Full text of "Boston Symphony Orchestra concert programs, Summer, 2004, Tanglewood"

Digitized by the Internet Archive 

in 2012 with funding from 

Boston Symphony Orchestra, National Endowment for the Humanities 






http://archive.org/details/bostonsymphonytan2004bost 




Tangle wood 



Ozawa Hall 
July 1-13, 2004 






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BOSTON SYMPHONY ORCHESTRA 

One Hundred and Twenty-Third Season, 2003-04 
TANGLEWOOD 2004 



Trustees of the Boston Symphony Orchestra, Inc. 

Peter A. Brooke, Chairman 
John F. Cogan, Jr., Vice-Chairman 
Nina L. Doggett, Vice-Chairman 
Edward Linde, Vice-Chairman 



Robert P. O'Block, Vice-Chairman 
Roger T. Servison, Vice-Chairman 
Vincent M. O'Reilly, Treasurer 



Harlan E. Anderson 
George D. Behrakis 
Gabriella Beranek 
Jan Brett 

Samuel B. Bruskin 
Paul Buttenwieser 
James F. Cleary 
Eric D. Collins 

Life Trustees 

Vernon R. Alden 
David B. Arnold, Jr. 
J.P Barger 
Leo L. Beranek 



Diddy Cullinane, 



ex-omcio 



William R. Elfers 
Nancy J. Fitzpatrick 
Charles K. Gifford 
Avram J. Goldberg 
Thelma E. Goldberg 



Julian Cohen 
Abram T. Collier 
Mrs. Edith L. Dabney 
Nelson J. Darling, Jr. 



Edna S. Kalman 
George Krupp 
R.Willis Leith, Jr. 
Nathan R. Miller 
Richard P. Morse 
Donna Riccardi, 
ex-officio 



Edward I. Rudman 
Hannah H. Schneider 
Thomas G. Sternberg 
Stephen R. Weber 
Stephen R. Weiner 
Robert Winters 






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George H. Kidder Peter C. Read 

Harvey Chet Krentzman Richard A. Smith 
Mrs. August R. Meyer Ray Stata 
Mrs. Robert B. Newman John Hoyt Stookey 



Deborah Davis Berman Mrs. John H. Fitzpatrick William J. Poorvu John L. Thorndike 

Jane C. Bradley Dean W. Freed Irving W. Rabb Dr. Nicholas T. Zervas 

Helene R. Cahners 




Other Officers of the Corporation 

Mark Volpe, Managing Director 
Suzanne Page, Clerk of the Board 

Board of Overseers of the Boston Symphony Orchestra, Inc. 

Diddy Cullinane, Chair 



Thomas D. May, Chief Financial Officer 



Helaine B. Allen 
Joel B. Alvord 
Marjorie Arons-Barron 
Diane M. Austin 
Maureen Scannell 

Bateman 
Milton Benjamin 
George W. Berry 
James L. Bildner 
Bradley Bloom 
Mark G. Borden 
Alan Bressler 
Michelle Courton 

Brown 
William Burgin 
Dr. Edmund B. Cabot 
Rena F. Clark 
Carol Feinberg Cohen 
Mrs. James C. Collias 
Ranny Cooper 
Martha H.W. 

Crowninshield 
Joan P. Curhan 
Cynthia Curme 
James C. Curvey 
Tamara P. Davis 
Mrs. Miguel de 

Braganca 
Disque Deane 



Betsy P. Demirjian 
Paul F. Deninger 
Alan Dynner 
George M. Elvin 
John P. Eustis II 
Pamela D. Everhart 
Judith Moss Feingold 
J. Richard Fennell 
Lawrence K. Fish 
Myrna H. Freedman 
Dr. Arthur Gelb 
Jack Gill 
Robert P. Gittens 
Paula Groves 
Michael Halperson 
Ellen T. Harris 
Virginia S. Harris 
Deborah M. Hauser 
Carol Henderson 
Richard Higginbotham 
Phyllis S. Hubbard 
Roger Hunt 
Ernest Jacquet 
Charles H. Jenkins, Jr. 
Michael Joyce 
Martin S. Kaplan 
Steven E. Karol 
Stephen Kay 
Edmund Kelly 



Douglas A. Kingsley 
Robert Kleinberg 
Dr. Arthur R. Kravitz 
Mrs. William D. 

Larkin, Jr. 
Robert J. Lepofsky 
Alexander M. Levine 
Christopher J. Lindop 
Shari Loessberg 
Edwin N. London 
Carmine Martignetti 
Joseph B. Martin, M.D. 
Robert J. Mayer, M.D. 
Barbara E. Maze 
Thomas McCann 
Joseph C. McNay 
Albert Merck 
Dr. Martin C. Mihm, Jr. 
Robert Mnookin 
Robert T O'Connell 
Norio Ohga 
Louis F Orsatti 
Joseph Patron 
Ann M. Philbin 
May H. Pierce 
Joyce L. Plotkin 
Dr. John Thomas 

Potts, Jr. 
Dr. Tina Young Pqussaint 



Millard H. Pryor, Jr. 
Patrick J. Purcell 
Carol Reich 
Alan Rottenberg 
Michael Ruertgers 
Kenan Sahin 
Arthur I. Segel 
Ross E. Sherbrooke 
Gilda Slifka 
Christopher Smallhorn 
Mrs. Micho Spring 
Charles A. Stakeley 
Jacquelynne M. 

Stepanian 
Wilmer Thomas 
Samuel Thome 
Bill Van Faasen 
Loet A. Velmans 
Paul M. Verrochi 
Matthew Walker 
Larry Weber 
Robert S. Weil 
David C. Weinstein 
James Westra 
Mrs. Joan D. Wheeler 
Reginald H. White 
Robin Wilson 
Richard Wurtman, M.D 






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Memories of Tanglewood... 
You can take them with you! 



Visit our 
Tanglewood Music Store 



Located at the Main Gate 

Hours— same as the Glass House at the Main Gate 

Wide selection of classical music 

Weekly concert selections 

BSO and guest artists 

• Compact discs 

• Sheet music, instrumental and vocal 

• Full scores 

• Books 

Glass House Gift Shop 

Located at the Main Gate and Highwood Gate 
Exciting designs and colors 

• Adult and children's clothing 

• Accessories 

• Compact discs 

• Stationery, posters, books 

• Giftware 

MasterCard/VISA/American Express/Diners Club/Discover Card 



MAIN GATE: 

Closed during performances 
Monday through Friday: 10am to 4pm 
Friday: 5:30pm to closing of the grounds 
Saturday: 9am to 4pm 

6pm to closing of the grounds 
Sunday: noon to 6pm 



HIGHWOOD GATE: 

Closed during performances 

Friday: 5:30pm to closing of the ground 

Saturday: 9am to 4pm 

6pm to closing of the ground 
Sunday: noon to 6pm 
Weeknight concerts, Seiji Ozawa Hall: 

7pm through intermission 










Overseers Emeriti 

Caroline Dwight Bain 
Sandra Bakalar 
William M. Bulger 
Mrs. Levin H. 

Campbell 
Earle M. Chiles 
Phyllis Curtin 
JoAnne Walton 

Dickinson 
Phyllis Dohanian 
Goetz B. Eaton 
Harriett Eckstein 
Edward Eskandarian 
Peter H.B. 

Frelinghuysen 
Mrs. Thomas 

Galligan, Jr. 



Mrs. James Garivaltis 
Mrs. Kenneth J. 

Germeshausen 
Jordan Golding 
Mark R. Goldweitz 
Mrs. Haskell R. 

Gordon 
Susan D. Hall 
John Hamill 
Mrs. Richard D. Hill 
Glen H. Hiner 
Marilyn Brachman 

Hoffman 
Lola Jaffe 
H. Eugene Jones 
Mrs. S. Charles Kasdon 
Richard L. Kaye 



Mrs. Gordon F. 

Kingsley 
David I. Kosowsky 
Robert K. Kraft 
Benjamin H. Lacy 
Hart D. Leavitt 
Frederick H. 

Lovejoy, Jr. 
Diane H. Lupean 
Mrs. Charles P. Lyman 
Mrs. Harry L. Marks 
C. Charles Marran 
Hanae Mori 
Mrs. Hiroshi H. 

Nishino 
John A. Perkins 
Daphne Brooks Prout 



Robert E. Remis 
Mrs. Peter van S. Rice 
John Ex Rodgers 
Mrs. Jerome Rosenfeld 
Roger A. Saunders 
Lynda Anne Schubert 
Mrs. Carl Shapiro 
L. Scott Singleton 
Mrs. Arthur I. Strang 
Robert A. Wells 
Mrs. Thomas H. P. 

Whitney 
Margaret Williams- 

DeCelles 
Mrs. Donald B. Wilson 
Mrs. John J. Wilson 



Business Leadership Association 

Board of Directors 

Charles K. Gifford, Chairman 
Edmund F. Kelly, President 



Robin A. Brown 
Michael J. Costello 
Robert W. Daly 
Francis A. Doyle 
William R. Elfers 
Lawrence K. Fish 



John P. Hamill 
Ernest K. Jacquet 
Michael J. Joyce 
Steven E. Karol 
Edmund F Kelly 



Leo L. Beranek, James F. Cleary, and 
Harvey Chet Krentzman, Chairmen Emeriti 

Carmine A. Martignetti Lynda A. Schubert 

Thomas J. May Roger T. Servison 

J. Kent McHose Malcolm L. Sherman 

Joseph C. McNay Ray Stata 

Louis F. Orsatti William C. Van Faasen 



Christopher J. Lindop Patrick J. Purcell 



Paul M. Verrochi 



Ex-Officio Peter A. Brooke • Diddy Cullinane • Nicholas T. Zervas 



Officers of the Boston Symphony Association of Volunteers 

Donna Riccardi, President Ursula Ehret-Dichter, Executive 
Ann M. Philbin, President-Elect Vice-President/ Tanglewood 

Olga Turcotte, Executive Vice-President/ Patricia A. Kavanagh, Secretary 

Administration William A. Along, Treasurer 

Linda M. Sperandio, Executive Judy Barr, Nominating Chair 

Vice-President/Fundraising 



Melinda Brown, Resource 

Development 
Jerry Dreher, Education and 

Outreach 



Audley H. Fuller, Membership 
Lillian Katz, Hall Services 
James M. Labraico, Special 
Projects 



Lisa A. Mafrici, Public Relations 
Leah Weisse, Symphony Shop 
Staffing 









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Administration 

Mark Volpe, Managing Director 
Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity 



Tony Beadle, Manager, Boston Pops 

Anthony Fogg, Artistic Administrator 

Marion Gardner- S axe, Director of Human Resources 

Ellen Highstein, Director of Tanglewood Music Center 

Thomas D. May, Chief Financial Officer 

Peter Minichiello, Director of Development 



Kim Noltemy, Director of Sales and 

Marketing 
Caroline Taylor, Senior Advisor to the 

Managing Director 
Ray F. Wellbaum, Orchestra Manager 



ADMINISTRATIVE STAFF/ ARTISTIC 

Karen Leopardi, Artist Assistant/ Secretary to the Music Director • Vincenzo Natale, Chauffeur/Valet • 
Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Alexander 
Steinbeis, Artistic Administration Coordinator 

ADMINISTRATIVE STAFF/ PRODUCTION 

Christopher W. Ruigomez, Operations Manager 

Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production Coor- 
dinator • Stephanie Kluter, Assistant to the Orchestra Manager • Jake Moerschel, Stage Technician • 
Julie G. Moerschel, Assistant Chorus Manager • John Morin, Stage Technician • Mark C, Rawson, Stage 
Technician • Timothy Tsukamoto, Orchestra Personnel Coordinator 

BOSTON POPS 

Dennis Alves, Director of Artistic Programming 

Jana Gimenez, Operations Manager • Sheri Goldstein, Personal Assistant to the Conductor • Julie Knippa, 

Administration Coordinator • Margo Saulnier, Artistic Coordinator 

BUSINESS OFFICE 

Sarah J. Harrington, Director of Planning and Budgeting 
Pam Wells, Controller 

Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Theresa Colvin, 
Staff Accountant • Michelle Green, Executive Assistant to the Chief Financial Officer • Y. Georges 
Minyayluk, Senior Investment Accountant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget 
Analyst • Harriet Prout, Accounting Manager • Taunia Soderquist, Payroll Administrator • Andrew 
Swartz, Budget Assistant • Teresa Wang, Staff Accountant 

DEVELOPMENT 

Judi Taylor Cantor, Director of Major and Planned Giving ♦ Rebecca R. Crawford, Director of Devel- 
opment Communications ♦ Sally Dale, Director of Stewardship and Development Administration ♦ 
Alexandra Fuchs, Director of Annual Funds ♦ Jo Frances Kaplan, Director of Institutional Giving 

Rachel Arthur, Major and Planned Giving Coordinator • Maureen Barry, Executive Assistant to the 
Director of Development • Gregg Carlo, Coordinator, Corporate Programs • Claire Carr, Administrative 
Assistant, Corporate Programs • Amy Concannon, Annual Fund Committee Coordinator • Diane 
Cataudella, Associate Director of Stewardship • Joanna N. Drake, Assistant Manager, Annual Fund 
Events • Sarah Fitzgerald, Manager of Gift Processing and Donor Records • Barbara Hanson, Manager, 
Koussevitzky Society • Emily Horsford, Friends Membership Coordinator • Justin Kelly, Assistant Mana- 
ger of Gift Processing and Donor Records • Katherine M. Krupanski, Assistant Manager, Higginson and 
Fiedler Societies • Mary MacFarlane, Manager, Friends Membership • Tanya Melanson, Development 
Communications Coordinator • Robert Meya, Senior Major Gifts Officer • Susan Olson, Stewardship 
Coordinator • Cristina Perdoni, Gift Processing and Donor Records Coordinator • Gerrit Petersen, 
Director of Foundation Support • Phoebe Slanetz, Director of Development Research • Elizabeth Stevens, 
Assistant Manager of Planned Giving • Mary E. Thomson, Program Manager, Corporate Programs 

EDUCATION AND COMMUNITY PROGRAMS /ARCHIVES 

Myran Parker-Brass, Director of Education and Community Programs 

Bridget P. Carr, Archivist-Position endowed by Caroline Dwight Bain 

Gabriel Cobas, Manager of Education Programs • Leslie Wu Foley, Associate Director of Education and 

Community Programs • Zakiya Thomas, Coordinator of Community Projects/Research • Leah Wilson- 

Velasco, Education and Community Programs Assistant 



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WHEN YOU GIVE, 

great music lives on 

When you make a contribution to the Friends of Tanglewood,you support 
America's premier summer music festival — a magical blend of music and 
nature. Your gift allows audiences to share the incomparable experience of 
classical music performed at its best in the beautiful Berkshire Hills. 

Tanglewood is also home to the Tang lewood Music Center, one of the leading 
centers for advanced musical study. Friends of the Tanglewood Music Center 
support gifted musicians from around the world who study free of charge, 
with preeminent artists including BSO musicians. 

Become a Friend of Tanglewood or a Friend 
of the Tanglewood Music Center today with 
a generous contribution. When you give, new 
talents emerge, people discover the arts, and 
great music lives on. 




FRIENDS OF 



Tanglewood 



To make a gift, please call the Friends Office 
at (413) 637-5261 or visit us online at 
www.bso.org. 



EVENT SERVICES 

Cheryl Silvia Lopes, Director of Event Services 

Lesley Ann Cefalo, Special Events Manager • Kathleen Clarke, Assistant to the Director of Event 

Services • Emma- Kate Kallevik, Tanglewood Events Coordinator • Kyle Ronayne, Food and Beverage 

Manager 

HUMAN RESOURCES 

Dorothy DeYoung, Benefits Manager ♦ Sarah Nicoson, Human Resources Manager 

INFORMATION TECHNOLOGY 

David W. Woodall, Director of Information Technology 

Guy W. Brandenstein, Tanglewood User Support Specialist • Andrew Cordero, Lead User Support 
Specialist • Timothy James, Applications Support Specialist • John Lindberg, System and Network 
Administrator • Michael Pijoan, Assistant Director of Information Technology • Brian Van Sickle, 
User Support Administrator 

PUBLIC RELATIONS 

Bernadette M. Horgan, Director of Media Relations 

Meryl Atlas, Media Relations Assistant • Sean J. Kerrigan, Associate Director of Media Relations • 

Amy Rowen, Media Relations Coordinator 

PUBLICATIONS 

Marc Mandel, Director of Program Publications 

Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/ 

Boston Pops Program Editor 

SALES, SUBSCRIPTION, AND MARKETING 

Amy Aldrich, Manager, Subscription Office ♦ Leslie Bissaillon, Manager, Glass Houses • Helen N.H. 
Brady, Director of Group Sales ♦ Alyson Bristol, Director of Corporate Sponsorships ♦ Sid Guidicianne, 
Front of House Manager ♦ James Jackson, Call Center Manager ♦ Roberta Kennedy, Manager, Sym- 
phony Shop ♦ Sarah L. Manoog, Director of Marketing Programs ♦ Michael Miller, SymphonyCharge 
Manager 

Rich Bradway, Manager of Internet Marketing • Lenore Camassar, SymphonyCharge Assistant Manager 
• John Dorgan, Group Sales Coordinator • Michelle Giuliana, Web Editor • Peter Grimm, Tanglewood 
Special Projects Manager • Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth Hopkins, Graphic 
Designer • Julie Kleinhans, Senior Subscription Representative • Elizabeth Levesque, Marketing Projects 
Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • 
Ronnie McKinley, Ticket Exchange Coordinator • Cheryl McKinney, Subscription Representative • 
Michael Moore, Assistant Call Center Manager • MarcyKate Perkins, SymphonyCharge Representative • 
Kristen Powich, Coordinator, Corporate Sponsorships • Doreen Reis, Marketing Coordinator for Advertis- 
ing • Caroline Rizzo, SymphonyCharge Representative • Megan E. Sullivan, Access Services Coordinator • 
Sandra Swanson, Manager, Corporate Sponsorships 
Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager 

SYMPHONY HALL OPERATIONS 

Robert L. Gleason, Director of Hall Facilities 

TANGLEWOOD MUSIC CENTER 

Patricia Brown, Associate Director • Beth Paine, Manager of Student Services • Kristen Reinhardt, 

Coordinator • Gary Wallen, Scheduler 

TANGLEWOOD OPERATIONS 

David P. Sturma, Director of Tanglewood Facilities and B SO Liaison to the Berkshires 

Ronald T. Brouker, Supervisor of Tanglewood Crew • Robert Lahart, Electrician • Peter Socha, Head 
Carpenter 

Tanglewood Facilities Staff Robert Casey • Steve Curley • Rich Drumm • Bruce Huber 

TANGLEWOOD SUMMER MANAGEMENT STAFF 

Thomas Cinella, Business Office Manager • Peter Grimm, Seranak House Manager • David Harding, 

Front of House Manager/Manager of Customer Service • Marcia Jones, Manager of Visitor Center 

VOLUNTEER OFFICE 

Patricia Krol, Director of Volunteer Services 

Deborah Hmil&nd, Administrative Assistant • Paula Ramsdell, Project Coordinator 



■& 







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THE WALTER PISTON SOCIETY 



ive 




Gz&w-ds a^dQ/euoy ^7o4l 



pictured with portraits of Carlos' 
father and mother, Humbert and 
Luisa Ardizzoni Tosi. 



Carlos and Velia Tosi have a great fondness for the Symphony. "My 
mother, Luisa Ardizzoni Tosi, was an opera singer whose students sang 
on the Symphony Hall stage," said Mr. Tosi. It's easy to understand 
why Mr. and Mrs. Tosi chose to endow a seat in Symphony Hall in 
memory of their son. Their charitable gift annuity funded the seat in 
perpetuity. They both feel that this was a good investment. "It was the 
easiest decision we could have made — from the heart." 

To learn more about giving opportunities that pay YOU to 
give, please call (413) 637-5275 or e-mailjtcantor@bso.org. 
Tanglewood You may be assured of complete confidentiality. 



umm 



TANGLEWOOD 



The Tanglewood Festival 

In August 1934 a group of music-loving summer residents of the Berkshires organized a 
series of three outdoor concerts at Interlaken, to be given by members of the New York 
Philharmonic under the direction of Henry Hadley. The venture was so successful that the 
promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during 
the next summer. 

The Festival Committee then invited Serge Koussevitzky and the Boston Symphony 
Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted, 
and on August 13, 1936, the Boston Symphony Orchestra gave its first concerts in the 
Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The 
series again consisted of three concerts and was given under a large tent, drawing a total of 
nearly 15,000 people. 

In the winter of 1936 Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered 
Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and mead- 
ows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, and on 
August 5, 1937, the festival's largest crowd to that time assembled under a tent for the first 
Tanglewood concert, an all-Beethoven program. 

At the all-Wagner concert that opened the 1937 festival's second weekend, rain and 
thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of 
the "Forest Murmurs" from Siegfried, music too delicate to be heard through the downpour. 
At the intermission, Miss Gertrude Robinson Smith, one of the festival's founders, made an 
appeal to raise funds for the building of a permanent structure. The appeal was broadened 
by means of a printed circular handed out at the two remaining concerts, and within a short 
time enough money had been raised to begin active planning for a "music pavilion." 

Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate 
design that went far beyond the immediate needs of the festival and, more important, went 
well beyond the budget of $100,000. His second, simplified plans were still too expensive; he 
finally wrote that if the Trustees insisted on remaining within their budget, they would have 
"just a shed," "which any builder could accomplish without the aid of an architect." The 
Trustees then turned to Stockbridge engineer Joseph Franz to make further simplifications 

in Saarinen's plans in 
order to lower the cost. 
The building he erected 
was inaugurated on the 
evening of August 4, 
1938, when the first 
concert of that year's 
festival was given, and 
remains, with modifica- 
tions, to this day. It has 
echoed with the music 
of the Boston Sym- 
phony Orchestra every 
After the storm of August 12, 1937, which precipitated a fundraising summer since, except 

drive for the construction of the Tanglewood Shed f or j- ne war years 1942- 

45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the 
result of a collaboration between the acoustical consultant Bolt Beranek and Newman and 
architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes 
Talbot Orchestra Canopy, along with other improvements, produced the Shed's present 




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THE BEST 

PERFORMANCES IN 

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MAY JUST BE IN 

THE AUDIENCE. 

Acting as if a chemical dependency problem doesn't exist won't make it go away. 
But getting help can. One call to Hazelden not only offers help, it offers real hope. 
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world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was 
rededicated as "The Serge Koussevitzky Music Shed," recognizing the far-reaching vision of 
the BSO's legendary music director. 

In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its 
operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small 
studios were finished, and the festival had so expanded its activities and its reputation for 
excellence that it attracted nearly 100,000 visitors. 

With the Boston Symphony Orchestra's acquisition in 1986 of the Highwood estate 
adjacent to Tanglewood, the stage was set for the expansion of Tanglewood's public grounds 
by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and 
Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of 
using the newly acquired property as the site for a new concert hall to replace the outmod- 
ed Theatre-Concert Hall (which was used continuously with only minor modifications 
since 1941, and which with some modification has been used in recent years for the Tangle- 
wood Music Center's opera productions), and for improved Tanglewood Music Center 
facilities. Inaugurated on July 7, 1994, Seiji Ozawa Hall — designed by the architectural firm 
William Rawn Associates of Boston in collaboration with acoustician R. Lawrence Kirke- 
gaard & Associates of Downer's Grove, Illinois, and representing the first new concert facil- 
ity to be constructed at Tanglewood in more than a half-century — now provides a modern 
venue for TMC concerts, and for the varied recital and chamber music concerts offered by 
the Boston Symphony Orchestra throughout the summer. Ozawa Hall with its attendant 
buildings also serves as the focal point of the Tanglewood Music Center's Leonard Bernstein 
Campus, as described below. Also at Tanglewood each summer, the Boston University 
Tanglewood Institute sponsors a variety of programs that offer individual and ensemble 
instruction to talented younger students, mostly of high school age. 



Two "Special Focus" Exhibits at the Tanglewood Visitor Center 
Celebrating Two Anniversaries at Tanglewood This Summer 

Two "Special Focus" exhibits have been mounted by the BSO Archives at the Tangle- 
wood Visitor Center this summer. 

"John Williams and the BSO: A 25-Year Collaboration" cel- 
ebrates Mr. Williams's 25-year relationship with the Boston 
Symphony Orchestra. Mr. Williams was the nineteenth Con- 
ductor of the Boston Pops from 1980 to 1993, then became 
Laureate Conductor of the Boston Pops and Artist-in-Resi- 
dence at Tanglewood. The exhibit features photographs and 
other materials documenting this 25-year association, including concert activities, tours, 
recordings with the Boston Pops Orchestra, and the recordings he made of the original 
film scores for Schindlers List and Saving Private Ryan conducting members of the BSO 
in Symphony Hall. The photo here is of Mr. Williams backstage at Carnegie Hall on the 
occasion of his debut as Boston Pops Conductor, on January 22, 1980 (photograph by 
Peter Schaaf). 

This year's second "Special Focus" exhibit, "A Room for Music: Seiji Ozawa Hall Turns 
Ten!," celebrating the hall's tenth anniversary this summer, 
focuses on the building and construction of Seiji Ozawa Hall. 
Featuring photographs, construction plans, and other memo- 
rabilia, this exhibit explores the hall's architectural design and 
the festivities that opened this award-winning venue ten 
years ago on July 7, 1994. The photo, from June 22, 1993, 
shows a steel truss being lifted into place by crane (photo- 
graph by BSO Life Trustee Dean Freed). 






I in 



NATHANIEL HAWTHORNE REVISITED 

This summer marks the bicentennial of Nathaniel Hawthorne's birth on July 4, 1804. The 
local influence of Nathaniel Hawthorne — the author of Tanglewood Tales — is clearly linked 
to Tanglewood: all who enter Tanglewood via the Lion Gate see the replica of the "little 
red cottage" where the Hawthorne family lived from May 1850 until November 1851, and 

where he wrote The House of 
the Seven Gables. In the dis- 
-^■bbb| tance rises Monument Moun- 

tain, where Hawthorne met 
Herman Melville on a summer 
outing in August 1850. Their 
relationship inspired Melville's 
literary ambitions, as reflected 
in the epic scale of his master- 
piece, Moby-Dick, dedicated to 
Hawthorne "In Token of my 
Admiration for his Genius." 

Materials dating from 
Nathaniel Hawthorne's stay 
at the little red cottage are on 
view in the Tanglewood Visitor 
Center as part of the display documenting the early history of the Tappan family estate 
(Tanglewood). The cottage was destroyed by fire in 1890. A replica duplicating the original 
exterior was dedicated in July 1947. (The interior now provides classroom and studio space 
for the Tanglewood Music Center.) The photo shows the 1947 dedication ceremony, with 
Serge Koussevitzky seated second from left on the porch. 

To commemorate the Hawthorne bicentennial, the Lenox Library has published Haw- 
thorne Revisited, a collection of essays exploring this Berkshire literary legacy (available at 
the library and in the Tanglewood shops). On Sunday morning, August 8, the meeting of 
Hawthorne and Melville will be celebrated in a hike up Monument Mountain; anyone 
interested should meet at 10 a.m. that day in the parking lot on Route 7 at the base of the 
mountain. On Saturday, October 9, at 8 p.m., a gala celebration in Ozawa Hall sponsored 
by Shakespeare & Company and hosted by Mike Wallace will feature Jane Fonda, Marisa 
Tomei, and David Strathairn performing and reading from Hawthorne's works. For more 
information on this event, call (413) 637-1199, ext. 113. 





Today Tanglewood annually draws more than 300,000 visitors. Besides the concerts of 
the Boston Symphony Orchestra, there are weekly chamber music concerts, Friday-evening 
Prelude Concerts, Saturday-morning Open Rehearsals, the annual Festival of Contempo- 
rary Music, and almost daily concerts by the gifted young musicians of the Tanglewood 
Music Center. The Boston Pops Orchestra appears annually, and the season closes with a 
weekend-long Jazz Festival. The season offers not only a vast quantity of music but also a 
vast range of musical forms and styles, all of it presented with a regard for artistic excellence 
that makes the festival unique. 

The Tanglewood Music Center 

Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has 
become one of the world's most influential centers for advanced musical study. Serge Kous- 
sevitzky, the Boston Symphony Orchestra's music director from 1924 to 1949, founded the 
Center with the intention of creating a premier music academy where, with the resources of 
a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, 
and composers would sharpen their skills under the tutelage of Boston Symphony Orchestra 
musicians and other specially invited artists. 

The Music Center opened formally on July 8, 1940, with speeches and music. "If ever 
there was a time to speak of music, it is now in the New World," said Koussevitzky, alluding 
to the war then raging in Europe. Randall Thompson's Alleluia for unaccompanied chorus, 
specially written for the ceremony, arrived less than an hour before the event began but made 
such an impression that it continues to be performed at the opening ceremonies each sum- 
mer. The TMC was Koussevitzky 's pride and joy for the rest of his life. He assembled an 
extraordinary faculty in composition, operatic and choral activities, and instrumental perform- 
ance; he himself taught the most gifted conductors. 

Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year 
after his retirement as the BSO's music director. Charles Munch, his successor in that posi- 
tion, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard 
Bernstein and Aaron Copland to shape the school's programs. In 1963, new BSO Music 
Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky 's hands-on 
leadership approach while restoring a renewed emphasis on contemporary music. In 1970, 
three years before his appointment as BSO music director, Seiji Ozawa became head of the 
BSO's programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard 
Bernstein as general advisor. Leon Fleisher served as the TMC's Artistic Director from 1985 
to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities 
on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, cham- 
ber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion 
adjacent to Ozawa Hall. In 1997, Ellen Highstein was appointed Director of the Tanglewood 
Music Center, operating under the artistic supervision of Seiji Ozawa. 

The Tanglewood Music Center Fellowship Program offers an intensive schedule of study 
and performance for advanced musicians who have completed all or most of their formal 
training. Some 150 young artists, all attending the TMC on full fellowships which under- 
write the costs of tuition, room, and board, participate in a program including chamber and 
orchestral music, opera and art song, and a strong emphasis on music of the 20th and 21st 
centuries. This year's first TMC Orchestra concert is under the direction of Ingo Metz- 
macher, who, in his first collaboration with the TMC, leads music of Dallapiccola (honoring 
that composer's centennial), Schoenberg, and Berlioz. Also this summer the TMCO per- 



Programs copyright ©2004 Boston Symphony Orchestra, Inc. 
Cover design by Sametz Blackstone Associates 






forms under the batons of Kurt Masur, Rafael Friihbeck de Burgos, Robert Spano, and 
James DePreist. In addition, Seiji Ozawa returns to the TMCO podium leading music of 
Takemitsu and Verdi as part of the August 1 gala concert marking the 10th anniversary of 
Seiji Ozawa Hall. Also in 2004, the Mark Morris Dance Group returns for its second an- 
nual week-long collaboration with the TMC intertwining music and dance, culminating in 
two joint MMDG/TMC performances of works choreographed by Mark Morris to music 
of Vivaldi, Bartok and Bach. The TMC Opera Program returns this summer to the work 
of Benjamin Britten, a composer historically associated with Serge Koussevitzky and the 
Music Center — Britten's Shakespeare-inspired opera A Midsummer Night's Dream. Conduc- 
tor Robert Spano once again directs the annual Festival of Contemporary Music, this year 
featuring works of Bernard Rands (celebrating his 70th birthday year) and Elliott Carter 
(marking his 95th birthday year), with works by the Finnish composers Salonen, Sallinen, 
Saariaho, and Lindberg also highlighting the 2004 FCM programs. In another of the TMC's 
new music programs, TMC composers will work throughout the summer with gifted young 
film and video artists, creating short collaborative works to be presented during the Festival. 
Ongoing TMC programs include seminars in the string quartet and piano quartet, and a 
series of free concerts, the "Steinway Series" on Monday afternoons in the Chamber Music 
Hall, highlighting works for solo piano and piano chamber music. 

It would be impossible to list all of the distinguished musicians who have studied at the 
Tanglewood Music Center. According to recent estimates, 20% of the members of American 
symphony orchestras, and 30% of all first-chair players, studied at the TMC. Besides Seiji 
Ozawa, prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano 
Berio, the late Leonard Bernstein, David Del Tredici, Christoph von Dohnanyi, the late 
Jacob Druckman, Lukas Foss, John Harbison, Gilbert Kalish (who headed the TMC fac- 
ulty for many years), Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, 
Sherrill Milnes, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl Studer, Michael 
Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. 

Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the 
nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Kousse- 
vitzky was involved until his death, have become a fitting shrine to his memory, a living 
embodiment of the vital, humanistic tradition that was his legacy. At the same time, the 
Tanglewood Music Center maintains its commitment to the future as one of the world's 
most important training grounds for the composers, conductors, instrumentalists, and vocal- 
ists of tomorrow. 










Seiji Ozawa in rehearsal with the TMC Orchestra in Ozawa Hall 






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BSAVTANGLEWOOD ADMINISTRATIVE COMMITTEE 2004 



Chair 

Ursula Ehret-Dichter 

Immediate Past Chair 

Melvin R. Blieberg 

Secretary 

Mary M. Blair 

Nominating 

Muriel Lazzarini 

• 

COMMUNITY/ 

AUDIENCE SERVICES 

Paul Flaum, Vice-Chair 

Berkshire Night 

Nancy Glynn 

Berkshire Education 

Resource Center 
Sylvia S. Stein and 
Harry G. Methven 

Tour Guides 
William C. Sexton 

Michael Geller 

Ushers/Programmers 

Dan Ruge 

Visitor Center 

Michael Geller 

Brochure Distribution 

Larry Kassman 

• 

DEVELOPMENT 

Gabriel Kosokoff, Vice-Chair 

Event Services 

Liz Shreenan 
John L. Powell 

Friends Office 
Alan Benjamin 

Gail B. Harris 



Glass House 

Diana and Stanley Feld 

BSAV Boston/Tanglewood Event 

William B alien and 

Sharon L. Shepard 

Seranak Gardens and Flowers 

JackT.Adler 

Anita Busch 

Special Events 

Marie Feder 

Julie Weiss 

Tent Club 

Carolyn and William Corby 

• 

EDUCATION 
William Ballen, Vice-Chair 

BSAV Encore Bus Trip 

Marcia A. Friedman 

Historical Preservation 

Bonnie Sexton 

Polly Pierce 

Words about Music 

(ReDiscovering Music) 

Gabriel Kosakoff 

Ronald Winter 

Talks & Walks 

Rita Kaye 

Joyce Kates 

Training Coordinator 

Marilyn Flaum 
Alexandra Warshaw 

Watch & Play 

Margery Steinberg 

Judy Borger 

Youth Activities 

Brian Rabuse 

Andrew T. Garcia 



MEMBERSHIP 
Rita Blieberg, Vice-Chair 

Administrative Events 

Marsha Burniske 

Elizabeth Boudreau 

Database/New Members 

Norma Ruffer 

Edmund L. Dana 

Membership Meetings 

Joyce Kates 

Rita Kaye 

Newsletter 

Victoria Morss 

Personnel Coordinator 

Mary Spina 

Ready Team 

Arnold and Lillian Katz 

Karen M. Methven 

Retired Volunteers Club 

Judith M. Cook 

Passes/Tickets 

Pat Henneberry 

• 

TMC 
Ginger Elvin, Vice-Chair 

TMC TimeOff 

Barbara Koz Paley 

Augusta (Gus) Leibowitz 

Opening Ceremonies 

Marjorie T. Lieberman 

Student Parties 

Larry Phillips 

Bobbi Rosenberg 

TOP Picnic 

Arline Breskin 

Rosalie Beal 



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Rte. 102, Lee, MA Website: www.berkshirerecordoutlet.com (413) 243-4080 



IN CONSIDERATION OF OUR PERFORMING ARTISTS AND PATRONS 

PLEASE NOTE: TANGLEWOOD IS PLEASED TO OFFER A SMOKE-FREE 

ENVIRONMENT. WE ASKTHATYOU REFRAIN FROM SMOKING 

ANYWHERE ON THE TANGLEWOOD GROUNDS. DESIGNATED 

SMOKING AREAS ARE MARKED OUTSIDE THE ENTRANCE GATES. 

Latecomers will be seated at the first convenient pause in the program. 

If you must leave early, kindly do so between works or at intermission. 

Please do not bring food or beverages into the Music Shed or Ozawa Hall. 

PLEASE NOTE THAT THE USE OF AUDIO OR VIDEO RECORDING EQUIPMENT 

DURING CONCERTS AND REHEARSALS IS PROHIBITED, AND THAT VIDEO 

CAMERAS MAY NOT BE CARRIED INTO THE MUSIC SHED OR OZAWA HALL 

DURING CONCERTS OR REHEARSALS. 

Cameras are welcome, but please do not take pictures during the performance as the noise and 
flash are disturbing to the performers and to other listeners. 

FOR THE SAFETY OF, AND IN CONSIDERATION OF, YOUR FELLOW PATRONS, 

PLEASE NOTE THAT SPORTS ACTIVITIES, BICYCLING, SCOOTERS, KITE FLYING, 

FRISBEE PLAYING, BARBEQUING, PETS, AND TENTS OR OTHER STRUCTURES 

ARE NOT PERMITTED ON THE TANGLEWOOD GROUNDS. 

In consideration of the performers and those around you, please be sure that your cellular 
phones, pagers, and watch alarms are switched off during concerts. 

THANK YOU FOR YOUR COOPERATION. 






TANGLEWOOD INFORMATION 

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein 
Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5165. For weekly pre-recorded 
program information, please call the Tanglewood Concert Line at (413) 637-1666. 

BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through 
intermission on concert evenings); Saturday from 9 a.m. until intermission; and Sunday from 
10 a.m. until intermission. Payment may be made by cash, personal check, or major credit card. 
To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 
1-888-266-1200, or in Boston at (617) 266-1200; or call TICKETMASTER at (617) 931-2000 
in Boston; (413) 733-2500 in western Massachusetts; (212) 307-7171 in New York City; or 
1-800-347-0808 in other areas. Tickets can also be ordered online at www.bso.org. Please note 
that there is a service charge for all tickets purchased by phone or on the web. 

THE BSO's WEB SITE at www.bso.org provides information on all Boston Symphony and 
Boston Pops activities at Symphony Hall and at Tanglewood, and is updated regularly. 

FOR PATRONS WITH DISABILITIES, an access service center and parking facilities are 
located at the Main Gate. Wheelchair service is available at the Main Gate and at the reserved- 
parking lots. Accessible restrooms, pay phones, and water fountains are located on the Tanglewood 
grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji 
Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To pur- 
chase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about 
disability services, please call (617) 638-9431. 

FOOD AND BEVERAGES can be obtained at the Tanglewood Cafe and at other locations as 
noted on the map. The Tanglewood Cafe is open Monday through Friday from 11:30 a.m. to 2:30 
p.m., Saturdays from 9 a.m. to 2:30 p.m., Sundays from noon until 7:30 p.m., and through the in- 
termission of all Tanglewood concerts. Visitors are invited to picnic before concerts. Meals to go 
may be ordered several days in advance at www.bso.org. 

LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially 
priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for 
the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, avail- 
able at the Main Gate box office, offer eleven tickets for the price of ten. 



',',-',:•: v;--:>; J i..;,/.^ 

■■■> v J ;:-:^"7, ».;. ; ; ^ 
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reliable CD and DVD burners and recording media. 

Whether burning your own mixes or archiving world-class performances, 

you can count on TDK to keep the music alive. The proof is in 

the company we keep: the Boston Symphony Orchestra, 

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audio professionals who depend on TDK. 

Check out the full line of Indi DVD and veloCD burners, 

as well as 100% certified CD and DVD recording media at 

The Digital Sweetspot™, www.tdk.com. 



As the sponsor of the 16th annual Tanglewood Free Lawn Passes for Children 
program, TDK is proud to bring the gift of music to thousands of children. 



OPEN REHEARSALS by the Boston Symphony Orchestra are held each Saturday morning 
at 10:30, for the benefit of the orchestra's Pension Fund. Tickets are $16 and available at the 
Tanglewood box office. A half-hour pre-rehearsal talk about the program is offered free of charge 
to ticket holders, beginning at 9:30 in the Shed. During Open Rehearsals, a special children's area 
with games and activities behind the Tanglewood Visitor Center is available for children, who must 
be accompanied by an adult at all times. 

SPECIAL LAWN POLICY FOR CHILDREN: On the day of the concert, children under 
the age of twelve will be given special lawn tickets to attend Tanglewood concerts FREE OF 
CHARGE, thanks to a generous grant, for the sixteenth consecutive year, from TDK, the world 
leader in digital recording playback solutions. Up to four free children's lawn tickets are offered 
per parent or guardian for each concert, but please note that children under five must be seated on 
the rear half of the lawn. Please note, too, that children under five are not permitted in the Kousse- 
vitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy 
does not apply to organized children's groups (15 or more), which should contact Group Sales at 
Symphony Hall in Boston, (617) 638-9345, for special rates. 

STUDENT LAWN DISCOUNT: Students twelve and older with a valid student ID receive 
a 50% discount on lawn tickets for Friday- night BSO concerts. Tickets are available only at the 
Main Gate box office, and only on the night of the performance. 

FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALK- 
WAYS are located in the area of the Main Gate and many of the parking areas. 

THE LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors 
who find stray property may hand it to any Tanglewood official. 

IN CASE OF SEVERE LIGHTNING, visitors to Tanglewood are advised to take the usual pre- 
cautions: avoid open or flooded areas; do not stand underneath a tall isolated tree or utility pole; 
and avoid contact with metal equipment or wire fences. Lawn patrons are advised that your auto- 
mobile will provide the safest possible shelter during a severe lightning storm. Readmission passes 
will be provided. 

FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. 

PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the 
guide at the Main Gate (Bernstein Gate for Ozawa Hall events). 

THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic 
space to Tent Members on concert days. Tent Membership is a benefit available to donors through 
the Tanglewood Friends Office. 

THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell 
adult and children's leisure clothing, accessories, posters, stationery, and gifts. Please note that the 
Glass House is closed during performances. Proceeds help sustain the Boston Symphony concerts 
at Tanglewood as well as the Tanglewood Music Center. THE TANGLEWOOD MUSIC STORE, 
adjacent to the Main Gate and operated by the Boston Symphony Orchestra, stocks music books, 
recordings, scores, sheet music, and musical supplies. 



Tanglewood Visitor Center 

The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear 
of the lawn across from the Koussevitzky Music Shed. Staffed by volunteers, the Visitor 
Center provides information on all aspects of Tanglewood, as well as information about 
other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tangle- 
wood and the Tanglewood Music Center, as well as the early history of the estate. 

You are cordially invited to visit the Center on the first floor of the Tanglewood Manor 
House. During July and August, daytime hours are from 10 a.m. to 4 p.m. Monday through 
Friday, from 9 a.m. to 4 p.m. on Saturday, and from noon until twenty minutes after the con- 
cert on Sunday, with additional hours Friday and Saturday evenings from 5:30 p.m. until 
twenty minutes after the concerts on these evenings, as well as during concert intermissions. 
In June and September the Visitor Center is open only on Saturdays and Sundays, from 10 
a.m. to 4 p.m. There is no admission charge. 






South Mountain Concerts 

Pittsfield, Massachusetts 

86th Season of Chamber Music 

Concerts Sundays at 3 P.M. 

September5 

redo-Robinson Trio 

September 12 

okyo String Quartet 

September 19 

Emerson String Quartet 

September 26 

String Quartet 

October 3 

eaux Arts Trio 

For Brochure and Ticket Information Write 
South Mountain Concerts, Box 23 

Pittsfield, MA 01 202 Phone 41 3 442-21 06 
www.southmountainconcerts.com 





Hometown Hero, Citizen of the World 

Rockwell in Stockbridge 

June 5 -October 31, 2004 



NORMAN ROCKWELL MUSEUM 
413-298-4100 | www.nrm.org 



Pine Cone Hill 



DESIGNING AND DEFINING 

A FRESH NEW AMERICAN LIFESTYLE 

Visit our showropm now 
at the Lenox Sfasps. 










The Colonial Theatre Summer 2004 



they're playing 
our song 

A Colonial Theatre Production 

August 18 - 29, 

Opening Night Gala August 20 

at the Berkshire Music Hall 

A Neil Simon romantic comedy with an orchestral 
score by Marvin Hamlisch, directed by James 
Warwick. Call 413-448-8084 for tickets. 



July 31, 7 pm: The Grrl Genius Guide to 

Sex (with other people) 

Opening performance by Melodrome 

Nationally renowned author and performer Cathryn 
Michon brings her stand-up comedy act in a benefit 
performance to the Berkshire Music Hall. 



Pine Cone H 
Outlet & Showr 
55 Pittsfield Rd • Leno> 
413 637 8962 



Colonial Theatre tours: Fridays at noon. 
Saturdays at iO:3o am — Free! 



www.thecolonialtheatre.org 

111 South St., Pittsfield. MA 
413-448-8084 










"I've always had two passions: jazz and computers. When I was looking at 

colleges, I wanted to find a place where I could combine these interests into 

one academic program. WPI was the perfect fit. The projects and courses 

I completed there made me a better engineer- and a better musician -and 

prepared me for opportunities I could never have imagined'.' -Sergio Salvatore 



The University of 
Science and Technology. 
And Life.sM 



Learn more about WPI's unique approach to education: 
www.wpi.edu/arts 508-831-5286 



Founded in 1865 Worcester* Massachusetts 




BARDSUMMERSCAPE 



July 8 - August 22, 2004 

Experience a performing arts 

festival like no other. Bard 

SummerScape presents 

world-class opera, music, 

and theater you won't hear 

anywhere else, in a venue you 

can't find anywhere else: 

the Frank Gehry-designed 

Richard B. Fisher Center for 

the Performing Arts, hailed by 

critics as "an acoustic jewel" 

and "a virtuoso piece." 



4^ 







OPERA 

East Coast Professional Premiere 

The Nose 

July 28 -August 7 

An opera by Dmitrii Shostakovich 

American Symphony Orchestra 
Conducted by Leon Botstein 
| Directed by Francesca Zambello 
Set design by Rafael Viholy 
Costume design by Georgi 

Alexi-Meskhishvili 
Lighting design by Mark McCullough 

THEATER 
American Premiere 
St. Petersburg's Alexandrinsky Theatre 
presents 

The Inspector General 

July 8-11 

A play in two acts by Nikolai Gogol 

Directed by Valery Fokin 

MUSIC THEATER 

World Premiere 

Guest from the Future 

July 22 -August 1 

Music by Mel Marvin 
Libretto by Jonathan Levi 
Directed by David Chambers 

Moscow: Cherry Tree Towers 

August 12-15 
A musical in two acts by 
Dmitrii Shostakovich 

Directed by Francesca Zambello 

BARD MUSIC FESTIVAL 

Fifteenth Season 

Shostakovich and His World 

August 13-22 

Two weekends of concerts, panels, and 
other events bring the musical world of 
Russian composer Dmitrii Shostakovich 
vividly to life. 

Bard SummerScape 2004 also features 
a Russian film festival, puppet theater, late- 
night cabaret, and other special events. 

the richard b. For tickets and information, 
FISHER call 845-758-7900 or visit 
CENTER summerscape.bard.edu. 



FOR THE 

PERFORMING ARTS 
AT BARD COLLEGE 



Bard College Annandale-on-Hudson, N.Y. 

Photo: ©Bilyana Dimitrova 






Fifteenth Annual Bard Music Festival 

SHOSTAKOVICH 



AND HIS 
WORLD 



AUGUST 13-15 AND 20-22, 2004 

The Bard Music Festival's fifteenth season explores the musical world of Russian 
composer Dmitrii Shostakovich (1906-75) with concerts, panels, and special events. 



FRIDAY, AUGUST 13 

program one DMITRII SHOSTAKOVICH: 

THE MAN AND HIS WORK 

8:30 p.m. Works by Shostakovich 

SATURDAY, AUGUST 14 

10:00 a.m. Panel CONTESTED ACCOUNTS: 
THE COMPOSER'S LIFE AND CAREER 

PROGRAM TWO THE FORMATIVE YEARS 
1:30 p.m. Works by Shostakovich, 
Stravinsky, Glazunov, Prokofiev, Skriabin, 
Gnesin, Shteynberg 

PROGRAM three FROM SUCCESS TO 

DISGRACE 

8:00 p.m. Works by Shostakovich. 

American Symphony Orchestra, Leon 

Botstein, conductor 

SUNDAY, AUGUST 15 

10:00 a.m. Panel MUSIC IN THE SOVIET 
UNION 

program four THE PROGRESSIVE 1920s 
1:30 p.m. Works by Shostakovich, 
Shcherbachov, Myaskovsky, Popov 

program five THE ONSET OF POLITICAL 

REACTION 

5:00 p.m. Works by Shostakovich, Shebalin, 

Kabalevsky, Khachaturian, Dzerzhinsky, 

Khrennikov 

FRIDAY, AUGUST 20 

10:00 a.m. Symposium ART AND CULTURE 
IN THE SOVIET ERA 



SATURDAY, AUGUST 21 

PROGRAM SEVEN MUSIC AS POLITICS 

10:00 a.m. Performance with commentary 

Shostakovich's Antiformalist Rayok 

program eight IN THE SHADOW OF 1948 
1:30 p.m. Works by Shostakovich, 
Ustvolskaya, Weinberg, Sviridov, Shaporin 

PROGRAM NINE AFTER THE THAW: 
A COMPOSER LOOKS BACK 
8:00 p.m. Works by Shostakovich. 
American Symphony Orchestra, Leon 
Botstein, conductor 

SUNDAY, AUGUST 22 

10:00 a.m. Panel THE COMPOSER'S 
LEGACY: SHOSTAKOVICH IN THE CONTEXT 
OF MUSIC TODAY 

program ten A NEW GENERATION 

RESPONDS 

1:30 p.m. Works by Shostakovich, Denisov, 

Tishchenko, Gubaidulina, Schnittke 

PROGRAM ELEVEN 

INDIVIDUALISM 

5:00 p.m. Works by Shostakovich. Bard 
Festival Chorale; American Symphony 
Orchestra, Leon Botstein, conductor 

For ticket information 
call 845-758-7900 or 
visit www.bard.edu/bmf 







program six "GOOD MORNING 
MOSCOW": ONE DAY IN THE LIFE OF SOVIET 
POPULAR MUSIC 
8:00 p.m. Performance 

THE RICHARD B. 

FISHER 
CENTER 

FOR THE 

PERFORMING ARTS 
AT BARD COLLEGE 



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backpack straps, and telescoping handle. 

The Rolling Cooler. Only $39.95. Only at Crate and 
Barrel and crateandbarrel.com. 

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For the store nearest you.call 800.996.9960 



Seiji Ozawa Hall at Tanglewood 

July 1 -July 15, 2004 



Table of Contents 

CELEBRATING THE 10th ANNIVERSARY OF SEIJI OZAWA HALL 

Seiji Ozawa Hall: Just (Some of) the Facts 2 

Reflections on Ozawa Hall — Ten Years Later, by William Rawn 5 

Seiji Ozawa Hall: Honors and Awards 9 

Creating a "New" Tanglewood, by Robert Campbell 11 

Seiji Ozawa Hall, 2004: A Week in the Life 14 

Seiji Ozawa Hall, 1994-2003: A Concise Performance History 

of the BSO's Recital Series 17 

Seiji Ozawa Hall, 1994-2003: The Tanglewood Jazz Festival 21 

Thursday, July 1, and Friday, July 2, at 8:30 23 

MARK MORRIS DANCE GROUP in collaboration 
with the TANGLEWOOD MUSIC CENTER 

Monday, July 5, at 8:30 32 

TANGLEWOOD MUSIC CENTER ORCHESTRA, 

INGO METZMACHER conducting 
Music of Dallapiccola, Schoenberg, and Berlioz 

Tuesday, July 6, at 8:30 39 

BOSTON BAROQUE, MARTIN PEARLMAN, music director 
Monteverdi Vespers of 1610 

Thursday, July 8, at 8:30 46 

JUILLIARD STRING QUARTET 

Music of Haydn, Bartok, and Beethoven 

Monday, July 12, at 8:30 50 

TANGLEWOOD MUSIC CENTER ORCHESTRA, 

KURT MASUR and TMC CONDUCTING FELLOWS 

conducting; ANNALENA PERSSON, soprano 
Music of Mendelssohn, Kodaly, and Wagner 

Tuesday, July 13, at 8:30 58 

BRYN TERFEL, bass-baritone; MALCOLM MARTINEAU, piano 
Songs of Vaughan Williams, W.S. Gwynne Williams, Owen Williams, 
Gurney, Warlock, Quilter, Britten, Copland, Tosti, and more 










SEIJIOZAWAHALL 

Just (Some of) the Facts 

Seiji Ozawa Hall's Florence Gould Auditorium is an 1,180-seat enclosed concert space 
designed to accommodate a variety of performance, rehearsal, and recording activities at 
Tanglewood, the BSO's summer home. Folding doors at the west end of the building permit 
the Hall to open directly onto a lawn which provides space for at least 2,000 additional lis- 
teners. With the doors closed, the Hall is also designed to serve as a recording facility. 
The Leonard Bernstein Performers Pavilion adjacent to the main structure contains back- 
of-house facilities encompassing a conductor's suite, dressing rooms, instrument storage 
space, practice rooms, and a recording booth, all organized around a cloister-like court- 
yard that can serve as a gathering place for the Tanglewood Music Center Fellows. 



Groundbreaking: 

Inaugural Concert: 

Architect: 
Acoustician: 
Theater Consultant: 



September 12, 1992 

July 7, 1994 

William Rawn Associates, Architects, Inc., Boston, MA 
R. Lawrence Kirkegaard 6c Associates, Downer's Grove, IL 
Theatre Projects Consultants, Inc., Ridgefield, CT 



Be inspired! 

2004-2005 SEASON 



MOZART, HAYDN, 
BRAHMS, HANDEL, 
JAZZ, AND MORE! 



Grant Llewellyn, 
Music Director 



Inspired orchestra 

Rousing chorus 







Barrington Stage Company 



SWEET CHARITY 

June 24 -July 17 

Book by Neil Simon 

Lyrics by Dorothy Fields 

Music by Cy Coleman 

THE GOD 
COMMITTEE 

July 22 - August 7 

By Mark St. Germain 

CYRANO DE 
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August 12-28 

By Edmond Rostand 

Original music by Ray Leslee 

Adapted byJulianne Boyd 




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Julianne Boyd, Artistic Director 

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Structural Engineer: 
Landscape Consultant: 
General Contractor: 

Project Size: 

Interior Breakdown: 



Interior Finish Materials: 



Exterior Finish Materials: 



LeMessurier Consultants, Cambridge, MA 

Michael Van Valkenburgh Associates, Inc., Cambridge, MA 

Suffolk Construction Company, Inc., Boston, MA 

36,200 gross square feet (sf) 

Ground Floor Seating 6600 sf; Stage 2100 sf; Backstage 
2300 sf; 1st Balcony 3300 sf; 2nd Balcony 3900 sf; Ground 
Floor Arcade 3600 sf; 1st Balcony Arcade 4700 sf; Base- 
ment 1900 sf; Bernstein Performers Pavilion Interior Spaces 
4800 sf; Bernstein Performers Pavilion Courtyard 3000 sf 

General Floors: tongue and groove vertical grain Douglas 

fir plank 
Stage Floors and Risers: tongue and groove maple plank 
Arcade Floors: colored concrete 
Walls: stucco on concrete masonry units 
Ceiling: architectural pre-cast concrete planks partially 

finished with K-13 acoustic insulation 
Balcony and Arcade Structures: Douglas fir timber and 

decking 
Trim, Rails, and Millwork: vertical grain Douglas fir with 

oil finish 
Interior Balcony Grill: plantation-grown teak 
Stairs and Rails: Douglas fir tread risers and rails with 

painted steel 
Acoustic Panels: paper can over fiberglass panels or felt 
Acoustic Drapes: synthetic velour 
Stage Surround Fabric: aniline dyed scrim 

(Leonard Bernstein Performers Pavilion) 

Floors: stained plywood, vinyl, cysl mat, or southern yellow 

pine decking 
Ceiling and Walls: stained Douglas fir rough framing and 

plywood 

Walls: face brick with flashed finish 

Arcade Structure and Grill: Alaskan yellow cedar 

Roof: lead-coated copper 

Windows: clear glass block or laminated glass in teak 

frames 
Doors: plantation-grown teak with 1/2" laminated glass 
(Leonard Bernstein Performers Pavilion) 

Walls: stained Douglas fir plywood with Alaskan yellow 

cedar trim and battens 
Roof: asphalt shingles 
Windows: pine sash and frame 











Celebrating 10 Years of Great Music-Making 
in Seiji Ozawa Hall at Tanglewood 

To mark the ioth anniversary of Seiji Ozawa Hall, the Boston Symphony 
Orchestra is pleased to issue an exclusive, generously-filled CD of live 
performances from Seiji Ozawa Hall at Tanglewood. 



Hear these outstanding artists 
in live performances dating 
from 1995 to 2003 

PIERRE-LAURENT AIMARD 

CHANTICLEER 

THE EMERSON QUARTET 

MATTHIAS GOERNE & ERIC SCHNEIDER 

RICHARD GOODE 

KREMERATA BALTICA 

LORRAINE HUNT LIEBERSON & 
PETER SERKIN 

YO-YO MA & EMANUEL AX 

THE JUILLIARD QUARTET 

THOMAS QUASTHOFF & THE FREIBURG 
BAROQUE ORCHESTRA 

REIGAKUSHA 

MITSUKO SHIRAI & HARTMUT HOLL 

TANGLEWOOD MUSIC CENTER FELLOWS 

BRYN TERFEL & MALCOLM MARTINEAU 

DUBRAVKATOMSIC 




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Reflections on Ozawa Hall — Ten Years Later 

by William Rawn, FAIA 

Seiji Ozawa Hall opened on July 7, 1994. William Rawn Associates, Architects, Inc., of Bos- 
ton designed the building working closely with Larry Kirkegaard, Acoustician, and Theatre 
Projects Consultants, Inc.. The national American Institute of Architects (AIA) awarded Seiji 
Ozawa Hall an Honor Award for Architecture in 1995 and an Honor Award for Interiors in 
2000, and the building was on the cover of Architecture" magazine in December 1994. 

Here, William Rawn discusses some of the ideas influencing the design and reflects on the 
ten years since the opening of Seiji Ozawa Hall in 1994. 



Without question, the ten years since the opening of Ozawa Hall have been marked by 
the special loyalty of concertgoers who attend so many performances in the Hall and by 
the intensity and excellence of the performers — world-class musicians and Tanglewood 
Music Center students — who have played there. For me, personally, the ten years has 
been marked by the many generous comments made by friends and strangers alike. 
Maybe there is an element of good New England manners here. (Who would strongly 
criticize a building directly to its architect?) But the enthusiastic — and spontaneous — 
response to the building has been a highlight of my professional career over the past 
decade. 

For an architect, each project is a hands-on learning experience. Only after develop- 
ing a design, following it through working drawings, and then overseeing the construc- 
tion can an architect begin to apply that learning to the next project. The act of building 
is as critical as is the act of designing. This explains why architects tend to do their best 
work in their sixties and seventies, the culmination of a career of constant learning. 
Frank Lloyd Wright applied that learning to great buildings deep into his eighties, and 
Frank Gehry is now at the top if his game well into his seventies — the opposite of 
dancers and professional athletes. 

The opportunity to design a building like Ozawa Hall so early in my architectural 
career has had a profound impact on our practice. My life and the lives of my colleagues 
have been changed by that experience. I know, too, that the buildings we are designing 
now and in the future reflect the learning gained in the building of Ozawa Hall. For 
this, I am deeply indebted to Tanglewood. 

While I had never designed a concert hall when I began work at Tanglewood, to 
compensate for that seeming inexperience, early in the project I spent three weeks in 
Europe studying the spatial qualities of a dozen halls. The acoustics of a hall were obvi- 
ously most important, and we were confident in our bringing Larry Kirkegaard to the 
team as acoustician. But it seemed to me that the intimacy and intensity of a concert 
experience were human qualities critical to the overall success of a hall. While in 
Europe, I photographed; I measured; I attended concerts to get the "feel" of each hall 
I visited. Larry Kirkegaard joined me at two of his favorite halls, the Concertgebouw in 
Amsterdam and the Musikvereinssaal in Vienna, not only to show me first-hand the 
reasons for their acoustic excellence, but also to share with me his subjective feelings for 
both halls. Richard Pilbrow (Theatre Projects Consultants, Inc.) pushed us to maintain 
intimacy by careful organizing of the seating, and his advice informed that trip. 

What, then, explains the enthusiastic reaction of so many people to the Hall. I sus- 
pect three things: 

1. The acoustics are wonderful, if I can say so myself. Credit for that goes to Larry 
Kirkegaard. From opening night (and Edward Rothstein's next day article in The 
New York Times) to the recent book, Concert Halls and Opera Houses by Leo 









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Beranek, the acoustic accolades have been consistent. Beranek recently devel- 
oped a rating system (based on interviews with conductors and performers) 
which showed Ozawa Hall to be thirteenth-best in the world, fourth-best hall 
in the United States, and one of the four best halls built in the last fifty years. 
Larry Kirkegaard's vision and brilliance is palpable. His natural love of being the 
teacher, his understanding of the necessity of teamwork between acoustician and 
architect, were fundamental to the success of the building. Seiji Ozawa remarked 
ten years ago that he thought the Hall sounded as good with the big barn doors 
open as with the doors closed. High praise indeed for Larry's inventive solution 
to a seemingly insoluble acoustic problem. 

2. The Hall feels to be part of the land of the Stockbridge Bowl. Is it the curved 
roof referencing the soft hills of the Berkshires? Is it the way the Hall nestles 
into the landscape of the Highwood Estate, choosing not to be placed at the 
promontory brow of the hill but choosing a site down the Hill? Of course, 
buildings do not make such choices. Architects do. Bill Porter was Master Plan- 
ner for the site and he strongly supported our decision to place the Hall in this 
deferential position. We pointed out that all the music buildings at Tanglewood 
(the Shed, the Theatre, and now Ozawa Hall) were placed well back from the 
brow of the Hill. They defer to Tappan House and Highwood Manor House, 
indeed letting them establish themselves as the Estate Houses on an estate open 
to 15,000 people. The music buildings literally became the working "barns" 
("sheds") of the estate. 

3. The interior of the Hall, of course, gets much mention. In a way I always love it 
when people — strangers and friends alike — engage me in a conversation about 
the architectural intentions of the interior. A variety of theories about precedents 
and sources abound. While wanting to acknowledge a range of sources for ideas 
natural to any architect's work, nonetheless one idea has been constant from the 
beginning. My sense of Tanglewood has always focused on the essential demo- 
cratic nature of the place: that sense that it is open and accessible to anyone and 
everyone. I always say: most of the week, whether it is a CEO of a Fortune 500 
Company or a family visiting from 2000 miles away, everyone is welcome to 
wander the "estate" and perhaps hear master classes taught by the world's lead- 
ing musicians. 

We wanted Ozawa Hall to share in that democratic spirit. My model was as 
much a New England Meeting House as any other architectural form: the clear 
and simple rectangular room, relatively unadorned, warm and welcoming, cap- 
turing a democratic spirit. Attending a wedding in Strafford, Vermont, Meeting 
House five years ago, I felt very strongly that I was in a space that became a 
subliminal source of our architectural ideas for Ozawa Hall. Obviously there 
are differences: the teak and Douglas fir; the joinery; the wood patterns which 
combine the gridded formality of the balcony fronts with the informality of the 
summer breezes wafting through those grilles; the fact that from almost any seat 
you can see outside, not only to the sky but to the green of trees and lawn. All 
these elements modulate the strict interpretation of Ozawa Hall as Meeting 
House. But the spirit remains. To see how audience and performers react to the 
Hall, reaffirms this special democratic — and perhaps very American — spirit of 
the place. 

What I love today is what has happened in the Hall and how people have used the 
Hall in ways almost unimaginable. The way people congregate in the arcades at inter- 
mission, catching up with their friends, gazing quietly at the landscape; the way the 
Tanglewood Music Center (TMC) concerts have become so popular with visitors and 



cognoscenti alike (remember how we worried about small audiences for TMC recitals 
and how we organized the space so that it could feel "full" even with a small audience); 
how the Hall accommodates the inventions of the Contemporary Music Festival, or, 
more recently, the never-imagined inventions of a Mark Morris dance performance. 
This sense of a living and growing Hall, always expanding its vision, always surprising, 
is special. 

There is a saying in the law that "hard cases can make bad law." In a similar but 
more positive vein, the experience at Ozawa Hall has proved to me that a supportive 
and collaborative client makes great buildings. And here all the credit goes to the BSO 
organization. George Kidder, then President, asked Dean Freed (the BSO Trustee who 
chaired the BSO's Building and Grounds Committee at that time; now a BSO Life 
Trustee), the late BSO Overseer Haskell Gordon, and Dan Gustin (at that time the 
BSO's Manager of Tanglewood and BSO Assistant Managing Director) to be the three- 
person committee directing me, my colleagues Alan Joslin and Clifford Gayley, and 
John Fish of Suffolk Construction Company. In addition, Kidder asked Robert Campbell 
to be architectural adviser to that committee. The four-member BSO group (which 
sadly was reduced to three by Haskell's untimely death halfway through the project) 
brought a spirit of teamwork that inspired us, pushed us, nurtured us. That collaborative 
spirit — call it the architectural equivalent of musical ensemble — is celebrated by this 
building. 

To the BSO, to all the musicians who have performed there, and to the audiences 
who have supported the Hall for the past ten years, I offer my deepest thanks. 

In the past decade, William Rawn's architectural work with concert halls and theaters has 
expanded considerably. Both the Sorenson Theater at Babson College and the Koka Booth 
Amphitheatre in Cary, North Carolina, won design awards from the United States Institute for 
Theatre Technology. The Strathmore Concert Hall in Bethesda, MD (a 2,000-seat enclosed 
concert hall serving as the second home for the Baltimore Symphony Orchestra) and the Wil- 
liams College Class of '62 Center for Theatre and Dance (with three separate theater venues) 
will open in the spring of 2005. William Rawn Associates, Architects, also has projects on a 
number of important college and university campuses nationwide, as well as three large-scale 
public projects under design — the United States Courthouse, Cedar Rapids, IA; the Cambridge 
(MA) Public Library, and the Green Music Center at Sonoma State University, CA. 




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Discover a lebedike velt-a lively world - 
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EXHIBITIONS • BOOKSTORE • PROGRAMS & TOURS 

On the Hampshire College campus in Amherst, MA 
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SEIJIOZAWAHALL 

Tanglewood, Lenox, MA 

William Rawn Associates, Architects, Inc. 

HONORS AND AWARDS 

American Institute of Architects (national), Honor Award in Architecture (1995)* 
American Institute of Architects (national), Honor Award in Interior Architecture 

(2000)* 
American Institute of Architects (New England chapter), Honor Award in 

Architecture (1994) 
Boston Society of Architects, Honor Award for Design Excellence (1994) 
Boston Society of Architects, Honor Award in Interior Architecture (2000) 
United States Institute for Theatre Technology, Honor Award in Architecture 

(1995) 

Architecture magazine, cover story (December 1994) 

Interiors magazine 16th Annual Awards Issue, Best in Recreation and 

Entertainment Design (1995) 
Concert Halls and Opera Houses: Music, Acoustics, and Architecture by Leo Beranek, 

ranked as 13th-best hall in the world; one of the four best halls in the world 

completed in the last fifty years; and one of the four best halls of all time in the 

United States (2003) 






American Wood Council, Merit Award: Wood Design (1996) 

Brick Institute of America, American Institute of Architects, Brick in Architecture 

Award (1995) 
Architectural Woodwork Institute, Award of Excellence (1995) 
National Association of Home Builders, Grand Award Winner (1995) 
International Association of Lighting Designers, Citation for Lighting Design 

(1995) 



"Very rarely does a single building win two Honor Awards from the national American 
Institute of Architects 
















The south 
side arcade 
ofSeiji Ozawa 
Hall during 
construction, 
December 6, 
1993 






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House & Studio 



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10 






Creating a "New" Tanglewood 

by Robert Campbell 

Robert Campbell, architectural critic for The Boston Globe, was Architectural Advisor to the 
BSO's Design Committee for the building ofSeiji Ozawa Hall. He originally wrote this essay 
for the souvenir book A Room For Music" produced in conjunction with the Hall's opening 
in 1994. 

It began with the land. In December 1986 the size of Tanglewood suddenly and unex- 
pectedly doubled, with the acquisition, from the Mason Harding family, of the High- 
wood estate next door. 

You couldn't walk out onto this new piece of land without noticing a long, gentle 
slope of field, back behind the house, that terminated in a natural backdrop of pines. 
You couldn't help feeling that Providence must have created that slope in the hope that 
someone, some day, would sit there listening to music, as it drifted out from somewhere 
among the pines. Even before Highwood became available, the decision had already 
been made to build a new concert hall at Tanglewood. The old Theatre-Concert Hall, 
across the lawn from the Koussevitzky Music Shed, was becoming derelict and inade- 
quate. A preliminary design for a new concert hall was actually created by another 
architect. When Highwood became available all this work came to a screeching halt. 
The BSO realized, at once, that it needed professional help to assess the potential of the 
new property. It hired the nationally known Cambridge firm of Carr, Lynch, Hack 6c 
Sandell as site planners. Bill Porter and Catherine Verhulst of that office took charge of 
the job. They quickly confirmed everyone's early intuition: the grassy slope at Highwood 
was the right place for the new concert hall. 

Porter and Verhulst pointed out other things, too. They noticed that a single unbro- 
ken ridge of lawn extended from the old Tanglewood property right through the new 
estate, all of it with a view of the Stockbridge Bowl to the south. They called this ridge 
the "performance plateau" and conceived it as a means of uniting the old campus with 
the new. They noticed that if the new concert hall were placed down the slope from this 
plateau, it would stand in the same relation to Highwood Manor House as the Shed 
does to the Tanglewood Manor House. There would be a sort of visual rhyme: Tangle- 
wood Manor and its Shed, Highwood Manor and its concert hall. The new estate would 
immediately feel like Tanglewood. 

Porter and Verhulst did many other things. They surveyed the property and declared 
most of it a protected wedand. With what remained, besides the site for the concert hall, 
they created a new string of roads and parking lots, carefully nesded among the existing 
woodlands, to relieve pressure on the old traffic patterns. They renovated the former 
carriage barn into offices and studios for some of Tanglewood's staff and faculty. They 
removed the Box Lot parking from the performance plateau and raised the grade of this 
part of the lawn by several feet, using material excavated for the new concert hall, in 
order to improve views into the shed. They developed a landscape plan for all of Tangle- 
wood, new and old. And they found locations for, and then designed, new gates, rest 
rooms, utilities, practice studios, snack booths, ticket booths, paths, plantings, a new gift 
shop, a new lawn cafe, and much else that was needed to transform the Highwood es- 
tate into a true working part of Tanglewood. 

But the centerpiece of the new Tanglewood would be, of course, the new concert 
hall. Because of the new site, it was decided to make a fresh start in planning for this 
facility. Several nationally known architects were interviewed before the selection of a 
relative newcomer, William Rawn of Boston, as the designer. Rawn impressed the selec- 
tion committee by the time and care he devoted to visiting and studying Tanglewood, 






11 



and especially by the verbal eloquence with which he was able to invoke Tanglewood's 
essential magic. 

Endless debates ensued. How many seats should the new hall have? Twelve hundred, 
give or take, it was finally decided. Where, precisely, should it stand? Rawn persuaded 
everyone it should be pushed far enough up the slope so as not to feel remote. Should 
it, like its predecessor, serve for both opera and concerts? No, it was determined: Now 
that it would be possible to preserve the old Theatre-Concert Hall, it made better sense 
to convert the older building for opera in the future. 

But the critical issue of the debate was over a different issue. Should the new hall be 
suitable for recording purposes? If so, it would have to be a much heavier, much more 
solid acoustic shell than anything else at Tanglewood. It would be a new and different 
kind of building altogether, and a costlier one too. The decision eventually fell in favor 
of recording, and the building began, in Rawn's office, to assume its present shape. 

It was exciting to watch the hall as it evolved over time in a long series of discussions, 
drawings, and models. Two BSO Board members, Dean Freed and the late Haskell 
Gordon, participated in virtually every meeting and contributed a great deal to the 
shaping of the hall. So did the BSO's Tanglewood Manager Dan Gustin and Tangle- 
wood Music Center Administrator Richard Ortner, among many others. Rawn traveled 
through Europe to look at famous halls. He returned with a determination to create not 
an auditorium, in which the performers on the stage are quite separate from the audi- 
ence, but rather a more congenial, more sociable space in which the performers and the 
audience would gather together as if in a large room. The audience would sit on three 
sides, and up on balconies too, so that its members could look across at one another, 
enjoying the ritual pleasure of assembling. They would sit in informal chairs, as if on a 
Shaker porch. A big opening at the rear would open to the sloping lawn, in the Tangle- 
wood tradition, where hundreds could sit and see and hear. Above this opening, there 
would be a musician's gallery, a place for a fanfare before the performance. 

Too often, when an architect and an acoustician collaborate, one or the other domi- 
nates. In the case of Seiji Ozawa Hall something very different occurred. Rawn and his 




The east end of Seiji Ozawa Hall during construction, August 2, 1993 



12 



acoustician, Lawrence Kirkegaard — himself trained as an architect — developed a give- 
and-take working relationship in which each seemed to be trying to optimize the other's 
goals. The building acquired the massive walls and ceiling that Kirkegaard needed to 
reflect the bass notes. But it also acquired a remarkable sense of light and air. Glass- 
block windows served to contain the sound, while simultaneously permitting views out 
to the sky. Broken-up surfaces of wall and ceiling, necessary for blending and dispersing 
the sound, took the form of handsome architectural coffers, bays, and corrugations. 

As it finally took form, and as it now has been built, Seiji Ozawa Hall is a building 
with an exterior that is a reddish blend of several shades of brick. The brick isn't the 
usual machine-cut type but a more irregular, richly textured variety made by casting 
each brick separately. It is trimmed in red sandstone imported from India, with Alaskan 
yellow cedar at the exterior galleries. The round vaulted roof is lead-coated copper. The 
overall impression is of a building that looks both durable and purposeful, commanding 
its site without looking in any way grand. It is angled slightly toward the Highwood 
manor house — an angle, as it happens, that is identical with that of the Shed. Connected 
with it, at the rear, is a smaller pavilion for the musicians, framed and surfaced in wood, 
where dressing and practice rooms ring four sides of an interior courtyard with a con- 
tinuous porch for informal socializing. The musicians' pavilion is like a tugboat pushing 
the liner of Ozawa Hall. Together, the two buildings share a modest entry court. 

Indoors, Seiji Ozawa Hall is made of stucco walls painted a warm off-white. Two 
tiers of balcony line three sides, faced with railings in teak. The ceiling is of pre-cast 
concrete coffers whose natural color is the same as that of the walls. Above the ceiling, 
beneath the copper vault, is the mechanical room, with fans for air changes and modest 
air-conditioning of the stage and its instruments. On the stage, the musicians sit on a 
stepped terrace floor, the elements of which can be telescoped back beneath one another 
when a flat floor is needed. The terrace is Kirkegaard's invention and allows the orches- 
tra members to be easily visible to one another and to the audience. 

Behind the stage is a balcony for choruses. If desired, the hall can be reversed for 
intimate performances, in which case this balcony becomes seating for a small audience, 
and the musician performs against a temporary movable backdrop. Invisible behind all 
this, within the walls and above the ceiling, is the structural skeleton of steel columns, 
beams, and trusses. 

Seen purely as architecture, Ozawa Hall is hard to categorize simply. Architect Rawn 
has little patience with passing fads or styles, but he does possess a strong urge to accom- 
modate new buildings within the traditions of the past. Ozawa Hall's interior is a tradi- 
tional shoebox shape, like Symphony Hall in Boston. Details like the coffered ceiling 
and gridded balcony rails can't exactly be called ornamental, but they do embody a 
memory, simplified as befits a country setting, of the gilded and sculptured interiors of 
the past. Outdoors, the wood galleries recall the long lazy porches of resorts and summer 
camps, and the big brick shape suggests the great rural mills of New England. Taken as 
a whole, Seiji Ozawa Hall reminds this writer of only one other building, a personal 
favorite, the tiny but monumental church of Santa Maria dei Miracoli in Venice, another 
powerful, round-vaulted, self-confident shape. 

Summer has come to Tanglewood now. The leaves are on the trees and the breeze 
drifts cool off the Stockbridge Bowl. The unsuspecting visitor will arrive, unaware that 
the beloved Tanglewood is, suddenly, twice as big, twice as wonderful. It will be as if 
you sat down to a small-screen black and white movie, only to watch it explode into 
wide-screen color. On that new and larger screen, Seiji Ozawa Hall takes its place as the 
central figure in the newest act of the ever-unfolding drama that is Tanglewood. 



13 



SEIJI OZAWAHALL (Florence Gould Auditorium) 
A Week in the Life: August 9 - August 15, 2004 

Monday, August 9, 2004 



10 a.m. - 12:30 p.m. 
1:30 p.m. - 1:55 p.m. 

2 p.m. - 2:25 p.m. 
2:30 p.m. - 2:55 p.m. 

3 p.m. - 3:25 p.m. 
3:30 p.m. - 3:55 p.m. 

4 p.m. - 5 p.m. 
8:30 p.m. - 10:30 p.m. 

Tuesday, August 10, 2004 

10 a.m. - 12:30 p.m. 
2 p.m. - 5 p.m. 

8:30 p.m. - 10:30 p.m. 

Wednesday, August 11, 2004 

10 a.m. - 12:30 p.m. 
1:30 p.m. - 5 p.m. 

6 p.m. - 7:30 p.m. 

8:30 p.m. - 10:30 p.m. 

Thursday, August 12, 2004 

10 a.m. - 10:40 a.m. 

10:45 a.m. - 11 a.m. 
11:15 a.m. -11:45 a.m. 
11:50 a.m. -12:30 p.m. 
12:40 p.m. - 1 p.m. 

2 p.m. - 4:30 p.m. 

5 p.m. - 7 p.m. 

8:30 p.m. - 10:30 p.m. 



TMC Orchestra Rehearsal 

TMC Chamber Music Dress Rehearsal 

{Zemlinsky, Fantasies for Piano) 
TMC Chamber Music Dress Rehearsal 

{Dehmel Songs) 
TMC Chamber Music Dress Rehearsal 

{Dehmel Songs) 
TMC Chamber Music Dress Rehearsal 

{Dehmel Songs) 
TMC Chamber Music Dress Rehearsal 

{Zemlinsky, "Maiblumen") 
TMC Chamber Music Dress Rehearsal 

{Schoenberg, "Verklarte Nacht") 
BSO Recital Series Concert 

{"My Fair Lady") 

TMC Orchestra Rehearsal 
BSO Recital Series Rehearsal 
{Jean-Yves Thibaudet, piano) 
TMC Chamber Music Concert 



TMC Orchestra Rehearsal 
Chamber Music Dress Rehearsal 

{Meridian Arts Ensemble) 
BSO Recital Series Rehearsal 

{Jean-Yves Thibaudet) 
BSO Recital Series Concert 

{Jean-Yves Thibaudet) 



TMC Chamber Music Dress Rehearsal 

{Rands, String Quartet No. 2) 
TMC Chamber Music Dress Rehearsal 

{Williams, Sextet) 
TMC Chamber Music Dress Rehearsal 

{Gyger, "SiDoux") 
TMC Chamber Music Dress Rehearsal 

{Lindberg, Quintet for Clarinet and Strings) 
TMC Chamber Music Dress Rehearsal 

{Singleton, "Greed Machine") 
TMC Orchestra Rehearsal 
Technical Set-up 

{Meridian Arts Ensemble) 
TMC Chamber Music Concert 

{Meridian Arts Ensemble) 



14 



Friday, August 13, 2004 

10 a..m. - 12:30 p.m. 
2:30 p.m. - 4:30 p.m. 

6 p.m. — 7 p.m. 
8 p.m. - 10 p.m. 

Saturday, August 14, 2004 

10 a.m. -10:15 a.m. 

10:20 a.m. - 10:35 a.m. 
10:40 a.m. - 10:55 a.m. 

11 a.m. - 11:30 a.m. 
11:35 a.m. - 11:55 a.m. 

12 p.m. - 1 p.m. 
2:30 p.m. - 4:30 p.m. 
5 p.m. - 5:30 p.m. 
7:30 p.m. - 8:30 p.m. 
8:45 p.m. - 9:30 p.m. 

Sunday, August 15, 2004 

10 a.m. - 12 p.m. 

8:30 p.m. - 10:30 p.m. 



TMC Orchestra Rehearsal 
TMC Chamber Music Concert 

{Festival of Contemporary Music) 
BSO Friday Prelude Concert 
Dress Rehearsal 

{BUTI Orchestra and Chorus) 



TMC Chamber Music Dress Rehearsal 

{Perk, Six Etudes) 
TMC Chamber Music Dress Rehearsal 

{Perky Six New Etudes) 
TMC Chamber Music Dress Rehearsal 

{Sheng, "My Song") 
TMC Chamber Music Dress Rehearsal 

{Salonen, "Five Images After Sappho") 
TMC Chamber Music Dress Rehearsal 

{Sallinen, String Quartet No. 2) 
TMC Chamber Music Dress Rehearsal 

{Carter, String Quartet No. 1) 
Concert 

{BUTI Orchestra and Chorus) 
TMC Chamber Music Dress Rehearsal 

{McCaffrey, "I used to be , but now Tm 

TMC Chamber Music Dress Rehearsal 

{Rands, "Canti Lunatici") 
TMC Chamber Music Dress Rehearsal 

{Zupko, "Somewhere Gladly Beyond") 

TMC Chamber Music Concert 

{Festival of Contemporary Music) 
TMC Chamber Music Concert 
{Festival of Contemporary Music) 



:■) 







The interior of 
Seiji Ozawa Hall 
under construction, 
January 30, 1994 



15 




International Travelers at Home 

Marjorie and Ed VanDyke traveled the globe while raising a family. 
After setting up twenty homes across the United States, Germany, 
France, England and beyond — they chose the lifecare option of Kimball 
Farms as their permanent home. Here they have the finest cultural 
attractions, great natural resources and a community of diverse and 
enthusiastic neighbors. They consider this a gift to themselves and their 
children that has enabled the continuance of a fulfilling lifestyle with 
the promise of a secure future. 

Call Dolly Curletti, Marketing Director, for a brochure or 
to arrange for a tour, 413.637.7000 or 800.283.0061. 




Hi 



Kimball Farms 



SiiMRY 235 Walker Street, Lenox, MA • kimballfarms.org Affiliate of Berkshire Health Systems 



16 



SEIJI OZAWA HALL, 1994-2003 

A Concise Performance History of the BSO's Recital Series 

In addition to the concerts presented each summer by the Tanglewood Music Center, 
the Boston University Tanglewood Institute, and the Boston Symphony Chamber 
Players, as well as the annual Festival of Contemporary Music, and the regular Friday- 
night Prelude Concerts performed by members of the BSO, frequent guest artists, and 
the Tanglewood Festival Chorus, the following recitalists and ensembles have been fea- 
tured in the BSO's weeknight (and occasional Sunday- night) recital series in Florence 
Gould Auditorium during Ozawa Hall's first ten years. 

Seiji Ozawa Hall also serves as the primary venue for Tanglewood's annual Jazz 
Festival each Labor Day Weekend (see page 21); as a recording venue; and as a venue 
for such important Berkshire community functions as graduation ceremonies, fund- 
raising events, and concerts by local ensembles. 



1994 

7/10/1994 
7/13/1994 

7/21/1994 

7/27/1994 

7/28/1994 

8/3/1994 

8/4/1994 

8/11/1994 

8/24/1994 

1995 

7/1/1995 
7/6/1995 
7/13/1995 
7/18/1995 

7/20/1995 

7/25/1995 

7/27/1995 

8/3/1995 

8/9/1995 

8/16/1995 

8/24/1995 

1996 

6/29/1996 

7/10/1996 

7/18/1996 

7/23/1996 

7/31/1996 

8/7/1996 

8/14/1996 

8/15/1996 

8/22/1996 



Juilliard String Quartet 

Kurt Ollmann, baritone; John Browning, piano; 

Donald St. Pierre, piano 

Maria Tipo, piano; Quartetto di Fiesole 

Richard Goode, piano 

Ute Lemper; Bruno Fontaine, piano 

Hermann Prey, baritone; Leonard Hokanson, piano 

Bang on a Can All- Stars 

Vermeer Quartet 

Barbara Bonney, soprano; Andre Previn, piano 

Juilliard String Quartet 

The Boston Camerata, Joel Cohen, music director 

Beaux Arts Trio 

Emanuel Ax, piano; Barbara Bonney, soprano; Malcolm Lowe, violin; 

Yo-Yo Ma, cello; Edgar Meyer, double bass; Rebecca Young, viola 

Barbara Bonney, soprano; Warren Jones, piano 

Emerson String Quartet 

The King's Singers 

The Dmitri Pokrovsky Ensemble 

Steve Reich and Musicians 

Deutsche Kammerphilharmonie Bremen; Jaime Laredo, conductor 

and violinist; Ginesa Ortega, gypsy singer 

Andreas Haefliger, piano 

Juilliard String Quartet 

Chanticleer 

Mitsuko Shirai, mezzo-soprano; Hartmut Holl, piano 

Reigakusha, Sukeyasu Shiba, artistic director 

Richard Goode, piano 

Bo Skovhus, baritone; Warren Jones, piano 

Netherlands Wind Ensemble 

Guarneri String Quartet 

Tafelmusik Baroque Orchestra, Jeanne Lamon, director 



17 



1997 

7/2/1997 

7/10/1997 

7/23/1997 

7/24/1997 

7/27/1997 

7/29/1997 

7/30/1997 

8/6/1997 

8/7/1997 

8/11/1997 

8/21/1997 

8/27/1997 

1998 

6/27/1998 

7/1/1998 

7/7/1998 

7/15/1998 

7/22/1998 

7/23/1998 

7/26/1998 

7/29/1998 

7/30/1998 

8/5/1998 

8/6/1998 

8/11/1998 

8/12/1998 

8/13/1988 

8/20/1998 

8/23/1998 

8/25/1988 

1999 

6/20/1999 
6/25/1999 
6/26/1999 
6/27/1999 
7/13/1999 
7/21/1999 

7/22/1999 
7/27/1999 
7/28/1999 
7/29/1999 



Juilliard String Quartet 

Dubravka Tomsic, piano 

Yo-Yo Ma, cello 

Renee Fleming, soprano; Helen Yorke, piano 

Yo-Yo Ma, cello 

Barbara Bonney, soprano; Caren Levine, piano 

Takacs Quartet 

Juilliard String Quartet 

Richard Stoltzman, clarinet; Lukas Foss, piano 

Ursula Oppens, piano 

Peter Serkin, piano 

Handel 6c Haydn Society Orchestra; Stanley Ritchie, director and 

violinist; Lorraine Hunt, mezzo-soprano 

Juilliard String Quartet 

Juilliard String Quartet 

Frederica von Stade, mezzo-soprano; Martin Katz, piano 

Stephen Hough, piano 

Byron Janis, piano 

Anonymous 4 

Andre Previn, piano; David Finck, double bass 

Emerson String Quartet 

Wind Soloists of the Chamber Orchestra of Europe; 

Leif Ove Andsnes, piano 

KREMERata BALTICA, Gidon Kremer, artistic director and 

violin soloist 

Arditti String Quartet 

Bryn Terfel, bass-baritone; Malcolm Martineau, piano 

Guarneri String Quartet 

Guarneri String Quartet 

Mitsuko Shirai, mezzo-soprano; Hartmut Holl, piano 

I Solisti Veneti, Claudio Scimone, conductor 

Mischa Maisky, cello; Martha Argerich, piano 

The King's Noyse/BEMF Violin Band 

Kyung-Wha Chung, violin; Itamar Golan, piano 

Juilliard String Quartet 

Juilliard String Quartet 

Barbara Bonney, soprano; Warren Jones, piano 

Susan Graham, mezzo-soprano; Patrick Stewart, speaker; 

Emanuel Ax, piano 

Chanticleer 

Boston Musica Viva, Richard Pittman, music director 

Emerson String Quartet; Stephen Hough, piano 

Yuri Bashmet, viola; Xenia Bashmet, piano; Malcolm Lowe, violin; 

Yo-Yo Ma, cello; Emanuel Ax, piano 



18 



8/3/1999 Dawn Upshaw, soprano; Gilbert Kalish, piano; Thomas Martin, 

clarinet; J. William Hudgins, vibes; Norman Fischer, cello; Lukas 
Foss, conductor 

8/11/1999 Freiburg Baroque Orchestra, Gottfried von der Goltz, artistic 

director and leader; Thomas Quasthoff, bass-baritone 

2000 

7/5/2000 Gil Shaham, violin; Jian Wang, cello; Paul Meyer, clarinet; 

Garrick Ohlsson, piano 
7/13/2000 Dubravka Tomsic, piano 

7/18/2000 Barbara Bonney, soprano; Margo Garrett, piano; William R. Hudgins, 

clarinet; Fenwick Smith, flute; Sato Knudsen, cello 
7/27/2000 Ida Haendel, violin; Itamar Golan, piano 

8/2/2000 Orchestra of the Age of Enlightenment; Catherine Mackintosh, 

violin/director; Anthony Robson, oboe 
8/3/2000 Daniel Barenboim, piano 

8/6/2000 Andre Previn, piano; David Finck, double bass; Grady Tate, drums 

8/8/2000 Thomas Quasthoff, bass-baritone; Justus Zeyen, piano 

8/16/2000 Nelson Freire, piano 

8/17/2000 Juilliard String Quartet 

8/22/2000 Collegium Vbcale Gent, Philippe Herreweghe, artistic director and 

conductor; Deborah York, soprano; Andreas Scholl, countertenor; 

Scot Weir, tenor; Sebastian Noack, baritone 

2001 

6/24/2001 Boston Early Music Festival Lully Opera Orchestra, directed by 

Paul O'Dette and Stephen Stubbs; Marie-Ange Petit, timpani; 

Kendra Colton, soprano; Ann Monoyios, soprano; Howard Crook, 

tenor 
6/29/2001 Juilliard String Quartet 

7/1/2001 Juilliard String Quartet 

7/2/2001 Peter Serkin, piano; Mary Nessinger, speaker; Tara Helen O'Connor, 

flute; David Shifrin, clarinet; Ida Kavafian and Jennifer Frautschi, 

violins; Steven Tenenbom, viola; Fred Sherry, cello 
7/5/2001 Peter Serkin, piano; Mary Nessinger, mezzo-soprano; Tara Helen 

O'Connor, flute; Marianne Gythfeldt, Michael Lowenstern, and 

David Shifrin, clarinets; Ida Kavafian, violin; Steven Tenenbom, viola; 

Fred Sherry, cello 
7/8/2001 Peter Serkin, piano 

7/11/2001 Matthias Goerne, baritone; Julius Drake, piano 

7/12/2001 Chanticleer 

7/18/2001 Mitsuko Uchida, piano 

7/19/2001 Yo-Yo Ma, cello; Emanuel Ax, piano; Cynthia Haymon, soprano; 

Marylou Speaker Churchill, violin; William R. Hudgins, clarinet 
7/23/2001 Yefim Bronfman, piano 

7/26/2001 Emerson String Quartet; Yefim Bronfman, piano 

8/1/2001 Dawn Upshaw, piano; Gilbert Kalish, piano; Peggy Pearson,oboe; 

Arthur Haas, organ; Lydian String Quartet; Edwin Barker, double 

bass 
8/8/2001 Dawn Upshaw, soprano; Gilbert Kalish, piano; Members of the 

Boston Symphony Orchestra; Federico Cortese, conductor 



OKU 






19 



8/9/2001 
8/19/2001 

2002 

6/27/2002 
6/28/2002 
6/30/2002 

7/9/2002 

7/10/2002 

7/16/2002 

8/1/2002 

8/7/2002 

8/14/2002 
8/15/2002 
8/22/2002 



2003 

6/29&30/2003 



7/9/2003 
7/10/2003 

7/16/2003 
7/20/2003 
7/22/2003 
7/24/2003 
7/30/2003 
7/31/2003 
8/6/2003 

8/14/2003 
8/19/2003 
8/20/2003 

8/21/2003 



Collage New Music, David Hoose, conductor 
Andre Previn, piano; David Finck, double bass 

Juilliard String Quartet 

Juilliard String Quartet 

Borromeo String Quartet; Dawn Upshaw, soprano; Todd Palmer, 

clarinet 

Jessye Norman, soprano; Mark Markham, piano 

Matthias Goerne, baritone; Eric Schneider, piano 

Emerson String Quartet 

Richard Goode, piano 

Scottish Chamber Orchestra, Joseph Swenson, conductor; Imogen 

Cooper, piano; Wolfgang Holzmair, baritone 

Karita Mattila, soprano; Martin Katz, piano 

Kalichstein-Laredo-Robinson Trio 

Boston Symphony Orchestra; Schola Cantorum de Caracas, Ana 

Maria Raga, general director; Members of the Orquesta la Pasion, 

Mikael Ringquist, leader; Luciana Souza, vocalist; Dawn Upshaw; 

soprano; Reynaldo Gonzalez Fernandez, vocalist and Afro-Cuban 

dancer; Deraldo Ferreira, berimbau, percussion, and Capoeira dancer; 

Robert Spano, conductor (Golijov's La Pasion Segun San Marcos) 

Mark Morris Dance Group in collaboration with the Tanglewood 

Music Center; Bradley Lubman and John Oliver, conductors; 

Yo-Yo Ma, cello 

Christian Tetzlaff, violin 

Lorraine Hunt Lieberson, mezzo-soprano; Peter Serkin, piano; 

Drew Minter, guest artist 

Dubravka Tomsic, piano 

Pierre-Laurent Aimard, Ursula Oppens, and Robert Spano, pianos 

Chanticleer 

Borodin String Quartet 

Emerson String Quartet; Jeffrey Kahane, piano 

Piotr Anderszewski, piano 

Camerata Salzburg, Sir Roger Norrington, chief conductor; Hannes 

Eichmann, speaker 

Juilliard String Quartet 

Yo-Yo Ma, cello; Emanuel Ax, piano 

Norwegian Chamber Orchestra; Leif Ove Andsnes, piano and guest 

leader; Terje Tonnesen, violin and artistic leader 

David Daniels, countertenor; Craig Ogden, guitar 




20 






SEIJI OZAWA HALL, 1994-2003 

Tanglewood Jazz Festival 

The following list includes those performers who have appeared in Florence Gould 
Auditorium in Seiji Ozawa Hall as part of the annual Tanglewood Jazz Festival on 
Labor Day Weekend since the Hall opened in 1994. Note that performers who ap- 
peared in the Koussevitzky Music Shed or the Theatre as part of each year's Jazz 
Festival do not appear in this listing. (The first Tanglewood Jazz Festival took place 
in 1989.) 

1994 Ahmad Jamal and his trio with guests The Joshua Redman Quartet; Marcus 
Roberts; The Dave Brubeck Quartet with special guest Cassandra Wilson; The 
New Black Eagle Jazz Band; The Carnegie Hall Jazz Band, Jon Faddis, director 

1995 The Shirley Horn Trio; Joe Henderson's "Double Rainbow" Quartet with 
Hello Alves, Nilson Matta, Paulo Braga, and guests; The John Scofield Quartet; 
Diane Schuur and her trio; Flora Purim and Airto; The Tito Puente Latin Jazz 
Ensemble; The New Black Eagle Jazz Band 

1996 The Arturo Sandoval Sextet; Betty Carter and her quartet; The John Pizzarelli 
Trio with special guest Bucky Pizzarelli; The Dave Brubeck Quartet; The T.S. 
Monk, Jr., Quartet; George Shearing and Joe Williams; The Joe Lovano 
Quartet with the Christian McBride Quintet 

1997 Chick Corea and Gary Burton; Randy Weston's African Rhythms; Sonny 
Rollins; The New Black Eagle Jazz Band with special guest Odetta; The Dave 
Brubeck Quartet 

1998 The Cyrus Chestnut Trio; The Joe Lovano Quartet; John Pizzarelli with trio; 
The Patrice Williamson Group; The James Moody Quartet; Cassandra Wilson 
with her quartet 

1999 An Evening with Branford Marsalis; Kevin Mahogany and Dianne Reeves; 
The New Black Eagle Jazz Band; The Dave Brubeck Quartet 

2000 The Dizzy Gillespie Alumni All-Stars, featuring Jon Faddis, Paquito D'Rivera, 
Slide Hampton, Kenny Barron, John Lee, and Cecil Brooks III; The Rebecca 
Parris Quartet; The Dave Brubeck Quartet (80th Birthday Celebration) 

2001 Chuck Mangione and New York Voices; The John Pizzarelli Trio; Jane Monheit; 
Sonny Rollins 

2002 Arturo Sandoval and his orchestra; Nestor Torres; Marian McPartland's "Piano 
Jazz" with Sir Roland Hanna; The Roy Hargrove Quintet; Roberta Gambarini; 
The Dave Brubeck Quartet 

2003 Gato Barbieri; The Michel Camilo Trio; Jonathan Pascual; Marian McPartland's 
"Piano Jazz" with special guest Norah Jones; Cassandra Wilson; Kenny Barron's 
"Canta Brasil"; Trio da Paz; Celebrating a Year of the Blues (Jay McShann, 
Louisiana Red, Duke Robillard, The Nicole Nelson Band, Kendrick Oliver 
and The New Life Jazz Orchestra) 












21 



The World is Waiting 



What persuades a young person to accept 
her own greatness? What allows her to 
see the connection between the fire in 
her heart and her destiny to change a small cor- 
ner of the world or the world itself? What con- 
vinces a girl that the world needs her discover- 
ies, her solutions, her creations? 

The torch of leadership will be passed to a new 
generation. That is a certainty. But is it also a 
certainty that the new generation will be pre- 
pared to lead? Yes, if the adults involved with 
young people make it their priority. 

Nurturing girls' potential is serious business. 
Our job as parents, teachers, mentors, and 
friends is to let a girl know what great promise 
she has. A girl will recognize that promise if 
she knows we have seen it too. 

Before there can be leadership, there must be 
the idea of leadership. That is, before a young 
person can face her future with solid confi- 
dence, she must have a clear idea of her power 
to achieve and her ability to lead. The time for 
a girl to catch a glimpse of the powerful person 
she is to become is between the ages of 14 and 
18. It is then that she can envision herself 
twenty feet tall and think the unthinkable about 
what she can accomplish. 

That is where we begin. But leadership is also 
about passion, about caring deeply, and, then, 
about creating a vision for change in the 
mind's eye. What matters to adolescents 
today? Sit with a girl long enough and she'll tell 
you that she worries about the environment, 
about violence in the world, about children 
without hope. Her conscience is stirred. Sit 
with her a little longer and she will start to talk 
about her plans. The groundwork for a new 
approach is forming. 



It is when this adolescent energy is bursting 
forth that adults can help to give it shape. The 
high school years are about more than acquir- 
ing knowledge, as important as that is. It is in 
these formative years, when a girl begins to 
clarify her ethical positions, that we must be 
there to encourage her to connect her vision of 
how to make the world better with her ability to 
accomplish the task. 

Leadership takes practice also. It's all about a 
girl's working up the nerve to speak out in a 
meeting, to edit the school paper, to run for 
class office, or to find an elegant solution to a 
perplexing problem. Confidence grows cumu- 
latively. In an enlightened community a girl has 
the chance to be in charge and the encourage- 
ment to try. 

This country, this world, needs the strength, 
compassion, and brains of all its young people. 
But participation in democracy begins with 
young people knowing that they count. It is 
hard to be apathetic when the large idea that 
fills your mind and soul is that you can, must, 
and will make a difference. 

In Nine and Counting: The Women of the Senate, 
author Catherine Whitney writes, "Each of the 
women senators understands that at any given 
moment, she could have a substantial impact 
on someone's life." Think how we would feel 
about the future of this society if we thought 
that every young person was prepared and 
committed to making a "substantial impact." 
Then, look at your daughter, granddaughter, 
niece, the neighbor's girl. See in her the cure 
we haven't discovered, the peace treaty not yet 
written, the great art not yet created. Now, tell 
her that the world needs what only she can 
offer. Tell her that the world is waiting for her. 




MISS HALL'S SCHOOL 

492 Holmes Road, Pittsfield, MA 01201 • (800) 233-5614 • Fax (413) 448-2994 • www.misshalls.org 
GIRLS' SECONDARY BOARDING AND DAY SCHOOL FOUNDED IN 1898 



22 







Tanglewood 

Thursday, July 1, at 8:30 
Friday, July 2, at 8:30 
Florence Gould Auditorium, Seiji Ozawa Hall 



n\ 



SEIJ I OZAWA HALL 
lOth ANNIVERSARY SEASON 



MARK MORRIS DANCE GROUP 

in collaboration with the Tanglewood Music Center 

craig biesecker joe bowie charlton boyd 

amber darragh rita donahue marjorie folkman 

lauren grant john heginbotham david leventhal 

bradon Mcdonald Gregory nuber maileokamura 

juneomura matthew rose noah vinson* 

julie worden michelle yard 

Apprentice 



Artistic Director 
MARK MORRIS 



General Director 
BARRY ALTERMAN 



Executive Director 
NANCY UMANOFF 









Program 

Marble Halls 
All Fours 

INTERMISSION 

Beautiful Day 
Gloria 










Steinway and Sons Pianos, selected exclusively at Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 

and watch alarms should be switched off during the concert. 
Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 

concert. Flashes, in particular, are distracting to the performers and other audience 

members. Thank you for your cooperation. 



23 



CHOREOGRAPHY BY MARK MORRIS 

MARBLE HALLS 
Music: JOHANN SEBASTIAN BACH 

(Concerto in C minor for Oboe, Violin, Strings, and Basso Continuo, BWV 1060) 

Costumes: Katherine McDowell 

Original Lighting Design: Phil Sandstrom 

Premiere: March 14, 1985 - Batsheva Dance Company, Jerusalem Theater, 

Jerusalem, Israel 
Company Premiere: May 9, 1985 - Washington Hall Performance Gallery, 

Seattle, Washington 

CRAIG BIESECKER, JOE BOWIE, AMBER DARRAGH, 

RITA DONAHUE, LAUREN GRANT, 

DAVID LEVENTHAL, BRADON McDONALD, MAILE OKAMURA, 

NOAH VINSON, MICHELLE YARD 

BRENT ROSS, oboe; ARNAUD SUSSMANN, violin 

TANGLEWOOD MUSIC CENTER ORCHESTRA 

CRAIG SMITH, conductor 



PAUSE 



ALL FOURS 

Music: BELA BARTOK (String Quartet No. 4) 

Costumes: Martin Pakledinaz 

Original Lighting Design: Nicole Pearce 

Commissioned in part by Cal Performances. 

Bela Bartok's String Quartet No. 4 is performed by arrangement with 

Boosey 5c Hawkes, Inc., publisher and copyright owner. 
Premiere: September 12, 2003 - Cal Performances, Zellerbach Hall, 

Berkeley, California 




MetLife Foundation is the official sponsor of the Mark Morris Dance Group's 2003-2004 national 
tour. 

Major support for the Mark Morris Dance Group is provided by Altria Group, Inc., The Shubert 
Foundation, and Target Stores. 

The Mark Morris Dance Group New Works Fund is supported by The Howard Gilman Foundation 
and the Andrew W. Mellon Foundation, as well as The Horace W. Goldsmith Foundation and The 
Gladys Krieble Delmas Foundation. 

The Mark Morris Dance Group's education and performance activities are supported by Indepen- 
dence Community Foundation. 

The Mark Morris Dance Group's performances are made possible with public funds from the 
National Endowment for the Arts Dance Program and the New York State Council on the Arts, 
a State Agency. 

24 



I. Allegro 

JOE BOWIE, CHARLTON BOYD, AMBER DARRAGH, 

RITA DONAHUE, DAVID LEVENTHAL, MAILE OKAMURA, 

JUNE OMURA, NOAH VINSON 

II. Prestissimo, con sordino 
JOHN HEGINBOTHAM, GREGORY NUBER 

III. Non troppo lento 

LAUREN GRANT, JOHN HEGINBOTHAM, 

GREGORY NUBER, MICHELLE YARD 

IV. Allegretto pizzicato 
LAUREN GRANT, MICHELLE YARD 

V. Allegro molto 

JOE BOWIE, CHARLTON BOYD, AMBER DARRAGH, 

RITA DONAHUE, DAVID LEVENTHAL, MAILE OKAMURA, 

JUNE OMURA, NOAH VINSON 

THE NEW FROMM PLAYERS 

Marc Rovetti, violin I; Elizabeth Mahler, violin II; 

Mark Berger, viola; Guy Fishman, cello 

(Norman Fischer, TMC faculty coach) 



INTERMISSION 



BEAUTIFUL DAY 

Music: Attributed to J.S. BACH or GEORG MELCHIOR HOFFMAN 

(Cantata BWV 53, Schlage doch, gewunschte Stunde) 

Costumes'. Susan Ruddie 

Original Lighting Design: James F. Ingalls 

Premiere: April 7, 1992 - Manhattan Center Grand Ballroom, New York, New York 

bradon Mcdonald, michelle yard 

JASON ABRAMS, countertenor 

TANGLEWOOD MUSIC CENTER ORCHESTRA 

CRAIG SMITH, conductor 






Schlage doch, gewunschte Stunde 

Schlage doch, gewunschte Stunde, 
Brich doch an, du schoner Tag. 
Kommt ihr Engel, auf mich zu, 
Offnet mir die Himmelsauen, 
Meinen Jesum bald zu schauen 
In vergniigter Seelenruh! 
Ich Begehr' von Herzens Grunde 
Nur den letzten Siegerschlag. 
Schlage doch, gewunschte Stunde, 
Brich doch an, du schoner Tag. 



Strike at last, you longed-for hour, 

Break at last, you lovely day. 

Come, you angels, come towards me, 

Open unto me the heavenly pastures, 

That I may soon see my Jesus 

In joyful peace of soul! 

I long with all my heart 

Only for the last victorious stroke. 

Strike at last, you longed-for hour, 

Break at last, you lovely day. 



25 



PAUSE 

GLORIA 

Music: ANTONIO VIVALDI 

(Gloria in D, RV 589) 

Original Lighting Design: Michael Chybowski 

Premiere: December 12, 1981 - Bessie Schoenberg Theater, 

Dance Theater Workshop, New York, New York 

Revised: November 28, 1984 - Brooklyn Academy of Music, Brooklyn, New York 

joe bowie, charlton boyd, marjorie folkman, 

lauren grant, david leventhal, 

bradon Mcdonald, maile okamura, matthew rose, 

julie worden, michelle yard 

ANNE-CAROLYN BIRD, soprano (3rd movement: Laudamus te, soprano I) 

SARAH BLASKOWSKY, soprano (6th movement: 

Domine Deus, soprano solo) 

PAULA MURRIHY, mezzo-soprano (3rd movement: 

Laudamus te, soprano II; 10th movement: Qui sedes) 

JOSE LEMOS, countertenor (8th movement: Domine Deus, alto solo) 

TANGLEWOOD MUSIC CENTER 

VOCAL FELLOWS & ORCHESTRA 

CRAIG SMITH, conductor 




ARTISTS 
MARK MORRIS 

Mark Morris was born on August 29, 1956, in Seattle, Washington, where 
he studied as a young man with Verla Flowers and Perry Brunson. In the 
early years of his career, he performed with Lar Lubovitch, Hannah Kahn, 
Laura Dean, Eliot Feld, and the Koleda Balkan Dance Ensemble. He 
formed the Mark Morris Dance Group in 1980, and has since created over 
100 works for the company. From 1988-1991 he was Director of Dance at 
the Theatre Royal de la Monnaie in Brussels, the national opera house of 
Belgium. Among the works created during his tenure were three evening- 
length dances: The Hard Nut, L 'Allegro, il penseroso ed il moderato; and Dido and Aeneas. In 1990 
he founded the White Oak Dance Project with Mikhail Baryshnikov. Mr. Morris is also much 
in demand as a ballet choreographer. He has created four works for the San Francisco Ballet 
since 1994 and has received commissions from such companies as American Ballet Theatre, 
Boston Ballet, and the Paris Opera Ballet. His work is in the repertory of the Geneva Ballet, 
New Zealand Ballet, English National Ballet, and the Royal Ballet, Covent Garden. He has 
worked extensively in opera, directing and choreographing productions for New York City 
Opera, English National Opera, and the Royal Opera, Covent Garden. Mr. Morris was named 
a Fellow of the MacArthur Foundation in 1991. He has received honorary doctorates from the 
Boston Conservatory of Music, the Juilliard School, Long Island University, Pratt Institute, 
and Bowdoin College. Mr. Morris is the subject of a biography by Joan Acocella (Farrar, Straus 
&. Giroux). In 2001, Marlowe &, Company published Mark Morris' LAllegro, il Penseroso ed il 
Moderato: A Celebration, a volume of photographs and critical essays. 



26 




MARK MORRIS DANCE GROUP 

Mark Morris Dance Group was formed in 1980 and gave its first concert that year in New 
York City. The company's touring schedule steadily expanded to include cities both in the U.S. 
and in Europe, and in 1986 it made its first national television program for the PBS series 
"Dance in America." In 1988 the Dance Group was invited to become the national dance com- 
pany of Belgium, and spent three years in residence at the Theatre Royal de la Monnaie in 
Brussels. The company returned to the United States in 1991 as one of the worlds leading 
dance companies, performing across the U.S. and at major international festivals. It has main- 
tained and strengthened its ties to several cities around the world, most notably Berkeley, CA, 
where Cal Performances presents the company in two annual seasons, including engagements 
of The Hard Nut each December. It appears regularly in Boston, MA; Fairfax, VA; Seattle, WA; 
Urbana- Champaign, IL; and at the Jacob's Pillow Dance Festival in Becket, MA. It made its 
debut at the Mostly Mozart Festival in 2002 and at Tanglewood in 2003. The company's Lon- 
don seasons have garnered two Laurence Olivier Awards. MMDG is noted for its commitment 
to live music, a feature of every performance on its full international touring schedule since 
1996. Cellist Yo-Yo Ma has frequently collaborated with the Dance Group; their projects 
include the 1997 Emmy Award-winning film Falling Down Stairs, using Bach's Suite No. 3 for 
Unaccompanied Cello, and the 2002 dance Kolam, created for the Silk Road Project in collabo- 
ration with Indian composer Zakir Hussain and jazz pianist Ethan Iverson of The Bad Plus. 
MMDG's film and television projects include Dido and Aeneas, The Hard Nut, and two docu- 
mentaries for the U.K.'s South Bank Show. In 2001, the Mark Morris Dance Center opened in 
Brooklyn, New York. The 30,000-square foot facility features three studios and a school for 
dance students of all ages. 

CRAIG SMITH 

Craig Smith is both founder and artistic director of Emmanuel Music and, 
from 1988-91, held the post of permanent guest conductor of the Theatre 
Royal de la Monnaie in Brussels. With Emmanuel Music, he conducts a 
weekly Bach cantata as part of the Sunday service at Boston's Emmanuel 
Church, and a popular and critically acclaimed concert series which has 
included J. S. Bach's St. Matthew and St. John Passions, the Christmas Ora- 
torio, and B minor Mass; Mozart and Handel operas; Schubert's rarely 
heard opera Alfonso and Estrella; major symphonic works; a chamber music 
series, and world premieres and commissions by composer and Emmanuel Music principal 
guest conductor John Harbison. Mr. Smith has collaborated with stage director Peter Sellars in 
opera productions at Pepsico Summerfare, the Brooklyn Academy of Music, Chicago Lyric 
Opera, the Guthrie Theatre in Minneapolis, the American Repertory Theatre, and the Opera 
Company of Boston. Their productions of Mozart's Cosifan tutte, Le nozze di Figaro, and Don 
Giovanni were premiered at Pepsico Summerfare, performed throughout the U.S. and Europe, 
filmed with the Vienna Symphony for European and American television, and later released on 
video by Decca. Their recent collaboration on Bach cantatas 199 and 82, with mezzo-soprano 
Lorraine Hunt Lieberson, was presented in Boston, New York, Paris, London, and Lucerne, 
and has been released to critical acclaim on Nonesuch Records. As guest conductor of the 
Monnaie Theatre in Brussels, Mr. Smith collaborated with choreographer Mark Morris in 
numerous productions that have since been presented in Boston, Minneapolis, New York City's 
Lincoln Center, Hong Kong, Los Angeles, Holland, Israel, Los Angeles, and New Zealand. 
Mr. Smith made his Houston Grand Opera debut conducting Handel's Giulio Cesare, directed 
by Nicholas Hytner. In Boston, he has conducted Cosifan tutte, The Barber of Seville, and Don 
Giovanni with Opera Aperta. With Emmanuel Music he has completed recordings of music by 
Heinrich Schiitz; John Harbison, and J.S. Bach. Mr. Smith has taught at Juilliard, MIT, and 
the New England Conservatory of Music, and is currently on the faculties of Boston University 
and the Tanglewood Music Center. Upcoming performances with Emmanuel Music next sea- 
son include Handel's Israel in Egypt in November and Robert Schumann's rarely heard opera 
Genoveva in April. 




27 



CRAIG BIESECKER, from Waynesboro, Pennsylvania, received a B.S. in Music Education 
from West Chester University of PA. While teaching music in Philadelphia, he studied ballet 
with John White, Margarita de Saa, and Bryan Koulman, and worked with choreographers 
Tim and Lina Early. In New York City he has worked with Pascal Rioult, Carolyn Dorfman, 
New York Theater Ballet, Mark Dendy, and Gerald Casel. Craig joined the Mark Morris 
Dance Group in 2003. 

JOE BOWIE, born in Lansing, Michigan, began dancing while attending Brown University. 
After graduating with honors in English and American Literature, he moved to New York and 
performed in works of Robert Wilson and Ulysses Dove, and danced with the Paul Taylor 
Dance Company for two years before going to Belgium to work with Mark Morris in 1989. 

CHARLTON BOYD was born in New Jersey, where he studied and performed with Inner 
City Ensemble Theater & Dance Company. He is a graduate of the Juilliard School and has 
danced with the Limon Dance Company. He appears in the Jose Limon Technique Video, 
Volume 1, and other music videos. He first appeared with the Mark Morris Dance Group in 
1989 and became a company member in 1994. 




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Works by Brahms & Britten 

Horatio Parker - Hora Novissima 

JULY 17 - Donald McCullough, conductor 

Durufle - Requiem 

Beethoven - Mass in C 

JULY 24 - Duain Wolfe, conductor 
American Hymns, Songs & Psalms 

JULY 31 - Tom Hall, conductor 
Haydn - The Seasons (in German) 

AUGUST 7 - David Hayes, conductor 
Dvorak - Requiem 

Saturday Concerts at 8:00 p.m. 

PREPs: Free pre-concert talks at 6:45 p.m. 

Festival Box Office: 413.229. 1999 

Tickets: $25 - $40 

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28 



AMBER DARRAGH began her dance training with Nancy Mittleman in Newport, OR. She 
received her B.F.A. from the Juilliard School in 1999 and went on to dance with the Limon 
Dance Company for two years. She is a recipient of the 2001 Princess Grace Award and has 
presented her own choreography in various venues, including Alice Tully Hall and the Joyce 
SoHo. Amber joined the Mark Morris Dance Group in 2001. 

RITA DONAHUE was born and raised in Fairfax, VA. She graduated with honors with a 
B.F.A. in dance and a B.A. in English from George Mason University in 2002 and joined 
bopi's black sheep, dances by Kraig Patterson. Rita began working with the Mark Morris 
Dance Group in 2003. 

MARJORIE FOLKMAN began dancing for Mark Morris in 1996. She graduated summa 
cum laude from Barnard College and has attended Columbia University's Graduate Program 
in American Studies. She has also danced with Amy Spencer and Richard Colton, Kraig Pat- 
terson, Neta Pulvermacher, Sally Hess, Ellen Cornfield, the Repertory Understudy Group for 
the Merce Cunningham Dance Company, and Sara Rudner. 

LAUREN GRANT was born in Highland Park, IL, and began dancing at age three. She con- 
tinued training, primarily in classical ballet, through high school. At New York University's 
Tisch School of the Arts, Lauren received her modern dance training and graduated with a 
B.F.A. Lauren joined MMDG in 1998. 

JOHN HEGINBOTHAM is from Anchorage, Alaska, and graduated from the Juilliard 
School in 1993. He has performed with artists including Susan Marshall and Company, John 
Jasperse, and Ben Munisteri, and as a guest artist with Pilobolus Dance Theater. John's chore- 
ography is featured in the performances and "Emerge" music video of recording artists 
Fischerspooner. He joined the Mark Morris Dance Group in 1998. 

DAVID LEVENTHAL, raised in Newton, Massachusetts, has danced with the Mark Morris 
Dance Group since 1997. Previously he worked with Jose Mateo's Ballet Theatre and the com- 
panies of Marcus Schulkind, Amy Spencer/Richard Colton, Ben Munisteri, and Zvi Gotheiner. 
He graduated from Brown University in 1995 with honors in English Literature. 

BRADON MCDONALD received his B.F.A. from the Juilliard School in 1997. He danced 
with the Limon Dance Company for three years and was the recipient of the 1998 Princess 
Grace Award. He has choreographed and presented his own works internationally, served as 
choreographer for seven Juilliard Opera Company productions under director Frank Corsaro, 
and was the choreographic assistant to Donald McKayle at the Alvin Ailey American Dance 
Theater. Bradon joined the Mark Morris Dance Group in 2000. 

GREGORY NUBER began working with MMDG in 1998 and became a company member 
in 2001. He was a member of Pascal Rioult Dance Theatre for three years, has appeared as a 
guest artist with New York City Opera, Cleveland Opera, and Tennessee Repertory Theatre, 
and has worked with numerous New York based choreographers. Gregory is a graduate of 
Arizona State University, where he studied acting and dance. 

MAILE OKAMURA was born and raised in San Diego, CA. She was a member of Boston 
Ballet II and Ballet Arizona before moving to New York in 1996. Since then she has had the 
pleasure of dancing with Neta Pulvermacher, Zvi Gotheiner, Gerald Casel, and many others. 
Maile began working with MMDG in 1998 and became a company member in 2001. 

JUNE OMURA spent her first six years in New York City, then grew up in Birmingham, AL. 
She returned to New York to attend Barnard College, graduating in 1986 with honors in dance 
and English, and has been dancing for Mark Morris since 1988. She is the proud mother of 
twin girls, born in July 2003, and is indebted to her husband, her family, and MMDG for their 
love and support. 

MATTHEW ROSE received his B.F.A. from the University of Michigan. He has appeared 
with the Martha Graham Dance Company, Pascal Rioult Dance Theater, and Ann Arbor 









29 



Dance Works. Matthew began working with the Mark Morris Dance Group in 1997 and 
became a company member in 1999. 

NOAH VINSON received his B.A. in dance from Columbia College Chicago, where he 
worked with Shirley Mordine, Jan Erkert, and Brian Jeffrey. In New York he has danced with 
Teri and Oliver Steele and the Kevin Wynn Collection. He became an apprentice with MMDG 
in 2003. 

JULIE WORD EN, from Naples, Florida, is a graduate of the North Carolina School of the 
Arts. She worked with Chicago choreographers Bob Eisen, Jan Erkert, and Sheldon B. Smith. 
She has been dancing with Mark Morris since 1994. 

MICHELLE YARD was born in Brooklyn, New York. She began her professional dance 
training at the New York City High School of the Performing Arts; upon her graduation she 
received the Helen Tamiris and B'nai Brith awards. For three years she was also a scholarship 
student at the Alvin Ailey Dance Center. She attended New York University's Tisch School of 
the Arts, where she graduated with a Bachelor of Fine Arts degree. Michelle began dancing 
with the Dance Group in 1997. 

TANGLEWOOD MUSIC CENTER ORCHESTRA 



First Violins 

Cristian Macelaru 

Carrie Kennedy 

Jory Fankuchen 

Daniela Georgieva Shtereva 

Second Violins 

Benjamin Russell 
Benjamin Ullery 
Anne Donaldson 
Alessandra Jennings 



* Bach Concerto for Oboe 

and violin 
tBach Cantata BWV 53 
t Vivaldi Gloria 



Violas 

Ryan Mooney 
Emily Yaffe 
Nadia Sirota 

Cellos 

Alan Rafferty 
Christopher Hopkins 

Double Bass 

Logan Coale 

Oboe 

Courtney Secoyt 

Bassoon 

Brooke Barrels + 



Trumpet 

Matthew Muckeyt 

Harpsichord 

Elizabeth Morgan* 
Casey Jo Ahn Robardsf 
Hee-Kyung Juhn + 

Organ 

Ji-Hye Chang* 
Kristin Ditlowt 

Rehearsal Piano 

Kristin Ditlowi 1 

Bells 

Matthew Grubbsf 



TANGLEWOOD MUSIC CENTER VOCAL FELLOWS 



Sopranos 

Anne-Carolyn Bird 
Sarah Blaskowsky 
Erika Rauer 
Kathryn Leemhuis 
Lucy Shelton* 



*TMC Faculty 



Altos 

Lexa Ferrill 
Paula Murrihy 
Jason Abrams 
Jose Lemos 

Tenors 

Randall Bills 
Ryan Harper 



Stefan Reed 
Lawrence Wiliford 

Basses 

Peter McGillivray 
Benjamin de la Fuente 
Benoit Pitre 
Charles Temkey 
Max Wier 



30 



MARK MORRIS DANCE GROUP STAFF 

PRODUCTION 

Technical Director. Johan Henckens 
Music Director. Wolfram Koessel 
Assistant Technical Director. A J. Jackson 
Lighting Supervisor. Nicole Pearce 
Sound Supervisor. Perchik Miller 
Wardrobe Supervisor. Katherine McDowell 

ADMINISTRATION 

Company Manager. Aaron Mattocks 
Studio Manager. Karyn La Scala 
Administrative Assistant. Kathleen Cannucci 
Facility Manager. Jose Suarez 
Maintenance: Luis Mandry 
Office Assistant. Jay Selinger 
Receptionist. Marc Castelli 

FINANCE 

Fiscal Administrator. Lynn Wichern 
Finance Manager. Elizabeth Fox 

EDUCATION 

Director of Education: Eva Nichols 
School Administrator. Diane Ogunusi 

DEVELOPMENT/MARKETING 

Director of Development. Lauren Cherubini 
Director of Foundation and Corporate Relations: 

Rob Handel 
Director of Membership and Special Events: 

Alex Pacheco 
Marketing Manager. Sarah Weber 
Marketing Assistant. Laura Wall 



Booking Representation 

Michael Mushalla 
(Double M Arts &c Events) 

Legal Counsel 

Mark Selinger 
(McDermott, Will & Emery) 

Accountant 

Kathryn Lundquist, CPA 

Orthopaedist 

David S. Weiss, M.D. 
(NYU-HJD Department of Orthopaedic 
Surgery) 

Thanks to Maxine Morris. 

Sincerest thanks to all the dancers for their 
dedication, support and incalculable contribution 
to the work. 

For information contact: 

Mark Morris Dance Group 
3 Lafayette Avenue 
Brooklyn, NY 11217-1415 
Tel: (718) 624-8400 
Fax:(718)624-8900 
info@mmdg.org 
www.mmdg.org 




Additional funding has been received from the American Music Center Live Music for Dance 
Program; The Capezio/Ballet Makers Dance Foundation; Carnegie Corporation of New York; Con 
Edison; Aaron Copland Fund for Music; Eleanor Naylor Dana Charitable Trust; Dance Heritage 
Coalition; The Fund for U.S. Artists at International Festivals and Exhibitions; The Harkness 
Foundation for Dance; IDT Entertainment; Independence Community Foundation; JPMorgan 
Chase Foundation; Leon Lowenstein Foundation; Materials for the Arts; McDermott, Will &. 
Emery; The New York City Department of Cultural Affairs; The New Yorker; Fan Fox and Leslie 
R. Samuels Foundation; Town &c Country; and the Friends of the Mark Morris Dance Group. 




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31 



^jgp ■■■■■-■-, a - v ■''■"■ i .' ■ 




2004 

Tanglewood 

Monday, July 5, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

TANGLEWOOD MUSIC CENTER ORCHESTRA 
The Daniel and Shirlee Cohen Freed Concert 

INGO METZMACHER conducting 
DALLAPICCOLA Variations for Orchestra 



e\ 



SEIJI OZAWA HALL 

lOth ANNIVERSARY SEASON 



SCHOENBERG 



Five Pieces for Orchestra, Opus 16 

Vorgefuhle (Premonitions) 
Vergangenes (The Past) 
Sommermorgen an einem see (Farben) 

(Summer Morning by a Lake [Colors]) 
Peripetia 
Das obligate Rezitativ (The Obbligato Recitative) 



INTERMISSION 



BERLIOZ Symphonie fantastique, Episode from the life of 

an artist, Opus 14 

Reveries, passions. Largo — Allegro agitato e 

appassionato assai — Religiosamente 
A ball. Valse: Allegro non troppo 
Scene in the country. Adagio 
March to the scaffold. Allegretto non troppo 
Dream of a witches' sabbath. Larghetto — Allegro 

Steinway and Sons Pianos, selected exclusively at Tanglewood 

In consideration of the performers and those around you, cellular phones, pagers, 

and watch alarms should be switched off during the concert. 
Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 

concert. Flashes, in particular, are distracting to the performers and other audience 

members. Thank you for your cooperation. 



NOTES ON THE PROGRAM 

Luigi Dallapiccola (1904-1975) 
Variations for Orchestra 

Luigi Dallapiccola first became acquainted with the music of Schoenberg in 1924, when 
he heard a performance of Pierrot Lunaire. The young Italian composer would eventual- 
ly come to be the torchbearer for the twelve-tone method in his native land, where 

32 




things did not always go smoothly for him. His opposition to the Fascist government 
during World War II, combined with the fact that his wife was Jewish, forced him into 
hiding and brought him to the realization that "the world of. . .carefree serenity closed 
for me." His wartime experience imbued his music with themes of liberty and protest. 

The Variations for Orchestra (1954) are essentially an or- 
chestration of an earlier work, Quaderno musicale di Annalibera 
for piano ("Annalibera's Musical Notebook"), composed in 
1952. Dallapiccola's note for the world premiere recording — 
by the Louisville Orchestra, which had commissioned the 
work and premiered it on October 2, 1954 — demonstrates 
both his dodecaphonic approach to composition and his polit- 
ical preoccupations: 

[The] Variazioni per Orchestra are not at all variations in the 
traditional sense of the word. At the base of the whole com- 
position there is the same twelve-tone row that I am using 
for my Songs of Liberation, a work for chorus and orchestra now in progress, and that 
I used for [Annalibera's Musical Notebook]. The Variations represent the orchestral 
interpretation of the latter. Annalibera is the name of my little daughter, and her 
name stems from the same root as liberation. In the notebook I have tried to explain 
the treatment of the twelve-tone row applied to the different elements of music. In 
the orchestral version I have eliminated the original titles. . .and kept only the tempo 
indications. The twelve-tone row is varied in each piece in a different way. 

Though Dallapiccola removed them, it seems of interest to note the titles originally 
attached to the movements: Symbol, Accents, Contrapunctus primus, Lines, Contra- 
punctus secundus, Friezes, Contrapunctus tertius, Rhythms, Color, Shadows, and 
Quatrain, respectively. 

The rigid methods of serialism have often drawn comparison with the fugal and 
canonic techniques of Bach (Schoenberg saw himself as a direct descendant of that line- 
age), and the Variations for Orchestra contain both explicit and indirect references to 
the Baroque master. The first movement is based upon Bach's well-known musical 
monogram, B-flat, A, C, B-natural ("H" in German nomenclature), while Dallapiccola's 
systematic exploration of different permutations of the row — along with the application 
of the label "contrapunctus" to movements three, five, and seven in the original work for 
piano — evoke Bach's compendium of fugal techniques, The Art of the Fugue. And of 
course, the title of the original piano work reminds one of Bach's Notebook for Anna 
Magdalena Bach, although Bach intended his work to be played by his dedicatee, while 
Dallapiccola surely did not, given the work's difficult metric shifts. 



ii 



2 



Arnold Schoenberg (1874-1951) 
Five Pieces for Orchestra, Opus 16 

At the beginning of the 20th century, adherents of the Modernist aesthetic were search- 
ing for a new way of organizing the raw materials of art. One can see this most explicit- 
ly in an art form like painting or literature: consider the way in which Picasso renders 
the body, or Joyce dialogue. Arnold Schoenberg was likewise the instigator of a Modern 
music, one that would overturn the current organizing principle of music — tonality — 
and require the "invention" of an entirely new process for composing music, the twelve- 
tone method, a technique using a strictly ordered series of tones, manipulated according 
to the operations of inversion (a mirror of the original series), retrograde (the series in 
reverse order), retrograde inversion, and transposition. 

The Five Pieces for Orchestra, Opus 16, composed during the spring and summer 



33 



9m 




of 1909, fall in between Schoenberg's farewell to tonality and the development of his 
twelve-tone method (the first wholly twelve-tone work, the Opus 23 piano pieces, would 
not be written until 1920). Many of his watershed pieces in establishing an atonal musi- 
cal language cluster around this date — the Opus 11 piano 
pieces (1909), the monodrama Erwartung (1910), Pierrot 
Lunaire (1912). That Opus 16 was premiered abroad — in 
London on March 6, 1912 — and was not heard in his native 
Vienna until 1969, gives one some idea of the attitude of con- 
temporary musicians towards Schoenberg's revolutionary 
music; the 

Vienna Philharmonic of his era refused to play it. Indeed, 
Schoenberg had to form the Society for the Performance of 
New Music in 1919 in order to hear his own chamber compo- 
sitions. 

Schoenberg described Opus 16 (somewhat redundantly) as "just a colorful, uninter- 
rupted variation of color, rhythms and moods." To be sure, at the time of the work's 
composition Schoenberg (also an amateur painter) was indeed preoccupied with musical 
color, i.e., instrumentation and orchestration: 

I cannot unreservedly agree with the distinction between color and pitch. I find that 

a note is perceived by its color, one of whose dimensions is pitch If the ear could 

discriminate between differences of color, it might be feasible to invent melodies that 
are built of colors. 

