Tickets & Events

TMC Vocal and Instrumental Fellows
An Evening of Bach Cantatas

Tanglewood

Seiji Ozawa Hall - Lenox, MA View Map

The Tanglewood Music Center (TMC) is the Boston Symphony Orchestra's summer academy for advanced musical study.  Young professional-level musicians of exceptional ability, while on full fellowships that cover the costs of room, board, and tuition, work closely with members of the BSO and renowned guest artists, performing some 40 concerts each season.

Featured Performers

John Harbison, conductor
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Composer John Harbison is among America's most prominent artistic figures. He has received numerous awards and distinctions, including three of the most prestigious: the MacArthur Foundation's "genius" award, the Pulitzer Prize, and the Heinz Award in the Arts and Humanities. Harbison has composed music for most of this country's premiere musical institutions, including the Metropolitan Opera (for whom he wrote The Great Gatsby), the Chicago Lyric Opera, the New York Philharmonic, the Chicago Symphony, the Boston Symphony, the Los Angles Philharmonic, the Chamber Music Society of Lincoln Center, and the Santa Fe and Aspen festivals. His works include four string quartets, five symphonies, a ballet, three operas, and numerous chamber and choral works.

Harbison's music is distinguished by its exceptional resourcefulness and expressive range. He is considered to be "original, varied, and absorbing - relatively easy for audiences to grasp and yet formal and complex enough to hold our interest through repeated hearings - his style boasts both lucidity and logic" (Fanfare). Harbison is also a gifted commentator on the art and craft of composition and was recognized in his student years as an outstanding poet (he wrote his own libretto for Gatsby).

Several works have recently premiered: Double Concerto for Violin and Cello with the Boston Symphony Orchestra; Diamond Watch: Double Play for Two Pianos (at MIT), Leonard Stein Anagrams (for Piano Spheres), Mary Lou (for the Pittsburgh Youth Symphony), The Seven Ages (A Koussevitsky commission for the New York New Music Ensemble and the San Fransisco Contemporary Music Players), French Horn Suite (Boston, MA), A Clear Midnight (Pro Arte Singers), Winter's Tale (BMOP, complete revised version), Symphony No. 5, commissioned by the Boston Symphony Orchestra; The Great Gatsby Suite (for the Aspen Festival Orchestra), Cort├Ęge, for six percussionists (New England Conservatory); Milosz Songs (commissioned by the New York Philharmonic for long-time Harbison champion Dawn Upshaw); the Concerto for Bass Viol (commissioned by the International Society for Double Bassists for a consortium of fifteen major orchestras); But Mary Stood: Sacred Symphony for Soprano, Chorus and Strings (Cantata Singers of Boston); and the sinfonietta Umbrian Landscape (Chicago Chamber Musicians)

Harbison's present composition projects include a setting of texts by Alice Munro for voice and orchestra (for the Metropolitan Opera Orchestra), his Sixth Symphony for the Boston Symphony Orchestra (who are also honoring Harbison by presenting his full symphonic cycle between 2010-2012), his fifth string quartet (for the Pro Arte Quartet), and a work for violin and piano (Music Accord).

Harbison's opera Full Moon in March (BMOP Sound) was released on CD in April 2009 and The First Four String Quartets (Centaur) was released in September, joining several new recordings issued last season: Christmas Vespers (Brassjar Music), Montale Occasions (Albany), and the ballet Ulysses (BMOP Sound). Other recent releases include The Rewaking (String Quartet with Soprano, Bridge); Partita (American Orchestral Works, Cedille), nominated for a Grammy Award; John Harbison: Chamber Music (Naxos); Music of John Harbison, Volume 1 (Bridge); The Amelia Trio: Music of John Harbison (Naxos); Motetti di Montale (Koch), also a Grammy nominee; Symphony No. 3 (Oehms Classics: Levine/Munich); String Quartet No. 4 (Koch); the Viola Concerto (Albany); the Cello Concerto (Albany); Four Psalms and Emerson (New World); and Variations, Four Songs of Solitude, and Twilight Music (Naxos). Altogether, more than ninety of his compositions have been recorded on labels such as Albany, Centaur, Nonesuch, Northeastern, Harmonia Mundi, New World, Decca, Koch, Archetype, CRI, Naxos, Bridge, Cedille, and Musica Omnia labels. The Musica Omnia double album of works for string quartet was named one of top ten classical CDs of the year by The New York Times.

