IANGIC VIA-131 ryx\E veNERFI611-) (CAE- P. Tevt.u.rel Adagio

A I;;;

Violin°

viaiwo if

aal

5112.7.6 WA. vn. 101610.) (KS Mau Ouvettutcu-tragtmnt 0) 511

our money grows like magic at the

THE DIME SAVINGS BANK OF MEMBER FDIC

MANHATTAN DOWNTOWN BENSONHURST FLATBUSH CONEY ISLAND KINGS PLAZA VALLEY STREAM MASSAPEOUA HUNTINGTON STATION Brooklyn Academy .of Music 775 , 61 .E7 Program Saturday, May 7, 1977 (8:30pm)/Lepercq Space Sunday, May 8, 1977 (2:OOpm) /Lepercq Space

Ii BAM's The Mai llot Sensation Series

begins with a single sleek suit...then every move you make under the sun becomes a sensuous experience. We have a maillot for you in our collection. Piano

Ludwig van Beethoven Trio in E Flat Major, Op. No. 1 Allegro Adagio Scherzo Presto

Charles Ives Trio for Violin, Cello & Piano Andante moderato Scherzo "TSIAJ (Presto)" Moderato con moto INTERMISSION

Antonin Dvorak Trio for Violin,Cello & Piano, in F minor, Op. 65 Allegro ma non troppo Allegretto grazioso- Meno mosso Poco Adagio Allegro con brio

Oasis Swimwear (383). AT THE A&S NEAREST YOU.

Scott Nickrenz is Music Director of BAM's Chamber Music Series, made possible in part by a contribution from the Surdna Foundation. About the program . . . The best time Trio for Violin, Cello and

(1770-1827) Piano, No. 1 in E flat Major, a Op. 1 No. 1 When Robert Schumann wrote his famous article in praise of Brahms, he claimed that the young musician did not "reveal primetobuylocat ion his mastery by . . . gradual development" but, rather, "sprang fully armed from the head of Jove". Schumann, rightfully im- pressed by his young protege's immense gifts, never lived to hear the "gradual development" he said didn't exist- but it all goes to prove that even genius needs time to mellow. Similarly, we shouldn't attach too much importance to the suggestively virginal ring of Opus 1 Number 1 in the Trio under discussion. For this superbly vital composition is no more Beethoven's before premiere effort than a New York debut represents an average concert artist's first recital.

As a matter of fact, the three trios of Op. 1 were not even tt becomes a Beethoven's first published works. The young composer/pianist must have thought well of these pieces for it was with them that he chose to make his formal bow into Viennese musical prime location. society. The occasion took place in 1792, soon after his ar- rival from Bonn, at the home of Prince Lichnowsky to whom the trios are dedicated. Beethoven's teacher Haydn was present at the gathering and though he was generally complimentary, suggested that perhaps Beethoven should think twice before

publishing the third work, the tempestuous Op. 1 No. 3 in C minor. Too much has been made of the alleged rift between pupil and teacher. Perhaps Beethoven did feel a bit ruffled but it is also quite evident that he took the older master's advice to heart, for in the three years between the soiree and the actual publication date (1795), Beethoven revised all three works very thoroughly indeed. Haydn, in any case, had little to be jealous about at that stage of his career and in fact- as we know vis a vis Mozart- was one of the most charitable of colleagues.

We find in Op. No. 1 much of the audacious dynamism found in so many of Beethoven's E flat works (e.g. the tumultously propulsive first movement of the Op. 7 Piano Sonata; the vib- rant brilliance of the Op. 12 No. 3 for Violin and Piano: the magesterial dynamism of the "Emperor" Concerto). The opening Allegro takes off like a rocket with an upward arpeggio E figuration. Shortly we find the keyboard protagonist hurling dizzying scale passages at the listener. (We must remember that Beethoven was himself the pianist-from all reports the most 1 WI continued ... CINDERELLA 115

Brooklyn Union Gas

Savings Bank

CO-SPONSORS John Melvin Assoc,- 783-7800 Restaurant Charcuterie Catering

The St.Felix Street Brownstone Restoration pate vice adjacent to the Brooklyn Academy of Musk. now open for lunch and dinner Special pre-theater dinner reservations recommended 0 Brooklyn Union Gas 178 Atlantic Avenue, Brooklyn, N.Y. 11201 624.8852

