( /3a3 BROOKLYN ACADEMY OF MUSIC

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 BARI Susan Levy Director of Audience Development 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 Malcolm J. Waters Production Manager William Mintzer Lighting Consultant to BAM 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 John J. Miller Theatre Manager Leonard Natman Associate Theatre Manager Ken Farris, Lauren Scott, Alan Tongret BUILDING MANAGEMENT Norman MacArthur Building Manager William Koegl Assistant Building Manager Lazzaro Curato Parking Facilities Supervisor Frank Abbruscato, Leonard Abbruscato, Jahue Cooper, Nick Curato, Ray Dorso, Donald Farr, Angel Guadelupe, Steve Lanza, Bernard Lawrence, Michael Maraventano Sheraf Moustafa, Nunzio Orlando, Joseph Patterson Frank Percaccia, James Postell. Gloria Simon, James Victor Sadie Vinson, Angelos Voudouris, Robert Wells BOX OFFICE BROOKLYN Saheed Baksh Box Office Treasurer Michael Glassman, Joseph Nekola Richard Lewis Mail Order Supervisor ACADEMY DIRECTORY Box Office: Monday through Friday, 10:00am to 6:00pm; Performance days till 9:00pm; Saturday and Sunday, Performance times only. OF MUSIC Lost and Found: Telephone 636-4150 Restroom: 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. is 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. 3 //9 -,0 BROOKLYN ACADEMY OF MUSIC

PATRONS 1982-83 PRODUCERS 8500-8999 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 Chinaman Academy of Music's operation is Robert Davenport supported in part with public funds Mr. & Mrs. Charles Diker provided through the New York City Ms. Virginia Dwan BROOKLYN ACADEMY OF MUSIC 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 In addition, the Board of Trustees Mr. & Mrs. Peter Kimmelman MUSIC SERIES wishes to thank the following foun- Mr. & Mrs Harold Korzenik dations, corporations, and indiv- Mr. Arnold William F. Langer Mr. Jack Lawrence SCOTT NICKRENZ, MUSIC DIRECTOR iduals who, through their leadership Mr. Harry A. Olson, Jr. and support, make these programs Judith Dunnington Peabody Lepercq Space possible. Mr. John Price Robert C. Rosenberg Saturday, March 19, 1983 8:30pm Complete as of January 1, 1983 Ms. Garry Sack ler Sunday, March 20, 1983 2:00pm Mr. & Mrs. David Saltonstall INDIVIDUALS AND Mr. & Mrs. Martin Segal Mr. & Mrs. Norman Segal FOUNDATIONS Mr. & Mrs. Bernard Selz Mrs. Dan Seymour LEADERSHIP 825,000 and above Aaron Sloan & Rita J. Frank EMERSON STRING QUARTET Janet Stovin Louis Calder Foundation Embassy of Sweden Edna McConnell Clark Foundation Dr. & Mrs. Robert H. Vadheim Eugene Drucker Philip Setzer Doll-Lepercq International Dance Fund Mr. Ben Van Meerendonk/Televizier J.M. Kaplan Fund, Inc. violin violin Magazine Henry Luce Foundation Mr. & Mrs. Franklin R. Weissberg Andrew W. Mellon Foundation Lawrence Dutton David Finckel The Zeitz Foundation National Endowment for the Arts Mr. Sanford J. Zimmerman viola cello New York City Youth Board The New York Community Trust ASSOCIATE PRODUCERS with New York State Council on the Arts 8250-8499 Edward John Noble Foundation Mr. & Mrs. M.R. Berman Rockefeller Brothers Fund Scott Nickrenz Colin Carr Brooklyn College Institute for Simarka Run Foundation viola cello Mr. & Mrs. Ame Vennema Retired Professionals & Executives Mr. Steven H. Case PACESETTERS Mr. & Mrs. Donald H. Elliott 810,000-824,999 Mr. & Mrs. Paul Esserman George & Katherine Harris Henri & Eugenia Doll Foundation Christopher UGreci & Alex Hillman Family Foundation Robert Ohlerking Henry & Lucy Moses Fund Mr. & Mrs. Jack Litwack Norwegian Information Service ARNOLD SCHOENBERG Dr. & Mrs. James McGroarty Shubert Foundation Bernard M. Manuel String Sextet "Verklarte Nacht," Op. 4 Tortuga Foundation Rev. Francis J. Mugavero BENEFACTORS Arlene G. Oettgen 82,30049,999 Mr. & Mrs. Arthur J. Radin (intermission) Mr. & Mrs. Rubin Raskin Charles Ulrick & Josephine Bay Stephen H. Scheuer Foundation Mr. & Mrs. Irwin Schneiderman LUDWIG VAN BEETHOVEN Philippe Braunschweig Martin E. Segal String in A Minor, Op. 132 Max & Victoria Dreyfus Foundation Joanna & Norman Sher Quartet Mallory Factor Mr. & Mrs. Harry Silverstein Assai sostenuto allegro The Hochschild Fund, Inc. - Mr. & Mrs. Alan Slifka The Heckscher Foundation for Children Mr. & Mrs. Robert K. Smith Allegro ma non tanto Valerie Manuel Molto adagio-Andante: Heiliger Dankgesang eines Hannah Maxwell SPONSORS 8100-8249 The National Opera Institute Genesenen an die Gottheit, in der lydischen Tonart Mr. George C. Abraham Mr. & Mrs. Everett Ortner Dr. Edward W. Altman Alla marcia, assai vivace Alice Holbrook Platt American Chai Trust Prospect Hill Foundation Allegro appassionato-Presto R. Steven & Jan C.K. Anderson Martha Baird Rockefeller Fund for Music Mr. Benjamin Bankson The Helena Rubinstein Foundation Mrs. Anne Barsky The Scherman Foundation Mr. & Mrs. Werner Barusek Seth Sprague Educational and Charitable William & Julia Beadenkopf Foundation John Beaton Swedish Council of America Mr. Walter E. Beer Uri, Brothers Foundation Mr. & Mrs. H. Gerard Bissinger II White light Foundation Dr. Robert D. Blank Jean Marie & Neita Blondeau EXECUTIVE PRODUCERS Dr. & Mrs. Martin Bodian 81,000-82,499 William B. Bolton Mrs. Vincent Astor Mr. & Mrs. Ernest Brunswick Ms. Joan Bieder & Mr. & Mrs. John Castaldi Mr. William Josephson Mrs. John Chancellor Mr. & Mrs. Eddo Bult Arthur W. Cohen Mary Griggs Burke Mr. & Mrs. Ira Cohen Mary Livingstone Griggs and Dr. & Mrs. A. Norman Cranin Mary Griggs Burke Foundation Louise Dahl-Wolfe Richard W. Hulbert Judith Daykin The Irvine Foundation Mr. & Mrs. Herbert Diamond I. Stanley Kriegel Ms. Carrol J. Dickson Phyllis Holbrook Lichtenstein