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BROOKLYN ACADEMY OF MUSIC /943,1A,01'(.2°1

BOARD OF TRUSTEES Hon. Edward I. Koch. Hon. Howard Golden. Seth Faison. Paul Lepercq. Honorary Chairmen: Neil D. Chrisman, Chairman: Rita Hillman. I. Manley Kriegel. Ame Vennema. Franklin R. Weissberg. Vice Chairmen: Harvey Lichtenstein. President and Chief Executive Officer: Harry W Albright. Jr.. Henry Bing. Jr.. Warren B. Coburn. Charles M. Diker. Jeffrey K. Endervelt. Mallory Factor. Harold L. Fisher. Leonard Garment. Elisabeth Gotbaum. Judah Gribetz. 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: Hon. Henry Geldzahler. Member ex-officio.

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 Micheal House Vice President for Marketing and Promotion 11 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 BAM Marketing Nancy Rossell Assistant to Vice President 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 PLANNING AND DEVELOPMENT Jacques Brunswick Director of Membership Denis Azaro Development Officer Philip Bither Development Officer Sharon Lea Lee Office Manager Aaron Frazier Administrative Assistant MANAGEMENT INFORMATION Jack L. Hickethier Director Lee Chizman Assistant to the Director COMMUNITY DEVELOPMENT Mikki Shepard Director Mahmoudah Ali Assistant to the Director Rudy Stevenson Music Consultant Jennie Gonzalez Secretary PERFORMING ARTS PROGRAM FOR YOUNG PEOPLE Leonard Natman Director Hessie McCollum Program Coordinator Sara Walder Sales Coordinator PRODUCTION Malcolm J. Waters Production Manager William Mintzer Lighting Consultant to BAM Robert L. Foreman Assistant Production Manager Sarah Stuart Production Assistant Martin Green Crew Chief Robert Sniecinski Wardrobe Supervisor Naaman Griffin, Steve Greer, John Fuller, William Horton, James Kehoe. Howard Larson, Patrick McDonald, Bernard Gilmartin, Donald Riordan THEATRE MANAGER John J. Miller Theatre Manager Leonard Natman Associate Theatre Manager Ken Farris, Lauren Scott, Alan Tongret BUILDING MANAGEMENT Stan Mongin Building Manager Norman MacArthur Assistant Building Manager Lazarro Curato Parking Facilities Supervisor Frank Abbruscato, Leonard Abbruscato, Jahue Cooper, Nick Curato, Ray Dorso, Donald Farr, Angel Guadalupe, Steve Lanza, Bernard Lawrence, Michael Marayentano, Sheraf Moustafa, Nunzio Orlando, Joseph Patterson, Frank Percaccia, James Postell, Gloria Simon, Sadie Vinson James Victor, Angelos Voudouris, Robert Wells BROOKLYN BOX OFFICE Saheed Baksh Box Office Treasurer Michael Glassman, Joseph Nekola ACADEMY

DIRECTORY Box Office: Monday through Friday, 10:00am to 6:00pm; Performance days till 9:00pm; OF MUSIC Saturday and Sunday, Performance times only. Lost and Found: Telephone 636-4150 Restroom: Opera House Women and Men: Mezzanine level and 5th floor; Handicapped: Orchestra level. Lepercq Space: Women and Men: Theatre level 5th floor. Public Telephones: Main lobby. Felix Street Entrance. For information about group rates on tickets call 636-4126. The taking of photography or the use of recording devices in this theatre is strictly forbidden. Brooklyn Academy of Music, 30 Lafayette Ave.. Brooklyn. NY 11217. (212) 636-4100. The Brooklyn Academy of Music is a Charter Member of The League of Historic American Theatres.

