CJancjlewoo u* r BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF %I Music Director U> N A ( i Berkshire Festival \i 1963 "THE ARISTOCRAT OF ORCHESTRAS" THRILL TO THE is captured to perfection! These exciting "DYNAGROOVE" records are BOSTON SYMPHONY the product of RCA Victor's newly developed system of recording which ON DYNAGROOVE provides a spectacular improvement in sound quality. You'll enjoy their brilliance and clarity , realistic presence, RECORDS BY virtual elimination of inner-groove distortion , full-bodied tone — even" RCA VICTOR when you listen at low level! w SttVli ill* Mahler/Symphony No. 1 Boston Symphony Orch. Delia Joio /Fantasy and Variations Ravel/Concerto in G Erica L6insdorf Boston Symphony Oroh./Leinsdorf Om '"jnriiliM-raiyVrd/jtmi The AriM^Krat of Orche>fra>. Lorin Hollander LEINSDORF/Mahler "Sym- LEINSDORF / HOLLANDER phony No. 1." A stunning /Ravel "Concerto in G'7 performance! Hear every Dello Joio "Fantasy." 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ALL ALBUMS AVAILABLE IN LIVING STEREO, MONO HI-FI, AND ON TAPE RCA SEAL RECORDS RCA VICTORS^liW The most trusted name in sound Boston Symphony Orchestra ERICH LEINSDORF, Music Director RICHARD BURGIN, Associate Conductor Berkshire Festival, Season 1963 TWENTY-SIXTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS THIRD WEEK Concert Bulletin, with historical and descriptive notes by John N. Burk Copyright, 1963 by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks Richard C Paine Abram Berkowitz E. Morton Jennings, Jr. Sidney R. Rabb Theodore P. Ferris Henry A. Laughlin Charles H. Stockton Francis W. Hatch John T. Noonan John L. Thorndike Harold D. Hodgkinson Mrs. James H. Perkins Raymond S. Wilkins C D. Jackson Trustees Emeritus Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Tanglewood Advisory Committee Alan J. Blau Henry W. Dwight George E. Mole Lenges Bull George W. Edman Whitney S. Stoddard Robert T. Capeless Lawrence K. Miller Jesse L. Thomason Robert K. Wheeler H. George Wilde Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Robert Williams Lenox, William T. McCormack Lee, William O'Brien Thomas D. Perry, Jr., Manager Norman S. Shirk, Assistant Manager James J. Brosnahan, Business Administrator Rosario Mazzeo, Personnel Manager — 3 — <;<* . **<W1 . W* HOW MUCH DOES A CADILLAC COST? Take a guess — and then check it with your authorized Cadillac dealer. Odds are you 11 have guessed too high—for a Cadillac can be remarkably modest in cost. And this is one year you ought to be sure—for the 1963 "car of cars" is simply too beautiful and too fine to miss because of a misunderstanding about price. Better pay your authorized Cadillac dealer a visit soon — and learn firsthand why more motorists than ever have moved up to the Cadillac car this year. What are you doing tomorrow? VISIT YOUR LOCAL AUTHORIZED CADILLAC DEALER 1 BOSTON SYMPHONY ORCHESTRA Friday Evening, July 19, at 8:00 CHARLES MUNCH, Conductor BACH * Brandenburg Concerto No. 1, in F major I. Allegro II. Adagio III. Allegro IV. Menuetto V. Polacca ^Brandenburg Concerto No. 4, in G major, for Violin, Two Flutes, and Strings I. Allegro II. Andante III. Presto Violin: JOSEPH SILVERSTEIN Flutes: DORIOT ANTHONY DWYER, JAMES PAPPOUTSAKIS •1 Intermission 1 ^Brandenburg Concerto No. 3, in G major, for Strings I. Allegro II. Allegro ^Brandenburg Concerto No. 5, in D major, for Clavier, Violin and Flute, with Strings I. Allegro II. Adagio affettuoso III. Allegro Piano: LUKAS FOSS Violin: JOSEPH SILVERSTEIN (< Flute: DORIOT ANTHONY DWYER Mr. FoSS plays the Baldwin Piano BALDWIN PIANO *RCA VICTOR RECORDS — 5 — Program Notes Friday and Saturday Evenings, July 19 and 20 CHARLES MUNCH—INTERNATIONAL CONDUCTOR Since his final concert as the Music Director of the Boston Symphony Orchestra, when Dr. Munch gave us his memorable performance of Beetho- ven's Ninth Symphony at Tanglewood on August 26th of last season, he has been continuously active as a guest conductor in many parts of the world. On leaving Lenox, he led the French National Radio Orchestra in September through a tour of Europe, and in October brought this Orchestra to the United States and Canada. In December he returned to Europe to conduct in Switzerland, and from there flew to Tokyo to conduct several concerts by the Japan Philharmonic Orchestra. He returned to Boston in January to con- duct the concerts of three weeks as guest, and subsequently led the orchestras in Chicago, Pittsburgh and Philadelphia. In the April