magazine of news unique. Tanglewood and the Berkshire and issues. (Nothing else like it Music Center, projects with which in broadcasting !) Savor some Koussevitsky was involved until his of the most satisfying thea- death, have become a fitting shrine to tre productions ever aired. his memory, a living embodiment of Revel in delightful, intelligent the vital, humanistic tradition that was his legacy. conversation.
Listen . . and if you like what you hear, write for our free monthly program directory. WAMC Albany Medical College Albany, New York 12208
National Public Radio for eastern New York npr and western New England
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Straw/berry LOWFAT YGGURT Seiji Ozawa, Music Director
Seiji Ozawa became Music Director of Director of the Berkshire Music Festi- the Boston Symphony Orchestra in the val, and in December of that year he fall of 1973 and is the thirteenth con- began his inaugural season as Con- ductor to head the Orchestra since its ductor and Music Director of the San founding in 1881. Francisco Symphony Orchestra, titles He was born in Hoten, Manchuria, he held concurrently with his position in 1935, and graduated from the Toho as Music Director of the Boston Sym- School of Music in Tokyo with first phony until he resigned them this prizes in composition and conducting. spring. (He will be Honorary Conductor When he won first prize at the Inter- in San Francisco for the 1976-1977 national Competition of Conducting at season.) Besangon, France, shortly after his In February and March of this year graduation, one of the judges of the Mr. Ozawa led the Boston Symphony's competition was the late Charles celebrated eleven-city tour of Europe. Munch, then Music Director of the Late this spring he directed a fully- Boston Symphony, who invited him staged production of Boris Godunov in to study at Tanglewood during the Tokyo. Besides Tanglewood, his sched- following summer. Mr. Ozawa's asso- ule this summer includes an appearance ciation with the Orchestra began during at the Salzburg Festival, leading the that session of the Berkshire Music Dresden Philharmonic. His recordings Center as a student of conducting in with the Orchestra on the Deutsche 1960. He was a guest conductor with Grammophon label include Berlioz's the Orchestra first in 1964. Symphonie fantastique and La damnation de Beginning with the summer of 1964, Faust, Beethoven's Piano Concerto No. 5 Mr. Ozawa was for five seasons Music with soloist Christoph Eschenbach, and Director of the Ravinia Festival, and the complete orchestral music of Ravel. at the beginning of the 1965-66 season This fall DG has three new Ozawa/BSO he became Music Director of the collaborations scheduled for release:
Toronto Symphony, a post he relin- Berlioz's Romeo et Juliette, Shostakovitch's quished after four seasons to devote Cello Concerto No. 2 (with soloist his time to study and guest conducting. Mstislav Rostropovich) and Charles In 1970 Mr. Ozawa became Artistic Ives's Fourth Symphony.
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Harvard University Press is the publisher of The Harvard Dictionary ofMusic. Belknap Press. $20.00
12 Tanglewood 1976
Weekend Prelude
Phyllis Curtin, soprano Ryan Edwards, piano
July 23, 1976 7 p.m.
Despite and Still Samuel Barber A Last Song (Robert Graves) My Lizard (Theodore Roethke) Solitary Hotel (James Joyce, from Ulysses) In the Wilderness (Robert Graves) Despite and Still (Robert Graves)
Songs for Nansi (poems of e.e. cummings) Amy D. Rubin plato told him Buffalo Bill's defunct in Just-spring Interlude for flute and piano:
it may not always be so tumbling-hair next to of course god america
DORIOT ANTHONY DWYER, flute
Four Songs NedRorem Clouds (Paul Goodman) What Sparks and Wiry Cries (Paul Goodman) To Poulenc (Frank O'Hara)
I Am Rose (Gertrude Stein)
Homage to the Empress of the Blues Ryan Edwards (Robert E. Hayden)
Baldwin Piano 13 Jerome Lipson Robert Karol Bassoons Bernard Kadinoff Sherman Walt Edward A. Taft chair Vincent Mauricci Roland Small Earl Hedberg Matthew Ruggiero Joseph Pietropaolo Barnes Robert Contra bassoon Michael Zaretsky Richard Plaster
Cellos Horns Eskin Jules Charles Kavaloski Philip R. Allen chair &=^ Helen Sagoff Slosberg chair Martin Hoherman Charles Yancich Mischa Nieland David Ohanian Jerome Patterson First violins Richard Mackey Robert Ripley Joseph Silverstein Ralph Pottle Concertmaster Luis Leguia Charles Munch chair Carol Procter Trumpets Emanuel Borok Ronald Feldman Armando Ghitalla Assistant Concertmaster Moerschel Joel Andre" Come Helen Horner Mclntyre Chair Jonathan Miller Rolf Smedvig Max Hobart Martha Babcock Rolland Tapley Gerard Goguen Roger Shermont Basses Trombones Max Winder William Rhein Ronald Barron Harry Dickson Harold D. Hodgkinson chair Gottfried Wilfinger Joseph Hearne William Gibson Fredy Ostrovsky Bela Wurtzler Norman Bolter Leo Panasevich Leslie Martin Gordon Hallberg Sheldon Rotenberg John Salkowski Alfred Schneider John Barwicki Tuba Stanley Benson Robert Olson Chester Schmitz Gerald Gelbloom Lawrence Wolfe Raymond Sird Henry Portnoi Timpani Ikuko Mizuno Everett Firth Sylvia Shippen Wells chair Cecylia Arzewski Flutes Amnon Levy Doriot Anthony Dwyer Percussion Walter Piston chair Charles Smith Second violins James Pappoutsakis Arthur Press Victor Yampolsky Paul Fried Assistant timpanist Fahnestock chair Thomas Gauger Marylou Speaker Frank Epstein Michel Sasson Piccolo Ronald Knudsen Lois Schaefer Harps Leonard Moss Oboes Bernard Zighe'ra Bo Youp Hwang Ann Hobson Laszlo Nagy Ralph Gomberg Mildred B. Remis chair Michael Vitale John Holmes Personnel Managers Darlene Gray Wayne Rapier William Moyer Ronald Wilkison Harry Shapiro Harvey Seigel English Horn Jerome Rosen Laurence Thorstenberg Librarians Sheila Fiekowsky Victor Alpert Gerald Elias Clarinets William Shisler Vyacheslav Uritsky Harold Wright Ann S.M. Banks chair Stage Manager Violas Pasquale Cardillo Alfred Robison Burton Fine Peter Hadcock Charles S. Dana chair E-flat clarinet Reuben Green Eugene Lehner Bass Clarinet George Humphrey Felix Viscuglia
14 Tanglewood 1976
Boston Symphony Orchestra Seiji Ozawa, Music Director
Friday, July 23, 1976 9 p.m.
