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In 1872 University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the School of Music is still doing what it does best.

• Performance • Music Education • History and Literature • Theory and Composition

strings music history and literature Walter Eisenberg, violin 'Charles Kavaloski, French horn Karol Berger

'Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz Bernard Kadinoff, viola 'David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition ' ' Robert Karol, viola Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin 'Harry Shapiro, French horn 'Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman ' Leslie Martin, string bass ' Charles Yancich, French horn Alan MacMillan George Neikrug, cello percussion Joyce Mekeel ' Mischa Nieland, cello 'Thomas Gauger Malloy Miller Leslie Parnas, cello ' Charles Smith Gardner Read 'Henry Portnoi, string bass Allen Schindler 'Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence 'Alfred Schneider, violin music education piano ' Roger Shermont, violin Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura Jack O. Lemons Walter Trampler, viola Lenore Engdahl Mary Ann Norton Bela ' Max Winder, violin Boszormenyi-Nagy musical organizations 'Lawrence Wolfe, string bass Philip Oliver, staff accompanist Edith Stearns Adelaide Bishop, opera woodwinds Fredrik Wanger Warren Wilson, opera Edward Avedisian, clarinet Joseph Huszti, chorus ' Pasquale Cardillo, clarinet organ 'Joseph Silverstein, orchestra 'Doriot Anthony Dwyer, flute George Faxon 'Jerome Rosen, repertoire Roderick Ferland, saxophone Jack Fisher orchestra "Ralph Gomberg, oboe Max Miller * Roger Voisin, wind ensemble "John Holmes, oboe harpsichord boston symphony orchestra 'Phillip Kaplan, flute Joseph Payne woodwind quintet in residence 'James Pappoutsakis, flute 'Doriot Anthony Dwyer, flute * Richard Plaster, bassoon voice * Ralph Gomberg, oboe * Matthew Ruggjero, bassoon Eunice Alberts, contralto * Harold Wright, clarinet * Felix Viscuglia, clarinet Germaine Arosa, diction * Sherman Walt, bassoon * Sherman Walt, bassoon Mary Davenport, contralto 'Charles Kavaloski, French horn 'Harold Wright, clarinet Terry Decima, vocal coaching empire brass quintet brass Ellalou Dimmock, soprano in residence * Ronald Barron, trombone Maeda Freeman, mezzo Charles A. Lewis, Jr., trumpet Peter Chapman, trumpet Robert Gartside, tenor * Rolf Smedvig, trumpet John Coffey, tromboneltuba Mac Morgan, baritone 'David Ohanian, French horn 'Armando Ghitalla, trumpet Chloe Owen, soprano * Norman Bolter, trombone Paul Gay, trombone Allen Rogers, vocal coaching Samuel Pilafian, tuba * Gordon Hallberg, Barbara Stevenson, soprano tromboneltuba Wilma Thompson, mezzo

'Member of the Boston Symphony Orchestra Boston University School of Music

Wilbur D. Fullbright, Director • Robert Lee Tipps, Assistant to Director offering degrees at the bachelor, master, and doctoral levels.

School for the Arts: Music, Theatre, Visual Arts • Norman Dello Joio, Dean 855 Commonwealth Avenue, Boston, 02215 BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

Ninety-Fifth Season 1975-76

The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks President

Philip K. Allen Sidney Stoneman John L. Thorndike Vice-President Vice-President Treasurer

Vernon R. Alden Mrs. Harris Fahnestock Albert L. Nickerson Allen G. Barry Harold D. Hodgkinson John T. Noonan Mrs. John M. Bradley David O. Ives Mrs. James H. Perkins

Richard P. Chapman E. Morton Jennings, Jr. Irving W. Rabb Abram T. Collier Edward M. Kennedy Paul C. Reardon

Nelson J. Darling, Jr. Edward G. Murray Mrs. George Lee Sargent Archie C. Epps III John Hoyt Stookey Trustee Emeritus Henry A. Laughlin

Administration of the Boston Symphony Orchestra

Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager

Gideon Toeplitz Daniel R. Gustin Dinah Daniels Assistant Manager Assistant Manager Director of Promotion Paul Bronstein Forrester C. Smith Richard C. White

Business Manager Development Director Assistant to the Manager

Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood John Kronenberger Program Editor

Programs copyright ® 1976 Boston Symphony Orchestra Inc.

Contents:

page page

Tanglewood 6 Programs 13-27 Seiji Ozawa 9 Berkshire Music Center 29 Map 10 In and, Around The Berkshires 33 Information 11 Friends 35,37 The Board of Overseers of the Boston Symphony Orchestra Inc.

David O. Ives, Chairman Hazen H. Ayer, Vice Chairman

Mrs. Arthur I. Strang, Secretary

Charles F. Adams Paul Fromm Richard P. Morse Mrs. Frank G. Allen Carlton P. Fuller David G. Mugar

Dr. Leo L. Beranek Mrs. Thomas J. Galligan, Jr. Dr. Barbara W. Newell David W. Bernstein Mrs. Thomas Gardiner Stephen Paine David Bird Mrs. John L. Grandin Mrs. Priscilla Potter Gerhard Bleicken Bruce Harriman Harry Remis Frederick Brandi Mrs. Richard D. Hill Mrs. Peter van S. Rice

Curtis Buttenheim Mrs. Amory Houghton, Jr. Mrs. Samuel L. Rosenberry

Mrs. Henry B. Cabot Richard S. Humphrey, Jr. Mrs. Jerome Rosenfeld Mrs. Mary Louise Cabot Mrs. Jim Lee Hunt Mrs. A. Lloyd Russell Mrs. Norman L. Cahners Leonard Kaplan William A. Selke

Levin H. Campbell, III Samuel L. Slosberg

Dr. George H.A. Clowes, Jr. Mrs. James F. Lawrence Richard A. Smith Arthur P. Contas Roderick MacDougall Mrs. Edward S. Stimpson The Hon. Silvio O. Conte John S. McLennan Mrs. Edward A. Taft

Robert Cushman Colman M. Mockler, Jr. Mrs. Richard H. Thompson

Michael J. Daly Mrs. Charles L. Moore Stokley P. Towles Mrs. C. Russell Eddy Mrs. Elting E. Morison D. Thomas Trigg Weston P. Figgins Frank E. Morris Julius Vogel

Boston University Tanglewood Institute

Norman Dello Joio, Executive Director Gary L. Zeller, Administrator Robert Lee Tipps, Music Coordinator

Eleventh Season

Summer Instrumental and Vocal Programs for the out- standing high school musician. Private study with master artists including members of the faculty of the Boston University School of Music and the Boston Symphony Orchestra. Chamber music, orchestral and vocal perform- ances at Tanglewood.

For information: Boston University Tanglewood Institute, 855 Commonwealth Avenue, Boston, Massachusetts 02215.

A program offered by the Boston University School for the Arts in association with the Berkshire Music Center. Todays Great Piano.

