Brooklyn Academy of Music THE BROOKLYN PHILHARMONIC Lukas Foss, conductor Yefim Bronfman, piano Cho-Liang Lin, violin Gary Hoffman, cello T ilE ARTS & EVENTS PROGRAM AT T ilE W ORLD F INANCIAL CENTER W INTER G ARDE Apj!earing this season: B RIA:-1 E1'o R ED ARMY CHOIR jo:-> HASSELL MARTIIA GRA H A~ I D A:->CE CoMPANY B ROOKL Y:-\ PH I LHARMONIC MAx ROACH ED\\'1:-\A L EE T YLER 0RCIIESTRE DE LA SUISSE R OMANDE AL M c D owELL j OHI\ SCOFIELD M cCoY TYNER J O H N B LAKE B ETTY CARTER j AM ES WI LLI A~i S D IA:-":-"E M c i NTYRE M ODERN J AZZ Q UARTET B ossY SHORT AMlRICA:'\' B ALLROOM THEATER K ooo D RU M ~t ERS BoYs C HO I R OF HARL n t CHMI BER SOCI ETY OF LI:->COLN CE:-'TER
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The Brooklyn Philharmonic Orchestra, photo copyright © Ken Howard BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer THE BROOKLYN PHILHARMONIC Lukas Foss, Music Director Dennis RusseU Davies, Principal Conductor Designate 36th Season, 1989-90 BAM Opera House Fnday, March 9 at 8 pm Saturday, March 10 at 8 pm Su nday, March U at 2 pm LUKAS FOSS, Conductor The Bronfman/ Lin/ Hoffman Trio (Nrw York On:hrmal Drbut) YEFIM BRONFMAN, Piano CHO-LIANG LIN, Violin GARY HOFFMAN, Cello
Leonore Overture No. 2, Op. 72a BEETHOVEN
Concerto for Piano, Violin, Cello BEETHOVEN and Orchestra, Op. 56 Allegro Largo Rondo alia polacca YEFlM BRONFMAN, CHO-LIANC LIN, GARY HOFFMAN
Intermission Symphony No. 5 inC minor, Op. 67 BEETHOVEN Allegro con brio Andante con motO Allegro Allegro
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THE STANL~Y H KAPLAN EDUCATIONAL CENH.R ACOUSTIC SHEll The Brooklyn Pholharmonoc and ohe Brooklyn Audemy o( Mu"c gr•O Board Certified Ophthalmologists Specializing In medical and surgical diseases of the eye 212-496-5170 250 West 19th Street 105 West 78th Street CREATIVE CONCESSIONS & CATERING .. , ... ' ,- , .: ~,t,,,j;. ' .. ~;~,~'',i..! ''~ , , ·,"', - Comjililltnts rf 1k Dune Visit our Concession & Bar in the lobby Sandwiches, Quiche, Brownies Cookies, Muffins & much more!! BAM • LINCOLN CENTER THEATER SWEET FEAST CAFE, CENTRAL PARK 212. 941• 6526 v ~~~ Starrett at Spring Creek ere harmony IS a wayof ·_e. This messoge brought to you by GRENADIER REALTY CORP. 1310 Pennsylvania Avenue, Brooklyn, NY 11239 i Notes on The Program by Ellen Harold ©1990 LUDWIG VAN BEETHOVEN aria: "In des Lebens Fruhlingstagen" (In the (Born Bonn, December 16, 1770; springtime of my life): "a veritable leitmotif that died Vienna, March 26, 1827.) develops and is transformed in nine different ways, traversing the whole gamut of the action Leonore Overture, No. 2, Op. 72a ... in turn pathetic, lyrical and martial. ... At the Beethoven labored on his only opera, Fidelia end of the exposition ... the violence of passions (known first as Leonora) for most of 1805 and that have been interlacing like a knot of serpents on and off for nine more years. "Of all my chil is now ... severed at a single stroke by a trumpet dren, this one was born in greatest travail," he fanfare .... This appearance of the Deus ex told his biographer, Schindler. The libretto, a machina to resolve the tragedy is answered by German translation of a French "rescue" opera, the voice ofFlorestan, now bathed in new light, Leonore, ou /'Amour conjugal, embodies the clothed in new harmonies ... and the melody humanitarian ideals of the French Revolution. explodes into a chorus of overflowing joy and The nobel lady, Leonora, disguised as a boy, energy, the daaling coda." Fidelio, takes a job as a turnkey in a prison co rescue, or