TANGLEWOOD — LENOX, MASSACHUSETTS SYMPHONY BERKSHIRE FESTIVAL SERGE KOUSSEVITZKY, Conductor Series B AUGUST 1, 3, 4 STEIItWAV it vm Since fhe time of Liszt, the Sfeinway has consistently been, year after year, the medium chosen by an overwhelming number of concert artists to express their art. Eugene List, Mischa Elman and William Kroll, soloists of this Berk- shire Festival, use the Steinway. Significantly enough, the younger artists, the Masters of tomorrow, entrust their future to this world-famous piano — fhey cannot afFord otherwise to en- danger their artistic careers. The Stein- way is, and ever has been, the Glory Road of the Immortals. M. STEINERT & SONS CO. : 162 BOYLSTON ST.. BOSTON Jerome F. Murphy, Prasic/enf • Also Worcester and SpHngfieid MUSIC SHED TANGLEWOOD (Between Stockbridge and Lenox, Massachusetts) NINTH BERKSHIRE FESTIVAL SEASON 1 946 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1946, BY BOSTON SYMPHONY ORCHESTRA, IflC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Henry B. Sawyer Vice-President Richard C. Paine Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Bentley W. Warren N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott TANGLEWOOD ADVISORY COMMITTEE Allan J. Blau G. Churchill Francis George P. Clayson Lawrence K. Miller Bruce Crane James T. Owens Henry W. Dwight Lester Roberts George W. Edman Whitney S. Stoddard Robert K. Wheeler G. E. JuDD^ Manager [^ titled "The First Wave of American- SYMPHONIANA ism," "Judaism In American Music," "The Russian-American School," "Neo- Classicism as Reflected in American TWO NEW BOOKS Music," "The New Americanism of the Thirties and Forties." These are fol- The activities of the Boston Sym- lowed by two extensive chapters de- phony Orchestra in "and out of Tangle- voted to an analysis of "Koussevitzky's wood figure prominently in two notable Art as a Conductor" and "Koussevitzky books. One, "The Tale of Tanglewood" as an Educator," stressing the Impor- by M. A. DeWolfe Howe, is now pub- tance of the Berkshire Festivals and lished, and the other, "Serge Kousse- the Berkshire Music Center. vitzky, the Boston Symphony Orchestra, and the New American Music," by Dr. *- .» Hugo Leichtentritt, will be published BOSTON SYMPHONY this autumn. EXHIBITION An exhibition, "The History of the Boston Symphony Orchestra," will be held In "The Tale of Tanglewood" Mr. in the Berkshire Museum, Pitts- field, from July 23 to August 20. Va- Howe traces its early history and lit- rious pictures of the Orchestra in Its erary associations and its development early In recent years Into a musical center, days, portraits of each conductor since programs which of course involves the establish- 1881, and other memo- rabilia will ment and growth of the Berkshire Fes- be shown. Features of the exhibition will be the John Singer Sar- tivals. The Festival programs from the gent full-length portrait of beginning are listed. Mr. Howe, a Henry Lee Higginson, the founder of Trustee of the Boston Symphony Or- the Orches- tra, and paintings and drawings by Don- chestra, is likewise its historian and the ald Greason made at rehearsals, Dr. author of a number of outstanding Koussevitzky conducting. books. Dr. Koussevitzky, in an Intro- duction to the book, writes: TANGLEWOOD MUSIC SHOP "/ venture to add that if the muses The Music Shop of the Berkshire had their say in the writing of the Music Center is located at the rear of present work, they used unerring in- the main house, ground level. The Shop spiration, sense, and perception in se- will be open during all Festival per- lectins both the author and the subject. formances. For the pen of Mark Howe evokes with indefinable charm memories of Tangle- wood born of the genius of Nathaniel Hawthorne, its legendary fascination and historic background, and, further, tells the tale of wonder and beauty of the Tanglewood of our day." (LTD Dr. Leichtentritt is well known by his "Music History, and Ideas." His latest book treats the growth of Amer- ican symphonic music in the last cen- tury and this, and the part which Dr. Koussevitzky, as conductor of the Bos- ton Symphony Orchestra, has played in this growth. Various chapters are en- [«] [S] An Invitation to Join THE SOCIETY OF FRIENDS OF THE BERKSHIRE MUSIC CENTER SERGE KOUSSEVITZKY, Director All who are interested in the Boston Symphony Or- chestra's summer school at Tanglewood and its activities are invited to become members of the newly formed Z' Society of Friends of the Berkshire Music Center. Those who join the Society will be privileged to attend the many school performances, including the three per- formances of Benjamin Britten's opera, 'Teter Grimes," which was commissioned for the Center by the Kous- I - sevitzky Music Foundation, and which will have its first American presentation by the Opera Department — August 6, 7, and 9. Admission