x** TAN6LEW00D Bh^ FIFTH WEEK July 29, 30, 31, 1966 BERKSHIRE FESTIVAL g " BEETHOVEN RU VlUl* "EROICA SYMPHONY The Boston Symphony BOSTON SYMPHONY ORCH ERICH LEINSDORF under Leinsdorf Leinsdorf and the Boston Symphonygive Beethoven's "Eroica one of the boldest performances you are likely to hear. No less daring is their acute reading ofSchumann 's Fourth Symphony, an exquisite fabric of sound. In their first recording of Russian ballet repertoire, the Bostonians produce a shimmering Firebird and a plittering Le Cog d'Or. Recorded in Dyna roove sound. Vitnm Schumann /Symphony No. 4 h Beethoven /Leonore Overture No. 3 Boston Symphony /Leinsdorf WO//WJ Boston Symphony Orchestra /Erich Leinsdorf I Rimsky-Korsakoff /"LE COQ D'OR" SUITE Stravinsky/"FIREBIRD" SUITE RCA Victor WfflThe most trusted name in sound BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF, Music Director RICHARD BURGIN, Associate Conductor Berkshire Festival, Season 1966 TWENTY-NINTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS FIFTH WEEK Historical and descriptive notes by John N. Burk Assisted by Donald T. Gammons Copyright, 1966 by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks John L. Thorndike Philip K. Allen Francis W. Hatch FIenry A. Laughlin Abeam Berkowitz Andrew Heiskell Edward G. Murray Theodore P. Ferris Harold D. Hodgkinson John T. Noonan Robert H. Gardiner E. Morton Jennings, Jr. Mrs. James H. Perkins Sidney R. Rabb Raymond S. Wilkins Trustees Emeritus Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Tanglewood Advisory Committee Alan J. Blah Lawrence K. Miller Jesse L. Thomason Lenges Bull George E. Mole Robert K. Wheeler George W. Edman Whitney S. Stoddard H. George Wilde Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Robert Williams Lenox, John Pignatelli Lee, Andre Jaouen Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Rosario Mazzeo Harry J. Kraut Orchestra Personnel Manager Assistant to the Manager Sanford R. Sistare Andrew Raeburn Press and Publicity Assistant to the Music Director II JULES ESKIN There are four new Jules Eskin joined this Orchestra as principal cellist in the fall of 1964. Mr. Eskin became the principal cellist of the Cleveland Orchestra in 1961. He was born in Philadelphia and has also been Automatic Turntables. a former student at the Curtis Institute Leonard Rose. where he studied with One of Before going to Cleveland Mr. Eskin them, and played with the Dallas Symphony, the was first cellist with the New York City LAB 80... Center Opera and Ballet Orchestra. He made a recital tour of Europe in 1961 is the first and has given recitals in Town Hall, New York. He has also played in the Automatic Casals Festival Orchestra in Puerto Rico. Transcription Turntable. ARA BERBERIAN Ara Berberian is a member of the New York City Opera Company. In addition to numerous performances with that company, he has also performed roles in New Orleans, Philadelphia, Houston, and Cincinnati. He has made his career principally in the United States, having appeared as a regular soloist at the Marlboro Festival, with the Robert Shaw Chorale and with the orchestras of Chicago, Cleveland, Phila- delphia, Pittsburgh and many other cities. LILIAN KALLIR Austrian-born Lilian Kallir came to this country at an early age and ranks today among the most distinguished young American pianists. From the time of her highly successful New York de- but at the age of seventeen to the present summer of 1966 when she makes her first appearances with Erich Leinsdorf and the Boston Symphony Orchestra at Tan- glewood, Miss Kallir has performed ex- tensively throughout North America and Europe. Among the orchestras with which Miss Kallir has played in this country and abroad are the New York Phil- harmonic, the Berlin Philharmonic, the Concertgebouw of Amsterdam, the Chicago Orchestra, the Minneapolis Symphony, the Orchestre de la Suisse Romande, the Gewandhaus Orchestra of Leipzig, the London Philharmonic, the Royal Philharmonic and the Philhar- monia Orchestra. JOSEPH SILVERSTEIN Joseph Silverstein succeeded Richard Burgin as Concertmaster in 1962. He became a member of the Boston Sym- For literature write Garrard, Westbury, N. Y. 2 — phony Orchestra in 1955 when he was twenty-three and the youngest member of the Orchestra at that time. Born in Detroit, he studied at the Curtis Insti- tute of Music in Philadelphia, and later with Joseph Gingold and Mischa Misch- Berkshire akofiF. He played in the orchestras of Houston, Denver and Philadelphia be- fore joining this one. Mr. Silverstein has won signal honors here and abroad. In the autumn of 1961 he was awarded the prize in the Walter W. Naumburg Top brand fashions Foundation Competition. Since joining the Orchestra Mr. Sil- verstein has