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^Berkshire Festival

i SEASON 1947 Boston Symphony Orchestra

SERGE KOUSSEVITZKY, Music Director

Richard Burgin, Associate Conductor

• CONCERT BULLETIN

'j i

historical and descriptive notes by

John N. Burk

COPYRIGHT, 1947, BY BOSTON SYMPHONY ORCHESTRA, INC.

The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.

Henry B. Cabot . President Henry B. Sawyer Vice-President Richard C. Paine Treasurer

Philip R. Allen Alvan T. Fuller N. Penrose Hallowell M. A. De Wolfe Howe Roger I. Lee

John Nicholas Brown Jerome D. Greene Francis W. Hatch Jacob J. Kaplan Raymond S. Wilkins Oliver Wolcott

Tanglewood Advisory Committee

Alan J. Blau Bruce Crane George W. Edman Lawrence K. Miller Lester Roberts George P. Clayson Henry W. Dwight F. Anthony Hanlon James T. Owens Whitney S. Stoddar» Robert K. Wheeler

George E. Judd, Manager Berkshire Festival TAN U LKWOO D, 1047

Symphoniana THE FOUR BS For Ops. and (or Works) Beyond Hate and Fear Note well the Yankee Shire of Berks! Three B's — Beethoven, Bach, and Brahms — An editorial on the Berkshire Musie Center in the Old winners of victorious palms, Boston Globe of July I J last is here quoted in part. Now yield a place to one B more, Tanglewood is American as corn-on-the-cob. as And count the Berkshires Number Four! The time has gone by for comparing it with Bay- Tanglewo o ds m a n reuth or even with Salzburg. In one decade, and * that decade including a second world war, these Victor Red Seal Records Berkshire music festivals have developed into some- thing unique. BOSTON SYMPHONY Our soil must have been ready. Tanglewood is ORCHESTRA now a national institution, the ten thousand people , Musie Director who roll in to its concerts come from everywhere Bach, C. P. E. Concerto for Orchestra in D major and the four hundred students of its Music Center Bach, J. S. Brandenburg Concertos Nos. 2, 3, 4 and 5

Beethoven Symphonies Nos. 2 and ; Missa Solemnis are from forty States of the Union and a dozen for- 8 Berlioz Symphony, "Harold in Italy" (Primrose) Three eign countries. A school in the strict sense of course Pieces, "Damnation of Faust", Overture, "The Roman Carnival" it is not, for these young musicians are already pro- Brahms Symphonies Nos. 3, 4.; Violin Concerto (Heifetz) ficient technically, many of them to the point of Copland "El Salon Mexico," "Appalachian Spring," "A Lincoln Portrait" virtuosity. What brings them to Tanglewood is Debussy "La Mer," Sarabande ensemble performance and professional coaching by Faure "Pelleas et Melisande," Suite Foote Suite for Strings eminent conductors, composers, orchestral players, Grieg 'The Last Spring" choirmasters, and operatic instructors. When it is Handel Larghetto (Concerto No. 12), Air from "Semele" (Dorothy Maynor) remembered that this "Center," as it is termed, is Harris Symphony No. 3 a war-baby, born in 1940, and that it continued Haydn Symphonies Nos. 9+ ("Surprise") 102 (B-flat) Khatchatourian Piano Concerto (Kapell) through the dark Summers of 1941 and 1942, it will Liadov "The Enchanted Lake" be seen that the infant was robust. As Dr. Kousse- Liszt Mephisto Waltz

Mendelssohn Symphony No. 4. ("Italian") vitzky said at the opening of this season: "While Moussort/sky "Pictures at an Exhibition" the fury of destruction was in full operation on Prelude to "Khovanstchina"

Mozart Symphonies in major (201) ; C major other continents, here, in Tanglewood, a new crea- A (338) E-flat major, No. 26, Air of Pamina, from "The Magic tive cultural venture was born." Flute" (Dorothy Maynor) Piston Prelude and Allegro (Biggs) Scenically alone Tanglewood is a great impres- Prokofieff Classical Symphony; Symphony No. 5; Violin sion. Those who go there not knowing what they Concerto No. 2 (Heifetz); "Lieutenant Kije," Suite; '"Love for Three Oranges," Scherzo and March; are to see are astounded by the grandeur of the "Peter and the Wolf" mountain landscape. Forests, lawns, groves, the Rachmaninoff "Isle of the Dead"; "Vocalise" Ravel "Daphnis and Chloe," Suite No. 2 (new record- lake, amethyst in a setting of emerald, the luxuriant ing) meadows abloom with Held flowers, elms that stand Rimsky-Korsakov "The Battle of Kerjenetz"; Dubin- ushka like sculpture, the scenery is so fine that even some

Schubert "Unfinished" Symphony (new recording) ; who know, or supposed they knew, the place well "Rosamunde," Ballet Music Schumann Symphony No. 1 ("Spring") are astonished all over again each season and inclined Shostakovich Symphony No. 9 to doubt that such a place exists. These landscapes Sibelius Symphonies Nos. 2 and 5 ; "Pohjola's Daugh-

ter" ; "Tapiola"; "Maiden with Roses" seem to have been created on purpose to make Strauss, J. Waltzes: "Voices of Spring," "Vienna Blood" mortals gape. Strauss, R. "Also Sprach Zarathustra" "Till Eulenspiegel's Merry Pranks"

Stravinsky Capriccio (Sanroma) ; Song of the Volga

"THE BERKSHIRE" Bargemen ( arrangement)

Tchaikovsky Symphonies Nos. 4., 5, 6: Waltz (from The new RCA Victor Berkshire Model is now on dis- String Serenade) "Romeo ; Overture and Juliet" play at the Brotherhood Club, Lenox, and will be demon- Thompson "The Testament of Freedom" strated daily from 10 A.M., to 6 P.M. — (till August 10th). J'ivaldi Concerto Grosso in D minor -

