Brooklyn Academy of Music 1969-70 Season

Pittsburgh Symphony Orchestra NOVEMBER 13, 1969

NOVEMBER 1969 I BROOKLYN ACADEMY OF MUSIC I J

THURSDAY EVENING, NOVEMBER 13, 1969

Subscription Performance

The Brooklyn Academy of Music

pre sents the

PITTSBURGH SYMPHONY ORCHESTRA

WILLIAM STEINBERG, Music Director

Lorin Hollander, Pianist

The use of cameras and tape recorders is strictly prohibited at Pittsburgh Symphony Orchestra concerts.

The Steinway is t he official piano of the Pittsburgh Symphony Orchestra

Baldwin is the official piano of the Brooklyn Academy of Music 4 I BROOKLYN ACADEMY OF MUSIC I NOVEMBER 1969 The Brooklyn Academy of Music The Brooklyn Academy of Music Is a department of t he Brooklyn Institute of Arts and Sciences.

The Govern1ng Committee Ticket Reservation Systems - TICKETRON Seth S. Fa1son, Chairman Edward S. Re1d, V1ce Chairman Computerized ticket selling system which Monroe D. Stem, Vice Chairman permits purchase of tickets to Academy Hon. Alexander Aldrich events at the following locations: Bernard S. Barr Mrs. H. Haughton Bell MANHATIAN: Donald F. Benjamin Gimbels 33rd St.; Chase Manhattan Bank, Dr. William M. Birenbaum 1 Chase Manhattan Plaza and 52nd St. Donald M. Blinken & Ave. of Americas; Freedom National John R H. Blum Bank, 275 W. 125th St.; Grand Central Patnck Carter Station, Information and Balcony Areas; William B. Hewson Hunter College Concert Bureau, 695 Park Rev. W. G. Henson Jacobs Ave. Howard H. Jones Max L. Koeppel Msgr. Raymond S. Leonard BROOKLYN: Mrs. George Liberman Chase Manhattan Bank, Court and Mon­ Harvey Lichtenstein tague Sts.; Four Season Ticket Informa­ Mrs. Constance J. McQueen tion Association, 1625 Jerome Ave.; Free­ Alan J. Patncof dom National Bank, 493 Nostrand Ave. James Q. R1ordan William Tobey LONG ISLAND: Administrative Staff Harvey L1chtenstem, Gimbels, Roosevelt Field and Valley Director Stream; Grand Union, Great Neck; Gertz, Lewis L. Lloyd, Flushing, Jamaica, Hicksville, Great General Manager Neck, Bayshore; Austin Travel, Hemp­ Charles Hammock, stead; Sears, Hicksville. Asst. General Manager Walter Price, Asst. D1rector, Press & Public Relations STATEN ISLAND: fhomas Kerrigan, Assistant to the Director Major's Travel. Ron Chnstopher, Public Affairs Coordinator WESTCHE STER: Judith Blmken, Mus1c Program Coordinator Gimbels, Cross County Shopping Center; Betty Rosendorn, B. Altman and Co., White Plains; Sears, Administrator, School Time Program Yonkers. Sarah Walder, Admin1strator, Membership Program NEW JERSEY: Jane Yockel, Administrative Assistant Gimbels, Paramus and Moorestown; Mildred Levinson, Broadway Bank and Trust, Paterson; Admin1strat1ve Secretary Grand Union, Morristown; Acme Super­ Adele Allen, market, Somerville; B. Altman and Co., Administrative Secretary Short Hills; Customer Made Shirts, 31 E. Sylvia Rodm, Adm1nistrat1ve Assistant Broad St., Westfield; DinersjFugazy Frances M. Seidenberg, Travel, Broad and Monmouth, Red Bank; Assistant, Public Affairs Food Circus, 835 Highway St., Middle­ Merle Johnson, town; Levy Bros., Clifton and Elizabeth; Financia I Secretary Linden Travel, Linden; Liptons Stores, Evelyn August, Bloomfield; Mercury Travel, 4 Lafayette, Staff Assistant Paula Cohen, Trenton; Pa ramus Bowling, Rte. 17, Pa­ Subscription Secretary ramus; Princeton University Store, House Staff Princeton; Ridgewood Newspapers, Alfred Salmaggi, Jr., House Manager Ridgewood; St einbach Goerke, Asbury Alan Schnurmacher, Asst. Ho use Manager Park, Bricktown, Elizabeth, Plainfield, Harry Pearl, Box Office Treasurer Red Bank; Stern Brothers, Paterson, Pa­ Ronald Argenzio, Assistant ramus, Preakness; Valley Fair, Irvington; Donald Giebler, Assistant Woodbridge Travel, Woodbridge. Richard Beck, Master Carpenter Edward Cooney, Assistant CONNECTICUT: Donald Beck, Chief Electrician Gimbels, Stamford; Grand Union, Green- Louis Beck, Assistant wich; Lafayette Radio, Danbury; Stoler's, John Cooney, Property Manager Darien; Yale Cooperative Corp., 77 Broad- Charles Brette, Custodian way, New Haven. IN CASE OF FIRE, WALK, DO NOT RUN, TO THE NEAR EST EX IT. NOVEMBER 1969 I BROOKLYN ACADEMY OF MUSIC I 5

