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BOSTON SYMPHONY ORCHESTRA SEMI OZAWA Music Director

BOSTON SYMPHONY ORCHESTRA

SEIJI OZAWA Music Director ^&4 ki>- f BOSTON Principal Guest Conductor /{SYMPHONY I ORCHESTRA NINETY-FOURTH SEASON 1974-1975

TANGLEWOOD 1975

THE TRUSTEES OF THE CONTENTS BOSTON SYMPHONY ORCHESTRA INC.

Talcott M. Banks Mrs Harris Fahnestock The Weekend's Programs 13-28 President Harold D. Hodgkinson Philip K. Allen David O. Ives Tanglewood 7 Vice-President E. Morton Jennings Jr Sidney Stoneman Edward M. Kennedy The Boston Symphony 29 Edward G. Murray Orchestra Vice-President Albert L. Nickerson Iohn L. Thorndike John T. Noonan The Berkshire Music Center 32 Treasurer Mrs James H. Perkins Irving W. Rabb The Music Director 11 Vernon R. Alden Paul C. Reardon Allen G. Barry Mrs George Lee Sargent Map of Tanglewood 10 Mrs John M. Bradley John Hoyt Stookey Richard P. Chapman Festival Information 38 Abram T. Collier Henry A. Laughlin

Nelson J. Darling Jr Palfrey Perkins Archie C. Epps hi Trustees Emeritus

ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA

Thomas D. Perry Jr Thomas W. Morris Executive Director Manager The program magazine of the Bos- ton Symphony Orchestra and the Gideon Toeplitz Daniel R. Gustin Sylvia Davis Boston Pops is published monthly Assistant Director Administrator of Director of Promotion by the Boston Symphony Orches- Educational Affairs tra Inc., Symphony Hall, Boston, Massachusetts 021 15. For informa- Paul Bronstein Mary H. Smith Dinah Daniels tion about advertising space and Business Manager Assistant to the Manager Assistant Director rates please call Mr Stephen Camp- of Promotion bell, 1400 Statler Office Building, Forrester C. Smith Richard C. White Eleanor R. Jones Boston, Massachusetts tele- 02116, Development Director Assistant to the Manager Program Editor phone (617) 542-0478. In New York contact A.J. Landau Inc., 527 Madi- Donald W. Mackenzie James F. Kiley son Avenue, New York, New York Operations Manager, Operations Manager, 10022, telephone (212) 371-1818. Symphony Hall Tanglewood

TANGLEWOOD LENOX MASSACHUSETTS BOSTON SYMPHONY ORCHESTRA

SEIJI OZAWA Music Director COLIN DAVIS Principal Guest Conductor

THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC.

David O. Ives John T.G. Nichols Mrs Stephen V.C. Morris Chairman Vice-Chairman Secretary

Hazen H. Ayer Mrs Charles Garside David R. Pokross David Bird Mrs John L. Grandin Jr Mrs Priscilla Potter Gerhard D. Bleicken Bruce Harriman Harry Remis

J. Carter Brown Mrs Richard D. Hill Mrs Peter Van S. Rice Curtis R. Buttenheim Richard S. Humphrey Jr Mrs Samuel L. Rosenberry Mrs Henry B. Cabot Mrs Jim Lee Hunt Mrs Jerome Rosenfeld

Mrs Mary Louise Cabot Mrs Louis I. Kane Mrs George R. Rowland George H.A. Clowes Jr Leonard Kaplan Mrs A. Lloyd Russell Arthur P. Contas Leon Kirchner William A. Selke Silvio O. Conte Mrs James F. Lawrence Samuel L. Slosberg Robert Cushman Roderick MacDougall Richard A. Smith

Michael J. Daly John S. McLennan Mrs Arthur I. Strang Henry B. Dewey Colman M. Mockler Jr Mrs Edward A. Taft Mrs C. Russell Eddy Mrs Charles L. Moore Mrs Richard H. Thompson Richard A. Ehrlich Mrs Elting E. Morison Stokley P. Towles Weston P. Figgins Frank E. Morris D. Thomas Trigg Carlton P. Fuller Richard P. Morse Julius Vogel

Mrs Thomas J. Galligan Jr David G. Mugar Vincent C. Ziegler Mrs Thomas Gardiner Dr Barbara W. Newell

They're playing our song:

"Rhapsody in Green"

What else would they play at of the faculty of the Boston Univer- University School for the Arts in Tanglewood? A pastorale. A sylvan sity School of Music and the Boston association with the Berkshire Music symphony. Symphony Orchestra. Private study Center. June 29 through August 24, Extraordinarily well. with master artists. Performance with 1975. They're outstanding young chamber music and orchestral musicians, selected through auditions groups. Or participation in an in- For further information about at high schools around the country to depth vocal program and the Tangle- the Institute, or about music pro- spend the summer at Boston Univer- wood Institute Chorus. And for grams leading to degrees at the sity Tanglewood Institute. students at the college and post- bachelor, master and doctoral Boston University Tangle- graduate level: seminars in piano and levels, contact: wood Institute, now in its tenth year, harp and an applied music program Norman Dello Joio, dean offers them the opportunity to study for experienced instumentalists. Boston University School for the Arts with some of the most distinguished Boston University Tangle- 855 Commonwealth Avenue artists available anywhere. Members wood Institute, offered by Boston Boston, Massachusetts 02215 Boston UniversityTanglewood Institute BOSTON SYMPHONY ORCHESTRA

SEIJI OZAWA Music Director COLIN DAVIS Principal Guest Conductor

Joseph Silverstein Assistant Conductor

first violins cellos bass clarinet

Joseph Silverstein Jules Eskin Felix Viscuglia Concertmaster Philip R. Allen chair Munch chair Martin Hoherman Charles bassoons Emanuel Borok Mischa Nieland Max Hobart Jerome Patterson Sherman Walt Rolland Tapley Robert Ripley Edward A. Taft chair Roger Shermont Luis Leguia Ernst Panenka Max Winder Carol Procter Matthew Ruggiero Harry Dickson Ronald Feldman Wilfinger Joel Moerschel Gottfried contra bassoon Fredy Ostrovsky Jonathan Miller IMIilC Leo Panasevich Martha Babcock Richard Plaster FM 90.3 mHz Sheldon Rotenberg

Alfred Schneider horns basses Stanley Benson We bring you fine music Gerald Gelbloom Henry Portnoi Charles Kavaloski Slosberg chair Raymond Sird Harold D. Hodgkinson chair Helen Sagoff AND dozens of interesting Ikuko Mizuno William Rhein Charles Yancich events — live and without Cecylia Arzewski Joseph Hearne Harry Shapiro David Ohanian Amnon Levy Bela Wurtzler commercials. Sit in with us Richard Mackey Leslie Martin at the National Press Club, John Salkowski Ralph Pottle second violins John Barwicki where the next day's head- Clarence Knudson Robert Olson trumpets lines are often made. Enjoy Fahneslock chair Lawrence Wolfe Armando Ghitalla Marylou Speaker "All Things Considered," a Andre Come Michel Sasson flutes Rolf Smedvig fascinating magazine of news Ronald Knudsen Gerard Goguen Leonard Moss Doriot Anthony Dwyer and issues. (Nothingelselikeit William Waterhouse Waller Piston chair in broadcasting!) Savor some Laszlo Nagy James Pappoutsakis trombones Michael Vitale Paul Fried satisfying thea- William Gibson of the most Spencer Larrison Ronald Barron tre productions ever aired. Darlene Gray piccolo Gordon Hallberg Ronald Wilkison Revel in delightful, intelligent Harvey Seigel Lois Schaefer Bo Youp Hwang tuba conversation. Victor Yampolsky Chester Schmitz Jerome Rosen oboes

Ralph Gomberg Listen . . . and if you timpani Mildred B. Remis chair like what you hear, John Holmes Everett Firth write for our free monthly Wayne Rapier Sylvia Shippen Wells chair program bulletin. Burton Fine Charles S. Dana chair english horn percussion Reuben Green Eugene Lehner Laurence Thorstenberg Charles Smith WAMC George Humphrey Arthur Press Albany Medical College Jerome Lipson assistant timpanist Albany, New York 12208 clarinets Robert Karol Thomas Gauger Bernard Kadinoff Harold Wright Frank Epstein Vincent Mauricci Ann S. M. Banks chair National Public Radio for eastern New York Earl Hedberg Pasquale Cardillo rpr and western New England harps Joseph Pietropaolo Peter Hadcock Robert Barnes Ei> clarinet Bernard Zighera Michael Zaretsky Ann Hobson

personnel manager librarians stage manager

William Moyer Victor Alpert Alfred Robison William Shisler place to think

An established, planned community designed to preserve the ecostruc- >?>} ture of the original forest-dirt roads, ^IK hiking paths, lakes and ponds, clean air, 4 to 6 acres all by yourself, neigh- boring on a 15,000 acre forest.

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Box 1 86, Lee, Mass. 021 38

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By appointment only. Tel. 413-623-8933

i. becket • • •* Tanglewood

Opposite the Lion Gate of the Tan- Hadley, and the venture was so suc- glewood grounds stands a small red cessful that the promoters in- cottage, a replica of the building in corporated the Berkshire Symphonic which Nathaniel Hawthorne lived from Festival and repeated the experiment Dance Festival the early summer of 1850 to November during the following summer. of 1851. The peace and beauty of the The Festival committee then invited America's FIRST Dance Festival Berkshires apparently agreed with and the Boston July 1 - August 23 at Lee, Mass. Hawthorne, for the time he spent here Symphony Orchestra to take part in 34th Year in the Ted Shawn Theatre Norman Walker, Director was an unusually productive one. the next summer's concerts. The Or- Grace Badorek, Comptroller Among the works he completed was chestra's Trustees accepted, and it was Donald Westwood, Promotional Director The Wonder Book, a collection of fan- on August 13 1936 that the Boston ciful tales which take place in a locale Symphony gave its first concert in the NEW PROGRAM EVERY TUESDAY AT 7:30 P.M. for which Hawthorne invented the Berkshires. The event took place at FIRST WEEK -July 1-5 name 'Tanglewood.' Shortly after- 'Holmwood,' a former Vanderbuilt es- Linda Di Bona & Chris Jensen wards he completed a similar volume tate, today Foxhollow School. The Theatre Dance Collection entitled Tanglewood Tales, and Wil- series, which again consisted of three Chiang Ching liam Aspinwall Tappan, a Boston mer- concerts, was given under a tent, and a chant and banker, in turn appropriated total of nearly 15,000 people attended. SECOND WEEK July 8-12 the name for his neighboring estate, an In the winter of 1936, the descendants Emily Frankel Joan Miller Dance Company Classical Pas de Deux (to be announced)

THIRD WEEK July 15-19 Murray Louis Dance Company

FOURTH WEEK July 22-26 Cliff Keuter Dance Company Nala Najan

FIFTH WEEK July 29 - August 2 Maria Alba Spanish Dance Company

SIXTH WEEK August 5-9 Boston Ballet Company E. Virginia Williams, Artistic Director

SEVENTH WEEK August 12-16 Margaret Beals Dancers — Soloists from American Ballet Theatre

EIGHTH WEEK August 19-23 Five by Two (Jane Kosminsky & Bruce Becker) and Guest Artists Jacob's Pillow Dancers Classical Pas de Deux (to be announced)

Performances: Performances are held Tuesday estate which would later become the of William Aspinwall Tappan, Mrs through Saturday. Curtain times: Tuesday, summer home of the Boston Sym- Gorham Brooks and Miss Mary As- 7:30 p.m. Wednesday, Friday and Saturday 8:40 p.m. Thursday and Saturday Matinees: phony Orchestra. Hawthorne was but pinwall Tappan, offered Tanglewood, 3:00 p.m. Tickets: $7.50, $6.50 and $5.00. one of several famous writers who with its buildings and 210 acres of Available at Ticketron or the Jacob's Pillow were drawn to the Berkshire coun- lawns and meadows, as a gift to Box Office, Box 287, Lee, Mass. 01238. tryside. Longfellow, and Koussevitzky and the Orchestra. The Holmes Mel- For information and reservations: ville were sometime residents, and so offer was gratefully accepted, and on call 10 a.m. -9 p.m. (413) 243-0745. too were many well-to-do Bostonians August 12 1937 the Festival's largest How to Reach Jacob's Pillow: Approx. 150 and New Yorkers, some of whom built crowd thus far assembled under a tent mi. from Boston or New York, near Tangle- magnificent for summer homes in the the first Tanglewood concert, a wood. Take the Lee-Pittsfield exit on the area, a location that had gained a rep- program of music by Wagner. As Massachusetts Turnpike. Public transportation utation as one of the great beauty Koussevitzky began The Ride of the from Boston via Greyhound; from New York via Greyhound or Bonanza Bus. For bus spots of New England. It was on one Valkyries, a storm erupted, over- information call (617) 423-5810 or such estate, the Dan Hanna Farm at powering the music and causing the (212) 594-2000. Interlaken, that a group of music lov- concert to be interrupted three times ing summer residents organized a before the first half could be com- Jacob's Pillow Dance Festival series of three outdoor concerts in Au- pleted. The second half of the program Box 287, Lee, Mass. 01238 gust 1934. These were performed by had to be changed, because of water (413) 243-0745 members of the New York Philhar- damage to some of the instruments, monic under the direction of Henry and when the concert ended, Miss I ) Gertrude Robinson Smith, one of the Festival's founders, came to the stage and told the audience that the storm had proved conclusively the need for a shed. $100,000 would be needed for this purpose, she said, and the re- sponse to her plea was so generous that within a short time the amount was fully subscribed. Plans for the Music Shed were drawn up by the emi- nent architect Eliel Saarinen, and Ifmusic these were then modified by Josef Franz of Stockbridge, who also di- rected construction. Miraculously, the structure was completed on June 16 bethefood 1938, a month ahead of schedule, and seven weeks later Serge Koussevitzky led the inaugural concert, a perform- ance of Beethoven's Ninth Symphony. of love, For Koussevitzky, the event repre- sented the partial fulfillment of one of his fondest dreams, a dream that would be completely realized two sum- playon! mers later with the opening of the Berk- shire Music Center. He thought of the two institutions as a single entity, a 'creative musical center,' he wrote, 'where the greatest living composers will teach the art of composition; the greatest virtuosi, the art of perfect performance; the greatest conductors, the mystery of orchestras OGDEN FOOD SERVICES and choruses. The most eminent think- ^|^ ers and scholars will lecture there. A Providing food and drink to the patrons of Tanglewood for years. free cooperation of such an elite will certainly result in a creation of new and great values of art; in the radi- ation of the beams of culture over a nation and over the whole world; and, Finally, in the education and training of a new generation of American art- ists.' By 1941, the Theatre-Concert Hall, L^ji the Chamber Music Hall and several flu ^\>Sn3fcr-\ rlF^ '1 small studios had been built, and the Festival had so expanded its activities and its reputation for excellence as to attract nearly 100,000 visitors. Tan- glewood today draws nearly a quarter million visitors. In addition to the twenty-four regular concerts of the Boston Symphony, there are weekly 'Prelude' concerts and open rehearsals, there is the annual Festival of Con- Pin inr i Pi— temporary Music, and there are al- most daily concerts by the gifted young musicians of the Berkshire Mu- LEISURE LEE sic Center. Arthur Fiedler and the Boston Pops perform annually, and the A FOUR-SEASON VACATION COMMUNITY Festival also includes a series of con- 1 certs by popular artists. The season PRIVATE SKI SLOPE ... 3 /2 MILE offers not only a vast quantity of mu- NATURAL LAKE ... SANDY BEACH ... sic but also a vast range of musical BOAT DOCKS ... WOODED HOMESITES ... forms and styles, all of it presented