BERKSHIRE FESTIVAL . .. TENTH SEASON, 1947

Boston Symphony Orchestra

SERGE KOUSSEVITZKY, Music Director

Tenth Program

Thursday Evening, August 7, at 8:15

Leonard Bernstein, Conducting

Haydn Symphony in B flat, No. 102

I. Largo: Allegro vivace III. Menuetto: Allegro; Trio

II. Adagio IV. Finale: Presto

Hindemith Concerto for Violin and Orchestra

I. Moderato II. Andante III. Vivace INTERMISSION

Schumann Symphony No. 1 in C major, Op. 61

I. Sostenuto assai; allegro ma non troppo III. Adagio espressivo

II. Scherzo: Allegro vivace; Trio (I); Trio (II) IV. Allegro molto vivace

Soloist . . . RUTH POSSELT

BALDWIN PIANO VICTOR RECORDS Berkshire Festival TANGLEWOOD, 1947

The symphony is scored for two flutes, two oboes, two Tenth Program bassoons, two horns, two trumpets, timpani and strings. This symphony is one of the six which Haydn (born in Lawrence, Massa- composed for his second visit to London in 1794 and chusetts, August 25, 1918) attended the Boston Latin School and then Harvard College, graduating in 1939. He was 1795 — he composed twelve in all for performance at the Curtis Institute of Music in Philadelphia for two by the orchestra of Salomon in the British capital. conducting with Fritz Reiner, or- years, where he studied The symphony was written, according to C. F. Pohl, chestration with Randall Thompson, and piano with Haydn's biographer, in 1795, and must accordingly Isabella Vengerova. At the first two sessions of the Berk- shire Music Center at Tanglewood, he studied conducting have been performed in that year. Haydn was re- with Serge Koussevitzky. He returned as his assistant in quired by the terms of his agreement with Salomon third the School, and conducting in the year of 1942, to write a new work for each of the weekly con- joined the faculty in the same capacity for 1946. In the certs in the subscription series which that impres- season 1943-44, he was assistant conductor of the New York Philharmonic-Symphony Society. He has appeared sario arranged, and the composer was as good as with many orchestras as guest conductor. In 1945 he his word. He stipulated (hearing, perhaps, that Symphony. became director of the He the British public had late-coming habits) that the conducted as guest in Prague and London last summer, piece should be played always at the beginning and has recently returned from similar visits to Palestine, new Prague, Brussels, Paris, and Scheveningen, Holland. His of the second part of the program. When each ballets "Fancy Free" and "Facsimile" have been produced particular symphony was played it is usually im- by the Ballet Theatre. wrote the music for "On the He possible to tell for the programs simply state: "New Town," first performed in Boston December 13, and 1944, Grand Overture" (Symphony), or "Grand Over- a success on Broadway. He has conducted his "Jeremiah" Symphony with the Boston Symphony Orchestra. ture mss."* There is every evidence that England took the twelve symphonies to its heart. The SYMPHONY IN B-FLAT MAJOR, concerts were crowded, and another management NO. 102 had only to announce a work of Haydn to be sure of an audience. The Morning Chronicle probably (No. 9 of the London Series) voiced the general opinion when it praised the By Joseph Haydn * It was not until 1817 that the programmes of the London Born at Rohrau, Lower Austria, March 31, 1732; Philharmonic Society identified symphonies by number or died at Vienna, May 31, 1809 key.

W. & J- SLOANE

NEW YORK WASHINGTON WHITE PLAINS

SAN FRANCISCO BEVERLY HILLS Berkshire Festival TANGLEWOOD, 1947

"agitating modulations" of the symphonies, and the "larmoyant passages" in their slow movements. Everyone was charmed by Haydn's grace and hu- mor, and the arias and choruses of Handel were momentarily overlooked in the interest of those unaccustomed forms to which Haydn had given such abundant life — the symphony and the string quartet. The second of the London symphonies (in D major), and the "Surprise" Symphony were singled out for special favor, and often repeated. Also of the Salomon series were the so-called BERKSHIRE PLAYHOUSE "Clock," "Drum Roll," and "Military" symphonies. As elsewhere among his final symphonies, Haydn Stockbridge, Mass. here dispenses with the ceremonious portal of a broad coup d'archet. A soft chord suffices to intro- William Miles, Director duce the tender largo, with its gentle syncopated pulsations. The sprightly allegro vivace takes sud- den possession of the movement. Speaking of its formal mastery, Professor Tovey puts himself on SIXTEENTH SEASON record as setting this work together with the Sym- phony in D major (No. 104) and the String Quar- tet in F, Op. 77, No. 2, as Haydn's "three greatest instrumental works." He points out at length Week of July 14th Haydn's success in obtaining that symmetry expected FLORENCE REED in of a symphony in the eighteenth century, while avoid- ing the rather barren identical means of an almost "Mademo iselle" recapitulation, to balance the exposition. "What the orthodox textbooks assume to be Haydn's re- Week of July 21st capitulation is neither more or less than a true Bee- thoven coda of the ripest kind. Where then does The HARTMANS in the symmetry come in? It comes in at the end of the exposition, which Haydn always rounds off very "Heaven Help the Angels" neatly in a phrase quietly reproduced at the end of the movement, just where it is the last thing you Week of July 28th would expect. . . . The only way to get the benefit of Haydn's or any great composer's sense of JANE COWL in form is to listen naively to the music, with expec- tation directed mainly to its sense of movement. "The First Mrs. Fraser" Nothing in Haydn is difficult to follow, but almost everything is unexpected if you listen closely, and Week of August 4th without preconceptions." Haydn, the subtle vagrant in modulation, here plies his skill to the utmost. PHILIP OBER & EDITH ATWATER in Near the end of the exposition he drops his ingra- "State of the Union" tiating ways to establish his new keys with sudden loud chords. They have a boldness foretelling Bee- thoven, but none of the provocative challenge of the master to come. Season continues through August 30th The Adagio is in effect the development of a single theme. is' There no middle section, no arbitrary Nightly (except Sunday) at 8:45 sequence of variation patterns, no break in the gen- $2.94, i. 80, 1.20 Tax incl. eral rhythmic scheme of triple time with a constant accompanying figuration of sixteenth notes; no Matinees Wednesday and Saturday at 2:30 marked variety in the instrumentation, wherein the $1.80 and $1.20 Tax incl. first violins, doubled by a single flute, usually carry For Reservations ivrite Box or the melody. The charm of the music lies in its Office delicacy and variety of detail, in which the device Phone Stockbridge 4.60 or 4.61 of a duple against a triple rhythm is much used. It is a single melodic unfolding of infinite resource, a Berkshire Festival T A N GLE WOOD, 1947

mood so enkindled that it need never lapse into for- SERGE mula. This Adagio must have been a favorite with Haydn, for it also appears in a Piano Trio, where

KOUSSEVITZKY the key is F-sharp, a half tone higher than in the THE BOSTON SYMPHONY ORCHESTRA symphony. The Trio was dedicated to Haydn's very special friend Mrs. Schroeter, who, according AND THE NEW AMERICAN MUSIC to Dr. Pohl. fondly cherished this piece. Hugo Leichtentritt The Minuet, together with its trio, re-establishes the tonic key. In the second part, the humor wh'ch sparkled in the opening movement reasserts itself in triple bass chords. The Finale, like most finales of Haydn when in- vention was fully unloosed, is indescribable. W. H. Hadow, in his studv of Havdn as a "Croation com- poser," detects in the opening theme a march tune commoply played in Turopol at rustic weddings. The melodic first phrase of the largo which intro- duces the symphony, Mr. Hadow finds similar to a

Slavonic folk ballad : "Na placi sent stal." /

CONCERTO FOR VIOLIN AND ORCHESTRA By Paul Hindemith

Born at Hanau, near Frankfort, on November 16, 1895 "Hugo Leichentritt's valuable new book on Serge Koussevitzky is ... a well-deserved trib- ute to the great musician as a devoted champion The first public performance of this concerto was in of the American composers." — Morris C. Amsterdam early in 1940. It was introduced to Ame ica Hastings, The New York Times. $3.00 by the Boston Symphony Orchestra, -April 19, 194.0, when Richard Burgin was the soloist. Ruth Posselt played the concerto with this orchestra November 20, 1940, and in HISTORICAL ANTHOLOGY the season past. OF MUSIC The orchestral accompaniment requires two flrtes and piccolo, two oboes, two clarinets and bass clarinet, two Archibald T. Davison and Willi Apel bassoons, four horns, two trumpets, three fombones and tuba, timpani, a large and a small drum, cymbals, triangle, "Immediately becomes a 'must' . . . The work as tambourine, gong, and strings. a whole is a musicological triumph." — Etude Music Magazine. 17.50 In the first movement the principal theme is at once disclosed by the soloist over soft string chords, HARVARD DICTIONARY a long melody in the high register of the instrument. OF MUSIC An important pendant to this theme is delivered by the wood-wind section. A subsidiary theme is given Willi Apel out by the soloist before the real second theme makes

its entrance. This is even longer in span than the "A masterpiece of compilation and editing . . . A must item." — Music Teachers' Quarterly. first. Indeed, the extended melodic phrase is charac- 16.00 teristic of the whole Concerto, where ornamental embellishment is the manner of working out rather THE TECHNIQUE OF than a fragmentary or integral development. The CHORAL COMPOSITION recapitulation re-emphasizes the first theme in this structurally regular movement. Archibald T. Davison The second movement is in triple beat. After "Will long remain the authority upon this sub- introductory matter for the wood winds, the soloist ject." — Etude Music Magazine. $3.00 takes the theme, which again is extended in contour.

