THE BROOKLYN PHILHARMONIA Cl•"'"u,, )I•• r~:· !'
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MANHATTAN • DOWNTOWN BROOKLYN • BENSONHURST • FLATBUSH CONEY ISLAND • KINGS PLAZA · ·VALLEY STREAM • MASSAPEQUA HUNTINGTON STATION BAM BROOKLYN ACADEMY OF MUSIC
OPERA HOUSE Friday, March 28, 1980 at 8:00pm Saturday, March 29, 1980 at 8:00pm Sunday, March 30, 1980 at 3:00pm
THE BROOKLYN PHILHARMONIA Lukas Foss, Music Director
Twenty-sixth Season 1979/80 LUKAS FOSS Conductor LYNN HARRELL Cellist Music by HAYDN and BEETHOVEN
Beethoven Musik zu einem Ritterballet (1790) Haydn Symphony No. 60 inC Major {fl Distratto) {1774) 1. Adagio 2. Andante 3. Menuetto e trio 4. Presto 5. Adagio [di Lamentatione) 6. Finale prestissimo
INTERMISSION Haydn Concerto inC Major for Cello and Orch., Hob Vllb, No.1 1. Moderato 2. Adagio 3. Allegro molto LYNN HARRELL, cello Beethoven Symphony No. 8 in F Major, Op. 93 {1812) 1. Allegro vivace e con brio 2. Allegretto scherzando 3. Tempo di minuetto 4. Allegro vivace
The Baldwin is the official piano of the Brooklyn Ph ilharmonia.
This concert was made possible in part with public funds from the City of New York. Department of Cultural Affairs Administration, the New York State Council on the Arts. and the National Endowment for the Arts. THE PROGRAM
FRANZ JOSEPH HAYON {1732-1809) , "Papa ly: dying away), and the strings sink to near in repeats it eight times, placing the word Allegro Haydn," as he was affectionately called, is audibility, followed by a sudden forte in the after the fourth entry, so that there is no doubt renowned for his instrumental composi recapitulation, the thunder of the kettledrum that we are witnessing on paper one of the first tions-keyboard sonatas, string quartets and adds to the surprise. attempts to write an accelerando. The effect is more than a hundred symphonies-as well as "The second movement is already saturated delighfully bizarre, but the Finale has new and some exceptionally fine choral music. Along with the spirit of the evening. The opening even more insane tricks in store for us. Starting with Mozart and Beethoven, Haydn is one of theme is broken off by rude fanfares, given to out with triplet quavers in two-four time-the the main representatives of the Classical style. oboes, horns and divided violas-the first in music barely gets under way before everything Haydn began studying music as a young boy stance of the latter in a Haydn symphony. The stops dead in order that the violinists may tune and supported himself through a number of fanfare instruments do not otherwise con their instruments, their G-strings having been musical posts, beginning at the age of eight as a tribute to the movement. This dualistic, found to be F-strings! The music proceeds and choirboy in the famous choir of St . Stephen's zerstreute principle is continued throughout the then again breaks off, this time to introduce a Cathedral in Vienna. In 1761 he began working A ndante; once the horns forget their role and favorite Slavonic melody which Haydn had for the family of his most important patron, scream across the texture in a fanfare of their used earlier in a Divertimento a Nove {c. 17611 Prince Nikolaus Esterhazy, at Eisenstadt and in own. In the middle of the second section, there and the music races along to its brillant and the course of the next thirty years Haydn appears a new melody which is simply an breathtaking conclusion ." became Austria's most highly regarded com nounced and promptly dropped; in the old poser. In 1791 he went to England at the invita French editions of the Symphony, the first Concerto in C Major for Cello tion of the German-born English impresario, violin part carried a note, printed under this and Orchestra, Hob . Vllb, No. 1 Johann Peter Salomon {1745-1815). During his theme, "Ancien chant francois". There had been speculation about the C major year-and-a-half's stay there and on a second "The trio of the ensuing minuet turns to the cello concerto for nearly 200 years based on trip in 1794, Haydn wrote his Symphonies Balkans for its melodic inspirations, with the entry in the Entwurf-Catalogue which Nos. 93-104, which include many of his finest Hungarian alternations of tonic and dominant Haydn began to compile about 1765. In 1961 works in the form. Late in life, Haydn turned minor. The next movement is where Oldrich Pulkert, a Czech musicologist and to choral music; between 1796 and 1802 he everything happens. This Presto, in C minor, member of the musical division of the Prague wrote two splendid oratorios {The Creation, The seems at first to be constructed along the lines National Museum, discovered a hitherto Seasons), six Masses and the hymn that became of the nervous, tense and headlong finales of anonymous composition in the Catalogue that Austria's national anthem {Gott erhalte Franz Symphonies No. 49, 52 or 59; a highly proved to be the long-sought C major concerto. den Kasier, God sustain our Emperor Franz). rhythmic first subject leads, upon its entry into Subsequently, Dr. Georg Feder, director of the the relative major, to furious repeated semi Joseph Haydn Institute in Cologne, Germany, Symphony No. 60 in C Major {II Distrattol quavers in the violins with a marching bass confirmed its authenticity. The Concerto, a In 1774, a group of traveling actors brought a line in quavers. In the second part, Haydn product of Haydn's early period, was compos French comedy, Le Distrait, by J.F. Regnard begins to hurl Balkan melodies at us; in the ed sometime in the early 1760's. {1655-17091 to the Esterhazy Castle. Haydn middle of one of these, the music jumps from F Throughout the entire existence of the was persuaded to write incidental music, and minor to E flat major, making simultaneous Esterhazy Orchestra many Czech musicians the play was given under the German title of parallel fifths and octaves, and the stamping, were among its members. The