26 JULY - 1 AUGUST 1984 FESTIVAL OF CONTEMPORARY MUSIC SPONSORED BY THE BERKSHIRE MUSIC CENTER TanlLaDd Boston's New Music collage Ensemble John Harbison joins Collage as Co-Artistic Director for 1984-1985 Season featuring A Series of Monday Evening Concerts November 19 April 1 February 11 April 29 Recent commissions premiered and recorded by Collage include works by: Irwin Bazelon Leonard Rosenman Marc-Antonio Consoli Charles Schwartz John Heiss Joan Tower Thomas Obee Lee James Yannatos Thomas McKinley For further information and a season brochure, call (617) 437-0231 or write: COLLAGE, 295 Huntington Avenue, Suite 208, Boston, Massachusetts 02115 Memberships are Available Tanglewood Berkshire Music Center Gunther Schuller, Artistic Director Joseph Si lverstein, Chairman of the Faculty Aaron Copland, Chairman of the Faculty Emeritus Maurice Abravanel, Artist-in-Residence Phyllis Curtin, Artist-in-Residence John Oliver, Head of Vocal Music Activities Gustav Meier, Head Coach, Conducting Activities Gilbert Kalish, Head of Chamber Music Activities Dennis Helmrich, Head Vocal Coach Daniel R. Gustin, Administrative Director Richard Ortner, Administrator Karen Leopardi, Executive Secretary Harry Shapiro, Orchestra Manager James Whitaker, Chief Coordinator Sarah Harrington, Vocal Activities Coordinator John Newton, Sound Engineer Marshall Burlingame, Orchestra Librarian Douglas Whitaker, Stage Manager David Gruender, Librarian Carol Woodworth, Secretary to the Faculty Fellowship Program Contemporary Music Activities Gunther Schuller, Director Theodore Antoniou, Assistant Director John Harbison, Composer-in-Residence The Berkshire Music Center is maintained for advanced study in music and sponsored by the Boston Symphony Orchestra Seiji Ozawa, Music Director Thomas W. Morris, General Manager 1984 Festival of Contemporary Music Contemporary Music at Tanglewood It is twenty years since Erich Leinsdorf, the then-new Music Director of the Boston Symphony Orchestra, initiated the Festi- val of Contemporary Music at Tangle- wood—a festival within a festival, as it were—to bring greater focus to the new music activities here, from the outset an integral part of Serge Koussevitzky's origi- tionnal concept of the Berkshire Music Center. As the new head of the Composi- 14f Department at Tanglewood, succeed- ing Aaron Copland, I was privileged to or- ganize, with the added financial support of the Fromm Music Foundation, that first festival, offering commissions, world pre- mieres, and first American performances by "young" composers such as Mario Davidovsky, Charles Wuorinen, Donald Martino, Harvey Sollberger, and David Del Tredici. For most of these composers those were important "debut" perform- ances, heralding their arrival as major figures in the national and international ranks of composers. And most of them— as well as those that followed in the suc- ceeding years (George Crumb, Michael Co!grass, Salvatore Martirano, Roger Reynolds)—have indeed established themselves as leading lights of the music of our time, not only as composers, but as teachers, and some as conductors and or- ganizers of new music events. Those festival concerts were an impor- tant beginning, an American exemplar of a contemporary festival as existed other- wise only in Europe, and one that has be- Tanglewood come through the years a tradition, now recent decades, but retains its artistic partially emulated in several other venues privilege to not be seduced by more of our country. New music at Tangle- ephemeral fashions and fads. wood, both in the Festival and in the ac- Among the more interesting limitations tivities of the Composition Department, we face is the fact that the Berkshire Music geared primarily to the training of the Center is ultimately an educational institu- youngest generation of composers, is not tion. We are a training center; we are not something left to a few interested special- merely and primarily a performing organi- ists or ghettoized in some segregated en- zation. Everything we do here is sifted clave of Tanglewood, but rather some- through the screen of its educational/train- thing that touches everyone's life here. Al- ing value. though the Contemporary Music Festival As in the past, this year's Contemporary of necessity requires in its preparations an Music Festival is, I believe, healthily am- uncommon concentration of effort and in- bitious in its scope and vision. It embraces volvement, it is experienced—by the twenty-four compositions, mostly Amer- weight and importance it is given—as an ican but including as well seven distin- intrinsic indispensable element of each guished Europeans, some in their Amer- summer's overall training. It is viewed and ican debuts. The range of performing en- experienced not as