At all bookstores or from The soloist and orchestra develop by turn the in- troductory and the solo themes, sometimes set against HARVAED UNIVERSITY PRESS rushing scales from the alternate wood winds and CAMBRIDGE 38, MASSACHUSETTS strings. The clarinet solo takes the solo theme as the violinist weaves an obbligato. 8 ,

Compounded and Copyrighted by Coty, Inc. in U. S. A. Berkshire Festival TANGLEWOOD, 1947

The Finale is in 2-4 time. The orchestra sets SYMPHONY IN C MAJOR, the pace with a few lively dance-like measures NO. 2, Op. 61 which the soloist takes up with a sprightly theme, while the wood winds give a light rhythmic sup- By Robert Schumann port suggestive of the accompaniment at the begin- Born at Zwickau, on June 8, 1810; died at Endenich, ning of the Concerto. The soloist, with this and July 29, 1856 with tributary themes, carries the burden of in- This symphony was begun in the latter part of 1845 and terest, bringing the climax with a broader theme completed in 1846. Numbered second in order of publica- first stated against orchestra tremolos. There is a tion, it was actually the third of Schumann's symphonies, for he composed his First Symphony, in B-flat, and the D long cadenza, making use of initial material, and a minor Symphony, later revised and published as the close in accelerated tempo. Fourth, in 1841. The Symphony in C major was first performed under the direction of Mendelssohn at the RUTH POSSELT, born in Medford, Massachusetts, Concerts in Leipzig, November 1846. made her debut at the age of nine, giving a recital in Gewandhaus 5, orchestration consists of two flutes, two oboes, two Carnegie Hall. Her subsequent career has led to six tours The clarinets, two bassoons, two horns, two trumpets, three of Europe, where she has appeared in recitals and with trombones, timpani and strings. the principal orchestras of various countries, including Soviet Russia. She played under Monteux and Paray in The C major Symphony seems to have been the Paris, Mengelberg and Szell in Holland. Her tours of product of Schumann's emergence from a critical this country include appearances as soloist with orchestras in Boston, New York, Chicago, Detroit, Washington, condition verging on nervous collapse. It was com- Cincinnati, St. Louis, Pittsburgh, and Indianapolis. posed at Dresden, where the Schumanns, married

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Berkshire Festival TANGLEWOOD, 1937 \

four years, had taken up their abode at the end of difficulty two years later: "I lost every melody as 1844, having left Leipzig. Clara had hoped for an soon as I conceived it; my mental ear was over- improvement in her husband's condition by a change strained." The music to Goethe's "Faust," which in environment. he was working upon at this time, he had to put In Leipzig he had been forced to give up his ac- definitely aside. And he wrote to Dr. Eduard tivities one by one, including his editorship of the Kriiger (in October) : "I have not been able to "Neue Zeitschrift fur Musik." Morbid, lurking bear the hearing of music for some time past; it terrors preyed upon him — fear of insanity, of death, cuts into my nerves like knives." But these dis- and also of trivial things. According to his Doc- tressing moments were intermittent. Schumann, re- tor (Helbig), "so soon as he busied himself with covering his health, could muster his creative forces, intellectual matters he was seized with fits of produce voluminously and in his finest vein. trembling, fatigue, coldness of the feet, and a state It was with timidity and at first for short periods of mental distress culminating in a strange terror that Schumann resumed his music in the year 1845 of death, which manifested itself in the fear in- — the first year in Dresden. In the winter there spired in him by heights, by rooms on an upper- was the blank of inaction, and the composer con- story, by all metal instruments, even keys, and by tinued despondent. "I still suffer a great deal," he medicines, and the fear of being poisoned.". Wrote to Kriiger, "and my courage often fails me His sole refuge was his art; but there came the entirely. I am not allowed to work, only to rest point when even his musical thoughts in the seclu- and take walks, and often I have not strength sion of his own study were insupportable. He made enough for it. Sweet spring, perhaps thou wilt re- this pitiable confession about a period of similar store me!" 9JUL^9JLQJULJLSLOJL

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To Verhulst he wrote on May 28: "The time trumpets have been sounding in my head for several during which you heard nothing from me was a days (trumpets in C). I do not know what will bad one for me. I was often very ill. Dark demons come of it." dominated me. Now I am rather better and get- What came of it was the Symphony in C, which ting to work again, which for months I have been took such strong hold on him that it encroached upon unable to do." another joyful task — the filling out of the con- The Composer took restorative drafts of that cert allegro of 1840 into a full-sized piano con- prime spiritual tonic — Sebastian Bach, and turned certo, by the addition of two movements. his own hand to counterpoint. The faithful Clara The first three movements of the C major Sym- was as always at his side, and recorded in her diary phony came into being through days and nights her delight when, although she herself could not of work in the latter part of December. "My hus- produce anything better than a barely acceptable band," wrote Clara to Mendelssohn on December fugue, "he himself has been seized by a regular 27, "has been very busy lately, and at Christmas passion for fugues, and beautiful themes pour from he delighted and surprised me with the sketch of a him while I have not yet been able to find one." new symphony; at present he is music pure and simple,' so that there is nothing to be done with The mental exercise was diverting rather than !" him j— but I like him like that nerve-straining. It led him quietly and gradually into his saving world of musical creation. Robert, Clara would rejoice as delight in his growing still busy with his fugues, began to regain his old score would possess his thoughts and exclude darker confidence, and wrote to Mendelssohn in July: "I fantasies: "What a joyful sensation it must be," am very much behind, and have little to show you. she wrote, "when an abundant imagination like his But I have an inward confidence that I have not bears one to higher and higher spheres. ... I am been quite standing still in music, and sometimes often quite carried away with astonishment at my a rosy glow seems to foretell the return of mv old Robert ! Whence does he get all his fire, his imagina- strength, and a fresh hold upon my art." A letter tion, his freshness, his originality? One asks that of July gives more definite promise: "Drums and again and again, and one cannot but say that he is

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With illustrations • $2.00 at the Festival and all bookstores • The Vanguard Press

12 i Berkshire Festival TANGLEWOOD, 1947 V one of the elect, to be gifted with such creative power." When Schumann wrote to Fischof of this symphony that it "appears more or less clad in * • • armor," his thoughts were still borne down by the associations that surrounded it. The music, by turn gently grave and openly joyous, is a life affirmation in every part. It exorcises dark fears, the blank- ness of impotence and depression. It becomes a triumphant assertion of the spirit restored to con- fident power. Wagner spoke not only for himself when he wrote : "We should make a grave mistake, if we thought the artist could ever conceive save in a state of profound cheerfulness of soul." With all artists, and with Schumann in exceptional degree, the act of creation was fortification for "cheerful- ness of soul." "We musicians, as you are aware," he wrote to Hiller, "often dwell on sunny heights, New England's Smartest Restaurant and when the ugliness of life oppresses us, it is the * * Delicious more painful. . . . Outward storms have driven Food me into myself, and only in my work have I found * compensation." * * "STREET SCENE" The dreadful fact which Clara, rejoicing in the C major Symphony, was unwilling to admit was * COCKTAIL LOUNGE • that the shaping music, Robert's apparent road to Gourmets' Food Shop salvation, was also the road to new and threatening * * exhaustion. As he consummated the adagio, which ANTIQUES holds the most impassioned and deeply wrought Closed Monday pages in his symphonies, he was forced to put his * * sheets away in a trembling misery of acute sensi- ROUTE 44 tivity. At last, after more enforced postponements, * * the Symphony was completed in October and duly CANAAN . . . CONN. performed at Leipzig, on November 5, by Mendels- sohn. Clara did not perceive the beauty of her * * * * * * husband's latest symphony in its full force until a performance at Zwickau in the July following,

Samuel Barber

/^\NE of the most frequently per- V- ^ formed of all contemporary composer of American composers, Samuel Barber was born in West Chester, Overture to Pennsylvania, in March, 1910. He entered the Curtis Institute of The School Music at the age of thirteen to study composition with Rosario for Scandal Scalero. Barber is the winner of the 1935 Prix de Rome and the 1935 and 1936 Pulitzer Prizes.