For many years Baldwin pianos have been the accompanist to the Boston Symphony Orchestra, The Berkshire Festival, The Berkshire Music Center, and these 1976 Tanglewood artists:

Leonard Bernstein Arthur Fiedler Gilbert Kalish Seiji Ozawa Andre Previn Gunther Schuller Earl Wild BalctwTn Tanglewood In August, 1934, a group of music- loving summer residents of the Berk- shires organized a series of three INTERNATIONAL SOCIETY outdoor concerts at Interlaken, to be FOR CONTEMPORARY MUSIC given by members of the New York Philharmonic under the direction of Henry Hadley. The venture was so World Music Days successful that the promoters incor- porated the Berkshire Symphonic 1976 Festival and repeated the experiment during the next summer. October 24-October 30 The Festival committee then invited Serge Koussevitsky and the Boston New England Conservatory of Music Symphony Orchestra to take part in the Boston, Massachusetts following year's concerts. The Orches- tra's Trustees accepted and on August

A festival of 13 concerts of contemporary 13, 1936, the Boston Symphony gave music representing composers its first concert in the Berkshires (at from 27 countries Holmwood, a former Vanderbilt estate, later the Foxhollow School). The series, again consisting of three concerts, was Performing groups include: given under a large tent, and a total of Boston Symphony Orchestra, nearly 15,000 people attended. New England Conservatory Symphony Orchestra, In the winter of 1936, Mrs. Gorham University of Iowa Orchestra. Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tap- Conductors: pan family estate, with its buildings and Seiji Ozawa, GuntherSchuller, James Dixon, Richard Pittman 210 acres of lawns and meadows, as a gift to Koussevitsky and the Orchestra. Chamber music concerts featuring The offer was gratefully accepted, and Boston MusicaViva, Collage, Societe de on August 12, 1937, the Festival's Musique Contemporainedu Quebec, largest crowd thus far assembled under The Purcell String Quartet, and others. a tent for the first Tanglewood concert, a program of music by Wagner.

For information: As Koussevitsky began The Ride of the ISCM Valkyries, a storm erupted, overpowering New England Conservatory the music and causing the concert to be 290 Huntington Avenue interrupted three times before the first Boston, Massachusetts 02115 half could be completed. The second half Tel. 617-262-0122 of the program had to be changed, because of water damage to some of the instruments, and when the concert ended, Miss Gertrude Robinson Smith, one of the Festival's founders, came to the stage and told the audience that the storm had demonstrated the need for a permanent structure. A hundred thousand dollars, she said, would be needed for this purpose, and the response to her plea was so generous that within a short time the amount was fully subscribed. Plans for the Music Shed were drawn up by the eminent architect Eliel Saarinen, and, as modi- fied by Josef Franz of Stockbridge, who also directed construction, it was com- pleted on June 16, 1938, a month ahead of schedule. Seven weeks later, Serge Koussevitsky led the inaugural concert, which included a performance of Beet- hoven's Ninth Symphony. By 1941, the Theatre-Concert Hall, the Chamber Music Hall and several small studios — all part of the Berkshire Music Center, which had begun operations the pre- ceding year — were finished, and the Festival had so expanded its activities

and its reputation for excellence that it attracted nearly 100,000 visitors. Today Tanglewood annually draws close to a quarter of a million visitors; in addition to the twenty-four regular concerts of the Boston Symphony, there are weekly "Prelude" concerts and open UJAIilC rehearsals, the annual Festival of FM 9(3.3 mHz Contemporary Music, and almost daily concerts by the gifted young musicians We bring you fine music of the Berkshire Music Center. Arthur AND dozens of interesting Fiedler the and Boston Pops perform events — live and without each summer, and the Festival also commercials. Sit in with us includes a series of concerts by popular at the National Press Club, artists. The season offers not only a where the next day's head- vast quantity of music but also a vast lines are often made. Enjoy range of musical forms and styles, all of it presented with a regard for artistic "All Things Considered," a excellence that makes the Festival fascinating magazine of news unique. Tanglewood and the Berkshire and issues. (Nothingelselikeit Music Center, projects with which in broadcasting !) Savor some Koussevitsky was involved until his of the most satisfying thea- death, have become a fitting shrine to tre productions ever aired. his memory, a living embodiment of Revel in delightful, intelligent the vital, humanistic tradition that was conversation. his legacy.

Listen . . . and if you like what you hear, write for our free monthly program directory. WAMC Albany Medical College Albany, New York 12208

National Public Radio r~Y~T^ ^ or eastern New York ' LJ and western New England

The Shed under construction in 1938 DannonYogurt. If you don't always eat right, ifs the right thing to eat.

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Long Island City, NewYork 11101. It'll tell you why Dannon s the right thing to eat even if gjS £l You always eat right. Seiji Ozawa

Seiji Ozawa, who became Music of the Ravinia Festival, and at the start Director of the Boston Symphony in of the 1965-1966 season he became the fall of 1973, is the thirteenth Music Director of the Toronto Sym- conductor to have headed the Orchestra phony, a post he relinquished after four since its founding in 1881. Mr. Ozawa seasons in order to devote his time to had served as Music Advisor during guest-conducting. During the summer the preceding season, and before that of 1969 he conducted opera for the he had appeared on numerous occasions first time — Cosi fan tutte at Salzburg, as guest conductor of the Orchestra. where he conducted again last summer — and served also as principal guest Born in Hoten, Manchuria, in 1935, conductor of the Ravinia festival. That he graduated from the Toho School of fall he opened the New York Philhar- Music, Tokyo, with first prizes in com- monic season and later appeared as position and conducting, and then went guest conductor of L'Orchestre de Paris, to Europe, where he won first prize at the Cleveland Orchestra and the Berlin the International Competition of Con- Philharmonic. He returned to Berlin ducting at Besancon, France. One of last fall to conduct the Philharmonic the judges, the late Charles Munch, in performances of Mahler's Eighth then Music Director of the Boston Symphony and the Berlioz Requiem. Symphony, invited him to study at In 1970 Mr. Ozawa became Artistic Tanglewood during the following sum- Director of the Berkshire Music Festi- mer, and it was there that Mr. Ozawa's val, and in December of that year he association with the Orchestra began. began his inaugural season as Conduc- He was made an assistant conductor tor and Music Director of the San of the New York Philharmonic at the Francisco Symphony Orchestra, titles beginning of the 1961-1962 season, and he held concurrently with his position it was during that same season that he as Music Director of the Boston Sym- made his first full-length professional phony until he resigned them this concert appearance in North America, spring. (He will be Honorary Conductor with the San Francisco Symphony in San Francisco for the 1976-1977 Orchestra. season.) In February and March of this Beginning with the summer of 1964 year he led the Boston Symphony's he was for five seasons Music Director celebrated eleven-city tour of Europe.