Tonality aside, Schoenberg was clearly also re-imagining the very nature of melody, 
which was traditionally, until the 20th century, a focal point in any composition. The 
result is the so-called Klangfarbenmelodie (literally "melody based in sound-colors"), 
where a succession of differing timbres is treated as analogous to the succession of dif- 
fering pitches in a melody, and which would come to be associated more with Schoen- 
berg's student Anton Webern. Schoenberg put these new ideas into practice in Opus 16, 
especially in the third movement, "Chord Colors," as is evident from the title. To these 
ends, the orchestra is as large and as rich as in the uber- Romanticism of Strauss or 
Mahler; Schoenberg was not ready to jettison every element of 19th-century tradition 
he inherited. 

All the movements bear programmatic titles, which Schoenberg grudgingly added at 
the insistence of the publisher, despite his belief that "whatever was to be said has been 
said, by the music." The titles he devised seem overly general and perfunctory, as is indi- 
cated by his sarcastic annotations to them in a diary entry: 

I. Premonitions (everybody has those) 
II. The Past (everybody has that too) 

III. Chord Colors (technical) 

IV. Peripetia (general enough, I think) 

V The Obbligato (perhaps better the "fully developed" 
or the "endless") Recitative 
Schoenberg added his hope that the printed score would indicate that "these titles 
were added for technical reasons of publication and should not give a poetic content." 
Yet they do prove somewhat useful as characterizations of each movement. For instance, 
the first movement offers a "premonition" of sorts in that it is built from motivic trans- 
formations of material presented in the first few bars (the seeds of the twelve-tone 
method are beginning to be sown), while the outburst that opens the fourth movement 
invokes the meaning of "peripetia" in Greek literature: a sudden and unexpected turn of 
events. 



34 




Hector Berlioz (1803-1869) 

Sympboniefantastique, Episode from the life of an artist, Opus 14 

Sigmund Freud held that art was the result of the sublimation of sexual and aggressive 
drives inherent to the id; he would have found a ready-made "poster child" in Hector 
Berlioz. Even at a young age, Berlioz had already employed music as a translation of his 
desire: in 1815, when he was just twelve years old, he felt "an electric shock" when he 
first beheld the eighteen-year old Estelle Duboeuf, the niece of one of his grandfather's 

neighbors in the village of Meylan, and subsequently com- 
posed an "intensely sad song" based on his experience. The 
connections of this youthful crush to the Symphonie fantastique 
are manifold: even in his formative years, the composer al- 
ready exhibited the same sort of "love at first sight" and deep 
yearning for an idealized woman that would eventually spur 
the composition of this most famous work. In fact, he actually 
resurrects the melody he composed for Estelle as the violin 
melody in the Largo that begins the symphony. 

On September 11, 1827, Berlioz attended a performance 
of Shakespeare's Hamlet in Paris (the Bard being very much in 
vogue on the continent at that time). Ophelia was portrayed by an Irish actress named 
Harriet Smithson, and Berlioz again found himself infatuated. For several months, Ber- 
lioz tried in vain to bring himself to her attention, by writing letters, with his music, and 
through social machinations. But when she left Paris in 1829, they had not yet met and 
she probably had no idea of the true nature of the obsessive desire Berlioz had been 
nourishing for her (these days, we would probably call it "stalking"): "If she could for 
one moment conceive all the poetry, all the infinity of such a love, she would fly to my 
arms, even if she must die from my embrace." 

It was during this time that Berlioz began to contemplate a "grand symphony in 
which the development of my infernal passion is to be depicted." Also, shortly after 
Smithson left Paris, Berlioz heard some (unfounded) gossip reporting a liaison between 
her and her manager, which no doubt provided the impetus for the disillusioned and 
dark imagery of the ultimate program, which begins to creep into the third movement 
("What if she were deceiving him?"). In a letter to Humbert Ferrand dated April 16, 
1830, he outlined the program for the work, in a form very close to that of its final 
incarnation, complete with a formulation of its central melodic idea: 

Whenever the image of his loved one appears before his mind's eye it is accompanied 
by a musical thought in whose character he finds a grace and a nobility akin to those 
he attributes to his beloved. This. . .idee fixe pursues him incessantly. . .in every move- 
ment of the symphony. 

Vaguely prefiguring the Wagnerian leitmotiv, Berlioz's idee fixe reflects the thoughts 
of his main "character." 

Berlioz secured a performance of the work on December 5, 1830, before he departed 
for Italy as the winner of the prestigious Prix de Rome (which, just as with Smithson, 
he had been adamandy pursuing for quite some time). By his own account, the critics 
were split over the work, with some "understanding what I was aiming for" and "assess- 
ing me sanely," and others (unjustly) bristling against the "crudeness of certain modula- 
tions" or the "systematic failure to observe certain fundamental rules of music." (This 
would be only the beginning of Berlioz's clash with the conservative Parisian musical 
establishment, which would block him from attaining a post at the Conservatoire.) 

Berlioz makes no specific mention, however, of the critics' reaction to the most revo- 
lutionary aspect of the work: his handling of the orchestra, from which he extracted 










35 



^mm^SSmSmmffi 



Berlioz's Own Program for his "Symphonie fantastique" 

PROGRAM 

of the Symphony 

A young musician of morbidly sensible temperament and fiery imagination poisons 
himself with opium in a fit of lovesick despair. The dose of the narcotic, too weak to 
kill him, plunges him into a deep slumber accompanied by the strangest visions, 
during which his sensations, his emotions, his memories are transformed in his sick 
mind into musical thoughts and images. The loved one herself has become a melody 
to him, an idee fixe as it were, that he encounters and hears everywhere. 

PART I— REVERIES, PASSIONS 

He recalls first that soul-sickness, that vague des passions, those depressions, those 
groundless joys, that he experienced before he first saw his loved one; then the vol- 
canic love that she suddenly inspired in him, his frenzied suffering, his jealous rages, 
his returns to tenderness, his religious consolations. 

PART II— A BALL 

He encounters the loved one at a dance in the midst of the tumult of a brilliant party. 

PART III— SCENE IN THE COUNTRY 

One summer evening in the country, he hears two shepherds piping a ranz des 
vaches* in dialogue; this pastoral duet, the scenery, the quiet rustling of the trees gen- 
tly brushed by the wind, the hopes he has recently found some reason to entertain — 
all concur in affording his heart an unaccustomed calm, and in giving a more cheer- 
ful color to his ideas. But she appears again, he feels a tightening in his heart, 
painful presentiments disturb him — what if she were deceiving him? — One of the 
shepherds takes up his simple tune again, the other no longer answers. The sun 
sets — distant sound of thunder — loneliness — silence. 

PART IV— MARCH TO THE SCAFFOLD 

He dreams that he has killed his beloved, that he is condemned to death and led to 
the scaffold. The procession moves forward to the sounds of a march that is now 
somber and fierce, now brilliant and solemn, in which the muffled sound of heavy 
steps gives way without transition to the noisiest clamor. At the end, the idee fixe 
returns for a moment, like a last thought of love interrupted by the fatal blow. 

PART V— DREAM OF A WITCHES' SABBATH 

He sees himself at the sabbath, in the midst of a frightful troop of ghosts, sorcerers, 
monsters of every kind, come together for his funeral. Strange noises, groans, bursts 
of laughter, distant cries which other cries seem to answer. The beloved's melody 
appears again, but it has lost its character of nobility and shyness; it is no more than 
a dance tune, mean, trivial, and grotesque: it is she, coming to join the sabbath. — A 
roar of joy at her arrival. — She takes part in the devilish orgy. — Funeral knell, bur- 
lesque parody of the Dies irae, sabbath round-dance. The sabbath round and the Dies 
irae combined. 



*A ranz des vaches is defined in The New Grove as "a Swiss mountain melody sung or played on an 
alphorn by herdsmen in the Alps to summon their cows." — Ed. 



36 



sounds never before heard in the history of music, breaking the bounds of the more 
"compartmentalized" treatment of the ensemble evident in the music of the Classic era 
and expanding its size to unprecedented proportions. His techniques of orchestration, 
as manifest in both his music and in his Treatise on Orchestration, are indeed his greatest 
legacy — the cliched phrase "orchestral palette of color" cannot be fully applied to any 
composer prior to Berlioz. Also, the Symphonie fantastique can been regarded as the 
symbolic fountainhead for the great Romantic tradition of program music, carried on 
in the tone poems of Franz Liszt and Richard Strauss. Along these lines, the really re- 
markable thing about the work is the degree to which the music seems "pictorial," pre- 
figuring many of the gestures now familiar in the idiom of film music. (Consider the 
fourth movement, where the executioner's blow is echoed by pizzicato strings, repre- 
senting the decapitated head's bounce into the basket, or the garish woodwinds of the 
fifth movement, when the idee fixe returns in a grotesque form.) 

And what of unrequited love? It was after Berlioz returned from Rome that the 
work would face its most important critic. Smithson had since returned to Paris, and 
through the influence of a mutual acquaintance had been induced to attend a perform- 
ance of the work on December 9, 1832, on which occasion it was accompanied by its 
"sequel," Lelio, or the Return to Life, a musical monodrama (a sort of play with only one 
character, set to music). 

Sitting in the audience that evening, she made the connection between the young 
musician who had unsuccessfully pursued her two years earlier, the subject of the musi- 
cal works before her, and the fervent passion that she supposed was still burning in Ber- 
lioz's heart. Apparently, she was at last moved. A meeting between the two was finally 
arranged the following day, and they were married in the fall. Sadly, there was not to be 
a fairy tale ending: theirs was a miserable union, and they separated in 1844. 

— Notes by Michael Nock 

Michael Nock is the Printed Programs Coordinator for the Tanglewood Music Center and 
a Ph.D. candidate in musicology at Boston University. 







GUEST ARTIST 

Ingo Metzmacher 

Internationally acclaimed German conductor Ingo Metzmacher has be- 
come established as a regular guest conductor with many of the world's 
most prestigious orchestras. In the 2005-06 season he becomes chief con- 
ductor of the Netherlands Opera, where he makes his debut in April 2005 
with Korngold's Die tote Stadt. Since 1997 he has been General Music 
Director of the City of Hamburg (Hamburg State Opera and Hamburg 
Philharmonic Orchestra). Ingo Metzmacher studied piano, theory, and 
conducting in Hannover, Salzburg, and Cologne. He became pianist with 
Ensemble Modern in 1981 and began conducting the ensemble regularly in 1985. Concur- 
rently he worked with Michael Gielen at Frankfurt Opera, making his debut with The Mar- 
riage of Figaro in 1987. He has conducted frequently with Brussels Opera since his 1988 de- 
but, when he replaced Christoph von Dohnanyi for Franz Schreker's opera Derferne Klang. 
He has also led productions in the leading German houses, including Dresden, Hamburg 
and Stuttgart. He conducted new productions of Cost fan tutte in Los Angeles and Katya 
Kabdnova at the Paris Opera. Among many notable operatic productions in Hamburg have 
been Der Freischutz, recorded for DVD, Wozzeck, recorded live by EMI Classics, and, this 
past season, new productions of Berg's Lulu and Beethoven's Fidelio. Mr. Metzmacher was 
principal guest conductor of the Bamberg Symphony Orchestra from 1995 to 1999. As 




37 



HHr 



music director of the Hamburg Philharmonic Orchestra, he has toured with the orchestra 
throughout Europe and has revived the Hamburg Musikfest, a cutting-edge festival that 
takes place every September. As a guest conductor, Ingo Metzmacher's upcoming engage- 
ments include appearances with the London Philharmonic, Royal Concertgebouw Orchestra, 
Munich Philharmonic, Deutsches Symphonie Orchester Berlin, San Francisco Symphony, 
Boston Symphony, and Rotterdam Philharmonic, and a European festivals tour with the 
Gustav Mahler Jugendorchester. Ingo Metzmacher's discography for EMI Classics includes 
the Grammy-nominated "A Portrait of Charles Ives" with Ensemble Modern; the complete 
symphonies of Karl Amadeus Hartmann with the Bamberg Symphony (awarded the Preis 
der Deutschen Schallplattenkritik); a Grammy-nominated live recording of Wozzeck with 
Hamburg Opera (also awarded the Preis der Deutschen Schallplattenkritik), and Henze's 
Symphony No. 9 with the Berlin Philharmonic and the Berlin Radio Choir. A series of live 
recordings have been released of his New Year Concerts in Hamburg under the title Who is 
afraid of the Twentieth Century, in volumes I-V (EMI and Sony). Mr. Metzmacher made his 
Boston Symphony debut at Symphony Hall in March 2001, returning for further subscrip- 
tion concerts in 2002 and 2003. This summer brings his first Tanglewood appearance with 
the orchestra, on Sunday, July 11. 




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38 




2004. . 

Tanglewood 




Tuesday, July 6, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

BOSTON BAROQUE 

MARTIN PEARLMAN, Music Director 



SE IJI OZAWA HALL 
10th ANNIVERSARY SEASON 



MONTEVERDI 



Please note 
that text and 
translation 
are being 
distributed 
separately. 



Vespro della Beata Vergine ( Vespers of the 
Blessed Virgin) , 1610 

I. Deus in adjutorium meum 

Antiphon to Psalm 109 
II. Psalm 109: Dixit Dominus 

III. Motet: Nigra sum 

Antiphon to Psalm 112 

IV. Psalm 112: Laudate pueri 
V Motet: Pulchra es 

Antiphon to Psalm 121 
VI. Psalm 121: Laetatus sum 
VII. Motet: Duo Seraphim 

Antiphon to Psalm 126 
VIII. Psalm 126: Nisi Dominus 
IX. Motet: Audi coelum 

Antiphon to Psalm 147 
X. Psalm 147: Lauda Jerusalem 



INTERMISSION 



XI. Sonata sopra "Sancta Maria, ora pro nobis" 
XII . Hymn: Ave maris Stella 

Program continues. 



Boston Baroque gratefully acknowledges the National Endowment for the Arts and 
Fidelity Investments through the Fidelity Foundation for their support of this program. 

Steinway and Sons Pianos, selected exclusively at Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert. 

Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 
concert. Flashes, in particular, are distracting to the performers and other audience 
members. Thank you for your cooperation. 



39 



m^^SmmSMMm 



Antiphon to Magnificat 
XIII. Magnificat 

1. Magnificat anima mea 

2. Et exultavit 

3. Quia respexit 

4. Quia fecit mihi magna 

5. Et misericordia 

6. Fecit potentiam 

7. Deposuit potentes de sede 

8. Esurientes implevit bonis 

9. Suscepit Israel 

10. Sicut locutus est 

11. Gloria Patri 

12. Sicut erat in principio 

SHARON BAKER and KRISTEN WATSON, 

soprano 

MARK TUCKER, LYNTON ATKINSON, and 
FRANK KELLEY (VII. Duo Seraphim), tenor 

NICHOLAS ISHERWOOD, and MARK 
ANDREW CLEVELAND, bass 



NOTES ON THE PROGRAM 

Even today, in an age that has heard Bach's Mass in B minor, Beethoven's Missa Solem- 
nis, and the Requiems of Berlioz and Verdi, the Monteverdi Vespers of 1610 is astonish- 
ing for the grandeur of its conception and the opulence of its sound. For its time, it was 
unprecedented. No other surviving work from that time is written on such a scale, com- 
bining the grandest of public music with the most intimate of solo songs; no other such 
work calls for the many colorful obbligato instruments and uses them in such a daringly 
modern, virtuosic way. 

Like the music itself, the performing forces required by the 
Vespers are on a grand scale. Monteverdi calls for seven solo 
singers. The chorus must be large enough to divide into any- 
where from four to ten voice parts, and it sometimes divides 
into separate choirs. The orchestra displays a rich variety of 
instrumental colors, including virtuosic solo parts for violins 
and cornetti, but the instruments are specified only in certain 
movements. For much of the piece, it is the conductor who 
must determine the orchestration — whether to double voice 
parts with instruments and, if so, where to do it, as well as 
which instruments to use in the many parts of the music 
where they are not specified. It is also left to the conductor to decide whether to assign 
some passages in the choral movements to solo singers. Thus the Vespers can vary gready 
from one performance to another. 

The orchestra for this early Baroque work is still essentially a large Renaissance 
ensemble. While a later orchestra would normally be built around a central core of the 
string section and add various solo winds, Monteverdi's orchestra consists of three more 




40 






or less equal sections. There is the string section comprised of violins, violas, cellos, and 
violone, the last being the double bass of the gamba family, an instrument with six strings 
and frets. Second, there are the winds. These include three cornetti, curved wooden 
instruments with about the same range as the trumpet; they are virtuosic instruments 
like the violins, and occasionally have to play in their extreme high range in this work. 
The winds also include three sackbuts (early trombones), Renaissance recorders, and, in 
our performance, a dulcian (early bassoon). Finally there is the continuo section, which 
is responsible for playing the bass line and improvising the harmonic accompaniment. 
For this, our performance uses an organ, a harpsichord, two lutes (one of them the larg- 
er theorbo), and a cello. 

When the Vespers first appeared in print (Venice, 1610), Monteverdi was still em- 
ployed at the ducal court in Mantua. No one knows whether it was actually performed 
in Mantua or written with an eye toward applying elsewhere — Venice or perhaps even 
Rome (the publication was dedicated to Pope Paul V). In any case, it must certainly 
have served Monteverdi well when he applied for and won the prestigious post of maes- 
tro di cappella at the Basilica of St. Mark's in Venice in August of 1613. 

The Structure of the Piece 

By Monteverdi's time, the Catholic church had developed a strong cult of the Virgin 
Mary, and a good deal of music was dedicated to her. There were a number of special 
Marian feasts during the course of the year, and Monteverdi's music sets texts that all of 
these feasts have in common. In addition, the Vespers includes a sonata, as well as non- 
liturgical motets, which Monteverdi interpolates between the psalms. The music could 
therefore be used for various Marian feasts during the year. 

In order to make a complete service, one would have to add to Monteverdi's music 
the parts of the liturgy that change from one feast to another. This would have been 
done by inserting the chants appropriate for that day before each of the psalms and the 
Magnificat. We follow that practice in this performance, using chants for the Feast of 
the Assumption (August 15). There are two reasons for choosing chants for this partic- 
ular feast. For one, a major Marian feast, such as this one, might be an appropriate 
occasion to employ a large ensemble, such as the one Monteverdi requires here. In addi- 
tion, the Feast of the Assumption occurs at the time of year when Monteverdi was 
auditioning for his post at St. Mark's, and he almost certainly would have performed the 
work at that time. 

One of the most glorious and moving features of this Vespers is found in the way 
Monteverdi has chosen to unify it. Like Bach, who draws inspiration from the restric- 
tions of writing in the most complex counterpoint, Monteverdi undertook the forbid- 
ding task of building all his major movements — all the psalms, the sonata, the hymn, 
and the entire Magnificat — upon the traditional Gregorian chants for those texts. In 
other words, he used the notes of the old chant as a fixed voice {cantus firmus) upon 
which he built elaborate compositions. This is easiest to hear in the closing Magnificat, 
where, in one short movement after another, the chant is sung in long notes, while solo 
singers and instruments perform faster notes around it. This creates a clash of styles — 
an astonishing variety of "modern" music superimposed upon an old-style technique. 
The two styles are reconciled with breathtaking beauty, and the technique allows 
Monteverdi to build an enormous structure that goes beyond anything his contempo- 
raries were able to achieve. 

Of the endless details in the Vespers, here are a few that might be useful while listening. 
The Nigra sum (the only solo song in the Vespers) and Pulchra es are settings of sensual 



I 

H 



■ 






^^B 



41 



poetry from the Song of Solomon, poetry that had long been associated allegorically with 
Mary. 

In Duo seraphim, two angels, sung by two tenors, are calling to each other across 
vast space. When the text turns to the Trinity, a third tenor joins them; and at the words 
"these three are one," the three voices come together on a single note. 

The Audi coelum features a wonderful wordplay: from a distance, one tenor echoes 
the phrase endings of the other, and as he echoes only a part of the last word, he forms 
a new word as an answer to the first tenor. 

The Sonata sopra Sancta Maria is the only real instrumental piece in the whole Ves- 
pers. As the virtuosic instrumental music unfolds, the sopranos of the chorus repeat a 
phrase of chant eleven times over constantly varying music. 

As mentioned above, the Vespers ends with a Magnificat in which the Magnificat 

chant is sung in long notes throughout every section of the movement. It is a stunning 

encyclopedia of the old and new styles. 

— Martin Pearlman 




GUEST ARTISTS 

Boston Baroque 

Three-time Grammy nominee 
Boston Baroque — the first per- 
manent Baroque orchestra estab- 
lished in North America — was 
founded in 1973 by Martin 
Pearlman. The ensemble presents 
an annual subscription concert 
series in Greater Boston and 
reaches an international audience 
with its critically acclaimed 
recording series on the Telarc 
label. Boston Baroque made its 
European debut in April 2003, performing Handel's Messiah to sold-out houses and standing 
ovations in Krakow and Warsaw, Poland. The ensemble celebrates its 30th anniversary this 
year with a tour of the Monteverdi Vespers to Los Angeles's Disney Hall, Ravinia, and Tan- 
glewood. The Los Angeles performance marks the ensemble's West Coast debut. Boston 
Baroque's recordings, heard by millions on classical radio stations throughout the country, 
include the premiere recording of The Philosopher's Stone (an Opera News "Editor's Choice"), 
the first period-instrument recording of Robert Levin's completion of the Mozart Requiem 
(one of CD Reviews three most important classical CDs of 1995), and three Grammy final- 
ists: Handel's Messiah {Classic CD's number one recommendation for that work in 1997), 
Monteverdi's Vespers of 1610; and Bach's Mass in B minor. Boston Baroque serves as Resident 
Professional Ensemble for Boston University's Historical Performance Program. 

Martin Pearlman 

Conductor Martin Pearlman, a Chicago native, is among this country's 
leading interpreters of Baroque and Classical music on both period and 
modern instruments. He has been acclaimed for more than thirty years in 
the orchestral, choral, and operatic repertoire from Monteverdi to Beetho- 
ven. Mr. Pearlman is the founder, music director, and conductor of both 
the orchestra and chorus making up the Boston Baroque ensemble. High- 
lights of his work in opera include the complete surviving Monteverdi 
cycle, with his own new performing editions of L'incoronazione di Poppea 
and II ritorno d'Ulisse; the American premiere of Rameau's Zoroastre, and a series of Mozart 




42 



operas including Abduction from the Seraglio, The Magic Flute, The Marriage of Figaro, Cost fan 
tutte, The Impresario, II re pastore, and Don Giovanni, the last of which was broadcast nation- 
ally on public radio. Mr. Pearlman has recorded fourteen international releases with Boston 
Baroque for Telarc. Recent conducting highlights include his Kennedy Center debut with 
Washington Opera leading Handel's Semele, the Monteverdi Vespers with the National Arts 
Centre Orchestra of Ottawa, and performances with Utah Opera, Opera/Columbus, Boston 
Lyric Opera, the Minnesota Orchestra, San Antonio Symphony, Springfield (MA) Sym- 
phony, and New World Symphony. Mr. Pearlman was the first conductor from the period- 
instrument field to perform live on the internationally televised Grammy Awards. He is Pro- 
fessor of Music and Director of Historical Performance Activities at the Boston University 
School of Music. 



IBM 



Sharon Baker 

Soprano Sharon Baker was a recent Boston Globe "Musician of the Year." 
Her many acclaimed performances with Boston Baroque include Handel's 
Messiah in Boston and on tour in Poland; Euridice in Monteverdi's L'Orfeo, 
Mile. Silberklang in Mozart's The Impresario in concert and on recording, 
the New England premiere of Handel's Gloria, the Boston premiere of 
Handel's Theodora, and the modern premiere performances and recording 
of the singspiel The Philosophers Stone. Other major solo credits include 
Pergolesi's Stabat Mater with New York City Ballet, and performances 
with the National Arts Center Orchestra of Ottawa, the St. Paul Chamber Orchestra, Na- 
tional Symphony Orchestra; Boston Pops, the Handel 6c Haydn Society, and the Mostly 
Mozart Festival at Lincoln Center. 



VH 







Kristen Watson 

Soprano Kristen Watson has appeared in several Boston Baroque produc- 
tions, including the 2003 tour to Poland, and she is a featured soloist in 
both concert and recording with Boston's Handel 6c Haydn Society and 
the Pittsburgh Camerata. She has sung with the Boston Pops, Emmanuel 
Music, Boston Lyric Opera/Opera New England, and the Boston Univer- 
sity Opera Institute in repertoire including Vivaldi's Gloria, Pergolesi's 
Stabat Mater, and the operas Hansel and Gretel (Sandman/Dew Fairy), 
A Midsummer Night's Dream (Tytania), and Die Fledermaus (Adele). Other 

credits include Handel's Messiah at Carnegie Mellon University under the direction of Robert 

Page, and varied performances in regional musical theater. 





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please contact: 

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43 








Mark Tucker 

Tenor Mark Tucker is an acclaimed interpreter of the music of Monte- 
verdi. He has performed the Vespers at the Salzburg Festival and St. 
Mark's in Venice, and II combattimento at Vienna's Konzerthaus. He has 
sung the title role in L'Orfeo at the Bruges Festival, Barcelona's Liceu, and 
at the Palazzo Ducale in Mantua; Nerone in L'incoronazione di Poppea and 
Eurimaco in II ritorno d'Ulisse for Netherlands Opera; and Telemaco in 
Boston Baroque's production of Ulisse. He has sung at Sydney Opera, La 
Monnaie in Brussels, the Theatre du Chatelet in Paris, and the Royal 
Opera, Covent Garden; he has appeared in concert with the BBC Symphony, Gabrieli 
Consort, London Mozart Players, London Symphony, and Philadelphia Orchestra; and he 
can be heard on Boston Baroque's Grammy-nominated recording of Bach's B minor Mass. 

Lynton Atkinson 

Tenor Lynton Atkinson has been acclaimed in the title roles of Monte- 
verdi's L'Orfeo and II ritorno d'Ulisse with Boston Baroque, and on the 
ensemble's Grammy-nominated recording of the Vespers. He has sung 
repertoire from Bach to Britten with the Academy of St. Martin in the 
Fields, the Halle and Ulster Orchestras, Royal Liverpool Philharmonic, 
Birmingham Symphony, Royal Opera House, Amsterdam Opera, Israel 
Camerata, Les Talens Lyriques, and Opera du Rhin, in such venues as 
the Musikverein, the Concertgebouw, Berlin's Konzerthaus, Westminster 
Abbey, the Gottingen Festival, and Covent Garden, where he appeared in Tales of Hoffmann, 
Fidelio, and Turandot. He has been featured on numerous European radio and television 
broadcasts. 

Frank Kelley 

Tenor Frank Kelly has appeared in concert with the St. Louis Symphony, 
National Symphony, Chicago Symphony, and St. Paul Chamber Orches- 
tra. He sang Handel's L'allegro, II penseroso e il moderato at Lincoln Center, 
and on tour with Mark Morris in Hong Kong, Tel Aviv and Los Angeles. 
His opera credits include Die Zauberfote with Opera Theatre of St. Louis, 
Das kleine Mahagonny directed by Peter Sellars in Frankfurt and Paris, 
Weill's Seven Deadly Sins with the Boston Symphony, and many return 
engagements with the Boston Lyric Opera. He has been featured in many 

Boston Baroque productions, including the St. Matthew Passion, 2/ ritorno d'Ulisse, and 

French Baroque music by Lully and Delalande. 

Nicholas Isherwood 

Bass Nicholas Isherwood made his operatic debut at Covent Garden at 
twenty-five as Lucifer in Stockhausen's Donnerstag aus Licht, and he has 
sung at Royal Festival Hall, Queen Elisabeth Hall, the Concertgebouw, 
and Deutsche Oper Berlin. Recent highlights include Plutone in Monte- 
verdi's II ballo delle ingrate at Angers Opera, Claudio in Handel's 
Agrippina at the Gottingen Festival, Satiro in Rossi's Orfeo at the 
Chatelet, Frere Leon in Messiaen's Saint Francois d Assise, Lear in 
Hosokawa's Vision of Lear for the Munich Biennale, and Lucifer in the 

world premieres of Stockhausen's Montag, Dienstag and Freitag at La Scala. He appeared in 

Boston Baroque's 2003 production of Monteverdi's II ritorno d'Ulisse. 






AA 







Mark Andrew Cleveland 

Bass Mark Andrew Cleveland has performed repertoire ranging from 
chant to contemporary music with many of Boston's distinguished ensem- 
bles, including Musica Sacra, the Masterworks Chorale, Boston Cecilia, 
and the Young Artists Series at the Isabella Stewart Gardner Museum. 
He sang solo roles in Bach's Hercules at the Crossroads and Handel's Det- 
tingen Te Deum with Boston Baroque, and was soloist in the premiere of 
Earl Kim's Scenes from a Movie, Part 3 with the Cantata Singers. He 
returns to the Bach Choir of Bethlehem as soloist in Bach's St. John 

Passion. He has also performed with the Spoleto Festival and Monadnock Music, and has 

sung Schubert's Winterreise on tour in the Netherlands. 







mm 



BOSTON BAROQJJE ORCHESTRA 

{performing on period instruments) 



Violin I 


Adrienne Hartzell 


Recorder 


Marilyn McDonald, 
concertmaster 


Violone 


Christopher Krueger 
Roy Sansom 


Jane Starkman 


Deborah Dunham 




Julia McKenzie 


Cornetto 


Theorbo 

Catherine Liddell 


Violin II 


Michael Collver 




Julie Leven, principal 


Doron Sherwin 


Lute 


Lena Wong 


Paul Perfetti 


Olav Chris Henriksen 


Christina Day Martinson 






Viola 

Laura Jeppesen 
Barbara Wright 
Scott Woolweaver 


Sackbut 

Daniel Stillman 
Cormack Ramsey 
Stephen Lundahl 

Dulcian 


Harpsichord 

John Gibbons 

Organ 

Peter Sykes 


Cello 


Daniel Stillman 




Sarah Freiberg 







BOSTON BAROQUE CHORUS 



Soprano 

Gail Abbey 
Roberta Anderson 
Denise Konicek 
Sabrina Learman 
Jayne Tankersley 
Alice Tillotson 

Alto 

Marylene Altieri 
Heather Holland 
Susan Byers Paxson 
Amy Schneider 



Kamala Soparkar 
Letitia Stevens 

Tenor 

Charles Blandy 
Thomas Gregg 
Frank Kelley 
Murray Kidd 
Henry Lussier 
Randy McGee 
David McSweeney 
Jason McStoots 
Brad Peloquin 



www.bostonbaroque.org 
Carole Friedman, executive director 
Laurie Szablewski, artistic administrator 
Julie Leven, personnel manager 



ME 



Arthur Rawding 
Mark Sprinkle 
Edward Whalen 

Bass 

Mark Andrew Cleveland 
Peter Gibson 
Herman Hildebrand 
Nicholas Isherwood 
Brett Johnson 
Clifford Rust 






■1 



9 



m 



45 




Tanglewood 

Thursday, July 8, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

JUILLIARD STRING QUARTET 
JOEL SMIRNOFF, violin 
RONALD COPES, violin 
SAMUEL RHODES, viola 
JOEL KROSNICK, cello 




SEIJI OZAWA HALL 
lOth ANNIVERSARY SEASON 



HAYDN 



String Quartet in F minor, Opus 55, No. 2 

Andante piu tosto Allegretto 
Allegro 

Menuetto; Trio 
Finale: Presto 



BARTOK 



String Quartet No. 1, Opus 7 

Lento — Allegretto 
Introduzione: Allegro — 
Allegro vivace 



INTERMISSION 



BEETHOVEN 



String Quartet No. 15 in A minor, Opus 132 

Assai sostenuto — Allegro 
Allegro ma non tanto 
Molto adagio 
Alia Marcia, assai vivace — 
Allegro appassionato 



Steinway and Sons Pianos, selected exclusively at Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert. 

Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 
concert. Flashes, in particular, are distracting to the performers and other audience 
members. Thank you for your cooperation. 

46 



NOTES ON THE PROGRAM 



In the hands of a master, the string quartet medium elicits singular qualities from ideas 
of symphonic complexity, intensifying and individualizing the emotional expression of 
the materials while, at the same time, revealing their abstract structural and psychologi- 
cal aspects with unsurpassable clarity. Such mastery has endowed tonight's three quar- 
tets with inexhaustible fascination. 

The Quartet in F minor, Opus 55, No. 2, of Franz Joseph Haydn (1732-1809) earned 
a curious nickname during a visit paid to the composer by the English music publisher 
John Bland. As they engaged in small talk, Haydn remarked, "I would give my best 
quartet for a set of decent razors." Bland fetched his own luxurious shaving kit from his 

lodgings, and in return, a grateful Haydn gave him this score, 
known ever since as Haydn's Razor Quartet. 

Written c.1788, the Razor was one of twelve quartets 
(Opp. 54, 55, and 64) dedicated to the violinist- turned-entre- 
preneur Johann Peter Tost — and almost any one of the dozen 
could qualify as "my best quartet." By now possessing sover- 
eign control of momentum, Haydn had also unlocked his 
potential for unlimited artistic ripening — a ripening that 
would continue to accelerate until failing health after 1800 
made it impossible for him to bear the strain of composing. 
Cast in a favorite form synthesized by Haydn, the first 
movement of this quartet presents two variations on a complex of two alternating and 
related themes, one plaintive in minor mode, the other in serene major. The first varia- 
tion treats each theme to a different sort of rhythmic elaboration; the second showcases 
the cello both in pattering bass (minor) and tenor lyricism (major). The bold F minor 
theme that opens the second-movement sonata-allegro returns in a major-key variant to 
launch the second subject. In the development, this theme is so fully exploited in vertig- 
inous modulations and a spiky fugue that Haydn advisedly omits the first subject in the 
reprise. The genial F major minuet is a contrapuntal tour-de-force, with melody and 
bass exchanging registers and roles. Cautionary minor-mode resurfaces in the central 
Trio. A high-spirited finale in skipping jig patterns abounds in rhythmic surprises. In 
the development, Haydn improbably turns the principal theme upside-down. 







Spanning some three decades, the six quartets of Bela Bartok (1881-1945) constitute 

one of the greatest chamber music achievements of the twentieth 
century. Each reflects the full range of his achievement to date 
in crystallized, rarefied four-voice terms. His Quartet No. 1, 
completed on January 27, 1909, after months of labor, took 
shape when Bartok was moving beyond his earliest Straussian 
style — coming to grips with coloristic-harmonic Impression- 
ism a la Debussy while, at the same time, making his first 
studies of Hungarian folk music. Premiered on March 19, 
1910, in Budapest, the score is cast in three movements heard 
without pause. Ethnic concerns surface chiefly in the finale. In 
the previous movements, Impressionist enrichments of late 
Romanticism combined with Bartok's ever-lively rhythms result in intense expressivity. 

Bartok called the first movement (written in the wake of a failed love affair) "my 
funeral dirge." From the outset, he approaches the string quartet as a polyphonic genre, 
presenting a mournful two-violin canon subsequently amplified by the other instruments. 







47 



In a central section, animated viola commentary takes the spotlight from the nominal 
violin melody; eventually the canon is counterstated. Duets bridge to a waltz-like Alle- 
gretto in foreshortened sonata form. Here, an oft-repeated four-note motif will bear 
watching. Presently, viola and second violin provide a flowing melody. A rhythmically 
broader development section shows unexpected capacity for passion. Introductory dance 
in alternation with free-rhythmed cello oration summons the exhilarating finale, in 
which the four-note motif reappears as an important theme beneath chugging repeated 
notes and later undergoes exhaustive, oft-witty development. 







Surely no body of Western art-music is more highly revered than the last group 
of string quartets (Nos. 12-16, plus the Grosse Fuge) by Ludwig van Beethoven (1770- 
1827). Innovative in every dimension — form, expression, harmony, and narrative metho- 
dology — these scores offer profound illumination of psychic travails and epiphanies. 

Beethoven's Quartet No. 11 was almost a decade behind 
him when, in January 1823, he accepted a commission for 
three new quartets from Prince Galitizin. So deeply, however, 
was he then embroiled in his Diabelli Variations and Ninth 
Symphony that he got to the commission only in June 1824. 
With Quartet No. 12 nearly complete that December, Bee- 
thoven commenced the present quartet in A minor. 

A health crisis in April forced Beethoven to put aside the 
A minor for about a month; and recovery inspired a "convales- 
cent's prayer of thanksgiving after a serious illness" as the slow 
movement. In June, Beethoven began a third quartet (the B- 
flat major, Op. 130), and the A minor reached completion in July 1825, receiving its 
premiere on November 6 in Vienna. Curiously, the number 13 went to the later B-flat 
quartet, while an even later quartet (C-sharp minor) became No. 14. The A minor, per- 
force, appeared as Quartet No. 15, Op. 132. 

Ostensibly cast in five movements, Quartet No. 15 actually follows the traditional 
four-section sonata layout, for the fourth movement functions as an introduction to the 
finale. Beethoven opens with a brooding four-note chromatic cello motif that will play 
an important role throughout the first movement. The tempo speeds with a florid violin 
outburst, and a first-subject complex based on a dotted-rhythm melodic fragment 
unfolds. The second subject brings a theme of piercing lyric consolation, commenced by 
second violin. After the eventful development section, the reprise finds the themes in 
the "wrong" keys, tonal balance being restored by a "coda- raw- ^recapitulation." 

An A major minuet continually redeploys two elements, always with a certain a 
humorous lumpiness. The central Trio begins as a celestial yet childlike musette. In the 
"prayer of thanksgiving," Beethoven creates an air of timeless antique mystery by using 
the sharped fourth of the Lydian mode, and by evoking the archaic Chorale Prelude 
form. An echo of the chorale's last phrase summons an Andante of lilting euphoria 
(Beethoven labels this section "feeling new strength"). When the prelude resumes, deco- 
ration takes on greater rhythmic complexity, and the Andante also returns varied. Ulti- 
mately the chorale abandons its original shape to undergo fluid imitative treatment. 
Beethoven opens the fourth movement with a robust march. What initially seems 



The Juilliard Quartet included Beethoven's A minor string quartet, Opus 132, as 
part of its very first Ozawa Hall program, on July 10, 1994. 



48 



like a Trio section is derailed as the first violin embarks on an intensely operatic recita- 
tive that ushers in the finale. The main theme here suggests a harried protagonist cop- 
ing with an immeasurably tragic situation. The second subject brings only ephemeral 
lightening of mood, and after the rondo theme resurfaces, dense development pits jost- 
ling motifs in contention. A coda following the normal reprise seems destined to climax 
in a frenzied crash of the first theme. But glints of major mode suddenly emerge, and 
soon, all is lightness, ease, and play, the work ending in ebullient triumph. 

— Benjamin Folkman 

Benjamin Folkman is a New York-based annotator whose articles have appeared in Opera 
News, Stagebill, Playbill, Performing Arts, and numerous other publications. 

GUEST ARTISTS 

Juilliard String Quartet 

Celebrated for its performances of works by com- 
posers as diverse as Beethoven, Schubert, Bartok, 
and Elliott Carter, the Juilliard String Quartet has 
been recognized for over fifty years as the quintes- 
sential American string quartet. The 2003-04 season 
included tours of the United States and Canada, as 
well as programs in Diisseldorf, Austria, Italy, Den- 
mark, Switzerland, and Mexico. Also in 2003-04, 
the quartet celebrated its 40th anniversary as quar- 
tet-in-residence at the Library of Congress, an event 
marked by a ten-concert complete Beethoven cycle 
interspersed with works by American composers whose works the quartet has championed 
throughout its existence. As quartet-in-residence at New York City's Juilliard School, the 
Juilliard String Quartet is widely admired for its seminal influence on aspiring string players 
around the world. In a momentous occasion at Tanglewood in 1997, the Juilliard String 
Quartet's founder and first violinist Robert Mann retired from the group after fifty years. 
Also that season, Musical America named the quartet "Musicians of the Year." The Juilliard 
String Quartet has performed a comprehensive repertoire of some 500 works, ranging from 
the great classical composers to masters of the current century. It was the first ensemble to 
play all six Bartok quartets in the United States (including the first complete cycle, at Tan- 
glewood in 1948), and it was through the group's performances that the quartets of Arnold 
Schoenberg were rescued from obscurity. An ardent champion of contemporary American 
music, the quartet has premiered more than sixty compositions of American composers and 
is a persuasive advocate for the string quartets of Elliott Carter; a landmark recording of 
those works was issued in 1991 by Sony Classical. The ensemble records exclusively for Sony 
Classical and has been associated with that label, in its various incarnations, since 1949. With 
more than 100 releases to its credit, the ensemble is one of the most widely recorded string 
quartets of our time; and its recordings of the complete Beethoven quartets, the complete 
Schoenberg quartets, and the Debussy and Ravel string quartets have all received Grammy 
Awards. The members of the Juilliard String Quartet are all American-born and -trained. 
Violinist Joel Smirnoff is a native of New York City; a former Boston Symphony violinist, he 
has been a member of the quartet for nearly sixteen years, the last six as the ensemble's 
leader, having previously been the group's second violinist. Born in Arkansas, violinist Ronald 
Copes joined the ensemble as second violinist in 1997. Violist Samuel Rhodes, a New York 
native, celebrates his 35th season as a member of Juilliard String Quartet and faculty member 
at the Juilliard School. As cellist of the Juilliard String Quartet since 1974, Joel Krosnick has 
recorded most of the great quartet literature and has performed throughout the world. 













49 



mmm!Mmmasi- 




-2004 

Tanglewood 



Monday, July 12, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

TANGLEWOOD MUSIC CENTER ORCHESTRA 
The Phyllis and Lee Coffey Memorial Fund Concert 



CN 



SEIJ I OZAWA HALL 
10th ANNIVERSARY SEASON 



KURT MASUR, HELENE BOUCHEZ (TMC Conducting Fellow), 

and JOSEPH WOLFE (TMC Conducting Fellow) conducting 
ANNALENA PERSSON, soprano 



MENDELSSOHN 



KODALY 



Overture to Ruy Bias, Opus 95 
JOSEPH WOLFE conducting 

Suite from the opera Hdryjdnos 

Prelude. The Fairy Tale Begins 

Viennese Musical Clock 

Song 

The Battle and Defeat of Napoleon 

Intermezzo 

Entrance of the Emperor and his Court 

HELENE BOUCHEZ conducting 



INTERMISSION 



WAGNER Prelude and Liebestod from Tristan und Isolde 

ANNALENA PERSSON, soprano 
KURT MASUR conducting 

Text and translation are on page 54. 

MENDELSSOHN Symphony No. 3 in A minor, Opus 56, Scottish 

Introduction and Allegro agitato 

Scherzo assai vivace 

Adagio cantabile 

Allegro guerriero and Finale maestoso 

Mr. MASUR conducting 

Steinway and Sons Pianos, selected exclusively at Tanglewood 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert. 

Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 
concert. Flashes, in particular, are distracting to the performers and other audience 
members. Thank you for your cooperation. 



50 



NOTES ON THE PROGRAM 

Felix Mendelssohn (1809-1847) 
Overture to Ruy Bias, Opus 95 

Mendelssohn's overtures were among his most popular works during his lifetime (as 
they are now), although most — such as the Hebrides and A Midsummer Nights Dream — 
were not conceived as overtures in the traditional theatrical sense. The Ruy Bias Over- 
ture, however, was indeed originally composed as a prelude to a production of Victor 

Hugo's eponymous play in Leipzig in 1839, where it was 
given as a benefit for the pension fund of the Leipzig Theater. 

At first, Mendelssohn was not enthusiastic when ap- 
proached about providing a few vocal numbers for the per- 
formance; he considered the play to be "utterly wretched and 
beneath contempt." Almost inexplicitly, at the very last min- 
ute the former wunderkind decided to compose an overture, 
apparently just to see if he could carry off such a feat at the 
eleventh hour: in order to have sufficient rehearsal time, he 
had to complete the work and have the parts copied in just six 
days. Though he remained disdainful of the play, he was quite 
satisfied with the hastily composed overture and seems to have passed his own stress 
test. He immediately made plans to adapt the work outside of its dramatic context, jok- 
ing about jettisoning the name of the abhorrent play: 

It was performed with the dreadful play, and I enjoyed it as much as anything I've 
done. In the next. . .concert we will play it again, by popular demand; though this 
time I won't call it an "Overture to Ruy Bias," but instead, "Overture to the Theater 
Pension Fund." 

Hugo's play is one of intrigue and melodrama set in the Spanish court of King Charles 
II, a locality evident in the rhythms that underlie the second, more lyrical theme of the 
overture. The opening chords in the winds — followed by an agitated figure in the strings 
that foreshadows the main theme — cannot fail to conjure the same grim portent of pal- 
ace mayhem that one finds in the preludes to Verdi's Rigoletto or Macbeth. With its slow 
dotted-rhythm introduction and frenetic Allegro, the overture is cast from a standard mold, 
not surprisingly given Mendelssohn's flip, last-minute approach to the entire project. 







Zoltan Kodaly (1882-1967) 
Hdryjdnos Suite 

Zoltan Kodaly may be destined to go down in the history of 20th century music as that 
"other" Hungarian composer, standing in the shadow of his friend and colleague Bela 
Bartok, with whom he collected, published, and promulgated Hungarian folk music. In 
addition to his ethnographical research, Kodaly established an educational method that 
employed the singing of folk music (supplemented by art music) as its central compo- 
nent in fostering musical literacy through simplified musical notation, solmization, hand 
signs (later featured in the film Close Encounters of the Third Kind), and body movement. 
Ever an educator, Kodaly was concerned with instilling a heightened appreciation for 
music in the public at large through his own compositions as well. He felt this was best 
achieved in combining the dramatic appeal of theatrical works with the cultural reso- 
nance of folk materials: "Once the walls of our theaters and the ears of our people have 
become attuned to folk music, it will be possible to move on to work of a higher order. . . . 
We must first arouse in them the consciousness of their own musical language." It was 



51 



in this spirit that in 1926 he began work on the opera Hdry Jdnos, from which he would 
extract the orchestral suite at the suggestion of Bartok. 

Kodaly characterizes the main character of both the opera and the suite as a colorful 
raconteur whose embellished yarns hold a certain poignant fascination: 

Day after day he sits in the tavern and recounts his incredible heroic feats [in the 
Napoleonic wars]. He is a true peasant, and his grotesque inventions are a touching 
mixture of realism and naivete, of comedy and pathos.. . .On the surface he may ap- 
pear to be no more than an armchair hero, but in essence he is a poet, carried away 
by his dreams and feelings. His tales are not true, but that is not the point. They are 

the fruits of his lively fantasy, which creates for himself and for 

others a beautiful world of dreams. 

The comedy of the stage production instantly finds its way 
into the suite: an opening "sneeze" — a glissando slowly rising 
across the whole orchestra and than falling again, more quick- 
ly, in the piano — indicates (according to the Hungarian folk 
tradition) that what follows is to be taken with a grain of salt, 
in a sense deflating the brooding music that ensues. Indeed, 
Kodaly never takes Hary too seriously, as the melodramatic 
^Wi ^k I moments in the piece are always offset by the incredulous 

*Jm,W A I reproach of comic gestures or orchestration. The defeat of 

Napoleon is tinged with irony, as the caricatured pompousness of the brass and percus- 
sion is mocked by a comical saxophone, jagged intervals, and apparent metric disinte- 
gration. Adding another lighthearted element, the chirping timbres of the woodwinds 
often dominate ("Viennese Musical Clock," "Entrance of the Emperor"). Kodaly also 
calls for an ample battery of percussion instruments, including the cimbalom — a ham- 
mered dulcimer from the Hungarian gypsy tradition — that adds an especially folkish 
color to the quasi-improvisatory third movement ("Song"), in which Hungarian inflect- 
ed figurations are perhaps most transparent. 




Richard Wagner (1813-1883) 

Prelude and Liebestod from Tristan und Isolde 

To modern sensibilities, Richard Wagner's life as of August 1857 seems complicated. 
In exile in Zurich as a result of his role in the 1848 political uprising in Dresden, the 
habitually indigent composer was enjoying the hospitality of Otto Wesendonck, while 
also engaged in an intense personal and probably sexual relationship with that man's 

wife, Mathilde (there has been some dispute as to whether 
or not Wagner and Mathilde ever consummated their affec- 
tions). He was also hard at work on Act II of Siegfried, the 
third installment of his mammoth tetralogy Der Ring des 
Nibelungen, a practical application of his new and ambitious 
vision for the future of music. 

At the same time another project was weighing on his 
mind, probably for a variety of reasons. The prospects for a 
performance of the Ring looked grim, due to its massive size, 
its demands on vocalists, and the fact that no commission had 
emerged for it. Also, since 1854 Wagner had been consumed 
by the philosophy of Arthur Schopenhauer, and the new work under contemplation was 
deeply in the spirit of that world-view. A pessimist, Schopenhauer posited an unrelent- 
ing and unknowable Will that drove all existence, an underlying reality of sexual desire 
and violence that held humanity in its thrall. Wagner's new opera, Tristan und Isolde, 




52 



relates the mythical story of two lovers brought together against all logic and loyalty, 
whose inescapable attraction to one another destroys them yet unites them in death 
{Liebestod, or "love-death"). Wagner put Siegfried aside and began work on Tristan, com- 
pleting the work by August 1859. 

The Prelude to Tristan, like that of Die Meistersinger von Niirnberg, took on a life 
of its own in the concert hall before the entire opera was even staged, partly owing to 
Wagner's difficulty in finding someone willing to produce it. The devoted Wagnerian 
Hans von Bulow (another man whose wife, Cosima, Wagner would later steal and this 
time marry) conducted the piece in Prague and Leipzig in 1859, having composed his 
own concert ending since in its original context the Prelude leads without pause directly 
into the drama. Wagner himself conducted the Prelude in early 1860 in Paris (now with 
his own ending), as part of his campaign to establish himself there and hopefully mount 
a production of the full opera, which never materialized, a disappointment to be repeat- 
ed in Vienna later that year. 

It was in a St. Petersburg concert of March 10, 1863, that Wagner first coupled the 
Prelude with Tristans final scene, which he referred to as the heroine's "transfiguration." 
(The appellation "Liebestod" became inextricably attached to Isolde's monologue when it 
was labeled as such in Liszt's piano transcription of the opera; Wagner actually consis- 
tently applied this term to the Prelude.) As the voices of her companions fade from her 
perception, Isolde's transfiguration transcends the temporal world (which barred a feasi- 
ble union with Tristan), and she begins to see breath anew in Tristan's crumpled body — 
he lives again for her alone as she joins him in an ideal realm of fulfilled desire. Wagner 
wrote: 

Yet what Fate divided in life now springs into transfigured life in death: the gates of 
the union are thrown open. Over Tristan's body the dying Isolde receives the blessed 










22 Walker Street in Lenox, MA 413«637*9875 

53 



■■■";'■ Wi ■ > -"^ -v-'- -- WM fH 



fulfillment of ardent longing. Eternal union in measureless space, without barriers, 
without fears, inseparable! 

In orchestral concerts, the Liebestod is usually performed without the vocal part. This 
is fortuitous in a sense, because in Schopenhauer's philosophy it is really only instru- 
mental music that grants unencumbered access to the Will. Of course, the notion that 
music offers a window into pure feeling, unmitigated by language, is a common trope in 
19th century thought. Indeed the lush orchestration, surging climaxes, and heaving 
sighs of Tristan seem to codify the very sound of Romanticism. 



WAGNER Liebestod from "Tristan und Isolde" 



Mild und leise wie er lachelt, 
wie das Auge hold er offnet — 
seht ihr's, Freunde? Seht ihr's nicht? 
Immer lichter wie er leuchtet, 
sterm-umstrahlet hoch sich hebt? 
Seht ihr's nicht? 

Wie das Herz ihm mutig schwillt, 
voll und hehr im Busen ihm quillt? 
Wie den Lippen, wonnig mild, 
siisser Atem sanft entweht — 
Freunde! Seht! 
Fiihlt und seht ihr's nicht? 
Hore ich nur diese Weise, 
die so wundervoll und leise, 
Wonne klagend, alles sagend, 
mild versohnend aus ihm tonend, 
in mich dringet, auf sich schwinget, 
hold erhallend um mich klinget? 
Heller schallend, mich umwallend, 
sind es Wellen sanfter Liifte? 
Sind es Wogen wonniger Diifte? 
Wie sie schwellen, mich umrauschen, 
soil ich atmen, soil ich lauschen? 
Soil ich schliirfen, untertauchen? 
Suss in Diiften mich verhauchen? 
In dem wogenden Schwall, 
in dem tonenden Schall, 
in des Welt-Atems wehendem All — 
ertrinken, versinken — 
unbewusst — 
hochste Lust! 

— Richard Wagner 



Softly, calmly, how he's smiling, 

how his eyes are gently opening — 

See this, friends? Don't you see? 

Ever brighter, how he's shining, 

star-illumined, nobly rising? 

Don't you see? 

How his heart, with courage swelling, 

fills his breast with noble splendor; 

how from his lips, all blissful, tender, 

freshened breath is softly stealing — 

Friends! Look! 

Don't you see and feel this? 

Can no others hear this strain 

which, full of wonder and so gentle, 

rapture-toning, all things telling, 

reconciling, from him sounding, 

urged upon me, upward- soaring, 

gently echoing, rings all round me? 

Brightly sounding, flowing round me, 

are these wafts of gende breezes? 

Are they waves of rapturous vapors? 

As they swell and roar about me, 

shall I breathe them, shall I heed them, 

shall I drain them, plunge beneath them, 

sweet with life-end's fragrance scented? 

In the billowing swell, 

in the all-sounding knell, 

in the world-breath's encompassing All — 

now drowning — now sinking — 

freed from sense — 

utmost bliss! 

— English version by Marc Mandel 




54 









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Felix Mendelssohn 

Symphony No. 3 in A minor, Opus 56, Scottish 

If his overtures brought Mendelssohn recognition as a composer, his symphonies failed 
to establish a foothold in the concert hall during his lifetime. The lack of enthusiasm 
for his symphonies may explain some delays in their publication, which gives a mistaken 

impression of the order of composition: symphonies nos. 4 
and 5 were earlier works published posthumously, while the 
symphony published as No. 3, the Scottish, was in fact the last 
one Mendelssohn finished before his untimely death. 

Though it was his last completed symphony, the Scottish 
originated in August 1829 during Mendelssohn's extensive 
travels throughout England, France, and Italy — the same tour 
that inspired his other famous "landscape" pieces, the Italian 
Symphony No. 4 and the Hebrides Overture, also conceived 
on the British Isles. While on a jaunt to Scotland from Lon- 
don (where his music would always be warmly received), Men- 
delssohn impetuously sketched the first sixteen bars of the symphony, so taken was he 
with the fragmented Medieval romance of his surroundings: 

Everything here looks so stern and robust, half wrapped in haze or smoke or fog — 
In the twilight today we went to the palace where Queen Mary lived and loved — 
the chapel beside it has now lost its roof, it is overgrown with grass and ivy, and at 
the broken altar Mary was crowed Queen of Scotland. Everything is ruined, decayed, 
and open to sky. 

Despite this initial enthusiasm, the Scottish Symphony would soon be put aside as 
Mendelssohn's attention turned to the sunny Italian Symphony upon his arrival in that 
country: "Who can wonder that I find it difficult to return to my misty Scottish mood?" 
he wrote. The work would not be completed until January 1842, and the temporal 
remove apparently diluted Mendelssohn's nationalistic sympathies: when the work 
was published a year later it bore no descriptive title. (Rather than referencing the 
work's inspiration, he used the preface of the published score in order to insist that the 
movements be performed without pause, a desire usually unheeded.) Such ambivalence 
as to the programmatic association of the work on the part of the composer begs the 
question of what Scottish elements can actually be found in the piece. Revealing just 
how slippery perceived "meaning" can be in a non-representational art form such as 
music, Robert Schumann notoriously mistook the present symphony for the Italian, 
asserting that it was "so beautiful as to compensate the listener who had never been in 
Italy." 

On his tour of Scotland, Mendelssohn witnessed a bagpipe competition, and many 
commentators have found echoes of bagpipe tunes in the scherzo, particularly in a 
rhythmic turn known as the "Scotch snap" at the end of phrases. Ultimately, if the lis- 
teners have Scotland in mind, they cannot fail to feel that the music conjures that land- 
scape (just as Schumann, with Italy in mind, was able to find it); really, this is the whole 
point of attaching a programmatic title. The dark, reedy coloration of the introductory 
Andante will indeed seem to hang over the first movement, which it frames, like those 
mists with which Mendelssohn was so taken. The purposeful gallop of the ensuing 
Allegro — with its "folkish" grace notes — may suggest knightly deeds, the ghosts of those 
ruined casdes Mendelssohn visited. 

Though Mendelssohn's symphonies on the whole were unsuccessful, the Scottish 
Symphony found a receptive audience, perhaps owing to the colorful landscape listeners 
found in it, and perhaps simply because it is a tightly composed work, as is typical of 



»1 












55 



Mendelssohn's considerable musical faculties. 



-Notes by Michael Nock 



Michael Nock is the Printed Programs Coordinator for the Tanglewood Music Center and a 
Ph.D. candidate in musicology at Boston University. 



GUEST ARTISTS 
Kurt Masur 



m 



3*C^H 




Kurt Masur is well known to orchestras and audiences alike as both a dis- 
tinguished conductor and humanist. In September 2002, he became music 
director of the Orchestre National de France in Paris. Since September 
2000 he has been principal conductor of the London Philharmonic. From 
1991 to 2002 he was music director of the New York Philharmonic; fol- 
^ M lowing his eleven-year tenure he was named Music Director Emeritus, 

: ^^ becoming the first New York Philharmonic music director to receive that 

Bk. jfl I title, and only the second (after the late Leonard Bernstein, who was 

named Laureate Conductor) to be given an honorary position. The New York Philharmonic 
established the "Kurt Masur Fund for the Orchestra," which will endow "conductor debut 
week" at the Philharmonic in perpetuity in his honor. Mr. Masur served as Gewandhaus 
Kapellmeister of the Leipzig Gewandhaus Orchestra (1970-96); upon his retirement from 
that post, the Gewandhaus named him its first-ever Conductor Laureate. Mr. Masur is a 
guest conductor with the world's leading orchestras and also holds the lifetime title of Hon- 
orary Guest Conductor of the Israel Philharmonic Orchestra. He has received numerous 
honors, among them the titles of Commander of the Legion of Honor from the French gov- 
ernment and New York City Cultural Ambassador from the City of New York; the Cross 
with Star of the Order of Merit of the Federal Republic of Germany, and numerous hon- 
orary doctorates. He is also an Honorary Citizen of his hometown Brieg. Kurt Masur made 
his United States debut in 1974 with the Cleveland Orchestra; also that year he took the 
Gewandhaus Orchestra on its first American tour. He made his New York Philharmonic 
debut in 1981. Engagements in the 2003-04 season included appearances with the Schleswig- 
Holstein Music Festival Orchestra, the Chicago Symphony Orchestra, the New York Phil- 
harmonic, the Israel Philharmonic, the Dresden Philharmonic, and three tours with the 
Orchestre National. Mr. Masur made more than thirty recordings with the New York Phil- 
harmonic for Teldec Classics, and well over 100 other recordings with numerous orchestras, 
including the complete symphonies of Beethoven, Brahms, Bruckner, Mendelssohn, Schu- 
mann, and Tchaikovsky. Born in Brieg, Silesia, in 1927, Mr. Masur studied piano, composi- 
tion, and conducting at the Music College of Leipzig. He has served as Kapellmeister of the 
Erfurt and Leipzig opera theaters, Conductor of the Dresden Philharmonic, General Direc- 
tor of Music at the Mecklenburg State Theater of Schwerin, Senior Director of Music at 
Berlin's Komische Oper, and the Dresden Philharmonic's Chief Conductor. In his capacity as 
Leipzig Gewandhaus Kapellmeister, he led nearly a thousand performances and more than 
900 concerts on tour. Mr. Masur has been a professor at the Leipzig Academy of Music since 
1975. In 1998 he celebrated 50 years as a professional conductor. Several years ago he started 
his own web site, www.kurtmasur.com. Mr. Masur was a regular guest conductor with the 
BSO both at Symphony Hall and at Tanglewood from 1980 to 1988. He returned to Tangle- 
wood with the New York Philharmonic in July 2002 for his final concerts as that ensemble's 
music director, and since stepping down from that position has again become a frequent guest 
with the BSO, opening this summer's Tanglewood season and returning to the BSO podium 
on Sunday, July 16. 



56 



Annalena Persson 

Swedish dramatic soprano Annalena Persson studied at the Music Acad- 
emy in Ingesund and the University College of Opera in Stockholm, where 
she graduated in June 2002. Numerous grants have made it possible for 
her to study with such prominent teachers as Kerstin Meyer, Peter Berne, 
Craig Rutenberg, and Richard Trimborn. At the University College of 
Opera, Ms. Persson studied such roles as Amelia in Un ballo in maschera, 
Butterfly, Elisabetta in Don Carlo, Elsa in Lohengrin, Sieglinde, and Isolde. 
m In spring 2001 she was invited by Gian Carlo Menotti to participate in 

the Spoleto festival in Italy; in autumn 2002 she sang Freia in a concert version of Das Rhein- 
gold with the Swedish Royal Philharmonic Orchestra led by Alan Gilbert. In summer 2003 
she sang Bianca in Zemlinsky's Eine florentinische Tragoedie at the Spoleto Festival. In Sep- 
tember 2003 she sang Beethoven's Ninth Symphony with Alan Gilbert and the Swedish Royal 
Philharmonic Orchestra. She had great success as Sieglinde in a semi-staged version of Die 
Walkure at Gothenburg Opera in early 2004. In October 2003 a unanimous jury named Ms. 
Persson as winner of the fourth international competition for Wagner voices in Bayreuth. She 
was also awarded the audience special prize for best singer. Among present and future en- 
gagements are Senta in The Flying Dutchman and Isolde, both at the Royal Opera in Stock- 
holm; Ortlinde in Die Walkure at the Chatelet in Paris under Christoph Eschenbach, Isolde 
in Basel, and Isolde at Welsh National Opera under Mark Wigglesworth. 

Helene Bouchez 

^|ky ; After a few years in Norway, Helene Bouchez was first introduced to music 
by two American teachers, Perry Johnson and Curtis Stotlar. Her music- 
making encompasses conducting, playing piano, and participating in 
chamber music. She has performed with the Symphony Orchestra of Sofia, 
the Sarajevo Philharmonic, the Symphony Orchestra of Szombathely, the 
I Orchestre National de Lyon, and the New Japan Philharmonic. She has 
I been in charge of the Orchestre Symphonique de Lyon and Orchestre de 
l'Universite Claude Bernard. This season she has been invited by the Or- 
chestre Symphonique de Vichy and the Atelier XXth Century of Lyon. Ms. Bouchez was a 
finalist and laureate at the Tokyo International Conducting Competition in November 2003, 
and received an award from the Min-On Concert Association. Following her Tanglewood 
Fellowship, she has been selected to study in a master class with Pierre Boulez at the Lucerne 
Music Academy. She studied at both the Conservatoire National Superieur de Musique de 
Paris and the Conservatoire National Superieur de Musique de Lyon, where she is now assis- 
tant teacher of the piano class. She has worked with Marin Alsop and Gustav Meier, David 
Robertson, Peter Gulke, Pascal Rophe, Gianluigi Gelmetti, Zoltan Pesko, Zsolt Nagy, Roger 
Muraro, Eric Heidsieck, and Denis Pascal. 




Joseph Wolfe 

I Joseph Wolfe was a prizewinner in the 7th Leeds Conducting Compe- 
tition. He has recorded Elgar's Introduction and Allegro and Haydn's sym- 
phonies 34 and 52 with the Munich Chamber Orchestra for the Bavarian 
Radio, and recently conducted Mahler's Fifth Symphony with the Bavar- 
ian Youth Symphony Orchestra, giving concerts in the Munich Gasteig 
and in Nuremburg. In 2002 he founded Ensemble Flux, with which he 
has recorded a CD and a film soundtrack. He has recently been appointed 
assistant conductor of the Bromley Symphony Orchestra. Mr. Wolfe is 
guest conductor of the Guildhall School of Music 6c Drama Symphony Orchestra, the Haydn 
Chamber Orchestra, and the Kensington Chamber Orchestra. He will soon be making his 
debut with the Bamberg Symphony Orchestra. 




57 




Tanglewood 

Tuesday, July 13, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

BRYN TERFEL, bass-baritone 
MALCOLM MARTINEAU, piano 



n\ 



SEIJI OZAWA HALL 
10th ANNIVERSARY SEASON 



The audience is politely requested to withhold applause until the end of each group 
of songs. Please do not applaud after the individual songs within each group. 



VAUGHAN 
WILLIAMS 



TRADITIONAL 
TRADITIONAL 
TRADITIONAL 
W.S. GWYNNE 

WILLIAMS 
OWEN WILLIAMS 

GURNEY 

WARLOCK 



Songs of Travel 

The Vagabond 

Let Beauty awake 

The Roadside Fire 

Youth and Love 

In Dreams 

The infinite shining heavens 

Whither Must I Wander? 

Bright is the ring of words 

I have trod the upward and the downward slope 

Ye banks and braes 

Danny Boy 

Ar Hyd y Nos 

My Little Welsh Home 

Sul y Blodau 

Sleep 

Captain Stratton's Fancy 

INTERMISSION 



Please note that texts and translations are being distributed separately. 

Steinway and Sons Pianos, selected exclusively at Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert. 

Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 
concert. Flashes, in particular, are distracting to the performers and other audience 
members. Thank you for your cooperation. 



58 



QUILTER 



BRITTEN 



COPLAND 



TOSTI 



Three Shakespeare Songs, Opus 6 

Come away, death 
Oh mistress mine 
Blow, blow, thou winter wind 

The foggy, foggy Dew 
The S alley Gardens 
Oliver Cromwell 

The Little Horses 
At the River 
Ching-a-ring Chaw 

Sogno 

La serenata 

Chanson de Fadieu 



NOTES ON THE PROGRAM 

Most of the songs on this varied program connect — some direcdy, others quite oblique- 
ly, as we shall see — to early 20th-century England's vital musical scene. The imported 
composers who had long dominated the nations concert, operatic, and amateur musical 
life now saw their hegemony waning; for, after two centuries of mediocrity, the country 
was again producing world-class composers, artists who drew sustenance from Great 
Britain's rich folk music traditions. 

Ralph Vaughan Williams (1872-1958) was a key figure in this Renaissance. His Songs 
of Travel, composed between 1901 and 1904, reflect an interest in England's pastoral 

heritage shared by many British intellectuals of his time. Stri- 
ding masculine wanderlust suffuses "The Vagabond," while 
tender, shimmering colors dominate "Let Beauty awake." Breath- 
less ardor in "The Roadside Fire" culminates in a paean to 
song. Heartbeat rhythms bespeaking emotional vulnerability 
in "Youth and Love" provoke an elated climax. 

Dissonances heighten the despair of "In Dreams," a slow 
lament, while continually expanding rolled-chordal spaces 
reflect the gleams of "The infinite shining heavens." Vaughan 
Williams idealizes folk atmosphere in the noble gestures and 
melancholy, recurring, minor-mode cadence of "Whither Must 
I Wander?" Hymnodic grandeur introduces exalted meditations on the permanence of 
art in "Bright is the ring of words," and that opening strain reappears at the close of "I 
have trod," resolving dark meditations with a luminous benediction. 




As English musicians researched their own folk music, they also ventured into Scot- 
land, Ireland, and Wales. Thus traditional songs from those three nations — such as the 
sturdy "Ye banks and braes," the nostalgic "Danny Boy," and the tranquil "Ar Hyd y 
Nos" (better known as "All through the night") — became an integral part of the British- 
American heritage. Mr. Terfel adds two folklike songs by 20th-century Welsh composers: 
the English-language "My Litde Welsh Home" in which W.S. Gwynne Williams 



59 



mSzcrCa 



2004 season 



Days in the Arts 




Through the Boston Symphony 
Orchestra's Days in the Arts (DARTS) 
program, students spend a week 
immersed in the arts. In the morn- 
ing, students participate in hands- 
on workshops. In the afternoon, 
they travel toTanglewood.the BSO's 
summer home, and other cultural 
institutions such as Jacob's Pillow, 
the Norman Rockwell Museum, and 
Shakespeare & Co. 

Financial support is essential to the 
continued success of DARTS. Please 
consider making a generous contri- 
bution to DARTS this summer and 
help more than 400 children 
explore how the arts can enrich 
their lives. 

For more information, contact 
Alexandra Fuchs, Director of 
Tanglewood Annual Funds, at 
(413) 637-5298, or 
Judi Taylor Cantor, Director of 
Major and Planned Giving, at 
(413) 637-5260. 




1 




The BSO gratefully acknowledges 
the following donors*: 

ANNUAL OPERATING GIFTS TO DARTS 

$50,000 and above 

Dr. Carol Reich and Mr. Joseph Reich 

$10,000 - $49,999 

Anonymous (1) 

Associated Grantmakers of Massachusetts 

Summer Fund 
The Connors Family 

Irene E. and George A. Davis Foundation 
Mr. and Mrs. Daniel Freed 
Stephen B. Kay and Lisbeth Tarlow 
The Richard A. and Helene H. Monaghan 

Family Foundation 
National Endowment for the Arts 
New Balance Foundation 
Thomas A. Pappas Charitable Foundation 
Abraham Perlman Foundation 

Dr. Deonna Spielberg 
Mary Ann Pesce 
The William E. and Bertha E. Schrafft 

Charitable Trust 

$5,000 - $9,999 

Sydelleand Lee Blatt 

Fairmont Hotels & Resorts Charitable 

Foundation 
The Roger and Myrna Landay Charitable 

Foundation 

$2,500 - $4,999 

Boston Concessions Group, Inc. 
Jonathan and Seana Crellin 
The Hoche-Scofield Foundation 
Valet Park of New England 

$2,000 - $2,499 

The Kingsbury Road Charitable Foundation 
Tom Sternberg 

DARTS Endowment Funds 

Elizabeth A. Baldwin DARTS Fund 
George and Kathleen Clear DARTS CRT 
Paul D. and Lori A. Deninger 

DARTS Scholarship Fund 
Gordon/Rousmaniere/Roberts Fund 
Renee Rapaporte DARTS Scholarship Fund 
Miriam and Sidney Stoneman Fund of 

The Boston Foundation 
as of April 30, 2004 



(1896-1978) achieved dignity through extreme simplicity; and the melancholy lullaby 
"Sul y Blodau" ("Palm Sunday") by Owen Williams (1877-1956). 



Ivor Guerney (1890-1937) showed brilliant promise as a student of Vaughan Wil- 
liams but suffered a poison gas attack in World War I and never recovered, either physi- 
cally or psychologically. Among his Elizabethan Songs — a conservatory effort from 1912 
— "Sleep" stands out as an unqualified masterpiece. His sure combination of Elizabethan- 
tinged melody with post-Brahmsian harmony and delicate hints of Rachmaninoff-like 
ecstasy results in music not quite like anything else. Over hypnotic keyboard undulation, 
Gurney spins out a haunting melodic thread that derives almost painful expressivity 
from dissonant passing tones and sudden flights of sinuous melisma. 



"Peter Warlock" was the composing pseudonym-cz/m-alter ego of the skilled English 
musicologist Phillip Heseltine (1894-1930). Warlock's rollicking "Captain Stratton's 
Fancy" (1920) combines a melody in pure folk style with a simple-seeming accompani- 
ment somewhat enriched by late-Romantic harmonies that reveal the influence of Fred- 
erick Delius. The song was issued as one of "Two true topers' tunes to troll with trulls 
and trollops in a tavern." 



It is all too easy to underrate the deft, gentle art of the English composer Roger 
Quilter (1877-1953). Producing 112 songs, admired for their charm and unforced 

declamation, Quilter won acclaim for his Shakespeare set- 
tings, clothing the Bard's verse in harmonically conservative 
music replete with cozy Victorian poise, though free of Vic- 
torian stuffiness and vulgarity. The Three Shakespeare Songs, 
Opus 6, written in 1904 or 1905, all draw on the Bard's com- 
edies, the first two sung by the jester Feste in Twelfth Night. 
In "Come away, death," strategic gleams of major mode 
through the minor create a bittersweet tableau, culminating 
in a heartfelt "weeping" melisma. After a carefree beginning, 
"O mistress mine" waxes lusty, but leaves a final, quiet glowing 
image of the beloved. In "Blow, blow thou winter wind" from 
As You Like It, Quilter 's music traces a commendably convincing emotional path from 
the angry verses to the jollicose refrain. 




Benjamin Britten (1913-1976), heir to the generation of Vaughan Williams, arrived 
in North America in 1939 intending to make his home here, but gradually became dis- 
^g^ enchanted. In mid- 1941 he vented his homesickness by ex- 

£ m^ ploring his roots in a series of British folksong arrangements. 

Repatriating in 1942, Britten arranged several more songs 
and the results appeared in a volume published in 1943. Dur- 
ing the next two decades, Britten would produce volumes 2 
through 6. 

Britten's arrangements differ considerably from turn-of- 
the-century transcriptions by Ralph Vaughan Williams and 
I his circle, which had provided unobtrusive accompaniments 
^i and traditional tonal harmonies. Britten thought such attempts 
. JH .... J at "authenticity" merely grounded the songs in the nineteenth 
century. In his arrangements he used his own distinctive harmonic vocabulary, imbedded 
in pellucid textures that display the elemental nature of folk songs in a contemporary 



61 



8 .■■••."-'.•. .: 



context. "The foggy, foggy Dew" (from Volume 3, 1945-46) sports guitar-like simplifi- 
cation of both chordal and bass-line progressions. "The Salley Gardens," the first song 
in Volume 1, features Schubertian or Berliozian chordal patter punctuated by salient 
lower-register motifs. The sassy nursery rhyme "Oliver Cromwell" (Volume 1) evokes 
merciless child-laughter with cheerfully clangorous dissonances. 



It was Britten at the piano, accompanying the tenor Peter Pears, his life partner, who 
in 1951 premiered the first set of Old American Songs by his colleague Aaron Copland 

(1900-1990). Britten, as we have seen, had long been produc- 
ing such arrangements but, curiously, this was Copland's first 
vocal exploration of the folksy Americana that had long in- 
formed his instrumental music. Copland observed: "Every- 
body seemed to enjoy singing and hearing the Old American 
Songs so much that I decided to arrange a second set in 1952." 
At the premiere of this set on July 24, 1953, Copland accom- 
panied the bass-baritone William Warfield. 

Copland's open-textured, plaintive setting of "The Little 
Horses" emphasizes the song's pentatonic ancestry. "At the 
River" proves a splendid fit for Copland's own harmonic style, 
particularly the stepwise dissonances created by accompaniment lines in motion. The 
joyous "Ching-a-ring Chaw" is at once a musical delight and a sobering piece of history, 
reflecting the widespread 19th-century African- American hopes for establishing a black 
nation in Haiti or Liberia. 





Although born in Italy, Paolo Tosti (1846-1916) became 
one of the imported composers that Victorian England lion- 
ized, receiving a knighthood in 1906. Named "Singing Master 
to the English Royal Family," Tosti produced dozens of slight 
but extremely attractive songs, mostly in Italian, which enjoyed 
ubiquity in British drawing rooms and entered the repertories 
of operatic superstars. In "Sogno" (1886), ardent preliminaries 
set up a broad Italianate melody. "La serenata" (1888) charm- 
ingly evokes background strumming by a wooer who sets out 
to charm. "Chanson de l'adieu" (1898), one of Tosti's French 
Songs, breathes genuine poignancy. 

— Benjamin Folkman 



Benjamin Folkman is a New York-based annotator whose articles have appeared in Opera 
News, Stagebill, Playbill, Performing Arts, and numerous other publications. 




62 



GUEST ARTISTS 




Bryn Terfel 

Welsh bass-baritone Bryn Terfel studied at the Guildhall School of Music 
and Drama with Arthur Reckless and Rudolf Piernay, winning the 1988 
Kathleen Ferrier Scholarship and the 1989 Gold Medal Award. That year 
he also won the Lieder Prize at the Cardiff Singer of the World Compe- 
tition. Other significant awards include BBC Music Magazines "Artist of 
the Year" 1999; the 1992 Gramophone Magazine "Young Singer of the 
Year"; "Newcomer of the Year" in the inaugural International Classical 
Music Awards in 1993; winning the solo vocal category in the Gramo- 
phone Awards 1995 for his album "An die Musik"; the People's Award in 1996, voted by lis- 
teners of Classic FM, at the Gramophone Awards for his recording "The Vagabond"; and the 
1996 Grammy Award for Best Classical Vocal performance for his recording "Opera Arias." 
He has performed in all the great opera houses of the world, and is especially recognized for 
his portrayals of Figaro and Falstaff. Other roles include Don Giovanni, Leporello, Jochan- 
aan in Salome, Nick Shadow in The Rake's Progress, Wolfram in Tannhduser, Balstrode in Peter 
Grimes, the Four Villains in Les Contes d'Hoffmann, Dulcamara in L'e/isir d'Amore, and the 
title role in Sweeney Todd. Mr. Terfel is known for his versatility as a performer, with high- 
lights ranging from The Last Night of the Proms to singing at the opening and closing cere- 
monies of the Rugby World Cup and performing at the Royal Variety Performance in the 
presence of HRH The Prince of Wales. He has given recitals in many of the major cities of 
the world, and also hosts his own festival every year in Faenol, North Wales, which won the 
Welsh Tourism Awards' title "Greatest Show in Wales — Event of the Year" in 2002. Bryn 
Terfel's versatility is further demonstrated in his numerous recordings, which range from 
Mendelssohn's Elijah, Schumann's Liederkreis, and Verdi's Falstaff to "Something Wonderful," 
a collection of songs by Rodgers and Hammerstein; his gold-selling collection of Welsh tra- 
ditional songs "We'll Keep a Welcome," and his most recent release, the platinum-selling 
album "Bryn." Operatic roles in the 2003-04 season included the title role in a new produc- 
tion of Falstaff 'for the Vienna Staatsoper, Jochanaan in Salome at the Metropolitan Opera, 
and Mephisto in a new production of Faust for the Royal Opera House, Covent Garden. 
Forthcoming plans include his debut as Wotan in Das Rheingold and Die Walkure in the 
Royal Opera Houses production of Der Ring des Nibelungen. In 2003, Bryn Terfel was 
awarded a CBE in the Queen's New Year Honours list, for his services to opera. Mr. Terfel 
made his Boston Symphony debut on the Opening Night concert of the 1997-98 season and 
appeared atTanglewood — with the BSO and also in recital with Malcolm Martineau — in 
1998. This coming Saturday night he sings excerpts from Wagner's Die Meistersinger von 
Niirnberg under the direction of Rafael Friihbeck de Burgos. 



£9 






Malcolm Martineau 

Malcolm Martineau was born in Edinburgh, read Music at St. Catharine's 
College, Cambridge, and studied at the Royal College of Music. He has 
presented his own series at St. John's Smith Square (the complete songs of 
Debussy and Poulenc), the Wigmore Hall (a Britten series broadcast by 
the BBC), and at the Edinburgh Festival (the complete Lieder of Hugo 
Wolf). He has appeared throughout Europe, including La Scala, Milan; 
the Chatelet in Paris; the Liceu, Barcelona; Amsterdam's Concertgebouw, 
and the Konzerthaus and Musikverein in Vienna, as well as in North 
America (including New York's Alice Tully Hall and Carnegie Hall); Australia (including 
the Sydney Opera House), and at the Aix-en-Provence, Vienna, Edinburgh, Schubertiade, 
Munich, and Salzburg festivals. Recent recording projects have included Schubert, Schu- 
mann, and English song recitals with Bryn Terfel for Deutsche Grammophon, Schubert and 
Strauss recitals with Simon Keenlyside for EMI; recital records with Angela Gheorghiu and 
Barbara Bonney for Decca, with Magdalena Kozena for Deutsche Grammophon, and with 




63 



Delia Jones for Chandos; the complete Faure songs with Sarah Walker and Tom Krause, the 
complete Britten folk song settings for Hyperion, and the complete Beethoven folk songs for 
Deutsche Grammophon. Malcolm Martineau has accompanied many of the world's leading 
singers and instrumentalists, notably Dame Janet Baker, Sarah Walker, Delia Jones, Frederica 
von Stade, Anne Sofie von Otter, Thomas Hampson, Angela Gheorghiu, Olaf Bar, Karita 
Mattila, Solveig Kringelborn, Michael Schade, and Ian Bostridge. His current and future 
recital engagements include appearances with Amanda Roocroft, Barbara Bonney, Joan 
Rodgers, Michael Schade, Sir Thomas Allen, Ann Murray, Susan Graham, Dame Felicity 
Lott, Christopher Maltman, Jonathan Lemalu, Simon Keenlyside, Magdalena Kozena, and 
Bryn Terfel. 




t 20 °4i J 

Tanglewood 



You are invited to take 

Guided Tours of 
Tanglewood 

Sponsored by the 

Tanglewood Association 

of the Boston Symphony Association 

of Volunteers 

Free to the public. 
Wednesday at 10:30 a.m. and 
Saturday at 1:30 p.m. 

Free to Sunday ticket-holders: 
Sunday at 12:30 p.m. 

Tours continue through 
Sunday, August 29. 

All tours last one hour, beginning 
and ending at the Tanglewood 
Visitor Center. Please arrive at the 
Visitor Center five minutes before 
the starting time of each tour. 

Group tours may be scheduled at 
other times by calling the Tanglewood 
Volunteer Office at (41s) 637-5393. 
A contribution of $6 per person is 
requested for scheduled group tours. 




3rd Annual finn 

Brandeis in the Berkshires 

Lecture Series 

Shakespeare and Company, Founder's Theatre 

July 12, 2004 

An Evening with Former 

Texas Governor, 

The Honorable 

Ann W. Richards 

Former Governor of Texas 





Rabbi Irwin Kula 



Ann W, Richards 

July 27, 2004 

Post-Denominational 

Judaism: 

In An Age of Freedom, 

Affluence and Power 

President, National Center for 
Jewish Leadership and Learning (CLAL 

August 9, 2004 

The Power of Gender: 

Women's Voices, 

Women's Stories 

Special Reading with Q&A 

and Book Signing 

New York Times Best-Selling Novelisl 
and Oprah Book Choice Award Winner 

Lectures begin at 8 p.m. and are open to the public. 

Tickets are S8 

To order tickets, phone Shakespeare & Co Box Office. 

#413-637-3353 

Brandeis in the Berkshtns was rounded in 2(K2 tnrougn the generous support end wj*>n ot 

Harold Grinspoon and the Harold Grinspoon Foundation. 




Alice Hoffman 




64 




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JULY AT TANGLEWOOD 



Thursday, July 1, at 8:30 and 
Friday, July 2, at 8:30 

MARK MORRIS DANCE GROUP 
in collaboration with the 
TANGLEWOOD MUSIC CENTER 
Choreography by Mark Morris to music of 
J.S. BACH, BARTOK, and VIVALDI 

Saturday, July 3, at 5:45 

"A PRAIRIE HOME COMPANION AT 

TANGLEWOOD" 
with GARRISON KEILLOR 

Sunday, July 4, at 7 

(Grounds open at 2pm; fireworks to follow the 

concert) 
DIANA KRALL 

Tuesday, July 6, at 8:30 

BOSTON BAROQUE 
MARTIN PEARLMAN, music director 
SHARON BAKER, KRISTEN WATSON, 
MARK TUCKER, LYNTON ATKINSON, 
FRANK KELLEY, NICHOLAS 
ISHERWOOD, and MARK ANDREW 
CLEVELAND, vocal soloists 

MONTEVERDI Vespers of 1610 

Thursday, July 8, at 8:30 

JUILLIARD STRING QUARTET 

Music of HAYDN, BARTOK, and 
BEETHOVEN 

Friday, July 9, at 6 (Prelude) 

MEMBERS OF THE BSO 
RANDALL HODGKINSON, piano 

Music of DOHNANYI and DVORAK 

Friday, July 9, at 8:30-Opening Night Concert 

BSO— KURT MASUR, conductor 
LINCOLN CENTER JAZZ ORCHESTRA 

WITH WYNTON MARSALIS 
LAQUITA MITCHELL, CYNTHIA 

RENEE HARDY, BRIAN ROBINSON, 

and ROBERT HONEYSUCKER, vocal 

soloists 
TANGLEWOOD FESTIVAL CHORUS, 

JOHN OLIVER, conductor 

MARSALIS All Rise 

Saturday, July 10, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Sunday, July 11 



Saturday, July 10, at 8:30 

BSO— RAFAEL FRUHBECK DE BURGOS, 

conductor 
LEON FLEISHER, piano 
TANGLEWOOD FESTIVAL CHORUS, 

JOHN OLIVER, conductor 

ALL-RAVEL PROGRAM 

Piano Concerto for the left hand 
Daphnis et Chloe (complete) 

Sunday, July 11, at 2:30 

BSO— INGO METZMACHER, conductor 
EMANUEL AX, piano 

MOZART Overture to The Magic Flute 
MOZART Piano Concerto No. 27 

in B-flat, K.595 
SHOSTAKOVICH Symphony No. 1 

Tuesday, July 13, at 8:30 

BRYN TERFEL, bass-baritone 
MALCOLM MARTINEAU, piano 

To include songs by VAUGHAN WILLIAMS, 
WARLOCK, COPLAND, QUILTER, 
BRITTEN, TOSTI, and others 

Wednesday, July 14, at 8:30 

BOSTON POPS ORCHESTRA 
MARVIN HAMLISCH, conductor 
DIANNE REEVES, vocalist 
THE JAZZ AMBASSADORS 

Thursday, July 15, at 8:30 

PIERRE-LAURENT AIMARD, piano 
with SARAH FRISOF, flute 

Music of BEETHOVEN, CARTER, and IVES 

Friday, July 16, at 6 (Prelude) 
MEMBERS OF THE BSO 
Music of BORODIN and DVORAK 

Friday,Julyl6,at8:30 

BSO— KURT MASUR, conductor 
MIDORI, violin 

GLINKA Overture to Ruslan and Ludmila 
TCHAIKOVSKY Violin Concerto 
DVORAK Symphony No. 9, From the New 
World 

Saturday, July 17, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Saturday, July 17 





291 Main Street • Great Harrington, MA 01230 
(pn) 413-528-0511 • e-mail: evergre@vgernet.net 




Saturday, July 17, at 8:30 

BSO— RAFAEL FRUHBECK DE BURGOS, 

conductor 
BRYN TERFEL, bass-baritone 
TANGLEWOOD FESTIVAL CHORUS, 

JOHN OLIVER, conductor 

BEETHOVEN Symphony No. 8 
WAGNER Excerpts from Die Meistersinger von 
Nurnberg 

Sunday,Julyl8,at2:30 

ORCHESTRA OF ST LUKE'S 
DONALD RUNNICLES, conductor 
JOSHUA BELL, violin 

ROSSINI Overture to L'italiana inAlgeri 
BRAHMS Violin Concerto 
BEETHOVEN Symphony No. 7 

Wednesday, July 21, at 8:30 

EMERSON STRING QUARTET 

Music of BRITTEN, TOWER, and 
SHOSTAKOVICH 

Friday, July 23, at 6 (Prelude) 

MEMBERS OF THE BSO 
NINA FERRIGNO, harmonium 
LUDOVIC MORLOT, conductor 

Music of GANDOLFI, DVORAK, and DAHL 

Friday,July23,at8:30 

BSO— HANS GRAF, conductor 
CLAUDIO BOHORQUEZ, cello 

ALL-DVORAK PROGRAM 

Othello Overture; Cello Concerto; 
Symphony No. 7 

Saturday, July 24, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Sunday, July 25 

Saturday, July 24, at 8:30 

BSO— PATRICK SUMMERS, conductor 
RENEE FLEMING, soprano 

Arias and songs by HANDEL, MASSENET, 
STRAUSS, PORTER, RODGERS & 
HAMMERSTEIN, VERDI, PUCCINI, and 
CATALANI; orchestral music of MOZART, 
BIZET, WAGNER, RODGERS, and VERDI 

Sunday, July 25, at 2:30 

BSO— MARK ELDER, conductor 
PETER SERKIN, piano 

VAUGHAN WILLIAMS Fantasia on a Theme 

by Thomas Tallis 
STRAVINSKY Concerto for Piano and Winds 
DEBUSSY Prelude to The Afternoon of a Faun 
ELGAR Enigma Variations 



Tuesday, July 27, at 8:30 

RICHARD GOODE, piano 

Music of BEETHOVEN, SCHUBERT, 
JANACEK, and CHOPIN 

Wednesday, July 28, at 8:30 

THE HILLIARD ENSEMBLE 
MICHELLE MAKARSKI, violin; JAVIER 
DIAZ and LYNN VARTAN, percussion; 
DONALD CROCKETT, conductor 

Music of MACHAUT, PEROTIN, and the 
13th-century Ars Nova, plus HARTKE's 
Tituli 

Thursday, July 29, at 8 and 
Saturday, July 31, at 2:30 

TANGLEWOOD MUSIC CENTER 
VOCAL FELLOWS AND ORCHESTRA 
STEFAN ASBURY, conductor; DAVID 
KNEUSS, director; JOHN MICHAEL 
DEEGAN and SARAH G. CONLY, design 

BRITTEN A Midsummer Nights Dream 
(fully staged) 

Friday, July 30, at 6 (Prelude) 

MEMBERS OF THE BSO 
RENAUD CAPUQON, violin 
RANDALL HODGKINSON, piano 

Music of SCHNITTKE and DVORAK 

Friday, July 30, at 8:30 

BSO— EDO DE WAART, conductor 
RICHARD GOODE, piano 
TANGLEWOOD FESTIVAL CHORUS, 
JOHN OLIVER, conductor 

HAYDN Te Deum; Symphony No. 92, Oxford 
MOZART Ave Verum Corpus; Piano Concerto 
No. 24 in C minor, K.491 

Saturday, July 31, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Sunday, August 1 

Saturday, July 31, at 8:30 

BSO— CHRISTOPH VON DOHNANYI, 

conductor 
RENAUD CAPUgON, violin 

SCHNITTKE (K)ein Sommernachtstraum 
MENDELSSOHN Violin Concerto 
BRAHMS Symphony No. 4 

Programs and artists subject to change. 

f UN0ING PROVIDED IN PART BY 
IIP 







Massachusetts Cultural Council 



2004TANGLEWOOD MUSIC CENTER PERFORMANCE SCHEDULE 

(Unless otherwise noted, all events take place in Florence Gould Auditorium, Seiji Ozawa Hall.) 



Thursday, July 1, 8:30 p.m.* 

Friday, July 2, 8:30 p.m.* 

MARK MORRIS DANCE GROUP and 

TMC FELLOWS 
CRAIG SMITH, conductor 
Choreography by MARK MORRIS to music 

of BACH, BARTOK, and VIVALDI 

Sunday, July 4, 10 a.m. 

Chamber Music Concert 

Monday, July 5, 1 p.m. (CMH) 

Steinway Series (free admission) 

Monday, July 5, 8:30 p.m. 
The Daniel and Shirlee Cohen Freed Concert 
TMC ORCHESTRA 
INGO METZMACHER, conductor 
Music of DALLAPICCOLA, 
SCHOENBERG, and BERLIOZ 

Wednesday, July 7, 7 p.m. 

Opening Exercises (free admission; open to 
the public) 

Saturday, July 10, 6 p.m. J) 

Prelude Concert 

Sunday, July 11, 10 a.m. 

Chamber Music Concert 

Sunday, July 11, 8:30 p.m. (CMH) 

Vocal Recital 

Monday, July 12, 1 p.m. (CMH) 

Steinway Series (free admission) 

Monday, July 12, 8:30 p.m. 

The Phyllis and Lee Coffey Memorial Fund 

Concert 
TMC ORCHESTRA 
KURT MASUR, JOSEPH WOLFE 

(TMC Fellow), and HELENE BOUCHEZ 

(TMC Fellow), conductors 
ANNALENA PERSSON, soprano 
Music of MENDELSSOHN, KODALY, and 

WAGNER 

Saturday, July 17, 6 p.m. «h 

Prelude Concert 

Sunday, July 18, 10 a.m. 

Chamber Music Concert 

Monday, July 19, 1 p.m. (CMH) 

Steinway Series (free admission) 

Monday, July 19, 8:30 p.m. 

The Margaret Lee Crofts Concert 

TMC ORCHESTRA 

RAFAEL FRUHBECK DE BURGOS, 

conductor 
Music of HAYDN and STRAUSS 



Thursday, July 22, 8:30 p.m. 

Vocal Recital 

Saturday, July 24, 6 p.m. «h 

Prelude Concert 

Sunday, July 25, 10 a.m. 

Chamber Music Concert 

Monday, July 26, 1 p.m. (CMH) 

Steinway Series (free admission) 

Tuesday, July 27, 2:30 p.m. (TH)* 

Opera Open Dress Rehearsal — see July 29 & 31 

Thursday, July 29, 10 a.m., 1 p.m., 4 p.m. 

String Quartet Marathon: three 2-hour 
performances 

Thursday, July 29, 8 p.m. (TH)* and 
Saturday, July 31, 2:30 p.m. (TH)* 

TMC VOCAL FELLOWS & ORCHESTRA 
STEFAN ASBURY, conductor 
DAVID KNEUSS, director 
JOHN MICHAEL DEEGAN and 

SARAH G. CONLY, design 
BRITTEN A Midsummer Nights Dream 

Saturday, July 31, 6 p.m./ 1 

Prelude Concert 

Sunday, August 1, 10 a.m. (TH) 

Chamber Music Concert 
T'ANG QUARTET 

Sunday, August 1, 8:30 p.m.* 

Ozawa Hall 10th Anniversary Celebration Gala 

TMC ORCHESTRA 

SEIJI OZAWA, JOHN WILLIAMS, and 

JOHN OLIVER, conductors 
STEPHANIE BLYTHE, mezzo-soprano; 

YUNDI LI, piano; MAYUMI MIYATA, sho 
BOSTON SYMPHONY CHAMBER 

PLAYERS 
TANGLEWOOD FESTIVAL CHORUS 
Music of COPLAND, TAKEMITSU, 

BERNSTEIN, LISZT, CHOPIN, 

WAGNER, and VERDI 

Tuesday, August 3, 2 p.m.* 
TANGLEWOOD ON PARADE 

To benefit the Tanglewood Music Center 
Afternoon performances begin at 2 p.m. 
Gala concert at 8:30 p.m. (Shed) 
BOSTON SYMPHONY, BOSTON POPS, 

and TMC ORCHESTRAS 
CHRISTOPH VON DOHNANYI, KEITH 

LOCKHART and JOHN WILLIAMS, 

conductors 
Music of STRAUSS, BENNETT, 

WILLIAMS, and TCHAIKOVSKY 



(CMH) = Chamber Music Hall 
(TH) = Theatre 



j> Admission is free, but restricted to 8:30 p.m. concert ticket holders. 
*Tickets available through the Tanglewood box office 



Saturday, August 7, 6 p.m. «h 
Prelude Concert 

Sunday, August 8, 10 a.m. 

Chamber Music Concert 

Tuesday, August 10, 8:30 p.m. 

Chamber Music Concert 

Thursday, August 12 — Monday, August 16 
FESTIVAL OF CONTEMPORARY MUSIC 
Robert Spano, director 

Made possible by the generous support of Dr. 
Raymond and Hannah H. Schneider, with addi- 
tional support through grants from The Aaron 
Copland Fund for Music, The Fromm Music 
Foundation, and The Helen F. Whitaker Fund.. 

Guest Soloists: Meridian Arts Ensemble, with 
Helena Bugallo, piano, and Elliott Sharp, 
sound artist; Dawn Upshaw and Lucy 
Shelton, sopranos; Norman Fischer, cello 

Detailed program information available at the 
Main Gate 

Tuesday, August 17, 8:30 p.m. 

Chamber Music Concert 

Thursday, August 19, 1:30 p.m. (TH) 

Chamber Music Concert 

Saturday, August 21, 6 p.m. J> 

Prelude Concert 

Sunday, August 22, 10 a.m. 

Vocal Chamber Music Concert 




Sunday, August 22, 2:30 p.m. (Shed)* 
The Leonard Bernstein Memorial Concert 

Supported by generous endowments established in 
perpetuity by Dr. Raymond and Hannah H. 
Schneider, and Diane H. Lupean. 

TMC ORCHESTRA 

JAMES DePREIST, conductor 

GARRICK OHLSSON, piano 

Music of BEETHOVEN and MAHLER 

Except for concerts requiring a Tanglewood box office 
ticket (indicated by * or J), tickets for TMC events are 
only available one hour before concert time. 

TMC Orchestra Hall tickets $25 

TMC Orchestra Lawn tickets $10 
Other TMC concerts $10 

TMC recitals, chamber music, and Festival of Con- 
temporary Music concerts: Friends of Tanglewood at 
the $150 level or higher will receive 2 free tickets to 
these performances by presenting their membership 
card at the Box Office one hour before concert time. 
Tickets are $10 for non-members and donors of up 
to $149. TMC Orchestra concerts (July 5, 12, 19; 
August 16): Friends of Tanglewood at the $150 level 
or higher are invited to order a limited number of TMC 
Orchestra tickets on the Advance Ticket Order Form 
at $25 each. 

Beginning June 7, donors of $150 or higher may order 
additional TMC Orchestra tickets, either at the Tan- 
glewood box office or by calling SymphonyCharge at 
(888) 266-1200. Non-members and donors of up to 
$149 may purchase tickets starting at 7:30 p.m. at the 
Bernstein Gate box office on the day of the perform- 
ance at prices noted above. 

Further information about TMC events is available 
at the Tanglewood Main Gate, by calling (413) 637- 
5230, or at www.bso.org. All programs are subject to 
change. 






2004 BOSTON UNIVERSITY TANGLEWOOD INSTITUTE 

Concert Schedule (all events in Seiji Ozawa Hall unless otherwise noted) 

ORCHESTRA PROGRAMS: Saturday, July 17, 2:30 p.m. Federico Cortese conducting music 
of Beethoven and Rachmaninoff; Saturday, July 31, 2:30 p.m. David Hoose conducting music of 
Vaughan Williams (with Young Artists Chorus) and Stravinsky; Saturday, August 14, 2:30 p.m. 
David Hoose conducting music of Bartok and Smetana 

WIND ENSEMBLE PROGRAMS: Sunday, July 18, 7 p.m. Frank Battisti conducting music of 
Harbison (with Young Artists Chorus), Corigliano, Dello Joio, Persichetti, Ives, and Grainger; 
Thursday, July 29, 8 p.m. Frank Battisti conducting music of Strauss, Milhaud, Rands, Massenet, 
Harbison, and Feltman 

VOCAL PROGRAMS: Sunday, July 18, 7 p.m. Frank Battisti conducting music of Harbison 
(with Young Artists Wind Ensemble); Saturday, July 31, 2:30 p.m. David Hoose conducting 
music of Vaughan Williams (with Young Artists Orchestra) 

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6 p.m. unless otherwise 
noted: Tuesday, July 20; Wednesday, July 21; Thursday, July 29; Saturday, August 7, 2:30 p.m., 
Ozawa Hall, Honors Chamber Music Recital; Tuesday, August 10; Wednesday, August 11; 
Thursday, August 12 

Tickets available one hour before concert time. Admission is $10 for orchestra concerts, 
free for all other BUTI concerts. For more information call (413) 637-1430. 






EDUCATIONAL DIRECTORY 




Celebrates the Arts 

AAG's rigorous college preparatory 

program includes unique offerings in visual 

and performing arts. 

140 Academy Rd. • Albany, NY 12208 • 518.463.2201 
www.albanyacademyforgirls.org 



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Darrow School 

110 Darrow Road, New Lebanon, NY 
70 years of hands-on education in the Berkshires 
See how much your child can learn. 




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Rigorous College Prep Program for Girls 
Boarding and Day, Grades 9-12 

Collaborative Programs With: 

The Manhattan School of Music and Juilliard 

The School of Dance Connecticut 

Rensselaer Polytechnic Institute 

Seven Angels Theatre 



For more information, please contact: 

Office of Admission 

P.O. Box 847 Middlebury, CT 06762 

Phone: (203)758-2423 

website: www.westoverschool.org 






THE KOUSSEVITZKY SOCIETY 

The Koussevitzky Society recognizes gifts made since September 1, 2003, to 
the following funds: Tanglewood Annual Fund, Tanglewood Business Fund, 
Tanglewood Music Center Annual Fund, and Tanglewood restricted annual 
gifts. The Boston Symphony Orchestra is grateful to the following individu- 
als, foundations, and businesses for their annual support of $2,500 or more 
during the 2003-2004 season. For further information, please contact the 
Friends Office at (413) 637-5261. 



Anonymous (1) 
Country Curtains 



Linda J.L. Becker 
Gregory Bulger 



Anonymous (1) 

Susan L. Baker and Michael Lynch 

Canyon Ranch in the Berkshires 

Mr. and Mrs. Joseph L. Cohen 

Ginger and George Elvin 

Mr. and Mrs. Daniel Freed 



APPASSIONATO $100,000 and up 

George and Roberta Berry 

VIRTUOSO $50,000 to $99,999 

Dr. Carol Reich and 
Mr. Joseph Reich 



ENCORE $25,000 to $49,999 

A Friend of the Tanglewood 

Music Center 
Dorothy and Charles Jenkins 

MAESTRO $15,000 to $24,999 

The Frelinghuysen Foundation 
Mr. and Mrs. Michael L. Gordon 
James A. Macdonald Foundation 
Stephen B. Kay and Lisbeth Tarlow 
Mrs. August R. Meyer 
Mrs. Evelyn Nef 



Mr. and Mrs. Edward H. Linde 
Stephen and Dorothy Weber 



Mrs. K. Fred Netter 

Annette and Vincent O'Reilly 

The Red Lion Inn 

Mrs. Anson P. Stokes 

Mr. and Mrs. Wilmer J. Thomas, Jr. 

Loet and Edith Velmans 



BENEFACTORS $10,000 to $14,999 



Anonymous (1) 

Banknorth 

Berkshire Bank 

Blantyre 

Jan Brett and Joseph Hearne 

Catherine and Paul Buttenwieser 



Anonymous (3) 

Mr. and Mrs. William F. Allen, Jr. 
Robert Baum and Elana Carroll 
The Berkshire Capital Investors 
Ann and Alan H. Bernstein 
Mr. and Mrs. Lee N. Blatt 
Judy and Simeon Brinberg 
Ann Fitzpatrick Brown 
James and Tina Collias 
Ranny Cooper and David Smith 
Mr. and Mrs. Herbert J. Coyne 
Crane & Company, Inc. 



Mr. John F. Cogan, Jr. and 

Ms. Mary L. Cornille 
The Fassino Foundation, Inc. 
Hon. and Mrs. John H. Fitzpatrick 
Nancy J. Fitzpatrick and 

Lincoln Russell 
The Hon. Peter H.B. Frelinghuysen 

SPONSORS $5,000 to $9,999 

Mr. and Mrs. William Cruger 

Mr. and Mrs. Clive S. Cummis 

Ms. Marie V. Feder 

Mr. and Mrs. Dale E. Fowler 

Mr. Michael Fried 

Mr. and Mrs. Belvin Friedson 

Mr. Louis R. Gary 

Mr. and Mrs. J. Arthur Goldberg 

Roberta and Macey Goldman 

Mr. and Mrs. Robert A. Goodman 

John and Chara Haas 

Dr. Lynne B. Harrison 



Mr. and Mrs. Robert I. Kleinberg 
Mr. and Mrs. Robert J. Lepofsky 
Dr. Raymond and 

Hannah H. Schneider 
Evelyn and Ronald Shapiro 
The Studley Press, Inc. 



Mr. and Mrs. Francis W. Hatch, Jr. 
Mr. and Mrs. Ira Haupt II 
Ms. Rhoda Herrick 
Mr. and Mrs. Stuart Hirshfield 
Mr. and Mrs. Lawrence S. Horn 
Dr. and Mrs. Allen Hyman 
Inland Management Corporation 
Mr. and Mrs. Everett Jassy 
Mr. and Mrs. Stephen J. Jerome 
Mr. and Mrs. Michael P. Kahn 
Mr. and Mrs. Louis Kaitz 
Mrs. Leonard S. Kandell 







Continued on next page 




SPONSORS $5,000 to $9,999 (continued) 



Natalie and Murray S. Katz 

Msgr. Leo A. Kelty 

Mr. and Mrs. Michael Kittredge 

Koppers Chocolate 

Mr. and Mrs. Rudolf M. Kroc 

Liz and George Krupp 

Roger and Myrna Landay 

Legacy Banks 

Mrs. Vincent J. Lesunaitis 

Buddy and Nannette Lewis 

Mr. and Mrs. Edwin N. London 

Jay and Shirley Marks 

Mr. and Mrs. Thomas T. McCain 

Cynthia and Randolph Nelson 



Anonymous (8) 

Mr. William F. Achtmeyer 

Mrs. Janet Adams and 

Mr. James Oberschmidt 
Mr. and Mrs. Alan Ades 
Drs. Paula Algranati and 

Barry Izenstein 
Mr. and Mrs. Ronald Altman 
Harlan and Lois Anderson 
Arthur Appelstein and 

Lorraine Becker 
Apple Tree Inn and Restaurant 
Gideon Argov and Alexandra Fuchs 
The Barrington Foundation, Inc. 
Mr. John A. Barry, Jr. 
Ms. Lucille M. Batal 
Helene and Ady Berger 
Jerome and Henrietta Berko 
Berkshire Life Insurance Company 

of America 
Mr. and Mrs. Allen J. Bernstein 
Ms. Joyce S. Bernstein and 

Mr. Lawrence M. Rosenthal 
Hildi and Walter Black 
Ann and Neal Blackmarr 
Eleanor and Ed Bloom 
Birgit and Charles Blyth 
Mr. and Mrs. Nicholas Boraski 
Mark G. and Linda Borden 
Marlene and Dr. Stuart H. Brager 
Jane and Jay Braus 
Broadway Manufacturing Supply 
Mr. and Mrs. Richard Brown 
Samuel B. and Deborah D. Bruskin 
Cain, Hibbard, Myers & Cook 
Phyllis H. Carey 
Mary Carswell 
Iris and Mel Chasen 
Barbara Cohen-Hobbs 
Mr. and Mrs. Stewart M. Colton 



May and Daniel Pierce 

Claudio and Penny Pincus 

Mr. and Mrs. Abe Pollin 

Mr. and Mrs. Millard H. Pryor, Jr. 

Lila and Gerald Rauch 

The Charles L. Read Foundation 

Mr. and Mrs. Robert E. Remis 

Barbara and Michael Rosenbaum 

Mr. Joseph D. Roxe 

David and Sue Rudd 

Mr. and Mrs. Alan Sagner 

Mr. and Mrs. Ira Sarinsky 

Mr. and Mrs. Dan Schusterman 

Arlene and Donald Shapiro 

MEMBERS $2,500 to $4,999 

Linda Benedict Colvin 
Cornell Inn 

Mr. and Dr. Trayton Davis 
Dr. and Mrs. Harold L. Deutsch 
Mr. and Mrs. Jeff Diamond 
Channing and Ursula Dichter 
Chester and Joy Douglass 
Dresser-Hull Company 
Ms. Judith R. Drucker 
Terry and Mel Drucker 
John and Alix Dunn 
Mr. and Mrs. Leonard Edelson 
Mr. and Mrs. Monroe B. England 
Eitan and Malka Evan 
Roz and Bob Feldman 
Mr. and Mrs. John C. Fontaine 
Mr. and Mrs. David Forer 
Mr. and Mrs. Herb Franklin 
I. Robert and Aviva Freelander 
Carolyn and Roger Friedlander 
Myra and Raymond Friedman 
Ralph and Audrey Friedner 
Mr. and Mrs. Robert L. Gable 
Jill and Harold Gaffln 
Mr. and Mrs. Arthur J. Gaines 
Agostino Galluzzo and Susan Hoag 
Mr. and Mrs. Gerald N. Gaston 
Dr. and Mrs. Paul H. Gendler 
Mr. and Mrs. Melvin Y. Gershman 
Dr. Donald and Phoebe Giddon 
Mr. and Mrs. Stephen A. Gilbert 
Cora and Ted Ginsberg 
David H. Glaser and 
Deborah F. Stone 
Sy and Jane Glaser 
Dr. Morton Gluck 
Mr. and Mrs. Seymour L. Goldman 
Dr. and Mrs. Morris Goldsmith 
Mrs. Haskell R. Gordon 
Corinne and Jerry Gorelick 



Hannah and Walter Shmerler 
Mr. Peter Spiegelman and 

Ms. Alice Wang 
Margery and Lewis Steinberg 
Marjorie and Sherwood Sumner 
Mr. and Mrs. George A. Suter, Jr. 
Mr. Aso Tavitian 
Diana Osgood Tottenham 
Ms. June Ugelow 
Mrs. Charles H. Watts H 
Karen and Jerry Waxberg 
Mrs. John Hazen White 
Mr. and Mrs. Ira Yohalem 



Goshen Wine & Spirits, Inc. 
Mr. and Mrs. Richard Grausman 
Mr. Harold Grinspoon and 

Ms. Diane Troderman 
Ms. Bobbie Hallig 
Joseph K. and Mary Jane Handler 
Felda and Dena Hardymon 
William Harris and 

Jeananne Hauswald 
Mr. Gardner C. Hendrie and 

Ms. Karen J. Johansen 
Mrs. Paul J. Henegan 
Mr. and Mrs. Peter Herbst 
Mr. and Mrs. Murray Hershman 
Mr. and Mrs. Robert I. Hiller 
Dr. and Mrs. Ronald Hinds 
Mr. Arnold J. and 

Helen G. Hoffman 
Mr. and Mrs. Charles Hoffman 
Dr. Joan O. Hoffman and 

Mr. Syd Silverman 
Dr. and Mrs. Edwin H. Hopton 
Mrs. Ruth W. Houghton 
Housatonic Curtain Company 
Mr. and Mrs. William R. 

Housholder 
Stephen and Michele Jackman 
Mr. and Mrs. Edwin A. Jaffe 
Mr. and Mrs. Werner Janssen, Jr. 
Mr. and Mrs. Daniel R. Johnson 
Ms. Lauren Joy and 

Ms. Elyse Etling 
Nedra Kalish 
Adrienne and Alan Kane 
Mr. and Mrs. Arnold Y. Kapiloff 
Leonard Kaplan and 

Marcia Simon Kaplan 
Martin and Wendy Kaplan 
Mr. and Mrs. Wilson R. Kaplen 
Mr. and Mrs. Howard Kaufman 






Mr. and Mrs. Bruce Kelly 

Mr. and Mrs. Carleton F. Kilmer 

Deko and Harold Klebanoff 

Dr. and Mrs. Lester Klein 

Dr. and Mrs. David I. Kosowsky 

Janet and Earl Kramer 

Mr. and Mrs. Ely Krellenstein 

Norma and Irving Kronenberg 

Mr. and Mrs. Richard Kronenberg 

Naomi Kruvant 

Norma and Sol D. Kugler 

Cary and Beth Lakenbach 

Mildred Loria Langsam 

William and Marilyn Larkin 

Mr. and Mrs. William Lehman 

Ms. Lois Lerner 

Mr. Arthur J. Levey and 

Ms. Rocio Gell 
Marjorie T. Lieberman 
Mr. and Mrs. Murray Liebowitz 
Geri and Roy Liemer 
Mr. and Mrs. A. Michael Lipper 
Mr. and Mrs. Roger S. Loeb 
Mr. and Mrs. Walter F. Loeb 
Gerry and Shed Lublin 
Mr. and Mrs. Bernard Ludwig 
Diane H. Lupean 
Gloria and Leonard Luria 
Mr. and Mrs. Edward Lustbader 
I. Kenneth and Barbara Mahler 
Mr. and Mrs. Darryl Mallah 
Rev. Cabell B. Marbury 
Peg and Bob Marcus 
Suzanne and Mort Marvin 
Mr. Daniel Mathieu and Tom Potter 
Maxymillian Technologies, Inc. 
Dr. Robert and Jane B. Mayer 
Carol and Thomas McCann 
Phyllis and Irv Mendelson 
The Messinger Family 
Mr. and Mrs. Rollin W. Mettler, Jr. 
Vera and Stanley T. Miller 
Mr. and Mrs. Michael A. Monts 
Mr. and Mrs. Joseph L. Nathan 
Jerry and Mary Nelson 
Linda and Stuart Nelson 
Bobbie and Arthur Newman 
Mr. Richard Novik 
Mr. Edward G. and 

Mrs. Sandra Novotny 
Mr. and Mrs. Chet Opalka 
Dr. and Mrs. Martin S. Oppenheim 
Mr. and Mrs. Michael Orlove 
Dr. and Mrs. Simon Parisier 



Names listed as of June 3, 2004 



Parnassus Foundation, courtesy 

of Jane and Raphael Bernstein 
Mr. Lawrence Phillips 
Drs. Eduardo and Lina Plantilla 
Plastics Technology Laboratories, 

Inc. 
Dr. and Mrs. Francis Powers, Jr. 
Mr. and Mrs. Bruno Quinson 
Mr. and Mrs. Mickey Rabina 
Charles and Diana Redfern 
Mr. and Mrs. Nathan Reiber 
Mr. John H. Rice and 

Ms. Janet Pinkham 
Mr. Stanley Riemer 
Mary and Lee Rivollier 
Mr. and Mrs. Bernard L. Roberts 
Mr. and Mrs. Stanley Ross 
Mr. and Mrs. Harvey Rothenberg 
Mr. and Mrs. Jean J. Rousseau 
Mrs. George R. Rowland 
Suzanne and Burton Rubin 
Mr. and Mrs. Milton B. Rubin 
Carole and Edward I. Rudman 
Mr. Bruce Sagan and 

Ms. Bette Cerf Hill 
Mr. and Mrs. Michael Salke 
Malcolm and BJ Salter 
Samuel and Susan Samelson 
Mr. Robert M. Sanders 
Satinwood at Scarnagh, LLC 
Dr. and Mrs. Wynn A. Sayman 
Mr. Gary S. Schieneman and 

Ms. Susan B. Fisher 
Marcia and Albert Schmier 
Mr. and Mrs. Ernest Schnesel 
Lois and Alan Schottenstein 
Carrie and David Schulman 
Mr. and Mrs. Wallace L. Schwartz 
Carol and Marvin Schwartzbard 
Betsey and Mark Selkowitz 
Carol and Richard Seltzer 
Mr. and Mrs. Daniel Shapiro 
Mr. and Mrs. Howard and 

Natalie Shawn 
Sheffield Plastics, Inc. 
Jackie Sheinberg and 

Jay Morganstern 
The Richard Shields Family 
Hon. George P. Shultz 
Robert and Roberta Silman 
Richard B. Silverman 
Marion and Leonard Simon 
Mr. and Mrs. Robert L. Singleton 
Mr. and Mrs. Arthur M. Siskind 



Maggie and John Skenyon 
Mrs. William F. Sondericker 
Harvey and Gabriella Sperry 
Mr. and Mrs. Jerry Spiegel 
Dr. and Mrs. Michael Sporn 
Mr. and Mrs. Charles A. Stakely 
Mr. and Mrs. Lewis Stein 
Ms. Alice Stephens and 

Mr. Kenneth Abrahami 
Mr. and Mrs. Daniel S. Sterling 
Mr. and Mrs. Henry S. Stone 
Stonover Farm Bed and Breakfast 
Mrs. Pat Strawgate 
Mr. and Mrs. Charles Stuzin 
Mr. and Mrs. Michael Suisman 
Mr. Wayne Sunday 
Mr. and Mrs. I. David Swawite 
Talbots Charitable Foundation 
Mr. and Mrs. Richard Taylor 
Mr. and Mrs. Jack Teich 
Mr. and Mrs. John L. Thorndike 
Mr. Bruce Tierney 
The Tilles Family 
Mr. and Mrs. Albert J. Togut 
Myra a'nd Michael Tweedy 
Mr. and Mrs. Howard J. Tytel 
Mr. Laughran S. Vaber 
Mr. and Mrs. Charles Vail 
Viking Fuel Oil Company 
Walden Printing Co., Inc. 
Mr. and Mrs. William G. Walker 
Mr. and Mrs. Harvey Waller 
Mr. and Mrs. Edwin A. Weiller III 
Mr. and Mrs. Robert A. Weinerman 
Mr. and Mrs. Barry Weiss 
Dr. and Mrs. Jerry Weiss 
Mr. and Mrs. Milton Weiss 
Mr. and Mrs. Robert A. Wells 
Mr. and Mrs. Frederic P. Werner 
Wheatleigh Hotel & Restaurant 
Ms. Carol Andrea Whitcomb 
Carole White 
Peter D. Whitehead 
Mr. and Mrs. Richard E. Willett 
Mr. Robert G. Wilmers 
Mr. Jan Winkler and 

Ms. Hermine Dresner 
Mr. and Mrs. Robert C. Winters 
Bob and Phyllis Yawitt 
Mr. and Mrs. Eric K. Zeise 
Simon H. and Esther Zimmerman 
Richard M. Ziter, M.D. 
Mr. Lyonel E. Zunz 





/ 



Judy Drucker's 




A not-for-profit organization 
Premier Presenters of the World's Greatest Music & Dance 

Chaim Katzman Board chair 
Judy Drucker, president 



We Conduct Some Serious 
Business in South Florida.,. 





Kurt Masur 





Osmo Vanska 




Sure, the sun shines year round in Miami and Fort 
Lauderdale, and any occasion is a good occasion to visit, 
but Judy Drucker's Concert Association assures that 
world-renown artists are forecast for the 2004-2005 
season. Featuring the greatest conductors eliciting glori- 
ous music from the most highly-acclaimed orchestras 
and soloists in the world. These artists will conduct some 
serious business: ensuring that South Florida is among 
the capitals of the classical music world. Featuring 
orchestras including the Boston Pops, Orchestre National 
de France, Kirov Orchestra of the Mariinsky Theatre, 
Dresden Staatskapelle, Pittsburgh Symphony, Minnesota 
Orchestra and others at the Jackie Gleason Theater in 
Miami Beach and the Broward Center for the Performing 
Arts in Fort Lauderdale... 

Call for a free brochure or to secure your seats to hear 
the greatest orchestras and performers set among the 
backdrop of two of the most beautiful cities in the world. 

Toll-free 1-877-433-3200, ext. 301. 
www.concertfla.org 



fo*.fi£MXf± 



Claire's 




Yuri Simonov 



MIAMI BEACH 

cultural. 



W^m BR^/VARD Art/ 

i/'/r^^B council 



VU^v 



JwfyDnitler 




Charles Dutoit 




Valery Gergiev 




Yuri Temirkanov 




Raphael Fruhbeck de Burgos 



These concerts are sponsored by the Concert Association of Florida, Inc., with the support of the Florida Dept. of State, Division of Cultural Affairs and the Florida Arts Council; the Broward County Board of County 

Commissioners, the Broword Cultural Affairs Council ond the Miami-Dade County Board of County Commissioners, the City of Miami Beach and the Miami Beach Cultural Arts Council A copy of the registration ond 

financial information may be obtained from the division of Consumer Services by calling toll-free 1-800-435-7325 within the state. Registration does not imply endorsement, approval or recommendation by the 

state. All performances, artists, dotes, venues and programs are subject to change. No refunds or exchanges. Latecomers will not be seated until the first suitable break in the performance. 






BUSINESS FRIENDS OFTANGLEWOOD 

The BSO gratefully acknowledges the following for their generous contributions of 
$500 or more during the 2003-2004 fiscal year. An eighth note symbol («h) denotes 
support of $1,000-12,499. Names that are capitalized recognize gifts of $2,500 or more. 



BUSINESS FRIENDS TEN 

recognizing gifts of $10,000 
or more 

Banknorth 

Berkshire Bank 

Blantyre 

Canyon Ranch in the Berkshires 

County Curtains 

The Red Lion Inn 



Banking 



Accounting/Tax Preparation 

Adelson 6c Company RC. 

Feldman, Holtzman, Lupo 6c 
Zerbo, CPAs 

Mark Friedman, CPA 
JWarren H. Hagler Associates 

Michael G. Kurcias, CPA 

Alan S. Levine, PC, CPA 
JiRiley, Haddad, Lombardi 6c 
Clairmont 

Sax, Macy, Fromm 6c Co., PC. 

Advertising/Communications/ 
Public Relations 

Ed Bride Associates 
Heller Communications 
J>JDC Communications 
Teletime Media Inc. 

Antiques/Art Galleries 

J'Elise Abrams Antiques 
.hCoffman's Antiques Markets 
^Country Dining Room Antiques 

Cupboards 6c Roses 

DeVries Fine Art 

Fellerman 6c Raabe Glassworks 

Green River Gallery 

Henry B. Holt 

Susan Silver Antiques 

Stone's Throw Antiques 

Watkins Gallery 

R.W. Wise, Goldsmiths, Inc. 

Architects/Landscape 

Denig Design Associates, Inc. 
edm 
architecture ■ engineering • 
management 
jFbur Architecture Inc. 
Hill Engineers, Architects, 
Planners, Inc. 
.pEdward Rowse Architects 
Pamela Sandler AIA, Architect 

Automotive 

^Norman Baker Auto Sales, Inc. 
J'Biener Nissan-Audi 

Pete's Motor Group 

S6cW Sales Co. Inc. 



Adams Cooperative Bank 
BANKNORTH 
BERKSHIRE BANK 
Greylock Federal Credit Union 
Lee Bank 
LEGACY BANKS 
Lenox National Bank 
jThe Pittsfield Cooperative Bank 
South Adams Savings Bank 

Beverage/Food Sales/Consumer 
Goods/Distribution 

J'Crescent Creamery 
GOSHEN WINE 6c SPIRITS, 
INC. 
jGuido's Quality Food 6c Produce, 
Inc. 
High Lawn Farm 
KOPPERS CHOCOLATE 
Moore Fine Food, Inc. 

Consulting: 
Management/Financial 

American Investment Services 

BERKSHIRE BANK 

Saul Cohen 6c Associates 

ComPiere ERP/CRM 
jGeneral Systems Co., Inc. 
^Leading Edge Concepts 

Locklin Management Services 
jMarlebar Group 
JlPilson Communications, Inc. 
J>RL Associates 

South Adams Savings Bank 

Contracting/Building Supplies 

Alarms of Berkshire County 
Lou Boxer Builder, Inc. 
Cardan Construction, Inc. 
Dettinger Lumber Co., Inc. 
DRESSER-HULL COMPANY 
Great River Construction 

Company, Inc. 
i'Petricca Construction Co. 
S 6c A Supply, Inc. 
David J. Tierney Jr., Inc. 
PETER D. WHITEHEAD, 

BUILDER 

Education 

Belvoir Terrace—Fine and 
Performing Arts Center 

Berkshire Country Day School 

Berkshire Stuttering Center 
JCamp Greylock 

Robin Kruuse 

Massachusetts College of Liberal 
Arts 

Energy/Utilities 

The Berkshire Gas Company 
ESCO Energy Services Co. 
Massachusetts Electric Company 



.hRay Murray Inc. 
Pittsfield Generating Company 
VIKING FUEL OIL 
COMPANY, INC. 

Engineering 

edm 
architecture • engineering • 
management 
Foresight Land Services 
^General Systems Co., Inc. 

Environmental Services 

Foresight Land Services 
MAXYMILLIAN 

TECHNOLOGIES, INC. 
Nowick Environmental Associates 

Financial Services 

American Investment Services 
jAbbott Capital Management, 

LLC 

BANKNORTH 

BERKSHIRE CAPITAL 
INVESTORS, INC. 
J>Mr. and Mrs. Monroe Faust 

THE FEDER GROUP 
J^Kaplan Associates L.P 

The Keator Group 

Sagemark Corporation 

MARK SELKOWITZ 
INSURANCE AGENCY, 
LLC 

UBS Financial Services 
jAndrew Collins Vickery 

High Technolgy/Electronics 

New England Dynamark Security 
Center 
j^New Yorker Electronics Co., Inc. 

Insurance 

Bader Insurance Agency, Inc. 
BERKSHIRE LIFE 

INSURANCE COMPANY 

OF AMERICA 
LEGACY BANKS 
McCormick, Smith 6c Curry 
Minkler Insurance Agency, Inc. 
Reynolds, Barnes 6cHebb 
MARK SELKOWITZ 

INSURANCE AGENCY, 

LLC 
Wheeler 6c Taylor Inc. 

Legal 

jFrank E. Antonucci, Attorney at 
Law 
JOHN A. BARRY, ATTORNEY 
AT LAW 
J^Braverman 6c Associates 
CAIN, HIBBARD, MYERS 6c 
COOK, PC 
jGertilman, Balin 






,cX SUMMER READING 



NEW I 



iPAPERBACK 




'A treat to discover... 

utterly charming." 

— Entertainment Weekly 



"Gloriously eccentric, 
wonderfully intelligent. 

— The Boston Globe 




DM II IN 1 1\ Violent Faith 

OF HEAVEN 

On July 24,1984, a woman and her infant daughter were 
murdered by two brothers who believed they were ordered 
to kill by God. The roots of their crime lie deep in the 
history of an American religion practiced by millions... 

"Fantastic... Up there 

with In Cold Blood" 

— San Francisco Chronicle 




"Towering and intrepid.... "Powerful.... #1 NATIONAL BESTSELLER 

Does Orwell one better." Wonderfully told." "Wonderfully unexpected." 

— The New Yorker — The New York Times Book Review — Chicago Sun-Times 



HAVE YOU READ THEM YET? 



Find author tour schedules, book excerpts, reading group 
guides, and much more at www.readinggroupcenter.com 



VINTAGE 



50 



ANCHOR 






Cianflone 8c Cianflone, P.C. 
^Michael J. Considine, Attorney at 
Law 
Deely 8c Deely 
Law Office of Joel S. Greenberg, 

P.C. 
Grinnell, Dubendorf 8c Smith 
Philip F. Heller 8c Associates, 

Attorneys at-Law 
Jonas and Welsch, PC. 
Ellen C. Marshall, Esq. 
J>Schragger, Lavine 8c Nagy 
J'Lester M. Shulklapper, Esq. 

Lodging/Where to Stay 

A Bed 8c Breakfast in the 
Berkshires 

Applegate Inn 

APPLE TREE INN 8c 
RESTAURANT 

Best Western Black Swan Inn 

Birchwood Inn 

BLANTYRE 

Broken Hill Manor 

Brook Farm Inn 
^Christine's Bed 8c Breakfast Inn 

8c Tea Room 
J>Cliffwood Inn 

CORNELL INN 
J^Cranwell Resort, Spa, and Golf 
Club 

Devonfield Country Inn 

From Ketchup to Caviar 
jThe Gables Inn 

Gateways Inn 8c Restaurant 

Howard Johnson 

The Inn at Richmond 
JThe Inn at Stockbridge 

Monument Mountain Motel 

One Main B8cB 

The Porches Inn at MASSMoCA 

The Red Lion Inn 
J>Rookwood Inn 

SATINWOOD AT 
SCARNAGH 

Spencertown Country House 

STONOVER FARM BED 8c 
BREAKFAST 

Taggart House 

The Village Inn 
^Walker House 

The Weathervane Inn 

WHEATLEIGH HOTEL 8c 
RESTAURANT 

Whisder's Inn 

Windflower Inn 

The Yankee Home Comfort Inn 

Manufacturing/Industrial 

J>Barry L. Beyer 
BROADWAY MANUFAC- 
TURING SUPPLY 
^French Textiles 
JThe Kaplan Group 
KOPPERS CHOCOLATE 
Limited Edition Lighting 8c 

Custom Shades 
MeadWestvaco Corporation 
Plastics Technology Laboratories, 

Inc. 
Schweitzer-Mauduit International 
Inc. 



SHEFFIELD PLASTICS, INC. 
A BAYER COMPANY 

J^SpaceNow! Corporation 

Printing/Publishing 

J'Barry L. Beyer 
CRANE 8c COMPANY, INC. 
Pindar Press 

Quality Printing Company, Inc. 
THE STUDLEY PRESS 
WALDEN PRINTING 
COMPANY 

Real Estate 



j>Barrington Associates Realty 
Trust 

Benchmark Real Estate 

Berkshire Homes and Condos 

Berkshire Mortgage Company 
JCohen 8c White Associates 

Copake Realty 

Corashire Realty Inc. 
^Evergreen Buyer Brokers of the 

Berkshires 
J>Franz J. Forster Real Estate 

INLAND MANAGEMENT 
CORP. 

P8cL Realty 

Roberts 8c Associates Realty, Inc. 

Rose Real Estate - Coldwell 
Banker 

Stone House Properties, LLC 

Dennis G. Welch Real Estate 

Wheeler 8c Taylor, Inc. 

Restaurants/Where to Eat 

APPLE TREE INN 8c 

RESTAURANT 
Applegate Inn 
BLANTYRE 
J»Cafe Lucia 
Church Street Cafe 
Firefly 

From Ketchup to Caviar 
Gateways Inn 8c Restaurant 
THE RED LION INN 
The Village Inn 
WHEATLEIGH HOTEL 8c 

RESTAURANT 

Retail/Where to Shop 

Arcadian Shop 

Bare Necessities Fine Lingerie 

COUNTRY CURTAINS 

DRESSER-HULL COMPANY 

Fellerman 8c Raabe Glassworks 

Gatsbys 

HOUSATONIC CURTAIN 

COMPANY 
Kenver, Ltd. 

KOPPERS CHOCOLATE 
Limited Edition Lighting 8c 

Custom Shades 
Pamela Loring Gifts and Interiors 
Nejaime's Wine Cellar 
J>Paul Rich and Sons Home 

Furnishings 
Mary Stuart Collections 
TALBOTS CHARITABLE 

FOUNDATION 
The Don Ward Company 



J>Ward's Nursery 8c Garden Center 
Windy Hill Farm Garden 

Center/Nursery 
R.W. Wise, Goldsmiths, Inc. 

Science/Medical 

J>510 Medical Walk-In 

Berkshire Eye Center 

Berkshire Medical Center 

Berkshire Stuttering Center 

Dorella L. Bond, Ph.D. 
JlMichael Ciborski, M.D. 
jLewis R. Dan, M.D. 

Irving Fish, M.D. 

Dr. Elliot Greenfeld 
J>GTL Inc., Link to Life 
JlLeon Harris, M.D. 

Kimball Farms Lifecare 
Retirement Community 

Carol Kolton, LCSW 

William Knight, M.D. 
J»Long Island Eye Physicians and 
Surgeons 

Northeast Urogynecology 

Donald Wm. Putnoi, M.D. 

The Austen Riggs Center 

Robert K. Rosenthal, M.D. 
J>Royal Health Care Services of 
NY. 

