BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA Music Director
BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA J Music Director
COLIN DAVIS BOSTON Principal Guest Conductor SYMPHONY ORCHESTRA NINETY-FOURTH SEASON 1974-1975 4
/ «, 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 John 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 02115. 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 4 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 Charles Munch chair Martin Hoherman UIUjVVII^hassnons 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 Gottfried Wilfinger Joel Moerschel contra bassoon Fredy Ostrovsky Jonathan Miller IMfflC Leo Panasevich Martha Babcock Richard Plaster FM 90.3 mHz Sheldon Rotenberg Alfred Schneider basses horns Stanley Benson We bring you fine music Gerald Gelbloom Henry Portnoi Charles Kavaloski Raymond Sird Harold D. Hodgkinson chair Helen Sagoff Slosberg chair AND dozens of interesting Charles Yancich Ikuko Mizuno . William Rhein 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 Halph Pottle second violins ST John Barwicki where the next day's head- Clarence Knudson Robert Olson trumpets lines are often made. Enjoy Fahnestock 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 Walter Piston chair in broadcasting!) Savor some Laszlo Nagy James Pappoutsakis trombones Michael Vitale Paul Fried William Gibson of the most satisfying thea- Spencer Larrison Ronald Barron tre Darlene Gray productions ever aired. 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, violas John Holmes Everett Firth write for our free monthly Rapier Wayne 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 VIUIclarinetsIIIVIJ 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 western England harps rpr and New Joseph Pietropaolo Peter Hadcock Robert Barnes E> clarinet Bernard Zighera Michael Zaretsky Ann Hobson
personnel manager librarians stage manager
William Moyer Victor Alpert Alfred Robison William Shisler a place to think
An established, planned community designed to preserve the ecostruc- ture of the original forest-dirt roads, hiking paths, lakes and ponds, clean
air, 4 to 6 acres all by yourself, neigh- boring on a 15,000 acre forest.
By appointment only. Tel. 413-623-8933
' becket • • •* Tanglewood
m 43RD SEASON m Jacob's 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 Pillow 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 Serge Koussevitzky 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, Wednesday, Friday and Saturday summer home of the Boston Sym- Gorham Brooks and Miss Mary As- 7:30 p.m. 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. the tryside. Longfellow, Holmes and Mel- Koussevitzky and Orchestra. The 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 summer homes in the for 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 at powering the music and causing the Dan Hanna Farm (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 J 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 If music 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 conducting orchestras OGDEN FOOD SERVICES and choruses. The most eminent think- ^P ers and scholars will lecture there. A Providing food and drink to the patrons of Tang lewood 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, the Chamber Music Hall and several 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- 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 Ferber 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 Metropolitan Opera. Bertoia and Nagare are and the San Francisco Art Institute.
vrm £$ei**
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Masayuki Nagare: Loneliness, 1966 Herbert Ferber: Morgan II, 1971 Staempfli Gallery, New York Andre Emmerich Gallery, New York
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A perfect way to continue Lautrec Lounge- . . .skytop cocktail lounge your evening out. cocktails and ooh-la-la with dancing and live in a very initimate entertainment; luncheon SOME M atmosphere. buffet on weekdays. UDolonioJ Hilton Inn Welcome is just the beginning PLAZA LEVEL, BERKSHIRE COMMON, PITTSFIELD Berkshire Common, Pittsfield (413) 499-2000 Inquire about our seasonal package plans. £)\ Map of Tanglewood Lake Mahkeenac MOUNTAIN VALLEY ESTATES • An exclusive community of forty single family dwellings in Lenox and Richmond. • Homesites available from one and a half to five acres with re- strictive covenants. • Appealing low tax rate. • Over 80 acres of common ground for recreational use. • Ideally located in the Berkshires . . . just ten minutes from Tan- glewood, Pittsf ield, ski area, Racquet Club for tennis etc. • Superb views of The Berkshire Hills and Mt. Greylock. jr • Financing available. • Brochure upon request. /] P2TTSFIG M. J. QUIGLEY, Realtor Pittsf ield, Mass. fllCHMOfin 101 South Street 443-5350 or 443-1 561 10 The Music Director Pierre Monteux, Serge Koussevitzky summer of 1969 he conducted opera and Charles Munch, Mr Ozawa had for the first time — Cos! fan tulle 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 Faust, San Francisco Symphony 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 Karl Muck, time to guest-conducting. During the in February of 1976. <»» % & it- g# ir^TP"^^ff fl-gr^T*r ^ fo&4 ^tactoub Stiwna , . . ^tetcioub fitting A complete source for. China, Glass, ? Dinnerware, Clocks, Candles, Lamps & k Lighting Fixtures, Baskets k Pottery, Woodenware, Pewter, Brass & Copper, Door Stops, Hitching Posts, Weather- vanes, Braided & Hooked Rugs, Woven Coverlets, Place Mats & Table Linens, t Gourmet Cookware, Colonial Hard- ware, Franklin Stoves, Andirons & Choose From Fireplace Equipment, Pictures. Wall 3? Over 25,000 Items. Hangings, Mechanical Banks, Excit- OPEN EVERY DAY ing Imports, Decorative Accessories, ALL YEAR Documentary Fabrics & Wallpapers, 9-5:30 P.M. 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Berlioz: The Damnation of Faust Mathis • Dickison • Burrows Mclntyre • Paul • Tanglewood Festival Chorus • Boston Symphony Orchestra Marketed in the USA by Polydor Incorporated Seiji Ozawa • 2709048 • 3 LPs 810 Seventh Avenue, New York, N.Y. 10019 ^ Tlruixclu' BEETHOVEN KLAVIERKONZERT NB.5 ES-DUR PIANO CONCERTO NO.5 IN E FLAT MAJOR CHRISTOPH ESCHENBACH PIANO BOSTON SYMPHONY ORCHEKTRVSEIJ1 OZAWA 2530358 2530475 First Recording in Ozawa's Ravel Cycle! BOSTON SYMPHONY ORCHESTRA Rudolf Serkin Pianist SEIJI OZAWA Rudolf Serkin made his first appear- Music Director ance with the Boston Symphony in 1938 and has returned many times since, most recently in April of last TANGLEWOOD 1975 year when he performed Brahm's Piano Concerto No. 1 in D minor at a concert benefiting the Boston Sym- phony Pension Fund. Born in Bohe- mia in 1903, he was educated in Friday July 18 1975 Vienna, where his composition teacher was Arnold Schoenberg. He made his at 7pm debut at the age of twelve with the Vienna Symphony, then started a reg- ular concert career only five years later. He appeared in the United Weekend Prelude States for the first time in 1933, and made his formal debut in New York in 1936 with the New York Philhar- monic conducted by Toscanini. He has made annual tours of this country for over forty years, and has played RUDOLF SERKIN regularly in Europe. He has also trav- piano eled to South America, Iceland, India, Israel and the Far East. For many years he was associated with his father-in-law, the late Adolf Busch, and since 1950 has taken part in the Casals Festivals in the Pyre- MENDELSSOHN nees and Puerto Rico. In 1939 he was appointed head of the piano depart- Prelude and Fugue in E minor, Op. 35 ment at the Curtis Institute in Phila- delphia, a post he still holds, and in Allegro confuoco 1968 Director of the Institute. As Andante espressivo joint founder with Adolf and Her- mann Busch, Blanche Honegger, Louis and Marcel Moyse, of the Marlboro School of Music, of which he is Artis- tic Director, Rudolf Serkin spends much of the summer teaching and performing in Vermont. A resident of SCHUBERT the United States since 1939, he and his family have been American citi- Sonata in B flat, Op. Posthumous, D. 960 zens for many years. Rudolf Serkin served in 1966 on the Carnegie Commission on educa- Molto moderato tional television, and in the same year Andante sostenuto played at the White House at a Scherzo: Allegro vivace con delicatezza dinner in honor of the President of Allegro ma non troppo Israel. He has received many awards and honorary degrees, including hon- orary degrees from the Curtis Institute, Williams College, Oberlin College, the University of Vermont and Harvard Rudolf Serkin plays the Steinway Piano University. In 1963 President John F. Kennedy named him a recipient of the Presidential Medal of Freedom. In celebration of Beethoven's 200th Birthday he played a series of con- certs of the composer's piano sonatas at Carnegie Hall in the 1970-1971 season. In November of 1971 Rudolf Serkin played one of the first Found- ing Artist concerts at the John F. Kennedy Center for the Performing Arts in Washington, D.C. Mr Serkin The Boston Symphony Orchestra records exclusively for Deutsche Grammophon has made numerous recordings of con- BALDWIN PIANO / DEUTSCHE GRAMMOPHON & RCA RECORDS certos, chamber music and solo works for piano on the Columbia label. 