violins!, F. Der Zerstreute. The production was a success peasant dance is continued without interrup Mrav, was a member of Count Kolowrat's and Haydn extracted the overture and other tion in the new key. Instead of a recapitulation, Prague Orchestra before joining the Ester hazy numbers to make a "symphony", giving it the Haydn turns to the tonic major, and the brass Orchestra. The Radenin Collection in which Italian subtitle, II Distratto. "Absent-minded" and drums enter, supporting a new Slavonic the concerto was found contains mostly or "distracted" are more accurate words to melody. This is perhaps the most characteristic manuscripts which were formerly part of the describe the title than "distraught." Balkan tune of all, and with it Haydn rushes Kolowrat collection. This collection included The symphony is scored for Haydn's headlong to a close. about 30 cello concertos and among them customary C major orchestra and has two "The beautiful F major Adagio," continued Haydn's C major cello concerto was found. more movements than the average symphony Landon, "bears the subtitle di Lamentatione in The existence in the Radenin Collection of of the time. old manuscript parts in the Benedictine another Concerto for Violin, copied by the "The first movement," wrote H.C. Robbins Monastery of Melk. Oboe and violins intone same hand and composed by Joseph Weigl Landon, "begins with a majestic slow introduc the sweet, grave melody, but in the midst of {174 0-1820), a cellist in the orchestra for Prince tion {Adagio) and was undoubtedly intended as this visit to still, Gothic cloisters, the horns, Esterhazy from 1761 to 1769, leads us to the overture to the evening's entertainment. In trumpets and drums {previously silent in this believe that the Concerto in C was dedicated to the midst of the exposition, however, occurs a movement) charge into the sequestered calm and first performed by Weigl. remarkable dynamic effect, showing us that with a frightfu l, war-like fanfare, dragging the The first movement, Moderato, is a highly we may expect all sorts of surprises later in the rest of the orchestra with them. At the end of modified sonata-allegro fo rm. In the introduc evening: the score is marked perdendosi {literal- the movement, Haydn takes a small motif and tory 21 -bar tutti, Haydn exposes all the TO OUR AUDIENCES
The Brooklyn Philharmonia's 1979180 season has met with enthusiastic response and excellent critical reception. As with all arts organizations, however, even full houses do not meet our costs. Each ticket is in fact a subsidized ticket since the actual cost of putting on the concerts is more than twice what is charged at the Box Office. If you can afford to help us pay the difference. and perhaps even a share for those who cannot afford it, please send your tax deductible contribution to The Brooklyn Philharmonia, 30 Lafayette Avenue, Brooklyn, N.Y. 11217. If you wish further information with regard to gifts or bequests, you or your attorney may write to us at the above address. Copies of our most recent annual report are available. Any new or increased contribution will help us match the 550.000 National Endowment for the Arts, ""Challenge Grant"" for which we are now eligible. We thank you for your support of Brooklyn"s major musical institution.
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thematic material of the entire movement. This Musik zu einem Ritterballet symphonies). is then played by the solo instrument, enriched The music of the Ritterballet presented by the In the following Allegretto scherzando the end in brief episodes chief! y of a technical nobility on Carnival Sunday, March 6, 1791, comes with an almost perfunctory abruptness character in the development and recapitula· was ostensibly by Count Waldstein, but in after the strong subdominant stress in the tion lopened by the solo cello). The themes of reality by Beethoven. It was produced by coda. This Allegretto scherzando is a supposed both outer sections do not provide for a rich Waldstein and the ballet master Habich from tribute to Beethoven's friend Miilzel, the inven unfolding of thematic work, and it seems that Cologne and turns out to be the only orchestral tor of the metronome. It is in sonata form but Haydn viewed them more as material for im· work of Beethoven's that his contemporaries without development . Beethoven compensates provisation rather than as a basis for composi in Bonn heard. It is .also significant that for the lack of development by varying the tional evolution. The main theme of this first Beethoven, barely twenty years old, had such opening material on its restatement. The movement is not heard twice in the same form. complete mastery of the orchestra. character of the movement is largely due to the The second movement, A dagio, is in ternary "The music," said J.G. Prod'homme, "for orchestration. Brief antiphonal phrases on the form and is, without doubt, the important part the Ritterballet (Knight's Ballet) was made up of strings against a quiet reiterated-chord of the entire concerto. It is in F major with the eight short pieces, most of them with repeats background create a texture of singular effect. middle sections in the dominant. It is a perfect or da capo. A march in D major served as the The Tempo di Menuetto is not so much a rever example of Haydn's "musique galante" in introduction, followed by a German Song sion to the eighteenth-century minuet as a which a delicate cantilena is stated as melodic (Deutscher Gesangj in the same key, two meditation on it. The orchestration and fragments and takes clever advantage of all the phrases of eight measures, which were melodic lines reflect Beethoven's maturity. possibilities of the solo instrument. repeated after each piece. This was followed Tovey described the final Allegro vivace as The final movement, Allegro molto, is of a dif by a hunting air in D, repeated