been heard as soloist in at 20-40% discount! Boston and at Tanglewood at forty-three concerts. They're not closeouts, and they're not Second:.. They ore those same fomous brands you all know so well and you'll pay 20 to 40% THOMAS SCHIPPERS less than the national advertised price! Don't Thomas Schippers was born in Kala- believe us though .... check the national ads mazoo, Michigan, March 9, 1930. He on our bulletin boards and you'll see the $$$ studied composition and piano with Victoria McLaughlin, at the age of 15 went to Philadelphia to study at the Curtis Institute, and in 1948 studied at the Berkshire Music Center. His career as conductor began when he led the Philadelphia Orchestra in 1948. He con- ducted the New York City Opera (1950- 1955). He first conducted at the Metro- politan Opera Company in 1955. (He has conducted revivals of The Flying Dutchman and ha Forza del destino.) Mr. Schippers has introduced operas by Menotti and shared with that composer the direction of the festival in Spoleto, Italy. He also conducted the New York Philharmonic on several occasions, also travelling abroad with this orchestra and its conductor, Leonard Bernstein. He conducted the Boston Symphony Orches- tra as guest on February 21, 22 and 23, 1958, October 30-31, 1959, and March 17-18, 1961. CLAUDE FRANK Claude Frank was born in Nuremberg in 1925, but he emigrated in 1938 and has made his home in the United States since 1941. He studied piano and composition with Artur Schnabel for several years, a period which was interrupted by two years of service in the American Army (1944-46), in both Germany and Japan. During his military service he gave innumerable recitals in Europe, over Radio Tokyo and in many other Japanese era cities. After his discharge from the Army he spent a summer at Tanglewood SET Bnnhtoi OAK ST.OFF LINCOLN studying conducting with Serge Kousse- P1TTSFIELD, MASS. P5 '/ vitzky and also served for a time as r—irF ft—ii-i i n assistant conductor of the renowned Dessoff Choirs. In 1947 he made a (Continued on page 1 2) — 3 — y WEEKEND PRELUDE Friday Evening, July 29, at 7:00 SCHUMANN Andante and Variations for Two Pianos, Two Cellos and Horn, Op. 46 Claude Frank, Lilian Kallir, Martin Hoherman, mlscha nleland, james stagliano Lieder —Ara Berberian, Bass and Claude Frank, Piano Mit Myrthen und Rosen, Op. 24, No. 9 Meine Rose, Op. 90, No. 2 Sonntags am Rhein, Op. 36, No. 1 Was will die einsame Thrane? Op. 25, No. 21 Schlusslied des Narren, Op. 127, No. 5 Der Arme Peter, Op. 53, No. 3 Erstes grim, Op. 35, No. 4 Schone Wiege meiner Leiden, Op. 24, No. 5 Die beiden Grenadiere, Op. 49, No. 1 Mr. FRANK and Miss KALLIR play the Steinway piano ANDANTE AND VARIATIONS FOR TWO PIANOS, TWO CELLOS AND HORN, Op. 46 Schumann's Opus 46, Andante and Variations, was composed in Feb- ruary of 1843, at a time when Schumann was suffering from exhaustion following the tremendous years of creation, 1840-42. The last big works from his pen had been the three string quartets, the Piano Quintet, Op. 44, and the Piano Quartet, Op. 47. Writing of the early private readings of the music, Schumann observed that: "It has something of the spirit of an elegy; I think I was rather melan- choly when I composed it." After the glittering superficialities in variation form perpetrated by Schumann's keyboard virtuoso contemporaries, Thalberg, Kalkbrenner, and Herz, Schumann's own Andante and Variations mark a return to true nobility of utterance and creative integrity. The role of the two cellos and French horn in this music is predominantly a supporting one; though there are times when their significance for the melodic line, tone color, or harmonic texture becomes essential. The work was later recast for two pianos only, and this revised version is most commonly performed. The Bell Telephone Hour will telecast scenes filmed at Tanglewood, possibly including portions of each day's activities and audience, over the NBC television network and other stations. — A — ! ! ! ! ! !! ! ! SCHUMANN—SONGS FOR VOICE AND PIANO Mit Myrten und Rosen With Myrtle and Roses Mit Myrten und Rosen, lieblich With myrtle and roses, lovely and und hold, sweet, Mit duft'gen Cypressen und With fragrant cypress and tinsel gold Flittergold I will adorn this book like a shrine Mocht' ich zieren dies Buch wie'nen for the dead, Totenschrein, And bury all my songs therein. well Und sargen meine Lieder hinein. Oh could I but bury my love as the little O konnt' ich die Liebe sargen hinzu ! On the tomb of love grows Auf dem Grabe der Liebe wachst flower of peace, Bliimlein der Ruh', There it grows forth, there one can Da bluht es hervor, da pfliickt man pluck it, es ab, But for me it blooms only when Doch mir bliiht's nur, wenn ich I am in my grave.