13 BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Felix Mendelssohn 1809—1847 Music Director Overture to Victor Hugo's 'Ruy Bias' op. 95 TANGLEWOOD 1975 Program note adapted from the notes of Philip Hale Mendelssohn wrote from Leipzig to his mother in a letter dated March Friday July 18 1975 18 1839: 'You wish to know how it at 9pm has gone with my overture to 'Ruy Bias'. Merrily enough. Between six and eight weeks ago the request came BOSTON to me to write something for the per- SYMPHONY ORCHESTRA formance connected with the Theatri- SEIJI OZAWA cal Pension Fund, a very excellent ob- conductor ject, for the furtherance of which they were going to play 'Ruy Bias'. The request came to me to write an over- ture, and in addition they besought me to compose a Romanza, because MENDELSSOHN they thought the thing would succeed better if my name were connected with it. I read the play; it is really of no value, absolutely below con- Overture 'Ruy Bias' op. 95 tempt; [It is not worthwhile to argue this point. Mendelssohn's fastidious- ness was often finical priggishness.] Piano Concerto No. 1 in G minor op. 25 and I told them I had no time to write an overture, but I did compose Molto allegro con fuoco the Romanza. Monday (a week ago) Andante was to be the day of performance. On Presto: molto allegro e vivace the Tuesday before, the people came thanking me warmly for the Romanza, RUDOLF SERKIN and said they were sorry that I had written no overture, but they saw perfectly that for such work time was needed, and next year would be more INTERMISSION thoughtful and give me a longer time. They stirred me up. I took the thing at once in hand that same evening, Incidental Music to Shakespeare's and blocked out my score; Wednesday morning was rehearsal, Thursday was 'A Midsummer Night's Dream' op. 61 concert, and yet on Friday the over- Overture ture was ready for the copyist; Mon- it was given three times in the Scherzo day concert-room, then rehearsed once in Introduction and March of the Fairies the theatre, and in the evening was Song with Chorus given in connection with the wretched Bewitching and Intermezzo play, and has given me as much fun Nocturne as anything I ever did in my life. In Awakening and Wedding March the next concert they are going to repeat it "by request".' Fanfare and Funeral March George Hogarth in his Philharmonic Dance of the Clowns and Return of the Wedding March Society of London (London, 1862) Finale: Song and Dance mentions the fact that this overture was played for the first time by the ROHAN McCULLOUGH narrator, DIANA HOAGLAND soprano Philharmonic Society in the season of D'ANNA FORTUNATO mezzo-soprano 1849, and he adds this note: 'During Members of the TANGLEWOOD FESTIVAL CHORUS the season 1844, when Mendelssohn John Oliver conductor conducted the Society's concerts, this overture (in manuscript) was tried at a morning trial-performance, when, it would appear, it did not "go" to Rudolf Serkin plays the Steinway Piano the composer's satisfaction. When Mr Anderson [conductor of the Royal Trea- The Boston Symphony Orchestra records exclusively for Deutsche Grammophon Private Band and Honorable surer of Philharmonic Society and BALDWIN PIANO / DEUTSCHE GRAMMOPHON & RCA RECORDS Royal Society of Musicians], after the 14 performance, expressed his admiration Felix Mendelssohn of the new work, he was surprised to Piano Concerto No. 1 in G minor hear Mendelssohn say, with some op. 25 heat, that he was much displeased Program note by John N. Burk with it, so much that he would burn said BROADCASTING it. Mr Anderson something de- Mendelssohn, to whom, as a pianist precating such a resolution, but Men- in high demand, concertos of his own SCHEDULE repeated his determination delssohn were continually called for, wrote two in that it should never be heard pub- of them, the First in 1830-1831, the lic. Mr Anderson then said, "You productive period of the Hebrides have often expressed your admiration Overture and the Italian Symphony; The Friday evening concerts master, Prince Albert; I of my good the Second (in D minor) in 1837. at Tanglewood sure it would gratify him to hear will be broadcast live by: am The first sketches for the G minor of yours, so a new composition pray Concerto were made in Rome in 1830, let me give him that pleasure by where Mendelssohn was seeing the of the private WCRB-AM-FM Boston means Queen's band." sights, playing, and leading a social Mendelssohn consented, on condition life. In that year, his twenty-first, he (102.5 FM & 1330 AM) the overture that should never be met Delphine von Schauroth, who, at publicly Albany performed, and gave Mr An- sixteen, was outgrowing the status of WAMC-FM (90.3) derson the original orchestral parts. an infant prodigy. It was said that WGBH-FM Boston (89.7) The overture was frequently per- Mendelssohn's admiration of her was formed at Buckingham Palace and more than musical. In any case, he WFCR-FM Amherst (88.5) Castle, to Windsor the admiration of dedicated his First Concerto to her. WMEH-FM Orono, Me. (90.9) Her Majesty and the Prince. Some The composer himself played the time after the composer's lamented piano at the first performance, part WMEA-FM Portland, Me. (90.1) death Mr Anderson wrote to Mme of a benefit concert for the Munich Mendelssohn, informing her of all that poor on October 17 1831. In the same passed respect to this over- had with program Mendelssohn conducted his her permission ture, and requesting to C minor Symphony and the Overture perform it at Mrs Anderson's next an- to A Midsummer Night's Dream. The The Saturday evening concerts nual concert. The permission was applause was so enthusiastic that an will be broadcast live by: kindly given, and the overture was encore was called for. Mendelssohn performed at that lady's concert in improvised at the piano on Mozart's season this being the first WCRB-AM-FM Boston the 1849, Non piu andrai, a theme given him time it was ever publicly heard in by the King of Bavaria, Ludwig I, WGBH-FM Boston England. who attended the concert. WAMC-FM Albany WFCR-FM Amherst WMEH-FM Orono, Me. In addition to being one of the great composers, Mendelssohn WMEA-FM Portland, Me. was also an artist of consider- able talent, and there is a large quantity of his sketches, draw- ings, and watercolors that have been preserved. The collection The Sunday afternoon concerts begins with a group done on a will be broadcast live by: Swiss tour in 1822 and ends with a set of fourteen highly finished watercolors completed WGBH-FM (Boston) during hisfinal visit to Switzer- WAMC-FM Albany land in 1847. Although the early ones are a bit childish, there is WFCR-FM Amherst no mistaking that drawing was not just an idle pastime. They WMEH-FM Orono, Me. improve markedly through the WMEA-FM Portland, Me. years and the later ones are extraordinarily goodfor a man who was otherwise occupied in a profession which more than any demands the complete sur- Acoustic Research Speaker Sys- render of the entire man. The tems are used to monitor the ra- drawing at the right was com- dio broadcasts of the Boston pleted in 1835. Symphony Orchestra. ADS, Analog & Digital Systems of Cambridge, also provides BRAUN high fidelity loudspeak- ers for the monitoring and recording of concerts. Descriptive piece by Arden Reardon 15 Felix Mendelssohn summer Night's Dream. Mendelssohn worked industriously upon his com- Overture (op. 21) and Incidental missions, of which 'Antigone' and 'A Music (op. 61) to Shakespeare's Midsummer Night's Dream' were pro- 'A Midsummer Night's Dream' duced in the autumn of 1843. TANGLEWOOD Program note by John N. Burk The Overture sets the mood for the POPULAR ARTISTS whole play, not for the first act, which SERIES When Friedrich Wilhelm IV took the is entirely concerned with expository throne of Prussia in 1840, his first matter in Athens—the dilemma of the step was to establish an Academy for mismated lovers and the plans of Bot- A series featuring outstanding an illustrious representation of the tom the Weaver and his fellow rustics artists of contemporary popular arts at his court. His choice of a to perform a play at the nuptials of music. musician for this department fell at Duke Theseus and Hippolyta, Queen once upon the celebrated and popular of the Amazons. It is in the second Mendelssohn, who had dedicated the act, in 'A Wood near Athens' that we overtures 'Melusina', 'A Midsummer enter Shakespeare's land of fairies and Night's Dream', and 'Hebrides' to him