something separate sembles runs the gamut from duos and from ordinary professional musical life, trios to large orchestral forces, including but as a part of the ongoing continuum of examples of recent electronic and com- musical history. New music at Tangle- puter-generated music. wood represents no more and no less than Predictably the hours and days of this the latest manifestation of that historical Festival will be infused with the special continuity. talent, enthusiasm, and vitality that young The integrality of this concern with the musicians can bring so uniquely, so pris- music of our time has never been placed tinely, to these exciting musical chal- in question. Nor have its philosophical lenges. tenets. These are very simple and clear: to —Gunther Schuller perform the widest range of quality music Artistic Director, realistically manageable within a five-day Berkshire Music Center festival period and within certain limita- tions which we, like any institution, must heed. The Festival is, and always has been, respectful of the important direc- tions, trends, and conceptions surfacing in MIT 1984-85 Season Experimental Music Studio Concert Series New Musical Resources Music for instruments and computer Concerts Oct 13 Feb 22 Apr 19 Kresge Auditorium MIT Cambridge Speaker Series Music & Technology Forum Ongoing public guest speaker seminars Information Call 617-253-7418 irf‘i%;1 : DINOSAUR ANNEX MUSIC ENSEMBLE 1984-85 10TH ANNIVERSARY SEASON Sunday, Oct. 14, 1984 • 8:00 pm Sunday, March 17, 1985 • 8:00 pm DONALD MARTINO, Trio LYLE DAVIDSON AARON COPLAND, Sextet Quartet for Piano & Strings FRANCES TURNER GUSTAVO MORETTO, Sur de Neruda Scherzo Anemone RICHARD BUSCH, Wiederherstellungsmittel EZRA SIMS, Sextet Thursday, May 9, 1985 • 8:00 pm Sunday, Jan. 20, 1985 • 8:00 pm MALCOLM PEYTON, a new work VIRGIL THOMSON, AMY REICH, Holograph Dances Collected Poems RODNEY LISTER, A Little Cowboy Music SCOTT WHEELER, Pocket Concerto CHARLES MARTIN LOEFFLER PETER MAXWELL DAVIES Three Songs Image, Reflection, Shadow MARTIN BOYKAN, Trio First & Second Church, 66 Marlborough Street, Boston For Subscription information, write or call: Dinosaur Annex Music Ensemble, 25 Huntington Avenue, Boston, MA 02116 (617) 262-0650. 1984 Festival of Contemporary Music Thursday, 26 July at 8:30 Theatre=Concert Hall, Tanglewood JOEL KROSNICK, cello GILBERT KALISH, piano ARTHUR BERGER Duo for cello and piano (1951) (b.1912) Poco Adagio Deliberamente TOD MACHOVER Electric Etudes, for cello and computer electronics (1983) (b.1953) INTERMISSION BEN WEBER Five Pieces for cello and piano, Opus 13 (1941) (b.1916) Animato Allegretto Largo Largamente misterioso Alla marcia GEORGE CRUMB Processional, for solo piano (1983) (b.1929) RALPH SHAPEY Evocations 11 , for cello, piano, and (b.1921) percussion (1979) GORDON GOTTLIEB, percussion Baldwin piano 1984 Festival of Contemporary Music Saturday, 28 July at 2:30 Theatre-Concert Hall, Tanglewood Members of the Berkshire Music Center Fellowship Program LAURA CLAYTON Cree Songs to the Newborn (1978) (b.1943) All the Warm Nights I'm No Owl There's Things I Do If I Popped Out of the Snow JOHN HARBISON, conductor ROBERTA GUMBEL, soprano KARL AAGE RASMUSSEN Genklang (1972)t (b.1947) JUDITH GORDON, keyboard RAYMOND PICKINS, keyboard JOHN MUGGE, keyboard BRYAN PEZZONE, keyboard CHERYL TSCHANZ, keyboard INTERMISSION PAUL LANSKY As If, for string trio and computer- (b.1944) synthesized tape (1981-82) I. In Preparation II. At a Distance III. In Practice IV. In Distinction JOHN HARBISON Piano Quintet (1981) (b.1938) Overtura Capriccio Intermezzo Burletta Elegia tfirst performance in the United States The 1984 Festival of Contemporary Music continues at 2:30 tomorrow afternoon with the Boston Symphony Orchestra's performance of John Harbison's Symphony No. 1, commissioned by the Boston Symphony Orchestra for its centennial. Tickets for this Berkshire Festival event are required and are available at the Tanglewood box office. Baldwin piano 1984 Festival of Contemporary Music Sunday, 29 July at 8:30 Theatre-Concert Hall, Tanglewood Members of the Berkshire Music Center Fellowship Program WOLFGANG RIHM Chiffre III (1983) (b.1952) GUNTHER SCHULLER, conductor IVAN'TCHEREPNIN Solstice/1984, for twenty players (1983) (b.1943) MUHAI TANG, conductor LEE HYLA Pre - Pulse Suspended (1984)* (b.1952) NAOHIRO TOTSUKA, conductor INTERMISSION LOUIS ANDRIESSEN De Staat (1972-76), after Plato's Republic (b.1939) GUNTHER SCHULLER, conductor *commissioned by the Berkshire Music Center for this Festival; first performance Baldwin piano • • • • • qb • ALEA III For information on concerts and Theodore Antoniou, 1984-85 other events: Music Director SEASON Alea III Performing Arts Premieres 855 Commonwealth Ave. Ensemble in Residence