Berkshire Festival Tanglewood : Boston Symphony Orchestra [program]

              !RcAVJcToR I~t- 1
Beethoven 5th Symphony
Schubert." Unfinished" Symphony
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sacred calling. And this dedication, combined with the
magnificence of the Boston Symphony, brings you some
of the greatest performances of our time. You feel and
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or Beethoven . .. whether the performance is in Tangle­wood,
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BOSTON SYMPHONY ORCHESTRA
CHARLES MUNCH, Music Director
Berkshire Festival, Season 1956
(NINETEENTH SEASON)
T ANGLEWOOD, LENOX, MASSACHUSETTS
FOURTH WEEK
Concert Bulletin, with historical and descriptifle notes by
}OHN N. BURK
CoPYRIGHT, 1956, Bv BosTON SYKPHONY ORCHESTRA, INc. ,...._....
Trustees of the Boston Symphony Orchestra, Inc.
HENRY B. CABOT, President }ACOB }. KAPLAN, Pice-President RICHARD C . PAINE, Treasurer
TALCOTT M . BANKS, }R. ALVAN T. FULLER C . D. }ACKSON CHARLES H. STOCKTON
}OHN NICHOLAS BROWN FRANCIS W . HATCH M ICHAEL T. KELLEHER EDWARD A. TAFT
THEODORE P. FERRIS HAROLD D . HODGKINSON PALFREY PERKINS RAYMOND S. WILKINS
O LIVER WOLCOTT
Trustees Emeritus
PHILIP R. ALLEN M . A. DEWOLFE HowE N. PENROSE HALLOWELL LEWIS PERRY
ALAN J, BLAU
LENGES BuLL
Tang/ewood Advisory Committee
HENRY W. DWIGHT F. ANTHONY HANLON GEORGE E. MOLE
GEORGE W. EDMAN LAWRENCE K. MILLER WHITNEY S. STODDARD
}ESSE L. THOMASON R oBERT K. WHEELER H. GEORGE WILDE
Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, ARTHUR W. MASKELL, }R. ;
Lenox, RALPH HENRY BARNES; Lee, WARREN A. TURNER
THOMAS D . PERRY, }R., Manager
G. W . RECTOR, N . S. SHIRK, Assistant Managers J. J. B ROSNAHAN, Assistant Treasurer
RosARIO MAZZEO, Personnel Manager
4 1956 BERKSHIRE FESTIVAL ... Tanglewood
KLM is proud to he
the Airline preferred by
THE BOSTON
SYMPHONY
ORCHESTRA
KLM Royal Dutch Airlines is privileged
to he chosen by the Boston Symphony
Orchestra for its transatlantic trip
to Europe during the summer of 1956.
KLM looks forward to welcoming
patrons of the Boston Symphony
on hoard "Flying Dutchmen"
KLM serving all six continents.
KLM service features
DUTCH superb Continental
AIRLINES cuisine and traditional
Dutch hospitality.
WORLD'S fiRST AIRLINE _....--:
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Symphoniana ,...__..
The Tour of Europe
THE BosTON SYMPHONY ORCHESTRA will tour
Europe for five weeks during August and Sep­tember
in cooperation with the International Ex­change
Program of the American National Theatre
and Academy (A.N.T.A.).
Ireland will be the first country visited, with
concerts in Cork and Dublin. Five concerts will
be played, August 26-30, in Usher Hall, Edinburgh,
·Scotland, as part of the 1956 Edinburgh Festival
and the Orchestra will then play in the principal
cities of Sweden, Norway, Demnark and Finland.
From Helsinki, they will enter the Soviet Union to
give concerts in Leningrad and Moscow, at the invi­tation
of the Russian Government, and will be the
first American symphony orchestra to play in that
part of the world. Concerts will follow in Prague
and in Vienna, and then in cities of Germany and
Switzerland. The tour will end with performances
in Paris, Chartres (in the Cathedral), Leeds and
London. Charles Munch has invited his friend and
colleague, Pierre Monteux, once regular conductor
of this Orchestra, to conduct a number of the
concerts.
The Boston Symphony Orchestra made its only
previous tour of Europe in May, 1952, under the
auspices of the Congress for Cultural Freedom,
when it performed in France, Germany, Belgium,
Holland and England. According to present plans
the only cities to be revisited are Paris and Lond0n.
At the close of the European tour, September 25,
the Orchestra will return immediately to open its
76th season in Boston on Friday, October 5, 1956,
in Symphony Hall, with Dr. Munch beginning his
eighth year as Music Director.
Performances by The Berkshire
Music Center
Many of the thousands of music lovers who attend
the Berkshire Festival Concerts may not realize the
extent and importance of the school of music at
Tanglewood. Many on the other hand are inter­ested
in this unusual project and have signified their
sympathy with its aims by contributing and so be­coming
Friends of the Berkshire Music Center. In
turn, they are invited to participate in its activities
!(Continued on Page B)
Thirteenth Program
THEATRE-CONCERT HALL
Wednesday Evening, July 25, at 8:30
THE BEAUX ARTS TRIO
M ENAHEi\f PRESSLER, Piano DANIEL GulLET, Violin BERNARD GREENHOUSE, Cello
MEND E ~SSOIIN Trio No. 1, in D minor, Op. 49
I. Molto allegro agitato
II. Andante con mota tranquillo
III. Scherzo: 'Leggiero e vivace
IV. Finale: Allegro a sai appassionato
R AVEL . • Trio in A mmor
BRA Ill\ IS
BALDWI N PIA NO
I. Moden~
II. Pantoum (Assez vif)
III. Passacaille (Tres large)
IV. Finale (Anime)
INTERMISSION
I. Allegro energ1co
II. Presto non assai
III. Andante grazioso
IV. Allegro molto
. Trio in C minor, Op. 101
RCA VICTOR RE CORDS
6 1956 BERKSHIRE FESTIVAL ... Tanglewood
& BERKSHIRE PLAYHOUSE
STOCKBRIDGE, MASS.
WILLIAM MILES, Director
Week of
July 2 "ANASTASIA"
July 9
July 16
July 23
July 30
Aug. 6
Aug. 13
Aug. 20
Aug. 27
"THE SOLID GOLD CADILLAC"
"THE WAYWARD SAINT"
CARMEN MATHEWS
in "HEARTBREAK HOUSE"
MARTHA SCOTT
in "A ROOMFUL OF ROSES"
"MATILDA"
A New Play by Irene Gawne
"THE HAPPY TIME"
RICHARD ARLEN
in "MADE IN HEAVEN"
RUTH CHATTERTON
in "THE LITTLE FOXES"
Nightly except Sun. at 8:45-$2.75, $1.85 and $1.20,
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Mats. Wed. and Sat. at 2:30 - $1.85 and $1.20,
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For reservations write or telephone
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Symphoniana- {continued}
CHARLES MUNCH
Charles Munch was born in Strasbourg, Alsace,
September 26, 1891. His father, Ernest, was leader
of the St. Guillaume choir in the Strasbourg Cathe­dral,
and the first teacher (in violin) of Charles.
Charles' uncle Eugene rivalled his brother Ernest in
producing the cantatas and passions of Bach in the
Cathedral at Mulhouse. Albert Schweitzer was a
pupil of Eugene and organist for both brothers in
their numerous Bach performances. Charles Munch
studied violin with Lucien Capet in Paris, Karl
Flesch in Berlin, and played in the Gewandhaus
Orchestra in Leipzig, under Furtwangler.
In 1929 he settled in Paris, conducted the con­certs
of the Straram Orchestra ( 1932), founded
the Orchestre Symphonique de Paris in the same
season, conducted the Lamoureux Concerts as well,
and in succeeding seasons began the round of guest
engagements which since made him a world traveler.
It was in 1937 that he succeeded Philippe Gaubert
as conductor of the Paris Conservatory Orchestra,
the position he held through the war period. In 1946
he made his first visit to the United States, con­ducting
this and other orchestras.
He was engaged in the spring of 1948 to succeed
Serge Koussevitzky as regular conductor of the
Boston Symphony Orchestra beginning with the
season of 1949-50. Meanwhile, in the autumn of
1948, he crossed the Atlantic for an extended tour
with the Orchestre National de Ia Radiodiffusion
Francaise, the French national broadcasting orches­tra,
of which he was the conductor.
T he winter seasons of the Boston Symphony
Orchestra, its tours of Europe in May, 1952 and
our West in the spring of 1953, together with the
Berkshire Festivals and his directorship of the
Berkshire Music Center have come to demand most
of his time and energies. Nevertheless, he will
conduct his orchestra in countries of Europe, imme­diately
following the Tanglewood season.
Jourteenth Program
MUSIC SHED
Friday Evening, July 27, at 8:30
CHARLES MUNCH, Conductor
BEETHOVEN Overture, "Leonore," No. 2, Op. 72
PETRASSI Fifth Concerto for Orchestra
TcHAIKOVSKY
I. Molto moderato- Presto
II. Andantino tranquillo - Mosso, con vivacita- Lento e grave
(Composed for the 75th Anniversary of the Boston Symphony Orchestra)
INTERMISSION
Symphony No. 4, in F minor, Op. 36
I. Andante sostenuto; moderato con anima in movimento di Valse
II. Andantino in modo di canzona
III. Scherzo: pizzicato ostinato; Allegro
IV. Finale: Allegro con fuoco
BALDWIN PIANO RCA VICTOR RECORDS
8 1956 BERKSHIRE FESTIVAL ... Tanglewood
THE SHAKER MUSE
Old Chatham, New York
A pleasant
17-mile drive from Stockbridge.
Open daily-May through October.
CRANE MUSEUM
Exhibits showing steps in making all- rag
papers and the progress of paper-making
from Revolutionary times to the present.
Open 2 to 5 p.m. Monday through Friday,
from June through September. Five miles l'tl.~l
of Pittsfield on Route No. 9.
DALTON. MASSACHUSETTS
Symphoniana- (continued)
by attending the performances by each department
through the Tanglewood season.
The Music Center, maintained by the Boston
Symphony Orchestra and now in its 14th season, has
about 400 students each summer from nearly every
state in the Union, from Canada and fourteen for­eign
lands. Among them are young musicians of
high skill- instrumentalists, conductors, singers,
and composers. Many are on the threshold of dis­tinguished
careers and are benefiting by invaluable
experience in group performance. Their perform­ances
in this way effect a two-fold benefit- experi­ence
for themselves and music of high order for
their listeners. The listeners last summCJr numbered
a total audience of 27,080 and a consequent .total
contribution of $46,000. By the terms of the Rocke­feller
Foundation Grant, $31,000 of this sum was
matched in equal amount. It is this sort of support
which makes possible the continuation of a venture
unique in its kind.
A full listing of performances may be found on
page 28.
Recommended To Visitors
There are many places of special interest to visit
in Berkshire County during the Festival weeks.
ART MUSEUMS
The Berkshire Museum, Pittsfield. (The Magic
Flute, designs for stage settings by Oskar Kokoschka;
paintings by Albert Sterner; prints by Abraham
Kamberg; paintings by Ralph Berkowitz; photo­graphs
by Sydney R. Kanter; sculpture by Peter
Abate)
The Sterling and Francine Clark Art Institute,
Williamstown. (Newly opened)
The Tyringham Gallery, Tyringham. (Contem­porary
paintings)
CONCERTS
South Mountain, Pittsfield. (These concerts,
which were established by Elizabeth Sprague Cool­idge
in 1918, are without charge. They are listed
on page 24).
