Brooklyn Acotlemy of Music 1969-70 Season
Boston Symphony Orchestra
DECEMBER 11, 1969 ABRAHAM. •..,."' c "'
SCHUSSING 'N SUNNING
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THURSDAY EVENI NG, DECEM BE R 11, 1969 I Subscription Performance The Brooklyn Academy of Mus ic
presents the
BOSTON SYMPHONY ORCHESTRA
EIGHTY-N INTH SEASO N 1969-1970
WILLIAM STE INBERG, Music Director
MICHAEL TILSON THOMAS, Assistant Conductor
ERICH LEINSDORF, Conductor
Malcolm Frager, Pianist
The use of ca meras and tape recorders is strictly prohibited at Pi ttsburgh Symphony Orchestra concerts. Ba ldwin is the official piano of the Broo klyn Academy of Music 4 I BROOKLYN ACADEMY OF MUSIC I DECEMBER 1969 The Brooklyn Academy of Music Th!' f3r f'llyn Academy of Music is a department of the Brooklyn Institute of Arts and Sciences.
The Governrng Commrttee Ticket Reservation Systems - TICKETRON Seth S Far',on, Chairman Edward S. Reid, Vice Chai rman Computerized ticket selling system which Monro<' D. Stem, Vice Chairman permits purchase of tickets to Academy Hon Alexander Aldrich events at the fol lowing locations: Bernard S Barr Mrs. H. Haughton Bell MANHATIAN: Donalcl F. Benjamin Gtmbels 33rd St.; Chase Manhattan Bank, Dr. W1lliam M Birenbaum 1 Chase Manhattan Plaza and 52nd St. Donald M. Bl1nken & Ave. of Americas; Freedom National John R. H Blum Bank, 275 W. 125th St.; Grand Central Patnck Carter Station, Information and Balcony Areas; Wlllram B Hewson Hunter College Concert Bureau, 695 Park Rev. W G. Henson Jacobs Ave. Howard H. Jones Max L. Koeppel Msgr. Raymond S. Leonard BROOKLYN: Mrs. GPorge Liberman Chase Manhattan Bank, Court and Mon Harvey Lichtenstein tague Sts.; Four Season Ticket Informa Mrs. Constance J. McQueen tion Association, 1625 Jerome Ave.; Free Alan J. Patncof dom National Bank, 493 Nostrand Ave. James Q. Riord an Wrll1am Tobey LONG ISLAND: Admrn1 strative Staff Harvey Lrclltenstem, Gimbels, Roosevelt Field and Valley D1rector Stream; Grand Unton, Great Neck; Gertz, Lewis L. Lloyd, Flushing, Jamaica, Hicksville, Great General Manager Neck, Bayshore; Austin Travel, Hemp Charles Hammock, stead; Sears, Hicksvi lie. Asst. General Manager Walter Prrce, Asst. D1rcctor, Press & Public Relations STATEN ISLAND: Thomas Kerrigan, Assistant to the Director Major's Travel. Ron Clmstopher, Publ1c Aft MEMBERS OF THE BOARD OF TRUSTEES OF THE BROOKLYN INSTITUTE OF ARTS AND SCIENCES Mr. Alexander Aldrich Mrs. Edward M. Fuller Mr. Warren H. Phillips Miss Marian Anderson Mr. Andrew L. Gomory Mr. Rutherford Platt Hon. Emil N. Baar Mr. Covington Hardee Mr. Eben W. Pyne Mr. Edward K. Bachman Mr. F. Warren Hellman Mr. Edward S. Reid Mr. Bernard S. Barr Mr. J. Victor Herd Mr. Frederick W. Richmond Mrs. H. Haughton Bell Dr. James MeN. Hester Mr. James Q. Riordan Mr. Donald F. Benjamin Mr. William B. Hewson Mrs. Thomas H. Roulston Dr. William Birenbaum Mr. John E. Heyke, Jr. Robert S. Rubin Mr. John R. H. Blum Mr. Winston E. Himsworth Mrs. Frank K. Sanders, Jr. Mr. Robert E. Blum Dr. R. Gordon Hoxie Mr. J. Folwell Scull, Jr. Mr. Gordon S. Braislin Mrs. Darwin R. James Ill Mr. Oonald G. C. Sinclair Mr. Robut M. Burke Mr. Howard Jones Mr. lv'lo nroe D. Stein Mr. Patrick Carter Dr. John B. King Mr. Gerard Swope, Jr. Mr. Francis T. Christy Mr. Preston L. Lambert Mr. Harold J. Szold Mrs. Robert T. H. Davidson Mr. Wilbur A. Levin ~~rs. Hollis K. Thayer Mr. Sidney W. Davidson Mrs. Abbott A. Lippman Mrs. John F. Thompson, Jr. Mrs. Berton J. Delmhorst Mr. Alastair B. Martin Mr. William Tobey Mrs. Carroll J. Dickson Mrs. Emmet J. McCormack Mr. George R. Tollefsen Mr. Thomas A. Donnelly Mr. Milton T. VanderVeer The Very Rev. Eugene J. Molloy Mrs. Tracy S. Voorhees Dr. James B. Do novan Hon. Leonard P. Moore Mr. Francis B. Wadelton, Jr. Mrs. Mary Childs Draper Mr. Justin J. Murphy Hon. George