Thomas A. Donnelly This program is supported by funding from the Edward John Noble Founda- Richard Menschel Mr. & Mrs. Mr. & Mrs. Isaac E. Druker Endowment for the Arts and The New York State Council The Netherlands America Community Mr. & Mrs. Jerome Dubroff tion, the National Association, Inc. Mr. Lorin Duckman on the Arts. Broadcasts on WNYC-FM 94 and stations of the American Public Frederick W. Richmond Foundation Mr. & Mrs. Albert H. Eaton, Radio Network are sponsored by BANKERS TRUST COMPANY. Richard & Dorothy Rodgers The Valhal Pub Foundation, Inc. Dr. Eugene Edelman Baldwin is the official piano of the BAM Chamber Music Series. The Starr Foundation Mr. Stephen D. Edelman William Tobey Mr. & Mrs. Robert Ehrenbard following the Saturday Michael Tuch Foundation Richard Engquist There will be a reception for the artists immediately John T. Underwood Foundation Gail Erickson evening performance. The Vinmont Foundation Sergio Escuadra Harold Weitz Arthur T. Farhood The Robert and Marillyn Wilson Mr. & Mrs. Frank Finnel Foundation Richard B. Fisher Mr. Ian Woodner Dr. & Mrs. Leonard I. Flog ^-,11-^ ABOUT THE ARTISTS Scott Nickrenz, violist, is Music Director for BAM's Chamber Music Series. He divides his time between New York and Hart- Me Emerson String Quartet was formed when its members ford, where he is chairman of the string department of the .1 were students at The Juilliard School. The name of the University of Hartford. quartet-chosen in the bicentennial year- honors the 19th Cen- Together with his wife, flutist Paula Robison, he directs tury American philosopher and poet, Ralph Waldo Emerson chamber music for the Spoleto Festivals, both in the United States (1803-1882). The quartet was coached by Robert Mann, first and Italy. at violinist of the Juilliard Quartet and professor the School. In Long a performer in his own right, Mr. Nickrenz attended 1978 it won the Naumberg Foundation Award for Chamber the Curtis Institute and was a founding member of both the Lenox Music. award led to a New York debut, and since then they The and Vermeer Quartets. While he was a member of the Claremont have become one of the world's most demanded quartets. Per- Quartet he formed the later created 100 they have been wide- New Chamber Quintet and forming more than concerts annually, the Quartet series at the University of Chicago. He also began ly acclaimed throughout the United States and have made their at the Spoleto festival the Chamber Series at Northwestern University. European debut as the quartet in residence Mr. Nickrenz the Emerson has had its own has appeared extensively in concerts in the in Italy. For the past three seasons United States and all over the world. He has played with the sold-out series at the Smithsonian Institute in Washington, D.C. are for Music from Marlboro tours, the Casals, Aldeburgh, and Spoleto Right now several recording companies negotiating their Festivals. to become the resident quartet He has appeared frequently with the Chamber Music contract. Their latest honor was Society of and performs and tours regularly with of the Chamber Music Society of Lincoln Center. the Orpheus The members of the quartet-Eugene Drucker, violin; Philip Trio. Setzer, violin; Lawrence Dutton, viola; and David Finckel, cello- lin Carr is a cellist who at the age of 24, has captured the have active solo and ensemble careers which span from each highest cello prizes that exist in the U.S. He won First Prize a ensemble, to the Madison trio, Speculum Musicae, 20th century of the Naumburg Competition in 1981, the 1982 Gregor Piatigor- of Setzer, Finckel, and pianist Antonia Adezio. which consists sky Memorial Award of $2,500, given each year to honor the is practice in stu- Trading off the first violin parts standard memory of the great cellist by acknowledging young cellists of get needed ex- dent quartets. This is fair and lets both violinists distinction, and made his York and Setzer extraordinarily successful New perience. From the start of their association, Drucker debut in 1979 as a Winner of the Young prize winners in the Brussels Concert Artists Inter- of the Emerson Quartet -both national Auditions. Since then he has toured the U.S. annually, Elisabeth Competition-have shared the first violin chair Queen including recitals F. among American quartets. Drucker at the John Kennedy Center in Washington, equally. It's a practice unique D.C., at the Ambassador Auditorium in Los Angeles, at the Kran- violinist's role gives the ensem- and Setzer say that sharing the first nert Center of the University of Illinois, at Iowa State to get of exposure, Univer- ble variety and allows each of them plenty sity, San Diego State University, can be exhausting and Washington State University. to the repertoire and public. This crucial part Mr. Carr has appeared as soloist with most Setzer successfully of the major or- to play for an entire program. Drucker and chestras in his native England. He made his Royal Festival performing works from all stylistic Hall avoid this by alternating, each debut in 1980 with the English Chamber Orchestra, and in May, periods. 