I(-:Yv;. TAN6LEW00D FESTIVAL OF CONTEMPORARY MUSIC July 29 — August 3, August 11 — 18, 1969 Sponsored by the BERKSHIRE MUSIC CENTER In Cooperation with the FROMM MUSIC FOUNDATION What tomorrow sounds like Red Seal Albums Available Today nc/i RED SEAL SIERtO RED SEAL RCil STEREO LEONTYNE PRICE ^ lHEFHI^[ELm^CRfflESTR^ Sunnel Bubei Two Scenes (rom XbIbbj oad Cleepalra EliGENE CRM^JCy Knoxrille: Saamtr »/l9I5 New Phjibanaonia Orchestra THOMAS SCHIPPERS,, RCil WORLD PREMIERE RECORDINGS RED SEAL ^''^ MORTON GOULD VENICE VIVALDI GALLERY SEATTLE SYMPHONY MILTON KATIMS,c.nd.c..r RED SEAL nc/i '4 :IJ.HJ.W SltREO First Recordings MARTINON Symphony No. 4 - i MENNIN 1'^ H Symphony No. 7 JEAN MARTINON M9 CHICAGO J ^^Hi ""^c SYMPHONY^ 1 i^Bj '^<^^ 1 iiQ * Available on RCA Stereo 8 Cartridge Tape RCil ^Y5?« ^'"^•^'^^^ BERKSHIRE MUSIC CENTER ERICH LEINSDORF, Director Joseph Silverstein, Chairman of the Faculty Aaron Copland, Chairman of the Faculty Emeritus Louis Speyer, Assistant Director Harry J. Kraut, Administrator James Whitaker, Chief Coordinator Daniel R. Gustin, Assistant Administrator Festival of Contemporary Music presented in cooperation with The Fromm Music Foundation Paul Fromm, President Fellowship Program Contemporary Music Activities Gunther Schuller, Head Luciano Berio, Alexander Goehr and Donald Martino, Guest Teachers Paul Zukofsky, Assistant The Berkshire Music Center is maintained for advanced study in music sponsored by the Boston Symphony Orchestra Erich Leinsdorf, Music Director Charles Wilson, Assistant Conductor Thomas D. Perry, Jr., Manager BALDWIN piano RCA VICTOR RECORDS i-yy^ > r- « r^r-y a PERSPECTIVES NEWOF MUSIC PERSPECTIVES OF NEW MUSIC Participants in this year's Festival are invited to subscribe to the American journal devoted to im- portant issues of contemporary music and the problems of the composer. Published for the Fromm Music Foundation by Princeton University Press. Editors: Benjamin Boretz and Edward T. Cone Advisory Board: Aaron Copland, Ernst Krenek, Darius Milhaud, Walter Piston, Roger Sessions, Igor Stravinsky. Semi-annual. $5.00 a year. $12.50 three years. For- eign Postage is 25 cents additional per year. Single or back issues are $3.00. Princeton University Press Princeton, New Jersey 2- Mrs, Serge Koussevitzky and Erich Leinsdorf The Berkshire Music Center In 1940, the Berkshire Music Center was estabhshed at Tanglewood by the Boston Symphony Orchestra in fulfillment of the dream of Serge Koussevitzky, its Music Director, to provide an environment in which young musicians could continue their professional training and add to their artistic experience through the guidance of eminent musicians. i The Center was developed under his leadership until his death in 1951, when he was succeeded by Charles Munch. Erich Leinsdorf has been Director of the Center since 1963 and Joseph Silverstein, Concertmaster of the Orchestra, is Chairman of the Faculty. Since the founding of the Center, one of the principal sponsors of composers and contemporary music at Tanglewood has been the Kousse- vitzky Music Foundation, established in 1942 by Serge Koussevitzky, then Music Director of the Boston Symphony Orchestra, in memory of his wife Natalie. In 1967 the Festival of Contemporary Music was honored to open the celebration of the Foundation's 25th anniversary with performances of many of the works commissioned by the Foundation. Many visiting composers and composition teachers at the Center work and stay at the Koussevitzky Studio for Composers, located on the Koussevitzky estate near Tanglewood, which was established in 1966 by the Foundation in conjunction with the National Federation of Music Clubs. The Director "Each summer a Festival of Contemporary Music is presented here at Tanglewood under the auspices of the Berkshire Music Center and the Fromm Music Foundation. "Today's composer is the alienated figure in music. This is our problem, and an important one, for every practicing musician learns as his career lengthens that the stock of performable masterpieces must be replenished constantly or music dies. "To bring contemporary men and music together is a challenge worthy of our efforts. We here at the Berkshire Music Center have a unique opportunity to do so. The young instrumentalists and vocalists who come here for the summer have an understanding of and an affinity for the music of their contemporaries, and therefore they are good interpreters of music written in our time. By the same token, the Berkshire Music Center thus offers young composers a place to be heard. "Equally important is the program to make our participants, as well as the public, aware of the great established masterworks of the 20th Century, without which the bridge between past and present would be sadly missing. Last season for example we performed Schoenberg's DIE GLUCKLICHE HAND, and this year we shall do performances of Berg's WOZZECK and Stravinsky's L'HISTOIRE DU SOLDAT. "The Festival of Contemporary Music has become an integral part of the Berkshire Festival and the Berkshire Music Center. I welcome you to this year's venture." — Erich