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THE DIME SAVINGS BANK OF NEW YORK Wll4fl l()tC MANHATTAN • DOWNTOWN BROO! Opera House Friday, April 3, 1981 , 8:00pm Saturday, April 4, 1981 , 8:00pm Sunday, April 5, 1981 , 3:00pm THE BROOKLYN PHILHARMONIA LUKAS FOSS, MUSIC DIRECTOR Twenty-seventh Season 1980/81 LUKAS FOSS Conductor JANOS STARKER Cello BEETHOVEN Symphony No. 6 in F Major ("Pastoral"), Op. 68 (1808) Allegro rna non troppo ("Cheerful impressions awakened by arrival in the country") Andante molto moto ("Scene by the Brook") Allegro ("Merry gathering of Country-folk") Allegro ("Thunderstorm, tempset ") Allegretto (Shepherd's Hymn. Glad and grateful feelings after the storm") {Intermission} STRAUSS "Don Quixote" (Introduction, Theme with Variations, and Finale): Fantastic Variations on a Theme of Knightly Character, Op. 35 {1897) Janos Starker, Cello The Baldwin is the official piano of the Brooklyn Philharmonia This concert was made possible in pari with public funds from the City of New York Department of Cultural Affairs Administration the New Yo rk State Council on the Arts. and the National Endowment for the Arts Slowly it's beginning to dawn on between business and the local people are returning to the city. people that the city just may be a sane community. Property values are on the rise. Neigh alternative to gasoline shortages, Creating affordable housing by borhoods are on the upswing. And the out-of-sight property taxes and encouraging private investment in outlook for business is definitely weekend marriages. neighborhoods is the key to Brooklyn's improving. Slowly it's beginning to dawn on renaissance. Cinderella, a Brooklyn But we've barely scratched the people that the city has possibilities Union and community sponsored surface of the virgin possibilities that waiting to be developed by business restoration program is supporting exist for investment and good living. and by people who prefer the stimula private initiative in the restoration of Why not explore them? tion of city living. Brooklyn's wealth of 19th century Vic Start by calling Fred Rider, our Nowhere are these possibilities torian townhouses and the conversion Director of Cinderella projects or Mike more apparent than in Brooklyn. For of its vacant loft, factory and residen Teatum, our Director of Area Develop the past 15 years, Brooklyn has been tial structures, into affordable apart ment at (212) 643-3880. undergoing a transformation brought ments and co-ops. about by an enlightened partnership In the process, thousands of ~ Brooktyn Union Gas Brooklyn. The new land of opportunity. THE PROGRAM LUDWIG VAN BEETHOVEN To us mus1c1ans the work of Beethoven second category. In all his immense pianistic (Born Bonn, Dec. 17, 1770; parallels the pillars of smoke and fire which led d. Vienna, March 26, 1827) work, it is the "instrumental" side which is the Israelites through the desert, a pillar of char~cteris tic of him and makes him infmitely Beethoven was a German composer whose smoke to lead us by day, and a pillar of fire to prec1ous to me. It is the giant instrumentalist nine symphonies and numerous piano and light the night, so that we may march ahead that predominates in him, and it is thanks to that chamber compositions mark him as one of the both by day and night. His darkness and his 9uality that he .cannot fail to reach any ear that outstanding composers of Western music. light equally trace for us the road we must IS Open to mUSIC. Beethoven's father was a musician, as was one follow; both the one and the other are a It 1s time that this was recognized, and of his grandfathers, and he studied the piano, perpetual commandment, an infallible revela Beethoven was rescued from the unjustifiable violin, harpsichord and organ. He was playing tion. If it were up to me to categorize the diverse monopoly of the "intellectuals" and left to those in the court orchestra in his native city of Bonn states of thought of the great master as who seek nothing in music by music. It is, by the time he was thirteen. He then studied in manifested in his sonatas, symphonies, quartets, however, also time-and this is perhaps even Vienna with Haydn and with Johann I should hardly stop at the division into three more urgent- to protect him from the stupid Albrechtsberger (1736-1809). giving his first styles generally adopted today, and which you drival of fools who think it up-to-date to giggle as public concert there in 1795. Beethoven re have followed, but. ..would frankly weigh the they amuse themselves by running him down. mained in Vienna for the rest of his life. When big question which is the crux of criticism and Let them beware; dates pass quickly. he was about thirty years old he began to lose musical aesthetics to the point where Beethoven Just as in his pianistic work Beethoven lives his hearing. Gradually forced to give up his has led us: that is how much traditional, conven on the piano, so in his symphonies, overtures career as a pianist, he devoted himself more tional form necessarily determines organization and chamber music, he draws from his in and more to composing. Although he was total of thought. strumental ensemble. With him the instrument ly deaf by about 1824, this handicap did not The solution of this question, as it is derived ation is never apparel, and that is why it never prevent him from composing some of his from Beethoven's works, would lead me to strikes one. The profound wisdom with which greatest works during the remaining three divide his works, not into three styles or periods he distributes parts to separate instruments or to years of his life. Unlike many composers, (style and period being here only corollary, whole groups, the carefulness of his instrumen Beethoven was almost as highly regarded dur subordinate terms, of vague and equivocal tal writing, and the precision with which he in ing his lifetime as he was after his death. significance), but very logically into two dicates his wishes-all these testify to the fact Beethoven's work- a large body of composi categories: one in which the traditional and con that we are in the presence of a tremendous con tions in virtually every form- bridges the ventional form contains and rules thought, and structive force. classical and romantic periods of music the other in which thought recreates and I do not think I am mistaken in asserting that history. His work is often divided into three fashions a form and style appropriate to its need it was precisely his marmer of moulding his periods. To the first period, in which and inspiration. Undoubtedly, in proceeding musical material that led logically to the erection Beethoven largely followed the classical thus, we shall encounter head-on those peren of those monumental structures which are his models of Mozart and Haydn, belong the com nial problems of authority and freedom. But why supreme glory. positions written up to about 1800, which in should that frighten us? In the liberal arts, for There a re those who contend that cludes his first two symphonies, the first three tunately, they entail none of the dangers and Beethoven's instrumentation was bad and his of his five piano concertos, twelve of his thirty disasters which their flu ctuations occasion in tone color poor. Others altogether ignore that two piano sonatas, six of his sixteen string the political and social world for, in the realm of side of his art, holding that instrumentation is a quartets and the Kreutzer Sonata for violin. In the Beautiful, genius alone is the authority, secondary matter and that only "ideas" are his second period (c. 1800-c. 1815) Beethoven dualism disappears, and the concepts of authori worthy of consideration. pushed the classical forms to their furthest ex ty and liberty are restored to their original iden The former demonstrate their lack of taste, treme, especially in his methods of develop tity. Manzoni, in defining genius as "a greater their complete incompetence in this respect, and ment of themes. To this period belong