I iira, 0 a 9 December 10, THE BROOKLYN Friday, PHILHARMONIC Great Hall, Cooper Union, 8 pm SYMPHONY ORCHESTRA, INC. Saturday, December 11, of Music, 8 pm Officers of the Lucille R. Grossman Playhouse, Brooklyn Academy Brooklyn Philharmonic William L. Harris James W. Hopkins. Jr. Max L. Koeppel, Chairman of the Board Jerry Jacobs Stanley H. Kaplan, President Stanley H. Kaplan Daniel S. Schwartz, Executive Vice President Mrs. Stanley H. Kaplan Daniel Eisenberg, Vice President PHILHARMONIC Max L. Koeppel THE BROOKLYN Vincent A. Finamore, Vice President I. Stanley Kriegel I. Stanley Kriegel. Vice President SYMPHONY ORCHESTRA Dr. Arthur J. Lapovsky Jack Litwack, Vice President Jack Litwack Dr. V. Peter Mastrorocco, Vice President Salomon C. Lowenstein Dr. Melvin Moore. Vice President FOSS, Music Director Mrs. Salomon C. Lowenstein LUKAS Joseph M. Scorcia, Vice President Dr. V. Peter Mastrorocco 29th Season: 1982/83 Robert C. Rosenberg, Secretary Craig G. Matthews Jerry Jacobs, Treasurer Marcella Maxwell Robert Michaels Honorary Chairpersons Dr. Melvin Moore Hon. Edward I. Koch Alexander S. Moser Hon. Howard Golden Thomas E. O'Brien 1: Hon. Elizabeth Holtzman Gregory J. Perrin MEET THE MODERNS Rabbi Eugene J. Sack Jay B. Polonsky As Performer" Arthur Ratner "The Composer Board of Directors Fred Richmond LUKAS FOSS, conductor Robert C. Rosenberg Dr. Edward W. Altman Arnold L. Sabin Michael A. Armstrong Edward P. Schneider Arnold Badner Hon. Charles Schumer Paul A. Barber Daniel S. Schwartz Mrs. Sidney Bershatsky Joseph M. Scorcia Mrs. Seymour Besunder Manestar (1972) Mrs. Joseph Scorcia PETER TOD LEWIS Julius Bloom Harry L. Shuford is dedicated to the memory Schuyler G. Chapin This performance Sydney N. Stokes, Jr. James H. Costley of Peter Tod Lewis (Nov. 6, 1932-Nov. 3, 1982) Donald L. Thomas Dr. Carl DAnna William Walker Shelly Mehlman Dinhofer Bruce H. Wittmer Lunatici (1981) Daniel Eisenberg Canti Melvin Epstein N.Y premiere Honorary Directors Vincent A. Finamore Carol Plantamura, soprano Henry J. Foner Bernard S. Barr Mark Gaston Mrs. Bernard S. Barr Bernard Rands, composer-conductor -Intermission-

JOHN CAGE-HENRY COWELL Party Pieces (1944-45) LOU HARRISON-VIRGIL THOMSON N.Y. premiere SPONSORS OF THE BROOKLYN Vivace (Cage-Harrison) Waltz tempo (Thomson-Cage-Harrison) Adagio (Thomson-Cage-Harrison) Flowing (Cowell-Cage-Harrison) PHILHARMONIC SYMPHONY Grazioso (Cowell-Cage-Harrison) Allegro (Cowell-Cage-Harrison) Allegretto (Thomson-Cage-Harrison) A slow, walking tempo ORCHESTRA Slowly, yet flowing (Cowell-Cage-Harrison) (Thomson-Cage-Harrison) Maestoso, ma teneramente The Brooklyn Philharmonic gratefully Helena Rubinstein Foundation Flowing-broad (Cowell-Cage-Harrison) acknowledges the support of the City of Arnold L. Sabin (Thomson-Cage-Harrison) Allegro preciso (Cowell-Cage-Harrison) New York Department of Cultural Affairs, Daniel S. Schwartz Allegro (Cage-Harrison) March tempo (Cowell-Cage-Harrison) the National Endowment for the Arts, the Majestic-broad Pastoral-softly-legato GRANTORS (82,50044,999) New York State Council on the Arts, and (Thomson-Cage-Harrison) (Cowell-Cage-Harrison) the many individuals, foundations and Sydney Ashkenazie Vivo (Cowell-Cage-Harrison) A slow 2-walking tempo M. & Yvonne Scorcia corporations listed below whose support Joseph Flowing-rubato (Cowell-Cage-Harrison) possible. helps make these programs DONORS (81000-82,499) (Cowell-Cage-Harrison) Allegro (Cowell-Cage-Harrison) AND Leonard Block INDIVIDUALS Doll Foundation, Inc. PRIVATE Mr. & Mrs. Milton Drucker LEO SMIT Academic Graffiti (1962; revised 1982) Mr. & Mrs. Daniel Eisenberg premiere of revised version FOUNDATIONS Mr. & Mrs. Vincent A. Finamore Flare Foundation for the Arts Henry L. Foner Carol Plantamura, soprano LEADERSHIP (825,000 or more) Mr. & Mrs. Moe Gellman Leo Smit, composer-pianist Stanley H. Kaplan Educational Center Goldie-Anna Charitable Trust Edward John Noble Foundation The Victor Herbert Foundation The Hochschild