* \&*. >*+ **' m % > $%s Jp£&w 2mi HP « * . Ji'l m » i I SMIRNOFF®VODKA.80&100 PROOF. DISTI LLED FROM GRAIN. STE. PIERRE SMIRNOFF FLS. (DIVISION OF HEUBLEIN. INCORPORATED ) HARTFORD. CONNECTICUT Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety- Sixth Season 1976-1977 The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks, President Philip K. Allen, Vice President Sidney Stoneman, Vice-President Mrs. Harris Fahnestock, Vice-President John L. Thorndike, Treasurer Vernon R. Alden Nelson J. Darling, Jr. Albert L. Nickerson Allen G. Barry Archie C. Epps III Mrs. James H. Perkins Dr. Leo L. Beranek E. Morton Jennings, Jr. Irving W. Rabb Mrs. John M. Bradley Edward M. Kennedy Paul C. Reardon Richard P. Chapman George Kidder David Rockefeller Jr. Dr. George Clowes Edward G. Murray Mrs. George Lee Sargent Abram T. Collier John Hoyt Stookey Trustees Emeriti Henry A. Laughlin Harold D. Hodgkinson John T. Noonan Administration of the Boston Symphony Orchestra Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager Gideon Toeplitz Daniel R. Gustin Assistant Manager Assistant Manager Joseph M. Hobbs Walter Hill Dinah Daniels Director of Development Director of Business Affairs Director of Promotion Richard C. White Anita R. Kurland Niklaus Wyss Assistant to the Manager Administrator of Youth Activities Advisor for the Music Director Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood Michael Steinberg Director of Publications Programs copyright ® 1977 Boston Symphony Orchestra Inc. Contents: page page Tanglewood 4 Programs 11-45 Seiji Ozawa 7 Berkshire Music Center 47 Map 8 Friends 49, 50 Information 9 The Board of Overseers of the Boston Symphony Orchestra Inc. Dr. Leo L. Beranek Chairman Mrs. Norman L. Cahners Weston P. Figgins Mrs. Arthur I. Strang Vice Chairman Vice Chairman Secretary Charles F. Adams Mrs. Thomas Gardinei David G. Mugar Mrs. Frank G. Allen Mrs. James Garivaltis Dr. Barbara W. Newell Mrs. Richard Bennink Mrs. Robert Gibb Stephen Paine David W. Bernstein Jordan Golding Harry Remis David Bird Mrs. John L. Grandin Mrs. Peter van S. Rice Gerhard Bleicken Mrs. .R. Douglas Hall, III Mrs. Samuel L. Rosenberry Frederick Brandi Mrs. Howard E. Hansen Mrs. Jerome Rosenfeld Curtis Buttenheim Bruce Harriman Mrs. George Rowland Mrs. Henry B. Cabot Mrs. Richard D. Hill Mrs. A. Lloyd Russell Mrs. Mary. Louise Cabot Mrs. Amory Houghton, Jr Mrs. William Ryan Levin H. Campbell, III Richard S. Humphrey, Jr. Francis P. Sears, Jr. Johns H. Congdon Mrs. Jim Lee Hunt William A. Selke Arthur P. Contas Mrs. Louis I. Kane Gene Shalit Robert Cushman Leonard Kaplan Samuel L. Slosberg Michael J. Daly Benjamin Lacy Richard A. Smith Mrs. C. Russell Eddy Mrs. James F. Lawrence Mrs. Edward S. Stimpson Paul Fromm Roderick MacDougall Mrs. Richard H. Thompson Carlton P. Fuller John S. McLennan D. Thomas Trigg Mrs. Thomas J. Galligan, Jr. Colman M. Mockler, Jr. Roger Woodworth Mrs. Elting E. Morison Richard P. Morse Boston University langlewood Institute Norman DelloJoio, Executive Director Summer Instrumental and Vocal Programs for the outstanding high school/ college-age 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 performances atTanglewood. 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/Boston Symphony Orchestra. Twelfth Season The Berkshires are a perfect place ... for people, If you have the opportunity to move a business, for families and for businesses. The kind of place or influence a business relocation, consider the where an unsurpassed quality of life is available. Berkshires. At Berkshire County Development data to that In the Berkshires the average commute is 10 Commission, we have compiled prove minutes. Golf courses, tennis clubs, ski resorts, the Berkshires add up for business reasons. Come see theatres, lakes, and fine restaurants are at your us or write on your letterhead for more information. doorstep. We provide excellent schools — both public Or, if you know of a business contemplating and private — and the Berkshires are the perfect place relocation, let us know. We welcome your business. to raise a family It's no accident that titans of industry have lived and worked in the Berkshires. Our labor force still believes in a day's work for a day's pay. And the the Berkshires Berkshires offer a readily available pool of labor. Our schools offer vocational programs and governmental Alan C. Marden training dollars are available. Most important, we want businesses to locate in Berkshire County Development Commission the Berkshires. That's why our banks have launched 205 West Street a program of financial assistance to attract new Pittsfield, Massachusetts 01201 industry and the County funds a full-time organization to assist you. Phone: (413) 499-4474 Tanglewood In August, 1934, a group of music- loving summer residents of the U Berk- shires organized a series of three Definitely not outdoor concerts at Interlaken, to be given by members of the New York to be missed... Philharmonic under the direction of "Herbert Kupferberg's Tanglewood Henry Hadley. The venture was so is bursting with information that successful that the promoters incor- even some of us who worked there . porated the Berkshire Symphonic had missed It catches the spirit Festival and repeated the experiment and truth of that beautiful place." during the next — Francis Robinson, summer. N.Y. Metropolitan Opera The Festival committee then invited "Reads as excitingly as a who- Serge Koussevitzky and the Boston done-it!" —Julius Rudel, Symphony Orchestra to take part in the New York City Opera following year's concerts. The Orches- "Unquestionably the definitive tra's Trustees accepted and on August Tanglewood history to date." 13, 1936, the Boston Symphony gave — Christian Science Monitor. its first concert in the Berkshires (at TANGLEWOOD Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The series, again consisting of three concerts, was given under a large tent, and a total of nearly 15,000 people attended. In the winter of 1936, Mrs. Gorham Brooks and Miss Mary Aspinwall by m Tappan offered Tanglewood, the Tap- Herbert pan family estate, with its buildings and Kupferberg 210 acres of lawns and meadows, as a 8x10. 280 pages. gift to Koussevitzky and the Orchestra. Over 150 photos. The offer was gratefully accepted, and paperback. Index. $9.95 on August 12, 1937, the Festival's McGRAW-HILL BOOK COMPANY largest crowd thus far assembled under a tent for the first Tanglewood concert, a program of music by Wagner. As Koussevitzky began The Ride of the Valkyries, a storm erupted, overpowering the music and causing the concert to be HANCOCK SHAKER interrupted three times before the first VILLAGE half could be completed. The second half of the program had to be changed, because of water damage to some of the Original 18th Century instruments, and when the concert Village Restored ended, Miss Gertrude Robinson Smith, one of the Festival's founders, came to Open daily 9:30-5:00 the stage and told the audience that the Adults $3 Children $1 storm had demonstrated the need for a permanent structure. Annual Kitchen Festival A hundred thousand dollars, she said, Week of August 1st would be needed for this purpose, and Route 20 Five miles West the response to her plea was so generous of Pittsfield, Mass. 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 lt>, 1938, a month ahead of schedule. Seven weeks later, Serge Koussevitzky 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 IMIilC rehearsals, the annual Festival of FM SO. 3 mHz Contemporary Music, and almost daily We bring you fine music concerts by the gifted young musicians of the Berkshire Music Center. Arthur AND dozens of interesting Fiedler and the 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 also a but vast lines are often made. Enjoy range of musical forms and styles, all "All Things Considered," a of it presented with a regard for artistic fascinating magazine of news excellence that makes the Festival and issues. (Nothing else like it unique. Tanglewood and the Berkshire Music Center, projects with which in broadcasting !) Savor some Koussevitzky 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 for eastern New York npr and western New England mmmmmmn The Shed under construction in 193 8 Why do I work seven days a week? That's all there are. Besides if you really love what you do it's not work. Robert J. Lurtsema Host, Morning Pro Musica Everyday 7am-Noon The Boston Symphony Orchestra at Tanglewood Fridays at 9pm, Saturdays at 8:30pm, Sundays at 2:30pm July and August Artists in the Night Hayes Burnett plays a great mix of jazz sounds. Mon-Fri ll-2:30am The Spider's Web — our storybook for the entire family Mon-Fri. 7:30pm 'GBH Radio 89.7FM All Things Considered — the best news Radio that makes sense program of its kind — every day at 5pm of your day. Seiji Ozawa tor of the Berkshire Music Festival, and in December of the same year he began Seiji Ozawa became Music Director of his inaugural season as Conductor and the Boston Symphony Orchestra in the Music Director of the San Francisco fall of 1973. He is the thirteenth con- Symphony Orchestra, titles that he held ductor of the Orchestra since its found- concurrently with his position as Music ing in 1881. Director of the Boston Symphony. In He was born in Hoten, Manchuria in the spring of 1976 he resigned his San 1935, and studied both Western and Francisco position although he remained Oriental music as a child. He attended Honorary Conductor for the Toho School of Music in Tokyo and 1976-77 season. graduated with first prizes in composi- Mr. Ozawa's recordings include: on tion and conducting. Shortly after his the Deutsche Grammophon label, Ber- graduation, he won first prize at the lioz's Symphonie fantastique, La damnation de International Competition of Conduc- Faust, Romeo et Juliette (which was ting at Besancon, France, and was in- awarded a Grand Prix du Disque), Ives's vited by Charles Munch, then Music Symphony No. 4 and Central Park in the Director of the Boston Symphony and a Dark, and de Falla's Three-cornered Hat, judge at the competition, to spend a and, on the New World Records label, summer studying at Tanglewood. Griffes's Songs of Fiona McLeod. Record- In 1964 and for the next five seasons, ings soon to be released are: Bartok's Mr. Ozawa was Music Director of the Miraculous Mandarin Suite and Music for Ravinia Festival. At the beginning of the Percussion, Strings, and Celeste, Tchaikov- 1965- 66 season he became Music Direc- sky's Symphony No. 5, Brahms's Sym- tor of the Toronto Symphony, a posi- phony No. 1, and Rimsky-Korsakov's tion he relinquished four seasons later Sheherazade on Deutsche Grammophon, to study and guest conduct. In 1970 he and Session's When Lilac's Last in the Door- accepted the position of Artistic Direc- yard Bloom'd on New World Records. CLIP AND REDEEM AT DEERSKIN] 10% off any purchase at Deerskin, the No. 1 Leather Store Everything in Leather, Fashions, Accessories, Footwear. When you visit our Deerskin store in Lenox, bring this ad with you. We'll deduct 10% from the total amount of your purchase. Danvers DEERSKIN• Pembroke • Framingham • Lenox TRADING POST 615 Pittsfield-Lenox Road (Rte. 20) Lenox, Mass. Coupon good thru Oct. 1. 1977. Discount does not apply to sale merchandise. o o To c H o a ' u Qj lfl u QJ^"? QJ QJ IE QJ .- o o o ro 3 U Oj on 00 >N QJ O 3 c QJ - ^ Qj Qj c >, QJ tT) ^ J *T3 £ ro QJ (jn > qj 3 JC -3 -Si fc ii 6 13 O.JC 3 ro qj QJ ro QJ > ^O ** S.s 8 j: o J: >^ O a. — ^ ro QJ s s.; ^ "O QJ So C -Q QJ o V4-1 «>. QJ c .— Ql en O .S JC O E•^ tn ^ QJ C <£ 3 ro ^ 3 ^ - QJ QJ QJ — O ^ *- > ^•5 *-g^£ > 00 O ro 3 3 «n ^ QJ 3 O c^ ° O -a J- Qj P _£" «O O o — ^ o •*-• E°- *- u ^ "T CQ rO QJ ro f— O (A QJ o ? c "^ "O > QJ O £ a. 2 cu^ 3hH *- ro ro _0J aj V) o — ~° 3 -a ro QJ 3 -3 E * 3^ QJ U 00 >~. ro 3 QJ QJ * .2 (/) ro v_t_ a" ro CD -° 00 « "«4-. QJ V4- 3 CD "f^ JC" o «J £ QJ J£ 3 on H £ QJ 3 *- "o "2 a- "" <" C £ o 3 77: ro «> 3 2° ._ ro QJ QJ q ro -3 O tn 4j W 00 M 3 QJ 3 ^ Qj = "> -3 C "O £ 3 T3 o a- _^ QJ 3 3 JC Qj .y 3 ro ro C M" 'C c 3 QJ U - -a ^ JZ o 3 OJ £ QJ O Qj -a £ - * O (D »- ro lo o C so- J- 3. "O 3 o (/) • QJ C QJ QJ ro ro JC '3 u QJ 3 in qj QJ £ > D- ^ qj qj 3. l -a ! 00 ro " £r- ro u c a O ro _ ro a* -a ^ O tn u 00 JC- QJ *4- £v4- Q, £ qj qj C/J j- ro QJ ^ 00 oo P o ° _c OJ -3 o 5 o o *- «/> £jc e O *> 3 (0 "^ ~ Kr O QJ 9 o -a 3 ' ro •- JC 2c u QJ S.S In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 105 years later the Boston University School of Music is still doing what it does best. • Performance • Music Education • History and Literature • Theory and Composition strings brass (cont.) music history and literature Walter Eisenberg, violin Paul Gay, trombone Karol Berger Madeline Foley, chamber music 'Gordon Hallberg, tromboneltuba Murray Lefkowitz 'Gerald Gelbloom, violin •Charles Kavaloski, French horn Joel Sheveloff 'Bernard Kadinoff, viola Charles A. Lewis, Jr., trumpet theory and composition Endel Kalam, chamber music * David Ohanian, French horn David Carney 'Robert Karol, viola Samuel Pilafian, tuba David Del Tredici 'Eugene Lehner, chamber music * Rolf Smedvig, trumpet John Goodman * Leslie Martin, string bass 'Harry Shapiro, French hom Alan MacMillan George Neikrug, cello * Roger Voisin, trumpet Joyce Me keel 'Mischa Nieland, cello 'Charles Yancich, French hom Malloy Miller Leslie Pamas, cello percussion Gardner Read 'Henry Portnoi, string bass 'Thomas Gauger Allen Schindler ' William Rhein, string bass 'Charles Smith Robert Sirota Kenneth Sarch, violin Tison Street * Roger Shermont, violin harp * Joseph Silverstein, violin Lucile Lawrence music education Roman Totenberg, violin piano Lee Chnsman Walter Trampler, viola Maria Clodes Phyllis Elhady Hoffman * Max Winder, violin Allen Anthony di Bonaventura Lannom 'Lawrence string Wolfe, bass Lenore Engdahl Jack O. Lemons Bela Boszormenyi-Nagy Mary Ann Norton Phillip Oliver, staff accompanist musical organizations woodwinds Edith Steams Adelaide Bishop, opera Edward Avedisian, clarinet Fredrik Wanger Warren Wilson, opera 'PasqualeCardillo, clarinet organ Joseph Huszti, chorus 'Doriot Anthony Dwyer, flute George Faxon •Joseph Silverstein, orchestra Roderick Ferland, saxophone Jack Fisher * Roger Voisin, wind ensemble * Ralph Gomberg, oboe Max Miller * John Holmes, oboe •Phillip Kaplan, flute harpsichord boston symphony orchestra 'James Pappoutsakis, flute Joseph Payne woodwind quintet in residence •Richard Plaster, bassoon * Doriot Anthony Dwyer, flute voice * Matthew Ruggiero, bassoon 'Ralph Gomberg, oboe Eunice Alberts, contralto * Felix Viscuglia, clarinet * Harold Wright, clarinet Germaine Arosa, diction •Sherman Walt, bassoon * Sherman Walt, bassoon Mary Davenport, contralto •Harold Wright, clarinet * Charles Kavaloski, French horn Ellalou Dimmock, soprano Maeda Freeman, mezzo empire brass quintet brass Robert Gartside, tenor in residence * Ronald Barron, trombone Mac Morgan, baritone Charles A: Lewis, Jr., trumpet * Norman Bolter, trombone Chloe Owen, soprano * Rolf Smedvig, trumpet Peter Chapman, trumpet Allen Rogers, vocal coaching 'David Ohanian, French hom John Coffey, tromboneltuba Barbara Stevenson, soprano * Norman Bolter, trombone * Armando Ghitalla, trumpet Wilma Thompson, mezzo Samuel Pilafian, tuba ' Member of the Boston Symphony Orchestra Boston University School of Music Wilbur EX 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, Massachusetts 02215 10 Tanglewood 1977 Weekend Prelude Friday, 22 July at 7 BOSTON SYMPHONY CHAMBER PLAYERS and TASHI SCHUBERT Quintet in C, D. 956 Allegro ma non troppo Adagio Scherzo: Presto Trio: Andante sostenuto Allegretto JOSEPH SILVERSTEIN and IDA KAVAFIAN, violins BURTON FINE, viola JULES ESKIN and FRED SHERRY, cellos The Boston Symphony Chamber Players record exclusively for Deutsche Grammophon. Baldwin piano 11 >* Robert Karol s$ * Bernard Kadinoff Bassoons Vincent Mauricci Sherman Walt Edward A. Taft chair Earl Hedberg Roland Small BOSTON Joseph Pietropaolo Matthew Ruggiero SYMPHONY Robert Barnes ORCHESTRA Michael Zaretsky Contra bassoon SEIJl OZAWA A Director Richard \h Cellos Plaster Jules Eskin Philip R. Allen chair Horns Martin Hoherman Charles Kavalovski Mischa Nieland Helen Sagoff Slosberg chair Charles Yancich First violins Jerome Patterson Peter Gordon Joseph Silverstein Robert Ripley Concertmaster Luis Leguia David Ohanian Charles Munch chair Carol Procter Richard Mackey Emanuel Borok Ronald Feldman Ralph Pottle Concertmaster Assistant Joel Moerschel Helen Horner Mclntyre chair Jonathan Miller Max Hobart Trumpets Martha Babcock Rolland Tapley Armando Ghitalla Roger Shermont Roger Louis Voisin chair Max Winder Basses Andre Come Harry Dickson William Rhein Rolf Smedvig Acting Gottfried Wilfinger Principal Gerard Goguen Harold D. Hodgkinson chair Fredy Ostrovsky Joseph Hearne Panasevich Leo Bela Wurtzler Trombones Sheldon Rotenberg Leslie Martin Ronald Barron Schneider Alfred John Salkowski Norman Bolter Gerald Gelbloom John Barwicki Gordon Hallberg Raymond Sird Robert Olson William Gibson Ikuko Mizuno Lawrence Wolfe Cecylia Arzewski Henry Portnoi Tuba Amnon Levy Chester Schmitz Bo Youp Hwang Flutes Doriot Anthony Dwyer Timpani Second violins Walter Piston chair Everett Firth Victor Yampolsky James Pappoutsakis Sylvia Shippen Wells chair Fahnestock chair Marylou Speaker Paul Fried Percussion Michel Sasson Charles Smith Ronald Knudsen Piccolo Arthur Press Leonard Lois Schaefer Moss Assistant timpanist Vyacheslav Uritsky Thomas Gauger Laszlo Nagy Oboes Frank Epstein Michael Vitale Ralph Gomberg Darlene Gray Mildred B. Remis chair Ronald Wilkison Wayne Rapier Harps Harvey Seigel Bernard Zighera Jerome Rosen English Horn Ann Hobson Sheila Fiekowsky Laurence Thorstenberg Gerald Elias Personnel Managers Ronan Lefkowitz Clarinets William Moyer Harold Wright Harry Shapiro Violas Ann 5.M. Banks chair Pasquale Cardillo Burton Fine Librarians Charles S. Dana chair Peter Hadcock Victor Alpert E-flat clarinet Reuben Green William Shisler Eugene Lehner George Humphrey Bass Clarinet Stage Manager Jerome Lipson Viscuglia Felix Alfred Robison 12 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Tanglewood 1977 ^:' ^ Friday, 22 July at 9 SEIJI OZAWA, conductor RAVEL Alborada del gracioso CHAUSSON Poeme de I'amour et de la mer La fleur des eaux Interlude La mort de I'amour SHIRLEY VERRETT INTERMISSION RIMSKY-KORSAKOV Sheherazade Symphonic Suite, Opus 35 I Largo e maestoso — Allegro non troppo II Lento —Andantino —Allegro molto — Vivace scherzando —Allegro molto ed animato III Andantino quasi allegretto IV Allegro molto e frenetico — Vivo — Spiritoso — Allegro non troppo maestoso Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. Baldwin piano 13 Notes scription of La valse) and by Ravel's uncanny ability to make a piano sound like guitars and castanets. The orchestral Maurice Ravel transcription, made when Ravel, re- Alborada del Gracioso cently discharged from service in the military ambulance corps, felt too fa- Joseph Maurice Ravel was born in Ciboure near tigued for original composition, is an- Saint ]ean-de-Luz in the Department of Basses- other enchanting exercise in instrumental Pyrenees on 7 March 1875 and died in Paris mimicry: strings (not necessarily pizzi- on 28 December 1937. He composed Alborada cato either) and harps click and slap, del Gracioso as a piano piece in 1905 as the while the bassoon gets to recite the fourth of a set of five pieces called Miroirs, and it pathos-laden addresses of the jester to had its first performance in 1906 by Ricardo his lady. That "speaking" plea is a lyric Vines. Ravel made the orchestral transcription of interlude in a quick and brilliant play the Alborada in 1918, Rhene- Baton con- of orchestral wit. ducting the premiere in Paris, 17 May 1919. — Michael Steinberg An alborada — from the Spanish alba, Ernest Chausson dawn — is an aubade, the morning counterpart of a serenade, and a gracioso Poeme de I'amour et de la mer is a jester. This Jester's Aubade is one of (Poem of love and the sea), Opus 19 the first of Ravel's essays in Spanish Ernest Am'ed'ee Chausson was born in Paris on music, Rapsodieespagnole, the opera L'Heure 21 January 1855 and died at Limay near espagnole, Bolero, and the song cycle Don Mantes-la-Jolie in the Department of Seine- et- Quichotte a Dulcinee being the most sig- Oise on 10 June 1899. He worked on the nificant examples to follow. In the set Poeme de I'amour et de la mer between of Miroirs for piano, the Alborada is 1882 and 1893, and the songs, which are preceeded by Noctuelles (Night Moths), dedicated to the composer Henri Duparc, were Oiseaux tristes (Mournful Birds), and line first performed in 1893. This performance is Barque sur I'ocean (A Boat on the Ocean), and the first by the Boston Symphony Orchestra. followed by La Vallee des cloches (The Valley of the Bells). Each of the pieces is dedicated Chausson was 24, a husband and to a member of the Apaches, French turn- father, when he entered the Paris Con- of- the- century slang for underworld servatory to study composition with hooligans, and a name adopted by a Jules Massenet. His own father, a con- group of young men who were pro- tractor who had become wealthy in the ponents of advance-guard tendencies in wake of Baron Haussmann's rebuilding the arts and who enjoyed seeing them- of Paris during the Second Empire, in- selves as members of a put- upon, en- sisted he complete an education in the lightened minority, sworn enemies of a law so as to have a profession both stuffy bourgeoisie. The poet Tristan respectable and financially dependable. Klingsor, the conductor Desire- Emile A few traces of Massenet's sweetness Inghelbrecht, the pianist Ricardo Vines, can be found here and there in the the composers Maurice Delage, Manuel Poeme de I'amour et de la mer (perhaps at de Falla, Florent Schmitt, of course Et nous n'irons plus courir in the temps des Ravel himself, the critics M.D. Calvo- Was section of the second song), but the coressi and Emile Vuillermoz, were encounter that changed Chausson's life among the more famous Apaches. Calvo- was that with Cesar Franck, whose coressi, an effective propagandist on pupil — more than pupil, disciple — he behalf of Russian music and later author became in 1883. Both men were un- of an important Mussorgsky biography, assuming, unskilled in the manipulation was the dedicatee of Alborada del Gracioso. of the official music world, unnoticed. As a piano piece, the Alborada dazzles Like Franck, Chausson only gained us by its extreme difficulty (in which it grudging recognition at the end of his is rivaled in Ravel's works only by Scarbo life. Even at best, he never enjoyed in Gaspard de la nuit and the piano tran- critical esteem of more than moderate 14 proportions. Whereas critical reception rest, he lived a quiet life with his family, today is one of mild condescension, in with friends who included Colette, Gide, Chausson's own day it was one, usually, Mallarme, Manet, Renoir, Debussy, of elaborate hostility (that he was an Faure, was generous to younger col- enthusiastic Wagnerian at a time when leagues in need, and was interested in the Franco- Prussian was was still a the work of fellow-composers even recent memory did not help). In Franck, when no one else seemed interested in Chausson found a nature akin to his what he was doing. All that came to an own, and in the warmth of the older end when at 44, he lost his life in a man's sympathy, the poetry of Chaus- bicycle accident just outside the gate of son's style attained its full flowering. his country house. Chausson became part of the bande a He had composed three operas, two of Franck, the zealous circle that included which are still unpublished, a symphony, Duparc, Vincent d'Indy, Guillaume Le- the Poeme for violin and orchestra that keu, and Guy Ropartz. Like Franck, he remains his most famous work, a Con- was recognized for what he was only certo for violin, piano, and string quar- within a small group of friends. Fortu- tet, the Chanson perpetuelle for voice and nately, his friends included performers orchestra, a number of songs for voice as influential as the violinist Eugene and piano. His music is gently melan- Ysaye and the conductor Edouard Co- choly, with a lovely sense of orchestral lonne, and as a result of their efforts, he style. The Poeme de I 'amour et de la mer is set began at last to be more generally known. to verses by an old friend, Maurice A great moment in his life came when Bouchor, another artist forced into law Arthur Nikisch conducted his Symphony school by a cautious father (he also set in B flat in Paris in 1897. Upon that other poems by Bouchor as well as some occasion, the critics bestowed their tardy of his Shakespeare translations). The recognition upon Chausson. For the work is actually a pair of songs of .^fflRfe ^i-fc- w^T / Dealers in _w^ *~^& #^T - A9 Rare Shaker % W* ^» _ for Museums, . 1^^ ^ ^w' *M\ Collectors and \ ITU. Appraisers t f Raup Road, Chatham, New York 12057 518-392-9654 A Ian on visiting our Shaker Gal- lery for the most extensive collection of fine Shaker furnishings in the country available to museums, col- lectors and dealers. Just 30 minutes from Tanglewood. Always in stock are chairs, boxes, ta- bles, desks, casepieces, graphics, and other Shaker accessories. Appoint- ment is always advisable. 15 approximately equal length, separated set. The temps des lilas portion of La mortde by a brief orchestral interlude that intro- I'amour was published separately and it duces a melody to which the words was the first of Chausson's songs to Le temps des lilas et le temps des roses/Ne become widely known in the salons reviendra plus a ce printemps-ci will later be of Paris. — Jordan Whitelaw/M.S. Poeme de I'amour et de la mer La fleur des eaux The flower of the waters L'air est pleine d'une odeur exquise The air is full of an exquisite scent de lilas of lilac Qui, fleurissarit du haut des murs jusques which, blossoming from top to bottom of en bas, the walls, Embaument les cheveux des femmes. perfumes the women's hair. La mer au grand soleil va tout s'embraser, The sea in the bright sunlight is all aglow, Et sur le sable fin qu'elles viennent baiser and on the fine sand that they come to kiss Roulent d'eblouissantes lames. roll dazzling waves. O ciel qui de ses yeux dois porter O sky that must take your color from la couleur, her eyes Brise qui vas chanter dans les lilas en fleur breeze that will sing in the lilacs in bloom Pour en sortir tout embaumee, to issue from them all scented, Ruisseaux, qui mouillerez sa robe, brooks, that will dampen her dress, O verts sentiers, green paths, Vous qui tressaillerez sous ses chers you who will tremble beneath her dear petits pieds, little feet, Faites-moi voir ma bien-aimee! show me my beloved! Et mon coeur s'est leve par ce matin d'ete, And my heart was uplifted on this summer morning Car une belle enfant etait sur le rivage, for a beautiful child was on the beach, Laissant errer sur moi des yeux pleins de letting eyes filled with brightness stray clarte, over me, Et qui me souriait d'un air tendre and smiling at me with a look that was et sauvage. tender and shy, Toi que transfiguraient la Jeunesse You whom Youth and Love transfigured, et 1' Amour, Tu m'apparus alors comme Tame you appeared to me then as the soul des choses; of things; Mon coeur vola vers toi, tu le pris sans my heart flew towards you, you took it retour, for ever, Et du ciel entr'ouvert pleuvaient sur nous and from the half- opened sky roses des roses. rained upon us. Quel son lamentable et sauvage What a mournful, wild sound Va sonner llieure de l'adieu! will sound the hour for farewell! La mer roule sur le rivage, The sea rolls along the shore, Moqueuse, et se souciant peu Mocking, and caring not Que ce soit llieure de l'adieu! That this is the hour of parting! Des oiseaux passent, l'aile ouverte, Birds pass by, wings outspread, Sur l'abime presque joyeux; almost joyful over the deep; Au grand soleil la mer est verte, in the bright sunlight the sea is green, Et je saigne, silencieux, and, silent, I bleed, En regardant briller les cieux. watching the skies shine. Je saigne en regardant ma vie 1 bleed as I look at my life Qui va s 'eloigner sur les flots; about to go away over the waves; Mon ame unique m'est ravie my very soul is taken from me Et la sombre clameur des flots and the dull clamor of the waves Couvre le bruit de mes sanglots. drowns the noise of my sobs. Qui sait si cette mer cruelle Who knows if this cruel sea La ramenera vers mon coeur? will bring her back to my heart? Mes regards sont fixes sur elle, My eyes are fixed on her; 16 La mer chante, et le vent moqueur the sea sings and the mocking wind Raille I'angoisse de mon coeur. jeers at the anguish in my heart. La mort de l'amour The death of love Bientot l'tle bleue et joyeuse Soon the blue and joyful isle Parmi les rocs m'apparaitra: will appear among the rocks: L'ile sur l'eau silencieuse the isle will float upon the still water Comme un nenuphar flottera. like a water-lily. A travers la mer d'amethyste Across the amethyst sea Doucement glisse le bateau softly glides the boat, Et je serai joyeux et triste and I shall be joyful and sad De tant me souvenir, with so much to remember Bientot! soon! Le vent roulait les feuilles mortes; The wind rolled the dead leaves along; mes pensees my thoughts Roulaient comme les feuilles mortes, rolled along like the dead leaves, in dans la nuit. the night Jamais si doucement au ciel noir never so softly in the dark sky n'avaient lui had gleamed Les milles roses d'or d'ou tombent the thousand golden roses from which les rosees! the dews fall! Une danse effrayante, et les A dreadful dance, and the feuilles froissees, crumpled leaves, Et qui rendaient un son which gave out a metallic metallique, valsaient, sound, waltzed, Semblaient gemir sous les etoiles, seemed to moan beneath the stars, et disaient and told L'inexprimable horreur des the inexpressible horror of dead loves. amours trepasses. Les grands hetres d'argent que The great silver beeches kissed by la lune baisait the moon Etaient des spectres: moi, tout mon sang were spectres: as for me, all my se glacait, blood froze En voyant mon aimee at seeing my beloved smile strangely. etrangement sourir. Comme des fronts de morts nos fronts Like the faces of the dead, our faces had paled. avaient pali. Et, muet, me penchant vers elle, je pus lire And speechless, bending over her, I could read Ce mot fatal ecrit dans ses grands yeux: This fatal word written in her