his Sym borrowing from God," has eloquently expressed their narrow and mischievous mentality. In con phonies Nos. 3 through 8, the opera Fidelia, the this truth. trast with the florid orchestration of a Wagner, four Lenore Overtures, incidental music for the -Franz Liszt with its lavish coloring, Beethoven's instrument play Egmont, Piano Concertos Nos. 4 and 5, his - from a letter to Wilhelm von Lenz ation will appear to lack luster. It might produce Violin Concerto, fifteen piano sonatas and five [author of Beethoven et ses trois styles, 1852], a similar impression if compared with the string quartets. The last period (c. 1815-1827) Weimar, December 2, 1852 vivacious radiance of Mozart. But Beethoven's saw the composition of his Symphony No. 9 music is intimately linked with his instrumental (called the Choral Symphony, because of its language, and fmds its most exact and perfect choral finale). the Missa Solemnis (Mass) , fiv e expression in the sobriety of that language. To piano sonatas and the last five string quartets. regard it as poverty-stricken would merely show lack of perception. True sobriety is a great rarity, " Keep your eyes on that fellow; one day he'll ....Be ethoven is not a man, but a god!-like and most difficult of attainment. give the world something to talk about." Shakespeare, or Homer or Michaelangelo! ...... As fo r those who attach no importance to - Mozart, in the spring of 1787 -Georges Bizet in a letter to Beethoven's instrumentation, but ascribe the - when hearing the 17 year old Beethoven Mme. Halevy. whole of his greatness to his "ideas" -they ob improvise at the pianoforte. May29, 1871 viously regard all instrumentation as a mere matter of apparel, coloring, flavoring, and so . . .More concentrated, more energetic and fall, though following a different path into the more intimate [inniger] I have never yet seen an same heresy as the others. artist. I can very well understand how singular In our early youth we were surfeited by his Both make the same fundamental error of he must stand in his relations with the world. Stravinsky works, his famous Weltschmerz being regarding instrumentation as something extrin - Goethe (writing about Beethoven) to his wife forced upon us at the same time, together with sic from the music for which it exists. Teplitz, July 19, 1812 the "tradegy" and all the commonplaces voiced This dangerous point of view concernmg m for more than a century about this composer strumentation, coupled with today s unhealthy In composing his Pastoral Symphony who must be recognized as one of the world's greed for orchestral opulence, has corrupted the Beethoven well understood the danger he incur greatest musical geniuses. judgement of the public, and, being impressed red. His explanatory remark, " Rather expressive Like many other musicians, I was disgusted by the immediate effect of tone color, people of the feeling than tone painting," contains an by this intellectual and sentimental attitude, can no longer solve the problem of whether it is entire aesthetic system for composers. And it is which has little to do with serious musical ap intrinsic in the music or simple "padding." Or absurd for painters to portray him sitting beside preciation. This deplorable pedagogy did not fail chestration has become a source of enjoyment a brook, his head in his hands, listening to the in this result. It alienated me from Beethoven independent of the music, and the time has bubbling water!. .. . . for many years. surely come to set things to rights. We have had When Beethoven conceived and carried out Cured and matured by age, I could now ap enough of this orchestral dappling and these his idea for the Pastoral Symphony, it was not a proach him objectively so that he wore a di f thick sonorities; we are tired of being saturated single short spring day that inspired him to utter ferent aspect for me. Above all I recognized in with timbres, and want no more of all this his cry of joy, but the dark commingling of lofty him the indisputable monarch of the instrument overfeeding, which deforms the entity of the in songs above us (as Heine, I believe, somewhere that inspires his thought and determines its strumental element by swelling it out of propor says). The manifold voices of creation stirred substance. The relations of a composer to his tion and giving it an existence of its own. There within him. sound medium may be of two kinds. Some, for is a great deal of re-education to be accomplish - Robert Schumann example, compose music for the piano; other ed in this fie ld. from "On Music & Musicians" compose piano music. Beethoven is clearly in the -Igor Stravinsky the money you can save on SAVINGS BANK LIFE INSURANCE This is the insurance that leaves you more specialists will be glad to help you select the money for living. You 'II see why when right plan and amount to fit your needs. And you compare the cost of SBLI with the after you buy your policy, they'll still be glad cost of many similar types of protection. to serve you. Where do you get it? R1ght here at The Stop at any office for full details. W ithout Wliliamsburgh. where our insurance obligation. of course. YOUR FUTURE BEGINS AT THE Incorporated 1851 Nassau Offices: Hempstead Tpke at Center Lane, Levtttown • 682 Dogwood Ave., Franklin Square • Suffolk Offices: Walt Whitman Shoppmg Center, 200·7 Walt Whitman Rd., At. 110, Huntmgton Station • Pathmark Shopptng Center, 5880 Jericho Turnpike, Commack • Queens Offices: 95.Q1 63rd Dnve at Saunders Street, Rego Park; 136-65 Roosevelt Ave., Flushing; 107·15 Continental Ave., Forest Hills • Manhattan Offices: Wall Street Office 74 Wall Street at Pearl; Yorkville Office: 345 East 86th Street • Brooklyn Offices: Central Office: 1 Hanson Place at Flatbush Ave., Williamsburgh Office: 175 Broadway at Driggs Ave., Bensonhurst Office: 86th St. and 23rd Ave: Starrett City Office Pennsylvania Ave cor Twin Pines Drive ' THE PROGRAM My only decree to remain in the country. How Nothing can be more dangerous for the Ge.r easily this can be fulfilled in any place what mans than a great man like Strauss. For he will soever. Here my wretched hearing does ot end by driving them mad. plague me. Does it not seem as if every tree in There is remarkable intelligence in Don Qu1xote. the countryside said to me: Holy, holy! In the The two figures of Don Quixote and Sancho are forest, enchantment! Who can express it all? excellent, the one with his air of stiffness, Should all else fail, even in winter the country languid , swash-buckling, the aged Spaniard, remains, like Gaden, Lower Bruhl, etc. Easy to with something of the troubadour in him, find lodgings at a peasant's, certainly cheap at always changing his ideas and always coming that time. Sweet stillness of the forest! The wind back to the bee in his bonnet; the other, with his which comes already on the second fine day breeziness and his bantering proverbs.