four times 1129 'one of Beethoven's most gigantic creations'. It ferent character. While not as concentrated as measures in all) which permitted, and justly so, is a completely unified structure, yet it appears the first movement, it moves forward briskly. the horns and clarinets to show off their vir to be almost intentionally allusive. It recalls the The solo part now becomes thematically in tuosity. A Romanze Andantino in 3/8 follows in first movement in its unexpected juxtaposi dependent, ·the modulations more enriched B minor, accompanied by the pizzicati of the tions of key and dynamics, in the octave figure and greater emphasis is placed on the strings. This romance or Minnelied (Love Song) of the timpani which accompanies the first homophonic character of the composition. is followed by a boisterous Song of War in subject on its return and in the modulating The solo instrument also plays t.he ripieno which the horns, trumpets and timpani re second subject. The coda is almost as long as bass part besides its own solo passages. This sound. A Drinking Song, two phrases of eight the rest of the movement 1234 bars out of 502) practice was quite current in the period and measures, for flutes, clarinets, horns, and crowns the whole work with its vigor. was an absolute necessity in the Esterhazy Or trumpets, timpani and strings, follows, then a The work is scored for 2 Flutes, 2 Clarinets, 2 chestra, somewhat limited in string in Trio in C for piccolo and violins, leading to a Oboes, 2 Bassoons, 2 Horns, 2 Trumpets, Tim struments. repetition of the initial theme, completes No.6. pani and Strings. "No.7 is a German Dance in 3/8 for clarinet, Ludwig van Beethoven horn and strings. A "D" which is obstinately Beethovenl1770-1827) was a German com repeated by the bass makes the waltz Notes compiled by William Canaday poser whose nine symphonies and numerous somewhat of a musette. An allegro vivace coda, piano and chamber compositions mark him as intersected by an andantino, where for the fifth one of the outstanding composers of Western and last time the German Song is heard, makes music. Beethoven's father was a musician, as a brilliant finale for the entire spectacle." was one of his grandfathers, and he studied the piano, violin, harpsichord and organ . He was Symphony No. 8 in F Major, Op. 93 playing in the court orchestra in his native city The Eighth Symphony was written at the end of Bonn by the time he was thirteen. He then of the second of the three periods into which studied in Vienna with Haydn and with Johann Beethoven's creative life is usually divided. Albrechtsberger 11736-1809). giving his first The work is a compact piece in classical form, public piano concert there in 1795. Beethoven and for nearly two years after its first perfor remained in Vienna for the rest of his life. mance Beethoven composed almost no music When he was about thirty years old he began at all. It is as though he felt that the old forms to lose his hearing. Gradually forced to give up were no longer sufficient las though he was his career as a pianist, he devoted himself more marshalling his forces for his final series of pro and more to composing. Although he was total digious compositions in new forms: the Ninth ly deaf by about 1824, this handicap did not Symphony and the last piano sonatas and prevent him from composing some of his quartets) . greatest works during the remaining three "Beethoven's own public did not revel in the years of his life. Unlike many composers, work's surpassing wit or relish its formal, Beethoven was almost as highly regarded dur Haydnesque bluster," wrote Orrin Howard, ing his lifetime as he was after his death . "and critics thought the Eighth 'too small.' Fur Beethoven's work- a large body of composi ther, they complained that it lacked classical tions in virtually every form-bridges the logic, for, after all, it had no slow movement. classical and romantic periods of music Instead, Beethoven roguishly inserted an history. His work is often divided into three Allegro scherzando where a serious movement periods. To the first period, in which was expected, and insisted upon its being un Beethoven largely followed the classical compromisingly trivial in the bargain." EDUCATIONAL models of Mozart and Haydn, belong the com Unusual treatment of the fam iliar CENTER LTD. positions written up to about 1800, which in characterizes the first movement, Allegro cludes his first two symphonies, the first three vivance e con brio. The main motive which TEST PREPARATION SPECIALISTS of his five piano concertos, twelve of his thirty forms the basis of the development, is not SINCE 1938 two piano sonatas, six of his sixteen string heard again in the exposition, a treatment Visit Any Center And See For Your•lf quartets and the Kreutzer Sonata for violin. In without precedent in the symphonies. The Why We Meke The Difference his second period lc. 1800-c. 1815) Beethoven whole twelve-bar section is composed of three Call Days, Eves & Weekends pushed the classical forms to their furthest ex four-bar phrases. At the point of recapitulation Beethoven regularizes the phrase structure by Brooklyn-12121 336-5300 treme, especially in his methods of develop· 1675 E.16 StrMt 11229 ment of themes. To this period belong his Sym juxtaposing antecedent and consequent in the phonies Nos.3 through 8, the opera Fidelio, the normal way. A similar transformation is ap Manhattan-I212197HJ200 four Lenore Overtures, incidental music for the plied to the tonality of the second subject on its 131 W.56 Street 10019 play Egmont, Piano Concertos Nos. 4 and 5, his return. The twelve-bar paragraph of the open For Information About Other Centers Violin Concerto, fifteen piano sonatas and five ing has its influence on the development, the In More Than 80 Major U .S. Cities & string quartets. The last reriod (c. 1815-18271 fi rst part of which is made up of twelve-bar Abroad- Outside N .Y . State saw the compositions o his Symphony No.9 sections, combining the main motive with an lcalled the Choral Symphony, because of its octave figure derived from the closing bars of CAll TOll FREE choral finale) , the Missa Solemnis IMass), five the exposition Ithis is one of the rare examples 800-223-1782 piano sonatas and the last five string quartets. o f a Hayd nesqu e technique in the THE ARTISTS