Pro Musica Antiqua, South Mountain. (page 10)
Berkshire Music Barn, Lenox. (Jazz concerts)
OTHER POINTS OF INTEREST
Berkshire Playhouse, Stockbridge. (Page 6)
Williamstown Theatre, Williamstown. (Page 20)
Jacob's Pillow Dance Festival, Lee. (Page 26)
Berkshire Garden Center, Stockbridge
Chesterwood, Glendale. (Page 24)
The Mission House, Stockbridge
Bartholemew's Cobble, Ashley Falls
The Crane Museum, Dalton. (Page 8)
The Shaker Museum, Old Chatham, N.Y.
(Page 8)
1956 BERKSHIRE FESTIVAL ... Tanglewood 9
Symphoniana- (continued)
Little Cinema, Berkshire Museum, Pittsfield.
(Page 19)
Berkshire County possesses 58,000 acres of state
forest lands, including such reservations as Grey­lock,
Mt. Everett, and the Bird Sanctuary.
Chamber S eries
William Kroll, Benny Goodman, Margaret Har­shaw,
Ralph Berkowitz, Rudolf Serkin, Zino Fran­cescatti,
and the members of the Boston Symphony
String Quartet, have generously offered their talents
for the Wednesday Chamber Concert series, which
benefit the Revolving Scholarship Fund.
Public R ehearsals
The Saturday morning rehearsals by the Boston
Symphony Orchestra through the remaining weeks
of the season (] uly 28; August 4, 11, at 10 a.m.)
will be opened to the public, the receipts to benefit
the Pension Fund of the Boston Symphony Orches­tra.
(Admission One Dollar.)
Exhibitions In the
Glassed R eception Room
A t T anglewood
July 25: prints by Abraham Kamberg; Aug. 1:
paintings by Albert Sterner; Aug. 8: sculpture and
drawings by Peter Abate.
After the Concert
The Formal Gardens behind the Main House are
a pride of Tanglewood. These Gardens are illumi­nated
for an hour after each evening concert for
the benefit of those who wish to avoid traffic con­gestion
by delaying their departure.
Festiv al Broadcasts
There will be broadcasts of Berkshire Festival
performances on the NBC Radio Network each
Monday, 8:15 to 9:00 E.D.T. Transcribed broad­casts
will continue on Mondays through October 1.
The Festival concerts will be tape recorded by
Station WGBH-FM, Boston, to be broadcast during
the Festival and through the winter season to follow.
~~o-..1-fi_O_O_O_II-CI-CI-CI-CI-11-CI_.J~
Aug. 16
through
Aug. 19
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10 1956 BERKSHIRE FESTIVAL ... Tanglewood
4 SUNDAY AFTERNOON
CONCERTS
new yoRk
PRO ffiUSJCa
ant1qua
Noah Greenherg, Musical Director
Bernard Krainis, Associate Director
PROGRAMS of MEDIEVAL,
RENAISSANCE and
BAROQUE MUSIC
Sunday. August 12
Tudor and Elizabethan Mu.~ic
3 :30P.M.
SWlday, Ausuot 19 3:30 P.M.
Claudio Monteverdi, Sacred and Secular Works
Sunday, August 26 3:30 P.M.
Music of the German Refonnation and Baroque
Sunday • September 2 3 :30 P .M.
The Old Testament in Early Music
at SOUTH MOUNTAIN Pitt sfield, Mass .
Admiooion : $2.00
P . 0 . Box 924, Pittsfield. 1\lassachusetts
Please address inquiries, or
make check• payable to :
NEW YORK PRO MUSICA ANTIQUA
P . 0 . Box 924. Pittofield. Maosachusetts
Symphoniana- (continued}
Change In Program for August 12th
The program for the final concert (August 12)
has b~n changed: Beethoven- Symphony No. 3,
"Eroica"; Wagner- Die Meistersinger, excerpts
from Act III.
A New Booklet
A pictorial twenty-four page 75th anniversary
booklet has been prepared for distribution during
the European Tour. Included are pictures and
biographies of each member of the orchestra. May
be purchased at the Tanglewood Book Store.
The photograph reproduced on the title page was
taken by Minot Beale, violinist of this Orchestra.
~ A Calendar of Events May be Obtained at the
Box Office or the Friend's Office.
V I S I T THE
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M. STEINERT & SONS -----·162 BOYLSTON STREET, BOSTON • ALSO WORCESTER, SPRINGFIELD--·
1956 BERKSHIRE FESTIVAL ... Tanglewood 11
Program ~tes
ff
J ourteenth Program
OvERTURE, "LEONORE," No. 2, OP. 72
LUDWIG VAN BEETHOVEN
Born in Bonn, December 16 ( ?) , 1770; died in Vienna,
March 26, 1827
The Overture "Leonore_'' No. 3 retains all of
the essentials of its predecessor, "Leonore," No.2.*
There is in both the introduction, grave and songful,
based upon the air of Florestan: "In des Lebens
Fruhlingstagen," in which the prisoner sings sor­rowfully
of the darkness to which he is condemned,
and dreams hopefully of the fair world outside. T he
main body of the Overture, which begins with the
same theme (allegro) in both cases, rises from a
whispering pianissimo to a fu ll proclamation. This
section of working out, or dramatic struggle, attains
its climax with the trumpet call (taken directly
from the opera, where the signal heard off stage, and
repeated, as if closer, makes known the approach of
*A variant upon the "No. 2" Overture, with alterations
apparently in Beethoven's own hand, was discovered in
1926, in the fi les of Brietkopf and Hartel at Leipzig.
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In the Big Red Barns on Stockbridge Road, Route 7 -
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12 1956 BERKSHIRE FESTIVAL ... Tanglewood
Be sure and
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""
the governor, whereby the unjustly imprisoned Flare­stan
will be saved from death). In the "No. 2,"
the coda of jubilation, introduced by the famous
string scales of gathering tension for the out­burst,
follows almost immediately the trumpet calls
of deliverance - surely the inevitable dramatic
logic, even though it went directly against the
formal convention which required a reprise at this
point. Beethoven, more closely occupied in the
"No. 2" with the events of the opera itself, omitted
the reprise, following the trumpet fanfare with a
soft intonation of Florestan's air, a sort of hymn
of thanksgiving, as if the joy of the freed prisoner
must be hushed and holy in its first moments. The
melody is suspended on its final cadence, and the
last three unresolved notes, hovering mysteriously,
become the motto of the famous string passage in
which the emotion is released.
Beethoven sacrificed this direct transition in the
"No. 3" Overture. He evidently felt the need of
a symphonic rounding out, and accordingly inserted
a full reprise,* delaying the entrance of the coda
of jubilation which dramatic sequence would de­mand
closely to follow the trumpet fanfare. But
the subject had developed in Beethoven's imagination
to a new and electrifying potency. The third
Leonore Overture shows in general a symphonic
"tightening" and an added forcefulness. The intro­duction
eliminates a few measures, the development
many measures, in which music of the greatest beauty
is discarded. Beethoven, having thus shortened his
development, evens the total length by adding the
reprise and enlarging the coda.
*Wagner reproached Beethoven for not omitting the
conventional but undramatic reprise in his Overture Leonore
No. 3 ("Ueber Franz Liszts symphonisclu Dichtungen,"
1857).
FIFTH CONCERTO FOR ORCHESTRA
GoFFREDO PETRAssr
Born in Zagarolo near Rome, July 16, 1904
This Quinto Concerto per Orclustra has been composed
by commission of the Boston Symphony Orchestra and the
Koussevitzky Music Foundation for the 75th anniversary
of this orchestra and is dedicated to the memory of Serge
and Natalie Koussevitzky. The score is inscribed "Roma,
1955." It had its first performance by this orchestra in
Boston. December 2, 1955
This orchestral concerto is without a specific con­certina
or extended solo passages. The first of the
two movements, Molto moderato, presents two
fundamental themes, comprising the series of twelve
notes, the first formed by the opening six notes
(violas, ponticello), the second consisting of the
remaining six notes which immediately follow ( trom­bones,
muted). This second theme is taken from
his choral work C oro di JJJ orti. There is a presto
section with more than usual irregularity of the
rhythmic beat, a return to the first tempo and a
presto close, pianissimo. The second movement
1956 BERKSHIRE FESTIVAL . .. T anglewood 13
"
employs the second six notes of the series and is
otherwise developed from the thematic material of
the first movement. The tempo quickens and the
development settles into a regular 4/4 rhythm.
There is a Lento e grave in which the strings take
the melodic lead. The concerto ends softly, at last
dying away pianissimo.
Petrassi had experience in music before he sys­tematically
studied it, for he worked in a music shop
and not until 1925 at the age of twenty-one did he
take his first lesson in composition. He studied with
Di Donato and in the class of Alessandro Bustini
in the St. Cecilia Conservatory in Rome and organ
with Rienzi and Germani. In 1939 he became a
professor of composition in the Conservatory at
which he had studied. At present, he is president
of the International Society of Contemporary Music.
This summer he is the visiting teacher of composi­tion
at the Berkshire Music Center.
Petrassi and Luigi Dallapiccola are looked upon
as outstanding among the "newer" composers of
Italy. Both were born in 1904, Dallapiccola being
Petrassi's senior by five months; both began com­posing
rather late. Dallapiccola first attracted gen­eral
attention by his Partita in 1933; Petrassi came
into a similar European prominence by a "Partita"
of his own in the same year.
These parallels are little more than a curious
accident. Esthetically the two artists are far apart.
Dallapigcola knew Alban Berg and although he
studied composition in Trieste and Florence, he came
strongly under the influence of the twelve-tonal
composers in Austria.
Although Petrassi's works were at first basically
diatonic, he has arrived at using the twelve-tonal
technique, in a manner however that is not radical
and is wholly personal in expression, as may be seen
in his "Rer;reation Concertante" (Third Concerto)
written in 1953. His critics have noted the influence
of Hindemith and Stravinsky in his work, an influ-
ALBERT STERNER
Retrospective Exhibition
July • August
THE BERKSHffiE MUSEUM, Pittsfield
~~~~~~~~~~~~~~~~~~
TANGLEWOOD
ON PARADE
will take place on Thursday, August 9.
FoR FuRTHER INFORMATION SEE PAGE 31.
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l John Pritchard, conductor Philharmonia (Angel 35021) l
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Do We Face a Shortage
of Conductors?
Toscanini, Furtwangler, Krauss, Busch ...
retirement and death are taking away our giant
conductors of yesteryear. Latest to go was
the man who might have given us the definitive
recorded Fidelio and Frei-schutz.
To appreciate the
loss, read Jacques Barzun's
"Erich Kleiber: the Passing
of a Free Spirit." And for
the corollary problem, read
"Where Will New Conduc­tors
Come From?" by Robert
Charles Marsh. Both are in L.,.;._ .JII!f;.;;;::::i::""'
the August issue of HIGH FIDELITY, together
with Part II of a discography of Americans on
Microgroove . . . 40 pages of record reviews
. "Tested-in-the-Home" reports on new
audio equipment . . . and many other features.
available at the Tanglewood Bookshop
ence nec:dlc:ss to say almost inescapable in contempo­rary
composition. John Wllissmann, describing the
composer in the magazin€ Tht Score of Junll, 1950,
wrote: "The early critics of P!ltrassi's music hardly
ever mentioned his name without bringing in those
of Hindllmith and Stravinsky as well. But although
Petrassi uses the same grammatical premises as those
stat0d in Hindemith's Craft of Musical Composi­tion,
they sllrve an entirely diff·erent imagination; and
although h€ may have acquirlld some of his orchestral
virtuosity from a thorough study of Stravinsky's
scor!ls, his revelry in orchestral consonance and his
use of bizarre color combinations are worlds apart
from Stravinsky's. Hinclemith's instrumental style,
the Hindemith style, is rooted in an unbroken in­strumental
tradition and his development has con­sisted
in a gradual simplification and humanization
of this style. Of course he has written many stage
works and choral compositions, but they are just as
instrumental in conception as Bach's B minor Mass
compared with one of Palestrina's. Petrassi's instru­mental
writing, on the ether hand, contains vocal
elem~mts; his outlines are more melodic than Hinc)e­mith's."