-These cannot keep me in Vienna, though it is my are really sketches, scenes in miniature, rather enemy. than real descriptions. -1815 from Notebooks - Fragments from Romain Rolland's Diary It is left to the listener to discover the situa tion. Sinfonia caracteristica or a reminiscence of Strauss remembers Beethoven dreams. country life. Every kind of painting loses by be· ing carried too far ir. instrumental music . Sin A man may aim as high as Beethoven, or as fonra pastorella . Anyone who has the faintest high as Richard Strauss. In the former case the idea of country life will not need many descrip shot may go far below the mark; in truth, it has tive titles to be able to imagine for himself not been reached since that "thunderstorm in what the author intends. Even without a 1827," and there is little chance that it will be description one will be able to recognize it all, reached by anyone living today, but that matters for it is expression of feelings rather than a not; the shot will never rebound and destroy the painting in sounds. marksman. But, in the latter case, the shot may - Beethoven often hit the mark, but as often rebound and - notes on the Pastoral Symphony, 1807 harden, if not destroy the shooter's heart-even his soul. What matters it, if he find there but few perfect truths; what matters (men say}. he will find there perfect media, those perfect in Symphony No. 6 (The Pastoral} struments of getting in the way of perfect truths. in F Major, Op. 68 This choice tells why Beethoven is always The first performance of Symphony No. 6 modern and Strauss medieval-try as he may to took place at a concert given by Beethoven on cover it up in new bottles. He has chosen to December 22, 1808, in the Imperial private capitalize a "talent" - he !las chosen the com theatre at Vienna. The symphony was plexity of media, the shining hardness of exter dedicated to two wealthy patrons and personal nals, repose, against the inner, invisible activity friends of Beethoven-Prince Lobkowitz and of truth. Count Andreas Rasoumovwsky. -Charles lves EDUCATIONAL Symphony No. 6 is scored for the following from Essays Before a Sonata (1 920} CENTER L TO instruments: piccolo, 2 flutes, 2 oboes, TEST PREPARATION 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, SPECIALISTS SINCE 1938 2 trombones, timpani and strings. The personality of this Meyerbeer of the twen· Visit Any Center tieth century is of undeniable importance And See For Yourself because he occupies the foremost position Why We Make The Difference among the post-Wagnerians. Musically speak RICHARD STRAUSS ing, Strauss has an abundant selection of Call Da ys, Eve s & Weekends (Born Munich, June 11, 1864; unifo rms, liveries and costumes which he dons d. Garmlsch-Partenklrchen, Sept. 8, 1949} according to the occasion. In his Lieder, small MANHATTAN .. 212-977-8200 Richard Strauss was a celebrated composer music for the general public, he dresses 131 W. 56 St NY 100 19 'betw 6&7Avel whose music was largely in the romantic tradi negligently and seems to be masquerading per BROOKLYN ... 212-336-5300 tion of Liszt and Wagner. functorily as Tosti, Schumann, Verdi or Hugo Strauss' eight great symphonic poems-Aus Wolf rather than looking like himself. In the GARDENCITY 516-248-1134 lta/ien ("From Italy" }, Macbeth, Don juan, Tod symphonic poem and in the music drama, on HUNTINGTON 516-549-1780 und Verk/iirung (" Death and Transfiguration" }, the other hand, he appears clad in his most WESTCHESTER 914-948-7801 Till Eulenspiegel, Also Sprach Zarathustra ("Thus dazzling uniforms in order to conceal the pover Spake Zarathustra"}, Don Quixote, and Ein ty of his Wagnerian lyricism, or poses as ALBANY ..... 518-439-8146 He/den/eben (" A Hero's Life"}-as well as his humorist worthy of his namesake Johann, the BINGHAMTON 607-723-8966 two program symphonies Symphonia Domestica pirouetting Viennese. The operas of Richard BUFFALO .... 716-688-4012 (1904} , Eine Alpensinfonie (1915} were composed Strauss are full of old, stale tricks propped up by between 1887 and 1915, as were four of his clever orchestral devices in order to distract the ROCHESTER 716-275-9320 most important operas {Salome, Electra, Der hearer's attention from all these commonplaces. SYRACUSE .. . 315-451 -2970 Rosenkava/ier, and Ariadne auf Naxos). Although He prefers the crude colors of the extreme E. BRUNSWICK 201 -846-2662 until about 1909 his harmonies were often more registers to which he assigns strongly reinforced dissonant apd chromatic than Wagner's, Strauss thematic material, while gliding arpeggios, HACKENSACK . 201 -488-4778 never abandoned tonality and, beginning with scales and other superficialities (varnish and NEWHAVEN .. 203-789-1169 Der Rosenkavalier (1911}, he returned to more polish} are lavished with great profusion to HARTFORD .. . 203-568-7927 conventional harmonies, and in Ariadne auf mitigate the roughness of certain combinatio_ns Naxos (1912} to classic forms and techniques. He which he uses with undue frequency, or to m PHILADELPHIA 215-546-3317 was particularly skillful in using a large or fuse life in the symphonic line, which too often ALLENTOWN . 215-435-2171 chestra with great effectiveness. languishes in a vulgar welter devoid of ideas. Strauss continued to compose for the rest of Although the music drama of Richard Strauss BOSTON ...... 617-482-7420 his long life, producing several more important fails to make any deep impression and its or· For Information About operas (Arabella, Daphne, Capriccio, Die Frau chestral orgies leave an almost disgusting after Other Centers In More Than ohne Schatten, Die Liebe der Danae) and some taste, the significance of this baroque sym· 85 Major U.S. Cities & Abroad outstanding songs (especially his Vier letzte phonist is none the less remarkable because, in Outside N.Y. State Lieder, or "Four Last Songs," written at the age the Wagnerian parabola,he marks the extreme of eighty-four. Among his other works are two limit of this precipitate decadence. CALL TOLL FREE horn concertos, the first written for his father, - Gian Francesco Malipiero 800-223-1782 who was an outstanding French horn player. from The Orchestra (1921} THE PROGRAM I have been getting to know some definitely stnpped myself of the Wagnenan beautiful songs by Strauss. Verily verily I say to mus1cal armor you smce Wagner there has been no composer R Strauss as great as Strauss. from a letter to Hugo von Hofmannsthal Bartok in a letter to his friend. LaJOS D1etl Garmisch early September 1916 March 17th, 1904 Berlm As I told you once before, Richard 11 [Strauss] seems to me to be the most Beethovcn1sh composer since Beethoven In my opm10n the desire to push works of Perhaps I am wrong, but anyhow you wdl art beyond the realm of art means simply to agree that, whatever his faults, he is a real life drive them into the realm of folly Richard composer Strauss IS m the process of showing us the Gustav Holst in a letter to Vaughan Williams road Dresden 119031 -Camille Samt-Saens from a letter to Camille Bellaigue Ca1ro January 30 1907 " DON QUIXOTE" (Introduction, Theme with Variations, and Finale l: Fantast ic Variations on a Theme of Your cry of distress against "mus•c·makmg Knightly Character, Op. 35 a Ia Wagner has pierced my heart and has The score of 'Don Quixote was composed m thrown open the door into a completely nev. Mumch m 1897 and completed on December landscape so that, guided by Arradne and par· 29 of that year It was first performed at a ticularly by its prelude I hope to betake myself Gurzenich Concert in Cologne, from the completely into the realm of un-Wagnenan manuscnpt Franz Wiilner conducting, on theatre into opera of the heart and humanity I March 8, 1898. Friedrich Grutzmacher played see my way clearly before me, and I thank you the v1oloncello solo. for havmg prodded me but for me to achieve Don Quixote" is scored for two flutes and this. you must create the necessary librettos p1ccolo. two oboes and English horn, two librettos a Ia Black Dommo, Maurer und clarinets and bass clarinet, three bassoons and Schlosser Wildschurz, Zar und Zimmerman, contra-bassoon. six horns, three trumpets, three Teu(els Ante1/ a Ia Offenbach, but they must be trombones and tuba, tenor tuba, timpani, snare filled with Hofmannstahlish people instead of drum, bass drums, cymbals, triangle, tam puppets An amusing, mteresting plot, be it bourine windmachine, glockenspiel, harp, and clothed m d1alogue arias. duets. ensembles. stnngs vitalized with real composable people like the The dedication is to joseph Dupont. Marschallin Ochs or Batak1 In whatever form you wish' I prom1se you that I have now Notes compiled by Wilham Canaday ff I . "t-- A. ~ ' ,~ eo't. Jl ranns ~ ~ ~ qfollrgr ,_.. ~rooklpn ~rigbts NY ***Oetly N-• rst.l884 v BACHELORS AND / Charlies ASSOCIATE'S DEGREES The dnnks, the food, the • atmosphere, the conv1v1 DAY, EVENING ailty They're all good reasons for spendmg an AND evenmg at CHAR LIE'S where Flatbush Avenue SATURDAY CLASSES meets Park Sl o pe. 350 Flatbush Avenue at E1ghth Avenue ST. FRANCIS COLLEGE 180 REMSEN STREET UL 7-4585 BROOKLYN, NEW YORK 11210 (212) 522·2300 THE