Considered a musical Wunderkind, Lukas Foss Angeles Philharmonic, was active in the Most· highlighted by performances with the New at the age of 18 was already a graduate of the ly Mozart Festival in New York, and fo r two York Philharmonic and the Atlanta Symphony. Curtis Institute of Music where he studied con· years was Director of the New York Philhar· His recital schedule includes a joint concert ducting with Fritz Reiner. Shortly after he was monic's summer festival concerts at Lincoln with Vladimir Ashkenazy on Lincoln Center's taken under the wing of the famous conductor, Center. He is one of the country's leading com· Great Performers Series and a Boston recital. Serge Koussevitzky, at the Berkshire Music posers, as well as conductors, and has received Also this season he will tour Israel with the Center at Tanglewood. Foss also studied at the numerous commissions and awards. He is cur· Israel Philharmonic and record the complete Yale School of Music in its heyday under rently Music Director of the Brooklyn Philhar· Brahms Cello Sonatas with Vladimir Hindemith. A "renaissance" musician, Foss is monia. Ashkenazy. Winner of the first Avery Fisher equally at home as a composer, conductor, One of the finest musicians performing to· Award, Lynn Harrell is also known to music teacher, and concert pianist. He has been con· day, Lynn Harrell's artistry has captured ac· lovers for his several recordings. His first tinually at the forefront of contemporary claim from critics and audiences all over the album of the Dvorak Cello Concerto was music, yet the broad range of programs he con· United States and Europe. Mr. Harrell has nominated for a Grammy Award. Since then ducts runs the gamut from renaissance and played repeatedly with the world's major or· he has made three recital albums with James classical,through romantic and up to the most chestras including those of New York, Levine including the complete Beethoven avant-garde. He was music advisor and con· Chicago, Cleveland, Los Angeles, Philadelphia, Cello Sonatas. ductor of the Jerusalem Symphony in Isr-ael for London, Vienna, Paris and Israel. Last season Lynn Harrell is the son of Mack Harrell, one five years and has guest conducted orchestras was highlighted by his debut with the Berlin of America's finest baritones who died the day such as the Berlin Philharmonic, the Leningrad Philharmonic and performances with the before his son's 16th birthday. The cellist com· Symphony, the Tokyo Philharmonic, and the Boston Symphony, Cleveland Orchestra, Vien· mented on his early development in a recent Santa Cecilia Orchestra in Rome, among na Philharmonic and the Stockholm Philhar· New York Times' interview: "My father was others. In this country, he had conducted monic. He has given recitals in London, not an influence on me musically while he was almost all the major orchestras, including the Chicago and Paris and repeated his enormous· alive. Years later, I started to listen to vocal Chicago, New York, Boston, and Cleveland or· ly successful series, "Lynn Harrell qnd records, playing along with the singers in order chestras. He was Music Director of the Buffalo Friends" on Lincoln Center's Great Performers to improve my phrasing. Some of the records Philharmonic from 1963-70, at which time he Series. Mr. Harrell's summer activities include were by my father. I had had no idea how great made the city a focus of national attention and appearances at the Ravinia Festival, the he was as an artist and I was thunderstruck by a mecca for composers and performers. Prior Meadowbrook Festival and the Hollywood his singing. Sometimes now I feel a resent· to this, he had the honor of being named suc· Bowl. During the 1979-80 season he appears ment, an anger at fate, when I think of how cessor to Arnold Schoenberg as Professor of with the London Symphony under Bernard much I could have learned from him if he had Composition at UCLA, a post he held for ten Haitink, and with the Bavarian Radio Or· lived." Now critics all over the world applaud years. He recently directed twelve marathon chestra under De Waart. In this country, his Lynn Harrell's " beautiful singing sound." concerts at the Hollywood Bowl with the Los numerous orchestral appearances are jSaturday Review)
ORCHESTRA PERSONNEL
First Violin Ronald Carbone Oboe Harry Glickman, concertmaster Susan Winterbottom Henry Schuman, principal Ruth Waterman,assistant concertmaster Stephanie Fricker Nora Post Benjamin Hudson Anthony Cofield Clarinet Carol Zeavin Veronica Salas John Moses, principal Peter Sacco Mitchell Weiss Joanna Jenner Cello Bassoon Arthur Bogin Warren Lash, principal Frank Morelli, principal Glenn Paez Barry Gold Bernadette Zirkuli Winterton Garvey Mark Rudoff Peter Rosenfeld Horn Fumiko Wellington Paul Ingraham, principal Second Violin Gabriel Morales Eddie Seaman Francisco Donaruma Ronald Oakland, principal Trumpet Lenard Rivlin Wi)mer Wise, principal Marion Guest Bass Henry Nowak Eugenie Seid Kenneth Fricker, principal Michael Willens Timpani Beth Cohen Richard Fitz Sherman Goldscheid Janet Conway Lucy Morganstern Melanie Punter Sandra Billingslea Librarian Viola Flute Andrew Seligson Janet Lyman, principal Paul Dunkel, principal Contractor David Sills Karen Purpura Moses Samuel Levitan BAM BROOKLYN ACADEMY OF MUSIC
OPERA HOUSE Friday, May 2, 1980 at 8:00pm Saturday, May 3, 1980 at 8:00pm Sunday, May 4, 1980 at 3:00pm
THE BROOKLYN PHILHARMONIA Lukas Foss, Director
