Boston Symphony Orchestra Concert Programs, Summer, 2001

SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i

DALE CHIHULY INSTALLATIONS AND SCULPTURE

/ "^ik \ *t

HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262

. ( 41 3.298.3044 www. holstenga I leries

* Save up to 70% off retail everyday!

Allen-Edmoi.

Nick Hilton C

Baccarat

Brooks Brothers

msSPiSNEff3svS^:-A Coach

' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk

Dockers Outlet by Designs

Escada

Garnet Hill

Giorgio Armani

.*, . >; General Store

Godiva Chocolatier

Hickey-Freeman/ "' ft & */ Bobby Jones '.-[

J. Crew At Historic Manch Johnston & Murphy

Jones New York

Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh

Overland

iMrt Peruvian Connection

Polo/Ralph Lauren

Seiko The Company Store

Timberland

Tumi/Kipling

Versace Company Store

Yves Delorme

JUh** ! for Palais Royal

Phone (800) 955 SHOP WS

»'" A *Wtev : s-:s. 54

"^^SShfcjiy

ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC

Ceremonial and modern sculpture for new and advanced collectors

Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON

Trustees of the Boston Symphony Orchestra, Inc.

Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President

Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman

Harlan E. Anderson John F. Cogan, Jr. Edna S. Kalman Mrs. Robert B. Newman Diane M. Austin, William F. Connell Nan Bennett Kay, Robert P. O'Block

ex-ojficio Nancy J. Fitzpatrick ex-ojficio Peter C. Read Gabriella Beranek Charles K. Gifford George Krupp Hannah H. Schneider Leith, Jan Brett Avram J. Goldberg R. Willis Jr. Thomas G. Sternberg Paul Buttenwieser Thelma E. Goldberg Ed Linde Stephen R. Weiner James F. Cleary Julian T. Houston Richard P. Morse

Life Trustees

Vernon R. Alden Mrs. Edith L. Dabney Mrs. George I. Kaplan Mrs. George Lee Sargent David B. Arnold, Jr. Nelson J. Darling, Jr. George H. Kidder

J.P. Barger Archie C. Epps Mrs. August R. Meyer Richard A. Smith Stookey Leo L. Beranek Mrs. John H. Fitzpatrick William J. Poorvu John Hoyt Abram T. Collier Dean W. Freed Irving W. Rabb John L. Thorndike

Other Officers of the Corporation Thomas D. May and John Ex Rodgers, Assistant Treasurers Suzanne Page, Clerk ofthe Board

Board of Overseers of the Boston Symphony Orchestra, Inc. Nan Bennett Kay, Chair

Helaine B. Allen Francis A. Doyle William M. Karlyn Patrick J. Purcell Joel B. Alvord Goetz B. Eaton Steven E. Karol Carol Reich Marjorie Arons-Barron Jane C. Edmonds Frances Demoulas Alan Rottenberg Caroline Dwight Bain William R. Elfers Kettenbach Edward I. Rudman George W. Berry George M. Elvin Douglas A. Kingsley Michael Ruettgers Mark G. Borden Pamela D. Everhart Robert Kleinberg Carol Scheifele-Holmes

I. William L. Boyan J. Richard Fennell David Kosowsky Roger T Servison Alan Bressler Lawrence K. Fish Dr. Arthur R. Kravitz Ross E. Sherbrooke Robin A. Brown Myrna H. Freedman Mrs. William D. L. Scott Singleton Samuel B. Bruskin A. Alan Friedberg Larkin, Jr. Gilda Slifka William Burgin Dr. Arthur Gelb Thomas H. Lee Mrs. Micho Spring Alexander M. Levine Dr. Edmund B. Cabot Mrs. Kenneth J. Charles A. Stakeley

Mrs. Marshall Nichols Germeshausen Christopher J. Lindop Jacquelynne M. Carter Robert P. Gittens Edwin N. London Stepanian Earle M. Chiles Michael Halperson Diane H. Lupean Samuel Thorne Mrs. James C. Collias John P. Hamill John A. MacLeod II Bill Van Faasen Eric D. Collins Ellen T. Harris Carmine Martignetti Loet A. Velmans Ranny Cooper Deborah M. Hauser Barbara E. Maze Paul M. Verrochi Martha H.W. Carol Henderson Thomas McCann Larry Weber Crowninshield Anne C. Hodsdon Patricia McGovern Stephen R. Weber Diddy Cullinane Phyllis S. Hubbard Joseph C. McNay Robert S. Weil

Joan P. Curhan F. Donald Hudson Dr. Martin C. Mihm, Jr. Robert A. Wells Robert W. Daly Roger Hunt Nathan R. Miller Mrs. Joan D. Wheeler Tamara P. Davis Ernest Jacquet Molly Beals Millman Reginald H. White Mrs. Miguel de Braganca Lola Jaffe Robert T. O'Connell Margaret Williams- Disque Deane Mrs. Robert M. Jaffe Norio Ohga DeCelles

Betsy P. Demirjian Charles H. Jenkins, Jr. Louis F. Orsatti Robin Wilson JoAnne Walton Michael Joyce May H. Pierce Robert Winters Dickinson Martin S. Kaplan Dr. Tina Young Poussaint Kathryn A. Wong

Harry Ellis Dickson Susan Beth Kaplan Millard H. Pryor, Jr. Richard Wurtman, M.D. Overseers Emeriti

Sandra Bakalar Jordan Golding Benjamin H. Lacy Mrs. Peter van S. Rice Lynda Schubert Mark R. Goldweitz Hart D. Leavitt John Ex Rodgers Bodman Mrs. Haskell R. Gordon Laurence Lesser Mrs. Jerome Rosenfeld William M. Bulger Susan D. Hall Frederick H. Angelica L. Russell

Mrs. Levin H. Mrs. Richard D. Hill Lovejoy, Jr. Roger A. Saunders

Campbell Susan M. Hilles Mrs. Charles P. Lyman Francis P. Sears, Jr. Johns H. Congdon Glen H. Hiner C. Charles Marran Mrs. Carl Shapiro Phyllis Curtin Marilyn Brachman Mrs. Harry L. Marks Mrs. Donald B. Sinclair

Phyllis Dohanian Hoffman Hanae Mori Mrs. Arthur I. Strang

Harriett Eckstein H. Eugene Jones Patricia Morse Mrs. Thomas H. P. Edward Eskandarian Leonard Kaplan Mrs. Hiroshi H. Whitney

Peter H.B. Mrs. S. Charles Kasdon Nishino Mrs. Donald B. Wilson Frelinghuysen Perkins Richard L. Kaye John A. Mrs. John J. Wilson Mrs. Thomas Mrs. Gordon F. David R. Pokross

Galligan, Jr. Kingsley Daphne Brooks Prout Mrs. James Garivaltis Robert K. Kraft Robert E. Remis

Business Leadership Association Board of Directors Charles K. Gifford, Chairman Leo L. Beranek, James F. Cleary, William F. Connell,

Michael J. Joyce, President and Harvey Chet Krentzman, Chairmen Emeriti

Lynda S. Bodman Lawrence K. Fish Christopher J. Lindop Patrick J. Purcell Robin A. Brown Bink Garrison Carmine Martignetti Roger T Servison Diddy Cullinane John P. Hamill Thomas May Ray Stata

Francis A. Doyle Steven E. Karol J. Kent McHose William Van Faasen William R. Elfers Edmund Kelly Joseph McNay Paul M. Verrochi

Ex-Officio Peter A. Brooke • Nicholas T. Zervas • Nan Bennett Kay

Officers of the Boston Symphony Association of Volunteers Diane M. Austin, President Muriel Lazzarini, Executive Vice-President/ William A. Along, Executive Vice-President/ Tanglewood Adm in istration Charles W. Jack, Treasurer Nancy Ferguson, Executive Vice-President/ Linda M. Sperandio, Secretary Fundraising Doreen M. Reis, Nominating Committee Chairman

Maureen Barry, Symphony Richard D. Dixon, Education Ann M. Philbin, Fundraising Shop Staffing and Outreach Projects Melvin R. Blieberg, Michael Flippin, Resource Mary Marland Rauscher, Tanglewood Development Hall Services Christina M. Bolio, Public Donna Riccardi, Membership Relations Administration Mark Volpe, Managing Director Eunice andJulian Cohen Managing Directorship, fullyfunded in perpetuity Tony Beadle, Manager, Boston Pops Kim Noltemy, Director of Sales and

J. Carey Bloomfield, Director ofDevelopment Marketing Anthony Fogg, Artistic Administrator Caroline Smedvig Taylor, Director of Marion Gardner-Saxe, Director ofHuman Resources Public Relations and Marketing

Ellen Highstein, Director ofTanglewood Music Center Ray F. Wellbaum, Orchestra Manager Thomas D. May, Director ofFinance and Business Affairs ADMINISTRATIVE STAFF/ARTISTIC

Karen Leopardi, Artist Assistant/Secretary to the Music Director • Vincenzo Natale, Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director/Manager ofBoardAdministration • Alexander Steinbeis, Artistic Administration Coordinator ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Operations Manager

Felicia A. Burrey, Chorus Manager • Keith Elder, Production Coordinator • Stephanie Kluter, Assistant to the Orchestra Manager • Timothy Tsukamoto, Orchestra Personnel Coordinator BOSTON POPS Dennis Alves, Director ofProgramming, Boston Pops Jana Gimenez, Production Manager, Boston Pops

Sheri Goldstein, Personal Assistant to the Conductor, Boston Pops • Julie Knippa, Administration

Coordinator, Boston Pops • Margo Saulnier, Artistic Coordinator, Boston Pops BUSINESS OFFICE

Sarah J. Harrington, Director ofPlanning and Budgeting Craig R. Kaplan, Controller Roberta Kennedy, Manager, Symphony Shop

Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Michelle Green, Executive Assistant to the Director ofFinance and Business Affairs • Maya Levy, Budget Assistant • Pam Netherwood, Assistant Manager, Symphony Shop • John O'Callaghan, Payroll Accountant • Mary Park,

Budget Analyst • Harriet Prout, Accounting Manager • Taunia Soderquist, Assistant Payroll Accountant/Accounting Clerk DEVELOPMENT Jo Frances Kaplan, Director ofFoundation and Government Support Michael Newton, Director of Corporate Programs Elizabeth P. Roberts, Director ofIndividual Giving Tracy Wilson, Director ofTanglewood Community Relations and Development Liaison

Jill Ashton, Executive Assistant to the Director ofDevelopment • Howard L. Breslau, Senior Major Gifts Officer • Judi Taylor Cantor, Director ofPlanned Giving • Diane Cataudella, Manager ofStewardship Pro- grams • Rebecca R. Crawford, Director ofDevelopment Communications • Sally Dale, Director ofSteward- ship and Development Administration • Elizabeth Drolet, Senior Major Gifts Officer' Adrienne Ericsson, Grants Coordinator • Sandy Eyre, Associate Director, Tangle-wood Annual Fund • Sarah Fitzgerald, Super- visor of Gift Processing and Donor Records • Michelle Giuliana, Administrative Assistant, Corporate Pro- grams »Julie Hausmann, Acting Director, Boston Symphony Annual Fund • Deborah Hersey, Director of Development Services and Technology • Laura Hoag, Program Coordinator, Corporate Programs • Blaine

Hudson, Major Gifts Coordinator • Justin Kelly, Data Production Coordinator • Patricia Kramer, Associate

Director, Corporate Programs • Katherine Leeman, Annual Fund Coordinator • Barbara Levitov, Director ofDevelopment Events • Naomi Marc, Stewardship Program Coordinator • Meredith McCarroll, Tangle- wood Development Coordinator • Destiny McDonald, Major Gifts Coordinator • Gerrit Petersen, Associate Director, Foundation and Government Support • Phoebe Slanetz, Associate Director ofDevelopment Research • Emily Smith, Research Analyst • Mary E. Thomson, Program Manager, Corporate Programs • Adea Wood, Receptionist/Administrative Assistant EDUCATION AND COMMUNITY PROGRAMS/ARCHIVES Myran Parker-Brass, Director ofEducation and Community Programs Bridget P. Carr, Archivist-Position endowed by Caroline Dwight Bain

Amy Brogna, Coordinator ofEducation Programs • Leslie Wu Foley, Community Programs Administrator • Walter Ross, Educational Activities Assistant EVENT SERVICES Cheryl Silvia Lopes, Director ofEvent Services Lesley Ann Cefalo, Special Events Manager • Sid Guidicianne, Front ofHouse Manager • Melissa Jenkins, Assistant to the Director ofEvent Services • Emma- Kate Jaouen, Tanglewood Events Coordinator • Kyle Ronayne, Food and Beverage Manager HUMAN RESOURCES

Anne Marie Coimbra, Human Resources Manager • Dorothy DeYoung, Benefits Manager INFORMATION TECHNOLOGY Robert Bell, Director ofInformation Technology

Andrew Cordero, Special Projects Coordinator • John Lindberg, Help Desk Administrator • Michael Pijoan, Assistant Director ofInformation Technology • Brian Van Sickle, Software Support Representative PUBLIC RELATIONS Bernadette M. Horgan, Director ofMedia Relations

• Sean J. Kerrigan, Associate Director ofMedia Relations Jonathan Mack, Media Relations Associate • Amy E. Rowen, Media Relations Assistant/Assistant to the Director ofPublic Relations and Marketing • Kate Sonders, StaffAssistant PUBLICATIONS Marc Mandel, Director ofProgram Publications

Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops Program Editor

SALES, SUBSCRIPTION, AND MARKETING

Gretchen Borzi, Marketing Coordinatorfor Print Production and Retail Promotion • Richard Bradway, Manager ofInternet Marketing • Helen N.H. Brady, Director of Group Sales • David Carter, Subscription Representative/Disability Services Coordinator • Susan Dunham, Subscription Representative • Jennifer

Fletcher, Marketing Assistant ' Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth Hopkins, Graphic Designer • Faith Hunter, Group Sales Manager • Chloe Insogna, SymphonyCharge Coordinator • James Jackson, Call Center Manager • Amy Kochapski, Assistant Subscription Manager • Michele Lubowsky, Subscription Representative • Mara Luzzo, Manager ofSubscriptions and Telemarketing Programs • Jason Lyon, SymphonyCharge Assistant Manager • Mary MacFarlane, Assistant Call Center Manager • Sarah L. Manoog, Director ofMarketing Programs • Michael Miller, SymphonyCharge Manager • Danielle Pelot, Marketing Coordinatorfor Advertising and Tourism Promotion • George Saulnier, Subscription Data Entry Coordinator

Box Office Russell M. Hodsdon, Manager • Kathleen Kennedy, Assistant Manager •

• • • Box Office Representatives Mary J. Broussard Cary Eyges Lawrence Fraher Arthur Ryan SYMPHONY HALL OPERATIONS Robert L. Gleason, Director ofHall Facilities TANGLEWOOD MUSIC CENTER

Patricia Brown, Associate Director • Julie Giattina, Coordinator • Marjorie Chebotariov, Manager of Student Services • Brian Wallenmeyer, Scheduler TANGLEWOOD OPERATIONS

David P. Sturma, Director ofTanglewood Facilities and BSO Liaison to the Berkshires

Ronald T. Brouker, Supervisor ofTanglewood Crew • Robert Lahart, Electrician • Peter Socha, Head Carpenter

Tanglewood Facilities Staff Robert Casey • Steve Curley • Rich Drumm • Scott Tenney TANGLEWOOD SUMMER MANAGEMENT STAFF

Leslie Bissaillon, Glass House Manager • Thomas Cinella, Business Office Manager • Peter Grimm, Seranak House Manager • David Harding, Front ofHouse Manager/Manager of Customer Service • Marcia Jones, Manager of Visitor Center VOLUNTEER OFFICE Patricia Krol, Director of Volunteer Services

Susan Monack, Administrative Assistant • Paula Ramsdell, Project Coordinator TANGLEWOOD

The Tanglewood Festival

In August 1934 a group of music-loving summer residents of the Berkshires organized a series of three outdoor concerts at Interlaken, to be given by members of the New York Philharmonic under the direction of Henry Hadley. The venture was so successful that the promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during the next summer. The Festival Committee then invited Serge Koussevitzky and the Boston Symphony Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted, and on August 13, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The series again consisted of three concerts and was given under a large tent, drawing a total of nearly 15,000 people. In the winter of 1936 Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered

Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and mead- ows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, and on

August 5, 1937, the festival's largest crowd to that time assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival's second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the "Forest Murmurs" from Siegfried, music too delicate to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival's founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money had been raised to begin active planning for a "music pavilion." Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the immediate needs of the festival and, more important, went well beyond the budget of $100,000. His second, simplified plans were still too expensive; he finally wrote that if the Trustees insisted on remaining within their budget, they would have "just a shed," "which any builder could accomplish without the aid of an architect." The

After the storm ofAugust 12, 1937, which precipitated afundraising drivefor the construction ofthe Tanglewood Shed mmm

Trustees then turned to Stockbridge engineer Joseph Franz to make further simplifications in Saarinen's plans in order to lower the cost. The building he erected was inaugurated on the

evening of August 4, 1938, when the first concert of that year's festival was given, and remains, with modifications, to this day. It has echoed with the music of the Boston Sym- phony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Or- chestra Canopy, along with other improvements, produced the Shed's present world-famous

acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as "The Serge Koussevitzky Music Shed," recognizing the far-reaching vision of the BSO's legendary music director.

In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and its reputation for excellence that it attracted nearly 100,000 visitors. With the Boston Symphony Orchestra's acquisition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood's public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmod- ed Theatre-Concert Hall (which was used continuously with only minor modifications since 1941, and which with some modification has been used in recent years for the Tangle- wood Music Center's opera productions), and for improved Tanglewood Music Center facilities. Inaugurated on July 7, 1994, Seiji Ozawa Hall—designed by the architectural firm William Rawn Associates of Boston in collaboration with acoustician R. Lawrence Kirke- gaard & Associates of Downer's Grove, Illinois, and representing the first new concert facil- ity to be constructed at Tanglewood in more than a half-century—now provides a modern

A "Special Focus" Exhibit at the Tanglewood Visitor Center: Remembering Serge Koussevitzky on the 50th Anniversary of his Death

Perhaps no figure in the history of the Boston Symphony Orchestra has had as far-reaching an impact as the Russian-born Serge Koussevitzky (1874-1951), who served as the BSO's music director for twenty-five years, from 1924 to 1949. Dr. Koussevitzky died on June 4, 1951, at seventy-seven. During his tenure, the BSO gave an unprecedented number of American and world premieres; under- took a commissioning program—in 1930, to mark the orchestra's fiftieth anniversary—that has served as a model for BSO commissioning programs that continue to this day; took up permanent summer residency in the Berkshires, in 1936; and founded the Tanglewood Music Center, in 1940. To mark the 50th anniversary

of Koussevitzky's death and to recognize Koussevitzky 's enormous legacy, the BSO Archives has mounted a special focus exhibit in the Tanglewood Visitor Center featuring photographs of the legendary conductor.

Shown here is a rare photograph of Serge Koussevitzky (photograph by Krig Sahl, Octo- ber 1938, courtesy Trustees of the Boston Public Library, Laning Humphrey Collection). The photographs on display in the Visitor Center were assembled from a variety of sources, including the BSO Archives; the private collection of Erika Stone, Photographer; the Lan- ing Humphrey Collection in the Boston Public Library; and the Heinz W. Weissenstein Collection, Whitestone Photographs, Lenox, MA. venue for TMC concerts, and for the varied recital and chamber music concerts offered by

the Boston Symphony Orchestra throughout the summer. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center's Leonard Bernstein Campus, as described below. Today Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there are weekly chamber music concerts, Friday-evening Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contempo- rary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and in recent years a weekend- long Jazz Festival has been added to close the summer. The season offers not only a vast

quantity of music but also a vast range of musical forms and styles, all of it presented with

a regard for artistic excellence that makes the festival unique.

The Tanglewood Music Center

Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has become one of the world's most influential centers for advanced musical study. Serge Kous- sevitzky, the Boston Symphony Orchestra's music director from 1924 to 1949, founded the school with the intention of creating a premier music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony Orchestra musicians and other specially invited artists.

The school opened formally on July 8, 1940, with speeches and music. "If ever there was a time to speak of music, it is now in the New World," said Koussevitzky, alluding to the war then raging in Europe. Randall Thompson's Alleluia for unaccompanied chorus, specially written for the ceremony, arrived less than an hour before the event began but made such an impression that it continues to be performed at the opening ceremonies each summer. The TMC was Koussevitzky s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as the BSO's music director. Charles Munch, his successor in that position, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school's programs. In 1963, new BSO Music

Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO's programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher served as the TMC's Artistic Director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. In 1997, Ellen Highstein was appointed Director of the Tanglewood

Music Center, operating under the artistic supervision of Seiji Ozawa. The Tanglewood Music Center Fellowship Program offers an intensive schedule of study and performance for advanced instrumentalists, singers, conductors, and composers who have completed most of their formal training in music. Besides the continuing involve- ment of Seiji Ozawa and individual BSO members; master classes and coachings led by dis-

Memories of Tanglewood... You can take them with you!

Visit our Tanglewood Music Store

Located at the Main Gate Hours—same as the Glass House at the Main Gate Wide selection of classical music Weekly concert selections BSO and guest artists • Compact discs • Cassettes • Sheet music, instrumental and vocal • Full scores • Books Glass House Gift Shop

Located at the Main Gate and Highwood Gate Exciting designs and colors • Adult and children's clothing • Accessories • Stationery, posters, books • Giftware

MasterCard/VISA/American Express/Diners Club/Discover Card MAIN GATE: HIGHWOOD GATE: Closed during performances Closed during performances Monday through Friday: 10am to 4pm Friday: 5:30pm to closing of the grounds Friday: 5:30pm to closing of the grounds Saturday: 9am to 4pm Saturday: 9am to 4pm 6pm to closing of the grounds 6pm to closing of the grounds Sunday: noon to 6pm Sunday: 10am to 6pm (Glass House) Weeknight concerts, Seiji Ozawa Hall: noon to 6pm (Music Store) 7pm through intermission tinguished guest faculty; the Conducting Class led by Robert Spano, head of the TMC's Conducting Program, and Phyllis Curtin's master classes for singers, the Tanglewood Music Center's 2001 summer season includes a fully staged production of Ravel's L'Heure espagnole

under the direction of Seiji Ozawa and a concert version of Ravel's L'Enfant et les sortileges conducted by Robert Spano. Andre Previn will conduct the Tanglewood Music Center Orchestra in a performance of Benjamin Britten's Sinfonia da Requiem. TMC Composition Fellows will collaborate in a Choreographer-Composer Lab with the Jacob's Pillow Dance Festival. They will also participate in chamber music programs, and in the TMC's annual Festival of Contemporary Music, this year under the direction of British composer/conductor Oliver Knussen and with American composer Charles Wuorinen as composer-in-residence. String players will participate in the Juilliard String Quartet Seminar with members of the Juilliard String Quartet, BSO members, and such distinguished TMC faculty members as Norman Fischer and Andrew Jennings. Special pre-season seminars include a three- day family Youth Concert Seminar in which a select group of TMC Fellows has the opportunity to create programs for children's and family concerts under the guidance of the Juilliard School's Eric Booth, and a weeklong workshop on Bach cantata performance led by Craig Smith, director of the Emmanuel Music Ensemble based at Boston's Emmanuel Church. Also at Tanglewood each summer, the Boston University Tanglewood Institute sponsors a variety of programs that offer individual and ensemble instruction to talented younger students, mostly of high school age.

It would be impossible to list all the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American

symphony orchestras, and 30% of all first-chair players, studied at the TMC. Besides Mr. Ozawa, prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, the late Leonard Bernstein, David Del Tredici, Christoph von Dohnanyi, the late Jacob Druckman, Lukas Foss, John Harbison, Gilbert Kalish (who headed the TMC faculty for many years), Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl Studer, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman.

Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Kousse- vitzky was involved until his death, have become a fitting shrine to his memory, a living

embodiment of the vital, humanistic tradition that was his legacy. At the same time, the

Tanglewood Music Center maintains its commitment to the future as one of the world's most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Seiji Ozawa in rehearsal with the TMC Orchestra in Ozawa Hall ISraW '-We JlfMlWlftnWiWiTi

•' ! • .;.

ake The Red Lion Inn Part of Your Summer Program

After you've enjoyed an evening of art and

entertainment, indulge yourself with another fine performance. Enjoy the perfect summer drink on our front porch. Also join us for lunch or dinner

in the flower-laden courtyard, or in our antiques-filled dining room.

Please telephone 413-298-5545 for reservations.

The Red Len Inn Food & Lodging since c.1773 Stockbridge, Massachusetts 01262 www.redlioninn.com

Proud to Receive a 2000 Wine Spectator Award of Excellence

bunuyCurtains %*-/ ^—' RETAIL SHOP

.Pretty \Vinaows . Tor Busy .People!

if you want prettier windows,

out don t nave lots ol time,

visit our one-stop shop lor

everything you 11 need.

The Red Lion Inn Main Street Stockbridge, MA 413 298-5565 www.ccreiailshops.com IN CONSIDERATION OF OUR PERFORMING ARTISTS AND PATRONS

PLEASE NOTE: AS OF THIS SEASON, TANGLEWOOD IS PLEASED TO OFFER A SMOKE-FREE ENVIRONMENT. WE ASK THAT YOU REFRAIN FROM SMOKING ANYWHERE ON THE TANGLEWOOD GROUNDS. DESIGNATED SMOKING AREAS ARE MARKED OUTSIDE THE ENTRANCE GATES.

Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Please do not bring food or beverages into the Music Shed or Ozawa Hall. PLEASE NOTE THAT THE USE OF AUDIO OR VIDEO RECORDING EQUIPMENT DURING CONCERTS AND REHEARSALS IS PROHIBITED, AND THAT VIDEO CAMERAS MAYNOT BE CARRIED INTO THE MUSIC SHED OR OZAWA HALL DURING CONCERTS OR REHEARSALS.

Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. FORTHE SAFETY OF, AND IN CONSIDERATION OF, YOUR FELLOW PATRONS, PLEASE NOTE THAT BALL PLAYING, BICYCLING, SCOOTERS, KITE FLYING, FRISBEE PLAYING, BARBEQUING, PETS, AND TENTS OR OTHER STRUCTURES ARE NOT PERMITTED ON THE TANGLEWOOD GROUNDS.

In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. THANKYOU FORYOUR COOPERATION.

TANGLEWOOD INFORMATION

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5165. For weekly program information, please call the Tanglewood Concert Line at (413) 637-1666.

BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. until intermission; and Sunday from 10 a.m. until intermission. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617)266-1200; or call TICKETMASTER at (617) 931-2000 in Boston; (413) 733-2500 in western Massachusetts; (212) 307-7171 in New York City; or 1-800-347-0808 in other areas. Tickets can also be ordered online at www.bso.org. Please note that there is a service charge for all tickets purchased by phone or on the web.

THE BSO's WEB SITE at www.bso.org provides information on all Boston Symphony and

Boston Pops activities at Symphony Hall and at Tanglewood, and is updated regularly.

FOR PATRONS WITH DISABILITIES, an access service center and parking facilities are located at the Main Gate. Wheelchair service is available at the Main Gate and at the reserved- parking lots. Accessible restrooms, pay phones, and water fountains are located on the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289.

FOOD AND BEVERAGES can be obtained at the Tanglewood Cafe and at other locations as noted on the map. The Tanglewood Cafe is open Monday through Saturday from 11 a.m. to 2:30 p.m. and on Sundays from noon until 7 p.m. on concert evenings. On Friday and Saturday nights, the Cafe remains open through intermission. Visitors are invited to picnic before concerts.

LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. THE FAREWELL PERFORMANCE A MIDSUMMER NIGHT'S DREAM by William Shakespeare directed by Tina Packer July 20 - September 2 on the outdoor Mainstage

Shakespeare ^Company shakespeare.org 413-637-3353

Order subscriptions today or call for a free brochure. OPEN REHEARSALS by the Boston Symphony Orchestra are held each Saturday morning at 10:30, for the benefit of the orchestra's Pension Fund. Tickets are $15 and available at the

Tanglewood box office. A half-hour pre-rehearsal talk about the program is offered free of charge to ticket holders, beginning at 9:30 in the Shed. Open Rehearsal subscriptions for four or seven rehearsals are also available.

SPECIAL LAWN POLICY FOR CHILDREN: On the day of the concert, children under the age of twelve will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE, thanks to a generous grant, for the thirteenth consecutive year, from TDK, the world leader in digital recording playback solutions. Up to four free children's lawn tickets are offered per parent or guardian for each concert, but please note that children under the age of five must be seated on the rear half of the lawn. Please note, too, that children under the age of five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts, and that this policy does not apply to organized children's groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates.

STUDENT LAWN DISCOUNT: Students twelve and older with a valid student ID receive a 50% discount on lawn tickets for Friday-night BSO concerts. Tickets are available only at the Main Gate box office, and only on the night of the performance. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALK- WAYS are located in the area of the Main Gate and many of the parking areas.

THE LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official.

IN CASE OF SEVERE LIGHTNING, visitors to Tanglewood are advised to take the usual pre- cautions: avoid open or flooded areas; do not stand underneath a tall isolated tree or utility pole; and avoid contact with metal equipment or wire fences. Lawn patrons are advised that your auto- mobile will provide the safest possible shelter during a severe lightning storm. Readmission passes will be provided.

FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate.

PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events).

THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office.

THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children's leisure clothing, accessories, posters, stationery, and gifts. Please note that the

Glass House is closed during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center. THE TANGLEWOOD MUSIC STORE, adjacent to the Main Gate and operated by the Boston Symphony Orchestra, stocks music books, recordings, scores, sheet music, and musical supplies.

