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&# *%# .5 For 104 years we've been serious about people who make music.

In 1872 University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the School of Music is still doing what it does best.

• Performance • Music Education • History and Literature • Theory and Composition

strings music history and literature Walter Eisenberg, violin 'Charles Kavaloski, French horn Karol Berger

"Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz

' Bernard Kadinoff, viola 'David Ohanian, French horn Joel Sheveloff Endel Kalam, Samuel Pilafian, tuba theory and composition ' Robert Karol, viola ' Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin Harry Shapiro, French horn ' Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman Martin, string bass 'Charles Yancich, French horn 'Leslie Alan MacMillan George Neikrug, percussion Joyce Mekeel " Mischa Nieland, cello 'Thomas Gauger Malloy Miller Leslie Parnas, cello ' Charles Smith Gardner Read 'Henry Portnoi, string bass Allen Schindler 'Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence * Alfred Schneider, violin music education ' Roger Shermont, violin piano Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura Jack O. Lemons Walter Trampler, viola Lenore Engdahl Mary Ann Norton Bela ' Max Winder, violin Boszormenyi-Nagy musical organizations 'Lawrence Wolfe, string bass Philip Oliver, staff accompanist Edith Stearns Adelaide Bishop, opera woodwinds Fredrik Wanger Warren Wilson, opera Edward Avedisian, clarinet Joseph Huszti, chorus 'Pasquale Cardillo, clarinet organ 'Joseph Silverstein, orchestra 'Doriot Anthony Dwyer, flute George Faxon 'Jerome Rosen, repertoire Roderick Ferland, saxophone Jack Fisher orchestra 'Ralph Gomberg, oboe Max Miller 'Roger Voisin, wind ensemble 'John Holmes, oboe harpsichord boston symphony orchestra 'Phillip Kaplan, flute Joseph Payne woodwind quintet in residence 'James Pappoutsakis, flute * Doriot Anthony Dwyer, flute * Richard Plaster, bassoon voice * Ralph Gomberg, oboe * Matthew Ruggiero, bassoon Eunice Alberts, contralto 'Harold Wright, clarinet 'Felix Viscuglia, clarinet Germaine Arosa, diction * Sherman Walt, bassoon * Sherman Walt, bassoon Mary Davenport, contralto * Charles Kavaloski, French horn 'Harold Wright, clarinet Terry Decima, vocal coaching empire brass quintet brass Ellalou Dimmock, soprano in residence * Ronald Barron, trombone Maeda Freeman, mezzo Charles A. Lewis, Jr., trumpet Peter Chapman, trumpet Robert Gartside, tenor * Rolf Smedvig, trumpet John Coffey, trombone Ituba Mac Morgan, baritone 'David Ohanian, French horn * Armando Ghitalla, trumpet Chloe Owen, soprano 'Norman Bolter, trombone Paul Gay, trombone Allen Rogers, vocal coaching Samuel Pilafian, tuba * Gordon Hallberg, Barbara Stevenson, soprano trombone Ituba Wilma Thompson, mezzo

'Member of the Boston Symphony Orchestra Boston University School of Music

Wilbur D. 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, 02215 BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director IjiL ^jij

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Seiji Ozawa, Music Director

Colin Davis, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

Ninety-Fifth Season 1975-76

The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks President

Philip K. Allen Sidney Stoneman John L. Thorndike Vice-President Vice-President Treasurer

Vernon R. Alden Mrs. Harris Fahnestock Albert L. Nickerson Allen G. Barry Harold D. Hodgkinson John T. Noonan Mrs. John M. Bradley David O. Ives Mrs. James H. Perkins

Richard P. Chapman E. Morton Jennings, Jr. Irving W. Rabb Abram T. Collier Edward M. Kennedy Paul C. Reardon

Nelson J. Darling, Jr. Edward G. Murray Mrs. George Lee Sargent Archie C. Epps III John Hoyt Stookey Trustee Emeritus Henry A. Laughlin

Administration of the Boston Symphony Orchestra

Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager

Gideon Toeplitz Daniel R. Gustin Dinah Daniels

Assistant Manager Assistant Manager Director of Promotion Paul Bronstein Forrester C. Smith Richard C. White

Business Manager Development Director Assistant to the Manager

Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood John Kronenberger Program Editor

Programs copyright ® 1976 Boston Symphony Orchestra Inc.

Contents:

page page Tanglewood 6 Programs 13-27 Seiji Ozawa 9 Berkshire Music Center 29 Map 10 In and Around The Berkshires 33 Information 11 Friends 35,37 The Board of Overseers of the Boston Symphony Orchestra Inc.

David O. Ives, Chairman Hazen H. Ayer, Vice Chairman

Mrs. Arthur I. Strang, Secretary

Charles F. Adams Paul Fromm Richard P. Morse Mrs. Frank G. Allen Carlton P. Fuller David G. Mugar

Dr. Leo L. Beranek Mrs. Thomas J. Galligan, Jr. Dr. Barbara W. Newell David W. Bernstein Mrs. Thomas Gardiner Stephen Paine David Bird Mrs. John L. Grandin Mrs. Priscilla Potter Gerhard Bleicken Bruce Harriman Harry Remis Frederick Brandi Mrs. Richard D. Hill Mrs. Peter van S. Rice

Curtis Buttenheim Mrs. Amory Houghton, Jr. Mrs. Samuel L. Rosenberry

Mrs. Henry B. Cabot Richard S. Humphrey, Jr. Mrs. Jerome Rosenfeld Mrs. Mary Louise Cabot Mrs. Jim Lee Hunt Mrs. A. Lloyd Russell Mrs. Norman L. Cahners Leonard Kaplan William A. Selke

Levin H. Campbell, III Samuel L. Slosberg

Dr. George H.A. Clowes, Jr. Mrs. James F. Lawrence Richard A. Smith Arthur P. Contas Roderick MacDougall Mrs. Edward S. Stimpson The Hon. Silvio O. Conte John S. McLennan Mrs. Edward A. Taft

Robert Cushman Colman M. Mockler, Jr. Mrs. Richard H. Thompson

Michael J. Daly Mrs. Charles L. Moore Stokley P. Towles Mrs. C. Russell Eddy Mrs. Elting E. Morison D. Thomas Trigg Weston P. Figgins Frank E. Morris Julius Vogel

Boston University Tanglewood Institute

Norman Dello Joio, Executive Director Gary L. Zeller, Administrator Robert Lee Tipps, Music Coordinator

Eleventh Season

Summer Instrumental and Vocal Programs for the out- standing high school 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 perform- ances 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. Todays Great Piano.

For many years Baldwin pianos have been the accompanist to the Boston Symphony Orchestra, The Berkshire Festival, The Berkshire Music Center, and these 1976 Tanglewood artists:

Leonard Bernstein Arthur Fiedler Gilbert Kalish Seiji Ozawa Andre Previn Gunther Schuller Earl Wild Baldwin Tanglewood

In August, 1934, a group of- music- loving summer residents of the Berk- shires organized a series of three INTERNATIONAL SOCIETY outdoor concerts at Interlaken, to be FOR CONTEMPORARY MUSIC given by members of the under the direction of Henry Hadley. The venture was so World Music Days successful that the promoters incor- porated the Berkshire Symphonic 1976 Festival and repeated the experiment during the next summer. October 24-October 30 The Festival committee then invited Serge Koussevitzky and the Boston New England Conservatory of Music Symphony Orchestra to take part in the Boston, Massachusetts following year's concerts. The Orches- tra's Trustees accepted and on August

A festival of 13 concerts of contemporary 13, 1936, the Boston Symphony gave music representing composers its first concert in the Berkshires (at from 27 countries Holmwood, a former Vanderbilt estate, later the Foxhollow School). The series, again consisting of three concerts, was Performing groups include: given under a large tent, and a total of Boston Symphony Orchestra, nearly 15,000 people attended. New England Conservatory Symphony Orchestra, In the winter of 1936, Mrs. Gorham University of Iowa Orchestra, Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tap- Conductors: pan family estate, with its buildings and Seiji Ozawa, GuntherSchuller, James Dixon, Richard Pittman 210 acres of lawns and meadows, as a gift to Koussevitzky and the Orchestra. Chamber music concerts featuring The offer was gratefully accepted, and Boston Musica Viva, Collage, Societe de on August 12, 1937, the Festival's Musique Contemporainedu Quebec, largest crowd thus far assembled under The Purcell String Quartet, and others. a tent for the first Tanglewood concert, a program of music by Wagner.