dreams, whereby music is called for. as Crown Prince. (The 'Midsummer The Scherzo precedes the rising cur- Night's Dream' Overture had been tain of Act II, where Puck and a written in 1826). Mendelssohn found Fairy are disclosed. The entrance of Berlin far less responsive and con- Oberon from one side and Titania genial than Leipzig, and the circuitous from the other, he 'with his train', ways of officialdom and court eti- she 'with hers', is accompanied by a quette were onerous; but he com- 'fairy march'. There is the alterca- posed what was required of him for tion of Oberon and Titania over the July 22 the most part cheerfully enough. In- 'changeling boy' from India, whom cidental music for stage productions each wants to keep, Oberon's in- James Taylor was no small part of these require- structions to Puck to obtain the ma- ments, which included Sophocles' gic white flower 'purple with love's Antigone in 1841 and according to a wound', and Puck's prompt return royal command in the following year, with it. July 29 Racine's Athalie, Sophocles' Oedipus At the opening of Scene 2, Titania Judy Collins at Colonus, Shakespeare's A Mid- bids her attendants to lull her to sleep: August 26 Linda Ronstadt The best advice you'll ever get August 29 about how to buy David Crosby Graham Nash a music system It's mostly common sense. August 30 A music system can cost you a lot of money Helen Reddy and practically every dealer will recommend a different system for what you have to spend. So listen to a lot of them before you buy. Go to any place you can think of then come to AUDIO DESIGN or come to AUDIO DESIGN FIRST, it doesn't matter then take the best deal. May the best store win. Audio Design, Inc. 2 South St. All concerts begin at 7.30 pm. Berkshire Common Tickets are available through Ticketron and from the Pittsfield Tanglewood Box Office 413-499-4711 16 Come, now a roundel and a fairy estranged her lover, aroused the jeal- song; ousy of her companion, Helena, and Then, for the third part of a minute, set Lysander and Demetrius against hence; each other in anger, has become ex- Some to kill cankers in the musk-rose hausted and fallen asleep. To the buds, strains of this Nocturne, Puck, who Some war with rere-mice for their as Deus ex machina has restored Bot- leathern wings, tom to his right shape, squeezes the To make my small elves coats, and juice on Lysander's eyes as he sleeps, some keep back in order that The clamorous owl that nightly hoots and wonders Jack shall have Jill; our quaint spirits. Sing At me now Nought shall go ill; asleep; The man shall have his mare again, Then to your offices and let me rest. and all shall be well. Two fairies sing the lullaby: The victims of the magic spells, having been released as if awaking You spotted snakes with double from a dream, the scene is set for Act tongue, V—the Palace of Theseus on the nup- BOSTON POPS Thorny hedgehogs, be not seen; tial night of the Duke and his Queen, PENSION FUND Newts and blind-worms, do no wrong, Lysander and Hermia, Demetrius and CONCERT not near queen. Come our fairy Helena. The celebration is to in- Philomel, with melody clude a performance of 'Pyramus and Sing in our sweet lullaby; Thisbe' by Bottom and his compan- Tuesday August 5 Lulla, lulla, lullaby, lulla, ions, a tragedy acted with uninten- at 8.30pm lulla, lullaby: tional comedy. The play having ended, Never harm, the cast attempts to dispel the gloom POPS—AT-TANGLEWOOD Nor spell, nor charm, of their story by performing a Bergo- Come our lovely lady nigh; mask to restore good cheer. The Wed- So, good night, with lullaby. ding March, which in the score opens ARTHUR FIEDLER Weaving spiders, come not here; the act, is repeated as the company conductor Hence, you long-legg'd spinners, retires. hence! Oberon and Titania with their fairy MYRON ROMANUL Beetles black, approach not near; train enter the empty hall to give the piano Worm nor snail, do no offence. blessing of felicity and fertility upon Philomel, with melody, etc. the three brides and bridegrooms. Hence, away! now all is well: a program including Puck tells of the dread happenings aloof stand sentinel. One at midnight hour: the BERLIOZ They are joined by the chorus in Now the hungry lion roars, and the Rakoczi March, pianissimo measures as Titania falls wolf behowls the moon— from asleep. 'The Damnation of Faust' Oberon 'squeezes the flower on Oberon's speech is given by the Titania's eyelids' the GRIEG with injunction composer to the singing and dancing that she shall fall in love with the first fairies. The play closes to music with Piano Concerto in A Minor creature she beholds on wakening. Oberon's last words and the final speech of Puck over the high wind Medley of Be it ounce, or cat or bear, chords and measures with which the BURT BACHARACH Pard or boar with bristled hair— Overture began: Tunes An intermezzo follows the end of Through the house give glimmering Tribute to II, mis- Act where, Puck having by light, LEROY ANDERSON take caused Lysander to fall in love By the dead and drowsy fire: Fiddle Faddle with Helena, the wrong lady, Hermia, Every elf and fairy sprite Serenata his betrothed, finds herself lost in the Hop as light as bird from brier; Bugler's Holiday wood and is terrified. music, al- The And this ditty, after me, legro appassionato, without voices, Sing, and dance it trippingly. leads into a section introducing Tickets priced at new First, rehearse your song by rote, Act III, $4.50, $5.50, where Quince, Snug, Bottom, To each word a warbling note: $6, $7, Flute, Snout and Starveling assemble $8, $8.50, $9, $10, $11 to rehearse their play. Puck discovers Hand in hand, with fairy grace, the 'hempen homespuns' and, invisi- Will we sing, and bless this place. ble, listens as they try their parts. Available now from Now, until the break of day, Bottom is transformed by Puck and Through this house each fairy stray. FESTIVAL BOX OFFICE appears with an ass's head. Titania To the best bride-bed will we, TANGLEWOOD wakes and duly falls in love with 01240 Which by us shall blessed be; LENOX MASS him. TEL: (413)637-1600 And the issue there create The Nocturne brings the final cur- Ever shall be fortunate. tain on Act III. Hermia, bewildered So shall all the couples three by the perplexing events which have Ever true in loving be; 17 Rudolf Serkin Rohan McCullough Diana Hoagland D'Anna Fortunato And the blots of Nature's hand the Los Angeles Philharmonic at the leading roles with the Rochester Op- Shall not in their issue stand; Hollywood Bowl, Rohan McCullough era Theater, Associate Artists Opera Never mole, hare lip, nor scar, narrated the text to Mendelssohn's A Co., Augusta Opera Association, and Nor mark prodigious, such as are Midsummer Night's Dream to cele- the New England Chamber Opera Despised in nativity, brate the Max Reinhardt Centenary. Group. She has appeared in concert Shall upon their children be. This evening's performance marks her with the Washington Choral Arts So- this consecrate, With field-dew first appearance with the Boston Sym- ciety, The Handel and Haydn Society, Every fairy take his gait; phony Orchestra. The Cantata Singers and the Concord And each several chamber bless, Symphony. Known for her work in Through this palace, with sweet Diana Hoagland contemporary music, D'Anna Fortu- peace; Soprano nato has performed often in Fromm And the owner of it blest and Foundation Concerts. Recently, she Ever shall in safety rest. Born in Birmingham, Alabama was a soloist in the East Coast Pre- raised in Brownsville, Texas, Diana Trip away; make no stay; miere of a Roger Sessions' Cantata, Hoagland received her Masters De- Meet me all by break of day. and was chosen to sing for an Aaron gree with honors from the Cleveland Copland Tribute at the John F. Ken- Puck has the epilogue: Institute of Music. In 1969 she made nedy Center. Her most recent appear- her debut in Carnegie Hall in a per- // we shadows have offended, ance with the Boston Symphony was formance of Carmina Burana with Think but this, and all is mended, last October in performances of Ra- the American Symphony Orchestra That you have but slumbered here vel's L'Enfant et les Sortileges. under the direction of Leopold Sto- While these visions did appear. kowski. The same year she won the And this weak and idle theme The Chorus Southeastern semi-final auditions of No more yielding but a dream, the Metropolitan Opera. Since then The Tanglewood Festival Chorus, Gentles, not reprehend. do auspices Hoagland has appeared in major sponsored under the joint pardon, will mend: Ms If you we Center concert halls in York, singing of the Berkshire Music and And, as I am an honest Puck, New with the Pro Arte, Musica Sacre, Boston University, was formed in If we have unearned luck Clarion Concerts, the Performers 1970. John Oliver, who is director of Now to 'scape the serpent's tongue, for choral and vocal activities