Tanglewood Visitor Center

The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. Staffed by volunteers, the Visitor

Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tangle- wood and the Tanglewood Music Center, as well as the early history of the estate. You are cordially invited to visit the Center on the first floor of the Tanglewood Manor House. During July and August, daytime hours are from 10 a.m. to 4 p.m. Monday through Friday, from 9 a.m. to 4 p.m. on Saturday, and from noon to 5 p.m. on Sunday, with additional hours Friday and Saturday evenings from 6 p.m. until twenty minutes after the con-

cert. The Visitor Center is also open during concert intermissions, and for twenty minutes after each concert. In June and September the Visitor Center is open only on Saturdays and

Sundays, from 10 a.m. to 4 p.m. There is no admission charge. —

SEIJI OZAWA

The 2000-2001 season is Seiji Ozawa's twenty-eighth as music director of the Boston Symphony Orchestra. Since becoming the BSO's music director in 1973 he has devoted himself to the orchestra for more than a quarter-century, the longest tenure of any music director currently active with a major orchestra, and paralleled in BSO history only by the twenty-five-year tenure of the legendary Serge Koussevitzky. In recent years, numerous honors and achievements have underscored Mr. Ozawa's standing on the international music scene. In December 1998, Mr. Ozawa was named a Chevalier de la Legion d'Honneur by French President Jacques Chirac, recognizing not only his work as a conductor, but also his support of French composers, his devotion to the French public, and his work at the Paris Opera. In De- cember 1997 he was named "Musician of the Year" by MusicalAmerica, the international directory of the performing arts. In February 1998, fulfilling a longtime ambition of uniting musicians across the globe, he closed the Opening Ceremonies at the Winter Olympics in Nagano, Japan, leading the "Ode to Joy" from Beethoven's Ninth Symphony with performers including six choruses—in Japan, Australia, China, Germany, South Africa, and the United States linked by satellite. In 1994 he became the first recipient ofJapan's Inouye Sho (the "Inouye Award," named after this century's preeminent Japanese novelist) recognizing lifetime achievement in the arts. 1994 also saw the inauguration of Seiji Ozawa Hall at Tanglewood, the BSO's summer home in western Massachusetts. At Tanglewood he has also played a key role as both teacher and administrator at the Tanglewood Music Center, the BSO's summer training academy for young professional musicians from all over the world. In 1992 Mr. Ozawa co-founded the Saito Kinen Festival in Matsumoto, Japan, in memory of his teacher at Tokyo's Toho School of Music, Hideo Saito, a central figure in the cultivation of Western music and musical technique in Japan. Also in 1992 he made his debut with the Metropolitan Opera in New York. More recently, in 2000, reflecting his strong commitment to the teaching and training of young musicians, he founded the Ozawa Ongaku-juku ("Ozawa Music Academy") in Japan, at which aspiring young orchestral musicians collaborate with Mr. Ozawa and professional singers in fully staged opera productions. Besides his concerts throughout the year with the Boston Sym- phony, Mr. Ozawa conducts the Berlin Philharmonic and Vienna Philharmonic on a regular basis, and appears also with the New Japan Philharmonic, the London Symphony, the Orchestre National de France, La Scala in Milan, and the Vienna Staatsoper. In addition to his many Boston Symphony recordings, he has recorded with the Berlin Philharmonic, the Vienna Phil- harmonic, the Saito Kinen Orchestra, the London Philharmonic, the Orchestre National de France, the Orchestre de Paris, the Philharmonia of London, the San Francisco Symphony, the

Chicago Symphony, and the Toronto Symphony, among others. In the fall of 2002, following that summer's Tanglewood season, he will begin a new phase in his artistic life when he becomes music director of the Vienna State Opera, where he has maintained a long association as a guest conductor leading productions in that house as well as concerts with the Vienna Philharmonic in Vienna, at Salzburg, and on tour. Throughout his tenure as music director of the Boston Symphony, Seiji Ozawa has maintained the orchestra's distinguished reputation both at home and abroad, with concerts in Sym- phony Hall, at Tanglewood, on tours to Europe, Japan, Hong Kong, China, and South America, and across the United States. He has also upheld the BSO's commitment to new music through the frequent commissioning of new works. In addition, he and the orchestra have recorded nearly 140 works, representing more than fifty different composers, on ten labels. Mr. Ozawa won his first Emmy award in 1976, for the BSO's PBS television series "Evening at Symphony." He received his second Emmy in September 1994, for Individual Achievement in Cultural Pro- gramming, for "Dvorak in Prague: A Celebration," a gala Boston Symphony concert subsequently released by Sony Classical in both audio and video formats. Mr. Ozawa holds honorary doctor of music degrees from the University of Massachusetts, the New England Conservatory of Music, Wheaton College in Norton, Massachusetts, and Harvard University.

Born in 1935 in Shenyang, China, Seiji Ozawa studied music from an early age and later graduated with first prizes in composition and conducting from Tokyo's Toho School of Music.

In 1959 he won first prize at the International Competition of Orchestra Conductors held in Besancon, France. Charles Munch, then music director of the Boston Symphony, subsequently invited him to attend the Tanglewood Music Center, where he won the Koussevitzky Prize for outstanding student conductor in 1960. While working with Herbert von Karajan in West Ber- lin, Mr. Ozawa came to the attention of Leonard Bernstein, who appointed him assistant conductor of the New York Philharmonic for the 1961-62 season. He made his first professional concert appearance in North America in January 1962, with the San Francisco Symphony. He was music director of the Chicago Symphony Orchestra's Ravinia Festival for five summers beginning in 1964, music director of the Toronto Symphony from 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser. He conducted the Boston Symphony Orchestra for the first time in 1964, at

Tanglewood, and made his first Symphony Hall appearance with the orchestra in January 1968. He became an artistic director of Tanglewood in 1970 and began his tenure as music director of the BSO in 1973, following a year as music adviser. Today, some 80% of the BSO's members have been appointed by Seiji Ozawa. The Boston Symphony itself stands as eloquent testimony not only to his work in Boston, but to Mr. Ozawa's lifetime achievement in music. Mr. Ozawa's compact discs with the Boston Symphony Orchestra include, on Philips, the complete cycle of Mahler symphonies, music of Britten, Ravel, and Debussy with soprano Sylvia McNair, Richard Strauss's Elektra, Schoenberg's Gurrelieder, and Bartok's Concerto for

Orchestra and complete Miraculous Mandarin. Among his EMI recordings is the Grammy- winning "American Album" with Itzhak Perlman, including music for violin and orchestra by Bernstein, Barber, and Lukas Foss. Recordings on Deutsche Grammophon include Mendels- sohn's complete incidental music to A Midsummer Nights Dream, violin concertos of Bartok and Moret with Anne-Sophie Mutter, and Liszt's piano concertos with Krystian Zimerman. Other recordings include Faure's Requiem, Berlioz's Requiem, Rachmaninoff's Third Piano Concerto with Evgeny Kissin, and Tchaikovsky's opera Pique Dame, on RCA Victor Red Seal; music for piano left-hand and orchestra by Ravel, Prokofiev, and Britten with Leon Fleisher, and Strauss's Don Quixote with Yo-Yo Ma, on Sony Classical; and Beethoven's five piano concertos and Choral Fantasy with Rudolf Serkin, on Telarc.

CLASSICAL CD DELETIONS & OVERRUNS Top quality LPs, tapes, CDs, videos and books from $2.00. Over 15,000 Classical titles at a fraction of their original prices.

Just 372 miles East of Stockbridge on Rte. 102 (follow map below)

EXIT 2 MASS. PIKE MAIN ST STOCKBRIDGE RTE 102ETOLEE vy RED LION BERKSHIRE INN RECORD OUTLET

Summer Retail Hours: Mon.-Sat. 10:00 AM-5:30 PM BERKSHIRE RECORD OUTLET Rte. 102, Lee, MA Website: www.broinc.com (413) 243-4080 nuB " AMI iSCWWsl

Edward Gazouleas °Bonnie Bewick Lois and Harlan Anderson chair, David and Ingrid Kosowsky chair fullyfunded in perpetuity *James Cooke Robert Barnes Theodore W. and Evelyn Berenson Family chair Burton Fine *Victor Romanul Ronald Wilkison Bessie Pappas chair Michael Zaretsky *Catherine French Marc Jeanneret Stephanie Morris Marryott and *Mark Ludwig Franklin Marryott chair BOSTON SYMPHONY J. * Rachel Fagerburg ORCHESTRA °Kelly Barr *Kazuko Matsusaka Catherine and Paul Buttenwieser 2000-2001 chair Cellos Seiji Ozawa Mary B. Saltonstall chair Jules Eskin Music Director *Yu Yuan Principal Philip Allen chair, endowed Ray and Maria Stata Kristin and Roger Servison chair R. Music Directorship, in perpetuity in 1969 fullyfunded in perpetuity Second Violins Martha Babcock Bernard Haitink Haldan Martinson Assistant Principal Principal Guest Conductor Principal Vernon and Marion Alden chair, endowed in perpetuity in 1977 LaCroix Family Fund, Carl Schoenhof Family chair, fullyfunded in perpetuity fullyfunded in perpetuity Sato Knudsen Vyacheslav Uritsky Stephen and Dorothy Weber chair First Violins Assistant Principal Joel Moerschel Sandra and David Bakalar chair Malcolm Lowe Charlotte and Irving W. Rabb chair, endowed in perpetuity Luis Leguia Concertmaster in 1977 Robert Bradford Newman chair, Charles Munch chair, fullyfunded in perpetuity fullyfunded in perpetuity Ronald Knudsen Tamara Smirnova Edgar and Shirley Grossman chair Carol Procter Lillian and Nathan R. Miller chair Associate Concertmaster Joseph McGauley Helen Horner Mclntyre chair, Shirley andJ. Richard Fennell chair, Ronald Feldman endowed in perpetuity in 1976 fullyfunded in perpetuity Richard C. and Ellen E. Paine Nurit Bar-Josef Ronan Lefkowitz chair, fullyfunded in perpetuity * Assistant Concertmaster David H and Edith C Howie Jerome Patterson Robert L. Beat, and Enid L. and chair, fullyfunded in perpetuity Charles andJoAnne Dickinson chair Bruce A. Beat chair, endowed in *Sheila Fiekowsky Jonathan Miller perpetuity in 1980 Donald C and Ruth Brooks Heath Rosemary and Donald Hudson chair Elita Kang chair, fullyfunded in perpetuity *Owen Young Assistant Concertmaster * Jennie Shames John F Cogan,Jr., and Mary Edward and Bertha C Rose chair *Valeria Vilker Kuchment L. Cornille chair, fullyfunded Bo Youp Hwang *Tatiana Dimitriades in perpetuity and Dorothy Wilson chair, Pearce John fully *Si-Jing Huang *Andrew funded in perpetuity Gordon and Mary Ford Kingsley *Nicole Monahan Lin Family chair Lucia *Wendy Putnam Forrest Foster Collier chair *Xin Ding Ikuko Mizuno Basses Carolyn and George Rowland chair *Sae Shiragami Edwin Barker Amnon Levy * Alexander Velinzon Principal Harold D. Hodgkinson chair, Dorothy Q. and David B. Arnold, §Gerald Elias endowed in perpetuity in 1974 Jr., chair, fullyfunded in perpetuity §Frank Powdermaker "Nancy Bracken Lawrence Wolfe Assistant Principal Muriel C Kasdon and Marjorie C. Violas Maria Nistazos Stata chair, Paley chair Steven Ansell fullyfunded in perpetuity *Aza Raykhtsaum Principal Hearne Charles S. Dana chair, Joseph Ruth and CarlJ. Shapiro chair, fully Leith Family chair, funded in perpetuity endowed in perpetuity in 1970 funded in perpetuity Cathy Basrak fully Assistant Principal Dennis Roy * Participating in a system and Brett Hearne chair Anne Stoneman chair, Joseph Jan ofrotated seating fullyfunded in perpetuity °John Salkowski § Substituting, Tanglewood 2001 Erich and Edith Heymans chair £ On sabbatical leave ° On leave *Robert Olson Bassoons Timpani *James Orleans Richard Svoboda Everett Firth *Todd Seeber Principal Sylvia Shippen Wells chair, Eleanor L. and Levin H. Campbell Edward A. Taft chair, endowed endowed in perpetuity in 1974 chair, fullyfunded in perpetuity in perpetuity in 1974 *John Stovall Suzanne Nelsen Percussion §Joseph Holt Richard Ranti Thomas Gauger Associate Principal Peter andAnne Brooke chair, Flutes fullyfunded in perpetuity Jacques Zoon Contrabassoon Frank Epstein Principal Gregg Henegar Peter Andrew Lurie chair, Walter Piston chair, endowed Helen Rand Thayer chair fullyfunded in perpetuity

in perpetuity in 1970 J. William Hudgins Fenwick Smith Horns Timothy Genis Myra and Robert Kraft chair, James Sommerville Assistant Timpanist endowed in perpetuity in 1 981 Principal Mr. and Mrs. Edward H. Linde Elizabeth Ostling Helen Sagojf Slosberg/Edna chair Associate Principal S. Kalman chair, endowed Marian Gray Lewis chair, in perpetuity in 1974 Harp fullyfunded in perpetuity Richard Sebring Ann Hobson Pilot Associate Principal Principal Piccolo Margaret Andersen Congleton chair, Willona Henderson Sinclair chair °Geralyn Coticone fullyfunded in perpetuity Evelyn and C. Charles Marran Daniel Katzen Voice and Chorus chair, endowed in perpetuity in Elizabeth B. Storer chair John Oliver 1979 Jay Wadenpfuhl Tanglewood Festival Chorus § Linda Toote John P. II and Nancy S. Eustis chair, Conductor fullyfunded in perpetuity Alan J. and Suzanne W. Dworsky Oboes Richard Mackey chair, fullyfunded in perpetuity John Ferrillo Diana Osgood Tottenham chair Principal Librarians Jonathan Menkis Mildred B. Remis chair, endowed Marshall Burlingame in perpetuity in 1975 Trumpets Principal Mark McEwen Lia and William Poorvu chair, Charles Schlueter James and Tina Collias chair fullyfunded in perpetuity Principal William Shisler Keisuke Wakao Roger Louis Voisin chair, Assistant Principal endowed in perpetuity in 1977 John Perkel Elaine andJerome Rosenfeld chair Peter Chapman Assistant Conductors English Horn Ford H. Cooper chair Federico Cortese Robert Sheena Thomas Rolfs Associate Principal Anna E. Finnerty chair, Beranek chair, fullyfunded perpetuity Nina L. and Eugene B. Doggett fullyfunded in in perpetuity chair Ilan Volkov Clarinets Trombones Personnel Managers William R. Hudgins Principal Ronald Barron Lynn G. Larsen Principal Ann S.M. Banks chair, endowed Bruce M. Creditor P. B. Barger chair, in perpetuity in 1977 J. and Mary fullyfunded in perpetuity Scott Andrews Stage Manager Bolter Thomas and Dola Sternberg chair Norman Peter Riley Pfitzinger Arthur and Linda Gelb chair Thomas Martin Position endowed by Angelica L. Russell Associate Principal & Bass Trombone E-flat clarinet Stage Assistant Stanton W. and Elisabeth K. Davis Douglas Yeo Moors Cabot chair, chair, fullyfunded in perpetuity John Harold Harris fullyfunded in perpetuity Bass Clarinet Tuba Craig Nordstrom Farla and Harvey Chet Krentzman Chester Schmitz Margaret and William C. Rousseau chair, fullyfunded in perpetuity chair, fullyfunded in perpetuity COACH FACTORY jsiil^,.

PRIME OUTLETS AT LEE 413.243.4897 —

A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

Now completing its 120th season, the Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, and has continued to uphold the vision of its founder, the businessman, philanthropist, Civil War veteran, and amateur musician Henry Lee Higginson, for more than a century. Under the leadership of Seiji Ozawa, its music director since 1973, the Boston Symphony Orchestra has performed throughout the United States, as well as in Europe, Japan, Hong Kong, South America, and China, and reaches audiences numbering in the millions through its performances on radio, television, and recordings. It plays an active role in commissioning new works from today's most important composers; its summer season at

Tanglewood is renowned as one of the world's most important music festivals; it helps develop future audiences through BSO Youth Concerts and through a variety of outreach programs involving the entire Boston community; and, during the summer, it sponsors the Tanglewood Music Center, one of the world's most important training grounds for young composers, conductors, instrumentalists, and vocalists. The orchestra's virtuosity is reflected in the concert and recording activities of the Boston Symphony Chamber Players, one of the world's most distinguished chamber ensembles made up of a major symphony orchestra's principal players. The activities of the Boston Pops Orchestra have established an international standard for the performance of lighter kinds of music. Overall, the mission of the Boston

Symphony Orchestra is to foster and maintain an organization dedicated to the making of music consonant with the highest aspirations of musical art, creating performances and providing educational and training programs at the highest level of excellence. This is accom- plished with the continued support of its audiences, governmental assistance on both the federal and local levels, and through the generosity of many foundations, businesses, and individuals. Henry Lee Higginson dreamed of founding a great and permanent orchestra in his home town of Boston for many years before that vision approached reality in the spring of 1881.

The following October the first Boston Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would remain as music director until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall;

Symphony Hall, one of the world's most highly regarded concert halls, was opened on October 15, 1900. The BSO's 2000-2001 season celebrates the centennial of Symphony Hall, and the rich history of music performed and introduced there since it opened a century ago. Georg Henschel was succeeded by a series of German-born and -trained conductors

Thefirst photograph, actually a collage, ofthe Boston Symphony Orchestra under Georg Henschel, taken 1882 Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler—culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906-08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first "Promenade" concert, offering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of music." These concerts, soon to be given in the springtime and renamed first "Popular" and then "Pops," fast became a tradition.

In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Francisco. Recording, begun with the Victor Talking Ma- chine Company (the predecessor to RCA Victor) in 1917, continued with increasing fre- quency, as did radio broadcasts. In 1918 Henri Rabaud was engaged as conductor. He was succeeded the following year by Pierre Monteux. These appointments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians. The Koussevitzky era began in 1924. His extraordinary musicianship and electric person- ality proved so enduring that he served an unprecedented term of twenty-five years. Regular radio broadcasts of Boston Symphony concerts began during Koussevitzky's years as music director. In 1936 Koussevitzky led the orchestra's first concerts in the Berkshires; a year later he and the players took up annual summer residence at Tanglewood. Koussevitzky passion- ately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The Boston Pops Orchestra celebrated its hun- dredth birthday in 1985 under Mr. Williams's baton. Keith Lockhart began his tenure as

Inspired by the Everyday. Formed into the Extraordinary. The Fine Art of Craft: 1801-2001

A series of independent, yet closely connected exhibits celebrating the changing nature of handcrafted art over the past two centuries.

June 8* - September 3* The Berkshire Museum

Route 7, Pittsfield 413443-7171 berkshiremuseum.org

Best in Massachusetts Crafts Antique Oriental Rugs Award-winning Contemporary Designs from the Silk Road The Gregorian Family Collection The Crafts Tradition Canoes, Currency Traditional American Works & Christmas Cards Hands on Crafts Made in Massachusetts With The Interlaken School of Arts by Crane & Co.

FUNDING PROVIDED IN PART BY liill Berkshires Massachusetts Cultural Council America's Premier Cultural Resort twentieth conductor of the Boston Pops in May 1995, succeeding Mr. Williams. Charles Munch followed Koussevitzky as music director of the Boson Symphony Or- chestra in 1949. Munch continued Koussevitzky s practice of supporting contemporary composers and introduced much music from the French repertory to this country. During his tenure the orchestra toured abroad for the first time and its continuing series of Youth Con- certs was initiated. Erich Leinsdorf began his seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA; in addition, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center; under his leadership a full-tuition fellowship program was established. Also during these years, in 1964, the Boston Symphony Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the mid-west. Now in his twenty-eighth season as the BSO's music director, Seiji Ozawa became the thirteenth conductor to hold that post in the fall of 1973, following a year as music adviser and having been appointed an artistic director of the Tanglewood Festival in 1970. During his tenure Mr. Ozawa has continued to solidify the orchestra's reputation both at home and abroad. He has also reaffirmed the BSO's commitment to new music, through a series of centennial commissions marking the orchestra's 100th birthday, a series of works celebrating the fiftieth anniversary of the Tanglewood Music Center in 1990, and a continuing series of commissions from such composers as Henri Dutilleux, John Harbison, Hans Werner Henze, Peter Lieberson, Bright Sheng, Toru Takemitsu, and Sir Michael Tippett. The 2000-2001 Symphony Hall Centennial Season brought the world premiere of a newly commissioned work from John Corigliano; new works by Michael Colgrass and Andre Previn are scheduled for 2001-2002. Under Mr. Ozawa's direction the orchestra has also expanded its recording activities to include releases on the Philips, Telarc, Sony Classical/CBS Masterworks, EMI/ Angel, Hyperion, New World, and Erato labels. In 1995 Seiji Ozawa and the Boston Sym- phony Orchestra welcomed Bernard Haitink as Principal Guest Conductor, in which capa- city Mr. Haitink conducts and records with the orchestra, and has also taught at Tanglewood. Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annually.

It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston.

Seiji Ozawa, the Boston Symphony Orchestra, and the Tanglewood Festival Chorus at Tanglewood ' •'': ' HMO

Classically fiff UP,'ACL Classy & m/ Comfortable^! Italian bed and bath... XEW6 Clothes! Jw& an intriguing shop full JA of outstanding clothing, ^f1 \ v A jewelry, accessories, fun yl

cards & fabulous finds. , . Ik

Eileen Fisher • PA • FLAX Ik Fat Hat • Sarah Arizona Ik Rm& Christy Allen & lots morelffl

1 VliADA.©out/ que

313 Ma In Street elm st • stockbridge ) Great Barrington, MA 01 230 413*298-3656 1 413-528-1888 visit our new sale room! x^Jil v

...she paints when she sings &she sings when she paints. Michel Seuphor "Paris-New \ \

Featuring AWARD-WINNING:

"Superb" Truffles & Pralines, 27 Different Chocolate Bars Frelinghuysen Morris Amazing Nut Brittles & Toffees House & Studio Hot Chocolate Mixes & Sauces

Tour the studio and house of celebrated Valhrona Cooking Chocolate 20th century artists. Extraordinary Butter Crunches, etc. Season runs July through October. Open Thursday through Sunday. Hourly guided tours: 10am to 3pm Weekly Specials Tastings Tel: 413.637.0166 • www.frelinghuysen.org &

Bordering Tanglewood 4 Housatonic St. Lenox, MA (413) 637-9114 Also available in the home version.

The power of the orchestra. The vocal agility

of the diva. The inspiration of the conductor. A

live performance plays to our souls as much as

Of course no home music system can bring

you the full experience of a live performance.

"Bose breaks the mold... But at Bose! we won't stop trying. Our engineers

Who said American have spent the last 35 years inventing break- companies can't innovate?" through technologies and products, so now

- Rich Warren, we're closer than even we thought possible.

Chicago Tribune If you haven't listened to a Bose music system

lately, audition one at a retailer near you. And

see for yourself just how close the home version

comes to the live performance.

For more information, or to find a retailer

near you, call 1-800-444-BOSE.

Or visit our website at www.bose.com.

Better sound through research® is but a dream

At Canyon Ranch in the Berkshires Health

Resort, enjoy shining summer days devoted to fitness and play, then dream of lively arts by night

There's no better accompaniment to our classic healthy vacation than the music, dance and theater that fills the Berkshires with a celebration of life.

Reservations: 800-326-7080 www.canyonranch.com

Canyon Ranch

In The Berkshires ,

HEALTH RESORT ; L E N O X • M A

To tour our award-winning health resort,

ll£ jT-tV-

Special Exhibi Now through October Norman Rockwell: Pictures for the American People

The Norman Rockwell Museum

at Stockbridge

Rt. 183, Stockbridge, !VL 413-298-4100, ext. 22( www.nrm.

The exhibition and its national tour are made possible by Ford Motor Compan

Fidelity {^^) Investments

Education programs for the national tour are made possible by elity Investments through the Fidelity Found le exhibition in Stockbridge is made possib; delity Investments and the Fidelity Founda

Audio tours courtesy of Counts^Curtaine. an IheRedLisnInn, Stockbridge, MA.

Miles or nature trails through pine rorests

Championship golr hy Rees Jones & Nicfclaus Design

Shops and restaurants within walking distance

2,000 acres or hackyard with views or woods, golr, meadow, horizon

The Pinehills

Neighborhoods with townhomes, single family and custom homes by The Green Companies, Whitman Homes and Kistler & Knapp. Starting in the $400, 000s up to over $1 million. New commuter rail nearby with 55-minute service to South Station in Boston. Visit the Summerhouse information center, open daily 9 am to 5 pm. xit 3 off Route 3 in Plymouth, Massachusetts Toil-Free [888] 209-8880 [508] 209-200C

Created oy New England Development, The Green Companies and Wallace Associates Table of Contents

Prelude Concert of Friday, August 17, at 6 3 Tanglewood Festival Chorus, John Oliver, conductor MUSIC OF BRUCKNER, MARTINO, AND MARTIN

Boston Symphony Orchestra concert of Friday, August 17, at 8:30 11 Bernard Haitink conducting; Richard Goode, piano MUSIC OF DEBUSSY, MOZART, AND DVORAK

Boston Symphony Orchestra concert of Saturday, August 18, at 8:30 25 Bernard Haitink conducting; Tanglewood Festival Chorus MUSIC OF STRAVINSKY AND RAVEL

TMC Orchestra concert of Sunday, August 19, at 2:30 32 The Leonard Bernstein Memorial Concert Roberto Abbado conducting; Gianluca Cascioli, piano MUSIC OF BERNSTEIN AND BERLIOZ

Ozawa Hall Concert of Sunday, August 19, at 8:30 47 Andre Previn, piano; David Finck, double bass A JAZZ EVENING WITH ANDRE PREVIN AND DAVID FINCK

SATURDAY-MORNING OPEN REHEARSAL SPEAKERS, AUGUST 2001 August 4 and 11 — Marc Mandel, BSO Director of Program Publications August 18 — Robert Kirzinger, BSO Publications Associate

Tanglewood BOSTON THE BSO ONLINE

Boston Symphony and Boston Pops fans with access to the Internet can visit the orchestra's official home page (http://www.bso.org). The BSO web site not only provides up-to-the- minute information about all of the orchestra's activities, but also allows you to buy tickets to BSO and Pops concerts online. In addition to program listings and ticket prices, the web site offers a wide range of information on other BSO activities, biographies of BSO musicians and guest artists, current press releases, historical facts and figures, helpful telephone

numbers, and information on auditions and job openings. A highlight of the site is a virtual- reality tour of the orchestra's home, Symphony Hall. Since the BSO web site is updated on a regular basis, we invite you to check in frequently.

2001 Tanglewood SEIJI OZAWA HALL Prelude Concert

Friday, August 17, at 6 Florence Gould Auditorium, Seiji Ozawa Hall TANGLEWOOD FESTIVAL CHORUS JOHN OLIVER, conductor

BRUCKNER Christus factus est Virga Jesse floruit

MARTINO Seven Pious Pieces

1. To his ever-loving God 2. Mercy and Love 3. His Ejaculation to God 4. The Soule

5. Eternitie

6. Teares To Death Welcome what comes 7. No coming to God without Christ

MARTIN Mass for double chorus a cappella

Kyrie eleison Gloria Credo Sanctus Agnus Dei

This concert is sponsored in loving memory of Klara K. Wender.

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert.

Please refrain from taking pictures in Seiji Ozawa Hall at any time during the concert. Thank you for your cooperation.

Notes

Although the Biblical psalmist urged us to "Praise God with trumpet sound, with lute and harp, strings and pipe, with loud clashing cymbals," the early Christian church banned instruments from liturgical music, feeling that their sounds too readily prompted thoughts of secular entertainment. A literature of unaccompanied church choruses perforce grew up; and long after instruments had been reincorporated in worship, the a cappella chorus

3 Week 7 —

retained its cachet as the ideal medium for music during holy observances. This cultural association—between thoughts of divinity and the sound of unaccompanied chorus colors all the works on our program, even those not specifically written with religious services in mind. In the mammoth symphonies of Anton Bruckner (1824-1896), we can discern the mind of one of history's greatest church organists. Thanks to his intense and curiously naive piety, Bruckner approached his church performances and liturgical composition with a spirituality that remained uncompromised by Romanticism's sensual blandishments, producing several Masses and various unaccompanied liturgical pieces. Composed, respectively, in 1884 and 1885, the four-voice motets "Christus factus est" and "Virga Jesse floruit" are both "graduals" (that is, music for prayers associated with specific holy days rather than weekly worship). At this time, the composer was immersed in his craggy Eighth Symphony, and the new harmonic daring of that score permeates the two motets, result- ing in fascinating chordal conundrums. In "Christus factus," Bruckner's expressive intensi- ty packs a sense of both tragedy and divine mystery into the phrase "mortem autem cruris." "Virga Jesse" begins with an awestruck contemplation that yields to an almost homey church commonality, culminating in a final alleluia.

Seven Pious Pieces (1971) is one of the few concert scores in which the American composer Donald Martino (b.1933) abandoned the dissonance associated with his avant- garde serial techniques and instead employed traditional tonal chords. Martino took his texts from a devotional collection published by Robert Herrick in 1647 under the title His Noble Numbers Or, His Pious Pieces. Flowing vocal imitations in the brief first song contrast with the severe chordal treatment of "Mercy and Love." The more extended third movement functions as the group's center of gravity, climaxing in a pathos-laden return to its opening lines. A "straying" chorale follows. "Eternitie" expresses spiritual confidence through serene and affectionate harmonies. The acceptance of death in "Teares" takes the ironic form of a sentimental waltz song. Musical images of celestial grandeur open the final song, softening to tender musical contemplation of God's merciful attribute as the Son. The son of a Calvinist minister, Frank Martin (1890-1974) composed his twenty-five- minute Mass for unaccompanied double chorus between 1922 and 1926. Stylistically, the piece is akin to his other neo-Classic works of this period, although its evocation of ancient church music sets it apart. (Only years later would Martin explore Schoenberg's twelve-tone idea.) The composer withheld the Mass from publication for decades, believ- ing that "the expression of religious feelings ... should remain a secret." He finally released

National Yiddish Book Center A thousand years of Jewish history right before your eyes!