For information: As Koussevitzky began The Ride of the ISCM Valkyries, a storm erupted, overpowering New England Conservatory the music and causing the concert to be 290 Huntington Avenue interrupted three times before the first Boston, Massachusetts 02115 half could be completed. The second half Tel. 617-262-0122 of the program had to be changed, because of water damage to some of the instruments, and when the concert ended, Miss Gertrude Robinson Smith, one of the Festival's founders, came to the stage and told the audience that the storm had demonstrated the need for a permanent structure. A hundred thousand dollars, she said, would be needed for this purpose, and the response to her plea was so generous that within a short time the amount was fully subscribed. Plans for the Music Shed were drawn up by the 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 WAIilC rehearsals, the annual Festival of FM 90.3 mHz Contemporary Music, and almost daily concerts by the gifted young musicians We bring you fine music 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 but also a vast lines are often Enjoy range of musical forms and styles, all made. of it presented with a regard for artistic "All Things Considered," a excellence that makes the Festival fascinating m agazine of news unique. Tanglewood and the Berkshire and issues. (Nothingelse like it projects Music Center, 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

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Strawberry UWFAT Y6GURT Seiji Ozawa, Music Director

Seiji Ozawa became Music Director of Director of the Berkshire Music Festi- the Boston Symphony Orchestra in the val, and in December of that year he fall of 1973 and is the thirteenth con- began his inaugural season as Con- ductor to head the Orchestra since its ductor and Music Director of the San founding in 1881. Francisco Symphony Orchestra, titles He was born in Hoten, Manchuria, he held concurrently with his position in 1935, and graduated from the Toho as Music Director of the Boston Sym- School of Music in Tokyo with first phony until he resigned them this prizes in composition and conducting. spring. (He will be Honorary Conductor When he won first prize at the Inter- in San Francisco for the 1976-1977 national Competition of Conducting at season.) Besangon, France, shortly after his In February and March of this year graduation, one of the judges of the Mr. Ozawa led the Boston Symphony's competition was the late Charles celebrated eleven-city tour of Europe. Munch, then Music Director of the Late this spring he directed a fully- Boston Symphony, who invited him staged production of Boris Godunov in to study at Tanglewood during the Tokyo. Besides Tanglewood, his sched- following summer. Mr. Ozawa's asso- ule this summer includes an appearance ciation with the Orchestra began during at the Salzburg Festival, leading the that session of the Berkshire Music Dresden Philharmonic. His recordings Center as a student of conducting in with the Orchestra on the Deutsche 1960. He was a guest conductor with Grammophon label include Berlioz's the Orchestra first in 1964. Symphonie fantastique and La damnation de Beginning with the summer of 1964, Faust, Beethoven's Piano Concerto No. 5 Mr. Ozawa was for five seasons Music with soloist Christoph Eschenbach, and Director of the Ravinia Festival, and the complete orchestral music of Ravel. at the beginning of the 1965-66 season This fall DG has three new Ozawa/BSO he became Music Director of the collaborations scheduled for release:

Toronto Symphony, a post he relin- Berlioz's Romeo et Juliette, Shostakovitch's quished after four seasons to devote Cello Concerto No. 2 (with soloist his time to study and guest conducting. Mstislav Rostropovich) and Charles In 1970 Mr. Ozawa became Artistic Ives's Fourth Symphony.

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10 1 ' 1

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Available at the Tanglewood Music Store and fine stores everywhere. Or order directly from:

Cambridge, Mass. 02138 Press , 79 Garden st,

Harvard University Press is the publisher of The Howard Dictionary ofMusic. Belknap Press. $20.00

12 Tanglewood 1976

Weekend Prelude

Malcolm Frager, piano

Friday, August 6 7 p.m.

Sonata in F major, Op. 54 Beethoven In tempo d'un menuetto Allegretto

Sonata in F minor, Op. 57 ("Appassionata") Beethoven Allegro assai Andante con moto Allegro ma non troppo

Mr. Frager plays the Baldwin piano for this performance.

13 Jerome Lipson Robert Karol Bassoons Bernard Kadinoff Sherman Walt Edward A. Taft chair BOSTON Vincent Mauricci Roland Small Earl Hedberg Matthew Ruggiero SYMPHONY Joseph Pietropaolo ORCHESTRA Robert Barnes Contra bassoon Michael Zaretsky SEIJl OZAWA Richard Plaster Music Director Horns Jules Eskin Charles Kavaloski Philip R. Allen chair Helen Sagoff Slosberg chair Martin Hoherman Charles Yancich Mischa Nieland David Ohanian Jerome Patterson First violins Richard Mackey Robert Ripley Joseph Silverstein Ralph Pottle Concertmaster Luis Leguia Charles Munch chair Carol Procter Trumpets Emanuel Borok Ronald Feldman Armando Ghitalla Assistant Concertmaster Moerschel Joel Andre" Come Helen Horner Mclntyre Chair Jonathan Miller Rolf Smedvig Max Hobart Martha Babcock Rolland Tapley Gerard Goguen Roger Shermont Basses Trombones Max Winder Rhein William Ronald Barron Harry Dickson Harold D. Hodgkinson chair Gottfried Wilfinger Joseph Hearne William Gibson Fredy Ostrovsky Bela Wurtzler Norman Bolter Leo Panasevich Leslie Martin Gordon Hallberg Sheldon Rotenberg John Salkowski Alfred Schneider John Barwicki Tuba Stanley Benson Robert Olson Chester Schmitz Gerald Gelbloom Lawrence Wolfe Raymond Sird Henry Portnoi Timpani Ikuko Mizuno Everett Firth Sylvia Shippen Wells chair Cecylia Arzewski Flutes Amnon Levy Doriot Anthony Dwyer Percussion Walter Piston chair Charles Smith Second violins James Pappoutsakis Arthur Press Victor Yampolsky Paul Fried Assistant timpanist Fahnestock chair Thomas Gauger Marylou Speaker Frank Epstein Michel Sasson Piccolo Ronald Knudsen Lois Schaefer Harps Leonard Moss Bernard Zighe'ra Bo Youp Hwang Oboes Ralph Ann Hobson Laszlo Nagy Gomberg Mildred B. Remis chair Michael Vitale John Holmes Personnel Managers Darlene Gray Wayne Rapier William Moyer Ronald Wilkison Harry Shapiro Harvey Seigel English Horn Jerome Rosen Laurence Thorstenberg Librarians Sheila Fiekowsky Victor Alpert Gerald Elias Clarinets William Shisler Vyacheslav Uritsky Harold Wright Ann Banks chair S.M. Stage Manager Violas Pasquale Cardillo Alfred Robison Burton Fine Peter Hadcock Charles S. Dana chair E-flat clarinet Reuben Green Eugene Lehner Bass Clarinet George Humphrey Felix Viscuglia

14 Tanglewood 1976

Boston Symphony Orchestra Seiji Ozawa, Music Director

Friday, August 6 9 p.m.