Mr. Barber s compositions are published exclusively by

3 EAST 43rd STREET NEW YORK CITY 17

13 -«

Berkshire Festival . tanglewood, 1947

when she wrote: "It warms and inspires me to an ment than it actually is. It is, in fact, the kind of especial degree, for it has a bold sweep, a depth intermezzo that remains almost peculiar to Schu- of passion such as are to be found nowhere in mann in sonata-music ; and its great exemplar is the Robert's other music!" cavatina in Beethoven's Quartet, Op. 130. If we Donald Francis Tovey, in describing the Sym- wished to make a strict form of it we should lay phony in the programs of the Reid Symphony down that it had ho contrasting episodes or returns,

Orchestra at the University of Edinburgh,' did not but this is not necessary so long as the flow is so speak of any dark or ominous quality in the music. continuous that the mind takes no account of breaks, On the other hand, he writes, "His invention is but accepts every joint as a continuous feature of at a very high power; and in spite of the notorious lyric melody. Schumann achieved this type of move- disconnectedness of the Finale, the total impression ment in his Third and Fourth Symphonies, and also of the work is majestic and powerful. To many in his G minor and F-sharp minor Pianoforte So- Schumann-lovers the slow movement is their favor- natas. In both these cases the slow movements were ite piece in all Schumann's orchestral music." Pro- transcriptions of songs. Other charming specimens fessor Tovey does not specifically number himself are to be found in the slow movements of the among these "Schumann-lovers," but he further Violoncello Concerto and the Concerto for Four writes: "The slow movement is a compact lyric in Horns. The most impressive examples in later a square sonata-form without development. It is a music are the slow movements of Brahm's D minor part of the symphony that leaves no doubt of its Violin Sonata Op. 108, and G major String Quin- beauty and richness; and its perfection of form pro- tet." duces the impression of a very much larger move- BLUE BIRD SPORT SHOP MAIN STREET STOCKBRIDGE, MASS. DISTINCTIVE WOOLEN SPORTSWEAR WINTER SHOP

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BERKSHIRE FESTIVAL. ..TENTH SEASON, 1947

Boston Symphony Orchestra

SERGE KOUSSEVITZKY, Music Director

Eleventh Program

Saturday Evening, August 9, at 8:15

Robert Shaw, Conducting

Bach Cantata No. 50, "Nun ist das Heil und die Kraft," for Double Chorus and Orchestra

Stravinsky Symphony of Psalms, for Orchestra and Chorus

I. Psalm XXXVIII, Verses 13 and 14 III. Psalm CL (Entire)

II. Psalm XXXIX, Verses 2, 3 and 4 INTERMISSION

Mozart Mass (K. 626)

I. Requiem. V. Recordare. IX. Hostias.

II. Dies Irae. VI. Confutatis. X. Sanctus.

III. Tuba Mirum. VII. Lacrimosa. XI. Benedictus.

IV. Rex tremendae. VIII. Domine Jesu. XII. Agnus Dei.

Soloists . . . FRANCES YEEND, Soprano; EUNICE ALBERTS, DAVID LLOYD, Tenor; JAMES PEASE, Bass

FESTIVAL CHORUS Prepared by Robert Shaw

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Berkshire Festival TANGLEWOOD, 1947

Eleventh the triumph of the angelic host over the forces of Program evil. Mr. Schering further supposed that this frag- ROBERT LAWSON SHAW was born in Red Bluff, mentary chorus should, according to the custom of California, April 30, 191 6. Graduating from Pomona Bach, have had an instrumental introduction and College in Claremont, California, he went to New York conclusion. "But of this not a single note exists, City in 1938 to form a radio glee club for Fred Waring, and so this double chorus remains an isolated and with whom he remained until his induction into the Navy in the spring of 1945. During these years he also trained enigmatic pillar towering above the other cantatas choruses for the Aquacade at the New York and San of Bach, a monumental work of the highest order." Francisco Expositions, "Carmen Jones," "Laughing Room The cantata is in two equal parts of sixty-eight Only," and "Seven Lively Arts." It was in 1941 that he bars each, the second a repetition of the first with formed the Collegiate Chorale, an amateur chorus which has given many concerts in New York, introducing new variations in the contrapuntal writing and treat- works, some of which it had commissioned, and perform- ment of modulation. ing large choral works of the past. The Collegiate Chorale has also assisted the principal orchestras of New * Mr. Schering adheres to the earlier edition by Wilhelm York, and the Boston Symphony Orchestra as well. Mr. Rust in the complete edition of Bach. Shaw has conducted the CBS, ABC and NBC Symphony Orchestras as guest in broadcast performances. He is di- rector of choral music for RCA Victor. He became di- "SYMPHONIE DE PSAUMES," rector of choral activities for the Juilliard School of Music in 1946. for Orchestra with Chorus Last summer Mr. Shaw joined the faculty of the Berk- By Igor Stravinsky shire Music Center, preparing the Festival Chorus for performances at the Festival concerts. Born at Oranienbaum, near St. Petersburg, on June 17, 1882 CANTATA NO. 50, "NUN 1ST This setting of excerpts from the Psalms was dedi- DAS HEIL UND DIE KRAFT" cated to the Boston Symphony Orchestra on the By Johann Sebastian Bach occasion of its 50th anniversary. The actual first Born at Eisenach, March 21, 1685; died at Leipzig, performance took place in Brussels, by the Brussels July 28, 1750 Philharmonic Society, December 13, 1930, Ernest Ansermet conducting. The initial performance by This cantata is attributed to the year 1 740. It the Boston Symphony Orchestra was given in the is written for double chorus with three trumpets, following week, December 19. three oboes, timpani, strings, with and organ and The following note is given in the score: "The continuo. three parts of this symphony are to be played with- Intended for St. Michael's it is Day, a setting out pause. The text of the Psalms, which is that of Revelation XII, 10-12: I "And heard a loud of the Vulgate, is to be sung in Latin. The Psalms voice saying in heaven, 'Now is come salvation and are: Verses 13 and 14 of XXXVIII for the First strength and the kingdom of our God and his Part of the Symphony; verses 2, 3, and 4 of Christ. the For accuser of our brethren is cast down, XXXIX for the Second Part; Psalm CL., in its which accused them before our God Day and entirety the Third Part. chorus should " for The Night.' be of children's voices. Failing these, women's "Nun ist das Heil, und die Kraft voices (sopranos and altos) may be substituted." und das Reich und die Macht The score contains parts for soprartos, altos, tenors, unsers Gottes seines Christus worden, and basses. weil der verworfen ist, Stravinsky dispenses entirely with the high strings, der sie verklagete, using the 'cellos and basses for the reinforcement Tag und Nacht vor Gott."

