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i VODKA. 80 PROOF. DISTILLED I SMIRNOFF® & 100 FROM GRAIN. STE. PI ERRE SM RNOFF FLS. (DIVISION OF H EUBLEIN, INCORPORATED ) HARTFORD. CONNECTICUT ^
Seiji Ozawa, Music Director
Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety- Sixth Season 1976-1977
The Trustees of the Boston Symphony Orchestra Inc.
Talcott M. Banks, President Philip K. Allen, Vice President Sidney Stoneman, Vice-President Mrs. Harris Fahnestock, Vice-President John L. Thorndike, Treasurer
Vernon R. Alden Nelson J. Darling, Jr. Albert L. Nickerson Allen G. Barry Archie C. Epps III Mrs. James H. Perkins
Dr. Leo L. Beranek E. Morton Jennings, Jr. Irving W. Rabb Mrs. John M. Bradley Edward M. Kennedy Paul C. Reardon Richard P. Chapman George Kidder David Rockefeller Jr. Dr. George Clowes Edward G. Murray Mrs. George Lee Sargent Abram T. Collier John Hoyt Stookey Trustees Emeriti Henry A. Laughlin Harold D. Hodgkinson John T. Noonan
Administration of the Boston Symphony Orchestra
Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager
Gideon Toeplitz Daniel R. Gustin Assistant Manager Assistant Manager
Joseph M. Hobbs Walter Hill Dinah Daniels Director of Development Director of Business Affairs Director of Promotion Richard C. White Anita R. Kurland Niklaus Wyss
Assistant to the Manager Administrator of Youth Activities Advisor for the Music Director
Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood Michael Steinberg
Director of Publications
Programs copyright ® 1977 Boston Symphony Orchestra Inc.
Contents: page page Tanglewood 4 Programs 11-45 Seiji Ozawa 7 Berkshire Music Center 47 Map 8 Friends 49, 50 Information 9 The Board of Overseers of the Boston Symphony Orchestra Inc.
Dr. Leo L. Beranek Chairman
Mrs. Norman L. Cahners Weston P. Figgins Mrs. Arthur I. Strang Vice Chairman Vice Chairman Secretary
Charles F. Adams Mrs. Thomas Gardinei David G. Mugar Mrs. Frank G. Allen Mrs. James Garivaltis Dr. Barbara W. Newell Mrs. Richard Bennink Mrs. Robert Gibb Stephen Paine David W. Bernstein Jordan Golding Harry Remis David Bird Mrs. John L. Grandin Mrs. Peter van S. Rice Gerhard Bleicken Mrs. R. Douglas Hall, III Mrs. Samuel L. Rosenberry Frederick Brandi Mrs. Howard E. Hansen Mrs. Jerome Rosenfeld Curtis Buttenheim Bruce Harriman Mrs. George Rowland Mrs. Henry B. Cabot Mrs. Richard D. Hill Mrs. A. Lloyd Russell Mrs. Mary Louise Cabot Mrs. Amory Houghton, Jr Mrs. William Ryan Levin H. Campbell, III Richard S. Humphrey, Jr. Francis P. Sears, Jr. Johns H. Congdon Mrs. Jim Lee Hunt William A. Selke
Arthur P. Contas Mrs. Louis I. Kane Gene Shalit Robert Cushman Leonard Kaplan Samuel L. Slosberg
Michael J. Daly Benjamin Lacy Richard A. Smith Mrs. C. Russell Eddy Mrs. James F. Lawrence Mrs. Edward S. Stimpson Paul Fromm Roderick MacDougall Mrs. Richard H. Thompson Carlton P. Fuller John S. McLennan D. Thomas Trigg
Mrs. Thomas ]. Galligan, Jr. Colman M. Mockler, Jr. Roger Woodworth Mrs. Elting E. Morison Richard P. Morse
Boston University Tanglewood Institute Norman Dello Joio, Executive Director
Summer Instrumental and Vocal Programs for the outstanding high school/ college-age musician. Private study with master artists including members of the faculty of the Boston University School of Music and the Boston Symphony Orchestra. Chamber music, orchestral and vocal performances at Tanglewood.
For information: Boston University Tanglewood Institute, 855 Commonwealth Avenue, Boston, Massachusetts 02215.
A program offered by the Boston University School for the Arts in association with the Berkshire Music Center/Boston Symphony Orchestra. Twelfth Season The Berkshires are a perfect place ... for people, If you have the opportunity to move a business, for families and for businesses. The kind of place or influence a business relocation, consider the where an unsurpassed quality of life is available. Berkshires. At Berkshire County Development have compiled data to prove that In the Berkshires the average commute is 10 Commission, we minutes. Golf courses, tennis clubs, ski resorts, the Berkshires add up for business reasons. Come see theatres, lakes, and fine restaurants are at your us or write on your letterhead for more information. doorstep. We provide excellent schools — both public Or, if you know of a business contemplating and private — and the Berkshires are the perfect place relocation, let us know. We welcome your business. to raise a family.
It's no accident that titans of industry have lived
and worked in the Berkshires. Our labor force still believes in a day's work for a day's pay. And the the Berkshires Berkshires offer a readily available pool of labor. Our schools offer vocational programs and governmental Alan C. Marden training dollars are available.
Most important, we want businesses to locate in Berkshire County Development Commission the Berkshires. That's why our banks have launched 205 West Street a program of financial assistance to attract new Pittsfield, Massachusetts 01201 industry and the County funds a full-time organization to assist you. Phone: (413) 499-4474 Tanglewood In August, 1934, a group of music- loving summer residents of the Berk- 44 shires organized a series of three Definitely not outdoor concerts at Interlaken, to be given by members of the New York to be missed... Philharmonic under the direction of "Herbert Kupferberg's Tanglewood Henry Hadley. The venture was so is bursting with information that successful that the promoters incor- even some of us who worked there porated the Berkshire Symphonic had missed ... It catches the spirit Festival and repeated the experiment and truth of that beautiful place." during the next — Francis Robinson, summer.
• N.Y. Metropolitan Opera The Festival committee then invited "Reads as excitingly as a who- Serge Koussevitzky and the Boston done-it!" —Julius Rudel, Symphony Orchestra to take part in the New York City Opera following year's concerts. The Orches- "Unquestionably the definitive tra's Trustees accepted and on August Tanglewood history to date." 13, 1936, the Boston Symphony gave — Christian Science Monitor. its first concert in the Berkshires (at TANGLEWOOD Holmwood, a former Vanderbilt estate, later the Foxhollow School). The series, again consisting of three concerts, was given under a large tent, and a total of nearly 15,000 people attended. In the winter of 1936, Mrs. Gorham Brooks and Miss Mary Aspinwall by MS Tappan offered Tanglewood, the Tap- Herbert pan family estate, with its buildings and Kupferberg 210 acres of lawns and meadows, as a 8x10. 280 pages. gift to Koussevitzky and the Orchestra. Over 150 photos. The offer was gratefully accepted, and paperback. Index. $9.95 on August 12, 1937, the Festival's McGRAW-HILL BOOK COMPANY largest crowd thus far assembled under a tent for the first Tanglewood concert, a program of music by Wagner.
As Koussevitzky began The Ride of the Valkyries, a storm erupted, overpowering the music and causing the concert to be HANCOCK SHAKER interrupted three times before the first VILLAGE half could be completed. The second half of the program had to be changed, because of water damage to some of the Original 18th Century instruments, and when the concert Village Restored ended, Miss Gertrude Robinson Smith, one of the Festival's founders, came to Open daily 9:30-5:00 the stage and told the audience that the Adults $3 Children $1 storm had demonstrated the needfor a permanent structure. Annual Kitchen Festival A hundred thousand dollars, she said, Week of August 1st would be needed for this purpose, and Route 20 Five miles West the response to her plea was so generous of Pittsfield, Mass. that within a short time the amount was fully subscribed. Plans for the Music Shed were drawn up by the eminent architect Eliel Saarinen, and, as modi- fied by Josef Franz of Stockbridge, who
also directed construction, it was com- pleted on June 16, 1938, a month ahead of schedule. Seven weeks later, Serge Koussevitzky led the inaugural concert, which included a performance of Beet- hoven's Ninth Symphony. By 1941, the Theatre-Concert Hall, the Chamber Music Hall and several small studios — all part of the Berkshire Music Center, which had begun operations the pre- ceding year — were finished, and the Festival had so expanded its activities
and its reputation for excellence that it attracted nearly 100,000 visitors. Today Tanglewood annually draws close to a quarter of a million visitors; in addition to the twenty-four regular concerts of the Boston Symphony, there are weekly "Prelude" concerts and open liiAmc rehearsals, the annual Festival of FM 90.3 mHz Contemporary Music, and almost daily We bring you fine music concerts by the gifted young musicians of the Berkshire Music Center. Arthur AND dozens of interesting Fiedler and the Boston Pops perform events — live and without each summer, and the Festival also commercials. Sit in with us includes a series of concerts by popular at the National Press Club, artists. The season offers not only a where the next day's head- vast quantity of music also a vast but lines are often made. Enjoy range of musical forms and styles, all "All Things Considered," a of it presented with a regard for artistic fascinating magazine of news excellence that makes the Festival issues. (Nothingelse like it unique. Tanglewood and the Berkshire and Music Center, projects with which in broadcasting !) Savor some Koussevitzky was involved until his of the most satisfying thea- death, have become a fitting shrine to tre productions ever aired. his memory, a living embodiment of Revel in delightful, intelligent the vital, humanistic tradition that was conversation. his legacy.
Listen . . . and if you like what you hear, write for our free monthly program directory. WAMC Albany Medical College Albany, New York 12208
National Public Radio for eastern New York npr and western New England
The Shed under construction in 193 8 Why do I work seven days a week? That's all there are. Besides
if you really love what you do
it's not work.
Robert J. Lurtsema Host, Morning Pro Musica Everyday 7am-Noon
The Boston Symphony Orchestra at Tanglewood Fridays at 9pm, Saturdays at 8:30pm, Sundays °:30pm and August
Artists in the Night Hayes Burnett plays a great mix of jazz sounds. Mon-Fri ll-2:30am
The Spider's Web — our storybook for the entire family Mon-Fri. 7:30pm 'GBH Radio 89.7FM All Things Considered — the best news Radio that makes sense program of its kind — every day at 5pm of your day. Seiji Ozawa tor of the Berkshire Music Festival, and in December of the same year he began Seiji Ozawa became Music Director of his inaugural season as Conductor and the Boston Symphony Orchestra in the Music Director of the San Francisco fall of 1973. He is the thirteenth con- Symphony Orchestra, titles that he held ductor of the Orchestra since its found- concurrently with his position as Music ing in 1881. Director of the Boston Symphony. In He was born in Hoten, Manchuria in the spring of 1976 he resigned his San 1935, and studied both Western and Francisco position although he remained Oriental music as a child. He attended Honorary Conductor for the Toho School of Music in Tokyo and 1976-77 season. graduated with first prizes in composi- Mr. Ozawa's recordings include: on tion and conducting. Shortly after his the Deutsche Grammophon label, Ber- graduation, he won first prize at the lioz's Symphonie fantastique, La damnation de International Competition of Conduc- Faust, Romeo et Juliette (which was ting at Besancon, France, and was in- awarded a Grand Prix du Disque), Ives's vited by Charles Munch, then Music Symphony No. 4 and Central Park in the Director of the Boston Symphony and a Dark, and de Falla's Three-cornered Hat, judge at the competition, to spend a and, on the New World Records label, summer studying at Tanglewood. Griffes's Songs of Fiona McLeod. Record- In 1964 and for the next five seasons, ings soon to be released are: Bartok's Mr. Ozawa was Music Director of the Miraculous Mandarin Suite and Music for Ravinia Festival. At the beginning of the Percussion, Strings, and Celeste, Tchaikov- 1965-66 season he became Music Direc- sky's Symphony No. 5, Brahms's Synv tor of the Toronto Symphony, a posi- phony No. 1, and Rimsky-Korsakov's tion he relinquished four seasons later Sheherazade on Deutsche Grammophon, to study and guest conduct. In 1970 he and Session's When Lilac's Last in the Door- accepted the position of Artistic Direc- yard Bloom'd on New World Records.
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In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 105 years later the Boston University School of Music is still doing what it does best.
• Performance • Music Education • History and Literature • Theory and Composition
strings brass (cont.) music history and literature Walter Eisenberg, violin Paul Gay, trombone Karol Berger Madeline Foley, chamber music 'Gordon Hallberg, tromboneltuba Murray Lefkowitz 'Gerald Gelbloom, violin •Charles Kavaloski, French horn Joel Sheveloff
'Bernard Kadinoff, viola Charles A. Lewis, Jr., trumpet theory and composition Endel Kalam, chamber music * David Ohanian, French hom David Carney 'Robert Karol, viola Samuel Pilafian, tuba David Del Tredici •Eugene Lehner, chamber music •Rolf Smedvig, trumpet John Goodman * Leslie Martin, string bass •Harry Shapiro, French hom Alan MacMillan George Neikrug, cello * Roger Voisin, trumpet Joyce Mekeel 'Mischa Nieland, cello 'Charles Yancich, French hom Malloy Miller Leslie Pamas, cello percussion Gardner Read •Henry Portnoi, string bass 'Thomas Gauger Allen Schindler * William Rhein, string bass 'Charles Smith Robert Sirota Kenneth Sarch, violin Tison Street * Roger Shermont, violin harp •Joseph Silverstein, violin Lucile Lawrence music education Roman Totenberg, violin piano Lee Chrisman Walter Trampler, viola Maria Clodes Phyllis Elhady Hoffman * Max Winder, violin Anthony di Bonaventura Allen Lannom •Lawrence string Wolfe, bass Lenore Engdahl Jack O. Lemons Bela Boszormenyi-Nagy Mary Ann Norton Phillip Oliver, staff accompanist musical organizations woodwinds Edith Steams Adelaide Bishop, opera Edward Avedisian, clarinet Frednk Wanger Warren Wilson, opera •PasqualeCardillo, clarinet organ Joseph Huszti, chorus •Donot Anthony Dwyer, flute George Faxon 'Joseph Silverstein, orchestra Roderick Ferland, saxophone Jack Fisher * Roger Voisin, wind ensemble • Ralph Gomberg, oboe Max Miller •John Holmes, oboe • Phillip Kaplan, flute harpsichord boston symphony orchestra • James Pappoutsakis, flute Joseph Payne woodwind quintet in residence •Richard Plaster, bassoon * Doriot Anthony Dwyer, flute voice • Matthew Ruggiero, bassoon 'Ralph Gomberg, oboe Eunice Alberts, contralto •Felix Viscuglia, clarinet * Harold Wright, clarinet Germaine Arosa, diction •Sherman Walt, bassoon 'Sherman Walt, bassoon Mary Davenport, contralto •Harold Wright, clarinet * Charles Kavaloski, French horn Ellalou Dimmock, soprano Maeda Freeman, mezzo empire brass quintet brass Robert Gartside, tenor in residence • Ronald Barron, trombone Mac Morgan, baritone Charles A. Lewis, Jr., trumpet • Norman Bolter, trombone Chloe Owen, soprano * Rolf Smedvig, trumpet Peter Chapman, trumpet Allen Rogers, vocal coaching •David Ohanian, French hom John Coffey, tromboneltuba Barbara Stevenson, soprano •Norman Bolter, trombone 'Armando Ghitalla, trumpet Wilma Thompson, mezzo Samuel Pilafian, tuba
'Member of the Boston Symphony Orchestra
Boston University School of Music
Wilbur EX Fullbright, Director • Robert Lee Tipps, Assistant to Director
offering degrees at the bachelor, master, and doctoral levels.