1981 he played the Elgar rave reviews for concerto with the BBC Symphony The Emerson String Quartet has received Orchestra. In 1982, he played the Walton the Romantic and modern repertoire. concerto at Festival Hall its interpretations of both with the Royal Philharmonic Orchestra conducted by Yehudi Menuhin. Mr. Carr's European concerts have also included per- Eugene Drucker is a graduate of Columbia University and the formances with the Amsterdam Philharmonic, the Concert- Juilliard School, where he studied with Oscar Shumsky and gebouw Orchestra, the Netherlands Chamber Orchestra, was concertmaster and soloist with the Juilliard Orchestra. A reci- L'Orchestre de la Suisse Romande, the Scottish Chamber pient of the Jascha Heifetz Fellowship at Tanglewood and the Orchestra and the Royal Liverpool Philharmonic. Albert Spalding Prize for the most promising instrumentalist at Colin Carr is also a sought-after chamber music artist. He the Berkshire Music Center, Mr. Drucker has been a frequent has appeared at the Aldeburgh Festival, the Bath Festival, the participant in the Marlboro Music Festival and has appeared on Berlin Festival, and the South Bank Festival in England, and in two "Music from Marlboro" tours. He was a prizewinner in both the U.S. he has performed at the Marlboro Festival in Vermont, the International Violin Competition of Montreal in 1975 and in the Brooklyn Academy of Music's Chamber Music Series, and the Queen Elisabeth Competition in Brussels in 1976. Formerly at the Spoleto Festivals in Charleston, S.C. and in Spoleto, Italy with Speculum Musicae and the Andreas Trio, Mr. Drucker is for several years. currently a member of the New York Chamber Soloists. As Winner of the Naumburg Competition, Mr. Carr's Prize will include a performance with the Chicago Symphony at the hilip Setzer began violin studies with his parents, both mem- Ravinia Festival, and two recitals at Lincoln Center in New York. / bers of the Cleveland Orchestra. After further study with Joseph Gingold and Raphael Druian he entered the Juilliard School, where he earned both a Bachelor's and Master's degree NOTES ON THE PROGRAM as a pupil of Oscar Shumsky. In 1976 Mr. Setzer won a bronze medal in the Queen Elisabeth Competition in Brussels. He has appeared as guest soloist with the Cleveland orchestra and the ARNOLD SCHOENBERG (1874-1951) National Symphony. He has been a participant in the Marlboro String Sextet "Verklarte Nacht," Op. 4 Music Festival and is a member of the Madison Trio. Post-Romantic in style and effect, Verklarte Nacht (Trans- figured Night) was penned in 1899 when Schoenberg was a young Dehmel provided violin and viola studies with Margaret man of 25. The following poem by Richard Lawrence Dutton began the single movement work: Pardee and continued at the Eastman School with Francis the program that inspired earned his Bachelor's and Master's degrees Tursi. He subsequently Transfigured Night at the Juilliard School as a student of Lillian Fuchs. While at the Juilliard School, Mr. Dutton was awarded the Walter W. Naum- Two people go through a bare, cold wood; burg Scholarship for graduate study, and performed as a soloist the moon glides along with them, they look at it. Mr. Dutton has appeared as a guest The moon glides over the high oaks. with the Juilliard Orchestra. No cloud obscures the light of the sky artist with the Juilliard String Quartet, the New York into which the black branches reach. Philomusica, and the New York Chamber Soloists. A woman's voice speaks. I carry a child, and not by you; I go beside you in sin. David Finckel has studied the cello with Elsa Hilger, Bernard I have wronged myself grievously. Greenhouse and Mstislav Rostropovich. A prizewinner in I lost my belief in happiness, the 1978 International Bach Competition and the 1979 Friday but I had a strong desire Morning Music Club International Competition, he has appeared for a purpose in life, as soloist with the Philadelphia Orchestra and the Basel Sym- for the joys and duties of a mother; so shuddering, I dared to yield my body phony under the direction of Rostropovich. Mr. Finckel has to the embrace of a strange man, toured the United States with "Music from Marlboro" and per- and even thought myself blessed for it. forms regularly as cellist of the Madison Trio. Now life has taken its revenge: now I have met you. She goes with awkward steps. She looks up: the moon glides along. Her dark look is drowned in light. A man's voice speaks: Let the child you have conceived be no weight on your soul; look how brilliant the universe shines! Brightness surrounds everything. You float with me on a cold sea, but a warmth of our own darts from me to you, from you to me. This will transfigure the stranger's child BROOKLYN ACADEMY OF MUSIC You will bear it for me, by me; you have brought the brightness to me, you have made me, myself, a child BAM'S CHAMBER He clasps her by the strong hips. Their breath intermingles in the air. MUSIC SERIES Two people go through the high, bright night. Richard Dehmel SCOTT NICKRENZ, MUSIC DIRECTOR Lepercq Space 1899, this sexual subject matter was highly controversial, In Saturday, April 9, 1983 8:30pm to say the least. Like Scriabin's Poem of Ecstasy (1908), a prece- dent for Verklarte Nacht can be found in Wagner's Tristan and Sunday, April 10, 1983 2:00pm Isolde (1865). In 1917, Schoenberg orchestrated the String Sex- tet and this more popular version has been used in ballets by Anthony Tudor (Pillar of Fire) and Heinz Spoerli (Transfigured Night.) The String Sextet follows the poem's five-part structure. About mid-way through the work the key changes from D minor to D Marvis Martin Masuko Ushioda major as the music is "transfigured" from tragic to ecstatic. The soprano violin theme of the slow opening section, a descending scale, returns in the middle and near the end of the work. It is systematically Scott Nickrenz Laurence Lesser developed before a short transition into a quicker section. The viola cello agitated quality here corresponds to the woman's first speech in Seymour Lipkin Gary Ledet the poem. In the second half, the major mode is touched upon piano piano before the atonal climax. Here