This chorus is in the form of a fugal motet in 3/4, D major. Arnold Schering, in his preface New England's Most to his edition of the score,* assumes that this Complete Music House single choral number is a portion of an intended cantata on St. Michael, a "torso finale." He points THE BOSTON MUSIC out that the cantata of St. Michael (No. 19 in the COMPANY Bach Geselhchaft) includes this text but begins with Verse 7: "And there was a great battle in 116 Boylston Street - Boston 16, Mass. heaven," where St. Michael and his angels are Telephone Order Department battling the dragon Satan. This portion of the Hancock Five One Hundred earlier cantata is music of heroic struggle, and the subsequent verses, identical with those set in the Serving the Musical World Since 1885 Cantata No. 50, are in each case music of victory, 18 Berkshire Festival TANGLE WOOD, 1947

of his tonal foundations. The wood winds contain HARD TO GET no clarinets, but four flutes and piccolo, four oboes and English horn, three bassoons and contra-bas- soon. There are four horns, five trumpets, including Its RABSONS for RECORDS a high trumpet in D, three trombones and tuba, harp, two pianos, timpani, and bass drum. We carry a complete line of records I. Psalmus XXXVIII, Verses 13 and 14 including Exaudi orationem meam, Domine, et deprecationem meam: auribus percipe lacrymas meas. VOX — DISC — POLYDOR Ne sileas, quoniam advena ego sum apud te, et pere- grinus, sicut omnes patres mei. Remitte mihi, ut refrigerer MUSICRAFT — CONCERT HALL priusquam abeam, et amplilus non ero. HARGAIL — COMMODORE Psalm 39 (King James Version) Hear my prayer, O Lord, and give ear unto my cry, Hold not thy peace at my tears: For I am a stranger with thee, And a sojourner, as all my fathers were. O spare me, that I may recover strength: Before I go hence, and be no more.

Mail orders filled RABSONS MA1LMART II. the same day received. 1 1 1 West 52nd Street Psalmus XXXIX, Verses 1, 2, 3, 4 Postpaid it for New York 19. N. Y. Expectans expectavi Dominum, et intendit mihi. $35 or more. If less, Catalog gladly sent Et exaudivit preces meas; et eduxit me de lacu miseriae, et express collect. on request. de luto faecis Et statuit supra petram pedes meos; et direxit gressus meos. Et immisit in os meum canicum novum, carmen Deo nostro. Videbunt multi et timebune: et sperabunt in Domino. Psalm XL (King James Version) I waited patiently for the Lord, And he inclined unto me, and heard my cry. He brought me up also out of an horrible pit, out of the miry clay, •^^H>^H><$^^^W'^H'H"^'»^a"l'1'^1"H>^^^M^H>^>

III. Psalmus CL (Alleluia) Laudate Dominum in Sanctis ejus: Laudate eum in firma- mento virtutis ejus. IMPORTERS AND WINE MERCHANTS Laudate eum in virtutibus ejus: laudate eum secundum multitudinem magnitudinis ejus. Laudate eum in sono tubae: laudate eum in psalterio et cithara. Our offerings, Laudate eum in tympano et choro: laudate eum in chordis et organo. domestic and imported, Laudate eum in cymbalis bene sonatibus: laudate eum in cymbalis jubilationis: omnis spiritus laudet Dominum. include Fine IVines, Psalm CL (King James Version) (Alleluia) vvhisKey, Crin, Rum, Praise ye the Lord. Praise God in his Sanctuary: Brandies and Liqueurs, Praise him in the firmament of his power. Praise him for his mighty acts: all available at appointed Praise him according to his excellent greatness. Praise him with the sound of the Trumpet: Bellows Agents. Praise him with the Psaltery and Harp. Praise him with the timbrel and dance: Praise him with stringed instruments, and Organs. BUSINESS ESTABLISHED 1830 Praise him upon the loud cymbals: Praise him upon the high sounding cymbals. TJew york • Colorado Springs • Chicago Let everything that hath breath, praise the Lord. Praise ye the Lord. ^^ , ^^^^^^^»^^»»»i ^ ^^»» ^^H 4>4>^>4MH^H>

Berkshire Festival TANGLEWOOD, 1947

REQUIEM MASS in D Minor SEi&ebfiu zSdubic SPAcfeb By Wolfgang Amadeus Mozart

IMPORTED RECORDS Born at Salzburg, January 27, 1756 died at Vienna, December DEPARTMENT 5, 1791

This requiem, left unfinished by Mozart at his death, was completed Siissmayr c£0tecotcleci tAttiAic by Franz Xaver and first performed by order of Count Walsegg, for whom it was composed, on December 14, 1793. It was just two years before that the composer had died of typhus fever, and was buried in a pauper's grave, with not a single friend to witness his laying away. The score remained fragmentary. Mozart's wid- ow, sadly in need of money, was reluctant to relin- quish the fee from Count Franz von Walsegg, who had ordered the piece, and engaged Franz Xaver Siissmayr, who had been her husband's friend and pupil, to fill in the gaps, that she might deliver the full score as Mozart's own. Siissmayr had little to do in the first movements. The opening Requiem and Kyrie Mozart had written out in full score. The Dies Irae and the four movements that fol-

lowed : Tuba Mirum, Rex Tremendae, Recordare, Included in our stock of IMPORTED and Confutatis, also the Domine Jesu Christe and RECORDS (one of the largest and the Hostias were clearly outlined in skeleton form most comprehensive in the nation), are — that is to say, the composer had written the vocal these outstanding ' Les Discophiles lines complete, figured in the bass, and suggested Francais" recordings. the instrumentation where it moved independently. Only the last verse of the Dies Irae left a hole to e = ^%w*^ Serenade for 13 wind instru- be filled in from the pattern of what had preceded. The Lacrimosa had to be built by Siissmayr from ments-K361 # A9~*15™ twelve opening measures and no more. The re- *A(cg€lb£ = Two Serenades for 8 wind maining three movements, the Sanctus, Benedictus, instruments K388, K375, and Agnus Dei, were missing altogether. Siissmayr was probably as well fitted as anyone for the task A10— *15™ He was familiar with the church style of the day; Write or call ior our new catalogue of he had been close to Mozart, often beside him as IMPORTED RECORDS he worked upon the score on his sick bed, explaining LIBERTY MUSIC SHOPS his intentions. Siissmayr's script was very like Mo- zart's. He copied in full all but the first two move- 450 MADISON AVE., NEW YORK 22, N.Y. ments so that "there might not be two handwritings together," as the widow confided to Andre. The prime deceiver, who could not afford to be too scrupulous, accepted the counterfeit. The instrumentation calls for two corni di bas- setto, two bassoons, two trumpets, three trombones, The BERKSHIRE MUSEUM timpani, organ, and strings.

Introit. Pitts field Requiem aeternam dona eis Domine; et lux perpetua luceat eis. Te decet hymnus Deus in Sion; et tibi reddetur EXHIBITION NOW votum in Jerusalem; exaudi orationem meam; ad te omnis caro veniet. Requiem, etc. 'The Early Days of Tanglewood' Kyrie. Kyrie eleison. Christe eleison. 20 !

