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MANHATTAN DOWNTOWN BROOKLYN BENSONHURST FLATBUSH CONEY ISLAND KINGS PLAZA VALLEY STREAM MASSAPEQUA Brooklyn Academy 'of. Music ? met 0-7S-r,Corg ABRAHAM Program December 20, 1975 (8:30pm )/Lepercq Space It's Saturday, eye -blinking Sunday, December 21, 1975 (2:00pm )/Lepercq Space The NE In York ci)

Cleveland Quartet dOrrigilig° "York in Donald Weilerstein ..Th NEW Violin It's sparkling Peter Salaff Violin A Paul Katz rf Cello

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with guest artist t,..6-1`. Michael Tree Viola

-40%6.- York Franz Josef Haydn Quartet for Strings, in New The NEW in F Major, Op. 3, No. 5 It's kissable Presto Andante Cantabile (Serenade) I Menuetto Scherzando

- 7 Serge Slonimsky Antiphones ark New EW in The N I Intermission earful -- It's an

Wolfgang AmadeusMozart Quintet for Strings, in D Major, K. 593 Larghetto Adagio The Menuetto Finale-Allegro NEW a -AO in New York .. A&S FABULOUS NEW Scott Nick renz STREET Director for the Chamber Music Series .

FLOOR (A&S Brooklyn store) The place About the artists . . to come... 'Donald Weilerstein, violin, has been guest artist with orchestras in the United States, Canada and Europe. for low-cost, He made his New York debut in 1967 and has given recitals in many cities including Boston, Baltimore and high-quality San Antonio. A graduate of Juilliard, Mr. Weilerstein studied violin with Ivan Galamian and chamber music with the Juilliard Quartet. In 1968 he won the highest family protection! prize in the Munich International Competition. He has appeared as guest artist in the Music from Marlboro series. The Peter Salaff, violin, studied at the Eastman School of Music and at the School of Music where he was concertmaster and soloist with the Col- Williamsburgh legium Musicum. His teachers were Cedric Bennett, Sophia Pimenides, Joseph Knitzer and Broadus Er le. Savings Mr. Salaff spent three years in Chile where he taught at the Universidad de Concepcion and performed as Bank soloist with orchestra and in chamber music recitals. Incorporated 1851

Martha Strongin Katz, viola, was the highest prizewin- Brooklyn Offices: ner at the 1968 Geneva International Viola Competi- ! Hanson Place at Flathush Ave., tion and soloist with l'Orchestre de la Suisse-Romande. Brooklyn, N.Y. 11243 At that time she was also the recipient of the Max Re- Broadway at Driggs Ave., Brooklyn, N.Y. 11211 86th St. and 23rd Ave., Brooklyn, N.Y. 11214 ger Award. She studied with Raphael Bronstein, Ivan New Lots and Pennsylvania Ayes., Galamian, and . She has Brooklyn N.Y. 11207 participated in the Music from Marlboro tours and was a member of the University of Southern California Nassau Offices: String Quartet, which was an international prizewinner Hempstead Turnpike at Center Lane, at the 1965 Munich Competition. Levittown, N.Y. 11756 682 Dogwood Ave., Franklin Square, N.Y. 11010 Paul Katz, cello, has studied with Gregor Piatigorsky, Gabor Rejto, Janos Starker, Bernard Greenhouse, Leo- Queens Offices: nard Rose, and in 1962 was selected nationally to per- 63rd Drive at Saunders St., Rego Park, N.Y. 11374 form in the Master Class at Berkeley, 136-65 Roosevelt Avenue, Flushing, N.Y. 11354 California. Mr. Katz also was a member of quartets 107-15 Continental Ave.. Forest Hills N.Y. 11375 that were international prizewinners in the Munich and Geneva Competitions. He has appeared as recitalist in Manhattan Offices: New York, Los Angeles and other cities throughout 74 Wall St. at Pearl St. New York, N.Y. 10005 the United States, and was honored to perform before 345 East 86th St., New York, N.Y. 10028 the Violincello Society of New York. He has spent several summers at the Marlboro Music Festival.