large eyes: l'oubli. oblivion. Le temps des lilas et le temps des roses The season of lilac and roses Ne reviendra plus a ce printemps-ci; will return no more this spring; Le temps des lilas et le temps des roses The season of lilac and roses Est passe, le temps des oeillets aussi. is over, the season of pinks too. Le vent a change, les cieux sont moroses, The wind has changed, the skies are sullen, Et nous n'irons plus courir, et cueillir and no more shall we run and gather Les lilas en fleur et les belles roses; the lilac in bloom and the lovely roses; Le printemps est triste et ne peut fleurir. the springtime is sad and cannot blossom. Oh! joyeux et doux printemps de l'annee, Oh, joyful and soft springtime of the year Qui viens, l'an passe, nous ensoleiller, that came last year to bathe us in sunshine, Notre fleur d'amour est si bien fanee, our flower of love is so far faded Las! que ton baiser ne peut l'eveiller! that, alas, your kiss cannot awaken it! Et toi, que fais-tu? pas de fleurs ecloses, And you, what do you do? no flowers out, Point de gai soleil ni d'ombrages frais; no cheerful sun or cool shady places; Le temps des lilas et le temps des roses the season of lilac and roses, Avec notre amour est mort a jamais. with our love, is dead for ever. — Maurice Bouchor 17 Nikolay Rimsky-Korsakov world.' But all of Rimsky's friends urged Sheherazade Symphonic Suite, Opus 35 him to take the job, even though it was to include conducting the school orches- Nicolay Andreyevich Rimsky-Korsakov was tra — and Rimsky had never stood before born in Tikhvin in the Government of Novgo- one in his life! rod on 18 March 1844 and died in St. Peters- Rimsky did accept the professorship, burg on 21 June 1908. He composed Shehera- 'my own delusions, perhaps,' having zade in the summer of 1888 and conducted the prevailed. Whereupon, in darkest first performance in St. Petersburg on 22 October secrecy, he started studying. Somehow that year. He dedicated the score to Vladimir he made enough headway before the fall Vassilievich Stasov, the critic who in 1867 first term opened to stand before his classes grouped Qui, Borodin, Balakirev, Mussorgsky, unafraid, and for the rest of the aca- and Rimsky-Korsakov as "the mighty handful." demic year he managed to keep at least a step ahead of the brightest students. As the scion of an old seagoing family The hoax was indefensible, but Rimsky with a distinguished ancestry of braid carried it off brilliantly. He not only and brass, Rimsky donned naval uniform justified his self-confidence but also, in as a matter of course when he was time, earned the highest esteem of his seventeen. But from 1865 forward he peers. He was to serve uninterruptedly drew shore duty in St. Petersburg, and at the St. Petersburg Conservatory until almost at once he gravitated to the his death thirty- seven years later — musical group therapy of Mily Bala- except for a few months in the ferment kirev's salon. There he picked up all of 1905 when he was relieved of his sorts of smatterings, and even produced, duties for defending the academic rights not without assistance, the symphonic of revolutionary students. (It is clear poem Sadko (not to be confused with the enough to any close reader of the Chronicle opera of the same title, which came that he took his stand as a matter of three decades later). principle, not politics; but the official Not until he was twenty- seven, how- Soviet perception of this episode is of ever, did Rimsky get down to learning course altogether different.) the musical craft systematically, and under circumstances without parallel in Nor did Rimsky's assiduous pedagogi- the history of the tonal art. The short of cal career detract from his steady cre- this fantastic story is as follows. In 1871 ative growth, which continued to the the St. Petersburg Conservatory got a very end. On the contrary, he started new director, one M. P. Azanchevsky. composing what is probably his greatest He had heard Sadko, and liked it. Sadko work, Coq d'or, only after completing his was, in fact, all he knew about Rimsky. memoirs, on the last page of which he But for him it was enough. One of his suggests (at the age of sixty- two) that it first executive acts was to seek out the might be 'high time to write finis to .' young officer (Rimsky did not shed his my career. . . uniform until 1873) and invite him to Like most of Rimsky's music the sym- join the faculty as a full professor of phonic suite Sheherazade was turned out composition. Evidently the director was between semesters. In the spring of quite unaware of Rimsky's technical 1888 he had sketched two pieces. One incompetence, and the latter's embar- would become the Russian Easter Overture; rassed reluctance only made Azanchev- the other, not yet clearly in his mind, sky more determined to get him. 'Had I would be based on certain episodes from ever studied at all/ Rimsky recalled long the 'Arabian Nights' collection. It took years afterward, 'had I possessed a frac- shape quickly once he was ensconced in tion more of knowledge than I actually his retreat for that summer, which was did, it would have been obvious to me a friend's estate at Nezhgovitzy, on Lake that I could not and should not accept Cherementz. The score seems to have the proffered appointment. ... I was a been polished to perfection in less than dilettante and knew nothing. This I a month; the movements are dated 4, 11, frankly confess and attest before the 16, and 26 July respectively. 18 A surfeit of nonsense has been written against the rock with the bronze rider about the supposed programmatic con- upon it.' He also spoke of the solo violin tent of Sheherazade. All of it, to be cha- as 'delineating Sheherazade herself tell- ritable, may be traced to the following ing her wondrous tales to the stern few lines, which appeared as a preface Sultan.' But in his later years Rimsky to the earliest published score: was impelled to forswear any intentions 'The Sultan Shahriar, persuaded of of a specific program, and he even went the falseness and the faithlessness of so far as to renounce the outline implicit women, has sworn to put to death each in the movement designations: one of his wives after the first night. But 'In composing Sheherazade I meant these the Sultana Sheherazade saved her life hints to direct but lightly the hearer's by interesting him in tales which she fancy on the path which my own fancy told him during one thousand and one had traveled, and to leave more minute nights. Pricked by curiosity, the Sultan and particular conceptions to the will put off his wife's execution from day to and mood of each listener. All I had day, and at last gave up entirely his desired was that the hearer, if he liked bloody plan. my piece as symphonic musk, should carry 'Many marvels were told Shahriar by away the impression that it is beyond the Sultana Sheherazade. For her stories doubt an Oriental narrative of the Sultana borrowed from the poets some numerous and varied fairy- .' their verses, from folk songs their tale wonders. . . words; and she strung together tales Rimsky's disclaimer did not stop the and adventures.' flow of words about Sheherazade. But at Rimsky remarked that he had been no time since the premiere has there ever thinking of such 'unconnected episodes' been a shortage of listeners who 'like' the as 'the fantastic narrative of Prince Ka- piece, either because of its 'story' or in landar, the Prince and the Princess, the spite of it. Baghdad festival, and the ship dashing from notes by James Lyons IF YOU ENJOYED THE CONCERT, YOU SHOULD BE READING HIGH FIDELITY. 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D7T L 19 p. * 'V.wi i WEL\\y /Mm KzJm W^mWJm\mWkmmmmmm\m A V Am V Am mm w&\ mv mt mw^ ^H Hi Ei*vV %jiK^^flH _§iiHBBi Coaclf Belts are very well made out of very good leather and come in men's and women's sizes. Coach"" Bags and Belts are made in New York City and are sold in fine stores throughout the world For catalogue write Coach Leatherware 516 West 34th Street. New York 10001 20 . BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Tanglewood 1977 Saturday, 23 July at 8:30 SARAH CALDWELL, conductor BERLIOZ from Les Troyens Trojan March Recitative and aria: Les Grecsont disparu! — Malheureux Roi! Gauntlet Combat and Wrestlers' Dance Aria: Non, je ne verrai pas Act I finale: Trojan March Royal Hunt and Storm Scene: Les Troyens sont partis! — Dieux immortels! Monologue: Ah! Ah! Je vais mourir . . Aria: Adieu, fiere cite Lamento (from Les Troyens a Carthage) Scene: Pluton semhle m'etre propice Imprecation: Ah! des destins ennemis — Rome immortelle! SHIRLEY VERRETT INTERMISSION STRAVINSKY Petrushka (1911 version) The Shrove-Tide Fair Petrushka's Room The Moor's Room The Shrove-Tide Fair (towards evening) Jerome Rosen, piano Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. Baldwin piano 21 Notes gilian passions will have been gratified, and I shall at least have shown what I think can be done with a classical subject Hector Berlioz on a large scale." At no time can Berlioz from Les Troyens have entertained much hope for the success, or even the performance of Berlioz was born at La Cote- Louis- Hector Les Troyens, but that Virgilian passion had the Department here on Saint-Andre in of to be gratified, the declaration of love in 11 December 1803 and died in Paris on music made. Perhaps he thought of it as he was confident he 8 March 1869. By 1850 payment of a debt. As a boy, he had would at some point compose a work based on studied Latin with his father, a humane Virgil's Aeneid. In April, and May June and prosperous physician, and when, in 1856, he wrote a libretto for a five-act middle years, he wrote his memoirs, he opera, Les Troyens, even composing the told the story of how "it was Virgil who music of the love duet, Nuit d'ivresse, at first found the way to my heart and the same time. Work on the music essen- opened my budding imagination, by tially occupied him from August 18 56 speaking to me of epic passions for until April 1858, though he made changes which instinct had prepared me. How and additions until 1864. Since prospects often, construing to my father the fourth a proper performance seemed hope- for book of the Aeneid, did I feel my heart less, he divided the work into two operas, swell and my voice falter and break! One La prise de Troie (The Capture of Troy), day, I remember, I was disturbed from consisting of the first two acts of Les Troyens, the start of the lesson by the line At comprising and Les Troyens a Carthage, regina gravi jamdudum saucia cura ("Now the the remainder. In his lifetime, however, Berlioz Queen for some time had felt the deep was only to see Les Troyens a Carthage, wounds of love'). which was given at the Paris Opera on 4 Novem- "Somehow or other I struggled on ber 1863, brutally cut, and subjected to more until we came to the great turning- mutilations during the course of its run. More or point of the drama. But when I reached less complete performances of Les Troyens the scene in which Dido expires on the were given in concert in Paris by both funeral pyre, surrounded by the gifts Edouard Colonne and Jules-Etienne Pasdeloup and weapons of the perfidious Aeneas, on the same day, 7 December 1879. The first — and pours forth on the bed 'that bed full staging of La Prise de Troie and Les with all its memories'—the bitter stream Troyens a Carthage as a two- evening se- of her life - blood, and I had to pronounce quence was given in Karlsruhe under Felix the despairing utterances of the dying Mottl in 1890. The first relatively complete queen 'thrice raising herself upon her Les Troyens in its original form was the elbow, thrice falling back,' and to de- production under Rafael Kubelik at Covent scribe her wound and the disastrous Garden, London, in 1957, though the first truly love that convulsed her to the depth of complete staged performance was that given on her being, the cries of her sister and her the centenary the composer's death by the of nurse and her distracted women, and Scottish Opera under Alexander Gibson in that agony so terrible that the gods Glasgow on 3 May 1969. This evening's themselves are moved to pity and send conductor, Sarah Caldwell, was responsible for Iris to end it, my lips trembled and the the staging and conducting of the first full words came with difficulty, indistinctly. performance in this country by The Opera Com- At last, at the line Quaesivit coelo lucem pany of Boston in 1972. ingemuitque reperta, at that sublime image "Whatever fate awaits it, I now feel — as Dido 'sought light from heaven and nothing but happiness at having com- moaned at finding it' — I was seized with pleted it." So Berlioz wrote in a letter of a nervous shudder and stopped dead; I June 1859. A little over a year before, could not have read another word. My he had declared: "It matters little what father, seeing how confused and em- happens to the work, whether it is even barrassed I was by such emotion, but performed or not. My musical and Vir- pretending not to have noticed any- 22 thing, rose abruptly and shut the book. It is evening, and the celebration con- 'That will do, my boy,' he said, 'I'm tired.' tinues. Wrestlers entertain the King and I rushed away, out of sight of every- the people. body, to indulge my Virgilian grief." At 52, a whole series of boldly imag- In the aria Non, je ne verrai pas, Cas- ined, brilliantly achieved works behind sandra expresses her anguish at watch- him — the Symphonie fantastique, the Re- ing the Trojans rush headlong toward quiem (to be performed here under Seiji their destruction. Ozawa's direction on Friday, 19 August), Romeo et Juliette, Nuits d'et'e, La Damnation de On the King's orders, the wooden Tristia, L'Enfance du Faust, the Te Deum, horse is dragged from the abandoned Christ — he was ready to deal with the Greek camp into the gates of the city. Aeneid, ready to undertake a dramatic Cassandra describes the procession. For work on an unprecedented scale. (Tristan a moment, the people's hearts are Isolde Die Meistersinger, of und and each stopped when the clash of arms is heard which has about the same amount of from within the belly of the horse. music as Les Troyens, were still in the Cassandra makes one last attempt to at that future, and Wagner point seemed persuade the Trojans that the beast is a Der Ring des Nibelun- to have abandoned trap, but she is not heeded. The march gen.) Using Shakespeare's history plays music ceases. The trap has closed as models in structure and rhetoric, Ber- on Troy. lioz prepared his text, drawing on the second of Virgil's epic for his first book Time has passed. Troy has been sacked. two acts and on the first and fourth Cassandra has prophesied that Aeneas, for the other three. son of the goddess Aphrodite and of Anchises, King of Dardanus, will found a in Italy. The series of scenes performed this new Troy Corebus, to whom evening begins with the concert version she has been betrothed, is killed in takes life. of the Trojan March that Berlioz pre- battle, and she her own Aeneas escapes with a few men, with treasure pared in 1864. The music is heard several his gods, and bearing his times in the opera, usually with voices, and household aged father on