1 . . . Beethoven, continued brilliant of his time!) The second theme is exaggeratedly The place lyrical as befits perfect classical decorum. The sublime Adagio shows how such a slow movement can be both graceful and profound. This section does have a bit of the eighteenth- to come... century Classical decorum which Beethoven was to abandon so soon afterward, but the music is nevertheless full of af- fecting things (e.g. the powerfully expressive changes from for major to minor at mid point). The third movement is one of low-cost, Beethoven's first scherzi-a piece full of galloping momentum and insolent high spirits. Even the central trio section surges high-quality ahead in breathtaking one-to-a-bar manner. The finale, Presto, has definite motivic connections to the work's opening move- ment. For one thing the tenths which the piano states at the family protection! outset are derived from the third theme of the first section, and the downward arpeggios which follow immediately thereafter are little more than the very first subject turned around backward. Aside form such technicalities, this last The movement is a rondo full of dazzling brilliance and humor.

Williamsburgh Trio for Violin, Savings (1874-1954) Cello and Piano Connecticut born Charles Ives, who was a New York insurance Bank agent, might well have had qualms had he been asked to take Incorporated 1851 out a policy on his own music. In retrospect, he would have been wise to do so for clearly, this is a case of double indemnity if ever there was one! During all but the last few years of his Brooklyn Offices: lifetime, the crusty New Englander was considered an amateur 1 Hanson Place at Flatbush Ave., -a composer whose "works" were little more than free-for-alls Brooklyn, N.Y. 11243 and hodge-podges; rambling non-structures replete with sleezy 175 Broadway at Driggs Ave., Brooklyn, N.Y. 11211 quotes from patriotic tunes, Salvation Army bands, country 86th St. and 23rd Ave., Brooklyn, N.Y. 11214 fiddlers and Sunday school hymns (with occasional nods to Starrett City Office: Corner of Pennsylvania Ave. Beethoven and Stephen Foster). At their best, these pieces and Twin Pines Drive, Brooklyn, N.Y. 11207 were considered amusingly original. At their (more usual) Nassau Offices: worst, utterly unplayable and banal. Thanks to a few zealots Hempstead Turnpike at Center Lane, like the pianist John Kirkpatrick, who performed the Concord Levittown, N.Y. 11756 Sonata from memory as early as 1939, Ives gradually received 682 Dogwood Ave., Franklin Square, N.Y. 11010 his due as the Grandpa Moses of American music. Granted, there is a certain modicum of bedlam in most of Ives' creations Suffolk Office: and also many a purple page that more sophisticated craftsman- Walt Whitman Shopping Center, over cement. Huntington Station, N.Y. 11746 ship might well have smoothed with intellectual There is no denying the tremendous vitality and "good vib- Queens Offices: rations" which have endeared this music to a generation still in 63rd Drive at Saunders St., Rego Park, N.Y. 11374 diapers when Ives went to his reward. Ives was not so badly ti 136-65 Roosevelt Avenue, Flushing, N.Y. 11354 reared musically. After graduating from Yale where he under- 107-15 Continental Ave., Forest Hills, N.Y. 11375 went a fairly extensive musical upbringing (albeit a convention- al one), Ives experimented with chord clusters and polytonal- Offices: ity even before his trans-Atlantic colleagues were doing so. 74 Wall St. at Pearl St., New York, N.Y. 10005 345 East 86th St., New York, N.Y. 10028 continued ...