C. Wildermuth Mr. Paul F. ~="lv Mrs. Louis Nathanson Mr. Robert Wilson Mr. Seth S. Faison Mr. Michael C. O'Brien, Jr. Mrs. Earle Kress Williams Mr. L e W IS W. rr" "cis, Jr. Mr. Donald M. Oenslager Judge Joseph B. Williams FOUNDATION AND CORPORATE CONTRIBUTORS A & S Foundation Marine Electric Corporation Albert and Greenbaum Foundation, Inc. Marine Midland Grace Trust Company Am e> rican Airlines Foundation of New York Bache Corporation Foundation Martin's Department Store Bankers Trust Company Mays (J.W.) Department Store Bay Ridge Savings Bank (now Anchor) lVI a rz Foundation Bristol-Myers Fund Merr ill, Lynch, Pierce, Fenner and Smith, Inc. 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Whitney Foundation Foundation Williamsburgh Savings Bank FRIENDS OF BROOKLYN ACADEMY OF MUSIC FIRST LUNCHEON-LECTURE SERIES "THE PERFORMING ARTS" Jan. 16- CIIve Barnes-Dance Mar. 13-Henry Butler- Creation of Feb. 13- William Woodruff-Opera "Mourning Becomes Electra" Apr. 10-Michael Kutza- Films FRIENDS OF THE BROOKLYN ACADEMY OF MUSIC 30 Lafayette Avenue Brooklyn, New York 11217 Tel.: 783-6700 - Ext. 18 6 1 BROOKLYN ACADEMY OF MUSIC I DECEMBER 1969 PROGRAM NOTES ERICH LEINSDORF Rosenkavalier" and Wagner's "Parsi fal", all in new productions, at the Conductor Teatro Colon. He recently returned to this country to conduct the ERICH LEINSDOR F, whose tenure as Chicago Symphony. For the past two Music Director of the Boston Sym weeks he has conducted the Boston phony Orchestra ended last August Symphony in their _home city_. After when he conducted a performance his appearances th1s week w1th the of Beethoven's Ninth symphony to Orchestra Erich Leinsdorf goes to close the Berkshire Festival at Ta~ Amsterda~, where he will conduct glewood, made a_ significa~t con~n the Concertgebouw Orchestra for two bution to Amenca n M us1ca I l1fe months. Later plans include appear during his seven years with the ances in Milan, Warsaw and London. Orchestra. Under his leadership the Erich Leinsdorf has made many re Orchestra presented many premieres cordings not only for RCA b~t for and revived many forgotten works. the Capitol, London, Westminster Among the latter were the complete and Pickwick labels. Schumann "Faust", the original ver sions of Beethoven's "Fidel io" and Strauss' "Ariadne auf Naxos", and MALCOLM FRAGER the Piano concerto no. 1 of Xaver Scharwenka, while among the nu Pianist merous world and American pre mieres were works like Britten's Malcolm Frager, who has appeared "War requiem" and "Cello symph many times with the Boston Sy~ ony" the piano concertos of Barber phony Orchestra in the past 1n and 'carter, Schuller's "Diptych for Boston, at Tanglewood and in Ne:rv brass quintet and orchestra"_, an_d York, was soloist with the St. Lou1s Symphony at the age of ten. He Piston's Symphony no. 8. Desp1t_e ~1s heavy schedule, leading the maJonty moved four years later to New York of the concerts during the lengthy to study with Carl Friedberg, who Boston Symphony winter season, the had been a pupil of Clara Schumann Berkshire Festival in the summer, and Johannes Brahms. He started and heading the activities of the winning significant prizes in 1952, Berkshire Music Center, the acad which included the Michaels Memo emy operated by the Boston Sym rial Music and the Leventritt Awards. phony at Tanglewood, as well as 1n 1960 he won the first prize at the making recordings with the Orches Queen Elisabeth International Com tra for RCA, Erich Leinsdorf found petition in Brussels. Meanwhile he time to make several guest conduct had graduated ''magna cum laude" ing tours with European orchestras, from Columbia University, and he and to record full-length operas for now speaks seven languages, includ RCA Records, the most recent of ing Russian. which were Mozart's "Cosi fan tutte", He