ARTISTS LUKAS FOSS York Philharmonic's summer festival concerts has indeed become synonymous with the cello. At the age of 18, Lukas Foss was widely at Lincoln Center. Beginning in the 1981/82 For Janos Starker, the 1980/81 season is as known as a musical "wunderkind", and was season he will be Music Director of the usual an extremely full one, with numerous or already a graduate of the Curtis Institute of Milwaukee Symphony while continuing his chestral appearances and solo recitals coast to Music, where he studied conducting with Fritz commitment to the Brooklyn Philharmonia, coast and throughout Cananda, Mexico and Reiner. Shortly thereafter, he was taken under which he has brought into national pro Europe. Always an integral part of every the wing of Serge Koussevitzky, with whom he minence over the past ten years. season are the celebrated master classes l)nd .worked at the Berkshire Music Center at Lukas Foss is one of the country's leading student seminars which Mr. Starker gives on Tanglewood. Foss also studied at the Yale composers, and has received numerous com many college campuses. This season also School of Music in its heyday under Paul missions, awards and honors for his music, marks his twenty-second year as "Distinguished Hindemith, and at 23, was the youngest com which has been played throughout the U.S. Professor" at Indiana University's world poser to be awarded a Guggenheim and Europe by world-renowned artists and renowned School of Music. Fellowship. ensembles. Recent premieres have been given Mr. Starker's performances at summer 1980 A " renaissance" musician, Foss is equally at by the New York Philharmonic under Leonard music festivals on this continent and abroad home as composer, conductor, teacher, and Bernstein (Quintets for Orchestra}, and Yehudi continued to galvanize audiences everywhere. concert pianist. He has continually been at the Menuhin, and the Cantilena Chamber Players His 1979-80 season included' sold-out tours on forefront of contemporary music, yet the broad (Round a Common Centre}, and soprano Phyllis both sides of the Atlantic. range of programs he conducts offers a fresh Curtin and the Dorian Quintet (13 Ways of Born in Budapest. Janos Starker emigrated to view of music from the renaissance, classical, Lookmg at a Blackbird}. Throughout his career the United States in 1948 after a European and romantic periods up through the present he has also won wide acclaim as a concert career which he began as a child pro Thewryfamous restaurant in Brooklyn. Before enning performaaces and after week!nd matinees at the Brooklyn Academy of Musac. The season at the Brooklyn Academy of Mus1c IS 1n full ~swtng Let us make you welcome 1n t he style • that's made us a New York t rad1t1on for nearly a century. Dme by soft gaslight on your cho1ce of more than 100 savory d1shes on our menu. each cooked stnctly to order It's how we came to fame. GAGE&ToLLNER · Brooklyn's Landmark Seafood & Steak House (Est. 1879) 372 Ful ton Street (n r Boro Hall). For reservations call 879·5181. Open da tl y.Weekdays 11 :30 A.M. to 9:00P.M. Satl! rdays 4.:00 P.M. to 11 :00 P.M. Su noays 3:00P.M. to 9:00 P. M. Major cred1t card s. THE BROOKLYN PHILHARMONIA, INC. Officers of the Brooklyn Philharmonia Ho norary Chairpersons Staff for the Brooklyn Philha rmonia Max L. Koeppel, Chairman of the Board Hon. Edward I Koch Maurice Edwards, Manager Stanley H Kaplan President Hon Eugene Gold Lola Silvergleid, Assistant to the Manager Daniel S Schwartz, Executive Vice Prestdent Hon. Elliot Golden Allen Edwards, Director of Development Bernard S Barr Vice-President Hon. Howard Golden Samuel Levitan, Orchestra Personnel Manager Daniel Eisenberg. Vice-President Hon. Elizabeth Holtzman Helen Sive Paxton, Director of Public I Stanley Kriegel Vice-President Hon Arthur Levitt Relations and Community Concerts Jack Litwack Vtce· President Rabbi Eugene J Sack William Canaday, Educational Director Dr Melvin Moore, Vice-President Mark McElherne, Promotion Assistant Joseph M Scorcia , Vice-President Morton Silverfine, Staff Assistant Dr. V Peter Mastrorocco, Secretary Vincent A Finamore. Treasurer Board of Directors I Michael A. Armstrong Jerry Jacobs Alexander S. Moser Arnold Badner Stanley H. Kaplan jay B. Polonsky Paul A Barber Mrs. Stanley H. Kaplan Hon. Fred Richmond Bernard S. Barr Max L. Koeppel Robert C. Rosenberg Mrs. Bernard S. Barr I. Stanley Kriegel Arnold L. Sabin ' Mrs. Sidney Bershatsky Dr. Arthur J Lapovsky Edward P Schneider Mrs Seymour Besunder Mrs. Theodore Liebman Hon Charles Schumer Julius Bloom Jack Litwack Daniel S Schwartz Schuyler G Chapin Salomon C Lowenstein joseph M. Scorcia Dr Carl D' Anna Mrs Salomon C. Lowenstein Mrs. joseph Scorcia Mrs Norman Dinhofer Dr. V. Peter Mastrorocco Anthony Scotto Dante! Eisenberg Craig G. Matthews Harry L Shuford Melvin Epstein Marcella Maxwell Sydney N Stokes, Jr. Vmcent A Finamore Robert Michaels Donald L. Thomas Henry J Foner Allan S Mitchell William Walker Walter S Fortune Dr. Melvin Moore Bruce H Wittmer ------ORCH ESTRA PERSO NEL ------ First Violin Cello Ho rn Harry Glickman, concertmaster Jerry Grossman, principal Paul Ingraham, principal John Toth, assistant concertmaster Barry Gold Thomas Beck Benjamin Hudson Lanny Paykin joseph Anderer Carol Zeavin Michael Rudiakov Scott Temple Robert Chausow Neil Lamonico Robert Carlisle Chun Leung David Sabee Michael Martin Sandor Strenger Peter Rosenfeld William Hamilton Jacob Robbins Sally Cline Trumpe t Thomas Suarez Bass Dale Stuckenbruck Wilmer Wise, principal joseph Tamosaitis, principal Edward Carroll Shem Guibbory Jaime Austria Farhad Behroozt Lee Soper Janet Conway Tro mbone Second Violin Louis Bruno Lenard Rlvhn, pnncipal David Uber, principal Paul Harris Theodore Toupm Joel Pitchon Steven Rubenstein Lawrence Benz Marion Guest Jules Hirsch Eugenic Seid Baritone Flute Jonathan Taylor Beth Cohen Paul Dunkel, principal Robert Schubert Laura Conwesser Tuba Maria Parisella Barbara Maksymkow (also pice.) Patrick Mills Sherman Goldscheid Oboe Timpani John Howard Richard Fitz Glenn Paez Henry Schuman, principal Robert Botti Pe rcussion Viola Joel Timm (English horn) Joseph Passaro, principal Janet Lyman, principal David Frost David Sills Clarine t Karl Bargen John Moses, principal Harp Louise Schulman Mitchell Estrin Karen Lindquist Stephanie Fricker Virgil Blackwell Librarian Judy Geist Bassoo n David Frost Samuel Belich Frank Morelli, principal Contractor Veronica Salas Harry Searing Samuel Levitan Beth Horton Jeffrey Marchand (contra bassoon) BAM BROOKLYN ACADEMY OF MUSIC Opera House Friday, May I, 1981, 8:30pm Saturday, May 2, 1981 , 8:30pm Sunday, May 3, 1981 , 3:00pm THE BROOKLYN PHILHARMONIA LUKAS FOSS, Music Director Twenty-seventh Season 1980/81 LUKAS FOSS, Conductor LINN MAXWELL, Mezzo-Soprano I JOSEPH EVANS, Tenor BROOKLYN PHILHARMONIA CHORUS ' Alexander Dashnaw, Conductor GALA CELEBRATION OF LUKAS FOSS' lOTH ANNIVERSARY WITH THE BROOKLYN PHILHARMONIA lves Decoration Day (191 2) from A Symphony: Holidays Foss American Cantata {19 77} Prologue (The Promise of America} Earth, Water, Air Love Money (Scherzo} Tria l and Error J ose ph Evans, tenor Brooklyn Philharmonia Chorus Alexander Dashnaw, conductor {Intermission} Prokofiev Alexander Nevsky, Op. 78 {Cantata for Chorus and Orch.