Tuesday, 26 August 1986

For the benefit of the Tanglew<©d Music Center Win a

Baldwin!^Sm&Wm Wm ^mm^Wm mm W Hi Ml mm

Benefit the TanglewdDd Music Center Scholarship Fund.

Enter the Raffle Tickets available at the Drawing Today! of a Baldwin Baby Friends Office. Or visit the Tanglewood-on-Parade Raffle Booth located on Tuesday, August 26,1986 Grand Piano* Played the grounds near The Winner will be notified. This Summer at Glass House and *a smaller piano (spinet

Tanglewood Tanglewood Music Store; or console) available, if ($15,000 value). open from 6 pm through preferred. Delivery included, intermission of each continental U.S. Employees Donation -$2/ Ticket BSO concert. of the BSO and their $10/ Book of Six Tickets families not eligible. Tanglewood on Parade Tuesday, 26 August 1986 Tanglew®d m For the Benefit of the Tanglewood Music Center Music Center

2:00 Gates Open 5:30 Alpine Horn Demonstration (Lawn near 2:10 Brass fanfare at Chamber Music Hall) Main Gate Drive: Ronald Barron 5:45 Balloon Ascension (Rear of Shed in (Lawn near Box Lot, case of rain) weather permitting)

2:30 University 6:00 Tanglewood Music Center Tanglewood Institute Fellowship Wind Music Young Artists Orchestra (Main House Porch; (Shed) Shed if rain)

2:45 Tanglewood Music Center 7:00 Berkshire Highlanders Fellowship Vocal Concert (Lion Gate; rear of (Chamber Music Hall) Shed if rain)

3:30 Tanglewood Music Center 8:00 Eastover Train Fellowship Chamber Music (Main Gate) (Theatre-Concert Hall) 8:15 Fanfare at rear of Shed: 4:00 Roger Voisin Tanglewood Institute 8:40 Fanfare from Shed stage: Chamber Music Concert Charles Daval (Chamber Music Hall) 8:50 Raffle Drawing 5:00 Boston University (Shed Stage) Tanglewood Institute Young Artists Chorus 9:00 Gala Concert (Shed) (Shed)

Hot air balloon courtesy Charles Joseph of Lebanon, New Jersey Alpine horns courtesy BSO horn player Daniel Katzen Artillery, cannon, and train supplied by Eastover, Inc. Scottish folk music courtesy the Berkshire Highlanders Fireworks over the Stockbridge Bowl following the Gala Concert A Message from

Tanglewood-on-Parade is a festive day musician to be inspired by the Boston with a serious and important purpose, to Symphony Orchestra, the preeminent provide funds to help support the Tangle- guest conductors and soloists performing wood Music Center. In fulfillment of at Tanglewood, and the magnificent sur- s dream, young musi- roundings of the Berkshires? cians come to this beautiful setting Because the Tanglewood Music Center to study with members of the Boston is very costly to operate, we are now in- Symphony Orchestra, and on this day the volved in a $12 million campaign with two orchestras traditionally make music the goal to make the Tanglewood Music together. Center self-supporting and to provide a

The Tanglewood Music Center is the new Theatre-Concert Hall, the site of the only institution of its kind administered student performances. and financed by a major symphony or- Your attendance at this benefit concert chestra. The 150 Fellows who come here supports the Music Center. We invite all from thirty states and fifteen foreign coun- of you who share our love for great music tries pay no tuition and are offered free to participate in the Tanglewood Music room and board. This freedom from finan- Center s 50th Anniversary Campaign. In cial concerns for the summer gives these 1990 we hope to celebrate the successful gifted young musicians an opportunity completion of the campaign and look to focus all of their attention on a very forward to an even more glorious future. intense level of music-making. It is a fan- tastic experience, one which will influ- ence most of the Fellows for the rest of their lives.

The summer I spent here as a Fellow in 1960 was one of the most challenging and stimulating periods of my musical life.

Can you imagine what it is like for a young Seiji Ozawa The Tanglewood Music Center

Tanglewood is much more than a pleas- first performance of Randall Thompson's ant, outdoor, summer concert hall; it is Alleluia for unaccompanied chorus, also the site of one of the most influential which had been written for the ceremony centers for advanced musical study in the and had arrived less than an hour before world. Here, the Tanglewood Music the event was to begin, but which made

Center, which has been maintained by such an impression that it has remained the Boston Symphony Orchestra ever the traditional opening music each summer. since its establishment (as the Berkshire The emphasis at the Tanglewood Music Music Center) under the leadership of Center has always been not on sheer Serge Koussevitzky in 1940, provides a technique, which students learn with wide range of specialized training and their regular private teachers, but on experience for young musicians from all making music. Although the program has over the world. Now in its second year changed in some respects over the years, under Artistic Director Leon Fleisher, the emphasis is still on ensemble per- the Tanglewood Music Center looks for- formance, learning chamber music with a ward to celebrating its first half-century group of talented fellow musicians under of musical excellence in 1990. the coaching of a master-musician- The TMC was Koussevitzky s pride and teacher. Many of the pieces learned this joy for the rest of his life. He assembled way are performed in the regular student an extraordinary faculty in composition, recitals; each summer brings treasured operatic and choral activities, and instru- memories of exciting performances by mental performance; he himself taught talented young professionals beginning a the most gifted conductors. The school love affair with a great piece of music. opened formally on 8 July 1940, with The Tanglewood Music Center speeches (Koussevitzky, alluding to the Orchestra performs weekly in concerts war then raging in Europe, said, "If ever covering the entire repertory under the there was a time to speak of music, it is direction of student conductors as well as now in the New World") and music, the members of the TMC staff and visitors