die with, her husband, Florestan, a Fidelia combines the profoundest harmony political prisoner who is being starved to death with melody that speaks to the soul. ... The by the villainous local governor, Piuaro. Rescue playfulness of youthful hope, the heroism of arrives from without as a trumpet fanfare devoted love, the rage of the tyrant, the despair announces the king's minister, Fernando, who of the captive, the bursting of the sunshine of gives Leonora the happy task of unlocking her liberty upon the gloom of the dungeon ... are husband's chains. portrayed in music ... with a force and reality Beethoven wrote four overtures for the work. that makes music an intelligible language, pos The first he discarded almost immediately as sessing and illimitable power of pouring forth "too simple." The second, heard in these per thought in sound. formances, was given in the first three perform -Thomas Love Peacock, writing after the ances of the opera in 1805 in Vienna in front of London premiere, 1832 an audience of officers from Napoleon's invad ing army. He composed the third overture for a It should be written in golden letters that last shortened version of the opera given in 1806. Thursday the Leipzig Orchestra performed This third overture ("ten times as dramatic as the four overtures to Fidelia one after another. anything that could possibly be put on the Thanks to you, Viennese of 1805, that the first stage," according to Donald Tovey) has much in did not please you, and that Beethoven in divine common with its predecessor but is in more rage therefore poured forth the three others. If complete sonata form. Its grandeur must have he ever appeared powerful to me, he did so on made the first act seem anticlimactic and accen that evening, when, better than ever, we were tuated the defects of the libretto; and the opera able to listen to him, forming, rejecting, altering was withdrawn after two performances. In 1814 in his own workshop, and glowing with inspira it was performed again as Fidelio, with a com tion. He was most gigantic in his second start. pletely rewritten, much improved libretto, and a T he first overture was not effective; stop! new, shorter overture in E major, now known as thought he, the second sha ll rob you of all the Fidelia overture. thought-and he set himself to work anew and Although the Leonore Overture No. 3 is the allowed the thrilling drama to pass before him, one heard most frequently in concert perform again singing the joys and sorrows of his hero ance, there are those, like Robert Schumann ine. This second overture is demonic in its bold and Romain Rolland, who preferred No. 2, in ness-even bolder, in certain details than the which the lyrical element predominates over the third, the well-known great one inC major. But dramatic. Rolland wrote that No. 2 ought to be it did not satisfy him ; he laid this one aside also, called the Florestan Overture, since it is per merely retaining certain passages from which, vaded from start to finish by Florestan's Act II already more certain and conscious, he formed IV Gbrru; FocxJ New York (212) 628 23X) ~~~~~~~~~~~~~~~~~~# T • H • E NEW PROSPECT C•A•F•E "consistently spirited food" BRYAN MILLER The N.Y. Times ~.~.~ 393 FLATBUSH AVE • BROOKLYN • 638-2148 ~.~.~ ===--~·=== A D E L E Dinner 71te>day·S(l/urday 6-10.30p Ill Sunday Hrrmcb // . .lOam .lp.m Call (7/H) 788·4980/or rese r~ ·a tt o 111 ADELE SOl Eleventh !meet llrooklyn, New York I IllS (betuwm Set•emb (, F•Rbtb Alwwe.