to these school concerts and opera perform- ances will be by invitation only, and as a member of the Society your request for tickets will be fulfilled so far as space permits. The present list of members will he published in the program books of August 8, 10, and 11. Contributions in any amount will constitute enroll- ment without further formality. Berkshire Music Center Tanglewood, Lenox, Massachusetts 5.' .w •^^ I wish to be enrolled as a member of the Society of '5' i Friends of the Berkshire Music Center. Enclosed is my voluntary contribution. $ I should like to receive a school calendar with the full list of events. Name Address [4] >iiwwsiES 1 BERKSHIRE FESTIVAL - NINTH SEASON, 1946 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Fourth Program THURSDAY EVENING, August 1, at 8:15 o'clock BRAHMS Tragic Overture, Op. 8 Concerto for Pianoforte No. 1 in D minor. Op. 15 I. Maestoso II. Adagio III. Rondo: Allegro non troppo intermission Symphony No. 4 in E minor^ Op. 98 I. Allegro non troppo II. Andante moderato III. Allegro giocoso IV. Allegro energico e passionate Soloist: CLAUDIO ARRAU BALDWIN PIANO Each Saturday Evening Concert at Tanglewood will be broadcast 9:30 to 10:30 by the American Broadcasting Company under the sponsorship of the Allis-Chalmers Manufacturing Co. [5] Fourth Program TRAGIC OVERTURE, Op. 81 By Johannes Brahms Bom at Hamburg, May 7, 1833; died at Vienna April 3, 1897 The Tragische Ouvertiire, like the Academische Fest OuvertiXre, was composed at Ischl in the summer 1880. It was first performed in Vienna by the Vienna, Philharmonic under Hans Richter in the same year. The first performance in r > Boston was on October 29, 1881, and the most recent one February 11, 1927. The overture is scored for two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani and strings. N ONE weeps, the other laughs," Brahms said of his pair of over- tures, the "Tragic" and the "Academic Festival." Eric Blom ' adds, "Why not 'Jean (Johannes) qui pleure et Jean qui ritf " But as the bright overture does not precisely laugh but rather exudes a sort of good-natured, sociable contentment, so the dark one is any- thing but tearful. Critics have imagined in it Hamlet, or Aristotle, or Faust, or some remote figure of classical tragedy, but none have divined personal tragedy in this score. Walter Niemann considers this overture less genuinely tragic than the music in which Brahms did not deliberately assume the tragic mask, as for example the first move- ment of the D minor piano concerto or certain well-known pages from the four symphonies. He does find in it the outward tragic aspect of "harshness and asperity" and puts it in the company of those " 'character' overtures which have a genuine right to be called tragic: Handel's 'Agrippina,' Beethoven's 'Coriolan,* Cherubini's 'Medea,' Schumann's 'Manfred,* Volkmann's 'Richard III' overtures. No throb- bing vein of more pleasing or tender emotions runs through the cold classic marble of Brahms' overture. Even the second theme, in F, re- mains austere and palely conventional, and its yearning is, as it were, frozen into a sort of rigidity. The minor predominates throughout, and the few major themes and episodes are for the most part, accord- ing to Brahms' wont, at once mingled harmonically with the minor; they are, moreover, purely rhythmical rather than melodic in quality; forcibly insisting upon power and strength rather than confidently and unreservedly conscious of them. The really tragic quality, the fleeting touches of thrilling, individual emotion in this overture, are not to 5«' rSr" ii, be found in conflict and storm, but in the crushing loneliness of terrifying and unearthly silences, in what have been called 'dead places.* Thus, at the very beginning of the development section, where the principal theme steals downward pianissimo, note by note, amid long-sustained, bleak harmonies on the wind instruments, and in its final cadence on A, E, sighed out by the wind after the strings, we almost think we can see the phantom of the blood-stained Edward flitting spectrally through the mist on the moors of the Scottish highlands; or again, at the tempo primo at the close of the development section, where all is silence and emptiness after the funeral march derived from the principal subject has died away; or lastly, at the close of the whole work, where the curtain rapidly falls on the gloomy funeral cortege to the rhythm of the funeral march." [6] .mx J AIR-SENT TO ALL AMERICA EVERY SATURDAY OVER THE AMERICAN BROADCASTING COMPANY COAST-TO-COAST THE BOSTON SYMPHONY SERGE KOUSSEVITZKY, CONDUCTOR Sponsored for the Third Season by ALLIS-CHALMERS MANUFACTURING COMPANY, MILWAUKEE, WISCONSIN Producers of the World's Largest Line of Major Industrial Equipment—Over 1600 Products for American Industry- Tune in your ABC Station 9:30 P.