PRIVATE ROADS ... MOUNTAIN CLEAN with a regard for artistic excellence AIR which makes the Festival truly unique. Tanglewood and the Berkshire Music Center, projects with which Koussevitzky was involved until the time of his death, have become a fit- ting shrine to his memory, a living em- bodiment of the vital, humanistic tra- on Route 20 Lee, Mass. 413-243-1972 dition which was his legacy.

8 SCULPTURE AT TANGLEWOOD

The sculptures displayed at Tanglewood this summer are by four distinguished artists: Harry Bertoia, Masayuki Nagare, Herbert Ferbeu and Forrest Myers.

Born in San Lorenzo, Italy, Harry Bertoia represented by the Staempfli Gallery. studied with Eliel Saarinen in this country, Herbert Ferber's work, which is exhibited has worked extensively in metal work, ab- widely here and abroad, appears in impor- stract jewelry, graphics and sculpture, and tant private collections as well as in leading has exhibited in the leading museums of museums. Represented by the Emmerich the United States. Gallery in New York, he divides his time Masayuki Nagare's background is deeply between New York and North Egremont. rooted in the traditional religion and art of Forrest Myers, a founding member of the Japan. His life has known years of contem- Park Place Gallery in New York, is a fre- plation and intense periods of self-study in quent visitor to Great Barrington. His work sculptural forms. Nagare's commissions in- appears in the Whitney Museum of Ameri- clude works for the Juilliard School and the can Art, the Philadelphia Museum of Art . Bertoia and Nagare are and the San Francisco Art Institute. «m%m

CaaT Masayuki Nagare: Loneliness, 1966 Herbert Ferber: Morgan II, 1971 Staempfli Gallery, New York Andre Emmerich Gallery, New York

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10 The Music Director

Pierre Monteux, Serge Koussevitzky summer of 1969 he conducted opera and Charles Munch, Mr Ozawa had for the first time — Cost fan tutte at served as Music Adviser during the Salzburg, where he conducts again this preceding season, and before that he summer— and served also as principal had appeared on numerous occasions guest conductor of the Ravinia festi- as guest conductor of the Orchestra. val. That fall he opened the New York Born in Hoten, Manchuria, in 1935, Philharmonic season and later ap- he graduated from the Toho School of peared as guest conductor of Music, Tokyo, with first prizes in L'Orchestre de Paris, the Cleveland composition and conducting, and then Orchestra and the Berlin Philharmon- went to Europe, where he won first ic. He will return to Berlin in 1976 to prize at the International Competition conduct the Philharmonic in perform- of Conducting at Besancon, France. ances of Mahler's Eighth Symphony One of the judges, the late Charles and the Berlioz Requiem. Munch, then Music Director of the In 1970 Mr Ozawa became Artistic Boston Symphony, invited him to Director of the Berkshire Music Festi- study at Tanglewood during the fol- val, and in December of that year he lowing summer, and it was there that began his inaugural season as Con- Mr Ozawa's association with the Or- ductor and Music Director of the San chestra began. He was made an assis- Francisco Symphony Orchestra, titles tant conductor of the New York Phil- he holds concurrently with his position harmonic at the beginning of the 1961 - as Music Director of the Boston Sym- 1962 season, and it was during that phony. His recordings with the Or- same season that he made his first chestra on the Deutsche Grammophon full-length professional concert ap- label include Berlioz' Symphonie fan- pearance in North America, with the tastique and La damnation de , Orchestra. Beethoven's Piano Concerto No. 5 Beginning with the summer of 1964 with soloist Christoph Eschenbach, he was for five seasons Music Director and Ravel's Bolero, Rapsodie espag- Seiji Ozawa, who became Music Direc- of the Ravinia Festival, and at the nole and La Valse. He and the Orches- tor of the Boston Symphony in the fall start of the 1965-1966 season he be- tra are currently recording the com- of 1973, is the thirteenth conductor to came Music Director of the Toronto plete orchestral music of Ravel. Mr have headed the Orchestra since its Symphony, a post he relinquished after Ozawa and the Boston Symphony Or- founding in 1881. The successor of four seasons in order to devote his chestra are scheduled to tour Europe such historic figures as , time to guest-conducting. During the in February of 1976.

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r~ uttustiu 1 BEETHOVEN KLAVIERKONZERT NB.5 ES-DCK PIANO CONCERTO NO. 5 IN E FLAT MAJOR CHRISTOPH ESCHENBACH. PIANO BOSTON SYMPHONY ORCHESTRVSEI.JI OZAWA

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530438 2530358 2530475 First Recording in Ozawa's Ravel Cycle! BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director

TANGLEWOOD 1975

Friday August 22 1975 at 7pm

Gilbert Kalish

Weekend Prelude

Gilbert Kalish GILBERT KALISH Piano

piano Gilbert Kalish was born in 1 935. A gradu- ate of Columbia College, he studied piano with Leonard Shure, Isabelle Vengerova and Julius Hereford. Pre- CHARLES IVES (1874-1954) viously on the faculty of Rutgers Uni- versity, Mr Kalish is presently Artist- Piano Sonata No. 2 'Concord, Mass., 1840-1860' in-Residence at the State University of (Second Edition) New York at Stony Brook, and has been a member of the faculty of the Berkshire Music Center at Tanglewood since 1968. /. 'Emerson'. - quietly Slowly Slowly and He appears regularly with the Boston Symphony Chamber Players, with whom II. 'Hawthorne'. Very fast he toured Europe in 1971, and has made solo appearances with the Boston Sym- III. 'The A Icons' phony Orchestra and the Buffalo Phil- harmonic. Well known for his work in IV. 'Thoreau. Starting slowly and quietly the contemporary field, Gilbert Kalish has long been the pianist for the Con- (with DORIOT ANTHONY DWYERjflute) temporary Chamber Ensemble and has appeared as soloist in major twentieth century concerti by Alban Berg, , Olivier Messiaen and Igor Stra- vinsky. He has recorded for Columbia, CRI, Desto, Folkways and Nonesuch. Gilbert Kalish is playing the Baldwin Piano

The Boston Symphony Orchestra records exclusively for Deutsche Grammophon BALDWIN PIANO DEUTSCHE GRAMMOPHON & RCA RECORDS

13 BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director

TANGLEWOOD 1975

Program Notes

Ludwig van Beethoven 1770-1827 Symphony No. 3 in E flat Friday August 22 1975 op. 55 'Eroica' at 9pm Program note by John N. Burk

The liberation of music in the nineteenth BOSTON SYMPHONY ORCHESTRA century brought about a remarkable result which had been impossible before SEIJI OZAWA on account of stylistic constriction, and conductor which, for sheer lack of imaginative power, has not happened since. That enviable century produced two com- posers whose amplitude of resource and BEETHOVEN consistency of growth were such that over and above the continuing traits Symphony No. 3 in E flat op. 55 'Eroica' of their personal style, the succession Allegro con brio of their greater works unfolded, one Marcia funebre: adagio assai after another, new and distinct tonal concepts. Tristan or Die Meistersinger Scherzo: allegro vivace have each a character completely its Finale: allegro molto own. Each of Beethoven's symphonies from the Third to the Ninth opens a fresh vista of its own—this in varying degree, but most strikingly in the Third. Beethoven's remark to Krumpholz in 1802 while sketching his Third Sym- INTERMISSION phony that he was taking a 'new road'

is often quoted, and rightly so. Beetho- ven's phrase, reported by Czerny, was an understatement, for no single musical

work in history can compare with it as a plunge into new ways. When Schu- KEI ANJO mann published his article on the youth- ful Brahms in 1852 under the title 'Neue TOSHI ICHIYANAGI Bahnen [New paths], he was going too NAOZUMI YAMAMOTO far if he had in mind Beethoven's 'Neuen Weg. Brahms' First Symphony would vindicate this clear-visioned prophet, but Three Spaces that Symphony was arrived at only after years of germination and accumulating Ten, Chi, Jin: Heaven, Earth, Humankind force. The Eroica was a new road both in the composer's meaning of a sudden KINSHI TSURUTA biwa broadening in his own development, KANZE noh-kan and utai HIDEO and in the universal sense that it changed KATSUYA YOKOYAMA shakuhachi the whole course of music. drums SEN AMANO Symphonies, even Beethoven's first

two, still retained relics of the gallant the Orchestra first performance by Boston Symphony style of the salon where the form was born. Even the last symphonies of Mo- zart and Haydn were not out of place in such surroundings —they had wit and seemly restraint rather than challenge and thrust. Beethoven, always an intui- tive composer who never theorized about music, leaves no sign of having taken his 'new road' with conscious purpose The Boston Symphony Orchestra records exclusively for Deutsche Grammophon or awareness of making an aeshetic no motive BALDWIN PIANO / DEUTSCHE GRAMMOPHON & *RCA RECORDS revolution. He could have had of expediency. From the publisher's 14 ^ •~.j £..

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At one time Beethoven had been a fervent admirer of Napoleon and had written the Third

Symphony in his honor and titled it 'Bona- parte.' When he heard that Napoleon had crowned himself Emperor in 1804, he tore the title page and gave the Symphony its new name, 'Eroica.' The original title page is shown at right. Beneath 'Sinfonia grande' two words

are obliterated; one partially torn, is 'Bona- parte.' The entire score was purchased in 1827 cJtJkf/?£e. <*l... by the Viennese composer Joseph Dessauer for less than a dollar. -ai

Descriptive piece by Arden Reardon

point of view no score could have been whether patrons or musicians. The much Kei Anjo, Toshi Ichiyanagi and less saleable. Symphonies were no longer sought pianist, the favorite of society, Naozumi Yamamoto being written at that time, partly because was first facing the dreadful prospect Three Spaces no contemporary composer wanted to of deafness which would end his career match his talent with what Mozart and as performer. It was in the summer of Three Spaces was prepared and re- Haydn had left, but also because there 1802 at Heilgenstadt, shortly before he hearsed in Tokyo during the summer of was no particular demand for them. wrote his tragic 'Heilgenstadt Testa- 1974. It received its world premiere at Here Clementi failed by comparison ment', that he probably made his first the United Nations last fall. with those two; Cherubini wrote only sketches for the Eroica. The idea for this composition first one, on an inescapable commission; The threat of deafness was a spur to took shape in the imagination of Seiji Weber wrote one as a youthful indis- set him on his 'new road', but this alone Ozawa during a visit to United Nations cretion. cannot begin to account for the intre- headquarters in the spring of 1972. Eager Schubert wrote several which had a pidity of the artist, nor for the full flux to combine elements of traditional Jap- few amateur performances or none at of power which in the growing Beetho- anese music with the texture of the certainty. all while he lived. A more practical man ven must have been an eventual symphonic medium which he has so like Rossini knew where his bread and The symphony as a form which had notably mastered, Mr Ozawa learned butter lay. Beethoven, who wrote to pub- ceased to be written with the previous that day that the late Dag Hammar- lishers as if he considered himself a century was being reborn in very dif- skjold had confided to his diaries (later shrewd businessman, but would have ferent guise. edited by W.H. Auden and published as been alone in that opinion, gave his Markings) a number of brief lyrics in The Boston Symphony Orchestra, con- full attention to symphonies through the Japanese haiku form; and Mr Ozawa ducted by has recorded some unexplained urge. When he wrote seized enthusiastically upon these lines, Beethoven's Symphony No. 3 for RCA. the Eroica only opera, and Italian opera carrying them to Japan where they be- in particular, spelled success. Instru- came a linking strand for the new work. mental groups, when needed, which was The haikus, in their original Swedish seldom, were largely recruited from the form, were sent to Harvard University opera orchestras. The men were usually -*w where Dr Edwin A. Cranston, Profes- hired to accompany singers and vir- sor of Japanese Literature, and his Re- tuosos. A symphony on a concert pro- [a] p m ra search Assistant, Fumiko E. Cranston, gram was a routine opening or closing translated them into Japanese. The verses piece. While occupying himself with the A Very Special Toy Shop were conveyed then to the hands of the fT7l Eroica, Beethoven had no prospect of a Kf three chosen Japanese composers in Pinatas suitable performance, for Vienna had no Tokyo, and the plan of the new work Dolls - both antique and new established orchestra. Prince Lobkowitz, Dollhouses - custom made began to emerge. The first movement, to whom it was dedicated, would have A cress on es •/ entitled Ten, would look towards Heaven preferred a more negotiable string quar- Miniatures —'and in the heavens there are stars'. Toys - handmade by local & European craftsmen tet. Beethoven, alone with his thoughts, The middle movement, Chi, would be Violins about the Earth and on the earth there must simply have been possessed by his Children's Art Gallery — are flowers. The final movement, Jin, sketches as he allowed his themes to Open Daily expand in development into unheard-of would concern itself with Humankind Gladys Flower ways. He was for the first time turning —and with the concept of love. Shamrock Streets • Stockbridge. Mass. away from the musical world about Pine & Each composer has combined in his him, the expectations of his friends, own way the sonorities, cadences and 15 Sen Amano