COLIN DAVIS conducting

Coriolan Overture Beethoven

Symphony No. 1 in C major, Op. 21 Beethoven Allegro molto; allegro con brio Andante cantabile con moto Menuetto: allegro molto e vivace Adagio: allegro molto e vivace

INTERMISSION

Symphony No. 7 in A major, Op. 92 Beethoven Poco sostenuto; vivace Allegretto Presto; assai meno presto Allegro con brio

Deutsche Grammophon Records Baldwin Piano Philips Records

15 Notes Shakespeare's famous scene in which the inner struggle of honor, pride and love reaches its climax seems to be the direct of Beethoven's overture. (1770-1827) subject The opening chords, proud, ferocious, Overture for Heinrich Joseph von Collin's implacable, limn Coriolanus in a few tragedy Coriolan, Op. 62 bold strokes. The second subject, gentle The tale of Coriolanus, as related by and melodious, seems to introduce the Plutarch, is in itself exciting dramatic moving protestations of his mother. material (details of which have been The contrasting musical subject of questioned by historians). Coriolanus, Coriolanus recurs, at first resistant but according to Plutarch, was a patrician gradually softening, until at the end general of the Romans, a warrior of there is entire capitulation. the utmost bravery and recklessness who, single-handed, had led Rome to — John N. Burk victory against the neighboring Vol- scians. was at this time torn by Rome Symphony No. 1 in C, Op. 21 bitter controversy between the patri- The Boston Symphony Orchestra first performed cians and the plebeians who declared the Symphony in its opening season, 1881, themselves starved and oppressed be- under the direction George Henschel. The yond endurance. Coriolanus, impulsive of most recent Tanglewood performance was con- and overbearing, had scorned and open- ducted by Eugene Ormandy in 1975. ly insulted the populace in terms which The instrumentation: 2 flutes, 2 oboes, 2 roused the general anger, and when clarinets, 2 bassoons, 2 horns, 2 trumpets, the military hero was proposed as con- timpani and strings. sul, the senate was swayed by the popu- lar clamor, and voted his permanent The introductory Adagio motto of the exile from Rome in the year 491 B.C. Symphony, only twelve bars in length, Swept by feelings of bitterness and seems to take its cue from Haydn and desire for revenge, he took refuge with hardly foreshadows the extended intro- the Volscians, the traditional enemies ductions of other symphonies to come. of the Romans, and made compact with The main theme in C major proclaims them to lead a campaign against his its tonality by hammering insistently own people. The fall of Rome seemed upon its tonic. With this polarizing imminent, and emissaries were sent theme, the composer can leap suddenly from the capital to the Volscian encamp- from one key to another without am- ment outside the city walls. Coriolanus biguity. The second theme, of orthodox, met every entreaty with absolute rejec- contrasting character, seems as plainly tion. In desperation, a delegation of designed to bring into play the alternate women went out from the city, led by blending voices of the woodwinds. his mother and his wife. They went to The theme of the Andante cantabile was his tent and beseeched him on their one of those inspirations which at once knees to spare his own people. The took the popular fancy. The ready in- pride and determination of the soldier vention, the development of a fragment were at last subdued by the moving of rhythm or melody into fresh and words of his mother, who pictured the charming significance, the individual eternal disgrace which he would cer- treatment of the various instruments tainly inflict upon his own family. confirms what was already evident in Coriolanus yielded and withdrew the the development of the first movement forces under his command, thus bring- — Beethoven's orchestral voice already ing the anger of the Volscian leaders assured and distinct, speaking through upon his own head. He was slain by the formal periods which he had not them, according to the version of yet cast off. Shakespeare; according to Collin, he The "Minuet," so named, is more was driven to suicide. than the prophecy of a scherzo with 16 its swifter tempo. Although the repeats, Next week's programs: the trio and da capo are quite in the accepted mold of the Haydnesque Friday, August 13 minuet, the composer rides freely on divine whims of modulation and stress 7 p.m. of some passing thought in a way which Weekend Prelude disturbed the pedants of the year 1800. EARL WILD, piano

It is told of the capricious introduc- Popular Encores: tory five bars of the Finale, in which Chopin, Liszt, Gershwin the first violins reveal the ascending scale of the theme bit by bit, that Turk, 9 p.m. cautious conductor at the Halle in 1809, ARTHUR FIEDLER conducting made a practice of omitting these bars in fear that the audience would be Gershwin: moved to laughter. The key progres- Cuban Overture sions, the swift scale passages, the typi- cal eighteenth-century sleight of hand Concerto in F ally this than the movement more EARL WILD, piano others with current ways. It was the ultimate word, let us say, upon a form Porgy and Bess Suite which had reached with Haydn and Selections from Girl Crazy Mozart its perfect crystallization, and after which there was no alternative but a new path. Saturday, August 14 — N. Burk John 8:30 p.m. SEIJI OZAWA conducting Symphony No. 7 in A, Op. 92

Beethoven finished the Seventh Symphony in Crumb: the summer of 1812 and directed the first Echoes of Time and the River public performance in the hall of the University of Vienna on December 8, 1813. Georg Griffes: Henschel conducted the first performance by Songs of Fiona MacLeod the Boston Symphony Orchestra during the opening season, on February 3, 1882. The PHYLLIS BRYN-JULSON, soprano most recent performance by the Orchestra at Tanglewood took place in 1974; Eugen Jochum Ives: conducted. Symphony No. 4 The instrumentation: 2 flutes, 2 oboes, 2 cla- rinets, 2 bassoons, 2 horns, 2 trumpets, tim- TANGLEWOOD CHOIR, pani and strings. JOHN OLIVER, conductor It would require more than a technical yardstick to measure the true propor- Sunday, August 15 tions of the Seventh Symphony — the sense of immensity which it conveys. 2:30 p.m. Beethoven seems to have built up this SEIJI OZAWA conducting impression by wilfully driving a single rhythmic figure through each move- Rochberg: ment, until the music attains (particu- Violin Concerto larly in the body of the first movement, , violin and in the Finale) a swift propulsion, an effect of cumulative growth which Brahms: is akin to extraordinary size. The three preceding symphonies have none of this Symphony No. 1 quality — the slow movement of the 17 Fourth and many parts of the Pastoral from the light and graceful presto, al- are static by comparison. Even the Fifth though it grows directly from a simple Symphony dwells in violent dramatic alternation of two notes half a tone contrasts, which are the antithesis of apart in the main body of the move- sustained, expansive motion. Schubert's ment. Thayer reports the refrain, on great Symphony in C major, very dif- the authority of the Abbe Stadler, to ferent of course from Beethoven's have derived from a pilgrim's hymn Seventh, makes a similar effect of gran- familiar in Lower Austria. deur by similar means in its Finale. The Finale has been called typical of The long introduction (Beethoven the "unbuttoned" (aufgeknopft) Beetho- had not used one since his Fourth Sym- ven. Grove finds in it, for the first time phony) leads, by many repetitions on in his music, "a vein of rough, hard, the dominant, into the main body of personal boisterousness, the same feel- the movement, where the character- ing which inspired the strange jests, istic rhythm, once released, holds its puns and nicknames which abound in swift course, almost without cessation, his letters." Schumann calls it "hitting until the end of the movement. Where all round" (schlagen um sich). "The force a modern composer seeks rhythmic that reigns throughout this movement interest by rhythmic variety and com- is literally prodigious, and reminds one plexity, Beethoven keeps strictly to his of Carlyle's hero Ram Dass, who had repetitious pattern, and, with no more fire enough in his belly to burn up the than the spare orchestra of Mozart to entire world." Years ago the resem- work upon, finds variety through his blance was noted between the first sub- inexhaustible invention. It is as if the ject of the Finale and Beethoven's ac- rhythmic germ has taken hold of his companiment to the Irish air "Nora imagination and, starting from the Creina," which he was working upon merest fragment, expands and looms, at this time for George Thomson of leaping through every part of the or- Edinburgh. chestra, touching a new magic of beauty — John N. Burk at every unexpected turn. Wagner called the symphony "the Dance in its highest condition; the happiest realization of the movements of the body in an ideal form." In the Allegretto Beethoven withholds his headlong, capricious mood. But the sense of motion continues in this, the most agile of his symphonic slow move- ments (excepting the entirely different Allegretto of the Eighth). It is in A HANCOCK SHAKER minor, and subdued by comparison, but VILLAGE pivots no less upon its rhythmic motto, and when the music changes to A major, the clarinets and bassoons setting their Original 18th Century melody against triplets in the violins, Village Restored the basses maintain the incessant Open daily 9:30-5:00 rhythm. Adults $3 Children $1 The third movement is marked simply "presto," although it is a scherzo in Annual Kitchen Festival effect. The whimsical Beethoven of the Week of August 2nd first movement is still in evidence, with Route 20 Five miles West sudden outbursts, and alternations of of Pittsfield, Mass. fortissimo and piano. The trio, which occurs twice in the course of the move- ment, is entirely different in character 18 Tanglewood 1976

Boston Symphony Orchestra Seiji Ozawa, Music Director

Saturday, August 7 8:30 p.m.

