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Home , Arthur Berger (composer), Bruno Maderna, Gunther Schuller, John Stewart (tenor), Lucia Dlugoszewski, Musical America

4-9 August 1979 .4111 • ■ ■ • 111■■• Mb. • OMNI/ MENI AlMr11MIL = =

publishes the following :

Girolamo Arrigo* Jean Barraque* David Koblitz Bruno Bartolozzi* * Arrigo Benvenuti* William Thomas McKinley Eubie Blake John Stewart McLennan Roger Bourland Sylvano Bussotti* Tibor Pusztai John Carisi George Russell Mario Castelnuovo-Tedesco* Robert DiDomenica Reginald Smith-Brindle* Dennis Eberhard Edward Steuermann Franco Evangelisti* David Stock Primous Fountain Andrew Thomas Jimmy Giuffre Alec Wilder Daniel Godfrey

*In the catalogue of Aldo Bruzzichelli Editore of , Italy represented exclusively in North America by Margun.

Write for catalogue and information:

MARGUN MUSIC INC. 167 Dudley Road Newton Centre, MA 02159 617 / 332-6398

The Berkshire Music Center Gunther Schuller, Artistic Director Joseph Silverstein, Chairman of the Faculty , Chairman of the Faculty Emeritus John Oliver, Head of Vocal Music Activities , Head of Keyboard Activities Dennis Helmrich, Head Vocal Coach Daniel R. Gustin, Administrator Richard Ortner, Assistant Administrator Harry Shapiro, Manager James Whitaker, Chief Coordinator John Newton, Sound Engineer Douglas Whitaker, Stage Manager Jacquelyn Donnelly, Secretary to the Faculty Carol Woodworth, Secretary to the Faculty Elizabeth Burnett, Librarian Theodora Drapos, Assistant Librarian Bruce Creditor, Orchestra Librarian

Festival of Contemporary Music presented in cooperation with The Fromm Music Foundation at Harvard

Fellowship Program Contemporary Music Activities Gunther Schuller, Director Theodore Antoniou, Assistant Director , , Oily Wilson, William Thomas McKinley, , Guest Teachers

The Berkshire Music Center is maintained for advanced study in music. Sponsored by the Orchestra Seiji Ozawa, Music Director Thomas W. Morris, General Manager Festival of Contemporary Music

The in the Performer's World

We hear so often that performers and cultural responsibility. composers have become alienated from We must not forget that the stakes are each other or that performers have high in the performance industry. There become alienated from contemporary is much fame and money to be earned, music. I think that what has really been and there is tremendous competition happening is that "brand-name" per- for both. Performers no longer pit them- formers and their followers among young selves against a musical task. Instead, concert artists are becoming alienated they pit themselves against other per- from music. Not only contemporary formers. Because of this, the musical music. All music. works themselves must be familiar. Viewed What we used to characterize as "the this way, musical works are like the music business" has become a per- figure eight and the other school figures formance industry. The media-led cult used in ice skating competitions. They of personality has played a large part in are played less because they are in- this development. It is the performer's teresting in themselves than because face on the cover of Time magazine. they provide a way to rank the per- And so it follows that music is viewed as formers. an extension of the personality of the What happens to composers living in performer. It should not be surprising a world where works of music have lost that performers and conductors start their value? Where the music of the past looking at things this way, too, that they lies in bondage to performance? Where start thinking of musical works as vehi- most of the music of the present dies in cles for their ego trips. the first performance, if it is performed Of course, artists have always had a at all? good deal of ego strength. But it is one Ned Rorem once wrote that "Doers thing to identify with the composer, to and makers move in quite separate .. . feel that you achieve greatness as an orbits. Players face out, composers, in." interpreter insofar as you realize the I'm sure that this is true. As I have sug- composer's intentions. It's something gested, many players face out—toward else again to see a musical work primarily the public and away from music. But it is as a vehicle for your performance. The equally true that composers face in— difference is the difference between away from the public and toward their character and personality. own world of music. When personality is king, then being Composers do not choose isolation, successful simply means having a repu- but rather have it thrust upon them. If tation as a winner. Our most successful our composers have often preferred not conductors and performers are the only to view their musical offerings as vehi- ones who have the power to effect change cles of emotional communication, one —to expand and enrich our musical reason may be the one that painter culture by adding to the repertory. Un- has suggested: that fortunately, they do not view success as as members of our society as a whole, something that carries with it a sense of composers, along with other artists, have Tanglewood