School for the Arts: Music, Theatre, Visual Arts • Norman Dello Joio, Dean 855 Commonwealth Avenue, Boston, Massachusetts 02215
10 Tanglewood 1977
Weekend Prelude Tanglewood Festival Chorus John Oliver, conductor
Friday, 15 July at 7
SCHUTZ The German Magnificat
MENDELSSOHN Psalm 22, Mein Gott, warum hast du mich verlassen? for double chorus and soloists
BACH Motet, Jesu, mein Freude
CHERYL STUDER, soprano JANICE MYERSON, mezzo-soprano KIM SCOWN, tenor BEN HOLT, bass
CAROL PROCTER, cello LAWRENCE WOLFE, bass PHILIP MOREHEAD, organ
11 Schutz: The German Magnificat
Meine Steele erhebt den Herren und mein My soul doth magnify the Lord, and my spirit Geist freuet sich Gottes, meines hath rejoiced in God my savior, for he hath Heilandes, denn er hat die Niedrigkeit regarded the lowliness of his handmaiden. seiner Magd angesen;
Siehe, von nun an, werden mich selig For behold from henceforth all generations preisen alle Kindeskind; shall call me blessed.
Denn er hat grosse Ding an mir getan, der For he that is mighty hath magnified me; and da machtig ist und des Name heilig ist. holy is his name.
Er iibet Gewalt mit seinem Arm, und zer- He hath showed strength with his arm, he streuet die hoffartig sind in ihres hath scattered the proud in the imagination Herzens Sinn. of their hearts.
Er stosset die Gewaltigen vom Stuhl und He hath put down the mighty from their seat, erhohet die Niedrigen. and hath exalted the humble and meek.
Die Hungerigen fiillet er mit Giitern, und He hath filled the hungry with good things, lasset die Reichen leer. and the rich he hath sent empty away.
Er denket der Barmherzigkeit und helft He remembering his mercy hath holpen his seinem Diener Israel auf, wie er geredt hat servant Israel; as he promised to our unsern Vatern, Abraham, und seinem forefathers, Abraham and his seed, Samen ewiglich. for ever.
Ehre sei dem Vater und dem Sohn un auch Glory be to the Father, and to the Son, and to der Heiligen Geiste, wie es war im Anfang, the Holy Ghost; as it was in the beginning, jetzt und immer dar und von Ewigkeit zu is now, and ever shall be, world without Ewigkeit, Amen. end. Amen.
Mendelssohn: Psalm 22 Mein Gott, mein Gott, warum hast du mich My God, my God, why hast thou forsaken verlassen? Ich heule, aber meine Hilfe ist me? Why art thou so far from helping me, fern. and from the words of my roaring?
Mein Gott, des Tages rufe ich, so antwortest My God, I cry in the daytime, but thou du nicht; und des Nachts schweige ich hearest not; and in the night season, and auch nicht. am not silent. Aber du bist heilig, der du wohnest unter But thou art holy, O thou that inhabitest the dem Lobe Israels. praises of Israel. Unsre Vater hofften auf dich, und da sie Our fathers trusted in thee; they trusted, and hofften, halfest du ihnen aus. thou didst deliver them. Zu dir schrieen sie, und wurden errettet, sie They cried unto thee, and were delivered; hofften auf dich und wurden nicht zu they trusted in thee, and were not Schanden. confounded. Ich aber bin ein Wurm, und kein Mensch, ein But I am a worm, and no man; a reproach of Spott der Leute und Verachtung des Volks. men and despised of the people. Alle, die mich sehen, spotten meiner, sperren All they that see me laugh me to scorn; they das Maul auf und schiitteln den Kopf, shoot out their lips, they shake the head. Er klage es dem Herrn, der helfe ihm aus, He trusted on the Lord that he would deliver und errette ihn, hat er Lust zu ihm. him; let him deliver him; seeing he delighted in him.
Ich bin ausgeschiittet wie Wasser, alle meine I am poured out like water, and all my bones Gebeine haben sich getrennt. Mein Herz are out of joint; my heart is like wax; it ist in meinem Leibe wie zerschmolzenes is melted in the midst of my bowels. Wachs. Meine Krafte sind vertrocknet wie eine My strength is dried up like a potsherd, and Scherbe, und meine Zunge klebt am my tongue cleaveth to my jaws; and thou Gaumen, und du legst mich in des Todes hast brought me into the dust of death. Staub.
12 Denn Hunde haben mich umgeben und der For dogs have compassed me; the assembly of Bosen Rotte hat sich um mich gemacht. the wicked have inclosed me; they pierced Sie haben meine Hande und Fiisse my hands and my feet. durchgraben. Sie teilen meine Kleider unter sich, und They part my garments among them, and werfen das Los um mein Gewand. cast lots upon my vesture. Aber du, Herr, sei nicht feme. Meine Starke But be thou not far from me, O Lord; O my eile mir zu helfen. strength, haste thee to help me. Errette meine Seele vom Schwert, meine ein- Deliver my soul from the sword; my darling same von den Hunden. from the power of the dog. Hilf mir aus dem Rachen des Lowen, und Save me from the lion's mouth; for thou hast errette mich von den Einhornern. heard me from the horns of the unicorns. Ruhmet den Herrn, die ihr ihn fiirchtet! Es Ye that fear the Lord, praise him; all ye the ehre ihn aller Same Jacobs, und vor ihm seed of Jacob, glorify him; and fear him, sich aller Same Israels, all ye the seed of Israel. Denn er hat nicht verachtet noch verschmaht For he hath not despised nor abhorred the das Elend des Armen, und sein Antlitz affliction of the afflicted; neither hath nicht vor ihm verborgen, und da er zu ihm he hid his face from him; but when he schrie, hdrte er es. cried unto him, he heard. Dich will ich preisen in der grossen My praise shall be of thee in the great Gemeinde, ich will meine Gelubde congregation; I will pay my vows before bezahlen vor denen, die ihn furchten. them that fear him. Die Elenden sollen essen, dass sie satt The meek shall eat and be satisfied; they shall werden, und die nach dem Herrn fragen, praise the Lord that seek him; your heart werden ihn preisen. Euer Herz soil shall live for ever. ewiglich leben. Es werde gedacht aller Welt Ende, dass sie All the ends of the world shall remember sich zum Herrn bekehren, und vor ihm and turn unto the Lord; and all the anbeten alle Geschlechter der Heiden. kindreds of the nations shall worship before thee.
Denn der Herr hat ein Reich, und er herrscht For the kingdom is the Lord's; and he is the unter den Heiden. governor among the nations.
Bach: Jesu, meine Freude
I. Chorale Jesu, meine Freude, meines Herzens Weide, Jesus, my joy, my heart's treasure, Jesus, Jesu, meine Zier, my crown, Ach, wie lang, ach, lange ist dem Herzen Ah, how long, ah, long, is the heart's bange, und verlangt nach dir! anguishing and longing for thee! Gottes Lamm, mein Brautigam, ausser dir God's lamb, my Bridegroom, nothing on soil mir auf Erden nichts sonst liebers earth shall be more precious to me. werden.
II. Es ist nun nichts verdammliches an denen, There is therefore now no condemnation to die in Christo Jesus sind; die nicht them which are in Christ Jesus, who walk nach dem Fleische wandeln, sondern nach not after the flesh, but after the Spirit. dem Geist.
III. Chorale
Unter deinem Schirmen bin ich vor den Under thy protection am I free from the Stiirmen aller Feinde frei. storms of all my enemies. Lass den Satan wittern, lass den Feind Let Satan creep around, let the Enemy erbittern, mir steht Jesus bei! threaten, Jesus will stand by me. Ob es itzt gleich kracht und blitzt, ob Though thunder and lightning may crash, gleich Siind und Holle schrecken; Jesus though sin and hell may frighten me, Jesus will mich decken. will protect me.
13 IV. Denn das Gesetz des Geistes, der da lebendig For the law of the spirit of life in Christ machet in Christo Jesu hat mich frei Jesus hath made me free from the law of gemacht von den Gesetz der Siinde und sin and death. des Todes.
V. Trotz dem alten Drachen, trotz des Todes Despite the old dragon, despite death's Rachen, trotz der Furcht darzu! raging, despite fear as well,
Tobe, Welt, und springe, ich steh hier und Rage, world, and spring, I stand here and sing singe in gar sichrer Ruh! in absolutely secure peace. Gottes macht halt mich in Acht; Erd und God's power protects me, earth and abyss Abgrund muss verstummen, ob sie noch must be silenced, tho' they ever grumble. so brummen.
VI. Ihr aber seid nicht fleischlich sondern geist- But ye are not in the flesh, but in the Spirit, lich, so anders Gottes Geist in euch wohnet. if so be that the Spirit of God dwell in you. Wer aber Christi Geist nicht hat, der ist Now if any man have not the Spirit of nicht sein. Christ, he is not of His.
VII. Chorale Weg mit alien Schatzen, du bist mein Away with all earthly treasures! Thou art my Ergotzen, Jesu meine Lust! delight, Jesus, my joy!
Weg ihr eitlen Ehren, ich mag euch nicht Away you vain glories, I will not hear ye,
horen, bleibt mir unbewusst! I will not acknowledge you. Elend, Not, Kreuz, Schmach und Tod soil Misery, need, affliction, humiliation and death
mich, ob ich viel muss leiden, nicht von shall, though I bear a great load, not part Jesu scheiden. me from Jesus.
VIII. So aber Christus in euch ist, so ist der Leib And if Christ be in you, the body is dead zwar tot um der Siinde willen; der Geist because of sin; but the Spirit is life because aber ist das Leben um der Gerechtigkeit of righteousness. willen.
IX. Gute Nacht, o Wesen das die Welt erlesen, Good night, oh worldly life, you do not please mir gefallst du nicht! me. Gute Nacht, ihr Sunden, bleibet weit Good night, ye sins, keep ye far behind me, dahinten, kommt nicht mehr ans Licht! come no more into the light! Gute Nacht, du Stolz und Pracht! Good night, you pride and pomp. Dir sei ganz, du Lasterleben, gute Nacht, You wicked life, your time is finished, gegeben! good night!
X. So nun der Geist des der Jesum von den But if the Spirit of Him that raised up Jesus Toten auferwecket hat, in euch wohnet, so from the dead dwell in you, he that raised wird auch derselbige, der Christum von up Christ from the dead shall also quicken den Toten auferwecket hat, eure your mortal bodies by His Spirit that sterbliche Leiber lebendig machen, um des dwelleth in you. willen, dass sein Geist in euch wohnet.
XI. Weicht, ihr Trauergeister, denn mein Retreat, ye thoughts of sadness, for my Lord Freudenmeister, Jesus, tritt herein. of gladness, Jesus enters in. Denen, die Gott leiben, muss auch ihr Betrii- For them that love God, shall their sorrows ben lauter Wonne sein. be as great joy.
Duld ich schon hier Spott und Hohn, den- Though I suffer mockery and scorn, yet you noch bleibst du auch im Leide, are still in torment, Jesus, my joy. Jesu, Meine Freude.
14 *VC dpMM
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THE BOSTON SYMPHONY CHAMBER PLAYERS
'/'
Three Sundays that can help you face Monday
The Brahms Quintet op. 115. Stra- vinsky's L'Histoire de Soldat. The Schubert E Flat Piano Trio. These and other major chamber music works make up the Boston Sym- phony Chamber Players 1977-78 program. The twelve principal players of the Boston Symphony Orchestra will perform at Jordan Hall at 4:00 p.m. on Nov. 6, 1977 and Feb. 19 and
April 9, 1978. Gilbert Kalish will be the guest pianist. For complete program information, write to Subscription Office, Symphony Hall, Boston, Mass. 02115, or call 266-1492.