Petrassi has ventured into o{>€ra with I! C0rdo­vano
and M orte dell' aria, and has composed choral
music, but his instrumental music, both orchestral
and chamber, has seemed to suit him best. His
dramatic madrigal based on the work of Leopardi,
C oro di M orti has already been performed in uni­vllrsities
of the United States.
It could be said that the exist!lnce of the artist
Petrassi has been made possible by the lively interest
in instrumental, even in non-delineative, music in
his own country today. The present "symphonic
Italy" intensively revives and nurtures the rich store
of their own sevllnteenth-century music, the works
of Vivaldi, Carelli and a host of others. The popu­larity
of purely instrumental music all but dis­appeared
in Italy through the last two centuries
while opera prevailed, with its vocal emphasis and
eventually with its strength of verismo in Puccini,
Mascagni and their fellows. Pione!lrs such as Sgam­bati
(born 1841), Martucci (1856), Bossi (1861)
an!il Sinigaglia ( 1868), whose instrumental works
were a complement to their theatrical efforts, were
in most cases more notable for what they started in
others than for what they themselves composed.
They were followed by a generation of conscious
zealots in whom the theatre was kept incidental to
the purdy instrumental field: Respighi (born 1879),
Pizzetti (1880), Malipiero (1882), Casella
( 1883), Rieti (1898). Petrassi acknowledges a
considerable dllbt to Casella who, like Malipiero,
dedicated himself to the cause of pure neo-classicism.
Since Petrassi's earliest compositions, he has never­theless
abandoned the neo-classical forms to seek a
more liberal mode of expression, adhering to con­temporary
realism.
HANSON
ScHUMANN
HONEGGER .
DEBUSSY
Jifteenth Program
MUSIC SHED
Saturday Evening, July 28, .at 8:30
CHARLES MUNCH, Conductor
Elegy in Memory of Serge Koussevitzky, Op. 44
(Composed for the 75th Anniversary of the Boston Symphony Orchestra)
Pianoforte Concerto in A minor, Op. 54
I. Allegro affettuoso
II. Intermezzo: Andantino grazioso
III. Allegro vivace
INTERMISSION
I. Grave
II. Allegretto
III. Allegro marcato
Symphony No. 5 ( di tre re)
. "La Mer," Three Orchestral Sketches
I. De l'aube a midi sur la mer
II. J eux de vagues
III. Dialogue du vent et de lamer
Soloist
RUDOLF SERKIN
Mr. Serkin uses the Steinway Piano
BALDWIN PIANO RCA VICTOR RECORDS
16 1956 BERKSHIRE FESTIVAL ... Tanglewood
SYMPHONY No. 4, IN F MINOR, OP. 36
PETER ILICH TcHAIKOVSKY
Born in Votkinski, in the government of Viatka, Russia,
May 7, 1840; died in St. Petersburg, November 6, 1893
The Fourth Symphony, composed in 1877, was first per­formed
by the Russian Musical Society in Moscow, Febru­ary
22, 1878.
The year 1877 was a critical ?~e in Tchaik?vsky:S
life. He suffered a serious cns1s, and survived. It
through absorption in his art, through the shapmg
and completion of his Fourth Symphony.
The dramatic conflict and emotional voice of this
symphony and the two that followed s?me~o~ de­mand
a programme. It may be worth mqumng to
what extent the Fourth Symphony may have been
conditioned by his personal life at the time. Tchai­kovsky
admitted the implication of son;e sort of
programme in the Fourth. He voluntanly gave to
the world no clue to any of the three, beyond the
mere word "Patl!etique" for the last, realizing, as he
himself pointed out the complete failure of words
to convey the intens~ feeling which ~oul!d its ou~let,
and its only outlet, in tone. He d1d mdulge In a
fanciful attempt at a programme for the Fourth,
writing confidentially to Mme. von Meek, in answer
to her direct question, and at the end of the same
letter disqualified this attempt as inadequate. These
paragraphs, nevertheless, are often ~uoted as th.e
official gospel of the symphony, Without Tchai­kovsky's
postscript of dismissal. It would be a good
deal more just to the composer to quote merely a
single sentence which he wrote to Tane.iev: "O_f
course my symphony is programme music, but .It
would be impossible to give the programm~ 111
words; it would appear ludicrous and only raise _a
smile." The programme devolves upon the cyclic
brass theme of "inexorable fate" which opens the
work and recurs at the end. Again, a fragmentary
sketch of a programme for the Fifth Symphony has
been recently discovered, in which "fate" is found
once more. The word, to most of those who read it,
is probably a rather vague abstraction. It would be
more to the point to know what it meant to the
composer himsfl£.
As a matter of fact the months in which Tchai­kovsky
worked out this symphony he was intensely
unhappy- there was indeed a dread shadow hang­ing
over his life. He uses the word significantly in a
letter to Mme. von Meek, acquainting her with
his intention to marry a chance admirer whom he
scarcely knew and did not love (the reason he gave
to his benefactress and confidante was that he could
not honorably withdraw from his promise). "We
cannot escape our fate," he said in his letter, "and
there was something fatalistic about my meeting
with this girl." Even if this remark could be con-
Refreshments are served at the Tanglewood
Cafeteria before concerts and at intermission.
sidered as something more sincere than an attempt
·to put a face upon his strange actions before his
friend, it is inconceivable that the unfortunate epi­sode
(which according to recently published letters
was more tragic than has been supposed) could have
been identified in Tchaikovsky's mind with this
ringing and triumphant theme.* Let the psycholo­gists
try to figure out the exact relation between the
suffering man and his music at this time. It is
surely a significant fact that this symphony, growing
in the very midst of his trouble, was a saving refuge
from it, as Tchaikovsky admits more than once.
He never unequivocally associated it with the events
of that summer, for his music was to him a thing of
unclouded delight always, and the days which gave
it birth seemed to him as he looked back (in a letter
to Mme. von Meek of January 25, 1878) "a strange
dream; something remote, a weird nightmare in
which a man bearing my name, my likeness, and my
consciousness acted as one acts in dreams: in a
meaningless, disconnected, paradoxical way. That
was not my sane self, in possession of logical and
reasonable will-powers. Everything I then did bore
the character of an unhealthy conflict between will
and intelligence, which is nothing less than in­sanity."
It was his music, specifically his symphony
to which he clung in desperation, that restored his
"sane self."
Let those who protest that Tchaikovsky fills his
music with his personal troubles examine the facts
of his life. Rasped nerves, blank, deadening depres­sion,
neurotic fears- these painful sensations as­sailed
Tchaikovsky in his frequent times of stress.
He turned from them in horror. They are not
within the province of music, nor did he attempt to
put them there. The pathological and the musical
Tchaikovsky are two different people. The first
was mentally sick, pitiably feeble. The second was
bold, .sure-handed, thoroughgoing, increasingly mas­terful,
eminently sane. It was precisely in the dark­est
moment in Tchaikovsky's life that there surged
up in his imagination 'the outlines of the Fourth
Symphony- music far surpassing anything he had
done in brilliance and exultant strength.
* Some connection between the symphony and Tchaikov­sky's
rash marriage and subsequent collapse is inescapable,
as an outline of dates will show. It was in May of 1877
that he became engaged to Antonina Ivanovna Miliukov.
In that month, too, he completed his sketches for the sym­phony.
The wedding took place on July 18, and on July
26 Tchaikovsky fled to Kamenko; there was a two weeks'
farce of "conjugal" life at their house in Moscow ( Septem­ber
12 to 24), and the distraught composer attempted to
catch a fatal cold by standing up to his waist in the frigid
waters of the Moskva. Again the composer made a precip­itate
flight, and never saw his wife again. Barely surviving
a nerve crisis which "bordered upon insanity," he was
taken by his brother, Anatol, to Switzerland for a complete
rest and change. At Kamenko in August, in a condition
which made peace of mind impossible, he was yet able to
complete the orchestration of the first movement. At Lake
Geneva as soon as he was able to take up his pen, the
convale~cent worked happily upon the remaining three
movements.
1956 BERKSHIRE FESTIVAL ... Tanglewood
jt~teenth ~rograt.n
_..-../
ELEGY IN MEMORY OF MY FRIEND,
SERGE Kou ssEVITZKY, OP. 44
HowARD HANsoN
Born in Wahoo, Nebraska, October 28, 1896
Howard Hanson has composed this Elegy for the 75th
anniversary ot' the Boston Symphony Orchestra. It was
commissioned by the Orchestra and the Koussevitzky Music
Foundation, and was first performed January 20·, 1956.
The Elegy opens with an expressive melody pre­sented
by the strings, at first canonically, and in 3/ 4
time. This melody, varied in development, is the
basis of the piece. A section in 4/ 4 rhythm opening
in the winds reaches a climax of intensity and sub­sides
to a return of the original tempo ( teneramente
con simplicita) to a pianissimo ending.
Howard Hanson's parents, Hans and Hilma Han­son,
were of Swedish descent. First taught by his
mother, M'r. Hanson continued his studies in Luther
College and the University School of Music of his
native State. He studied composition at the Institute
of Musical Art in New York with Percy Goet­schius,
and later at the Northwestern University
School of Music at Evanston, under C. Lutkin and
Arne Oldberg. Taking his degree 111 1916, he
taught at the College of the Pacific in San Jose,
Califorl1ia. In 1921 he was elected to a three-year
fellowship in composition at the American Academy
in Rome. Returning to America in 1924, he was
appointed director of the Eastman School of Music
of the University of Rochester, New York, the
position which he now holds.
His First ("Nordic") Symphony was performed
at the concerts of the Boston Symphony Orchestra,
AprilS, 1929, the composer conducting. The Second
("Romantic") Symphony, composed for the fiftieth
anniversary year of this orchestra, was first per­formed
in that season (November 28, 1930), Serge
Koussevitzky conducting. The Third Symphony had
its first concert performance November 3, 1939, by
this orchestra, the composer conducting. The
Fourth Symphony was introduced by this orchestra
December 3, 1943.
A Piano Concerto, composed for the Koussevitzky
Music Foundation, had its first performance at the
concerts of this orchestra, December 31, 1948.
CONCERTO IN A MINOR FOR PIANOFORTE
OP. 54
RoBERT ScHUMANN
Born in Zwickau, Saxony, June 8, 1810; died in Endenich,
near Bonn, July 29, 1856
Schumann completed his Pianoforte Concerto in 1845.
It was first performed in Dresden on December 4 of that
year, Clara Schumann soloist, and Ferdinand Hiller con­ductor.
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The Complete Symphqnie$ of MOZARt
An historic recording event to commemortlle
the Mozart Bicentennial. Cot~cert Halt Sor;iety . '
proudly presmts the complete Mozart S'YmPho·
nies, featuring the NetherlatUls Philharmrmit.
Available as single records (listed below) orin
a beautifully boxed, complete edition. Twelve
12" long play records, at $3.98 per record.