Berkshire Festival TANGLEWOOD, 1947

Dies Irae. Offertorium. Dies irae, dies ilia Quantus tremor est futurus, Domine Jesu. Solvet saeclum in favilla, Quando Judex est venturus, Christe, gloriae, libera animas Teste David cum Sibylla. Cuncta stricte discussurus! Domine Jesu Rex omnium fidelium defunctorum de poenis inferni, et de profundo Tuba Mirum. lacu: libera eas de ore leonis, ne absorbeat eas tartarus, ne Michael repre- Tuba mirum spargens sonum Judex ergo cum sedebit, cadant in obscurum; sed signifer sanctus sanctam. olim Abrahae prom- P»r sepulchra regionum, Quidquid latet apparebit: sentet eas in Iucem Quam Coget omnes ante thronum. Nil inultum remanebit. isisti, et semini ejus. Mors stupebit et natura, Quid sum miser tunc dicturus? Hostias. Cum resurget creatura, Quem patronum rogaturus, Hostias et preces tibi Domine, laudis offerimus; tu Judicanti responsura. Cum vix Justus sit securus? suscipe proanimabus illis, quarum hodie memoriam facim- Liber scriptus proferetur, us: fac eas Domine de morte transire ad vitam. Quam In quo totum continetur, olim Abrahae promisisti, et semini ejus. Unde mundus indicetur. Sanctus. Rex tremendae. Sanctus, sanctus, sanctus, Dominus, Deus Sabaoth! Rex tremendae majestatis; Pleni sunt coeli et terra gloria tua. Qui salvandos salvas gratis, Osanna in excelsis! Salve me fons pietatis. Osanno in excelsis Recordare. Benedictus, qui venit in nomine Domini. Osanna in excelsis. Recordare Jesu pie; Qui Mariam absolvisti, Quod sum causa tuae viae, Et latronem exaudisti, Agnus Dei. ilia Ne me perdas die. Mihi quoqua spem dedisti. Agnus Dei, qui tollis peccata mundi, dona eis requiem. Quaerens me sedisti: lassus, Preces meae non sunt dignae: Agnes Dei, qui tollis peccata mundi, dona eis requiem. Redemisti crucem passus: Sed tu bonus fac benigne, Agnus Dei, qui tollis peccata mundi, dona eis requiem Tantuslabor non sit cassus. Ne perenni cremer igne. sempiternam. Juste Judex ultionis, Inter oves locum praesta, Communio. Donum fac remissionis Et ab hoedis me sequestra, Ante diem rationis. Statuens in parte dextra. Lux aeterna luceat eis Domine: Cum Sanctis tuis in aeternum, quia pius es. Ingemisco tanquam reus, ; lux Culpa rubat vultus meus, Requiem aeternam dona eis Domine et perpetua Supplicanti parce Deus. luceat eis: Cum Sanctis. Confutatis. Confutatis maledictis, Ore supplex et acclinis, PUBLIC REHEARSALS Flammis acribus addictis, Cor contritum quasi signis: Voca me cum benedictis. Gere curam mei finis. The public will be admitted to the remaining Saturday morning rehearsal the Boston Symphony Orchestra in Lacrimosa. by the Shed, August 9. The admission fee will be $1, pro- Lacrimosa dies ilia, Huic ergo parce Deus; the Pension of the Qua resurget ex favilla Pie Jesu Domine ceeds to be devoted to Fund Orchestra Tudicandus homo reus. Dona eis requiem. Amen. members. Each rehearsal begins at 10 A.M. promptly.

Welcome to the Berkshires

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previous seasons — and meet those of you who are visiting Tangle-

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to you during your visit.

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21 Berkshire Festival TANGLEWOOD, 1947

given to the pianos, wood winds and strings. The Twelfth Program violins are divided into three sections in order to diffuse the full sonority of the strings and to provide more polyphonic activity. CONCERTO GROSSO "I am reluctant to make an analysis of the form, which offers no real help toward understanding for Chamber Orchestra the of a new work. I prefer that the public listen in- By Bohuslav Martinu stead of constantly asking, 'When does the second theme come in?' ' Is this the development already, or Born December 8, 1890, at Policka, Czechoslovakia is it still the exposition?' The form should be felt through the development of the ideas and through The "Concerto Grosso" was composed in 1938 and had the internal structure of the work, which represents its first performance (from the manuscript) at the Boston a certain attitude of the composer, and the attitude Symphony concerts, November 14, 1941. itself clearly The orchestration requires one flute, three oboes, three should make known without explana- clarinets, two horns, two pianos and strings. tions. "In the first movement, I work with a little This work, according to an interesting communi- rhythmic germ of a half-measure which binds the cation from Mr. Martinu, provided on the occa- different developments of the other motives and sion of the first performance, "has had a singular which appears in the most diversified forms up to destiny. Written in Paris, in 1937, it was to have the end, where there remains nothing but this little been published by the 'Universal Edition' at Vienna, germ within the fulness of the orchestra. and its first performance was set for the season of "The Andante of the second movement is an ex- 1938 in Paris. There came the 'Anschluss," and I tended song by the violoncellos and the other was without news of the score; the premiere was strings, which continues forceful and expressive prevented by the impossibility of receiving orches- But a few measures before the end, the song sub- tral parts and the manuscript. A year afterward, sides into tranquillity. events forbade the 'second' premiere, this time in "In the third movement, of lively character, the Prague,* where ever since, my works have been two pianos take the foremost place as soloists, set- banned from the repertoire. At last I expected a ting forth the themes (somewhat rhythmic) of a real premiere in Paris in the month of May, 1940, 'rondo.' At first they are enveloped always by the under the direction of Charles Munch. I received polyphony of the orchestra ; then the orchestra takes my manuscript after many difficulties, and after it them up, relegating the contrapuntal ornamenta- had undergone some highly involved wanderings. tion to the pianos." Everything was ready, the hall hired, but events in France did not permit it to be heard. The whole thing was called off, and the manuscript was lost during my retreat from Paris. "PAVANE POUR UNE INFANTE "By a lucky chance, the Czecko-Slovak conduc- tor George Szell had rescued a copy of the work DEFUNTE" from Prague, just in time. I had no idea of the By Maurice Ravel existence of a copy, and it was a happy surprise to learn of it on my arrival in America." Born at Ciboure, Basses-Pyrenees, March 7, 1875; died in Paris, December 28, 1937 There may be added to the composer's account one more incident in the misadventures of a con- certo. It was scheduled for performance at the Ravel composed his "Pavane" as a piece for piano in twenty-third pair of concerts of the Boston Sym- 1899, and in this version it was first played in public by Ricardo Vines at a Societe Nationale concert on April phony Orchestra in the season 1940-41, but an un- 5, 1902. In 1910 Ravel set the work for the following or- delay in copying its avoidable the of parts required chestra: two flutes, oboe, two clarinets, two bassoons, two postponement until the following season. horns, harp and strings.

The composer writes thus of his concerto: The fanciful title with its antique air (it is "The title 'Concerto Grosso' bespeaks my lean- usually translated "Pavane for a Dead Infanta") ing toward this form, which occupies a position be- suggests an elegy for a princess in the old courtly tween chamber music and symphonic music. It will Spain where this dance was much cultivated in its be evident that I have not followed the traditional time. The pavane, known in England as "pavan" form of 'concerto grosso' but rather the character- or "pavin," was a grave and ceremonious dance of istic alternations of 'soli' and 'tutti' which I have the 16th and 17th centuries. It was often followed by a lively galliard, a succession which was later •Milos Safranek states that it was to be performed by supplanted in instrumental suites by the saraband Czech Philharmonic under Vdclav Jalich in Prague, in 1938. and gigue. "According to some authorities," writes 22 \ # *

1

BERKSHIRE F E S T I V A L . . . T E N T H SEASON, 1947

; Boston Symphony Orchestra

SERGE KOUSSEVITZKY, Music Director

Twelfth Program

Sunday Afternoon, August i o, at 3:30

Martinu .' Concerto Grosso for Chamber Orchestra

I. Allegro non troppo II. Lento III. Allegretto

Pianos . . . Lukas Foss and Bernard Zighera

Ravel '.....'.'. "Pavane pour une Infante defunte"