Serge Koussevitzky who are in town to lead the BSO in its are a series of special instructional pro- festival concerts. The quality of this grams, this summer including the Phyllis orchestra, assembled for just eight weeks Curtin Seminar for Singers, a Listening each summer, regularly astonishes vis- and Analysis Seminar, and a Seminar for itors. It would be impossible to list all the Conductors. Beginning in 1966, educa- distinguished musicians who have been tional programs at Tanglewood were ex- part of that annual corps of young people tended to younger students, mostly of on the verge of a professional career as high-school age, when instrumentalists, singers, conductors, invited the Boston University School for

and composers. But it is worth noting the Arts to become involved with the that 20% of the members of the major Boston Symphony Orchestra's activities orchestras in this country have been in the Berkshires. Today, Boston Univer-

students at the Tanglewood Music Center, sity, through its Tanglewood Institute,

and that figure is constantly rising. sponsors programs which offer individual Today there are three principal pro- and ensemble instruction to talented grams at the Tanglewood Music Center, younger musicians, with ten separate each with appropriate subdivisions. The programs for performers and composers. Fellowship Program provides a demanding Today, alumni of the Tanglewood Music

schedule of study and performance for Center play a vital role in the musical life students who have completed most of of the nation. Tanglewood and the Tangle- their training in music and who are wood Music Center, projects with which awarded fellowships to underwrite their Serge Koussevitzky was involved until his

expenses. It includes courses of study for death, have become a fitting shrine to his

instrumentalists, vocalists, conductors, memory, a living embodiment of the vital, and composers. The Tanglewood Seminars humanistic tradition that was his legacy.

Seiji Ozawa conducts the 1985 Tanglewood Music Center Orchestra Gala Concert

TANGLEWOOD ON PARADE TanglewoDd Tuesday, 26 August at 9 Music For the Benefit of the Tanglewood Music Center Center

BOSTON SYMPHONY ORCHESTRA TANGLEWOOD MUSIC CENTER ORCHESTRA BOSTON UNIVERSITY TANGLEWOOD INSTITUTE YOUNG ARTISTS ORCHESTRA

SEIJI OZAWA, JOHN WILLIAMS, and LEON FLEISHER conducting

BORODIN "Polovtsian Dances," from the opera Prince Igor TANGLEWOOD MUSIC CENTER ORCHESTRA and BOSTON UNIVERSITY TANGLEWOOD INSTITUTE YOUNG ARTISTS ORCHESTRA, LEON FLEISHER, conductor

RAVEL Daphnis and Chloe, Suite No. 2 BOSTON SYMPHONY ORCHESTRA, SEIJI OZAWA, conductor

INTERMISSION

WILLIAMS "Adventures on Earth," from E.T. "Yodas Theme," from The Empire Strikes Back Main Title from Star Wars TANGLEWOOD MUSIC CENTER ORCHESTRA, JOHN WILLIAMS, conductor

TCHAIKOVSKY Ceremonial Overture, 1812 BOSTON SYMPHONY ORCHESTRA and TANGLEWOOD MUSIC CENTER ORCHESTRA, JOHN WILLIAMS, conductor

Baldwin piano

The Tanglewood Music Center is funded in part by a generous grant from the National Endowment for the Arts in Washington, D.C. Notes

Surely Alexander Borodin (1833-77) composed the best music ever written by a practicing chemist. He received a doctorate for his dissertation On the Analogy of Arsenical with Phosphoric Acid, while at the same time practicing his cello and writ- ing some of his first chamber works. At the age of thirty-one, he became a full profes- sor of chemistry at the Medico-Surgical Academy in St. Petersburg. His professional life was spent there investigating the products of the condensation of the aldehydes of valerian, enantol, and vinegar. But he led a second life as well, one that was en- thusiastically supported by a group of Russian nationalist musicians including Balakirev and Mussorgsky. Partly with their encouragement and support he began writing music in the larger forms, producing ultimately three symphonies, two string quartets and ether chamber music, piano pieces, songs, and several stage works. Prince Igor was intended to be his masterpiece; though he spent eighteen years of part-time work on the score, it was not quite finished when he died, and only through the contributions of Rimsky-Korsakov and Glazunov was it finally brought to perform- ance. The opera has had a mixed success over the years, largely because Borodin insisted on writing his own libretto and started the composing before even clarifying some of the lines of the plot. The result is a colorful opera that now seems somewhat disjointed and that is heard outside of Russia only in occasional revivals. When it is heard, however, the extended ballet sequence known as the "Polovtsian Dances" never fails to steal the show. This was designed as a series of entertainments for

Prince Igor to pass the time while he is held captive in the camp of the great Khan. The dances are performed, in the opera house, with choruses alternating between the seductions of the slave girls and the vigorous praise of the great Khan himself. In most concert performances (as here), the chorus is simply omitted, for Borodin's brilliantly colorful orchestration provides a barbaric splendor which, allied with the enchanting melodic grace (rifled by Robert Wright and George Forrest for some hit songs in their musical Kismet), has made the Polovtsian Dances an ever-popular orchestral showpiece. The largest orchestral score ever composed by Maurice Ravel (1875-1937) was his ballet Daphnis and Chloe, composed for Diaghilev's Russian Ballet and premiered in

