-17Mg--.1,=, Ices. 06.12- BROOKLYN ACADEMY OF MUSIC I

BOARD OF TRUSTEES Hon. Edward I. Koch, Hon. Howard Golden, Seth Faison, Paul Lepercq, Honorary Chairmen; Neil D. Chrisman, Chairman; Rita Hillman, I. Stanley Kriegel, Ame Vennema, Franklin R. Weissberg, Vice Chairmen; Harvey Lichtenstein, President and Chief Executive Officer; Henry Bing, Jr., Warren B. Coburn, Charles M. Diker, Jeffrey K. Endervelt, Mallory Factor, Harold L Fisher, Leonard Garment, Elisabeth Gotbaum, Sidney Kantor, Eugene H. Luntey, Hamish Maxwell, Evelyn Ortner, John R. Price, Jr., Richard M. Rosan, Mrs. Marion Scotto, William Tobey, Curtis A. Wood, John E. Zuccotti. OFFICERS Harvey Lichtenstein President and Chief Executive Officer Judith E. Daykin Executive Vice President and General Manager Richard Balzano Vice President and Treasurer Karen Brooks Hopkins Vice President for Planning and Development ADMINISTRATIVE OFFICE STAFF Ruth Goldblatt Assistant to President Sally Morgan Assistant to General Manager David Perry Mail Clerk FINANCE Perry Singer Accountant Jack C. Nulsen Business Manager Pearl Light Payroll Manager MARKETING AND PROMOTION Marketing Nancy Rossell Marketing Coordinator .t. Susan Levy Director of Audience Development BARI Jerrilyn Brown Executive Assistant Jon Crow Graphics Margo Abbruscato Information Resource Coordinator Press Ellen Lampert General Press Representative Susan Hood Spier Associate Press Representative Diana Robinson Press Assistant Tom Caravaglia House Photographer PLANNING AND DEVELOPMENT Jacques Brunswick Director of Membership Denis Azaro Development Officer Philip Bither Development Officer Ninetta Remley Development Assistant Sharon Lea Lee Office Manager Aaron Frazier Administrative Assistant MANAGEMENT INFORMATION Jacques Brunswick Director Lee Chizman Assistant Director COMMUNITY DEVELOPMENT Mikki Shepard Director Mahmoudah Ali Associate Director Rudy Stevenson Music Consultant Francine Major Program Assistant PERFORMING ARTS PROGRAM FOR YOUNG PEOPLE Leonard Natman Director Hessie McCollum Program Coordinator Sarah Walder Sales Coordinator Susan Booker Program Assistant PRODUCTION 1 Malcolm J. Waters Production Manager William Mintzer Lighting Consultant to BAM i - Sara Stuart Assistant Production Manager Martin Green Crew Chief Robert Sniecinski Wardrobe Supervisor Naaman Griffin, Steve Greer, John Fuller, William Horton, James Kehoe, Howard Larson, Patrick McDonald, Bernard Gilmartin, Donald Riordan

THEATRE MANAGEMENT 1 John J. Miller Theatre Manager Leonard Natman Associate Theatre Manager Ken Farris, Lauren Scott, Alan Tongret BUILDING MANAGEMENT Norman MacArthur Building Manager William Koegl Assistant Building Manager Lazzaro Curato Parking Facilities Supervisor Frank Abbruscato, Leonard Abbruscato, Jahue Cooper, Nick Curato, Ray Dorso, Donald Farr, Angel Guadelupe, Steve Lanza, Bernard Lawrence, Michael Maraventano Sheraf Moustafa, Nunzio Orlando, Joseph Patterson Frank Percaccia, James Postell, Gloria Simon, James Victor Sadie Vinson, Angelos Voudouris, Robert Wells BOX OFFICE Saheed Baksh Box Office Treasurer BROOKLYN Michael Glassman, Joseph Nekola Richard Lewis Mail Order Supervisor ACADEMY DIRECTORY Box Office: Monday through Friday, In imam to 6:00pm: Performance days till 9:00pm; Saturday and Sunday, Performance times only. OF Lost and Found: Telephone 636-4150 Restroom: MUSIC House Women and Men: Mezzanine level and 5th floor; Handicapped: Orchestra level. Lepercq Space: Women and Men: Theatre level and 5th floor. Public Telephones: Main lobby, Felix Street Entrance. For information about group rates on tickets call 636-4126. The taking of photographs or the use of recording devices in this theatre is strictly forbidden. Brooklyn Academy of Music, 30 Lafayette Ave. Brooklyn, NY 11217. (212) 636-4100. The Brooklyn Academy of Music is a Charter Member of The League of Historic American Theatres. BROOKLYN ACADEMY OF MUSIC