intervals of the two musical traditions, traditional musicians: Kinshi Tsuruta, bi- Eastern and Western. One has empha- wa; Hideo Kanze, noh-kan and utai; Kat- sized the classical symphonic style, an- suya Yokoyama, shakuhachi; and Sen other the avante-garde. Amano, drums. In Japan children start The haikus employed in the work their lessons when very young, and the are the following: skills are often passed from generation to generation within the same family. Morning, clear as a spring, The family of Hideo Kanze, for instance, Rouses to life has been involved in the art of Noh for The butterfly cotillions. 600 years. Hideo Kanze, who made his April snow. debut at the age of three, is the twenty- The cardinal sought shelter third Noh player since Zeami, a famous In the white forsythia. Noh performer. Kinshi Tsuruta, a lead- ing player of Biwa, or lute, belongs to The cicadas shrieked Kinshin-ryu, one of the stylistically dif-

As the glowing sky consumed ferent schools of Biwa music, which is Their last evening. concerned with the classical repertoire of narrative vocal music accompanied Far inland. by the Biwa. Katsuya Yokoyama is a The freshness of the sea still played leading player of shakuhachi, the bam- Among leaves of bright bronze. boo end —blown flute. For a period of On that New Year's Eve time the shakuhachi was regarded not The black shadows of elms as a musical instrument but as a ritualis- Gave shelter to the graves. tic one in Zen Buddhism. Yokoyama's

© 1964 by W.H. Auden, quoted by courtesy of Alfred ability to perform several different styles A. Knopf, Inc.. publishers of Markings by Dag of shakuhachi music is rare, and is ex- Hammarskjold. emplified in his wide range of tone quality KlNSHI TSURUTA and dynamics. Sen Amano is both a lead- ing player of Japanese traditional drums Hideo Kanze and an expert cook with his own restau- Katsuya Yokoyama rant. He has won the Festival Music Con- Sen Amano cert several times, and plays an active The soloists in Three Spaces: Ten, Chi, part as chairman of the War Drum Pres- Jin are four highly esteemed Japanese ervation Association. Kinshi Tsuruta

16 Hideo Kanze

Katsuva Yokovama

TANGLEWOOD NUT MEGGERS! Dine Well JT£7 en route at Qrouse (House I an un-city informal Country Inn FOOD«DRINK LODGING

TORRIN&TON 29 , MATERBURT 46 ROUTE 23, OTIS Sf> HAVEN 11 NEW YORK \tt' (413) 269-4446 *M®m8fi* Whitestone Phoio 17 BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director

TANGLEWOOD 1975

Program Notes

Maurice Ravel 1875-1937

L'Enfant et les Sortileges, fantaisie Saturday August 23 1975 lyrique en deux parties at 8.30pm Program note by Harry Neville

Colette wrote the libretto of L'Enfant et les Sortileges in 1916, initially under the title Ballet pour ma fille, and Ravel BOSTON SYMPHONY ORCHESTRA agreed to set the poem to music in 1917. It was not until the spring of 1920, how- SEIJI OZAWA ever, that he began work on the score, conductor which was completed toward the end of 1924.

One of the minor problems posed by RAVEL L'Enfant et les Sortileges is that of com- ing up with an adequate English transla- tion of the title. The Bewitched Child L'Enfant et les Sortileges, fantaisie lyrique en deux parties is sometimes used, but this will not do. As Professor Klaus Liepmann, of M.I. T., BRYN-JULSON soprano PHYLLIS points out, 'It is not the child but the D'ANNA FORTUNATO mezzo-soprano environment of animate and inanimate JOY DAVIDSON contralto objects that is bewitched.' Professor NEIL ROSENSHEIN tenor Liepmann than proposes what he terms DAVID EVITTS baritone a 'correct, if clumsy, translation': The Child and the Bewitchments, which MARK PEARSON bass captures the meaning if not the melli- JAN DE GAETANI as The Child fluousness of the French. Not so minor

as the problem of translation is the TANGLEWOOD FESTIVAL CHORUS John Oliver conductor problem of producing this 'lyric fantasy

in two parts,' as Ravel called it. Pro- performance at the Berkshire Festival first fessor Liepmann assigns L'Enfant to the category of 'Neglected Masterpieces,' giving as reasons for the neglect its

brevity, its huge cast and its elaborate and massive instrumentation. Because

it lasts only about fifty minutes, L'Enfant INTERMISSION is generally thought unsuitable as a single

offering, and yet it is difficult to find an acceptable double-bill companion for this most delicate and subtle of operas. Budgetary considerations —the expense Daphnis et Chloe of casting twenty-one singing roles, the expense of an orchestra of 100 or so players —further complicate matters. To- TANGLEWOOD FESTIVAL CHORUS John Oliver conductor gether, these difficulties make L'Enfant virtually unknown on the world's opera- tic stages. Ravel's extravagant impracticality was hardly the result of an impetuous de- cision. As usual, he mulled over the project endlessly before commencing work. After his acceptance of the com-

mission, it was three years before Colette, his librettist, heard from him (to learn The Boston Symphony Orchestra records exclusively for Deutsche Grammophon that he had not yet begun the opera), and another five years before she heard BALDWIN PIANO / DEUTSCHE GRAMMOPHON & *RCA RECORDS from him again (to learn that he had

18 —

completed it). The composer called on his mother. Immediately the turmoil in- the authoress personally to deliver the side him boils up. At the height of his latter news, and Colette recalled of his destructive fury the objects around him visit: 'The only thing he seemed to care come to life. A threatening spirit world the about was duet of the two cats. He populated by the animals, the furniture, the child asked me very gravely whether I would the ornaments, and the creatures of fan- mind if he changed "Mouao" to "Mou- tasy rises up against him, warns him ain." ' it would be impossible,' wrote back to his proper place, punishes him Ravel's friend and biographer Roland- with fear, until the low cry for help, Manuel, 'to find two more original "Mama," crosses his lips. They all pick geniuses or two who were more incompa- up the word, sing it in chorus, and at tible: an enchantress collaborating with last forgive him and restore him to life.' a magician.' Yet Colette would entrust Though Ravel used an immense or- only Ravel with the setting of her little chestra for L'Enfant, the opulence with fable, and Ravel found in her libretto which he formerly employed such forces a quality that would allow him to give —in Daphnis et Chloe, for example, musical expression —perhaps more com- or Pictures at an Exhibition — is absent. pletely than in anything else he wrote Instead, the scoring is delicate, almost to his innermost nature. It was a collabor- chamber-like, in texture, and everywhere ation that resulted in one of the most the work is characterized by an esthetic enchanting and magical of operas. of restraint, by the so-called lean or That Colette was deeply moved by 'stripped-down' style of the Duo Sonata Ravel's accomplishment we know from (1920-1925) and the Chansons Made- her account of a later encounter with casses (1925-1926). Perhaps through the the composer: 'The years had taken the influence of Schoenberg and Stravinsky, conceit out of this little undersized man, Ravel had by now molded a musical as they had his pleated shirts and his language, a style depouille, which com- beard. White and black streaks inter- bined a newly found harmonic and con- mingled and gave his hair a feathery trapuntal daring with Satie's ideal of look. In speaking, he put one delicate musical simplicity. The composer him- mousy hand over the other and swept self recognized the Duo Sonata for everything with his little squirrel eyes. violin and cello as a turning point in

. . . How can I describe how moved I his career, and in a letter to Marcelle was,' she wrote of a performance, 'at Gerar he pointed out similarities be- the first jingle of the tambourines that tween that work and his opera. After accompanies the entrance of the shep- a discussion of what he had sought to

herd boys? . . . "They are amusing, accomplish in the Sonata, he wrote that aren't they?" asked Ravel. Meanwhile, on another level L'Enfant obeys the my throat choked up with tears. The same precepts. 'The striving for melody, creatures bent over the child, whispering which governs it, finds itself supported forgivingly in phrases hardly formed by the treatment. . . . Here it is song that into audible words.' dominates. Without distaining instru- How Ravel felt about LEnfant we do mental virtuosity, the orchestra never- not really know, for he spoke of it with theless remains in the background.' the same exaggerated detachment that he But what a background Ravel provides! showed toward all his other— works. For despite the sobriety of the musical Colette's phrases, however 'this little material, it is a brilliant sonic projec- undersized man,' 'his mousy hand,' 'his tion of Colette's fantasy, if everything little squirrel eyes' —offer a clue to the here is exquisite and refined to the last significance Ravel might have found in degree,' wrote Fred Goldbeck in a 1937 this story of a misbehaving child, who, commemorative article, 'it is thanks to reprimanded by his mother, lashes out a gift, an act of grace, because the at his environment, then guiltily dreams artist who invented this music was an of his victims' hurt, and finally redeems Ariel by nature and could speak no other himself through an act of spontaneous language.' kindness. It is a significance that has been convincingly argued by H.H Stuc- kenschmidt in his book , DRAMATIS PERSONAE Variations on his Life and Work: 'All his life Ravel moved in a world of chil- dren and animals. He suffered endlessly The Child from the discrepancy between his own Jan de Gaetani, mezzo-soprano size and that of the rest of mankind, The Mother but it provided him with the creative Joy Davidson, contralto stimulus to overcome this gap. The wor- The Bergere ship of his mother was the center of his D'Anna Fortunato, mezzo-soprano

life until his forty-second year. . . . And The Chinese Cup so we have this mother image in Colette's Joy Davidson, contralto play of dream and magic. It is only hinted the cat at briefly, as would be the figures in a The Fire Phyllis Bryn-Julson, soprano dream. It reprimands the lazy boy with Costume drawing for L'Enfant kindly severity and admonishes him to The Princess et les Sortileges by P. Colin. remember the vexation he is causing Phyllis Bryn-Julson, soprano 19 .

The White Cat SYNOPSIS OF THE OPERA D'Anna Fortunato, mezzo-soprano The Dragonfly The curtain rises to reveal a low-ceilinged Joy Davidson, contralto room in an old-fashioned Norman coun- BROADCASTING try house. It opens on to a garden and contains cretonne-covered armchairs, a Phyllis Bryn-Julson, soprano SCHEDULE grandfather clock with an ornate dial, The Bat and wallpaper depicting pastoral scenes. D'Anna Fortunato, mezzo-soprano A squirrel cage with its occupant hangs The Screech-Owl near the window, and a small fire burns evening The Friday concerts D'Anna Fortunato, mezzo-soprano in a large fireplace. A teakettle purrs, at Tanglewood The Squirrel as does a cat. It is afternoon. A Child, will live be broadcast bv: D'Anna Fortunato, mezzo-soprano six or seven years old, sits before his The Shepherdess undone homework. He is bored and Phyllis Bryn-Julson, soprano sulky, wishes he could go for a walk, WCRB-AM-FM Boston The Shepherd pull the Cat's tail, cut off the Squirrel's, growl at people, make his Mother stand (102.5 FM & 1330 AM) Joy Davidson, contralto in the corner. At that moment, she enters The Armchair WAMC-FM Albany (90.3) —as much of her as can be seen, that is, Mark Pearson, bass for Colette's stage directions specify ex- WGBH-FM Boston (89.7) The Grandfather Clock aggerated dimensions for everything ex- Evitts, WFCR-FM Amherst (88.5) David baritone cept the Child, whose smallness is to be The Wedgwood Teapot emphasized. Only the Mother's hand, a WMEH-FM Orono, Me. (90.9) Neil Rosenshein, tenor chain with a pair of scissors, and the lower WMEA-FM Portland, Me. (90.1) The Little Old Man part of her skirt and apron are Neil Rosenshein, tenor visible to the audience. She gently but The Black Cat firmly rebukes the Child for his laziness, and he responds by sticking out his David Evitts, baritone tongue at her. Dry bread and tea without The Tree sugar will be his reward for such be- The Saturday evening concerts Mark Pearson, bass havior, she says, and, with an admoni- will be broadcast live bv: The Tree Frog tion to repent, she leaves him on his own Neil Rosenshein, tenor until supper-time. WCRB-AM-FM Boston Bench, Sofa, Stool, Wicker Chair, He now begins an orgy of destruction. Digits, Shepherds, Shepherdesses, 'I'm very wicked,' he sings, and to cries WGBH-FM Boston Tree Frogs, Animals, Trees of 'Hurrah!' he smashes the Wedgwood WAMC-FM Albany Tanglewood Festival Chorus teapot and the China Cup. He then WFCR-FM Amherst WMEH-FM Orono, Me.

