ancjlewood ^ BOSTON SYMPHONY I ORCHESTRA <%& Berkshire Festival 1962 Pierre ^Monteux Conducts the ^Boston Symphony Always an advocate of Russian music, Pierre Monteux returns to the first orchestra with which he held a permanent position in the U.S., to record a pene- trating performance of Tchaikovsky's "Fourth" and "Petrouchka" by his friend and collaborator, Stravinsky. The Boston Symphony records exclusively on RCA Victor Red Seal. Hear Pierre Monteux in Living Stereo or Monaural Hi-Fi. Tchaikovsky SYMPHONY No. 4 MONTEUX /BOSTON SYMPHONY RCA VICTOR THE MOST TRUSTED NAME IN SOUND Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Berkshire Festival> Season 1962 TWENTY-FIFTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS SIXTH WEEK Concert Bulletin, with historical and descriptive notes by John N. Burk Copyright, 1962 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 Abeam 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 Oliver Wolcott Trustees Emeritus Palfrey Perkins Lewis Perry Edward A. Taft Tanglewood Advisory Committee Alan J. Blau Henry W. Dwight George E. Mole Robert K. Wheeler Lenges Bull George W. Edman Whitney S. Stoddard H. George Wilde Lawrence K. Miller Jesse L. Thomason Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Samuel H. Sprott Lenox, William T. McCormack Lee, C. Marcel Brunell Thomas D. Perry, Jr., Manager Norman S. Shirk, Assistant Manager James J. Brosnahan, Business Administrator Leonard Burkat, Music Administrator Rosario Mazzeo, Personnel Manager am 5££ • • Eugene Ormandy, the world-famous Conductor of The Magnificent Philadelphia Orchestra, records exclusively for Columbia Records. Outstanding album releases featuring Eugene Ormandy and The Philadelphia Orchestra Tchaikovsky: Symphony No. 7 (World Premiere Recording) (ML 5749/MS 6349*) Beethoven: Symphony No. 3, "Eroica" (ML 5 666 /MS 6266*) Tchaikovsky: Swan Lake, Op. 20 (Excerpts) (KL 5708/KS 6308*) Orff: Carmina Burana (ML 5498/MS 6163*) Tchaikovsky: Symphony No. 6, "Pathetique" (ML 5495/MS 6160*) Strauss: Don Juan, Op. 20 Death and Transfiguration, Op. 24 (ML 5724/MS 6324*) Available at Your Record Dealer * Stereo €>"COLUMBIA",gMARCAS REG. PRINTED IN U.S.A. , BOSTON SYMPHONY ORCHESTRA Friday Evening, August 10, at 8:00 EUGENE ORMANDY, Conductor BEETHOVEN Overture to "Egmont," Op. 84 # BEETHOVEN Symphony No. 3, in E-flat major, Op. 55, "Eroica" I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto Intermission BARTOK Concerto for Orchestra I. Andante non troppo; allegro vivace II. Giuoco delle coppie : Allegro scherzando III. Elegy : Andante non troppo IV. Intermezzo interrotto: Allegretto V. Finale: Presto BALDWIN PIANO *RCA VICTOR RECORDS — 5 — Program Notes Friday Evening, August 10 The illustrious conductor of the Philadelphia Orchestra has on two occasions con- ducted the Boston Orchestra in Boston while his friend, Charles Munch, conducted in Philadelphia during the same week. Dr. Ormandy conducted at Tanglewood as guest last season. OVERTURE TO GOETHE'S "EGMONT," Op. 84 Ludwig van Beethoven Born in Bonn, December 16(?), 1770; died in Vienna, March 26, 1827 Composed in 1810, the Overture (together with the incidental music) was first per- formed at a production of Goethe's play by Hard in the Hofburg Theater in Vienna, May 24, 1810. The heroic Count of the Netherlands, champion of liberty and inde- pendence for his people, meeting death on the scaffold under an unscrupulous dictator, was an ideal subject for the republican Beethoven. His deep admira- tion for Goethe is well known. Your Year-Round Vacationland Your Permanent Home For gracious living, for unexcelled business opportunities, there's no place like the Berkshire Hills! A renowned resort area, the Berk- shires offer a skilled labor sup- ply, easy access to major markets and strategic materials, top-notch educational facilities and good transportation. Now that the Massachusetts Turnpike is opened, this thriving industrial area and its delightful suburbs are just a short drive from Boston and New York. For an informative brochure, write: BERKSHIRE HILLS CONFERENCE 100 North Street, Pittsfield, Mass. — 6 — ii Without going into music particularization, it is easy to sense in the overture the main currents of the play: the harsh tyranny of the Duke of Alva, who lays a trap to seize Egmont in his palace, and terrorizes the burghers of Brussels as his soldiery patrol the streets under the decree that "two or three, found conversing together in the streets, are, without trial, declared guilty of high treason"; the dumb anger of the citizens, who will not be permanently cowed; the noble defiance and idealism of Egmont which, even after his death, is finally to prevail and throw off the