PATRONS' 1982-83 PRODUCERS 9500-8999 Helen Anderson Mr. & Mrs. Robert H. Arnow/ The Brooklyn Academy of Music is Mr. & Mrs. Alan G. Weiler owned by the City of New York and Mr. & Mrs. Henry Bing administered by the Brooklyn Acad- Eleanor Bissinger emy of Music, Inc. The Brooklyn Mr. Neil Chrisman Academy of Music's operation is Robert Davenport MUSIC supported in part with public funds Mr. & Mrs. Charles Diker ACADEMY OF provided through the New York City Ms. Virginia Dwan BROOKLYN Mr. Jeffrey K Endervelt Department of Cultural Affairs and Mr. Richard Englund with grants from the National Mr. Harold Fisher BAM'S CHAMBER Endowment for the Arts and the Mr. & Mrs. Thomas R. Gilligan New York State Council on the Arts. The Henry Goldberg Foundation SERIES In addition, the Board of Trustees Mr. Stanley Grinstein MUSIC wishes to thank the following foun- Mr. Karl Kemp Mr. & Mrs. Peter MUSIC DIRECTOR dations, corporations, and indiv- Kimmelman SCOTT NICKRENZ, Mr. & Mrs. Harold Korzenik iduals who, through their leadership Mr. Arnold William F. Langer Space and support, make these programs Mr. Jack Lawrence Lepercq possible. Mr. Harry A. Olson. Jr. Saturday, April 9, 1983 8:30pm Judith Dunnington Peabody 1983 2:00pm INDIVIDUALS AND Mr. John Price Sunday, April 10, FOUNDATIONS Robert C. Rosenberg Ms. Garry Sadder Mr. & Mrs. David Saltonstall LEADERSHIP 825,000 and above Mr. & Mrs. Martin Segal Louis Calder Foundation Mr. & Mrs. Norman Segal Edna McConnell Clark Foundation Mr. & Mrs. Bernard Selz Doll-Lepercq International Dance Fund Mrs. Dan Seymour J.M. Kaplan Fund. Inc. Aaron Sloan & Rita J. Frank Ushioda Henry Luce Foundation Janet Stovin Marvis Martin Masuko Andrew W. Mellon Foundation Embassy of Sweden violin National Endowment for the Arts Dr. & Mrs. Robert H. Vadheim soprano New York City Youth Board Mr. Ben Van Meerendonk/Televizer Lesser The New York Community Trust Magazine Scott Nickrenz Laurence New York State Council on the Arts Mr. & Mrs. Alan G. Weiler cello Edward John Noble Foundation Mr. & Mrs. Franklin R. Weissberg viola Rockefeller Brothers Fund The Zeitz Foundation Gary Ledet Simarka Run Foundation Mr. Sanford J. Zimmerman Seymour Lipkin Mr. & Mrs. Ame Vennema piano ASSOCIATE PRODUCERS piano PACESETTERS 82504499 810,000424,999 Mr. & Mrs. M.R. Berman Henri & Eugenia Doll Foundation Brooklyn College Institute for Alex Hillman Family Foundation Retired Professionals & Executives Henry & Lucy Moses Fund Mr. Steven H. Case Norwegian Information Service Mr. & Mrs. Donald H. Elliott Shubert Foundation Mr. & Mrs. Paul Esserman MOZART Tortuga Foundation George & Katherine Harris WOLFGANG AMADEUS Christopher LiGreci & Quartet in G Minor for Piano and Strings, K. 478 BENEFACTORS Robert Ohlerking 82,50049,999 Mr. & Mrs. Jack Litwack Allegro Charles Ulrick & Josephine Bay Dr. & Mrs. James McGroarty Andante Foundation Bernard M. Manuel Philippe Braunschweig Rev. Francis J. Mugavero Rondo. Allegro Max & Victoria Dreyfus Foundation Arlene G. Oettgen Nickrenz, Lesser, Lipkin Mallory Factor Mr. & Mrs. Arthur J. Radin Ushioda, The Hochschild Fund. Inc. Mr. & Mrs. Rubin Raskin The Heckscher Foundation for Children Stephen H. Scheuer Valerie Manuel Mr. & Mrs. Irwin Schneiderman GEORGE GERSHWIN Hamish Maxwell Martin E. Segal Rhythm The National Opera Institute Joanna & Norman Sher Fascinatin' Mr. & Mrs. Everett Ortner Mr. & Mrs. Harry Silverstein Nice Work Alice Holbrook Platt Mr. & Mrs. Alan Slifka Prospect Hill Foundation Mr. & Mrs. Robert K. Smith The Man I Love Martha Baird Rockefeller Fund for Music They Can't Take That Away From Me The Helena Rubinstein Foundation SPONSORS $100-8249 The Scherman Foundation Mr. George C. Abraham Summertime Seth Sprague Educational and Charitable Dr. Edward W. Altman Foundation American Chai Trust I Got Rhythm Swedish Council of America R. Steven & Jan C.K. Anderson Martin, Ledet Uris Brothers Foundation Mr. Benjamin Bankson Whitelight Foundation Mrs. Anne Barsky Mr. & Mrs. Werner Barusek (intermission) EXECUTIVE PRODUCERS William & Julia Beadenkopf 91,00042,499 John Beaton Mr. Walter E. Beer Mrs. Vincent Astor Mr. & Mrs. H. Gerard Bissinger II JOHANNES BRAHMS Ms. Joan Bieder & Dr. Robert D. Blank Ir Mr. William Josephson in B Major for Violin, Cello, and Piano, Op. 8 Jean Marie & Neita Blondeau Trio Mr. & Mrs. Eddo Bull Dr. & Mrs. Martin Bodian Mary Griggs Burke Allegro con moto William B. Bolton Mary Livingstone Griggs and Mr. & Mrs. Ernest Brunswick Scherzo. Allegro molto Mary Griggs Burke Foundation Mr. & Mrs. John Castaldi Richard W. Hulbert Adagio non troppo Mrs. John Chancellor The Irvine Foundation Arthur W. Cohen Finale. Allegro molto agitato I. Stanley Kriegel Mr. & Mrs. Ira Cohen Mr. & Mrs. Sidney Lewis Dr. & Mrs. A. Norman Cranin Ushioda, Lesser, Lipkin Phyllis Holbrook Lichtenstein Louise Dahl-Wolfe Mr. & Mrs. Roy Lichtenstein Judith Daykin Ms. Laurie Mallet Mr. & Mrs. Herbert Diamond Mr. & Mrs. Richard Menschel Mr. Carroll J. Dickson The Netherlands America Community Thomas A. Donnelly Association, Inc. Mr. & Mrs. Issac E. Druker Frederick W. Richmond Foundation Mr. & Mrs. Jerome Dubroff Richard & Dorothy Rodgers Mr. Lorin Duckman Foundation, Inc. This