Tanglewared Music Center

P R

FINAL ORCHESTRA CONCERT

Saturday, August 22, 19E7 nt 2:00 p.m. Theatre Concert Hall.

BOSTON UNIVERSITY TANGLEWOOD INSTITUTE YOUNG ARTISTS ORCHESTRA

Mahler Symphony No. 5 in C-sharp minor

III. Scherzo

Eiji Oue, conductor

A special note of thanks to Roger Voisin for his assistance in the preparation of this work.

ten minute interval

TANGLEWOOD MUSIC CENTER ORCHESTRA

Mozart Overture to "The Magic Flute"

Anthony Princiotti, conductor Bedford, New Hampshire

Sibelius Pohjola's Daughter, Opus 49 A Symphonic Poem

GyOrgy GyUrivAryi Rath, conductor Budapest, Hungary

Webern In Sommerwind

Jun M'rkl, conductor West Germany

Ravel Alborada del Gracioso

Yutaka Sado, conductor Kyoto, Japan

t,7, , tidaPv” , f '11 , VPicsr.

BALDWIN PIANO "Our problem is to help artists with good training and knowledge to acquire a penetrating and vivid conception of the music they create and interpret; to stir their imagination to new heights and new depths, because imagination invokes in the creator and interpreter the right intuition and emotions to conceive the inner meaning of their art . . . We want to be modest in our prom- ises. But by no means do we want to be modest in our aspirations. We arP confident that our students will receive the very best of our ability and practical experience, as well as our spiritual guidance." Serge Koussevitzky Opening Exercises, 1941

The Tanglewood Music Center invites 150 young musicians to study as Fellows for the summer with no tuition charge. This is possible because of the generous support of many donors. We would like to acknowledge the special contributions of several friends: The Festival of Contemporary Music—July 30 through August 6—is sponsored in part by a grant from the Pepsico Foundation. The August 11 TMC Orchestra Concert is underwritten by Bank of New England, West. The July 29 Chamber Concert is underwritten by The Lincoln and Therese Filene Foundation.

The Following endowed funds provide extraordinary support for the teaching activities of the Music Center: Honorable and Mrs. John H. Fitzpatrick Fund Louis Krasner Fund Established by Marilyn Brachman Hoffman Eleanor Naylor Dana Visiting Artist Fund Paul Jacobs Commissioning Fund

1987 gifts to underwrite faculty positions: Aetna—Ann Hobson Pilot, Master Teacher National Distillers and Chemical Corporation—John Oliver, Head of Vocal Music Activities RJR Nabisco—Oliver Knussen, Coordinator of Contemporary Music Activities Frederick W. Richmond Foundation Joel Krosnick, Master Teacher

Endowed Faculty Positions: Charles E. Culpeper Foundation Chair—Gilbert Kalish, Chairman of the Faculty Dr. and Mrs. Edward L. Bowles Chair—Doriot Anthony Dwyer, Master Teacher Marian Douglas Martin Chair Endowed by Marilyn Brachman Hoffman—Peter Serkin, Master Teacher Berkshire Chair—partially funded Richard Burgin Chair—partially funded

The Friends of Music at Tanglewood are invited to all concerts of the Tanglewood Music Center with a Family Season Membership of $60 or an Individual Season Membership of $40. Others attend- ing each TMC event are asked to contribute a minimum of $5.00 at the gate, $6.00 for orchestra con- certs. The Tanglewood Music Center is also supported by a grant from the National Endowment for the Arts.

The program design is by Matt Ralph Graphics, Cambridge, Massachusetts, and it is printed using a Ricoh 6200 FR copier donated for use this summer by Bloom's Business Systems of Pittsfield. BOSTON' UNIVERSITY TANGLEWOOD INSTITUTE YOUNG ARTISTS ORCHESTRA Eiji Oue, Principal Conductor

(rinds, brass and percussion :Listed alphabetically)

Mahler Symphony No. 5 - Scherzo

First Violins Cellos Horns

Vali Phillips Sally Upton Ken Best Heidi Turner Dina Snek John Bancroft Jill Gunderson Rebecca MacKinnon Liza Serbagi Morgan Hastings Ann Shiau Susanna Porte Steven Replogle*

Robert Chiu Fred Clarke Gabrielle Robinson Sarah Kim Trumpets Katherine Wolfe Lierilee Temple Richard Johnston Trevor Orthmann Sonalyn Snyder Marlon Jordan Michael Wentz Kristen Pellegrino Amy Leung Scott Yandell Andy iiao Leora Balsam Teresa welch Dena Ringold Trombones Janice Varamay Joel Dallow Daniel Balsam Shannon Lynch Libby Garland Marc Isserles Laurie Illions Jeung-Hee Kahncj Kevin Roberts Steven Vlad Second Violins Basses Tuba Too Chiu Anthony Lianzo Jeremy Williams Jeff Weisner 14aittnew Gaunt Tateo Nakajima Stephen Sas Rebecca hcFaul Nancy Beth Barr Percussion