Twenty-sixth Season 1979/80
LUKAS FOSS Conductor
STEVEN DE GROOTE Pianist
Music by RACHMANINOFF and SAINT-SAENS
Rachmaninoff The Rock (Fantasy for Orchestra, Op. 7) Concerto No. 2 inC Minor for Piano and Orch., Op. 18 I Allegro moderato II Adagio sostenuto III Allegro scherzando STEVEN DE GROOTE, piano INTERMISSION
Saint-Saens Symphony No. 3 inC Minor, Op. 78 (Organ)
I Adagio Allegro moderato II Allegro moderato Presto Maestoso
Mr. De Groote plays the BOsendorfer Piano
The Baldwin is the official piano of the Brooklyn Philharmonia
This concert was made possible in part with public funds from the City of New York. Dept. of Cultural Affairs Administration, the New York State Council on the Arts, and the National Endowment for the Arts. THE PROGRAM
Sergei Rachmaninoff (1873-1943) was a Rus· significance for Rachmaninoff at the time, and ween F-minor and C-minor, already quoting sian pianist and composer who wrote a was, in modified form, the subject of the varia the main theme's consequent, leads to the number of works that have become part of the tion movement of the 'Trio elegiaque,' Op. 9 Allegro moderato in sonata form. The restless standard piano repertory. Rachmaninoff that he was soon to write in Tchaikovsky's main theme in bustling semi-quavers is strik· studied at the St. Petersburg jnow Leningrad) memory." ingly reminiscent of the opening of Schubert's and Moscow conservatories. At the age of The Rock, Op. 7, was first performed on Unfinished though the movement as a whole twenty he wrote one of the most popular piano March 20, 1894, in Moscow and conducted by be it only because of its six-eight pulse, rather pieces ever written, the Prelude in C-sharp Vasily Safonov. recalls the Mendelssohn of the Scotch Sym minor, op. 3, No. 2. In time Rachmaninoff Piano Concerto No.2 inC Minor, Op. 18 phony. The second melodic theme, in a "ly· became known as a virtuoso pianist and toured dian" D-flat major !thus with G instead of the world, giving concerts. In 1917 he left I Allegro moderato. There is no orchestral in Russia, settling first in Switzerland and later in troduction to this concerto. The soloist plays a G-flat) only shows up towards the end of the the United States. Most of his best-known com sequence of ei~ht chords in increasing intensi· exposition, which closes in F-major. The positions were written before his departure. ty that lead d1rectly to the principal subject. development section starts with a rhythmic Rachmaninoff's music continued the tradition This, marked con passione, is played by the up· transformation of the main theme and builds of Tchaikovsky whom he greatly admired. Like per strings and the piano jin a subsidiary role) up a growing tension leading to the forceful Tchaikovsky's music, Rachmaninoff's works adding a series of arpeggios. A lyrical second and much shortened recapitulation, which dies are highly melodic and often melancholy in subject, played by the soloist follows a transi· away mysteriously. A soft, low A-flat of the tional passage for violas and clarinets. The organ pedal introduces the quiet and lofty Poco mood, but his writing for piano is technically development is based, mainly, on the first sub as brilliant as that of Liszt. Although he wrote a Adagio in D-flat major whose wealthy string ject and ~ives the soloist an opportunity to great many works, he is remembered largely display h1s technical eclat and power. The melody receives a development of according for one symphonic poem, The Isle of the Dead, recapitulation, which Rachmaninoff marked broadness. The middle-part consists of a his four piano concertos !especially No. 2), maestoso alia marcia, has no formal cadenza polyphonic variation of the adorned melody, preludes and other short piano works, a set of after which plucked low strings allude to the twenty-fou r variations for piano and orchestra and the music proceeds directly to the coda. II Adagio sostenuto. Four introductory bars of Symphony's basic theme amid mysterious and Rhapsody on a Th~me of Paganini. ethereal orchestral music function as the tran twilight. Their uncanny beat accompanies the The Rock !Fantasy for Orchestra, Op. 7) sition from the opening movement, C minor to recapitulation of the D-flat major tune. The Rachmaninoff attended a "musicale" in E major, the key of the slow movement. The coda introduces a new idea, derived from the September of 1893 at the home of his former flute and clarinet state the first theme to the ac falling chromatic line motive, and the Sym teacher Taneyev. Among the guests were Leo companiment of the piano. The middle section, phony's first main part vanishes in in· Conus, Ippolitov-Ivanov and Tchaikovsky and greatly animated, has two themes that are used conclusive remoteness. the main event was the playing of a four-hand in alternation and they in turn culminate in a " Part Two starts with a sturdy Scherzo in arrangement of a new symphony by Tchaikov cadenza-like interlude for the soloist. The C-minor {Allegro moderato}," continues Mr. sky jlater called the Pathetique). Later in the piano's original accompaniment pattern and Halbreich, " which soon includes the rhythmic evening Rachmaninoff played his newly com the main theme is heard again via the strings. metamorphosis of the basic theme. In the very pleted symphonic poem, The Rock. According In the coda, a new variant of the theme is nimb,le Trio !Presto, C-major), whose wood· shared by the soloist and strings and the sec wind theme again includes a falling chromatic to Ippolitov-lvanov, "The poem pleased us all tion draws to an enchanting close. very much, especially Pyotr lllyich jTchaikov Ill Allegro scherzando. There is a return to the line, the piano appears for the first time, per· sky) who was enthusiastic over its color· key of C minor by way of twelve bars of or· forming glittering runs. Two string melodies fulness." chestral introduction. A brilliant cadenza leads take part in the development. After the Rachmaninoff has left us two alternate in· to a rhythmic version of the concerto's opening Scherzo's return, it seems as if the Trio is going dications as to the program of The Rock. lri a chords and to the finale's vigorous first subject. to follow too, but trombones and tuba underlay note on the published score, he wrote: "This The well-known second subject is heralded by a new and solemn theme, derived from a fantasy is written under the impression of Ler· a broad, slow version by the piano. A trans!