program is supported by funding from the Edward John Noble Founda- Mr. & Mrs. Albert H. Eaton. Mr Willi Smith The Valhal Pub tion, the National Endowment for the Arts and The New York State Council The Starr Foundation Dr. Eugene Edelman on the Arts. Broadcasts on WNYC-FM 94 and stations of the American Public William Tobey Mr. Stephen D. Edelman Michael Tuch Foundation Radio Network are sponsored by BANKERS TRUST COMPANY. Mr. & Mrs. Robert Ehrenbard John T. Underwood Foundation Richard Engquist Baldwin is the official piano of the BAM Chamber Music Series. The Vinmont Foundation Gail Erickson Harold Weitz Sergio Escuadra There will be a reception for the artists immediately following the Saturday The Robert and Marittyn Wilson Arthur T. Farhood evening performance. Foundation Mr. & Mrs. Frank Finnel Mr. Daniel Wolf Richard B. Fisher Mr. Ian Woodner Dr. & Mrs. Leonard I. Flag Mr. & Mrs. Darko V. Frank Derene Frazier Dr. & Mrs. Herbert Freedner Mr. & Mrs. John T. Gallagher he formed the New Chamber Quintet and later created the Quartet ABOUT THE ARTISTS Series at the University of Chicago. He also began the Chamber Series at Northwestern University. Marvis Martin, lyric soprano, is equally acclaimed for her Mr. Nickrenz has appeared extensively in concerts in the United gifts as a sensitive and communicative recital singer and as States and all over the world. He has played with the Music from one of the most exciting opera talents of recent seasons. Miss Marlboro tours, the Casals, Aldeburgh, and Spoleto Festivals. He has Martin gave her New York debut in the Young Concert Artists appeared frequently with the Chamber Music Society of Lincoln Series at the 92nd Street Y to a sold-out and cheering house. As Center and performs and tours regularly with the Orpheus Trio. winner of the Young Concert Artists International Auditions, Miss Martin will appear this season in concert performances LaureLaurencence Lesser, acclaimed prize-winner in the 1966 throughout the United States. Tchaikovsky competition and chamber music guest performer Miss Martin won the Kathleen Ferrier Prize of Young Con- in the Heifetz-Piatigorsky concerts and recordings, has been the cert Artists, First Prize of the 1980 "Concours de Chant" com- champion as well of the new and unfamiliar. His recording of petition in Paris, and First Prize of the WGN-Illinois Opera Guild the Schoenberg-Monn Concerto for Columbia Records is the first "Auditions of the Air." She made her Paris Opera debut in 1980 performance in this country since Feuermann introduced the and debuted in Chicago in 1981. The tour work in the 1930s, and he has repeatedly introduced important to Boston, Atlanta, and Minneapolis marked the successful debut new works on the Los Angeles Monday Evening concerts and of this young soprano in the role of Pamina in . other similar series. Miss Martin appeared in recital at the 1982 Aix-en-Provence sum- A native of Los Angeles, Lesser was a student of Gregor mer festival and sang her first Liu in Turandot in Bogota, Col- Piatigorsky, whose assistant he became at the University of umbia in August, 1982. Miss Martin made her Carnegie Hall Southern California. His background includes a degree in debut this season. She will return to Europe to perform Ilia in mathematics from Harvard and a Fulbright to Germany. Lesser and to sing the role of Ardate in Mozart's rarely per- is now living in Boston, where he shares his concert experience formed Mitridate. Future engagements for Miss Martin include with a select class at the new England Conservatory. appearances as Xenia in Mussorgsky's , the In recent seasons he has been soloist with the Boston Sym- Princess in Ravel's L'enfant et les sortileges, and The Celestial phony and the London, New Japan and Los Angeles Philhar- Voice in Verdi's Don Carlos with the Metropolitan Opera in New monic Orchestras. He has participated in the Casals, Marlboro York City. and Spoleto Festivals, is a frequent guest of the Marvis Martin is a native of , where she earned her Chamber Music Society, and has made recital appearances in the Bachelor of Music degree from the , and is major centers of Europe, the United States and Japan. a graduate of the Manhattan School of Music with a Master of Lesser plays a 1622 Amati cello of startling beauty. His record- Music degree. ings have appeared under the RCA, Columbia and Desto labels.

