Boston Symphony Orchestra Concert Programs, Summer, 2004

2004, Tanglewood to SEIJI O ZAWA HALL Prelude Concert lOth ANNIVERSARY SEASON

Friday, August 27, at 6 Florence Gould Auditorium, Seiji Ozawa Hall

TANGLEWOOD FESTIVAL CHORUS JOHN OLIVER, conductor with FRANK CORLISS and MARTIN AMLIN, pianists FENWICK SMITH, flute ANN HOBSON PILOT, harp

Texts and Translations Translations by Laura Mennill and Michal Kohout RHHr3 LEOS JANACEK (1854-1928) !!2£9@& Three Mixed Choruses P£yt£fr&iMi

Pisen v jeseni Song of Autumn Nuz vzhuru k vysinam! Then up at heights! Cim jsou mi vazby tela? Whose is my textured body? HfMM Ja neznam zhynuti. I don't know death. V*$R 9 Ja neznam smrti chlad, I don't know cold death, A4S&2I Mne jest, )ak hudba sfer I feel like a sphere of music by nad mou hlavou znela, sounds above my head. Ja letim hvezdam vstric na bile peruti. I fly to meet the star on white wings. Ma duse na vlnach jak kvet buji, My soul on waves as flowers grow wild, z ni vune, laska ma se vznasi vys a vys, from its odor, my love floats higher and higher, kol moje myslenky se toci, poletuji, how much my thoughts roll, fly, jak pestfi motyli, like a colorful butterfly,

ku hvezdam bliz a bliz! towards the star nearer and nearer! Ma duse paprsek, My soul beams, se v modrem vzduchu houpa, in the blue air sways, vidi, co sni kvet see, what dreams flower na dne v svem kalichu, at the bottom of its goblet, cim trtina zastena, what reeds shield, kdyz bfe hu vlna skoupa as the waves hit the shores ji usty vlhkymi chce zlibat potichu. her moist mouth wants a quiet kiss.

Ma duse reva jest, My soul is a vine, po kmenu lidst va se vine, winding itself around the trunk of humanity, proplita svym svezim lupenim it winds its fresh leaves

Please turn thepage quietly. a roste vys a vys az nebes do azuru, and grows higher and higher until heavens azure. svet blazi chladem svym it pleasures the world with its coolness a hvezdy nadsenim! and the stars with its enthusiasm!

A vsecky pisne me, jez posud v nitru And all my songs, sleeping within, spaly, jak hrozny bohate se lesknou v ni, like rich grapes shine inside it, a vyzpivane juz se ptacim kfidlem vzpjaly and sing out when the wings of a bird unfold a krouzi ve vysi a jejich hymnus zni! and circles high and their hymn sounds! Jsem tvym, 6 prirodo! I am yours, o nature! V tvuj eter kvet muj spje! In your ether my flower binds itself! O zeme, v hrudi tve tkvi moje kofeny! Oh earth, in your breast rests my root! A slunce z cise sve dest' blesku namne And sun from its glass rains lightning onto leje me a mesic tichymi mne zlati plameny, and the moon is making me golden with its flame na tvem lune bez zalu, nadeje, on your bosom without grief, hope, bez tuch a rozmaru, without suspicion and mood, chci spati vecny sen, I want to sleep eternal dreams, ma duse leti ze kvetu jen jak vune at', my soul only as odor from the summer blooms, a jak blesk z poharu and as lightning from goblets.

-Jaroslav Vrchlickj

Kacena divoka Wild Duck

Kacena divoka letela s vysoka, Wild duck flies high, sohaj, dobry stfelec stfelil ji do boka, a lad, a good shot, shot her in her side, do boka leveho pod pravu nozicku. in her left side below her right foot. Ona zaplakala sedna na vodicku; She cried and sat on the water; hofko zaplakala, na Boha zvolala; bitterly she cried and cried to God;

Ach Boze, rozboze, uz jsem doletala! Oh God, dear God, now I am finished! Uboha kaaca, Poor duck, uz jsem sva kacatka uz jsem dochovala, I already raised my baby ducks, Moje drobne deti nedelaju skody; my tiny kids don't do any harm; sednu Dunaju, kalnu vodu piju, they sit by the Danube drinking muddy water, tvrdy pisek jeda. eating hard sand.

Vy drobna kacatka, polet'te vy za mnou! You tiny ducklings, you fly to me! Sak my poletime k velkemu Dunaju. We will fly to the great Danube. —Traditional

Nase pisen Our Song

Po svych otcu stare note zapejme si, After your fatherly old notes sing friend. pfatele. Bude razem po trampote, Our troubles will go away, oci blysknou vesele. eyes merrily glitter. Svarnou, zdravou, usmevavou, Dashing, healthy, smiling, pravou ceskou, zdravou pisen! true Czech, healthy song!

Nase pisen vzacna neni, charpou kvete Our song isn't rare, it grows in the field, na poli, vlnou skace po kameni, it jumps with the waves over stones, H

ptackem v lese sveholi. it sings with litde birds in the woods. Nad kolebkou andelicku zvoni It rings like angels' bells above a cradle ze rtu matcinych, from a mother's lips, a v komurce pri mesicku and in the closet in the moonlight touzi z ustek divcinych. it longs for the lips of a young girl.

Tu zas, vyskne, svizna, cila, Here again it's merry, supple, agile, tu si styskne, here it's lonely, roztomila, ceska pisen, lovely, Czech song, prava zdrava pisen. authentic, healthy song.

Bujnym tancem v kole sumi, In a spirited dance in a pair it hums, az se chveje podlaha, until the floor vibrates, nezi dupnout sobe umi tvrde, vzdorne it stamps hard resisting the assassin. na vraha.

Hnala k d'asu cizi chasu, It chases the foreigners to hell, silna, slavna, staro davna, prava vigorous, glorious, traditional, real Czech song! ceska pisen! —Svatopluk Cech leoSjanaCek Vlci stopa The Wolfs Trail

Temna noc! Dark night! Stary hejtman hleda stopu vlci. Old nobleman searches for traces of a wolf. Divne se ta stopa az v sad pansky stoci! Strangely the tracks wind into the nobleman's orchard!

Druhou noc, jiz hejtman do svitaani For the second night, already until dawn the nobleman rise ponocoval sam calmly sits up alone s nabitou zbrani. with a loaded weapon.

Kolem mlha, kam jen obzor staci. Around the fog, as far as the eye can see. Hejtman v zamysleni krouti sede kniry. The nobleman in thought, twists his gray whiskers. "Sper to risk hromu, "By great thunder, skoda noci, pujdu radsi domu!" wasted night, I would rather go home!" A tarn ve snehu jasna zafe se kmitla! And there in the snow a bright light flashed! Hejtmanovi hlavou myslenka hrozna, Through the nobleman's head a terrible idea, desna jak propast bezedna! horrible like a bottomless abyss!

Za ni shluk jiny vifivem kole! After it, many other [thoughts] in a wild mix! Hoj! tak supu hejno krace na mrtvole! Hey! a swarm of vultures walking on the corpse! Snad vlk to zavyl v dalce, Perhaps the wolf howls in the distance ci mrazivy vitr do topolu pere? or the frosty wind pounds the poplars?

A opet. . . zdaz to okno neb vichr stena? and again. . .whether that window or the strong wind groans? "Dable! "Devil! Za rim oknem dfima moje mlada zena!" Beyond that window my young wife slumbers!" Jeho mlada zena, plna, krasna ruze, His young wife, voluptuous, beautiful rose, holubice smava. noble dove.

Please turn the page quietly. Kdoz te bujne krvi, kdo ji muze verit? Who, this restless blood, who can believe it? Hie zas novy proud svetla, Look another new stream of light, v nem dva stiny hraji; inside which two shadows play;

viz, dve bile nice, okno otvi raji, hie, see, two white arms, open window, stin jeden tmavy jak se spousti dolu! look, how one dark shadow descends down below! Druhy stin se kloni v jeho obejmuti. A second shadow leans towards his embrace. Slys, tech palnych retu sladke pfizehnuti, Hear, those burning lips sweet heat, div se hejtman zdrzi sileneho bolu. wonder how the nobleman restrains the great pain.

Oko v slzach, pusku ohledava. Eyes in tears, he searches for the rifle.

K lici klade pusku v divem rozechveni. He aims the gun in wild excitement. Sladke prizehnuti. Houklarana! Sweet burning. A shot rings out! Snad vecnym toto polibeni! Perhaps with this eternal kiss!

Dnes jiste nasel hejtman stopu vlci! Today for sure the nobleman found the tracks of the wolf!

—-Jarvslav Vrchlickj

ANTONIN DVORAK (1841-1904) Z Kytice narodnich pisni From a Bouquet of Slavonic slovanskych, Opus 43 Songs, Opus 43

2al Grief

Travicka zelena, kade ja chodievam, Green grass, wherever I walk,

lebo ju ja casto siza mi polievam. because on it I often shed tears. Usta mi spievaju, oci sa mi smeju, My mouth sings, my eyes smile, Ale od srdecka slzy sa mi leju. but from my heart tears flow.

Nie proto si zpievam, bych bola vesela I would not therefore sing to be merry ale proto zpievam, bych ziale zabola. but therefore sing to forget grief. Ziale moje ziale smutne, My grief, sad grief, osirale ako ta rosicka na zelenej trave; lonely as that dew on the green grass;

jeste tu rosicku vetricek oduje still that dew has comfort from wind a mna zarmucenu nik nepolutuje. and on my grief none has compassion. —Traditional Slovakian

Divna voda Strange Water

Na torn nasem dvofe, to je voda, Boze! In that yard of ours, there is water, God!

Kdo se ji napije, zapomnet nemoze. Whoever drinks it cannot forget.

Napil se ji, napil, pekny sohajicek zrana; A fine man drank from it in the morning, nemohel zampomnet do svateho Jana. could not forget until St. John's Day, do svateho Trojice until Trinity holiday nemohel zapomnet sve svarne devcice. could not forget his pretty girlfriend. —Traditional Moravian .

Devde v haji Girl in a Grove

Videu som dievcatko haji zelenom, I saw a little girl in a green grove, Co mu tekly slzy po licku cervenom, whose tears flowed upon her red face,

Zalostno plakala i lomila ruce sorrowful crying, wringing her hands, nemohla ukrotit' svoje smutne srdce, she could not wring her sorrowful heart, Ztratila som poklad od srdecka meho I have lost the treasure of my heart ako ta hrdlicka, co ztrati mileho, as the turtledove has lost her loved one, ked' sa jej chce piti, leti. na studnicku, with him she wants to drink, flies to a fountain, trepoce kridlama zamuti vodicku. flutters her wings to cloud the water. —Traditional Sbvakian leoSjanaCek Elegie na smrt dcery Olgy Elegy on the Death of his daughter Olga

Hie sam, jak smirne, pokojne divka spi! Look yourself how peaceful the girl sleeps!

Bila a s ocima uzavfenyma, White and with eyes deeply closed, hluboky mir v mramoru cela, deep, peaceful, on marble,

Jak v spanku, s ocima uzavfenyma as in sleep, with eyes closed jen klid a mir na mramorove skrani, just [like] serenity and peace in marble temples, bez boufe zapasu, bez pfani! without storm struggles, without wishes!

Jak s rtem navzdy zmlkym se usmev As on lips forever silent a smile is engaged, snoubi, proud kadefi chlad skrane vroubi! flowing locks border cold temples! Hied' sam, zivych kvetii Look yourself, living blossoms jak dest s vlasu splyva, like rain with tresses flowing, ba, zda se, as if, it seems, ze drima zadnou boles t nevnima! that sleep perceives no pain

Slys, pisen pohfebni jak s kuru sleta Hear, the funeral song as it rises a plac a nafek tech, co zbyli, and weeping and wailing of those, who remain, se s pisne tony v souzvuk spleta. with songs strains of harmony are combined. Nez divka dal jen svuj sen sni, Before the girl laid alone her dream dreams, ach, sladky svuj sen sni. alas, sweet her dream dreams. Vsak nad smrti duch vitezi, But over death the soul wins, v krase dli tarn, in beauty it lingers there, kde zal se ztraci, where grief fades itself away, kde svaty vladne mir, where holy peace reigns, kde zal a touhy, usmev pouhy where grief and yearning, a mere smile v kouzlen v smirnou zaf! in magic in peaceful radiance! Tarn duse v svetla proud se vznasi vyse, There [her] soul rises in radiant light, kde zfit smi lasce nejvyssi v tvaf where can see love supreme into [His] face. —Maria N. Veverica leoSjanaCek Hraddanske pisnicky Songs of Hradcany Texts by F.S. Prochazka

Zlata ulicka Golden Lane Zluty modry, sedy domek, Yellow, blue, gray cottages, jako hracka detska, v zatisi like a child's toy, in seclusion to nezalehne zadna vlna svetska. that no worldly waves can reach. Prouzek nebe v domku [Through] a strip of the sky at the cottage dumy probleskava sere, dimly gleams the dusk, Eft ve hlubine z dalky sumi ze pffkopu kefe. from the distance murmurs a bush in the depths of a ditch. Nikde nebylo zde nikdy zlata Nowhere was gold [found] a jen v stinu tech dvou vezi and only in shadows of those two towers

stopy hofkych smutku v duste hradbe lezi, sad bitter footprints lie at the thick walls,

a vse, co kdy osifelo, sem jak by se sbehlo, and all, that became lonely here,

a kde palac zveda celo, and where the palace raises itself,

na prah mu to lehlo. on its threshold it laid itself Na dva kroky od te bidy nadhery co Two steps from misery what brilliance [and] skvele! splendor! Ale taky zadumane, taky osifele. But so gloomy, also orphaned.

Visli, chuda ulicko ty, You know, you poor lane, ze tarn trava pud, that there are the buds, golden rooms, zlate jizby, wideness of the halls,

sine sire ze jsou jeste chudsi? [is it] because they are still poor?

Placici fontana The Weeping Fountain K sladke pisni slavika, slyste, Sweet songs of the nightingale, hear, jak narika spadla ke krupeji krupej, how moans flow down, jako slza velika. like drops of big tears.

Nezvoni, jiz nezpiva, Unrung, already unsung, fontana plactiva, fountain weeping, se spezove misky vzdechem slza se with a bronze basin tears outflow with odliva. complaints.

Slys jeji vzlyk, slys jeji sten! Hear her sobbing, hear her groan! V zahrade jen pfistup bliz, In the garden only approach nearer, v housti utajen. concealed under the thicket.

Kdyz kol ticho jako hrob, When all around is silent as graves, kdyz zvon doznel beze stop, when bells fade away without a trace,

v zahradach cos, rozvzlyklo se, in which garden, sobbing to itself, a vzlyk ten zhne do utrob. and this sobbing burns inwards. Zlutym lisim postlana nad cim place Yellow foliage strewn above this weeping fontana, fountain,

po cem vzdycha usedave after what does it sigh longingly od vecera do rana? from evening until morning?

Pohadka sla zahradou s druzinou svou [As in a] fairy tale going into the garden with kralovskou, the company of royalty, u fontany plesavala, zasla, at the fountains dancing, treading,

zhasla s krasou svou. put out with one's own beauty. Zasla, chtela, nechtela touha jeji doznela, Treading, intentionally, unintentionally her desire died away,

pro ni tiche slzy kanou, for on it silent tears roll down the cheek, pohadka ta umfela! this fairy tale dies!

Berveder Belvedere

Kamenna basen v kvetne housti, Poem of stone, in flowers of the thicket, zeleny smaragd v prstenu! green emerald in a ring!

Lipa kol nizke verve Lime [tree] around [its] lower branches

spousti stfibrnych pine pupenu, releasing silver full buds, hymnicky pozdrav vecne krasy hymns greeting the eternal beauty vypjatym jasa obloukem. extreme rejoicing [and] bowing. Chrtu par sivych jak hra si ve skoci A couple of gray greyhounds play hoping travnym paloukem. in grassy pastures. Akordem harfa v sladkem roztouzeni Chords of the harp in the sweet wistful garden zahradou rise zaznela. can be heard. Do strun to sahla v sladkem sneni Strings are reached in sweet dreams pravnucka rodu Jagella. by the great-granddaughter kin ofJagella. Tony se linou sepotave, jak by kohos Tones wind whispering, as if to entice. vabily. A kvety rude puci zhave do snene krasne And red flower buds start glowing in dreams

idyly. of a beautiful idyll. Lee basen klame. However the poem deceives.

Tak byt melo. So it ought to be. Kralovno, kdes zustala? Queen, where do you remain?

Mrtve zde lezi tvoje telo, Dead your body lies here, a harfa darmo cekala. and a harp vainly waits. A veze tvrde za pnkopem strme se And a hard tower behind a steep ditch rises pobliz zdvihaji, near, a okenka v mfizich, derou stropem and a window of lattice, punched ceiling, bufici v hluben padaji. rebels fall down into the depths. A jejich kletby, And their oath, jejich stony v zahradu drsne zalehnou. their stems in the harsh garden blow over. Pfehlusi, harfo, tvoje tony. Drown out your tones, harp. Pozary vukol vzplanou. Surrounding fire blazes.

Budou se nove deje kouti Exciting new story is devised a bratr bratra s trunu rve. and brother wrestles brother for the throne. V utulku lasky In the shelter of love koncem pouti sileny kral lka hofe sve. one's love binds a mad king moaning of grief. Oj, pfileti vichry, bouf vse rvati zapocne Hey, windy storms will come ghastly tears kolkol pHserna. around everything.

Ty budes stati, kamenna basni nadherna! You have stood, wonderful poetic stone! Stavela laska tvoji pychu, tesala krasu v Love built your pride, beauty engraved in the kameny, stone, co jinde drtil ceskou lichu bes hnevu dive elsewhere wrathful fury crushes the Czech zjitfeny. field ferociously awakened.

Och, kdyby laska jenom zila, Oh if love only pulses, jdouc krajem s pfizni ve zraku, the region goes with a pleasing sight, uboha zeme, kde bys byla, poor earth, where shall you be, co by bylo zazraku! what wonders shall be? Celebrating 10 Years of Great Music-Making in Seiji Ozawa Hall at Tanglewood

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Tanglewood ANTONIN DVOMK Sest Moravskych dvojzpevu Six Moravian Duets

I. Dyby byla kosa nabrosena, If the scythe would be sharp, dyby byla votava, if there would be greens,

co by vona drobno jetelinku, what would it small clover,

co by vona supala! what would it cut!

A supaj supaj drobna jetelinko, And cut, cut little clover, co je mne po tobe, what do I care about you, ma zlata panenko my golden doll

dys ty se mne provdala! you wed someone else!

II.

Slavikovsky polecko maly, Slavikovsky's small field, nebudeme, synecku, svoji, nebudeme we won't be together, we won't,

neni to mozna, ani nam to, it's not possible, even your mother

muj synecku, tva mama neda. my love, won't give it to us. Co pak je nam po nase mame What do we care about our mother, nama neviadne. she doesn't rule us. Jenom ty me, ma panenko, jenom ty me Only you, my doll, only you want me. chcej. Jenom ty mne na dobro noc rucenky Only you give me your hands to say good podej. night.

III.

Letel holubek na pole, aby nazobal sve A pigeon flew onto a field, to fill his vole. throat Jak sve volatko nazobal, Once he filled his beak, pod jaboreckem posedal. he sat under a maple tree. Pod jaboreckem Under the maple tree,

ma mila zeleny satek vysiva. my love is embroidering a green scarf.

Vysiva na nem vinecek, She is embroidering a wreath, ze ju opustil synecek. which her lover left her.

Vysiva na nem z ruze kvet, She is embroidering a rose flower, ze ju opustil cely svet. that the whole world abandoned her.

IV.

V dobrym sme se sesli, We met on good terms, v dobrym se rozejdem, and on good terms we'll part. takeli, muj synecku, muj this way, My darling mine, na sebe zapomenem? we will forget each other? Ja na te zpomenu, to nejedno v roce, I will remember you, more than once a year. ja na te ma panenko, I will remember you, my darling,

ja na te v kazdem kroce. I will every step.

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1 y. Slo devce na travu na lucku zelenu. A litde girl went in the green meadow.

Nemohlo ji nazat pro rosu studenu. She couldn't cut it [grass] because of cold dew.

Po lucce chodilo, zalostne plakalo. She walked in the meadow, weeping bitterly.

Nadeslo tam sipek, na tym sipku kvitek. She found a rosebud bush, and on it a flower.

Kvitku, mily kvitku, ja tebe utrhnu. Little flower, sweet litde flower, I will pluck you.

Netrhaj mne v zime, moja krasa zhyne. Don't pluck me in winter, my beauty will wither. Netrhaj mne v lete, dy slunecko pece. Don't pluck me in summer, when the sun burns.

Utrhni mne z jara, moja krasa stala. Pluck me in spring, my beauty will last.

VI.

Zelenaj se, zelenaj, zelena travo v lesi. Be green, be green, green grass in the woods. Jak se ja mam zelenat', How can I be green dy uz sem na pokosi? when I'm about to be harvested? Zelenaj se, zelenaj, zelena travo v haju! Be green, be green, green grass in the meadow!

Jak se ja mam zelenat', How can I be green, dy me uz dotinaju? when they've almost cut me? Zelenaj se, zelenaj, zeleny tulipane! Be green, be green, green tulip!

Jak se ja mam zelenat', How can I be green, dy mne uz listi vjadne? When my leaves are wilting? Dyz ty mchces opustit', muj svarny You want to leave me, my handsome lover. galane. we Podivaj se, ma mila, tam na tu suchu Look, my dear, there on the dry field; planku; jesli se rozzelena, budes moju galanku. if it becomes green you'll be my lover.

Podivaj sa, ma mila, tam na tu suchu Look my dear, at that dry fir; jedlu; jesli se rozzelena teprem si tebe vezmu. if it becomes green then I will marry you.

Uz sem ja se divala, ja, vcera odpoledna; I already looked, yesterday afternoon; zatrapena ta jedla, dyz se nic nezelena. damn the fir if it doesn't turn green.

Uz sem se ja divala vcera, ba i dneska; I already looked there yesterday and today; ja, uz se tam zelena, ve vrsku haluzka. there is a green branch on top

[of the fir tree] BOSTO **$ SYMI>I ORCHESTRA Tanglewood 2004 Jazz Festival

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SEPTEMBER 5 SUNDAY Harry Connick. JR

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Don't miss the final season of our Designer Showhouse, featuring stunning interiors created by world-class designers. Stroll through exquisite gardens, enjoy lunch and a glass of wine on the terrace, and attend provocative lectures on Monday and Thursday afternoons.

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Route 7 at Plunkett Street, Lenox Daily 9-5 41 3-637-6900 BOSTON SYMPHONY ORCHESTRA One Hundred and Twenty-Third Season, 2003-04 TANGLEWOOD 2004

Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman

John E Cogan, Jr., Vice- Chairman Robert P. O'Block, Vice-Chairman Nina L. Doggett, Vice-Chairman Roger T. Servison, Vice- Chairman Edward Linde, Vice-Chairman Vincent M. O'Reilly, Treasurer

Harlan E. Anderson Diddy Cullinane, Edna S. Kalman Edward I. Rudman George D. Behrakis ex-qfficio George Krupp Hannah H. Schneider Gabriella Beranek William R. Elfers R. Willis Leith, Jr. Thomas G. Sternberg Brett Jan Nancy J. Fitzpatrick Nathan R. Miller Stephen R. Weber B. Samuel Bruskin Charles K. Gifford Richard P. Morse Stephen R. Weiner Paul Buttenwieser Avram J. Goldberg Donna Riccardi, Robert Winters James F. Cleary Thelma E. Goldberg ex-omcio Eric D. Collins

Life Trustees Vernon R. Alden Julian Cohen George H. Kidder Peter C. Read David B. Arnold, Jr. Abram T. Collier Harvey Chet Krentzman Richard A. Smith J.P. Barger Mrs. Edith L. Dabney Mrs. August R. Meyer Ray Stata Leo L. Beranek Nelson J. Darling, Jr. Mrs. Robert B. Newman John Hoyt Stookey Deborah Davis Berman Mrs. John H. Fitzpatrick William J. Poorvu John L. Thorndike Jane C. Bradley Dean W. Freed Irving W. Rabb Dr. Nicholas T. Zervas Helene R. Cahners

Other Officers of the Corporation

Mark Volpe, Managing Director Thomas D. May, ChiefFinancial Officer Suzanne Page, Clerk ofthe Board

Board of Overseers of the Boston Symphony Orchestra, Inc. Diddy Cullinane, Chair

Helaine B. Allen Betsy P. Demirjian Douglas A. Kingsley Millard H. Pryor, Jr.

Joel B. Alvord Paul F. Deninger Robert Kleinberg Patrick J. Purcell Marjorie Arons-Barron Alan Dymxer Dr. Arthur R. Kravitz Carol Reich Diane M. Austin George M. Elvin Mrs. William D. Alan Rottenberg

Maureen Scannell John P. Eustis II Larkin, Jr. Michael Ruettgers

Bateman Pamela D. Everhart Robert J. Lepofsky Kenan Sahin Milton Benjamin Judith Moss Feingold Alexander M. Levine Arthur I. Segel

George W. Berry J. Richard Fennell Christopher J. Lindop Ross E. Sherbrooke James L. Bildner Lawrence K. Fish Shari Loessberg Gilda Slifka Bradley Bloom Myrna H. Freedman Edwin N. London Christopher Smallhorn Mark G. Borden Dr. Arthur Gelb Carmine Martignetti Mrs. Micho Spring Alan Bressler Jack Gill Joseph B. Martin, M.D. Charles A. Stakeley

Michelle Courton Robert P. Gittens Robert J. Mayer, M.D. Jacquelynne M. Brown Paula Groves Barbara E. Maze Stepanian William Burgin Michael Halperson Thomas McCann Wilmer Thomas Dr. Edmund B. Cabot Ellen T. Harris Joseph C. McNay Samuel Thorne Rena F. Clark Virginia S. Harris Albert Merck Bill Van Faasen

Carol Feinberg Cohen Deborah M. Hauser Dr. Martin C. Mihm, Jr. Loet A. Velmans Mrs. James C. Collias Carol Henderson Robert Mnookin Paul M. Verrochi Ranny Cooper Richard Higginbotham Robert T. O'Connell Matthew Walker Martha H.W. Phyllis S. Hubbard Norio Ohga Larry Weber Crowninshield Roger Hunt Louis F Orsatti Robert S. Weil Joan P. Curhan Ernest Jacquet Joseph Patton David C. Weinstein

Cynthia Curme Charles H. Jenkins, Jr. Ann M. Philbin James Westra James C. Curvey Michael Joyce May H. Pierce Mrs. Joan D. Wheeler Tamara P. Davis Martin S. Kaplan Joyce L. Plotkin Reginald H. White Mrs. Miguel de Steven E. Karol Dr. John Thomas Robin Wilson Bragan^a Stephen Kay Potts, Jr. Richard Wurtman, M.D Disque Deane Edmund Kelly Dr. Tina Young Poussaint Overseers Emeriti

Caroline Dwight Bain Mrs. James Garivaltis Mrs. Gordon F. Robert E. Remis Kingsley Sandra Bakalar Mrs. Kenneth J. Mrs. Peter van S. Rice William M. Bulger Germeshausen David I. Kosowsky John Ex Rodgers Mrs. Levin H. Jordan Golding Robert K. Kraft Mrs. Jerome Rosenfeld Campbell Mark R. Goldweitz Benjamin H. Lacy Roger A. Saunders Earle M. Chiles Mrs. Haskell R. Hart D. Leavitt Lynda Anne Schubert Phyllis Curtin Gordon Frederick H. Mrs. Carl Shapiro

JoAnne Walton Susan D. Hall Lovejoy, Jr. L. Scott Singleton

Dickinson John Hamill Diane H. Lupean Mrs. Arthur I. Strang Phyllis Dohanian Mrs. Richard D. Hill Mrs. Charles P. Lyman Robert A. Wells Goetz B. Eaton Glen H. Hiner Mrs. Harry L. Marks Mrs. Thomas H.P Harriett Eckstein Marilyn Brachman C. Charles Marran Whitney Edward Eskandarian Hoffman Hanae Mori Margaret Williams- Peter H.B. Lola Jaffe Mrs. Hiroshi H. DeCelles Frelinghuysen H. Eugene Jones Nishino Mrs. Donald B. Wilson

S. A. Perkins Mrs. Thomas Mrs. Charles Kasdon John Mrs. John J. Wilson Galligan, Jr. Richard L. Kaye Daphne Brooks Prout

Business Leadership Association Board of Directors Charles K. Gifford, Chairman Leo L. Beranek, James F. Cleary, and Edmund F Kelly, President Harvey Chet Krentzman, Chairmen Emeriti

Robin A. Brown John P. Hamill Carmine A. Martignetti Lynda A. Schubert

Michael J. Costello Ernest K. Jacquet Thomas J. May Roger T Servison

Robert W. Daly Michael J. Joyce J. Kent McHose Malcolm L. Sherman Francis A. Doyle Steven E. Karol Joseph C. McNay Ray Stata William R. Elfers Edmund F Kelly Louis F Orsarti William C. Van Faasen

Lawrence K. Fish Christopher J. Lindop Patrick J. Purcell Paul M. Verrochi

Ex-Officio Peter A. Brooke • Diddy Cullinane • Nicholas T Zervas

Officers of the Boston Symphony Association of Volunteers Donna Riccardi, President Ursula Ehret-Dichter, Executive Ann M. Philbin, President-Elect Vice-President/ Tang/ewood Olga Turcotte, Executive Vice-President/ Patricia A. Kavanagh, Secretary Administration William A. Along, Treasurer Linda M. Sperandio, Executive Judy Barr, Nominating Chair Vice-President/Fundraising

Melinda Brown, Resource Audley H. Fuller, Membership Lisa A. Mafrici, Public Relations Development Lillian Katz, Hall Services Leah Weisse, Symphony Shop Jerry Dreher, Education and James M. Labraico, Special Staffing Outreach Projects •'"»'

Administration Mark Volpe, Managing Director Eunice andJulian Cohen Managing Directorship, fullyfunded in perpetuity

• Tony Beadle, Manager, Boston Pops Kim Noltemy, .'. Director ofSales and V . Anthony Fogg, Artistic Administrator Marketing "•'••••

Marion Gardner-Saxe, Director ofHuman Resources Caroline Taylor, Senior Advisor to the Ellen Highstein, Director ofTanglewood Music Center Managing Director Thomas D. May, ChiefFinancial Officer Ray F. Weflbaum, Orchestra Manager 11131 Peter Minichiello, Director ofDevelopment s&ragHgi ADMINISTRATIVE STAFF/ARTISTIC

Karen Leopardi, Artist Assistant/Secretary to the Music Director • Vincenzo Natale, Chauffeur/Valet • 4\, t Suzanne Page, Assistant to the Managing Director/Manager ofBoardAdministration • Alexander Steinbeis, Artistic Administration Coordinator ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Operations Manager

Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production Coor- dinator • Stephanie Kluter, Assistant to the Orchestra Manager • Jake Moerschel, Stage Technician • Julie G. Moerschel, Assistant Chorus Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Timothy Tsukamoto, Orchestra Personnel Coordinator

BOSTON POPS Dennis Alves, Director ofArtistic Programming Bra Jana Gimenez, Operations Manager • Sheri Goldstein, PersonalAssistant to the Conductor • Julie Knippa, Administration Coordinator • Margo Saulnier, Artistic Coordinator _BHHi

BUSINESS OFFICE

Sarah J. Harrington, Director ofPlanning and Budgeting Pam Wells, Controller

Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Theresa Colvin, K# lyB* StaffAccountant • Michelle Green, Executive Assistant to the ChiefFinancial Officer • Y. Georges Minyayluk, Senior Investment Accountant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • Harriet Prout, Accounting Manager • Taunia Soderquist, Payroll Administrator • Andrew SHBHI Swartz, Budget Assistant • Teresa Wang, StaffAccountant DEVELOPMENT Judi Taylor Cantor, Director ofMajor and Planned Giving Rebecca R. Crawford, Director ofDevel- opment Communications Sally Dale, Director ofStewardship and Development Administration Alexandra Fuchs, Director ofAnnual Funds Jo Frances Kaplan, Director ofInstitutional Giving

