TanglewaDd Music R A M Center 50th Anniversary Season TANGLEWOOD MUSIC CENTER ORCHESTRA Fifth Concert Sunday, July 29, 1990 at 8:30 P.m. Theatre Concert Hall Elliott Carter Remembrance (1988) (b. 1908) (In Memory of Paul Fromm) Mendelssohn Overture to "A Midsummer Night's Dream," Op. 21 Stefan Anton Reck, conductor Sinzheim, West Germany Stravinsky "Chant du Rossignol" (Symphonic Poem) Stefan Asbury, conductor Oxford, England Intermission Schumann Symphony in E-flat Major, Op. 97 ("Rhenish") Vivace Scherzo Moderato Maestoso Vivace Roger Norrington, conductor This program was prepared under the supervision of Oliver Knussen, Gustav Meier and Roger Norrington. BALDWIN PIANO "Our problem is to help artists with good training and knowledge to acquire a penetrating and vivid conception of the music they create and interpret; to stir their imagination to new heights and new depths, because imagination invokes in the creator and interpreter the right intuition and emotions to conceive the inner meaning of their art . We want to be modest in our prom- ises. But by no means do we want to be modest in our aspirations. We are confident that our students will receive the very best of our ability and practical experience, as well as our spiritual guidance." Serge Koussevitzky Opening Exercises, 1941 Serge Koussevitzky's dream of a community devoted to the service of music rests firmly on the commit- ment of senior artists to share their wisdom and experience with young musicians. For fifty years the program Koussevitzky founded in 1940 has helped young musicians enter the profession alongside their more experienced colleagues. The teaching and performance activities of the Music Center are supported by the following permanently endowed Chairs and endowment funds: Berkshire Chair — Roger Voisin Dr. and Mrs. Edward L. Bowles Chair — Fenwick Smith Richard Burgin Chair — Eugene Lehner Charles E. Culpeper Chair (Chairman of the Faculty) — Gilbert Kalish Georges & Renee Longy Chair, a gift of Jane & John Goodwin — Dennis Helmrich Marian Douglas Martin Chair, endowed by Marilyn Brachman Hoffman — Peter Serkin Beatrice Sterling Procter Chair — Louis Krasner Sana H. Sabbagh and Hasib J. Sabbagh Chair — Gustav Meier Surdna Foundation Chair — Edwin Barker Eleanor Naylor Dana Visiting Artist Fund Paul Jacobs Memorial Commissioning Fund Louis Krasner Fund for Teaching & Performance, established by Marilyn Brachman Hoffman Northern California Audition Fund The Friends of Music at Tanglewood are invited to all concerts of the Tanglewood Music Center with a Family Season Membership of $75 or an Individual Season Membership of $50. Others attending each TMC event are asked to contribute a minimum of $5.00 at the gate, $6.00 for orchestra concerts. The Tanglewood Music Center is also supported by a grant from the National Endowment for the Arts. Program Notes Carterjborn 11 December 1908) - Remembrance (19881 Elliott Carter created Remembrance as a memorial tribute to Paul Fromm, a long-time supporter of contemporary music at Tanglewood and elsewhere. Fromm's influence was felt by every major American composer and every serious listener. The Fromm Foundation's commissioning of Carter's Double Concerto, funded with the assurance that the premiere performance would be sterling, was just one cause for Carter's gratitude to Fromm. The composer has provided the following note: "Remembrance, a short monologue for trombone and orchestra, invokes the memory of the late Paul Fromm, America's outstanding supporter of contemporary music. His commissioning of new works, his sub- sidizing of performance of new music, and his scholarships for young performers of it made a lasting contribution to American musical life..." Remembrance was commissioned by the Fromm Foundation for the Tanglewood Music Center. Composed in March 1988, the work was premiered by the TMC Orchestra under Oliver Knussen at the TMC Festival of Contemporary Music on 10 August 1988. In this composition, one continues to find a key characteristic of Carter's mature work - his ability to treat each instrument as a character in an ongoing musical drama. Mendelssohn (13 February 1809 - 4 November 1847) - Overture to A Midsummer Night's Dream This overture to William Shakespeare's famous play was composed in 1826 for a performance (in a 4-hand piano version) in the Mendelssohns' Berlin home. It was an example of Felix Mendelssohn-Bartholdy's amazing talent as a composer prodigy; he was seventeen years old when he completed this work. It was first presented in public at Strettin (Sczcecin) in February 1827. Seventeen years passed before Mendelssohn returned to compose thirteen additional pieces of incidental music for the entire play. The first performance of the completed work was on 14 October 1843 in the Royal Palace at Potsdam. Mendelssohn was a devoted admirer of Shakespeare's contributions to English literature. The Overture sets the