![All of the performers at the Tanglewood 75th Anniversary Concert take a bow after the finale. Photo Hilary Scott. All of the performers at the Tanglewood 75th Anniversary Concert take a bow after the finale. Photo Hilary Scott.]()
All of the performers at the Tanglewood 75th Anniversary Concert take a bow after the finale. Photo Hilary Scott.
Tanglewood 75th Anniversary Celebration
Boston Symphony Orchestra
Boston Pops Orchestra
Tanglewood Music Center Orchestra
John Williams, Keith Lockhart, and Andris Nelsons, conductors
Anne-Sophie Mutter, violin
Yo-Yo Ma, cello
Emanuel Ax and Peter Serkin, pianos
James Taylor, vocalist
Tanglewood Festival Chorus
John Oliver, conductor
![Seiji Ozawa was presented the first ever Tanglewood medal by John Williams and Yo Yo Ma in absentia at the 75 Anniversary Celebration of Tanglewood. Photo Hilary Scott. Seiji Ozawa was presented the first ever Tanglewood medal by John Williams and Yo Yo Ma in absentia at the 75 Anniversary Celebration of Tanglewood. Photo Hilary Scott.]()
Seiji Ozawa was presented the first ever Tanglewood medal by John Williams and Yo Yo Ma in absentia at the 75 Anniversary Celebration of Tanglewood. Photo Hilary Scott.
Copland – Fanfare for the Common Man - Boston Pops Orchestra brass/Keith Lockhart
Bernstein – Three Dance Episodes from On the Town - Boston Pops Orchestra/Lockhart
Selections from the Great American Songbook, (arr. Gil Goldstein) - (James Taylor/Boston Pops Orchestra/John Williams)
Arlen & Harburg - “Over the Rainbow”
Rodgers & Hammerstein – “Shall We Dance?”
Kern & Hammerstein - “Ol’ Man River”
Haydn - Piano Concerto in D, 2nd and 3rd movements - Emanuel Ax/Tanglewood Music Center Orchestra/Stefan Asbury
Tchaikovsky - Andante cantabile, for cello and strings – Yo-Yo Ma/TMCO
Sarasate – Carmen Fantasy, for violin and orchestra – Anne-Sophie Mutter/TMCO/Andris Nelsons
Ravel – La Valse, Choreographic poem – Boston Symphony Orchestra/Andris Nelsons
First-ever Tanglewood Medal presented by John Williams to Seiji Ozawa in absentia; Yo-Yo Ma to read a response from Mr. Ozawa from the stage at approximately 10:30 pm
Beethoven - Fantasia in C minor for piano, chorus, and orchestra, Op. 80 – Peter Serkin/David Zinman/BSO
In this special version of the popular annual “Tanglewood on Parade” concert, the 75th anniversary of the festival as we know it (more or less) was duly celebrated. On August 5, 1937, the Boston Symphony Orchestra performed an all-Beethoven concert under Music Director Serge Koussevitzky. (I have already mentioned this in my review of the commemorative reprise of the same program on July 6.) This was the first concert of the Berkshire Symphonic Festival, as it was then known, both with the Boston Symphony and on the same property, Tanglewood, which has been the home of the orchestra ever since. (For a brief history of Tanglewood, click here.) The program book for the concert, reproduced in the anniversary program booklets, bills the season as the fourth: the Boston Symphony played on a different property close by in 1936, and the Festival actually began on August 25, 1934 with a concert played by 65 members of the New York Philharmonic-Symphony under Henry Hadley on a farm in Interlaken. When Koussevitzky and the BSO were invited to replace them, the maestro saw a marvelous opportunity either to realize a project he had conceived in Russia for a grand festival of all the arts, or at least to give the Boston Symphony exposure among the wealthy New Yorkers who summered in the Berkshires, not to mention the financial elite of Chicago and Cleveland, who also had “cottages” in the Berkshires. Above all, the festival was a way to keep the orchestra musicians working throughout the year. (At this time many of the musicians came from Europe, and the first thing they did when the season was over was to get on a boat for home. Often they decided to stay there.) These early years involved a handful of orchestral concerts. The two intense months of opera, chamber music, contemporary music, musical formation, and, of course, orchestral music evolved over the next decade, with 1942-45 passed over because of the war. The purpose of the first sponsors was always to create a music festival that would rival the great festivals of Europe. Koussevitzky’s ambitions surpassed ever theirs, eventually creating the model for the American classical music festival, with its combination of high-minded education and “music under the stars” for a broad audience.
Act 2000, we were unable to keep a copy of the original attachment.
Very long filenames are good signs of attacks against Microsoft e-mail packages (Seiji-Ozawa-wa.jpg)