Rachel Arthur, Major and Planned Giving Coordinator • Maureen Barry, Executive Assistant to the Director ofDevelopment • Gregg Carlo, Coordinator, Corporate Programs • Claire Carr, Administrative Assistant, Corporate Programs • Amy Concannon, Annual Fund Committee Coordinator • Diane Cataudella, Associate Director of Stewardship • Joanna N. Drake, Assistant Manager, Annual Fund Events • Sarah Fitzgerald, Manager of Gift Processing and Donor Records • Barbara Hanson, Manager, Koussevitzky Society • Emily Horsford, Friends Membership Coordinator • Justin Kelly, Assistant Mana- ger of Gift Processing and Donor Records • Katherine M. Krupanski, Assistant Manager, Higginson and Fiedler Societies • Mary MacFarlane, Manager, Friends Membership • Pam Malumphy, Senior Major Gifts Officer and Manager, Tanglewood Business Friends • Tanya Melanson, Development Communica- tions Coordinator • Robert Meya, Senior Major Gifts Officer • Susan Olson, Stewardship Coordinator • Cristina Perdoni, Gift Processing and Donor Records Coordinator • Gerrit Petersen, Director ofFoun- dation Support • Phoebe Slanetz, Director ofDevelopment Research • Elizabeth Stevens, Assistant Manager ofPlanned Giving • Mary E. Thomson, Program Manager, Corporate Programs EDUCATION AND COMMUNITY PROGRAMS /ARCHIVES Myran Parker-Brass, Director ofEducation and Community Programs Bridget P. Carr, Archivist-Position endowed by Caroline Dwight Bain Gabriel Cobas, Manager ofEducation Programs • Leslie Wu Foley, Associate Director ofEducation and Community Programs • Zakiya Thomas, Coordinator of Community Projects/Research • Leah Wilson- Velasco, Education and Community Programs Assistant EVENT SERVICES Cheryl Silvia Lopes, Director ofEvent Services Lesley Ann Cefalo, Special Events Manager • Kathleen Clarke, Assistant to the Director ofEvent Services • Emma-Kate Kallevik, Tanglewood Events Coordinator • Kyle Ronayne, Food and Beverage Manager HUMAN RESOURCES Dorothy DeYoung, Benefits Manager Sarah Nicoson, Human Resources Manager INFORMATION TECHNOLOGY David W. Woodall, Director ofInformation Technology Guy W. Brandenstein, Tanglewood User Support Specialist • Andrew Cordero, Lead User Support Specialist • Timothy James, Applications Support Specialist • John Lindberg, System and Network Administrator • Michael Pijoan, Assistant Director ofInformation Technology • Brian Van Sickle, User Support Adm in istrator PUBLIC RELATIONS Bernadette M. Horgan, Director ofMedia Relations

• • Meryl Atlas, Media Relations Assistant Sean J. Kerrigan, Associate Director ofMedia Relations Amy Rowen, Media Relations Coordinator PUBLICATIONS Marc Mandel, Director ofProgram Publications

Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/ Boston Pops Program Editor SALES, SUBSCRIPTION, AND MARKETING

Amy Aldrich, Manager, Subscription Office Leslie Bissaillon, Manager, Glass Houses • Helen N.H. Brady, Director of Group Sales Alyson Bristol, Director of Corporate Sponsorships Sid Guidicianne, Front ofHouse Manager James Jackson, Call Center Manager Roberta Kennedy, Manager, Sym- phony Shop Sarah L. Manoog, Director ofMarketing Programs Michael Miller, SymphonyCharge Manager

Kenneth Agabian, Marketing Coordinator, Print Production • Rich Bradway, Manager ofInternet Marketing • Lenore Camassar, SymphonyCharge Assistant Manager • Ricardo DeLima, Senior Web Developer • John Dorgan, Group Sales Coordinator • Michelle Giuliana, Web Editor • Peter Grimm, Tanglewood Special Projects Manager • Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth Hopkins, Graphic Designer • Julie Kleinhans, Senior Subscription Representative • Elizabeth Levesque, Marketing Projects Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • Ronnie McKinley, Ticket Exchange Coordinator • Cheryl McKinney, Subscrip- tion Representative • Michael Moore, Assistant Call Center Manager • MarcyKate Perkins, Symphony- Charge Representative • Kristen Powich, Coordinator, Corporate Sponsorships • Doreen Reis, Marketing Coordinatorfor Advertising • Caroline Rizzo, SymphonyCharge Representative • Megan E. Sullivan, Access Services Coordinator • Sandra Swanson, Manager, Corporate Sponsorships

Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager SYMPHONY HALL OPERATIONS Robert L. Gleason, Director ofHall Facilities TANGLEWOOD MUSIC CENTER Patricia Brown, Associate Director • Beth Paine, Manager ofStudent Services • Kristen Reinhardt, Coordinator • Gary Wallen, Scheduler TANGLEWOOD OPERATIONS David P. Sturma, Director ofTanglewood Facilities and BSO Liaison to the Berkshires

Ronald T Brouker, Supervisor ofTanglewood Crew • Robert Lahart, Electrician • Peter Socha, Head Carpenter

Tanglewood Facilities Staff Robert Casey • Steve Curley • Rich Drumm • Bruce Huber TANGLEWOOD SUMMER MANAGEMENT STAFF

Thomas Cinella, Business Office Manager • Peter Grimm, Seranak House Manager • David Harding, Front ofHouse Manager/Manager of Customer Service • Marcia Jones, Manager of Visitor Center VOLUNTEER OFFICE Patricia Krol, Director of Volunteer Services

Deborah Haviland, Administrative Assistant • Paula Ramsdell, Project Coordinator TANGLEWOOD

The Tanglewood Festival

In August 1934 a group of music-loving summer residents of the Berkshires organized a series of three outdoor concerts at Interlaken, to be given by members of the New York Philharmonic under the direction of Henry Hadley The venture was so successful that the promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during the next summer. The Festival Committee then invited Serge Koussevitzky and the Boston Symphony Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted, and on August 13, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The series again consisted of three concerts and was given under a large tent, drawing a total of nearly 15,000 people. In the winter of 1936 Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered

Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and mead- ows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, and on

August 5, 1937, the festival's largest crowd to that time assembled under a tent for the first Tanglewood concert, an all-Beethoven program.

At the all-Wagner concert that opened the 1937 festival's second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the "Forest Murmurs" from Siegfried, music too delicate to be heard through the downpour.

At the intermission, Miss Gertrude Robinson Smith, one of the festival's founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money had been raised to begin active planning for a "music pavilion." Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the immediate needs of the festival and, more important, went well beyond the budget of $100,000. His second, simplified plans were still too expensive; he finally wrote that if the Trustees insisted on remaining within their budget, they would have "just a shed," "which any builder could accomplish without the aid of an architect." The Trustees then turned to StockbriJge engineer Joseph Franz to make further simplifications in Saarinen's plans in order to lower the cost. The building he erected was inaugurated on the

evening of August 4,

1938, when the first concert of that year's festival was given, and remains, with modifica-

tions, to this day. It has echoed with the music of the Boston Sym- phony Orchestra every

After the storm ofAugust 12, 1937, which precipitated afundraising summer since, except drivefor the construction ofthe Tanglewood Shed for the war years 1942-

45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improvements, produced the Shed's present world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as "The Serge Koussevitzky Music Shed," recognizing the far-reaching vision of the BSO's legendary music director.

In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and its reputation for excellence that it attracted nearly 100,000 visitors. With the Boston Symphony Orchestra's acquisition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood 's public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmod- ed Theatre-Concert Hall (which was used continuously with only minor modifications since 1941, and which with some modification has been used in recent years for the Tangle- wood Music Center's opera productions), and for improved Tanglewood Music Center facilities. Inaugurated on July 7, 1994, Seiji Ozawa Hall—designed by the architectural firm William Rawn Associates of Boston in collaboration with acoustician R. Lawrence Kirke- gaard & Associates of Downer's Grove, Illinois, and representing the first new concert facil- ity to be constructed at Tanglewood in more than a half-century—now provides a modern venue for TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra throughout the summer. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center's Leonard Bernstein Campus, as described below. Also at Tanglewood each summer, the Boston University Tanglewood Institute sponsors a variety of programs that offer individual and ensemble instruction to talented younger students, mosdy of high school age.

Two "Special Focus" Exhibits at the Tanglewood Visitor Center Celebrating Two Anniversaries at Tanglewood This Summer

Two "Special Focus" exhibits have been mounted by the BSO Archives at the Tangle- wood Visitor Center this summer. "John Williams and the BSO: A 25-Year Collaboration" celebrates Mr. Williams's 25-year relationship with the Boston Symphony Orchestra. Mr. Williams was the nineteenth Con- ductor of the Boston Pops from 1980 to 1993, then became Laureate Conductor of the Boston Pops and Artist-in-Resi- dence at Tanglewood. The exhibit features photographs and other materials documenting this 25-year association, including concert activities, tours, recordings with the Boston Pops Orchestra, and the recordings he made of the original film scores for Schindlers List and Saving Private Ryan conducting members of the BSO

in Symphony Hall. The photo here is of Mr. Williams backstage at Carnegie Hall on the

occasion of his debut as Boston Pops Conductor, on January 22 y 1980 (photograph by Peter Schaaf). This year's second "Special Focus" exhibit, "A Room for Music: Seiji Ozawa Hall Turns Ten!," celebrating the hall's tenth anniversary this summer, focuses on the building and construction of Seiji Ozawa Hall. Featuring photographs, construction plans, and other memo- rabilia, this exhibit explores the hall's architectural design and the festivities that opened this award-winning venue ten years ago on July 7, 1994. The photo, from June 22, 1993, shows a steel truss being lifted into place by crane (photograph by BSO Life Trustee Dean Freed). Today Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there are weekly chamber music concerts, Friday-evening Prelude Concerts, Saturday-morning Open Rehearsals, the annual Festival of Contempo- rary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the season closes with a weekend-long Jazz Festival. The season offers not only a vast quantity of music but also a vast range of musical forms and styles, all of it presented with a regard for artistic excellence that makes the festival unique.

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. 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 himself 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 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 the TMC'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. In 1997, Ellen Highstein was appointed Director of the Tanglewood Music Center, operating under the artistic supervision of Seiji Ozawa. The Tanglewood Music Center Fellowship Program offers an intensive schedule of study and performance for advanced musicians who have completed all or most of their formal training. Some 150 young artists, all attending the TMC on full fellowships which underwrite the costs of tuition, room, and board, participate in a program including chamber and orchestral music, opera and art song, and a strong emphasis on music of the 20th and 21st centuries. This year's first TMC Orchestra concert is under the direction of Ingo Metz- macher, who, in his first collaboration with the TMC, leads music of Dallapiccola (honoring that composer's centennial), Schoenberg, and Berlioz. Also this summer the TMCO per-

Visit our Tanglewood Music Store

Located at the Main Gate Hours—same as the Glass House at the Main Gate Wide selection of classical music Weekly concert selections BSO and guest artists • Compact discs • Sheet music, instrumental and vocal • Full scores • Books Glass House Gift Shop

Located at the Main Gate and Highwood Gate Exciting designs and colors • Adult and children's clothing • Accessories • Compact discs • Stationery, posters, books • Giftware

MasterCard/VISA/American Express/Diners Club/Discover Card

MAIN GATE: HIGHWOOD GATE: Closed during performances Closed during performances Monday through Friday: 10am to 4pm Friday: 5:30pm to closing of the grounds Friday: 5:30pm to closing of the grounds Saturday: 9am to 4pm Saturday: 9am to 4pm 6pm to closing of the grounds 6pm to closing of the grounds Sunday: noon to 6pm Sunday: noon to 6pm Weeknight concerts, Seiji Ozawa Hall: 7pm through intermission forms under the batons of Kurt Masur, Rafael Friihbeck de Burgos, Robert Spano, and James DePreist. In addition, Seiji Ozawa returns to the TMCO podium leading music of Takemitsu and Verdi as part of the August 1 gala concert marking the 10th anniversary of

Seiji Ozawa Hall. Also in 2004, the Mark Morris Dance Group returns for its second annual week-long collaboration with the TMC intertwining music and dance, culminating in two joint MMDG/TMC performances of works choreographed by Mark Morris to music of Vivaldi, Bartok, and Bach. With Britten's Shakespeare-inspired opera A Midsummer Night s Dream, the TMC Opera Program returns this summer to the work of Benjamin Britten, a composer historically associated with Serge Koussevitzky and the Music Center. Conductor Robert Spano once again directs the annual Festival of Contemporary Music, this year featuring works of Bernard Rands (celebrating his 70th birthday year) and Elliott Carter (marking his 95th birthday year), with music by the Finnish composers Salonen, Sallinen, Saari- aho, and Lindberg also highlighting the 2004 FCM programs. In another of the TMC's new music programs, TMC composers will work throughout the summer with gifted young film and video artists, creating short collaborative works to be presented during the Festival. On- going TMC programs include seminars in the string quartet and piano quartet, and a series of free concerts, the "Steinway Series" on Monday afternoons in the Chamber Music Hall, highlighting works for solo piano and piano chamber music.

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 headed 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. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Kousse- vitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humani stic tradition that was his legacy. At the same time, the

Tanglewood Music Center maintains its commitment to the future as one of the world's most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Seiji Ozawa in rehearsal with the TMC Orchestra in Ozawa Hall #1$^ # #SftH #l^# ##l#t $ MrH

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nSHE BSAVTANGLEWOOD ADMINISTRATIVE COMMITTEE 2004

Chair Ursula Ehret-Dichter Glass House MEMBERSHIP Diana and Stanley Feld Immediate Past Chair Rita Blieberg, Vice-Chair Melvin R. Blieberg BSA V Boston/Tanglewood Event Administrative Events William Ballen and Secretary Marsha Burniske Sharon L. Shepard Mary M. Blair Elizabeth Boudreau Seranak Gardens and Flowers Nominating Database/New Members JackT. Adler Muriel Lazzarini Norma Ruffer Anita Busch • Edmund L. Dana COMMUNITY/ Special Events Membership Meetings Marie Feder AUDIENCE SERVICES Joyce Kates Julie Weiss Rita Kaye Paul Flaum, Vice-Chair Tent Club Newsletter Berkshire Night Carolyn and William Corby Victoria Morss Nancy Glynn • Personnel Coordinator Berkshire Education EDUCATION Mary Spina Initiative William Ballen, Vice-Chair Ready Sylvia S. Stein and Team Harry G. Methven BSAV Encore Bus Trip Arnold and Lillian Katz Marcia A. Friedman Karen M. Methven Tour Guides William C. Sexton Historical Preservation Retired Volunteers Club Michael Geller Bonnie Sexton Judith M. Cook Polly Pierce Ushers/Program mers Passes/Tickets Dan Ruge Words about Music Pat Henneberry (ReDiscovering Music) • Visitor Center Gabriel Kosakoff Michael Geller TMC Ronald Winter Ginger Elvin, Vice-Chair Brochure Distribution Talks & Walks Larry Kassman TMC TimeOff Rita Kaye • Barbara Koz Paley Joyce Kates DEVELOPMENT Augusta (Gus) Leibowitz Training Coordinator Opening Ceremonies Gabriel Kosakoff, Vice-Chair Marilyn Flaum Marjorie T. Lieberman 20/20 Campaign Alexandra Warshaw Student Parties Mel Blieberg Watch & Play Larry Phillips Event Services Margery Steinberg Bobbi Rosenberg Liz Shreenan Judy Borger TOP Picnic John L. Powell Youth Activities Arline Breskin Friends Brian Rabuse Office Rosalie Beal Alan Benjamin Andrew T. Garcia Gail B. Harris

CLASSICAL CD DELETIONS & OVERRUNS Top quality LPs, tapes, CDs, videos and books from $2.00. Over 15,000 Classical titles at a fraction of their original prices.

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Summer Retail Hours: Mon.-Sat. 10:00 AM-5:30 PM (July 1-Sept. 1) BERKSHIRE RECORD OUTLET Rte. 102, Lee, MA Website: www.berkshirerecordoutlet.com (413) 243-4080 IN CONSIDERATION OF OUR PERFORMING ARTISTS AND PATRONS PLEASE NOTE: TANGLEWOOD IS PLEASED TO OFFER A SMOKE-FREE ENVIRONMENT. AVE ASKTHAT YOU REFRAIN FROM SMOKING ANYWHERE ON THETANGLEWOOD GROUNDS. DESIGNATED SMOKING AREAS ARE MARKED OUTSIDE THE ENTRANCE GATES.

Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Please do not bring food or beverages into the Music Shed or Ozawa Hall. PLEASE NOTE THATTHE USE OF AUDIO OR VIDEO RECORDING EQUIPMENT DURING CONCERTS AND REHEARSALS IS PROHIBITED, AND THAT VIDEO CAMERAS MAY NOT BE CARRIED INTO THE MUSIC SHED OR OZAWA HALL DURING CONCERTS OR REHEARSALS.

Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. FOR THE SAFETY OF, AND IN CONSIDERATION OF, YOUR FELLOW PATRONS, PLEASE NOTE THAT SPORTS ACTIVITIES, BICYCLING, SCOOTERS, KITE FLYING, FRISBEE PLAYING, BARBEQUING, PETS, AND TENTS OR OTHER STRUCTURES ARE NOT PERMITTED ON THE TANGLEWOOD GROUNDS. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. THANKYOU FORYOUR COOPERATION.

TANGLEWOOD INFORMATION

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5165. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666.

BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. until intermission; and Sunday from 10 a.m. until intermission. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200; or call TICKETMASTER at (617) 931-2000 in Boston; (413) 733-2500 in western Massachusetts; (212) 307-7171 in New York City; or 1-800-347-0808 in other areas. Tickets can also be ordered online atwww.bso.org. Please note

that there is a service charge for all tickets purchased by phone or on the web.

THE BSO's WEB SITE at www.bso.org provides information on all Boston Symphony and Boston Pops activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, an access service center and parking faculties are located at the Main Gate. Wheelchair service is available at the Main Gate and at the reserved- parking lots. Accessible restrooms, pay phones, and water fountains are located on the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431. FOOD AND BEVERAGES can be obtained at the Tanglewood Cafe and at other locations as noted on the map. The Tanglewood Cafe is open Monday through Friday from 11:30 a.m. to 2:30 p.m., Saturdays from 9 a.m. to 2:30 p.m., Sundays from noon until 7:30 p.m., and through the in- to go termission of all Tanglewood concerts. Visitors are invited to picnic before concerts. Meals may be ordered several days in advance at www.bso.org. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price often. A PASSION FOR MUSIC c &TDK

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As the sponsor of the 16th annual Tanglewood Free Lawn Passes for Children program, TDK is proud to bring the gift of music to thousands of children. . "''''

OPEN REHEARSALS by the Boston Symphony Orchestra are held each Saturday morning at for 10:30, the benefit of the orchestra's Pension Fund. Tickets are $16 and available at the

• Tanglewood box office. E - A half-hour pre-rehearsal talk about the program is offered free of charge to ticket holders, beginning at 9:30 in the Shed. During Open Rehearsals, a special children's area with activities games and behind the Tanglewood Visitor Center is available for children, who must be accompanied by an adult at all times.

SPECIAL LAWN POLICY FOR CHILDREN: On the day of the concert, children under the age of twelve will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE, thanks to a generous grant, for the sixteenth consecutive year, from TDK, the world leader in digital recording playback solutions. Up to four free children's lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Kousse- vitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children's groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates.

STUDENT LAWN DISCOUNT: Students twelve and older with a valid student ID receive H a 50% discount on lawn tickets for Friday-night BSO concerts. Tickets are available only at the Main Gate box office, and only on the night of the performance. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALK- WAYS are located in the area of the Main Gate and many of the parking areas.

THE LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official.

IN CASE OF SEVERE LIGHTNING, visitors to Tanglewood are advised to take the usual pre- cautions: avoid open or flooded areas; do not stand underneath a tall isolated tree or utility pole; and avoid contact with metal equipment or wire fences. Lawn patrons are advised that your automobile will provide the safest possible shelter during a severe lightning storm. Readmission passes will be provided.

FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate.

PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events).

THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office.

THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children's leisure clothing, accessories, posters, stationery, and gifts. Please note that the

Glass House is closed during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center. THE TANGLEWOOD MUSIC STORE, adjacent to the Main Gate and operated by the Boston Symphony Orchestra, stocks music books, recordings, scores, sheet music, and musical supplies.

Tanglewood Visitor Center

The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. Staffed by volunteers, the Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tangle- wood and the Tanglewood Music Center, as well as the early history of the estate. You are cordially invited to visit the Center on the first floor of the Tanglewood Manor House. During July and August, daytime hours are from 10 a.m. to 4 p.m. Monday through Friday, from 9 a.m. to 4 p.m. on Saturday, and from noon until twenty minutes after the concert on Sunday, with additional hours Friday and Saturday evenings from 5:30 p.m. until twenty minutes after the concerts on these evenings, as well as during concert intermissions. In June and September the Visitor Center is open only on Saturdays and Sundays, from 10 a.m. to 4 p.m. There is no admission charge. "Jennie Shames Burton Fine David and Ingrid Kosowsky chair Ronald Wilkison "Valeria Vilker Kuchment Michael Zaretsky Theodore W. and Evelyn Berenson Marc Jeanneret Family chair "Tatiana Dimitriades *Mark Ludwig Stephanie Morris Marryott and ""Rachel Fagerburg

Franklin J. Marryott chair *Kazuko Matsusaka *Si-Jing Huang ""Rebecca Gitter Catherine and Paul Buttenwieser TANGLEWOOD chair Cellos ""Nicole Monahan 2004 Jules Eskin Mary B. Saltonstall chair Principal James Levine *Wendy Putnam Philip R. Allen chair, endowed Director Music Designate Kristin and Roger Servison chair in perpetuity in 1969 Ray and Maria Stata *Xin Ding Martha Babcock Directorship, Music Donald C. and Ruth Brooks Heath Assistant Principal in perpetuity fullyfunded chair, fullyfunded in perpetuity Vernon and Marion Alden chair, Bernard Haitink endowed in perpetuity Second Violins Principal Guest Conductor in 1977 LaCroix Family Fund, Haldan Martinson Sato Knudsen Principal fullyfunded in perpetuity Mischa Nieland chair, Carl SchoenhofFamily chair, fullyfunded in perpetuity Seiji Ozawa fullyfunded in perpetuity Mihail Jojatu Music Director Laureate Vyacheslav Uritsky Sandra and David Bakalar chair Assistant Principal Luis Leguia Charlotte Irving W. First Violins and Rabb Robert Bradford Newman chair, chair, endowed in perpetuity Malcolm Lowe fullyfunded in perpetuity in 1977 Concertmaster "Jerome Patterson tRonald Knudsen Charles Munch chair, Lillian and Nathan R. Miller chair Edgar and Shirley Grossman chair fullyfunded in perpetuity "Jonathan Miller Tamara Smirnova Joseph McGauley Charles andJoAnne Dickinson chair Shirley and Richard Fennell chair, Associate Concertmaster J. "Owen Young fullyfunded in perpetuity Helen Horner Mclntyre chair, John F. Cogan,Jr., and Mary L. endowed in perpetuity in 1976 Ronan Lefkowitz Comille chair, fullyfunded in David H. and Edith C. Howie Juliette Kang perpetuity chair, fullyfunded in perpetuity Assistant Concertmaster "Andrew Pearce Robert L. Beal, Enid L., and Bruce "Nancy Bracken Stephen and Dorothy Weber chair A. Beal chair, endowed in perpetuity *Aza Raykhtsaum in 1980 ""Bonnie Bewick Richard C. and Ellen E. Paine Elita chair, in perpetuity Kang *James Cooke fullyfunded Assistant Concertmaster "Victor Romanul Edward and Bertha C Rose chair Gordon and Mary Ford Kingsley Bessie Pappas chair Bo Youp Hwang Family chair "Catherine French John and Dorothy Wilson chair, fullyfunded in perpetuity "Kelly Barr Basses Lucia Lin ""Alexander Velinzon Edwin Barker Forrest Foster Collier chair §Gerald Elias Principal Ikuko Mizuno Harold D. Hodgkinson chair, Dorothy Q. and David B. Arnold, Violas endowed in perpetuity in 1974 Jr., chair, fullyfunded in perpetuity Steven Ansell Lawrence Wolfe Amnon Levy Principal Assistant Principal Maria Nistazos Stata chair, Muriel C Kasdon and Marjorie C Charles S. Dana chair, perpetuity Paley chair endowed in perpetuity in 1970 fullyfunded in * Sheila Fiekowsky Cathy Basrak Joseph Hearne Leith Family chair, Ruth and CarlJ. Shapiro chair, Assistant Principal in perpetuity Jiillyfunded in perpetuity Anne Stoneman chair, fullyfunded fullyfunded in perpetuity Dennis Roy Edward Gazouleas Joseph andJan Brett Hearne chair Salkowski Participating in a system Lois and Harlan Anderson chair, John Erich and Edith Heymans chair of rotated seating fullyfunded in perpetuity $On sabbatical leave Robert Barnes § Substituting, Tangleivood 2004 "James Orleans Bassoons Bass Trombone "Todd Seeber Richard Svoboda Douglas Yeo Eleanor L. and Levin H. Campbell Principal John Moors Cabot chair, law chair, fullyfunded in perpetuity Edward A. Taft chair, endowed fullyfunded in perpetuity "John Stovall in perpetuity in 1974 Q ""Benjamin Levy Suzanne Nelsen Tuba John D. and Vera M. Mike Roylance Flutes MacDonald chair Margaret and William C. Rousseau ml Richard Ranti chair, fullyfunded Principal Associate Principal in perpetuity Walter Piston chair, endowed Diana Osgood Tottenham chair in perpetuity in 1970 Timpani Fenwick Smith Contrabassoon Acting Assistant Principal Gregg Henegar Sylvia Shippen Wells chair, endowed Myra and Robert Kraft chair, Helen Rand Thayer chair in perpetuity in 1974 endowed in perpetuity in 1 981 Elizabeth Ostling Horns Percussion Acting Principal James Sommerville Thomas Gauger Marian Gray Lewis chair, Principal Peter andAnne Brooke chair, fullyfunded in perpetuity Helen SagoffSlosberg/Edna fullyfunded in perpetuity S. Kalman chair, endowed Frank Epstein Piccolo in perpetuity in 1974 Peter Andrew Lurie chair, Richard Sebring fullyfunded in perpetuity

Evelyn and C Charles Marran Associate Principal J. William Hudgins chair, endowed in perpetuity in Margaret Andersen Congleton chair, Barbara Lee chair 1979 fullyfunded in perpetuity Timothy Genis §Linda Toote Daniel Katzen Acting Timpanist Elizabeth B. Storer chair, Mr. and Mrs. Edward H. Linde EUS Oboes fullyfunded in perpetuity chair John Ferrillo Jay Wadenpfuhl Principal fohn P. II and Nancy S. Eustis chair, Harp in perpetuity Mildred B. Remis chair, endowed in fullyfunded Ann Hobson Pilot perpetuity in 1975 Richard Mackey Principal Mark McEwen Hamilton Osgood chair James and Tina Collias chair Jonathan Menkis Voice and Chorus Keisuke Wakao Jean-Noel and Mona N John Oliver Assistant Principal Tariot chair Tanglewood Festival Chorus Elaine andJerome Rosenfeld chair Conductor Trumpets Alan J. and Suzanne W.Dworsky English Horn Charles Schlueter chair, fullyfunded in perpetuity Robert Sheena Principal Roger Louis Voisin chair, Librarians Beranek chair, fullyfunded in in perpetuity endowed in perpetuity 1977 Marshall Burlingame Peter Chapman Principal Clarinets Ford H. Cooper chair Lia and William Poorvu chair, fullyfunded in perpetuity William R. Hudgins Thomas Rolfs Shisler Principal Associate Principal William Ann o.M. Banks chair, endowed Nina L. and Eugene B. Doggett John Perkel in perpetuity in 1977 chair Scott Andrews Benjamin Wright Assistant Conductor Thomas and Dola Sternberg chair Rosemary and Donald Hudson chair Thomas Martin Anna E. Finnerty chair, Trombones in perpetuity Associate Principal £s? fullyfunded E-flat clarinet Ronald Barron Stanton W and Elisabeth K. Davis Principal Personnel Managers chair, chair, fullyfunded in perpetuity J. P. and Mary B. Barger Lynn G. Larsen fullyfunded in perpetuity Bruce M. Creditor Bass Clarinet Norman Bolter Craig Nordstrom Arthur and Linda Gelb chair Stage Manager Farla and Harvey Chet Krentzman John Demick chair, fullyfunded in perpetuity Position endowed by Angelica L. Russell .

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A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

Now in its 123rd season, the Boston Symphony Orchestra gave its inaugural concert on V£ October 22, 1881, and has continued to uphold the vision of its founder, the businessman, philanthropist, Civil War veteran, and amateur musician Henry Lee Higginson, for more than a century. The Boston Symphony Orchestra has performed throughout the United

States, as well as in Europe, Japan, Hong Kong, South America, and China; in addition, it reaches audiences numbering in the millions through its performances on radio, television, and recordings. It plays an active role in commissioning new works from today's most important composers; its summer season atTanglewood is regarded as one of the world's most important music festivals; it helps develop the audience of the future through BSO Youth Concerts and through a variety of outreach programs involving the entire Boston community; and, during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the world's most important training grounds for young composers, conductors, instrumentalists, and vocalists. The orchestra's virtuosity is reflected in the concert and recording activities of the Boston Symphony Chamber Players, one of the world's most distinguished chamber ensembles made up of a major symphony orchestra's principal players. The activities of the Mm Boston Pops Orchestra have established an international standard for the performance of m lighter kinds of music. Overall, the mission of the Boston Symphony Orchestra is to foster and maintain an organization dedicated to the making of music consonant with the highest HL aspirations of musical art, creating performances and providing educational and training programs at the highest level of excellence. This is accomplished with the continued support of its audiences, governmental assistance on both the federal and local levels, and through the generosity of many foundations, businesses, and individuals. Henry Lee Higginson dreamed of founding a great and permanent orchestra in his home town of Boston for many years before that vision approached reality in the spring of 1881.

The following October the first Boston Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would remain as music director until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world's most highly regarded concert halls, was opened on October 15, 1900. The BSO's 2000-01 season celebrated the centennial of Symphony Hall, and the rich history of music performed and introduced to the world at Symphony Hall since

it opened more than a century ago. Georg Henschel was succeeded by a series of German-born and -trained conductors

Henschel, Thefirst photograph, actually a collage, ofthe Boston Symphony Orchestra under Georg taken 1882

Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler—culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906- 08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first "Promenade" concert, offering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of music." These concerts, soon to be given in the springtime and renamed first "Popular" and then "Pops," fast became a tradition.