shared in that society's decreasing ca- posers, I will not even attempt to name pacity for giving and receiving passion. the important composers who are still If our composers have allowed the living. cerebral structure of their music to be I am convinced that our century will dominant, they may have done so partly eventually prove to be one of the great because as members of university com- musical centuries. Our choices as per- munities, they live in an environment formers and listeners seem to me to be where intellect is valued highly. equally clear. Either we award ourselves If our composers have increasingly the privilege of coming to know the great become composers' composers rather musical creations of our own century, or than creators for the public at large, we leave these works to be discovered by they have often done so because their future generations. colleagues seem to be the only people —Paul Fromm, Director who are still excited about music as an Fromm Music Foundation at Harvard ongoing art form. Varese once said, "Contrary to general belief, an artist is never ahead of his time, but most people are far behind theirs." Varese's comment was recently echoed by Andrew Porter, writing in The New Yorker: "To the charge that many composers are out of touch with the public can be added another: that the public is out of touch with many of its best composers." The point here is that the public is out of touch not just with advanced musical experimentation; that could be expected in any era. No, the public and most performers are out of touch with the twentieth -century classics—works of proven substance and great beauty. With twenty years yet to go, our century has already produced a body of music that would be the pride of any century. I can easily name twelve great twentieth-cen- tury masters from among composers who are already dead—Debussy, Mahler, Strauss, Ravel, Stravinsky, Bartok, Schoen- berg, Berg, Weben, Varese, Ives, Hinde- mith. As I live in a society that believes that only dead composers are good com- References furnished on request

Aspen Music School and Peter Duchin Zubin Mehta Festival Milwaukee Symphony Dickran Atamian Ferrante and Teicher Orchestra Burt Bacharach Gold and Fizdale David Bar-Illan John Green Seiji Ozawa Berkshire Music Center Hollywood Bowl Orchestra and Festival Dick Hyman Andre Previn Interlochen Arts Academy Ravinia Festival Jorge Bolet and National Music Camp Rostal and Schaefer Boston Pops Orchestra Jose Iturbi St. Louis Philharmonic Boston Symphony Orchestra Byron Janis Gunther Schuller Brevard Music Center Tedd Joselson George Shearing Dave Brubeck Kansas City Philharmonic Bobby Short Chicago Symphony Orchestra Orchestra Georg Solti Cincinnati Symphony Ruth Laredo Claudette Sorel Orchestra Michael Tilson Thomas Aaron Copland Philharmonic Jeanne-Marie Dane Orchestra Lawrence Welk Ivan Davis Marian McPartland Whittemore and Lowe Denver Symphony Orchestra Earl Wild

