5., 0132,7 BROOKLYN ACADEMY OF MUSIC IT

BOARD OF TRUSTEES Hon. Edward I. Koch, Hon. Howard Golden, Seth Faison, Paul Lepercq, Honorary Chairmen; Neil D. Chrisman, Chairman; Rita Hillman, I. Stanley Kriegel, Ame Vennema, Franklin R. Weissberg, Vice Chairmen; Harvey Lichtenstein, President and Chief Executive Officer; Henry Bing, Jr., Warren B. Coburn, Charles M. Diker, Jeffrey K. Endervelt, Mallory Factor, Harold L Fisher, Leonard Garment, Elisabeth Gotbaum, Sidney Kantor, Eugene H. Luntey, Hamish Maxwell, Evelyn Ortner, John R. Price, Jr., Richard M. Rosan, Mrs. Marion Scotto, William Tobey, Curtis A. Wood, John E. Zuccotti.

OFFICERS Harvey Lichtenstein President and Chief Executive Officer Judith E. Daykin Executive Vice President and General Manager Richard Balzano Vice President and Treasurer Karen Brooks Hopkins Vice President for Planning and Development ADMINISTRATIVE OFFICE STAFF Ruth Goldblatt Assistant to President Sally Morgan Assistant to General Manager 1 David Perry Mail Clerk FINANCE Perry Singer Accountant Jack C. Nulsen Business Manager Pearl Light Payroll Manager MARKETING AND PROMOTION Marketing Nancy Rossell Marketing Coordinator SAM Susan Levy Director of Audience Development Jerrilyn Brown Executive Assistant Jon Crow Graphics Margo Abbruscato Information Resource Coordinator

Press II Ellen Lampert General Press Representative Susan Hood Spier Associate Press Representative 11 Diana Robinson Press Assistant Tom Caravaglia House Photographer PLANNING AND DEVELOPMENT Jacques Brunswick Director of Membership Denis Azaro Development Officer Philip Bither Development Officer Ninetta Remley Development Assistant Sharon Lea Lee Office Manager Aaron Frazier Administrative Assistant MANAGEMENT INFORMATION Jacques Brunswick Director Lee Chizman Assistant Director COMMUNITY DEVELOPMENT Mikki Shepard Director Mahmoudah Ali Associate Director Rudy Stevenson Music Consultant Francine Major Program Assistant PERFORMING ARTS PROGRAM FOR YOUNG PEOPLE Leonard Natman Director Hessie McCollum Program Coordinator Sarah Walder Sales Coordinator Susan Booker Program Assistant PRODUCTION Malcolm J. Waters Production Manager William Mintzer Lighting Consultant to RAM Sara Stuart Assistant Production Manager Martin Green Crew Chief Robert Sniecinski Wardrobe Supervisor Naaman Griffin, Steve Greer, John Fuller, William Horton, James Kehoe, Howard Larson, Patrick McDonald, Bernard Gilmartin, Donald Riordan THEATRE MANAGER John J. Miller Theatre Manager Leonard Natman Associate Theatre Manager Ken Farris, Lauren Scott, Alan Tongret BUILDING MANAGEMENT Norman MacArthur Building Manager William Koegl Assistant Building Manager Lazzaro Curato Parking Facilities Supervisor Frank Abbruscato, Leonard Abbruscato, Jahue Cooper, Nick Curato, Ray Dorso, Donald Farr, Angel Guadelupe, Steve Lanza, Bernard Lawrence, Michael Maraventano Sheraf Moustafa, Nunzio Orlando, Joseph Patterson Frank Percaccia, James Postell, Gloria Simon, James Victor Sadie Vinson, Angelos Voudouris, Robert Wells BOX OFFICE BROOKLYN Saheed Baksh Box Office Treasurer Michael Glassman, Joseph Nekola Richard Lewis Mail Order Supervisor ACADEMY DIRECTORY Box Office: Monday through Friday, 10:00am to 6:00pm; Performance days till 9:00pm; and Sunday, Performance times only. OF MUSIC Saturday Lost and Found: Telephone 636-4150 Restroom: Opera House Women and Men: Mezzanine level and 5th floor; Handicapped: Orchestra level. Lepercq Space: Women and Men: Theatre level 5th floor. Public Telephones: Main lobby, Felix Street Entrance. For information about group rates on tickets call 636-4126. 11 The taking of photography or the use of recording devices In this theatre is strictly forbidden. Brooklyn Academy of Music, 30 Lafayette Ave. Brooklyn, NY 11217. (212) 636-4100. The Brooklyn Academy of Music is a Charter Member of The League of Historic America Theatres. z, BROOKLYN ACADEMY OF MUSIC BROOKLYN ACADEMY OF MUSIC