15 Robert Karol a^ Bernard Kadinoff Bassoons Vincent Mauricci Sherman Walt Edward A. Taft chair Earl Hedberg Roland Small BOSTON Joseph Pietropaolo Matthew Ruggiero SYMPHONY Robert Barnes ORCHESTRA Michael Zaretsky Contra bassoon SEIJl OZAWA // s Richard Plaster Music Director ^^m| Cellos Jules Eskin Philip R. Allen chair Horns Martin Hoherman Charles Kavalovski Mischa Nieland Helen Sagoff Slosberg chair Charles Yancich First violins Jerome Patterson Peter Gordon Joseph Silverstein Robert Ripley Concertmaster Luis Leguia David Ohanian Charles Munch chair Carol Procter Richard Mackey Emanuel Borok Ronald Feldman Ralph Pottle Concertmaster Assistant Joel Moerschel Helen Horner Mclntyre chair Jonathan Miller Max Hobart Trumpets Martha Babcock Rolland Tapley Armando Ghitalla Roger Shermont Roger Louis Voisin chair Max Winder Basses Andre Come Harry Dickson William Rhein Rolf Smedvig Acting Principal Gottfried Wilfinger Gerard Goguen Harold D. Hodgkinson chair Ostrovsky Fredy Joseph Hearne Panasevich Leo Bela Wurtzler Trombones Sheldon Rotenberg Leslie Martin Ronald Barron Alfred Schneider John Salkowski Norman Bolter Gerald Gelbloom John Barwicki Gordon Hallberg Raymond Sird Robert Olson William Gibson Ikuko Mizuno Lawrence Wolfe Cecylia Arzewski Henry Portnoi Tuba Amnon Levy Chester Schmitz Bo Youp Hwang Flutes Doriot Anthony Dwyer Timpani Second violins Walter Piston chair Everett Firth Victor Yampolsky James Pappoutsakis Sylvia Shippen Wells chair Fahnestock chair Marylou Speaker Paul Fried Percussion Michel Sasson Charles Smith Roland Knudsen Piccolo Arthur Press Lois Schaefer Leonard Moss Assistant timpanist Vyacheslav Uritsky Thomas Gauger Laszlo Nagy Oboes Frank Epstein Michael Vitale Ralph Gomberg Darlene Gray Mildred B. Rem is chair Ronald Wilkison Wayne Rapiej Harps Harvey Seigel Bernard Zighera Jerome Rosen English Horn Ann Hobson Sheila Fiekowsky Laurence Thorstenberg Gerald Elias Personnel Managers Ronan Lefkowitz Clarinets William Moyer Harold Wright Harry Shapiro Violas Ann 5.M. Banks chair Pasquale Burton Fine Cardillo Librarians Peter Charles S. Dana chair Hadcock Victor Alpert E-flat clarinet Reuben Green William Shisler Eugene Lehner George Humphrey Bass Clarinet Stage Manager Jerome Lipson Felix Viscuglia Alfred Robison 16 I I
BOSTON SYMPHONY ORCHESTRA
Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Tanglewood 1977
Friday, 15 July at 9
SEIJI OZAWA, conductor
MOZART Symphony No. 36 in C major, K. 425, Linz Adagio —Allegro spiritoso Poco Adagio Menuetto Presto
INTERMISSION
MOZART Der Schauspiel- director (The Impresario), comedy in one act, K. 486 sung text by Gottlieb Stephanie the Younger spoken text by Deborah Trustman
Herr Buff, an impresario MAC MORGAN Mme. Herz, an aging soprano RERI GRIST Mile. Silberklang, an ambitious young soprano ELIZABETH PARCELLS Herr Vogelsang, a tenor NEIL ROSENSHEIN
Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. Baldwin piano
17 Notes festive, with a touch of the march about it. And how delightful the first theme is, with those slow notes that so care- Wolfgang Amadeus Mozart fully do not prepare us for the sudden Symphony No. 36 in C major, rush of the third and fourth bars. Only K. 425, Linz the recapitulation — more of a repeat than the continuation or development Johannes Chryostomus Wolfgangus Theo- we are apt to expect from Mozart at philus Mozart was born in Salzburg on 27 this point in his life — reminds us of January 1756 and died in Vienna on 5 De- the daunting deadline against which cember 1791. Incredible though it seems, he we wrote. composed the Linz Symphony in something The "adagio" is modified by "poco," like four days, beginning some time after his but to have a slow movement be any arrival in Linz at 9 a.m. on 30 October 1 783, kind of adagio at all is rare enough in and having it ready for performance by Mozart. Touched by the six-eight lilt 4 November. of the siciliano, it is in F major, but yearns always for minor- mode har- is third largest city, Linz Austria's monies. It seems to look ahead to the industrial, not especially attractive, but wonderful slow movement — plain "ada- renowned for a heady chocolate, al- gio" and quite openly in a minor key — mond, and jam cake, and for this sym- of the A major Piano Concerto, K. 488, of Mozart's. and phony Wolfgang Con- written two and a half years later (to visited there for stanze Mozart three be played at the concert here on Sunday weeks in the fall of 1783 as guests afternoon, 24 July). of Count Johann Joseph Thun, an old The minuet is courtly and the trio, friend of the Mozart family. They had with its delicious scoring for oboe an to Salzburg to pre- gone from Vienna octave above the violins and for bassoon sent Constanze to Wolfgang's father an octave below (or sometimes in canon and in the hope of reconciling him to and sometimes a sixth below), is de- their marriage. Leopold Mozart, how- murely rustic. The finale brings back ever, difficult, was adamantly and the the first allegro's exuberance but in young couple, though unhappy about heightened form. the storm clouds chez Papa, were re- — Michael Steinberg lieved to get away. When they got to Linz after stops at Vocklabruck, Lam- Der Schauspiel- director , (The Impresario), bach (where Mozart arrived just in comedy in one act, K. 486 time to accompany the Agnus Dei at From the Wiener Zeitung, Mass), and Ebelsberg, they were met 8 February 1786: at the city gates by a servant of the "On Tuesday, H.M. the Emperor gave Thun household, to make sure they a festivity at Schonbrunn for the exalted not stop at an inn, but go instead to Governor-General of the I. & R. Nether- the family's house in Minorite Square. lands and a gathering of the local no- A concert was arranged to take place bility. Forty cavaliers . . . being invited, in the theater on Tuesday, 4 November, they made their choice of ladies, left and since Mozart, as he reported next the Hofburg at 3 o'clock in pairs for day in a letter to his father, had no Schonbrunn in barouches and closed symphony with him, he had to "work carriages, with His Imp. Maj., who con- on a new one at head-over-heels speed." ducted Her Serene Highness the Arch- It is a grandly inventive work that duchess Christina, and there alighted Mozart made in such a hurry. For the at the Orangerie. This had been pre- first time, he begins a symphony with pared most lavishly and prettily for a slow introduction, declamatory at luncheon with which to receive the first, then yielding and full of pathos, guests. The table, below the orange and cannily creating suspense. The al- trees, was most charmingly decorated legro to which it leads is energetic, with local and exotic flowers, blossoms, 18 ^jg^f^P^^r^ ^^—s
"** i+~~ - UL t^ *r* iyfy *» ^.*Vux JT^i/JL za Mozart's autographed manuscript of Madame Herts aria. The introductory measures for solo bassoon and oboe which Mozart added for the Vienna performances are not yet present. 40% OFF LIST QatewSys Imi on all and FfgStau&nt D.G. and PHILLIPS 637-2532 71 Walker St. Reservations Preferred Lenox, Ma In the Heart of Lenox Serving Breakfast Lunch, Dinner & Late Supper Especially Prepared for You by Internationally Renowned Chef-Owner, Gerhard Schmid Cafe Hour on the Terrace 910 South St. • Pittsfleld, Mass. 01201 At least 1/3 off all records at all times Throughout the Tanglewood Season 11:30 - 6:00 Monday thru Saturday Cocktail Lounge Ample Free Parking Stop in & let us put you on our mailing list. 19 CoacK* Belts are very well made out of very good leather and come in men's and women's sizes. Coach" Bags and Belts are made in New York City and are sold in fine stores throughout the world. For catalogue write Coach Leatherware. 516 West 34th Street, New York 10001 20 the librettist was the accomplished Giambattista Casti. (Opera buffs will recognize Prima la musica as an ancestor of Capriccio by Richard Strauss and Clemens Krauss.) At the Orangerie party, Prima la musica, with its easily recognizable sendups of prominent figures of the Viennese theatrical world, enjoyed the greater success, though Der Schauspiel-director pleased at its brief run of public performance in Vienna soon after the Schonbrunn bash. Gottlieb Stephanie the younger, who wrote the original The Emperor Joseph II paid the piper libretto for Der Schauspiel-director. and called the tune, or at least the I and fruit. While His Imp. Maj. partook words: the scenarios for both operas of the meal with the exalted visitors were suggested, indeed outlined in great and guests, the Imperial and Royal detail, by His Imperial Majesty. The Chamber Music was to be heard in wind original libretto of Der Schauspiel-director instruments. The repast concluded, there is a pretty numbing affair. First of all, it was a performance by the actors of the is long, long, long: about 800 lines of I. & R. National Theater on the stage spoken dialogue come between the erected at one end of the Orangerie Overture and the first aria. The situation of a play with arias, especially composed itself is amusing. An impresario tries to for this festivity, and entitled Der Schau- assemble an opera company, but has'a spiel-director. its At conclusion, the hard time of it because of assorted company of Court Opera singers, on the interferences stemming from the sexual Italian stage erected at the other end of dalliances and well- nourished egos of the Orangerie, gave an opera huffa like- two rival sopranos. Stephanie's working wise quite for this newly written oc- out of the Imperial scenario is filled, casion, and with the title of Prima la though, with non-essential characters musica e pox le parole. All this time, the who engage in spacious discussion of a Orangerie was most gloriously illumi- range of subjects from economics of nated with numerous lights from theater to the present deplorable taste candelabras and brackets. At 9 o'clock, for the works of William Shakespeare the whole company returned to town in to plain gossip (not to mention inter- the same order, with each coach ac- polated scenes from other plays). The companied by grooms with links." original text has almost certainly not The Wiener Zeitung's society reporter been given in full since Schonbrunn. did not mention the composer or libret- Goethe was the first to adapt the work — tist of either entertainment. For Der that was in 1791— and since then, there Schauspiel-director, the composer was of has been no end to attempts to provide course Mozart, working to a text by workable framework for Mozart's music. Gottlieb Stephanie the younger (to dis- Our version leaves Mozart's music tinguish him from his step- brother and Stephanie's sung texts absolutely Gottlob), an actor, director, and prolific, alone. For the rest, the poet Deborah thoroughly trivial playwright, originally Trustman has written a text that gives from Breslau but long settled in Vienna, the essence of the original scenario and and best remembered as the librettist provides proper occasion for Mozart's of Mozart's Abduction from the Seraglio. The four vocal numbers to appear. Hen- composer of Prima la musica e poi le parole Buff, who is both singer and impresario, (First the music and then the words) was is trying to cast an opera, and his house Antonio Salieri, who was to live long tenor, Herr Vogelsang (birdsong), is enough to give composition lessons to helping him get through the auditions. Schubert and Liszt, and to be calumnied First on the schedule is a soprano he as the alleged poisoner of Mozart, while knows well from many years ago, Ma- 21 dame Herz (heart), whose specialty is (If the situation is funny, the music is pathos. Next is a young coloratura so- not: Mme. Herz's farewell to Damon is prano very much on the professional a most lovely song, and not least so the make, Mademoiselle Silberklang (silver- introduction for solo bassoon and oboe tone).* So at least it should be, but by that was apparently an afterthought for administrative slip-up, the two ladies the production in Vienna.) In the trio appear simultaneously, making no bones that erupts after the arias, Herr Vogel- about the less than high regard in which sang, with little effect, chides the so- they hold each other. Each sings her pranos and tries to restrain them. Herr audition aria, Mme. Herz seeking to Buff gains control of the situation, and touch and Mile. Silberklang to charm. in the final quartet — one in which each soloist has a verse leading to a refrain in *Mozart wrote this role for Caterina Cava- ensemble — all agree that an artist must lieri, the soprano for whose "facile gullet" balance the proper claims both of mod- (gelaufige Gurgel) he designed the part of Kon- esty and of ego (as Goethe once said, stanze in The Abduction from the Seraglio and for truly live if others live too?"). whom he interpolated Mi tradi at the Vienna "Do we premiere of Don Giovanni. — M.S. Der Schauspieldirektor The Impresario Madame Herz's aria: Da schlagt die Abschiedstunde, Now strikes the hour of farewell, um grausam uns zu trennen; cruelly to part us. wie werd' ich leben konnen, How ever shall I be able to live o, Damon, ohne dich? without you, oh Damon? Ich will dich begleiten, I want to accompany you, im Geist dir zur Seiten and in spirit schweben um dich! hover about you. Und du, vielleicht auf ewig And you, perhaps vergisst dafiir auf mich! you will forget me for ever. Doch nein, wie fallt mir so was ein! But no, how can I even think of such a thing? Du kannst gewiss nicht treulos sein. You surely cannot be faithless. Ein Herz, das so der Abschied kranket, A heart so hurt by parting dem ist kein Wankelmut bekannt, knows nothing of inconstancy, wohin es auch das Schicksal lenket! no matter where destiny may lead it. Nichts trennt das festgekniipfte Band. Nothing can sever the tightly knit bond. Mademoiselle Silberklang's aria: Bester Jiingling! Mit Entziicken Dearest youth, with delight nehm' ich deine Liebe an, I accept your love, da in deinen holden Blicken for it is in your charming glances ich mein Gliick entdecken kann. that I can discover my happiness. Aber ach! Wenn diistres Leiden But oh, if dark sorrow unsrer Liebe folgen soil, were the consequence of our love, lohnen dies der Liebe Freuden? could love's joys make it up to us? Jiingling, das bedenke wohl! Dear youth, think on it well! Nichts ist mir so wert und teuer Nothing is so precious and dear to me als dein Herz und deine Hand; As your heart and your hand. voll vom reinsten Liebesfeuer Filled with the purest ardor of love, geb' ich dir mein Herz zum Pfand. I give you my heart as pledge. Trio for Mademoiselle Silberklang, Madame Herz, and Herr Vogelsang: Ich bin die erste Sangerin. I am the prima donna. Das glaub' ich, ja, nach Ihrem Sinn. Ha, I believe that, that's what you say. Das sollen Sie mir nicht bestreiten! I won't let you dispute that. Ich will es Ihnen nicht bestreiten. I wouldn't want to dispute that. 22 . .. sich . listen to reason. . V: Ei, lassen Sie doch bedeuten! V: Now do S: Ich bin von keiner zu erreichen, S: I cannot be approached by anyone, das wird mir jeder eingestehn. everybody will admit that. H: Gewiss, ich habe Ihresgleichen H: And that's for sure, never have I heard noch nie gehort und nie gesehn. or seen anyone like you. V: Was wollen Sie sich erst entriisten, V: But why bother to get indignant mit einem leeren Vorzug briisten? and put on airs over empty privileges? Ein jedes hat besondern Wert. Each is valuable in her own way. S: Mich lobt ein jeder, der mich hort! S: To hear me is to praise me. H: Mich lobt ein jeder, der mich hort! H: To hear me is to praise me. H: Adagio, adagio, adagio! Adagio, adagio, adagio! S: Allegro, allegrissimo! Allegro, allegrissimo! V: Pian, piano, pianissimo, pianississimo! Pian, piano, pianissimo, pianississimo! V: Kein