II Inquire about Coma Restaurant Savings Bank tel: 855-4830 UL8-2000 Life Insurance just across from BAM at any office open daily for lunch and dinner till 9 P.M. without Authentic Italian and American Cuisine obligation! special orders upon request . . . Ives, continued chamber works-that is, if one excludes the ever played Seren- F The work being presented today was composed mostly in ade for Strings-are, undoubtedly, the major by the A major Piano Quintet 1904 but had to wait until 1911 for completion. Naturally, ("American") followed closely the in F minor, is there were many. sketches, and the title on one of them reads: and "Dumky" Trio. Today's work, Trio the masterpiece of its "Trio Yalensia & Americana-for Violin, Cello, Piano less frequently performed but every bit in 1883, and first perfomed by Dvorak Fancy Names "Real name ------>Yankee jaws---at Mr. (or bretheren. Composed Lachner and the cellist Eli) Yale's School for nice bad boys!!". Many years later, Ives (at the piano!) with the violinist Neruda, the piece is very much the aesthetic counterpart of explained this music in the following manner ". . .the trio the Symphony No. 7 in D minor which was written at roughly was, in a general way . . . a reflection or impression of . . . college days on the campus, now 50 years ago. The 1st move- the same time. Both are somber, darkly symphonic works- almost, one might say, Dvorak at his most Brahmsian! The ment recalled a rather short but serious talk, to those on the Yale fence, by an old professor of Philosophy; the 2nd, the contrast between this trio and the most mercurial, light text- ured "Dumky" is, in fact, a rather remarkable example of the games and antics by the students . . . on a Holiday afternoon; dichotomy in their composer's mature personality. The open- and some of the tunes and songs of those days were . . . is a Sonata-Allegro edifice. It suggested in this movement, sometimes in a rough way. The ing movement grandly fashioned begins a foreboding upward arpeggio figure played by the last movement was partly a remembrance of a Sunday service with on the Campus ... which ended with the 'Rock of Ages' ..." two stringed instruments, creating a mood of terse drama into some The first movement is marked Andante moderato; the third whiCh the piano enters with explosive vehemence. After and longest, Moderato con moto. The wild central scherzo working out of the same idea, the heroic second theme-in bears the cryptic instruction TSIAJ (Presto), the first word maggiore-is heard, first from the cello and then in the more soaring violin register. Development stresses the restless relation- simply a condensation of This Scherzo Is a Joke. Among the campus tunes quoted here are The Sailors' Hornpipe and My ship between major and minor. Dvorak uses in this section quite a lot of canonic imitation, and also has the first theme going Old Kentucky Home. There is also a hymn which even super- on simultaneously in augmentation and (that is, in sleuth John Kirkpatrick has, of yet, been unable to identify. diminution faster and slower note values-he uses the same device in the development section of the "New World" Symphony). The re- capitulation is rounded off by an extended coda which almost amounts to a second development (the tempo increases to kf finish off the movement in a blaze of energy). The second movement begins with a theme strikingly suggestive of one of Antonin Dvorak Trio for Violin, Cello and the "Dumky" Trio's best known melodies. Also recalled are (1841- 1904) Piano, in F minor, Op. 65 some of the brooding Slavonic Dances (those from the second set particularly). The trio section, in major mode, relies on en- Dvorak was a late bloomer. His earliest compositions show the lighter treble register and creates a piquant relief from the ormous talent but also a certain naivete and considerable grimness of the first part. A transitional passage leads back to a strangely, that he renounced Wagnerian influence (something, da capo of the first section. Dvorak wisely chooses to temper again in very late career-e.g. in a series of only to embrace tragedy with pathos in the slow movement: this tenderly re- symphonic tone poems). The youthful efforts helped the com- flective Adagio is relatively spare in texture and sunny in mode. poser make his mark locally but when Brahms "discovered" The finale has many of the rhythmic aspects of a furiant-a in was still playing second fiddle in the him 1876, Dvorak dance in triple meter with heavy accents on the offbeats. The Prague Provisional Orchestra. The conductor there-a pretty molten energy subsides momentarily for a brief lyrical interlude. fair composer in his own right-was also helpful in putting our This respite recurs later on-almost as a reminiscence of young man on the map (his name: Bedrich Smetana). Once things past-but just when it seems that the music is going as an Dvorak conversely established international celebrity, to peacefully fade away, the bristling first idea returns, played became more nationalistic in his music-using the idiom if not in unison by all three instrumentalists, and matters come to a actual borrowed material of his rich Bohemian heritage. close in a brief but exciting coda in major (only nine bars long). That he was fiercely proud of being a Czech there is no doubt. -Harris Goldsmith Dvorak's background as a professional string palyer (he played viola as well as violin) is apparent in his chamber music (one of the handsomest-and neglected- bodies of music composed in the Romantic era). While his piano writing-like much of Schubert's-contained certain awkward features such as the ex- cessive unison doubling of right and left hand, he knew how to Brooklyn's use his strings to produce memorably rich textures, supple chiaroscuro and soloistic brilliance. The most popular of his most fabulous Bravo! restaurant Brooklyn's 1st charcuterie gets Join us for luncheon, dinner, or simply a top billing for its star-studded before-theatre cocktail or after-theatre snack cast. Wonderful pates, delicious and see for yourself why New York Magazine desserts, croissants, quiches, and the Village Voice have voted our cheese- French sausages and salads from cake as 'The best cheesecake in New York' mushroom to squid. 111 Flatbush Ave. Extension at DeKalb Ave. For show-stopping gourmet food Sun.-Thurs. until 1:30 am and elegant catering it's . . . Fri. until 3:00 am Atlantic Crcssine ltd. Sat. until 4:00 am 440 Atlantic Ave. (between Nevins and Bond) Phone: 852-5257 Phone: 855-6953 Only 3 blocks from BAM . 1, About the artists . .

