Leon Levy BAM Digital Archive
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'I t NaC rniE 1JWSV-SkVt°11-3 CD% crt \Arc a Na,g .- a - "74 t - " MIDI. ..tp .t "Ts 4 I. e atto t r tenors' e r. bone basso rt oral' cry ir ,8 rod t"o I ro1eno 11 st one calsae *a at 1011 61A',) (KV Mit, tr t,to Ousi 0) .4 4, our money grows like magic at the THE DIMEDIME SAVINGS BANK OF NEW YORK MEMBER FDIC 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 Paula Robison 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 Carlos Salzedo 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. mnt Street gaVern -1.....,,,. ....z..... wt. o Lizi..,,,,,T,r44.___ 11111111MS mai WI I CINDERELLA #5 Doe' - I - Brooklyn Union Gas 1 _ , . .... 1 WilliamsruArgV Savings Bank ' BVILDiRS t CO SPONSORS John Melvin Assoc 783-7800 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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Only 3 blocks from BAM ,=sairapairscatEall 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 United States 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.