his shoulders, eventually never as a set number with a clear be- to land in Carthage, on the North coast ginning and end. In what was actually of Africa. It is there that the last three his last effort at composition, Berlioz acts of Les Troyens take place. Queen of detaches it from its various dramatic Carthage is Dido, who had escaped contexts and makes it into an indepen- there Tyre, where her brother had dent concert piece. from murdered her husband. (It is Virgil who ties the fates of Dido and Aeneas to- The action of Les Troyens begins with gether: in "real life," as nearly as we can the mystery of the Greeks' sudden de- make it out, the sack of Troy would have parture from Troy after ten years of happened about 1100 B.C. and the found- siege. To the Trojans, it is a matter not ing of the Carthaginian kingdom in the of mystery but for unbridled rejoicing; 8th century B.C.) Soon after the arrival they do all they can to find a benign of the Trojan refugees, Dido and Aeneas explanation for the immense wooden go on a hunt in a forest outside Car- horse the Greeks have left behind. Only thage. Naiads appear and vanish. Hunt- King Priam's daughter, Cassandra, ing calls are heard. Hunters and dogs whose curse it is to see into the future pass. It begins to rain, the storm grows and not be believed, prophesies disaster. into a tempest, with sheet lightning, (Cassandra, as the figure who so power- hail, and thunder. Dido and Aeneas fully dominates the first two acts of Les appear and take shelter in a cave where Troyens, is Berlioz's own poetic inven- they will acknowledge and consummate tion, developed from what are no more their love. Forest nymphs run back and than hints in the Aeneid.) forth, gesticulating wildly, reminding 23 "Very impressive, perhaps more knowledgeable than anyone else writing in Boston now.'9 "Young, but knows what he's doing, works nard all the time to expand nis knowledge!' "Should be read!' When performers got the opportunity to criticize the critics* that's what they said about Thor Eckert, music critic for The Christian Science Monitor. Readers have come to depend on the Monitor's perceptive coverage of the arts, as well as its fair, balanced coverage of national and international news. To subscribe to this award-winning daily newspaper, just call toll free: 800-225-7090. (In Massachusetts, call collect 617-262-2300.) Or use the coupon below. *The Real Paper, November 13, 1976. News.The way you need it. H*_Ob^DAN SOENOE MONITOR THE CHRISTIAN SCIENCE MONITOR Box 125, Astor Station, Boston, MA, U.S.A. 02123 Please start the Monitor coming in the mail every Monday through Friday for: 3 months $12.50 rj 6 months $25 rj 9 months $37.50 rj One year, only $45- a $5 saving G Check/money order enclosed* Bill me later Name (please print) Street .Apt. City_ State. ZIP. •Outside U.S.A. use current local exchange rate. 24 the unheeding Aeneas of his destiny gazes on Aeneas' armor, prostrates her- with their cries of Italie! Satyrs, sylvans, self on the bed amid uncontrollable sobs, and fauns perform grotesque dances as prophesies that from her ashes the Car- the storm becomes fiercer, brooks turn- thaginian avenger Hannibal will be born, ing into torrents, a tree catching fire as and then stabs herself. it is struck by lightning. Then the storm As she dies, Dido sees that Carthage passes and the clouds lift. We hear The Royal Hunt and Storm, perhaps Ber- will, after all, perish, that it is Rome that will be eternal. On stage, "a distant lioz's most poetically and vividly evoca- radiance the Capitol, with the tive piece of writing for orchestra, in his shows own concert version, which omits the word ROMA in shining letters on the voices of the forest nymphs. pediment. In front of the Capitol pass legions and an Emperor surrounded by Aeneas has tarried long in Carthage. poets and artists. During this apothe- His sense of mission is clear and he osis, which is invisible to the Carthagin- understands that his and Dido's love ians, the Trojan March resounds in the must give way before his destiny. Dido distance; handed down by tradition to is prepared to beg Aeneas for a few more the Romans, it has become their trium- days, but Iopas, a Tyrian poet at her phal anthem." (With staggering skill and court, brings the news that the Trojan daring, Hannibal with his army that fleet has put to sea. In the scene Dieux included 38 elephants invaded Italy by immortels!, Dido rages against Aeneas, way of Spain, the Pyrenees, and the first commanding the Carthaginians to Alps, handing the Romans tremendous follow the Trojans, then commanding a defeats in 217 and 216 B.C. at the pyre be raised for the burning of her and battles of Lake Trasimeno and Cannae. Aeneas' gifts to each other. He was within 100 miles of Rome, but his supplies and the energies of his Dido determines on suicide, praying depleted army gave out. He advanced again for the return of Aeneas, then no further. In 203 B.C., he was forced bidding farewell to her city, her sister, to abandon Italy, and in 202, he was her people, and to the skies beneath finally defeated by Scipio Africanus. which she loved Aeneas. At the words Hannibal died by suicide in 183, and in the aux nuiis d'ivresse et d'extase infinie, Berlioz Third Punic War, 149-146, the Romans returns to the music to which she and razed Carthage and turned the territory Aeneas had sung those words in their — now Tunis — into a Roman province.) love duet at the end of Act IV. (The historical Dido also took her own life, — Michael Steinberg but she did it to escape marriage with Iarbas, the chieftain from whom she had purchased the property on which she founded and raised to prosperity the city of Carthage.) When Berlioz split Les Troyens in two, he provided Les Troyens a Carthage with a new overture, a solemn slow movement, to which he gave the title Lamento. A pyre has been erected in Dido's garden, and on it have been placed her nuptial bed, a helmet, a sword, a toga, a bust of Aeneas. Dido's sister unlooses the Queen's hair and bares her left foot. After carrying out the other rituals appropriate to the occasion, Dido ascends the pyre, weakens for a moment as she Hector Berlioz in 1867 25 . . . . Cassandra: Les Grecs ont disparu! . . . mais quel The Greeks have vanished. But what dessein fatal dread plan Cache de ce depart l'etrange promptitude? Lies hidden behind this strangely sudden departure? Tout vient justifier ma sombre inquietude! All is bearing out my grim forebodings! J'ai vu l'ombre d'Hector parcourir I saw Hector's spirit pacing our ramparts nos remparts Comme un veilleur de nuit, j'ai vu ses Like a watchman of the night; I saw his noirs regards darkened eyes Interroger au loin le.detroit de Sigee . . Staring far off towards the straits of Sigeium . . Malheur! dans la folie et l'ivresse plongee Woe betide them! Drunk with madness La foule sort des murs, et Priam la conduit! The people leave the city — Priam at their head! Malheureux Roi! dans l'eternelle nuit, Ill-fated King! The die is cast, C'en est done fait, tu vas descendre! You must go down to everlasting night. Tu ne m'ecoutes pas, tu ne veux Ill-fated race, you heed me not, nor wish rien comprendre, Malheureux peuple, a l'horreur qui me suit! To know anything of the terror that haunts me. Chorebe, helas, oui, Chorebe lui-meme Alas, Corebus too, Corebus himself Croit ma raison perdue! . . . A ce nom Thinks me out of my mind. At the thought mon effroi of him Redouble! O Dieux! Chorebe! il m'aime! My dread redoubles. God! Corebus — he loves me, II est aime! mais plus daymen pour moi. I love him. But there will be no marrying Plus d'amour, de chants d'allegresse, For me, no love, no joyful hymns, Plus de doux reves de tendresse! No more tender dreams of happiness. De l'affreux destin qui m'opresse The grim fate that bears me down II faut subir l'inexorable loi! Must be submitted to: there is no escape. Chorebe! . . . il faut qu'il parte et quitte Corebus! . . . He must leave the Troiad. la Troiade. Cassandra: Non, je ne verrai pas la deplorable fete No, I cannot watch their pitiful rejoicing, Ou s'enivre, en espoir d'un brillant avenir, This doomed people, drunk with the hopes Ce peuple condamne, que rien, helas! n'arrete Of a dazzling future, plunging to destruction, Sur la pente du gouffre. O cruel souvenir! With nothing, alas, that can stop them. Oh bitter memories! Gloire de la Patrie! . . . Et voir s'evanouir My country's glory . . . And to see vanish Du bonheur le plus pur la seduisante image! My cherished dream of purest happiness! O Chorebe! O Priam! . . . Vains efforts Oh Corebus, oh Priam! I can resist no more, de courage, Des pleurs d'angoisse inondent mon visage! Tears of anguish flow down unhindered. De mes sens eperdus . . . est-ce une illusion? Can it be true? Can I believe my ears? Les choeurs sacres d'llion! The sacred hymn of Ilium! Arretez! arretez! Oui, la flamme, Stop, stop! Fire, an axe! la hache! Fouillez le flanc du monstrueux cheval! Search the monstrous horse! Laocoon! ... les Grecs! . . . il cache Laocoon . . .The Greeks! ... It hides Un piege infernal . . A deadly trap . . Ma voix se perd! . . . plus d'esperance! My voice grows faint. Vous etes sans pitie, grands dieux, Great gods, you have no pity Pour ce peuple en demence! For this demented people O digne emploi de la toute-puissance, Oh noble exercise of omnipotence, Le conduire a l'abime en lui fermant les yeux! Thus to lead them blindfold to the abyss! 26 . . . lis entrent, e'en est fait, le destin tient They enter, it is done; fait has seized sa proie its victim! Soeur d'Hector, va mourir sous les debris Sister of Hector, go, die beneath the ruins de Troie! of Troy! Iopas: Les Troyens sont partis! The Trojans have gone! Dido: Qu'entends-je? What are you saying? Dieux immortels! il part! Armez-vous, Immortal gods — he's gone! Tyrians, to arms! Tyriens! Carthaginois, courez, poursuivez Carthaginians, hurry, pursue the Trojans: les Troyens! Courbez-vous sur les rames, Bend to the oars, Volez sur les eaux, Fly over the water, Lancez des flammes, Hurl flames, Brulez leurs vaisseaux! Burn their ships! Que la ville entiere . . Let the whole city . . I Pitiful Que dis-je? . . . impuissante fureur! What am saying? rage! Subis ton sort et desespere, Submit to your fate, abandon hope, Devore ta douleur, Choke back your grief, O malheureuse! Wretched one! Et voila done la foi de cette ame pieuse! So this is the faith of that pious soul! J'offrais un trone! . . . Ah! je devais alors I offered a throne . . . Ah, I ought rather Exterminer la race vagabonde To have wiped out that accursed race De ces maudits, et disperser sur l'onde Of wanderers and scattered on the sea Les debris de leurs corps! What was left of their corpses. C'est alors qu'il fallait prevoir leur perfidie, I should have foreseen their treachery then, Livrer leur flotte a l'incendie, And set fire to their fleet, Et me venger d'Enee et lui servir enfin Avenged myself on Aeneas and, to end, served him Les membres de son fils en un hideux festin! His own son's limbs for a hideous banquet. A moi, dieux des enfers! l'Olympe To me now, gods of Hades; Olympus est inflexible! . . is inexorable. Aidez-moi! que par vous mon coeur Help me; inflame my heart soit enflamme D'une haine terrible With a burning hatred Pour ce fugitif que j'aimai! For this fugitive whom I loved. Du pretre de Pluton, qu'on reclame l'office! Let the aid of Pluto's priest be invoked. Pour apaiser mes douloureux transports, To assuage my torments A l'instant meme offrons un sacrifice Let us at once offer a sacrifice Aux sombres deites de l'empire des morts! To the dark deities of the kingdom of the dead. Qu'on eleve un bucher! Let a pyre be raised, Que les dons du perfide And on it the traitor's gifts Et ceux que je lui fis, And those I gave to him, Dans la flamme livide, Hateful memorials, Souvenirs detestes, disparaissent! . . . Sortez! Vanish in the livid flames. Now go! Anna, suivez Narbal. Anna, go with Narbal. Je suis reine et j'ordonne; I am Queen, and I command it: Laissez-moi seule, Anna. Anna, leave me. 27 ...... — Ah! Ah! Ah! Ah! je vais mourir . . I am going to die, Dans ma douleur immense submergee Drowned in my great grief Et mourir non vengee! . . And die unavenged! Mourons pourtant! Oui, puisse-t-il fremir Yet I must die. Could he but tremble A la lueur lointaine de la flamme de When he sees from afar the glow of my mon bucher! funeral pyre! S'il reste dans son ame quelque chose If any human feeling is left in his heart, dliumain, Peut-etre il pleurera sur mon affreux destin. Perhaps he will weep at my pitiful fate. Lui, me pleurer! . . He weep for me! Enee! . . . Enee! ... Aeneas, Aeneas! Oh! mon ame te suit, Oh, my soul flies after you; A son amour enchainee, Chained to its love, Esclave, elle l'emporte en l'eternelle nuit . . It bears it down to everlasting night. Venus! rends- moi ton fils! Inutile priere Venus, give me back your son! Futile prayer D'un coeur qui se dechire! ... A la mort Of a heart torn asunder. To death devoted, tout entiere Didon n'attend plus rien que de la mort. Dido has nothing more to look for but death. Adieu, fiere cite, qu'un genereux effort Farewell, proud city, raised. Si promptement eleva florissante; By selfless toil so swiftly to prosperity. Ma tendre soeur qui me suivis errante, My gentle sister, who shared my wanderings, Adieu, mon peuple, adieu; adieu, Farewell, my people, farewell, and you, rivage venere, blessed shore Toi qui jadis m'accueillis suppliante; Which welcomed me when I begged for refuge; Adieu, beau ciel d'Afrique, astres que Farewell, fair skies of Africa, stars I gazed on j'admirai in wonder Aux nuits d'ivresse et d'extase infinie; On those nights of boundless ecstasy and rapture — Je ne vous verrai plus, ma carriere est finie! I shall see you no more, my career is ended. Dido: . . . . — Pluton semble m'etre propice . Pluto — seems to be propitious En ce cruel instant . . . Narbal . . . ma soeur . . In this bitter moment — Narbal, my sister — . . . . — C'en est fait . achevons le pieux sacrifice All is over — let us finish the holy sacrifice Je sens rentrer le calme . . . dans mon coeur. I feel peace returning — to my heart. D'un malheureux amour, funestes gages, You, sad pledges of an unhappy love, Dans la flamme emportez avec vous Take with you into the flames all my grief. mes chagrins! Ah! Ah! Mon souvenir vivra parmi les ages. My memory will live throughout the ages, Mon peuple accomplira d'heroi'ques destins. My people will fulfil a heroic destiny. Un jour sur la terre africaine, One day in the land of Africa II naitra de ma cendre un glorieux vengeur . . From my ashes a glorious avenger will be born. J'entends deja tonner son nom vainqueur . . Already I hear the thunder of his conquering name — Annibal! Annibal! d'orgueil mon ame Hannibal, Hannibal! My soul swells est pleine! with pride! Plus de souvenirs amers! No more bitter memories; C'est ainsi qu'il concient de descendre Thus it is fitting to go down to the aux enfers! shades below! Dido: Ah! Des destins ennemis . . . implacable Ah! The fates are against us . . . their hate fureur . . . Carthage perira! Unrelenting . . . Carthage will perish! Rome . . . Rome . . . immortelle! Rome . . . Rome . . . eternal! 