Ravel ....'. "Bolero" INTERMISSION

Tchaikovsky Symphony No. 4 in F minor, Op. 36

I. Andante sostenuto. Moderato con anima in movimento di Valse

II. Andantino in modo di canzona

III. Scherzo: Pizzicato ostinato; Allegro

IV. Finale: Allegro con fuoco

BALDWIN PIANO VICTOR RECORDS "m

Berkshire Festival TANGLE WOOD, 1947

W. B. Squire in his article on the pavane, contrib- bassoons and contra-bassoon, four horns, four trumpets, three trombones, tuba, three saxophones, timpani, side uted to Grove's Dictionary, "the name is derived drums, cymbals, gong, celesta, harp, and strings. from the latin 'pavo,' owing to the fancied resem- According to the testimony Gauthier, blance to a peacock's tail, caused by the robes and of Eva cloaks worn by the dancers, as they swept out in the who witnessed the original production of "Bolero" in Paris visualiza- stately figures of the dance. ... At state balls the by Mme. Rubinstein, attempts at dancers wore their long robes, caps and swords, and tion of the music in this country have been negligible the music was performed by sackbuts and oboes. In by comparison. The setting and costumes by Alex- masquerades, pavans were played as processional andre Benois suggested a painting of Goya and de- music, and were similarly used at weddings and re- picted a large table in a public tavern upon which ligious ceremonies. Like all early dances, the pavan the principal dancer performed her convolutions was originally sung as well as danced." while the men standing about the room were grad- ually aroused from apathy to a state of high ex- citement. "The dancer," according to Prunieres, BOLERO "executed a stylized interpretation of the 'Bolero' amid the growing excitement of a crowd of spec- By Maurice Ravel tators encouraging her with their applause and their pounding heels. At the moment when the Born at Ciboure, Basses Pyrenees, March 7, 1875; died in Paris, December 28, 1937 music took a dramatic turn, we saw a brawl. Every- thing seemed to be swept along by the music, a most beautiful spectacle." "Bolero," composed by commission as a ballet for Ida Rubinstein, was first performed by the dancer with her Ravel built his musical structure upon a long company at the Opera in Paris, November 22, Walter 1928, theme of rhythmic character suggestive of the Straram conducting. As an orchestral piece it had its first faith- American performance at the concerts of the Philharmonic Spanish dance by that name, but by no means Symphony Society of New York, November 14, 1929, Tos- ful to it in form or detail. "He fell by accident on canini conducting. The first performance in Boston was the extraordinary style and form," writes Mme. at the concerts of the Boston Symphony Orchestra, De- Gauthier, "and with the melody already fixe 1 in cember 6, 1929. his mind, giving the title of 'Bolero,' but, as he It is scored for two flutes and piccolo, two oboes, oboe d'amore, English horn, two clarinets, E-flat clarinet, two said, it really was a ' danse lascive.' " The com-

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poser, it will be remembered, never cultivated fi- let, and its only outlet, in tone. He did indulge in delity to the musical titles or subjects which he a fanciful attempt at a program for the Fourth, borrowed. He once remarked to his friend Calvoco- writing confidentially to Mme. von Meek, in an- ressi, answering the charge of "artificiality" often swer to her direct question, and at the end of the brought against him: "But has the idea never same letter disqualified this attempt as inadequate.

' occurred to those people that I could be 'artificia These paragraphs, nevertheless, are often quoted as by nature?" Ravel here chose to repeat his theme the official gospel of the symphony, without Tchai- again and again without development or even the kovsky's postscript of dismissal. It would be a good ornamentation which variations would involve, deal more just to the composer to quote merely a building a long crescendo from drum taps pianis- single sentence which he wrote to Taneiev: "Of simo through the various orchestral colors in in- course my symphony is program music, but it creasing intensity, to a climax of utmost sonority. would be impossible to give the program in The drum, at first barely audible, sets forth the words; it would appear ludicrous and only raise rhythm. The voice of the solo flute (reinforced by a smile." The program devolves upon the cyclic the clarinet and bassoon) sings the melody, which brass theme of "inexorable fate" which opens the is then repeated in turn by the E-flat clarinet, the work and recurs at the end. Again, a fragmentary oboe d'amore, the trumpet, the tenor saxophone, sketch of a program for the Fifth Symphony has and the soprano saxophone. The melody is tlrn been recently discovered, in which "fate" is found taken up by instruments in groups, the wood wind once more. The word, to most of those who read at first. The trombone adds its voice, and the it, is probablv a rather vague abstraction. It would violins join the wood wind in a concerted repetition. be more to the point to know what it meant to the The remaining strings and brass are gradually composer himself. added. Near the end the percussion, horns and As a matter of fact, the months in which Tchai- strings greatly increase the inexorable rhythmic tat- kovsky worked out this symphony he was intensely too. At the very end, the orchestra, having main- unhappy — there was indeed a dread shadow hang- tained an unrelieved C major, modulates with ing over his life. He uses the word significantly in startling suddenness to the key of E. a letter to Mme. von Meek, acquainting her with his intention to marrv a chance admirer whom he scarcely knew and did not love (the reason he SYMPHONY IN F MINOR, gave to his benefactress and confidante was that he could not honorably withdraw from his promise). NO. 4, Op. 36 "We cannot escape our fate," h° said in his By Peter Ilich Tchaikovsky letter, "and there was something fatalistic about my meeting with this girl." Even if this remark could Born at Votkinski, in the government of Viatka, Russia, be considered as something more sincere than an May 7, 1840; died at St. Petersburg, November 6, 1893 attempt to put a face upon his strange actions be-

fore his friend, it is inconceivable that the unfortu- The Fourth Symphony, composed in was first 1877, nate episode (which according to recently published performed by the Russian Musical Society in Moscow, February 22, 1878. letters was more tragic than has been supposed) The orchestration includes two flutes and piccolo, two could have been identified in Tchaikovsky's mind oboes, two clarinets, two bassoons, four horns, two with this ringing and triumphant theme.* Let the trumpets, three trombones and tuba, timpani, bass drum, cymbals, triangle, and strings. * Some connection between the symphony and Tchaikov- The year 1877 was a critical one in Tchaikov- sky's rash marriage and subsequent collapse is inescaDable, as an outline of dates will show. It was in May of 1877 sky's life. He suffered a serious crisis, and survived that he became engaged to Antonina Ivanovna Miliukov. it through absorption in his art, through the shaping In that month, too, he completed his sketches for the sym- and completion of his Fourth Symphony. phonv. The wedding took place on July 18, and on July 26 there a weeks' The dramatic conflict and emotional voice of this Tchaikovsky fled to Kamenko; was two farce of "conjugal" life at their house in Moscow (Sep- symphony and the two that followed somehow de- tember 12 to 24), and the distraught composer attempted to mand a program. It may be worth inquiring to catch a fatal cold bv standing up to his waist in the frigid what extent the Fourth Symphony may have been waters of the Moskva. Again the composer made a pre- cipitate flight, saw his wife again. Barely sur- conditioned by his personal life at the time. Tchai- and never viving a nerve crisis which "bordered upon insanity," he kovsky admitted the implication of some sort of was taken by his brother, Anatol, to Switzerland for a com- program in the Fourth. He voluntarily gave to plete rest and change. At Kamenko in August, in a con- the world no clue to any of the three, beyond the dition which made peace of mind impossible, he was yet able to complete the orchestration of the first movement. mere word "Pathetique" for the last, realizing as he At Lake Geneva, as soon as he was able to take up his himself pointed out, the complete failure of words pen, the convalescent worked happily upon the remaining to convey the intense feeling which found its out- three movements.