COLIN DAVIS conducting

Missa Solemnis in D major, Op. 123 Beethoven

Kyrie: assai sostenuto (mit Andacht); andante assai ben marcato; tempo primo

Gloria: allegro vivace; larghetto; allegro maestoso; allegro ma non troppo e ben marcato; poco piu allegro; presto

Credo: allegro ma non troppo; adagio; andante; adagio espressivo; allegro; allegro molto; allegro ma non troppo; allegretto ma non troppo; allegro con moto; grave

Sanctus: adagio (mit Andacht); allegro pesente; presto; Preludium: sostenuto ma non troppo; andante molto cantabile e non troppo mosso

Agnus Dei: adagio; allegretto vivace; allegro assai; presto; tempo primo

SUSAN DAVENNY WYNER, soprano; ANNA REYNOLDS, contralto; ERIC TAPPY, tenor; MARIUS RINTZLER, bass; TANGLEWOOD FESTIVAL CHORUS and TANGLEWOOD CHOIR, JOHN OLIVER, conductor

Deutsche Grammophon Records^ Baldwin Records Philips Records

19 Notes in a flowing andante, and joined by the chorus, gives the intervening Christe. The Kyrie returns in different treat- Ludwig van Beethoven (1770-1827) ment, dying away in a prayerful coda. In the Gloria the orchestral forces Missa Solemnis in D, Op. 123 (without trombones) and the chorus The Missa Solemnis, which was completed in first disclose the full force of the com- 1823, was first performed in St. Petersburg poser praising his God. The resounding in April, 1824. First performed in Boston in tumult suddenly falls away as the cho- by the Cecilia Society, conducted by 1897 rus begins its rhythmic chant "el in terra B.J. Lang, the Mass was performed at the pax hominibus." The music conforms dedication of Symphony Hall in 1900, by the phrase by phrase to the text, and yet same group with the Boston Symphony conducted remains musical logic, self-contained by Wilhelm Gericke. The most recent perfor- and inevitable. A cantabile interlude mance at Tanglewood came in 1971, when it introduces the Gratias agimus, a hymn was conducted by Leonard Bernstein and played of thanksgiving which the Domine Deus in memory of Serge Koussevitzky. soon dispels, the words set against the The Mass is scored for 2 flutes, 2 oboes, Gloria motto in the orchestra. At the 2 clarinets, 2 bassoons and contra bassoon, words "Pater omnipotent' the might of 4 horns, 2 trumpets, 3 trombones, timpani, God summons a sustained chord, blaz- organ and strings. ing with organ and orchestra. But again Before beginning upon the Missa at the mention of Christ there is a long Solemnis, Beethoven made inquiries as diminuendo to the expressive Larghetto to the meaning and implications of the of the Qui tollis, the plea of humanity Latin text. To him, as the music shows, for Christ's absolution. The Quoniam, the text was not filled with ritual asso- brief and majestic, ushers in the great ciations. There is no clearer evidence fugal return of the Gloria, the climax that the faith of Beethoven was direct of the movement, to be rivalled only and uninstructed. "Coming from the by the final fugue of the Credo. heart, may it again reach the heart," he The Credo is by far the longest and wrote over his manuscript score, and most comprehensive movement. The he saw to it that ecclesiastical conven- music, like the text, holds heaven and tion did not intervene. Neither did that earth, is a panorama of the Christian familiar attribute of choral music, the faith. The motto of the repeated word calculated assault upon the ears. Where "Credo" is a striking profile, terse, Beet- the Mass makes its dramatic effect it hovian. As Christ descends to earth does so simply because Beethoven felt the music becomes humbly devotional. his subject dramatically, and so expres- The Et incarnatus is in complete contrast.

sed it. Intense personal feeling was the The tenor solo sings of Christ's birth motive origin of the Missa solemnis and by the Virgin Mary in a mystic adagio its overriding consummation. in the Doric mode. "Et homo facus est" Beethoven wrote at the top of the is briefly set forth in the mortal, earthly opening Kyrie "mil Andacht" (with devo- major of D. tion) and the same words appear over The Crucifixus is dramatic, concen- the Sanctus. That direction might well trated, moving. Solo voices sing the stand for the whole score. Each page, first phrase; the chorus enters with a when faithfully performed, clearly soft undercurrent "sub Pontio Pilato passus reflects the intense devotion of its est." There is a brief, hushed pause after writer. There is an orchestral intro- "sepultus est" and the Et resurrexit is accom- duction, a choral ejaculation of the word plished in a sudden outburst of the "Kyrie" linked and carried into lyric chorus unaccompanied. The "et ascendit" expression by the solo voices, chanted is as literal as the descent had been. words by the chorus, and contrapuntal The word "judicare" is announced by development, at length subsiding into the solo trombone, unaccompanied: a pianissimo "Eleison." The solo quartet, "the quick and the dead" get further 20 literal description. The final words "et gently descend with accompaniment vitam venturi saeculi, Amen" becomes the from the choral basses. A renewed subject of the most extended fugal Hosanna is followed by a tranquil close. treatment in the Mass — music of for- The Agnus Dei opens with the bass midable choral difficulty ending in two solo and other soloists entering. The Amens, in a fortissimo staccato which chorus is heard in a poignant under- floats into silence. current, the Miserere. The chorus then The opening words of the Sanctus are delivers the opening strains of the Dona confined to a short adagio by the solo nobis pacem which Beethoven has labeled quartet, which continues with the Pleni "Prayer for inward and outward peace." Inter- sunt coeli in a short fugato to rushing rupted with a suggestion of distant passages in the orchestra. The Hosanna drums and trumpet, like the threatening is a presto, again fugal and short. An tread of an army, the theme recurs, orchestral Preludium, the longest instru- effectively dispelling the still lingering mental passage in the Mass, ushers in threat of the timpani: truly the answer the Benedictus, where the voices of the to the plea "um innern Frieden." solo violin with two flutes break in and — John N. Burk

Missa Solemnis Text

KYRIE

Kyrie eleison. Lord, have mercy upon us.

Christe eleison. Christ, have mercy upon us.

Kyrie eleison. Lord, have mercy upon us. GLORIA

Gloria in excelsis Deo, Glory be to God on high,

Et in terra pax hominibus bonae And peace on earth to men of good will. voluntatis.

Laudamus te, benedicimus te, We praise thee, we bless thee, Adoramus te, glorificamus te. We adore thee, we glorify thee. Gratias agimus tibi propter We give thee thanks for thy great glory, magnam gloriam tuam, Domine Deus, Rex coelestis, O Lord God, heavenly King; Deus Pater omnipotens; God, the Father Almighty; Domine, Fili unigenite, O Lord Jesus Christ, Jesu Christe, only-begotten Son,

Domine Deus, Agnus Dei, O Lord God, Lamb of God, Filius Patris. Son of the Father,

Qui tollis peccata mundi, O Thou, Who takest away the sins of the world;

Miserere nobis; Have mercy upon us; Suscipe deprecationem nostram. Receive our prayer.

Qui sedes ad dexteram patris, Thou, Who siitest at the right hand of the Father,

Miserere nobis. Have mercy upon us. Quoniam tu solus sanctus, For Thou only art holy, Tu solus Dominus, Thou only art the Lord, Tu solus altissimus, Thou only art most high, Jesu Christe. Jesus Christ. Cum sancto Spiritu Together with the Holy Ghost, In gloria Dei Patris. In the glory of God the Father. Amen. Amen. CREDO Credo in unum Deum, 1 believe in one God, Patrem omnipotentem, The Father Almighty,

Factorem coeli, et terrae, Maker of heaven and earth.

21 Visibilium omnium et invisibilium. Of all things visible and invisible. Et in unum Dominum Jesum And in one Lord Jesus Christ, Christum,

Filium Dei unigenitum; Only begotten Son of God;

Et ex patre natum ante omnia And who is born of the Father before all saecula. ages.