Fund, Inc. PACESETTERS (810,000424,999) I. Stanley Kriegel ROCCO DI PIETRO Chamber Rhapsody (1982) Mr. & Mrs. Salomon C. Lowenstein Louis Calder Foundation premiere Dr. & Mrs. V. Peter Mastrorocco Mary Flagler Cary Charitable Trust Meet the Composer L.A.W. Fund The Henry & Lucy Moses Fund Ambrose Monell Foundation Mr. & Mrs. Jay B. Polonsky The Rauch Foundation PATRONS ($5000-69,999) Frederick W. Richmond Foundation Heckscher Foundation for Children S.H. & Helen R. Scheuer Family Jerry Jacobs Foundation Max L. Koeppel Edward C. Schneider Dr. Melvin Moore Starr Foundation Billy Rose Foundation Michael Tuch Foundation The Baldwin is the official piano of the Brooklyn Philharmonic. concert (Continued inside back cover) This was made possible in part with public funds from the City of New York Department of Cultural Affairs, the New York State Council on the Arts, and the National Endowment for the Arts, as well as special grants from the Mary Flagler Cary Charitable Trust and Meet the Composer. 1

1. ABOUT THE ARTISTS NOTES ON THE PROGRAM

LUKAS FOSS At the age of 18, Lukas Foss was widely known This tenth anniversary season of Meet the Moderns offers as a musical "wunderkind" and was already a graduate of the four programs tied together with the theme "The Composer As Curtis Institute of Music, where he studied conducting with Fritz Performer." Lukas Foss comments: "Unlike the late 19th century, Reiner. Shortly thereafter he was taken under the wing of Serge the late 20th century seems to be getting away from specializa- Koussevitzky, with whom he worked at the Berkshire Music Center tion, and is returning to the idea of the composer doing both the at Tanglewood. Foss also studied at the Yale School of Music in its creating and the performing. Indeed, there are among the ranks of heyday under Paul Hindemith, and at 23 was the youngest composer contemporary composers some very fascinating performers. Because to be awarded a Guggenheim Fellowship. I thought it would be illuminating to hear some of them perform A "renaissance" musician, Foss is equally at home as composer, in their own work, I was led to choose 'The Composer As Per- conductor, teacher, and concert pianist. He has continually been former' as the theme for this season's Meet the Moderns Series?' at the forefront of contemporary music, yet the broadrange of The featured composer-performers on tonight's program are programs he conducts offers a fresh view of music from the renais- Leo Smit and Bernard Rands, but it should be noted that Rocco Di sance, classical, and romantic periods up through the present day. Pietro is also an accomplished performer whose schedule unfor- He was Music Advisor and Conductor of the Jerusalem Symphony tunately prevented his participation as a performer tonight. Among in Israel for four years, and has guest conducted the Berlin Phil- the other composers represented are John Cage, Lou Harrison, and harmonic, the Leningrad Symphony, the Tokyo Philharmonic, and Virgil Thomson, who have all performed their own works from the Santa Cecilia Orchestra in Rome, among others. In the U.S. time to time, and Henry Cowell, who was one of the most original he has conducted almost all the major orchestras, including the pianists of the 20th century. Chicago Symphony, New York Philharmonic, Boston Symphony, and Cleveland Orchestra. As Music Director of the Buffalo Philhar- monic from 1963-1970, he made the city a focus of national PETER TOD LEWIS (1932.1982) was Director of the Electronic attention and a mecca for composers and performers. Prior to this, Music Studio at the University of Iowa from 1969 until his recent he had the honor of being named successor to Arnold Schoenberg death. Earlier in his career he received the Wechsler commission as professor of composition at U.C.L.A., a post he held for 10 years. at Tanglewood, fellowships at the Huntington Hartford Foundation Foss has been music director of the Ojai Festival in California, and the MacDowell