Hal ciwTn. Festival of Contemporary Music

Contemporary Music at Tanglewood

New music—whether the fashion- has become an annual institution within able name is 'contemporary' music or the framework of the larger Berkshire `avant-garde' music—has been a cen- Festival at Tanglewood. tral concern of the Berkshire Music The Contemporary Festival serves two Center since its inception. Koussevitzky primary purposes. Obviously one of its saw to that, and from the early days of goals is to present annually as broad a Tanglewood under the leadership of cross-section of new works—orchestral Aaron Copland to the present, a wide and chamber—as six days of concerts range of twentieth-century literature, will permit. Equally important as a guid- from 'established classics' to the 'newest' ing principle is the notion that the innovations, has been a consistent feature young performers who come to Tangle- of the Tanglewood experience. There is wood to study and learn shall have a hardly a major or lesser composer whose significant contact with the new music music hasn't been performed at Tangle- of their generation and of the recent wood, who hasn't studied here or taught past. For many of them it turns out to be here. The list of Tanglewood composer/ their first contact and many a proponent alumni is a Who's Who— American and of new music has had his or her first international—of twentieth-century music. experiences with such repertory here at Young composers of advanced ac- Tanglewood. We see new music, what- complishments come here to study pri- ever its persuasion, not as something cut vately with the composer-in-residence off from the literature of the past and (Ralph Shapey in 1979) or with myself. In segregated from ordinary professional addition various guest composers hold life, but as part of the ongoing continuum forth, three times a week, at seminars of musical history and as an integral part designed to complement and amplify of a musician's commitment to his art the private studies. This year's guests and his profession. are 011y Wilson, William T. McKinley, The Festival does not claim to be all- Paul Zukofsky, as well as regular faculty inclusive or all-permissive but attempts, members Theodore Antoniou, Ralph along with the annual commissions to Shapey and Yehudi Wyner. Each student young composers already established in composer in the Fellowship Program their field, a wide sampling of con- also has a work performed at the Com- temporary music in a variety of styles posers Forum concerts, played by mem- and concepts, ranging from young 'un- bers of the Berkshire Music Center's knowns' to well-established twentieth- Instrumental Fellowship Program, pre- century masters. pared under the supervision of myself The Festival's success owes much each and Mr. Antoniou. year to the talent, indefatigable energy, dedication, and commitment of Theodore The Festival Antoniou, Assistant Director of Con- temporary Music Activities at the Berk- The Festival of Contemporary Music shire Music Center. was initiated in 1963 and has enjoyed to this day the generous support of the —Gunther Schuller, Artistic Director Fromm Music Foundation. The Festival Berkshire Music Center Festival of Contemporary Music Saturday, 4 August 1979 at 2:30 Theatre-Concert Hall, Tanglewood Members of the Berkshire Music Center Fellowship Program

ELLEN TAAFFE ZWILICH Clarino Quartet (1977) Maestoso—Allegro vivo Largo Veloce

Harry McTerry, conductor

OLLY WILSON Piano Trio (1978) Introduction Trio Postlude

JOAN TOWER Breakfast Rhythms 1 and 11 (1975) Yehudi Wyner, conductor

INTERMISSION

RALPH SHAPEY Dimensions for soprano and twenty-three instruments (1960)t .J=44 4l=48 =40

conducted by the composer Yvette Vanterpool, soprano

The Festival of Contemporary Music continues on tonight's Berkshire Festival concert with the American premiere of Gunther Schuller's Deal with the Boston Symphony and Berkshire Music Center , Seiji Ozawa, Gunther Schuller, and Joseph Silverstein .

tFromm Foundation commission

Baldwin piano Festival of Contemporary Music Sunday, 5 August 1979 at 8:30 Theatre-Concert Hall, Tanglewood Members of the Berkshire Music Center Fellowship Program

URSULA MAMLOK Sextet (1977) With fluctuating tension Very calm Light and airy

Carl Roskott, conductor

BEN WEBER Consort of Winds (1976) Moderato Andante molto Lento serioso

GUNDARIS PONE Diletti Dialettici (1973) Cadenza di Gran Maniera Polyphonie johantonesque Presto sur "Ton chien, a-t-il dej3 pisse?" Elegia delle campane basse Espressivo fiammeggiante avec deux portraits Fantasia sul RE (americano) Scherzo delirando and Biirgertotenwalzer La grande AO CBVIRAHV1S1

Gunther Schuller, conductor

INTERMISSION

JOLYON BRETTINGHAM SMITH The Ruins of Time (1974)*

Israel Edelson, conductor

SHEILA SILVER Canto for baritone and chamber (1979)t (Text: Canto XXXIX by Ezra Pound)

Theodore Antoniou, conductor David Hamilton, baritone

*American premiere tCommissioned by the Berkshire Center in cooperation with the Fromm Music Foundation at Harvard. First performance.