MEMBERS OF THE BOARD OF TRUSTEES OF THE BROOKLYN INSTITUTE OF ARTS AND SCIENCES

Mr. Alexander Aldrich Mrs. Edward M. Fuller Mr. Warren H. Phillips Miss Marian Anderson Mr. Andrew L. Gomory Mr. Rutherford Platt Hon. Emil N. Baar Mr. Covington Hardee Mr. Eben W. Pyne Mr. Edward K. Bachman Mr. F. Warren Hellman Mr. Edward S. Reid Mr. Bernard S. Barr Mr. J. Victor Herd Mr. Frederick W. Richmond Mrs. H. Haughton Bell Dr. James MeN. Hester Mr. James Q. Riordan Mr. Donald F. Benjamin Mr. William B. Hewson Mrs. Thomas H. Roulston Dr. William Birenbaum Mr. John E. Heyke, Jr. Robert S. Rubin Mr. John R. H. Blum Mr. Winston E. Himsworth Mrs. Frank K. Sanders, Jr. Mr. Robert E. Blum Dr. R. Gordon Hoxie Mr. J. Folwell Scull, Jr. Mr. Gordon S. Braislin Mrs. Darwin R. James Ill Mr. Donald G. C. Sinclair Mr. Robert M. Burke Mr. Howard Jones Mr. Monroe D. Stein Mr. Patrick Carter Dr. John B. King Mr. Gerard Swope, Jr. Mr. Francis T. Christy Mr. Preston. L. Lambert Mr. Harold J. Szold Mrs. Robert T. H. Davidson Mr. Wilbur A. Levin Mrs. Hollis K. Thayer Mr. Sidney W. Davidson Mrs. Abbott A. Lippman Mrs. John F. Thompson, Jr. Mrs. Berton J. Delmhorst Mr. Alastair B. Martin Mr. Willi am Tobey Mrs. Carroll J. Dickson Mrs. Emmet J. McCormack Mr. George R. Tollefsen Mr. Milton T. VanderVeer Mr. Thomas A. Donnelly The Very Rev. Eugene J. Molloy Mrs. Tracy S. Voorhees Dr. James B. Donovan Hon. Leonard P. Moore Mr. Francis B. Wadelton, Jr. Mrs. Mary Childs Draper Mr. Justin J. Murphy Hon. George C. Wildermuth Mr. Paul F. Ely Mrs. Louis Nathanson Mr. Robert Wilson Mr. Seth S. Faison Mr. Michael C. O'Brien, Jr. Mrs. Earle Kress Williams Mr. Lewis W. Francis, Jr. Mr. Donald M. Oenslager Judge Joseph B. Williams