The Beaux Arts Trio celebrated its 20th anniversary during the 1975-76 season and has played more than 3,500 engagements j throughout the world. On records, the Beaux Arts Trio has

1 won wide acclaim including the coveted Grand Prix du Disque.

Menahem Pressler, piano, was born in Magdeburg, Germany but fled with his family to Israel when Hitler came to power. He began his professional career at the age of 17. On his first American tour, he was soloist five times with the Philadelphia Orchestra, and was awarded an unprecedented three-year contract for several appearances each season with that world- renowned symphony. He has since appeared with the New York Philharmonic, the Cleveland Orchestra, the Indianapolis Symphony, and the National Symphony of Washington, D.C. He resides in Bloomington, Indiana where he is a full professor on the faculty of the University of Indiana.

Isidore Cohen, violin, was born in and studied at the with . He has been concert- master of The Little Orchestra Society in New York, and has held that same post with many other orchestras, including that of the Casals Festival in . He was concertmaster of the Mozart Festival in Lincoln Center where he also appeared as soloist. Mr. Cohen's chamber music background includes membership in the and appearances with the Budapest Quartet and also the prestigious Music from Marlboro.

Bernard Greenhouse, cello, was formerly a fellowship student at Juilliard. When he went to for an audition with , it turned into two years of study with the great Spanish master. Since then Mr. Greenhouse has won an enviable reputation as one of the major interpreters of the There's cello, making appearances in most of the major cities of both Europe and America in recital, with orchestra, with chamber music ensembles and with recordings for Columbia, RCA, only one Concert Hall and the American Recording Society. He plays the famous Paganini Stradivarius cello dated 1707. Mr. Greenhouse is on the faculties of Manhattan School of Music place in and the New York State University in New York. Brooklyn... where you'll find the convenience of an enclosed, climate-controlled shopping mall. It's Kings Plaza. Here you'll find Macy's, Alexander's and 136 other great shops and services, all under one roof. Kings Plaza is easy to get to. We're at Flatbush Avenue and Avenue U, just 1/2 mile north of Belt Est.1879.& always plenty of A visit to Gage Tollner is a nostalgic trip Parkway Exit 11N. And there's into the past. For we are one of the last of the free parking in our enclosed, multi-level garage. great original Gay 90s eating houses. Today, J 4 519 Come on over! we are a landmark. Our elegant dining room still echoes with the gaiety of the "good old days." Our menu still draws patrons from near and far to savor what many call the best American-style cooking in the country. And the service continues to reflect the VAN, :es* f?1 hospitality of that bygone era. At Gage & Tollner, the art of making patrons happy has never been lost. It's how we came to fame. Or GAGE&TOLLNER Brooklyn's Landmark Seafood & Steak House (Est. 1879). 372 Fulton Street (nr. Boro Hall). Please call for reservations 875-5181. Amex, Diners, Mastercharge.