Baldwin piano Festival of Contemporary Music Monday, 6 August 1979 at 8:30 Theatre-Concert Hall, Tanglewood

Martha Babcock, cello Gilbert Kalish, piano Emanuel Borok, violin Vyacheslav Uritsky, violin Jules Eskin, cello Yehudi Wyner, piano Burton Fine, viola

Memorial Concert for and Dimitri Shostakovich

SHOSTAKOVICH from Twenty-four Preludes, Opus 34 (1932-33) II. Allegretto XV. Allegretto V. Allegro vivace XVI. Andantino VI. Allegretto XVII. Largo VII. Andante XII. Allegro non troppo X. Moderato non troppo XXII. Adagio XIV. Adagio XXIV. Allegretto

MR. KALISH

BRITTEN for Cello and Piano, Opus 65 (1962) Dialogo (Allegro) Scherzo-Pizzicato (Allegretto) Elegia (Lento) Marcia (Energico) Moto perpetuo (Presto)

MSSRS. ESKIN and KALISH

INTERMISSION

BRITTEN Two Compositions for Two Pianos, Opus 23 (1941) Introduction and Rondo alla burlesca Mazurka elegiaca

MSSRS. KALISH and WYNER

SHOSTAKOVICH String Quartet No. 8, Opus 110 (1962) Largo Allegro molto Allegretto Largo Largo

MSSRS. BOROK, URITSKY, FINE, and MS. BABCOCK

Baldwin piano Festival of Contemporary Music

Dimitri Shostakovich (1906-1975) and Benjamin Britten (1913-1976) Shostakovich? Britten? These are not ones just before World War I. The best names one expects to see on a Fromm works of Shostakovich and Britten are Festival program along with Shapey and eloquent witnesses to the fact that there Lerdahl, Curtis-Smith and Arrigo. True is, as Arnold Schoenberg knew and in that in the past we have honored our fact said, "still plenty of good music to seniors and avatars— be composed in C major." in 1975, for example, and In their later years Shostakovich and two years ago—and that Luigi Dalla- Britten had become dear friends. They piccola's beautiful Parole di San Paolo is dedicated important works to each other. included this year. But these are men They shared a significant and inspiring clearly involved in the pushing out of friendship with Mstislav Rostropovich frontiers, in the finding out and estab- and Galina Vishnevskaya. Both have ties lishing of new musical languages and here. Serge Koussevitzky was one of new compositional means. They were Shostakovich's most ardent and effective themselves of the advance guard, they champions. At Tanglewood we experi- taught two generations of their students enced the grief of Shostakovich's death to occupy positions still more exploratory with special vividness, for the news than their own, their names are honored came one Saturday evening four years as those of composers who changed the ago, literally minutes before Rostropovich face of music in our time. was about to conduct the Fifth Symphony. But Dimitri Shostakovich and Benjamin Koussevitzky commissioned Britten's Britten were conservatives who changed Peter Grimes and its first American per- nothing except by adding to our lives formance was at Tanglewood, as were and Peter Grimes, the settings those of Albert Herring, the Spring Sym- of Jewish folk verse and of John Donne, phony, and the War Requiem. (The their string quartets and , Symphony for Cello and Orchestra, one Babi Yar and the War Requiem. They of the works Britten wrote for Ros- clung to their faith in (and that tropovich, was introduced to America does seem to be the great ideological by the Boston Symphony in Boston.) watershed among twentieth-century com- They were, both of them, shy, tor- posers). And they were successful—in mented, brave, and they were hard Ernst Bloch's phase, "in love with suc- workers. They believed passionately that cess and the means of success." They music is written for people and they attained, not in every work and not believed as well in music's power to always easily, that goal cherished to make statements about the things in life some degree by every artist, to produce that engage people, that amuse and the works the world can't do without. excite them, gladden them, and grieve The English critic once them. They were remarkable human wrote, "What Britten composed yester- creatures and richly gifted, and the day is more contemporary than what combination made them singularly fit Boulez or Stockhausen will write tomor- guardians of the values we cherish and row." An extreme statement perhaps, but that are a central part of what brought a statement nonetheless of a point need- most of us in this audience to music in ing urgently to be made: the old re- the first place. sources were not "used up" when a few great composers began to look for new —Michael Steinberg Festival of Contemporary Music Tuesday, 7 August 1979 at 8:30 Theatre-Concert Hall, Tanglewood