a new melody is heard which ends with the ultra-Romantic rhythmic pattern of a syncopated triplet on descending notes. The two main figures are then literally "transfigured" as the tonality moves from minor to major. The cello plays a rendition of the second idea marking the man's response in the poem. The two motives then intertwine in a pas- WOLFGANG AMADEUS MOZART sionate closing section in D major. Quartet in G Minor for Piano and Strings, K. 478 Allegro LUDWIG VAN BEETHOVEN (1770.1827) Andante String Quartet in A Minor, Op. 132 Rondo. Allegro The late quartets, from which the A Minor Quartet Ushioda, Nickrenz, Lesser, Lipkin comes, are seen by many Beethoven scholars as the culmina- tion of his genius. In 1825 the composer's attention was fo- had begun GEORGE GERSHWIN cused almost exclusively on the quartet form. He Rhythm the A Minor Quartet in 1824 and, after a period of illness, Fascinatin' finished it in 1825. Nice Work The introduction to the first movement immediately sets The Man I Love forth a motto -GC, A, F, E-foreshadowing in augmentation They Can't Take That Away From Me thematic material from this movement. The first theme, Summertime played in the cello's high range, is a dotted, rhythmic idea. I Got Rhythm The second, stated by the second violin in F, provides a melodic contrast. These are masterfully intertwined and (intermission) developed. In a modified Sonata allegro form, the tonality flits effortlessly and intriguingly to ever more distant keys. Measure 195 marks the beginning of the recapitulation in A JOHANNES BRAHMS minor for the first and A major for the second theme. The Trio in B Major for Violin, Cello, and Piano, Op. 8 movement is concluded by an unusually short coda. Allegro con moto The Allegro ma non tanto is a lark in A major whose two Scherzo. Allegro molto short motives pass only briefly through A minor. Musette ef- Adagio non troppo fects number among the embellishments applied to this dance- Finale. Allegro molto agitato like movement. Ushioda, Lesser, Lipkin The Molto adagio is a solemn, A minor hymn "in the Ly- dian mode," and 4/4 time, that represents Beethoven's "thanksgiving to God of a convalescent." The Andante begin- ning at measure 31 represents a complete contrast in triple meter, D major, and a pseudo-Baroque style. Beethoven marked this section "feeling renewed strength." It has its own section. The Molto adagio internal contrasting rhythmic This program is supported by funding from the Edward John Noble Founda- alternates twice with the Andante in varied forms and returns tion, the National Endowment for the Arts and The New York State Council for the third time as a conclusion to the movement that is the on the Arts. Broadcasts on WNYC-FM 94 and stations of the American Public spiritual heart of the Op. 132. Radio Network are sponsored by BANKERS TRUST COMPANY. A brief, rocketing fanfare, labeled Alla marcia, launches Baldwin is the official piano of the BAM Chamber Music Series. by way of a fantasy transition into the finale. The Allegro ap- There will be a reception for the artists immediately following the Saturday passionato is a miraculous feat that combines a lovely, lyric evening performance. theme with the most sophisticated rhythmic treatment. As this Rondo progresses, the pace quickens and the mode switches from minor to major for a glorious ending to one of Beethoven's greatest and most accessible quartets. -Jerri Brown ABOUT THE ARTISTS he formed the New Chamber Quintet and later created the Quartet Series at the University of Chicago. He also began the Chamber Series lyric soprano, is equally acclaimed for her at Northwestern University. 1I\ Marvis Martin, Mr. and communicative recital singer and as Nickrenz has appeared extensively in concerts in the United gifts as a sensitive States and from the most exciting opera talents of recent seasons. Miss all over the world. He has played with the Music one of Marlboro tours, the Casals, Aldeburgh, and Spoleto Festivals. He has Martin gave her New York debut in the Young Concert Artists 92nd Street Y to a sold-out and cheering house. As appeared frequently with the Chamber Music Society of Lincoln Series at the Center and winner of the Young Concert Artists International Auditions, performs and tours regularly with the Orpheus Trio. Miss Martin will appear this season in concert performances throughout the United States. 1 aurence Lesser, acclaimed prize-winner in the 1966 Miss Martin won the Kathleen Ferrier Prize of Young Con- Tchaikovsky competition and chamber music guest performer cert Artists, First Prize of the 1980 "Concours de Chant" com- in the Heifetz-Piatigorsky concerts and recordings, has been the petition in Paris, and First Prize of the WGN-Illinois Opera Guild champion as well of the new and unfamiliar. His recording of "Auditions of the Air:" She made her Paris Opera debut in 1980 the Schoenberg-Monn Concerto for Columbia Records is the first and debuted in Chicago in 1981. The tour performance in this country since Feuermann introduced the to Boston, Atlanta, and Minneapolis marked the successful debut work in the 1930s, and he has repeatedly introduced important of this young soprano in the role of Pamina in . new works on the Los Angeles Monday Evening concerts and Miss Martin appeared in recital at the 1982 Aix-en-Provence sum- other similar series. mer festival and sang her first Liu in Turandot in Bogota, Col- A native of Los Angeles, Lesser was a student of Gregor umbia in August, 1982. Miss Martin made her Carnegie Hall Piatigorsky, whose assistant he became at the University of debut this season. She will return to Europe to perform