Brooklyn's Only Enclosed Mall The Avenue & Avenue U Flatbush pm, very famous restaurant Shopping hours: Monday-Saturday 10 am-9:30 Sunday Noon-5 pm in Brooklyn. - =

NEXT AT BAM Mini 114Y7 The Three Sisters BAR AND RESTAURANT BAM Theatre Company April 26-May 15 Open Daily 12 Noon to Closing Design for Living SUNDAY BRUNCH Fabulous Flicks 9 Eggs Benedict, Bloody Mary, May OJ, Coffee, $3.50 Twyla Tharp and Dancers 'HAPPY HOUR' May 12-22 Monday thru Friday 5 PM - 7 PM All Drinks $1.00 at the Bar Only In Which We Serve 222 Seventh Ave. Park Slope Fabulous Flicks Brooklyn, N.Y. Tel. 499-2311 May 16 1 5 New Opera Theatre Better here than in Manhattan May 19-22 in Servicing Brooklyn Sounds Motion Brownstone Neighborhoods May 20-22 .-Z---Temi- Brownstone Sales .------,-,..-inintrs EVM Management Bitter Sweet 0 Cooperative Sales Fabulous Flicks lal ra :nom Apartment Rentals 4if -.1.-- ii4W' - May 23 .'' .,- Financing 1 fal litrigo 1 fir, -...1 i, Investment Properties ti Private Lives The only broker you'll ever need Fabulous Flicks May 27

Trio Realty, Inc. Brief Encounter 143 Montague Street, Brooklyn Heights, N.Y. Fabulous Flicks Phone: 858-7410 May 28 gmnt Street

'Down of Flatbush neighborhoml tour ...where the trees grow in Brooklyn Sunday, May 15th Enjoy neighborhood hospitality while viewing architecturally distinctive apartment houses & stately private homes. Unique among neighbor- hood tours. it will feature spectacularly furnished oCive entertainment 6-9 gine good. apartments as well as spacious, reasonably priced available apartments. Open 7 Days a Week, Refreshments will be served. Tours start between 1:00 and 2:00 P.M. at the eServing lunch & Dinner Flatbush-Tompkins Congregational Church on tll East 18th Street and Dorchester Road in 5-7 grow jtreet, (Under the Bridge) Brooklyn. near the Cortelyou Road station of the I ' Brighton Beach D Line. Brooklyn, Tor& Tickets are $2.00 in advance, $2.50 at the door. NF For reservations and information, call 469-8990

10am-5pm weekdays !i ',1' eservations.. 875-6953 p1 C i.flotbuili development corporation

1418 . V (Major Credit Cards Q4Ccepted Cortelyou Rd Brooklyn - The Brooklyn Academy of Music A non-profit organization