FOUNDATION AND CORPORATE CONTRIBUTORS

A & S Foundation Marine Electric Corporation Albert and Greenbaum Foundation, Inc. Marine Midland Grace Trust Company American Airlines Foundation of New York Bache Corporation Foundation Martin's Department Store Bankers Trust Company Mays (J.W.) Department Store Bay Ridge Savings Bank (now Anchor) Matz Foundation Bristol-Myers Fund Merrill, Lynch, Pierce, Fenner and Smith, Inc. Brooklyn Savings Bank Henry and Lucy Moses Fund Brooklyn Union Gas Company Nathan's Famous, Inc. Burlington Industries Foundation National Lead Foundation Chase Manhattan Bank Foundation New York Community Trust Chemical Bank New York Trust Company - Brooklyn Heights Cities Service Foundation - Cultural Fund Corning Glass Works Foundation - Prospect Park Cranshaw Corporation New York Foundation CT Foundation New York Post Foundation Dell Publishing Company Foundation New York State Council on the Arts Dime Savings Bank of Brooklyn New York Telephone Company Dow Jones Foundation New York Times Foundation, Inc. Duplan Corporation Ogilvy & Mather, Inc. East New York Savings Bank Pack-Kahn Foundation Eighty Maiden Lane Foundation Pfizer Foundation Fawcett Enterprises, Inc. Jerome Robbins Foundation First National City Bank Foundation Rockefeller Brothers Fund Ford Foundation Rockefeller Foundation Greater New York Savings Bank F. & M. Shaefer Brewing Company Green Point Savings Bank Scherman Foundation Hudson Pulp and Paper Company Sears, Roebuck and Company IBM Corporation Shell Companies Foundation, Inc. Kaplan Fund South Brooklyn Savings Bank Kidder Pea body Foundation Spartans Industries Kings County Lafayette Trust Co. Trans World Airlines, Inc. Kirsch Beverages, Inc. Trump Foundation (Fred C.) Klein, Stephen and Regina, Foundation United Airlines Kraftco Corporation (National Dairy) United States Trust Company Lincoln Savings Bank vanAmeringen Foundation, Inc. Manufacturers Hanover Trust Company William C. Whitney Foundation Foundation Williamsburgh Savings Bank

FRIENDS OF THE BROOKLYN ACADEMY Friends of the Brooklyn Academy offer assistance to the educational services provided by the Academy, inform the community of various programs at the Academy and help bridge the gap between receipts and costs. Membership is tax deductible to the extent provided by law. ANNUAL MEMBERSHIP Regular...... $5.00 Supporting...... $10.00 Sponsor...... $25.00 Patron ...... $50.00 Donor...... $100.00 Benefactor...... $500.00 and over FRIENDS OF THE BROOKLYN ACADEMY OF MUSIC 30 Lafayette Avenue Brooklyn, New York 11217 Tel.: 783-6700 6 I BROOKLYN ACADEMY OF MUSIC I NOVEMBER 1969

PROGRAM NOTES

LORIN HOLLANDER Pianist One of America's most bri II iant Cleveland, Detroit, Cincinnati, Los keyboard virtuosos, Lorin Hollander, Angeles, Pittsburgh and Seattle sym­ has performed more than twenty phonies. times with symphony orchestras On television he has played in­ throughout North America. Highlight numerable times on the Perry Como engagements have included perfor­ Show, t ;1e Bell Telephone Hour, the mances with the Philadelphia Or­ Ed Sullivan Show, and for Educa­ chestra, and a concert on the Great tional TV he produced and modera­ Performers Series at Phi I harmonic ted a show on the hippies and their Hall, as well as a concert at Filmore relation to rock music. For RCA East. Victor he has recorded Delio Joio's Mr. Hollander marked another Fantasy and Variations with the milestone in his remarkable career Boston Symphony and Erich Leins­ when he performed as the only solo­ dorf, Prokofieff's Concerto No. 5 ist with the Cincinnati Symphony with the Boston Symphony, as well and Max Rudolf during the two as Khachaturian's Piano Concerto month Around-the-World tour of the with the Royal Philharmonic under orchestra under the aegis of the An dre Previn. His solo albums in­ State Department. Mr. Hollander can clude Mussorgsky's " Pictures at an also claim the distinction of being Exhibition" and a recital album the youngest artist ever to be so featuring works of Bach, Brahms, honored. He played at the Athens Schumann and Beethoven. Festival, , Beirut, Israel, A summer festival favorite, Lorin Yugoslavia, India, Singapore, Hong Hollander has appeared at the Holly­ Kong, the Philippines and Japan. wood Bowl, Lewisohn Stadium, Phil­ This dedicated young pianist has harmonic Hall Promenade Concerts, been soloist with most of our major Mozart-Haydn Festival, Berkshire symphonies including the New York Festival, Ravinia Festival and Grant Philharmonic, Boston, Chicago, Park.