Kiinstler muss den andern tadeln, V: No artist should run down a colleague, es setzt die Kunst zu sehr herab. that debases art itself too much. H: Wohlan, nichts kann die Kunst mehr H: All right then, nothing can ennoble art adeln! Ich steh' von meiner Ford' rung ab. more. I renounce my demands. S: Ganz recht, nichts kann die kunst mehr S: Quite true, nothing can ennoble art more, adeln! Ich stehe ebenfalls nun ab. I too renounce. H: Ich bin die erste! Ich, ich, ich! I am the first! I, I, I! S: Ich bin die erste! Ich, ich, ich! I am the first! I, I, I! H: Adagio, adagio, adagio! Adagio, adagio, adagio! S: Allegro, allegrissimo! Allegro, allegrissimo! V: Ei, ei, piano, pianissimo, Now, now, piano, pianissimo calando, mancando, calando, mancando, diminuendo, decrescendo, diminuendo, decrescendo, pian, piano, pianissimo pian, piano, pianissimo. Finale for Mademoiselle Silberklang, Madame Herz, Herr Vogelsang, and Herr Buff: S: Jeder Kiinstler strebt nach Ehre, S: Every artist covets honor wiinscht der einzige zu sein; and really wants to be the only one, und wenn dieser Trieb nicht ware, and without that drive, bleibe jede Kunst nur klein. art would remain a small sort of thing. H, S, V: Kiinstler miissen freilich streben. H, S, V: Nevertheless, artists must strive stets des Vorzugs wert zu sein; to be worthy of preferment; doch sich selbst den Vorzug geben, but to give preferment to yourself, uber andre sich erheben, to push yourself ahead of others, mach den grossten Kiinstler klein. that only diminishes the greatest artist. V: Einigkeit ruhm ich vor alien V: I commend unity andern Tugenden uns an; above all other virtues; denn das Ganze muss gefallen for it is the whole that must please, und nicht bloss ein einzlner Mann. not just one single performer. H, S, V: Kiinstler miissen . . H, S, V: Nevertheless, artists must . . . H: Jedes leiste, was ihm eigen, H: Let each accomplish what suits her halte Kunst, Natur gleich wert; best, valuing art and nature equally; lasst das Publikum dann zeigen, then let the audience decide wem das grosste Lob gehort. who merits the greatest praise. H, S, V: Kiinstler miissen . . H, S, V: Nevertheless, artists must . . B: Ich binhier unter diesen Sangern B: Among these singers, I am der erste Buffo, das ist klar. the primo buffo, that is clear. Ich heisse Buff, nur um ein O My name is Buff, and only by one O brauch' ich den Namen zu verlangern, need I lengthen my name, and then so heiss' ich ohne Streit: Buffo. beyond duspute I'm called Buffo. Ergo bin ich der erste Buffo; Ergo, I am the primo buffo, und das wie ich kein's singen kann, and that I can sing like no one else sieht man den Herren doch wohl an? here is surely something you can read on their faces. 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Otis, Massachusetts 012S3 Tel: 413/269-4651 24 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Tanglewood 1977 Saturday, 16 July at 8:30 NEVILLE MARRINER, conductor MENDELSSOHN. Symphony for strings, No. IX in C Grave — Allegro Andante Scherzo Allegro vivace MENDELSSOHN Piano Concerto No. 2 in D minor, Opus 40 Allegro appassionato Adagio Finale: Presto scherzando TAMAS VASARY INTERMISSION MENDELSSOHN Symphony No. 4 in A, Italian Allegro vivace Andante con moto Con moto moderato Saltarello: Presto Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. Baldwin piano 25 Notes Felix Mendelssohn- Bartholdy Symphony for Strings No. IX in C Piano Concerto No. 2 in D minor, Opus 40 Symphony No. 4 in A, Opus 90, Italian Jakob Ludwig Felix Mendelssohn was born in Hamhurg on 3 February 1809 and died in Leipzig on 4 November 1847. Bartholdy was the name of the composer's maternal Uncle Jakob, who had changed his own name from Salomon and taken on Bartholdy from the previous owner of a piece of real estate he bought in Berlin. It was he who most persistently urged the family's conversion to Lutheranism: the name was added to Mendelssohn — to distinguish the Protestant Mendelssohns from the Jewish ones — Mendelssohn at about the time he wrote the Symphony when Felix's father actually took that step in for Strings, drawn by the painter and family friend, 1812, the children having been baptized as early Wilhelm Hensel. at 1816. Mendelssohn wrote the three works on this evening's program in 1823, 1837, and of his time, it has been suggested — who 1832 respectively. These performances of the has an enduring monument in the title Symphony for Strings and of the D minor Piano role of Lessing's profound and humorous Concerto are the first by the Boston Sym- Nathan the Wise. His father was a highly phony Orchestra. regarded and prosperous banker. His mother played the piano, sang, drew, Mendelssohn is the most astonishing and read French, Italian, English, and of all the composing prodigies. Mozart Greek authors in the original. His sister farther, but as a teen- was to go much Fanny, four years older than himself, ager not even he surpasses — or often surprised the family when she was 13 by equals — Mendelssohn in assurance and giving them a performance, from certainly not in individuality. To think memory, of the whole of Bach's Well- of the young Mendelssohn is to think tempered Clavier. (She, the person to whom first of all of the Octet for Strings, Felix was closest all his life and whose written 1825, the year he turned 16, and early death without doubt hastened his, of the overture for Shakespeare's Mid- is one of the lost women of 19th-century summer Night's Dream, the work of a boy history: her father, the firmly patri- of 17. has found a voice unmis- He archal Abraham Mendelssohn, insisted takably his and he uses it with the own that music could only be an embellish- confidence of a seasoned professional. ment on the surface of her life and In a way he was just that. By time never its "fundamental bass." He he composed the Octet he had seen, managed, however, to ignore the letters heard, read a lot. He had composed a from Uncle Jakob Bartholdy, now lot, too. All advantages were his. Moses Consul in Rome, who advised against Mendelssohn,* his grandfather, was a Felix's being allowed to become a pro- philosopher and literary man of great fessional musician, "which is after all no stature something like a Martin Buber — kind of career, no life, no goal.") With Fanny to one side of him and *It is with him that the name Mendelssohn comes into the family. His father's name was Rebecka and Paul, two and four years Mendel Dessau, and he styled himself Moses younger, on the other, Felix was the Ben Mendel, Moses the son of Mendel. Crown Prince. At ten, after three years' 26 study with the highly competent Lud- trio includes a souvenir of the yodeling wig Berger, he gave his first recital at Felix would have heard on the family's the piano. He traveled widely with his trip to Switzerland — new territory for family, turned into an accomplished lin- tourists then — in 1822. The finale is guist, and learned to execute the elegant properly exuberant, if not absolutely drawings that adorn his letters and successful at the last in its attempt to journals. He became the pupil and pro- get faster and faster. tege of Carl Zelter, composer, choral By 1837, when Mendelssohn com- conductor, and partner in a prolific cor- posed his D minor Piano —Concerto for respondence with Goethe, and it was the Birmingham Festival "the people through Zelter that the boy met Goethe made such a fuss over me that I am quite himself, improvising for him at the dumbfounded; I believe they clapped piano and thoroughly enjoying his rather their hands and stamped for at least flirtatious friendship with that 72-year- ten minutes afterwards"— he was an old Olympian eminence. international celebrity. The years were Dated compositions by Mendelssohn filled with more travels, meetings and exist from just before his eleventh birth- friendships with the great and famous, day in 1820. Twelve early symphonies — with hard work — he had written the we use Roman numerals to distinguish oratorio Saint Paul, the Italian, Scotch, and them from the five "grown-up" sym- Reformation symphonies, the superb and phonies — were written from 1821 to neglected First Walpurgis Night, string 1823. He meant them for Sunday mu- quartets, overtures, the first Songs With- sicales at home and was by no means in out Words, had conducted the significant favor of having them played elsewhere revival of Bach's St. Matthew Passion, taken or published. The discovery of Men- on leadership of the Lower Rhenish delssohn's pre- Octet works has been a Music Festival in Diisseldorf and of the development since the end of World Gewandhaus concerts in Leipzig — and War II, the harvest including, along with with success, success, success. The oc- the symphonies, a D minor Violin Con- casional professional mishap, like his certo which Yehudi Menuhin was the failure to land the directorship of the first to play and record, and two con- Berlin Singakadamie after Zelter's certos for two pianos (composed, of death, stands out as an exception in course, for himself and Fanny). The a period that brought him honor after Symphony No. IX was the first of the honor. Yes, Zelter had died in 1832 just twelve to be published, and that hap- eight weeks after Goethe, and so in pened only in 1962. It is an ambitious, 1835 had Abraham Mendelssohn. Fanny accomplished, original work. A solemn had been married since 1829. In 1836 introduction in C minor precedes the C in Frankfurt, Felix met Cecile Jean- major allegro, and Zelter may well have renaud, the proper and exceedingly worried about the unruliness that had pretty daughter of a French Protestant the boy swing into A major for the clergyman. Her impact was considerable: recapitulation of his second theme. "I can neither compose, nor write letters, Perhaps, though, he understood it as nor play the piano!" On 28 March 1837, preparation for the fairly remote E major they were married, and before long, in which the second movement is set things were back to normal within the (a very Haydnesque choice). Here Men- not too romantic breast of the extra- delssohn gives us something striking ordinarily equilibrated young man. indeed, an ethereal music for four solo Writing during their honeymoon, Felix violins, spelled by some learned fugal reported to Fanny that he had "a book writing for the lower strings by them- of songs without words . . . nearly ready selves, then a reprise of the violin music, for printing," and further, "I have almost with the whole orchestra brought to- finished a string quartet and shall soon gether only in the coda. The typically begin another. I am in the proper vein elfin Mendelssohn scherzo is at least for working just now." The D minor suggested in the next movement, whose Piano Concerto, too, is among the works 27 Chopin and Schumann. He writes JJTJtffj*Jt-%*» J** ' v-^\v fluently, engagingly, sometimes bril- liantly in that mixture of the learned manner and the salon style that he made unmistakably his own. The lyric mu- ' so --*** !-2 5m the second theme £*ig%^'t sic especially appeals — N fi*1 of the Allegro appassionato and the spa- ciously contemplative Adagio. And with- out doubt, the busy- work of the finale achieves just what it is meant to do. Not, to be sure, his most personal statement, the D minor Concerto still delights by its elegance and its masterful piano style. It deserves a better fate than its general neglect. It is hard to imagine that any musician - r|*. has ever had trouble with the Italian • 1 i. _. .» +« .<.- »- «*-fi»Tif *r- -? i i .t L i Symphony — unless it was sheer envy. afcj»-«a The surprising exception is Mendelssohn himself, who revised the work after its first performance in London in 1833 (in Mendelssohn's sketch for the opening of the the same Hanover Square Rooms where D minor Concerto. Haydn led the premieres of his last sketched during those weeks. "[It] is twelve symphonies in the 1790s), but nothing special as a composition/' he remained dissatisfied, refusing to per- wrote, "but the last movement is so mit further performance or publication effective as fireworks that I often have during his lifetime. We have no clue as to laugh, and Cecile cannot hear it often to what displeased him. He began work enough." No wonder the jealous sisters on it during an extended journey worried about their brother, whom they through Italy in 1830-31 and referred found "definitely changed." to it as his "Italian symphony," also In spite of Cecile and the Birmingham remarking that it was the most cheerful foot-stompers, the D minor Concerto piece he had yet composed. Occasion to has never shared the public favor en- complete the piece was provided by a joyed from the beginning by the G resolution passed 5 November 1832 by the minor, which in 1830 he dashed off the general membership of London "almost negligently" for the beautiful Philharmonic Society "that Mr. Men- 18- year old Delphine von Schauroth, delssohn -Bartholdy be requested to and of which he was also inclined to compose a symphony, an overture and a piece for the Society, for which speak harshly. It shares certain features vocal of hundred with the earlier, perhaps more impul- he be offered the sum one success of the sive piece, among them the immediate guineas." The public new Paganini was entrance of the soloist and the linking symphony was immense. and he was so taken by of all the movements in unbroken se- in the audience of Mozart's quence (the latter being an issue that Mendelssohn's playing D sug- preoccupied Mendelssohn in several of minor Concerto, K. 466, that he to play all his large works). Starting out with one gested that the two ought together. Alas, of his favorite classical concertos in his the Beethoven sonatas soon had to submit mind, Mozart's in D minor, Mendelssohn because Paganini venereally infected reminds us again how deeply classical to surgery on his extraordinary event never he is in orientation: his expression of larynx that passion comes closer to the Sturm und came about. Drang gestures of Haydn and Mozart That the new symphony made such a in the 1770s than to the Romantic splash is no wonder. It presents one manner of his contemporaries like captivating invention after another, 28 from that energizing tattoo of wind chords with which it opens; the bound- ing violin melody that begins seconds later; the architectural genius of the first movement, where the material that leads to the exposition's repeat comes back only in the coda; the out-of-phase recapitulation (a sort of Mendelssohnian house specialty) with the melody re- appearing while the bass is still making its way back to the tonic; the chaste processional of the Andante; the deli- cate, and surely quite un-Italian, minuet with its enchanting, lightly sentimental close; finally, that rarity, a minor key finale to a symphony in major. A sal- tarello is literally a leaping dance, but the continuously running music that begins a minute or so into the move- ment is that of a tarantella, so named because it was believed that the only cure for the bite of the tarantula was to Mendelssohn as imagined by Aubrey Beardslee, who keep the patient in perpetual motion. was born 25 years after the composer's death. The tarantula, it seems, has been ma- ments, and who after all would wish to ligned, and its bite, though painful, is knock anything that provides musicians harmless. At harvest time, though, fid- with honest and gainful employment? dlers would walk through the fields of Italy, hoping for therapeutic engage- — Michael Steinberg IF YOU ENJOYED THE CONCERT, YOU SHOULD BE READING HIGH FIDELITY. Tanglewood music lovers also enjoy their music at home. They find High Fidelity magazine an indispensible aide for record collecting. Each issue contains test reports, record reviews and exciting fea- ture articles. If you're a regular at live performances, buy the Musical America version of High Fidelity and get 40 extra pages of news, reviews and reports on live music events all over the world— HIGH FIDELITY, dept. dzt, 1 sound ave., marion, ohio 43302 D Payment enclosed D Bill me D OK. m take High Fidefty at the special Tanglewood D I'm a live performance buff. Send me 12 issues of offer of 12 issues for $4.87 (regularly $8.95.) the Musical America edition for $9— a savings of $9 off the regular price. NAME. STREET. .APT. CITY .STATE. .ZIP. OR: Enter your High Fidelity order by calling, toll free, (800) 247-2160. D7T 29 "Very impressive, perhaps more knowledgeable than anyone else writing in Boston now." "Young, but knows what he's doing, works hard all the time to expand his knowledge!' "Should be read'.' When performers got the opportunity to criticize the critics* that's what they said about Thor Eckert, music critic for The Christian Science Monitor. Readers have come to depend on the Monitor's perceptive coverage of the arts, as well as its fair, balanced coverage of national and international news. To subscribe to this award-winning daily newspaper, just call toll free: 800-225-7090. (In Massachusetts, call collect 617-262-2300.) Or use the coupon below. *The Real Paper, November 13, 1976. News.The way you need it. _™i OHFCTAN SOENOE MONITOR, THE CHRISTIAN SCIENCE MONITOR Box 125, Astor Station, Boston, MA, U.S.A. 02123 Please start the Monitor coming in the mail every Monday through Friday for: 3 months $12.50 rj 6 months $25 rj 9 months $37.50 rj One year, only $45- a $5 saving Check/money order enclosed* Bill me later Name (please print) Street _Apt. City State. ZIP. 