28 Igor Stravinsky bolical cascades of arpeggi. The orchestra Petrushka in turn retaliates with menacing trumpet- blasts. The outcome is a terrific noise Igor Fedorovich Stravinsky was bom at Oranien- which reaches its climax and ends in the baum, Russia, on 5 (old style) or 17 June June sorrowful and querulous collapse of the (new style) 1882 and died in New York City poor puppet." This — a portion called on o April 1971. He composed Petrushka Petrushka's Cry ("after Petrushka, the im- between August 1910 and 26 May 1911, the mortal and unhappy hero of every fair in first performance being given by Serge Diaghi- all countries") and the Russian Dance — lev's Russian Ballet in Paris on 13 June 1911. was the music Stravinsky played for the Scenario, sets, and costumes were by Alexandre astonished Diaghilev, who had gone to Benois, whose name appears on the title-page as visit the composer at Lausanne, ex- co-author of these "scenes burlesques" and pecting of course to find him hard at to whom the music is dedicated. The choreo- work on The Rite of Spring. Once again, graphy was by Michel Fokine. Pierre Monteux Diaghilev was quick to perceive the conducted, and the principal roles were taken by possibilities of what Stravinsky was up Vaslav Nijinsky as Petrushka, Tamara Karsa- to. Quickly, the two sketched the out- rina as the Ballerina, Alexander Orlov as the lines of a ballet, agreed on a commission Moor, and Enrico Cecchetti as the Magician. fee of 1,000 roubles, and decided that In 1946, Stravinsky reorchestrated Petrushka, the scenario should be worked out by reducing the numbers woodwinds, horns, of Alexandre Benois, the painter who had trumpets, and harps, the new edition being been one of Diaghilev's original advisers generally identified by its date of publication as at the founding of the Russian ballet, "the 1947 version." At these performances who had conceived or designed some of Sarah Caldwell conducts the 1911 score. the most famous of the Diaghilev pro- The Firebird had an immense success ductions, including Sheherazade and Les Sylphides, when Diaghilev produced it at the Paris and who had loved puppet Opera: on 25 June 1910, Stravinsky be- theater since boyhood. Stravinsky lost came a celebrity — for life. During the some weeks of working time when he last days of finishing the Firebird orches- came down with nicotine poisoning in tration, he had a dream in which he had February 1911, but for the rest, the witnessed "a solemn pagan rite: wise collaboration went smoothly, and on elders, seated in a circle, watching a 26 May, in his room at the Albergo young girl dance herself to death. They d'ltalia, Rome — the Ballet was playing were sacrificing her to propitiate the an engagement at the Costanzi Theater god of spring." This suggested music, — the last bars were written down. Just which indeed he began to compose — a 18 days later Petrushka went on stage, perplexing task, as it turned out, for, and it was yet another triumph. The while he could play the complex rhythms Paris orchestra required a little per- he imagined, he did not know how to suading at first, and not long after, the write them down. He thought of the Vienna Philharmonic told Monteux the work as a symphony, but when he score was Schweinerei and tried to sabo- played the music to Diaghilev, that great tage its performance. (They could not impresario at once saw its possibilities foresee what would be in store for them for dance. Eager to consolidate the suc- when Stravinsky returned to his project cess of The Firebird, he urged Stravinsky about spring in pagan Russia.) to forge ahead with The Rite of Spring. The first and last scenes are public, the Stravinsky agreed, but found that what middle two private. The curtain rises to show he really wanted after Firebird was the Admiralty Square, St. Petersburg, in the 1830s. change and refreshment of writing a It is a sunny winter's day, and the Shrove- sort of Konzertstiick for piano and or- Tide Fair is in progress. Crowds move about. Not chestra; "In composing the music, I had everyone is quite sober. Two rival street dancers, in mind a distinct picture of a puppet, one with an organ-grinder and the other with suddenly endowed with life, exasperating a music-box, entertain. Drummers draw the the patience of the orchestra with dia- crowd's attention to an old magician, who 29 descends from his theatre, plays the flute, and it. The crowd disperses. The magician drags presents his three puppets, Petrushka, the Bal- Petrushka toward the theater, but above the little lerina, and the Moor. Touching them with his structure, Petrushka s ghost appears, threatening flute, he brings them to life, and, to the amaze- the magician and thumbing his nose at him. ment of all, they too step down from the theater Terrified, the magician drops the puppet and and perform a Russian dance in the midst of hurries away. the crowd. Five of the melodies heard in The second scene is set in Petrushka 's room. the two Its walls are black, decorated with stars and a fairground scenes are actual Russian crescent moon. The door leading to the Ballerina's folksongs. The waltzes sentimentally played on cornet, flutes, and in room has devils painted on it. A scowling portrait harps the third tableau are by of the Magician dominates the space. When the Joseph Lanner, Austrian violinist composer, friend curtain rises, the door of the cell is opened and a and colleague large foot kicks Petrushka inside. The preface to and of Johann Strauss Sr. In the score tells us that "while the Magician's the opening scene, the music for the magic has imbued all three puppets with human first street-dancer — the tune for flutes and clarinets, accompanied on the tri- feelings and emotions, it is Petrushka who feels angle is one Stravinsky heard played and suffers most. Bitterly conscious of his ugli- — regularly on a barrel-organ outside his ness and grotesque appearance, he feels himself to hotel room in Beaulieu. It is a music- be an outsider, and he resents the way he is hall called Elle avait un jambe en bois. completely dependent on his cruel master. He song Later it turned out that the song was in tries to console himself by falling in love with the copyright, and arrangements were made Ballerina. She comes to visit him and succeeds in for Emile Spencer, its composer, to be distracting him from the coconut with which he is paid a royalty whenever Petrushka was is frightened by his uncouth antics and she flees. played.* Of the two sections that Stra- In his despair, Petrushka curses the Magician vinsky first played for Diaghilev in Au- and hurls himself at his portrait, but succeeds gust 1910, the Russian Dance is of only in tearing a hole in the cardboard wall course the one that occurs in the first of his cell." scene. Petrushka's Cry became the music Scene Three takes us to the Moor's room, for the scene in Petrushka's room. Those papered with a pattern of green palm-trees and are the two places in which Petruskha is fantastic fruits against a red ground. The Moor closest to retaining its originally imag- is brutal and stupid, but attractive to the ined character as a Konzertstiick for piano Ballerina. She comes to visit him and succeeds and orchestra. One of the undeniable in distracting from the coconut with which he is peculiarities of the finished Petrushka playing. Their scene together is interrupted by the jealously enraged Petrushka, whom, however, score is the way Stravinsky managed gradually to forget all about the piano, the Moor quickly throws out. an inattention for which, to some extent, The last scene takes us back to the fairgrounds, he made amends in his 1946-47 rescoring. but it is now evening. Wetnurses dance, then a peasant with a trained bear, and after that a — M.S. fairly boiled merchant with two gypsy girls. Coachmen and stable-boys appear, doing a first *Forty-four years later, Stravinsky again dance by themselves and then one with the found that unwittingly he had taken on a wetnurses. Finally, a group of masqueraders collaborator. The Greeting Prelude he wrote for comes in, including a devil, goats, and pigs. Monteux's 80th birthday, and which was Shouts are heard from the little theater. The scene first performed for Monteux by the Boston Orchestra under Charles of something wrong spreads to the dancers, who Symphony Munch on 4 April 1955, is based on Happy Birthday. gradually stop their swirling. Petrushka runs Stravinsky assumed "this melody to be in the from the theater, pursued by the Moor, whom category of folk music, too, or, at least, to be the Ballerina is trying to restrain. The Moor very old and dim in origin. As it turned out, catches up with Petrushka and strikes him with the author [Clayton F. Summy] was alive, his sabre. Petrushka falls, his skull broken. Ashe but, graciously, did not ask for an indemnity." plaintively dies, a policeman goes to fetch the magician. He arrives, picks up the corpse, shakes 30 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Colin Davis, Principal Conductor Joseph Silverstein, Assistant Conductor Tanglewood 1977 Sunday, 24 July at 2:30 SEIJI OZAWA, conductor MOZART Piano Concerto No. 23 in A major, K. 488 (cadenza by MOZART) Allegro Adagio Allegro assai PETER SERKIN TAKEMITSU Quatrain for clarinet, violin, cello, piano, and orchestra TASHI: Richard Stoltzman Ida Kavafian Fred Sherry Peter Serkin INTERMISSION FALLA The Three- Cornered Hat Introduction Afternoon: Dance of the Miller's Wife (Fandango) The Grapes Night: The Neighbors' Dance (Seguidillas) The Miller's Dance (Farruca) The Corregidor's Dance Final Dance (Jota) BEVERLY MORGAN, mezzo-soprano Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. Baldwin piano Peter Serkin plays the Steinway piano 31 wrod does not end on Sunday. It's only the beginning. This Week At The Berkshire Music Center: Sunday, July 24 at 8:30 pm: Boston University Young Artists Program Chamber Music Concert Monday, July 25 at 8:30 pm: Berkshire Music Center Composer's Forum Wednesday, July 27 at 8:30 pm: Boston University Young Artists Orchestra Henry Charles Smith, conductor Mendelssohn: Symphony No. 5 'Reformation 7 Hovhannes.: 'Mysterious Mountain' op. 132 Sibelius: Symphony No. 1, op. 39 Thursday, July 28 at 8:30 pm: Berkshire Music Center Orchestra Concert Seiji Ozawa, conductor Haydn: Symphony No. 60 'II Distratto' Berlioz: Symphonie Fantastique Saturday, July 30 at 2:30 pm: Boston University Young Artists Vocal Program Concert Joseph Huszti, conductor Sunday, July 31 at 10:00 am: Berkshire Music Center Chamber Music Concert These events are open to the public by making a contribution, $2.00 minimum, to the Berkshire Music Center at the main gate, or by becoming a Friend of Music at Tanglewood. 32 Notes and part of what is at once fascinating and delightful is the difference in the way Mozart's scores them. He begins both with strings alone. The first, he Wolfgang Amadeus Mozart continues with an answering phrase Piano Concerto No. 23 in A, K. 488 for winds alone, punctuated twice by forceful string chords, and that leads to Johannes Chrysostomus Wolfgangus Theophilus the first passage for the full orchestra. Mozart was born in Salzburg on 27 January But now that the sound of the winds has 17 5 1 and died in Vienna on 5 December 1791. been introduced and established, Mozart He completed the A major Concerto, K. 488, on can proceed more subtly. In the new 2 March 17 86 and played it Vienna soon after. theme, a bassoon joins the violins nine measures into the melody, and, as Figaro was the big project for the though encouraged by that, the flute Spring of 1786, and it was ready on 29 appears in mid-phrase, softly to add its April for performance on 1 May, but sound to the texture, with horns and Mozart repeatedly interupted himself to clarinets arriving just in time to re- dash off his one-acter The Impresario for inforce the cadence. When the same a party at the Imperial palace of Schon- melody reappears about a minute and a brunn and to prepare three concertos half later, the piano, having started it for himself to play at concerts in Lent. off, is happy to retire and leave it to The A major is the middle one of the the violins and bassoon and flute who" three, being preceded by the spacious had invented it in the first place, but it E flat, K. 482, completed at the end of cannot after all refrain from doubling December, and being followed just three the descending scales with quiet broken weeks later by the sombre C minor, octaves, adding another unobtrusively K. 491. Its neighbors are bigger. Both achieved, perfectly gauged touch of have trumpets and drums, and the C fresh color. minor is one of the relatively rare works Slow movements in minor keys are to allow itself both oboes and clarinets. surprisingly uncommon in Mozart, and The A major adds just one flute, plus this one is in fact the last he writes. An pairs of clarinets, bassoons, and horns adagio marking is rare, too, and this last to the strings, and with the in the movement is an altogether astonishing whole series, K. 595 in B flat (January transformation of the lilting siciliano 1791), it is the most chamber- musical of style. The orchestra's first phrase harks Mozart's mature piano concertos. It is back to Wer ein Liebchen hat gefunden (He gently spoken and, at least until the who has found a sweetheart), Osmin's ani- finale, shows little ambition in the di- madversions in The Abduction from the rection of pianistic brilliance. Lyric and Seraglio on the proper treatment of wom- softly moonlit — as the garden scene of en, but nothing in the inner life of that Figaro might be, were there no sexual grouchy, fig -picking harem steward menace in it — it shares something in could ever have motivated the exquisite atmosphere with later works in the dissonances brought about here by the same key, the great Violin Sonata, bassoon's imitation of clarinet and violins. K. 526, the Clarinet Quintet, and the Throughout, Mozart the pianist imag- Clarinet Concerto. ines himself as the ideal opera singer — The first movement is music of a only the Andante in the famous C major lovely and touching gallantry. Its second Concerto, K. 467, is as vocal — and a chord, darkened by the unexpected G singer, furthermore, proud of her flaw- natural in the second violins, already lessly achieved changes of register and suggests the melancholy that will cast of her exquisitely cultivated taste in fleeting shadows throughout the con- expressive embellishment. certo and dominate its slow movement After the restraint of the first move- altogether. 