Leinsdorf ALEXANDER BROUDE, INC. Publishers of Contemporary American Music by V Samuel Adler Bernhard Tleiden Sherodd Alhritton "Karl %roeger Ernst 'Bacon Ernst Levy Robert Baksa Edwin London Richard Bales Lawson Lunde Jean Berger Robert !Mann David Bur^e Lionel T^ovak Qeorge Burt Joan Vanetti Ruth Crawjord-Seeger H^allingjord Riegger Ingolf T)ahl Veter Schickele £aurie Ejrein Elliott Schwartz Alvin Stler Alexander Semmler Josef^h Qoodman Veter 'Westergaard Edmund 'Haines Ivan Wiener Sole agent in the U.S.A. for ALDO BRUZZICHELLI EDITIONS including works by Jean Barracjue, Sylvano Bussotti, Bruno TAaderna, Qunther Schuller. Catalogues available upon request from ALEXANDER BROUDE, INC. 1619 Broadway • New York, N. Y. 10019 publishers dealers iiiiporlers coisultcmls 'is^' Paul Fromm Gunther Schuller THE FROMM MUSIC FOUNDATION The Fromm Music Foundation is dedicated to the furtherance of contem- porary music. The Foundation commissions new works, awards prizes for existing works, and sponsors the study, performance, publication and recording of con- temporary music. The Foundation supports the magazine, "Perspectives of New Music," published by the Princeton University Press, and sponsors the yearly Festival of Contemporary Music at Tanglewood. The Fromm Music Foundation is headed by Paul Fromm of Chicago, its president and founder. CONTEMPORARY MUSIC AT TANGLEWOOD The Contemporary Music Program at the Berkshire Music Center comprises two kinds of activity: the study and performance of contemporary music, and instruction in composition for a limited number of composers whose previous studies and experiences have prepared them for work on an advanced level. The program is headed by Gunther Schuller, President of the New England Conserva- tory of Music. Student composers not only receive instruction from Mr. Schuller and this year's guest teacher, Alexander Goehr, but also participate in a series of seminars conducted by two visiting composers: Luciano Berio and Donald Martino. In addition compositions by the student composers are performed at various Berkshire Music Center concerts, and prepared, as are the concerts of the Festival of Contemporary Music, under the supervision of Mr. Schuller. Mr. Schuller replaces Aaron Copland who retired in 1965 after twenty-five years as head of the Composition Department at the Center. THE FESTIVAL "The Festival of Contemporary American Music was initiated in 1963. The generous support of the Fromm Music Foundation and the farsighted vision of the Berkshire Music Center's Director, Erich Leinsdorf, have made this week-long confrontation with contemporary music an institution at Tanglewood — a festival within a Festival. "Its purposes are manifold. It provides a forum for new ideas and directions in music, and as such has become one of the most important annual events in the vital task of keeping the lines of communication open between composer and public. It also reaffirms the position that music can only survive in our society through the careful nurturing of the creative mind. But creation (composition) and recreation (performance) are inextricably linked: the one cannot survive without the other. The emphasis on museum policies possible in the other arts, particularly the visual arts, can only lead to attrition in music for the very simple reason that, unlike a painting which exists and can be viewed at leisure, a composition has to be performed in order to exist. It ceases to exist, except as a memory, the moment the performance has ended. It therefore becomes the obligation of every perform- ing musician to keep the life-stream of music — composition — going and moving forward. The young men and women who come to Tanglewood as Fellowship students, performing in addition to 19th Century music a wide variety of con- temporary music, are meeting this challenge as a part of their professional com- mitment to music in all its breadth and depth. "The Fromm Music Foundation and the Berkshire Music Center provide a special stimulus to these activities by annually commissioning a number of works by young composers about to establish themselves in the field of music. This year again the Festival expands its geographical range by including a number of Euro- pean composers, among them Barraque, Berio, Donatoni, and Cristobal Halffter. "The Festival does not claim to be comprehensive or all-permissive, but has presented over the years a wide sampling of contemporary music, ranging from young 'unknowns' to the well-established figures." — GUNTHER SCHULLER TRENDS CONCERTS Another manifestation of contemporary musical life is the Contemporary Trendi Concerts, now in their second year. These concerts are based on the premise that thi so-called "serious" music of our Western European culture represents but a smal segment of the total spectrum of contemporary music. With the vastly increasec media of communication and dissemination, the world's musics are available to al of us, virtually for the asking, and, as a result, the barriers between many of thesi musics are rapidly breaking down, particularly for the younger generations.