In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Francisco. Recording, begun in 1917 with the Victor Talk- ing Machine Company (the predecessor to RCA Victor), continued with increasing frequency. In 1918 Henri Rabaud was engaged as conductor. He was succeeded the following year by Pierre Monteux. These appointments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians. The Koussevitzky era began in 1924. His extraordinary musicianship and electric personality proved so enduring that he served an unprecedented term of twenty-five years. The BSO's first live concert broadcasts, privately funded, ran from January 1926 through the 1927-28 season. Broadcasts continued sporadically in the early 1930s, regular live Boston Symphony broadcasts being initiated in October 1935. In 1936 Koussevitzky led the orchestra's first concerts in the Berkshires; a year later he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The Boston Pops Orchestra celebrated its hun-

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:'•*•:'. * ''.; .'"\. • •• • NATHANIEL HAWTHORNE REVISITED

This summer marks the bicentennial of Nathaniel Hawthorne's birth on July 4, 1804. The local influence of Nathaniel Hawthorne—the author of Tanglewood Tales—is clearly linked to Tanglewood: all who enter Tanglewood via the Lion Gate see the replica of the "little red cottage" where the Hawthorne family lived from May 1850 until November 1851, and

PQ ~^H Herman Melville on a summer outing in August 1850. Their relationship inspired Melville's literary ambitions, as reflected in the epic scale of his masterpiece, Moby-Dick, dedicated to Hawthorne "In Token of my Admiration for his Genius." Materials dating from Nathaniel Hawthorne's stay

at the little red cottage are on view in the Tanglewood Visitor Center as part of the display documenting the early history of the Tappan family estate (Tanglewood). The cottage was destroyed by fire in 1890. A replica duplicating the original exterior was dedicated in July 1947. (The interior now provides classroom and studio space for the Tanglewood Music Center.) The photo shows the 1947 dedication ceremony, with Serge Koussevitzky seated second from left on the porch. To commemorate the Hawthorne bicentennial, the Lenox Library has published Haw- thorne Revisited, a collection of essays exploring this Berkshire literary legacy (available at

the library and in the Tanglewood shops). On Sunday morning, August 8, the meeting of Hawthorne and Melville will be celebrated in a hike up Monument Mountain; anyone interested should meet at 10 a.m. that day in the parking lot on Route 7 at the base of the

mountain. On Saturday, October 9, at 8 p.m., a gala celebration in Ozawa Hall sponsored by Shakespeare 6c Company and hosted by Mike Wallace will feature Jane Fonda, Marisa Tomei, and David Strathairn performing and reading from Hawthorne's works. For more information on this event, call (413) 637-1199, ext. 113.

You are invited to take 2004 Tanglewood Guided Tours of Tanglewood

Sponsored by the Tanglewood Association of the Boston Symphony Association of Volunteers

Free to the public Wednesday at 10:30 a.m. and Saturday at 1:30 p.m. Free to Sunday ticket-holders: Sunday at 12:30 p.m. Tours continue through Sunday, August 29.

All tours last one hour, beginning and ending at the Tanglewood Visitor Center. Please arrive at the Visitor Center five minutes before the starting time of each tour.

Croup tours may be scheduled at other times by calling the Tanglewood Volunteer Office at (413) 637-5393. A contribution of $6 per person is requestedfor scheduled group tours. dredth birthday in 1985 under Mr. Williams's baton. Keith Lockhart began his tenure as twentieth conductor of the Boston Pops in May 1995, succeeding Mr. Williams. Charles Munch followed Koussevitzky as music director of the Boston Symphony Or- chestra in 1949. Munch continued Koussevitzky 's practice of supporting contemporary composers and introduced much music from the French repertory to this country. During his tenure the orchestra toured abroad for the first time and its continuing series of Youth Con- certs was initiated under the leadership of Harry Ellis Dickson. Erich Leinsdorf began his seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA; in addition, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center; under his leadership a full- tuition fellowship program was established. Also during these years, in 1964, the Boston Symphony Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the midwest.

Seiji Ozawa became the BSO's thirteenth music director in the fall of 1973, following a year as music adviser and three years as an artistic director at Tanglewood. Ozawa's historic twenty-nine-year tenure, from 1973 to 2002, exceeded that of any previous BSO conductor. In the summer of 2002, at the completion of his tenure, he was named the orchestra's Music Director Laureate. Besides solidifying and maintaining the orchestra's reputation worldwide, and taking an active role as teacher and administrator at the Tanglewood Music Center, *v Ozawa also reaffirmed the BSO's commitment to new music, through a series of centennial commissions marking the orchestra's 100th birthday, through a series of works celebrating the fiftieth anniversary of the Tanglewood Music Center, and through an extended series of commissions that continued during 2002-03 with the world premieres of new works by Elliott Carter, Sofia Gubaidulina, John Harbison, and Tan Dun. Under Ozawa's direction the orchestra also expanded its recording activities, to include releases on Philips, Telarc, Sony Classical/CBS Masterworks, EMI/Angel, Hyperion, New World, and Erato. In 1995, m Ozawa and the BSO welcomed Bernard Haitink as Principal Guest Conductor, in which capacity Mr. Haitink conducts and records with the orchestra, and has also taught at Tangle- Itk? wood. In the fall of 2001, James Levine was named to succeed Seiji Ozawa as music director of the Boston Symphony Orchestra. The first American-born conductor to hold that position, he was named Music Director Designate in the spring of 2002 and will become the orchestra's fourteenth music director in the fall of 2004. Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annually.

It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston.

Seiji Ozawa, the Boston Symphony Orchestra, and the Tanglewood Festival Chorus at Tanglewood South Mountain Concerts

Pittsfield, Massachusetts

86th Season of Chamber Music

Concerts Sundays at 3 P.M. nrat x> ?? September5 Kalichstein-Laredo-Robinson Trio September 12 • • « Tokyo String Quartet September 19 $&7j Emerson String Quartet September 26 Muir String Quartet October 3 Beaux Arts Trio Hometown Hero, Citizen of the World Rockwell in Stockbridge For Brochure and Ticket Information Write June 5- October 31, 2004 South Mountain Concerts, Box 23 Pittsfield, MA 01 202 Phone 41 3 442-21 06 www.southmountainconcerts.com NORMAN ROCKWELL MUSEUM

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The Colonial Theatre Summer 2004 Pine Cone Hill E they're playing DESIGNINGDES AND DEFINING A FRESH NEW AMERICAN LIFESTYLE our song Visit our showropm now A Colonial Theatre Production at the Lenox Shops. August 18 - 29, t 4 Opening Night Gala August 20 at the Berkshire Music Hall A Neil Simon romantic comedy with an orchestral score by Marvin Hamlisch, directed by James Warwick. Call 413-448-8084 for tickets.

July 31, 7 pm: The Grrl Genius Guide to Sex (with other people) Opening performance by Melodrome Nationally renowned author and performer Cathryn Michon brings her stand-up comedy act in a benefit performance to the Berkshire Music Hall

Colonial Theatre tours: Fridays at noon. Saturdays at io:3o am - Free! Colonial www.thecolon iattheatre.org r |~ ^ -* fyp*. A A Ill South St., Pittsfield. MA TheatreLCcllI C

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Founded in 1865 Worcester, Massachusetts BARDSUMMERSCAPE

July 8 - August 22, 2004 OPERA East Coast Professional Premiere

Experience a performing arts The Nose July 28 -August 7 other. festival like no Bard An opera by Dmitrii Shostakovich SummerScape presents American Symphony Orchestra Conducted by Leon Botstein world-class opera, music, Directed by Francesca Zambello Set design by Rafael Viholy and theater you won't hear Costume design by Georgi Alexi-Meskhishvili anywhere else, in a venue you Lighting design by Mark McCullough can't find anywhere else: T H E A T E R the Frank Gehry-designed American Premiere St. Petersburg's Alexandrinsky Theatre Richard B. Fisher Center for presents the Performing Arts, hailed by The Inspector General ^ critics as "an acoustic jewel" July 8-11 A play in two acts by Nikolai Gogol "a virtuoso piece." and Directed by Valery Fokin MUSIC THEATER World Premiere Guest from the Future

July 22 - August 1 Music by Mel Marvin Libretto by Jonathan Levi Directed by David Chambers

Moscow: Cherry Tree Towers August 12-15 A musical in two acts by Dmitrii Shostakovich Directed by Francesca Zambello BARD MUSIC FESTIVAL Fifteenth Season Shostakovich and His World August 13-22 Two weekends of concerts, panels, and other events bring the musical world of Russian composer Dmitrii Shostakovich

vividly to life.

Bard SummerScape 2004 also features a Russian film festival, puppet theater, late- night cabaret, and other special events.

THE RICHARD B. For tickets and information, FISHER call 845-758-7900 or visit CENTER summerscape.bard.edu. FOR THE PERFORMING ARTS AT BARD COLLEGE Bard College Annandale-on-Hudson, N.Y.

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nC rFifteenth Annual Bard Music Festival AND HIS SHOSTAKOVICH WORLD AUGUST 13-15 AND 20-22, 2004

The Bard Music Festival's fifteenth season explores the musical world of Russian composer Dmitrii Shostakovich (1906-75) with concerts, panels, and special events.

FRIDAY, AUGUST 13 SATURDAY, AUGUST 21 program ONE DMITRII SHOSTAKOVICH: PROGRAM SEVEN MUSIC AS POLITICS THE MAN AND HIS WORK 10:00 a.m. Performance with commentary 8:30 p.m. Works by Shostakovich Shostakovich's Antiformalist Rayok

SATURDAY, AUGUST 14 program eight IN THE SHADOW OF 1948 10:00 a.m. Panel CONTESTED ACCOUNTS: 1:30 p.m. Works by Shostakovich, THE COMPOSER'S LIFE AND CAREER Ustvolskaya, Weinberg, Sviridov, Shaporin program two THE FORMATIVE YEARS PROGRAM NINE AFTER THE THAW: 1:30 p.m. Works by Shostakovich, A COMPOSER LOOKS BACK Stravinsky, Glazunov, Prokofiev, Skriabin, 8:00 p.m. Works by Shostakovich. Gnesin.Shteynberg American Symphony Orchestra, Leon Botstein, conductor program three FROM SUCCESS TO DISGRACE SUNDAY, AUGUST 22 8:00 p.m. Works by Shostakovich. 10:00 a.m. Panel THE COMPOSER'S American Symphony Orchestra, Leon LEGACY: SHOSTAKOVICH IN THE CONTEXT Botstein, conductor OF MUSIC TODAY

SUNDAY, AUGUST 15 program ten A NEW GENERATION 10:00 a.m. Panel MUSIC IN THE SOVIET RESPONDS UNION 1:30 p.m. Works by Shostakovich, Denisov, Tishchenko, Gubaidulina, Schnittke program four THE PROGRESSIVE 1920s 1:30 p.m. Works by Shostakovich, program eleven IDEOLOGY AND Shcherbachov, Myaskovsky, Popov INDIVIDUALISM 5:00 p.m. Works by Shostakovich. Bard program five THE ONSET OF POLITICAL Festival Chorale; American Symphony REACTION Orchestra, Leon Botstein, conductor 5:00 p.m. Works by Shostakovich, Shebalin, Kabalevsky, Khachaturian, Dzerzhinsky, For ticket information Khrennikov call 845-758-7900 or visit www.bard.edu/bmf FRIDAY, AUGUST 20 10:00 a.m. Symposium ART AND CULTURE IN THE SOVIET ERA

program six "GOOD MORNING MOSCOW": ONE DAY IN THE LIFE OF SOVIET POPULAR MUSIC 8:00 p.m. Performance

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Prelude Concert of Friday, August 27, at 6 (Ozawa Hall) 2 Tanglewood Festival Chorus, John Oliver, conductor MUSIC OF JANACEK AND DVORAK

Boston Symphony concert of Friday, August 27, at 8:30 9 Charles Dutoit conducting; Martha Argerich and Alexander Gurning, pianists MUSIC OF MOZART, POULENC, RAVEL, AND STRAVINSKY

Boston Symphony concert of Saturday, August 28, at 8:30 19 Charles Dutoit conducting; Itzhak Perlman, violin MUSIC OF BEETHOVEN, STRAVINSKY, AND RAVEL

Boston Symphony concert of Sunday, August 29, at 2:30 31 Hans Graf conducting; Measha Brueggergosman, Mary Phillips, Gordon Gietz, and Raymond Aceto, vocal soloists; Tanglewood Festival Chorus, John Oliver, conductor BEETHOVEN NINTH SYMPHONY

ft*

THIS WEEK'S ANNOTATORS

Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for orchestras and other ensembles throughout the country, and for such concert venues as Carnegie Hall.

Hugh Macdonald, Avis Bleweti Professor of Music at Washington University in St. Louis and principal pre-concert lecturer for the Saint Louis Symphony Orchestra, lectures and writes frequently for the Boston Symphony Orchestra.

Jan Swafford is an award-winning composer and author who teaches in the Tufts University English Department and whose books include biographies of Charles Ives and Johannes Brahms. ft*

SATURDAY-MORNING OPEN REHEARSAL SPEAKERS

July 17, 24; August 7, 21 — Marc Mandel, BSO Director of Program Publications July 10, 31; August 14, 28 — Robert Kirzinger, BSO Publications Associate Tanglewood

SEIJI OZAWA HALL

Prelude Concert 10th ANNIVERSARY SEASON

27 Friday, August ', at 6 Florence Gould Auditorium, Seiji Ozawa Hall TANGLEWOOD FESTIVAL CHORUS JOHN OLIVER, conductor with FRANK CORLISS and MARTIN AMLIN, pianists FENWICK SMITH, flute ANN HOBSON PILOT, harp

Please note that texts and translations are being distributed separately. janAcek Three Mixed Choruses, unaccompanied

Piseh v jeseni (Autumn Song) Kacena divoka (The Wild Duck) Nase piseh (Our Song)

janAcek Vlci stopa {The Wolf's Trail), for soprano solo, female voices, and piano

ANNA CARR, soprano FRANK CORLISS, piano

DVORAK Z Kytice ndrodnich pisni slovanskych [From-a Bouquet of Slavonic Songs), for male chorus and two-piano accompaniment, Opus 43 (marking the 100th anniversary of Dvorak's death)

Zal (Sorrow) Divna voda (Miraculous Water) Devce v haji (The Girl in the Woods)

FRANK CORLISS and MARTIN AMLIN, pianos

Steinway and Sons Pianos, selected exclusively at Tanglewood

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert.

Please refrain from taking pictures in Seiji Ozawa Hall at any time during the concert. Flashbulbs, in particular, are distracting to the performers and other audience members. Thank you for your cooperation. Wfifi

JANACEK Elegie na smrt dcery Olgy (Elegy on the Death of his daughter Olga), for tenor solo, H mixed chorus, and piano fflT

MARTIN S. THOMSON, tenor MARTIN AMLIN, piano

JANACEK Hradcanske pisnicky (Songs of Hradcany), for soprano and alto solos, female voices, flute, and harp

Zlata ulicka (Golden Lane) Ism Placid fontana (The Weeping Fountain) Belveder (Belvedere)

EMILY JAWORSKI, soprano JACQUE E. WILSON, alto FENWICK SMITH, flute ANN HOBSON PILOT, harp

DVORAK Six Moravian Duets for mixed chorus and (arr.JANACEK) two-piano accompaniment (marking the 100th anniversary of Dvorak's death)

Dyby byla kosa nabrosena (The Slighted Heart) Slavikovsky polecko maly (The Pledge of Love) Holub na javofe (Forsaken) V dobrym sme se sesli (Parting Without Sorrow) Sipek (The Wild Rose)

Zelenaj se, zelenaj (Omens)

FRANK CORLISS and MARTIN AMLIN, pianos

Notes

Antonin Dvorak (1841-1904) and Leos Janacek (1854-1928) both composed prolifically for the amateur choirs that abound in the towns and villages of Bohemia and Moravia, the Czech regions from which they respectively sprang. Dvorak's international success never severed him from his roots; indeed his fame was largely built on his close attach- ment to Czech folk song and on the style that Czech composers, especially Smetana, had forged as the basis of a national voice. Janacek enjoyed similar wide success only in the very last years of his long life; secluded for most of his career in Brno, the capital of Moravia, he was even more thoroughly steeped in the folklore and music of his homeland, to the point where he is today honored in his own country as a great pioneer of the eth- nology of the region. Janacek's early training was in church music and choral singing. At the age of nineteen he was appointed choirmaster of Svatopluk, a working men's choral society in Brno, whose

Week 8 -

repertoire he greatly enhanced. Four years later he took on the male-voice (middle-class) Beseda choir, which he enlarged and made into a mixed chorus. He introduced the choir to Dvorak's music; in the summer of 1877 the two men went on a walking tour of Bo- hemia together, delighting in the songs and dances they encountered on their way. Although opera and orchestral music absorbed him in later life, Janacek never abandoned his work with choral singers. During the First World War the famous Moravian Teachers' Choir, founded by Ferdinand Vach, was depleted of its male members, becoming the Moravian Women Teachers' Choir, for which Janacek composed some characteristically powerful works. Dvorak's compositions for small choirs belong entirely to his early years, mostly to the period around 1877 when he was friendly with Janacek and on the verge of the international success that launched his fame. Thereafter his choral compositions were all for large choruses with orchestra, such as the Stabat Mater and the Requiem. Janacek's three mixed choruses that open the program were composed in 1880, 1885, and 1890, respectively. The first, the Autumn Song, was written to a text by the great Czech poet Jaroslav Vrchlicky for the Brno Beseda and performed by them under his direction in December 1880. It is an expressive description of autumn, rising to a glorious evocation of "zlati plameny" ("golden flames"). The Wild Duck, which uses a folksong text, was written for a collection of songs for schools, put together by Janacek's friend Berthold Zalud, though its teasing modulations would tax most school choirs. The opening phrase strikingly prefigures the abrupt melodic style of Janacek's mature music. With Our Song Jana- cek sounds a more boisterous, forthright note, proud of "our strong, glorious, ancient, true,

Czech song." The text is by another of Janacek's favorite poets, Svatopluk Cech, and the tune is based on a dance melody noted by Janacek in 1886. This song also exists with an orchestral accompaniment. The Wolf's Trail reveals the more abrupt, dramatic style of Janacek's later years, which is in any case suggested by the tale of an army captain who goes out at night in search of a wolf but finds no tracks. Returning home early he finds his lovely young wife in the arms of her lover whose headlong flight is stopped by the husband's bullet. "Tonight he surely found the wolf's tracks" is the final fine of Vrchlicky 's characteristically sardonic poem. Dvorak's From a Bouquet of Slavonic Songs exhibits the composer's irresistible melodic gift, applied to folk poems from Slovakia (the first and third songs) and Moravia (the second song). He had composed a collection with a similar title, A Bouquet of Slavonic Songs, in the winter of 1877-78 for four-part male-voice chorus unaccompanied, and he followed

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On the Hampshire College campus in Amherst, MA Mon-Fri 10-3:30; Sun 11-4 / 413-256-4900 / www.ylddishbookcenter.org it immediately with these three songs for the same voices with piano. In 1890 Janacek lost his two-year-old son Vladimir to scarlet fever, which also affected his daughter Olga, who was then eight. She survived the infection and grew up to be an artistic, intelligent young woman, though always prey to illness. She died aged twenty in February 1903, just at the moment that the opera Jenufa was finally completed. Janacek dedicated it to her memory and also set this Elegy as a testament to their mutual devotion. Olga was studying Russian in Prague and had traveled to St Petersburg. One of her Rus- sian teachers, Marfa Nikolayevna Veveritsa, wrote the poem, which Janacek set in Russian and later issued in a Czech version. The minor key, the drooping phrases, the swaying accompaniment—all these contribute to the moving effect of this truly elegiac work. The three Hradcany songs for female chorus set poems by F.S. Prochazka about the city of Prague, lamenting the contrast between the glory of the great palaces, the grim deeds they have witnessed, and the impoverished streets that lie between. Anyone who has visited Prague knows the stupendous impact of Hradcany castle overlooking the bend in the river that lies at the heart of the capital. Janacek here supplied some challenging music for the Moravian Women Teachers Choir in 1916, mostly unaccompanied, although a flute's lower octave supplies some delicate evocations of the fountain in the second song, and the third is accompanied by a harp, suggested by the princess who plucks the harp amid a garden of fragrant roses. The image, the song goes on to tell us, is false, for she is really dead and the harp is silent. Dvorak composed four sets of Moravian Duets between 1875 and 1877, twenty-three pieces in all, from which this evening's selection of six songs is taken. Brahms was so taken by this music that he recommended them for publication by the Berlin publisher Sim- rock. Their immediate success brought fame and wider European circulation to Dvorak's music. It is easy to see why. The lilting melodic charm of the songs, and their captivating format as duets, are irresistible features. Dvorak's nature was unclouded by the tensions that underlie Janacek's best music, yet both of them bear clear witness to the natural musicality of the Czechs (which both Mozart and Berlioz observed, among many), as well as their love of poetry, dancing, and song. The present choral arrangement of the duets is by Janacek. Composer/pianist Martin Amlin made tonight's two-piano accompaniment from the original single-piano version. —Hugh Macdonald

ARTISTS

To read about the Tanglewood Festival Chorus, see page 44.

Frank Corliss lives in Boston, where he is rehearsal pianist for the Boston Symphony Or- chestra and Director of Music at the Walnut Hill School. He is also the pianist and assistant conductor of the Tanglewood Festival Chorus. Mr. Corliss performs throughout the United States as a chamber musician and accompanist and has appeared frequently in the Boston Symphony's Prelude Concert series. A graduate of the Oberlin Conservatory of Music, he received his master of music degree from the State University of New York at Stony Brook, where he studied with Gilbert Kalish. While at Oberlin he received the Rudolf Serkin Award for Outstanding Pianist and was a member of the ensemble Music From Oberlin, which

PRELUDE CONCERT SEATING Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall

is unreserved and available on a first-come, first-served basis when the grounds open at 5:30 p.m. Patrons are welcome to hold one extra seat in addition to their own. Also please note, however, that unoccupied seats may not be held later than five minutes before concert time (5:55 p.m.), as a courtesy to those patrons who are still seeking seats.

Week 8 toured throughout the United States. He has also studied at the Mozarteum in Salzburg, Austria, and at the Cracow Academy of Music in Cracow, Poland. Mr. Corliss has participated in several summer festivals, including Tanglewood and the Taos Chamber Music Festival. Recent overseas activities have included a tour of Asia with the Boston Symphony Orchestra, and a three-week concert tour of Eastern Europe as an Artistic Ambassador for the United States Information Agency.

Currently Associate Professor of Composition and Theory in the College of Fine Arts at Boston University, Martin Amlin maintains a busy schedule as composer, pianist, and educa-

tor. His compositions have been performed throughout the world and are published by the Theodore Presser Company. A versatile performer, he has appeared many times as soloist with the Boston Pops Orchestra, and has been pianist for such varied groups as the M.I.T Experimental Music Studio, the New England Ragtime Ensemble, and the American Vocal

Arts Quintet. Mr. Amlin is the recipient of grants from the National Endowment for the Arts, ASCAP, the Massachusetts Cultural Council, and the Massachusetts Artists Founda- tion. His recordings may be heard on the Hyperion, Koch International, Centaur, Crystal, Ashmont, Albany, and Wergo labels.

A member of the Boston Symphony Orchestra since 1978, flutist Fenwick Smith has also performed on Baroque flute with Boston's leading early music ensembles and was for thirteen

"It's not just catching.,, it's a total fishing Tanglewood experience." You are invited to take Guided Tours of Tanglewood Sponsored by the Tanglewood Association BERKSHIRE of the Boston Symphony Association of Volunteers

FISHING CLUB Free to the public: Wednesday at 10:30 a.m. and Try Us for the Day and Enjoy... Saturday at 1:30 p.m. • 125 Acres of Pristine, Free to Sunday ticket-holders: Undeveloped Private Lake Sunday at 12:30 p.m.

• Excellent Bass Fishing Tours continue through Conditions Sunday, August 29.

• Spinning Reel and Fly Fishing All tours last one hour, beginning Classes Available and ending at the Tanglewood Visitor Center. Please arrive at the • Family Fun - Canoeing, Visitor Center five minutes before Kayaking or Hiking the starting time of each tour. Croup tours may be scheduled at For more information, please contact: other times by calling the Tanglewood Volunteer Office at (413) 637-5393. Phone: 413.243.5761 A contribution of $6 per person is www.berkshirefishing.com requestedfor scheduled group tours. years a member of the contemporary music ensemble Boston Musica Viva. He is a member of the Boston Chamber Music Society and the Melisande Trio. Mr. Smith's annual Jordan Hall recitals have become a regular feature of Boston's concert calendar. His wide-ranging discography includes world premiere recordings of music by Copland, Foote, Ginastera, Koechlin, Dahl, Schulhoff, Harbison, Cage, Rorem, and Reinecke. Recent compact discs include music of Daniel Pinkham on Koch International, music of Ned Rorem on Etcetera, and music ofJohn Harbison on Archetype Records. A native of Medford, MA, Mr. Smith graduated from the Eastman School of Music, where he studied with Joseph Mariano, and spent three years in West Berlin, studying with James Galway and playing in the Berlin Sym- phony Orchestra. He now teaches at the New England Conservatory and the Tanglewood Music Center, of which he is an alumnus. Mr. Smith worked for twelve years for Verne Qi Powell Flutes, Inc., and plays a Powell flute of his own construction. More recently he finished renovating the former Masonic Temple in Roslindale as a commercial recording studio.

A graduate of the Cleveland Institute of Music, Ann Hobson Pilot became the Boston Symphony's principal harp in 1980, having joined the orchestra in 1969 as assistant principal harp of the BSO and principal harp of the Boston Pops. Before that she was substitute second harp with the Pittsburgh Symphony and principal harp of the National Symphony in Washington, D.C. Ms. Hobson Pilot has performed as soloist with the Boston Symphony, the Boston Pops, and orchestras in Europe, Haiti, New Zealand, and South Africa. As a chamber musician she has appeared at such prominent festivals as Marlboro and Newport.

She holds a Doctor of Fine Arts degree from Bridgewater State College and is a faculty member at the New England Conservatory and Tanglewood Music Center. Ms. Hobson Pilot has several compact discs available. She was recently featured in a video documentary, televised nationwide on PBS, about her personal musical journey and her journey to Africa to discover the roots of the harp. The recipient of numerous awards, Ann Hobson Pilot began studying piano at six with her mother, a former concert pianist and teacher in the Philadelphia public schools. She switched to harp while in high school, continuing her training at the Philadelphia Musical Academy with Marilyn Costello, and with Alice Chalifoux at the Cleveland Institute of Music. Actively involved in Boston-area community affairs, she and her husband Prentice Pilot were instrumental in the formation of the Boston Music Education Collaborative, and also established a concert series on the islands of St. Maarten, St. Croix, and St. Thomas. In addition Ms. Hobson Pilot is directing a troubadour harp program at the Martin Luther King Middle School in Dorchester, and is a Trustee at the Longy School of Music. HE WALTER PISTON SOCIETY AT TANGLEWOOD we

Jean-Noel Tariot's musical heritage is impressive. His great-great grandfather, great grandfather, and great uncle, Alexandre Tariot, were accomplished French

musicians and acquainted with the great composers of their time. Mr. Tariot and

his wife Mona felt compelled to create a lasting legacy at the Boston Symphony

Orchestra by endowing a French horn term-chair as a tribute to the music they

love so much. The Tariot's charitable gift annuity makes it possible to enjoy this

family legacy NOW, and will give them an income for life.

To learn more about giving opportunities that pay YOU to

give, please call (413) 637-5275 or [email protected]. Tanglewood You may be assured of complete confidentiality. —

Tanglewood BOSTON SYMPHONY ORCHESTRA 123rd Season, 2003-2004 &^± Friday, August 21, at 8:30

CHARLES DUTOIT conducting

MOZART Symphony No. 35 in D, K.385, Haffner Allegro Andante Menuetto; Trio Finale: Presto

POULENC Concerto in D minor for Two Pianos Allegro ma non troppo Larghetto Finale: Allegro molto MARTHA ARGERICH and ALEXANDER GURNING

INTERMISSION

RAVEL Piano Concerto in G Allegramente Adagio assai Presto MARTHA ARGERICH

STRAVINSKY Suite from The Firebird (1919 version)

Introduction—The Firebird and its Dance Variation of the Firebird—The Princesses' Round Khorovod—Infernal Dance of King Kashchei—Lullaby—Finale

Steinway and Sons Pianos, selected exclusively at Tanglewood

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and other audience members. Note that the use of audio or video recording equipment during performances in the Music Shed or Ozawa Hall is prohibited.

Week 8 NOTES ON THE PROGRAM

Wolfgang Amade Mozart (1756-1791) Symphony No. 35 in D, K.385, Haffner

First performance'. March 29, 1783, Vienna. First BSO performances'. January 1885, Wilhelm Gericke cond. First Tanglewoodperformance: July 21, 1951, Charles Munch cond. Most recent Tanglewoodperformance'. August 18, 2002, Sir Neville Marriner cond.

The Haffner family of Salzburg has been immortalized through two compositions by Mozart, the Haffner Serenade, K.250(248b), of 1776, commissioned for a family wedding, and the Haffner Symphony, K.385, of 1782. Actually the symphony was originally intended simply to be another serenade, for use at the celebration given Sigmund Haffner, a boyhood chum of Mozart's, when he was elevated to the nobility in recognition of his generous benefactions made to

the city. Leopold Mozart urgendy requested some suitable music from Wolfgang. This happened not long after the younger Mozart's arrival in Vienna, when he was busy trying to estab- lish himself in the capital with pupils and commissions for compositions and attempting to get ready for his forthcoming wedding to Constanze Weber, which was to take place on

August 4. (Mozart carefully kept the wedding plans a secret from Papa until it was too late for him to interfere.)

Mozart's first reaction was that he was too busy: "I am up to the eyes in work," he wrote on July 20. But he promised to burn the midnight oil and was able to send individual movements via post, the last of them accompanied by a letter dated August 7.

There is no evidence regarding the exact date of the premiere, but Leopold presumably

prepared the serenade for performance, and we may assume that it was performed as Mozart wrote it—with an introductory march and a second minuet. The march survives as K.408/2(385a); the minuet is lost.

The next we hear of this music is in a letter of Wolfgang's to his father just before Christmas, asking Leopold to send "the new symphony which I composed for Haffner at your request." He was planning a concert for Lent (the most popular time for concerts, since opera houses and theaters were closed), and he wanted to include this new work. Leopold sent the original score back to Vienna; when Wolfgang saw it again, he wrote: "My new Haffner Symphony has positively amazed me, for I had forgotten every

single note of it. It must surely produce a good effect." But he chose nonetheless to adapt it to fit better the normal canons of concert use—four movements (with only a single minuet)—and added parts for flutes and clarinets, which had been lacking in the serenade. Mozart included the revised symphony on a concert that he gave on March 29, 1783.

The program was arranged in a way that we would find very bizarre today, though it was the normal run of business at an eighteenth-century performance. The concert opened with the first three movements of the new symphony, followed by an aria, a piano concerto, an operatic scena, a keyboard fugue, and a vocal rondo—and then came the finale of the Haffner Symphony! Even though it survives only in its four-movement form, the Haffner Symphony still recalls the many earlier serenades Mozart had composed for use in Salzburg in being generally lighter in construction, somewhat more loose-limbed than a normal symphony

planned as such from the outset (after all, music at a party would not likely have had many listeners willing to follow a detailed musical argument with any degree of concen- tration). Gradually his serenades became more "symphonic" in a way that required the

10 listener's full attention, rather than just the subliminal awareness that some music was going on in the background.

The pomp of the first movement is splendidly worked out with material based almost entirely on the opening gesture, with its dramatic octave leaps or their linear equivalent,

running scales in eighths or sixteenths. The Andante is lush and delicately elaborate, filled with those graces we call "Mozartean." The minuet offers a vigorous and festive main section (whose grand melodic leaps remind us of the first movement) contrasting with a more graceful Trio. The finale seems to be a reminiscence—whether intentional or otherwise, who can say?—of Osmin's comic aria "O wie will ich triumphieren from Die Entfuhrung aus dem Serail. The opera was first performed on July 16, 1782, just two weeks before the composition of this finale. Mozart's satisfaction with the Osmin aria, and his recollection of that recently performed score, may explain the complete fluency with which he noted down this movement in his manuscript, as if at a single sitting. He was also clearly

pleased enough with the finale to use it, isolated from the rest of the work, as the con- cluding music for an entire concert. As he correctly recognized, this witty play of dy- namics engineering the various returns of the rondo tune was the perfect vehicle to send the audience home in a cheerful mood. —Steven Ledbetter

Francis Poulenc (1899-1963) Concerto in D minor for Two Pianos

First performance: September 5, 1932, Festival of the International Society of Con- temporary Music, Venice, Desire Defauw cond., Poulenc and Jacques Fevrier, piano soloists. First B'SO performances: January 1961, Charles Munch cond., Poulenc and Evelyne Crochet, soloists. First Tanglewoodperformance: July 21, 1967, Erich Leinsdorf cond., Bracha Eden and Alexander Tamir, soloists. Most recent Tanglewoodperformance: August 16, 1987, Leonard Slatkin cond., Katia ccMarielle Labeque, soloists.