Sugar Hill Mansion-A 
Retirement Community 

Services 

jAbbott's Limousine 8c Livery 
Service 
Adams Laundry and Dry 

Cleaning Company 
Alarms of Berkshire County 
Berkshire Eagle (New England 

Newspapers) 
Boulderwood Design 
J>Christine's Bed 8c Breakfast Inn 
8c Tea Room 
Dery Funeral Home 
New England Dynamark Security 

Center 
Richmond Telephone Company 
S 8c K Brokerage 
J'Security Self Storage 
Tobi's Limousine 8c Travel 



Software/Information Systems 

^Berkshire Information Systems 
Inc. 

ComPiere ERP/CRM 

New Yorker Electronics Co., Inc. 
J'Pilson Communications, Inc. 

Tourism/Resorts 

Berkshire Chamber of Commerce 
CANYON RANCH IN THE 
BERKSHIRES 
J>Cranwell Resort, Spa, and Golf 
Club 
Jiminy Peak 
Taggart House 



Names listed as of May 15, 2004 






m 



WM 







TANGLEWOOD MUSIC CENTER & 
TANGLEWOOD FESTIVAL ENDOWMENT CONTRIBUTORS 

Tanglewood Music Center Fellows pay no tuition and are offered essentially free room and 
board. Their residency at Tanglewood is underwritten largely through annual and endowed 
Fellowships. The TMC faculty includes many of the world's finest musical artists, some of 
them teaching through the generosity of donors who have endowed artists' positions. The 
Tanglewood Music Center and the Tanglewood Festival gratefully acknowledge the endow- 
ment support of the contributors represented below. For further information please contact 
Judi Cantor, Director of Major and Planned Giving, at (413) 637-5275. 



ENDOWED ARTIST POSITIONS 

Berkshire Master Teacher Chair Fund 

Edward and Lois Bowles Master Teacher Chair Fund 

Richard Burgin Master Teacher Chair Fund 

Charles E. Culpeper Foundation Master Teacher Chair 

Fund 
Eleanor Naylor Dana Visiting Artists Fund 
Vic Firth Master Teacher Chair Fund, endowed by Mr. 

and Mrs. Henry Wheeler 
Barbara LaMont Master Teacher Chair Fund 
Renee Longy Master Teacher Chair Fund, gift of Jane 

and John Goodwin 
Harry L. and Nancy Lurie Marks Tanglewood Artist- 

In-Residence 
Marian Douglas Martin Master Teacher Chair Fund, 

endowed by Marilyn Brachman Hoffman 
Beatrice Sterling Procter Master Teacher Chair Fund 
Sana H. and Hasib J. Sabbagh Master Teacher Chair 

Fund 
Surdna Foundation Master Teacher Chair Fund 
Stephen and Dorothy Weber Artist-In-Residence 

ENDOWED FULL FELLOWSHIPS 

Jane W. Bancroft Fellowship 

Bay Bank/BankBoston Fellowship 

Leonard Bernstein Fellowships 

Edward S. Brackett, Jr. Fellowship 

Frederic and Juliette Brandi Fellowship 

Jan Brett and Joe Hearne Fellowship 

Rosamund Sturgis Brooks Memorial Fellowship 

Tappan Dixey Brooks Memorial Fellowship 

BSAV/Carrie L. Peace Fellowship 

Stanley Chappie Fellowship 

Alfred E. Chase Fellowship 

Clowes Fund Fellowship 

Harold G. Colt, Jr. Memorial Fellowship 

Andre M. Come Memorial Fellowship 

Caroline Grosvenor Congdon Memorial Fellowship 

Margaret Lee Crofts Fellowship 

Charles E. Culpeper Foundation Fellowship 

Darling Family Fellowship 

Omar Del Carlo Fellowship 

Otto Eckstein Family Fellowship 

Friends of Armenian Culture Society Fellowship 

Judy Gardiner Fellowship 

Athena and James Garivaltis Fellowship 

Merwin Geffen, M.D. and Norman Solomon, M.D. 

Fellowship 
Juliet Esselborn Geier Memorial Fellowship 



Armando A. Ghitalla Fellowship 

Fernand Gillet Memorial Fellowship 

Marie Gillet Fellowship 

Haskell and Ina Gordon Fellowship 

Florence Gould Foundation Fellowship 

John and Susanne Grandin Fellowship 

William and Man 7 Greve Foundation- 
John J. Tommaney Memorial Fellowship 

Luke B. Hancock Foundation Fellowship 

William Randolph Hearst Foundation Fellowship 

C. D. Jackson Fellowship 

Paul Jacobs Memorial Fellowship 

Lola and Edwin Jaffe Fellowship 

Billy Joel Keyboard Fellowship 

Susan Kaplan Fellowship 

Steve and Nan Kay Fellowship 

Robert and Luise Kleinberg Fellowship 

Mr. and Mrs. Allen Z. Kluchman Memorial 
Fellowship 

Dr. John Knowles Fellowship 

Naomi and Philip Kruvant Family Fellowship 

Donald Law Fellowship 

Barbara Lee/Raymond E. Lee Foundation Fellowship 

Bill and Barbara Leith Fellowship 

Edwin and Elaine London Family Fellowship 

Stephanie Morris Marryott & 
Franklin J. Marryott Fellowship 

Robert G. McClellan, Jr. & EBM Matching Grants 
Fellowship 

Merrill Lynch Fellowship 

Messinger Family Fellowship 

Ruth S. Morse Fellowship 

xAJbert L. and Elizabeth P. Nickerson Fellowship 

Northern California Fellowship 

Seiji Ozawa Fellowship 

Theodore Edson Parker Foundation Fellowship 

Pokross/Fiedler/Wasserman Fellowship 

Lia and William Poorvu Fellowship 

Daphne Brooks Prout Fellowship 

Claire and Millard Pryor Fellowship 

Rapaporte Foundation Fellowship 

Harry and Mildred Remis Fellowship 

Peggy Rockefeller Memorial Fellowship 

Carolyn and George R. Rowland Fellowship 

Saville Ryan/Omar Del Carlo Fellowship 

Wilhelmina C. Sandwen Memorial Fellowship 

Morris A. Schapiro Fellowship 

Edward G. Shufro Fund Fellowship 

Starr Foundation Fellowship 






Anna Sternberg and Clara J. Marum Fellowship 

Miriam H. and S. Sidney Stoneman Fellowships 

Surdna Foundation Fellowship 

James and Caroline Taylor Fellowship 

William F. and Juliana W. Thompson Fellowship 

Ushers/Programmers Instrumental Fellowship in honor 

of Bob Rosenblatt 
Ushers/Programmers Vocal Fellowship in honor of 

Harry Stedman 
Wallace-Reader's Digest Fund Fellowship 
Max Winder Memorial Fellowship 
Jerome Zipkin Fellowship 

ENDOWED HALF FELLOWSHIPS 

Mr. and Mrs. David B. Arnold, Jr. Fellowship 

Kathleen Hall Banks Fellowship 

Leo L. Beranek Fellowship 

Felicia Montealegre Bernstein Fellowship 

Sydelle and Lee Blatt Fellowship 

Brookline Youth Concerts Awards Committee 

Fellowship 
Helene R. and Norman L. Cahners Fellowship 
Marion Callanan Memorial Fellowship 
Nat Cole Memorial Fellowship 
Harry and Marion Dubbs Fellowship 
Daniel and Shirlee Cohen Freed Fellowship 
Dr. Marshall N. Fulton Memorial Fellowship 
Gerald Gelbloom Memorial Fellowship 
Arthur and Barbara Kravitz Fellowship 
Bernice and Lizbeth Krupp Fellowship 
Philip and Bernice Krupp Fellowship 
Edward H. and Joyce Linde Fellowship 
Lucy Lowell Fellowship 
Morningstar Family Fellowship 
Stephen and Persis Morris Fellowship 
Hannah and Raymond Schneider Fellowship 
Pearl and Alvin Schottenfeld Fellowship 
Edward G. Shufro Fund Fellowship 
Evelyn and Phil Spitalny Fellowship 
R. Amory Thorndike Fellowship 
Augustus Thorndike Fellowship 
Sherman Walt Memorial Fellowship 

ENDOWED SCHOLARSHIPS 

Maurice Abravanel Scholarship 
Eugene Cook Scholarship 
Dorothy and Montgomery Crane Scholarship 
William E. Crofut Family Scholarship 
Ethel Barber Eno Scholarship 
Richard F. Gold Memorial Scholarship 
Leah Jansizian Memorial Scholarship 
Miriam Ann Kenner Memorial Scholarship 
Andrall and Joanne Pearson Scholarship 
Mary H. Smith Scholarship 
Cynthia L. Spark Scholarship 
Tisch Foundation Scholarship 

ENDOWED FUNDS SUPPORTING THE 
TEACHING AND PERFORMANCE PROGRAMS 

Anonymous (1) 

George W and Florence N. Adams Concert Fund 

Eunice Alberts and Adelle Alberts Vocal Studies Fund * 

Bernard and Harriet Bernstein Fund 

George & Roberta Berry Fund for Tanglewood 

Peter A. Berton Fund 



Donald C. Bowersock Tanglewood Fund 

Gino B. Cioffi Memorial Prize Fund 

Phyllis and Lee Coffey Memorial Concert Fund 

Aaron Copland Fund for Music 

Margaret Lee Crofts Concert Fund 

Margaret Lee Crofts TMC Fund 

Paul F. and Lori A. Deninger DARTS Scholarship 

Fund 
Alice Willard Dorr Foundation Fund 
Carlotta M. Dreyfus Fund 
Virginia Howard and Richard A. Ehrlich Fund 
Selly A. Eisemann Memorial Fund 
Elise V. and Monroe B. England Tanglewood Music 

Center Fund 
Honorable and Mrs. John H. Fitzpatrick Fund 
Daniel and Shirlee Cohen Freed Concert Fund 
Ann and Gordon Getty Fund 
Gordon/Rousmaniere/Roberts Fund 
Grace Cornell Graff Fellowship Fund for Composers 

at the TMC 
Heifetz Fund 

Mickey L. Hooten Memorial Award Fund 
Grace Jackson Entertainment Fund 
Grace B. Jackson Prize Fund 
Paul Jacobs Memorial Commissions Fund 
Louis Krasner Fund for Inspirational Teaching and 

Performance, established by Marilyn Brachman 

Hoffman 
William Kroll Memorial Fund 
Dorothy Lewis Fund 
Kathryn & Edward M. Lupean & Diane Holmes 

Lupean Fund 
Samuel Mayes Memorial Cello Award Fund 
Charles E. Merrill Trust TMC Fund 
Northern California TMC Audition Fund 
Herbert Prashker Fund 
Renee Rapaporte DARTS Scholarship Fund 
Mr. and Mrs. Ernest H. Rebentisch Fund 
Jules C. Reiner Violin Prize Fund 
Elaine and Harvey Rothenberg Fund 
Rothenberg/Carlyle Foundation Fund 
Helena Rubinstein Fund 
Edward I. and Carole Rudman Fund 
Lenore S. and Alan Sagner Fund 
Renee D. Sanft Fellowship Fund for the TMC 
Hannah and Ray Schneider TMCO Concert Fund * 
Maurice Schwartz Prize Fund by Marion E. Dubbs 
Ruth Shapiro Scholarship Fund 
Dorothy Troupin Shimler Fund 
Asher J. Shuffer Fund 
Evian Simcovitz Fund 
Albert Spaulding Fund 
Jason Starr Fund 
Tanglewood Music Center Composition Program 

Fund 
Tanglewood Music Center Opera Fund 
TMC General Scholarship Fund 
Denis and Diana Osgood Tottenham Fund 
The Helen F. Whitaker Fund 
John Williams Fund 
Karl Zeise Memorial Cello Award Fund 



^Deferred gifts 

Listed as of June 4, 2004 







CAPITAL AND ENDOWMENT CONTRIBUTORS 

The Boston Symphony Orchestra is committed to providing the highest caliber per- 
formances and education and community outreach programs, and to preserving its 
world-renowned concert facilities. Contributions from donors and income from the 
endowment support 40 percent of the annual budget. The BSO salutes the donors 
listed below who made capital and endowment gifts of $10,000 or more between 
May 1, 2003, and June 3, 2004. For further information, contact Judi Taylor Cantor, 
Director of Major and Planned Giving, at (413) 637-5275. 



$1,000,000 and Up 

Mrs. William H. Congleton 
Kate and Al Merck 

$250,000 -$499,999 

Anonymous (3) 

$100,000-$249,999 

Anonymous (2) 
Mr. William I. Bernell 
Catherine and Paul Buttenwieser 
Estate of Mrs. Janet M. Halvorson 
Mr. William R. Hearst III 
National Park Service, 

US Dept. of the Interior 

Save Americas Treasures 

$50,000-$99,999 

Anonymous (1) 
The Behrakis Foundation 
Estate of Clarita Heath Bright 
Estate of Mrs. Pierre de Beaumont 
Mr. and Mrs. Disque Deane 

$25,000-$49,999 

Anonymous (2) 
Mr. and Mrs. James L. Bildner 
Cynthia and Oliver Curme 
Ms. Ann V. Dulye 
Mrs. Harriett M. Eckstein 
Estate of Frances Fahnestock 
Estates of Harold K. Gross and 
Evelyn F Gross 



Mrs. Mischa Nieland and 
Dr. Michael L. Nieland 
Estate of Elizabeth B. Storer 



The Messinger Family 



Estate of Dr. and Mrs. Nelson Saphir 
Estate of Dorothy Troupin Shimler 
Jeanne H. Wolf, in memory of 
Gottfried Wilnnger 



Ms. Helen Salem Philbrook 
Estate of Mr. Robert W. Stewart 
Mr. and Mrs. Stephen R. Weiner 



Estate of George F and Elsie Hodder 
The Richard P. and Claire W. Morse 

Foundation 
Estate of David R. Pokross 
Estate of Dr. Charles Reiner 
Estate of Madelaine G. von Weber 
The Cornelius and Muriel Wood 

Charity Fund 

Continued. . 






$15,000-$24,999 

Anonymous (2) 

Dr. David M. Aronson 

Mr. and Mrs. Peter A. Brooke 

$10,000-$ 14,999 

Anonymous (1) 

Mrs. Ben Beyea 

Estate of Francis F. Faulkner 

Mrs. Samuel B. Feinberg 

Dr. and Mrs. Orrie M. Friedman 

Highland Capital Partners 

Mr. Wycliffe K. Grousbeck 
Estate of Priscilla M. Holman 
Dr. Edwin F. Lovering 
Mrs. Edward M. Lupean and 

Diane H. Lupean 



Elizabeth Taylor Fessenden Foundation 
FleetBoston Financial Foundation 
Estate of Susan Morse Hilles 



Mr. and Mrs. Joseph C. McNay 

Estate of Marilyn S. Nelson 

Dr. Peter Ofner 

Mr. Donald I. Perry 

Renee Rapaporte 

Estate of Dorothy F. Rowell 

Hinda L. Shuman 

Mr. Orlando N. Tobia 

US Dept. of Housing and Urban 

Development 
Stephen and Dorothy Weber 




BUSINESS FRIENDS OF 



Tanglewood 



Tanglewood generates more than $60 million for the 
local economy. Tanglewood Business Friends provide 
operating support, underwrite educational programs, 
and fund fellowships for aspiring young musicians at 
the Tanglewood Music Center. 

To become a Business Friend of Tanglewood, 
call Pam Malumphy at: 



(413) 637-5174 




In the BerkshireSy Nature sets the 



Berkshire Performing Arts Calendar 
June 24 to July 31, 2004 

Berkshire Choral Festival 

Sheffield, (413) 229-1999 

www.choralfest.org 

Choral Masterpieces — 225 voices, soloists, 

Springfield Symphony. 7/10, 17, 24, 31 at 8 pm. 

Berkshire Music School 

Pittsfield, (413)442-1411 

Music education for all ages. Private lessons and 

chamber ensembles. Open year round. 

Berkshire Opera 

Pittsfield, (413) 442-9955 

www.berkshireopera.org 

Verdi's Rigoletto 6124-714. Barber, Barab, 

Bernstein Triple Bill 7/26-7/31. 

Berkshire Theatre Festival 

Stockbridge, Box: (413) 298-5576 
www.berkshiretheatre.org 

Siddhartha: A Jungian Fantasy — 7/7-31; 
Heartbreak House — 7/13-24; Miracle Worker 
7/27-8/14. 

Jacob's Pillow Dance Festival 

Becket, (413) 243-0745 

www.jacobspillow.org 

Americas premier dance festival plus FREE talks & 

showings. Community Day, 7124 10 am — 2 pm. 

The Miniature Theatre of Chester 

Chester, (413) 354-7771 
www.miniaturetheatre.org 
"77?^ Gem of the Berkshires. " Presenting Skylight 
7/7- 18 and Tea For Three 7121 - 25. 

Shaker Mountain Opera 

at Berkshire Community College 

Pittsfield, (800) 588-9757 

www.Shakermountainopera.org 

Fully staged productions of Faust, Magic Flute 

and Tales of Hoffmann. 



Shakespeare & Company 

Lenox, (413) 637-3353 

www.shakespeare.org 

Shakespeare's romantic comedy, As You Like It, plays 

Founders' Theatre Wed. -Sun. at 7:30 pm. 

Berkshire Museums & Art Centers 
Calendar - June 24 to July 31, 2004 

A Chapel For Humanity 

North Adams, (413) 664-9550 

www. darkrideproj ect. org 

A Chapel For Humanity; Sculptural Epic and 9/11 

Room. Free Admission, Wed. -Sun. 12-5. 

Berkshire Botanical Garden 

Stockbridge, (413) 298-3926 

www.berkshirebotanical.org 

Beautiful display gardens open daily 10-5. Fete des 

Fleurs 7/17, Flower Show 8/7-8. 

Berkshire Museum 

Pittsfield, (413) 443-7171 

www.berkshiremuseum.org 

Presence of Light Contemporary Artists explore the 

possibilities July 2 — October 31. 

Bidwell House Museum 

Monterey, (413) 528-6888 

www.bidwellhousemuseum.org 

Restored parsonage, c. 1750, superb collection of 

antiques & decorative arts. Daily tours, 11-4. 

Bryant Homestead 

Cummington, (413) 634-2244 
www. thetrustees . org 

Bryant Craft Festival — crafts, bands, food court, cos- 
tumed guides, tours 7/17-18, 10 am — 5 pm. 

Chesterwood 

Stockbridge, (413) 298-3579 

www.chesterwood.org 

Contemporary sculpture at Chesterwood opens June 

25. The exhibition runs through Oct. 11. 




Berkshire Visitors Bureaus Cultural Alliance would like to thank 
The Studley Press for donating these pages. 







scene and Culture steals the show. 



Crane Museum of Papermaking 

Dalton, (413) 684-6481 



www.crane.com 



Crane Museum of Paper Making, June — mid- 
October, 2-5 pm. FREE ADMISSION. 

Dark Ride Project 

North Adams, (413) 664-9550 

www.darkrideproject.org 

Take a ride on the Sensory Integrator. Wed. -Sun. 12- 

5. Unusual and fun! 

The Eric Carle Museum of Picture Book Art 

Amherst, (413)658-1100 

www. picturebookart. org 

The Many Paths of Dr. Seuss: Four Points of the 

Compass. May 7 —July 1. 

Frelinghuysen Morris House & Studio 

Lenox, (413) 637-0166 

www.frelinghuysen.org 

Art deco house & artwork. Hourly guided tours. 

Thurs.-Sun. Directors talk July 17 @ 1 pm. 

Hancock Shaker Village 

Pittsfield, (413) 443-0188 

www.hancockshakervillage.org 

History & hands-on fun for all— 20 buildings, farm 

& animals, crafts, exhibits. Kids free. 

Herman Melville's Arrowhead 

Pittsfield, (413) 442-1793 

www.mobydick.org 

Here's Looking At Ewe Exhibit for Sheeptacular - 

decorated sheep, photos, artifacts. 

MASSMoCA 

North Adams, (413) MOCA 111 

www.massmoca.org 

Ritchie, Hamilton, and The Interventionists plus 

Bang on a Can Music Festival July 8-24. 

The Mount, Edith Wharton's Estate & Gardens 

Lenox, (413) 637-6900 

www.EdithWharton.org 

Tours, Designer Showhouse, Monday & Thursday 

Lectures, Terrace Cafe. Daily 9 a.m. - 5 p.m. 



Norman Rockwell Museum 

Stockbridge, (413) 298-4100 

www.nrm.org 

Hometown Hero, Citizen of the World: Rockwell in 

Stockbridge through October 31, 2004. 

Sheffield Historical Society 

Sheffield, (413) 229-2694 

www.sheffieldhistory.org 

Historic house tours Thurs. — Sat. 11-4. Changing 

exhibits & shopping at the Old Stone Store. 

Sterling and Francine Clark Art Institute 

Williamstown, (413) 458-2303 
www. clarkart.edu 

"Bonjour, Monsieur Courbet!" feature 75 master- 
pieces of 19th-century French art 6/27-9/6. 

Ventfort Hall, Museum of the Gilded Age 

Lenox, (413) 637-3206 
www.gildedage.org 

Tours daily 10-3. Xingu adapted Wharton story per- 
formed Wed./Thu./Fri. 7:30, Sat. 4, Sun. 10. 

Williams College Museum of Art 

Williamstown, (413) 597-2429 
www.wcma.org 

On view: Summer Afternoon: American watercolors 
from the collection. Admission is free. 



While you're in the Berkshires, be sure to come 

see the Berkshire Visitors Bureau's new 

"Discover the Berkshires" Visitors Centers in 

Adams and Pittsfield. Enjoy displays, 

multimedia presentations, and grab the lastest 
information on Berkshire attractions. 









iERKSHIRES 

America's FVemier Cultural Resort 



Berkshire Visitors Bureau • 800-237-5747 • www.berkshires.org 
3 Hoosac Street • Adams, MA and 121 South Street • Pittsfield, MA 



Favorite Restaurants of the Berkshires 



-IIJVW LENOX 218 RESTAURANT 

OTIiMlIn 218 MAIN ST. 

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Lunch - Dinner - Sunday Brunch 
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If you would like to be part of 
this restaurant page, please call 
(617) 542-6913. 



THE BIST OF 
BOTH WORLDS. 

La Terrazza. A distinct 
Bar and Lounge in down- 
town Lenox. Open daily 
until midnight. Serving 
light fare, self-indulgent 
desserts and the largest selection of 
single malts in Berkshire County. 

The Gateways Inn and Restaurant. 
Old world charm at its best. Exceptional 
accommodations. Gourmet dining in a 
cozy, candlelit atmosphere. Take-out 
picnics. Recommended by Santee Magazine. 
Wine Spectatoraward winner since 2002. 





Gateways Im & Restaurant 

51 Walker Street, Lenox, MA 
Call for Reservations: 413-6375532 




La bruschetta 

Pood & Wine To Go 

THE RIGHT PICNIC! 

Gourmet Picnic Pare, Tine Wine, and More 
LBroodandwine.com 

1 Harris St., W. Stockbridge, MA • 413-232-7141 




voted Best Overall Restaurant 

Steaks ♦ Maine Lobster ♦ Prime Rib 

Fresh Seafood ♦ Extensive Salad Bar ♦ 

Sunday Brunch Buffet-Best in the Berkshires 

Reservations ♦ Phone Ahead Seating 

413-499-7900 Pittsfield/lenox Line 

www . DakotaRestaurant . com 



Favorite Restaurants of the Berkshires 




The new Berkshire 
restaurant everyone 
is talking about... 
furnished by the 
finest American craft 
artists. Everything 
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stunning & 
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** American 

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Stockbridge 



One block from Red Lion Inn, yellow house - corner 
Maple & Rt. 7, Stockbridge. Parking on premises. 
All major credit cards. Reservations suggested: 



*413 298 0250* 



Imagine sipping moonlight on a golden pond. 
17 Railroad Street, Great Barrington (413) 528-4343 



Dine In An Authentic 1771 Inn 

just a mile from Tangleiuood 

Breakfast • English Tea ■ Dinner 



16 Church St. 
Lenox 




637-0020 




BOMBAY 

Classic Indian Cuisine 
At Best western, RT 20 
LEE, MA 413 243 6731 
www.fineindiandining.com 














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Cafe 

The Lenox Shops • Route 7, Lenox, MA 

(1 mile North of Historic Lenox Village) 

(413) 637-9820 • www.chocolatesprings.com 



u Experience Qj/iocolaie Unerapu 



Fine 
European-style 
Chocolate Cafe 

Pastry Picnic 
Packs 

Ice Cream & 
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After Concert 
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and experience .. 



our spectacular 
jewelry gallery 





14259-176 



silverscape designs 

GOLDSMITHS @ GEM GALLERY 

One King Street • Northampton • 413-584-3324 
264 N. Pleasant Street • Amherst • 413-253-3324 
www.silverscapedesigns.com • (800) 729-8971 



shops and restaurants. 
Come on in! 



Its the little things that make it 

THORNES 

MARKETPLACE 

DOWNTOWN NORTHAMPTON 









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Official Hotel of the Boston Symphony Orchestra 
and the Boston Pops. 

www.fairmont.com 800 441 1414 6172675300 



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2004 

Tanglewood 




SEIJI OZAWA HALL 



F W 3 C 



Tuesday, July 6, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

BOSTON BAROQUE 

MARTIN PEARLMAN, music director 

Text and Translation 



MONTEVERDI Vespers of 1610 

English texts of the psalms adapted, and other texts translated by, Clifford Bartlett 

I. Versicle and Response: 
Deus in adjutorium meum 

Deus in adjutorium meum intende: O God make speed to save me. 

Domine ad adjuvandum me festina. O Lord make haste to help me. 

Gloria Patri et Filio, Glory be to the Father and to the Son 

et Spiritui Sancto. and to the Holy Ghost. 

Sicut erat in principio, et nunc et As it was in the beginning, now and 

semper, for ever, 

et in saecula saeculorum. Amen. Alleluia. world without end. Amen. Alleluia. 



■ 







Antiphon 

Assumpta est Maria in coelum: Mary has been received into heaven: 

gaudent angeli, laudantes benedicunt the angels rejoice; they bless the Lord 

Dominum. with praises. 



II. Psalm 109: 

Dixit Dominus Domino meo: 

sede a dextris meis: 

donee ponam inimicos tuos, 

scabellum pedum tuorum. 

Virgam virtutis tuae emittet Dominus 

ex Sion: 
dominare in medio inimicorum tuorum. 
Tecum principium in die virtutis tuae 

in splendoribus sanctorum, 

ex utero ante luciferum genui te. 

Juravit Dominus, et non poenitebit 

eum: 
Tu es sacerdos in aeternum 
secundum ordinem Melchisedech. 
Dominus a dextris tuis, 
confregit in die irae suae reges. 



Dixit Dominus 

The Lord said unto my Lord: 

sit thou at my right hand, 

until I make thine enemies 

thy footstool. 

The Lord shall send the rod of thy 

strength out of Sion: 
rule thou in the midst of thine enemies. 
Thine is the foundation in the day of thy 

power; 
in the beauties of holiness 
I have born thee from the womb before 

the morning star. 
The Lord hath sworn and will not 

repent: 
Thou art a priest for ever 
after the order of Melchizedek. 
The Lord at thy right hand has broken 
kings in the day of his anger. 






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mm 



Judicabit in nationibus, implebit ruinas, 

conquassabit capita in terra multorum. 

De torrente in via bibet: 
propterea exaltabit caput. 
Gloria Patri. . . 

III. Motet: 

Nigra sum sed formosa filia Jerusalem. 

Ideo dilexit me Rex, et introduxit 
in cubiculum suum et dixit mihi: 
Surge, arnica mea, et veni. 
lam hiems transiit, imber abiit et 

recessit, 
flores apparuerunt in terra nostra; 
tempus putationis advenit. 



He will judge the nations, he will fill 

them with ruins: 
he will break the heads in the populous 

land. 
He shall drink of the torrent on the way; 
therefore he shall lift up his head. 
Glory be to the Father. . . 

Nigra sum 

I am a black but beautiful daughter of 

Jerusalem. 
So the King loved me, and led me 
into his chamber and said to me: 
Arise, my love, and come away. 
Now winter has passed, the rain has 

gone 
and flowers have appeared in our land; 
the time of pruning has come. 



Antiphon 

Maria Virgo assumpta est ad aethereum The Virgin Mary has been received into 

thalamum, the heavenly bridal chamber, 

in quo Rex regum stellato sedet solio. where the King of Kings sits on a starry 

throne. 



IV. Psalm 112: 

Laudate pueri Dominum, 

laudate nomen Domini. 

Sit nomen Domini benedictum, 

ex hoc nunc et usque in saeculum. 

A solis ortu usque ad occasum 

laudabile nomen Domini. 

Excelsus super omnes gentes Dominus, 

et super coelos gloria ejus. 

Quis sicut Dominus Deus noster, 

qui in altis habitat et humilia 

respicit in coelo et in terra? 

Suscitans a terra inopem, 

et de stercore erigens pauperem, 

ut collocet eum cum principibus, 
cum principibus populi sui. 
Qui habitare facit sterilem in domo, 
matrem filiorum laetantem. 
Gloria Patri. . . 



Laudate pueri 

Praise the Lord, ye children, 
praise the name of the Lord. 
Blessed be the name of the Lord 
from this time forth for evermore. 
From sunrise to sunset 
the Lord's name is worthy of praise. 
The Lord is high above all nations, 
and his glory above the heavens. 
Who is like the Lord our God, 
who dwells on high and looks down on 
the humble things in heaven and earth? 
He raises the helpless from the earth, 
and lifts the poor man from the dung 

heap, 
to place him alongside princes, 
with the princes of his people. 
He makes a home for the barren woman, 
a joyful mother of children. 
Glory be to the Father. . . 







V. Motet: 

Pulchra es, arnica mea, 

suavis et decora filia Jerusalem. 

Pulchra es, arnica mea, 

suavis et decora sicut Jerusalem, 

terribilis sicut castrorum acies ordinata. 

Averte oculos tuos a me, 
quia ipsi me avolare fecerunt. 



Pulchra es 

You are beautiful, my love, 

a sweet and comely daughter of 

Jerusalem. 
You are beautiful my love, 
sweet and comely as Jerusalem, 
terrible as the sharp lines of a military 

camp. 
Turn your eyes from me, 
because they have put me to flight. 



Antiph 



on 



In odorem unguentorum tuorum 

currimus; 
adolescentulae dilexerunt te nimis. 



We hasten toward the sweet fragrance 

of your ointments; 
maidens adore you. 



VI. Psalm 121: Laetatus sum 



Laetatus sum in his, quae dicta sunt 

mihi: 
in domum Domini ibimus. 
Stantes erant pedes nostri in atriis tuis, 

Jerusalem. 
Jerusalem, quae aedificatur ut civitas: 
cujus participatio ejus in idipsum. 
Illuc enim ascenderunt tribus, 
tribus Domini: testimonium Israel 

ad confitendum nomini Domini. 
Quia illic sederunt sedes in judicio, 
sedes super domum David. 
Rogate quae ad pacem sunt Jerusalem: 
et abundantia diligentibus te. 

Fiat pax in virtute tua: 

et abundantia in turribus tuis. 

Propter fratres meos et proximos meos, 

loquebar pacem de te; 

propter domum Domini Dei nostri, 

quaesivi bona tibi. 
Gloria Patri. . . 



I was glad when they said unto me: 

we shall go into the house of the Lord. 
Our feet shall stand within thy gates, 

O Jerusalem. 
Jerusalem, which is built as a city 
that is compact together. 
For thither ascend the tribes, 
the tribes of the Lord, to testify unto 

Israel, 
to give thanks to the name of the Lord. 
For there are the seats of judgment, 
the seats over the house of David. 

pray for the peace of Jerusalem: 
and may prosperity attend those who 

love thee. 
Peace be within thy strength, 
and prosperity within thy towers. 
For my brothers and my 
sake, 

1 will ask for peace for thee; 

for the sake of the house of the Lord 

our God 
I have sought blessings for thee. 
Glory be to the Father. . . 



VII. Motet: Duo Seraphim 

Duo Seraphim clamabant alter ad Two Seraphim were calling one to the 

alterum: other: 

Sanctus, sanctus, sanctus Dominus Holy, holy, holy Lord God of Hosts. 

Deus Sabaoth. 

Plena est omnis terra gloria ejus. The whole earth is full of His glory. 

Tres sunt qui testimonium dant in There are three who give testimony in 

coelo: heaven: 



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Pater, Verbum et Spiritus Sanctus: 

et hi tres unum sunt. 

Sanctus, sanctus, sanctus Dominus 

Deus Sabaoth. 
Plena est omnis terra gloria ejus. 



the Father, the Word and the Holy 

Spirit: 
and these three are one. 
Holy, holy, holy Lord God of Hosts. 



The whole earth is full of His glory. 



Antiphon 



Benedicta filia tua Domino, 

quia per te fructum vitae 
communicavimus . 

VIII. Psalm 126: 

Nisi Dominus aedificaverit domum, 
in vanum laboraverunt qui aedificant 

earn. 
Nisi Donimus custodierit civitatem, 
frustra vigilavit qui custodit earn. 
Vanum est vobis ante lucem surgere: 
surgite postquam sederitis, 
qui manducatis panem doloris. 
Cum dederit dilectis suis somnum: 

ecce haereditas Domini filii: 

merces, fructus ventris. 

Sicut sagittae in manu potentis: 

ita filii excussorum. 

Beatus vir qui implevit desiderium 

suum 
ex ipsis: non confundetur 
cum loquetur inimicis suis in porta. 



Gloria Patri. 



Audi coelum verba mea, 
plena desiderio 
et perfiisa gaudio. 

Audio. 



You have been blessed by the Lord, 

O daughter, 
for through you we have partaken of 

the fruit of life. 

Nisi Dominus 

Except the Lord build the house, 
they labour in vain that build it. 

Except the Lord keep the city, 
the watchman waketh but in vain. 
It is vain for you to rise before dawn: 
rise when you have sat down, 
ye who eat the bread of sorrow, 
when he has given sleep to those he 

loves. 
Behold, children are an inheritance of 

the Lord, 
a reward, the fruit of the womb. 
As arrows in the hand of the mighty, 
so are children of the vigorous. 
Blessed is the man who has fulfilled his 

longing 
by them: he shall not be perplexed 
when he speaks to his enemies at the 

gate. 
Glory be to the Father. . . 



IX. Motet: Audi coelum 

Hear, o heaven, my words, 
full of desire 
and suffused with joy. 
I hear. 



Die, quaeso, mihi: Quae est ista 
quae consurgens ut aurora rutilat, 
ut benedicam? 

Dicam. 

Die, nam ista pulchra ut luna, 
electa ut sol, replet laetitia 
terras, coelos, maria. 

Maria. 

Maria Virgo ilia dulcis, 
praedicata de propheta Ezechiel 
porta orientalis. 

Talis. 



Tell me, I pray: who is she 
who rising like the dawn, 
shines, that I may bless her? 

I shall tell you. 

Tell, for she is beautiful as the moon, 
exquisite as the sun, which fills with joy 
the earth, the heavens and the seas. 
Mary. 

Mary, that sweet Virgin 
foretold by the prophet Ezechiel, 
gate of the rising sun, 

Such is she! 






Ilia sacra et felix porta, 
per quam mors fuit expulsa, 
introducta autem vita. 
Ita. 

Quae semper tutum est medium 
inter homines et Deum, 
pro culpis remedium. 

Medium. 

Omnes. . . 

Omnes hanc ergo sequamur, 
quae cum gratia mereamur 
vitam aeternam. Consequamur. 
Sequamur. 

Praestet nobis Deus, 

Pater hoc et Filius 

et Mater, cujus nomen invocamus 

dulce miseris solamen. 

Amen. 

Benedicta es, Virgo Maria, 
in saeculorum saecula. 



that holy and happy gate 

through which death was driven out, 

but life brought in, 

Even so! 

who is always a sure mediator 
between man and God, 
a remedy for our sins. 

A mediator. 

All... 

So let us all follow her 
by whose grace we gain 
Eternal life. Let us seek after her. 
Let us follow. 

May God grant us this, 
the Father and the Son 
and the Mother, on whose name we call, 
sweet solace for the unhappy. 
Amen. 

Blessed art thou, Virgin Mary, 
world without end. 



Antiphon 

Pulchra es et decora, filia Jerusalem, You are lovely and beauteous, O 

daughter of Jerusalem, 

terribilis ut castrorum acies ordinata. awe-inspiring as an army arrayed for 

battle. 

X. Psalm 147: Lauda, Jerusalem 



Lauda, Jerusalem, Dominum: 

lauda Deum tuum, Sion. 

Quoniam confortavit seras portarum 

tuarum: 
benedixit filiis tuis in te. 
Qui posuit fines tuos pacem: 
et adipe frumenti satiat te. 

Qui emittit eloquium suum terrae: 

velociter currit sermo ejus. 
Qui dat nivem sicut lanam: 
nebulam sicut cinerem spargit. 
Mittit cristallum suum sicut buccellas: 
ante faciem frigoris ejus quis sustinebit? 
Emittet verbum suum, et liquefaciet ea: 

flabit spiritus ejus, et fluent aquae. 

Qui annuntiat verbum suum Jacob: 
justitias et judicia sua Israel. 
Non fecit taliter omni nationi: 
et judicia sua non manifestavit eis. 

Gloria Patri. . . 



Praise the Lord, O Jerusalem: 

praise thy God, O Sion. 

For he hath strengthened the bars of 

your gates: 
he hath blessed thy children within thee. 
He maketh peace in thy borders: 
and filleth thee with the finest of the 

wheat. 
He sendeth forth his commandment 

upon earth: 
his word runneth very swiftly. 
He giveth snow like wool: 
he scattereth the cloud like ashes. 
He casteth forth his ice like morsels: 
who will stand before his cold? 
He will send out his word and melt 

them: 
he will cause his wind to blow and the 

waters will flow. 
He sheweth his word unto Jacob: 
his statutes and judgments unto Israel. 
He hath not dealt so with any nation: 
and he has not shown his judgments to 

them. 
Glory be to the Father. . . 




► 4 



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XL Sonata sopra "Sancta Maria, 
ora pro nobis" 

Sancta Maria, ora pro nobis. Holy Mary, pray for us. 



Ave maris Stella, 
Dei mater alma, 
atque semper virgo, 
felix coeli porta. 

Sumens illud Ave 
gabrielis ore, 
funda nos in pace, 
mutans Evae nomen. 

Solve vincla reis, 
profer lumen caecis, 
mala nostra pelle, 
bona cuncta posce. 

Monstra te esse matrem: 
sumat per te preces, 
qui pro nobis natus, 
tulit esse tuus. 

Virgo singularis, 
inter omnes mitis, 
nos culpis solutos 
mites fac et castos. 

Vitam praesta puram, 
iter para tutum, 
ut videntes Jesum 
semper collaetemur. 

Sit laus Deo Patri, 
summo Christo decus, 
spiritui Sancto, 

tribus honor unus. Amen 



XII. Hymn: Ave maris Stella 

Hail, star of the sea, 
life-giving mother of God 
and perpetual virgin, 
happy gate of heaven. 

Receiving that 'ave' 
from the mouth of Gabriel, 
keep us in peace, 
reversing the name 'Eva.' 

Loosen the chains from the guilty, 
bring forth light to the blind, 
drive out our ills, 
ask for blessings for all. 

Show yourself to be his mother: 
may he receive through you our prayers 
who, born for us, 
deigned to be yours. 

Peerless virgin, 

gentle above all others, 

when we are pardoned for our sins, 

make us gentle and pure. 

Grant us a pure life, 
prepare a safe journey, 
so that seeing Jesus 
we may rejoice for ever. 

Praise be to God the Father, 
glory to Christ most high, 
and to the Holy Spirit, 

triple honour in one. Amen. 



Antiphon 



Virgo prudentissima, quo progrederis, 

quasi aurora valde rutilans? Filia Sion, 

tota formosa et suavis es, pulchra ut 

luna, 
electa ut sol. 



O Virgin most wise, whither are you 

advancing, 
shining brightly like the dawn? 

O daughter of Sion, 
you are so beautiful and sweet, lovely as 

the moon, 
supreme as the sun. 







XIII: Magnificat 



1. Magnificat anima mea Dominum. 

2. Et exultavit spiritus meus in Deo 
salutari meo. 

3. Quia respexit humilitatem ancillae 
suae: ecce enim ex hoc beatam me 
dicent omnes generationes. 



4. Quia fecit mihi magna qui potens est: 
et sanctum nomen ejus. 

5. Et misericordia ejus a progenie 
in progenies timentibus eum. 

6. Fecit potentiam in brachio suo: 
dispersit superbos mente cordis sui. 



7. Deposuit potentes de sede 
et exaltavit humiles. 



8. Esurientes implevit bonis: et divites 
dimisit inanes. 



9. Suscepit Israel puerum suum, 
recordatus misericordiae suae, 

10. Sicut locutus est ad patres nostros, 
Abraham et semini ejus in saecula. 

11. Gloria Patri et Filio, et Spiritui 
Sancto 

12. Sicut erat in principio, et nunc et 
semper, et in saecula saeculorum. 
Amen. 



1. My soul doth magnify the Lord. 

2. And my spirit hath rejoiced in God 
my saviour. 

3. For he hath regarded the lowliness of 
his handmaiden, for behold from 
henceforth all generations shall call 
me blessed. 

4. For he that is mighty hath magnified 
me, and holy is his name. 

5. And his mercy is on them that fear 
him throughout all generations. 

6. He hath shewed strength with his 
arm; he hath scattered the proud in 
the imagination of their hearts. 

7. He hath put down the mighty from 
their seat and hath exalted the 
humble and meek. 

8. He hath filled the hungry with good 
things and the rich he hath sent 
empty away. 

9. He remembering his mercy hath 
holpen his servant Israel; 

10. As he promised to our forefathers, 
Abraham and his seed for ever. 

11. Glory be to the Father, and to the 
Son, and to the Holy Ghost. 

12. As it was in the beginning, is now 
and ever shall be, world without end. 
Amen. 









BOSTON 



Tanglewood 

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Celebrating 10 Years of Great Music-Making 
in Seiji Ozawa Hall at Tanglewood 

To mark the 10th anniversary of Seiji Ozawa Hall, the Boston Symphony 
Orchestra is pleased to issue an exclusive, generously-filled CD of live 
performances from Seiji Ozawa Hall at Tanglewood. 



Hear these outstanding artists 
in live performances dating 
from 1995 to 2003 

PIERRE-LAURENT AIMARD 

CHANTICLEER 

THE EMERSON QUARTET 

MATTHIAS GOERNE & ERIC SCHNEIDER 

RICHARD GOODE 

KREMERATA BALTICA 

LORRAINE HUNT UEBERS0N & 
PETER SERKIN 

YO-YO MA & EMANUEL AX 

THE J UILLIARD QUARTET 

THOMAS QUASTHOFF & THE FREIBURG 
BAROQUE ORCHESTRA 

REIGAKUSHA 

MITSUKO SHIRAI & HARTMUT HOLL 

TANGLEWOOD MUSIC CENTER FELLOWS 

BRYN TERFEL & MALCOLM MARTI NEAU 

DUBRAVKATOMSIC 



AVAILABLE NOW 

Just $12 plus applicable tax and shipping 

Tanglewood Glass House Gift Shops, Lenox, MA 
Symphony Shop, Symphony Hall, Boston, MA 
Online at www.bso.org 






Tanglewood 





2004 

Tanglewood 

Tuesday, July 13, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

BRYN TERFEL, bass-baritone 
MALCOLM MARTINEAU, piano 



c\ 



SEIJ I OZAWA HALL 
lOth ANNIVERSARY SEASON 



Bi 



The audience is politely requested to withhold applause until the end of each group 
of songs. Please do not applaud after the individual songs within each group. 

Texts and Translations 



I. 




RALPH VAUGHAN WILLIAMS (1872-1958) 
"Songs of Travel" 

Texts by Robert Louis Stevenson (1850-1894) 



The Vagabond 

Give to me the life I love, 
Let the lave go by me, 
Give the jolly heaven above, 
And the byway nigh me. 
Bed in the bush with stars to see, 
Bread I dip in the river - 
There's the life for a man like me, 
There's the life for ever. 

Let the blow fall soon or late, 
Let what will be o'er me; 
Give the face of earth around, 
And the road before me. 
Wealth I seek not, hope nor love, 
Nor a friend to know me; 
All I seek, the heaven above, 
And the road below me. 

Or let autumn fall on me 
Where afield I linger, 
Silencing the bird on tree, 
Biting the blue finger. 
White as meal the frosty field - 
Warm the fireside haven - 
Not to autumn will I yield, 
Not to winter even! 



Let the blow fall soon or late, 
Let what will be o'er me; 
Give the face of earth around, 
And the road before me. 
Wealth I ask not, hope nor love, 
Nor a friend to know me; 
All I seek, the heaven above, 
And the road below me. 

Let Beauty awake 

Let Beauty awake in the morn from 

beautiful dreams, 
Beauty awake from rest! 
Let Beauty awake 
For Beauty's sake 
In the hour when the birds awake 

in the brake 
And the stars are bright in the west! 

Let Beauty awake in the eve from the 

slumber of day, 
Awake in the crimson eve! 
In the day's dusk end 
When the shades ascend, 
Let her wake to the kiss of a tender friend, 
To render again and receive! 






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Please turn the page quietly. 



The Roadside Fire 

I will make you brooches and toys for your delight 
Of bird-song at morning and star-shine at night, 
I will make a palace fit for you and me 
Of green days in forests, and blue days at sea. 

I will make my kitchen, and you shall keep your room, 
Where white flows the river and bright blows the broom; 
And you shall wash your linen and keep your body white 
In rainfall at morning and dewfall at night. 

And this shall be for music when no one else is near, 
The fine song for singing, the rare song to hear! 
That only I remember, that only you admire, 
Of the broad road that stretches and the roadside fire. 

Youth and Love 

To the heart of youth the world is a highwayside. 
Passing for ever, he fares; and on either hand, 
Deep in the gardens golden pavilions hide, 
Nestle in orchard bloom, and far on the level land 
Call him with lighted lamp in the eventide. 

Thick as stars at night when the moon is down, 
Pleasures assail him. He to his nobler fate 
Fares; and but waves a hand as he passes on, 
Cries but a wayside word to her at the garden gate, 
Sings but a boyish stave and his face is gone. 

In Dreams 

In dreams unhappy, I behold you stand 
As heretofore: 

The unremember'd tokens in your hand 
Avail no more. 

No more the morning glow, no more 

the grace, 
Enshrines, endears. 

Cold beats the light of time upon your face 
And shows your tears. 



He came and went. Perchance you 

wept awhile 
And then forgot. 

Ah me! but he that left you with a smile 
Forgets you not. 



The infinite shining heavens 

The infinite shining heavens 
Rose, and I saw in the night 
Uncountable angel stars 
Showering sorrow and light. 

I saw them distant as heaven, 
Dumb and shining and dead, 
And the idle stars of the night 
Were dearer to me than bread. 

Night after night in my sorrow 
The stars looked over the sea, 
Till lo! I looked in the dusk 
And a star had come down to me. 






Whither Must I Wander? 

Home no more home to me, whither must I wander? 
Hunger my driver, I go where I must. 
Cold blows the winter wind over hill and heather: 
Thick drives the rain and my roof is in the dust. 
Loved of wise men was the shade of my roof- tree, 
The true word of welcome was spoken in the door - 
Dear days of old with the faces in the firelight, 
Kind folks of old, you come again no more. 

Home was home then, my dear, full of kindly faces, 
Home was home then, my dear, happy for the child. 
Fire and the windows bright glittered on the moorland; 
Song, tuneful song, built a palace in the wild. 
Now when day dawns on the brow of the moorland, 
Lone stands the house, and the chimney-stone is cold. 
Lone let it stand, now the friends are all departed, 
The kind hearts, the true hearts, that loved the place of old. 

Spring shall come, come again, calling up the moorfowl, 

Spring shall bring the sun and the rain, bring the bees and flowers; 

Red shall the heather bloom over hill and valley, 

Soft flow the stream through the even-flowing hours. 

Fair the day shine as it shone on my childhood - 

Fair shine the day on the house with open door; 

Birds come and cry there and twitter in the chimney - 

But I go for ever and come again no more. 

Bright is the ring of words 

Bright is the ring of words 
When the right man rings them, 
Fair the fall of songs 
When the singer sings them, 
Still they are carolled and said - 
On wings they are carried - 
After the singer is dead 
And the maker buried. 

Low as the singer lies 
In the field of heather, 
Songs of his fashion bring 
The swains together. 
And when the west is red 
With the sunset embers, 
The lover lingers and sings 
And the maid remembers. 

I have trod the upward and the downward slope 

I have trod the upward and the downward slope; 
I have endured and done in days before; 
I have longed for all, and bid farewell to hope; 
And I have lived and loved, and closed the door. 

— Robert Louis Stevenson 










II. 



Ye banks and braes (Traditional) 
Ye banks and braes o' bonnie Doon, 
How can ye bloom sae fair! 
How can ye chant, ye little birds, 
And I sae fu o' care! 

Thou'll break my heart, thou bonnie bird 
That sings upon the bough; 
Thou minds me o' the happy days 
When my fause Luve was true. 

Thou'll break my heart, thou bonnie bird 
That sings beside thy mate; 
For sae I sat, and sae I sang, 
And wist na o' my fate. 

Aft hae I roved by bonnie Doon 
To see the woodbine twine, 
And ilka bird sang o' its love; 
And sae did I o' mine. 

Wi' lightsome heart I pud a rose 
Frae aff its thorny tree; 
And my fause luver staw the rose, 
But left the thorn wi' me. 

—Robert Burns (1759-1796) 

Danny Boy (Traditional) 

Oh Danny boy, the pipes, the pipes are calling 

From glen to glen, and down the mountain side 

The summer's gone, and all the flowers are dying, 

Tis you, 'tis you must go and I must bide. 

But come ye back when summer's in the meadow 

Or when the valley's hushed and white with snow 

Tis I'll be here in sunshine or in shadow 

Oh Danny boy, oh Danny boy, I love you so. 

And if you come, when all the flowers are dying 
And I am dead, as dead I well may be, 
You'll come and find the place where I am lying 
And kneel and say an "Ave" there for me. 
And I shall hear, tho' soft you tread above me, 
And all my dreams will warm and sweeter be 
If you'll not fail to tell me that you love me 
I'll simply sleep in peace until you come to me. 



Ar Hyd y Nos (Traditional) 
Holl amrantau'r ser ddywedant, 
Ar hyd y nos, 

"Dyma'r ffordd i fro gogoniant," 
Ar hyd y nos. 



All Through the Night 

All the stars that shine are saying, 
All through the night, 
"Here's the way to glory, beaming" 
All through the night. 



Golau arall yw tywyllwch, 
I arddangos gwir brydferthwch, 
Teulu'r nefoedd mewn tawelwch, 
Ar hyd y nos. 

mor siriol gwena seren, 
Ar hyd y nos, 

1 oleuo'i chwaer ddaearen, 
Ar hyd y nos. 

Nos yw henaint pan ddaw cystudd, 
Ond i harddu dyn a'i hwyr ddydd, 
Rho'wn ein goleu gwan i'n gilydd, 
Ar hyd y nos. 

—John Ceiriog Hughes (1832-1887) 



Darkness is but other lighting 
To display true beauty shining, 
Heaven s family peacefully sleeping 
All through the night. 

Oh so charming, stars are smiling, 
All through the night, 
Over earth their light is shining, 
All through the night. 

Darkness folds us in our suffering, 
And adorns us in our aging, 
Dimming lights, let us be sharing 
All through the night. 

— trans. Sioned Jones 



W.S.GWYNN WILLIAMS (1896-1978) 

My Little Welsh Home 

I am dreaming of the mountains of my home 

Of the mountains where in childhood I would roam 

I have dream't 'neath summer skies where the Summer never dies 

But my heart is in the mountains of my home 

I can see the little homestead of the hill 

I can hear the magic music of the rill 

There is nothing to compare with the love that once was there 

In that lonely little homestead on the hill 

I can see the quiet churchyard down below 

Where the mountain breezes wander to and fro 

And when God my soul will keep it is there I want to sleep 

With those dear old folks that loved me long ago 

— W.S. Gwynn Williams 






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Please turn the page quietly, 
and only after the music has stopped. 




OWEN WILLIAMS (1877-1956) 

Sul y Blodau 

Tan y garreg las a'r blodau 

Cysga berl dy fam 

Gwybod mae dy dad a minnau 

Na dderbyni gam. 

Gwn nad oes un beddrod bychan 

Heb ei angel gwyn, 

Cwsg fy mhlentyn yma'th hunan 

Cwsg Goronwy Wyn. 

Dan y garreg las Goronwy 

Cysga beth yn hwy 

Rhaid yw dweud nos da Goronwy 

Mynd a'th ad or wy. 

Nid oes eisiau llaw i'th siglo 

Yn dy newydd gryd 

Cwsg nes gweld ein gilydd eto 

Cwsg a gwyn dy fyd 

Cwsg, Cwsg, Cwsg Goronwy Wyn. 
— Sion Wyn 



Flower Sunday 

Where the flow 'rs and gray stones hide, 

Sleep, my pearl, below 

That no harm shall e'er betide thee 

I and father know. 

Litde graves are never lonely, 

Angels guard their kin; 

Sleep my child thyself there only, 

Sleep, Goronwy Wyn. 

Under that gray stone, Goronwy, 

Slumber yet a while; 

I must say goodnight, Goronwy 

Leaving thee alone. 

Strange that cradle hand of mother 

Need not rock thee now; 

Sleep until we meet each other 

Sleep, and blest be thou. 

Sleep, Sleep, Sleep, Goronwy Wyn. 



III. 

IVOR GURNEY (1890-1937) 

Sleep 

Come, sleep, and with thy sweet deceiving 

Lock me in delight awhile; 

Let some pleasing dream beguile 

All my fancies, that from thence 

I may feel an influence, 

All my powers of care bereaving. 

Tho' but a shadow, but a sliding, 
Let me know some little joy. 
We, that suffer long annoy, 
Are contented with a thought 
Thro' an idle fancy wrought: 
O let my joys have some abiding. 

—John Fletcher (1579-1625) 







IV. 



PETER WARLOCK (1894-1930) 

Captain Stratton's Fancy 

Oh, some are fond of red wine and some are fond of white, 
And some are all for dancing by the pale moonlight, 
But rum alone s the tipple and the heart's delight 
Of the old, bold mate of Henry Morgan. 

Oh, some are fond of Spanish wine and some are fond of French, 
And some'll swallow tay and stuff fit only for a wench, 
But I'm for right Jamaica till I roll beneath the bench, 
Says the old, bold mate of Henry Morgan. 

Oh, some are for the lily and some are for the rose, 

But I am for the sugar cane that in Jamaica grows, 

For it's that that makes the bonny drink to warm my copper nose, 

Says the old, bold mate of Henry Morgan. 

Oh, some are fond of fiddles and a song well sung, 

And some are all for music for to lit upon the tongue, 

But mouths were made for tankards and for sucking at the bung, 

Says the old, bold mate of Henry Morgan. 

Oh, some that's good and godly ones they hold that it's a sin 
To troll the jolly bowl around and let the dollars spin, 
But I'm for toleration and for drinking at an inn, 
Says the old, bold mate of Henry Morgan. 

—John Masefield (1878-1967) 



SfcM 



■ 



INTERMISSION 



V. 



ROGER QUILTER (1877-1953) 
Three Shakespeare Songs, Opus 6 

Come away, death (from Twelfth Night) 

Come away, come away, death, 

And in sad cypress let me be laid; 

Fly away, fly away, breath; 

I am slain by a fair cruel maid. 

My shroud of white, stuck all 

with yew, 
O prepare it! 

My part of death, no one so true 
Did share it. 



Not a flower, not a flower sweet, 

On my black coffin let there be strown; 

Not a friend, not a friend greet 

My poor corpse, where my bones shall be thrown: 

A thousand, thousand sighs to save, 

Lay me, O where 

Sad true lover never find my grave, 

To weep there! 



Please turn the page quietly, 
and only after the music has stopped. 



tfll 



Oh mistress mine (from Twelfth Night) 
O mistress mine, where are you roaming? 
O stay and hear, your true love's coming 
That can sing both high and low. 

Trip no further, pretty sweeting; 
Journeys end in lovers' meeting, 
Ev'ry wise man's son doth know. 

What is love? 'Tis not hereafter; 
Present mirth hath present laughter; 
What's to come is still unsure: 

In delay there lies no plenty; 

Then come kiss me, sweet and twenty; 

Youth's a stuff will not endure. 

Blow, blow, thou winter wind (from As You Like It) 

Blow, blow, thou winter wind, 

Thou art not so unkind 

As man's ingratitude; 

Thy tooth is not so keen 

Because thou art not seen, 

Although thy breath be rude. 

Heigh ho! sing heigh ho! unto the green holly: 

Most friendship is feigning, most loving mere folly: 

Then, heigh ho! the holly! 

This life is most jolly. 

Freeze, freeze thou bitter sky, 

Thou dost not bite so nigh 

As benefits forgot: 

Though thou the waters warp, 

Thy sting is not so sharp 

As friend remember'd not. 

Heigh ho! sing heigh ho! unto the green holly: 

Most friendship is feigning, most loving mere folly: 

Then, heigh ho! the holly! 

This life is most jolly. 



VI. 



BENJAMIN BRITTEN (1913-1976) 

The foggy, foggy Dew 

When I was a bachelor I lived all alone 

And worked at the weaver's trade 

And the only, only thing that I ever did wrong, 

Was to woo a fair young maid. 

I wooed her in the winter time, and in the summer too. 

And the only, only thing I did that was wrong 

Was to keep her from the foggy, foggy dew. 



One night she came to my bedside when I lay fast asleep, 

She laid her head upon my bed and she began to weep. 

She sighed, she cried, she damn'd near died, 

She said: "What shall I do?" 

So I hauled her into bed and I covered up her head, 

Just to keep her from the foggy, foggy dew. 

Oh, I am a bachelor and I live with my son, 

And we work at the weaver's trade. 

And ev'ry single time that I look into his eyes, 

He reminds me of the fair young maid. 

He reminds me of the winter time, and of the summer too, 

And of the many, many times that I held her in my arms, 

Just to keep her from the foggy, foggy dew. 

— Anonymous 

The Salley Gardens 

It was down by the Salley gardens, my love and I did meet. 
She crossed the Salley gardens with little snow-white feet. 
She bid me take love easy, as the leaves grow on the tree, 
But I was young and foolish, and with her did not agree. 

In a field down by the river, my love and I did stand. 
And on my leaning shoulder, she laid her snow-white hand. 
She bid me take life easy, as the grass grows on the weirs, 
But I was young and foolish, and now am full of tears. 

Down by the Salley gardens, my love and I did meet. 
She crossed the Salley gardens with little snow-white feet. 
She bid me take love easy, as the leaves grow on the tree, 
But I was young and foolish, and with her did not agree. 

—William Butler Yeats (1865-1939) 






Oliver Cromwell 

Oliver Cromwell lay buried and dead, 
Hee-haw, buried and dead, 
There grew an old apple-tree over his head, 
Hee-haw, over his head. 

The apples were ripe and ready to fall, 
Hee-haw, ready to fall, 

There came an old woman to gather them all, 
Hee-haw, gather them all. 

Oliver rose and gave her a drop, 
Hee-haw, gave her a drop, 
Which made the old woman go hippety hop, 
Hee-haw, hippety hop. 

The saddle and bridle, they He on the shelf, 
Hee-haw, lie on the shelf, 
If you want any more you can sing it yourself, 
Hee-haw, sing it yourself. 

— Anonymous folk text 



VII. 

AARON COPLAND (1900-1990) 
from Old American Songs 

The Little Horses (Lullaby) 

Hush you bye, don t you cry, 
go to sleepy little baby. 
When you wake, you shall have, 
all the pretty little horses. 

Black and bays, dapples and grays, 
Coach and six- a little horses. . . 

Hush you bye, don't you cry, 

go to sleepy little baby. 

When you wake, you'll have sweet cake, 

and all the pretty little horses. 

A brown and a gray, and a black and a bay, 
and a coach and six-a little horses. . . 



At the River (Hymn Tune) 
Shall we gather by the river, 
where bright angels feet have trod, 
with its crystal tide forever 
flowing by the throne of God. 

Yes we'll gather by the river, 
the beautiful, the beautiful river, 
gather with the saints by the river 
that flows by the throne of God. 



Soon we'll reach the shining river, 
soon our pilgrimage will cease, 
soon our happy hearts will quiver 
with the melody of peace. 

Yes we'll gather by the river. . . 



Ching-a-ring Chaw (Minstrel Song) 
Ching-a-ring-a ring ching ching, 
Ho-a ding-a ding kum larkee. . . 

Brothers gather round, 
listen to this story, 
iDout the promised land, 
an' the promised glory. 

You don' need to fear, 
if you have no money, 
you don' need none there, 
to buy you milk and honey. 

There you'll ride in style, 
coach with four white horses, 
there the evenin' meal, 
has one two three four courses. 

Ching-a-ring-a ring. . . 



Nights we all will dance, 
to the harp and fiddle, 
waltz and jig and prance, 
"Cast off down the middle." 

When the mornin' come, 
all in grand and splendour, 
stand out in the sun, 
and hear the holy thunder. 

Brothers hear me out, 

the promised land's a-comin', 

dance and sing and shout, 

I hear them harps a-strummin'. 

Ching-a-ring ching... 






VIII. 



FREDERICO PAOLO TOSTI (1846-1916) 



Sogno 

Ho sognato che stavi a ginocchi 
come un santo che prega il Signor, 
mi guardavi nel fondo degl'occhi, 
Sfavillava il tuo sguardo d'amor. 
Tu parlavi e la voce sommessa 
mi chiedea dolcemente merce. 
Solo un guardo che fosse promessa 
imploravi curvata al mio pie. 

Io tacevo e coll'anima forte 

il desio tenatore lotto. 

Ho provato il martirio e la morte, 

pur mi vinsi e ti dissi di no. 

Ma il tuo labbro sfioro la mia faccia 

e la forza del cor mi tradi. 

Chiusi gli occhi, ti stesi le braccia, 

ma sognavo e il bel sogno svani! 

—Lorenzo Stecchetti (1845-1876) 



Dream 

I dreamed that you were kneeling 
Like a saint praying to the Lord, 
You looked deep into my eyes, 
Your glance shone with love, 
You were speaking and your soft voice 
Gently asked me for pity. 
Kneeling at my feet you begged 
For only a look, as a promise. 

I was silent and battled manfully 
Against the tempting desire, 
I suffered martyrdom and death, 
Yet conquered myself and said no. 
But your lips brushed my face 
And the strength of my heart failed me. 
I closed my eyes, opened my arms to you, 
But I was dreaming, and the lovely 
dream vanished! 

Please turn the page quietly, 
and only after the music has stopped. 



JK 







Celebrating 10 Years of Great Music-Making 
in Seiji Ozawa Hall at Tanglewood 

To mark the 10th anniversary of Seiji Ozawa Hall, the 
Boston Symphony Orchestra is pleased to issue an 
exclusive, generously-filled CD of live performances 
from Seiji Ozawa Hall at Tanglewood. 

Hear these outstanding artists in live performances dating 
from 1995 to 2003 

PIERRE-LAURENT AIMARD • CHANTICLEER • THE EMERSON QUARTET • MATTHIAS GOERNE & ERIC SCHNEIDER • 
RICHARD GOODE • KREMERATA BALTICA • LORRAINE HUNT LIEBERSON & PETER SERKIN • YO-YO MA & 
EMANUEL AX • THE JUILLIARD QUARTET • THOMAS QUASTHOFF & THE FREIBURG BAROQUE ORCHESTRA • 
REIGAKUSHA • MITSUKO SHIRAI & HARTMUT HOLL • TANGLEWOOD MUSIC CENTER FELLOWS • BRYN TERFEL & 
MALCOLM MARTINEAU • DUBRAVKATOMSIC 

AVAILABLE NOW 

Just $12 plus applicable tax and shipping 

Tanglewood Glass House Gift Shops, Lenox, MA 

Symphony Shop, Symphony Hall, Boston, MA 

Onlineatwww.bso.org TangleWOOCl 





■ 



La serenata 
Vola, O serenata: 
La mia diletta esola, 
E, con la bella testa 
Posa tra le lenzuola: 
O serenata, vola. 
Splende pura la luna: 
L'alle il silenzio stende, 

E dietro I veli dell'alcova bruna 

La lampada s'accende: 

Pura la luna splende. 

Vola, O serenata, vola. 

La mia diletta e sola, 

Ma sorridendo ancor mezzo assonnata, 

Torna fra le lenzuola: 

O serenata, vola. 

L'onda sogna su'l lido, 

E'l vento su la fronda; 

E abaci miei ricusa ancora un nido 

La mia signora bionda. . . 

—Giovanni Alfredo Cesareo (1861-1937) 

Chanson de l'adieu 

Partir c'est mourir un peu, 
C'est mourir a ce qu'on aime; 
On laisse un peu de soi-meme 
En toute heure et dans tout lieu. 

C'est toujours le deuil d'un voeu, 
Le dernier vers d'un poeme; 
Partir c'est mourir un peu 
C'est mourir a ce qu'on aime 

Et Ton part, et c'est un jeu 
Et jusqu'a l'adieu supreme 
C'est son ame que Ton seme 
Que Ton seme en chaque adieu. 

Partir, c'est mourir un peu, 
Partir, c'est mourir un peu. 

—Edmond Haraucort (1856-1942) 



The Serenade 

Fly, serenade: 

My darling is alone, 

And, laying down her beautiful head, 

She rests between the sheets: 

O serenade, fly. 

The moon is shining clearly; 

The silence of the night is spreading its 

wings, 
And behind the veils of the dark 

chamber 
The lamp is lighted; 
The moon is shining clearly. 
Fly, serenade. 
My darling is alone, 
But, still sleepy and smiling, 
She goes back between the sheets: 
O serenade, fly. 

The wave dreams on the sandy beach, 
The wind between the leafy branches, 
And my fair lady 
Still refuses all my kisses. . . 



Song of Farewell 

To part is to die a little, 
To die to that which we love. 
One leaves a little of one's self 
In every hour and in every place. 

It is always the mourning of a wish, 

The last verse of a poem. 

To part is to die a little, 

To die to that which we love. 

And one leaves, and it's a game, 
And until the final farewell 
With one's soul one makes 
One's mark at each goodbye. 



To part is to die a little, 
To part is to die a little. 








Tanglewood 



Ozawa Hall 

July 15-August 5, 2004 




^B 




ORIGINS GflllCAV 

formerly TRIBAL ARTS GALLERY, NYC 

Ceremonial and modern sculpture 
for new and advanced collectors 



Open 7 Days 
413-298-0002 



36 Main St. POB 905 
Stockbridge, MA 01262 










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i ■ 









: 



.* !* 



Edith Wharton called it 

"My first real home." 



The New York Times calls it 




The Mount 

Estate & Gardens 

Don't miss the final season of our Designer Showhouse, 

featuring stunning interiors created by world-class designers. 

Stroll through exquisite gardens, enjoy lunch and a glass of wine on the terrace, 

and attend provocative lectures on Monday and Thursday afternoons. 

w w w. Z oLic^rt^n^^^C^Z . o r g 
Route 7 at Plunkett Street, Lenox Daily 9-5 41 3-637-6900 




BOSTON SYMPHONY ORCHESTRA 

One Hundred and Twenty-Third Season, 2003-04 
TANGLEWOOD 2004 



Trustees of the Boston Symphony Orchestra, Inc. 

Peter A. Brooke, Chairman 



John F. Cogan, Jr., Vice-Chairman 
Nina L. Doggett, Vice-Chairman 
Edward Linde, Vice-Chairman 



Robert P. O'Block, Vice-Chairman 
Roger T. Servison, Vice-Chairman 
Vincent M. O'Reilly, Treasurer 



Harlan E. Anderson 
George D. Behrakis 
Gabriella Beranek 
Jan Brett 

Samuel B. Bruskin 
Paul Buttenwieser 
James F. Cleary 
Eric D. Collins 

Life Trustees 

Vernon R. Alden 
David B.Arnold, Jr. 
J.P Barger 
Leo L. Beranek 



Diddy Cullinane, 

ex-officio 
William R. Elfers 
Nancy J. Fitzpatrick 
Charles K. Gifford 
Avram J. Goldberg 
Thelma E. Goldberg 



Julian Cohen 
Abram T. Collier 
Mrs. Edith L. Dabney 
Nelson J. Darling, Jr. 



Edna S. Kalman 
George Krupp 
R. Willis Leith, Jr. 
Nathan R. Miller 
Richard P. Morse 
Donna Riccardi, 
ex-officio 



Edward I. Rudman 
Hannah H. Schneider 
Thomas G. Sternberg 
Stephen R. Weber 
Stephen R. Weiner 
Robert Winters 



George H. Kidder Peter C. Read 

Harvey Chet Krentzman Richard A. Smith 
Mrs. August R. Meyer Ray Stata 
Mrs. Robert B. Newman John Hoyt Stookey 




Deborah Davis Berman Mrs. John H. Fitzpatrick William J. Poorvu John L. Thorndike 

Jane C. Bradley Dean W. Freed Irving W. Rabb Dr. Nicholas T. Zervas 

Helene R. Cahners 



M 



Other Officers of the Corporation 

Mark Volpe, Managing Director 
Suzanne Page, Clerk of the Board 

Board of Overseers of the Boston Symphony Orchestra, Inc. 

Diddy Cullinane, Chair 



Thomas D. May, Chief Financial Officer 



Helaine B. Allen 
Joel B. Alvord 
Marjorie Arons-Barron 
Diane M. Austin 
Maureen Scannell 

Bateman 
Milton Benjamin 
George W. Berry 
James L. Bildner 
Bradley Bloom 
Mark G. Borden 
Alan Bressler 
Michelle Courton 

Brown 
William Burgin 
Dr. Edmund B. Cabot 
Rena F. Clark 
Carol Feinberg Cohen 
Mrs. James C. Collias 
Ranny Cooper 
Martha H.W. 

Crowninshield 
Joan P. Curhan 
Cynthia Curme 
James C. Curvey 
Tamara P. Davis 
Mrs. Miguel de 

Braganca 
Disque Deane 



Betsy P. Demirjian 
Paul F. Deninger 
Alan Dynner 
George M. Elvin 
John P. Eustis II 
Pamela D. Everhart 
Judith Moss Feingold 
J. Richard Fennell 
Lawrence K. Fish 
Myrna H. Freedman 
Dr. Arthur Gelb 
Jack Gill 
Robert P. Gittens 
Paula Groves 
Michael Halperson 
Ellen T. Harris 
Virginia S. Harris 
Deborah M. Hauser 
Carol Henderson 
Richard Higginbotham 
Phyllis S. Hubbard 
Roger Hunt 
Ernest Jacquet 
Charles H. Jenkins, Jr. 
Michael Joyce 
Martin S. Kaplan 
Steven E. Karol 
Stephen Kay 
Edmund Kelly 



Douglas A. Kingsley 
Robert Kleinberg 
Dr. Arthur R. Kravitz 
Mrs. William D. 

Larkin, Jr. 
Robert J. Lepofsky 
Alexander M. Levine 
Christopher J. Lindop 
Shari Loessberg 
Edwin N. London 
Carmine Martignetti 
Joseph B. Martin, M.D. 
Robert J. Mayer, M.D. 
Barbara E. Maze 
Thomas McCann 
Joseph C. McNay 
Albert Merck 
Dr. Martin C. Mihm, Jr. 
Robert Mnookin 
Robert T. O'Connell 
Norio Ohga 
Louis F. Orsatti 
Joseph Patton 
Ann M. Philbin 
May H. Pierce 
Joyce L. Plotkin 
Dr. John Thomas 

Potts, Jr. 
Dr. Tina Young Poussaint 



Millard H. Pryor, Jr. 
Patrick J. Purcell 
Carol Reich 
Alan Rottenberg 
Michael Ruettgers 
Kenan Sahin 
Arthur I. Segel 
Ross E. Sherbrooke 
Gilda Slifka 
Christopher Smallhorn 
Mrs. Micho Spring 
Charles A. Stakeley 
Jacquelynne M. 

Stepanian 
Wilmer Thomas 
Samuel Thorne 
Bill Van Faasen 
Loet A. Velmans 
Paul M. Verrochi 
Matthew Walker 
Larry Weber 
Robert S. Weil 
David C. Weinstein 
James Westra 
Mrs. Joan D. Wheeler 
Reginald H. White 
Robin Wilson 
Richard Wurtman, M.D 



Memories of Tanglewood. . . 
You can take them with you! 



Visit our 
Tanglewood Music Store 



Located at the Main Gate 

Hours — same as the Glass House at the Main Gate 

Wide selection of classical music 

Weekly concert selections 

BSO and guest artists 

• Compact discs 

• Sheet music, instrumental and vocal 

• Full scores 

• Books 

Glass House Gift Shop 

Located at the Main Gate and Highwood Gate 
Exciting designs and colors 

• Adult and children's clothing 

• Accessories 

• Compact discs 

• Stationery, posters, books 

• Giftware 

MasterCard/VISA/American Express/Diners Club/Discover Card 



mi 



MAIN GATE: 

Closed during performances 
Monday through Friday: 10am to 4pm 
Friday: 5:30pm to closing of the grounds 
Saturday: 9am to 4pm 

6pm to closing of the grounds 
Sunday: noon to 6pm 



HIGHWOOD GATE: 

Closed during performances 

Friday: 5:30pm to closing of the grounds 

Saturday: 9am to 4pm 

6pm to closing of the grounds 
Sunday: noon to 6pm 
Weeknight concerts, Seiji Ozawa Hall: 

7pm through intermission 













Overseers Emeriti 

Caroline Dwight Bain 
Sandra Bakalar 
William M. Bulger 
Mrs. Levin H. 

Campbell 
Earle M. Chiles 
Phyllis Curtin 
JoAnne Walton 

Dickinson 
Phyllis Dohanian 
Goetz B. Eaton 
Harriett Eckstein 
Edward Eskandarian 
Peter H.B. 

Frelinghuysen 
Mrs. Thomas 

Galligan, Jr. 



Mrs. James Garivaltis 
Mrs. Kenneth J. 

Germeshausen 
Jordan Golding 
Mark R. Goldweitz 
Mrs. Haskell R. 

Gordon 
Susan D. Hall 
John Hamill 
Mrs. Richard D. Hill 
Glen H. Hiner 
Marilyn Brachman 

Hoffman 
Lola Jaffe 
H. Eugene Jones 
Mrs. S. Charles Kasdon 
Richard L. Kaye 



Mrs. Gordon F. 

Kingsley 
David I. Kosowsky 
Robert K. Kraft 
Benjamin H. Lacy 
Hart D. Leavitt 
Frederick H. 

Lovejoy, Jr. 
Diane H. Lupean 
Mrs. Charles P. Lyman 
Mrs. Harry L. Marks 
C. Charles Marran 
Hanae Mori 
Mrs. Hiroshi H. 

Nishino 
John A. Perkins 
Daphne Brooks Prout 



Robert E. Remis 
Mrs. Peter van S. Rice 
John Ex Rodgers 
Mrs. Jerome Rosenfeld 
Roger A. Saunders 
Lynda Anne Schubert 
Mrs. Carl Shapiro 
L. Scott Singleton 
Mrs. Arthur I. Strang 
Robert A. Wells 
Mrs. Thomas H. P. 

Whitney 
Margaret Williams- 

DeCelles 
Mrs. Donald B. Wilson 
Mrs. John J. Wilson 



Business Leadership Association 

Board of Directors 

Charles K. Gifford, Chairman 
Edmund F. Kelly, President 



Robin A. Brown 
Michael J. Costello 
Robert W. Daly 
Francis A. Doyle 
William R. Elfers 
Lawrence K. Fish 



John P. Hamill 
Ernest K. Jacquet 
Michael J. Joyce 
Steven E. Karol 
Edmund F. Kelly 



Leo L. Beranek, James F. Cleary, and 
Harvey Chet Krentzman, Chairmen Emeriti 

Carmine A. Martignetti Lynda A. Schubert 

Thomas J. May Roger T Servison 

J. Kent McHose Malcolm L. Sherman 

Joseph C. McNay Ray Stata 

Louis F. Orsatti William C. Van Faasen 



Christopher J. Lindop Patrick J. Purcell 



Paul M. Verrochi 



Ex-Officio Peter A. Brooke • Diddy Cullinane • Nicholas T Zervas 









Officers of the Boston Symphony Association of Volunteers 

Donna Riccardi, President Ursula Ehret-Dichter, Executive 
Ann M. Philbin, President-Elect Vice-President/ Tanglewood 

Olga Turcotte, Executive Vice-President/ Patricia A. Kavanagh, Secretary 

Administration William A. Along, Treasurer 

Linda M. Sperandio, Executive Judy Barr, Nominating Chair 

Vice-President/Fundraising 



Melinda Brown, Resource 

Development 
Jerry Dreher, Education and 

Outreach 



Audley H. Fuller, Membership 
Lillian Katz, Hall Services 
James M. Labraico, Special 
Projects 



Lisa A. Mafrici, Public Relations 
Leah Weisse, Symphony Shop 
Staffing 








untiy Curtains 

*>-/ ^—^R FT ATT SHOP 



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Open Every Day! 



You'll Find Our Shop 
Cozy & Inviting... 

Full of new looks and fresh 

decorating ideas for making 

your home warm and inviting! 

At The Red Lion Inn 

Main Street 
Stockbridge, MA 

413^298^5565 
www. country curtains . com 




Administration 

Mark Volpe, Managing Director 
Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity 



Tony Beadle, Manager, Boston Pops 

Anthony Fogg, Artistic Administrator 

Marion Gardner- S axe, Director of Human Resources 

Ellen Highstein, Director of Tanglewood Music Center 

Thomas D. May, Chief Financial Officer 

Peter Minichielio, Director of Development 



Kim Noltemy, Director of Sales and 

Marketing 
Caroline Taylor, Senior Advisor to the 

Managing Director 
Ray F. Wellbaum, Orchestra Manager 



ADMINISTRATIVE STAFF/ ARTISTIC 

Karen Leopardi, Artist Assistant/ Secretary to the Music Director • Vincenzo Natale, Chauffeur/ Valet • 
Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Alexander 
Steinbeis, Artistic Administration Coordinator 

ADMINISTRATIVE STAFF/ PRODUCTION 
Christopher W. Ruigomez, Operations Manager 

Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production Coor- 
dinator • Stephanie Kluter, Assistant to the Orchestra Manager • Jake Moerschel, Stage Technician • 
Julie G. Moerschel, Assistant Chorus Manager • John Morin, Stage Technician • Mark C. Rawson, Stage 
Technician • Timothy Tsukamoto, Orchestra Personnel Coordinator 

BOSTON POPS 

Dennis Alves, Director of Artistic Programming 

Jana Gimenez, Operations Manager • Sheri Goldstein, Personal Assistant to the Conductor • Julie Knippa, 

Administration Coordinator • Margo Saulnier, Artistic Coordinator 

BUSINESS OFFICE 

Sarah J. Harrington, Director of Planning and Budgeting 

Pam Wells, Controller 

Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Theresa Colvin, 
Staff Accountant • Michelle Green, Executive Assistant to the Chief Financial Officer • Y. Georges 
Minyayluk, Senior Investment Accountant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget 
Analyst • Harriet Prout, Accounting Manager • Taunia Soderquist, Payroll Administrator • Andrew 
Swartz, Budget Assistant • Teresa Wang, Staff Accountant 

DEVELOPMENT 

Judi Taylor Cantor, Director of Major and Planned Giving ♦ Rebecca R. Crawford, Director of Devel- 
opment Communications ♦ Sally Dale, Director of Stewardship and Development Administration ♦ 
Alexandra Fuchs, Director of Annual Funds ♦ Jo Frances Kaplan, Director of Institutional Giving 

Rachel Arthur, Major and Planned Giving Coordinator • Maureen Barry, Executive Assistant to the 
Director of Development • Gregg Carlo, Coordinator, Corporate Programs, • Claire Carr, Administrative 
Assistant, Corporate Programs • Amy Concannon, Annual Fund Committee Coordinator • Diane 
Cataudella, Associate Director of Stewardship • Joanna N. Drake, Assistant Manager, Annual Fund 
Events • Sarah Fitzgerald, Manager of Gift Processing and Donor Records • Barbara Hanson, Manager, 
Koussevitzky Society • Emily Horsford, Friends Membership Coordinator • Justin Kelly, Assistant Mana- 
ger of Gift Processing and Donor Records • Katherine M. Krupanski, Assistant Manager, Higginson and 
Fiedler Societies • Mary MacFarlane, Manager, Friends Membership • Tanya Melanson, Development 
Communications Project Manager • Robert Meya, Senior Major Gifts Officer • Susan Olson, Steward- 
ship Coordinator • Cristina Perdoni, Gift Processing and Donor Records Coordinator • Gerrit Petersen, 
Director of Foundation Support • Phoebe Slanetz, Director of Development Research • Elizabeth Stevens, 
Assistant Manager of Planned Giving • Mary E. Thomson, Program Manager, Corporate Programs • 
Hadley Wright, Foundation and Government Grants Coordinator 

EDUCATION AND COMMUNITY PROGRAMS /ARCHIVES 

Myran Parker-Brass, Director of Education and Community Programs 

Bridget P. Carr, Archivist-Position endowed by Caroline Dwight Bain 

Gabriel Cobas, Manager of Education Programs • Leslie Wu Foley, Associate Director of Education and 

Community Programs • Zakiya Thomas, Coordinator of Community Projects/Research • Leah Wilson- 

Velasco, Education and Community Programs Assistant 



WHEN YOU GIVE, 

great music lives on 

When you make a contribution to the Friends of Tangle wood, you support 
America's premier summer music festival — a magical blend of music and 
nature. Your gift allows audiences to share the incomparable experience of 
classical music performed at its best in the beautiful Berkshire Hills. 

Tanglewood is also home to theTanglewood Music Center, one of the leading 
centers for advanced musical study. Friends of theTanglewood Music Center 
support gifted musicians from around the world who study, free of charge, 
with preeminent artists including BSO musicians. 

Become a Friend of Tanglewood or a Friend 
of the Tanglewood Music Center today with 
a generous contribution. When you give, new 
talents emerge, people discover the arts, and 
great music lives on. 




FRIENDS OF 



Tanglewood 



To make a gift, please call the Friends Office 
at (413) 637-5261 or visit us online at 
www.bso.org. 







EVENT SERVICES 

Cheryl Silvia Lopes, Director of Event Services 

Lesley Ann Cefalo, Special Events Manager • Kathleen Clarke, Assistant to the Director of Event 

Services • Emma- Kate Kallevik, Tang/ewood Events Coordinator • Kyle Ronayne, Food and Beverage 

Manager 

HUMAN RESOURCES 

Dorothy DeYoung, Benefits Manager ♦ Sarah Nicoson, Human Resources Manager 

INFORMATION TECHNOLOGY 

David W. Woodall, Director of Information Technology 

Guy W. Brandenstein, Tanglewood User Support Specialist • Andrew Cordero, Lead User Support 
Specialist • Timothy James, Applications Support Specialist • John Lindberg, System and Network 
Administrator • Michael Pijoan, Assistant Director of Information Technology • Brian Van Sickle, 
User Support Administrator 

PUBLIC RELATIONS 

Bernadette M. Horgan, Director of Media Relations 

Meryl Atlas, Media Relations Assistant • Kelly Davis, Media Relations Associate • Sean J. Kerrigan, 

Associate Director of Media Relations • Amy Rowen, Media Relations Coordinator 

PUBLICATIONS 

Marc Mandel, Director of Program Publications 

Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/ 

Boston Pops Program Editor 

SALES, SUBSCRIPTION, AND MARKETING 

Amy Aldrich, Manager, Subscription Office ♦ Leslie Bissaillon, Manager, Glass Houses • Helen N.H. 
Brady, Director of Group Sales ♦ Alyson Bristol, Director of Corporate Sponsorships ♦ Sid Guidicianne, 
Front of House Manager ♦ James Jackson, Call Center Manager ♦ Roberta Kennedy, Manager, Sym- 
phony Shop ♦ Sarah L. Manoog, Director of Marketing Programs ♦ Michael Miller, SymphonyCharge 
Manager 

Rich Bradway, Manager of Internet Marketing • Lenore Camassar, SymphonyCharge Assistant Manager 
• John Dorgan, Group Sales Coordinator • Michelle Giuliana, Web Editor • Peter Grimm, Tanglewood 
Special Projects Manager • Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth Hopkins, Graphic 
Designer • Julie Kleinhans, Senior Subscription Representative • Elizabeth Levesque, Marketing Projects 
Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • 
Ronnie McKinley, Ticket Exchange Coordinator • Cheryl McKinney, Subscription Representative • 
Michael Moore, Assistant Call Center Manager • MarcyKate Perkins, SymphonyCharge Representative • 
Kristen Powich, Coordinator, Corporate Sponsorships • Doreen Reis, Marketing Coordinator for Advertis- 
ing • Caroline Rizzo, SymphonyCharge Representative • Megan E. Sullivan, Access Services Coordinator • 
Sandra Swanson, Manager, Corporate Sponsorships 
Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager 

SYMPHONY HALL OPERATIONS 

Robert L. Gleason, Director of Hall Facilities 

TANGLEWOOD MUSIC CENTER 

Patricia Brown, Associate Director • Beth Paine, Manager of Student Services • Kristen Reinhardt, 
Coordinator • Gary Wallen, Scheduler 

TANGLEWOOD OPERATIONS 

David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires 

Ronald T Brouker, Supervisor of Tanglewood Crew • Robert Lahart, Electrician • Peter Socha, Head 
Carpenter 

Tanglewood Facilities Staff Robert Casey • Steve Curley • Rich Drumm • Bruce Huber 

TANGLEWOOD SUMMER MANAGEMENT STAFF 

Thomas Cinella, Business Office Manager • Peter Grimm, Seranak House Manager • David Harding, 

Front of House Manager/Manager of Customer Service • Marcia Jones, Manager of Visitor Center 

VOLUNTEER OFFICE 

Patricia Krol, Director of Volunteer Services 

Deborah FLavAand, Administrative Assistant • Paula Ramsdell, Project Coordinator 



m 




THE WALTER PISTON SOCIETY 



Jean-Noel Tariot's musical heritage is impressive. His great-great grandfather, 
great grandfather, and great uncle, Alexandre Tariot, were accomplished French 
musicians and acquainted with the great composers of their time. Mr. Tariot and 
his wife Mona felt compelled to create a lasting legacy at the Boston Symphony 
Orchestra by endowing a French horn term-chair as a tribute to the music they 
love so much. The Tariot's charitable gift annuity makes it possible to enjoy this 
family legacy NOW, and will give them an income for life. 



Tanglewood 



To learn more about giving opportunities that pay YOU to 
give, please call (413) 637-5275 or e-mailjtcantor@bso.org. 
You may be assured of complete confidentiality. 









TANGLEWOOD 



The Tanglewood Festival 

In August 1934 a group of music-loving summer residents of the Berkshires organized a 
series of three outdoor concerts at Interlaken, to be given by members of the New York 
Philharmonic under the direction of Henry Hadley. The venture was so successful that the 
promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during 
the next summer. 

The Festival Committee then invited Serge Koussevitzky and the Boston Symphony 
Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted, 
and on August 13, 1936, the Boston Symphony Orchestra gave its first concerts in the 
Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The 
series again consisted of three concerts and was given under a large tent, drawing a total of 
nearly 15,000 people. 

In the winter of 1936 Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered 
Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and mead- 
ows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, and on 
August 5, 1937, the festival's largest crowd to that time assembled under a tent for the first 
Tanglewood concert, an all-Beethoven program. 

At the all-Wagner concert that opened the 1937 festival's second weekend, rain and 
thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of 
the "Forest Murmurs" from Siegfried, music too delicate to be heard through the downpour. 
At the intermission, Miss Gertrude Robinson Smith, one of the festival's founders, made an 
appeal to raise funds for the building of a permanent structure. The appeal was broadened 
by means of a printed circular handed out at the two remaining concerts, and within a short 
time enough money had been raised to begin active planning for a "music pavilion." 

Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate 
design that went far beyond the immediate needs of the festival and, more important, went 
well beyond the budget of $100,000. His second, simplified plans were still too expensive; he 
finally wrote that if the Trustees insisted on remaining within their budget, they would have 
"just a shed," "which any builder could accomplish without the aid of an architect." The 
Trustees then turned to Stockbridge engineer Joseph Franz to make further simplifications 

in Saarinen's plans in 
order to lower the cost. 
The building he erected 
was inaugurated on the 
evening of August 4, 
1938, when the first 
concert of that year's 
festival was given, and 
remains, with modifica- 
tions, to this day. It has 
echoed with the music 
of the Boston Sym- 
phony Orchestra every 
After the storm of August 12, 1937, which precipitated a fundraising summer since, except 

drive for the construction of the Tanglewood Shed f or tne war vears 1942- 

45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the 
result of a collaboration between the acoustical consultant Bolt Beranek and Newman and 
architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes 
Talbot Orchestra Canopy, along with other improvements, produced the Shed's present 










Purcha 


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d in 1995 




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£ 









Sold in 2003 



$1,580,000 




$8,015,000 



Probably the best investment 
you'll ever make. 



The Townhouse Brokers 



Leslie J. Garfield & Co., Inc. 

505 Park Avenue, New York. New York 10021 (212) 371-8200 www.lesliejgarfield.com 




THE BEST 

PERFORMANCES IN 

THE THEATER TONIGHT 

MAY JUST BE IN 

THE AUDIENCE. 

Acting as if a chemical dependency problem doesn't exist won't make it go away. 
But getting help can. One call to Hazelden not only offers help, it offers real hope. 
Call us and make tonight's performance the last. pSS | H A /, r, I , 1 J H, f\l 

Minnesota • Oregon • Florida • New York • Illinois 
800-257-7800 • www.hazelden.org 

©2004 Hazelden Foundation 






world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was 
rededicated as "The Serge Koussevitzky Music Shed," recognizing the far-reaching vision of 
the BSO's legendary music director. 

In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its 
operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small 
studios were finished, and the festival had so expanded its activities and its reputation for 
excellence that it attracted nearly 100,000 visitors. 

With the Boston Symphony Orchestra's acquisition in 1986 of the Highwood estate 
adjacent to Tanglewood, the stage was set for the expansion of Tanglewood's public grounds 
by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and 
Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of 
using the newly acquired property as the site for a new concert hall to replace the outmod- 
ed Theatre-Concert Hall (which was used continuously with only minor modifications 
since 1941, and which with some modification has been used in recent years for the Tangle- 
wood Music Center's opera productions), and for improved Tanglewood Music Center 
facilities. Inaugurated on July 7, 1994, Seiji Ozawa Hall — designed by the architectural firm 
William Rawn Associates of Boston in collaboration with acoustician R. Lawrence Kirke- 
gaard Sc Associates of Downer's Grove, Illinois, and representing the first new concert facil- 
ity to be constructed at Tanglewood in more than a half-century — now provides a modern 
venue for TMC concerts, and for the varied recital and chamber music concerts offered by 
the Boston Symphony Orchestra throughout the summer. Ozawa Hall with its attendant 
buildings also serves as the focal point of the Tanglewood Music Center's Leonard Bernstein 
Campus, as described below. Also at Tanglewood each summer, the Boston University 
Tanglewood Institute sponsors a variety of programs that offer individual and ensemble 
instruction to talented younger students, mostly of high school age. 




Two "Special Focus" Exhibits at the Tanglewood Visitor Center 
Celebrating Two Anniversaries at Tanglewood This Summer 

Two "Special Focus" exhibits have been mounted by the BSO Archives at the Tangle- 
wood Visitor Center this summer. 

"John Williams and the BSO: A 25-Year Collaboration" cel- 
ebrates Mr. Williams's 25-year relationship with the Boston 
Symphony Orchestra. Mr. Williams was the nineteenth Con- 
ductor of the Boston Pops from 1980 to 1993, then became 
Laureate Conductor of the Boston Pops and Artist-in-Resi- 
dence at Tanglewood. The exhibit features photographs and 
other materials documenting this 25 -year association, including concert activities, tours, 
recordings with the Boston Pops Orchestra, and the recordings he made of the original 
film scores for Schindler's List and Saving Private Ryan conducting members of the BSO 
in Symphony Hall. The photo here is of Mr. Williams backstage at Carnegie Hall on the 
occasion of his debut as Boston Pops Conductor, on January 22, 1980 (photograph by 
Peter Schaaf). 

This year's second "Special Focus" exhibit, "A Room for Music: Seiji Ozawa Hall Turns 
Ten!," celebrating the hall's tenth anniversary this summer, 
focuses on the building and construction of Seiji Ozawa Hall. 
Featuring photographs, construction plans, and other memo- 
rabilia, this exhibit explores the hall's architectural design and 
the festivities that opened this award-winning venue ten 
years ago on July 7, 1994. The photo, from June 22, 1993, 
shows a steel truss being lifted into place by crane (photo- 
graph by BSO Life Trustee Dean Freed). 




NATHANIEL HAWTHORNE REVISITED 



This summer marks the bicentennial of Nathaniel Hawthorne's birth on July 4, 1804. The 
local influence of Nathaniel Hawthorne — the author of Tanglewood Tales — is clearly linked 
to Tanglewood: all who enter Tanglewood via the Lion Gate see the replica of the "little 
red cottage" where the Hawthorne family lived from May 1850 until November 1851, and 

where he wrote The House of 
the Seven Gables. In the dis- 
< KIHM| tance rises Monument Moun- 

tain, where Hawthorne met 
Herman Melville on a summer 
outing in August 1850. Their 
relationship inspired Melville's 
literary ambitions, as reflected 
in the epic scale of his master- 
piece, Moby-Dick, dedicated to 
Hawthorne "In Token of my 
Admiration for his Genius." 

Materials dating from 
Nathaniel Hawthorne's stay 
at the little red cottage are on 
view in the Tanglewood Visitor 
Center as part of the display documenting the early history of the Tappan family estate 
(Tanglewood). The cottage was destroyed by fire in 1890. A replica duplicating the original 
exterior was dedicated in July 1947. (The interior now provides classroom and studio space 
for the Tanglewood Music Center.) The photo shows the 1947 dedication ceremony, with 
Serge Koussevitzky seated second from left on the porch. 

To commemorate the Hawthorne bicentennial, the Lenox Library has published Haw- 
thorne Revisited, a collection of essays exploring this Berkshire literary legacy (available at 
the library and in the Tanglewood shops). On Sunday morning, August 8, the meeting of 
Hawthorne and Melville will be celebrated in a hike up Monument Mountain; anyone 
interested should meet at 10 a.m. that day in the parking lot on Route 7 at the base of the 
mountain. On Saturday, October 9, at 8 p.m., a gala celebration in Ozawa Hall sponsored 
by Shakespeare & Company and hosted by Mike Wallace will feature Jane Fonda, Marisa 
Tomei, and David Strathairn performing and reading from Hawthorne's works. For more 
information on this event, call (413) 637-1199, ext. 113. 





Today Tanglewood annually draws more than 300,000 visitors. Besides the concerts of 
the Boston Symphony Orchestra, there are weekly chamber music concerts, Friday-evening 
Prelude Concerts, Saturday-morning Open Rehearsals, the annual Festival of Contempo- 
rary Music, and almost daily concerts by the gifted young musicians of the Tanglewood 
Music Center. The Boston Pops Orchestra appears annually, and the season closes with a 
weekend-long Jazz Festival. The season offers not only a vast quantity of music but also a 
vast range of musical forms and styles, all of it presented with a regard for artistic excellence 
that makes the festival unique. 



Ww 



The Tanglewood Music Center 

Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has 
become one of the world's most influential centers for advanced musical study. Serge Kous- 
sevitzky, the Boston Symphony Orchestra's music director from 1924 to 1949, founded the 
Center with the intention of creating a premier music academy where, with the resources of 
a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, 
and composers would sharpen their skills under the tutelage of Boston Symphony Orchestra 
musicians and other specially invited artists. 

The Music Center opened formally on July 8, 1940, with speeches and music. "If ever 
there was a time to speak of music, it is now in the New World," said Koussevitzky, alluding 
to the war then raging in Europe. Randall Thompson's Alleluia for unaccompanied chorus, 
specially written for the ceremony, arrived less than an hour before the event began but made 
such an impression that it continues to be performed at the opening ceremonies each sum- 
mer. The TMC was Koussevitzky s pride and joy for the rest of his life. He assembled an 
extraordinary faculty in composition, operatic and choral activities, and instrumental perform- 
ance; he himself taught the most gifted conductors. 

Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year 
after his retirement as the BSO's music director. Charles Munch, his successor in that posi- 
tion, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard 
Bernstein and Aaron Copland to shape the school's programs. In 1963, new BSO Music 
Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky s hands-on 
leadership approach while restoring a renewed emphasis on contemporary music. In 1970, 
three years before his appointment as BSO music director, Seiji Ozawa became head of the 
BSO's programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard 
Bernstein as general advisor. Leon Fleisher served as the TMC's Artistic Director from 1985 
to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities 
on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, cham- 
ber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion 
adjacent to Ozawa Hall. In 1997, Ellen Highstein was appointed Director of the Tanglewood 
Music Center, operating under the artistic supervision of Seiji Ozawa. 

The Tanglewood Music Center Fellowship Program offers an intensive schedule of study 
and performance for advanced musicians who have completed all or most of their formal 
training. Some 150 young artists, all attending the TMC on full fellowships which under- 
write the costs of tuition, room, and board, participate in a program including chamber and 
orchestral music, opera and art song, and a strong emphasis on music of the 20th and 21st 
centuries. This year's first TMC Orchestra concert is under the direction of Ingo Metz- 
macher, who, in his first collaboration with the TMC, leads music of Dallapiccola (honoring 
that composer's centennial), Schoenberg, and Berlioz. Also this summer the TMCO per- 



Programs copyright ©2004 Boston Symphony Orchestra, Inc. 

Cover design by Sametz Blackstone Associates 



forms under the batons of Kurt Masur, Rafael Friihbeck de Burgos, Robert Spano, and 
James DePreist. In addition, Seiji Ozawa returns to the TMCO podium leading music of 
Takemitsu and Verdi as part of the August 1 gala concert marking the 10th anniversary of 
Seiji Ozawa Hall. Also in 2004, the Mark Morris Dance Group returns for its second an- 
nual week-long collaboration with the TMC intertwining music and dance, culminating in 
two joint MMDG/TMC performances of works choreographed by Mark Morris to music 
of Vivaldi, Bartok and Bach. The TMC Opera Program returns this summer to the work 
of Benjamin Britten, a composer historically associated with Serge Koussevitzky and the 
Music Center — Britten's Shakespeare-inspired opera A Midsummer Night s Dream. Conduc- 
tor Robert Spano once again directs the annual Festival of Contemporary Music, this year 
featuring works of Bernard Rands (celebrating his 70th birthday year) and Elliott Carter 
(marking his 95th birthday year), with works by the Finnish composers Salonen, Sallinen, 
Saariaho, and Lindberg also highlighting the 2004 FCM programs. In another of the TMC's 
new music programs, TMC composers will work throughout the summer with gifted young 
film and video artists, creating short collaborative works to be presented during the Festival. 
Ongoing TMC programs include seminars in the string quartet and piano quartet, and a 
series of free concerts, the "Steinway Series" on Monday afternoons in the Chamber Music 
Hall, highlighting works for solo piano and piano chamber music. 

It would be impossible to list all of the distinguished musicians who have studied at the 
Tanglewood Music Center. According to recent estimates, 20% of the members of American 
symphony orchestras, and 30% of all first-chair players, studied at the TMC. Besides Seiji 
Ozawa, prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano 
Berio, the late Leonard Bernstein, David Del Tredici, Christoph von Dohnanyi, the late 
Jacob Druckman, Lukas Foss, John Harbison, Gilbert Kalish (who headed the TMC fac- 
ulty for many years), Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, 
Sherrill Milnes, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl Studer, Michael 
Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. 

Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the 
nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Kousse- 
vitzky was involved until his death, have become a fitting shrine to his memory, a living 
embodiment of the vital, humanistic tradition that was his legacy. At the same time, the 
Tanglewood Music Center maintains its commitment to the future as one of the world's 
most important training grounds for the composers, conductors, instrumentalists, and vocal- 
ists of tomorrow. 



■■ I 




Seiji Ozawa in rehearsal with the TMC Orchestra in Ozawa Hall 





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BSAVTANGLEWOOD ADMINISTRATIVE COMMITTEE 2004 



Chair 

Ursula Ehret-Dichter 

Immediate Past Chair 

Melvin R. Blieberg 

Secretary 

Mary M. Blair 

Nominating 

Muriel Lazzarini 

• 

COMMUNITY/ 

AUDIENCE SERVICES 

Paul Flaum, Vice-Chair 

Berkshire Night 

Nancy Glynn 

Berkshire Education 

Resource Center 
Sylvia S. Stein and 
Harry G. Methven 

Tour Guides 
William C. Sexton 

Michael Geller 

Ushers/Programmers 

Dan Ruge 

Visitor Center 

Michael Geller 

Brochure Distribution 

Larry Kassman 

• 

DEVELOPMENT 

Gabriel Kosokoff, Vice-Chair 

Event Services 

Liz Shreenan 
John L. Powell 

Friends Office 
Alan Benjamin 

Gail B. Harris 



Glass House 

Diana and Stanley Feld 

BSAV Boston/Tanglewood Event 

William Ballen and 

Sharon L. Shepard 

Seranak Gardens and Flowers 

JackT.Adler 

Anita Busch 

Special Events 

Marie Feder 

Julie Weiss 

Tent Club 

Carolyn and William Corby 

• 

EDUCATION 

William Ballen, Vice-Chair 

BSAV Encore Bus Trip 

Marcia A. Friedman 

Historical Preservation 

Bonnie Sexton 

Polly Pierce 

Words about Music 

(ReDiscovering Music) 

Gabriel Kosakoff 

Ronald Winter 

Talks & Walks 

Rita Kaye 

Joyce Kates 

Training Coordinator 

Marilyn Flaum 
Alexandra Warshaw 

Watch & Play 

Margery Steinberg 

Judy Borger 

Youth Activities 

Brian Rabuse 

Andrew T. Garcia 



MEMBERSHIP 
Rita Blieberg, Vice-Chair 

Administrative Events 

Marsha Burniske 

Elizabeth Boudreau 

Database/New Members 

Norma Ruffer 

Edmund L. Dana 

Membership Meetings 

Joyce Kates 

Rita Kaye 

Newsletter 

Victoria Morss 

Personnel Coordinator 

Mary Spina 

Ready Team 

Arnold and Lillian Katz 

Karen M. Methven 

Retired Volunteers Club 

Judith M. Cook 

Passes/Tickets 

Pat Henneberry 

• 

TMC 
Ginger Elvin, Vice-Chair 

TMC TimeOff 

Barbara Koz Paley 

Augusta (Gus) Leibowitz 

Opening Ceremonies 

Marjorie T. Lieberman 

Student Parties 

Larry Phillips 

Bobbi Rosenberg 

TOP Picnic 

Arline Breskin 

Rosalie Beal 



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IN CONSIDERATION OF OUR PERFORMING ARTISTS AND PATRONS 

PLEASE NOTE: TANGLEWOOD IS PLEASED TO OFFER A SMOKE-FREE 

ENVIRONMENT. WE ASKTHATYOU REFRAIN FROM SMOKING 

ANYWHERE ON THE TANGLEWOOD GROUNDS. DESIGNATED 

SMOKING AREAS ARE MARKED OUTSIDE THE ENTRANCE GATES. 

Latecomers will be seated at the first convenient pause in the program. 

If you must leave early, kindly do so between works or at intermission. 

Please do not bring food or beverages into the Music Shed or Ozawa Hall. 

PLEASE NOTE THAT THE USE OF AUDIO OR VIDEO RECORDING EQUIPMENT 

DURING CONCERTS AND REHEARSALS IS PROHIBITED, AND THAT VIDEO 

CAMERAS MAY NOT BE CARRIED INTO THE MUSIC SHED OR OZAWA HALL 

DURING CONCERTS OR REHEARSALS. 

Cameras are welcome, but please do not take pictures during the performance as the noise and 
flash are disturbing to the performers and to other listeners. 

FOR THE SAFETY OF, AND IN CONSIDERATION OF, YOUR FELLOW PATRONS, 

PLEASE NOTE THAT SPORTS ACTIVITIES, BICYCLING, SCOOTERS, KITE FLYING, 

FRISBEE PLAYING, BARBEQUING, PETS, AND TENTS OR OTHER STRUCTURES 

ARE NOT PERMITTED ON THE TANGLEWOOD GROUNDS. 

In consideration of the performers and those around you, please be sure that your cellular 
phones, pagers, and watch alarms are switched off during concerts. 

THANK YOU FOR YOUR COOPERATION. 





TANGLEWOOD INFORMATION 

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein 
Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5165. For weekly pre-recorded 
program information, please call the Tanglewood Concert Line at (413) 637-1666. 

BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through 
intermission on concert evenings); Saturday from 9 a.m. until intermission; and Sunday from 
10 a.m. until intermission. Payment may be made by cash, personal check, or major credit card. 
To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 
1-888-266-1200, or in Boston at (617) 266-1200; or call TICKETMASTER at (617) 931-2000 
in Boston; (413) 733-2500 in western Massachusetts; (212) 307-7171 in New York City; or 
1-800-347-0808 in other areas. Tickets can also be ordered online at www.bso.org. Please note 
that there is a service charge for all tickets purchased by phone or on the web. 

THE BSO 's WEB SITE at www.bso.org provides information on all Boston Symphony and 
Boston Pops activities at Symphony Hall and at Tanglewood, and is updated regularly. 

FOR PATRONS WITH DISABILITIES, an access service center and parking facilities are 
located at the Main Gate. Wheelchair service is available at the Main Gate and at the reserved- 
parking lots. Accessible restrooms, pay phones, and water fountains are located on the Tanglewood 
grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji 
Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To pur- 
chase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about 
disability services, please call (617) 638-9431. 

FOOD AND BEVERAGES can be obtained at the Tanglewood Cafe and at other locations as 
noted on the map. The Tanglewood Cafe is open Monday through Friday from 11:30 a.m. to 2:30 
p.m., Saturdays from 9 a.m. to 2:30 p.m., Sundays from noon until 7:30 p.m., and through the in- 
termission of all Tanglewood concerts. Visitors are invited to picnic before concerts. Meals to go 
may be ordered several days in advance at www.bso.org. 

LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially 
priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for 
the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, avail- 
able at the Main Gate box office, offer eleven tickets for the price of ten. 







&TDK 



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the company we keep: the Boston Symphony Orchestra, 

Milan's La Scala Opera Theater and the countless other 

audio professionals who depend on TDK. 

Check out the full line of Indi DVD and veloCD burners, 

as well as 100% certified CD and DVD recording media at 

The Digital Sweetspot™, www.tdk.com. 



As the sponsor of the 16th annual Tanglewood Free Lawn Passes for Children 
program, TDK is proud to bring the gift of music to thousands of children. 



OPEN REHEARSALS by the Boston Symphony Orchestra are held each Saturday morning 
at 10:30, for the benefit of the orchestra's Pension Fund. Tickets are $16 and available at the 
Tanglewood box office. A half-hour pre-rehearsal talk about the program is offered free of charge 
to ticket holders, beginning at 9:30 in the Shed. During Open Rehearsals, a special children's area 
with games and activities behind the Tanglewood Visitor Center is available for children, who must 
be accompanied by an adult at all times. 

SPECIAL LAWN POLICY FOR CHILDREN: On the day of the concert, children under 
the age of twelve will be given special lawn tickets to attend Tanglewood concerts FREE OF 
CHARGE, thanks to a generous grant, for the sixteenth consecutive year, from TDK, the world 
leader in digital recording playback solutions. Up to four free children's lawn tickets are offered 
per parent or guardian for each concert, but please note that children under five must be seated on 
the rear half of the lawn. Please note, too, that children under five are not permitted in the Kousse- 
vitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy 
does not apply to organized children's groups (15 or more), which should contact Group Sales at 
Symphony Hall in Boston, (617) 638-9345, for special rates. 

STUDENT LAWN DISCOUNT: Students twelve and older with a valid student ID receive 
a 50% discount on lawn tickets for Friday-night BSO concerts. Tickets are available only at the 
Main Gate box office, and only on the night of the performance. 

FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALK- 
WAYS are located in the area of the Main Gate and many of the parking areas. 

THE LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors 
who find stray property may hand it to any Tanglewood official. 

IN CASE OF SEVERE LIGHTNING, visitors to Tanglewood are advised to take the usual pre- 
cautions: avoid open or flooded areas; do not stand underneath a tall isolated tree or utility pole; 
and avoid contact with metal equipment or wire fences. Lawn patrons are advised that your auto- 
mobile will provide the safest possible shelter during a severe lightning storm. Readmission passes 
will be provided. 

FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. 

PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the 
guide at the Main Gate (Bernstein Gate for Ozawa Hall events). 

THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic 
space to Tent Members on concert days. Tent Membership is a benefit available to donors through 
the Tanglewood Friends Office. 

THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell 
adult and children's leisure clothing, accessories, posters, stationery, and gifts. Please note that the 
Glass House is closed during performances. Proceeds help sustain the Boston Symphony concerts 
at Tanglewood as well as the Tanglewood Music Center. THE TANGLEWOOD MUSIC STORE, 
adjacent to the Main Gate and operated by the Boston Symphony Orchestra, stocks music books, 
recordings, scores, sheet music, and musical supplies. 



SB 



Tanglewood Visitor Center 

The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear 
of the lawn across from the Koussevitzky Music Shed. Staffed by volunteers, the Visitor 
Center provides information on all aspects of Tanglewood, as well as information about 
other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tangle- 
wood and the Tanglewood Music Center, as well as the early history of the estate. 

You are cordially invited to visit the Center on the first floor of the Tanglewood Manor 
House. During July and August, daytime hours are from 10 a.m. to 4 p.m. Monday through 
Friday, from 9 a.m. to 4 p.m. on Saturday, and from noon until twenty minutes after the con- 
cert on Sunday, with additional hours Friday and Saturday evenings from 5:30 p.m. until 
twenty minutes after the concerts on these evenings, as well as during concert intermissions. 
In June and September the Visitor Center is open only on Saturdays and Sundays, from 10 
a.m. to 4 p.m. There is no admission charge. 



South Mountain Concerts 

Pittsfield, Massachusetts 
86th Season of Chamber Music 
icerts Sundays at 3 P.M. 



September 5 
Kalichstein-Laredo-Robinson Trio 
September 12 
Tokyo String Quartet 
September 19 
imerson String Quartet 
September 26 
lir String Quartet 
October 3 
teaux Arts Trio 

For Brochure and Ticket Information Write 
South Mountain Concerts, Box 23 

Pittsfield, MA 01 202 Phone 41 3 442-2 106 
www.southmountainconcerts.com 





V$dkd Rockwell 

Hometown Hero, Citizen of the World 

Rockwell in Stockbridge 

June 5 -October 31, 2004 



NORMAN ROCKWELL MUSEUM 
413-298-4100 | www.nrm.org 






Pine Cone Hill 



DESIGNING AND DEFINING 

A FRESH NEW AMERICAN LIFESTYLE 

Visit our showropm now 
at the Lenox 




The Colonial Theatre Summer 2004 



they're playing 
our song 

A Colonial Theatre Production 

August 18 - 29, 

Opening Night Gala August 20 

at the Berkshire Music Hall 

A Neil Simon romantic comedy with an orchestral 
score by Marvin Hamlisch, directed by James 
Warwick. Call 413-448-8084 for tickets. 



July 31, 7 pm: The Grrl Genius Guide to 

Sex (with other people) 

Opening performance by Melodrome 

Nationally renowned author and performer Cathryn 
Michon brings her stand-up comedy act in a benefit 
performance to the Berkshire Music Hall. 

Colonial Theatre tours: Fridays at noon, 
Saturdays at io:3o am — Free! 



www.thecolonialtheatre.org 

111 South St., Pittsfield. MA 
413-448-8084 







"I've always had two passions: jazz and computers. When I was looking at 

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one academic program. WPI was the perfect fit. The projects and courses 

I completed there made me a better engineer- and a better musician - and 

prepared me for opportunities I could never have imagined'.' -Sergio Salvatore 



The University of 

Science and Technology. 
.And Life.* 



Learn more about WPI's unique approach to education: 
www.wpi.edu/arts 508-831-5286 





Founded in 1865 Worcester, Massachusetts 



BARDSUMMERSCAPE 



July 8 - August 22, 2004 

Experience a performing arts 

festival like no other. Bard 

SummerScape presents 

world-class opera, music, 

and theater you won't hear 

anywhere else, in a venue you 

can't find anywhere else: 

the Frank Gehry-designed 

Richard B. Fisher Center for 



OPERA 

East Coast Professional Premiere 

The Nose 

July 28 -August 7 

An opera by Dmitrii Shostakovich 

American Symphony Orchestra 
Conducted by Leon Botstein 
Directed by Francesca Zambello 
Set design by Rafael Viholy 
Costume design by Georgi 

Alexi-Meskhishvili 
Lighting design by Mark McCullough 



and "a virtuoso piece." 



THEATER 
American Premiere 
St. Petersburg's Alexandrinsky Theatre 
presents 
the Performing Arts, hailed by The | nspe ctor General 

critics as "an acoustic jewel" July 8-11 

A play in two acts by Nikolai Gogol 

Directed by Valery Fokin 

MUSIC THEATER 

World Premiere 

Guest from the Future 

July 22 -August 1 

Music by Mel Marvin 
Libretto by Jonathan Levi 
Directed by David Chambers 

Moscow: Cherry Tree Towers 

August 12-15 
A musical in two acts by 
Dmitrii Shostakovich 

Directed by Francesca Zambello 

BARD MUSIC FESTIVAL 

Fifteenth Season 

Shostakovich and His World 

August 13-22 

Two weekends of concerts, panels, and 
other events bring the musical world of 
Russian composer Dmitrii Shostakovich 
vividly to life. 

Bard SummerScape 2004 also features 
a Russian film festival, puppet theater, late- 
night cabaret, and other special events. 




THE RICHARD B. 

FISHER 
CENTER 

FOR THE 

PERFORMING ARTS 
AT BARD COLLEGE 



For tickets and information, 
call 845-758-7900 or visit 
summerscape.bard.edu. 

Bard College Annandale-on-Hudson, NY. 

Photo: ©Bilyana Dimitrova 



Fifteenth Annual Bard Music Festival 

SHOSTAKOVICH S 

AUGUST 13-15 AND 20-22, 2004 

The Bard Music Festival's fifteenth season explores the musical world of Russian 
composer Dmitrii Shostakovich (1906-75) with concerts, panels, and special events. 



FRIDAY, AUGUST 13 

PROGRAM ONE DMITRII SHOSTAKOVICH: 

THE MAN AND HIS WORK 

8:30 p.m. Works by Shostakovich 

SATURDAY, AUGUST 14 

10:00 a.m. Panel CONTESTED ACCOUNTS: 
THE COMPOSER'S LIFE AND CAREER 

PROGRAM TWO THE FORMATIVE YEARS 
1:30 p.m. Works by Shostakovich, 
Stravinsky, Glazunov, Prokofiev, Skriabin, 
Gnesin, Shteynberg 

PROGRAM three FROM SUCCESS TO 

DISGRACE 

8:00 p.m. Works by Shostakovich. 

American Symphony Orchestra, Leon 

Botstein, conductor 

SUNDAY, AUGUST 15 

10:00 a.m. Panel MUSIC IN THE SOVIET 
UNION 

program four THE PROGRESSIVE 1920s 
1:30 p.m. Works by Shostakovich, 
Shcherbachov, Myaskovsky, Popov 

program five THE ONSET OF POLITICAL 

REACTION 

5:00 p.m. Works by Shostakovich, Shebalin, 

Kabalevsky, Khachaturian, Dzerzhinsky, 

Khrennikov 

FRIDAY, AUGUST 20 

10:00 a.m. Symposium ART AND CULTURE 
IN THE SOVIET ERA 

program six "GOOD MORNING 
MOSCOW": ONE DAY IN THE LIFE OF SOVIET 
POPULAR MUSIC 
8:00 p.m. Performance 

THE RICHARD B. 

FISHER 
CENTER 

FOR THE 

PERFORMING ARTS 
AT BARD COLLEGE 



SATURDAY, AUGUST 21 

PROGRAM SEVEN MUSIC AS POLITICS 

10:00 a.m. Performance with commentary 

Shostakovich's Antiformalist Rayok 

PROGRAM EIGHT IN THE SHADOW OF 1948 
1:30 p.m. Works by Shostakovich, 
Ustvolskaya, Weinberg, Sviridov, Shaporin 

PROGRAM NINE AFTER THE THAW: 
A COMPOSER LOOKS BACK 
8:00 p.m. Works by Shostakovich. 
American Symphony Orchestra, Leon 
Botstein, conductor 

SUNDAY, AUGUST 22 

10:00 a.m. Panel THE COMPOSER'S 
LEGACY: SHOSTAKOVICH IN THE CONTEXT 
OF MUSIC TODAY 

PROGRAM TEN A NEW GENERATION 

RESPONDS 

1:30 p.m. Works by Shostakovich, Denisov, 

Tishchenko, Gubaidulina, Schnittke 

program eleven IDEOLOGY AND 
NDIVIDUALISM 

5:00 p.m. Works by Shostakovich. Bard 
Festival Chorale; American Symphony 
Orchestra, Leon Botstein, conductor 

For ticket information 
call 845-758-7900 or 
visit www.bard.edu/bmf 




The food's cold. You're cool. 

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Insulated compartments for your alfresco feast, 
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In fresh green nylon with silver accents, hideaway 
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The Rolling Cooler. Only $39.95. Only at Crate and 
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For the store nearest you.call 800.996.9960 










Seiji Ozawa Hall at Tanglewood 

July 15 - August 5, 2004 

Table of Contents 



CELEBRATING THE 10th ANNIVERSARY OF SEIJI OZAWA HALL 

Seiji Ozawa Hall: Just (Some of) the Facts 2 

Reflections on Ozawa Hall — Ten Years Later, by William Rawn 5 

Seiji Ozawa Hall: Honors and Awards 9 

Creating a "New" Tanglewood, by Robert Campbell 11 

Seiji Ozawa Hall, 2004: A Week in the Life 14 

Seiji Ozawa Hall, 1994-2003: A Concise Performance History 

of the BSO's Recital Series 17 

Seiji Ozawa Hall, 1994-2003: The Tanglewood Jazz Festival 21 

Thursday, July 15, at 8:30 23 

PIERRE-LAURENT AIMARD, piano 
Music of Beethoven, Carter, and Ives 

Monday, July 19, at 8:30 28 

TANGLEWOOD MUSIC CENTER ORCHESTRA, 

RAFAEL FRUHBECK DE BURGOS conducting 
Music of Haydn and Strauss 

Wednesday, July 21, at 8:30 35 

EMERSON STRING QUARTET 
Music of Britten, Tower, and Shostakovich 

Tuesday, July 27, at 8:30 40 

RICHARD GOODE, piano 

Music of Beethoven, Schubert, Janacek, and Chopin 

Wednesday, July 28, at 8:30 46 

THE HILLIARD ENSEMBLE 

Music of the Ars Antiqua, and Stephen Hartke's Tituli (1999) 

Wednesday, August 4, at 8:30 52 

ORCHESTRA OF THE AGE OF ENLIGHTENMENT 

Music of J.S. Bach andTelemann 

Thursday, August 5, at 8:30 60 

ORCHESTRA OF THE AGE OF ENLIGHTENMENT 

Music of J.S. Bach, Benda, and Heinichen 













SEIJIOZAWAHALL 

Just (Some of) the Facts 

Seiji Ozawa Hall's Florence Gould Auditorium is an 1,180-seat enclosed concert space 
designed to accommodate a variety of performance, rehearsal, and recording activities at 
Tanglewood, the BSO's summer home. Folding doors at the west end of the building permit 
the Hall to open directly onto a lawn which provides space for at least 2,000 additional lis- 
teners. With the doors closed, the Hall is also designed to serve as a recording facility. 
The Leonard Bernstein Performers Pavilion adjacent to the main structure contains back- 
of-house facilities encompassing a conductor's suite, dressing rooms, instrument storage 
space, practice rooms, and a recording booth, all organized around a cloister-like court- 
yard that can serve as a gathering place for the Tanglewood Music Center Fellows. 



Groundbreaking: 

Inaugural Concert: 

Architect: 
Acoustician: 
Theater Consultant: 



September 12, 1992 

July 7, 1994 

William Rawn Associates, Architects, Inc., Boston, MA 
R. Lawrence Kirkegaard & Associates, Downer's Grove, IL 
Theatre Projects Consultants, Inc., Ridgefield, CT 






3rd Annual , n in 

Brandeis in the Berkshires 

Lecture Series 

Shakespeare and Company, Founder's Theatre 

July 12, 2004 

An Evening with Former 

Texas Governor, 

The Honorable 

Ann W. Richards 

Former Governor of Texas 





Ann W. Richards 

July 27, 2004 

Post-Denominational 

Judaism: 

In An Age of Freedom, 

Affluence and Power 

President, National Center for 

Rabbi Irwin Kula Jewist1 Lead9rship and Leamin 9 ( CLAL ) 



August 9, 2004 

The Power of Gender: 
Women's Voices, 
Women's Stories 

Special Reading with Q&A 
and Book Signing 

New York Times Best-Selling Novelist 
and Oprah Book Choice Award Winner 




Alice Hoffman 



Lectures begin at 8 p.m. and are open to the public. 

Tickets are S8 

To order tickets, phone Shakespeare & Co Box Office. 

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SWEET CHARITY 

June 24- July 17 

Book by Neil Simon 

Lyrics by Dorothy Fields 

Music by Cy Coleman 

THE GOD 
COMMITTEE 

July 22 - August 7 

By Mark St. Germain 

CYRANO DE 
BERGERAC 

August 12-28 

By Edmond Rostand 

Original music by Ray Leslee 

Adapted by Julianne Boyd 



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barrington stage company 
Julianne Boyd, Artistic Director 

413 528-8888 

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Structural Engineer: 
Landscape Consultant: 
General Contractor: 

Project Size: 

Interior Breakdown: 



Interior Finish Materials: 



Exterior Finish Materials: 



LeMessurier Consultants, Cambridge, MA 

Michael Van Valkenburgh Associates, Inc., Cambridge, MA 

Suffolk Construction Company, Inc., Boston, MA 

36,200 gross square feet (sf) 

Ground Floor Seating 6600 sf; Stage 2100 sf; Backstage 
2300 sf; 1st Balcony 3300 sf; 2nd Balcony 3900 sf; Ground 
Floor Arcade 3600 sf; 1st Balcony Arcade 4700 sf; Base- 
ment 1900 sf; Bernstein Performers Pavilion Interior Spaces 
4800 sf; Bernstein Performers Pavilion Courtyard 3000 sf 

General Floors: tongue and groove vertical grain Douglas 

fir plank 
Stage Floors and Risers: tongue and groove maple plank 
Arcade Floors: colored concrete 
Walls: stucco on concrete masonry units 
Ceiling: architectural pre-cast concrete planks partially 

finished with K-13 acoustic insulation 
Balcony and Arcade Structures: Douglas fir timber and 

decking 
Trim, Rails, and Millwork: vertical grain Douglas fir with 

oil finish 
Interior Balcony Grill: plantation-grown teak 
Stairs and Rails: Douglas fir tread risers and rails with 

painted steel 
Acoustic Panels: paper can over fiberglass panels or felt 
Acoustic Drapes: synthetic velour 
Stage Surround Fabric: aniline dyed scrim 

(Leonard Bernstein Performers Pavilion) 

Floors: stained plywood, vinyl, cysl mat, or southern yellow 

pine decking 
Ceiling and Walls: stained Douglas fir rough framing and 

plywood 

Walls: face brick with flashed finish 

Arcade Structure and Grill: Alaskan yellow cedar 

Roof: lead-coated copper 

Windows: clear glass block or laminated glass in teak 

frames 
Doors: plantation-grown teak with 1/2" laminated glass 
(Leonard Bernstein Performers Pavilion) 

Walls: stained Douglas fir plywood with Alaskan yellow 

cedar trim and battens 
Roof: asphalt shingles 
Windows: pine sash and frame 







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Reflections on Ozawa Hall — Ten Years Later 

by William Rawn, FAIA 

Seiji Ozawa Hall opened on July 7, 1994. William Rawn Associates, Architects, Inc., of Bos- 
ton designed the building working closely with Larry Kirkegaard, Acoustician, and Theatre 
Projects Consultants, Inc.. The national American Institute of Architects (AIA) awarded Seiji 
Ozawa Hall an Honor Award for Architecture in 1995 and an Honor Award for Interiors in 
2000, and the building was on the cover of Architecture" magazine in December 1994. 

Here, William Rawn discusses some of the ideas influencing the design and reflects on the 
ten years since the opening of Seiji Ozawa Hall in 1994. 



Without question, the ten years since the opening of Ozawa Hall have been marked by 
the special loyalty of concertgoers who attend so many performances in the Hall and by 
the intensity and excellence of the performers — world-class musicians and Tanglewood 
Music Center students — who have played there. For me, personally, the ten years has 
been marked by the many generous comments made by friends and strangers alike. 
Maybe there is an element of good New England manners here. (Who would strongly 
criticize a building directly to its architect?) But the enthusiastic — and spontaneous — 
response to the building has been a highlight of my professional career over the past 
decade. 

For an architect, each project is a hands-on learning experience. Only after develop- 
ing a design, following it through working drawings, and then overseeing the construc- 
tion can an architect begin to apply that learning to the next project. The act of building 
is as critical as is the act of designing. This explains why architects tend to do their best 
work in their sixties and seventies, the culmination of a career of constant learning. 
Frank Lloyd Wright applied that learning to great buildings deep into his eighties, and 
Frank Gehry is now at the top if his game well into his seventies — the opposite of 
dancers and professional athletes. 

The opportunity to design a building like Ozawa Hall so early in my architectural 
career has had a profound impact on our practice. My life and the lives of my colleagues 
have been changed by that experience. I know, too, that the buildings we are designing 
now and in the future reflect the learning gained in the building of Ozawa Hall. For 
this, I am deeply indebted to Tanglewood. 

While I had never designed a concert hall when I began work at Tanglewood, to 
compensate for that seeming inexperience, early in the project I spent three weeks in 
Europe studying the spatial qualities of a dozen halls. The acoustics of a hall were obvi- 
ously most important, and we were confident in our bringing Larry Kirkegaard to the 
team as acoustician. But it seemed to me that the intimacy and intensity of a concert 
experience were human qualities critical to the overall success of a hall. While in 
Europe, I photographed; I measured; I attended concerts to get the "feel" of each hall 
I visited. Larry Kirkegaard joined me at two of his favorite halls, the Concertgebouw in 
Amsterdam and the Musikvereinssaal in Vienna, not only to show me first-hand the 
reasons for their acoustic excellence, but also to share with me his subjective feelings for 
both halls. Richard Pilbrow (Theatre Projects Consultants, Inc.) pushed us to maintain 
intimacy by careful organizing of the seating, and his advice informed that trip. 

What, then, explains the enthusiastic reaction of so many people to the Hall. I sus- 
pect three things: 

1. The acoustics are wonderful, if I can say so myself. Credit for that goes to Larry 
Kirkegaard. From opening night (and Edward Rothstein's next day article in The 
New York Times) to the recent book, Concert Halls and Opera Houses by Leo 




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Beranek, the acoustic accolades have been consistent. Beranek recently devel- 
oped a rating system (based on interviews with conductors and performers) 
which showed Ozawa Hall to be thirteenth-best in the world, fourth-best hall 
in the United States, and one of the four best halls built in the last fifty years. 
Larry Kirkegaard's vision and brilliance is palpable. His natural love of being the 
teacher, his understanding of the necessity of teamwork between acoustician and 
architect, were fundamental to the success of the building. Seiji Ozawa remarked 
ten years ago that he thought the Hall sounded as good with the big barn doors 
open as with the doors closed. High praise indeed for Larry's inventive solution 
to a seemingly insoluble acoustic problem. 

2. The Hall feels to be part of the land of the Stockbridge Bowl. Is it the curved 
roof referencing the soft hills of the Berkshires? Is it the way the Hall nestles 
into the landscape of the Highwood Estate, choosing not to be placed at the 
promontory brow of the hill but choosing a site down the Hill? Of course, 
buildings do not make such choices. Architects do. Bill Porter was Master Plan- 
ner for the site and he strongly supported our decision to place the Hall in this 
deferential position. We pointed out that all the music buildings at Tanglewood 
(the Shed, the Theatre, and now Ozawa Hall) were placed well back from the 
brow of the Hill. They defer to Tappan House and Highwood Manor House, 
indeed letting them establish themselves as the Estate Houses on an estate open 
to 15,000 people. The music buildings literally became the working "barns" 
("sheds") of the estate. 

3. The interior of the Hall, of course, gets much mention. In a way I always love it 
when people — strangers and friends alike — engage me in a conversation about 
the architectural intentions of the interior. A variety of theories about precedents 
and sources abound. While wanting to acknowledge a range of sources for ideas 
natural to any architect's work, nonetheless one idea has been constant from the 
beginning. My sense of Tanglewood has always focused on the essential demo- 
cratic nature of the place: that sense that it is open and accessible to anyone and 
everyone. I always say: most of the week, whether it is a CEO of a Fortune 500 
Company or a family visiting from 2000 miles away, everyone is welcome to 
wander the "estate" and perhaps hear master classes taught by the world's lead- 
ing musicians. 

We wanted Ozawa Hall to share in that democratic spirit. My model was as 
much a New England Meeting House as any other architectural form: the clear 
and simple rectangular room, relatively unadorned, warm and welcoming, cap- 
turing a democratic spirit. Attending a wedding in Strafford, Vermont, Meeting 
House five years ago, I felt very strongly that I was in a space that became a 
subliminal source of our architectural ideas for Ozawa Hall. Obviously there 
are differences: the teak and Douglas fir; the joinery; the wood patterns which 
combine the gridded formality of the balcony fronts with the informality of the 
summer breezes wafting through those grilles; the fact that from almost any seat 
you can see outside, not only to the sky but to the green of trees and lawn. All 
these elements modulate the strict interpretation of Ozawa Hall as Meeting 
House. But the spirit remains. To see how audience and performers react to the 
Hall, reaffirms this special democratic — and perhaps very American — spirit of 
the place. 