Officers IY Harvey Lichtenstein President and Chief Executive Officer Judith E. Daykin Exec. Vice President and General Mgr. Sharon Rupert Vice President and Treasurer President for Promotion LIU TRIANGLE THEATRE Charles E. Ziff Vice Henry A. Young, Jr. Vice President for Planning The Brooklyn Center, University Plaza, Brooklyn, N. Y. 11201 Administrative Office Staff Wed. Feb. 16, noon Opera Workshop-excerpts from Martha Willett, Barbara Rothenstein "Aida" Todd Vande Griek Wed. Feb. 23, noon Piano Recital-Lee Hoiby Evelyn August, Wed. Mar. 2, 3pm Bay Chamber Opera-Short operas Finance Wed. Mar. 9, noon Modern Dance Festival-directed Howland, Pearl Light by Prof. Judy Stewart Steve Dennin, Josephine Di Nenno, John Wed. Mar. 16, 2pm; Thurs. Mar. 12 Angry Men-directed by Prof. Promotion 17, 1:30pm; Fri. Mar. 18, noon; Earl Simmons Sat. Mar. 19, 7:30pm Kate Macl ntyre Chief Publicist Tue. Mar. 22, 3pm Piano-Vocal Recital-John Bell Kay Green Publicist Young, piano, Tali Mackell, baritone David Davis Graphics Designer Wed. Apr. 20, noon Opera Workshop IV-excerpts Gerald M. Aiello Sales Representative from "II Trovatore" Mary N. Gargan, Dianne Hylton, Paul Vega Wed.-Sat. Apr. 27-30 Play-to be announced Wed. May 4, noon Piano Recital-Refica Elibay Geneva Alvarez, Ted Killmer Planning All events are open to the public without charge. For further information Martha McGowan BECA Coordinator Reich call 834-6071.. just three blocks from BAM. Sandra Gerber, Debbie Lepsinger, Susanna Prof. David Raher, Program Coordinator 1!. Production Malcolm J. Waters Production Manager William Mintzer Lighting Consultant to BAM Sal Rasa Assistant Production Manager Cindy Dangle Production Assistant Martin Green Crew Chief Walter Rivera Wardrobe Supervisor Bernard Gilmartin, Naamin Griffin, John Hynes, Howard Larson, Patrick McDonald, Louis Potts, Leonardo Raphael, Cy Similly, Jr., J Ernest Southerland Theatre Management John J. Miller Theatre Manager eamperdown Leonard Natman Assistant Theatre Manager Building Management 847 Union St Elm Stan Mongin Building Manager Off 7th Ave. in Park Slope Ronald Spiegel Parking Facilities Supervisor Frank Abbruscato, Leonard Abbruscato, Frank Alaimo, The Daily News says we're one of the best! Steven Calamucci, James Carter, Lazzaro Curato, Nicholas Curato, Ray Dorso, Doanld Farr, Frank Favata, Rosalie Ferrell, Peter Ganci, Find out for yourself. Come for dinner--before or Joseph Giammarino, Charles Gili, Ronald Grant, Bernard Lawrence, 5 Gregory Lombardi, Martin Miranda, Tony Ola, Watler Robinson, after the show (served to midnight Robert Shaplo, Robert Wells Tues.-Sat., Sun. 4 to 11). Box Office -or Brunch before a Sunday matinee (11-2) Daniel J. Sullivan Box Office Treasurer Saheed Baksh, Michael Glassman (212) 638-0860 Children's Program Reservations recommended Betty Rosendorn Children's Program Manager 1, Rae Lesser, Hessie McCollum, Sarah Welder Board of Directors Hon. Abraham D. Beame, Honorary Chairman/Arthur D. Emil and Kenneth S. Rosen, Chairmen / Dan Seymour and Anthony Scotto, Vice Chairmen/Harry W. Albright, Jr. / Henry Bing, Jr./Harold L. Fisher/Leonard Garment / (.Stanley Kriegel / Harvey Lichtenstein / Samuel Lindenbaum / Eugene H. Luntey/W.Barnabas McHenry/Donald E.Moore/Evelyn Ortner/ William Tobey/Members ex-officio:Hon. Martin E.Segal/Hon. H. Claude Ring Down Shostal/Maria Grimaldi/Helene Patton the Curtain Legal Counsel: Proskauer Rose Goetz & Mendelsohn/Architect: James Stewart Polshek/Advertising: Buckingham Marketing - Gemini Advertising with a Grand Finale The Brooklyn Academy of Music gratefully acknowledges the support of the National Endowment for the Arts, the New York State Council on the at minimax Arts, and the Department of Cultural Affairs 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 Department of Cultural Affairs, H. Claude Shostal, Commissioner, Abraham D. Beame, Mayor Directory of Facilities and Services Box Office Hours: Monday: Noon to 6:00pm/Tuesday through Saturday: Coffee and Brandy with one of our Continental Stars Noon to 9:00pm/Sunday Performance Times only created by the master confiteurs of the exclusive Eclair Patisserie Lost and Found: Telephone 636-4100 Opera Cake, Succulante, Rigo Jancsi, Chocolate Baiser, Swiss Lounges and Restrooms: Opera House Ladies: Orchestra and Balcony levels Chocolate Truffel, Gateau St. Honore or the celebrated Sacher Torte Men: Mezzanine and Balcony Levels Playhouse Ladies: Orchestra level Men: Mezzanine level Lepercq Space Ladies:Theatre level, Men:Theatre level or try them ensemble with Expresso or Cappucino Public Telephones: Main Lobby, Ashland Place Entrance MUSIC TO YOUR PALATE and the perfect ending to a memorable evening! For information about discount group rates on tickets, or to find out about advertising in BAM theatre programs, call our Sales Department at MINIMAX is only a few minutes from BAM (212) 636-4126. in beautiful old Brooklyn Heights 174 Montague Street The taking of photographs of the use of recording devices in this theatre is Mon-Thurs 8am-10pm/Fri-Sat 8am-12pm/Sun 9am-9pm strictly forbidden. 30 Lafayette Avenue, Brooklyn, New York 11217 (212) 636-4100