(Notes continued on page 10) NOVEMBER 1969 I BROOKLYN ACADEMY OF MUSIC I 7

PROGRAM

RICHARD STRAUSS "", Tone Poem after Lenau, Opus 20

SAl NT-SAENS Piano Concerto No. 5, in F Major, Opus 103

Allegro animato

Andante

Molto allegro

Mr. Hollander

INTERMISSION

MAHLER Symphony No. 1 in D Major

Langsam Schleppend-Wie ein Naturlaut immer sehr gemachl ich

Kraftig bewegt, doch nich zu schnell

Feierlich und gemessen, ohne zu schleppen

Sturmisch bewegt 8 I BROOKLYN ACADEMY OF MUSIC I NOVEMBER 1969

The Brooklyn Academy of Music DIRECTORY OF FACILITIES AND SERVICES

Academy Dance Center Transportation Information Classes for ages 6-15 in ballet/modern The Academy now has a new telephone dance. Contact Virginia Schanher at tape line which lists round trip evening 783-6700. Bus Schedules from Manhattan as well as information on public transportation. Box Office Call 857-1575 Ticket booth in Main Lobby with 3 windows Express Buses - Manhattan to BAM Direct buses for most evening events leave Telephone: 783-2434 S.W. corners unless otherwise noted. No Hours: reservations· necessary. Return: 15 minutes Monday through Saturday after performa nee. 10 am to 6 pm Fare: $1.25 round trip, 75¢ return (if avail­ able) On performance days 10 am to 9 pm Schedule for 8:30 curtain. Buses leave 1 hour earlier for 7:30 curtain and one-half Sunday performance days hour earlier for 8:00 curtain. 1 pm to 9 pm East Side Check Room Located on the Orchestra Level of both Lexington Ave. & 86th St.-7:24PM the Opera House and the Music Hall Lexington Ave. & 72nd St.-7:28PM Lexington Ave. & 60th St.-7:32PM Refreshments Lexington Ave. & 42nd St.-7:37 PM Available in Main Lobby during intermis­ Second Ave. & 14th St.-7:47PM sions. Please do not bring refreshments into the Auditoriums. Second Ave. & E. 5th St.-7:49 PM Academy of Music-8:10 PM Drin~in g Fountains Located in the restrooms in both the West Side Opera House and the Music Hall Broadway & 86th St.-7:22 PM Elevators Broadway & 72nd St.-7:26 PM 2 elevators from Main Lobby to Broadway & 58th St. (N.W. Corner)-7:30 PM Opera House Balcony 7th Ave. & 42nd St.-7:35 PM 7th Ave. & 14th St. (N.W. Corner)-7:43 PM Information W. 8th St. & Ave. of Americas Round stands in lobby near front (S.E. Corner)-7:48 PM entrances or at box office Academy of Music-8:10 PM lost and Found Transportation House Manager's Office, Stage Entrance Telephone: 783-6700 SUBWAYS. (All su bway stops are located within one block of the Academy.) lounges and Restrooms Opera House Atlantic Avenue Stop Ladies, Orchestra and Balcony Levels I RT (Lex. Ave.) Men, Mezzanine and Balcony Levels I RT (Bdwy and 7th Ave.) Music Hall BMT (Brighton) Ladies, Orchestra Level Pacific Street Stop Men, Balcony Level BMT (West End, Sea Beach, 4th Ave. Local) Public Telephones Main Lobby, Ashland Place Entrance Fulton Street Stop IND ("GG" Train) Smoking In Main Lobby, Lounges and Restrooms Lafayette Avenue Stop only IND ("A" Train) NOVEMBER 1!:'69 I BROOKLYN ACADEMY OF MUSIC I I