Ilia in Southern California. His background includes a degree in and to sing the role of Ardate in Mozart's rarely per- mathematics from Harvard and a Fulbright to Germany. Lesser formed Mitridate. Future engagements for Miss Martin include is now living in Boston, where he shares his concert experience appearances as Xenia in Mussorgsky's , the with a select class at the new England Conservatory. Princess in Ravel's L'enfant et les sortileges, and The Celestial In recent seasons he has been soloist with the Boston Sym- Voice in Verdi's Don Carlos with the Metropolitan Opera in New phony and the London, New Japan and Los Angeles Philhar- York City. monic Orchestras. He has participated in the Casals, Marlboro Marvis Martin is a native of , where she earned her and Spoleto Festivals, is a frequent guest of the Lincoln Center Bachelor of Music degree from the , and is Chamber Music Society, and has made recital appearances in the Europe, the States a graduate of the Manhattan School of Music with a Master of major centers of United and Japan. Music degree. Lesser plays a 1622 Amati cello of startling beauty. His record- ings have appeared under the RCA, Columbia and Desto labels. Ushioda has been winning some of the world's most Masuko Seymour Lipkin, critically acclaimed as "one of the finest, most prestigious competitions since the age of fourteen, when she Mainichi Music Contest, Japan's foremost sensitive conductors this country has at present," is the former took first prize in the music director of both the Long Island Symphony and the Jof- musical event. In 1963, Miss Ushioda was a prize winner in the in Brussels. Upon winning the frey Ballet Company. He has appeared as guest conductor of Queen Elizabeth Competition numerous symphony orchestras throughout the country, in- Tchaikovsky Competition in 1966, the critics acclaimed her "the lyricism!' (Tass cluding the , the Cleveland Orchestra, greatest new talent, an artist of exceptional and the Detroit Symphony. Moscow) As a student she attended the Toho Gakuen Academy in the Soviet Union and In his early twenties, he was appointed assistant to Serge in Tokyo, the Leningrad Conservatory Koussevitzky at the Berkshire Music Center, and remained there Szigeti privately in Switzerland, who finally worked with Joseph after Koussevitzky's death as assistant to Leonard Bernstein. A proclaimed of her "it is the sense of style, the musical intelligence, of her lovely tone distinct success as the conductor of Bernstein's opera "Trouble the sincerity of her impulse, the individuality in Tahiti" led to his appointment as Assistant Conductor of the that sets her apart!' America in New York Philharmonic. He travelled with Bernstein and the Since her debut season in Europe and North orchestra to the Soviet Union and Europe. 1965, she has played with most major orchestras around the Sym- During thirteen years with the Joffrey Ballet, he conducted world, including the London Philharmonic, the London many of the great orchestras of the world, including the Vienna phony, the Concertgebouw, ORTF in Paris, the Berlin Philhar- the Symphony and the orchestras of Chicago, San Francisco, monic, the New York Philharmonic, the Chicago Symphony, Cleveland, Seattle, Buffalo, Vancouver. Sym- Detroit, Houston and Boston Symphony, the Philadelphia Orchestra, the National Mr. Lipkin also ranks as one of the finest pianists of his phony, NHK Symphony, National Symphony of Mexico and and generation, having won first prize in the Rachmaninoff Piano more. Miss Ushioda has toured as soloist with 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 as with He will be heard again soloist with the last-named orchestra recently in the United States Miss Ushioda has appeared in March 1983, and will perform chamber music at the Spoleto the National Symphony, the Milwaukee Symphony, the Atlanta in summer 1983. the Festivals Symphony, the Denver Symphony, the Baltimore Symphony, Mr. Lipkin is a graduate of the Curtis Institute, where he Symphony, the Vancouver Symphony, the Brooklyn Phoenix the studied the piano under Rudolf Serkin, and Tanglewood, where Philharmonic at Carnegie Hall, the Library of Congress, he was instructed by Serge Koussevitzky; he served as apprentice University of California at Berkeley and many others. conductor to George Szell and the Cleveland Orchestra. He is is mar- Born in Manchuria of Japanese parents, Miss Ushioda 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. Concerto or the Beethoven Triple Concerto. She has also Double Minoru shared the stage with artists Ruth Laredo, Lukas Foss and Gary Ledet, pianist, is a native of New Orleans. He received Her discography for EMI Toshiba includes the complete Bachelor Degrees from both Louisiana State and Tulane Nojima. invited Bach unaccompanied repertoire, and she is frequently Universities, and a Master of Music from the Manhattan School. as soloist for tours of Japan's most prestigious orchestras. 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 of throughout the New York where he is chairman of the string department of the University coaches singers and instrumentalists Hartford. area. Together with his wife, flutist Paula Robison, he directs chamber Festivals, both in the United States and Italy. music for the Spoleto the a in his own right, Mr. Nickrenz attended Long performer and Institute and was a founding member of both the Lenox Curtis Quartet Vermeer Quartets. While he was a member of the Claremont

I NOTES ON THE PROGRAM