COLLAGE, contemporary music ensemble with guest artists Robert Annis, clarinet Henry Gwiazda, electric guitar Frank Epstein, percussion Peter Hadcock, clarinet Ronald Feldman, cello Ann Hobson, harp Paul Fried, flute , conductor Joan Heller, soprano Elizabeth McCrae, piano Christopher Kies, piano Beverly Morgan, mezzo-soprano Ronald Knudsen, violin Gunther Schuller, conductor Fenwick Smith, flute Lawrence Wolfe, bass guitar

ARTHUR BERGER Composition for Piano, Four Hands (1977)

WILLIAM THOMAS McKINLEY Paintings #4 (1978) Gunther Schuller, conductor

Parole di San Paolo (1964) Gunther Schuller, conductor Joan Heller, soprano

INTERMISSION

JOHN HEISS Capriccio for flute, clarinet, and percussion (1976)

FRED LERDAHL Eros (1975) conducted by the composer Beverly Morgan, mezzo-soprano

Baldwin piano

This program was made possible in part through a grant from Meet the Composer, with support from the National Endowment for the Arts, the Helena Rubinstein Foundation, and the Martha Baird Rockefeller Fund for Music. Festival of Contemporary Music Wednesday, 8 August 1979 at 8:30 Theatre-Concert Hall, Tanglewood Members of the Berkshire Music Center Fellowship Program Theodore Antoniou, conductor

GYORGY LIGETI Kammerkonzert (1969-70) Corrente (for Maedi Wood) Calmo, sostenuto (for Traude Cerha) Movimento preciso e meccanico (for Friedrich Cerha) Presto (for Walter Schmieding)

GIROLAMO ARRIGO Infrarosso (1967)*

INTERMISSION

GEORGE COUROUPOS Abstr'acte (1976)*

C. CURTIS-SMITH Music for Handbells (1976)

MARIUS CONSTANT Symphonie pour instruments a vent (1978)* Mouvement La folie de Schumann La chasse Epilogue

*American premiere

Baldwin piano and organ Festival of Contemporary Music Thursday, 9 August at 8:30 Theatre-Concert Hall, Tanglewood Berkshire Music Center Orchestra Gunther Schuller, conductor

KARLHEINZ STOCKHAUSEN (Third Region) for orchestra and electronic tape (1969)

INTERMISSION

JOSEPH HUDSON Oda a Un Reloj en la Noche (1979)t Gloria Wagoner, mezzo-soprano

EDGAR VARESE Ameriques (1918/22)

tCommissioned by the Berkshire Music Center in cooperation with the Fromm Music Foundation at Harvard. First performance.