Michael Tree was born February 19,1934 in Newark, New Jersey. He started to study the violin with his father at the age of 5. At 12 he attended the Curtis Inquire about Institute of Music where he continued his studies with Efrem Zimbalist, Madame Lea Luboshutz, and Vida Reynolds. In 1954 Mr'. Tree gave his recital debut at Savings Bank Carnegie Hall and received rave reviews. Subsequent to his debut Mr. Tree appeared as violin soloist with the Philadelphia, Los Angeles, Baltimore, New Jersey, and Life Insurance other major orchestras. He has participated in leading music festivals including Spoleto, Casals, Marlboro and Israel. As a founding member of the Guarneri Spring at any office Quartet, which is now in its 12th season, Mr. Tree ap- pears as a violinist in major cities throughout the world. without He has recorded for RCA, Columbia, and VanGuard labels, and serves on the faculty of the Curtis Institute obligation! of Music. Mr.Tree and his family reside in Manhattan. 2 3 The Program . . The veryfarnous restaurant Quartet for Strings, in F Major, Op. 3 No. 5 Franz Josef Haydn (1732-1809) in I Haydn's legendary total of 104 plus symphonies (a few more In 1879 Brooklyn was a separate city and we began a New York were either lost or unclassified) is nearly equaled by his grand dining tradition. The distinction of the food, the unhurried service and the elegant atmosphere total of eighty-three string quartets. Again there is some confu- attracted patrons from far and wide. Now we are a Landmark. a sion as to the quantity: modern nostalgic scholarship has conjectured example of a golden era in New York's that history. Today, as other composers may have had a hand in some of the in the past. our patrons arrive with anticipation and oeuvres formerly attributed to the master under discussion. Not leave warm and happy. Its our claim to fame. only that, some of the earlier "quartets", it now turns out, were Brooklyn's Landmark Seafood and Steak actually symphonies. House (Est 1879) GAGE& 1; be It should remembered that Haydn was one of the pioneering 372 Fulton Street (nr. Boro Hall) 875-5181. Lunch and Dinner except Sunday. forces of so-called "Classical" style. When he was born, J.S. Amex, Diners & Master Charge. Bach had twelve more years to live and Handel had seventeen. Domenico Scarlatti was still composing harpsichord sonatas and the long lived Telemann (born four years before Bach and Handel) was practically in mid-career. At the beginning, Haydn probably made little distinction between quartets and sympho- nic works: if the exigencies so dictated, he would add wood- wind parts and multiply those for the stringed instruments. He was nothing if not a practical man. What we associate as typical Haydn comes chiefly from the lattermost years of a lengthy and productive creative span. It is a somewhat sobering realization that much of the familiar Haydn was strongly influenced by Mozart and that some of it was even touched by Beethoven C°5 (Haydn's Op. 77 quartets, for example, came after Beethoven's Op. 18). 515 ATLANTIC AVENUE The F Major Quartet, however, is one of the few early works of (Corner of Third Avenue) Haydn that made it to the Hall of Fame. Its reason for celebrity BROOKLYN, NEW YORK is, of course, the second movement - a lovely serenade which Telephone: 625-0984 has been subjected to every sort of arrangement imaginable. Open 7 days/5:30 AM to Midnight Op. 3 No. 5 is typical of early Haydn in that its style is more a- kin to Boccherini and other rococo masters than to the grander, reasonable prices for more earthy things associated with the composer in his later Breakfast - Lunch - Dinner