· variant of the main theme of this movement. montov's poem, The Rock. He then chose as tiona! passage consisting of a triplet version of With the assistance of the strings, it gradually epigraph for his composition the opening lines the first theme on the piano accompanied by gathers strength, whereas the Trio's frolics soft of Lermontov's poem: brushed cymbals lead to further variants of the ly vanish, after some time of coexistence of "The little golden cloud spent the night main theme including a short fugato . The se· both sorts of music. Amid collected silence, the cond subject returns in D-flat and subsequent On the chest of the giant crag." strings expose their theme in three-part canon. ly a repetition of the triplet figure of the transi A stealthy allusion to the basic theme stops on ~ The remainder of the poem details the little tion leads to a dazzling conclusion of the work a pedal point. Suddenly the full organ sounds a cloud's floating away at dawn, leaving the inC major. -~ powerful C-major chord. The solemn theme mountain alone in the desert to think deep Camille Saint-Saens !1835-1921) was trained asserts itself in imitations in a heavy six-four thoughts and weep. as a pianist and organist and was very influen-· beat {Maestoso}. It is answered by a hymn of -- In 1899 Rachmaninoff inscribed a copy of tial in the French musical world. He perform the strings, a transfiguration of the basic theme the printed score to Chekhov, who had written ed, taught !his most famous pupil was Gabriel - into the major mode, surrounded by arpeggios a story with the same Lermontov epigraph: Faure), founded a national music society to en of the piano !four-handed). This repeated in the "To dear and highly esteemed Anton courage French composers, conducted and pompous splendor of a processional, supported Pavlovich Chekhov, the author of the story wrote a number of books !most of them on by full organ sound. Now the actual Finale 'Along the Way', the contents of which served music, but also two books of poems). His com {Allegro} starts with a fugal exposition of the as program for this musical composition." positions are in the romantic tradition of Liszt In Chekhov's tale, two travelers on major variant of the basic theme accelerated to and other nineteenth-century composers. Of stamping dactylic rhythms. A transition in the Christmas Eve meet by chance while taking his dozen or so operas, only Samson et Dalila form of a modulating organ chorale (it contains refuge from a howling blizzard in a roadside (1877) is part of the current repertory of most a Dies I rae quote) leads to the very beautiful se inn. One is a gruff man of middle age whose opera houses. Also well known are his in life till now has been a failure !"the giant strumental suite, Le Carnaval des animaux {The cond theme in 8-major, whose rising melody, treated in imitated writing, alternatingly ap· rock"). The other is a fragile and lovely young Carnival of the Animals), which he wrote in woman !"the golden cloud''). As he tells her of 1886 but did not allow to be published until pears in D-major. A development of the dac tylic theme and the solemn theme combined his life, she feels pity and tenderness for him. after his death, the symphonic poem Dance But when morning arrives, she continues on macabre {Dance of Death} and his Cello Cancer· rises up to a new metamorphosis of the basic theme as a dazzling paen of triumph, supported her way, and he stands watching until her to No. 1. Saint Saens was particularly skilled at by the relentless dactylic hammering. The sleigh has vanished in the snow, settling upon orchestration, and his use of instruments often him, gives him the appearance of a !onley reveals a delightful sense of humor. His works modulating chorale, the second theme and the white crag. include, besides those mentioned, three sym· development are duly repeated, leading "Tchaikovsky," wrote Max Harrison, "of phonies, concertos !piano, violin, cello). through a last progression to the overwhelming fered to include 'The Rock' in the programs of chamber music, choral works and songs. coda in broad 3/1 time, bringing the various his European tour planned for the 1893-94 . Symphony No. 3 in C Minor, themes in the full splendor of organ and or· season, but his death prevented it ... Op. 78 (Organ) chestral souild to a crowning climax in "The theme, a minor-keyed two-bar motive, "A quiet A dagio introduction of only eleven C-major. a ppears to have possessed a special bars," wrote H . Halbreich, "hesitating bet· Notes compiled by William Canaday TO OUR AUDIBNC'F.S The Brooklyn Philharmonia's 1979/80 season has met with enthusiastic response and excellent critical reception. As wi th~~ arts organizations, however, even full houses do not meet our costs. Each ticket is in fact a subsidized ticket since the actual cost of putting on the concerts is more than twice what is charged at the Box Office. If you can afford to help us pay the difference, and perhaps even a share for those who cannot afford it, please send your tax deductible contribution to The Brooklyn Philharmonia, 30 Lafayette Avenue, Brooklyn, N.Y. 11217. If you wish furth er information with regard to gifts or bequests, you or your attorney may write to us at the above address. Copies of our moS~: rec~nt annual report are available. Any new or increased