Masuko Ushioda has been winning some of the world's most Seymour Lipkin, critically acclaimed as "one of the finest, most prestigious competitions since the age of fourteen, when she sensitive conductors this country has at present," is the former took first prize in the Mainichi Music Contest, Japan's foremost music director of both the Long Island Symphony and the Jof- musical event. In 1963, Miss Ushioda was a prize winner in the frey Ballet Company. He has appeared as guest conductor of Queen Elizabeth Competition in Brussels. Upon winning the numerous symphony orchestras throughout the country, in- Tchaikovsky Competition in 1966, the critics acclaimed her "the cluding the , the Cleveland Orchestra, greatest new talent, an artist of exceptional lyricism." (lass and the Detroit Symphony. Moscow) As a student she attended the Toho Gakuen Academy In his early twenties, he was appointed assistant to Serge in Tokyo, the Leningrad Conservatory in the Soviet Union and Koussevitzky at the Berkshire Music Center, and remained there finally worked with Joseph Szigeti privately in Switzerland, who after Koussevitzky's death as assistant to Leonard Bernstein. A proclaimed of her "it is the sense of style, the musical intelligence, distinct success as the conductor of Bernstein's opera "Trouble the sincerity of her impulse, the individuality of her lovely tone in Tahiti" led to his appointment as Assistant Conductor of the that sets her apart!' New York Philharmonic. He travelled with Bernstein and the Since her debut season in Europe and North America in orchestra to the Soviet Union and Europe. 1965, she has played with most major orchestras around the During thirteen years with the Joffrey Ballet, he conducted world, including the London Philharmonic, the London Sym- many of the great orchestras of the world, including the Vienna phony, the Concertgebouw, ORTF in Paris, the Berlin Philhar- Symphony and the orchestras of Chicago, San Francisco, monic, the New York Philharmonic, the Chicago Symphony, the Cleveland, Seattle, Detroit, Buffalo, Houston and Vancouver. Boston Symphony, the Philadelphia Orchestra, the National Sym- Mr. Lipkin also ranks as one of the finest pianists of his phony, NHK Symphony, National Symphony of Mexico and generation, having won first prize in the Rachmaninoff Piano more. Miss Ushioda has toured as soloist with and Competition in 1948. He has performed as soloist with most ma- the Los Angeles Philharmonic. In addition to recitals in the ma- jor American orchestras, including the Boston and Philadelphia, jor cities of North America and Europe, she has toured the Soviet and has been recorded playing with the New York Philharmonic. Union twice and South America as well as the Orient. Most He will be heard again as soloist with the last-named orchestra recently in the United States Miss Ushioda has appeared with in March 1983, and will perform chamber music at the Spoleto the National Symphony, the Milwaukee Symphony, the Atlanta Festivals in summer 1983. Symphony, the Denver Symphony, the Baltimore Symphony, the Mr. Lipkin is a graduate of the Curtis Institute, where he Phoenix Symphony, the Vancouver Symphony, the Brooklyn studied the piano under , and Tanglewood, where Philharmonic at Carnegie Hall, the Library of Congress, the he was instructed by ; he served as apprentice University of California at Berkeley and many others. conductor to and the Cleveland Orchestra. He is Born in Manchuria of Japanese parents, Miss Ushioda is mar- presently a member of the major piano faculties of the Curtis ried to cellist Laurence Lesser, with whom she occasionally ap- Institute, the Manhattan School of Music, and New York pears in joint recital as well as performances of the Brahms University. Double Concerto or the Beethoven Triple Concerto. She has also Foss and Minoru shared the stage with artists , Lukas Clary Ledet, pianist, is a native of New Orleans. He received Nojima. Her discography for EMI Toshiba includes the complete Bachelor Degrees from both Louisiana State and Tulane Bach unaccompanied repertoire, and she is frequently invited a Master of Music from the Manhattan School. orchestras. Universities, and as soloist for tours of Japan's most prestigious He has studied piano with Ruth Slenczynska, Leon Fleisher, and Sylvia Zaremba, and vocal accompaniment with Robert Jones, Scott Nickrenz, violist, is Music Director for BAM's Chamber George Schick, Margaret Hoswell and Donald Nold. Mr. Ledet Music Series. He divides his time between New York and Hartford, is a staff accompanist at the Manhattan School of Music and where he is chairman of the string department of the University of coaches singers