for Tangle- will make amends ere long; Committee Contemporary Music We faculty of the Society. wood, a member of the Else the Puck a liar call: and New York Oratorio has performed Carmina Burana MIT, and director of the MIT Glee So, good night unto you all. She Club and Choral Society, has been Give me your hands, we be friends, at the Meadowbrook Festival and if director of the Festival Chorus since And Robin shall restore amends. chamber music at the Ambler Music its foundation. Members of the chorus, Festival. In 1972 and 1973 she at- who come from the Greater Boston Rohan McCullough tended the Marlboro Festival. Last area and from all walks of life, re- Narrator year Diana Hoagland moved to Bos- hearse throughout the year. They ton where she has participated in Rohan McCullough was born and made their debut in 1970 at Sym- several premiere concerts for the brought up in Norfolk, England. After phony Hall in a performance of Fromm Foundation as well as opera schooling at St Paul's, London and Beethoven's Ninth Symphony, con- performances with the New Opera Benenden in Kent she trained at the ducted by Leonard Bernstein, and Company of Boston. Bristol Old Vic, where she starred have since taken part in performances in their Bi-centenary production of D'Anna Fortunato directed by William Steinberg, Seiji The Citizen. A period of repertory Mezzo-Soprano Ozawa, Eugene Ormandy, Colin Da- was followed by appearances in Ro- vis, Arthur Fiedler and Michael Til- meo and Juliet and The Playboy of D'Anna Fortunato, a native of South son Thomas. Among the many works the Western World for Theatre 69, Carolina, studied at the New England they have sung are Mahler's Sym- Manchester, directed by Michael El- Conservatory of Music, and at the phony No. 8, Berlioz' Grande messe liott. In London Miss McCullough Mozarteum in Salzburg, Austria. Her des morts and La Damnation de played in Hair for a year as well teachers have been Gladys Miller Za- Faust, Haydn's Lord Nelson Mass, as in Jean-Louis Barrault's Rabelais. chareff and Margaret .Hafshaw. The Seasons and The Creation, Ver- Miss McCullough has appeared at During recent years, she has won di's Requiem, Tchaikovsky's Eugene London's Mermaid Theatre, as well several awards including a Fulbright Onegin, Schoenberg's Gurrelieder, Ra- as in BBC television in plays and Grant and, on two occasions, the C. vel's L'Enfant et les Sortileges and serials. Her films include Tomorrow D. Jackson Prize at the Berkshire Mu- Daphnis et Chloe and Bach's Magni- and Sunday, Bloody Sunday. With sic Center. Ms Fortunato has sung ficat in D. 18 BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director Program Notes TANGLEWOOD 1975 Richard Strauss 1864—1949 Ein Heldenleben (Hero's Life) op. 40 Saturday July 19 1975 Program note by John N. Burk at 8.30pm As Don Quixote is an extension of the variation form, and Till Eulen- spiegel maintains the skeleton of a rondo, Ein Heldenleben has been de- scribed as a vast symphonic move- ment. The first two parts may be BOSTON SYMPHONY ORCHESTRA called the first subject elaborately laid SEIJI OZAWA out with many subsidiary themes: the 'Hero's companion' provides the con- conductor trasting second subject; the 'Deeds of war' is the working out of these themes, culminating in a sort of re- capitulation. The last two sections are as a coda of extreme length. STRAUSS 1. THE HERO-The Hero's princi- pal theme is stated at once by the *Ein Heldenleben horns and strings—broad and sweep- full of energy (A Hero's Life) op. 40 ing with wide skips— and assurance. If this particular tone poem is a character study rather than a narration, it cannot be expected that the composer draw his hero complete in the first outline. As the complex of INTERMISSION the score is built up with numer- ous derivative phrases and secondary themes, the character gains appreci- ably in stature and dignity (the pic- ture is to become still more full- rounded as the hero is presented RAVEL in relation to life, ennobled by love, hardened by attack, exalted by Valses nobles et sentimentales achievement, ultimately mellowed and reconciled to his environment by the finer qualities which his soul's first performance at the Berkshire Festival growth has attained) . The section ends with a thunderous assertion of power, after which the ensuing com- plaints of his antagonists, mean and *La Valse carping, sound petty indeed. 2. THE HERO'S ADVERSARIES —This picture was drawn too sharply in the judgment of the early hearers of Ein Heldenleben. Strauss went so far in depicting their whining stupidi- ties that the composer's unshakeable enthusiasts felt called upon to draw a new definition for 'beauty', a new boundary for permissible liberties in descriptive suggestion. The themes of the hero's critics are awkward and sidling; in the woodwind 'scharf, 'spitzig', 'schnarrend', in the bass grubby and sodden. The hero's an- The Boston Symphony Orchestra records exclusively for Deutsche Grammophon swering comment is disillusioned, sad- BALDWIN PIANO / DEUTSCHE GRAMMOPHON & *RCA RECORDS dened, but at last he is goaded to an emphatic and strong retort. 19 There seems to be only one other case in history where a composer openly mocks his critics in his music —the case of Wagner and his Beck- 1975 FESTIVAL OF 1975 FESTIVAL OF CONTEMPORARY MUSIC messer. CONTEMPORARY MUSIC 3. THE HERO'S COMPANION- As with his hero, Strauss unfolds his presented in association with heroine gradually, in the course of the Fromm Music Foundation August 13 8.30pm Theatre his development. Her voice (which is at Harvard that of the violin solo in increasingly FELLOWS OF THE ornate cadenzas) is at first capricious BERKSHIRE MUSIC CENTER August 10 - 16, 1975 and wilful—refuses to blend and be- OLIVER KNUSSEN come one with the music the orchestra Trumpets** is playing. But gradually the pair August 10 8.30pm Theatre DONALD HARRIS reach a harmonious understanding. Ludus II MESSIAEN, OLIVIER Their two voices become one as the GUNTHER SCHULLER YVONNE LORIOD, pianists score grows richer in texture and Symphony for Brass & Percussion Judith Nicosia, soprano develops a love song in which the PRESTON TROMBLY MESSIAEN orchestra builds up a lyric opulence chamber Concerto for piano with Poernes pour Mi and tonal splendor such as none but ten instruments & percussion * Visions de I'Amen Strauss could achieve. At a point THEODORE ANTONIOU where the music rests upon a soft Chorochronos II chord long held, the theme of the August 11 8.30pm Theatre adversaries is heard, as if in the dis- August 14 8.30pm Theatre tance. FELLOWS OF THE BERKSHIRE MUSIC CENTER BERKSHIRE MUSIC CENTER 4. THE HERO'S DEEDS OF WAR ORCHESTRA TIBOR PUSZTAI —A trumpet fanfare (off stage at first) GUNTHER SCHULLER breaks the glamorous spell with a conductor Woodwind Quintet (1975)f JOYCE MEKEEL challenge to battle, which is soon rag- AARON COPLAND ing with every ounce of Strauss's Serena (197'5)* Connotations for Orchestra (1962) technique of color, his prodigious con- ERNST KRENEK (in honor of the composer's trapuntal resource called into play. Austrian Travelbook (excerpts) 75th birthday) The hero is assailed with drums and (in honor of the composer's OLIVIER MESSIAEN brass in assembled array; but his 75th birthday) YAscension theme retorts with proud assurance of I STEPHEN ALBERT MARC ANTONIO CONSOL strength, further fortified in a repeti- Music Chambers Voices Within* for tion of the love music which has gone ANESTIS LOGOTHETIS before. Again the orchestra rises to PIERRE BOULEZ Rituel** Odyssey (graphic score)** a full and impressive climax—a song of triumph. (In memoriam: Bruno Maderna) 5. THE HERO'S WORKS OF August 12 8.30pm Theatre August 15 7.00pm Shed PEACE—But triumph of this sort is FELLOWS OF THE without lasting satisfaction. The mu- BERKSHIRE FESTIVAL BERKSHIRE MUSIC CENTER sic from this point grows less exul- PRELUDE CONCERT THEODORE ANTONIOU tant, becomes more reflective and 'in- OLIVIER MESSIAEN conductor ward', seeking deeper currents. The Quatour pour la fin du temps Suzanne Cheetham hero's 'works of peace' are recalled in YVONNE LORIOD pianist themes from Strauss's earlier works: piano SHULAMIT RAN phrases are heard from Don Juan, JOSEPH SILVERSTEIN Ensembles for 17 Zarathustra, Tod und Verklarung, violin OLIVIER MESSIAEN Don Quixote, Macbeth, Guntram, Till JULES ESKIN Eulenspiegel, and the song Traum Oiseaux Exotiques cello die Dammerung. The beloved LUCIANO BERIO durch HAROLD WRIGHT companion is also remembered. The Folksongs clarinet cunning skill of the composer in EARLE BROWN weaving a string of unrelated sub- Synergy II August 16 8.30pm Shed jects into a continuous and plausible (Earle Brown and Theodore musical narrative is a passing Straus- Berkshire Festival Concert Antoniou, conductors) sian wonder. BOSTON SYMPHONY 6. THE HERO'S RETIREMENT ORCHESTRA first performance; commission- FROM THE WORLD AND THE SEIJI OZAWA, conductor ed by the Berkshire Music Cen- FULFILLMENT OF HIS LIFE- OLIVIER MESSIAEN ter in cooperation with the There is a final conflict with the Turangalila- Symphonie Fromm Music Foundation at forces of hate, but this time it is soon YVONNE LORIOD Harvard resolved. The protagonist has at last piano found peace with himself. There are **first American performance JEANNE LORIOD flitting recollections of his past life, ffirst performance ondes Martenot but placid resignation now possesses him. The music at last sublimates on 20 JMt4 n^M ji/ A** n 'f D us 1 W fit kjvlit't "U $¥wm -T • i^ t 33t"J- ; Si*r i i fj 4 H -P ^..ruf-^ X f i If* -1 \ r 13 .f ?pofiFECSiiKSls =u - ra BENEFIT RECITAL *M*M 1 ^iJ*w %'^fi **&*#*? *_• ^Ti-, ^^^fe *r*r n xi JOSEPH SILVERSTEIN violin GILBERT KALISH '£?!