What I love today is what has happened in the Hall and how people have used the 
Hall in ways almost unimaginable. The way people congregate in the arcades at inter- 
mission, catching up with their friends, gazing quietly at the landscape; the way the 
Tanglewood Music Center (TMC) concerts have become so popular with visitors and 



cognoscenti alike (remember how we worried about small audiences for TMC recitals 
and how we organized the space so that it could feel "full" even with a small audience); 
how the Hall accommodates the inventions of the Contemporary Music Festival, or, 
more recently, the never-imagined inventions of a Mark Morris dance performance. 
This sense of a living and growing Hall, always expanding its vision, always surprising, 
is special. 

There is a saying in the law that "hard cases can make bad law." In a similar but 
more positive vein, the experience at Ozawa Hall has proved to me that a supportive 
and collaborative client makes great buildings. And here all the credit goes to the BSO 
organization. George Kidder, then President, asked Dean Freed (the BSO Trustee who 
chaired the BSO's Building and Grounds Committee at that time; now a BSO Life 
Trustee), the late BSO Overseer Haskell Gordon, and Dan Gustin (at that time the 
BSO s Manager of Tanglewood and BSO Assistant Managing Director) to be the three- 
person committee directing me, my colleagues Alan Joslin and Clifford Gayley, and 
John Fish of Suffolk Construction Company. In addition, Kidder asked Robert Campbell 
to be architectural adviser to that committee. The four-member BSO group (which 
sadly was reduced to three by Haskell's untimely death halfway through the project) 
brought a spirit of teamwork that inspired us, pushed us, nurtured us. That collaborative 
spirit — call it the architectural equivalent of musical ensemble — is celebrated by this 
building. 

To the BSO, to all the musicians who have performed there, and to the audiences 
who have supported the Hall for the past ten years, I offer my deepest thanks. 

In the past decade, William Rawn's architectural work with concert halls and theaters has 
expanded considerably. Both the Sorenson Theater at Babson College and the Koka Booth 
Amphitheatre in Cary, North Carolina, won design awards from the United States Institute for 
Theatre Technology. The Strathmore Concert Hall in Bethesda, MD (a 2,000-seat enclosed 
concert hall serving as the second home for the Baltimore Symphony Orchestra) and the Wil- 
liams College Class of '62 Center for Theatre and Dance (with three separate theater venues) 
will open in the spring of 2005. William Rawn Associates, Architects, also has projects on a 
number of important college and university campuses nationwide, as well as three large-scale 
public projects under design — the United States Courthouse, Cedar Rapids, IA; the Cambridge 
(MA) Public Library, and the Green Music Center at Sonoma State University, CA. 




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SEIJIOZAWAHALL 

Tanglewood, Lenox, MA 

William Rawn Associates, Architects, Inc. 

HONORS AND AWARDS 

American Institute of Architects (national), Honor Award in Architecture (1995)* 
American Institute of Architects (national), Honor Award in Interior Architecture 

(2000)* 
American Institute of Architects (New England chapter), Honor Award in 

Architecture (1994) 
Boston Society of Architects, Honor Award for Design Excellence (1994) 
Boston Society of Architects, Honor Award in Interior Architecture (2000) 
United States Institute for Theatre Technology, Honor Award in Architecture 

(1995) 

Architecture magazine, cover story (December 1994) 

Interiors magazine 16th Annual Awards Issue, Best in Recreation and 

Entertainment Design (1995) 
Concert Halls and Opera Houses: Music, Acoustics, and Architecture by Leo Beranek, 

ranked as 13th-best hall in the world; one of the four best halls in the world 

completed in the last fifty years; and one of the four best halls of all time in the 

United States (2003) 






American Wood Council, Merit Award: Wood Design (1996) 

Brick Institute of America, American Institute of Architects, Brick in Architecture 

Award (1995) 
Architectural Woodwork Institute, Award of Excellence (1995) 
National Association of Home Builders, Grand Award Winner (1995) 
International Association of Lighting Designers, Citation for Lighting Design 

(1995) 



"Very rarely does a single building win two Honor Awards from the national American 
Institute of Architects 




The south 
side arcade 
ofSeiji Ozawa 
Hall during 
construction, 
December 6, 
1993 



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10 



Creating a "New" Tanglewood 
by Robert Campbell 

Robert Campbell, architectural critic for The Boston Globe, was Architectural Advisor to the 
BSOs Design Committee for the building ofSeiji Ozawa Hall. He originally wrote this essay 
for the souvenir book A Room For Music" produced in conjunction with the Hall's opening 
in 1994. 



It began with the land. In December 1986 the size of Tanglewood suddenly and unex- 
pectedly doubled, with the acquisition, from the Mason Harding family, of the High- 
wood estate next door. 

You couldn't walk out onto this new piece of land without noticing a long, gentle 
slope of field, back behind the house, that terminated in a natural backdrop of pines. 
You couldn't help feeling that Providence must have created that slope in the hope that 
someone, some day, would sit there listening to music, as it drifted out from somewhere 
among the pines. Even before Highwood became available, the decision had already 
been made to build a new concert hall at Tanglewood. The old Theatre-Concert Hall, 
across the lawn from the Koussevitzky Music Shed, was becoming derelict and inade- 
quate. A preliminary design for a new concert hall was actually created by another 
architect. When Highwood became available all this work came to a screeching halt. 
The BSO realized, at once, that it needed professional help to assess the potential of the 
new property. It hired the nationally known Cambridge firm of Carr, Lynch, Hack & 
Sandell as site planners. Bill Porter and Catherine Verhulst of that office took charge of 
the job. They quickly confirmed everyone's early intuition: the grassy slope at Highwood 
was the right place for the new concert hall. 

Porter and Verhulst pointed out other things, too. They noticed that a single unbro- 
ken ridge of lawn extended from the old Tanglewood property right through the new 
estate, all of it with a view of the Stockbridge Bowl to the south. They called this ridge 
the "performance plateau" and conceived it as a means of uniting the old campus with 
the new. They noticed that if the new concert hall were placed down the slope from this 
plateau, it would stand in the same relation to Highwood Manor House as the Shed 
does to the Tanglewood Manor House. There would be a sort of visual rhyme: Tangle- 
wood Manor and its Shed, Highwood Manor and its concert hall. The new estate would 
immediately feel like Tanglewood. 

Porter and Verhulst did many other things. They surveyed the property and declared 
most of it a protected wedand. With what remained, besides the site for the concert hall, 
they created a new string of roads and parking lots, carefully nestled among the existing 
woodlands, to relieve pressure on the old traffic patterns. They renovated the former 
carriage barn into offices and studios for some of Tanglewood's staff and faculty. They 
removed the Box Lot parking from the performance plateau and raised the grade of this 
part of the lawn by several feet, using material excavated for the new concert hall, in 
order to improve views into the shed. They developed a landscape plan for all of Tangle- 
wood, new and old. And they found locations for, and then designed, new gates, rest 
rooms, utilities, practice studios, snack booths, ticket booths, paths, plantings, a new gift 
shop, a new lawn cafe, and much else that was needed to transform the Highwood es- 
tate into a true working part of Tanglewood. 

But the centerpiece of the new Tanglewood would be, of course, the new concert 
hall. Because of the new site, it was decided to make a fresh start in planning for this 
facility. Several nationally known architects were interviewed before the selection of a 
relative newcomer, William Rawn of Boston, as the designer. Rawn impressed the selec- 
tion committee by the time and care he devoted to visiting and studying Tanglewood, 

11 






and especially by the verbal eloquence with which he was able to invoke Tanglewood's 
essential magic. 

Endless debates ensued. How many seats should the new hall have? Twelve hundred, 
give or take, it was finally decided. Where, precisely, should it stand? Rawn persuaded 
everyone it should be pushed far enough up the slope so as not to feel remote. Should 
it, like its predecessor, serve for both opera and concerts? No, it was determined: Now 
that it would be possible to preserve the old Theatre-Concert Hall, it made better sense 
to convert the older building for opera in the future. 

But the critical issue of the debate was over a different issue. Should the new hall be 
suitable for recording purposes? If so, it would have to be a much heavier, much more 
solid acoustic shell than anything else at Tanglewood. It would be a new and different 
kind of building altogether, and a costlier one too. The decision eventually fell in favor 
of recording, and the building began, in Rawn's office, to assume its present shape. 

It was exciting to watch the hall as it evolved over time in a long series of discussions, 
drawings, and models. Two BSO Board members, Dean Freed and the late Haskell 
Gordon, participated in virtually every meeting and contributed a great deal to the 
shaping of the hall. So did the BSO's Tanglewood Manager Dan Gustin and Tangle- 
wood Music Center Administrator Richard Ortner, among many others. Rawn traveled 
through Europe to look at famous halls. He returned with a determination to create not 
an auditorium, in which the performers on the stage are quite separate from the audi- 
ence, but rather a more congenial, more sociable space in which the performers and the 
audience would gather together as if in a large room. The audience would sit on three 
sides, and up on balconies too, so that its members could look across at one another, 
enjoying the ritual pleasure of assembling. They would sit in informal chairs, as if on a 
Shaker porch. A big opening at the rear would open to the sloping lawn, in the Tangle- 
wood tradition, where hundreds could sit and see and hear. Above this opening, there 
would be a musician's gallery, a place for a fanfare before the performance. 

Too often, when an architect and an acoustician collaborate, one or the other domi- 
nates. In the case of Seiji Ozawa Hall something very different occurred. Rawn and his 




The east end of Seiji Ozawa Hall during construction, August 2, 1993 



12 



acoustician, Lawrence Kirkegaard — himself trained as an architect — developed a give- 
and-take working relationship in which each seemed to be trying to optimize the other's 
goals. The building acquired the massive walls and ceiling that Kirkegaard needed to 
reflect the bass notes. But it also acquired a remarkable sense of light and air. Glass- 
block windows served to contain the sound, while simultaneously permitting views out 
to the sky. Broken-up surfaces of wall and ceiling, necessary for blending and dispersing 
the sound, took the form of handsome architectural coffers, bays, and corrugations. 

As it finally took form, and as it now has been built, Seiji Ozawa Hall is a building 
with an exterior that is a reddish blend of several shades of brick. The brick isn't the 
usual machine-cut type but a more irregular, richly textured variety made by casting 
each brick separately. It is trimmed in red sandstone imported from India, with Alaskan 
yellow cedar at the exterior galleries. The round vaulted roof is lead-coated copper. The 
overall impression is of a building that looks both durable and purposeful, commanding 
its site without looking in any way grand. It is angled slightly toward the Highwood 
manor house — an angle, as it happens, that is identical with that of the Shed. Connected 
with it, at the rear, is a smaller pavilion for the musicians, framed and surfaced in wood, 
where dressing and practice rooms ring four sides of an interior courtyard with a con- 
tinuous porch for informal socializing. The musicians' pavilion is like a tugboat pushing 
the liner of Ozawa Hall. Together, the two buildings share a modest entry court. 

Indoors, Seiji Ozawa Hall is made of stucco walls painted a warm off-white. Two 
tiers of balcony line three sides, faced with railings in teak. The ceiling is of pre-cast 
concrete coffers whose natural color is the same as that of the walls. Above the ceiling, 
beneath the copper vault, is the mechanical room, with fans for air changes and modest 
air-conditioning of the stage and its instruments. On the stage, the musicians sit on a 
stepped terrace floor, the elements of which can be telescoped back beneath one another 
when a flat floor is needed. The terrace is Kirkegaard's invention and allows the orches- 
tra members to be easily visible to one another and to the audience. 

Behind the stage is a balcony for choruses. If desired, the hall can be reversed for 
intimate performances, in which case this balcony becomes seating for a small audience, 
and the musician performs against a temporary movable backdrop. Invisible behind all 
this, within the walls and above the ceiling, is the structural skeleton of steel columns, 
beams, and trusses. 

Seen purely as architecture, Ozawa Hall is hard to categorize simply. Architect Rawn 
has little patience with passing fads or styles, but he does possess a strong urge to accom- 
modate new buildings within the traditions of the past. Ozawa Hall's interior is a tradi- 
tional shoebox shape, like Symphony Hall in Boston. Details like the coffered ceiling 
and gridded balcony rails can't exactly be called ornamental, but they do embody a 
memory, simplified as befits a country setting, of the gilded and sculptured interiors of 
the past. Outdoors, the wood galleries recall the long lazy porches of resorts and summer 
camps, and the big brick shape suggests the great rural mills of New England. Taken as 
a whole, Seiji Ozawa Hall reminds this writer of only one other building, a personal 
favorite, the tiny but monumental church of Santa Maria dei Miracoli in Venice, another 
powerful, round-vaulted, self-confident shape. 

Summer has come to Tanglewood now. The leaves are on the trees and the breeze 
drifts cool off the Stockbridge Bowl. The unsuspecting visitor will arrive, unaware that 
the beloved Tanglewood is, suddenly, twice as big, twice as wonderful. It will be as if 
you sat down to a small-screen black and white movie, only to watch it explode into 
wide-screen color. On that new and larger screen, Seiji Ozawa Hall takes its place as the 
central figure in the newest act of the ever-unfolding drama that is Tanglewood. 



13 



SEIJI OZAWAHALL (Florence Gould Auditorium) 
A Week in the Life: August 9 - August 15, 2004 

Monday, August 9, 2004 



10 a.m. - 12:30 p.m. 
1:30 p.m. - 1:55 p.m. 

2 p.m. - 2:25 p.m. 
2:30 p.m. - 2:55 p.m. 

3 p.m. - 3:25 p.m. 
3:30 p.m. - 3:55 p.m. 

4 p.m. - 5 p.m. 
8:30 p.m. - 10:30 p.m. 

Tuesday, August 10, 2004 

10 a.m. - 12:30 p.m. 
2 p.m. - 5 p.m. 

8:30 p.m. - 10:30 p.m. 

Wednesday, August 11, 2004 

10 a.m. - 12:30 p.m. 
1:30 p.m. - 5 p.m. 

6 p.m. - 7:30 p.m. 

8:30 p.m. - 10:30 p.m. 

Thursday, August 12, 2004 

10 a.m. - 10:40 a.m. 

10:45 a.m. - 11 a.m. 
11:15 a.m. - 11:45 a.m. 
11:50 a.m. - 12:30 p.m. 
12:40 p.m. - 1 p.m. 

2 p.m. - 4:30 p.m. 

5 p.m. - 7 p.m. 

8:30 p.m. - 10:30 p.m. 



TMC Orchestra Rehearsal 

TMC Chamber Music Dress Rehearsal 

(Zem/insky, Fantasies for Piano) 
TMC Chamber Music Dress Rehearsal 

(Dehmel Songs) 
TMC Chamber Music Dress Rehearsal 

{Dehmel Songs) 
TMC Chamber Music Dress Rehearsal 

{Dehmel Songs) 
TMC Chamber Music Dress Rehearsal 

{Zemlinsky, "Maiblumen") 
TMC Chamber Music Dress Rehearsal 

(Schoenberg, "Verklarte Nacht") 
BSO Recital Series Concert 

{"My Fair Lady") 

TMC Orchestra Rehearsal 
BSO Recital Series Rehearsal 
(Jean-Yves Thibaudet, piano) 
TMC Chamber Music Concert 



TMC Orchestra Rehearsal 
Chamber Music Dress Rehearsal 

{Meridian Arts Ensemble) 
BSO Recital Series Rehearsal 

{Jean-Yves Thibaudet) 
BSO Recital Series Concert 

(Jean-Yves Thibaudet) 



TMC Chamber Music Dress Rehearsal 

(Rands, String Quartet No. 2) 
TMC Chamber Music Dress Rehearsal 

(Williams, Sextet) 
TMC Chamber Music Dress Rehearsal 

(Gyger, u SiDoux") 
TMC Chamber Music Dress Rehearsal 

(Lindberg, Quintet for Clarinet and Strings) 
TMC Chamber Music Dress Rehearsal 

(Singleton, "Greed Machine") 
TMC Orchestra Rehearsal 
Technical Set-up 

(Meridian Arts Ensemble) 
TMC Chamber Music Concert 

(Meridian Arts Ensemble) 



14 



Friday, August 13, 2004 

10 a..m. - 12:30 p.m. 
2:30 p.m. - 4:30 p.m. 

6 p.m. - 7 p.m. 
8 p.m. - 10 p.m. 

Saturday, August 14, 2004 

10 a.m. - 10:15 a.m. 

10:20 a.m. - 10:35 a.m. 
10:40 a.m. - 10:55 a.m. 

11 a.m. - 11:30 a.m. 
11:35 a.m. - 11:55 a.m. 

12 p.m. - 1 p.m. 
2:30 p.m. - 4:30 p.m. 
5 p.m. - 5:30 p.m. 
7:30 p.m. - 8:30 p.m. 
8:45 p.m. - 9:30 p.m. 

Sunday, August 15, 2004 

10 a.m. - 12 p.m. 

8:30 p.m. - 10:30 p.m. 



TMC Orchestra Rehearsal 
TMC Chamber Music Concert 

{Festival of Contemporary Music) 
BSO Friday Prelude Concert 
Dress Rehearsal 

(BUTI Orchestra and Chorus) 



TMC Chamber Music Dress Rehearsal 

{Perle, Six Etudes) 
TMC Chamber Music Dress Rehearsal 

{Perle, Six New Etudes) 
TMC Chamber Music Dress Rehearsal 

{Sheng, "My Song") 
TMC Chamber Music Dress Rehearsal 

{Salonen, "Five Images After Sappho") 
TMC Chamber Music Dress Rehearsal 

{Sallinen, String Quartet No. 2) 
TMC Chamber Music Dress Rehearsal 

{Carter, String Quartet No. 1) 
Concert 

{BUTI Orchestra and Chorus) 
TMC Chamber Music Dress Rehearsal 

{McCaffrey, "I used to be , but now Tm 

TMC Chamber Music Dress Rehearsal 

{Rands, "Canti Lunatici") 
TMC Chamber Music Dress Rehearsal 

{Zupko, "Somewhere Gladly Beyond") 

TMC Chamber Music Concert 
{Festival of Contemporary Music) 

TMC Chamber Music Concert 
{Festival of Contemporary Music) 



-) 




The interior of 
Seiji Ozawa Hall 
under construction, 
January 30, 1994 



15 




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16 



SEIJI OZAWA HALL, 1994-2003 

A Concise Performance History of the BSO's Recital Series 

In addition to the concerts presented each summer by the Tanglewood Music Center, 
the Boston University Tanglewood Institute, and the Boston Symphony Chamber 
Players, as well as the annual Festival of Contemporary Music, and the regular Friday- 
night Prelude Concerts performed by members of the BSO, frequent guest artists, and 
the Tanglewood Festival Chorus, the following recitalists and ensembles have been fea- 
tured in the BSO's weeknight (and occasional Sunday- night) recital series in Florence 
Gould Auditorium during Ozawa Hall's first ten years. 

Seiji Ozawa Hall also serves as the primary venue for Tanglewood's annual Jazz 
Festival each Labor Day Weekend (see page 21); as a recording venue; and as a venue 
for such important Berkshire community functions as graduation ceremonies, fund- 
raising events, and concerts by local ensembles. 



1994 

7/10/1994 
7/13/1994 

7/21/1994 

7/27/1994 

7/28/1994 

8/3/1994 

8/4/1994 

8/11/1994 

8/24/1994 

1995 

7/1/1995 
7/6/1995 
7/13/1995 
7/18/1995 

7/20/1995 

7/25/1995 

7/27/1995 

8/3/1995 

8/9/1995 

8/16/1995 

8/24/1995 

1996 

6/29/1996 

7/10/1996 

7/18/1996 

7/23/1996 

7/31/1996 

8/7/1996 

8/14/1996 

8/15/1996 

8/22/1996 



Juilliard String Quartet 

Kurt Ollmann, baritone; John Browning, piano; 

Donald St. Pierre, piano 

Maria Tipo, piano; Quartetto di Fiesole 

Richard Goode, piano 

Ute Lemper; Bruno Fontaine, piano 

Hermann Prey, baritone; Leonard Hokanson, piano 

Bang on a Can All-Stars 

Vermeer Quartet 

Barbara Bonney, soprano; Andre Previn, piano 

Juilliard String Quartet 

The Boston Camerata, Joel Cohen, music director 

Beaux Arts Trio 

Emanuel Ax, piano; Barbara Bonney, soprano; Malcolm Lowe, violin; 

Yo-Yo Ma, cello; Edgar Meyer, double bass; Rebecca Young, viola 

Barbara Bonney, soprano; Warren Jones, piano 

Emerson String Quartet 

The King's Singers 

The Dmitri Pokrovsky Ensemble 

Steve Reich and Musicians 

Deutsche Kammerphilharmonie Bremen; Jaime Laredo, conductor 

and violinist; Ginesa Ortega, gypsy singer 

Andreas Haefliger, piano 

Juilliard String Quartet 

Chanticleer 

Mitsuko Shirai, mezzo-soprano; Hartmut Holl, piano 

Reigakusha, Sukeyasu Shiba, artistic director 

Richard Goode, piano 

Bo Skovhus, baritone; Warren Jones, piano 

Netherlands Wind Ensemble 

Guarneri String Quartet 

Tafelmusik Baroque Orchestra, Jeanne Lamon, director 



17 



1997 

7/2/1997 

7/10/1997 

7/23/1997 

7/24/1997 

7/27/1997 

7/29/1997 

7/30/1997 

8/6/1997 

8/7/1997 

8/11/1997 

8/21/1997 

8/27/1997 



1998 

6/27/1998 

7/1/1998 

7/7/1998 

7/15/1998 

7/22/1998 

7/23/1998 

7/26/1998 

7/29/1998 

7/30/1998 

8/5/1998 

8/6/1998 

8/11/1998 

8/12/1998 

8/13/1988 

8/20/1998 

8/23/1998 

8/25/1988 

1999 

6/20/1999 
6/25/1999 
6/26/1999 
6/27/1999 
7/13/1999 
7/21/1999 

7/22/1999 
7/28/1999 
7/29/1999 



Juilliard String Quartet 

Dubravka Tomsic, piano 

Yo-Yo Ma, cello 

Renee Fleming, soprano; Helen Yorke, piano 

Yo-Yo Ma, cello 

Barbara Bonney, soprano; Caren Levine, piano 

Takacs Quartet 

Juilliard String Quartet 

Richard Stoltzman, clarinet; Lukas Foss, piano 

Ursula Oppens, piano 

Peter Serkin, piano 

Handel & Haydn Society Orchestra; Stanley Ritchie, director and 

violinist; Lorraine Hunt, mezzo-soprano 

Juilliard String Quartet 

Juilliard String Quartet 

Frederica von Stade, mezzo-soprano; Martin Katz, piano 

Stephen Hough, piano 

Byron Janis, piano 

Anonymous 4 

Andre Previn, piano; David Finck, double bass 

Emerson String Quartet 

Wind Soloists of the Chamber Orchestra of Europe; 

Leif Ove Andsnes, piano 

KREMERata BALTICA, Gidon Kremer, artistic director and 

violin soloist 

Arditti String Quartet 

Bryn Terfel, bass-baritone; Malcolm Martineau, piano 

Guarneri String Quartet 

Guarneri String Quartet 

Mitsuko Shirai, mezzo-soprano; Hartmut Holl, piano 

I Solisti Veneti, Claudio Scimone, conductor 

Mischa Maisky, cello; Martha Argerich, piano 



The King's Noyse/BEMF Violin Band 

Kyung-Wha Chung, violin; Itamar Golan, piano 

Juilliard String Quartet 

Juilliard String Quartet 

Barbara Bonney, soprano; Warren Jones, piano 

Susan Graham, mezzo-soprano; Patrick Stewart, speaker; 

Emanuel Ax, piano 

Chanticleer 

Emerson String Quartet; Stephen Hough, piano 

Yuri Bashmet, viola; Xenia Bashmet, piano; Malcolm Lowe, violin; 

Yo-Yo Ma, cello; Emanuel Ax, piano 



18 



8/3/1999 Dawn Upshaw, soprano; Gilbert Kalish, piano; Thomas Martin, 

clarinet; J. William Hudgins, vibes; Norman Fischer, cello; Lukas 
Foss, conductor 

8/11/1999 Freiburg Baroque Orchestra, Gottfried von der Goltz, artistic 

director and leader; Thomas Quasthoff, bass-baritone 

2000 

7/5/2000 Gil Shaham, violin; Jian Wang, cello; Paul Meyer, clarinet; 

Garrick Ohlsson, piano 
7/13/2000 Dubravka Tomsic, piano 

7/18/2000 Barbara Bonney, soprano; Margo Garrett, piano; William R. Hudgins, 

clarinet; Fenwick Smith, flute; Sato Knudsen, cello 
7/27/2000 Ida Haendel, violin; Itamar Golan, piano 

8/2/2000 Orchestra of the Age of Enlightenment; Catherine Mackintosh, 

violin/director; Anthony Robson, oboe 
8/3/2000 Daniel Barenboim, piano 

8/6/2000 Andre Previn, piano; David Finck, double bass; Grady Tate, drums 

8/8/2000 Thomas Quasthoff, bass-baritone; Justus Zeyen, piano 

8/16/2000 Nelson Freire, piano 

8/17/2000 Juilliard String Quartet 

8/22/2000 Collegium Vocale Gent, Philippe Herreweghe, artistic director and 

conductor; Deborah York, soprano; Andreas Scholl, countertenor; 

Scot Weir, tenor; Sebastian Noack, baritone 

2001 

6/24/2001 Boston Early Music Festival Lully Opera Orchestra, directed by 

Paul O'Dette and Stephen Stubbs; Marie-Ange Petit, timpani; 

Kendra Colton, soprano; Ann Monoyios, soprano; Howard Crook, 

tenor 
6/29/2001 Juilliard String Quartet 

7/1/2001 Juilliard String Quartet 

7/2/2001 Peter Serkin, piano; Mary Nessinger, speaker; Tara Helen O'Connor, 

flute; David Shifrin, clarinet; Ida Kavafian and Jennifer Frautschi, 

violins; Steven Tenenbom, viola; Fred Sherry, cello 
7/5/2001 Peter Serkin, piano; Mary Nessinger, mezzo-soprano; Tara Helen 

O'Connor, flute; Marianne Gythfeldt, Michael Lowenstern, and 

David Shifrin, clarinets; Ida Kavafian, violin; Steven Tenenbom, viola; 

Fred Sherry, cello 
7/8/2001 Peter Serkin, piano 

7/11/2001 Matthias Goerne, baritone; Julius Drake, piano 

7/12/2001 Chanticleer 

7/18/2001 Mitsuko Uchida, piano 

7/19/2001 Yo-Yo Ma, cello; Emanuel Ax, piano; Cynthia Haymon, soprano; 

Marylou Speaker Churchill, violin; William R. Hudgins, clarinet 
7/23/2001 Yefim Bronfman, piano 

7/26/2001 Emerson String Quartet; Yefim Bronfman, piano 

8/1/2001 Dawn Upshaw, piano; Gilbert Kalish, piano; Peggy Pearson,oboe; 

Arthur Haas, organ; Lydian String Quartet; Edwin Barker, double 

bass 
8/8/2001 Dawn Upshaw, soprano; Gilbert Kalish, piano; Members of the 

Boston Symphony Orchestra; Federico Cortese, conductor 



19 



8/9/2001 
8/19/2001 

2002 

6/27/2002 
6/28/2002 
6/30/2002 

7/9/2002 

7/10/2002 

7/16/2002 

8/1/2002 

8/7/2002 

8/14/2002 
8/15/2002 
8/22/2002 



2003 

6/29&30/2003 



7/9/2003 
7/10/2003 

7/16/2003 
7/20/2003 
7/22/2003 
7/24/2003 
7/30/2003 
7/31/2003 
8/6/2003 

8/14/2003 
8/19/2003 
8/20/2003 

8/21/2003 



Collage New Music, David Hoose, conductor 
Andre Previn, piano; David Finck, double bass 

Juilliard String Quartet 

Juilliard String Quartet 

Borromeo String Quartet; Dawn Upshaw, soprano; Todd Palmer, 

clarinet 

Jessye Norman, soprano; Mark Markham, piano 

Matthias Goerne, baritone; Eric Schneider, piano 

Emerson String Quartet 

Richard Goode, piano 

Scottish Chamber Orchestra, Joseph Swenson, conductor; Imogen 

Cooper, piano; Wolfgang Holzmair, baritone 

Karita Mattila, soprano; Martin Katz, piano 

Kalichstein-Laredo-Robinson Trio 

Boston Symphony Orchestra; Schola Cantorum de Caracas, Ana 

Maria Raga, general director; Members of the Orquesta la Pasion, 

Mikael Ringquist, leader; Luciana Souza, vocalist; Dawn Upshaw; 

soprano; Reynaldo Gonzalez Fernandez, vocalist and Afro-Cuban 

dancer; Deraldo Ferreira, berimbau, percussion, and Capoeira dancer; 

Robert Spano, conductor (Golijov's La Pasion Segiin San Marcos) 

Mark Morris Dance Group in collaboration with the Tanglewood 

Music Center; Bradley Lubman and John Oliver, conductors; 

Yo-Yo Ma, cello 

Christian Tetzlaff, violin 

Lorraine Hunt Lieberson, mezzo-soprano; Peter Serkin, piano; 

Drew Minter, guest artist 

Dubravka Tomsic, piano 

Pierre-Laurent Aimard, Ursula Oppens, and Robert Spano, pianos 

Chanticleer 

Borodin String Quartet 

Emerson String Quartet; Jeffrey Kahane, piano 

Piotr Anderszewski, piano 

Camerata Salzburg, Sir Roger Norrington, chief conductor; Hannes 

Eichmann, speaker 

Juilliard String Quartet 

Yo-Yo Ma, cello; Emanuel Ax, piano 

Norwegian Chamber Orchestra; Leif Ove Andsnes, piano and guest 

leader; Terje Tonnesen, violin and artistic leader 

David Daniels, countertenor; Craig Ogden, guitar 




20 



SEIJI OZAWA HALL, 1994-2003 

Tanglewood Jazz Festival 

The following list includes those performers who have appeared in Florence Gould 
Auditorium in Seiji Ozawa Hall as part of the annual Tanglewood Jazz Festival on 
Labor Day Weekend since the Hall opened in 1994. Note that performers who ap- 
peared in the Koussevitzky Music Shed or the Theatre as part of each year's Jazz 
Festival do not appear in this listing. (The first Tanglewood Jazz Festival took place 
in 1989.) 

1994 Ahmad Jamal and his trio with guests The Joshua Redman Quartet; Marcus 
Roberts; The Dave Brubeck Quartet with special guest Cassandra Wilson; The 
New Black Eagle Jazz Band; The Carnegie Hall Jazz Band, Jon Faddis, director 

1995 The Shirley Horn Trio; Joe Henderson's "Double Rainbow" Quartet with 
Hello Alves, Nilson Matta, Paulo Braga, and guests; The John Scofield Quartet; 
Diane Schuur and her trio; Flora Purim and Airto; The Tito Puente Latin Jazz 
Ensemble; The New Black Eagle Jazz Band 

1996 The Arturo Sandoval Sextet; Betty Carter and her quartet; The John Pizzarelli 
Trio with special guest Bucky Pizzarelli; The Dave Brubeck Quartet; The T.S. 
Monk, Jr., Quartet; George Shearing and Joe Williams; The Joe Lovano 
Quartet with the Christian McBride Quintet 

1997 Chick Corea and Gary Burton; Randy Weston's African Rhythms; Sonny 
Rollins; The New Black Eagle Jazz Band with special guest Odetta; The Dave 
Brubeck Quartet 

1998 The Cyrus Chestnut Trio; The Joe Lovano Quartet; John Pizzarelli with trio; 
The Patrice Williamson Group; The James Moody Quartet; Cassandra Wilson 
with her quartet 

1999 An Evening with Branford Marsalis; Kevin Mahogany and Dianne Reeves; 
The New Black Eagle Jazz Band; The Dave Brubeck Quartet 

2000 The Dizzy Gillespie Alumni All-Stars, featuring Jon Faddis, Paquito D'Rivera, 
Slide Hampton, Kenny Barron, John Lee, and Cecil Brooks III; The Rebecca 
Parris Quartet; The Dave Brubeck Quartet (80th Birthday Celebration) 

2001 Chuck Mangione and New York Voices; The John Pizzarelli Trio; Jane Monheit; 
Sonny Rollins 

2002 Arturo Sandoval and his orchestra; Nestor Torres; Marian McPartland's "Piano 
Jazz" with Sir Roland Hanna; The Roy Hargrove Quintet; Roberta Gambarini; 
The Dave Brubeck Quartet 

2003 Gato Barbieri; The Michel Camilo Trio; Jonathan Pascual; Marian McPartland's 
"Piano Jazz" with special guest Norah Jones; Cassandra Wilson; Kenny Barron's 
"Canta Brasil"; Trio da Paz; Celebrating a Year of the Blues (Jay McShann, 
Louisiana Red, Duke Robillard, The Nicole Nelson Band, Kendrick Oliver 
and The New Life Jazz Orchestra) 




21 




Ta°n°|lewood 



Thursdayjuly 15, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

PIERRE-LAURENT AIMARD, piano 



n\ 



SEIJ I OZAWA HALL 
lOth ANNIVERSARY SEASON 



BEETHOVEN 



CARTER 



Sonata No. 17 in D minor, Opus 31, No. 2, Tempest 

Largo — Allegro 

Adagio 

Allegretto 

Night Fantasies (1980) 



INTERMISSION 



IVES 



Sonata No. 2, Concord, Mass., 1840-1890 

I. Emerson 
II. Hawthorne 

III. The Alcotts 

IV. Thoreau 

with SARAH FRISOF, flute 



Steinway and Sons Pianos, selected exclusively at Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should he switched off during the concert. 

Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 
concert. Flashes, in particular, are distracting to the performers and other audience 
members. Thank you for your cooperation. 



NOTES ON THE PROGRAM 

An unbridgeable gap may seem to separate composers of program music, with their lit- 
erary-poetic mindset, from avant-garde composers, whose capacity for abstract intellec- 
tion drives them to technical innovation. Yet tonight's concert presents three scores in 
which leading avant-gardists professed programmatic aims. In all three, programmatic 
content created heightened expressivity without compromising modernist structural fea- 
tures. 

"Read Shakespeare's Tempest" said Ludwig van Beethoven (1770-1827) when asked 
to explain the "meaning" of his D minor piano sonata. Ironically, the two works do not 
have much in common — Beethoven was presumably not very familiar with Shakespeare, 
and his sonata, unlike the play, is by no means a comedy. Yet the composer's remark 

23 



confirms that storm-imagery is congruent with the mental atmosphere of this extraordi- 
nary music: while the score may not depict Shakespeare's Tempest, it is, certifiably, Bee- 
thoven's Tempest. 

Apparently completed in early 1802, the D minor sonata, 
like the other two sonatas of Opus 31, gives evidence of Bee- 
thoven's intention to "strike out on a new road." Remarkable 
in the opening movement is Beethoven's manner of integrat- 
ing the ominous slow introduction with the roiling main Alle- 
gro. The introduction has not only a formal function, but nar- 
rative thrust as well, first providing foretastes of two impor- 
tant themes, then catapulting the listener into the drama. The 
result is that whenever the low-rolled-chord motif of the open- 
ing returns, another outburst of the Allegro's bass-vs. -treble 
dialogue-theme seems imminent. In the recapitulation, where a verbatim repetition of 
the no-longer-surprising opening would have been ineffective, Beethoven provides a 
new element — a plaintive recitative, rendered mysterious with an unusual pedal-effect — 
then approaches the Allegro by a new avenue. 

The lyric Adagio begins with a low rolled chord (a unifying allusion to the first move- 




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ment) and continues with another bass-vs. -treble dialogue; hints of thunder accompany 
an eloquent bridge to a tender cantabile. There is no development, and the main theme 
is bedecked with richly colored arpeggios on its return. The Allegretto finale has its tem- 
pestuous moments but is largely a subtly obsessive study in what might best be termed 
an inexorably gnawing Angst. 







Elliott Carter (b.1908) began as a middle-of-the-road composer of Americana. In 
the late 1940s, however, his lively mind devised lines of experiment involving rhythm 

("metrical modulation"), interval-generated melodizing, and 
overarching structural "plotting." Subsequently, such challeng- 
ing, pathbreaking scores as the Second String Quartet (1959), 
the Piano Concerto (1967), and the Symphony for Three 
Orchestras (1977) prompted their admirers to revere Carter 
as America's foremost avant-gardist. 

In a singular late- 1970s initiative, four pianists who cham- 
pioned modern music — Paul Jacobs, Gilbert Kalish, Ursula 
Oppens, and Charles Rosen — banded together to commission 
a major keyboard work from Carter. The result, written in 
1980, was the twenty-minute-long Night Fantasies, which 
Rosen hails as "perhaps the most extraordinary large keyboard work written since the 
death of Ravel." 

Carter has provided an invaluable program note: 

Night Fantasies is a piano piece of continuously changing moods, suggesting the 
fleeting thoughts and feelings that pass through the mind during a period of wake- 
fulness at night. The quiet nocturnal evocation that begins it and returns occasional- 
ly is suddenly broken by a flighty series of short phrases that emerge and disappear. 
This episode is followed by many others of contrasting characters and lengths that 
sometimes break in abruptly, and at other times, develop smoothly out of what has 
gone before. The work culminates in a loud, obsessive, periodic repetition of an 
emphatic chord that, as it dies away, brings the work to its conclusion. 

In this score, I wanted to capture the fanciful, changeable quality of our inner life 
at a time when it is not dominated by strong, directive intentions of desires — to cap- 
ture the poetic moodiness that, in an earlier romantic context, I enjoy in works of 
Robert Schumann like Kreisleriana, Carnaval, and Davidsbundlertanze. 






Surely Charles Ives's Piano Sonata No. 2, subtitled Concord Mass., 1845, is the only 
score ever prefaced by its composer with an eighty-page book — an effort entitled Essays 
before a Sonata. That Ives (1874-1954) provided this elaborate explication indicates not 

r"*^"^^BB I only how comprehensively he believed the score represented 
his artistic aspirations, but also how crucial he deemed its 
message — that the commercialized music and the industrial- 
ized imperial America of his time sorely needed the self- 
reliant spiritual qualities exemplified by the Concord transcen- 
dentalists of a purer and more innocent age. 

A dynamic insurance executive by day, Ives worked no 
less diligently as an uncompromising modernist composer by 
night, pioneering many techniques used by later composers 
in scores that baffled and outraged establishment musicians. 
Around 1909 he projected a series of overtures portraying lit- 
erary figures (he had already essayed an Alcotts Overture in 1902-04 and an Emerson 




25 



Concerto in 1907). The Robert Browning Overture reached fruition in 1911, but his 
Emerson and Hawthorne sketches seemed increasingly to demand solo piano or multi- 
ple-piano treatment. In 1911-12 he reworked a welter of these materials into a piano 
sonata, the four movements of which evoked, respectively, Emerson, Hawthorne, the 
Alcotts, and Thoreau. Sporadic revisions followed, and it was not until 1915 that the 
piece reached completion. Published in 1921 but long ignored by pianists, the Concord 
Sonata received its premiere on January 20, 1939, performed by John Kirkpatrick. 

Although modernistic dissonances, rhythmic conundrums, and collagistic superim- 
positions abound in the score, its expressive aesthetic is that of high Romanticism. 
Cyclic materials are in evidence (Ives admired the probity of Cesar Franck), particularly 
the four-note motif from Beethoven's Fifth Symphony, which thunders in the bass near 
the beginning, and engenders a melody that is prominent throughout movements I, III 
and IV. The opening Emerson movement is replete with grandiose proclamation and 
struggle. In the ensuing scherzo, Ives suggests "some of [Hawthorne's] wilder, fantastical 
adventures into the half-childlike, half fairylike phantasmal realms . . . the little demons 
dancing around his pipe bowl... the old hymn tune that haunts the church and sings 
only to those in the churchyard, to protect them from secular noises, as when the circus 

parade comes down Main Street "Tone-clusters in this movement require the use of 

a board. 

The peaceful Alcotts movement is a consonant, unabashedly sentimental hymn to 
"the commonplace beauty" of "that home under the elms... the little old spinet piano 
. . .on which Beth played the old Scotch airs and played at the Fifth Symphony. . .a con- 
viction in the power of the common soul." Crucial in the pastoral, unexpectedly tranquil 
Thoreau finale are recurrences of an oracular chorale-like melody heard over a reiterated 
three-note motif deep in the bass. Eventually "the poet's flute is heard out over [Walden] 
pond." 

— Benjamin Folkman 

Benjamin Folkman is a New York-based annotator whose articles have appeared in Opera 
News, Stagebill, Playbill, Performing Arts, and numerous other publications. 




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26 




GUEST ARTISTS 

Pierre-Laurent Aimard 

Pierre-Laurent Aimard won first prize in the 1973 Messiaen Competition 
and has been associated with that composer's music ever since. He was 
appointed at age nineteen by Pierre Boulez to become the Ensemble Inter- 
Contemporain's solo pianist, and has since the mid-1980s collaborated 
closely with composer Gyorgy Ligeti, recording Ligeti's complete piano 
works and being the dedicatee of several of his piano etudes. Pierre-Laurent 
Aimard is without doubt a key figure in the new music world, but it has 
always been a driving force in Mr. Aimard's professional musical life to 
explore as broad a range as possible of music from different ages and sources, striving to illu- 
minate the importance of historical, musical, and cultural contexts as well as influences among 
composers both within and between generations and centuries. Through his teaching work at 
the Paris Conservatoire and at the Hochschule in Cologne, as well as through an interna- 
tional program of concert/lectures (an example being, in 1994-95, a series of eight concert/ 
lectures in Lyon and Paris presenting a panorama of the piano in the twentieth century), he 
sheds a personal light on music of the past, present, and future. Born in Lyon, France, in 1957, 
Pierre-Laurent Aimard studied at the Paris Conservatoire, where he won four first prizes. He 
worked with Yvonne Loriod and then Maria Curcio. Now Pierre-Laurent Aimard performs 
throughout the world each season with the most eminent orchestras and conductors, as well 
as in recital and chamber music programs in the most prestigious venues. His much-awaited 
debut recital at Carnegie Hall took place in December 2001 to exceptional acclaim, and he is 
regularly invited to such festivals as Edinburgh, Salzburg, Lucerne, Tanglewood, and the BBC 
Proms. He also pursues a number of fascinating chamber music projects each year with such 
partners as Jean-Guihen Queyras, Joseph Silverstein, and Tabea Zimmermann. Pierre-Laurent 
Aimard has recorded for Deutsche Grammophon, Sony, Erato, Wergo, and Lyrinx, among 
others, and continues to create and record for the television station Arte a series of films 
focusing on great composers of the twentieth century. The first film in this series, featuring 
Pierre Boulez, was a renowned success. In recent years he has recorded significantly for Tel- 
dec/Warner Classics, including acclaimed performances of Messiaen's Vingt Regards sur V en- 
fant-] esus and Turangalila-symphonie, the complete Beethoven piano concertos with the 
Chamber Orchestra of Europe and Nikolaus Harnoncourt, and a live disc of his Carnegie 
Hall recital. Releases in 2003-04 include recordings of Debussy, Ives, and Dvorak. 



Sarah Frisof 

A Tanglewood Music Center Felllow this summer, flutist Sarah Frisof graduated from the 
Eastman School of Music in May 2004 with her bachelor's degree and performer's certificate 
in flute performance. She has appeared as soloist with the Contemporary Youth Orchestra, 
the Cleveland Youth Wind Symphony, and the Shaker Heights Wind Ensemble; has partici- 
pated in master classes with Joshua Smith, Robert Langevin, Michael Parloff, Marina Pic- 
cinini, and Joseph Mariano; and has participated in the Aspen, Orford, Colorado College, 
and Chautauqua summer festivals. Ms. Frisof is also active in new music, having performed 
several commissioned works, and having participated in Eastman's Musica Nova and the stu- 
dent-run new music group, Ossia. In the fall, she will attend the Juilliard School for her mas- 
ter's degree in flute performance. 




27 




Tanglewood 

Monday, July 19, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

TANGLEWOOD MUSIC CENTER ORCHESTRA 
The Margaret Lee Crofts Concert 

RAFAEL FRUHBECK DE BURGOS conducting 



C\ 



SEIJI OZAWA HALL 
lOth ANNIVERSARY SEASON 



HAYDN 



HAYDN 



Symphony No. 1 in D 

Presto 
Andante 
Finale: Presto 

Symphony No. 6 in D, Le Matin 

Adagio — Allegro 
Adagio — Andante — Adagio 
Menuet; Trio 
Finale: Allegro 



INTERMISSION 



STRAUSS Ein Heldenleben {A Hero's Life), Tone poem, Opus 40 

The Hero — The Hero's Adversaries — The 
Hero's Companion — The Hero's Battlefield — 
The Hero's Works of Peace — The Hero's Escape 
From the World and Fulfillment 

CARRIE KENNEDY, solo violin 

Steinway and Sons Pianos, selected exclusively at Tanglewood 

In consideration of the performers and those around you, cellular phones, pagers, 

and watch alarms should be switched off during the concert. 
Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 

concert. Flashes, in particular, are distracting to the performers and other audience 

members. Thank you for your cooperation. 

NOTES ON THE PROGRAM 

Franz Joseph Haydn (1732-1809) 
Symphony No. 1 in D 
Symphony No. 6 in D, Le Matin 

After an adolescence spent comfortably as a choirboy at St. Stephen's Church in 
Vienna, in 1750 eighteen-year old Josef Haydn found himself out on the street, "forced 
to eke out a wretched existence by teaching young people." Yet Haydn's dire circum- 



28 




stances would not last long, owing to the friendships that circumstance would soon 
afford him. One of his neighbors in Vienna turned out to be the renowned librettist 
Pietro Metastasio, who introduced him to the composer Niccolo Popporo, under whose 
guidance he seems to have honed his skills. In a classic case of fortuitous networking, 
through these men (and several other related contacts) Haydn would eventually find his 

entrance into the patronage system that would sustain him for 
most of his career and help make him the most celebrated 
composer of his day. 

In 1757 Haydn received his first appointment, as the music 
director for Count Karl Joseph Franz Morzin. It seems fitting 
that the true beginning of his life as a professional composer 
coincides with the composition of his earliest symphonies; as 
he wrote symphonies more steadily and profusely than any 
other musical genre, his symphonic output indeed seems to 
chronicle his entire career. Haydn himself, however, cannot 
have had a sense of this symbolic beginning — he probably 
composed his first symphony simply because it was asked of him. As with any other 
composer in a similar situation, the whims of his employer often determined the nature 
of his compositions. 

Symphony No. 1 may actually be Haydn's first symphony, despite the often-faulty 
numbering system established by his publishers (for example, Symphony No. 72 should 
more likely be No. 32 or even 22). The work exhibits much that is typical of the nascent 
stages of the genre. It is cast in the three-movement scheme (fast-slow-fast) borrowed 
from the Italian opera sinfonie (overtures), progenitors of the symphony. The orchestra 
contains only strings, horns, and oboe, plus a bassoon as part of the basso continuo (a 
vestige of the Baroque era). The winds sit out the slow movement; and the first move- 
ment begins with the steady crescendo and rising pitch usually associated with the 
Mannheim Orchestra and Johann Stamitz, often cited as the "originators" of the sym- 
phonic genre. 

The length and form of the present symphony may strike the listener as quite com- 
pact (like a "mini"-symphony) when compared with the mature works of the great com- 
posers of the nineteenth century and beyond. But the transparent textures, undemand- 
ing harmonies, and economical, motivically based melodies are precisely what were 
demanded by the tastes of the day, when music was valued as light entertainment in a 
reaction against the complex, ornamented style of the Baroque. 






After the profligate Count Morzin was forced to dissolve his musical ensembles, 
Haydn was appointed assistant Kapellmeister at the country estate of Prince Paul Anton 
Esterhazy (the first of the Esterhazys Haydn would serve throughout his long association 
with that family). The first three symphonies he composed in this new position would 
be a set: Nos. 6, Le Matin ("Morning"); 7, Le Midi ("Noon"), and 8, Le Soir ("Evening") — 
all among the select number of Haydn's hundred-odd symphonies that bear authentic 
programmatic titles assigned by the composer himself. Haydn's "artistic vision" was 
again tailored to his circumstances, particularly the tastes of his benefactor, who appears 
to have been particularly enamored of concerti grossi in an Italianate style. As a result, 
Haydn's new symphonies featured many extensive and difficult solo passages, a luxury 
afforded him by the wealth of his new employer, who could retain more musicians at a 
higher level of skill. 

These symphonies look backward to the Baroque to a greater degree than Symphony 
No. 1, a reminder that lines between stylistic eras are not so easily drawn. Neither is the 



29 



developmental stage of the symphonic genre clear-cut — in these works, Haydn's ap- 
proach to the orchestra seems to defy the very appellation "symphony." The trilogy is an 
amalgam of Classical phrase structure and forms, Baroque concerto style, wind writing 
culled from Haydn's experience with divertimenti, and other devices incongruent with 
our modern notion of the genre, which actually derives largely from Haydn's later work. 

Symphony No. 6, Le Matin, opens with a slow introduction, generally acknowledged 
to depict a sunrise in its gradual layering effect, with dotted-rhythms that evoke the 
Baroque French ouverture style. Once the Allegro is underway, though, the movement 
reveals itself to be cast in the balanced phrases and sonata form typical of the Classical 
era. Haydn showcases the oboes, horns, and principally the flute, whose reveille-Mke, 
melody suggests the industrious stirrings typical of morning hours. 

Enjoying a respite, the winds sit out the slow movement, while the violin and cello 
assume a featured role, trading fluent triplet figures and comprising a concertino to the 
remaining strings' ripieno. Haydn includes a minuet in the symphony, a practice not yet 
standard at the time (compare with Symphony No. 1). Here the flutes again come to 
prominence, along with some more original choices for concertante treatment: the viola, 
cellos, and bassoon (an instrument mostly reserved for reinforcing the basso continuo in 
orchestration of the time) act as soloists in the Trio section, which suggests the Baroque 
in its ornate, sequence-driven counterpoint. The finale is again dominated by the violin, 
cello, and flute. 

Richard Strauss (1864-1949) 

Ein Heldenleben {A Hews Life), Tone poem, Opus 40 

What audiences have come to recognize as Beethoven's "heroic" style is more a product 
of the ways in which the Beethoven legend has been constructed than any conscious 
effort on the composer's part. Nevertheless, many 19th-century composers assumed the 
role of the artist-hero that they perceived Beethoven to have established. Perhaps none 
was more blatant in this than Richard Strauss, who composed his tone poem Ein Helden- 
leben ("A Hero's Life") as a replacement of sorts for Beethoven's Third Symphony, the 
Eroica — the locus classicus of Beethoven's heroic mode — which in his mind was too little 
performed. Strauss even sets his work in the same key, E-flat major. 

Beethoven came to be regarded as the hero of the Eroica throughout the course of 
the work's reception; the composer originally had Napoleon in mind as the hero. Strauss, 
however, wasn't shy about proclaiming himself to be the hero of his work from the out- 



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set: "I do not see why I should not compose a symphony about myself. I find myself 
quite as interesting as Napoleon or Alexander." Strauss evidently saw himself as the 
incarnate of a "general and free ideal of great and manly heroism... that heroism which 

describes the inward battle of life and which aspires through 
effort and reunification towards the elevation of the soul." In 
a sense, Ein Heldenleben, which premiered in March of 1899, 
represents the furthest extreme of the Romantic cult of the 
artist, just as it exhibits many of the musical elements of 
Romanticism taken to their limit (for example, the enormous 
orchestra). 

Strauss first conceived Ein Heldenleben while he was work- 
ing on another tone poem, Don Quixote, and the intense ego- 
ism of the present work is perhaps countered by his more 
tongue-in-cheek attention to Cervantes's comic anti-hero. 
In fact, Strauss always regarded the two pieces as a complementary pair. The work is 
cast in six continuous sections, and it is evident which ones Strauss most identified with: 
1) The Hero; 2) The Hero's adversaries (or critics); 3) The Hero's companion (or wife); 
4) The Hero's deeds of war; 5) The Hero's works of peace (and struggles in the face of 
continued criticism); 6) The Hero's retirement from the world and the fulfillment of 
this life. Many critics have been harsh on Ein Heldenleben owing to its audacious narcis- 
sism; yet there is a softer side to the work in the third section, a paean to Strauss's wife 
Pauline, and the domestic tranquilly enshrined in the final section, a theme he would 
also explore in lymphoma domestica. 

The upwardly soaring line that opens the work spawns a related figure in the violin, 
the wide intervallic leaps of which seem to impute a broad nobility to Strauss's hero. 
What follows are the kind of quintessentially Romantic "yearning" passages and climax- 
es that Wagner essentially codified in the Prelude to Tristan und Isolde. In a striking 
contrast to the high-minded hero, the critics of the second section are portrayed by nit- 
picking chatter in the woodwinds. Indeed, Strauss's own critics did not fail to recognize 
themselves: after the premiere the composer wrote that many had "spit poison and gall, 
principally because. . .they believed that could they could see themselves." Here, their 
petty barbs seem to bounce off the honorable sincerity of the hero (again portrayed by 
the strings) and Strauss triumphs — musically at least — over his adversaries with the 
return of brass fanfares. 

In the third portion of the work (more extended than the first two), Strauss lovingly 
depicts both the foibles and virtues of his wife through an extensive violin solo, which 
seems to "court" the rest of the orchestra (still playing the role of the Hero). Strauss 
describes his wife as playfully fickle, a characterization that maps well onto the whimsi- 
cal solo violin: "It's my wife I wanted to show. She is very complex, very feminine, a lit- 
tle perverse, a little coquettish, never like herself, at every minute different from how she 
had been the moment before." Eventually the soloist and the orchestra seem to "find 
each other," and a tenderness overtakes the friction of their flirtatious banter. 

But the critics return, intruding on the newfound comfort of companionship to spur 
the hero to prepare for battle, heralded by off-stage trumpets. During the conflict — rife 
with percussion, brass, the dissonant clash of arms, and vigorous march-like rhythms, as 
one would expect — the reappearance of motives from the previous section indicates the 
support and inspiration that the love of a good woman provides Strauss's hero, whose 
own themes return to affirm his victory. 

An ominous reproach from a pair of tubas creeps into the calm after the battle, 
though, reminding the hero that more remains to be done — the "works of peace." In 
an autobiographical reading of the work, it is evident from what follows exactly what 



31 



The World is Waiting 



What persuades a young person to accept 
her own greatness? What allows her to 
see the connection between the fire in 
her heart and her destiny to change a small cor- 
ner of the world or the world itself? What con- 
vinces a girl that the world needs her discover- 
ies, her solutions, her creations? 

The torch of leadership will be passed to a new 
generation. That is a certainty. But is it also a 
certainty that the new generation will be pre- 
pared to lead? Yes, if the adults involved with 
young people make it their priority. 

Nurturing girls' potential is serious business. 
Our job as parents, teachers, mentors, and 
friends is to let a girl know what great promise 
she has. A girl will recognize that promise if 
she knows we have seen it too. 

Before there can be leadership, there must be 
the idea of leadership. That is, before a young 
person can face her future with solid confi- 
dence, she must have a clear idea of her power 
to achieve and her ability to lead. The time for 
a girl to catch a glimpse of the powerful person 
she is to become is between the ages of 14 and 
18. It is then that she can envision herself 
twenty feet tall and think the unthinkable about 
what she can accomplish. 

That is where we begin. But leadership is also 
about passion, about caring deeply, and, then, 
about creating a vision for change in the 
mind's eye. What matters to adolescents 
today? Sit with a girl long enough and she'll tell 
you that she worries about the environment, 
about violence in the world, about children 
without hope. Her conscience is stirred. Sit 
with her a little longer and she will start to talk 
about her plans. The groundwork for a new 
approach is forming. 



It is when this adolescent energy is bursting 
forth that adults can help to give it shape. The 
high school years are about more than acquir- 
ing knowledge, as important as that is. It is in 
these formative years, when a girl begins to 
clarify her ethical positions, that we must be 
there to encourage her to connect her vision of 
how to make the world better with her ability to 
accomplish the task. 

Leadership takes practice also. It's all about a 
girl's working up the nerve to speak out in a 
meeting, to edit the school paper, to run for 
class office, or to find an elegant solution to a 
perplexing problem. Confidence grows cumu- 
latively. In an enlightened community a girl has 
the chance to be in charge and the encourage- 
ment to try. 

This country, this world, needs the strength, 
compassion, and brains of all its young people. 
But participation in democracy begins with 
young people knowing that they count. It is 
hard to be apathetic when the large idea that 
fills your mind and soul is that you can, must, 
and will make a difference. 

In Nine and Counting: The Women of the Senate, 
author Catherine Whitney writes, "Each of the 
women senators understands that at any given 
moment, she could have a substantial impact 
on someone's life." Think how we would feel 
about the future of this society if we thought 
that every young person was prepared and 
committed to making a "substantial impact." 
Then, look at your daughter, granddaughter, 
niece, the neighbor's girl. See in her the cure 
we haven't discovered, the peace treaty not yet 
written, the great art not yet created. Now, tell 
her that the world needs what only she can 
offer. Tell her that the world is waiting for her. 




MISS HALL'S SCHOOL 

492 Holmes Road, Pittsfleld, MA 01201 • (800) 233-5614 • Fax (413) 448-2994 • www.misshalls.org 
GIRLS' SECONDARY BOARDING AND DAY SCHOOL FOUNDED IN 1898 



32 



Strauss considers his own "works of peace" to be: the score is littered with quotations 
from his own compositions — including Don Juan, Also sprach Zarathustra, Don Quixote, 
Tod und Verklarung, and his early (failed) opera Guntram — woven together with the 
themes of the hero and his companion. After one last bout with some terrible foe, the 
hero's wife (again portrayed with a solo violin) returns to deliver him once and for all 
from the conflicts that have beleaguered him, and the hero at last retires to a placid 
repose in her loving company. 

— Notes by Michael Nock 

Michael Nock is the Printed Programs Coordinator for the Tanglewood Music Center and a 
Ph.D. candidate in musicology at Boston University. 




GUEST ARTIST 

Rafael Friihbeck de Burgos 

Born in Burgos, Spain, in 1933, Rafael Friihbeck de Burgos studied violin, 
piano, music theory, and composition at the conservatories in Bilbao and 
Madrid, and conducting at Munich's Hochschule fur Musik, where he 
graduated summa cum laude and was awarded the Richard Strauss Prize. 
He has served as general music director of the Rundfunkorchester Berlin, 
principal guest conductor of the National Symphony Orchestra in Wash- 
ington, D.C., and music director of the Deutsche Oper Berlin, Vienna 
Symphony, Bilbao Orchestra, National Symphony Orchestra of Spain, the 
Diisseldorfer Symphoniker, and the Montreal Symphony. For many sea- 
sons he was also guest conductor of the Yomiuri Nippon Symphony Orchestra in Tokyo. He 
is the newly named principal conductor of the Orchestra Sinfonica Nazionale della RAI in 
Turin. Rafael Friihbeck de Burgos has conducted virtually all of the major orchestras in the 
United States and Canada. He is a regular guest conductor with most of the major European 
ensembles, including all of the London orchestras, the Berlin, Munich, and Hamburg 
Philharmonic orchestras, the German Radio Orchestras, and the Vienna Symphony. He has 
also conducted the Israel Philharmonic and the major Japanese orchestras. He has made 
extensive tours with such ensembles as the Philharmonia of London, the London Symphony 
Orchestra, the National Orchestra of Madrid, and the Swedish Radio Orchestra. He toured 
North America with the Vienna Symphony in three different seasons and has led the Span- 
ish National Orchestra on two tours of the United States. Future and recent engagements in 
North America include concerts with the Philadelphia Orchestra, the Pittsburgh Symphony, 
the National Symphony, the Cincinnati Symphony Orchestra, and the Montreal Symphony 
Orchestra. Rafael Friihbeck de Burgos has recorded extensively for EMI, Decca, Deutsche 
Grammophon, Spanish Columbia, and Orfeo. Several of his recordings are considered to be 
classics, including his interpretations of Mendelssohn's Elijah and St. Paul, Mozart's Requiem, 
Orff's Carmina burana, Bizet's Carmen, and the complete works of Manuel de Falla, includ- 
ing Atldntida and La vida breve. Rafael Friihbeck de Burgos made his Boston Symphony 
debut in 1971. He has returned to the BSO podium for annual Tanglewood appearances 
since the summer of 2000, subscription concerts in March/April 2002, and subscription per- 
formances of Berlioz's L'Enfance du Christ this past January. He returns to Tanglewood this 
July for concerts with the Boston Symphony Orchestra (July 10 and 17) and the Tanglewood 
Music Center Orchestra, and to Symphony Hall in February 2005 for two subscription pro- 
grams next season with the BSO. 




33 



2004 season 



Days in the Arts 




Through the Boston Symphony 
Orchestra's Days in the Arts (DARTS) 
program, students spend a week 
immersed in the arts. In the morn- 
ing, students participate in hands- 
on workshops. In the afternoon, 
they travel toTanglewood,the BSO's 
summer home, and other cultural 
institutions such as Jacob's Pillow, 
the Norman Rockwell Museum, and 
Shakespeare & Co. 

Financial support is essential to the 
continued success of DARTS. Please 
consider making a generous contri- 
bution to DARTS this summer and 
help more than 400 children 
explore how the arts can enrich 
their lives. 

For more information, contact 
Alexandra Fuchs, Director of 
Tanglewood Annual Funds, at 
(413) 637-5298, or 
Judi Taylor Cantor, Director of 
Major and Planned Giving, at 
(413) 637-5260. 




The BSO gratefully acknowledges 
the following donors*: 

ANNUAL OPERATING GIFTS TO DARTS 

$50,000 and above 

Dr. Carol Reich and Mr. Joseph Reich 

$10,000 - $49,999 

Anonymous (1) 

Associated Grantmakers of Massachusetts 

Summer Fund 
The Connors Family 

Irene E. and George A. Davis Foundation 
Mr. and Mrs. Daniel Freed 
Stephen B. Kay and Lisbeth Tarlow 
The Richard A. and Helene H. Monaghan 

Family Foundation 
National Endowment for the Arts 
New Balance Foundation 
Thomas A. Pappas Charitable Foundation 
Abraham Perlman Foundation 

Dr. Deanna Spielberg 
Mary Ann Pesce 
The William E.and Bertha E.Schrafft 

Charitable Trust 

$5,000 - $9,999 

Sydelle and Lee Blatt 

Fairmont Hotels & Resorts Charitable 

Foundation 
The Roger and Myrna Landay Charitable 

Foundation 

$2,500 - $4,999 

Boston Concessions Group, Inc. 
Jonathan and Seana Crellin 
The Hoche-Scofield Foundation 
Valet Park of New England 

$2,000 - $2,499 

The Kingsbury Road Charitable Foundation 
Tom Sternberg 

DARTS Endowment Funds 

Elizabeth A. Baldwin DARTS Fund 
George and Kathleen Clear DARTS CRT 
Paul D. and Lori A. Deninger 

DARTS Scholarship Fund 
Gordon/Rousmaniere/Roberts Fund 
Renee Rapaporte DARTS Scholarship Fund 
Miriam and Sidney Stoneman Fund of 

The Boston Foundation 
: as of April 30, 2004 




Tanglewood 

Wednesday, July 21, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

EMERSON STRING QUARTET 

EUGENE DRUCKER, violin (1st violin in Britten) 
PHILIP SETZER, violin (1st violin in Tower and Shostakovich) 
LAWRENCE DUTTON, viola 
DAVID FINCKEL, cello 



Hi 

SEIJ I OZAWA HALL 
lOth ANNIVERSARY SEASON 



BRITTEN 



TOWER 



String Quartet No. 2 in C, Opus 36 

Allegro calmo senza rigore 

Vivace 

Chacony: Sostenuto 

Incandescent (2003) 



INTERMISSION 



SHOSTAKOVICH 



String Quartet No. 9 in E-flat, Opus 117 
(played without pause) 

Moderato con moto — 
Adagio — 
Allegretto — 
Adagio — 
Allegro 



Steinway and Sons Pianos, selected exclusively at Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 

and watch alarms should be switched off during the concert. 
Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 

concert. Flashes, in particular, are distracting to the performers and other audience 

members. Thank you for your cooperation. 

35 



NOTES ON THE PROGRAM 



The quartets on this program show that the genre has remained a potent means of seri- 
ous musical expression throughout the post-World War II era. Even as composers dur- 
ing these years employed increasingly elaborate instrumental forces in search of increas- 
ingly complex color effects, the quartet medium remained a testing-stone for the intrin- 
sic "abstract" quality of musical ideas, presenting the sort of constant challenge that 
prompts a composer's best work. 

Benjamin Britten (1913-1976) completed his Quartet No. 2 in C major, Opus 36, 
on October 14, 1945. It was one of three Britten works commemorating the 250th 
anniversary of Henry PurcelTs death (the others were Young Persons Guide to the Orches- 
tra and Holy Sonnets). Adopting PurcelTs favorite Chacony 
(ground-bass) form for the quartet's finale, Britten explored 
the kind of finale-dominated three-movement layout in which 
all movements share the same keynote — a layout used in Bee- 
thoven's Moonlight and Opus 109 piano sonatas. Beethoven's 
Opus 109, with its lightning scherzo and spacious final varia- 
tions, may have provided impetus — the Chacony being, like its 
Beethoven analogue, a variation structure almost twice the 
length of the two previous movements combined. 

In the first movement, the opening upward-gliding tenth 
introduces three first-subject themes. The second of these 
reappears to begin the subsidiary group. Weird, whispered musings on the tenth-motif 
hover during the development, and Britten drastically compresses the recapitulation, 
presenting the three themes simultaneously. All instruments are muted throughout 
Britten's mordant scherzo. Paired instruments in unison deliver the stuttering, scurrying 
theme. In a central section, the first violin chants a desperate melody in octaves. 

The stately Chacony theme, cast in sarabande rhythm, is delivered pianissimo by the 
four instruments in unison. To articulate the progress of the twenty-one variations, 
Britten interpolates cadenzas after variations 6, 12, and 18. The first six variations fan 
out to encompass multiple registers, then more animated rhythms. Six scherzo varia- 
tions follow the forceful cello cadenza, while the next group, introduced by a viola 
cadenza, comprises an intensely expressive slow movement. After a violin cadenza 
replete with coruscating scales and trills, the final three variations constitute a coda, 





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which not only provides a closing climax but also unifies the finale and ties it to the rest 
of the quartet. 







The hallmark of Haydn, Mozart and Beethoven's unfailing fascination is their ability 
to write genuinely fast music and genuinely slow music. This rare skill has made Joan 
Tower (b.1938) one of the important composers of our era. Marked by formidable ten- 
sile strength, her work bristles with event heightened by sus- 
penseful preparation. Tower's major orchestral works include 
Sequoia (1981), the Concerto for Orchestra (1991), Duets for 
Chamber Orchestra (1994), Strike Zones (2001), and several 
solo concertos. 

Incandescent, composed in 2003, is Tower's String Quartet 
No. 3; her first two quartets (1994; 2002) bear the titles Night 
Fields and In Memory. Written for the Emerson Quartet, In- 
candescent was commissioned jointly by Bard College and South 
Mountain Concerts as part of Bard's Virtuosi International 
String Quartet Festival, where the Emersons premiered it 
on April 26, 2003. The score is cast in a single movement and has a duration of about 
eighteen minutes. The composer has provided the following commentary: 

The word "incandescent" is not one that I would usually include in a title because it 
seems to be more poetic than what I am thinking about. My titles are usually more 
upfront and visceral, and in this case I would have preferred to call it White Heat, but 
was outvoted by friends who found that title carried too many associations. 

In Incandescent, my third string quartet, basically five actions or ideas unfold, 
develop, interact, and gradually change their "temperatures." They are a three-note 
collection that initially appears as an upper and lower neighbor to a central note at 
the very opening of the piece and that later turns around on itself repeatedly in the 
first violin; a repetitive, dense, held-in-place, and narrowly registered dissonant chord; 
a consonant arpeggiation that creases a "melody" distributed throughout the instru- 
ments; a climbing motive that initially outlines an octatonic scale (whole steps alter- 
nating with half-steps) and later shifts into both whole-tone and chromatic scales; 
and, finally, wide leaps that first appear in the first violin and are subsequently picked 
up by the viola. The extended sixteenth-note passages that occur throughout, finally 
arriving at a virtuosic, Vivaldi-like cello solo, include all these motives in different 
guises and temperatures. 






When Dmitri Shostakovich (1906-1975) worked in the string quartet medium, the 
Soviet government did not expect him to make the sort of Grand Optimistic National 
Statement they desired from his symphonies. Thus, side by side with his patriotic 1950s 
and early-'60s symphonies (No. 11, The Year 1905, and No. 12, The Year 1917), he poured 
deeply personal music into his string quartets 6, 7, and 8 without provoking censure. 
Difficulties arose, however, from the social commentary in Shostakovich's Babi Yar 
Symphony (No. 13), and in 1964 he plunged back into chamber music, composing two 
quartets. 

Completed between May 2 and May 28 of that year, Shostakovich's Quartet No. 9 in 
E-flat major, Opus 117, is not so intensely grim as his towering Eighth Quartet, but has 
a sober agenda, nonetheless, and its mordant humor is far from lighthearted. Cast in 
five movements played without pause, the Quartet No. 9, like Britten's Quartet No. 2, is 
a finale-centered work: its closing Allegro is more than twice as long as any of the other 



37 



movements and binds up previous thematic threads. In the opening movement, the 
repeated notes that begin the plaintive initial melody, and the two-alternating-note 
murmurs beneath it, are both crucial. Later, Shostakovich descends the social scale for a 

sturdy staccato cello theme accompanied by off-beat pizzicato^. 
When the first theme glumly returns, it displays a triple-time 
alter ego. 

From a sustained viola note, the second movement emerges, 
a lamentation that begins chordally, but later allows a florid 
vocal role for violin. Suddenly the violin's cantilena fragments 
into staccati and a derisive perpetual-motion galop saunters in, 
commencing the third movement. Here an absurd repeated- 
note fanfare bizarrely recalls the William Tell Overture. As the 
first staccato fragments reappear, the violin keens a slow, sad 
melody, and a sudden transformation of this theme into a 
lower-string chorale brings another Adagio. After a relatively extroverted violin excursion, 
the chorale melody returns in pizzicato chords. In a central portion, a dissonant chordal 
wash builds up and the violin becomes frantic. The gloomy chorale resurfaces, and its 
two-undulating-notes accompaniment evolves into a slashing waltz, which launches the 





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finale. Subsequent phrases sardonically transform the Adagios violin orations. Later, 
sawing repeated-note bass drones divide the measure into two, rather than three, beats. 
The violin punches out the chorale, punctuated by jeering glissandi, along with mono- 
maniacal repeated-note brays. The waltz resumes with a whisper, and in the ensuing 
crescendo, the chorale begins to nag. A discordantyz/gvz/o eventually coalesces into mas- 
sive chords; then, against a sustained tremolo, the cello delivers an impassioned cadenza, 
recalling the slow movement's pizzicati and orations. Shostakovich's coda adds the "alter 
ego" to the other recycled motifs, with the fanfare-figure prominent in a manic crescen- 
do toward a final fortississimo. . . 

— Benjamin rolkman 

Benjamin Folkman is a New York-based annotator whose articles have appeared in Opera 
News, Stagebill, Playbill, Performing Arts, and numerous other publications. 



GUEST ARTISTS 



Emerson String Quartet 




Acclaimed for its insightful performances, 
brilliant artistry, and technical mastery, the 
Emerson String Quartet is one of the world's 
foremost chamber ensembles. The quartet has 
amassed an impressive list of achievements — 
a brilliant series of recordings exclusively 
documented by Universal Classics/Deutsche 
Grammophon since 1987, six Grammy Awards 
including two unprecedented honors for Best 
Classical Album, and complete cycles of the Bartok, Beethoven, and Shostakovich string 
quartets performed in the major concert halls of the world. Today, the ensemble is lauded 
globally as a string quartet that approaches both classical and contemporary repertoire with 
equal mastery and enthusiasm. In the 2003-04 season the Emerson Quartet presented a 
three-concert series as part of Lincoln Center's "Great Performers" series, featuring Haydn's 
Seven Last Words of Christ on the Cross and Bach's Art of the Fugue interwoven with the late 
Beethoven string quartets. The group participated in the opening festival of Carnegie Hall's 
Zankel Hall with performances of Haydn, Rorem, and Dvorak. In addition to its active per- 
formance schedule in the major concert halls of North America, the quartet toured Europe 
in winter 2004 with stops in Barcelona, Frankfurt, Manchester, Freiburg, Linz, and St. Gallen, 
followed by a tour to Asia in the spring of 2004 with concerts in Hong Kong, Taipei, Seoul, 
Singapore, and Kuala Lumpur. The quartet also celebrates its 25th consecutive season at the 
Smithsonian Institute in Washington, D.C. In summer 2003 the quartet returned to the Salz- 
burg, Lucerne, and Schubertiade festivals in Europe and the Aspen, Tanglewood, and Mostly 
Mozart festivals in the United States. In fall 2002 the Emerson joined Stony Brook Univer- 
sity as quartet-in-residence, coaching chamber music, giving master classes, and providing 
instrumental instruction. In addition to these duties they also perform several concerts during 
the year at Stony Brook's Staller Center for the Arts. The Emerson has received six Grammy 
Awards — two for its Shostakovich cycle, two for its Bartok cycle, one for its disc "American 
Originals" (works by Ives and Barber), and one for the complete quartets of Beethoven. The 
quartet's relationship with Universal/Deutsche Grammophon continues with Bach's Art of the 
Fugue, released in September 2003, and Haydn's Seven Last Words of Christ on the Cross, issued 
in spring 2004. Formed in 1976, the Emerson String Quartet took its name from the Ameri- 
can poet and philosopher Ralph Waldo Emerson. Violinist Eugene Drucker and Philip Setzer 
alternate in the first chair position and are joined by violist Lawrence Dutton and cellist 
David Finckel. The Emerson Quartet is based in New York City. 



39 




Tanglewood 

Tuesday, July 27, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

RICHARD GOODE, piano 



c\ 



SEI JI OZAWA HALL 
lOth ANNIVERSARY SEASON 



BEETHOVEN 



SCHUBERT 



Six Bagatelles, Opus 126 

Andante con moto 

Allegro 

Andante 

Presto 

Quasi allegretto 

Presto — Andante amabile e con moto — Presto 

Sonata in A minor, D.845 

Moderato 

Andante, poco mosso 

Scherzo: Allegro vivace; 

Trio: Un poco piu lento 
Rondo: Allegro vivace 



INTERMISSION 



janAcek 



CHOPIN 



Sonata (October 1, 1905), From the Streets 

Presentiment 
Death 

Four Mazurkas 

Mazurka in B, Opus 41, No. 3 
Mazurka in E, Opus 6, No. 3 
Mazurka in C-sharp minor, Opus 63, No. 3 
Mazurka in F-sharp minor, Opus 59, No. 3 

Nocturne in E-flat, Opus 55 , No. 2 

Ballade No. 1 in G minor, Opus 25 



Steinway and Sons Pianos, selected exclusively at Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should he switched off during the concert. 

Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 
concert. Flashes, in particular, are distracting to the performers and other audience 
members. Thank you for your cooperation. 



40 



NOTES ON THE PROGRAM 



This concert encompasses broad swaths of Romanticism. Chronologically, it stretches 
from the proto-Romanticism of Beethoven's Bagatelles and Schubert's sonata style to 
the endpoint of Janacek's Sonata, a score that takes late-Romantic expressionism to the 
brink of modernism. Geographically the program follows Viennese Romantic musical 
techniques on their spread northward and eastward to former musical backwaters, their 
currents bringing the Polish Chopin and the Czech Janacek into the European main- 
stream. 

Among his other pioneering achievements, Ludwig van Beethoven (1770-1827) was 
the first Classical-era composer to use short piano pieces for deep emotional and philo- 
sophical expression. Gradually amassing collections of Baga- 
telles, he issued his first set (Opus 33) in 1802 and the double 
set of Opus 119 two decades later. Shortly after the premiere 
of his Ninth Symphony, probably in May 1824, Beethoven 
planned a set of Bagatelles as a single entity. The profound 
spirituality that had marked his recent Opus 111 C minor 
piano sonata and Diabelli Variations also touched the Six 
Bagatelles, Opus 126, completed in June. By turns serene, 
quirky, gnomic, and even childlike, they proved to be his last 
piano works. 

Chorale-like No. 1 reveals unexpected depths when 
Beethoven develops one of its melodic figures via rhythmic compression. In scampering 
No. 2, a major-minor mixture haunts a recurring cadence-motif. No. 3's inward medita- 
tion grows seraphic through purling ornamentation. No. 4 alternates between a ram- 
bunctious kermesse, complete with barrelhouse-like piano hilarity, and a glowing idyll. 
Tender No. 5 is a veritable philosopher's reverie about innocence. No. 6 commences 
with a rollicking, untamed outburst (a shout of unbridled joy? — or, as Tovey wittily 
termed it, a kick down the stairs?). A slow melody breathes luminescent serenity — until 
the opening salvo jerks us back to reality. 







As Beethoven worked on these Bagatelles in 1824, Franz Schubert (1797-1828) was 
focusing as never before upon extended works, composing two quartets, an octet, and a 

four-hand piano sonata. During spring and summer of 1825, 
Schubert occupied himself with three piano sonatas and 
almost simultaneously tackled a symphony. In May he com- 
pleted his A minor sonata, D.845 — a dramatic score brim- 
ming over with memorable Schubertian melody, and which 
set the structural pattern for his five subsequent piano sonatas. 
Seeking motivic unity, Schubert unusually introduces both 
of his first- movement themes in the initial thematic group: a 
melancholy opening melody, and a threatening march-like 
subject whose blithe continuation launches the second group. 
Voluminous, eventful elaborations on first-theme material 
mark the development, and Schubert ultimately rises to thunderous fury 

The slow movement theme begins with puckish staccatos but soon takes on a 
chorale-like bloom. The first of five variations introduces a flowing rhythm, the second 
is mischievous, the third breathes minor-mode regret, the fourth giggles over giddily 
delicate virtuosity In the final variation, the theme floats over bell-like textures. In the 
elaborate scherzo, Schubert rings mercurial changes on a robust opening "signal," the 




41 



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42 



mood by turns ominous, heroic, skittish, and grieving. The central Trio provides one of 
Schubert's loveliest idylls in luminescent keyboard colors. 

In the finale, one of Schubert's manically voluble moto perpetuo themes chews over 
its figures in a non-stop flood of chatter. This subject is juxtaposed with a stamping, 
angry, yet almost folk-like dance. Until the coda, Schubert avoids tipping his hand as 
to whether the sonata will end cheerfully or vehemently. 






Leos Janacek's ethnic concerns — the Czech tongue and a hope for equality between 
Bohemia and his own province of Moravia — provided impetus for his sonata in E-flat 

minor, subtitled "Z ulice, 1.X.1905" {From the Streets, October 
1, 1905). Moravia's provincial capital Brno had no Czech-lan- 
guage university, and during a demonstration demanding such 
a school on October 1, 1905, a trigger-happy soldier shot and 
killed an innocent wood-worker. Distressed and outraged, 
Janacek (1854-1928) poured out this sonata in artistic protest. 

Janacek originally cast the sonata in three movements but 
removed the finale (a massive funeral march) only minutes 
before the premiere, which was given by the pianist Ludmila 
Tucova on January 27, 1906, in Brno; the composer subse- 
quently destroyed the whole score. Ms. Tucova, however, had 
secretly copied out the first two movements. When she finally played Janacek the sal- 
vaged music in 1924, he found he liked it, and published the sonata as a two-movement 
work. 

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obsessive motivic counterstatements. In the first movement, entitled "Presentiment," 
Janacek immediately establishes his central conflict, as a melancholy pianissimo melody 
is confronted by a short, eruptive motif in contrasted duple meter. A placating chordal 
theme commences the second subject, where a shard of descending melody — later to 
prove crucial — soon sings out in canon. Development-section reiterations of the erup- 
tive motif provoke a climax, whereupon the opening theme reenters in clangorous 
octaves, beginning the recapitulation. 

The slow second movement (entitled "Death") begins with a lament based entirely 
on a spasmodic rhythm. The theme later sees a gleam of light, but a goading, left-hand 
rhythm rebukes any hint of consolation and slowly waxes tempestuous. At the crest of 
a distraught crescendo the opening theme returns in severe fortissimo, then fines down 
toward the quiet conclusion. 







Frederic Chopin (1810-1849) warned that his mazurkas were "not to be danced to." 
They are, in fact, Romantic character pieces in which the weird syncopations and modal 
harmonies of Polish tradition become a "radical" composer's tools. The sturdy Opus 41, 

No. 3 (1839), shows a delightful tendency to plunge into 
"wrong" keys. Rusticity marks Opus 6, No. 3 (1830), where 
the melody is sung in a deep register below a drone bass. Very 
different is the elegance of Opus 63, No. 3 (1846), with a 
plaintive theme that in its last statement acquires exquisitely 
dovetailed counterpoints. The larger- scale Opus 59, No. 3 
(1845), at first pretends to countrified naivete. A suaver major- 
key episode, however, goes into a sophisticated, emotionally 
unsettling chromatic tailspin toward harmonically strange 
modal regions, and the opening melody, on its return, diva- 
gates into new, highly reflective polyphony. 
Unlike most Chopin nocturnes, which radiate dreamy introversion, the Nocturne in 
E-flat, Opus 55, No. 2, displays full-throated, openhearted lyricism. Its long-breathed 
melody abounds in fluid asymmetries and complex ornamentation (overlaying the ac- 
companiment's triplets with patterns of four, five and seven beats). 

Chopin viewed — and may even have invented — the Ballade as a genre precisely 
defined in expressive range, rhythm, and structure (previously the term "Ballade" in 
music had been purely evocative, with no technical connotation). From 6/8 meter, 
Chopin derives a compelling "swing," redolent, perhaps, of the momentum found in 
medieval epic poetry. Beginning his Ballade No. 1 in 1831, he labored long over it — 
not surprising, given the unusually potent contrasts he derived from its themes — at last 
completing it in 1835. The brief introduction provides an oblique approach to the prin- 
cipal theme, a rocking melody of dispirited grandeur. The ensuing refrain at first prom- 
ises quiet closure, then accelerates to an angry climax. After a lyric theme arches in con- 
solation, elaborations of the principal theme lead toward seeming catastrophe, but in- 
stead, the lyric theme bursts out in triumph. An unexpectedly mischievous virtuoso 
episode ushers in the lyric theme, ardently chanted; but confidence evaporates, and a 
coda based on the first theme closes in rage and despair. 

— Benjamin Folkman 

Benjamin Folkman is a New York-based annotator whose articles have appeared in Opera 
News, Stagebill, Playbill, Performing Arts, and numerous other publications. 



44 



GUEST ARTIST 




Richard Goode 

A native of New York, Richard Goode studied with Elvira Szigeti and 
Claude Frank, with Nadia Reisenberg at the Mannes College of Music, 
and with Rudolf Serkin at the Curtis Institute. He has won many prizes, 
including the Young Concert Artists Award, first prize in the Clara Haskil 
Competition, the Avery Fisher Prize, and a Grammy Award with clari- 
netist Richard Stoltzman. His remarkable interpretations of Beethoven 
came to national attention when he played all five concertos with the 
Baltimore Symphony under David Zinman, and when he performed the 
complete cycle of sonatas at New York's 92nd Street Y and Kansas City's Folly Theater. He 
has made more than two dozen recordings, including Mozart concertos with the Orpheus 
Chamber Orchestra, and chamber and solo works of Brahms, Schubert, Schumann, and 
George Perle. Mr. Goode is the first American-born pianist to have recorded the complete 
Beethoven sonatas, his recording of which was nominated for a Grammy Award and has 
been hailed as among the finest interpretations of these works. With soprano Dawn Upshaw 
he has recorded Goethe Lieder of Schubert, Schumann, and Hugo Wolf. Four recordings of 
Mozart concertos with the Orpheus Chamber Orchestra were received with wide critical 
acclaim, including many "Best of the Year" nominations and awards. Mr. Goode's first, long- 
awaited Chopin recording was also chosen "Best of the Month" by Stereo Review. He recent- 
ly released a recording of Bach's Partitas 1, 3, and 6. Richard Goode has appeared with many 
of the world's greatest orchestras, including the Boston, Chicago, and San Francisco sym- 
phony orchestras, the Cleveland Orchestra, the Deutsches Symphonie Orchester, and the 
BBC Symphony at the London Proms. He has also appeared with the Orchestre de Paris 
and Ivan Fischer, and toured with Fischer and his Budapest Festival Orchestra, as well as 
making his Musikverein debut with the Vienna Symphony and touring Germany with the 
Academy of St. Martin in the Fields under Sir Neville Marriner. As a recitalist, Mr. Goode 
has become a favorite throughout Europe as well as the United States, including regular 
appearances in Paris, London, Amsterdam, Vienna, and the leading cities of Germany and 
Italy. Recital appearances in 2003-04 include New York, Los Angeles, San Francisco, Phila- 
delphia, Miami, and Toronto; and Amsterdam, London, Paris, Madrid, and Munich, among 
other European cities. He has toured with soprano Dawn Upshaw to the Barbican Center, 
Vienna, Cologne, and Amsterdam, and serves with Mitsuko Uchida as co-Artistic Director 
of the Marlboro Music School and Festival in Marlboro, Vermont. Mr. Goode has appeared 
previously at Tanglewood both in recital and with the Boston Symphony Orchestra. 




3&$££gSi 



45 




Tanglewood 

Wednesday, July 28, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

THE HILLIARD ENSEMBLE 

DAVID JAMES, countertenor 
ROGERS COVEY-CRUMP, tenor 
STEVEN HARROLD, tenor 
ANDREAS HIRTREITER, tenor (in Tituli) 
GORDON JONES, baritone 

with (in Tituli) 

DONALD CROCKETT, conductor 

MICHELLE MAKARSKI, violin 

LYNN VARTAN and JAVIER DIAZ, percussion 

Perotin and the Ars Antiqua 

ANON. (13th century) Mundus vergens 
ANON. (13th century) Procurans odium 
ANON. (13th century) Deus misertus hominis 




SEIJI OZAWA HALL 
10th ANNIVERSARY SEASON 



MACHAUT 
MACHAUT 
MACHAUT 



ANON. (13th century) 
PEROTIN 

ANON. (13th century) 

MACHAUT 



Aucune gent /(Qui plus aimme)/ 
(Fiat voluntas tua)/(Contratenor) 

Dame, je sui cilz/(Fins cuers doulz)/ 
(Fins cuers doulz) 

Tu qui gregem/(Plange, regni respublica)/ 
(Apprehende arma)/(Contratenor) 

Vetus abit littera 
Dum sigillum 
Stirps Iesse 

Felix virgo /(Inviolata)/ 
(Contratenor)/(Ad te suspiramus) 



INTERMISSION 










46 



STEPHEN HARTKE 



Titu/i, for five solo male voices, violin and 
two percussionists (1999) 

I. Lapis niger (The Black Stone) 
II. Dedicatio (Offering) 

III. Columna rostrata (Triumphal Monument) 

IV. Elogium parvuli (Epitaph for a Small Boy) 
V. Tabula Panormi (Shop -sign from Palermo) 

VI. Sortes (Oracles) 
VII. Instrumenta (Inscriptions on Portable Objects) 

DONALD CROCKETT, conductor 
MICHELLE MAKARSKI, violin 
LYNN VARTAN and JAVIER DIAZ, 
percussion 



Steinway and Sons Pianos, selected exclusively at Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 

and watch alarms should be switched off during the concert. 
Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 

concert. Flashes, in particular, are distracting to the performers and other audience 

members. Thank you for your cooperation. 



NOTES ON THE PROGRAM 

Perotin and the Ars Antiqua 

By any standards, Perotin must have been an extraordinary composer. He wrote and 
revised organa in two to four parts (an organum being the earliest form of polyphony, in 
which a new voice was written to fit over an existing melody), but also contributed to 
the other main genre that was cultivated in Paris around 1200: the conductus. Conducti 
were newly composed settings of non-liturgical texts in Latin; they could be composed 
in anything from one to four parts. This program includes all three surviving four-part 
conducti (sometimes attributed to Perotin) — Vetus abit littera, Deus misertus, and 
Mundus vergens — alongside a three-part specimen, Procurans odium. 

Conductus texts were non-liturgical, rhymed, and constituted part of the corpus of 
medieval rithmi or accentual poetry. Their regular poetic structures give rise to regular 
phrase length, and their stanzaic structure is reflected directly in the musical setting in 
that the music for the first stanza is usually repeated for subsequent ones. 

The subject matter for conducti varies widely, and has little relationship with the 
number of voice parts or the musical style of the composition. Mundus vergens and Deus 
misertus play off Old and New Testament imagery. In the case of Vetus abit littera, 
Christ's nativity is characterized by the replacement of the Old Law with the New 
Gospel with a passing allusion to Isaiah XL:4. In Deus misertus, which deals with sin 



47 



and the cleansing of sin, the third stanza the poet alludes to the story of Elisha's failure 
to raise the dead boy when his servant, Gehazi, acted, and to how the boy was only 
restored when Elisha himself lay across the boys body. Mundus vergens, however, is topi- 
cal; the poem, of which some stanzas may be missing, seems to refer to a period when 
France was experiencing a time of trouble after a period of peace, although the final line 
of the third stanza — which continues a maritime metaphor — suggests that she does not 
lack a rudder. Commentators have suggested a variety of occasions to which this text 
might refer: Philip Augustus' disagreements with Richard I after 1189, the Norman 
wars, the Battle of Bouvines, and so on. 

— Mark Everist 

Machaut was born around 1300 and was probably educated at the school of Reims. 
He later moved on to Paris, where he worked in the service of the King. He returned to 
Reims as a canon and died there in 1377. He also supervised the systematic copying of 
his compositions, which makes the attribution of his works much easier than for almost 
any other composer of this period. 

Machaut s motets can be, by turns, beguiling, strange, quirky, but always delightful to 
listen to. They do, however present the listener with a considerable challenge in that at 
any one time there are three or four texts, in Latin and sometimes French, being sung 
simultaneously. The motets are constructed on the foundation of the tenor part. This is 
usually a fragment of plainsong but sometimes a popular song which is repeated, some- 
times with note values halved, and above which the other voices sing much more com- 
plex music to different texts, sometimes sacred, sometimes secular. 

— Gordon Jones 

The Hilliard Ensemble is as well known for performing contemporary works by 
Arvo Part or Michael Finnissy or Stephen Hartke as for its highly acclaimed perform- 
ances and recordings of the music of Perotin, Palestrina, and other composers of the 

Medieval and Renaissance periods. Stephen Hartke (b.1952), 
although perhaps best known for his orchestral works (includ- 
ing his Symphony No. 3, commissioned by the New York 
Philharmonic), is familiar with the Hilliard's world: he began 
his public musical life as a boy chorister and has himself been 
a performer in a Renaissance-music group. Hartke was intro- 
duced to the Hilliard Ensemble by violinist Michelle Makar- 
ski after she had served as an envoy delivering the idea for 
Tituli to the group's attention. 

Stephen Hartke 's musical influences encompass not only 
the current modes of contemporary concert music and the 
music of the Renaissance, but also rock music and folk music from around the world. 
His Violin Concerto, Auld Swaara (written for Michelle Makarski), quotes American 
and Shetland Islands folk songs and in its solo part draws on folk-fiddle playing styles. 
His Clarinet Concerto (written for Richard Stoltzman) touches on the blues of the 
Mississippi Delta. Recognizable stylistic cues aside, Hartke s music is frequently charac- 
terized by a strong rhythmic pulse and imaginative, even illustrative, use of instruments. 
The pitch language is usually clearly tonal-centered (in the late-modern sense of that 
phrase). 

The present piece, Tituli, exists in a musical world indistinctly evocative of the an- 
cient past. Any direct reference, though, to Renaissance music, or even to some music- 
dream of pre-Imperial Rome, is absorbed into Hartke 's compositional voice. In the first 




48 



movement, for example, there are references in the violin to the typical Renaissance 
cadence, but overall the sparse texture of the piece matches the fragmentation of the 
text. On the other hand, while the marimba would have been virtually unknown in the 
West before the twentieth century, its dark, veiled tone perfectly colors Hartke's unspec- 
ified time-past. Tituli is scored for countertenor, three tenors, baritone, violin, and two 
percussionists (both performing on one 5-octave marimba, three suspended cymbals 
[high, medium high, medium], two wood blocks [piccolo, medium], two small shakers, 
one medium shaker, and two cup bells). The third tenor and the baritone also each hold 
a small bronze cymbal, to be struck with a brass-headed mallet. The composer's descrip- 
tion of the piece follows. 

— Robert Kirzinger 

Robert Kirzinger is Publications Associate of the Boston Symphony Orchestra. 



Titulus — tituli in the plural — is the Latin word for an inscription or a notice. All the 
texts set in this work are inscriptions, either carved in stone or scratched on metal, from 
pre-Imperial Roman times. Thus they are not literary texts but rather represent different 
facets of daily life in ancient Italy in the period between 600 and 100 BCE. The first two 
movements set the two oldest known Latin texts, first the Lapis niger, a fragment of 
sacred law, followed by an offering inscribed on the bottom of a three-legged pot. Both 
these texts are in fact so ancient that they cannot be translated with any accuracy. The 
third and fourth texts are more formal: the Columna rostrata, taken from a triumphal 
monument celebrating the first major Roman victory in the First Punic War, and an 
epitaph from the grave of a small boy named Optatus (meaning "the desired one"). A 
bilingual shop-sign from Palermo in slightly garbled Latin and Greek provides the text 
for the fifth movement: "Inscriptions arranged and engraved here for holy temples by 
public labors through we [sic]." The final two movements involve compilations of many 
quite short texts. "Sortes" is a collection of oracular texts, most of them scratched on 
metal foil or on rods that were used for fortune-telling. The last movement, "Instru- 
menta," sets inscriptions from personal belongings. The first three texts are in Etruscan 
with the remainder in Latin, and each has either the name of the owner or of the per- 
son who presented the object as a gift. 

— Stephen Hartke 

GUEST ARTISTS 

The Hilliard Ensemble 

The Hilliard Ensemble, founded in 1974 and named 
after the British miniaturist painter Nicholas Hilliard, 
is one of the world's finest vocal chamber ensembles. 
The ensemble's busy and varied performing schedule 
amounts to some hundred concerts a year. Its sub- 
stantial following in Europe is augmented by regular 
visits to Japan, the United States, and Canada. The 
group's reputation as an early music ensemble dates 
from the 1980s and its series of highly successful 
records for EMI (many of which are now reissued on Virgin), but from the start the group 
has paid equal attention to new music. Their 1988 recording of Arvo Part's Passio began a 
fruitful relationship with both Part and the Munich-based record company ECM. This con- 
tinued with their recording of Arvo Part's Litany, which was released in August 1996. The 
group has recently commissioned other composers from the Baltic States, including Veljo 
Tormis and Erkki-Sven Tuur, adding to a rich repertoire of new music written for the en- 
semble by Gavin Bryars, Heinz Holliger, John Casken, James MacMillan, Elena Firsova, and 





49 



others. The group's 1994 composition competition produced over one hundred pieces, many 
of which have found their way into Hilliard programs. At its annual summer schools the 
group provides for a composer-in-residence; many of those composers are represented on the 
ECM double album "A Hilliard Songbook."The 1994 crossover bestseller "Officium" was 
the first of the group's collaborations with the Norwegian saxophonist Jan Garbarek, with 
whom they have enjoyed huge success throughout the world. In addition, the Hilliard En- 
semble also commemorated the 500th anniversary of the death of Ockeghem (c.1410-97) 
with special tribute programs and through the launch of their own mail-order record label, 
hilliard LIVE, issues on which include "Perotin and the Ars Antiqua," "For Ockeghem," 
"Antoine Brumel," and "Dufay" Releases on ECM also include music of Lassus, Hartke, 
Machaut, Bach cantatas and motets, and the best-selling Bach album "Morimur" with violin- 
ist Christoph Poppen and soprano Monika Mauch. Performances with major orchestras have 
included Part's Litany with the BBC Symphony Orchestra; the premiere of Unsuk Chin's 
Miroirs des temps with Kent Nagano and the London Philharmonic; the premiere of Quick- 
ening, a commission from James MacMillan, with the BBC Symphonv Orchestra and Sir 
Andrew Davis at the BBC Proms; the first United States performance of that same work, 
with the Philadelphia Orchestra; and, with the New York Philharmonic under Lorin Maazel, 
Stephen Hartke 's Symphony No. 3, which was written for the New York Philharmonic and 
the Hilliard Ensemble. 

Donald Crockett 

I Composer/conductor Donald has received commissions from the Los 
Angeles Chamber Orchestra (composer-in-residence 1991-97), Kronos 
^ j#SN I Quartet, Los Angeles Philharmonic, Stanford String Quartet, Pittsburgh 
I New Music Ensemble, Charlotte Symphony, Music from Angel Fire, and 
t ^L i the California EAR Unit, among others. Current projects include commis- 

n/ ^J sions from the Chamber Music Conference and Composers' Forum of the 

^^ East, the Hilliard Ensemble, and the Los Angeles Chamber Orchestra. 
I^^^B I His music has been widely performed bv ensembles including the Saint 

Paul Chamber Orchestra, Los Angeles Master Chorale, Collage, and the Arditti Quartet. 
Among other honors, he has received the Goddard Lieberson Fellowship from the American 
Academy of Arts and Letters, a commission from the Barlow Endowment, an Artist Fellow- 
ship from the California Arts Council, an Aaron Copland Award and the first Sylvia Gold- 
stein Award from the Copland House, and a Kennedy Center Friedheim Award. His music 
is published by MMB Music, St. Louis, and has been recorded by Albany, CRI, Eclectra, 
Laurel, Orion, and Pro Arte/Fanfare. Active as a conductor of new music, he has presented 
many world, national, and regional premieres with the Los Angeles-based new music ensem- 
ble Xtet, the USC Contemporary Music Ensemble, and as a guest conductor with the Los 
Angeles Chamber Orchestra, Pittsburgh New Music Ensemble, Cleveland Chamber Orches- 
tra, Hilliard Ensemble, the California EAR Unit, and the USC Symphony. He is currently 
Professor of Composition and Director of the Contemporary Music Ensemble at the Uni- 
versity of Southern California Thornton School of Music, and Senior Composer-in-Residence 
with the Chamber Music Conference and Composers' Forum of the East. 



Michelle Makarski 

Violinist Michelle Makarski performs repertoire ranging from early music 
to newly commissioned works. A native of northern Michigan, she received 
her early training from her father and continued her studies with Ara 
Zerounian, Mischa Mischakoff, and Paul Makanowitzky. Ms. Makarski 
was winner of the Alberto Curci Competition in Naples and was awarded 
the Beethoven Sonata Prize at the Carl Flesch Competition in London. 
First-prize winner at the Carnegie Hall International American Music 
Competition, Ms. Makarski appears regularly as concerto soloist, in re- 
cital, and with such ensembles as the Chamber Music Society of Lincoln Center, the Cali- 




50 



fornia Chamber Virtuosi, and Musicians from Marlboro. Her appearance with Keith Jarrett 
on Lincoln Center's "Great Performers" series led to her work with ECM Records, which 
has released "Bridge of Light" (with Jarrett); "Caoine," a collection of works for solo violin; 
and "Elogio per un'ombra," exploring the relationships between Italian and American com- 
posers. Ms. Makarski's interests extend also to improvisation; she appears as a soloist on 
Tomasz Stanko's album "From the Green Hill," which won several international awards, 
including the German Critics Prize as Jazz Album of the Year. She is featured with the 
Hilliard Ensemble on its ECM release of music by Stephen Hartke, whose Violin Concerto, 
which was dedicated to her, she has recorded for New World Records. Listed in BBC Music 
Magazine's "Who's Who in Music" as one of the most important contemporary violinists, 
she has taught master classes in the United States, Germany, and Switzerland. 

Javier Diaz 

Javier Diaz, a native of Cuba, started his musical studies at the Simon 
Bolivar Conservatory in Venezuela, continuing his percussion and compo- 
sition studies at the University of Southern California and the Juilliard 
School. Mr. Diaz is an active percussionist in the area of New York City, 
performing regularly with the American Symphony Orchestra and Broad- 
way productions of Thoroughly Modern Millie and The Lion King. He has 
performed with the Los Angeles Philharmonic, New York Chamber Sym- 
phony, The Hilliard Ensemble, Broadway's Man of La Mancha, the Carne- 
gie Hall Professional Chamber Music Workshops, the Aspen Festival Orchestra, and the 
Metropolitan Opera, among others. Mr. Diaz is also a member of several Afro-Cuban Folk- 
loric Ensembles and Latin Jazz groups in Los Angeles and New York City. As a composer, 
he has had works performed at the Aspen Music Festival, the Juilliard School, and USC. 




Lynn Vartan 

An active performer and educator, percussionist Lynn Vartan has worked 
with Michael Colgrass, Donald Crockett, Vinny Golia, Arthur Jarvinen, 
Ursula Oppens, Joan Tower, Glen Velez, Xtet, and the Grammy Award- 
winning Southwest Chamber Music. She has commissioned and/or per- 
formed new music for percussion by such composers as Donald Crockett, 
Steve Hoey, Veronika Krausas, Erica Muhl, Arthur Jarvinen, and Shaun 
Naidoo. As a soloist, she has been featured on the Los Angeles Philhar- 
monic Green Umbrella Series, the Different Trains Series, and with the 
USC Contemporary and Percussion ensembles. As a recording artist, she has appeared on 
the ECM New Series label in Stephen Hartke's Tituli and will be a featured soloist on the 
upcoming Albany release of music by Erica Muhl. She is currently producing an album of 
Armenian music for marimba. A devoted ensemble musician, she is artistic director and per- 
cussionist for the Los Angeles-based Ensemble Green, and founded the Incendia Percussion 
Group. She received her master's and doctoral degrees with special honors and recognition 
from the University of Southern California. Lynn is endorsed by the Paiste Corporation, 
Remo Inc., Innovative Percussion, and Marimba One. 






51 




-2004, , 

Tanglewood 

Wednesday, August 4, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

ORCHESTRA OF THE AGE OF ENLIGHTENMENT 



C\ 



SEI JI OZAWA HALL 
lOth ANNIVERSARY SEASON 



J. S. BACH 



J.S. BACH 



Orchestral Suite No. 1 in C, BWV 1066 

Ouverture 
Courante 
Gavottes I 6c II 
Forlane 

Minuets I & II 
Bourrees I & II 
Passepieds I & II 

Brandenburg Concerto No. 3 in G, BWV 1048 

[No tempo indication] 

Adagio — 

Allegro 

RACHEL PODGER, RODOLFO RICHTER, 

and LUCY HOWARD, violins 
ANNETTE ISSERLIS, NICHOLAS LOGIE, and 

JAN SCHLAPP, violas 
RICHARD LESTER, RICHARD TUNNICLIFFE, 

and DANIEL YEADON, cellos 
CHI-CHI NWANOKU MBE, double bass 



TELEMANN 



Concerto in B-flat for three oboes and three violins 

Allegro 

Largo 

Allegro 

ANTHONY ROBSON, RICHARD EARLE, 

and CHERRY FORBES, oboes 
RACHEL PODGER, LUCY HOWARD, and 

RODOLFO RICHTER, violins 



INTERMISSION 



52 



J.S. BACH 



Brandenburg Concerto No. 1 in F, BWV 1046 

[No tempo indication] 
Adagio 
Allegro 

Menuetto — Trio I — Menuetto — Polacca — 
Menuetto — Trio II — Menuetto 

RACHEL PODGER, violino piccolo 
ANTHONY ROBSON, RICHARD EARLE, 

and CHERRY FORBES, oboes 
ANDREW CLARK and 

ROGER MONTGOMERY, horns 



J.S. BACH 



Brandenburg Concerto No. 5 in D, BWV 1050 

Allegro 

Affettuoso 

Allegro 

RACHEL PODGER, violin 
LISA BEZNOSIUK, flute 
GARY COOPER, harpsichord 



Steinway and Sons Pianos, selected exclusively at Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert. 

Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 
concert. Flashes, in particular, are distracting to the performers and other audience 
members. Thank you for your cooperation. 



NOTES ON THE PROGRAM 

Each of the four orchestral suites by Johann Sebastian Bach (1685-1750) is a magnifi- 
cent achievement, opening with a majestic, elaborate Ouverture and continuing with a 

succession of highly contrasted shorter movements, mostly of 
dance-like character. Bach himself did not call these works 
"suites." He used the term "ouverture? and the French spelling 
was intentional, as the opening movement was patterned after 
the festive French overtures of Jean-Baptiste Lully (1632- 
1687). 

The Lully ouverture was long, weighty, impressive, and 
usually in three connected parts: (1) a stately Grave section 
characterized by a slow tempo, majestic aura, and much use of 
the so-called "dotted" rhythm (a notational device that results 
in an alternation of long and short note-values); (2) a lively 
Allegro passage with much imitation between voices and a complex polyphonic texture; 
(3) a return of the opening Grave section. Since the ouverture was by far the longest, 
most substantial, and most elaborate movement of the orchestral suites, Bach adopted 




53 



the literary device of synecdoche — letting a part stand for the whole. 

After the ouverture comes the series of dance episodes. The courante is a courtly 
French dance using a subtle combination of both 3/2 and 6/4 meters, resulting in rhyth- 
mic ambiguity. All the movements in this suite except the courante and the forlane are 
"doubles," meaning that two of a kind are presented in a contrasting arrangement with 
the first repeated, resulting in an ABA form. Thus, in this suite, the first gavotte (a 
French peasant dance in duple meter with two quarter-notes as pick-up) has a folklike 
melody and homophonic texture while the second is more tender, has a lighter texture, 
and features contrapuntal delicacies. The forlane is a wild folk dance, once beloved by 
the Venetians, especially at carnival time. The aristocratic minuet I for oboes, bassoon, 
and strings stands in contrast to the quieter minuet II y for strings only. Similarly, the 
animated bourree I in C major is offset by the gentler bourree II in C minor for the solo 
woodwind trio. A pair of passepieds (lively dances in 3/4 meter) conclude the suite. 

Suite No. 1 is scored for two oboes, bassoon, and string ensemble. Bach exploits the 
coloristic effects of light and shade by spotlighting the three woodwind instruments as a 
solo group against the string choir. 






Georg Philipp Telemann (1681-1767) belonged to one of the most extraordinary 
generations of composers in the history of music: Bach, Handel, Vivaldi, Domenico 
Scarlatti, Albinoni, and Rameau were all born just a few years before or after Telemann. 

But Telemann eclipsed them all in the prodigious quantity of 
his output: more than a thousand cantatas alone, plus passions, 
oratorios, masses, operas, sonatas, songs, keyboard works, or- 
chestral suites, and concertos. It is estimated that he wrote 
more than Bach and Handel put together, and his total output 
has still not been thoroughly investigated and catalogued. He 
does not enjoy the popularity Vivaldi does today (though we 
must remember that the Vivaldi craze is a comparatively 
recent phenomenon, and peaked only about a generation ago), 
but his time will surely come. When it does, the world will 
find even more music to explore than by Vivaldi. 
Like Vivaldi, Telemann was constantly on the alert for opportunities to try out new 
instrumental combinations. Hence we find a work like the concerto we hear tonight, 
which combines two individual groups of three members each (three violins and three 
oboes). This gives Telemann almost endless possibilities to allow each trio to operate as 
an equal but separate unit — the tangy sound of the oboes vs. the sweeter-voiced vio- 
lins — as well as to merge the two sonoric groups in varying combinations ranging from 
two to six parts. 




5fi sfc >|i ;-c + 



Sometime during 1718, Johann Sebastian Bach met Christian Ludwig, the Mar- 
grave of Brandenburg, who resided in the Royal Palace in Berlin. The music-loving 
Margrave requested from Bach some works for his court orchestra. In March of 1721, 
nearly three years later, Bach presented him with six "Concerts avec plusieurs Instruments." 

The basic concept embodied in the Brandenburg Concertos is that of alternation, com- 
bination, and contrast of soloists and tutti. This Bach inherited via the concerto grosso 
form from Corelli, Vivaldi, and others, but in Bach's hands, the freedom, variety, and 
multifarious workings-out are new; there is no precedent for virtually any of the instru- 
mental combinations found in these six works, nor for their manner of employment. 

The Brandenburg Concerto No. 3 is the shortest of the six concertos, lacking as it 



54 



does an actual slow movement. Only two chords separate the outer Allegro movements, 
but in accordance with performance practice of the day, surely a cadenza was improvised 
at this point by one or more of the players. There are nine string parts (three violins, 
three violas, and three cellos, all of which can be augmented by multiple players per 
part), plus continuo (harpsichord and a supporting bass instrument). At times, each sec- 
tion plays in opposing units of sound; at other times the orchestra is broken up into 
nine separate soloists; and sometimes all nine parts play together — the possible permu- 
tations are endlessly fascinating. 

With infectious enthusiasm, Edward Downes describes the first movement thus: 
"What a pulse, what a stream of vitality flows through the apparently mechanical figu- 
rations of this opening: This is not only the start of a far-arching phrase; it is also the 
thematic root from which springs the luxuriant growth of the entire movement. From 
time to time, we recognize the entire phrase, smaller portions of it, and very often the 
tiniest rhythmic unit, consisting of only the three-note combination" (two shorts and a 
long). 

The Brandenburg Concerto No. 1 is the longest of the six, is the most elaborate, and 
requires the largest number and variety of instruments, which are grouped into three 
choirs: (1) strings; (2) three oboes and a bassoon; (3) two horns. All the wind parts are 
highly prominent. There is as well an important solo part originally written for a violono 
piccolo (a small violin tuned a third higher than the others and now considered obsolete, 
except in early music ensembles). The differentiation of choirs becomes steadily more 
discernable as the concerto progresses. 

The first movement concentrates on extensive interplay of the various choirs in 
massed sound, and is imbued with vivacious energy. The second movement is a lament, 
rich in poignant dissonances. An intimate dialogue evolves between the solo instru- 
ments, beginning with oboe and violin. After the rollicking third-movement Allegro, 
with its virtuosic violin part full of double-stops and runs, the concerto would normally 
be over. But Bach has added a stately minuet alternating with three Trios, each of which 
offers a different instrumental color scheme: the first is scored for two oboes and bas- 
soon, the second (actually apo/acca) for strings, the third for horns and oboes. 

The first of a series is always a matter of historical interest, but all too often that first 
case is lost in the mists of time. We cannot, for instance, point to the "first" symphony 
ever written, or the "first" motet. Usually these genres evolve over a period of time. But 
in the case of the solo harpsichord concerto, Bach was almost certainly responsible for 
the first such work of this type. This was the Brandenburg Concerto No. 5, written 
about 1721. 

In the Fifth Concerto, the concertino (solo group) consists of harpsichord, flute, and 
violin. Since the ripieno traditionally incorporated a harpsichord to play along for har- 
monic support in the tutti passages, the harpsichord player in Brandenburg No. 5 must 
take on two roles, which means he plays almost continuously throughout the work. Not 
only that, but this musician is the most prominent member of the concertino. As the first 
movement progresses, the harpsichord becomes ever more assertive, and finally breaks 
forth to play totally alone, for 65 measures, a cadenza of astonishing virtuosity. 

The first movement opens with a sturdy, robust principal theme (the ritornello), which 
returns in whole or in part at various points throughout the movement. Various contrast- 
ing ideas of a more flowing and lyrical nature are interspersed with the ritornello, and 
the whole is a model of polyphonic mastery that every listener can follow with delight. 

The central movement is entitled "Affettuoso," and is suitably wistful and sentimen- 
tal in a way that anticipates the "affected" style so cherished by mid-eighteenth-century 
ears. The entire ripieno is silent throughout, meaning that the three members of the con- 



55 



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certino play what essentially amounts to a trio sonata, yet the contrast between solo and 
tutti, which lies at the heart of the concerto concept, is still present in the way Bach 
handles the solo lines and the textural elements. 

The final movement is a fugue, full of witty interplay among the three solo voices 
who set the ball rolling. The single theme is subjected to endless fragmentations and 
permutations, while rhythmic motion never falters. The movement flows ever onwards 
with the theme running its course through a richly varied musical landscape until it 
reaches journey's end at the final cadence. 

— Robert Markow 

Robert Markow provides program notes for the major orchestras of Montreal, Ottawa, Salt 
Lake City, and New Orleans, among others, and for concert venues across North America 
including Lincoln Center and Carnegie Hall. 




GUEST ARTISTS 

Orchestra of the Age of Enlightenment 

In 1986 a group of the finest exponents of 
period instruments in the UK pooled their 
talents and expertise to found their own self- 
governing orchestra, the Orchestra of the 
Age of Enlightenment (OAE).The OAE 
was quickly recognized as exceptional and, 
in 1992, scored a further coup when it per- 
suaded Frans Briiggen and Sir Simon Rat- 
tle, CBE, to put their names to the ensem- 
ble as principal guest conductors. The OAE 
is in its twelfth season as Associate of the 
Royal Festival Hall, and is also Associate Orchestra at Glyndebourne. The OAE has toured 
many countries, including South America and the U.S. in 2002, and Southeast Asia in 
autumn 2003. The orchestra's discography encompasses more than fifty recordings in music 
from Purcell to Verdi. 

The OAE established an education and outreach program in 1994 with the aim of en- 
couraging creativity and active participation in the arts. The 2003-04 season's flagship educa- 
tion project "Role over Beethoven" is inspired by the Beethoven piano concerto cycle at the 
South Bank. The OAE is the only period instrument orchestra to offer an apprenticeship 
scheme, the Jerwood/OAE Experience for Young Players. Substantially dependent on spon- 
sorship for its core activities, the OAE has a particularly successful relationship with Jupiter 
Unit Trust Managers, who sponsored the OAE's Beethoven Symphonies Series in 1999 and 
twelve subsequent concerts in 2000-01. Jupiter Unit Trust Managers have been the orches- 
tra's Principal Sponsor since the 2001-02 season. 

Lisa Beznosiuk 

Born in England of Ukrainian and Irish descent, Lisa Beznosiuk is one 
of the world's leading performers on early flutes. As soloist and orchestral 
principal, she has traveled throughout Europe and in North and South 
America playing a wide range of 18th- and 19th-century repertoire to 
considerable acclaim. Her solo recordings include the complete Handel 
flute sonatas (Hyperion), Vivaldi's Opus 10 concertos (Deutsche Gram- 
mophon), Mozart's flute concertos (Decca), several recordings of Bach's 
Suite in B minor and his Brandenburg Concerto No. 5 (DG, Philips, Vir- 
gin, and Decca), and a new recording (2002) of the complete Bach flute sonatas (Hyperion), 
which has received considerable critical praise. A member of many of the best period instru- 







<*• 



57 




ment orchestras, including the Orchestra of the Age of Enlightenment, English Concert, 
English Baroque Soloists, Academy of Ancient Music, London Classical Players, and New- 
London Consort, Lisa Beznosiuk also features prominently on many discs of orchestral mu- 
sic with conductors including John Eliot Gardiner, Charles Mackerras, Roger Norrington, 
Simon Rattle, Christopher Hogwood, Frans Briiggen, and Trevor Pinnock. Ms. Beznosiuk is 
professor of early flutes at London's Royal Academy and Royal College of Music, the Royal 
Northern College of Music in Manchester, and at C.E.M.P.R. at the University of Birming- 
ham. She holds an international reputation as a teacher and coach, and many of her former 
students are now successful and well-known flautists. She lives in London with her husband, 
cellist/gambist Richard Tunnicliffe, and their daughter Luba. 

Rachel Podger 

Rachel Podger was educated in Germany and in England at the Guildhall 
School of Music and Drama, where she studied with David Takeno and 
Michaela Comberti. From 1997 to 2002 she was leader of The English 
Concert, with which she toured throughout the world, often as concerto 
soloist. This year she begins a guest directorship of the Orchestra of the 
Age of Enlightenment, opening with concerts of Bach's Brandenburg Con- 
certos in the U.S. Ms. Podger also works as a guest director with Arte dei 
Suonatori (Poland), Musica Angelica (U.S.), and Santa Fe Pro Musica. In 
2005 she will join Pavlo Besnoziuk and the Academy of Ancient Music for double concertos 
by Bach and Vivaldi. Ms. Podger's first solo recordings, released on Channel Classics in 1999, 
were of J.S. Bach's sonatas and partitas. These were followed in 2001 by Bach's sonatas for 
violin and harpsichord with Trevor Pinnock. Both recordings were awarded first place by the 
BBC's "Building a Library" program. Her recording of Telemann's Twelve Fantasies for Solo 
Violin won the prestigious Diapason d'Or and was a BBC Music Magazine "top 20" classical 
CD for 2002. Ms. Podger's recording of Vivaldi's twelve violin concertos "La Stravaganza" 
also received the Diapason d'Or and was awarded the 2003 Gramophone Award for Best 
Baroque Instrumental Recording as well as being runner-up for Record of the Year. Future 
recording plans include the complete Mozart sonatas for violin and keyboard with Gary 
Cooper as well as Leclair and Vivaldi violin concertos with Arte dei Suonatori. As a recitalist 
she enjoys a busy career, having given solo concerts in North America, Europe, and Korea. 
Future engagements include concerts in France, Belgium, Austria, Switzerland, England, 
Scotland, and Japan, several of them with Gary Cooper. Ms. Podger is Professor of Baroque 
Violin at the Guildhall School of Music and Drama in London. She also teaches at the 
International Sommer Akademie in Innsbruck, Austria. 

Gary Cooper 

a Gary Cooper studied organ and harpsichord at Chetham's School of 
Music, the John Loosemore Centre, and was an organ scholar at New 
College, Oxford. Between 1992 and 2000 he was a member of the highly 
acclaimed baroque ensemble Sonnerie, performing regularly throughout 
Europe and the United States, and recording frequently on both disc and 
radio. He makes appearances as soloist, director, accompanist, and cham- 
ber musician, and also teaches harpsichord at the Royal Northern College 
of Music. He made his solo Wigmore Hall debut in 2000 performing 
Bach's complete Well-tempered Clavier, subsequently performing the work in Japan and Eu- 
rope. During 2003 he performed the Well-tempered Clavier, Book I, at the Spitalfields Festi- 
val, gave recitals in North America, at the Wigmore Hall, and the Taunton Bach Festival, 
recorded a programme of Scarlatti sonatas for Radio 3 at the York Early Music Festival, gave 
duo concerts with the violinist Andrew Manze, and conducted critically-acclaimed perform- 
ances of Britten's Albert Herring for New Kent Opera. He has performed Bach's Goldberg 
Variations in England and at Amsterdam's Concertgebouw, and he has conducted perform- 
ances of Rameau's Hippolyte e Aricie; Haydn's Creation, and Handel's Messiah, Julius Caesar, 

58 



V 





Tamerlano, Triumph of Time and Truth, and Acis and Galatea. In 2001 he was appointed musi- 
cal director of New Kent Opera. Mr. Cooper's CDs include Mozart's piano quartets with 
Sonnerie and Bach's complete Well-tempered Clavier, both for ASV; the recording of the 
Well-Tempered Clavier, Book I, was a Sunday Times Critic's Choice. His recording of Bach's 
Goldberg. Variations for Linn records is due for release in 2004, coinciding with a concert at 
the Wigmore Hall. Also this year he performs Bach's complete keyboard concertos with the 
Canadian ensemble Arion, records J.C. Bach's complete sonatas on period English keyboards, 
and begins a project with Rachel Podger to record all of Mozart's violin sonatas. Last year, he 
was appointed associate musical director of St. James's Baroque Players in London; he is a 
director of His Majesties Sackbuts &, Cornets; and he was named Best Newcomer in Classi- 
cal Music, 2001 in The Times. 

ORCHESTRA OF THE AGE OF ENLIGHTENMENT 



Violins 

Rachel Podger (director) 

Rodolfo Richter 

Lucy Howard 

Jill Samuel 

Claire Sansom 

Iona Davies 

Susan Carpenter-Jacobs 

Henrietta Wayne 

Violino Piccolo 

Rachel Podger 

Violas 

Jan Schlapp 
Nicholas Logie 
Annette Isserlis 



Cellos 

Richard Lester 
Richard Tunnicliffe 
Daniel Yeadon 

Viole da gamba 

Richard Tunnicliffe 
Daniel Yeadon 

Double Bass 

Chi-chi Nwanoku MBE 

Flute 

Lisa Beznosiuk 

Recorders 

Rachel Beckett 
Anthony Robson 



Oboes 

Anthony Robson 
Richard Earle 
Cherry Forbes 

Taille (Tenor Oboe) 

Cherry Forbes 

Bassoon 

Andrew Watts 

Horns 

Andrew Clark 
Roger Montgomery 

Trumpet 

Robert Farley 

Harpsichord 

Gary Cooper 



ORCHESTRA OF THE AGE OF ENLIGHTENMENT 

Marshall Marcus, Chief Executive 

Charlotte Wadham, Director of Planning 

Katy Shaw, Director of Development and Marketing 

Anna Rowe, Director of Finance 

Philippa Brownsword, Orchestra Manager 

Third Floor, 33 Henrietta Street, Covent Garden, London WC2E 8NA, UK 

Telephone: +44 20 7836 6690 

Fax: +44 20 7836 6692 

E-mail: info@oae.co.uk 

Website: www.oae.co.uk 

UK Registered Charity No. 295329 




59 




Talftewood 

Thursday, August 5, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

ORCHESTRA OF THE AGE OF ENLIGHTENMENT 




SEIJ I OZAWA HALL 
lOth ANNIVERSARY SEASON 



J. S. BACH 
BENDA 



J.S. BACH 



Cantata 174, Ich Hebe den Hochsten von ganzem 
Gemute: Sinfonia 

Flute concerto in E minor 

Allegro con brio 
Adagio, un poco andante 
Presto 

LISA BEZNOSIUK, flute 

Brandenburg Concerto No. 6 in B-flat, BWV 1051 

[No tempo indication] 
Adagio ma non tanto 
Allegro 

JAN SCHLAPP and NICHOLAS LOGIE, violas 
RICHARD TUNNICLIFFE and 

DANIEL YEADON, viole da gamba 
RICHARD LESTER, cello 
CHI-CHI NWANOKU MBE, double bass 



INTERMISSION 



J.S. BACH 



Brandenburg Concerto No. 4 in G, BWV 1049 

Allegro 

Andante 

Presto 

RACHEL PODGER, violin 
RACHEL BECKETT and 
ANTHONY ROBSON, recorders 



In consideration of the performers and those around you, cellular phones, pagers, 

and watch alarms should be switched off during the concert. 
Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 

concert. Flashes, in particular, are distracting to the performers and other audience 

members. Thank you for your cooperation. 



60 



HEINICHEN 



Sonata in F for two horns and strings 

Allegro assai 

Larghetto 

Allegro 

ANDREW CLARK and 
ROGER MONTGOMERY, horns 



J.S. BACH Brandenburg Concerto No. 2 in F, BWV 1047 

[No tempo indication] 

Andante 

Allegro assai 

RACHEL PODGER, violin 
ROBERT FARLEY, trumpet 
RACHEL BECKETT, recorder 
ANTHONY ROBSON, oboe 

Steinway and Sons Pianos, selected exclusively at Tanglewood 

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation 

NOTES ON THE PROGRAM 

Only a moment will suffice for many listeners to identify the source of the Sinfonia to 
the Cantata No. 174 of Johann Sebastian Bach (1685-1750): it is the opening move- 
ment of the Brandenburg Concerto No. 3 in a new guise, here decked out with three 

oboes (the third an oboe da caccia, ancestor of today's English 
horn), two horns, and a full string body with an independent 
role from the nine solo strings of the original (three each of 
violins, violas, and cellos). 

As is well known, Bach and his contemporaries regularly 
recycled their own music. The Brandenburg Concertos date 
from the second decade of the eighteenth century, Cantata 
No. 174 from 1729. In May of 1729, six years after his move 
to Leipzig, Bach added to his duties there by taking over di- 
rection of the Collegium Musicum, an instrumental organiza- 
tion based at the university. Baroque scholar Nicholas Kenyon 
surmises the following scenario: Bach "was preparing music for their summer out-of- 
doors concerts. What might be more natural for him than to turn to his stock of concer- 
tos and to rearrange one, making it suitable for outdoor use by adding wind instruments 
— and for him then to save himself labor by also incorporating it in his cantata for church 
use as well [on Whit Monday 1729, which was June 6]?. . .We can, therefore, perhaps 
take the liberty of imagining this marvelous movement not only prefacing a cantata at 
the Thomaskirche, but also resounding through the open spaces of a Leipzig garden." 








61 



The Benda family, like the Bachs, embraced a long line of musicians. The patriarch 
of the Benda dynasty was Hans Georg (Jan Jifi), born in 1686 (a year after J.S. Bach). 
Five of his six children to survive infancy became musicians, including the oldest, Franz 
(Frantisek). The last of this musical line, the Berlin conductor Hans von Benda, died as 
recently as 1972. 

Franz Benda (born 1709 in Stare Benatky, near Prague, Bohemia; died 1786 in 
Nowawes, near Potsdam, Prussia) was one of the leading musicians of his day. From his 
post as concertmaster in the court orchestra of Frederick II of Prussia ("Frederick the 
Great") and as composer, he exerted considerable influence on the musical life and style 
of the early Classical era. The famous music historian Charles Burney said of him that 
"his style is so truly cantabile that scarce a passage can be found in his compositions 
which it is not in the power of a human voice to sing." 

The concerto we hear tonight was originally composed in D minor around 1760 for 
solo violin and some time later transposed up a tone for the flute. It is in the repertory 
of both instruments today in their respective keys. Jean-Pierre Rampal is credited with 
reviving the flute version in the 1960s. The energetic first movement, in traditional 
sonata-allegro form, features many dramatic leaps and sturdy rhythms. The elegant slow 
movement perfectly illustrates Burney s quote above. A rondo finale with a well-defined 
main theme and numerous interesting episodes rounds out this prime example of mid- 
18th-century musical style from northern Germany. 






Johann David Heinichen (born 1683 in Krossuln, central Germany; died 1729 in 
Dresden) was born two years before Bach and Handel in a little town about equidistant 
from the birthplaces of his two great contemporaries. Much of his musical training was 
undertaken at the Thomasschule in Leipzig with Bach's predecessor there, Johann 
Kuhnau. In 1717, at the invitation of the Saxon Elector Friedrich August, he moved to 
Dresden to become Kapellmeister at one of the most important musical centers in 
Europe. Here he remained for the remainder of his brief life of 46 years (he died of tu- 
berculosis). Heinichen was reasonably prolific by the standards of his age, writing in 
most genres except keyboard music. However, none of his music was published during 
his lifetime, and many of the manuscripts were lost during World War II. The work we 
hear tonight was published only in 1998 by Concerto Editions in Indianapolis, based on 
a badly damaged manuscript in Dresden. 

Writing in The New Grove Dictionary of Music and Musicians, George Buelow 
provides this overall description of Heinichen: "His music is somewhat more galant or 
pre-Classical in character than reminiscent of the contrapuntal complexity associated 
with North German Baroque composers.... Heinichen was particularly interested in 
deriving unusual instrumental colors, and his works are masterful displays of unusual 
instrumental combinations and sonorities." 

With this in mind, we note that the Sonata in F for two horns and strings was one 
of the first works to employ the technique of hand-stopping on the horn for the pur- 
pose of playing notes outside the harmonic series (horns being valveless at the time). 
Also of interest is the fact that the two outer movements of this sonata are variants of 
movements 3 and 5 from another Heinichen work (a concerto, Seibel 235) which calls 
for flutes, recorders, and oboes in addition to horns and strings. But, as one of tonight's 
horn players, Andrew Clark, points out, "it is the middle movement of the sonata, in 
C minor, that demonstrates truly innovative horn writing. Here the horns employ many 
notes outside the harmonic series of F, and outside the use of other composers of the 
period. This is a wonderfully mournful and expressive use of the horns beyond their 



62 



natural tonal center." 

Clark goes on to note that throughout the concerto "the horn writing is often antiph- 
onal, and employs quite a wide range (both horns require a range of over two octaves). 
The parts are exposed in a typical Baroque concerto style to show off the instruments in 
a virtuosic manner." 






Sometime during 1718, Johann Sebastian Bach met Christian Ludwig, the Mar- 
grave of Brandenburg, who resided in the Royal Palace in Berlin. The music-loving 
Margrave requested from Bach some works for his court orchestra. In March of 1721, 
nearly three years later, Bach presented him with six "Concerts avec plusiers Instruments." 

The basic concept embodied in the Brandenburg Concertos is that of alternation, 
combination, and contrast of soloists and tutti. This Bach inherited via the concerto 
grosso form from Corelli, Vivaldi, and others, but in Bach's hands, the freedom, variety, 
and multifarious workings-out are new; there is no precedent for virtually any of the 
instrumental combinations found in these six works, nor for their manner of employ- 
ment. 

The Brandenburg Concerto No. 6 requires only strings but no violins. One would 
expect its tone to be dark, rich, heavy, and somber. Dark and rich, yes; heavy and 
somber, no, for the music breathes uncommon exuberance and vigor. The score calls for 
two violas, two violas da gamba (a larger viola, held between the knees; the instrument 
is now obsolete except in early music ensembles, and its parts are otherwise given to cel- 
los today), two cellos, double bass, and harpsichord. The two violists take on the role of 
principal soloists. 

The opening gesture, which returns three times in changing keys, provides a fine 
example of musical canon — the two violas (or viola sections) chase each other, one start- 
ing a bit later than the other (in this case, just a fraction of a beat), and following with 
the identical melodic line. The central slow movement radiates a mellow glow in its 
soulful duet for violas, accompanied only by the harpsichord. The concluding Allegro 
suggests the sturdy character of a gigue (jig) and provides even more virtuosic play for 
the violas than did the first movement. 

The Brandenburg Concerto No. 4 is the lightest and most graceful of the six Bran- 
denburgs. It features two flutes and a violin in its concertino (solo group), with the violin 
predominating to the point where the work nearly takes on the character of a violin 
concerto. Bach begins by spotlighting the two flutes (soft- toned recorders in Bach's 
day), which present the movement's principal thematic idea; only considerably later does 
the solo violin take the lead. 

Rococo elegance infuses the Andante movement as well. The two flutes rise to the 
fore while the violin assumes a more subordinate role. Yet the three concertino members 
nearly always work closely together as a unit, sometimes as a collective soloist, some- 
times in conjunction with the ripieno (full string ensemble). 