and instrumentalists throughout the New York Hartford. area. Together with his wife, flutist Paula Robison, he directs chamber music for the Spoleto Festivals, both in the United States and Italy. Long a performer in his own right, Mr. Nickrenz attended the Curtis Institute and was a founding member of both the Lenox and Vermeer Quartets. While he was a member of the Claremont Quartet NOTES ON THE PROGRAM "Nice Work If You Can Get It" was one of the hits from the 1937 film, Damsel in Distress. Fred Astaire and Joan Fontaine WOLFGANG AMADEUS MOZART (1756-1791) co-starred in the music, marking the Gershwin brothers' second Quartet for Piano and Strings in G Minor, K. 478 hit movie and their commercial acceptance. There are many subtle shades in the interpretive spect- rum from which to choose when playing Mozart's mature JOHANNES BRAHMS (1833.1897) works. The Rococo elegance and feminine quality of the Trio for Piano, Violin and Cello, Op. 8 works can be emphasized or minimized. In the case of the G first of Brahms' chamber works to be published, the has The Minor Piano Quartet, the performer some particularly B Major Trio appeared in 1854 in its original version. It was tough decisions to make. Mozart had turned away from the probably a companion piece to the A Major Trio that, Galant style and toward the Sturm and Drang. The Quartet although the title page was missing from the copied easily lends itself to an almost Romantic interpretation. manuscript, has been attributed with much proof to Brahms. Unfortunately, poor Wolfgang was way ahead of his time The composer became extremely self-critical after Robert when in 1785 the work was printed in a Viennese musical Schumann's early acclaim; consequently, he destroyed many periodical. The public reaction to even the first statement of youthful compositions that he didn't feel were worthy of the powerful G minor unison theme was unfavorable. The preservation. A copy of the A Major Trio, likely among those publisher cancelled any further agreement to print Mozart's disposed of, was brought to light after Brahms' death. pieces. The public premiere of the B Major Trio was given, far from Following the first theme, the piano announces a tricky Germany, at Dodsworth's Hall on Broadway near 11th Street, contrast in the dominant. This second idea uses an octave which next door to Grace Church in New York City on November jump, a scalar run, and a trill on a neighboring tone 27, 1855. The work received an enthusiastic response from its resolves by a descending half step to a repeated chord tone. first audiences, but Brahms' most respected friend, Clara The combination of these unrelated motives suprisingly Schumann, had reservations. It wasn't until 34 years later that creates a charming theme group that is an endless source of Brahms, obsessed with perfection, revised the Trio to its pre- developmental material. The variations on these fragments recognizable first sent form. alternate with the return of the always The drastically changed Op. 8 was published in 1891. The theme. The complex development section is opened by a syn- that four movements are all in B, but there is use of both major and copated but sweet, chordal piano theme in C minor minor modes. A long, lyric first subject contrasts with a becomes an integral part of the movement. The nature of this are apart and put back together by both listener and per- shorter idea. These two taken movement requires concentration for a recapitulation that is really a variation of the original former. Mozart's piano concerti and string quartets of this for of expression. statements. The mature composer's revision is responsible period also exhibited this new depth the vast improvement of this movement. A modified Scherzo Moving to the relative major -B flat-the Andante is a character followed by up of three melodies. The finale in puts forth two themes of widely varied song-like movement made a Trio which is used again in the return of the Scherzo. The is Rondo. The joyous opening theme is G major no simple is a completely different movement from the original. complemented by fantasy transitions and further lyric ideas Adagio the first Its long, moving melody passes between the three instruments played alternately by piano and strings. Following elegantly. The final Allegro opens with a powerful contrast intrudes. A and is ornamented return of that initial melody, cello in the first subject and mounts to the climactic second strong reminder of the opening of the first movement-G by