Colony, and lived abroad for 2 years, princi- has directed 12 marathon concerts at the Hollywood Bowl with the pally in Mallorca. In 1975 he received a faculty research grant and Los Angeles Philharmonic, was active in the Mostly Mozart Festi- was Visiting Composer at the Instituut voor Sonologie and at the val in New York, and for two years was director of the New York Groupe de musique experimentale in Gourges, where he had been Philharmonic summer festival concerts at Lincoln Center. He is commissioned to realize a new work for tape. In 1978 he was Music Director of the Milwaukee Symphony Orchestra, a post he awarded the American Composers Alliance Recording Award for holds concurrently with Music Director of the Brooklyn Philhar- Signs & Circuits: String Quartet No. 2 (CRI SD 392) and in 1979 monic Symphony Orchestra, which he has brought into national he received a grant from the National Endowment for the Arts. prominence over the past 12 years. In the Spring of 1981 he was Resident Composer at Ossabaw Island Lukas Foss is one of the country's leading composers, and has Project in Georgia and later in the year was awarded the Friedheim received numerous commissions, awards, and honors for his music, Award at the John F Kennedy Center in Washington, D.C. which has been played throughout the U.S. and Europe by world- "In Manestar, for 7 players and tape, my intention was to renowned artists and ensembles. Recent premieres have been fashion out of seemingly unrelated materials a single unified musical given by the New York Philharmonic under Leonard Bernstein entity. The listener, giving himself to the work, would find himself (Quintets for Orchestra), soprano Phyllis Curtin and the Dorian transported on an imaginary journey stimulated by its rich and Quintet (13 Ways of Looking at a Blackbird), the Northwood Sym- contrasting musical contexts. Manestar is a sound-collage which phonette with Canadian Brass (Night Music for John Lennon), and comprises verbal play, sound-games, overlapping loops, quasi-romantic the Chamber Music Society of Lincoln Center (Solo Observed). virtuosities, surrealistic quotations and a wide variety of rhythmic, Throughout his career he has also won wide acclaim as a concert melodic and harmonic patterns. Tape and instruments interact, pianist, and is best known in this field for his performances and embellishing and enhancing each other. recordings of Bach Concertos, Bernstein's The Age of Anxiety, and "The instrumentation was determined in large part by the make- Hindemith's The Four Temperaments, which he premiered. up of the University of Iowa Center for New Music, for whom Manestar was composed in 1972. The ensemble is made up of flute (piccolo), trombone, piano, violin, viola, cello, and percussion CAROL PLANTAMURA began her professional career with (vibraphone, glockenspiel, triangle, cowbell, bass drum, antique cym- The Monday Evening Concerts under the direction of , bal, tam-tam, temple blocks, and tom-tom):' and was a founding member of The Center of the Creative and Performing Arts at the State University of New York at Buffalo. In Europe she has appeared as a concert and opera soloist in major festivals and with distinguished new and old music ensembles, col- BERNARD RANDS, born in Sheffield, England in 1934, was laborating with some of the most significant composers of today. surrounded by a family of amateur but accomplished musicians. She is currently on the music faculty at University of California at He studied at the University of Wales, combining intensive profes- San Diego. She appears in a recent recording series by Italia records sional training in music, especially composition, with the pursuit of with her colleagues in the Five Centuries Ensemble and performs Celtic literature, which has interested him greatly since his early regularly with SONOR under the direction of Bernard Rands. teens. Rands' university studies culminated with an award which took him to Italy for two years, and after a short period studying in Rome with Roman Vlad, he moved to Florence to become a pupil of Luigi Dallapiccola. During this period he also came into contact with Berio and Maderna, and the latter helped introduce Rands' music to European audiences. Rands returned to his Welsh alma mater to teach, and in 1966 received the Harkness International Fellowship, which allowed him to spend two years in the U.S., resulting in his appointment as