Tiffany Slone Gwendolyn Hoy Jack Bell Ana Lin Gaclen i,cCormick Richard Graber Jeffrey Murphy Nina Claire Basescu Robert Patterson Kelly Hall Flutes'

Eva Rosenberg Jeanne Carerc., *CYoligato Horn Leanne Kelso Hick Cheonis Laura Doty Derek Wallach Zachary Valanzuala.. Tamara Linn

Shannon Looney Oboes Orchestra Manager Erin Bruce Edith Arpaia Asadoui Santourian Liza Goitein Violas Nicholas Hart Stage Crew Lisa Lee Brian Arsenault Clarinets Adam Rogers Jessica Winiecki Daniel Swartz Lisa Cole Andrea Sc:luler Richard Hawley Avi Polak Brendan Hassett Christian Schubert Aimee Picchi Kristicia liaison Bassoons Cheri Drummond Kevin Cheek Jennifer Shackleton Gretchen Lapp Gwen Bernardo Susan Loegering Daniel Shelly Alicia Brady Evan Young TANGLEWOOD MUSIC CENTER ORCHESTRA (Winds, brass and percussion listed alphabetically)

First violins Cellos Horns

Akiko Ueda Scott Kluksdahl Robert Danforth Ann Palen Alicia Stegink David Griffin Thomas Hadley Katharina Wolff Susannah Chapman Chris Komer Michi Mizutori Katja Linfield Thomas Sherwood Deborah Stephenson Margaret Bichteler Robert Bergman Nancy Dahn Hillel Zori Trumpe t s Yan Chin Linda Bardutz Marisol Medina Heidi Hoffman David Bamonte Bibi Black Sia-Hua Chang Jean-Guihen Queyras Anthony DiLorenzo Daniela Rodnite Brooks Whitehouse Brian Rood Daniel Smith Lei Hou Owen Young Marc Sabat Ruth Waeffler Trombones Ellen Jewett Key Markl Basses Hans Bohn John DiLutis Maximilian Dimoff Scott McElroy Second violins David Rosi Gerry Pagano

Jennifer Moreau Douglas Johnson Dian Folland Guy Tyler Tuba

Laura Hundley Jennifer W. Matteson Charles Schuchat Paul Manaster Dennis Roy

Dionysia Fernandez Keith Kawazoe Percussion Katie Lansdale David Fishlock Kathryn Stenberg Flutes Kurt Grissom Christoph Franzgrote Thomas Harvey LeeAnn Edwards Sebastian Neumann Tamara Chang Regina Belcher Luanne Warner Marta Szlubowska Amy K. Porter F. Feza Zweifel Alison Young Karen Marx Claudia Chudacoff Harps Oboes Suli Xue Kayo Ishimaru Rebecca Brown Yolanda Kondonassis Willa Henigman Violas Mark McEwen Kevin Vigneau Librarian Katrina Smith Keisuke Wakao Mercedes Leon David E. Gruender

Michael Amory Clarinets Karen Elaine Sanders Orchestra Manager Steven Jackson Peter Sulski Alan Kay Harry Shapiro Trung le Trinh Todd Palmer Nathan Williams Judith Ablon Kimberly Wilson Stage Manager Jan Krosenbrink Alan D. Jordan Cindy Fondiler Bassoons Jenny Douglass Noe Cantu Amadi Hummings Marc Feldman Laisan Gulkis Ping Liang Thomas Novak Patricia Paulson Program Notes

12111( 1211L11§9ze1 ollinyllii) Symphony No. 5, Scherzo The Fifth Symphony was written in 1901-02 and first performed in Cologne on 18 October 1904,, with Mahler conducting. The symphony marks a move in a new direction for the composer. It is a nlasaiv,:: work divided into 3 large sections: the first is by turns somber and stormy and the last ends with a victory of the forces of life over anguish, grief, and death. The Scherzo, featuring prominent horn solos, stands alone as the central section of the symphony and was intended to represent "a human being in the full light of day, in the prime of his life."

Mozart (27 Jan. 1756 - 5 Dec. 1791) Overture to "The Magic Flute" The first performance of The Magic Flute was on 30 Sept. 1791, only a few weeks before Mozart's death, in a theater on the outskirts of Vienna. The work is part fairy tale, part parable, a combination of opera and a play with music in the tradi- tion of the Viennese Vorstadt theater, complete with folk tunes and musical buffoon- ery. The action pits the forces of darkness, aspersonified by the vengeful Queen of the Night, against those of nobility and light, represented by the high priest Sarastro whose realm is the Temple of Wisdom. In between stands the human Tamino. Both Mozart and his librettist Schickaneder were Freemansons, and the work is suf- fused with the symbolism and basic tenets of Freemasonry. The overture, driven by counterpoint, draws together all the basic themes and conceptions of the opera. It opens with a solemn adagio, introduced by three powerful chords (the number three being highly important in Freemason symbology). A fugato section propels us into an allegro characterized by great rhythmic drive, only to be interrupted by the three weighty chords. (The contrapuntal technique is symbolic of human endeavor and the chords announce to the assembly of priests that Tamino is being led to trial.; The allegro continues once again, at first rather subdued and in the minor, and the work soon concludes with three brisk chords.