following he con- ducted in London, Florence, Turin and Rome. TIRED OF THE CITY GRIND? j&WtjX^jSgMaWtfljMB LOCATE IN THE BERKSHIRES WHERE YOU CAN MIX BUSINESS WITH PLEASURE-PROFITABLY Wouldn't it be nice to be at your office 1 minutes after leaving your home? No subway hordes to buck. And year-round outdoor fun only minutes away. Anyway you look at it, you'll live better, feel better by locating your busi- ness here in the Berkshires permanently. We have skilled labor, industrial plant sites and shell buildings, educational facilities, accessibility to major markets and financiers eager to help solve your problem. Why not get full details now at the address below? Your inquiry will be handled confidentially and promptly. 'Berkshire 44UIs Conference* INCORPORATED 100 NORTH STREET. PITTSFIELD. MASS. PHONE HI 3-9186. AREA CODE 413 — 6 JOHANN SEBASTIAN BACH Born in Eisenach, March 21, 1685; died in Leipzig, July 28, 1750 THE SIX BRANDENBURG CONCERTOS The set of six concert! grossi can be looked upon as an experiment in various instrumental combinations. They can also be looked upon as the most variegated expression of a tradition-bound form, the most eloquent and per- fectly modeled of its kind, and indeed the last, for the concerto grosso as a give and take between a large and small group with harpsichord continuo was soon to be superseded by the virtuoso concerto with a soloist and an accom- panying orchestra. Bach and his contemporary Handel both owed much to their Italian predecessors Corelli and Vivaldi. Handel's concertos hold their own with Bach's in modern performance, but they are looser in form and far less adven- turous in the use of wind instruments. Bach's Third and Sixth Brandenburg Concertos are for strings only, but are not in the least similar. In the Third Concerto Bach divides his forces into three complete and equal orchestras. At times, as in the first exposition, the three parts for each kind of instrument are in unison, making an ensemble of only three distinct parts (though the players themselves are distributed), giving a special sense of integration and solidity. At times the three parts CARNEGIE HALL EASTMAN THEATE R „. THE SUMME nter •in theW' concerts. MOSi NORTI ranks EVER^^ hosen is Piano * _ the -"""f V EMY RAVIN I A PA PJr lewisohn ¥ mIkinley \ K KIEL A PALAIS HOLLYIVQllC IBO M. STEINERT & SONS 162 boylston st. boston • Worcester, Springfield — 7 — (for violins, violas or cellos) are at variance, giving an infinite variety and richness in contrapuntal imitation. Using brief rhythmic figures, Bach estab- lishes and sustains an astonishing vitality in their varied manipulation. Unlike the Third Concerto, which has no solo parts, the Sixth Concerto is written for a pair of distinct and dueting viole da braccia, a pair of dueting viole da gamba, and a cello with a bass function. (The viola da braccia was the viola of Bach's time; cellos now usually replace the obsolete viola da gamba, a six-stringed "leg viol.") The First Concerto exploits other unusual instruments—two high French horns in F and a violino piccolo doubling the first violin part. The Second Concerto has four soloists with ripieno strings, a high trumpet in F, a flute, an oboe and a violin. The Fourth Concerto combines a principal violin part with two jiauti d'echo, flutes blown at the end, simulated by the modern recorders. The Fifth Concerto has for its star the harpsichord, here quite divorced from its humbler continuo role. It is matched with a principal violin and a flute. THE SUITES The suites, pamtas, and "overtures," so titled by Bach were no more than variants upon the suite form. When Bach labeled each of his orchestral suites as an "ouverture," there is no doubt that the French ouverture of Lully was in his mind. This composer, whom Bach closely regarded, had developed the operatic overture into a larger form with a slow introduction followed by ROUTE 20 HANCOCK SHAKER VILLAGE 5 Miles West of Pittsfield 7 furnished buildings open, crafts demonstrations, herb garden in preparation, famous round stone barn DAILY 9:30 TO 5:00 ADULTS $1 CHILDREN 50* BENJAMIN BRITTEN LENOX NATIONAL WAR BANK REQUIEM General Banking Service VOCAL SCORE 12.50 Travellers Cheques STUDY SCORE 10.00 Safe Deposit Boxes BOOSEY and HAWKES — 8 — a lively allegro of fugal character and a reprise. To this "overture" were sometimes added, even at operatic performances, a stately dance or two, such as were a customary and integral part of the operas of the period.