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20 BOSTON

(/ SYMPHONY \ What would you think of the cup \ ORCHESTRA/ and teapot in old black Wedgewood ,; - singing rag-time? I admit that the K A idea of having rag-time sung by two negroes at the National Academy of music delights me.' (Letter to Colette) RECORDINGS BY THE BOSTON SYMPHONY CHAMBER PLAYERS

Costume for the teacup DEBUSSY Descriptive piece by Arden Reardon Sonata No. 3 in G minor for Violin & Piano climbs the window-sill to open the cage he propounds dry, nonsensical problems, and prick the Squirrel with his pen. The supported by a chorus of digits. Amid an Sonata No. 1 in D minor wounded animal escapes and the Child increasing din, they draw the Child into for Cello & Piano jumps down to pull the tail of the Cat, their dance. He becomes giddy and falls who spits and hides behind the Armchair. down, after which there follows the Sonata No. 2 for Flute, Brandishing a poker, he stirs up the Fire, famous meowing duet of the Black Cat & Harp kicks over the teakettle and attacks the and the White Cat, which concludes figures on the wallpaper. Opening the the first part of the opera. DG/2530 049 Grandfather Clock, he swings on the At this point the walls part, the ceiling pendulum, breaking it off. Now, noticing disappears and the Child finds himself his exercise and story books, he tears in the moonlit garden. Trees, flowers, American Chamber Music them apart. 'No more lesson!' he sings. a small pond, and a great ivy-covered of the 20th century 'I'm free, free, wicked and free!' tree trunk are seen, while insects, frogs, Exhausted but satisfied by his devasta- toads, screech-owls, nightingales and the tion, he drops into the Bergere. But now murmur of a breeze are part of the mu- CARTER the bewitchment begins, for the Bergere sical landscape. The Child is delighted Sonata for Flute, Oboe, comes to life, walks away, and with an to see his garden again, and all is peace- Cello & Harpsichord Armchair dances and sings a saraband. ful until the flora and fauna become

From now on the furnishings will have aware of his presence. The Tree and its IVES nothing to do with the creature who companions groan at the wounds he has Largo for Violin, Clarinet has disturbed their peace. Next it is the inflicted with his knife. The Dragonfly & Piano

Grandfather Clock, which, unable to waltzes langorously in search of its mate, stop chiming, expresses its disgruntle- a victim of the Child's insect net. The Bat PORTER for ment. The Wedgwood Teapot and China reproaches him with the death of its com- Quintet Oboe, Cup join in a strange duet —English panion. A nightingale sings and then the Two Violins, Viola & slang and pidgin Chinese —to the ac- Child admits his cruelty to the Squirrel Cello companiment of a fox-trot. The Child and the Tree Frog. To the strains of an DG/2530 104 shivers out of chill and loneliness, ever warmer waltz, the animals dance, but the Fire, in a flashing coloratura oblivious to the world and the Child. DVORAK aria, says she will give him no warmth. Feeling lonely and excluded, he timor- String Quintet in G Shepherds and Shepherdesses step out ously calls out, 'Mama.' op. 77 of the torn wallpaper to execute a melan- At this cry, the animals pause. Recog- choly round dance. The Child lies down nizing their tormentor, some flee, others DG/2530 214 on the shreds of his books to weep, and run up menacingly. United in their wish out of the torn pages comes the Princess for revenge, they fall upon the Child. of one of his favorite fairy tales. Pushed back and forth, passed from paw The Boston In what is undoubtedly the lyric high to paw, he is finally thrown into the Symphony point of the opera, the Princess reminds corner of the stage and forgotten by the Chamber Players him that she was his first and best love. animals, who by this time are fighting on 'But since you have destroyed the book, among themselves. A wounded squirrel DGG what will become of me?' she asks. He falls down near the Child, and the ani- and begs her to stay, but, powerless to do mals, ashamed to have injured one of so, she disappears. Desolate, the Child their own, become motionless. Taking RCA sings a touching apostrophe to his lost a ribbon from his neck, the Child binds love, then looks among the scattered the animal's wounded paw, then falls

pages for the end of the fairy tale. He back weakly. There is a deep silence at finds only 'dusty old books of lessons,' this action, then compassion for the and out of these emerges the Little Old Child, who has also been wounded. What Man. The personification of arithmetic. was the word he called out? 'Mama,' one

21 animal remembers. Coming closer and Maurice Ravel The first dozen measures establish surrounding the Child, they repeat the Daphnis et Chloe perfectly the tonal picture. We hear soft, word softly. Unable to stop his bleeding, shimmering strings (muted), a harp ar- they lift up his pale, inert form and carry Program note by John N. Burk peggio, suave blending chords from the him, step by step, toward the house. chorus, a limpid flute solo, answered The Ballet Daphnis et Chloe was com- Their cries of 'Mama' become louder as by natural notes from the horn. This pleted in 1911, and first produced on a light appears in the windows. One by phrase is a true leading motif, ardent, June 8 1912 by Diaghilev's one they withdraw their assistance, let- gently expressive of the two lovers. It at the Chatelet in Paris, Pierre Monteux ting the Child go with regret. Finally they recurs throughout the score, forever conducting. The choreography is taken leave, and the awakened Child is alone, changing in shape and color. Other mo- directly from the book of the same name erect and luminous in the moonlight, tifs are also to appear, undergo subtle by Longus, the writer of ancient Greece holding out his arms to the person the transformation, and at the last to reach of unknown date. It is the oldest of animals have summoned, Mama. their most vivid expression. countless tales of love thwarted by cir- The opening scene of the ballet is a cumstance, and the final union of a shep- meadow on the edge of a sacred grove, herd and shepherdess. The two suites hills seen in the distance. At the right is Material by arrangement with Elkan- familiar to concert audiences consist of a grotto, guarded by the sculptured like- Vogel, Inc., a subsidiary of Theodore the second and third parts of the ballet. ness of three nymphs. A great rock at Presser Company, agent for Durand & Between them is an episode in which the left rear suggests the god Pan. It is a Cie, publisher and copyright owner. Chloe, a captive, her hands bound, tries clear afternoon of spring. Young men to escape. and girls enter, bearing baskets with of- ferings for the nymphs. There follows a graceful and stately religious dance, the chorus joining. Daphnis appears, pre- MANHATTAN ceded by his flock. Young girls surround Daphnis and dance (in 7/4 rhythm). SCHOOL OF MUSIC Chloe appears and is drawn into the dance, Dorcon, a grotesque figure, and George Schick, President Daphnis, the handsome shepherd, are rivals for Chloe. The two perform a STRING FACULTY dance in turn but Dorcon's dance is re- VIOLIN: ceived with derision and the dance of Daphnis with general approval. After the Samuel Applebaum dance (gracieuse et legere), pirates burst Stanley Bednar upon the scene and carry off Chloe*. Ariana Bronne Daphnis enters, finds a sandal that she Raphael Bronstein has dropped and prays to the nymphs for her safety. The three sculptured Erik Friedman nymphs come to life, descend and per- Carroll Glenn form a dance (lente et mysterieuse). All Jaime Laredo pay homage at the altar of Pan. Rachmael Weinstock The second scene, which comprises Paul Zukofsky the first concert suite, shows the camp of VIOLA: the pirates by the sea. A trireme is seen in the distance. The pirates enter, carry- Lillian Fuchs ing torches and booty. There follows the Julius Shaier VIOLONCELLO: warlike dance (danse guerriere). The episode which follows becomes Ardyth Alton a connecting point between the two or- ??T?WJS!553Wr!^TCr''s Evangeline Benedetti chestral suites. Chloe is brought in, her Jacob Bernstein hands tied. She performs a danse sup- Bernard Greenhouse pliante and tries to escape, but is pre- vented. Satyrs, emissaries of Pan, sur- Heinrich Joachim round the pirates. The god himself ap- David Wells pears and the pirates flee in terror, DOUBLE BASS: leaving Chloe. (which Alvin Brehm In the third part of the ballet is second suite) the scene is that of Orin O'Brien the the beginning. It is night. Daphnis, David Walter mourning Chloe, is still prostrate. As the light of dawn gradually fills the scene, shepherds enter, seeking Daphnis and Chloe. They find Daphnis and wake him; Chloe enters and the lovers embrace. Chloe, beloved of the gods, has been saved by the intervention of Pan. Daph- nis and Chloe reenact the story of Pan information concerning admission For and Syrinx, the nymph who, according and scholarships, write to: to the legend, successfully evaded the SCHOOL OF MUSIC god's pursuit, whereupon he broke off MANHATTAN reeds from the thicket into which she 120 Claremont Ave., N.Y., N.Y. 10027 (212) 749-2802 had disappeared and fashioned what was to become the traditional ancestor to

22 Phyllis Bryn-Julson D'Anna Fortunato Jov Davidson Neil Rosenshein

the flute. This pantomime leads to Ra- wood in a performance of Monteverdi's soloist with the Strawberry Banke Cham- vel's famous flute cadenza, mimed by Vespers, studied at the New England ber Music Festival in Portsmouth, New Chloe, and (in appearance) played by Conservatory and at the Mozarteum in Hampshire and with a lieder series spon- her lover. The pantomime is concluded Salzburg, Austria. Her teachers have sored by the Goethe Institute. A special- by a sacrifice at the altar of Pan. Then been Gladys Miller Zachareff and Ellen ist in contemporary music, D'Anna the 'general dance,' the riotous finale in Repp. During recent years she has won Fortunato has performed in many 5/4 rhythm begins. It becomes increas- several awards, including a Fulbright Fromm Foundation concerts at Tangle- ingly wild and baccanalian. Chloe falls grant and, on two occasions, the CD. wood. into the arms of Daphnis. The ballet Jackson Award in Voice at Tanglewood. ends in a 'joyous tumult.' Miss Fortunato has roles sung leading Joy Davidson This is not ancient Greece; it is not with the Augusta, Georgia Opera Com- Contralto true rustic simplicity. It is France, the pany; the Rochester, New York Opera France of Versailles, where the nobility, Theater; the Associate Artists Opera Joy Davidson, who was born in Fort cherishing pastoral pieces, aimed at the Company and the New England Cham- Collins, Colorado, made her operatic charm of.simplicity but achieved it in the ber Opera Group. In Boston she has debut while a senior at Occidental Col- most studied, elegant and sophisticated appeared with the Chorus Pro Musica, lege in Los Angeles. Several years later manner possible. the Cantata Singers, the Handel and she signed a contract with the Metropol- Haydn Society and the Boston Civic itan Opera National Company, with Symphony. Last September she was whom she toured for two seasons. Since Phyllis Bryn-Julson Soprano

Born in North Dakota of Norwegian parents, Phyllis Bryn-Julson was first The best advice interested in a career as a pianist, but Gunther Schuller who had heard her you'll ever get sing and was impressed by her three- octave range and perfect pitch encour- aged her to pursue voice at the Berkshire about how to buy Music Center at Tanglewood. There she received the Fromm Foundation Schol- a music system arship, the Hi-Fidelity Magazine Award and the Composition-Performance Award. Miss Bryn-Julson has performed It's mostly common sense. numerous recitals and across A music system can cost you a lot of money the country, appearing with the Boston Symphony Orchestra, the Louisville Or- and practically every dealer will recommend chestra, the San Francisco Symphony, a different system for what you have to spend. the National Symphony and the . So listen to a lot of them before you buy. She also enjoys giving joint recitals Go to any place you can think of for voice and organ with her husband Donald Sutherland. A resident of Mary- then come to AUDIO DESIGN land, Miss Bryn-Julson is a member or come to AUDIO DESIGN FIRST, it doesn't matter of the Washington Theatre Chamber Players and is on the faculty of the then take the best deal. University of Maryland at College Park. May the best store win. Because of her knowledge and abilities with avant-garde music, she is especially Audio Design, Inc. well known for her performances of this music. 2 South St. Berkshire Common D'Anna Fortunato Pittsfield Mezzo-soprano 413-499-4711 D'Anna Fortunato, who first appeared with the Boston Symphony at Tangle- 23 * *

.