Deum de Deo, Lumen de Lumine; God of God, Light of Light, Deum verum de Deo vero; True God of true God; Genitum, non factum: Begotten, not made; Consubstantialem Patri, Consubstantial with the Father, Per quern omnia facta sunt. By whom all things were created. Qui propter nos homines, Who for us men Et propter nostram salutem, And for our salvation Descendit de coelis. Came down from heaven.

Et incarnatus de Spiritu And was incarnate by the Holy Ghost of Sancto ex Maria Virgine; the Virgin Mary; Et homo factus est. And was made man. Crucifixus etiam pro nobis He was crucified for us under Pontius Pilate; Sub Pontio Pilato; passus et Suffered and was buried. sepultus est. Et resurrexit tertia die, And arose again on the third day Secundum scripturas. According to the scriptures. Et ascendit in coelum, And ascended to heaven,

Sedet ad dexteram Patris. And sitteth at the right hand of the Father. Et iterum venturus est And He shall come again

Cum gloria judicare vivos et With glory, to judge the living and the mortuos; dead;

Cuius regni non erit finis. There shall be no end of his kingdom. Et in Spiritum Sanctum, And in the Holy Ghost,

Dominum et vivificantem, The Lord and Giver of life, Qui ex Patre Filioque procedit; Who proceedeth from the Father and the Son; Qui cum Patre et Filio simul Who, together with the Father and the Son Adoratur et conglorificatur; Is adored and glorified; Qui locutus est per prophetas. Who spoke through the prophets. Et unam sanctam Catholicam And one holy Catholic Et Apostolicam Ecclesiam. And Apostolic Church.

Confiteor unum Baptisma in I confess one baptism for the remission of remissionem peccatorum. sins.

Et expecto resurrectionem And I expect the resurrection of the dead, mortuorum

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

Sanctus Dominus Deus Sabaoth Holy is the Lord God of Sabaoth. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of thy Glory. Hosanna in excelsis! Hosanna in the highest! BENEDICTUS

Benedictus qui venit in nomine Blessed is he who cometh in the name of Domini. the Lord. Hosanna in excelsis! Hosanna in the highest! AGNUS DEI Agnus Dei, O Lamb of God Qui tollis peccata mundi, That takest away the sins of the world, Miserere nobis. Have mercy upon us

Dona nobis pacem. Grant us peace.

22 Tanglewood 1976

Boston Symphony Orchestra Seiji Ozawa, Music Director

Sunday, August 8 2:30 p.m.

KLAUS TENNSTEDT conducting

Egmont Overture Beethoven

Piano Concerto No. 3 in C minor, Op. 37 Beethoven

MALCOLM FRAGER, piano

Mr. Frager plays the Baldwin piano for this performance.

INTERMISSION

Symphony No. 5 in C minor, Op. 67 Beethoven Allegro con brio Andante con moto Allegro; trio Allegro

This concert is made possible with support from the Massachusetts Council on the Arts and Humanities.

Deutsche Grammophon Records Baldwin Piano Philips Records

23 Notes which, however, introduce the initial subject in its proper minor. The pianist brings in a new subject in E flat minor and repeats the regular "second" sub- Ludwig van Beethoven (1770 -1827) ject, equally lyrical, in E flat major. The Overture to Goethe's Egmont, Op. 84 same rushing scale passages, now in D The heroic Count of the Netherlands, major, introduce the development, champion of liberty and independence which begins with a quizzical play upon for his people, meeting death on the the repeated fourths of the initial scaffold under an unscrupulous dicta- theme. The cadenza for this, as for tor, was an ideal subject for the repub- each of the first four concertos, is lican Beethoven. The composer's deep written separately. admiration for Goethe, who wrote the The Largo, in E major, seems earlier play Egmont, is well known. in style. The first theme, if found in Without going into music particulari- one of the early piano sonatas, might

zation, it is easy to sense in the over- have seemed quite in place. It is stated ture the main currents of the play: the by the piano, sung in turn by the muted harsh tyranny of the Duke of Alva, strings. A second theme is more orna- who lays a trap to seize Egmont in his mentally treated by soloist and orches- palace, and terrorizes the burghers of tra. A third theme is carried by the Brussels, as his soldiery patrol the woodwinds over piano arpeggios. There streets, under the decree that "two or is a reprise, and short cadenza "con three, found conversing together in gran espressione" before the close. the streets, are, without trial, declared The rondo brushes contemplation guilty of high treason"; the dumb anger aside with a burst of gaiety. The piano of the citizens, who will not be per- part is treated with great brilliance and

manently cowed; the noble defiance and exuberance; the orchestra matches it idealism of Egmont which, even after in full voice. There are fanciful excur- his death, is finally to prevail and throw sions, such as a fugato by the orchestra, off the invader. after which the piano takes over and commands the attention a sur- —John N. Burk with prising decrescendo in octaves. A presto coda derives a fresh Piano Concerto No. 3 in C minor, Op. 3 7 theme from the labored one and, in a rush of C major, The technical advance, the power and carries the movement to a close. breadth of the C minor concerto, com- posed only a year after the final revision — John N. Burk of the one in C major, is proof of Beet- hoven's rapid development in orchestral DINING FOR THOSE WHO KNO W resource at this time. The piano part, no longer treated in restricted, harpsi- ^ed Proceed chord style as in the first two concertos, asserts its stature in its first measures. FROM TANGLEWOOD (Only 9 Miles) First there is a considerable exposition to Route 41 and 295 by the orchestra and here too we are conscious of expansion in forcefulness OPEN FOR DINNER Weekly 5:00 to 10:30 p.m. and range of expression. The opening Sunday 4:00 to 10:30 p.m. subject is made known in the strings — it is to prove fruitful in development, YOUR HOSTS as for example in the repeated upward JEAN and DOLORES PETIT sol-do upon which Beethoven was to PHONE: 518-781-4451 dwell so bewitchingly in the slow move- 518-781-9994 ment of the Fourth symphony. Upon a C minor cadence the soloist enters QUEECHY LAKE • CANAAN, N. Y. with three furious C major scales, 24 Symphony No. 5 in C minor, Op. 67 and recurrences of the variation form hovering in the background. Those — and there is no end of them The third movement (allegro, with — who have attempted to describe the outward appearance of a scherzo) first movement of the Fifth Symphony begins pianissimo with a phrase the have looked upon the initial four-note rhythm of which crystallizes into the figure with its segregating hold, and principal element, in fortissimo. The have assumed that Beethoven used this movement restores the C minor of the fragment, which is nothing more than first and some of its rhythmic drive. a rhythm and an interval, in place of But here the power of impulsion is a theme proper, relying upon the light and springy. In the first section slender and little used "second theme" of the Trio in major (the only part for such matters as melodic continuity. C of the which is literally re- Weingartner and others after him have movement peated) the basses thunder a theme exposed this fallacy, and what might which is briefly developed fugally and be called the enlightened interpretation otherwise. The composer begins what of this movement probably began with until its tenth bar like a da capo. the realization that Beethoven never sounds But this is in no sense a return, as the devised a first movement more con- spicuous for graceful symmetry and hearer soon realizes. The movement has changed its character, lost its steely even, melodic flow. An isolated tile vigor taken a light, skimming, cannot explain a mosaic, and the smaller and on mysterious quality. It evens off into a the tile unit, the more smooth and pianissimo the suspense of soft delicate of line will be the complete where beats prepares a disclosure, picture. Just so does Beethoven's briefer drum new lightly establishing (although one does "motto" build upon itself to produce disclosure long and regular melodic periods. Even not realize this until the comes) the quadruple beat. The bridge in its first bare statement, the "motto" belongs conceptually to an eight-mea- of mystery leads, with a sudden ten- sure period, broken for the moment sion, into the tremendous outburst of the Finale, chords proclaiming C major as the second fermata is held through with all of the power an orchestra of an additional bar. The movement is muster. Traditional precon- regular in its sections, conservative in 1807 could ceptions are in floods of its tonalities. The composer remained, swept away the for the most part, within formal boun- sound, joyous and triumphant. At end of the development the riotous daries. The orchestra was still the in the silence orchestra of Haydn, until, to swell the chords cease and sudden in is to a bridge jubilant outburst of the finale, Beet- the scherzo, what be hoven resorted to his trombones. passage, is recalled. Again measures of wonderment fall into the sense of The innovation, then, was in the a coda as the oboe brings the theme character of the musical thought. The to a gentle resolution. This interrup- artist worked in materials entirely tion was a stroke of genius which none familiar, but what he had to say was could deny, even the early malcontents astonishingly different from anything who denounced the movement as that had been said before. As Sir George vulgar and blatant — merely because Grove has put it, he "introduced a new they had settled back for a rondo and physiognomy into the world of music." found something else instead. The No music, not even the "Eroica," had Symphony, which in all parts overrode had nearly the drive and impact of this disputation, did so nowhere more first movement. unanswerably than in the final coda The Andante con moto (in A flat major) with its tumultuous C major. is the most irregular of the four move- ments. It is not so much a theme with — John N. Burk variations as free thoughts upon seg- ments of a theme with certain earmarks