contribution will help us mat ch the SSO.OOO National Endowment for the ~ . "Challenge Grant" for which we are now eligible. We thank yo~ for your SUeJ><>r! of Brooklyn's major musical institution. Slowly it's beginning to dawn on between business and the local people are returning to the city. people that the city just may be a sane community. Property values are on the rise. Neigh alternative to gasoline shortages, Creating affordable housing by borhoods are on the upswing. And the out-of-sight property taxes and encouraging private investment in outlook for business is definitely weekend marriages. neighborhoods is the key to Brooklyn's improving. Slowly it's beginning to dawn on renaissance. Cinderella, a Brooklyn But we've barely scratched the people that the city has possibilities Union and community sponsored surface of the virgin possibilities that waiting to be developed by business restoration program is supporting exist for investment and good living. and by people who prefer the stimula private initiative in the restoration of Why not explore them7 tion of city living. Brooklyn's wealth of 19th century Vic Start by ca lling Fred Rider, our Nowhere are these possi bilities torian townhouses and the conversion Di rector of Cinderella projects or Mike more apparent than in Brooklyn. For of its vacant loft, factory and residen Teatum, our Di rector of Area Develop the past 15 yea rs, Brooklyn has been tial structures, into affordable apart ment at (212) 643-3880. undergoing a t ransformation brought ments and co-ops. about by an enlightened partnership In the process, thousands of @Brooklyn Union Gas Brooklyn.The new land of opportunity. The Big Apple ... popular symbol of New York City, headquarters of M anufacturers Hanover Trust Company. One of the world's leading banks, M anufacturers Hanover has the specialists and facilities-offices throughout metropolitan New York and upstate affiliates as well-to serve the unusual, as well as the usual, banking needs of corporations. If your business is interstate, consider this: we are a leading money center correspondent for over 3,000 U.S. banks. 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M embe r F D IC BAM BROOKLYN ACADEMY OF MUSIC
A Brief History
The original Brooklyn Academy of Duncan, Ignace Paderewski, Anna 148 Hoyt St. Music stood on Montague Street in Pavlova, Fritz Kreisler, Gustav Mahler, ~~~~~(at Bergen) Brooklyn Heights, and opened to the Ellen Terry, Helen Hayes, Lillian Russell, public on January 22, 1861, featuring Ruth Draper, Pablo Casals, Sergei Dine in Victorian elegance Mercadente' s Il Guiramento. There John Rachmaninoff, Vladimir Horowitz, Paul pre ~ after theatre entrees Wilkes Booth appeared in Marble Heart, Robeson, Vaslav Nijinsky, the American and Edwin Booth played Petruchio in debut of Rudolf Nureyev, as well as six - midnight/ closed Monday Katherine and Petruchio; there President regular appearances by ensembles such as French Cuisine Chester Arthur and Governor Grover the New York Philharmonic, the Boston Sinfully Delicious Desserts Cleveland celebrated the opening of the Symphony, and the Metropolitan Opera Wine & Spirits Brooklyn Bridge in 1883; and Stanley cap Company. Audiences also heard lecturers tivated American audiences recounting such as Helen Keller, Admirals Perry and Major Credit Cards Accepted his historic meeting with Livingston. A Byrd, Booker T. Washington, Sherwood Reservations Recommended fire razed the building on November 30, Anderson, Edna St. Vincent Millay, and 858-0400 1903, ending this early period. Gertrude Stein. Within six months of the fire, a group During the last decade, under the of business men, artists, and socialites guidance of BAM president Harvey formed a committee of one hundred and Lichtenstein, the Brooklyn Academy of raised $1 million by subscription to build Music has undergone a major resurgence. another building, this time in the BAM's policy in recent years has been fashionable Fort Greene area. Con develop and sponsor innovative to artists structed of light-colored brick and and companies whose work is of high polychrome terra cotta, the new building quality, and will become identified with was designed by the architectural team of BAM . This at once promotes a Herts and Tallant. A charter member of metropolitan audience, and carries the the League of Historic American banner of Brooklyn and of BAM. Theatres, the Academy is considered an In the last ten years the roster of com outstanding example of Neo-Italian panies and artists at BAM have included: Renaissance style architecture. Designed Peter Brook, Robert Wilson, Eliot Feld, to include an Opera House, a Music Hall, Merce Cunningham, the Chelsea Theater a ballroom, and a lecture hall, as well as Center, Lukas Foss, Scott Nickrenz (direc administrative facilities, the new BAM tor of BAM's Chamber Music Series). Jer opened it doors in 1908. zy Grotowski (Polish Theatre Lab). Soprano Ernestine Schumann-Heink Maurice Bejart, Laura Dean, Lucinda presented ·the first concert in the new Childs, Ian Strasfogel, the Royal Opera House on October 1, 1908. The Shakespeare Company, the Goodspeed Music Hall opened with an organ recital Opera House. Twyla Tharp, the Penn on October 11. The official opening of the sylvania Ballet, the San Francisco Ballet, Opera House was held on November 14, the Young Vic, the Abbey Theatre, the with a production of Charles Gounod' s National Youth Theatre of Great Britain, opera Faust (the same opera that opened · and the Comedie Francaise. This season the original Metropolitan Opera). with marks the opening of the BAM Theater Geraldine Farrar and Enrico Caruso. Company, a classically based repertory Since that time, the Academy has company presenting five outstanding presented such legendary performers as plays, including the American premiere of Maude Adams, Arturo Toscanini, Isadora Maxim Gorky's Barbarians.
