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Boston Symphony Orchestra Concert Programs, Summer, 1972

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Boston Symphony Orchestra Concert Programs, Summer, 1972 lanaewoDd 1972 (festival of (Contemporary zJfrCusic August 4 - August 10, 1972 Sponsored by the BERKSHIRE MUSIC CENTER in cooperation with the FROMM MUSIC FOUNDATION ' PERSPECTIVES OF NEW MUSIC] A special double issue for 1971 featured a 175-page arti- cle entitled Stravinsky (1882-1971): A Composer's Memo- rial, with pictures and reproductions of Stravinsky man- Benjamin Boretz/Editor uscripts, including those for The Rite of Spring and Elaine Barkin / Associate Editors Requiem Canticles. Copies of this issue may still be S, Howe, Jr. Hubert / purchased. Articles in the Spring/Summer 1972 issue include: Compose Yourself—A Manual for the Young (in part) J. K. Randall Stravinsky by Way of Webern: The Consistency of Syn- tax (in part) Henri Pousseur Notation for Piano Aloys Kontarsky Multiple Order Functions in Twelve-Tone Music Philip Norman Batstone Stockhauscn's Mikrophonie I: Perception in Action Robin Maconie Webern and Luigi Nono: The Genesis of a New Com- positional Morphology and Syntax Gundaris Pone PUBLISHED BY Conversation with Max Deutsch Niel Sir PRINCETON UNIVERSITY PRESS $7.50 a year $13.00 two years $18.75 three years p.o. box 231 $5.00 single issues • $.25 a year foreign postage PRINCETON, NEW JERSEY 08540 H Si flNNH • ' l»f.-<- , ,.vhmi^u TANGLEWOOD SEIJI OZAWA, GUNTHER SCHULLER, Artistic Directors / LEONARD BERNSTEIN, Advisor The Berkshire Music Center Joseph Silverstein, Chairman of the Faculty Daniel R. Gustin, Administrator Aaron Copland, Chairman of the Faculty Emeritus Jean L. Lower, Assistant Administrator James Whitaker, Chief Coordinator Festival of Contemporary Music presented in cooperation with The Fromm Music Foundation Paul Fromm, President Fellowship Program Contemporary Music Activities Bruno Maderna, Acting Head Jacob Druckman, Elliott Carter, and Earl Kim, Guest Teachers Tibor Pusztai, Assistant The Berkshire Music Center is maintained for advanced study in music Sponsored by the Boston Symphony Orchestra William Steinberg, Music Director Michael Tilson Thomas, Associate Conductor Thomas D. Perry, Jr., Manager BALDWIN PIANO DEUTSCHE GRAMMOPHON AND RCA RECORDS 1 The Oldest and Largest Record Company devoted to CONTEMPORARY MUSIC is proud to offer the following FROMM FOUNDATION COMMISSIONS: Milton Babbitt: VISION AND PRAYER CRI SD268 Mario Davidovsky: SYNCHRONISMS No. 2 CRI SD 204 INFLEXIONS (forthcoming) David Del Tredici: I HEAR AN ARMY CRI SD 294 (fall release) Charles Dodge: FOLIA CRI SD 300 (fall release) Donald Martino: CONCERTO FOR WIND QUINTET CRI SD 230 John Maclvor Perkins: MUSIC FOR 13 PLAYERS CRI SD 232 Roger Reynolds: BLIND MEN CRI SD 241 Phillip Rhodes: AUTUMN SETTING (forthcoming) Harvey Sollberger: CHAMBER VARIATIONS CRI SD 204 Henry Weinberg: CANTUS COMMEMORABILLIS I CRI SD 245 Charles Wuorinen: CHAMBER CONCERTO (flute) CRI SD 230 exclusively on CRI 200 records available COMPOSERS RECORDINGS, INC. 170 West 74th Street, New York, N. Y. 10023 ittra M^^H^^^Kfl THE BERKSHIRE MUSIC CENTER In 1940, the Berkshire Music Center was established at Tanglewood by the Boston Symphony Or- chestra in fulfillment of the dream of Serge Koussevitzky, its Music Director, to provide an environment in which young musicians could continue their professional training and add to their artistic experience through the guidance of eminent musicians. The Center was developed under Koussevitzky's leadership until his death in 1951, when he was succeeded by Charles Munch. Erich Leinsdorf became the next Music Director in 1963, to be succeeded in 1970 by a tripartite directorship comprising two Artistic Di- rectors, Seiji Ozawa and Gunther Schuller, and Leonard Bernstein as Adviser. Since the founding of the Center, one of the principal sponsors of composers and contemporary music at Tanglewood has been the Koussevitzky Music Foundation, established in 1942 by Serge Koussevitzky, then Music Director of the Boston Symphony Orchestra, in memory of his wife Natalie. THE FROMM MUSIC FOUNDATION The Fromm Music Foundation is dedicated to the furtherance of contemporary music and commis- sioning new works, as well as sponsoring the study, performance, publication and recording of new music. The Foundation also sponsors the yearly Festival of Contemporary Music at Tanglewood. This year the Fromm Music Foundation is celebrating its twentieth anniversary. On this occasion it begins a new era, becoming the Fromm Music Foundation at Harvard University. On the premise that a foundation must be able to exist independently of any one individual, the programs of the Foundation will henceforth be directed by a committee of three: The Chairman of the Harvard Music Department, Tillman Merritt, Gunther Schuller and Paul Fromm. To celebrate the twentieth anniversary of the Foundation, a special concert will take place this sum- mer as part of the Tanglewood Contemporary Music Festival. It will feature two major works previously commissioned by the Foundation, Elliott Carter's Double Concerto and Luciano Berio's Circles, as well as two newly commissioned works by Mr. Maderna and