L'Histoire du Soldat (The Soldier's Tale) Stravinsky The Soldier's March The Soldier's Violin Pastorale Royal March The Little Concert Three Dances (tango; waltz; ragtime) The Devil's Dance Chorale The Devil's Triumphal March
JOSEPH SILVERSTEIN, violin; WILLIAM RHEIN, contrabass; HAROLD WRIGHT, clarinet; SHERMAN WALT, bassoon; ARMANDO GHITALLA, trumpet; RONALD BARRON, trombone; EVERETT FIRTH, percussion
INTERMISSION
SEIJI OZAWA conducting
Le Sacre du Printemps (The Rite of Spring) Stravinsky Part One: The Adoration of the Earth Introduction; Auguries of Spring (Dances of the Young Girls); Mock Abduction; Spring Khorovod (Round Dance); Games of the Rival Clans; Procession of the Sage; Adoration of the Earth (the Sage); Dance of the Earth Part Two: The Sacrifice Introduction; Mystical Circles of the Young Girls; Glorification of the Chosen One; The Summoning of the Ancients; Ritual of the Ancients; Sacrificial Dance (the Chosen One)
Seiji Ozawa and the Boston Symphony Baldwin Piano Orchestra record exclusively for Deutsche Grammophon 15 Notes whomever can cure her (Royal March); the soldier journeys there, meets the Devil and plays cards with him. The soldier loses steadily, but equally stead- Igor Stravinsky (1882-1971) ily plies the Devil with wine until the L'Histoire du Solda t latter falls unconscious (Little Concert). L'Histoire represented a turning Recovering his fiddle, the soldier cures point in Stravinsky's career — a turning the Princess by causing her to rise from away from the Russian nationalism that her sickbed and dance (Three Dances); had informed his earlier major works, when the Devil bursts in on them, the and a turning away from the large soldier fiddles him into convulsions (The orchestral forces that they had required. Devil's Dance) (Chorale). The soldier mar- (Reynard, written three years earlier, in ries the Princess, and when they later 1915, had had the size of its orchestra decide to visit the soldier's village the limited by the terms of its commission, Devil once again seizes the fiddle and and Les Noces, although finished in 1917, then leads the soldier away (The Devil's was not to be successfully orchestrated Triumphal March). for another five years.) This altogether unusual story, whose The genesis of the work was purely moral would be hard to characterize, practical, or so it seemed at the time. is staged in an appropriately unconven- Stravinsky had spent the years of World tional manner. On several scenes, the
War I in Switzerland, cut off from the curtain is raised and lowered twice, with royalties due him from his Berlin-based the onstage characters in some cases publishers; with the Swiss writer C.F. standing motionless as the narrator Ramuz, who was in a similar financial carries the story forward. The soldier bind, he determined to create a work so and the Devil sometimes speak, some- simple that it could be performed in any times mime. The Devil is played by an kind of theater (or even out of doors) actor, but in the penultimate scene he with very small forces. Together, the is portrayed by a dancer. And the nar- two men went so far as to envision a rator occasionally intervenes in the miniature troupe that would tour all of action. Switzerland giving performances of Unhappily, Stravinsky and Ramuz's what ultimately became a work "to be projected touring company was never read, played and danced." to be; after L'Histoire's successful pre- Drawing the basic material from a miere in Lausanne in September, 1918, collection of Russian fables, Stravinsky various members of the troupe began and Ramuz fashioned the piece for nar- succumbing to the Spanish influenza rator, two actors, two dancers, and a epidemic, and the tour was abandoned. chamber orchestra of seven players. There were no other stage perfor- The story, whose Slavic roots were mances until 1924; after these, says obscured, emerged roughly as follows: Eric Walter White, "the reputation of A soldier on leave from the army (The the work began to spread. It was natur- Soldier's March), encountering the Devil ally difficult to fit it into the repertory in disguise by a stream, unwisely trades of any ordinary opera or ballet company, his fiddle (The Soldier's Violin) for a magic as it made such extraordinary demands; book, and agrees to spend three days but as festival and other special pro- with him. By the time that the soldier ductions occurred, it received more reaches his native village (Pastorale) he careful treatment and began to be ac- discovers that he has lost not three days cepted as a masterpiece in a unique but three years; the Devil then appears form." in another disguise to remind him that The music for L'Histoire is essentially the magic book can make him rich. He independent of the text, Stravinsky gains wealth and loses it. In another having from the beginning the idea town a Princess lies ill and her father that it should serve, slightly abridged, the King has promised her hand to as a separate concert suite; it is this 16 version (given its premiere in London Next Weekend's Programs: in 1920 under the baton of Ernest Ansermet) that is used for the present Friday, July 30, 1976 performance. -J.K. 7 p.m. Weekend Prelude Le Sacre du Printemps TANGLEWOOD FESTIVAL CHORUS (The Rite of Spring) JOHN OLIVER, conductor Stravinsky composed Le Sacre du Printemps American Songs in 1912 and 1913, us music for Diaghilev's Ballet Russe. Its first performance, the most 9 p.m. celebrated musical premiere of the twentieth KLAUS TENNSTEDT conducting century, took place at the Th'ealre des Champs-
Elysees, Paris, on May 29, 1913, in a pro- Beethoven: duction choreographed by Nijinsky and con- ducted by Pierre Monteux. Within a year, Symphony No. 9 Monleux conducted the work in concert form, MARALIN NISKA, soprano; and it is largely in that manner that it has been GWENDOLYN KILLEBREW, mezzo- heard ever since. Its first performance by the soprano; SETH McCOY, tenor; Boston Symphony was directed by Pierre PAUL PLISHKA, bass-baritone Monteux in 1924; it was performed most TANGLEWOOD FESTIVAL CHORUS recently at Tanglewood in 1972, Michael and TANGLEWOOD CHOIR Tilson Thomas conducting. Its instrumentation JOHN OLIVER, conductor is as follows: 3 flutes and alto flute, 2 piccolos, 4 oboes, 2 English horns, 3 clarinets and D Saturday, 31, 1976 clarinet, 2 bass clarinets, 4 bassoons, 2 contra July 8:30 bassoons, 8 horns, 2 tenor tubas, 5 trumpets, p.m. 3 trombones, 2 bass tubas, timpani (2 players), conducting bass drum, tamtam, triangle, tambour de basque, KLAUS TENNSTEDT guero rape, antique cymbals, harp and strings. Haydn:
The score is in two distinct sections: Symphony No. 85 "The Adoration of the Earth" and "The Sacrifice." The various episodes (includ- Mahler: ing the introductions to each part) are each an entity in itself. They are played Symphony No. 1 in continuous succession, but without preamble or "bridge" passages. Stra- Sunday, August 1, 1976 vinsky in this music is nothing if not 2:30 p.m. direct and to the point. Much has been written about the influence of Le Sacre COLIN DAVIS conducting upon the course of musical composition. One of its most obvious effects was to Sibelius: clear away the nineteenth-century verbiage of preparatory, mood-estab- Tapiola lishing measures, circuitous develop- Violin Concerto ment, and repetitious conclusions. Its influence as a development of rhythmic MIRIAM FRIED, violin possibilities is obvious. The introduction, which has been Symphony No. 2 called "the mystery of the physical world in spring," is a slow and cere- monious music, opening in the unfa- miliar top register of the bassoon, and 17 weaving its way through the wind choir, Ancients" moves through chords of with no more than a slight reinforce- a ponderous solemnity to the "Ritual ment in the strings. The curtain (in the of the Ancients": a light and regular original ballet) rises upon a ritual dance pizzicato with a sinuous duet for English of the adolescents, youths and maidens horn and bass flute to which other wind who perform a ceremonial of earth instruments are joined in increasing worship, stamping to a forceful rhythm elaboration. "The Sacrificial Dance of of displaced accents, which produce a the Chosen One": The dance is of extra- pattern by their regular recurrence. A ordinary elaboration of rhythm, in mock abduction "Jeu de rapt" follows as which the orchestra is used more mas- part of the ceremony, a presto of even sively than before. "Now the elected more complexity and interest of rhy- victim, who has thus far remained thm, with changes of beat from measure motionless throughout these activities, to measure: 3/8, 518, 3/8, 4/8, 518, 6/8, begins her sacrifice; for the final act of 2/8, etc. There follows a round dance of propitiation has been demanded, and spring, which begins, tranquillo, with she must dance herself to death. The a folk-like tune, after which a curious music expresses the mystical rapture syncopated rhythmic figure works up of this invocation of vernal fertility in to a