PATRONS 1982-83 PRODUCERS 85004999 BAM'S CHAMBER Helen Anderson The Brooklyn Academy of Music is Mr. & Mrs. Robert H. Arnow/ Mr. owned by the City of New York and & Mrs. Alan G. Weiler MUSIC SERIES Mr. & Mrs. Henry Bing administered by the Brooklyn Acad- Eleanor Bissinger emy of Music, Inc. The Brooklyn Mr. Neil Chrisman MUSIC DIRECTOR Academy of Music's operation is Robert Davenport SCOTT NICKRENZ, supported in part with public funds Mr. & Mrs. Charles Diker provided through the New York City Ms. Virginia Dwan Lepercq Space Department of Cultural Affairs and Mr. Jeffrey K. Endervelt Saturday, January 22, 1983, 8:30 pm with grants from the National Mr. Richard Englund Mr. Harold Fisher Sunday, January 23, 1983, 2:00 pm Endowment for the Arts and the Mr. & Mrs. Thomas R. Gilligan New York State Council on the Arts. The Henry Goldberg Foundation In addition, the Board of Trustees Mr. & Mrs. Peter Kimmelman Beverly Hoch Stephen Burns Daniel Phillips wishes to thank the following foun- Mr. & Mrs. Harold Korzenik soprano trumpet violin dations, corporations, and indiv- Mr. Arnold William F. Langer iduals who, through their leadership Mr. Jack Lawrence Mr. Harry A. Todd Phillips Scott Nickrenz Frederick Zlotkin and support, make these programs Olson, Jr. Judith Dunnington Peabody possible. violin viola cello Mr. John Price Robert C. Rosenberg Complete as of January I, 1983 Kenneth Cooper Ms. Garry Sack ler Mr. & Mrs. David Saltonstall harpsichord INDIVIDUALS AND Mr. & Mrs. Martin Segal Mr. & Mrs. Norman Segal FOUNDATIONS Mr. & Mrs. Bernard Selz GEORGE FRIDERIC HANDEL Mrs. Dan Seymour source of light divine" LEADERSHIP 825,000 and above Aaron Sloan & Rita J. Frank "Eternal Louis Calder Foundation Janet Stovin from Ode for Queen Anne's Birthday Edna McConnell Clark Foundation Embassy of Sweden Doil-Lepercq International Dance Fund Dr. & Mrs Robert H. Vadheim "Vo' far guerra" J.M. Kaplan Fund, Inc. Mr. Ben Van Meerendonk/Televizier from Rinaldo Henry Luce Foundation Magazine Andrew W. Mellon Foundation Mr. & Mrs. Franklin R. Weissberg The Zeitz Beverly Hoch, soprano; Stephen Burns, trumpet; National Endowment for the Arts Foundation New York City Youth Board Mr. Sanford J. Zimmerman Kenneth Cooper, harpsichord; Ensemble The New York Community Trust ASSOCIATE PRODUCERS New York State on Sonata in E Major for Two Violins and Continuo, Op. 2, Council the Arts 82504499 Edward John Noble Foundation No. 9 Rockefeller Brothers Fund Mr. & Mrs. M.R. Berman Simarka Run Foundation Brooklyn College Institute for Adagio Adagio Mr. & Mrs. Ame Vennema Retired Professionals & Executives Mr. Steven H. Case Allegro Allegro PACESETTERS Mr. & Mrs. Donald H. Elliott 810,000424,999 Mr. & Mrs. Paul Esserman Todd Phillips, violin; Daniel Phillips, violin; George & Katherine Henri & Eugenia Doll Foundation Harris Frederick Zlotkin, cello; Kenneth Cooper, Christopher LiGreci & Alex Hillman Family Foundation Robert Ohlerking harpsichord Henry & Lucy Moses Fund Norwegian Information Service Mr. & Mrs. Jack Litwack Dr. & Mrs. James JOHANN SEBASTIAN BACH Shubert Foundation McGroarty Bernard M. Tortuga Foundation Manuel Fantasia and Fughetta in D Major, BWV 908 Rev. Francis J. Mugavero BENEFACTORS Arlene G. Oettgen Fantasia in E Flat Major, BWV 791 62,50049,999 Mr. & Mrs. Arthur J. Radin Mr. & Mrs. Rubin Raskin Charles Ulrick & Josephine Bay Fantasia in G Minor, BWV 797 Stephen H. Scheuer Foundation Mr. & Mrs. Irwin Schneiderman Philippe Braunschweig Fantasia on a Rondo in C Minor, BWV 918 Martin E. Segal Max & Victoria Dreyfus Foundation Joanna & Norman Sher Mallory Factor Kenneth Cooper, harpsichord Mr. & Mrs. Harry Silverstein The Hochschild Fund, Inc. Mr. & Mrs. Alan Slifka The Heckacher Foundation for Children Mr. & Mrs. Robert K. Smith (intermission) Valerie Manuel Hamish Maxwell SPONSORS $1004249 The National Opera Institute JOHANN SEBASTIAN BACH Mr. George Abraham Mr. & Mrs. Everett Ortner C Dr. Edward W. Altman Suite No. 2 in D Minor for Solo Cello, BWV Alice Holbrook Platt 1008 American Chai Trust Prospect Hill Foundation Prelude Menuet I R. Steven & Jan C.K. Anderson Martha Baird Rockefeller Fund for Music Mr. Benjamin Bankson Allemande II The Helena Rubinstein Foundation Menuet Mrs. Anne Barsky The Scherman Foundation Courante Gigue Mr. & Mrs. Werner Barusek Seth Sprague Educational and Charitable William & Foundation Julia Beadenkopf Sarabande John Beaton Swedish Council of America Mr. Walter E. Beer Uris Brothers Foundation Frederick Zlotkin, cello Mr. & Mrs. H. Gerard Bissinger II White light Foundation Dr. Robert D. Blank GIUSEPPE TORELLI Jean Marie & Neita Blondeau EXECUTIVE PRODUCERS Concerto in D Major for Dr. & Mrs. Martin Bodian Trumpet and Strings 81,00482,499 William B. Bolton Allegro Presto Mrs. Vincent Astor Mr. & Mrs. Ernest Brunswick Adagio Ms. Joan Bieder & Mr. & Mrs. John Castaldi Allegro Mr. William Josephson Mrs. John Chancellor Mr. & Mrs. Eddo Bull Arthur W. Cohen Stephen Burns, trumpet; Ensemble Mary Griggs Burke Mr. & Mrs. Ira Cohen ALESSANDRO Mary Livingstone Griggs and Dr. & Mrs. A. Norman Cranin SCARLATTI Mary Griggs Burke Foundation Louise Dahl-Wolfe "Infelice miei numi" Richard W. Hulbert Judith Daykin from The Irvine Foundation Mr. & Mrs. Herbert Diamond Su