Museum Exhibits • Cultural Programs • English-language Bookstore On the Hampshire College campus, Amherst, MA, just an hour's drive

from the Berkshires / Open Sun - Fri 10:00-3:30 / Admission is free

For directions call (413) 256-4900, X124 / www.yiddishbookcenter.org the score for print in 1963.

The opening of the Kyrie is almost chant-like, but a richer harmonic idiom soon be- stows increased urgency upon the prayers for mercy. Supple syncopation marks the exhor- tation to Christ, emphasizing His approachability. Luminous bursts of sound embody the "Glory" accorded God "in the highest," while a drone-bass solemnizes the Lamb's suffer- ing, before tripping euphoria takes wing in the "cum sancto spirito" (cast, traditionally, as a fugue). In the Credo, Martin finds iridescent colors for the Lord's attribute as "light of light." Light-footed euphoria returns to bubble through the "et resurrexit" the creed con- cluding with exuberant asymmetrical rhythms. A contemplative, lilting Sanctus prompts pealing-bell "osannas," while the veiled Benedictus colloquies that follow are ^almost con- spiratorial. The Agnus Dei suggests a slow procession of penitents, and—unusual for a Mass—some of its opening anxiety continues to underlie the final prayer for peace. —Benjamin Folkman

Benjamin Folkman, Gold Record-winning collaborator on the album "Switched-On Bach," is a prominent New York-based lecturer and annotator whose articles have appeared in Opera

News, Stagebill, Playbill, Performing Arts, and other publications. He is also the President of the Tcherepnin Society and author-compiler of the forthcoming book Alexander Tcherepnin: A Compendium.

ANTON BRUCKNER

Christus factus est

Christus factus est pro nobis obediens Christ became obedient for us unto usque ad mortem, mortem autem death, even the death of the cross. crucis. Propter quod et Deus exaltavit Wherefore God also hath exalted Him,

ilium: et dedit illi nomen, quod est and hath given Him a name which is super omne nomen. above every name.

—Liber Usualis: Gradual for Maundy Thursday, Philippians 2: 8-9

Virga Jesse floruit

Virga Jesse floruit: Virgo Deum et The rod of Jesse hath blossomed: hominem genuit: pacem Deus a virgin hath brought forth One reddidit, in se reconcilians ima Who was both God and man: summis. God hath given back peace to man, -Liber Usualis: Text from the reconciling the lowest and the Greater Alleluia of the Feast highest to Himself. of the Annunciation

DONALD MARTINO "Seven Pious Pieces"

1. To his ever-loving God

Thou bidst me come; I cannot come; for why,

Thou dewl'st aloft, and I want wings to flie. To mount my Soule, she must have pineons given;

For, 'tis no easie way from Earth to Heaven.

2. Mercy and Love God hath two wings, which He doth ever move,

The one is Mercy, and the next is Love: Under the first the Sinners ever trust;

And with the last he still directs the Just. Please turn thepage quietly.

Week 7 3. His Ejaculation to God My God! looke on me with thine eye Of pittie, not of scrutinie; 3S For if thou dost, thou then shalt see Nothing but loathsome sores in mee. 6. Teares O then! for mercies sake, behold Our present Teares here These my irruptions manifold; (not our present laughter) And heale me with thy looke, or touch: Are but the handsells of our joyes But if thou wilt not deigne so much, hereafter. Because I'me odious in thy sight, Speak but the word, and cure me quite. To Death Thou bidst me come away, 4. The Soule And I'le no longer stay, When once the Soule has lost her way, Then for to shed some teares O then, how restless do's she stray! For faults of former yeares; And having not her God for light, And to repent some crimes, How do's she erre in endless night! Done in the present times: And next, to take a bit

5. Eternitie Of Bread, and Wine with it: O Yeares! and Age! Farewell: To d'on my robes of love, Behold I go, Fit for the place above; Where I do know To gird my loynes about Infinitie to dwell. With charity throughout; And so to travaile hence these mine eyes shall see And With feet of innocence: All times, they how These done, Fie onely crie Are lost i'th' Sea God mercy, and so die. Of vast Eternitie. Welcome what comes Where never Moone shall sway Whatever comes, let's be content The Starres; but she, withal: And Night, shall be Among Gods Blessings, there is Drown'd in one endless Day. no one small.

7. No coming to God without Christ

Good and great God! How sho'd I feare To come to Thee, if Christ not there! Co'd I but think, He would not be Present, to plead my cause for me; To Hell I'd rather run, then I Wo'd see Thy Face, and He not by.

FRANK MARTIN Mass for double chorus

Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison Lord, have mercy upon us.

Gloria in excelsis Deo. Glory be to God on high. Et in terra pax hominibus, bonae And on earth peace, good will toward

voluntatis. Laudamus te, benedicimus men. We praise thee, we bless thee,

te, adoramus te, glorificamus te, gratias we worship thee, we glorify thee, we agimus tibi propter magnam gloriam give thanks to thee for thy great glory; tuam; Domine Deus, rex coelestis, Lord God, heavenly king, God the Deus pater omnipotens, Domine Fili Father almighty, O Lord, the only- unigenite Jesu Christe, Domine Deus, begotten son Jesus Christ O Lord God, agnus Dei, Filius Patris, qui tollis Lamb of God, Son of the Father. Thou peccata mundi, miserere nobis, suscipe that takest away the sins of the world, deprecationem nostram. Qui sedes ad have mercy upon us, receive our prayer. dexteram Patris, miserere nobis. Thou that sittest at the right hand of God the father, have mercy upon us.

Quoniam tu solus sanctus, tu solus For thou alone art holy; thou only art Dominus, tu solus altissimus Jesu the Lord; thou only, O Jesus Christ, art Christe, cum sancto Spiritu in gloria most high, With the Holy Ghost, in the Dei Patris. Amen. glory of God the Father. Amen.

Credo in unum Deum. Patrem 1 believe in one God, the Father omnipotentem, factorem coeli et terrae, Almighty, maker of heaven and earth, visibilium omnium et invisibilium; and of all things visible and invisible;

Et in unum Dominum Jesum Christum, And in one Lord, Jesus Christ, the only nlium Dei unigenitum; et ex Patre begotten Son of God, and begotten of natum ante omnia saecula; Deum de his Father before all worlds, God of Deo, lumen de lumine, Deum verum God; light of light, very God of very de Deo vero; genitum, non factum, God; begotten, not made, being of one consubstantialem Patris per quern substance with the Father, by whom all omnia facta sunt; things were made;

Qui propter nos homines et propter Who for us men and for our salvation nostram salutem descendit de coelis. came down from heaven.

Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost ex Maria virgine, et homo factus est. of the Virgin Mary, and was made man.

Crucifixus etiam pro nobis, sub Pontio And was crucified also for us, under Pilato passus et sepultus est. Pontius Pilate he suffered and was buried.

Et resurrexit tertia die secundum And the third day he rose again accord- scripturas; et ascendit in coelum, sedet ing to the Scriptures, and ascended into ad dexteram Patris. Et iterum venturus heaven, and sitteth at the right hand of est cum gloria judicare vivos et mortuos; the Father. And he shall come again cuius regni non erit finis. with glory to judge the quick and the dead; whose reign shall have no end.

Et in Spiritum sanctum, Dominum et And in the Holy Ghost, the Lord and vivificantem, qui ex Patre Filioque Giver of life, who proceedeth from the procedit, qui cum Patre et Filio simul Father to the Son, who with the Father adoratur et conglorificatur, qui locutus and the Son together is worshipped and est per Prophetas. Et unam sanctam glorified, who spake by the Prophets. catholicam et apostolicam ecclesiam, And in one holy catholic and apostolic confiteor unum baptisma in remission- church. I acknowledge one baptism for em peccatorum, et exspecto resur- the remission of sins. And I look for the rectionem mortuorum, resurrection of the dead,

Please turn thepage quietly.

Week 7 Et vitam venturi saeculi. Amen. And the life of the world to come. Amen.

Sanctus, sanctus, sanctus, Dominus Holy, holy, holy is the Lord God of Deus Sabaoth. Pleni sunt coeli et terra hosts. Heaven and earth are full of his gloria tua; Osanna in excelsis. Bene- glory. Hosanna in the highest.

dictus qui venit in nomine Domini. Blessed is he that cometh in the name Osanna in excelsis. of the Lord. Hosanna in the highest.

Agnus Dei, qui tollis peccata mundi, O Lamb of God, that takest away the miserere nobis. Agnus Dei, qui tollis sins of the world, have mercy upon us. peccata mundi, dona nobis pacem. O Lamb of God, that takest away the sins of the world, grant us peace.

ARTISTS

Tanglewood Festival Chorus John Oliver, Conductor The Tanglewood Festival Chorus was organized in the spring of 1970, when founding conductor John Oliver became director of vocal and choral activi-

ties at the Tanglewood Music Center. Following its performances here this summer, the chorus will join Bernard Haitink and the Boston Symphony Orchestra on their upcoming tour of European music festivals. In Decem-

ber 1994, in its first performances overseas, the chorus joined Seiji Ozawa and the BSO for tour performances in Hong Kong and Japan. In February 1998, singing from the General Assembly Hall of the United Nations in New York, the Tanglewood Festival Chorus represented the United States when Seiji Ozawa led the Winter Olympics Orchestra with six choruses on five continents, all linked by satellite, in the "Ode to Joy" from Beethoven's Ninth Symphony to close the Opening Ceremonies of the 1998 Winter Olympics. Co-sponsored by the Tanglewood Music Center and Boston University, and originally formed for performances at the Boston Symphony Orchestra's summer home, the chorus was soon playing a major role in the BSO's Symphony Hall season as well. Now the official chorus of the Boston Symphony Orchestra, the Tanglewood Festival

Chorus is made up of members who donate their services, performing in Boston, New York, and at Tanglewood. The chorus has also collaborated with Seiji Ozawa and the Boston Sym- phony Orchestra on numerous recordings, including Berlioz's Requiem, Faure's Requiem, and Tchaikovsky's opera Pique Dame, on RCA Victor Red Seal; Strauss's Elektra, Mahler's Second, Third, and Eighth symphonies, Bartok's The Miraculous Mandarin, and Schoenberg's Gurre- lieder, on Philips; and Mendelssohn's complete incidental music to A Midsummer Nights Dream, on Deutsche Grammophon. Also for Philips, the chorus has recorded Ravel's Daphnis et Chloe and Brahmss Alto Rhapsody and Nanie with the Boston Symphony Orchestra under Bernard Haitink's direction. They can also be heard on the RCA Victor discs "A Splash of Pops" and "Holiday Pops"— with Keith Lockhart and the Boston Pops Orchestra, as well as on two Christ- mas albums "Joy to the World," on Sony Classical, and "We Wish You a Merry Christmas," on Philips—with John Williams and the Boston Pops Orchestra. In addition to his work with the Tanglewood Festival Chorus, John Oliver was for many years conductor of the MIT Chamber Chorus and MIT Concert Choir, and a senior lecturer in music at MIT. Mr. Oliver founded the John Oliver Chorale in 1977. His first recording with that ensemble for Koch International includes three pieces written specifically for the Chorale—Bright Sheng's Two Folksongsfrom Chinhai, Martin Amlin's Time's Caravan, and William Thomas McKinley's Four Text Settings—as well as four works of Elliott Carter. The Chorale's latest recording for Koch includes Carter's remaining choral works. Mr. Oli- ver's appearances as a guest conductor have included performances of Mozart's Requiem with the New Japan Philharmonic, and Mendelssohn's Elijah and Vaughan Williams's A Sea Sym- phony with the Berkshire Choral Institute. Mr. Oliver made his Boston Symphony Orchestra

conducting debut at Tanglewood in August 1985, led subscription concerts for the first time in December 1985, and conducted the orchestra most recently in July 1998. In May 1999, Mr. Oliver prepared the chorus and children's choir for Andre Previn's performances of Benjamin Britten's Spring Symphony with the NHK Symphony in Japan.

Tanglewood Festival Chorus John Oliver, Conductor

Sopranos Barbara Naidich Ehrmann Lenny Ng Carol Amaya Paula Folkman David Norris Jenifer Lynn Cameron Debra Swartz Foote John R. Papirio Susan Cavalieri Dorrie Freedman Dwight E. Porter Catherine C. Cave Irene Gilbride Brian R. Robinson Lorenzee Cole Evelyn Eshleman Kern Martin S. Thomson Patricia Cox Gale Livingston Kurt Walker Christine Pacheco Duquette Catherine Playoust Laura C. Grande Mimi Rohlfing Basses Kathy Ho Rachel Shetler Daniel E. Brooks Laura Kohout Julie Steinhilber Paulo C. Carminati Nancy Kurtz Cindy Vredeveld Kirk Chao Barbara Levy Christina Lillian Wallace Joel Evans Jane Circle Morfill Marguerite Weidknecht Matt Giamporcaro Joei Marshall Perry Jay Gregory Melanie W. Salisbury Tenors Elliott Gyger Lynn Shane John C. Barr Jeramie D. Hammond Joan P. Sherman Richard A. Bissell Youngmoo Kim Angela M. Vieira Stephen Chrzan William Koffel Alison L. Weaver Andrew Crain Daniel Lichtenfeld Jonelle B. Wilson Jose Delgado David K. Lones Tom Dinger Stephen H. Owades

Mezzo-sopranos J. Stephen Groff Daniel Perry Maisy Bennett David M. Halloran Peter Rothstein Betty B. Blume Stanley Hudson Karl Josef Schoellkopf Sharon Brown James R. Kauffman Christopher Storer Sue Conte David Lin Peter S. Strickland Ethel Crawford Ronald Lloyd Bradley Turner Diane Droste Henry Lussier Thomas C. Wang

Felicia A. Burrey, Chorus Manager Frank Corliss, Rehearsal Pianist FEEL READY

LEARN THE ART OF PERFORMANCE,

so you can fee/ an audience

rise to its feet. Learn the rules

of logic, so you can fee/ the

heat of debate. Learn the

discipline of riding, so you can

fee/ the joy of a perfect jump.

Stoneleigh-Burnham School. Feel Ready.

College Prep Program

for Girls, Grades 9-12

Nationally Recognized Riding Program

Specializing in the Arts, Debate & Athletics

Extensive Science Program ^Stoneleigh- Including Equine Science Class BlIRNHAM SCHOOL Call admissions at 413-774-2711

or visit www.sbschool.org

A College Preparatory School for Young Women Since 1869 Greenfield, Massachusetts

10 2001 Tanglewood BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor

Friday, August 17, at 8:30

BERNARD HAITINK conducting

DEBUSSY Prelude to The Afternoon ofa Faun

MOZART Piano Concerto No. 25 in C, K.503 Allegro maestoso Andante [Allegretto] RICHARD GOODE

INTERMISSION

DVORAK Symphony No. 8 in G, Opus 8!

Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo

This concert is being recorded for delayed broadcast on National Public Radio.

RCA, Deutsche Grammophon, Philips, Telarc, Sony Classical/CBS Masterworks, Angel/EMI, London/Decca, Erato, Hyperion, and New World records

Baldwin piano

Richard Goode plays the Steinway piano.

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert.

Please do not take pictures during the concert. Flashbulbs, in particular, are distracting to the musicians and other audience members.

11 Week 7 O C5

ImpreSSiOn PAINTING QUICKLY IN FRANCE 1860-1890

June 17- September 9, 2001. Sunday-Wednesday, 10:00am-5:00pm; Thursday-Saturday, 10:00am-7:00pm. Tickets: 1-866-THE CLARK.

Impression is organized by the Sterling and Francine Clark Art Institute in association with the National Gallery, London, and the Van Gogh Museum, Amsterdam.

.Discover theCLARK

STERLING & CLARK ART INSTITUTE

225 SOUTH STREET, WILLIAMSTOWN, MASSACHUSETTS 01267 TEL 413-458-2303 WWW.CLARKART.EDU

12 NOTES ON THE PROGRAM

Claude Debussy (1862-1918) Prelude to The Afternoon ofa Faun

First performance: December 22, 1893, Paris, Societe Nationale de Musique, Gustave Doret cond. First BSO performances: December 1904, Wilhelm Gericke cond. First Berk- shire Festivalperformance: August 15, 1936, Serge Koussevitzky cond. First Tanglewood performance: August 13, 1939, Koussevitzky cond. Most recent Tanglewoodperformance:

August 8, 1998, Seiji Ozawa cond.

Though the critics were divided in their response to Debussy's Prelude a lApres-midi

d'unfaune following its premiere on December 22, 1894, by the Societe Nationale de Mu- sique in Paris under the direction of Swiss conductor Gustave Doret, the audience's reaction was unequivocal: the piece was encored. The occasion was Debussy's first great triumph, and the Faun remains, along with La Mer (1903-05), one of the composer's best-known and most popular works for orchestra. In fact, with his Prelude, Debussy established himself as a composer for orchestra not just with the membership of the Society: a repeat performance of the entire program was given the day after the premiere, with the Society's doors opened for the first time to the general public.

There is evidence to suggest that Debussy's Prelude represents the end product of what was originally planned as a score of incidental music to accompany a reading, or perhaps even a dramatized staging, of the poet Stephane Mal- arme's eclogue, LApres-midi d'unfaune. Debussy began his work in 1892 and completed the full score on October 23, 1894. During the period of composition, the work was announced in both Paris and Brussels as Prelude, Interludes et Paraphrasefinale pour VApres- midi d'unfaune, but there is no evidence at present to suggest that anything but the Prelude ever came near finished form. Before the premiere, the conductor Doret spent hours going over the score with the composer; Debussy made changes until virtually the

last moment, and it was reported that at the first performance, "the horns were appalling, and the rest of the orchestra were hardly much better." But nothing about the performance seems to have diminished the work's success.

Though the first printed edition of Mallarme's poem dates from 1876, LApres-midi d'unfaune in fact went through various stages, being conceived originally as an Intermede he'roique. A draft from the summer of 1865, entitled Monologue du Faune, took the form of a theatrical scene for a narrator with actors performing in mime, and even as late as 1891 a list of Mallarme's works characterized LApres-midi d'unfaune as being "for reading or for the stage." Mallarme himself at various times described his conception as "definitely theatrical," as representing "not a work that may conceivably be given in the theater" but

one that "demands the theater." With this in mind, it is not surprising that Debussy, who already knew Mallarme quite well by 1892 and was a close enough member of the poet's circle to be among those first notified of Mallarme's death in 1898, would originally have thought to write a score of incidental music. And that the sense of the poetry might one day lend itself to musical expression was in fact foreshadowed by Mallarme himself, who

wrote of his early Intermede, "What is frightening is that all these impressions are required

." to be woven together as in a symphony. . Following Mallarme's first hearing of the music, at Debussy's apartment, and on which occasion the composer played the score at the piano, the poet commented, "I didn't expect anything like this! This music prolongs the emotion

of my poem, and sets its scene more vividly than color."

The history of Mallarme's poem is treated in considerable detail in Edward Lock- speiser's crucial biography, Debussy: His Life and Mind. Lockspeiser points out that by the

13 Week 7

I! final version of Mallarme's poem, which takes as its overt subject "a faun dreaming of the conquest of nymphs," transitions between dream and reality had become more ambiguous, with imagery more subtle than the boldly erotic content of earlier stages. The poem plays not only with the distinctions between dream and reality, between sleep and waking awareness, but also with those between consciousness and unconsciousness, between desire and artistic vision. Indeed, in its more literal rendering of Mallarme's subject matter and imagery,

Vaslav Nijinsky's 1912 choreography to Debussy's score, first performed in Paris by Serge Diaghilev's Ballets Russes on May 29 that year with Nijinsky as the faun, scandalized audiences when it crossed the line between artistic allusion and masturbatory fantasy (aside from the fact that the stylized poses of the dancers were generally deemed inappro- priate to the fluidity of the musical discourse).

Debussy's orchestra here is not especially large. It should be noted, however, that while trumpets, trombones, and timpani are entirely absent, the wind section, with its third flute and English horn, is a source for particularly rich sonorities. In his History of Orchestration (1925), Adam Carse already highlighted what made Debussy's Prelude so innovative for its time, not just in its treatment of the orchestra, but also in its approach to harmony and musical structure: "Such a word as tutti is hardly usable in connection with orchestration which, like Debussy's, speaks with a hushed voice in delicately varied and subtly blended tone-colours, and often with intentionally blurred outlines."

THE BARD MUSIC FESTIVAL Do you REDISCOVERIES groove Twelfth Season sound*°*'bass?ofa

Gome to the Berkshire Fishing Club - 125 acres of private lake with excellent bass fishing.

Reserve your boat today and get ready to groove. BERKSHIRE Debussy FISHING CLUB and His World Limited Palmer Brook Lake August 10-12 memberships Becket, Mass. August 17-19 and day 413-243-5761 passes berkshirefishing.com Tickets, Programs, and Lodging available. 845-758-3226 (catch and release only, no license required) www.bard.edu/bmf

14 Nowadays, when listeners may respond to the opening flute solo by sinking back into their seats with complacent familiarity, any fresh look at Debussy's score is obliged to re- veal its boldly imagined instrumental hues as if it were a newly restored painting. Immedi- ately following that opening melody, suggested by the indolent flute-playing of Mallarme's faun, glissandos in the harp and distant, evocative horncalls conjure a dreamlike woodland atmosphere heightened by Debussy's avoidance of clearcut harmonies: an atmosphere to which the colors of rustling strings, cascading woodwinds, blossoming outbursts from the full orchestra, and, near the magical close, antique cymbals, all prove themselves ideally suited. —Marc Mandel

Wolfgang Amade Mozart (1756-1791) Piano Concerto No. 25 in C, K.503

Firstperformance: Undocumented; possibly by Mozart in Vienna soon after the work's completion on December 4, 1786. First BSO performance: March 1883, Georg Henschel cond., Carl Baermann, soloist. First Tanglewoodperformance: July 13, 1962 (the BSO's first of the work since March 1883!), Charles Munch cond., Claude Frank, soloist. Most recent Tanglewoodperformance: August 4, 1991, Mariss Jansons cond., Emanuel Ax, soloist.

In just under three years, Mozart wrote twelve piano concertos. It is the genre that absolutely dominates his work schedule in 1784, 1785, and 1786, and what he poured out—almost all of it for his own use at his own concerts—is a series of masterpieces that delight the mind, charm and seduce the ear, and pierce the heart. They are the ideal realization of what might be done with the piano concerto. Beethoven a cou-

ple of times reaches to where Mozart is, and perhaps Brahms,

too, but still, in this realm Mozart scarcely knows peers. K.503 is the end of that run. It comes at the end of an amazing year, amazing even for Mozart, that had begun with work on The Impresario and Figaro, and whose achievements include the A major piano concerto, K.488, and the C minor, K.491, the E-flat piano quartet, the last of his horn concertos, the trios in G and B-flat for piano, violin, and cello, as well as the one in E-flat with viola and clarinet, and the sonata in F for piano duet, K.497. Together with the present concerto he worked on the Prague Symphony, finishing it two days later, and before the year was out he wrote one of the most personal and in every way special of his masterpieces, the concert aria for soprano with piano obbligato and orchestra, "Ch'io mi scordi di te? K.505.

Such a list does not reflect how Mozart's life had begun to change. On March 3, 1784, for example, he could report to his father that he had twenty-two concerts in thirty-eight days: "I don't think that this way I can possibly get out of practice." A few weeks later, he wrote that for his own series of concerts he had a bigger subscription list than two other performers put together, and that for his most recent appearance the hall had been "full to overflowing." In 1786, the fiscal catastrophes of 1788, the year of the last three symphonies, were probably unforeseeable, and one surpassing triumph still lay ahead of him, the delirious reception by the Prague public of Don Giovanni in 1787. Figaro was popular in Vienna, but not more than other operas by lesser men, and certainly not enough to buoy up his fortunes for long. Perhaps it is even indicative that we know nothing about the first performance of K.503. Mozart had planned some concerts for December 1786, and they were presumably the occasion for writing this concerto, but we have no evidence that these appearances actually came off.

What has changed, too, is Mozart's approach to the concerto. It seems less operatic than before, and more symphonic. The immediately preceding one, the C minor, K.491, completed March 24, 1786, foreshadows this, but even so, K.503 impresses as a move into

15 Week 7 something new. Its very manner is all its own. For years, and until not so long ago, it was one of the least played of the series, and it was as though pianists were reluctant to risk disconcerting their audiences by offering them Olympian grandeur and an unprecedented compositional richness where the expectation was chiefly of charm, operatic lyricism, and humor.

This is one of Mozart's big trumpets-and-drums concertos, and the first massive gestures make its full and grand sonority known.— But even so formal an exordium becomes a personal statement at Mozart's hands "cliche becomes event," as Adorno says about Mahler—and across the seventh measure there falls for just a moment the shadow of the minor mode. And when the formal proclamations are finished, the music does indeed take off in C minor. Such harmonic—and expressive—ambiguities inform the whole movement. Mozart always likes those shadows, but new here are the unmodulated transitions from major to minor and back, the hardness of his chiaroscuro. The first solo entrance is one of

Mozart's most subtle and gently winsome. The greatest marvel of all is the development, which is brief but dense, with a breathtaking harmonic range and an incredible intricacy of canonic writing. The piano has a delightful function during these pages, proposing ideas and new directions, but then settling back and turning into an accompanist who listens to the woodwinds execute what he has imagined. (And how keenly one senses Mozart's own presence at the keyboard here!)

The Andante is subdued, formal and a little mysterious at the same time, like a knot garden by moonlight, and remarkable too for the great span from its slowest notes to its fastest. For the finale, Mozart goes back to adapt a gavotte from his then five-year-old opera Idomeneo. In its courtly and witty measures, there is nothing to prepare us for the epiphany of the episode in which the piano, accompanied by cellos and basses alone (a sound that occurs nowhere else in Mozart), begins a smiling and melancholy song that is continued by the oboe, the flute, the bassoon, and in which the cellos cannot resist join- ing. Lovely in itself, the melody grows into a music whose richness of texture and whose

When words fail, music is used to communicate understanding, joy, support, reflections and love. Music is part of life at The Alzheimer Center at Quabbin Valley Healthcare. j^ To learn why a member of The Governor's Advisory Council on Alzheimer's has called The Alzheimer Center at Quabbin Valley Healthcare "inspirational" ". and given . . accolades to the - Thomas Carlyle Center", please call Abby Willard, Program Director, at 978-249-3717.

n at Quabbin Vall ey Healtha

where memories are shared and dignity is cherished

821 Daniel Shays Highway • Alhol, IMA 01331 • 978-249-3717 Comenienlly loculed off of Route 2 within the rolling hills of the Northern Quabbin Valley.

16 poignancy and passion astonish us even in the context of the mature Mozart. From that joy and pain Mozart redeems us by leading us back to his gavotte and from there into an exuberantly inventive, brilliant ending. —Michael Steinberg

Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979 and, before that, music critic for twelve years of the Boston Globe, from 1964 to 1976. After leaving Boston he was program annotator for the San Francisco Symphony and then also for the New York Philharmonic. Oxford University Press has published two compilations of his program notes {The Symphony-A Listeners Guide and The Concerto-A Listeners Guide). A third volume, on the major works for orchestra with chorus, is forthcoming.

Antonin Dvorak (1841-1904) Symphony No. 8 in G, Opus 88

First performance: February 2, 1890, Prague, Dvorak cond. First BSO performance: Febru- ary 26, 1892, Arthur Nikisch cond. (American premiere). First Tang/ewoodperformance: July 30, 1966, Erich Leinsdorf cond. Most recent Tang/ewoodperformance: July 17, 1999, James Cordon cond.

Dvorak's fame at home had begun with the performance in 1873 of his patriotic cantata Heirs ofthe White Mountain. (The defeat of the Bohemians by the Austrians at the battle of the White Mountain just outside Prague in 1620 led to the absorption of Bohemia into the Habsburg empire, a con- dition that obtained until October 28, 1918.) An international reputation was made for him by the first series of Slavonic Dances of 1878 and also by his Stabat Mater. The success in England of the latter work was nothing less than sensational, and Dvorak became a beloved and revered figure there, particularly in the world of choir festivals, much as Mendelssohn had been in the century's second quarter (but see George Bernard Shaw's reviews of Dvorak's sacred works).

In the 1890s, this humble man, who had picked up the first rudiments of music in his father's combination of butcher shop and pub, played the fiddle at village weddings, and sat for years among the violas in the pit of the opera house in Prague (he was there for the first performance of Smetana's Bartered Bride), would con- quer America as well, even serving for a while as director of the National Conservatory

SOUTH MOUNTAIN CONCERTS Pittsfield, Massachusetts 83rd Season of Chamber Music

September 9, Emerson String Quartet and Menahem Pressler, Piano September 16, Kalichstein-Laredo- Robinson Trio

September 23, Opus I September 30, Tokyo String Quartet October 7, Takacs String //i e PORCHES Inn Quartet • • • • Concerts at 3 P.M. at MASS MoCA For Brochure and Ticket Information Write 231 RIVER STREET, NORTH ADAMS, MA 01247 South Mountain Concerts, Box 23 TEL. 413 664-0400 WWW.P0RCHES.COM Pittsfield, MA 01202 Phone 413 442-2106

17 'Excellent" - Zagats 2000 Survey From

classical to swing

in just

five minutes.

18 holes. 107 rooms. 4-star dining.

Conference facilities....and New England's finest golf school.

"Four out offour stars." - New England Golfguide

The Berkshires' Premier Four- Season Resort offers the

grandest accommodations, best golf and finest dining...

all just minutes fromTanglewood. For reservations,

tee-times or corporate meetings call: 1-800-CRANWELL

www.cranwell.com >

18 .

in New York. Johannes Brahms was an essential figure in Dvorak's rise, providing musical inspiration, but also helping his younger colleague to obtain government stipends that gave him something more like the financial independence he needed, and, perhaps most crucially, persuading his own publisher Simrock to take him on. Next to talent, nothing matters so much to a young composer as having a responsible and energetic publisher to get the music into circulation, a subject many a composer today could address eloquently. Unlike Haydn and Beethoven, Dvorak never sold the same work to two different pub- Ushers, but on a few occasions, and in clear breach of contract, he fled the Simrock stable, succumbing to the willingness of the London firm of Novello to outbid their competition in Berlin. One of these works was the G major symphony, published in a handsomely printed full-size score by Novello, Ewer, and Co. of London and New York, copyright 1892, and priced at thirty shillings. Dvorak's other Novello publications were vocal works, including his great dramatic cantata The Specters Bride, the oratorio Saint Ludmilla, the Mass in D, and the Requiem. Given the English passion for Dvorak engendered by his

Stabat Mater in 1883, it is no wonder that Novello was willing to bid high.