Symphonies Nos. 1, 2, 5, 6
Symphonies Nos. 4, 10, 11, 14
. Symphonies Nos. 7, 8, 9, 12
'Symphonies .Nos. 3, 13, 15, 16
Symphonies Nos. 18, 19, 20, 21
Symphonies Nos. 22, 23, 24, 25
Symphonies Nos. 17, 261 27, 28
Symphonies Nos. 29, 30, 31,,32
Symphoqies Nos. 33, 34, 37
Symphonies Nos. 36, 39
Symphonies Nos. 38, 41
Symphoni<;s .Nos. 35, 40
cHs:n65.
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CHS-1261
These new high fidelity· releases are now avail·
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the name of nearest dealer carrying them.
More than once in his younger days Schumann
made sketches for a piano concerto. He planned such
a work while at Vienna, in 1839, probably with his
fiancee, Clara Wieck, in mind, but could not have
progressed very far with it. Again in the spring and
summer of 1841, the first year of his marriage, he
worked upon and completed a "Phantasie" in A
minor, which he was later to use as the first move­ment
of his published Concerto. Apparently he
moved only by stages toward the full, three-move­ment
form. The Phantasie was composed between
May and September, and must have been somewhat
crowded in the composer's imagination between the
abundant musical images which occupied him in
that year. The First Symphony in B-flat preceded,
and the Symphony in D minor (in its first version)
followed it, not to speak of smaller orchestral
works. When the First Symphony was tried over
in rehearsal by the Gewandhaus orchestra (August
13), Clara took the occasion to play through the
new Phantasie with the orchestra as well. Although
the returning echoes from the empty hall somewhat
dampened her ardor, she played it twice, and
thought it "magnificent." She wrote in her diary :
"Carefully studied, it must give the greatest pleasure
to those that hear it. The piano is most skilfully
interwoven with the orchestra- it is impossible to
think of one without the other." The publishers
were not of this mind, and rejected the proffered
manuscript.
In 1845, while the pair were at Dresden, Schu­mann
made a concerto out of his "Concert Allegro,"
as he had intended. to call it, by adding an Inter­mezzo
and Finale. It was from May to July that
he wrote the additional movements. "Robert has
added a beautiful last movement to his Phantasie
in A minor," wrote Clara in her diary on June 27,
"so that it has now become a concerto, which r mean
to play next winter. I am very glad about it, for I
always wanted a great bravura piece by him." And
on July 31 : "Robert has finished his concerto and
handed it over to the c,apyist. I am as happy as a
king at the thought of playing it with the orchestra."
The new work did become as delightful to play,
and as useful, as she anticipated. She carried it to
city after city, and audiences would. sometimes be­hold
the unusual sight of the famous pianist per­forming
her husband's music while the composer
himself presided at the conductor's stand. The first
performance was conducted by Ferdinand Hiller, to
whom the score was dedicated, in Dresden, Decem­ber
4, 1845. Clara was of course the soloist at this,
a concert of her own. She also played the work at
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1956 BERKSHIRE FESTIVAL ... Tanglewood 19
a Gewandhaus Concert on New Year's Day, 1846
- Mendelssohn conducting. All did not go well at
this performance. Mendelssohn and his orchestra
had much trouble with the "puzzling rhythm" in the
last movement, an incident which must be read with
some astonishment in this present century of rhyth­mic
complexity.
In creative matters at least, Schumann knew his
own mind, and kept to his steadfast purpose. W hen
he made a youthful attempt at a concerto in 1839,
he wrote to Clara : "My concerto is a compromise
between a symphony, a concerto, and a huge sonata.
I see I cannot write a concerto for the virtuosos­I
must plan something else." Schumann never
abandoned this early concept of what a concerto
should be. Clara learned much from him, and her
first lesson was that she must not expect from her
husband piano music "for virtuosos." Even in their
early friendship, shallow display pieces of the period
had a grudging place upon her programs, and at
length gave way altogether to such composers as
Bach, Beethoven, Chopin, and of course Schumann.
J ust before Robert completed his concerto she began
to study a concerto of Heriselt. While she might
have taken it up eagerly a few years earlier, she now
found it a sterile attempt at "brilliance" which suc­ceeded
only in being "laborious, far-fetched, and
patched together." She also wrote, "There is not
a single beautiful, fresh motive in it," missing quali­ties
h!lr husband had trained her to look for, and
with which his genius abundantly provided her.
Schumann was indeed true to his best style in this
concerto, taking themes of flowing lyricism, playing
them naturally, with spontaneous resource in detail,
rathllr than with any pretentious development. T he
piano part in the first movement, save for such mild
flourishes as in the opening bars, goes its way with a
straightforward and becoming simplicity. When
the melody is given to wood wind or string voices,
the pianist provides arpeggio figures, modest and
unassuming, but sparkling with variety. The caden­za,
which the composer was careful to provide, is in
his best pianistic vein, making no attempt to dazzle.
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A true slow movement would have been out of
place after the moderate tempo and andante section
of the first movement. The brief intermezzo (an­dantino
grazioso) with its light staccato opening and
its charming second theme inseparably associated
with the 'cellos that sing it, leads directly into the
final rondo (allegro vivace), whose brilliance is
joyous and exuberant, without a trace of hard
glitter.
RUDOLF SERKIN was born in 1903, in Eger, Bohemia
(Czechoslovakia) of Russian parents. His musical train­ing
from childhood was in Vienna, where he showed pre­cocious
ability. For three years, from the age of fourteen,
he studied composition with Arnold Schoenberg. He then
began his active career as a concert pianist, giving solo
recitals throughout Europe, and likewise touring with Adolf
Busch in Sonatas for Violin and Piano. It was with Adolf
Busch (his destined father-in-law), that he made his first
appearance in America in 1935 at the Coolidge Festival in
Washington, D. C. He now makes his home in America,
and directs the Marlboro School of Music in Marlboro,
Vermont.
SYMPHONY No. 5 ( di tre re)
ARTHUR HoNEGGER
Born in Le Havre, March 10, 1892; died in Paris,
November 27, 1955
Arthur Honegger wrote his Fifth (and last)
Symphony by commission of the Koussevitzky Music
Foundation. When Serge Koussevitzky received the
manuscript in 1951 he had retired as conductor of
the Boston Symphony Orchestra, and asked his suc­cessor
to introduce it. Charles Munch eagerly ac­cepted
the latest symphony of the composet· whom he
had long since known and admired and whose music
he had often brought to first performance in France.
The Symphony opens with a D major chord fortis­simo
for the full orchestra from high flutes to low
basses, which is the beginning of a regularly phrased
melody, chordal in character, but with its own
dissonance.
The theme, as thus unfolded, diminishes gradu­ally
to piano. It is then 'gently stated by the brass
and followed by a second subject heard from the
clarinets, passing to the English horn.
There is a gradual crescendo which acquires ur­gency
and tension with short trumpet figures. A
sustained trumpet note is the apex. The composer
describes this moment as: "ce cri angoisse qui reste
en suspens." There follows a pianissimo repetition
of the main theme by the divided strings with orna­mental
figures in the woodwinds. Winds and strings
are reversed in theme and accompaniment, and the
movement subsides to its pianissimo close.
The second movement (allegretto, 3-8) has a
scherzo character with two interpolations of an
adagio section, suggestive of a slow movement. The
opening theme is a duet in delicate staccato between
the clarinet and the first violins, establishing a mood
which could be called light and transparent but
hardly light-hearted. The theme progresses cumu·
PROKOFIEFF .
HrNDEMITH.
MAHLER
BALDWIN PIANO
Sixteenth Program
MUSIC SHED
Sunday Afternoon, July 29, at 2:30
RICHARD BURGIN, Conductor
"Romeo and Juliet," Ballet, Second Suite, Op. 64
Montagues and Capulets
Juliet, the Maiden
Dance
Romeo at Juliet's Grave
I. Moderato
II. Andante
III. Vivace
INTERMISSION
. Concerto for Violin and Orchestra
Symphony No. 1, in D major
I. Langsam. Schleppend wre ern N aturlaut
II. Kraftig bewegt, doch nicht zu schnell
III. Feierlich und gemessen, ohne zu schleppen
IV. Stiirmisch bewegt
Soloist
RUTH POSSELT
RCA VICTOR RECORDS
22 1956 BERKSHIRE FESTIVAL . .. Tanglewood
latively as it is given to the single and combined
winds. The development is a play of counterpoint
using fugal devices but not fugal form- the subject
in retrograde, in contrary motion, and the two com­bined.
There is a climax and a short adagio section,
somber and deeply moving, colored by muted brass,
a 'cello theme and a prominent tuba bass. There is
a more agitated recurrence of the allegretto subject.
The adagio returns and is combined with the al­legretto
subject presented in reverse order, in such a
' way that though contrasted in style they become one
in mood.
The finale is described by Honegger as being "vio­lent
in character." Its course is swift, a continuous
forte until the end. There are repeated staccato
notes from the brass, at once taken up by the strings,
which carry a string figure in the persistent forte.
The movement recalls an earlier and more exuber­ant
Honegger but conveys a special sense of con­trolled
power. It subsides rather suddenly before
its close, its final quiet D; a coda in the composer's
words: "subitement assourdi et com me terrifie."
The coda is reminiscent of the gravity, the fine
restraint of a symphony which had almost yielded
to a headlong utterance.
Honegger gave his Fifth Symphony its parenthetic
subtitle ("di tre re") with a sense of trepidation
(this by his own admission) that the bare title might
seem to place its beside the incomparable "Fifth"
in C minor. "'Di tre re/" writes the composer,
"is not an allusion to the three magi or any other
kings, but is used only to indicate that the note re
[D] occurs three times to end each of the three
movei:nents in a pizzicato by the basses and a stroke
by the timpanist who has no other notes to play but
these three." The composer has given no further
information on his three enigmatic D's, perhaps for
the good reason that he has no conscious explanation
to offer beyond the suitability of three quiet endings
for this symphony, predominantly dark in color, per­sonal
and sober in feeling.
Something close to an answer (if an answer is
needed) may be found in his own description of how
he goes about composing (" 1 e suis compositeur/'
Editions du Conquistador, Paris) in which he quotes
as his motto a line from Andre Gide - "The true
artist can be no more than half-aware of himself as
he produces."
(An excerpt from Honegger's book is quoted on
page 27).
"How do I go about my work?" writes Honegger.
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"Can I define my methods? I am not quite sure."
He points out the advantages of a painter, a sculptor,
or a writer who is guided from the start by the
definite obj€ct he is depicting. He works in a visible
and· tangible medium which he can re-examine and
reconsider as he progresses. A composer has no such
advantages. "At the moment when a musician con­ceives
a symphony, at the instant when he is compos­ing,
he is alone and in the shadows." He has to finish
his score and have it elaborately copied in parts
before he can hear a note of it. There is no inter­mediate
step between the "blueprint" and the actual
performance. And as he works, "alone," and in
silence, he has no rules of structure to help him:
to use the structural schemes of earlier composers
would be merely to copy what others have worked
out to meet their own exigencies. The plan must be
found and realized during the very process of cre­ation.
Suppose, says Honegger, that a ship had to be
built under such conditions. It might on launching
(which is its first performance) turn bottom side up!
And he adds slyly: "Many modern scores float
upside down. And very few people notice it."
Which of course is another way of saying that the
composer whose principal motive is to be "different"
can never produce a score that can claim our time
and attention with an equilibrium of its own.
This symphony firmly keeps its keel for the
reason that its composer, a superb craftsman, has
been able, in the solitude of his study, to integrate
and build from a compulsion and an intuition quite
his own.