June 1912. The story is drawn from a popular romance of classical Greek prose by a little-known author named Longus, depicting the growing love of two innocent found- lings, Daphnis and Chloe, and the vicissitudes that threaten to keep them apart. After the ballet's production, Ravel authorized the performance of two suites from the full work. The second of these comprises the final scene and remains perhaps Ravel's single most popular large-scale orchestral work. There are three main sections: "Dawn," filled with bird song in the flute and representing Daphnis's sad awakening, since he does not yet know that Chloe has been rescued by the god Pan from the pi- rates who captured her in the preceding scene; "Pantomime," in which Daphnis and

Chloe mime the story of Pan and Syrinx, which is, to an extent, a reflection of their own story; and the "General Dance" of joy that brings the proceedings to their excit- ing conclusion. Even when the films were "silent," they were never performed without an accom- panying musical score to reflect the moods captured in the visual images and the drama unfolding on the screen. When the "talkies" came in, music became even more important to the films, because it could now be carefully coordinated for a close match in sound and image. Composers like Shostakovitch, Prokofiev, Honegger, Vaughan Williams, Walton, and Copland wrote occasional film scores, while others like the Vienna-born opera composer Erich Wolfgang Korngold and the American Bernard Herrmann became more or less specialized composers for the films (though both wrote music for concert use as well). John Williams (b.1932) follows closely in this tradition, composing many film scores as well as concertos and other music for concert use. He has expressed his indebtedness to the earlier masters of the film art such as Korngold and Herrmann both in words and in the evident influence that their art has had on his own. For a time in the 1960s and 1970s, film scoring in its classic sense was replaced by soundtracks compiled from hit songs superimposed on the image. It appeared as if the nearly operatic orchestral scores of the past were as dead as the dinosaurs. The extraordinary success oiStar Wars changed all that, for the film's musical score was fully in the tradition of Korngold's Robin Hood, and it brought many people to realize for the first time the variety and delights that a symphony orchestra can offer. In the last decade or so, John Williams has become one of the preeminent creators of orchestral scores for the film. Many of the selections have been arranged and performed in concert as well. "Adventures on Earth" is a suite summarizing in music the story of the charming extra-terrestrial, E.T. "Yoda's Theme" introduces the mellow wisdom of the experienced trainer of Jedi knights in The Empire

Strikes Back, and, of course, the main title of Star Wars (itself an homage to

Korngold's main title for King's Row) started it all.

Pyotr Ilyich Tchaikovsky's concert overture with the official title "The Year 1812" was composed in 1880 and first performed in Moscow on 20 August 1882. The central event of the year 1812 for any Russian, of course, was Napoleon's discomfiture at Moscow and his humiliating and devastating march back to western Europe. Tchai- kovsky composed this musical tribute to the Russian victory essentially as a pot- boiler, aimed at popular success, and in that he was not mistaken. The quotation of familiar tunes (at least familiar to his Russian audience) guaranteed a patriotic re- sponse. The overture opens with the hymn "God preserve the Tsar"; the battle itself rages between La Marseillaise, representing Napoleon's army, and the "Russian" music that gradually overwhelms it. The victory achieved in this musical battle, cele- brated by the Russian Imperial anthem reinforced by bells and cannon, has made the overture a popular showpiece from its very first performance and a traditional conclu- sion to "Tanglewood on Parade."

—Steven Ledbetter

Artists

Seiji Ozawa is Music Director of the Boston Symphony Orchestra.

John Williams is Conductor of the Boston Pops Orchestra.

Leon Fleisher is Artistic Director of the Tanglewood Music Center. SEIJI OZAWA CHARLES DUTOIT ZUBIN MEHTA MICHAEL TILSON THOMAS CHRISTOPH VON DOHNANYI PHYLLIS CURTIN

SHERRILL MILNES - LEONTYNE PRICE SHIRLEY VERRETT BURT BACHARACH JACOB DRUCKMAN -DAVID DEL TREDICI OLIVER KNUSSEN

What do these names have in common, along with hundreds ofmusicians who perform in

America 's major symphony orchestras ?

All are distinguished alumni of a unique program founded in 1940 as the fulfillment of Serge Koussevitzky's vision of the ideal musical community. Today, the Tanglewood Music Center continues to be the nation's preeminent academy for advanced musical study and performance. Maintained and financed by the Boston Symphony Orchestra, the Tanglewood Music Center offers exceptional young instrumentalists, singers, composers, and conductors a comprehensive and exhilarating eight-week program of musical training, under the direction of the world's greatest concert artists.

Since admission to the TMC is based solely on musical ability rather than the ability to pay, the Center operates each year at a substantial loss to the BSO. TanglewoDd We need your support. Please contribute to the Tanglewood Music Center. When you do, you contribute to the future of Music music itself. Please make checks payable to the Tanglewood Music Center and mail to Center the Friends Office, Tanglewood, Lenox MA 01240. For further information, please contact John Keenum in the Friends Office at Tanglewood, or call (413)637-1600.