has appeared with the world's a Grammy award winner, Verdi's major orchestras and given extensive "Masked b311" and "Salome" by recital tours in Europe, South Amer Strauss. lr nediately after his final ica and the Far East. Before his most concert a langlewood, Erich Leins recent appearances with the Boston dorf flew ~o Buenos Aires, and con Symphony Orchestra at the Berk ducted five performances each of shire Festival last August, he gave a Berg's "Wozzeck", Strauss' "Der series of concerts in Australia. (Continued on page 10) DECEMBER 1969 I BROOKLYN ACADEMY OF MUSIC I 7 PROGRAM BERG Two movements from the 'Lyric suite' arranged for string orchestra Andante amoroso Adagio appassionato BEETHOVEN Piano concerto no. 4 in G op. 58* Allegro moderato Andante con moto Rondo: vivace Malcolm Frager INTER MISSION TCHAI KOVSKY Symphony no. 6 in B minor op. 74 'Pathetique'* Adagio - all egro non troppo Al legro con graz1a Allegro mol to vivace Finale: adagio mamentoso Ma lcolm Frager plays the Steinway piano. Ba ldwin is the official piano of the Brooklyn Academy of Music *RCA RECORDS 8 I BROOKLYN ACADEMY OF MUSIC I DECEMBER 1969------ The Brooklyn Academy of Music DIRECTORY OF FACILITIES AND SERVICES Academy Dance Center Express Buses - Manhattan to BAM Classes for ages 6-15 in ballet/modern Direct bu ses f or mos t evening events leave dance. Contact Vi rginia Schanher at S.W. corners unless otherwise noted. No 783-6700. reservations necessary. Return: 15 minutes Box Office after performa nee. Ticl AUTOMOBILE ROUTES TO BROOKLYN ACADEMY OF MUSIC UPPER AND LOWER MANHATTAN, for Downtown Brooklyn. After Expressway NORTHERN BRONX: becomes elevated again take "Manhattan Bridge Civic Center" exit, follow exit Henry Hudson Parkway and West Side around to Flatbush Avenue. Turn left on Highway to Canal Street. Canal Street to Flatbush Avenue, go 8 traffic lights to the Manhattan Bridge, over Bridge to Flatbush island opposite the Fox Theatre, turn left Avenue. Go 8 traffic lights to island in at island, then turn right at Fulton Street front of Fox Theatre, turn left at island, for two blocks, turn right on Ashland Place then turn right for two blocks, turn right for one block to the Academy. at Ashland Place to the Academy of Music. b) VIA THROGGS NECK BRIDGE: Take New England Thruway (or get on Thruway WEST BRONX from the Hutchinso n River Parkway) over (NEW YORK UNIVERSITY AREA): Throggs Neck Bridge. Continue on Clear Major Deegan Expressway t o Triborough view Expressway to the Long Island Ex Bridge. Triborough Bridge to East Ri ver pressway (Manhattan bound) to the Brook Drive. East River Drive to 25th Street Exit. lyn exit. (Brook lyn-Queens Expressway). (Just after Bellevue Hospital). 25th Street Follow insrtuctions (a) to Brooklyn. to 2nd Avenue, left on 2nd Avenue to 21st Street. Right on 21st Street to 3rd Avenue. NORTHERN QUEENS AND NASSAU: Left on 3rd Avenue to Manhattan Bridge Take Long Island Expressway to Brooklyn (Canal Street). Go 8 traffic lights to Fox exit in Queens. (Brooklyn-Queens Express Theatre, turn left at island, turn right for way). Take Brooklyn-Quee ns Expressway to two blocks to Ashland Place, to the Aca Downtown Brooklyn (keeping always to the demy of Music. right). After Expressway becomes elevated again take Manhattan Bridge, Brooklyn EAST BRONX (BRONX PARK AREA): Civic Center exit. Follow exit around to Flatbush Avenue, turn left on Flatbush Bronx River Parkway and Parkway Exten Aven ue, (follow instructions as to the sion to Bruckner Blvd. Bruckner Blvd. to island and traffic lights.) Triborough Bridge. Triborough Bridge to East River Drive. East River Drive to 25th Street exit. (Just after Bellevue Hospital). SOUTHERN QUEENS AND NASSAU: 25th Street to 2nd Avenue, left on 2nd Southern State Parkway to Belt Parkway. Avenue to 21st Street. Right