AUTOMOBILE ROUTES TO BROOKLYN ACADEMY OF MUSIC

UPPER AND LOWER MANHATTAN, for Downtown Brooklyn. After Expressway NORTHERN BRONX: becomes elevated again take "Manhattan Bridge Civic Center" exit, follow exit Henry Hudson Parkway and West Side around to Flatbush Avenue. Turn left on Highway to Canal Street. Canal Street to Flatbush Avenue, go 8 traffic lights to the Manhattan Bridge, over Bridge to Flatbush island opposite the Fox Theatre, turn left Avenue. Go 8 traffic lights to island in at island, then turn right at Fulton Street front of Fox Theatre, turn left at island, for two blocks, turn right on Ashland Place then turn right for two blocks, turn right for one block to the Academy. at Ashland Place to the Academy of Music. b) VIA THROGGS NECK BRIDGE: Take New England Thruway (or get on Thruway WEST BRONX from the Hutchinson River Parkway) over (NEW YORK UNIVERSITY AREA): Throggs Neck Bridge. Continue on Clear­ Major Deegan Expressway to Triborough view Expressway to the Long Island Ex­ Bridge. Triborough Bridge to East River pressway (Manhattan bound) to the Brook­ Drive. East River Drive to 25th Street Exit. lyn exit. (Brooklyn-Queens Expressway). (Just after Bellevue Hospital). 25th Street Follow insrtuctions (a) to Brooklyn. to 2nd Avenue, left on 2nd Avenue to 21st Street. Right on 21st Street to 3rd Avenue. NORTHERN QUEENS AND NASSAU: Left on 3rd Avenue to Manhattan Bridge Take Long Island Expressway to Brooklyn (Canal Street). Go 8 traffic lights to Fox exit in Queens. (Brooklyn-Queens Express­ Theatre, turn left at island, turn right for way). Take Brooklyn-Queens Expressway to two blocks to Ashland Place, to the Aca­ Downtown Brooklyn (keeping always to the demy of Music. right). After Expressway becomes elevated again take Manhattan Bridge, Brooklyn EAST BRONX (BRONX PARK AREA): Civic Center exit. Follow exit around to Flatbush Avenue, turn left on Flatbush Bronx River Parkway and Parkway Exten­ Avenue, (follow instructions as to the sion to Bruckner Blvd. Bruckner Blvd. to island and traffic lights.) Triborough Bridge. Triborough Bridge to East River Drive. East River Drive to 25th Street exit. (Just after Bellevue Hospital). SOUTHERN QUEENS AND NASSAU: 25th Street to 2nd Avenue, left on 2nd Southern State Parkway to Belt Parkway. Avenue to 21st Street. Right on 21st Street After passing Kennedy take exit No. 22 to 3rd Avenue. Left on 3rd Avenue to Man­ (No. Conduit Avenue) to Conduit Blvd. Con­ hattan Bridge (Canal Street). Left over I duit Blvd. to Atlantic Avenue. Atlantic Bridge to Flatbush Avenue. Go 8 traffic Avenue all the way to Flatbush Avenue. .I lights to Fox Theatre, turn left at island, Right on Flatbush Avenue for 1 block, bear turn right for two blocks on Fulton Street, right on to Ashland Place, 1 block to Lafay­ turn right for one block on Ashland Place ette Avenue and the Brooklyn Academy of at Fulton Street to the Academy. Music.

EAST BRONX (EASTCHESTER SOUTHERN BROOKLYN: AND PELHAM PARK AREAS): Take Flatbush Avenue (or Ocean Avenue a) VIA WHITESTONE BRIDGE: Hutchin­ or Ocean Parkway to Flatbush Avenue, or son River Parkway to Grand Central Park­ in Bay Ridge take 4th Avenue to Flatbush way. Left.on Grand Central to Long Island Avenue) to Flatbush and Atlantic Avenue. Expressway. Right on Long Island Express­ Turn on Ashland Place - on left of the way to Brooklyn exit. (Brooklyn-Queens Williamsburgh Bank and go one block to Expressway). Keep to right following signs the Academy. 10 I BROOKLYN ACADEMY OF MUSIC I NOVEM BER 1969

DON JUAN , OPUS 20 ______Richard Strauss (Born in Munich, June 11, 1864; died in Garmisch, Bavaria, September 8, 1949)