Le Sponde Del Tebro I. Stanley Kriegel Ms. Carrot J. Dickson "Sei Geloso" Phyllis Holbrook Lichtenstein Thomas A. Donnelly Mr. & Mrs. Richard Menschel Mr. & Mrs. Issac E Druker from Endimione e Cintia The Netherlands America Community Mr. & Mrs. Jerome Dubroff Association, Inc. Mr. Lorin Duckman Beverly Hoch, soprano; Stephen Burns, trumpet; Frederick W. Richmond Foundation Mr. & Mrs. Albert H. Eaton, Richard & Dorothy Rodgers The Valhal Pub Ensemble Foundation, Inc. Dr. Eugene Edelman The Starr Foundation Mr. Stephen D. Edelman William Tobey Mr. & Mrs. Robert Ehrenbard This program is supported by funding from the Edward John Noble Founda- Michael Tuch Foundation Richard Engquist tion, the National Endowment for the Arts and The New York State Council John T. Underwood Foundation Gail Erickson on the Arts. Broadcasts on WNYC-FM 94 and Vinmont Foundation stations of the American Public The Sergio Escuadra Radio Network are sponsored by BANKERS Harold Weitz Arthur T. Farhood TRUST COMPANY. The Robert and Marillyn Wilson Mr. & Mrs. Frank Finnel Baldwin is the official piano of the BAM Chamber Music Series. Foundation Richard B. Fisher There will be a Mr. Ian Woodner reception for the artists immediately following the Saturday Dr. & Mrs. Leonard I. Plug evening performance. ABOUT THE ARTISTS DANIEL PHILLIPS, violinist, winner of the prestigious Michaels Award of Young Concert Artists in 1978, is BEVERLY HOCH, Kansas-born soprano, was presented widely recognized as one of the extraordinary violinists of 1../ in her New York debut as a winner of the 1979 Young his generation. Since winning the Young Concert Artists In- Concert Artists International Auditions, and won the Ster- ternational Auditions in 1976, Mr. Phillips has given two ling Staff International Competition, bringing her solo enthusiastically received New York recitals - his debut at recitals across the country under the sponsorship of the Mu the 92nd Street Y in 1976, and his Michaels Award recital at Phi Epsilon honor fraternity. Alice Tully Hall in 1978. On April 20, 1983 he will perform Miss Hoch has been heard to acclaim with many presti- a special joint concert of solo and chamber music with gious organizations and in varied repertoire. In the last five soprano Beverly Hoch in the Young Concert Artists Series seasons, she has appeared in over 100 solo recitals and with at the 92nd Street Y. over 20 symphony orchestras including the Harvard Cham- Mr. Phillips has appeared with orchestras including the ber Orchestra, the Saint Louis Symphony, and the Kansas Pittsburgh Symphony, Hartford Symphony and St. Louis City Philharmonic. Her numerous operatic roles have in- Symphony. He has given concerts in such prestigious halls cluded appearances at the Aspen Music Festival, Wolftrap, as the Frick Collection Museum in New York, Ambassador Santa Fe Opera, the Saint Louis Opera Theatre, and the Auditorium in Pasadena, California, Corcoran Gallery in Chamber Opera Theatre of New York. Washington, D.C., Orchestra Hall in Detroit, Norton Miss Hoch attended Friends University in Wichita and Gallery in West Palm Beach, Isabella Stewart Gardner completed her undergraduate degree at Oklahoma City Museum in Boston and Krannert Center in Urbana, Illinois. University. She earned her Master of Music degree from Daniel Phillips also frequently performs chamber music, Wichita State University. She has received grants from the and has appeared with the Chamber Music Society of Lin- Martha Baird Rockefeller Fund and from the Institute of In- coln Center, at the Spoleto Festivals in Charleston, South ternational Education. Carolina and Italy, Brooklyn Academy of Music, Santa Fe In 1981, Miss Hoch appeared as guest artist with Pinchas Chamber Music Festival, Mostly Mozart Festival at Lincoln Zukerman and the Saint Paul Chamber Orchestra at Carne- Center, and in performances and recordings with TASHI gie Hall in New York and at the Kennedy Center in Wash- and "Music from Marlboro." ington, D.C.; and with the Chamber Music Society of Lin- Mr. Phillips grew up in Pittsburgh as part of a musical coln Center at Alice Tully Hall. This past season, Miss family; his father is a composer and violinist, and his Hoch performed at the 1982 Spoleto Festivals in Charles- mother is a pianist. He received his Bachelor's degree from ton, S.C. and in Italy. Miss Hoch will return to the Young the Juilliard School in New York, where he studied with Concert Artists series at the 92nd Street "Y" on April 20, Ivan Galamian and Sally Thomas. 1983 in a joint recital with violinist Daniel Phillips.

