Boston Symphony Orchestra Concert Programs, Summer, 1985
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Festival of ContemporaryMusic 1-7August / 1985 ^M ECSl eHPk m&mt ESS WM »JM*fe TanglewdDd Music Center Boston's New Music Ensemble collage^") ANNOUNCES 1985-1986 SEASON FEATURING 3 PULITZER PRIZE WINNING COMPOSERS AND A MODERN DANCE COLLABORATION NOVEMBER 4, 1985 Conducted by John Harbison, program will fea- ture 1985 Pulitzer Prize winner Steven Albert. Other works by Christopher Rouse, Robert Selig and Edward Cohen. JANUARY 27, 1986 A concert in celebration of Gunther Schuller's 60th birthday and featuring soprano Lucie Shelton as guest artist. Works by Gunther Schuller, William Doptman, Ellen Zwillich and Will Ogden. MARCH 30, 1986 Performed with the Concert Dance Company of Boston, the program will include works by John Cage, George Walker, Gardner Read and Mario Davidovsky. Conducted by Charles Fussell. For further information and a season brochure, call (617) 437-0231 or write, COLLAGE, 295 Huntington Avenue, Suite 208, Boston, Massachusetts 021 15 Subscriptions are Available 1985 FESTIVAL OF CONTEMPORARY MUSIC sponsored by the TANCLEWOOD MUSIC CENTER Leon Fleisher, Artistic Director- Design ate TanglewoDd Daniel R. Gustin, Administrative Director Music Richard Ortner, Administrator Center Leon Kirch ner, Composer-in-Residence Works presented at this year's Festival were prepared under the guidance of the following Tanglewood Music Center Faculty: Terry Dec i ma Joel Krosnick Margo Garrett Kent Nagano Dennis Helmrich Peter Serkin Philip Highfill Joel Smirnoff Gilbert Kalish Roger Voisin Leon Kirchner Yehudi Wyner 1985 Visiting Composer/Teachers John Adams George Perle David DelTredici Tison Street 1985 Festival of Contemporary Music Advisory Committee Peter Maxwell Davies Hans Werner Henze Jacob Druckman John Harbison Oliver Knussen The Tanglewood Music Center is maintained for advanced study in music and sponsored by the Boston Symphony Orchestra Seiji Ozawa, Music Director Thomas W. Morris, General Manager The 1985 Festival of Contemporary Music is supported by a grant from the Exxon Corporation, from the National Endowment for the Arts, and with funds from the generous and loyal Friends of Music at Tanglewood. SEIJI OZAWA CLAUDIO ABBADO LEONARD BERNSTEIN CHARLES DUTOIT ZUBIN MEHTA MICHAEL TILSON THOMAS CHRISTOPH VON DOHNANYI PHYLLIS CURTIN SHERRILL MILNES LEONTYNE PRICE SHIRLEY VERRETT BURT BACHARACH JACOB DRUCKMAN -DAVID DEL TREDICI What do these names have in common, along with hundreds of musicians who perform in I America 's major symphony orchestras ? All are distinguished alumni of a unique program founded in 1940 as the !n fulfillment of Serge Koussevitzky's vision of the ideal musical community. Today, * the Tanglewood Music Center continues to be the nation's preeminent academy for advanced musical study and performance. Maintained and financed by the Boston Symphony Orchestra, the Tanglewood Music Center offers exceptional young instrumentalists, singers, composers, and conductors a comprehensive and exhilarating eight-week program of musical training, under the direction of the world's greatest concert artists. Since admission to the TMC is based solely on musical ability rather than the ability to pay, the Center operates each year at a substantial loss to the BSO. We need your support. Please contribute Tanglew®d to the Tanglewood Music Center. When you do, you contribute to the future of music itself. Music Please make checks payable to the Tanglewood Music Center and mail to the Friends Office, Tanglewood, Lenox, Center MA 01240. For further information, please contact Joyce Serwitz in the Friends Office at Tanglewood, or call (413)637-1600. Contemporary Music at Tanglewood Welcome to the 1985 Festival of Contem- The 1985 Festival continues those aims. porary Music at Tanglewood! The role of As always, the repertory contains a blend new music in the activities of the Tangle- of older classics, recent works, and .brand- wood Music Center has been vital from the new compositions receiving first perform- earliest days, when it bore its original ances, providing a conspectus of the new name, the Berkshire Music Center, under music of our century, allowing performers the direction of Aaron Copland. Copland's and listeners to experience the continuing own generosity toward other composers traditions of the new in twentieth-century and the enthusiasm of Serge Koussevitzky, music—to encounter the shock of novelty, the prime mover of the Music Center, and the equal shock of realizing that what guaranteed that new music should be en- was once novel is now welcome and famil- couraged in every way, through creation iar. and performance. The tradition deepened Each year the particular "stew" is assem- during the long tenure of Gunther Schuller bled from a careful consideration of major as principal architect of each summer's Fes- composers' anniversaries, available new tival, with the enlightened patronage for works by young composers, and a desire many years of Paul Fromm. The 1985 Festi- to