RICHARD STRAUSS considered Mozart the as guest conductor in London. The program greatest of all masters. Throughout his of these last performances of his life in­ long I ife, he interpreted Mozart's music cluded the Jup iter Symphony and the with dedication. He was a pioneer of the symphonic poem, Don Juan. Salzburg Festival where he directed, be­ tween 1906 and 1942, memorable Mozart Len au's Don Juan performances in opera and concert. From his Bavarian villa in Garmisch, it was but The legand of Don Juan (which underlies a short and pleasant drive to Salzburg. M~z art's famous opera, Do n Giovanni) in­ During the Festival weeks, one would see spired Strauss, at the age of twenty-four, the tall figure of Strauss, comfortably to the composition of his second tone dressed in summer I i nen, leisurely stroll­ poem, Opus 20. Essentially, the music pre­ ing through the quaint streets of the town. sents itself as a symphonic drama without And occasionally, he would appear in in­ wo rds. As we open the score, we find formal attire to conduct a matinee concert thirty-two lines of a poem by Nikolaus in the Mozarteum. Lenau as a preface to the music. This quote marks the vantage point of the musical composition. During his tenure as cnief of the Au strian State Opera, Strauss was also musical director of the Salzburg Festival, for which Nikolaus Lenau is one of the most im­ the Opera provides its soloists, portant I iterary figures in chorus and orchestra. Here, in Salzburg, . His verses bespeak the gentle Strauss aimed at a renaissance of the melancholy of his temperament. Early love baroque theater, with the cooperation of disappoints, followed by the death of his such artists as the poets Hugo von Hof­ mother, were sublimated in the "Weltsch­ mansthal and , the producer merz" of his poetry. Max Reinhardt and the conductor Franz Schalk, the co-director of the Vienna State Lenau hoped to find peace in a radical Opera. change of his environment: America, the land of a new freedom, became his goal. Eventually, the program of the festival In 1832, he arrived in Baltimore and turned offered numerous works by Strauss him­ west to Ohio. But the poet could not adjust sel f. His presence lent an air of authenticity to the ruggedness of life in "primeval to these performances. Up to this day, the forests", nor to the materialism of its Festival has retained operas of Strauss, in pioneers. He bitterly complained about the addition to those of Mozart, as a pre­ "englisches Thalergelispel", ("the English dominating feature of its repertoire. lisping of dollars"). After one year, he returned to the old world, now greatly encouraged by the first German publica­ In October, 1945, Richard Strauss and tion and friendly reception of his poetry. his wife Pauline were taken to , His life ended early and tragically-in an to escape the chaos in Germany fo llowing asy lum for the insane. the armistice. The aged couple was granted on ly a limited stay of residence in Mon­ treux. In the autumn of 1947, the British Lenau's disposition-his sensitive imagi­ Home Office permitted the then eighty­ nation and tendency to psychological prob­ three-year old master to appear once more ing-led him to the discovery of new traits NOVEMBER 1969 I BROO KLYN ACADEMY OF MUSIC I 11

in the legend of Don Juan. The poet's conflict between the absolutely formal and interpretation of a man's insatiable craze the poetic content of his Don Juan. to conquer women appears advanced for the time of the writing (1844)-long before modern psychoanalysis threw a more un­ In this music, Don Juan f irst appears in romantic I ight on the constant pursuer of all his romantic glamour. The score glitters the "eterna lly feminine." in orchestral surface brilliance. The main theme cleverly portrays the character of Don Juan with a flamboyant gesture, reck­ The difference between Lenau's and pre­ less and sparkling like fireworks, ri sing vious interpretations is the poet's empha­ from all violins against a full orchestral sis on the rather sad lot of Don Juan. The background. seducer, not the seduced, is to be pitied. Lenau's Don Juan is not a selfish libertine. Th is exposition displays the extravagant He is a man determined to find an idol. decorum of the post-Wagnerian orchestra. But he is bound to be disappoi nted, due But not all the themes have the sharp to his fantastic dreams of perfection in an edge of Don Juan's conquests. Some show imaginary love object. the soft side of romance. Th ere is the feminine melody of the plaintive oboe. There are the wa rm strains of flutes, of In sho rt, Don Juan is no romantic hero. horns and 'cellos-all connoting lyric epi­ He is no hero at all. For in the final analy­ sodes. sis, Don Juan appears no longer as a conqueror, but a man who is conquered himself by his own anxieties, and by his Motives embrace each other in unmis­ sense of inferiority and fear. Trying again takable symbolism. Their development is and again, inevitably disillusioned, Don a panorama of the scenes of courtship and Juan finally loses all will to live. con quest, of gamble and lust. Th e most prominent theme in the second part of the score once more throws brightest light on Symphon ic Poem Don Juan. This is one of Stra uss' most original inventions-this theme blown vic­ How are we to relate the music of Strauss toriously by the horns, over the tremolo of to Lenau's poem? strings as it leaps from the root note up to the higher octave, and confidently down again over the diatonic steps of the scale. In an hitherto unpublished letter, Strauss urged Hans von Buelow to eliminate the But after the fervor of his erotic pur­ thematic analysis from the program book. su its, the great disillusionment overcomes Instead, the composer requested that a tired conqueror. His end approaches; Lenau's verses be printed (in addition to Don Juan is challenged to a duel. A biographical data). Strauss reserved for glissando of the ha rp suggests the flash himse lf the right, as it were, to deal freely of a rapier, aiming at the heart of the with the poetic substance. In his Don faithless lover. There is a sigh in A minor, Juan, Strauss avoided the pitfalls of a a painfully dissonant F in the trumpet; a more realistic program (to which he yield­ thri II in the divided violas, two dry pizzi­ ed in some of his later works). Conse­ catos. quently, the younger composer reasoned that a strict thematic analysis, to which German musicologists were (and still are) Don Juan, killer of hearts, lies murdered traditionally prone, would reveal the ob­ on the floor .. . vious dualism of his stylistic position: the 12 I BROOKLYN ACADEMY OF MUSIC I NOVEMBER 1969