I Ira,

Tanglewood Music Center 1986 Fellowship Program

Violins James Tsao, Culver City, California Julia Baumgartel, White Rock, British Columbia Boston Symphony Orchestra Fellowship Gerald Gelbloom Memorial Fellowship Etsuko Tsuchida, Tokyo, Japan Karen Bentley, Palo Alto, California Tanglewood Association Fellowship Luke B. Hancock Foundation Fellowship BingWang, Shanghai, China Margaret Bichteler, Austin, Texas Dorothy and Montgomery Crane Fellowship Harriet B. Harris Memorial Fellowship Caroline Wolff, New York, New York Dionisia Fernandez, Upper Saddle River, Surdna Foundation Fellowship New Jersey ArieYaacobi, Hadar, Israel Leonard Bernstein Fellowship Koussevitzky Music Foundation Fellowship Lydia Forbes, Cambridge, Massachusetts in memory ofMargaret Grant Frederic and Juliette Brandi Fellowship Annamae Goldstein, Blauvelt, New York Violas Philip and Bernice Krupp Fellowship Davoren Chick, Acton, Massachusetts Ling Ling Guan, Beijing, China General Cinema Corporation Fellowship Jane and William Ryan Fellowship & Mercedes Leon, New York, New York Idah L. Salzman Fellowship Anonymous Fellowship Helena Hagglund, Vasteras, Sweden Rifat Qureshi, Don Mills, Ontario Jenifer House Fellowship Marion Callanan Memorial Fellowship Kathy Haid, Union, New Jersey Ernest Richardson, Phoenix, Arizona Geraldine R. Dodge Foundation Fellowship Berkshire County Savings Bank Fellowship & Maile Kali, Tucson, Arizona Florence and Leonard Kandell Fellowship Leo Panasevich Fellowship Jenny Ries, Kensington, Maryland Soo-Yeon Kim, Seoul, Korea Israel Kalish Memorial Fellowship Rilling, Salt Lake City, Utah Boris A. and Katherine E . Jackson Fellowship Lynn Mari Kimura, Tokyo, Japan General Electric Plastics Fellowship Brookline Youth Concerts Awards Committee David Rubinstein, Lansdale, Pennsylvania Fellowship Claire and Millard Pryor Fellowship Katie Lansdale, Bethesda, Maryland Karen Sanders, San Diego, California Country Curtains Fellowship Stephen and Persis Morris Fellowship Steve Miller, New York, New York Anna Schaum, Atlanta, Georgia Morris A. Schapiro Fellowship Mr. and Mrs. Robert E. Remis Fellowship Jennifer Moreau, Christchurch, New Zealand Katrina Smith, Chesterton, Indiana Stanley Chappie Fellowship James A. Macdonald Foundation Fellowship Sara Parkins, San Francisco, California Tomoko Suzuki, Toyko, Japan Northern California Fund Fellowship Harry and Mildred Remis Fellowship Zhou Qian, Hang Zhou, China Trung Le Trinh, Houston, Texas Bradley Fellowship Albert L. and Elizabeth P. Nickerson Fellowship Adriana Rosin, Bucharest, Romania Haskell R. and Ina Gordon Fellowship Cellos Andrew Schast, Philadelphia, Pennsylvania Bryndis Baldursson, Kentville, Nova Scotia Edward John Noble Foundation Fellowship Leo L. Beranek Fellowship Mari Sone, Tokyo, Japan Matthew Barley, London, England CD. Jackson Fellowship Leonard Bernstein Fellowship Elizabeth Suh, Overland Park, Kansas Andres Diaz, Santiago, Chile Carole K. Newman Shared Fellowship & Omar Del Carlo Tanglewood Fellowship Sigma Alpha Iota Philanthropies Inc. Rachel Gruber, Cleveland Heights, Ohio Fellowship Naomi and Philip Kruvant Fellowship Marta Szlubowska, Warsaw, Poland Trevor Handy, Belmont, Massachusetts Alice Kandell Fellowship Baybanks Fellowship Megumi Teshima, Saitama, Japan Katja Linfield, Stony Brook, New York Lucy Lowell Fellowship Dr. Marshall N. Fulton Memorial Fellowship Karl Parens, Wynnewood, Pennsylvania Jonathan Blumenfeld, Philadelphia, Mr. and Mrs. Thomas H.P. Whitney Fellowship Pennsylvania Andreas Sami, Fuellinsdorf, Switzerland Brownie and Gil Cohen Fellowship Mr. and Mrs. David B.Arnold, Jr. Fellowship Eric Olson, Pennington, New Jersey Emma Schaling, Newton Centre, Massachusetts Fernand Gillet Memorial Fellowship CD. Jackson Fellowship Jane Rhoads, Winter Park, Florida Steven Sigurdson, Western Springs, Illinois Anna Gray Sweeney Noe Fellowship Juliet Esselborn Geier Memorial Fellowship Alexa Zirbel, Janesville, Wisconsin Michael Stirling, London, England Katherine H. MetcalfFellowship & British Broadcasting Corporation Fellowship Mr. and Mrs. Kenneth Warner Pfleger Samuel Swift, Lansing, Michigan Memorial Fellowship Ruth S. Morse Fellowship Clarinets Owen Young, Pittsburgh, Pennsylvania Joseph and Lillian Miller Fellowship Virginia Lee Carroll, Greenwood, Mississippi Julius and Eleanor Kass Fellowship Basses Todd Palmer, Hagerstown, Maryland Jerome Butler, Sarasota, Florida Herbert and Jeanine Coyne Fellowship Hodgkinson Fellowship Larry Passin, Fort Wayne, Indiana Aldo Fabrizi, Norwood, Massachusetts The Clowes Fund Fellowship Berkshire Life Insurance Co. and Hilton Inn Duncan Prescott, Reading, England Fellowship English Speaking Union Fellowship Janne Johansson, Gothenberg, Sweden Michael Rusinek, Thornhill, Ontario Lia and William Poorvu Fellowship J.P. and Mary Barger Fellowship Keith Kawazoe, Soquel, California Koussevitzky Music Foundation Fellowship Jennifer Matteson, Canton, New York Bassoons Cecil S. Mopes Memorial Fellowship & Eric Beselin, Stockholm, Sweden Dr. and Mrs. Alexander B. Russell Fellowship Sara Ann Leinbach and Lilian Norton Henry Peyrebrune, Delmar, New York Fellowship Harry and Mildred Remis Fellowship Silvia Coricelli, New York, New York Guy Tyler, Burlington, Massachusetts Olivetti Foundation Fellowship Alfred E. Chase Fellowship Jon Gaarder, Madison, Wisconsin Charles and Sara Goldberg Charitable Trust Fellowship Flutes Timothy McGovern, Newark, Delaware Joanna Bassett, Ann Arbor, Michigan Robert G. McClellan, Jr. and IBM Matching The Dillon Fund Fellowship Grant Fellowship Jacqueline DeVoe, Lansdale, Pennsylvania Patricia Paulson, Boise, Idaho Frederick W. Richmond Foundation Archie Peace Memorial Fellowship Fellowship Adam Kuenzel, Charleston, South Carolina Horns Irma Fisher Mann Fellowship Tod Bowermaster, Ottawa, Illinois Amy Porter, Wilmington, Delaware Betty 0. and Richard S. Burdick Fellowship Miriam Ann Kenner Memorial Fellowship Robert Danforth, Grand Rapids, Michigan Mark Sparks, San Antonio, Texas David R. and Muriel K. Pokross Fellowship Rosamond Sturgis Brooks Memorial Linda DeRoche, Rehobeth, Massachusetts Fellowship Theodore Edson Parker Foundation Fellowship Daniel Schulze, New Canaan, Connecticut Frelinghuysen Foundation Fellowship Oboes Ellen Tomasiewicz, New York, New York Elizabeth Baker Stoyanovich, Ann Arbor, Surdna Foundation Fellowship Michigan William Ver Meulen, Lake Forest, Illinois Augustus Thorndike Fellowship Karl Burak Memorial Fellowship