furious climax and brings a return rhythms of paroxysmal frenzy, reach- of the tranquillo measures. The games ing a delirious culmination as the victim of the rival communities is a molto falls dead." allegro, again in rapidly changing rhy- Pierre Monteux has written: "Le thmic signatures. This introduces the Sacre du Printemps was presented in 1913 "Procession of the Sage," the oldest at the Theatre des Champs Elysees in member of the tribe, "the celebrant, Paris, and cause a scandal it certainly whose function it is to consecrate the did. The audience remained quiet for soil for its coming renewal." The tubas the first two minutes. Then came boos introduce him with a ponderous theme. and cat-calls from the gallery, soon The first part ends with a "dance of the after from the lower floors. Neighbors earth," prestissimo, a music of rising began to hit each other over the head excitement, with intricate fanfares from with fists, canes or whatever came to the eight horns. hand. Soon this anger was concentrated The second part opens with a myster- against the dancers, and then, more ious largo which Stravinsky is said to particularly, against the orchestra, the have described as "the Pagan Night," direct perpetrator of the musical crime. although the score bears merely the Everything available was tossed in our word "Introduction." It is largely a direction, but we continued to play on. music of poignant shifting harmonies, The end of the performance was greeted pianissimo, from which rises in the by the arrival of gendarmes. Stravinsky strings a melody of haunting sugges- had disappeared through a window tion. "A deep sadness pervades it," backstage, to wander disconsolately wrote Edwin Evans, "but this sadness is along the streets of Paris. physical, not sentimental. ... It is "A year later at the Casino de Paris gloomy with the oppression of vast I was conducting the Concerts Mon- forces of Nature, pitiful with the help- teux, a series in which I introduced lessness of living creatures in their works by new composers. Here the presence." This leads into the "Myster- music played was definitely the music ious Circles of the Young Girls," of tomorrow. I suggested to Stravinsky andante, with a reference to the intro- that he arrange a concert version of duction, and a theme first set forth by the Sacre, and anxious himself to prove the bass flute, with answer by two a few points, he readily agreed. The clarinets in consecutive sevenths. "The presentation was an instant success." Glorification of the Chosen One": again there are complex rhythms of increas- — John N. Burk ing excitement. The "Evocation of the 18 Tanglewood 1976
Boston Symphony Orchestra Seiji Ozawa, Music Director
Saturday, July 24, 1976 8:30 p.m.
LEONARD BERNSTEIN conducting
A Faust Symphony Liszt Faust Gretchen Mephistopheles
KENNETH RIEGEL, tenor; TANGLEWOOD FESTIVAL CHORUS and TANGLEWOOD CHOIR, JOHN OLIVER, conductor
Seiji Ozawa and the Boston Symphony Baldwin Piano Orchestra record exclusively for Deutsche Grammophon
19 Notes interval, as the former theme is based upon augmented fifths. The oboe sings it, and seems to imply that the grave Franz Liszt (1811-1886) philosopher is not an unlikely subject for romance. 'This theme in its later A Faust Symphony development seems to portray Faust "A symphony — in three character the lover, consumed with longing, Pictures," Liszt called his score. The which in the Gretchen movement term "symphony" is of course freely reaches passionate realization. In its used, for the work has no more than a later development it plays an extremely Vague semblance of classical structure. important part in all three movements, It is possible to find an exposition, a undergoes many astonishing transfor- "free fantasia," and a restatement in the mations. It is to carry the "love scene" first movement; the second section has of the slow movement to its highest traits of a slow movement, and the third emotional point, and in the last to be has a decided scherzo flavor. But there is fiendishly dissected, bandied about, no proper finale. The conclusion, par- prodigiously fugued. ticularly in the purely instrumental form in which it was first cast, is in no Faust sense a movement in itself. Its later The slow introductory measures of choral version is but a setting in unison "Faust" lead into an allegro impetuoso, of a single verse with chord accom- where a satanic shadow might already paniment. be discerned lurking behind the arras. It has been said that each section may The bassoon, darkly intoning the prin- be looked upon as a symphonic poem cipal theme of the romantic Faust, gives self-sufficient. Yet the "Faust" section, way to an agitated chromatic theme, in the light of what is to follow, is which is to figure importantly in this clearly anticipatory. Faust is roundly movement. There shortly follows a delineated, but only that he may be theme of upstriving chromaticism modified, exalted, derided, in the pages which foreshadows the "glance" motive to come. The Mephistopheles section of "Tristan." The already familiar would be pointless without what has "Love" theme of Faust attains a new gone before. It is no more than a trans- intensity of yearning in phrases for formation of the "Faust" themes to the solo viola. There is considerable Satanic ends. "Gretchen" has been per- further development, and then the last formed as a separate entity. Yet heard important theme of Faust is unloosed, in this way, the ultra-naive melody in great striding chords of march could gain but a small part of its in- rhythm grandioso, for the full orchestra. tended effect as in the complete score Faust has now been pictured at full it falls placidly upon the ear after the length — by turn grave and thoughtful, grandiloquent and strutting pages of ardent and avid of experience, arrogant Faust which precede: before the out- and virile. The prevailing mood is that bursts of Mephistophelian glee that of the amorous theme, impetuously break in ruthlessly upon its conclusion. assertive, but at last softened to a re- Liszt never made better use of his canny flective pianissimo, as the section ends. sense of contrast. The section entitled "Faust" offers Gretchen five themes which can be segregated Between the dramatic chromaticism for purposes of category, but which of the first movement, and the chro- are yet allied in character and much matic diablerie of the last, Gretchen transformed in the setting forth. The offers a refreshing picture of diatonic theme which opens the work suggests simplicity. She is first painted by the Faust brooding in his study. At the dulcet and sinuous voices of the wood- fifth bar, the introduction discloses a winds. The oboe takes the placid theme, theme characterized by the seventh while the viola sets if off with a chain 20 —
of soft undulations. A succession of sinister aspect. The love theme of Faust three- and four-note phrases by the is his first and principal butt — greatly clarinet has been interpreted as the speeded up, ground under the malign maiden's query to the petals of the heel of chromatic sequence and rhyth- — mic contrivance until its former nature flower which— bears her name "He loves me" "He loves me not." If so, is quite gone. And yet somehow the she seems to turn away from the idle transmutations seem no afterthought, pastime with a whimsical A-sharp. but implicit in the theme. There are Thoughts of the lover bring a gentle glimpses of Faust the grave philosopher but ardent confession in soft repeated amid this riot of desecration (his intro- chords of the strings. An ominous sha- ductory theme), and one glimpse of dow is thrown over Gretchen's revery, Gretchen as the chords of her theme and Faust's now familiar love motive unfold against a high string tremolo. makes its appearance, at first softly This fair vision the devil cannot be-