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He has stated that his strongest close to perpetual motion. and one in influences are his own experiences of which there is plenty to engage our ear, life and his philosophical aspirations, now so alert to the delicacy and over- together with all kinds of music, includ- flowing invention with which Mozart ing native and folk music, even popular uses those few and quiet instruments. light music. Takemitsu has remarked that "one of — Michael Steinberg [his] afflictions" is not being a performer. He writes, however, with particular Toru Takemitsu sympathy for performers, and Quatrain Quatrain for clarinet in B flat, violin, is highly characteristic in having been cello, piano, and orchestra imagined with the sounds and person- alities of particular musicians in mind. Toru Takemitsu was born in Tokyo on 8 Quatrain is rich in sound, elaborate in October 1930. He wrote Quatrain in cele- the proliferation of textural detail, simple bration of the 200th broadcast of the Tokyo FM in compositional procedure. It is a single program, TDK Original Concert. The score slow—at moments infinitely slow— was completed on 18 August 1975 and per- movement of about fifteen minutes' formed for the first time on 1 September that duration. The four soloists detach them- year in Tokyo by the ensemble Tashi—clarinet- selves from the gorgeously made or- ist Richard Stoltzman, violinist Ida Kavafian, chestral tapestry, now as a group, some- cellist Fred Sherry, pianist Peter Serkin — times in duet, and at least once each and the New Japan Philharmonic, Seiji in a kind of "reciting" cadenza. The is dedicated to Ozawa conducting. Quatrain special perfume of Quatrain is cousin to Tashi and Seiji Ozawa, who introduced the that we know in certain of the works of work in America at Boston Symphony concerts Olivier Messiaen. last 18 and 19 March. A version without orchestra, completed in February 1977, had its — M.S. first performance by Tashi in Jordan Hall, Sound, as strong as silence . Boston, on 12 March. Everything that attracts me to music is Toru Takemitsu's music has had a basically of an inner, personal nature. number of performances by the Boston Outside influences are totally unimpor- Symphony Orchestra in Boston and at tant, though not entirely non-existent. Tanglewood, all conducted by Seiji The only time they can affect me is if I Ozawa: Requiem for string orchestra in am able to develop and transform those July 1967 (Stravinsky's praise of this parts which can nourish my music. work from the year 1957 helped draw I often talk of 'nature,' a word which public attention to Takemitsu in the I use simultaneously as an adjective, West), November Steps No. 1 in November adverb and noun. It is really an imaginary 1969, Cassiopeia for solo percussionist 'nature' in which I experience reality and orchestra in July and November intensely, particularly in eastern and 1971, and The Dorian Horizon in Novem- western music, both of which are abso- ber 1971. Like Ozawa, Takemitsu knew lutely 'natural' because of being imaginary. Western music before Japanese, though It seems to me that most contemporary in the last twelve years or so, he has music carefully avoids the past. I am not been much influenced by the delicacy afraid of it. On the contrary, I need at and flexibility of gesture in the musics of the same time whatever is newest just Japan, India, and Java, as well as by the as I need whatever is oldest. However, extreme disciplines those traditions de- the unknown is found neither in the past, mand of performers. Discussing his work nor in the future, but in reality, simply in general, Takemitsu has suggested in the immediate present. that he thinks of it as "permanent oscil- My musical form is the direct and lation, of its development with silent natural result which sounds themselves intervals of irregular duration between impose and nothing can decide before- 35 . . hand the point of departure. I do not try expression of belief in Japanese music. in any way to express myself through The inner complexities of a natural these sounds but, by reacting with them, sound are akin to nothingness. the work springs forth itself. What more can one say? If I recon- For several years I have composed a struct the language of our traditional art number of works for traditional Japanese I will always remain alien to historical instruments, in particular the shakuha- cause and conversely, if I westernize chi and biwa, mainly because I have the original sound incantation, I would rediscovered through them the genius divest it of all emotional power. of two particular interpreters. But there It is necessary then to abandon the is no profound reason which could log- sounds of classical tradition, on the basis ically explain my attraction to the music that they elude our present day ideas of my country, except perhaps a slight and authority? Even if that is the case, I curiosity and musical interest. must confess that they affect and satisfy At first, the sonorities of traditional me as much as the sounds of any Japanese music meant no more to me other music. . than something novel and quaint. But It would be wrong to believe that gradually these sonorities came to pose expressiveness artificially born of a a fundamental problem and I was to composer's skill, and innovation in consider them seriously, though with- method and form, guarantee the worth out ever arriving at the solution, be- of a creative personality. Musical sound cause the particular freedom of this which freely approaches natural noise music escapes the will and control of the and therefore nothingness, escapes all composer since it can only be realized criticism of its kind and poses a problem through the actual musical instrument. otherwise more general. One cannot translate into theory a I would like to develop in two direc- swift or striking attack, if only because tions at once, as a Japanese in tradition it would happen too suddenly, like light- and as a Westerner in innovation. Deep ning, too complex to grasp. Such sonor- within myself I would like to keep two ity, developing of its own accord, gives musical genres, both of which have their rise to silences of tremendous meta- own rightful form. Making use of these physical tension. It is the same with the basically incompatible elements at the 'Itcho' which punctuates the action in heart of many processes in composition No Theatre, where musical sound and is, in my view, only the first stage. I the negative sound of silence, without don't want to resolve this fruitful con- having any directly vital relationship tradiction; on the contrary I want to with the expressive aims, nevertheless make the two blocks fight each other. In set up a violent resistance and create this way I avoid isolating myself from an intangible balance. tradition whilst advancing into the To repeat the point: the complexity of future with each new work. I would like lightning sound and the Japanese sensi- to achieve a sound as intense as silence . . tivity towards this particular refinement Toru Takemitsu has given simple silence an extraordinary — significance and great musical weight. Manuel de Falla To make the void of silence live is to make the infinity of sounds. Sound and The Three- Cornered Hat silence are equal. But this conception Manuel de Falla was born in Cadiz, Spain, cannot work without extracting to the on 23 November 1876 and died at Alta full the expressive potential of a musical Gracia in the province of Cordoba, Argentina, sound or phrase which will then become on 14 November 1946. an abstract, anonymous entity freely offered to the executant. The virtuoso In the history of 20th-century the- of the shakuhachi dreams of a perfect, atrical dance, Manuel de Falla 's The Three- sublime sound, like that of the wind in Cornered Hat can claim a place as signifi- the bamboos, and in that is the full cant as Stravinsky's Petrushka. Both 36 works were produced by the great im- The ballet is based on a folk tale that presario Serge Diaghilev and performed shares the spirit of Beaumarchais, his by his Ballets Russes. Both broke with brio and his deep respect for the re- earlier thematic traditions that peopled sourcefulness and native wit of society's the art form with princes, wraiths, and second stratum. Indeed, Figaro, Susanna swans. And most importantly, perhaps, and the Count Almaviva are quickly both portrayed the bourgeoisie with a called to mind by the escapades of the sympathetic understanding. The bustling Miller, his Wife and the Corregidor, a street scene that frames the puppet provincial magistrate whose symbol is a show in Petrushka surely approximates three-cornered hat. the pre-Lenten revels that delighted The curtain still closed, the ballet St. Petersburg, just as the characters in begins with a flourish of trumpets. This The Three- Cornered Hat accurately reflect echoes the traditional fanfare that is the attitudes and aspirations of sounded when a torero enters a bull rustic Andalusia. ring, and thus we are prepared when The ballet, which was premiered under the curtain opens to reveal a scene the baton of Ernest Ansermet at the inspired by the grim entertainment of Alhambra Theatre in London on 22 July the corrida, painted by Picasso on a 1919, was an immediate success, and secondary drapery: a group of spectators coolly observe as a slain animal is hauled like all of Diaghilev's most fertile in- away and a fresh torero arrives in the spirations, it was a thorough-going syn- if this thesis of music, drama, dance and decor. arena. Almost as moved by melan- spectacle, a Leonide Massine choreographed a sce- choly mezzo-soprano sings a plaintive exhortation, nario drawn from El Sombrero de Tres punctuated by repeated cries of "Ole!" and by the Picos, a story written in 1874 by the Spanish poet Pedro Antonio de Alarcon rhythmic clapping of hands: Casadita, (the same story, incidentally, used by Casadita, cierra con tranca la puerta: que el est'e a lo mejor Hugo Wolf for his opera Der Corregidor.) aunque diablo dormido Picasso designed sparse and atmo- se despierta! (Little wife, little wife, spheric costumes and sets in pale pink, secure your door with a crossbeam; white, blue and grey that Cecil Beaton for though the Devil may now be sleeping, can be sure will awake!) would later characterize as "the common you he denominator of the Spanish country- The drop-curtain rises on Part One, Miller's side," so tellingly essential were their which is set by the house. While gestures. the Miller futilely tries to teach a pet blackbird to imitate the striking of a But it is the score by Falla for which clock — depicted in the orchestra by a the work is best remembered. A first dialogue between a trumpet and a pic- version of the piece, known as The colo — his coquettish Wife approaches. Corregidor and the Miller's per- Wife was Briefly, teasingly they dance, but leisure formed in in Madrid's Teatro Eslava 1917 must give way to labor. The Miller as a segment of a two-part pantomime. busies himself at his well, and occupied, Later that year, Diaghilev met the com- is oblivious when a young nobleman poser and convinced him that as the appears. The Miller's Wife is a willing stood, it skimpy to sup- work was too partner in an amorous flirtation, which port a theatrical structure. Falla thus continues until her husband looks up strengthened his score in substance and from his work. in scope. His anger subsides as the ancient The deftly-drawn sketch became a Corregidor and his entourage near. The full-blooded diptych; its fabric was en- old man himself, as vain as he is vilified, riched with instrumental references to decides to court the Miller's Wife as she the action on stage, and its shape was dances a Fandango. Suddenly he interupts enlarged through the inclusion of bril- and suggests that she join him in a liantly orchestrated national dances, in slower-paced minuet. She agrees, but particular a Farucca and a Jota. teasingly she holds a bunch of grapes 37 7 4 ever just out of his reach; the Corregi- dor keeps grasping for them, eventually lunges, trips, and flounders. The Miller Allan Albert, Artistic Director who has watched this farce in hiding, .BERKSHIRE PLAYHOUSE, rejoins his Wife in the Fandango while July 6-1 WILLIAM ATHERTON the Corregidor storms off, humiliated GILDA RADNER and enraged. Dunning & Abbott's CHRIS SARANDON BROADWAY JILLHAWORTH Part Two takes place later that day, which marks the Feast of St. John. Saul Bellow's July 20-31 THE LAST ANALYSIS RON LEIBMAN Neighbors meet to celebrate at the Mil- er's house, and they join in a Seguidillas, Rodgers & Hart's Aug. 3-14 I MARRIED AN ANGEL PHYLLIS NEWMAN the traditional dance of Andalusia. The William Inge's Aug. 17-28 Miller then performs the virtuoso Farucca, COMEBACK, DANA ANDREWS and by the end of the festivities, dusk LITTLE SHEBA ESTELLE PARSONS has faded to darkness. While drinking a final toast, the party UNICORN THEATRE Three New Musicals hears the menacing steps of soldiers and July 7-24 July 26-August 1 a knock on the door (which Falla whim- THE WHALE SHOW A FABLE by Jean-Claude van Italie sically represents with a referance to the August 1 6-28 and Richard Peaslee initial motto of Beethoven's Fifth Sym- THE CASINO phony). The Corregidor has sent his .PROPOSITION THEATRE men to arrest the Miller on unspecified July 8-August 28 charges. Protests unavailing, he is THE PROPOSITION dragged away, his guests depart, and his Performance Times for the Playhouse Wed., Thurs., Fri. 8:30 p.m.; Sat. 9 p.m.; Sun. 7 p.m. Wife is left alone. Evgs.: Mats.: Thurs. 2 p.m.; Sat. 5 p.m.; Sun. 3 p.m. The Corregidor's intentions soon be- Prices for the Playhouse Broadway, The Last Analysis, Come Back, Little Sheba come apparent; with the Miller gone, he Fri. & Sat. (9 p.m. pert, only) $8.95. 7.50; will woo his Wife. He dances for pleasure All other perfs. $7.95. 6.50 I Married An Angel on the bridge outside the Miller's house. Fri. & Sat. (9 p.m. pert, only) $9.95. 8.50: All other perfs. $8.95, 7.50 Hearing the noise, the Wife goes to MAIL ORDERS FILLED PROMPTLY! investigate. In the darkness she slips Berkshire Theatre Festival, Stockbridge. Mass. 01262. Enclose stamped, self-addressed envelope accidentally into the old man's arms, but RESERVE BY PHONE 1 Call 413 • 298-5536 or 298-4800 in the struggle that ensues, the Corregi- fall, the townspeople join in a festive dor looses his footing and falls into Jota which brings the work to its the water. spirited end. classic mix-up follows, with the A — George Gelles Corregidor dressed in the Miller's clothes and the Miller, who has escaped from jail, George Gelles, a Berkshire Music Center dressed in the Corregidor's. A further alumnus (1960), is a horn player, music critic, confusion occurs when the police re- and dance critic. His program note appears on the arrest the fugitive "Miller." new Deutsche Grammophon recording 2530 823 As in all good fables, however, the real ofThe Three- Cornered Hat by Seiji Ozawa Miller and his Wife are happily reunited, and the Boston Symphony Orchestra, and it is while the Corregidor is soundly battered used here by the author's kind permission and and disgraced. In celebration of his down- that of Polydor International GmbH. Casadita, casadita, Little wife, little wife, cierra con tranca la puerta; Fasten your door with a bar; que aunque el diablo este dormido Even if the Devil is asleep now, ia lo mejor se despierta! When you least expect it, hell wake up! Por la noche canta el cuco The cuckoo sings in the night advirtiendo a los casados Warning husbands que corran bien los cerrojos To fasten their latches well, ique el diablo esta desvelado! For the Devil is vigilant! 