French composers have rarely been bashful about writing music whose main purpose was to give pleasure. At the other extreme from the metaphysical profundities that have, on occasion, engulfed German music, the French have produced a stream of composers for whom "light" did not have to

mean "trivial" (as it so often did in Germany or England or America in the last century). A sense of humor did not have

to bar a Frenchman from the act of composing (as it seems to have done elsewhere, judging from the earnestness of so much of the music that was turned out). A Chabrier or a Saint- Saens could perpetrate a fine musical jest without losing his union card as a composer of serious music, and an Offenbach (admittedly German-born, though thoroughly French in culture) could make a busy career as a master of the lighter side and aspire nonetheless to grand opera. It was—significantly—French composers who began openly twitting the profundities of late Romantic music, in the cheeky jests of Satie and in many works by the group that claimed him as their inspiration, the "Group of Six," which included Francis Poulenc.

During the first half of his career, Poulenc's work was so much in the lighter vein that he could be taken as a true follower of Satie's humorous sallies. That changed in 1935, when, following the death of a close friend in an automobile accident, Poulenc reached a new maturity, recovering his lost Catholic faith and composing works of an

11 Week 8 unprecedented seriousness, though without ever losing sight of his lighter style as well. Thereafter sacred and secular mingled almost equally in his output, and he could shift even within the context of a single phrase from melancholy or sombre lyricism to nose- thumbing impertinence. He became a successful opera composer and indisputably the greatest French song composer since Debussy. Critic Claude Rostand once wrote of Poulenc that he was "part monk, part guttersnipe," a neat characterization of the two strikingly different aspects of his musical personality. As Ned Rorem said in a memorial tribute, Poulenc was "a whole man always interlocking soul and flesh, sacred and profane." Possessing the least formal musical education of any noted composer of this century, Poulenc learned from the music that he liked. His own comment is the best summary: The music of Roussel, more cerebral than Satie's, seems to me to have opened a door on the future. I admire it profoundly; it is disciplined, orderly, and yet full of feeling.

I love Chabrier: Espana is a marvelous thing and the Marchejoyeuse is a chef-d'oeu- vre...! consider Manon and Werther [by Massenet] as part of French national folklore. And I enjoy the quadrilles of Offenbach. Finally my gods are Bach, Mozart, Haydn, Chopin, Stravinsky, and Mussorgsky. You may say, what a concoction! But

that's how I like music: taking my models everywhere, from what pleases me.

One of the composers omitted from this list is Debussy, from whom Poulenc may have learned what one analyst calls "cellular writing," in which a musical idea one or two measures in length is immediately repeated, with or without variation. This kind of mosaic construction is the opposite of a long-range developmental treatment in which themes are broken down into their component parts and put together in new guises. The aim (and the effect) is to produce music that seems somehow instinctive, not labored or intellectual, but arising directly from the composer's spontaneous feel- ings. It is a device employed by Mussorgsky and Debussy (who, like Poulenc, admired

Mussorgsky), and it was taken up by both Satie and Stravinsky with the aim of writing music that might be anti-Romantic. Poulenc composed the two-piano concerto during his early period, when he was creating a large number of delightfully flippant works rich in entertaining qualities. He may perhaps have been influenced in the lightheadedness of his 1932 concerto by the fact that Ravel, the year before, had composed two piano concertos, both of which had somewhat the character of divertimentos. Certainly Poulenc's work could join the two

Tanglewood BOSTON THE BSO ONLINE

Boston Symphony and Boston Pops fans with access to the Internet can visit the orchestra's

official home page (http://www.bso.org). The BSO web site not only provides up-to-the- minute information about all of the orchestra's activities, but also allows you to buy tickets

to BSO and Pops concerts online. In addition to program listings and ticket prices, the web site offers a wide range of information on other BSO activities, biographies of BSO musicians and guest artists, current press releases, historical facts and figures, helpful telephone

numbers, and information on auditions and job openings. Since the BSO web site is updated on a regular basis, we invite you to check in frequently.

12 Ravel compositions in cheerfulness: its main goal is to entertain, and in that it has succeeded admirably from the day of its premiere.

Poulenc's additive style of composition makes his music particularly rich in tunes; they seem to follow, section by section, one after another, with varying character, sometimes hinting at the neo-classical Stravinsky, sometimes at the vulgarity of the music

hall. The very opening hints at something that will come back late in the first movement, a repetitious, percussive figure in the two solo pianos inspired by Poulenc's experience of hearing a Balinese gamelan at the 1931 Exposition Coloniale de Paris. The second movement begins in the unaccompanied first piano with a lyric melody which Poulenc described as follows:

In the Larghetto of this concerto, I allowed myself, for the first theme, to return to Mozart, for I cherish the melodic line and I prefer Mozart to all other musicians. If the movement begins alia Mozart, it quickly veers, at the entrance of the second piano, toward a style that was standard for me at that time.

Though the style soon changes, there are returns to "Mozart" and possibly some pas-

sages inspired by Chopin as well. The finale is a brilliant rondo-like movement, so filled with thematic ideas that it is hard to keep everything straight. But then, Poulenc was

here showing us the most "profane" side of his personality. This is the "guttersnipe," a genial, urbane, witty man whose acquaintance we are glad to have made. —Steven Ledbetter

Maurice Ravel (1875-1937) Piano Concerto in G

First performance: January 14, 1932, Paris, Ravel cond., Marguerite Long, piano soloist. First BSO performances: April 1932, Serge Koussevitzky cond., Jesus Maria Sanroma,

soloist. First Tanglewoodperformance: August 6, 1950, Leonard Bernstein, cond. and soloist. Most recent Tanglewoodperformance: August 2, 2002, Emmanuel Krivine cond., Jean-Yves Thibaudet, soloist.

At about the same time that Paul Wittgenstein, a concert pianist who had lost his right arm during World War I, asked Ravel if he would write a concerto for him, Ravels longtime interpreter Marguerite Long asked for a concerto for herself. Thus, although he had written no piano music for a dozen years, he found himself in 1930 writing two concertos more or less simultaneously. The concerto for the left hand turned out to be one of his most serious compositions, but the G major concerto, dedicated to and first performed by Madame Long, falls into the delightful category of high-quality diversion. Ravel's favorite term of praise was divertissement de luxe, and he succeeded in producing just such a piece with this concerto.

The motoric high jinks of the first movement are set off by the cracking of a whip, though they occasionally yield to lyric

contemplation. The second movement is a total contrast, hushed and calm, with a tune widely regarded as one of the best melodies Ravel ever wrote. The effort cost him dearly, and it may have been here that he first realized that his powers of composition were failing; they broke down completely in 1932, when the shock of an automobile collision brought on a nervous breakdown, and he found himself thereafter incapable of sustained work. For this concerto, he found it necessary to write the Adagio assai one or two measures at a time. The final Presto brings back the rushing motor rhythms of the opening, and both movements now and then bear witness

13 Week 8 with jazz and recent that Ravel had traveled in America and had become acquainted popular music. He also met George Gershwin and told him that he thought highly of that in his Rhapsody in Blue; perhaps it is a reminiscence of that score can be heard some of the "blue" passages here and there. —Steven Ledbetter

Igor Stravinsky (1882-1971) Suite from The Firebird (1919 version)

First performance ofthe complete ballet June 25, 1910, Paris, Gabriel Pierne cond. First BSO performances ofStravinsky's 1911 suite: October 1919, Pierre Monteux cond. First BSO performances ofthe 1919 suite: March 1935, Stravinsky cond. First Tanglewoodper- formance ofmusicfrom "The Firebird": August 8, 1937, Serge Koussevitzky cond. Most recent Tanglewoodperformance ofthe 1919 suite: July 18, 2003, Robert Spano cond.

The notorious inability of Anatol Liadov to finish his scores in time gave Stravinsky

his first big break. In 1909, Sergei Diaghilev needed to find a fast-working composer for a new ballet based on the old Russian legend of the Firebird. Having been impressed by Stravinsky's Fireworks, which he had heard a few months ear-

lier, Diaghilev went to Stravinsky to discuss a possible commission for The Firebird. Though deeply engrossed in his opera The Nightingale, Stravinsky naturally recognized that a ballet commission from Diaghilev with a production in Paris was an opportunity he could not turn down. In fact, he was so enthusiastic that he began sketching the music before the formal commission finally reached him. He composed the large score between November 1909 and March 1910; the final details of the full score were finished by May 18. The premiere of the lavishly colorful score marked a signal triumph for the Ballets Russes and put the name of Stravinsky on the map. Diaghilev quickly signed him up for more ballets, and in short order he turned out Petrushka and The Rite ofSpring, with which he brought on a musical revolution. The scenario of The Firebird involves the interaction of human characters with two supernatural figures, the magic Firebird (a sort of good fairy), and the evil sorcerer Kashchei, a green-taloned ogre who cannot be killed except by destroying his soul

(which is preserved in a casket in the form of an egg), and who has an enchanted garden in which he keeps thirteen captured princesses. Many valiant knights have tried to rescue the princesses, but all have been captured and turned to stone.

The suite opens with the ballets introduction, with its mood of magical awe. The double basses present a melodic figure (two semitones and a major third) that lies behind all the music of the Firebird. Following a culminating shower of brilliant harmon- ics on the violins (played with a new technique invented by Stravinsky for this passage), a muted horn call signals the rise of the curtain on a nocturnal scene in the "Enchanted Garden of Kashchei," which continues the mysterious music of the opening (a chro- matic bassoon phrase foreshadows the sorcerer). Suddenly the Firebird appears (shim- mering strings and woodwinds), pursued by a young prince, Ivan Tsarevich. The Fire- bird performs a lively dance, all shot through with brilliant high interjections from the upper woodwinds. But Ivan Tsarevich captures the magic bird (horn chords sforzando) as it flutters around a tree bearing golden apples. The Firebird appeals to be freed in an extended solo dance, but Ivan takes one of its feathers—a magic feather—as a token before allowing it to depart. Thirteen enchanted princesses, the captives of Kashchei, appear—tentatively at first

14 —shake the apple tree, then use the fallen apples for a game of catch. Ivan Tsarevich fmY9 interrupts their game, for he has fallen in love with one of them. They dance a khorovod

(a stately slow round dance) to one of the favorite passages of the score, a melody first introduced by the solo oboe (this is an actual folk song).

In pursuit of the princesses, Ivan Tsarevich enters the palace, where he is captured by the monsters that serve as Kashchei's guards. The suite then jumps to the point at begins to which Kashchei turn Ivan into stone, making a series of magic gestures: one •A •

—two— . . . But before he can make the third and final gesture, Ivan Tsarevich remem-

bers the Firebird's feather; he waves it, summoning the Firebird to his aid. Kashchei's followers are enchanted by the magic bird, who sets them dancing to an "infernal dance" of wild syncopation and striking energy. The Firebird also indicates to the Prince where he can find—and destroy—the soul of Kashchei, whereupon all the knights that had been turned to stone before come back to life (in a sweetly descending phrase of folklike character) and all take part in a dance of general happiness (a more energetic version of the same phrase). The Firebird has disappeared, but its music, now rendered more "human" in triadic harmony, sounds in

the orchestra as the curtain falls. There are things in the The Firebird that already foreshadow the revolutionary com-

poser to come: the inventive ear for new and striking sounds, the love of rhythmic ir- regularities (though there is much less of it here than in The Rite ofSpring), and the predilection for using ostinatos to build up passages of great excitement. In listening to this familiar score, we may be able to sense afresh the excitement of being on the verge of a revolution.

GUEST ARTISTS Charles Dutoit

Charles Dutoit was for twenty-five years (1977-2002) artistic director of the Montreal Symphony Orchestra, making more than three dozen international tours with the ensemble, recording extensively, and performing in virtually every major concert hall in the world, including twenty annual visits to Carnegie Hall plus appearances at the Hollywood Bowl, Ravinia, and Tanglewood. The Dutoit-Montreal discography, which ranges from Pergolesi to Piazzolla, has garnered more than forty prestigious international awards and distinctions, including two Grammy Awards and several Juno Awards, among others. Mr. Dutoit was appointed principal conductor in 1996 and music director in 1998 of Tokyo's NHK Symphony Orchestra, with which he has toured Europe, the United States, China, and Southeast Asia. Since 1990 he has been artistic director and principal conductor of the Philadelphia Orchestra's summer concert series at Saratoga. Be- tween 1990 and 1999 he directed that orchestra's summer series at the Mann Music Center in Philadelphia, and led them in a series of recordings. In 1991 he was made an Honorary Citizen of the city of Philadelphia. From 1991 to 2001 Charles Dutoit was music director of the Orchestre National de France, with which he made a number of recordings and toured extensively worldwide. Since his debut in the United States with the Philadelphia Orchestra in the early 1980s and his appointment as principal guest conductor of the Minnesota Or-

chestra, he has regularly conducted regularly all the major symphony orchestras in the country, including those of New York, Boston, Chicago, Cleveland, Pittsburgh, San Francisco, Los Angeles, Dallas, Washington, and Houston. He also regularly conducts the great orchestras of Europe, Israel, the Far East, Australia, and South America. More then 150 recordings with a variety of orchestras have been released on the Decca, Deutsche Grammophon, EMI, Philips, CBS, and Erato labels. Since 1964, when he was invited by Herbert von Karajan to conduct at the Vienna State Opera, Mr. Dutoit has conducted at Covent Garden, the Met-

15 Week 8 ropolitan Opera, and the Deutsche Oper Berlin. He has also conducted a new production of Berlioz's Les Troyens at the Los Angeles Music Center Opera. In 1988, Charles Dutoit was invested as Officier, and in 1996 as Commandeur, de l'Ordre des Arts et des Lettres by the government of France. In 1995 the government of Quebec named him Grand Officier de l'Ordre National du Quebec. He has been awarded the Canadian Music Council Medal as well as the Diploma of Honor by the Canadian Conference of the Arts. Along with world- renowned economist John Kenneth Galbraith and scientist Dr. James Hillier, Charles Dutoit was invested as Honorary Officer of the Order of Canada, the country's highest award of merit, in 1998. Born in Lausanne, Switzerland, Charles Dutoit studied in Geneva, Sienna, Venice, and at Tanglewood, where he worked with Charles Munch. An inveterate globetrotter both professionally and personally, he maintains residences in Montreal, Tokyo, and Paris. Mr. Dutoit first conducted the BSO in February 1981 and made his Tanglewood debut with the orchestra in August 1982. He most recently conducted the BSO here in August 1999, returning in August 2003 to conduct the Tanglewood Music Center Orchestra in Tangle- wood on Parade.

Martha Argerich Martha Argerich was born in Buenos Aires and began her first piano lessons at the age of five with Vincenzo Scaramuzza. Considered a child prodigy, she soon performed in public. In 1955 she moved to Europe, continuing her studies in London, Vienna, and Switzerland, working with Seidlhofer, Gulda, Magaloff, Mrs. Lipatti, and Stefan Ashkenazy. In 1957 she won the Bolzano and Geneva piano competitions, and in 1965 the Warsaw International Chopin Competition. Since then she has been one of the most prominent pianists in the world, both in popularity and ability. Martha Argerich has been rated highly for her performance of the virtuoso 19th- and 20th-century piano literature. Her large repertoire includes Bach, Bartok, Beethoven, and Messiaen, as well as Chopin, Schumann, Liszt, Debussy, Ravel, Franck, Prokofiev, Stravinsky,

Shostakovich, and Tchaikovsky. Although she is frequently invited by the most prestigious orchestras, conductors, and music festivals in Europe, Japan, and America, chamber music takes a significant role in her musical life. Ms. Argerich regularly performs and records with pianists Nelson Freire and Alexander Rabinovitch, cellist Mischa Maisky, and violonist Gidon Kremer. In 1996 she was made an Officier des Arts et Lettres by the French Government, and in 1997 she became a member of the Accademie di Santa Cecilia di Roma. Since 1998 she has been the Artistic Director of the Beppu Festival in Japan. In 1999 she created the International Piano Competition and Festival Martha Argerich in Buenos Aires, and in June

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16 2002 she initiated the Progetto Martha Argerich in Lugano. Many of her performances have been broadcast on television worldwide. Martha Argerich has recorded for EMI, Sony, Philips, Teldec, and Deutsche Grammophon. Among many recent awards are a Grammy for her disc of Bartok and Prokofiev concertos, Gramophones Artist of the Year and Best Piano Concerto Recording of the Year for her recording of the Chopin concertos, "Choc" of the Monde de la Musique for her Amsterdam recital disc, the Deutscher Schallplatten Kritik Artist of the Year, and Musical Americas 2001 Musician of the Year. Ms. Argerich made her Boston Symphony debut in October 1979, returning for further performances in Boston and at Carnegie Hall in December 1981 and October 1990, and for aTanglewood performance with the orchestra in August 1998. Tonight's appearance is her second atTanglewood this summer, following a duo-recital with pianist Alexander Gurning in Ozawa Hall this past Wednesday night.

Alexander Gurning

Making his Boston Symphony debut with this performance of Poulenc's Concerto for Two Pianos, Belgian pianist Alexander Gurning was born in 1973 of Indonesian and Polish parents. Early on, he began his piano stud-

gJ^ ies with Nicole Henriot- Schweitzer, quickly winning a first prize at the Brussels Royal Conservatory. He received a "superior diploma" with an acclamatory jury award, giving him the opportunity to become Eugene

A Moguilevsky's assistant. Mr. Gurning's musical upbringing is strongly de- E MMA fined by French and Russian influences. After several encounters with such musicians as Gyorgy Sebok and Lev Naumov, he went on to perfect his studies with Victor Meszhanov at the Moscow Conservatory in Russia. In the past several years he has performed at the Beijing Music Festival (China) as well as the Beppu Meeting Point (a festival created by Martha Argerich) and the Pacific Music Festival, both in Japan. Additionally he has been heard at the Schleswig-Holstein (Germany), Ravello (Italy), and La Roque d'Antheron (France) festivals, among others. Mr. Gurning's repertoire ranges from Bach to Chopin, from Scriabin to Corigliano. His association with the young dedicated group of musicians "Solelad" led to a recording with Virgin Classics, featuring works by Piazzolla and contemporary Belgian composers, a disc that was awarded "Choc de l'annee 2002"—surprise of the year—by the French musical magazine Le Monde de la Musique. In 2002, at the Lugano festival in Switzerland, Mr. Gurning made another recording, this time for the EMI label, teaming up with such renowned partners as Martha Argerich and Renaud Capucon. A further CD includes solo piano works by Stravinsky and Debussy. This is Mr. Gurning's second Tanglewood appearance this week, following a duo-recital in Ozawa Hall with Martha Argerich this past Wednesday night.

17 Celebrating 10 Years of Great Music-Making in Seiji Ozawa Hall at Tanglewood

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Tanglewood BOSTON SYMPHONY ORCHESTRA 123rd Season, 2003-2004

Saturday, August 28, at 8:30 THE IRENE AND ABE POLLIN CONCERT

CHARLES DUTOIT conducting

BEETHOVEN Violin Concerto in D Allegro non troppo Larghetto Rondo: Allegro ITZHAK PERLMAN

INTERMISSION

STRAVINSKY Petrushka, Burlesque in four scenes (original version, 1911)

The Shrove-Tide Fair Petrushka's Room The Moor's Room The Shrove-Tide Fair (toward evening)

VYTAS BAKSYS, piano

RAVEL La Va/se, Choreographic poem

Steinway and Sons Pianos, selected exclusively at Tanglewood

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should he switched off during the concert

Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and other audience members. Note that the use of audio or video recording equipment during performances in the Music Shed or Ozawa Hall is prohibited.

19 Week 8 NOTES ON THE PROGRAM

Ludwig van Beethoven (1770-1827) Violin Concerto in D, Opus 61

First performance: December 23, 1806, Vienna, Theater an der Wien, Franz Clement, soloist. First BSO performances: October 1885, Wilhelm Gericke cond., Franz Kneisel, soloist. First Tanglewoodperformance: August 8, 1940, Serge Koussevitzky cond., Albert Spalding, soloist. Most recent Tanglewoodperformance: August 9, 2002, Neeme Jarvi cond., Joshua Bell, violin

The works Beethoven finished in the last half of 1806—the Violin Concerto, the Fourth Symphony, and the Fourth Piano Concerto among them—were completed rather rapidly by the composer following his extended struggle with the original version of Fidelio, which had occupied him from the end of 1804 until April 1806. The most important orchestral work Beethoven had previously completed was the Eroica, in which he overwhelmed his audiences with a forceful new musical language reflecting both his own inner struggles in the face of impending deafness and also his awareness of the political atmosphere around him. The next big orchestral work to embody this "heroic" style would be the Fifth Symphony, which began to germinate in 1804 but was completed only in 1808. Meanwhile, a more relaxed sort of expression began to emerge, incorporating a heightened sense of repose, a more broadly lyric element, and a more spacious approach to musical architecture. But while they share these characteristics, it is important to remember that the Violin Concerto, Fourth Symphony, and Fourth Piano Concerto do not represent a unilateral change of direction

20 in Beethoven's approach to music; rather they reflect the emergence of a particular element that appeared strikingly at this time. Sketches for the Violin Concerto and the Fifth Symphony in fact occur side by side, and that the two aspects—lyric and heroic— of Beethoven's musical expression are not entirely separable is evident also in the fact that ideas for both the Fifth and Pastoral symphonies appear in the Eroica sketchbook of 1803-04, and that these two very different symphonies—the one strongly assertive, the other more gende and subdued—were not completed until 1808, two years after the Violin Concerto.

The prevailing lyricism and restraint of Beethoven's Violin Concerto doubtiess also reflect the particular abilities of Franz Clement, the violinist for whom it was written. More than just a virtuoso violinist, Clement was also an accomplished pianist, score- reader, and accompanist; from 1802 until 1811 he was conductor and concertmaster of Vienna's Theater an der Wien. Beethoven headed the autograph manuscript with the " dedication, Concerto par Clemenza pour Clement, primo Violino e direttore al Teatro a vienna dalL.v. Bthvn 1806" It seems that Beethoven completed the concerto barely in time for the premiere at the Theater-an-der-Wien on December 23, 1806. Clement reportedly performed the solo part at sight, but this did not prevent the undauntable violinist from interpolating, between the two halves of the concerto®, a piece of his own played with his instrument held upside down. It was only later, however, that the concerto began to win its place in the repertory, after the thirteen-year-old violin virtuoso Joseph Joachim played it in London on May 27, 1844, with Felix Mendelssohn conducting. (Joachim left a set of cadenzas for the concerto that are sometimes still heard today, but those of another famous interpreter, Fritz Kreisler, are more frequently used.)

By all reports, Clement's technical skill was extraordinary and his intonation no less than perfect, but he was most highly regarded for his "gracefulness and tenderness of expression," for the "indescribable delicacy, neatness, and elegance" of his playing, attrib- utes certainly called for in this concerto. But this is not to say that Beethoven's concerto is lacking in the virtuoso element, something we may claim to hear more readily in, say, the later- nineteenth-century violin concertos by Brahms and Tchaikovsky, both of which have more virtuosity written into the notes on the page, and which may seem bigger or grander simply because of their more romantically extrovert musical language. In fact, an inferior violinist will get by less readily in the Beethoven concerto than in any of the later ones: the most significant demand this piece places upon the performer is the need for utmost musicality of expression, virtuosity of a special, absolutely crucial sort.

An appreciation of the first movement's length, flow, and musical argument is tied to an awareness of the individual thematic materials. It begins with one of the most novel strokes in all of music: four isolated quarter-notes on the drum usher in the opening theme, the first phrase sounding dolce in the winds and offering as much melody in the space of eight measures as one might wish. The length of the movement grows from its duality of character: on the one hand we have those rhythmic drumbeats, which provide a sense of pulse and of an occasionally martial atmosphere, on the other the tuneful, melodic flow of the thematic ideas, against which the drumbeat figure can stand in dark relief.

The slow movement, in which flute and trumpets are silent, is a contemplative set of variations on an almost motionless theme first stated by muted strings. The solo violinist adds tender commentary in the first variation (the theme beginning in the horns, then taken by the clarinet), and then in the second, with the theme entrusted to solo bassoon. Now the strings have a restatement, with punctuation from the winds, and then the soloist reenters to reflect upon and reinterpret what has been heard, the solo violin's

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22 full- and upper-registral tone sounding brightly over the orchestral string accompaniment. Yet another variation is shared by soloist and plucked strings, but when the horns suggest still another beginning, the strings, now unmuted andforte, refute the notion. The soloist responds with a trill and improvises a bridge into the closing rondo. By way of contrast, the music of this finale is mainly down-to-earth and humorous; among its happy touches are the outdoorsy fanfares that connect the two main themes and, just before the return of these fanfares later in the movement, the only pizzicato notes asked of the soloist in the course of the entire concerto. These fanfares also serve

energetically to introduce the cadenza, after which another extended trill brings in a quiet restatement of the rondo theme in an extraordinarily distant key (A-flat) and then the brilliant and boisterous final pages, the solo violinist keeping pace with the orchestra to the very end. —Marc Mandel

Igor Stravinsky (1882-1971) Petrushka, Burlesque in four scenes (original version, 1911)

First performance: June 13, 1911, Paris, Theatre du Chatelet, Diaghilev's Russian Ballet. First BSO performances: November 1920, Pierre Monteux cond. First Tang/ewoodperformance: August 12, 1948, Leonard Bernstein cond. Most recent Tang/ewoodperformance: August 21, 1998, Charles Dutoit cond.

In 1910 Stravinsky became the darling of Paris with a brilliant ballet, The Firebird, produced by Diaghilev's Russian Ballet. The impresario had risked failure with a young and relatively unknown composer (Stravinsky turned twenty-eight a week before the premiere), and he had enjoyed a resounding triumph. Nat- urally he wanted a new Stravinsky ballet for the following season, and he was overjoyed with the proposed scenario: an exotic picture of life in prehistoric Russia featuring the sacri-

fice of a maiden, who is chosen for the honor of dancing herself to death for the fertility of the earth. The work promised wonderful richness of orchestral color and rhythmic energy, two features that Stravinsky had already demonstrated in abundance. After the Paris season ended, the young composer went off

with his family for a vacation in Switzerland, first to Vevey, then to Lausanne, with every intention of composing his planned ballet. But his musical fantasy took him in an utterly unexpected direction. Before starting the ballet (which he eventually did finish as Le Sacre duprintemps), he wanted to compose something quite

different by way, almost, of recreation. He had in mind a little concerto-like piece for

piano and orchestra; his first image was of a romantic poet rolling two objects over the black and white keys, respectively, of the piano (this image was to give rise to the complex bichord consisting of C major and F-sharp major simultaneously arpeggiated). Later his image became more detailed, with the piano representing a puppet suddenly come to life and cavorting up and down the keyboard, metaphorically thumbing his nose at the orchestra, which would finally explode in exasperation with overwhelming trumpet blasts. "The outcome," Stravinsky wrote, "is a terrific noise which reaches its climax and ends in the sorrowful and querulous collapse of the poor puppet."

Having finished this little piece, Stravinsky hunted for a suitable title and was de-

lighted when it occurred to him to call it Petrushka, after a puppet character (roughly the Russian equivalent of Punch) popular in Russian fairs. Soon after, Diaghilev came

23 Week 8 to visit, expecting to hear some of the new ballet. He was much astonished when, instead of sketches of the Sacre, I played him the piece which I had just composed and which later became the second scene of Petrushka. He was so much pleased with it that he would not leave it alone and began persuading me to develop the theme of the puppet's sufferings and make it into a whole ballet. While he remained in Switzerland we worked out together the general lines of the subject and plot in accordance with ideas which I suggested...

I began at once to compose the first scene of the ballet. The work was put on the stage with the collaboration of designer Alexandre Benois, who entered enthusiastically into Stravinsky's vision, eager as he was to "immortalize" Petrushka, "my friend since my earliest childhood." The choreography was created by Michel Fokine, who described the rehearsals, on the stage of the Paris Opera, as often degenerating to lessons in mathematics, since the dancers had so much difficulty with Stravinsky's irregular fast rhythms. Once orchestral rehearsals started with Pierre Mon- teux, some of the players were offended at the curious sounds they were asked to make with their instruments. The scene changes were hampered by the fact that they had to be made in total darkness, and it was a noisy darkness, since Stravinsky had placed four drums in the prompt corner to play a continuous racket of sixteenth-notes to link scenes. Yet all the problems vanished in that most magical of balms, a successful opening night. One critic hailed the work as "a masterpiece, one of the most unexpected, most impulsive, most buoyant and lively that I know." Though the success was credited to the effectiveness of all the elements—not least Nijinsky's brilliant performance as the mechanical puppet with searing emotions—the music came in for lavish praise. Petrushka became a banner work for the Russian Ballet, enjoying enormous success all over Europe and even in America, where in most cities it was the first work of Stra-

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24 vinsky's to be performed. Of course no one at the time could predict that Stravinsky would go on very soon to an even more astonishing and seminal work, Le Sacre duprintemps, one that proved disconcerting even to many of Stravinsky's warmest admirers.

Still, even though Le Sacre is universally regarded as the more important work, Petrushka remains as fascinating and delightful as these early appreciative critics found it. From the opening measure it positively dazzles the listener with its color and energy, and it moves with easy assurance between the "public" world of the fairground and the "private" world of Petrushka and his fellow puppets. The music is often so gestural that even in a concert performance, the images of the dancers are likely to perform in the listener's mind's eye.

The scenario is divided into four scenes, of which the first and last take place on the Admiralty Square in St. Petersburg during the 1830s during the Shrove-Tide fair (just before the beginning of Lent). These scenes are filled with incident and with elaborate overlays of musical figures representing the surge of characters coming and going at the fair. The second and third scenes of the ballet are interiors, devoted to the private emo- tional life of the puppet Petrushka, who is in love with the ballerina, while she in turn is enchanted by the Moor. Only at the very end of the work do the "public" and "private" worlds—or should one say "reality" and "fantasy"?—become entangled with one another. The "plot" as such can be briefly told: the crowds at the fair are drawn to a small theater, where a showman opens the curtains to reveal three lifeless puppets, Petrushka (a sad clown), the pretty but vacuous ballerina, and the exotic but dangerous Moor. He charms them into life with his flute and they execute a dance, first jiggling on their hooks on the stage, then—to the astonishment of the spectators—coming down from the theater and dancing among the crowd.

The second scene begins as Petrushka is kicked or thrown into his little cell. He picks himself up and dances sadly, conscious of his grotesque appearance. He tries to fall in love with the ballerina, but when she enters, his ecstatic dance ofjoy is so uncouth that she flees. The third scene takes place in the Moor's cell. The ballerina captivates him, but their tryst is interrupted by the entrance of the jealous Petrushka. They quarrel, and the powerful Moor throws him out. The final scene reverts to the main square, where the revelry has reached a new height. Crowds surge forward as all seek to celebrate the final evening before the start of Lent. Suddenly a commotion is heard in the little theater; Petrushka races out, closely pursued by the Moor, who strikes him down with a scimitar. The crowd is stunned by

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this apparent murder, and the showman is summoned. He, the supreme rationalist,

demonstrates that the "body" is nothing more than a wooden puppet stuffed with saw-

dust. The crowd disperses. As the showman starts to drag the puppet offstage, he is

startled to see Petrushka's ghost on the roof of the little theater, thumbing his nose at

the showman and at all who have been taken in by his tricks. We know that Petrushka was first conceived as a Konzertstuck for piano and orchestra, and the music that Stravinsky wrote first corresponds to the Russian Dance at the end of the first tableau and the bulk of the second tableau, in which the piano plays a central role. But once he had embarked on the full-scale ballet, Stravinsky rather surprisingly forgot his musical protagonist, and the piano scarcely appears again, even when Petrushka is supposed to be onstage. When he rescored the work in 1946-47, Stravinsky corrected this oversight to some extent and gave the piano considerably more

to play. It is usually claimed that Stravinsky's sole motivation for the revised orchestra- tion was to enable him to copyright the work again, so that he could collect performance royalties. While the financial consideration certainly played a role in Stravinsky's

thinking, Robert Craft notes, in an appendix to the first volume of Stravinsky corre- spondence that he edited, that many of the changes had been marked by Stravinsky years earlier as improvements that he desired after the experience of hearing Petrushka frequently in performance. In addition to increasing the piano part, the revision was also designed to correct many mistakes that had not been caught in the original edition and incorporate second thoughts to improve the projection of musical lines. Generating income from performance fees was a happy by-product. —Steven Ledbetter

Maurice Ravel (1875-1937) La Va/se, Choreographic poem

First performance: January 8, 1920, Paris, Lamoureux Orchestra. First BSO performances: January 1922, Pierre Monteux cond. First Tanglewoodperformance: August 13, 1939, Serge Koussevitzky cond. Most recent Tanglewoodperformance: August 10, 1997, Charles Dutoit cond.