25 Guest Artists Barenboim, Bernstein, Britten, von Karajan and Ozawa.

Marius Rintzler Malcolm Frager Born in Bucharest of musical parents, Malcolm Frager, who has appeared Marius Rintzler entered the State Con- with the Boston Symphony Orchestra servatoire of Bucharest as a student on many occasions in Boston, New York of composition and piano, only to and at Tanglewood, was soloist with change midway through his studies to the St. Louis Symphony at the age of develop his singing voice. His singing ten. During his teens he studied in career began in recitals and oratorios New York with Carl Friedberg, and throughout Rumania and, after further he made his debut at Town Hall before study in Vienna, he became a permanent he was twenty. In 1959 he won the member at the Deutsche Oper am Rhein Leventritt Award in New York and in Duesseldorf. He made his American the first prize at the Queen Elisabeth debut in 1972 at the San Francisco of Belgium International Piano Compe- Opera in Wagner's Ring cycle. Equally tition in Brussels. The same year he at home in opera and oratorio, Mr. played for the first time with the New Rintzler has appeared with the Glyn- York Philharmonic. debourne Festival, the Edinburgh Fes- During the years since, he has given tival and at Covent Garden. He debuted recitals and performed with orchestras with the Metropolitan Opera during throughout most of the world, includ- the 1973-74 season and will return ing South America, Europe, the USSR, there in 1977-78 as Ochs in Der Rosen- Japan, Australia and North America. kavalier. He records for EMI, Deutsche He has given many duo-recitals with Grammophon and Gihlde Internation- Vladimir Ashkenazy, has given the first ale du Disque; this marks his first performances in modern times of the summer with the Boston Symphony original versions of the Schumann A at Tanglewood. minor and Tchaikovsky B flat minor concertos, and has made many record- Eric Tappy ings for RCA, London, Soviet Grammo- Eric Tappy was born in Lausanne, phone and other companies. Switzerland, and studied in Geneva, Salzburg and Holland. He made his Anna Reynolds opera debut in 1964 at the Opera Comique in Paris and has appeared at Anna Reynolds was born in Canter- the Cologne Opera, the Lyon Opera bury, England, and studied in Italy. and Covent Garden. This fall he made She appears regularly in Vienna and his United States debut at the San with the Munich Bach Choir under Francisco Opera and with the Boston Karl Richter, and has sung with the Symphony in the Missa Solemnis last Berlin Philharmonic, the New York December. He has appeared at a number Philharmonic, the Chicago Symphony of international festivals including and the Cleveland Orchestra; she made Warsaw, Salzburg, Lucerne, Lausanne, her Boston Symphony Orchestra debut Perugia, Israel, Munich, Aix-en-Pro- last December in the Missa Solemnis. vence, Holland and Flanders. Herbert von Karajan encouraged Miss Reynolds in her studies of Wagner repertoire, and she has appeared in Susan Davenny Wyner his productions both at Salzburg and Susan Davenny Wyner graduated the Metropolitan Opera, as well as at summa cum laude from Cornell and did Bayreuth, Covent Garden, Chicago's graduate fellowship work at Columbia Lyric Opera and La Scala, Milan. She before commencing her professional has recorded extensively with Maestri musical career with grants from the

26 Naumberg, Ford and Rockefeller Foun- composition at the Leipzig Conserva- dations and the Fulbright program. She tory. In 1948 he became concertmaster has performed as a recitalist for Cana- at the Municipal Theater in Halle/Saale, da's CBC network, sang Poppea in Yale later becoming conductor there. From University's production of L'Incoronazione 1954 to 1958 he was conductor at the di Poppea and first appeared with the theater in Karl-Marx-Stadt. In 1958 Boston Symphony in a 1974 perfor- he became Music Director at the mance of Monteverdi's Vespers of 1610. Dresden Opera, and in 1962 director During the 1976-77 season she will of the State Orchestra and theater in appear three times with the Cleveland Schwerin. During his residence in the Orchestra, participate in the upcoming German Democratic Republic, Mr. Boston Symphony Messiahs (in Boston Tennstedt was guest conductor of the and New York) directed by Colin Davis, Gewandhaus Orchestra in Leipzig, the and appear as well with the orchestras Dresden Philharmonic, the Dresden of Detroit, Buffalo, Toronto and San State Orchestra, the Radio Symphony Francisco. She is about to record a new Orchestra in Berlin, the Philharmonic song cycle of Elliott Carter for None- in Brno and the Comic Opera in Berlin. such Records. Since his flight to West Germany in 1971, he has been guest conductor of the State Operas of Berlin, Hamburg Colin Davis and Munich, the Philadelphia Orches- Colin Davis, the Principal Guest tra, the Cleveland Orchestra, and the Conductor of the Boston Symphony, Toronto Symphony. Last summer, Mr. is Musical Director of the Royal Opera Tennstedt made two appearances at House, Covent Garden. His conducting Tanglewood, conducting the music of career began in 1949; in 1957 he became Beethoven and Bruckner. assistant conductor of the BBC Scot- tish Orchestra, and, soon after taking Tanglewood Festival Chorus the place of an ailing Tanglewood Choir at short notice for a concert in Festival The Festival Hall, he was appointed Musical Director Tanglewood Chorus was of the Sadlers Wells Opera. He made formed under the joint auspices of the his United States debut with the Berkshire Music Center and Boston Minneapolis Symphony and has guest University in 1970. The director since conducted the New York Philharmonic its foundation, John Oliver, is director of choral and vocal activities for Tangle- as well as the Boston Symphony. In 1967 Colin Davis became Chief Con- wood, a member of the MIT faculty and director of the Society. ductor of the BBC Symphony, a post MIT Choral The Festival its at which he relinquished at the end of the Chorus made debut Sym- Hall in a 1970 performance of 1970-71 season to take up his duties phony Beethoven's Ninth Symphony, and has at Covent Garden. Last fall, Mr. Davis since taken part in concerts directed spent a month as guest conductor with the Amsterdam Concertgebouw. He by William Steinberg, Seiji Ozawa, records exclusively for Philips Records, Eugene Ormandy, Colin Davis, Arthur Fiedler Its and has embarked upon a series of the and Michael Tilson Thomas. complete symphonies of Sibelius for first appearance on records, in the that company with the Boston Sym- Boston Symphony's Damnation of Faust, phony Orchestra. conducted by Seiji Ozawa, was nomi- nated for a Grammy as the best choral recording of the year. The Tanglewood Klaus Tennstedt Choir consists of students in the Berk-

Klaus Tennstedt, who made his shire , Music Center's vocal program. Boston Symphony debut in December, 1974, was born in Merseburg, Germany, in 1926, and studied piano, violin and 27 £ CLIP AND REDEEM AT DEERSKIN H 1 10% off any purchase "Y at Deerskin, the No. 1 Leather Store. Everything in Leather Fashions, Accessories, Footwear.