I Trumpets Benjamin Loeb, Dallas, Texas Anthony DiLorenzo, Stoughton, Massachusetts William F. Rubush Memorial Fellowship Armando A. Ghitalla Fellowship Erika Nickrenz, New York, New York Patrick Kunkee, Goleta, California Peggy Rockefeller Fellowship Empire Brass Fellowship Saiko Sasaki, Saitama, Japan Wesley Nance, Lakewood, California Felicia Montealegre Bernstein Fellowship Robert and Sally King Fellowship Daniel Shapiro, Corono del Mar, California Brian Rood, Ann Arbor, Michigan R. Amory Thorndike Fellowship Caroline Grosvenor Congdon Memorial MichalTal, Tel Aviv, Israel Fellowship Mr. and Mrs. Edwin A. Jaffe Fellowship Mary Weber, St. Louis, Missouri Leonard Bernstein Fellowship Conductors Trombones Mark Gibson, Minneapolis, Minnesota Leonard Bernstein Fellowship Ron Carrera, Sacramento, California Richard Montreal, Dynatech Fellowship Hoenich, Quebec H. Eugene and Ruth Jones Fellowship Scott McElroy, Ann Arbor, Michigan Romely Pfund, Dessau, East Germany Arthur FiedlerI Leo Wasserman Fellowship Seiji Ozawa Fellowship Harold Van Schaik, Dallas, Texas Richard Westerfield, Pound Ridge, New York Esther Engel Salzman Fellowship & The William and Mary Greve Foundation Frieda and Samuel Strassler Fellowship Fellowship Michael Zion, Newark, Ohio Daphne Brooks Prout Fellowship Vocal Fellows Tuba Drew Abbott, Marietta, Georgia WCRB Fellowship in honor ofSarah Caldwell Jeffrey Jarvis, East Lansing, Michigan Clark Aliapoulios, Jamaica Plain, Boston Showcase Co. Fellowship Amy Massachusetts Percussion Bessie Pappas Fellowship Lila Worthington, Ohio Timothy Adams, Covington, Georgia Ammons, Leonard Bernstein Fellowship Nat Cole Memorial Fellowship Dennis Bender, Ontario, Canada David Hall, Concord, Massachusetts Fellowship Red Lion Inn Fellowship Alice Tully Salvatore Champagne, New York, New York John Jutsum, Astoria, New York Tappan Dixey Memorial Fellowship Stuart Haupt Fellowship Alicia Cordell, Tucson, Arizona Alan Megna, Pottsville, Pennsylvania Francis and Caryn Powers Fellowship Anonymous Fellowship William Cotten, Brookline, Massachusetts Robert Patterson, Perkinsville, Vermont Seven Hills Fellowship Abhy and Joe Nathan Fellowship Walter Dixon, Culver City, California Scott Stirling, Pittsburgh, Pennsylvania Mrs. Harris Fahnestock Fellowship Donald Bellamy Sinclair Memorial Fellowship & National Federation ofMusic Clubs Fellowship Harps honoring Ada Holding Miller DeVries Richardson, Phoenix, Arizona Mia Axon, Ann Arbor, Michigan Anne Mildred H. Leinbach Fellowship John and Susanne Grandin Fellowship Roger Saylor, New York, New York Alice Harlow, Garden City, Michigan Kathleen Hall Banks Fellowship Hannah and Raymond Schneider Fellowship DarnelleScarbrough, Dorchester, Massachusetts Keyboard Harry Stedman Fellowship Carol Archer, Shaker Heights, Ohio Allison Swenson, Santa Rosa, California

