£ V TANGLEWOOD THIRD WEEK July 15, 16, 17, 1966 BERKSHIRE FESTIVAL Mozart m "Jupiter" Symphony Ig^g The Boston Symphony Eine Kleine Nachtmusik Boston Symphony Orchestra under Leinsdorf 1 I Erich Leinsdorf With tonal warmth and sparkling accuracy, the Boston Sym- phony, under Leinsdorf, perfectly captures the contrapuntal wizardry of Mozart's "Jupiter " Symphony and the vitality of Eine Kleine Nachtmusik. Recorded in brilliant Dynaproove sound. The Boston Symphony's "live" recording of Mozart's Requiem in D Minor— a historic 2-L P. Red Seal album— is one that every American, and music lover, should own. r * A Solemn Pontifical Eequiem Mass John Fitzgerald Kennedy oeirt»-»te<i by Sichsid Csu^tn*5 Cashing Mozart's Eeqniem Boston Symphony Orchestra Erich Leinsdorf, Mnaic Director C&thwfrsl of *<&* Holy teas* rca Victor /_ ...» ® tertThe most trusted name in sound OB. BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor Berkshire Festival, Season 1966 TWENTY-NINTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS THIRD WEEK Historical and descriptive notes by John N. Burk Assisted by Donald T. Gammons Copyright, 1966 by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks John L. Thorndike Philip K. Allen Francis W. Hatch Henry A. Laughlin Abbam Bebkowitz Andrew Heiskell Edward G. Murray Theodore P. Febris Harold D. Hodgkinson John T. Noonan Robert H. Gardineb E. Morton Jennings, Jr. Mrs. James H. Perkins Sidney R. Rabb Raymond S. Wilkins Trustees Emeritus Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Tanglewood Advisory Committee Alan J. Blatj Lawrence K. Miller Jesse L. Thomason Lenges Bull George E. Mole Robert K. Wheeler George W. Edman Whitney S. Stoddard H. George Wilde Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Robert Williams Lenox, John Pignatelli Lee, Andre Jaouen Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Rosario Mazzeo Harry J. Kraut Orchestra Personnel Manager Assistant to the Manager Sanford R. Sistare Andrew Raebubn Press and Publicity Assistant to the Music Director .. j SZYMON GOLDBERG '^ Born in Wloclawec, Poland, Szymon There are four new Goldberg began his musical studies at the age of seven. After preliminary studies in Warsaw with Michalowicz, his parents, at the advice of Wanda Landowska sent him to study in Berlin Automatic Turntables. at the age of nine. He became a pupil One of them, and protege of Carl Flesch, and his first he solo appearance took place when was the LAB 80 ... fourteen, with the Berlin Philharmonic. Two years later he was appointed con- is the first certmaster of the Dresden Philharmonic Automatic and, when he was twenty, Furtwangler called him to the same post with the Transcription Berlin Philharmonic. A few years later he began to devote himself entirely to Turntable. i\ tours as recitalist and soloist with the major orchestras of Europe. He first appeared in America in 1938 on the first lap of a world tour which found him in the Dutch East Indies a year and a half later. He was imprisoned by the Japanese and spent three years in four- teen prison camps. He was released by the Allies in 1945 and, after a period of recuperation in Singapore, resumed his career, first in Australia, then in Europe, arriving finally in the United States in 1948. Mr. Goldberg was one of the first faculty members of the Aspen, Colorado, Summer Music Festival. He is founder and conductor of the Netherlands Cham- ber Orchestra, with which he has toured extensively, including in recent years a number of extremely successful visits to this country. WALTER CARRINGER Walter Carringer was soloist with the Shaw Chorale for four seasons, has given many recitals and sung in oratorio per- formances. In 1953 he left the Chorale to devote his full time to solo concert work. He made his European debut in a London recital in 1958, and the fol- lowing year he was among twelve young artists from all over the world selected to sing with the Experimental Opera Theatre under the auspices of the New Orleans Opera Company. He gave a solo recital in New York in 1959 and has appeared previously at the Berkshire Festival. For literature write Garrard, Westbury, N. Y. 2 — PHYLLIS CURTIN Phyllis Curtin had early experience in the Opera Department of the Berkshire Music Center, and has appeared numer- ous times at the concerts of the Berkshire Berkshire Festival, including the American pre- miere of Britten's War Requiem in 1963. (oatFacto% Since last appearing with the Orchestra in Boston in Berg's "Le Vin" in 1965, lAtlfi she has travelled extensively in this Top brai country and abroad. In March, 1965 she sang the leading role in Salome, the discoim first opera to be produced in the new They're not doseouts, and they're not seconds. Los Angeles Music Pavilion. More