with harp arpeggios, but increasing in smirch, he can only dispel it with malig- passion, rising to a molten and irre- nant growls. The sulphurous vapors are sistible outpouring of melody. Two gradually cleared away, and he vanishes more themes of Faust are to appear, for the last time. The musical atmo- but utterly subdued, deprived of their sphere becomes pure and rarefied, and storm and stress. Liszt has inherited the Gretchen theme takes gentle pos- (with unquestionable independence and session of the orchestra for a few mea- in his own right) a tradition from sures. There follows an Andante mistico, Beethoven. The music of Gretchen in which, over soft chord pulsations by returns, still gentle, but enkindled to the orchestra and organ, a male chorus willing ardor. The themes of the two intones in accents of quiet faith, the lovers are tranquilly blended, and the "Chorus Mysticus" which closes the movement ends pianissimo with a soft Second Part of Goethe's "Faust," with memory of what was once the martial its deification of Woman's love: and grandiose theme of the solitary Faust. Alles Vergangliche 1st nur ein Gleichniss; Mephistopheles Das Unzul'angliche, Liszt uses his every orchestral device Hier wird's Erreignis; to conjure a Mephistopheles of requisite Das Unbeschreibliche glitter and flash. The devil has no Hier ist's gethan; themes of his own, but exists only to Das Ewig-Weibliche distort the themes of Faust, to strip Zieht uns hinan. them of their nobility, puncture their idealism with shouts of satanic mirth. In the last two lines, sung to notes derived from the theme of Gretchen, The music is like the mirror of the bad solo, reaffirmed goblin described in the fairy tale of Hans the voice of a tenor orchestra. Andersen, in which the reflection of by the chorus, floats over the everything that was good and beautiful The "Chorus Mysticus" has thus been "shrank together into almost nothing," translated by Albert G. Latham: so that "the most lovely landscapes All things corruptible looked like boiled spinach, and the hand- Are but reflection. somest people became hideous, or stood Earth's insufficiency on their heads and had no bodies." The Here finds perfection. devil of Liszt, like that of Goethe, is no Here the ineffable gaudy stage creature of tail and tights; Wrought is with love he has no existence but to deny "lch
, The Eternal-Womanly bin der Geist der steis verneint." He is per- Draws us above. suasive, subtle at first, a good fellow and scherzando devil — who not until he has intrigued the hearer reveals his 21 Tanglewood 1976
Boston Symphony Orchestra Seiji Ozawa, Music Director
Sunday, July 25, 1976 2:30 p.m.
SEIJI OZAWA conducting
Divertimento for String Orchestra Bartok Allegro non troppo Molto adagio Allegro assai
Suite from The Miraculous Mandarin Bartok
INTERMISSION
Mono-Prism for Traditional Japanese Drums and Ishii Orchestra (World Premiere) Prelude (Jo for Orchestra) Mono-Prism
ONDEKO-ZA, Japanese drummers
Seiji Ozawa and the Boston Symphony Baldwin Piano Orchestra record exclusively for Deutsche Grammophon
22 Notes the innermost secrets of his instru- ments. One is struck by the richness of musical ideas, and the skill with which they are developed and combined Bela Bartok (1881-1945) in a vital texture with a marvelous of The harmony, Divertimento for String Orchestra sense movement. firmly based in traditional tonality, is Bela Bartok wrote his Divertimento always interesting to the ear, even when in the summer of 1939 for the Basle following its most original progressions,
Chamber Orchestra which gave the or when it reflects the modal scales first performance under Paul Sacher in that are often used. May 1940. The first American perfor- The music of Bartok does not lend mance was on November 8, 1940, by itself willingly to analysis. Its very free- the Saint Louis Symphony Orchestra, dom is its one constant feature. The Vladimir Golschmann, conductor. This methods employed in one work may be is the first Tanglewood performance completely reversed in another as a new by the Boston Symphony. expressive vista opens up before the The Divertimento for String Orchestra inquiring eye of the composer. The belongs to that group of orchestra harmony is usually the result of the masterpieces that Bartok composed polyphony, though Bartok possessed a during the last decade of his life in harmonic sense as fully realized and Europe and America. In his middle individual as his gift for rhythm. Per- fifties he had reached his full maturity haps it is his melody that is the most as a composer, and he was now simpli- striking — that complicated, irregular, fying his style, leaving behind the exuberant melody, rich in capricious enigmatic complexities of some of his sweeps, in whirling trills and fantastic earlier works. The masterly Music for arabesques. While this wild and often Celesta Stringed Instruments, Percussion, and primitive melodic style is clearly in- was completed at Budapest in 1936, spired by the curiously elaborate orna- and this was followed in 1938 by the mentation of Magyar folk music, the Second Violin Concerto. The Divertimento melodies themselves are nearly always belongs to 1939. Bartok came to Amer- original with their composer — the ica in 1940, and it was in his adopted source from which his scores shape country that he composed the great themselves and expand. The severity, Concerto for Orchestra, completing it in intensity, earnestness, and passion of 1943. A Third Piano Concerto and a Viola his music are derived from similar Concerto were left unfinished upon his qualities in the national music of death in 1945, and these last scores Hungary. have been completed by his friend and — George H.L. Smith disciple, Tibor Serly. Though not to be included among his orchestral music, Reprinted by permission of The Cleveland Orchestra. there is a fourth work composed during Bartok's five tragic years of poverty Suite from The Miraculous Mandarin, and sickness in America — the Sonata for Op. 19 Violin Unaccompanied, composed for Yehudi Menuhin in 1943. The Miraculous Mandarin, a pantomime The Divertimento, which is in three in one act by Menyhert Lengyel, was short movements, exploits fully the composed between October, 1918, and resources of the string orchestra. The May, 1919. The first performance was various sections are frequently divided, in Cologne in 1926, and the concert and there is much use of solo instru- version, which omits two episodes and ments, sometimes with the choirs, the final pages of the score, had its sometimes as a string quartet, or in "first performance anywhere" by the other combinations. The scoring is Cincinnati Symphony Orchestra under obviously that of a master who knows Fritz Reiner in April, 1927. The first 23 Boston Symphony performance was chosen to face. Budapest never did see conducted by Richard Burgin in 1950, a production until Bartok was dead. and Seiji Ozawa conducted the most It has been presented since then by the recent performance in November, 1975. New York City Ballet (1951), Bavarian
Its instrumentation: 3 flutes and State Opera (1955), Sadlers Wells (1956) piccolo, 3 oboes and English horn, 3 and by Sarah Caldwell in Boston (1967 clarinets and bass clarinet, 3 bassoons and 1968). and contra bassoon, 4 horns, 3 trum- Bartok's music is acknowledged as pets, 3 trombones, tuba, timpani, snare an orchestral tour de force. The Suite drum, tenor drum, bass drum, cymbals, follows the scenario straight through triangle, tamtam, xylophone, celesta, to the climactic moment of the Man- harp, piano and strings. darin's "wild" pursuit of the girl. The music proceeds interruption, To state it plainly, Bartok asked for without every bit of trouble and neglect that although its unfolding encompasses accrued to his stage work, The Miraculous several discrete sections. Listeners following the story line need only keep Mandarin. The book by Lengyel is so sordid as to be anathema in the fantasy- in mind that each successive "Seduction call" (there are three) is signalized by world of balletomanes, who still eschew the uglier aspects of "reality" and most a floridly obtrusive clarinet solo. especially if the locale be here-and-now. Finally, it is incomprehensible that (Murder and mayhem in ancient Greece the composer really could have expected are all right.) No wonder, then, that a typical "pickup" pit ensemble to cope choreographers in droves were put off with the ferocious demands of this by the "action" summarized in the score. Bartok calls for an enormous Universal-Boosey & Hawkes score with and maximally virtuosic orchestra. At merciful brevity: times the sheer sonority is overwhelm- "In a shabby room in the slums, three ing, not to speak of the unremitting tramps, bent on robbery, force a girl intensity and the massive kinetic energy to lure in prospective victims from the that piles up with merciless ostinati in street. The first two who succumb are the apocalyptic peroration. There is no found to have thin wallets and are other music quite like this, by Bela else. thrown out. The third is the eerie Bartok or anyone Mandarin. The girl, frightened, tries to unfreeze him by dancing — but when — James Lyons ® 1967 he feverishly embraces her, she runs from him in terror. After a wild chase he catches her. The three tramps rob him and try to smother him, but he gets DINING FOR THOSE WHO KNO W to his feet, his eyes fixed on the girl. They run him through with a sword; but his desire is stronger than his wounds and he hurls himself at her. FROM TANGLEWOOD (Only 9 Miles) him up; but it is impossible They hang to Route 41 and 295 for him to die. Only when they cut him down, and the girl takes him into her OPEN FOR DINNER arms, do his wounds begin to bleed and Weekly 5:00 to 10:30 p.m. he dies." Sunday 4:00 to 10:30 p.m. The foregoing has been said to deline- YOUR HOSTS ate "the unconquerable power of human JEAN and DOLORES PETIT aspiration — even beyond death itself." PHONE: 518-781-4451 But to stage this lurid, macabre, rather 518-781-9994 repulsive business effectively within the outer limits of decorum, poses a QUEECHY LAKE • CANAAN, N. Y. challenge that few companies have 24 .