*) % -' piano : ' fefi^tT - >i It? iB^fe fcfflF ,'tf' f 'i. 'iti f 4 Wednesday July 23 ' '4 sVU at [^ ^ ~>^L % $ S? ife|i rSH I ^ tip* 8pm ;1 T T Ashintully Farm Tyringham Massachusetts Sponsored by the Page 'Valses o«e of the manuscript of nobles et sentimentales.' The Tanglewood Council deRegnier motto can be seen in the upper right hand corner. of the Descriptive piece by Arden Reardon Boston Symphony Orchestra for the benefit of the Berkshire Music Center themes of the hero, through which the Maurice Ravel 1875—1937 violin solo is intertwined. Valses nobles et sentimentales Strauss's audiences and critics have La Valse $15.00 per ticket too long been bothered by the evi- Program note by Harry Neville by reservation only dence of the allusions listed above that the composer was describing him- The original piano version of Valses Reception follows — cash bar self all along, erecting in this score nobles et sentimentales has as its epi- a monument to his own conceit. All graph a motto of Henri de Regnier: introspective fiction is autobiographi- 'The delicious and ever new pleasure cal, and Strauss could not have im- of a useless occupation.' spirit The of Please make checks payable to: mersed himself so completely into his the motto evidently influenced the Boston Symphony Orchestra, Inc. epic without portraying his own char- ballet, Adelaide, ou le langage des acter. His real offense was in open- fleurs, for which Ravel made the or- Return to: ly admitting and vaunting the fact. chestral transcription. One writer de- Benefit Recital Shocking audacities have a way of scribed the production as 'a delightful Friends of Music at Tanglewood losing their edge and interest as the piece of early nineteenth-century arti- Lenox Massachusetts 01240 next generation, and the next, come ficiality, in high-waisted frocks and along. All that is finally asked is the turbans, and puce suits and frills. Tickets will be held at the door worth of the music—as music. Adelaide and Loredan flirt with de- licious affectation in the language of The Boston Symphony Orchestra, flowers throughout a ball in a vio- conducted by Erich Leinsdorf, has re- lently green and blue drawing room, corded Ein Heldenleben for RCA; and fall into each other's arms at last Joseph Silverstein is the violin soloist. before the balcony opening onto an 21 impossibly blue sea, after Loredan, "casting at her feet a sprig of cypress to tell his despair," has placed a pis- tol to his temple without firing it. The same amusing artificiality is in the theme, the staging, the dancing and the music' Critic Paul Rosenfeld described the music as 'a slightly ironical and disillusioned if smiling and graceful and delicate commen- tary to the season of love,' while the composer himself wrote as follows in his autobiographical sketch: 'The title is an indication of my intention to compose a chain of waltzes after the example of Schubert.' After the virtuosity which was the basis of Gaspard de la Nuit, this is writing more clearly focused, solidifying the harmony and pointing the reliefs of the music. If Valses nobles et sentimentales contained elements that were 'ironi- cal and disillusioned,' as Rosenfeld thought, then La Valse, the poeme choregraphique which Ravel wrote in 1920, may be considered its logical extension, for here the music speaks not only of irony but of anguish and bitterness as well. Ravel gives no in- dication of this in the program he appended to the score: 'At first the scene is dimmed by a kind of swirling mist, through which one discerns, vaguely and intermittently, the waltz- ing couples. Little by little the va- pors disperse, the illumination grows brighter, revealing an immense ball- room filled with dancers; the blaze of the chandeliers comes to full splen- dor. An imperial court about 1855.' Ravel's scenario gives little idea of the character of the music, which he rightly allowed to speak for itself. Boston critic H.T. Parker supplied a much more vivid description after one of the first local performances: 'Like sleep-chasings, waltz succeeds waltz; yet Ravel is wide-awake in the terse- ness with which he sums and charac- terizes each, in the vivid and artful instrumental dress every one receives. ... Of a sudden, the chain of waltzes seems to break. Harmonies roughen; there are few euphonies; through a surface-brilliance, harsh progressions jut; that which has been sensuous may, for the instant, sound ugly. As some say, here is the music that imagi- native minds write in this world of the aftermath of war. ... On the sur- face, the sensuous glow and glint of neurotic rapture—'Dance that ye may not know and feel.' Below the sur- face, and grating rude and grim upon it, are stress and turbulence, despairs and angers equally ugly, and, maybe, nigh to bursting. A troubled "apotheo- sis," then, in these culminating mea- sures of the waltz in this world of ours.' 22 BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Program Notes Music Director 1975 TANGLEWOOD Anton Bruckner 1825—1896 Symphony No. 8 in C minor Program note by George H.L. Smith The Music of the Eighth Symphony Bruckner's Eighth Symphony repre- sents him at the very peak of his Sunday July 20 1975 maturity. It is probably his greatest ac- at 2.30pm complishment, though clearly rivaled by the radiant Seventh and wholly extraordinary Ninth, which was com- posed during his final illness and left unfinished at the time of his death. BOSTON SYMPHONY ORCHESTRA Where does this great Eighth Sym- phony stand today? How does the KLAUS TENNSTEDT listener approach it? I suppose the conductor best answer to these difficult ques- tions is that the passing of time has made it more and more familiar, and that an open-minded attempt to grasp it as a whole work will prove most rewarding. Bruckner made a vigorous effort, by striking contrasts, carefully BRUCKNER devised key-schemes and recurrences of themes, to make his work produce Symphony No. 8 in C minor a deep, stirring and sustained musical experience. His harmonies too are so original and so individual that they remain 'modern' and constantly in- Allegro moderato teresting. His themes, of course, are Scherzo: allegro moderato - trio: langsam inspired. Adagio (feierlich langsam; doch nicht schleppend) The problem of length that has Finale: feierlich, nicht schnell been a talking point for eighty years need no longer trouble us. We are used to big works; we have come to treasure them for their depth and rich- ness. Beethoven's Eroica and Ninth, Schubert's C major and Mahler's symphonies and others have shown us the delights of substantial and fully This concert is made possible with support from the worked-out orchestral scores on a Massachusetts Council on the Arts and Humanities very broad scale. And no longer do we have to put up with edited versions or the many cuts that have often marred Bruckner performances. It is strange but true that cuts usually make a lengthy movement sound longer as well as confused by destroying the formal logic that gives balance and propul- sion. Availability of Bruckner's origi- nal versions has made it possible to appreciate more fully his special qua- lities and his treasurable individuality. Spacious is the word for this mu- sic. The first movement (Allegro mod- erato, C minor, 2-2) begins with a whispered note of tremolo violins and horns which seems to steal in from the distant recesses of time. The low The Boston Symphony Orchestra records exclusively for Deutsche Grammophon strings murmur the principal motive BALDWIN PIANO / DEUTSCHE GRAMMOPHON & *RCA RECORDS of the first theme group, a surprisingly eloquent combination of a few rising 23 and falling fragments that is the ger- with restraint but excellent effect, here minating motive of the whole sym- makes its first appearance in a sym- phony. The mood is elemental, of phony of the Germanic tradition. profound mysteries and solemn 1771 gran- (Cesar Franck used it in his Sym- deur. The theme, developing as it phony in D minor at this same time; unfolds, is soon repeated fortissimo Hector Berlioz had used it as early was a good and continues