piano in octaves. The opening idea and the minor in unison-is quickly gone and only one more shadow theme played before it concludes with its transition material are developed and a long, powerful coda is cast over this gay movement ends the Trio. main theme. -Jerri Brown GEORGE GERSHWIN (1898-1937) A Selection of Songs Brooklyn-born George Gershwin left a noteworthy legacy of symphonic and serious music, but because of his melodic genius and popular demand, his output for musical stage and screen pro- ductions was monumental. His efforts in both serious and popular music spanned his career, which was studded with one great tune after another from its beginning until its premature end. In 1923, "Fascinatin' Rhythm" was composed with a future production in mind and was laid aside until Lady, Be Good, with lyrics by Ira Gershwin, was produced in 1924. George attempted to include "The Man I Love" in the Philadelphia opening of Lady, Be Good, but it was cut after a few performances because its character conflicted with the other upbeat songs in the show. The composition is rather complex, so the song took some time to catch on, but has since become one of Gershwin's most popular songs that did not result from a show. Ira labored over the rhyme scheme for "I Got Rhythm;' finally chucking strict rhyme for a freer style incorporating some of his famous use of the slang of the day. George set those words to a tricky rhythmic pattern on a pentatonic scale and Ethel Merman premiered the song in Girl Crazy on October 14, 1930. Girl Crazy, her first Broadway show, made Miss Merman an overnight sensation. George completed in April, 1935 after 20 months of work. With libretto by DuBose Heyward, based on the play Porgy by Dorothy and DuBose Heyward, Porgy and Bess was a milestone in theater history due to its use of Black themes and cast. The first number that George set, "Summertime," is pro- bably the one song that pop artists continue to perform most often. In 1937, George and Ira tried their talents in Hollywood. After the success of the earlier Fred Astaire and Ginger Rogers movies, with music by such greats as Irving Berlin and Jerome Kern, the Gershwins had fears that their music couldn't stand up to its predecessors. Needless to say, the movie Shall We Dance was re- ceived enthusiastically and the hit from the movie, "They Can't Take That Away From Me," was nominated for an Academy Award. r

BROOKLN HEIGHTS FUTON CENTER BROOKLYN ACADEMY OF MUSIC BAM'S CHAMBER

CONVERTIBLE FRAMES FUTONS Functional, space-saving comfort Standard and Custom sizes MUSIC SERIES 10 reclining positions Washable covers in designer prints 314, Full and Queen sizes and solids SCOTT NICKRENZ, MUSIC DIRECTOR Oak or Birch All cotton or cotton and loam Lepercq Space Saturday, April 30, 1983 8:30pm J & L SLEEP SHOPS Sunday, May 1, 1983 2:00pm SLEEPER SOFAS & HOME FURNISHINGS MASTER CHARGE AMERICAN EXPRESS VISA THE WAVERLY CONSORT 220% THIRD AVENUE 151 MONTAGUE STREET NEW YORK, NY 10003 BROOKLYN, NY 11201 DIRECTOR (212) 475-9631 (212) 624-8705 MICHAEL JAFFEE, Julianne Baird Cheryl Bensman Allan Fast soprano soprano countertenor John Olund William Sharp Kurt Owen Richards tenor baritone bass Dennis Godburn Kay Jaffee dulcian, recorder, shawm recorder Rosamund Morley Michael Jaffee viols lute, recorder

"ITALIA MIA" Music in Italy in the Late Renaissance I Claudio Monteverdi aTnes II Anonymous Court Dances III "Cara La Vita Mia" Giaches de Wert, Philippe de Monte IV Airs and "Scherzi Musicali," c. 1600 Giulio Caccini, Vincenzo Calestani, Claudio Monteverdi

The House Wines (intermission) of the Brooklyn Academy of Music V The Madrigalists The Brooklyn Academy of Music wishes to Andrea Gabrieli, Ciprano de Rore, Monteverdi, Luzzascho Luzzaschi, extend its sincere thanks to the ESTATE WINES Claudio Giaches de Wert OF ITALY, which graciously donates its products to all BAM-sponsored events. VI Songs and Dances to the Lute and Other Instruments Tromboncino, New to the United States, these wines have Marco Cara, Bartolomeo Ambrosio Dalza, Orazio Vecchi long been served in the finest restaurants and Joan private clubs of Europe. The ESTATE WINES are VII Philippe Verdelot produced and bottled on small Italian vineyards still owned by members of Italy's aristocracy. Records of wine sales from these vineyards date back to 1200. BAM is honored to have such classic, internationally-acclaimed wines at BAM events. This concert is made possible with the assistance of the National Endowment Ask for ESTATE WINES OF ITALY at finer