<) 847 Union Street Brooklyn Reservations 638-0099 Dinner-Sunday Brunch SERVING THE FINEST IN AMERICAN FARE. ~4 350 Flatbush Avenue (bet. Sterling Pl. & 8th Ave.) 718. 230-0200 At Michele's, you don't have to put up with arrogant Maitre D's, uncomfortable seats, pushy waiters or nouvelle anything! (formerly Charlie's of Park Slope) call for reservations Tuesday-Sunday 11om-2om Weekend Brunch 9am-2pm credit cards accepted /,.) minor to major is used to depict the passage tion one heard the terrible, ominous note, and a from primordial darkness into light. Another goblin, with increased malignity, walked qui important influence must have been that of the etly over the universe from end to end. Panic and opera Fidelia. The pianissimo lin king passage emptiness! Panic and emptiness! Even the flam with kettledrums between the scherzo-that ing ramparts of the world might fall. "dream of terror which we technically call the Beethoven chose to make it all right in the scherzo" (Tovey)-and the final, triumphant end. He built the ramparts up ... amid vast roar military march owes much to the stage; as does ings of superhuman joy, he led his Fifth Sym the orchestration, with its inclusion of trom phony to its conclusion. But the goblins were bones and piccolo, never before used in a sym there. They could return. He had said so phony. Nothing like It had ever been heard bravely, and that is why one can trust Beethoven before, and the effect must have been more star when he says other things. tling than we can possibly imagine today. -E.M. Forster, Howard 's End, 1921 ••• My master Lesueur, a thoroughly honest man Since music-so different from painting-is ... persistently absented himself from the Con the art which we enjoy most in company with servatoire concerts ... Had he gone ... he would others (a symphony, presented in a room with have been obliged to come to some conclusion one listener, would please him but little); which about Beethoven ... I left him no peace ... [and is comprehended by thousands at one and the finally) he reluctantly yielded and allowed him same time; an art which lifts mankind above self to be taken to the Conservatoire on a day in life, as above the sea; which, instead of engulf which Beethoven's Symphony inC minor was to ing and destroying us, mirrors us as flying genii, qe performed. He wished to listen to it consci until we are laid to rest in the groves of the Greek entiously and undisturbed; so he sent me away gods-so are there works, to be regarded as the and seated himself among strangers in one of highest, exerting equal power over different the lower boxes. When it was over I went down minds, young and old alike. I remember having to find out what effect the marvelous work had been present at a performance of the C Minor produced on him. Symphony, and when the passage that leads I mer him striding up and down the passage toward the finale was played-exciting every with flushed cheeks. "Well, dear master?" ... nerve to the utmost tension-a little boy pressed "Hush! I want air; I must go outside. lt is incred closer and closer to me; when I asked him why ible, wonderful! It stirred and affected and dis he did so, he answered, "I am afraid." turbed me to such a degree that when I came out -Robert Schumann (1810-1856) of the box and tried to put on my hat I could not find my own head! Do not speak to me ti ll tomorrow." . .. It was as if the splendour of life might boil -Hector Berlioz (1803-1869), Memoirs over and waste to steam and froth . In its dissolu- ••• IMAGE. IMPACT. BAM. For information on advertising space and