Maki Ishii (1936- ) The instrumentation for Mono-Prism Mono-Prism for Traditional Japanese Drums is as comprehensive as the composer's and Orchestra (composed 1976) intentions. The work is scored for 3 flutes and piccolo, 3 oboes and English "Ishii can be considered one of the horn, 3 clarinets and bass clarinet, 2 Japanese composers best acquainted bassoons and contra bassoon, 6 horns, with everything connected with Euro- 4 trumpets, 2 trombones and bass trom- pean music," writes Benitez. new J.M. bone, tuba, 2 Tibetan trumpets (if avail- "Nevertheless, the merit of his origin- able), percussion — including xylo- did ality lies in the fact that he not be- phone, gongs, bells, cymbals, tambour- come 'Europeanized.' From the very ines, wood block, sleigh bells, vinyl hose did feel to beginning he not forced pipes (thunder stick), vibrophone, tam- write in a serial idiom, although one of tam, wind machine, maracas, timpani, his teachers was Josef Rufer, one of glockenspiel, temple bell, marimba, the most representative exponents of anvil, castanets, rattle, and temple twelve-tone technique in Germany. . . blocks — piano, celeste, and strings... [Ishii's] music is not concerned with plus the eleven traditional instruments abstract forms so much as with color of the drum ensemble: seven Shime- and direct action with sound material. Daiko, three Chu-Daiko, and the huge All of [his] major works pose a problem. Oh-Daiko. His concrete solution to each problem -].K. has been the music he has produced."
In the present instance, the "prob- lem," if the term may be used, has to do Corporate Benefactors with the opposition of primitive Japan- of the ese music and the resources of the modern symphony orchestra. The word Boston Symphony Mono-Prism is the composer's compound Orchestra invention (from monochrome and prism), symbolizing the characteristics Charles River of the opposing ensembles. The stark Broadcasting sound image of the ancient Japanese Company drum music is indeed monochromatic, Wm Filene's Sons Company for all of its rhythmic complexity and subtlety and the precision of its execu- The First National Bank tion. And the varied tone colors that Of Boston are possible to produce with a full- sized western orchestra, here exploited The Gillette Company to the full, seem like a prism to spread John Hancock Mutual out to cover the full spectrum. Life Insurance Company The drum ensemble's "monochrome," according to the composer, is constantly New England Merchants transformed "from a simple or definite National Bank rhythmic pulsation to a complex poly- New England Mutual rhythmic structure and back again to a Life Insurance Company definite pulsation," all in a continuous spiral development. At the same time, New England Telephone the orchestra's "prism" radiates what And Telegraph Company the composer calls its "heterogeneous energy, timbre and time concept ... in The Shawmut an endless metamorphosis" of confron- Association Banks tation with and separation from the "monochromatic sonic event" of the State Street Bank drum ensemble. And Trust Company
25 Guest Artists many leading orchestras of the world, including those of Philadelphia, San Francisco, Pittsburgh, Los Angeles, Minneapolis, Rome, Prague, London, Budapest, Vienna, Milan, Paris and Phyllis Curtin Israel. Mr. Bernstein made his Metro- politan Opera debut in 1963 and con- Phyllis Curtin, at present an Adjunct ducts there and at other major opera Professor at Yale University, was a houses, such as La Scala and the Vienna student at the Berkshire Music Center; State Opera. this summer she is the Granrud artist- Among Mr. Bernstein's compositions in-residence at Tanglewood. She has are the Jeremiah Symphony, the Age of travelled to all parts of the world singing Anxiety Symphony, the Serenade for in opera, with orchestras and in recital, Violin, Strings and Percussion, the appearing at La Scala, Milan, and Glyn- Kaddish Symphony, the Chichester Psalms bourne, in Australia and New Zealand, for chorus and orchestra; the ballets and across the United States. Her roles Fancy Free and Facsimile; the one-act opera at the Metropolitan Opera in New York Trouble in Tahiti; the score for the film include the Countess in Figaro, Mistress On the Waterfront. For the Broadway Ford in Falstaff, Eva in Die Meistersinger theater he has contributed the scores and Ellen Orford in Peter Grimes. Miss to On the Town, Wonderful Town, Candide, Curtin's large repertoire ranges from and West Side Story. His most recent the Baroque to the contemporary; her compositions are Mass, which opened recordings are on the RCA, Columbia, the John F. Kennedy Center for the Louisville, Bach Guild and CRI labels. Performing Arts in Washington, D.C. She has appeared with the Boston Sym- and Dybhuk, a ballet given its world phony on frequent occasions, in per- premiere by the New York City Ballet. formances of works by Bach, Haydn, The author of the best- selling books Rossini and Copland; this is the second The joy of Music, Leonard Bernstein's Young summer in a row in which she has given People's Concerts and The Infinite Variety of a Prelude Concert at Tanglewood. Music, Mr. Bernstein has been the Charles Eliot Norton Professor of Leonard Bernstein Poetry at Harvard University, and his Leonard Bernstein has been associ- six lectures, entitled The Unanswered ated with Boston and the Boston Sym- Question, are available on Columbia phony throughout his life. Born in Records and in book form. Mr. Bern- Lawrence, Massachusetts, he graduated stein has just received an Emmy Award from Harvard in 1939, after which he for the Outstanding Classical Music continued his studies at the Curtis Program of the 1975-76 television Institute with Fritz Reiner, Isabelle season. Vengerova and Randall Thompson. He was also at the Berkshire Music Center Kenneth Riegel at Tanglewood for several summers as a student and assistant to Serge Kenneth Riegel, a leading tenor with Koussevitzky. the New York City Opera and other Music Director of the New York Phil- American opera companies, is also a harmonic from 1958 to 1969, and Laure- frequent soloist with the nation's major ate Conductor in the years since, Mr. orchestras. After studying at the Man- Bernstein has frequently been called the hattan School of Music and at Tangle- most versatile man on the musical wood, he made his professional debut scene. He has received wide acclaim in the American premiere of Henze's as conductor, composer, pianist, teach- The Stag King with the Santa Fe Opera. er, lecturer and author. In addition to In 1969 he made his debut with the his conducting duties with the New New York City Opera; during the 1972- York Philharmonic, he has conducted 1973 season he sang five major roles 26 with that company. That same season wood, a member of the MIT faculty and he debuted with eight American orches- director of the MIT Glee Club and tras, among them the New York Phil- Choral Society. Members of the chorus harmonic, the Philadelphia Orchestra, come from the Greater Boston area and the Pittsburgh Symphony, the Chicago from all walks of life, and they rehearse Symphony, the American Symphony throughout the year. The Festival and the Boston Symphony. Mr. Riegel Chorus made its debut at Symphony made his Metropolitan Opera debut in Hall in a 1970 performance of Beet- 1973, in performances of Berlioz's Les hoven's Ninth Symphony, and has since Troyens; his most recent appearance with taken part in concerts directed by the Boston Symphony was at Tangle- William