for the Arts. The use of cameras and tape recorders is prohibited at this concert. restaurants and bottle shops. This program is supported by funding from the Edward John Noble Founda- tion, the National Endowment for the Arts, and the New York State Council on the Arts. Broadcasts on WNYC-FM 94 and stations of the American Public Radio Network are sponsored by BANKERS TRUST COMPANY. Baldwin is the official piano of the BAM Chamber Music Series. There will be a reception for the artists immediately following the Saturday evening performance. THE WAVERLY CONSORT on; it became the quintessential texture of early-baroque music. Now in its 18th season, the Waverly Consort By the time we get to Monteverdi, whose career straddles the late ed in 1964 was organiz- at New York University, where Michael 16th and early 17th centuries as it does the Renaissance and bar- Jaffee encouraged a small group and Kay of fellow graduate students in oque styles, we can clearly discern his fondness for trio textures musicology to join them in some performances even in the midst of his most grandiose works. and Renaissance music. of medieval Taking its name from Waverly Place, The madrigal was a form intended for a small vocal ensemble, which runs by NYU's Washington Square campus, at first for the private pleasure of the performers and gradually for made its highly the group acclaimed public debut at Carnegie Recital professional singers undertaking the performance of very difficult Hall on April 23, 1966. and virtuosic works to the delight of a small but refined aristocratic Drawing on a repertoire of over six centuries, the Consort audience. The simpler medium of solo song became even more performs 25 concerts annually in New York widespread at the end of the 16th century and developed into a series at Lincoln City, including a Center, the Metropolitan Museum of Art and veritable passion early in the 17th. For the first time, perhaps, in The Cloisters. It tours nationally, performs regularly the entire history of music, sheer tunefulness became the prime throughout South America and has an impressive discography desideratum, and songs were turned out by the hundreds, some on both Vanguard and CBS Masterworks labels. It has of them attempting to capture the expressiveness of the madrigal the subject of been several half-hour CBS television specials on in a setting for solo voice with continuo accompaniment (Caccini), "Camera Three," has participated in three Christmas presen- others simply aiming to delight with the directness of their melodic tations on NBC-TV's "Today Show," four programs charm (Calestani). This song tradition, for all its importance in Elizabethan of music for PBS-TV in conjunction with the BBC- the early baroque art, was not totally new; it goes back to the early produced Shakespeare series, and a special edition of "The 16th century and the published books of frottole reduced from Dick Cavett Show." four-voiced polyphony to solo voice with a simplified lute accom- paniment, a development already foreshadowing the general trend of music history throughout the century. This tradition continued NOTES ON unabated from Marco Cara and Tromboncino at the beginning THE PROGRAM to Orazio Vecchi, one of the late madrigalists. We have had a tendency to think of Renaissance music as being It is almost always true that where diverse cultural elements predominantly vocal, but this view overlooks the richness of instru- are in ferment, there a richly inventive and imaginative art will mental music, which developed an important independent exis- flourish. In such a situation, elements from different traditions can tence in the 16th century. Most of this music by far consisted of be fused into a new synthesis with new expressive qualities. Italy pieces for dancing, whether derived from secular vocal models, in the 16th century was the melting pot in which the following freely composed, or based on a conventional melodic and harmonic ingredients were blended: 1) the refined abstract polyphony of the pattern like the Passamezzo antico (such patterns served the same much sought-after Netherlandish composers who had been purpose in Renaissance music-making that the 12-bar blues pro- brought down from the Low Countries and who had dominated gression does in the 20th century). Dance music in France tended the musical life throughout the Italian peninsula; 2) the love of to be written out in fairly careful polyphonic detail, but the Italian song that has always been recognized as a fundamental