availability, please call Paul Wasmund or Wa lter Hcwelt at 7 18/636-4113 LUKAS FOSS (conductor) composer, pian ist, educator-has been a moving force in the world of music for over 30 years. At the age of 18, Foss was widely known as a musical Wunderkind and was already a graduate of the Curtis Institute of Music, where he stud ied conducting with Fritz Reiner. Shortly thereafter he was taken under the wing of Serge Koussevitsky, with whom he worked at the Berkshire Music Center at Tanglewood. Mr. Foss also studied at the Yale School of Music under Paul Hindemith. study at the Sydney Conservatorium. There he attended a master class given by ltzhak Perlman and resolved he would somehow get to TheJuilliard School in New York to study with Mr. Perlman's teacher, Dorothy DeLay. He entered Juilliard at age 15. Two years later, in 1977, Mr. Lin won first prize in the Queen Sofia International Violin Competition in Madrid. That same year he was chosen as a soloist for President Carter's Inauguration Day concerts, and was invited by Isaac Stern to be one of the five young instrumentalists to participate in a sold-out concert of chamber music to celebrate the violinist's sixtieth birthday. He made his pro fessional debut that year with the Saint Louis Symphony. By the time he graduated from The Juilliard School in 1981 he was playing 60 concerts a year. His current schedule aver ages almost twice that number. Mr. Lin plays the 1707 "Dushkin" Stradi varius, the instrument that belonged to Stravinsky's friend, violinist Samuel Dushkin, and on which the composer's works for violin were premiered. YEFIM BRONFMAN (piano), born in Tashkent, in the Soviet Union, emigrated with his family to Israel in 1973 when he was 15. That same year he auditioned for Eugene lstomin and Zubin Mehta. In 1974, he won a scholarship from the America-Israel Cul tural Foun..!ation, which brought him to the attention of Isaac Stern. A year after his North American debut in 197 5, he toured the U.S. with the Israel Philharmonic under Leonard Bernstein and Zubin Mehta, the beginning of a long association with that orchestra. Mr. Bronfman arrived in the U.S. in 1976. I le made his New York Philharmonic debut IS in May 1978, his Washington, D.C. recital debut in March 1981 at the Kennedy Center and hi s New York recital debut at the 92nd k StreetY in Ja nuary 1982. H e made his debut with the Berlin Philharmo ni c in November 1983. He has made regular tours of the U.S. MOZART and Europe, including Queen Elizabeth Hall in London and the Herkulessaal in Munich, and has toured South America four times. A devoted chamber music performer, he has La Finta collaborated with the Guarneri,Juilliard and Cleveland Quartets. H e has appeared at Giardini era Marlbo ro, the Mostly Mozart Festival in New York and the Spoleto Festivals in the 1\)flVII U.S. and Italy. Mr. Bronfman began piano studies at II seven with his mother. Both his father and sister are violinists. In Israel he studied with pianist Arie Vardi , head of the Rubin Acad emy of Music at Tel Aviv University. In the U.S. he studied at The Juilliard School, Marlboro Music Festival and Curtis Insti tute, and with Rudolf Firkusny, Leon Fleisher and Rudolf Serkin . In the area of composition there are more than one hundred works in the Foss cata logue. His earliest published compositions RIC 06645/47 date back to his fifteenth year. J\t 19 he com posed an oratorio based on Carr Sandburg's The Prairie (recorded by the Brooklyn Phil The original Italian harmonic) which brought him immediate version of