Ravel found it difficult to return to normal work after the ravages of the First World War. Quite aside from the long interruption in his compositional activity and the loss of many friends, he was suffering from a recurring insomnia that plagued him for the rest of his life and played a considerable role in the dramatic reduction of new works. He had already started sketching a symphonic poem that was intended to be a

musical depiction of Vienna; naturally it was a foregone con- clusion to cast the work as a grand orchestral waltz. Ravel had never yet visited the Austrian capital (he was only to do so in 1920, after finishing his big waltz composition), but he "knew" Vienna through the composers, going back to Schubert and continuing with the Strauss family and many others, who had

added a special Viennese lilt to the waltz (in this sense Ravel was as familiar with Vienna as Bizet and Debussy were with Spain when they com-

posed what we still regard as the most convincing "Spanish" music ever written).

The first sketches for Wien apparently date from 1907, when Ravel was completing another musical travelogue, the Rapsodie espagnole. He began orchestrating the work during 1914 but ceased after the outbreak of hostilities; he complained in his letters that the times were not suitable for a work entitled Vienna. After the war, Ravel was slow to

27 Week 8 take up the composition again. Only a commission from Serge Diaghilev induced him

to finish it, with the new title La Valse, Poeme choregraphique , and intended for production by the Russian Ballet. When the score was finished, however, Diaghilev balked. He could see no balletic character in the music, for all its consistent exploitation of a dance

meter, and he refused to produce the ballet after all. (This marked the end of good relations between the composer and the impresario.) La Valse was first heard in concert form; only in 1928 did Ida Rubenstein undertake a ballet production of the score, for which Ravel added a stage direction: "An Imperial Court, about 1855." The score bears a brief scenic description:

Clouds whirl about. Occasionally they part to allow a glimpse of waltzing couples.

As they gradually lift, one can discern a gigantic hall, filled by a crowd of dancers in motion. The stage gradually brightens. The glow of chandeliers breaks out fortissimo.

The hazy beginning of La Valse perfectly captures the vision of "clouds" that clear away to reveal the dancing couples. The piece grows in a long crescendo, interrupted and started again, finally carried to an energetic and irresistible climax whose violence hints at far more than a social dance. Ravel's date of "1855" for the mise-en-scene was significant. It marked roughly the halfway point of the century of Vienna's domination by the waltz—the captivating, carefree, mind-numbing dance that filled the salons, the ballrooms, and the inns, while the whole of Austrian society was slowly crumbling under an intensely reactionary government, the absolutism of Emperor Franz Joseph, who was twenty-five in 1855 and reigned until the middle of the First World War. The social glitter of mindless whirling about concealed the volcano that was so soon to explode. Ravel's La Valse has the captivating rhythms in full measure, but the music rises to an expressionistic level of violence, hinting at the concealed rot of the society. Would La Valse have been different if composed before the horrors of the war? Who can tell? In any case, consciously or not, Ravel's brilliantly orchestrated score captures the glitter and the violence of a society that, even as he was composing, had passed away. —Steven Ledbetter

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28 GUEST ARTISTS

For a biography of Charles Dutoit, see page 15.

Itzhak Perlman Born in Israel in 1945, Itzhak Perlman completed his initial training at the Academy of Music in Tel Aviv. He came to New York and soon was propelled into the international arena with an appearance on The Ed Sullivan Show in 1958. Following his studies at the Juilliard School with Ivan Galamian and Dorothy DeLay, Mr. Perlman won the prestigious Leventritt Competition in 1964, which led to a burgeoning worldwide 1^ career. Since then he has appeared with every major orchestra and in BE* recitals around the world. During the past several years Mr. Perlman has also appeared on the conductor's podium with the Chicago, Boston, San Francisco, Dallas, Detroit, Houston, Pittsburgh, Seattle, Toronto, and Utah symphony orchestras, the New York Philharmonic, Philadelphia Orchestra, National Symphony, Los Angeles Philharmonic, and

St. Paul Chamber Orchestra, and at the Ravinia and OK Mozart festivals. He is principal guest conductor of the Detroit Symphony. In July 2002 he was appointed music advisor of the St. Louis Symphony through the 2003-04 season. Internationally he has also led the Berlin Philharmonic, the London Philharmonic, the Concertgebouw Orchestra, the English Chamber Orchestra, and the Israel Philharmonic. A highlight of Mr. Perlman's U.S. recitals this year was the world premiere in February of Ellen Taaffe Zwilich's Episodes, commissioned by Ruth Eckerd Hall. Mr. Perlman has won four Emmy Awards, most recently for the PBS documentary Fiddlingfor the Future, a film about the Perlman Music Program. He has also appeared on The Late Show with David Letterman, Sesame Street, the PBS series The Frugal Gourmet, the Tonight Show, and numerous "Live From Lincoln Center" broadcasts and PBS specials. One of his proudest achievements was his collaboration with composer John Williams on Steven Spielberg's Schindlers List, in which he performed the violin solos. Mr. Perlman has won fifteen Grammy Awards, most recently for "The American Album" with Seiji Ozawa and the Boston Symphony Orchestra. Recently he was nominated for a Grammy for his EMI recording with pianist Martha Argerich of Beethoven and Franck violin sonatas. Mr. Perlman has a long association with the Israel Philharmonic. He performed with the IPO for history-making concerts in Warsaw and Budapest in 1987, representing the first performances by this orchestra and soloist in Eastern bloc countries. He also performed

as soloist with the orchestra for its first visits to the Soviet Union, China, and India. Itzhak

Perlman has taught full-time at the Perlman Music Program each summer since its founding ten years ago and currently holds the Dorothy Richard Starling Foundation Chair at the Juilliard School. Harvard, Yale, Brandeis, Roosevelt, Yeshiva, and Hebrew universities are among the institutions that have awarded him honorary degrees. President Reagan honored him with a Medal of Liberty in 1986, and in December 2000 President Clinton awarded him the National Medal of Arts. In December 2003 the John F. Kennedy Center for the Performing Arts granted him a Kennedy Center Honor, celebrating his contributions to the

performing arts. His presence on stage, on camera, and in personal appearances of all kinds

speaks eloquently on behalf of the disabled, and his devotion to their cause is an integral part of Mr. Perlman's life. Itzhak Perlman made his BSO debut in December 1966 and his Tan- glewood debut in August 1967. He has since been a frequent guest soloist with the orchestra here, including annual visits since 1984.

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Tanglewood BOSTON SYMPHONY ORCHESTRA 123rd Season, 2003-2004

Sunday, August 29, at 2:30 SPONSORED BY EMC CORPORATION

HANS GRAF conducting

BEETHOVEN Symphony No. 9 in D minor, Opus 125 Allegro ma non troppo, un poco maestoso Molto vivace—Presto—Tempo I Presto—Tempo I Adagio molto e cantabile—Andante moderato Tempo I—Andante—Adagio Presto—Allegro ma non troppo—Vivace Adagio cantabile—Allegro moderato Allegro—Allegro assai—Presto—Allegro assai—Allegro assai vivace, alia marcia Andante maestoso—Adagio ma non troppo, ma divoto—Allegro energico, sempre ben marcato—Allegro ma non tanto Prestissimo MEASHA BRUEGGERGOSMAN, soprano MARY PHILLIPS, mezzo-soprano GORDON GIETZ, tenor RAYMOND ACETO, bass TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Text and translation begin on page 36.

This afternoons Tanglewood Festival Chorus performance is supported by

the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

Steinway and Sons Pianos, selected exclusively at Tanglewood

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert

31 Week 8 Corot

Delacroix

Ingres

Courbet

Gericault

Cabanel

Millet

Rousseau

The French Connection

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32 NOTES ON THE PROGRAM

Ludwig van Beethoven (1 770- 1 827) Symphony No. 9 in D minor, Opus 125

Firstperformance: May 7, 1824, Karntnerthor Theater, Vienna, with the deaf composer on stage beating time, but Michael Umlauf cond.; Henriette Sontag, Karoline Unger, Anton Haitzinger, and Joseph Seipelt, soloists. First BSO performances: March 1882, Georg Henschel cond.; Mrs. Humphrey Allen, Mary H. How, Charles R. Adams, and V. Cirillo, soloists. First Tanglewoodperformance: August 4, 1938, to inaugurate the Music Shed, Serge Koussevitzky cond.; Jeannette Vreeland, Anna Kaskas, Paul Althouse, and Norman Cordon, soloists; Cecilia Society chorus, Arthur Fiedler cond. Most recent Tanglewoodperformance: August 24, 2003 (celebrating the 65th anniversary of the dedication of the Koussevitzky Music Shed), James Conlon cond.; Sondra Radvanovsky, Stephanie Blythe, Vinson Cole, and James Morris, soloists; Tanglewood Festival Chorus, John Oliver, cond.

Beethoven's Ninth Symphony in D minor is one of the most beloved and influential of symphonic works, and one of

the most enigmatic. Partly it thrives in legends: the unprecedented introduction of voices into a symphony, singing Schil-

ler's Ode to Joy; the Vienna premiere in 1824, when the deaf composer could not hear the frenzied ovations behind him; the mystical beginning, like matter forming out of smoke and chaos. Above all there is the choral theme of the last movement, one of the most familiar tunes in the world. Beethoven's epic symphony has always seemed to need a larger stage than the ordi- nary. It has become a universal ceremonial work. The Ninth was the obvious choice for Leonard Bernstein in his 1989 Berlin concert celebrating the end of the Wall. In Tokyo a few years earlier, Daiku, "The Big Nine," inaugurated a Sumo palace. In Communist China the piece has been denounced as a bourgeois artifact, embraced as a celebration of democratic internationalism. It served to inaugurate the Music Shed at Tanglewood in

1938, and more recently it has closed the BSO's Tanglewood season each year since 1997. Yet has anyone really understood the Ninth Symphony?

On the face of it, that in his last years Beethoven would compose an ode to joy is almost unimaginable. As early as 1802, when he faced the certainty that he was going deaf, he cried in the "Heiligenstadt Testament": "For so long now the heartfelt echo of true joy has been a stranger to me!" Through the next twenty years before he took up the Ninth, he lived with painful and humiliating illness. Finally he told friends that he was only keeping at his job until the welcome release of death. The long struggle to become legal guardian of his nephew, and the horrendous muddle of their relationship, had brought him to the edge of madness. In fact, the idea of setting Schiller's Ode was not a conception of Beethoven's melancholy last decade, but had been with him since his youth. Written in 1785, "Ode an die

Freude" embodied the Enlightenment optimism of those years; it was sung on the streets by young revolutionaries. That was what Schiller's ecstatic and Utopian verses meant to the teenaged Beethoven. In his early twenties he was already talking about setting them to music.

In old age one often returns to one's youth and its dreams. In 1822, in a time of political reaction and repression, and with a commission from the Philharmonic Society of London in hand, Beethoven once again took up Schiller's fire-drunk hymn to friend- ship, marriage, universal brotherhood, freedom, and joy.

33 Week 8 The dramatic progress of the Ninth is usually described as "from darkness to light." Scholar Maynard Solomon refines that image into "an extended metaphor of a quest for Elysium." But what a strange darkness, and what a surprising journey!

The first movement begins with whispering string tremolos, but soon bursts into music monumental, declamatory, heroic—and at the same time gnarled, searching, and unset- tling. While the gestures are decisive, the harmony is a restless flux that rarely settles into proper D minor, or anything else. Most peculiar of all in this sonata-form movement is that the recapitulation (the place where the opening music returns) appears not in the original D minor but in a strange D major that sounds not triumphant but somehow wrong, almost terrifying. The enormous coda sinks into a funeral march. Whose funeral? This apparently indomitable movement, gesturally like the "heroic" mode of Beethoven's middle period, harmonically in the more complex and ambiguous mode of his last period—is it heroic or anti-heroic? The scherzo is one of Beethoven's most energetic and crowd-pleasing movements, yet one of his most complex. Largely it is manic counterpoint dancing through dazzling changes of key, punctuated by timpani blasts. Somehow, this minor-key scherzo sounds grandly playful. In the middle comes an astonishing Trio: a little wisp of folk song like you'd whistle on a summer's day, growing through mounting repetitions into something hypnotic and monumental.

The slow movement is made of alternating variations on two ethereal, long-breathed, major-key themes. The variations on the first theme are liquid, meandering, like trailing your hand in water beside a drifting boat. Harmonies stretch out; the music barely moves.

There are moments of yearning, little dance turns, everything unfolding like an improv- isation. It is a pool of serenity between the searchings and stresses of the surrounding movements.

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34 Starting around 1815, Beethoven jotted down ideas toward what became the first movement. After the commission arrived in 1822, he first fixed on the finale theme, his long-imagined setting of Ode an die Freude. That little tune like a folk song would be the goal of the symphony, melodic material in the first three movements hinting at it. The "Freude" melody arrives in the finale as the symphony's destination and revelation.

The finale is easy to outline, hard to explain. It is an introduction followed by kalei- doscopic variations on the Freude theme, with occasional interludes between variations.

It finishes with an ecstatic coda, the chorus and solo quartet declaiming the joyful spirit s vision of Elysium. The movement begins with a dissonant shriek that Richard Wagner called the "terror fanfare." Then come basses in quasi-recitative, as if from an oratorio but wordless (a gesture suggesting words, to prepare the entry of actual ones). We hear snippets of the previous movements; in each case, the basses cut off the recollection: not that. . .not that. . .not that. This, then: like a composer humming to himself, the basses play the

Freude theme, unaccompanied. The tune is developed in counterpoint rising to a climax; these are the first variations. In turn they are cut off by a resurgence of the terror fanfare. From that tumult arises a real voice, a real recitative, singing Beethoven's words to ." his listeners: "Oh friends, not these tones. . Soon the chorus arrives, crying "Joy! Joy!" From there the variations unfold with their startling contrasts and their singular grandeur. We hear choral proclamations of the Freude theme. We hear a grunting, lurch- ing, military march heroic in context ("Joyfully, like a hero towards victory") yet apparently satiric in tone, in a style the Viennese called "Turkish." It resolves inexplicably into a learned double fiigue. We hear a kind of Credo reminiscent of Gregorian chant ("Be embraced, you millions! Here's a kiss for all the world!"). We hear a spine-tingling evocation of the Godhead ("Seek Him beyond the stars!"), followed by another exalted double fiigue. The coda is boundless jubilation. Throughout his career, Beethoven had intensified the kinds of single-movement contrasts he inherited from his mentors Haydn and Mozart. In the finale of the Ninth he pushes the contrast until it threatens to shatter the unity. (For some critics, unity does shatter.) The finale's episodes are learned, folklike, ecclesiastical, childlike, sublime,

Turkish. In his quest for universality, is Beethoven embracing the ridiculous alongside the sublime? Or is he signifying that the world he's embracing includes not only the elevated but the popular, the West and the East? Could we call the unsettled opening movement a questioning of the heroic voice that dominated Beethoven's middle years? (The Eroica Symphony was originally dedicated to Napoleon.) Does the finale intimate another, more inner, more spiritual path to the light? In the end, if there are things wrong with the Ninth Symphony, there are far more important things right with it. Its problems are unresolved questions of form, style, interpretation. Its triumph is its existence in the world as a social and ethical document that not only celebrates the unity of humanity, but proposes to foster that unity. That is what the Ninth means to peoples everywhere, and why it belongs to great ceremonies.

It has done what Beethoven meant it to do: embrace the millions. And his avatar of universal joy and brotherhood is a little tune that anybody in the world can sing, and probably half of humanity knows. —Jan Swafford Text and translation begin on the next page.

35 Week 8 Text to the finale of Beethoven's Ninth Symphony, based on Schiller's ode, "To Joy"

O Freunde, nicht diese Tone! O friends, not these tones; Sondern lasst uns angenehmere Rather, let us tune our voices anstimmen, Und freudenvollere. In more pleasant and more joyful song. —Beethoven

Freude, schoner Gotterfiinken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with fire, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Briider, All men are made brothers Wo dein sanfter Fliigel weilt. Where your gentle wings abide.

Wem der grosse Wurf gelungen, He who has won in that great gamble Eines Freundes Freund zu sein, Of being friend unto a friend, Wer ein holdes Weib errungen, He who has found a goodly woman, Mische seinen Jubel ein! Let him add his jubilation too! Ja—wer auch nur eine Seele Yes—he who can call even one soul Sein nennt auf dem Erdenrund! On earth his own! Und wer's nie gekonnt, der stehle And he who never has, let him steal Weinend sich aus diesem Bund. Weeping from this company.

Freude trinken alle Wesen All creatures drink ofJoy An den Briisten der Natur, At Nature's breasts. Alle Guten, alle Bosen All good, all evil souls Folgen ihrer Rosenspur. Follow in her rose-strewn wake. Kiisse gab sie uns und Reben, She gave us kisses and vines, Einen Freund, gepriift im Tod, And a friend who has proved faithful even in death. Wollust ward dem Wurm gegeben, Lust was given to the Serpent, Und der Cherub steht vor Gott. And the Cherub stands before God.

Froh wie seine Sonnen fliegen As joyously as His suns fly Durch des Himmels pracht'gen Across the glorious landscape of the Plan, heavens, Laufet, Briider, eure Bahn, Brothers, follow your appointed course, Freudig wie ein Held zum Siegen. Gladly, like a hero to the conquest.

Freude, schoner Gotterfiinken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium,

36 Wir betreten feuertrunken, Drunk with fire, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Briider, All men are made brothers Wo dein sanfter Fliigel weilt. Where your gentle wings abide.

Ihr stiirzt nieder, Millionen? Do you fall headlong, ye Millions? Ahnest du den Schopfer, Welt? Have you any sense of the Creator, World? Such ihn uberm Sternenzelt! Seek him above the canopy of the stars! Uber Sternen muss er wohnen. Surely he dwells beyond the stars.

Freude, schoner Gotterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with fire, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine.

Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world!

Ihr stiirzt nieder, Millionen? Do you fall headlong, ye Millions! Ahnest du den Schopfer, Welt? Have you any sense of the Creator, World? Such ihn iiberm Sternenzelt! Seek him above the canopy of the stars! Briider—iiberm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells.

Freude, Tochter aus Elysium! Joy, Daughter of Elysium! Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Briider, All men are made brothers Wo dein sanfter Fliigel weilt. Where your gentle wings abide.

Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Briider—iiberm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, schoner Gotterfunken, Joy, beauteous, godly spark, Tochter aus Elysium! Daughter of Elysium! Freude, schoner Gotterfunken! Joy, beauteous, godly spark!

37 Week 8 GUEST ARTISTS Hans Graf

Austrian conductor Hans Graf is music director of the Houston Sym- phony, a post for which he was unanimously chosen in September 2000.

He is also music director of the Orchestre National Bordeaux Aquitaine and recently completed his eighth and final season as music director of the

Calgary Philharmonic. In the United States he is guest conductor with the orchestras of Boston, Cleveland, Pittsburgh, Atlanta, St. Louis, Balti- more, Dallas, and St. Paul, among many others, and participates in festi- k vals including Blossom, Tanglewood, Wolftrap, and the Mostly Mozart Festival. During the 2003-04 season Mr. Graf made his Philadelphia Orchestra and National Symphony debuts. Internationally, he conducted in Scandinavia, France, Italy, Japan, and Aus- tralia. He appears with the Vienna Philharmonic, Vienna Symphony, and Leipzig Gewand- haus Orchestra as well as with the St. Petersburg, Czech, and Israel philharmonics, and participates in the Maggio Musicale Fiorentino, Bregenz, Aix-en-Provence, Orange, and Savon- linna festivals. He appeared at the Salzburg Festival for twelve consecutive seasons. Mr. Graf first conducted the Vienna State Opera in 1981 and has since conducted operatic productions in Berlin, Munich, Paris, and Rome. His extensive opera repertoire includes several world

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38 premieres. Born in 1949 near Linz, Hans Graf studied violin and piano as a child. Through his sister and brother-in-law, he discovered the orchestral works of Debussy, Ravel, Bartok, and Stravinsky. In 1967 he entered the Musikhochschule in Graz, receiving diplomas in piano and conducting. He then worked with Franco Ferrara in Siena, Sergiu Celibidache in Bologna, and Arvid Jansons in Weimar and Leningrad. In 1975-76 Mr. Graf was music director of the Iraqi National Symphony Orchestra in Baghdad. He began coaching at the Vienna State Opera in 1977, and his international career was launched in 1979 when he was awarded first prize at the Karl Bohm Competition. He was appointed music director of the Mozarteum Orchester Salzburg in 1984. Hans Graf's discography includes the complete symphonies of Mozart and Schubert and the premiere recording of Zemlinsky's opera Es war einmal. He has recorded for EMI, Orfeo, Erato, Capriccio, and JVC and is currently recording the complete orchestral works of Dutilleux with the Orchestre National Bordeaux Aqui- taine for the BMG/Arte Nova label. In June 2002 Mr. Graf was awarded the Chevalier de l'Ordre de la Legion d'Honneur by the French government for championing French music. He has been a frequent guest of the Boston Symphony Orchestra since his debut in Boston in March 1995. He made his Tanglewood debut in August 1997, made his most recent Sym- phony Hall appearance in November 2003, and returns to the Tanglewood podium today for his second appearance of the summer, having led an all-Dvorak propram with the orchestra last month.

Measha Brueggergosman Making her BSO debut this afternoon, Canadian soprano Measha Brueg-

gergosman is in great demand as a concert artist and opera singer. She was awarded the Grand Prize at the 2002 Jeunesses Musicales Montreal Inter- national Competition and has been a prizewinner in other renowned competitions including those of the Wigmore Hall in London, the George London Foundation in New York, the Queen Sonja International Music Competition in Oslo, and the ARD Music Competition in Munich. She

also is a recipient of the prestigious Canada Council and Chalmers Per- forming Arts Grants. Ms. Brueggergosman studied at the University ofToronto with Mary Morrison and in Germany with Edith Wiens, as well as with Christoph Eschenbach, Bri- gitte Fassbaender, Margo Garrett, Hakan Hagegard, Rudolf Piernay, and Thomas Quasthoff. Highlights of her 2003-04 season included two programs with the Montreal Symphony Orchestra (singing Wagner's Wesendonck Lieder and selections from Mahler's Des Knaben Wunderhorn), Dvorak's Requiem with the Kitchener Waterloo Philharmonic, a Christmas Gala live broadcast with the Canadian Opera Company Orchestra, Verdi's Requiem in Lon-

TANGLEWOOD FESTIVAL CHORUS AUDITIONS Tuesday, September 14, at Symphony Hall

Reservations are currently being taken for the Tanglewood Festival Chorus's Sep- tember 14th auditions at Symphony Hall in Boston for all voice parts. The 2004-

2005 season will include Mahler's Symphony No. 8, Berlioz's Romeo et Juliette, and Wagner's The Flying Dutchman, all to be conducted by the BSO's new music director James Levine. The Mahler and Berlioz works will be performed at Carnegie Hall in New York as well as in Boston. Additional repertoire will include Brahms's Ndnie, Gesang der Parzen, and Schicksalslied as part of an all-Brahms program conducted by Rafael Friihbeck de Burgos. To make a reservation for an audition, please call (617) 638-9461 or e-mail [email protected].

39 don's Royal Albert Hall, Strauss's Four Last Songs with the Munich Symphony Orchestra, Beethoven's Symphony No. 9 with the Vancouver Symphony, Berlioz's Les Nuits d'ete With. the Quebec Symphony Orchestra, and performances with the Manitoba Chamber Orchestra of Copland's Emily Dickinson songs and Barber's Knoxville: Summer of1915, the latter two being recorded for future release by CBC Records. She gives solo recitals in Vancouver, To- ronto, Ottawa, Calgary, and in Iceland and Finland. Ms. Brueggergosman's appearances in past seasons have included a Royal Command Performance for Queen Elizabeth II, Janacek's Glagolitk Mass with the Stuttgart Philharmonic, Britten's War Requiem with the Ottawa Sym- phony, Liu in Turandot and roles in Elektra and Dead Man Walking with Cincinnati Opera, a recital debut at Roy Thomson Hall in Toronto, the Verdi Requiem with Helmuth Rilling at the International Beethoven Festival Bonn, Krzysztof Penderecki's Credo with the Toronto Symphony Orchestra conducted by the composer, Franz Schmidt's The Book with Seven Seals together with Ben Heppner in Toronto, and a concert in Ottawa with the National Arts Centre Orchestra under the baton of Pinchas Zukerman. Ms. Brueggergosman also has been honoured to sing for the Prince of Wales and for Nelson Mandela.

Mary Phillips Making her BSO debut this afternoon, American mezzo-soprano Mary

Phillips is in demand by opera, concert and recital presenters worldwide for her performances in a wide range of repertoire. Her international opera debut took place in Tenerife (Canary Islands) in concert performances of Die Walkure (Rossweise) with Simon Estes, and she has since repeated the role at the Dallas Opera and in her Seattle Opera debut. This past season

she joined the roster of the Metropolitan Opera and gave her first performances as Erda in the Scottish Opera's Ring Cycle at the Edinburgh International Festival, in Glasgow, and in Salford. She has appeared in a concert performance of Strauss's Die Liebe der Danae with the American Symphony Orchestra and Leon Botstein at Avery Fisher Hall, a performance recorded and recently released by the Telarc label. In T3"— £3&

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40 2004-05 Ms. Phillips will sing Preziosilla in Verdi's Laforza del destino with the Metropoli- tan Opera. She recently made her role debut as Adalgisa in Norma at Fort Worth Opera. This summer she returned to the Gran Teatre del Liceu in Barcelona as Sextus in Handel's Giulio Cesare. Her San Francisco Opera debut was in a new production of Rigoletto. Other roles include Rosina in 77 barbiere di Siviglia, Zerlina in Don Giovanni, Irene in Handel's Atalanta, Irene in Theodora with Boston Baroque, and Carmen in her Arizona Opera debut, as well as Mercedes in San Francisco, Siebel in Faust, Nicklausse in Les Contes d'Hojfmann, Junon in a Mark Morris production of Rameau's Plate'e, and, at Virginia Opera, Dorabella in Costfan tutte, opposite her identical twin sister Lori as Fiordiligi. In 2002-03 she sang Sister Helen Prejean in Jake Heggie's Dead Man Walking at Austin Lyric Opera. In concert, she performed the world premiere of Michael Torke's Four Seasons and Aaron Kernis's Garden of Light for her New York Philharmonic debut under Kurt Masur. She performs Leonard Bern- stein's Jeremiah Symphony with the National Symphony Orchestra and Leonard Slatkin this season at the Kennedy Center in Washington, D.C. She has also appeared with the Los An- geles Philharmonic and Zubin Mehta, the Hong Kong Philharmonic, and the Atlanta, In- dianapolis, Dallas, Charlotte, Houston, Colorado, and Pittsburgh symphonies, the Orchestra of St. Luke's, and the Handel 8e Haydn Society, among others. A frequent recitalist, Ms. Phillips made her Carnegie Hall recital debut with pianist Ted Taylor; she was presented in her New York recital debut by the Marilyn Home Foundation. Ms. Phillips holds degrees in both music and theater from Rhode Island College, and a master's degree in music from Yale

University. She is a recipient of the prestigious Kennedy Center National Acting Award, among other awards and honors. Ms. Philips currently lives in New York with her husband, baritone Philip Cutlip, and their young son, Max.

Gordon Gietz

Gordon Gietz is equally active in operatic and concert repertoire encom- passing a wide range of musical styles. His recent activities include an acclaimed summer 2003 performance as Don Ottavio in Don Giovanni with the Paris Opera-Bastille; Carmina burana in the San Francisco Sym- phony's "Summer in the City" series; returns to le Grand Theatre de Geneve for Kudrjas in Kdtya Kabanovd and to Paris Opera for Alfred in Die Fledermaus and Tamino in Die Zauberfote\ Fritz in La Grande Duchesse de Gerolstein with the Opera Company of Philadelphia, and his La Scala debut in Dialogues des Carmelites as the Chevalier in a production by Robert Carsen. In recent seasons Mr. Gietz has made debuts at the Royal Opera, Covent Garden, as Stingo in Sophies Choice; at the Theatre du Chatelet as Steva in Jenufa, and at De Vlaamse Opera as Rinuccio in Gianni Schicchi. He has also sung with Nederlandse Opera and at the Teatro Comunale di Bologna. Among orchestral engagements were his Atlanta Symphony debut singing Rodolfo in La boheme with Robert Spano conducting; Benedict in Beatrice et Benedict under Sir Colin Davis with the New York Philharmonic and with Michel Plasson and the Orchestre de Toulouse; and Beethoven's Symphony No. 9 at the Hollywood Bowl with the Los Angeles Philharmonic under Esa-Pekka Salonen and with the San Diego Symphony. Mr. Gietz created the role of Camille Raquin in Tobias Picker's Therese Raquin in his debut with Dallas Opera. He has also sung at Santa Fe Opera, the Saito Kinen Festival, Lincoln Center, West Australian Opera, and the major Canadian houses including l'Opera de Mon- treal, the Canadian Opera Company, Calgary Opera, Vancouver Opera, and Edmonton Opera. He sang the Duke in a new production oiRigoletto opposite Youngok Shin in Bei- jing, China, and Viet Nam. His concert experience includes appearances with the New York Philharmonic and Masur, the Cleveland Orchestra with Slatkin, the Montreal Symphony with Dutoit, Winnipeg Symphony with Bramwell Tovey, the Minnesota Orchestra, and the Philadelphia Orchestra. He has performed Beethoven's Symphony No. 9 with the Houston Symphony and Eschenbach, l'Orchestre Metropolitain, the Toronto Symphony Orchestra and Jukka-Pekka Saraste, and the Los Angeles Philharmonic. He has also performed with Boston Baroque, the Baltimore Symphony, the Calgary Philharmonic, the Concertgebouw

41 Barrington Stage Company

3rd Annual .11 m SWEET CHARITY Brandeis in the Berkshires June 24 -July 17 Lecture Series Book by Neil Simon Shakespeare and Company, Founder's Theatre Lyrics by Dorothy Fields July 12, 2004 Music by Cy Coleman An Evening with Former THE GOD Texas Governor, The Honorable COMMITTEE Ann W. Richards

Former Governor of Texas July 22 - August 7

By Mark St. Germain July 27, 2004 CYRANO DE Pos t-Denominational Judaism: BERGERAC In An Age of Freedom, August 12-28 Affluence and Power By Edmond Rostand President, National Center for Jewi8h Leader*hip and Leamin8 (CLAL) Original music by Ray Leslee Rabbi Irwin Kula Adapted by Julianne Boyd August 9, 2004 The Power of Gender: Women's Voices, Women's Stories Special Reading with Q&A and Book Signing

New York Times Best-Selling Novelist barrington stage company Alice Hoffman and Oprah Book Choice Award Winner

Lectures begin it 8 p.m. and art open to the public. Julianne Boyd, Artistic Director Tickets are $8 To order tickets, phone Shakespeare & Co Box Office. 413 528-8888 #413-637-3353 ft—

42 Orchestra of Amsterdam, and the Montreal Symphony. Mr. Gietz recently made his London debut with John Eliot Gardiner in Beethoven's Symphony No. 9 at the BBC Proms. He made his BSO debut at Tanglewood in July 2001 as soloist in OrfT's Carmina burana, his only previous appearance with the orchestra.