on 21st Street After passing Kennedy take exit No. 22 to 3rd Avenue. Left on 3rd Avenue to Man (No. Conduit Avenue) to Conduit Blvd. Con hattan Bridge (Canal Street). Left over duit Blvd. to Atlantic Avenue. Atlantic Bridge to Flatbush Avenue. Go 8 traffic Avenue all the way to Flatbush Avenue. lights to Fox Theatre, turn left at island, Right on Flatbush Avenue for 1 block, bear turn right for two blocks on Fulton Street, right on to Ashland Place, 1 block to Lafay turn right for one block on Ashland Place ette Avenue and the Brooklyn Academy of at Fulton Street to the Academy. Music. EAST BRONX (EASTCHESTER SOUTHERN BROOKLYN: AND PELHAM PARK AREAS): Take Flatbush Avenue (or Ocean Avenue a) VIA WHITESTONE BRIDGE: Hutchin or Ocean Parkway to Flatbush Avenue, or son River Parkway to Grand Central Park in Bay Ridge take 4th Avenue to Flatbush way. Left on Grand Central to Long Island Avenue) to Flatbush and Atlantic Avenue. Expressway. Right on Long Island Express Turn on Ash land Place - on left of the way to Brooklyn exit. (Brooklyn-Queens Williamsburgh Bank and go one block to Expressway). Keep to right following signs the Academy. 10 I BROOKLYN ACADEMY OF MUSIC I DECEM BER 1969 ALBAN BERG Two movements from the 'lyric suite' arranged for string orchestra Berg was born in Vienna on February 9, The first movement is plastic in beat 1885; he died there on December 24, 1935. and free in change of tempo. Rene Leibo witz, the ardent Pari sian twelve-tonalist, The "Lync su1te" 1n its ong1nal form as po1nts out that the second of the three a string quartet dates from 1926. It has the themes is a va riant of the second theme follow1ng movements: 1-AIIegretto gioviale; o f the opening movement in the original 2-Andante amoroso; 3-AIIegro m1stenoso; quartet. "At one po1nt the viola unfolds a 4-Adagio a ppass10nato; 5-Presto de 11 ran do; fugure which proves to be a variant of 6-Largo desolato. From these Berg arranged the basic twelve-tone row of the first the second, th1rd and fourth movements movement." for stnng orchestra. Mr. Leinsdorf has ctlosen two of the three for th1s evening's The Adag1o appass1onato {wh1ch is not performance. When the orchestral su1te twelve-tonal) is considered by Leibowitz was performed by the Ph1lharmonic-Soc1ety "the central development section of the of New York on October 23, 1931, Lawrence who le suite, for its extremely contrapuntal Gilman, as cnt1c of the Herald Tribune, style elaborates, from the beginning, in was struck by the expressive qual1ty of the stretto fashion, the basic thematic materi music. "This is no pattern-weaving; these als. We know that it is built on U1e ele utterances are most articulate. That they ments of the Trio estat1co, but in its turn sound to us through a total web that 1s it w1 ll f urnish an element of basic impor often extraordinarily beautiful, will not, tance to the movement which is to follow" one fears, help to commend the backslider (m the original quartet). The adagio at Berg to certa1n of h1s confreres." last d1es away in a tnple pianiss1mo. LUDWIG VAN BEETHOVEN Piano concerto no. 4 in G major op. 58 Beethoven was born 1n Bonn in December Malcolm Frager. 1770 (probably the 16th); he d1ed in Vienna The instrumentation: flute, 2 oboes, 2 on March 26, 1827. The Fourth concerto was clannets, 2 bassoons, 2 horns, 2 trumpets, performed at a subscription concert at the t1mpani, stnngs and solo piano. house of Prince von Lobkow1tz in V1enna in March 1807, and was f1rst heard at a Beethoven offered h1s Fourth concerto public concert at the Theater-an-der-W1en for publication in the year 1806; just when December 22, 1808; Beethoven himself was he began and worked on it cannot be de soloist. The f1rst performance by the finitely established. It was first performed Boston Symphony Orchestra was g1ven