Tan Ewaesd Music Center

Tan ewaEsd Music Center TANGLEWOOD MUSIC CENTER ORCHESTRA Fifth Concert Tuesday, August 11, 1987 at 8:30 p.m. Shed Rossini Overture to "La Gazza Ladra" Yutaka Sado, conductor Kyoto, Japan Schubert Symphony in B minor ("Unfinished") D. 759 Allegro moderato Andante con moto Anthony Princiotti, conductor Bedford, New Hampshire Ravel Rapsodie Espagnole Prelude a la nuit Malaguena Habariera Feria (The Fair) Jun Firkl, conductor West Germany Intermission Stravinsky "Le Sacre du Printemps" (The Rite of Spring) Pictures of Pagan Russia Part One: The Adoration of the Earth Introduction - Harbingers of Spring - Dance of the Adolescents - Ritual of Abduction - Spring Rounds - Games of the Rival Clans - Procession of the Wise Elder - Adoration of the Earth (Wise Elder) - Dance of the Earth. Part Two: The Sacrifice Introduction - Mystical Circles of the Virgins - Glorification of the Chosen One - Evocation of the Ancestors - Ritual of the Ancestors - The Sacrificial Dance of the Chosen One Leonard Bernstein, conductor This concert was prepared under the supervision of Leonard Bernstein BALDWIN PIANO "Our problem is to help artists with good training and knowledge to acquire a penetrating and vivid conception of the music they create and interpret; to stir their imagination to new heights and new depths, because imagination invokes in the creator and interpreter the right intuition and emotions to conceive the inner meaning of their art . We want to be modest in our prom- ises. But by no means do we want to be modest in our aspirations. We are confident that our students will receive the very best of our ability and practical experience, as well as our spiritual guidance." Serge Koussevitzky Opening Exercises, 1941 The Tanglewood Music Center invites 150 young musicians to study as Fellows for the summer with no tuition charge. This is possible because of the generous support of many donors. We would like to acknowledge the special contributions of several friends: The Festival of Contemporary Music—July 30 through August 6—is sponsored in part by a grant from the Pepsico Foundation. The August 11 TMC Orchestra Concert is underwritten by Bank of New England, West. The July 29 Chamber Concert is underwritten by The Lincoln and Therese Filene Foundation. The Following endowed funds provide extraordinary support for the teaching activities of the Music Center: Honorable and Mrs. John H. Fitzpatrick Fund Louis Krasner Fund Eleanor Naylor Dana Visiting Artist Fund Paul Jacobs Commissioning Fund 1987 gifts to underwrite faculty positions: Aetna—Ann Hobson Pilot, Master Teacher National Distillers and Chemical Corporation—John Oliver, Head of Vocal Music Activities RJR Nabisco—Oliver Knussen, Coordinator of Contemporary Music Activities Frederick W. Richmond Foundation Joel Krosnick, Master Teacher Endowed Faculty Positions: Charles E. Culpeper Foundation Chair—Gilbert Kalish, Chairman of the Faculty Dr. and Mrs. Edward L. Bowles Chair—Doriot Anthony Dwyer, Master Teacher Marian Douglas Martin Chair Endowed by Marilyn Brachman Hoffman—Peter Serkin, Master Teacher Berkshire Chair—partially funded Richard Burgin Chair—partially funded ---The Friends of Music-at Tanglewood are invited rn A 11 concerts of the Tanglewood Music Center with a Family Season Membership of $60 or an Individual Season Membership of $40. Others attend- ing each TMC event are asked to contribute a minimum of $5.00 at the gate, $6.00 for orchestra concerts. The Tanglewood Music Center is also supported by a grant from the National Endowment for the Arts. The program design is by Matt Ralph Graphics, Cambridge, Massachusetts, and it is printed using a Ricoh 6200 FR copier donated for use this summer by Bloom's Business Systems of Pittsfield. Program Notes B.Plagig9Ftwb. 1792 - 13 Nov.1868) Overture to La Gazza Ladra No other composer in the first half of the 19th century enjoyed the measure of pres- tige, wealth, popular acclaim, or artistic influence that belonged to Rossini. His initial successes were in the line of opera buffa, but in the 1820s he turned increa- singly to opera seria where he threw off 18th century formulae and codified new con- ventions that dominated Italian opera for half a century. La Gazza Ladra, or The Thieving Magpie, is a tragi-comedy that treads a narrow line between the exaggeratiow of buffo style and the artificial postures often found in opera seria up to that time The opera was first produced in Milan on 31 May 1817 in what the French author Stenn- hal called the most successful first night of his experience. As a further mark of its popularity, it reached London in 1821, Philadelphia in 1827, and New York by 183e Rossini lavished special care on the orchestration of the opera, the first where the orchestra predominates over the singers. The overture was written last and is fillet: with novel and striking ideas, from the opening antiphonal snare drum rolls and mili- march of the introduction to his hallmark crescendos. SCHti21,Larp1797..i.gji,:jy.:_l n ,hon i n o rnit "Unfinished" After completion of his Sixth Symphony in 1818, Schubert made three