} {1939} Russia Under the Mongolian Yoke. Mollo Lento The Song of Alexander Nevsky. Lento Piu Mosso The Crusaders in Pskov. Largo, Andante Arise, Ye Russia n People. Allegro R1soluto The Ba ttle on the Ice. Adagw; Moderato; Allegro Moderato Field of the Dead. Adagw, Meno Mosso Alexander Nevsky Enters Pskov. Moderato; Allegro Ma Non Troppo Linn Maxwell, m ezzo-soprano Brooklyn Philharmonia Chorus Alexander Dashnaw, conductor I The Brooklyn Philharmonia would like to acknowledge the gen erous special assistance of Manufacturers Hanover Trust Company in making possible tonight's pe rformance. The Baldwin is the official piano of the Brooklyn Philharmonia · · f h C"t f New York Department of Cultural Affairs Administration, This concert was made possible in part w1th pubhc funds rom t e 1 Y 0 . f th A t the New York State Council on the Arts and the National Endowment or e r s. THE PROGRAM CHARLES EDWARD IVES Every work of lves expresses his love for American texts, to tonality (in part) and The (Born Danbury, Conn., Oct. 20, 1874; America. It is his religion. What I find par Prame (in spirit). Nostalgia? Those who read the died New York City, May 19, 1954) ticularly touching about this greatest of Amencan Cantata will realize that nostalgia is lves IS now recognized as one of the most American composers is that for all his complexi only one minor element, that a rather sharp look origmaJ and advanced composers of his time A ty and innovativness. he is at the same time so is being taken at present-day American society. I prosperous insurance broker, lves never very close to his childhood; hymn tunes and hope people will take the text as seriously as the depended on music for his livelihood. He began marches everywhere ...... " music. composing in his teens, first studying music - Lukas Foss In fact, a composer's search for the right text is with his father (a bandmaster) and then more Interviewed in Amsterdam on the occasion of often more troublesome than the act of composi formally at Yale University. Most of his works the first Dutch performance of Ives' Fourth tion. In the summer of 1974, the late James were not performed until after he had stopped Symphony (Lukas Foss conducting) Jones showed me a letter by a Civil War soldier: composmg, due to a heart attack. lves won the "Dear father ...I know you would be delighted 1947 Pulitzer Prize in music for the third of his DECORATION DAY to read a word from your dying son ... " I copied five symphonies, which he had written in 1911 In the early morning the gardens and woods 11 immediately, knowing that it would somehow and the fourth was not performed in full until about the village are the meeting places of find its place in a cantata I had been invited to 1965. His gemus Jay in combining a true expres those who, with tender memories and devoted compose for the Bicentennial convention of the SIOn of American tradition with daring ex hands, gather the flowers for the Day's American Choral Directors' Association periments. On the one hand he quoted Memorial. During the forenoon as the people I bought the soldier's letter to my friend. Arieh American hymns. popular songs, dance tunes. join each other on the Green there is felt at Sachs. whom I had asked to assemble or write and marches. employing many of the conven times a fervency and intensity-a shadow the libretto. and I outlined a notion of different tional tonal devices of nineteenth-century perhaps of the fanatical harshness-reflecting "strands" of music going on oblivious of one music. On the other, he used such dev1ces as old Abolitionist days. It is a day as Thoreau another. finally confronting each other Slowly conflicting rhythms and keys at the same time suggests when there :s a pervading con the idea of an American Collage Drama formed (polyrhythm and polytonality) dissonant har sciousness of "Natures kinship with the lower in our minds. Historical statements. poems. cur monies, microtones. and optional voice-parts order-man. rent magazine jargon, mixed but somehow ad Of his many works. the best known mclude h1s After the Town Hall is filled with the ding up. A drama. a tragedy: Whitman-like m· four symphonies Concord Sonata for piano Spring's harvest of lilacs, daisies and peonies, nocence (solo tenor) ignored by an indifferent Three Places m New England for orchestra. The the parade is slowly formed on Main Street environment (a world of pollution, money, Unanswered Question for chamber ensemble of First come the three Marshals on plough pseudo-science), challenged in a trial situation, strings and winds, and A Symphony: Holidays. He horses (going sideways); the Warden and the and finally destroyed (the soldier's letter). also wrote violin sonatas, piano works, string Burgesses in carriages, the Village Cornet The text of Amencan Cantata consists of en quartets, songs and choral music. Band, the G. A.R., two-by-two, the Militia tirely of quotes. The score's musical quotes are (Company G.) while the volunteer Fire folk songs only (the harmonica tune in Ill the I met Charles lves in New York. and we Brigade, drawing the decorated horse-cart Seven folk tunes in IV, the Negro spiritual in V somehow hit it off together at once . . . . . with its Jangling bells, bring up the rear-the but there are references throughout to specific I don t know but I understood almost intuitive inevitable swarm of small boys following. The musical climates:" the athletic optimistic ly that here was a great man and that that great march to Wooster Cemetery is a thing a boy music of the 1940s in the choral fugue of I (The man was composing great music That was at never forgets A little girl on the fence post Promise ofAmen ca) Renaissance as well as rock the time when there were mighty few people waves to her father and wonders if he looked music evoked in III (Love) IV (the Money Scher who could fmd anything in lves except eccen hke that at Gettysburg. zo) is entirely fashioned with folk songs and tricity and experimentation which had no pur After the last grave is decorated Taps' sound nursery tunes going in and out of inaudibility, pose except to amuse a few similary eccentrical out through the pines and hickories. while a last while V (Tnal and Error) combined all the his ly minded people hymn is sung. Then the ranks are formed agam toncal and musical aspects of the drama -Nicolas Slonimsky interview 1969 and "we all march back to Town to a Yankee In the revised version of Amencan Cantata, I 1composer. conductor, author) stimulant-Reeves' inspiring ''Second Reg1ment have made certain things work that didn t work Quickstep." - though to many a soldier, the som before to my satisfaction (the composer himself. "I had a wonderful time (visiting) with lves bre thoughts of the day underlie the tunes of the after all. is his own most severe critic· I am a because he was such an mteresting man And I band The march stops-and in the silence the chronic reviser). For instance the opening fugue always admired his music from the first I knew shadow of the early morning flower-song nses has the conductor cuing choral entries at ran of it. There are (our composers who had been over the Town and the sunset behind West dom. This didn't come off well in the original neglected for a long time, and now are being Mountain breathes its benediction upon the version, but I think it does now. I have made heard finally: Erik Satie Edgard Van!se, Charles Day very extensive changes in American Cantata, and Koechlin, and Charles lves." -Charles E. Ives believe that the piece will undergo no further re Darius Milhaud in an interview in visions. A composer usually knows when his Aix·en Provence France, on July 25, 1970 DECORATION DAY from A SYMPHONY: work has found its definitive fo rm HOLIDAYS However, have we really accepted him here Decoration Day is the second of four Amencan Cantata was commissioned by the (m Europe)? lves certainly fascinates us, but let movements from a larger work entitled A Sym American Choral Directors Association, with us admit that he also troubles us more than a lit phony Holidays. Its first performance took support from the National Endowment for the tle. How mdeed, as Europeans loaded down place in April (?) 