David Evitts Mark Pearson Jan De Gaetani John Oliver then, Miss Davidson has appeared with at Youth Concerts at Symphony Hall. Quartet, the Fine Arts Quartet and the many of the world's leading orchestras, He has also appeared with the Boston Contemporary Chamber Ensemble. Her with such conductors as Pablo Casals, Philharmonia and the Los Angeles concert performances include appear- , Georges Pretre and Philharmonic. He has sung in operas ances with the San Francisco Symphony, Rafael Fruhbeck de Burgos. She has by Bizet, Britten, Donizetti, Offenbach, the New York Philharmonic, the Atlanta sung with the Munich State Opera, the Puccini, Prokofiev, Menotti and Robert Symphony and the Cincinnati Sym- Netherlands Opera, the Lyons Opera, Ward, with many companies, including phony. Abroad Miss Gaetani has sung the Welsh National Opera, and has ap- the Boston Opera Company, the Phila- in London, Vienna and Amsterdam. peared at La Scala in , the Maggio delphia Grand Opera, the Augusta Opera She has been Artist-in-Residence at the Musicale in Florence, Gian Carlo Me- Association, the Boris Goldovsky Opera University of Wisconsin and, last sum- notti's Festival of Two Worlds in Spoleto and the Oklahoma City Opera. In 1972 mer, at the Aspen Music Festival. Slie and the new opera house in Turin. A he was first place winner in the Metro- has also been on the faculty of the Juil- guest star of the New York City Opera, politan Opera Regional Auditions. David liard School. At present she is Professor Joy Davidson has appeared in this coun- Evitts has appeared with the Boston of Voice at the Eastman School of Music, try with the opera companies of San Symphony Orchestra on several occa- and conducts master classes in voice at Francisco, Dallas and Santa Fe. Her sions. His most recent appearance was a number of other universities. Her first first appearance with the Boston Sym- last October in performances of Ravel's performance with the Boston Symphony phony Orchestra was last summer here L'Enfant et les Sortileges. Orchestra was last October in perfor- at Tanglewood in a performance of Bee- mances of Ravel's L'Enfant et les Sor- thoven's Ninth Symphony. tileges. Mark Pearson Bass The Chorus Neil Rosenshein Tenor Mark Pearson has appeared with the The Tanglewood Festival Chorus, Boston Symphony on several occasions sponsored under the joint auspices Neil Rosenshein received his musical in recent seasons in performances of of the Berkshire Music Center and training at the Juilliard School, the Stravinsky's Renard and Les Noces, Boston University, was formed in Aspen Music Festival and the Spoleto Nielsen's Symphony No. 3 and Ravel's 1970. John Oliver, who is director of Festival. His teachers have included L'Enfant et les Sortileges. He combines choral and vocal activities for Tangle- Jennie Tourel, Oren Brown and Jerry a performing and teaching career. His wood, a member of the faculty of Forderhase. In addition to extensive public appearances have been in recital, MIT, and director of the MIT Glee recital work on the East coast, he has opera and on the East and West Club and Choral Society, has been appeared at the Wolf Trap Festival and coasts, while he is also Chairman of the Festival Chorus since with the Opera Arts Association of Flori- director of the Voice Department of the New England of the chorus, da, the Fort Worth Opera and the Balti- its foundation. Members Conservatory. A graduate of Oberlin more Opera. The recipient of a grant who come from the Greater Boston College and Stanford University, Mark from the William Matheus Sullivan area and from all walks of life, re- Pearson is a specialist in early and con- Foundation, Mr Rosenshein appeared hearse throughout the year. They temporary music. He has taken part in last summer with the Spring Opera in made their debut in 1970 at Sym- the thirteenth century Play of the Risen San Francisco. His first appearance phony Hall in a performance of Christ with the New York Pro Musica, with the Boston Symphony Orchestra Beethoven's Ninth Symphony, con- and in the recording on the Turnabout was last October in performances of ducted by , and label of Monteverdi's Scherzi musicale, Ravel's L'Enfant et les Sortileges. have since taken part in performances as well as in premieres of music by Daniel directed by William Steinberg, Seiji Pinkham, , Ozawa, Eugene Ormandy, Colin Da- and Benjamin Britten. David Evitts vis, Arthur Fiedler and Michael Til- Baritone son Thomas. Among the many works they have sung are Mahler's Sym- David Evitts, a native of Kansas, studied Jan de Gaetani Mezzo-soprano phony No. 8, Berlioz' Grande messe at the New England Conservatory of des morts and La Damnation de Music with Mark Pearson and received Jan de Gaetani, a native of Ohio is a Nelson Mass, his Artist Diploma from there in 1974. graduate of the Juilliard School. Though Faust, Haydn's Lord He has performed in opera, oratorio she frequently performs contemporary The Seasons and The Creation, Ver- and recital throughout the Greater Bos- works, she also sings in oratorio and di's Requiem, Tchaikovsky's Eugene ton area. During recent seasons he has opera, chamber music and solo recitals, Onegin, Schoenberg's Gurrelieder, Ra- sung Mahler's song cycle Des Knaben on radio and on television. She has ap- vel's L'Enfant et les Sortileges and Wunderhorn with the Newton Sym- peared with such ensembles as the New Daphnis et Chloe and Bach's Magni- phony, and taken part in La Pe'richole York Pro Musica, the Beaux Arts String ficat in D. 24 —

BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director

TANGLEWOOD 1975 Program Notes

Gustav Mahler 1860-1911 Symphony No. 2 in C minor for Soprano and Alto Solos, Mixed Chorus and Orchestra 'Resurrection'

Program note by John N. Burk

When Mahler went to Hamburg in 1891 Sunday August 24 1975 to become conductor at the Stadttheater, at 2.30pm he soon formed a close friendship with Hans von Blilow, the conductor of the subscription concerts. Mahler had al- BOSTON SYMPHONY ORCHESTRA ready admired his colleague, thirty years his senior, as conductor of the Meinin- SEIJI OZAWA gen Orchestra. Now Blilow learned that conductor the opera in Hamburg was in the hands of a pioneering and creative leader —in other words, of a kindred spirit. Blilow had soon coined a phrase for Mahler 'the Pygmalion of the Hamburg Opera House'. His admiration for Mahler as MAHLER composer was not unqualified. When Mahler played him the opening move- ment of his uncompleted Second Sym- phony, Blilow was alarmed at music Symphony No. 2 in C minor for soprano and alto solos, which was 'as far in advance of Tristan mixed chorus and orchestra 'Resurrection' as Tristan was in advance of Haydn'. He may well have marveled at the daring Allegro maestoso: mit durchaus ernstem und feierlichem Ausdruck of this composer of thirty-three, draft- (with serious and solemn expression throughout) ing a second symphony. But BUlow had an enormous regard for his opinion. Andante con moto: sehr gem'dchlich (very leisurely) When he conducted a new work, he would put Mahler in the front row at his concerts, and hand him a copy of In sehr ruhig fleissender Bewegung the score to follow, as if oblivious of (in very quietly flowing movement) the audience. When Billow died in Cairo, Egypt, on 'Urlicht' (Primal light): sehr feierlich, aber schlicht - February 12 1894, Mahler had com- part of his Choralm'dssig (very solemn, but simple; like a chorale) - posed the greatest Second Symphony, but he had not clearly con- ceived a suitable finale. At the funeral Finale (Chorus, Soprano and contralto solos) service, which was held in Hamburg, the church choir sang a setting of Klop- SUSAN DAVENNY WYNER soprano stock's ode on the 'Resurrection'. At MAUREEN FORRESTER contralto this moment, according to Mahler's own TANGLEWOOD FESTIVAL CHORUS John Oliver conductor testimony, he realized that in KJopstock he had found the text for his ending:

'When I conceive a great musical pic-

ture, I always arrive at the point where

I must employ the "word" as the bearer

of my musical idea. . . . My experience with the last movement of my Second

symphony is such that I literally ran- sacked the literature of the world up to the Bible to find the releasing "word". 'Deeply significant of the nature of

artistic creation is the manner in which

I received the prompting to it. I had had for a long time the thought of using the chorus in the last movement, and only the fear that this might be con- The Boston Symphony Orchestra records exclusively for Deutsche Grammophon sidered an imitation of Beethoven made

BALDWIN PIANO / DEUTSCHE GRAMMOPHON & RCA RECORDS me hesitate. About that time BUlow died,

and I attended his funeral in Hamburg.

25 The mood in which I sat and thought third movements 'reflective' because their of variations. The first gains the sense of of the dead man was exactly in the spirit dancelike character did not seem logi- motion by continuous triplets from the

of the work that I was carrying about in cally to follow upon the heavy gloom of strings, beginning pianissimo, but gather-

my mind. Then the chorus intoned Klop- the first. A composer can seldom give ing urgency. The original tempo is re- stock's ode "Resurrection". This struck a satisfactory account of the wherefores stored and the divided cellos furnish me like a flash of lightning, and every- of his music for the reason that music a ravishing counter melody. The triplets thing was revealed clear and plain to is based on emotional experience only are resumed and with added brass bring my soul. The creative artist was waiting to the indirect extent that all character a tonal climax. The theme proper returns

for this flash. What I then experienced is molded on experience. The tonal ima- pianissimo and pizzicato, at last dying

I to create in if I had tones. And yet, gination takes over. A composer with away with a harp arpeggio. Mahler re- had not had this work already in me, any depth of feeling cannot analyze his ferred to this as an 'intermezzo', realiz- how could I have had this experience?' creative find specific processes, nor a ing that it is in complete contrast of mood Mahler made these remarks in a letter source for his musical fantasies. with the tragic undercurrent of the Sym- addressed to Arthur Seidl in Dresden, , who was probably phony as a whole. His instincts were February 17 1897. The letter is often closer than any man both to Mahler sure, for this is a symphony of sudden quoted in explanation of the source of and his music, by living with the music and complete contrasts in dynamics and the finale, but it should be borne in mind through many subsequent years, clearly mood. the composer was justifying his pro- this that realized tendency to general mis- The third movement is in effect a a critic, albeit a friendly one; cedure to apprehension. Mahler had been more scherzo. The indication is 'with peace- that he had had qualms about the temer- loquacious than wise. He had much to fully flowing motion'. (In both these ity of writing a chorale finale after Bee- say to his then young admirer about movements the composer inserts the re- thoven's Ninth —also that he had been what his music meant, but Walter came peated warning: 'Nicht eilen.') This accused of a sudden switch of subject itself to find the music more persuasive movement is again in 3/8 rhythm, but in introducing the 'resurrection'. This as such, more convincing than any re- faster and more incisive. It is based on was a case where he tried to defend the ligious or philosophical explanations. the theme which Mahler would later fantasy of his musical schemes by re- He wrote for his own recording (by use in the finale of his Fourth Symphony, ferring to the personal experience which Columbia) of this Symphony: 'Mahler's there matched to the text from Saint prompted them. His explanations of work is not a religious message in sym- Anthony's sermon to the fishes from other episodes in this Symphony are phonic language; it is a symphony, con- Des Knaben Wunderhorn. Whereas the even less convincing than this one. For veying a religious message; it is primarily previous movement depended mostly on instance, he wrote to a friend about the a musician's, not a prophet's expression. the strings, this one leads to woodwind

first movement as a 'Totenfeier', a burial The composer, whose creative mind color. The theme is gay and lively, but ceremony for the hero of the First Sym- abounded with musical ideas, derived unremitting, with sometimes an ominous phony. He described the scherzo as from them a musical language in sym- undercurrent, a sort of spectral com- 'ghostly dancing of distant couples with- phonic form and expressed by this mentary. There are outbursts of dis- out music'. He called the second and medium the emotions of his heart. He sonance or chromatic descending scales.

was at home in the world of music and Before the close there is an almost an-

he would have denied indignantly hav- guished climax of sound. (It is worth ing other intentions than musical ones; remarking that each movement except he never wrote a "symphonic poem" with the last ends pianissimo.) programmatic contents like Richard The fourth movement, following with- 1771 Strauss' Don Juan or Death and Trans- out break, is a setting for contralto of figuration. Certainly his soul was moved the song 'Urlicht' (Primal light) from a good by an abundance of visions, thoughts, Des Knaben Wunderhorn. The direction was it emotions, impressions —and could not is 'Very solemn, but simple, like a cho-

fail that those inner experiences influ- rale'. The text is the expression of the year for our enced the music he wrote. But the highest simple believer in the promise of sal- rule in his creative work remained the vation; it is sung softly with an orchestra symphonic form. So 1 suggest the lis- of folkish suggestion. tener approach the three first movements Lobster Pie. just as what they are and are intended O Roschen roth! to be: symphonic music' Der Mensch liegt in grbsster Noth! If the first movement was originally Der Mensch liegt in gr'dsster Pein! This year it's suggested by some memory of a funeral Je lieber mdcht' ich in Himmel sein! march, it emerged in very different guise. Da kam ich auf einen breiten Weg; It is no closer to a funeral march than Da kam ein Engelein und wollt' mich even better. the slow movement of the Eroica sym- abweisen; phony, except for a passing regularity Ach nein! Ich liess micht nicht of accented beat. The dark, violent open- abweisen! 1771 ing, intensely dramatic, the soaring melo- Ich bin von Gott und will wieder zu dic theme by the violins, introduced by Gott! cleaving brass chords in contrary motion, Der liebe Gott wird mir ein Lichtchen the two sections in a luminous C major geben, with high shimmering strings —these are Wird leuchten mir bis in das ewig selig the very stuff of symphonic development, Leben! despite their likewise theatrical treat- ment. Oh, little red rose! The second movement, in a lilting Man lies in greatest need, Viennese 3/8 rhythm, recalls the tradi- Man lies in greatest pain! Publick House heaven. tional 'grazioso' slow movement. Bruno 1 would rather be in On the Common-Sturbndgc. Mass.- (617)3-17-3313 road; Walter referred to it as 'a charmingly I came upon a broad Exit 9 Mass. Tpkc. or Exit 3 from 186. agitated andante of preponderantly gay A little angel came by and wanted me

character'. It is in the form of a series to turn back; 26 m

Oh, no, I did not let myself be turned back. .' "'.it','. I come from God and will return to God! Dear God will give me a little light it just a To light my way to the blessed life Was eternal! The unperceptive have called this an ? interpolated song, but its use at this summer romances point is a master stroke of musical stage- craft. The mood becomes a hushed prep- aration for the violent opening of the Tanglewood. A place where great musicians, under the baton finale, which breaks in with startling sud- of great conductors, perform the world's great music. A place denness. where music lovers from around the world dream of going. And Here the music becomes openly sen- a place where young musicians dream of someday putting reed sational, even theatrical. Is Mahler's de- piction of the 'Day of wrath' funda- to lips or bow to string. mentally an expression of religious faith, So too, the Tanglewood Program is something that every or the grasp of an opportunity to build young printer must surely dream of printing. We did, and this an overwhelming musical spectacle? The summer our dream came true. composer with superb resource makes But during the season, we also managed to find time to print colorful use of his panoplied orchestra. some fine new books which will soon be appearing in your local A relentless march rhythm develops. There are trumpet fanfares off stage. bookstore. Look for them. For, while providing a pleasure of their The music subsides. The trumpets are own, they will perhaps serve to remind you of a romance we all heard as from a distance and mingled had this summer with a special place called Tanglewood. with bird calls, establishing a com- pletely different mood—pastoral, inno- My Life As A Restaurant cent, serene, and yet somehow unearthly. Bookstore Press/ Overlook Press A light-hearted look at the There is a pause of suspense, and the Handmade Secret trials of the restaurant chorus, at first barely audible and un- Hiding Places business by the Berkshires' Bookstore Press/Overlook Press accompanied, intones the opening of Alice May Brock. A children's book from Klopstock's poem: 'Aufersteh'n'. the pen of two-time Caldecott winner Pudding Is Nice CHORUS WITH SOPRANO SOLO Nonny Hogrogian. »&<& Bookstore Press Publishers Weekly called A revival of one of the '30's Aufersteh'n, ja aufersteh'n wirst du, it "a knockout" most famous children's mein Staub, nach kurzer Ruh! books. By Dorothy Unsterblich Leben! Unsterblich Leben HANDMADE Kunhardt. wird Der dich rief, dich rief dir SECRET geben HIDING jf i#^ Wieder aufzubliih'n wirst du gesa't! PLACES Der Herr der Ernte geht Und sammelt Garben Uns ein, die starben!