Mozart's recognition. " H e cannot fa il to raise the fourth opera is standard of music of his generation" wrote Virgil Thomson in the Herald Tribune. At 23 now available he was the youngest composer ever w be for the first awarded a Guggenheim Fellowship. " His time, recorded compositions are among the most original and stimulating composed in America," live at the maintained Aaron Copland. In a recent Monnaie article in The Village Voice, Tom Johnson Royal wrote, "Little by little he is knitting together a body of work which may actually speak for Theatre contemporary culture as a whole more elo in Brussels. quently than any other." Lukas Foss succeeded Arnold Schoenberg as professor of composition at U.C.L.A., You can find Ricercar where he established a chamber ensemble to teach the an of improvisation. recordings at fine Mr. Foss is currently music director of the record stores everywhere. Brooklyn Philharmonic, a position he has held since 1971. In 1980 he became music director for h e Milwaukee Symphony U.S. Distributor O rchestra, where he continues now as con Harmonia Mundi USA ductor laureate. He was music advisor and conductor o f the Jerusalem Symphony in 0 Ella Fitzgerald. Cardmember since 1961. Membership Har:=~~~~s...... ·~ lllZ 'I600io - ..• u llLII 'UIU. Don't leave home without it~ Cull 1·800· TilE CARD to UfJ/Jl)~ 11 Israel for four years and has guest conducted CARY HOFFMAN (cello), achieved inter leading orchestras both here and abroad: national renown as the first American to win among others, the Boston, Chicago, Cleve the Rostropovich International Cello Com land, and Philadelphia orchestras and the petition in Paris in 1986. New York Philharmonic in America; and the A member of a family of six performing London Symphony and the Berlin Philhar musicians who appear on occasion as the monic in Europe. As music director for the Hoffman Chamber Soloists, Gary Hoffman Buffalo Philharmonic from 1963 to 1970, he was born in Vancouver, Canada, in 1956. At made that city a focus of national attention 15 he made his London recital debut in and a mecca for composers and performers. Wigmore Hall; his New York recital debut As a pianist Lukas Foss is best known for occurred in 1979 at the 92nd StreetY. At the his performances and recordings of Bach age of 22 he became the youngest faculty concertos, Bernstein's The Age of Anxiety, appointee in the history of the Indiana Uni and Hindemith's The Four Temperaments, versity School of Music, where he remained which he premiered. for eight years. Mr. Hoffman, who is fre quently invited to hold master classes, has coached cellists at numerous institutions and CHO-LIANC LIN (v1olin), began his musi festivals, including Aspen, the Gregor Piati cal studies at the age of five. Inspired by the gorsky Seminar at the University of Southern sound of a violin coming from a neighbor's California, the Sibelius Academy in llel window, he persuaded his parents, neither of sinki, and the Eastman School of Music. whom were musicians, to buy him a small When he is not concertizing, Mr. Hoffman instrument. He gave his first public perform resides in New York City with his wife and ance two years later. When he was twelve, his son. His cello is the 1662 Nicolo Amati for widowed mother sent him to Australia to merly owned by Leonard Rose. Brooklyn's most vital Reform Jewish congregation. • Beautiful and meaningful worship services • Religious education from preschool to adult • Early childhood center, afterschool activities, summer day camp, and gym & pool • Outreach