"THE SEA," THREE ORCHESTRAL SKETCHES
CLAUDE DEBUSSY
Born in Saint-Germain ( Seine-et-Oise), France, August 22,
1862; died in Paris, March 25, 19.18
It was in the years 1903-05 that Debussy composed La
Mer. It was first performed at the Concerts Lamoureux in
Paris, October 15, 1905. The first performance at the
Boston Symphony concerts was on March 2, 190-7, Dr. Karl
Muck conductor (this was also the first performance in
the United States). ·
When Debussy composed LaMer: Trois Esquisses
Symphoniques, he was secure in his fame, the most
argued composer in France, and, to his annoyance,
the most imitated. L'.Apres-midi d'un Faune of
1894 and theN octurnes of 1898 were almost classics,
and the first performance of Pel!eas et 111elisande
was a recent event (1902). Piano, chamber works,
songs were to follow La M er with some regularity;
of larger works the three orchestral Images were to
occupy him for the next six years. L e Martyr de St.
Sebastien was written in 1911; leux in 1912.
In a preliminary draft* of La M er, Debussy
labeled the first movement "Mer Belle aux Iles San­guinaires";
he was attracted probably by the sound
of the words, for he was not familiar with Corsican
* This draft, dated "Sunday, March 5 at six o'clock in
the evening," is in present possession of the Eastman School
of Music at Rochester.
1956 BERKSHIRE FESTIVAL ... Tanglewood 23
scenery. The title "1 eux de Vagues" he kept; the
finale was originally headed "Le Vent fait danser
la mer."
There could be no denying Debussy's passion for
the sea: he frequently visited the coast resorts, spoke
and wrote with constant enthusiasm about "my old
friend the sea, always innumerable and beautiful."
He often recalled his impressions of the Mediter­ranean
at Cannes, where he spent boyhood days. It
is worth noting, however, that Debussy did not
seek the seashore while at work upon his score. It
was with him at Dieppe, in 1904, but most of it
was written in Paris, a milieu which he chose, if
the report of a chance remark is trustworthy, "be­cause
the sight of the sea itself fascinated him to
such a degree that it paralyzed his creative faculties."
When he went to the country in the summer of
1903, two years before the completion of La Mer,
it was not the shore, but the hills of Burgundy,
whence he wrote to his friend Andre Messager
(September 12): "You may not know that I was
destined for a sailor's life and that it was only quite
by chance that fate led me in another direction.
But I have always retained a passionate love for her
[the sea]. You will say that the Ocean does not
exactly wash the Burgundian hillsides - and my
seascapes might be studio landscapes; but I have an
endless store of memories, and to my mind they are
worth more than the reality, whose beauty often
deadens thought."
DebussY's deliberate remoteness from reality, con­sistent
with his cultivation of a set and conscious
style, may have drawn him from salty actuality to
the curling lines, the rich detail and balanced sym­metry
of Hokusai's "The Wave." In any case,
he had the famous print reproduced upon the cover
of his score. His love for Japanese art tempted him
to purchases which in his modest student days were
a strain upon his purse. His piano piece, Poissons
d' or, of 1907, was named from a piece of lacquer
in his possession. ,.--......
Sixteenth ~rogra~
RICHARD BURGIN, Concertmaster and Associate Con­ductor
of this orchestra, was born in Warsaw in 1892. He
studied with Isidor Lotto and with Joseph Joachim in
Berlin, with Leopold Au~r in St. Petersburg. When he
came to this country in 1920 to become Concertmaster of
the Boston Symphony Orchestra, he had had a considerable
European career. Mr. Burgin has b~en active in chamber
music and as a conductor outside of hii regular duties.
Together with William Kroll, he is in charge of the cham­ber
music department of the Berkshire Music Center.
SECOND SUITE FROM THE BALLET
"ROMEO AND JuLIET," 0P. 64 TER
SERGE Pl't.OKOFIEFF
Born in Sontsovka, Russia, April 23, 1891
The ballet itself was composed in 1935 for the Bohhoi
Theatre in Moscow, and there first performed. Prokofieff
compiled two suites from this music, the first of which
was performed in Moscow on November 24, 1936, under
the direction of Golovanov. The second suite had its first
performance in Soviet Russia in the spring of 1937. The
composer conducted at the concerts of the Boston Symphony
Orchsstra, March 25, 1938.
The first two suites which the composer compiled
from his original score consist of seven numbers
each.* Of these Nos. 1, 2, 4, and 7 will be here
played. The movements of the second suite were
thus described by M . D. Calvocoressi in the pro­gramme
of the British Broadcasting Corporation of
London:
I. Montagues and Capulets (Allegro pesante).
A somewhat ironical, picturesque portrayal of the
haughty, arrogant old nobleman defiantly strutting
about in armor [ ?], with a contrasting Trio, Juliet
dancing with Paris.
· II. Juliet, the maiden (Vivace). The naive,
carefree young girl is admirably evoked in the main
theme. The development suggests the gradual
awakening of deep feelings within her.
IV. Dance (Vivo.)
["Paris presents pearls to Juliet; slave girls dance
with pearls; S. P."]
VII. Romeo at Juliet's grave (Adagio fune­bre).
In the ballet, Juliet is not really dead, and
the grave is a deception. Romeo, unaware of the
fact, is prostrate with grief.
(Movements III, V, VI, are here omitted.)
* The movements of the first suite are as follows: ( 1)
Dance of the people. A tarantelle performed in the public
square of Verona. (2) Scene. Music describing the adher­ents
of the houses of Montague and Capulet just before the
outbreak of hostilities. ( 3) Madrigal. The fi(st meeting of
Romeo and Juliet. ( 4) Minuet. Heard at the Capulets'
ball. (5) Masques. The entrance of Romeo, disguised, in
the ball scene. ( 6) Romeo and Juliet. Balcony scene.
(7) The death of Tybalt. Music accompanying the duel.
Visit the
TANGLEWOOD MUSIC
STORE
COPIES OF DR. MUNCH'S BOOK
STILL AVAILABLE
NEW 75TH ANNIVERSARY BOOKLET
A pictorial twenty-four page 75th anniversary booklet
has been prepared for distribution during the European
Tour. Included are pictures and biographies of each mem­ber
of the orchestra. May be purchased at the Tanglewood
Book Store, 50 cents.
Souvenirs of Tanglewood: Large assortment of books on
music. Recordings and miniature scores, including works
given at Festival concerts. Postcards, films, etc.
(Operated by the Bosto11 Symplzo11y Orchestra)
24 1956 BERKSHIRE FESTIVAL ... Tanglewood
CONCERTO FOR VIOLIN AND ORCHESTRA
PAU L HINDEMITH
Born in Ilanau, near Frankfort, on November 16, 1895
The first public performance of this concerto was in
Amsterdam early in 1940. It was introduced to America
by the Boston Symphony Orchestra, April 19, 1940, when
Richard Burgin was the soloist. Ruth Posselt has played
the Concerto in Boston and at Tanglewood.
In the first movement the principal theme is at
once disclosed by the soloist over soft string chords,
a long melody in the high register of the instrument.
An important pendant to this theme is delivered by
the woodwind section. A subsidiary theme is given
out by the soloist before the real second theme makes
its entrance. This is even longer in span than the
first. Indeed, the extended melodic phrase is char­acteristic
of the whole Concerto, where ornamental
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The Studio and Garden of
DANIEL CHESTER FRENCH
Sculptor of the Lincoln Memorial
Open June 1 to October 3
11 a.m. to 6 o'clock daily
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••••••••••••••••••••••••
embellishment is the manner of working out rather
than a fragmentary or integral development. The
recapitulation re-emphasizes the first theme in this
structurally regular movement.
The second movement is in triple beat. After in­troductory
matter for the wood winds, the soloist
takes the theme, which again is extended in contour.
The soloist and orchestra develop by turn the intro­ductory
and the solo themes, sometimes set against
rushing scales from the alternate wood winds and
strings. The clarinet solo takes the solo theme as
the violinist weaves an obbligato.
The Finale is in 2-4 time. The orchestra sets the
pace with a few lively dance-like measures which the
soloist takes up with a sprightly theme, while the
wood winds give a light rhythmic support suggestive
of t he accompaniment at the beginning of the Con­certo.
The soloist, with this and with tributary
themes, carries the burden of interest, bringing the
climax with a broader theme first stated against
orchestral tremolos. This is a long cadenza, making
use of initial material, and a close in accelerated
tempo.
RUTH POSSELT, born in Medford, Massachusetts,
made her debut at the age of nine, giving a recital in
Carnegie Hall. Her subsequent career has led to six tours
of Europe, where she has appeared in recitals and with
the principal orchestras of various countries, including
Soviet Russia. Her tours of this country include appear­ances
as soloist with orchestras in Boston, New York, Chi­cago,
Detroit, Washington, Cincinnati, St. Louis, Hartford
and other cities. Miss Posselt is on the faculty ·of the
Berkshire Music Center, in the department of chamber
music .
SYMPHONY No. 1, IN D MAJOR
GusTAV MAHLER
Born in Kalischt in Bohemia, July 1 (or 7) , 1860; died in
Vienna, May 18, 1911
Completed probably in 1888, Mahler's First Symphony
had its initial performance at Budapest, November 20, 1889.
W hen Mahler sketched out the vast proportions
of his First Symphony, he was a youthful idealist of
soaring artistic ambitions and little recognition. He
had written much, but his music lay in manuscript,
unperformed. He had lit his torch from Wagner and
Bruckner, steeped himself in the romancers of
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Germany's past- her poets and philosophers. But
while his head was in the clouds, his feet were
planted before the conductor's desk of one provincial
theater and another, where there fell to him the
"second" choice of operas by Lortzing or Meyerbeer.
When he had the opportunity to conduct Wagner
and Mozart at Olmiitz, he could not bring himself
to "profane" their music with the sorry forces at
his disposal. That Mahler profited by his conduc­torial
apprenticeship is indicated by the detailed
command of orchestration shown in this symphony;
also by his sudden success and popularity as con­ductor
when the opportunity came to him in Leipzig
in 1884. Mahler probably worked upon his First
Symphony in the years 1883 and 188-t, when he
was second conductor at Cassel. The "Lieder eines
fahrenden Gesellen" ("The Songs of a Journey­man,"
voice and orchestra) were also written about
this time, and one of them found its way into the
symphony.
His duties as conductor were far from inspiring.
Where his heart lay is indicated by a pilgrimage to
Bayreuth, where he was deeply moved by the dis­closure
of Parsifal, and another to Wunsiedel, to
sense the landscape of Jean Paul Richter. Having
become a conductor of outstanding fame through
engagements at Leipzig and at Prague, Mahler be­came
Director of the Royal Opera at Pesth in 1888,
and in 1889 had the opportunity to perform his
symphony at a Philharmonic concert (November
20), before a public which had come to admire and
respect his abilities in the highest degree. It must
be reported that, with every good will towards their
conductor, the Hungarian audience found the sym­phony
perplexing.
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It was with later experience that Mahler learned
to abhor "programs" for his symphonies. This one
was first heard with fanciful titles sanctioned by the
composer. At the original Budapest performance, it
was named as a "Symphonic Poem in two parts."
Mahler, hoping perhaps to induce an understanding
of his emotional approach, gave out a title for the
subsequent performances in Hamburg and Weimar:
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A square mile of nature trails,. beaver colony,
trailside museum, Barn Restaurant.
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One of New England's foremost professional
summer theatres.
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Studio of Daniel Chester French, sculptor of
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The history of paper-making from Revolu­tionary
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Jacob's Pillow Dance Festival, Lee.