(Continued) it

Professor of Composition at the University of California, San Diego. LEO SMIT was born in Philadelphia in 1921 and at age eight was Among Rands' most significant scores resulting from the particu- a scholarship student of Dmitri Kabalevsky in Moscow and at nine a larly creative period of the early 1970s were large-scale works such scholarship student at the Curtis Institute. At fifteen he was already as Wildtrack 1, 2, and 3 for orchestra, Mesalliance for piano and a professional as pianist for George Balanchine and the American orchestra, AUM for harp and orchestra and Metalepsis 2 for voices Ballet Theater where he collaborated with Igor Stravinsky in pre- and ensemble. As Music Director of the BBC Symphony Orchestra paring three ballets, including the world premiere of Jeu de cartes. Pierre Boulez conducted Rands' orchestral works frequently. Since his Carnegie Hall debut at 18, Smit has continued to In addition to continuing to compose, Rands has become in- perform worldwide, particularly championing 20th century music. creasingly active and accomplished as a conductor in recent years. He has premiered works by Bartok, Bliss, and Kabalevsky, among To this end he founded and conducts the ensemble SONOR at others, but has been most closely associated with Aaron Copland. the University of California, San Diego. The first of Copland's Four Piano Blues is dedicated to Smit, who Recent works include Madrigali, commissioned by the National first performed the work. The nationally televised "Live from Lin- Symphony Orchestra; and Obbligato, commissioned by the Sequoia coln Center" honoring Copland on his 80th birthday featured String Quartet. The composer writes: Smit as soloist in the Piano Concerto, and Smit's recent recording "Completed in January 1981, Canti Lunatici, for soprano tl of Copland's Complete Solo Piano Music was nominated for a and nine instruments, is based upon moon poems in English, French, 1980 Grammy. German, Italian, and Spanish, plus a translation of an ancient Smit began his composition study at 14 with Nicolas Nabokov. Gaelic text. The poets represented are Blake, Hopkins, Joyce, Plath, As a recipient of both Fulbright and Guggenheim Fellowships in Shelley, Whitman, Artaud, Arp, Quasimodo and Lorca. 1950-52, he lived at the American Academy in Rome. In 1947 he "Canti Lunatici is a labyrinth created by the compositional composed his first major work Virginia Sampler, commissioned by arrangement of the resources of voice, text, instrument and musical the Ballet Russe de Monte Carlo. His First Symphony, commis- idea rather than a succession of songs with instrumental accompa- sioned by the Koussevitzky Foundation and the League of Com- niment, each with its own musical and formal autonomy. posers, was premiered by Charles Munch and the Boston Symphony "Two principal cycles, one of text and one of musical definition, and subsequently won the New York Critics' Circle Award. His each revolving at a fixed but different rate, influence each other, Second Symphony was given a New York premiere by Leonard effecting the larger complex form of the whole work. Firstly the texts Bernstein and the New York Philharmonic. In November 1981 are chosen and ordered to reflect the Waxing (the first seven poems); Smit conducted the premiere of his Third Symphony in Belgrade, the Fulness (the eighth poem); and the Waning of the moon-a Yugoslavia-a commission to honor the anniversary of the friend- `narrative' which also encompasses the extraordinary and unpredic- ship