The third movement takes the form of a scintillating fugue, developed from the 
opening material. Contrapuntal skill combines with virtuosic play from the solo violin 
(note particularly the roller-coaster scales and machine gun tremolo effects in the move- 
ment's central portion) to bring the concerto to an exhilarating close. 

Splendor and effervescence burst forth from the very opening phrase of the Bran- 
denburg Concerto No. 2, which features a concertino of four instruments: violin, flute (or 
recorder), oboe, and trumpet. The latter especially is called upon to indulge in some of 
the most virtuosic writing Bach ever wrote for the instrument. Bach, like a good drama- 
tist, holds his biggest star in reserve for a particularly effective entrance: the full ensemble 
and the other soloists are all heard first; only then does the spectacular, brilliant sound 

63 



of the trumpet resound in its highest range. 

The contemplative central movement allows the trumpet to rest while the other 
three soloists wind their way through a poignant melody of gentle pathos. The final 
movement restores the trumpet to its position of primus inter pares. Bach's command of 
contrapuntal skill here is extraordinary, inspiring Edward Downes to compare him to a 
master juggler "exulting in the virtuosity with which he keeps four objects — or rather 
four solo instruments — flying through the air, each in its own astonishing orbit. . .all 
combining in an effortless, harmonious whole." 

— Robert Markow 

Robert Markow provides program notes for the major orchestras of Montreal, Ottawa, Salt 
Lake City, and New Orleans, among others, and for concert venues across North America 
including Lincoln Center and Carnegie Hall. 

To read about the Orchestra of the Age of Enlightenment, see page 57. 



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THIS SUMMER AT TANGLEWOOD 



Wednesday, July 21, at 8:30 

EMERSON STRING QUARTET 

Music of BRITTEN, TOWER, and 
SHOSTAKOVICH 

Friday, July 23, at 6 (Prelude) 

MEMBERS OF THE BSO 
NINA FERRIGNO, harmonium 
LUDOVIC MORLOT, conductor 

Music of GANDOLFI, DVORAK, and DAHL 

Friday,July23,at8:30 

BSO— HANS GRAF, conductor 
CLAUDIO BOHORQUEZ, cello 

ALL-DVORAK PROGRAM 

Othello Overture; Cello Concerto; 
Symphony No. 7 

Saturday, July 24, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Sunday, July 25 

Saturday, July 24, at 8:30 

BSO— PATRICK SUMMERS, conductor 
RENEE FLEMING, soprano 

Arias and songs by HANDEL, MASSENET, 
STRAUSS, PORTER, RODGERS & 
HAMMERSTEIN, VERDI, PUCCINI, and 
CATALANI; orchestral music of MOZART, 
BIZET, WAGNER, RODGERS, and VERDI 

Sunday, July 25, at 2:30 

BSO— MARK ELDER, conductor 
PETER SERKIN, piano 

VAUGHAN WILLIAMS Fantasia on a Theme 

by Thomas Tallis 
STRAVINSKY Concerto for Piano and Winds 
DEBUSSY Prelude to The Afternoon of a Faun 
ELGAR Enigma Variations 

Tuesday, July 27, at 8:30 

RICHARD GOODE, piano 

Music of BEETHOVEN, SCHUBERT, 
JANACEK, and CHOPIN 

Programs and artists subject to change 



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Wednesday, July 28, at 8:30 

THE HILLIARD ENSEMBLE 
MICHELLE MAKARSKI, violin; JAVIER 
DIAZ and LYNN VARTAN, percussion; 
DONALD CROCKETT, conductor 

Music of MACHAUT, PEROTIN, and the 
13th-century Ars Nova, plus HARTKE's 
Tituli (1999) 

Thursday, July 29, at 8 and 
Saturday, July 31, at 2:30 

TANGLEWOOD MUSIC CENTER 
VOCAL FELLOWS AND ORCHESTRA 
STEFAN ASBURY, conductor; DAVID 
KNEUSS, director; JOHN MICHAEL 
DEEGAN and SARAH G. CONLY, design 

BRITTEN A Midsummer Nights Dream 
(fully staged) 

Friday, July 30, at 6 (Prelude) 

MEMBERS OF THE BSO 
RENAUD CAPUQON, violin 
RANDALL HODGKINSON, piano 

Music of SCHNITTKE and DVORAK 

Friday,July30,at8:30 

BSO— EDO DE WAART, conductor 
RICHARD GOODE, piano 
TANGLEWOOD FESTIVAL CHORUS, 
JOHN OLIVER, conductor 

HAYDN Te Deum; Symphony No. 92, Oxford 
MOZART Ave Vepum Corpus; Piano Concerto 
No. 24 in C minor, K.491 

Saturday, July 31, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Sunday, August 1 

Saturday, July 31, at 8:30 

BSO— CHRISTOPH VON DOHNANYI, 

conductor 
RENAUD CAPUQON, violin 

SCHNITTKE (K)ein Sommernachtstraum 
MENDELSSOHN Violin Concerto 
BRAHMS Symphony No. 4 




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Sunday, August 1, at 2:30 

BSO— JOHN WILLIAMS, conductor 
DAWN UPSHAW, soprano 
JAMES SOMMERVILLE, horn 

WILLIAMS Soundings 

COPLAND Eight Poems of Emily Dickinson 
WILLIAMS Horn Concerto 
WILLIAMS "Immigration," "Civil Rights," and 
"Flight" from American Journey 

Sunday, August 1, at 8:30 
Seiji Ozawa Hall 10th Anniversary 
Celebration Gala 

TANGLEWOOD MUSIC CENTER 

ORCHESTRA 
SEIJI OZAWA and JOHN WILLIAMS, 

conductors 
TANGLEWOOD FESTIVAL CHORUS, 

JOHN OLIVER, conductor 
STEPHANIE BLYTHE and 
KYLE FERRILL, vocal soloists 
YUNDI LI, piano 
MAYUMI MIYATA, sho 
BOSTON SYMPHONY CHAMBER 

PLAYERS 

Music of COPLAND, TAKEMITSU, 
BERNSTEIN, LISZT, CHOPIN, 
WAGNER, and VERDI 

Tuesday, August 3, at 8:30 
TANGLEWOOD ON PARADE 

Afternoon events begin at 2pm; 
fireworks to follow the concert 

BOSTON SYMPHONY, BOSTON POPS, 

and TANGLEWOOD MUSIC CENTER 

ORCHESTRAS 
CHRISTOPH VON DOHNANYI, KEITH 

LOCKHART, and JOHN WILLIAMS, 

conductors 

To include music of STRAUSS, BENNETT, 
WILLIAMS, and TCHAIKOVSKY 

Wednesday, August 4, at 8:30 

ORCHESTRA OF THE AGE OF 
ENLIGHTENMENT 

J.S. BACH Brandenburg Concertos 1, 3, and 

5, with additional music of BACH and 
TELEMANN 

Thursday, August 5, at 8:30 

ORCHESTRA OF THE AGE OF 
ENLIGHTENMENT 

J.S. BACH Brandenburg Concertos 2, 4, and 

6, with additional music of BACH, BENDA, 
and HEINICHEN 



Friday, August 6, at 6 (Prelude) 

MEMBERS OF THE BSO 
JOEL MOERSCHEL, cello 

Music of DVORAK 



Friday, August 6, at 8:30 

BSO— CHRISTOPH VON DOHNANYI, 

conductor 
YEFIM BRONFMAN, piano 

SCHUMANN Symphony No. 2 
BRAHMS Piano Concerto No. 2 

Saturday, August 7, at 10:30 a.m. 

Open Rehearsal (Pre- Rehearsal Talk at 9:30) 
BSO program of Sunday, August 8 

Saturday, August 7, at 8:30 

BSO— TAN DUN, conductor 
YO-YO MA, cello 

SILK ROAD ENSEMBLE 

Music from the Silk Road Project and TAN 
DUN's The Map, Concerto for Cello, Video, 
and Orchestra 

Sunday, August 8, at 2:30 

BSO— CHRISTOF PERICK, conductor 
CHRISTIAN ZACHARIAS, piano 

ALL-MOZART PROGRAM 

Wind Serenade in C minor, K.388, Nachtmusik 
Piano Concerto No. 22 in E-flat, K.482 
Symphony No. 41, Jupiter 

Sunday, August 8, at 8:30 and 
Monday, August 9, at 8:30 

JOHN WILLIAMS, musical direction 
DIANNE REEVES and BRIAN STOKES 

MITCHELL, vocalists 
CARL SAUNDERS, trumpet; GARY 

FOSTER, alto saxophone; TOM RANIER, 

piano; STEVE HOUGHTON, percussion; 

CHUCK BERGHOFER, bass 
JAZZ ENSEMBLE 

LERNER & LOEWE (arr. WILLIAMS) 
My Fair Lady (arranged for singers and jazz 
orchestra), plus jazz favorites 

Wednesday, August 11, at 8:30 

JEAN-YVES THIBAUDET, piano 

Music of DEBUSSY, LISZT, VERDI, and 
WAGNER 



2004TANGLEWOOD MUSIC CENTER PERFORMANCE SCHEDULE 

(Unless otherwise noted, all events take place in Florence Gould Auditorium, Seiji Ozawa Hall.) 



Thursday, July 1, 8:30 p.m.* 

Friday,July2,8:30p.m.* 

MARK MORRIS DANCE GROUP and 

TMC FELLOWS 
CRAIG SMITH, conductor 
Choreography by MARK MORRIS to music 

of BACH, BARTOK, and VIVALDI 

Sunday, July 4, 10 a.m. 

Chamber Music Concert 

Monday, July 5, 1 p.m. (CMH) 

Steinway Series (free admission) 

Monday, July 5, 8:30 p.m. 
The Daniel and Shirlee Cohen Freed Concert 
TMC ORCHESTRA 
INGO METZMACHER, conductor 
Music of DALLAPICCOLA, 
SCHOENBERG, and BERLIOZ 

Wednesday, July 7, 7 p.m. 

Opening Exercises (free admission; open to 
the public) 

Saturday, July 10, 6 p.m. J) 

Prelude Concert 

Sunday, July 11, 10 a.m. 

Chamber Music Concert 

Sunday, July 11, 8:30 p.m. (CMH) 

Vocal Recital 

Monday, July 12, 1 p.m. (CMH) 

Steinway Series (free admission) 

Monday, July 12, 8:30 p.m. 

The Phyllis and Lee Coffey Memorial Fund 

Concert 
TMC ORCHESTRA 
KURT MASUR, JOSEPH WOLFE 

(TMC Fellow), and HELENE BOUCHEZ 

(TMC Fellow), conductors 
ANNALENA PERSSON, soprano 
Music of MENDELSSOHN, KODALY, and 

WAGNER 

Saturday, July 17, 6 p.m. J> 

Prelude Concert 

Sunday, July 18, 10 a.m. 

Chamber Music Concert 

Monday, July 19, 1 p.m. (CMH) 

Steinway Series (free admission) 

Monday, July 19, 8:30 p.m. 

The Margaret Lee Crofts Concert 

TMC ORCHESTRA 

RAFAEL FRUHBECK DE BURGOS, 

conductor 
Music of HAYDN and STRAUSS 



Thursday, July 22, 8:30 p.m. 

Vocal Recital 

Saturday, July 24, 6 p.m. «h 
Prelude Concert 

Sunday, July 25, 10 a.m. 

Chamber Music Concert 

Monday, July 26, 1 p.m. (CMH) 

Steinway Series (free admission) 

Tuesday, July 27, 2:30 p.m. (TH)* 

Opera Open Dress Rehearsal — see July 29 & 31 

Thursday, July 29, 10 a.m., 1 p.m., 4 p.m. 

String Quartet Marathon: three 2-hour 
performances 

Thursday, July 29, 8 p.m. (TH)* and 
Saturday, July 31, 2:30 p.m. (TH)* 

TMC VOCAL FELLOWS & ORCHESTRA 
STEFAN ASBURY, conductor 
DAVID KNEUSS, director 
JOHN MICHAEL DEEGAN and 

SARAH G. CONLY, design 
BRITTEN A Midsummer Night's Dream 

Saturday, July 31, 6 p.m. J> 

Prelude Concert 

Sunday, August 1, 10 a.m. (TH) 

Chamber Music Concert 
T'ANG QUARTET 

Sunday, August 1, 8:30 p.m.* 

Ozawa Hall 10th Anniversary Celebration Gala 

TMC ORCHESTRA 

SEIJI OZAWA, JOHN WILLIAMS, and 

JOHN OLIVER, conductors 
STEPHANIE BLYTHE, mezzo-soprano; 

YUNDI LI, piano; MAYUMI MIYATA, sho 
BOSTON SYMPHONY CHAMBER 

PLAYERS 
TANGLEWOOD FESTIVAL CHORUS 
Music of COPLAND, TAKEMITSU, 

BERNSTEIN, LISZT, CHOPIN, 

WAGNER, and VERDI 

Tuesday, August 3, 2 p.m.* 
TANGLEWOOD ON PARADE 

To benefit the Tanglewood Music Center 
Afternoon performances begin at 2 p.m. 
Gala concert at 8:30 p.m. (Shed) 
BOSTON SYMPHONY, BOSTON POPS, 

and TMC ORCHESTRAS 
CHRISTOPH VON DOHNANYI, KEITH 

LOCKHART and JOHN WILLIAMS, 

conductors 
Music of STRAUSS, BENNETT, 

WILLIAMS, and TCHAIKOVSKY 



(CMH) = Chamber Music Hall 
(TH) = Theatre 



J) Admission is free, but restricted to 8:30 p.m. concert ticket holders. 
*Tickets available through the Tanglewood box office 



Saturday, August 7, 6 p.m.. J> 
Prelude Concert 

Sunday, August 8, 10 a.m. 

Chamber Music Concert 

Tuesday, August 10, 8:30 p.m. 

Chamber Music Concert 

Thursday, August 12 — Monday, August 16 
FESTIVAL OF CONTEMPORARY MUSIC 
Robert Spano, director 

Made possible by the generous support of Dr. 
Raymond and Hannah H. Schneider, with addi- 
tional support through grants from The Aaron 
Copland Fund for Music, The Fromm Music 
Foundation, and The Helen F. Whitaker Fund.. 

Guest Soloists: Meridian Arts Ensemble, with 
Helena Bugallo, piano, and Elliott Sharp, 
sound artist; Dawn Upshaw and Lucy 
Shelton, sopranos; Norman Fischer, cello 

Detailed program information available at the 
Main Gate 

Tuesday, August 17, 8:30 p.m. 

Chamber Music Concert 

Thursday, August 19, 1:30 p.m. (TH) 

Chamber Music Concert 

Saturday, August 21, 6 p.m. «h 

Prelude Concert 

Sunday, August 22, 10 a.m. 

Vocal Chamber Music Concert 




Sunday, August 22, 2:30 p.m. (Shed)* 
The Leonard Bernstein Memorial Concert 

Supported by generous endowments established in 
perpetuity by Dr. Raymond and Hannah H. 
Schneider, and Diane H. Lupean. 

TMC ORCHESTRA 

JAMES DePREIST, conductor 

GARRICK OHLSSON, piano 

Music of BEETHOVEN and MAHLER 

Except for concerts requiring a Tanglewood box office 
ticket (indicated by * or J>), tickets for TMC events are 
only available one hour before concert time. 

TMC Orchestra Hall tickets $25 

TMC Orchestra Lawn tickets $10 
Other TMC concerts $10 

TMC recitals, chamber music, and Festival of Con- 
temporary Music concerts: Friends of Tanglewood at 
the $150 level or higher will receive 2 free tickets to 
these performances by presenting their membership 
card at the Box Office one hour before concert time. 
Tickets are $10 for non-members and donors of up 
to $149. TMC Orchestra concerts (July 5, 12, 19; 
August 16): Friends of Tanglewood at the $150 level 
or higher are invited to order a limited number of TMC 
Orchestra tickets on the Advance Ticket Order Form 
at $25 each. 

Beginning June 7, donors of $150 or higher may order 
additional TMC Orchestra tickets, either at the Tan- 
glewood box office or by calling SymphonyCharge at 
(888) 266-1200. Non-members and donors of up to 
$149 may purchase tickets starting at 7:30 p.m. at the 
Bernstein Gate box office on the day of the perform- 
ance at prices noted above. 

Further information about TMC events is available 
at the Tanglewood Main Gate, by calling (413) 637- 
5230, or at www.bso.org. All programs are subject to 
change. 




2004 BOSTON UNIVERSITY TANGLEWOOD INSTITUTE 

Concert Schedule (all events in Seiji Ozawa Hall unless otherwise noted) 

ORCHESTRA PROGRAMS: Saturday, July 17, 2:30 p.m. Federico Cortese conducting music 
of Beethoven and Rachmaninoff; Saturday, July 31, 2:30 p.m. David Hoose conducting music of 
Vaughan Williams (with Young Artists Chorus) and Stravinsky; Saturday, August 14, 2:30 p.m. 
David Hoose conducting music of Bartok and Smetana 

WIND ENSEMBLE PROGRAMS: Sunday, July 18, 7 p.m. Frank Battisti conducting music of 
Harbison (with Young Artists Chorus), Corigliano, Dello Joio, Persichetti, Ives, and Grainger; 
Thursday, July 29, 8 p.m. Frank Battisti conducting music of Strauss, Milhaud, Rands, Massenet, 
Harbison, and Feltman 

VOCAL PROGRAMS: Sunday, July 18, 7 p.m. Frank Battisti conducting music of Harbison 
(with Young Artists Wind Ensemble); Saturday, July 31, 2:30 p.m. David Hoose conducting 
music of Vaughan Williams (with Young Artists Orchestra) 

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6 p.m. unless otherwise 
noted: Tuesday, July 20; Wednesday, July 21; Thursday, July 29; Saturday, August 7, 2:30 p.m. , 
Ozawa Hall, Honors Chamber Music Recital; Tuesday, August 10; Wednesday, August 11; 
Thursday, August 12 

Tickets available one hour before concert time. Admission is $10 for orchestra concerts, 
free for all other BUTI concerts. For more information call (413) 637-1430. 






EDUCATIONAL DIRECTORY 




AAG's rigorous college preparatory 

program includes unique offerings in visual 

and performing arts. 

140 Academy Rd. • Albany, NY 12208 • 518.463.2201 
www.albanyacademyforgirls.org 



Darrow School: 

An extraordinary community 



• Co-ed boarding and day school 
for grades 9-1 2 

• Average class size: 9 students 

• Challenging, hands-on, 
college-preparatory curriculum 

• Attentive, involved faculty 

• Strong college placement record 

Come and see us! 

518-794-6006 

www.darrowschool.org 

Darrow School 




110 Darrow Road, New Lebanon, NY 
70 years of hands-on education in the Berkshires 
See how much your child can learn. 



A leader in girls' education... 

WESTOVER SCHOOL 

Middlebury, CT 




Rigorous College Prep Program for Girls 
Boarding and Day, Grades 9-12 

Collaborative Programs With: 

The Manhattan School of Music and Juilliard 

The School of Dance Connecticut 

Rensselaer Polytechnic Institute 

Seven Angels Theatre 



For more information, please contact: 

Office of Admission 

P.O. Box 847 Middlebury, CT 06762 

Phone: (203)758-2423 

website: www.westoverschool.org 



THE KOUSSEVITZKY SOCIETY 

The Koussevitzky Society recognizes gifts made since September 1, 2003, to 
the following funds: Tanglewood Annual Fund, Tanglewood Business Fund, 
Tanglewood Music Center Annual Fund, and Tanglewood restricted annual 
gifts. The Boston Symphony Orchestra is grateful to the following individu- 
als, foundations, and businesses for their annual support of $2,500 or more 
during the 2003-2004 season. For further information, please contact the 
Friends Office at (413) 637-5261. 



Anonymous (1) 
Country Curtains 



APPASSIONATO $100,000 and up 

George and Roberta Berry 

VIRTUOSO $50,000 to $99,999 

Dr. Carol Reich and 
Mr. Joseph Reich 



Linda J.L. Becker 
Gregory Bulger 



Anonymous (1) 

Susan L. Baker and Michael Lynch 

Canyon Ranch in the Berkshires 

Mr. and Mrs. Joseph L. Cohen 

Ginger and George Elvin 

Mr. and Mrs. Daniel Freed 



ENCORE $25,000 to $49,999 

A Friend of the Tanglewood 

Music Center 
Dorothy and Charles Jenkins 

MAESTRO $15,000 to $24,999 

The Frelinghuysen Foundation 
Mr. and Mrs. Michael L. Gordon 
James A. Macdonald Foundation 
Stephen B. Kay and Lisbeth Tarlow 
Mrs. August R. Meyer 
Mrs. Evelyn Nef 



Mr. and Mrs. Edward H. Linde 
Stephen and Dorothy Weber 



Mrs. K. Fred Netter 

Annette and Vincent O'Reilly 

The Red Lion Inn 

Mrs. Anson P. Stokes 

Mr. and Mrs. Wilmer J. Thomas, Jr. 

Loet and Edith Velmans 



BENEFACTORS $10,000 to $14,999 



Anonymous (1) 

Banknorth 

Berkshire Bank 

Blantyre 

Jan Brett and Joseph Hearne 

Catherine and Paul Buttenwieser 



Anonymous (3) 

Mr. and Mrs. William F. Allen, Jr. 
Robert Baum and Elana Carroll 
The Berkshire Capital Investors 
Ann and Alan H. Bernstein 
Mr. and Mrs. Lee N. Blatt 
Judy and Simeon Brinberg 
Ann Fitzpatrick Brown 
James and Tina Collias 
Ranny Cooper and David Smith 
Mr. and Mrs. Herbert J. Coyne 
Crane & Company, Inc. 



Mr. John F. Cogan, Jr. and 

Ms. Mary L. Cornille 
The Fassino Foundation, Inc. 
Hon. and Mrs. John H. Fitzpatrick 
Nancy J. Fitzpatrick and 

Lincoln Russell 
The Hon. Peter H.B. Frelinghuysen 

SPONSORS $5,000 to $9,999 

Mr. and Mrs. William Cruger 

Mr. and Mrs. Clive S. Cummis 

Ms. Marie V. Feder 

Mr. and Mrs. Dale E. Fowler 

Mr. Michael Fried 

Mr. and Mrs. Belvin Friedson 

Mr. Louis R. Gary 

Mr. and Mrs. J. Arthur Goldberg 

Roberta and Macey Goldman 

Mr. and Mrs. Robert A. Goodman 

John and Chara Haas 

Dr. Lynne B. Harrison 



Mr. and Mrs. Robert I. Kleinberg 
Mr. and Mrs. Robert J. Lepofsky 
Dr. Raymond and 

Hannah H. Schneider 
Evelyn and Ronald Shapiro 
The Studley Press, Inc. 



Mr. and Mrs. Francis W Hatch, Jr. 
Mr. and Mrs. Ira Haupt II 
Ms. Rhoda Herrick 
Mr. and Mrs. Stuart Hirshfield 
Mr. and Mrs. Lawrence S. Horn 
Dr. and Mrs. Allen Hyman 
Inland Management Corporation 
Mr. and Mrs. Everett Jassy 
Mr. and Mrs. Stephen J. Jerome 
Mr. and Mrs. Michael P. Kahn 
Mr. and Mrs. Louis Kaitz 
Mrs. Leonard S. Kandell 




Continued on next page 




SPONSORS $5,000 to $9,999 (continued) 



Natalie and Murray S. Katz 

Msgr. Leo A. Kelty 

Mr. and Mrs. Michael Kittredge 

Koppers Chocolate 

Mr. and Mrs. Rudolf M. Kroc 

Liz and George Krupp 

Roger and Myrna Landay 

Legacy Banks 

Mrs. Vincent J. Lesunaitis 

Buddy and Nannette Lewis 

Mr. and Mrs. Edwin N. London 

Jay and Shirley Marks 

Mr. and Mrs. Thomas T. McCain 

Cynthia and Randolph Nelson 



Anonymous (8) 

Mr. William F. Achtmeyer 

Mrs. Janet Adams and 

Mr. James Oberschmidt 
Mr. and Mrs. Alan Ades 
Drs. Paula Algranati and 

Barry Izenstein 
Mr. and Mrs. Ronald Altman 
Harlan and Lois Anderson 
Arthur Appelstein and 

Lorraine Becker 
Apple Tree Inn and Restaurant 
Gideon Argov and Alexandra Fuchs 
The Barrington Foundation, Inc. 
Mr. John A. Barry, Jr. 
Ms. Lucille M. Batal 
Helene and Ady Berger 
Jerome and Henrietta Berko 
Berkshire Life Insurance Company 

of America 
Mr. and Mrs. Allen J. Bernstein 
Ms. Joyce S. Bernstein and 

Mr. Lawrence M. Rosenthal 
Hildi and Walter Black 
Ann and Neal Blackmarr 
Eleanor and Ed Bloom 
Birgit and Charles Blyth 
Mr. and Mrs. Nicholas Boraski 
Mark G. and Linda Borden 
Marlene and Dr. Stuart H. Brager 
Jane and Jay Braus 
Broadway Manufacturing Supply 
Mr. and Mrs. Richard Brown 
Samuel B. and Deborah D. Bruskin 
Cain, Hibbard, Myers & Cook 
Phyllis H. Carey 
Mary Carswell 
Iris and Mel Chasen 
Barbara Cohen-Hobbs 
Mr. and Mrs. Stewart M. Colton 



May and Daniel Pierce 

Claudio and Penny Pincus 

Mr. and Mrs. Abe Pollin 

Mr. and Mrs. Millard H. Pryor, Jr. 

Lila and Gerald Rauch 

The Charles L. Read Foundation 

Mr. and Mrs. Robert E. Remis 

Barbara and Michael Rosenbaum 

Mr. Joseph D. Roxe 

David and Sue Rudd 

Mr. and Mrs. Alan Sagner 

Mr. and Mrs. Ira Sarinsky 

Mr. and Mrs. Dan Schusterman 

Arlene and Donald Shapiro 

MEMBERS $2,500 to $4,999 

Linda Benedict Colvin 

Cornell Inn 

Mr. and Dr. Trayton Davis 

Dr. and Mrs. Harold L. Deutsch 

Mr. and Mrs. Jeff Diamond 

Channing and Ursula Dichter 

Chester and Joy Douglass 

Dresser-Hull Company 

Ms. Judith R. Drucker 

Terry and Mel Drucker 

John and Alix Dunn 

Mr. and Mrs. Leonard Edelson 

Mr. and Mrs. Monroe B. England 

Eitan and Malka Evan 

Roz and Bob Feldman 

Mr. and Mrs. John C. Fontaine 

Mr. and Mrs. David Forer 

Mr. and Mrs. Herb Franklin 

I. Robert and Aviva Freelander 

Carolyn and Roger Friedlander 

Myra and Raymond Friedman 

Ralph and Audrey Friedner 

Mr. and Mrs. Robert L. Gable 

Jill and Harold Gaffin 

Mr. and Mrs. Arthur J. Gaines 

Agostino Galluzzo and Susan Hoag 

Mr. and Mrs. Gerald N. Gaston 

Dr. and Mrs. Paul H. Gendler 

Mr. and Mrs. Melvin Y. Gershman 

Dr. Donald and Phoebe Giddon 

Mr. and Mrs. Stephen A. Gilbert 

Cora and Ted Ginsberg 

David H. Glaser and 

Deborah F. Stone 
Sy and Jane Glaser 
Dr. Morton Gluck 
Mr. and Mrs. Seymour L. Goldman 
Dr. and Mrs. Morris Goldsmith 
Mrs. Haskell R. Gordon 
Corinne and Jerry Gorelick 



Hannah and Walter Shmerler 
Mr. Peter Spiegelman and 

Ms. Alice Wang 
Margery and Lewis Steinberg 
Marjorie and Sherwood Sumner 
Mr. and Mrs. George A. Suter, Jr. 
Mr. Aso Tavitian 
Diana Osgood Tottenham 
Ms. June Ugelow 
Mrs. Charles H. Watts II 
Karen and Jerry Waxberg 
Mrs. John Hazen White 
Mr. and Mrs. Ira Yohalem 



Goshen Wine &c Spirits, Inc. 
Mr. and Mrs. Richard Grausman 
Mr. Harold Grinspoon and 

Ms. Diane Troderman 
Ms. Bobbie Hallig 
Joseph K. and Mary Jane Handler 
Felda and Dena Hardymon 
William Harris and 

Jeananne Hauswald 
Mr. Gardner C. Hendrie and 

Ms. Karen J. Johansen 
Mrs. Paul J. Henegan 
Mr. and Mrs. Peter Herbst 
Mr. and Mrs. Murray Hershman 
Mr. and Mrs. Robert I. Hiller 
Dr. and Mrs. Ronald Hinds 
Mr. Arnold J. and 

Helen G. Hoffman 
Mr. and Mrs. Charles Hoffman 
Dr. Joan O. Hoffman and 

Mr. Syd Silverman 
Dr. and Mrs. Edwin H. Hopton 
Mrs. Ruth W Houghton 
Housatonic Curtain Company 
Mr. and Mrs. William R. 

Housholder 
Stephen and Michele Jackman 
Mr. and Mrs. Edwin A. Jaffe 
Mr. and Mrs. Werner Janssen, Jr. 
Mr. and Mrs. Daniel R. Johnson 
Ms. Lauren Joy and 

Ms. Elyse Etling 
Nedra Kalish 
Adrienne and Alan Kane 
Mr. and Mrs. Arnold Y. Kapiloff 
Leonard Kaplan and 

Marcia Simon Kaplan 
Martin and Wendy Kaplan 
Mr. and Mrs. Wilson R. Kaplen 
Mr. and Mrs. Howard Kaufman 



Mr. and Mrs. Bruce Kelly 

Mr. and Mrs. Carleton F. Kilmer 

Deko and Harold Klebanoff 

Dr. and Mrs. Lester Klein 

Dr. and Mrs. David I. Kosowsky 

Janet and Earl Kramer 

Mr. and Mrs. Ely Krellenstein 

Norma and Irving Kronenberg 

Mr. and Mrs. Richard Kronenberg 

Naomi Kruvant 

Norma and Sol D. Kugler 

Cary and Beth Lakenbach 

Mildred Loria Langsam 

William and Marilyn Larkin 

Mr. and Mrs. William Lehman 

Ms. Lois Lerner 

Mr. Arthur J. Levey and 

Ms. Rocio Gell 
Marjorie T. Lieberman 
Mr. and Mrs. Murray Liebowitz 
Geri and Roy Liemer 
Mr. and Mrs. A. Michael Lipper 
Mr. and Mrs. Roger S. Loeb 
Mr. and Mrs. Walter F. Loeb 
Gerry and Sheri Lublin 
Mr. and Mrs. Bernard Ludwig 
Diane H. Lupean 
Gloria and Leonard Luria 
Mr. and Mrs. Edward Lustbader 
I. Kenneth and Barbara Mahler 
Mr. and Mrs. Darryl Mallah 
Rev. Cabell B. Marbury 
Peg and Bob Marcus 
Suzanne and Mort Marvin 
Mr. Daniel Mathieu and Tom Potter 
Maxymillian Technologies, Inc. 
Dr. Robert and Jane B. Mayer 
Carol and Thomas McCann 
Phyllis and Irv Mendelson 
The Messinger Family 
Mr. and Mrs. Rollin W. Mettler, Jr. 
Vera and Stanley T Miller 
Mr. and Mrs. Michael A. Monts 
Mr. and Mrs. Joseph L. Nathan 
Jerry and Mary Nelson 
Linda and Stuart Nelson 
Bobbie and Arthur Newman 
Mr. Richard Novik 
Mr. Edward G. and 

Mrs. Sandra Novotny 
Mr. and Mrs. Chet Opalka 
Dr. and Mrs. Martin S. Oppenheim 
Mr. and Mrs. Michael Orlove 
Dr. and Mrs. Simon Parisier 



Parnassus Foundation, courtesy 

of Jane and Raphael Bernstein 
Mr. Lawrence Phillips 
Drs. Eduardo and Lina Plantilla 
Plastics Technology Laboratories, 

Inc. 
Dr. and Mrs. Francis Powers, Jr. 
Mr. and Mrs. Bruno Quinson 
Mr. and Mrs. Mickey Rabina 
Charles and Diana Redfern 
Mr. and Mrs. Nathan Reiber 
Mr. John H. Rice and 

Ms. Janet Pinkham 
Mr. Stanley Riemer 
Mary and Lee Rivollier 
Mr. and Mrs. Bernard L. Roberts 
Mr. and Mrs. Stanley Ross 
Mr. and Mrs. Harvey Rothenberg 
Mr. and Mrs. Jean J. Rousseau 
Mrs. George R. Rowland 
Suzanne and Burton Rubin 
Mr. and Mrs. Milton B. Rubin 
Carole and Edward I. Rudman 
Mr. Bruce Sagan and 

Ms.BetteCerfHill 
Mr. and Mrs. Michael Salke 
Malcolm and BJ Salter 
Samuel and Susan Samelson 
Mr. Robert M. Sanders 
Satinwood at Scarnagh, LLC 
Dr. and Mrs. Wynn A. Sayman 
Mr. Gary S. Schieneman and 

Ms. Susan B. Fisher 
Marcia and Albert Schmier 
Mr. and Mrs. Ernest Schnesel 
Lois and Alan Schottenstein 
Carrie and David Schulman 
Mr. and Mrs. Wallace L. Schwartz 
Carol and Marvin Schwartzbard 
Betsey and Mark Selkowitz 
Carol and Richard Seltzer 
Mr. and Mrs. Daniel Shapiro 
Mr. and Mrs. Howard and 

Natalie Shawn 
Sheffield Plastics, Inc. 
Jackie Sheinberg and 

Jay Morganstern 
The Richard Shields Family 
Hon. George P. Shultz 
Robert and Roberta Silman 
Richard B. Silverman 
Marion and Leonard Simon 
Mr. and Mrs. Robert L. Singleton 
Mr. and Mrs. Arthur M. Siskind 



Maggie and John Skenyon 
Mrs. William F. Sondericker 
Harvey and Gabriella Sperry 
Mr. and Mrs. Jerry Spiegel 
Dr. and Mrs. Michael Sporn 
Mr. and Mrs. Charles A. Stakely 
Mr. and Mrs. Lewis Stein 
Ms. Alice Stephens and 

Mr. Kenneth Abrahami 
Mr. and Mrs. Daniel S. Sterling 
Mr. and Mrs. Henry S. Stone 
Stonover Farm Bed and Breakfast 
Mrs. Pat Strawgate 
Mr. and Mrs. Charles Stuzin 
Mr. and Mrs. Michael Suisman 
Mr. Wayne Sunday 
Mr. and Mrs. I. David Swawite 
Talbots Charitable Foundation 
Mr. and Mrs. Richard Taylor 
Mr. and Mrs. Jack Teich 
Mr. and Mrs. John L. Thorndike 
Mr. Bruce Tierney 
The Tilles Family 
Mr. and Mrs. Albert J. Togut 
Myra and Michael Tweedy 
Mr. and Mrs. Howard J. Tytel 
Mr. Laughran S. Vaber 
Mr. and Mrs. Charles Vail 
Viking Fuel Oil Company 
Walden Printing Co., Inc. 
Mr. and Mrs. William G. Walker 
Mr. and Mrs. Harvey Waller 
Mr. and Mrs. Edwin A. Weiller III 
Mr. and Mrs. Robert A. Weinerman 
Mr. and Mrs. Barry Weiss 
Dr. and Mrs. Jerry Weiss 
Mr. and Mrs. Milton Weiss 
Mr. and Mrs. Robert A. Wells 
Mr. and Mrs. Frederic P. Werner 
Wheatleigh Hotel & Restaurant 
Ms. Carol Andrea Whitcomb 
Carole White 
Peter D. Whitehead 
Mr. and Mrs. Richard E. Willett 
Mr. Robert G. Wilmers 
Mr. Jan Winkler and 

Ms. Hermine Dresner 
Mr. and Mrs. Robert C. Winters 
Bob and Phyllis Yawitt 
Mr. and Mrs. Eric K. Zeise 
Simon H. and Esther Zimmerman 
Richard M. Ziter, M.D. 
Mr. Lyonel E. Zunz 




Names listed as of June 3, 2004 



Judy Drucker's 



c pri£»^ T A s - s -^Jl, N 



A not-for-profit organization 
Premier Presenters of the World's Greatest Music & Dance 

Chaim Katzman Board chair 

Judy DrUCker, President 



We Conduct Some Serious 
Business in South Florida... 





Keith Lockhart 




Yuri Simonov 



Sure, the sun shines year round in Miami and Fort 
Lauderdale, and any occasion is a good occasion to visit, 
but Judy Drucker's Concert Association assures that 
world-renown artists are forecast for the 2004-2005 
season. Featuring the greatest conductors eliciting glori- 
ous music from the most highly-acclaimed orchestras 
and soloists in the world. These artists will conduct some 
serious business: ensuring that South Florida is among 
the capitals of the classical music world. Featuring 
orchestras including the Boston Pops, Orchestre National 
de France, Kirov Orchestra of the Mariinsky Theatre, 
Dresden Staatskapelle, Pittsburgh Symphony, Minnesota 
Orchestra and others at the Jackie Gleason Theater in 
Miami Beach and the Broward Center for the Performing 
Arts in Fort Lauderdale... 

Call for a free brochure or to secure your seats to hear 
the greatest orchestras and performers set among the 
backdrop of two of the most beautiful cities in the world. 

Toll-free 1-877-433-3200, ext. 301. 
www.concertfla.org 






Claire's 




MIAMI BEACH 







cultural. 

BREVARD Art/ 



council 

3 «Vb»oel«o* 



jufydrucker 




Valery Gergiev 

>aea 1 




Raphael Fruhbeck de Burgos 



These concerts are sponsored by the Concert Association of Florida, Inc., with the support of the Florida Dept. of State, Division of Cultural Affairs and Hie Florida Arts Council; the Broward County Board of County 

Commissioners, the Broward Cultural Affairs Council and the Miami-Dade County Board of County Commissioners, the City of Miami Beach and the Miami Beach Cultural Arts Council A copy of the registration and 

financial information may be obtained from the division of Consumer Services by calling toll-free 1-800-435-7325 within the state. Registration does not imply endorsement, approval or recommendation by the 

state. All performances, artists, dates, venues and programs are subject to change. No refunds or exchanges. Latecomers will not be seated until the first suitable break in the performance. 



BUSINESS FRIENDS OFTANGLEWOOD 

The BSO gratefully acknowledges the following for their generous contributions of 
$500 or more during the 2003-2004 fiscal year. An eighth note symbol (J>) denotes 
support of $1,000-12,499. Names that are capitalized recognize gifts of $2,500 or more. 



BUSINESS FRIENDS TEN 

recognizing gifts of $10,000 
or more 

Banknorth 

Berkshire Bank 

Blantyre 

Canyon Ranch in the Berkshires 

County Curtains 

The Red Lion Inn 



Banking 



Accounting/Tax Preparation 

Adelson 8c Company P.C. 

Feldman, Holtzman, Lupo 8c 
Zerbo, CPAs 

Mark Friedman, CPA 
JWarren H. Hagler Associates 

Michael G. Kurcias, CPA 

Alan S. Levine, PC, CPA 
J'Riley, Haddad, Lombardi 6c 
Clairmont 

Sax, Macy, Fromm 6c Co., P.C. 

Advertising/Communications/ 
Public Relations 

Ed Bride Associates 
Heller Communications 
i^JDC Communications 
Teletime Media Inc. 

Antiques/Art Galleries 

J>Elise Abrams Antiques 
jGoffman's Antiques Markets 
^Country Dining Room Antiques 

Cupboards 6c Roses 

DeVries Fine Art 

Fellerman 6c Raabe Glassworks 

Green River Gallery 

Henry B. Holt 

Susan Silver Antiques 

Stone's Throw Antiques 

Watkins Gallery 

R.W. Wise, Goldsmiths, Inc. 

Architects/Landscape 

Denig Design Associates, Inc. 
edm 
architecture • engineering • 
management 
j\Four Architecture Inc. 
Hill Engineers, Architects, 
Planners, Inc. 
^Edward Rowse Architects 
Pamela Sandler AIA, Architect 

Automotive 

^Norman Baker Auto Sales, Inc. 
J^Biener Nissan- Audi 

Pete's Motor Group 

S8cW Sales Co. Inc. 



Adams Cooperative Bank 
BANKNORTH 
BERKSHIRE BANK 
Greylock Federal Credit Union 
Lee Bank 
LEGACY BANKS 
Lenox National Bank 
jThe Pittsfield Cooperative Bank 
South Adams Savings Bank 

Beverage/Food Sales/Consumer 
Goods/Distribution 

/Crescent Creamery 
GOSHEN WINE 6c SPIRITS, 
INC. 
.hGuido's Quality Food 6c Produce, 
Inc. 
High Lawn Farm 
KOPPERS CHOCOLATE 
Moore Fine Food, Inc. 

Consulting: 
Management/Financial 

American Investment Services 

BERKSHIRE BANK 

Saul Cohen 6c Associates 

ComPiere ERP/CRM 
JGeneral Systems Co., Inc. 
^Leading Edge Concepts 

Locklin Management Services 
jMarlebar Group 
J^Pilson Communications, Inc. 
«PRL Associates 

South Adams Savings Bank 

Contracting/Building Supplies 

Alarms of Berkshire County 
Lou Boxer Builder, Inc. 
Cardan Construction, Inc. 
Dettinger Lumber Co., Inc. 
DRESSER-HULL COMPANY 
Great River Construction 

Company, Inc. 
j>Petricca Construction Co. 
S 6c A Supply, Inc. 
David J. Tierney Jr., Inc. 
PETER D. WHITEHEAD, 

BUILDER 

Education 

Belvoir Terrace-Fine and 
Performing Arts Center 

Berkshire Country Day School 

Berkshire Stuttering Center 
jGamp Greylock 

Robin Kruuse 

Massachusetts College of Liberal 
Arts 



Energy /Utilities 



The Berkshire Gas Company 
ESCO Energy Services Co. 
Massachusetts Electric Company 



J>Ray Murray Inc. 
Pittsfield Generating Company 
VIKING FUEL OIL 
COMPANY, INC. 

Engineering 

edm 
architecture • engineering • 
management 
Foresight Land Services 
jGeneral Systems Co., Inc. 

Environmental Services 

Foresight Land Services 
MAXYMILLIAN 

TECHNOLOGIES, INC. 
Nowick Environmental Associates 

Financial Services 

American Investment Services 
jAbbott Capital Management, 

LLC 

BANKNORTH 

BERKSHIRE CAPITAL 
INVESTORS, INC. 
J>Mr. and Mrs. Monroe Faust 

THE FEDER GROUP 
J^Kaplan Associates L.P 

The Keator Group 

Sagemark Corporation 

MARK SELKOWITZ 
INSURANCE AGENCY, 
LLC 

UBS Financial Services 
jAndrew Collins Vickery 

High Technolgy/Electronics 

New England Dynamark Security 
Center 
J>New Yorker Electronics Co., Inc. 

Insurance 

Bader Insurance Agency, Inc. 
BERKSHIRE LIFE 

INSURANCE COMPANY 

OF AMERICA 
LEGACY BANKS 
McCormick, Smith 6c Curry 
Minkler Insurance Agency, Inc. 
Reynolds, Barnes 6c Hebb 
MARK SELKOWITZ 

INSURANCE AGENCY, 

LLC 
Wheeler 6c Taylor Inc. 

Legal 

jFrank E. Antonucci, Attorney at 
Law 
JOHN A. BARRY, ATTORNEY 

AT LAW 
.hBraverman 6c Associates 
CAIN, HIBBARD, MYERS 6c 
COOK, PC 
J>Certilman, Balin 









& 



X SUMMER READING 



NEW I 



IkPAPERBACK 





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utterly charming." 

— Entertainment Weekly 



"Gloriously eccentric... 
wonderfully intelligent. 

— The Boston Globe 



D AIM IM t K Violent Faith 

OF HEAVEN 

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HAVE YOU READ THEM YET? 



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guides, and much more at www.readinggroupcenter.com 



VINTAGE 



50 



ANCHOR 



Cianflone 8c Cianflone, P.C. 
^Michael J. Considine, Attorney at 
Law 
Deely 8c Deely 
Law Office of Joel S. Greenberg, 

P.C. 
Grinnell, Dubendorf & Smith 
Philip F. Heller 8c Associates, 

Attorneys at-Law 
Jonas and Welsch, P.C. 
Ellen C. Marshall, Esq. 
i^Schragger, Lavine 8c Nagy 
.hLester M. Shulklapper, Esq. 

Lodging/Where to Stay 

A Bed 8c Breakfast in the 
Berkshires 

Applegate Inn 

APPLE TREE INN 8c 
RESTAURANT 

Best Western Black Swan Inn 

Birchwood Inn 

BLANTYRE 

Broken Hill Manor 

Brook Farm Inn 
^Christine's Bed 8c Breakfast Inn 

8c Tea Room 
.hCliffwood Inn 

CORNELL INN 
.hCranwell Resort, Spa, and Golf 
Club 

Devonfield Country Inn 

From Ketchup to Caviar 
jThe Gables Inn 

Gateways Inn 8c Restaurant 

Howard Johnson 

The Inn at Richmond 
JThe Inn at Stockbridge 

Monument Mountain Motel 

One Main B8cB 

The Porches Inn at MASSMoCA 

The Red Lion Inn 
J'Rookwood Inn 

SATINWOOD AT 
SCARNAGH 

Spencertown Country House 

STONOVER FARM BED 8c 
BREAKFAST 

Taggart House 

The Village Inn 
JWalker House 

The Weathervane Inn 

WHEATLEIGH HOTEL 8c 
RESTAURANT 

Whistler's Inn 

Windflower Inn 

The Yankee Home Comfort Inn 

Manufacturing/Industrial 

.hBarry L. Beyer 
BROADWAY MANUFAC- 
TURING SUPPLY 
J>French Textiles 
JThe Kaplan Group 
KOPPERS CHOCOLATE 
Limited Edition Lighting 8c 

Custom Shades 
MeadWestvaco Corporation 
Plastics Technology Laboratories, 

Inc. 
Schweitzer-Mauduit International 
Inc. 



SHEFFIELD PLASTICS, INC., 
A BAYER COMPANY 

J>SpaceNow! Corporation 

Printing/Publishing 

.hBarry L. Beyer 
CRANE 8c COMPANY, INC. 
Pindar Press 

Quality Printing Company, Inc. 
THE STUDLEY PRESS 
WALDEN PRINTING 
COMPANY 

Real Estate 

i'Barrington Associates Realty 
Trust 

Benchmark Real Estate 

Berkshire Homes and Condos 

Berkshire Mortgage Company 
jGohen 8c White Associates 

Copake Realty 

Corashire Realty Inc. 
^Evergreen Buyer Brokers of the 

Berkshires 
J>Franz J. Forster Real Estate 

INLAND MANAGEMENT 
CORP. 

P8cL Realty 

Roberts 8c Associates Realty, Inc. 

Rose Real Estate - Coldwell 
Banker 

Stone House Properties, LLC 

Dennis G. Welch Real Estate 

Wheeler 8c Taylor, Inc. 

Restaurants/Where to Eat 

APPLE TREE INN 8c 

RESTAURANT 
Applegate Inn 
BLANTYRE 
J>Cafe Lucia 
Church Street Cafe 
Firefly 

From Ketchup to Caviar 
Gateways Inn 8c Restaurant 
THE RED LION INN 
The Village Inn 
WHEATLEIGH HOTEL 8c 

RESTAURANT 

Retail/Where to Shop 

Arcadian Shop 

Bare Necessities Fine Lingerie 

COUNTRY CURTAINS 

DRESSER-HULL COMPANY 

Fellerman 8c Raabe Glassworks 

Gatsbys 

HOUSATONIC CURTAIN 

COMPANY 
Kenver, Ltd. 

KOPPERS CHOCOLATE 
Limited Edition Lighting 8c 

Custom Shades 
Pamela Loring Gifts and Interiors 
Nejaime's Wine Cellar 
J>Paul Rich and Sons Home 

Furnishings 
Mary Stuart Collections 
TALBOTS CHARITABLE 

FOUNDATION 
The Don Ward Company 



^Ward's Nursery 8c Garden Center 
Windy Hill Farm Garden 

Center/Nursery 
R.W. Wise, Goldsmiths, Inc. 

Science/Medical 

J>510 Medical Walk-In 

Berkshire Eye Center 

Berkshire Medical Center 

Berkshire Stuttering Center 

Dorella L. Bond, Ph.D. 
jMichael Ciborski, M.D. 
J>Lewis R. Dan, M.D. 

Irving Fish, M.D. 

Dr. Elliot Greenfeld 
«hGTL Inc., Link to Life 
}>Leon Harris, M.D. 

Kimball Farms Lifecare 
Retirement Community 

Carol Kolton, LCSW 

William Knight, M.D. 
J^Long Island Eye Physicians and 
Surgeons 

Northeast Urogynecology 

Donald Wm. Putnoi, M.D. 

The Austen Riggs Center 

Robert K. Rosenthal, M.D. 
j^Royal Health Care Services of 
N.Y. 

Sugar Hill Mansion-A 
Retirement Community 

Services 

J> Abbott's Limousine 8c Livery 
Service 
Adams Laundry and Dry 

Cleaning Company 
Alarms of Berkshire County 
Berkshire Eagle (New England 

Newspapers) 
Boulderwood Design 
^Christine's Bed 8c Breakfast Inn 
8c Tea Room 
Dery Funeral Home 
New England Dynamark Security 

Center 
Richmond Telephone Company 
S 8c K Brokerage 
.PSecurity Self Storage 
Tobi's Limousine 8c Travel 
Service 

Software/Information Systems 

^Berkshire Information Systems 
Inc. 

ComPiere ERP/CRM 

New Yorker Electronics Co., Inc. 
J'Pilson Communications, Inc. 

Tourism/Resorts 

Berkshire Chamber of Commerce 
CANYON RANCH IN THE 
BERKSHIRES 
J'Cranwell Resort, Spa, and Golf 
Club 
Jiminy Peak 
Taggart House 



Names listed as of May 15, 2004 





TANGLEWOOD MUSIC CENTER & 
TANGLEWOOD FESTIVAL ENDOWMENT CONTRIBUTORS 

Tanglewood Music Center Fellows pay no tuition and are offered essentially free room and 
board. Their residency at Tanglewood is underwritten largely through annual and endowed 
Fellowships. The TMC faculty includes many of the world's finest musical artists, some of 
them teaching through the generosity of donors who have endowed artists' positions. The 
Tanglewood Music Center and the Tanglewood Festival gratefully acknowledge the endow- 
ment support of the contributors represented below. For further information please contact 
Judi Cantor, Director of Major and Planned Giving, at (413) 637-5275. 



ENDOWED ARTIST POSITIONS 

Berkshire Master Teacher Chair Fund 

Edward and Lois Bowles Master Teacher Chair Fund 

Richard Burgin Master Teacher Chair Fund 

Charles E. Culpeper Foundation Master Teacher Chair 

Fund 
Eleanor Naylor Dana Visiting Artists Fund 
Vic Firth Master Teacher Chair Fund, endowed by Mr. 

and Mrs. Henry Wheeler 
Barbara LaMont Master Teacher Chair Fund 
Renee Longy Master Teacher Chair Fund, gift of Jane 

and John Goodwin 
Harry L. and Nancy Lurie Marks Tanglewood Artist- 

In-Residence 
Marian Douglas Martin Master Teacher Chair Fund, 

endowed by Marilyn Brachman Hoffman 
Beatrice Sterling Procter Master Teacher Chair Fund 
Sana H. and Hasib J. Sabbagh Master Teacher Chair 

Fund 
Surdna Foundation Master Teacher Chair Fund 
Stephen and Dorothy Weber Artist-In-Residence 

ENDOWED FULL FELLOWSHIPS 

Jane W. Bancroft Fellowship 

Bay Bank/BankBoston Fellowship 

Leonard Bernstein Fellowships 

Edward S. Brackett, Jr. Fellowship 

Frederic and Juliette Brandi Fellowship 

Jan Brett and Joe Hearne Fellowship 

Rosamund Sturgis Brooks Memorial Fellowship 

Tappan Dixey Brooks Memorial Fellowship 

BSAV/Carrie L. Peace Fellowship 

Stanley Chappie Fellowship 

Alfred E. Chase Fellowship 

Clowes Fund Fellowship 

Harold G. Colt, Jr. Memorial Fellowship 

Andre M. Come Memorial Fellowship 

Caroline Grosvenor Congdon Memorial Fellowship 

Margaret Lee Crofts Fellowship 

Charles E. Culpeper Foundation Fellowship 

Darling Family Fellowship 

Omar Del Carlo Fellowship 

Otto Eckstein Family Fellowship 

Friends of Armenian Culture Society Fellowship 

Judy Gardiner Fellowship 

Athena and James Garivaltis Fellowship 

Merwin Geffen, M.D. and Norman Solomon, M.D. 

Fellowship 
Juliet Esselborn Geier Memorial Fellowship 



Armando A. Ghitalla Fellowship 

Fernand Gillet Memorial Fellowship 

Marie Gillet Fellowship 

Haskell and Ina Gordon Fellowship 

Florence Gould Foundation Fellowship 

John and Susanne Grandin Fellowship 

William and Mary Greve Foundation- 
John J. Tommaney Memorial Fellowship 

Luke B. Hancock Foundation Fellowship 

William Randolph Hearst Foundation Fellowship 

C. D. Jackson Fellowship 

Paul Jacobs Memorial Fellowship 

Lola and Edwin Jaffe Fellowship 

Billy Joel Keyboard Fellowship 

Susan Kaplan Fellowship 

Steve and Nan Kay Fellowship 

Robert and Luise Kleinberg Fellowship 

Mr. and Mrs. Allen Z. Kluchman Memorial 
Fellowship 

Dr. John Knowles Fellowship 

Naomi and Philip Kruvant Family Fellowship 

Donald Law Fellowship 

Barbara Lee/Raymond E. Lee Foundation Fellowship 

Bill and Barbara Leith Fellowship 

Edwin and Elaine London Family Fellowship 

Stephanie Morris Marryott & 
Franklin J. Marryott Fellowship 

Robert G. McClellan, Jr. & IBM Matching Grants 
Fellowship 

Merrill Lynch Fellowship 

Messinger Family Fellowship 

Ruth S. Morse Fellowship 

Albert L. and Elizabeth P. Nickerson Fellowship 

Northern California Fellowship 

Seiji Ozawa Fellowship 

Theodore Edson Parker Foundation Fellowship 

Pokross/Fiedler/Wasserman Fellowship 

Lia and William Poorvu Fellowship 

Daphne Brooks Prout Fellowship 

Claire and Millard Pryor Fellowship 

Rapaporte Foundation Fellowship 

Harry and Mildred Remis Fellowship 

Peggy Rockefeller Memorial Fellowship 

Carolyn and George R. Rowland Fellowship 

Saville Ryan/Omar Del Carlo Fellowship 

Wilhelmina C. Sandwen Memorial Fellowship 

Morris A. Schapiro Fellowship 

Edward G Shufro Fund Fellowship 

Starr Foundation Fellowship 






Anna Sternberg and Clara J. Marum Fellowship 

Miriam H. and S. Sidney Stoneman Fellowships 

Surdna Foundation Fellowship 

James and Caroline Taylor Fellowship 

William F. and Juliana W. Thompson Fellowship 

Ushers/Programmers Instrumental Fellowship in honor 

of Bob Rosenblatt 
Ushers/Programmers Vocal Fellowship in honor of 

Harry Stedman 
Wallace-Reader's Digest Fund Fellowship 
Max Winder Memorial Fellowship 
Jerome Zipkin Fellowship 

ENDOWED HALF FELLOWSHIPS 

Mr. and Mrs. David B. Arnold, Jr. Fellowship 

Kathleen Hall Banks Fellowship 

Leo L. Beranek Fellowship 

Felicia Montealegre Bernstein Fellowship 

Sydelle and Lee Blatt Fellowship 

Brookline Youth Concerts Awards Committee 

Fellowship 
Helene R. and Norman L. Cahners Fellowship 
Marion Callanan Memorial Fellowship 
Nat Cole Memorial Fellowship 
Harry and Marion Dubbs Fellowship 
Daniel and Shirlee Cohen Freed Fellowship 
Dr. Marshall N. Fulton Memorial Fellowship 
Gerald Gelbloom Memorial Fellowship 
Arthur and Barbara Kravitz Fellowship 
Bernice and Lizbeth Krupp Fellowship 
Philip and Bernice Krupp Fellowship 
Edward H. and Joyce Linde Fellowship 
Lucy Lowell Fellowship 
Morningstar Family Fellowship 
Stephen and Persis Morris Fellowship 
Hannah and Raymond Schneider Fellowship 
Pearl and Alvin Schottenfeld Fellowship 
Edward G. Shufro Fund Fellowship 
Evelyn and Phil Spitalny Fellowship 
R. Amory Thorndike Fellowship 
Augustus Thorndike Fellowship 
Sherman Walt Memorial Fellowship 

ENDOWED SCHOLARSHIPS 

Maurice Abravanel Scholarship 
Eugene Cook Scholarship 
Dorothy and Montgomery Crane Scholarship 
William E. Crofut Family Scholarship 
Ethel Barber Eno Scholarship 
Richard F. Gold Memorial Scholarship 
Leah Jansizian Memorial Scholarship 
Miriam Ann Kenner Memorial Scholarship 
Andrall and Joanne Pearson Scholarship 
Mary H. Smith Scholarship 
Cynthia L. Spark Scholarship 
Tisch Foundation Scholarship 

ENDOWED FUNDS SUPPORTING THE 
TEACHING AND PERFORMANCE PROGRAMS 

Anonymous (1) 

George W. and Florence N. Adams Concert Fund 

Eunice Alberts and Adelle Alberts Vocal Studies Fund* 

Bernard and Harriet Bernstein Fund 

George & Roberta Berry Fund for Tanglewood 

Peter A. Berton Fund 



Donald C. Bowersock Tanglewood Fund 

Gino B. Cioffi Memorial Prize Fund 

Phyllis and Lee Coffey Memorial Concert Fund 

Aaron Copland Fund for Music 

Margaret Lee Crofts Concert Fund 

Margaret Lee Crofts TMC Fund 

Paul F. and Lori A. Deninger DARTS Scholarship 

Fund 
Alice Willard Dorr Foundation Fund 
Carlotta M. Dreyfus Fund 
Virginia Howard and Richard A. Ehrlich Fund 
Selly A. Eisemann Memorial Fund 
Elise V and Monroe B. England Tanglewood Music 

Center Fund 
Honorable and Mrs. John H. Fitzpatrick Fund 
Daniel and Shirlee Cohen Freed Concert Fund 
Ann and Gordon Getty Fund 
Gordon/Rousmaniere/Roberts Fund 
Grace Cornell Graff Fellowship Fund for Composers 

at the TMC 
Heifetz Fund 

Mickey L. Hooten Memorial Award Fund 
Grace Jackson Entertainment Fund 
Grace B. Jackson Prize Fund 
Paul Jacobs Memorial Commissions Fund 
Louis Krasner Fund for Inspirational Teaching and 

Performance, established by Marilyn Brachman 

Hoffman 
William Kroll Memorial Fund 
Dorothy Lewis Fund 
Kathryn & Edward M. Lupean & Diane Holmes 

Lupean Fund 
Samuel Mayes Memorial Cello Award Fund 
Charles E. Merrill Trust TMC Fund 
Northern California TMC Audition Fund 
Herbert Prashker Fund 
Renee Rapaporte DARTS Scholarship Fund 
Mr. and Mrs. Ernest H. Rebentisch Fund 
Jules C. Reiner Violin Prize Fund 
Elaine and Harvey Rothenberg Fund 
Rothenberg/Carlyle Foundation Fund 
Helena Rubinstein Fund 
Edward I. and Carole Rudman Fund 
Lenore S. and Alan Sagner Fund 
Renee D. Sanft Fellowship Fund for the TMC 
Hannah and Ray Schneider TMCO Concert Fund * 
Maurice Schwartz Prize Fund by Marion E. Dubbs 
Ruth Shapiro Scholarship Fund 
Dorothy Troupin Shimler Fund 
Asher J. Shuffer Fund 
Evian Simcovitz Fund 
Albert Spaulding Fund 
Jason Starr Fund 
Tanglewood Music Center Composition Program 

Fund 
Tanglewood Music Center Opera Fund 
TMC General Scholarship Fund 
Denis and Diana Osgood Tottenham Fund 
The Helen F. Whitaker Fund 
John Williams Fund 
Karl Zeise Memorial Cello Award Fund 



"'Deferred gifts 

Listed as of June 4, 2004 



IS 






CAPITAL AND ENDOWMENT CONTRIBUTORS 

The Boston Symphony Orchestra is committed to providing the highest caliber per- 
formances and education and community outreach programs, and to preserving its 
world-renowned concert facilities. Contributions from donors and income from the 
endowment support 40 percent of the annual budget. The BSO salutes the donors 
listed below who made capital and endowment gifts of $10,000 or more between 
May 1, 2003, and June 3, 2004. For further information, contact Judi Taylor Cantor, 
Director of Major and Planned Giving, at (413) 637-5275. 



$1,000,000 and Up 

Mrs. William H. Congleton 
Kate and Al Merck 

$250,000 -$499,999 

Anonymous (3) 

$100 / 000-$249 / 999 

Anonymous (2) 
Mr. William I. Bernell 
Catherine and Paul Buttenwieser 
Estate of Mrs. Janet M. Halvorson 
Mr. William R. Hearst III 
National Park Service, 

US Dept. of the Interior 

Save Americas Treasures 

$50 / 000-$99 / 999 

Anonymous (1) 
The Behrakis Foundation 
Estate of Clarita Heath Bright 
Estate of Mrs. Pierre de Beaumont 
Mr. and Mrs. Disque Deane 

$25,000-$49,999 

Anonymous (2) 
Mr. and Mrs. James L. Bildner 
Cynthia and Oliver Curme 
Ms. Ann V. Dulye 
Mrs. Harriett M. Eckstein 
Estate of Frances Fahnestock 
Estates of Harold K. Gross and 
Evelyn F. Gross 



Mrs. Mischa Nieland and 
Dr. Michael L. Nieland 
Estate of Elizabeth B. Storer 



The Messinger Family 



Estate of Dr. and Mrs. Nelson Saphir 
Estate of Dorothy Troupin Shimler 
Jeanne H. Wolf, in memory of 
Gottfried Wilnnger 



Ms. Helen Salem Philbrook 
Estate of Mr. Robert W. Stewart 
Mr. and Mrs. Stephen R. Weiner 



Estate of George F. and Elsie Hodder 
The Richard P. and Claire W. Morse 

Foundation 
Estate of David R. Pokross 
Estate of Dr. Charles Reiner 
Estate of Madelaine G. von Weber 
The Cornelius and Muriel Wood 

Charity Fund 

Continued. 






$15,000-$24,999 

Anonymous (2) 

Dr. David M. Aronson 

Mr. and Mrs. Peter A. Brooke 

$10,000-$ 14,999 

Anonymous (1) 

Mrs. Ben Beyea 

Estate of Francis F. Faulkner 

Mrs. Samuel B. Feinberg 

Dr. and Mrs. Orrie M. Friedman 

Highland Capital Partners 

Mr. Wycliffe K. Grousbeck 
Estate of Priscilla M. Holman 
Dr. Edwin F. Lovering 
Mrs. Edward M. Lupean and 

Diane H. Lupean 



Elizabeth Taylor Fessenden Foundation 
FleetBoston Financial Foundation 
Estate of Susan Morse Hilles 



Mr. and Mrs. Joseph C. McNay 

Estate of Marilyn S. Nelson 

Dr. Peter Ofner 

Mr. Donald I. Perry 

Renee Rapaporte 

Estate of Dorothy F. Rowell 

Hinda L. Shuman 

Mr. Orlando N. Tobia 

US Dept. of Housing and Urban 

Development 
Stephen and Dorothy Weber 




BUSINESS FRIENDS OF 



Tanglewood 



Tanglewood generates more than $60 million for the 
local economy. Tanglewood Business Friends provide 
operating support, underwrite educational programs, 
and fund fellowships for aspiring young musicians at 
the Tanglewood Music Center. 

To become a Business Friend of Tanglewood, 
call Pam Malumphy at: 



(413) 637-5174 




In the Berkshires, Nature sets the 



Berkshire Performing Arts Calendar 
June 24 to July 31, 2004 

Berkshire Choral Festival 

Sheffield, (413) 229-1999 

www.choralfest.org 

Choral Masterpieces — 225 voices, soloists, 

Springfield Symphony. 7/10, 17, 24, 31 at 8 pm. 

Berkshire Music School 

Pittsfield, (413)442-1411 

Music education for all ages. Private lessons and 

chamber ensembles. Open year round. 

Berkshire Opera 

Pittsfield, (413) 442-9955 

www.berkshireopera.org 

Verdi's Rigoletto 6124-714. Barber, Barab, 

Bernstein Triple Bill 7126-7131. 

Berkshire Theatre Festival 

Stockbridge, Box: (413) 298-5576 

www.berkshiretheatre.org 

Siddhartha: AJungian Fantasy — 717-31; 

Heartbreak House — 7113-24; Miracle Worker 

7127-8114. 

Jacob's Pillow Dance Festival 

Becket, (413) 243-0745 

www.jacobspillow.org 

America's premier dance festival plus FREE talks & 

showings. Community Day, 7/24 10 am — 2 pm. 

The Miniature Theatre of Chester 

Chester, (413) 354-7771 
www. miniaturetheatre. org 
"The Gem of the Berkshires. " Presenting Skylight 
7/7- 18 and Tea For Three 7/21 - 25. 

Shaker Mountain Opera 

at Berkshire Community College 

Pittsfield, (800) 588-9757 

www.Shakermountainopera.org 

Fully staged productions of Faust, Magic Flute 

and Tales of Hoffmann. 



Shakespeare & Company 

Lenox, (413) 637-3353 

www.shakespeare.org 

Shakespeare's romantic comedy, As You Like It, plays 

Founders' Theatre Wed. -Sun. at 7:30 pm. 

Berkshire Museums & Art Centers 
Calendar - June 24 to July 31, 2004 

A Chapel For Humanity 

North Adams, (413) 664-9550 

www.darkrideproject.org 

A Chapel For Humanity; Sculptural Epic and 9/11 

Room. Free Admission, Wed.-Sun. 12-5. 



Berkshire Botanical Garden 

Stockbridge, (413) 298-3926 

www.berkshirebotanical.org 

Beautiful display gardens open daily 10-5. Fete des 

Fleurs 7/17, Flower Show 8/7-8. 

Berkshire Museum 

Pittsfield, (413) 443-7171 

www.berkshiremuseum.org 

Presence of Light Contemporary Artists explore the 

possibilities July 2 — October 31. 

Bidwell House Museum 

Monterey, (413) 528-6888 

www.bidwellhousemuseum.org 

Restored parsonage, c. 1750, superb collection of 

antiques & decorative arts. Daily tours, 11-4. 

Bryant Homestead 

Cummington, (413) 634-2244 
www. thetrustees. org 

Bryant Craft Festival - crafts, bands, food court, cos- 
tumed guides, tours 7/17-18, 10 am — 5 pm. 

Chesterwood 

Stockbridge, (413) 298-3579 

www.chesterwood.org 

Contemporary sculpture at Chesterwood opens June 

25. The exhibition runs through Oct. 11. 







Berkshire Visitors Bureaus Cultural Alliance would like 
The Studley Press for donating these pages. 




scene and Culture steals the show. 



Crane Museum of Papermaking 

Dalton, (413) 684-6481 
www.crane.com 

Crane Museum of Paper Making, June — mid- 
October, 2-5 pm. FREE ADMISSION. 

Dark Ride Project 

North Adams, (413) 664-9550 

www. darkrideproj ect . org 

Take a ride on the Sensory Integrator. Wed. -Sun. 12- 

5. Unusual and fun! 

The Eric Carle Museum of Picture Book Art 

Amherst, (413)658-1100 

www.picturebookart.org 

The Many Paths of Dr. Seuss: Four Points of the 

Compass. May 7 —July 1. 

Frelinghuysen Morris House & Studio 

Lenox, (413) 637-0166 

www. frelinghuysen .org 

Art deco house & artwork. Hourly guided tours. 

Thurs.-Sun. Directors talk July 17 @ 1 pm. 

Hancock Shaker Village 

Pittsfield, (413) 443-0188 

www.hancockshakervillage.org 

History & hands-on fun for all— 20 buildings, farm 

& animals, crafts, exhibits. Kids free. 

Herman Melville's Arrowhead 

Pittsfield, (413) 442-1793 

www. mobydick. org 

Here's looking At Ewe Exhibit for Sheeptacular - 

decorated sheep, photos, artifacts. 

MASSMoCA 

North Adams, (413) MOCA 1 1 1 

www. massmoca. org 

Ritchie, Hamilton, and The Interventionists plus 

Bang on a Can Music Festival July 8-24. 

The Mount, Edith Wharton's Estate & Gardens 

Lenox, (413) 637-6900 

www.EdithWharton.org 

Tours, Designer Showhouse, Monday & Thursday 

Lectures, Terrace Cafe. Daily 9 a.m. - 5 p.m. 



Norman Rockwell Museum 

Stockbridge, (413) 298-4100 

www.nrm.org 

Hometown Hero, Citizen of the World: Rockwell in 

Stockbridge through October 31, 2004. 

Sheffield Historical Society 

Sheffield, (413) 229-2694 

www.sheffieldhistory.org 

Historic house tours Thurs. — Sat. 11-4. Changing 

exhibits & shopping at the Old Stone Store. 

Sterling and Francine Clark Art Institute 

Williamstown, (413) 458-2303 
www. clarkart. edu 

"Bonjour, Monsieur Courbet!" feature 75 master- 
pieces of 19th-century French art 6/27-9/6. 

Ventfort Hall, Museum of the Gilded Age 

Lenox, (413) 637-3206 
www.gildedage.org 

Tours daily 10-3. Xingu adapted Wharton story per- 
formed Wed./Thu./Fri. 7:30, Sat. 4, Sun. 10. 

Williams College Museum of Art 

Williamstown, (413) 597-2429 
www.wcma.org 

On view: Summer Afternoon: American watercolors 
from the collection. Admission is free. 



While you're in the Berkshires, be sure to come 

see the Berkshire Visitors Bureau's new 

"Discover the Berkshires" Visitors Centers in 

Adams and Pittsfield. Enjoy displays, 

multimedia presentations, and grab the lastest 
information on Berkshire attractions. 





America's Premier Cultural Resort 



Berkshire Visitors Bureau • 800-237-5747 • www.berkshires.org 
3 Hoosac Street • Adams, MA and 121 South Street • Pittsfield, MA 



Favorite Restaurants of the Berkshires 



^JVW LENOX 218 RESTAURANT 

OTIliVftiti 218 MAIN ST. 

LENOX J[218 637-4218 

Lunch - Dinner - Sunday Brunch 
Cafe Menu - Lite Fare 



Northern Italian and American Cuisine 



CUCltfA ITALIAML 



'Enjoy Authentic Italian 
food in the 'Ber^sfiires 
www. trattoria- vesuvio. co ni 

<lW t IO<R!A a IL VTSUVIO" 

i&irrEsr&zo, Lew*, Ma 01240 (413) €37-4904 




HONEST 
FOOD 




SATISFACTION 
GUARANTEED 



'The Best Darn Pot Roast in the Berkshires?' 

Main St. Housatonic (413)274-1000 

www.jacksgrill.com 



If you would like to be part of 
this restaurant page, please call 
(617) 542-6913. 



THE BEST OF 
BOTH WORLDS. 

La Terrazza. A distinct 
Bar and Lounge in down- 
town Lenox. Open daily 
until midnight. Serving 
light fare, self-indulgent 
desserts and the largest selection of 
single malts in Berkshire County. 

The Gateways Inn and Restaurant. 
Old world charm at its best. Exceptional 
accommodations. Gourmet dining in a 
cozy, candlelit atmosphere. Take-out 
picnics. Recommended by Santee Magazine. 
Wine Spectatoraward winner since 2002. 






sli 




51 Walker Street, Lenox, MA 
Call for Reservations: 413-6372532 




La bruschetta 

Food &• Wine To Go 

THE RIGHT PICNIC! 

Gourmet Picnic Tare, Fine Wine, and More 
LBfoodandwine.com 

1 Harris St., W. Stockbridge, MA • 413-232-7141 




voted Best Overall Restaurant 

Steaks ♦ Maine Lobster ♦ Prime Rib 

Fresh Seafood ♦ Extensive Salad Bar ♦ 

Sunday Brunch Buffet- Best in the Berkshires 

Reservations ♦ Phone Ahead Seating 

413-499-7900 Pittsfield/Lenox Line 
www . Dakot aRes taurant . com 



Favorite Restaurants of the Berkshires 




The new Berkshire 
restaurant everyone 
is talking about- 
furnished by the 
finest American craft 
artists. Everything 
is for sale, with a 
stunning & 
affordable 
menu. 



** American 

Craftsman Cafe 

Stockbridge 



One block from Red Lion Inn, yellow house - corner 
Maple & Rt. 7, Stockbridge. Parking on premises. 
All major credit cards. Reservations suggested: 



*413 298 0250* 



Imagine sipping moonlight on a golden pond. 
17 Railroad Street, Great Barrington (413) 528-4343 



Dine In An Authentic 1771 Inn 

just a mile from Tangleiuood 

Breakfast • English Tea • Dinner 



16 Church St 
Lenox 




637-0020 




BOMBAY 

Classic Indian Cuisine 
At Best western, RT 20 
LEE, MA 413 243 6731 
www.fineindiandining.com 




Kjhocolaie Springs 



Cafe 

The Lenox Shops • Route 7, Lenox, MA 

(1 mile North of Historic Lenox Village) 

(413) 637-9820 • www.chocolatesprings.com 



Fine 

European-style 

Chocolate Cafe 

Pastry Picnic 
Packs 

Ice Cream & 
Sorbets 

After Concert 
Hours 



Northampton/Amherst Area 



T 



J**- ISPs 

O VI 



and experience .. 
our spectacular 
jewelry gallery 





silverscape designs 

GOLDSMITHS © GEM GALLERY 

One King Street • Northampton • 413-584-3324 
264 N. Pleasant Street • Amherst • 413-253-3324 
www.silverscapedesigns.com • (800) 729-8971 




14259-176 






• 



Delta, the Official Airline of the Boston Symphony Orchestra, is proud 
to work in partnership with many exceptional arts organizations 
worldwide. By providing in-kind donations and company resources, 
we hope to keep the arts a vital part of our community 



Photograph by Michael Lutch 




Fairmont Hotels & Resorts is proud to be the 
Official Hotel of the Boston Symphony Orchestra 
and the Boston Pops. 

www.fairmont.com 800 441 1414 6172675300 



The Fairmont 
Royal York, Torontc 



Fairmont Hotels & Resort 
is a unique collection of 
40 world-class hotels Ioca- 



in six countries. 






H A B AT AT 
GALLERIES 









Specializing In 
Contemporary Glass 



Since 1971 



m am ' 






115 STATE ROAD 
GREAT BARRINGTON, MA 01 230 

413.528.9123 

info@habatatgalleries.com 
www.habatatgalleries.com 




DALE CHIHULY 

INSTALLATIONS AND SCULPTURE 



r/^ 




HOLSTEN GALLERIES 

CONTEMPORARY GLASS SCULPTURE 



ELM ST, STOCKBRIDGE, MA 01262 413.298.3044 www.holstengalleries.q 




2004- . 

Tanglewood 




Wednesday, July 28, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

THE HILLIARD ENSEMBLE 



SEIJI OZAWA HALL 



TANGLEWOO 



Texts and Translations 



MUNDUSVERGENS 

Mundus vergens in defectum 
casum probans per effectum, 
se fallacem exuit. 
Nam remota fraudis arte 
nos delere vi vel arte 
quod iam patet astruit. 
Et dum hiis se applicat, 
quod explicit explicat. 

Mundus florens diu pace, 
iam accensus belli face, 
Gallia praemoritur. 

Et iam navis marl data 
portu carens desperata 
procelis concitatur 
et fractatur turbine, 
non eget regimine. 

PROCURANS ODIUM 

Procurans odium 
effectu proprio 
vix detrahentium 
gaudet intentio; 
nexus est cordium 
ipsa detractio: 
sic per contrarium 
ab hoste nescio, 
fit hie provisio 
in hoc amantium 
felix conditio. 

Insultus talium 
prodesse sentio, 
tollendi tedium 
fluxit occasio. 
Suspendunt gaudium 
pravo consilio, 
sed desiderium 
auget dilatio; 
tali remedio 
de spinis hostium 
uvas vendemio. 



The world, turning in revolt, proving its 
destruction by its result, shakes itself 
free from falsehood. 
For it is removed from the art of deceit 
to obliterate us, by strength or by art; 
what is now obvious is added on. 
And while it applies itself to these ends, 
it unfolds what is the end. 

The world which for a long time 
flourished in peace is now inflamed by 
the torch of war, and Gaul dies before 

her time; 
and now the ship, given to the sea, 
in desperation lacking a harbour, 
is shaken by the tempest and, 
shattered by the storm, 
has no need of a rudder. 



Inciting hatred, 

the act of pulling people apart 

scarcely rejoices at its own effect 

upon those it divides; 

the binding together of hearts 

is its own act of separation: 

thus, through a contradiction 

by an ignorant enemy, 

what in one case is foresight 

becomes in another case 

the happy condition of lovers. 

I perceive that the insults 

of such people are profitable 

and the opportunity drips away 

of removing tediousness. 

They defer their happiness 

by a perverse resolution, 

but longing 

is increased by delay. 

By such a cure, 

I gather grapes 

from an enemy's thorn-bushes. 









DEUS MISERTUS HOMINIS 






Deus misertus hominis, 


God, pitying man, 




lavit reatum criminis 


washed man charged with Eve's guilt, 




Eve per partum virginis; 


through a virgin's son: 




| quam dulce remedium, 


O what a sweet remedy! 




ut vitium 


that sin 




purgetur per contrarium; 


should be purged by a contradiction; 




fit electis compendium, 


may salvation come to the elect, 




ne tedium 


lest tedium 




Fit currenti per studium, 


should overwhelm the runner of the 
course 




Si differatur bravium. 


if a reward is to be disbursed. 




Virgo concepit filium, 


A virgin conceived a son, 




cui ferunt testimonium 


to whom testify 




Pater et evangelium, 


the Father and the Gospels; 




quos serpens nequam inficit, 


those whom the serpent has defiled, 




hie reficit, 


he heals 




qui sanctus sanctos perficit; 


who, being holy, has made them holy; 




sine fide non proficit, 


without faith there is no profit, 




sed deficit, 


but loss, 




quia, qui fidem abicit, 


because he who casts off faith 




non hunc fidelem efficit. 


does not make himself faithful. 




Non Elisei baculo 


Not by Elisha's rod, 


JhJ 


nee Giezi signaculo 


nor by Gehazi's sign, 




immo crucis umbraculo 


but by the covering of the Cross 




infanti vita redditur. 


is the young boy returned to life. 




Hie creditur, 


Christ is believed, 




a Patre natus mittitur, 


he is sent, born of the Father, 




qui dum in cruce leditur 


and while he suffers on the Cross 




et moritur, 


and dies, 




eclipsim luna patitur, 


the moon suffers an eclipse, 




nam sol sub nube tegitur. 


for the sun is hidden by a cloud. 









AUCUNE GENT (Machaut) 

Aucune gent m'ont demande que j'ay 

Que je ne chant et que je n'ay cuer gay, 

Si com je sueil chanter de lie corage; 
Et je leur di, certes, que je ne scay. 
Mais j'ay menti, car dedens le cuer ay 
Je trop grief dueil qui onques n'assouage. 

Car sans sejour ay mise ma pensee 

A bonne Amour faire ce qui agree, 

Ne a nul fuer n'i pensasse folage; 

Et je scay bien que ma dame honnouree, 



TRIPLUM 

Some people have asked me what is 

wrong, 
why do I do not sing and my heart is 

not merry, 
for I am wont to sing with a happy heart; 
and I say to them, Truly, I do not know 
But I have lied, for in my heart 
I have a very great sorrow which is 

never eased. 
For I have ceaselessly turned my 

thoughts 
both to doing that which is pleasing to 

good Love 
and to avoiding all thought of folly; 
and yet I know well that my honored 

lady, 



Que je tant criem, si m'a ma mort juree 

Par crueus cuer et par simple visage. 
Car, quant je voy son gracieus viaire, 
Dun dous ottroy me moustre un 

exemplaire 
Et si me vuet tenir en son hommage, 

Ce m'est avis; mais aus doleurs retraire, 
J'ay ce tant pis qu'on ne me porroit faire, 

Car mils ne puet penser si grief damage 
Com le refus que ses durs cuers 

m'envoie; 
Et si l'aim plus, se Diex men envoit joie, 
Que riens qui soit. Dont n'est ce droite 

rage? 

Certes, oil; mais, pour riens que je voie, 

De ce peril issir je ne voudroie, 

Car tous siens sui sans changement de 

gage, 
Quant esperer me fait ma garison; 
Et c'est tout cler que monsignour Yvon 
Par bien servir, non pas par vasselage, 
Conquist l'amour dou grant lion sauvage. 



whom I so fear, has sworn to cause my 

death 
through her cruel heart and sweet face. 
For when I see her gracious countenance 
she seems to me a very example of sweet 

acceptance, 
and I believe that she wishes me to pay 

her homage; 
but, to speak of my sorrows, 
I have a hundred times worse than any- 
one might do to me, 
for none could think of great a harm 
as the refusal that comes to me from her 

hard heart; 
and — may God send me joy of it! — 
I love her more than anything in the 

world. Am I not then on the road to 

madness? 
Truly, I am; but, for nothing I might see 
would I wish to be free of this danger, 
for I am entirely hers, with no exchange 

of pledge, 
for she causes me to hope for relief; 
and it is quite clear that my lord Yvais 
won the love of the great wild ion 
through true service and not through his 

knightly valor. 



Qui plus aimme plus endure 
Et plus mainne dure vie,- 
Qu'amours qui est sans mesure 
Asses plus le contralie,- 
Que li mauvais qui n'a cure 
De li, einsois met sa cure 
En mal et en villonnie. 

He! Diex, que n'ont signourie 
Les dames de leur droiture, 
Que ceuls qui ont la pointure 
D'amours au cuer atachie 
Choisissent sans mespresure! 
S'einsi fust, je m'asseiire, 
Tels est ames qui ne le seroit mie 
Et telz hais qui tost aroit amie. 

Fiat voluntas tua. 



MOTETUS 

He who loves most endures most and 
lives the hardest life, because love, who 
lacks measure, most opposes him, for 
the wicked fellow cares nothing for him, 
but rather puts his efforts into doing 
him harm and playing him Dane tricks. 

Dear God, why do not ladies exercise 
such sovereignty seer their favors so as 
to choose unerringly those who have 
the arrow of love fined in their hearts! 
I am certain that, if this were so, 
many who are now loved would 
not be, and many a one who is sated 
would soon have his lady's love. 



Mi 



I 



TENOR 



Thy will be done 



DAME, JE SUI CILZ (Machaut) 



TRIPLUM 



r- ft 



Dame, je sui cils qui vueil endurer 
Vostre voloir, tant com porray durer; 

Mais ne cuit pas que longuement 

Tendure 
Sans mort avoir quant vous m'estes si 

dure 
Que vous voles qu'ensus de vous me 

traie, 
Sans plus veoir la tres grant biaute vraie 

De vo gent corps qui tant a de valour 

Que vous estes des bonnes la millour. 
Las! einsi ay de ma mort exemplaire. 
Mais la doleur qu'il me convenra traire 

Douce seroit, s'un tel espoir avoie 



Lady, I am he who wishes to endure 
whatever you desire as long as I may 

live; 
But I do not believe I can long avoid 

death, 
for you are so harsh to me that you wish 

me 
to remove myself from your presence 

and no 
longer behold the great and true beauty 

of 
your noble body, which is of such great 

worth 
that you are the best of all good ladies. 
Alas! I thus see the pattern of my death. 
But the suffering I must undergo would 

be sweet 
if I could but hope that before my death 



I might 

Qu'avent ma mort par vo gre vous revoie. have your leave to see you once more. 
Dame, et se ja mes cuers riens entreprent And, lady, if ever my heart should 

undertake 
Dont mes corps ait honneur anything from which this body of mine 

n'avancement, would receive honor or advancement, 

De vous venra, com lonteins que vous it will all come from you, however far 

soie, away from you I may be, 

Car ja sans vous que j'aim tres loyaument for never without you whom I love so 

faithfully 
Ne sans Amours emprendre nel saroie. nor without Love would be able to 

undertake it. 



Fins cuers dous, on me deffent 
de par vous que plus en voie 
vostre dous viaire gent 
qui d'amer m'a mis en voie; 
Mais vraiement, je ne scay 
comment je men atendray 
que briefment morir ne doie. 

Et si men faut astenir 
Pour faire vostre plaisir, 
Ou envers vous faus seroie, 
S'aim trop miex ma loyaute 
Garder et par vostre gre 
Morir, se vos cuers Tottroie, 
Quencontre vostre voloir, 
Par vostre biaute veoir, 
Receiisse toute joie. 

Fins cuers dous. 



MOTETUS 

Sweet noble heart, I am forbidden on 
your behalf ever again to behold your 
sweet and noble countenance which 
hasset me on the path of love; 
but truly, I do not know how I can 
fail to die soon. 

And if I must so restrain myself in 
order to do you pleasure, 
or if by not doing so I would be false to 
you, I would much rather preserve my 
loyalty and die to please you, if your 
heart allows it, than to receive perfect 
joy by beholding your beauty against 
your will. 



TENOR 



Sweet noble heart 



TU QUI GREGEM (Machaut) 

Tu qui gregem tuum ducis, 
Opera fac veri ducis, 
Nam ducere et non duci, 
Hoc competit vero duci. 
Dux prudentium consilio 

Ducat nee sit in ottio 
Debetque dux anteire, 
Ductus autem obedire; 
Sed si ductor nescit iter, 
Ambo pereunt leviter. 
Nam ambulat absque luce 
Qui ducitur ceco duce, 
Sed qui habet verum ducem 
Omni hora habet lucem, 
Et ille bene ducitur 
Qui a nullo seducitur. 
Unde qui ducum ductor es, 

Contere nunc seductores, 
Et talker nos deducas, 
Ut ad pacem nos perducas. 



Plange regni republica! 

Tua gens ut scismatica 

Desolatur; 

Nam pars eius est iniqua 

Et altera sophistica 

Reputatur. 

De te mondo non curatur, 

Inimicis locus datur 

Franduletur, 

Tui status deturpatur; 

Sua virtus augmentatur 

Nunc potentur. 

Te rexerunt imprudenter, 

Licet forte innocenter 

Tui cari. 

Sed amodo congaudenter 

Te facient et potenter, 

Deo dante, dominari. 



TRIPLUM 

You who lead your flock, 

Do the work of a true leader, 

For to lead and to be led, 

This befits a true leader. 

Let the leader lead on the counsel 

of the wise, 
And not be idle; 

And the leader should walk before 
And the led obey; 

But if the leader knows not the way, 
[Then] both easily perish. 
For he walks without light 
Who is led by a blind leader, 
But he who has a true leader 
Has light at all times, 
And he is well led 
Who is misled by no one. 
Wherefore, you who are the leader 

of leaders, 
Crush now the misleaders, 
And lead us in such a way 
That you lead us to peace. 

MOTETUS 

Weep, commonwealth of the kingdom! 

Your people, as though divided, 

Are forsaken; 

For part of them is wicked 

And the other part is considered 

Sophistic. 

No care is taken of you now 

A place is given your enemies 

Fraudulently. 

Your standing is ruined; 

Their virtue is 

now magnified openly. 

Those dear to you 

have ruled you imprudently, 

Albeit perhaps innocently. 

But now will they joyfully 

And forcefully cause you, 

God granting, to prevail. 



TENOR 

Apprehende arma et scutum et exurge. Take up arms and buckler and arise. 









VETUS ABIT LITTERA 

Vetus abit littera, 
ritus abit veterum, 
dat virgo puerpera 
novum nobis puerum, 
munus salutiferum, 
regem et presbyterum, 
qui complanans aspera 
firmat pads federa, 
purgator et scelerum. 

Felicis puerpere 
felix puerperium 
Babilonis misere 
revocat exilium, 
iam plebs ceca gentium, 
videns lucis radium, 
fracto mortis carcere, 
non adheret littere 
propter evangelium. 

Funis pene rumpitur 
nato rege glorie, 
mortis torrens bibitur 
data lege gratie, 
dies est letitie, 
lux iugis psallentie, 
munus festi solvitur, 
gaudeamus igitur 
culpa data venie. 



The Old Law passes away, 

the rite of the ancients has gone, 

a virgin in child-birth gives to us 

a new son, 

a salvation-bearing gift, 

a king and high priest 

who, making the rough places plain, 

strengthens the bond of peace, 

the cleanser of our sins. 

The blessed child-bearing 

of the blessed mother 

revokes the exile 

of wretched Babylon, 

and now the blind race of gentiles, 

seeing the ray of light, 

now that death's prison is broken, 

does not abide by the Law 

because it has the Gospel. 

Punishment's cord is broken 

by the new-born King of Glory; 

the flood of death is swallowed up 

by the gift of the law of grace; 

this is a day of joy, 

the perpetual light of singing, 

for the reward of the feast-day is granted; 

let us rejoice, therefore, 

since our guilt has been forgiven. 




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DUM SIGILLUM (Perotin) 

Dum sigillum summi patris 
signatum divinitus, 
in sigillo summi matris 
signatur humanitus. 
Nee sigillum castitatis 
in puella frangitur; 
nee sigillum deitatis 
detrimentum patitur. 
Dum humanum osculatur 
naturam divinitas, 
ex contactu fecundatur 
intacta virginitas. 
Mira virtus osculandi, 

miranda sunt oscula, 
que dant vires fecundandi 
sine carnis copula. 



While the supreme Father's seal 

is secured by divine influence, 

the seal of the supreme Mother 

is tenderly sealed. 

The maidens seal of purity 

shall not be broken; 

neither shall the divine seal 

endure loss. 

While humanity is kissed by 

divine nature, 

its touch makes fruitful 

inviolate virginity. 

Wonder at the power of he who bestows 

the kiss. 
Wonderful is the kiss 
which makes humankind fruitful 
without physical union. 



STIRPS IESSE 

Stirps Iesse de gremio, 
foret in aurora 
oritur ex thalamo, 
Stella radiosa. 

Sol fulget in solio, 
fugans tenebrosa 
et ex Christi filio, 
sic miraculosa. 

Mater regis exaltata 
super omnia, 
et semper illuminata 
supra sydera. 

Amene nobis nosina, 
in hac patria 
ne valeat per turbare 
nostra viscera. 

Oves virgo decorata 
lux in patria, 
nobis testis vite data, 
luminaria. 

Esto nobis preparata 
inter agmina, 
ut ex nobis sociata, 
sis in gloria. Amen. 



From the bosom of Jesse 
sprang a shoot in the East; 
a radiant star 
is risen from the bridal bed. 

The sun shines upon earth, 

making the shadows flee, 

and from her son Christ 

thus appears this miraculous lady. 

Mother of the king, 
exalted above all things, 
and ever shining 
brighter than the stars. 

Sweetly attend to us 
in this our fatherland 
that our flesh may not prevail 
in the midst of confusion. 

Rejoice, O virgin, 

light and adornment of our land, 

given to us 

as an illustrious witness of life. 

Be ready for us 

in the battle ranks, * *> 

that, though parted from us, 

you may be our glorious ally. Amen. 







MS 

■ 



1 



FELIX VIRGO (Machaut) 



Felix virgo, mater Christi, 
Que gaudium mundo tristi 

Ortu tui contulisti, 

Dulcissima; 

Sic hereses pervenisti, 

Dum angelo credidisti 

Filiumque genuisti, 

Castissima. 

Roga natum, piisima, 

Ut pellat mala plurima 

Tormentaque gravissima, 

Que patimur; 

Nam a gente ditissima, 

Lux lucis splendidissima, 

De sublimi ad infima 

Deducimur; 

Cunctis bonis exuimur, 

Ab impiis persequimur, 

Per quos, virgo, subicimur 

Servitutis, 

Nam sicut ceci gradimur 

Nee directorem sequimur, 

Sed a viis retrahimur 

Nobis tutis. 

Gracie fons et virtutis, 

Sola nostre spes salutis, 

Miserere destritutis 

Auxilio, 

Ut a culpis absolutis 

Et ad rectum iter ductis 

Inimicisque destructis 

Pax sit nobis cum gaudio. 

Inviolata genitrix, 

Superbie grata victrix 

Expers paris, 

Celestis aule janitrix, 

Miserorum exauditrix, 

Stella maris, 

Que ut mater consolaris 

Et prolapsis deprecaris 

Humiliter, 

Gracie fons singularis, 

Que angelis dominaris, 

Celeriter 

Para nobis tutum iter 

Juvasque nos viriliter; 



TRIPLUM 

Happy Virgin, Mother of Christ, 
Who has brought joy to an unhappy 

world 
By your birth, 
Sweetest one 

Thus you destroyed the heresies 
When you believed the angel 
And bore a Son, 
Most chaste one. 

Beseech your Child, most faithful one, 
That He might drive away the many 

evils 
And severest torments 
That we endure; 
For we are brought down by a most 

wealthy trive, 
[O] Most splendid Light of the Light, 
From the heights! To the depths, 
We are stripped 
of all good things, 
We are pursued by the impious, 
Through whom we are brought under 

the yoke 
Of servitude. 

For we make our way as if blind 
And do not follow a guide, 
But we are drawn back from paths! 
[That are] safe for us 
Fountain of grace and virtue, 
Only hope of our salvation, 
Have mercy on those bereft 
Of help, 

So that, freed from [our] sins 
And led to the right path, 
And our enemies destroyed, 
We may have peace with joy. 

MOTETUS 

Inviolate Mother, 

Beloved conqueress of pride 

Having no peer. 

Door-keeper of the celestial palace, 

You who hearken the wretched, 

Star of the sea, 

You who comfort like a mother, 

And intercede humbly on behalf of 

The fallen, 

Singular font of grace, 

You who rule over the angels, 

Swiftly prepare 

a safe way for us 

And help us with vigor, 



Nam perimus, 

Invadimur hostiliter, 

Sed tuimur debiliter. 

Neque scimus 

Quo tendere nos possimus 

Nee per quern salvi erimus 

Nisi per te. 

Eya! ergo poscimus, 

Ut sub alis tuis simus 

Et versus nos te converte. 



For we perish, 

We are invaded by enemies, 

But weakly defended, 

Nor do we know 

Which way we may go, 

Nor by whom we shall be saved 

If not by you; 

Ah! Therefore we pray 

That we may be under your wings 

And turn yourself toward us. 



TENOR 

Ad te suspiramus gementes et flentes.. . . We sigh to you, lamenting and weeping. 



INTERMISSION 



STEPHEN HARTKE (b.1952) 
"Tituli" (1999) 

Lapis niger(c.500BCE) 

quoi ho... 
sakros es 
ed sor. . . 
...a. ..is 
recei...io... 
. . . devam 
quos re . . . 
. . . m kalato 
rem hab... 
. . . od iouxmen 
ta kapia duo tau . . . 
m ite ri . . . 
. . . m quoi ha 
velod neque . . . 
. . . od iovestod 
loiu quiod qo... 



The Black Stone 

[Inscribed on four faces of a six-sided 
block of tufa, this is apparendy a sacred 
law text. It was found quite deliberately 
buried under a black marble pavement in 
the Roman Forum. The text is inscribed 
"boustrephedon" fashion, that is, alternat- 
ing lines written left to right, right side 
up, and right to left, upside down. As it 
stands, although the text is really not 
decipherable to any appreciable extent, 
certain words such as "sakros" (sacred), 
"recei" (king's), and possibly "devam" 
(goddess) confirm the serious religious 
nature of the inscription.] 



Dedicatio (c.500 BCE) 

love sat deivos qoi me mitat nei ted 
endo cosmis virgo sied. 
Asted noisi ope toitesiai pakari vois. 
Duenos med feked en manom einom 
duenoi ne med malo statod. 



Offering 

[Three sentences inscribed up-side down 
on a three-legged lamp, clearly intended 
as an offering of some sort, but so archaic 
as to defy any secure decipherment.] 



Columna rostrata (c.250 BCE) 

. . . Consol Segestanos socios populi 
Romani Cartaginiensiom opsidioned 
exemet; legionesque Cartaginiensis 



Triumphal Monument 

... as Consul [Duilius] delivered the 
Segestani from a Carthaginian blockade; 
and all the Carthaginian hosts and their 



Please turn the page quietly. 



omnis maximosque magistrates luci 
palam post dies novem castreis 
exfociont Macelamque opidom 
pugnandod cepet. 

Enque eodem magistratud bene rem 
navebos marid consol primos ceset; 
copiasque clasesque navales primos 
ornavet paravetque; cumque eis 
navebos claseis Poenicas 
omnes item maxumas copias 
Cartaginiensis praesented 
Hanibaled dictatored olorom in altod 
marid pugnandod vicet. 
Vique naveis cepet cum socieis: 
septeresmom unom, quinqueresmosque 
triresmosque naveis triginta, merset 

tredicim. 
Aurom captom: 
numei tria milia septinentei. 
Argentom captom, praeda: 
numei centum milia 
Omne captom: 

aes undetricies quater centena milia. 
Triumpoque navaled praedad 
poplom donavet multosque 
Cartaginiensis ingenuos duxit 
ante curum 



most mighty chief after nine days fled 
their camp in broad daylight; 
and he [Duilius] took their town 
Macela by storm. 

And in the same command he as consul 
performed an exploit in ships at sea, the 
first Roman to do so; the first was he to 
equip and train crews and fleets of fighting 
ships; and with these ships he defeated in 
battle on the high seas the Punic fleets and 
likewise all the most mighty troops of the 
Carthaginians in the presence of Hannibal, 
their commander-in-chief. And by main 
force he captured ships with their crews: 
one septreme, thirty quinqueremes and 
triremes; thirteen were sunk. 

Gold taken: 

3600 pieces. 

Silver taken, including booty: 

100,000 pieces. 

Total sum taken, in Roman money: 

2,100,000. 

And in triumph he bestowed on the 

people a gift of booty from the sea-battle, 

and led many native free-born 

Carthaginians before the curia 



Elogium parvuli (c.130 BCE) 

Liberus Optatus vixit annos VI 
menses VIII 

Hie me florentem mei combussere 

parentes. 
Vixi dum licuit superis acceptior unus, 

Quoi nemo potuit verbo maledicere 

acerbo 
. . .ad superos quos pietas cogi. . . 

. . . modeste nunc vos quon. . . 

. . .dicite: Optate sit tibi terra levis. 

. . .o annorum nondum 
. . .cum ad mortem matris de gremio 
rapior 

. . .manibus cams fui vivos carissimus 
illi adverseis quae me sustulit ominibus. 



Epitaph for a small boy 

The freedman Optatus, 6 years, 
8 months old 

Here my parents burnt my body in the 

flower of my youth. 
I lived more acceptable to the gods above 

than any other, 

of whom none could speak ill in bitter 

words 
... to the gods above whom loyalty 

compels. . . 
. . . now modestly you. . . 
. . . say you: Oh Optatus, lightly rest the 

earth upon you. 

. . .without your share of years. . . 
. . . when I am torn from my mother's 
bosom to death 

. . .in life I was dear to departed souls and 
to the goddess who made away with 
me under unlucky omens. 



Desine iam frustra, mea mater, desine 

fletu 
te miseram totos exagitare dies, 
namque dolor talis non nunc tibi, 

contingit uni 
haec eadem et magneis regibus 

acciderunt. 

Optate sit tibi terra levis. 



Tabula Panormi (c.200 BCE) 

Tituli heic ordinantur et sculpuntur 
aidibus sacreis cum operum 
publicorum. 

Stellai enthade tupountai kai 
kapassontai naois ierois syn 
energeiais demosiais. 

Sortes (mostly lst-century BCE) 

Nunc me rogitas? Nunc consulis? 
Tempus abit iam. 

Mendaces multi homines sunt: credere 
noli. 

Qur petis postempus consilium? 
Quod rogas non est. 

Credis quod deicunt? Non sunt ita. 
Ne fore stultu. 

Permultis prosum: ubei profui, 
gratia nemo. 

Non sum mendacis quas dixti; 
consulis stulte. 

Conrigi vix tandem quod 
curvom est factum crede. 

Est via per clivom qua vis sequi non 
datur ista. 

Est equos perpulcer, sed tu vehi non 
potes istoc. 

Quod fugis, quod iactas, tibei quod 
datur spernere noli. 

Quid nunc consoltas? 
Quiescas ac vita fruraris. 



Cease now, my mother, to torment your- 
self 
in vain sobs of wretchedness all the day, 
for such grief has not befallen you alone: 

the same has befallen mighty kings as well. 

Oh Optatus, lightly rest the earth upon 
you. 

Shopsign from Palermo 

[A bilingual inscription that was evidently 
written by someone who was not a native 
speaker of Latin or Greek, perhaps a 
Carthaginian living in Palermo.] 

Inscriptions arranged and engraved here 
for holy temples by public labors through 
we. 



Oracles 

Now you ask me? Now you seek advice? 
It's too late. 

Many men are liars: don't believe them. 



Why do you seek my advice after the fact? 
What you ask doesn't exist. 

You believe what they say? Things are not 
so. Don't be stupid. 

Very many I have helped, yet no-one 
thanks me. 

We are not the liars you said. 
You ask advice like a fool. 

Do you believe that what has once been 
made crooked can now be made straight? 

The hill is steep, but you haven't the 
strength to climb it. 

That is a fine horse, but you can't 
ride it. 

What you flee, what you throw away, 
what is given you: spurn it not. 

Why do you seek my advice? 
Relax and enjoy life. 



Please turn the page quietty. 



HQ 



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HKfl 




5fiH 







01 



Instrumenta (c.600-100 BCE) 

{Etruscan'!) 

tite cale atial turce malstria ever 

ceithurneal suthina 

mini mulvanice mamarce velchanas 

{Latin'?) 

Amor med Flacca dedet. 

Med Loucilios feced. 

Noli me tollere. Helveiti sum. 

Ne atigas. Non sum tua, Marci sum. 

Claudio. Non sum tua. 

Pilotimei, Lucretei Lucii servus. 

Novios Plautus med Romai fecid. 

Rustiae rustiu iousit caper. 

Stephanus scripsit. Hilliardi canerunt. 
Makarska sociique modulati sunt. 

Salve. 



Inscriptions on Portable Objects 

Titus Calus gave (this) mirror to his 

mother as a gift 

Grave offering of Ceithurna Mamarce 

Velchana dedicated me 

Love gave me to Flacca. 

Lucilius made me. 

Don't take me. I'm Helveitius'. 

Don't touch. I'm not yours. I am Marcus'. 

For Claudius. I am not yours. 

For Pilotimus, slave of Lucius Lucretius. 

Novius Plautus made me at Rome. 

Rustius asked Rustia to take this. 

Stephen wrote this. The Hilliards sang it. 
Makarski and companions played it. 

Farewell. 



m 




Celebrating 10 Years of Great Music-Making 
in Seiji Ozawa Hall at Tanglewood 

To mark the 10th anniversary of Seiji Ozawa Hall, the 
Boston Symphony Orchestra is pleased to issue an 
exclusive, generously-filled CD of live performances 
from Seiji Ozawa Hall at Tanglewood. 

Hear these outstanding artists in live performances dating 
from 1995 to 2003 

PIERRE-LAURENT AIMARD • CHANTICLEER • THE EMERSON QUARTET • MATTHIAS GOERNE & ERIC SCHNEIDER • 
RICHARD GOODE • KREMERATA BALTICA • LORRAINE HUNT LIEBERSON & PETER SERKIN • YO-YO MA & 
EMANUEL AX • THE JUILLIARD QUARTET • THOMAS QUASTHOFF & THE FREIBURG BAROQUE ORCHESTRA • 
REIGAKUSHA • MITSUKO SHIRAI & HARTMUT HOLL • TANGLEWOOD MUSIC CENTER FELLOWS • BRYN TERFEL & 
MALCOLM MARTINEAU • DUBRAVKATOMSIC 



AVAILABLE NOW 

Just $12 plus applicable tax and shipping 

Tanglewood Glass House Gift Shops, Lenox, MA 
Symphony Shop, Symphony Hall, Boston, MA 
Online at www.bso.org 





Tanglewood 






Tanglewood 



Ozawa Hall 
August 8-2,5, 2004 










ORIGINS GAUCAV 

formerly TRIBAL ARTS GALLERY, NYC 

Ceremonial and modern sculpture 
for new and advanced collectors 



Open 7 Days 
413-298-0002 



36 Main St. POB 905 
Stockbridge, MA 01262 



M' * 





ft 



EditJi Wharton called it 

"My first real nome." 



The New York Times calls it 




The Mount 

Estate & Gardens 

Don't miss the final season of our Designer Showhouse, 

featuring stunning interiors created by world-class designers. 

Stroll through exquisite gardens, enjoy lunch and a glass of wine on the terrace, 

and attend provocative lectures on Monday and Thursday afternoons. 

www.2a£^<^7^7lia^G2sr.org 
Route 7 at Plunkett Street, Lenox Daily 9-5 413-637-6900 




BOSTON SYMPHONY ORCHESTRA 

One Hundred and Twenty-Third Season, 2003-04 
TANGLEWOOD 2004 



Trustees of the Boston Symphony Orchestra, Inc. 

Peter A. Brooke, Chairman 



John E Cogan, Jr., Vice-Chairman 
Nina L. Doggett, Vice-Chairman 
Edward Linde, Vice- Chairman 



Robert P. O'Block, Vice-Chairman 
Roger T. Servison, Vice-Chairman 
Vincent M. O'Reilly, Treasurer 



Harlan E. Anderson 
George D. Behrakis 
Gabriella Beranek 
Jan Brett 

Samuel B. Bruskin 
Paul Buttenwieser 
James F. Cleary 
Eric D. Collins 

Life Trustees 

Vernon R. Alden 
David B. Arnold, Jr. 
J. P. Barger 
Leo L. Beranek 



Diddy Cullinane, 

ex-officio 
William R. Elfers 
Nancy J. Fitzpatrick 
Charles K. Gifford 
Avram J. Goldberg 
Thelma E. Goldberg 



Edna S. Kalman 
George Krupp 
R Willis Leith, Jr. 
Nathan R. Miller 
Richard P. Morse 
Donna Riccardi, 
ex-officio 



Edward I. Rudman 
Hannah H. Schneider 
Thomas G. Sternberg 
Stephen R. Weber 
Stephen R. Weiner 
Robert Winters 



Julian Cohen 
Abram T. Collier 
Mrs. Edith L. Dabney 
Nelson J. Darling, Jr. 
Deborah Davis Berman Mrs. John H. Fitzpatrick 
Jane C. Bradley Dean W. Freed 

Helene R. Cahners 



George H. Kidder Peter C. Read 

Harvey Chet Krentzman Richard A. Smith 
Mrs. August R. Meyer Ray Stata 
Mrs. Robert B. Newman John Hoyt Stookey 
William J. Poorvu John L. Thorndike 

Irving W. Rabb Dr. Nicholas T. Zervas 



Other Officers of the Corporation 

Mark Volpe, Managing Director 
Suzanne Page, Clerk of the Board 

Board of Overseers of the Boston Symphony Orchestra, Inc. 

Diddy Cullinane, Chair 



Thomas D. May, Chief Financial Officer 



Helaine B. Allen 
Joel B. Alvord 
Marjorie Arons-Barron 
Diane M. Austin 
Maureen Scannell 

Bateman 
Milton Benjamin 
George W. Berry 
James L. Bildner 
Bradley Bloom 
Mark G. Borden 
Alan Bressler 
Michelle Courton 

Brown 
William Burgin 
Dr. Edmund B. Cabot 
Rena F. Clark 
Carol Feinberg Cohen 
Mrs. James C. Collias 
Ranny Cooper 
Martha H.W. 

Crowninshield 
Joan P. Curhan 
Cynthia Curme 
James C. Curvey 
Tamara P. Davis 
Mrs. Miguel de 

Braganca 
Disque Deane 



Betsy P. Demirjian 
Paul F. Deninger 
Alan Dynner 
George M. Elvin 
John P. Eustis II 
Pamela D. Everhart 
Judith Moss Feingold 
J. Richard Fennell 
Lawrence K. Fish 
Myrna H. Freedman 
Dr. Arthur Gelb 
Jack Gill 
Robert P. Gittens 
Paula Groves 
Michael Halperson 
Ellen T. Harris 
Virginia S. Harris 
Deborah M. Hauser 
Carol Henderson 
Richard Higginbotham 
Phyllis S. Hubbard 
Roger Hunt 
Ernest Jacquet 
Charles H.Jenkins, Jr. 
Michael Joyce 
Martin S. Kaplan 
Steven E. Karol 
Stephen Kay 
Edmund Kelly 



Douglas A. Kingsley 
Robert Kleinberg 
Dr. Arthur R. Kravitz 
Mrs. William D. 

Larkin, Jr. 
Robert J. Lepofsky 
Alexander M. Levine 
Christopher J. Lindop 
Shari Loessberg 
Edwin N. London 
Carmine Martignetti 
Joseph B. Martin, M.D. 
Robert J. Mayer, M.D. 
Barbara E. Maze 
Thomas McCann 
Joseph C McNay 
Albert Merck 
Dr. Martin C. Mihm, Jr. 
Robert Mnookin 
Robert T.O'Connell 
Norio Ohga 
Louis F. Orsatti 
Joseph Patton 
Ann M. Philbin 
May H. Pierce 
Joyce L. Plotkin 
Dr. John Thomas 

Potts, Jr. 
Dr. Tina Young Poussaint 



Millard H. Pryor, Jr. 
Patrick J. Purcell 
Carol Reich 
Alan Rottenberg 
Michael Ruettgers 
Kenan Sahin 
Arthur I. Segel 
Ross E. Sherbrooke 
Gilda Slifka 
Christopher Smallhorn 
Mrs. Micho Spring 
Charles A. Stakeley 
Jacquelynne M. 

Stepanian 
Wilmer Thomas 
Samuel Thorne 
Bill Van Faasen 
Loet A. Velmans 
Paul M. Verrochi 
Matthew Walker 
Larry Weber 
Robert S. Weil 
David C. Weinstein 
James Westra 
Mrs. Joan D. Wheeler 
Reginald H. White 
Robin Wilson 
Richard Wurtman, M.D 









Memories of Tanglewood... 
You can take them with you! 



Visit our 
Tanglewood Music Store 



Located at the Main Gate 

Hours — same as the Glass House at the Main Gate 

Wide selection of classical music 

Weekly concert selections 

BSO and guest artists 

• Compact discs 

• Sheet music, instrumental and vocal 

• Full scores 

• Books 

Glass House Gift Shop 

Located at the Main Gate and Highwood Gate 
Exciting designs and colors 

• Adult and children's clothing 

• Accessories 

• Compact discs 

• Stationery, posters, books 

• Giftware 

MasterCard/VISA/American Express/Diners Club/Discover Card 



MAIN GATE: 

Closed during performances 
Monday through Friday: 10am to 4pm 
Friday: 5:30pm to closing of the grounds 
Saturday: 9am to 4pm 

6pm to closing of the grounds 
Sunday: noon to 6pm 



HIGHWOOD GATE: 

Closed during performances 

Friday: 5:30pm to closing of the grounds 

Saturday: 9am to 4pm 

6pm to closing of the grounds 
Sunday: noon to 6pm 
Weeknight concerts, Seiji Ozawa Hall: 

7pm through intermission 










1 








Overseers Emeriti 








Caroline D wight Bain 


Mrs. James Garivaltis 


Mrs. Gordon F. 


Robert E. Remis 


Sandra Bakalar 


Mrs. Kenneth J. 


Kingsley 


Mrs. Peter van S. Rice 


William M. Bulger 


Germeshausen 


David I. Kosowsky 


John Ex Rodgers 


Mrs. Levin H. 


Jordan Golding 


Robert K. Kraft 


Mrs. Jerome Rosenfeld 


Campbell 


Mark R. Goldweitz 


Benjamin H. Lacy 


Roger A. Saunders 


Earle M. Chiles 


Mrs. Haskell R. 


Hart D. Leavitt 


Lynda Anne Schubert 


Phyllis Curtin 


Gordon 


Frederick H. 


Mrs. Carl Shapiro 


JoAnne Walton 


Susan D. Hall 


Lovejoy, Jr. 


L. Scott Singleton 


Dickinson 


John Hamill 


Diane H. Lupean 


Mrs. Arthur I. Strang 


Phyllis Dohanian 


Mrs. Richard D. Hill 


Mrs. Charles P. Lyman 


Robert A. Wells 


Goetz B. Eaton 


Glen H. Hiner 


Mrs. Harry L. Marks 


Mrs. Thomas H. P. 


Harriett Eckstein 


Marilyn Brachman 


C. Charles Marran 


Whitney 


Edward Eskandarian 


Hoffman 


Hanae Mori 


Margaret Williams- 


Peter H.B. 


Lola Jaffe 


Mrs. Hiroshi H. 


DeCelles 


Frelinghuysen 


H. Eugene Jones 


Nishino 


Mrs. Donald B. Wilson 


Mrs. Thomas 


Mrs. S. Charles Kasdon 


John A. Perkins 


Mrs. John J. Wilson 


Galligan, Jr. 


Richard L. Kaye 


Daphne Brooks Prout 




Business Leadership Association 






Board of Directors 








Charles K. Gifford, Chairman Leo L. Beranek, James F. Cleary, and 


Edmund F. Kelly, President Harvey Chet Krentzman, Cha 


irmen Emeriti 


Robin A. Brown 


John P. Hamill 


Carmine A. Martignetti 


Lynda A. Schubert 


Michael J. Costello 


Ernest K. Jacquet 


Thomas J. May 


Roger T Servison 


Robert W. Daly 


Michael J. Joyce 


J. Kent McHose 


Malcolm L. Sherman 


Francis A. Doyle 


Steven E. Karol 


Joseph C. McNay 


Ray Stata 


William R. Elfers 


Edmund F. Kelly 


Louis F Orsatti 


William C. Van Faasen 


Lawrence K. Fish 


Christopher J. Lindop 


Patrick J. Purcell 


Paul M. Verrochi 



Ex-Officio Peter A. Brooke • Diddy Cullinane • Nicholas T. Zervas 

Officers of the Boston Symphony Association of Volunteers 

Donna Riccardi, President Ursula Ehret-Dichter, Executive 
Ann M. Philbin, President-Elect Vice-President/ Tanglewood 

Olga Turcotte, Executive Vice-President/ Patricia A. Kavanagh, Secretary 

Administration William A. Along, Treasurer 

Linda M. Sperandio, Executive Judy Barr, Nominating Chair 

Vice-President/Fundraising 

Melinda Brown, Resource Audley H. Fuller, Membership 

Development Lillian Katz, Hall Services 

Jerry Dreher, Education and James M. Labraico, Special 

Outreach Projects 



Lisa A. Mafrici, Public Relations 
Leah Weisse, Symphony Shop 
Staffing 





"1 




•unti^Curtains 

%^S ^-^ RF.TA11. SHOP 



LL 




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— _— 


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Open Every Day! 



You'll Find Our Shop 
Cozy & Inviting... 

Full of new looks and fresh 

decorating ideas for making 

your home warm and inviting! 



At The Red Lion Inn 

Main Street 
Stockbridge, MA 

413-298-5565 
www. countrycurtains . com 



■ 



Alter the r ertormance 



& 



rare in trie Lounvara 



Cocktails at the Back of the Bank Bar 

Live Entertainment in The Lion's Den 

Telephone 413 298-5545 for reservations. 

IheRedLmInn 

Food & Lodging Since c.1773 

Stockbridge, Massachusetts 01262 

www.redlioninn.com 



¥ineS(Hiaor 

Y 

AWARD 

OF 

EXCELLENCE 

2003 


m 



Administration 

Mark Volpe, Managing Director 
Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity 



Tony Beadle, Manager, Boston Pops 

Anthony Fogg, Artistic Administrator 

Marion Gardner- S axe, Director ofHurmn Resources 

Ellen Highstein, Director of Tanglewood Music Center 

Thomas D. May, Chief Financial Officer 

Peter Minichiello, Director of Development 



Kim Noltemy, Director of Sales and 

Marketing 
Caroline Taylor, Senior Advisor to the 

Managing Director 
Ray F. Wellbaum, Orchestra Manager 



ADMINISTRATIVE STAFF/ARTISTIC 

Karen Leopardi, Artist Assistant/ Secretary to the Music Director • Vincenzo Natale, Chauffeur/Valet • 
Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Alexander 
Steinbeis, Artistic Administration Coordinator 

ADMINISTRATIVE STAFF/ PRODUCTION 

Christopher W. Ruigomez, Operations Manager 

Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production Coor- 
dinator • Stephanie Kluter, Assistant to the Orchestra Manager • Jake Moerschel, Stage Technician • 
Julie G. Moerschel, Assistant Chorus Manager • John Morin, Stage Technician • Mark C. Rawson, Stage 
Technician • Timothy Tsukamoto, Orchestra Personnel Coordinator 

BOSTON POPS 

Dennis Alves, Director of Artistic Programming 

Jana Gimenez, Operations Manager • Sheri Goldstein, Personal Assistant to the Conductor • Julie Knippa, 

Administration Coordinator • Margo Saulnier, Artistic Coordinator 

BUSINESS OFFICE 

Sarah J. Harrington, Director of Planning and Budgeting 

Pam Wells, Controller 

Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Theresa Colvin, 
Staff Accountant • Michelle Green, Executive Assistant to the Chief Financial Officer • Y. Georges 
Minyayluk, Senior Investment Accountant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget 
Analyst • Harriet Prout, Accounting Manager • Taunia Soderquist, Payroll Administrator • Andrew 
Swartz, Budget Assistant • Teresa Wang, Staff Accountant 

DEVELOPMENT 

Judi Taylor Cantor, Director of Major and Planned Giving ♦ Rebecca R. Crawford, Director of Devel- 
opment Communications ♦ Sally Dale, Director of Stewardship and Development Administration ♦ 
Alexandra Fuchs, Director of Annual Funds ♦ Jo Frances Kaplan, Director of Institutional Giving 

Rachel Arthur, Major and Planned Giving Coordinator • Maureen Barry, Executive Assistant to the 
Director of Development • Gregg Carlo, Coordinator, Corporate Programs • Claire Carr, Administrative 
Assistant, Corporate Programs • Amy Concannon, Annual Fund Committee Coordinator • Diane 
Cataudella, Associate Director of Stewardship • Joanna N. Drake, Assistant Manager, Annual Fund 
Events • Sarah Fitzgerald, Manager of Gift Processing and Donor Records • Barbara Hanson, Manager, 
Koussevitzky Society • Emily Horsford, Friends Membership Coordinator • Justin Kelly, Assistant Mana- 
ger of Gift Processing and Donor Records • Katherine M. Krupanski, Assistant Manager, Higginson and 
Fiedler Societies • Mary MacFarlane, Manager, Friends Membership • Pam Malumphy, Senior Major 
Gifts Officer and Manager, Tanglewood Business Friends • Tanya Melanson, Development Communica- 
tions Coordinator • Robert Meya, Senior Major Gifts Officer • Susan Olson, Stewardship Coordinator • 
Cristina Perdoni, Gift Processing and Donor Records Coordinator • Gerrit Petersen, Director of Foun- 
dation Support • Phoebe Slanetz, Director of Development Research • Elizabeth Stevens, Assistant 
Manager of Planned Giving • Mary E. Thomson, Program Manager, Corporate Programs 

EDUCATION AND COMMUNITY PROGRAMS /ARCHIVES 

Myran Parker-Brass, Director of Education and Community Programs 

Bridget P. Carr, Archivist-Position endowed by Caroline Dwight Bain 

Gabriel Cobas, Manager of Education Programs • Leslie Wu Foley, Associate Director of Education and 

Community Programs • Zakiya Thomas, Coordinator of Community Projects/Research • Leah Wilson- 

Velasco, Education and Community Programs Assistant 



V?* 






WHEN YOU GIVE, 

great music lives on 

When you make a contribution to the Friends of Tanglewood,you support 
America's premier summer music festival — a magical blend of music and 
nature. Your gift allows audiences to share the incomparable experience of 
classical music performed at its best in the beautiful Berkshire Hills. 

Tanglewood is also home to theTanglewood Music Center, one of the leading 
centers for advanced musical study. Friends of theTanglewood Music Center 
support gifted musicians from around the world who study, free of charge, 
with preeminent artists including BSO musicians. 

Become a Friend of Tanglewood or a Friend 
of the Tanglewood Music Center today with 
a generous contribution. When you give, new 
talents emerge, people discover the arts, and 
great music lives on. 




FRIENDS OF 



Tanglewood 



To make a gift, please call the Friends Office 
at (413) 637-5261 or visit us online at 
www.bso.org. 



EVENT SERVICES 

Cheryl Silvia Lopes, Director of Event Services 

Lesley Ann Cefalo, Special Events Manager • Kathleen Clarke, Assistant to the Director of Event 

Services • Emma-Kate Kallevik, Tanglewood Events Coordinator • Kyle Ronayne, Food and Beverage 

Manager 

HUMAN RESOURCES 

Dorothy DeYoung, Benefits Manager ♦ Sarah Nicoson, Human Resources Manager 

INFORMATION TECHNOLOGY 

David W. Woodall, Director of Information Technology 

Guy W. Brandenstein, Tanglewood User Support Specialist • Andrew Cordero, Lead User Support 
Specialist • Timothy James, Applications Support Specialist • John Lindberg, System and Network 
Administrator • Michael Pijoan, Assistant Director of Information Technology • Brian Van Sickle, 
User Support Administrator 

PUBLIC RELATIONS 

Bernadette M. Horgan, Director of Media Relations 

Meryl Atlas, Media Relations Assistant • Sean J. Kerrigan, Associate Director of Media Relations • 

Amy Rowen, Media Relations Coordinator 

PUBLICATIONS 

Marc Mandel, Director of Program Publications 

Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/ 

Boston Pops Program Editor 

SALES, SUBSCRIPTION, AND MARKETING 

Amy Aldrich, Manager, Subscription Office ♦ Leslie Bissaillon, Manager, Glass Houses • Helen N.H. 
Brady, Director of Group Sales ♦ Alyson Bristol, Director of Corporate Sponsorships ♦ Sid Guidicianne, 
Front of House Manager ♦ James Jackson, Call Center Manager ♦ Roberta Kennedy, Manager, Sym- 
phony Shop ♦ Sarah L. Manoog, Director of Marketing Programs ♦ Michael Miller, SymphonyCharge 
Manager 

Kenneth Agabian, Marketing Coordinator, Print Production • Rich Bradway, Manager of Internet 
Marketing • Lenore Camassar, SymphonyCharge Assistant Manager • Ricardo DeLima, Senior Web 
Developer • John Dorgan, Group Sales Coordinator • Michelle Giuliana, Web Editor • Peter Grimm, 
Tanglewood Special Projects Manager • Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth 
Hopkins, Graphic Designer • Julie Kleinhans, Senior Subscription Representative • Elizabeth Levesque, 
Marketing Projects Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, 
Group Sales Manager • Ronnie McKinley, Ticket Exchange Coordinator • Cheryl McKinney, Subscrip- 
tion Representative • Michael Moore, Assistant Call Center Manager • MarcyKate Perkins, Symphony- 
Charge Representative • Kristen Powich, Coordinator, Corporate Sponsorships • Doreen Reis, Marketing 
Coordinator for Advertising • Caroline Rizzo, SymphonyCharge Representative • Megan E. Sullivan, 
Access Services Coordinator • Sandra Swanson, Manager, Corporate Sponsorships 
Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager 

SYMPHONY HALL OPERATIONS 
Robert L. Gleason, Director of Hall Facilities 

TANGLEWOOD MUSIC CENTER 

Patricia Brown, Associate Director • Beth Paine, Manager of Student Services • Kristen Reinhardt, 
Coordinator • Gary Wallen, Scheduler 

TANGLEWOOD OPERATIONS 

David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires 

Ronald T Brouker, Supervisor of Tanglewood Crew • Robert Lahart, Electrician • Peter Socha, Head 
Carpenter 

Tanglewood Facilities Staff Robert Casey • Steve Curley • Rich Drumm • Bruce Huber 

TANGLEWOOD SUMMER MANAGEMENT STAFF 

Thomas Cinella, Business Office Manager • Peter Grimm, Seranak House Manager • David Harding, 
Front of House Manager/Manager of Customer Service • Marcia Jones, Manager of Visitor Center 

VOLUNTEER OFFICE 

Patricia Krol, Director of Volunteer Services 

Deborah Haviland, Administrative Assistant • Paula Ramsdell, Project Coordinator 






THE WALTER PISTON SOCIETY 



we 








r- 



Ca&tMs a^Q^eua> ^TmI 



pictured with portraits of Carlos' 
father and mother, Humbert and 
Luisa Ardizzoni Tosi. 



Carlos and Velia Tosi have a great fondness for the Symphony. "My 
mother, Luisa Ardizzoni Tosi, was an opera singer whose students sang 
on the Symphony Hall stage," said Mr. Tosi. It's easy to understand 
why Mr. and Mrs. Tosi chose to endow a seat in Symphony Hall in 
memory of their son. Their charitable gift annuity funded the seat in 
perpetuity. They both feel that this was a good investment. "It was the 
easiest decision we could have made — from the heart." 

To learn more about giving opportunities that pay YOU to 
give, please call (413) 637-5275 or e-mailjtcantor@bso.org. 
You may be assured of complete confidentiality. 



Tanglewood 



TANGLEWOOD 

The Tanglewood Festival 

In August 1934 a group of music-loving summer residents of the Berkshires organized a 
series of three outdoor concerts at Interlaken, to be given by members of the New York 
Philharmonic under the direction of Henry Hadley. The venture was so successful that the 
promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during 
the next summer. 

The Festival Committee then invited Serge Koussevitzky and the Boston Symphony 
Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted, 
and on August 13, 1936, the Boston Symphony Orchestra gave its first concerts in the 
Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The 
series again consisted of three concerts and was given under a large tent, drawing a total of 
nearly 15,000 people. 

In the winter of 1936 Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered 
Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and mead- 
ows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, and on 
August 5, 1937, the festival's largest crowd to that time assembled under a tent for the first 
Tanglewood concert, an all-Beethoven program. 

At the all-Wagner concert that opened the 1937 festival's second weekend, rain and 
thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of 
the "Forest Murmurs" from Siegfried, music too delicate to be heard through the downpour. 
At the intermission, Miss Gertrude Robinson Smith, one of the festival's founders, made an 
appeal to raise funds for the building of a permanent structure. The appeal was broadened 
by means of a printed circular handed out at the two remaining concerts, and within a short 
time enough money had been raised to begin active planning for a "music pavilion." 

Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate 
design that went far beyond the immediate needs of the festival and, more important, went 
well beyond the budget of $100,000. His second, simplified plans were still too expensive; he 
finally wrote that if the Trustees insisted on remaining within their budget, they would have 
"just a shed," "which any builder could accomplish without the aid of an architect." The 
Trustees then turned to Stockbridge engineer Joseph Franz to make further simplifications 

in Saarinen's plans in 
order to lower the cost. 
The building he erected 
was inaugurated on the 
evening of August 4, 
1938, when the first 
concert of that year's 
festival was given, and 
remains, with modifica- 
tions, to this day. It has 
echoed with the music 
of the Boston Sym- 
phony Orchestra every 
After the storm of August 12, 1937, which precipitated a fundraising summer since, except 

drive for the construction of the Tanglewood Shed f or ^ e war years 1942- 

45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the 
result of a collaboration between the acoustical consultant Bolt Beranek and Newman and 
architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes 
Talbot Orchestra Canopy, along with other improvements, produced the Shed's present 




■ 



»*i 



4L 



Purchased in 1995 




$1,580,000 



Sold in 2003 




$8,015,000 



Probably the best investment 
you'll ever make. 



The Townhouse Brokers 



Leslie J. Garfield & Co., Inc. 

505 Park Avenue, New York, New York 10021 (212) 371-8200 www.lesliejgarfield.com 



is 




THE BEST 

PERFORMANCES IN 

THE THEATER TONIGHT 

MAY JUST BE IN 

THE AUDIENCE. 



Acting as if a chemical dependency problem doesn't exist won't make it go away. 
But getting help can. One call to Hazelden not only offers help, it offers real hope. 
Call us and make tonight's performance the last. f\3| H /\ / r 1 , | , | Jp 1 , [\| 

Minnesota • Oregon • Florida • New York • Illinois 
800-257-7800 • www.hazelden.org 

©2004 Hazelden Foundation 



world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was 
rededicated as "The Serge Koussevitzky Music Shed," recognizing the far-reaching vision of 
the BSO's legendary music director. 

In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its 
operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small 
studios were finished, and the festival had so expanded its activities and its reputation for 
excellence that it attracted nearly 100,000 visitors. 

With the Boston Symphony Orchestra's acquisition in 1986 of the Highwood estate 
adjacent to Tanglewood, the stage was set for the expansion of Tanglewood's public grounds 
by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and 
Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of 
using the newly acquired property as the site for a new concert hall to replace the outmod- 
ed Theatre-Concert Hall (which was used continuously with only minor modifications 
since 1941, and which with some modification has been used in recent years for the Tangle- 
wood Music Center's opera productions), and for improved Tanglewood Music Center 
facilities. Inaugurated on July 7, 1994, Seiji Ozawa Hall — designed by the architectural firm 
William Rawn Associates of Boston in collaboration with acoustician R. Lawrence Kirke- 
gaard 6c Associates of Downer's Grove, Illinois, and representing the first new concert facil- 
ity to be constructed at Tanglewood in more than a half-century — now provides a modern 
venue for TMC concerts, and for the varied recital and chamber music concerts offered by 
the Boston Symphony Orchestra throughout the summer. Ozawa Hall with its attendant 
buildings also serves as the focal point of the Tanglewood Music Center's Leonard Bernstein 
Campus, as described below. Also at Tanglewood each summer, the Boston University 
Tanglewood Institute sponsors a variety of programs that offer individual and ensemble 
instruction to talented younger students, mostly of high school age. 





Two "Special Focus" Exhibits at the Tanglewood Visitor Center 
Celebrating Two Anniversaries at Tanglewood This Summer 

Two "Special Focus" exhibits have been mounted by the BSO Archives at the Tangle- 
wood Visitor Center this summer. 