Simrock primarily wanted piano pieces, songs, chamber music, and, above all, more and more Slavonic Dances—in other words, quick sellers—while Dvorak, for his part, accused Simrock of not wanting to pay the high fees that large works like symphonies merited. (Simrock, having paid 3000 marks for the Symphony No. 7, offers a mere and

0>/unimei'>-«>•

From the author of Behind every door

The Giant's House . , there's a story . . .

Giant's House

i a 1 1 a n ALL OVER AGAIN TT

• DAVID SCHICKLER Elizabeth McCracken

'Relentlessly eventful, rollickingly 'A one-of-a-kind book . . funny and heartwarming." a divine comedy." —Publishers Weekly, starred review —San Francisco Chronicle

Available wherever books are sold • www.dialpress.com

19 MANUE Li/A

Tuesday, Sept Z*D <* i EY

www>terezinmusic.o

Sponsor:

Boston, Cambridge & New York

The Terezin Chamber Music Foundation is a non-profit organization dedicated to assuring the permanence of the music written by composers who perished in the Holocaust. As a memorial to these artists and their creative spirit, the Foundation devotes itself to interfaith concerts, lectures, CDs, children's programs and research.

20 insulting 1000 for No. 8.) Yet Dvorak was not just interested in money, though as some- one who had grown up in poverty he was not indifferent to comfort. He had grand goals as a composer of symphony and opera—not just to do those things, but to do them, especially symphony, in as original a way as he was capable. Understandably, therefore, and in full awareness of the value of Simrock's initial support, he resented a publisher who showed some reserve about endorsing his most ambitious undertakings. I also suspect that another factor in these occasional infidelities of Dvorak's was his unabated irritation with Simrock for his insistence on printing his name as German "Anton" rather than Czech "Antonin." They eventually compromised on "Ant." Novello was willing to go with "Antonin." It had been four years since Dvorak's last symphony, the magnificent—and very Brahms- ian—No. 7 in D minor. During those four years, Dvorak had made yet another attempt at opera (this time with a political-romantic work called The Jacobin, full of superb music), revised the Violin Concerto into its present form, written a second and even finer series of Slavonic Dances, and composed two of his most loved and admired pieces of chamber music, the A major piano quintet and the piano quartet in E-flat. He felt thoroughly ready to tackle another symphony, and as he got to work in the seclusion of his country house, each page of freshly covered manuscript paper bore witness to how well-founded was his faith in himself and his ability to write something that, as he said, would be "different from other symphonies, with individual thoughts worked out in a new way." The new symphony opens strikingly with an introduction in tempo, notated in G major like the main part of the movement, but actually in G minor. This melody, which sounds gloriously rich in cellos, clarinets, bassoons, and horns, was actually an afterthought of

Dvorak's, and he figured out how to bring it back most splendidly at crucial points during the movement. The Adagio also begins on a harmonic slant. Those first rapturous phrases for strings are—or seem to be—in E-flat major, and it is only in the eighth measure that

Join Susan Davenny Wyner and the New England String Ensemble 2001-2002 Season

Opening in Sanders Theatre Sunday, September 23, 2001 at 3pm

featuring Tchaikovsky Competition Winner - Rung-Kuan Chen, Piano Liszt: "La Malediction" for Piano and String Orchestra Also: Stravinsky: Concerto in D for Strings Tchaikovsky: Souvenir de Florence

"The New England String other season highlights: Ensemble continues to assert Eliot Fisk, Guitar (Nov. 16, 18) itself as one of the premiere Ken Radnofsky, Saxophone (Jan. 11, 13) professional ensembles Daniel Pinkham, World Premiere (March 15, 17) performing hereabouts" Charles Fussell, World Premiere (April 19, 21) —Boston Globe

Call 781 224-1117 Or visit us at www.nese.net

"Ifpeople could hear performances like the heated, voluptuous one that

. . . Wyner concocted, they would be seducedfor life. " —Boston Globe

21 the music settles into its real key, C minor. Now we sense the long shadow cast by Bee- thoven's Eroica, because the moment C minor is established, the music concentrates on gestures that are unmistakably those of a funeral march. A radiant C major middle section, introduced by a characteristic triple upbeat, makes the Eroica reference even more unmistakable, and rises to a magnificently sonorous climax. After some moments of calm, the music becomes more impassioned than ever and finally subsides into a coda that is both elegiac and tender. It is also, like most of this symphony, a marvel of imaginative scoring. By way of a scherzo, Dvorak gives us a leisurely dance in G minor. The Trio, in G major, is one of his most enchanting pages. The main section of the movement returns in the usual way, after which Dvorak gives us a quick coda which is the Trio transformed, music he actually borrowed from his 1874 comic opera The Stubborn Lovers. After this strong taste of national flavor, Dvorak becomes more Czech than ever in the finale, which one might describe as sort of footloose variations, and which is full of delightful orchestral effects, the virtuosic flute variation and the mad, high trilling of the horns from time to time being perhaps the most remarkable of these. —Michael Steinberg

GUEST ARTISTS

Bernard Haitink Principal guest conductor of the Boston Symphony Orchestra since 1995,

Bernard Haitink is currently music director of London's Royal Opera, a post he will relinquish in 2002. He was previously music director at Glyndebourne (1978-88) and has conducted many operas for television and video with both companies. He has also been chief conductor from 1964-88 of the Concertgebouw Orchestra, principal conductor from 1967-79 of the London Philharmonic, of which he became president in 1990, and music director from 1994-99 of the European Union Youth Orchestra. The Royal Concertgebouw Orchestra has appointed him their Honorary Con- ductor—the first time such a title has been awarded in the history of that orchestra, an award made in recognition of his contributions to the orchestra since his conducting debut with them in 1956. During the closure of the Royal Opera House for renovation, Mr. Haitink conducted performances of Wagner's Ring in London and Birmingham, Der Freischiitz and Mefistofele at the Barbican, Don Carlos at the Edinburgh Festival, and The Bartered Bride at the newly refurbished Sadlers Wells Theatre. In December 1999 Mr. Haitink conducted the gala inaugural concerts at the Royal Opera House, followed immediately by performances of

Fa/staff. Later in 1999-2000 he also conducted Die Meistersinger von Nilrnberg. He led a new production of Tristan und Isolde at the Royal Opera House during the autumn of 2000 and returned there for performances of Fa/staff in January 2001. Besides his commitments at the

Royal Opera House in London, Mr. Haitink is a regular guest with the world's leading orchestras, including the Berlin Philharmonic, Royal Concertgebouw, Vienna Philharmonic, Dresden Staatskapelle, London Philharmonic, and London Symphony Orchestra. He toured with the Berlin Philharmonic throughout Europe in the summer of 2000, including concerts at the Salzburg Festival, BBC Proms, and Lucerne Festival. As principal guest conductor of the Boston Symphony he appears with that ensemble in Boston, in New York, and at Tan- glewood, and will tour with them in Europe in the summer of 2001. Mr. Haitink has a distinguished recording history with Philips, Decca, and EMI. Recordings with the London Philharmonic include music of Shostakovich, Stravinsky, Elgar, and Vaughan Williams. His Concertgebouw recordings of Mahler, Bruckner, and Beethoven, and his Vienna Philhar- monic recordings of Brahms and Bruckner, are internationally acclaimed. Opera recordings include Peter Grimes and Don Carlos with the Royal Opera House, Don Giovanni, Costfan tutte, and Le nozze di Figaro with Glyndebourne, Der Rosenkavalier and Fidelio with the

22 Dresden Staatskapelle, and The Magic Flute, Daphne, Tannhauser, and Wagner's complete Ring with the Bayerische Rundfunk. His recordings with the Boston Symphony Orchestra include the four Brahms symphonies and music of Ravel on Philips, and the Brahms Second Piano Concerto with Emanuel Ax on Sony Classical. Bernard Haitink has received many awards in recognition of his services to music, notably an Honorary KBE in 1977 and the Erasmus Prize in Holland in 1991. Most recently he received a House Order of Orange- Nassau, given to him by the Queen of the Netherlands for his achievement in the arts. Mr. Haitink made his initial Boston Symphony appearances in 1971 and 1973 and has led the orchestra regularly in subscription concerts since 1985. Following his three Tanglewood concerts this month he will lead the BSO on a tour of major European music festivals.

Richard Goode Pianist Richard Goode has been hailed for music-making of emotional power, depth, and expressiveness, and has been acknowledged worldwide as one of today's leading interpreters of the music of Beethoven. In regular performances with major orchestras, recitals in the world's music capitals, and acclaimed recordings, he has won a large and devoted following. His performances of Bach, Mozart, Brahms, Schubert, Schumann, Chopin, Debussy, Janacek, George Perle, and others have received equal accolades. A native of New York, Richard Goode studied with Nadia Reisenberg at the Mannes College of Music and with Rudolf Serkin at the Curtis Institute. His awards over the years have included the Young Concert Artists Award, First Prize in the Clara Haskil Competition, the Avery Fisher Prize, and a Grammy Award with clarinetist Richard

Stoltzman. Mr. Goode is an exclusive Nonesuch recording artist with a diverse discography of more than two dozen recordings. In 1993, Nonesuch released Mr. Goode's ten-disc set of the complete Beethoven piano sonatas, recorded over the course of a decade, and the first ever by an American pianist. The set was nominated for a Grammy and was chosen for the 1995 Gramophone "Good CD Guide." Other highlights include a recording with soprano Dawn Upshaw of Lieder on Goethe texts set by Schubert, Schumann, Wolf, and Mozart, and a series of Mozart piano concertos with the Orpheus Chamber Orchestra. The most recent disc in this series, released by Nonesuch in February 2000, features Mozart's piano concertos 23 and 24. His recording of the Bach Partitas has received wide critical acclaim. Mr. Goode has appeared with all the major American orchestras. In the 2000-01 season, he performed music of Mozart with the Cleveland Orchestra and with the San Francisco Symphony. In Europe, he recently gave recitals at Vienna's Konzerthaus, at the Salzburg Festival, and at London's South Bank Centre, Barbican Center, and Wigmore Hall. He made his first appearance at the Musikverein with the Vienna Symphony and appeared with orchestras in Italy, France, Germany, and Switzerland. During 2000-01 he performed in major European festivals including Schleswig-Holstein, Edinburgh, Aldeburgh, and the Proms in London. Recital appearances included New York, Philadelphia, Chicago, Los Angeles, London, Milan, and Vienna. Collaborative concerts with Dawn Upshaw continued throughout North Ameri- ca. Mr. Goode serves with Mitsuko Uchida as co-artistic director of the Marlboro Music School and Festival; he will participate in Marlboro's fiftieth-anniversary concerts in New York, Boston, and Washington, D.C., and on tour with the Budapest Festival Orchestra.

Mr. Goode is married to the violinist Marcia Weinfeld; they live in New York City. Richard Goode made his first Tanglewood appearance in July 1970, in a Prelude concert of music for piano, violin, and cello by Beethoven. Since his BSO debut at Tanglewood in July 1991 he has appeared several times with the orchestra here and in Boston, most recently at Tangle- wood in August 1996.

23 The Best Paperback for Summer

TEETH Disobedience ZADIE SMITH

The prize-winning National Book Award Finalist literary sensation JANE HAMILTON "A delicious comedy "The first great novel of of passion." From the acclaimed author of the new century." —San Francisco Chronicle A Map of the World —San Francisco Chronicle and The Book of Ruth

In the Fall

"Luscious, lush and "Majestic.epic.vital." From the #1 bestselling languorously elegant." —The New York Times Book Review author of Midwives — USA Today Have you read them yet? NOW AVAILABLE EVERYWHERE BOOKS ARE SOLD

Find author tour information, free reading group guides, interviews, excerpts and more on www.vintagebooks.com/read ANCHOR BOOKS VINTAGE BOOKS

24 2001 Tanglewood BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor

Saturday, August 18, at 8:30

BERNARD HAITINK conducting

STRAVINSKY Symphony ofPsalms

I. J = 92 (Psalm 38, verses 13 and 14)

II. J) = 60 (Psalm 39, verses 2, 3, and 4)

III. J = 48 — J = 80 (Psalm 150) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Text and translation begin on page 25.

INTERMISSION

RAVEL Daphnis et Chloe (complete) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

The Tanglewood Festival Chorus performance this evening is made possible, in part,

by support from the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

RCA, Deutsche Grammophon, Philips, Telarc, Sony ClassicaJ/CBS Masterworks, Angel/EMI, London/Decca, Erato, Hyperion, and New World records Baldwin piano

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert.

Please do not take pictures during the concert. Flashbulbs, in particular, are distracting to the musicians and other audience members.

22"&L

*** * ^0 w %

1'i h*j* WW I, i m » -#» • r

25 Week 7 NOTES ON THE PROGRAM

Igor Stravinsky (1882-1971) Symphony ofPsalms

First performance: December 13, 1930, Orchestra and Chorus of the Brussels Philhar- monic Society, Ernest Ansermet cond. First BSO performance: December 19, 1930, Serge Koussevitzky cond., Chorus of the Cecilia Society, Arthur Fiedler, dir. First Tanglewood performance: August 9, 1947, Robert Shaw cond., Festival Chorus. Most recent Tanglewood performance: August 24, 1996, Robert Shaw cond., Tanglewood Festival Chorus, John Oliver, cond. The pianists at this performance are Vytas Baksys andJonathan Bass.

Symphony ofPsalms was one of the works commissioned to celebrate the fiftieth anniversary of the Boston Symphony Orchestra. Stravinsky composed it at Nice and Chara- vines between January and August 15, 1930. The score bears the dedication (in French): "This symphony composed to the glory

of GOD is dedicated to the Boston Symphony Orchestra on the occasion of its fiftieth anniversary." Serge Koussevitzky was to have conducted the world premiere with the Boston Sym- phony in December 1930, with a European premiere following a few days later in Brussels under the direction of Ernest An-

sermet. But Koussevitzky fell ill, and the Boston performance was postponed, though Koussevitzky did allow the European performance, specified above, to take place. In this score Stra- vinsky completely eliminates upper strings (violins and violas). In addition to four-part chorus (Stravinsky preferred, but did not insist on, children's voices for the soprano and alto parts), the score calls for five flutes (fifth doubling piccolo), four oboes and English horn, three bassoons and contrabassoon, four horns, one small

Destination Imagination

Visit the nation's third oldest summer theatre whose jj& storied past includes some of the stage's brightest stars. H.M.S. Pinafore

By W. S. Gilbert and Arthur Sullivan Directed by James Warwick

OPENING: June 22 CLOSING: July 7 Awake and Sing!

By Clifford Odets Directed by Elina deSantos Y }i|kJll OPENING: July 11 CLOSING: July 28 The Smell of the Kill By Michele Lowe * Directed by Christopher Ashley

La^i* OPENING: August 1 CLOSING: August 11 mw My Fair Lady Books and Lyrics by Alan Jay Lerner Music by Frederick Loewe

Directed by Eric Hill

OPENING: August 15 CLOSING: September 1

:H:i:*-i:nn^ 73 Years on Stage THEATRE . -. ,, ., H J 4 i J kY 1 "J in Stockbriage LU

Box Office: 413-298-5536 ext. 31 • 413-298-5576 After June 1 www.berkshiretheatre.org

26 IU&W*W>

trumpet in D and four trumpets in C, three trombones, tuba, timpani, bass drum, harp, two pianos, cellos, and double basses. The Boston Symphony introduced new works before 1930, but it rarely commissioned them. Even before the turn of the century the orchestra gave the world premieres of many American works, mostly by Boston composers, and, of course, American premieres of the newest compositions from Europe. Serge Koussevitzky's decision to commission a group of new pieces from the leading composers of the day to celebrate the orchestra's first half- century began a tradition that continues to the present. Koussevitzky's invitation to celebrate the orchestra's anniversary produced such works as Hindemith's Konzertmusik for strings and brass, Roussel's Third Symphony, Copland's Symphonic Ode, Hanson's Second Symphony, and the work regarded by many as Stravinsky's greatest, the Symphony ofPsalms. Koussevitzky gave Stravinsky carte blanche in determining the form and character of his work. The composer was not interested in a traditional nineteenth-century symphony; he wanted to create a unique form that did not rely on custom but would nonetheless be a unified whole. He had had a "psalm symphony" in mind for some time and decided to develop this notion for the commission. His publisher, meanwhile, had expressed the hope that the new work would be something "popular." As Stravinsky recalled: "I took the word, not in the publisher's meaning of 'adapting to the understanding of the people,' but in the sense of 'something universally admired,' and

I even chose Psalm 150 in part for its popularity, though another and equally compelling reason was my eagerness to counter the many composers who had abused these magisteri- al verses as pegs for their own lyrico-sentimental 'feelings.' The Psalms are poems of exal- tation, but also of anger and judgment, and even of curses. Although I regarded Psalm 150 as a song to be danced, as David danced before the Ark, I knew that I would have to treat it in an imperative way." The passages that Stravinsky selected are the closing verses of Psalm 38, the opening verses of Psalm 39, and the whole of Psalm 150 in the Latin text of the Vulgate. (The Vulgate numbers almost all of the Psalms differently from the King James Version and all later translations used in the Protestant and Jewish traditions; in those translations, the texts of the first two movements come from Psalms 39 and 40, respectively. Psalm 150 has the same numbering in both systems.) Stravinsky began by composing the fast sections of the last movement. Indeed, the repeated eighth-note figure heard on the words "Laudate Dominum" was the very first musical idea that suggested itself. This, followed by a breathtaking rapid triplet passage, is strikingly reminiscent of Jocasta's words "Oracula, oracula" in Oedipus Rex; the reminis- cence of the earlier score suggests that in some ways the Symphony ofPsalms fulfills the Christian implications of that humanistic opera based on a classical Greek drama. After finishing that fast music, Stravinsky started at the beginning of the work. He took a motive from what he had already composed of the last movement—a pair of inter- locked thirds—and derived from it the root musical idea of the whole score. The first movement, a cry of "Hear my prayer, O Lord," was composed "in a state of religious and musical ebullience." The orchestral introduction contains long-flowing lines (which pre- figure the voice parts) and running sixteenth-note passages. When the chorus enters, the rhythmic background slows to a steady eighth-note pattern presenting explicitly the inter- locked thirds that make up the root motive, over which the voices utter their plea, emphasizing the expressive semitone E-F. This has reminded many listeners of the Phrygian mode of plainchant, though Stravinsky disavowed any intention of recalling traditional church music. Nonetheless, the semitone rising and then falling again is an age-old emblem of lamentation and perfecdy expresses the plea "Hear my prayer." Following the increasingly intense prayer of the opening, the second movement represents the believer waiting for the Lord's response. Stravinsky called the movement "an upside-down pyramid of fugues. "There is one fugue for the instruments stated at the out- set by flutes and oboes, another for the chorus. A climactic choral passage in octaves ("He

27 Week? has put in my mouth a new song") is accompanied by strettos of the instrumental fugue in sharply dotted rhythms and leads to the movement's conclusion in E-flat. After the plea for aid and the testimony that God has put a new song into the singer's mouth, the last movement presents this new song. Stravinsky noted that, although he had begun working on the Symphony ofPsalms with the fast music of the last movement, he could not compose the slow— introductory section before writing the second movement because that introduction "Alleluia"—is the answer to the prayer. The rest of the slow introduction was originally composed to the Slavonic words "Gospodi pomiluy" cast as a prayer to the Russian image of the infant Christ with orb and sceptre. It is extraordinarily elevated, stately music, with the voices and instruments suggesting the somber joyfulness of church bells ringing for a slow procession. The fast section—with its rushing triplets in brass and piano—was inspired by a vision of Elijah's fiery chariot climbing the heavens. At the end of all this energetic jubilation, the slower opening material comes back for a wonderfully intense quiet conclusion. The long phrases of the chorus carefully and repeat- edly filling in the interval from E-flat down a minor third to—C suggest that the conclusion will be in C minor. But as one last time the "new song" "Alleluia"—is breathed out by the chorus, the orchestra calmly brings matters to a bright close by inserting E-natural—which produces the major mode—over the closing tonic C, a conclusion of over- whelming serenity in a timeless mood. —Steven Ledbetter

Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

STRAVINSKY "Symphony of Psalms"

Exaudi orationem meam, Domine, Hear my prayer, O Lord, and my et deprecationem meam; auribus supplication: give ear to my tears. percipe lacrymas meas. Ne sileas, quoniam advena ego sum Be not silent: for I am a stranger apud te, et peregrinus sicut omnes with thee, and a sojourner as all my patres mei. fathers were. Remitte mihi, ut refrigerer priusquam O forgive me, that I may be refreshed, abeam et amplius non ero. before I go hence, and be no more. —Psalms 38: 13,14

II.

Exspectans, exspectavi Dominum, et With expectation I have waited for intendit mihi. the Lord, and he was attentive to me. Et exaudivit preces meas, et eduxit me And he heard my prayers, and brought de lacu miseriae et de luto faecis. me out of the pit of misery and the mire of dregs. Et statuit super petram pedes meos, et And he set my feet upon a rock, and direxit gressus meos. directed my steps. Et immisit in os meum canticum And he put a new canticle into my novum, carmen Deo nostro. mouth, a song to our God. Videbunt multi, et timebunt, et Many shall see, and shall fear: and they sperabunt in Domino. shall hope in the Lord. —Psalms 39: 2,3,4

28 ^^H ^iW'^v^V^

in.

Alleluia. Alleluia. Laudate Dominum in Sanctis ejus; Praise ye the Lord in his holy places; laudate eum in firmamento virtutis praise ye him in the firmament of ejus. his power. Laudate eum in virtutibus ejus; Praise ye him for his mighty acts; laudate eum secundum multitudinem praise ye him according to the multi- magnitudinis ejus. tude of his greatness. Laudate eum in sono tubae; Praise him with sound of trumpet: [laudate eum in psalterio et cithara.] [praise him with psaltery and harp.] Laudate eum in tympano et choro; Praise him with timbrel and choir: laudate eum in chordis et organo. praise him with strings and organs. Laudate eum in cymbalis benesonantibus; Praise him on high sounding cymbals: laudate eum in cymbalis jubilationis. praise him on cymbals of joy: Omnis spiritus laudet Dominum! let every spirit praise the Lord. Alleluia. Alleluia. —Psalms 150

[Stravinsky omits the line in brackets.]

Maurice Ravel (1875-1937) Daphnis and Chloe

First performance: June 8, 1912, Paris, Pierre Monteux cond., in a production by Serge Diaghilev's Ballets Russes. First BSO performances ofthe complete score: January 1955, Charles Munch cond., New England Conservatory Chorus and Alumni Chorus directed by Robert Shaw in association with Lorna Cooke deVaron. First Tanglewoodperformance ofcomplete score: August 11, 1979, Seiji Ozawa cond., Tanglewood Festival Chorus, John Oliver, cond. Most recent Tanglewoodperformance ofcomplete score: August 25, 1996, Bernard Haitink cond., Tanglewood Festival Chorus.

The ballet Daphnis et Chloe is Ravel's longest and most ambitious work. Both his operas

(L'Enfant et les sortileges and L'Heure espagnole) are in a single act, and he preferred to work on Chopin's rather than on Wagner's scale. He was not exactly a miniaturist, but his consummate precision in matters of detail and technique spared him the need for a broad canvas or for any Mahlerian endeavor to search endlessly for the essence of his

own ideas. They are perfectly formed and whole from the start. In Daphnis et Chloe, though, he attempted the larger scale,

and perhaps it is no surprise that the work is better known in

the form of orchestral suites that divide it into sections of a more typically Ravelian dimension. It belongs to the most fertile period of his life and provides an invaluable glimpse not only of his incomparabale musicianship but also of the extraordinary wealth of artistic activity in Paris just before the Great War. Much of the credit for this surge of creativity must be accorded to Serge Diaghilev, the Russian impresario who commissioned scores from Debussy, Ravel, Dukas, and Satie (to name only the French composers on his list) and who had a knack of throwing together collaborators in different spheres (painters, dancers, musicians) who could work enthusias- tically together. But even without Diaghilev the age was teeming: the rapid expansion of orchestral technique at the turn of the century, the prosperity of the European capitals, and the sense of unstoppable cultural advance—all this came together to produce an artistic heritage which dwarfed the output of the rest of the twentieth century. Diaghilev came to Paris in 1907 with some Russian concerts, in 1908 with Mussorgsky's

29 Week 7 Boris Godunov, and in 1909 with the first season of the famous Ballets Russes. On each visit his ear was tuned in to local talent. Ravel was producing a series of masterpieces, mostly for piano or chamber ensemble, and although he completed the one-act opera

L'Heure espagnole in 1907, it was not staged until 1911. Diaghilev can only have guessed at Ravel's sense of stagecraft at that time; perhaps he heard the orchestral Rapsodie espagnole in 1908. By 1909 he had brought together Ravel and Mikhail Fokin, his choreographer, and had commissioned a ballet. The proposed subject was a touchingly sensuous romance, "The Pastoral Loves of Daphnis and Chloe," attributed to Longus, a Greek author of the third century A.D. This

story entered French literary consciousness in 1559 when Jacques Amyot translated it from Greek. Amyot's translation was reprinted in Paris in 1896. In June 1909 Ravel wrote: "I've just had an insane week: preparation of a ballet libretto for the next Russian season. Al-

most every night work until 3 a.m. What complicates things is that Fokin doesn't know a

word of French, and I only know how to swear in Russian." Although Fokin is usually credited with the idea for the ballet, his ignorance of French suggests that the originator was more probably Diaghilev himself.

Despite Ravel's haste, it was to be three years before Daphnis et Chloe reached the stage. A piano draft was ready by May 1910 and was in fact published that year. The first orchestral suite was played by the Colonne Orchestra and published in 1911, presumably with Diaghilev's approval, and the full ballet was first staged at the Theatre du Chatelet

on June 8, 1912, with Karsavina and Nijinsky in the main parts, with decor by Bakst, and conducted by Monteux. There had been disagreements and delays, and Ravel's conception of an idealized Greece, based on eighteenth-century French paintings, clearly differed from Bakst's, although he later described Bakst's design for the second part as "one of his most beautiful." The dancers found the music unusually difficult to dance to and the pro-

duction was notable for its "deplorable confusion," yet it was a triumph for the principal

dancers and the music was recognized from the first as a masterpiece.

I may be sitting right next to you. I'm Leslie Garfield, //Dean of Townhouse Brokers // {Town & Country Magazine)

Leslie J. Garfield & ( ilIih .

654 Madison Avenue New York, NY 10021 Tel 212-371-8200 Fax 212-371-8206 www.lesliegarfield.cort

30 Ravel liked to think he had written a "symphonic" score. He even called it a "choreo- graphic symphony." He is certainly meticulous and inventive in his use of principal themes, the most prominent of which, with its characteristically prolonged second note, is heard at the beginning on the horn. But his primary purpose was to convey action and atmosphere. The score closely describes the stage action, which must largely be missed in concert performances, although the character of individual dances and ensembles is clear enough. Ravel calls on the full modern orchestra, with infinite resourcefulness in his use of string effects, harps, muted brass, alto flute and other rarities, a wide selection of percussion, and a wordless chorus. Nowhere is his orchestral brilliance more varied and more vivid than in Daphnis et Chloe. When the upper woodwinds are in full spate and the lowest instruments are firmly anchored to slow-moving bass notes, the characteristic sound of the late romantic orchestra is displayed at its richest.

The score is in three continuous parts with concerted dances and set pieces at inter- vals: in between are passages of action or "recitative" to convey the interaction of characters or events. The opening scene is a grotto in a woody landscape where young shepherds and shepherdesses gather round the figures of three nymphs carved in a rock. Daphnis and Chloe are childhood companions who learn jealousy first through the attentions of Dorcon, an oxherd. He and Daphnis compete for her by dancing: Dorcon's grotesque dance arouses derision, and Daphnis is left to discover the ecstasy of Chloe's kiss. Lyceion, a shepherdess (two clarinets), then tempts Daphnis and leaves him troubled. A band of pirates approaches and they carry Chloe off. Daphnis, searching for her, finds her sandal and curses his ill-fortune. Suddenly the statues glow and come to life. The nymphs' solemn dance leads Daphnis to the god Pan. A distant chorus covers a change of scene to the pirate camp where celebrations are in full swing. Bryaxis, the pirate chieftain, orders the prisoner Chloe to dance. In the middle of her dance she vainly attempts to flee, twice. Bryaxis carries her off, whereupon a mysterious atmosphere overtakes the scene and the pirates are pursued by cloven-hoofed fol- lowers of Pan, whose formidable image then appears. The pirates scatter and the scene returns to the grotto of the beginning for the famous dawn music. The shepherds have come to reunite Daphnis and Chloe. In gratitude the pair reenact the story of Pan and Syrinx (pantomime) and the ballet ends with the tumultuous Dame generale. —Hugh Macdonald

Hugh Macdonald is Avis Blewett Professor of Music at Washington University in St. Louis and principal pre-concert lecturer for the St. Louis Symphony Orchestra. He taught at Oxford and Cambridge Universities before moving to the United States in 1987. The author of books on Berlioz and Scriabin, and general editor of the New Berlioz Edition, he has also written extensively on music from Mozart to Shostakovich and has had his opera translations sung in a number of leading opera houses. He has published a selection of Berlioz's letters and is pre- paring a catalogue of Bizet's music.

ARTISTS

For a biography of Bernard Haitink, see page 22.

To read about the Tanglewood Festival Chorus, and for a list of chorus members, see page 8.