Raymond Aceto American bass Raymond Aceto has established an important presence among the world's leading opera companies and symphony orchestras. His 2003-04 season began with Lyric Opera of Chicago as Fafner in Siegfried and the Old Hebrew in Samson et Dalila. He sang the title role in Boito's Mefistofele with Boston's Chorus Pro Musica, Zaccaria in Nabucco, and his Vienna State Opera debut as Ramphis in Aida. In recent seasons his roles have included the King of Egypt at the Metropolitan Opera, Raimondo in Lucia di Lammermoor with Houston Grand Opera, Leporello in Don- Giovanni with Dallas Opera, his Theatre de la Monnaie debut as Loredano in a new production of Verdi's / due Foscari, and his debut at the Arena di Verona singing Escamillo in Car- men and Ramfis in Aida. His debut with Lyric Opera of Chicago was as the High Priest in

Nabucco, and he has since appeared there as Banquo in Macbeth>, Basilio in II barbiere di Sivig- lia, Nourabad in Les Pecheurs de per/es, and Alaska Wolf Joe in The Rise and Fall ofthe City of Mahagonny. Mr. Aceto made his debut with San Francisco Opera as Monterone in Rigoletto. He has also sung with the Netherlands Opera, Montreal Opera, the Canadian Opera Com- pany, and the companies of Santa Fe, Philadelphia, Seattle, Baltimore, Cincinnati, Cleveland, and Saint Louis, as well as with Piedmont Opera Theatre and at the Spoleto (USA) Festival, among others. Highlights of Raymond Aceto's concert appearances include Mahler's Eighth

Symphony, Stravinsky's Pulcinella, and Ravel's L'enfant et les sortileges with the San Francisco Symphony and Michael Tilson Thomas; Beethoven's C major Mass with the Cleveland Or- chestra and Leonard Slatkin; and as bass soloist in Beethoven's Symphony No. 9 in Toronto

IN HARMONY WITH SCIENCE

Sunday, October 10th, 5pm

Donated by Members of the BOSTON Symphony ORCHESTRA

LedByEDO de Waart Guest Soloist, And re Watts

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43 and at the Hollywood Bowl. A graduate of the Metropolitan Opera's Young Artist Develop- ment Program, the Ohio-born bass has appeared frequendy with the company since his de- but as the Jailer in Tosca during the 1992-1993 season. In 1995 and 1996 Mr. Aceto was awarded Richard Tucker Foundation Career Grants, and in 1994 he was a recipient of a Sullivan Foundation Award. In 1996 he traveled to Japan for performances and a recording of The Rakes Progress with Seiji Ozawa conducting. He can also be heard in the role of

Capellio in Teldec's recording of / Capuleti e i Montecchi. Mr. Aceto's only previous appearance with the BSO at Tanglewood was for his BSO debut as the Second Soldier in a concert performance of Strauss's Salome in August 2001.

Tanglewood Festival Chorus John Oliver, Conductor The Tanglewood Festival Chorus was organized in the spring of 1970, when founding conductor John Oliver became director of vocal and choral activities at the Tanglewood Music Center. Made up of members who donate their services, and originally formed for performances at the BSO's

summer home, the Tanglewood Festival Chorus is now the official chorus of the Boston Symphony Orchestra year-round, performing in Boston,

New York, and at Tanglewood. It gives its own Friday-evening Prelude

Concert each summer in Seiji Ozawa Hall, and it performed its Jordan Hall debut program in Boston this past May. The Tanglewood Festival Chorus has also performed with the Boston Symphony in Europe under Bernard Haitink and in the Far East under Seiji Ozawa. In addition, members of the chorus have performed Beethoven's Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia, and have participated in a Saito Kinen Festival production of Britten's Peter Grimes under Seiji Ozawa in Japan. In February 1998, singing from the Gen- eral Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the 1998 Winter Olympics when Mr. Ozawa led six choruses on five continents, all linked by satellite, in Beethoven's Ode to Joy. The Tanglewood Festival Chorus can be heard on Boston Symphony recordings under Ozawa and Haitink, and on recordings with the Boston Pops Orchestra under Keith Lockhart and John Williams. With Bernard Haitink and the BSO they have recorded Ravel's Daphnis et Chloe' and Brahms's Alto Rhapsody and Nanie for Philips. Their recordings with Seiji Ozawa include Mahler's Sec- ond, Third, and Eighth symphonies, Strauss's E/ektra, Schoenberg's Gurrelieder, and Bartok's

The Miraculous Mandarin, all on Philips; Beethoven's Choral Fantasy, on Telarc; Mendels- sohn's Midsummer Nights Dream music, on Deutsche Grammophon; and Berlioz's Requiem, Faure's Requiem, and Tchaikovsky's Pique Dame, on RCA Victor Red Seal. In addition to his work with the Tanglewood Festival Chorus, John Oliver was for many years conductor of the MIT Chamber Chorus and MIT Concert Choir, and a senior lecturer in music at MIT. Mr. Oliver founded the John Oliver Chorale in 1977; has appeared as guest conductor with the New Japan Philharmonic and Berkshire Choral Institute; and has prepared the choruses for performances led by Andre Previn of Britten's Spring Symphony with the NHK Symphony in Japan and of Brahms's Ein deutsches Requiem at Carnegie Hall. Mr. Oliver made his Boston Symphony conducting debut in August 1985 and led the orchestra most recently in July 1998.

44 Tanglewood Festival Chorus John Oliver, Conductor

(*Names followed by asterisks denote chorus members who sing in both the Prelude Concert of Friday, August 27, and the Beethoven Ninth Symphony on Sunday, August 29. Those without an asterisk sing only in the Beethoven Ninth Symphony.)

Sopranos Sue Conte Mark Mulligan* Carol Amaya Diane Droste* David Norris* Meredith Malone Armbrust* Barbara Naidich Ehrmann John R. Papirio Angel Baker Paula Folkman* Dwight E. Porter* Myfanwy Callahan* Debra Swartz Foote Brian R. Robinson* Jenifer Lynn Cameron* Dorrie Freedman* Paul Rolanti Anna Carr* Irene Gilbride* Peter L. Smith Emily Anderson Chinian Erin Graham* Stephen E. Smith* Lorenzee Cole* Jessica Hao* Don P. Sturdy* Mary Egan Cramer Donna Hewitt-Didham Martin S. Thomson* Sarah Dorfman Daniello Gale Livingston* Marc Velez

Mary A. V. Feldman Amanda J. Mason* Stratton P. Vitikos Maura E. Finn* Kristen McEntee* Kurt Walker* Stefanie Gallegos Louise-Marie Mennier* Rachel Gillett* Antonia R. Nedder Basses Karen Ginsburg* Marian Rambelle Solomon Berg Bonnie Gleason* Rebekah Skirball* Daniel E. Brooks* Elisabeth Gondek Cypriana V. Slosky* Arthur M. Dunlap Amy Hanneman Julie Steinhilber* Joel Evans* Emily Jaworski* Cindy Vredeveld* Matt Giamporcaro Carrie Kenney Christina Lillian Wallace Mark Gianino* Eun-Jung Kim Marguerite Weidknecht* Jim Gordon* Yoo Kyung Kim Jacque E. Wilson* Jay Gregory Michiko Kita Elliott Gyger* Nancy Kurtz* Tenors Jeramie D. Hammond*

Charlotte Landrum* Brian Anderson* Robert J. Henry* Laura Mennill* David P. Bergers* Ishan Arvell Johnson Renee Dawn Morris* Richard A. Bissell William Koffel* Kieran Murray* Jonas Budris Bruce Kozuma* Kimberly Pearson Victor Calcaterra Timothy Lanagan* Laura Stanfield Prichard* Stephen Chrzan* Daniel Lichtenfeld Melanie W. Salisbury* Andrew Crain* David K. Lones* Johanna Schlegel* Bill Cutter Martin F. Mahoney II Pamela Schweppe Jose Delgado* Lynd Matt Lynn Shane Tom Dinger* Stephen H. Owades* Alison Sibley Carey D. Erdman* David Perkins*

Patricia J. Stewart Keith Erskine Michael Prichard* Joy Tappen* Len Giambrone Robert Saley* Alison L. Weaver Gregory A. Gonser* Gregory Sands*

Donna R. Westervelt* J. Stephen Groff Karl Josef Schoellkopf Kirstie Wheeler Mark H. Haddad* Kenneth D. Silber Thorn Kenney* Scott Street * Mezzo-sopranos Kwan H. Lee Peter S. Strickland* Betty B. Blume* Lance Levine Bradley Turner* Lauren A. Boice* Henry Lussier* Terry L. Ward

Donna Brezinski Caliguri John Vincent Maclnnis Peter J. Wender Abbe Dalton Clark* Mark Mozgowiec* CarlTWrubel

Felicia A. Burrey, Chorus Manager Julie G. Moerschel, Assistant Chorus Manager Frank Corliss and Martin Amlin, Rehearsal Pianists Laura Mennill, Czech Language Coach for Prelude Concert

45 THE KOUSSEVITZKY SOCIETY

The Koussevitzky Society recognizes gifts made since Septembet 1, 2003, to the following funds: Tanglewood Annual Fund, Tanglewood Business Fund, Tanglewood Music Center Annual Fund, and Tanglewood testricted annual gifts. The Boston Symphony Otchestra is gtateful to the following individuals, foundations, and businesses for theit annual suppott of S2,500 ot more during the 2003-2004 season. For further information, please contact the Friends Office at (413) 637-5261.

APPASSIONATO $100,000 and up

Anonymous (1) George and Roberta Berrv

VIRTUOSO $50,000 to $99,999

Counrrv Curtains Dr. Carol Reich and Ml Joseph Reich

ENCORE S25,000 to $49,999

Linda J.L. Becker A Friend of the Tanglewood Mr. and Mrs. Edward H. Linde Gregory Bulger Music Center Mr. and Mrs. Abe Pollin Dorothy and Charles Jenkins Stephen and Dorothy Weber

MAESTRO $15,000 to $24,999

Anonymous (1) Ml and Mrs. Michael L. Gordon Annette and Vincent O'Reilly Susan Baker and Michael Lynch James A. Macdonald Foundation Red Lion Inn

Canyon Ranch of the Berkshires Stephen B. Kay and Lisbeth Tarlow Anson P. Stokes

Ml and Mrs. Joseph L. Cohen Mrs. August R. Meyer Ml and Mrs. Wilmer J. Thomas. Jl Ginger and George Elvin Mrs. Evelyn Xef Loet and Edith Velmans Ml and Mrs. Daniel Freed Mrs. K. Fred Xetter The Frelinghuysen Foundation Olivem Foundation. Inc.

BENEFACTORS S10,000 to $14,999

Anonymous 1 Ml John F. Cogan, Jl and Ml and Mrs. Robert I. Kleinberg

Banknorth Ms. Mary L. Cornille Ml and Mrs. Robert J. Lepofsky Berkshire Bank The Fassmo Foundation. Inc. Dl Raymond and

:: z.i:\7 Xancy J. Fitzpatrick and Hannah H. Schneider Jan Brett and Joseph Hearae Lincoln Russell Evelyn and Ronald Shapiro The Hon. Peter H.B. Frelinghuysen The Studley Press. Inc.

SPONSORS $5,000 to $9,999

Ar.:r. ~::5 5 Ml and Mrs. William Cruger Ml and Mrs. Francis W. Hatch, Jl

Ml and Mrs. William F. Allen. Jl Ml and Mrs. Clive S. Cummis Ml and Mrs. Ira Haupt II Robert Baum and Elana Carroll Ms. Mane V. Feder Ms. Rhoda Hemck The Berkshires Capital Investors Ml and Mrs. Dale E. Fowler Ml and Mrs. Stuart Hirshfield Ann and Alan H. Bernstein Ml Michael Fried Ml and Mrs. Lawrence S. Horn Ml and Mrs. Lee N. Blatt Ml and Mrs. Belvin Friedson Dl and Mrs. Allen Hyman Judy and Simeon Brinberg Ml Louis R. Gary Inland Management Corporation Everett Ann Fitzpatrick Brown Ml and Mrs. J. Arthur Goldberg Ml and Mrs. Jassy

James and Tina Collias Roberta and Macey Goldman Ml and Mrs. Stephen J. Jerome Ranny Cooper and David Smith Ml and Mrs. Robert A. Goodman Ml and Mrs. Michael P. Kahn Louis Kaitz Ml and Mrs. Herbert J. Coyne John and Chara Haas Ml and Mrs. Crane Sc Company. Inc. Dl Lvnne B. Harrison Mrs. Leonard S. Kandell

46 SPONSORS $5,000 to $9,999 (continued)

Natalie and Murray S. Katz May and Daniel Pierce Mr. Peter Spiegelman and Msgr. Leo A. Kelty Claudio and Penny Pincus Ms. Alice Wang

Mr. and Mrs. Michael Kittredge Mr. and Mrs. Millard H. Pryor, Jr. Margery and Lewis Steinberg Koppers Chocolate Lila and Gerald Rauch Marjorie and Sherwood Sumner

Mr. and Mrs. Rudolf M. Kroc The Charles L. Read Foundation Mr. and Mrs. George A. Suter, Jr. Liz and George Krupp Mr. and Mrs. Robert E. Remis Mr. Aso Tavitian Roger and Myrna Landay Barbara and Michael Rosenbaum Diana Osgood Tottenham Legacy Banks Mr. Joseph D. Roxe Ms. June Ugelow Mrs. Vincent Lesunaitis David and Sue Rudd Mrs. Cecille Wasserman Buddy and Nannette Lewis Mr. and Mrs. Alan Sagner Mrs. Charles H. Watts E Mr. and Mrs. Edwin N. London Mr. and Mrs. Ira Sarinsky Karen and Jery Waxberg Jay and Shirley Marks Mr. and Mrs. Dan Schusterman Mrs. John Hazen White Mr. and Mrs. Thomas T. McCain Arlene and Donald Shapiro Mr. and Mrs. Ira Yohalem Cynthia and Randolph Nelson Hannah and Walter Shmerler

MEMBERS $2,500 to $4,999

Anonymous (8) Ms. Alice Datlof Mr. and Mrs. Richard Grausman Mrs. Janet Adams and Mr. and Dr. Trayton Davis Mr. Harold Grinspoon and Mr. James Oberschmidt Dr. and Mrs. Harold L. Deutsch Ms. Diane Troderman Mr. and Mrs. Alan Ades Mr. and Mrs. Jeff Diamond Ms. Bobbie Halhg Drs. Paula Algranati and Channing and Ursula Dichter Joseph K. and Maty Jane Handler Barn" Izenstein Chester and Joy Douglass Felda and Dena Hardymon Mr. and Mrs. Ronald Altman Dresser-Hull Company William Harris and Harlan and Lois Anderson Ms. Judith R. Drucker Jeananne Hauswald Arthur Appelstein and Terr}7 and Mel Drucker Mr. Gardner C. Hendrie and

Lorraine Becker John and Alix Dunn Ms. Karen J. Johansen

Apple Tree Inn and Restaurant Mr. and Mrs. Leonard Edelson Mrs. Paul J. Henegan Gideon Argov and Alexandra Fuchs Mr. and Mrs. Monroe B. England Mr. and Mrs. Peter Herbst The Barrington Foundation, Inc. Eitan and Malka Evan Mr. & Mrs. Murray Hershman

Mr. John A. Barry, Jr. Roz and Bob Feldman Ml and Mrs. Robert I. Hiller Ms. Lucille M. Batal Mr. and Mrs. John C. Fontaine Dr. and Mrs. Ronald Hinds

Helene and Ady Berger Mr. and Mrs. David Forer Mr. Arnold J. and Jerome and Henrietta Berko Mr. and Mrs. Herb Franklin Helen G. Hoffman

Berkshire Life Co. of America I. Robert and Aviva Freelander Mr. and Mrs. Charles Hoffman

Mr. and Mrs. Allen J. Bernstein Carolyn and Roger Friedlander Dr. Joan O. Hoffman and Ms. Joyce S. Bernstein and Myra and Raymond Friedman Mr. Syd Silverman Mr. Lawrence M. Rosenthal Ralph and Audrey Friedner Dr. and Mrs. Edwin H. Hopton Hildi and Walter Black Mr. and Mrs. Robert L. Gable Mrs. Ruth W. Houghton

Ann and Neal Blackmarr Jill and Harold Gaffin Housatonic Curtain Company Eleanor and Ed Bloom Mr. and Mrs. Arthur J. Gaines Mr. and Mrs. William R. Birgit and Charles Blyth Agostino Galluzzo and Susan Hoag Housholder Mr. and Mrs. Nicholas Boraski Mr. and Mrs. Gerald N. Gaston Stephen and Michele Jackman Mark G. and Linda Borden Dr. and Mrs. Paul H. Gendler Mr. and Mrs. Edwin A. Jaffe

Arlene and Dr. Stuart H. Brager Mr. and Mrs. Melvin Y. Gershman Mr. and Mrs. Werner Janssen, Jr. Jane and Jay Braus Dr. Donald and Phoebe Giddon Mr. and Mrs. Daniel R. Johnson Broadway Manufacturing Supply Mr. and Mrs. Stephen A. Gilbert Ms. Lauren Joy and Mr. and Mrs. Richard Brown Cora and Ted Ginsberg Ms. Elyse Etling

Samuel B. and Deborah D. Bruskin David H. Glaser and Nedra Kalish -

Cain, Hibbard, Myers & Cook Deborah F. Stone Adrienne and Alan Kane Phyllis H. Carey Sy and Jane Glaser Ml and Mrs. Arnold Y. Kapiloff Maty Carswell Dr. Morton Gluck Leonard Kaplan and Iris and Mel Chasen Mr. and Mrs. Seymour L. Goldman Marcia Simon Kaplan Barbara Cohen-Hobbs Dr. and Mrs. Morris Goldsmith Martin and Wendy Kaplan Mr. and Mrs. Stewart M. Colton Mrs. Haskell R. Gordon Mr. and Mrs. Wilson R. Kaplen Linda Benedict Colvin Corinne and Jerry Gorelick Mr. and Mrs. Howard Kaufman Cornell Inn Goshen Wine & Spirits, Inc. Mr. and Mrs. Bruce Kelly

Continued on page 48 47 Mr. and Mrs. Carleton F. Kilmer Parnassus Foundation, courtesy of Mr. and Mrs. Arthur M. Siskind Deko and Harold Klebanoff Jane and Raphael Bernstein Maggie and John Skenyon

Dr. and Mrs. Lester Klein Mr. Lawrence Phillips Mrs. William F. Sondericker

Dr. and Mrs. David I. Kosowsky Drs. Eduardo and Lina Plantilla Harvey and Gabriella Sperry Janet and Earl Kramer Plastics Technology Laboratories, Mr. and Mrs. Jerry Spiegel Mr. and Mrs. Ely Krellenstein Inc. Dr. and Mrs. Michael Sporn

Norma and Irving Kronenberg Dr. and Mrs. Francis Powers, Jr. Mr. and Mrs. Charles A. Stakely Mr. and Mrs. Richard Kronenberg Mr. and Mrs. Bruno Quinson Mr. and Mrs. Lewis Stein Naomi Kruvant Mr. and Mrs. Mickey Rabina Mr. and Mrs. Lewis Steinberg

Norma and Sol D. Kugler Charles and Diana Redfern Mr. and Mrs. Daniel S. Sterling Cary and Beth Lakenbach Mr. and Mrs. Nathan Reiber Ms. Alice Stephens and Mildred Loria Langsam Mr. John H. Rice and Mr. Kenneth Abrahami

William and Marilyn Larkin Ms. Janet Pinkham Mr. and Mrs. Henry S. Stone Mr. and Mrs. William Lehman Mr. Stanley Riemer Stonover Farm Bed and Breakfast

Mr. and Mrs. R. Willis Leith, Jr. Mary and Lee Rivollier Mrs. Pat Strawgate Ms. Lois Lerner Mr. and Mrs. Bernard L. Roberts Mr. and Mrs. Charles Stuzin

Mr. Arthur J. Levey and Rocio Gell Mr. and Mrs. Stanley Ross Mr. and Mrs. Michael Suisman Marjorie T. Lieberman Mr. and Mrs. Harvey Rothenberg Mr. Wayne Sunday

Mr. and Mrs. Murray Liebowitz Mr. and Mrs. Jean J. Rousseau Mr. and Mrs. I. David Swawite Geri and Roy Liemer Mrs. George R. Rowland Talbots Charitable Foundation Mr. and Mrs. A. Michael Lipper Suzanne and Burton Rubin Mr. and Mrs. Richard Taylor

Mr. and Mrs. Roger S. Loeb Mr. and Mrs. Milton B. Rubin Mr. and Mrs. Jack Teich

Mr. and Mrs. Walter F. Loeb Carole and Edward I. Rudman Mr. and Mrs. John L. Thorndike Gerry and Sheri Lublin Mr. Bruce Sagan and Mr. Bruce Tierney

Mr. and Mrs. Bernard Ludwig Ms. Bette Cerf Hill The Tilles Family

Diane H. Lupean Mr. and Mrs. Michael Salke Mr. and Mrs. Albert J. Togut Gloria and Leonard Luria Malcolm and BJ Salter Myra and Michael Tweedy

Mr. and Mrs. Edward Lustbader Samuel and Susan Samelson Mr. and Mrs. Howard J. Tytel

I. Kenneth and Barbara Mahler Mr. Robert M. Sanders Mr. Laughran S. Vaber Mr. and Mrs. Darryl Mallah Satinwood at Scarnagh, LLC Mr. and Mrs. Charles Vail Rev. Cabell B. Marbury Dr. and Mrs. Wynn A. Sayman Viking Fuel Oil Company

Peg and Bob Marcus Mr. Gary S. Schieneman and Walden Printing Co., Inc.

Suzanne and Mort Marvin Ms. Susan B. Fisher Mr. and Mrs. William G. Walker Mr. Daniel Mathieu and Tom Potter Marcia and Albert Schmier Mr. and Mrs. Harvey Waller

Maxymillian Technologies, Inc. Mr. and Mrs. Ernest Schnesel Mr. and Mrs. Edwin A. Weiller III Dr. Robert and Jane B. Mayer Pearl and Alvin Schottenfeld Mr. and Mrs. Robert A. Weinerman Carol and Thomas McCann Lois and Alan Schottenstein Mr. and Mrs. Barry Weiss Phyllis and Irv Mendelson Carrie and David Schulman Dr. and Mrs. Jerry Weiss The Messinger Family Mr. and Mrs. Wallace L. Schwartz Mr. and Mrs. Milton Weiss

Mr. and Mrs. Rollin W. Mettler, Jr. Carol and Marvin Schwartzbard Mr. and Mrs. Robert E. Wells

Vera and Stanley T Miller Betsey and Mark Selkowitz Mr. and Mrs. Frederic P. Werner Mr. and Mrs. Michael A. Monts Carol and Richard Seltzer Wheatleigh Hotel &c Restaurant Mr. and Mrs. Joseph L. Nathan Mr. and Mrs. Daniel Shapiro Ms. Carol Andrea Whitcomb Jerry and Mary Nelson Mr. and Mrs. Howard and Carole White Linda and Stuart Nelson Natalie Shawn Peter D. Whitehead Bobbie and Arthur Newman Sheffield Plastics, Inc. Mr. and Mrs. Richard E. Willett Mr. Richard Novik Jackie Sheinberg and Mr. Robert G. Wilmers Mr. Edward G. and Jay Morganstern Mr. Jan Winkler and Mrs. Sandra Novotny The Richard Shields Family Ms. Hermine Drezner

Mr. and Mrs. Chet Opalka Hon. George P. Shultz Mr. and Mrs. Robert C. Winters

Dr. and Mrs. Martin S. Oppenheim Robert and Roberta Silman Bob and Phyllis Yawitt Mr. and Mrs. Michael Orlove Richard B. Silverman Mr. and Mrs. Eric K. Zeise Dr. and Mrs. Simon Parisier Marion and Leonard Simon Simon H. and Esther Zimmerman Mr. and Mrs. Robert L. Singleton Mr. Richard M. Ziter, M.D.

Names listed as ofJune 3, 2004

48 GREAT BENEFACTORS

In the building of his new symphony for Boston, the BSO's founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could never fully cover the costs of running a great orchestra.

From 1881 to 1918 Higginson covered the orchestra's annual deficits with personal donations that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with permanent recognition as Great Benefactors of this great orchestra. For more information, contact Judi Taylor Cantor, Director of Major and Planned Giving, at (413) 637-9275.

Anonymous (9) Estate of Edith C. Howie Mr. and Mrs. Harlan E. Anderson Mr. and Mrs. Harvey Chet Krentzman

Dorothy and David B. Arnold, Jr. The Kresge Foundation AT&T Liz and George Krupp

Mr. and Mrs. J. P. Barger Mr. and Mrs. R. Willis Leith, Jr. Gabriella and Leo Beranek Nancy Lurie Marks Foundation George and Roberta Berry Kate and Al Merck Jan Brett and Joseph Hearne Mr. and Mrs. Nathan R. Miller Peter and Anne Brooke The Richard P. and Catherine and Paul Buttenwieser Claire W. Morse Foundation Chiles Foundation William Inglis Morse Trust

Mr. John F Cogan, Jr. and National Endowment For Arts Ms. Mary L. Cornille NEC Corporation Mr. Julian Cohen Mrs. Robert B. Newman Commonwealth of Massachusetts Mrs. Mischa Nieland and Mr. and Mrs. William H. Congleton Dr. Michael Nieland Lewis S. and Edith L. Dabney Mr. and Mrs. Norio Ohga Mr. and Mrs. Stanton W. Davis William and Lia Poorvu Estate of Mrs. Pierre de Beaumont Raytheon Company EMC Corporation Estate of Wilhelmina C. Sandwen John P. II and Nancy S. Eustis Dr. Raymond and Hannah H. Schneider Shirley and Richard Fennell Carl Schoenhof Family

Fidelity Investments Ruth and Carl J. Shapiro Estate of Vera Fine Miriam Shaw Fund Estate of Anna E. Finnerty Ray and Maria Stata Mr. and Mrs. John H. Fitzpatrick Mr. and Mrs. Thomas G Sternberg FleetBoston Financial Miriam and Sidney Stoneman Germeshausen Foundation Estate of Elizabeth B. Storer The Ann and Gordon Getty Foundation Diana Osgood Tottenham Estate of Marie L. Gillet Verizon The Gillette Company Stephen and Dorothy Weber Mrs. Donald C. Heath The Helen F. Whitaker Fund Susan Morse Hilles Trust Mr. and Mrs. John Williams

49 BSOvations

Tanglewood corporate sponsors reflect the increasing importance of partnership

between business and the arts. The Boston Symphony Orchestra is honored to be associated with the following companies and gratefully acknowledges their contributions at Tanglewood during the 2004 season.

For information regarding Tanglewood, BSO, and/or Boston Pops sponsorship opportunities, contact Alyson Bristol, Director of Corporate Sponsorships, at (617) 638-9279 or at [email protected].

OMMONWEALTH WORLDWIDE CHAUFFEURED TRANSPORTATION

Commonwealth Worldwide Chauffeured Transportation

is proud to be the Official Chauffeured Transportation of the Boston Symphony Orchestra and the Boston Pops. The has enhanced the Boston community for 122 Dawson Rutter BSO President and CEO years and we are excited to be a part of such a rich heritage. We are pleased to announce the opening of our New York office in mid-summer that will further compliment our relationship with the BSO and Tanglewood for many years to come.

CountiyCurtains.^ ill The Red Liqn Inn AT THE RED LION INN - STIX. KHKIIX.E - MASSACHUSETTS

Country Curtains, The Red Lion Inn, Blantyre, and the Fitzpatrick family have been a special part of Boston Symphony Orchestra's family for over thirty years. From accompanying the BSO on world tours, to helping build Ozawa Hall, to supporting young upcoming professional musicians at the Tanglewood Music Center, the

The Fitzpatrick Family Fitzpatrick companies have created a unique legacy integral to Tanglewood and the BSO.

Delta Air Lines is pleased Delta to support Tanglewood in its first season as the Official Airline of the Boston Symphony Orchestra. We look forward to an outstanding summer with guest appearances by today's most celebrated artists from around the world. At Delta, we have been a longtime sup- porter of the Boston and New York metropolitan areas, at Paul Matsen the airport and beyond. This commitment to the BSO builds Senior Vice President and Chief Marketing Officer upon Delta's global support of the arts.

50 O^ INVESTMENTS^Fidelity

Fidelity Investments is proud to support the Boston Symphony Orchestra's Tanglewood season through sponsorship of the Tanglewood Jazz Festival. We are pleased to play an integral

Robert L. Reynolds part in this celebrated jazz tradition that features some of the Vice Chairman and most talented artists in jazz history. Through our ongoing com- Chief Operating Officer mitment to this program we are able to bring wonderful musical performances to thousands of listeners during this unique music festival. Fidelity

Investments will continue its long tradition of investing in our communities with

fine organizations such as this.

S T E I N W A Y SONS

Steinway 6c Sons is proud to be the piano selected exclusively at Symphony Hall and Tanglewood. Since 1853, Steinway pianos have been handmade to an uncompromising standard,

and applauded by artists and audiences alike for their rich, Bruce Stevens President expressive sound. It's no wonder that, for 98% of today's con-

cert pianists, the choice is Steinway. §TDK As sponsor of the 16th annual Tanglewood Free Lawn Tickets

for Children program, TDK is proud to bring the gift of music to thousands of children. Children younger than 12 are granted free admission to Tanglewood when accompanied by a Hajime Sawabe ticket-holding adult. Since 1989 more than 200,000 children President and CEO and their families have participated in the program. In support of the Tanglewood Music Center's educational efforts, TDK also contributes audio cassettes, CD-R media, and VHS tapes. Furthermore, TDK supports the Boston Symphony Orchestra's music preservation project, giving future generations the opportunity to enjoy historic BSO performances. You can count on TDK to help keep the music alive.

51 WALTER PISTON SOCIETY

Walter Piston (1894-1976), who endowed the Principal Flute chair with a bequest, was a Pulitzer Prize-winning composer and noted musician. The Walter Piston Society was established in his name to honor those who have made life-income gifts and/or bequests to the Boston Symphony Orchestra, Tanglewood, or the Boston Pops.

During the 2002-2003 season, members of the Walter Piston Society gave more than $4.5 million to the endowment and operating budget through life- income gifts and bequests.

If you would like more information on becoming a member, or if you find that your name is not listed and should be, please call the Planned Giving Office at (413) 637-5275 or (888) 244-4694.

Anonymous (25) Mrs. Alice C. Brennan Ms. Rebecca T. Coup Mrs. Herbert Abrams Ms. Jan Brett and Mr. and Mrs. F. Brooks Ms. Eunice Alberts Mr. Joseph Hearne Cowgill

Mr. Vernon R. Alden Ruth and Alan J. Broder Mrs. Edith L. Dabney Miss Rosamund W. Allen Mr. and Mrs. Peter A. Mrs. David Dangel Mr. and Mrs. William A. Brooke Mr. Eugene M.

Along Phyllis Brooks Darling, Jr.

Mrs. James B. Ames Mr. and Mrs. E. B. Brown Mr. and Mrs. Nelson J. Mrs. Rae D. Anderson Mr. Richard- Scott S. Burow Darling, Jr. Dorothy and David Arnold Mrs. Mary L. Cabot Ms. Maud S. Davis Dr. David M. Aronson Ms. Edith W. Campbell Tamara P. and Charles H.

Mr. and Mrs. Zinn Arthur Mrs. Wilfred I. Carney Davis II Miss Eleanor Babikian Mr. Charles Christenson Mrs. John E. Dawson Mr. and Mrs. Sherwood Ms. Phyllis E. Clark Mr. and Mrs. Henry B. E. Bain Ms. Deborah P. Clark Dewey Mr. Donald Ball Kathleen G and Ms. Carolyn Dilts Ms. Rosemarie Basile Gregory S. Clear Mr. Robert Djorup

Mr. and Mrs. Herman Mr. Stewart Clifford, Jr. Mr. and Mrs. Eugene B.