TODD PHILLIPS, violinist, was a student of Sally TEPHEN BURNS, 23-year-old trumpeter, is the 1982 1 Thomas at Juilliard and recently returned from 1.1/2 L./ winner of the Avery Fisher Career Grant of $7,500. In years of study at the Mozarteum in Salzburg where he 1981, he performed the New York premiere of Gunther worked with Sandor Vegh. Since making his debut with the Schuller's Trumpet Concerto with Gerard Schwarz and the Pittsburgh Symphony at the age of thirteen, he has per- Y Chamber Orchestra, was featured on "The Subject is formed with many orchestras both here and in Europe and Young People," a CBS Radio documentary, and won the has been the recipient of several awards. In addition to par- Young Concert Artists International Audition, which ticipation at the Marlboro Music Festival and the Interna- brought him a New York debut recital in the Young Con- tional Musicians Seminar in England, his solo and chamber Series at Y cert Artists the 92nd Street and his Los Angeles music recitals have taken him throughout the United States, debut at Ambassador Auditorium. In 1982, Mr. Burns per- Canada, Austria, Italy, and England. formed in the Haydn/Stravinsky Festival of the Chamber Music Society of Lincoln Center, on French National televi- sion, and at the Spoleto Festivals in Charleston, South COTT NICKRENZ, violist, is Music Director for BAM's Carolina and in Spoleto, Italy. Chamber Music Series. He divides his time between New Mr. Burns will perform in recital at colleges across the S York and Hartford, where he is chairman of the string de- country including Western Michigan University at Kalama- partment of the University of Hartford. zoo, Iowa State University at Ames, the State University of Together with his wife, flutist Paula Robison, New York at Oswego, Virginia Polytechnic University, he directs and chamber music for the Spoleto Festivals, both in the United at the Norton Gallery of Art in West Palm Beach, Florida. States and Italy. Mr. Burns began his musical studies with Armando Long a performer in his own right, Mr. Nickrenz Ghitalla, principal trumpeter for the Boston Symphony Or- attended the Curtis Institute and was a founding member of both the chestra, and was himself the principal trumpeter for the Lenox and Vermeer Quartets. Boston University Tanglewood Institute Orchestra, from While he was a member of the Claremont Quartet he formed the New Chamber Quin- which he received the C. Dr. Charles Colin Award as the tet and later created the series outstanding brass player. He studied with Gerard Schwarz Quartet at the University of Chicago. He also began the Chamber Series at North- and William Vacchiano at the Juilliard School, where he western University. won a competition to perform the Jolivet Concertino with Mr. Nickrenz has appeared the Juilliard Orchestra. Mr. Burns has also worked with extensively in concerts in the United States and all over Mark Gould in New York and Pierre Thibaud in Paris. the world. He has played with the Music from Marlboro tours, the Casals, Aldeburgh, and Stephen Burns has recorded the Shostakovich Concerto Spoleto Festivals. for Trumpet and Piano with pianist Carol Rosenberger and He has appeared frequently with the Chamber Music Society of Lincoln Center and performs the Los Angeles Chamber Orchestra and Gerard Schwarz on and tours regularly Delos records. with the Orpheus Trio. FREDERICK ZLOTKIN, cello, began his studies at the ABOUT THE PROGRAM I: age of 4 and has emerged as one of today's outstanding musicians. Student of Gregor Piatigorsky and Leonard GEORGE FRIDERIC HANDEL Rose, he is one of only two cellists to have earned a doc- "Eternal Source of Light Divine" torate from the Juilliard School. In 1975, he received inter- Eternal source of light divine, national recognition when he won the Concours Interna- With double warmth thy beams display, tional d'Execution Musicale at Geneva. And with distinguished glory Mr. Zlotkin has performed as soloist with L'Orchestre de shine, la Suisse Romande and other leading European orchestras. To add a luster to this day. In the United States, Mr. Zlotkin has been a soloist with the "Vo' far guerra" St. Louis Symphony, the Minnesota Orchestra and the Chicago Grant Park Orchestra among others. Included in Vo' far guerra, e vincer voglio Gods and men will justly aid me, collo sdegno dhi m'offende to revenge a wrong so great, his discography is a new Sonata for Cello and Piano by An- vendi car'i torti miei, till the wretch who has betrayed thony Newman recorded for Cambridge records. Per abbatter quel orgoglio, me, shall repent the guilt too late. In addition to numerous recitals nationwide each season, Ch'il gran foco in sen m'accende, The Gods themselves light a fire in Mr. Zlotkin frequently appears as a guest artist