Tomorrow night, Tanglewood - the summer home of the Boston Symphony Orchestra - celebrates its 75th anniversary with a gala, all-star concert. But part of the celebration has already started. On June 20th, the orchestra began 75 days of streaming rare concerts from the vast Tanglewood archive. Classical music critic Lloyd Schwartz is very excited about this project.


LLOYD SCHWARTZ, BYLINE: On July 20, 1958, at Tanglewood, pianist Leon Fleisher played an electrifying Brahms' "First Piano Concerto" with the Boston Symphony Orchestra, under one of its former music directors, Pierre Monteux. This remarkable teaming has not been heard since then. But the BSO has come up with an inspired way to celebrate the 75th anniversary of Tanglewood. Every day for 75 days - through the summer - the BSO will stream a different historic Tanglewood concert on its website, including this astonishing Brahms and going even further back, to the very first Tanglewood concert - with a Beethoven "Fifth Symphony," under the leadership of the visionary Serge Koussevitzky; August 5, 1937.

I can't remember when I first started going to Tanglewood. It was certainly before I owned my own car - because I needed someone to give me a ride out to the Berkshires, more than two hours from Boston. Music was only part of the pleasure. The setting is idyllic, and a good picnic out on the lawn could be as enjoyable as the music itself. Of course, the open-air acoustics are not going to compare well to the magnificent sound at Boston's Symphony Hall; and many of the programs simply repeat what has already been performed in Boston. But every now and again, there's something wonderful, that Boston can't replicate.

The very best performance I ever heard by Seiji Ozawa, was at Tanglewood in 1974 - Schoenberg's epic saga "Gurrelieder," which almost cries out for an outdoor setting. He led the amazing student orchestra, and such legendary artists as soprano Phyllis Curtin and bass-baritone George London. Ozawa was in his element. When he repeated this piece five years later - at Symphony Hall, with a different cast - it felt cramped and flat. I'm sorry this isn't one of the downloadable performances, though there's a thrilling version led by James Levine.

Not all these past concerts are serious ones. I'd have loved to attend the July 13th, 1961, BSO Pension Fund Concert conducted by Danny Kaye; whose conducting adviser was his friend and BSO first violinist, Harry Ellis Dixon. I'm especially tickled by Kaye's deconstruction of Johann Strauss.



SCHWARTZ: SCHWARTZ: One Tanglewood event I was at - and I'm very happy to hear again - is a 2006 performance of Stravinsky's Histoire du Soldat, by the Tanglewood Music Center Fellows. But these brilliant young players were upstaged by the three speakers serving as Narrator, Devil and Soldier - composers John Harbison; the late Milton Babbit; and the then, only 97-year-old Elliott Carter, who is particularly poignant as the cheated Soldier.


ELLIOTT CARTER: (as Soldier) The Devil robbed me blind. I miss those treasures left behind, the pleasures that I knew before; my mother smiling at the door, the friends with whom I'd raise a glass, the summer smell of fresh-cut grass, and my fiddle - that cheap and tuneless thing. Still, when I tried, I could make it sing.

SCHWARTZ: I don't have equal enthusiasm for every choice but on the whole, I think this is a remarkable selection. There are informative and witty notes online by former Boston Globe music critic Richard Dyer; that include some reviews of the original concerts - not all completely positive. And the first day of each download is free. It's wonderful to finally have access to these previously inaccessible concerts.

DAVIES: Lloyd Schwartz is classical music editor of the Boston Phoenix. Upcoming downloads from the Tanglewood archives, appearing on the Boston Symphony Orchestra's website, include performances mentioned in Lloyd's piece; with Stravinsky on Sunday, and the Brahms "First Piano Concerto" on Aug. 3rd.

Copyright © 2012 NPR. All rights reserved. Visit our website terms of use and permissions pages at for further information.

NPR transcripts are created on a rush deadline by a contractor for NPR, and accuracy and availability may vary. This text may not be in its final form and may be updated or revised in the future. Please be aware that the authoritative record of NPR’s programming is the audio.



Please keep your community civil. All comments must follow the Community rules and Terms of Use. NPR reserves the right to use the comments we receive, in whole or in part, and to use the commenter's name and location, in any medium. See also the Terms of Use, Privacy Policy and Community FAQ.

NPR thanks our sponsors

Become an NPR sponsor

Support comes from