The Hon. and Mrs. Peter I. B. Lavan Fellowship CD. Jackson Fellowship Kevin Kenner, Coronado, California Mr. and Mrs. Vincent J. Lesunaitis Fellowship Vocal Coaches Other Participants Michael Beattie, Waltham, Massachusetts Seminarfor Conductors Lilian and Lester Radio Fellowship & Justin Brown, Haywards Heath, England Hugh Cecil Sangster Memorial Fellowship Leonard Bernstein Scholarship Thomas Dewey, Sellersburg, Indiana Inge Fabricius, Copenhagen, Denmark Stokes Fellowship Edward H. Michaelson Scholarship Kenneth Grigg, Winston-Salem, North Carolina Arthur Post, New York, New York Baldwin Piano and Organ Co. Fellowship William and Mary Greve Foundation Jeffry Johnson, Kansas City, Missouri Scholarship Marie Gillet Fellowship Wing Sie Yip, Kowloon, Hong Kong Margaret Kampmeier, Rochester, New York Koussevitzky Memorial Scholarship Miriam E. Silcox Fellowship Phyllis Curtin Seminarfor Singers Composers Anne McMillan, Forest Hills, New York Jeffrey Bitzer, New York, New York Mead Specialty Paper Scholarship Reader's Digest Fellowship Teri Medley, Fairfax, Virginia Dana Brayton, Jamaica Plain, Massachusetts William E. Crofut Family Scholarship Margaret T. and Bruce R. Gelin Fellowship Anna Moser, Stockdorf, West Germany Marti Epstein, Allston, Massachusetts Barbara Lee/Raymond Lee Foundation Judith and Stewart Colton Fellowship & Scholarship Claudette SorellMu Phi Epsilon Fellowship Barbara Nunes, West Warwick, Rhode Island Michael Gandolfi, Melrose, Massachusetts Anonymous Scholarship Margaret Lee Crofts Fellowship James Ruff, San Diego, California Detlev Glanert, Aumuhle, West Germany Mr. and Mrs. James S. Deely Scholarship Boston Symphony Orchestra Fellowship Johanna Thompson, Houston, Texas Harue Kunieda, Tokyo, Japan Mr. and Mrs. Macy Rogovin Scholarship Tanglewood Association Fellowship Param Vir, Delhi, India Margaret Lee Crofts Fellowship Andrew Vores, Hants, England Koussevitzky Music Foundation Fellowship Jay Yim, Cambridge, Massachusetts Aaron and Abby Schroeder Fellowship

Chamber Ensemble Residency Cassatt Quartet, New York, New York Laurajean Goldberg, violin Edward John Noble Foundation Fellowship Adela Pena, violin Helene R. and Norman Cahners Fellowship Eufrosina Raileanu, viola CD. Jackson Fellowship Anna Cholakian, cello Charles E. Culpeper Foundation Fellowship Boston University Tanglewood Institute Young Artists Orchestra

Boston University Tanglewood Institute Young Artists Orchestra Eiji Oue, Conductor

Violins Erika Sevetson Bassoons Sarah Abramowicz Kristin van Kirk Peter Mandell Nina Basescu Russell Wright Julia Rusling Jean Bennett Michael Sylvester Daniel Shelly Sabrina Berger Steven Vacchi Cassandra Cherry Cellos Frederic D'Ursel Allen Alexander Horns Helena Edelson Laurie Arnold Ruben Capriles Allan Engstrom Michelle Beauchesne Eugene Kierman Natasha Ensign Paul Fleury Andrew Halberstadt Scott Facher Kirstin Kessler Steven Replogle Lillian Gerard Sonna Kim Derek Ross Anna Gravenhorst John Landefeld Charles Gunsaullus Jason McComb Trumpets Alicia Huang Timothy O'Malley Sarah Lester Sonia Jun Christopher Rankin Marlon Jordan Kerry Kee Aron Rider Jacob Sloane Roksana Kaczmarek Christopher Schnell Sean Walsh Kristine Kolbinger Dina Shek Laura Lambert Warren Wu Trombones Rebecca MacKinnon Daniel Balsam Elizabeth Monroe Basses Joel Borrelli Cynthia Moon Christopher Clark Kevin Roberts Margaret O'Connell Earl Fay Trevor Orthman Tracy Rowell Tuba Amy Oshiro Marc Schmied Matthew Gaunt Shelly Rich Gilbert Trout Gabrielle Robinson Jeffrey Weisner Percussion Fred Ripley James Boznos Monisha Seth Flutes Gerald Dowd Emma Shook Laura Barron Michael Garasi Katrin St. Clair Heidi Julien Richard Graber Kim Toro Shannon Waddle Tom Sessa Gigi Turgeon Reva Youngstein Derek Wallach Harp Jeremy Williams Oboes Gabriel Wilson Hank Whitmire Andrew Adelson Barbara Bishop Violas Orchestra Manager Douglas Drachman Barbara Blank Asadour Santourian Peter Smith Catherine Conroy Joan DerHovsepian Assistant Orchestra Clarinets Kirsten Docter Manager Michelle Doyle Tracey Farrell Philip Maffa Gregory Mallek Kit Heller Patrick Leyden David Huff Orchestra Librarian Chris Schubert Raea Leinster Kathleen Osborne Young Park Gil Penchina Stage Manager Jane Perera Thomas Vignieri Aimee Picchi Boston Symphony Orchestra 1985-86