Steinberg, Seiji Ozawa, Eugene wood last summer in a performance of Ormandy, Colin Davis, Arthur Fiedler the Bach Cantata No. 34. and Michael Tilson Thomas. Its most recent appearance with the Boston Ondeko-Za Symphony was in last April's perfor- Ondeko-Za — the name translates as mances of Bach's St. Matthew Passion. The "the demon drum group" — was found- Tanglewood Choir consists of students ed in 1970 by its present leader, in the Berkshire Music Center's vocal Togayasu Den. At present it consists program. of five women and eleven men, mostly Joseph Silverstein is Concertmaster in their early twenties, who live to- and Assistant Conductor of the Boston gether communally on the island of Symphony; William Rhein, Harold Sado, which is located in the Japanese Wright, Sherman Walt, Armando miles Sea some 170 from Tokyo. The Ghitalla, Ronald Barron and Everett that play, variety music they on a of Firth are Principal Players with the instruments (the largest, the 700-pound Orchestra. All are members of the Oh-Daiko, was made from a single tree Boston Symphony Chamber Players, trunk), originates from distinct two and as such they have recorded the sources: from classical kabuki plays and complete L'Histoire du Soldat for Deutsche bunraku puppet dramas, and from the Grammophon. folk music and ritual contained in the many Japanese regional traditions. The group's regimen on Sado is extremely The sculpture displayed this summer rigorous, with every day spent in play- in Tanglewood's Glass House (next to ing, practising running. and (Long- the main gate) is by the American artist distance running is an essential part Clement Meadmore, who came to New of their training, providing the stamina York from his native Australia in 1963. needed for excellence in their musical Mr. Meadmore has exhibited his work performances; this past April, for the in London, Hong Kong, Australia and second year in a row, they competed New York; in this country it is in a as a group in the Boston Marathon — number of collections, public and pri- and immediately afterwards gave an vate — among others those of Nelson impromptu outdoors concert.) The ulti- Rockefeller, Princeton University and mate goal of the members of Ondeko- the Chicago Art Institute. He has re- Za is to found a college of Japanese folk ceived an award in art from the Ameri- arts and crafts on Sado. can Academy of Arts and Letters; the citation praised his "forceful sculpture Tanglewood Festival Chorus of twisting forms . . . direct, masculine Tanglewood Choir and moving." Mr. Meadmore's works, The Tanglewood Festival Chorus was executed in black plastic or Cor-ten formed under the joint auspices of the steel, have been enlarged to monu- Berkshire Music Center and Boston mental size for various city sites, muse- University in 1970. The director since ums, universities and private collec- its foundation, John Oliver, is director tions, in some cases reaching lengths of choral and vocal activities for Tangle- and heights of thirty feet and more. 27 <>\yMl CLIP AND REDEEM AT DEERSKIN MMMJajQ 10% off any purchase at Deerskin, the No. 1 Leather Store. Everything in Leather Fashions, Accessories, Footwear.
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28 The Berkshire Music Center
"One more thing should come from this scheme, namely, a good honest school of musicians." — Henry Lee Higginson, on founding the Boston Symphony Orchestra
The late Serge Koussevitsky fervent- ly shared Henry Lee Higginson's vision of a "good honest school for musicians" —an academy where young musicians Getaway to Yesterday could extend their artistic training and Visit the Inn in the Berkshires with two broaden their experience under the centuries of tradition, and all the modern guidance of eminent professionals. amenities. Live amidst antiques. Savor lobster, homemade apple pie, potables than any other person, it More was from our tavern. Call (413) 298-5545 Koussevitsky who made the vision a for reservations. reality; he was Director of the Berkshire The Red Lion Inn Music Center from its founding in 1940 Since 1773, Stockbridge, Mass. 01262 until his death in 1951, and his vigorous On Rte. 7, south of Tanglewood leadership has remained an inspiring example in the years since. Serge Koussevitsky was succeeded by Charles Munch, and it is a mark of the Center's success that the Boston Sym- G T^ phony's present Music Director, Seiji Ozawa, studied here during the Munch era. Alumni of the Center are among the most prominent and active mem- bers of the music world; more than ten percent of the members of this coun- CUPTAINS try's major orchestras are graduates of the Center, as are many of the world's At Tht Red Lion Inn notable conductors, instrumental solo- STOCKBRIDGE MASSACHUSETTS ists and singers. 01262
Today the primary responsibility for Monday thru Saturday 10 A.M.- 5 P.M. the Center's direction is in the hands of Send for Free Catalog Gunther Schuller, composer, writer, conductor and President of the New England Conservatory. Average enroll- ment is somewhat over 400 each sum- mer, of which approximately 175 are Williamstown members of the Center's Fellowship Program; this provides free tuition (and Theatre festival in many cases free board and expenses) for instrumentalists, singers, conduct- ors and composers of post-graduate caliber. In addition to the Fellowship Program, Boston University, through its Tanglewood Institute, offers several college-credit programs for talented Nikos Psacharopoulos ' Our 22nd Season Includes: high school musicians; the noted so- Heartbreak House, Orpheus Descending, prano Phyllis Curtin directs a singers' Born Yesterday, Our Town, and seminar highlighted by her own master The Three Sisters July 1 - August 29 classes. Finally, each summer the Cen- Phone Reservations: 413-458-8146 ter's Festival of Contemporary Music P.O. Box 517, Williamstown, Ma. 02167 (August 14-18 this year), presented in
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30 cooperation with the Fromm Music Foundation at Harvard, offers a broad spectrum of the most advanced music of today's composers in a gala week of performances. The Boston Symphony's Concert- master and Assistant Conductor Joseph Silverstein heads a faculty that includes principal players and members of the Orchestra and faculty members of Bos- ton University's School of Fine Arts, plus leading soloists, conductors and composers. The Center has numerous studios for practice and chamber music, and an extensive library of music litera- ture and scores. Rehearsals and con- certs of the Berkshire Music Center Orchestra and other student groups take place mostly in the Theatre-Con- ^lililllXlilXIIIJIIXIIIIXllliXllilXlllllXNIIIXM cert Hall, while lectures, seminars, con- w "Expect the Unexpected" ducting classes, vocal and choral re- hearsals, composers' forums and cham- Square Rigger K^The Restaurant and Cabaret is ber music concerts take place in the known for "Good Country Cooking." An Chamber Music Hall, in the West Barn, ^ informal atmosphere of ship hatch tables, rock m fern gardens. Tiffany lamps, and stain glass in the Hawthorne Cottage, on the windows, located by the Shaker Mill Pond. Rehearsal Stage, and in the small stu- H Serving their famous Rigger Burgers and pizzas, dios both on the Tanglewood grounds Y steaks, seafood, homemade soups and deserts. and in buildings leased in Lenox. Each -S Brunch, lunch, dinner, nite owl snaks, from 10 am to 2 am, seven summer the Baldwin Piano and Organ days a week.