part of the love of instrumental improvisation resulted in a somewhat less Italian character; and 3) a long-standing local tradition of in- detailed preservation of instrumental dance music in Italian strumental improvisation featuring virtuosi who almost alone kept sources; performers were expected to be able to develop the specifically Italian music-making alive through the 15th century materials of the melody and rhythm during the performance, yet in the face of Netherlandish domination. always remaining within the framework of the dance pattern. These elements, in combinations of varying potency, allowed The endless fascination of Italian music during the period of for the rich development of Cinquecento music in Italy in the fields change from Renaissance to baroque derives partly from the of sacred music, secular vocal polyphony, song, and instrumental intrinsic beauty of much of this music, to be sure, but also from music. The most striking "political" feature of 16th-century music the intricate cross-currents of mutual influences that make it so in Italy was the fact that native-born Italians took control of their rich and varied. music for the first time in more than a century. And in musical -Steven Ledbetter style, the most important developments resulted from the fusion 4 of the polyphonic techniques of the Netherlands and the melodic directness of Italian song in an effective new synthesis.

Although this synthesis affected all types of music-making in 1.4 the 16th century, it is most readily apparent in the madrigal, for there Netherlandish composers (such as Verdelot, an Italianized Frenchman in Florence, and the Flemish composer, Cipriano de Rore, who worked mainly in Venice and Ferrara) grafted a new melodic lyricism onto the refined polyphony that they employed and developed a style that was to be almost from force of habit, 7 exploited by dozens of composers for the rest of the century. Some northern-born composers continued to write madrigals to the end of the century (like Giaches de Wert in Mantua, and Philippe de Monte at the Imperial court), but more and more they were replaced by their Italian students, who gradually took over the tradition and who, by the end of the century, had come to dominate the advanced styles of composition and performance in Europe: the Gabrielis in Venice, Luzzaschi in Ferrara, Monteverdi in Mantua and Venice, Marenzio in Rome, and others. Composers often competed with one another implicitly or explicitly by setting the same texts over and over again, each trying to extract the richest expressive "juice" from the poem, which was often written by a major literary figure like Dante, Petrarch, Boccaccio, Sannazaro, Ariosto, Bembo, Tasso, or Guarini. As a result of their frenetic competition, the composers pushed the madrigal to the very limits of contemporary technique; they in- a drastic change was inevitable. But the new gestures that were carried over into the next century as part and parcel vented a of the early baroque style. The new stylistic elements included gradual simplification of the four, five, or six independent voices a higher line into a texture in which a harmonizing bass supported often than not the top line would be divided or pair of lines. More or in competition with one another, a between two voices to as they were described at the time. The tendency "concertato," of two high voices reduce an ensemble of many parts to a trio texture as the century goes over a lower one is more and more noticeable Ballet International MAY 3- 8,1983

CONTEMPORARY CHAM IIERI ER DANCE THEATRE MUSIC Robert Cohan, Artistic Director at the

Program A Program B Yr Brooklyn Academy of Music NYMPHEAS DEATH AND THE MAIDEN THE DANCING DEPARTMENT LIQUID ASSETS BAM CHAMBER MUSIC CLASS FOREST/CELL WNYC-FM 94 BROADCASTS Tuesday, May 3 at 7pm Wednesday, May 4 at 7pm Saturday, May 7 at 2pm & 8pm Thursday, May 5 at 8pm Chamber Music concerts will be Sunday, May 8 at 2pm Friday, May 6 at 8pm This season BAM's broadcast on WNYC-FM 94 on Thursday evenings at 8 pm. Sponsored by Banker's Trust Company, the BAM Chamber Music broadcasts are hosted by Martin FOR INFORMATION CALL BAM: (212) 636-4100 Bookspan.

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Concert #5 April 7, 1983 Concert #6 April 14, 1983 k T\ Concert #7 April 21, 1983 .7"Vim..J. ...b....".././. Concert #8 April 28, 1983

CTIFE WILLEM/1 (W) Concert #9 May 5, 1983 0 REZTRISIORT-WIR Concert #10 May 12, 1983 DELI -PRTMERIE

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