Boston Symphony Orchestra

Seiji Ozawa, Music Director

Music Directorship endowed by John Moors Cabot

First Violins Violas Flutes Malcolm Lowe Burton Fine Doriot Anthony Dwyer Concertmaster Charles S. Dana chair Walter Piston chair Charles Munch chair Patricia McCarty Fenwick Smith Max Hobart Anne Stoneman chair, Myra and Robert Kraft chair Acting Associate Concertmaster fullyfunded in perpetuity Leone Buyse Helen Horner Mclntyre chair Ronald Wilkison Cecylia Arzewski Robert Barnes Piccolo Acting Assistan* Concertmaster Jerome Lipson Robert L. Beal, and Lois Schaefer Enid and Bruce A. Beal chair Bernard Kadinoff Evelyn and C. Charles Marran chair Bo Youp Hwang Joseph Pietropaolo Edward and Bertha C. Rose chair Michael Zaretsky Max Winder Oboes Marc Jeanneret John and Dorothy Wilson chair Ralph Gomberg Harry Dickson Betty Benthin Mildred B. Remis chair Forrest Foster Collier chair *Mark Ludwig Wayne Rapier Gottfried Wilfinger * Roberto Diaz Alfred Genovese Fredy Ostrovsky Cellos Dorothy Q. and David B. Arnold, Jr., English Horn Jules Eskin chair, fullyfunded in perpetuity Laurence Thorstenberg Leo Panasevich Philip R. Allen chair Martha Babcock Phyllis Knight Beranek chair, Carolyn and George Rowland chair fullyfunded in perpetuity Sheldon Rotenberg Vernon and Marion Alden chair Muriel C. Kasdon and Clarinets Marjorie C. Paley chair Mischa Nieland Harold Wright Alfred Schneider Esther S. and Joseph M. Shapiro chair Ann S.M. Banks chair Raymond Sird Joel Moerschel Thomas Martin Ikuko Mizuno Sandra and David Bakalar Peter Hadcock Amnon Levy chair E-flat Clarinet * Robert Ripley Second Violins Luis Leguia Bass Clarinet Marylou Speaker Churchill Robert Bradford Newman chair Craig Nordstrom Fahnestock chair Carol Procter Vyacheslav Uritsky Ronald Feldman Bassoons Charlotte and Irving W. Rabb chair *Jerome Patterson Sherman Walt Ronald Knudsen Edward A. Tafi chair *Jonathan Miller Joseph McGauley $ Roland Small *Sato Knudsen Leonard Moss §Donald Bravo * Michael Vitale Basses Matthew Ruggiero * Harvey Seigel Edwin Barker Harold D. Hodgkinson chair Contrabassoon *Jerome Rosen Lawrence Wolfe Richard Plaster *Sheila Flekowsky Maria Stata chair, tGerald Elias fullyfunded in perpetuity Horns Ronan Lefkowitz Joseph Hearne Charles Kavalovski * Nancy Bracken Bela Wurtzler Helen SagojfSlosberg chair *Jennie Shames Leslie Martin Richard Sebring *Aza Raykhtsaum John Salkowski Daniel Katzen * Lucia Lin John Barwicki Jay Wadenpfuhl §Julius Schulman * Robert Olson Richard Mackey §Joseph Conte *James Orleans Jonathan Menkis

* Participating in a system of rotated seating within each string section $0n sabbatical leave ^Substituting, Tanglewood 1986 ia£»7

Trumpets Timpani Personnel Managers Charles Schlueter Everett Firth William Moyer Roger Louis Voisin chair Sylvia Shippen Wells chair Harry Shapiro Andre Come Percussion Ford H. Cooper chair Librarians Charles Daval Charles Smith Marshall Burlingame Peter and Anne Brooke chair Peter Chapman William Shisler Arthur Press James Harper Trombones Assistant Timpanist Ronald Barron Thomas Gauger Stage Manager J.P. and Mary B. Barger chair, Frank Epstein Position endowed by fullyfunded in perpetuity Angelica Lloyd Clagett Norman Bolter Harp Alfred Robison Ann Hobson Pilot Bass Trombone Willona Henderson Sinclair Stage Assistant Douglas Yeo chair Harold Harris Tuba Chester Schmitz Margaret and William C. Rousseau chair