PUDDING IS NICE *yy Dontffcy Kirtta^dr You will rise again, my dust, after a

short repose! Countr.v>ountr.v Inns 7 ' FRUITS OF THE SHAKER summoned will grant immor- and Back Roads He who TREE OF LIFE tal life; Memoirs of Fifty Years The seed you have sown will bloom of Collecting and Research again; P*tet Lippman The Lord of harvests goes forth By To hind the sheaves of us who died. From Here to There Bookstore Press/ Overlook Press m A gentle love story for The voice of the soprano solo emerges children of all ages by from the rest. The alto voice enters. Not Peter Lippman, author until the entrance of the chorus with of The Great Escape. mm the words 'Mit Flugeln die ich mir er- Edward Deming Andrews rungen' does the music rise above pianis- Country Inns Faith Andrews simo. It increases in strength to full & Back Roads volume in the last verse, and leaves the Berkshire Traveller Press Fruits of The Gene Shalit has Shaker Tree of Life orchestra to bring the tonal climax with called it his"favorite Berkshire Traveller Press its full sound, quota of organ and chimes travel book". Memoirs of fifty years of included. research by Faith and Edward Deming Andrews. CONTRALTO SOLO O glaube, mein Herz, O glaube: Es geht dir nichts verloren! The Studley Press, Inc. Dein ist, dein, ja dein, was du gesehnt! Dalton, Massachusetts/ (41 3)684-0441 Dein, was du geliebt, was du gestritten!

27 !

Believe, my heart, nothing is lost to you.

All is yours, yes, all that you have loved and striven for! SOPRANO SOLO O glaube: du wardst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten!

Believe, you were not born in vain! You have not lived and suffered in vain

CHORUS AND SOLOISTS Was entstanden ist, das muss vergehen! Was vergangen, auferstehen! HbV auf zu beben! Bereite dich zu leben! \v Susan Davenny Wyner Maureen Forrester What was horn must depart. What has gone shall rise again. Susan Davenny Wyner Maureen Forrester Be not fearful. Soprano Contralto Prepare to live. Susan Davenny Wyner's early musical Maureen Forrester, who has appeared CONTRALTO AND SOPRANO training included the study of piano, with the Orchestra on many occasions

O Schmerz! Du Alldurchdringer! violin, theory and modern dance at the in past seasons, is a native of Canada, Dir bin ich entrungen. Hartford School of Music, of which her whose government has honored her art-

O Tod! Du Allbezwinger! father, pianist Ward Davenny, was direc- istry with several of its most distinguished Nun bist du bezwungen! tor at the time. When Mr Davenny be- awards. She made her American debut Mit Flligeln, die ich mir errungen, came director of the Cleveland Institute in 1956, and since then she has appeared In Liebesstreben werd' ich of Music, she continued her studies as soloist with many of the leading or- entschweben there, later enrolling at Cornell Univer- chestras in this country and abroad. In Zum Licht zu dem kein Aug' sity, where she pursued a double major addition to her numerous orchestral en- gedrungen! in music and literature. Graduating sum- gagements, she has established an inter- ma cum laude from that institution, she national reputation as a recitalist and as Pain, penetrating all, then went to Columbia University on a an opera singer. During recent seasons 1 have escaped you! Woodrow Wilson and Honorary Colum- she has appeared with the New York Death, all, O conquering bia Fellowship, working towards an ad- Handel Society in Saul, with the Bach are conquered! Now you vanced degree in comparative literature. Aria Group in Alice Tully Hall, with With wings I have won for myself Among the numerous grants and Clarion Concerts in New York, and as In fervent love I shall soar awards she has received are a Martha soloist at the Ravinia and Aspen Festi- To the Light no eyes have seen! Baird Rockefeller grant, a Carnegie Re- vals and at the Cincinnati May Festival. cital Hall appearance as winner of the In addition to her numerous tours of the concert Artists Guild Auditions, and a United States and Canada, she has given Tully Hall appearance as winner of the concerts and recitals in Europe, Russia, CHORUS Joy in Singing Contest. She has also Israel, the Far East, Australia and New Sterben werd' ich, um zu leben! won grants and awards from the Naum- Zealand. Aufersteh'n, ja aufersteh'n wirst du burg Foundation, the Fullbright Pro- Miss Forrester has performed oper- Mein Herz in einem Nu! gram, and the Rockefeller and Ford atic roles with the Quebec Opera, the Was du geschlagen Foundations. Mrs Wyner has appeared Stratford Ontario Festival, the National Zu Gott wird es dich tragen! as soloist with Arts Centre Opera Company, the New and members of the New York Philhar- York City Opera Company, and at the / shall die in order to live again. monic in a Prospective Encounters Con- Saratoga, Caramoor and Aspen Festi- You will rise again, yes, rise again, my cert, as recitalist in the Canadian Broad- vals. She made her Metropolitan Opera heart, in a moment, casting Company's Celebrity Series, and debut last February, as Erda in Das Though stricken, borne aloft — to God! as Poppea in Yale University's produc- Reingold, a role she also sang in the tion of Monteverdi's LTncoronazione di same company's subsequent production The verses beginning 'O glaube, mein Poppea. She appeared in January 1974 of Siegfried. Miss Forrester's recordings Herz', which Mahler added to Klop- with the Boston Symphony Orchestra as with RCA include Mahler's Song of a stock's, roundly fulfill his plan. Here a soloist in performances of Monteverdi's Wayfarer and Beethoven's Ninth Sym- again one may ask whether the real func- Vespers of 1610, and again last spring, phony. She has also recorded for the tion of the chorus and soloists is not in performances of Mahler's 'Resurrec- Columbia, Vanguard, London, West- more tonal than textual. tion' Symphony. minister and Desto labels. The Symphony is integrated by Mah- ler's vivid, individual voice. The con- Boston Symphony and Tanglewood Souvenirs trast in moods and in dynamics, the melodic folk style, the macabre sugges- The Music Store and the Office of the Friends of Music at Tanglewood tion, the far-flung monumental concept currently have in supply some attractive souvenirs, the sales of which become one through the composer's benefit the Boston Symphony Orchestra and the Berkshire Music Center. earnest intensity, his ardent musical Available are a Seiji Ozawa jigsaw puzzle. Boston Symphony Orchestra conviction, as the Symphony eloquently gift wrapping paper and ceramic tiles, and a handsome Tanglewood attests. poster designed by Catryna Ten Eyck. 28 m

mIM THE BOSTON SYMPHONY ORCHESTRA Campers dRUmM He-*

Henry Lee Higginson, soldier, phi- day evening] under that gentleman's lanthropist and amateur musician, baton amply and doubly proved the dreamed many years of founding a wisdom of the choice, for there has great and permanent orchestra in his not been a leader in our musical cir- home town of Boston. When at last his cles during recent years who has suc- dreams approached reality, in the ceeded in imparting so much of his spring of 1881, he committed to paper own musicianly qualities and magnet- a statement which described his pur- ism as did Mr Henschel on Saturday

.' poses and intentions. He explored evening . . Looking for something more? many specifics, among them the en- Visit gagement of conductor and players, 'reserving to myself the right to all Tickets for the season had gone on sale their time needed for rehearsals and about six weeks earlier, and by six for concerts, and allowing them to o'clock on the morning of first book- Klondike give lessons when they had time'. He ing, there was a line of seventy-five camping resort planned 'to give in Boston as many people outside the Box Office, some of New England's First Private serious concerts of classical music as whom had waited all night. By the end were wanted, and also to give at other of the season concerts were sold out, Campground where you can times, and more especially in the sum- and ticket scalpers had already started actually OWN your own mer, concerts of a lighter kind of mu- operations. Mr Higginson wrote a let- exclusive campsite sic'. Prices of admission were to be ter to the press, which was published kept 'low always'. The conductor's on March 21 1882: 'When last spring Complete Recreation charge was to 'select the musicians the general scheme for the concerts of Full-Service Hookups when new men are needed, select the the Boston Symphony Orchestra was Large, Wooded Campsites programmes, . . . conduct all the re- put forth, the grave doubt in my mind Open 7 days a week Route 8, hearsals and concerts . . . and general- was whether they were wanted. This ly be held responsible for the proper doubt has been dispelled by a most 9:00 AM to 5:00 PM Otis, Mass. production of all his performances.' kindly and courteous public, and there- Call (413) 269-4577 Administrative help and a librarian fore the scheme will stand.' were also to be engaged.

Symphony concerts continued to be in this Bicentennial Year The initial number of the players was held in the old Music Hall for nearly to be 70, and in addition to concerts twenty years, until Symphony Hall return to the heritage that was there were to be public rehearsals. As was opened in 1900. The new building rural New England for the orchestra's financial structure, was immediately acclaimed as one of of the estimated annual cost of the world's most acoustically perfect DISCOVER $115,000 Major Higginson reckoned to concert rooms. Georg Henschel was provide himself for the deficit of succeeded by , Arthur $50,000. He continued: 'One more Nikisch, , and the legendary Lincoln Farm thing should come from this scheme, Karl Muck, all of them German-born. namely, a good honest school of musi- on the historic General Knox Trail cians. Of course it would cost us some in Otis, Massachusetts money, which would be well spent.' Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first 'Promenade concert', to ful- The inaugural concert took place on Oc- fill Mr Higginson's wish to give Bos- tober 22 1881. The correspondent of ton 'concerts of a lighter kind of mu- the Boston Daily Evening Traveller sic'. From the earliest days there were wrote two days later: 'Music Hall was both music and refreshments at the the scene of a large and brilliant gath- 'Promenades'— a novel idea to which ering on Saturday evening at the open- Bostonians responded enthusiastically. ing concert of the Boston Symphony The concerts, soon to be given in the Orchestra under the direction of Mr springtime and to be renamed 'Popu- Georg Henschel. We find it necessary lar', and later 'Pops', fast became a only to refer to the princely munifi- tradition. A planned cence of Mr Higginson, who instituted the course, and to whose efforts alone recreational community more credit is due for the best inter- The character of the Boston Symphony whose members ests of music than all the "close cor- was greatly changed in 1918. The in the poration societies" ever organized in vicious anti-German feeling then prev- will share this city. The selection of Mr Georg alent resulted in the internment and cherished lifestyle Henschel as director of the orchestra later dismissal of Dr Muck. Several of of a magnificent is an evidence of the founder's astute- the German players also found their ness and sound common sense, for al- contracts terminated at the same time. New England farm though the announcement raised some Mr Higginson, then in his eighties, felt Starting at Telephone burden maintaining the Orches- criticisms which are far from com- the of $8,950 (413) 269-4247 plimentary, the results attained [Satur- tra by himself was now too heavy, and 29 entrusted the Orchestra to a Board of Trustees. was engaged as Conductor, to be succeeded the fol- lowing season by Pierre Monteux.

During Monteux's first year with the Orchestra, there was a serious crisis. The Boston Symphony at that time was the only major orchestra whose members did not belong to the Musi- want cians Union. This was a policy strictly We upheld by Mr Higginson, who had al- ways believed it to be solely the re- sponsibility of the Conductor to choose the Orchestra's personnel. But to turn you into the players were restive, and many wanted Union support to fight for higher salaries. There came a Saturday evening when about a third of the Or- chestra refused to play the scheduled aLifesaver. concert, and Monteux was forced to change his program minutes before the concert was due to start. The Trustees And pay you the highest savings interest you meanwhile refused to accede to the can get. Come on in and start your Lifesaver players' demands. account today.

The Boston Symphony was left short of about thirty members. Monteux, dem- onstrating characteristic resource, tact Barringfcm Savings. Great. and enterprise, first called on the Or- 244 Main Street, Great Barrington 528-1190 chestra's pensioners, several of whom Main Street, Sheffield 229-8516 responded to his appeal, then held au- Depot Street, West Stockbridge 232-8542 ditions to fill the remaining vacancies. Two present members of the Orches- tra, the violinists Rolland Tapley and Clarence Knudson, were among the young Americans engaged. During the following seasons Monteux rebuilt the Orchestra into a great ensemble. In BERKSHIRE LAKES ESTATES 1924 Bostonians gave him a grateful farewell, realising that he had once more given the city an orchestra that ranked with the world's finest. It was not until 1942 that the conductor and players of the Boston Symphony final- ly joined the Musicians Union.