1920 at Carnegie Hall with Arts. The original version completed in 1976. with tradition, are we to judge such a diverse Paul Eisler conducting. had its first performance at Interlochen body of work CIS his? This splendid sonorous The work is scored for: piccolo 2 flutes. Michigan on July 24 1976. by the American cunosity shop, in which rags and rigorous 2 oboes and English horn, 2 B-flat clarinets and Choral Directors Association with the World canons, twelve-tone sets and pop songs E-flat clarinet, 2 bassoons, 4 horns, Youth Orchestra conducted by the composer nonretrogradable rhythms tone clusters. and 2 trumpets (or cornets) 2 trombones and bass In 1977 Foss made extensive revisions in both circus tunes are all mixed up together in the trombone, tuba, timpani, percussion and the choral and instrumental parts. most dramatic and thoroughly American way strings. Foss' Amencan Cantata is scored for tenor Betsy Jolas · Franco-American composer solo, double chorus (with soprano solo, and in an essay on lves male and female speakers with battery-powered AMERICAN CANTATA megaphones), single woodwinds, two trumpets, There is a great Man living in this Country-a I came to the United States in 1937, and it was two trombones, two electric guitars (doubling on composer. in my cantata, The PrGlrie, composed four years classical guitar, bass guitar and banjo), electric He has solved the problem how to preserve later, that I gave expression to my love for organ, harp, piano, celesta, percussion, strings one's self and to learn. America as I had just discovered it. In 1976, solo or in groups, mandolin, harmonica and He responds to negligence by contempt with Amencan Cantata, I came to grips once accordian . He is not forced to accept praise or blame again with my feeling for this country. It is my His name is lves. first extended choral piece of Americana since - Arnold Schoenberg that youthful score, and it is one in which I A jotting, ca. 1945 return to my early love for America, to THE PROGRAM SERGEl PROKOFlEV (Bo rn Sontzovk a , n ear Ekaterinoslav, Now, bo~h at home and abroad, Prokofiev has Indeed, lookmg back today over Prokofiev's moved__ mto the broadest road of popular April23, 1891; d ied Moscow, M a rch 5, 1953) recogmt10n. long and fruitful career as a composer one can The Russian composer, Prokofiev, wrote not but realize how important a part the lyrical, Sergei Eisenstein 194 7 some of the most frequently performed h~man element played in his music. In saymg twentieth-century compositions, among them this! do_ no! wish to underestimate the power his Classical Symphony and Piano Concerto no 3, ?f h1s ep1c g1ft, his dramatism, to which we are Peter and the Wolf the film score Lt Kije. the In the life and art of Sergei Prokofiev it was mdebted for such works as Alexander Nevsky, cantata Alexander Nevsky, the operas The Love of the _t ragic ~leme_n t that was most strongly ~he ep1c pages of War and Peace, or the tragic Three Oranges and War and Peace, the ballets mamfe~ t. This IS U1 no way inconsistant either Images of Romeo and Juliet . . Romeo and juliet and Cinderella and Scythwn ':"1th h1s love of life ?r the philosophical op Prokofiev was one of the most vivid, the Swte for orchestra timism which helped h1m to emerge on the high most talented and individual personalities in. He composed a total of seven symphonies road of history contemporary Russian music. (Symphony No. 3 is based upon his opera The -Dmitri Kabalevsky F/am1ng Angel} two violin concertos, five piano l ie suffered many trials, but he never lost ALEXANDER NEVSKY concertos. numerous piano works, incidental heart never gave up the fight , and he dieBenjamin Britten and Hindemith, Pro himself to the end. He was a great man and . In 1938 Sergei Eisenstem, leading SOviet film kofiev is the only great contemporary composer future generations w11l not be able to unders director produced the motion picture Alexander that has adhered to traditional pracltces such as tand that difficult and glonous time which we Nevsky. It was the period in Russian public life tonality and sonata form sttll have the right to call our own without listen marked by a renaissance of interest in the coun· ing carefully to Sergei Prokofiev's music and try's glorius history. Serge Prokofiev composed pondering over his remarkable life the musical score, which he subsequently Prokofiev works like a clock. developed into the present cantata. llya Eherenburg. 1955 This clock neither gains no r loses time. The text is the work of Prokofiev in collabora Like a sniper, tl hits the very heart of punc tion V.:ith V Nug~vskoi . Completed in February tuality Prokofiev's punctuality is not a matter Prokofiev was a composer, a pianist and a 1939, 1! was premiered the following May by the of business pedantry. conductor. but not a pedagogue. He disliked Moscow Philharmonic Orchestra and Chorus His exactness m time is a by-product of teachmg others how to write music. Yet it with Prokofiev conducting. creative exactness. . . . . would be hard to find a single modern com The instrumentation is as follows: piccolo, poser who has not benefited by the ''lessons" 2 Outes. 2 oboes, English horn, 2 clarinets. bass of Prokofiev's music who has not learned clarinet. tenor saxophone 2 bassoons, (;Ontra For many years he was not understood. Then something new and important for himself by bassoon 4 horns. 3 trumpets. 3 trombones. tuba, he was accepted- as a curiosity. And only s tudymg the works of this remarkable timpani, percussion and strings. recently have they ceased to look askance at composer him -Amram Khachatunan, 1954 :-.: otes complied by Willhml Canaday just across from BAM tel: 855-4830 continental dining in the nouvelle manner U£8-2000 JUS I 6 minutes from BAM • open everyday ot 5pm open daily for lunch and dinner Prospect Park 'Nest at Ninth Street in Park Slope till 9 P.M. 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Mr. Evans was enthusiastically Music where he studied conducting with Fritz Last season, Miss Maxwell made a highly received in Hong Kong as Pinkerton in Madama Reiner Shortly thereafter. he was taken under praised debut with the Chicago Symphony Or Butterfly and was invited to return for the wmg of Serge Koussevitzky with whom he chestra in Mendelssohn's "Elijah She also ap· Cavaradossi in Tosca the following season. worked at the Berkshire Music Center at peared at Lincoln Center with the Musica Sacra Joseph Evans' most recent New York perfor Tanglewood. Foss also stud1ed at the Yale in Bach's St. Matthew Passion. Her full schedule mances were as tenor soloist in his New York School of Music m its heyday under Paul included another "Elijah" in Springfield, the Philharmonic debut under Leonard Bernstein in Hmdemith, and at 23, was the youngest com "Jermiah" Symphony of Leonard Bernstein in both the Haydn Mass In 8-(lat Major and Lukas poser to be awarded a Guggenheim St. Louis, the "Messiah" in San Rafael, and Foss' Amencan Cantata. All three of New York's Fellowship. multiple appearances with orchestra in works of major dailies were in accord that his was an A " renaissance musician, Foss is equally at Rossmi, Beethoven and Bach in Rochester and auspicious debut The New York Post referred home as composer conductor teacher, and Syracuse. to the Foss Amencan Cantata as "scored for an concert pianist He has continually been at the Like many other young American singers, extended tenor solo part, beautifully rendered forefront of contemporary music, yet the broad Linn Maxwell gained her initial vocal ex by Evans." range of programs he conducts offers a fresh perience and reputation in Europe. She studied Mr. Evans can be heard on the Columbia view of music from the renaissance classical with the legendary Pierre Bemac in Paris, and Masterworks recording of the Dvorak cantata, and romantic periods up through the present for two seasons sang with the Essen Opera in The Amencan Flag, with the Radio-Symphonic day He was Music Advisor and Conductor of West Germany She also performed with the Orchestra of Berlin under the baton of Michael the Jerusalem Symphony in Israel for four opera companies of Toulouse, Lyon and Tilson Thomas years, and has guest conducted the Berhn Strasbourg, and with the Netherlands Opera, Philharmonic, the Leningrad Symphony, the before launching her active career in America. ALEXANDER DASHNAW Tokyo Philharmonic, and the Santa Cecilia Or In 1977, following debut appearances with the Mr. Dashnaw became conductor of the chestra in Rome, among others In the U S. he Santa Fe Opera and the San Francisco Opera, as Brooklyn