Tanglewood Music Center National Committee-in-Formation (August 1986)

Co-Chairmen Dr. Michael von Clemm Mr. Gilbert Kaplan Mr. Peter M. Flanigan Mrs. Nat Cole Mrs. Walter F. Mondale

Mr. David Rockefeller, Jr. Mrs. A. Werk Cook Mr. Andrall E. Pearson Mr. William M. Crozier, Jr. Mr. Thomas D. Perry, Jr. Mrs. Harris Fahnestock Mrs. Daphne Brooks Prout Mrs. John H. Fitzpatrick Mr. Millard H. Pryor, Jr. Mr. Peter H.B. Frelinghuysen Mrs. Peter van S. Rice Mr. Gordon P. Getty Mrs. Wdliam H. Ryan

Mr. Alan J. Hirschfield Mr. John Hoyt Stookey Mrs. Marilyn B. Hoffman Mr. William F. Thompson Mr. H. Eugene Jones

Honorary Committee Tanglew(©d Maurice Abravanel Leonard Bernstein Music Aaron Copland Seiji Ozawa Center Leontyne Price Additional Acknowledgments

The TANGLEWOOD MUSIC CENTER acknowledges with gratitude thefollowing significant gifts, made during the 1986 session by

Frank Stanley Beveridge Foundation Fribourg Foundation Mr. and Mrs. Salim B. Lewis Dr. and Mrs. William Pounds Contributors to the Herbert Prashker Memorial Fund Avedis Zildjian Company

The TANGLEWOOD MUSIC CENTER is also supported in part through a generous grantfrom the National Endowmentfor the Arts in Washington, B.C., a Federal agency created by Act of Congress in 1965.

The TANGLEWOOD MUSIC CENTER acknowledges with gratitude the generosity of Acoustic Research and David Hafler Co., who provided recording equipmentfor the 1986 session.

Tanglew®d Music Center

The TANGLEWOOD MUSIC CENTER is maintained for advanced study in music and sponsored by the BOSTON SYMPHONY ORCHESTRA.

BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Daniel R. Gustin, Acting General Manager

TANGLEWOOD MUSIC CENTER Leon Fleisher, Artistic Director Richard Ortner, Administrator Gilbert Kalish, Chairman of the Faculty sin

New Endowment Funds Additions to existing funds

For support ofthe instructional Alfred E. Chase Foundation & performanceprogram: Mrs. Maria Cole

Mrs. Lester S. Morse The Honorable & Mrs. John H. Fitzpatrick Mr. & Mrs. David R. Pokross The Louis Krasner Fund Theodore Edson Parker Foundation Mrs. A. Werk Cook Thorndike Family Peter H. B. Frelinghuysen Edward Shufro Fund Contributions to the General Endowment William and Juliana Thompson

Carl A. Weyerhaeuser 1966 Trust Frank Stanley Beveridge Foundation Surdna Foundation Master Teacher Fund Eleanor Naylor Dana Charitable Trust

Anonymous (2) Gordon P. Getty Gilbert Kaplan Guarantor Fellowships Mr. & Mrs. Philip Krupp

Mrs. R. E. Lee Anonymous Estate of Harry Shulman BayBanks Mary H. Smith Leonard Bernstein John H. Stookey Clowes Fund Anonymous (2) Charles E. Culpeper Foundation

Dr. John H. Knowles Memorial

Fernand Gillet Memorial

Marie Gillet

Reader's Digest

Seiji Ozawa

Albert and Elizabeth Nickerson We gratefully acknowledge these generous gifts to Peggy Rockefeller the endowment of the Tanglewood Music Center, Morris A. Schapiro which allow us to continue to bring the best young

musicians to Tanglewood and to offer them tuition- Fellowships free Fellowships.

Frederic and Juliette Brandi

Brookline Youth Concerts Awards Committee David Rockefeller, Jr. Marion Callanan Memorial Peter M. Flanigan Rosamond Sturgis Brooks Co-Chairmen Tappan Dixey Memorial Haskell and Ina Gordon Philip and Bernice Krupp Robert McClellan/IBM Matching William and Lia Poorvu Tanglewood Music Center Scholarships s t h ANNIVERSARY William E. Crofut Family Claire and Millard Pryor CAMPAIGN References furnished request

Aspen Music Festival Liberace Burt Bacharach Panayis Lyras David Bar-Man Marian McPartland Leonard Bernstein Zubin Mehta Bolcom and Morris Metropolitan Opera Jorge Bolet Mitchell-Ruff Duo Boston Pops Orchestra Seiji Ozawa Boston Symphony Orchestra Philadelphia Orchestra Brevard Music Center Andre Previn Dave Brubeck Ravinia Festival David Buechner Santiago Rodriguez Chicago Symphony Orchestra George Shearing Cincinnati May Festival Abbey Simon Cincinnati Symphony Orchestra Georg Solti Aaron Copland Tanglewood Music Center Denver Symphony Orchestra Michael Tilson Thomas Ferrante and Teicher Beveridge Webster Natalie Hinderas Earl Wild Interlochen Arts Academy and John Williams National Music Camp Wolf Trap Foundation for Billy Joel the Performing Arts Gilbert Kalish Yehudi Wyner Ruth Laredo Over 200 others Baldwin

I