Mr. Schuller, both premieres to be conducted by their respective composers. Perhaps no foundation has used its resources to such optimum effect in the service of contemporary music as the Fromm Foundation. Its commissioning project alone — having produced some ninety works in its first twenty years — is an example of the importance of its role in American and world music. Tan- glewood is proud to continue its association with this unique foundation. CONTEMPORARY MUSIC AT TANGLEWOOD The Contemporary Music Program at the Berkshire Music Center comprises two kinds of activities: the study and performance of contemporary music and instruction in composition for a limited number of composers whose previous studies and experience have prepared them for work on an advanced level. The program has for many years been headed by Gunther Schuller, President of the New England Con- servatory of Music. During Mr. Schuller's leave of absence, the student composers are receiving instruc- tion from this year's guest teachers, Bruno Maderna and Jacob Druckman. The young composers also participate in a series of seminars conducted by, in addition to Mr. Maderna and Mr. Druckman, Earl Kim and Elliott Carter. Compositions by the student composers are performed at various Berkshire Music Center concerts and are presented this summer, as are the concerts of the Festi- val of Contemporary Music, under the supervision of Mr. Maderna. THE FESTIVAL "The Festival of Contemporary Music was initiated in 1963. The generous support of the Fromm Music Foundation has made possible this week-long encounter with contemporary music — an institution at Tanglewood, a festival within a Festival. "Its purposes are manifold. It provides a forum for new ideas and directions in music, and as such has become one of the most important annual events in the vital task of keeping the lines of communication open between composer and public. It also reaffirms the position that music can only survive in our society through the careful nurturing of the creative mind. But creation (composition) and recreation (perform- ance) are inextricably linked; the one cannot survive the other. The emphasis on museum policies possible in the other arts, particularly the visual arts, can only lead to attrition in music for the very simple rea- son that, unlike a painting which exists and can be viewed at leisure, a composition has to be performed in order to exist. It ceases to exist, except as a memory, the moment the performance has ended. It therefore becomes the obligation of every performing musician to keep the life-stream of music — composition — going and moving forward. The young men and women who come to Tanglewood as Fellowship students, performing in addition to 19th century music a wide variety of contemporary music, are meeting this chal- lenge as a part of their professional commitment to music in all its breadth and depth. "The Fromm Music Foundation and the Berkshire Music Center provide a stimulus to these activi- ties by annually commissioning a number of works by young composers about to establish themselves in their field. "The Festival does not claim to be comprehensive or all-permissive, but has presented over the years a wide sampling of contemporary music, ranging from young 'unknowns' to the well-established 20th century figures." — Gunther Schuller I FESTIVAL OF CONTEMPORARY MUSIC Friday, August 4, 7:00 p. m. Music Shed, Tanglewood All-Copland Prelude Concert Twelve Poems of Emily Dickinson (1948-50) Soprano — Phyllis Curtin Piano — Aaron Copland Piano Variations (1930) Piano — Michael Tilson Thomas Vitebsk, Study on a Jewish Theme (1929) Violin — Joseph Silverstein Cello — Jules Eskin Piano — Aaron Copland Friday, August 4, 9:00 p. m. Music Shed, Tanglewood Boston Symphony Orchestra Michael Tilson Thomas, Conductor Ruggles Evocations for Orchestra* Copland Eight Poems of Emily Dickinson Soprano — Phyllis Curtin Wuorinen Concerto for Amplified Violin and Orchestra** Violin — Paul Zukofsky Stravinsky Sacre du Printemps* BALDWIN PIANO * Performed in memory of the composers, Carl Ruggles (1876-1971) ; Igor Stravinsky (1882- 1971). ** Commissioned by the Fromm Music Foundation in celebration of its 20th Anniversary. - - HfiJKJNH ^m Oft Ml » w m .--m-m mm «'?«- , **.»• < ^ - '•'; H m HRraBS S5t ••'.',.'"' S8£a& TVra .'--. Nfe»*; 2v Acoustic Research Contemporary Music Project Presenting a series of broadcasts and recordings of music by living American composers. Board of Advisors Program Committee Milton Babbitt David Epstein Elliott Carter Earl Kim Aaron Copland Donald Martino Gunther Schuller Seymour Shifrin Roger Sessions Production and annotation of the broadcasts are by Leo Treitler. Acoustic Research has provided a group of composers with the funds and technical support to enable them to make recordings and produce broadcasts of music composed by their colleagues and themselves. The first series, which is now complete, consists of fourteen broadcasts and six records. The records produced by the project are available only by mail from Acoustic Research, at a cost of $2 each. They are manufactured by Deutsche Grammophon GmbH and are packaged in exactly the same way as commercial releases.
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