Sibelius (8 Dec. 1865 - 20 Se t. 1957 Pohiola's Daughter, Opus 49 The Finnish national epic, the Kalevala, provided Sibelius with material for a number of works, including Pohjola's Daughter. The work was written in 1906 and first performed on 29 Dec. of that year with the Marinsky Theater Orchestra in St. Petersburg. The story Sibelius illustrates is, very briefly, of the hero Vainamoinen who is on his homeward journey from the North. He meets Fohjola's daughter and falls in love with her, but to win her hand he must perform a series of impossible tasks, only to fail and continue his journey alone. The mood is predominantly dark and brooding, with a solo cello dominating the introduction. Gradually the tempo is increased until the hero's theme is stated in the brass. A number of thematically related episodes depict Vainamoinen's struggles and failure, and his theme returns, much extended. Suddenly everything dies away and the mysterious final bars leave the listener with a sense of incompletion and desolation.

Webern (3 Dec. 1883 - 15 Sept. 1945) Im Sommerwind Webern's compositional development, like that of his mentor Schoenberg, passed through stages of late Romantic Chromaticism, free atonality, and finally serial technique. The style we most usually associate with Webern today is that of extreme - concision, compression, and brevity. However, Im:Sbmmerwind, composed in 1904, a few month's before Webern's 21st birthday utilizes a very large orchestra and is much influenced by Wagner and Richard Strauss, as well as the early work of his teacher Schoenberg. The work only came to light in 1961 when the musicologist Hans Molden- hauer acquired it with a number of other unpublished manuscripts from the composer's family. The first performance was on 25 May 1962 at the First International Webern Festival at the Seattle World's Fair with the Philadelphia Orchestra under Eugene Ormandy. The work is subtitled 'Idyll," inspired by a poem by the novelist, essay- ist, and philosopher Bruno Wille, and is a description in music of a summer day in the country.

Ravel (7 March 1875 - 28 Dec. 1937) Alborada del Gracioso Alborada del Gracioso (literally Morning Song of the Buffoon - a sort of Andalusian Petruchka) originated as the fourth in a set of five pian pieces col- lectively entitled Miroirs and written in 1905. The alborada is a form of serenade of North Spanish origin from the mountain region of Galicia and Ravel uses the piece to indulge himself in the use of his favorite Spanish idioms. The work falls into three sections, gradually merging into each other. The first section is strongly rhythmic, with many rapidly repeated notes in the flutes, horns, and trumpets. After a slight pause, the second section is introduced by solo bassoon and proceeds calmly and sensuously, almost meditatively, until the fiesta atmosphere takes over once again and the work builds to a rousing conclusion. The orchestral version dates from 1912.

David E. Gruender, Bend Librarian, Tanglewood Music Center. For the past twenty-two years the Boston University Tanglewood Institute has been a summer program of Boston University and the Tanglewood Music Center. The Institute includes five Young Artists Programs for high school students (Instrumental, Vocal, Piano, Composition, and Quartet) and five Institute Seminars for high school and college students (Flute, Harp,Empire Brass, Listening and Analysis, and Applied Music Study). Many of the Institute's students receive financial assistance from funds contributed by individuals, foundations, and corporations to the Bostrn University Scholarship Fund.

r

WEDNESDAY, ,....4-' ,.,'"'", ,.4et AUGUET 2C, C:3 '.7k PM 1-,-..

THEATRE-CONZERT HALL . ::-..., 1.....«.,...... e113 .,--,-.,....t.i.‘, ..- ....La,.

r e\ivcc)

1 9 3 7 - 1 9 8 7 TOL TEE ES0.- E. EKPI.E ; 114,SS, LF SEET: 0 Fatr: a.

(1/4: "a7[1171111.01•••=iaiRli.1110MIRMII , T t vr- trz, r'",;'' (-07 Li\ r t krn p 160 F LA.*

PROGRAM HIGHLIGETS: Music of Gabriel', Vivaldi, Handel, and Copiand, plus a Bach concerto featuring Joseph Silverstein and Malcolm Lowe TRUMPET SOLOISTS: Charles Schlueter, Charles Daval, Peter Chapman, and Armando anitalla CONDUCTORS: Seiji Ozawa, Joseph Silverstein, and Racer Voisin

r 14,•4riwiti I 4, 1.

Tickets on sale now at the Tangiewood Box Office Prices: $1750, $25, $50 (Lawn admission $10) To purchase tickets call lanotewood Box Office (413) 637-1940 To charge tickets instantly (except lawn) call TICKETMASTER: 1-800-662-8080 Limited Benefactor seats are available at $250. A!! proceeds from this concert po toward tne establishment of a Tanglewcod Music Center Fellowship rn Anore Come's name