with such saran mecoi stessi Dei my breast, groups as The Chamber Music Society of Lincoln Center, to knock down this pride. Aspen Music Festival, and For the Love of Music, where he serves as Associate Director. His unique, fully ornamented ALESSANDRO SCARLATTI performances of Bach's Six Suites for Solo Cello were a "Infelice miei numi" trans. by Laurence Swinyard highlight of a recent chamber music series at New York's Mesto, stanco e spirante dal Sad, exhausted, and sighing with 92nd Street Y. These performances have been repeated to duol' che l'opprimea, grief that oppressed him, great critical acclaim here and abroad. Most recently Mr. Revolto a gl'occhi suoi, Thus spake he to his eyes: Zlotkin has been named Music Director of the newly formed cosi, cosi dicea: Music Society. Montauk Chamber Infelice miei numi, Unhappy eyes, since we alone gia che soli not stiamo, remain, aprite it varco al pianto, Open thy gates to my tears and KENNETH COOPER, harpsichordist, has been ac- E concedete al core, suffer my heart to pour out claimed for the distinctive quality of both his live per- Che tramandi su gl'occhi its sorrow through thy lids. it mio dolore. formances and recordings. He embodies the highly prized skills of improvisation and ornamentation necessary to the "Se geloso" spirited performance of Baroque music. His repertoire en- Se geloso e it mio core, mia So jealous is my heart, my beauty, compasses standard and unusual Baroque works as well as bella, I feel a great battle in my breast. Gran battaglia io sento nel sen. I burn with love, like a torch, music of the twentieth century. As a harpsichord virtuoso, Ambio accende d'amor io facella And peace never wanders into my he has performed in England, Italy, Switzerland, Austria, E ci nostra piu vago it seren. sight. the Soviet Union, Greece, Rumania, Colombia, and Peru, and maintains an active career concertizing in the United States. Kenneth Cooper enjoys a permanent place in New York musical life, as a director of the Our Bach Concerts, a par- ticipant in the Chamber Music Society and other series' at VIEE GRUM?! Lincoln Center, and solo harpsichordist with the Clarion co RESTftt{RftRT -Bftft Concerts Orchestra. In addition to these regular solo and 11 DELI -PRTIWERIE ensemble performances, Mr. Cooper specializes in work- shops on Baroque performance practice at universities and eTvirr"." at summer festivals. He holds a Ph.D. in Musicology from Columbia and has published many articles in the field. Ken- neth Cooper is on the faculty of the Mannes College of Music and has been heard recently at the Spoleto Festival. The only café in New York where you can enjoy a deliciously different dessert each day of the year. Our pastries & cakes are the winners of the "Grand Prix" award at New York's International Culinary Exposition. We also feature exotic coffees from around the world. CAFE GALLERIA a great place anytime- before, during or after the performance.

Open seven days Mon-Thurs 8.11, Fri 8.12, Sat 8.1, Sun 9.10 174 Montague St., Bklyn Heights Reservations (212) 625.7883 ALL MAJOR CREDIT CARDS BROOKLYN ACADEMY OF MUSIC BAM'S CHAMBER MUSIC SERIES

SCOTT NICKRENZ, MUSIC DIRECTOR Lepercq Space CHAM ER Saturday, February 5, 1983, 8:30 pm Sunday, February 6, 1983, 2:00 pm MUSIC MIRIAM FRIED at the violin Brooklyn Academy of Music NATHANIEL ROSEN cello SCHEDULE OF EVENTS GARRICK OHLSSON March 19 at 8:30pm/March 20 at 2:00pm piano EMERSON QUARTET SCOTT NICKRENZ, viola COLIN CARR, cello JOHANN SEBASTIAN BACH Partita No. 3 in E Major of Solo Violin, BWV 1006 April 9 at 8:30pm/April 10 at 2:00pm Preludio MARVIS MARTIN, soprano Loure MASUKO USHIODA, violin Gavotte en Rondeau SCOTT NICKRENZ, viola Menuet I LAURENCE LESSER, cello Menuet II SEYMOUR LIPKIN, piano GARY LEDET, piano Bouree Gigue

April 30 at 8:30pm/May 1 at 2:00pm Miriam Fried, violin THE WAVERLY CONSORT LUDWIG VAN BEETHOVEN Sonata in D Major for Cello and Piano, Op. 102, No. 2 Allegro con brio Adagio con molto sentimento d'affetto Allegro - allegro fugato BAM CHAMBER MUSIC WNYC-FM 94 BROADCASTS Nathaniel Rosen, cello; Garrick Ohlsson, piano

This season BAM's Chamber Music concerts will be Intermission broadcast on WNYC-FM 94 on Thursday evenings at 8 pm. Sponsored by Banker's Trust Company, the BAM PIOTR ILYICH TCHAIKOVSKY Chamber Music broadcasts are hosted by Martin Trio A Bookspan. in Minor, Op. 50 Pezzo elegiaco IIA. Tema con variazioni Broadcast dates: IIB. Variazione finale e coda

Concert #5 April 7, 1983 Concert #6 April 14, 1983 Concert #7 April 21, 1983 Concert #8 April 28, 1983 Concert #9 May 5, 1983 Concert #10 May 12, 1983

Beginning September 4, 1983, the BAM Chamber Music concerts will be broadcast nationally on the stations of the American Public Radio Network, Sunday evenings at 6:00pm.