The Back Room . . . Free Festival Company generously provides nearly Movie plus "The Music Showcase of the Berkshires" 100 keyboard instruments for individ- West Stockbridge, Mass. ual practice; other instruments—per- 413-232-8565 cussion, for example —are provided by IMIlHlllHllMIMlWMIillMI the Orchestra.
The Boston Symphony is assisted in supporting the Center by the National Endowment for the Arts, a federal agency, as well as by individual and corporate sponsors. Scholarships are HANCOCK SHAKER awarded to the majority of the students, VILLAGE who are chosen by audition on a com- petitive basis. The cost of the scholar- ship program is large and adds sub- Original 18th Century stantially to the Orchestra's yearly Village Restored deficit — one major reason for the es- Open daily 9:30-5:00 tablishment of the Friends of Music at Tanglewood, a group that provides Adults $3 Children $1 critical support for the Center. A brief Annual Kitchen Festival account of members' privileges is print- -Week of August 2nd ed on page 37, and more information Route 20 Five miles West may be had at the Friends' Office near of Pittsfield, Mass. the Main Gate. We invite you to see and hear for yourself the remarkable caliber of the Center's young musicians.
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on 1200 acres. . . All Summer & Winter Sports, 18 hole golf course open to the public, Tennis & Swimming year 'round. Trail riding and instruction, Gift Shop, Fine food & entertain- ment nightly, cocktail lounge, Popular con- vention center, Also great Bicentennial Tour years later, Base. Close to Tanglewood, Norman Rockwell, 200 "right in the heart of where it all began." still Stop in after the concerts and hear the best and we're entertainment in the Berkshires. providing that good FOR RATES & COLOR BROCHURE Yankee cooking, & BICENTENNIAL TOURS DATA Write: Box 720 drink and lodging. SOUTH EGREMONT, MASS. 01258 Back in 1771, when my place was a stopover for hungry travelers, we had a Tel.: (413) 528-0434 reputation for our generous meals. And we're still serving that good Yankee cooking today. Like roast whole Cornish game hen, sirloin steak, and our individual baked lobster pie. yuzse PEDLAR in All just y* mile from historic Old Sturbridge Village, and a few minutes m* OPERA HOUSE from Exit 9 of the Mass. Turnpike. Send 36 Luxury Rooms FOOD«DRINK»LODG«NG for my free brochure. 16-1-91 Exit Buddy Adler , Innkeeper Holvoke, Mass. (413)532-9494
For information about advertising in the Boston Symphony's programs, please contact Steve Ganak Ad Reps, Statler Publick House Office Building, Boston MA 02116. On the Common -Sturbridge. Mass.-(6I7) 347 3313 (617) 542-6913
32 In and Around the Berkshires COUNTRY LIVING AT ITS BEST! Tanglewood is but one of the many activities and events constantly enrich- SMALL PRESTIGIOUS LAKEFRONT COMMUNITY ing the Berkshires; a complete listing Swim and boat on two crystal clear may be found in Berkshire Week, a summer mountain lakes. Play tennis, badminton, Eagle and magazine of the Berkshire volleyball and basketball on community Torrington Register. Copies are avail- courts. Live in privacy adjacent to a able at the Main Gate and the Lion large state forest. Gate. Some highlights: Berkshire Lakes Estates Berkshire Theatre Festival Yokum Pond Road Stockbridge Becket, Mass. 01223 Tel. 413-623-8747 Lenox Arts Center Lenox Williamstown Theatre Williamstown Jacob's Pillow Dance Festival Grand Hotel Lee Curtis Aston Magna on the Village Green Great Barrington Lenox, Mass. (413) 637-0016 Berkshire Museum Amid the echoes of Tanglewood, Pittsfield Stay and dine in old world elegance. accommodations, Clark Art Institute Delightful — Williamstown Elevator and telephone service Al fresco dining on the piazzas Hancock Shaker Village Surrounding the heated pool, Hancock Dancing nightly in the lounge, Chesterwood Studio Museum Supper dining in the garden Glendale After each concert. A Complete Lenox Library Berkshire Experience! Lenox Under hJew Management Stockbridge Historical Society Stockbridge Naumkeag Stockbridge ARROWHEAD
Mission House Where Herman Melville wrote Stockbridge Old Corner House MOBY-DICK Stockbridge Berkshire Garden Center Headquarters Stockbridge Berkshire County Historical Society 780 Holmes Rd., Pittsfield, Ma. Pleasant Valley Wildlife Sanctuary Lenox Open: Mon. - Sat. 10 - 5 South Mountain Concerts Sun. 1-5 Closed Tues. Pittsfield Adults $1.00 Students .50
33 CHESTERWOOD STOCKBRIDGE BERKSHl
FESTIVAL Stockbridge
June 22 - July 11 The Pulitzer Prize-winning musical comedy
OF THEE I SING by George and Ira Gershwin, George S. Kaufman and Morrie Ryskind
July 13 - July 25
James Coco and Dody Goodman in GEORGE WASHINGTON SLEPT HERE
by Moss Hart and George S. Kaufman
July 27 - August 8
Beatrice Straight & Kevin McCarthy in Summer Home and Studio of THE LION IN WINTER DANIEL CHESTER FRENCH by James Goldman August 10 - August 29 Sculptor of the Lincoln Memorial Ruth Gordon in HO! HO! HO! A new comedy by Miss Gordon, directed by Garson Kanin
Garden, Nature Trail, Fritz Holt and Barry M. Brown, Producers
Paintings, Barn Sculpture Gallery Tues. Wed. & Thurs. Eves at 8:30; Sun. Eve at 7:30; Wed. Mat. at 2:30; Sat. Mat. at 5:00; prices $7.50 & $6.00; Fri., Sat. Eves at 9:00; prices $8.50 & $7.00 (413) 298-5536 Adults $1.75 • Children $.75 Also At The Festival: In the Unicorn (barn) Daily 10-5 Theatre, three new American plays; Thursdays through Sundays. In the Proposition Theatre, the Proposition Company of Boston, with after- theatre entertainment, Thursdays through Sun- a property of days, and a children's theatre Thursday, Saturday, The National Trust for Historic Preservation Sunday afternoons. ASIAN GALLERY Far Eastern Art
CURTIS HOTEL MAIN STREET, LENOX, MASS. 01240
24 EAST 80th STREET, NEW YORK, N.Y. 10021
(413) 637-0016 (212) 734-1379
34 —
The Executive Committee Tanglewood Council of the Boston Symphony Orchestra