The Koussevitzky era began in 1924. His extraordinary musicianship, elec- tric personality, and catholic taste proved so enduring that he served an unprecedented term of twenty-five years. There were many striking moves towards expansion: recording, Country Living at its best! begun with RCA in the pioneering days of 1917, continued with increas- Swimming and boating on a crystal clear lake. Tennis courts and ing frequency, as did radio broadcasts boat docks. Adjacent to large state forest for privacy. Lake front, of concerts. In 1929 the free Esplanade lake view, lake access lots (one acre or larger) from $1 0,000. Pres- Concerts on the Charles River were tigious community. inaugurated by Arthur Fiedler, who had been a member of the Orchestra TO VISIT: Take Mass. Turnpike to Lee, Mass. Take Rt. 20 East. since 1915, and who became the fol- Continue 4 miles to Belden's Tavern left for two miles to Berkshire lowing year the eighteenth Conductor Lakes Estates. of the Boston Pops, a post he contin- ues to hold today. In 1936 BERKSHIRE LAKES ESTATES Koussevitzky led the Orchestra in YOKUM POND ROAD their first concerts here in the Berk- BECKET, MASS. 01223 shires, and two years later he and the TEL: 413-623-8747 players took up annual summer resi- dence at Tanglewood.

30 .

Henry Lee Higginson's dream of 'a student in 1960, he has been closely good honest school for musicians' was associated with the Orchestra in the passionately shared by Serge years since that time. He has made Koussevitzky. In 1940 the dream was many recordings with the Orchestra realized when the Orchestra founded on the RCA and Deutsche Grammo- the Berkshire Music Center at Tan- phon labels, and with the latter com- glewood. This summer academy for pany he is currently in the midst of a young artists was and remains unique, project that will include the complete and its influence has been felt on mu- orchestral music of Ravel. In addition sic throughout the world. (An article to his duties in Boston, he is con- about the Center is printed elsewhere ductor and Music Director of the San in the book.) Francisco Symphony Orchestra.

In 1949 Koussevitzky was succeeded as In 1964 the Orchestra established the the Great Apple Pie Music Director of the Orchestra by Boston Symphony Chamber Players, Controversy Charles Munch. During his time in an ensemble made up of its principal Our Chef says Apple Pie must be home- Boston Dr Munch continued the tradi- players. Each year the Chamber Play- baked, hot, and topped with cheddar. So we tion of supporting contemporary com- ers give concerts in Boston, and have serve it that way. But our Innkeeper insists posers, and introduced much music made several tours both of the United on home-baked Apple Pie, cold, without from the French repertoire to this States and of foreign countries, in- cheddar. So we serve it that way, too. Help us settle The Controversy. country. The Boston Symphony toured cluding England, Germany, Italy, Dine here anytime from early morning abroad for the first time, Spain, France and the and was the USSR. They until late in the evening. Choose Apple first American orchestra to appear in have appeared on television and have Pie, any style. the USSR. In 1951 Munch restored made many recordings for Deutsche While you're at it, choose Roast the Open Rehearsals, an adaptation of Grammophon and RCA. Prime Ribs of Beef in our Dining Room . . or dine by candlelight in our flower-laden Mr Higginson's original Friday 're- Courtyard ... or enjoy delightful cocktails hearsals', which later had become the in The Widow Bingham's Tavern... or regular Friday afternoon concerts we Today the Boston Symphony Orches- sandwiches (with entertainment) in The know today. tra Inc. presents concerts of the Bos- Lion's Den. Enjoy an overnight or weekend ton Symphony and Boston Pops Or- stay, too, in one of our air conditioned bedrooms overlooking the Berkshires. chestras and of the Boston Symphony Call (413) 298-5545 for reservations. Erich Leinsdorf became Music Direc- Chamber Players, is active in the tor in the fall of 1962. During his sev- sponsorship of Youth Concerts in Bos- d& The Red Lion Inn en years with the Orchestra, he ton, is deeply involved in television, Since 1773. Stockbndge, Mass. 01262. presented many premieres and restored radio and recording projects, and is On Rt. 7, south of Tanglewood. many forgotten and neglected works to responsible for the maintenance of the repertoire. As his two predecessors Symphony Hall in Boston and the es- had done, he made many recordings tate here at Tanglewood. Its annual for RCA, including the complete sym- budget has grown from Mr Higgin- 3oxdollow Sckool phonies of Brahms and Beethoven, and son's projected $115,000 to a sum a major cycle of Prokofiev's music. more than $6 million. It is supported Lenox, MA. Mr Leinsdorf was an energetic Direc- not only by its audiences, but by tor of the Berkshire Music Center, and grants from the Federal and State gov- under his leadership a full-tuition Fel- ernments, and by the generosity of A small, country day and lowship program was instituted. Many many businesses and individuals. boarding school for girls in concerts were televised during his ten- Without their support, the Boston ure. Symphony Orchestra would be unable grades 8-12. to continue its pre-eminent position in the world of music. A community of students William Steinberg succeeded Mr Leins- dorf in 1969. During his tenure he con- and teachers working to- ducted several American and world gether to provide the best premieres, led the 1971 European tour possible environment and directed concerts in cities on the for learning, for East Coast, in the South and in the Mid-West. He made recordings for self-development, Deutsche Grammophon and RCA, in- and for understanding. cluding some of the world's first issues in quadraphonic sound. Mr Steinberg appeared regularly on televison, and Call or Write: during his tenure concerts were broad- cast for the first time in four-channel Mrs. Jean L. Ryan sound over two of Boston's radio sta- tions. Director of Admissions Foxhollow School Seiji Ozawa, Artistic Director of the Lenox, 01240 Berkshire Festival since 1970, became MA. Music Director of the Orchestra at the 413-637-0071 beginning of the 1973-1974 season, fol- lowing a year as Music Adviser to the Boston Symphony. Invited by Charles Munch to Tanglewood as a conducting

31 The Berkshire Music Center SOUTH MOUNTAIN CONCERTS one mile south of Pittsfield on Routes 7 and 20 When the Boston Symphony established Schuller, composer, writer, conductor, Saturday, August 2 the Berkshire Music Center at Tan- educator and President of the New Vermeer String Quartet glewood in 1940, the dream of two of England Conservatory. Saturday, August 16 the Orchestra's most illustrious figures Each summer young people from all Arnold Steinhardt, violin became a reality. Henry Lee Higgin- parts of the world come to Tan- Jules Eskin, cello Virginia Eskin, piano son clearly recognized the importance glewood for the annual eight-week ses- Harold Wright, clarinet of a highly professional training envi- sion of the Center. They study under Sunday, September 21 ronment to young musicians, and when the supervision of musicians of great Beaux Arts Trio of New York he founded the Orchestra in 1881 he experience in orchestral and chamber wrote of his wish to establish also a music performance, in conducting and All concerts at 3 pm 'good honest school for musicians.' It composition. Joseph Silverstein, Con- Information and Programs: was a wish that was not to be realized certmaster and Assistant Conductor of Box 23, Pittsfield, Mass. 01201 for a good many years — not, in fact, the Boston Symphony, is Chairman of Telephone (413) 443-6517 until the advent of Serge Koussevitzky, the Faculty, which includes principal Conductor and Music Director from players and members of the Orchestra, 1924 until 1949. Koussevitzky fer- faculty members of the Boston Univer- DINING FOR THOSE WHO KNOW vently shared Higginson's vision of an sity School of Fine Arts, as well as academy where young musicians could leading soloists, conductors and com- extend their professional training and posers. The emphasis is on group per- *£e& 'Pyietteet broaden their artistic experience under formance, carried out under profes-

FROM TANGLEWOOD (Only 9 Miles) to Route 41 and 295 OPEN FOR DINNER Weekly 5:00 to 10:30 p.m. Sunday 4:00 to 10:30 p.m. YOUR HOSTS LES CHEVALLIERS BETTY — The Old Girl LOUIS — The Old Boy PHONE: 518-781-4451 518-781-9994 QUEECHY LAKE • CANAAN, N. Y.

HANCOCK SHAKER VILLAGE

Original 18th Century Village Restored

Open daily 9:30-5:00 Adults $2 Children 50£ the guidance of eminent international sional conditions. In addition to the Annual Kitchen Festival musicians. More than any other single Center's Fellowship program for in-

Week of August 4th person, it was Koussevitzky who made strumentalists, conductors, singers and the vision a reality. Koussevitzky was composers, Boston University offers Route 20 Five miles Director of the Center from its found- programs for talented high school in- Pittsfield, West of ing until his death in 1951, and his strumentalists and singers, a piano Mass. vigorous leadership has remained an seminar, applied music classes, and inspiring example. Today Leonard programs in such related arts as dance Bernstein, his student and assistant and theater. These programs offer col- during the early days of the Berkshire lege-level credit through the Univer- Festival, maintains his close associ- sity's School of Fine Arts. ation with Tanglewood and with the Among the resources available to Center. Succeeding Koussevitzky was the Berkshire Music Center are nu- appagoWcy Charles Munch, and it is another trib- merous studios for practice and cham- ute to the continuity and success of ber music, and an extensive library of Rehear- now at the Center that the present Music Di- music literature and scores. rector, Seiji Ozawa, studied there dur- sals and concerts of the Berkshire Mu- THE LEMON TREE ing the Munch era. From 1963 until sic Center Orchestra and other per- <5r 102 Main Street 1969 Erich Leinsdorf was Director of forming groups take place mostly in Lenox, Mass. 01240 the Center, and it was during his ten- the Theatre-Concert Hall, while lec- ure that Michael Tilson Thomas, an- tures, seminars, conducting classes, Open Mon. -Sat. 10-5 other conductor who would become vocal and choral rehearsals, com- and concerts of cham- Gifts • Accessories • Imports closely associated with the Orchestra, posers' forums was a student at the Center. Today the ber music take place in the Chamber primary responsibility for the Center's Music Hall, in the West Barn, on the

direction is in the hands of Gunther Rehearsal Stage, in the Hawthorne

32 HP

'ji

Cottage, and in small studios situated •M. both on the Tanglewood grounds and in buildings in Lenox leased by the Or- IN AND AROUND chestra for the summer. The Baldwin Piano and Organ Company generously THE BERKSHIRES provides, without charge, nearly 100 keyboard instruments for individual |fOggC< practice each year, while other in- struments—percussion, for ex- The Berkshires is extraor- paintings dinarily rich in its activities and ample—are provided by the Orchestra. sculpture The average enrollment of the Cen- events. Of these, Tanglewood is but one. complete listing of graphics ter is somewhat over 400, of which ap- A proximately 175 are members of the events in and around the Berk- old prints Fellowship Program. The program shires appears in Berkshire fine provides free tuition and a living ex- Week, a summer magazine of handcrafts pense stipend to a number of students The Berkshire Eagle and Tor- of post-graduate caliber. In addition to rington Register. Copies are MYRNA LIEB CITRON 413-298-4767 J the Fellowship Program and the Tan- available at the Main Gate and glewood Institute— the Center's prin- the Lions Gate. cipal divisions— the Center now con- ducts a Listening and Analysis Semi- nar, which is open to laymen as well as to teachers and performers. This Berkshire Theatre Festival ^e&z6me- 637- 11& special program uses the Berkshire Stockbridge Festival programs of the Boston Sym- phony as the basis of classes devoted Lenox Arts Center to musical analysis, history and appre- Lenox ciation. A high point of the Center's activities each summer is the Festival Williamstown Theatre of Contemporary Music, August 10 Williamstown through 14 this year, which is present- ed in cooperation with the Fromm Jacob's Pillow Dance Festival Music Foundation at Harvard. This Lee internationally known 'festival within Lctfk- stiff a festival' presents a broad spectrum Aston Magna QV&f- 7-OOA-fii.-l'OOA-M. of the most advanced music of today's Great Barrington composers. For many years now alumni of the Berkshire Music Center Berkshire Museum }0^^^*0^+0*0***0*0*^^^^^^^^ have been among the most prominent Pittsfield Your host Saturday Eves in and active members of the music the Tanglewood Tent world. More than ten percent of the Clark Art Institute of this country's major or- members Williamstown chestras are graduates of the Center, THE as are many of the world's notable Hancock Shaker Village conductors, instrumental soloists and Hancock W1LLIAMSV1LLE singers.

The Boston Symphony is assisted in Chesterwood Studio Museum supporting the Center by the National INN Glendale Endowment for the Arts, a federal Dinner and Entertainment Nightly agency, as well as by individual and Lenox Library after Tanglewood corporate sponsors. Scholarships are Lenox French Cuisine served in a quiet awarded to the majority of the stu- Superb country setting Reservations necessary dents, who are chosen by audition on a Stockbridge Historical Society competitive basis. (413) 274-6580 The cost of the Stockbridge scholarship program is large and adds RTE 41, WEST STOCKBRIDGE, MASS each year substantially to the deficit Naumkeag of the Boston Symphony Orchestra. Stockbridge Details of how you may help are print- ed elsewhere in the program. We invite Mission House you to hear and see for yourself the Stockbridge remarkable caliber of these young mu- sicians. Old Corner House WUPPQfc Stockbridge REALTORS Berkshire Garden Center Stockbridge

Pleasant Valley Wildlife 163 NORTH STREET Sanctuary Lenox PITTSFIELD. MASS. 01201 M^M^H^X^K^X^M^M^M^M^M 413 - 445-5661

33 Everyone's Guide to the Friends of Music or"

Membership in the Friends of Music TENT The Tanglewood Tent, available to con- tributors of $50 and over, provides a hospi- ot Tonglewood provides with many exciting MEMBERSHIP you table gathering place behind the Music opportunities and priviliges oil year long. Shed where food and drink may be pur- chased on concert days. Hot buffet dinners It's the secret buy of the Berkshires! are served on Saturday evenings begin- ning at 6:30 p.m. Reservations must be made through the Friends Office no later than 10:00 a.m. on the Friday morning pre- ceding each Saturday evening buffet.