Baldwin piano Berkshire Music Center 1979 Fellowship Program

Violins Katherine Akos, Highland Park, III. Melissa Thorley, Cedar City, Utah U.S. Components Incorporated Fellowship Fromm Music Foundation Fellowship Linda Baker, Cincinnati, Ohio Harvey Thurmer, Knoxville, Tenn. William & Mary Greve Foundation, Inc. Koussevitzky Music Foundation Fellowship Fellowship Mark Beaulieu, Beverly, Mass. Harold Tracy, Denver, Col. Tom Brokaw WCRB/BSO Fellowship Dr. & Mrs. Alexander B. Russell Fellowship Craig Burket, Jamaica Plan, Mass. Jerry Weiss, Ontario, Canada Margaret Boyer Fellowship Anna Sternberg Fellowship Min-Jae Chay, Seoul, Korea Darrow White, Cleveland Heights, Ohio Boston Symphony Orchestra Fellowship Orleton Charitable Trust Fellowship Paul Chou, Skaneateles, N.Y. Gordon Wolfe, Newton Center, Mass. Leonard Bernstein Fellowship Ada Holding Miller Fellowship Diane Cummings, Phoenix, Arizona Boston Symphony Orchestra Fellowship Violas Karen Damerau, Denver, Col. Pamela Askew, Houston, Texas Mr. & Mrs. Max Delson Fellowship Jane & William H. Ryan Fellowship David Dyer, Glen Head, N.Y. Cynthia Busch, Pittsburgh, Penn. Boston Symphony Orchestra Fellowship Berkshire Eagle Fellowship Elizabeth Field, Lexington, Mass. Valentina Charlap, Monsey, N.Y. Ina & Eugene Schnell Fellowship Arthur M. Abell Fellowship Isabel Haas, Lidingo, Sweden Richard Elegino, Carson, Cal. Bradley Fellowship Kimberly-Clark Foundation Fellowship Eiko Kato, Nagoya, Japan Pamela Geannelis, Bennington, Vermont Fellowship/Anonymous Donor C.D. Jackson Master Award Fellowship Takako Masame, Tokyo, Japan Joyce Hansen, Chicago, Ill. Irene & David Bernstein Fellowship Boston Symphony Orchestra Fellowship Sally Mermelstein, Newton, Mass. Carrie Holzman, Los Angeles, Cal. Fellowship/Anonymous Donor Mead Corporation Fellowship Diane Nicholeris, Braintree, Mass. Jan Karlin, Brookline, Mass. Helen & Lester Sobin Fellowship Jason & Elizabeth Starr Fellowship Victor Romanul, Brookline, Mass. Amy Leventhal, Hartford, Conn. Dukakis-Dickson Family, WCRB/BSO Fromm Music Foundation Fellowship Fellowship Anne Lokken, Berkeley, Cal. Carol Ruzicka, Cleveland, Ohio Boston Symphony Orchestra Fellowship Adams Super Markets Corporation Timothy Mika, St. Louis, Missouri Fellowship Stephen & Persis Morris Fellowship Irene Sazer, , Cal. Steven Wedell, Boston, Mass. Kandell Fellowship Arthur Fiedler Financial Aid Fund Sarah Sherry, Chevy Chase, Maryland Fellowship Stanley Chapple Fellowship Siri Smedvig, Seattle, Wash. Arthur Fiedler Fellowship Kathleen Tesar, Parma, Ohio Anna Gay Noe Fellowship Cellos Flutes Laura Blustein, Santa Monica, Cal. Robert Bush, Mountain City, Tenn. Fromm Music Foundation Fellowship John Major Nalle Fellowship Phoebe Carrai, Wakefield, Mass. Linda Chesis, North Bergen, N.J. Olga Koussevitzky Memorial Fellowship Geraldine R. Dodge Foundation Michael Curry, Westfield, N.J. Fellowship Dorothy & Montgomery Crane Fellowship Susan Downey, Philadelphia, Penn. Katharine Knight, Chestnut