Berkshire Hills IEISURE lEE A FOUR-SEASON VACATION COMMUNITY

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Si"^ jS-Sj-g S-SSS -g'5§^2 . 1 ^g <^§ts J5.sJii oo^ i=-§-i-S-e h^ P 11 Barbara Kroll Contra Bassoon "##§W%^ Eleftherios Eleftherakis Donald Bravo rfsJ^fe*^!^^^ Ronald Carbone f^g&^ MaryJ Hadcock Horns jr BOSTON \ John Englund Richard Greenfield Leonard Gibbs Ray Wagner II -*~\ X*^V 1 ) .^ fli Vaught 1 ¥0"S 1 William Shisler Kathleen \ARTHUR FIEDLER/ David Allan j4\. Conductor vC| Cellos Jeanne Paella % jrL w/^^ David Fink "^^S^fe^Sl^P^^ Karl Zeise Trumpets ^^^^^^^^^ Dorothea Jump Peter Chapman (^^^ ' 3 George Seaman Jeffrey Stern Bryan Epperson Charles Lewis HARRY ELLIS DICKSON Bruce Coppock James Tinsley Assistant Conductor Toni Rapier Joan Esch Trombones First Violins Nathaniel Gurin Max Hobart Basses Thomas Foulds George Zazofsky Francis Gallagher Harold Janks William Marshall Anthony Beadle Maynard Goldman William Curtis Tuba Stephen Erdely Justin Locke Willis Traphagan Abraham Mishkind Melvin Peabody Sophia Vilker Robert Hoffman Timpani Joseph McGauley Barry Boettger Everett Beale Valerie Kuchment Carol Lieberman Flutes Percussion Julius Risman Elinor Preble Fred Buda Denise Doolan Seta Der Hohannesian Dean Anderson Priscilla Hallberg Thomas Morris Carolyn Edwards Piccolo John Grimes Shirley Boyle William Grass Ann Leathers Harp Oboes Cynthia Price Second Violins Ira Deutsch William Waterhouse Stuart Dunkel Piano Eugene Gratovich Ralph Jenkins Theodore Leutz English Horn Charlotte Marty Alan Williams Organ Sheila Vitale Berj Zamkochian Kay Knudsen Clarinets Robert Brunton William Wrzesien Guitar Mowry Pearson Andre Lizotte John Chiodini Anastasios Tsicoulias Bruce Mack Bass Clarinet Librarian Joseph Conte Edward Avedisian William Shisler Clifford Panton Bassoons

Violas Ruth McKee . Jean Haig Ernst Panenka

12 Tanglewood 1976

Boston Symphony Orchestra Seiji Ozawa, Music Director

Saturday, July 3, 1976 8:30 pm

ARTHUR FIEDLER conducts a Boston Pops Concert

Jubilee Overture von Weber

Concerto No. 1 in B flat minor, Op. 23 Tchaikovsky Allegro non troppo e molto maestoso Andante semplice Allegro con fuoco

SHIGEO NERIKI, piano

INTERMISSION

The Star Spangled Banner Key

Marche Slave Tchaikovsky

Stephen Foster Medley arr. Knight Overture — Ring de Banjo — Jeanie with the Light Brown Hair — Old Folks at Home — My Old Kentucky Home - Camptown Races — Beautiful Dreamer — Oh! Susanna — Massa's in de Cold Cold Ground

Patriotic Sing-Along arr. Hayman America — America, the Beautiful — Yankee Doodle — Yankee Doodle Dandy — Columbia, the Gem of the Ocean — This Land Is Your Land — You're a Grand Old Flag — Battle Hymn of the Republic

The Stars and Stripes Forever Sousa

Baldwin Piano

13 BERKSHIRE-ON-PARADE July 4, 1976

1:00 p.m. Gates Open Antique Automobiles from the Berkshire County Antique Car Club, Inc. (Arthur W. Feil, President) are on view during the afternoon.

2:15 p.m. Lee High School Band Charles DiNunzio, Director

In the Theater 3:00 p.m. Opening Fanfare

Stockbridge Singers and Salisbury Bicentennial Chorus Conductor: Andrew Clarke, Director Stockbridge Singers Pianist: Albert C. Sly, Director Salisbury Bicentennial Chorus

Randall Thompson The Testament of Freedom (Texts from three writings of Thomas Jefferson)

Leonard Kastle Pontoosuc (text by Herman Melville) DEBORAH BEARDSLEY, soprano PAUL NIXON, baritone LEONARD KASTLE, piano

Villa Lobos The Jet Whistle JAYN ROSENFELD, piano PETER ROSENFELD, cello

Richard Dyer-Bennet, tenor Ballads with Guitar

Berkshire Ballet Madeline Cantarella Culpo, Director Shakers (Choreography Doris Humphrey; music traditional) Michele Duffin (Eldress); Pamela Condon, Patricia Kinnifick, Karen Hurll, Tracy Lawton, Margaret McKane Meunier (women); Ken Condon, Karl Condon, William Fitzgerald, Joseph Rich, James Rhoades (men). DEBORAH BEARDSLEY, soprano JOHN A. CULPO, accordion JOHN CULPO, JR., percussion

(Reconstructed from the Labanotated Score by Ray Cook, by agreement with the Dance Notation Bureau, Inc. This staging has been made possible by grants to the Dance Notation Bureau from the National Endowment for the Arts.)

J Got Gershwin (Choreography Madeline Cantarella Culpo; Music George Gershwin; Costumes Rita Watson) Pamela Condon, Pamela Cooke, Andrea Duffin, William Fitzgerald, Tracy Hutton, Linda Lehovec, Margaret McKane Meunier, Marilyn Snyder

14 Yankee Male Chorus, Clifford Ormsby, conductor; Mrs. Barbara Sparks, accompanist 1. Salutation Official Salutation of The Associated Male Choruses of America William P. Benz 2. America, Our Heritage Helen Steele (arr. Hawley Ades)

3. Melodies of America Steal Away (spiritual) (arr. Hall Johnson) Down in the Valley — Kentucky Folk Tune (arr. George Mead) Shine on Me — Old Hymn in Barbershop Style (arr. Bud Arberg) Aura Lee — traditional College or Home-type Song George Poulton Eight Bells; Away to Rio Yale Glee Club Series (Marshall Bartholomew) 4. Step to the Rear (How Now, Dow Jones) Elmer Bernstein 5. Give Me Your Tired, Your Poor Irving Berlin

6. Let There Be Peace on Earth Sy Miller and Jill (arr. Hawley Ades) 7. DECLARATION OF INDEPENDENCE WILLIAM ROERICK, Narrator. Sen. John H. Fitzpatrick, Rep. Silvio O. Conte, Rev. Theodore H. Evans, Thomas O'Connell, Robert Boland, Mayor Evan S. Dobelle 8. Battle Hymn of the Republic William Steffe (arr. Roy Ringwall) Baritone Solo: NELSON G. BURHANS 9. The Star Spangled Banner Francis Scott Key

Staged by William Miles

The Stockbridge Singers of the Old Corner House

Sopranos: Tenors: Marie Brallier Bruce Callahan Joyce Carpenter David Klein Phyllis Clark Robert Koch Sandra Clarke Fred Raftery Rosalyn Cohen Ronald Weaver Mary Curtin Ronald Steed Michelle Disco Anne Gardner Basses: LeVaun Graulty Thomas Billings Miriam Kasson Curtis Buttenheim Dorothy Raftery Mark Jander Susan Rockwell Archie Peace Pamela Sigafoes Mark Richards Agnes Steven-Hubbard Gail Watson

Altos: Dory Green The Salisbury Grace Henry Bicentennial Chorus Carolyn Houghton Beverly Langeveld Sopranos: Margaret Northrup Gaile Binzen Carrie Peace Peggy Bolmer Barbara Perry Barbara Collins Christine Sobczak Jo Loi Anita Stuart Patricia Maggio Bobbi Weaver Dorothy Massey Patricia Webber Hope Swanson 15 Altos: Baritones: Anne Bowen John W. Adams Suellen S. Buckley Fred Baker Ann Burcroff Bruce Barker Jane Burgess Nelson Burhaus Lou Burgess Douglas Buys Holley Palmer John Crosley Nancy Peck Richard Ernst Jane Tuttle T.D. Hopps Arnold Jones John Kvicala Tenors: Al Lutters Lee Collins Bruce Manuel Ray Haungs Rufus Maxfield John Rogers Ev. McCluggage Guy Michael Basses: Kenneth Nelson John Bowen Al. Plonski Davis Daboll R. Raymond George Kellogg David Pickering Basses: Frank Reed James Bangs Roland Beck David Couch Harold Crawford Yankee Male Chorus R.Ernst William Hodge Clifford Ormsby, Conductor P. Kratz 1st Tenors: M. Loewe Ed. S. Allen Charles Luzetsky Sal Antignan Rev. R. Moore David Brouker F. Neely Jos. Fournier M. Pensivy Robert Koch R. Ring John McCullough Alan Robertson Tom Quarles David Robertson Charles Selzo William Robertson Dan Van Amberg Fred Seeger Rev. Robert Shellenberger 2nd Tenors: Donald Weeks Grant Bowman Richard Weston John Carter Burt Whipple David Fox Ralph Wheeler Perry Harrison Frank Yeaw G. William Hulland Robert Yoder Robert Jamrose Theodore Jones Clayton Kathan David Loski David Robinson Julian Svez Stanley Trask, Sr.