PIANO CONCERTO No. 5, in F MAJOR ...... Camille Saint-Saens Born in , October 9, 1835; died in Algiers, December 16, 1921

PREPARING the new version of his Tann­ French Republic. Living to be eighty-six, haeuser at the Paris Opera (1860), Wagner he outlived his fame. Certain of his scores, came in frequent con tact with the avant however, have survived. His most celebrat­ garde of French art. As always, he was ed work is the opera, Samson and Delila. anxious to find support for his extra­ But he has also written extensively for ordinary ideas. He missed no opportunity the concert hall and contributed a variety to explain to the Parisian intelligentsia the of concertos. principles of his Art Work of the Future. There are five piano concertos. The fifth, Wagner's French was far from faultless; in F major (heard in this program) origi­ his p1ano playing curiously limited. He nated in 1896. It is rarely performed in screamed-rather than sung-the parts of America. his operas, while accompanying himself in Kapellmeister fashion on the keyboard. Saint-Saens wrote this concerto in Egypt. Witnesses describe how he stamped the He liked to escape from the damp winter rhythm with his feet, how he lectured with climate of Paris to the warmth of North terrific intensity or lost himself in wild Africa. In fact, certain sections of the flights of fantasy. But all of this evoked concerto are reminisce nces of his trip to only a few polite phrases of weak assent exotic places and people. from his audiences.

The composer played the solo part of Even such a pioneer as Berlioz con­ this concerto at its Paris premiere on fessed his inability to appreciate Wagner's June 2, 1896. The occasion marked the principles of music-dramatic composition. fiftieth anniversary of his public debut as Other artists rejected his Teutonic aesthe­ a pianist at the age of ten. tics. It was only among the young genera­ tion that Wagner found enthusiastic ac­ The open ing movement of the concerto ceptance. is an allegro animate (F major, 3/4). The middle movement (andante, d minor, 3/4) Twenty-five-year-old Camille Saint-Saens integrates in its central part a Nubian love was fasc inated by Wagner. He threw him­ song that Saint-Saens hea rd on a trip self into the study of Wagner's music and down the Nile. The finale is a molto allegro, amazed the German master by the extra­ F major, 2/4. ordinary rapidity and astonishing ease with which he played Wagner's opera s on the The piano style displays Saint-Saen's piano. Wagner came to rely on Saint-Saens elegant and polished manner. It is always as an interpreter of his music. grateful for the performer. The bri II iance of the setting sometimes betrays proxi­ The young Parisian had already made a mity to Liszt. The refined fabric shows the name for himself. Berlioz regarded him as impeccable craft acquired at the Paris "one of the most important musicians of Conservatoire in the class of Halevy. the generation."

This is not music of pass ion. But it dis­ For at least thirty years, Saint-Saens plays in every movement the French virtues dominated the musical life of the Third of lucidity and balance. NOVEMBER 1969 I BROOKLYN ACADEMY OF MUSIC I 13

SYMPHONY No. 1 in D MAJOR ------ Born in Kalischt, Bohemia, July 7, 1860; died in Vienna, May 18, 1911