through a soft transi- as 1830 in his Symphonie fantas- tion to the main second subject, sung tique.) The scherzo is repeated after quietly by the first violins. The key is the trio. year for our G major, but very chromatic in treat- The Adagio is one of the longest ment. The rhythm of two quarter- slow movements ever written and one notes followed by a triplet of quarter- of the most beautiful. Two main Lobster Pie. notes, characteristic of Bruckner, was theme groups recur in three separate already used in the first theme group. developments, each more elaborated The second theme, developing with a and climactic. Again we find the spa- This year it's group of attendant subjects, gradually ciousness of the first movement, but loses its bright cheerfulness as the here the emphasis is on lyric and solemn, expansive mood is reestab- sensuous beauty. Gentleness proceeds even better. lished. Horns and answering wood- to great intensity, as is Bruckner's wind intone the third theme over way, and then is found again. The pizzicato triplets, with the effect of a haunting, pleading opening theme of processional, mysterious and dream- the violins, answered by the more like. An outburst of fortissimo figures confident second theme of the cellos, introduces a crescendo to a powerful returns at the end in a superb treat- climax with trumpet fanfares. Now ment by four horns followed by Wag- comes an extraordinary passage which ner tubas—a passage that is hardly has been finely described by Erwin equalled in musical literature. Doernberg as one of the 'most breath- The Finale is an extremely power- less dominant suspensions in music'. ful musical structure, the true cul- He notes that 'it delays the final E mination of the whole work. Its Publick House flat close of the exposition in such a opening theme is given to the winds as to give the listener (a) a sense in imposing chords over an impelling On the Common - Sturbridgc. Mass.- (617) 3473313 way Exit9Miss.Tpke.orExit3from 186. of vastness commensurate with and figure of repeated notes in the strings. even surpassing that of the opening Related figures round out the first of the symphony and (b) the feeling theme group. The second is partly that from this immensity the music lyric, partly like a chorale. The third must continue to expand with great begins with one of those broad rolling slowness and breadth. Bruckner, as themes of which this composer alone at every point in his greatest concep- seems to have had the secret, and tion, is looking both backwards and continues with a hymnlike descending forwards—except of course in his be- theme harmonized with exceptional ginnings and endings!' beauty—even for Bruckner. The de- For his development section Bruck- velopment is extensive, with much ner draws magic effects from the de- ingenious and complex counterpoint. vices of augmentation and inversion, There are sudden contrasts as new and derives a proclamatory horn call light is thrown upon each subject. of repeated notes from the rhythm of Note the many inversions and ca- the main theme. His recapitulation, nonic imitations. But the mood is marvelously varied, rises through a always reaching toward climax. Sud- The one-man band long crescendo to an enormous climax denly the horns proclaim the great which quickly falls away to a descend- striding theme of the scherzo and we That's what we were ten years ing pianissimo on the first subject of are tumbled into that glorious coda ago. One printer, one press, and the movement. in which the main themes of all four a handful of loyal customers. The Scherzo follows the first move- movements are effortlessly sounded We're still a small company, but ment, taking the place usually re- together in a triumphant tumult of our customer list now includes served for the Adagio, (as it does C major—the opening theme of the names like The New School for in both Bruckner's and Beethoven's symphony bringing the end. Social Research, Columbia University, Ninth symphonies) . The descending and The Boston Symphony tremolo figure for violins and the one Orchestra. A Note on the Editions and Interpre- bar figure for violas and cellos played If you would like to discuss your tations printing needs, please call us. beneath it are the whole material of We'll send the one-man band to the scherzo, which makes its strong The two versions of the Eighth see you. impression through constantly varying Symphony show many differences. colors, textures and dynamics. The The first belongs to the years 1884- trio stands in the greatest contrast, 1887; the second was accomplished Studley Press with a theme that has reminded some between 1888 and 1890, and pub- Inc. of Schubert in its simplicity and tender lished in 1892. The later version DALTON, MASSACHUSETTS beauty. Yet it is very Brucknerian and uses triple instead of double wood- Telephone (413)684-0441 is treated to development, contrary to wind throughout. The first movement New York Office: (212)533-3663 classical precedent, and to extremely shows changes in instrumentation, subtle orchestration. The harp, used some omissions and some reworking, 24 Last pages of the first movements of the autograph scores of Symphony No. 8. First version of 1884-87 above, and second Descriptive piece by Arden Reardon arbi- including a complete revision of the them is 'no longer available to be earlier 'Wagner' Symphony. So reme- coda, which originally ended in a consulted, Anton Bruckner, himself. trary a situation could only be Leipzig blazing fortissimo. In the revision the The problem of interpretations of died from outside, and it was one. battle-cry. On De- fortissimo climax is compressed and the symphony is not a serious that sounded the in which subsides into a pianissimo, marking Aside from mentioning 'The German cember 30 1884—the year solid begun—Nikisch gave the first time that Bruckner ended one Michael', symbolizing a and the Eighth was performance of the of his big corner movements softly. stolid type of German peasant, in ref- his historic first referring The fifteen-minute The scherzo is provided with a new erence to the scherzo, and Seventh Symphony. as the through the cele- trio to which a harp is added. The to the opening of the finale ovation, resounding proved again climax of the Adagio arrives on E meeting of the three emperors, Bruck- brated Gewandhaus, curiously zeal of such impassioned flat instead of C. There are omissions ner made a minimum of his that the and Richter of transitional measures in the finale. naive comments about it. Joseph champions as Nikisch explanatory matched by the public These latter, some of great beauty, Schall wrote an elaborate would be program for the first performance, in it was given a chance to hear have been reinstated in the Bruckner when he likened the opening theme lofty music. Society edition of 1935 edited by Ro- which this to the 'Aeschylean Prometheus' and bert Haas. The revised version of 1890 City after city followed Leipzig's characterized the finale as 'heroism famous in its original form was reissued in example and Bruckner became in the service of the Divine', but such 1955 under the editorship of Leopold even as far afield as New York. abstractions, may be happily ignored Nowak who has also announced pub- Richter announced a performance of in the presence of Bruckner's clear in Vienna, lication of the first version in the the conquering Seventh musical language, which makes its fearful of Hanslick's Complete Edition. It is the second but Bruckner, own eloquent communication to ears stop it. The sym- version that is customarily used in abuse, tried to that can hear. performance, with reinstatement of phony's success when Richter finally capital the bars that were omitted by Bruck- introduced it to the Austrian The Genesis of the Symphony and so patent that ner, or, more probably, by his friend on March 21 1886 was its First Performance Hanslick obliged to record Joseph Schalk who is believed to even was the plain fact that the composer 'was have 'helped' prepare the score for It was in his sixties while composing called to the stage four or five times publication in 1892. (Leopold No- his Eighth Symphony that Bruckner after each movement', while insisting wak's edition is the basis for the received his first full measure of rec- 'bombastic, sickly, present performances.) The problem ognition. He had had a taste in that the music was of versions of Bruckner's symphonies 1881 when the stalwart Hans Richter and destructive'. This performance of the Seventh is a complex one and deserves an braved the bitter opposition of the Bruckner was complet- article in itself. The Musical Times notorious critic Eduard Hanslick and occurred while followed published in 1969 a series of compre- the Brahms camp with a performance ing his Eighth, but it was a misfortune that hensive articles on the problem by of his 'Romantic Symphony' (no. 4) the next year by misery. Let us the English scholar Deryck Cooke, at a Vienna Philharmonic concert. caused him much the while H.