stages. In terms of actual technique, Haydn gives pride of place . Cocktails to the primo violino. The viola and cello's hapless lot is to pro- Baking done on Premises vide bass support in doubled octaves (how different the eman- Bring in this ad for a complimentary cipated instrumental writing of Haydn's later quartets!). The glass of house wine with your meal. unequal situation is particularly evident in the cited Serenade, which is nothing more than a two-part vocal area "sung" by the violin and accompanied at a respectful distance by gentle pizzicatos. Be that as it may, the F Major Quartet has a fragile kl beauty and though overshadowed by subsequent efforts, it is nevertheless a work of incipient mastery and melodic genius. The four movements are 1) Presto, 2) Andante cantabile (Sere- A rich Sunday: nade), 3) Menuetto and 4) Scherzando. Oriental rugs, Baklava, Turkish Antiphones coffee, Serge Slonimsky (1932- ) Brooklyn Academyof Music To make your Sunday at the Brooklyn Academy of Music even richer, stop by Antiphones for string quartet is obviously avant-garde in many the Kalfaian Oriental Rug Gallery located just two short blocks away from the Academy. At Kalfaian, you'll find one of the most renowned collections of ways. The work begins from backstage and the performers are Oriental rugs in the New York area, beautifully displayed for leisurely inspection. specifically directed to play from various corners of the audi- While there, savor Turkish coffee and Baklava as you browse amid hundreds of torium and the stage during the course of the performance. A hand-crafted Oriental masterpieces. good deal of artistic freedom is given to the instrumentalists It's an enriching way to spend your day. by the composer. Slonimsky writes in a footnote "The tempo, dynamics, and bowing are to be determined by the performers D. 1..idValart Son INC. - Since 1907 according to the character of the material. Bowing and nuances Since 1907, Oriental Rugs at Warehouse prices. are only occasionally indicated." The composer gives no pre- 475 Atlantic Avenue cise rhythmic values in his notation. Notes are designated "long," (Between 3rd Avenue and Nevins Street in Boerum Hill) "half-long," "short," "increasing in speed" or "decreasing in Sunday, 10:00 A.M. to 5:00 P.M. Weekdays 9:00 A.M. to 5:00 P.M. (including Saturday) speed." An improvisatory feeling, is not chaos, the net effect TR 5-2222 of all this, for the piece is quite carefully disciplined in terms 4 continued on page 6 5 Cosi Fan Tutte and nearly a year before Die Zauberflote. continued from page 4 Don't be deceived by its ostensibly undramatic, even reticent of the four voices and of the vertical arrangements how they character: in many respects K. 593 is the most innovative of all Slonimsky is usually quite fit together. Melodically, specific the Mozart quintets. For starters, it is the only one of them to use of quarter-tones. There are and makes extensive occasional commence with a slow introduction and for another, Mozart the performers bars of music, however, where have improvisa- unexpectedly returns to said Larghetto introduction in the first the long glissando passages in the tory freedom, and middle of movement coda, thereby establishing a valuable precedent for only by graph lines giving the shape the work are indicated of Haydn's Drumroll Symphony in E Flat. The initial idea, a quest- the curve; very few precise pitches are indicated. ing upward arpeggio on the cello answered by the other instru- ments, establishes a gently introspective character. Mozart re- Slonimsky's Russian-Jewish Antiphones is an expression of he- peats the pattern several times, each repetition moving upward. singing was first practiced by the Levitical ritage. Antiphonal The first movement proper - somewhat more dramatic and Musicians in the temples of King David and Singers, Priest King abrupt in tone - has a few structural anomolies of its own chant seems Solomon. This responsorial type of to form the (apart from the aforementioned reappearance of the Larghetto). much of this work. Furthermore, participants in basis for the Some analysts have been tricked into classifying it as a mono- temple courtyard ceremonies moved about much in ancient the thematic sonata (that is, with a first theme serving as subor- as Slonimsky directs his performers to various parts same way dinate idea and in other capacities as well). A portion of the of the stage and auditorium. principal subject, with canonic imitations, does appear at pre- cisely the spot where those cognizant with classical procedure The modal recitative-type sections heard early in the work al- expect to hear the new idea, but for all that, a real second so seem closely linked to Hebrew chant of 4000 years ago. This theme belatedly arrives, just in time to bring the exposition ancient music grew out of the oriental modes which use quar- section to a close. To fully fathom Mozart's marvelous deve- ter-tones, subtle gradations in pitch which are perceived by the lopmental technique, a careful scrutiny of the rather elaborate ear, not as dissonance, but as gentle inflections which shade