attempts at start ing anew symphony. The abandoned fragments of these attempts, some of them sub- stantial, reflect a period of experiment, growth, and crisis in his musical thought. With the B minor symphony, the fourth attempt to be left incomplete, he managed to orchestrate two complete movements, made a start at a scherzo, and left no trace of a finale--perhaps he was blocked in devising a movement that would complement and balance the first two. Yet in these two completed movements we have a work that opens up a new symphonic world. The title page is signed and dated Vienna, 30 October 1822. In April of 1823 Schubert was awarded the Diploma of Honor of the Styrian Musical Society of Graz and indicated that as expression of gratitude he would send the Society "one of my symphonies in full score." In the event, it was tn manuscript to these two movements of his latest attempt at a symphony that Schubert sent via his friends Josef and Anselm Huttenbrenner, who were Society members. For reasons about which we can only speculate, Anselm retained possession of the score for some 40 years. It was eventually retrieved by Johann von Herbeck, who led the first performance of the work as we know it on 17 Dec. 1865. RAVEL (7 Mar. 1875 - 28 Dec. 193) Rapsodie Espagnole Rapsodie Espagnole was Ravel's first important orchestral work and at one stroke re- vealed him to be an orchestrator of genius, aware of the expressive potential of eaC instrument and skilled in blending and balancing individual timbres. The work was composed in 1907, in the space of a month, and first performed on 19 Mar. 1908. Prelude a la Nuit is an evocative nocturne characterized by a four note descending motif, F,E,D,C#. The Spanish atmosphere is presently established, but the opening motif returns and the movement, whose entire dynamic range is from ppp to mf, is brought to an end softly and mysteriously. The Malaguena is strongly marked rhythm- ically. The climax of the movement features the full percussion section, including castanets; towards the end the opening motif is heard again and the movement dies away softly. The Habanera, with its subtle rhythm lingering on the first beat, was originally written as a two piano piece in 1895. The Feria conveys all the spirit and flavor of a fiesta. Midway through, the festivities are interrupted by a slow, somewhat grotesque section and once again the mysterious four note motif of the be- ginning returns. However, the fiesta mood soon reasserts itself and the work con- cludes with a flourish of brass. STRAVINSKY (17 June 1882 - 6 April 1971 Le Sacre du Printem s As Stravinsky describes it in his autobiography, it was while finishing the score to Firebird that he had "quite suddenly and unexpectedly (for my mind was, at the time, full of other things), a vision of a solemn pagan rite: hoary elders seated in a circle, watching the dance of a young girl who was to be sacrificed to the God of Spring." Actual work on Rite of Spring, however, was delayed until 1911, after the first performance of Petrouchka. By Christmas Part I was finished, with the introduction the last to be composed. Part II progressed more slowly which resulted in a postponement of the premiere. The completed score is dated 8 March 1913 and the first performance, with choreography by Nijinsky, was given at the Theatre Champs-Elysees in Paris on 29 May 1913 with Pierre Monteux conducting. Paris audiences have been known for their readiness to cause a disturbance, but we will probably never know what precipitated the catcalls and near riot that attended the premiere. Speculation ranges from the music itself to the machinations of the impresario Diaghilev in the cause of publicity, to (most likely) the choreography. Further performances went relative smoothly, but real success came nearly a year later when the work was given in concert. After World War I it was restaged with new choreography, but in the end Stravinsky decided that Le Sacre worked best in the concert hall as a piece of abso- lute music. Of all the revolutionary aspects of Rite of Spring, none is more striking than its rhythmic vitality which erased the "tyranny of the bar line" while raising the Primitive to the level of artistry. David E. Gruender, Head Librarian, Tanglewood Music Center Orchestra Personnel (Winds, brass and percussion listed alphabetically) First violins Gabes Horns Margaret Bichteler ;:atja Linfield *John Bancroft Katharina Wolff Robert Bergman Rpbert Danforth David Griffin Marc Sabat Linda Bardwi.z Thomas Hadley Key Markl Jeari-Guihen Queyras Chris Komer *Robert Rasmussen Marisol Medina Scott Kluksdahl *Steve Replogle Lei Hou Ruth Waeffler Thomas Sherwood Deborah Stephenson Akiko Ueda Brooks Whitehouse Michi Mizutori Owen Young Trupets Ann Palen Heidi Hoff* Daniela Rodnite Susannah Chapman David Bamonte Bibi Black Ellen Jewett Alicia Stegink Anthony DiLorenzo Sia-Hua Chang Hillel Zori Brian Rood Daniel Smith Nancy Dahn Yan Chin Basses Trombones Douglas Johnson Second violins Dennis Roy Hans Bohn John DiLutis Marta Szlubowska Jennifer W.

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