The country's dance center. Ballet, Modern
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Famous artist recitals and chamber music
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Unusual foreign and American feature films
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.
by Jean Paul, and these indications of the move­ments:
"PART I. Days of Youth, flowers and thorns.
1. Spring without end. The introduction represents
the awakening of nature at early dawn. [In Ham­burg,
it was called 'Winter Sleep.']
2. A Chapter of Flowers. [This movement, an an­dante,
was omitted altogether after the Weimar
performance.]
3. Full sail! (Scherzo.)
"PART II. Commedia umana.
4. Stranded. A funeral march a Ia Callot. [At
Weimar it was called 'The Hunter's Funeral Pro­cession.']
The following remarks may serve as an
explanation, if necessary. The author received the
external incitement to this piece from a pictorial
parody well known to all children in South Ger­many,
'The Hunter's Funeral Procession.' The
forest animals accompany the dead forester's coffin
to the grave. The hares carry flags; in front is a
band of Gypsy musicians and music-making cats,
frogs, crows, etc. ; and deer, stags, foxes, and other
four-footed and feathered denizens of the forest
accompany the procession in comic postures. In the
present piece the imagined expression is partly ironi­cally
gay, partly gloomily brooding, and is immedi­ately
followed by
5. Dall' Inferno al Paradiso (allegro furioso), the
sudden outbreak of a profoundly wounded heart."
Mahler, composing, no doubt, in a spirit of ro­mantic
fantasy, probably wrote down such word
images as occurred to him, in something of the free
and ranging mood of Jean Paul, who, describing the
intoxicating idealism and godlike virtue of his hero,
could catch up a listener sufficiently attuned into a
state of ecstasy. It was a state of mind in which Jean
Paul, a Callot engraving, and a naive French canon
("Frere Jacques" in the minor) could merge into a
single musical episode without inconsistency. Mahler
had cause to learn that the general understanding
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was not so fancy free and pliable. There are those
who must have the full story, if there is any hint of
one. If there is a funeral march they demand the
full particulars- and ask, "Who is being buried?"
.,-.-'
Entr'acte
HOW I COMPOSE
ARTHUR HoNEGGER
A series published by the Editions de Conquistador, in
which various celebrities describe their vocations, includes,
as well as "Je suis Chef d'Orcfustre" by Charles Munch,
"Je tuis Compositeur" by Arthur Honegger.
M. Honegger has written in the form of an imaginary
interview with the editor, Bernard Gavoty. In a chapter
"Comment je travaille" he has tried to describe how he
goes about his task. His remarks about his function as
symphonist are here quoted in part.)
"Le veritable artiste reste toujours a demi­inconscient
de lui-meme lorsqu'il produit"
-Andre Gide
How do I go about my work? Can I define my
methods? I am not quite ure. To do this, one
would have to be able to describe a labor which goes
on exclusively inside of a skull - penetrate the wall
behind which it is happening. Musical composition
i the most mysterious of all the arts. One can find
out much by watching a painter or a sculptor at
work. Many men of letters dictate their books;
then they are working before witnesses. But at the
moment when a musician conceives a symphony, at
the instant when he is composing, he is alone and in
the shadows. He has to finish his score completely
before he can hear it. The painter and the sculptor,
as I had already said, have the ability to compare
their model with the transference which they are
making of it. You can watch them draw back,
examine, pick up the brush or the chisel, and correct
some faulty detail. For us musicians, it is impossible
to verify before hearing it: when we wish to rectify
it is already too late!
BERNARD GAVOTY- In that case, the most ardent
of your disciples could learn nothing by watching
you compose?
ARTHUR HoNEGGER - Nothing, I am afraid,
except at the time when I am orchestrating. He
could in a pinch help me, as the pupils of painters
once carried out details of the whole under the direc­tion
of the master. In music, the composition, the
conception of the work is a secret process, mysterious
and untransmissible. With the best faith in the
world, how explain the method of creation?
I should like to compare a symphony or a sonata
with a novel in which the themes are the characters.
We follow them after becoming acquainted with
them in their evolutions, in the development of their
psychology. Their personal physical traits remain
with us. Some excite our sympathy, others repel
us. They oppose each other or are matched; they
love each other, come together or quarrel.
If you prefer it, here is an architectural com­parison:
imagine that you are building an edifice
of which, at first, you are aware only of the general
plan, and which, progressively, becomes defined in
your mind.
We have, as in the other arts, rules which we have
learned, and which come to us from the masters. But
in addition to our craft, considered, spontaneous or
inherited, there is a certain impulsion for which we
are so to speak not responsible. It is a manifestation
of our subconscious, which we cannot explain.
B. G. - You are half-way between Berlioz (to
whom a kind God dictated sublime melodies) and
Stravinsky - not a particle of his work is allowed
to escape his own objective control!
A. H. - I must tell you in all sincerity, that a
large part of my work does escape my objective
control. To write music is to set up a ladder with­out
having any wall to lean it against. There is no
scaffolding; the edifice under construction maintains
its equilibrium only by the miracle of a kind of inte­rior
logic, of an inward sense of proportion. I am
both the architect and the spectator of my work.
I work and I evaluate. When an unexpected
obstacle stops me, I leave my table, I sit in the arm­chair
of the listener and I say to myself: "After hav­ing
heard it up to this point, what could I wish for
that might give me, if not the thrill of genius, at
least the impression of success? What should reason­ably
come next to satisfy me?" I try to find what
ROBIN HENDRICK
Shows and Sells
EARLY AMERICAN ANTIQUES
Refinished and in the Rough at
LILLY BOECHER'S
STOCKBRIDGE - ROUTE 7
Just south of the Red Lion Inn
HERBITS BERKSHffiE TOURS
Sightaeeing
Morning- Afternoon- All Day
Inquire HERBITS TRAVEL SERVICE
10 Bank Row, Pittsfield
Phone 6706- 6766. or your Innkeeper
Hollywood Inn on Lake Ashmere
NEAR TANGLEWOOD
Guest accommodations • Rooms newly refurnished
• Moderate rates • Beautiful grounds • All sports
• Casino - all alcoholic beverages also Sandwiches served
• New Housekeeping Cottages on lake rented week, month
or season.
Route 143 Hinsdale, Mass. Tel. Olympia 5-2200
28 1956 BERKSHIRE FESTIVAL ... Tanglewood
may follow, not the commonplace formula that every­one
would expect, but a new element, a resurge of
interest. Little by little I follow this method until
my score is completed.
B. G. - One fine day at an orchestral rehearsal
you hear for the first time a symphony which you
have imagined. Do you experience sudden surprises
before your dream now come to pass?
A. H. - A surprise would be, usually, evidence
of my uncertainty, making me out to be a musician
poorly equipped in his metier. A composer worthy
of the name will have foreseen everything. If so,
he will wish only to verify with his ear what his
brain has conceived. If I were to benefit by the
privileges accorded to painters, I would have an
orchestra at hand to play my sketches as I wrote
them: that would be revision as I went along. U n­fortunately,
that is impossible; there is nothing to
do but wait for the full rehearsal. But when that
time comes, the orchestral material is all written
out, the parts are copied, and any serious correc­tion
would entail a considerable amount of work.
Correcting the copyist's errors must suffice. I know
that some publishers agree, after the first edition, to
re-engrave entire pages. There are not too many,
as you may imagine! Generally speaking, one must
be ready to take risks.
The most appropriate comparison might be with
a shipbuilder who, at the .launching, may behold
the hull turn bottom side up. Happily, a similar
accident in music will have less blatant results.
l\!Iany modern scores float upside down. And very
few people notice it.
A CALENDAR OF EVENTS
Including Berkshire Festival Concerts by the
BOSTON SYMPHONY ORCHESTRA
Charles Munch, Music Director
Tanglewood, 1956
(This schedule is subji'Ct to change. Friends of the Berk­shire
Music Center should confirm dates of student per­formances
before comiTzg to Tanglcwood. Hours indicated
are Daylight Saving Time. Starred events (*) are opm
by invitation to the Friends of the Berkshire Music Cetzter
within the limits of the seating space available. The opera
productions of July 30**, August 6**, and 7**, will require
special tickets.
Gifts to the Berkshire Music Center are deductible from
Federal Income Tax.)
July 26, Thursday
Shed at 8:30- *DEPT. I: ORCHESTRA
July 27, Friday
Theatre at 3:30- *DEPT. IV: OPERA
Shed at 8:30- FESTIVAL CoNCERT (MUNCH)
July 28, Saturday
Shed at 10 a.m.- OPEN REHEARSAL
Shed at 8:30- FESTIVAL CONCERT (MUNCH)
Soloist: Rudolf Serkin, Piano
July 29, Sunday
Chamber Music Hall at 10 a.m.- *DEPT. I: CHAMBER
MUSIC
Shed at 2:30- FESTIVAL CONCERT (BURGIN)
Soloist: Ruth Posselt, Violin
Chamber Music Hall at 8:30- *DEPT. III: CoMPOSERs'
FORUM
July 30, Monday
T lzeatre at 8 :30-.. DEPT. IV: OPERA
July 31, Tuesday
Theatre at 8:30- *DEPT. II: CHORUS
August 1, Wednesday
T luatre at 8 :30- RuDOLF SERKIN and the BosTON
SYMPHONY WoODWIND QuARTET
August 2, Thursday
Shed at 8:30- *DEPT. I: ORCHESTRA
Aul(ust 3, Friday
Shed at 8:30- FESTIVAL CONCERT (CARVALHO)
Soloist: Joey de Oliveira, Piano
August 4, Saturday
Sized at 10 a.m.- OPEN REHEARSAL
Chamber Music Hall at 3-*DEPT. III : COMPOSERS'
FoRUM
Shed at 8:30- FESTIVAL CONCERT (BERNSTEIN)
Chorus and Soloists
August 5, Sunday
Chamber Music Hall at 10 a.m.-*DEPT. I: CHAMBER
MUSIC
Shed at 2:30- FESTIVAL CONCERT (MUNCH)
Soloist: Zino Francescatti, Violin
August 6, Monday
Theatre at 8:30-**DEPT. IV: OPERA
August 7, Tuesday
T lzeatre at 8 :30- **DEPT. IV: OPERA
August 8, Wednesday
Theatre at 8 :30- ZINO FRANCESCATTI and ARTUR BALSAM
August 9, Thursday
TANGLEWOOD ON PARADE (See page 31)
August 10, Friday
Sized at 8:30- FESTIVAL CONCERT (MUNCH)
August 11, Saturday
Sized at 10 a.m.- OPEN REHEARSAL
Shed at 3-*DEPT. I: ORCHESTRA
Shed at 8:30- FESTIVAL CONCERT (MONTEUX)
August 12, Sunday
Theatre at 10 a.m.- *DEPT. I: CHAMBER MUSIC
Shed at 2:30- FESTIVAL CONCERT (MUNCH)
Chorus and Soloists
Full Programs on Request at the Friends' Office
Programs Subject to Change
• •• •• •• •• •• •• •• •• • ••••• •
PUBLIC REHEARSALS
ADMISSION $1 EACH
July 28; August 4, 11, at 10 A.M.