include a wide range of styles and val continues that legacy. techniques, with specific genres deter- Each year the Festival of Contemporary mined in part by the performers available. Music at Tanglewood serves several impor- As in the past, there is no attempt to tant functions: represent in any given Festival all the kinds of music being written today; our compos- — it contributes to the educational pro- ers are simply too imaginative and varied gram of the Tanglewood Music Center to allow any circumscribed program to be by giving every TMC Fellow the opportu- inclusive. But the goal throughout is for nity of learning and performing several diversity and quality. recently composed works, often bring- The 1985 program includes a tribute to ing them face-to-face with a brand-new one of the most influential of twentieth cen- composition for the first time in their tury composers, whose centennial is cele- lives. This is crucial for the future of our brated this year, Alban Berg; another tribute musical life: only such striving with the to a recently departed American master, music of today can assure the continued Roger Sessions, whose death this spring vitality of the great creations of the past. wrote the final cadence to a career uniquely — it provides a forum in which audi- fruitful and uniquely influential; several ences can hear, i n a reasonably compact performances of music by senior compos- way, a substantial number of recent ers of our generation —Aaron Copland, works in many different styles and Pierre Boulez, George Crumb, Jacob genres. Druckman, Gyorgy Ligeti, George Perle, — it offers composers the opportunity to and this summer's Composer-in-Resi- hear their own work and the work of dence, Leon Kirchner; and a larger number their colleagues and especially to meet of pieces by many talented composers of with the musicians who perform it, to the younger generation, whose work may everyone's mutual benefit. sometimes bewilder in its stylistic variety EH&3 Shown here in August 1976 are, clockwise from left, Tanglewood Music Center Fellowship composers Robert Beaser and Michael Kowalski, George Crumb's son David (who would be a member of the Boston University Young Artists Program in 1978), composer George Crumb, and a beaming Mrs. Margaret Lee Crofts. Margaret Lee Crofts Fellows, 1947-1985 William Albright Stefan Grove Russell Peck Bruno Amato Marjorie Hess Malcolm Peyton Simon Bainbridge Egil Hovland James Primosch Giselle Barreau Charles Israels Tibor Pusztai Robert Beaser Stephen Jaffe Thomas Putsche Robert Bernat Stephen James David Rakowski W. Hayes Biggs David Koblitz Roger Reynolds Marilyn Bliss Karl Korte Phillip Rhodes Martin Boykan Michael Kowalski Michael Riesman Michael Carnes David Lang Robert Rodriguez R. Barney Childs Eugene Lee Leonard Rosenmann Sheree Clement Douglas Leedy Michael Sahl Marc -Antonio Consoli Yinam Leef Donald Scarvada Conrad Cummings James Legg David Schimmel George Crumb John Anthony Lennon Judith Shatin David Del Tredici Fred Lerdahl Bright Sheng Norman Dinerstein Peter Lewis Gordon Sherwood Charles Dodge Salvatore Marti rano Ezra Sims H. Bryan Dority Paul Mefano Theodore Snyder Alvin Epstein Robert Morris Charles Strouse Eric Ewazen Robert Newall Nicholas Thorne William Flanagan Marios Nobre Scott Wheeler Clare Franco Lew Norton Raymond Wilding-White Harry Freed man Joan Panetti Rolv Yttrehus Anthony Gilbert and novelty. Six of these composers were to send in her donation each year and let students at Tanglewood with support matters rest there: instead, this remarkable through the generosity of Margaret Lee woman has kept a very active and involved Crofts, whose steady, quiet interest in the interest in the lives and careers of many of continuation of the creative process in the young composers she first met at music we celebrate this summer. Tanglewood. She has attended their wed- Terms such as neo-romantic, minimalist, dings, and the birthdays and bar mitzvahs serial, tonal and atonal, twelve-tone, of their children; she has given them ad- aleatoric, and academic are bandied about vice when they asked and sometimes (if freely at festivals like this, often by parti- she thought it important enough) even sans of one musical style attempting to pro- when they didn't; she has sent them mote their own music or to denigrate abroad; she has helped them with residen- another. But words can never wholly grasp cies at the MacDowell Colony; she has or begin to describe the living flow of a helped them to pay for a recording, a book, musical composition. Few composers care the publication of a new work. Above all, what labels are attached to their work. All she has treated them as she believes com- they ask of you is to come with a genuine posers ought to be treated — as the really curiosity, an open mind, and a willingness important people in music. to grapple with the new and unfamiliar in Mrs. Crofts doesn't go to concerts much the pursuit of the fundamental humanity anymore (which is not surprising for some- that lies at the core of all creative and re- one of 92 years!).