between that nation and the U.S. Among his compositions for table responses of the human psyche. The second cycle, that of voice is a choral work, Copernicus, a collaboration with astrono- musical parameters, elaborates the 'narrative; resulting at different mer Sir Fred Hoyle, commissioned by the National Academy of times in clarity, obscurity, ambiguity, mystery and eccentricity." Sciences to commemorate the 500th birthday of Nicolas Copernicus. Canti Lunatici is scored for soprano, flute (piccolo and alto He is presently Professor of Composition at the State University flute), clarinet (E flat clarinet and bass clarinet), trumpet, 2 of New York at Buffalo. He writes: percussion, piano, violin, viola, and cello. "Academic Graffiti, by W.H. Auden, is a collection of funny, informative quatrains about famous men and women of history. My original setting of ten Graffiti was composed in 1962. This year I added Mallarme (No. 11) and nine connecting piano interludes to exquisite The Party Pieces, subtitled "sonorous and corpses;' complete the final version. were composed by jointly four highly notable and original American "Upon hearing my settings of his verses in private performance, composers, JOHN CAGE (b. 1912), HENRY COWELL (1897-1965), Auden confessed that he had not imagined them as material for 1896). LOU HARRISON (b. 1917), and VIRGIL THOMSON (b. The musical composition. In a confidential aside he said he would show four developed a somewhat surreal musical game, in which one composer me some Graffiti which were not published. Unfortunately that would write a bar of music and two notes, fold the paper at the bar delightful prospect never came about. line, and pass it to the next composer, who would use the two notes "The singer, like any good actor, should immerse him or as a starting point for his contribution. Lou Harrison commented: herself in the character portrayed, not hesitating to sacrifice vocal "In New York in the 1940s, when we were all enjoying one punctillios in favor of convincing impersonations. another's bright company, we used to play musical games some- "The music sometimes parodies styles of composers of our times when we got together. We would begin simultaneously and times and, through them, musical manners of the past. A specific pass the papers along in rotation in a sort of surrealist assembly percussion instrument is `left-motifed' with its accompanying line and eagerly await the often incredible outcome. I have for years `here; sometimes incongruously, like the alpine cowbell for urbane held on to these evidences of our pleasure in those days. Some Henry Adams, and then, fittingly, like the twinkling triangle in the years ago my friend Robert Hughes decided to arrange a number of fetal lullaby for Soren Kierkegaard. the sonorous corpses for wind and piano, which he then performed "Academic Graffiti is scored for histrionic voice, clarinet, cello, with friends at the Sticky Wicket in Aptos. This roadhouse was the piano, and percussion, and is dedicated to Lukas Foss:' generator, through its delightful owners (Victor and Sidney Jowers) and Robert Hughes, of the Cabrillo Music Festival" John Cage added, "We were all composers and friends to boot. Lou and I, coming from California, naturally thought of evening gatherings as occasions for playing games. These pieces were writ- ten in Lou's loft one floor tip from the sidewalk on Bleecker St. between 6th and 7th, late in spring or during the summer, I'd guess '44 or '45r The Party Pieces as arranged by Robert Hughes were first performed at the Cabrillo Music Festival in Aptos, California in August 1982. THE BROOKLYN PHILHARMONIC SYMPHONY ORCHESTRA ROCCO DI PIETRO was born in Buffalo in 1949, and studied Hagen, and later with Lukas Foss. piano and composition with Hans Lukas Foss, Music Director He made his New York debut at Carnegie Hall in 1971, and soon after received an ASCAP fellowship to the Berkshire Music Center MEET THE MODERNS at