The TANGLEWOOD MUSIC CENTER is maintained for advanced study in music and sponsored by the BOSTON SYMPHONY ORCHESTRA. TanglewGDd BOSTON SYMPHONY ORCHESTRA Music Seiji Ozawa, Music Director Center Kenneth Haas, Managing Director Daniel R. Gustin, Manager of Tanglewood Nancy Perkins, Director of Development TANGLEWOOD MUSIC CENTER Leon Fleisher, Artistic Director Gilbert Kalish, Chairman of the Faculty, Charles F. Culpeper Foundation Chair Richard Ortner, Administrator Julie H. Diaz, Director of Tanglewood Development James E. Whitaker, Chief Coordinator Harry Shapiro, Orchestra Manager langlewood on Parade Tanglew(©d Tuesday, August 6, 1996 Music For the benefit of the Tanglewood Music Center Center 2:00 Gates Open 5:15 Alpine Horn Demonstation (Lawn near Chamber Music Hall; 2:00 Boston University inside in case of rain) Tanglewood Institute: Fanfares at Main Gate Drive 5:45 Balloon Ascension (Rear of Shed in (Lower lawn near Lion Gate, case of rain) weather permitting) 2:30 Boston University 6:00 Tanglewood Music Center Tanglewood Institute: Fellowship Wind Music Chamber Music Concert (Tanglewood Manor House (Chamber Music Hall) porch; Chamber Music Hall in case of rain) 2:45 Tanglewood Music Center Fellowship Chamber Music 7:00 Berkshire Highlanders (Seiji Ozawa Hall) (Lion Gate; rear of Shed in case of rain) 3:00 Tanglewood Music Center Fellowship Vocal Recital 8:00 Tanglewood Music Center (Theatre-Concert Hall) Fellowship Brass, Roger Voisin conducting: 3:45 Boston University Fanfares Tanglewood Institute (Koussevitzky Music Shed) Young Artists Orchestra and Chorus 8:30 Gala Concert (Koussevitzky Music Shed) (Koussevitzky Music Shed) Hot air balloon courtesy of Mr. and Mrs. Charles Joseph of Lebanon, New Jersey Alpine horns courtesy of BSO horn player Daniel Katzen Artillery and cannon supplied by Eastover, Inc. Scottish folk music courtesy of the Berkshire Highlanders Fireworks over the Stockbrige Bowl following the Gala Concert A Message from Seiji Ozawa Welcome to Tanglewood on Parade—our other financial aid to young musicians who annual celebration of Tanglewood and the have worked very hard to earn a place in Tanglewood Music Center. This is our third these programs. This freedom from finan- summer working on the new Leonard cial concern allows them to focus all their Bernstein Campus and performing in Seiji attention on music-making. There is no Ozawa Hall, that wonderful new "room for other place in the world like Tanglewood, music" that belongs not to me, but to where young musicians are inspired by the everyone who makes and hears music Boston Symphony Orchestra, the TMC there. The campus, and our new concert Faculty, the guest artists who perform here, hall, feel so much like home, it's hard to and the unique Tanglewood landscape. believe they've been here for just a few The Tanglewood Music Center has held years. At the same time, each summer con- a very special place in my heart since 1 tinues to bring great new challenges. This arrived here in 1960. Making others feel year it was our commemorative production welcome here has become an important of Benjamin Britten's Peter Grimes, marking part of my life. For two months each year the fiftieth anniversary of that opera's we live and work together. This is the spirit American premiere at Tanglewood. Peter that welcomed me when 1 first arrived, and Grimes was originally commissioned by which 1 hope to pass on to others. Just as I Serge Koussevitzky, who founded the found a home in music at Tanglewood, so Tanglewood Music Center. This year's pro- do hundreds of aspiring young artists who duction was the first fully-staged opera at come here each summer. I thank you for Tanglewood in more than three decades. helping to make this possible. Who knows what the future will bring? By joining us here today you are sup- porting the important work of the Tangle- wood Music Center's exceptional young musicians. Each year generous patrons provide financial support in the form of Seiji Ozawa Fellowships, Scholarships, and Faculty Chairs that make it possible to maintain the TMC year after year. Without this help, and the support of music lovers like yourselves, the Tanglewood Music Center could not survive. Another kind of help comes to us from Boston University. Their wonderful Tanglewood Institute helps us offer similar advanced training to musicians of high school age. Their participation today cele- brates more than thirty years of partner- ship with the Boston Symphony, thirty years of helping the nation's best young artists grow. Every ticket sold today helps us con- tinue to offer tuition-free Fellowships and The Tanglewood Music Center Tanglewood provides much more than begin, but which made such an impression a setting for the concerts offered by the that