WOLFGANG AMADEUS MOZART (1756.1791) Quartet for Piano and Strings in G Minor, K. 478 There are many subtle shades in the interpretive spect- rum from which to choose when playing Mozart's mature works. The Rococo elegance and feminine quality of the works can be emphasized or minimized. In the case of the G Minor Piano Quartet, the performer has some particularly BROOKLYN ACADEMY OF MUSIC tough decisions to make. Mozart had turned away from the Galant style and toward the Sturm and Drang. The Quartet easily lends itself to an almost Romantic interpretation. BAM'S CHAMBER Unfortunately, poor Wolfgang was way ahead of his time when in 1785 the work was printed in a Viennese musical MUSIC SERIES periodical. The public reaction to even the first statement of SCOTT NICKRENZ, MUSIC DIRECTOR the powerful G minor unison theme was unfavorable. The publisher cancelled any further agreement to print Mozart's Lepercq Space pieces. Saturday, April 30, 1983 8:30pm Following the first theme, the piano announces a tricky Sunday, May 1, 1983 2:00pm contrast in the dominant. This second idea uses an octave jump, a scalar run, and a trill on a neighboring tone which resolves by a descending half step to a repeated chord tone. The combination of these unrelated motives suprisingly THE WAVERLY CONSORT creates a charming theme group that is an endless source of on these fragments developmental material. The variations MICHAEL JAFFEE, DIRECTOR alternate with the return of the always recognizable first theme. The complex development section is opened by a syn- copated but sweet, chordal piano theme in C minor that Julianne Baird Cheryl Bensman Allan Fast becomes an integral part of the movement. The nature of this soprano soprano countertenor movement requires concentration by both listener and per- Richards this John Olund William Sharp Kurt Owen former. Mozart's piano concerti and string quartets of tenor baritone bass period also exhibited this new depth of expression. Moving to the relative major -B flat-the Andante is a Dennis Godburn Kay Jaffee song-like movement made up of three melodies. The finale in dulcian, recorder, shawm recorder G major is no simple Rondo. The joyous opening theme is complemented by fantasy transitions and further lyric ideas Rosamund Morley Michael Jaffee played alternately by piano and strings. Following the first viols lute, recorder return of that initial melody, a powerful contrast intrudes. A strong reminder of the opening of the first movement-G minor in unison-is quickly gone and only one more shadow is cast over this gay movement before it concludes with its main theme. "WELCOME SWEET PLEASURE" Music of England's Golden Age GEORGE GERSHWIN (1898-1937) I Madrigals A Selection of Songs Thomas Morley, William Byrd, Thomas Weelkes One of the many geniuses to emerge from Brooklyn, George Gershwin was born Jacob Gershvin in the year that II Divisions the Brooklyn Bridge celebrated its fifteenth birthday. In Christopher Simpson, Various Anonymous Composers honor of the centennial of the structure that first linked Brooklyn to Manhattan, the route that took Gershwin from III Sacred Music his home to Broadway, BAM presents a selection of songs Richard Dering, William Byrd by one of Brooklyn's, and the nation's, best loved com- IV Music "Apt for Voyces and Sundry Instruments" poser/songwriters. Robert Parsons, Orlando Gibbons, Thomas Weelkes Gershwin wrote almost all of his hits in collaboration Of the few exceptions, with his brother, lyricist Ira Gershwin. (intermission) the most famous is "Swanee," George's early, immortal hit. The songs on this program are all products of the two II brothers. V Songs to the Lute and Viol In 1923, "Fascinatin' Rhythm" was composed with a future VI Theatre Music: Songs and Popular Tunes Lady, Be Good production in mind and was laid aside until Mentioned in the Plays in 1924. Gershwin attempted to include "The was produced Anonymous Composers, Thomas Simpson Man I Love" in the Philadelphia opening of Lady, Be Good, but it was cut after a few performances because its character VII The Cry of London conflicted with the other, upbeat songs in that show. Anonymous Although he tried several times, the composer could not use "The Man I Love" in any stage production. The composition is rather complex, of "art song" quality, so the song took some time to catch on, but has since become one of Gershwin's best loved. "S'Wonderful," the hit song from Funny Face, was sung originally by Adele Astaire and Allen Kearns. It opened Broadway on November 22, 1927 after being tried and on This concert is made possible with the assistance of the National Endowment made over on a road tour. Ira labored over the rhyme scheme for the Arts. The use of cameras and tape recorders is prohibited at this concert. for "I Got Rhythm," finally chucking strict rhyme for a freer style incorporating some of his famous use of the slang of the This program is supported by funding from the Edward John Noble Founda- day. Ethel Merman belted out "I Got Rhythm" from the stage tion, the National Endowment for the Arts, and the New York State Council of the Alvin Theatre in Girl Crazy on October 14, 1930. It was on the Arts. Broadcasts on WNYC-FM 94 and stations of the American her first Broadway show and sent her career soaring. Ginger Public Radio Network are sponsored by BANKERS TRUST COMPANY. Rogers sang "Let's Call the Whole Thing Off" in the film Baldwin is the official piano of the BAM Chamber Music Series. Shall We Dance. Released in 1937, the year of Gershwin's There will be a reception for the artists immediately following the Saturday death, it was one of Fred Astaire and Ginger Rogers' most suc- evening performance. cessful movies. THE WAVERLY CONSORT Now in its 18th season, the Waverly Consort was organiz- ed