Tanglewood. There he met Bruno Maderna, with whom he studied the Ferienkurse until Maderna's death in 1973. Di Pietro attended ORCHESTRA PERSONNEL fur Neue Musik, Darmstadt, where he premiered his Aria Per Buffalo Pianoforte in 1978. He was composer-in-residence at the Violin I Horn Arts Academy in 1981-82. Yuval Waldman Paul Ingraham Di Pietro's work has been performed by well known artists and Violin II Trumpet ensembles in the U.S. and Europe. Among his works are Berceuse Joseph Schor Raymond Mase for chamber orchestra, premiered at the Ojai Festival, Lukas Foss, cond.; Drafts, premiered by Gunther Schuller; Piece for Bruno, Viola Trombone commissioned by the American Dance Festival for the St. Paul Janet Lyman Hill Jonathan Taylor 75-piece percussion orchestra Chamber Orchestra; Overture for Cello Percussion University of Buffalo; and Aria conducted by Jan Williams at the Richard Sher Joseph Passaro, principal Grande for violin and wind orchestra premiered by Christiane David Frost Edinger and the Bavarian Radio Orchestra. Bass Keyboard The composer writes: "My Chamber Rhapsody, Op. 63 for Joseph Tamosaitis and Ken Bowen flute, oboe, clarinet, bassoon, French horn, trombone, piano, Flute (Alto & Piccolo) sec- string quintet, is in one movement with four clearly defined Paul Dunkel Librarian tions: I. Intrada, II. Moderato Cantabile-a large melody is harmo- David Frost homage to Bellini determined Oboe nized as if looming in space. This Orchestra Personnel Manager theme, which appears continually Robert Botti the choice of a Sicilian folk Samuel Levitan transformed. The harmony is based on serial principles, so that Clarinet (& Bass Clarinet) each note of the melody has its appropriate chord, which itself can Jerry Kirkbride placement in the octave. The be modified by the melody-notes' Bassoon from the melody leads to a gradual dissolution of the harmony Jane Taylor transition where trills fill in the holes in the texture. Thus the stage is set for the structural transformation from a vertical think- ing to a horizontal which leads directly to III. Quasi rapsodia- here layers of independent melodies vie for the foreground. The melodies are based on my earlier instrumental works: "Melodia della Terra" for violin is played by the flute; "Melodia Nera" for timpani is now heard on the cello; "Melodia Assoluta" for cello is taken up by the bassoon, and the "Melodienschatz" for clarinet is played by the violin, etc. Throughout this dramatic little forest of iSt CREE G/ILLERJR IP4 the melody, horn and trombone calls signal the coming of the end of RUT/MORT-WM work, where all the instruments rush in, Quasi Cadenza, which DELI -PRTMEME Coda!' leads directly to IV. tvw-Nrin-w"al

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Lukas Foss, Music Director BENEFACTORS (S500,55991 CORPORATIONS Dr. Edward W. Altman Mr. & Mrs. Michael A. Armstrong & CORPORATE Lester & Bernice Asher FOUNDATIONS January 7,8,9, 1983 ic4 Mr. & Mrs. Bernard S. Barr The Dammann Fund Naumburg Prize Winners Donald H. Elliott PATRONS ($5,000-89,999) The Fried Foundation. Inc. NADJA SALERNO-SONNENBERG, violin Mark Gaston Chase Manhattan Bank. N.A. the violin with the virtuosity of a seasoned artist" Philip & Barbara Greenberg Citibank, N.A. "plays IBM Corporation New York Post William L. Harris Richard W. Hulbert Manufacturers Hanover Trust Company COLIN CARR, cello Mr. & Mrs. Jack Litwack Starrett City Warner Communications "played the cello remarkably" Michaels Philanthropic Foundation Alexander S. Moser The New York Times Arthur Ratner GRANTORS ($2,500-84,999) Mr. & Mrs. Harry L. Shuford Romeo Alone and Capulets Ace Industrial Sales Berlioz/ Springate Corporation Brooklyn Union Gas Company Bartok/ Suite No. 1 for Orchestra, Op. 3 The Virgil Thomson Foundation Exxon Corporation Brahms/ Concerto for Violin and Cello Dr. & Mrs. Morris J. Tissenbaum Freeport McMoRan, Inc. Vinmont Foundation Grace Foundation Morgan Guaranty Trust Company of New York SUSTAINING SPONSORS ($350-8499) Revlon Foundation Shearson / American Express. Inc. Harry Alpert February 11,12,13 1983 Mr. & Mrs. Harold Asen DONORS ($1,00042,499) mezzo-soprano Dr. Harold Bergman ch4 JOANNA SIMON, Savings Bank power Mr. & Mrs. Sidney Bershatsky Anchor "remarkably balanced combination of Mr. & Mrs. Seymour Besunder Bank Leumi and vocal beauty" Mr. & Mrs. Charles Ciaccio Century Factors. Inc. rj.,1 Dr. & Mrs. Carl D'Anna Con Edison Des Moines Register Mr. & Mrs. Melvin Epstein Conoco, Inc. Deitchman & Levine Prelude & Excerpts from Die Meistersinger Mr. & Mrs. Theodore Friedman 44 Wagner/ Dr. & Mrs. Benjamin I. Gilson ESBES, Inc. Wagner/ Symphony in C (Early Symphony) Florence Gittens. Macy's New York Mahler/ Kindertoten Lied& Dr. Arthur J. Lapovsky Metropolitan Life Foundation Mobil Foundation Till Eulenspiegel Philharmonic Society of Brooklyn Strauss/ Mr. & Mrs. Stephen Rosen Nabisco Brands, Inc. Eddie Sitt New York Telephone Company J.C. Penny Company Philip Morris Incorporated St. Joe Minerals Corporation SPONSORS (8225 -8349) Schlumberger Horizons March 11,12,13 1983 Mr. & Mrs. M.R. Berman Sco-Fuel Oil Co.. Inc. Dr. Julius E. Birnbaum Trust Company CHRISTIANE EDINGER, violin Dr. & Mrs. Norman S. Blackman of New York "gleaming tone and dazzling technique" Julius Bloom Western Electric Fund Dr. & Mrs. Martin Bodian San Francisco Examiner Mrs. Nicholas Caputo BENEFACTORS ($500.8999) Dr. Clifford Cohen Haffner Symphony Abraham & Straus Mozart/ Fred DeLano & Virginia Russell American Savings Bank Concerto for Violin and Orchestra Zimmerman/ Shelly Mehlman Dinholer Bankers Trust Company Joyce & Isaac Druker (N.Y. premiere) Colgate-Palmolive Company Beethoven/ Eroica Symphony Isabell Farrington Parker-Hannifin Corporation/ & Lies! Frank Darko V. Ideal Division Mr. & Mrs. Larry Friedman Penthouse Recordings Dr. & Mrs. Abraham Gilner Republic National Bank of New York Mendel Gurfein Kraft Frank Robert SUSTAINING SPONSORS PASO -9499) Dr. & Mrs. Lawrence Kuskin Mr. & Mrs. Seymour A. Lampert Capriano & Lichtman April 15,16,17 1983 Environmental Planning Lobby Drake Bros., Inc. ISRAELA MARGALIT, piano Mr. & Mrs. August Ludtmann ILA Local 1814 Joseph Machlis Spilke's Baking Co., Inc./ I:4 "a brilliant and sensitive artist" Marcella Maxwell Red Mill Farms Die Welt, Hamburg Dr. Tatsuji Namba Williamsburgh Savings Bank David & Sheila Newman ELAINE MALBIN, soprano Mr. & Mrs. Donald S. Owings SPONSORS (8200-8349) "she struck nothing but pure gold" Ted & Helen Resnick Amstar Corporation The New York Times Dr. Edward Robinson Sam Ash Music Stores Elaine F. Rubenstein Bio-Science Laboratories Schubert/ Overture to Der Hausliche Krieg Dr. Jack I. Safian Greater New York Savings Bank James H. Scheuer Schubert/ Songs with orchestra Hon. & Mrs. Independence Savings Bank Thomas & April Scorcia Joint Board, Fur, Leather Schubert.Liszt/ Wanderer Fantasie for Piano and Orchestra David & Mary Sive & Machine Works Schubert/ Symphony No. 9 in C ("The Great") Nicholas John Stathis Lincoln Savings Bank Isaac & Vera Stern Foundation, Inc. Metropolitan Savings Bank Robert V. Toscano Nu-Tone Printing Company Dr. & Mrs. Bernard Wasserman Pfizer Incorporated Dr. & Mrs. George Weinbaum Santoro Bros., Inc. S.M. & D.E. Meeker

May 13,14,15 1983 Staff for the Brooklyn Philharmonic LEON FLEISHER, piano Maurice Edwards, Managing Director such stellar names as Rubinstein, "ranks with Allen Edwards, Director of Development Schnabel, Serkin, and Kempff" Helen Sive Paxton, Director of Public Relations and Community Concerts The New York Times David H. Graham, Assistant to the Manager Louanna 0. Carlin, Office Manager for Orchestra Mennin/ Canto Samuel Levitan, Orchestra Personnel Manager Britten/ Diversions on a Theme for Piano Volunteer Council: Sydelle Hermalin, Accounting; Jacki Tissenbaum. Publicity; Shoshana Kahn, (left hand) and Orchestra Edythe Sauler, Audience Development; Linda Schreiber, Dorothy Elliott, Adelaide Seer, Tchaikovsky/ Symphony No. 5 Luz Alvarez