Becker John F. Cogan, Jr., and Doggett Robert Michael Beech Mary Cornille Dr. OW. Donnenfeld Gabriella and Leo Beranek Mrs. Aaron H. Cole Mr. and Mrs. Norman Mr. Ralph Berkowitz David Bruce Cole Dorian Deborah Davis Berman Dr. and Mrs. James C. Mr. Clive E. Driver George and Joan Berman Collias Mrs. Harry Dubbs Eckstein Mr. William I. Bernell Mr. and Mrs. Abram T. Harriett M. Mr. and Mrs. Ben Beyea Collier Miss Mary C. Eliot

Benjamin S. Blake Mr. and Mrs. Marvin A. Mrs. Richard S. Emmet Mrs. Norbert A. Bogdan Collier Mrs. Henri A. Erkelens Mrs. Anne C. Booth Ms. Alice Confortes Lillian K. Etmekjian Dr. Nancy A. Bord Dr. Michael T. Corgan and Ms. Marilyn Evans Mrs. John M. Bradley Sallie Riggs Corgan John W. Erwin

52 Mrs. Samuel B. Feinberg Deborah Hauser Dr. Robert Lee Mrs. Shirley Lefenfeld Mr. Gaffney J. Feskoe Mr. Harold A. Hawkes Mrs. E. Olsen Field Mr. Robert R. Hayward Mr. and Mrs. R. Willis Mr. Stuart M. Fischman Mrs. Stephen Heartt Leith, Jr.

Mr. L. Antony Fisher Julie and Bayard Henry Mrs. Vincent J. Lesunaitis Ms. Dorothy M. Fitch and Miss Roberta G. Hill Ms. Bess Levine

Mr. John H. Munier Mr. James G. Hinkle, Jr. Dr. Audrey A. Lewis Janet P. Fitch Mrs. Richard B. Hirsch Mr. and Mrs. T. Herbert Mr. and Mrs. John H. Mr. John Hitchcock Lieberman Fitzpatrick Eloise W. and Arthur C. Mrs. George R. Lloyd Elaine Foster Hodges Mr. Richard C. Lord Mr. and Mrs. Dean W. Mrs. Marilyn Brachman Diane H. Lupean Freed Hoffman Kathryn H. Lupean Dr. Joyce B. Friedman Mr. and Mrs. Howard K. Mrs. Jane C. Lyman Mrs. George C. Fuller Holladay Mrs. John D. MacDonald Mr. William H. Ganick M.A. B.Holmes Mr. and Mrs. Donald

Mr. Gabor Garai and Ms. Emily C. Hood Malpass, Jr. Ms. Susan Pravda Mr. and Mrs. Charles A. Ruth G. Mandalian Mrs. James G. Garivaltis Hubbard II Irma S. Mann

Mrs. Henry C.Gill, Jr. Mr. and Mrs. F. Donald Mr. Russell E. Marchand Mr. and Mrs. Leonard Hudson Mrs. Maria Maris

Gilman Mr. Holcombe A. J. Hughes Jay Marks Mrs. Joseph Glasser Mr. and Mrs. Joseph Mrs. Nancy Lurie Marks Susan Godoy Hyman Miss Charlotte N. May Thelma and Ray Goldberg Janet S. Isenberg Mrs. Barbara McCullough Mr. Mark R. Goldweitz Emilie K. Jacobs Mrs. John B. McGowan Hugo and Midge Golin Mr. and Mrs. David Jeffries Mrs. Richard M. McGrane Jane W. and John B. Mrs. Stella D. Jenkins Mr. and Mrs. David Goodwin Mr. and Mrs. H. E. Jones McKearnan Mrs. Haskell R. Gordon Edna S. and Bela T. Kalman Mrs. Willard W. McLeod,

Mrs. Clark H. Gowen Dr. Alice S. Kandell Jr. (Patricia B.) Mr. and Mrs. Daniel S. Renee and Stan Katz Mr. and Mrs. Russell P.

Gregory Mrs. Robert J. Kaufmann Mead Mr. Howard R. Grimes Mr. and Mrs. Richard L. Mr. Richard P. Menaul Dr. and Mrs. Herbert A. Kaye Mrs. August R. Meyer

Haessler George H. Kidder Dr. Martin C. Mihm, Jr. Mr. and Mrs. Roger H. Ms. Marsha A. Klein Mr. and Mrs. Nathan R. Hallowelljr. Mr. Mason J. O. Klinck, Sr. Miller Mr. Michael A. Halperson Ms. Kathleen Knudsen Mrs. Beverly F. Mills Mrs. Janet M. Halvorson Audrey Noreen Koller Mrs. Elting E. Morison

Margaret L. Hargrove Joan H. Kopperl Mrs. Olney S. Morrill

Mr. and Mrs. G. Neil Mr. and Mrs. Robert K. Richard P. Morse and Harper Kraft Claire W. Morse Dr. Bettina H. Harrison Mr. and Mrs. Harvey Chet Mrs. Wells Morss Mr. Warren Hassmer Krentzman Mr. James Edward Mulcahy Mr. and Mrs. Francis W. Mr. George F. Krim Mrs. Robert M. Mustard Hatch Miss Katherine P. Lanctot Mrs. Sterling Myrick

53 Anne J. Neilson Professor Josephine R. Dr. and Mrs. Jan P. Skalicky Mrs. K. Fred Netter Reiter Doctors Jane Slaughter and Mrs. Robert B. Newman Robert and Ruth Remis Firmon E. Hardenbergh Alan A. and Barbara Nicoll Marcia and Norman Mr. and Mrs. Christopher Mrs. Mischa Nieland Resnick E. Smith Michael L. Nieland MD Barbara Rimbach Mrs.W.D. Sohier Koko Nishino Dr. and Mrs. Edmond Ms. Bonnie T Solomon Bernice Nollman Rittner Drs. Norman Solomon and Elizabeth P. Roberts Merwin Geffen Carol J. Noyes Mrs. Louise C. Noyes- Mr. and Mrs. David Mr. Masatsugu Sonobe Balboni Rockefeller, Jr. Mr. and Mrs. Harold Sparr

Dr. Peter Ofner Dr. J. Myron Rosen Mrs. Nathaniel H. Sperber Mrs. Stephen Davies Paine Mr. and Mrs. Jerome Mr. Thomas A. Stalker Mrs. Marion S. Palm Rosenfeld Ray and Maria Stata L. Roth Dr. and Mrs. Egidio Papa Mr. James Dr. Harold J. Stein and Kay Catherine Lillios Pappas Mrs. George R. Rowland E. Stein Ms. Mary B. Parent Dr. Jordan S. Ruboy Shirley and Al Steiner Mrs. Jack S. Parker Mr. Paul W. Runge Mr. and Mrs. Thomas G. Dr. and Mrs. Oglesby Paul Mr. and Mrs. Robert Sternberg Mr. and Mrs. John B. Saltonstall Miss Marylen R.I. Pepper Miss Sylvia L. Sandeen Sternweiler Mr. and Mrs. John A. Mr. Robert M. Sanders Mr. Josiah Stevenson IV Perkins Mr. Stephen Santis Miss Ruth Elsa Stickney Polly Perry- Ms. Carol Scheifele-Holmes Mrs. Patricia Hansen Strang and Mr. Ben L. Holmes Mr. and Mrs. Jonathon D. Mrs. Roger A. Perry, Jr. Mrs. Thomas D. Perry Dr. Raymond and Sutton Helen Salem Philbrook Hannah H. Schneider Mrs. Nathan B. Talbot Mr. and Mrs. John Dr. and Mrs. Leslie R. Jean-Noel and Plimpton Schroeder Mona N. Tariot Mrs. David R. Pokross Mrs. Aire-Maija Schwann Mr. Thomas Teal Mr. and Mrs. George G. Mr. and Mrs. John L. Mr. Peter J. Previte Mr. and Mrs. Robert O. Schwenk Thorndike Preyer Mr. and Mrs. Thomas J. Mr. and Mrs. Samuel Scott Ms. Carol A. Procter Thome Mrs. Daphne Brooks Prout Miss Alice M. Seelinger Mr. and Mrs. Carlos H. Tosi Mr. and Mrs. Henri Mrs. Alfred M. Sexton Diana Osgood Tottenham Prunaret Mr. and Mrs. Roland E. Miss Ruth Tucker Mr. and Mrs. Millard H. Shaine Mr. Joseph F. Urner and Mr. Wolf Shapiro Ms. Lorain R. Brown Pryor, Jr. Robert L. Sharp Mrs. Robert A. Miss Lillian A. Purdy Mrs. Mr. and Richard Shiff Trust Vieira Irving W. Rabb Dr. M. Mr. and Mrs. Mark Volpe Herbert Rakatansky MD Mrs. Jane Silverman and Barbara Sokoloff Mr. and Mrs. Robert L. Rev. and Mrs. Arthur A. Peter and Suzanne Read Singleton Wahmann Barbara F. Sittinger John S. Reidy

54 Wilson Carol A. and Henry J. Mr. Peter A. Wick Mrs. John J. Walker Dr. Michael Wiedman Jeanne H. Wolf Sidney and Winthrop Mrs. Amos N. Wilder Miss Elizabeth Woolley Walker Mr. and Mrs. Richard E. Mrs. Eleanor Wright

Ray and Barbara Warner Willett Drs. Richard J. and

Mrs. Phyllis W. Watkins Georgia H. Williams Judith J. Wurtman Ms. Kathleen M. Webb Mr. Jeffery D. Williams Mr. David Yalen Miss Eunice Wheeler Mr. and Mrs. John Williams Mrs. Christopher Young Mr. Stetson Whitcher Mrs. Ralph B. Williams Lisl Zausmer Ms. Carol A. Whitcomb Mrs. Margaret Williams- Dr. Nicholas T. Zervas Mrs. Constance V.R. White DeCelles Mrs. Kate Zigmond Mr. and Mrs. Thomas H.R Mr. and Mrs. Donald B. Ms. Helen Zimbler Whitney Wilson

55 2004 season Days in the Arts

Through the Boston Symphony The BSO gratefully acknowledges the following donors*: Orchestra's Days in the Arts (DARTS)

program, students spend a week ANNUAL OPERATING GIFTS TO DARTS

immersed in the arts. In the morn- $50,000 and above ing, students participate in hands- Dr. Carol Reich and Mr. Joseph Reich

on workshops. In the afternoon, $10,000 - $49,999 travel they to Tanglewood, the BSO's Anonymous (1) summer home, and other cultural Associated Grantmakers of Massachusetts Summer Fund institutions such as Jacob's Pillow, The Connors Family

the Norman Rockwell Museum, and Irene E. and George A. Davis Foundation Mr. and Mrs. Daniel Freed Shakespeare & Co. Stephen B. Kay and Lisbeth Tarlow The Richard A. and Helene H. Monaghan Family Foundation Financial support is essential to the National Endowment for the Arts continued success of DARTS. Please New Balance Foundation consider making a generous contri- Thomas A. Pappas Charitable Foundation Abraham Perlman Foundation bution to DARTS this summer and Dr. Deanna Spielberg help more than 400 children Mary Ann Pesce explore how the arts can enrich The William E.and Bertha E.Schrafft Charitable Trust their lives.

$5,000 - $9,999 Sydelle and Lee Blatt For more information, contact Fairmont Hotels & Resorts Charitable Alexandra Fuchs, Director of Foundation Tanglewood Annual Funds, at The Roger and Myrna Landay Charitable Foundation ! (413) 637-5298, or

Judi Taylor Cantor, Director of $2,500 - $4,999 Boston Concessions Group, Inc. Major and Planned Giving, at Jonathan and Seana Crellin (413) 637-5260. The Hoche-Scofield Foundation Valet Park of New England

$2,000 - $2,499 The Kingsbury Road Charitable Foundation Tom Sternberg

. DARTS Endowment Funds : ^ Elizabeth A. Baldwin DARTS Fund George and Kathleen Clear DARTS CRT

Paul D. and Lori A. Deninger DARTS Scholarship Fund Gordon/Rousmaniere/Roberts Fund Renee Rapaporte DARTS Scholarship Fund Miriam and Sidney Stoneman Fund of The Boston Foundation

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THIS MONTH AT TANGLEWOOD

Friday, August 6, at 6 (Prelude) Wednesday, August 11, at 8:30 MEMBERS OF THE BSO JEAN-YVES THIBAUDET, piano JOEL MOERSCHEL, cello Music of DEBUSSY, LISZT, VERDI, and Music of DVORAK WAGNER

Friday, August 6, at 8:30 Thursday, August 12, at 8:30 BSO—CHRISTOPH VON DOHNANYI, The Fromm Concert at Tanglewood conductor (part of the 2004 Festival of Contemporary YEFIM BRONFMAN, piano Music) SCHUMANN Symphony No. 2 MERIDIAN ARTS ENSEMBLE BRAHMS Piano Concerto No. 2 HELEN BUGALLO, piano ELLIOTT SHARP, sound artist Saturday, August 7, at 10:30 a.m. Music of SANFORD, BARBER, CARTER, Open Rehearsal (Pre-Rehearsal Talk at 9:30) SHARP, and ZAPPA BSO program of Sunday, August 8 Friday, August 13, at 6 (Prelude) Saturday, August 7, at 8:30 MEMBERS OF THE BSO BSO—TAN DUN, conductor Music of KODALY and DVORAK YO-YO MA, cello SILK ROAD ENSEMBLE Friday, August 13, at 8:30 Music from the Silk Road Project and TAN BSO—GIANANDREA NOSEDA, conductor DUN s The Map, Concerto for Cello, Video, DEBORAH VOIGT, soprano and Orchestra WAGNER Prelude to Act I of Lohengrin WAGNER Wesendonck Songs Sunday, August 8, at 2:30 PROKOFIEV Excerpts from Romeo andJuliet BSO—CHRISTOF PERICK, conductor CHRISTIAN ZACHARIAS, piano Saturday, August 14, at 10:30 a.m.

ALL-MOZART PROGRAM Open Rehearsal (Pre-Rehearsal Talk at 9:30) Wind Serenade in C minor, K.388, Nachtmusik BSO program of Sunday, August 15 Piano Concerto No. 22 in E-flat, K.482 Symphony No. 41, Jupiter Saturday, August 14, at 8:30 Film Night at Tanglewood Sunday, August 8, at 8:30 and BOSTON POPS ORCHESTRA Monday, August at 8:30 9, JOHN WILLIAMS, conductor JOHN WILLIAMS, musical direction BOSTON UNIVERSITY TANGLEWOOD DIANNE REEVES and BRIAN STOKES INSTITUTE CHORUS MITCHELL, vocalists A program, with film montages, of tributes to CARL SAUNDERS, trumpet; GARY BERNARD HERRMANN, HENRY FOSTER, alto saxophone; TOM RANIER, MANCINI, and AUDREY HEPBURN piano; STEVE HOUGHTON, percussion; BERGHOFER, bass CHUCK Sunday, August 15, at 2:30 JAZZ ENSEMBLE The Serge and Olga Koussevitzky Memorial LERNER & LOEWE (arr. WILLIAMS) Concert Fair Lady (arranged for singers My and jazz BSO—ROBERT SPANO, conductor orchestra), plus jazz favorites ANDRE WATTS, piano

. ". RANDS . . body and shadow. . MACDOWELL Piano Concerto No. 2 TCHAIKOVSKY The Nutcracker, Act II evergreen

U 6

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(pk) 413-528-051I • e-mail: [email protected] Wednesday, August 18, at 8:30 Monday, August 23, at 8:30 BOSTON SYMPHONY CHAMBER BOSTON POPS ORCHESTRA PLAYERS KEITH LOCKHART, conductor DAWN UPSHAW, soprano KRISTIN CHENOWETH, vocalist accordion MICHAEL WARD-BERGMAN, An evening of Broadway and television's GUSTAVO SANTAOLALLA, guitar and greatest hits ronroco sound design JEREMY FLOWER, Wednesday, August 25, at 8:30 Music of ROSSINI, DVORAK, and GOLIJOV MARTHA ARGERICH and ALEXANDER GURNING, duo-pianists Thursday, August 19, at 8:30 Music of PROKOFIEV, RACHMANINOFF, CHRISTIAN TETZLAFF, violin and TCHAIKOVSKY LARS VOGT, piano

BRAHMS The Three Violin Sonatas Friday, August 27, at 6 (Prelude) TANGLEWOOD FESTIVAL CHORUS, Friday, August 20, at 6 (Prelude) JOHN OLIVER, conductor MEMBERS OF THE BSO FRANK CORLISS and MARTIN AMLIN, GARRICK OHLSSON, piano pianists Music of CHAUSSON and DVORAK FENWICK SMITH, flute ANN HOBSON PILOT, harp Friday, August 20, at 8:30 Music ofJANACEK and DVORAK BSO—EMMANUEL KRIVINE, conductor LARS VOGT, piano Friday, August 27, at 8:30 MENDELSSOHN Overture, The Fair BSO—CHARLES DUTOIT, conductor Melusine MARTHA ARGERICH, piano BEETHOVEN Piano Concerto No. 1 ALEXANDER GURNING, piano SCHUMANN Symphony No. 4 MOZART Symphony No. 35, Haffner POULENC Concerto for Two Pianos Saturday, August 21, at 10:30 a.m. RAVEL Piano Concerto in G Open Rehearsal (Pre- Rehearsal Talk at 9:30) STRAVINSKY Suite from The Firebird (1919 BSO program of Saturday, August 21 version)

Saturday, August 21, at 8:30 Saturday, August 28, at 10:30 a.m. BSO—EMMANUEL KRIVINE, conductor Open Rehearsal (Pre-Rehearsal Talk at 9:30) CHRISTIAN TETZLAFF, violin BSO program of Sunday, August 29 CLAUDIO BOHORQUEZ, cello ALL-BRAHMS PROGRAM Saturday, August 28, at 8:30 Tragic Overture BSO—CHARLES DUTOIT, conductor Double Concerto for violin and cello ITZHAK PERLMAN, violin Symphony No. 2 BEETHOVEN Violin Concerto STRAVINSKY Petrushka (1911 version) Sunday, August 22, at 2:30 RAVEL La Valse The Leonard Bernstein Memorial Concert TANGLEWOOD MUSIC CENTER Sunday, August 29, at 2:30 ORCHESTRA BSO—HANS GRAF, conductor JAMES DePREIST, conductor MEASHA BRUEGGERGOSMAN, GARRICK OHLSSON, piano MARY PHILLIPS, GORDON GIETZ, and RAYMOND ACETO, vocal soloists BEETHOVEN Piano Concerto No. 4 TANGLEWOOD FESTIVAL CHORUS, MAHLER Symphony No. 1 JOHN OLIVER, conductor BEETHOVEN Symphony No. 9 FUNDING PROVIDED IN PART BY IIP Programs and artists subject to change. film tWA

Massachusetts Cultural Council 2004TANGLEWOOD MUSIC CENTER PERFORMANCE SCHEDULE (Unless otherwise noted, all events take place in Florence Gould Auditorium, Seiji Ozawa Hall.)

Thursday, July 1, 8:30 p.m.* Thursday, July 22, 8:30 p.m. Friday, July 2, 8:30 p.m.* Vocal Recital MARK MORRIS DANCE GROUP and Saturday, July 24, 6 p.m. j> TMC FELLOWS Prelude Concert CRAIG SMITH, conductor Sunday, July 25, 10 a.m. Choreography by MARK MORRIS to music Chamber Music of BACH, BARTOK, and VIVALDI Concert Monday, July 26, 1 p.m. (CMH) Sunday, July 4, 10 a.m. Chamber Music Concert Steinway Series (free admission) Tuesday, July 27, 2:30 p.m. (TH)* Monday, July 5, 1 p.m. (CMH) Opera Open Dress Rehearsal see 29 Steinway Series (free admission) — July & 31 Thursday, July 29, 10 a.m., 1 p.m., 4 p.m. Monday, July 5, 8:30 p.m. String Quartet Marathon: three 2-hour The Daniel and Shirlee Cohen Freed Concert TMC ORCHESTRA performances INGO METZMACHER, conductor Thursday, July 29, 8 p.m. (TH)* and Music of DALLAPICCOLA, Saturday, July 31, 2:30 p.m. (TH)* SCHOENBERG, and BERLIOZ TMC VOCAL FELLOWS & ORCHESTRA STEFAN ASBURY, conductor Wednesday, July 7, 7 p.m. DAVID KNEUSS, director Opening Exercises (free admission; open to and the public) JOHN MICHAEL DEEGAN SARAH G. CONLY, design Saturday, July 10, 6 p.m. «h BRITTEN A Midsummer Night's Dream Prelude Concert Saturday, July 31, 6 p.m.«h Sunday, 10 a.m. July 11, Prelude Concert Chamber Music Concert Sunday, August 1, 10 a.m. (TH) Sunday, July 11, 8:30 p.m. (CMH) Chamber Music Concert Vocal Recital T'ANG QUARTET Monday, July 12, 1 p.m. (CMH) Sunday, August 1, 8:30 p.m.* Steinway Series (free admission) Ozawa Hall 10th Anniversary Celebration Gala Monday, July 12, 8:30 p.m. TMC ORCHESTRA The Phyllis and Lee Coffey Memorial Fund SEIJI OZAWA, JOHN WILLIAMS, and Concert JOHN OLIVER, conductors TMC ORCHESTRA STEPHANIE BLYTHE, mezzo-soprano; KURT MASUR, JOSEPH WOLFE YUNDI LI, piano; MAYUMI MIYATA, sho (TMC Fellow), and HELENE BOUCHEZ BOSTON SYMPHONY CHAMBER (TMC Fellow), conductors PLAYERS ANNALENA PERSSON, soprano TANGLEWOOD FESTIVAL CHORUS Music of MENDELSSOHN, KODALY, and Music of COPLAND, TAKEMITSU, WAGNER BERNSTEIN, LISZT, CHOPIN, WAGNER, and VERDI Saturday, July 17, 6 p.m. J> Prelude Concert Tuesday, August 3, 2 p.m.* TANGLEWOOD ON PARADE Sunday, July 18, 10 a.m. benefit the Tanglewood Chamber Music Concert To Music Center Afternoon performances begin at 2 p.m. Monday, 19, 1 p.m. July (CMH) Gala concert at 8:30 p.m. (Shed) Steinway Series (free admission) BOSTON SYMPHONY, BOSTON POPS, Monday, July 19, 8:30 p.m. and TMC ORCHESTRAS The Margaret Lee Crofts Concert CHRISTOPH VON DOHNANYI, KEITH TMC ORCHESTRA LOCKHART and JOHN WILLIAMS, RAFAEL FRUHBECK DE BURGOS, conductors conductor Music of STRAUSS, BENNETT, Music of HAYDN and STRAUSS WILLIAMS, and TCHAIKOVSKY

(CMH) = Chamber Music Hall ,P Admission is free, but restricted to 8:30 p.m. concert ticket holders. (TH)= Theatre *Tickets available through the Tanglewood box office Saturday, August 7, 6 p.m. J> Sunday, August 22, 2:30 p.m. (Shed)* Prelude Concert The Leonard Bernstein Memorial Concert Supported by generous endowments established in Sunday, August 8, 10 a.m. perpetuity by Dr. Raymond and Hannah H. Chamber Music Concert Schneider, and Diane H. Lupean. Tuesday, August 10, 8:30 p.m. TMC ORCHESTRA Chamber Music Concert JAMES DePREIST, conductor Thursday, August 12—Monday, August 16 GARRICK OHLSSON, piano FESTIVAL OF CONTEMPORARY MUSIC Music of BEETHOVEN and MAHLER Robert Spano, director Except for concerts requiring a Tanglewood box office Made possible by the generous support ofDr. * ticket (indicated by or J>), tickets for TMC events are Raymond and Hannah H. Schneider, with addi- only available one hour before concert time. tional support through grantsfrom The Aaron TMC Orchestra Hall tickets $25 Copland Fundfor Music, The Fromm Music TMC Orchestra Lawn tickets $10 Foundation, and The Helen F Whitaker Fund. Other TMC concerts $10 Guest Soloists: Meridian Arts Ensemble, with TMC recitals, chamber music, and Festival of Con- Helena Bugallo, piano, and Elliott Sharp, temporary Music concerts: Friends of Tanglewood at sound artist; Dawn Upshaw and Lucy the $150 level or higher will receive 2 free tickets to Shelton, sopranos; Norman Fischer, cello these performances by presenting their membership card at the Box Office one hour before concert time. Detailed program information available at the Tickets are $10 for non-members and donors of up Main Gate to $149. TMC Orchestra concerts (July 5, 12, 19; Friends at the $150 level Tuesday, August 17, 8:30 p.m. August 16): of Tanglewood or higher are invited to order a limited number of TMC Chamber Music Concert Orchestra tickets on the Advance Ticket Order Form Thursday, August 19, 1:30 p.m. (TH) at $25 each.

Chamber Music Concert Beginning June 7, donors of $150 or higher may order additional TMC Orchestra tickets, either at the Tan- Saturday, August 21, 6 p.m. J) glewood box office or by calling SymphonyCharge at Prelude Concert (888) 266-1200. Non-members and donors of up to $149 may purchase tickets starting at 7:30 p.m. at the Sunday, August 22, 10 a.m. Bernstein Gate box office on the day of the perform- Vocal Chamber Music Concert ance at prices noted above.

Further information about TMC events is available at the Tanglewood Main Gate, by calling (413) 637- 5230, or at www.bso.org. All programs are subject to change.

2004 BOSTON UNIVERSITY TANGLEWOOD INSTITUTE Concert Schedule (all events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 17, 2:30 p.m. Federico Cortese conducting music of Beethoven and Rachmaninoff; Saturday, July 31, 2:30 p.m. David Hoose conducting music of Vaughan Williams (with Young Artists Chorus) and Stravinsky; Saturday, August 14, 2:30 p.m. David Hoose conducting music of Bartok and Smetana

WIND ENSEMBLE PROGRAMS: Sunday, July 18, 7 p.m. Frank Battisti conducting music of Harbison (with Young Artists Chorus), Corigliano, Dello Joio, Persichetti, Ives, and Grainger; Thursday, July 29, 8 p.m. Frank Battisti conducting music of Strauss, Milhaud, Rands, Massenet, Harbison, and Feltman

VOCAL PROGRAMS: Sunday, July 18, 7 p.m. Frank Battisti conducting music of Harbison (with Young Artists Wind Ensemble); Saturday, July 31, 2:30 p.m. David Hoose conducting music of Vaughan Williams (with Young Artists Orchestra)

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6 p.m. unless otherwise noted: Tuesday, July 20; Wednesday, July 21; Thursday, July 29; Saturday, August 7, 2:30 p.m., Ozawa Hall, Honors Chamber Music Recital; Tuesday, August 10; Wednesday, August 11; Thursday, August 12

Tickets available one hour before concert time. Admission is $10 for orchestra concerts, free for all other BUTI concerts. For more information call (413) 637-1430. In the Berkshires, Nature sets the

Berkshire Performing Arts Calendar Shaker Mountain Opera at Berkshire August 1-31, 2004 Community College Pittsfield, (800) 588-9757 www. Shakermountainopera. org Barrington Stage Company Fully staged productions ofFaust, Magic Flute and Sheffield, (413) 528-8888 Tales ofHoffmann. Operas for kids. www.bariingtonstageco.org

Choral Masterpieces — 225 voices, soloists, Springfield Shakespeare & Company Symphony. 8/7 Dvorak Requiem 8 pm. Lenox, (413) 637-3353 www.shakespeare.org Berkshire Choral Festival 77?^ comedy of errors, Shakespeare's 3-Ring Circus, Sheffield, (413) 229-1999 plays Founders' Theatre Tues.-Sat. www.choralfest.org — Choral Masterpieces 225 voices, soloists, Springfield Berkshire Museums & Art Centers Symphony 8/7 Dvorak Requiem 8 pm. Calendar - August 1-31, 2004

Berkshire Music School A Chapel For Humanity Pittsfield, (413)442-1411 North Adams, (413) 664-9550 Music education for all ages. Private lessons and www.darkrideproject.org chamber ensembles. Open year round. A Chapel For Humanity; Sculptural Epic and 9/11 Room. Free Admission, Wed. -Sun. 12-5. Berkshire Theatre Festival Stockbridge, Box: (413) 298-5576 Berkshire Botanical Garden www. berkshiretheatre .org Stockbridge, (413) 298-3926 Miracle Worker - 8/1-14; Misanthrope - 8/17-9/4; www.berkshirebotanical.org Eugenes Home — 8/4-21; Goes Without Saying — Beautiful display gardens open daily 10-5. Flower 8/24. Show 8/7-8, Arts & Crafts Show 8/21-22.

Jacob's Pillow Dance Festival Berkshire Museum Becker, (413) 243-0745 Pittsfield, (413) 443-7171 www.jacobspillow.org www.berkshiremuseum.org Americas premier dance festival plus FREE talks & Presence ofLight Contemporary Artists explore the showings. Boston Ballet, 8/25 - 8/29. possibilities July 2 — October 31.

The Miniature Theatre of Chester Bidwell House Museum Chester, (413) 354-7771 Monterey, (413) 528-6888 www.miniaturetheatre.org www.bidwellhousemuseum.org "The Gem ofthe Berkshires. " The Pavilion 7/28 — Restored parsonage, c. 1750, superb collection of 8/15; So Long Sleeping Beauty 8/18 - 29. antiques & decorative arts. Daily tours, 11-4.

Music More in the Meeting House & Bryant Homestead New Marlborough, (413) 229-3126 Cummington, (413) 634-2244 www.newmarlborough.org www.thetrustees.org Tanglewood Marionettes 8/14, 3 pm. Silentfilm Greenwood Music Camp performance on the Bryant show with live music "The General" 4:30 pm. lawn. Sunday, 8/1, 3:30pm. Free.

Berkshire Visitors Bureaus Cultural Alliance would like tc Studley Press, Inc. for donating these pages. scene and Culture steals the show.

Chesterwood The Mount, Edith Wharton's Estate & Gardens Stockbridge, (413) 298-3579 Lenox, (413) 637-6900 www.chesterwood.org www.EdithWharton.org Contemporary sculpture at Chesterwood until Oct. Tours, Designer Showhouse, Monday & Thursday 11. August 27-29 River Summer Flower Show. Lectures, Terrace Cafe. Daily 9 a.m. — 5 p. m.

Crane Museum of Papermaking Norman Rockwell Museum Dalton, (413) 684-6481 Stockbridge, (413) 298-4100 www.crane.com www.nrm.org Crane Museum ofPaper Making, June — mid- Hometown Hero, Citizen ofthe World: Rockwell in October, 2-5 pm. FREE ADMISSION. Stockbridge through October 31, 2004.

Dark Ride Project Sheffield Historical Society North Adams, (413) 664-9550 Sheffield, (413) 229-2694

www.darkridep roj ect . org www.sheffieldhistory.org

Take a ride on the Sensory Integrator. Wed.-Sun. 12- Historic house tours Thurs. — Sat. 11-4. Changing

5. Unusual andfun! exhibits & shopping at the Old Stone Store.

The Eric Carle Museum of Picture Book Art Sterling and Francine Clark Art Institute Amherst, (413)658-1100 Williamstown, (413) 458-2303 www. picturebookart. org www.clarkart.edu Mordicai Gerstein: The Man Who Walked Between "Bonjour, Monsieur Courbet!"feature 75 master- the Towers. Aug. 17 — Dec. 5. pieces of 19th-century French art 6/27-9/6.

Frelinghuysen Morris House & Studio Ventfort Hall, Museum of the Gilded Age Lenox, (413) 637-0166 Lenox, (413) 637-3206

www.frelinghuysen.org www. gildedage . o rg

Modernist house & masterpieces. Richard Nunley lec- Tours daily 10-3. Xingu adapted Wharton story per- ture Aug. 20 5 pm. Housatonic River Celebration! formed Wed./Thu./Fri. 7:30, Sat. 4, Sun. 10.

Hancock Shaker Village Williams College Museum of Art Pittsfield, 443-0188 (413) Williamstown, (413) 597-2429 www.hancockshakervillage.org www.wcma.org History hands-on all— 20 buildings, & fun for farm On View: Ezra Stoller: Architectural photography. & animals, crafts, exhibits. Kids free. Admission is free.