in 1964 at New York University, where Michael and Kay THOMAS MORLEY (1557-1603) Jaffee encouraged a small group of fellow graduate students in Now is the month of Maying musicology to join them in some performances of medieval and Now is the month of maying Renaissance music. Taking its name from Waverly Place, When merry lads are playing which runs by NYU's Washington Square campus, the group Each with his bonny lass made its highly acclaimed public debut at Carnegie Recital Upon the greeny grass. Fa Hall on April 23, 1966. la la. Drawing on a repertoire of over six The spring, clad all in gladness, centuries, the Consort doth laugh at performs 25 concerts annually in New York City, including a winter's sadness; series at Lincoln Center, the Metropolitan Museum of Art and And to the bagpipe's sound The Cloisters. It tours nationally, performs regularly The nymphs tread out their ground. Fa la la. throughout South America and has an impressive discography Fie then! Why sit we musing on both Vanguard and CBS Masterworks labels. It has been Youth's sweet delight refusing? the subject of several half-hour CBS television specials on Say, dainty nymphs, and speak, "Camera Three," has participated in three Christmas presen- Shall we play barley-break? Fa la la. tations on NBC-TV's "Today Show," four programs of Elizabethan music for PBS-TV in conjunction with the BBC- WILLIAM BYRD (1543-1623) produced Shakespeare series, and a special edition of "The This sweet and merry month of May Dick Cavett Show." This sweet and merry month of May, While nature wantons in her Pryme, And Byrds do sing, and Beasts do play, NOTES ON THE PROGRAM For pleasure of the joyfull time, I choose the first holy daie, One can hardly imagine a more tuneful and spirited age And greet Elyza with a Ryme. for music than Renaissance England under Elizabeth I and 0 Beauteous Queene of secont Troy, the early Stuart kings. During their rule, music of all kinds Take well in worth a simple toy. and genres flouished in an atmosphere of unusual congenial- ity, with Thomas Morley and his colleagues churning out THOMAS WEELKES (c. 1575-1623) catchy songs like "Now is the month of maying" and Welcome sweet pleasure countless books of ayres, madrigals, canzonets, and music "apt for voyces and for viols." Welcome sweet pleasure, We begin our musical salute to spring with two madrigals My wealth and and treasure, dedicated to the month of May. England's discovery of the To haste our playing madrigal took place during Elizabeth's reign (1558.1603) There's no delaying. No no no no. when an Italian vogue swept the land, and native composers This mirth delights me. adopted and refashioned the new style into a uniquely English When sorrow frights me. product, combining Italian expressive devices with typically Then sing we all Fa la la. Elizabethan dance features and "fa-la" refrains. Elizabeth Sorrow content thee, herself, though not inclined as her father, Henry VIII, had Mirth must prevent thee, been toward composition, was reputedly an accomplished Though much thou grievest player of the virginals and doubtless spent such leisure time as Thou none relievest. No no no no. she had at the keyboard with the latest virginal books, perhaps Joy come delight me. improvising, as Renaissance musicians did, on the popular Though sorrow spite me. ground bass patterns of the day. Then sing we all Fa la la. To Elizabeth, also, is due no small credit for the excellence Grief is disdainful of English church music during this time, for, presiding over a Sottish and painful, Reformation England caught in the midst of theological cross- Then wait on pleasure currents, she chose flexibility over doctrine, permitting And lose no leisure. No no no no. Catholic composers like Richard Dering and William Byrd to Heart's ease it lendeth write for the Roman as well as for the Anglican service, in And comfort sendeth. Latin as well as in English, without fear of royal retribution. Then sing we all Fa la la. Thus, the contribution of these composers and their contem- poraries represent Tudor church music at its peak. The CHRISTOPHER SIMPSON (c. 1605-1669) achievement of William Byrd, in particular, would bring A division for viol and lute distinction to any country and any monarch, for he was one of j the musical geniuses of the Renaissance. VARIOUS ANONYMOUS COMPOSERS A rich profusion of secular genres flourished as well, and My Lady Carey's Dompe we have included the principal types in our program: dance, The Romanesca in featured the court masques and spectacles that received Galliard special encouragement during Elizabethan and Jacobean Passamezzo times; the consort song, for voice, with the accompaniment of RICHARD DERING (c. 1580-c. 1630) a group of instruments, represented here by Robert Parson's 0 vos omnes (Responsory for Holy Saturday) lovely "Pour down, you pow'rs divine;" and the ayre for voice to the accompaniment of the lute. A by-product of the All ye that pass by, madrigal, the lute song adapted the English madrigal style to behold, and see if the more intimate medium of solo voice with lute accompani- there be any sorrow ment. An essential element was poetry, and the lutenist- like unto my sorrow. songwriters often served as their own poets, making the lute song a highly personalized expression. The close relationship ti WILLIAM BYRD to the madrigal-as well as music publishers' desire to increase Haec dies (Gradual from the Easter Mass) their market-is proved by the many publications of songs in This is the day which the alternative arrangements for vocal ensemble as well as for Lord hash made; we will voice with accompaniment of lute