on at one of two private concerts in the house December 16, 1881; George W. Sumner was of his patron Prince Lobkowitz, in March the solo1st and Georg Henschel conduct ed. of 1807. Other works heard at these two Among the many pianists who have played ga therings, and likewise announced as the Fourth concerto with the Orchestra in 'new', were the Fourth symphony and the the past are Ferrucc1o Busoni, Ernst von "Coriolanus" Overture. The first public per Dohnany1, Josef Hofmann, Harold Bauer, formance of the Concerto was at that Artur Rubinstein, Myra Hess, Rudolf Serk1n, famous 'Academy' on December 22, 1808- Claud1o Arrau, Alexander Borovsky and the sem1-fiasco at which the Fifth and DECEMBER 1969 I BROOKLYN ACADEMY OF MUSIC I 11 Sixth symphonies and tne Chora l fantasia a Cinderella of concertos! - Sir George were all heard for the first time. Beethoven Grove relates: " It remained for many years played the solo part in the concerto and comparatively unknown Between the less fantasia, Seyfried conducting. At a concert difficult C minor (no. 3) and the more im on the next night for the benefit of 'Widows posing E f lat (no. 5) it was overlooked, and, and Orphans', the new concerto was sched being forgotten." Its revival was due to uled to be performed by Ries. Having only Mendelssohn, who seized the opportunity strange as it may seem, ran the ri sk of of his appointment as conductor of the five days in which to learn the wo rk, Ries Gewandhaus Concerts at Leipsiz to bring asked the composer to let him substitute forward this and many another fine com the Th ird, inC minor. "Beethoven in a rage position which had been unjustly allowed went to young Stein, who was wise enough to remain in the shade. Schumann pre to accept the offer; but as he cou ld not served the following little memorandum prepare the concerto in time, he begged of the performance which took place on Beethoven on the day before the concert, November 3, 1836: as Ries had done, f or permission to play the C minor concerto. Beethoven had to "This day Mendelssohn played the G acquiesce. Whether the fault was the major Concerto of Beethoven with a power theatre's, the orchestra 's, or the player's, and finish that transported us all. I re says Ries, the concerto made no effect. ceived a pleasure from it such as I have Beethoven was ve ry angry." never enjoyed, and I sat in my place with out moving a muscle or even breathing Of the further history of the G major - afraid of making the least noise!" PETER ILYICH TCHAIKOVSKY Symphony no. 6 in B minor op. 74 'Pathetique' Tchaikovsky was born in Kamsko-Votinsk 2 trumpets, 3 trombones, tuba, timpani, in the government of Viatka on May 7, 1840; bass drum, cymbals, tam tam and strings. he died at St. Petersburg on November 6, 1893. He completed the Sixth symphony in There have always been those who the last yea r of his life, and himself con assume that the more melancholy music ducted the first public performance nine of Tchaikovsky is a sort of confession of days before his death in St. Petersburg. his personal troubles, as if music were not Following the composer's death Napravnik a wo rk of art, and, like all the narrative conducted the Symphony with great suc arts, a structure of the artist's fantasy. The cess at a concert of Tchaikovsky's music symphony, of course, is colored by the on November 18, 1893. The piece attained character of the artist himself, but it does a quick popularity, and reached America not mi rror the Tchaikovsky one meets in the following spring, when it was produced his letters and diaries. The neurotic fears, by the New York Symphony Society on the mental and physical miseries as found Ma rch 16, 1894. It was first performed by in the diaries have simply nothing to do the Boston Symphony Orchestra on De with musical