'Outside U.S.A. use current local exchange rate. 30 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Colin Davis, Principal Conductor Joseph Silverstein, Assistant Conductor Tanglewood 1977 Sunday, 17 July at 2:30 SEIJI OZAWA, conductor HAYDN Overture to Armida HAYDN Violin Concerto No. 1 in C major (cadenzas by SILVERSTEIN) Allegro moderato Adagio Finale: Presto JOSEPH SILVERSTEIN INTERMISSION HAYDN Mass in B flat, Theresa Kyrie Gloria Credo Sanctus Agnus Dei RERI GRIST, soprano GWENDOLYN KILLEBREW, mezzo-soprano JOHN ALER, tenor VICTOR BRAUN, baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. Baldwin piano The harpsichord played at this afternoon's concert was built by Carl Fudge, and the organ was supplied by the Andover Organ Company. 31 wrod does not end on Sunday. It's only the beginning. This Week At The Berkshire Music Center: Wednesday, July 20 at 8:30 pm: Berkshire Music Center Vocal Music Recital Thursday, July 21 at 8:30 pm: Berkshire Music Center Orchestra, Conducting Fellows Saturday, July 23 at 2:30 pm: Boston University Young Artists Program Chamber Music Concert Sunday, July 24 at 10:00 am: Berkshire Music Center Chamber Music Concert These events are open to the public by making a contribution, $2.00 minimum, to the Berkshire Music Center at the main gate, or by becoming a Friend of Music at Tanglewood. 32 Notes includes famous operas of Lully, Handel (his is called Rinaldo), and Gluck, and also the last work Dvorak completed. Joseph Haydn Haydn's overture, with whose first Overture to Armida measures those of the padlock quintet in The Magic Flute are as good as iden- Violin Concerto No. 1 in C tical, is a vivacious movement in B flat Mass in B flat, Theresa major and 4/4 time, interrupted briefly Franz Joseph Haydn was born in Rohrau, by a gentler music in triple meter. The Lower Austria, on 3 1 March or 1 April 1 732 scoring is for flute, two each of oboes, and died in Vienna on 3 1 May 1809. The bassoons, and horns, plus strings. three works on this program were written in Of Haydn's concertos, just a few have 1783, in the early 1760s, and in 1799 claimed places in the repertory — the D respectively. At this afternoon's concert, Jerome major Cello Concerto, joined now by the Rosen plays the harpsichord and Philip More- recently rediscovered one in C major, head, the organ. and those two delightful late works, the Sinfonia Concertante of 1792 for violin, "If anyone had told Haydn that, al- though he was destined for immortality, cello, oboe, and bassoon, and the Trum- thousands would remain unaware that pet Concerto of 1796. The rest we hear rarely, in several of he had ever written a note of opera, but and any event, he would have been blankly incredu- the works, including a concerto for two lous." Thus does Rosemary Hughes be- horns and another for bass, are lost. in gin the chapter on vocal works in her Though strong players wandered and admirable Haydn biography. (She does out of the Esterhazy orchestra over the not, unfortunately, help much by de- years — what Haydn wrote for them in is evidence — voting only three paragraphs to Haydn's the symphonies ample have been call twenty operas.) At this concert, we there seems not to much for solo concertos. In any event, the idea meet Haydn as he works in three genres of concerto seems to have engaged his in which his work is in varying degrees imagination less than the more internal- relatively little known. Opera is the ized dialectic of the string quartet and most lost of these genres, though last the symphony, perhaps not because, as year's Philips recording of La fedeltd pre- one commentator has suggested, he was miata (Fidelity Rewarded) has certainly jolt- naturally democratic by temperament, ed the curiosity of a lot of us, as I don't he was, by his admission, doubt the forthcoming album of La vera but because "no wizard" as a performer. The out- costanza (True Constancy) will, too. Opera standing concerto composers from Vi- was important in the Esterhazy house- valdi to Brahms were, with few excep- hold Haydn served from 1761 until tions like Tchaikovsky, virtuosi. 1790, the theater itself being splendid* and the performance standard high. Haydn listed the C major Violin Con- Armida, composed 1783, was the last of certo in his own catalogue as "fatto per Haydn's operas for Esterhaza, and its il Luigi." Luigi was Aloisio Luigi To- story, drawn from the epic poem Jeru- masini, born 1741 in Pesaro, and brought salem Liberated by the 16th-century at 18 to Eisenstadt to serve Prince Paul writer, Torquato Tasso, is one of male Anton Esterhazy as violinist and valet. heroism brought into conflict with fe- By time Haydn joined the household male sorcery. Haydn's is one of about as Vice- Capellmeister, Tomasini had been forty operas based on the story of the excused from his duties as personal beautiful Queen Armida, a list that servant, sent to spend a year in Venice to advance his musical education, and *There were actually two opera houses at was soon to advance to concert- Esterhaza, one that burned down in Novem- master. He became a reputable composer, ber 1779 and a new one that was inaugurated with the first performance of La fedelta pre- played concerts around Europe, and, miata on 25 February 1781. In the interim, except for a brief interval in the early opera was given in the marionette theater. 1790s, remained in the service of the 33 Esterhazy family until his death in 1808. when Haydn conducted the first per- In the first symphonies that Haydn formance in the Church on the Hill at wrote for the Esterhazy orchestra, the Eisenstadt on 8 September 1799. Like Morning, Noon, and Night trilogy of 1761, the Nelson Mass, sung here Friday of last he paid tribute to Tomasini's skill in a weekend, the Theresa is misnamed, but series of musically challenging solos. We if there is at least some connection don't know for what occasion he wrote between Lord Nelson and the atmo- this concerto — it may have been to sphere that informs the Missa in angus- celebrate Tomasini's promotion to con- tiis (Mass in Time of Angst[?]), as Haydn certmaster — but we can be fairly sure called it, there is none whatever be- that it was done by 1765. The work is a tween the present work and any Theresa. charming hybrid from that period, still It was at one time assumed that Haydn so unsorted-out by the historians, when wrote this work for Marie Therese, wife the new manner we now call "classical" of the Emperor Franz II, but that seems was in the process of breaking away to be founded on confusion with the Te from the Baroque. The two quick move- Deum of the same year, which was com- ments look forward, but the beautiful posed for the Empress. All six of Haydn's adagio aria, so effectively set between late masses, of which the earliest is the framing groups of three measures each, Missa in tempore belli (Mass in Time of War) is an extension of the sort of slow of 1796 and the last the Wind-hand Mass movement we know from Vivaldi's of 1802, were written for the same pur- Winter and Spring. pose, and that was to celebrate the With the so-called Theresa Mass, we name day of Maria Josepha Hermene- get to the fully matured, the great gild, wife of Prince Nicholas II Esterhazy. Haydn. But this work, too, was written When Nicholas I died in 1790, his son, for the Esterhazys, and Luigi Tomasini Paul Anton II, dissolved the musical will have sat at the concertmaster's desk establishment, and that was the oc- ^\UI% Raup Road. Chatham. New York 1 2057 5 1 8-392-9654 A Ian on visiting our Shaker (Gal- lery for the most extensive collection of fine Shaker furni>hings in the country availahle to museums, col- leotors and dealers. Ju>t 30 minutes from Tanglewood. Always in >tock are chairs, hoxes, ta- hle>, de>k>, casepieces, graphics, and other Shaker accessories. Appoint- ment i> alwav> advisahle. 34 casion for Haydn, after a brief stay in not really abandoned for the more lyrical Vienna, to go on his two long and setting of the words Christe eleison. The triumphal journeys to England. The 29- Gloria is big and jubilant, and how ef- year-old Nicholas II, when he succeeded fective those few moments are in which Paul Anton in 1794, restored music to Haydn allows the trumpets and drums at least something approaching the im- some prominence. In contrast to Haydn's portant position it had formerly held usual practice, the Qui tollis is forceful in the household, and the enduring and quick, with almost non-stop triplets monument to his patronage are the six in the violins, and a miraculous hush name day masses of Haydn, to which and change of harmonic perspective on we must add the C major Mass of suscipe deprecationem nostram. Beethoven, written for the same pur- The Credo again is large in style and pose in 1807. One imagines that it must forthright, with enormous energy in have given Haydn special pleasure to the busy sixteenth- note figurations of return to Eisenstadt, no longer a servant, the violins (Wagner — and this can only but universally recognized as the greatest be coincidence — starts the congrega- of living composers (a place he himself tional hymn at the beginning of Meister- would unhesitatingly have assigned to singer with the same phrase). With the his beloved Mozart until the latter's Incarnaius, Haydn gives us the first slow death in December 1791), and the holder, music since the Kyrie, and also the first to boot, of an honorary doctorate from extended passage for the four soloists Oxford University. And part of the without chorus. In an astonishing stroke, pleasure would have been composing Haydn continues in minor for the account for the warmly gracious Princess, who of the resurrection. For the clauses about not only valued his art but who, now the Holy Ghost, words that don't usually that his dear friend Marianne von Gen- inspire composers especially, Haydn finds zinger was gone, knew better than any- one of his most wonderfully soaring one how to provide for the comfort of phrases: the alto sings it first on et in his aging person, making sure that the Spiritum Sanctum, with the soprano con- supply of Malaga wine didn't run out tinuing, the bass later picking it up for and paying the occasional medical bills. qui locutus est, the tenor for confiteor, and Like the Nelson Mass, the Theresa Mass the soprano once more on el exspedo. That has trumpets and drums in the or- et vitam venturi is set fugally is a matter of chestra (though only two of the latter), custom, but the vigor and tightness of plus a pair of clarinets, strings, and this fugue are altogether particular. organ. The sound is far milder, though, Among the wonders yet to come are the with the trumpets neither as high nor as sunshine of G major (where we haven't prominent as in the earlier work, being been yet) when the Benedictus arrives and saved here primarily for reinforcement the astonishing breadth with which that of tutti passages, and with the organ movement is imagined and composed, likewise kept in the background as an the stern minor- mode beginning of the accompanying instrument. The musical Agnus Dei, and the exuberant high spirits content itself is of density and strength. with which he brings this, one of the The Kyrie has a solemn adagio intro- greatest of his works, to its close. duction, and the allegro starts in an — Michael Steinberg energetic fugal style that is relaxed but Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison. Lord, have mercy upon us. Gloria in excelsis Deo. Glory be to God on high, Et in terra pax hominibus bonae voluntatis. and in earth peace to men of good will. Laudamus te, benedicimus te, adoramus te, We praise thee, we bless thee, we worship glorificamus te; gratias agimus tibi propter thee, we glorify thee, we give thanks to thee 35 magnam gloriam tuam; Domine Deus, Rex for thy great glory, O Lord God, heavenly coelistis, Deus pater omnipotens. King, God the Father Almighty. Domine fili unigenite Jesu Christe; Domine O Lord, the only- begotten Son Jesus Christ; Deus agnus Dei, filius Patris; O Lord God, Lamb of God, Son of the Father Qui tollis peccata mundi, miserere nobis. that takest away the sins of the world, have Qui tollis peccata mundi, suscipe depreca- mercy upon us. Thou that takest away the tionem nostram. Qui sedes ad dexteram sins of the world, receive our prayer. Thou Patris miserere nobis; that sittest at the right hand of God the Father, have mercy upon us. Quoniam tu solus sanctus, tu solus Dominus, For thou only art holy; thou only art the Lord; to solus altissimus Jesu Christe, cum sancto thou only, O Christ, with the Holy Ghost, art spiritu in gloria Dei Patris. most high in the glory of God the Father. Amen. Amen. Credo in unum Deum, Patrem omnipoten- I believe in one God, the Father Almighty, tem, factorem coeli et terrae, visibilium Maker of heaven and earth, And of all things omnium et invisibilium; visible and invisible: Et in unum Dominum Jesu Christum, filium And in one Lord Jesus Christ, the only- Dei unigenitum, et ex Patre natum ante begotten Son of God, Begotten of his Father omnia saecula, Deum de Deo, lumen de before all worlds, God of God, Light of Light, lumine, Deum verum de Deo vero, genitum, Very God of Very God, Begotten not made, non factum, consubstantialem Patris per Being of one substance with the Father, By quern omnia facta sunt; whom all things were made: Qui propter nos homines et propter nostram Who for us men, and for our salvation came salutem descendit de coelis, down from heaven, Et incarnatus est de Spiritu Sancto ex Maria And was incarnate by the Holy Ghost of the Virgine, et homo factus est; Virgin Mary, And was made man, Crucifixus etiam pro nobis, sub Pontio Pilato And was crucified also for us under Pontius passus et sepultus est; Pilate. He suffered and was buried, Et resurrexit tertia die secundam Scripturas; And the third day he rose again according to Et ascendit in coelum; sedet ad dexteram the Scriptures, And ascended into heaven, Patris, et iterum venturas est cum gloria and sitteth on the right hand of the Father. judicare vivos et mortuos, cujus regni non And he shall come again with glory to judge erit finis; both the quick and the dead: Whose kingdom shall have no end. Et in Spiritum Sanctum, Dominum et vivi- And I believe in the Holy Ghost, The Lord ficantem, qui ex Patre Filioque procedit, qui and Giver of life, Who proceedeth from the cum Patre et Filio simul adoratur et conglori- Father and the Son, Who with the Father and ficatur, qui locutus est per Prophetas, et in Son together is worshipped and glorified, unam sanctam catholicam et apostolicam Who spake by the Prophets. And I believe one ecclesiam, confiteor unum baptisma in remis- Catholic and Apostolic Church. I acknowledge sionem peccatorum, et exspecto resurrec- one Baptism for the remission of sins. And I tionem mortuorum. look for the Resurrection of the dead, Et vitam venturi saeculi. Amen. And the life of the world to come. Amen. Sanctus, sanctus, sanctus, Donimus Deus Holy, holy, holy, Lord God of hosts, Sabaoth. heaven and earth are full of thy glory. Pleni sunt coeli et terra gloria tua; Hosanna in the highest. Osanna in excelsis. Blessed is he that cometh in the name of the Benedictus qui venit in nomine Domini. Lord. Hosanna in the highest. Osanna in excelsis. Agnus Dei, qui tollis peccata mundi, miserere O Lamb of God, who takest away the sins of nobis. the world, have mercy upon us. Agnus Dei, qui tollis peccata mundi, dona O Lamb of God, who takest away the sins of nobis pacem. the world, give us peace. 