FREE Over 40 concerts each summer by the SPECIAL Two convenient reserved parking areas are BERKSHIRE members of the Berkshire Music Center, PARKING available to all donors of $100 or more for MUSIC CENTER the Boston Symphony Orchestra's summer FOR FRIENDS all Boston Symphony Orchestra concerts: CONCERTS academy for the advanced study of music. either the Box Parking Lot (Hawthorne Tent Parking Lot FOR ALL These outstanding mid-week concerts in- Street entrance), or the MEMBERS clude chamber music recitals, full orches- (West Street entrance). tra concerts, vocal and choral programs, and the annual Festival of Contemporary Music, Tanglewood's "festival within a BERKSHIRE Contributors of $250 and over may audit festival." Individual memberships in the selected classes in the Berkshire Music Friends are available for $15.00; Family MUSIC Center's Listening and Analysis Seminar. memberships are available for $25.00. CENTER CLASSES Those wishing to attend should check with the Berkshire Music Center Office in the ADVANCE In the early spring, all Friends will be sent Main House at Tanglewood for a class PROGRAM advance Berkshire Festival programs and schedule. INFORMATION ticket ordering forms, as well as receive AND TICKET the "Symphony/Tanglewood Newsletter." ORDERING NAMED Fellowships are awarded each summer to FORMS FELLOWSHIPS the Berkshire Music Center's most promis- ing members. $1,000 Fellowships and $500 Associate Fellowships are awarded in the A fascinating series which grows more TANGLEWOOD name of the donor or whomever the donor popular each year, these informal talks on TALKS elects, and will help to underwrite the Thursdays at 12:30 in the«Tanglewood Tent AND WALKS cost of one Berkshire Music Center mem- present a member of the Boston Symphony ber's 8-week study program. Orchestra or visiting guest artist, followed by a special guided tour of the Tanglewood grounds. Those attending bring a picnic FRIENDS OF MUSIC AT TANGLEWOOD lunch — refreshments provided! Please call the Friends Office for reservations. LENOX, MASSACHUSETTS 01240 413/637-1600

34 The Friends of Music at TANGLEWOOD •*n The Friends of Music at Tan- glewood are hundreds of people concerned with keeping beautiful music in the Berkshires. Not only do the Friends help bring famous conductors and soloists to Tanglewood for the Berkshire Festival concert, but they also :\ provide the critical support for the Berkshire Music Center, the Boston Symphony Orchestra's ,- TANGLEWOOD FRIENDS >

THE EXECUTIVE COMMITTEE $* THE TANGLEWOOD COUNCIL *» • %*%* OF THE BOSTON SYMPHONY ORCHESTRA w Mrs John S. McLennan Mr Peter van S. Rice Co-Chairmen /!'•> Mr John Kittredge Secretary

Mrs Peter van S. Rice Liaison to the Boston Friends

r . .1 Stookey : V Mr John Hoyt Liaison to the New York Council

Mrs Harris Fahnestock Liaison from the Boston Friends

mm l Mr Henry H. Williams Jr Business Chairman

Mr Richard S. Jackson Public Relations Chairman

f r/ -& Mrs Samuel Boxer Special Projects Chairman

Mr John Kittredge Membership Chairman

Mrs James Garivaltis Special Events Chairman

Mrs Desmond Tivy Mrs Richard W. Marcure Mrs Arthur Aronoff Mr and Mrs David Klein

L <*y»jr • Vice-Chairmen *$> W

$H* t •>-<- Sf*"^ *\4 s . Mrs Peter van S. Rice ., * w fscar^gs©,-^ Mr William A. Selke -****' >^. . A Nominating Co-Chairmen

» ' i '.V

35 RECENT RECORD RELEASES BY THE Shh..« BOSTON SYMPHONY ORCHESTRA

I'm conducted by RAFAEL KUBELIK BARTOK listening Concerto for Orchestra DG/2530 479

conducted by SEIJI OZAWA WmHT-FfTI! BEETHOVEN Piano Concerto No. 5 in Et> op. 73 'Emperor' with Christoph Eschenbach DG/2530 438 89.1 BERLIOZ The Damnation of Faust DG/2709 048 with Edith Mathis, Stuart Burrows, Donald Mclntyre, Thomas Paul and the Tanglewood Festival Chorus

Symphonie fantastique DG/2530 358

RAVEL Bolero Rapsodie espagnole the finest in La Valse DG/2530 475

clossicol music Daphnis et Chloe (complete ballet) fall release DG/2530

THE GREAT STRAVINSKY BALLETS t YOU ARE A KID\% (album includes and YOU HAVE A KID\ V Suite from ) RCA VCS 7099 you knowakid\ I YOU FEEL LIKE A K\M conducted by EUGEN JOCHUM There Is Only One Store MOZART & SCHUBERT In the Berkshires Symphony No. 41 in C K. 551 'Jupiter' Symphony No. 8 in B minor 'Unfinished' DG/2530 357

conducted by MICHAEL TILSON THOMAS STRAVINSKY We carry fabulous miniatures, Ma- Le sacre du printemps dame Alexander & handmade dolls, Le roi d'etoiles DG/2530 252 imaginative adult games & puzzles, Lego, Meccano & other construction sets, the largest selection of kites, boats & planes, creative coloring, conducted by ARTHUR FIEDLER game & antique replica books, Steiff & Beatrix Potter stuffed animals & THE WORLD'S FAVORITE SYMPHONIES lots more! (album includes the 'New World' Symphony of Dvorak) RCA/LSC 3315

Stop In & Browse for ~7 One of the Best Times of Your Vacation THE BOSTON SYMPHONY ORCHESTRA ON

and f lirut.whr DUCBZH THER J 84 North St. Open Mon.-Sat. 10-5:30 Pittsfield, Mass. Thurs. 10-9 P.M.

36 Williamstown Theatre festival

.£ Nikos Psacharopoulos

One hundred seventy-five performances of thirty-five events JULY 3-AUG. 30

PHONE RESERVATIONS: 413-458-8146 P.O. BOX 675 WILLIAMSTOWN, MASS. 02167

Aiister-Lodge

15 MIN. FROM TANGLEWOOD ENTREES PREPARED ACCORDING TO AUTHENTIC VIENNESE- GERMAN RECIPES TORTE IMPORTED FROM WORLD FAMOUS SACHER HOTEL IN VIENNA OPEN FOR DINNER WEEKLY 5:30 TO 9:30 PM SUNDAY 4:30 TO 9:30 PM SOUPE 9:00 TO 10:30 PM

RT. 22 AUSTERLITZ, N.Y. (518)392-99%

You are always welcome at The Only Botanical Garden in the Berkshires THE BERKSHIRE GARDEN CENTER

Stockbridge, Mass. on Routes 1 83 & 1 02 (1 minutes from Tanglewood)

Herb Garden & Shop Plant Windows Perennial Borders Seasonal Exhibits Garden Gift Shop Youth Center Lectures

Open Free Nonprofit • Daily Admission

John Ganson 37 .

FESTIVAL INFORMATION University of Rochester EASTMAN SCHOOL OF MUSIC

A map of Tanglewood, which shows the location of concert halls, parking Robert Freeman, director areas, offices, telephones and rest rooms, is printed on page 10 of the program. During performances the rest rooms at the rear of the Shed are closed. announcing recent appointments to

the senior performing faculty:

Latecomers will not be seated until the first convenient pause in the pro- Helen Boatwright, soprano gram. Members of the audience who wish to leave before the concert's end David Burge, piano are earnestly asked to do so between works, not during the performance. Jan DeGaetani, mezzo-soprano

Galway, flute James Open rehearsals. The open rehearsals by the Boston Symphony Orchestra Sydney Hodkinson, composer-conductor held each Saturday morning at 10.30 are open to the public. The charge Gustav Meier, conductor for admission is $3. The open rehearsals benefit the Orchestra's Pension Fund. Yi-Kwei Sze, bass Thomas Paul, bass

Philip West, oboe-chamber music Ticket information for all Berkshire Festival events may be obtained from the Festival Ticket Office at Tanglewood (telephone 413-637-1600). The Office is open from 9 to 6 daily, until and returning to the Eastman Faculty am pm and intermission on concert days. Please note that children regardless of age pay full admission. as Distinguished University Professor: Cecile Staub Genhart, piano

The taking of photographs during musical performances is not allowed.

for further information, contact:

Philip Swanson, director of admissions The use of recording equipment at Tanglewood is not allowed at any time.

Eastman School of Music 26 Gibbs Street, Rochester, N.Y. 14604 Articles lost and found. It will be much appreciated if visitors who find stray property will hand it in to any Tanglewood official. Any visitor who wishes to recover a lost article should call at the Lost and Found Office located in the house of the Superintendent near the Main Gate.

Refreshments can be obtained in the area to the west of the Main Gate and 1/2 OFF LIST visitors are invited to picnic on the grounds before concerts. Catering is by for Ogden Foods Inc.

SIR GEORG SOLTI The Tanglewood Music Store is located near the Main Gate. Phonograph records, sheet music, books, postcards, films, etc., are obtainable. The CHICAGO SYMPHONY store remains open for half an hour after the end of each concert in the on Shed. The store is managed by Van Curler Music Company of Albany, LONDON RECORDS New York.

at Limited parking facilities are available for invalids and physically handi- capped persons. Please consult the parking attendant. berkshlre record First Aid is available at the first aid station situated near the Main Gate. outlet In case of emergency, please see the nearest usher. inc. Rest rooms are located throughout the grounds. Please note, however, that all rest rooms located in the Shed are closed during the concerts.

"at least 1/3 off all records Physicians and others expecting urgent calls are asked to leave their name at all times" and seat number with the Guide at the Main Gate booth.

10-6 Mon. -Wed. The Boston Symphony Orchestra and the Boston Symphony Chamber 10-9 Thurs. -Sat. Players record exclusively for DEUTSCHE GRAMMOPHON.

ROUTE 7-20 PITTSFIELD ACROSS FROM YELLOW ASTER BALDWIN is the offical piano of the Boston Symphony Orchestra and the Berkshire Music Center.

38 THE Corporate Benefactors CHESTERWOOD STOCKBRIDGE OLD CORNER HOUSE of the Boston Symphony Orchestra

-V CHARLES RIVER BROADCASTING COMPANY WM FILENE'S SONS COMPANY THE FIRST NATIONAL BANK OF BOSTON THE GILLETTE COMPANY

Slockbridge JOHN HANCOCK MUTUAL Summer Home and Studio of LIFE INSURANCE COMPANY Historical Exhibits DANIEL CHESTER FRENCH NEW ENGLAND MERCHANTS Sculptor of the with NATIONAL BANK Lincoln Memorial Original Paintings by NEW ENGLAND MUTUAL LIFE INSURANCE COMPANY Garden, Nature Trail, NORMAN ROCKWELL NEW ENGLAND TELEPHONE Paintings, Barn Sculpture Gallery AND TELEGRAPH COMPANY On permanent exhibit Adults $1.50 • Children $.75 THE SHAWMUT Autographed ASSOCIATION BANKS Daily 10-5 Candlelight Tours and books available. prints STATE STREET BANK Monday & Wednesday • 8-10 pm Open Year Round — Daily 10-5 p.m. AND TRUST COMPANY Except Tuesdays a property of Adults $1.00 Children 25c The National Trust for Historic Preservation

Now There's Lots of Living in the Berkshires as Exciting as Tanglewood

NEAR HEMLOCK BROOK IN WILLI AMSTOWN Tanglewood Sterling& Francine Clark Art Institute Brodie & Jiminy Peak Will iamstown Theatre Festival Jacobs Pillow Dance Festival Cross Country Skiing Summer Stock Theatres Williams Museum of Art Many Hiking Trails Adams Memorial Theatre Country Clubs Concerts/ Lectures Sailing Fine Restaurants Fishing Golf Courses Hunting JUST OVER VERMONT JUST OVER BORDER NEW YORK BORDER Skiing Horse Racing Summer Home of — Art Centers — NYC Ballet and Crafts/Pottery/Painting Philadelphia Music Festival Orchestra Variety of Museums Harness Racing Ijemlock blool^

301 North Hemlock Lane, Williamstown, Massachusetts 01267

Hemlock Brook Town Home Condominiums are a unique mixture of Early America with modern con- veniences. Nowhere in the Northeast will you find Townhouses with as charming a setting or as magnifi- cent a view of the Berkshires. Every home includes 2 bedrooms, 2V2 baths, master suite, and lots of amenities such as Tennis Courts, Swimming Pool, Trout fishing in the brook and ample room to stroll or jog on the 11 -acre site. Prices range from $39,000 - $48,400. You must see Hemlock Brook to appreciate this value. It's a perfect four-seasonal home for year-round or vacation enjoyment. COME SEE FOR

YOURSELF any day from 1 :00 p.m. till dusk, or call us collect (413) 458-4060.

Hemlock Brook is on Rte. 7 just north of the junctions of Rts. 2 & 7, and only a 3 hour drive from New York City or Boston

39 Thispianowas only used for8weeks by a little laity in Tanglewood.

This might sound like the classic used car come-on,

if it weren't the truth.

After the Festival, all Baldwin pianos and organs are ready to perform a beautifully-priced encore

in your home.

Baldwin Annual Tanglewood Sale September 2 thru September30

In Boston at Paine Furniture, 81 Arlington Street Phone 426-0775 In Burlington at Baldwin Piano & Organ Company Factory Showrooms, 54 Middlesex Turnpike (Exit 42 east from Rt.1 28) Phone 273-0450