31 Week? 2001 Tanglewood TanglewGDd Sunday, August 19, at 2:30 Music To benefit the Tanglewood Music Center Center The Leonard Bernstein Memorial Concert TANGLEWOOD MUSIC CENTER ORCHESTRA ROBERTO ABBADO conducting

BERNSTEIN The Age ofAnxiety, Symphony No. 2 for piano and orchestra (after W.H. Auden's poem)

Parti The Prologue (Lento moderato) The Seven Ages (Variations 1-7) The Seven Stages (Variations 8-14)

Part II The Dirge (Largo) The Masque (Extremely fast) The Epilogue (Adagio—Andante—Con moto) GIANLUCA CASCIOLA, piano

INTERMISSION

BERLIOZ Symphoniefantastique, Episode from the life of an artist, Opus 14

Reveries, passions. Largo—Allegro agitato e appassionato assai—Religiosamente A ball. Valse: Allegro non troppo Scene in the country. Adagio

March to the scaffold. Allegretto non troppo Dream ofa witches' sabbath. Larghetto—Allegro

This concert is made possible by generous endowments, established in perpetuity, by Dr. Raymond and Hannah H. Schneider, and an anonymous donor.

This concert is being recorded for delayed broadcast on National Public Radio.

Baldwin piano

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert. Please do not take pictures during the concert. Flashbulbs, in particular, are distracting to the musicians and other audience members.

32 NOTES ON THE PROGRAM

Leonard Bernstein (1918-1990) The Age ofAnxiety, Symphony No. 2 for piano and orchestra (after W.H. Auden's poem)

First performances: April 8 and 9, 1949, Boston Symphony Orchestra, Serge Koussevitzky cond., Leonard Bernstein, piano soloist. First Tanglewoodperformance: August 12, 1949 ("Tanglewood on Parade"), Koussevitzky cond., Bernstein, piano soloist. Note that

Bernstein revised the work in 1965; it is the revised version that one hears today. Most recent Tanglewood performance: July 31, 1998, Robert Spano cond., John Browning, piano soloist.

Between July 1944 and November 1946, W.H. Auden wrote an extended poem (in print it runs eight pages) entitled The Age ofAnxiety, subtitled "A Baroque eclogue." In it, three men and a woman—Quant, Malin, Emble, and Rosetta—meet in a New York bar, where each has come to find a cure for boredom, loneliness, lack of purpose—or, if not a cure, a means of forgetting them. The poem follows their thoughts and their conversation—with inter- ruptions from radio broadcasts of war news and commercial messages—through a long night, first in the bar itself, then moving to Rosetta's apartment, where the party continues, though the four individual participants become more and more isolated, even as they seek to end their rootlessness, through the attempt to find or accept a new faith. Finally, at dawn, Rosetta finds Emble passed out on her bed, while Quant and Malin say their goodbyes in the light of dawn on the streets and promptly for- get one another's existence. The very title of Auden's poem has become an emblem to describe mid-twentieth-century life. Leonard Bernstein was clearly taken with Auden's poem, which provides not only a title for this Symphony No. 2, but what must be called its plot. The published score contains an extended note in which the composer describes his astonishment at realizing, after the fact, how closely the music echoed the poem, which had been intended as no more than a general guide to its structure and expression. Long after completing the work, he claimed to have found details intended as purely musical gestures that were also unconscious references to the poem. Yet a detailed connection between poem and symphony may be a stumbling block for listeners. Certainly most composers who have written a programmatic description of their music have found that, ultimately, it gets in the way of the music. Though Bernstein retained his elaborate description in the revised score, he chose to rewrite the ending in a way that makes musical sense while breaking away from the letter of Auden's text. Throughout the work there is an elaborate solo piano part that makes the symphony a kind of piano concerto. In the original version, the piano was silent in the last section except for a single final chord. Bernstein had conceived this ending as the "phony faith" that the characters sought out; the pianist was to remain aloof

For the Tanglewood Music Center Orchestra Harry Shapiro, Orchestra Manager Sonya Knussen, Assistant Orchestra Manager Martha Levine and Brian Casper, Librarians Jason Macy, Stage Manager (Ozawa Hall)

33 Week 7 from that self-serving search, except for "a final chord of affirmation at the end." But the more he considered his composition as a work of music rather than as the expression of a poem, Bernstein came to realize that the ending simply didn't work. In a concerto-like piece, the piano's natural function is to have a dialogue, to set up a contrast, with the orchestra. So the program went out the window in recognition of the musical requirements. Despite this significant change of heart, Bernstein has effectively projected much of the poetic "narrative" of The Age ofAnxiety in musical terms. The first half of the score, after a prologue, consists of two sets of seven variations each, corresponding to Auden's "Seven Ages" and "Seven Stages." These never take a simple theme as the basis of the variations; they consist, rather, of fourteen brief, contrasting sections, each of which grows out of some idea in the preceding passage and generates another idea that will lead to the next section. Not surprisingly, the rhythm and melodic character of many of these ideas are closely related to the sounds of '40s swing and jazz, precisely the sounds that would have been heard on the radio in the bar where the four characters congregate and would best sym- bolize the spirit of the age. In addition, they mirror the nervous and hectic pace of modern urban life. There is, however, a striking exception at Variation VIII, the first of the "Seven Stages," where the poem speaks of remoteness and hints of distant times and places. Here

The Village At Laurel Lake One Campus. One Complete Continuum of Care. ifeON THE TWENTIETH IP CENTURY June 20 -July 14

Book & Lyrics by Betty Comden and Adolph Green Music by Cy Coleman Based on plays by Ben Hecht, Charles MacArthur & Bruce Millholland

SPONSORS

Anonymous (1) Mr. and Mrs. Dale E. Fowler Mr. and Mrs. Howard Kaufman Barr Foundation Hon. Peter H.B. Frelinghuysen Mr. and Mrs. Michael Kittredge Ms. Rhonda Black and Dr. Gloria Mr. and Mrs. Belvin Friedson Liz and George Krupp

Miller Mr. Arnold Golber Mr. and Mrs. Philip Kruvant Peter L. Buttenwieser of the Tides Fund Mr. and Mrs. J. Arthur Goldberg The Messinger Family Foundation Phoebe Haas Charitable Trust Mr. and Mrs. K. Fred Netter

Mr. and Mrs. Alan H. Bernstein Mr.andMrs.PaulJ.Hickey Olivetti Foundation, Inc. Ranny Cooper and David Smith Ms. Susan Morse Hilles Mr. and Mrs. Gerald Rauch

Mr. and Mrs. Clive S. Cummis Mr. and Mrs. Stuart Hirshfield The Charles L. Read Foundation Mr. and Mrs. Channing Dichter Mr. and Mrs. William R. Housholder Mr. and Mrs. Robert E. Remis Ms. Ann V. Dulye Inland Management Corporation Mr. Joseph D. Roxe

Mr. and Mrs. Monroe B. England Mr. Robert S. Kahn Alan & Lenore Sagner

English Speaking Union Mrs. Leonard S. Kandell Mr. and Mrs. Dan Schusterman

Nancy J. Fitzpatrick and Mrs. Linda F. Vogel Kaplan Dorothy Troupin Shimler Lincoln Russell

51 Small is Powerful

Seventy-one percent of American high school We can do better than "survival of the fittest"

students go to schools of one thousand or when it comes to educating girls. In a small

more, according to the U.S. Department of school, there is no need to waste energy trying to Education. Yet, everything we know about the be noticed. Every student has a front-row seat needs of families and adolescents says smaller is and can be seen for who she is, what she believes, better—for the uniqueness of young people, for and what she can do. Small is powerful. For girls their achievement, for feelings of connection, for especially, small means the difference in being their sense of self. heard, in being recognized, in making her mark.

The goal, after all, has never been to shrink back

In a large school, how do you hear the quiet but to step forward, to get involved, to be your voice, the thoughtful comment, the fresh insight? best possible self. How do you notice the new confidence, the curiosity about chromosomes, the accurate corner In a small school, every girl learns that her parti- kick? In a large school, you may recognize a girl cipation and contribution make a difference. She by her face, but in a small school, you also know becomes known for her leadership, determina- her by her sense of humor, that she always has tion, compassion, and honesty. And when she

MSMs in her backpack, and that she wants to be realizes how much her school (and the world) is a neuroscientist. depending on her and believes in her, she has the

confidence to be bold, to risk failure, to stretch.

In his popular book The Tipping Point, Malcolm

Cladwell offers examples of groups, from ancient There is something impressive about girls work- religious sects to today's powerful corporations, ing together, when they are happy, contributing, that have known the value of "small." There is, in when they have ownership in their community. fact, something nearly magical about groupings They will set their own standards and define their of 150. "The Rule of 150," says Cladwell, suggests own expectations. Sure in the belief that they are that the size of a group... can make a big difference. valued and heard, they will have the confidence

As teachers and mentors, we know he is right. to resist the definitions our culture presents to

them. They will decide on their own that history is

In a small school, no one can hide. The 12th grade more interesting than following the crowd, that science teacher knows who in the ninth grade writing poetry offers more reward than worrying loves physics. The soccer coach knows the tennis about dress size, that genuine friendships are players and the basketball fanatics. The yearbook based on much more than looks or race or status. advisor can tell you who has a great collection of jazz CDs. In a small school, every teacher knows The fact is, thinking big happens best in a small every student, at least to say hello, to ask a ques- school. We want girls to dream big about their tion, to have a short conversation. And most futures and create large visions of what they can teachers know many students extremely well- do in the world. In a small school, we can know how they approach a new book or a problem, how everyone well. And for girls to be known for they organize ideas, and what kind of praise something more than the color of their hair, or means the most. In a small school, teachers truly their baby tees, or their platforms, or their power can teach individuals—instead of just classes. beads, to be known instead for their skills and talents—for their intellects—what could be more

powerful for girls than that?

MISS HALL'S SCHOOL

492 Holmes Road, Pittsfield, MA 01201 * (800) 233-5614 * Fax (413) 448-2994 * www.misshalls.org

GIRLS' BOARDING AND DAY SCHOOL FOUNDED IN 1898

52 —

Mr. and Mrs. Robert L. Singleton Mr. and Mrs. Aso Tavitian Mr. Peter Wender

Mr. and Mrs. Lewis Steinberg Mr. and Mrs. Denis F. G. Tottenham Mr. and Mrs. Eric K. Zeise Mr. Wayne Sunday Ms. June Ugelow MEMBERS

Ms. Angela P. Abelow Dresser-Hull Company Mr. and Mrs. Werner Janssen, Jr.

Mr. Herbert B. Abelow Dr. and Mrs. Melvyn Drucker Mr. and Mrs. Stephen J. Jerome

Mr. and Mrs. William F. Achtmeyer Mr. and Mrs. Leonard Edelson Mr. and Mrs. Daniel R. Johnson

Mrs. Janet Adams Mr. and Mrs. Eitan Evan K.B. Toys, Inc.

~ Mr. and Mrs. William F. Allen, Jr. Mr. Harold Falik Mr. Ronald G. Kalish Mr. and Mrs. Ronald Altman Mrs. Marie V. Feder Mr. and Mrs. Alan T.Kane

Mr. and Mrs. Harlan E. Anderson Mr. and Mrs. Henry N. Flynt, Jr. Mr. and Mrs. Arnold Y. Kapiloff Apple Tree Inn 8c Restaurant Mr. and Mrs. John C. Fontaine Mr. Leonard Kaplan and

The Barrington Foundation, Inc. Mr. and Mrs. I. Robert Freelander Mrs. Marcia Simon Kaplan Carolyn and Roger Friedlander Mr. and Mrs. Wilson R. Kaplen Ms. Linda J. L.Becker Helene & Ady Berger Mr. Raymond Friedman Mr. and Mrs. Phillip Katz Mr. and Mrs. Jerome Berko Ralph and Audrey Friedner Mr. and Mrs. Bruce Kelly Bernstein L. Kidder Mr. and Mrs. Allen J. Mr. and Mrs. Robert Gable Mr. and Mrs. George H. George and Roberta Berry Supporting Mr. and Mrs. Harold Gaffin Mr. Harold D.Klebanoff

Organization Mr. and Mrs. Arthur J. Gaines Dr. and Mrs. Lester Klein Mr. and Mrs. Walter Black Priscilla H. Garlock, M.D. Koppers Chocolates

Mr. and Mrs. Neal F. Blackmarr Mr. and Mrs. Richard Grausman Dr. and Mrs. David I. Kosowsky Blantyre Dr. and Mrs. Paul H. Gendler Mr. and Mrs. Earl Kramer

Birgit and Charles Blyth Mr. and Mrs. Melvin Y. Gershman Norma and Irving Kronenberg Mr. and Mrs. Nicholas Boraski Dr. Donald and Phoebe Giddon Mr. and Mrs. Richard Kronenberg Boston University Tanglewood David H. Glaser and Mr. and Mrs. Sol Kugler

Institute Deborah F. Stone Mrs. Wendy L. LaFage Dr. and Mrs. Stuart H. Brager Mr. and Mrs. Seymour Glaser Mrs. Mildred Luria Langsam Carol R. Larkin Mr. andMrs.JayR.Braus and Avram J. Goldberg Marilyn and William Judy and Simeon Brinberg Mr. and Mrs. Murray Goldblum Legacy Banks-City and Lenox Savings Broadway Manufacturing Supply Co. Dr. and Mrs. Morris Goldsmith Mr. and Mrs. William Lehman

Ann Brown Mr. and Mrs. Gerson G. Gordon Mr. and Mrs. Robert J. Lepofsky

Mr. and Mrs. Richard Brown Mrs. Haskell R. Gordon Mrs. Vincent J. Lesunaitis Cablevision Systems Corporation Corinne and Jerry Gorelick Robert and Mira Levenson

Cain, Spirits, Hibbard, Myers & Cook Goshen Wine & Inc. Mr. Arthur J. Levey and Canyon Ranch in the Berkshires Mr. Harold Grinspoon and Ms. Rocio Gell Mr. Roland A. Capuano Ms. Diane Troderman Mr. and Mrs. Eric Levine

Phyllis H. Hallig Carey Ms. Bobbie Georgette and Morton J. Levy Ms.MaryW.Carswell Joseph K. and Mary Jane Handler Mr. and Mrs. T. Herbert Lieberman Charles River Broadcasting Mr. and Mrs. G. Felda Hardymon Mr. and Mrs. Murray Liebowitz

WCRB 102.5 Dr. Lynne B. Harrison Mr. and Mrs. Roger S. Loeb

Mr. and Mrs. Mel Chasen Mr. Ira Haupt II Mr. and Mrs. Walter Loeb Cliffwood Inn Mr. and Mrs. Peter Herbst Mr. and Mrs. Edwin N. London Mr. Armando Codina Dr. and Mrs. Ronald Hinds Gerry & Sheri Lublin

Mr. and Mrs. Joseph L. Cohen Arnold J. and Helen G. Hoffman Mr. and Mrs. Bernard Ludwig Ms. Barbara L. Cohen-Hobbs Dr. Joan 0. Hoffman Diane H. Lupean James and Tina Collias Ms. Janet Hopton Mr. and Mrs. Leonard Luria

Mr. and Mrs. Stewart M. Colton Mrs. Ruth W. Houghton Judith and James F. Lyons

Ms. Linda Benedict Colvin Mr. and Mrs. Sanford Huston I. Kenneth and Barbara Mahler Mr. and Mrs. Herbert J. Coyne ICM Artists, Ltd. Rev. Cabell B. Marbury Crane and Company Dr. and Mrs. Barry Z. Izenstein Mr. and Mrs. Robert A. Marcus Mr. and Mrs. William Cruger Mr. and Mrs. M. Steven Jackman Mr. and Mrs. Morton E. Marvin

Dr. and Mrs. Harold L. Deutsch Ms. Polly B.Jackson Maxymillian Technologies, Inc.

Dr. and Mrs. Chester W. Douglass Mr. and Mrs. Edwin A. Jaffe Mr. and Mrs. Thomas T. McCain

53 La Scala, 1934. Let us bring you there. Carol and Thomas McCann Ernest S. Sagalyn, CLU Mr. and Mrs. Stephen A. Stone

Mr. Paul F. McDevitt and Mr. Bruce Sagan and Ms. Bette Hill Mr. and Mrs. Edward M. Strawgate

Ms. Suzanne Bump Mr. and Mrs. Malcolm S. Salter The Studley Press, Inc. Mr. and Mrs. Irving Mendelson Mr. Robert M. Sanders Mr. and Mrs. Charles Stuzin

Mr. and Mrs. Peter D. Meltzer Mr. and Mrs. Ira Sarinsky Mr. and Mrs. Michael Suisman

Mr. and Mrs. Paul Nassau Satinwood at Scarnagh, LLC Sullivan Paper Co., Inc. Mr. and Mrs. Joseph L. Nathan Aaron and Martha Schecter Dr. and Mrs. Daniel M. Sullivan

Mr. and Mrs. Stuart K. Nelson Dr. Raymond & Hannah H. Mr. S. Donald Sussman

Mr. Richard Novik Schneider Mr. and Mrs. George A. Suter, Jr.

Mr. and Mrs. Edward G. Novotny Mr. Gary S. Schieneman and Mrs. Mr. and Mrs. I. David Swawite Mr. Alexander Ober Susan B. Fisher Schieneman Talbots

Mrs. Robert S. Ogden Mr. and Mrs. Albert Schmier Mr. and Mrs. Richard Taylor

Dr. and Mrs. Martin S. Oppenheim Mr. and Mrs. Ernest Schnesel Mr. and Mrs. Jack Teich Mrs. Merle Orlove Mr. and Mrs. Rudy Schott Teletime Media

Dr. and Mrs. Simon Parisier Pearl and Alvin Schottenfeld Textron Inc. Parnassus Foundation/Jane and Mr. and Mrs. Alan Schottenstein Mr. and Mrs. John L. Thorndike Raphael Bernstein Mr. and Mrs. Dan Schusterman Mr. and Mrs. Bruce Tierney

Mrs. Selma Pearl Mr. and Mrs. Marvin Schwartzbard Mr. and Mrs. Roger Tilles

Charlotte Palmer Phillips Foundation Mr. and Mrs. Mark L. Selkowitz Mr. and Mrs. Michael Tweedy

by Dr. Charles Rodgers Richard and Carol Seltzer Mr. and Mrs. Howard J. Tytel Mr. and Mrs. Claudio Pincus Melissa Sere & Associates Mr. and Mrs. Sidney Ukrain

Drs. Eduardo and Lina Plantilla Mr. Daniel Shapiro Mr. Laughran S. Vaber

Natalie Inc. Mr. and Mrs. J. Anderson PlumerDr. Mr. &Mrs. Howard and Walden Printing Co.,

and Mrs. Francis M. Powers, Jr. Shawn Mr. and Mrs. Harvey Waller Quality Printing Company Sheffield Plastics, Inc. Ward's Nursery & Garden Center

Mr. and Mrs. Bruno Quinson Ms. Jackie Sheinberg Mr. and Mrs. Charles H. Watts II Bunny and Milton Rattner Mona and Arthur Sherman Stephen and Dorothy Weber

Mr. and Mrs. Nathan Reiber Mr. and Mrs. Thomas Brooks Mr. and Mrs. Edwin A. Weiller III Mr. Charles Reiner Sherman Mr. and Mrs. Barry Weiss

Mr. John H.Rice and The Richard Shields Family Dr. and Mrs. Jerry Weiss Ms. Janet Pinkham Mr. and Mrs. Walter Shmerler Mr. and Mrs. Robert A. Wells

Mr. and Mrs. Peter Van S. Rice Hon. George P. Shultz Mr. and Mrs. Frederic P. Werner

Mr. and Mrs. Elie Rivollier, Jr. Robert & Roberta Silman & Wheatleigh Hotel & Restaurant Mr. and Mrs. Bernard L. Roberts Phoebe Karpel Ms. Carol Andrea Whitcomb

Mr. and Mrs. Fred Robins Mr. Richard B. Silverman Ms. Carole White Mr. Daniel L. Romanow and Mr. and Mrs. Robert L. Singleton Mr. and Mrs. Thomas H.P. Whitney Mr. B. Andrew Zelermyer Mr. and Mrs. Seymour Solomon Mr. and Mr. Richard E.Willett

Mr. and Mrs. Michael Rosenbaum Mrs. William F. Sondericker Mr. Robert G.Wilmers

Judith and Howard Rosenkrantz Dr. and Mrs. Richard F. Spark Mr. and Mrs. R. Lyman Wood Mr. Lawrence M. Rosenthal and Mr. and Mrs. Harvey L. Sperry Mr. Benjamin N. Woodson and

Ms. Joyce S.Bernstein Mr. and Mrs. Jerry Spiegel Ms. Mary Crowell

Mr. and Mrs. Stanley Ross Peter Spiegelman and Alice Wang Mr. and Mrs. Ira Yohalem Mr. and Mrs. Harvey Rothenberg Mr. and Mrs. Charles A. Stakely Mrs. Christopher Young

Mr. and Mrs. Jean J. Rousseau Mr. and Mrs. Lewis Stein Simon H. and Esther Zimmerman

Mrs. George R. Rowland Mr. and Mrs. Daniel S. Sterling Richard M. Ziter, M.D. Mr. and Mrs. Burton R. Rubin Mr. and Mrs. Ronald Stillman Mr. and Mrs. Melvin Zuckerman Mr. and Mrs. Milton B. Rubin Mrs. Charlotte Stone

Sue 8c David Rudd Mr. and Mrs. Henry S. Stone

Names listed as ofJuly 15, 2001

55 HIGHWOOD CLUB

We would like to thank the following Friends for their generous support. These special individuals have each donated SI, 000 to $2,499 to the Tanglewood Annual Fund through contributions to the Tanglewood Music Center, memorial funds, special projects, and unrestricted Annual Fund. This list represents contributions received between September 1, 2000-August 1,2001.

Abbott's Limousine & Livery Mr. and Mrs. Myron Cohen Mr. Edward M. Greenberg

Service Mr. Malcolm H.Cole, Jr. Mr. and Mrs. Fred B. Grill Ms. Estanne Abraham and Mr. and Mrs. Abram T. Collier Mr. and Mrs. Sheldon A. Gross Mr. Martin Fawer Colonial Consulting Corp., Inc. Guido's Fresh Marketplace Mrs. Lorraine A. Abraham Mr. Charles A. Conine Warren H. Hagler, Tax 8c Mr. and Mrs. Alan Ades Mr. Lewis H. Cook Financial Consultant Mr. and Mrs. Leonard Allen Dr. Charles L. Cooney and Mr. and Mrs. Tod R. Hamachek Frank E. Antonucci, Ms. Peggy Reiser Mr. and Mrs. Scott M. Hand Attorney at Law Mr. Robert Copland Mr. and Mrs. Sol Handwerker William Arnold and Dr. George M. Coulter James and Lucie Hangstefer Stephanie Wargo The Country Dining Room Margaret L. Hargrove Paul and Leni Aronson Antiques Mr. Randolph G. Hawthorne Drs. Beth and Lee Azaroff Mr. and Mrs. John C. Craig Mr. and Mrs. Murray Hazan

Norman Baker Auto Sales, Inc. Mr. and Mrs. Walter J. Crawford Mrs. Paul J. Henegan Mrs. Ellen Banner Crescent Creamery Neal and Barbara Henschel Mr. and Mrs. Benjamin R. Barber Dr. Mary Jean Crooks Mr. and Mrs. Robert I. Hiller Russell Baris and Marjorie Golden Miriam and Tom Cumin Mr. and Mrs. Mark H. Hindal Dr. and Mrs. Philip Baron Lewis R. Dan, MD Mr. and Mrs. Stuart Hirsch Barrington Associates Realty Trust Dr. Lawrence W. Davis Fred Hochberg, MD Mr. and Mrs. Milo C. Beach Philip Sedgwick Deely and Dr. and Mrs. Brian F. Hoffman Mr. and Mrs. Herman Becker Hilary Somers Deely Mr. and Mrs. Charles Hoffman Mr. and Mrs. Alan C. Benjamin Mr. and Mrs. Foster Devereux Ellen B. Holtzman, Esq. Mr. and Mrs. Melvyn Bergman Ms. Judith R. Drucker Hoosac Bank Berkshire Information Systems, Inc. Ms. Ellen Dunn Mr. and Mrs. Lawrence S. Horn The Berkshires Capital Investors Ms. Margot T Egan Mr. George L. Howell Berkshire Mutual Insurance Mr. and Mrs. Edwin Eisen Dr. and Mrs. Allen Hyman Company Mr. and Mrs. Sheldon N. Epstein The Inn at Stockbridge Mr. Daniel M. Berley Mr. Steve R. Erenburg Islandia Retreat Mr. and Mrs. David Betensky Mr. Monroe G. Faust Mr. and Mrs. Melvin R. Jarvis Mr. and Mrs. Barry L. Beyer Mr. and Mrs. Kenneth R. Feinberg Dr. and Mrs. Rollin M. Johnson Erik and Doreen Blanc- Rockstrom Sheldon Feinstein, PC. Mr. and Mrs. Michael P. Kahn Stanley Bogaty, MD Mr. and Mrs. Norman C. Fields Mr. and Mrs. Louis Kaitz

Ms. Mary Bouchoux Mr. and Mrs. Jesse Fink Adele and Jerome J. Kamm Mr. and Mrs. James H. Brandi Mr. and Mrs. Peter B. Finn Kaplan Associates L.R Braverman and Associates First Massachusetts Bank Mr. and Mrs. Mel Katz Mrs. Anne Brenner Mrs. Henni Fisher Mr. and Mrs. Elihu Katzman Ms. Arline F. Breskin and Dr. and Mrs. Robert L. Fisher Mr. and Mrs. Richard W. Kimball

Mr.JohnKoffel Mr. and Mrs. Nelson I. Fishman Mr. and Mrs. Jacques Kohn C.T. Brigham Company, Inc. Mr. William O. Flannery Mr. and Mrs. Paul Koren Miss Mary E. Brosnan Mr. and Mrs. Stephen Fleischer Mr. and Mrs. Benjamin Koven Ms. Sandra L. Brown Mr. Albert Fortinsky Mr. and Mrs. Melvin D. Kraft Mr. Richard- Scott S. Burow French Textiles Dr. and Mrs. Lawrence R. Krakoff Henry B. Cabot Award The Gables Inn Dr. Petra Krauledat Cafe Lucia Mr. and Mrs. David H. Galpern Mr. and Mrs. Kenneth Krentsa

Camp Greylock, Inc. Mr. and Mrs. Leslie J. Garfield Mr. and Mrs. Gerd L. Kristeller Carr Hardware and Supply Co., Inc. Mr. and Mrs. Gerald N. Gaston Mr. and Mrs. Lawrence Kryger Certilman, Balin, Adler 8c Hyman Gateways Inn 8c Restaurant Carole and Irwin Lainoff Dr. Antonia Chayes Mr. and Mrs. George E. Gayles Mr. and Mrs. Cary Lakenbach Christine's Bed &. Breakfast Mr. and Mrs. Stephen Genatt Lam Associates, Ltd. Coffman's Country Antiques Ms. Anne Gershon David Landay and Naomi Litvin Cohen 8c White Associates Mr. Stephen A. Gilbert Mr. and Mrs. William W. Lanigan Mrs. Anita B. Cohen Dr. Catherine A. Gold Mr. and Mrs. Francis C. Lawrance Kenneth W. Cohen and Ms. Erika Goldberg Mr. and Mrs. Steven Lazarus Maryann Leonard Sy Goldstein Brokerage, Inc. Mr. and Mrs. Henry A. Leander Mr. and Mrs. Leonard H. Cohen Mrs. Eugene Goodman Mr. and Mrs. Arthur V. Lee III Mr. and Mrs. Martin Cohen Dr. and Mrs. Michael E. Gotthelf Ms. Barbara M. Lee

56 Ms. Ruth L. Lee The Pittsfield Cooperative Bank Lester M. Shulklapper, Esq. Ms. R. May Lee Plastics Technology Laboratories, Drs. Leonard and Gail Silverman Dr. and Mrs. Robert Leffert Inc. Marion and Leonard Simon Siskind Mr. and Mrs. Jesse J. Lehman Mrs. Dedev J. Raymond Mr. and Mrs. Arthur M.