38 including performances in Guest Artists wide North and South America, Europe, and the Far East, and have inspired the works of several contemporary composers inclu- ding Takemitsu. In September 1976, the Tashi group performed the World Premiere of The group TASHI, whose name means Tashi, a piece by Charles Wuorinen, with "Good Fortune," made its debut in New the Cleveland Orchestra conducted by York in 1973. They have appeared world- the composer. Shirley Verrett New Orleans-born soprano Shirley After her performance in Donizetti's La Verrett grew up in Los Angeles. She Favorita with the Dallas Civic Opera, she studied accounting in college, sold real made her San Francisco debut as Selika estate for a short time, and then began in Meyerbeer's L'Africaine. She has also serious voice studies with Anna Fitziu. appeared as Lady Macbeth in the 1976 She later continued with Miriam Szekely- production of Macbeth by the Opera Freschl at Juilliard. As she worked to- wards her Juilliard degree, she per- formed in Benjamin Britten's Rape of Lucretia, and Nabokov's Death of Rasputin at the Cologne Opera. In 1962 she sang at the New York Philharmonic concert at the opening of Lincoln Center and participated in the Spoleto Festival. Her many performances since then include Carmen with the Bolshoi Opera; De- lilah, Princess Eboli, and Queen Eliza- beth I in Donizetti's Maria Stuarda at La Scala; Amneris, Orfeo, and Azucena at Covent Garden; and Princess Eboli at the Vienna State Opera. Among her roles at the Metropolitan Opera, after her 1968 debut as Carmen, were Cas- sandra and Dido in Berlioz's Les Troyens. 39 Company of Boston. Some of her re- tists). Her company, now called The cordings are: Neocle in The Siege of Cor- Opera Company of Boston, has pro- nith (Angel), Macbeth (Deutsche Gram- duced more than 40 works, including, mophon), the complete Orfeo (RCA), and along with standard repertory, Luigi Anna Bolena and Norma (ABC-Westmin- Nono's Intolleranza, Schoenberg's Moses ister). Miss Verrett lives in New York and Aron, Rameau's Hippolyte e Aricie, The City with her husband and five-year- Trojans and Benvenuto Cellini by Berlioz, old daughter. Prokofiev's War and Peace, and Lulu by Alan Berg. She has staged several works Sarah Caldwell for the New York City Opera. Miss Caldwell made her debut as an orches- Sarah Caldwell was giving violin re- tral conductor when she opened the citals before she was ten. Born in Mary- 1975-76 season of the Milwaukee Sym- ville, Missouri, and brought up in Ar- phony. Since, she has kansas, she was graduated from high conducted the York Philharmonic in a Pension school at 14 and went on to study at New concert Hendricks College and the University of Fund of music by women com- posers, the Orleans Arkansas, coming finally as a scholar- New Philharmonic- Symphony, the Indianapolis ship student to the New England Con- Symphony, and the Pittsburgh Symphony. In Janu- servatory. It was there that she dis- ary of 1976 she made her covered her love for opera. Her first Metropolitan Opera debut conducting Verdi's La Tra- production, when she was not yet 20, viata, and in January of 1977, she con- was of Vaughan Williams' Riders to the Sea at Tanglewood. Following that perfor- ducted her first concerts with the mance, Serge Koussevitzky appointed Boston Symphony. her to the faculty of the Berkshire Music Center's opera department. Later, in Peter Serkin 1957, while on the staff of the opera Pianist Peter Serkin made his first department at Boston University, Miss public appearance at the age of twelve in Caldwell founded the Boston Opera a performance of the Haydn Concerto in Group, whose first production was the D major, conducted by Alexander enthusiastically received American pre- Schneider at the Marlboro Music Fes- miere of Offenbach's Voyage to the Moon (a tival. He has appeared with such major work she was many years later to per- orchestras as the Amsterdam Concert- form at the White House for an gebouw, the Cleveland and Philadelphia audience of astronauts and space scien- orchestras, the Chicago, Toronto, Bos- 40 ton and San Francisco symphonies, and quartets and also with the Lincoln Cen- the New York Philharmonic, and with ter Chamber Music Society. In addition, chamber music ensembles including the he has frequently participated at the Budapest, Guarneri, and Galimir string Marlboro Music Festival and has toured quartets and also at the Casals Festivals the United States with the "Music from in Prades and Puerto Rico. He has a Marlboro" tours. Mr. Stoltzman holds a recently released recording on RCA of Master of Music degree from Yale Uni- Vingt regards sur L'Enfant Jesus by Olivier verstiy and has studied with Keith Wil- Messiaen and has also recorded per- son and Kalmen Opperman; he is formances of six concertos by Mozart presently a member of the faculty of the with the English Chamber Orchestra California Institute of the Arts. He is under Alexander Schneider. also a member of the National Advisory Board of Young Audiences, Inc. Beverly Morgan Mezzo-soprano Beverly Morgan at- Ida Kavafian gradu- tended Mt. Holyoke College and Violinist Ida Kavafian was born in ated with honors from the New England Istanbul, Turkey, of Armenian descent. Conservatory (both B.M. and M.M.). She has studied with Ara Zerounian, During recent summers Ms. Morgan Mischa Mischakoff and Ivan Galamian. the Music Festival, has attended Aspen In October 1973 she won first prize at the S.M.U. and Oglebay Institute Opera the Vianna da Motta International Vio- Boris Workshops with Goldovsky, and lin Competition in Lisbon, Portugal, and the Berkshire Music Center at Tangle- then gave recitals throughout Europe wood as a Vocal Fellow. Ms. Morgan during the 1974-75 season. She has studied with Gladys Miller, Phyllis Cur- appeared frequently in recital, on tele- tin, Dean Wilder and Thomas Paul. Her vision and with numerous orchestras; in vocal coaches have included Allen 1972 she was soloist with the New York Rogers, Terry Decima, Martin Smith, Chamber Orchestra at Lincoln Center's and Tamara Brooks. Ms. Morgan has Mostly Mozart Festival; she has par- appeared with the New England Con- ticipated in the Casals Festival in Puerto servatory Orchestra, with the Boston Rico and has been heard with the Lin- Pops Orchestra, and several times dur- coln Center Chamber Music Society in ing the Fromm Festival at Tanglewood, New York, Boston, and Washington. She recently in the American premiere most is a graduate of the Juilliard School, of Knussen's Trum- performance Oliver where she earned a Master of Music pets in 1975. Ms. Morgan recently won degree and was a student of Oscar the Financial Federal Musical Showcase Shumsky. Competition in Miami and will return to Florida in October for a performance Fred with the Miami Senior Symphony. Her Sherry last BSO appearance was in the opening Fred Sherry studied cello at the Juil- concerts of the 1976-77 season in a liard School with Leonard Rose. He performance of Falla's Three Cornered Hat, made his New York debut, presented by which was conducted by Seiji Ozawa. Young Concert Artists, in 1969. He has been cellist of the Contemporary Cham- ber Ensemble and the Juilliard Ensemble Richard Stoltzman with whom he has toured extensively in Clarinetist Richard Stoltzman has ap- Europe and the United States. He has peared frequently in recital and chamber had works written for him by Charles music performances throughout the Wuorinen (with whom he also per- United States and Europe. He has re- forms) and Peter Lieberson, and has corded for the Marlboro Recording So- worked with Luciano Berio, Elliott Car- ciety. He has performed as guest artist ter, and Pierre Boulez on their music. He with leading quartets including the Am- is a founding member of Speculum Mu- adeus, Guarneri, and Vermeer string sicae and is also a member of the Galimir 41 String Quartet and the Group for Con- the Chamber Players to perform vir- temporary Music. Mr. Sherry has tually any work from the vast range of recorded for RCA Victor, Nonesuch, the chamber music literature. Pianist and Philips. Gilbert Kalish, Claude Frank, Richard Goode, Michael Tilson Thomas, Peter The Boston Symphony Serkin, Lorin Hollander, and Alexis Weis- senberg have performed with the group, Players Chamber and other guest artists have ranged The Boston Symphony Orchestra es- from sopranos Bethany Beardslee and tablished a new and expanded role for its Phyllis Curtin to the Joshua Light Show. first-desk players with the creation of The Chamber Players have toured the Boston Symphony Chamber Players Europe three times, and they have given in 1964. Comprised of the principal concerts in the Soviet Union, the U.S. string, woodwind, and brass players and Virgin Islands, and South America. They the solo tympanist, the Chamber Players have recorded for both RCA Victor and have made several national and inter- Deutsche Grammophon records. Their national tours in addition to their annu- latest release on the DGG label, for al local appearances. The group is flex- whom they now record exclusively, is ible in size and is joined from time to the complete chamber music of Igor time by guest artists and other members Stravinsky. of the Orchestra, making it possible for 42 Coming concerts: BEETHOVEN WEEKEND Have a Friday, 29 July at 7 (Weekend Prelude) BEETHOVEN face to face Trio in G, Op. 121a, Kakadu Quintet in E flat for Piano & Winds, talk with Op. 16 Elizabeth Grady PETER SERKIN, piano BOSTON SYMPHONY CHAMBER PLAYERS Friday, 29 July at 8:30 KLAUS TENNSTEDT conducting: BEETHOVEN Overture to Prometheus, Op. 43 Piano Concerto No. 4 in G, Op. 58 Introducing our new half hour PETER SERKIN momrenonce treatment for young, Symphony No. 7 in A, Op. 92 normal healthy skin, only $10. Our regular one hour facial pore cleansings still only $17.50. Never a charge for consultation/ skin analysis. Call Ms. Grady for an Saturday, 30 July at 8:30 appointment 536-4447, 39 Newbury KLAUS TENNSTEDT conducting: Street. Boston. BEETHOVEN Concerto in C for Violin, Cello, Piano, EUZ4BE1H GB4DY Op. 56 ^ FACE FIRST J JOSEPH SILVERSTEIN JULES ESKIN PETER SERKIN Symphony No. 3 in E flat, Op. 55, Eroica "Ifmusic Sunday, 31 July at 2:30 KLAUS TENNSTEDT conducting: bethefood BEETHOVEN Overture to Fidelio, Op. 72 Symphony No. 2 in D, Op. 36 erf love, Violin Concerto in D, Op. 61 99 JOSEPH SILVERSTEIN play on! 1%^P* OGDEN FOOD SERVICES Providing food and drink. Enjoy our assortment of wine and cheese. 43 *-— ^mjdccj: — tr — Twin Fires Arcade 12 unique and exciting shops dealing in Antiques to include Prized Acquisitions from London Early Welsh, Georgian & Victorian unfinished pine furniture and numerous, assorted & interesting accent and decorator pieces from England The Arcade is a re-creation of mid-1 800's shops and "stalls" of Camden Passage, Islington, London, England, and is located indoors in a recently refurbished barn on the former Walter Pritchard Eaton estate at the junction of Under Mountain Road (Rt. 41) and Berkshire School Road - Sheffield, Massachusetts 413-229-8307 From N.Y.Taconic to Route 23, turn right (6 miles) to Route 41, turn right 3 miles to Berkshire School Rd. in Sheffield, turn left 1 block on left is Barn. From Conn. Route 7 into Sheffield, turn left into Berkshire School Rd. to end of road — on right is Twin Fires Antiques. From Mass. (Tanglewood) Route 7 into Sheffield, turn right on Berkshire School Rd. to end of road — on right is Barn. 40% OFF LIST QatewSyg Inii on all and tfgstau&nt D.G. and PHILLIPS 637-2532 71 Walker St. Reservations Preferred Lenox, Ma berkshire In the Heart of Lenox record Serving Breakfast x Lunch, Dinner & Late Supper |j outlet Especially Prepared for You Inc by Internationally Renowned Chef-Owner, Gerhard Schmid Cafe Hour on the Terrace 910 South St. • Pittsfleld, Mass. 01201 At least 1/3 off all records at all times Throughout the Tanglewood Season 11:30 - 6:00 Monday thru Saturday Cocktail Lounge Ample Free Parking Stop in & let us put you on our mailing list. 44 Own this four-season rustic contemporary home. Would you be interested in owning an affordable retreat intheBERKSHIRES? We can build to your plans and specifications or will custom design a house for you at a guaranteed contract price. The quality is high, the cost is low, and your new home will be virtually maintenance free. Total taxes are exceedingly low. If you are not ready to build but would like to invest in the fabulous Berkshires, attrac- tive, reasonably priced land is available. And when you are ready to consider building, we're here, ready to help you plan the most house for the least money. Our office is open all seven days of the week from 9 AM to Southern 6 PM. Phone or visit us today. Berkshire Properties Rt. 8 at Beech Plain Rd. Otis, Massachusetts 01253 Tel: 413/269-4651 45 One of Soviet Georgia's senior citizens thought Dannori was an excellent yogurt. She ought to know. She's been eating yogurt for 137 years. CAMACHICH KVITZINIA PHOTOGRAPHED IN ATRARA. SOVIET GEORGIA. 46 The Berkshire Music Center "One more thing should come from this scheme, cooperation with the Fromm Music namely, a good honest school of musicians." Foundation at Harvard, offers a broad — Henry Lee Higginson, on founding the Boston spectrum of the most advanced music of Symphony Orchestra. today's composers in a gala week of performances. The late Serge Koussevitzky fervent- ly shared Henry Lee Higginson's vision The Boston Symphony's Concert- 7 of a "good honest school for musicians' master and Assistant Conductor Joseph — an academy where young musicians Silverstein heads a faculty that includes could extend their artistic training and principal players and members of the broaden their experience under the Orchestra and faculty members of Bos- guidance of eminent professionals. ton University's School of Fine Arts, More than any other person, it was plus leading soloists, conductors and Koussevitzky who made the vision a composers. The Center has numerous reality; he was Director of the Berkshire studios for practice and chamber music, Music Center from its founding in 1940 and an extensive library of music litera- until his death in 1951, and his vigorous ture and scores. Rehearsals and con- leadership has remained an inspiring certs of the Berkshire Music Center example in the years since. Orchestra and other student groups Serge Koussevitzky was succeeded by take place mostly in the Theatre- Hall, Charles Munch, and it is a mark of the Concert while lectures, seminars, Center's success that the Boston Sym- conducting classes, vocal and choral re- phony's present Music Director, Seiji hearsals, composers' forums and cham- Ozawa, studied here during the Munch ber music concerts take place in the era. Alumni of the Center are among Chamber Music Hall, in the West Barn, the most prominent and active mem- in the Hawthorne Cottage, on the Re- bers of the music world; more than ten hearsal Stage, and in the small studios percent of the members of this country's both on the Tanglewood grounds and in major orchestras are graduates of the buildings leased in Lenox. Each summer Center, as are many of the world's the Baldwin Piano and Organ Company notable conductors, instrumental solo- generously provides over 100 keyboard individual ists and singers. instruments for practice; Today the primary responsibility for other instruments — percussion, for ex- are the Orchestra. the Center's direction is in the hands of ample — provided by Gunther Schuller, composer, writer, The Boston Symphony is assisted in conductor and President of the New supporting the Center by the National England Conservatory until June 1977. Endowment for the Arts, a Federal Average enrollment is somewhat over agency, as well as by individual and 400 each summer, of which approxi- corporate sponsors. Scholarships are matelyl40 are members of the Center's awarded to the majority of the students, Fellowship Program; this provides free who are chosen by audition on a com- tuition (and in many cases free board petitive basis. The cost of the scholar- and expenses) for instrumentalists, ship program is large and adds sub- singers, conductors and composers of stantially to the Orchestra's yearly post-graduate calibre. In addition to the deficit — one major reason for the estab- Fellowship Program, Boston University, lishment of the Friends of Music at through its Tanglewood Institute, offers Tanglewood, a group that provides several college- credit programs for tal- critical support for the Center. A brief ented high school musicians; the noted account of members' privileges is printed soprano Phyllis Curtin directs a singers' on page 41, and more information may seminar highlighted by her own master be had at the Friends' Office near the classes. Finally, each summer the Cen- Main Gate. We invite you to see and ter's Festival of Contemporary Music hear for yourself the remarkable calibre (August 13-17 this year), presented in of the Center's young musicians. 