or viol. Rejoice and be glad in it. Finally, it seems a fitting summary to the music of this col- Alleluia. orful age to offer a medley of popular songs referred to or used by William Shakespeare and the other dramatists of the time in the dramas, playlets, and theatrical jigs of the Elizabethan and Jacobean stage. -Kay Jaffee ROBERT PARSONS (c. 1530-1570) Nobody's Jig Pour down, you pow'rs divine (Pandolpho) Stephano: Come on, Trinculo, let us sing.. . Pour down, you pow'rs divine Caliban: That's not the tune. me On poor wretch and silly maid, Stephano: What is this same? Some hope, alas, of him to have, Trinculo: This is the tune of our catch, played by the picture of My heart to aid. Nobody. Pandolpho, some pity, Pandolpho! William Shakespeare, The Tempest, III, 2 From else with fiery flames The Cry of London Your force on me, you furious fates, Oyes! If any man or woman can tell any tidings of a little Unless my hurted heart have help, Oyes! maiden child, about the age of six, or sev'n and forty: This child My hopes are but my hates. was lost between the standard and the pissing conduit; if any man Pandolpho, some pity, Pandolpho! can bring any news of her, let him come to the Crier, and he shall Thus restless will I rest in ruth, have fourpence for his hire, and that's more than she's worth! And

Respecting what remains; . . God's blessing. . .New shades, new lamps and shades! .New If pitiless then pleasureless, a mackerel, mackerel! . . Black, black, very fine black! Buy a mop, If pity feel no pains. housemop, a very fine mop!... Come buy my four ropes of onions. Pandolpho, some pity, Pandolpho! I have hard onions, white onions, white Saint Thomas onions, or white! . . . Salt, salt, Worcestershire salt! . .Buy any aquavitae ORLANDO GIBBONS (1583-1625) good Rosasolis! Buy my quarter of good smelts! . . Will you buy The Silver swan my dish of great eels'... Will you go with oars, Sir, will you do The silver swan, who living had no note, with oars?... Will you go with a sculler, Sir?.. .I am your first When death approached unlocked her silent throat; man, sir, will you go with me?. . .1 will go with oars... George, Leaning her breast against the reedy shore, George, George, George, bring the boat to the stairs! . . cod, cod,

. grass? Thus sung her first and last, and sung no more: great cod, buy my fresh cod! . .Will you buy any scurvy

. . . hassock, or a cover Farewell all joys; 0 death come close mine eyes; . . . Buy a brush, a very fine brush! Buy my More geese than swans now live, more fools than wise. for a closestool. .Buy a cloak, sir, see a fair cloak, buy a very fair cloak, Sir...Oranges, oranges, fine Seville oranges, Portingal THOMAS WEELKES oranges, fine Seville oranges; lemons and oranges I have to sell, but Hark all ye lovely saints above Portingal oranges bear the bell! See for your love, and buy for your money, for there is good ale at the sign of the Coney...Buy a Hark all ye lovely saints above, hairline, a good hairline, or a rope for a jack. . . will you buy any Diana hath agreed with love whiting, maids, whiting? . . .New sprats, great sprats, new sprats His fiery weapon to remove. herring fellows. . . Buy a barrel of treacle! . . Buy any wassail! Do you not see Master and mistress, if you be within, call for some of your merry How they agree men to rise and let us in with our wassail. Joy come to our jolly Then cease fair Ladies, why weep ye? Fa la la. wassail. See, see, your mistress bids you cease, And welcome love with love's increase; Diana hath procur'd your peace. Cupid hath sworn His bow forlorn To break and burn, ere Ladies mourn. Fa la la. ANONYMOUS Bonny sweet Robin Ophelia: For Bonny sweet Robin is all my joy. William Shakespeare, Hamlet, IV, 5 ANONYMOUS amines What meat eats the Spaniard? Doyt: What meat eats the Spaniard? Pitcher: Dry pitchers and poor-john. Dandyprat: Alas, alas, th'art almost marr'd. Pitcher: My cheeks are fall'n and gone. ta-lp Doyt: Would'st thou not leap at a piece of meat? Pitcher: 0 how my teeth do water! I could eat: 'Fore the heav'ns, my flesh is almost gone With eating pitchers and poor-john The House Wines Brooklyn Academy of Music ANONYMOUS of the Fortune my foe Tile Brooklyn Academy of Music wishes to Mrs. Ford): I see that thou were, if Fortune thy foe Falstaff (to thanks to the ESTATE WINES e were not, Nature thy friend. extend its sincere William Shakespeare, The Merry Wives of Windsor, III, 3 OF ITALY, which graciously donates its products to all BAM-sponsored events. The sick tune these wines have Hero: why, how now! do you speak in the sick tune? New to the United States, Beatrice: I am out of all other tune, methinks. long been served in the finest restaurants and William Shakespeare, Much Ado About Nothing, III, 4 private clubs of Europe. The ESTATE WINES are on small Italian vineyards Kemp's Jig produced and bottled still owned by members of Italy's aristocracy. The orbs celestiall will daunce Kemps Jigge. sales from these vineyards date of Villanie, Satire IX Records of wine Marston, The Scourge back to 1200. Whores, Bedles, bawdes, and Sergeants filthily chaunt Kemps Jigge. Marston, Skialetheia, Satire V BAM is honored to have such classic, (Will Kemp was a famous actor and clown who performed in internationally-acclaimed wines at BAM events. Shakespeare's company. "Jig" refers to the comic interludes, Ask for ESTATE WINES OF ITALY at finer sung and danced between the acts to popular tunes of the restaurants and bottle shops. time. Will Kemp was a master of the jig.) Ballet International BROOKLN HEIGHTS NEW YORK DEBUT FUTON CENTER LONDON

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