Mr. and Mrs. Charles J. Lemmen Estate of Margaret T Rebentisch Jack and Maggie Skenyon Edward M. and Marjorie B. Levin Charles and Diana Redfern Mr. and Mrs. Walter Slavin Mr. and Mrs. Gerald F. Lewis Dr. and Mrs. F. Peter Rentz Ms. Mary Hunting Smith Mr. and Mrs. John L. Lewis Dr. and Mrs. Robert Resnick Mr. and Mrs. Irwin Speyer Dr. Sanford M. Lewis Mr. and Mrs. Robert A. Reynolds Mr. Fred Steinberg - Ms. Irene Lichtenstein Mr. Philip D. Rich Ms. Alice Stephens Mr. and Mrs. Richard Lieb Dr. Robin S. Richman and Mr. James Douglas Stewart

Mr. and Mrs. Anthony J. Limina Dr. Bruce Auerbach Mr. and Mrs. Murray J. Stichman Mrs. George R. Lloyd and Marge and Sy Richman Mr. and Mrs. Edward Streim

Ms. Susan Antoinette Lloyd Mr. and Mrs. Stanley J. Richmond Mr. and Mrs. Albert L. Sturmer Mr. and Mrs. George H. Lohrer Riley, Haddad, Lombardi & Mr. and Mrs. Michael Sucoff Long Island Eye Physicians and Clairmont Mr. Sherwood Sumner Surgeons Mr. and Mrs. James CX Riordan Sweatland/Payless Oil Ms. Janine Luke R.L. Associates Jeanne and John Talbourdet Mr. Donald W. Maclean Mr. and Mrs. Paul L. Robert Mr. and Mrs. William E. Tarlow Mr. James P. Maher Dr. and Mrs. Gerald S. Roberts Mr. and Mrs. Peter Tatalias Mr. and Mrs. Darryl Mallah Mr. and Mrs. MarkT. Roberts Mr. and Mrs. Leonard Taubenblatt

Dr. and Mrs. Matthew B. Mandel David Rockefeller, Jr. Mr. and Mrs. Martin Terens Mr. and Mrs. Edward Mandell Roeder House Bed &c Breakfast Mr. and Mrs. Karl M. Thomas Mr. and Mrs. Stephen Manshel Dr. and Mrs. Ben Rogoff Mr. and Mrs. Harvard Tigler The Marlebar Group Ms. Deborah Ronnen Mr. Orlando N. Tobia

Dr. and Mrs. Robert J. Mayer Rookwood Inn Mr. Peter Trapp McClelland Health Systems Dr. and Mrs. David L. Rosen Robert E. Trattner, MD Mrs. Barbara McCullough Robert K. Rosenthal, MD Mr. Scott A. Trexler Mr. and Mrs. Robert E. McGill III Dr. and Mrs. Alfred E. Rosenthal Bernard Turiel, PA. Mr. and Mrs. David McKearnan Mr. and Mrs. Joseph R. Rosetti Mr. Addison F. Unangst Mr. and Mrs. Edward M. McKenna Mr. Adrian E. Ross Mrs. Catharine A. Verhulst Dr. Joel R. Melamed Royal Home Health Care Services Mr. and Mrs. Roger L. Voisin Dr. and Mrs. George Menken ofN.Y. Walker House

Drs. Fred and Andrea Mensch Mr. Samuel J. Rozel Alan H. and Jennifer B. Walker Mr. and Mrs. Albert W. Merck Mr. and Mrs. Arnold Sagalyn Ms. Avonelle S. Walker Bill and Marie Metlay Mr. and Mrs. William Saltzman Mr. and Mrs. Robert F. Wallace Mr. and Mrs. Norman M. Mr. and Mrs. Ernest Samson Ms. Gayllis R. Ward and Michaels Mr. and Mrs. Steven Sanders Mr. James B. Clemence Mr. G. Leonard Michon Ms. Elisabeth Sapery Ward's Nursery & Garden Center Mr. and Mrs. Michael A. Miller Mrs. Elaine Leopold Sargent Mr. and Mrs. Jerome Warshawsky Mr. and Mrs. Michael A. Monts Mr. Dan Schmidt Craig M. Watjen Mr. and Mrs. Robert Morrison Mr. and Mrs. Michael Schoeman Mr. and Mrs. Robert A. Ray Murray, Inc. Dr. and Mrs. David Schottenfeld Weinerman Mr. and Mrs. Milton Musicus Henry and Pearl Schour Mr. and Mrs. Efrem Weinreb Mrs. Susan Nassau Schragger, Lavine 8c Nagy Mr. and Mrs. Irwin Weiser Mr. and Mrs. Bennett Nathanson Mr. and Mrs. David Schulman Mr. and Mrs. Herman H. Weiss Mr. and Mrs. Harold Natt Schweitzer-Mauduit International, Mr. and Mrs. Morton L. Weiss

Mr. and Mrs. Harold L. Nelson Inc. Dr. and Mrs. Albert Wermuth, Jr. New England Dynamark Security Mrs. Nanette E. Scofield Gregory and Lillian Lennox New Yorker Electronics Co., Inc. Mr. Robert L. and Whitehead Mrs. Natalie Newman Mrs. Jacqueline B. Seaman Mr. Arthur Wichman Mr. and Mrs. John C. O'Brien Mr. Ron Searls Mr. Robert R. and Mr. and Mrs. Gerald O'Neil Security Self Storage Mrs. Sharyn B. Wilson Mr. Gerald W. and Mr. and Mrs. Leo V. Seligsohn Mr. Arthur Winston Mrs. Alice Padwe Mrs. Phyllis H. Selnick Mrs. Rosalie S. Wolf Mr. Daniel S. Pearson and Ms. Perry Shambroom Ms. Roberta Wolfe Ms. Fredricka G. Smith Mr. and Mrs. Donald L. Shapiro Dr. Stuart R. Wolk and Mr. and Mrs. Jaroslav Pelikan Dr. Lawrence R. and Ms. Lynn Freberg Mr. and Mrs. Frank Penglase Miriam Shapiro Mr. and Mrs. Jack Zisblatt Petricca Industries, Inc. Mr. and Mrs. Stephen A. Shatz Mr. and Mrs. Lyonel E. Zunz Pilson Communications, Inc. Dr. and Mrs. Michael F Sheridan Mr. and Mrs. Jack Zwick Pindar Press Mr. and Mrs. Frank S. Shewer

57 mC

oldwell Banker Hunneman Previews. C^m^/^a^^^C

CHESTNUT HILL $1,700,000 Inviting eight room contemporary style home overlooking an idyllic 3/4 acre garden offers a rare opportunity to live in one of Chestnut Hill's most coveted areas. Single level living ideally suited for expansion. Urban amenities plus HINGHAM $1,900,000 major routes nearby. With a licensed dock, mooring, tennis court and swim- Judy Abrams and ming pool, this 10-room, 4-bedroom property on Hing- Merle Grandberg, ham Harbor is a rarity, offering year-round seaside living Newton Office, with easy access to Boston. Glorious views, gracious re- (617) 969-2447, ception rooms, first floor master, nautical room with [email protected], balcony generous expansion space. Clare Garrity, Hing- [email protected] ham Office, (781) 749-4430, [email protected]

CHESTNUT HILL $1,995,000 BOSTON $4,300,000 This Contemporary Colonial includes a gourmet kitchen, A seemingly typical Greek Revival townhouse on three-season conservatory, au pair or in-law suite, playroom Beacon Hill which offers a delightful combination of with fireplace and three car garage. Only the finest traditional Beacon Hill charm and exciting contemporary materials have been used in the construction of the design. Features include a five-story atrium, a "dream" home; and extensive architectural detailing enhances kitchen, a formal dining room, expansive living room both the interior and exterior. Barney Hass, Chestnut and an elevator. Bruce McLean, Beacon Hill Office, (617) Hill Office, (617) 566-2447, [email protected] 723-2737, [email protected]

BOSTON $2,895,000 A sunny, Commonwealth Avenue location com- bines with exceptional quality and grand design in this stately and sophisticated duplex residence in a professionally managed building. Beau-

tiful detail throughout: NEWTON $1,950,000 mahogany doors, a grand double-width staircase, This enchanting stone-front colonial offers many five fireplaces, three distinctive features as well as a private two-room suite luxurious bedrooms, ocated on the first floor, ideally suited for an in-law or chef's kitchen, parking. au pair accomodations. Two car garage. Easy access to Bob Alogna, Hunneman public transportation and major routes, llene Solomon Itzkan and Marchiel and Judy Abrams, Newton Office, (617) 969-2447, 247-2909 [email protected], [email protected] Office, (617)

Contact PREVIEWS® at (800) 548-5003 Visit Our Web Site at: www.hunneman.com BSO 2000 CAMPAIGN

Thanks to visionary leadership and devoted donors, BSO 2000, a five-year campaign that concluded August 31, 2000, raised an unprecedented $150.3 million to carry on the mission of the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Tanglewood Music Center, and around the world. The tireless efforts and generous support of BSO donors made this campaign a success.

BSO 2000 has positioned the Orchestra to continue in the new millennium in its long- established role as a musical leader. The campaign also secures the organization's multifac- eted mission of providing unequaled performance, education and outreach, and in main- taining its exceptional concert facilities at Symphony Hall and Tanglewood.

The Boston Symphony Orchestra salutes these donors for their dedicated investment in music and its future. The following list recognizes those donors whose capital, endowment, and annual gifts to the BSO over the five years of the campaign, ending August 31, 2000, totaled $50,000 and more.

For further information, contact J. Carey Bloomfield, Director of Development, at (413) 637-5260, or Elizabeth P. Roberts, Director of Individual Giving, at (413) 637-5275.

$10,000,000 and above

Mr. and Mrs. Julian Cohen Mr. and Mrs. Ray Stata

$5,000,000 to $9,999,999

Fidelity Investments

$2,500,000-$4,999,999

Germeshausen Foundation

Mrs. Kenneth J. Germeshausen

$1,000,000 -$2,499,999

Anonymous (3) Estate of Edith C. Howie

Mr. and Mrs. J. P. Barger Massachusetts Office of Travel & Tourism Mr. and Mrs. Peter A. Brooke Ms. Mary Jane McKenna

Mr. John F. Cogan, Jr. and NEC Corporation Ms. Mary L. Cornille Mr. Koji Nishigaki

Mrs. Stanton W. Davis Mr. and Mrs. William J. Poorvu

Alan J. and Suzanne W. Dworsky Schoenhof Family Foundation Mr. and Mrs. John P. Eustis II Mr. and Mrs. Thomas G. Sternberg* Estate of Anna E. Finnerty Helen F. Whitaker Fund Mr. and Mrs. John H. Fitzpatrick Mr. and Mrs. John Williams

$500,000-$999,999

Anonymous (5) Catherine and Paul Buttenwieser Mr. and Mrs. Harlan E. Anderson Helene R. Cahners-Kaplan and

Mr. and Mrs. David B. Arnold, Jr. Carol R. Goldberg Estate of Norman V. and Ellen B. Ballou James and Tina Collias* Mr. and Mrs. George W. Berry Mr. and Mrs. William H. Congleton Ms. Jan Brett and Mr. Joseph Hearne*

59 $500,000-$999,999 continued

Connell Limited Partnership Kristin and Roger Servison William F. Connell Mr. Mr. and Mrs. Carl J. Shapiro FleetBoston Financial Mr. and Mrs. Denis F. G. Tottenham Mr. Charles K. Gijford United States Department of Housing Four Seasons Hotel Boston and Urban Development Mr. Robin A. Brown WCRB 102.5 FM Mr. and Mrs. Harvey Chet Krentzman* Mr. William W Campbell Mr. and Mrs. R. Willis Leith, Jr.* WCVB-TV Channel 5 Mr. and Mrs. Edward H. Linde Mr. Paul La Camera Nancy Lurie Marks Foundation Stephen and Dorothy Weber The Morse Foundation Mr. and Mrs. Stephen R. Weiner Mrs. Robert B. Newman* Estate of G. Crandon Woolley Seiji and Vera Ozawa

$250,000 - $499,999

Anonymous (2) Mr. and Mrs. Gordon F. Kingsley AT&T Dr. and Mrs. Arthur R. Kravitz Ms. Esther Silver-Parker LEXUS AT&T Foundation Ms. Nancy Heikes

Ms. Suzanne Sato Estate of Franklin J. Marryott American Airlines Massachusetts Cultural Council Mr. James K. Carter Mr. Peter Nessen Gabriella and Leo Beranek Mrs. August R. Meyer Mr. and Mrs. Alan Bressler Mr. and Mrs. Nathan R. Miller

Estate of Virginia Wellington Cabot William Inglis Morse Trust Chiles Foundation Megan and Robert O'Block Mr. Earle M. Chiles Thomas A. Pappas Charitable Foundation Estate of Harold G. Colt Betsy Pappas Demirjian

Mr. and Mrs. Lewis S. Dabney* Estate of Violet Pashalian

Nina L. and Eugene B. Doggett Mr. and Mrs. Millard H. Pryor, Jr. Arthur and Linda Gelb Mr. and Mrs. Robert E. Remis* Ann and Gordon Getty Foundation Mr. and Mrs. Jerome Rosenfeld

John Hancock Funds Carole and Edward I. Rudman* Ms. Maureen Ford The Miriam Shaw Fund Susan Morse Hilles Richard and Susan Smith Family Foundation John Hitchcock* Estate of Russell B. Stearns Estate of Arlene M. Jones Verizon Estate of Marcia H. Kalus Mr. Robert Mudge Mr. and Mrs. George H. Kidder Henry and Joan T Wheeler

$100 / 000-$249 / 999

Anonymous (5) Andersen Consulting, LLP Charitable Foundation

Ms. Eunice Alberts Mr. William D. Green Mr. William I. Bernell Vernon R. Alden Caroline Dwight Bain Ms. Lynda Schubert Bodman American Express Company Estate of Gwendolyn C. Barbour The Boston Foundation Mrs. Rae D. Anderson* Richard and Sally Bartley Ms. Anna Faith Jones Andersen Consulting, LLP George D. and Margo Behrakis Boston Symphony Association of Mr. John L. Bladon Theodore and Evelyn Berenson Volunteers

60 i

$100,000-$249,999 continued

Estate of Bartol Brinkler Fromm Music Foundation Mr. and Mrs. Albert W. Merck Estate of Ruth Seamon Brush Mr. and Mrs. James G. Garivaltis* Mr. and Mrs. Paul M. Montrone William T. Burgin Estate of Rosamond Gifford John Moriarty & Associates Ms. Renee Burrows The Gillette Company Carol &John Moriarty Cabot Family Charitable Trust Goodwin, Procter & Hoar, LLP Gloria & William Snyder

Mr. and Mrs. James F. Cleary Ms. Regina M. Pisa Susan & David Leathers Phyllis and Lee Coffey Fund The Gordon Fund Sharon & Steven Weber Combined Jewish Philanthropies Mr. and Mrs. Clark H. Gowen National Endowment for the Arts Donor Advised Fund Program The Grainger Foundation NSTAR

Community Newspaper Company Estate of Marion A. Green Mr. Thomas J. May

Mr. William R. Elfers Mr. and Mrs. Daniel S. Gregory* Annette and Vincent O'Reilly

Ms. Alice Confortes Genuity, Inc. PaineWebber, Inc. Johns H. Congdon Mr. Paul R. Gudonis Mr. James E Cleary Mr. Richard E Connolly Mr. and Mrs. John M. Connors, Jr. Margaret L. Hargrove Mr. Charles T. Harris Country Curtains Mr. and Mrs. Francis W. Hatch Mr. Joseph E Patton, Jr. Mr. and Mrs. John H. Fitzpatrick Daphne and George Hatsopoulos Mr. and Mrs. Daniel Pierce Mr. and Mrs. Bigelow Crocker, Jr. William Randolph Hearst Mrs. Gloria Moody Press Mr. and Mrs. John J. Cullinane Foundation PricewaterhouseCoopers, LLP Deborah B. Davis Julie and Bayard Henry Mr. John O'Connor Deloitte ccTouche Estate of Edith Heymans Mr. and Mrs. Irving W. Rabb Mr. MichaelJ. Joyce Estate of Martin Hoherman Raytheon Company Dr. and Mrs. Charles C. Estate of Elizabeth B. Hough Ms. Carol Ramsey Dickinson III Mr. and Mrs. F. Donald Hudson* Mrs. Mr. and Mrs. Peter C. Read Marion Dubbs Mr. Charles H. Jenkins, Jr. Estate of Margaret T Rebentisch William R. and Deborah Elfers John Hancock Financial Services The Red Lion Inn EMC Corporation Mr. David D'Alessandro Nancy J. Fitzpatrick Mr. RichardJ. Egan Steven E. Karol Lisa Reindorf and Essex Investment Management Stephen B. Kay and Mitchell Goldman Co., LLC Nan Bennett Kay Mr. Nicole Reindorf and Joseph C McNayJr. Mr. and Mrs. Robert I. Kleinberg Robert Estate of Frances Fahnestock Lawrence Dr. and Mrs. David I. Kosowsky Wanda Reindorf Fidelity Charitable Gift Fund Don Law Companies Mr. Daniel E. Rothenberg Filene's Mr. Don Law Mrs. George R. Rowland Mr. J. Kent McHose Ms. Barbara Lee/Raymond E. Lee Estate of Wilhelmina C. Sandwen Estate of Erna V. Fisher Foundation Dr. Raymond and Fisher Scientific International, Inc. Mr. Thomas H. Lee and Anne Hannah H. Schneider Mr. PaulM. Montrone Tenenbaum The William E. and Bertha E. Nancy Fitzpatrick and June Rockwell Levy Foundation, Schrafft Charitable Trust Lincoln Russell Inc. Sheraton Boston Hotel Miss Elaine Foster* Liberty Mutual Insurance Group and Towers Richard and Helen Fraser Mr. Edmund E Kelly Mr. Larry Trainer Daniel Freed and Shirley Cohen Mr. and Mrs. John A. MacLeod II Freed Hinda L. Shuman Estate of Clara J. Marum Sony Corporation of America Mr. and Mrs. Dean W. Freed Mr. and Mrs. Joseph C. McNay Mr. Norio Ohga Friends of Armenian Culture Mellon New England Estate of Sylvia R. Spiller Society Ms. JoanneJaxtimer The Starr Foundation

61 $ 1 00,000- $249,999 continued

State Street Mr. and Mrs. John L. Thorndike Waters Corporation Mr. Marshall N. Carter The Trust Family Foundation Mr. Douglas A. Berthiaume

Mr. William P. Stewart United States Department of Edwin S. Webster Foundation

Mr. and Mrs. James V. Taylor Education Estate of Nancy P. Williams TDK Electronics Corporation Von Hoffmann Press, Inc. Drs. Richard and Judith Wurtman Mr. Kun'i Matsui Mr. Robert Uhlenhop Dr. and Mrs. Nicholas T Zervas Mr. andMrs.WilmerJ. Leo Wasserman Foundation Estate ofJerome R. Zipkin

Thomas, Jr. David R. and Muriel K. Pokross,

Mr. and Mrs. William F. Trustees Joan P. and Ronald C. Thompson Curhan

$50,000-$99,999

Anonymous (4) Mr. and Mrs. Craig Burr Fidelity Capital Markets A.T. Kearney, Inc. CSC Mr. Timothy McKenna III Mr. Arthur Bert Ms. Nancy McCarthy Mr. and Mrs. Lawrence K. American Airlines Virginia Wellington Cabot Fish

Mr. Bernie Willitt Foundation Mr. Thomas J. Flatley Allmerica Financial Dr. Edmund B. Cabot Myrna H. and Eugene M. Mr. David Portney Choate, Hall & Stewart Freedman Analog Devices, Inc. Mr. Samuel B. Bruskin Mr. and Mrs. Robert L. Gable

Mr. Ray Stata Mr. Peter M. Palladino Mr. and Mrs. George P.

Arthur Andersen, LLP Citizens Bank Gardner, Jr.

Mr. George E. Massaro Mr. Thomas J. Hollister Goldman, Sachs & Co. Aon Risk Services, Inc. of Clipper Ship Foundation, Inc. Mr. DanielJick Massachusetts Mr. and Mrs. Abram T. Collier Mr. and Mrs. Mark Goldweitz Mr. Michael E. Toner Don and Donna Comstock The Florence Gould Arnold Communications, Inc. Mr. and Mrs. William M. Foundation

Mr. Ed Eskandarian Crozier, Jr. Estate of Grace Cornell Graff

Joseph F. Azrack and Abigail Bob and Lynn Daly Mr. John L. Grandin, Jr. S. Congdon Mr. and Mrs. Miguel de The William and Mary Greve Mr. and Mrs. Spencer Baker Bragan9a Fund, Inc. Bartley Machine Demoulas Foundation Mrs. Henry M. Halvorson Manufacturing Co. Ms. Frances Demoulas Harcourt General, Inc. Mr. Richard Bartley Kettenbach Mr. RichardA. Smith Bingham Dana, LLP The DeWolfe Companies, Inc. Carol and Robert Henderson Ms. Catherine Curtin Mr. Richard B. DeWolfe Hewitt Associates Biogen, Inc. Eastern Enterprises/ Mr. John Kiely Mr. James L. Vincent Boston Gas Company William & Flora Hewlett

Blue Cross and Blue Shield of Mr. J. Atwood Ives Foundation Massachusetts Mr. Chester R. Messer Hewlett Packard Company Mr. William C. Van Faasen Mrs. Harriett M. Eckstein Mr. Ben L. Holmes Boston Herald Mr. William P. Egan Mr. Edwin W. Hiam * Mr. Patrick J. Purcell Mr. and Mrs. George M. Elvin Mr. James G. Hinkle Boston Ventures Management, Ernst & Young, LLP Estate of Hester R. Hopkins Inc. Mr. James S. DiStasio Hill, Holliday, Connors, Mr. and Mrs. John M. Bradley Elizabeth Taylor Fessenden Cosmopulos, Inc.

Mr. and Mrs. Irving S. Foundation Mr. John M. Connors, Jr. Brudnick

62 $50,000- $99,999 continued

Holland Mark Edmund Anne Lovett and Stephen William and Lia Poorvu Ingalls Woodsum Printed Circuit Corporation Mr. Richard C. Garrison The Lowell Institute Mr. Peter Sarmanian Houghton Mifflin Company LPL Financial Services Dr. Carol Reich and Mr. Mr. Nader F. Darekshori Mr. ToddA. Robinson Joseph Reich IBM and Lotus Development Lucent Technologies, Inc. Estate of Florence M. Reid Corporation Mr. Eldred F Newland, Jr. The Rhode Island Foundation Mr. Sean C. Rush Diane H. Lupean and Mrs. Billy Rose Foundation, Inc. ITT Sheraton Corporation Edward M. Lupean Mr. Roger A. Saunders Mr. Dan Weadock Mrs. Charles P. Lyman David and Marie Louise Estate of Grace B. Jackson Manulife Financial Scudder Mr. and Mrs. Edwin A. Jaffe Mr. John DesPrez III Mr. and Mrs. Francis P.

Mr. and Mrs. Robert Jaffe Estate of Morton Margolis Sears, Jr. Mr. Charles H. Jenkins, Sr. Marsh USA, Inc. Ms. Eileen C. Shapiro Mr. William M. Joel Mr. Michael P. Golden Mr. and Mrs. Ross E. John F. Farrell & Associates Carol and Thomas McCann Sherbrooke

Mr. John F. Farrell, Jr. Sarah G. McCarthy Memorial Dr. and Mrs. Richard F. Spark Mr. and Mrs. Bela T Kalman Foundation Mr. and Mrs. Ira Stepanian

Bill and Mimi Karlyn Estate of Charlotte McKenzie Mrs. Anson P. Stokes Estate of Mary Jane Kelley McKinsey & Company, Inc. Stone Charitable Foundation Estate of Louise Shonk Kelly Mr. David G Fubini Stone & Webster * in memory of Mary Brooks Mr. Richard P. Menaul Mr. H. Kerner Smith Whittemore Meredith & Grew, Inc. Mr. John Studzinski

Mr. and Mrs. Douglas A. Mr. Thomas J. Hynes,Jr. Taco, Inc. Kingsley Merrill/Daniels Mr. John Hazen White, Sr. Kissei Pharmaceutical Co., Ltd. Mr. Ian Levine Tanglewood Volunteer

Estate of Allen and Betsy Dr. Martin C. Mihm, Jr. Association of the Boston Kluchman The Morningstar Family Symphony Association of * Audrey Noreen Koller Foundation Volunteers KPMG, LLP Mrs. Olney S. Morrill Thermo Electron Corporation Mr. Donald B. Holmes New England Financial Mr. Richard F Syron Mr. and Mrs. Robert A. Mr. James M. Benson Trust for Mutual Lawrence Mr. and Mrs. Andrew L. Understanding Lend Lease Real Estate Nichols United Airlines Investments, Inc. Mrs. Elizabeth P. Nickerson Mr. John Tipping

Mr. Dana J. Harrell Mr. and Mrs. Rodger P. Mr. and Mrs. Loet A. Velmans

Mr. and Mrs. Robert J. Nordblom Watts Industries, Inc. Lepofsky NORTEL NETWORKS Mr. Timothy P. Home Mr. Alexander M. Levine Mr. Douglas Martin Mrs. Joan D. Wheeler Estate of Leona Levine Mr. and Mrs. Robert T Mr. and Mrs. Robert C. Lucia Lin and Keith Lockhart O'Connell Winters

Estate of Augusta W. Little Dr. and Mrs. James J. Olsen Estate of Dixie Ward Wonders Loomis-Sayles 6c Company, LP Overly Foundation The Cornelius and Muriel Mr. Mark W. Holland Jane and Neil Pappalardo Wood Charitable Fund

Mr. and Mrs. Caleb Loring, Jr. PerkinElmer, Inc. Mr. and Mrs. Richard F. Dr. and Mrs. Frederick H. Mr. Gregory L. Summe Young

Lovejoy, Jr.

63 Berkshire Health Systems

is proud to celebrate Tanglewood's 2001 Season. A commitment to artistic excellence is a hallmark of Tanglewood.

shire Healtn systems, we are equauy proud of our commitment to providing a vast array of healthcare services to the people of Berkshire County, surrounding communities, and visitors to our region. Utilizing state-of-the-art medical technology, our dedicated staff of healthcare professionals holds quality care to the highest standard. WHetHer you're a lifelong resident or a summer visitor, Berkshire Health Systems hopes you enjoy a season filled with some of the most exceptional artistic offerings in the world -all set in the beauty that is the Berkshires.

Berkshire Medical Center, Pittsfleld Fairview Hospital, Great Harrington Berkshire Medical Center Hillcrest Campus Berkshire Visiting Nurse Association Berkshire Healthcare Systems, Inc. Mt. Greylock Extended Care

64 THE FINEST LUXURY LINENS & HOME FURNISHINGS

ANICHINI OUTLET STORES the Powerhouse Mall Exit 20 off Interstate 89 West Lebanon, NH 03784 Tel. 603.298.8656 9:30 to 6 Monday-Wednesday 9:30 to 8 Thursday-Saturday 12 to 5 Sunday Opening soon Manchester Square Routes 11 & 30 Manchester, VT 05255 Tel. 802.366.1200 Imagine the without

Berger Funds is proud to be a supporter, of keeping the arts alive and well and living in the Berkshires.

BERGER

~- Freedom to Succeed.

800.333.1001 • bergerfunds.com NO SEX. NO DRUGS. NO ROCK 'N ROLL.

Something more satisfying instead.

Explore the village created by inspiration. A rewarding world of unique architecture. ..working farmers and artisans. ..animals. ..rare furniture and fine art... intricate crafts practiced before your eyes - and much more. In the Berkshires, all roads lead here. ..to a National Historic Landmark - a remarkable experience called Hancock HANCOCK Shaker Village. SHAKER A NATIONAL HISTORIC SURPRISE VILLAGE Routes 20 & 41, Pittsfield, MA • 800-817-1137 • www.hancockshakervillage.org

It's just a "cottage" but she called it home.

you to visii

re-creation of the formal gardens and the renaissance of this: c

. . . delicate French chateau mirrored in a Massachusetts pond" Henry James

THE MOUNT . ' s * A /) J/ & i ^C^cZdCZ^7iAJt>C^C

Route 7 & Plunkett Street Lenox 413.637.1899 www.edithwharton.org Open 9 to 5 daily from May 26 to October 31 member of fSSSsgfc

More Room Throughout Coach For More Coach Passengers.

only on AmericanAirlines www.aa.com *** 3 -Star Boston Globe Dining every night except Tuesday "Conje to Candlelight and al fresco dining Saturday Night Prix Fixe My Extraordinary Lodging & Facilities Weddings & Executive Conferences Mercy"

Holy Masses Weekdays: 7:15 am & 2:00 pm Saturday: 8:00 am & 2:00 pm Sunday: 10:30 am & 2:00 pm

Confessions: 1 :00-2:00 pm & 3:1 5 - 4:30 pm

Hour of Great Mercy: Daily 3:00 pm The Divine Mercy Perpetual' Novena & Chaplet followed by Benediction

Gift Shop: 9:00 am - 5:00 pm daily

Divine Mercy Prayer National Shrine The Old Inn Information Requests Gift Shop On The Green 1-800-462-7426 1-800-804-3823 1-888-484-1112 & Gedney Farm National Shrine of The Divine Mercy Eden Hill Stockbridge, MA 01262 Route 57 please call for directions and hours of operation New Marlborough Village Green, MA (413) 298-3931 413-229-3131 www.oldinn.com [email protected] www.marian.org 2001 Tanglewood Association of the Boston Symphony Association ofVolunteers

Chair Database/New Members Retired Volunteers Club Muriel Lazzarini Norma Ruffer Billie Goldin Dana Executive Vice Chair Ned Seranak Flowers Mel Blieberg Emergency Medical Services Faith Mong Secretary Tom Andrew Ursula Ehret-Dichter Karen Methven Event Services (Functions) Student Parties Immediate Past Co-Chair Liz Shreenan Larry Phillips Harry Methven John Powell Bobbie Rosenberg Nominating Friends Office Talks and Walks Judith Cook Dorothy Walchenbach Joan Soloway Laura Butterfield Theresa Delusky Executive Committee Tanglewood on Parade Picnic Community/Audience Services Glass House Rosalie Beal Richard Berkson Diana and Stanley Feld Arline Breskin Development Historical Preservation Ursula Ehret-Dichter Randy Johnson Tent Club Keye Hollister Education Polly Pierce Dennis Moore Paul Flaum Membership Meetings Membership Ann Dulye Tickets Pat Henneberry Jack Shreenan Roz Goldstein Tour Guides TMC Newsletter Rose Foster Sylvia Stein Greta Berkson Dan Ruge Opening Ceremonies, TMC Administrative Committee Training Coordinator Bonnie Sexton Administrative Events Bobbi Cohn Alexandra Warshaw Opening Night Carole Siegel Marsha Burniske Margery and Lew Steinberg Ushers/Programmers Jane and Sy Glaser Befriend a Fellow Cathy Miller Susan Orenstein Outreach Visitor Center Wilma Michaels Deanna Ruffer Anita Busch Berkshire Event Personnel Coordinator Maddy Baer and Mary Blair Website Genne LeVasseur Boyd Hopkins Community Services Office Ready Team Marilyn Flaum Youth Activities Lillian and Arnold Katz Marie Feder Brian Rabuse Concert Hosts Rediscovering Music Youth Concert Marjorie Lieberman Gabriel Kosakoff Sy and Marge Richman Rita Blieberg Milton Fink Alice Model

Boston University Tanglewood Institute Adult Music Seminars 2001 Are You Listening? The Adult Music Seminars offer a rare opportunity for adults to develop andenhance their listening experience at Tanglewood by studying the works performed by the Boston Symphony Orchestra with distinguished Boston University music professor and lecturer, Jeremy Yudkin. Full-Week Session: Weekend Sessions: July 16 - 20, 2001 July 6 - 8, 2001 July 13 - 15, 2001 Mid-Week Session: July 20 - 22, 2001 BOSTON July 27 - 29, 2001 UNIVERSITY August 3 - 2001 TANGLEWOOD 5, INSTITUTE August 10 - 12, 2001 An equal opportunity, affirmative action institution.