first theme is in order. That theme, like a compound sentence and give expressive color to the line. The composer makes ex- in spoken language, may be readily subdivided into several tensive use of quarter-tones in this work. Written "in the non- disparate groups. First, there is the theme opening idea - a tempered mode," these subtle pitch inflections are important crisp, springy, staccato motif suggestive of a quick march with impact of Antiphones and the feeling the lis- to the emotional strong accentuations in its third bar. This is answered by a down- composition has its roots in music of an ear- tener gets that the ward cascade of triplets and finished off with a series of em- lier time. phatic cadential chords. A quiet four-bar appendage calms things down and (after a partial repetition) provides grist for The first performance of Antiphones outside of the Soviet the ensuing transitional bridge passage. In the echt development the at Hunter College in Union was given by section, Mozart first concentrates on a combination of the true New York City on January 28, 1971. second theme and the downward triplets of the first theme. Then, as the working out gets more intense, the triplets and chords become more insistent. One more irregularity: the order of bridge passage and "false" second theme is reversed in the recapitulation, much in the way that the first movement of Mozart's K. 491 Piano Concerto (No. 24 in C minor) inter- Quintet for Strings, in D Major, K. 593 changes the occurance of second and third themes when they (1756 -1791) return. A final reprise of the march idea follows the reiterated slow introduction and brings the movement to a conclusive Even granting their aesthetic sublimity, many of Mozart's close. The Adagio (in G Major) opens with a sustained, almost earlier compositions were steeped in the traditions of enter- hymnlike first theme and juxtaposes it with a second idea (in tainment music; the divertimento, the serenade, the notturno. D minor) whose agitated triplet ostinato and swirling trills The composer didn't exactly abandon these forms in later remind your annotator of the central episode of the A minor years, as witness the stupendous String Trio Divertimento, K. Piano Sonata's (K. 310) second movement. The Minuet and 563, an example of utter transfiguration if ever there was one - Trio is relatively benign. Brahms must have been thinking of but somewhere in the late Koechel 300s, his art became less this minuet when he penned the first of his Opus 39 waltzes festive and notably more serious. His big step ahead viz chamber- for piano. The first violin's upward arpeggio in the trio sounds music came with the six string quartets dedicated to Josef more like Haydn than Mozart (with a little sleuthing, it can be Haydn. Haydn heard three of these works early in 1782 and traced back to the first movement's opening Larghetto). The remarked to Mozart's father Leopold, "Before God and as an finale, Allegro, may well be the most remarkable movement of honest man, your son is the greatest composer known to me all. It begins with a guileless theme in high stepping gigue meter either in person or by reputation." Mozart composed one more and subsequently stumbles into all sorts of spine-chilling chro- string quartet that can equal Kv. 387, 421, 428, 458, 464, and matic dissonances. The modus operandi here pointed the way 465 for blinding inspiration - the so-called Hoffmeister in D to a counterpart movement in one of the Beethoven quartets Major, K. 499. His last three quartets, Kv. 575,589 and 590, are (the last movement of Op. 183 offers much the same kind of charming and masterful but on a lower plane of intricacy and tightrope act); it also reminds me of a certain tramp named emotional intensity. Charlie Chaplin, whose blithe behavior combined with master- ful timing and innuendo, likewise suggested all sorts of diagolical Do not suppose for a minute that Mozart was "written out": the possibilities. evidence at hand merely suggests that the string quintet sup- planted the quartet in his deepest thoughts. Evidently there Harris Goldsmith was something about the added second viola, the increased ap- depth and amplitude of the total sonority, that obviously Foodstuffs . . . pealed to a creator increasingly more troubled and inward- Fun, fattening and fabulous fingerfoods are available for all looking. A roughly analogous situation (with more clear-cut BAM performances in our lobby. If you're starved and in a circumstantial evidence to support the contention) would be of hurry or if you can't face another hamburger casserole, we Beethoven's abandonment of the string trio genre for that have assorted snacks before curtain time. Our red and white the string quartet. In any event, it is pretty close to intangible pushcarts and bar are also open for intermission. fact that the last four of Mozart's viola quintets display his in genius in rarest form. The D Major Quintet was completed The new carpeting in the Opera House was made possible by a generous of . gift from the Friends of BAM. December of 1790, nearly a year after the first production 6 7 1