Stanley Trask, Jr.

16 BERKSHIRE-ON-PARADE July 4, 1976

Corporate Mr. and Mrs. Frederick Rudolph Warren Seible Benefactors Mr. and Mrs. N.A. Sharfman Adams Supermarkets Mrs. Edgar B. Stern Beloit Corporation Mr. and Mrs. Robert A. Wells Berkshire County Savings Bank Berkshire Eagle Berkshire Life Insurance Company Patrons Country Curtains Mr. and Mrs. Philip Ahern Eaton Paper Corporation Mrs. Katharine H. Annin

First Agricultural National Bank Mr. and Mrs. Robert D. Bardwell, Jr. of Berkshire County Matthew C. Bashara Great Barrington Savings Bank Mr. and Mrs. John D. Bender High Fidelity Magazine Mr. and Mrs. John L.B. Brooke Lee Savings Bank Mrs. Clarence Church Chaffee Lenox National Bank Mrs. John M. Deely Lenox Savings Bank Mr. and Mrs. Nicholas DiSantis Morgan-Grampian Corporation Dr. and Mrs. Martin Dobelle North Adams Hoosac Savings Bank Dr. and Mrs. Daniel B. Dorman South Adams Savings Bank Dr. A.V. Feigenbaum The Red Lion Inn Donald A. Feigenbaum Williamstown Savings Bank Mrs. Nathan Feingold Wheeler & Taylor Mr. and Mrs. Prentiss French Mr. and Mrs. Willima Hallowell

Sponsors Mr. and Mrs. Lee H. Hill, Jr.

Mr. and Mrs. Alan J. Blau Jane M. Hoag Mrs. A.R. Brennan Bessie H. Jacobs Mr. and Mrs. Morgan Bulkeley Dr. and Mrs. Frederick Levison Mr. and Mrs. Curtis Buttenheim Mrs. Symphorosa Livermore Mr. and Mrs. Donald V. Buttenheim Mr. and Mrs. Gary Lopenzina Mr. and Mrs. Edgar M. Buttenheim Josephine McBride Mr. and Mrs. Thomas R. Carrington Lawrence K. Miller II Mr. and Mrs. Arthur Eaton Crane Elizabeth Taft Miller

Mr. and Mrs. Robert Eldred, Jr. Emily Miller Aileen M. Fanell Katherine M. Miller Senator and Mrs. John H. Fitzpatrick Robert G. Newman Mr. and Mrs. Theodore Giddings Mrs. A.H. Noonan Leonard Kastle Dr. and Mrs. F.K. Paddock Mrs. Ludwig G. Lederer Mr. and Mrs. Robert Parker William Miles Mr. and Mrs. Alfred K. Persip Mr. and Mrs. Kelton B. Miller II Mr. and Mrs. Leon Podolsky Mr. and Mrs. Lawrence K. Miller Mr. and Mrs. Brian Quinn Margo Miller Mr. and Mrs. Edward S. Sawyer Mark C. Miller Mr. and Mrs. W.E.D. Stokes Mr. and Mrs. Michael G. Miller Mrs. J.B. Taylor Mr. and Mrs. Stephen V.C. Morris Dr. and Mrs. George Vazakas Mr. and Mrs. Gardner S. Morse Daren John Wells

Mr. and Mrs. J. Graham Parsons Heather Anne Wells Mr. and Mrs. William D. Roche Elizabeth Taft Williams

17 "Ifeel that there has to be a way of speaking about music with intelligent but non-professional music lovers...students, nonstuaents, the cop on the corner, my motherland the best way I havefound is by setting up a working analogy with language, something everyone snares anauses, and knows about..." Leonard Bernstein's celebrated Norton Lectures on the future course of music are now a book. If you are a music lover, this is your book. One you'll read, refer to, revel in. The Unanswered Question Six Talks at Harvard Leonard Bernstein Boxed. With 3 Records. $20.00

Available at the Tanglewood Music Store and fine stores everywhere. Or order directly from:

Harvard University Press, 79 Garden st, Cambridge, Mass. 02138

Harvard University Press is the publisher of The Harvard Dictionary ofMusic. Belknap Press. $20.00

18 Tanglewood 1976

Bicentennial Prelude The Empire Brass Quintet and Friends

Sunday, July 4, 1976 7 p.m.

Fanfare for Bima Leonard Bernstein

Allegro Alyin Etler (1967)

Four Pieces Charles Ives On the Counter (1920) The Side Show (1921) Tarrant Moss (1898) London Bridge Is Fallen Down (1891)

Suite of Songs Gunther Schuller (1967)

Suite from Porgy and Bess George Gershwin arr. EBQ

Paragon Rag Scott Joplin

Selection from the American

Brass Band Journal G.W.E. Friederich (ca. 1850)

The Empire Brass Quintet:

Rolf Smedvig, trumpet* David Ohanian, French horn' Charles Lewis, trumpet Norman Bolter, trombone* Samuel Pilafian, tuba Friends:

Armando Ghitalla, trumpet* Thomas Gauger, percussion* Andre Come, trumpet* Arthur Press, snare drum* Gordon Hallberg, baritone* *Members of the Boston Symphony Orchestra

19 Jerome Lipson Robert Karol Bassoons Bernard Kadinoff Sherman Walt Edward A. Taft chair Vincent Mauricci Roland Small Earl Hedberg Matthew Ruggiero Joseph Pietropaolo Robert Barnes Contra bassoon Michael Zaretsky Richard Plaster