it has remained the traditional opening Boston Symphony Orchestra. It is also the music each summer. The TMC was Kousse- site of the Tanglewood Music Center, one vitzky's pride and joy for the rest of his life. of the world's most influential centers for He assembled an extraordinary faculty in advanced musical study, and which has composition, operatic and choral activities, been maintained by the Boston Symphony and instrumental performance; he himself Orchestra since its establishment in 1940 taught the most gifted conductors. under the leadership of Serge Koussevitzky. The emphasis at the Tanglewood Music With Leon Fleisher now in his twelfth year Center has always been not on sheer tech- as its Artistic Director, the Tanglewood nique, which students learn with their regu- Music Center continues to provide a wide lar private teachers, but on making music. range of specialized training and experience Although the program has changed in some for young musicians from all over the respects over the years, the emphasis is still world. on ensemble performance, learning cham- In 1994, the Tanglewood Music Center ber music, vocal music, and the orchestral entered a new era with the opening of Seiji literature with talented fellow musicians Ozawa Hall, which—along with its back- under the coaching of a master-musician- stage facilities, Green Room, TMC orchestra teacher. Many of the pieces learned this way library, and instrument storage space all are performed in TMC recitals; each sum- located in the Leonard Bernstein Performers mer brings exciting performances by talent- Pavilion—now serves as the focal point of ed young professionals beginning a love the new Leonard Bernstein Campus, which affair with a great piece of music. also encompasses the Leon Fleisher Carriage The Tanglewood Music Center Orchestra House with chamber music coaching stu- performs weekly in concerts covering the dios and offices; the Aaron Copland Library in a cottage adjacent to the refurbished car- riage house; a new Rehearsal Hall; and addi- tional coaching studios throughout the campus. With the recent inauguration of Seiji Ozawa Hall and the opening of the Leonard Bernstein Campus, all involved with the Tanglewood Music Center look toward the twenty-first century newly inspired, with a renewed sense of purpose. The school opened formally on July 8, 1940, with speeches—Koussevitzky, allud- ing to the war then raging in Europe, said, "If ever there was a time to speak of music, it is now in the New World"—and music, the first performance of Randall Thompson's Alleluia for unaccompanied chorus, which was written for the ceremony and arrived less than an hour before the event was to Serge Koussevitzky entire repertory under the direction of stu- Seminar for Singers. In 1966, educational dent conductors as well as members of the programs at Tanglewood were extended to TMC faculty and guest conductors present younger students, mostly of high-school at Tanglewood to lead BSO concerts. The age, when Erich Leinsdorf invited the quality of the TMC Orchestra, assembled Boston University School for the Arts to for just eight weeks each summer, regularly become involved with the Boston Sym- astonishes visitors. It would be impossible phony Orchestra's activities in the Berk- to list all the distinguished musicians who shires. Today, Boston University, through have been part of this annual corps of its Tanglewood Institute, sponsors pro- young people on the verge of professional grams that offer individual and ensemble careers as instrumentalists, singers, con- instruction to talented younger musicians, ductors, and composers. But it is worth with seventeen separate programs for per- noting that 20% of the members of the formers and composers. In 1995, BUTI re- major orchestras in this country have been introduced a visual arts program for talent- students at the Tanglewood Music Center, ed artists of high school and college age. with that figure constantly rising. Today, alumni of the Tanglewood Music Today there are three principal programs Center play a vital role in the musical life at the Tanglewood Music Center, each with of the nation. Tanglewood and the appropriate subdivisions. The Fellowship Tanglewood Music Center, projects with Program provides a demanding schedule of which Serge Koussevitzky was involved study and performance for students who until his death, have become a fitting have completed most of their training in shrine to his memory, a living embodiment music and who are awarded fellowships to of the vital, humanistic tradition that was underwrite their expenses. It includes his legacy. At the same time, the Tangle- courses of study for instrumentalists, wood Music Center maintains its commit- singers, and composers. Other courses