This program is supported by funding from the Edward John Noble Founda- §7 NYC tion, the National Endowment for the Arts and The New York State Council on the Arts. Broadcasts on WNYC-FM 94 and stations of the American Public NYC,ks,644. Radio Network are sponsored by BANKERS TRUST COMPANY. Baldwin is the official piano of the BAM Chamber Music Series. There will be a reception for the artists immediately following the Saturday evening performance. ABOUT THE ARTISTS nationwide on NBC's Today Show and the Mike Douglas Show. He has performed as soloist on PBS in Strauss' Don MIRIAM FRIED, violinist, is one of the most sought Quixote with "Previn and the Pittsburgh" and in a quartet I.V.1 after performers on the international scene. She has with Isaac Stern, Pinchas Zukerman, and Andre Previn. In made numerous appearances with major orchestras la 1980 he received the University of Southern California throughout the world. In 1982-83 her appearances include Distinguished Alumni Award. the Detroit Symphony, the San Diego Symphony, and the i San Antonio Symphony, the Munich Philharmonic, the I Hamburg Radio Orchestra, the Scottish National Or- GARRICK OHLSSON, internationally recognized as chestra, the Helsinki Radio Orchestra, the Amsterdam one of the foremost pianists of his generation, regularly Philharmonic, and the Stuttgart Radio in Stuttgart and in a performs with the leading orchestras and in the major music tour of Spain. centers of North America and Europe. Mr. Ohlsson's Miss Fried is also well known for her violin and piano 1982.83 season includes three separate tours of Europe, per- recitals with the internationally acclaimed pianist, Garrick formances with the orchestras of Boston, Toronto, Hous- Ohlsson. In 1982-83 she appears in recital with Mr. Ohlsson ton, Atlanta, Cincinnati, Minnesota, Montreal, Baltimore, in London and Geneva, and at the Kennedy Center in Wash- and Washington, and recitals in New York, Toronto, and at ington, D.C. In the Spring of 1982, Miriam Fried began the Tanglewood Festival. recording the complete Bach Sonatas and Partitas for solo Frequently touring the Far East, Garrick Ohlsson has per- violin in Europe. formed in Japan and Korea; in June of 1983 he returns to Miriam Fried first gained international recognition by Japan for six performances in that country. In addition to winning First Prize at the Paganini International Competi- his performances as soloist with orchestra and in recital, tion in 1968. She then boosted her already active career Mr. Ohlsson performs each season in recital with the re- when she became the first woman violinist to win the nowned violinist, Miriam Fried. Queen Elisabeth Competition in Brussels; during the 1982- The 1980.81 season marked the tenth anniversary of his 83 season Miriam Fried celebrates the 10th Anniversary of First Prize in the prestigious Chopin International Piano that prestigious award. Competition in Warsaw: he is the first and only American A citizen of Israel, she captured top prize in 1958 in that to ever win this honor. Following the competition, Mr. country's Tenth Anniversary Violin Competition spon- Ohlsson received invitations to perform around the world sored by the American-Israel Cultural Foundation and the including a debut with the Philadelphia Orchestra con- Israel Broadcasting Service. Her studies took her from the ducted by Eugene Ormandy and a White House command Rubin Academy of Music in Tel Aviv, where she was a stu- performance. Mr. Ohlsson has recorded over a dozen dent of Alice Fenyves, to the Conservatory in Geneva to In- albums for Angel Records; his most recent releases are the diana University, where she studied with Josef Gingold, and Brahms Concerto No. 1 with the London Philharmonic, the Juilliard School of Music as a pupil of Ivan Galamian. Klaus Tennstedt conducting, and a two-record set of the Miriam Fried not only collaborates With Garrick Ohls- Chopin Nocturnes. lessons son, but also with her husband, Paul Biss. Mr. Biss is now on Now in his thirties, Garrick Ohlsson began piano Plains, New the violin faculty of Indiana University, and is a member of at the age of eight in his home town of White the Berkshire Quartet. York. Although there was never a doubt as to his choice of career, he was strongly attracted to such diverse fields as mathematics and simultaneous translating (he speaks Ger- NATHANIEL ROSEN, cellist, gained instant recognition man, Spanish, French, Italian, Swedish, and a little Polish). At the early age of thirteen, it became clear that his 1 111 throughout the world when in 1978 he became the first American cellist ever to win the Tchaikovsky Competition pianistic talent was great, and he was accepted as a student Gold Medal. Since then, Rosen has traveled extensively at the Juilliard School of Music. His teachers there were throughout the world, performing in recital and concert Sasha Gorodnitzki and Rosina Lhevinne. In addition to win- Mr. Ohlsson has also won with major conductors and orchestras, winning acclaim as a ning the Chopin Competition, major talent and being praised for all facets of his musician- First Prize at the Busoni in Italy