Please call 413-637-1430 for an Adult Music Seminar Brochure and Application. BSOvations

The support of the corporate sponsors of the Boston Symphony Orchestra at Tanglewood reflects the increasingly important partnership between business and the arts. The BSO is honored to be associated with these companies and gratefully acknowledges their contributions.

These corporations hove sponsored concerts and activities of the BSO at Tanglewood during the fiscal year ending August 31, 2000. BSO corporate sponsors of $50,000 or more are listed below.

NEC has proudly supported the Boston Symphony Orchestra's tours throughout Asia, Europe, and North and South America since 1986. No matter where they perform, the Boston Symphony Orchestra musicians, together with Maestro Ozawa, impress audiences with their brilliant performances, and have captured the hearts of music Koji Nishigaki lovers all President over the world. NEC Corporation &TDK As a longtime sponsor of the Free Lawn Passes for Children program

at Tanglewood, TDK has shown its commitment to nurturing an appreciation for art and culture among young people. TDK has

proudly extended its relations with the BSO through an important new musical preservation project. Drawing on TDK's expertise in Kuniyoshi I Matsui advanced digital recording technology, the BSO will now be able to President j transfer fragile historic discs TDK Electronics Corporation tapes of performances to TDK recordable so that future generations of music lovers can enjoy them.

Baldwin

For more than a half century, Baldwin has been the piano of choice for the Boston Symphony Orchestra and Tanglewood. From the concert stage of Symphony Hall to the sheds of Tanglewood, Baldwin

is proud to contribute to the rich heritage and ongoing tradition of

the BSO and its many legendary musicians. Robert Jones CEO/President Baldwin Piano & Organ Co. II

T r ^ $> WHEN '% DO I CLAP?

A Slightly Irreverent Guide to Classical Music and Concert Hall Conduct

by Valerie Cruice

Ever been so inspired by the sheer power of live classical music that you SSVOTa premier festival clapped with wild abandon — at the presenting the world's best wrong time? Here is a lighthearted guide to the proper timing of applause dance. EriNCr! your experience and to concert-hall and opera-house with 1766 showings, exhibits, etiquette. The author takes the reader archives,and talks. EnjOy on a humorous tour through music beautiful, historic grounds and history complete with quizzes, a guide to composing 20th century music, and casual dining. gossipy tidbits about various (413)243-0745 composers. www.jacobspillow .org two Byres puBLisrjiNQ, LtD. pl}OM€; 203-656-0581 TOLL fTRee; 888-588-7171 p^OC: 203-655-3910

Visa and MasterCard accepted June 20-August 26, 2001 L A

www.bostonmusiccompany.com • fax: (617) 528-6199 4

• All music available in print—over 65,000 titles in stock!

• Lessons for most instruments and voice

• Instruments and accessories

New, convenient Theater District location

• All credit cards accepted • we ship anywhere

Mon.-Fri. 10:00-6:30, Sat. 10:00-6, Sun. 12:30-5:30

215 STUART STREET BOSTON, MA 02116 • 800-863-5150 BUSINESS FRIENDS OFTANGLEWOOD

The BSO gratefully acknowledges the following for their generous contributions of

! $500 or more during the 2000-2001 fiscal year. An eighth note symbol («h) denotes

I support of $l,000-$2,499. Names that are capitalized recognize gifts of $2,500 or more.

Accounting/Tax Preparation Biener Nissan-Audi General Systems Co., Inc. Great Neck, NY Pittsfield, Adelson 8c Company P.C. MA Pete's Motor Group INLAND MANAGEMENT Pittsfield, MA Pittsfield, CORPORATION Feldman, Holtzman 8c MA Williamstown, MA Bindelglass " Banking Lam Associates, Ltd Pompton Lakes, NJ J) Cambridge, Michael G. Kurcias C.PA. Adams Cooperative Bank MA Locklin Management Services Great Neck, NY Adams, MA Longmeadow, MA Alan S. Levine, PC., CPA BERKSHIRE BANK NEUBERGER BERMAN Plainview, NY Pittsfield, MA i* First Massachusetts Bank TRUST COMPANY Kenneth J. Loveman, CPA Pittsfield, Wilmington, DE Pittsfield, MA MA Greylock Federal Credit Union ^R.L. Associates Thomas J. Major, CPA Princeton, Great Barrington, MA Adams, Great Barrington, 8c NJ Pittsfield, MA J> Warren H. Hagler Associates, . ,h Riley, Haddad, Lombardi 8c Clairmont i^Hoosac Bank Tax 8c Financial Advisors North Adams 8c Williamstown, New York, NY Pittsfield, MA MA Sax, Macy, Fromm & Co., PC, Contracting/Building Supplies CPAs 8c Consultants Lee Bank Lee, Alarms of Berkshire County Clifton, NJ MA Smith Watson 8c Company, LLP LEGACY BANKS-CITY AND Pittsfield, MA Cardan Inc. Great Barrington, MA LENOX SAVINGS Construction, Bernard Turiel, PA. Pittsfield, MA Pittsfield, MA Woodbridge, NJ Lenox National Bank County Concrete Corp. Lenox, MA Pittsfield, MA Advertising/PR j^The Pittsfield Cooperative Bank Dettinger Lumber Co., Inc. Ed Bride Associates Pittsfield, MA Pittsfield, MA Lenox, MA South Adams Savings Bank DRESSER-HULL COMPANY Lee, Communication Strategies Adams, MA MA Harris Rebar Boston, Inc. New York, NY Beverage/Food Sales/Consumer Toronto Ontario Canada C. Heller, Inc Goods/Dist. Colebrook, CT /Tetricca Industries, Inc. Teletime Media Berkshire Mountain Spring Pittsfield, MA Rockville Centre, NY Water Distributing Company PUROFIRST a division of Cardan Constructions, Stuart H. Trott, Consultant Southfield, MA INC. J'C.T. Brigham Company, Inc. Pittsfield, Manhasset Hills, NY MA Pittsfield, MA S 8c A Supply, Inc.

Antiques/Art Galleries J> Crescent Creamery Great Barrington, MA Pittsfield, David Tierney, Inc. J^Coffman's Antique Markets MA J. Jr., j>Sy Goldstein Brokerage Inc. Pittsfield, Great Barrington, MA MA West Stockbridge, MA Peter D. Whitehead, Builder .P Country Dining Room Antiques Great Barrington, Great Barrington, MA GOSHEN WINE 8c MA Williams Paving, Inc. Hoadley Gallery SPIRITS, INC. W.E. West Stockbridge, Lenox, MA Goshen, CT MA .PGuido's Fresh Marketplace Henry B. Holt Gallery Great Education Lee, MA Barrington 8c Pittsfield, Reuss Galleries MA Belvoir Terrace KOPPERS York, Stockbridge, MA CHOCOLATES New NY York, Deborah Ronnen Fine Arts New NY Berkshire Country Day School Rochester, NY NEWMAN'S OWN Lenox, MA Stone's Throw Antiques Westport, CT Berkshire Community College Lenox, MA The Pantry Basket Pittsfield, MA Stockbridge, MA BOSTON UNIVERSITY Architects MELISSA SERE 8c TANGLEWOOD Alderman & MacNeish ASSOCIATES INSTITUTE New York, NY Lenox, West Springfield, MA MA Wohrle's Inc. .hCamp Greylock Four Architecture Inc. Boston, MA Pittsfield, MA Becket, MA Massachusetts College of Hill Engineers, Architects, Consulting/Management/ Liberal Arts Planners Inc. Financial North Dalton, MA Adams, MA i'Colonial Consulting Corp., Inc. Valleyhead, Inc. Automotive New York, NY Lenox, MA «h Monroe G. Faust i^Norman Baker Auto Sales, Inc. Lenox, 8c Bronxville, Worcester, MA MA NY Energy/Utilities Robert J. DeValle CLU CHFC Brook Farm Inn, Inc. Springfield, The Berkshire Gas Company MA Lenox, MA Guardian Life Insurance Christine's Bed 8c Breakfast Pittsfield, MA Wellesley Hills, Housatonic, ESCO Energy Services, Co. MA MA McCormick, Smith & Curry CLIFFWOOD INN Pittsfield, MA Pittsfield, Lenox, General Systems Company, Inc. MA MA Minkler Insurance Agencv, Inc. Cornell Inn Pittsfield, MA Stockbridge, Lenox, Massachusetts Electric Company MA MA Northampton, MA Reynolds, Barnes 8c Hebb, Inc. Federal House Inn s Pittsfield, MA South Lee, MA , Ray Murray, Inc. MARK SELKOWITZ .hThe Gables Inn Lee, MA INSURANCE LLC Lenox, ^Pittsfield Generating Company AGENCY MA Pittsfield, MA ^Gateways Inn 8c Restaurant Pittsfield, MA Wheeler 8c Taylor Inc. Lenox, MA J> Sweadand/Pavless Oil Great Barrington, MA Howard Johnson Pittsfield, MA Lenox, MA VIKING FUEL OIL CO., INC. Legal The Inn at West Hartford, CT Richmond Frank E. Antonucci, Attorney at Richmond, Western Mass. Electric Company J> MA Law J^The Inn at Stockbridge West Springfield, MA Lenox, MA Stockbridge, MA Engineering .hBraverman and Associates One Main Bed 8c Breakfast New York, NY Stockbridge, Foresight Land Services MA CAIN, HIBBARD, MYERS THE RED LION INN Pittsfield, MA 8c COOK Stockbridge, MA Environmental Services Pittsfield, MA «PThe Roeder House Bed 8c MAXYMILLIAN J^Certilman, Balin, Adler & Breakfast Hyman Stockbridge, TECHNOLOGIES, INC. MA East Meadow, NY J^Rookwood Inn Pittsfield, MA Cianflone Cianflone, PC. Lenox, Nowick Environmental & MA Pittsfield, SATINWOOD AT SCARNAGH Associates MA Michael Considine, Attorneys North Egremont, MA Springfield, MA J. at Law The Village Inn Financial Services Lenox, MA Lenox, MA Deely 8c ^Walker House J>THE BERKSHIRES CAPITAL Deely Attorneys INVESTORS Lee, MA Lenox, MA j'Feinstein 8c Nisnewitz The Weathervane Inn Winnetka, IL Bayside, NY South Egremont, MA SHEILA H. CASELEY, Joel S. Greenberg, PC, Attorney WHEATLEIGH HOTEL CLU, CFC at Law 8c RESTAURANT Lenox, MA Pittsfield, MA Lenox, MA Mr. Norman J. Ginstling Philip F. Heller 8c Associates Whisder's Inn New York, NY Lenox, MA Lenox, MA Kaplan Associates L.P. J) Jonas and Welsch The Williams Inn Manhasset, NY South Orange, Williamstown, MA PaineWebber NJ Ellen C. Marshall, Esq. The Williamsville Inn Pittsfield, MA West Orange, NJ West Stockbridge, MA Rothstein-Lechtman Associates Martin 8c Oliveira Windflower Inn, Inc. Fairfield, NJ Pittsfield, MA Great Barrington, MA ERNEST S. SAGALYN, CLU Elizabeth Jay Quigley 8c Lenox, MA Manufacturing/I ndustrial MARK SELKOWITZ Associates INSURANCE AGENCY LLC Pittsfield, MA «h Barry L. Beyer, Packing J^ Schragger, Lavine 8c Nagy Consultant Pittsfield, MA West Palm Beach, FL North Caldwell, NJ High Technology/Electronics .h Lester M. Shulklapper, Esq. BROADWAY MANUFAC- Albany, NY TURING SUPPLY CO. CABLEVISION SYSTEMS New York, NY CORPORATION Lodging/Where to Stay CRANE 8c COMPANY, INC. Bethpage, NY APPLE TREE INN 8c Dalton, MA J>New Yorker Electronics Co., Inc. RESTAURANT Dave's Custom Lighting 8c Mamaroneck, NY Lenox, MA Custom Shades Insurance Applegate Inn Spring Valley, NY Lee, MA J> French Textiles Bader Insurance Agency, Inc. A Bed 8c Breakfast in the Wayne, NJ West Springfield, MA Berkshires GE PLASTICS ^Berkshire Mutual Insurance Richmond, MA Pittsfield, MA Company Birchwood Inn KOPPERS CHOCOLATES Pittsfield, MA Lenox, MA New York, NY BERKSHIRE LIFE Mead Paper/Specialty Paper INSURANCE Best Western Black Swan Inn Lee, MA Division Pittsfield, MA BLANTYRE South Lee, MA Coakley, Pierpan, Dolan 8c Lenox, MA «h Schweitzer-Mauduit Collins Insurance Agency, Inc. Broken Hill Manor International, Inc. Adams 8c Williamstown, MA Sheffield, MA Lee, MA SHEFFIELD PLASTICS, INC. WHEATLEIGH HOTEL David M. Grygier, M.D. Sheffield, MA & RESTAURANT Pittsfield, MA SpaceNow! Corporation Lenox, MA Leon Harris MD Newark, NJ New City, NY Retail/Where to Shop TEXTRON INC. J^ Dr. Fred Hochberg Providence, RI Arcadian Shop New York, NY 8cTenafly, NJ Young Windows Inc. Lenox, MA Philip F. Mamolito D.M.D. Conshohocken, PA Becket General Store, Inc. Lenox, MA Becket, MA .pMcClelland Health Systems Printing/Publishing .pCarr Hardware and Supply Co., Lee, MA

Laurin Publishing Co., Inc. Inc. J} Plastics Technology Pittsfield, MA Pittsfield, MA Laboratories, Inc. ^ Pindar Press COUNTRY CURTAINS MAIL Pittsfield, MA New York, NY ORDER, INC. Donald William Putnoi QUALITY PRINTING Stockbridge, MA Waltham, MA COMPANY, INC. Dave's Custom Lighting 8c «P Robert K. Rosenthal, M.D. Pittsfield, MA Custom Shades Boston, MA THE STUDLEY PRESS, INC. Spring Valley, NY «P Royal Health Care Services Dalton, MA Gatsbys, Great Barrington, of NY SULLIVAN PAPER CO., INC. Williamstown, Lee, Great New York and Long Island West Springfield, MA Barrington, MA Dr. Arthur Schon

WALDEN PRINTING J> Guido's Fresh Marketplace Hastings-on-Hudson, NY COMPANY Great Barrington 8c Pittsfield, Services Walden, NY MA HOUSATONIC CURTAIN /> Abbott's Taxi Services Real Estate CO. Lee, MA

,h Barrington Associates Realty Housatonic, MA Adams Laundry and Dry Trust K.B. TOYS, INC. Cleaning Company Agawam, MA Pittsfield, MA Adams, MA J>Cohen & White Associates Mistral's International, Provence Aladco Lenox, MA in the Berkshires Adams, MA Copake Realty Great Barrington, MA Alarms of Berkshire County Copake, NY Monterey General Store Pittsfield, MA Corashire Realty Inc. Monterey, MA «PC.T. Brigham Company, Inc. Great Barrington, MA Mary Stuart Collections Pittsfield, MA Evergreen Buyer Brokers of the Lenox, MA Culligan Water Conditioning, Berkshires Paul Rich and Sons Home Inc. Lenox, MA Furnishings Lenox, MA The Havers Pittsfield, MA Epoch Assisted Living at Great Barrington, MA T.P. Saddleblanket and Melbourne INLAND MANAGEMENT Trading Co. Pittsfield, MA CORPORATION Great Barrington, MA The Haupt Tree Company, Inc. Williamstown, MA TALBOTS Sheffield, MA Roberts & Associates Realty, Inc. Hingham, MA ICM ARTISTS, LTD. Lenox, MA WARD'S NURSERY 8c New York, NY Stone House Properties, LLC GARDEN CENTER J'The Marlebar Group West Stockbridge, MA Great Barrington, MA North Miami Beach,FL Dennis G. Welch Windy Hill Farm Garden Nejaime's V.I.P. Travel, Inc. Lenox, MA Center/ Nursery Stockbridge, MA Wheeler & Taylor Great Barrington, MA .PNew England Dynamark Security Great Barrington, MA R.W. Wise, Goldsmiths, Inc. Center Lenox, MA Pittsfield, MA Restaurants/Where to Eat Viking Office Products .P Security Self Storage APPLE TREE INN 8c Torrance, CA Pittsfield, MA RESTAURANT Williams 8c Sons Country Store Tobi's Limousine Service Lenox, MA Stockbridge, MA Lenox, MA Applegate Inn Wohrles Foods, Inc. Software/Information Lee, MA Pittsfield, MA BLANTYRE ^Berkshire Information Systems Science/Medical Lenox, MA Inc. ,pCafe Lucia 510 Medical Walk-In Lenox, MA Lenox, MA Pittsfield, MA J) LAM Associates, Ltd. Church Street Cafe Berkshire Eye Center Cambridge, MA Lenox, MA Pittsfield, MA .PPilson Communications, Inc. /'Gateways Inn 8c Restaurant The Berkshire Stuttering Center Chappaqua, NY Lenox, MA Lenox, MA Tourism/Resorts THE RED LION INN .P Stanley E. Bogaty, M.D. Stockbridge, MA Port Jefferson, NY Camp Greylock, Inc. Roseborough Grill Dorella L. Bond, Ph.D. New York, NY Lenox, MA Glastonbury, CT CANYON RANCH South Mountain Grille Michael Ciborski, M.D. Lenox, MA Pittsfield, MA Pittsfield, MA The Village Inn j) Lewis R. Dan, M.D. Lenox, MA Miami Beach, FL Names listed as ofJuly 15, 2001 AUGUST AT TANGLEWOOD

Wednesday, August 1, at 8:30 Wednesday, August 8, at 8:30 DAWN UPSHAW, soprano DAWN UPSHAW, soprano GILBERT KALISH, piano GILBERT KALISH, piano LYDIAN STRING QUARTET MEMBERS OF THE BOSTON EDWIN BARKER, double bass SYMPHONY ORCHESTRA oboe PEGGY PEARSON, "Songs of heart and home" by IVES, ARTHUR HAAS, organ MAHLER, BARTOK, and BERIO Staging of Bach cantata by PETER SELLARS Costume by DUNYA RAMICOVA Thursday, August 8, at 8:30 Songs of WOLF, FAURE, and MESSLAEN The Fromm Concert at Tanglewood BACH Cantata No. 199, Mein Herze schwimmt COLLAGE NEW MUSIC im Blut DAVID HOOSE, conductor JANICE FELTY and MARGARET Friday, August 3, at 6 (Prelude) LATTIMORE, mezzo-sopranos MEMBERS OF THE BSO— Music of SCHULLER, SUR, and Music of MOZART and VERDI HARBISON

Friday, August 10, at 6 (Prelude) Friday, August 3, at 8:30 BSO—DAVID ROBERTSON, conductor MEMBERS OF THE BSO— DAWN UPSHAW, soprano Music of MARTINU, GOLIJOV, and MENDELSSOHN RAVEL he Tombeau de Couperin BRITTEN Les Illuminations, for voice and Friday, August 10, at 8:30 orchestra conducting MAHLER (arr. BRITTEN) What the Wild BSO—ANDRE PREVIN Flowers Tell Me (Minuet from Symphony VAN CLIBURN, piano No. 3) COPLAND Appalachian Spring MOZART Symphony No. 41, Jupiter GRIEG Piano Concerto DVORAK Symphony No. 7

Saturday, August 4, at 8:30 Saturday, August 11, at 8:30 BSO—SEIJI OZAWA, conductor DEBORAH VOIGT, soprano (Salome) BSO—ROBERT ABBADO, conductor JANE HENSCHEL, mezzo-soprano JACQUES ZOON, flute (Herodias) WUORINEN MachaultMon Chou KATARINA KARNEUS, mezzo-soprano MOZART Flute Concerto No. 1 in G (Page) MAHLER Symphony No. 1 SIEGFRIED JERUSALEM, tenor (Herod) CHRISTOPHER VENTRIS, tenor (Narraboth) ALBERT DOHNEN, baritone (Jochanaan) Additional vocal soloists

STRAUSS Salome (concert performance with supertitles)

Sunday, August 5, at 2:30 BSO—ANDRE PREVIN, conductor DAME KIRI TE KANAWA, soprano PREVIN Diversions MOZART Concert arias, "Chi sa, chi sa, qual sia" and "Vado, ma dove?" STRAUSS Five Songs with Orchestra HAYDN Symphony No. 88 Sunday, August 12, at 2:30 Monday, August 20, at 8:30 BSO—BERNARD HAITINK, conductor BOSTON POPS ESPLANADE SMETANA "From Bohemia's Woods and ORCHESTRA KEITH LOCKHART, conductor Fields" from Ma Vlast MARTINU Fantaisies symphoniques Program to include selections from the Pops' (Symphony No. 6) Latin repertoire featuring a special appearance BRAHMS Symphony No. 2 by the Mexican folk group Mariachi Cobre

Wednesday, August 15, at 8:30 Friday, August 24, at 6 (Prelude) BOSTON SYMPHONY CHAMBER CONCORD TRIO PLAYERS ANDREW JENNINGS, violin Music of HAYDN, BEETHOVEN, NORMAN FISCHER, cello KIRCHNER, and STRAVINSKY JEANNE KERMAN, piano Music of PART, KERNIS, and SCHUMANN Friday, August 17, at 6 (Prelude) TANGLEWOOD FESTIVAL CHORUS Friday, August 24, at 8:30 JOHN OLIVER, conductor ORCHESTRA OF ST. LUKE'S Music of BRUCKNER, MARTIN, DONALD RUNNICLES, conductor SERKIN, piano MARTINO, BRAHMS, and COPLAND PETER ALL-MOZART PROGRAM Friday, August 17, at 8:30 Symphony No. 25 Piano Concerto No. 19 in F, K.459 BSO—BERNARD HAITINK, conductor Symphony No. 39 RICHARD GOODE, piano

DEBUSSY Prelude to The Afternoon a Faun of Saturday, August 25, at 8:30 MOZART Piano Concerto No. 25 in C, K.503 ISRAEL PHILHARMONIC DVORAK Symphony No. 8 ORCHESTRA ZUBIN MEHTA, conductor VADIM REPIN, violin Saturday, August 18, at 8:30 TCHAIKOVSKY Violin Concerto BSO—BERNARD HAITINK, conductor TANGLEWOOD FESTIVAL CHORUS, MAHLER Symphony No. 5 JOHN OLIVER, conductor Sunday, August 26, at 2:30 STRAVINSKY Symphony ofPsalms ISRAEL PHILHARMONIC RAVEL Daphnis et Chloe (complete) ORCHESTRA ZUBIN MEHTA, conductor CAROL VANESS, soprano Sunday, August 19, at 2:30 GROVE, mezzo-soprano The Leonard Bernstein Memorial Concert JILL ROBERT GAMBILL, tenor

\ TANGLEWOOD MUSIC CENTER JOHN RELYEA, bass ORCHESTRA TANGLEWOOD FESTIVAL CHORUS, i ROBERTO ABBADO, conductor JOHN OLIVER, conductor CASCIOLI, piano | GIANLUCA BEETHOVEN Symphony No. 9 j BERNSTEIN Symphony No. 2, The Age of Anxiety Programs and artists subject to change. BERLIOZ Symphoniefantastique j

I FUNDING PROVIDED IN PART BY

i Sunday, August 19, at 8:30 if

i ANDRE PREVIN, piano

j DAVID FINCK, double bass Massachusetts Cultural Council A jazz evening with Andre Previn and David Finck 2001 TANGLEWOOD MUSIC CENTER SCHEDULE

(All events take place in Seiji Ozawa Hall unless otherwise noted.)

Sunday, June 24, at 8:30 p.m. Sunday, July 22, at 8* and BACH Arias Monday, July 23, at 2:30* (Open Dress Rehearsals) Sunday, July 1, at 10 a.m. Tuesday, July 24, at 8* TMC Chamber Concert Wednesday, July 25, at 8* (all Theatre) Music of RAVEL and CRUMB TMC VOCAL FELLOWS AND Sunday, July 1, at 6 p.m. ORCHESTRA Opening Exercises (free admission; open to SEIJI OZAWA {L'Heure espagnole) and the public) ROBERT SPANO {L'Enfant et les sortileges), conductors Sunday, July 1, at 8:30 p.m. DAVID KNEUSS, director; The Phyllis and Lee Coffey JOHN MICHAEL Memorial Fund Concert DEEGAN and SARAH G. CONLY, design L'Enfant et les sortileges (concert per- TMC Orchestra—Seiji Ozawa and RAVEL Robert Mann, conductors formance) and L'Heure espagnole (fully staged)

MOZART Symphony No. 40 Saturday, July 28, at 2:30 BARTOK Concerto for Orchestra TMC and Jacob's Pillow Collaboration: Composer-Choreographer Monday, July 2, at 2:30 p.m. Lab (Chamber Music Hall) To include works of LOUIS ANDRIESSEN TMC Chamber Concert with choreography by BEPPIE BLANKERT Works for low brass instruments Sunday, July 29, at 10 a.m. Chamber Concert Sunday, July 8, at 10 a.m. TMC TMC Vocal Chamber Concert BEETHOVEN, FAURE, and BRAHMS SCHOENBERG, MANOFF, BRITTEN, Sunday, July 29, at 8:30 p.m. MESSIAEN, POULENC, CRUMB, and TMC Chamber Concert VILLA-LOBOS SHENG, MENDELSSOHN, BARTOK, and

Monday, July 9, at 2:30 p.m. BEETHOVEN (Chamber Music Hall) Monday, July 30, at 8:30 p.m. TMC Chamber Concert Berkshire Night POULENC, HINDEMITH, HARBISON, TMC Chamber Concert—Stefan Asbury, and MOZART conductor STRAVINSKY, VARESE, WEILL, Monday, July 9, at 5 p.m. and 8:30 p.m. HAYDN, Tuesday, July 10, at 5 p.m. and 8:30 p.m. and GIL EVANS TMC String Quartet Marathon Tuesday,July31,at8:30* (Prelude Concert on Tuesday, July 10, at 4:30 TANGLEWOOD ON PARADE p.m.—BEETHOVEN Grosse Fuge) To benefit the Tanglewood Music Center events begin at p.m. Sunday, July 15, at 10 a.m. Afternoon 2 TMC Chamber Concert Gala concert at 8:30 p.m. (Shed) MOZART, BARTOK, and BRAHMS TMC ORCHESTRA, BSO, and BOSTON POPS ORCHESTRA Monday, at 2:30 p.m. July 16, SEIJI OZAWA, KEITH LOCKHART, TMC Vocal Concert JOHN WILLIAMS, and ANDRE PREVIN, BEETHOVEN, POULENC, SCHOEN- conductors BERG, IBERT, and DeFEO VERDI, BRITTEN, BRUBECK, Monday, July 16, at 8:30 p.m. WILLIAMS, and TCHAIKOVSKY The Daniel and Shirlee Freed Endowed Sunday, August 5, at 10 a.m. Concert TMC Chamber Concert TMC Orchestra—James Conlon, conductor TAN DUN, BRAHMS, MOZART, and MAW Women of the Tanglewood Festival Chorus PALS Children's Chorus Sunday, August 5, at 8:30 p.m. Concert MAHLER Symphony No. 3 TMC Chamber SCHULLER, KNUSSEN, and DVORAK Sunday, July 22, at 10 a.m. TMC Chamber Concert Thursday, August 16, at 1:30 p.m. GOLIJOV, DUTILLEUX, MOZART, TMC Vocal Concert SCHULHOFF, and SHOSTAKOVICH WOLF Italienisches Liederbuch (complete) ,

Thursday, August 9, through Sunday, August 19, at 2:30 (Shed)* Tuesday, August 14 Leonard Bernstein Memorial Concert FESTIVAL OF CONTEMPORARY MUSIC Made possible by generous endowments, established Oliver Knussen, director in perpetuity, by Dr. Raymond and Hannah H. Charles Wuorinen, composer-in-residence Schneider, and an anonymous donor To benefit the Tanglewood Music Center Made possible by the generous support ofDr. Raymond and Hannah H. Schneider, with additional support TMC Orchestra—Roberto Abbado, conductor through grantsfrom the National Endowmentfor the Gianluca Cascioli, piano Arts, the Helen F. Whitaker Fund, and The Aaron Music of BERNSTEIN and BERLIOZ Copland Fundfor Music (Prelude Concert in Ozawa Hall at 12:30 p.m. Complete program information available at —BEETHOVEN and SCHUBERT) the Main Gate.

Thursday, August 16, at 8:30 p.m. Except for concerts requiring a Tanglewood box TMC Chamber Concert (Theatre) office ticket (indicated by an asterisk*), tickets for and SCHOENBERG BERG TMC events are only available one hour before (Prelude Concert at 6:30 p.m.— SCHUBERT concert time. Admission is $20 for TMC Orchestra Octet) concerts, $10 for other TMC concerts and recitals in Ozawa Hall. Friends of Tanglewood at the $100 Friday, August 17, at 1:30 p.m. level or higher receive free admission to TMC TMC Vocal Concert Ozawa Hall concerts by presenting their member- ROREM Evidence ofThings Not Seen ship cards. Advance ticket ordering information is (complete) mailed to Friends of Tanglewood. Further informa-

Sunday, August 19, at 10 a.m. tion about TMC events is available at the Tangle- TMC Chamber Concert wood Main Gate or by calling (413) 637-5230. Music of BEETHOVEN and FAURE Please note that programs are subject to change.

The Tanglewood Music Center is supported in part by the National Endowment for the Arts.