Herman Melville's Arrowhead Pittsfield, (413) 442-1793 www.mobydick.org Here's looking At Ewe Exhibitfor Sheeptacular — decorated sheep, photos, artifacts. ERKSHIRE America's Premier CulturalResort MASSMoCA North Adams, (413) MOCA 111 While you're in the Berkshires, be sure to come www.massmoca.org see the Berkshire Visitors Bureau's new Matthew Ritchie, Hamilton, Interventionists Ann & "Discover the Berkshires" Visitors Centers in Adams plus Bill Jones/Arnie Oct. 1-3. T Zane and Pittsfield. Enjoy displays, multimedia

presentations, and grab the lastest information on

Berkshire attractions.

Berkshire Visitors Bureau • 800-237-5747 • www.berkshires.org 3 Hoosac Street • Adams, MA and 121 South Street • Pittsfield, MA Call 1-800-FIDELITY Click Fidelity.com Visit Fidelity Investor Centers

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# ''/#, *%s BUSINESS FRIENDS OFTANGLEWOOD

The BSO gratefully acknowledges the following for their generous contributions of

$500 or more during the 2003-2004 fiscal year. An eighth note symbol ( «h) denotes support of $l,000-$2,499. Names that are capitalized recognize gifts of $2,500 or more.

Banking J>Ray Murray Inc. BUSINESS FRIENDS TEN Pittsfield Generating Company Adams Cooperative Bank recognizing gifts of$10,000 BANKNORTH VIKING FUEL OIL or more BERKSHIRE BANK COMPANY, INC. Banknorth Greylock Federal Credit Union Engineering Berkshire Bank Lee Bank edm Blantyre LEGACY BANKS architecture • engineering • Canyon Ranch in the Berkshires Lenox National Bank management County Curtains «hThe Pittsfield Cooperative Bank Foresight The Red Lion Inn South Adams Savings Bank Land Services ^General Systems Co., Inc. Beverage/Food Sales/Consumer Accounting/Tax Preparation Goods/Distribution Environmental Services Adelson 8c Company RC. ^Crescent Creamery Foresight Land Services Feldman, Holtzman, Lupo 8c GOSHEN WINE 8c SPIRITS, MAXYMILLIAN Zerbo, CPAs INC. TECHNOLOGIES, INC. Mark Friedman, CPA jGuido's Quality Food 8c Produce, Nowick Environmental Associates JWarren H. Hagler Associates Inc. Financial Services Michael G. Kurcias, CPA High Lawn Farm Alan S. Levine, PC, CPA KOPPERS CHOCOLATE American Investment Services ^Riley, Haddad, Lombardi 8c Moore Fine Food, Inc. jAbbott Capital Management, Clairmont LLC Sax, Macy, Fromm 8c Co., PC. Consulting: BANKNORTH Management/Financial BERKSHIRE CAPITAL Advertising/Communications/ American Investment Services INVESTORS, INC. Public Relations BERKSHIRE BANK JMi. and Mrs. Monroe Faust Ed Bride Associates Saul Cohen 8c Associates THE FEDER GROUP Heller Communications ComPiere ERP/CRM J>Kaplan Associates L.P JlJDC Communications ^General Systems Co., Inc. The Keator Group Teletime Media Inc. j>Leading Edge Concepts Sagemark Corporation Locklin Management Services MARK SELKOWITZ Antiques/Art Galleries J^Marlebar Group INSURANCE AGENCY, .hElise Abrams Antiques J^Pilson Communications, Inc. LLC jGoffman's Antiques Markets J>RL Associates UBS Financial Services .hCountry Dining Room Antiques South Adams Savings Bank jAndrew Collins Vickery Cupboards 8c Roses High Technolgy/Electronics DeVries Fine Art Contracting/Building Supplies Fellerman 8c Raabe Glassworks Alarms of Berkshire County New England Dynamark Security Green River Gallery Lou Boxer Builder, Inc. Center Henry B. Holt Cardan Construction, Inc. J>New Yorker Electronics Co., Inc. Susan Silver Antiques Dettinger Lumber Co., Inc. Insurance Stone's Throw Antiques DRESSER-HULL COMPANY Watkins Gallery Great River Construction Bader Insurance Agency, Inc. R.W. Wise, Goldsmiths, Inc. Company, Inc. BERKSHIRE LIFE i'Petricca Construction Co. INSURANCE COMPANY Architects/Landscape S 8c A Supply, Inc. OF AMERICA Denig Design Associates, LEGACY Inc. David J. Tierney Jr., Inc. BANKS edm PETER D. WHITEHEAD, McCormick, Smith 8c Curry architecture • engineering • BUILDER Minkler Insurance Agency, Inc. management Reynolds, Barnes 8c Hebb JFour Architecture Inc. Education MARK SELKOWITZ Hill Engineers, Architects, Belvoir Terrace-Fine and INSURANCE AGENCY, Planners, Inc. Performing Arts Center LLC i^Edward Rowse Architects Berkshire Country Day School Wheeler 8c Taylor Inc. Pamela Sandler AIA, Architect Berkshire Stuttering Center Legal jGamp Greylock Automotive Robin Kruuse jFrank E. Antonucci, Attorney at J>Norman Baker Auto Sales, Inc. Massachusetts College of Liberal Law J^Biener Nissan-Audi Arts JOHN A. BARRY, ATTORNEY Pete's Motor Group AT LAW S8cW Sales Co. Inc. Energy/Utilities J^Braverman 8c Associates The Berkshire Gas Company CAIN, HIBBARD, MYERS 8c ESCO Energy Services Co. COOK, PC Massachusetts Electric Company jGertilman, Balin Judy Drucker's T SS CP^^ A - ,£^J!2N A not-for-profit organization Premier Presenters of the World's Greatest Music & Dance

Board chair '•*:* Chaim Katzman, [udy Drucker, president

We Conduct Some Serious

Business in South Florida... M Druder

Sure, the sun shines year round in Miami and Fort

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Claire's """" " " ' MIAMI BtACH cultural. BROWARD Art/ C COUNTY COUNCIL arVbMcKco* Yuri Simonov \pjv^ IM1JPD Raphael Fruhbeck de Burgos

These concerts are sponsored by the Concert Association of Florida, Inc., with the support of the Florida Dept. of State, Division of Cultural Affairs and the Florida Arts Council; the Broward County Board of County

Commissioners, the Broward Cultural Affairs Council and the Miami-Dade County Board of County Commissioners, the City of Miami Beach and the Miami Beach Cultural Arts Council A copy of the registration and financial information may be obtained from the division of Consumer Services by calling toll-free 1-800-435-7325 within the slate. Registration does not imply endorsement, approval or recommendation by the

state. All performances, artists, dates, venues and programs are subject to change. No refunds or exchanges. Latecomers will not be seated until the first suitable break in the performance. Cianflone 8c Cianflone, P.C. SHEFFIELD PLASTICS, INC., ^Ward's Nursery 8c Garden Center Hill Garden J>Michael J. Considine, Attorney at A BAYER COMPANY Windy Farm Law J^SpaceNow! Corporation Center/Nursery Deely 8c Deely R.W. Wise, Goldsmiths, Inc. Printing/Publishing Law Office ofJoel S. Greenberg, Science/Medical P.C. J>Barry L. Beyer Grinnell, Dubendorf 8c Smith CRANE 8c COMPANY, INC. J>510 Medical Walk-In Philip F. Heller 8c Associates, Pindar Press Berkshire Eye Center Attorneys at-Law Quality Printing Company, Inc. Berkshire Medical Center Jonas and Welsch, P.C. THE STUDLEY PRESS Berkshire Stuttering Center Ellen C. Marshall, Esq. WALDEN PRINTING Dorella L. Bond, Ph.D. J^Schragger, Lavine 8c Nagy COMPANY jMichael Ciborski, M.D. .hLester M. Shulklapper, Esq. J>Lewis R. Dan, M.D. Real Estate Irving Fish, M.D. Lodging/Where to Stay J>Barrington Associates Realty Dr. Elliot Greenfeld A Bed 8c Breakfast in the Trust JGTL Inc., Link to Life Berkshires Benchmark Real Estate jTeon Harris, M.D. Applegate Inn Berkshire Homes and Condos Kimball Farms Lifecare APPLE TREE INN 8c Berkshire Mortgage Company Retirement Community RESTAURANT jGohen 8c White Associates Carol Kolton, LCSW Best Western Black Swan Inn Copake Realty William Knight, M.D. Birchwood Inn Corashire Realty Inc. /Long Island Eye Physicians and BLANTYRE i>Evergreen Buyer Brokers of the Surgeons Broken Hill Manor Berkshires Northeast Urogynecology

Brook Farm Inn /Franz J. Forster Real Estate Donald Wm. Putnoi, M.D. .hChristine's Bed 8c Breakfast Inn INLAND MANAGEMENT The Austen Riggs Center 8c Tea Room CORP. Robert K. Rosenthal, M.D. jGliffwood Inn P8cL Realty J^Royal Health Care Services of CORNELL INN Roberts 8c Associates Realty, Inc. N.Y /Cranwell Resort, Spa, and Golf Rose Real Estate - Coldwell Sugar Hill Mansion-A Club Banker Retirement Community Devonfield Country Inn Stone House Properties, LLC Services From Ketchup to Caviar Dennis G. Welch Real Estate jThe Gables Inn Wheeler 8c Taylor, Inc. /Abbott's Limousine 8c Livery Gateways Inn 8c Restaurant Service Restaurants/Where Howard Johnson to Eat Adams Laundry and Dry The Inn at Richmond APPLE TREE INN 8c Cleaning Company .[The Inn at Stockbridge RESTAURANT Alarms of Berkshire County Monument Mountain Motel Applegate Inn Berkshire Eagle (New England One Main B8cB BLANTYRE Newspapers) The Porches Inn at MASSMoCA .hCafe Lucia Boulderwood Design The Red Lion Inn Church Street Cafe /'Christine's Bed 8c Breakfast Inn j'Rookwood Inn Firefly 8c Tea Room SATINWOOD AT From Ketchup to Caviar Dery Funeral Home SCARNAGH Gateways Inn 8c Restaurant New England Dynamark Security Spencertown Country House THE RED LION INN Center STONOVER FARM BED 8c The Village Inn Richmond Telephone Company BREAKFAST WHEATLEIGH HOTEL 8c S 8c K Brokerage Taggart House RESTAURANT ^Security Self Storage The Village Inn Tobi's Limousine 8c Travel ^Walker House Retail/Where to Shop Service The Weathervane Inn Arcadian Shop Software/Information Systems WHEATLEIGH HOTEL 8c Bare Necessities Fine Lingerie RESTAURANT COUNTRY CURTAINS /Berkshire Information Systems Whistler's Inn DRESSER-HULL COMPANY Inc. Windflower Inn Fellerman 8c Raabe Glassworks ComPiere ERP/CRM The Yankee Home Comfort Inn Gatsbys New Yorker Electronics Co., Inc. HOUSATONIC CURTAIN .hPilson Communications, Inc. Manufacturing/Industrial COMPANY Tourism/Resorts /Barry L. Beyer Kenver, Ltd. BROADWAY MANUFAC- KOPPERS CHOCOLATE Berkshire Chamber of Commerce TURING SUPPLY Limited Edition Lighting 8c CANYON RANCH IN THE /French Textiles Custom Shades BERKSHIRES /The Kaplan Group Pamela Loring Gifts and Interiors J>Cranwell Resort, Spa, and Golf KOPPERS CHOCOLATE Nejaime's Wine Cellar Club Limited Edition Lighting 8c jTaul Rich and Sons Home Jiminy Peak Custom Shades Furnishings Taggart House MeadWestvaco Corporation Mary Stuart Collections Plastics Technology Laboratories, TALBOTS CHARITABLE Inc. FOUNDATION Schweitzer-Mauduit International The Don Ward Company Names listed as ofMay 15, 2004 Inc. Hello, I Must Be Changing

lives change constantly. We never know woman vision, she scans the horizon for role mod- Ourwith precision what we will face tomorrow. els. Joan of Arc? Britney Spears? Aunt Nancy? So when tomorrow comes, we have to be And what about her life's work? Biochemist? ready to confront the need for a new approach Poet? Entrepreneur? openly, creatively, and willingly. If we are stuck and She may announce her career choice to the world cannot respond, determined to hold onto yester- at lunch only to change her mind by dinner. In the day's solutions, we are in trouble. right environment, though, she will have the feeling

How can we make certain that the future leaders that she is searching, not being whimsical or silly. of our country will be able to manage a changing She learns then that change is a part of life, not a world successfully? How do we help students threat to it. She sees that she is doing important develop both the skill and the inner strength to be work, not just pretending. Changing is difficult and fluent, indeed inspired, in the task of evaluation, best done in a confident community. Surrounded response, and innovation? by steady and wise adults, a girl is reassured that her own inner testing and doubt do not shake the When we are teaching adolescent girls about foundations of the community around her. change, we do not have to create clever lessons based on simulations and change models. The cur- Finally, a girl begins to reset, that is, she begins to riculum is constantly present, staring girls in the integrate her new ideas and perspectives into a face. Ready or not, their bodies, minds, emotions, new self-concept. Teachers everywhere are famil- relationships, and ideas shift dramatically and daily. iar with this phenomenon, which is why we are not surprised to notice, in about January every year, So, change for adolescents is a certainty. How that seniors suddenly seem grown up and ready to well they do it, though, is another matter. Both leave, distinctly more mature than ever before. ends and means are important. On the one hand High school has served its purpose. Girls are is the goal of becoming a healthy, effective person, ready to take their new selves into the world. but on the other is the quality of the change process itself. It is the way in which the challenges The emergence of a new grown-up persona is only of adolescence are met that forms the underlying part of the success. Secure in what she has pattern of adult coping skills. accomplished, a girl now knows that she can manage change with resolve. She has found a creative Kurt Lewin, a founder of modern social psycholo- style. She will approach other challenges pur- gy, identifies three phases in change cycles that posefully. Most importantly, she will embrace are analogous to the phases through which a girl change, her life-long companion, with the confi- travels as she says goodbye to the child she used dence that only early success can bring. to be and begins to form the young woman she will become. There is a time of unfreezing, then How can we make certain that the future leaders changing, and finally a girl resets. of our country will be able to manage a changing world successfully? Encourage them to take The pre-teen girl knows herself well. Hello Kitty, healthy risks, be there to listen, share coping butterfly clips, and Beanie Babies define her world. strategies, and express certainty about their ability Then, one morning, it's over. What made sense to succeed. From this secure base, they will sense for so long doesn't anymore. A girl is beginning to that life is about growth, not defensive posturing. let go of the younger child, a friend she knew well. They will trust that the sky is not falling when hard

The growing girl will, at this point, change every- times come along. If we, the adults in girls' lives, thing from friendships to her mind as she tries on have patience for the journey and reverence for the different roles for size and fit. Gathering data on process, girls will become the courageous innova- what to incorporate into her emerging young- tors our world needs them to be.

MISS HALL'S SCHOOL

492 Holmes Road, Pittsfleld, MA 01201 • (800) 233-5614 • Fax (413) 448-2994 • www.misshalls.org

GIRLS' SECONDARY BOARDING AND DAY SCHOOL FOUNDED IN 1898 TANGLEWOOD MUSIC CENTER & TANGLEWOOD FESTIVAL ENDOWMENT CONTRIBUTORS

Tanglewood Music Center Fellows pay no tuition and are offered essentially free room and board. Their residency at Tanglewood is underwritten largely through annual and endowed Fellowships. The TMC faculty includes many of the world's finest musical artists, some of them teaching through the generosity of donors who have endowed artists' positions. The Tanglewood Music Center and the Tanglewood Festival gratefully acknowledge the endowment support of the contributors represented below. For further information please contact Judi Cantor, Director of Major and Planned Giving, at (413) 637-5275.

ENDOWED ARTIST POSITIONS Armando A. Ghitalla Fellowship Berkshire Master Teacher Chair Fund Fernand Gillet Memorial Fellowship Edward and Lois Bowles Master Teacher Chair Fund Marie Gillet Fellowship Richard Burgin Master Teacher Chair Fund Haskell and Ina Gordon Fellowship Charles E. Culpeper Foundation Master Teacher Chair Florence Gould Foundation Fellowship Fund John and Susanne Grandin Fellowship Eleanor Naylor Dana Visiting Artists Fund William and Mary Greve Foundation-

Vic Firth Master Teacher Chair Fund, endowed by Mr. John J. Tommaney Memorial Fellowship and Mrs. Henry Wheeler Luke B. Hancock Foundation Fellowship Barbara LaMont Master Teacher Chair Fund William Randolph Hearst Foundation Fellowship Renee Longy Master Teacher Chair Fund, gift of Jane C. D. Jackson Fellowship and John Goodwin Paul Jacobs Memorial Fellowship Harry L. and Nancy Lurie Marks Tanglewood Artist- Lola and Edwin Jaffe Fellowship In-Residence Billy Joel Keyboard Fellowship Marian Douglas Martin Master Teacher Chair Fund, Susan Kaplan Fellowship endowed by Marilyn Brachman Hoffman Steve and Nan Kay Fellowship Beatrice Sterling Procter Master Teacher Chair Fund Robert and Luise Kleinberg Fellowship

Sana H. and Hasib J. Sabbagh Master Teacher Chair Mr. and Mrs. Allen Z. Kluchman Memorial Fund Fellowship Surdna Foundation Master Teacher Chair Fund Dr. John Knowles Fellowship Stephen and Dorothy Weber Artist-In-Residence Naomi and Philip Kruvant Family Fellowship Donald Law Fellowship ENDOWED FULL FELLOWSHIPS Barbara Lee/Raymond E. Lee Foundation Fellowship Jane W. Bancroft Fellowship Bill and Barbara Leith Fellowship Bay Bank/BankBoston Fellowship Edwin and Elaine London Family Fellowship Leonard Bernstein Fellowships Stephanie Morris Marryott &

Edward S. Brackett, Jr. Fellowship Franklin J. Marryott Fellowship

Frederic and Juliette Brandi Fellowship Robert G. McClellan, Jr. & IBM Matching Grants Jan Brett and Joe Hearne Fellowship Fellowship Rosamund Sturgis Brooks Memorial Fellowship Merrill Lynch Fellowship Tappan Dixey Brooks Memorial Fellowship Messinger Family Fellowship

BSAV/Carrie L. Peace Fellowship Ruth S. Morse Fellowship

Stanley Chappie Fellowship Albert L. and Elizabeth P. Nickerson Fellowship Alfred E. Chase Fellowship Northern California Fellowship Clowes Fund Fellowship Seiji Ozawa Fellowship

Harold G. Colt, Jr. Memorial Fellowship Theodore Edson Parker Foundation Fellowship Andre M. Come Memorial Fellowship Pokross/Fiedler/Wasserman Fellowship Caroline Grosvenor Congdon Memorial Fellowship Lia and William Poorvu Fellowship Margaret Lee Crofts Fellowship Daphne Brooks Prout Fellowship Charles E. Culpeper Foundation Fellowship Claire and Millard Pryor Fellowship Darling Family Fellowship Rapaporte Foundation Fellowship Omar Del Carlo Fellowship Harry and Mildred Remis Fellowship Otto Eckstein Family Fellowship Peggy Rockefeller Memorial Fellowship Friends of Armenian Culture Society Fellowship Carolyn and George R. Rowland Fellowship Judy Gardiner Fellowship Saville Ryan/Omar Del Carlo Fellowship Athena and James Garivaltis Fellowship Wilhelmina C. Sandwen Memorial Fellowship Merwin Geffen, M.D. and Norman Solomon, M.D. Morris A. Schapiro Fellowship Fellowship Edward G. Shufro Fund Fellowship Juliet Esselborn Geier Memorial Fellowship Starr Foundation Fellowship

Continued on next page nine: i\j vykji i\, liiiic lu icia

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800.558.5466 or 617.779.1918 • commonwealthlimo.com Donald C. Bowersock Tanglewood Fund Anna Sternberg and Clara J. Marum Fellowship Miriam H. and S. Sidney Stoneman Fellowships Gino B. Cioffi Memorial Prize Fund Surdna Foundation Fellowship Phyllis and Lee Coffey Memorial Concert Fund James and Caroline Taylor Fellowship Aaron Copland Fund for Music

William F. and Juliana W. Thompson Fellowship Margaret Lee Crofts Concert Fund Ushers/Programmers Instrumental Fellowship in honor Margaret Lee Crofts TMC Fund of Bob Rosenblatt Paul F. and Lori A. Deninger DARTS Scholarship Ushers/Programmers Vocal Fellowship in honor of Fund Harry Stedman Alice Willard Dorr Foundation Fund Wallace-Reader's Digest Fund Fellowship Carlotta M. Dreyfus Fund Max Winder Memorial Fellowship Virginia Howard and Richard A. Ehrlich Fund Jerome Zipkin Fellowship Selly A. Eisemann Memorial Fund Elise V. and Monroe B. England Tanglewood Music ENDOWED HALF FELLOWSHIPS Center Fund

Mr. and Mrs. David B. Arnold, Jr. Fellowship Honorable and Mrs. John H. Fitzpatrick Fund Kathleen Hall Banks Fellowship Daniel and Shirlee Cohen Freed Concert Fund Leo L. Beranek Fellowship Ann and Gordon Getty Fund Felicia Montealegre Bernstein Fellowship Gordon/Rousmaniere/Roberts Fund Sydelle and Lee Blatt Fellowship Grace Cornell Graff Fellowship Fund for Composers Brookline Youth Concerts Awards Committee at the TMC Fellowship Heifetz Fund Helene R. and Norman L. Cahners Fellowship Mickey L. Hooten Memorial Award Fund Marion Callanan Memorial Fellowship Grace Jackson Entertainment Fund Nat Cole Memorial Fellowship Grace B. Jackson Prize Fund Harry and Marion Dubbs Fellowship Paul Jacobs Memorial Commissions Fund Daniel and Shirlee Cohen Freed Fellowship Louis Krasner Fund for Inspirational Teaching and Dr. Marshall N. Fulton Memorial Fellowship Performance, established by Marilyn Brachman Gerald Gelbloom Memorial Fellowship Hoffman Arthur and Barbara Kravitz Fellowship William Kroll Memorial Fund Bernice and Lizbeth Krupp Fellowship Dorothy Lewis Fund Philip and Bernice Krupp Fellowship Kathryn & Edward M. Lupean & Diane Holmes Edward H. and Joyce Linde Fellowship Lupean Fund Lucy Lowell Fellowship Samuel Mayes Memorial Cello Award Fund Morningstar Family Fellowship Charles E. Merrill Trust TMC Fund Stephen and Persis Morris Fellowship Northern California TMC Audition Fund Hannah and Raymond Schneider Fellowship Herbert Prashker Fund Pearl and Alvin Schottenfeld Fellowship Renee Rapaporte DARTS Scholarship Fund Edward G. Shufro Fund Fellowship Mr. and Mrs. Ernest H. Rebentisch Fund Evelyn and Phil Spitalny Fellowship Jules C. Reiner Violin Prize Fund R. Amory Thorndike Fellowship Elaine and Harvey Rothenberg Fund Augustus Thorndike Fellowship Rothenberg/Carlyle Foundation Fund Sherman Walt Memorial Fellowship Helena Rubinstein Fund

Edward I. and Carole Rudman Fund ENDOWED SCHOLARSHIPS Lenore S. and Alan Sagner Fund Maurice Abravanel Scholarship Renee D. Sanft Fellowship Fund for the TMC Eugene Cook Scholarship Hannah and Ray Schneider TMCO Concert Fund * Dorothy and Montgomery Crane Scholarship Maurice Schwartz Prize Fund by Marion E. Dubbs William E. Crofut Family Scholarship Ruth Shapiro Scholarship Fund Ethel Barber Eno Scholarship Dorothy Troupin Shimler Fund

F. Richard Gold Memorial Scholarship Asher J. Shuffer Fund Leah Jansizian Memorial Scholarship Evian Simcovitz Fund Miriam Ann Kenner Memorial Scholarship Albert Spaulding Fund Andrall and Joanne Pearson Scholarship Jason Starr Fund Mary H. Smith Scholarship Tanglewood Music Center Composition Program Cynthia L. Spark Scholarship Fund Tisch Foundation Scholarship Tanglewood Music Center Opera Fund TMC General Scholarship Fund ENDOWED FUNDS SUPPORTING THE Denis and Diana Osgood Tottenham Fund

TEACHING AND PERFORMANCE PROGRAMS The Helen F. Whitaker Fund

Anonymous (1) John Williams Fund George W and Florence N. Adams Concert Fund Karl Zeise Memorial Cello Award Fund Eunice Alberts and Adelle Alberts Vocal Studies Fund* Bernard and Harriet Bernstein Fund

George & Roberta Berry Fund for Tanglewood ^Deferred gifts Peter A. Berton Fund Listed as ofJune 4, 2004 2

EDUCATIONAL DIRECTORY

Celebrates the Arts AAG's rigorous college preparatory program includes unique offerings in visual and performing arts.

140 Academy Rd. • Albany, NY 12208 • 518.463.2201 www.albanyacademyforgirls.org

i -M

A leader in girls' education... Darrow School: WESTOVER SCHOOL An extraordinary community Middlebury, CT A #^^ • Co-ed boarding and day school •Bry — —KtV- for grades 9-1 IT Ik ^^b • Average class size: 9 students

• Challenging, hands-on,

college-preparatory curriculum Rigorous College Prep Program for Girls • Attentive, involved faculty Boarding and Day, Grades 9-12

• Strong college placement record Collaborative Programs With: The Manhattan School of Music and Juilliard The School of Dance Connecticut Come and see us! Rensselaer Polytechnic Institute 518-794-6006 Seven Angels Theatre www.darrowschool.org For more information, please contact:

Darrow School Office ofAdmission 110 Darrow Road, New Lebanon, NY P.O. Box 847 Middlebury, CT 06762 Phone: (203)758-2423 years hands-on education in the Berkshires 70 of website: www.westoverschool.org See how muchyour child can learn. CAPITAL AND ENDOWMENT CONTRIBUTORS

The Boston Symphony Orchestra is committed to providing the highest caliber performances and education and community outreach programs, and to preserving its world-renowned concert facilities. Contributions from donors and income from the endowment support 40 percent of the annual budget. The BSO salutes the donors listed below who made capital and endowment gifts of $10,000 or more between

May 1, 2003, and June 3, 2004. For further information, contact Judi Taylor Cantor, Director of Major and Planned Giving, at (413) 637-5275.

$1,000,000 and Up Mrs. William H. Congleton Mrs. Mischa Nieland and Kate and Al Merck Dr. Michael L. Nieland Estate of Elizabeth B. Storer

$250,000-5499,999

Anonymous (3) The Messinger Family

$100,000-$249,999

Anonymous (2) Estate of Dr. and Mrs. Nelson Saphir Mr. William I. Bernell Estate of Dorothy Troupin Shimler Catherine and Paul Buttenwieser Jeanne H. Wolf, in memory of Estate of Mrs. Janet M. Halvorson Gottfried Wilfinger Mr. William R. Hearst III National Park Service, US Dept. of the Interior Save Americas Treasures

$50,000-$99,999 Anonymous (1) Ms. Helen Salem Philbrook The Behrakis Foundation Estate of Mr. Robert W. Stewart Estate of Clarita Heath Bright Mr. and Mrs. Stephen R. Weiner Estate of Mrs. Pierre de Beaumont Mr. and Mrs. Disque Deane

$25,000-$49,999

Anonymous (2) Estate of George F. and Elsie Hodder Mr. and Mrs. James L. Bildner The Richard P. and Claire W. Morse Cynthia and Oliver Curme Foundation Ms. Ann V. Dulye Estate of David R. Pokross Mrs. Harriett M. Eckstein Estate of Dr. Charles Reiner Estate of Frances Fahnestock Estate of Madelaine G. von Weber Estates of Harold K. Gross and The Cornelius and Muriel Wood Evelyn F. Gross Charity Fund

Continued. —

-ct SUMMER READING

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iTHOMAS CAHIU Author of Hor Tlr Insb Sard CaAzabom and TV Gift of tix Jan •SAILING THE WINE DARK SEA Why the Greeks Matter

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DAVID OF HEAVEN GUTERSON On July 24,1934. a woman and tier infant daughter were auiHMOf SNOW FALLING ON CEDARS murdered by two brothers who believed they were ordered

to kill by God. The roots ol their crime lie deep in the

history of an American religion practiced by millions...

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BUSINESS FRIENDS OF Tanglewood

Tanglewood generates more than $60 million for the

local economy. Tanglewood Business Friends provide

operating support, underwrite educational programs,

and fund fellowships for aspiring young musicians at

the Tanglewood Music Center.

To become a Business Friend of Tanglewood,

call Pam Malumphy at:

(413) 637-5174 '

Favorite Restaurants of the Berkshires

LENOX 218 RESTAURANT cucirtA rmLuwfa 218 MAIN ST. 'Enjoy Authentic Italian LENOX 18 J [2 637-4218 'food in the. 'Ber^sfures Lunch - Dinner - Sunday Brunch ivww.trattoria-vcsuvio.com Cafe Menu - Lite Fare VRjVFIKXltJA "IL

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La 5ruschetta Tood & Wine To Go THE BEST OF THE RIGHT PICNIC!

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La Terrazza. A distinct

Bar and Lounge in downtown Lenox. Open daily

until midnight. Serving light fare, self-indulgent desserts and the largest selection of single malts in Berkshire County.

The Gateways Inn and Restaurant.

Old world charm at its best. Exceptional accommodations. Gourmet dining in a cozy, candlelit atmosphere. Take-out picnics. Recommended by Santee Magazine. Wine Spectatoraward winner since 2002.

voted Best Overall Restaurant Steaks Maine Lobster Prime Rib Fresh Seafood Extensive Salad Bar

Sunday Brunch Buffet- Best in the Berkshires si Reservations Phone Ahead Seating

413-499-7900 Pittsfield/Unox Line 51 Walker Street, Lenox, MA

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• LUNCH DINNER BRUNCH •

The new Berkshire

restaurant everyone

is talking about...

furnished by the

finest American craft

artists. Everything

is for sale, with a stunning &

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menu. ESQ| Imagine sipping moonlight on a golden pond. 17 Railroad Street, Great Harrington (413) 528-4343

Dine In An Authentic 1771 Inn *k American just a milefrom Tangleivood Craftsman Cafe Breakfast • English Tea • Dinner 16 Church St >& 637-0020 Stockbridge Lenox

One block from Red Lion Inn, yellow house - corner

Maple & Rt. 7, Stockbridge. Parking on premises.

All major credit cards. Reservations suggested: BOMBAY *413 298 0250* Classic Indian Cuisine At Best western, RT 20 LEE, MA 413 243 6731 www.fineindiandining.com

Fine European-style Chocolate Cafe

Pastry Picnic Kjhocolaie Springs Cafe Ice Cream & Sorbets The Lenox Shops • Route 7, Lenox, MA (1 mile North ofHistoric Lenox Village) After Concert (413) 637-9820 • www.chocolatesprings.com Hours Cjxperience Cjnocola/e Ulierapu" Northampton/Amherst Area

It's a Victorian Staircase

carved in 1870 (Some/to-

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**i)

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Delta, the Official Airline of the Boston Symphony Orchestra, is proud to work in partnership with many exceptional arts organizations worldwide. By providing in-kind donations and company resources, we hope to keep the arts a vital part of our community

Photograph by Michael Lutch The Fairmont Royal York, Toronto

Fairmont Hotels & Resorts is proud to be the Official Hotel of the Boston Symphony Orchestra Fairmont Hotels & Resorts

is a unique collection and the Boston Pops. of 40 world-class hotels locatt ww.fairmont.com 800 441 1414 6172675300 in six countries. H A B AT AT GALLERIES

Specializing In Contemporary Glass

Since 1971

~m *'

115 STATE ROAD GREAT BARRINGTON, MA 01 230 413.528.9123

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5>^e

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