matters. Tones to Tchaikovsky cember 28 following, Emil Paur conducting. were pure sensuous delight, his salvation when iife threatened to become insupport Th e instrumentation: 2 f lutes, piccolo, able. And he was neither the first nor the 2 oboes, 2 clarinets, 2 bassoons, 4 horns, last to resort to pathos for the release of 12 I BROOKLYN ACADEMY OF MUSIC I DECEMBER 1969 music's most affecting and luxuriant ex The first movement and the last, which pression. The fact that he was subject to are the key movements of the symphony, periodical depressions and elations (he are very similar in plan. The duality in showed every sign of elation while at work each case consists of a spare and desolate upon this symphony) may well have at theme and another of sorrowful cast which tuned him to nostalgic music moods. But is nevertheless calm and assuaging. Each the general romantic trend of his time theme is developed independently in sepa certainly had a good deal more to do with rate alternating sections, each working up it. His generation revelled in the depiction into an agitated form. But the second of sorrow. The pathos of the jilted Tatiana theme has always the final answer. Each of Pushkin actually moved Tchaikovsky to movement ends gently with a gradual and tears and to some of his most dramatic peaceful subsidence. music. But Tchaikovsky enjoyed nothing more than to be moved to tears - as did The bassoon softly sets forth the first hiS admirers, from Nadejda von Meek down. theme, Adagio, in rising sequences accent "While composing the (sixth) symphony in uating the minor. The violas carry it down my mind," Tchaikovsky had written to his again into the depths, and after a suspen nephew, "I frequently shed tears." sive pause the theme becomes vigorous and rhythmic in an allegro non troppo as it is developed stormily over a constant There can be no denying that the emo agitation of string figures. (As the string tional message of the "Pathetique" must figure subsides into the basses, the trom have in some way emanated from the in bones inton (at bar 201) a chant for the most nature of its composer. But the subtle dead. The allusion is to a liturgy of the alchemy by which the artist's emotional Russian church, "May he rest in peace with nature, conditioned by his experience, is the saints." A second phrase from this transformed into the realm of tone patterns quotation is developed, but in a violent is a process too deep-lying to be perceived, and purely symphonic way.) The figure and it will be understood least of all by melts away and after another pause the the artist himself. Tchaikovsky, addicted second theme, tranquil and singing in a like other Russians to self-examination, clear D major, spreads its consolation. sometimes tried to explain his deeper "Teneramente, molto cantabile, con espan feelings, especially as expressd in his sione", reads the direction over it. The music, but invariably he found himself theme is developed over a springy rhythm groping in the dark, talking in high-sound in the strings and then, in an andante ing but inadequate generalities. At such episode, is sung without mutes and pas times he accused himself of "insincerity"; sionately, the violins sweeping up to attack perhaps we could better call it attitudiniz the note at its peak. This theme dies away ing to cover his own vague understanding. in another long descent into the depths of Only nis music was "sincere" - that is, the bassoon. And now the first theme re when he was at his best and satisfied with turns in its agitated rhythmic form and it, as in the " Pathetique". He wrote to works up at length to violent and frenzied Davidov, to whom he was to dedicate the utterance. Another tense pause (these symphony. "I certainly regard it as quite pauses are very characteristic of this