Symphony "Titan" charm of youth, and also some of it s pit­ falls. At times, the music is bizarree and Mahler completed nine symphonies. Last rapturous, full of audacities; it represents season much attention focused on the the daring concept of a young composer master's unfinished Tenth, heard in a who was twenty-eight when he completed reconstruction of the music from the un­ the score. orchestrated manuscript; it was performed in various cities of America and Europe. Mahler originally gave a title to the symphony as well as sub-headings to each Mahler's First Symphony had its Ameri­ of its individual movements. He also pro­ can premiere on December 16, 1909, in vided some exp lanatory comments on the New York. The composer conducted the music. But as he speci f ically stated, the at Carnegie Hall. "program" was merely a tentative inter­ pretation of tonal ideas, offered in terms H. E. Krehbiel reported in the Tribune: of free associations of thought. " ... the audience received it (the sym­ phony) with what might be described as Mahler borrowed the original t itle of courteous applause, much dubious shaking the Symphony - "Titan" - from the of the heads, and no small amount of famous novel by . The poet was grumblings." a pioneer of duri ng the "class­ ical" period of German art. Gustav Mahler As to Mahler, he expressed his feelings and Jean Paul sha red a deep seat ed re­ in a letter to Bruno Walter; "I ploughed ligious spi rit, involvement in phi losophy here my First. ... I was very pleased with and love of nature. Hence, Mahler's First this youthful product. When I conduct it, Symphony recalls the intensey romantic a burning painful perception crystallizes: world of the novelist, but also Jean Paul's what sort of world is it that throws out occasional extravaganza and delightful such sounds and shapes as counte~ humor. Following the European premiere images? The Funeral March and the out­ of the symphony on November 20, 1889 in breaking storm shine like a burning accu­ , Mahler decided to abandon th e sation at the creator." literary title of the symphony and the su b­ headings of its four movements. The First Symphony reveals the challeng­ ing quality of Mahler's art. Th e First is a Program Note Copyright © 1969 symphony of youth; it has the vigor and by Dr. Fredrick Do rian 14 I BROOKLYN ACADEMY OF MUSIC I NOVEMBER 1969

FUTURE PERFORMANCES IN

THE ACADEMY ORCHESTRA SERIES

Thursday, December 11 Boston Symphony Orchestra Erich Leinsdorf, conducting Malcolm Frager, soloist Webern - Symphony for Nine Instruments, Op. 21 Beethoven- Piano Concerto No. 4 in G Major Tchaikovsky-Symphony No. 6 in B Minor, Op. 74

Thursday, February 5 Boston Symphony Orchestra Claudio Abbado, conducting Alexis Weissenberg, soloist Webern- Five Pieces for Orchestra, Op. 10 Bartok- Piano Concerto No. 2 Schumann- Symphony No. 4 in D Minor

Thursday, February 26 Boston Symphony Orchestra Colin Davis, conducting Ingrid Haebler, soloist Mozart- Overture to 11 ldomeneo" Mozart- Piano Concerto in D Major, K 537 ~~coronation" El ga r- Symphony No. 1 in A Flat

Thursday, April 16 Pittsburgh Symphony Orchestra Lukas Foss, conducting Lukas Foss, Bernard Goldberg and Fritz Spiegal, soloists Bach-Schoenberg-St. Anne's Fugue Foss- Phorion Bac h- Brandenburg Concerto No.5 for Piano, Flute and Violin Saint-Saens- Symphony No.3 inC Minor, Op. 78, 11 The Organ"

Starting Times 8:30 P.M.

Programs Subject To Change DINE BY GASLIGHT Monday and Tuesday evenings. It's pleasant, nostalgic. Don't miss it.

Winner of 17 annual HOUDAY GAGE AND TOILlLNER Magazine Awards BROOKLYN'S LANDMARK RESTAURANT

EST ~-""~~._'TI 372 FULTON ST., BROOKLYN • 2 Blocks from Boro Hall • TRiangle 5·5181 1879 OPEN 11:30 AM TO 9 PM, SAT. til 9:30 • Closed Sundays

~esl ~shes to the

c!JJroo£/gn !A_cmfemg o/ CJ/1usic the music, drama and dance center of Brooklyn from

the fashion center of Brooklyn

Brooklyn Garden City Babylon Huntington

L ... C al@ .. F l&i J 1 All P t ( .. lt~d , ... t

MICHEL'S RESTAURANT Ert.1b/ishcd 1910 Founded and Operated by The MICHEL Family Complete Bcnquet Facilities 346 FLATBUSH AVENUE BROOKLYN. N.Y. Free Parking NEvins 8-4552