invader. It has been objected that the Egmont of history was nut the romantic martyr of Goethe; that he was a family man who was compelled to remain in Brussels as the danger increased, because he could not have fled wT ith all of his children. Yet Goethe stated, not unplausibly, in 1827, that no poet had known the historical characters he depicted; if he had known them, he would have had hard work in utilizing them. "Had I been willing to make Egmont, as history informs us, the father of a dozen children, his flippant actions would have seemed too absurd; and so it was necessary for me to have another Egmont, one that would harmonize better with the scenes in which he took part and my poetical purposes; and he, as Clarchen says, is my Egmont. And for what then are poets, if they wish only to repeat the account of a historian?" These 9t^F pianists Evelyn Crochet featured this season at Leon Fleisher Claude Frank the Berkshire Festival Gary Graffman play only Eugene Istomin Byron Janis THE SMWAY Rudolf Serkin Vronsky and Babin IN MASSACHUSETTS AND NEW HAMPSHIRE NEW STEINWAY PIANOS ARE SOLD ONLY BY M. STEINERT & SONS 162 BOYLSTON ST. BOSTON • WORCESTER, SPRINGFIELD SYMPHONY NO. 3 IN E-FLAT, "EROICA," Op. 55 Ludwig van Beethoven Born in Bonn, December 16(?), 1770; died in Vienna, March 26, 1827 Composed in the years 1802-1804, the Third Symphony was first performed at a private concert in the house of Prince von Lobkowitz in Vienna in December, 1804. The first public performance was at the Theater-an-der-Wim, April 7, 1805. The parts were published in 1806, and dedicated to Prince von Lobkowitz. The score was pub- lished in 1820. The liberation of music in the nineteenth century brought about a remark- able result which had been impossible before on account of stylistic constric- tion, and which, for sheer lack of imaginative power, has not happened since. That enviable century produced two composers whose amplitude of resource and consistency of growth were such that over and above the continuing traits of their personal style, the succession of their greater works unfolded, one after another, new and distinct tonal concepts. Tristan or Die Meistersinger have each a character completely its own. Each of Beethoven's symphonies from the Third to the Ninth opens a fresh vista of its own—this in varying degree, but most strikingly in the Third. Beethoven's remark to Krumpholz in 1802 while sketching his Third Symphony that he was taking a "new road" is often quoted, and rightly so. Beethoven's phrase, reported by Czerny, was an understatement, for no single musical work in history can compare with it as a plunge into new ways. When **•* AVAVOCU **•* A COUNTRY INN LENOX, MASSACHUSETTS Just across the Road-AVALOCH offers two fine restaurants of different and exciting character . Continental Dining high in the Berkshires An open air room for summer dining. Special Sunday BUFFET in the GAZEBO that you can't afford to miss! FIVE REASONS STEAK & ALE HOUSE A superb Steak House featuring 30 varieties of Foreign Beer and Ale. Huge steak and half-pound hamburger. Dancing Wed. thru Sat. to music of "Tempo 44" FOR RESERVATIONS PHONE LENOX 41 -ALL RESORT FACILITIES — 8 — — Schumann published his article on the youthful Brahms in 1852 under the title r "Neue Bahnen," he was going too far if he had in mind Beethoven's 'Neuen Weg." Brahms's First Symphony would vindicate this clear-visioned prophet, but that Symphony was arrived at only after years of germination and accumu- lating force. The Eroica was a new road both in the composer's meaning of a sudden broadening in his own development, and in the universal sense that it changed the whole course of music. Symphonies, even Beethoven's first two, still retained relics of the gallant style of the salon where the form was born. Even the last symphonies of Mozart and Haydn were not out of place in such surroundings—they had wit and seemly restraint rather than challenge and thrust. Beethoven, always an intuitive composer who never theorized about music, leaves no sign of having taken his "new road" with conscious purpose or awareness of making an aesthetic revolution. He could have had no motive of expediency. From the publisher's point of view no score could have been less saleable. Symphonies were no longer being written at that time, partly because no contemporary composer wanted to match his talent with what Mozart and Haydn had left, but also because there was no particular demand for them. Here Clementi failed by comparison with those two; Cherubini wrote only one, on an ines- capable commission; Weber wrote one as a youthful indiscretion. Schubert wrote several which had a few amateur performances or none at all while he lived.