dra the best - and especially the most sin matic symphony) and the second theme cere -of all my works. I love it as I never returns, in a passionate outpouring from loved any one of my musical offspring the violins. Its message is conclusive, and before." Here is a case where the artist at last passion is dispersed as the strings can express himself as the non-artist can give out soft descending pizzicato scales not; more clearly even than he consciously of B mapor. The strife of this movement, knows himself. with its questionings and its outbreaks, is at last resolved. The final impression of the "Pathetic" symphony when it is I istened to without The second movement, an allegro con preconceptions is anything but pessimistic. grazia in 5/4 rhythm throughout, has relics DECEMBER 1969 I BROOKLYN ACADEMY OF MUSIC I 13 of the traditional scherzo in its repeats, movement begins. With its melodic des trio and "da capo" but there is nothing cent, its dissonant chords, the symphony scherzo-like in its mood. It moves at a here reaches its darkest moments. Then steady, even pace, gracefully melodic, a comes the answering theme in a gentle foil to the great variety of tempo and the and luminous D major. "Con lenezza e extreme contrasts of the movement before. devozione", the composer directs, lest we The main section offers a relief from mel miss its character of "gentleness and devo ancholy, and only the trio, with its constant tion". The theme is sung by the strings descent and its reiteration of drumbeats, over soft pulsations from the horns. The throws a light cloud over the whole. Here anguished opening theme returns in more there is another verbal clue: "Sweetly and impassioned voice than before. But when plaintively" ("Con dolcezza e flebi le"). this voice has lapsed into silence in the dramatic way which by this time has be After the placidity of this movement, the come inevitable, there comes a chain of third bursts upon the scene with shattering soft trombone chords that might well have effect. It seems to pick up the f itful been labelled "con devozione", and once storminess of the first movement and more there is heard the quiet descending gather it up into a steady frenzy. Again scale theme by the muted strings. Now the strings keep up a constant agitation passion is gone as well as violence, as the as the brass strides through fragments of melody descends into the deepest register a martial theme. Pomp is here, with clash of the cellos and melts into silence. If the ing cymbals. But when with a final abrupt composer ends darkly, he is at least at outburst the movement has ended, the peace with himself. Resignation is a frenzies of defiance (if such it is) are strange word to use for Tchaikovsky, but completely spent. it seems to fit here. Again the complete contrast of a dark Program notes copyright © 1969 lamentation in the strings, as the last by Boston Symphony Orchestra, Inc. 14 I BROOKLYN ACADEMY OF MUSIC I DECEMBER 1969 FUTURE PERFORMANCES IN THE ACADEMY ORCHESTRA SERIES Thursday, February 5 Boston Symphony Orchestra c:audio Abbado, conducting Alexis Weissenberg, soloist Webern-Five Pieces for Orchestra, Op. 10 Bartok-Piano Concerto No. 2 Schumann-Symphony No. 4 in D Minor Thursday, February 26 Boston Symphony Orchestra Colin Davis, conducting Ingrid Haebler, soloist Mozart- Overture to "ldomeneo" Mozart- Piano Concerto in D Major, K 537 "Coronation" Elgar- Symphony No. 1 in A Fl at Thursday, April 16 Pittsburgh Symphony Orchestra Lukas Foss, conducting Lukas Foss, Bernard Goldberg and Fritz Spiegal, soloists Bach-Schoenberg-St. Anne's Fu gue Foss- Phorion Bach- Brandenburg Concerto No.5 for Piano, Flute and Violin Saint-Saens- Symphony No.3 inC Minor, Op. 78, "The Organ" Starting Times 8:30 P.M. 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