-H. Schonzeler gives an ex- The success had been marked, but trace briefly the long course of seriously this cellent account of the many perplexi- the virtual boycott of Bruckner's Eighth to see just how ties in his recent excellent book on symphonies in the capital was re- affected him. sketch of the first Bruckner. Schonzeler finally admits sumed. No conductor dared venture He finished the visiting his sister that the only one who could solve the Fifth or Sixth, much less the movement while 25 Rosalie at Vocklabruck in Upper Aus- tria on his sixtieth birthday, Septem- ber 4 1884. The entire first draft was completed at Steyr on August 25 1885. H.-H. Schonzeler, quoted ear- lier, has told us of an interesting event that took place three days later. It was the Feast of St Augustine, patron saint of the great monastery of St Florian near Linz, where Bruck- ner had gone to school, taught and served as organist. In celebration of the day he gave one of his famous grandiose organ improvisations on RECORDINGS BY THE what we now know as 'the Bruckner BOSTON SYMPHONY Organ' at St Florian and he interwove the important themes of his new sym- CHAMBER PLAYERS phony with themes from his be- loved Wagner's Gotterdammerung. Mr Schonzeler writes: 'Bruckner's DEBUSSY elation when he completed his huge finale with the crowning glory of the Sonata No. 3 in G minor coda where all four main themes of for Violin & Piano the symphony are piled on top of each other—a contrapuntal master- Sonata No. 1 in D minor piece which, however, is entirely na- for Cello & Piano tural and organic without the slight- est touch of academic artificiality—is Sonata No. 2 for Flute, shown by his signature on the score: Viola & Harp 'Steyr, Stadtpfarrhof, 16 August 1885. A. Bruckner. Hallelujah!' " Two more DG/2530 049 years passed before he was through polishing, revising, altering. On his American Chamber Music birthday in 1887 he finally sent off a clean copy of his score to his friend of the 20th century Hermann Levi who, he hoped, would introduce it at Munich. He wrote: CARTER 'Hallelujah! At long last, the Eighth Sonata for Flute, Oboe, is finished and my artistic father must Cello & Harpsichord be the first to know about it,' adding, 'May it find grace!' IVES Mr Schonzeler gives a clear descrip- Largo for Violin, tion of the tragic answer to Bruckner's Clarinet & Piano prayer: 'Unfortunately Levi, one of Bruckner's greatest friends and sup- autumn of 1887, he began his new PORTER porters, who had moved heaven and version of the Eighth Symphony. But Quintet for Oboe, earth to give performances of the he shortly put it aside, possibly be- Two Violins, Viola & Seventh Symphony and the Te Deum, cause the hurt was too deep, in favor Cello just could not take in the enormous of revisions of the Fourth and Third DG/2530 104 span of the new work. Knowing how Symphonies. Not until April 1889 did much a rejection would hurt Bruck- he take it up again, making the far- DVORAK ner, he did not dare to write him reaching alterations that produced the String Quintet in G personally but made his facts known second version. This was finally ready op. 77 to him through Joseph Schalk. This in March 1890. The manuscript bears was without doubt the greatest blow the amusing notations in Bruckner's DG/2530 214 in Bruckner's life, greater even than hand: 'First movement finally revised the debacle of the first performance from November 1889 to January 1890. of the Third Symphony in 1877, for Last note written on January 29.' The Boston Symphony meanwhile he had acquired interna- Also: 'Vienna, February 10, finished.' tional standing, and thought that he Then: 'February 28, quite finished.' Chamber Players was now finally established. The ver- Again: 'March 10, quite finished.' on dict from his "artistic father" who There was always something more he DGG he knew well, acted without any trace could do; ganz fertig was hardly and of malice or hostility, shook his self- more than a relative term for him. RCA confidence to the roots and shattered Hermann Levi no longer conducted his belief in himself as a composer. the Munich concerts and he asked It was in consequence of this rejection Felix Weingartner to give the first that Bruckner began his second period performance with the orchestra at of revisions, which was to last until Mannheim. Rehearsals were to begin, 1891.' and the old problems of cuts came up Soon after Levi's rejection, in the once more. Bruckner wrote to Wein- 26 gartner: 'How fares the Eighth? Have there been any rehearsals yet? How does it sound? I do recommend to you to shorten the finale severely as is indicated. It would be much too long and is valid only for later times and for a circle of friends and con- . noisseurs . . ' Again: 'Please submit to the wishes of the orchestra. But 1 DAYS IN THE ARTS do implore you not to alter the score, and it is one of my most burning wishes to have the orchestra parts printed without alterations.' Days in the arts is a program of But Weingartner was called away the Boston Symphony Orchestra from Mannheim and it fell again to that offers children from Boston Hans Richter to introduce the sym- and two suburban communities a phony at a concert of the Vienna unique experience in the arts and Philharmonic, on December 18 1892. in inter-personal relationships. Klaus Tennstedt There was a crowded house. Brahms Currently in its sixth summer, the sat in the director's box. Siegfried program uses the natural and cul- Wagner and Hugo Wolf were present, Klaus Tennstedt tural resources of Tanglewood and and royalty was represented. There Conductor the Berkshires and gives 320 sixth- was tremendous applause. The com- graders (40 per week) the oppor- poser was called out to bow after the Klaus Tennstedt, who made his Boston tunity to enjoy an all-encompass- scherzo and at the end he was pre- Symphony debut last December, was ing arts experience outside of the sented with not one but three laurel born in Merseburg, Germany in 1926, classroom. wreaths—one of which was from the and studied piano, violin and com- The children come each week Emperor. Hanslick and his followers position at the Leipzig Conservatory. to spend five days meeting with refused to admit the obvious fact that In 1948 he became concertmaster at professionals from the Boston their cause was lost. The critic walked the Municipal Theater in Halle/Saale, Symphony and students from the out before the end and gloated in his later becoming conductor there. From Berkshire Music Center who vol- review that others had done the same. 1954 to 1958 he was conductor at unteer their time and talent, at- He referred to the 'noisy' applauders the theater in Karl-Marx-Stadt. In tending concerts at Tanglewood, as a minority and he wrote angrily of 1958 he became Music Director at performances and seminars at visiting the music, but he had to admit a pop- the Dresden Opera, and in 1962 di- the Berkshire Theatre, ular triumph: 'How was the sym- rector of the State Orchestra and Chesterwood, the Rockwell Mu- seum and Shaker Village, and phony received? Boisterous rejoicings, theater in Schwerin. During his resi- participating in special introduc- waving of handkerchiefs from those dence in the German Democratic Re- tory workshops at Jacob's Pillow. standing, innumerable recalls, laurel public, Mr Tennstedt was guest con- Although the emphasis is on the wreaths, etc.' It was plain that Han- ductor of the Gewandhaus Orchestra arts, they also enjoy sports and slick's vilification of Bruckner as a in Leipzig, the Dresden Philharmonic, the natural resources of the Berk- representative of a rival cult had lost the Dresden State Orchestra, the Ra- shires through swimming and hik- its point. Even that staunch Brahm- dio Symphony Orchestra in Berlin, ing and visits to the Pleasant sian, Max Kalbeck, was moved to the Philharmonic in Bruno and the Valley Wildlife Sanctuary. admit that the symphony was 'worthy Comic Opera in Berlin. Since his The program, made possible of its sole place' on the program and flight to Western Germany in 1971, this summer by a grant received that Bruckner was 'a master of instru- he has been guest conductor of the from the Massachusetts Depart- mentation'. The word 'masterpiece' State Operas of Berlin, Hamburg and ment of Education, is coordinated was used by other critics. Munich, as well as of the Philhar- Hugo Wolf by Anita Kurland of the Boston had the last word: 'The renders monic State Orchestra of Hamburg, work Symphony and staffed by a Head all criticism futile; the is the Bamburg Symphony Orchestra Adagio abso- Counselor and six Counselors lutely incomparable'. and the Toronto Symphony. who all have experience with Bruckner became at last a revered, young people. if not frequently performed, figure in Days in The Arts is a vehicle Viennese musical life. But he was of FANGLEWOOD NUT MEGGERS! that affords a group young- sixty-eight and already suffering from sters from diverse backgrounds an the disease that was to allow him but Dine Well environment which provides for a four more years to live—not quite en route at personal involvement and group enough to complete the Ninth Sym- participation in the aesthetics. phony on which he was already at Grouse The program attempts to en- work. The Eighth had cost him eight courage an interest in and an en- years and much grief. Now his prob- Mouse joyment of the arts as an integral lem was the time to translate his part of life and to develop atti- an un-city great visions into a practical work of informal tudes that will persist in the world art and the health to carry them out. Country Inn the child will create as an adult. He prayed for both, but they were not vouchsafed. FOODcDRINK LODGING TORRINGTON 29 George H.L. Smith is , former program WATER6UDV 48 ROUTE OTIS NEW HAVEN 11 23, annotator of the Cleveland Orchestra, NEW YORK I??' (413) 269-4446 and now a resident of Boston. 