Hill, Mass. Harry & Mildred Remis Fellowship Marian Voorhees Buttenheim Fellowship Iva Milch, Teaneck, N.J. Samuel Magill, Columbia, Missouri Mr. Peter Schweitzer Fellowship Aaron & Abby Schroeder Fellowship Anna-Marina Wiedmer, Saratoga, Cal. Deborah Petty, Denton, Texas C.D. Jackson Master Award Fellowship Claudette Sorel Mu Phi Epsilon Fellowship Rebecca Seiver, Villanova, Penn. Valerie 'Edwards, Boston, Mass. Koussevitzky Music Foundation Frelinghuysen Foundation Fellowship Fellowship Andrea Ridilla, Latrobe, Penn. Mark Simcox, Boston, Mass. Fromm Music Foundation Fellowship Fromm Music Foundation Fellowship Jennifer Sperry, Belvedere, Cal. Susan Stevens, Elmhurst, Ill. Augustus Thorndike Fellowship Harry & Mildred Remis Fellowship Linda Strommen, Oconomowoc, Wis. Warren Weis, Palo Alto, Cal. Red Lion Inn-Fellowship C.D. Jackson Master Award Fellowship Deborah Workman, , Ohio Mathias Wexler, Gt. Barrington, Mass. Frieda & Samuel Strassler Fellowship Berkshire Bank & Trust Company Fellowship Clarinets Laura Ardan, Lewiston, N.Y. Basses Union Federal Savings Fellowship Robert Caplin, Canaan, N.Y. Laura Flax, , N.Y. Berkshire County Savings Bank Fellowship Fromm Music Foundation Fellowship Catherine Garrett, M'!waukee, Wis. Laurel Hall, Muskegon, Michigan R. Amory Thorndike Fellowship U.S. Components Incorporated Fellowship Theodore Grille, Farmington, N.Y. William Hudgins, Swarthmore, Penn. Boston Symphony Orchestra Fellowship Koussevitzky Music Foundation Timothy Pitts, Simpsonville, N.C. Fellowship Leonard Bernstein Fellowship John Nishi, Berkeley, Cal. Mikeal Price, Greensboro, N.C. Leo L. Beranek Fellowship Boston Symphony Orchestra Fellowship Bassoons Robert Skavronski, North Versailles, Penn. Karla Ekholm, , Cal. John & Susanne Grandin Fellowship Boston Symphony Orchestra Fellowship Tye Van Buren, Hendersonville, N.C. Lynn Gaubatz, Odessa, Texas Rosamond Sturgis Brooks Memorial Leo Wasserman Foundation Fellowship Fellowship Timothy McGovern, Arlington Heights, Ill. Carlotta M. Dreyfus Fellowship Atsuko Sato, Old Greenwich, Conn. Mr. & Mrs. David B. Arnold, Jr. Fellowship Lisa Storchheim, El Toro, Cal. Koussevitzky Music Foundation Fellowship Horns Percussion Eric Achen, San Francisco, Cal. Daniel Druckman, New York, N.Y. C.D. Jackson Master Award Fellowship Leonard Bernstein Fellowship Jonathan Boen, Rockford, Ill. Dexter Dwight, Unadilla, N.Y. Seiji Ozawa Fellowship Orleton Charitable Trust Fellowship Jonathan Levin, Jamaica Plain, Mass. James Gwin, Salem, Mass. David & Libby Casty Fellowship Boston Symphony Orchestra Fellowship Richard Sebring, Concord, Mass. Patrick McGinn, Mt. Clemens, Michigan First Agricultural Bank Fellowship Boston Symphony Orchestra Fellowship Richard Todd, Placentia, Cal. Akira Tana, Boston, Mass. Fromm Music Foundation Fellowship Boston Symphony Orchestra Fellowship Jeff von der Schmidt, Monterey Park, Cal. William Trigg, Brookhaven, N.Y. Boston Symphony Orchestra Fellowship Country Curtains Fellowship