to interfaith couples and Jews by Choice We welcome you to join our community! Gerald I. Weider Marjorie Slome Eugene J. Sack Rabbi Rabbi Educator Rabbi Emeritus 8th Avenue and Garfield Place Brooklyn, NY 11215 Congregation Beth Elohim Telephone (718) 768·3814 Garlield Temple 0"~~~~ ~~ Sabbath services: Fridays - 8:15PM; Saturdays-10:30 AM 2f --- The Brooklyn Philharmonic Chamber Orchestra Personnel VIOliN I NANCY USCH~R OBOE BENJAMIN HUDSON, MARYHH EN EWING Ill NRY\(IIlJMAN, Conurlm.J.Sltr VI RONICA SAl AS Prmup.JI YUVAI WALDMAN MISCHA BRAITBERG ROBLRTBOTII ROBIN BUSHMAN SAMU I l BtiiCI-1 LISA RAlJHNB~RG DAN IEL SE IDENBERG C I .A RI N ~ I CARLOS VIU A ROSE WE I NB~RGER STL YEN I !ARTMAN, DIANE BRUCE KAREN RITSCHER Pnm 1paf II NARI) RIVUN LAURA FLAX EIIZABI TH i ll I I) SANDFR STRENGER CELLO BASSOON BARBARA lONG CIIRISTOPHER FINCKI:.L, HARRYSI AR ING, Rl BLKAH JOHNSON Prmtrpal Prrnopal DAVID CALHOUN DEBORAH WON(, J~ IIRI Y MARC HAND DOROTIIY STRAI tL LANNY PAYKIN CHARI tS MctRAtKI:.N JUl YAO MltHAEL RUDIAKOV NATASHA RUBINSTHN FRENCH HORN VIOLIN II PETER ROSENFELD PAUl INGRAHAM, ROB I R1 (IIAUSOW, SALlY CLINE Prm.tpJI Pnnc1pJ/ SARAHHLNE SCOTT H.MPI f MARION(,lJISI I RANK DONARUMA f UGI NIE SliD KROOP BASS SANDRA WAI KER MAR liN SmNER JOSlPH BONGIORNO, ~RITZ KRAKOWSKI Pnncrpal TRUMPfT MINGYIH MARJ I DANILOW WILMLR WISL, CAROl HAVELKA LOUIS BRUNO Prmop.J/ PHiliP RUI ( KHNWAI D SEBU SIRINIAN JAN~ T CONWAY BARBOUR NAN( Yl)lll0 JULES IIIRSH I RANCISCA MfNDOIA STEVEN RUBENSTEIN IROMBONF KATHI RINL IIANNAUH JONATHAN TAYlOR, RLNA ISBIN Pnnl lfUli FLUTE lHLODORI TOUI11N VIOLA KATHERINE FINK, MARK JOHANSEN JANlT lYMAN Hill, Pnnllpal l'mrClfJ.1/ DAVID WfCHSI fR TI MPANI SARAH ADAMS DANIEl G ~. RHARD RICHARD FITZ BROOKLYN PHILHARMONIC ORCHESTRA BOARD OF DIRECTORS STANLEY H. KAPLAN, Ch01rman of the Board JER RY JACOBS, Vtee Presrdent ROBERT C. ROSENBERG, Prcsrdent JACK LITWACK, Vrce Prtstdent ROBERT A. GAl LETfA, Exuutwe Vru Prestdent DR. MELV IN MOORE, Vtee Prrstdent CRAIG G. MATTHEWS, Exuutrve Vtee Prwdent ARNOt D L. SABIN, Vice Prtstdent HENRY]. FONER, Vier Preside/It JONATHAN F.P. ROSE, Treasurer NICIIOl.AS M. INFANTINO, Vtu Prcsrdent I UCIL LE GROSSMAN PERRY, &crrtary MICHAEL A. ARMSTRONG RITA J. KAPLAN ARNOt D BADNER I. STANLEY KRIEGEL DAWN CAROl IIAR VEY LICIITENSTE!N MICIIAEL A. CIRILLO ROBERT MYERS GAIL R. CLOTT CEDRIC RICE ISAAC E. DRUKER JOSEPH R. SMAI L MARK GASTON NICHOLAS JOHN STATIIIS HESPER jACKSON, JR. JOHN TAMBERLANE HONORARY CHAIRPERSONS HON. EDWARD I. KOCH HON. HOWA RD GORDON liON. ELIZABETI I HOLTZMAN I. STANt EY KRI EGEl RABBI EUGENE j. SACK HONORARY DIRECTORS DANIEL EISENBERG jOSEPH SCORC IA ADVISORY BOARD LILLIAN BESUNDER DR. ARTHUR LAPOVSKY SCHUYLER CIIAPIN SALOMON C. LOWENSTEIN JAMES COSTLEY liON. CHARI ES SCHUMER BROOKLYN PHILHARMONIC ORCHESTRA STAFF JERRY McCATH ERN ...... Exec utwe Director SCOTT TEMPLE ...... Orchestra Personnel Manager MAURICE EDWARDS ...... Artrstte Drrector PATRICK McCARTY ...... l .tbraria" jOYCE TIIORNE ...... Comptroller ALAN LAMBERT ...... •.... . Otrtctor of Development CLAIRE HURD...... •... Ttclw Servtces Manager DAVID SAMUELS ...... Dtrector of Marketrng KENNETII FUCHS ...... Development A ssrs tat~t ERIC KLE IN ...... Operations Manager CASSANDRA SHERROD ...... Receptionist BROOKLYN PHILHARMONIC ORCHESTRA INTERNS TRACY ALEXANDER, MURRAY HOLLAND, PAUL LEE, SOFIA NILES BROOKLYN PHILHARMONIC ORCHESTRA VOLUNTEERS HARRIETT SAFIAN, Coordtnator, Semor Crtrun Program SYDELl.E IIERMALIN, Bookkeeping Assrstant RUTH COHEN, AssoetaU, Scmor Crt run Program LILLIAN BESUNDER jENNIFER SINGER DOROTHY ELLIOTT EVELYN SUSARO SHELLY FERBER EDYTHE SAULER ELLEN HAROLD LINDA SCHREIBER SHOSHANA KAHN ADELAIDE SEER METANOTTY DAVID SLOM!NSKY WILLIAM PARSONS 151 Montague Street Brooklyn, New York 11201 718-8348555 OPEN FOR LUNCH AND DINNER PRE AND POST THEATER RESERVATIONS LIVE JAZZ NEW AMERICAN CUISINE IN HISTORIC BROOKLYN HEIGHTS DISTRICT CURATORS. INC. AND THE APOLLO TIIEATRE PRESENT A New York Premiere Julius Hemphill's wng Tongues: ASaxophone Opera 3 performances only! • February 8-10. 