"John Williams and the BSO: A 25-Year Collaboration" cel- 
ebrates Mr. Williams's 25-year relationship with the Boston 
Symphony Orchestra. Mr. Williams was the nineteenth Con- 
ductor of the Boston Pops from 1980 to 1993, then became 
Laureate Conductor of the Boston Pops and Artist-in-Resi- 
dence at Tanglewood. The exhibit features photographs and 
other materials documenting this 25-year association, including concert activities, tours, 
recordings with the Boston Pops Orchestra, and the recordings he made of the original 
film scores for Schindler's List and Saving Private Ryan conducting members of the BSO 
in Symphony Hall. The photo here is of Mr. Williams backstage at Carnegie Hall on the 
occasion of his debut as Boston Pops Conductor, on January 22, 1980 (photograph by 
Peter Schaaf). 

This year's second "Special Focus" exhibit, "A Room for Music: Seiji Ozawa Hall Turns 
Ten!," celebrating the hall's tenth anniversary this summer, 
focuses on the building and construction of Seiji Ozawa Hall. 
Featuring photographs, construction plans, and other memo- 
rabilia, this exhibit explores the hall's architectural design and 
the festivities that opened this award-winning venue ten 
years ago on July 7, 1994. The photo, from June 22, 1993, 
shows a steel truss being lifted into place by crane (photo- 
graph by BSO Life Trustee Dean Freed). 




NATHANIEL HAWTHORNE REVISITED 



This summer marks the bicentennial of Nathaniel Hawthorne's birth on July 4, 1804. The 
local influence of Nathaniel Hawthorne — the author of Tanglewood Tales — is clearly linked 
to Tanglewood: all who enter Tanglewood via the Lion Gate see the replica of the "little 
red cottage" where the Hawthorne family lived from May 1850 until November 1851, and 

where he wrote The House of 
the Seven Gables. In the dis- 
HHH tance rises Monument Moun- 

tain, where Hawthorne met 
Herman Melville on a summer 
outing in August 1850. Their 
relationship inspired Melville's 
literary ambitions, as reflected 
in the epic scale of his master- 
piece, Moby-Dick, dedicated to 
Hawthorne "In Token of my 
Admiration for his Genius." 

Materials dating from 
Nathaniel Hawthorne's stay 
at the little red cottage are on 
view in the Tanglewood Visitor 
Center as part of the display documenting the early history of the Tappan family estate 
(Tanglewood). The cottage was destroyed by fire in 1890. A replica duplicating the original 
exterior was dedicated in July 1947. (The interior now provides classroom and studio space 
for the Tanglewood Music Center.) The photo shows the 1947 dedication ceremony, with 
Serge Koussevitzky seated second from left on the porch. 

To commemorate the Hawthorne bicentennial, the Lenox Library has published Haw- 
thorne Revisited, a collection of essays exploring this Berkshire literary legacy (available at 
the library and in the Tanglewood shops). On Sunday morning, August 8, the meeting of 
Hawthorne and Melville will be celebrated in a hike up Monument Mountain; anyone 
interested should meet at 10 a.m. that day in the parking lot on Route 7 at the base of the 
mountain. On Saturday, October 9, at 8 p.m., a gala celebration in Ozawa Hall sponsored 
by Shakespeare &, Company and hosted by Mike Wallace will feature Jane Fonda, Marisa 
Tomei, and David Strathairn performing and reading from Hawthorne's works. For more 
information on this event, call (413) 637-1199, ext. 113. 





Today Tanglewood annually draws more than 300,000 visitors. Besides the concerts of 
the Boston Symphony Orchestra, there are weekly chamber music concerts, Friday-evening 
Prelude Concerts, Saturday-morning Open Rehearsals, the annual Festival of Contempo- 
rary Music, and almost daily concerts by the gifted young musicians of the Tanglewood 
Music Center. The Boston Pops Orchestra appears annually, and the season closes with a 
weekend-long Jazz Festival. The season offers not only a vast quantity of music but also a 
vast range of musical forms and styles, all of it presented with a regard for artistic excellence 
that makes the festival unique. 

The Tanglewood Music Center 

Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has 
become one of the world's most influential centers for advanced musical study. Serge Kous- 
sevitzky, the Boston Symphony Orchestras music director from 1924 to 1949, founded the 
Center with the intention of creating a premier music academy where, with the resources of 
a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, 
and composers would sharpen their skills under the tutelage of Boston Symphony Orchestra 
musicians and other specially invited artists. 

The Music Center opened formally on July 8, 1940, with speeches and music. "If ever 
there was a time to speak of music, it is now in the New World," said Koussevitzky, alluding 
to the war then raging in Europe. Randall Thompson's Alleluia for unaccompanied chorus, 
specially written for the ceremony, arrived less than an hour before the event began but made 
such an impression that it continues to be performed at the opening ceremonies each sum- 
mer. The TMC was Koussevitzky s pride and joy for the rest of his life. He assembled an 
extraordinary faculty in composition, operatic and choral activities, and instrumental perform- 
ance; he himself taught the most gifted conductors. 

Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year 
after his retirement as the BSO's music director. Charles Munch, his successor in that posi- 
tion, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard 
Bernstein and Aaron Copland to shape the school's programs. In 1963, new BSO Music 
Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky 's hands-on 
leadership approach while restoring a renewed emphasis on contemporary music. In 1970, 
three years before his appointment as BSO music director, Seiji Ozawa became head of the 
BSO's programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard 
Bernstein as general advisor. Leon Fleisher served as the TMC's Artistic Director from 1985 
to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities 
on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, cham- 
ber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion 
adjacent to Ozawa Hall. In 1997, Ellen Highstein was appointed Director of the Tanglewood 
Music Center, operating under the artistic supervision of Seiji Ozawa. 

The Tanglewood Music Center Fellowship Program offers an intensive schedule of study 
and performance for advanced musicians who have completed all or most of their formal 
training. Some 150 young artists, all attending the TMC on full fellowships which under- 
write the costs of tuition, room, and board, participate in a program including chamber and 
orchestral music, opera and art song, and a strong emphasis on music of the 20th and 21st 
centuries. This year's first TMC Orchestra concert is under the direction of Ingo Metz- 
macher, who, in his first collaboration with the TMC, leads music of Dallapiccola (honoring 
that composer's centennial), Schoenberg, and Berlioz. Also this summer the TMCO per- 



Programs copyright ©2004 Boston Symphony Orchestra, Inc. 
Cover design by Sametz Blackstone Associates 



forms under the batons of Kurt Masur, Rafael Friihbeck de Burgos, Robert Spano, and 
James DePreist. In addition, Seiji Ozawa returns to the TMCO podium leading music of 
Takemitsu and Verdi as part of the August 1 gala concert marking the 10th anniversary of 
Seiji Ozawa Hall. Also in 2004, the Mark Morris Dance Group returns for its second an- 
nual week-long collaboration with the TMC intertwining music and dance, culminating in 
two joint MMDG/TMC performances of works choreographed by Mark Morris to music 
of Vivaldi, Bartok and Bach. The TMC Opera Program returns this summer to the work 
of Benjamin Britten, a composer historically associated with Serge Koussevitzky and the 
Music Center — Britten's Shakespeare-inspired opera A Midsummer Nights Dream. Conduc- 
tor Robert Spano once again directs the annual Festival of Contemporary Music, this year 
featuring works of Bernard Rands (celebrating his 70th birthday year) and Elliott Carter 
(marking his 95th birthday year), with works by the Finnish composers Salonen, Sallinen, 
Saariaho, and Lindberg also highlighting the 2004 FCM programs. In another of the TMC's 
new music programs, TMC composers will work throughout the summer with gifted young 
film and video artists, creating short collaborative works to be presented during the Festival. 
Ongoing TMC programs include seminars in the string quartet and piano quartet, and a 
series of free concerts, the "Steinway Series" on Monday afternoons in the Chamber Music 
Hall, highlighting works for solo piano and piano chamber music. 

It would be impossible to list all of the distinguished musicians who have studied at the 
Tanglewood Music Center. According to recent estimates, 20% of the members of American 
symphony orchestras, and 30% of all first-chair players, studied at the TMC. Besides Seiji 
Ozawa, prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano 
Berio, the late Leonard Bernstein, David Del Tredici, Christoph von Dohnanyi, the late 
Jacob Druckman, Lukas Foss, John Harbison, Gilbert Kalish (who headed the TMC fac- 
ulty for many years), Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, 
Sherrill Milnes, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl Studer, Michael 
Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. 

Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the 
nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Kousse- 
vitzky was involved until his death, have become a fitting shrine to his memory, a living 
embodiment of the vital, humanistic tradition that was his legacy. At the same time, the 
Tanglewood Music Center maintains its commitment to the future as one of the world's 
most important training grounds for the composers, conductors, instrumentalists, and vocal- 
ists of tomorrow. 



i 




Seiji Ozawa in rehearsal with the TMC Orchestra in Ozawa Hall 





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BSAVTANGLEWOOD ADMINISTRATIVE COMMITTEE 2004 



Chair 

Ursula Ehret-Dichter 

Immediate Past Chair 

Melvin R. Blieberg 

Secretary 

Mary M. Blair 

Nominating 

Muriel Lazzarini 

• 

COMMUNITY/ 

AUDIENCE SERVICES 

Paul Flaum, Vice-Chair 

Berkshire Night 
Nancy Glynn 

Berkshire Education 

Initiative 
Sylvia S. Stein and 
Harry G. Methven 

Tour Guides 
William C. Sexton 

Michael Geller 

Ushers/Programmers 

Dan Ruge 

Visitor Center 

Michael Geller 

Brochure Distribution 

Larry Kassman 

• 

DEVELOPMENT 

Gabriel Kosakoff, Vice-Chair 

20/20 Campaign 

Mel Blieberg 

Event Services 

Liz Shreenan 
John L. Powell 

Friends Office 
Alan Benjamin 
Gail B. Harris 



Glass House 

Diana and Stanley Feld 

BSAV Boston/Tanglewood Event 

William Ballen and 

Sharon L. Shepard 

Seranak Gardens and Flowers 

JackT.Adler 

Anita Busch 

Special Events 

Marie Feder 

Julie Weiss 

Tent Club 

Carolyn and William Corby 

• 

EDUCATION 
William Ballen, Vice-Chair 

BSAV Encore Bus Trip 

Marcia A. Friedman 

Historical Preservation 

Bonnie Sexton 

Polly Pierce 

Words about Music 

(ReDiscovering Music) 

Gabriel Kosakoff 

Ronald Winter 

Talks & Walks 

Rita Kaye 

Joyce Kates 

Training Coordinator 

Marilyn Flaum 
Alexandra Warshaw 

Watch & Play 

Margery Steinberg 

Judy Borger 

Youth Activities 

Brian Rabuse 

Andrew T. Garcia 



MEMBERSHIP 
Rita Blieberg, Vice-Chair 

Administrative Events 

Marsha Burniske 

Elizabeth Boudreau 

Database/New Members 

Norma Ruffer 

Edmund L. Dana 

Membership Meetings 

Joyce Kates 

Rita Kaye 

Newsletter 

Victoria Morss 

Personnel Coordinator 

Mary Spina 

Ready Team 

Arnold and Lillian Katz 

Karen M. Methven 

Retired Volunteers Club 

Judith M. Cook 

Passes/Tickets 

Pat Henneberry 

• 

TMC 
Ginger Elvin, Vice-Chair 

TMC TimeOff 

Barbara Koz Paley 

Augusta (Gus) Leibowitz 

Opening Ceremonies 

Marjorie T. Lieberman 

Student Parties 

Larry Phillips 

Bobbi Rosenberg 

TOP Picnic 

Arline Breskin 

Rosalie Beal 



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IN CONSIDERATION OF OUR PERFORMING ARTISTS AND PATRONS 

PLEASE NOTE: TANGLEWOOD IS PLEASED TO OFFER A SMOKE-FREE 

ENVIRONMENT. WE ASKTHATYOU REFRAIN FROM SMOKING 

ANYWHERE ON THE TANGLEWOOD GROUNDS. DESIGNATED 

SMOKING AREAS ARE MARKED OUTSIDE THE ENTRANCE GATES. 

Latecomers will be seated at the first convenient pause in the program. 

If you must leave early, kindly do so between works or at intermission. 

Please do not bring food or beverages into the Music Shed or Ozawa Hall. 

PLEASE NOTE THAT THE USE OF AUDIO OR VIDEO RECORDING EQUIPMENT 

DURING CONCERTS AND REHEARSALS IS PROHIBITED, AND THAT VIDEO 

CAMERAS MAY NOT BE CARRIED INTO THE MUSIC SHED OR OZAWA HALL 

DURING CONCERTS OR REHEARSALS. 

Cameras are welcome, but please do not take pictures during the performance as the noise and 
flash are disturbing to the performers and to other listeners. 

FOR THE SAFETY OF, AND IN CONSIDERATION OF, YOUR FELLOW PATRONS, 

PLEASE NOTE THAT SPORTS ACTIVITIES, BICYCLING, SCOOTERS, KITE FLYING, 

FRISBEE PLAYING, BARBEQUING, PETS, AND TENTS OR OTHER STRUCTURES 

ARE NOT PERMITTED ON THE TANGLEWOOD GROUNDS. 

In consideration of the performers and those around you, please be sure that your cellular 
phones, pagers, and watch alarms are switched off during concerts. 

THANK YOU FOR YOUR COOPERATION. 

TANGLEWOOD INFORMATION 

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein 
Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5165. For weekly pre-recorded 
program information, please call the Tanglewood Concert Line at (413) 637-1666. 

BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through 
intermission on concert evenings); Saturday from 9 a.m. until intermission; and Sunday from 
10 a.m. until intermission. Payment may be made by cash, personal check, or major credit card. 
To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 
1-888-266-1200, or in Boston at (617) 266-1200; or call TICKETMASTER at (617) 931-2000 
in Boston; (413) 733-2500 in western Massachusetts; (212) 307-7171 in New York City; or 
1-800-347-0808 in other areas. Tickets can also be ordered online at www.bso.org. Please note 
that there is a service charge for all tickets purchased by phone or on the web. 

THE BSO's WEB SITE at www.bso.org provides information on all Boston Symphony and 
Boston Pops activities at Symphony Hall and at Tanglewood, and is updated regularly. 

FOR PATRONS WITH DISABILITIES, an access service center and parking facilities are 
located at the Main Gate. Wheelchair service is available at the Main Gate and at the reserved- 
parking lots. Accessible restrooms, pay phones, and water fountains are located on the Tanglewood 
grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji 
Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To pur- 
chase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about 
disability services, please call (617) 638-9431. 

FOOD AND BEVERAGES can be obtained at the Tanglewood Cafe and at other locations as 
noted on the map. The Tanglewood Cafe is open Monday through Friday from 11:30 a.m. to 2:30 
p.m., Saturdays from 9 a.m. to 2:30 p.m., Sundays from noon until 7:30 p.m., and through the in- 
termission of all Tanglewood concerts. Visitors are invited to picnic before concerts. Meals to go 
may be ordered several days in advance at www.bso.org. 

LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially 
priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for 
the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, avail- 
able at the Main Gate box office, offer eleven tickets for the price of ten. 



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OPEN REHEARSALS by the Boston Symphony Orchestra are held each Saturday morning 
at 10:30, for the benefit of the orchestra's Pension Fund. Tickets are $16 and available at the 
Tanglewood box office. A half-hour pre-rehearsal talk about the program is offered free of charge 
to ticket holders, beginning at 9:30 in the Shed. During Open Rehearsals, a special children's area 
with games and activities behind the Tanglewood Visitor Center is available for children, who must 
be accompanied by an adult at all times. 

SPECIAL LAWN POLICY FOR CHILDREN: On the day of the concert, children under 
the age of twelve will be given special lawn tickets to attend Tanglewood concerts FREE OF 
CHARGE, thanks to a generous grant, for the sixteenth consecutive year, from TDK, the world 
leader in digital recording playback solutions. Up to four free children's lawn tickets are offered 
per parent or guardian for each concert, but please note that children under five must be seated on 
the rear half of the lawn. Please note, too, that children under five are not permitted in the Kousse- 
vitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy 
does not apply to organized children's groups (15 or more), which should contact Group Sales at 
Symphony Hall in Boston, (617) 638-9345, for special rates. 

STUDENT LAWN DISCOUNT: Students twelve and older with a valid student ID receive 
a 50% discount on lawn tickets for Friday-night BSO concerts. Tickets are available only at the 
Main Gate box office, and only on the night of the performance. 

FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALK- 
WAYS are located in the area of the Main Gate and many of the parking areas. 

THE LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors 
who find stray property may hand it to any Tanglewood official. 

IN CASE OF SEVERE LIGHTNING, visitors to Tanglewood are advised to take the usual pre- 
cautions: avoid open or flooded areas; do not stand underneath a tall isolated tree or utility pole; 
and avoid contact with metal equipment or wire fences. Lawn patrons are advised that your auto- 
mobile will provide the safest possible shelter during a severe lightning storm. Readmission passes 
will be provided. 

FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. 

PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the 
guide at the Main Gate (Bernstein Gate for Ozawa Hall events). 

THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic 
space to Tent Members on concert days. Tent Membership is a benefit available to donors through 
the Tanglewood Friends Office. 

THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell 
adult and children's leisure clothing, accessories, posters, stationery, and gifts. Please note that the 
Glass House is closed during performances. Proceeds help sustain the Boston Symphony concerts 
at Tanglewood as well as the Tanglewood Music Center. THE TANGLEWOOD MUSIC STORE, 
adjacent to the Main Gate and operated by the Boston Symphony Orchestra, stocks music books, 
recordings, scores, sheet music, and musical supplies. 



Jffi 



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■ 



Tanglewood Visitor Center 

The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear 
of the lawn across from the Koussevitzky Music Shed. Staffed by volunteers, the Visitor 
Center provides information on all aspects of Tanglewood, as well as information about 
other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tangle- 
wood and the Tanglewood Music Center, as well as the early history of the estate. 

You are cordially invited to visit the Center on the first floor of the Tanglewood Manor 
House. During July and August, daytime hours are from 10 a.m. to 4 p.m. Monday through 
Friday, from 9 a.m. to 4 p.m. on Saturday, and from noon until twenty minutes after the con- 
cert on Sunday, with additional hours Friday and Saturday evenings from 5:30 p.m. until 
twenty minutes after the concerts on these evenings, as well as during concert intermissions. 
In June and September the Visitor Center is open only on Saturdays and Sundays, from 10 
a.m. to 4 p.m. There is no admission charge. 




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Founded in 1865 Worcester, Massachusetts 



BARDSUMMERSCAPE 



July 8 - August 22, 2004 

Experience a performing arts 

festival like no other. Bard 

SummerScape presents 

world-class opera, music, 

and theater you won't hear 

anywhere else, in a venue you 

can't find anywhere else: 

the Frank Gehry-designed 

Richard B. Fisher Center for 

the Performing Arts, hailed by 

critics as "an acoustic jewel" 

and "a virtuoso piece" 




OPERA 

East Coast Professional Premiere 

The Nose 

July 28 -August 7 

An opera by Dmitrii Shostakovich 

American Symphony Orchestra 
Conducted by Leon Botstein 
Directed by Francesca Zambello 
Set design by Rafael Vinoly 
Costume design by Georgi 

Alexi-Meskhishvili 
Lighting design by Mark McCullough 

THEATER 

American Premiere 
St. Petersburg's Alexandrinsky Theatre 
presents 

The Inspector General 

July 8-11 

A play in two acts by Nikolai Gogol 

Directed by Valery Fokin 

MUSIC THEATER 

World Premiere 

Guest from the Future 

July 22- August 1 

Music by Mel Marvin 
Libretto by Jonathan Levi 
Directed by David Chambers 

Moscow: Cherry Tree Towers 

August 12-15 
A musical in two acts by 
Dmitrii Shostakovich 

Directed by Francesca Zambello 

BARD MUSIC FESTIVAL 

Fifteenth Season 

Shostakovich and His World 

August 13-22 

Two weekends of concerts, panels, and 
other events bring the musical world of 
Russian composer Dmitrii Shostakovich 
vividly to life. 

Bard SummerScape 2004 also features 
a Russian film festival, puppet theater, late- 
night cabaret, and other special events. 



the richard b. For tickets and information, 

FISHER call 845-758-7900 or visit 

CENTER summerscape.bard.edu. 

FOR THE 

PERFORMING ARTS 

AT BARD COLLEGE Bard College Annandale-on-Hudson, NY. 

Photo: ©Bilyana Dimitrova 



Fifteenth Annual Bard Music Festival 

SHOSTAKOVICH SB 

AUGUST 13-15 AND 20-22, 2004 

The Bard Music Festival's fifteenth season explores the musical world of Russian 
composer Dmitrii Shostakovich (1906-75) with concerts, panels, and special events. 



FRIDAY, AUGUST 13 

PROGRAM ONE DMITRII SHOSTAKOVICH: 

THE MAN AND HIS WORK 

8:30 p.m. Works by Shostakovich 

SATURDAY, AUGUST 14 

10:00 a.m. Panel CONTESTED ACCOUNTS: 
THE COMPOSER'S LIFE AND CAREER 

program two THE FORMATIVE YEARS 
1:30 p.m. Works by Shostakovich, 
Stravinsky, Glazunov, Prokofiev, Skriabin, 
Gnesin, Shteynberg 

PROGRAM THREE FROM SUCCESS TO 

DISGRACE 

8:00 p.m. Works by Shostakovich. 

American Symphony Orchestra, Leon 

Botstein, conductor 

SUNDAY, AUGUST 15 

10:00 a.m. Panel MUSIC IN THE SOVIET 
UNION 

program four THE PROGRESSIVE 1920s 
1:30 p.m. Works by Shostakovich, 
Shcherbachov, Myaskovsky, Popov 

program five THE ONSET OF POLITICAL 

REACTION 

5:00 p.m. Works by Shostakovich, Shebalin, 

Kabalevsky, Khachaturian, Dzerzhinsky, 

Khrennikov 

FRIDAY, AUGUST 20 

10:00 a.m. Symposium ART AND CULTURE 
IN THE SOVIET ERA 

program six "GOOD MORNING 
MOSCOW": ONE DAY IN THE LIFE OF SOVIET 
POPULAR MUSIC 
8:00 p.m. Performance 

THE RICHARD B. 

FISHER 
CENTER 

FOR THE 

PERFORMING ARTS 
AT BARD COLLEGE 



SATURDAY, AUGUST 21 

PROGRAM SEVEN MUSIC AS POLITICS 

10:00 a.m. Performance with commentary 

Shostakovich's Antiformalist Rayok 

program eight IN THE SHADOW OF 1948 
1:30 p.m. Works by Shostakovich, 
Ustvolskaya, Weinberg, Sviridov, Shaporin 

PROGRAM NINE AFTER THE THAW: 
A COMPOSER LOOKS BACK 
8:00 p.m. Works by Shostakovich. 
American Symphony Orchestra, Leon 
Botstein, conductor 

SUNDAY, AUGUST 22 

10:00 a.m. Panel THE COMPOSER'S 
LEGACY: SHOSTAKOVICH IN THE CONTEXT 
OF MUSIC TODAY 

program ten A NEW GENERATION 

RESPONDS 

1:30 p.m. Works by Shostakovich, Denisov, 

Tishchenko, Gubaidulina, Schnittke 

program eleven IDEOLOGY AND 

INDIVIDUALISM 

5:00 p.m. Works by Shostakovich. Bard 

Festival Chorale; American Symphony 

Orchestra, Leon Botstein, conductor 

For ticket information 
call 845-758-7900 or 
visit www.bard.edu/bmf 



Ticket prices range 
from $20 to $55. 
Panels and symposium 
arefree. 

Bard College 
Annandale-on-Hudson 
New York 




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Seiji Ozawa Hall at Tanglewood 

August 8 - August 25, 2004 

Table of Contents 

CELEBRATING THE 10TH ANNIVERSARY OF SEIJI OZAWA HALL 

Seiji Ozawa Hall: Just (Some of) the Facts 2 

Reflections on Ozawa Hall — Ten Years Later, by William Rawn 5 

Seiji Ozawa Hall: Honors and Awards 9 

Creating a "New" Tanglewood, by Robert Campbell 11 

Seiji Ozawa Hall, 2004: A Week in the Life 14 

A Tribute to Florence Gould 16 

Seiji Ozawa Hall, 1994-2003: A Concise Performance History 

of the BSO's Recital Series 17 

Seiji Ozawa Hall, 1994-2003: The Tanglewood Jazz Festival 21 

Sunday, August 8, and Monday, August 9, at 8:30 22 

JOHN WILLIAMS, musical direction; DIANNE REEVES 

and BRIAN STOKES MITCHELL, vocalists; TANGLEWOOD 
JAZZ ENSEMBLE 

An evening of jazz, including John Williams's arrangement 

for vocalists and jazz ensemble of Lerner and Loewe's My Fair Lady 

Tuesday, August 11, at 8:30 33 

JEAN-YVES THIBAUDET, piano 

Music of Debussy, Liszt, and Wagner (arr. Liszt) 

Wednesday, August 18, at 8:30 38 

BOSTON SYMPHONY CHAMBER PLAYERS; 

DAWN UPSHAW, soprano 
Music of Rossini, Dvorak, and Golijov 

Tuesday, August 19, at 8:30 48 

CHRISTIAN TETZLAFF, violin; LARS VOGT, piano 
The Three Brahms Violin Sonatas 

Wednesday, August 25, at 8:30 55 

ALEXANDER GURNING and MARTHA ARGERICH, pianists 
Music of Prokofiev, Rachmaninoff, and Tchaikovsky 






SEIJIOZAWAHALL 

Just (Some of) the Facts 

Seiji Ozawa Hall's Florence Gould Auditorium is an 1,180-seat enclosed concert space 
designed to accommodate a variety of performance, rehearsal, and recording activities at 
Tanglewood, the BSO's summer home. Folding doors at the west end of the building permit 
the Hall to open directly onto a lawn which provides space for at least 2,000 additional lis- 
teners. With the doors closed, the Hall is also designed to serve as a recording facility. 
The Leonard Bernstein Performers Pavilion adjacent to the main structure contains back- 
of-house facilities encompassing a conductor's suite, dressing rooms, instrument storage 
space, practice rooms, and a recording booth, all organized around a cloister-like court- 
yard that can serve as a gathering place for the Tanglewood Music Center Fellows. 



Groundbreaking: 

Inaugural Concert: 

Architect: 
Acoustician: 
Theater Consultant: 



September 12, 1992 

July 7, 1994 

William Rawn Associates, Architects, Inc., Boston, MA 
R. Lawrence Kirkegaard 6c Associates, Downer's Grove, IL 
Theatre Projects Consultants, Inc., Ridgefield, CT 



0£ 

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SMITH COLLEGE 
MUSEUM OF ART 



American and Western 
European masterworks. 

Contemporary gems and 
art from diverse cultures. 

The Cunningham Center for 
the Study of Prints, Drawings 
and Photographs. 

Artist designed restrooms. 
Museum Shop and Cafe. 

Hours, exhibitions and 
admission: 413.585.2760 or 
www.smith.edu/artmuseum 




Tanglewood 



You are invited to take 

Guided Tours of 
Tanglewood 

Sponsored by the 

Tanglewood Association 

of the Boston Symphony Association 

of Volunteers 

Free to the public 
Wednesday at 10:30 a.m. and 
Saturday at 1:30 p.m. 

Free to Sunday ticket-holders: 
Sunday at 12:30 p.m. 

Tours continue through 
Sunday, August 29. 

All tours last one hour, beginning 
and ending at the Tanglewood 
Visitor Center. Please arrive at the 
Visitor Center five minutes before 
the starting time of each tour. 

Group tours may be scheduled at 
other times by calling the Tanglewood 
Volunteer Office at (413) 637-5393. 
A contribution of $6 per person is 
requested for scheduled group tours. 



Structural Engineer: 
Landscape Consultant: 
General Contractor: 

Project Size: 

Interior Breakdown: 



Interior Finish Materials: 



Exterior Finish Materials: 



LeMessurier Consultants, Cambridge, MA 

Michael Van Valkenburgh Associates, Inc., Cambridge, MA 

Suffolk Construction Company, Inc., Boston, MA 

36,200 gross square feet (sf) 

Ground Floor Seating 6600 sf; Stage 2100 sf; Backstage 
2300 sf; 1st Balcony 3300 sf; 2nd Balcony 3900 sf; Ground 
Floor Arcade 3600 sf; 1st Balcony Arcade 4700 sf; Base- 
ment 1900 sf; Bernstein Performers Pavilion Interior Spaces 
4800 sf; Bernstein Performers Pavilion Courtyard 3000 sf 

General Floors: tongue and groove vertical grain Douglas 

fir plank 
Stage Floors and Risers: tongue and groove maple plank 
Arcade Floors: colored concrete 
Walls: stucco on concrete masonry units 
Ceiling: architectural pre-cast concrete planks partially 

finished with K-13 acoustic insulation 
Balcony and Arcade Structures: Douglas fir timber and 

decking 
Trim, Rails, and Millwork: vertical grain Douglas fir with 

oil finish 
Interior Balcony Grill: plantation-grown teak 
Stairs and Rails: Douglas fir tread risers and rails with 

painted steel 
Acoustic Panels: paper can over fiberglass panels or felt 
Acoustic Drapes: synthetic velour 
Stage Surround Fabric: aniline dyed scrim 

(Leonard Bernstein Performers Pavilion) 

Floors: stained plywood, vinyl, cysl mat, or southern yellow 

pine decking 
Ceiling and Walls: stained Douglas fir rough framing and 

plywood 

Walls: face brick with flashed finish 

Arcade Structure and Grill: Alaskan yellow cedar 

Roof: lead-coated copper 

Windows: clear glass block or laminated glass in teak 

frames 
Doors: plantation-grown teak with 1/2" laminated glass 

(Leonard Bernstein Performers Pavilion) 

Walls: stained Douglas fir plywood with Alaskan yellow 

cedar trim and battens 
Roof: asphalt shingles 
Windows: pine sash and frame 










Celebrating 10 Years of Great Music-Making 
in Seiji Ozawa Hall at Tanglewood 

To mark the 10th anniversary of Seiji Ozawa Hall, the Boston Symphony 
Orchestra is pleased to issue an exclusive, generously-filled CD of live 
performances from Seiji Ozawa Hall at Tanglewood. 



Hear these outstanding artists 
in live performances dating 
from 1995 to 2003 

PIERRE-LAURENT AIMARD 

CHANTICLEER 

THE EMERSON QUARTET 

MATTHIAS GOERNE & ERIC SCHNEIDER 

RICHARD GOODE 

KREMERATA BALTICA 

LORRAINE HUNT LIEBERSON & 
PETER SERKIN 

YO-YO MA & EMANUEL AX 

THE JUILLIARD QUARTET 

THOMAS QUASTHOFF & THE FREIBURG 
BAROQUE ORCHESTRA 

REIGAKUSHA 

MITSUKO SHIRAI & HARTMUT HOLL 

TANGLEWOOD MUSIC CENTER FELLOWS 

BRYN TERFEL & MALCOLM MARTINEAU 

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Reflections on Ozawa Hall — Ten Years Later 

by William Rawn, FAIA 

Seiji Ozawa Hall opened on July 7, 1994. William Rawn Associates, Architects, Inc., of Bos- 
ton designed the building working closely with Larry Kirkegaard, Acoustician, and Theatre 
Projects Consultants, Inc.. The national American Institute of Architects (AIA) awarded Seiji 
Ozawa Hall an Honor Award for Architecture in 1995 and an Honor Award for Interiors in 
2000, and the building was on the cover of Architecture" magazine in December 1994. 

Here, William Rawn discusses some of the ideas influencing the design and reflects on the 
ten years since the opening of Seiji Ozawa Hall in 1994. 



Without question, the ten years since the opening of Ozawa Hall have been marked by 
the special loyalty of concertgoers who attend so many performances in the Hall and by 
the intensity and excellence of the performers — world-class musicians and Tanglewood 
Music Center students — who have played there. For me, personally, the ten years has 
been marked by the many generous comments made by friends and strangers alike. 
Maybe there is an element of good New England manners here. (Who would strongly 
criticize a building directly to its architect?) But the enthusiastic — and spontaneous — 
response to the building has been a highlight of my professional career over the past 
decade. 

For an architect, each project is a hands-on learning experience. Only after develop- 
ing a design, following it through working drawings, and then overseeing the construc- 
tion can an architect begin to apply that learning to the next project. The act of building 
is as critical as is the act of designing. This explains why architects tend to do their best 
work in their sixties and seventies, the culmination of a career of constant learning. 
Frank Lloyd Wright applied that learning to great buildings deep into his eighties, and 
Frank Gehry is now at the top if his game well into his seventies — the opposite of 
dancers and professional athletes. 

The opportunity to design a building like Ozawa Hall so early in my architectural 
career has had a profound impact on our practice. My life and the lives of my colleagues 
have been changed by that experience. I know, too, that the buildings we are designing 
now and in the future reflect the learning gained in the building of Ozawa Hall. For 
this, I am deeply indebted to Tanglewood. 

While I had never designed a concert hall when I began work at Tanglewood, to 
compensate for that seeming inexperience, early in the project I spent three weeks in 
Europe studying the spatial qualities of a dozen halls. The acoustics of a hall were obvi- 
ously most important, and we were confident in our bringing Larry Kirkegaard to the 
team as acoustician. But it seemed to me that the intimacy and intensity of a concert 
experience were human qualities critical to the overall success of a hall. While in 
Europe, I photographed; I measured; I attended concerts to get the "feel" of each hall 
I visited. Larry Kirkegaard joined me at two of his favorite halls, the Concertgebouw in 
Amsterdam and the Musikvereinssaal in Vienna, not only to show me first-hand the 
reasons for their acoustic excellence, but also to share with me his subjective feelings for 
both halls. Richard Pilbrow (Theatre Projects Consultants, Inc.) pushed us to maintain 
intimacy by careful organizing of the seating, and his advice informed that trip. 

What, then, explains the enthusiastic reaction of so many people to the Hall. I sus- 
pect three things: 

1. The acoustics are wonderful, if I can say so myself. Credit for that goes to Larry 
Kirkegaard. From opening night (and Edward Rothstein's next day article in The 
New York Times) to the recent book, Concert Halls and Opera Houses by Leo 



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Main level floor plan ofSeiji Ozawa Hall 



Beranek, the acoustic accolades have been consistent. Beranek recently devel- 
oped a rating system (based on interviews with conductors and performers) 
which showed Ozawa Hall to be thirteenth-best in the world, fourth-best hall 
in the United States, and one of the four best halls built in the last fifty years. 
Larry Kirkegaard's vision and brilliance is palpable. His natural love of being the 
teacher, his understanding of the necessity of teamwork between acoustician and 
architect, were fundamental to the success of the building. Seiji Ozawa remarked 
ten years ago that he thought the Hall sounded as good with the big barn doors 
open as with the doors closed. High praise indeed for Larry's inventive solution 
to a seemingly insoluble acoustic problem. 

2. The Hall feels to be part of the land of the Stockbridge Bowl. Is it the curved 
roof referencing the soft hills of the Berkshires? Is it the way the Hall nestles 
into the landscape of the Highwood estate, choosing not to be placed at the 
promontory brow of the hill but choosing a site down the hill? Of course, build- 
ings do not make such choices. Architects do. Bill Porter was Master Planner 
for the site and he strongly supported our decision to place the Hall in this def- 
erential position. We pointed out that all the music buildings at Tanglewood 
(the Shed, the Theatre, and now Ozawa Hall) were placed well back from the 
brow of the hill. They defer to Tappan House and Highwood Manor House, 
indeed letting them establish themselves as the Estate Houses on an estate open 
to 15,000 people. The music buildings literally became the working "barns" 
("sheds") of the estate. 

3. The interior of the Hall, of course, gets much mention. In a way I always love it 
when people — strangers and friends alike — engage me in a conversation about 
the architectural intentions of the interior. A variety of theories about precedents 
and sources abound. While wanting to acknowledge a range of sources for ideas 
natural to any architect's work, nonetheless one idea has been constant from the 
beginning. My sense of Tanglewood has always focused on the essential demo- 
cratic nature of the place: that sense that it is open and accessible to anyone and 
everyone. I always say: most of the week, whether it is a CEO of a Fortune 500 
Company or a family visiting from 2000 miles away, everyone is welcome to 
wander the "estate" and perhaps hear master classes taught by the world's lead- 
ing musicians. 

We wanted Ozawa Hall to share in that democratic spirit. My model was as 
much a New England Meeting House as any other architectural form: the clear 
and simple rectangular room, relatively unadorned, warm and welcoming, cap- 
turing a democratic spirit. Attending a wedding in Strafford, Vermont, Meeting 
House five years ago, I felt very strongly that I was in a space that became a 
subliminal source of our architectural ideas for Ozawa Hall. Obviously there 
are differences: the teak and Douglas fir; the joinery; the wood patterns which 
combine the gridded formality of the balcony fronts with the informality of the 
summer breezes wafting through those grilles; the fact that from almost any seat 
you can see outside, not only to the sky but to the green of trees and lawn. All 
these elements modulate the strict interpretation of Ozawa Hall as Meeting 
House. But the spirit remains. To see how audience and performers react to the 
Hall, reaffirms this special democratic — and perhaps very American — spirit of 
the place. 

What I love today is what has happened in the Hall and how people have used the 
Hall in ways almost unimaginable. The way people congregate in the arcades at inter- 
mission, catching up with their friends, gazing quietly at the landscape; the way the 



Tanglewood Music Center (TMC) concerts have become so popular with visitors and 
cognoscenti alike (remember how we worried about small audiences for TMC recitals 
and how we organized the space so that it could feel "full" even with a small audience); 
how the Hall accommodates the inventions of the Contemporary Music Festival, or, 
more recently, the never-imagined inventions of a Mark Morris dance performance. 
This sense of a living and growing Hall, always expanding its vision, always surprising, 
is special. 

There is a saying in the law that "hard cases can make bad law." In a similar but 
more positive vein, the experience at Ozawa Hall has proved to me that a supportive 
and collaborative client makes great buildings. And here all the credit goes to the BSO 
organization. George Kidder, then President, asked Dean Freed (the BSO Trustee who 
chaired the BSO's Building and Grounds Committee at that time; now a BSO Life 
Trustee), the late BSO Overseer Haskell Gordon, and Dan Gustin (at that time the 
BSO's Manager of Tanglewood and BSO Assistant Managing Director) to be the three- 
person committee directing me, my colleagues Alan Joslin and Clifford Gayley, and 
John Fish of Suffolk Construction Company. In addition, Kidder asked Robert Campbell 
to be architectural adviser to that committee. The four-member BSO group (which 
sadly was reduced to three by Haskell's untimely death halfway through the project) 
brought a spirit of teamwork that inspired us, pushed us, nurtured us. That collaborative 
spirit — call it the architectural equivalent of musical ensemble — is celebrated by this 
building. 

To the BSO, to all the musicians who have performed there, and to the audiences 
who have supported the Hall for the past ten years, I offer my deepest thanks. 



i £ 



In the past decade, William Rawn's architectural work with concert halls and theaters has 
expanded considerably. Both the Sorenson Theater at Babson College and the Koka Booth 
Amphitheatre in Cary, North Carolina, won design awards from the United States Institute for 
Theatre Technology. The Strathmore Concert Hall in Bethesda, MD (a 2,000-seat enclosed 
concert hall serving as the second home for the Baltimore Symphony Orchestra) and the Wil- 
liams College Class of '62 Center for Theatre and Dance (with three separate theater venues) 
will open in the spring of 2005. William Rawn Associates, Architects, also has projects on a 
number of important college and university campuses nationwide, as well as three large-scale 
public projects under design — the United States Courthouse, Cedar Rapids, IA; the Cambridge 
(MA) Public Library, and the Green Music Center at Sonoma State University, CA. 





Tanglewood 



BOSTON 



THE BSO ONLINE 

Boston Symphony and Boston Pops fans with access to the Internet can visit the orchestra's 
official home page (http://www.bso.org). The BSO web site not only provides up-to-the- 
minute information about all of the orchestras activities, but also allows you to buy tickets 
to BSO and Pops concerts online. In addition to program listings and ticket prices, the web 
site offers a wide range of information on other BSO activities, biographies of BSO musi- 
cians and guest artists, current press releases, historical facts and figures, helpful telephone 
numbers, and information on auditions and job openings. Since the BSO web site is updat- 
ed on a regular basis, we invite you to check in frequently. 



SEIJIOZAWAHALL 

Tanglewood, Lenox, MA 

William Rawn Associates, Architects, Inc. 

HONORS AND AWARDS 

American Institute of Architects (national), Honor Award in Architecture (1995)* 
American Institute of Architects (national), Honor Award in Interior Architecture 

(2000)* 
American Institute of Architects (New England chapter), Honor Award in 

Architecture (1994) 
Boston Society of Architects, Honor Award for Design Excellence (1994) 
Boston Society of Architects, Honor Award in Interior Architecture (2000) 
United States Institute for Theatre Technology, Honor Award in Architecture 

(1995) 






Architecture magazine, cover story (December 1994) 

Interiors magazine 16th Annual Awards Issue, Best in Recreation and 

Entertainment Design (1995) 
Concert Halls and Opera Houses: Music, Acoustics, and Architecture by Leo Beranek, 

ranked as 13th-best hall in the world; one of the four best halls in the world 

completed in the last fifty years; and one of the four best halls of all time in the 

United States (2003) 






American Wood Council, Merit Award: Wood Design (1996) 

Brick Institute of America, American Institute of Architects, Brick in Architecture 

Award (1995) 
Architectural Woodwork Institute, Award of Excellence (1995) 
National Association of Home Builders, Grand Award Winner (1995) 
International Association of Lighting Designers, Citation for Lighting Design 

(1995) 



"Very rarely does a single building win two Honor Awards from the national American 
Institute of Architects 




The south 
side arcade 
ofSeiji Ozawa 
Hall during 
construction, 
December 6, 
1993 




The interior ofSeiji Ozawa Hall under construction, January 30, 1994 



U^H 




10 



Creating a "New" Tanglewood 
by Robert Campbell 

Robert Campbell, architectural critic for The Boston Globe, was Architectural Advisor to the 
BSO's Design Committee for the building ofSeiji Ozawa Hall. He originally wrote this essay 
for the souvenir book A Room For Music" produced in conjunction with the Hall's opening 
in 1994. 



It began with the land. In December 1986 the size of Tanglewood suddenly and unex- 
pectedly doubled, with the acquisition, from the Mason Harding family, of the High- 
wood estate next door. 

You couldn't walk out onto this new piece of land without noticing a long, gentle 
slope of field, back behind the house, that terminated in a natural backdrop of pines. 
You couldn't help feeling that Providence must have created that slope in the hope that 
someone, some day, would sit there listening to music, as it drifted out from somewhere 
among the pines. Even before Highwood became available, the decision had already 
been made to build a new concert hall at Tanglewood. The old Theatre-Concert Hall, 
across the lawn from the Koussevitzky Music Shed, was becoming derelict and inade- 
quate. A preliminary design for a new concert hall was actually created by another 
architect. When Highwood became available all this work came to a screeching halt. 
The BSO realized, at once, that it needed professional help to assess the potential of the 
new property. It hired the nationally known Cambridge firm of Carr, Lynch, Hack 8c 
Sandell as site planners. Bill Porter and Catherine Verhulst of that office took charge of 
the job. They quickly confirmed everyone's early intuition: the grassy slope at Highwood 
was the right place for the new concert hall. 

Porter and Verhulst pointed out other things, too. They noticed that a single unbro- 
ken ridge of lawn extended from the old Tanglewood property right through the new 
estate, all of it with a view of the Stockbridge Bowl to the south. They called this ridge 
the "performance plateau" and conceived it as a means of uniting the old campus with 
the new. They noticed that if the new concert hall were placed down the slope from this 
plateau, it would stand in the same relation to Highwood Manor House as the Shed 
does to the Tanglewood Manor House. There would be a sort of visual rhyme: Tangle- 
wood Manor and its Shed, Highwood Manor and its concert hall. The new estate would 
immediately feel like Tanglewood. 

Porter and Verhulst did many other things. They surveyed the property and declared 
most of it a protected wedand. With what remained, besides the site for the concert hall, 
they created a new string of roads and parking lots, carefully nestled among the existing 
woodlands, to relieve pressure on the old traffic patterns. They renovated the former 
carriage barn into offices and studios for some of Tanglewood's staff and faculty. They 
removed the Box Lot parking from the performance plateau and raised the grade of this 
part of the lawn by several feet, using material excavated for the new concert hall, in 
order to improve views into the shed. They developed a landscape plan for all of Tangle- 
wood, new and old. And they found locations for, and then designed, new gates, rest 
rooms, utilities, practice studios, snack booths, ticket booths, paths, plantings, a new gift 
shop, a new lawn cafe, and much else that was needed to transform the Highwood es- 
tate into a true working part of Tanglewood. 

But the centerpiece of the new Tanglewood would be, of course, the new concert 
hall. Because of the new site, it was decided to make a fresh start in planning for this 
facility. Several nationally known architects were interviewed before the selection of a 
relative newcomer, William Rawn of Boston, as the designer. Rawn impressed the selec- 
tion committee by the time and care he devoted to visiting and studying Tanglewood, 

11 



and especially by the verbal eloquence with which he was able to invoke Tanglewood's 
essential magic. 

Endless debates ensued. How many seats should the new hall have? Twelve hundred, 
give or take, it was finally decided. Where, precisely, should it stand? Rawn persuaded 
everyone it should be pushed far enough up the slope so as not to feel remote. Should 
it, like its predecessor, serve for both opera and concerts? No, it was determined: Now 
that it would be possible to preserve the old Theatre-Concert Hall, it made better sense 
to convert the older building for opera in the future. 

But the critical issue of the debate was over a different issue. Should the new hall be 
suitable for recording purposes? If so, it would have to be a much heavier, much more 
solid acoustic shell than anything else at Tanglewood. It would be a new and different 
kind of building altogether, and a costlier one too. The decision eventually fell in favor 
of recording, and the building began, in Rawn's office, to assume its present shape. 

It was exciting to watch the hall as it evolved over time in a long series of discussions, 
drawings, and models. Two BSO Board members, Dean Freed and the late Haskell 
Gordon, participated in virtually every meeting and contributed a great deal to the 
shaping of the hall. So did the BSO's Tanglewood Manager Dan Gustin and Tangle- 
wood Music Center Administrator Richard Ortner, among many others. Rawn traveled 
through Europe to look at famous halls. He returned with a determination to create not 
an auditorium, in which the performers on the stage are quite separate from the audi- 
ence, but rather a more congenial, more sociable space in which the performers and the 
audience would gather together as if in a large room. The audience would sit on three 
sides, and up on balconies too, so that its members could look across at one another, 
enjoying the ritual pleasure of assembling. They would sit in informal chairs, as if on a 
Shaker porch. A big opening at the rear would open to the sloping lawn, in the Tangle- 
wood tradition, where hundreds could sit and see and hear. Above this opening, there 
would be a musician's gallery, a place for a fanfare before the performance. 

Too often, when an architect and an acoustician collaborate, one or the other domi- 
nates. In the case of Seiji Ozawa Hall something very different occurred. Rawn and his 




mm 

The east end of Seiji Ozawa Hall during construction, August 2, 1993 



12 



acoustician, Lawrence Kirkegaard — himself trained as an architect — developed a give- 
and-take working relationship in which each seemed to be trying to optimize the other's 
goals. The building acquired the massive walls and ceiling that Kirkegaard needed to 
reflect the bass notes. But it also acquired a remarkable sense of light and air. Glass- 
block windows served to contain the sound, while simultaneously permitting views out 
to the sky. Broken-up surfaces of wall and ceiling, necessary for blending and dispersing 
the sound, took the form of handsome architectural coffers, bays, and corrugations. 

As it finally took form, and as it now has been built, Seiji Ozawa Hall is a building 
with an exterior that is a reddish blend of several shades of brick. The brick isn't the 
usual machine-cut type but a more irregular, richly textured variety made by casting 
each brick separately. It is trimmed in red sandstone imported from India, with Alaskan 
yellow cedar at the exterior galleries. The round vaulted roof is lead-coated copper. The 
overall impression is of a building that looks both durable and purposeful, commanding 
its site without looking in any way grand. It is angled slightly toward the Highwood 
manor house — an angle, as it happens, that is identical with that of the Shed. Connected 
with it, at the rear, is a smaller pavilion for the musicians, framed and surfaced in wood, 
where dressing and practice rooms ring four sides of an interior courtyard with a con- 
tinuous porch for informal socializing. The musicians' pavilion is like a tugboat pushing 
the liner of Ozawa Hall. Together, the two buildings share a modest entry court. 

Indoors, Seiji Ozawa Hall is made of stucco walls painted a warm off-white. Two 
tiers of balcony line three sides, faced with railings in teak. The ceiling is of pre-cast 
concrete coffers whose natural color is the same as that of the walls. Above the ceiling, 
beneath the copper vault, is the mechanical room, with fans for air changes and modest 
air-conditioning of the stage and its instruments. On the stage, the musicians sit on a 
stepped terrace floor, the elements of which can be telescoped back beneath one another 
when a flat floor is needed. The terrace is Kirkegaard's invention and allows the orches- 
tra members to be easily visible to one another and to the audience. 

Behind the stage is a balcony for choruses. If desired, the hall can be reversed for 
intimate performances, in which case this balcony becomes seating for a small audience, 
and the musician performs against a temporary movable backdrop. Invisible behind all 
this, within the walls and above the ceiling, is the structural skeleton of steel columns, 
beams, and trusses. 

Seen purely as architecture, Ozawa Hall is hard to categorize simply. Architect Rawn 
has little patience with passing fads or styles, but he does possess a strong urge to accom- 
modate new buildings within the traditions of the past. Ozawa Hall's interior is a tradi- 
tional shoebox shape, like Symphony Hall in Boston. Details like the coffered ceiling 
and gridded balcony rails can't exactly be called ornamental, but they do embody a 
memory, simplified as befits a country setting, of the gilded and sculptured interiors of 
the past. Outdoors, the wood galleries recall the long lazy porches of resorts and summer 
camps, and the big brick shape suggests the great rural mills of New England. Taken as 
a whole, Seiji Ozawa Hall reminds this writer of only one other building, a personal 
favorite, the tiny but monumental church of Santa Maria dei Miracoli in Venice, another 
powerful, round-vaulted, self-confident shape. 

Summer has come to Tanglewood now. The leaves are on the trees and the breeze 
drifts cool off the Stockbridge Bowl. The unsuspecting visitor will arrive, unaware that 
the beloved Tanglewood is, suddenly, twice as big, twice as wonderful. It will be as if 
you sat down to a small-screen black and white movie, only to watch it explode into 
wide-screen color. On that new and larger screen, Seiji Ozawa Hall takes its place as the 
central figure in the newest act of the ever-unfolding drama that is Tanglewood. 



13 



SEIJI OZAWAHALL (Florence Gould Auditorium) 
A Week in the Life: August 9 - August 15, 2004 

Monday, August 9, 2004 



10 a.m. - 12:30 p.m. 
1:30 p.m. - 1:55 p.m. 

2 p.m. - 2:25 p.m. 
2:30 p.m. - 2:55 p.m. 

3 p.m. - 3:25 p.m. 
3:30 p.m. - 3:55 p.m. 

4 p.m. - 5 p.m. 
8:30 p.m. - 10:30 p.m. 

Tuesday, August 10, 2004 

10 a.m. - 12:30 p.m. 
2 p.m. - 5 p.m. 

8:30 p.m. - 10:30 p.m. 

Wednesday, August 11, 2004 

10 a.m. - 12:30 p.m. 
1:30 p.m. - 5 p.m. 

6 p.m. - 7:30 p.m. 

8:30 p.m. - 10:30 p.m. 

Thursday, August 12, 2004 
10 a.m. - 10:40 a.m. 

10:45 a.m. - 11 a.m. 

11:15 a.m. -11:45 a.m. 

11:50 a.m. -12:30 p.m. 

12:40 p.m. - 1 p.m. 

2 p.m. - 4:30 p.m. 

5 p.m. - 7 p.m. 

8:30 p.m. - 10:30 p.m. 



TMC Orchestra Rehearsal 

TMC Chamber Music Dress Rehearsal 

(Zemlinsky, Fantasies for Piano) 
TMC Chamber Music Dress Rehearsal 

(Dehmel Songs) 
TMC Chamber Music Dress Rehearsal 

{Dehmel Songs) 
TMC Chamber Music Dress Rehearsal 

(Dehmel Songs) 
TMC Chamber Music Dress Rehearsal 

(Zem/insky, "Maiblumen") 
TMC Chamber Music Dress Rehearsal 

(Schoenberg, "Verklarte Nacht") 
BSO Recital Series Concert 

("My Fair Lady") 

TMC Orchestra Rehearsal 
BSO Recital Series Rehearsal 
(Jean-Yves Thibaudei, piano) 
TMC Chamber Music Concert 



TMC Orchestra Rehearsal 
Chamber Music Dress Rehearsal 

(Meridian Arts Ensemble) 
BSO Recital Series Rehearsal 

(Jean-Yves Thibaudei) 
BSO Recital Series Concert 

(Jean-Yves Thibaudei) 



TMC Chamber Music Dress Rehearsal 

(Rands, String Quartet No. 2) 
TMC Chamber Music Dress Rehearsal 

(Williams, Sextet) 
TMC Chamber Music Dress Rehearsal 

(Gyger, "Si Doux") 
TMC Chamber Music Dress Rehearsal 

(Lindberg, Quintet for Clarinet and Strings) 
TMC Chamber Music Dress Rehearsal 

(Singleton, "Greed Machine") 
TMC Orchestra Rehearsal 
Technical Set-up 

(Meridian Arts Ensemble) 
TMC Chamber Music Concert 

(Meridian Arts Ensemble) 



14 



Friday, August 13, 2004 

10 a..m. - 12:30 p.m. 
2:30 p.m. - 4:30 p.m. 

6 p.m. - 7 p.m. 
8 p.m. - 10 p.m. 

Saturday, August 14, 2004 

10 a.m. - 10:15 a.m. 

10:20 a.m. - 10:35 a.m. 
10:40 a.m. - 10:55 a.m. 

11 a.m. - 11:30 a.m. 
11:35 a.m. - 11:55 a.m. 

12 p.m. - 1 p.m. 
2:30 p.m. - 4:30 p.m. 
5 p.m. - 5:30 p.m. 
7:30 p.m. - 8:30 p.m. 
8:45 p.m. - 9:30 p.m. 

Sunday, August 15, 2004 

10 a.m. - 12 p.m. 

8:30 p.m. - 10:30 p.m. 



TMC Orchestra Rehearsal 
TMC Chamber Music Concert 

{Festival of Contemporary Music) 
BSO Friday Prelude Concert 
Dress Rehearsal 

{BUTI Orchestra and Chorus) 



TMC Chamber Music Dress Rehearsal 

{Perky Six Etudes) 
TMC Chamber Music Dress Rehearsal 

{Perle, Six New Etudes) 
TMC Chamber Music Dress Rehearsal 

{Sheng, "My Song") 
TMC Chamber Music Dress Rehearsal 

{Salonen, "Five Images After Sappho") 
TMC Chamber Music Dress Rehearsal 

{Sallinen, String Quartet No. 2) 
TMC Chamber Music Dress Rehearsal 

{Carter, String Quartet No. 1) 
Concert 

{BUTI Orchestra and Chorus) 
TMC Chamber Music Dress Rehearsal 

{McCaffrey, "I used to be , but now Tm 

TMC Chamber Music Dress Rehearsal 

{Rands, "Canti Lunatici") 
TMC Chamber Music Dress Rehearsal 

{Zupko, "Somewhere Gladly Beyond") 

TMC Chamber Music Concert 
{Festival of Contemporary Music) 

TMC Chamber Music Concert 
{Festival of Contemporary Music) 




The exterior of 
Seiji Ozawa Hall 
during construction, 
April 25, 1994 



:) 



^m 






m 



15 



IN TRIBUTE TO FLORENCE GOULD 



Florence Gould 




Florence Lacaze 
Gould onboard 
the S.S. Normamfie 
during ils maiden 
voyage, 1935. 



Florence Lacaze Gould, for whom the Florence Gould Auditorium in Seiji Ozawa 
Hall is named, was born in San Francisco to French parents in 1895. The San Francisco 

earthquake of 1906 
destroyed her father's 
printing house, and 
the family returned 
to France. Florence 
arrived not speaking 
a word of French, 
but she was quick, 
intelligent, and mu- 
sically gifted, and by 
the age of sixteen she 
was studying voice 
at the Paris Conser- 
vatory. Although she 
asserted throughout 
her life that she "had 
not a drop of Ameri- 
can blood," she remained a U.S. citizen until her death in 1983. 

Florence returned to San Francisco with her new husband, an American architect, at 
the outbreak of World War I, but the marriage did not last and she returned to France 
in 1917. Following the Armistice, she recommenced her musical studies, and was often 
to be found singing in the salons of Paris, along with the likes of the famous Parisian 
entertainer Collette. It was at such an event that she caught the eye of Frank Jay Gould, 
son of the American railroad magnate Jay Gould. The two were married in 1923 and, at 
her husband's request, Florence gave up her singing career. 

The Goulds were at the center of social life in the South of France during the 1920s 
and 1930s, where they attracted an international crowd of socialites, artists, and writers. 
They remained in France throughout World War II, during which time Florence served 
as a nurse and established a famous literary salon that became a center of intellectual life 
in wartime Paris. It was also at this time that she became a patron of contemporary 
painters, Braque and Picasso among them, and began amassing an extraordinary collec- 
tion of modern art. 

Frank Gould died in 1956, leaving an enormous fortune to his wife. Florence Gould 
continued her philanthropy to the arts, and was awarded the Legion d'Honneur by 
French President Charles de Gaulle in 1961. The guests of her salon tended no longer 
to be rebellious, avant-garde intellectuals, but, instead, great established personages, 
many of them members of the Academic She also surrounded herself with the leading 
European and American art collectors, dealers, and cultural leaders. At the time of her 
death, her art collection included works by Bonnard, Cassat, Cezanne, Corot, Degas, 
Gaugin, Toulouse-Lautrec, Manet, Monet, Pissarro, Renoir, and Van Gogh. The major- 
ity of the proceeds from the sale of her estate was given to the Florence Gould Foun- 
dation, the principal purpose of which is to foster Franco- American amity and collabo- 
ration. The Florence Gould Foundation endowed the auditorium of Seiji Ozawa Hall, 
naming it in honor of Mrs. Gould, in 1990, and similarly has named other cultural 
facilities throughout the United States and in France. The Foundation also has endowed 
a Fellowship at the Tanglewood Music Center for the benefit of talented young French 
musicians. 



16 



SEIJI OZAWA HALL, 1994-2003 

A Concise Performance History of the BSO's Recital Series 

In addition to the concerts presented each summer by the Tanglewood Music Center, 
the Boston University Tanglewood Institute, and the Boston Symphony Chamber 
Players, as well as the annual Festival of Contemporary Music, and the regular Friday- 
night Prelude Concerts performed by members of the BSO, frequent guest artists, and 
the Tanglewood Festival Chorus, the following recitalists and ensembles have been fea- 
tured in the BSO's weeknight (and occasional Sunday- night) recital series in Florence 
Gould Auditorium during Ozawa Hall's first ten years. 

Seiji Ozawa Hall also serves as the primary venue for Tanglewood's annual Jazz 
Festival each Labor Day Weekend (see page 21); as a recording venue; and as a venue 
for such important Berkshire community functions as graduation ceremonies, fund- 
raising events, and concerts by local ensembles. 



1994 

7/10/1994 
7/13/1994 

7/21/1994 

7/27/1994 

7/28/1994 

8/3/1994 

8/4/1994 

8/11/1994 

8/24/1994 

1995 

7/1/1995 
7/6/1995 
7/13/1995 
7/18/1995 

7/20/1995 

7/25/1995 

7/27/1995 

8/3/1995 

8/9/1995 

8/16/1995 

8/24/1995 

1996 

6/29/1996 

7/10/1996 

7/18/1996 

7/23/1996 

7/31/1996 

8/7/1996 

8/14/1996 

8/15/1996 

8/22/1996 



Juilliard String Quartet 

Kurt Ollmann, baritone; John Browning, piano; 

Donald St. Pierre, piano 

Maria Tipo, piano; Quartetto di Fiesole 

Richard Goode, piano 

Ute Lemper; Bruno Fontaine, piano 

Hermann Prey, baritone; Leonard Hokanson, piano 

Bang on a Can All-Stars 

Vermeer Quartet 

Barbara Bonney, soprano; Andre Previn, piano 

Juilliard String Quartet 

The Boston Camerata, Joel Cohen, music director 

Beaux Arts Trio 

Emanuel Ax, piano; Barbara Bonney, soprano; Malcolm Lowe, violin; 

Yo-Yo Ma, cello; Edgar Meyer, double bass; Rebecca Young, viola 

Barbara Bonney, soprano; Warren Jones, piano 

Emerson String Quartet 

The King's Singers 

The Dmitri Pokrovsky Ensemble 

Steve Reich and Musicians 

Deutsche Kammerphilharmonie Bremen; Jaime Laredo, conductor 

and violinist; Ginesa Ortega, gypsy singer 

Andreas Haefliger, piano 

Juilliard String Quartet 

Chanticleer 

Mitsuko Shirai, mezzo-soprano; Hartmut Holl, piano 

Reigakusha, Sukeyasu Shiba, artistic director 

Richard Goode, piano 

Bo Skovhus, baritone; Warren Jones, piano 

Netherlands Wind Ensemble 

Guarneri String Quartet 

Tafelmusik Baroque Orchestra, Jeanne Lamon, director 



mm 






17 



1997 

7/2/1997 

7/10/1997 

7/23/1997 

7/24/1997 

7/27/1997 

7/29/1997 

7/30/1997 

8/6/1997 

8/7/1997 

8/11/1997 

8/21/1997 

8/27/1997 



1998 

6/27/1998 

7/1/1998 

7/7/1998 

7/15/1998 

7/22/1998 

7/23/1998 

7/26/1998 

7/29/1998 

7/30/1998 

8/5/1998 

8/6/1998 

8/11/1998 

8/12/1998 

8/13/1988 

8/20/1998 

8/23/1998 

8/25/1988 

1999 

6/20/1999 
6/25/1999 
6/26/1999 
6/27/1999 
7/13/1999 
7/21/1999 

7/22/1999 
7/28/1999 
7/29/1999 



Juilliard String Quartet 

Dubravka Tomsic, piano 

Yo-Yo Ma, cello 

Renee Fleming, soprano; Helen Yorke, piano 

Yo-Yo Ma, cello 

Barbara Bonney, soprano; Caren Levine, piano 

Takacs Quartet 

Juilliard String Quartet 

Richard Stoltzman, clarinet; Lukas Foss, piano 

Ursula Oppens, piano 

Peter Serkin, piano 

Handel 5c Haydn Society Orchestra; Stanley Ritchie, director and 

violinist; Lorraine Hunt, mezzo-soprano 

Juilliard String Quartet 

Juilliard String Quartet 

Frederica von Stade, mezzo-soprano; Martin Katz, piano 

Stephen Hough, piano 

Byron Janis, piano 

Anonymous 4 

Andre Previn, piano; David Finck, double bass 

Emerson String Quartet 

Wind Soloists of the Chamber Orchestra of Europe; 

Leif Ove Andsnes, piano 

KREMERata BALTICA, Gidon Kremer, artistic director and 

violin soloist 

Arditti String Quartet 

Bryn Terfel, bass-baritone; Malcolm Martineau, piano 

Guarneri String Quartet 

Guarneri String Quartet 

Mitsuko Shirai, mezzo-soprano; Hartmut Holl, piano 

I Solisti Veneti, Claudio Scimone, conductor 

Mischa Maisky, cello; Martha Argerich, piano 



The King's Noyse/BEMF Violin Band 

Kyung-Wha Chung, violin; Itamar Golan, piano 

Juilliard String Quartet 

Juilliard String Quartet 

Barbara Bonney, soprano; Warren Jones, piano 

Susan Graham, mezzo-soprano; Patrick Stewart, speaker; 

Emanuel Ax, piano 

Chanticleer 

Emerson String Quartet; Stephen Hough, piano 

Yuri Bashmet, viola; Xenia Bashmet, piano; Malcolm Lowe, violin; 

Yo-Yo Ma, cello; Emanuel Ax, piano 



18 



8/3/1999 Dawn Upshaw, soprano; Gilbert Kalish, piano; Thomas Martin, 

clarinet; J. William Hudgins, vibes; Norman Fischer, cello; Lukas 
Foss, conductor 

8/11/1999 Freiburg Baroque Orchestra, Gottfried von der Goltz, artistic 

director and leader; Thomas Quasthoff, bass-baritone 

2000 

7/5/2000 Gil Shaham, violin; Jian Wang, cello; Paul Meyer, clarinet; 

Garrick Ohlsson, piano 
7/13/2000 Dubravka Tomsic, piano 

7/18/2000 Barbara Bonney, soprano; Margo Garrett, piano; William R. Hudgins, 

clarinet; Fenwick Smith, flute; Sato Knudsen, cello 
7/27/2000 Ida Haendel, violin; Itamar Golan, piano 

8/2/2000 Orchestra of the Age of Enlightenment; Catherine Mackintosh, 

violin/director; Anthony Robson, oboe 
8/3/2000 Daniel Barenboim, piano 

8/6/2000 Andre Previn, piano; David Finck, double bass; Grady Tate, drums 

8/8/2000 Thomas Quasthoff, bass-baritone; Justus Zeyen, piano 

8/16/2000 Nelson Freire, piano 

8/17/2000 Juilliard String Quartet 

8/22/2000 Collegium Vbcale Gent, Philippe Herreweghe, artistic director and 

conductor; Deborah York, soprano; Andreas Scholl, countertenor; 

Scot Weir, tenor; Sebastian Noack, baritone 

2001 

6/24/2001 Boston Early Music Festival Lully Opera Orchestra, directed by 

Paul O'Dette and Stephen Stubbs; Marie-Ange Petit, timpani; 

Kendra Colton, soprano; Ann Monoyios, soprano; Howard Crook, 

tenor 
6/29/2001 Juilliard String Quartet 

7/1/2001 Juilliard String Quartet 

7/2/2001 Peter Serkin, piano; Mary Nessinger, speaker; Tara Helen O'Connor, 

flute; David Shifrin, clarinet; Ida Kavafian and Jennifer Frautschi, 

violins; Steven Tenenbom, viola; Fred Sherry, cello 
7/5/2001 Peter Serkin, piano; Mary Nessinger, mezzo-soprano; Tara Helen 

O'Connor, flute; Marianne Gythfeldt, Michael Lowenstern, and 

David Shifrin, clarinets; Ida Kavafian, violin; Steven Tenenbom, viola; 

Fred Sherry, cello 
7/8/2001 Peter Serkin, piano 

7/11/2001 Matthias Goerne, baritone; Julius Drake, piano 

7/12/2001 Chanticleer 

7/18/2001 Mitsuko Uchida, piano 

7/19/2001 Yo-Yo Ma, cello; Emanuel Ax, piano; Cynthia Haymon, soprano; 

Marylou Speaker Churchill, violin; William R. Hudgins, clarinet 
7/23/2001 Yefim Bronfman, piano 

7/26/2001 Emerson String Quartet; Yefim Bronfman, piano 

8/1/2001 Dawn Upshaw, piano; Gilbert Kalish, piano; Peggy Pearson,oboe; 

Arthur Haas, organ; Lydian String Quartet; Edwin Barker, double 

bass 
8/8/2001 Dawn Upshaw, soprano; Gilbert Kalish, piano; Members of the 

Boston Symphony Orchestra; Federico Cortese, conductor 



19 



1 



8/9/2001 
8/19/2001 

2002 

6/27/2002 
6/28/2002 
6/30/2002 

7/9/2002 

7/10/2002 

7/16/2002 

8/1/2002 

8/7/2002 

8/14/2002 
8/15/2002 
8/22/2002 



2003 

6/29&30/2003 



7/9/2003 
7/10/2003 

7/16/2003 
7/20/2003 
7/22/2003 
7/24/2003 
7/30/2003 
7/31/2003 
8/6/2003 

8/14/2003 
8/19/2003 
8/20/2003 

8/21/2003 



Collage New Music, David Hoose, conductor 
Andre Previn, piano; David Finck, double bass 

Juilliard String Quartet 

Juilliard String Quartet 

Borromeo String Quartet; Dawn Upshaw, soprano; Todd Palmer, 

clarinet 

Jessye Norman, soprano; Mark Markham, piano 

Matthias Goerne, baritone; Eric Schneider, piano 

Emerson String Quartet 

Richard Goode, piano 

Scottish Chamber Orchestra, Joseph Swenson, conductor; Imogen 

Cooper, piano; Wolfgang Holzmair, baritone 

Karita Mattila, soprano; Martin Katz, piano 

Kalichstein-Laredo-Robinson Trio 

Boston Symphony Orchestra; Schola Cantorum de Caracas, Ana 

Maria Raga, general director; Members of the Orquesta la Pasion, 

Mikael Ringquist, leader; Luciana Souza, vocalist; Dawn Upshaw; 

soprano; Reynaldo Gonzalez Fernandez, vocalist and Afro-Cuban 

dancer; Deraldo Ferreira, berimbau, percussion, and Capoeira dancer; 

Robert Spano, conductor (Golijov's La Pasion Segun San Marcos) 

Mark Morris Dance Group in collaboration with the Tanglewood 

Music Center; Bradley Lubman and John Oliver, conductors; 

Yo-Yo Ma, cello 

Christian Tetzlaff, violin 

Lorraine Hunt Lieberson, mezzo-soprano; Peter Serkin, piano; 

Drew Minter, guest artist 

Dubravka Tomsic, piano 

Pierre-Laurent Aimard, Ursula Oppens, and Robert Spano, pianos 

Chanticleer 

Borodin String Quartet 

Emerson String Quartet; Jeffrey Kahane, piano 

Piotr Anderszewski, piano 

Camerata Salzburg, Sir Roger Norrington, chief conductor; Hannes 

Eichmann, speaker 

Juilliard String Quartet 

Yo-Yo Ma, cello; Emanuel Ax, piano 

Norwegian Chamber Orchestra; Leif Ove Andsnes, piano and guest 

leader; Terje Tonnesen, violin and artistic leader 

David Daniels, countertenor; Craig Ogden, guitar 




20 



SEIJI OZAWA HALL, 1994-2003 

Tanglewood Jazz Festival 

The following list includes those performers who have appeared in Florence Gould 
Auditorium in Seiji Ozawa Hall as part of the annual Tanglewood Jazz Festival on 
Labor Day Weekend since the Hall opened in 1994. Note that performers who ap- 
peared in the Koussevitzky Music Shed or the Theatre as part of each year's Jazz 
Festival do not appear in this listing. (The first Tanglewood Jazz Festival took place 
in 1989.) 

1994 Ahmad Jamal and his trio with guests The Joshua Redman Quartet; Marcus 
Roberts; The Dave Brubeck Quartet with special guest Cassandra Wilson; The 
New Black Eagle Jazz Band; The Carnegie Hall Jazz Band, Jon Faddis, director 

1995 The Shirley Horn Trio; Joe Henderson's "Double Rainbow" Quartet with 
Hello Alves, Nilson Matta, Paulo Braga, and guests; The John Scofield Quartet; 
Diane Schuur and her trio; Flora Purim and Airto; The Tito Puente Latin Jazz 
Ensemble; The New Black Eagle Jazz Band 

1996 The Arturo Sandoval Sextet; Betty Carter and her quartet; The John Pizzarelli 
Trio with special guest Bucky Pizzarelli; The Dave Brubeck Quartet; The T S. 
Monk, Jr., Quartet; George Shearing and Joe Williams; The Joe Lovano 
Quartet with the Christian McBride Quintet 

1997 Chick Corea and Gary Burton; Randy Weston's African Rhythms; Sonny 
Rollins; The New Black Eagle Jazz Band with special guest Odetta; The Dave 
Brubeck Quartet 

1998 The Cyrus Chestnut Trio; The Joe Lovano Quartet; John Pizzarelli with trio; 
The Patrice Williamson Group; The James Moody Quartet; Cassandra Wilson 
with her quartet 

1999 An Evening with Branford Marsalis; Kevin Mahogany and Dianne Reeves; 
The New Black Eagle Jazz Band; The Dave Brubeck Quartet 

2000 The Dizzy Gillespie Alumni All-Stars, featuring Jon Faddis, Paquito D'Rivera, 
Slide Hampton, Kenny Barron, John Lee, and Cecil Brooks III; The Rebecca 
Parris Quartet; The Dave Brubeck Quartet (80th Birthday Celebration) 

2001 Chuck Mangione and New York Voices; The John Pizzarelli Trio; Jane Monheit; 
Sonny Rollins 

2002 Arturo Sandoval and his orchestra; Nestor Torres; Marian McPartland's "Piano 
Jazz" with Sir Roland Hanna; The Roy Hargrove Quintet; Roberta Gambarini; 
The Dave Brubeck Quartet 

2003 Gato Barbieri; The Michel Camilo Trio; Jonathan Pascual; Marian McPardand's 
"Piano Jazz" with special guest Norah Jones; Cassandra Wilson; Kenny Barron's 
"Canta Brasil"; Trio da Paz; Celebrating a Year of the Blues (Jay McShann, 
Louisiana Red, Duke Robillard, The Nicole Nelson Band, Kendrick Oliver 
and The New Life Jazz Orchestra) 




21 




Tanglewood 



Sunday, August 8, at 8:30 

Monday, August 9, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

JOHN WILLIAMS, musical direction 

DIANNE REEVES, vocalist 

BRIAN STOKES MITCHELL, baritone 

CARL SAUNDERS, trumpet 

GARY FOSTER, alto saxophone 

TOM RANIER, piano 

STEVE HOUGHTON, percussion 

CHUCK BERGHOFER, bass 

THE TANGLEWOOD BIG BAND JAZZ ENSEMBLE 



c\ 



SEIJ I OZAWA HALL 
loth ANNIVERSARY SEASON 



IN TRIBUTE TO JOHN WILLIAMS, 
CELEBRATING HIS 25th YEAR AS A MEMBER OF THE BSO FAMILY 

CARL SAUNDERS, GARY FOSTER, TOM RANIER, 
STEVE HOUGHTON, and CHUCK BERGHOFER 

perform 

GERSHWIN (arr. WILLIAMS) — Our Love is Here to Stay 

A MEDLEY OF BALLADS (titles to be announced from the stage) 

LANNY MORGAN — Friends Again 

DIANNE REEVES and BRIAN STOKES MITCHELL 
with TOM RANIER, piano 

perform 

A SELECTION OF SONGS 

(to be announced from the stage) 



INTERMISSION 



Steinway and Sons Pianos, selected exclusively at Tanglewood 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert. 

Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 
concert. Flashes, in particular, are distracting to the performers and other audience 
members. Thank you for your cooperation. 

22 



LERNER AND LOWE (arr. WILLIAMS) 
My Fair Lady, arranged for singers and jazz orchestra 

featuring 
DIANNE REEVES and BRIAN STOKES MITCHELL 

with 

CARL SAUNDERS, GARY FOSTER, TOM RANIER, 

STEVE HOUGHTON, and CHUCK BERGHOFER 

and 
THE TANGLEWOOD BIG BAND JAZZ ENSEMBLE 

Musical Direction by JOHN WILLIAMS 

Overture/Why Cant the English 

Wouldn't It Be Loverly 

With a Little Bit of Luck 

I'm an Ordinary Man 

The Rain in Spain 

I Could Have Danced All Night 

Ascot Gavotte 

On the Street Where you Live 

You Did It 

Show Me 

Get Me to the Church on Time 

I've Grown Accustomed to her Face 



NOTES ON THE PROGRAM 

Some Words from John Williams 

It's hard to believe that it's twenty- five years since I became part of what we think of so 
fondly and meaningfully, in Boston and here at Tanglewood, as the BSO family. Yet my 

years in Los Angeles and Hollywood take me back even far- 
ther than that, and it's there that the jazz ensemble version of 
My Fair Lady you're hearing tonight originated. 

One of the great artists I've been privileged to work with 
was the late, great, innovative and influential jazz drummer 
Shelly Manne. It was Shelly Manne who in 1956 made the 
very first recording of music from a Broadway show translated 
into the idiom of jazz — Lerner and Loewe's My Fair Lady, 
which he recorded with bassist Leroy Vinnegar and (another 
name needing no introduction) pianist Andre Previn. Eight 
years later he turned to My Fair Lady again, asking me to pro- 
duce an expanded version for singers and jazz ensemble. That version was issued on 




23 



Capitol Records in October 1964 with "Shelly Manne: His Men, and orchestra" and 
vocals by Jack Sheldon and Irene Krai. 

It gives me great pleasure to share this music with you tonight, and to share the 
stage of Ozawa Hall this evening with so many of today's great artists from the worlds 
of jazz, Broadway, and the recording studios. And to make this music for you in this 
wonderful Ozawa Hall only adds to the joy of the event. I hope tonight's concert brings 
you as much joy as it does the rest of us. 

— John Williams 

Inspired by George Bernard Shaw's "Pygmalion," Lerner and Loewes "My Fair Lady" opened 
on Broadway on March 15, 1956, with Julie Andrews and Rex Harrison. Shelly Manne 
(1920-1984) recorded John Williams s jazz ensemble arrangement of "My Fair Lady" in late 
July/early August 1964 at the Capitol Tower, Studio A, in Hollywood, California, and the LP 
album hit the stores on October 5 that year. The following is excerpted and somewhat revised 
from the original liner notes for that recording, which was produced by David Cavanaugh. 



If you can remember back to when you first heard the original Broadway cast version of 
My Fair Lady, you'll probably recall that it struck you as being not only very, very good, 
but also very, very different. Now, you're likely to have these same reactions to Shelly 
Manne's highly-original UN-original cast version. It's an unusual, imaginative produc- 
tion that brings this great score into new jazz focus and puts it 
right on the street where you live! 

For openers there's an inventive overture that presents a 
taste of what's coming from Johnny Williams's excitingly 
modern arrangements and impresario Manne's provocative 
players. The vocal stars of this cast give us a hip, easy-voiced 
Professor Henry Higgins (and any other male roles that need 
filling), and a cool, cockneyless Eliza Doolittle. "Why Can't 
the English," "I'm an Ordinary Man," and "You Did It" retain 
all of their original flair for humor; we get "Wouldn't It Be 
Loverly" and "Show Me" in superb modern-day Doolittle; and 
the two get together on "The Rain in Spain" for an exercise in 
a kind of elocution that just didn't exist in Shaw's day. Instrumentally, there's taste, 
freshness, excitement, and a multiplicity of modern sounds, to say the least. 

My Fair Lady with the UN-original cast opened for business at record stores all over 
the country on October 5, 1964. That time, however, the entire cast joined as one in the 
hope that there would be no "record breaking" — not even by Messrs. Lerner and Loewe. 
Because, let's face it, just like My Fair Lady, ]2lzz is here to stay! 




\ 

Shelly Manne 




htifTVi 



24 



ARTISTS 




John Williams 

In January 1980 John Williams — who this year celebrates his 25th year as 
a member of the BSO family — was named nineteenth Conductor of the 
Boston Pops Orchestra since its founding in 1885. He assumed the title of 
Boston Pops Laureate Conductor following his retirement in December 
1993 and holds the title of Artist-in-Residence at Tanglewood. Born in 
New York, Mr. Williams attended UCLA, studied composition privately 
with Mario Castelnuovo-Tedesco, and attended the Juilliard School, where 
he studied piano with Madame Rosina Lhevinne. He worked as a jazz 
pianist before beginning his career in the film studios, where he worked with such composers 
as Bernard Herrmann, Alfred Newman, and Franz Waxman. He went on to work in televi- 
sion in the 1960s, winning two Emmy awards for his work. John Williams has composed the 
music and served as music director for more than 90 films, including the Harry Potter movies, 
Catch Me If You Can, the Star Wars movies, A.I. Artificial Intelligence, Angelas Ashes, Saving 
Private Ryan, Amistad, Schindlers List, Jurassic Park, Born on the Fourth of July, the Indiana 
Jones films, E.T. (the Extra-Terrestrial), Superman, Close Encounters of the Third Kind, Jaws, 
and Goodbye, Mr. Chips. His most recent film scores are Harry Potter and the Prisoner of 
Azkaban and Steven Spielberg's The Terminal. He has received 42 Academy Award nomina- 
tions, and has been awarded five Oscars, three British Academy Awards, eighteen Grammys, 
four Emmys, and three Golden Globes, as well as several gold and platinum records. Mr. 
Williams served as Grand Marshal of the 2004 Tournament of Roses parade. Upcoming 
projects include Star Wars: Episode III. This summer at Tanglewood he has led the Boston 
Symphony Orchestra, the Boston Pops Orchestra, and the Tanglewood Music Center Or- 
chestra, participating in the Seiji Ozawa Hall 10th Anniversary Celebration Gala and Tan- 
glewood on Parade as well as leading this week's performances of his own arrangement of 
My Fair Lady for vocalists and jazz ensemble. 

In addition to his film music, Mr. Williams has written many concert pieces, including 
two symphonies, and concertos for bassoon, cello, flute, violin, clarinet, tuba, and trumpet. 
His Soundings was commissioned by the Los Angeles Philharmonic for the opening of 
Disney Hall in October 2003, and his Horn Concerto was premiered in November 2003 by 
the Chicago Symphony and its principal horn Dale Clevenger. He composed Call of the 
Champions for the 2002 Olympic Games in Salt Lake City; the NBC News theme "The 
Mission"; "Liberty Fanfare," for the rededication of the Statue of Liberty; "We're Lookin' 
Good!," for the Special Olympics in celebration of the 1987 International Summer Games; 



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the themes for the 1984, 1988, and 1996 Summer Olympic games, and/or Seijif, honoring 
Seiji Ozawa's 25th anniversary as BSO music director. Many of Mr. Williams's film scores 
have been released as recordings; the soundtrack album to Star Wars has sold more than four 
million copies. He has also led a highly acclaimed series of albums with the Boston Pops 
Orchestra on Philips and Sony Classical. Mr. Williams has led the Boston Pops Orchestra 
and the Boston Pops Esplanade Orchestra on tour. He has conducted the Boston Sym- 
phony Orchestra both at Symphony Hall and at Tanglewood and has appeared as guest 
conductor with many orchestras. With the BSO and violinist Gil Shaham, Mr. Williams 
has recorded his Violin Concerto, TreeSong, and Three Pieces from Schindler's List on 
Deutsche Grammophon. 

Dianne Reeves 

As a result of her unique vocal stylings, Dianne Reeves has garnered a 
large following and tremendous critical acclaim throughout the world. 
While her singing is steeped in tradition, Reeves is taking bold new steps 
with her strong, agile voice, rhythmic virtuosity, and astounding improvi- 
sational ease. Recognized as one of jazz's preeminent vocalists, Dianne 
Reeves is the only artist to have won the Grammy for Best Jazz Vocal 
Performance for three consecutive recordings — in this case, her most 
recent three recordings: A little Moonlight in 2003 — produced by Arif 
Mardin (Aretha Franklin, Nora Jones) — The Calling in 2001, and In The Moment-Live in 
Concert in 2000. In fact, Ms. Reeves is the only recording artist in any singing category to 
have accomplished such a feat with three records in a row. In 2003, Ms. Reeves became the 
first internationally renowned jazz artist to perform in Qatar. She also received an honorary 
doctorate from the Berklee College of Music and, on New Year's Eve, performed a program 
of Gershwin with the Berlin Philharmonic conducted by Simon Rattle — a concert broadcast 
live throughout much of Europe and the Far East. Named the Creative Chair for Jazz for the 
Los Angeles Philharmonic, a newly established position, Ms. Reeves oversees the scheduling 




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26 



of jazz programming and educational workshops at both the Hollywood Bowl and the Walt 
Disney Concert Hall. She will continue to tour extensively in 2004, including stops in Japan, 
India, and Korea, as well as dozens of engagements throughout Europe. September 2004 
marks the release of her first holiday recording, Christmas Time is Here, featuring new rendi- 
tions of such classics as "Little Drummer Boy," "Carol of the Bells," "Christmas Waltz," "I'll 
Be Home For Christmas," "Let It Snow," and many more. 

Brian Stokes Mitchell 

Brian Stokes Mitchell recently starred in Man of La Mancha as Don 
Quixote, for which he received the Helen Hayes Award and Tony and 
Drama Desk nominations. He played the title role in Sweeney Todd for the 
Kennedy Center and starred on Broadway in August Wilson's King Hedley 
II, for which he received a Tony nomination, Drama Desk nomination, 
and an Outer Critics Circle nomination. He won the 2000 Tony, Drama 
Desk, and Outer Critics Circle awards for Best Leading Actor in a 
Musical for his performance as Fred Graham/Petruchio in Kiss Me Kate. 
Additional credits include, on Broadway, Ragtime (Coalhouse Walker; Tony, Drama Desk, 
and Outer Critic's Circle nominations, Drama League's Distinguished Performance Award, 
Los Angeles Drama Critic's Circle Award); Kiss of the Spiderwoman (Valentine); Jelly's Last 
Jam (Jelly, replacing Gregory Hines); Oh Kay!; Mail (Theatre World Award); and "Encores!" 
productions of Do Re Mi and Carnival! He has performed numerous times at Carnegie Hall, 
making his debut in the 1998 televised "Gershwin Gala" with Michael Tilson Thomas and 
the San Francisco Symphony. Film and TV credits include recurring roles on Frasier and 
Crossing Jordan, The Prince of Egypt, Too Rich with Lauren Bacall, Double Platinum with 
Diana Ross, WNET's Great Streets, The Singer and the Song from the White House, The 
Kennedy Center Honors, The Millennium Celebration from Washington, D.C., and The Fresh 
Prince of Bel Air. His TV series debut became a seven-year stint on Trapper John, M.D. Stokes 
can be seen in the upcoming Showtime movie Ruby's Bucket of Blood. He has been on more 
than ten albums and is currently working on a solo album. For more information, please visit 
www.brianstokes.com. 




Carl Saunders 

Carl Saunders is considered by jazz listeners living in the Los Angeles area and musicians 
worldwide to be one of the finest trumpet players around today. He was born in 1942 in 
Indianapolis, and his first five years were mostly spent on the road. His uncle was trumpeter- 
bandleader Bobby Sherwood; his mother Gail (Bobby's sister) sang for the Sherwood 
Orchestra and Stan Kenton, among others. When Carl was five, he and his mother settled in 
Los Angeles, living with Carl's aunt Caroline and her husband, tenor-saxophonist Dave Pell. 
Mr. Saunders was influenced by trumpeter Don Fagerquist of the Dave Pell Octet. He began 
playing trumpet in seventh grade, and after he graduated high school his mother helped get 
him a job with Stan Kenton's Orchestra. He auditioned for Kenton's band and was given a 
choice: wait for the first opening in the trumpet section, or join the band immediately as a 
member of the mellophonium section. He chose the latter and spent much of 1961-62 on 
the road with Stan Kenton. After spending part of 1962-63 traveling with Bobby Sher- 
wood's group (playing drums), he settled in Las Vegas, where during the next twenty years 
he played with a countless number of show bands and worked with such artists as Ella Fitz- 
gerald, Tony Bennett, and Frank Sinatra. He traveled as a lead player with Paul Anka and 
Robert Goulet and with such bandleaders as Si Zentner, Harry James, Maynard Ferguson, 
Benny Goodman, and Charlie Barnet. In 1984 he moved to Los Angeles, where he joined 
Bill Holman's Orchestra as lead trumpet, a position he still holds. He has also worked with 
Supersax, the big bands of Bob Florence and Gerald Wilson, and the Phil Norman Tentet. 
In 1994 he became a member of the Dave Pell Octet (in Don Fagerquist s old chair). He also 
leads his own groups, including the Carl Saunders Big Band, a sextet, and a quartet. His CD 



■ 



27 







28 



Out Of The Blue features him in quartet and sextet settings; on Eclecticism he is joined by 
twenty-five strings and three French horns. His most recent release is Bebop Big Band, on the 
Sea Breeze label. Carl Saunders also enjoys working with kids and conducting clinics. 

Gary Foster 

Gary Foster is a graduate of Kansas University. He lives in Los Angeles, where he is a free- 
lance musician performing on clarinet, saxophone, and flute. He has performed and recorded 
with jazz groups led by Clare Fischer, Warne Marsh, Cal Tjader, Shelly Manne, Moacir San- 
tos, and Poncho Sanchez. Gary may be heard on Toni Tennille's More Than You Know and 
All of Me; numerous recordings of Barbra Streisand and Natalie Cole; MelTorme's Reunion 
and Live in Tokyo; Frank Sinatra's Duet recordings, and a number of Rosemary Clooney's 
recent recordings on the Concord Jazz label. He has also recorded recently with Michael 
Feinstein, Liza Minnelli, Diane Shuur, Melissa Manchester, Joao Gilberto, Johnny Mathis, 
Michel LeGrand, Kenny Rogers, Barry Manilow, Dionne Warwick, Manhattan Transfer, 
Vince Gill, Diana Krall, Wesla Whitfield, Linda Ronstadt, Robbie Williams, Steve Lawrence, 
Tierney Sutton, Quincy Jones, and Sammy Nestico. His solo jazz recordings include Kansas 
City Connections, Subconsciously, and Grand Cru Classe for Revelation Records; Imagination 
and Beautiful Friendship for RCA Japan; Warne Marsh Meets Gary Foster for Toshiba- EMI, 
and Star bright and Whose Woods Are These? with Clare Fischer on Discovery. Recent solo 
recordings are Make Your Own Fun and Live at Maybeck Hall-Duo With Alan Broadbent on 
Concord Jazz; the Jazz at the Movies Band recordings on Discovery, Jazz After Midnite with 
Tom Ranier on JVC, Body & Soul with. Lee Konitz, a tribute to Warne Marsh on Insights- 
Japan, The Music of Reed Kotler with Bobby Shew, and Mentor with Kerry Strayer. From its 
inception in 1973 until 1982, Gary was a member of the award-winning Toshiko Akiyoshi- 
Lew Tabackin Big Band. He has received the Most Valuable Player Award for woodwind 
doubling from the National Academy of Recording Arts and Sciences. He has been a mem- 
ber of the orchestra on many television soundtracks, including "Diagnosis Murder," "Pinky 
8c The Brain," and "Family Guy," among others, and on such recent motion picture sound- 
tracks as Far From Heaven, Agent Cody Banks, Ten Ways to Lose A Guy, Chicago, Catch Me If 
You Can, Legally Blonde II, Elf, The Cat in the Hat, and Haunted Mansion, among many others. 

Tom Ranier 

Tom Ranier, a native of Chicago, was born in 1949 and began instrument lessons as a child, 
studying piano with Craig Rees, Earle Voorhies, and John Crown and woodwinds with Lou 
Ranier. He also worked with Lloyd Rogers and Donal Michalsky in composition and with 
Jack Daugherty in arranging. At fifteen he appeared as soloist with the Orange County 
Youth Orchestra. Mr. Ranier earned his bachelor's degree from California State University 
at Fullerton and went on to further studies at the University of Southern California and Cal 
Arts. He received awards from the Young Artist Guild and the Bach Festival, among others. 
Mr. Ranier has taught jazz theory, composition, arranging, and jazz piano at such institutions 
as Cal State Fullerton, Saddleback College, and Fullerton College. His discography includes 
the solo releases RANIER, Night Music, and In the Still of the Night, as well as recordings 
appearances with such artists as Milt Jackson, Buddy DeFranco, Ray Brown, John Abercrom- 
bie, Dave Pike, Louie Bellson, John Heard, Terry Gibbs, Supersax, Carmen McRae, Natalie 
Cole, Dexter Gordon, Frank Rosolino, Harold Land, Bud Shank, Herb Geller, Pete Christ- 
leib, Lanny Morgan, Conte Candoli, James Moody, Bob Cooper, Monty Budwig, David 
Benoit, The Manhattan Transfer, and Joe Pass. His studio recording work includes work on 
releases by Christina Aguilera, Placido Domingo, Natalie Cole, Quincy Jones, Barbra Strei- 
sand, Frank Sinatra, Michael Jackson, Jack Jones, Sammy Davis, Jr., Olivia Newton-John, 
Bill Conti, David Rose, Pat Williams, Julie Andrews, Madonna, Carol Burnett, Whitney 
Houston, Diana Ross, Rosemary Clooney, and many others. Television soundtrack and per- 
formance credits include "Matlock," "Beauty and the Beast," "In the Heat of the Night," 
"Moonlighting," "Christy," "Something Wilder," and such awards shows as the Oscars, Em- 






29 



mys, and American Music Awards. Among numerous film credits are The Presidio, Ghost, 
Beetlejuice, Forrest Gump, For Love of Country— The Arturo Sandoval Story, Legally Blonde, Ice 
Age, Monsters, Inc., Pearl Harbor, Troy, and The Day After Tomorrow. 

Steve Houghton 

Internationally renowned jazz drummer, percussionist, clinician, author, and educator Steve 
Houghton initially received acclaim at age twenty as the drummer with Woody Herman's 
Young Thundering Herd. Since then he has shared stage and studio with luminaries Clay 
Jenkins, Toots Thielemans, Christian McBride, Toshiko Akiyoshi, Freddie Hubbard, Lyle 
Mays, Billy Childs, Pat LaBarbara, Arturo Sandoval, Joe Henderson, Karrin Allyson, and 
Maureen McGovern, with whom he currently tours. As a band leader his discography in- 
cludes The Manne We Love: Gershwin Revisited (TNC); a recent release of John Williams's 
charts for big band and quintet, initially recorded by Shelly Manne on Capitol in 1965; The 
Steve Houghton Quintet Live @ the Senator (Jazz Compass); Windsong (SHPERC Records); 
Remembrances (Warner Bros.), and Steve Houghton Signature (Mesa-Bluemoon). In total he 
attributes more than one hundred recordings to his credit as a participating artist. As a classi- 
cal percussionist, he has performed with the Boston and Philadelphia pops orchestras, as well 
as the Hollywood Bowl Orchestra. He frequently appears as a soloist with numerous orches- 
tras and wind ensembles throughout the world. As author, Mr. Houghton's publications in- 
clude more than twenty composite educational tools including Essential Styles, Books 1 6c 2 
(Alfred), The Ultimate Drumset Chart Reading Anthology (Alfred), Play and Teach Percussion 
(GIA), and The Drumset Soloist (Warner Bros.). In addition, he was recently featured in an 
article published in Modern Drummer (2003) entitled "The Thundering Drummers of Woody 
Herman." Mr. Houghton is currently associate professor of percussion at Indiana University 
and is on faculty at the Henry Mancini Institute. In addition to his academic duties, he pres- 
ents yearly clinics and master classes to students around the world. Chair of The Resource 
Team of the International Association of Jazz Education, and a Board member of the Per- 



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cussive Arts Society, Steve Houghton endorses Pearl drums, Adams percussion, Zildjian 
cymbals, sticks, and mallets, and Remo World Percussion products and drumheads. 

Chuck Berghofer 

One of LA's finest bass players, Chuck Berghofer enjoys a varied career as a jazz musician 
and studio artist. From his early days with Skinnay Ennis and Bobby Troup, he went on to 
work with such jazz legends as Herb Ellis, Shelly Manne, Howard Roberts, Jimmy Rowles, 
and Zoot Sims. Always in demand by vocalists, he has recorded with Rosemary Clooney, 
Ella Fitzgerald, Peggy Lee, Mel Torme, Sarah Vaughan, and more recently with Christina 
Aguilera, Michael Feinstein, and Barry Manilow. Two of his biggest "hits" were his bass solo 
on Nancy Sinatra's "These Boots Are Made for Walking" and the "Barney Miller" TV theme. 
Mr. Berghofer has performed on over 400 movie soundtracks, including Rocky I & II and On 
Golden Pond, Jim Carrey's Majestic, and Clint Eastwood's Bird and True Crime. His television 
credits include "Charlie's Angels," "The Carol Burnett Show," "The Simpsons," "Star Trek," 
and "Enterprise." In the mid-1980s he received the NARAS award as most valuable bass 
player for four consecutive years, nominated by his fellow studio musicians. In 1991 he 
joined the rhythm section for Frank Sinatra, touring worldwide and recording the classic 
Duets I and II albums. In recent years he has recorded and toured with Joni Mitchell and 
performed on Barbra Streisand's Farewell Tour in Australia and the U.S. He is featured at 
jazz festivals across the country and represents West Coast jazz in Europe. One of the most 
sought-after bass players on the West Coast today, Chuck Berghofer has for more than forty 
years been a member of the Pete Jolly Trio. He is a regular member of the Frank Capp Jugger- 
naut Big Band, the Flying Pisanos Ensemble, and his own quartet, the Midnight Jazz Band. 

The Tanglewood Big Band Jazz Ensemble 

Marvin Stamm, trumpet 

Anthony Kadleck, trumpet 

Brian O 'Flaherty, trumpet 

Frank Greene, trumpet 

David Ohanian, French horn 

Kate Gasgoine, French horn 

Keith O'Quinn, trombone 

Larry Farrell, trombone 

Paul Faulise, bass trombone 

Lawrence Feldman, alto saxophone, piccolo, flute, bass clarinet 

Jerry Dodgion, alto saxophone, flute 

Kenny Berger, baritone saxophone, clarinet, bass clarinet 

Mike Roylance, tuba 




31 





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An evening of music by Schumann, Liszt, 
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Tanglewood 

Tuesday, August 11, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

JEAN-YVES THIBAUDET, piano 




SEI JI OZAWA HALL 
lOth ANNIVERSARY SEASON 



DEBUSSY 


Preludes , Book II 




I. (...Brouillards) 




II. (. . .Feuilles mortes) 




III. (. . .La puerta del vino) 




IV. (. . . w Z,£f Fm 5(9/2/ d'exquises danseuses") 




V. (. . . Bruyeres) 




VI. (. . . General Lavine — eccentric) 




VII. (. . .Z/tf terrasse des audiences du clair de lune) 




VEIL (...Ondine) 




IX. (. . .Hommage a S. Pickwick Esq., PPM. PC.) 




X. (. . . Canope) 




XI. (. . .L^y tierces alternees) 




XII. (. ..Feux d' artifice) 




INTERMISSION 



LISZT 



"Les Jeux deaux a la Villa d'Este" 

from Annees de pelerinage, Troisieme Annee 



LISZT 



Ballade No. 2 in B minor 



WAGNER 

(arr. LISZT) 

WAGNER 
(arr. LISZT) 

LISZT 



"O du mein holder Abendstern" from Tannhduser 



Liebestod from Tristan und Isolde 



Concert Paraphrase on Verdi's Rigoletto 



Steinway and Sons Pianos, selected exclusively at Tanglewood 

In consideration of the performers and those around you, cellular phones, pagers, 
and watch alarms should be switched off during the concert. 

Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 
concert. Flashes, in particular, are distracting to the performers and other audience 
members. Thank you for your cooperation. 



33 



NOTES ON THE PROGRAM 



A program pairing the introverted, allusive Claude Debussy with the extroverted, dem- 
onstrative Franz Liszt would seem to be a study in opposites, if not irreconcilables. The 
relationship between these composers, however, is far more complex. Debussy, after all, 
has his storms, as Liszt his reveries, and technically speaking, Debussy's piano style is 
unimaginable without Liszt's previous innovations. Moreover, the two composers, de- 
spite their disparate temperaments, share a flair for piano coloration of stunning pictorial 
vividness. 

Producing three major sonata-like piano triptychs between 1903 and 1908 (his Es- 
tampes and first two sets of Images), Claude Debussy (1862-1918) subsequently moved 

toward further expressive refinement, distillation and com- 
pression. This tendency climaxed in twenty-four Preludes for 
piano. The first set of a dozen appeared in 1909-10; the sec- 
ond group, generally marked by even more complexity and 
subtlety of exposition and construction, followed in 1912-13. 
Paradoxically, the Preludes are short without being small, 
economical rather than abbreviated. Their sound portraiture 
achieves the richness of full-sized oil paintings. Here Debussy 
largely dispensed with flamboyant pianism, and with this tech- 
nical orientation, the Preludes stand midway between concert 
hall fare and domestic music to be savored by the player alone. 
They also straddle established categories in that they are — and, at the same time, are 
not — program music: Debussy heads them with uninformative Roman numerals; only 
beneath the final bars of each piece does he provide its "title" in parentheses, preceded 
by three ellipsis points. His program, he thus suggests, has been dictated by the music. 





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No. 1 {Brouillards — "Mists") presents murky middle-register swirls through which a 
theme in bald octaves looms with indistinct menace, while Feuilles mortes ("Dead Leaves") 
exploits the bleak emotional atmosphere created by close-spaced chromatic chords. 
Debussy's beloved Hispanic colors suffuse Lapuerta del vino ("The Vino Gateway"): 
inspired by a picture postcard of the Alhambra, the music is a sultry habanera, not with- 
out moments of lively impishness. 

The purling, high-register figurations and extended trills of No. 4 (. ..Les fees sont 
d'exquises danseuses — "Fairies are exquisite dancers") suggest the gossamer residue of a 
waltz mercurially liberated of ballroom trappings. The ensuing Bruyeres ("Heaths") bears 
an interesting similarity to a famous Book I prelude (The Girl with the Flaxen Hair): it 
is a loving woodland sketch of unashamedly serene sentimentality. In General Lavine — 
eccentric, Debussy evokes the antics of a real-life clown with sforzando pratfalls and a 
rollicking music-hall tune fragment that makes willful attempts to return in the wrong 
key. 

In No. 7 {La terrasse des audiences du clair de lune — "The Reception Terrace by Moon- 
light"), Debussy mines two of his favorite topoi — moonlight and Orientalism — building 
a narrative where coloristic remoteness slowly yields to passion. Glimmering water 
effects inform Ondine, as Lydian-mode aspects of its ultra-delicate theme breathe an 
atmosphere at once exotic and supernatural. Debussy's Anglophilia (an unusual trait for 
a Frenchman) genially emerges in Hommage a S. Pickwick Esq., PPM.PG; an initial ref- 
erence to "God Save the King" summons Dickens' hero in all his loveable bumptious- 
ness. No. 10 (Canope) revisits the mystical, mysterious world of vanished antiquity, evok- 
ing an imperial resort of the Egyptian Pharaohs. The abstractly conceived Les tierces 
alternees ("Alternating thirds") begins by propounding a paradox, but develops into a 
moto perpetuo of unclouded cheer. Designing Feux d 'artifice ("Fireworks") as a grand 
finale, Debussy revels in a veritable orgy of contrasting piano effects. A quote from the 
Marseillaise indicates that this is, indeed, a Bastille Day display. 






Franz Liszt (1811-1886) traveled extensively during his twenties. Spending much of 
1835-36 in Switzerland and large portions of the next three years in Italy, he attempted 
to capture his impressions of various locales in a series of meditative and descriptive 
scores called Annies de Pelerinage ("Years of Pilgrimage"). After much revision, Volume I 
of these pieces, designated as the Swiss "year," reached print in 1853; Volume II, Italy, 
was not ready until 1859. Over the decade between 1867 and 1877, Liszt assembled a 

third volume oiAnnees de Pelerinage, not associated with any 
specific country but dominated by Italian impressions. "Les 
Jeux d'eaux a la Villa d'Este," No. 4 of this third collection, 
dates from 1870. Inspired by a famous Roman array of foun- 
tains, it is a "water piece" of prophetically impressionistic rich- 
ness. Sunny middle-register melody appears beneath shifting 
arpeggio cascades that aspire to the inexhaustibly varied iri- 
descence found in the play of fountains. At a grandiose cli- 
max, melodic oratory alternates with brilliant liquid arpeggia- 
tion, and the oratory has the last word. 

In his Ballade No. 2 in B minor (1853), Liszt plied one of 
his favorite genres — the programmatic one-movement tone poem designed to provide 
both the variety and unity of a sonata or symphony. He drew his program from Gott- 
fried Burger's once widely read Gothic horror ballad Lenore. Punctuated with the grisly 
refrain "The dead ride quickly! Are you afraid," the poem tells of Lenore's wild hun- 
dred-mile midnight ride with the zombie of her recently slain soldier-fiance, toward a 




35 



cemetery where their nuptials are solemnized amid a riotous gathering of skeletons and 
specters. The Ballade is based largely on two themes: a broad opening melody under- 
pinned by menacing rumbles, and a luminous ensuing chordal meditation. These themes 
are repeated a half-step lower; then march-like triplet-rhythms unleash a flood of virtu- 
osity. Eventually Liszt transforms the opening melody into a rocking major-key canta- 
bile and reiterates this with ever more grandiose exultation. The luminous chords pro- 
vide a contemplative close. 

In Liszt's era, operatic transcriptions for various instruments or ensembles constitut- 
ed an indispensable part of musical culture. Except in large cities, opera performances 
were rare and did not begin to cover the full range of the stage repertory; thus it was 
only through transcriptions that listeners could become acquainted with new and classic 
musical dramas. For example, in late 1848 Liszt undertook plans to conduct a mod- 
ernistic novelty in Weimar — Wagner's four-year old opera Tannhduser — and by the time 
the production appeared in February 1849, Weimar listeners were familiar with Tann- 
hduser highlights, thanks to piano transcriptions Liszt had made of the overture and 
several key episodes. These included Wolfram's Act III recitative and romance "O du 
mein holder Abendstern" (the so-called "Song to the Evening Star"), a lyric paean to 
the purity, chastity, and brilliance of the planet Venus and the deity it represents. De- 
parting only occasionally from fidelity to the orchestral score, Liszt presents the melody 
in its original lyric-baritone register surrounded by Wagner's strummed harp chords, 
and adds a modest coda of his own devising. 

Similar fidelity marks Liszt's 1867 transcription of Isolde's concluding Liebestod 
("Love-death") from Wagner's Tristan und Isolde, penned only two years after the opera's 
premiere. Liszt provides his own extremely brief introduction, then brings us Wagner's 
magnificent peroration unchanged musically — a task that, given the complexity of Wag- 
ner's orchestral textures, Liszt could only achieve thanks to his sovereign mastery of un- 
usual keyboard techniques. 

Liszt allowed himself more leeway in his 1859 transcription of the show-stopping 
last-act quartet from Verdi's Rigoletto (1851). Again inventing his own introduction, 
Liszt opens with humorous foretastes of two of Verdi's subsidiary themes, then proceeds 
to a glittering array of virtuoso arpeggios. Verdi's famous melody initially appears in its 



TANGLEWOOD 2004 
TALKS & WALKS 

A series of informal conversations presented by guest artists and members of the Tangle- 
wood family in the Tent Club near the Shed on Thursdays. Doors open at noon. The 
talks begin at 1 p.m. and are followed at 1:45 p.m. by walking tours of the Tanglewood 
grounds led by Tanglewood volunteer tour guides. Individual tickets are sold on the day 
of the talk for $10 at the Tent Club between 12:30 and 1 p.m., subject to availability. 
Please bring a picnic lunch; beverages and dessert are available for purchase. 

July 15 Kurt Masur, Conductor 

July 22 James Sommerville, BSO Principal Horn 

July 29 David Kneuss, Director, TMC Opera [A Midsummer Night's Dream) 

August 5 Tan Dun, Composer and Conductor 
Deborah Voigt, Soprano 



vauaDuiry. 



August 12 
August 19 
August 26 



James DePreist, Conductor 

Marc Mandel, BSO Director of Program Publications 



36 



proper tenor register; but later, as it is about to return, Liszt inserts a brilliant cadenza. 
Subsequent passages are festooned in glamorous garlands of ornament, and are also sub- 
jected to expansions in which Lisztian harmonies surface. Rapid-fire figurations and 
brilliant hammered octaves prepare an imposing conclusion. 

— Benjamin Folkman 

Benjamin Folkman is a New York-based annotator whose articles have appeared in Opera 
News, Stagebill, Playbill, Performing Arts, and numerous other publications. 




GUEST ARTIST 

Jean-Yves Thibaudet 

Jean-Yves Thibaudet appears with the world's foremost conductors and 
orchestras, collaborates with preeminent singers, and is a popular figure at 
international music festivals. In summer 2003 he appeared with the New 
York Philharmonic at the Vail Valley Music Festival and with the Los 
Angeles Philharmonic for the opening concert of the Hollywood Bowl. 
His 2003-04 season featured orchestra, recital, and chamber music per- 
formances in Australia, Japan, Europe, and North America. He toured 
with the Orchestre de la Suisse Romande, gave a recital at Carnegie Hall, 
and appeared with the San Francisco, National, Atlanta, Toronto, Baltimore, and Detroit 
symphony orchestras, the Philadelphia Orchestra, and the Colorado Symphony, and also 
with the Rossetti String Quartet in Ann Arbor and in Zankel Hall at Carnegie Hall. Inter- 
nationally he performed at the Proms in London; with numerous European orchestras; on 
tour with the Bergen Philharmonic Orchestra, and in a chamber music tour of Italy, Scot- 
land, Germany, and Turkey with Angelika Kirchschlager and Yuri Bashmet. An exclusive 
Decca recording artist, Mr. Thibaudet's award-winning discography includes his newest 
release, a five-CD set of the complete piano music of Satie; the Mendelssohn piano concer- 
tos with the Leipzig Gewandhaus Orchestra and Herbert Blomstedt; "Night Songs," with 
Renee Fleming, and a Chopin/Grieg disc with the Rotterdam Philharmonic and Valery 
Gergiev. His recording of the complete piano works of Ravel received a Grammy nomina- 
tion. His jazz recordings include discs of music by Duke Ellington and Bill Evans. Mr. Thi- 
baudet had an onscreen cameo in the Bruce Beresford feature film on Alma Mahler entitled 
Bride of the Wind, and his playing is showcased throughout the movie soundtrack. He also 
performed on the soundtrack to the feature film Portrait of a Lady. He has also been featured 
in the Metropolitan Opera production of Fedora, and in the PBS/Smithsonian special "Piano 
Grand!" hosted by Billy Joel. The celebrated London fashion designer Vivienne Westwood 
designs Mr. Thibaudet's concert attire. Jean-Yves Thibaudet was born in Lyon and at age 
twelve entered the Paris Conservatory, where he studied with Ado Ciccolini and Lucette 
Descaves. He won the Premier Prix du Conservatoire at fifteen and three years later won the 
Young Concert Artists Auditions in New York. In 2001 the Republic of France awarded him 
the Chevalier de l'Ordre des Arts et des Lettres. In 2002 he was awarded the Premio Pegasus 
from the Spoleto Festival. Mr. Thibaudet has appeared on numerous occasions with the Bos- 
ton Symphony Orchestra here and in Boston since his BSO debut at Tanglewood in 1992. 




37 




Tangle wood 




Wednesday, August 18, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

BOSTON SYMPHONY CHAMBER PLAYERS 



SEIJI OZAWA HALL 
lOth ANNIVERSARY SEASON 



EDWIN BARKER, double bass 
RICHARD SVOBODA, bassoon 
JAMES SOMMERVILLE, horn 



MALCOLM LOWE, violin 
HALDAN MARTINSON, violin 
STEVEN ANWELL, viola 
JULES ESKIN, cello 

with (in Golijovs Ay re) 

DAWN UPSHAW, soprano 

DAVID KRAKAUER, clarinet 

MICHAEL WARD-BERGEMAN, accordion 

GUSTAVO SANTAOLALLA, ronroco and guitar 

JEREMY FLOWER, laptop/sound design 

and assisting BSO members 

ELIZABETH OSTLING, flute (in the Rossini quartet and Golijovs Ayre) 
SCOTT ANDREWS, clarinet (in the Rossini quartet) 
ANN HOBSON PILOT, harp (in Golijov's Ayre) 



ROSSINI 



Quartet No. 1 in F for flute, clarinet, bassoon, 
and horn 

Allegro moderato 
Andante 
Rondo: Allegro 

Ms. OSTLING; Messrs. ANDREWS, SVOBODA, 
and SOMMERVILLE 



DVORAK 



Quintet in G for two violins, viola, cello, and 
double bass, Opus 77 

Allegro con fuoco 
Scherzo: Allegro vivace 
Poco Andante 
Finale: Allegro assai 

Messrs. LOWE, MARTINSON, ANSELL, 
ESKIN, and BARKER 



INTERMISSION 



38 



GOLIJOV 



Please note that 
translations of 
the sung texts are 
being distributed 
separately. 



Ayre (2004) 

1. Mananita de San Juan {Morning of St Johns Day) 
Text: Traditional Sephardic Romance 
Music based on Sephardic street calls 

2. Una Madre Comio Asado {A Mother Roasted her Child) 
Lyrics and Music: Traditional Sephardic song after 
Jeremiah's Lamentations 

3. Tancas Serradas a Muru {Walls are Encircling the Land) 
Lyrics and Music by Francesco Ignazio Mannu (Sardinia, 
ca. 1795) 

4. Luna {Moon) 

Music by Gustavo Santaolalla (Instrumental) 

5. Nanni 

Traditional Sephardic lullaby 

6. Wa Habibi {My Love) 

Lyrics: Traditional Christian Arab Easter song 

Music based on Traditional Christian Arab and Muslim 

Arab melodies 

7. Aiini Taqttiru (My Eyes Weep) 

Music and Lyrics: Traditional Christian Arab Easter song 

8. Kun Li-Guitari Wataran Ayyuha Al-Maa' {Be a String, 
Water, to my Guitar) 

From the poem " Eleven Planets in the Last Andalusian Sky" 
by Mahmoud Darwish 

9. Sueltate las Cintas {Untie your Ribbons) 
Lyrics and Music: Gustavo Santaolalla 

10. Yah, Anna Emtzacha (Oh, Where Shall I find You?) 
Poem by Yehudah Halevy (ca. 1112) 

Music based on Sephardic calls to prayer 

11. Ariadna en su Laberinto (Ariadne in Her Labyrinth) 
Lyrics: Traditional Sephardic Romance 

Music: Quodlibet of traditional and original Sephardic 
melodies 

DAWN UPSHAW, soprano 

Ms. OSTLING; Messrs. KRAKAUER, SOMMERVILLE, 

ANSELL, ESKIN, BARKER; Ms. HOBSON PILOT; Messrs. 

WARD-BERGEMAN, SANTAOLALLA, and FLOWER 



In consideration of the performers and those around you, cellular phones, pagers, 

and watch alarms should be switched off during the concert. 
Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 

concert. Flashes, in particular, are distracting to the performers and other audience 

members. Thank you for your cooperation. 



39 



NOTES ON THE PROGRAM 



Gioachino Rossini's musical talent was encouraged by his parents, who were both pro- 
fessional musicians. By age eight Rossini (1792-1868) was playing viola in a theater 
orchestra and learning to play the horn; by age ten he was taking composition lessons. 
He appeared professionally as a singer from 1804. In 1806 he entered the Liceo Musi- 
cale in Bologna, where he became familiar with music of Haydn and Mozart and stud- 
ied formal counterpoint. He became director of the Accademia dei Concordi in 1808 
and in 1810, at eighteen, received his first opera commission, having become known in 
the theater for his insertion arias, written for specific performers for inclusion in the 
operas of other composers. From that time he composed nearly forty operas before his 

"retirement" from that activity in 1830 due in part to his own 
exhaustion and to political instability in Europe. His last 
opera was Guillaume Tell, first performed in August 1829. He 
was by that time quite rich, and the most celebrated composer 
in Europe. 

Rossini's six "sonate a quattro" for two violins, cello, and 
double bass date from the year the future great Italian opera 
composer turned twelve. He wrote all six while staying with 
his family at the villa of the businessman Agostino Triossi in 
Conventello, near Ravenna, during the summer of 1804. In a 
note scribbled on the manuscript at a much later date, the 
composer wrote, "six dreadful sonatas. . .composed and copied out in three days and per- 
formed by Triossi, double bass, Morri, his cousin, first violin, the latter's brother, violon- 
cello, who played like dogs, and the second violin by me myself, who was not the least 




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40 



doggish, by God." The arrangements for wind quartet were made by Walter Zachert. 
The first, originally in G, has been transposed to F. Even beyond the ensemble's make- 
up, the originals have little in common with the classical examples of the string quartet, 
coming more from the Italian tradition in which a primary melody (usually appearing in 
the flute in these versions) is supported not by contrapuntal means (as in Mozart and 
Haydn) but by chordal or arpeggiated figuration. Already in the first of the set, however, 
we can hear in Rossini's charming and inventive melodies the seeds of his famous arias 

to come. 

— Robert Kirzinger 

Robert Kirzinger is Publications Associate of the Boston Symphony Orchestra. 






To judge from its opus number alone, the G major string quintet of Antonin Dvorak 
(1841-1904) must have been composed after the Scherzo capriccioso (Opus 66), the Sev- 
enth Symphony (Opus 70), and the second set of Slavonic Dances (Opus 72) — in short, 
a work of the mature Dvorak . That is exactly what the composer's publisher Simrock 
wanted prospective purchasers to think. Actually the quintet had been written more than 
ten years earlier than its published opus number would suggest. The composer himself 
called it Opus 18 and objected strenuously, if fruitlessly, to Simrock's deceit. He turned 
to this unusual medium — a string quintet with double bass — after finishing his one-act 
opera The Stubborn Lovers early in 1875. The quintet was completed by March and sub- 
mitted (anonymously, as the rules required) to a musical competition; the manuscript 

bore only the inscription "To his country." Selected unani- 
mously, the work received its first performance the following 
March. The judges who first saw the manuscript awarded it 
the prize on account of its "noble theme, the technical mastery 
of polyphonic composition, the mastery of form and . . . knowl- 
edge of the instruments." At that time it had five movements, 
an Intermezzo in B standing in second place. But Dvorak de- 
cided that two slow movements overdid it, so he removed the 
Intermezzo and later published it separately as the Nocturne 
for strings, Opus 40. 

The player benefiting most from the presence of the dou- 
ble bass is the cellist, who, freed from customary duties of harmonic support, has a much 
greater opportunity to range widely in the thematic interplay of the lines. As if to define 
the unusual ensemble from the very outset, cello and double bass open the proceedings 
with the bass line descending in octaves, a sonority not possible for a string quartet, or 
even for a quintet with two cellos (like Schubert's C major). Once this unique feature 
has been established in the listener's ear, the cello parts company from the double bass 
and projects its own personality. Dvorak's first and last movements are lively, if some- 
what square in the working out of musical ideas. The bouncy scherzo dances jovially 
into a gentler Trio with some charming irregularities of phrasing. The slow movement's 
unfettered lyricism makes it in many ways the high point of the work. 

— Steven Ledbetter 

Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 
1998 and now writes program notes for orchestras and other ensembles throughout the coun- 
try, and for such concert venues as Carnegie Hall. 




41 




Argentine-born American composer Osvaldo Golijov (b.1960) spent his early years 
absorbing a rich blend of musical experiences in his native La Plata. Classical chamber 
music was played at home, and he also experienced Jewish liturgical music and klezmer 

music through his family influences. A strong formative expe- 
rience came when he discovered the new tango of Astor Piaz- 
zolla. He studied piano and later took private lessons in com- 
position from Gerardo Gandini, then with Mark Kopytman 
at the Rubin Academy of Jerusalem and with Franco Dona- 
toni at the Accademia Musicale Chigiana in Siena. In 1986 
he came to the United States, where he earned his doctorate 
at the University of Pennsylvania; his teachers there included 
George Crumb, Richard Wernick, and Jay Reise. He was a 
Fellow in Composition at the Tanglewood Music Center in 
1990, where he studied with Lukas Foss and Oliver Knussen, 
and where in recent years he has returned as a faculty member. He is Associate Pro- 
fessor of Music at the College of the Holy Cross in Worcester and is also on the faculty 
of the Boston Conservatory. 

Also in recent years Golijov has been exploring what he calls the "roots and emana- 
tions of different musics," drawing up sound imagery from his own wide-ranging back- 
ground, including Jewish folk traditions as well as tango and other Latin American gen- 
res. These often become the starting point for his writing, though they appear in his 
work in different stages of transformation, turning into something else entirely or even 
disappearing altogether, though remaining as the basic ground for the varied textures 
and musical "behaviors" in his compositions. 

Golijov came to wide attention first through his connection with the Kronos Quar- 
tet, who performed original works, commissioned arrangements, and recorded his im- 
pressive quintet for clarinet and string quartet, The Dreams and Prayers of Isaac the Blind. 
The remarkable success on three continents of La Pasion Segun San Marcos (The Passion 
According to St. Mark, given its United States premiere by the Boston Symphony Or- 
chestra in February 2001), which retells the story of the Crucifixion in the form of 
Latin- American revolutionary street theater — with an inclusive musical language rang- 
ing from plainsong to Latin popular dance styles, vibrant energy, and an entirely origi- 
nal approach to many parts of the story that have otherwise been treated over the years 




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42 



in conventional ways — highlights the independence of his voice and vision. 

Golijov has written music for Dawn Upshaw on several occasions, including Three 
Songs for Soprano and Orchestra (for the Minnesota Orchestra, 2002) and the one-act 
opera Ainadamar, on the death of Lorca, which was commissioned by the Tanglewood 
Music Center and premiered here last summer. He wrote Ayre not just for Ms. Upshaw, 
but specifically for the opening season of Zankel Hall at Carnegie Hall. Commissioned 
by the Carnegie Hall Corporation, ^yr<? had its premiere in Zankel Hall on March 31, 
2004 (on which occasion there were twelve movements, the original twelfth movement 
having since been removed by the composer). From the beginning, Golijov thought of 
Ayre as a counterpart to Berio's Folk Songs (with which it was paired on the Zankel Hall 
program in March). Berio's work draws on a body of existing songs from both sides of 
the Atlantic. Golijov draws on a body of songs (some of them from written sources, 
many of them transcribed from recordings) that are geographically centered in Spain 
and represent the three principal cultures — Christian, Jewish, and Arab — that were liv- 
ing together, and at odds with one another, in the period before the expulsion of the 
Jews from Spain in 1492. Most of the texts are in Ladino, the language of Spanish Jews; 
some are in Aramaic and Arabic. 

Golijov notes that his work, like Berio's, is mostly an elaborate arrangement of exist- 
ing songs. "Most are well-known melodies that I'm arranging. But some I am making 
up. For the first song I took a Sephardic romance. I don't know if it ever had music, but 
I'm writing a tune for it. The idea is to create a 'forest' and for Dawn to walk in it. 
There is no real sense of 'form' — in the sense of Beethovenian development — but rather 
lots of detours and discoveries." 

Two of the songs — music and lyrics — are by Golijov's friend Gustavo Santaolalla. 
Most of the rest are anonymous folk melodies of the diverse cultures, ranging in theme 
from the very religious, to cursing, to funny tales. Taken all together, the songs and their 
texts, the stories and the music, create the image of a complex web of human cultural 
interaction in one area that served as a crossroads. 

— Steven Ledbetter 

Original version of this program note, which has been somewhat revised for the present occa- 
sion, copyright ©2004 by The Carnegie Hall Corporation. 



ARTISTS 

Boston Symphony Chamber Players 

One of the world's most distinguished cham- 
ber music ensembles sponsored by a major 
symphony orchestra and made up of that 
orchestra's principal players, the Boston Sym- 
phony Chamber Players include the Boston 
Symphony's first-desk string, woodwind, brass, 
and percussion players. Founded in 1964 dur- 
ing Erich Leinsdorf's tenure as BSO music 
director, the Chamber Players can perform 
virtually any work within the vast chamber 
music literature; they can expand their range of repertory by calling upon other BSO mem- 
bers or enlisting the services of such distinguished guest artists as pianists Emanuel Ax, 
Garrick Ohlsson, and Andre Previn. The Chamber Players' activities include an annual four- 
concert series in Boston's Jordan Hall at the New England Conservatory of Music, regular 
appearances at Tanglewood, and a busy schedule of touring and recording. In addition to ap- 
pearances throughout the United States, the group has toured Europe and Japan on numer- 
ous occasions; they have also performed in South America and the former Soviet Union. Among 




43 




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the Chamber Players' recordings on Nonesuch are the Beethoven Septet and Schubert Octet; 
Smetana's G major piano trio and Dvorak's string sextet; the Brahms string quintets; John 
Harbison's Words from Paterson with baritone Sanford Sylvan; a Copland album with pianist 
Gilbert Kalish; and a disc of music by Leon Kirchner. For Philips the ensemble has recorded 
the quintets for clarinet and strings by Mozart and Brahms with former BSO principal clar- 
inet, the late Harold Wright. Deutsche Grammophon has reissued, on a single compact disc, 
the Chamber Players' recordings of Stravinsky's Octet for Winds, Pastorale, Ragtime, and 
Concertino for Twelve Instruments, and Johann Strauss waltzes as arranged for chamber 
ensemble by Schoenberg, Berg, and Webern. 




Dawn Upshaw 

Dawn Upshaw has achieved worldwide celebrity as a singer of opera and 
concert repertoire ranging from Bach to contemporary works. Her operat- 
ic roles include Mozart's Pamina, Ilia, Susanna, and Despina as well as 
modern works by Stravinsky, Poulenc, and Messiaen. From Salzburg and 
Paris to the Metropolitan Opera, Ms. Upshaw has also championed num- 
erous new works created for her, including Kaija Saariaho's Grawemeyer 
Award-winning opera L'Amour de Loin; John Adams's nativity oratorio El 
Nino; Osvaldo Golijov's chamber opera Ainadamar, and Henri Dutilleux's 
Correspondances, which she premiered with the Berlin Philharmonic this season. This season 
she was also featured as a Carnegie Hall "Perspectives" Artist — the first singer to be so hon- 
ored — performing works including Bach cantatas, French music, the world premiere of Os- 
valdo Golijov's Ayre, and Berio's Folk Songs. Other season highlights include a tour of the 
European capitals with pianist Richard Goode, an eight-city American tour with the Aus- 
tralian Chamber Orchestra, and the San Francisco Opera production of Janacek's The Cun- 
ning Little Vixen. Dawn Upshaw works frequently with such artists as Richard Goode, the 
Kronos Quartet, James Levine, Sir Simon Rattle, Esa-Pekka Salonen, and Peter Sellars. As 
a recitalist, she has premiered more than forty works in the past decade. She has developed 
cycles of songs by writers of her own generation, and has added works by such living com- 
posers as William Bolcom, Lukas Foss, and Gyorgy Kurtag to her recent repertoire. A three- 
time Grammy winner, Ms. Upshaw is featured on more than fifty recordings, including, among 
others, the million-selling Symphony No. 3 by Henryk Gorecki, Mozart's The Marriage of 
Figaro, Messiaen's St. Francois d Assise, Stravinsky's The Rake's Progress, John Adams's El Nino, 
and a dozen recital recordings of varied repertoire. She has also recorded several Nonesuch 
discs of music theater repertoire; was the subject of a one-hour Bravo profile, and has been 



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featured in numerous PBS productions, including a hosting role on the "Evening at Pops" 
Copland Centennial Celebration. Dawn Upshaw holds honorary doctoral degrees from 
Yale, the Manhattan School of Music, and Illinois Wesleyan University. She began her 
career as a 1984 winner of the Young Concert Artists auditions and the 1985 Walter W. 
Naumburg Competition, and was a member of the Metropolitan Opera Young Artists De- 
velopment Program. Born in Nashville, Tennessee, and raised in Park Forest, Illinois, she 
now lives near New York City with her husband and their two children. A Tanglewood Music 
Center alumna and frequent guest artist with the BSO, Ms. Upshaw made her Boston Sym- 
phony debut at Tanglewood in the gala 1988 "Bernstein at 70!" concert. Her most recent 
appearance with the orchestra was at the start of this month, when she sang music of Aaron 
Copland under the direction of John Williams. Last summer she appeared with the BSO 
singing Golijov's Three Songs with Orchestra, as well as in the world premiere TMC pro- 
duction of Golijov's opera Ainadamar conducted by Robert Spano. 




David Krakauer 

Internationally acclaimed clarinetist David Krakauer is known for his 
mastery of myriad styles including classical chamber music, Eastern 
European Jewish klezmer music, and the avant-garde. Recent collabora- 
tions have included the Tokyo String Quartet, the Kronos Quartet, the 
Lark Quartet, Eiko and Koma, and the Orquesta Sinfonica del Barcelona. 
As one of the foremost musicians of the vital new wave of klezmer, he 
tours the globe with his celebrated Klezmer Madness! Ensemble. While 
firmly rooted in traditional klezmer folk tunes, the band simultaneously 
pays homage to R&B, jazz, classical, and funk. Mr. Krakauer's annual tours to major national 
and international festivals and jazz clubs have brought him and his band in recent seasons to 
the Library of Congress, the Venice Biennale, the Krakow Jewish Culture Festival, the BBC 
Proms, Saalfelden Jazz Festival, and many other venues. His discography contains some of 
the past decade's most important klezmer recordings, including A New Hot One (Label Bleu/ 
harmonia mundi usa) and The Twelve Tribes (which received the Preis der deutschen Schall- 
plattenkritik); Klezmer NY (1998) on John Zorn's Tzadik label; and Klezmer Madness, one of 
Tzadik's best-selling discs. Other CDs include the groundbreaking Rhythm and Jews (Piranha/ 
Flying Fish) with the Klezmatics; In the Fiddlers House with violinist Itzhak Perlman and the 
Klezmatics; and Osvaldo Golijov's The Dreams and Prayers of Isaac the Blind With, the Kronos 
Quartet (Nonesuch). His latest disc is Krakauer Live in Krakow (Label Bleu/harmonia mundi 
usa), and he is also featured in the series on American Jewish music recently issued on Naxos 



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46 



by the Milken Foundation. Mr. Krakauer has had major profiles in the New York Times, The 
New Yorker, the International Herald Tribune, and Downbeat, Jazz Times, Jazziz, and Chamber 
Music magazines. 