Cellos Horns Eskin Jules Charles Kavaloski Philip R. Allen chair Helen Sagoff Slosberg chair er^ Martin Hoherman Charles Yancich Mischa Nieland David Ohanian Jerome Patterson First violins Richard Mackey Robert Ripley Joseph Silverstein Ralph Pottle Concertmaster Luis Leguia Charles Munch chair Carol Procter Trumpets Emanuel Borok Ronald Feldman Armando Ghitalla Assistant Concertmaster Moerschel Joel Andre' Come Helen Horner Mclntyre Chair Jonathan Miller Rolf Smedvig Max Hobart Martha Babcock Rolland Tapley Gerard Goguen Roger Shermont Basses Trombones Max Winder William Rhein Barron Harry Dickson Harold D. Hodgkinson chair Ronald Gottfried Wilfinger Joseph Hearne William Gibson Fredy Ostrovsky Bela Wurtzler Norman Bolter Leo Panasevich Leslie Martin Gordon Hallberg Sheldon Rotenberg John Salkowski Alfred Schneider John Barwicki Tuba Stanley Benson Robert Olson Chester Schmitz Gerald Gelbloom Lawrence Wolfe Raymond Sird Henry Portnoi Timpani Ikuko Mizuno Everett Firth Sylvia Shippen Wells chair Cecylia Arzewski Flutes Amnon Levy Doriot Anthony Dwyer Percussion Walter Piston chair Charles Smith Second violins James Pappoutsakis Arthur Press Victor Yampolsky Paul Fried Assistant timpanist Fahnestock chair Thomas Gauger Marylou Speaker Frank Epstein Michel Sasson Piccolo Ronald Knudsen Lois Schaefer Harps Leonard Moss Bernard ZigheYa Bo Youp Hwang Oboes Ann Hobson Laszlo Nagy Ralph Gomberg Mildred B. Remis chair Michael Vitale John Holmes Personnel Managers Darlene Gray Wayne Rapier William Moyer Ronald Wilkison Harry Shapiro Harvey Seigel English Horn Jerome Rosen Laurence Thorstenberg Librarians Sheila Fiekowsky Victor Alpert Gerald Elias Clarinets William Shisler Vyacheslav Uritsky Harold Wright Ann S.M. Banks chair Stage Manager Violas Pasquale Cardillo Alfred Robison Burton Fine Peter Hadcock Charles S. Dana chair E-flat clarinet Reuben Green Eugene Lehner Bass Clarinet George Humphrey Felix Viscuglia

20 Tanglewood 1976

Boston Symphony Orchestra Seiji Ozawa, Music Director

Sunday, July 4, 1976 8:30 p.m.

SEIJI OZAWA conducting

Variations on "America' Charles Ives

Symphonic Dances from West Side Story Leonard Bernstein

INTERMISSION

Piano Concerto in D minor, Op. 23 Edward MacDowell Larghetto calmato Presto giocoso Largo; molto allegro

Rhapsody in Blue for piano and orchestra George Gershwin

ANDRE WATTS, piano Mr. Watts plays the Steinway piano

Deutsche Grammophon Records Baldwin Piano Philips Records

21 Notes variation that made the "My country 'tis of thee" theme chase itself in three different keys simultaneously, fearing Charles Ives (1874-1954) it might make boys in the audience Variations on "America" "laugh out loud and get noisy." Like the majority of Ives's work, the Varia- Charles Ives became the regular or- tions found no publisher until the ganist of the Danbury, Connecticut, composer's old age, and, by 1949, when Second Baptist Church in late 1889, at they finally broke into print, the above- the age of fifteen; with civic pride, the mentioned variation had been lost. But Danbury Evening News noted at the time what remained was not precisely tame. that he was "the youngest organist in The composition as it survives is in the state." He would retain the position six main parts: a rhythmically distorted until he went away to Yale some three and madly modulating introduction, and a half years later, playing at regular which ultimately gets around to stating and special church services as required, the theme in a straightforward manner, giving recitals at organ the Second and five variations. In addition, there Baptist and other area churches, and are two brief interludes (following participating in local musical concert variations two and four) that contain life and the inevitable benefits for the work's most outrageous measures; worthy causes. these were possibly added at a later his father Encouraged by (who, as date. Variations one and three have a leader of the town band, church musical distinct calliope-like manner that is director, of local conductor theater made most blatant in the final phrase orchestras and a host of other groups, of variation three; variation four is a could provide public performances for minor-key polonaise (Ives pere thought such compositions), the young Ives had it patriotically inappropriate) and varia- already written a variety of pieces for tion five, in its original form, is a band, choir, small orchestra and piano virtuoso's dance on the organ pedals. 1891 or early by 1892, when he com- The interludes are each in two keys at posed — perpetrated might be the once — and the second one super- correct term — his Variations on imposes the theme's conclusion on its "America." The idea could have been beginning. suggested by the German composer Though the element of satire is J.C.H. Rinck's Variations on "God Save unmistakable, the piece effectively the King," which Ives had played in anticipates many of the harmonic and church as an organ prelude in July, 1891, rhythmic devices that a later generation or, conceivably, by the memory of an would think of as "modern music." The enormous concert organized by his Variations were included on the pro- father two years earlier to celebrate gram when the organ in New York's Danbury 's incorporation as a city; this Philharmonic Hall was dedicated in event had concluded with thousands of 1962; William Schuman, then Lincoln people singing "America" in spectacular Center's President, decided at that fashion and perhaps — it is not impos- performance to arrange the piece for sible — in more than one key. orchestra, in which form it has since Whatever his inspiration, and what- become one of Ives's most frequently- ever his motives, Ives produced a work played scores. that, over three quarters of a century -J.K. later, has lost little of its audacity. He

played it in public at least twice, at solo Leonard Bernstein (1918- ) organ recitals that he gave in the Second Symphonic Dances from West Side Story Baptist Church and in a church in nearby Brewster, New York; on both West Side Story (music by Leonard occasions, he later recalled, his father Bernstein, lyrics by Stephen Sondheim) specifically forbade him to play one opened on Broadway in September,

22 1957. The Symphonic Dances, orches- combined with each other and meta- trated by Sid Ramin and Irwin Kostal morphosed into completely new shapes under Mr. Bernstein's supervision, are all that is necessary to meet the were first played at a New York varying dramatic requirements. This is Philharmonic Pension Fund Concert music on its own terms, music that in February, 1961. This is their first does not have to depend upon presup- performance by the Boston Symphony posed knowledge of the unfolding Orchestra. events. Leonard Bernstein once speculated However, for those who might be that a genuine, indigenous form of interested in knowing what happens American musical theater would even- on stage during the course of the tually arise out of what has been known dances, the following summary out- as musical comedy. Many people think lines the principal sections of the music that, in West Side Story, this theory began (arranged so that one section flows into to be implemented: elements from the the next without a break, and ordered European and American stage traditions according to alternating high and low were fused into an original art-form levels of emotional intensities): that is neither opera nor musical Prologue (Allegro moderato). The growing

comedy. , rivalry between two teenage gangs, the From the Old World came complicated Jets and Sharks. vocal ensembles, such as the Quintet "Somewhere" (Adagio). In a visionary

in Act I; the use of music to project the dance sequence the two gangs are storyline forward (as in the duet "A Boy united in friendship. Like That") — not music just to enhance Scherzo (Vivace leggiero). They break words; the dramatic device of leitmotifs, through the city walls and suddenly like the one associated with the reality find themselves in a world of space, of gang violence, as in the Prologue, air and sun. or the one associated with the diamet- Mambo (Presto). Reality again; competi- rically opposite vision of togetherness, tive dance between the gangs. as in the Finale. In addition, from the Cha-Cha (Andantino con grazia). The star- European tradition came the deductive- crossed lovers dance together. inductive species of symphonic develop- Meeting Scene (Meno mosso). Music ac- ment, by basing much of the West Side companies their first spoken words. Story score on transformations of the "Cool," Fugue (Allegretto). The Jets tritone, or by immediately developing release their hostility. the opening statement of any given song Rumble (Molto allegro). Climactic gang with melodic or rhythmic variation. battle in which the two leaders are From the New World came idiomatic killed. Finale (Adagio). Love music developing jazz and Latin timbres and figurations — into a procession which recalls in tragic most of the West Side Story music; a fluid reality the vision of "Somewhere." and constant change from word to The score calls for an unusual array music and from scene to scene, such as of percussion instruments: xylophone, the second-act ballet which goes from vibraphone, chimes, glockenspiel, cym- accompanied spoken word into song bals, tenor drum, snare drum, bass into dance and back again; and most drum, jazz snare drum, four tuned important, the kinetic approach to the drums, maracas, guiro, gourd, jazz stage — communication through chore- traps, timbales, three tuned tom-toms, ographic music — delineated, in con- conga drum, bongos, finger cymbal, centrated form, by these Symphonic Dances. tambourine, tam-tam, wood block, triangle, three pitched cowbells and Why are these called symphonic? police whistle. Simply because the dance music, even —Jack Gottlieb in its original format, is symphonically conceived. Relatively few thematic ideas Reprinted by permission of the New York Philharmonic.