1990 The Apollo Theatre 253 Wesl 125lh Streel Six world class saxophone soloists surrounded by orchestra. dance. drama and post WWII Imagery evoke the most radical 30 years In America's musical and social history. "... rousing andfreqttently ingenious "... moments ofgenuine brillancc ... i! could IX'Comc music... steamlng. lncislue lmprouisaLions." a major piece of Amertcan musical theatre." -Robert Palmer. The New York Times Geoffrey Himes. The Washington Post L_ For lnformaUon call: (212) 222-0992 J Sa~~t;'/AJ, ""MUSIC STORES MUSIC • SOUND • COMPUTERS "Celebrating 65 Years As America's Leading Music Store Chain" New York, N.Y. • 160 W. 48th Street • (212) 719-2299 Brooklyn, N.Y. • 1669 E. 13th Street • (718) 645-3886 home cuisine 'Thns Noting lJat It In MIINttan: lt'slwldlome. it's frilnlly, it's l*ofeaionll. it'slffordlllle.lllll it is serving VflfY, VflfY good cookilg. Ar1tu Schwlrtz, DltilyfNws 1123 Eighth Ave. Park Slope. N.Y. 718. 965.9526 ~~CHASE ~' proud to be a part of Brooklyn and proud to sponsor The Chase BAM Incentive Become a FRIEND OF BAM and Chase will uparade the value of your FRIEND'S membership. For Information about The Chase BAM Incentive. call 718·636·4194 Savor the delicious food of famed Dine chef Edna Lewis. served amid the in the glow of gaslights In New York City's only Interior Landmarked Restaurant. Tradition Try Interesting varieties of fresh fish hand·selected every morning at the of fulton fish Market. I free Parking. Yesterday ... OAOt~ TOLLNf.R (est. 1879) Brooklyn's Landmark Seafood Tonight~- · ~ChopHouse 3721'ulton St. 875·5181 BROOKLYN PHILHARMONIC ORCHESTRA SPONSORS 1989-90 SEASON The Brooklyn Philharmonic Orchestra gratefully acknowledges the support of those indivoduals, government agencoes, foundations and corporations whose gofts hdp to make our many programs possible. LEADERSHIP DONORS East New York Sovrnas Bonk Ahct & Karl Eisenberg (S2S,OOO or more) (SlrOOO or more) Mr & Mr1. Donald H. Elhou Mary flockt Cary Chamable TruJ< Abraham !c. Scraus Dorko V & Lrnl frank Cihbanlt, NA AmtOCin Savu'\JS Bank Mr & Mn. Theodore Fntdman ba & S.anley H. Kaplan Foundauon Mrs. F. Hmry Bc.rlm Ronald G. and Abtprl Gr The Brooklyn Philharmonic Orchestra abo wishes to acknowledge contributions of less than S ISO, which are not listed above. Contribuuons rccetved after the printing deadline may not be ltsttd. If you would Joke mformatton on becomong a sponsor of the BPO, please contact Alan Lamben, Otrector of Devolopmtnt, at 718-622-1000. WE HAVE MORE THAN 75 WAYS TO CHANNEL THEIR ENERGY. Your students could learn how Thomas call (718) 802-5076. Or for your free program Edisons childhood curiosity foreshadowed catalog, write to Con Edison, Consumer his genius. Education, 30 Flatbush Avenue, Rm 619A, Watch his original silent production of The Brooklyn, NY 11217. Great Traitl Robbery. Whichever program you choose, it'll be Or discover new ways to save energy. energy well spent. Con Edisons Education Series offers lots of illuminating programs for everyone from kindergarteners