25 Berkshire Festival TANGLEWOOD, 1947 psychologists try to figure out the exact relation be- them there. The pathological and the musical tween the suffering man and his music at this time. Tchaikovsky are two different people. The first It is surely a significant fact that this symphony, was mentally sick, pitiably feeble. The second was growing in the very midst of his trouble, was a bold, sure-handed, thoroughgoing, increasingly mas- saving refuge from it, as Tchaikovsky admits more terful, eminently sane. It was precisely in the dark- than once. He never unequivocally associated it est moment in Tchaikovsky's life that there surged with the events of that summer, for his music was up in his imagination the outlines of the Fourth to him a thing of unclouded delight always, and the Symphony — music far surpassing anything he had days which gave it birth seemed to him as he looked done in brilliance and exultant strength. back (in a letter to Mme. von Meek of January On the other hand, Tchaikovsky's music which 25, 1878) "a strange dream; something remote, a more than any other is drenched with lamentation, weird nightmare in which a man bearing my name, the "Pathetic" Symphony, he wrote during compara- my likeness, and my consciousness acted as one acts tively happy and healthful months, in the comforting in dreams: in a meaningless, disconnected, paradoxi- sense of having attained his fullest creative powers. cal way. That was not my sane self, in possers'on Tchaikovsky simply reveled in a poignant style of of logical and reasonable will-powers. Everything melody which somehow fully expressed his nature, I then did bore the character of an unhealthy con- and was not unconnected with a strain of Byronic flict between will and intelligence, which is nothing melancholy, highly fashionable at the time. Tchai- less than insanity." It was his music, specifically kovsky the dramatist could easily throw himself his symphony to which he clung in desperation, that into a luxury of woe in his music — the more so restored his "sane self." when outwardly all was well with him. When, on Let those who protest that Tchaikovsky fills his the other hand, trouble reared its head, he found music with his personal troubles examine the facts his salvation from a life that was unendurable by of his life. Rasped nerves, blank, deadening depres- losing himself in musical dreams where he was no sion, neurotic fears — these painful sensations as- longer a weakling, but proud and imperious in his sailed Tchaikovsky in his frequent times of stress. own domain. He wrote to Mme. von Meek, He turned from them in horror. They are not within August 12, 1877, when, shortly after his marriage the province of music, nor did he attempt to put and on the verge of a breakdown, he was still at

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26 // Berkshire Festival TANGLEWOOD, 1947 work upon the Fourth Symphony: "There are by her unmistakably affectionate attitude carefully times in life when one must fortify oneself to en- to forbid. He naturally shrank from spoiling their dure and create for oneself some kind of joy, how- successful and "safe" letter friendship by another ever shadowy. Here is a case in point: either live possible entanglement such as he had just escaped, with people and know that you are condemned to On the basis of a constant interchange of letters he every kind of misery, or escape somewhere and iso- was able to pour out confidences on the progress of late yourself from every possibility of intercourse, his symphony — "our symphony," he called it — which, for the most part, leads only to pain and without restraint. He naturally identified his new grief." Tchaikovsky wrote this when the shadow of score with his devoted friend, whose money and his marriage was still upon him, the longed-for affectionate sympathy had made it possible, escape not within his grasp. When he did make Tchaikovsky went to Italy in November, whence that escape, and found virtually complete isolation he wrote to his unseen friend in elation about the from his world in a villa at Clarens, where he could completion of the symphony. "I may be making a gaze across the fair expanse of Lake Geneva, then mistake, but it seems to me this Symphony is not a did he bring his symphony and his opera, "Eugene mediocre work, but the best I have done so far.

Oniegen" to their full flowering and conclusion. How glad I am that it is ours, and that, hearing it, Part of this new and safe world was a com- you will know how much I thought of you with panion who could still hold him in personal esteem, every bar." Mme. von Meek was present at the fortify his belief in himself as an artist, receive first performance given in Moscow by the Russian with eager interest his confidences on the progress Musical Society, February 22, 1878. The composer, of his scores — and do these things at a distance, in Florence, awaited the telegrams of congratula- where personal complications could not enter. Mad- tions from his friends. ame Nadejda Filaretovna von Meek could do still ^w^.^«^w^w^»^.^.^w^»^.^«~.«-..^»-«.^»^«. more. She made possible his retreat and solicitously TVi*nrf1/=«™^w~ll angleWOOd MUSICTV/Tnoir. StOTQCf^^a provided for his every comfort by sending large and {on the grounds at Tanglewood) frequentchecques. This widow of means, who had befriended the composer early in the same year, BOOKS RECORDINGS was romantically inclined, and, according to her MUSICAL SUPPLIES - - - SOUVENIRS letters until recently withheld, would have wel~ The Music Store is located on the ground corned the meeting which Tchaikovsky was forced level in the rear of the Main House

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29 Sixty-Seventh Season ig/j.J-ig/j.8 October- April

, M Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director ^7

L , . i i T£

a t t tj/^ct/^tvt i 24 Friday Afternoons 6 Sunday Afternoons cvAmurv\Tv u j" SYMPHONY HALL, BOSTON < „, c j ^ • (24 Saturday Evenings 6^^Tuesday Evenings^

CARNEGIE HALL, NEW YORK CITY ... 5 Wednesday Evenings 5 Saturday Afternoons

ACADEMY OF MUSIC, BROOKLYN, N. Y ._ . . 5 Friday Evening Concerts

METROPOLITAN THEATRE, PROVIDENCE, R. 1 5 Tuesday Evenings

The Orchestra will also give concerts in Cambridge (6) ; New Haven (3) ; Hartford (2) ; New London; Northampton; New Brunswick; Philadelphia; Washington, D.C.; Pittsburgh; Cincinnati; Bloomjngton and South Bend, Indiana; Chicago (a); Ann Arbor; Detroit; Rochester, N.Y. J For Season Ticket Information Address: G. E. Judd, Manager, Symphony Hall, Boston

Those leaving name and address {specifying the series in which they are interested) at the Festival Ticket ?& Office, — will receive full information.

Original photographs ($}4" x 13") of the above picture are on sale at the Tanglewood Music Store (the proceeds to be devoted to the Orchestra's Pension Fund). /,

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SERGE KouSSEVITZKY, Music Director i

I PERSONNEL

Violins Violoncellos Bassoons Richard Burgin, Concert-master Jean Bedetti Raymond Allard Alfred Krips Alfred Zighera Ernst Panenka Gaston Elcus Jacobus Langendoen Anne De Guichard Rolland Tapley Mischa Nieland Contra-Bassoon Norbert Lauga Hippolyte Droeghmans George Zazofsky Karl Zeise Boaz Piller Paul Cherkassky Josef Zimbler Horns Harry Dubbs Bernard Parronchi Willem Valkenier Vladimir Resnikoff Enrico Fabrizio Walter MacDonald Joseph Leibovici Leon Marjollet Harold Meek Einar Hansen Hugh Cowden Daniel Eisler Basses James Stagliano Carlos Pinfield * Georges Moleux Paul Keaney Paul Federovsky Willis Page Harry Shapiro Harry Dickson Ludwig Juht William Gebhardt Minot Beale Irving Frankel Osbourne McConathy Frank Zecchino Henry Greenberg Clarence Knudson Henry Portnoi Trumpets Pierre Mayer Gaston Dufresne Georges Mager Manuel Zung Henri Girard Marcel Lafosse Samuel Diamond Henry Freeman Roger Voisin Victor Manusevitch John Barwicki Rene Voisin James Nagy Harry Herforth Leon Gorodetzky Flutes Trombones Raphael Del Sordo Georges Laurent Melvin Bryant James Pappoutsakis Jacob Raichman John Murray Phillip Kaplan Lucien Hansotte Lloyd Stonestreet * ... John Coffey Henri Erkelens Piccolo Josef Orosz Saverio Messina Vinal Smith George Madsen Herman Silberman Stanley Benson Tuba Hubert Sauvlet Oboes Eugene Adam John Holmes Harps Violas Jean Devergie Joseph Lukatsky Bernard Zighera Jean Cauhape Elford Caughey Jean Lefranc English Horn Georges Fourel Timpani Eugen Lehner Louis Speyer Roman Szulc Emil Kornsand Max Polster Albert Bernard Clarinets Percussion George Humphrey Victor Polatschek Simon Sternburg Louis Artieres Manuel Valerio Charles Smith Charles Van Wynbergen Pasquale Cardillo Hans Werner Emil Arcieri Jerome Lipson Bass Clarinet Librarian Siegfried Gerhardt Rosario Mazzeo Leslie Rogers Masters choose the

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