36 ** to % ft *>S#ff j£r<2>**T*r 5f ^ (f-^i | SI X and &fi&€i/oub 3rab/tionA i a X 'A complete source for China, Glass, Dinnerware, Clocks, Candles, Lamps, Lighting Fixtures, Baskets & Pottery, Woodenware, i Pewter, Brass & Copper, Door Stops, Hitching Posts, Weather- vanes, Braided & Hooked Rugs, Woven Coverlets, Place Mats & Table Linens, Gourmet Cookware, Colonial Hardware, Franklin i I Stoves, Andirons &, Fireplace Equipment.Pictures, Wall Hangings, Choose From Mechanical Banks, Unique Toys, Exciting Imports, Decorative Over 25,000 Items. Accessories, Documentary Fabrics & Wallpapers, Upholstered & OPEN EVERY DAY Early American Furniture, Authorized "Colonial Williamsburg" ALL YEAR and "Museum Collection" Reproductions, Pennsylvania House 9-5:30 P.M. 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C In the Big Red Btrns on Stoctbrtlge Ro4d, Rome 7 1 Mile North ol Orett B*mngton Telephone: It hit m lionet 37 Guest Artists Tanglewood Festival Chorus The Tanglewood Festival Chorus was formed under the joint auspices of the Berkshire Music Center and Boston University in 1970. The director since its foundation, John Oliver, is director of choral and vocal activities for Tangle- wood, a member of the MIT faculty and director of the MIT Choral Society. The Festival Chorus made its debut at Symphony Hall in a 1970 performance of Beethoven's Ninth Symphony, and has since taken part in concert directed by William Steinberg, Seiji Ozawa, Eu- Damnation of Faust, conducted by Seiji gene Ormandy, Colin Davis, Arthur Ozawa, was nominated for a Grammy Fiedler, and Michael Tilson Thomas. as the best choral recording of the Members of the chorus come from the year. Their most recent appearance with Greater Boston area and from all walks the BSO was in April, when they of life, and they rehearse throughout sang Roger Sessions' When Lilacs the year. The Chorus's first appearance Last in the Dooryard Bloom'd under on records, in the Boston Symphony's Seiji Ozawa's direction. Sopranos Jane Stein Laurie Stewart Robert W. Schlundt Margaret Aquino Janet Wade Florence A. St. George William Severson Cynthia Armstrong Pamela Wolfe Lisa Tatlock John Smith Deborah London Berg Kathi Tighe Douglas Thompson Marie-Christine Casey Altos Susan Watson Susan Chapman Mary Bennett Maria E. Weber Basses Margo Connor Skye Burchesky Mary J. Westbrook Peter Anderson Susan R. Cook Anne Butler Antone Aquino Lou Ann David Bette Carey Tenors Mitchell Brauner Kathrin Davidovich Doris Halvorson Coe Kent E. Berwick Richard Breed Rebecca Flewelling Elizabeth H. Colt Paul Blanchard Neil Clark Yvonne Frazier Mary Crowe Sewell E. Bowers, Jr. John W. Ehrlich Marilyn L. Haskel Mary Curtin Albert R. Demers Bill Good Alice Honner Catherine Diamond Paul Foster Carl D. Howe Beth Howard Ann Ellsworth Robert Greer Daniel J. Kostreva Frances Kadinoff June Fine Dean A. Hanson Henry Magno, Jr. Carole Stevenson Kane Roberta A. Gilbert Wayne Henderson Martin Mason Vivian LaMorder Thelma Hayes John Henry Jim Melzer Barbara Levy Donna Hewitt James P. Hepp Frank G. Mihovan Joyce Lucia Beth Holmgren Jeffrey Hoffstein John P. Murdock Virginia Lambert Mason Karol Hommen Richard P. Howell Jules Rosenberg Betsy Moyer Leah Jansizian Peter Krasinski Peter Rothstein H. Diane Norris Alison D. Kohler Paul Kowal Robert Schaffel Joan Pernice Dorothy Love Gregg Lange Frank Sherman Nancy Peterson Sharron J. Lovins Henry L. Lussier, Jr. Richard M. Sobel Gail Ransom Nina Saltus Jack Maclnnis Douglas Strickler Rhonda Rivers Frances Schopick Al Newcomb Jean Renard Ward Judith L. Rubenstein Janet Shapiro Ray Parks Nathaniel Watson Barbara A. Scales Amy Wing Sheridan Andrew Roudenko Pieter Conrad White Bette L. Snitzer Lynne Stanton Vladimir Roudenko Robert T. Whitman Ann K. Staniewicz Nancy Stevenson Peter D. Sanborn Howard J. Wilcox 38 Reri Grist Soprano Reri Grist of New York City attended the New York High School of Music and Art, and Queens College where she earned a B.A. in music. She has appeared with the Metropolitan Opera as Rosina in The Barber of Seville (her debut, 1966), Sofie in Der Rosen- kavalier, Adina in L'Elisir d'amore, Olympia in Tales of Hoffman, the Oscar in Un ballo in maschera, Norina in Don Pasquale, and Gilda in Rigoletto. She has performed at the Koln Opera, Milano's Piccolo Scala, the Holland Festival, the Salzburg Easter Festival, the Spoleto Festival, the Zurich Opera, and the Vancouver, New York, and Santa Fe operas, as well as with the New York Philharmonic, and the San Francisco, Toronto and New Jersey sym- phonies. She has recorded for Angel, Columbia, Deutsche Grammophon, RCA, and Vanguard labels. Elizabeth Parcells Elizabeth Parcells of Boston graduated from New England Conservatory in 1974. She has studied with Willis Pater- son, Elsie Inselman, Elizabeth Marion, Janice Harsanyi, and Mark Pearson. She has been a soloist with the Colleguim Musicum conducted by Daniel Pink- ham, the New England Conservatory Chorus conducted by Lorna Cooke DeVaron, the Opera Theater directed by David Bartholomew, and the Con- servatory Orchestra and Contemporary Ensemble conducted by Gunther Schul- Neil Rosenshein ler. In and around Boston, Miss Par- cells has performed at Kings Chapel A native of New York City and an under Daniel Pinkham, with the Handel American-trained tenor, Neil Rosen- and Haydn Society under Thomas Dunn, shein made his professional debut three the Cecilia Society under Donald Tee- years ago as Count Almavia in The ters, the Cambridge Society for Early Barber of Seville with the Opera Association Music under Iva Dee Hiatt, the Master- of Florida. After his many and varied works Chorale under Allen Lannom, performances at the 1974 Wolf Trap the Brandeis Chorale, the Concord Festival, he toured with Sarah Caldwell Symphony, and the Boston Pops under and the Opera Company of Boston. Of Arthur Fiedler. She has spent previous his many appearances during the 1974- summers at Tanglewood in the Phyllis 75 season were his debut with Seiji Curtin Seminar and at the Berkshire Ozawa and the BSO in Boston and New Music Center. In 1975 and 1976 she York singing all tenor parts in L'Enfant placed second in the Metropolitan Opera et les sortileges, and his performance in New England Regional Auditions. the concert version of Stravinsky's The 39 Rake's Progress with the Gardner Museum Opera Company of Boston in their pro- Series of Boston conducted by John duction of Fidelio, and in a recital at Moriarty. In 1975 Rosenshein sang the Emory University in Atlanta, Georgia. title role in L'Ormindo at both the Cara- He currently teaches voice at B.U. School moor Festival and with the BSO at for the Arts. Tanglewood conducted by Seiji Ozawa. In 1975-76 he sang with Sarah Cald- Deborah Trustman well and the Opera Company of Boston, Deborah Trustman's work has been the Syracuse Opera Company, the San published in Poetry magazine. She comes Francisco Spring Opera, the Albuquer- from a musical background, is a graduate que Opera Theater, and the Wolf Trap of Radcliffe College, and is on the staff Festival. During 1976-77 he appeared of Harvard University's Office for the with the San Francisco Opera, and in Arts. She wrote her Impresario text Boston and New York he sang in the especially for this performance. BSO November performance of Handel's The license- plate on her Porsche Messiah conducted by Colin Davis. says MOZART. Mac Morgan Mac Morgan earned a BA and Artistic degree from Eastman School of Music. Since his graduation he has appeared with the Goldovsky Opera Theatre, the New York City Center Opera, the Pitts- burgh, Atlanta, and Miami opera com- panies, and on NBC and CBS television. During the summer of 1975 he taught at the Boston University Tanglewood Institute, conducted four master classes, and sang in Berlioz's L'Enfance de Christ and Mendelssohn's Elijah with the School for the Arts Chorus and Orchestra. During 1975-76 he appeared with the Bach- Festival in Winter Park, Florida in performances of Bach's St. Matthew Passion and Mozart's Requiem, with the 40 Liszt Academy when he was fifteen, and a member of its faculty when he was twenty. Concurrently with his teaching position, he performed throughout Hungary and Eastern Europe. He won the Queen Elisabeth of Belguim Prize in 1956, the Bach and Paderewski medals in London in 1960 as well as compe- titions in Paris and Rio de Janiero. After his 1961 London debut, he performed in the United States with the Cleveland Orchestra conducted by George Szell at Carnegie Hall. Since then he has appeared with the New York Philhar- monic, the St. Louis Symphony, the Berlin Philharmonic, the Vienna Sym- phony, the Orchestre de Paris, the Or- chestra de la Suisse Romande, the London Symphony, the London Philharmonic, Neville Marriner the Royal Philharmonic, and the New Philharmonia, under conductors such as Neville Marriner's early career was Ansermet, Dorati, Ceccato, Commissiona, that of a violinist. He studied in London Fricsay, Kempe, Previn, and Solti. After and Paris, and subsequently became a his conducting debut in Paris with the member of the Boyd Neel Orchestra, Orchestre Lamoureux in 1973, Vasary the London Mozart Players, the Phil- conducted the Liszt Chamber Orchestra harmonia, and the London Symphony, of Budapest in a tour of France which as well as of many chamber ensembles. opened at the Menton Festival. His In 1956, he founded the Academy of St. Deutsche Grammophon recordings Martin-in-the-Fields, based originally include works by Chopin, Debussy, at the beautiful Georgian church in Lon- Liszt, and Rachmaninoff. don by that name, and now the most comprehensively recorded chamber or- chestra. It was Pierre Monteux who encouraged Marriner to study conduc- ting. In 1969, Marriner also became conductor of the Los Angeles Chamber Orchestra. He has toured widely with both his orchestras and has appeared as guest conductor with many important orchestras in Europe, North America, and Japan. He conducted the Boston Symphony at Tanglewood in 1975 and 1976, and for the first time in Sym- phony Hall in December of 1976. His records are on Argo, Angel, Colum- bia, and also Philips, with whom he has recently signed an exclusive contract. Tamas Vasary Hungarian pianist Tamas Vasary, born in 1933, made his concert debut when he was eight years old, and gave his first recital when he was nine. He became Zolan Kodaly's protege at the Franz 41 Joseph Silverstein Joseph Silverstein joined the Boston Symphony Orchestra in 1955 at the age of 23. He has been Assistant Conductor since the beginning of the 1971-72 sea- son, and Concertmaster since 1962. A native of Detroit, he began his musical studies with his father, a violin teacher, and later attended the Curtis Institute. His teachers have included Joseph Gingold, Mischa Mischakoff and Efrem Zimbalist. Mr. Silverstein has appeared as soloist with the orchestras of Detroit, Den- ver, Los Angeles, New York, Indianap- olis, Milwaukee, Philadelphia and Ro- chester, and abroad in Jerusalem and B w T mu M rW j j Twin Fires Arcade 12 unique and exciting shops dealing in Antiques to include Prized Acquisitions from London Early Welsh, Georgian & Victorian unfinished pine furniture and numerous, assorted & interesting accent and decorator pieces from England The Arcade is a re-creation of mid-1800's shops and "stalls" of Camden Passage, Islington, London, England, and is located indoors in a recently refurbished barn on the former Walter Pritchard Eaton estate at the junction of Under Mountain Road (Rt. 41) and Berkshire School Road - Sheffield, Massachusetts 413-229-8307 From N.Y. Taconic to Route 23, turn right (6 miles) to Route 41, turn right 3 miles to Berkshire School Rd. in Sheffield, turn left 1 block on left is Barn. From Conn. Route 7 into Sheffield, turn left into Berkshire School Rd. to end of road — on right is Twin Fires Antiques. From Mass. (Tanglewood) Route 7 into Sheffield, turn right on Berkshire School Rd. toend of road on right is Barn. 42 Brussels. He appears regularly as soloist with the Boston Symphony and con- ducts the Orchestra frequently. He has also conducted, among others, the Los Angeles Philharmonic, the Rochester Philharmonic and the Jerusalem Sym- phony. In 1959 he was one of the winners of the Queen Elisabeth of Bel- gium International Competition, and in 1960 he won the Walter W. Naum- burg Award. Mr. Silverstein is first violinist and music director of the Boston Symphony Chamber Players and led their 1967 tour to the Soviet Union, Germany and England. He has participated with this group in many recordings for RCA Victor and Deutsche Grammophon and recently recorded works of Mrs. H.H.A. Beach and Arthur Foote for New World Symphony, Dallas Symphony, Pitts- Records with pianist Gilbert Kalish. He burgh Symphony, Los Angeles Phil- is Chairman of the Faculty of the Berk- harmonic, St. Louis Symphony, Mil- shire Music Center at Tanglewood, and waukee Symphony, as well as the Bos- Assistant Professor of Music at ton Symphony Orchestra. Boston University. Last fall, Mr. Silverstein led the Bos- ton University Symphony Orchestra to John Aler von a silver medal prize in the Herbert Born in Baltimore, John Aler holds Karajan Youth Orchestra Competition bachelor's and master's degrees in voice in Berlin. from Catholic University in Washing- ton. He has sung with most of the Gwendolyn Killebrew musical institutions of the Baltimore- Born into a musical family, Gwendo- Washington area — the Opera Society of lyn Killebrew began piano lessons when Washington, the Washington Oratorio she was five. She later studied organ Society, the Choral Arts Society of and French horn and participated in Washington, the Baltimore Opera (in orchestra, band and chorus in high whose national contest he won second school. In 1963, while studying at prize), and the Choral Arts Society Temple University, she was chosen to of Baltimore. be a soloist with the Philadelphia Or- He has also been soloist with the chestra conducted by Pablo Casals in his Boston Symphony, the Boston Phil- oratorio EI Pesebre. She studied with harmonia, the Atlanta Symphony, the Hans Heinz at Juilliard and in 1966 Brooklyn Philharmonia, the Buffalo Phil- won First Prize in the Belgian Inter- harmonic, the Greenwich Choral So- national Vocal Competition. She has ciety, the Rhode Island Civic Chorale, been artist-in-residence at the Dart- and the Pro Arte Chorale. He has mouth Congregation of the Arts, where appeared during the summer at the she performed contemporary works with festivals of Tanglewood, Newport and composers Hans Werner Henze, Frank Cabrillo. He was invited to the American Martin and Aaron Copland. Opera Center of the Juilliard School to She is active in both concert and sing in Gian Carlo Menotti's production opera, and has sung at the world's great of Don Pasquale, and also was heard in music centers and festivals. Her many Samuel Barber's Anthony and Cleopatra. orchestral appearances have included He recently won the first prize of the New York Philharmonic, Seattle the 1975 Concurso Internacional in San- 43 4 R6£ Allan Albert, Artistic Director BERKSHIRE PLAYHOUSE — July 6-17 WILLIAM ATHERTON GILDARADNER Dunning & Abbott's CHRIS SARANDON BROADWAY JILL HAWORTH Saul Bellow's July 20-31 THE LAST ANALYSIS RONLEIBMAN Rodgers & Hart's Aug. 3-14 I MARRIED AN ANGEL PHYLLIS NEWMAN William Inge's Aug. 17-28 COME BACK, DANA ANDREWS LITTLE SHEBA ESTELLE PARSONS UNICORN THEATRE, Three New Musicals July 7-24 July 26-August 1 THE WHALE SHOW A FABLE tiago, Chile, the first prize of the by Jean-Claude van Italie National Arts Club Competition, and August 1 6-28 and Richard Peaslee THE CASINO was a finalist in the 1975 Metropolitan Opera National Auditions. During June PROPOSITION THEATRE of this year, Mr. Aler won first prize July 8-August 28 THE PROPOSITION for men in the prestigious Concours Performance Times for the Playhouse International de Paris and a special award Evgs.: Wed., Thurs., Fri. 8:30 p.m.; Sat. 9 p.m.; Sun. 7 p.m. for French Art Songs. Mats.; Thurs. 