to adults. Ed~ To schedule a speaker for your class, please THIIN~RGY OF NIW YORK SUPPORTERS OF THE BROOKLYN ACADEMY OF MUSIC 1988-89 The Brooklyn Academy ofMu sic gratefully acknowledges all contributions. Listed below are tho~ individuals, foundations, corporations and public agencies who~ gifts or pledges of $250 or morr: wen: rcccivr:d between July I, 1988 and August 31, 1989. We offer sinccrr: rhanks to all who~ support has ensured rhc continuation of BAM's many artistic programs and services. LEADERSHIP GUARANTORS A&S/Th< Rob BAM MAJESTIC THEATER FUND The City of New York Department or Culcurnl Affairs Departmenc of General Services The Kresge Foundation J.M. Kaplan Fund Rose M. Badgeley Residuary Charitable Trus1 Samuel & May Rudin Foundanon Brooklyn Acadrmy and Brooklyn Philham1onic Brooklyn Union Gas Real Estate Council The Barker Wdfart f'Oundation Frirnds of BAM Poppa Scou Mr. Walltam Purcell The Rat l1ff Group NEXT WAVE Schulte, Ro BAM COLLABORATIVE ARTS COUNCIL Co-Chainncn Arnold Glimchcr and W111iam Ehrlich Museum Advisors Richard Koshalek Mamn Fnedman Panicipating Anists Donald Baechler Vnaly Komar & Richard Pnnce Lynda Benghs Alex Mdamid Kenh Sonmer Ross Bleckner jeff Koons Starn Tw.ns Davod Bowes josq>h Kosuth Ha1m Steinbach George Condo ManMull1can Pat Steir Kate Ericson & Oars Oldenburg Philip Taaffe Mel Z•cglcr Dennis Oppenheim W1lham~an An Dealers and CoUectors V"'j Baghoomian john Gibson Michael Klein Linda & Stefan Stux Coo;jc van Bmggcn Barbara Gladstone David Ramsay Jamie Wolff & Leo Castelli Marian Goodman Tony Shafrazi jane Gekler Paula Cooper Pat Hearn Holly Solomon Apnl Gonuk & Enc f1Khl ToddW.ut~ Mr. l'tcor S. Grqo'l' MJ. Ann H. Rrtnk•nA y'"'' & Malcolm Gnff t arry D. 'A'1man Mr. John l . Gnllo Rchintc Gmup. ln..:.. Eu& Honorary Chainnen ~dward I. Koch llow>rd Gold BAM DIRECfORY BAM BOX OFFICE: Op BAM PROGRAM STAFF 1989 F.dnor-on-Choef ...... •...... Douglas W. Allan Edocor ...... Chro11opher Broad""ll D Cov.r an: "Our World 10 \hurt," 1989, wacercolor, 14• x 20• by Ron Bill Blass Bleckner, courtesy Mary Boon< Gallery. BROOKLYN ACADEMY OF MUSIC STAFF Lwnard Abbruscato, PERFORMI NG ARTS PUBLIC AFFA IRS OFFICERS SuptrviJmg Matnloltntr PROG RAM FOR C.hrryl Anthony, Drrt'ciOr llcnry Cobb YOUNG PEOPLE l..o1~t Rochrord, Anw~nt Harvt) l~t.hrtn\ltm , Prtfldtnt Courtney H,ur1s & &"utu.-t ProJu~tr l unnc Tmlon \\'('11,,/)rrtliUr Btmoard L.awrtncc John Ormond, .AJHJI.Jnl PUB LICATIONS &. BAM Karen Brooks llupkms, Ernest Sou1hcrland, DESIGN Exteutwt Vut Pra>lldtnl Progr.Jm f}trtttor M&Jmtt>n.:~nu ('hmtoph All these great restaurants Hamilton House Restaurant. 10033 Fourth Ave., (i ll:i) i45-635<>. Fine welcome the American Express" conunemal cu1 Amerigo's. 3SSi E. Tremont Ave., Gage & ToUner Restaurant. 372 Throg' Ne<:k, Bronx, (212) i92-3600. Fulton St., (/18)8/'i-5181. BrtX)klvn's Come and enJOY the finest m gourmet lanJmnrk n:..,tnurnnt. lmhan CUISine. Embers Restaurant. 9519 Th1rd Pete's Restaurant. 8i17 4th Ave., Ave., (i 18) i45-3700. Brooklyn's best B~y Ridge, (718) 745-1444. A restaurant steak, chops and veal cu1sme. tradition. lt ah~n continental cuisine. Open for lunch and dinner. The Brooklyn Oodgec 7509 Th1rd Ave., (7 18) 2 38..0030. S1x)m har and Tutto Bene Restaurant. 110-50 restaurant. Quc>cns Blvd., ForN H ills, (7 18) 544-5525. Classic ltahan cuisi ne. Fiorintino's Ristorante. 313 Ave. U, Catcn ng & valet parking. (i 18) 372-1445. Fine 1m han cu~ Hunan Seafood King. 3l\'i I ~~ Emmons A,·e., Shccpshl'ad Bay, (il8) 8<>1-9061'. s~l'Chuan Hunan cuisine. Lunchl' 3S