and at the Montreal Inter- national Piano Competition. ship: " . . . a virtuoso of a sort audiences love to idolize . . . a sensitive musician, an authoritative technician and an ima- ginative interpreter." Rosen began studying the cello in 1954 at age six in his native California. At 13, while participating in the Coleman ABOUT THE PROGRAM Chamber Music Auditions (which he won for four consecu- JOHANN SEBASTIAN BACH (1685.1750) tive years), Rosen met the legendary cellist Gregor Piatigor- Partita No. 3 in E Major for Solo Violin, BWV 1006 sky who, through both private study and participating in The Partita (Partie in German) is a Suite for a solo in- master classes, became his teacher and mentor. By age 22, strument in "parts." The parts are stylized dances that Rosen had become Piatigorsky's assistant, a post he retained evolved from social dances. All of the movements are in the until the master's death in 1976. Rosen's extraordinary key of E major and the work is introduced by a non-dance education, in addition to the formal lessons with Piatigor- movement. This Partita is part of a set of six works - three sky, includes informal chamber music sessions with Piati- Sonatas and three Partitas, BWV 1001.1006 - for solo gorsky and Jascha Heifetz. He has also appeared with violin written in 1720, while Bach resided at Cothen. Of the Heifetz in televised performances. Partitas, the first two are Italian Suites and only this, the Rosen has been closely associated with both traditional third, is on French dances. and new music, having premiered works by William Kraft Bach probably wrote this mature work for his long-time and Robert Linn. He has been the principal cellist of the acquaintance, J.G. Pisendel, who was renowned as the Pittsburgh Symphony and the Los Angeles Chamber Or- greatest German violinist of his time. American musicolo- chestra. The impressive activities of Nathaniel Rosen have gist David Boyden has noted that, "the violinist . . . must also encompassed associations with Music from Marlboro, call up every resource, not only of his technique, but of his the popular Monday Evening Concerts in Los Angeles, a mind and spirit," in regard to the performance of these faculty position with Carnegie Mellon University, and works. Bach took in and used every style to which he was membership in the Carnegie Mellon Trio. He has recorded exposed. His solo Sonatas and Partitas exemplify his use of for CBS Records and Desmar Records. all of his musical heritage. He also experimented with the An engaging and warm personality, Rosen has been seen newest ideas - such as stile galant for which his son, Karl

It Phillip Emanuel became known. Technically, the violinist PIOTR ILYICH TCHAIKOVSKY (1840.1893) is put through his paces with bariolage, extended range, Trio in A Minor, Op. 50 double stops, special bowings, and scordatura. j Tchaikovsky was apprehensive about leaving St. Peters- The Preludio, in 3/4 time, is a grand opening to the Par- burg after he graduated from the Conservatory. It was his tita. Bach liked this piece enough that he used it again for home, but his works were not well received there and he the Sinfonia that precedes the Cantata No. 29, "Wir danken left for Moscow in 1865 when he was appointed to a pro- dir, Gott," of 1729. 1 fessorship at that Conservatory. Originally a dance from the Normandy region of Nicholas Rubinstein, the director of the Moscow Con- France, the Loure was performed using a droning bag-pipe servatory, took Tchaikovsky into his home upon his arrival type of instrument. By definition, liberties may be taken and introduced him to Moscow musical society. Soon he with the note values in the Loure, lengthening and shorten- and Tchaikovsky formed a life-long friendship. Of course, ing in a swinging manner. It was used as an entree in French relationships between two artists are not always consistent theatrical dance productions, hence its position at the and these two certainly had their ups and downs. The most outset of the Partita. famous incident in their stormy alliance was Rubinstein's The Gavotte originated as a popular folk dance. This harsh criticism of and refusal to perform the Piano Concer- style of dance was introduced into the Baroque suite and to No. 1. Tchaikovsky broke off relations with him for near- partita to provide a contrast to the elegant ballroom dances ly four years. Rubinstein eventually apologized for his that were used at first. It is in a lively cut-time and in the earlier misjudgement and became one of the work's strong- form of a Rondeau - refrain . . . couplet I . . . refrain . . . est supporters. Actually, Rubinstein premiered a majority of couplet '2 . . . etc., ending with the refrain. the works that Tchaikovsky wrote for piano. The Menuet stems from the more aristocratic dance Tchaikovsky fulfilled two self-imposed obligations floor. It was popular in France for longer than any other when, in 1881, he composed the Trio in A Minor. First, it court dance, lasting through the 18th century and continues pleased his patroness, Nadezhda von Meck, who had asked to be used in art music. These two menuets form a hub in for