Benefit the Pension Fund of the
Boston Symphony Orchestra
••••••••••• ++ •••• • ••• • ••
1956 BERKSHIRE FESTIVAL Tanglewood 29
RCA VICTOR RECORDS
Boston Symphony Orchestra
Recorded under the leadership of CHARLES MuNCH
Beetho'Ven Symphonies Nos. 5, 7
Berlioz "Fantastic Symphony"; Overture to "Beatrice and
Benedick"; "Romeo and Juliet" · (complete); "Summer
Nights" (DE Los ANGELES); "The Damnation of
Faust" (complete)
Brahms Piano Concerto No.2 (RuBENSTEIN);
4th Symphony
Bruch Violin Concerto No. 1 ( MENUHIN)
Chausson "Poeme" for Violin and Orchestra (OISTRAKH)
Chopin Piano Concerto No. 2 (BRAILOWSKY)
Debussy "The Blessed Damozel'' (DE Los ANGELES)
Handel "Water Music" Suite (arr. Harty)
Ilaydn Symphony No. 104
Honegger Symphonies Nos. 2, 5
Lalo Overture to "Le Roi d'Ys"
Menotti Violin Concerto (SPIYAKOVSKY)
Mozart Overture to "The Marriage of Figaro"
Ra'Vel "Daphnis and Chloe" (complete); "La Valse"
"Pavane for a Dead Princess"; "Rapsodie Espagnole"
Roussel "Bacchus and Ariane," Suite No. 2
Saint-Saifns "Introduction and Rondo Capriccioso" (Ois­TRAKH);
Overture to "La Princesse Jaune"; Piano
Concerto No. 4 (BRAILOWSKY)
Schubert Symphonies Nos. 2, 8 ("Unfinished" Symphony)
Schumann Overture to "Genoveva"; Symphony No. 1
Strauss "Don Quixote" (Soloist, PIATIGORSKY)
Tchaiko'Vsky Violin Concerto (MILSTEIN) ; 4th Symphony
Among the recordings under the leadership of
SERGE KOUSSEVITZKY
Bach Brandenburg Concertos Nos. 1, 6; Suites Nos. 1, 4
Beetltoveu Symphonies Nos. 3, 5, 9
Berlioz "Harold in Italy" (PRIMROSE)
Brahms Symphony No. 3; Violin Concerto {HEIFETZ)
Copland "A Lincoln Portrait"; "Appalachian Spring";
"EI Salon Mexico"
Hanson Symphony No. 3
Harris Symphony No. 3
Haydn Symphonies Nos. 92, "Oxford"; 94, "Surprise"
Khatchaturian Piano Concerto (KAPELL)
M endelsso/m Symphony No. 4, "Italian"
Mozart "Eine kleine N achtmusik"; Serenade No. 10, for
Woodwinds; Symphonies Nos. 36, "Linz"; 39
Prokofieff "Classical" Symphony; "Lt. Kije" Suite;
"Romeo and Juliet," Suite No. 2; Symphony No. 5;
Violin Concerto No. 2 (HEIFETZ)
Rachmaninoff "Isle of the Dead"
Ravel "Bolero"; "Ma Mere L'Oye" Suite
Schubert Symphony in B Minor, "Unfinished"
Sibelius Symphonies Nos. 2, 5
Strauss, R. "Don Juan"
Tchaiko'Vsky Serenade in C; Symphonies Nos. 4,
Wagner Siegfried Idyll
Recorded under the leadership of PIERRE MoNTEUX
Debussy "La Mer"; "Nocturnes"
Liszt "Les Pre! udes"
Mozart Piano Concertos Nos. 12, 18 (LILI KRAUS)
Scriabin "The Poem of Ecstasy"
Stravinsky "Le Sacre du Printemps"
Tchaikovsky Symphony No. 6, "Pathetique"
Delibes Ballets "Sylvia," "Coppelia" by Members of the
Boston Symphony Orchestra
Recorded under the leadership of LEONARD BERNSTEIN
Stra'Vinsky "L'Histoire du Soldat"; Octet for Winds
Recordings by the BoSTON PoPs ORCHESTRA
ARTHUR FIEDLER, Conductor
DELIGHTFUL PLACES TO STAY, LUNCH, OR DINE
'ilttutyrt
Route 20 Lenox Tel. Lenox 475
Famom for Fine Food and Good Service
Luncheon 12 :30 to 2 :00 P.M. Dinner 6 :30 to 8:00P.M.
DELUXE BUFFET Saturday and Sunday Evenings
During Shed Concerts 6:00 to 8:00 P.M.
Rendezvous Lormge Open Nightt1 for Cocktails,
Snacks and Entertainnr.et~t
Guest Accommodations
CHEF KARL'S
'LEN 0 X
LUNCH 12- 2 DINNER 6- 9
SUNDAY 12 to 8 P.M.
Telephone Lenox 698
for fun and gaiety
m tbe sun and under the stars
The~
.f-1-~
LENOX, MASSACHUSETTS
• Enjoy a Dip- Sip or a Snack • Heated Swimming
Pool • Peacock Lounge • Terrace Dining • After
Concert Gatherings • Old Stage Grill • Sunday Evening
Buffets o Outdoor Barbecues and Steak Roasts • Free
Parking Area
GEORGE A. TURAIN, Host
EGREMONT TAVERN
Comfortable Home-like Rooms
Delicious 'Wholesome Meals
Cocktails ser'Ved in our Lounge
or on our Garden T errace.
Routes 23 and 41, South Egremont, Mass.
Telephone: Great Barrington 827
7n /1,. l3ak,sltire'Hil/s a/ Stock,bridqe
The.l\.e.d Lion Inn
Refreshment and dinner at the
Red Lion Inn are an extra treat
for your Tanglewood visit.
RED LION INN
STOCKBRIDGE, MASS.
Phone 46
WAGON WHEELS RESTAURANT
Route 7 GREAT BARRINGTON .
Featuring Good Food, Cleanliness and Friendliness
Cocktails of Course Tel. 794-W
WENDOVER DAIRY BAR
CHURCH STREET- LENOX
Breakfast • Lunches • Dinners
Fountain Service • Home Made Ice Cream
-AIR CONDITIONED-
28 1956 BERKSHIRE FESTIVAL ... Tanglewood
may follow, not the commonplace formula that every­one
would expect, but a new element, a resurge of
interest. Little by little I follow this method until
my score is completed.
B. G. - One fine day at an orchestral rehearsal
you hear for the first time a symphony which you
have imagined. Do you experience sudden surprises
before your dream now come to pass?
A. H. - A surprise would be, usually, evidence
of my uncertainty, making me out to be a musician
poorly equipped in his metier. A composer worthy
of the name will have foreseen everything. If so,
he will wish only to verify with his ear what his
brain has conceived. If I were to benefit by the
privileges accorded to painters, I would have an
orchestra at hand to play my sketches as I wrote
them: that would be revision as I went along. U n­fortunately,
that is impossible; there is nothing to
do but wait for the full rehearsal. But when that
time comes, the orchestral material is all written
out, the parts are copied, and any serious correc­tion
would entail a considerable amount of work.
Correcting the copyist's errors must suffice. I know
that some publishers agree, after the first edition, to
re-engrave entire pages. There are not too many,
as you may imagine! Generally speaking, one must
be ready to take risks.
The most appropriate comparison might be with
a shipbuilder who, at the .launching, may behold
the hull turn bottom side up. Happily, a similar
accident in music will have less blatant results.
l\!Iany modern scores float upside down. And very
few people notice it.
A CALENDAR OF EVENTS
Including Berkshire Festival Concerts by the
BOSTON SYMPHONY ORCHESTRA
Charles Munch, Music Director
Tanglewood, 1956
(This schedule is subji'Ct to change. Friends of the Berk­shire
Music Center should confirm dates of student per­formances
before comiTzg to Tanglcwood. Hours indicated
are Daylight Saving Time. Starred events (*) are opm
by invitation to the Friends of the Berkshire Music Cetzter
within the limits of the seating space available. The opera
productions of July 30**, August 6**, and 7**, will require
special tickets.
Gifts to the Berkshire Music Center are deductible from
Federal Income Tax.)
July 26, Thursday
Shed at 8:30- *DEPT. I: ORCHESTRA
July 27, Friday
Theatre at 3:30- *DEPT. IV: OPERA
Shed at 8:30- FESTIVAL CoNCERT (MUNCH)
July 28, Saturday
Shed at 10 a.m.- OPEN REHEARSAL
Shed at 8:30- FESTIVAL CONCERT (MUNCH)
Soloist: Rudolf Serkin, Piano
July 29, Sunday
Chamber Music Hall at 10 a.m.- *DEPT. I: CHAMBER
MUSIC
Shed at 2:30- FESTIVAL CONCERT (BURGIN)
Soloist: Ruth Posselt, Violin
Chamber Music Hall at 8:30- *DEPT. III: CoMPOSERs'
FORUM
July 30, Monday
T lzeatre at 8 :30-.. DEPT. IV: OPERA
July 31, Tuesday
Theatre at 8:30- *DEPT. II: CHORUS
August 1, Wednesday
T luatre at 8 :30- RuDOLF SERKIN and the BosTON
SYMPHONY WoODWIND QuARTET
August 2, Thursday
Shed at 8:30- *DEPT. I: ORCHESTRA
Aul(ust 3, Friday
Shed at 8:30- FESTIVAL CONCERT (CARVALHO)
Soloist: Joey de Oliveira, Piano
August 4, Saturday
Sized at 10 a.m.- OPEN REHEARSAL
Chamber Music Hall at 3-*DEPT. III : COMPOSERS'
FoRUM
Shed at 8:30- FESTIVAL CONCERT (BERNSTEIN)
Chorus and Soloists
August 5, Sunday
Chamber Music Hall at 10 a.m.-*DEPT. I: CHAMBER
MUSIC
Shed at 2:30- FESTIVAL CONCERT (MUNCH)
Soloist: Zino Francescatti, Violin
August 6, Monday
Theatre at 8:30-**DEPT. IV: OPERA
August 7, Tuesday
T lzeatre at 8 :30- **DEPT. IV: OPERA
August 8, Wednesday
Theatre at 8 :30- ZINO FRANCESCATTI and ARTUR BALSAM
August 9, Thursday
TANGLEWOOD ON PARADE (See page 31)
August 10, Friday
Sized at 8:30- FESTIVAL CONCERT (MUNCH)
August 11, Saturday
Sized at 10 a.m.- OPEN REHEARSAL
Shed at 3-*DEPT. I: ORCHESTRA
Shed at 8:30- FESTIVAL CONCERT (MONTEUX)
August 12, Sunday
Theatre at 10 a.m.- *DEPT. I: CHAMBER MUSIC
Shed at 2:30- FESTIVAL CONCERT (MUNCH)
Chorus and Soloists
Full Programs on Request at the Friends' Office
Programs Subject to Change
• •• •• •• •• •• •• •• •• • ••••• •
PUBLIC REHEARSALS
ADMISSION $1 EACH
July 28; August 4, 11, at 10 A.M.