Harbison has been composer-in-residence with the Pittsburgh Symphony, the Los Angeles Philharmonic, the Tanglewood, Marlboro, and Santa Fe Chamber Music Festivals, Songfest, and the American Academy in Rome. As a conductor, Harbison has led a number of leading orchestras and chamber groups. From 1990 to 1992 he was Creative Chair with the St. Paul Chamber Orchestra, conducting music from Monteverdi to the present, and in 1991, at the Ojai Festival, he led the Scottish Chamber Orchestra. Harbison has also conducted many other ensembles,among them the Los Angeles Philharmonic, the Boston Symphony, and the Handel and Haydn Society. Mr. Harbison first led Bach cantata performances in 1958 as conductor of Harvard's Bach Society Orchestra. He has continued to do so every year since then, in two tenures as music director of Boston's Cantata Singers, and then for many years as principal guest conductor of Emmanuel Music in Boston, leading performances there not only of Bach cantatas, but also 17th-century motets, and contemporary music.

Harbison was born in Orange, New Jersey on December 20, 1938 into a musical family. He was improvising on the piano by five years of age and started a jazz band at age 12. He did his undergraduate work at Harvard University and earned an MFA from Princeton University. Following completion of a junior fellowship at Harvard, Harbison joined the faculty at the Massachusetts Institute of Technology where, in 1984, he was named Class of 1949 Professor of Music; in 1994, Killian Award Lecturer in recognition of "extraordinary professional accomplishments;"and in 1995 he was named Institute Professor, the highest academic distinction MIT offers to resident faculty. He has also taught at CalArts and Boston University, and in 1991 he was the Mary Biddle Duke Lecturer in Music at Duke University. Furthering the work of younger composers is one of Harbison's prime interests, and he serves as president of the Aaron Copland Fund for Music.

In 1998, Harbison was named winner of the Heinz Award for the Arts and Humanities, a prize established in honor of the late Senator John Heinz by his wife Teresa to recognize five leaders annually for significant and sustained contributions in the Arts and Humanities, the Environment, the Human Condition, Public Policy and Technology, and the Economy and Employment. He is the recipient of numerous other awards, among them the Distinguished Composer award from the American Composer's Orchestra (2002), the Harvard Arts Medal (2000), the American Music Center's Letter of Distinction (2000), the Kennedy Center Friedheim First Prize (for his Piano Concerto), a MacArthur Fellowship (1989), and the Pulitzer Prize (1987). He also holds four honorary doctorates.

Much of Harbison's violin music has been composed for his wife Rose Mary, with whom he serves as artistic director of the annual Token Creek Chamber Music Festival, founded in 1989 and held on the family farm in Wisconsin, where much of Harbison's music has been composed.

In recent years, Harbison has revived his career as a jazz pianist, composer, and arranger. Early on, as the founder-leader of the Harbison Heptet and as sideman in many other groups - playing with Tom Artin, Buck Clayton, Vic Dickenson, Jo Jones, and Edmund Hall (1952-1963) - he took a jazz sabbatical for four decades, returning in 2003 to found the Token Creek Jazz Ensemble. The quartet and guests perform exclusively for the annual Token Creek Festival in Wisconsin. As a keyboard player he explores affinities between jazz change playing and figured bass realization.

Harbison's music is published exclusively by Associated Music Publishers.

-September 2010

John Harbison, conductor Tanglewood Music Center Vocal Fellows
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THE TRAINING GROUNDS FOR THE MUSICIANS OF TOMORROW


The Tanglewood Music Center Fellowship Program is the Boston Symphony Orchestra's summer academy for advanced musical study. The TMC offers an intensive schedule of study and performance for emerging professional instrumentalists, singers, conductors, and composers who have completed most of their formal training in music.
 