23 Edward MacDowell (1861-1908) worked upon the concerto in Frankfort Piano Concerto No. 2 in D minor, Op. 23 in the winter of 1884-85, and completed it later in 1885 at Wiesbaden. When Edward MacDowell went to MacDowell, whose music was finding Europe to study piano at the age of increasing recognition on both sides fifteen, he had no other aim than to of the ocean, returned to America in become a virtuoso, and with this pur- 1888, and on March 5 of the following pose worked for two years at the Paris year played in the first public perfor- Conservatory, and two more (with Carl mance of the Second Concerto at Heymann) in the Conservatory at Chickering Hall, New York, with the Frankfort. He acquired a skill sufficient orchestra of Theodore Thomas. Tchai- to meet the pressing problems of liveli- kovsky's Fifth Symphony had its first hood by giving lessons of his own, and American performance at the same at length reached the point where he concert, but such an impression did became an effective interpreter of his the young man make with his exciting own music upon the concert platform. score that Henry E. Krehbiel was As a student no one had thought of him intrigued into writing that he had as a composer. Even from childhood he "derived keener pleasure from the work had been in the habit of improvising, of the young American than from the or privately noting his musical experienced and famous Russian." thoughts, just as he had been in the MacDowell performed his concerto at habit of making very clever sketches of a Boston Symphony Concert (under people and things about him. As he Wilhelm Gericke) in the following remarked later of his earliest composi- month (April 13), and his success was tions, written on the train between no less marked. Frankfort and Darmstadt, where he The Concerto is scored for wood- gave lessons, "I would not have changed winds in twos, four horns, two trum- a note in one of them for untold gold, pets, three trombones, timpani, and and inside I had the greatest love for strings. The first movement, which them; but the idea that anyone else might be called the slow movement of might take them seriously had never the concerto, larghetto calmato, opens in occurred to me." MacDowell is describ- D minor with the second theme used ed by those who knew him as a constant as an introduction and stated softly at dreamer, quiet-mannered, and shy, first by the muted strings. There is also publicly diffident though personally a solo passage of flourishing chords and sociable. Surely not the pattern for a arpeggios. The main body of the move- virtuoso. That he attained a very ment brings in the principal theme first considerable proficiency as a pianist given to the solo instrument. There is was probably due to a combination of considerable development and a pianis- sound musical instincts and an exceed- simo close in D major. ing conscientiousness and perseverance. The second movement, presto giocoso, He returned to America in the B-flat major, is scherzo-like in mood, summer of 1884 to marry his former but is a rondo on three themes: the first pupil at Frankfort, Miss Marian Nevins, stated by the piano (leggiero) accompa- and the young couple at once sailed for nied; the second in syncopated rhythm London. There MacDowell was so given to the orchestral tutti; and the impressed by Shakespearean perfor- third first set forth by the piano solo. mances of Henry Irving and Ellen Terry The last movement has an introductory that he drafted a pair of Symphonic largo in D minor reminiscent of the Poems, "Hamlet and Ophelia," and also principal theme in the opening move- sketched another, which was to be called ment. The main part of the movement "Beatrice and Benedick." This last was is in D major, molto allegro, again with destined to become the nucleus for the three themes — the first set forth by scherzo of the Second Piano Concerto. the woodwinds to an accompaniment Settling in Germany once more, he of rising scale passages by the pianist; 24 the second, in F major, by the piano the concert, rehearsals began at the supported by the strings, and the third, night club where the Whiteman band in B minor, announced fortissimo by the was then playing. orchestra. On the afternoon of February 12, — John N. Burk Aeolian Hall was filled to capacity for Whiteman's "educational experiment," and not just with curious flappers; at George Gershwin (1898-1937) the bandleader's invitation, musicians Rhapsody in Blue on the order of Heifitz, Rachmaninoff, Mengelberg, Stokowski and Kreisler In January, 1924, George Gershwin filled some of the best seats. What they was working on the songs for Sweet and the rest of the audience then sat Little Devil, a new show about to open through (the Rhapsody was next to last up in Boston. He was, therefore, sur- in a program of twenty-three pieces) prised to learn that the bandleader Paul ranged from an already old-fashioned Whiteman — the self-styled "King of quintet performance of "Livery Stable Jazz" — had just announced the inclu- Blues" through current dance band sion of a new Gershwin "jazz concerto" favorites like "Mama Loves Papa" and in an ambitious concert of American "Yes, We Have No Bananas" to some music booked five weeks later in New "semi-symphonic" arrangements of York's staid Aeolian Hall. He had talked Irving Berlin tunes and a new suite by vaguely with Whiteman about such a Victor Herbert, these works played by project in the past, but no date had ever the augmented 23-piece orchestra speci- been mentioned; now, with such little ally assembled for the concert. As the time remaining, and with a new musical afternoon wore on toward evening, in out-of-town tryouts, it seemed a people began leaving. rather tall order. At last, the Rhapsody's hair-curling Whiteman explained that the concert first measure (fashioned for the cele- had to be so scheduled in order to head brated glissando of Ross Gorman, off another conductor's similar plans. Whiteman's clarinetist) cut through the But what he was asking, he said, mood of easy predictability, and the wouldn't be too taxing, because Gersh- main event of the concert got under win need only supply a piano score; way. Gershwin played the solo part Whiteman's arranger, Ferde Grofe', himself, and brilliantly, notwithstand- would manage all the orchestration (a ing that he had been tinkering with it chore for which Gershwin's Tin Pan up to the moment of the performance; Alley background had not in any case the conductor's score contained not only provided much practice). So Gershwin blank piano passages, but notations like took the train for Boston, en route the one that followed a lengthy piano making sketches for what would be- solo, telling Whiteman to "wait for nod" come, in little more than a month, the (from the soloist) before cuing in the Rhapsody in Blue. rest of the orchestra. By the time he returned to New York, But, as Jablonski and Stewart record he had fixed on some of the themes he in The Gershwin Years, "the audience would use in the piece, and he started wasn't nodding. When the Rhapsody composing in earnest. Grofe', in the came to the final passages, the hall manner of a copy boy hovering over a broke into spontaneous, loud and long, reporter at deadline time, all but moved applause. George was called upon to into the Gershwin family apartment take several bows acknowledging the on 110th Street to extract the score recognition — the arrival — of himself (in Gershwin's two-piano form) page as a serious composer." He was twenty- by page, a process that took some two five years old. and a half weeks. In another ten days -J.K. or so, Grofe' had finished the orches- tration and, with a week to go before 25 Guest Artists