re- . They' are those same famous brands you cently she has appeared with the Or- ,, > i ( - ' chestras of New York, Cleveland and i believe us though .... check the national ads frequent appearances in Chicago. Her ' ' on XA'i I'vMhy) b>..:cuik CiiX*. v< ':.) ti v.s<v Hvj Vr'" Europe have included operatic perform- ances, concerts and recitals in Helsinki, Hamburg, Berlin and London. Before coming to Tanglewood this summer, Miss Curtin made her British opera debut with the Scottish National Opera, singing Marguerite in Gounod's Faust in Glasgow and Edinburgh. Last spring in Paris she sang with the Or- chestre Philharmonique de la Radio Ffangaise under the direction of Gunther Schuller, in the first Festival of Con- temporary American Music held outside the United States; and most recently in Geneva, she sang the world premiere of the opera La Mere Coupable by Darius Milhaud. BEVERLY WOLFF Beverly Wolff has had considerable operatic experience and success, notably in the opera companies of San Francisco, Washington and New York (the New York City Opera). She was once in the Opera Department of the Berkshire Music Center, and sang with the Boston Symphony Orchestra last summer in several Berkshire Festival performances. iG2 era Tfw, THOMAS PAUL 'oorf l Thomas Paul, a Californian, is a QDDUTJ OAK ST.OFF LINCOLN graduate of the Juilliard School of sanono P1TTSFIELD, MASS. Music and has long been associated with the New York City Opera. He is re- membered as the bass soloist with this (Continued on page 19) WEEKEND PRELUDE Friday Evening, July 15, at 7:00 BACH Brandenburg Concerto No. 6, in B-flat major I. Allegro II. Adagio ma non troppo III. Allegro BURTON FINE, REUBEN GREEN Viola ALFRED ZIGHERA, MARTIN HOHERMAN Viola da gamba JULES ESKIN Cello HENRY FREEMAN Bass IGOR KIPNIS Harpsichord This Concerto is scored for five solo instruments and continuo, the smallest ensemble specified for any concerto of the set: two violas, two bass viols (yiole da gamba) and one cello, with one double-bass and continuo harpsichord. Though the Concerto is thus a chamber-music septet, it is customarily performed by a body of twenty or thirty violas, cellos and double- basses, with no bass viols and no harpsichord. Not even a performance of Beethoven's Septet by full military band could surpass such a travesty of the composer's clearly-expressed intentions. There are three movements. In the opening Allegro the violas begin in close canon above a simple accompaniment of repeated chords. As the music develops, the other instruments become increasingly animated. The slow movement (Adagio, ma non troppo) is a graceful conversation between the violas, the bass viols being silent; the bass line is for the most part in slow minims (double-bass and harpsichord), with the cello playing a soft "divi- sion" on it in crotchets. The Concerto ends with a robust finale (Allegro), in the mood of a gigue. Brandenburg Concerto No. 3, in G major I. Allegro II. Adagio III. Allegro JOSEPH SILVERSTEIN, ALFRED KRIPS, GEORGE ZAZOFSKY Violin BURTON FINE, REUBEN GREEN, EUGEN LEHNER Viola JULES ESKIN, MARTIN HOHERMAN, RICHARD KAPUSCINSKI Cello HENRY FREEMAN Bass IGOR KIPNIS Harpsichord Brandenburg Concerto No. 3 needs little introduction. Scored for eleven solo players (three each of violins, violas and cellos, with double-bass and continuo), it consists of two fast movements separated by two slow chords. Many scholars, myself among them, believe that Bach intended a slow move- ment in the relative minor to be played at this point. For the present per- formance the slow movement in E minor from a little known Violin Sonata in G major will be used. This Concerto is often played with a large quota of strings, but the present performance will be played by the eleven solo players only, in accordance with Bach's wishes. Notes copyright 1958, 1966 by Thurston Dart BALDWIN PIANO _4_ RCA VICTOR RECORDS BOSTON SYMPHONY ORCHESTRA Friday Evening, July 15, at 9:00 SZYMON GOLDBERG, Conductor BACH Concerto for Violin, No. 2, in E major I. Allegro II. Adagio III. Allegro Soloist: SZYMON GOLDBERG Suite No. 2, in B minor, for Flute and Strings Overture Rondo Sarabande Bourree I; Bourree II Polonaise and Double Minuet Badinerie Flute Solo: DORIOT ANTHONY DWYER Intermission The Art of Fugue Contrapunctus I, II, III, IV Suite No. 4, in D major Overture Bourrees I and II Gavotte Minuet I and II Rejouissance Harpsichord by Rutkowski and Rdbinette BALDWIN PIANO RCA VICTOR RECORDS 5 — Trogram O^otes Friday Evening, July 15 JOHANN SEBASTIAN BACH Born in Eisenach, March 21, 1685; died in Leipzig, July 28, 1750 CONCERTO FOR VIOLIN, No. 2, IN E MAJOR The violin concertos of Johann Sebastian Bach are the earliest specimens of the form to maintain themselves in the current repertoire.