a work for violin, cello, and piano. But mainly he perfect time around which the rest of the work revolves. wanted to pay tribute to his good friend and former employ- The Bouree, in a lively duple meter and binary form, er. The Trio was composed the year after Nicholas Rubin- provides another contrast with its folksy flavor. An elegant stein's death and was first performed at the Moscow Con- Gigue closes the Partita. As a popular dance, in 6/8 time, it servatory by his colleagues on the anniversary of his death. was handed down to the French from the English and Irish The Trio is dedicated "to the memory of a great artist." jig. Pezzo elegiaco, the first movement, is in a sonata form that has been expanded on a grand scale. The first of its three themes has a plaintive, folk quality to which the key LUDWIG VAN BEETHOVEN (1770-1827) of A minor gives a Russian flavor. The second is majestic, as Sonata for Cello and Piano in D Major, Op. 102, No. 2 in the climax of Mussorgsky's Pictures at an Exhibition. Beethoven spent most of the summer of 1815 at the The third is a song-like melody that features imitative in- Jedlersee with Countess Maria von Erdody, a lovely woman terplay among the three instruments even in the theme's who was also a fine pianist and to whom the composer first statement. Each of the themes is developed in turn dedicated many works. She took the cellist Joseph Linke before a coda/recapitulation. The overall effect of this lux- under her wing after the palace of his patron, Prince urious movement is a rich, orchestral texture over which Rasumovsky, burned down and the . Rasumovsky Quartet sing the inherently instrumental melodies. was disbanded. That July and August, Beethoven composed The Tema con variazione is said to be based on a Rus- the two Cello Sonatas, Op. 102 for Linke and Countess sian folk song that Tchaikovsky heard sung by peasants Erdody. The Sonatas are dedicated to the Countess. when he was having a picnic with Rubinstein. They had As opposed to the form of the first of the Op. 102 - in been to the premiere of Ostrovsky's Snow Maiden with in- two movements, both with slow opening sections - the sec- cidental music by Tchaikovsky and afterwards went to ond is rather normal at first glance. But one can never judge Sparrow Hill, outside Moscow, with a group of professors the master quickly, especially the later works. Some scores from the Conservatory. When some curious peasants ga- are entitled "Two Sonatas for Pianoforte and Violincello," thered around Rubinstein offered them food and wine and (with the piano listed first,) and well they should be, since in return they sang and danced for him and his friends. the piano and cello carry equal weight. The two parts both There are twelve widely diverse variations that span require a virtuosic technique, which the Countess and from tenderness to virtuosity. The eighth is a fugue and the Linke both possessed. twelfth is a grand finale in the Russian style. It opens with a The incisive opening theme of the Allegro con brio new theme and returns to the theme on which the entire gives way to one more singing. These two are used as counter- movement is based. The dramatic ending includes the first point to each other as this movement alternately states and theme of the Pezzo elegiaco played by the strings, now more develops its materials as they are varied further away and funereal than before and accompanied grandly by broad back again toward a climactic conclusion. Adagio con piano chords. molto sentimento d'affetto is an apt description of the The Trio in A Minor has been set to a ballet, Design Sonata. Its complex rhythmic figurations at times disguise with Strings, by choreographer John Taras. Tchaikovsky its duple meter. Its intensity foreshadows the slow move- was accused in his lifetime of composing absolute music that ments from Beethoven's final years - the Ninth Symphony always sounded like a score for ballet. But the composer of and the Missa Solemnis. The mood changes rapidly as the Swan Lake and The Sleeping Beauty did not apologize for players burst directly into the Allegro fugato with a scale that association. To Tchaikovsky, all music, including dance music, should be sublime. In played by each. This polyphonic movement is a certain the 20th century Tchai- precursor of Beethoven's excursions into the realm of the kovsky has triumphed over his detractors. His ballet scores can be fugue in his piano sonata, Op. 101, composed the next year. heard with immense pleasure, even if there is not a However formal this fugue may be, it also encompasses tutu in sight. And his symphonies, concertos, and chamber some of Beethoven's best humor and flair. works continue to inspire choreographers. The Trio in A Minor is the a Between 1812 and 1816 Beethoven composed only two work of melodic genius and it can be loved in piano sonatas and two cello sonatas. Perhaps the two Cello any context. Sonatas of Opus 102 can be seen as a bridge between the period of the 7th and 8th symphonies and the composer's last years of production. MUSIC BROOKLYN ACADEMY OF

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