Trumpets Associate: Toshimasa Mizukoshi, Justin Cohen, Williamsville, N.Y. Tokyo, Japan Armando A. Ghitalla Fellowship Harps Randell Croley, West Nyack, N.Y. Carrie Kourkoumelis, Seattle, Wash. Selly A. Eiseman Memorial Fellowship Leonard Bernstein Fellowship James Donato, Avon, Conn. Sarah Schuster, Fairview, Penn. Frank Stanley Beveridge Foundation Inc., Kathleen Hall Banks Fellowship Fellowship Dana Kemp, El Cerrito, Cal. Keyboard Fellowship/Anonymous Donor Brenda Landrum, Houston, Texas , New Orleans, Louisiana Gina Bachauer Scholarship Hodgkinson Fellowship Yolanda Liepa, Cincinnati, Ohio Wulsin Fellowship Trombones Julie Lustman, New York, N.Y. Lawrence Isaacson, Hamilton, Ontario, Can. The Hon. & Mrs. Peter I.B. Lavan David R. & Muriel K. Pokross Financial Aid Fellowship Fund Cynthia Peterson, Scarsdale, N.Y. Glenn Mayer, New Haven, Conn. Wulsin Fellowship Boston Symphony Orchestra Fellowship Sally Pinkas, Tel-Aviv, Israel Donald Renshaw, Montreal, Quebec, Can. Leonard Bernstein Fellowship Leonard Bernstein Fellowship Judith Lynn Stillman, New York, N.Y. John D. Rojak, Stoneham, Mass. Wulsin Fellowship Empire Brass Quintet Fellowship Eve Wolf, New York, N.Y. Tuba Wulsin Fellowship Mark Tetreault, Chelsea, Mass. Conductors Boston Symphony Orchestra Fellowship Israel Edelson, Jerusalem, Israel Koussevitzky Memorial Fellowship Harry McTerry, , Michigan Dmitri Mitropoulos Scholarship Carl Roskott, Greensboro, N.C. Leonard Bernstein Fellowship Vocal Fellows Composers Halbert Blair, Enka, N.C. Daniel Asia, Seattle, Wash. Emil Friedlander Memorial Fellowship ASCAP/Rudolf-Nissim Fellowship Mimmi Fulmer, Ithaca, N.Y. , Atlanta, High Fidelity/Musical America Fromm Music Foundation Fellowship Fellowship Prize Jay Gach, Northport, N.Y. David Hamilton, Tulsa, OK. Bruno Maderna Fellowship Hannah & Leonard Stone Foundation Mark Gustayson, Arlington Heights, Ill. Fellowship Leonard Bernstein Fellowship Ruth Jacobson, Duluth, Minn. Stephen Jaffe, Philadelphia, Penn. Fromm Music Foundation Fellowship Margaret Lee Crofts Fellowship Keith Kibler, Boston, Mass. John Lennon, Knoxville, Tenn. Lee Savings Bank Fellowship Margaret Lee Crofts Fellowship Rodney Miller, New York, N.Y. Peter Lopez, Richmond, Cal. Stuart Haupt Fellowship Avery Claflin Memorial Fellowship Renee Santer, North Hollywood, Cal. Nicholas Thorne, Marshfield, Vermont Stella H. Triest Memorial Fellowship Scholarship Yvette Vanterpool, Bronx, N.Y. Leonard Bernstein Fellowship Gloria Wagoner, Bangor, Maine The BERKSHIRE MUSIC CENTER is also sup- Seven Hills Fellowship ported in part through a generous grant from Rickie Weiner, New York, N.Y. the National Endowment for the Arts in Stanley Chapple Fellowship Washington, D.C., a Federal agency created Diane Willis, Lakeland, Florida by Act of Congress in 1965. Berkshire Life Insurance Co. & Berkshire Hilton Inn Fellowship The BERKSHIRE MUSIC CENTER gratefully Associates: Robert Osborne, New York, N.Y. acknowledges the support provided the Bos- David Ripley, Somerville, Mass. ton Symphony Orchestra at Tanglewood by Cynthia Rose, American Telephone & Telegraph as part of Mark Stingley, Salina, Kansas the "Bell System American Orchestras on Tour" program.

Vocal Coaches The BERKSHIRE MUSIC CENTER acknowledges Martin Amlin, Dallas, Texas with gratitude the generosity of Acoustic Felicia Montealegre Fellowship Research, New Acoustic Dimension, and Willi William Jones, New York, N.Y. Studer, Inc., who provided recording equip- Asher J. Shuffer Memorial Fellowship ment for the 1979 session. HEAR THE MUSIC BY FROMM FESTIVAL COMPOSERS ON CRI the oldest and largest record company devoted to contemporary music

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