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The Brooklyn Academy of Music Next at BAM . . . 30 Lafayette Avenue, Brooklyn, N.Y. 11217 (212) 636-4100

Garrick Ohlsson, piano Harvey Lichtenstein Executive Director January 3 Judith E. Daykin General Manager Sharon Rupert Director of Finance Trisha Brown Dance Company Charles Ziff Director of Promotion and January 8-11 Audience Development Jabberwocky (for Children) Herbert Scott-Gibson Director of Development January 17 Malcolm J. Waters Production Manager William Mintzer Lighting Consultant to BAM Brooklyn Philharmonia: Lazar Berman, piano John J. Miller Theatre Manager January 17 Laurie Burpee Assistant Theatre Manager Chamber Music: Aulos Woodwind Quintet Stan Mongin Building Manager Daniel J. Sullivan Box Office Treasurer January 24, 25 Betty Rosendorn Children's Program Manager American Theatre: Long Day's Journey Into Night Gerald Aiello Group Sales Representative January 27-February 8 The Brooklyn Academy of Music, Inc. a non-profit organization. Lynn Harrell, cello and James Levine, piano Abraham D. Beame and Sebastian Leone, Honorary Chairmen/Paul Lepercq, Chairman/Dan Seymour, Vice-Chairman/Donald M. Blinken, President/ February 1 Harvey Lichtenstein, Secretary and Executive Director/Donald E. Moore, Brooklyn Philharmonia: Aaron Copland Treasurer/Donald H. Elliott/Harold L. Fisher/Leonard Garment/I. Stanley Kriegel/Samuel H. Lindenbaum/W. Barnabas McHenry/William Tobey/ February 14 Member ex-officio Mrs. Claire E. Bodian.

Chelsea Theatre: The Boss The Brooklyn Academy of Music gratefully acknowledges the support of February 17-March 14 the National Endowment for the Arts, the New York State Council on the Arts, and the Parks, Recreation and Cultural Affairs Administration of the City of New York. The Brooklyn Academy building is owned by the City of New York and funds for its maintenance are administered by the Parks, BROOKLYN'S MOST FABULOUS Recreation and Cultural Affairs Administration, Abraham Beame, Mayor. RESTAURANT The taking of photographs or the use of recording devices in this theatre is strictly forbidden. Open Daily & Sun. until 1:30 am BREAKFAST ' Directory of Facilities and Services LUNCHEON, DINNER Box Office Hours: Monday, Noon to 6:00pm BEFORE-THEATRE COCKTAILS Tuesday through Saturday, Noon-9:00pm AFTER-THEATRE SNACKS Sunday - Performance Times Only CATERING Lost and Found: Telephone 636-4100 FOR ALL OCCASIONS ii Lounges and Restrooms: Opera House Offices. Ladies: Orchestra and Balcony Levels to Homes and Men: Mezzanine and Balcony Levels Complete Playhouse Ladies: Orchestra Level Banquet Facilities Men: Mezzanine Level AVE.EXT Lepercq Space FLATBUSH Ladies: Theatre Level at DeKalb Ave. Men: Theatre Level 2 Blocks from BAM Phone: 852-5257 Public Telephones: Main Lobby, Ashland Place Entrance