Mrs. John S. McLennan Pillow Mr. Peter van S. Rice Located in the Township of Becket, Mass. Norman Walker, Director Co-Chairmen June 29—July 3 August 10-14 Eight Soloists from the Teodoro Morca Royal Danish Ballet The Claude Kipnis Mr. John Kittredge Mime Theatre July 6-10 Sec reta ry / Trea surer Suzanne Farrell August 17-21 & Peter Martins Jo-Ann Bruggemann & The Danscompany Bob Bowyer Classical Pas de Deux Mr. and Mrs. David Klein Annabelle Gamson Jacob's Pillow Dancers Jacob's Pillow Dancers Talks and Walks July 13-17 The Maria Alba Spanish Dance Company Performances: Mrs. Richard Marcure July 20-14 Tues. through Sat, Mrs. George Vazakas The Nikolais Dance Curtain times: Tues., Theatre 7:30 pm.,Wed.,Fri.,& Tent Sat. ,8:40 pm., Thurs. JulV 27-31 and Sat. .Matinees: Emily Frankel — 3:00 pm. Mrs. Arthur Aronoff Charles Moore Classical Pas de Deux Tickets: Jacob's Pillow Dancers Mrs. Archie Peace $7.50, $6.50 and $5.00. Student Affairs August 3-7 Available at Ticketron, The Milwaukee Ballet or the Jacob's Pillow Company with guest Box Office. artist Ted Kivitt Mrs. Desmond Tivy How to Reach Jacob's Pillow: Tent tea and coffee Approx.150 miles from Boston near Tangle- wood. Lee-Pittsf ield exit on the Mass. Turnpike. Public transportation from Boston via Grey- hound to Lee, Mass. Mrs. Samuel Boxer For information and reservations: Mrs. Roger Voisin Call 10 a.m.— 9 p.m. Mon. thru Sat. (413) 243-0745 Sales and Information Dance Festival America's FIRST Dance Festival, Richard S. Jackson Mr. Box 287, Lee, Mass. 01238. Mr. Robert A. Wells I J Public Relations and Membership
Mr. Jeffrey R. Winslow THE Business OLD CORNER HOUSE Mrs. James Garivaltis Ife Musical Marathon Co-ordinator
Mrs. James Garivaltis Mrs. Charles Capers Mrs. Kelton M. Burbank Benefits, receptions and meetings
Mrs. Peter van S. Rice Paintings by Tanglewood-Boston liaison NORMAN ROCKWELL On permanent exhibit Mrs. Anatole Haemmerle Open Year Round — Daily 10-5 p.m. Boston-Tanglewood liaison Except Tuesdays Adults $1.00 Children 25$
35 „ Deutsche \jmwiTTwprwn
salutes
Seiji Ozawa The Boston Symphony The Berkshire Festival 1976
Polydor International GmbH Hamburg, Germany
36 .
The Friends of Music at Tanglewood
Membership provides you with exciting opportunities and privileges all year long. It's the secret buy of the Berkshires!
Free Berkshire Music Tent Membership: Center Concerts: The Tanglewood Tent, available to Over 40 concerts each summer by the contributors of $75 and over, provides members of the Berkshire Music Cen- a hospitable gathering place behind the ter, the Boston Symphony Orchestra's Music Shed where food and drink may summer academy for the advanced be purchased on concert days. Hot study of music. These outstanding mid- buffet dinners are served on Saturday week concerts include chamber music evenings beginning at 6:30 p.m. (Reser- recitals, full orchestra concerts, vocal vations must be made through the and choral programs, and the annual Friends Office no later than 12:00 noon Festival of Contemporary Music, on the Wednesday preceding each Tanglewood's "festival within a festi- Saturday evening buffet.) val." Friends Concert Memberships for Special Parking For individuals and families are available Friends: for $25.00. Two convenient reserved parking areas are available to all donors of Advance Program Information $150 or more for all Boston Symphony Orches- and Ticket Ordering Forms: tra concerts: either the Box Parking Approximately one month before the Lot (Hawthorne Street entrance), or public sale of seats in the early spring, the Tent Parking Lot (West Street Friends will be sent the advance Berk- entrance). shire Festival programs and a priority For information, contact: ticket application. Friends will also Friends of Music at Tanglewood receive the monthly Boston Symphony Lenox, Ma. 01240 Orchestra publication, "BSO." (413) 637-1600
i 2 W WW ^/T«
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37 Bring home a legend.
When you go out to buy a feeling of a live, concert-hall than a loudspeaker system stereo system, you'll be performance, a sound that for thousands of music matching sophisticated, ex- reviewers all over the world lovers all over the world. praised since the 901 pensive components from a have For a full-color brochure on vast array of choices. was introduced eight years the 901 loudspeaker system, More important (be- ago. write: Bose, Dept. BPT, cause good music means a The unique sound of the The Mountain, Frarningharn, lot to you), you'll be select- Bose 901 Direct/Reflecting® Mass. 01701. ing an important part of your loudspeaker system is the Patents issued and pending. personal environment. result of three interrelated So you don't want to technical developments: be let down, not even a little proper balancing of reflected bit. That's why the speakers and direct sound; the use of you bring home should be multiple full-range drivers Bose 901s.® (rather than conventional You'll be impressed with woofers and tweeters); and your new 901s as soon as you the use of electronic active unpack them. They're beau- equalization. tifully crafted and surpris- We invite you to go to a ingly compact. Bose dealer, listen, and com- When you turn them on pare the 901 to any other for the first time, you'll hear speaker, regardless of size or an extraordinarily open, price. Then you'll begin to spacious sound that very know why the Bose 901 has The Mountain effectively reproduces the become something more Frarningharn, Mass. 01701 38 A\plling
Ml M condominiums The most complete condominium community in all of New England
Ideally located in the heart of the scenic Berkshire Mountains, close by to Tanglewood and Jacobs Pillow, Rolling Hills offers the ultimate in spacious duplex homes. Features include 2 bedrooms, 2 full baths, fully applianced kitchen, large living and dining areas, a balcony, and lower level recreation room. As much as 1942 square feet of living space all air-conditioned and carpeted. For recreation we have ' 2 tennis courts, swimming pool, putting green, a clubhouse, saunas and whirlpool bath.
For a pleasurable afternoon, take a drive through the Berkshires to Lenox, Mass. on route 7-20, you'll delight in discovering this most complete condominium community with prices starting at $29,900.
(413) 637-2781
r/ 90 r financing available
Marketed by- \jj THE FLATLEY COMPANY Vi^ BRAINTREE • MASSACHUSETTS .
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Recapture Yesteryear s * Yankee Nostalgia at Aunt Abigail's (Attic — EXCLUSIVE COUNTRY CLOTHES _ Seth & Jed's Country Store 4
As featured weekly in Gourmet Foods THE t Coffee Tea Honey .36 NEWVORKEK Home Baked a ° ods Old-Fashioned by Candy Preserves T j. Till Imported Delicacies -&*" if WaterJ^^J^J^^Driven Stone Ground Flour "-a ^Iltd. Papetehes I Maple Products Choice Cheeses
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