2 p.m.; Sat. 5 p.m.; Sun. 3 p.m. Prices for the Playhouse Broadway, The Last Analysis, Come Back, Little Sheba Victor Braun Fri. & Sat. (9 p.m. pert, only) $8.95. 7.50; All other perfs. S7.95. 6.50 I Married An Angel in Victor Braun was born Windsor, Fri. & Sat. (9 p.m. pert, only) $9.95. 8.50: Ontario. He studied voice at the Uni- All other perfs. $8.95, 7.50 MAIL ORDERS FILLED PROMPTLY! versity of Western Ontario in London Berkshire Theatre Festival, Stockbridge. Mass. 01262. Enclose stamped, self-addressed envelope. and at the Royal Conservatory of Music, RESERVE BY PHONE! Call 413 • 298-5536 or 298-4800 University of Toronto. In 1956 he joined the Canadian Opera Company. He won the International Mozart Competition in Vienna and made his debut at the Frankfurt Opera House in 1963. Since then, he has performed at La Scala, the San Francisco Opera, the Royal Opera House, Covent Garden, and the Canadian Opera Company. He has appeared in re- citals, oratorios, and concerts under con- ductors such as Ancerl, Klemperer, and Ozawa. Under Georg Solti, he sang Wolfram in the complete recording of Tannhauser. In recent years he has been the leading baritone of both the Ba- varian State Opera in Munich and the Cologne Opera. Ford in Falstaff, Jocha- naan in Salome, and Golaud in Pelleas and Melisande have been among his major roles. In March 1977 he made his Boston debut in Russian with the Opera Com- pany of Boston. 44 Coming concerts: Friday, 22 July at 7 (Weekend Prelude) Have a SCHUBERT Quintet in C, D. 956 face to face BOSTON SYMPHONY CHAMBER folk with PLAYERS AND TASHI Elizabeth Grady Friday, 22 July at 9 SEIJI OZAWA conducting: RAVEL Alborada del Gracioso CHAUSSON Poeme de I'amour et de la mer SHIRLEY VERRETT, soprano RIMSKY-KORSAKOV Scheherazade Introducing our new half hour momrenonce rrearmenr for young, normal healthy skin, only $10. Saturday, 23 July at 8:30 Our regular one hour facial pore cleansings still only $1 7. 50. SARAH CALDWELL conducting: Never a charge for consultation/ BERLIOZ skin analysis. Call Ms. Grady for an Scenes from Les Troyens appointment 536-4447. 39 Newbury SHIRLEY VERRETT, soprano Street Boston. STRAVINSKY Petrushka (1911) ELIZ4BEH GB4DY k FACE FIRST A Sunday, 24 July at 2:30 SEIJI OZAWA conducting: MOZART Piano Concerto in A, K. 488 PETER SERKIN, piano TAKEMITSU "Ifmusic Quatrain TASHI— Richard Stoltzman, Ida Kavafian, bethefood Fred Sherry, Peter Serkin of love, FALLA The Three Cornered Hat playon! BEVERLY MORGAN, mezzo-soprano ^H^ OGDEN FOOD SERVICES Providing food and drink. Enjoy our assortment of wine and cheese 45 One of Soviet Georgia's senior citizens thought Dannori was an excellent yogurt. She ought to know. She's been eating yogurt for 137 years. CAMACHICH KVITZINIA. PHOTOGRAPHED IN ATRARA. SOVIET GEORGIA. 46 The Berkshire Music Center "One more thing should come from this scheme, cooperation with the Fromm Music namely, a good honest school of musicians." Foundation at Harvard, offers a broad — Henry Lee Higginson, on founding the Boston spectrum of the most advanced music of Symphony Orchestra. today's composers in a gala week of performances. The late Serge Koussevitzky fervent- ly shared Henry Lee Higginson's vision The Boston Symphony's Concert- of a "good honest school for musicians" master and Assistant Conductor Joseph — an academy where young musicians Silverstein heads a faculty that includes could extend their artistic training and principal players and members of the broaden their experience under the Orchestra and faculty members of Bos- guidance of eminent professionals. ton University's School of Fine Arts, soloists, More than any other person, it was plus leading conductors and Koussevitzky who made the vision a composers. The Center has numerous reality; he was Director of the Berkshire studios for practice and chamber music, Music Center from its founding in 1940 and an extensive library of music litera- until his death in 1951, and his vigorous ture and scores. Rehearsals and con- leadership has remained an inspiring certs of the Berkshire Music Center example in the years since. Orchestra and other student groups Serge Koussevitzky was succeeded by take place mostly in the Theatre- Hall, while lectures, Charles Munch, and it is a mark of the Concert seminars, Center's success that the Boston Sym- conducting classes, vocal and choral re- phony's present Music Director, Seiji hearsals, composers' forums and cham- Ozawa, studied here during the Munch ber music concerts take place in the era. Alumni of the Center are among Chamber Music Hall, in the West Barn, the most prominent and active mem- in the Hawthorne Cottage, on the Re- bers of the music world; more than ten hearsal Stage, and in the small studios percent of the members of this country's both on the Tanglewood grounds and in major orchestras are graduates of the buildings leased in Lenox. Each summer Center, as are many of the world's the Baldwin Piano and Organ Company notable conductors, instrumental solo- generously provides over 100 keyboard ists and singers. instruments for individual practice; Today the primary responsibility for other instruments — percussion, for ex- the Center's direction is in the hands of ample — are provided by the Orchestra. Gunther Schuller, composer, writer, The Boston Symphony is assisted in conductor and President of the New supporting the Center by the National England Conservatory until June 1977. Endowment for the Arts, a Federal Average enrollment is somewhat over agency, as well as by individual and 400 each summer, of which approxi- corporate sponsors. Scholarships are matelyl40 are members of the Center's awarded to the majority of the students, Fellowship Program; this provides free who are chosen by audition on a com- tuition (and in many cases free board petitive basis. The cost of the scholar- and expenses) for instrumentalists, ship program is large and adds sub- singers, conductors and composers of stantially to the Orchestra's yearly post-graduate calibre. In addition to the deficit — one major reason for the estab- Fellowship Program, Boston University, lishment of the Friends of Music at through its Tanglewood Institute, offers Tanglewood, a group that provides several college- credit programs for tal- critical support for the Center. A brief ented high school musicians; the noted account of members' privileges is printed soprano Phyllis Curtin directs a singers' on page 41, and more information may seminar highlighted by her own master be had at the Friend's Office near the classes. Finally, each summer the Cen- Main Gate. We invite you to see and ter's Festival of Contemporary Music hear for yourself the remarkable calibre (August 13-17 this year), presented in of the Center's young musicians. 47 — Tanglewood Talks & Walks Rensselaerville Tanglewood Talks & Walks are a fasci- Piano Festival nating series of five Thursday lecture- July 18 -July 30 luncheons at noon in the Tanglewood The Institute Tent, followed by a special guided tour of Tanglewood. Guest speakers include on Man and Science the musicians, conductors, and staff Rensselaerville, New York Orchestra and of the Boston Symphony DOROTHY TAUBMAN, Musical Director Berkshire Music Center. Bring a lunch ENID STETTNER, Administrative Director we'll provide the refreshments. Please • Paul Tobias. Cellist call the Tanglewood Friends Office at July 18 Elizabeth Moschelli, Pianist (413) 637-1600 for reservations. $2 con- July 19 • Jonathan Feldman, Pianist tribution to the public, free to Friends July 20 • Jocheved Kaplinsky, Pianist of Tanglewood. July 21 • Julia Hoetzman, Pianist July 22 • Natan Brand. Pianist LUNCHEON 12:15 July 23 • Samuel Baron, Flutist TALK 1:00 Carol Baron, Pianist July 24 • Edna Golandsky, Pianist WALK 1:30 July 25 • Katherine Teves, Pianist July 26 • Joshua Pierce, Pianist 1977 Tanglewood Talks & Walks July 27 • Steven DeGroote, Pianist July 29 • Nina Tichman, Pianist July 30 • Zitta Finkelstein, Pianist 14 JULY— VICTOR YAMPOLSKY Ail Concerts at 8:00 RM. Principal Second Violin Kawai official piano Boston Symphony Orchestra Admission $3.00 For Tickets or Reservations 28 JULY—JAMES F. KILEY 239-4635 Operations Manager, (518) Enid Stettner, Tanglewood or write Rensselaerville, N.Y 12147 4 AUGUST— PASQUALE CARDILLO Clarinet, Boston Symphony Orchestra; Principal Clarinet, Boston Pops Orchestra 1771 was a sood 18 AUGUST— BETSY JOLAS year for our Lobster Pie, Composer in Residence, Berkshire Music Center This year it's even better. 25 AUGUST— CAROL PROCTER Cello, Boston Symphony Orchestra Friends of Music at Tanglewood Lenox, Massachusetts 01240 Publick House (413) 637-1600 Good Yankee cooking, drink and lodging. On the Common — Sturbridge. Mass.— (617) 347-3313 48 The Friends of Music At Tanglewood Membership provides you with exciting opportunities and privileges all year long. It's the secret buy of the Berkshires! Free Berkshire Music Tent Membership: Center Concerts: The Tanglewood Tent, available to con- There are over 40 concerts each sum- tributors of $75 and over, provides a mer performed by the members of the hospitable gathering place behind the Berkshire Music Center, the Boston Music Shed where food and drink may be Symphony Orchestra's summer academy purchased on concert days. Hot buffet for the advanced study of music. These dinners are served on Saturday evenings outstanding mid-week concerts include beginning at 6:30 p.m. (Reservations chamber music recitals, full orchestra must be made through the Friends concerts, vocal and choral programs, Office no later than the Thursday after- and the annual Festival of Contem- noon preceding each Saturday porary Music, Tanglewood's "festival evening buffet.) within a festival/' Friends Concert Special parking for Friends: Memberships for individuals and Two convenient reserved parking areas families are available for $25.00. are available to all donors of $150 or Advance program information and more for all Boston Symphony Orches- ticket ordering forms: tra concerts: either the Box Parking Lot Approximately one month before the (Hawthorne Street entrance), or the public sale of seats in the early spring, Tent Parking Lot (West Street entrance). Friends will be sent the advance Berk- For information, contact: shire Festival programs and a priority Friends of Music at Tanglewood ticket application. Friends will also re- Lenox, Ma. 01240 ceive the monthly Boston Symphony (413) 637-1600 Orchestra publication, BSO. Ji Tin- r.iiiiitii IL Jfe^^rabis CONTEMPORAI^/ AMERICA DESIGN DISTINCTIVE FOOD Bookgtoi'tt DELIGHTFUL AMBIENCE OUTSTANDING CRAFTS TO GIVE OR TO TREASURE I22XOIC I II ST. PITTXI II Lit 49 CHESIE^CJDD The Executive Committee STOCKBRIDGE Tanglewood Council of the Boston Symphony Orchestra Mrs. James Garivaltis Mr. Curtis Buttenheim Co- Chairmen Mr. John Kittredge Secretary/Treasurer Mrs. Stephen V.G. Morris Mrs. Murray Klein Talks and Walks Mr. Colin MacFadyen Summer Estate of Mr. Ashley Smith DANIEL CHESTER FRENCH Business Mrs. Kelton M. Burbank Sculptor of the Mrs. John Kittredge Lincoln Memorial Benefits Studio, Residence, Barn Mrs. Charles Capers Sculpture Gallery, Period Receptions Garden, Nature Trail Mr. Robert A. Wells Daily 10-5 Community Affairs May - October Mrs. D.H. Potter off Rte. 183, Glendale Mr. William Harris a property of Tent the National Trust for Historic Preservation Mrs. Jean Massimiano Mr. Joseph Duffy Sales and Information Mrs. Gary A. Lopenzina THE Mrs. William H. Ryan OLD CORNER HOUSE Student Affairs *: y%x&. . Mrs. Archie Peace Foreign Students Mrs. John Kittredge Tanglewood- Boston Liaison Mrs. A. Lloyd Russell Boston- Tanglewood Liaison Paintings by Mr. Peter van S. Rice Mrs. John S. McLennan NORMAN ROCKWELL Nominating On permanent exhibit Open Year Round — Daily 10-5 p.m. Except Tuesdays Adults $1.00 Children 25< 50 * -^ U G° *% What's Happening CUETAINS in the At TkE Rf:d Lion Inn STOCKBR1DGE MASSACHUSETTS Berkshires? Monday thru Saturday 10 A.M.-5 P. U. Send for Frvv Catalog Phone Toil-Free and Find Out! Things to do today - exhibits, arts, music, VISIT BERKSHIRE LAKES ESTATES theatre, ballet, garden shows, special tours, EXPERIENCE COUNTRY LIVING all the current events in the Berkshires. AT ITS BEST! SOUTHERN BERKSHIRES Small Lakefront Community 528-7677 From Great Barnngton, Swim and boat on 2 crystal clear mountain Sheffield, West StockDndge lakes. Play tennis, badminton, volleyball and basketball on community courts. Live CENTRAL BERKSHIRES NORTHERN BERKSHIRES in privacy adjacent to a large state forest. 637-7677 662-7677 FromStockbndge, Lee. From Williamstown. Berkshire Lakes Estates Lenox. Prrtsfield Adams. North Adams Yokum Pond Road Becket, Mass. 01223 A service of the Berkshire Vacation Bureau 205 West St., Pittsfield, Mass. Tel. 413-623-8747 (A Division of the Berkshire Hills Conference). TO VISIT: Mass. Turnpike \p Lee, Mass.-Rt. 20 East. Continue 4 miles to Belden's Tavern. Left for 2 miles to Berkshire Lakes Estates. Williamstown "uruou-e/ cu\A cajxAaAu ruxul& cLUbine?' Theatre Festival Brunch Dinner Picnic After-Concert Baskets Supper Nikos Psacharopoulos J. Perspico Factor Our 23rd Season Includes: Misalliance. Sherlock Holmes. Alter the Fall, Restaurant Platonov and Learned Ladies June 30 - August 27 Open Till 1 A.M. Phone Reservations: 413-458-8146 25 Church St. • Lenox, Mass. PO. Box 517. Williamstown, Ma. 02167 637-2996 51 WeCurtisHotel Food & Lodging DELI -SHOP SANDWICHES • CATERING LENOX, 637-0016 TAKE OGT SERVICE 1 15 Elm Street, Pittsfield, Massachusetts. A BOOK "TO DO" NOT Tel. 442-5927 Featuring Hot Pastrami & Hot Corned Beef "JUST TO READ" Sandwiches Hebrew National Delicatessen • Rolls & Bagels baked daily • Imported & Domestic cheeses • Lox & smoked fish • Barbecued chicken • Fresh made salads • Party Platters Open Daily 8 to 6 ABERKSHIRE SOURCEBOOK of Your personal guide to Berkshire County: The new home its history, geography and major land- the world famous marks. Available at area bookstores and $ gift shops for just 2,95. Published by The Alices Restaurant Junior League of Berkshire County, Inc. Breakfast • Brunch AT flVflLOCH • Lunch • Dinner HE • Late Supper • Cocktail Lounge WILL AMSV1LLE- • Entertainment • MOTEL • tennis • pool INN i>34*MfSfc across the roadfrom Tanglewood rte. 183 Lenox 637-0897 A fine, small inn featuring superb Country French Cuisine LUNCH • DINNER The Sunshine Stage, Light Supper After Tanglewood Holliston Theatre, Route 183, Lenox, Mass. 01240. Tel. 413-637-0534. Rte. 41 , between W. Stockbridge and Gt. Barrington Year-round professional regional theatre featuring plays, films and children's theatre. Cafe on prem- Reservations Recommended by ises. Frank Bessell, Artistic Director. 