2001 BOSTON UNIVERSITY TANGLEWOOD INSTITUTE Concert Schedule

(All events take place in Seiji Ozawa Hall unless otherwise noted)

Thursday, July 19, at 1 p.m. Saturday, August 4, 2:30 p.m. "From the Top" radio broadcast BUTI Young Artists Orchestra, David Hoose, conductor—CORNELL, PISTON, FRANCK Thursday, July 19, at 4 p.m. BUTI Young Artists Wind Ensemble, Frank Sunday, August 5, at 6 p.m. Battisti, conductor—STRAUSS, RODRIGO, BUTI Young Artists Vocal Program, Ann HUSA, HOLST Howard Jones, conductor—MOZART, MERRYMAN, and Opera Choruses Saturday, July 21, at 2:30 p.m. BUTI Young Artists Orchestra, Lan Shui, Monday, August 6, at 6 p.m. conductor—RESPIGHI, RIMSKY- Wednesday, August 15, at 6 p.m. KORSAKOV, DVORAK (Chamber Music Hall) BUTI Chamber Music Monday, July 23, at 6 p.m. Monday, July 30, at 6 p.m. Saturday, August 18, 2:30 p.m. (Chamber Music Hall) BUTI Young Artists Orchestra, David Hoose, BUTI Chamber Music conductor—SIBELIUS, RACHMANINOFF

Thursday, August 2, at 4 p.m. BUTI Young Artists Wind Ensemble, Frank Battisti, conductor

Tickets available one hour before concert time. Admission is $10 for BUTI Orchestra concerts, free to all other BUTI concerts. For more information about BUTI concerts, call (413) 637-1430. .

EDUCATIONAL DIRECTORY

Kleine

Your daughter has great

potential.

Push her a little and doors

will open.

For information on our offerings

call 413-499-4660, ext. 242.

ALBANY ACADEMY far GIRLS « Berkshire f '& Community College Pre-K through grade 12 eAR^x 518-463-2201 www.cc.berkshire.or [email protected]

A leader in girls' education. . WESTOVERMiddlebury,SCHOOLCT

Lollei\^0Liege ofLiberal Arts NORTH ADAMS, MASSACHUSETTS

Rigorous college prep, program for girls: / Expanding Minds. boarding & day, grades 9-12

Advanced Placement in 14 subjects \ / -^G^rowing Opportunities. Joint programs in: •Music with the Manhattan School of Music •Dance with the School of Dance Connecticut •Math/Science with Rensselaer Polytechnic Institute

New Athletic complex to open in Fall '01

Plans for new Perfoming Arts center

Students representing 14 countries and 21 states

For more information, please contact: 375 Church Street Office of Admission • Westover School

North Adams, MA 01 247 \ P.O. Box 847 • Middlebury, CT 06762 phone: (203) 758-2423 • fax: (203) 577-4588 800-292-6632 www.mcla.mass.edu e-mail: [email protected] EDUCATIONAL DIRECTORY

Each summer the Tanglewood Music Center See how much offers tuition-free Fellowships to 150 of your child can learn. the most talented young • A co-ed college preparatory school musicians in the world. •Grades 9-72, boarding and day They rely on your support. • Active, hands-on academics

Become a Fellowship • 8-70 students per class

Sponsor this summer. • Strong college placement record

For more informa- 518-794-6008 tion please contact www.darrowschool.org Tracy Wilson in Tanglewood the Tanglewood JM. I Darrow School Music Friends Office or In the Berkshires on Route 20, at the NY-MA state line Center call (413) 637-5274.

• Programming That Inspires and Entertains

• Unique Local Perspectives

• Lifelong Learning Opportunities for All

• Services For Educators

Evening at Pops, Sundays at 8pm starting July 8. WGBY«>

Without the Public, It Would Just Be Television. CULTURAL HAPPENINGS In the Berkshires, Americas Premier Cultural Resort

Brought to you by the Berkshire Cultural Alliance

June 22 -July 31, 2001

Armstrong Chamber Concerts Berkshire Community College

Roxbury, CT (860) 868-0522 Pittsfield, (413) 499-4660 ext. 374 www.acc.tsx.org www.cc.berkshire.org Roxbury Summer Outdoor Concert July 21 Lifelong learning opportunities—Elderhostel— at 6pm. FREE. Noncredit offerings for the entire community.

Arrowhead, Home of Herman Melville Berkshire Museum

Pittsfield, (413) 442-1793 Pittsfield, (413) 443-7171 www.mobydick.org www.berkshiremuseum.org

Tours of Herman Melville's home. Exhibition Now open! The Fine Art ofCraft: 1801-2001. A of Frank Stella's Moby-Dick prints. Daily. celebration of the changing nature of craft.

Aston Magna Festival Berkshire Opera Company Great Barrington, (413) 528-5395 Great Barrington, (413) 644-9000 www.astonmagna.org www.berkop.org

Baroque and classical music concerts on period Cost Fan Tutte. July 14-28. Fully staged and instruments. St. James Ch. 6pm 7/7, 14, 21, 28. performed with supertitles. Tix: (413) 644- 9000. Barrington Stage Company Sheffield, (413) 528-8888 Berkshire Theatre Festival www.barringtonstageco.org Stockbridge, (413) 298-5576 On The 20th Century, 6/21-7/14; Suddenly Last www.berkshiretheatre.org 0- Summer, 7/16-8/4. Stage II: Love & Happiness. HMS Pinafore 6/2 1 -7/7; Awake and Sing 7/ 1

7/28; This is Our Youth 6/14-7/18. Berkshire Artisans/Lichtenstein Center for the Arts Berkshire Wildlife Sanctuaries

Pittsfield, (413) 499-9348 Lenox, (413) 637-0320 www.berkshireweb.com/artisans www.massaudubon .org Franko Pelligrino & William Bond Walker thru Naturalist guided canoe trips-6/23, 30, 7/7, 14, 7/14; JeffSlomba thru 9/1. Reception 7/27. 21, 22, 28. Preregistration required.

Berkshire Botanical Garden Clark Art Institute Stockbridge, (413) 298-3926 Williamstown, (413) 458-2303 www.berkshirebotanical.org www. dark,williams . edu

Open daily 10-5. Outdoor contemporary June 17 - Sept. 9, Impression: Painting Quickly sculpture exhibit through 9/23. in France, 1860-1890. Tickets: 1-860- THE CLARK. Berkshire Choral Festival Sheffield, (413) 229-1999 Contemporary Artists Center & Gallery www.choralfest.org North Adams, (413) 663-9555

Choral Masterpieces-225 voices, soloists, www.thecac.org

Springfield Symphony. 7/7, 14, 21, 28 at 8 pm. Exhibitions, lectures, "Downtown Installations,"

artists' residencies, Wed-Sun. Free. Dark Ride Project-Art Exhibition Shakespeare & Company North Adams, (413) 664-9555, 663-6662 Lenox, (413) 637-3353 www.darkxideproject.org www.shakespeare.org The most unusual art exhibition in the world. Acclaimed Coriolanus opens the new 428-seat, Wed-Sun; next to Natural Bridge State Park. air-conditioned Founders Theatre in June.

Hancock Shaker Village Sheffield Historical Society

Pittsfield, (800)817-1137 Sheffield, (413) 229-2694 www.hancockshakervillage.org www.sheffieldhistory.org

200 year old restored Shaker site, farm. Inside Historic house tours Thurs.-Sat., 1 1-4: July 7:

Outsider Art, visionary art exhibition. 1 8th Century Day, hands-on activities.

Jacob's Pillow Dance Festival Stageworks at North Pointe Becket, (413) 243-0745 Kinderhook, NY (518) 822-9667 www.jacobspillow.org www.stageworkstheater.org

Premier international dance festival comple- The Countess June 27 to July 15. $12-$20 Wed. mented by free events, June 20-August 26. thru Sun. Times vary. Discounts available.

MASS MoCA The Theater Barn North Adams, (413) 662-2111 New Lebanon, NY (518) 794-8989 www.massmoca.org www.theaterbarn . com Philip Glass 7/13 & 14; Merengue Dance Party Always, Patsy Cline 6/28-7/8; Ten Little Indians

7/28; films, and more all summer long. 7/12-7/22; Have A Nice Day 7/26- 8/5.

The Miniature Theatre of Chester Western Gateway Heritage State Park Chester, (413) 354-7771 North Adams, (413) 663-6312 www.miniaturetheatre.org Hoosac Tunnel Exhibit, Children's Programs, 7/5-7/22 Songby Athol Fugard. 7/26-8/5 Last Walking Tours, Outdoor Concerts & More. Train to Nibroc by Arlene Hutton. Williams College Museum of Art The Mount, Edith Wharton Restoration Williamstown, (413) 597-2429

Lenox, (413) 637-1899 www.williams . edu/wcma www.edithwharton.org American Dreams: American Art Before 1950. National Historic landmark showing her design Opening 6/30. Tu-Sa 10-5, Su 1-5. principles. Daily restoration tours 9-5. Free admission.

The Norman Rockwell Museum Williamstown Theatre Festival Stockbridge, (413) 298-4100 Williamstown, (413) 597-3399 www.nrm.org www.WTFestival.org

National touring exhibition, Norman Rockwell: One Mo Time 6/20-7/ 1 ; The Winter's Tale 7/4-

Pictures for the American People. 1 5; The Man Who HadAll the Luck 7/1 8-29.

America's Premier CulturalResort

Contact the Berkshire Visitors Bureau for Lodging Reservations 800-237-5747

Space for these pages provided by The Studley Press, Inc. Favorite Restaurants of the Berkshires

Dine In An Authentic 1771 Inn La bruschetta just a milefrom Tanglewood Tood & Wine to Go! Breakfast • English Tea • Dinner

broad selection or Wine, Picnic Tare, N Gourmet Pizza, Rotissene Chicken, Fresh 16 Church St. 637-0020 Pasta & Sauces, bread, Pastry & Gelato. Lenox

1 Harris St., W. Stockbridge, MA • 413-232-7141

So mxEH 4^ ^% CREATIVE \\ CONTEMPORARY Gourmet Japanese Cuisine 8e Sushi Bar Open 7 days for Lunch & Dinner CUISINE 17 Railroad Street, Great Barrington, IMA Tatatni Rooms 413-528-4343 Robata Bar Sunset view porch dining full liquor license Restaurant 'Enjoy Authentic Italian

r DINNER, LUNCH SUNDAY BRUNCH Joodin the Ber/(sftires & 50 STOCKBRIDGE ROAD, GT. BARRINGTON, MA SERVING DINNER DAILY 4PM~ " ^V rnyvntxiLm "il VtsuVio" 413-528-2002 •R0WTES7&2O, Lao*, MA 01240 (413)637-4904 www.hudsonsrestaurant.com

Gateways Inn I ^^ & Restaurant

Old world charm • exceptional accommodations • gourmet dining

in a cozy, candlelit atmosphere • summer picnics • Sunday brunch

2000 Wine Spectator andJames Beard Foundation awards.

voted Best Overall Restaurant 8 years Recommended by Gourmet, Boston Magazine Maine Lobster Prime Rib and The Boston Globe. Steaks Fresh Seafood Extensive Salad Bar 51 Walker St, Lenox, MA Sunday Brunch Buffet- Best in the Berkshires Reservations: 413-637-2532 Reservations Phone Ahead Seating wvvw.gateways.com 413-499-7900 Pittsfield/Lenox Line

Fabrizio and Rosemary Chiariello, owners www . DakotaRestaurant . com Lunch - Dinner - Sunday Brunch Cafe Menu - Lite Fare HONEST SATISFACTION Open 7 Days FOOD GUARANTEED LENOX )\218 RESTAURANT 637"4218 218 MAIN STREET Main St. Housatonic (413)274-1000 The Best Darn Pot Roast in the Berkshires! Northern Italian and American Cuisine www.jacksgrill.com

Two GREAT reasons...

THORNESMARKETPLACE

150 Main Street • Downtown Northampton www.thornesmarketplace.com

A marketplace for fashion, food, beauty, home, fitness and the arts on 5 lively floors!

Table

Celebrating Life 's Finer Pleasures E®

Over 7,000 fine wines, spirits, and gourmet foods in stock.

122 North King Street, Northampton (800) 474-2449 Shop Online at www.tableandvine.com

...to visit NORTHAMPTON, MASSACHUSETTS! "Its near everytJiingf.

7' But nothing comes close.

Mr. &Mrs. Robert Bush, Fox Hill residents

Robert ana Jean Bush really like that Fox Hill Village offers stylish suburban living just minutes away from Boston. In ract, when we asked how Fox Hill Village compared to other communities, they didn't hesitate. They said one look was all it took. To learn more, call us at 781-329-4433. Fox Hill Village, New England's premiere retirement community. Developed by the Massachusetts General

Hospital and the Hillhaven Corporation.

Fox HillVillage atWESTWOOD

10 Longwood Drive, Westwood, MA 02090 (781) 329-4433

(Exit 16B off Route 128) TANGLEWOOD MUSIC CENTER & TANGLEWOOD FESTIVAL ENDOWMENT CONTRIBUTORS

Tanglewood Music Center Fellows pay no tuition and are offered essentially free room and board. Their

residency at Tanglewood is underwritten largely through annual and endowed Fellowships. The TMC

faculty includes many of the world's finest musical artists, some of them teaching through the generosity of donors who have endowed Artists Positions. The Tanglewood Music Center and the Tanglewood Festival gratefully acknowledge the endowment support of the contributors represented below.

ENDOWED ARTISTS POSITIONS Marie Gillet Fellowship Berkshire Master Teacher Chair Fund Haskell and Ina Gordon Fellowship Edward and Lois Bowles Master Teacher Chair Florence Gould Foundation Resident Artist Fund John and Susanne Grandin Fellowship Burgin Master Teacher Chair Richard Fund Greve Foundation-John J. Tommaney Fellowship Charles E. Culpeper Foundation Master Teacher Luke B. Hancock Foundation Fellowship Chair Fund Jan Brett and Joe Hearne Fellowship Vic Firth Master Teacher Chair Fund, William Randolph Hearst Foundation Fellowship endowed by Mr. and Mrs. Henry Wheeler C. D. Jackson Fellowship Barbara LaMont Master Teacher Chair Fund Paul Jacobs Memorial Fellowship Renee Longy Master Teacher Chair Fund Lola and Edwin Jaffe Fellowship Harry and Nancy Lurie Marks Tanglewood Billy Joel Keyboard Fellowship Artist-In-Residence Susan Kaplan and Ami Trauber Fellowship Marian Douglas Martin Master Teacher Chair Steve and Nan Kay Fellowship Fund, endowed by Marilyn Brachman Hoffman Robert and Luise Kleinberg Fellowship for Keyboard Faculty Mr. and Mrs. Allen Z. Kluchman Memorial Beatrice Sterling Procter Master Teacher Chair Fellowship Fund Dr. John Knowles Fellowship Sana H. and Hasib Sabbagh Master Teacher J. Donald Law Fellowship Chair Fund Barbara Lee/Raymond E. Lee Foundation Surdna Foundation Master Teacher Chair Fund Fellowship Stephen and Dorothy Weber Artist-In-Residence Bill and Barbara Leith Fellowship ENDOWED GUARANTOR FELLOWSHIPS Edwin &. Elaine London Family Fellowship Stephanie Anonymous (1) Morris Marryott 6c Franklin J. Marryott Fellowship i Baldwin Piano and Organ Co. Fellowship Jane W. Bancroft Fellowship Robert G. McClellan, Jr. & IBM Matching j Grants Fellowship I Bay Bank/BankBoston Fellowship Ruth S. Morse Fellowship ( Leonard Bernstein Fellowships

1 Albert L. and Elizabeth P. Nickerson Fellowship Edward S. Brackett Jr. Fellowship Northern California Frederic and Juliette Brandi Fellowship Fellowship Fund j Rosamund Sturgis Brooks Memorial Fellowship Seiji Ozawa Fellowship j BSAV/Carrie L. Peace Fellowship Theodore Edson Parker Foundation Fellowship

J Stanley Chappie Fellowship Pokross/Fiedler/Wasserman Fellowship j Alfred E. Chase Fellowship Lia and William Poorvu Fellowship j Clowes Daphne Brooks Prout Fellowship I Fund Fellowship Claire and Millard Pryor Fellowship I Harold G. Colt Jr. Memorial Fellowship Andre Come Memorial Fellowship Rapaporte Foundation Fellowship j DeWitt and Wallace-Reader's Digest Fund i Caroline Grosvenor Congdon Memorial Fellowship Fellowship Margaret Lee Crofts Fellowship Harry and Mildred Remis Fellowship | Charles E. Culpeper Foundation Fellowship Peggy Rockefeller Memorial Fellowship j Darling Family Fellowship Carolyn and George R. Rowland Fellowship j Wilhelmina C. Sandwen Memorial Fellowship ! Omar Del Carlo Tanglewood Fellowships Otto Eckstein Family Fellowship Morris A. Schapiro Fellowship j 'Friends of Armenian Culture Society Fellowship Edward G. Shufro Fund Fellowship Judy Gardiner Fellowship Starr Foundation Fellowship Anna Sternberg Athena and James Garivaltis Fellowship & Clara J. Marum Fellowship j Armando A. Ghitalla Fellowship Miriam and S. Sidney Stoneman Fellowships Fernand Gillet Memorial Fellowship Surdna Foundation Fellowship

Continued on next page Discover a

Monumental Artist

at The New Museum

Gallery at Chesterwood

GHESTERWO. MUSEUM ,—.o TURE GARDENS ESTATE

ockbridge, MA 413-298-3579 WWW.CHESTERWOOD.ORG

'lesterwood is a property of the

National Trust for Historic Preservation

Comfort Inn RAMADA LIMITED

58 New Rooms INN & SUITES BERKSHIRES Centrally Located Continental Breakfast Just 15 Minutes to Tanglewood Fitness Center • Free HBO All Suites with Fireplaces Extended Stay Facilities More than a room All Major Credit Cards Welcome 59 New Rooms • Centrally Located it's Comfort." Continental Breakfast • Fitness Center Conference Center • Business Rates 1055 South St.(Rts.7 & 20) Lenox-Pittsfield Line, MA 1350 W. Housatonic St. (Rt. 20) 413-443-4714 • 800-228-5150 Pittsfield, MA 01201 www.comfortinn.com/hotel/MA011 800-2-RAMADAS • 413-442-8714 Ushers/Programmers Instrumental Fellowship Phyllis and Lee Coffey Memorial Concert Fund Honoring Bob Rosenblatt Aaron Copland Fund for Music Fund Ushers/Programmers Vocal Fellowship Margaret Lee Crofts Concert Fund Tappan Dixey Brooks Memorial Fellowship Margaret Lee Crofts TMC Fund James V. Taylor and Caroline Smedvig Fellowship Eleanor Naylor Dana Visiting Artists Fund William F. and Juliana W. Thompson Fellowship Paul F and Lori A. Deninger Scholarship Max Winder Memorial Fellowship Alice Willard Dorr Foundation Fund ENDOWED SUSTAINING FELLOWSHIPS Carlotta M. Dreyfus Fund Virginia Howard and Richard A. Ehrlich Fund Mr. and Mrs. David B. Arnold Jr. Fellowship Selly A. Eisemann Memorial Fund Kathleen Hall Banks Fellowship Elvin Tanglewood Fund Leo L. Beranek Fellowship Elise V. and Monroe B. England Tanglewood Montealegre Bernstein Fellowship Felicia Music Center Brookline Youth Concerts Awards Committee Honorable and Mrs. John H. Fitzpatrick Fund Fellowship Daniel and Shirlee Cohen Freed Concert Fund Helene R. and Norman L. Cahners Fellowship Ann and Gordon Getty Fund Marion Callanan Memorial Fellowship Gordon/Rousmaniere/Roberts Fund Nat Cole Memorial Fellowship Grace Cornell Graff Fellowship Fund for Harry and Marion Dubbs Fellowship Composers at the TMC Daniel and Shirlee Cohen Freed Fellowship Heifetz Fund Dr. Marshall N. Fulton Memorial Fellowship Mickey L. Hooten Memorial Prize Fund Juliet Esselborn Geier Memorial Fellowship Grace Jackson Entertainment Fund Gerald Gelbloom Memorial Fellowship Grace B. Jackson Prize Fund Arthur and Barbara Kravitz Fellowship Paul Jacobs Memorial Commissions Fund Bernice and Lizbeth Krupp Fellowship Louis Krasner Fund for Inspirational Teaching Philip and Bernice Krupp Fellowship and Performing, established by Marilyn Edward and Joyce Linde Fellowship Brachman Hoffman Lucy Lowell (1860 - 1949) Fellowship William Kroll Memorial Fund Morningstar Family Fellowship Lepofsky Family Educational Initiative Fund Stephen and Persis Morris Fellowship Dorothy Lewis Fund Hannah and Raymond Schneider Fellowship Kathryn Holmes &c Edward M. Lupean Pearl and Alvin Schottenfeld Fellowship Sc Diane Holmes Lupean Concert Fund Fellowship R. Armory Thorndike Samuel Mayes Memorial Cello Prize Fund Augustus Thorndike Fellowship Merrill Lynch Fund Sherman Walt Memorial Fellowship Charles E. Merrill Trust TMC Fund Jerome Zipkin Fellowship Herbert Prashker Fund ENDOWED SEMINAR SCHOLARSHIPS Renee Rapaporte DARTS Fund Maurice Abravanel Scholarship Mr. and Mrs. Ernest H. Rebentisch Fund Eugene Cook Scholarship Jules C. Reiner Violin Prize Fund Dorothy and Montgomery Crane Scholarship Elaine and Harvey Rothenberg Fund William E. Crofiit Family Scholarship Rothenberg/Carlyle Foundation Fund Ethel Barber Eno Scholarship Helena Rubinstein Fund Richard F. Gold Memorial Scholarship Lenore S. and Alan Sagner Fund Leah Jansizian Memorial Scholarship Renee D. Sanft Fellowship Fund for the TMC Miriam Ann Kenner Memorial Scholarship Hannah and Ray Schneider TMCO Concert Andrall and Joanne Pearson Scholarship Maurice Schwartz Scholarship Fund Mary H. Smith Scholarship Ruth Shapiro Scholarship Fund Cynthia L. Spark Scholarship Dorothy Troupin Shimler Fund

Tisch Foundation Scholarship Asher J. Shuffer Fund Maurice Schwartz Scholarship Fund Evian Simcovitz Fund ENDOWED Albert Spaulding Fund FUNDS SUPPORTING Evelyn and Phil Spitalny Fund THE TEACHING AND PERFORMANCE PROGRAMS Jason Starr Fund Tanglewood Music Center Composition , George W. and Florence N. Adams Concert Fund Program Fund

; Eunice Alberts and Adelle Alberts Vocal Scholarship TMC Opera Commission Fund i Fund Tanglewood Music Center Opera Fund Bernard ; and Harriet Bernstein Fund TMC General Scholarship Fund

! George 6c Roberta Berry Supporting Organization Denis and Diana Osgood Tottenham Fund Fund for TWD Helen F. Whitaker Fund i Peter A. Berton Fund John Williams Fund Donald C. Bowersock Tanglewood Fund j Karl Zeise Memorial Cello Prize Fund i Northern California TMC Audition Fund 1 Gino B. Cioffi Memorial Prize Fund Listed as ofJuly 15, 2001 «5\B Trust Your Face To A Facial Plastic Surgeon "

F. III, mSm Edwin Williams ; M.D. F.A.C.S.

Leader and 'Educator on a Rational Level (Dedicated to the Highest IjtwOrSl ^ Lmmmm Standards of Surgicaf 'L?(ce Ifence and 'Patient Care NEW ENGLAND LASER AND COSMETIC SURGERY CENTER On Site New York State Accredited Surgical Center Rhinoplasty Nasal Reconstruction Revision Nasal Surgery Minimally Invasive Endoscopic Rrow Lift ~ Eye Lift (Rlepharoplasty) Chin, Cheek &, Lip Augmentation Mid Face Lift/Face Lift Facial Peels/Laser Resurfacing Rotox &. Collagen Replacement iiWJB Therapy Micronized Alloderm Certified by the American Board of Facial Plastic and Reconstructive Surgeons 1072 Troy-Schenectady Road ~ Latham, New York 12110 (518) 786-7000 ~ (800) 747—2797 www,nelasersurg.com edwilliams@nelasersurg. com

See wHat we've drummed tip for your kitcHen r

: A-S //^j^Ss GookwareI nr\Lni/orp andanil Bakeware,rs-^Uow/'ir^ 1 The best you can find, Table Linens, Potholders, Gadgets of every kind. Rare and unique items Culled from far and wide, Gifts for the serious cook Or the new groom and bride. Small Appliances, Fine Cutlery, Distinctive Condiments and Spice, Handcrafted Wooden Bowls, Even Helpful Advice.

Special orders are easy, ,, And we ship far or near, We're Different Drummer's Kitchen, And you'll love shopping here. «^. DIFFERENT DRUMMER'S •£* «^- KITCHEN

L800375'COOK The Cook's Resource

374 Pittsfield Road, Lenox, MA • Thorncs Marketplace, Northampton, MA • Stuyvesant Plaza, Albany, Ni CAPITAL AND ENDOWMENT CONTRIBUTORS

The Boston Symphony Orchestra enters the new millennium well positioned to succeed in achieving its performance, education, and outreach goals and in preserving its world-renowned concert facilities. Contributions from donors and income from the endowment support forty percent of the annual budget. The BSO salutes the donors listed below, whose capital and endowment contributions of $10,000 or more were made between September 1, 2000, and July 9, 2001. For further information, contact J. Carey Bloomfield, Director of Development, at (413) 637-5260, or Elizabeth P. Roberts, Director of Individual Giving, at (413) 637-5275.

$1,000,000 and Up

Anonymous (3) Mrs. Donald C. Heath

$500,000-$999,999 Liz and George Krupp

$250,000 -$499,999 Nancy Lurie Marks Foundation Mr. and Mrs. Thomas G. Sternberg

$100,000-$249,999

Anonymous (1) Estate of Eunice M. Milliken Mr. and Mrs. Paul F. Deninger Estate of Katherine C. Taylor

Mr. and Mrs. Robert Kleinberg Mr. and Mrs. Wilmer J. Thomas, Jr. $50,000-$99,999 Mr. Charles D. Berry Shari Loessberg and Christopher Smart Estate of Alice E. Buff Estate of Charlotte McKenzie

Bob and Lynn Daly Dr. Martin C. Mihm, Jr. Estate of Constance Foster State Street Foundation Mrs. Haskell R. Gordon

$25,000-$49,999 James B. and Suzannah C. Ames Estate of Frances Fahnestock Berkshire Life Insurance Company Estate of Grace Cornell Graff Ms. Lynda Schubert Bodman Mr. and Mrs. Edwin A. Jaffe The Edward MacCrone Charitable Trust Estate of Edith H. Supovitz

$10,000-$24,999

Anonymous (4) Mrs. Robert M. Mustard Dr. and Mrs. Norman Atkin Sametz Blackstone Associates, Inc. Ms. Renee Burrows Mr. Roger Sametz Mrs. Nat Cole Mr. and Mrs. Joseph D. Spound Mr. and Mrs. Bruce Glassman Mr. Norman Y. Stein Estate of Mary Field Jackson Estate of Arthur W. Strenge Jockey Hollow Foundation Estate of Dixie Ward Wonders Estate of Irving W. Meeker The Cornelius and Muriel Wood Jane and Robert Morse Charity Fund 3 Se ^fflitfimMtown - (9ne ^Wrn^e SoeautifuC*

illiSLimLstowvii Main Street CaiS Jr ilium Pestiwal

thieve IL/awson 2001: THE SUMMER WIND JC/xecuitive JOirector

Oweepinq into the Derkshires with

dazzlinq lestivals, stimulatinq Art

ana excitinq V_^uisine 1 lie 1 Jaircl 'essoin

1 Ike [beauty of tke location makes C^elebrate the oeason tke Willianistowm F ilim. F estiva! In hiqh spirits at the draw for visiters to tke Joerkskires.oo, Main Stoeet Cadfe iySLassackiisetts is fast Ibecoimiing ouinoaiice liasta Lunch Cx Uinner

Afternoon CX Lveninq Ueliqhts 'epfeiiriter ^l-

reservations ouqqested 413-458-3210 Tel: 415-458-

FaX5 415-458-270^ 16 Water Street Williamstown, Massachusetts 01267 Jimails filmiestC^PIycos.' williams townolmfiLiesL coin

WILLIAMS COLLEGE MUSEUM < OF^ART 75 YEARS Tu-SalO-5, Sul-5 free admission 413-597-2429

williams.edu/WCMA Route 2 Williamstown &TDK

Hear the Difference Create perfect music recordings with TDK's high-performance CD recording devices and IOO% Certified media. Whether burning your own mixes or archiving timeless performances, TDK delivers pristine audio quality. The proof is in the company we keep; the Boston Symphony Orchestra, Milan's La Scala Opera Theater and countless audio professionals depend on TDK. Learn more about the full line of CD recorders and media at the sweetspot of digital audio, www.tdk.com.

As sponsor of the 13th annual Tanglewood Free Lawn Passes for Children program*

TDK is proud to bring great music alive for thousands of children. Baldwin.

The Concert Piano of the Tanglewood Legends.

Leonard Bernstein For more than sixty seasons, Baldwin

pianos have performed with the Aaron Copland masterful musicians of Tanglewood.

Charles Dutoit The reason is simple. Every Baldwin

piano is crafted to satisfy artists who Lukas Foss require technical excellence, composers

Serge Koussevitzky who seek the full spectrum of musical

colors, and conductors who demand Keith Lockhart consistently superior performances.

Charles Munch Listen to its golden tones and you'll

know why Baldwin has remained the Seiji Ozawa piano of choice for the legendary

Robert Spano musicians of Tanglewood.

Baldwin www.baldwinpiano.com HH^H He Continues To Make History

Bob Scott is no stranger to the brilliant tapestry of the past. As a history professor at Williams College for 44 years, Bob brought the lessons of history to life for an entire generation. Yet, like so many others at Kimball Farms, Bob continues his work with history

lectures and discussions with his fellow residents. . .it's the art of conversation and the stimulation of ideas found throughout the Kimball Farms Retirement Community; you meet the most interesting people at Kimball Farms.

Choose from a variety of options to fit your lifestyle and specific needs including Independent Living, Assisted Living, and Skilled Nursing.

Lifecare Retirement As It Was Meant To Be

t^ Kimball Farms

235 Walker Street, Lenox, MA 01240 (800) 283-0061 (413) 637-7000 www.kimballfarms.org