Benefit the Pension Fund of the
Boston Symphony Orchestra
••••••••••• ++ •••• • ••• • ••
1956 BERKSHIRE FESTIVAL Tanglewood 29
RCA VICTOR RECORDS
Boston Symphony Orchestra
Recorded under the leadership of CHARLES MuNCH
Beetho'Ven Symphonies Nos. 5, 7
Berlioz "Fantastic Symphony"; Overture to "Beatrice and
Benedick"; "Romeo and Juliet" · (complete); "Summer
Nights" (DE Los ANGELES); "The Damnation of
Faust" (complete)
Brahms Piano Concerto No.2 (RuBENSTEIN);
4th Symphony
Bruch Violin Concerto No. 1 ( MENUHIN)
Chausson "Poeme" for Violin and Orchestra (OISTRAKH)
Chopin Piano Concerto No. 2 (BRAILOWSKY)
Debussy "The Blessed Damozel'' (DE Los ANGELES)
Handel "Water Music" Suite (arr. Harty)
Ilaydn Symphony No. 104
Honegger Symphonies Nos. 2, 5
Lalo Overture to "Le Roi d'Ys"
Menotti Violin Concerto (SPIYAKOVSKY)
Mozart Overture to "The Marriage of Figaro"
Ra'Vel "Daphnis and Chloe" (complete); "La Valse"
"Pavane for a Dead Princess"; "Rapsodie Espagnole"
Roussel "Bacchus and Ariane," Suite No. 2
Saint-Saifns "Introduction and Rondo Capriccioso" (Ois­TRAKH);
Overture to "La Princesse Jaune"; Piano
Concerto No. 4 (BRAILOWSKY)
Schubert Symphonies Nos. 2, 8 ("Unfinished" Symphony)
Schumann Overture to "Genoveva"; Symphony No. 1
Strauss "Don Quixote" (Soloist, PIATIGORSKY)
Tchaiko'Vsky Violin Concerto (MILSTEIN) ; 4th Symphony
Among the recordings under the leadership of
SERGE KOUSSEVITZKY
Bach Brandenburg Concertos Nos. 1, 6; Suites Nos. 1, 4
Beetltoveu Symphonies Nos. 3, 5, 9
Berlioz "Harold in Italy" (PRIMROSE)
Brahms Symphony No. 3; Violin Concerto {HEIFETZ)
Copland "A Lincoln Portrait"; "Appalachian Spring";
"EI Salon Mexico"
Hanson Symphony No. 3
Harris Symphony No. 3
Haydn Symphonies Nos. 92, "Oxford"; 94, "Surprise"
Khatchaturian Piano Concerto (KAPELL)
M endelsso/m Symphony No. 4, "Italian"
Mozart "Eine kleine N achtmusik"; Serenade No. 10, for
Woodwinds; Symphonies Nos. 36, "Linz"; 39
Prokofieff "Classical" Symphony; "Lt. Kije" Suite;
"Romeo and Juliet," Suite No. 2; Symphony No. 5;
Violin Concerto No. 2 (HEIFETZ)
Rachmaninoff "Isle of the Dead"
Ravel "Bolero"; "Ma Mere L'Oye" Suite
Schubert Symphony in B Minor, "Unfinished"
Sibelius Symphonies Nos. 2, 5
Strauss, R. "Don Juan"
Tchaiko'Vsky Serenade in C; Symphonies Nos. 4,
Wagner Siegfried Idyll
Recorded under the leadership of PIERRE MoNTEUX
Debussy "La Mer"; "Nocturnes"
Liszt "Les Pre! udes"
Mozart Piano Concertos Nos. 12, 18 (LILI KRAUS)
Scriabin "The Poem of Ecstasy"
Stravinsky "Le Sacre du Printemps"
Tchaikovsky Symphony No. 6, "Pathetique"
Delibes Ballets "Sylvia," "Coppelia" by Members of the
Boston Symphony Orchestra
Recorded under the leadership of LEONARD BERNSTEIN
Stra'Vinsky "L'Histoire du Soldat"; Octet for Winds
Recordings by the BoSTON PoPs ORCHESTRA
ARTHUR FIEDLER, Conductor
DELIGHTFUL PLACES TO STAY, LUNCH, OR DINE
'ilttutyrt
Route 20 Lenox Tel. Lenox 475
Famom for Fine Food and Good Service
Luncheon 12 :30 to 2 :00 P.M. Dinner 6 :30 to 8:00P.M.
DELUXE BUFFET Saturday and Sunday Evenings
During Shed Concerts 6:00 to 8:00 P.M.
Rendezvous Lormge Open Nightt1 for Cocktails,
Snacks and Entertainnr.et~t
Guest Accommodations
CHEF KARL'S
'LEN 0 X
LUNCH 12- 2 DINNER 6- 9
SUNDAY 12 to 8 P.M.
Telephone Lenox 698
for fun and gaiety
m tbe sun and under the stars
The~
.f-1-~
LENOX, MASSACHUSETTS
• Enjoy a Dip- Sip or a Snack • Heated Swimming
Pool • Peacock Lounge • Terrace Dining • After
Concert Gatherings • Old Stage Grill • Sunday Evening
Buffets o Outdoor Barbecues and Steak Roasts • Free
Parking Area
GEORGE A. TURAIN, Host
EGREMONT TAVERN
Comfortable Home-like Rooms
Delicious 'Wholesome Meals
Cocktails ser'Ved in our Lounge
or on our Garden T errace.
Routes 23 and 41, South Egremont, Mass.
Telephone: Great Barrington 827
7n /1,. l3ak,sltire'Hil/s a/ Stock,bridqe
The.l\.e.d Lion Inn
Refreshment and dinner at the
Red Lion Inn are an extra treat
for your Tanglewood visit.
RED LION INN
STOCKBRIDGE, MASS.
Phone 46
WAGON WHEELS RESTAURANT
Route 7 GREAT BARRINGTON .
Featuring Good Food, Cleanliness and Friendliness
Cocktails of Course Tel. 794-W
WENDOVER DAIRY BAR
CHURCH STREET- LENOX
Breakfast • Lunches • Dinners
Fountain Service • Home Made Ice Cream
-AIR CONDITIONED-
30 1956 BERKSHIRE FESTIVAL ... Tanglewood
SERVICES
C. T. BRIGHAM COMPANY
The Original Paper Jobber of 1/Testern Massachusetts
Paper Supplies for
Retail Stores, Restaurants and Institutions
Pittsfield • Tel. 5646
CARR HARDWARE CO.
Plumbing Supplies, Paints, Electrical and
Household Supplies, Lighting Fixtures
413.415 NORTH STREET, PITTSFIELD
Telephone Pittsfield 2-1581
••••••••••••••••••••••••••••••••••••
E. J. C R A M E R
General Contractor
PITTSFIELD, MASSACHUSETTS
••••••••••••••••••••••••••••••••••••
J. H. J ohnson's Sons, Inc.
Plumbing Heating and Sheet Metal Work
Lenox, Massachusetts Telephone 12W
WILLIAM T. LAHART
ELECTRICAL CONTRACTOR
SHOP .............. Housatonic Street, Lenox
HOME ... School Street, Lenox, Telephone 146
Lenox National Bank
General Banking Service
TRAVELLERS CHEQUES S AFE D EPOSIT B oxEs
LENOX PACKAGE STORE
RICHARD WHALEN
Imported and Domestic Jf/ines and Liquors
CHURCH STREET • LENOX, MASS.
Telephone Lenox 57
THE PERSONNEL OF THE
r:Boston Symphony Orchestra
(Seventy-fifth Season, 1955 -1956)
CHARLES MUNCH, Music Director
Richard Burgin, Associate Conductor
Violins
Richard Burgin,
Concert-Master
Al£red Krips
George Zazofsky
Rolland Tapley
Norbert Lauga
Vladimir Resnikoff
Harry Dickson
Gottfried Willinger
Einar Hansen
Joseph Leibovici
Emil Kornsand
Roger Shermont
Minot Beale
Herman Silbennan
Stanley Benson
Leo Panasevich
Sheldon Rotenberg
Fredy Ostrovsky
Clarence Knudson
Pierre Mayer
Manuel Zung
Samuel Diamond
Victor Manusevitch
James Nagy
Melvin Bryant
Lloyd Stonestreet
Saverio Messina
William Waterhouse
William Marshall
Leonard Moss
Jesse Ceci
Noah Bielski
Alfred Schneider
Joseph Silverstein
Violas
Joseph de Pasquale
Jean Cauhape
Eugen Lehner
Albert ·Bernard
George Humphrey
Jerome Lipson
Robert Karol
Reuben Green
Bernard Kadinoff
Vincent Mauricci
John Fiasca
Earl Hedberg
Violoncellos
Samuel Mayes
Alfred Zighera
Jacobus Langendoen
Mischa Nieland
Karl Zeise
Joseph Zimbler
Bernard Parronchi
Leon Marjollet
Martin Hoherman
Louis Berger
Richard Kapuscinski
Robert Ripley
Basses
Georges Moleux
Gaston Dufresne
Ludwig Juht
Irving Frankel
Henry Freeman
Henry Portnoi
Henry Girard
John Barwicki
Flutes
Doriot Anthony Dwyer
James Pappoutsakis
Phillip Kaplan
Piccolo
George Madsen
Oboes
Ralph Gomberg
Jean Devergie
John Holmes
English Horn
Louis Speyer
Clarinets
Gino Cioffi
Manuel Valerio
Pasquale Cardillo
E-Fiat Clarinet
Bass Clarinet
Rosario Mazzeo
Bassoons
Sherman Walt
Ernst Panenka
Theodore Brewster
Contra-Bassoon
Richard Plaster
Horns
James Stagliano
Charles Yancich
Harry Shapiro
Harold Meek
Paul Keaney
Osbourne McConathy
Trumpets
Roger Voisin
Marcel Lafosse
Annando Ghitalla
Gerard Goguen
Trombones
William Gibson
William Moyer
Kauko Kahila
Josef Orosz
Tuba
K. Vinal Smith
Harps
Bernard Zighera
Olivia Luetcke
Timp ani
Roman Szulc
Everett Firth
Percussion
Charles Smith
Harold Farberman
Harold Thompson
Arthur Press
Piano
Bernard Zighera
Librarians
Leslie Rogers
Victor Alpert, Ass't
Holders of Boxes and Reserved Seats are invited to a
special performance of the Opera Department at four o'clock
Thursday, August 9 ... EVENTS FROM 6 to 11 P. M.
(Rain or Shine)
"7'anglewood on Parade"
For the Benefit of the Berkshire Music Center
Concert in the Shed at 8:I5
THE BOSTON SYMPHONY ORCHBSTRA
Condu cted by ELEAZAR de CARVALHO
Overture, "The Russian Easter" .
Choros No. 10 ( Rasta o cora~ao)
Berkshire F'estival Chorus
Rimsky-Korsakoff
Villa-Lobos
THE BOSTON POPS ORCHE'STRA
ARTHUR FIEDLER, Condu ctor
In A Typical Pop's Program:
La Boutique Fantasque . Rossini-Respighi
Piano Concerto in F . Gershwin
Soloist: Jesus Maria Sanroma
Bolero Ravel
(En cores may be expected!)
Lawn Party . . . Picnic Supper . . . Door Prizes
Watch for further announ cements
Box Seats- $5 .. Front Sections (All seats reserved)- $4 and $3 .. Unreserved Section- $2.50
Llll who purchase tickets will be invited to attend the activities of the school at 6 o'clock
SYMPHONY ORCHESTRA OPERA SCENES THE CHORUS CHAMBER MUSIC
the Tanglewood Tradition ...
• • . embodies the finest in musical standards and achievements. Year after year, the
Berkshire Festival concerts of the Boston Symphony offer the world's great music
to audiences of international character; the Berkshire Music Center is unmatched
in the distinction of its faculty and its students. There can be no compromise with
ideals in the maintenance of such a tradition as Tanglewood.
The choice of Baldwin by the Boston Symphony
Orchestra, the Berkshire Festival and the
Berkshire l\'Iusic Center is a significant measure
of the degree to which the Baldwin Piano
Company has attained new standards of excellence
in the art of Piano making.
For an important gift, or for your own use, make
Baldwin your choice too.
~al~win Established 1862
Baldwin, Acrosonic and Hamilton Pianos, Baldwin and Orga-sonic Electronic organs,
used exclusively at the Berkshire l\Iusic Center and Berkshire Music Festival, are
sold by leading dealers in all principal cities.
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