413-274-6580 INN PERSPECTIVE > a little jewel in the Berkshires" cJQse.zW>aj.H7< A/sM?rfb THECLOTHESLOFT I (413)243-0181 or 637-2644 "Fine Sportswear Outlet" At Comfortable rooms, good food and drink in IT a country atmosphere. 179 Main Street, Great Barrington 1^ Open Daily Lunch & Dinner 164 North Street, Pittsfield ^^^ Tony Ferrelli Innkeeper VUyPU VgflflZE Accommodations for private parties. We ^IdStonemitlforp cater to parties, banquets and social Route 8, Grove St., Adams, Ma. gatherings. Orders to take out. Chinese Polynesian Restaurant * HANDPRINT WALLPAPER LENOX, MASS. For Reservations ^* Factory Outlet (413)443-4745 Open Mon-Fri 10-4, Sat 9-1 2:30 Open Daily 1 1 :30 'til 10 pm. Fri. & Sat til 1 am Fashion Doesn 't Stop At Size 14 BEAUTIFUL CLOTHES FOR ' FANTASY MAN i ^™ LARGE SIZE WOMEN Food, drink, lodging. Live music week ™*™™* ends. After concert, a 10 minute CroFFOROBE walk from the Lion's Gate. ^* 179 mnm street 413'52oollo WHEATLEIGH 637-0610 &. Gt. Barrington 52 WHY WAIT TO ENTER COLLEGE? SIMON'S ROCK EARLY COLLEGE Designed for the student who wishes to avoid the duplication of high school and college work Liberal Arts - B.A. and A. A. Degrees - Fully Accredited The interest of those who have completed the 10th or 1 1th grade of high school is invited Admissions Office Simon's Rock Early College Great Barrington, MA 01230 Telephone: 413-528-0771 Tanglewood Tradition To reach a Our outdoor Courtyard mature audience who — colorfully abounding Boston Symphony, — attend with Impatient plants Tanglewood, serves luncheons, Pops and dinners, snacks and call Steve Ganak Ad Reps, drinks. Our indoor Statler Office Bldg., Lion's Den features sandwiches, Boston, Mass. 02116 drinks and live entertainment. Both are open till 1 a.m. Phone: 617-542-6913 413-298-5545. Route 7, Stockbridge, Massachusetts. Since 1773. £& The Red Lion Inn tJ\\jOAA& (SJrulruiLV LtriiicLtuzA' * If you'd like your own tote bag showi~ Route 57 Tolland, Mass. support public broadcasting (other Chanrtel 17 logo), cl»3nd send to/W Box 17, Schenectady, NX 1230/. Telephone 413 - 258-4538 G $60 Sustaining Me $30 Regular Member A wide selection of antiques ranging from furniture, china and paintings. Name We also feature an extensive collection of primitive art from New Guinea. Open by appointment every day except Sunday. 53 — WEI Located in the Township of Becket, Mass. Norman Walker, Director Grace Badorek, Comptroller ; 1 ,•„..>. i Donald Westwood, Promotional Director FIRST WEEK—July 5 — 9 SEVENTH WEEK— Eight Soloists from the August 16—20 ' aintings W IP Royal Danish Ballet Dennis Wayne's Dancers SECOND WEEK- EIGHTH WEEK— July 12—16 August 23—27 ... 1 '• Cultural Center of the Contemporary Dancers I Philippines Dance Co. of Winnipeg (American debut (United States debut of the Company) of the Company) THIRD WEEK—July 19—23 Joyce Cuoco & Youri Vamos |7o CHURCH STREET LENOX. MASS. 413-637-2319 Teodoro Morca Jacob's Pillow Dancers | (Flamenco in Concert) Special Added Event Jacob's Pillow Dancers, September 2 4 Classical Pas de Deux Hartford Ballet — FOU RTH WEEK Performances: Perform- July 26 — 30 ances are held Tuesday Anne Marie DeAngelo through Saturday, Curt- and Lawrence Rhodes ain times: Tuesday, May O'Donnell 7:30 p.m., Wednesday, Concert Dance Company Friday and Saturday, Bhaskar (dances o' India) 6.40 p.m., Thursday and FIFTH WEEK— August 2—6 Saturday Matinees: Twyla Tharp 3:00 p.m. Tickets: Dancers and Dances S8.00 and $6.00. Avail- TUBE FEDLAR INN 1 able at Ticketron, SIXTH WEEK— August 9—13 Bloomingdale's or the *.1d OPERA HOUSE Ohio Ballet Company Jacob's Pillow Box Office 36 Luxury Rooms How to Reach Jacob's Pillow: Approx.150 miles from Boston near Tangle- FOOD«DR!MK 'LODGING wood. Lee-Pittsfield exit on the Mass. Turnpike. Exit 16-1-91 Public transportation from Boston via Greyhound to l_-e, Mass. Holvoke, Mass (413) 532-9494 America's FIRST Dance Festival Jacob's Pillow Dance Festival Mailing Address: Box 287, Lee, Mass. 01238 (413) 243-0745 I j IZkCordova Museuni erksbire Sumrnsf Concert^ ummer festival 6 days 5 nights- 1 1 meals Gospel singers, Ukrainian dancers, Per person dbl occup 50 Mime, Big Band Jazz, Folk singers... plus tx & tips 189 DE CORDOVA AMPHITHEATER Delux Accommodations Sandy Pond Rd., Lincoln, MA. All admissions to: TANGLEWOOD, Concerts 3:30pm BERKSHIRE PLAYHOUSE JACOB S Tickets:$2.50 PILLOW, STORROWTON for info call plus Naumkeag...Chesterwood... Corner 259-8355 House. ..Hancock Shaker Village. ..Scenic tours... Swimming... tennis... golf... & more or call direct for free brochure to } Ad was placed in cooperation with akriSpruce resort— the Middlesex County Tourism & Development Council, Inc. south lee, ma. 01260 • 1-800-628-5073 54 ^»-^^^g^—-^^ mm* edition peters *Ea ^5^7 ^w If you are a Music Lover, you will enjoy these free publications. EDITION PETERS COMPLETE CATALOGUE This new Complete Catalogue lists over 10,000 classical and contemporary publications for all instruments. In addition to providing an educational overview of virtually all the noteworthy older composers and their compositional output, it is sure to be of special interest to both teacher and student alike in giving a glimpse of the master composers themselves—for interspersed throughout the catalogue are various sections highlighting a different composer's facsimile manuscript and his written thoughts. &tm,Hoi&.. PETERS NOTES NEWSLETTER The C. F. Peters music publishing tradition since 1800 has been built on providing the public with quality publications and service . . . our new, semiannual Peters Notes Newsletter strengthens this tradition. Each issue details our publishing activities and presents pertinent articles and news in many different areas in an effort to assist the music educator, librarian, professional and student in their work. Contemporary CONTEMPORARY MUSIC CATALOGUE Music Our new Contemporary Music Catalogue has already met with such enthusiastic response by teachers, students, performers and composers of contemporary music that it is now in its second printing. The catalogue is an alphabetical listing, by composer, of approximately 1500 CATALOGUE contemporary compositions by more than 160 composers (primarily American)—featuring 45 biographical sketches and handwritten statements on music. C. F. PETERS CORPORATION, 373 Park Avenue South, New York, N.Y. 10016 Dear Friends at C. F. Peters, Please rush to me the following publications: Edition Peters Complete Catalogue D PETERS NOTES Newsletter D Contemporary Music Catalogue (please print) address: zip Please add my name to your mailing list for future mailings. 55 Introducing the Bose 901® Series III in comparison to any Series III: the most innovative new other speaker, regardless of size or speaker since the legendary price. 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Cabinets are walnut veneer. ask a Bose dealer to play the 901 Pedestals optional at extra cost 56 .This This is is one oinsrto of the worlds other. most popular wines. ,-<,*..' "..': ^T^sm^M A SOFT , VINO SEMI- *°*&»£c? w, the. a ESTATE ^Cti^C^iy m : 5L?na»:tw.8a.«L ttnOTS: 1 fj i «fc ""aiftP^SI £E PASTENE SSz!!^ *«$.' 82143 Castel Ruboun Lambrusco Now inwhite aswell as red. imported by Pastene Wine &. Spirits Co., Inc., Somervifie, MA 02143 The Impresario Words by Deborah Trustman ©copyright 197 7 Deborah Trustman all rights reserved OVERTURE The Impresario, Herr Buff, sweeps on stage wearing a purple cap and accompanied by Herr Vogelsang, a tenor. Ah, good day, my dear Herr Vogelsang, How kind of you to come along today and listen to these sopranos audition. We must begin to plan the coming season — good singers are soon booked — with good reason, and to my mind these ladies are the best we'll find, and they are asking fees that fit our projected budget's deficit. Madame .Herz has been invited first, I know there can be nothing worse than two sopranos singing in one room, Miss Silberklang is due at noon. You are young, you do not know the ways jealous prima donnas can behave to make one pay attention to their talents. I mention this, since frequently we must tolerate their histrionic fuss. They rage thus and they call it art; they tell you that it's written in the part and that an artist must subsume her personality to perform. Their passion's target's me; it's aimed appropriately. I fashion the artistic entity, I guard the musical integrity. Succeed or fail, it's due to me. Besides, I have the money. I demand that musically the quality be high, but serendipity is rare, and full houses we ensure by playing operas we've heard before. It's a rare audience that will endure contemporary sound. I produce secure old-fashioned works my patrons love to hear or my accounts would soon be in arrears. If I make certain at the last curtain that most of the crowd is humming aloud, they will come back again and again and again in spite of the rain. You accuse me of timidity, but my basic sin's cupidity, Herr Vogelsang, you must excuse my philosophic rambling. I muse; h nostalgic I we not ild Madame Her/ tor years, but i Butt you i annol impress she used to be extremely pretty. me with rhetoru Vain arabesque, it is I sang with her once in ttte. grist foi my mill \ i 11 still I m sure she has not changed low yOU arc extraordinary is She p an range Shi early I'm on time, more 01 less and she was passionate, artistically, of course. She sang with great dramatic force Impresario in German. She said that sounded closest to the truth. Now, Madame Her/, you know you're late, They let her do it in her youth. and I beg you, please do not berate She wanted opera to be esoteric; me for your charming peccadillos it simply barbaric. Your waist stays slender as ,1 willow, I m translation was Perhaps it's well the public does not understand C ome, come my Jew what will you sing for us, the lyrics: they are frequently inane or bland. a bit of sweet insouciant flutt, Music by itself should lift the spirits or that gorgeous, heart-rending farewell Comprehension would impair its from . nt th.it you d^ so well? function. And, my dear Herr Vogelsang, Herz Madame Herz has long been Number One. (smiling but. naturlic Her manner's quite effusive, but her not conducive ego's MADAME HERZ'S ARIA to collaboration. That you will see — that needs no elaboration. She's late already We'll soon be in a bind. Madame Herz, with what exquisite tenderness sing that I 1 knew she'd never come on time. you moving ana must confess She'll rush in breathless, hair dishevelled, 1 find myself quite touched. This >s so unexpected and claim that I'm a nasty devil, If I had the luck to find lo\ (""directed to wake her up at such an early hour. at me — in real life, of course —we'd never part She cannot vocalize, her voice is sour, I must remind myself that this is only art and, anyway, she's no silly ingenue Back to business. I must collect grabbing at a chance for a debut. myself. Miss Silberklang. I am correct, Ill be patient. 111 remind her we've never met ? of a tune in G minor, 1 1' Mme Herz) My dear, this ladv is a colleague, not a threat. a mournful key, that aria (To Miss Silberklang) I'm sorry that I inconvenience you from Damone e Rognone, an early opera [o Mme. Herz) But I fear we really should continue. by Wolfgang Amadeus Mozart. Please go, if you'd prefer. She's sung it for years, it's close to her heart. Please stay, but I defer By the way, I do not know Miss Silberklang, to you You have my total sympathy but I have friends who heard her when she sang There is no question of supremacy here last summer, some of that modern stuff We work together here that strains the voice and its makes edges rough. I t ry to make it cle.u As to her artistic temperament, what matters is the whole I remain completely ignorant. What good is it if every separate role is sung as in The two sopranos, Mme. Herz and recital? Miss Silberklang, enter simultaneously from opposite sides I lost, the stage. They are dressed he drama's the vital m clashing colors. They see each other and stop short. They stand facing each other, threateningly. tension's gone. The audience demands The Impresario rushes between them. He grasps Mme. Herz's its money back, and that I cannot hand and bends over it. stand. Miss Silberklang, you have a first-rate reputation Dear Madame Herz, I kiss your hand! and looking at this resume, youi education's We have not met for years! How can sound I suppose, in order to suggest jch time have passed? How well you look! the purest musicality, you are singing the Urtext? Your is charm undiminished! I took you for an ingenue! Silberklang Do you recall what time we made our rendezvous? (grimlyl Natiirlich. ' MISS s|| Ml KKI \N(,'S \KI \ Madame Herz, be calm Miss Silberklang, 7 ]mprx what's wrong This is out of my control! Wh.it \ irtuosit) I feel Wh.it luminosity I'm losing hold! There is no cause for strife. of tone! Wli.it t.u ilit) Art is pure delight! what agility! I must be getting Such intelligence! old! Such innocence! Herr Vogelsang, please help me 1 Such delight 1 know this is not healthy \lv friends were right! Is there something you can do? t' i ou can men a< I put my faith in you! You're not another vocal .nroh.it Please come to my rescue! who leaps from note to note sounding frigid and remote Herz I'm the better of the two! To my increased surprise I see that you demand a tiny fee! Silberklang Ml hire you. Miss Silberklang I'm the better of the two! but I think you ought to change your name to -omething short a syllable that will. Herr Vogelsang throws up his if you would c\uise me, sell. hands. I can see a great career TRIO tor you, my dear! Your youthful vigor, Impresario coupled with my biggei Please, I've had enough! reputation If your enmity is such a combination I will let you go. that cannot lose! After all, I run this show. You will not refuse! It must go on without you if I am sure of it you cannot patch this petty rift I — I mean — we will profit! You are, each of you, superb You'll be the sensation I've hardly ever heard of the next generation 1 two such lovely voices blending Ah, Susanna, And now, I want a happy Ah, Pamina, ending. Our sole concern is for our art, Fiordiligi, Cherubino 1 and everyone must shape his part Critics will have reason to esteem you! to enhance the operatic whole. Madame Herz, you fume! This is our concerted goal. I assure you there is room But while you vent your vanitv. for your capricious temperament; while you babble your inanities, your position here is permanent! you're forgetting who 1 am I'll let you pick the music, I am the quintessential ham. take any part, you choose it, I am your as you wish, Impresario an unfulfilled Lothario if you insist. I am, in short, your clownish Faust, Miss Silberklang, you rage! and I bring up and down the house. It's unbecoming at your age to show a violent temper. QUARTET Do not try to simper! You know I can't afford to let you go Soon you'll be adored, a prima donna of my making, but what a risk I'm taking! They both demand stage center! TANGLEWOOD 1977 Friday, 15 July The mezzo-soprano solo in the Mendelssohn Psalm will be sung by Kathryn Asman.