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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

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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 ,_..

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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 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 die