Michael Ward-Bergeman 

Michael Jude Ward-Bergeman is an artist who explores sound and music 
by researching some of the world's oldest musical traditions, and through 
use of the latest music technology. His original compositions have earned 
him international recognition and awards. Projects range from exploring 
improvisation with music and technology through his group NOTUS, to 
his work synthesizing blues and Gypsy music traditions through collabo- 
rations with various artists. He has also worked closely with composer Os- 
valdo Golijov on his groundbreaking work, La Pasidn Segun San Marcos, 
both as accordionist and sound designer. A graduate of the Berklee College of Music in 
Boston, he continues his studies by working with some of the world's finest musicians and 
seeking out music that resonates and expands his eclectic tastes. Throughout his career Mr. 
Ward-Bergeman has also been consistently involved on both a voluntary and professional 
basis with developing programs that use music in therapeutic settings. 




justavo aantao 



Gustavo Santaolalla 

Gustavo Santaolalla started his professional music career in 1967 at six- 
teen, when he founded the group Arco Iris, making history as a pioneer 
in the fusion of rock and Latin American folk music. He has since be- 
come the most important name in Latin Alternative music; having won 
Grammy Awards for his work with Cafe Tacuba and Juanes. He has also 
produced critical and commercial successes for the million-selling Mexi- 
can group Molotov, as well as Julieta Venegas, Maldita Vecindad, Caifanes, 
Leon Gieco, Los Prisioneros, and Divididos, among others. After the 
launching of his SURCO label, he also played a major role in producing music for his label's 
roster of artists, including Bersuit, Arbol, and La Vela Puerca. Most recently he has entered 
the world of film music by scoring the music and producing the soundtrack for Alejandro 
Gonzalez Inarritu's Amores Perros and 21 Grams, and the upcoming Walter Salles film, Motor- 
cycle Diaries. 

Jeremy Flower 

Jeremy Flower graduated with a degree in composition from the New 
England Conservatory of Music, where he studied with Michael Gandolfi 
and Caleb Morgan. Since moving the computer to the center of his cre- 
ative focus, he has been very active in the underground electronic music 
scene in Boston and New York, playing clubs such as Filter 14, River 
Gods, Liquids, Galapagos, and Tonic. He performs under many muses, 
mainly as Keepalive and the Getawaykyd, and also as part of the instru- 
mental pop band The Moms. His most recent collaborations include proj- 
ects with Osvaldo Golijov, the Kronos Quartet, Tagaq, Local Fields, and minimal techno 
powerhouse Smartypants. His music can be found at www.keepalive.org and on Adhesive 
records. 





47 




2004, 

Tanglewood 




Tuesday, August 19, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

CHRISTIAN TETZLAFF, violin 
LARS VOGT, piano 



SEIJI OZAWA HALL 
lOth ANNIVERSARY SEASON 



THE THREE BRAHMS VIOLIN SONATAS 

Sonata No. 1 in G for violin and piano, Opus 78 

Vivace ma non troppo 

Adagio 

Allegro molto moderato 

Sonata No. 2 in A for violin and piano, Opus 100 

Allegro amabile 

Andante tranquillo — Vivace di piu — Andante 

Allegretto grazioso (quasi Andante) 



INTERMISSION 



Sonata No. 3 in D minor, Opus 108 

Allegro 

Adagio 

Un poco presto e con sentimento 

Presto agitato 



Steinway and Sons Pianos, selected exclusively at Tanglewood 

In consideration of the performers and those around you, cellular phones, pagers, 

and watch alarms should he switched off during the concert. 
Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 

concert. Flashes, in particular, are distracting to the performers and other audience 

members. Thank you for your cooperation. 

NOTES ON THE PROGRAM 

In November 1861 Clara Schumann wrote in her journal, "An interesting conversation 
with Johannes about form. How the old masters had the freest form, while modern 
compositions move within the stiffest and most narrow limits. He himself emulates the 
older generation and Clementi in particular ranks high in his opinion, on account of his 
great, free form." 

Johannes Brahms (1833-1897) was then twenty-eight and a recovering phenome- 

48 







non. He had rocketed to fame at twenty, when in an article Robert Schumann pro- 
claimed him the coming savior of German music. Reeling from the burden Schumann 
had laid on him, Brahms endured years of creative uncertainty. By the time he and 
Clara had their conversation about form, he was emerging from uncertainty, working on 
his first chamber music masterpieces, the String Sextet in B-flat and the Piano Quartet 
in G minor. 

Around him, factional rumbles that Schumann's article had provoked were growing 
into a struggle that has been called the "War of the Romantics." On one side were the 

adherents of Wagner's and Liszt's "Music of the Future," on 
the other side the Brahmsians. The central battleground of 
that war was form: the progressives decreed the death of the 
old models, found new ones in literature and philosophy, and 
largely scorned small canvases. Brahms rarely strayed from the 
old models, above all sonata form, rondo, and variations, with- 
in their context of classical genres such as symphony, string 
^A quartet, and violin sonata. 
^ If Brahms's devotion to classical forms made him the idol 
A ^M of conservatives in the middle of the Romantic century, virtu- 
Wk w .joM ally he alone in his generation understood that Haydn, Moz- 
art, and Beethoven had not used received patterns as a mold to pour notes into, but 
wielded them freely and dynamically. Thus his observation to Clara. He would fill the 
old forms with innovative conceptions of rhythm, harmony, and thematic integration. 
His creative re-imaginings are never more beautifully on display than in his three violin 
sonatas. 

In 1878 Brahms was spending his second summer in delightful Portschach, on Lake 
Worth. The village provided swimming, mountain vistas, delicious crabs, and loads of 
inspiration. Brahms wrote a friend: "The melodies fly so thick here that you have to be 
careful not to step on one." If he scorned program-based music, he was willing to give 
himself over to the power of atmosphere and landscape to shape his work. The main pro- 
duct of his previous summer in Portschach had been the gentle, pastoral Second Sym- 
phony The summers of 1878 and 1879 produced the Violin Sonata No. 1 in G major. 

The First is often called the Regen ("Rain") Sonata, because in it Brahms took up his 
song Regenlied and made its opening, notably its dotted upbeat, the motto of the whole 
piece. That motto recurs in myriad guises, here thoughtful, there tentative, sometimes 
striding and assertive. Meanwhile the connection to song, to songfiilness, would mark 
all his violin sonatas. 

The sonata-form opening movement of the G major begins with one of Brahms's 
retrospective, sweetly lyrical melodies over quiet chords in the piano. That theme will 
never be far away in the movement, and it sets the inward tone of the whole sonata. 
The theme begins with the dotted Regen-raoXto and in its first few bars sets up motivic 
ideas that will permeate all three movements; tight thematic integration is an impressive 
part of this sonata. The most innovative aspect is the prophetic rhythmic ideas: in many 
phrases the 6/4 meter is defined polyrhythmically, superimposing patterns of two, three, 
and four. 

The familiar landmarks of sonata form are handled with equal imagination. 
Nominally we see a familiar outline: an exposition with its first and second themes, a 
development improvising on the themes, a recapitulation, and coda. But instead of the 
usual exposition-repeat Brahms gives us a feint, a false repeat; we are thrust into an 
increasingly passionate development that ends not with a dramatic Beethovenian reca- 
pitulation but an elided one, where we suddenly find ourselves back in the middle of the 
gentle opening theme. 



49 



The second movement begins quietly, a hint of horn calls suggesting a forest noctur- 
nal. This music wanders in a kind of rhythmic fog, the dotted motto now in a drifting 
mood, the movement's opening phrase one that will grow in import as a point of arrival 
from several directions. The form recalls the usual slow-movement pattern ABA, but 
Brahms never repeats ideas literally, developing and intensifying them on their return, 
and as a kind of extended coda he adds another recall of the B and A themes. 

The quietly energetic G minor finale, which like the first movement begins with the 
dotted motto pattern on D, is a rondo (ABACA etc.) — again the expected form, but 
where traditional rondo finales are usually fleet and playful, the rondos in Brahms's vio- 
lin sonatas are lyrical and serious. The piano in this finale plays nervous raindrop figures 
under the flowing violin line, the whole creating a feeling of restrained passion. The 
arrival after that restraint is the C section, which brings back the opening theme of the 
slow movement, in its key of E-flat. That theme will return for the rest of the finale, help- 
ing tie together the whole sonata and its poignant and introspective world. Only in the 
coda does the piece rediscover G major, for the first time since the opening movement, 
but the feeling at the end is not of triumph but rather of quiet resignation. It is often 
said of the First Violin Sonata that it has a feeling of autobiography, even confession. 






If the G major is the most musically complex and inward of the sonatas, the Violin 
Sonata No. 2 in A major, written on Lake Thun in a halcyon summer of 1886, is the 
most genial, compact, and extroverted, starting with its expansive high-Brahmsian open- 
ing. It begins with piano, and, throughout, the piano will be more often in the fore- 
ground than in the First Sonata. In the first movement there is a touch of pathos in the 
second theme and a stormy moment in the development (which ends strikingly with a 
Hungarian tune in C-sharp minor), but geniality prevails. 

The second movement is ABABA, nothing special in itself, but the material presents 
a startling and delightful contrast. The A is a songful Andante tranquillo in F major, the 
B a D minor Vivace of folk- Hungarian cast. Each element is varied on its return, the 
Andante becoming more soulful and finally retrospective, the Vivace more nimble, the 
last time serving as a wry and curt coda. The finale is summarized in its direction Alle- 
gretto grazioso (quasi Andante): another flowing and genial theme, but broader than the 
first movement's, with a preference for the lush low G-string of the fiddle. 







50 



Begun at Lake Thun in 1886 and finished in 1888, the Violin Sonata No. 3 in 
D minor begins as if in the middle of a thought, the music driving and restive, setting 
the tone of the most emotionally complex of the sonatas. The second theme is only a 
touch calmer; the nervousness will never entirely abate. Highly unusually, the entire 
development takes place over a pounding A pedal, creating a sense of relentlessness and 
perhaps frustration, and the recapitulation becomes tumultuous. (The intensified return 
of the second theme would not be out of place in romantic film drama of the 1930s.) 
The coda answers the development with a long D pedal, finishing a movement that 
overall feels urgent, unsettled, and unresolved. 

The second movement is contrastingly simple and in D major — but a strangely 
shadowed major, with a tragic undercurrent. Nominally the form is again ABA, but the 
B section is only a transition back to a more passionate restatement of the melody. This 
sonata adds a third-movement scherzo in F-sharp minor, its insistent and quietly driv- 
ing rhythms an effective contrast to the slow movement, its tone neither tragic nor light 
but a suspension somewhere between. 

So where do these three intense, unresolved, often turbulent movements lead? To a 
Presto agitato finale in a relentlessly driving 6/8, fierce and dynamic in tone. At the end 
there is no hopeful resolution to major; the terse coda finishes in D minor. There is 
Brahms's answer to the qualms and questions of the earlier movements, and perhaps to 
the turbulences in his own life: not hope, but defiance. 

Throughout these lovely, lyrical, and marvelously varied sonatas, Brahms has utilized 
or recalled the form traditionally proper to each movement. At the same time, each 
movement is a testament to his originality, to his own sense of great, free form. 

— Jan Swafford 

An alumnus of the Tanglewood Music Center, Jan Swafford is an award-winning composer 
and author who teaches in the Tufts University English Department and whose books include 
biographies of Charles Ives and Johannes Brahms. 



GUEST ARTISTS 

Christian Tetzlaff 

II Christian Tetzlaff, internationally recognized as one of the most important 
violinists of his generation, has performed and recorded a broad spectrum 
of the repertoire, ranging from Bach's unaccompanied sonatas and partitas 
I ips^i an d 19th-century masterworks by Mendelssohn, Beethoven, and Brahms 
'M to 20th-century concertos by Bartok, Berg, and Stravinsky and world pre- 
mieres of contemporary works. Dedicated to chamber music, Mr. Tetzlaff 
^k frequently collaborates with distinguished artists including Lars Vogt, Leif 
■MM .1 Ove Andsnes, Sabine Meyer, Heinrich Schiff, andTabea Zimmermann. 
In North America he has appeared with the orchestras of Cleveland, Boston, Minnesota, 
New York, Houston, Los Angeles, Philadelphia, San Francisco, and Toronto, among many 
others; he performs in Europe with ensembles including the Berlin Philharmonic, the Lon- 
don Symphony Orchestra, the Royal Concertgebouw, and the Vienna Philharmonic. High- 
lights of Mr. Tetzlaff s 2003-04 season in the U.S. included return engagements with the Los 
Angeles Philharmonic, Philadelphia Orchestra, and the Toronto Symphony Orchestra, as 
well as concerts at Lincoln Center featuring the music of Bartok and Janacek with pianist 
Lars Vogt. He also made his debut with the Metropolitan Opera Orchestra under James 
Levine, performing the Berg Violin Concerto. In Europe, Mr. Tetzlaff performed the Bach 
solo sonatas and partitas in recital at the Louvre in Paris, and at the Bach Academy in Stutt- 
gart, and appeared as soloist with orchestras including the Orchestre de Paris and the Rotter- 
dam Philharmonic, among others. This summer he performs the complete Bach solo sonatas 



51 




BOSTON 

SYMPHONY 
ORCHESTRA 



Tangle wood 



Jazz Festival 



2004 




September 3-5 

SEPTEMBER 3 FRIDAY 



8pm 

Ozawa 

Hall 



Eliane Elias 

Eddie Palmieri and La Perfecta II 

Live WGBH Broadcast 




Eliane Elias 



SEPTEMBER 4 SATURDAY 




ipm 
Theatre 



3pm 

Ozawa 

Hall 



8pm 
Shed 



Savion Glover and Jimmy Slyde 

An all-jazz tap program with 
jazz quintet 



Marian McPartland with 
guest Taylor Eigsti 

Piano Jazz 
Live Broadcast 



H 

Marion McPartland 




Savion Clover 



Harry Connick, Jr. and Orchestra 

"Only You" Tour 



SEPTEMBER 5 SUNDAY 




Harry Connick.JR. 



2pm 

Ozawa 

Hall 



8pm 

Ozawa 

Hall 



Marsalis Music Presents: 

Branford Marsalis Quartet 

Harry Connick, Jr. Quartet (no vocals) 

Doug Wamble Quartet 

Miguel Zenon 



Dave Brubeck with Symphonette 
and Quartet 




Dave Brubeck 




TICKETS: $l6-$8o 

To order, call SymphonyCharge at (888) 266-1200 or order onlii 

& # TDD/TTY (617) 638-9289 for services, ticketing, and 
information for persons with disabilities call (617) 638-9431. 

Fidelity 



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phone/internet is subject to a $5 handling fee. Please note, no refunds 
or exchanges. 



JazzTimesmom 



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52 



and partitas and gives a concert with Tabea Zimmermann at Lincoln Center's Mostly Moz- 
art Festival. Mr. Tetzlaff s most recent recordings include Sibelius's complete works for violin 
and orchestra with the Danish National Radio Orchestra and Thomas Dausgaard on Virgin 
Classics, which won the prestigious Diapason d'or, and the Brahms sonatas for violin and 
piano on EMI Classics with Lars Vbgt, part of a three-disc set of the complete Brahms duo- 
sonatas with Sabine Meyer and Boris Pergamenschikov, which won the Deutsche Schallplat- 
tenpreis. Mr. Tetzlaff plays a violin by the German maker Peter Greiner. He lives in Ham- 
burg with his wife, who is a clarinetist with the Frankfurt Opera, and their three children. 
This Saturday night he joins cellist Claudio Bohorquez and the Boston Symphony Orchestra 
led by Andrey Boreyko for a performance of Brahms's Double Concerto as part of an all- 
Brahms orchestral program in the Koussevitzky Music Shed. 




Lars Vogt 

Lars Vogt has rapidly established himself as one of the leading pianists of 
his generation. Born in the German town of Diiren, he first came to inter- 
national attention by winning second prize at the 1990 Leeds International 
Competition. Since then he has pursued an active career comprising major 
concerto and recital performances throughout Europe, Asia, and North 
America. An exclusive EMI recording artist, Mr. Vogt has made fifteen 
discs for that label, including the Schumann and Grieg piano concertos 
and the first two Beethoven concertos with the City of Birmingham Sym- 
phony and Sir Simon Rattle, as well as solo recordings of works by Beethoven, Brahms, Haydn, 
Mussorgsky, Schubert, Schumann, and Tchaikovsky. His most recent concerto release is Hin- 
demith's Kammermusik No. 2 with the Berlin Philharmonic and Claudio Abbado. Mr. Vogt s 
2003-04 season in North America included his debut with the New York Philharmonic, a 
recital at Carnegie Hall's Zankel Hall, and a collaboration with Christian Tetzlaff in a series 
of Bartok/Janacek programs at Lincoln Center and the Kimmel Center in Philadelphia. Lars 
Vogt is renowned as a chamber musician; in 1998 he founded his own festival, "Spannungen," 
in Heimbach, Germany; the success of this festival has been marked by four EMI CDs of 
live recordings. Mr. Vogt enjoys regular partnerships with such colleagues as Christian Tetz- 
laff, Boris Pergamenschikov, Heinrich Schiff, and Truls Mork. In spring 2003 he toured the 
United States and Europe with violinist Sarah Chang. He also collaborates with actor Klaus- 
Maria Brandauer and comedian Konrad Beikircher. Lars Vogt studied with Ruth Weiss and 
Karl-Heinz Kammerling. He lives near Cologne with his wife, the Russian composer Tatjana 
Komarova, and their young daughter, Isabelle. Mr. Vogt makes his Boston Symphony Or- 
chestra debut this Friday night, performing Beethoven's Piano Concerto No. 1 under the 
direction of Andrey Boreyko. 




■ 



53 



2004 season 



Days in the Arts 




Through the Boston Symphony 
Orchestra's Days in the Arts (DARTS) 
program, students spend a week 
immersed in the arts. In the morn- 
ing, students participate in hands- 
on workshops. In the afternoon, 
they travel to Tanglewood, the BSO's 
summer home, and other cultural 
institutions such as Jacob's Pillow, 
the Norman Rockwell Museum, and 
Shakespeare & Co. 

Financial support is essential to the 
continued success of DARTS. Please 
consider making a generous contri- 
bution to DARTS this summer and 
help more than 400 children 
explore how the arts can enrich 
their lives. 

For more information, contact 
Alexandra Fuchs, Director of 
Tanglewood Annual Funds, at 
(413) 637-5298, or 
Judi Taylor Cantor, Director of 
Major and Planned Giving, at 
(413) 637-5260. 




The BSO gratefully acknowledges 
the following donors'": 

ANNUAL OPERATING GIFTS TO DARTS 

$50,000 and above 

Dr. Carol Reich and Mr. Joseph Reich 

$10,000 - $49,999 

Anonymous (1) 

Associated Grantmakers of Massachusetts 

Summer Fund 
The Connors Family 

Irene E. and George A. Davis Foundation 
Mr. and Mrs. Daniel Freed 
Stephen B. Kay and Lisbeth Tarlow 
The Richard A. and Helene H. Monaghan 

Family Foundation 
National Endowment for the Arts 
New Balance Foundation 
Thomas A. Pappas Charitable Foundation 
Abraham Perlman Foundation 

Dr. Deanna Spielberg 
Mary Ann Pesce 
The William E.and Bertha E.Schrafft 

Charitable Trust 

$5,000 - $9,999 

Sydelle and Lee Blatt 

Fairmont Hotels & Resorts Charitable 

Foundation 
The Roger and Myrna Landay Charitable 

Foundation 

$2,500 - $4,999 

Boston Concessions Group, Inc. 
Jonathan and Seana Crellin 
The Hoche-Scofield Foundation 
Valet Park of New England 

$2,000 - $2,499 

The Kingsbury Road Charitable Foundation 
Tom Sternberg 

DARTS Endowment Funds 

Elizabeth A. Baldwin DARTS Fund 
George and Kathleen Clear DARTS CRT 
Paul D. and Lori A. Deninger 

DARTS Scholarship Fund 
Gordon/Rousmaniere/Roberts Fund 
Renee Rapaporte DARTS Scholarship Fund 
Miriam and Sidney Stoneman Fund of 

The Boston Foundation 
as of April 30, 2004 





5.13.U 02AWA HALL 
lOih ANNIVtRSAEY SEASON 



Tanglewood 

Wednesday, August 25, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

MARTHA ARGERICH and 
ALEXANDER GURNING, pianists 

Please note that Martha Argerich and Alexander Gurning will open tonight's recital 
with Mozart's Piano Sonata in D for four hands, composed 1772 in Salzburg. This is 
one of two four-hand piano sonatas — the other being the B-flat sonata, K.358(186c), 
from late 1773 or early 1774 — Mozart (1756-1791) composed in Salzburg to play 
at home with his sister Maria Anna (affectionately nicknamed "Nannerl"). Both 
sonatas were published in Vienna in 1783, the present D major sonata as Mozart's 
Opus 3, No. 1, the B-flat as Opus 3, No. 2. Following performance of the sonata, 
the program will continue with music of Prokofiev, Rachmaninoff, and Tchaikovsky 
as printed in tonight's program book. 



MOZART 



Sonata in D for piano four-hands, K.381(123a) 

Allegro 
Andante 
Allegro molto 



Week 8 



Hi! 


■ ■ 


3$S 


■ 


» 


M#M 






8§6 


'Jt 




53fE 


3 




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B' 












Tangle wood 

Wednesday, August 25, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

MARTHA ARGERICH and 
ALEXANDER GURNING, pianists 



c\ 



SEIJ I OZAWA HALL 
lOth ANNIVERSARY SEASON 



PROKOFIEV 



Suite from Cinderella 

Introduction 

Quarrel 

Winter 

Spring 

Cinderella's Waltz 

Gavotte 

Gallop 

Valse lente 

Finale 



INTERMISSION 



RACHMANINOFF Symphonic Dances 

Non allegro 

Andante con moto (Tempo di valse) 

Lento assai — Allegro vivace 



TCHAIKOVSKY- 
ECONOMOU 



Nutcracker Suite 

Miniature Overture 
Characteristic Dances 

March 

Dance of the Sugar-plum Fairy 

Trepak 

Arabian Dance 

Chinese Dances 

Dance of the Reed Pipes 
Waltz of the Flowers 






Steinway and Sons Pianos, selected exclusively at Tanglewood 

In consideration of the performers and those around you, cellular phones, pagers, 

and watch alarms should be switched off during the concert. 
Please refrain from taking pictures in Seiji Ozawa Hall at any time during the 

concert. Flashes, in particular, are distracting to the performers and other audience 

members. Thank you for your cooperation. 



55 






3rd Annual ill n> 

Brandeis in the Berkshires 

Lecture Series 

Shakespeare and Company, Founder's Theatre 

July 12, 2004 

An Evening with Former 

Texas Governor, 

The Honorable 

Ann W. Richards 

Former Governor of Texas 




July 27, 2004 

Post-Denominational 

Judaism: 

In An Age of Freedom, 

Affluence and Power 

President, National Center for 
Rahhi Irwin Kula Jewisn Leadership and Learning (CLAL) 



August 9, 2004 

The Power of Gender: 
Women's Voices, 
Women's Stories 

Special Reading with Q&A 
and Book Signing 

New York Times Best-Selling Novelist 
and Oprah Book Choice Award Winner 




Alice Hoffman 



Lectures begin at 8 p.m. and ara open to the public. 

Tickets are $8 

To order tickets, phone Shakespeare & Co Box Office. 

#413-637-3353 

Bmxhit In ffw Bfkthtm m founded In 2002 through In* gontoui tupport tnd vlthn of 

Harold Grinspoon and the Harold Grlnspoon Foundation. 



Barrington Stage Company 



SWEET CHARITY 

June 24 -July 17 

Book by Neil Simon 

Lyrics by Dorothy Fields 

Music by Cy Coleman 

THE GOD 
COMMITTEE 

July 22 - August 7 

By Mark St. Germain 

CYRANO DE 
BERGERAC 

August 12-28 

By Edmond Rostand 

Original music by Ray Leslee 

Adapted by Julianne Boyd 




SC 



barrington stage company 
Julianne Boyd, Artistic Director 

413 528-8888 

www.barringtonstageco.org 




56 




NOTES ON THE PROGRAM 

Composers generally write a symphonic piece in two stages. Before penning the full 
orchestral score, which requires at least twelve musical staves, they will produce a pre- 
liminary version, notating all the important musical details on four staves — a layout very 
like that of two-piano music. It is thus not surprising that symphonic music can often 
be translated (indeed, retranslated) to the two-piano medium with surprising success. 
This is unquestionably the case with the three works on our program, all inspired by the 
great Russian ballet tradition. Colorful though the orchestral versions are, their hues 
still make a striking effect when transmuted by the keyboard into vividly differentiated 
shades of gray. 

When Sergei Prokofiev (1891-1953) reestablished resi- 
dence in his native Russia in 1934 after years of voluntary 
exile, the first large project he tackled was the ballet Romeo 
and Juliet. Put into production at the Bolshoi Theater shortly 
after its completion in September 1935, Romeo unfortunately 
provoked a rebellion at rehearsals, with leading cast members 
branding it "undanceable." The Bolshoi canceled the produc- 
tion; and only in January 1940 was Prokofiev vindicated when 
the long-delayed Russian premiere of Romeo, given by the 
Kirov company in Leningrad (today St. Petersburg), enjoyed a 
triumphant reception. That fall, the Kirov commissioned 
another ballet from Prokofiev, Cinderella, and composition began later in 1940. In June 
1941, however, with two acts of Cinderella complete in piano score, the Nazi invasion of 
the Soviet Union prompted Prokofiev to put aside the ballet in favor of a patriotic 
opera, War and Peace. 

While working on War and Peace, Prokofiev issued two collections of "Piano pieces 
from Cinderella? published in 1942 and 1943. After finishing the opera in mid- 1943 he 
quickly composed Cinderella^ third act in piano score, hoping for an August 1943 pro- 
duction by the Kirov, now temporarily housed in the Ural city of Perm. But the Perm 
performance never materialized, and Prokofiev completed the ballet's orchestration only 
in the summer of 1944. Curiously, it was not the Kirov but the Bolshoi company that 
gave Cinderella its highly successful premiere, on November 21, 1945, in Moscow. 

In Cinderella, Prokofiev continued to mine the haunting lyric idiom that had given 
Romeo and Juliet its special character, but aimed at even greater simplicity and "dance- 
ability." Its individual episodes tend to be more self-contained than those of Romeo, and 
these make the piece especially suitable for excerpting. Indeed, Prokofiev made three 
separate orchestral suites from Cinderella and added several collections of Cinderella 
piano excerpts from the two published before the ballet was complete. Given that Pro- 
kofiev unhesitatingly presented piano transcriptions from the score, the present duo- 
piano version — which covers all the familiar highlights of the familiar fairy tale — can lay 
a special claim to propriety and authority. In these fetching lyric excerpts, Prokofiev 
eminently succeeded in his aim, which was, "to convey the poetic love between Cinder- 
ella and the Prince — the birth and flowering of that feeling, the obstacles thrown in its 
path, and the realization of the dream at last." 






Unlike so many important Russian composers, Sergei Rachmaninoff (1873-1943) 
took little interest in ballet for most of his career. In 1939, however, the Russian-born 
choreographer Michael Fokine produced a ballet version of Rachmaninoff's five-year- 
old Rhapsody on a Theme of Paganini (1934) which so delighted the composer that he 



57 



decided to write another large work suitable for both dance and the concert hall. Sum- 
mering at Orchard Point, Long Island, in 1940, the sixty-seven-year-old Rachmaninoff 
plunged into this new score, also maintaining so rigorous a piano-practice schedule that 
his wife became alarmed. (He began his workdays at 8:30 a.m. and ended at 11 at night, 
breaking only for a two-hour afternoon nap and a shorter evening dinner.) On August 

21, he wrote the following to Eugene Ormandy, conductor of 
the Philadelphia Orchestra: "Last week I finished a new sym- 
phonic piece, which I naturally want to give first to you and 
your orchestra. It is called Fantastic Dances. I shall now begin 
the orchestration." 

A few days later, the composer changed his title to Sym- 
phonic Dances. He completed the orchestration October 29, 
later producing the present two-piano version. Ormandy and 
the Philadelphians gave the premiere on January 3, 1941. 
Symphonic Dances, Opus 45, was the first major work Rach- 
maninoff had composed entirely in America, and would also 
prove to be the last — his creative swan song. 

In Symphonic Dances, Rachmaninoff plies his most adventurous chromatic harmony, 
yet avoids the diffuseness that sometimes afflicts his harmonic experiments. Each of the 
three dances, for which Rachmaninoff once contemplated the titles Midday, Twilight, 
and Midnight, is cast in three-part form (modified ABA) with prefatory introduction. 
Throughout, Rachmaninoff's powers of motivic development are at their height, and he 
is still capable of spinning out long melodies of great beauty. 

From introductory flickers of a descending three-note figure, an energetic theme 
coalesces. In a later variant, the flicker-descent becomes an ascent, but the opening ver- 
sion returns. A central section presents a lyric melody; later the main theme reappears, 




IN HARMONY WITH SCIENCE 




Sunday, October 10th, 5pm 




Donated by Members of the B O S T O N SYMPHONY ORCHESTRA 
LedByEDO de Waart Guest Soloist, A n d r e Watts 

For more information call: 888.310.7100 
Visit us on the web: www.concertforthecure.org 



58 



followed by a closing benediction. Muted annunciations of quiet menace open the cen- 
tral Andante con moto (Tempo di valse), and a slinky waltz develops. The annunciation 
also begins and closes the middle section, and the waltz theme, in its restatement, even- 
tually accelerates to a whirl. Paradoxically, a central feature of the joyous, vigorous finale 
is Rachmaninoff's long-standing obsession with the doom-laden Dies irae Requiem 
chant. A stately introduction provides a foretaste of the celebratory, fanfare-like main 
theme. A still more animated second theme, marked by jolting syncopations, is directly 
derived from Dies irae. Lyric central material waxes impassioned. In a coda after the free 
reprise, there is a dramatic build-up on the second theme, and at a climax Rachmanin- 
off quotes the "Alliluya melody from his Vespers of 1915. With "Alliluya" banishing 
Dies irae, death is quite literally, as the Bible says, "swallowed up in victory." 






In 1891, Pyotr Ilyich Tchaikovsky (1840-1893) received a commission from the 
Imperial Theater for an interesting double bill, consisting of a one-act fairy tale opera, 
lolantha, and a ballet based on E.T.A. Hoffmann's fantasy The Nutcracker and the King 

of the Mice. Travels, including a journey to America, interfered 
with work on the piece, but Tchaikovsky had the music ready 
by March of 1892. lolanthe, Opus 69, and The Nutcracker, 
Opus 71, duly received a joint premiere at the end of that 
year, on December 6, at the Maryinsky Theater in St. Peters- 
burg. The ballet was an immediate success, and no one was 
more impressed with the score's quality than Tchaikovsky 
himself. "It is curious," he wrote, "that all the time I was writ- 
ing the ballet I thought it was rather poor, and that when I 
began my opera [Io/anthe] I would really do my best. But now 
it seems to me that the ballet is good and the opera is medi- 
ocre." Tchaikovsky himself drew the well-known Nutcracker Suite, Opus 71a, from the 
complete ballet. Establishing the opening scene — a Christmas Eve celebration where 
children open their toys — Tchaikovsky begins with a "miniature overture," and then 
proceeds to a second act divertissement in the Candy Kingdom, where the queen of the 
realm, the Sugar-plum Fairy, daintily appears to introduce the delicacies of her domains. 
These are personified in an Arabian Dance (coffee) and a Chinese Dance (tea). There is 
also a lusty Russian trepak, and a witty Dance of the Reed Pipes, and the Suite con- 
cludes with the beguiling Waltz of the Flowers. _, . . ^ 

— Benjamin rolkman 

Benjamin Folkman is a New York-based annotator whose articles have appeared in Opera 
News, Stagebill, Playbill, Performing Arts, and numerous other publications. 




GUEST ARTISTS 

Martha Argerich 

Martha Argerich was born in Buenos Aires and began her first piano les- 
sons at the age of five with Vincenzo Scaramuzza. Considered a child 
prodigy, she soon performed in public. In 1955 she moved to Europe, 
continuing her studies in London, Vienna, and Switzerland, working with 
Seidlhofer, Gulda, Magaloff, Mrs. Lipatti, and Stefan Ashkenazy. In 1957 
she won the Bolzano and Geneva piano competitions, and in 1965 the 
Warsaw International Chopin Competition. Since then she has been one 
of the most prominent pianists in the world, both in popularity and abili- 
ty. Martha Argerich has been rated highly for her performance of the virtuoso 19th- and 
20th-century piano literature. Her large repertoire includes Bach, Bartok, Beethoven, and 




59 



Hello, I Must Be Chancing 



Our lives change constantly. We never know 
with precision what we will face tomorrow. 
So when tomorrow comes, we have to be 
ready to confront the need for a new approach 
openly, creatively, and willingly. If we are stuck and 
cannot respond, determined to hold onto yester- 
day's solutions, we are in trouble. 

How can we make certain that the future leaders 
of our country will be able to manage a changing 
world successfully? How do we help students 
develop both the skill and the inner strength to be 
fluent, indeed inspired, in the task of evaluation, 
response, and innovation? 

When we are teaching adolescent girls about 
change, we do not have to create clever lessons 
based on simulations and change models. The cur- 
riculum is constantly present, staring girls in the 
face. Ready or not, their bodies, minds, emotions, 
relationships, and ideas shift dramatically and daily. 

So, change for adolescents is a certainty. How 
well they do it, though, is another matter. Both 
ends and means are important. On the one hand 
is the goal of becoming a healthy, effective person, 
but on the other is the quality of the change 
process itself. It is the way in which the challenges 
of adolescence are met that forms the underlying 
pattern of adult coping skills. 

Kurt Lewin, a founder of modern social psycholo- 
gy, identifies three phases in change cycles that 
are analogous to the phases through which a girl 
travels as she says goodbye to the child she used 
to be and begins to form the young woman she 
will become. There is a time of unfreezing, then 
changing, and finally a girl resets. 

The pre-teen girl knows herself well. Hello Kitty, 
butterfly clips, and Beanie Babies define her world. 
Then, one morning, it's over. What made sense 
for so long doesn't anymore. A girl is beginning to 
let go of the younger child, a friend she knew well. 

The growing girl will, at this point, change every- 
thing from friendships to her mind as she tries on 
different roles for size and fit. Gathering data on 
what to incorporate into her emerging young- 



woman vision, she scans the horizon for role mod- 
els. Joan of Arc? Britney Spears? Aunt Nancy? 
And what about her life's work? Biochemist? 
Poet? Entrepreneur? 

She may announce her career choice to the world 
at lunch only to change her mind by dinner. In the 
right environment, though, she will have the feeling 
that she is searching, not being whimsical or silly. 
She learns then that change is a part of life, not a 
threat to it. She sees that she is doing important 
work, not just pretending. Changing is difficult and 
best done in a confident community. Surrounded 
by steady and wise adults, a girl is reassured that 
her own inner testing and doubt do not shake the 
foundations of the community around her. 

Finally, a girl begins to reset, that is, she begins to 
integrate her new ideas and perspectives into a 
new self-concept. Teachers everywhere are famil- 
iar with this phenomenon, which is why we are not 
surprised to notice, in about January every year, 
that seniors suddenly seem grown up and ready to 
leave, distinctly more mature than ever before. 
High school has served its purpose. Girls are 
ready to take their new selves into the world. 

The emergence of a new grown-up persona is only 
part of the success. Secure in what she has 
accomplished, a girl now knows that she can man- 
age change with resolve. She has found a creative 
style. She will approach other challenges pur- 
posefully. Most importantly, she will embrace 
change, her life-long companion, with the confi- 
dence that only early success can bring. 

How can we make certain that the future leaders 
of our country will be able to manage a changing 
world successfully? Encourage them to take 
healthy risks, be there to listen, share coping 
strategies, and express certainty about their ability 
to succeed. From this secure base, they will sense 
that life is about growth, not defensive posturing. 
They will trust that the sky is not falling when hard 
times come along. If we, the adults in girls' lives, 
have patience for the journey and reverence for the 
process, girls will become the courageous innova- 
tors our world needs them to be. 




MISS HALL'S SCHOOL 

492 Holmes Road, Pittsfield, MA 01201 • (800) 233-5614 • Fax (413) 448-2994 • www.misshalls.org 
GIRLS' SECONDARY BOARDING AND DAY SCHOOL FOUNDED IN 1898 



60 



Messiaen, as well as Chopin, Schumann, Liszt, Debussy, Ravel, Franck, Prokofiev, Stravinsky, 
Shostakovich, and Tchaikovsky. Although she is frequently invited by the most prestigious 
orchestras, conductors, and music festivals in Europe, Japan, and America, chamber music 
takes a significant role in her musical life. She regularly performs and records with pianists 
Nelson Freire and Alexander Rabinovitch, cellist Mischa Maisky, and violinist Gidon Kremer. 
In 1996 Ms. Argerich was made an Officier des Arts et des Lettres by the French govern- 
ment, and in 1997 she became a member of the Accademia di Santa Cecilia di Roma. Since 
1998 she has been the artistic director of the Beppu Festival in Japan. In 1999 she created 
the International Piano Competition and Festival Martha Argerich in Buenos Aires, and in 
June 2002 she initiated the Progetto Martha Argerich in Lugano. Many of her performances 
have been broadcast on television worldwide. Martha Argerich has recorded for EMI, Sony, 
Philips, Teldec, and Deutsche Grammophon. Among many recent awards are a Grammy for 
her disc of Bartok and Prokofiev concertos, Gramophones Artist of the Year and Best Piano 
Concerto Recording of the Year for her recording of the Chopin concertos, the "Choc" of the 
Monde de la Musique for her Amsterdam recital disc, the Deutscher Schallplatten Kritik Artist 
of the Year, and Musical Americas 2001 Musician of the Year. She appears twice at Tangle- 
wood this week, in tonight's recital appearance with Alexander Gurning, and on Friday night 
as sqloist in concertos of Poulenc (with Mr. Gurning) and Ravel with the Boston Symphony 
Orchestra led by Charles Dutoit. 




Alexander Gurning 

Belgian pianist Alexander Gurning was born in 1973 of Indonesian and 
Polish parents. Early on, he began his piano studies with Nicole Henriot- 
Schweitzer, quickly winning a first prize at the Brussels Royal Conserva- 
tory. He received a "superior diploma" with an acclamatory jury award, 
giving him the opportunity to become Eugene Moguilevsky's assistant. 
Mr. Gurning's musical upbringing is strongly defined by French and Rus- 
sian influences. After several encounters with such musicians as Gyorgy 
Sebok and Lev Naumov, he went on to perfect his studies with Victor 
Meszhanov at the Moscow Conservatory in Russia. In the past several years he has performed 
at the Beijing Music Festival (China) as well as the Beppu Meeting Point (a festival created 
by Martha Argerich) and the Pacific Music Festival, both in Japan. Additionally he has been 
heard at the Schleswig-Holstein (Germany), Ravello (Italy), and La Roque d'Antheron 
(France) festivals, among others. Mr. Gurning's repertoire ranges from Bach to Chopin, from 
Scriabin to Corigliano. His association with the young dedicated group of musicians "Sole- 
lad" led to a recording with Virgin Classics, featuring works by Piazzolla and contemporary 
Belgian composers, a disc that was awarded the "Choc de l'Annee 2002" — "surprise of the 
year" — by the French musical magazine Le Monde de la Musique. In 2002, at the Lugano 
Festival in Switzerland, Mr. Gurning made another recording, this time for the EMI label, 
teaming up with such renowned partners as Martha Argerich and Renaud Capucon. A fur- 
ther CD includes solo piano works by Stravinsky and Debussy. This Friday night Mr. Gurn- 
ing makes his BSO debut, joining forces again with Ms. Argerich for Poulenc's Concerto in 
D minor for Two Pianos, conducted by Charles Dutoit. 




61 




Boston Symphony Orchestra 2003-2004 
K-12 Education and Community Programs 

The Boston Symphony Orchestra offers a broad spectrum of highly regarded educa- 
tion programs to more than 60,000 students each year. These programs bring music 
and the arts to students in grades K-12 in the Berkshires, in Metropolitan Boston, 
and throughout the Commonwealth. Each year, the BSO's education programs 
include: 

• 17 Youth and Family Concerts in Symphony Hall attended by Boston Public 
School and Berkshire- area school students; 

• A "Musicians in the Schools" Program, which makes BSO musicians available 
as visitors and teachers at Boston and Berkshire-area schools;. 

• Days in the Arts (DARTS), a summer residential arts immersion program. 
During the summer of 2004, 50 students from Berkshire area public schools are 
participating in this inspiring program; 

• Arts Education Resource Centers at the Berkshire Community Music School 
and the Boston Arts Academy. 

The BSO gratefully acknowledges the following donors for their new gifts or pledges 
of $2,500 or more to BSO Youth Education and Community Programs since 
September 1, 2003, as well as the following permanent funds in the BSO endow- 
ment. For more information, please contact Judi Cantor, Director of Major and 
Planned Giving, atTanglewood in July and August 2004, at 413-637-5275. 



Annual Gifts 

The Abbey Group 

David R. Epstein 
Associated Grantmakers of Massachusetts 
The Paul and Edith Babson Foundation 
L.G. Balfour Foundation 
Mr. and Mrs. Lee N. Blatt 
Dr. and Mrs. Paul A. Buttenwieser 
Brookline Youth Concerts Fund 

Mrs. Marion Dubbs 
Boston Concessions Group, Inc. 
Boston Red Sox Foundation 
Cambridge Community Foundation 
Citizens Bank Foundation 
Clipper Ship Foundation, Inc. 
Mr. Eric D. Collins 
Mr. and Mrs. Jonathan Crellin 
Irene E. and George A. Davis Foundation 



Fleet Charitable Gift Fund 

Mr. and Mrs. Daniel Freed 

Estate of Alma Grew 

John Hancock Financial Services, Inc. 

David F. D'Alessandro 
Helen G. Hauben Foundation 
The Hoche-Scofield Foundation 
Stephen B. Kay and Lisbeth L. Tarlow 
Roger and Myrna Landay 
Mr. and Mrs. Robert J. Lepofsky 
The Lowell Institute 
MetLife Foundation 
The Millipore Foundation 

C. William Zadel 
The Richard A. and Helene H. Monaghan 

Family Foundation 
National Endowment for the Arts 




62 



New Balance Foundation 

O'Neill 6c Associates, LLC 

Thomas A. Pappas Charitable Foundation 

Abraham Perlman Foundation 

Dr. Deanna Spielberg 
Olive Higgins Prouty Foundation 
Dr. Carol Reich and Mr. Joseph Reich 
The William E. and Bertha E. Schrafft 

Charitable Trust 



State Street Foundation 

George A. Russell, Jr. 

David A. Spina 
Nathaniel and Elizabeth Stevens 

Foundation 
Valet Park of New England 
WHDH-TV, 7NEWS 
Yawkey Foundation II 



Endowment Funds 

Helaine B. Allen and Berenson 

Foundation Youth Concerts Fund 
Azrack Family Fund for Education and 

Outreach 
Elizabeth A. Baldwin DARTS Fund 
Elizabeth A. Baldwin Metropolitan Youth 

Concert Fund 
Charles D. Berry Fund for Youth and 

Education Outreach 
Helene R. Cahners 6c Carol R. Goldberg 

Fund for Music Education 
Gregory and Kathleen Clear DARTS 

Scholarship Fund 
Paul F and Lori A. Deninger DARTS 

Scholarship Fund 
Harry Ellis Dickson Fund for Youth 

Concerts 
Raymond J. Dulye Berkshire Music 

Education Fund 
Charles F. and Elizabeth Y Eaton Fund 
Erna V. Fisher Trust Youth Concert Fund 
Dr. and Mrs. Kenneth J. Germeshausen 

Youth Concert Fund 
Germeshausen Family Youth Concerts 

Conductors Chair Fund 
Gordon/Rousmaniere/Roberts Fund 
Major Henry Lee Higginson Fund 
Miriam Little Kenly Youth Fund 
Keyspan Energy Delivery Fund for Youth 

Activities 



Allen Z. and Elizabeth Kluchman Fund 

for Youth Activities 
Arthur and Barbara Kravitz Youth 

Education Fund 
Lacy Youth Activities Fund 
Lepofsky Family Educational Initiative 

Fund 
Edward MacCrone Youth Fund 
John A. and Sarah C.C. MacLeod Youth 

Programs Fund 
Morse Family Youth Concert Fund 
Hamilton Osgood Fund for Metropolitan 

Youth Concerts 
Charlotte and Irving Rabb Youth Concert 

Fund 
Renee Rapaporte DARTS Scholarship 

Fund 
Angelica Lloyd Russell Youth Concert 

Fund 
Richard and Susan Smith Family 

Foundation Fund 
Miriam H. and S. Sidney Stoneman Fund 

for Youth Activities 
Frederick B. Taylor Fund 
Cornelius A. and Muriel P. Wood Fund 
Maurice L. and Kate Zigmond 

Metropolitan Youth Concerts Fund 




63 




GREAT BENEFACTORS 

In the building of his new symphony for Boston, the BSO's founder and first 

benefactor, Henry Lee Higginson, knew that ticket revenues could never fully 

cover the costs of running a great orchestra. 

From 1881 to 1918 Higginson covered the orchestra's annual deficits with personal 

donations that exceeded $1 million. The Boston Symphony Orchestra now honors 

each of the following generous donors whose cumulative giving to the BSO is 

$1 million or more with permanent recognition as Great Benefactors of this great 

orchestra. 

For more information, contact Judi Taylor Cantor, Director of Major and Planned 

Giving, at (413) 637-9275. 



Anonymous (9) 

Mr. and Mrs. Harlan E. Anderson 

Dorothy and David B. Arnold, Jr. 

AT&T 

Mr. and Mrs. J. P. Barger 

Gabriella and Leo Beranek 

George and Roberta Berry 

Jan Brett and Joseph Hearne 

Peter and Anne Brooke 

Catherine and Paul Buttenwieser 

Chiles Foundation 

Mr. John F. Cogan, Jr. and 

Ms. Mary L. Cornille 
Mr. Julian Cohen 
Commonwealth of Massachusetts 
Mr. and Mrs. William H. Congleton 
Lewis S. and Edith L. Dabney 
Mr. and Mrs. Stanton W. Davis 
Estate of Mrs. Pierre de Beaumont 
EMC Corporation 
John P. II and Nancy S. Eustis 
Shirley and Richard Fennell 
Fidelity Investments 
Estate of Vera Fine 
Estate of Anna E. Finnerty 
Mr. and Mrs. John H. Fitzpatrick 
FleetBoston Financial 
Germeshausen Foundation 
The Ann and Gordon Getty Foundation 
Estate of Marie L. Gillet 
The Gillette Company 
Mrs. Donald C. Heath 
Susan Morse Hilles Trust 



Estate of Edith C. Howie 

Mr. and Mrs. Harvey Chet Krentzman 

The Kresge Foundation 

Liz and George Krupp 

Mr. and Mrs. R. Willis Leith, Jr. 

Nancy Lurie Marks Foundation 

Kate and Al Merck 

Mr. and Mrs. Nathan R. Miller 

The Richard P. and 

Claire W. Morse Foundation 
William Inglis Morse Trust 
National Endowment For Arts 
NEC Corporation 
Mrs. Robert B. Newman 
Mrs. Mischa Nieland and 

Dr. Michael Nieland 
Mr. and Mrs. Norio Ohga 
William and Lia Poorvu 
Raytheon Company 
Estate of Wilhelmina C. Sandwen 
Dr. Raymond and Hannah H. Schneider 
Carl Schoenhof Family 
Ruth and Carl J. Shapiro 
Miriam Shaw Fund 
Ray and Maria Stata 
Mr. and Mrs. Thomas G. Sternberg 
Miriam and Sidney Stoneman 
Estate of Elizabeth B. Storer 
Diana Osgood Tottenham 
Verizon 

Stephen and Dorothy Weber 

The Helen F. Whitaker Fund 

Mr. and Mrs. John Williams 




64 





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South Mountain Concerts 

Pittsfield, Massachusetts 
86th Season of Chamber Music 
>ncerts Sundays at 3 P.M. 



September5 
Kalfchstein-Laredo-Robinson Trio 
September 12 
Tokyo String Quartet 
September 19 
imerson String Quartet 
September 26 
Muir String Quartet 
October 3 
Beaux Arts Trio 

For Brochure and Ticket Information Write 
South Mountain Concerts, Box 23 

Pittsfield, MA 01 202 Phone 41 3 442-21 06 
www.southmountainconcerts.com 





Veiled Rockwell 

Hometown Hero, Citizen of the World 

Rockwell in Stockbridge 

June 5 -October 31, 2004 



NORMAN ROCKWELL MUSEUM 
413-298-4100 | www.nrm.org 



Pine Cone Hill 



DESIGNING AND DEFINING 

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Visit our showroom now 



at the Lenox 




The Colonial Theatre Summer 2004 



they're playing 
our song 

A Colonial Theatre Production 
August 18 - 29, 
Opening Night Gala August 20 
at the Berkshire Music Hall 

A Neil Simon romantic comedy with an orchestral 
score by Marvin Hamlisch, directed by James 
Warwick. Call 413-448-8084 for tickets. 



July 31, 7 pm: The Grrl Genius Guide to 

Sex (with other people) 

Opening performance by Melodrome 

Nationally renowned author and performer Cathryn 
Michon brings her stand-up comedy act in a benefit 
performance to the Berkshire Music Hall. 

Colonial Theatre tours: Fridays at noon, 
Saturdays at io:3o am - Free] 



www.thecolonialtheatre.org 

111 South St., Pittsfield, MA 
413-448-8084 



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"Bonjour, Monsieur Courbet!": The Bruyas Collection from the Musee Fabre, Montpellier 
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Organized by the Musee Fabre, Montpellier, France; the Virginia Museum of Fine Arts, Richmond (March 26 - 
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THIS MONTH AT TANGLEWOOD 



Friday, August 6, at 6 (Prelude) 

MEMBERS OF THE BSO 
JOEL MOERSCHEL, cello 

Music of DVORAK 



Friday, August 6, at 8:30 

BSO— CHRISTOPH VON DOHNANYI, 

conductor 
YEFIM BRONFMAN, piano 

SCHUMANN Symphony No. 2 
BRAHMS Piano Concerto No. 2 

Saturday, August 7, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Sunday, August 8 

Saturday, August 7, at 8:30 

BSO— TAN DUN, conductor 
YO-YO MA, cello 

SILK ROAD ENSEMBLE 

Music from the Silk Road Project and TAN 

DUN's The Map, Concerto for Cello, Video, 

and Orchestra 

Sunday, August 8, at 2:30 

BSO— CHRISTOF PERICK, conductor 
CHRISTIAN ZACHARIAS, piano 

ALL-MOZART PROGRAM 

Wind Serenade in C minor, K.388, Nachtmusik 
Piano Concerto No. 22 in E-flat, K.482 
Symphony No. 41, Jupiter 

Sunday, August 8, at 8:30 and 
Monday, August 9, at 8:30 

JOHN WILLIAMS, musical direction 
DIANNE REEVES and BRIAN STOKES 

MITCHELL, vocalists 
CARL SAUNDERS, trumpet; GARY 

FOSTER, alto saxophone; TOM RANIER, 

piano; STEVE HOUGHTON, percussion; 

CHUCK BERGHOFER, bass 
JAZZ ENSEMBLE 

LERNER & LOEWE (arr. WILLIAMS) 

My Fair Lady (arranged for singers and jazz 
orchestra), plus jazz favorites 



Wednesday, August 11, at 8:30 

JEAN-YVES THIBAUDET, piano 

Music of DEBUSSY, LISZT, VERDI, and 
WAGNER 

Thursday, August 12, at 8:30 

The Fromm Concert at Tanglewood 

(part of the 2004 Festival of Contemporary 

Music) 

MERIDIAN ARTS ENSEMBLE 
HELEN BUGALLO, piano 
ELLIOTT SHARP, sound artist 

Music of SANFORD, BARBER, CARTER, 
SHARP, and ZAPPA 

Friday, August 13, at 6 (Prelude) 
MEMBERS OF THE BSO 
Music of KODALY and DVORAK 

Friday, August 13, at 8:30 

BSO— GIANANDREA NOSEDA, conductor 
DEBORAH VOIGT, soprano 

WAGNER Prelude to Act I of Lohengrin 
WAGNER Wesendonck Songs 
PROKOFIEV Excerpts from Romeo and Juliet 

Saturday, August 14, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Sunday, August 15 

Saturday, August 14, at 8:30 
Film Night at Tanglewood 

BOSTON POPS ORCHESTRA 
JOHN WILLIAMS, conductor 
BOSTON UNIVERSITY TANGLEWOOD 
INSTITUTE CHORUS 

A program, with film montages, of tributes to 
BERNARD HERRMANN, HENRY 
MANCINI, and AUDREY HEPBURN 

Sunday, August 15, at 2:30 
The Serge and Olga Koussevitzky Memorial 
Concert 

BSO— ROBERT SPANO, conductor 
ANDRE WATTS, piano 

RANDS ". . . body and shadow. . . " 
MACDOWELL Piano Concerto No. 2 
TCHAIKOVSKY The Nutcracker, Act II 





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Wednesday, August 18, at 8:30 

BOSTON SYMPHONY CHAMBER 

PLAYERS 
DAWN UPSHAW, soprano 
MICHAEL WARD-BERGMAN, accordion 
GUSTAVO SANTAOLALLA, guitar and 

ronroco 
JEREMY FLOWER, sound design 

Music of ROSSINI, DVORAK, and GOLIJOV 

Thursday, August 19, at 8:30 

CHRISTIAN TETZLAFF, violin 
LARS VOGT, piano 

BRAHMS The Three Violin Sonatas 

Friday, August 20, at 6 (Prelude) 

MEMBERS OF THE BSO 
GARRICK OHLSSON, piano 

Music of CHAUSSON and DVORAK 

Friday, August 20, at 8:30 

BSO— EMMANUEL KRIVINE, conductor 
LARS VOGT, piano 

MENDELSSOHN Overture, The Fair 

Melusine 
BEETHOVEN Piano Concerto No. 1 
SCHUMANN Symphony No. 4 

Saturday, August 21, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Saturday, August 21 

Saturday, August 21, at 8:30 

BSO— EMMANUEL KRIVINE, conductor 
CHRISTIAN TETZLAFF, violin 
CLAUDIO BOHORQUEZ, cello 

ALL-BRAHMS PROGRAM 

Tragic Overture 

Double Concerto for violin and cello 

Symphony No. 2 

Sunday, August 22, at 2:30 

The Leonard Bernstein Memorial Concert 

TANGLEWOOD MUSIC CENTER 

ORCHESTRA 
JAMES DePREIST, conductor 
GARRICK OHLSSON, piano 

BEETHOVEN Piano Concerto No. 4 
MAHLER Symphony No. 1 



FUNDING PROVIDED IN PART BY 

IF 




Monday, August 23, at 8:30 

BOSTON POPS ORCHESTRA 
KEITH LOCKHART, conductor 
KRISTIN CHENOWETH, vocalist 

An evening of Broadway and television's 
greatest hits 

Wednesday, August 25, at 8:30 

MARTHA ARGERICH and ALEXANDER 
GURNING, duo-pianists 

Music of PROKOFIEV, RACHMANINOFF, 
and TCHAIKOVSKY 

Friday, August 27, at 6 (Prelude) 

TANGLEWOOD FESTIVAL CHORUS, 

JOHN OLIVER, conductor 
FRANK CORLISS and MARTIN AMLIN, 

pianists 
FENWICK SMITH, flute 
ANN HOBSON PILOT, harp 

Music of JANACEK and DVORAK 

Friday, August 27, at 8:30 

BSO— CHARLES DUTOIT, conductor 
MARTHA ARGERICH, piano 
ALEXANDER GURNING, piano 

MOZART Symphony No. 35, Haffner 
POULENC Concerto for Two Pianos 
RAVEL Piano Concerto in G 
STRAVINSKY Suite from The Firebird (1919 
version) 

Saturday, August 28, at 10:30 a.m. 

Open Rehearsal (Pre-Rehearsal Talk at 9:30) 
BSO program of Sunday, August 29 

Saturday, August 28, at 8:30 

BSO— CHARLES DUTOIT, conductor 
ITZHAK PERLMAN, violin 
BEETHOVEN Violin Concerto 
STRAVINSKY Petrushka (1911 version) 
RAVEL La Valse 

Sunday, August 29, at 2:30 

BSO— HANS GRAF, conductor 
MEASHA BRUEGGERGOSMAN, 
MARY PHILLIPS, GORDON GIETZ, 
and RAYMOND ACETO, vocal soloists 
TANGLEWOOD FESTIVAL CHORUS, 
JOHN OLIVER, conductor 

BEETHOVEN Symphony No. 9 
Programs and artists subject to change. 



j^H 



Massachusetts Cultural Council 



2004TANGLEWOOD MUSIC CENTER PERFORMANCE SCHEDULE 

(Unless otherwise noted, all events take place in Florence Gould Auditorium, Seiji Ozawa Hall.) 



Thursday, July 1, 8:30 p.m.* 

Friday, July 2, 8:30 p.m.* 

MARK MORRIS DANCE GROUP and 

TMC FELLOWS 
CRAIG SMITH, conductor 
Choreography by MARK MORRIS to music 

of BACH, BARTOK, and VIVALDI 

Sunday, July 4, 10 a.m. 

Chamber Music Concert 

Monday, July 5, 1 p.m. (CMH) 

Steinway Series (free admission) 

Monday, July 5, 8:30 p.m. 
The Daniel and Shirlee Cohen Freed Concert 
TMC ORCHESTRA 
INGO METZMACHER, conductor 
Music of DALLAPICCOLA, 
SCHOENBERG, and BERLIOZ 

Wednesday, July 7, 7 p.m. 

Opening Exercises (free admission; open to 
the public) 

Saturday, July 10, 6 p.m. «h 

Prelude Concert 

Sunday, July 11, 10 a.m. 

Chamber Music Concert 

Sunday, July 11, 8:30 p.m. (CMH) 

Vocal Recital 

Monday, July 12, 1 p.m. (CMH) 

Steinway Series (free admission) 

Monday, July 12, 8:30 p.m. 

The Phyllis and Lee Coffey Memorial Fund 

Concert 
TMC ORCHESTRA 
KURT MASUR, JOSEPH WOLFE 

(TMC Fellow), and HELENE BOUCHEZ 

(TMC Fellow), conductors 
ANNALENA PERSSON, soprano 
Music of MENDELSSOHN, KODALY, and 

WAGNER 

Saturday, July 17, 6 p.m. J> 

Prelude Concert 

Sunday, July 18, 10 a.m. 

Chamber Music Concert 

Monday, July 19, 1 p.m. (CMH) 

Steinway Series (free admission) 

Monday, July 19, 8:30 p.m. 

The Margaret Lee Crofts Concert 

TMC ORCHESTRA 

RAFAEL FRUHBECK DE BURGOS, 

conductor 
Music of HAYDN and STRAUSS 



Thursday, July 22, 8:30 p.m. 

Vocal Recital 

Saturday, July 24, 6 p.m. j> 
Prelude Concert 

Sunday, July 25, 10 a.m. 

Chamber Music Concert 

Monday, July 26, 1 p.m. (CMH) 

Steinway Series (free admission) 

Tuesday, July 27, 2:30 p.m. (TH)* 

Opera Open Dress Rehearsal — see July 29 6c 31 

Thursday, July 29, 10 a.m., 1 p.m., 4 p.m. 

String Quartet Marathon: three 2-hour 
performances 

Thursday, July 29, 8 p.m. (TH)* and 

Saturday, July 31, 2:30 p.m. (TH)* 

TMC VOCAL FELLOWS & ORCHESTRA 

STEFAN ASBURY, conductor 

DAVID KNEUSS, director 

JOHN MICHAEL DEEGAN and 

SARAH G. CONLY, design 
BRITTEN A Midsummer Night's Dream 

Saturday, July 31, 6 p.m. J> 

Prelude Concert 

Sunday, August 1, 10 a.m. (TH) 

Chamber Music Concert 
T'ANG QUARTET 

Sunday, August 1, 8:30 p.m.* 

Ozawa Hall 10th Anniversary Celebration Gala 

TMC ORCHESTRA 

SEIJI OZAWA, JOHN WILLIAMS, and 

JOHN OLIVER, conductors 
STEPHANIE BLYTHE, mezzo-soprano; 

YUNDI LI, piano; MAYUMI MIYATA, sho 
BOSTON SYMPHONY CHAMBER 

PLAYERS 
TANGLEWOOD FESTIVAL CHORUS 
Music of COPLAND, TAKEMITSU, 

BERNSTEIN, LISZT, CHOPIN, 

WAGNER, and VERDI 

Tuesday, August 3, 2 p.m.* 
TANGLEWOOD ON PARADE 

To benefit the Tanglewood Music Center 
Afternoon performances begin at 2 p.m. 
Gala concert at 8:30 p.m. (Shed) 
BOSTON SYMPHONY, BOSTON POPS, 

and TMC ORCHESTRAS 
CHRISTOPH VON DOHNANYI, KEITH 

LOCKHART and JOHN WILLIAMS, 

conductors 
Music of STRAUSS, BENNETT, 

WILLIAMS, and TCHAIKOVSKY 



(CMH) = Chamber Music Hall 
(TH) = Theatre 



^Admission is free, but restricted to 8:30 p.m. concert ticket holders. 
*Tickets available through the Tanglewood box office 



Saturday, August 7, 6 p.m. J> 
Prelude Concert 

Sunday, August 8, 10 a.m. 

Chamber Music Concert 

Tuesday, August 10, 8:30 p.m. 

Chamber Music Concert 

Thursday, August 12 — Monday, August 16 

FESTIVAL OF CONTEMPORARY MUSIC 

Robert Spano, director 

Made possible by the generous support of Dr. 
Raymond and Hannah H. Schneider, with addi- 
tional support through grants from The Aaron 
Copland Fund for Music, The Fromm Music 
Foundation, and The Helen F Whitaker Fund.. 

Guest Soloists: Meridian Arts Ensemble, with 
Helena Bugallo, piano, and Elliott Sharp, 
sound artist; Dawn Upshaw and Lucy 
Shelton, sopranos; Norman Fischer, cello 

Detailed program information available at the 
Main Gate 

Tuesday, August 17, 8:30 p.m. 

Chamber Music Concert 

Thursday, August 19, 1:30 p.m. (TH) 

Chamber Music Concert 

Saturday, August 21, 6 p.m. «h 
Prelude Concert 

Sunday, August 22, 10 a.m. 

Vocal Chamber Music Concert 






Sunday, August 22, 2:30 p.m. (Shed)* 
The Leonard Bernstein Memorial Concert 

Supported by generous endowments established in 
perpetuity by Dr. Raymond and Hannah H. 
Schneider, and Diane H. Lupean. 

TMC ORCHESTRA 

JAMES DePREIST, conductor 

GARRICK OHLSSON, piano 

Music of BEETHOVEN and MAHLER 

Except for concerts requiring a Tanglewood box office 
ticket (indicated by * or j5), tickets for TMC events are 
only available one hour before concert time. 

TMC Orchestra Hall tickets $25 

TMC Orchestra Lawn tickets $10 
Other TMC concerts $10 

TMC recitals, chamber music, and Festival of Con- 
temporary Music concerts: Friends of Tanglewood at 
the $150 level or higher will receive 2 free tickets to 
these performances by presenting their membership 
card at the Box Office one hour before concert time. 
Tickets are $10 for non-members and donors of up 
to $149. TMC Orchestra concerts (July 5, 12, 19; 
August 16): Friends of Tanglewood at the $150 level 
or higher are invited to order a limited number of TMC 
Orchestra tickets on the Advance Ticket Order Form 
at $25 each. 

Beginning June 7, donors of $150 or higher may order 
additional TMC Orchestra tickets, either at the Tan- 
glewood box office or by calling SymphonyCharge at 
(888) 266-1200. Non-members and donors of up to 
$149 may purchase tickets starting at 7:30 p.m. at the 
Bernstein Gate box office on the day of the perform- 
ance at prices noted above. 

Further information about TMC events is available 
at the Tanglewood Main Gate, by calling (413) 637- 
5230, or at www.bso.org. All programs are subject to 
change. 



2004 BOSTON UNIVERSITY TANGLEWOOD INSTITUTE 

Concert Schedule (all events in Seiji Ozawa Hall unless otherwise noted) 

ORCHESTRA PROGRAMS: Saturday, July 17, 2:30 p.m. Federico Cortese conducting music 
of Beethoven and Rachmaninoff; Saturday, July 31, 2:30 p.m. David Hoose conducting music of 
Vaughan Williams (with Young Artists Chorus) and Stravinsky; Saturday, August 14, 2:30 p.m. 
David Hoose conducting music of Bartok and Smetana 

WIND ENSEMBLE PROGRAMS: Sunday, July 18, 7 p.m. Frank Battisti conducting music of 
Harbison (with Young Artists Chorus), Corigliano, Dello Joio, Persichetti, Ives, and Grainger; 
Thursday, July 29, 8 p.m. Frank Battisti conducting music of Strauss, Milhaud, Rands, Massenet, 
Harbison, and Feltman 

VOCAL PROGRAMS: Sunday, July 18, 7 p.m. Frank Battisti conducting music of Harbison 
(with Young Artists Wind Ensemble); Saturday, July 31, 2:30 p.m. David Hoose conducting 
music of Vaughan Williams (with Young Artists Orchestra) 

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6 p.m. unless otherwise 
noted: Tuesday, July 20; Wednesday, July 21; Thursday, July 29; Saturday, August 7, 2:30 p.m., 
Ozawa Hall, Honors Chamber Music Recital; Tuesday, August 10; Wednesday, August 11; 
Thursday, August 12 

Tickets available one hour before concert time. Admission is $10 for orchestra concerts, 
free for all other BUTI concerts. For more information call (413) 637-1430. 



EDUCATIONAL DIRECTORY 




AAG's rigorous college preparatory 

program includes unique offerings in visual 

and performing arts. 

140 Academy Rd. • Albany, NY 12208 • 518.463.2201 
www.albanyacademyforgirls.org 



Darrow School: 

An extraordinary community 



• Co-ed boarding and day school 
for grades 9-1 2 

• Average class size: 9 students 

• Challenging, hands-on, 
college-preparatory curriculum 

• Attentive, involved faculty 

• Strong college placement record 

Come and see us! 

518-794-6006 

www.darrowschool.org 

Darrow School 

1 10 Darrow Road, New Lebanon, NY 
70 years of hands-on education in the Berkshires 
See how much your child can learn. 




A leader in girls' education... 

WESTOVER SCHOOL 

Middlebury, CT 




Rigorous College Prep Program for Girls 
Boarding and Day, Grades 9-12 

Collaborative Programs With: 

The Manhattan School of Music and Juilliard 

The School of Dance Connecticut 

Rensselaer Polytechnic Institute 

Seven Angels Theatre 



For more information, please contact: 

Office of Admission 

P.O. Box 847 Middlebury, CT 06762 

Phone: (203)758-2423 

website: www.westoverschool.org 



THE KOUSSEVITZKY SOCIETY 

The Koussevitzky Society recognizes gifts made since September 1, 2003, to 
the following funds: Tanglewood Annual Fund, Tanglewood Business Fund, 
Tanglewood Music Center Annual Fund, and Tanglewood restricted annual 
gifts. The Boston Symphony Orchestra is grateful to the following individu- 
als, foundations, and businesses for their annual support of $2,500 or more 
during the 2003-2004 season. For further information, please contact the 
Friends Office at (413) 637-5261. 



Anonymous (1) 
Country Curtains 



APPASSIONATO $100,000 and up 

George and Roberta Berry 

VIRTUOSO $50,000 to $99,999 

Dr. Carol Reich and 
Mr. Joseph Reich 



Linda J.L. Becker 
Gregory Bulger 



Anonymous (1) 

Susan L. Baker and Michael Lynch 

Canyon Ranch in the Berkshires 

Mr. and Mrs. Joseph L. Cohen 

Ginger and George Elvin 

Mr. and Mrs. Daniel Freed 



ENCORE $25,000 to $49,999 

A Friend of the Tanglewood 

Music Center 
Dorothy and Charles Jenkins 

MAESTRO $15,000 to $24,999 

The Frelinghuysen Foundation 
Mr. and Mrs. Michael L. Gordon 
James A. Macdonald Foundation 
Stephen B. Kay and Lisbeth Tarlow 
Mrs. August R. Meyer 
Mrs. Evelyn Nef 



Mr. and Mrs. Edward H. Linde 
Stephen and Dorothy Weber 



Mrs. K. Fred Netter 

Annette and Vincent O'Reilly 

The Red Lion Inn 

Mrs. Anson P. Stokes 

Mr. and Mrs. Wilmer J. Thomas, Jr. 

Loet and Edith Velmans 



BENEFACTORS $10,000 to $14,999 



Anonymous (1) 

Banknorth 

Berkshire Bank 

Blantyre 

Jan Brett and Joseph Hearne 

Catherine and Paul Buttenwieser 



Anonymous (3) 

Mr. and Mrs. William F. Allen, Jr. 
Robert Baum and Elana Carroll 
The Berkshire Capital Investors 
Ann and Alan H. Bernstein 
Mr. and Mrs. Lee N. Blatt 
Judy and Simeon Brinberg 
Ann Fitzpatrick Brown 
James and Tina Collias 
Ranny Cooper and David Smith 
Mr. and Mrs. Herbert J. Coyne 
Crane & Company, Inc. 



Mr. John F. Cogan, Jr. and 

Ms. Mary L. Cornille 
The Fassino Foundation, Inc. 
Hon. and Mrs. John H. Fitzpatrick 
Nancy J. Fitzpatrick and 

Lincoln Russell 
The Hon. Peter H.B. Frelinghuysen 

SPONSORS $5,000 to $9,999 

Mr. and Mrs. William Cruger 

Mr. and Mrs. Clive S. Cummis 

Ms. Marie V. Feder 

Mr. and Mrs. Dale E. Fowler 

Mr. Michael Fried 

Mr. and Mrs. Belvin Friedson 

Mr. Louis R. Gary 

Mr. and Mrs. J. Arthur Goldberg 

Roberta and Macey Goldman 

Mr. and Mrs. Robert A. Goodman 

John and Chara Haas 

Dr. Lynne B. Harrison 



Mr. and Mrs. Robert I. Kleinberg 
Mr. and Mrs. Robert J. Lepofsky 
Dr. Raymond and 

Hannah H. Schneider 
Evelyn and Ronald Shapiro 
The Studley Press, Inc. 



Mr. and Mrs. Francis W. Hatch, Jr. 
Mr. and Mrs. Ira Haupt II 
Ms. Rhoda Herrick 
Mr. and Mrs. Stuart Hirshfield 
Mr. and Mrs. Lawrence S. Horn 
Dr. and Mrs. Allen Hyman 
Inland Management Corporation 
Mr. and Mrs. Everett Jassy 
Mr. and Mrs. Stephen J. Jerome 
Mr. and Mrs. Michael P. Kahn 
Mr. and Mrs. Louis Kaitz 
Mrs. Leonard S. Kandell 



Continued on next page 




SPONSORS $5,000 to $9,999 (continued) 



Natalie and Murray S. Katz 

Msgr. Leo A. Kelty 

Mr. and Mrs. Michael Kittredge 

Koppers Chocolate 

Mr. and Mrs. Rudolf M. Kroc 

Liz and George Krupp 

Roger and Myrna Landay 

Legacy Banks 

Mrs. Vincent J. Lesunaitis 

Buddy and Nannette Lewis 

Mr. and Mrs. Edwin N. London 

Jay and Shirley Marks 

Mr. and Mrs. Thomas T. McCain 

Cynthia and Randolph Nelson 



Anonymous (8) 

Mr. William F. Achtmeyer 

Mrs. Janet Adams and 

Mr. James Oberschmidt 
Mr. and Mrs. Alan Ades 
Drs. Paula Algranati and 

Barry Izenstein 
Mr. and Mrs. Ronald Altman 
Harlan and Lois Anderson 
Arthur Appelstein and 

Lorraine Becker 
Apple Tree Inn and Restaurant 
Gideon Argov and Alexandra Fuchs 
The Barrington Foundation, Inc. 
Mr. John A. Barry, Jr. 
Ms. Lucille M. Batal 
Helene and Ady Berger 
Jerome and Henrietta Berko 
Berkshire Life Insurance Company 

of America 
Mr. and Mrs. Allen J. Bernstein 
Ms. Joyce S. Bernstein and 

Mr. Lawrence M. Rosenthal 
Hildi and Walter Black 
Ann and Neal Blackmarr 
Eleanor and Ed Bloom 
Birgit and Charles Blyth 
Mr. and Mrs. Nicholas Boraski 
Mark G. and Linda Borden 
Marlene and Dr. Stuart H. Brager 
Jane and Jay Braus 
Broadway Manufacturing Supply 
Mr. and Mrs. Richard Brown 
Samuel B. and Deborah D. Bruskin 
Cain, Hibbard, Myers & Cook 
Phyllis H. Carey 
Mary Carswell 
Iris and Mel Chasen 
Barbara Cohen-Hobbs 
Mr. and Mrs. Stewart M. Colton 



May and Daniel Pierce 

Claudio and Penny Pincus 

Mr. and Mrs. Abe Pollin 

Mr. and Mrs. Millard H. Pryor, Jr. 

Lila and Gerald Rauch 

The Charles L. Read Foundation 

Mr. and Mrs. Robert E. Remis 

Barbara and Michael Rosenbaum 

Mr. Joseph D. Roxe 

David and Sue Rudd 

Mr. and Mrs. Alan Sagner 

Mr. and Mrs. Ira Sarinsky 

Mr. and Mrs. Dan Schusterman 

Arlene and Donald Shapiro 

MEMBERS $2,500 to $4,999 

Linda Benedict Colvin 
Cornell Inn 

Mr. and Dr. Trayton Davis 
Dr. and Mrs. Harold L. Deutsch 
Mr. and Mrs. Jeff Diamond 
Channing and Ursula Dichter 
Chester and Joy Douglass 
Dresser-Hull Company 
Ms. Judith R. Drucker 
Terry and Mel Drucker 
John and Alix Dunn 
Mr. and Mrs. Leonard Edelson 
Mr. and Mrs. Monroe B. England 
Eitan and Malka Evan 
Roz and Bob Feldman 
Mr. and Mrs. John C. Fontaine 
Mr. and Mrs. David Forer 
Mr. and Mrs. Herb Franklin 
I. Robert and Aviva Freelander 
Carolyn and Roger Friedlander 
Myra and Raymond Friedman 
Ralph and Audrey Friedner 
Mr. and Mrs. Robert L. Gable 
Jill and Harold Gaffin 
Mr. and Mrs. Arthur J. Gaines 
Agostino Galluzzo and Susan Hoag 
Mr. and Mrs. Gerald N. Gaston 
Dr. and Mrs. Paul H. Gendler 
Mr. and Mrs. Melvin Y. Gershman 
Dr. Donald and Phoebe Giddon 
Mr. and Mrs. Stephen A. Gilbert 
Cora and Ted Ginsberg 
David H. Glaser and 
Deborah F. Stone 
Sy and Jane Glaser 
Dr. Morton Gluck 
Mr. and Mrs. Seymour L. Goldman 
Dr. and Mrs. Morris Goldsmith 
Mrs. Haskell R. Gordon 
Corinne and Jerry Gorelick 



Hannah and Walter Shmerler 
Mr. Peter Spiegelman and 

Ms. Alice Wang 
Margery and Lewis Steinberg 
Marjorie and Sherwood Sumner 
Mr. and Mrs. George A. Suter, Jr. 
Mr. Aso Tavitian 
Diana Osgood Tottenham 
Ms. June Ugelow 
Mrs. Charles H. Watts II 
Karen and Jerry Waxberg 
Mrs. John Hazen White 
Mr. and Mrs. Ira Yohalem 



Goshen Wine & Spirits, Inc. 
Mr. and Mrs. Richard Grausman 
Mr. Harold Grinspoon and 

Ms. Diane Troderman 
Ms. Bobbie Hallig 
Joseph K. and Mary Jane Handler 
Felda and Dena Hardymon 
William Harris and 

Jeananne Hauswald 
Mr. Gardner C. Hendrie and 

Ms. Karen J. Johansen 
Mrs. Paul J. Henegan 
Mr. and Mrs. Peter Herbst 
Mr. and Mrs. Murray Hershman 
Mr. and Mrs. Robert I. Hiller 
Dr. and Mrs. Ronald Hinds 
Mr. Arnold J. and 

Helen G. Hoffman 
Mr. and Mrs. Charles Hoffman 
Dr. Joan O. Hoffman and 

Mr. Syd Silverman 
Dr. and Mrs. Edwin H. Hopton 
Mrs. Ruth W Houghton 
Housatonic Curtain Company 
Mr. and Mrs. William R. 

Housholder 
Stephen and Michele Jackman 
Mr. and Mrs. Edwin A. Jaffe 
Mr. and Mrs. Werner Janssen, Jr. 
Mr. and Mrs. Daniel R. Johnson 
Ms. Lauren Joy and 

Ms. Elyse Etling 
Nedra Kalish 
Adrienne and Alan Kane 
Mr. and Mrs. Arnold Y. Kapiloff 
Leonard Kaplan and 

Marcia Simon Kaplan 
Martin and Wendy Kaplan 
Mr. and Mrs. Wilson R. Kaplen 
Mr. and Mrs. Howard Kaufman 



Mr. and Mrs. Bruce Kelly 

Mr. and Mrs. Carleton F. Kilmer 

Deko and Harold Klebanoff 

Dr. and Mrs. Lester Klein 

Dr. and Mrs. David I. Kosowsky 

Janet and Earl Kramer 

Mr. and Mrs. Ely Krellenstein 

Norma and Irving Kronenberg 

Mr. and Mrs. Richard Kronenberg 

Naomi Kruvant 

Norma and Sol D. Kugler 

Cary and Beth Lakenbach 

Mildred Loria Langsam 

William and Marilyn Larkin 

Mr. and Mrs. William Lehman 

Ms. Lois Lerner 

Mr. Arthur J. Levey and 

Ms. Rocio Gell 
Marjorie T. Lieberman 
Mr. and Mrs. Murray Liebowitz 
Geri and Roy Liemer 
Mr. and Mrs. A. Michael Lipper 
Mr. and Mrs. Roger S. Loeb 
Mr. and Mrs. Walter F. Loeb 
Gerry and Sheri Lublin 
Mr. and Mrs. Bernard Ludwig 
Diane H. Lupean 
Gloria and Leonard Luria 
Mr. and Mrs. Edward Lustbader 
I. Kenneth and Barbara Mahler 
Mr. and Mrs. Darryl Mallah 
Rev. Cabell B. Marbury 
Peg and Bob Marcus 
Suzanne and Mort Marvin 
Mr. Daniel Mathieu and Tom Potter 
Maxymillian Technologies, Inc. 
Dr. Robert and Jane B. Mayer 
Carol and Thomas McCann 
Phyllis and Irv Mendelson 
The Messinger Family 
Mr. and Mrs. Rollin W. Mettler, Jr. 
Vera and Stanley T. Miller 
Mr. and Mrs. Michael A. Monts 
Mr. and Mrs. Joseph L. Nathan 
Jerry and Mary Nelson 
Linda and Stuart Nelson 
Bobbie and Arthur Newman 
Mr. Richard Novik 
Mr. Edward G. and 

Mrs. Sandra Novotny 
Mr. and Mrs. Chet Opalka 
Dr. and Mrs. Martin S. Oppenheim 
Mr. and Mrs. Michael Orlove 
Dr. and Mrs. Simon Parisier 



Parnassus Foundation, courtesy 

of Jane and Raphael Bernstein 
Mr. Lawrence Phillips 
Drs. Eduardo and Lina Plantilla 
Plastics Technology Laboratories, 

Inc. 
Dr. and Mrs. Francis Powers, Jr. 
Mr. and Mrs. Bruno Quinson 
Mr. and Mrs. Mickey Rabina 
Charles and Diana Redfern 
Mr. and Mrs. Nathan Reiber 
Mr. John H. Rice and 

Ms. Janet Pinkham 
Mr. Stanley Riemer 
Mary and Lee Rivollier 
Mr. and Mrs. Bernard L. Roberts 
Mr. and Mrs. Stanley Ross 
Mr. and Mrs. Harvey Rothenberg 
Mr. and Mrs. Jean J. Rousseau 
Mrs. George R. Rowland 
Suzanne and Burton Rubin 
Mr. and Mrs. Milton B. Rubin 
Carole and Edward I. Rudman 
Mr. Bruce Sagan and 

Ms. Bette Cerf Hill 
Mr. and Mrs. Michael Salke 
Malcolm and BJ Salter 
Samuel and Susan Samelson 
Mr. Robert M. Sanders 
Satinwood at Scarnagh, LLC 
Dr. and Mrs. Wynn A. Sayman 
Mr. Gary S. Schieneman and 

Ms. Susan B. Fisher 
Marcia and Albert Schmier 
Mr. and Mrs. Ernest Schnesel 
Lois and Alan Schottenstein 
Carrie and David Schulman 
Mr. and Mrs. Wallace L. Schwartz 
Carol and Marvin Schwartzbard 
Betsey and Mark Selkowitz 
Carol and Richard Seltzer 
Mr. and Mrs. Daniel Shapiro 
Mr. and Mrs. Howard and 

Natalie Shawn 
Sheffield Plastics, Inc. 
Jackie Sheinberg and 

Jay Morganstern 
The Richard Shields Family 
Hon. George P. Shultz 
Robert and Roberta Silman 
Richard B. Silverman 
Marion and Leonard Simon 
Mr. and Mrs. Robert L. Singleton 
Mr. and Mrs. Arthur M. Siskind 



Maggie and John Skenyon 
Mrs. William F. Sondericker 
Harvey and Gabriella Sperry 
Mr. and Mrs. Jerry Spiegel 
Dr. and Mrs. Michael Sporn 
Mr. and Mrs. Charles A. Stakely 
Mr. and Mrs. Lewis Stein 
Ms. Alice Stephens and 

Mr. Kenneth Abrahami 
Mr. and Mrs. Daniel S. Sterling 
Mr. and Mrs. Henry S. Stone 
Stonover Farm Bed and Breakfast 
Mrs. Pat Strawgate 
Mr. and Mrs. Charles Stuzin 
Mr. and Mrs. Michael Suisman 
Mr. Wayne Sunday 
Mr. and Mrs. I. David Swawite 
Talbots Charitable Foundation 
Mr. and Mrs. Richard Taylor 
Mr. and Mrs. Jack Teich 
Mr. and Mrs. John L. Thorndike 
Mr. Bruce Tierney 
The Tilles Family 
Mr. and Mrs. Albert J. Togut 
Myra and Michael Tweedy 
Mr. and Mrs. Howard J. Tytel 
Mr. Laughran S. Vaber 
Mr. and Mrs. Charles Vail 
Viking Fuel Oil Company 
Walden Printing Co., Inc. 
Mr. and Mrs. William G. Walker 
Mr. and Mrs. Harvey Waller 
Mr. and Mrs. Edwin A. Weiller III 
Mr. and Mrs. Robert A. Weinerman 
Mr. and Mrs. Barry Weiss 
Dr. and Mrs. Jerry Weiss 
Mr. and Mrs. Milton Weiss 
Mr. and Mrs. Robert A. Wells 
Mr. and Mrs. Frederic P. Werner 
Wheatleigh Hotel & Restaurant 
Ms. Carol Andrea Whitcomb 
Carole White 
Peter D. Whitehead 
Mr. and Mrs. Richard E. Willett 
Mr. Robert G. Wilmers 
Mr. Jan Winkler and 

Ms. Hermine Dresner 
Mr. and Mrs. Robert C. Winters 
Bob and Phyllis Yawitt 
Mr. and Mrs. Eric K. Zeise 
Simon H. and Esther Zimmerman 
Richard M. Ziter, M.D. 
Mr. Lyonel E. Zunz 



H 



Names luted as of June 3, 2004 




Judy Drucker's 

C oncert j^QQAJjg N 

A not-for-profit organization 
Premier Presenters of the World's Greatest Music & Dance 

Chaim Katzman, Board chair 
Judy Drucker, president 




We Conduct Some Serious 
Business in South Florida... 




Kurt Masur 




Keith Lockhart 




Osmo Vanska 




Sure, the sun shines year round in Miami and Fort 
Lauderdale, and any occasion is a good occasion to visit, 
but Judy Drucker's Concert Association assures that 
world-renown artists are forecast for the 2004-2005 
season. Featuring the greatest conductors eliciting glori- 
ous music from the most highly-acclaimed orchestras 
and soloists in the world. These artists will conduct some 
serious business: ensuring that South Florida is among 
the capitals of the classical music world. Featuring 
orchestras including the Boston Pops, Orchestre National 
de France, Kirov Orchestra of the Mariinsky Theatre, 
Dresden Staatskapelle, Pittsburgh Symphony, Minnesota 
Orchestra and others at the Jackie Gleason Theater in 
Miami Beach and the Broward Center for the Performing 
Arts in Fort Lauderdale... 

Call for a free brochure or to secure your seats to hear 
the greatest orchestras and performers set among the 
backdrop of two of the most beautiful cities in the world. 

Toll-free 1-877-433-3200, ext. 301. 
www.concertfla.org 






Claire's 

STORES III 




Yuri Simonov 



MIAMI BEACH 

cultural. 



T.ffJtS BR WARD Art/ 

miulr/J^ ■■ COUNTY COUNCIL 







W Drunker 




Charles Dutoit 





Yuri Temirkanov 




Raphael Friihbeck de Burgos 



These concerts ore sponsored by the Concert Association of Florida, Inc., with the support of the Florida Dept. of State, Division of Cultural Affairs and the Florida Arts Council; the Broward County Board of County 

Commissioners, the Broward Cultural Affairs Council and the Miami-Dade County Board of County Commissioners, the City of Miami Beach and the Miami Beach Cultural Arts Council A copy of the registration and 

financial information may be obtained from the division of Consumer Services by calling toll-free 1-800-435-7325 within-the state. Registration does not imply endorsement, approval or recommendation by the 

state. All performances, artists, dates, venues and programs are subject to change. No refunds or exchanges. Latecomers will not be seated until the first suitable break in the performance. 



BUSINESS FRIENDS OFTANGLEWOOD 

The BSO gratefully acknowledges the following for their generous contributions of 
$500 or more during the 2003-2004 fiscal year. An eighth note symbol ( J>) denotes 
support of $1,000-12,499. Names that are capitalized recognize gifts of $2,500 or more. 



BUSINESS FRIENDS TEN 

recognizing gifts of $10,000 
or more 

Banknorth 

Berkshire Bank 

Blantyre 

Canyon Ranch in the Berkshires 

County Curtains 

The Red Lion Inn 



Banking 



Accounting/Tax Preparation 

Adelson 6c Company P.C. 

Feldman, Holtzman, Lupo 8c 
Zerbo, CPAs 

Mark Friedman, CPA 
JWarren H. Hagler Associates 

Michael G. Kurcias, CPA 

Alan S. Levine, P.C, CPA 
J>Riley, Haddad, Lombardi 6c 
Clairmont 

Sax, Macy, Fromm 6c Co., P.C. 

Advertising/Communications/ 
Public Relations 

Ed Bride Associates 
Heller Communications 
J'JDC Communications 
Teletime Media Inc. 

Antiques/Art Galleries 

J>Elise Abrams Antiques 
.hCoffman's Antiques Markets 
.hCountry Dining Room Antiques 

Cupboards 6c Roses 

DeVries Fine Art 

Fellerman 6c Raabe Glassworks 

Green River Gallery 

Henry B. Holt 

Susan Silver Antiques 

Stone's Throw Antiques 

Watkins Gallery 

R.W. Wise, Goldsmiths, Inc. 

Architects/Landscape 

Denig Design Associates, Inc. 
edm 
architecture • engineering • 
management 
jFbur Architecture Inc. 
Hill Engineers, Architects, 
Planners, Inc. 
.hEdward Rowse Architects 
Pamela Sandler AIA, Architect 

Automotive 

J>Norman Baker Auto Sales, Inc. 
i^Biener Nissan- Audi 

Pete's Motor Group 

S6cW Sales Co. Inc. 



Adams Cooperative Bank 
BANKNORTH 
BERKSHIRE BANK 
Greylock Federal Credit Union 
Lee Bank 
LEGACY BANKS 
Lenox National Bank 
jThe Pittsfield Cooperative Bank 
South Adams Savings Bank 

Beverage/Food Sales/Consumer 
Goods/Distribution 

i^Crescent Creamery 
GOSHEN WINE 6c SPIRITS, 
INC. 
jGuido's Quality Food 6c Produce, 
Inc. 
High Lawn Farm 
KOPPERS CHOCOLATE 
Moore Fine Food, Inc. 

Consulting: 
Management/Financial 

American Investment Services 

BERKSHIRE BANK 

Saul Cohen 6c Associates 

ComPiere ERP/CRM 
^General Systems Co., Inc. 
^Leading Edge Concepts 

Locklin Management Services 
.hMarlebar Group 
.PPilson Communications, Inc. 
J>RL Associates 

South Adams Savings Bank 



.bRay Murray Inc. 
Pittsfield Generating Company 
VIKING FUEL OIL 
COMPANY, INC 

Engineering 

edm 

architecture • engineering • 

management 
Foresight Land Services 
^General Systems Co., Inc. 

Environmental Services 

Foresight Land Services 
MAXYMILLIAN 

TECHNOLOGIES, INC. 
Nowick Environmental Associates 

Financial Services 

American Investment Services 
jAbbott Capital Management, 

LLC 

BANKNORTH 

BERKSHIRE CAPITAL 
INVESTORS, INC 
jMr. and Mrs. Monroe Faust 

THE FEDER GROUP 
i>Kaplan Associates L.P 

The Keator Group 

Sagemark Corporation 

MARK SELKOWITZ 
INSURANCE AGENCY, 
LLC 

UBS Financial Services 
J) Andrew Collins Vickery 



Contracting/Building Supplies High Technolgy/Electronics 



Alarms of Berkshire County 
Lou Boxer Builder, Inc. 
Cardan Construction, Inc. 
Dettinger Lumber Co., Inc. 
DRESSER-HULL COMPANY 
Great River Construction 

Company, Inc. 
J'Petricca Construction Co. 
S 6c A Supply, Inc. 
David J. Tierney Jr., Inc. 
PETER D. WHITEHEAD, 

BUILDER 

Education 

Belvoir Terrace-Fine and 
Performing Arts Center 

Berkshire Country Day School 

Berkshire Stuttering Center 
J>Camp Greylock 

Robin Kruuse 

Massachusetts College of Liberal 
Arts 

Energy/Utilities 

The Berkshire Gas Company 
ESCO Energy Services Co. 
Massachusetts Electric Company 



New England Dynamark Security 
Center 
j^New Yorker Electronics Co., Inc. 



Insurance 



Bader Insurance Agency, Inc. 
BERKSHIRE LIFE 

INSURANCE COMPANY 

OF AMERICA 
LEGACY BANKS 
McCormick, Smith 6c Curry 
Minkler Insurance Agency, Inc. 
Reynolds, Barnes 6c Hebb 
MARK SELKOWITZ 

INSURANCE AGENCY, 

LLC 
Wheeler 6c Taylor Inc. 



Legal 



J^Frank E. Antonucci, Attorney at 
Law 
JOHN A. BARRY, ATTORNEY 

AT LAW 
J^Braverman 6c Associates 
CAIN, HIBBARD, MYERS 6c 
COOK, PC 
J>Certilman, Balin 



WHM 



^ SUMMER READING 




APERBACK 



"Powerful.... "Gloriously eccentric, 

Wonderfully told." wonderfully intelligent. 

-The New York Times Book Review — The Boston Globe 



THOMAS CAHIU 

Author of Horn Tf» Imh SavtJ C.mljzaton and TT* C//l 0/ ihr Imn 



iaiung 

THE WINE DARK 

* SEA 

Why the Greeks Matter 




"The best introduction to 
classical Greek culture yet 

written." — Los Angeles Times 



NATIONAL BESTSELLER 

JANE SMILEY 

PULITZER PRIZE-WINNING AUTHOR OF A JHOOSMO MtlS 



good faith 




"Smashing.... Fascinating.... 
Extremely subtle." 

— The New York Times Book Review 



NATIONAL BESTSELLER 



Author of INTO THE WILD and INTO THIN AIR 



U^DEHtHr 



DMIM IM 1 1\ Violent Faith 

OF HEAVEN 

On July 24.1984, a woman and her infant daughter were 
murdered by two brothers who believed they were ordered 
to kill by God. The roots ot their crime lie deep in the 
history of an American religion practiced by millions... 




OUR 
LADY 

OF THE 

FOREST 



DAVID 



"Fantastic... Up there 
with In Cold Blood" 

— San Francisco Chronicle 



GUTERSON 



SNOU PALLING ON CEDARS 



'Spellbinding.... Mesmerizing. 

Brilliantly conceived." 

— The Seattle Times 



HAVE YOU READ THEM YET? 



Find author tour schedules, book excerpts, reading group 
guides, and much more at www.readinggroupcenter.com 



VINTAGE 



50 



ANCHOR 



Cianflone & Cianflone, P.C. 
^Michael J. Considine, Attorney at 
Law 
Deely 8c Deely 
Law Office of Joel S. Greenberg, 

P.C. 
Grinnell, Dubendorf 8c Smith 
Philip F. Heller 8c Associates, 

Attorneys at-Law 
Jonas and Welsch, P.C. 
Ellen C. Marshall, Esq. 
J'Schragger, Lavine 8c Nagy 
^Lester M. Shulklapper, Esq. 

Lodging/Where to Stay 

A Bed 8c Breakfast in the 
Berkshires 

Applegate Inn 

APPLE TREE INN 8c 
RESTAURANT 

Best Western Black Swan Inn 

Birchwood Inn 

BLANTYRE 

Broken Hill Manor 

Brook Farm Inn 
^Christine's Bed 8c Breakfast Inn 

8c Tea Room 
jGliffwood Inn 

CORNELL INN 
jGranwell Resort, Spa, and Golf 
Club 

Devonfield Country Inn 

From Ketchup to Caviar 
JThe Gables Inn 

Gateways Inn 8c Restaurant 

Howard Johnson 

The Inn at Richmond 
jThe Inn at Stockbridge 

Monument Mountain Motel 

One Main B8cB 

The Porches Inn at MASSMoCA 

The Red Lion Inn 
J>Rookwood Inn 

SATINWOOD AT 
SCARNAGH 

Spencertown Country House 

STONOVER FARM BED 8c 
BREAKFAST 

Taggart House 

The Village Inn 
JWalker House 

The Weathervane Inn 

WHEATLEIGH HOTEL 8c 
RESTAURANT 

Whisder's Inn 

Windflower Inn 

The Yankee Home Comfort Inn 

Manufacturing/Industrial 

JlBarry L. Beyer 
BROADWAY MANUFAC- 
TURING SUPPLY 
^French Textiles 
jThe Kaplan Group 
KOPPERS CHOCOLATE 
Limited Edition Lighting 8c 

Custom Shades 
MeadWestvaco Corporation 
Plastics Technology Laboratories, 

Inc. 
Schweitzer-Mauduit International 
Inc. 



SHEFFIELD PLASTICS, INC., 
A BAYER COMPANY 

J>SpaceNow! Corporation 

Printing/Publishing 

J^Barry L. Beyer 
CRANE 8c COMPANY, INC. 
Pindar Press 

Quality Printing Company, Inc. 
THE STUDLEY PRESS 
WALDEN PRINTING 
COMPANY 

Real Estate 

i^Barrington Associates Realty 
Trust 
Benchmark Real Estate 
Berkshire Homes and Condos 
Berkshire Mortgage Company 
J^Cohen 8c White Associates 
Copake Realty 
J Corashire Realty Inc. 
^Evergreen Buyer Brokers of the 

Berkshires 
jFranz J. Forster Real Estate 
INLAND MANAGEMENT 

CORP. 
P8cL Realty 

Roberts 8c Associates Realty, Inc. 
Rose Real Estate - Coldwell 

Banker 
Stone House Properties, LLC 
Dennis G. Welch Real Estate 
Wheeler 8c Taylor, Inc. 

Restaurants/Where to Eat 

APPLE TREE INN 8c 

RESTAURANT 
Applegate Inn 
BLANTYRE 
jGafe Lucia 
Church Street Cafe 
Firefly 

From Ketchup to Caviar 
Gateways Inn 8c Restaurant 
THE RED LION INN 
The Village Inn 
WHEATLEIGH HOTEL 8c 

RESTAURANT 

Retail/Where to Shop 

Arcadian Shop 

Bare Necessities Fine Lingerie 

COUNTRY CURTAINS 

DRESSER-HULL COMPANY 

Fellerman 8c Raabe Glassworks 

Gatsbys 

HOUSATONIC CURTAIN 

COMPANY 
Kenver, Ltd. 

KOPPERS CHOCOLATE 
Limited Edition Lighting 8c 

Custom Shades 
Pamela Loring Gifts and Interiors 
Nejaime's Wine Cellar 
JlPaul Rich and Sons Home 

Furnishings 
Mary Stuart Collections 
TALBOTS CHARITABLE 

FOUNDATION 
The Don Ward Company 



^Ward's Nursery 8c Garden Center 
Windy Hill Farm Garden 

Center/Nursery 
R.W. Wise, Goldsmiths, Inc. 

Science/Medical 

J»510 Medical Walk-In 

Berkshire Eye Center 

Berkshire Medical Center 

Berkshire Stuttering Center 

Dorella L. Bond, Ph.D. 
jMichael Ciborski, M.D. 
J>Lewis R. Dan, M.D. 

Irving Fish, M.D. 

Dr. Elliot Greenfeld 
jKjTL Inc., Link to Life 
J>Leon Harris, M.D. 

Kimball Farms Lifecare 
Retirement Community 

Carol Kolton, LCSW 

William Knight, M.D. 
J^Long Island Eye Physicians and 
Surgeons 

Northeast Urogynecology 

Donald Wm. Putnoi, M.D. 

The Austen Riggs Center 

Robert K. Rosenthal, M.D. 
i>Royal Health Care Services of 
NY. 

Sugar Hill Mansion-A 
Retirement Community 

Services 

J 1 Abbott's Limousine 8c Livery 
Service 
Adams Laundry and Dry 

Cleaning Company 
Alarms of Berkshire County 
Berkshire Eagle (New England 

Newspapers) 
Boulderwood Design 
^Christine's Bed 8c Breakfast Inn 
8c Tea Room 
Dery Funeral Home 
New England Dynamark Security 

Center 
Richmond Telephone Company 
S 8c K Brokerage 
^Security Self Storage 
Tobi's Limousine 8c Travel 
Service 

Software/Information Systems 

^Berkshire Information Systems 
Inc. 

ComPiere ERP/CRM 

New Yorker Electronics Co., Inc. 
J^Pilson Communications, Inc. 

Tourism/Resorts 

Berkshire Chamber of Commerce 
CANYON RANCH IN THE 
BERKSHIRES 
jGranwell Resort, Spa, and Golf 
Club 
Jiminy Peak 
Taggart House 



Names listed as of May 15, 2004 




TANGLEWOOD MUSIC CENTER & 
TANGLEWOOD FESTIVAL ENDOWMENT CONTRIBUTORS 

Tanglewood Music Center Fellows pay no tuition and are offered essentially free room and 
board. Their residency at Tanglewood is underwritten largely through annual and endowed 
Fellowships. The TMC faculty includes many of the world's finest musical artists, some of 
them teaching through the generosity of donors who have endowed artists' positions. The 
Tanglewood Music Center and the Tanglewood Festival gratefully acknowledge the endow- 
ment support of the contributors represented below. For further information please contact 
Judi Cantor, Director of Major and Planned Giving, at (413) 637-5275. 



ENDOWED ARTIST POSITIONS 

Berkshire Master Teacher Chair Fund 

Edward and Lois Bowles Master Teacher Chair Fund 

Richard Burgin Master Teacher Chair Fund 

Charles E. Culpeper Foundation Master Teacher Chair 

Fund 
Eleanor Naylor Dana Visiting Artists Fund 
Vic Firth Master Teacher Chair Fund, endowed by Mr. 

and Mrs. Henry Wheeler 
Barbara LaMont Master Teacher Chair Fund 
Renee Longy Master Teacher Chair Fund, gift of jane 

and John Goodwin 
Harry L. and Nancy Lurie Marks Tanglewood Artist- 

In-Residence 
Marian Douglas Martin Master Teacher Chair Fund, 

endowed by Marilyn Brachman Hoffman 
Beatrice Sterling Procter Master Teacher Chair Fund 
Sana H. and Hasib J. Sabbagh Master Teacher Chair 

Fund 
Surdna Foundation Master Teacher Chair Fund 
Stephen and Dorothy Weber Artist-In-Residence 

ENDOWED FULL FELLOWSHIPS 

Jane W. Bancroft Fellowship 

Bay Bank/BankBoston Fellowship 

Leonard Bernstein Fellowships 

Edward S. Brackett, Jr. Fellowship 

Frederic and Juliette Brandi Fellowship 

Jan Brett and Joe Hearne Fellowship 

Rosamund Sturgis Brooks Memorial Fellowship 

Tappan Dixey Brooks Memorial Fellowship 

BSAV/Carrie L. Peace Fellowship 

Stanley Chappie Fellowship 

Alfred E. Chase Fellowship 

Clowes Fund Fellowship 

Harold G. Colt, Jr. Memorial Fellowship 

Andre M. Come Memorial Fellowship 

Caroline Grosvenor Congdon Memorial Fellowship 

Margaret Lee Crofts Fellowship 

Charles E. Culpeper Foundation Fellowship 

Darling Family Fellowship 

Omar Del Carlo Fellowship 

Otto Eckstein Family Fellowship 

Friends of Armenian Culture Society Fellowship 

Judy Gardiner Fellowship 

Athena and James Garivaltis Fellowship 

Merwin Geffen, M.D. and Norman Solomon, M.D. 

Fellowship 
Juliet Esselborn Geier Memorial Fellowship 



Armando A. Ghitalla Fellowship 

Fernand Gillet Memorial Fellowship 

Marie Gillet Fellowship 

Haskell and Ina Gordon Fellowship 

Florence Gould Foundation Fellowship 

John and Susanne Grandin Fellowship 

William and Mary Greve Foundation- 
John J. Tommaney Memorial Fellowship 

Luke B. Hancock Foundation Fellowship 

William Randolph Hearst Foundation Fellowship 

C. D. Jackson Fellowship 

Paul Jacobs Memorial Fellowship 

Lola and Edwin Jaffe Fellowship 

Billy Joel Keyboard Fellowship 

Susan Kaplan Fellowship 

Steve and Nan Kay Fellowship 

Robert and Luise Kleinberg Fellowship 

Mr. and Mrs. Allen Z. Kluchman Memorial 
Fellowship 

Dr. John Knowles Fellowship 

Naomi and Philip Kruvant Family Fellowship 

Donald Law Fellowship 

Barbara Lee/Raymond E. Lee Foundation Fellowship 

Bill and Barbara Leith Fellowship 

Edwin and Elaine London Family Fellowship 

Stephanie Morris Marryott & 
Franklin J. Marryott Fellowship 

Robert G. McClellan, Jr. & IBM Matching Grants 
Fellowship 

Merrill Lynch Fellowship 

Messinger Family Fellowship 

Ruth S. Morse Fellowship 

Albert L. and Elizabeth P. Nickerson Fellowship 

Northern California Fellowship 

Seiji Ozawa Fellowship 

Theodore Edson Parker Foundation Fellowship 

Pokross/Fiedler/Wasserman Fellowship 

Lia and William Poorvu Fellowship 

Daphne Brooks Prout Fellowship 

Claire and Millard Pryor Fellowship 

Rapaporte Foundation Fellowship 

Harry and Mildred Remis Fellowship 

Peggy Rockefeller Memorial Fellowship 

Carolyn and George R. Rowland Fellowship 

Saville Ryan/Omar Del Carlo Fellowship 

Wilhelmina C. Sandwen Memorial Fellowship 

Morris A. Schapiro Fellowship 

Edward G. Shufro Fund Fellowship 

Starr Foundation Fellowship 



Anna Sternberg and Clara J. Marum Fellowship 

Miriam H. and S. Sidney Stoneman Fellowships 

Surdna Foundation Fellowship 

James and Caroline Taylor Fellowship 

William F. and Juliana W. Thompson Fellowship 

Ushers/Programmers Instrumental Fellowship in honor 

of Bob Rosenblatt 
Ushers/Programmers Vocal Fellowship in honor of 

Harry Stedman 
Wallace-Reader's Digest Fund Fellowship 
Max Winder Memorial Fellowship 
Jerome Zipkin Fellowship 

ENDOWED HALF FELLOWSHIPS 

Mr. and Mrs. David B. Arnold, Jr. Fellowship 

Kathleen Hall Banks Fellowship 

Leo L. Beranek Fellowship 

Felicia Montealegre Bernstein Fellowship 

Sydelle and Lee Blatt Fellowship 

Brookline Youth Concerts Awards Committee 

Fellowship 
Helene R. and Norman L. Cahners Fellowship 
Marion Callanan Memorial Fellowship 
Nat Cole Memorial Fellowship 
Harry and Marion Dubbs Fellowship 
Daniel and Shirlee Cohen Freed Fellowship 
Dr. Marshall N. Fulton Memorial Fellowship 
Gerald Gelbloom Memorial Fellowship 
Arthur and Barbara Kravitz Fellowship 
Bernice and Lizbeth Krupp Fellowship 
Philip and Bernice Krupp Fellowship 
Edward H. and Joyce Linde Fellowship 
Lucy Lowell Fellowship 
Morningstar Family Fellowship 
Stephen and Persis Morris Fellowship 
Hannah and Raymond Schneider Fellowship 
Pearl and Alvin Schottenfeld Fellowship 
Edward G. Shufro Fund Fellowship 
Evelyn and Phil Spitalny Fellowship 
R. Amory Thorndike Fellowship 
Augustus Thorndike Fellowship 
Sherman Walt Memorial Fellowship 

ENDOWED SCHOLARSHIPS 

Maurice Abravanel Scholarship 
Eugene Cook Scholarship 
Dorothy and Montgomery Crane Scholarship 
William E. Crofut Family Scholarship 
Ethel Barber Eno Scholarship 
Richard F. Gold Memorial Scholarship 
Leah Jansizian Memorial Scholarship 
Miriam Ann Kenner Memorial Scholarship 
Andrall and Joanne Pearson Scholarship 
Mary H. Smith Scholarship 
Cynthia L. Spark Scholarship 
Tisch Foundation Scholarship 

ENDOWED FUNDS SUPPORTING THE 
TEACHING AND PERFORMANCE PROGRAMS 

Anonymous (1) 

George W. and Florence N. Adams Concert Fund 

Eunice Alberts and Adelle Alberts Vocal Studies Fund * 

Bernard and Harriet Bernstein Fund 

George & Roberta Berry Fund for Tanglewood 

Peter A. Berton Fund 



Donald C. Bowersock Tanglewood Fund 

Gino B. Cioffi Memorial Prize Fund 

Phyllis and Lee Coffey Memorial Concert Fund 

Aaron Copland Fund for Music 

Margaret Lee Crofts Concert Fund 

Margaret Lee Crofts TMC Fund 

Paul F. and Lori A. Deninger DARTS Scholarship 

Fund 
Alice Willard Dorr Foundation Fund 
Carlotta M. Dreyfus Fund 
Virginia Howard and Richard A. Ehrlich Fund 
Selly A. Eisemann Memorial Fund 
Elise V and Monroe B. England Tanglewood Music 

Center Fund 
Honorable and Mrs. John H. Fitzpatrick Fund 
Daniel and Shirlee Cohen Freed Concert Fund 
Ann and Gordon Getty Fund 
Gordon/Rousmaniere/Roberts Fund 
Grace Cornell Graff Fellowship Fund for Composers 

at the TMC 
Heifetz Fund 

Mickey L. Hooten Memorial Award Fund 
Grace Jackson Entertainment Fund 
Grace B. Jackson Prize Fund 
Paul Jacobs Memorial Commissions Fund 
Louis Krasner Fund for Inspirational Teaching and 

Performance, established by Marilyn Brachman 

Hoffman 
William Kroll Memorial Fund 
Dorothy Lewis Fund 
Kathryn & Edward M. Lupean & Diane Holmes 

Lupean Fund 
Samuel Mayes Memorial Cello Award Fund 
Charles E. Merrill Trust TMC Fund 
Northern California TMC Audition Fund 
Herbert Prashker Fund 
Renee Rapaporte DARTS Scholarship Fund 
Mr. and Mrs. Ernest H. Rebentisch Fund 
Jules C. Reiner Violin Prize Fund 
Elaine and Harvey Rothenberg Fund 
Rothenberg/Carlyle Foundation Fund 
Helena Rubinstein Fund 
Edward I. and Carole Rudman Fund 
Lenore S. and Alan Sagner Fund 
Renee D. Sanft Fellowship Fund for the TMC 
Hannah and Ray Schneider TMCO Concert Fund'' 
Maurice Schwartz Prize Fund by Marion E. Dubbs 
Ruth Shapiro Scholarship Fund 
Dorothy Troupin Shimler Fund 
Asher J. Shuffer Fund 
Evian Simcovitz Fund 
Albert Spaulding Fund 
Jason Starr Fund 
Tanglewood Music Center Composition Program 

Fund 
Tanglewood Music Center Opera Fund 
TMC General Scholarship Fund 
Denis and Diana Osgood Tottenham Fund 
The Helen F. Whitaker Fund 
John Williams Fund 
Karl Zeise Memorial Cello Award Fund 



^Deferred gifts 

Listed as of June 4, 2004 




CAPITAL AND ENDOWMENT CONTRIBUTORS 

The Boston Symphony Orchestra is committed to providing the highest caliber per- 
formances and education and community outreach programs, and to preserving its 
world-renowned concert facilities. Contributions from donors and income from the 
endowment support 40 percent of the annual budget. The BSO salutes the donors 
listed below who made capital and endowment gifts of $10,000 or more between 
May 1, 2003, and June 3, 2004. For further information, contact Judi Taylor Cantor, 
Director of Major and Planned Giving, at (413) 637-5275. 



$1,000,000 and Up 

Mrs. William H. Congleton 
Kate and Al Merck 

$250,000 -$499,999 

Anonymous (3) 

$100,000-$249,999 

Anonymous (2) 
Mr. William I. Bernell 
Catherine and Paul Buttenwieser 
Estate of Mrs. Janet M. Halvorson 
Mr. William R.Hearst III 
National Park Service, 

US Dept. of the Interior 

Save Americas Treasures 

$50,000-$99,999 

Anonymous (1) 
The Behrakis Foundation 
Estate of Clarita Heath Bright 
Estate of Mrs. Pierre de Beaumont 
Mr. and Mrs. Disque Deane 

$25,000-$49,999 

Anonymous (2) 
Mr. and Mrs. James L. Bildner 
Cynthia and Oliver Curme 
Ms. Ann V. Dulye 
Mrs. Harriett M. Eckstein 
Estate of Frances Fahnestock 
Estates of Harold K. Gross and 
Evelyn F Gross 



Mrs. Mischa Nieland and 
Dr. Michael L. Nieland 
Estate of Elizabeth B. Storer 



The Messinger Family 



Estate of Dr. and Mrs. Nelson Saphir 
Estate of Dorothy Troupin Shimler 
Jeanne H. Wolf, in memory of 
Gottfried Wilnnger 



Ms. Helen Salem Philbrook 
Estate of Mr. Robert W. Stewart 
Mr. and Mrs. Stephen R. Weiner 



Estate of George F and Elsie Hodder 
The Richard P. and Claire W Morse 

Foundation 
Estate of David R. Pokross 
Estate of Dr. Charles Reiner 
Estate of Madelaine G. von Weber 
The Cornelius and Muriel Wood 

Charity Fund 

Continued. 




$15 / 000-$24 / 999 

Anonymous (2) 

Dr. David M. Aronson 

Mr. and Mrs. Peter A. Brooke 

$10,000-$ 14,999 

Anonymous (1) 

Mrs. Ben Beyea 

Estate of Francis F. Faulkner 

Mrs. Samuel B. Feinberg 

Dr. and Mrs. Orrie M. Friedman 

Highland Capital Partners 

Mr. Wydijfe K. Grousbeck 
Estate of Priscilla M. Holman 
Victoria Kokoras and Joyce Picker 
Dr. Edwin F. Lovering 
Mrs. Edward M. Lupean and 

Diane H. Lupean 



Elizabeth Taylor Fessenden Foundation 
FleetBoston Financial Foundation 
Estate of Susan Morse Hilles 



Mr. and Mrs. Joseph C. McNay 

Estate of Marilyn S. Nelson 

Dr. Peter Ofner 

Mr. Donald I. Perry 

Renee Rapaporte 

Estate of Dorothy F. Rowell 

Hinda L. Shuman 

Mr. Orlando N.Tobia 

U.S. Dept. of Housing and Urban 

Development 
Stephen and Dorothy Weber 




BUSINESS FRIENDS OF 



Tanglewood 



Tanglewood generates more than $60 million for the 
local economy. Tanglewood Business Friends provide 
operating support, underwrite educational programs, 
and fund fellowships for aspiring young musicians at 
the Tanglewood Music Center. 

To become a Business Friend of Tanglewood, 
call Pam Malumphy at: 



(413) 637-5174 



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7w //># Berkshires, Nature sets the 



Berkshire Performing Arts Calendar 
August 1-31, 2004 

Barrington Stage Company 

Sheffield, (413) 528-8888 

www. bariingtonstageco. org 

Choral Masterpieces — 225 voices, soloists, Springfield 

Symphony. 8/7 Dvorak Requiem 8 pm. 

Berkshire Choral Festival 

Sheffield, (413) 229-1999 

www.choralfest.org 

Choral Masterpieces — 225 voices, soloists, Springfield 

Symphony. 8/7 Dvorak Requiem 8 pm. 

Berkshire Music School 

Pittsfield, (413)442-1411 

Music education for all ages. Private lessons and 

chamber ensembles. Open year round. 

Berkshire Theatre Festival 

Stockbridge, Box: (413) 298-5576 

www.berkshiretheatre.org 

Miracle Worker - 8/1-14; Misanthrope - 8/17-9/4; 

Eugenes Home — 8/4-21; Goes Without Saying — 

8/24. 

Jacob's Pillow Dance Festival 

Becket, (413) 243-0745 

www.jacobspillow.org 

Americas premier dance festival plus FREE talks & 

showings. Boston Ballet, 8/25 — 8/29. 

The Miniature Theatre of Chester 

Chester, (413) 354-7771 

www.miniaturetheatre.org 

"The Gem of the Berkshires. " The Pavilion 7/28 — 

8/15; So Long Sleeping Beauty 8/18 — 29. 

Music & More in the Meeting House 

New Marlborough, (413) 229-3126 

www.newmarlborough.org 

Tanglewood Marionettes 8/14, 3 pm. Silent film 

show with live music "The General" 4:30 pm. 



Shaker Mountain Opera at Berkshire 
Community College 

Pittsfield, (800) 588-9757 

www. Shakermountainopera. org 

Fully staged productions of Faust, Magic Flute and 

Tales of Hoffmann. Operas for kids. 

Shakespeare & Company 

Lenox, (413) 637-3353 
www.shakespeare.org 

The comedy of errors, Shakespeare's 3-Ring Circus, 
plays Founders' Theatre Tues. -Sat. 

Berkshire Museums & Art Centers 
Calendar - August 1-31, 2004 

A Chapel For Humanity 

North Adams, (413) 664-9550 

www.darkrideproject.org 

A Chapel For Humanity; Sculptural Epic and 9/11 

Room. Free Admission, Wed. -Sun. 12-5. 

Berkshire Botanical Garden 

Stockbridge, (413) 298-3926 

www.berkshirebotanical.org 

Beautiful display gardens open daily 10-5- Flower 

Show 8/7-8, Arts & Crafts Show 8/21-22. 

Berkshire Museum 

Pittsfield, (413) 443-7171 

www.berkshiremuseum.org 

Presence of Light Contemporary Artists explore the 

possibilities July 2 — October 31. 

Bidwell House Museum 

Monterey, (413) 528-6888 

www. bidwellho usemuseum .org 

Restored parsonage, c. 1750, superb collection of 

antiques & decorative arts. Daily tours, 11-4. 

Bryant Homestead 

Cummington, (413) 634-2244 

www.thetrustees.org 

Greenwood Music Camp performance on the Bryant 

lawn. Sunday, 8/1, 3:30pm. Free. 



Berkshire Visitors Bureaus Cultural Alliance would like to thank 
Studley Press, Inc. for donating these pages. 



scene and Culture steals the show. 



Chesterwood 

Stockbridge, (413) 298-3579 

www.chesterwood.org 

Contemporary sculpture at Chesterwood until Oct. 

11. August 27-29 River Summer Flower Show. 

Crane Museum of Papermaking 

Dalton, (413) 684-6481 
www.crane.com 

Crane Museum of Paper Making, June — mid- 
October, 2-5 pm. FREE ADMISSION. 

Dark Ride Project 

North Adams, (413) 664-9550 

www.darkrideproject.org 

Take a ride on the Sensory Integrator. Wed.-Sun. 12- 

5. Unusual andfunl 

The Eric Carle Museum of Picture Book Art 

Amherst, (413)658-1100 

www.picturebookart.org 

Mordicai Gerstein: The Man Who Walked Between 

the Towers. Aug. 17— Dec. 5. 

Frelinghuysen Morris House & Studio 

Lenox, (413) 637-0166 
www. frelinghuysen .org 

Modernist house & masterpieces. Richard Nunley lec- 
ture Aug. 20 5 pm. Housatonic River Celebration! 

Hancock Shaker Village 

Pittsfield, (413) 443-0188 
www.hancockshakervillage. org 
History & hands-on fun for all— 20 buildings, farm 
& animals, crafts, exhibits. Kids free. 

Herman Melville's Arrowhead 

Pittsfield, (413) 442-1793 

www.mobydick.org 

Here's Looking At Ewe Exhibit for Sheeptacular — 

decorated sheep, photos, artifacts. 

MASSMoCA 

North Adams, (413) MOCA 1 1 1 

www.massmoca.org 

Matthew Ritchie, Ann Hamilton, & Interventionists 

plus Bill T JoneslArnie Zane Oct. 1-3. 



The Mount, Edith Wharton's Estate & Gardens 

Lenox, (413) 637-6900 

www. Edi th Wharton . org 

Tours, Designer Showhouse, Monday & Thursday 

Lectures, Terrace Cafe. Daily 9 a.m. — 5 p.m. 

Norman Rockwell Museum 

Stockbridge, (413) 298-4100 

www.nrm.org 

Hometown Hero, Citizen of the World: Rockwell in 

Stockbridge through October 31, 2004. 

Sheffield Historical Society 

Sheffield, (413) 229-2694 

www.sheffieldhistory.org 

Historic house tours Thurs. — Sat. 11-4. Changing 

exhibits & shopping at the Old Stone Store. 

Sterling and Francine Clark Art Institute 

Williamstown, (413) 458-2303 
www.clarkart.edu 

'Bonjour, Monsieur Courbet!" feature 75 master- 
pieces of 19th-century French art 6127-916. 

Ventfort Hall, Museum of the Gilded Age 

Lenox, (413) 637-3206 
www.gildedage.org 

Tours daily 10-3. Xingu adapted Wharton story per- 
formed Wed.IThu.IFri. 7:30, Sat. 4, Sun. 10. 

Williams College Museum of Art 

Williamstown, (413) 597-2429 

www.wcma.org 

On View: Ezra Stoller: Architectural photography. 

Admission is free. 




ERKSHIRES 

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Fine 

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Ice Cream & 
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Tanglewood 




SEIJI OZAWA HALL 



Wednesday, August 18, at 8:30 

Florence Gould Auditorium, Seiji Ozawa Hall 

BOSTON SYMPHONY CHAMBER PLAYERS 
DAWN UPSHAW, soprano 



Osvaldo Golijov (b.1960) 

"Ayre" (2004) 



Translations of the Sung Texts 



Mananita de San Juan 

{Morning of St. Johns Day) 

Text: Traditional Sephardic Romance 

Music based on Sephardic street calls 



In the morning of St. John's Day 
Moors and Christians went out to war 
They were warring, they were dying 
Five hundred on each side. 

Rondale, admiral of the seas, 

Was taken captive. 

His sword broke and in the middle 

of the battle 
He found himself in prison and started 

to cry. 

The princess heard him from the heights 

of her castle: 
"Don't cry, Rondale, don't harm yourself 
I'll give you 100 gold marks and 
Whatever else you want 
You'll marry me, my vineyards and brooks." 

"May bad fire burn your vineyards 

Your brooks and your homes 

I have a wife in Paris: that's the one I marry" 

When the princess heard this 
She had him killed. 

— translation by Osvaldo Golijov 



2. Una Madre Comio Asado 

{A Mother Roasted her Child) 
Lyrics and Music: Traditional 

Sephardic song after Jeremiah's 

Lamentations 



And a mother roasted 
and ate her cherished son: 

"Look at my eyes, mother. 
I learned the law with them 

Look at my forehead, mother, 
I wore the philacteries there 

Look at my mouth, mother: 
I learned the law with it." 

— translation by Osvaldo Golijov 



3. Tancas Serradas a Muru 

( Walls are Encircling the Land) 
Lyrics and Music by Francesco 
Ignazio Mannu (Sardinia, ca. 1795) 



Walls are encircling the land 
Seized with greed and in haste, 
If Heaven was on Earth 
They would grab it too! 

— translation by Remo Bodei 



Please turn the page quietly. 



4. Luna (Moon): Instrumental 
Music by Gustavo Santaolalla 

5. Nanni 

Traditional Sephardic Lullaby 



Sleep my sweetheart, sleep... 
Sleep, apple of my eye. 
Your father is coming, 
And his spirits are high. 

Open the door, wife. 

Open the door 

Because I'm coming, 

Tired from ploughing the fields. 

I will not open to you. 

You are not tired. 

I know you are coming 

From the house of your new love. 

— translation by Osvaldo Golijov 



6. Wa Habibi (My Love) 

Lyrics: Traditional Christian Arab Easter Song 

Music based on Traditional Christian Arab and Muslim Arab melodies 



My Love, My Love 

What has befallen you? 

Who saw you and grieved for you, 

You who are righteous? 

My Love, what is the sin of our times and our children? 

These wounds have no cure. 

— translation by Hala Halim 



7. Aiini Taqttiru (My Eyes Weep) 

Music and Lyrics: Traditional Christian Arab Easter Song 



My eyes weep without pause 

For there is no rest 

Until God reveals Himself and gazes from the sky 

I raised my prayers in Your name, 

OGod 

Do not withhold your ear 

Listen to my voice and come today. 

— translation by Hala Halim 



8. Kun Li-Guitari Wataran Ayyuha Al-Maa' 

(Be a String, Water, to my Guitar) 
From the poem "Eleven Planets in the 
Last Andalusian Sky" by Mahmoud Darwish, 
in "Adam of Two Edens," published by 
Jusoor and Syracuse University Press 2000 



Be a string, water, to my guitar, 
Conquerors come, conquerors go... 

It's getting hard to remember my face in the mirrors. 

Be memory for me 

So I can see what I've lost. 

Who am I after these paths of exodus? 

I own a boulder that bears my name 

On a tall bluff overlooking what has come to an end. 

Seven hundred years escort me beyond the city walls. 

Time turns around in vain to save 

my past from a moment that gives birth 

to the history of my exile 

in others and in myself. 

Be a string, water, to my guitar. 
Conquerors come, conquerors go... 
Heading south as nations decompose 
on the compost of change. 

I know who I was yesterday, 
But who will I be tomorrow 
Under the Atlantic flags of Columbus? 

Be a string to my guitar, water, be a string. 

There is no Egypt in Egypt, 

No Fez in Fez, and Syria is too far away. 

No hawk on the flag of my people, 

No river running east of a palm tree besieged 

By the Mongols' swift horses. 

In which Andalusia did I meet my end? 
Here, in this place? 
Or there? 

I know I've died, leaving behind what is 
Best of what is mine in this place: my past. 

I've got nothing left but my guitar. 
Be a string, water, to my guitar. 

Conquerors come, conquerors go. 

— translation by Clarissa Burt 



Please turn the page quietly. 



9. Sueltate las Cintas {Untie your Ribbons) 
Lyrics and Music by Gustavo Santaolalla 



Untie the ribbons of your hair and your skirt: 

let's devour the night until dawn comes, just like this, 

Barefoot girl. 

We don't need the sky when you have my back 
and I embrace your waistline, just like this. 

Your silvery waistline. 

If tomorrow, in the village, you laugh by yourself, wait, 
keep the secret in which you carry me, just like this. 

Weed, flower, honey and sand. 

— translation by Osvaldo Golijov 



10. Yah, Anna Emtzacha {Oh, Where Shall I find You?) 
Poem by Yehudah Halevy {ca. 1112) 
Music based on Sephardic calls to prayer 



Oh, where shall I find You? 
Your place is high and hidden. 
And where shall I not find You? 
Your glory fills the World. 

I have sought Your nearness. 
I called upon You with all my heart. 
And in going out to meet You 
I found You coming toward me. 

— translation by Osvaldo Golijov 



11. Ariadna en su Laberinto {Ariadne in Her Labyrinth) 
Lyrics: Traditional Sephardic Romance 
Music: Quodlibet of traditional and original 
Sephardic melodies 



"Why do you cry, fair child? 
Why do you cry, white flower?" 

"I cry because you leave me" 

— translation by Osvaldo Golijov 





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Ozawa Hall wth Anniversary 
Celebration Gala 



AUGUST 1, 2004 



4 A -. M 




Celebrating 10 Years of Great Music-Making 
in Seiji Ozawa Hall at Tanglewood 

To mark the 10th anniversary of Seiji Ozawa Hall, the Boston Symphony 
Orchestra is pleased to issue an exclusive, generously-filled CD of live 
performances from Seiji Ozawa Hall at Tanglewood. 



Hear these outstanding artists 
in live performances dating 
from 1995 to 2003 

PIERRE-LAURENT AIMARD 

CHANTICLEER 

THE EMERSON QUARTET 

MATTHIAS GOERNE & ERIC SCHNEIDER 

RICHARD GOODE 

KREMERATA BALTICA 

LORRAINE HUNT LIEBERSON & 
PETER SERKIN 

YO-YO MA & EMANUEL AX 

THE JUILLIARD QUARTET 

THOMAS QUASTHOFF & THE FREIBURG 
BAROQUE ORCHESTRA 

REIGAKUSHA 

MITSUKO SHIRAI & HARTMUT HOLL 

TANGLEWOOD MUSIC CENTER FELLOWS 

BRYN TERFEL & MALCOLM MARTI NEAU 

DUBRAVKATOMSIC 



AVAILABLE NOW 

Just $12 plus applicable tax and shipping 

Tanglewood Glass House Gift Shops, Lenox, MA 
Symphony Shop, Symphony Hall, Boston, MA 
Online at www.bso.org 




Tanglewood 





Welcome 

This EVENING we celebrate the tenth anniversary of Ozawa Hall. We celebrate 
Seiji Ozawa and all of those who brought their dream of this Hall to reality. It 
is impossible for me, in this brief space, to mention everyone who played a 
part in the Ozawa Hall project. Certainly George Kidder, the President of the 
BSO at the time, was the driving force of the project. George had the vision 
that the project should be undertaken and confidence that it could be complet- 
ed successfully. He pulled us along with his dedication and enthusiasm. With 
the support of such Distinguished Founders as Norio Ohga, Jane and Jack 
Fitzpatrick, Sony Corporation of America, the Kresge Foundation, the Florence 
Gould Foundation, and Liz and George Krupp, this magnificent concert hall 
was completed. 

The architect for the project, William Rawn Associates, also had a vision. 
Bill Rawn and his colleagues made the wise decision to place the Hall well 
back from the brow of the hills, nestling, as he describes it, into the landscape 
of the Highwood Estate. His concept was to design Ozawa Hall as a New 
England meeting house. This is what it is — a warm, inviting place that captures 
the democratic spirit of New England. Others also played a significant role in 
the construction of the Hall, all making up, most notably, the concert hall 
team pictured and identified on page 8 of this program book. 

Ozawa Hall has fulfilled the dreams of those who initiated the project and 
those who have been a part of Tanglewood and the Boston Symphony Or- 
chestra. Performances from the inaugural concert by Seiji, John Williams, and 
Yo-Yo Ma have been followed by other memorable events. Tonight's program, 
appropriately, includes Toru Takemitsu's Ceremonial^ a benedictory work 
picked especially by Maestro Ozawa. We also hear the young pianist Yundi Li 
in his Tanglewood debut, reflecting the extent to which Ozawa Hall has served 
as a venue to present exciting new talent. This is a special night for many rea- 
sons, not least the welcoming back of Seiji, and the celebration of the Hall 
bearing his name. 



f&o/lUu 



Peter A. Brooke 

Chairman 

Boston Symphony Orchestra Board of Trustees 




Program copyright ©2004 Boston Symphony Orchestra, Inc. 
Cover design by Kerry Ann Hawkins/ Cover photo by Steve Rosenthal 




BOSTON SYMPHONY ORCHESTRA 

One Hundred and Twenty-Third Season, 2003-04 
TANGLEWOOD 2004 



Trustees of the Boston Symphony Orchestra, Inc. 

Peter A. Brooke, Chairman 

John E Cogan, Jr., Vice- Chairman Robert P. O'Block, Vice-Chairman 

Nina L. Doggett, Vice-Chairman Roger T. Servison, Vice-Chairman 

Edward Linde, Vice-Chairman Vincent M. O'Reilly, Treasurer 



Harlan E. Anderson 
George D. Behrakis 
Gabriella Beranek 
Jan Brett 

Samuel B. Bruskin 
Paul Buttenwieser 
James F. Cleary 
Eric D. Collins 

Life Trustees 
Vernon R. Alden 
David B. Arnold, Jr. 
J. P. Barger 
Leo L. Beranek 
Deborah Davis Berman 
Jane C. Bradley 
Helene R. Cahners 



Diddy Cullinane, 

ex- officio 
William R. Elfers 
Nancy J. Fitzpatrick 
Charles K. Gifford 
Avram J. Goldberg 
Thelma E. Goldberg 



Julian Cohen 
Abram T. Collier 
Mrs. Edith L. Dabney 
Nelson J. Darling, Jr. 
Mrs. John H. 
Fitzpatrick 
Dean W. Freed 



Edna S. Kalman 
George Krupp 
R. Willis Leith, Jr. 
Nathan R. Miller 
Richard P. Morse 
Donna Riccardi, 
ex- officio 



George H. Kidder 
Harvey Chet 

Krentzman 
Mrs. August R. Meyer 
Mrs. Robert B. 