Arthur Fiedler concerts. In 1929 his efforts bore fruit, establishing the Esplanade Concerts For nearly half a century, leading that have taken place every summer the Boston Pops with an entirely since on the east bank of the Charles original blend of warmth, style, show- River. (The twenty-fifth anniversary manship and artistry, Arthur Fiedler of these concerts would be celebrated has helped mold the musical tastes of with the dedication of the Arthur millions around the globe. In so doing Fiedler Bridge over what is now Storrow he has become this city's best-known Drive.) citizen. In the spring of 1930, Mr. Fiedler was Born in Boston on December 17, appointed the eighteenth conductor of 1894, he inherited a rich family back- the Boston Pops, in which capacity he ground of European musical culture. has now (1976) served for two seasons His father, the Austrian-born violinist more than all seventeen of his prede- Emanuel Fiedler, played in the Boston cessors combined. Under his direction for twenty-five years, and Symphony the Pops has made the most recordings his mother, a gifted amateur musician, of any orchestra in the world; one was his first piano teacher. "I didn't famous example (Jalousie, a forgotten like music more than any other kid," composition by Jacob Gade) alone has remembers Mr. Fiedler. "Practice and sold more than a million copies. Today lessons were drudgery." But practice the total sales of Pops albums, singles, he did, and his mother occasionally tapes and cassettes have risen close to rewarded his progress with trips to fifty million. one of Boston's famous old vaudeville In addition to his Boston Pops acti- houses, which undoubtedly helped vities, Mr. Fiedler has been closely kindle his ambition to conduct. They associated with the San Francisco Pops also have played a part in his later may Orchestra during the past twenty-five success as a showman. summers. He has also conducted a long Young Arthur was a pupil at the list of American orchestras, including Prince Grammar School and at Boston the Boston Symphony, as well as Latin until his father retired from the orchestras in South America, Europe, Boston whereupon the Symphony, Africa and Australia. family returned to its native Austria. In Vienna and later in Berlin, Arthur worked in the publishing business Shigeo Neriki before entering the Royal Academy, Berlin, to study violin, piano and con- At the age of four, Shigeo Neriki

ducting. At the outbreak of World War I was already appearing as pianist on he returned to Boston, and in 1915 Tokyo's national television and radio. joined the Orchestra as a violinist under By the time he entered the Toho Karl Muck. Nine years later his con- School of Music at the age of ten, ducting ambitions led him to form the Neriki was practicing not only the Boston Sinfonietta, a chamber orchestra piano but also the flute, and studies composed of Boston Symphony players. in composition and conducting were He combined this activity with his own included in his program. work as a member of the Boston Four years later, he won first prize Symphony, in which he served not only in the all-Japan contest in Tokyo, and as a violinist but also as violist, pianist, in 1970 he was graduated from the organist and percussionist. Toho School with high honors. He For several years he spearheaded a then came to the United States and campaign for a series of free outdoor was enrolled as an artist diploma

26 student, under the direction of Gyorgy 1969 season, when he was twenty-two Sebok, at Indiana University. years old. His piano studies began with In the Fifth International Tchai- his mother at an early age, and by the kowski Competition of 1974, Neriki time he was fourteen he was making was accorded an award of excellence. his second appearance as a soloist with His career has since continued under the Philadelphia Orchestra. In 1963 he sponsorship of the Southwest Pianists auditioned for Leonard Bernstein and Foundation. was a soloist at a New York Philhar- On April 26th, Neriki was declared monic Young People's concert. Three one of the three first-prize winners weeks later he stepped in to take the

in the Biennial National Piano Compe- place of Glenn Gould, who was ill, at tition held by the Southwest Pianists two regular subscription concerts. (To Foundation in Tucson, Arizona. He mark his tenth anniversary of his debut received the Patricia Benkman-Marsh with the New York Philharmonic, Memorial Award, including an engage- Andre" Watts played twelve times at ment with the Boston Pops Orchestra Philharmonic Hall during the 1973-74 under the baton of Arthur Fiedler, a winter season.) During recent years he cash award of $1,000 and a recital tour has appeared with major orchestras in of the Foundation's chapters. Neriki all parts of the world, among them the studies for his national and internation- London Symphony, the Berlin Philhar- al appearances with the eminent pianist monic, the , Ozan Marsh, artist-in-residence at the the Cleveland Orchestra, the San University of Arizona. Francisco Symphony, the Concertge- bouw and L'Orchestre National of Paris; The Empire Brass Quintet has also given recitals in Europe, the Near East and Far East, as well as in all The Empire Brass Quintet, currently parts of America. With Seiji Ozawa and in residence at Boston University, per- the San Francisco Symphony, he has formed for the first time at the 1972 toured France and the USSR. His 1975- New York Brass Conference. It has 76 season included recitals and orches- since been heard frequently in concert tral appearances throughout the United in the United States and Europe (in- States, interspersed with two European cluding a thirteen-stop Continental tours; he celebrated his 30th birthday- campaign that followed the Boston last month in a special concert with Symphony's European tour this spring). Andre" Previn and the London Sym- phony Orchestra. Next season, the Quintet will perform in the Boston Morning Musicales, a series that has in the past presented

Heifitz, Rachmaninoff and Beverly Sills, among others. The group has recently won a 1976 Naumburg award, entailing a commission for a new work by a composer of its choice plus a Lincoln Center concert during the coming year, and Columbia Records has just released its recording of G.W.E. Friederich's American Brass Band Journal.

Andre" Watts

Andre" Watts, who was artist-in-resi- dence at the Berkshire Music Center in 1973, made his debut with the Boston Symphony Orchestra during the 1968-

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28 The Berkshire Music Center

"One more thing should come from this scheme, namely, a good honest school of musicians." — Henry Lee Higginson, on founding the Boston Symphony Orchestra

The late Serge Koussevitsky fervent- ly shared Henry Lee Higginson's vision of a "good honest school for musicians" —an academy where young musicians Getaway to Yesterday could extend their artistic training and Visit the Inn in the Berkshires with two broaden their experience under the centuries of tradition, and all the modern guidance of eminent professionals. amenities. Live amidst antiques. Savor lobster, homemade apple pie, potables More than any other person, it was from our tavern. Calf(413) 298-5545 Koussevitsky who made the vision a for reservations. reality; he was Director of the Berkshire Red Lion Inn Music Center from its founding in 1940 Hie Since 1773, Stockbridge, Mass. 01262 until his death in 1951, and his vigorous On Rte. 7, south of Tanglewood leadership has remained an inspiring example in the years since. Serge Koussevitsky was succeeded by Charles Munch, and it is a mark of the Center's success that the Boston Sym- 0°^% phony's present Music Director, Seiji Ozawa, studied here during the Munch era. Alumni of the Center are among the most prominent and active mem- bers of the music world; more than ten percent of the members of this coun- CURTAINS try's major orchestras are graduates of the Center, as are many of the world's At TkE RedLisn Inn notable conductors, instrumental solo- STOCKBRIDGE MASSACHUSETTS ists and singers. 01262

Today the primary responsibility for Monday thru Saturday 10 A.M.- 5 P.M. the Center's direction is in the hands of Send for Free Catalog Gunther Schuller, composer, writer, conductor and President of the New England Conservatory. Average enroll- ment is somewhat over 400 each sum- mer, of whicrj approximately 175 are Williamstown members of the Center's Fellowship Program; this provides free tuition (and Theatre festival in many cases free board and expenses) for instrumentalists, singers, conduct- ors and composers of post-graduate caliber. In addition to the Fellowship Program, Boston University, through its Tanglewood Institute, offers several college-credit programs for talented Nikos Psacharopoulos Our 22nd Season Includes: high school musicians; the noted so- Heartbreak House, Orpheus Descending, prano Phyllis Curtin directs a singers' Born Yesterday, Our Town, and seminar highlighted by her own master The Three Sisters July 1 - August 29 classes. Finally, each summer the Cen- Phdne Reservations: 413-458-8146 ter's Festival of Contemporary Music P.O. Box 517, Williamstown, Ma. 02167 (August 14-18 this year), presented in