Philharmonia Chorus in 1977 and IS has conducted almost all the major orchestras well as numerous other solo performances. Linn also the director of choral acl!v1tics at C.W. including the Chicago Symphony. New York Maxwell won the coveted Joy in Singing Award Post Center of Long Island University. He has Philharmonic Boston Symphony and The prize was a rec1tal at Lincoln Center's Alice studied at the State University College at Cleveland Orchestra As Music Director of the Tully Hall. On that occasion, Peter G. Davis of Potsdam, Columbia University, and North Buffalo Philharmonic from 1963-1970. he the New York Times praised her "handsome in western University, where he received his made the city a focus of national attention and strument, a true mezzo-soprano, ample in size Master of Music degree Dashnaw has ap a mecca for composers and performers. Prior yet easily modulated in either registral extreme peared as guest conductor of festival choruses. to this, he had the honor of being named sue· and graced with an appealing plangency of tim has conducted many choral workshops and cessor to Arnold Schoenberg as Professor of bre Her recital was a model of poise, calm has toured both as conductor and pianist He Composihon at U C L A a post he held for ten authority and artistic security, a rare example of has conducted concerts throughout continental years Foss has been Music Director of the Ojai a young musician who knows precisely her Europe, England and Wales and in Mexico and Festival m California. has directed twelve capabilities and how to project them to the best the Virgin Islands. For the past four years he marathon concerts at the Hollywood Bowl advantage." has been artistic director of the Jubilee Festival with the Los Angeles Philharmonic was active In addition to the Joy in Singing Award, Linn m Washmgton D C. where he conducts choirs m the Mostly Mozart Festival in New York Maxwell has also won prizes in two Intema from throughout the country m massed choral and for two years was Director of the New honal Compellhons in Barcelona. On recor performance in the allonal Cathedral, Shrine York Philharmonics summer festival concerts dings, she can be heard in "Dido and Aeneas" of the Immaculate Conception, and the Ken at Lincoln Center Beginning in the 1981/82 with Raymond Leppard and the English nedy Center. Dashnaw has recently been season he will be Music Director of the Chamber Orchestra on the RCA label. and in elected president of the Eastern Division of the Milwaukee Symphony while continuing h1s "The Mother of Us All" on the New World American Choral Directors Association. commitment to the Brooklyn Philharmonia Records recording of the original Santa Fe Opera which he has brought into nal!onal pro· production. BROOKLYN PHILHARMONIA CHORUS mmence over the past ten years. The Brooklyn Philharmonia sponsors and Lukas Foss IS one of the country s leadmg JOSEPH EVANS presents a 75-member community chorus-the composers and has received numerous com In the five short years since Joseph Evans set Brooklyn Philharmonia chorus-which is missions, awards and honors for his music, out on a career in opera, he has made a under the leadership of conductor and notec which has been played throughout the U.S. remarkable impression. With the Boston Opera educator Alexander Dashnaw. Tl)e chorus per and Europe by world-renowned artists and alone he has performed twenty leading roles forms with the orchestra and presents choral ensembles. Recent premieres have been given ranging from such standard repertoire as concerts at the Academy as well as at Long by the New York Philharmonic under Leonard Almaviva in Barber o( SeVIlle, the Duke in Island University and in churches, synagogues Bernstein (Qumtets (or Orchestra}, and Yehudi R1goletto lboth opposite Beverly Sills), to the and community centers. Menuhin and the Cantilena Chamber Players rarely performed War and Peace of Prokofiev, I (Round a Common Centre}, and soprano Phyllis Capuletti ed I Montecchi of Bellini and Benvenuto Curtin and the Dorian Quintet (13 Ways of Celllm of Berlioz, and such modem works as Loohmg at a Blachb1rd} Throughout his career Roger Sessions' Montezuma, Gunther Schuller's he has also won wide acclaim as a concert The Fishennan and His W I(e and Lukas Foss' pianist and is best known in this field for h1s jumping Frog of Calaveras Caunty. Mr. Evans' performances and recordings of Bach Concer association with the Boston Opera began when tos Bernstein's The Age of Anx1ety and Sarah Caldwell, directing a 1974 Houston Grand Old Hindemith's The Four Temperaments, w hich he Opera production of Traviata, heard him in the premiered role of Gastone and engaged him to sing the role of Anatole in the United States premiere of War Hungary LINN lV.AXWELL and Peace. Arrud high critical praise, the young mezzo In 1976, Mr. Evans made his New York City "An authentic soprano Linn Maxwell is enjoying a burgeoning Opera debut as Prince Paris in Offenbach's La Hungarian restaurant right career of concert, opera and recital perfor Belle Helene. He has sung with many of the here in Broolrlyn" mances that continues to thrive and develop leading regional opera companies in this coun Beef Goulash, Chicken Paprika. during the 1980/81 season. This year she ap try, including the San Diego Opera where he Stuffed Cabbage, Palacsinta and pears in New York's Carnegie Hall as soloist triumphed in his initial season as Don Ottavio in other traditional dishes with the Pro Arte Chorale in Handel's "Israel in Don Gwvanm and as the Prince in Tito Capo Egypt " and makes her debut with the Fo'rt bianco's production of The Lave (or Three " Uve Piano Music Nightly" Worth Symphony as solotst in Beethoven's Oranges. So great was his success that he was re PRI!-THEATRE AND Ninth Symphony. She sings the solo role in the engaged to appear in five productions in the next AfTER THEATRE DINNER Mahler Symphony No. 2 !"Resurrection") with three seasons. Among them, as Laertes in Arn 142 Montaaue St., BkJyn. Hpta. the Springfield, Massachusettes Symphony Or- broi~ T'lomas' Hamlet which opened the 625-1649 THE ONLY THREE CROWN RESTAURANT Founded 1897 IN BREUCKELEN BROOKLYN CONSERVATORY OF MUSIC New York's Oldest FINE ITALIAN CUISINE GDGD' ' GD' ESTABLISHED 1906 Music School --- Piano, Voice, All Orchestral In Myra Waldo's Restaurant Guide for New York Instruments, Recorder, Guitar, Theory, Sight-Singing, Harmony, Five minutes from BAM by car, tax1, No. 37 bus. Open Composition, Counterpoint, noon to 12 AM Sun. thru Thurs. Fri. & Sat noon to 3 AM Ensemble Groups, Jazz Courses. with unlimited on-premise free valet parkmg. 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Inc Nu·Ton• Pnntlng Company Charles S Clones Chase Manhattan Bank N A Ph1lharmomc Society of Brooklyn ISidore M Cohen Chem1cal Bank Mr & Mrs Steph•n Rosen Edward T Cone Con Bd1son Bdd1• Sitt Melvm Epstem Conoco Inc Sp1lke Bakmg Co. lnc.