Serge Koussevitzky, the Boston Symphony Orchestra's music director from 1924 to 1949, founded the school with the intention of creating a premier music academy where, with the resources of a great symphony orchestra at their disposal, young musicians would sharpen their skills under the tutelage of Boston Symphony Orchestra musicians and other specially invited artists.


The Berkshire Music Center opened formally on July 8, 1940, with both speeches (Koussevitzky, alluding to the war then raging in Europe, said, "If ever there was a time to speak of music, it is now in the New World") and music, including the first performance of Randall Thompson's Alleluia for unaccompanied chorus, which was written for the ceremony and arrived less than an hour before the event was to begin, but which made such an impression that it is sung every summer at the TMC's Opening Exercises. The TMC became Koussevitzky's pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors.
 

Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as the BSO's music director. Charles Munch, his successor in that position, ran the TMC from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school's programs. In 1963, new BSO Music Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky's hands-on leadership approach while restoring a renewed emphasis on contemporary music. The TMC's annual Festival of Contemporary Music, produced in association with the Fromm Music Foundation, was begun in 1963.
 

In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO's programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher served as the TMC's Artistic Director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. In 1998, Ellen Highstein was appointed to the new position of Director of the Tanglewood Music Center, operating under the artistic supervision of Seiji Ozawa. Maestro James Levine took over as Music Director of the BSO in 2005 and has continued the tradition of hands-on involvement with the TMC, conducting both orchestral concerts and staged operas, as well as participating in masterclasses for singers, conductors, and composers.
 

It would be impossible to list all the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20 percent of the members of American symphony orchestras, and 30 percent of all first-chair players, studied at the TMC.
 

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

Tanglewood Music Center Vocal Fellows
Tanglewood Music Center Instrumental  Fellows
View biography in full page >

THE TRAINING GROUNDS FOR THE MUSICIANS OF TOMORROW


The Tanglewood Music Center Fellowship Program is the Boston Symphony Orchestra's summer academy for advanced musical study. The TMC offers an intensive schedule of study and performance for emerging professional instrumentalists, singers, conductors, and composers who have completed most of their formal training in music.
 

Serge Koussevitzky, the Boston Symphony Orchestra's music director from 1924 to 1949, founded the school with the intention of creating a premier music academy where, with the resources of a great symphony orchestra at their disposal, young musicians would sharpen their skills under the tutelage of Boston Symphony Orchestra musicians and other specially invited artists.


The Berkshire Music Center opened formally on July 8, 1940, with both speeches (Koussevitzky, alluding to the war then raging in Europe, said, "If ever there was a time to speak of music, it is now in the New World") and music, including the first performance of Randall Thompson's Alleluia for unaccompanied chorus, which was written for the ceremony and arrived less than an hour before the event was to begin, but which made such an impression that it is sung every summer at the TMC's Opening Exercises. The TMC became Koussevitzky's pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors.
 

Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as the BSO's music director. Charles Munch, his successor in that position, ran the TMC from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school's programs. In 1963, new BSO Music Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky's hands-on leadership approach while restoring a renewed emphasis on contemporary music. The TMC's annual Festival of Contemporary Music, produced in association with the Fromm Music Foundation, was begun in 1963.
 

In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO's programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher served as the TMC's Artistic Director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. In 1998, Ellen Highstein was appointed to the new position of Director of the Tanglewood Music Center, operating under the artistic supervision of Seiji Ozawa. Maestro James Levine took over as Music Director of the BSO in 2005 and has continued the tradition of hands-on involvement with the TMC, conducting both orchestral concerts and staged operas, as well as participating in masterclasses for singers, conductors, and composers.
 

It would be impossible to list all the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20 percent of the members of American symphony orchestras, and 30 percent of all first-chair players, studied at the TMC.
 

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

Tanglewood Music Center Instrumental Fellows