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30 cooperation with the Fromm Music Foundation at Harvard, offers a broad spectrum of the most advanced music of today's composers in a gala week of performances. The Boston Symphony's Concert- master and Assistant Conductor Joseph Silverstein heads a faculty that includes principal players and members of the Orchestra and faculty members of Bos- ton University's School of Fine Arts, plus leading soloists, conductors and composers. The Center has numerous studios for practice and chamber music, and an extensive library of music litera- ture and scores. Rehearsals and con- certs of the - Berkshire Music Center Orchestra and other student groups "Expect the Unexpected" j take place mostly in the Theatre-Con- cert Hall, while lectures, seminars, con- The Square Rigger Restaurant and Cabaret is ducting classes, vocal and choral re- known for "Good Country Cooking." An informal atmosphere hearsals, composers' forums and cham- ^H of ship hatch tables, rock fern gardens. Tiffany lamps, and stain glass ber music concerts take place in the windows, located by the Shaker Mill Pond. Chamber Music Hall, in the West Barn, = Serving their famous Rigger Burgers and pizzas, in the Hawthorne Cottage, on the Y steaks, seafood, homemade soups and deserts. Rehearsal Stage, and in the small stu- ;^ Brunch, lunch, dinner, nite owl snaks, from 10 am to 2 am, seven days a week. dios both on the Tanglewood grounds The Back Room . . . Free Movie Festival plus and in buildings leased in Lenox. Each "The Music Showcase of the Berkshires" I summer the Baldwin Piano and Organ West Stockbridge, Mass. Company generously provides nearly 413-232-8565 I 100 keyboard instruments for individ- iniMl^iMlllHllflllHlllMlillllN l lNllB ual practice; other instruments —per- cussion, for example—are provided by the Orchestra.

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Beatrice Straight & Kevin McCarthy in Summer Home and Studio of THE LION IN WINTER DANIEL CHESTER FRENCH by James Goldman August 10 - August 29 Sculptor of the Lincoln Memorial Ruth Gordon in HO! HO! HO! A new comedy by Miss Gordon, directed by Garson Kanin

Garden, Nature Trail, Fritz Holt and Barry M. Brown, Producers

Paintings, Barn Sculpture Gallery Tues. Wed. & Thurs. Eves at 8:30; Sun. Eve at 7:30; Wed. Mat. at 2:30; Sat. Mat. at 5:00; prices $7.50 & $6.00; Fri., Sat. Eves at 9:00; prices $8.50 & $7.00 (413) 298-5536 Adults $1.75 • Children $.75 Also At The Festival: In the Unicorn (barn) Daily 10-5 Theatre, three new American plays; Thursdays through Sundays. In the Proposition Theatre, the Proposition Company of Boston, with after- theatre entertainment, Thursdays through Sun- a property of days, and a children's theatre Thursday, Saturday, The National Trust for Historic Preservation Sunday afternoons. ASIAN GALLERY Far Eastern Art

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34

^)Z —

The Executive Committee Tanglewood Council of the 1 Boston Symphony Orchestra

Mrs. John S. McLennan Pillow Mr. Peter van S. Rice Located in the Township of Becket, Mass. Norman Walker, Director Co-Chairmen June 29—July 3 August 10-14 Eight Soloists from the Teodoro Morca Royal Danish Ballet The Claude Kipnis Mr. John Kittredge Mime Theatre July 6-10 Secretary /Treasurer Suzanne Farrell August 17-21 & Peter Martins Jo-Ann Bruggemann & The Danscompany Bob Bowyer Classical Pas de Deux Mr. and Mrs. David Klein Annabelle Gamson Jacob's Pillow Dancers Jacob's Pillow Dancers Talks and Walks July 13-17 The Maria Alba Spanish Dance Company Performances: Mrs. Richard Marcure July 20-14 Tues. through Sat, Mrs. George Vazakas The Nikolais Dance Curtain times: Tues., Theatre 7:30 pm.,Wed.,Fri.,& Tent Sat. ,8:40 pm., Thurs. Julv 27-31 and Sat. .Matinees: Emily Frankel — 3:00 pm. Mrs. Arthur Aronoff Charles Moore Classical Pas de Deux Tickets: Jacob's Pillow Dancers Mrs. Archie Peace $7.50, $6.50 and $5.00. Student Affairs August 3-7 Available at Ticketron, The Milwaukee Ballet or the Jacob's Pillow Company with guest Box Office. artist Ted Kivitt Mrs. Desmond Tivy How to Reach Jacob's Pillow: Tent tea and coffee Approx.150 miles from Boston near Tangle- wood. Lee-Pittsfield exit on the Mass. Turnpike. Public transportation from Boston via Grey- hound to Lee, Mass. Mrs. Samuel Boxer For information and reservations: Mrs. Roger Voisin Call 10 a.m.— 9 p.m. Mon. thru Sat. (413) 243-0745 Sales and Information Dance Festival America's FIRST Dance Festival, Richard S. Jackson Mr. Box 287, Lee, Mass. 01238. Mr. Robert A. Wells I J Public Relations and Membership

Mr. Jeffrey R. Winslow THE Business OLD CORNER HOUSE

Mrs. James Garivaltis Musical Marathon Co-ordinator

Mrs. James Garivaltis Mrs. Charles Capers Mrs. Kelton M. Burbank Benefits, receptions and meetings

Mrs. Peter van S. Rice Paintings by Tanglewood-Boston liaison NORMAN ROCKWELL On permanent exhibit Mrs. Anatole Haemmerle Open Year Round — Daily 10-5 p.m. Boston-Tanglewood liaison Except Tuesdays Adults $1.00 Children 25$

35 36 The Friends of Music at Tanglewood

Membership provides you with exciting opportunities and privileges all year long. It's the secret buy of the Berkshires!

Free Berkshire Music Tent Membership: Center Concerts: The Tanglewood Tent, available to Over 40 concerts each summer by the contributors of $75 and over, provides members of the Berkshire Music Cen- a hospitable gathering place behind the ter, the Boston Symphony Orchestra's Music Shed where food and drink may summer academy for the advanced be purchased on concert days. Hot study of music. These outstanding mid- buffet dinners are served on Saturday week concerts include chamber music evenings beginning at 6:30 p.m. (Reser- recitals, full orchestra concerts, vocal vations must be made through the and choral programs, and the annual Friends Office no later than 12:00 noon Festival of Contemporary Music, on the Wednesday preceding each Tanglewood's "festival within a festi- Saturday evening buffet.) val." Friends Concert Memberships for Special Parking For individuals and families are available Friends: for $25.00. Two convenient reserved parking areas are available to all donors of or Advance Program Information $150 more for all Boston Symphony Orches- and Ticket Ordering Forms: tra concerts: either the Box Parking Approximately one month before the Lot (Hawthorne Street entrance), or public sale of seats in the early spring, the Tent Parking Lot (West Street Friends will be sent the advance Berk- entrance). shire Festival programs and a priority For information, contact: ticket application. Friends will also Friends of Music at Tanglewood receive the monthly Boston Symphony Lenox, Ma. 01240 Orchestra publication, "BSO." (413) 637-1600

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