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MANHATTAN DOWNTOWN BROOKLYN BENSONHURST FLATBUSH CONEY ISLAND KINGS PLAZA VALLEY STREAM MASSAPEQUA HUNTINGTON STATION Brooklyn Academy of Music I - le= w )tivs, 15 Program Saturday, March 5, 1977 (8:30pm)/Lepercq Space Sunday, March 6,1977 (2:00pm)/Lepercq Space

BAM's t Chamber Music Series Orpheus Trio 0 VI. S..0 !LA flute Ter Scott Nickrenz viola Heidi Lehwalder harp

Claude Debussy Sonata for Flute, Viola and Harp Pastorale Interlude Final

Carl Phillippe Emanuel Bach Sonata for Unaccompanied Flute, In A minor Poco Adagio Allegro Allegro

John Austin Orpheus and the Maenods, for Flute, Viola and Harp Orpheus Beside the River Hebrus The Vision of Orpheus The Death of Orpheus

Francois Devienne Duo Concertante No. 3 in C minor for Flute and Viola Allegro molto con espressione Rondo

George Philipp Telemann Fantasia for solo Viola, No. 1 in E flat Major Largo HAVE Allegro Grave Allegro YOU Ballade for Harp Maurice Ravel Sonatine Mod ere BEEN Mouvement de Menuet THERE Anime LATELY

Scott Nickrenz is Music Director for BAM's Chamber Music Series, made Foundation. ...possible in part with a contribution from the Surdna 11 About the program ... The best time

to 1 a Claude Debussy Sonata for Flute, Viola and (1862-1918) Harp NN ionprlinelocat The Trio Sonata is typical of Debussy's lattermost style. The Sonata for Flute, Viola and Harp was the second of a projected series of six sonatas: the first is for cello, and the third for violin its (both with piano). Debussy never lived to complete the set although we know that No. 4 was to have been scored for oboe, horn and clavecin. At first hearing, the work seems as intangible as a rainbow-all wisps, strands and elusive shadows. before Closer scrutiny reveals a taut motivic workmanship-an organi- zation in which every note in the spare texture counts for something. The writing abounds with darting motions, scintil- lent color shifts and thrusts of linear humor. The so-called irbecomes a "impressionism" of Debussy's earlier style (he hated that term, incidentally) gives way to an altogether new economy of means. It is not difficult to see why "late" Debussy-the com- prime poser of these sonatas, the Douze Etudes for piano, the location. a orchestral Images and the tone poem Jeux-has become darling of the avant garde: without his pioneering work, there might never have been a Boulez, for example, although Stravinsky, Poulenc and Satie would have undoubtedly found their way.

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P. : 6 t;;e6- ve entertainment 6-9 gine good. Open 7 Days al/Peek, The St.Felix Street eYerving 4nch & Dinner Brownstone Restoration 5-7 grant jtreet, (Tinder theBridge) adjacent to Brooklyn, L w Er& the Brooklyn Academy of Music. eservations: 875-6953 Brooklyn Union Gas Q./1/1 (Major Credit Cards .ifccepted Carl Philippe Emanuel Bach Sonata for Unaccompanied The place (1714-1788) Flute, in A minor Carl Philippe Emanuel, the second son of Johann Sebastian and Maria Barbara Bach (he was also the Godson of Telemann to come... -hence the "Philippe" in his name), was an extraordinary musical prodigy in his own right. It is instructive, to say the least, to compare the father's submissive obsequity to King Frederick the Great (e.g. in the dedication to "The Musical for low-cost, Offering") with the son's altogether more independent stance. The King, C.P.E. is reported to have said, might be the autocrat high-quality of his kingdom but enjoyed no prescriptive pre-eminence in the realm of art. Obviously, the relationship between monarch and subject was a complex one and although the flute-playing family protection! Frederick didn't much care for C.P.E.'s individualistic music (and strongwilled temperament), he did appreciate his genius and renown and was therefore loath to release him from his employ. The The A minor Sonata dates from 1763-somewhere near the end of C.P.E.'s twenty-eight-year stint with Frederick (he left five years later). The opening movement is typical of its com- Williamsburgh poser's unique style at its most rhapsodic and expressive. The two Allegro movements are far from being identical in mood: Savings the first of them is rather serious and rhythmically forthright -rather akin to Johann Sebastian's basic style; the second, by Bank contrast, is altogether more mercurial and Italianate-a fitting Incorporated 1851 conclusion.

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Maenods for John Austin Orpheus and the George Philipp Telemann Fantasia for Solo Viola, No. 1 (b. 1934- ) Flute, Viola and Harp (1681-1767) in E flat Major