Newman 
William J. Poorvu 



Edward I. Rudman 
Hannah H. Schneider 
Thomas G. Sternberg 
Stephen R. Weber 
Stephen R. Weiner 
Robert Winters 



Irving W Rabb 
Peter C. Read 
Richard A. Smith 
Ray Stata 

John Hoyt Stookey 
John L. Thorndike 
Dr. Nicholas T. Zervas 



Other Officers of the Corporation 
Mark Volpe, Managing Director 
Suzanne Page, Clerk of the Board 



Thomas D. May, Chief Financial Officer 



Board of Overseers of 
Diddy Cullinane, Chair 

Helaine B. Allen 
Joel B. Alvord 
Marjorie Arons-Barron 
Diane M. Austin 
Maureen Scannell 

Bateman 
Milton Benjamin 
George W. Berry 
James L. Bildner 
Bradley Bloom 
Mark G. Borden 
Alan Bressler 
Michelle Courton 

Brown 
William Burgin 
Dr. Edmund B. Cabot 
Rena F. Clark 
Carol Feinberg Cohen 
Mrs. James C. Collias 
Ranny Cooper 
Martha H.W. 

Crowninshield 
Joan P. Curhan 
Cynthia Curme 
James C. Curvey 
Tamara P. Davis 
Mrs. Miguel de 

Braganca 
Disque Deane 
Betsy P. Demirjian 



the Boston Symphony Orchestra, Inc. 



Paul F. Deninger 
Alan Dynner 
George M. Elvin 
John P. Eustis II 
Pamela D. Everhart 
Judith Moss Feingold 
J. Richard Fennell 
Lawrence K. Fish 
Myrna H. Freedman 
Dr. Arthur Gelb 
Jack Gill 
Robert P. Gittens 
Paula Groves 
Michael Halperson 
Ellen T. Harris 
Virginia S. Harris 
Deborah M. Hauser 
Carol Henderson 
Richard Higginbotham 
Phyllis S. Hubbard 
Roger Hunt 
Ernest Jacquet 
Charles H. Jenkins, Jr. 
Michael Joyce 
Martin S. Kaplan 
Steven E. Karol 
Stephen Kay 
Edmund Kelly 
Douglas A. Kingsley 



Robert Kleinberg 
Dr. Arthur R. Kravitz 
Mrs. William D. 

Larkin, Jr. 
Robert J. Lepofsky 
Alexander M. Levine 
Christopher J. Lindop 
Shari Loessberg 
Edwin N. London 
Carmine Martignetti 
Joseph B. Martin, M.D. 
Robert J. Mayer, M.D. 
Barbara E. Maze 
Thomas McCann 
Joseph C. McNay 
Albert Merck 
Dr. Martin C. Mihm, Jr. 
Robert Mnookin 
Robert T O'Connell 
Norio Ohga 
Louis F. Orsatti 
Joseph Patton 
Ann M. Philbin 
May H. Pierce 
Joyce L. Plotkin 
Dr. John Thomas 

Potts, Jr. 
Dr. Tina Young 

Poussaint 



Millard H. Pryor, Jr. 
Patrick J. Purcell 
Carol Reich 
Alan Rottenberg 
Michael Ruettgers 
Kenan Sahin 
Arthur I. Segel 
Ross E. Sherbrooke 
Gilda Slifka 
Christopher Smallhorn 
Mrs. Micho Spring 
Charles A. Stakeley 
Jacquelynne M. 

Stepanian 
Wilmer Thomas 
Samuel Thorne 
Bill Van Faasen 
Loet A. Velmans 
Paul M. Verrochi 
Matthew Walker 
Larry Weber 
Robert S. Weil 
David C. Weinstein 
James Westra 
Mrs. Joan D. Wheeler 
Reginald H. White 
Robin Wilson 
Richard Wurtman, M.D 



Overseers Emeriti 

Caroline Dwight Bain 
Sandra Bakalar 
William M. Bulger 
Mrs. Levin H. 

Campbell 
Earle M. Chiles 
Phyllis Curtin 
JoAnne Walton 

Dickinson 
Phyllis Dohanian 
Goetz B. Eaton 
Harriett Eckstein 
Edward Eskandarian 
Peter H.B. 

Frelinghuysen 
Mrs. Thomas 

Galligan, Jr. 



Mrs. James Garivaltis 
Mrs. Kenneth J. 

Germeshausen 
Jordan Golding 
Mark R. Goldweitz 
Mrs. Haskell R. 

Gordon 
Susan D. Hall 
John Hamill 
Mrs. Richard D. Hill 
Glen H. Hiner 
Marilyn Brachman 

Hoffman 
Lola Jaffe 
H. Eugene Jones 
Mrs. S. Charles 

Kasdon 



Richard L. Kaye 
Mrs. Gordon F. 

Kingsley 
David I. Kosowsky 
Robert K. Kraft 
Benjamin H. Lacy 
Hart D. Leavitt 
Frederick H. 

Lovejoy, Jr. 
Diane H. Lupean 
Mrs. Charles P. Lyman 
Mrs. Harry L. Marks 
C. Charles Marran 
Hanae Mori 
Mrs. Hiroshi H. 

Nishino 
John A. Perkins 



Daphne Brooks Prout 
Robert E. Remis 
Mrs. Peter van S. Rice 
John Ex Rodgers 
Mrs. Jerome Rosenfeld 
Roger A. Saunders 
Lynda Anne Schubert 
Mrs. Carl Shapiro 
L. Scott Singleton 
Mrs. Arthur I. Strang 
Robert A. Wells 
Mrs. Thomas H.P. 

Whitney 
Margaret Williams- 

DeCelles 
Mrs. Donald B. Wilson 
Mrs. John J. Wilson 



Business Leadership Association 

Board of Directors 

Charles K. Gifford, Chairman 
Edmund F. Kelly, President 



Robin A. Brown 
Michael J. Costello 
Robert W. Daly 
Francis A. Doyle 
William R. Elfers 
Lawrence K. Fish 
John P. Hamill 



Ernest K. Jacquet 
Michael J. Joyce 
Steven E. Karol 
Edmund F. Kelly 
Christopher J. Lindop 
Carmine A. Martignetti 
Thomas J. May 



Leo L. Beranek, James F. Cleary, and 
Harvey Chet Krentzman, Chairmen Emeriti 

J. Kent McHose 
Joseph C. McNay 
Louis F. Orsatti 
Patrick J. Purcell 
Lynda A. Schubert 
Roger T Servison 
Malcolm L. Sherman 



Ray Stata 

William C. Van Faasen 
Paul M. Verrochi 
Lawrence Weber 



Ex-Officio Peter A. Brooke • Diddy Cullinane • Nicholas T. Zervas 

Officers of the Boston Symphony Association of Volunteers 

Donna Riccardi, President Ursula Ehret-Dichter, Executive 
Ann M. Philbin, President- Elect Vice-President/ Tanglewood 

Olga Turcotte, Executive Vice-President/ Patricia A. Kavanagh, Secretary 

Administration William A. Along, Treasurer 

Linda M. Sperandio, Executive Judy Barr, Nominating Chair 

Vice-President/ Fundraising 



Melinda Brown, Resource 

Development 
Jerry Dreher, Education and 

Outreach 



Audley H. Fuller, Membership 
Lillian Katz, Hall Services 
James M. Labraico, Special 
Projects 



Lisa A. Mafrici, Public Relations 
Leah Weisse, Symphony Shop 
Staffing 




■M.&3 



Administration 

Mark Volpe, Managing Director 
Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity 



Tony Beadle, Manager, Boston Pops 

Anthony Fogg, Artistic Administrator 

Marion Gardner-Saxe, Director of Human Resources 

Ellen Highstein, Director of Tanglewood Music Center 

Thomas D. May, Chief Financial Officer 

Peter Minichiello, Director of Development 



Kim Noltemy, Director of Sales and 

Marketing 
Caroline Taylor, Senior Advisor to the 

Managing Director 
Ray F. Wellbaum, Orchestra Manager 



ADMINISTRATIVE STAFF/ ARTISTIC 

Karen Leopardi, Artist Assistant/ Secretary to the Music Director • Vincenzo Natale, 
Chauffeur/ Valet • Suzanne Page, Assistant to the Managing Director/ Manager of Board 
Administration • Alexander Steinbeis, Artistic Administration Coordinator 

ADMINISTRATIVE STAFF/ PRODUCTION 

Christopher W Ruigomez, Operations Manager 

Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production 

Coordinator • Stephanie Kluter, Assistant to the Orchestra Manager • Jake Moerschel, Stage 

Technician • Julie G. Moerschel, Assistant Chorus Manager • John Morin, Stage Technician • 

Mark C. Rawson, Stage Technician • Timothy Tsukamoto, Orchestra Personnel Coordinator 

BOSTON POPS 

Dennis Alves, Director of Artistic Programming 

Jana Gimenez, Operations Manager • Sheri Goldstein, Personal Assistant to the Conductor • 

Julie Knippa, Administration Coordinator • Margo Saulnier, Artistic Coordinator 

BUSINESS OFFICE 

Sarah J. Harrington, Director of Planning and Budgeting 

Pam Wells, Controller 

Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Theresa 
Colvin, Staff Accountant • Michelle Green, Executive Assistant to the Chief Financial Officer • 
Y Georges Minyayluk, Senior Investment Accountant • John O'Callaghan, Payroll Supervisor • 
Mary Park, Budget Analyst • Harriet Prout, Accounting Manager • Taunia Soderquist, Payroll 
Administrator • Andrew Swartz, Budget Assistant • Teresa Wang, Staff Accountant 

DEVELOPMENT 

Judi Taylor Cantor, Director of Major and Planned Giving ♦ Rebecca R. Crawford, Director of 
Development Communications ♦ Sally Dale, Director of Stewardship and Development 
Administration ♦ Alexandra Fuchs, Director of Annual Funds ♦ Jo Frances Kaplan, Director of 
Institutional Giving 

Rachel Arthur, Major and Planned Giving Coordinator • Maureen Barry, Executive Assistant to 
the Director of Development • Gregg Carlo, Coordinator, Corporate Programs • Claire Carr, 
Administrative Assistant, Corporate Programs • Amy Concannon, Annual Fund Committee 
Coordinator • Diane Cataudella, Associate Director of Stewardship • Joanna N. Drake, 
Assistant Manager, Annual Fund Events • Sarah Fitzgerald, Manager of Gift Processing and 
Donor Records • Barbara Hanson, Manager, Koussevitzky Society • Emily Horsford, Friends 
Membership Coordinator • Justin Kelly, Assistant Manager of Gift Processing and Donor Rec- 
ords • Katherine M. Krupanski, Assistant Manager, Higginson and Fiedler Societies • Mary 
MacFarlane, Manager, Friends Membership • Pam Malumphy, Senior Major Gifts Officer and 
Manager, Tanglewood Business Friends • Tanya Melanson, Development Communications Proj- 
ect Manager • Robert Meya, Senior Major Gifts Officer • Susan Olson, Stewardship Coordinator 
• Cristina Perdoni, Gift Processing and Donor Records Coordinator • Gerrit Petersen, Direc- 
tor of Foundation Support • Phoebe Slanetz, Director of Development Research • Elizabeth 
Stevens, Assistant Manager of Planned Giving • Mary E. Thomson, Program Manager, Cor- 
porate Programs • Hadley Wright, Foundation and Government Grants Coordinator 

EDUCATION AND COMMUNITY PROGRAMS /ARCHIVES 

Myran Parker-Brass, Director of Education and Community Programs 

Bridget P. Carr, Archivist-Position endowed by Caroline Dwight Bain 

Gabriel Cobas, Manager of Education Programs • Leslie Wu Foley, Associate Director of 

Education and Community Programs • Zakiya Thomas, Coordinator of Community 

Projects/ Research • Leah Wilson-Velasco, Education and Community Programs Assistant 



EVENT SERVICES 

Cheryl Silvia Lopes, Director of Event Services 

Lesley Ann Cefalo, Special Events Manager • Kathleen Clarke, Assistant to the Director of 

Event Services • Emma-Kate Kallevik, Tanglewood Events Coordinator • Kyle Ronayne, Food 

and Beverage Manager 

HUMAN RESOURCES 

Dorothy DeYoung, Benefits Manager ♦ Sarah Nicoson, Human Resources Manager 

INFORMATION TECHNOLOGY 

David W. Woodall, Director of Information Technology 

Guy W. Brandenstein, Tanglewood User Support Specialist • Andrew Cordero, Lead User 

Support Specialist • Timothy James, Applications Support Specialist • John Lindberg, System 

and Network Administrator • Michael Pijoan, Assistant Director of Information Technology • 

Brian Van Sickle, User Support Administrator 

PUBLIC RELATIONS 

Bernadette M. Horgan, Director of Media Relations 

Meryl Atlas, Media Relations Assistant • Kelly Davis, Media Relations Associate • Sean J. 

Kerrigan, Associate Director of Media Relations • Amy Rowen, Media Relations Coordinator 

PUBLICATIONS 

Marc Mandel, Director of Program Publications 

Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/ 

Boston Pops Program Editor 

SALES, SUBSCRIPTION, AND MARKETING 

Amy Aldrich, Manager, Subscription Office ♦ Leslie Bissaillon, Manager, Glass Houses • 
Helen N.H. Brady, Director of Group Sales ♦ Alyson Bristol, Director of Corporate Sponsor- 
ships ♦ Sid Guidicianne, Front of House Manager ♦ James Jackson, Call Center Manager ♦ 
Roberta Kennedy, Manager, Symphony Shop ♦ Sarah L. Manoog, Director of Marketing 
Programs ♦ Michael Miller, Symphony Charge Manager 

Kenneth Agabian, Marketing Coordinator, Print Production • Rich Bradway, Manager of 
Internet Marketing • Lenore Camassar, Symphony Charge Assistant Manager • Ricardo 
DeLima, Senior Web Developer • John Dorgan, Group Sales Coordinator • Michelle Giuliana, 
Web Editor • Peter Grimm, Tanglewood Special Projects Manager • Kerry Ann Hawkins, 
Graphic Designer • Susan Elisabeth Hopkins, Graphic Designer • Julie Kleinhans, Senior 
Subscription Representative • Elizabeth Levesque, Marketing Projects Coordinator • Michele 
Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • Ronnie 
McKinley, Ticket Exchange Coordinator • Cheryl McKinney, Subscription Representative • 
Michael Moore, Assistant Call Center Manager • MarcyKate Perkins, Symphony Charge 
Representative • Kristen Powich, Coordinator, Corporate Sponsorships • Doreen Reis, Mar- 
keting Coordinator for Advertising • Caroline Rizzo, SymphonyCharge Representative • 
Megan E. Sullivan, Access Services Coordinator • Sandra Swanson, Manager, Corporate 
Sponsorships 
Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager 

SYMPHONY HALL OPERATIONS 
Robert L. Gleason, Director of Hall Facilities 

TANGLEWOOD MUSIC CENTER 

Patricia Brown, Associate Director • Beth Paine, Manager of Student Services • Kristen Reinhardt, 

Coordinator • Gary Wallen, Scheduler 

TANGLEWOOD OPERATIONS 

David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires 

Ronald T. Brouker, Supervisor of Tanglewood Crew • Robert Lahart, Electrician • Peter Socha, 
Head Carpenter 

Tanglewood Facilities Staff Robert Casey • Steve Curley • Rich Drumm • Bruce Huber 

TANGLEWOOD SUMMER MANAGEMENT STAFF 

Thomas Cinella, Business Office Manager • Peter Grimm, Seranak House Manager • David 
Harding, Front of House Manager/ Manager of Customer Service • Marcia Jones, Manager of 
Visitor Center 

VOLUNTEER OFFICE 

Patricia Krol, Director of Volunteer Services 

Deborah Haviland, Administrative Assistant • Paula Ramsdell, Project Coordinator 



^L£l* 



The Seiji Ozawa Hall Team (1994) 



■ 9 




From left: Daniel R. Gustin, Manager of Tanglewood, BSO Design Committee; 
R. Lawrence Kirkegaard, Principal Acoustician; John F. Cogan, BSO Overseer; William 
Porter, Consulting Principal, Carr, Lynch, Hack & Sandell; George H. Kidder, BSO 
President; Haskell R. Gordon, BSO Overseer, Design Committee; Dean Freed, BSO 
Trustee, Building & Grounds Committee Chairman, Design Committee; William L. 
Rawn III, Architect, Principal in Charge of Design; Alan Joslin, Senior Associate and 
Project Architect, William Rawn Associates, Inc.; Athol Jaffe, Vice-President, Donnell 
Consultants, Inc.; Robert Campbell, Architectural Advisor, Design Committee; Robert 
Long, Principal Consultant and Project Manager, Theatre Projects Consultants, Inc. 




The exterior of 
Seiji Ozawa Hall 
during construction, 
April 25, 1994 










Seiji Ozawa Hall 10th Anniversary Celebration Gala 

August 1, 2004 

Honorary Chairs 

Jane and Jack Fitzpatrick 

Honorary Committee 

J. P. and Mary B. Barger 

Robert Baum and Elana Carroll 

Susan H. Bush 

Jane B. Cook Charitable Trusts 

Mrs. Haskell R. Gordon 

Marilyn Brachman Hoffman 

H. Eugene and Ruth Jones 

Mr. and Mrs. Murray S. Katz 

The Kresge Foundation 
John E. Marshall III, President and CEO 

Liz and George Krupp 

Gloria Moody 

National Endowment for the Arts 

Dana Gioia, Chairman 

Sony Corporation of America 

Sir Howard Stringer, Chairman and CEO 

Celebration Gala Committee 

Ursula Ehret-Dichter and Channing Dichter 

Nancy Fitzpatrick and Lincoln Russell 

Joyce and Edward Linde 

Jane and Bob Mayer 

Carol and Thomas McCann 










Ozawa Hall Gala Benefactors 



Lawrence and Ruth Alexander 

Dorothy and David Arnold 

Joseph Azrack 

Banknorth 

Robert Baum and Elana Carroll 

J.P. and Mary B. Barger 

The Jeffrey S. Becker Family 

Linda J.L. Becker 

Berkshire Bank 

George and Roberta Berry 

Mr. and Mrs. T. Bielecki 

Lee and Sydelle Blatt 

Marlene and Dr. Stuart H. Brager 

Jay and Jane Braus 

Jan Brett and Joseph Hearne 

Peter and Anne Brooke 

Samuel B. and Deborah D. Bruskin 

Gregory E. Bulger Foundation 

Canyon Ranch in the Berkshires 

John F. Cogan Jr. and Mary L. Cornille 

Mr. and Mrs. Joseph L. Cohen 

James and Tina Collias 

Charles Cooney and Peggy Reiser 

Ranny Cooper and David Smith 

Herbert and Jeanine Coyne 

Mr. and Mrs. John J. Cullinane 

Mr. and Mrs. Nelson J. Darling, Jr. 

Ursula Ehret-Dichter and 

Channing Dichter 
Julie Diaz 
The Shields Family 
Barbara and Seymour Ellin 
Ginger and George Elvin 
Eitan and Malka Evan 
Mrs. Marie V. Feder 
Mr. and Mrs. Philip Finn 
Jane and Jack Fitzpatrick 
Nancy Fitzpatrick and Lincoln Russell 
Daniel and Shirlee Cohen Freed 
Jane and Jim Garrett 
Ina R. Gordon 

Goshen Wine and Spirits, Inc. 
Michael Halperson 
Rhoda R. Herrick 
Michelle and Jean Heuschen 



Susie and Stuart Hirshfleld 

Valerie and Allen Hyman 

Edwin and Lola Jaffe 

Mr. and Mrs. Stephen J. Jerome 

Mr. and Mrs. Murray S. Katz 

Stephen B. Kay and Lisbeth Tarlow 

Mr. and Mrs. Bruce Kelly 

Mr. James M. Kendrick 

Mr. and Mrs. George H. Kidder 

Robert and Luise Kleinberg 

Shirley and Ely Krellenstein 

Mr. and Mrs. Richard Kronenberg 

Liz and George Krupp 

Mrs. Naomi Kruvant 

Norma and Sol D. Kugler 

Shirley and Bill Lehman 

Bill and Barbara Leith 

Mr. and Mrs. Robert J. Lepofsky 

Joyce and Edward Linde 

Ed and Elaine London 

Kathryn H. Lupean and 

Diane H. Lupean 
Jay and Shirley Marks 
Mr. and Mrs. Milo Matejic 
Dr. Robert J. and Jane B. Mayer 
Thomas and Carol McCann 
The Martin Messinger Family 
Mrs. August R. Meyer 
Evelyn Stefansson Nef 
Mrs. Robert B. Newman 
Mr. and Mrs. Edward G. Novotny 
Mrs. Michael Ohanian and 

Mrs. James Mukjian 
J. Philip and Patricia H. O'Hara 
Hiroko Onoyama 
Leo and Eleanor Panasevich 
Mr. Harry Patten 
Penny and Claudio Pincus 
Irene and Abe Pollin 
Mr. and Mrs. Millard H. Pryor, Jr. 
Mr. and Mrs. Gerald Rauch 
William Rawn Associates, 

Architects, Inc. 
Suzanne and Burton Rubin 
Sue and David Rudd 



Mr. Robert B. Schechter 
Dr. Raymond and 

Mrs. Hannah H. Schneider 
Mr. and Mrs. Dan Schusterman 
Ron Searls and Lore Nielsen 
Richard and Carol Seltzer 
Arlene and. Donald Shapiro 
Hannah and Walter Shmerler 
Robert and Scott Singleton 
Marjorie and Sherwood Sumner 
James and Caroline Taylor 

Names listed as of July 23, 2004 



Mr. and Mrs. Wilmer J. Thomas, Jr. 
Albert J. and Jacqueline P. Togut 
Mr. and Mrs. William M. Vibert 
Mrs. Albert E. Walden 
Stephen and Dorothy Weber 
Robert A. and Claudia Wells 
Henny Wenkart 
Patricia Plum Wylde 
Nicholas and Thalia Zervas 
Mr. Edward Zuker 




The interior ofSeiji Ozawa Hall under construction, January 30, 1994 



Business Friends Ten 
recognizing gifts of $10,000 or more 

Banknorth 

Berkshire Bank 

Blantyre 

Canyon Ranch in the Berkshires 

Country Curtains 

The Red Lion Inn 



d ?v : 



Boston Symphony Orchestra 
Buildings and Grounds Committee 

The Boston Symphony Orchestra is grateful to the following individuals 

whose vision and tireless service on the Buildings and Grounds Committee 

helped make Seiji Ozawa Hall possible. 

George W. Kidder, President (1987-1994), 
Boston Symphony Orchestra 

1989 to 1992 

Francis W. Hatch, Jr., Chairman 
Dean Freed, Vice-Chairman 

1992 to 1994 

Dean Freed, Chairman 
Julian Cohen, Vice-Chairman 

Members over those years: 



Bruce A. Beal 

Donald C. Bowersock, Jr. 

Fran Fahnestock 

Jane Fitzpatrick 

Thelma Goldberg 

Mark R. Goldweitz 

Haskell R. Gordon 

Susan Grandin 

Susan D. Hall 

Marilyn Brachman Hoffman 

F. Donald Hudson 

Muriel Kasdon 

Robert D. King 

Jean Koch 



Mark Ludwig* 

Thomas Martin"* 

William F. Meagher 

Rita Meyer 

Nathan R. Miller 

Patricia Morse 

David Nelson 

William J. Poorvu 

Daphne Brooks Prout 

Roger A. Saunders 

L. Scott Singleton 

Vondal M. Taylor 

Mark Tishler, Jr. 

Dorothy A. Wilson 

*BSO Player Members 




Reflections on Ozawa Hall — Ten Years Later 

by William Rawn, FAIA 

Seiji Ozawa Hall opened on July 7, 1994. William Rawn Associates, Architects, Inc., 
of Boston designed the building working closely with Larry Kirkegaard, Acousti- 
cian, and Theatre Projects Consultants, Inc. The national American Institute of 
Architects (AIA) awarded Seiji Ozawa Hall an Honor Award for Architecture in 
1995 and an Honor Award for Interiors in 2000, and the building was on the cover 
of "Architecture" magazine in December 1994. 

Here, William Rawn discusses some of the ideas influencing the design and 
reflects on the ten years since the opening of Seiji Ozawa Hall in 1994. 



Without question, the ten years since the opening of Ozawa Hall have been marked 
by the special loyalty of concertgoers who attend so many performances in the 
Hall and by the intensity and excellence of the performers — world-class musicians 
and Tanglewood Music Center students — who have played there. For me, person- 
ally, the ten years has been marked by the many generous comments made by 
friends and strangers alike. Maybe there is an element of good New England man- 
ners here. (Who would strongly criticize a building directly to its architect?) But 
the enthusiastic — and spontaneous — response to the building has been a highlight 
of my professional career over the past decade. 

For an architect, each project is a hands-on learning experience. Only after 
developing a design, following it through working drawings, and then overseeing 
the construction can an architect begin to apply that learning to the next project. 
The act of building is as critical as is the act of designing. This explains why archi- 
tects tend to do their best work in their sixties and seventies, the culmination of a 
career of constant learning. Frank Lloyd Wright applied that learning to great 
buildings deep into his eighties, and Frank Gehry is now at the top if his game well 
into his seventies — the opposite of dancers and professional athletes. 

The opportunity to design a building like Ozawa Hall so early in my architec- 
tural career has had a profound impact on our practice. My life and the lives of my 
colleagues have been changed by that experience. I know, too, that the buildings 
we are designing now and in the future reflect the learning gained in the building 
of Ozawa Hall. For this, I am deeply indebted to Tanglewood. 

While I had never designed a concert hall when I began work at Tanglewood, to 
compensate for that seeming inexperience, early in the project I spent three weeks 
in Europe studying the spatial qualities of a dozen halls. The acoustics of a hall 
were obviously most important, and we were confident in our bringing Larry 
Kirkegaard to the team as acoustician. But it seemed to me that the intimacy and 
intensity of a concert experience were human qualities critical to the overall success 
of a hall. While in Europe, I photographed; I measured; I attended concerts to get 
the "feel" of each hall I visited. Larry Kirkegaard joined me at two of his favorite 
halls, the Concertgebouw in Amsterdam and the Musikvereinssaal in Vienna, not 
only to show me first-hand the reasons for their acoustic excellence, but also to 
share with me his subjective feelings for both halls. Richard Pilbrow (Theatre 
Projects Consultants, Inc.) pushed us to maintain intimacy by careful organizing of 
the seating, and his advice informed that trip. 

What, then, explains the enthusiastic reaction of so many people to the Hall. I 
suspect three things: 

1. The acoustics are wonderful, if I can say so myself. Credit for that goes to 



Larry Kirkegaard. From opening night (and Edward Rothstein's next day 
article in The New York Times) to the recent book, Concert Halls and 
Opera Houses by Leo Beranek, the acoustic accolades have been consistent. 
Beranek recently developed a rating system (based on interviews with con- 
ductors and performers) which showed Ozawa Hall to be thirteenth-best in 
the world, fourth-best hall in the United States, and one of the four best 
halls built in the last fifty years. Larry Kirkegaard's vision and brilliance is 
palpable. His natural love of being the teacher, his understanding of the 
necessity of teamwork between acoustician and architect, were fundamental 
to the success of the building. Seiji Ozawa remarked ten years ago that he 
thought the Hall sounded as good with the big barn doors open as with the 
doors closed. High praise indeed for Larry's inventive solution to a seem- 
ingly insoluble acoustic problem. 

2. The Hall feels to be part of the land of the Stockbridge Bowl. Is it the 
curved roof referencing the soft hills of the Berkshires? Is it the way the 
Hall nestles into the landscape of the Highwood Estate, choosing not to be 
placed at the promontory brow of the hill but choosing a site down the 
Hill? Of course, buildings do not make such choices. Architects do. Bill 
Porter was Master Planner for the site and he strongly supported our deci- 
sion to place the Hall in this deferential position. We pointed out that all 
the music buildings at Tanglewood (the Shed, the Theatre, and now Ozawa 
Hall) were placed well back from the brow of the Hill. They defer to Tappan 
House and Highwood Manor House, indeed letting them establish them- 
selves as the Estate Houses on an estate open to 15,000 people. The music 
buildings literally became the working "barns" ("sheds") of the estate. 

3. The interior of the Hall, of course, gets much mention. In a way I always 
love it when people — strangers and friends alike — engage me in a conversa- 
tion about the architectural intentions of the interior. A variety of theories 




about precedents and sources abound. While wanting to acknowledge a 
range of sources for ideas natural to any architect's work, nonetheless one 
idea has been constant from the beginning. My sense of Tanglewood has 
always focused on the essential democratic nature of the place: that sense 
that it is open and accessible to anyone and everyone. I always say: most of 
the week, whether it is a CEO of a Fortune 500 Company or a family visit- 
ing from 2000 miles away, everyone is welcome to wander the "estate" and 
perhaps hear master classes taught by the world's leading musicians. 

We wanted Ozawa Hall to share in that democratic spirit. My model was 
as much a New England Meeting House as any other architectural form: 
the clear and simple rectangular room, relatively unadorned, warm and wel- 
coming, capturing a democratic spirit. Attending a wedding in Strafford, 
Vermont, Meeting House five years ago, I felt very strongly that I was in a 
space that became a subliminal source of our architectural ideas for Ozawa 
Hall. Obviously there are differences: the teak and Douglas fir; the joinery; 
the wood patterns which combine the gridded formality of the balcony 
fronts with the informality of the summer breezes wafting through those 
grilles; the fact that from almost any seat you can see outside, not only to 
the sky but to the green of trees and lawn. All these elements modulate the 
strict interpretation of Ozawa Hall as Meeting House. But the spirit re- 
mains. To see how audience and performers react to the Hall, reaffirms this 
special democratic — and perhaps very American — spirit of the place. 

What I love today is what has happened in the Hall and how people have used 
the Hall in ways almost unimaginable. The way people congregate in the arcades at 
intermission, catching up with their friends, gazing quietly at the landscape; the 
way the Tanglewood Music Center (TMC) concerts have become so popular with 
visitors and cognoscenti alike (remember how we worried about small audiences 
for TMC recitals and how we organized the space so that it could feel "full" even 
with a small audience); how the Hall accommodates the inventions of the 
Contemporary Music Festival, or, more recently, the never-imagined inventions of 
a Mark Morris dance performance. This sense of a living and growing Hall, always 
expanding its vision, always surprising, is special. 

There is a saying in the law that "hard cases can make bad law." In a similar but 
more positive vein, the experience at Ozawa Hall has proved to me that a support- 
ive and collaborative client makes great buildings. And here all the credit goes to 
the BSO organization. George Kidder, then President, asked Dean Freed (the BSO 
Trustee who chaired the BSO's Building and Grounds Committee at that time; 
now a BSO Life Trustee), the late BSO Overseer Haskell Gordon, and Dan Gustin 
(at that time the BSO's Manager of Tanglewood and BSO Assistant Managing 
Director) to be the three-person committee directing me, my colleagues Alan 
Joslin and Clifford Gayley, and John Fish of Suffolk Construction Company. In 
addition, Kidder asked Robert Campbell to be architectural adviser to that com- 
mittee. The four-member BSO group (which sadly was reduced to three by 
Haskell's untimely death halfway through the project) brought a spirit of team- 
work that inspired us, pushed us, nurtured us. That collaborative spirit — call it the 
architectural equivalent of musical ensemble — is celebrated by this building. 

To the BSO, to all the musicians who have performed there, and to the audi- 
ences who have supported the Hall for the past ten years, I offer my deepest 
thanks. 



4 A ■ :&&% 



Seiji Ozawa Hall 

Tanglewood, Lenox, MA 

William Rawn Associates, Architects, Inc. 

HONORS AND AWARDS 

American Institute of Architects (national), Honor Award in Architecture 

(1995)* 
American Institute of Architects (national), Honor Award in Interior 

Architecture (2000)* 
American Institute of Architects (New England chapter), Honor Award in 

Architecture (1994) 
Boston Society of Architects, Honor Award for Design Excellence (1994) 
Boston Society of Architects, Honor Award in Interior Architecture (2000) 
United States Institute for Theatre Technology, Honor Award in Architecture 

(1995) 

Architecture magazine, cover story (December 1994) 

Interiors magazine 16th Annual Awards Issue, Best in Recreation and 

Entertainment Design (1995) 
Concert Halls and Opera Houses: Music, Acoustics, and Architecture by Leo 

Beranek, ranked as 13th-best hall in the world; one of the four best halls in 

the world completed in the last fifty years; and one of the four best halls of 

all time in the United States (2003) 

American Wood Council, Merit Award: Wood Design (1996) 

Brick Institute of America, American Institute of Architects, Brick in 

Architecture Award (1995) 
Architectural Woodwork Institute, Award of Excellence (1995) 
National Association of Home Builders, Grand Award Winner (1995) 
International Association of Lighting Designers, Citation for Lighting Design 

(1995) 



"Very rarely does a single building win two Honor Awards from the national American 
Institute of Architects 




The south 
side arcade 
I of Seiji Ozawa 
I Hall during 
construction, 
December 6, 
1993 



Creating a "New" Tanglewood 

by Robert Campbell 

Robert Campbell, architectural critic for The Boston Globe, was Architectural 
Advisor to the BSO's Design Committee for the building ofSeiji Ozawa Hall He 
originally wrote this essay for the souvenir book "A Room For Music" produced in 
conjunction with the HalVs opening in 1994. 

It began with the land. In December 1986 the size of Tanglewood suddenly and 
unexpectedly doubled, with the acquisition, from the Mason Harding family, of 
the Highwood estate next door. 

You couldn't walk out onto this new piece of land without noticing a long, gen- 
tle slope of field, back behind the house, that terminated in a natural backdrop of 
pines. You couldn't help feeling that Providence must have created that slope in the 
hope that someone, some day, would sit there listening to music, as it drifted out 
from somewhere among the pines. Even before Highwood became available, the 
decision had already been made to build a new concert hall at Tanglewood. The 
old Theatre-Concert Hall, across the lawn from the Koussevitzky Music Shed, was 
becoming derelict and inadequate. A preliminary design for a new concert hall was 
actually created by another architect. When Highwood became available all this 
work came to a screeching halt. The BSO realized, at once, that it needed profes- 
sional help to assess the potential of the new property. It hired the nationally 
known Cambridge firm of Carr, Lynch, Hack & Sandell as site planners. Bill 
Porter and Catherine Verhulst of that office took charge of the job. They quickly 
confirmed everyone's early intuition: the grassy slope at Highwood was the right 
place for the new concert hall. 

Porter and Verhulst pointed out other things, too. They noticed that a single 
unbroken ridge of lawn extended from the old Tanglewood property right through 
the new estate, all of it with a view of the Stockbridge Bowl to the south. They 
called this ridge the "performance plateau" and conceived it as a means of uniting 
the old campus with the new. They noticed that if the new concert hall were placed 
down the slope from this plateau, it would stand in the same relation to Highwood 
Manor House as the Shed does to the Tanglewood Manor House. There would be 
a sort of visual rhyme: Tanglewood Manor and its Shed, Highwood Manor and its 
concert hall. The new estate would immediately feel like Tanglewood. 

Porter and Verhulst did many other things. They surveyed the property and 
declared most of it a protected wetland. With what remained, besides the site for the 
concert hall, they created a new string of roads and parking lots, carefully nestled 
among the existing woodlands, to relieve pressure on the old traffic patterns. They 
renovated the former carriage barn into offices and studios for some of Tangle- 
wood's staff and faculty. They removed the Box Lot parking from the performance 
plateau and raised the grade of this part of the lawn by several feet, using material 
excavated for the new concert hall, in order to improve views into the shed. They 
developed a landscape plan for all of Tanglewood, new and old. And they found 
locations for, and then designed, new gates, rest rooms, utilities, practice studios, 
snack booths, ticket booths, paths, plantings, a new gift shop, a new lawn cafe, and 
much else that was needed to transform the Highwood estate into a true working 
part of Tanglewood. 

But the centerpiece of the new Tanglewood would be, of course, the new con- 
cert hall. Because of the new site, it was decided to make a fresh start in planning 



■&>&3 



for this facility. Several nationally known architects were interviewed before the 
selection of a relative newcomer, William Rawn of Boston, as the designer. Rawn 
impressed the selection committee by the time and care he devoted to visiting and 
studying Tanglewood, and especially by the verbal eloquence with which he was 
able to invoke Tanglewood's essential magic. 

Endless debates ensued. How many seats should the new hall have? Twelve hun- 
dred, give or take, it was finally decided. Where, precisely, should it stand? Rawn 
persuaded everyone it should be pushed far enough up the slope so as not to feel 
remote. Should it, like its predecessor, serve for both opera and concerts? No, it 
was determined: Now that it would be possible to preserve the old Theatre-Con- 
cert Hall, it made better sense to convert the older building for opera in the future. 

But the critical issue of the debate was over a different issue. Should the new 
hall be suitable for recording purposes? If so, it would have to be a much heavier, 
much more solid acoustic shell than anything else at Tanglewood. It would be a 
new and different kind of building altogether, and a costlier one too. The decision 
eventually fell in favor of recording, and the building began, in Rawn's office, to 
assume its present shape. 

It was exciting to watch the hall as it evolved over time in a long series of discus- 
sions, drawings, and models. Two BSO Board members, Dean Freed and the late 
Haskell Gordon, participated in virtually every meeting and contributed a great 
deal to the shaping of the hall. So did the BSO's Tanglewood Manager Dan Gustin 
and Tanglewood Music Center Administrator Richard Ortner, among many oth- 
ers. Rawn traveled through Europe to look at famous halls. He returned with a 
determination to create not an auditorium, in which the performers on the stage 
are quite separate from the audience, but rather a more congenial, more sociable 
space in which the performers and the audience would gather together as if in a 
large room. The audience would sit on three sides, and up on balconies too, so that 
its members could look across at one another, enjoying the ritual pleasure of as- 



1 




The east end of Seiji Ozawa Hall during construction, August 2, 1993 



sembling. They would sit in informal chairs, as if on a Shaker porch. A big opening 
at the rear would open to the sloping lawn, in the Tanglewood tradition, where 
hundreds could sit and see and hear. Above this opening, there would be a musi- 
cian's gallery, a place for a fanfare before the performance. 

Too often, when an architect and an acoustician collaborate, one or the other 
dominates. In the case of Seiji Ozawa Hall something very different occurred. 
Rawn and his acoustician, Lawrence Kirkegaard — himself trained as an architect — 
developed a give-and-take working relationship in which each seemed to be trying 

to optimize the other's goals. The 
building acquired the massive walls 
and ceiling that Kirkegaard needed to 
reflect the bass notes. But it also ac- 
quired a remarkable sense of light and 
air. Glass-block windows served to 
contain the sound, while simultane- 
ously permitting views out to the sky. 
Broken-up surfaces of wall and ceil- 
ing, necessary for blending and dis- 
persing the sound, took the form of 
handsome architectural coffers, bays, 
and corrugations. 

As it finally took form, and as it 
now has been built, Seiji Ozawa Hall 
is a building with an exterior that is a 
reddish blend of several shades of 
brick. The brick isn't the usual machine- 
cut type but a more irregular, richly 
textured variety made by casting each 
brick separately. It is trimmed in red 
sandstone imported from India, with 
Alaskan yellow cedar at the exterior 
Looking east, with the windows over the galleries. The round vaulted roof is 

stage and all sub-floors in place, January lead-coated copper. The overall im- 

14, 1994 pression is of a building that looks 

both durable and purposeful, commanding its site without looking in any way 
grand. It is angled slightly toward the Highwood manor house — an angle, as it hap- 
pens, that is identical with that of the Shed. Connected with it, at the rear, is a small- 
er pavilion for the musicians, framed and surfaced in wood, where dressing and 
practice rooms ring four sides of an interior courtyard with a continuous porch for 
informal socializing. The musicians' pavilion is like a tugboat pushing the liner of 
Ozawa Hall. Together, the two buildings share a modest entry court. 

Indoors, Seiji Ozawa Hall is made of stucco walls painted a warm off-white. 
Two tiers of balcony line three sides, faced with railings in teak. The ceiling is of 
pre-cast concrete coffers whose natural color is the same as that of the walls. Above 
the ceiling, beneath the copper vault, is the mechanical room, with fans for air 
changes and modest air-conditioning of the stage and its instruments. On the stage, 
the musicians sit on a stepped terrace floor, the elements of which can be tele- 
scoped back beneath one another when a flat floor is needed. The terrace is Kirke- 
gaard's invention and allows the orchestra members to be easily visible to one 
another and to the audience. 

Behind the stage is a balcony for choruses. If desired, the hall can be reversed 




'•'*(. fc ; ., 



for intimate performances, in which case this balcony becomes seating for a small 
audience, and the musician performs against a temporary movable backdrop. 
Invisible behind all this, within the walls and above the ceiling, is the structural 
skeleton of steel columns, beams, and trusses. 

Seen purely as architecture, Ozawa Hall is hard to categorize simply. Architect 
Rawn has little patience with passing fads or styles, but he does possess a strong 
urge to accommodate new buildings within the traditions of the past. Ozawa Hall's 
interior is a traditional shoebox shape, like Symphony Hall in Boston. Details like 
the coffered ceiling and gridded balcony rails can't exactly be called ornamental, 
but they do embody a memory, simplified as befits a country setting, of the gilded 
and sculptured interiors of the past. Outdoors, the wood galleries recall the long 
lazy porches of resorts and summer camps, and the big brick shape suggests the 
great rural mills of New England. Taken as a whole, Seiji Ozawa Hall reminds this 
writer of only one other building, a personal favorite, the tiny but monumental 
church of Santa Maria dei Miracoli in Venice, another powerful, round-vaulted, 
self-confident shape. 

Summer has come to Tanglewood now. The leaves are on the trees and the 
breeze drifts cool off the Stockbridge Bowl. The unsuspecting visitor will arrive, 
unaware that the beloved Tanglewood is, suddenly, twice as big, twice as wonder- 
ful. It will be as if you sat down to a small-screen black and white movie, only to 
watch it explode into wide-screen color. On that new and larger screen, Seiji 
Ozawa Hall takes its place as the central figure in the newest act of the ever- 
unfolding drama that is Tanglewood. 




Seiji Ozawa Hall 

Just (Some of) the Facts 

Seiji Ozawa Hall's Florence Gould Auditorium is an 1,180-seat enclosed concert 
space designed to accommodate a variety of performance, rehearsal, and recording 
activities at Tanglewood, the BSO's summer home. Folding doors at the west end of 
the building permit the Hall to open directly onto a lawn which provides space for at 
least 2,000 additional listeners. With the doors closed, the Hall is also designed to 
serve as a recording facility. The Leonard Bernstein Performers Pavilion adjacent to 
the main structure contains back-of-house facilities encompassing a conductor's 
suite, dressing rooms, instrument storage space, practice rooms, and a recording 
booth, all organized around a cloister-like courtyard that can serve as a gathering 
place for the Tanglewood Music Center Fellows. 



Groundbreaking: 

Inaugural Concert: 

Architect: 
Acoustician: 

Theater Consultant: 
Structural Engineer: 
Landscape Consultant: 



September 12, 1992 

July 7, 1994 

William Rawn Associates, Architects, Inc., Boston, MA 
R. Lawrence Kirkegaard & Associates, Downer's 

Grove, IL 
Theatre Projects Consultants, Inc., Ridgefield, CT 
LeMessurier Consultants, Cambridge, MA 
Michael Van Valkenburgh Associates, Inc., 

Cambridge, MA 



General Contractor: Suffolk Construction Company, Inc., Boston, MA 



Project Size: 
Interior Breakdown: 



36,200 gross square feet (sf) 

Ground Floor Seating 6600 sf; Stage 2100 sf; Backstage 
2300 sf; 1st Balcony 3300 sf; 2nd Balcony 3900 sf; 
Ground Floor Arcade 3600 sf; 1st Balcony Arcade 4700 
sf; Basement 1900 sf; Bernstein Performers Pavilion 
Interior Spaces 4800 sf; Bernstein Performers Pavilion 
Courtyard 3000 sf 

Interior Finish Materials: General Floors: tongue and groove vertical grain 

Douglas fir plank 
Stage Floors and Risers: tongue and groove maple 

plank 
Arcade Floors: colored concrete 
Walls: stucco on concrete masonry units 
Ceiling: architectural pre-cast concrete planks partially 

finished with K-13 acoustic insulation 
Balcony and Arcade Structures: Douglas fir timber and 

decking 
Trim, Rails, and Millwork: vertical grain Douglas fir 

with oil finish 
Interior Balcony Grill: plantation-grown teak 
Stairs and Rails: Douglas fir tread risers and rails with 

painted steel 
Acoustic Panels: paper can over fiberglass panels or felt 
Acoustic Drapes: synthetic velour 
Stage Surround Fabric: aniline dyed scrim 

(Leonard Bernstein Performers Pavilion) 

Floors: stained plywood, vinyl, cysl mat, or southern 

yellow pine decking 
Ceiling and Walls: stained Douglas fir rough framing 

and plywood 

Exterior Finish Materials: Walls: face brick with flashed finish 

Arcade Structure and Grill: Alaskan yellow cedar 

Roof: lead-coated copper 

Windows: clear glass block or laminated glass in teak 

frames 
Doors: plantation-grown teak with 1/2" laminated glass 

(Leonard Bernstein Performers Pavilion) 

Walls: stained Douglas fir plywood with Alaskan 

yellow cedar trim and battens 
Roof: asphalt shingles 
Windows: pine sash and frame 




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SEIJ I OZAWA HALL 
lOth ANNIVERSARY SEASON 



Ozawa Hall 10th Anniversary 
Celebration Gala 

SEIJI OZAWA HALL 

Florence Gould Auditorium 

Sunday, August 1, at 8:30 p.m. 

TANGLEWOOD MUSIC CENTER ORCHESTRA 
SEIJI OZAWA AND JOHN WILLIAMS, conductors 

STEPHANIE BLYTHE, mezzo-soprano 
KYLE FERRILL, baritone 

YUNDI LI, piano 

MAYUMI MIYATA, sho 

BOSTON SYMPHONY CHAMBER PLAYERS 

TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor 



: 



COPLAND 

"In the Beginning" (1947), for unaccompanied 

mixed chorus with mezzo-soprano solo 

(Text from Genesis 1:1-11:7) 

STEPHANIE BLYTHE, mezzo-soprano 

TANGLEWOOD FESTIVAL CHORUS 

JOHN OLIVER conducting 

TAKEMITSU 

"Ceremonial: An Autumn Ode," for sho and orchestra 

MAYUMI MIYATA, sho 

TANGLEWOOD MUSIC CENTER ORCHESTRA 

SEIJI OZAWA conducting 



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10th ANNIVERSARY SEASON 



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Due to illness, Malcolm Lowe will be replaced 

by Tamara Smirnova in the performance of 

Wagner's Siegfried Idyll. 



The performance will be conducted by 

Gil Rose. 



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BERNSTEIN 
"Opening Prayer" 

KYLE FERRILL, baritone 

TANGLEWOOD MUSIC CENTER ORCHESTRA 

JOHN WILLIAMS conducting 

&&& 

LISZT 
"La Campanella" 

CHOPIN 
Scherzo No. 2 in B-flat minor, Opus 31 

YUNDI LI, piano 

&$>& 

WAGNER 

"Siegfried Idyll" 

BOSTON SYMPHONY CHAMBER PLAYERS 



Malcolm Lowe, violin 

Haldan Martinson, violin 

Cathy Basrak, viola* 

Jules Eskin, cello 

Edwin Barker, double bass 

Elizabeth Ostling, flute"" 

John Ferrillo, oboe 



Richard Svoboda, bassoon 
William R. Hudgins, clarinet 
Craig Nordstrom, clarinet* 
James Sommerville, horn 
Daniel Katzen, horn"" 
Charles Schlueter, trumpet 



''"assisting Boston Symphony Orchestra member 

VERDI 
Overture to "La forza del destino" 

TANGLEWOOD MUSIC CENTER ORCHESTRA 
SEIJI OZAWA conducting 



This evening's Tanglewood Festival Chorus performance is supported 
by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus. 

Steinway and Sons, selected exclusively at Tanglewood 

In consideration of the performers and those around you, cellular phones, pagers, 

and watch alarms should be switched off during the concert. 
Please refrain from taking pictures in Seiji Ozawa Hall at any time during the concert. 

Flashes, in particular, are distracting to the performers and other audience 

members. Thank you for your cooperation. 




) 



Florence Lacaze 
Gould onboard 
the SS. Normandk 
during its matdeti 
voyage, 1935. 





In Tribute to Florence Gould 

Florence Gould 

Florence Lacaze Gould, for whom the Florence Gould Auditorium in Seiji Ozawa 
Hall is named, was born in San Francisco to French parents in 1895. The San Fran- 
cisco earthquake 
of 1906 destroyed 
her father's printing 
house, and the fam- 
ily returned to 
France. Florence 

f^ ^»* J^ftyJB IjMk arrived not speaking 

m PittH *n _. aVvI M ; | B a word of Frencn > 

d&jtk % 11 but she was quick, 

/ K V ■**' Wil,i **»^ ll intelligent, and mu- 

^ ■ sically gifted, and 

by the age of sixteen 
she was studying 
voice at the Paris 
Conservatory. Al- 
though she asserted 
throughout her life 

that she "had not a drop of American blood," she remained a U.S. citizen until her 
death in 1983. 

Florence returned to San Francisco with her new husband, an American architect, 
at the outbreak of World War I, but the marriage did not last and she returned to 
France in 1917. Following the Armistice, she recommenced her musical studies, and 
was often to be found singing in the salons of Paris, along with the likes of the 
famous Parisian entertainer Collette. It was at such an event that she caught the eye 
of Frank Jay Gould, son of the American railroad magnate Jay Gould. The two were 
married in 1923 and, at her husband's request, Florence gave up her singing career. 

The Goulds were at the center of social life in the South of France during the 
1920s and 1930s, where they attracted an international crowd of socialites, artists, 
and writers. They remained in France throughout World War II, during which time 
Florence served as a nurse and established a famous literary salon that became a cen- 
ter of intellectual life in wartime Paris. It was also at this time that she became a 
patron of contemporary painters, Braque and Picasso among them, and began amass- 
ing an extraordinary collection of modern art. 

Frank Gould died in 1956, leaving an enormous fortune to his wife. Florence 
Gould continued her philanthropy to the arts, and was awarded the Legion d'Hon- 
neur by French President Charles de Gaulle in 1961. The guests of her salon tended 
no longer to be rebellious, avant-garde intellectuals, but, instead, great established 
personages, many of them members of the Academic She also surrounded herself 
with the leading European and American art collectors, dealers, and cultural leaders. 
At the time of her death, her art collection included works by Bonnard, Cassat, 
Cezanne, Corot, Degas, Gaugin, Toulouse-Lautrec, Manet, Monet, Pissarro, Renoir, 
and Van Gogh. The majority of the proceeds from the sale of her estate was given to 
the Florence Gould Foundation, the principal purpose of which is to foster Franco- 
American amity and collaboration. The Florence Gould Foundation endowed the 
auditorium of Seiji Ozawa Hall, naming it in honor of Mrs. Gould, in 1990, and sim- 
ilarly has named other cultural facilities throughout the United States and in France. 
The Foundation also has endowed a Fellowship at the Tanglewood Music Center for 
the benefit of talented young French musicians. 



An Introduction to Tonight's Program 

Everyone working at Tanglewood in the summer of 1994 knew from the very 
start — even before a single note of music was sounded within its walls — that Seiji 
Ozawa Hall would be a special place. The warmth of the materials; the intimacy of 
the ambiance, which, by virtue of sightlines and seating plan, encouraged an 
extraordinary connectedness between performers and audience members alike; the 
positioning of the Hall within the Tanglewood landscape, surrounded by trees, 
grass, the day or night sky — every thing felt just right, with that unique sense of an 
unmistakable aura. And then that first summer bore out the Hall's acoustical excel- 
lence as well, with its encompassing warmth (there's that word again), intimacy, 

clarity, and presence, an acoustic hos- 
pitable to music of all kinds, and to 
performance groups of any size, rang- 
ing from solo performers to duo-re- 
citalists to ensembles large and small. 
Now, ten years later, Seiji Ozawa 
Hall has exceeded all expectations, 
drawing not only thousands of satis- 
fied listeners each season — many of 
whom can't help but marvel repeated- 
ly at the building itself, as well as at 
the music being performed — but also 
encouraging return visits from the 
artists who feel privileged to play 
here. And as the reputation of the 
venue itself has grown, so, too, has the 
annual number of events that take 
place within it. The tightly packed 
schedule of rehearsals and perform- 
ances each summer means that there is 
music sounding in Ozawa Hall nearly 
every hour of every day throughout 
July and August. Each year, besides 
serving as the principal concert venue 
of the Tanglewood Music Center (the 
BSO's summer institute for young 




The atrium of the Leonard Bernstein 
Performers Pavilion during construction, 
August 13, 1993 



musicians on the verge of professional careers), Ozawa Hall also houses perform- 
ances by members of the BSO, by the Boston Symphony Chamber Players, by the 
Tanglewood Festival Chorus, by the Boston University Tanglewood Institute, and 
by a distinguished series of international guest artists who perform at Tanglewood 
on weeknights and occasional Sunday nights throughout the summer under the 
auspices of the Boston Symphony Orchestra. 

Tonight's concert celebrates the opening of Seiji Ozawa Hall ten years ago, on 
July 7, 1994. The program for this evening speaks not only to the significance of 
that event, but to the Hall's history as well, by offering a wide range of music — for 
solo voice, solo piano, chorus, chamber ensemble, and orchestra — reflecting the 
diversity of programming heard here in the past decade, and by bringing together 
performers who have either figured in the Hall's history to date, or who represent 
a new generation of the talent being continually fostered within the Hall's Florence 
Gould Auditorium. Seiji Ozawa, John Williams, the Boston Symphony Chamber 



Tm 



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Players, and the Tanglewood Festival Chorus, led by its founding conductor John 
Oliver, of course need no introduction. Seiji Ozawa and John Williams both par- 
ticipated in the 1994 inaugural concert, which included a new work commissioned 
by the BSO from Mr. Williams especially for that occasion (his Concerto for Cello 
and Orchestra, featuring Yo-Yo Ma). 

Among tonight's other participants, Stephanie Blythe — who was a Tanglewood 
Music Center Vocal Fellow in 1993 and 1994 — has established herself as one of 

today's most sought-after mezzo-sopra- 
nos. In fact, Ms. Blythe was the first 
singer to perform in Seiji Ozawa Hall, 
when, as a TMC Fellow in 1994, she 
participated in a private "test concert" 
prior to the official opening. Represent- 
ing an even younger generation of artists 
are the Chinese pianist Yundi Li, who 
has won the attention of an international 
audience just within the past year, and 
the American baritone Kyle Ferrill, who 
is in his second summer as a TMC Vocal 
Fellow. Further reflecting the wide range 
of international artists who have per- 
formed in Seiji Ozawa Hall is Mayumi 
Miyata, who has devoted herself to 
bringing the sho — a Chinese or Indo- 
Chinese reed instrument constructed 
from bamboo pipes of varying lengths — 
to international recognition, and who 
tonight collaborates with Seiji Ozawa 
in music by a composer Mr. Ozawa has 
long championed. 

Several of the composers whose music 
is programmed this evening are likewise germane to the history of Seiji Ozawa 
Hall and Tanglewood. Both Leonard Bernstein and Aaron Copland were brought 
to Tanglewood as Music Center faculty members when Serge Koussevitzky estab- 
lished the Berkshire Music Center (as it was then called) in 1940. Both remained 
esteemed figures at Tanglewood for decades, Bernstein, in particular, serving as a 
guide and spiritual mentor to successive generations of Music Center Fellows 
(including Seiji Ozawa in 1960) for the remaining half-century of his life. 

The inaugural concert in July 1994 opened with Seiji Ozawa leading benedicto- 
ry music of J.S. Bach. The first three works on tonight's program are likewise, and 
fittingly, benedictory in nature — Copland's In the Beginning (1947), which sets the 
Biblical tale of the Creation from Genesis for unaccompanied chorus with solo 
mezzo-soprano; Takemitsu's Ceremonial: An Autumn Ode, for sho and orchestra, 
which was commissioned by Seiji Ozawa and the Saito Kinen Festival for perform- 
ance at the very first Saito Kinen Festival in 1992; and Bernstein's Opening Prayer 
for baritone and orchestra, which was written originally for the reopening of 
Carnegie Hall in December 1986 and later incorporated as the middle movement 
(under the title "Benediction") of Bernstein's Jubilee Games. (Jubilee Games was 
composed for the fiftieth anniversary of the Israel Philharmonic, which premiered 
the original two-movement form of that work in September 1986.) Sung in Hebrew, 




Releasing the hoisting sling of a pair of 
trusses, June 22, 1993 



the text of Opening Prayer — which was also included in the Ozawa Hall inaugural 
concert ten years ago — comes from the Bible (Numbers 6:24-26): 

The Lord bless thee, and keep thee: 

The Lord make his face shine upon thee, and be gracious unto thee: 

The Lord lift up his countenance upon thee, and give thee peace. 

Also worth noting in this context is Wagner's Siegfried Idyll, which — though 
employing themes from the composer's massive Der Ring des Nibelungen — was 
composed for a much more quiet, thoughtful, and intimate purpose, as a birthday 
gift for his wife Cosima, the work first being performed at the foot of the staircase 
in the Wagner home near Lake Lucerne on the morning of Cosima's birthday, De- 
cember 25, 1870. Beyond that, we also hear music of Chopin and Liszt performed 
by the young Yundi Li, and, to close the proceedings, Verdi's rousing overture to 
the opera Laforza del destino (1869), programmed to showcase the virtuosic excel- 
lence of the Tanglewood Music Center Orchestra under Seiji Ozawa, who led it 
with such devotion for so many years during his tenure as the BSO's music direc- 
tor. 

Thus tonight's program looks back on the distinguished history of Seiji Ozawa 
Hall even as it takes its own place on the extraordinary list of events that have 
transpired here over the past ten years. Just how much Ozawa Hall itself has con- 
tributed to the inspiration evident in so many past performances can only be con- 
jectured. Tonight's concert will doubtless speak for itself. But with the past ten 
years of music-making in Ozawa Hall now a matter of historical fact, the promise 
of future decades seems safely — and perhaps even unquestionably — assured. 

— Marc Mandel 




JfE Tanglewood 



BOSTON 



THE BSO ONLINE 

Boston Symphony and Boston Pops fans with access to the Internet can visit the 
orchestra's official home page (http://www.bso.org). The BSO web site not only pro- 
vides up-to-the-minute information about all of the orchestra's activities, but also 
allows you to buy tickets to BSO and Pops concerts online. In addition to program 
listings and ticket prices, the web site offers a wide range of information on other 
BSO activities, biographies of BSO musicians and guest artists, current press releases, 
historical facts and figures, helpful telephone numbers, and information on auditions 
and job openings. Since the BSO web site is updated on a regular basis, we invite you 
to check in frequently. 




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Artists 




Seiji Ozawa 

Seiji Ozawa was music director of the Boston Symphony Orchestra 
for 29 seasons (1973-2002) — the longest-serving music director in 
the orchestra's history. He is now music director of the Vienna State 
Opera, the culmination of an association of more than 35 years he 
has enjoyed with Vienna's most distinguished musical institutions. He 
began the appointment in the 2002-03 season, having conducted regu- 
larly at the Vienna State Opera for many seasons, and as an annual 
and favored guest of the Vienna Philharmonic Orchestra (VPO). Mr. 
Ozawa is also artistic director and founder of the Saito Kinen Festival — Japan's preemi- 
nent music and opera festival — and of the Saito Kinen Orchestra (SKO). In the 2003-04 
Vienna State Opera season, Mr. Ozawa led a new production of Der fliegende Holland- 
er as well as performances of Mozart's Le nozze di Figaro, Cost fan tutte, and Don Gio- 
vanni, Janacek's Jenufa, and Krenek's Jonny spielt auf. This season he also conducts the 
VPO on tour to New York for its annual Carnegie Hall performances, and on tour to 
Asia with concerts in Beijing, Shanghai, Taipei, and Seoul. In Vienna he conducted sev- 
eral VPO programs, among them a pair of concerts with cellist Mstislav Rostropovich, 
including the world premiere of a concerto by Krzysztof Penderecki together with the 
Dvorak Cello Concerto. Other highlights of 2003-04 season have included the Saito 
Kinen Orchestra's seventh European tour and a return to the Berlin Philharmonic. Mr. 
Ozawa also devotes attention to teaching and training. While he was the BSO's music 
director, he also served as artistic director of the Tanglewood Music Center. In 2000, in 
Japan, he founded the Ozawa Ongaku-Juku, an academy for aspiring young orchestral 
musicians. Born in 1935 in Shenyang, China, Seiji Ozawa graduated with first prizes in 
both composition and conducting from Tokyo's Toho School of Music. In 1959 he won 
first prize at the International Competition of Orchestra Conductors in Besan§on, France, 
where he came to the attention of Charles Munch, then music director of the Boston 
Symphony, who invited him to Tanglewood, where he won the Koussevitzky Prize as 
outstanding student conductor in 1960. While working with Herbert von Karajan in 
West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, who appointed 
him assistant conductor of the New York Philharmonic for the 1961-62 season. He 
made his first professional concert appearance in North America in January 1962, with 
the San Francisco Symphony. He was music director of the Ravinia Festival, summer 
home of the Chicago Symphony (1964-69); music director of the Toronto Symphony 
(1965-69); and music director of the San Francisco Symphony (1970-76). He first con- 
ducted the Boston Symphony in 1964 and became its music director in 1973, leaving a 
legacy of brilliant achievement evidenced through touring, award-winning recordings, 
television productions, and commissioned works. In recent years, numerous honors and 
achievements have underscored Mr. Ozawa's standing on the international music scene. 
French President Jacques Chirac named him Chevalier de la Legion d'Honneur in 2001, 
and he has been honored as "Musician of the Year" by Musical America. In February 
1998, fulfilling a longtime ambition of joining musicians across the globe, he led the 
opening ceremonies at the Winter Olympics in Nagano, Japan, conducting the SKO 
and six choruses located on five different continents, all linked by satellite, in the "Ode to 
Joy" from Beethoven's Ninth Symphony. In 1994 he received Japan's first-ever Inouye 
Award (named after Japan's pre-eminent novelist), recognizing lifetime achievement in 
the arts. The year 1994 also saw the opening of Seiji Ozawa Hall at Tanglewood. Mr. 
Ozawa holds honorary degrees from Harvard University, the University of Massachu- 
setts, Wheaton College, and the New England Conservatory of Music. 



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John Williams 

fl In January 1980 John Williams — who this year celebrates his 25th 
anniversary as a member of the BSO family — was named nineteenth 
Conductor of the Boston Pops Orchestra since its founding in 1885. 
He assumed the title of Boston Pops Laureate Conductor following 
his retirement in December 1993 and holds the title of Artist-in-Resi- 
dence at Tanglewood. Born in New York, Mr. Williams attended 
! UCLA, studied composition privately with Mario Castelnuovo- 
I Tedesco, and attended the Juilliard School, where he studied piano 
with Madame Rosina Lhevinne. He worked as a jazz pianist before beginning his career 
in the film studios, where he worked with such composers as Bernard Herrmann, Al- 
fred Newman, and Franz Waxman. He went on to work in television in the 1960s, win- 
ning two Emmy awards for his work. John Williams has composed the music and served 
as music director for more than 90 films, including the Harry Potter movies, Catch Me 
If You Can, the Star Wars movies, A.I. Artificial Intelligence, Angela's Ashes, Saving 
Private Ryan, Amistad, Schindler's List, Jurassic Park, Born on the Fourth of July, the 
Indiana Jones films, E.T (the Extra-Terrestrial), Superman, Close Encounters of the 
Third Kind, Jaws, and Goodbye, Mr. Chips. His most recent film scores are Harry 
Potter and the Prisoner of Azkahan and Steven Spielberg's The Terminal. He has re- 
ceived 42 Academy Award nominations, and has been awarded five Oscars, three British 
Academy Awards, eighteen Grammys, four Emmys, and three Golden Globes, as well 
as several gold and platinum records. Mr. Williams served as Grand Marshal of the 2004 
Tournament of Roses parade. Upcoming projects include Star Wars: Episode III. This 
summer at Tanglewood he leads the Boston Symphony, Boston Pops, and Tanglewood 
Music Center orchestras, as well as performances next Sunday and Monday nights of 
his own arrangement of My Fair Lady for vocalists and jazz ensemble. 

In addition to his film music, Mr. Williams has written many concert pieces, includ- 
ing two symphonies, and concertos for bassoon, cello, flute, violin, clarinet, tuba, and 
trumpet. His Soundings was commissioned by the Los Angeles Philharmonic for the 
opening of Disney Hall in October 2003, and his Horn Concerto was premiered in 
November 2003 by the Chicago Symphony and its principal horn Dale Clevenger. He 
composed Call of the Champions for the 2002 Olympic Games in Salt Lake City; the 
NBC News theme "The Mission"; "Liberty Fanfare," for the rededication of the Statue 



TANGLEWOOD 2004 
TALKS & WALKS 

A series of informal conversations presented by guest artists and members of the Tangle- 
wood family in the Tent Club near the Shed on Thursdays. Doors open at noon. The 
talks begin at 1 p.m. and are followed at 1:45 p.m. by walking tours of the Tanglewood 
grounds led by Tanglewood volunteer tour guides. Individual tickets are sold on the day 
of the talk for $10 at the Tent Club between 12:30 and 1 p.m., subject to availability. 
Please bring a picnic lunch; beverages and dessert are available for purchase. 

July 15 Kurt Masur, Conductor 

July 22 James Sommerville, BSO Principal Horn 

July 29 David Kneuss, Director, TMC Opera {A Midsummer Night's Dream) 

August 5 Tan Dun, Composer and Conductor 

August 12 Deborah Voigt, Soprano 

August 19 James DePreist, Conductor 

August 26 Marc Mandel, BSO Director of Program Publications 



of Liberty; "We're Lookin' Good!," for the Special Olympics in celebration of the 1987 
International Summer Games; the themes for the 1984, 1988, and 1996 Summer Olym- 
pic games, and for Seiji!, honoring Seiji Ozawa's 25th anniversary as BSO music direc- 
tor. Many of Mr. Williams's film scores have been released as recordings; the soundtrack 
album to Star Wars has sold more than four million copies. He has also led a highly 
acclaimed series of albums with the Boston Pops Orchestra on Philips and Sony Clas- 
sical. Mr. Williams has led the Boston Pops Orchestra and the Boston Pops Esplanade 
Orchestra on tour. He has conducted the Boston Symphony Orchestra both at Sym- 
phony Hall and at Tanglewood and has appeared as guest conductor with many orches- 
tras. With the BSO and violinist Gil Shaham, Mr. Williams has recorded his Violin 
Concerto, TreeSong, and Three Pieces from Schindler's List on Deutsche Grammophon. 




Stephanie Blythe 

An alumna of the Tanglewood Music Center, where she was a Vocal 
Fellow in 1993 and 1994, and winner of the 1999 Richard Tucker 
Award, mezzo-soprano Stephanie Blythe returned this season to Seat- 
tle Opera for the title role in Carmen, to the Metropolitan Opera as 
Jocasta in Oedipus Rex, and to the Opera Company of Philadelphia as 
the title role in La Grande Duchesse. Next season she returns to the 
Metropolitan Opera as Eduige in Rodelinda and makes her debut at 
Opera Colorado in the title role of Giulio Cesare. She also sings the 
title role in Mignon with the Opera Orchestra of New York and returns to Seattle 
Opera for Wagner's complete Ring cycle in the summer of 2005. Ms Blythe's past opera 
engagements include Baba the Turk in The Rake's Progress, Cornelia in Giulio Cesare, 
Mother Marie in Dialogues des Carmelites, and Mistress Quickly in Falstaff at the Met- 
ropolitan Opera, where she is a an alumna of the Lindemann Young Artists Program. 
She has also sung Mistress Quickly and Ino/Juno in Semele at the Royal Opera House, 
Covent Garden; Cornelia and Mistress Quickly at the Paris Opera, Isabella in L'italiana 
in Algeri at Santa Fe Opera and the Opera Company of Philadelphia, Fricka in new 
productions of Das Rheingold and Die Walkiire at Seattle Opera, and Malcolm in La 
donna del lago with the Opera Orchestra of New York . Ms. Blythe has worked with 
such conductors as Yves Abel, James Conlon, Charles Dutoit, Mark Elder, Valery Ger- 
giev, James Levine, Sir Charles Mackerras, John Nelson, Antonio Pappano, Mstislav 
Rostropovitch, Patrick Summers, and Michael Tilson Thomas. On the concert stage she 
works with such orchestras as the New York Philharmonic, the Orchestra of the Age of 
Enlightenment, the Ensemble Orchestre de Paris, Los Angeles Philharmonic, San Fran- 
cisco Symphony, Boston Symphony, Philadelphia Orchestra, Orchestra of St. Luke's, 
Minnesota Orchestra, and Atlanta Symphony. This summer she appears at the Ravinia 
Festival and the Aspen Music Festival. Ms. Blythe's first solo CD, an album of Handel 
and Bach arias, was recently released by EMI. She premiered Vignettes: Ellis Island, a 
song cycle written especially for her by Alan Smith, in a U.S. recital series co-presented 
by the Marilyn Home Foundation; the cycle was also featured in a special WNYE tele- 
vision program entitled "Vignettes: An Evening with Stephanie Blythe and Warren 
Jones." Ms. Blythe has been presented in recital in Lincoln Center's "Great Performers" 
series at Alice Tully Hall; in Washington, D.C., by the Vocal Arts Society and at the 
Supreme Court at the invitation of Supreme Court Justice Ruth Ginsberg; by the 92nd 
Street Y in New York, by the Cleveland Art Song Festival, and by the Philadelphia 
Chamber Music Society. Future recitals include a return to the Cleveland Art Song 
Festival and Alice Tully Hall. Ms. Blythe has appeared with Boston Symphony in two 
performances of Beethoven's Ninth Symphony, at Tanglewood in 1998 and 2003. This 
fall she appears with James Levine and the Boston Symphony in performances of Mah- 
ler's Symphony No. 8. 



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Kyle Ferrill 

Baritone Kyle Ferrill has performed extensively in oratorio, opera, 
and recital. He has sung the baritone solos in such works as Bach's 
Christmas Oratorio, Britten's Cantata Misericordium, Faure's Requiem, 
Handel's Messiah, and cantatas of J.S. Bach. Mr. FerrilPs opera credits 
include Count Almaviva in Mozart's Le nozze di Figaro, King Cad- 
mus in Eccles's Semele, the title role in Puccini's Gianni Schicchi, the 
Secret Police Agent in Menotti's The Consul, and Top in Copland's 
The Tender Land. Besides opera and oratorio, he has a special interest 
in song literature and new music. This is Mr. FerrilPs second year as a Vocal Fellow of 
the Tanglewood Music Center. Mr. Ferrill received his master's degree in vocal perform- 
ance from Florida State University and is currently working on his doctoral treatise, on 
the subject of Phyllis Curtin. In fall 2004 he will join the voice faculty at Mercer Uni- 
versity in Macon, Georgia. 

Yundi Li 

Yundi Li made his U.S. debut at Carnegie Hall in June 2003 as part 
of Steinway's 150th anniversary gala concert. He made his American 
concerto debut in July 2003 with the Philadelphia Orchestra perform- 
ing Chopin's Piano Concerto No. 1. Also that summer he was hon- 
ored at a special reception at the home of the Ambassador of China in 
Washington, D.C., where he performed Liszt for State Department 
officials and guests. He also gave recitals at Paris, Verbier, Salzburg, 
and Hong Kong, and appeared with the NHK Symphony in Tokyo 
and Osaka. Highlights of his 2003-04 season included appearances at the Kennedy 
Center in Washington, D.C., concerts and a tour of Japan with Paavo Jarvi and the 
Cincinnati Symphony, a tour of Germany with the Moscow Philharmonic led by Yuri 
Simonov, concerts in Budapest with Ivan Fischer and the Budapest Festival Orchestra, 
and concerts with the Israel Philharmonic, San Francisco Symphony, and Malaysian 
Philharmonic, as well as recitals in Berlin, Tokyo, Amsterdam, Shanghai, Pamplona, 
Bilbao, Hamburg, Munich, Boston, Vancouver, San Francisco, New York, and Warsaw. 
Yundi Li's career so far was crowned by his victory in 2000 at the Warsaw Chopin 








Seiji Ozawa in rehearsal with the TMC Orchestra in Ozawa Hall 



Competition. He was born in 1982 in Chongqing, People's Republic of China. Follow- 
ing accordion lessons at age four, he began playing piano at seven. By age nine he decid- 
ed to become a professional pianist, and he began winning competitions in his own 
country and at a number of youth competitions in the U.S. Yundi Li was one of the 
youngest winners in the history of the Chopin Competition and also the first person in 
fifteen years to be awarded a first prize. As an exclusive Deutsche Grammophon re- 
cording artist, his debut recording was of Chopin solo piano works, and his second 
album is of Liszt recital works — the Liszt disc being named "Best of the Year" by the 
New York Times. A recording of Chopin scherzos is planned for release in fall 2004, to 
be followed by a new recording each year until 2009. Yundi Li currently lives in Han- 
nover, Germany, where he studies with Arie Vardie at the Hannover Conservatory of 
Music. 




Mayumi Miyata 

Mayumi Miyata is one of the first artists to bring the sho, the tradi- 
tional Oriental instrument, to worldwide recognition. Through her 
performances at the invitation of international festivals around the 
world, her artistry has helped expand awareness of the sho both in 
Japan and overseas. Having graduated from Kunitachi College of 
Music in piano, Ms. Miyata studied Gagaku (ancient Japanese court 
music) and from 1979 performed in the Gagaku ensemble at the 
National Theater of Japan. Since 1993 she has been active as a soloist 
in traditional music as well as proving that the sho has a valid place in contemporary 
music. While the sho is traditionally associated with Gagaku, Ms. Miyata is highly 
acclaimed for her performances of contemporary compositions by many of the world's 
leading composers. She worked particularly closely with John Cage, having performed 
the world premiere of all of Cage's Two 3 for sho and conch in Italy in 1992. In 2000 she 
played in the first performance of his 108 for orchestra and sho with the WDR Sym- 
phony Orchestra in Cologne. In April 2001 she gave the world premiere of Cage's com- 
plete One 9 for solo sho as part of a recital series in Tokyo which also included the Japan 
premiere of Cage's Two 3 , and a recital devoted to the complete version of the Gagaku 
suite Cboshi. Other composers with whom Ms Miyata is associated are Torii Takemitsu 
(whose Ceremonial: An Autumn Ode she premiered with the Saito Kinen Orchestra 
under the baton of Seiji Ozawa) and Toshio Hosokawa. Ms. Miyata performed in the 
world, Japanese, and Stuttgart Opera premieres of Helmut Lachenmann's Das Madchen 
mit den Schwefelholzern ("The Little Match Girl"). She has also premiered works by 
Paul Mefano, Klaus Huber, Pierre- Yves Artaud, Zsigmond Szathmary, Toshi Ichiyanagi, 
Maki Ishii, and Joji Yuasa. Recent appearances have included a tour as soloist with the 
NHK Symphony and Czech Philharmonic orchestras, as well as appearances at the Alte 
Oper Frankfurt, at the Berlin Philharmonie as part of the Berlinerfestwochen, with the 
Orchestre Symphonique de la Monnaie in Hosokawa's Utsurohi Nagi, with the New 
York Philharmonic and Andre Previn in Takemitsu's Ceremonial: An Autumn Ode, and 
at the Festival d'Avignon. She performed the Japanese National Anthem at the Opening 
Ceremony of the Nagano Winter Olympic Games in 1998, and she has participated in 
festivals throughout Europe. Recital appearances have brought her to the Brooklyn 
Museum in New York, Paris, Amsterdam, La Scala's Piccolo Teatro, Milan, and the Kon- 
zerthaus in Vienna. Her discography includes works of Cage, Hosokawa, and Takemitsu. 



M 







Boston Symphony Chamber Players 

One of the world's most distinguished 
chamber music ensembles sponsored by a 
major symphony orchestra and made up of 
that orchestra's principal players, the Bos- 
ton Symphony Chamber Players include 
the Boston Symphony's first-desk string, 
woodwind, brass, and percussion players. 
Founded in 1964 during Erich Leinsdorf's 
tenure as BSO music director, the Chamber 
Players can perform virtually any work 
within the vast chamber music literature; they can expand their range of repertory by 
calling upon other BSO members or enlisting the services of such distinguished guest 
artists as pianists Emanuel Ax, Garrick Ohlsson, and Andre Previn. The Chamber 
Players' activities include an annual four-concert series in Boston's Jordan Hall at the 
New England Conservatory of Music, regular appearances at Tanglewood, and a busy 
schedule of touring and recording. In addition to appearances throughout the United 
States, the group has toured Europe and Japan on numerous occasions; they have also 
performed in South America and the former Soviet Union. Among the Chamber Play- 
ers' recordings on Nonesuch are the Beethoven Septet and Schubert Octet; Smetana's 
G major piano trio and Dvorak's string sextet; the Brahms string quintets; John Harbi- 
son's Words from Paterson with baritone Sanford Sylvan; a Copland album with pianist 
Gilbert Kalish; and a disc of music by Leon Kirchner. For Philips the ensemble has 
recorded the quintets for clarinet and strings by Mozart and Brahms with former BSO 
principal clarinet, the late Harold Wright. Deutsche Grammophon has reissued, on a 
single compact disc, the Chamber Players' recordings of Stravinsky's Octet for Winds, 
Pastorale, Ragtime, and Concertino for Twelve Instruments, and Johann Strauss waltzes 
as arranged for chamber ensemble by Schoenberg, Berg, and Webern. 




Tanglewood Festival Chorus 
John Oliver, Conductor 

The Tanglewood Festival Chorus was organized in the spring of 1970, 
when founding conductor John Oliver became director of vocal and 
choral activities at the Tanglewood Music Center. Made up of mem- 
bers who donate their services, and originally formed for performanc- 
es at the BSO's summer home, the Tanglewood Festival Chorus is 
now the official chorus of the Boston Symphony Orchestra year- 
round, performing in Boston, New York, and at Tanglewood. It gives 
its own Friday-evening Prelude Concert each summer in Seiji Ozawa 
Hall, and it performed its Jordan Hall debut program this past May in Boston. The 
Tanglewood Festival Chorus has also performed with the Boston Symphony in Europe 
under Bernard Haitink and in the Far East under Seiji Ozawa. In addition, members 
of the chorus have performed Beethoven's Ninth Symphony with Zubin Mehta and the 
Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia, and 
have participated in a Saito Kinen Festival production of Britten's Peter Grimes under 
Seiji Ozawa in Japan. In February 1998, singing from the General Assembly Hall of the 
United Nations, the chorus represented the United States in the Opening Ceremonies of 
the 1998 Winter Olympics when Seiji Ozawa led six choruses on five continents, all 
linked by satellite, in Beethoven's Ode to Joy. The Tanglewood Festival Chorus can be 
heard on Boston Symphony recordings under Ozawa and Haitink, and on recordings 
with the Boston Pops Orchestra under Keith Lockhart and John Williams. With 
Bernard Haitink and the BSO they have recorded Ravel's Daphnis et Chloe and 
Brahms 's Alto Rhapsody and Nanie for Philips. Their recordings with Seiji Ozawa 
include Mahler's Second, Third, and Eighth symphonies, Strauss's Elektra, Schoenberg's 



Gurrelieder, and Bartok's The Miraculous Mandarin, all on Philips; Beethoven's Choral 
Fantasy, on Telarc; Mendelssohn's incidental music to A Midsummer Night's Dream, on 
Deutsche Grammophon; and Berlioz's Requiem, Faure's Requiem, and Tchaikovsky's 
Pique Dame, on RCA Victor Red Seal. 

In addition to his work with the Tanglewood Festival Chorus, John Oliver was for 
many years conductor of the MIT Chamber Chorus and MIT Concert Choir, and a 
senior lecturer in music at MIT Mr. Oliver founded the John Oliver Chorale in 1977; 
has appeared as guest conductor with the New Japan Philharmonic and Berkshire 
Choral Institute; and has prepared the choruses for performances led by Andre Previn 
of Britten's Spring Symphony with the NHK Symphony in Japan and of Brahms 's Ein 
deutsches Requiem at Carnegie Hall. Mr. Oliver made his Boston Symphony conduct- 
ing debut in August 1985 and led the orchestra most recently in July 1998. 



Tanglewood Festival Chorus 
John Oliver, Conductor 



Sopranos 

Myfanwy Callahan 
Anna Carr 
Catherine C. Cave 
Anna S. Choi 
Lorenzee Cole 
Karen Ginsburg 
Bonnie Gleason 
Laura C. Grande 
Kathy Ho 
Emily Jaworski 
Nancy Kurtz 
Barbara Levy 
Laura Mennill 
Renee Dawn Morris 
Kieran Murray 
Joei Marshall Perry 
Livia Racz 

Melanie W. Salisbury 
Johanna Schlegel 
Joan P. Sherman 

Mezzo-sopranos 

Maisy Bennett 
Betty B. Blume 
Lauren A. Boice 
Abbe Dalton Clark 
Diane Droste 



Barbara Naidich Ehrmann 
Katherine Barrett Foley 
Paula Folkman 
Dorrie Freedman 
Irene Gilbride 
Jessica Hao 
Gale Livingston 
Catherine Playoust 
Kathleen Schardin 
Rebekah Skirball 
Ada Park Snider 
Julie Steinhilber 
Marguerite Weidknecht 

Tenors 

Brad W. Amidon 
Brian Anderson 
Stephen Chrzan 
J. Stephen GrofF 
David M. Halloran 
Stanley Hudson 
James R. KaufTman 
Thorn Kenney 
Kwan H. Lee 
Ronald Lloyd 
Henry Lussier 
John R. Papirio 
D wight E. Porter 



Felicia A. Burrey, Manager 

Julie G. Moerschel, Assistant Manager 

Frank Corliss, Rehearsal Pianist 



Peter Pulsifer 
Marc Velez 
Kurt Walker 
Andrew Wang 
Joseph Y. Wang 
Matthew Wang 

Basses 

Daniel E. Brooks 
Paulo C. Carminati 
Kirk Chao 
Youngmoo Kim 
William Koffel 
Bruce Kozuma 
James Mangan 
Stephen H. Owades 
David Perkins 
Daniel Perry 
Michael Prichard 
Peter Rothstein 
Karl Josef Schoellkopf 
Kenneth D. Silber 
Christopher Storer 
Peter S. Strickland 
Bradley Turner 
Thomas C. Wang 
Matthew Wright 







Tanglewood Music Center Orchestra 

Ozawa Hall 10th Anniversary Celebration Gala 



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Violin I 

Gulrukh Abdikadirova 
Rebecca Corruccini 
Andrea Armijo Fortin 
Alessandra Jennings * ° ♦ 
Jill Jermyn 
Beatrice Kohlloeffel 
Eva Kozma 
Cristian Macelaru 
Yuki Numata 
Yin Shen 
Simeon Simeonov 
Arnaud Sussmann 
Alexis Sykes 
Martha Walvoord 
Annie Yano 

Violin II 

Amanda Chamberlain 

Anne Donaldson 

Jory Fankuchen* * 

Sonja Harasim 

Carrie Kennedy 

Sunyoung Lee 

Jeff Leigh 

Gregory Maytan 

Joel Pargman 

Markus Placci 

Benjamin Russell 

Daniela Georgieva Shtereva 

Benjamin Ullery 

Viola 

Megan Fergusson 
Stephanie Fong 
Jill Fratianne-Tinkham 
Allison Kanter 
Cindy Mong 
Ryan Mooney 
John Posadas 
Laura Routt* * 
Karina Schmitz 
Miranda Sielaff 
Nadia Sirota 
Francois Vallieres 
Emily Yaffe 
Landon Yaple 

Cello 

Peter Lorenzo Anderegg* * 
Marieve Bock 
Christine Christensen 
Christine Chu 



Semiramis C.S. Costa 
Holgen Gjoni 
Christopher Hopkins 
Ryan Murphy 
Daniel Oliver 
Elise Pittenger 
Sally Pollard 
Alan Rafferty 
Sara Sitzer 
Clara Yang 

Double Bass 

Edward Botsford 
Logan Coale 
Zachary Cohen 
Alexander Hanna 
Jory Herman 
Eric Thompson III* 04 
Thomas Van Dyck 

Piccolo 

Jennifer Bleick 
Sarah Frisof ° 
Elizabeth Landon* 
Mercedes Smith 

Flute 

Jennifer Bleick 
Sarah Frisof 
Elizabeth Landon* 
Mercedes Smith* 

Oboe 

Stefan Farkas* 
Nicholas Masterson 
Brent Ross* 
Courtney Secoy° 

English Horn 

Brent Ross 

Clarinet 

Timothy Carter* 
Erin Simmons 
Erin Svoboda 
Robert Woolfrey* 

Bass Clarinet 

Amy Advocat 

Bassoon 

Stevi Caufield* 
Carin Miller 
Karl Vilcins* 



Contrabassoon 

Brooke Bartels 

Horn 

Roslyn Black 
Linda Campos 
Matthew Muehl-Miller 
Alex Rosenfeld* 
Kelly Schurr* 
Anneka Zuehlke 

Trumpet 

Ryan Barwise 
John Freeman* 
Paul Jeffrey* 
Matthew Muckey 
Christopher Scanlon 

Trombone 

Brian Logan 
Tom Otto 
Bron Wright** 

Bass Trombone 

Angel Subero 

Tuba 

Alexander Lapins 

Harp 

Barbara Poeschl-Edricrr 
Ina Zdorovetchi * 

Timpani 

Robert Dillon 

Percussion 

Keith Carrick* 
Matthew Grubbs 
John Kulevich 
Timur Rubinshteyn 
Karl Williams 

Celeste 

Ji-Hye Chang 



""Principal for Bernstein 
°Principal for Takemitsu 
*Principal for Verdi 



Fellows of the 2004 Tanglewood Music Center 



Violin 

Gulrukh Abdikadirova, Tashkent, 

Uzbekistan 

Miriam H. and S. Sidney Stoneman 

Fellowship 
Andrea Armijo Fortin, Quebec City, QC, 

Canada 

Annette and Vincent O'Reilly Fellowship 
Amanda Chamberlain, South Jordan, UT 

Lucy Lowell Fellowship/ 

Edward G. Shufro Fund Fellowship 
Rebecca Cprruccini, Davis, CA 

Rapaporte Foundation Fellowship 
Anne Donaldson, Birmingham, AL 

Stokes Fellowship 
Jory Fankuchen, Oakland, CA 

Gerald Gelhloom Memorial Fellowship/ 

TMC Fellowship 
Sonja Harasim, Houston, TX 

Miriam Ann Kenner Memorial Scholarship/ 

Robert Baum and Elana Carroll Fellowship 
Alessandra Jennings, Ann Arbor, MI 

Haskell and Ina Gordon Fellowship 
Jill Jermyn, Stony Brook, NY 

Charles E. Culpeper Foundation Fellowship 
Carrie Kennedy, Houston, TX 

Merwin Geffen, M.D. and Norman Solomon, 

M.D. Fellowship 
Beatrice Kohlloeffel, Erlangen, Germany 

Dr. Marshall N. Fulton Memorial Fellowship/ 

TMC Fellowship 
Eva Kozma, Targu Mures, Romania 

Helene R. and Norman L. Cahners 

Fellowship/TMC Fellowship 
Sunyoung Lee, Little Ferry, NJ 

Caroline Grosvenor Congdon Memorial 

Fellowship 
Jeff Leigh, Charleston, IL 

Ethel Barber Eno Scholarship/ 

Philip and Bernice Krupp Fellowship 
Cristian Macelaru, Timisoara, Romania 

Rita Meyer Fellowship 
Gregory Maytan, Chapel Hill, NC 

Frelinghuysen Foundation Fellowship 
Yuki Numata, Vancouver, BC, Canada 

Frederic and Juliette Brandi Fellowship 
Joel Pargman, Bremerton, WA 

Anonymous Fellowship/TMC Fellowship 
Markus Placci, Bologna, Italy 

Richard Smith Memorial Fellowship/ 

TMC Fellowship 
Benjamin Russell, San Diego, CA 

Velmans Foundation Fellowship 
Yin Shen, Zhoushan, Zhejiang, China 

Stephen and Persis Morris Fellowship/ 

TMC Fellowship 



Daniela Georgieva Shtereva, Plovdiv, Bulgaria 

Mr. and Mrs. David B. Arnold, Jr. Fellowship/ 

TMC Fellowship 
Simeon Simeonov, Plovdiv, Bulgaria 

Evelyn S. Nef Fellowship 
Arnaud Sussmann, Nice, France 

Florence Gould Foundation Fellowship 
Alexis Sykes, Brooklyn, NY 

Harold G Colt, Jr. Memorial Fellowship 
Benjamin Ullery, St. Paul, MN 

Claire and Millard Pryor Fellowship 
Martha Walvoord, Holland, MI 

Edward H. and Joyce Linde Fellowship/ 

TMC Fellowship 
Annie Yano, New York, NY 

Max Winder Memorial Fellowship 

Viola 

Megan Fergusson, North Easton, MA 

Brookline Youth Concerts Awards Committee 

Fellowship/ Harry and Marion Dubbs 

Fellowship 
Stephanie Fong, Oakland, CA 

Luke B. Hancock Foundation Fellowship 
Jill Fratianne-Tinkham, Cincinnati, OH 

Athena and James Garivaltis Fellowship 
Allison Kanter, Deerfield, IL 

K. Fred Netter Memorial Fellowship 
Cindy Mong, San Diego, CA 

Northern California Fellowship 
Ryan Mooney, Seattle, WA 

Ann and Gordon Getty Foundation 

Fellowship 
John Posadas, Henderson, KY 

Marie Morrison Memorial Fellowship 
Laura Routt, Edmonds, WA 

Judy Gardiner Fellowship 
Karina Schmitz, Lansdale, PA 

Stanley Chappie Fellowship 
Miranda Sielaff, St. Paul, MN 

James A. Macdonald Foundation Fellowship 
Nadia Sirota, Boston, MA 

Theodore Edson Parker Foundation 

Fellowship 
Francois Vallieres, Montreal, QC, Canada 

William F. and Juliana W. Thompson 

Fellowship 
Emily Yaffe, West Hartford, CT 

Linda J. L. Becker Fellowship 
Landon Yaple, Capistrano Beach, CA 

Morris A. Schapiro Fellowship 

Cello 

Peter Lorenzo Anderegg, 
West Stockbridge, MA 
Bay Bank/BankBoston Fellowship 



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Marieve Bock, Montreal, QC, Canada 

Mr. and Mrs. Jay Marks Fellowship/ 

TMC Fellowship 
Christine Christensen, Hilleroed, Denmark 

Wilmer and Douglas Thomas Fund Fellowship 
Christine Chu, Berkeley, CA 

Carolyn and George R. Rowland Fellowship 
Semiramis C.S. Costa, Paraiba, Brazil 

Saville Ryan/Omar Del Carlo Fellowship 
Holgen Gjoni, Korea, Albania 

Friends of Armenian Culture Society 

Fellowship 
Christopher Hopkins, Fairbanks, AK 

Bill and Barbara Leith Fellowship 
Ryan Murphy, St. Louis, MO 

Fassino Family Fellowship 
Daniel Oliver, Atlanta, GA 

Robert and Luise Kleinberg Fellowship 
Elise Pittenger, Baltimore, MD 

Darling Family Fellowship 
Sally Pollard, Canberra, ACT, Australia 

Harry and Mildred Remis Fellowship 
Alan Rafferty, Albuquerque, NM 

The Stephen and Dorothy Weber Fellowship 
Sara Sitzer, Saint Louis, MO 

James and Caroline Taylor Fellowship 
Clara Yang, State College, PA 

Edward S. Brackett, Jr. Fellowship 

Bass 

Edward Botsford, Bethesda, MD 

Pokross/Fiedler/Wasserman Fellowship 
Logan Coale, West Linn, OR 

Albert L. and Elizabeth P. Nickerson 

Fellowship 
Zachary Cohen, New York, NY 

Surdna Foundation Fellowship 
Alexander Hanna, Bowling Green, OH 

Steve and Nan Kay Fellowship 
Jory Herman, Spring, TX 

Rosamund Sturgis Brooks Memorial 

Fellowship 
Eric Thompson III, Decatur, GA 

Jan Brett and Joe Hearne Fellowship 
Thomas Van Dyck, Philadelphia, PA 

George and Ginger Elvin Fellowship 

Flute 

Jennifer Bleick, New Ulm, MN 

Daphne Brooks Prout Fellowship 
Sarah Frisof, Cleveland, OH 

Juliet Esselborn Geier Memorial Fellowship 
Elizabeth Landon, Canton, PA 

Country Curtains Fellowship 
Mercedes Smith, Houston, TX 

Merrill Lynch Fellowship 



Oboe 

Stefan Farkas, Freeport, NY 

Fernand Gillet Memorial Fellowship 
Nicholas Masterson, Ringgold, GA 

Kingsbury Road Charitable Foundation 

Fellowship 
Brent Ross, Canfield, OH 

Daniel and Shirlee Cohen Freed Fellowship/ 

Augustus Thorndike Fellowship 
Courtney Secoy, Fort Worth, TX 

Ushers/ Programmers Instrumental Fellowship 

in honor of Bob Rosenblatt 

Clarinet 

Timothy Carter, Southwest Harbor, ME 
Marion Callanan Memorial Fellowship/ 
Mr. and Mrs. Belvin Friedson Fellowship 

Erin Simmons, Lincolnton, NC 
Sydelle and Lee Blatt Fellowship/ 
Aso O. Tavitian Fellowship 

Erin Svoboda, Melrose, MA 
Edwin and Elaine London Family Fellowship 

Robert Woolfrey, Toronto, ON, Canada 
Starr Foundation Fellowship 

Bass Clarinet 

Amy Advocat, Brooklyn, NY 
Dr. Raymond and Hannah H. Schneider 
Fellowship /TMC Fellowship 

Bassoon 

Brooke Bartels, Jacksonville, NC 

Sherman Walt Memorial 

Fellowship/Honorable and Mrs. Peter H.B. 

Frelinghuysen Fellowship 
Stevi Caufield, Louisville, KY 

Denis and Diana Osgood Tottenham 

Fellowship/ 

TMC Fellowship 
Carin Miller, New York, NY 

Red Lion Inn/Blantyre Fellowship 
Karl Vilcins, Long Beach, NY 

Robert G. McClellan, Jr. & 

IBM Matching Grants Fellowship 

Horn 

Roslyn Black, Regina, SK, Canada 

Ruth S. Morse Fellowship 
Linda Campos, Grand Prairie, TX 

Jane W. Bancroft Fellowship 
Matthew Muehl-Miller, Charleston, IL 

John F Cogan, Jr. Fellowship /TMC 

Fellowship 
Alex Rosenfeld, Philadelphia, PA 

William Randolph Hearst Foundation 

Fellowship 
Kelly Schurr, Evanston, IL 

Tappan Dixey Brooks Memorial Fellowship 
Anneka Zuehlke, Vienna, VA 

Susan Kaplan Fellowship 



Trumpet 

Ryan Barwise, Katy, TX 

Armando A. Ghitalla Fellowship 
John Freeman, Charlotte, NC 

Andre M. Come Memorial Fellowship 
Paul Jeffrey, Toronto, ON, Canada 

Messinger Family Fellowship 
Matthew Muckey, Sacramento, CA 

Arthur and Barbara Kravitz Fellowship/ 

Mr. and Mrs. Daniel Pierce Fellowship 
Christopher Scanlon, South Windsor, CT 

Morningstar Family Fellowship/ 

TMC Fellowship 

Trombone 

Brian Logan, Pearland, TX 

Dr. John Knowles Fellowship 
Tom Otto, Boston, MA 

Annette and Vincent O'Reilly Fellowships 
Bron Wright, Bolton, MA 

Alfred E. Chase Fellowship 

Bass Trombone 

Angel Subero, Pto. Ordaz, Venezuela 
Omar Del Carlo Fellowship 

Tuba 

Alexander Lapins, McLean, VA 
Donald Law Fellowship 

Timpani/Percussion 

Keith Carrick, Mt. Airy, MD 

Mr. and Mrs. Allen 2. Kluchman Memorial 

Fellowship 
Robert Dillon, West Bloomfield, MI 

Anna Sternberg and Clara J. Marum 

Fellowship 
Matthew Grubbs, Germantown, TN 

BSAV/Carrie L. Peace Fellowship 
John Kulevich, Scituate, MA 

Barbara Lee/Raymond E. Lee Foundation 

Fellowship 
Timur Rubinshteyn, Derry, NH 

Miriam H. and S. Sidney Stoneman 

Fellowship 
Karl Williams, Montreal, QC, Canada 

Edward G. Shufro Fund Fellowship 

Harp 

Barbara Poeschl-Edrich, Boston, MA 
John and Susanne Grandin Fellowship 

Ina Zdorovetchi, Chisinau, Moldova 
Kathleen Hall Banks Fellowship/ 
TMC Fellowship 

Piano 

Ji-Hye Chang, Wonjoo-city, Korea 
R. Amory Thorndike Fellowship/ 
Felicia Montealegre Bernstein Fellowship 



Kimball Gallagher, Boston, MA 

Billy Joel Keyboard Fellowship 
Elizabeth Morgan, Oakland, CA 

Wilhelmina C. Sandwen Memorial 

Fellowship 
Elizabeth Pridgen, Atlanta, GA 

Mr. and Mrs. Joseph L. Cohen Fellowship 
Berenika Zakrzewski, Sault Ste. Marie, ON, 

Canada 

Leonard Bernstein Fellowship 

Voice 

Jason Abrams, Auburn, NY 

Valerie A. Hyman Fellowship/ 

June Ugelow Fellowship 
Randall Bills, Fresno, CA 

Renee D. Sanft Fellowship Fund for the 

TMC/Bernice and Lizbeth Krupp Fellowship 
Anne-Carolyn Bird, Seattle, WA 

Pearl and Alvin Schottenfeld Fellowship/ 

TMC Fellowship 
Charles Blandy, Troy, NY 

Nat Cole Memorial Fellowship /TMC 

Fellowship 
Sarah Blaskowsky, New York, NY 

Catherine and Paul Buttenwieser Fellowship/ 

Mary H. Smith Scholarship 
Benjamin de la Fuente, Evanston, IL 

Mr. and Mrs. Robert E. Remis Fellowship/ 

Leah Jansizian Memorial Scholarship 
Kyle Ferrill, Greenwood, IN 

Clowes Fund Fellowship 
Lexa Ferrill, Rochester, MI 

Kandell Family Fellowship /TMC Fellowship 
Ryan Harper, Toronto, ON, Canada 

Kingsbury Road Charitable Foundation 

Fellowship 
Alexander Hurd, New Canaan, CT 

Dorothy and Montgomery Crane Scholarship/ 

Richard F. Gold Memorial Scholarship 
Kathryn Leemhuis, Columbus, OH 

Naomi and Philip Kruvant Family Fellowship 
Jose Lemos, Boston, MA 

Eugene Cook Scholarship /TMC Fellowship 
Peter McGillivray, Prince Albert, SK, Canada 

Andrall and Joanne Pearson Scholarship/ 

TMC Fellowship 
Paula Murrihy, Tralee, Ireland 

Lola and Edwin Jaffe Fellowship 
Benoit Pitre, Montreal, QC, Canada 

Lia and William Poorvu Fellowship 
Erika Rauer, Dover, DE 

Jerome Zipkin Fellowship 
Stefan Reed, Lynchburg, VA 

Ruth and Jerome Sherman Memorial 

Fellowship/ Cynthia L. Spark Scholarship 
Robert Stafford, San Francisco, CA 

The Everett and Margery J assy Fellowship/ 

TMC Fellowship 



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Charles Temkey, Patchogue, NY 
Dr. Raymond and Hannah H. Schneider 
Fellowship >/Taco Inc. Fellowship 

Max Wier, San Antonio, TX 
The Ushers and Programmers' 
Harry Stedman Vocal Fellowship 

Lawrence Wiliford, Toronto, ON, Canada 
William E. Crofut Family Scholarship/ 
Tisch Foundation Scholarship 

Vocal Piano 

Kristin Ditlow, Harleysville, PA 

Peggy Rockefeller Memorial Fellowship 
Jocelyn Dueck, Kleefeld, MB, Canada 

Marie Gillet Fellowship 
Hee-Kyung Juhn, Santa Barbara, CA 

Stephanie Morris Marryott & 

Franklin J. Marryott Fellowship 
Christine McLeavey, West Kingston, RI 

Leonard Bernstein Fellowship 
Casey Jo Ahn Robards, Highland, IL 

Paul Jacobs Memorial Fellowship 

Composition 

Marcin Bela, Krakow, Poland 
Patricia Plum Wylde Fellowship/ 
TMC Fellowship 

Grace Choi, Seoul, Korea 
Margaret Lee Crofts Fellowship 

Joshua Feltman, Oakland, CA 
ASCAP Foundation Leonard Bernstein 
Composer Fellowship 

Judd Samuels Greenstein, New York, NY 
William and Mary Greve Foundation- 
John J. Tommaney Memorial Fellowship 

Emily Hall, Brighton, England 
Otto Eckstein Family Fellowship 

Joshua Penman, Brookline, MA 
Wallace-Reader's Digest Fund Fellowship 



Conducting 

Helene Bouchez, Lyon, France 
Maurice Abravanel Scholarship/ 
Mrs. Vincent Lesunaitis Fellowship 

Alan Pierson, Chicago, IL 
Dan and Gloria Schusterman Fellowship/ 
Evelyn and Phil Spitalny Fellowship 

Joseph Wolfe, London, England 
Seiji Ozawa Fellowship 

Library 

Colleen Hood, Baltimore, MD 
C. D. Jackson Fellowship 

Audio Engineering 

Anne Matthews, Miami, FL 
Leo L. Beranek Fellowship /TMC Fellowship 

The New Fromm Players is an ensemble of 
young musicians drawn from recent TMC 
alumni who have distinguished themselves in 
the performance of new music. During the 
TMC season these artists will concentrate 
almost exclusively on this literature, perform- 
ing works by the TMC composition Fellows 
and works demanding lengthy and intensive 
preparation during the Festival of 
Contemporary Music. The New Fromm 
Players ensemble has been funded by a gener- 
ous grant from the Fromm Music Foundation. 

The New Fromm Players 

Elizabeth Mahler, violin, Amherst, NY 

Marc Rovetti, violin, Hartford, CT 

Mark Berger, viola, Gibbon, MN 

Guy Fishman, cello, Haifa, Israel 

Louis DeMartino, clarinet, Staten Island, NY 

Molly Morkoski, piano, New York, NY 



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The Boston Symphony Orchestra 


gratefully acknowledges the generosity of 


the following donors who supported the campaign to build Seiji Ozawa 


Hall. This campaign, successfully completed in 1994, raised over $10 million 


dollars and made possible the creation of this extraordinary venue. 


DISTINGUISHED FOUNDERS 




Jack and Jane Fitzpatrick 


Liz and George Krupp 


The Florence Gould Foundation 


Norio Ohga 


The Kresge Foundation 


Sony Corporation of America 


FOUNDERS 




Anonymous (1) 


Marilyn Brachman Hoffman 


J.P. and Mary B. Barger 


Mr. and Mrs. H. Eugene Jones 


The Robert E. Baum Family, Ronald, 


Natalie and Murray S. Katz 


Gregory, Tiffany Baum 


In memory of Frank McCorkle Moody 


Richard S. and Betty O. Burdick 


by the Gloria N. Moody Foundation 


Mrs. A. Werk Cook 


National Endowment for the Arts 


Charles E. Culpeper Foundation 


Challenge Program 


Haskell and Ina Gordon 


William F. and Juliana W Thompson 


Susan Morse Hilles 




BENEFACTORS 




Anonymous (1) 


Robert G.McClellan, Jr. 


Baldwin Piano & Organ Company 


Estate of Frances B. Nalle 


Beatrice and Peter Frelinghuysen 


Claire and Millard Pryor 


Fujisankei Communications Group 


Frederick W. Richmond Foundation 


Ann and Gordon Getty Foundation 


David and Diana Rockefeller 


The Joseph Gluck Foundation 


Elaine and Harvey Rothenberg 


Rita and Herbert Z. Gold 


William and Margaret Rousseau 


Carol R. and Avram J. Goldberg 


Mrs. George Rowland 


Lola and Edwin Jaffe 


Dr. Raymond and Hannah H. Schneider 


Charles and Dorothy Jenkins 


Mrs. Arthur Stanton 


In memory of Israel and Rivoli Kalish 


Mrs. Anson Phelps Stokes, Jr. 


Edna and Bela Kalman 


Suntory Limited 


The Allen and Elizabeth Kluchman 




Family 




SPONSORS 




Anonymous (1) 


John and Susanne Grandin 


Banknorth Massachusetts 


Mr. and Mrs. Francis W. Hatch 


Berkshire Bank 


Mr. and Mrs. James H. Maxymillian 


Berkshire Life Insurance Co. 


Daphne Brooks Prout 


of America 


Mr. and Mrs. Peter van S. Rice 


Herbert and Jeanine Coyne 


Time-Warner, Inc. 


Mr. and Mrs. George M. Elvin 


Mr. and Mrs. John Williams 


Filene's 


Enid and Mel Zuckerman, 


The Frelinghuysen Foundation 


Canyon Ranch 






i A • ^ ; fc . ^ 


H T AH ' ""^a^ ~~ """"~~ ■ J 



WHEN YOU GIVE, 

great music lives on 

When you make a contribution to the Friends of Tanglewood,you support 
America's premier summer music festival — a magical blend of music and 
nature. Your gift allows audiences to share the incomparable experience of 
classical music performed at its best in the beautiful Berkshire Hills. 

Tanglewood is also home totheTanglewood Music Center, one of the leading 
centers for advanced musical study. Friends of the Tanglewood Music Center 
support gifted musicians from around the world who study, free of charge, 
with preeminent artists including BSO musicians. 

Become a Friend of Tanglewood or a Friend 
of the Tanglewood Music Center today with 
a generous contribution. When you give, new 
talents emerge, people discover the arts, and 
great music lives on. 




FRIENDS OF 



Tanglewood 



To make a gift, please call the Friends Office 
at (413) 637-5261 or visit us online at 
www.bso.org. 




ill Eh 4T 






CONTRIBUTORS 

Anonymous (4) 

Angela P. and Herbert B. 

Abelow 
Harlan and Lois Anderson 
Mr. and Mrs. David B. 

Arnold, Jr. 
Dr. Norman and Nancy 

Atkin 
Richard L. Benson 
Marlene and Dr. Stuart H. 

Brager 
Jay and Jane Braus 
The Bristol-Myers Squibb 

Foundation 
Peter and Anne Brooke 
In memory of Marian 

Voorhees Buttenheim 
Mr. and Mrs. Abram T. 

Collier 
Neil J. and Linda Benedict 

Colvin 
Johns H. Congdon 
Putnam L. Crafts, Jr. 
Crane & Company, Inc. 
Ursula and Channing 

Dichter 



In honor of Isabel G. and 

Monroe B. England, Sr., 

from Elise V. and Monroe 

B. England, Jr. 
L. Antony Fisher 
Nancy J. Fitzpatrick 
Dr. Donald Giddon and 

Phoebe L. Giddon 
Mrs. Herbert Gilman 
The Joseph Gluck 

Foundation 
Klaus and Bobbie Hallig 
Mr. and Mrs. Peter Herbst 
Mrs. Wallace Hoge 
Joan J. Horan 
Kajimoto Concert 

Management Co., Ltd. 
The Karp Family 
Naomi and Philip Kruvant 

and family 
Thomas H. Lee 
Legacy Banks 
Mr. and Mrs. R. Willis 

Leith, Jr. 
Joyce and Edward Linde 



Mr. and Mrs. David M. 

Naseman 
Mrs. Robert B. Newman 
The Petricca Family 
Dr. Eduardo Plantilla and 

Dr. Lina Plantilla 
In memory of Helen 

Polonsky 
Mr. and Mrs. William J. 

Poorvu 
Mr. and Mrs. Howard 

Rosenkrantz and Family 
Sue and David Rudd 
Ruth and Alan Sagner 
Roger Alfred Saunders 
Mr. and Mrs. Eugene Schnell 
Sharon R. Simons 
Jerry and Nancy Straus 
Dr. Robert Trattner 
The Carl A. Weyerhaeuser 

Charitable Trusts 
Mr. and Mrs. J.Thomas 

Wilson 
R. Lyman and Meredith 

Wood 



ENDOWED SEATS 

Paula L. Abedon 

In memory of Gene Abel 

In memory of Herb and Etta 

Abeles 
In memory of Anne 

Rosenthal Abrahams 
William and Candace 

Achtmeyer 
Mr. and Mrs. Sidney Albert 
Carole and Norman R. 

Alexander 
Harold and Larie Alexander, 

Koppers Chocolate 
Richard M. and Laura Allen 
William A. and Elinor C. 

Along 
In memory of Richard 

Annesley Atkins 
In memory of Lina E. Austin 
Rose and Norman Avnet 
In honor of Mr. Richard H. 

Baer 
Jean M. Bahlman 
In memory of Sidney H. 

Baiter 
In memory of Gilbert V. and 

Emily F. Bangs, by Emily 

L. Bangs 



Benjamin and Leah Barber 

and family, in memory of 

Hans Maeder 
Rose Barell 
Steven and Dorothy Baum 

and Family 
Tess, Jeffrey, and Susan 

Becker 
Helene and Adolph J. Berger 
Judy and Bob Bergner 
Henrietta and Jerome Berko 
The Berkshire Gas Company 
Berkshire Bank 
Deborah Davis Berman and 

the late Michael H. Davis 
In honor of Dr. and Mrs. 

Milton Berman 
Mr. and Mrs. Allen J. 

Bernstein 
Elayne P. Bernstein 
Harriet and Bernard 

Bernstein 
Joyce S. Bernstein 
Ann and Neal Blackmarr 
Dr. Charles and Linda Bleich 
Eleanor, Ed, and Emily 

Bloom 
Nicholas and Ruth Boraski 



Mr. and Mrs. Donald C. 

Bowersock 
Mr. and Mrs. John M. 

Bradley 
In memory of Henry 

Brenner by Anne Brenner 

and family 
Alexander John Fitzpatrick 

Brown 
Ann Fitzpatrick Brown 
In honor of the David 

Mabon Brown Family 
Sandra L. Brown 
Helene R. Cahners 
Frank L. Carey, Jr. 
Jodie and Matthew Carone 
Jane Coffin Childs 
Phyllis and Lee Coffey 
John F. Cogan, Jr., and Mary 

L. Cornille 
Eunice and Julian Cohen 
In memory of Gilbert Cohen 
In honor of Ileen Smith 

Cohen and Leonard 

Howard Cohen 
Mr. and Mrs. Abram T 

Collier 



ill 



ENDOWED SEATS continued 

In memory of Andre M. 

Come 
Victor Constantiner 
Mr. and Mrs. C. Jeffrey 

Cook 
Charles L. Cooney and 

Margaret Mary Reiser 
Mr. and Mrs. Albert C. 

Cornelio 
Dr. and Mrs. Martin Corwin 

in memory of Mr. and Mrs. 

Jack Rosenthal 
Marie L. Cotton 
Robert J. Cotton 
In honor of Alice Mitchell 

Crafts 
In memory of Alice Parsons 

Crozier 
In memory of Gertrude R. 

Cuddy 
Ann and Clive Cummis 
Jacqueline DaCosta 
Marion Dailey 
Mr. D. Ronald Daniel 
Mr. and Mrs. Robert Warren 

Davis 
In memory of John 

Ellsworth Dawson 
In memory of Christos and 

Sophia Delihas 
Ursula and Channing 

Dichter 
Charles and JoAnne 

Dickinson 
Ruth and Hugh Downs 
Ann and Linda Dulye 
Frank A. Duston 
In honor of Doriot Anthony 

Dwyer 
Mr. and Mrs. Goetz B. Eaton 
In memory of Dr. Ann Lynn 

Edelman 
Estelle and Leonard Edelson 
Dr. and Mrs. Stuart M. 

Eichenfield in memory of 

our parents 
Mr. and Mrs. Benjamin 

England 
Elise V. England 
Monroe B. England, Jr. 
Seymour and Muriel Epstein 
In memory of Henry Erdos 
Mr. and Mrs. Harold Falik 
Micki and Reginald Fecteau 
Robert M. Feldman 



Hailey, Kyra, Wyatt, and 

Remy in honor of Margot 

and Richard Ferber 
Ethel Finkelstein 
Dr. M. N. Finkelstein 
In memory of Beth S. Fisher 
In memory of Jonathan 

Parker Bishop Fiske 
Casey Rothstein Fitzpatrick 
Nancy Fitzpatrick 
In memory of Kathleen 

Nelson Floyd 
In honor of Virginia Ford 

and Ewan Watts Fletcher 
Dale E. Fowler and Sarah 

Ann Fowler 
In memory of Lorraine and 

Irving Frankel 
Daniel and Shirlee Cohen 

Freed 
Patti and Dean Freed 
Beatrice P. Frelinghuysen 
Peter H.B. Frelinghuysen 
Carolyn and Roger 

Friedlander 
Lucille and Belvin Friedson 
In memory of Judy Gardiner 
Athena and James G. 

Garivaltis 
In appreciation to Mr. and 

Mrs. George T. Garlock 
Dr. Merwin Geffen and Dr. 

Norman Solomon 
In memory of Juliet E. Geier 
Herman and Molly Geller 
In memory of Mr. and Mrs. 

J. Arthur Giard, Sr. 
Mr. and Mrs. Theodore 

Ginsberg 
Milton B. and Evelyn Harter 

Glick 
Barbara and Bruce Godt 
Silva and Arnold Golber 
In memory of Dr. William 

N. and Edith Goldberg 
Bert and Evee Goldstein 
Roz and Sy Goldstein 
In honor of Ralph L. 

Gomberg 
Joan and Alan Goodman in 

honor of Daniel and Ilisa 
Donna and Bob Goodman in 

memory of Sarah 

Goodman 
Lenore and Steven Gordon 



Joan, Charles and Emily 

Gross for Evelyn F. Gross 
In memory of Harold K. 

Gross 
Robinson and Nancy D. 

Grover 
In memory of Albert Joseph 

and Florence Marie 

Guerina 
John C. and Chara C. Haas 
Philip Haas, Jr. 
Hope and Warren Hagler in 

memory of his parents 
In memory of Alice Buckner 

Hall 
Bobbie Hallig 
Klaus Hallig 
George and Daphne 

Hatsopoulos 
Elizabeth Sams Hawes 
Marjorie and Samuel 

Hendler 
Hill Engineers, Architects, 

Planners Inc 
Glen Hiner 

Berte and Alan Hirschfield 
Mrs. Wallace Hoge 
Deanna Holden 
Charles P. Hooker and 

Lyndall Bagg Hooker 
Joan J. Horan 
William R. and Patsy L. 

Housholder 
George Loudman Howell 
Mr. and Mrs. Byron C. Huse 
Daniel Idzik and Kathleen 

Osborne 
In memory of Ignacy and 

Jozefa Iwanicki and Leon 

and Mary Pawlikowski 
Werner Janssen, Jr. 
In memory of Harry Jerome 
Brenda and John C. Johnson 
In memory of Clara and 

Lawrence Jones 
In honor of Hans and Grete 

Kahn 
Bela T. Kalman 
Edna S. Kalman 
Louise and George Kaminow 
Leonard and Marsha Simon 

Kaplan 
Linda F. Vogel Kaplan 
Hirsch Kaplan 
Joyce and Ivan Kates and 

Rita and Philip Kaye 



ENDOWED SEATS continued 

Nancy and Howard 

Kaufman 
Charles Kavalovski in honor 

of Margo Garrett 

Kavalovski 
Nan and Stephen Kay 
Winifred Murray Kelley 
In honor of the James Cox 

Kennedy Family 
In honor of Julia and Otho 

Kerr 
In memory of Priscilla P. 

Kidder 
Barbara B. Kiley 
James F. Kiley 
Athena D. and Richard W. 

Kimball 
Charles C. Kimball II 
Rabbi Ralph and Brenda 

Kingsley 
In memory of Abraham 

Kleinberg 
Kay Knight and Logan 

Clarke 
In memory Jean Koch 
In memory of Serge 

Koussevitzky 
In memory of Vivien 

Krasner 
Norma and Irving 

Kronenberg in memory of 

Sarah Izzy Gukowsky 
Frances Kruger 
Joseph Kruger 
Bernice Krupp 
Philip Krupp 
The Kruvant Family 
Joan and Harold Kuskin 
Jeffrey S. Lang 
Marilyn and William D. 

Larkin 
Mrs. William S. Lasdon 
Honorable and Mrs. Peter I. 

B. Lavan 
Lee Bank 

In memory of Ann Lee 
In honor of Arthur V. Lee 
Barbara Lee / Raymond Lee 

Foundation 
In honor of Jean Austin Lee 
Eugene and Augusta 

Leibowitz 
Mildred A. Leinbach 
In memory of Sarah Ann 

Leinbach 
Lenox National Bank 



Lenox Savings Bank 

In memory of Benedict and 

Victoria Leonardi 
Mr. and Mrs. Robert J. 

Lepofsky 
Jane and Henry Lesser 
Mr. Maurice A. Lesser 
In Memory of David A. 

Levine 
Judie and Coleman B. Levy 
Clarice and Theodore Ley 
Elaine and Leonard S. Lipton 
Susan and Sanford Lipton 
Phyllis and Walter F Loeb 

and Family 
Susan E. Loftus 
Elaine and Ed London and 

Family 
In memory of Elizabeth 

McLanahan Loomis 
Joan Lorber 

In memory of Larry Lubin 
Bernard Ludwig Family 
The Lupean Family 
Gloria and Leonard Luria 
Barbara and Kenneth Mahler 

in memory of Benjamin 

Saunders and Philip Mahler 
Michael J. Malinowski in 

memory of Dale T. 

Kimmett 
Gayle Ellen Maloney 
Edward and Barbara Mandell 
Elizabeth Darcy Mann 
Rev. Cabell B. Marbury 
Vladys Markowicz, Michael 

and Caryl Dundorf and 

family, in memory of 

Stanley M. Markowicz 
Shirley and Jay Marks 
In memory of David Martin 
In memory of Beth D. 

Matheson 
In memory of Louise McCall 

McCampbell 
Betsey and David 

McKearnan 
The McNutt Family 
Mead Westvaco Corporation 
In memory of Nellie Irene 

Meek 
Mr. and Mrs. Ronald 

McKnight Melvin 
Phyllis and Irving Mendelson 
Audree and George Menken 
Florence and Seymour 

Mensch 



Martin and Joan Messinger 

and Family 
In memory of Carole Meyers 
In memory of Tilly and 

Louis Michaels from Jane 

and Henry Lesser 
In memory of Ernest J. 

Milano 
In memory of Frank Miller, 

Sr. 
Vera and Stanley T. Miller 
Mr. and Mrs. James 

Michelman, in memory of 

Edgar and Marjorie Minton 
Alice Handelman Model 
Peter and Dottie Moon 
In memory of Timothy and 

Mary Moriarty 
In memory of Jane E. Morss 

by John and Jennifer Morss 
Linda M. Nelson 
Stuart K. Nelson 
Mr. and Mrs. K. Fred Netter 
Gertrude Neubauer 
Mr. and Mrs. Albert L. 

Nickerson 
In memory of Lillian 

Coleman Norton 
In memory of Paul Coleman 

Norton 
Eleanor O'Connor 
Dr. and Mrs. Martin S. 

Oppenheim 
Barbara and Daniel Palant, 

William, Stefanie, and 

Jonathan 
In honor of Eleanor J. 

Panasevich 
In honor of Leo Panasevich 
Richard and Laura Pasternak 
Carrie Peace 
Mrs. Carl D. Pearl 
Mr. and Mrs. Andrall E. 

Pearson 
Vivian and Sanford Perlis 
Helen Perry 
Thomas Perry 
In memory of George and 

Kitty Perryman 
Robert M. and Susan Ochs 

Phillips 
The Pittsfield Cooperative 

Bank 
M. Terri Poli and J. Craig 

Weakley 
James Stewart Polshek and 

Partners 



ENDOWED SEATS continued 



In memory of Dr. Michael 

Pleshette from Linda 

Poskanzer 
In memory of Mary and Carl 

Pratt 
Robert K. and Kathryn C. 

Quattrochi 
Mary Ann and Bruno A. 

Quinson 
Charlotte and Irving W 

Rabb 
Andrew Raeburn 
Mr. and Mrs. Gerald Rauch 
Carolee and Nathan Reiber 
Leslie and Juergen Reiche 
Robert and Ruth Remis 
Drs. Robin Richman and 

Bruce Auerbach 
Mary Whipple Rivollier and 

Elie Rivollier, Jr. 
Lawrence M. Rosenthal 
Jacqueline R. and Theodore 

S. Rosky 
In honor of Dr. and Mrs. 

Nealie Ross 
Elaine and Harvey 

Rothenberg 
Michael O'Shea Rothstein 
Sarah Elsom Rothstein 
Gene R.and Merl L. Rouse 
Suzanne and Burton Rubin 
Phyllis and Sam Rubinovitz 
Lincoln Russell 
Morgan Harpin Russell 
RMS/IVS 

Ruth and Alan Sagner 
In memory of Ingrid V. 

Sanders 
Robert M. Sanders 
Mrs. Helen Sangster 
Mrs. George Lee Sargent 
In memory of Lee Schaenen 
Aaron and Martha Schecter 
In honor of Dr. Raymond 

and Hannah H. Schneider 



Aaron and Abby Schroeder 

Francis P. Sears 

William A. Selke and Martha 

F. Selke 
In memory of Arline Shapiro 
Stanley and Sydelle Shapiro 
Anne and Barry Sheridan 
Rita Shewer 
In memory of Nancy M. 

Silverman 
Joseph and Adrienne 

Silverstein 
Robert and Scott Singleton 
Kenneth and Phyllis Sisson 
Walter and Sabina Slavin 
Mary Jean and Frank P. 

Smeal 
In memory of Jane Fulton 

Smith 
Mary H. Smith 
Irwin and Florence Speyer 
In memory of Louis Speyer 
Seth Sprague Educational 

and Charitable Foundation 
Winifred and Charles Stakely 
Irma Mann Stearns 
Norman S. Stearns, M.D. 
Dan and Helene Sterling 
Linda and Ronald Stillman 
Margaret W Stimpson 
Esta-Lee and Harris E. Stone 
Sybil F. and Steven A. Stone 
Mr. and Mrs. John Hoyt 

Stookey 
Dr. Martha Stutzel from 

Orville and Ursula Poland 
Makoto and Kimiko Suzuki 
Marcy Syms and Company 
Drs. Edgar and Priscilla Taft 
Marilyn and William Tarlow 
Sheila and Martin Terens 
Mercy and Dick Thorndike 
In memory of Olivia Lowell 

Thorndike 
Denis and Diana Tottenham 



Mr. and Mrs. Robert B. 

Trask 
The C. Robert Tully Family 
Howard and Sandra Tytel 
Marion Hiers Verdiramo and 

Vincent L. Verdiramo 
G. C. Voigt, M.D. 
Mary and Nicholas Vuolo 
In memory of Mary Burry 

Wardall 
Leo Wasserman Foundation, 

David R. and Muriel K. 

Pokross 
Patrick and Michael Watson 
In celebration of Mabel 

Lamborn Watts and 

Charles Henry Watts 
Dorothy and Stephen Weber 
Robert and Claudia Wells 
Jacqueline and Frederic 

Werner 
In honor of Claire R. 

Whitcomb by Carol 

Andrea Whitcomb 
In memory of Frank W 

Whitcomb by Carol 

Andrea Whitcomb 
In memory of Mr. and Mrs. 

Abraham White 
In honor of Kay Whitty 
In memory of Leonard E. 

and Ruth E. Willett 
In memory of William T and 

Mary B. Wilson 
In memory of Max Winder 
In memory of Jay 

Wishingrad 
Sally and Stephen Wittenberg 

and Family 
In memory of Wallace W 

Wolf 
Cornelius Ayer Wood and 

Rosalyn Kempton Wood 
Brandon Robert Young 
Nicholas and Thalia Zervas 






BOSTON 

SYMPHONY 
ORCHESTRA 



Tanglewood 



Jazz Festival 



2004 



September 3- 5 

SEPTEMBER j FRIDAY 




8pm 

Ozawa 

Hall 



Eliane Elias 

Eddie Palmieri and La Perfecta 

Live WCBH Broadcast 




SEPTEMBER 4 SATURDAY 




ipm 
Theatre 



3pm 

Ozawa 

Hall 



8pm 
Shed 



Savion Glover and Jimmy Slyde 

An all-jazz tap program with 
jazz quintet 



Marian McPartland with 
guest Taylor Eigsti 

Piano Jazz 
Live Broadcast 





Marion McPartland 




Savion Glover 



Harry Connick, Jr. and Orchestra 

"Only You" Tour 



SEPTEMBER 5 SUNDAY 




Harry Connick.JR. 



2pm 

Ozawa 

Hall 



8pm 

Ozawa 

Hall 



Marsalis Music Presents: 

Branford Marsalis Quartet 

Harry Connick, Jr. Quartet (no vocals) 

Doug Wamble Quartet 

Miguel Zenon 



Dave Brubeck with Symphonette 
and Quartet 




Dave Brubeck 




tickets: $i6-$8o 

To order, call SymphonyCharge at (888) 266-1200 or order online at www.bso.org. 

& # TDD/TTY (617) 638-9289 For services, ticketing, and 
information for persons with disabilities call (617) 638-9431. 



All programs and artists are subject to change. Each ticket ordered by 
phone/internet is subject to a $5 handling fee. Please note, no refunds 
or exchanges. 



FiH**ntu JazzlimesBcam 

f*V£STME«rS WW 



Sponsor of the Tanglewood 
Jazz Festival 



The Exclusive Music 

Magazine of the 

Tanglewood Jazz Festival 




5EIJI OZAWA HALL 



lOth ANNIVERSARY SEASON 




2004. . 

Tanglewood 



Fourth of July Celebration 

Sunday, July 4, 2004 



2:00 Grounds Open 

2:45-3:30 Tom Murphy 

Manor House Lawn 



3:45-4:30 The Waldo & Woodhead Show 
Chamber Music Hall 



4:00 



Nathaniel Hawthorne at 200 

Professor Arthur Collins pays a birthday tribute to the novelist 
who from April 1850 to November 1851 dwelt in the Red Cottage 
on present-day Hawthorne Road and there wrote The House of the 
Seven Gables. 

Manor House Lawn 



4:45-5:30 



5:45-6:30 



2:30-7:00 



7:00 



Randy Judkins 
Chamber Music Hall 

Grand Finale with Tom Murphy, Waldo & 

Woodhead, and Randy Judkins 
Chamber Music Hall 

On the lawn 

Le Masque & Makiaje: Fantastic Face 
Painting by Majalehn 

Hurdy Gurdy monkey & me 

Back to Life! Chair Massage 



♦> ♦> ♦!♦ 



DIANA KRALL 

Ollabelle 

Koussevitzky Music Shed 



Please note: In case of inclement weather, the performances scheduled for the 
Manor House Lawn next to the Visitor Center will take place in the 
Chamber Music Hall. 

Fireworks will take place over the Stockbridge Bowl following the evening concert. 






Diana Krall 

With her latest album, The Girl In The Other Room, Diana Krall not only illustrates 
her understanding of the breadth of possibilities in the jazz idiom but also reveals 
her talent as a songwriter. Indeed, the title song of the record is a Krall original. 
The album is the first co-produced by Krall and her long-time producer Tommy 
LiPuma and includes Krall' s interpretations of Mose Allison's "Stop This World," 
"Love Me Like a Man," Tom Waits' "Temptation," Elvis Costello's "Almost Blue," 
Joni Mitchell's "Black Crow," as well as "I'm Pulling Through." In addition to the 
title song, the album also contains several more Krall originals: "I've Changed My 
Address," "Narrow Daylight," "Abandoned Masquerade," "I'm Coming Through," 
and "Departure Bay." This last song not only contains vivid and touching images 
of her hometown of Nanaimo on Vancouver Island but is also a wrenching descrip- 
tion of her family's first Christmas without her mother and a final verse that wel- 
comes new love and hope for the future. Musically composed by Krall alone, these 
songs mark a lyrical collaboration with her new husband, Elvis Costello. Diana Krall 
grew up in the western part of Canada and began studying the piano when she was 
four years old. By the time she was 15, she was playing jazz in a local restaurant /bar, 
encouraged particularly by her father, a stride piano player. Awarded a scholarship 
to Boston's Berklee College of Music, Diana Krall spent two years in Boston, then 
moved to Los Angeles, where she met John Clayton, pianist /singer Jimmy Rowles, 
and Ray Brown, the legendary bassist who served as her musical mentor. After 
three years, she moved to Toronto, and in 1993, the Montreal-based Justin Time 
Records released her debut album, Stepping Out. In 1994, she signed with GRP and 
recorded Only Trust Your Heart, which marked the beginning of her association 
with Tommy LiPuma, who has produced all of Krall' s subsequent albums for GRP, 
Impulse!, and Verve, including All for You: A Dedication to the Nat "King" Cole Trio 
(1995), Love Scenes (1997), When I Look In Your Eyes (1998), The Look of Love (2001), 
and Live in Paris (2003). The album that put her over the top commercially was 
When I Look in Your Eyes. In addition to spending 52 weeks in the #1 position on 
Billboard's jazz chart, it won Grammys for Best Jazz Vocal Performance and Best 
Engineered Album, Non-Classical, and received a nomination in the Album of the 
Year category. When I Look in Your Eyes eventually went platinum in the United 
States (where it sold over one million units), double platinum in Canada, plat- 
inum in Portugal, and gold in France. Her next album, The Look of Love, entered the 
Billboard 200 at #9 and sold 95,000 copies in the U.S. alone in its first week. Diana 
Krall has appeared in several Tanglewood jazz festivals and in May 2000 made her 
debut with Keith Lockhart and the Boston Pops Orchestra in a performance taped 
for Evening at Pops. 



Ollabelle 

Drawing both inspiration and materials from a deep well of rural American roots 
music — including gospel, blues, bluegrass, and country — Ollabelle reimagines 
these sounds for contemporary audiences, honoring the spirit and substance of the 
original sources while allowing this music to live and flourish in a post-modern 
era. Ollabelle began as a humble side project for each of its musicians before quickly 
evolving into a musical entity with a life — and sensibility — all its own. Amy Helm 
(voice) is a Woodstock native who has been singing professionally, primarily in 
blues bands, since her teens. Currently a resident of Brooklyn, Byron Isaacs (voice, 



bass) has both toured and recorded as a bass player with other artists, but is an 
accomplished singer /songwriter in his own right. Tony Leone (voice, drums) is an 
accomplished jazz drummer with a long resume of gigs but a previously underuti- 
lized singing voice. Hailing from Sydney, Australia, Fiona McBain, (vo