47 Tanglewood Talks & Walks Rensselaerville Tanglewood Talks & Walks are a fasci- Piano Festival nating series of five Thursday lecture- July 18 -July 30 luncheons at noon in the Tanglewood The Institute Tent, followed by a special guided tour of Tanglewood. Guest speakers include on Man and Science the musicians, conductors, and staff Rensselaerville, New York Orchestra and of the Boston Symphony DOROTHY TAUBMAN. Musical Director Berkshire Music Center. Bring a lunch— ENID STETTNER. Administrative Director we'll provide the refreshments. Please July 18 • Paul Tobias. Cellist call the Tanglewood Friends Office at Elizabeth Moschelli. Pianist (413) 637-1600 for reservations. $2 con- July 19 • Jonathan Feldman. Pianist tribution to the public, free to Friends July 20 • Jocheved Kaplinsky. Pianist of Tanglewood. July 21 • Julia Hoetzman, Pianist July 22 • Natan Brand. Pianist LUNCHEON 12:15 July 23 • Samuel Baron. Flutist TALK 1:00 Carol Baron. Pianist July 24 • Edna Golandsky. Pianist WALK 1:30 July 25 • Katherine Teves, Pianist July 26 • Joshua Pierce. Pianist 1977 Tanglewood Talks & Walks July 27 • Steven DeGroote. Pianist July 29 • Nina Tichman. Pianist July 30 • Zitta Finkelstein. Pianist 14 JULY — VICTOR YAMPOLSKY All Concerts at 8:00 PM. Principal Second Violin Kawai official piano Boston Symphony Orchestra Admission $3.00 For Tickets or Reservations 28 JULY—JAMES F. KILEY (518) 239-4635 Operations Manager, write Enid Stettner, Tanglewood or Rensselaerville. N.Y 12147 4 AUGUST — PASQUALE CARDILLO Clarinet, Boston Symphony Orchestra; Principal Clarinet, Boston Pops Orchestra 1771 was a good 18 AUGUST— BETSY JOLAS year for our Lobster Pie. Composer in Residence, Berkshire Music Center This year it's even better. 25 AUGUST— CAROL PROCTER Cello, Boston Symphony Orchestra Friends of Music at Tanglewood Lenox, Massachusetts 01240 Publick House (413) 637-1600 Good Yankee cooking, drink and lodging. On the Common — Sturhndge. Mass.— t>17 347-3313 48 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 con- There are over 40 concerts each sum- tributors of $75 and over, provides a mer performed by the members of the hospitable gathering place behind the Berkshire Music Center, the Boston Music Shed where food and drink may be Symphony Orchestra's summer academy purchased on concert days. Hot buffet for the advanced study of music. These dinners are served on Saturday evenings outstanding mid-week concerts include beginning at 6:30 p.m. (Reservations chamber music recitals, full orchestra must be made through the Friends concerts, vocal and choral programs, Office no later than the Thursday after- and the annual Festival of Contem- noon preceding each Saturday porary Music, Tanglewood's "festival evening buffet.) within a festival/' Friends Concert Special parking for Friends: Memberships for individuals and Two convenient reserved parking areas families are available for $25.00. are available to all donors of $150 or Advance program information and more for all Boston Symphony Orches- ticket ordering forms: tra concerts: either the Box Parking Lot Approximately one month before the (Hawthorne Street entrance), or the public sale of seats in the early spring, Tent Parking Lot (West Street entrance). Friends will be sent the advance Berk- For information, contact: shire Festival programs and a priority Friends of Music at Tanglewood ticket application. Friends will also re- Lenox, Ma. 01240 ceive the monthly Boston Symphony (413) 637-1600 Orchestra publication, BSO. Ji F,%r Qfobis CONTEMPORARY AMERICAN DE5IGN DISTINCTIVE FOOD BottkoWo DELIGHTFUL AMBIENCE OUTSTANDING CRAFTS TO GIVE OR TO TREASURE I22XOIC I II VI. rilTM II U> 49 CHESIEF^ODD The Executive Committee STOCKBRIDGE Tanglewood Council of the Boston Symphony Orchestra Mrs. James Garivaltis Mr. Curtis Buttenheim Co- Chairmen Mr. John Kittredge Secretary/Treasurer Mrs. Stephen V.C. Morris Mrs. Murray Klein Talks and Walks Mr. Colin MacFadyen Summer Estate of Mr. Ashley Smith DANIEL CHESTER FRENCH Business Mrs. Kelton M. Burbank Sculptor of the Mrs. John Kittredge Lincoln Memorial Benefits Studio, Residence, Barn Mrs. Charles Capers Sculpture Gallery, Period Receptions Trail Garden, Nature . Mr. Robert A. Wells Daily 10-5 Community Affairs May - October Mrs. D.H. Potter off Rte. 183, Glendale Mr. William Harris a property of Tent the National Trust for Historic Preservation Mrs. Jean Massimiano Mr. Joseph Duffy Sales and Information Mrs. Gary A. Lopenzina THE Mrs. William H. Ryan OLD CORNER HOUSE Student Affairs Mrs. Archie Peace Foreign Students Mrs. John Kittredge Tanglewood- Boston Liaison Mrs. A. Lloyd Russell Boston- Tanglewood Liaison Paintings by Mr. Peter van S. Rice Mrs. John S. McLennan NORMAN ROCKWELL Nominating On permanent exhibit Open Year Round — Daily 10-5 p.m. Except Tuesdays Adults $1.00 Children 25< 50 L/ILatie (jUruirtcu LXnii.CLLLUa Route 57 Tolland, Mass. What's Telephone 413 - 258-4538 Happening A wide selection of antiques ranging from furniture, china and paintings. in We also feature an extensive the collection of primitive art from New Guinea. Derkshires? Open by appointment every day except Sunday. Phone Toil-Free and Find Out! Things to do today - exhibits, arts, music, VISIT BERKSHIRE LAKES ESTATES theatre, ballet, garden shows, special tours, EXPERIENCE COUNTRY LIVING all the current events in the Berkshires. AT ITS BEST! SOUTHERN BERKSHIRES Small Lakefront Community 528-2677 From Great Bamngton, \ Swim and boat on 2 crystal clear mountain Sheffield. West Stockbridge lakes. Play tennis, badminton, volleyball and basketball on community courts. Live CENTRAL BERKSHIRES NORTHERN BERKSHIRES in privacy adjacent to a large state forest. 637-2677 662-2677 From Stockbridge. Lee, From Wilhamstown. Berkshire Lakes Estates Lenox. Prrtsfiekj Adams. North Adams Yokum Pond Road Becket, Mass. 01223 A service of the Berkshire Vacation Bureau Tel. 413-623-8747 205 West St., Pittsf ield, Mass. (A Division of the Berkshire Hills Conference) TO VISIT: Mass. Turnpike to Lee, Mass.-Rt. 20 East. Continue 4 miles to Belden's Tavern. Left for 2 miles to Berkshire Lakes Estates. Williemstown uruxuxc ortd creatine fxcuxte ctu&tne" Theatre festival Brunch Dinner Picnic After-Concert Baskets Supper Nikos Psacharopoulos J. Perspico Factor Our 23rd Season Includes Misalliance Sherlock Holmes. Alter the Fall. Restaurant Pialonov and Learned Ladies June 30 - August 27 Open Till 1 A.M. Phone Reservations 413-458-8146 25 Church St. • Lenox, Mass. PO Box 517. Wilhamstown. Ma 02167 637-2996 51 s b me i s We CurtisHotel Food & Lodging deCTshop SANDWICHES • CATERING LENOX, 637-0016 TAKE OUT SERVICE 1 15 Elm Street, Pittsfreld, Massachusetts. A BOOK "TO DO" NOT Tel. 442-5927 Featuring Hot Pastrami & Hot Corned Beef "JUST TO READ" Sandwiches Hebrew National Delicatessen • Rolls & Bagels baked daily • Imported & Domestic cheeses • Lox & smoked fish • Barbecued chicken • Fresh made salads • Party Platters Open Daily 8 to 6 ABERKSHIRE SOURCEBOOK of Your personal guide to Berkshire County: The new home its history, geography and major land- the world famous marks. Available at area bookstores and s gift shops for just 2.95. Published by The Alices Restaurant Junior League of Berkshire County, Inc. Breakfast • Brunch AT flVflLOCH • Lunch • Dinner HE • Late Supper • Cocktail Lounge WILL AMSVILL& • Entertainment • MOTEL • tennis • pool INN across the roadfrom Tanglewood rte. 183 Lenox 637-0897 A fine, small inn featuring superb Country French Cuisine LUNCH • DINNER The Sunshine Stage, Light Supper After Tanglewood Holllston Theatre. Route 183, Lenox. Mass. 01240. Tel. 413-637-0534. Rte. 41 , between W. Stockbridge and Gt. Barrington Year round professional regional theatre featuring plays, films and children's theatre. Cafe on prem Reservations Recommended by ises. Frank Bessell, Artistic Director. 413-274-6580 INN PERSPECTIVE THECLOTHESLOFT "a little tewel in the Berkshires" C#Zee.<:W>(/±H7<'A//.u^rf -tr vuyvu vgxv/E Accommodations for private parties. We (BldStonettUMorp cater to parties, banquets and social Route 8, Grove St., Adams, Ma. gatherings. Orders to take out. HANDPRINT WALLPAPER Chinese Polynesian Restaurant j±\ LENOX. MASS. For Reservations Factory Outlet (413)443-4745 OpenMon-Fri 10-4, Sat 9-1 2:30 Open Daily 1 1 30 'til 10 pm. Fri. & Sat 'til 1 am Fashion Doesn 't Stop At Size 14 fi'WffiflTLHGIL BEAUTIFUL CLOTHES FOR ' FANTASY MAN TrE LARGE SIZE WOMEN Food, drink, lodging. Live music week *n° "* After concert, a 10 minute Ctoffqrobe ends. * walk from the Lion's Gate. 179 mfllR STREET 413528 3118 WHEATLE1GH 637-0610 ^ &> Gt. Barrington 52 WHY WAIT TO ENTER COLLEGE? SIMONS ROCK EARLY COLLEGE Designed for the student who wishes to avoid the duplication of high school and college work Liberal Arts - B.A. and A. A. Degrees - Fully Accredited The interest of those who have completed the 10th or 11 th grade of high school is invited Admissions Office Simon's Rock Early College Great Barrington, MA 01230 Telephone: 413-528-0771 Tanglewood Tradition To reach a Our outdoor Courtyard mature audience who — colorfully abounding Boston Symphony, — attend with Impatient plants and Tanglewood, serves luncheons, Pops dinners, snacks and call Steve Ganak Ad Reps, drinks. Our indoor Statler Office Bldg., Lion's Den features sandwiches, Boston, Mass. 02116 drinks and live entertainment. Both are open till 1 a.m. Phone: 617-542-6913 413-298-5545. Route 7, Stockbridge, Massachusetts. Since 1773. && The Red Lion Inn * If you'd like your own tote bag showi u support public broadcasting (other ^! sthe Channel 17 logo), clipand send to/W HT, Box 17, Schenectady, NY 1230T. G $60 Sustaining M im$30 Regular Mem Name IV M Address City State Zip 53 Located in the Township of Becket, Mass. Norman Walker, Director Grace Badorek, Comptroller Donald Westwood, Promotional Director FIRST WEEK—July 5—9 SEVENTH WEEK— Eight Soloists from the August 16—20 Royal Danish Ballet Dennis Wayne's Dancers SECOND WEEK- EIGHTH WEEK— July 12—16 August 23—27 Cultural Center of the Contemporary Dancers Philippines Dance Co. of Winnipeg (American debut (United States debut of t he Company) of the Company) THIRD WEEK—July 19 — 23 Joyce Cuoco & Youri Vamos Teodoro Morca Jacob's Pillow Dancers (Flamenco in Concert) Special Added Event Jacob's Pillow Dancers, September 2—4 Classical Pas de Deux Hartford — Ballet FOURTH WEEK Performances: Perform- July 26—30 ances are held Tuesday Anne Marie DeAngelo through Saturday, Curt- and Lawrence Rhodes ain times: Tuesday, May O'Donnell 7:30 p.m., Wednesday, Concert Dance Company Friday and Saturday, Bhaskar (dances o; India) 8.40 p.m., Thursday and FIFTH WEEK— August 2—6 Saturday Matinees: Twyla Tharp 3:00 p.m. Tickets: Dancers and Dances $8.00 and $6.00. Avail- tube four I able at Ticketron, m SIXTH WEEK— August 9—13 Bloomingdale's or the lie OPERA HOUSE Ohio Ballet Company Jacob's Pillow Box Office 36 Luxury Rooms How to Reach Jacob's Pillow: Approx.150 miles from Boston near Tangle- FOOD-DRINK •LODGING wood. Lee-Pittsfield exit on the Mass. Turnpike. Exit 16-1-91 Public transportation from Boston via Greyhound to L^e, Mass. Holvoke, Mass. (413) 532-9494 America's FIRST Dance Festival Jacob's Pillow Dance Festival Mailing Address: Box 287, Lee, Mass. 01238 (413) 243-0745 i ) VeCordova Museuni erksbire Sumn\ef Concert^ ummer festival 6 days 5 nights 11 meals Gospel singers, Ukrainian dancers, Per person dbl occup 50 Mime, Big Band Jazz, Folk singers... plus tx & tips 189 DE CORDOVA AMPHITHEATER Delux Accommodations Sandy Pond Rd., Lincoln, MA. All admissions to: TANGLEWOOD, Concerts 3:30pm BERKSHIRE PLAYHOUSE, JACOBS Tickets:$2.50 PILLOW, STORROWTON for info call plus Naumkeag...Chesterwood... Corner 259-8355 House... Hancock Shaker Village... Scenic tours... Swimming... tennis... golf,.. & more /~Vfrite or call direct for free brochure to Ad was placed in cooperation wi Oak riSpruce resort— the Middlesex County Tourism & Development Council, Inc. south lee, ma. 01260 • 1-800-628-5073 54 ^z£ ^m± ^£tek^ m+ EDITION PETERS *» ^pm* If you are a Music Lover, you will enjoy these free publications. EDITION PETERS COMPLETE CATALOGUE COMPLETE CATALOQUE This new Complete Catalogue lists over 10,000 classical and contemporary PIANO CEMBALO ORGAN VIOLIN VIOLA publications for all instruments. In addition to providing an educational CELLO BASS RECORDER FLUTE OBOE overview of virtually all the noteworthy older composers and their compositional output, it is sure to be of special interest to both teacher yv i H^=UM-M»WJddBd*HiJ-idEia and student alike in giving a glimpse of the master composers HARP VOCAL CHORAL SCORES BOOKS themselves—for interspersed throughout the catalogue are various C. F. 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The catalogue is an alphabetical listing, by composer, of approximately 1500 CATALOO0E contemporary compositions by more than 160 composers (primarily American)—featuring 45 biographical sketches and handwritten statements on music. C. F. PETERS CORPORATION, 373 Park Avenue South, New York, N.Y. 10016 Dear Friends at C. F. Peters, Please rush to me the following publications: D Edition Peters Complete Catalogue PETERS NOTES Newsletter D Contemporary Music Catalogue name: (please print) address: zip Please add my name to your mailing list for future mailings. 55 Introducing the Bose 901® Series III in comparison to any Series III: the most innovative new other speaker, regardless of size or speaker since the legendary price. Bose 901 was introduced in 1968. For a full color 901 III The 901 Series III reproduces brochure, write Bose, Dept. BSO, music with spaciousness and The Mountain, Framingham, realism unequalled, we believe, by Massachusetts any other speaker. 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