Like Telemann, Schumann and Davidovsky, Mount Vernon Telemann, born four years before Bach and Handel, outlived born Austin's early career was divided between music and the the former by seventeen years and the latter by eight. His fame study of law, but after graduation from Harvard Law School was greater than that of either of these notable contemporaries, and one year of practice in the Department of and it is worth recalling that when Bach got the appointment Justice, music won out. He went to Vienna, studied with Roy to Saint Thomas', he was only the third choice whereas Harris and Robert Lombardo, and since 1963 has lived in Telemann was the number one man. In recent years, Telemann Chicago. Austin's compositions range from Chamber Music has been restored to respectability from the oblivion foisted (string quartet, brass quintet, percussion duo) to a Rock Opera on him by an overreacting posterity. In a sense, Telemann and orchestral/choral music. His honors include residence at (who reputedly could set a postcard or laundry bill to music) the Mac Dowell Colony and performances of his music atTangle- was victimized by his own facility. Any composer so prolific as wood and at Orchestral Hall in Chicago. he naturally runs the risk of being found repetitious. For all his formidable skill, Telemann's prowess was directed more Mr. Austin has furnished the following notes:"VVhen Orpheus toward maintenance than innovation. He wrote excellently returned to Thrace and after his ill-fated adventure in Hades, within the established forms of the day and yet coined none of he lay weeping and lamenting by the river Hebrus, oblivious to his own. Yet let the record also state that Telemann was a all but the loss of his beloved Euridice. Mad with dissipation creator of substantial communication and originality, that- and desire, the Maenods cursed and taunted Orpheus for his in- unlike Bach- he rarely if ever borrowed material from others difference to them and left him staring into his mind's blank or even himself ... eye. The Fantasia on today's program proves the point exquisitely. "His visions became twisted and grotesque as if bent through The work is cast in the usual slow-fast-slow-fast sequence of warped dark glass. His anguish knew no bounds. the Italian Church Sonata which became popular all over Europe during the late-Baroque era. "The Maenods returned and fell upon the helpless man with demonic fury. They drowned his elegies with piercing shrieks; they severed his head from his body (a far cry, this-from Gluck's non-violent version to the legend!) and cast it into the river Hebrus whose murmuring waters carried it toward Lesbos. As it floated away it sang broken fragments of sorrow and lamentation."

Listeners are advised that the three paragraphs describe the three sections of the music.

Carlos Salzedo Ballade for Harp (1885-1961) Francois Devienne Duo Concertante No. 3 in (1759-1803) C minor for Flute and Viola Carlos Salzedo wrote for the harp with much the same identifi- Devienne played oboe, bassoon and flute. He taught at the Paris cation that Wieniawski had for the fiddle and Rachmaninoff Conservatoire and formulated a method for playing the flute, for the piano. In other words, he was one of the great perform- chamber music and concertos. The work under discussion, full ing masters of his chosen instrument and his original com- of courtly elegance and consummate craftsmanship, is typical positions translate his love and technical knowledge into, un- of Devienne's "norm" and also of the then-contemporary tastes. mistakable musical impulses. Sharing its vintage with Bonaparte, it could-with justice-be described as midway between a bon-bon and a Napoleon (and After his student days at the Paris Conservatoire, Salzedo be- far more palatable than the Emperor for which the latter was came principal harpist with the Metropolitan Opera Orchestra named!). at the behest of the then-resident conductor, Maestro Arturo Toscanini. He became deeply involved with the Avant-Garde movement headed by Edgar Varese and often conducted the concerts held by the International Composers Guild, an organ- ization he co-founded with Varese. In later years, Salzedo turned to pedagogy and was as successful in that realm as he was with composing and concertizing. During the winter, he taught at Curtis Institute and in the summer months, he trans- ported his class to the now legendary harp colony in Maine. eamperdown Many promising artists journeyed there to benefit from 847 Union St Elm Salzedo's wisdom and one of the most gifted was Heidi Off 7th Ave. in Park Slope Lehwalder, who performed there (brilliantly, I am told!) at the age of eight. The Daily News says we're one of the best! Find out for yourself. Come for dinner--before or The Ballade dates from the early years of Salzedo's illustrious career. He was in his early twenties when he composed this after the show (served 5 to midnight treacherously difficult bravura piece which calls for, among Tues.-Sat., Sun. 4 to 11). other things, more than 100 shifts of the pedal during its -or Brunch before a Sunday matinee (11-2) brief duration. Salzedo wrote works for one harp, two harps, seven harps and for harp with piano, winds and orchestra, but Reservations recommended (212) 638-0860 the Ballade remained his biggest showpiece-indeed, One of the 11 instrument's grandest mainstays. NEXT AT BAM . . . Ring Down the Curtain with a Grand Finale Brooklyn Philharmonia at minimax tiai Antonia Brico, guest conductor March 4-6

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MINIMAX is only a few minutes from BAM 174 Montague Street in beautiful old Brooklyn Heights Cleveland Quartet Mon-Thurs 8am-10pm/Fri-Sat 8am-12pm/Sun 9am-9pm with Robert Sylvester, cello April 16, 17

Pennsylvania Ballet

April 26-May 1

LIU TRIANGLELi THEATRE The Brooklyn Center, University Plaza, Brooklyn, N. Y. 11201 Wed. Feb. 16, noon Opera Workshop-excerpts from MinfliY7 "Aida" BAR AND RESTAURANT Wed. Feb. 23, noon Piano Recital-Lee Hoiby Wed. Mar. 2, 3pm Bay Chamber Opera-Short operas Wed. Mar. 9, noon Modern Dance Festival-directed Open Daily by Prof. Judy Stewart 12 Wed. Mar. 16, 2pm; Thurs. Mar. 12 Angry Men-directed by Prof. Noon to Closing 17,1:30pm; Fri. Mar. 18, noon; Earl Simmons Sat. Mar. 19, 7:30pm SUNDAY BRUNCH Tue. Mar. 22, 3pm Piano-Vocal Recital-John Bell Young, piano, Tali Mack ell, baritone Eggs Benedict, Bloody Mary, Wed. Apr. 20, noon Opera Workshop IV-excerpts OJ , Coffee, $3.50 from "II Trovatore" Wed.-Sat. Apr. 27-30 Play-to be announced 'HAPPY Wed. May 4, noon Piano Recital-Refica Elibay HOUR'

Monday thru Friday 5 PM - 7 PM All events are open to the public without charge. For further information All Drinks $1.00 at the Bar Only call 834-6071.. just three blocks from BAM. Prof. David Raher, Program Coordinator 222 Seventh Ave. Park Slope Brooklyn, N.Y. Tel. 499-2311

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