27 28 THE BOSTON SYMPHONY ORCHESTRA Campers 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 Scamping 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 can were wanted, and also to give at other of the season concerts were sold out, Campground where you 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 Wilhelm Gericke, Arthur $50,000. He continued: 'One more Nikisch, Emil Paur, 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. planned cence of Mr Higginson, who instituted A 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 poration societies" ever organized in vicious anti-German feeling then prev- will share the 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 criticisms which are far from com- the burden of maintaining the Orches- $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. Henri Rabaud 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 Lif ver. concert, and Monteux was forced to esa change his a 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 Barring!on 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 continued the tradi- players. Each year the Chamber Play- Munch 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 first Spain, the abroad for the time, and was the France and 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 Prime of in . . the Open Rehearsals, an adaptation of Grammophon and RCA. Ribs Beef 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- 3oxkollow Scdool 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 Berkshire Festival since 1970, became Lenox, MA. 01240 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- vision an sity School of Fine Arts, as well as DINING FOR THOSE WHO KNO W vently shared Higginson's of academy where young musicians could leading soloists, conductors and com- extend their professional training and posers. The emphasis is on group per- Act 'Ptpnetteet 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 50e< 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- of Pittsfield, West 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- appagofixcy 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 scores. Rehear- now at the Center that the present Music Di- music literature and rector, Seiji Ozawa, studied there dur- sals and concerts of the Berkshire Mu- •Am?* THE LEMON TREE ing the Munch era. From 1963 until sic Center Orchestra and other per- 102 Main Street 1969 Erich Leinsdorf was Director of forming groups take place mostly in 01240 Theatre-Concert Hall, while lec- T Lenox, Mass. the Center, and it was during his ten- the 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- posers' forums and concerts of cham- Gifts • Accessories • Imports closely associated with the Orchestra, 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 Cottage, and in small studios situated 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 i*vV** keyboard instruments for individual 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 m but one. graphics ter is somewhat over 400, of which ap- A complete listing of 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 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 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 a festival' presents a broad spectrum Aston Magna Cm¥; 7-OOA*t.-l:OOAM. of the most advanced music of today's Great Barrington composers. For many years now alumni of the Berkshire Music Center Berkshire Museum 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 members of this country's major or- 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 Glendale INN 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 awarded to the majority of the stu- Superb French Cuisine served in a quiet country setting Reservations necessary dents, who are chosen by audition on a Stockbridge Historical Society competitive basis. The cost of the (413) 274-6580 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- DONALD j f^l Of sicians. Old Corner House Stockbridge REALTORS Berkshire Garden Center Stockbridge Pleasant Valley Wildlife 163 NORTH STREET Sanctuary Lenox PITTSFIELD. MASS. 01201 *&*&*&*&M^*0y&*0*t0^&» 413 - 44S-5661 33 Everyone's Guide to the Friends of Music or" fa 2 ^ « yyS6V-r$ m Membership in the Friends of Music TENT The Tanglewood Tent, available to con- tributors of $50 and over, provides a hospi- at Tanglewood provides with exciting MEMBERSHIP you many 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 34 . — The Friends of Music at TANGLEWOOD ** 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 O the Berkshire Music Center, the Boston Symphony Orchestra's +- o training institution for tomor- row's great musicians. Further information about becoming a Friend of Music at Tanglewood, and about Berkshire Music Cen- Mr John Hoyt Stookey 2 o Liaison to the New York Council CD e Mrs Harris Fahnestock o Q = Liaison from the Boston Friends Q.,2 Mr Henry H. Williams Jr "D O 3 © Business Chairman c O Mr Richard S. Jackson CO Public Relations Chairman o 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 Vice-Chairmen >W Mrs Peter van S. Rice Mr William A. Selke Nominating Co-Chairmen J - . ^ 35 RECENT RECORD RELEASES BY THE Shh... BOSTON SYMPHONY ORCHESTRA Im conducted by RAFAEL KUBELIK BARTOK listening Concerto for Orchestra DG/2530 479 conducted by SEIJI OZAWA wmHT-HTU BEETHOVEN Piano Concerto No. 5 in E> op. 73 'Emperor' with Chris toph 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 classical music Daphnis et Chloe (complete ballet) fall release DG/2530 THE GREAT STRAVINSKY BALLETS F YOU ARE A KIO (album includes Petrushka and YOU HAVE A KIO Suite from The Firebird) RCA VCS 7099 YOU KNOW A KID YOU FEEL LIKE A 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 * ftHim tin pfn.ii J lMBZ/D 84 North St. Open Mon.-Sat. 10-5:30 Pittsfield, Mass. Thurs. 10-9 P.M. 36 Williamsfown 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)392-9996 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 James Galway, flute 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, and until intermission concert and returning to the Eastman Faculty am pm on 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. First Aid is available at the first aid station situated near the Main Gate. In case of emergency, please see the nearest usher. 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 of the OLD CORNER HOUSE .$D&r Boston Symphony Orchestra CHARLES RIVER BROADCASTING COMPANY WM FILENE'S SONS COMPANY THE FIRST NATIONAL BANK OF BOSTON THE GILLETTE COMPANY Stockbridge 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, Paintings, Barn Sculpture Gallery NORMAN ROCKWELL NEW ENGLAND TELEPHONE AND TELEGRAPH COMPANY On permanent exhibit Adults $1.50 • Children $.75 THE SHAWMUT Autographed ASSOCIATION BANKS Daily 10-5 Candlelight Tours prints and books available. 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 Sterlings Francine Clark Art Institute Brodie & Jiminy Peak Williamstown 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 Ijemioek biool^ 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, 2>2 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 1 on the 1 -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 onfy used for 8weeks by a little lady 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 September2 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 ter events is available from the o >- >- D TANGLEWOOD FRIENDS OFFICE located at the Main CO £ Gate. c Mo T5 THE EXECUTIVE COMMITTEE c O D THE TANGLEWOOD COUNCIL O -— CO OF THE BOSTON CO o SYMPHONY ORCHESTRA J* 2ZZ D o Mrs John S. McLennan CO D -^ a Mr Peter van S. Rice co -r- 0) Co-Chairmen o _c Mr John Kittredge oo CL£ Secretary "0"0 O Mrs Peter van S. Rice Liaison to the Boston Friends