mood for the whole play, with the first act describing the dilemma of mismated lovers, the second depicting Shakespeare's world of fairies and dreams, and finally, the last act solving and reordering the relationships of the lovers to the happy strains of the famous Wedding March. The virtuoso wind and string writing in the Overture continues to pose challenges to modern orchestras. Stravinsky (17 June 1882 - 6 April 1971) - The Song of the Nightingale (Le Chant du Rossignol Igor Stravinsky adapted music from his opera The Nightingale to create this work, a symphonic poem. Completed in 1917, The Song of the Nightingale was premiered in Geneva on 6 December 1919 with Ernest Ansermet conducting the Orchestre de la Suisse Romande. The opera, The Nightingale, was based upon Hans Christian Andersen's fairy tale of the same name. It is the story of a nightingale who sings beautifully to a Chinese fisherman and is then brought to Europe to sing for an Emperor. Initially the Emperor is enchanted with the song of this beautiful bird. Three Japanese envoys present the Emperor with a mechanical nightingale as a gift but it does not sing as sweetly. The real nightingale escapes and the Emperor banishes the mechanical bird from the kingdom. In the final scene, the Emperor is on his deathbed when the real nightingale returns to sing to him. This magical song drives Death away and restores the Emperor to life. In 1917, Diaghilev suggested that this opera be remounted as a ballet, and Stravinsky responded by creating a symphonic poem based on the second and third acts. The original vocal line for soprano was replaced by the solo flute and violin. The mechanical nightingale is represented by the solo oboe. The score closes with a Funeral March which is interrupted when the Emperor's life is restored. Schumann (8 June 1810 - 29 July 1856) - Symphony No. 3 "Rhenish" Robert Schumann's E-flat Symphony brims with much energy and color. Despite the fact that the name "Rhenish" suggests music depicting the beautiful Rhine valley, Schumann did not intend this symphony to be considered as program music. Of special interest is the fourth movement, originally labelled by Schumann "in the character of a solemn ceremony"; he later withdrew this marking. It has been suggested that Schumann was inspired to write this movement as the result of a trip that he and his wife Clara took down the Rhine. During the trip, in Cologne, the two witnessed the enthronement of Cardinal Archbishop Geissel (30 September 1850). Schumann was fascinated by the gigantic Gothic cathedral with all its architectural intricacies. Overall, this five-movement work is a tribute to the genius of a man inspired - the sheer speed with which he created the music still astonishes us. Schumann began this Symphony on 2 November 1950 and completed the entire score just over one month later on 9 December! Program notes compiled by Thomas E. Reynolds, TMC Librarian. ORCHESTRA PERSONNEL (Winds, brass and percussion listed alphabetically) '40 First violins Cellos Horns Min-Young Kim Karen Krummel Lisa Aplikowski Francine Trester Alexander Ezerman Nancy Billman David Denniston Wen Qian Gianna Abondolo Jennifer Dugle Jennifer Carsillo Brent Samuel Jennifer Scriggins Jill Wilson Keiko Shibota Margaret Parkins Timothy Schwarz Laura Koehl Trumpets Yu Yuan Achim Melzer Ying Jiang Darrett Adkins Wayne duMaine Clark Irwin Jessica Wakefield Charles Jacot Rodney Mack Mahoko Eguchi Eileen Moon Paul Merkelo Matthew Sonneborn Steven Frucht Hilary Metzger Melissa Kleinbart Amy Controulis Trombones Ann Shiau Ellen Pendleton Basses Brian Diehl Jon Etterbeek Yayoi Hasegawa Paul Sharpe Douglas Wright *Jason Uyeyama Dianna Richardson Stephen Schermer Bass trombone Second violins Jean Posekany Scott Cochran Wendy Putnam Jonathan Imsande Josefina Vergara Walter Schick Tuba Janice Graham Kilian Forster Sarah Roth *Ian Mitchell Anthony Kniffen Gabrielle Shek Susanne Ebner Flutes Percussion Seiko Sato Jane Garvin Riely Francis Andrea Schultz Dita Krenberga Timothy Genis Daniel Pailthorpe J. Scott Jackson Liana Zaretsky John Thorne Gabriela Jimenez Rui-Tong Wang Lisa Wienhold John Piskora Eric Schweikert Adrianna Hulscher Yoshiko Kawamoto Oboes Harps Mbvses Pogossian Washington Barella *Julie Rogers Gustav Highstein Licia Jaskunas Phillip Koch Emily Laurance Thomas Nugent Violas Paul Opie Piano Joan DerHovsepian Ayako Nitta Clarinets Olga Gross Predrag Muzijevic Jenny Douglass Daniel Gilbert Judith Ablon Vann Gary Ginstling Marianne Gythfeldt Celesta Ralph Farris Jerothe Simas Daniel Panner Jo-Ann Sternberg Olga Gross. Noriko Hayashi Tatjana Mead Terri Van Valkinburgh Bassoons Librarian Jennifer Stahl John Clouser Stephen Werczynski Susan Heineman John Grande Kristen Marks Stefanie Taylor Daniel Matsukawa David criliggle Kristin Wolfe Orchestra Manager Harry Shapiro Stage Manager *MeMber, Boston University Tanglewood Christopher A. Schaetzly Institute .