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28 The Berkshire Music Center

"One more thing should come from this scheme, namely, a good honest school of musicians." — Henry Lee Higginson, on founding the Boston Symphony Orchestra

The late Serge Koussevitzky fervent- ly shared Henry Lee Higginson's vision 7 of a "good honest school for musicians' —an academy where young musicians Getaway to Yesterday could extend their artistic training and Visit the Inn in the Berkshires with two broaden their experience under the centuries of tradition, and all the modem guidance of eminent professionals. amenities. Live amidst antiques. Savor lobster, homemade apple pie, potables More than any other person, it was from our tavern. Call(413) 298-5545 Koussevitzky who made the vision a for reservations. reality; he was Director of the Berkshire The Red Lion Inn Music Center from its founding in 1940 u& Since 1773, Stockbridge, Mass. 01262 until his death in 1951, and his vigorous On Rte. 7, south of Tanglewood leadership has remained an inspiring example in the years since. Serge Koussevitzky was succeeded by Charles Munch, and it is a mark of the Center's success that the Boston Sym- G°T^ phony's present Music Director, Seiji Ozawa, studied here during the Munch era. Alumni of the Center are among the most prominent and active mem- bers of the music world; more than ten percent of the members of this coun- CURTAINS try's major orchestras are graduates of the Center, as are many of the world's At TkE RedLkn Inn notable conductors, instrumental solo- STOCKBEIDGE MASSACHUSETTS ists and singers. 01262

Today the primary responsibility for Monday thru Saturday 10 A.M.- 5 P.M. the Center's direction is in the hands of Send for Free Catalog Gunther Schuller, composer, writer, conductor and President of the New England Conservatory. Average enroll- ment is somewhat over 400 each sum- mer, of which approximately 175 are Williamstown members of the Center's Fellowship Program; this provides free tuition (and Theatre festival in many cases free board and expenses) for instrumentalists, singers, conduct- ors and composers of post-graduate caliber. In addition to the Fellowship Program, Boston University, through its Tanglewood Institute, offers several college-credit programs for talented Nikos Psacharopoulos Our 22nd Season Includes: high school musicians; the noted so- Heartbreak House, Orpheus Descending, prano Phyllis Curtin directs a singers' Born Yesterday, Our Town, and seminar highlighted by her own master The Three Sisters July 1 - August 29 classes. Finally, each summer the Cen- Phone Reservations: 413-458-8146 ter's Festival of Contemporary Music P.O. Box 517, Williamstown, Ma. 02167 (August 14-18 this year), presented in

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Tucked into a lovely New England village, Pittsfield, Mass. Wykeham offers the warmth of a small girls' school the cultural advantages of a unique and truly outstanding program in music and 443-0051 the other creative and performing arts, and the benefits of strong college preparatory academics with an exceptional range of course options. Through cooperation with a nearby private school for boys, many courses and activities are co-educational. We try harder. With a balanced involvement in academics, arts and athletics, Wykeham girls (grades 9-12) develop a keen sense of personal direction, independence and confidence For catalog, write or phone:

Director of Admissions Wykeham Rise Wykeham Road Washington, CT 06793 Tel. 203/868-7347 Avis

30 cooperation with the Fromm Music Foundation at Harvard, offers a broad spectrum of the most advanced music of today's composers in a gala week of performances. The Boston Symphony's Concert- master and Assistant Conductor Joseph Silverstein heads a faculty that includes principal players and members of the Orchestra and faculty members of Bos- ton University's School of Fine Arts, plus leading soloists, conductors and composers. The Center has numerous studios for practice and chamber music, and an extensive library of music litera- ture and scores. Rehearsals and con- certs of the Berkshire Music Center Orchestra and other student groups "Expect the Unexpected" take place mostly in the Theatre-Con- The Square Rigger Restaurant and Cabaret is cert Hall, while lectures, seminars, con- known for "Good Country Cooking." An informal atmosphere of ship hatch tables, rock^ ducting classes, vocal and choral re- = fern gardens. Tiffany lamps, and stain glass hearsals, composers' and cham- forums windows, located by the Shaker Mill Pond. ber music concerts take place in the Serving their famous Rigger Burgers and pizzas, Chamber Music Hall, in the West Barn, — steaks, seafood, homemade soups and deserts. in the Hawthorne Cottage, on the X Brunch, lunch, dinner, nite owl snaks, from g 10 am to 2 am, seven days a week. Rehearsal Stage, and in the small stu-

The Back Room . . . Free Movie Festival plus dios both on the Tanglewood grounds "The Music Showcase of the Berkshires" in and in buildings leased Lenox. Each w West Stockbridge, Mass. summer the Baldwin Piano and Organ 4 413-232-8565

Company generously provides nearly . . . and don't miss Mike Schiffer: 100 keyboard instruments for individ- Ballads & Blues on a Steinway grand ual practice; other instruments—per- Six nights a week 'til 2 a.m. cussion, for example—are provided by The Ice Cream Emporium | at Westbridge Inn the Orchestra. the I IIIIIMinMlllllMilllMIIIIIHIIlllMlilHIMB The Boston Symphony is assisted in supporting the Center by the National Endowment for the Arts, a federal agency, as well as by individual and Academics &Music corporate sponsors. Scholarships are Unusual boarding and day school offering fully accredited college preparatory program and musical training for the talented musician and for those seeking awarded to the majority of the students, enrichment in the performing arts. Established in 1893. Grade 7-12. STUDY applied instrumental and vocal music for credit with teachers from Boston who are chosen by audition on a com- University's School of Music, many of whom are members of the Boston Symphony Orchestra. PERFORM with the Greater Boston Youth Symphony petitive basis. cost of the scholar- Orchestras or other regional orchestras. ATTEND open rehearsals and per- The formances of the B.S.O. plus concerts on campus. ELECT music theory and history courses, composition, theatre, dance and fine arts. Join our ship program is large and adds sub- choral and instrumental ensembles. Recipient of National Humanities Faculty Grant, Massachusetts Council for the Arts and Humanities recognition and stantially to the Orchestra's yearly Edward Ford Foundation Grant. 47 acre suburban campus 25 minutes from Boston's artistic resources. Audition or tape required. Scholarships available. deficit — one major for the reason es- Advisory Board: Wilbur D. Fullbright tablishment of the Friends of Music at (Director. B.U. School of Music)

Thomas D. Perry, Jr. (Director. Tanglewood, a group that provides Boston Symphony Orchestra) Gunther Schuller (President. critical support for the Center. A brief New England Conservatory) Roman Totenberg account of members' privileges is print- (B.U. Professor of Music). ed on page 37, and more information Faculty: Daniel Moore John Daveno may be had at the Friends' Office near Martha Yacyshyn the Main Gate. We invite you to see Adele Babcock and hear for yourself the remarkable WalnutHill School caliber of the Center's young musicians. For catalog, call (617) 653-4312 or write: 255 Highland. Natjck, Mass. 01760

31 NEW ENGLAND'S FAMOUS YEAR 'ROUND RESORT GREAT BICENTENNIAL TOUR BASE 1/2 OFF LIST for all Nonesuch LP's at

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on 1 200 acres ... All Summer & Winter Sports, 18 hole golf course open to the public, Tennis & Swimming year round. Trail riding and instruction. Gift Shop, Fine food & entertain- ment nightly, cocktail lounge, Popular con- vention center, Also great Bicentennial Tour years later, Base. Close to Tanglewood, Norman Rockwell, 200

"right in the heart of where it all began." Stop in after the concerts and hear the best and we're still entertainment in the Berkshires. providing that good FOR RATES & COLOR BROCHURE Yankee cooking, & BICENTENNIAL TOURS DATA Write: Box 720 drink and lodging. SOUTH EGREMONT, MASS. 01258 Back in 1771, when my place was a stopover for hungry travelers, we had a Tel.: (413) 528-0434 reputation for our generous meals. And we're still serving that good Yankee cooking today. Like roast whole Cornish game hen, sirloin steak, and our individual baked lobster pie. YANKEE PEDLAR INN 1 All just yi mile from historic Old Sturbridge Village, and a few minutes OPERA HOUSE from Exit 9 of the Mass. Turnpike. Send 36 Luxury Rooms FOOD-DRINK.LODGING for my free brochure. Exit 16-1-91 Buddy Adler , Innkeeper Holyoke, Mass.