·Red Mill Farms Spero Pans Contmental Corporation Foundation Dr & Mrs Morns J T1ssenbaum Mae Fisher Dally N•ws Foundation Wllhamsburg Savmgs Bank Dr Abraham Flonn Fre•port Minerals Company Dr a. Mrs Howard Freedman Mr & Mrs Moe Gellman Sponaora IS 175-S299) jesse Glassberg Goldie·Anna Chantable Trust M1chael A Armstrong A.S Goodman Heckscher Foundation for Children Mr & Mrs Harold Asen Mrs. Janet Herman International Paper Co Poundat1on Sam Ash M us1c Stores, Inc. Flo Holland jerry Fabrics. Inc. Lester and Bern1c• Asher Calv1n R House Mr & Mrs Salomon C Lowenstem Atlantic L1berty Savmgs & Loan Associat1on Dendre Howley Meet the Composer Hon Em1l N Bear Ph1hp Hyman Mane-Chnstophe de Meml Rev Robert Bau•rs Ms Helene lnce Metropolitan Life Foundation Belmot Products Inc. Arnold Karlsen Mob1l Foundation Mr & Mrs M R Berman lrvmg Karp New York Telephone Company B1o·Sc1ence Laboratones Mrs 'Raymond Katu:ll Pfiu:r Incorporated Dr & Mrs Norman S Blackman Rev Thaddeus J Kazaneck1 Ph1hp Morns Inc julius Bloom Herbert Lefever RCA Corporation br & Mrs Martm Bod1an K Leubuscher Fredenck W Rlchmond Foundation Bowery Savmgs Bank Pearl L1berman Arnold L. Sabm Fanny Llchtash Brook~n Savm~ Bank Schlumbor5er Honzons Inc Carmela A Macaluso Sea-Fuel 01l Co. Inc ~~trat"s~~::s&n~uto Mrs Bliubeth J Miller Mortm E Segal Dr Clifford Cohen julia N1colas Sperry & Hutchmson Company Fred DeLano S J Noveck Seth Sprague Bducat1onal and Drako Bros Inc Robert Oliv1er Chontable Foundation )oyc• & Isaac Druker Ralph Orlansky Stondord Brands. Inc P•trr G Elsbeck Mr a. Mrs C.G Peterson Starrett City Em1grant Savmgs Bank Dr a. Mrs Henry Pntr:ker M1chael T'\ch Foundation Dar~o V & L1•sel Frank Yolando Rlvero Franklin Soc1ety F•deral Savmgs Ephra1m Rosen Benefactoro IS500-S999) Mr & Mrs Larry Fn•dman Els1e Roelker Mr & Mrs Bernard S Barr Dr & Mrs Abraham Gilnor Dr & Mrs Bernard Rothze1d De1tchman & Levine Mendel Gurfem Dr & Mrs M D Roven D1me Savmgs Bank Mr & Mrs Eli Hab1f Dr & Mrs Abraham M Sands Mr & Mrs M1lton Drucker Mr & Mrs Richard Hill G Se1denberg East New York Savmgs Bank Ideal Corp./Parkor-Hannifin Foundation Belle Shanik Mr & Mrs Dame! E1senberg ILGWU Local 91 Mr & Mrs Dav1d S1ve Mr & Mrs V1ncent A Finamore lndependenc• Savmgs Bank Isaac Schlesmger Greater New York Savmgs Bank !o1nt Board Fur Leather & Machme Workers Nathamel Stem Green Pomt SaVlngs Bank br Walter C. Kane Lloyd Stowe-Berns RJchard W Hulbert Frank Robert Kraft Jesse Tulchin lrv1ng H Kanarek Dr & Mrs Lawronce Kuskm Mr & Mrs Wilfred Ve1th Kenllle Floors. Inc. Mr & Mrs Theodore Liebman lrw1n W•ldman I Stanl•y Knegel Local 32 B 32 J SEIU-AFI.rCIO john S & Mary Lou Wells Lincoln Savmgs Bank Mr & Mrs August Ludtmann Carol A West Mr & Mrs Jock Litwack S. M & DE Meeker Dr & Mrs M1lton W1lner Dr & Mrs \1 Peter Mastrorocco Metro Creatlv• Graphics James w.se j M1cho•ls Inc. Dr TatSUJI Namba Mrs Mume Wolf Bernard Zemsky BROOKLYN'S LEADING WEEKLY COMMUNITY NEWSPAPERS----...... on sale at newsstands or by subscription Published by COURIER-LIFE Inc. 1733 Sheepshead Bay Road, Brooklyn, N.Y. 11235 • 769-4400 BAM BROOKLYN ACADEMY OF MUSIC Patrons 1980 - 1981 The Brooklyn Academy is owned by the City of New_ York and administered by the Brooklyn Academy of Music, Inc. The Brooklyn Academy of Mustc gratefully_acknowled~es the support of the N~t~onal Endowment for the Art~ . The New York State Council on the Arts. and the Department of Cultural Affatrs of the Ct~y of New :'fork. In addttton, the Board of Trustees wtshes to thank the following foundaltons, corporations, and in div'lduals who, through thetr leadershtp and support, help make these programs possible leadership AS5oclate Produceu Mr & Mrs JeHrey C Ke1l • Mob1l Corporatio n $25,000 and above $250-$499 K~ng s H1ghway Hosp1tal Center • Phihp Morns Incorporated " ' hrl" ~·oundat•on Arrow Lock Corporat•on Mr & Mrs Samuel Kle m Bodman FoundatiOn Robert W Davenport G Knoll Pace~u~tten Booth Fern~ FoundatiOn Mr &. Mrs. AI Kron1ck C l n ~r e W La bme s 10,000 to S24,999 Alfred J Law James W La mberton Lou" Calder Foundation Abraham and Straus Rnb•:rt Sterhng Clark FoundatiOn Mr & Mrs Jack L1twack .\.1 r & Mrs Seymour Lampert • Brooklyn lJn10n Gas Compa ny EJucallonal Foundation of Amenca Dr &. Mrs James McGroarty Jerome A Landau • International Paper Co f o,mdauon Donald E Moore Howard L l.ew J' Ford ~ oundallon • ,\.!organ Guara nty Trust Company Ph1lharmon1c Soc1ety o( Brooklyn Dr & ."'rs Edmond l•pton Charles Hayden Foundallon ~ Pft1.er Foundation .\.lr & Mrs Joshua Logan Alrx lhllman Fam1ly Foundallon Mr & Mrs Arthur J Rad1n Schlumbergrr Ltd J ~~ Kaplan Fund Inc Mr & Mrs Melvm Re1sler Dr Esther Lopatc Mr & Mrs Anthony \!anhr~m S1dnry Kanto r Steven H Scheuer ss.ooo to $9,999 ;.ndrrw W .Mellon Foundation Mr & Mrs Norman N Segal Tom Massott1 National Endowment (or the Arts Mr & "'. rs Norman Sher .\.lyron Mayer Amcncan Expr e~s f oundauon The :-;ew York Commumty Trust Mort1mer Rosenfeld :-; ell A .'vlcCar•o:. • Bankers Tru Patron Desk Call Victoria Hill at (2121 636-4!39 be of the League of Historic American Theatres. The Brooklyn Academy of Music is a Charter Mem r BAM BROOKLYN ACADEMY OF MUSIC Board of Directors DIRECTORY Han. Edward I Koch Hon Howard Golden, Seth Faison and Paul Lepercq, Honorary Cha1rmen Leonard Garment Chairman Harvey L1chtenstem Pres•dent and Ch1ef Execullve Harry W Albright Jr . Henry Bing. Jr Ne1l D Chnsman Warren B Coburn. Charles Diker Jeffrey K Directory of Facilities & Services Endervelt Mallo ry Factor Harold L. Fisher Alan B Gilman Mrs Elisabeth Gotbaum Mrs Rita Hillman, Sidney Kantor I Stanley Kriegel Eugene H Luntey Hamish Maxwell Mrs. Evelyn Box Office: Monday: 10:00 to Ortner john R Price, Jr., Richard M Rosan, Mrs Lou Rosen, William Ruder Mrs Marion Scotto. William Tobey Arne Vennema, Franklin R We1ssberg Curlls A Wood, Sanford J Zimmerman. 6:00 Tuesday through Saturday: john E Zuccotll I Henry Geldzahler, Howard Lewis, Members ex-officiO I James L. Konkel, 10:00 to 9:00; Sunday: Performance Pres1dent, Fnends of BAM times only. Lost and Found: Telephone OHiccrs 636-4150 Restroom: Opera House Harvey Lachtenstean PreSident and Ch1ef Executive Women and Men: Mezzanine level. jud1th E Daykm Executive Vice President and General Manager R1chard BaiUino Vice Prc~adent and Treasurer Handicapped: Orchestra level. Ph1hp S. jessup V1ce Pre.,dent for Plannmg and Development Playhouse: Women and Men: M1cheal Hou~ V1ce President for Marketing and Promotion Mezzanine level· Handicapped: Or Administrative Office Staff chestra level Lepercq Space: Ruth Goldblatt AssiStant to the Pres•dent Women and Men: Theater level Sally Morgan AssiStant to the General Manager Susan Sp1egel Sal Mane• judy Kre•tzer Public Telephones: Main lobby Finance St Felix Entrance. For information Susan Karschner Busmess Manager Perry Smger Accountant about discount group rates on Pearl L1ght Payroll tickets call 636-4126 · to find out Vock1 Muller Adm1nastrat1ve Asststant about advertising in BAM theater Paul Charles Assostant Bookkeeper programs, call 636-4186. Marketing and Pro m o tion MarkttonR The taking of photographs or Nancy Rossell Ass•stant to the Vice Pres1dent the use of recording devices in Susan Levy Group Sales Manager Andrea R1chman Admmastratave Assastant this theater is strictly forbidden. Prtss Ellen Lampert General Pr~ss Representative Domamque Alrandre Assocaate Press Representative Brooklyn Academy of MusiC Daana Rob1nson Pre-~ Assastant 30 Lafayette Ave Brooklyn Art Ot-partment N Y 11217 (2121636-4100 V~rg•ma A Enghsh Typographer Steve Menges Graph1c Art"t Mana Cruz Graph1c A1de Planning ~ Victona Htll Asststant to the Vtce Pres1dent Dav1d Buher D~rector of Corporate Relations jacques BrunswiCk Development Admanastrator jack L. H•ckethler DireCtOr or \ Joyce and Nick Monte f-ood On The Go Keepers of the Inn Steve A'kma>y Manager (,re~ l>aw>On Lou Todd Brooklyn every race, is knishes in every religion Boro Park, c hit living together lins in Bed-Stuy, in a vibrant and ravioli in Benson relevant community. hurst, pita on Atlantic To serve all these Avenue. smorgasbord in people. there's Kings Plaza. Bay Ridge. arroz con polio in A major enclosed shopping Williamsburg and more. America center featuring Macy's, Alexan is the vast melting pot. But nowhere der's and 146 other shops and services. in America is there the ethnic representation So all the people of Brooklyn can find just we have in Brooklyn. People of every nationality, about a ll their s hopping needs under one roof. Flatbush Avenue & Avenue U • Belt Parkway Ex11 111\ Free mdoor parkmg m our mult1 ·level garage SHOPPI G HOURS MO -SAT 10 AM -9 30 PM SU DAY. NOO -5 PM In Concert For Over 100 Years For a completely entertatn1ng expenence. from Mozart to modern dance. 1t's the Brooklyn Academy of Mus1c For a complete shopp1ng expenence. from the f1nest fash1ons to the most complete home furn1sh1ngs, 1t's Abraham and Straus Together. 1t's a century-long love affa1r w1th Brooklyn Celebrating the commun1ty w1th serv1ces too numerous to ment1on Brtng1ng out and serv1ng the best of Brooklyn Abraham and Straus and B A.M - dest1ned to make beautiful mus1c together for years to come