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For information about advertising in the Boston Symphony's programs, please contact Steve Ganak Ad Reps, Statler Publick House Office Building, Boston MA 02116. On the Common -Sturbridge. Mass. -(61 7) 347 3313 (617) 542-6913

32 In and Around VISIT BERKSHIRE LAKES ESTATES the Berkshires EXPERIENCE COUNTRY LIVING AT ITS BEST! Tanglewood is but one of the many Small Lakefront Community activities and events constantly enrich- ing the Berkshires; a complete listing Swim and boat on 2 crystal clear mountain may be found in Berkshire Week, a summer lakes. Play tennis, badminton, volleyball magazine of the Berkshire Eagle and and basketball on community courts. Live Torrington Register. Copies are avail- in privacy adjacent to a large state forest. the Lion able at the Main Gate and Berkshire Lakes Estates Gate. Some highlights: Yokum Pond Road Becket, Mass. 01223 Berkshire Theatre Festival Tel. 413-623-8747 Stockbridge TO VISIT: Mass. Turnpike to Lee, Mass.-Rt. 20 Lenox Arts Center East. Continue 4 miles to Belden's Tavern. Left Lenox for 2 miles to Berkshire Lakes Estates. Williamstown Theatre Williamstown Jacob's Pillow Dance Festival Grand Hotel Lee Curtis Aston Magna on the Village Green Great Barrington Lenox, Mass. (413) 637-0016 Berkshire Museum Amid the echoes of Tanglewood, Pittsfield Stay and dine in old world elegance. Clark Art Institute Delightful accommodations, — Williamstown Elevator and telephone service Al fresco dining on the piazzas Hancock Shaker Village Surrounding the heated pool, Hancock Dancing nightly in the lounge, Chesterwood Studio Museum Supper dining in the garden Glendale After each concert. A Complete Lenox Library Berkshire Experience! Lenox Under New Management Stockbridge Historical Society Stockbridge Naumkeag Stockbridge ARROWHEAD

Mission House Where Herman Melville wrote Stockbridge Old Corner House MOBY-DICK Stockbridge Berkshire Garden Center Headquarters Stockbridge Berkshire County Historical Society 780 Holmes Rd., Pittsfield, Ma. Pleasant Valley Wildlife Sanctuary Lenox Open: Mon. - Sat. 10-5 South Mountain Concerts Sun. 1-5 Closed Tues. Pittsfield Adults $1.00 Students .50

33 CHESTERWOOD STOCKBRIDGE

FESTIVAL Stockbridge

GSBk *» 1I ok* ^=^= June 22 - July 11 III III il III II The Pulitzer Prize-winning musical comedy III MS Ill Milt me •- v an OF THEE I SING by George and Ira Gershwin, George S. Kaufman and Morrie Ryskind

July 13 - July 25

James Coco and Dody Goodman in GEORGE WASHINGTON SLEPT HERE

by Moss Hart and George S. Kaufman

July 27 - August 8

Beatrice Straight & Kevin McCarthy in Summer Home and Studio of THE LION IN WINTER DANIEL CHESTER FRENCH by James Goldman August 10 - August 29 Sculptor of the Lincoln Memorial Ruth Gordon in HO! HO! HO! A new comedy by Miss Gordon, directed by Garson Kanin

Garden, Nature Trail, Fritz Holt and Barry M. Brown, Producers

Paintings, Barn Sculpture Gallery Tues. Wed. & Thurs. Eves at 8:30; Sun. Eve at 7:30; Wed. Mat. at 2:30; Sat. Mat. at 5:00; prices $7.50 & $6.00; Fri., Sat. Eves at 9:00; prices $8.50 & $7.00 (413) 298-5536 Adults $1.75 • Children $.75 Also At The Festival: In the Unicorn (barn) Daily 10-5 Theatre, three new American plays; Thursdays through Sundays. In the Proposition Theatre, the Proposition Company of Boston, with after- theatre entertainment, Thursdays through Sun- a property of days, and a children's theatre Thursday, Saturday, The National Trust for Historic Preservation Sunday afternoons. ASIAN GALLERY Far Eastern Art

CURTIS HOTEL MAIN STREET, LENOX, MASS. 01240

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34 —

The Executive Committee Tanglewood Council of the 1 Boston Symphony Orchestra

Mrs. John S. McLennan Pillow Mr. Peter van S. Rice Located in the Township of Becket, Mass. Norman Walker, Director Co-Chairmen June 29—July 3 August 10-14 Eight Soloists from the Teodoro Morca Royal Danish Ballet The Claude Kipnis Mr. John Kittredge Mime Theatre July 6-10 Secretary /Treasurer Suzanne Farrell August 17-21 & Peter Martins Jo-Ann Bruggemann & The Danscompany Bob Bowyer Classical Pas de Deux Mr. and Mrs. David Klein Annabelle Gamson Jacob's Pillow Dancers Jacob's Pillow Dancers Talks and Walks July 13-17 The Maria Alba Spanish Dance Company Performances: Mrs. Richard Marcure July 20-14 Tues. through Sat, Mrs. George Vazakas The Nikolais Dance Curtain times: Tues., Theatre 7:30 pm.,Wed.,Fri.,& Tent Sat. ,8:40 pm., Thurs. Julv 27-31 and Sat. .Matinees: Emily Frankel — 3:00 pm. Mrs. Arthur Aronoff Charles Moore Classical Pas de Deux Tickets: Jacob's Pillow Dancers Mrs. Archie Peace $7.50, $6.50 and $5.00. Student Affairs August 3-7 Available at Ticketron, The Milwaukee Ballet or the Jacob's Pillow Company with guest Box Office. artist Ted Kivitt Mrs. Desmond Tivy How to Reach Jacob's Pillow: Tent tea and coffee Approx.150 miles from Boston near Tangle- wood. Lee-Pittsf ield exit on the Mass. Turnpike. Public transportation from Boston via Grey- hound to Lee, Mass. Mrs. Samuel Boxer For information and reservations: Mrs. Roger Voisin Call 10 a.m.— 9 p.m. Mon. thru Sat. (413) 243-0745 Sales and Information Dance Festival America's FIRST Dance Festival, S. Mr. Richard Jackson Box 287, Lee, Mass. 01238. Mr. Robert A. Wells I J Public Relations and Membership

Mr. Jeffrey R. Winslow THE Business OLD CORNER HOUSE

Mrs. James Garivaltis Musical Marathon Co-ordinator

Mrs. James Garivaltis Mrs. Charles Capers Mrs. Kelton M. Burbank Benefits, receptions and meetings

Mrs. Peter van S. Rice Paintings by Tanglewood-Boston liaison NORMAN ROCKWELL On permanent exhibit Mrs. Anatole Haemmerle Open Year Round — Daily 10-5 p.m. Boston-Tanglewood liaison Except Tuesdays Adults $1.00 Children 254

35 ^*M»'«*£b, „ Deutsche \jhammuplwn

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Seiji Ozawa The Boston Symphony The Berkshire Festival 1976

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Polydor International GmbH Hamburg, Germany

36 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 Over 40 concerts each summer by the contributors of $75 and over, provides members of the Berkshire Music Cen- a hospitable gathering place behind the ter, the Boston Symphony Orchestra's Music Shed where food and drink may summer academy for the advanced be purchased on concert days. Hot study of music. These outstanding mid- buffet dinners are served on Saturday week concerts include chamber music evenings beginning at 6:30 p.m. (Reser- recitals, full orchestra concerts, vocal vations must be made through the and choral programs, and the annual Friends Office no later than 12:00 noon Festival of Contemporary Music, on the Wednesday preceding each Tanglewood's "festival within a festi- Saturday evening buffet.) val/' Friends Concert Memberships for Special Parking For individuals and families are available Friends: for $25.00. Two convenient reserved parking areas are available to all donors of $150 or Advance Program Information more for all Boston Symphony Orches- and Ticket Ordering Forms: tra concerts: either the Box Parking Approximately one month before the Lot (Hawthorne Street entrance), or public sale of seats in the early spring, the Tent Parking Lot (West Street Friends will be sent the advance Berk- entrance). shire Festival programs and a priority For information, contact: ticket application. Friends will also Friends of Music at Tanglewood receive the monthly Boston Symphony Lenox, Ma. 01240 Orchestra publication, "BSO." (413) 637-1600

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