Theveryfanals restaurant in Brooklyn. Before evening performances and after weekend matinees at the Brooklyn Academy of Music. The season at the Brooklyn Academy of Music is in full swing. let us make you welcome in the style ~ thats made us a New York tradition for nearly a century. Dine by soft gaslight on your choice of more than 100 savory dishes on our menu, each cooked strictly to order. It's how we came to fame. GAGE&ToLLNER · Brooklyn's Landmark Seafood & Steak House (Est. 1879) 372 Fulton Street (nr Boro Hall). For reservations call879-5181. Open daily.Weekdays 11:30A.M. to9:00 P.M. Saturdays 4:00P.M. to 11 :00 P.M. Sunoays 3:00P.M. to9:00 P.M. Major credit cards. SOME OF THE BEST OF BAM 1979-80 SEASON ~ Old Hungary ;:vN:Yj~ "An authentic Hungarian restau rant right here in Brooklyn." ~ Cocktails, Lunch and Oceanfront Resort Complex, pre-theatre Dinner daily Conference Center, and Now THE NEW INTERNATIONAL Live Piano Music Nightly HEALTH & BEAUTY SPA. Major Credit Cards Accepted The most unique spa in America Truly a European spa! 142 Montague St. 625-1649 ThalassoTherapy, Vichy Rooms. Inhalation Rooms, Italian Fango, Roman Baths. Swedish and Oriental Massages, King·Sized BROOKLYN Indoor Heated Salt Water Pool, Herbal Wraps, Unpolluted Ocean Water from our own Beach front HAS IT ALL! used in all Treatment Facilities. CALL US FOR FREE ASSISTANCE Open All Year WE'LL HELP YOU LOCATE IT Montauk, Long Island "She uses octave jumps, tremolos and other decorative devices "The Pennsylvania Ballet is an aristocrat of ballet companies." Jeffrey Gribler and Adam Miller in Concerto Grosso " A distinguised choice ...th e Dodger Theater begins its second NEW YO RK YELL OW PAGES. INC. 212·895-6400 or 516-668·2345 and sings with feeling and directness," Robert Palmer wrote of Jack Anderson, New York Times Photo by Michael McGuire season, auspiciously," Mel Gussow, New York Times. The singer Hazel Dickens in the March 12, 1979 New York Times, Dodger Theater at BAM presented Brent Spiner )left ) and Jon Joyce and Nick Monte when she appeared as part of BAM's Country Music Series. BAM Spring Season-May 6-11, 1980 Polito )right) in Slawomir Mrozek's Emigres, directed by Andre Ms. Dickens returns again to open the 1980 Country Music Ernotte. citypHOone® Series with the Red Clay Ramblers on March 7, 1980. Photo by Tom Caravaglia Keepers of the Inn BAM Country Music Se ries-Ma rch 7-8, 28-29, April 18-19, 1980 675-0900 Call After 10 A.M . Weekdays BROOKLYN's Biggest a Best Florists Polytechnic offers More books for part-time graduate vfk§!veJn your money. programs in Science, , I , , .. . ''"'' Enui•ering and ,,, :,II II And more music, too. Mathematics -~ ~~~~ ... .,...._ ·. Cam puses in Brooklyn. iii ti11niltl.~i·.·. iiii Long Island and Westchester. Sale Annex, 128 Fifth Avenue (at 18th Street) For complete information, call Ms. Edna Samsen at (212) 643-3292. Flowers, plants and t baskets Mon.-Fri. 9: 4 5-6:4 5. Sar. 9:45-6, Sun. 10-5. for all occuiom l PARNES Rockefeller Center. 600 Fifth Avenue (at 48th Street) (212) 768·6770 25th Street && Mon.-Wed., Fri. 9:45-6:45, Thurs. 9:45-8, 768·0800 5th Awnue &f\DBLE Sat. 9:45-6. 'Sun. J1- 5. }
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t Accounting and Management tliberal Arts tTeacher Education tHealth Science and Health J'he Winter's Tale Care Feb 12·17, 29-Mar 2, 7-9 11·13. 21-23, tContinuing Education Credit 25-27 Apr 1·6 and non-credit Johnny On A Spot Feb 21 ·24, 26·28, Mar 4·6. 14-16. 18·20, BAm 28-30' Apr 18·21, 22·24, May 2·4, 7&8 llieater Barbaria n s Apr 10·13. 15·17, 25-27, 29-May I, 9·11, ST. FRANCIS COLLEGE Company 13·18 180 REMSEN STREET He & She BROOKLYN, NEW YORK May 22·25, 27-June l. 3·8, 10·15 11210 (212) 522·2300 Be Here When the Lights Come up on the New BAM Theater Company Season!
c.R~lfntnnnt ~ This is the year that the BAM Theater Company takes on the exciting task of establishing a rna· jor repertory ensemble in New York. During the 1980 season we are presenting four great EXPLORE WITH US THE ~ plays by·four master playwrights in the Helen Carey Playhouse. SECRETS OF CHINESE An ensemble of outstanding actors, actresses, directors and designers will be led by David COOKING Jones, Artistic Director. (Mr. Jones is also an Associate Director of the Royal Shakespeare Company.) Joining him as Associate Director is Arthur Penn, noted stage and film director.
If you haven't been to Su-Su's Single tickets are now available by calling or writing the BAM Box Office. Enclose a stamped you're missing .some of New self-addressed envelope, your check or money order made payable to BAM, and mail to: BAM York's unusual Go urmet Box Office, 30 Lafayette Avenue, B.rooklyn, N.Y. 11217. Your cancelled check is your receipt. Chinese Cuisine For further information call: 636-4100. Featuring complete dinners at Fri. and Sat. Eves. and Sun. Mats.: $14.50 and $10.00. realistic prices! Tues., Wed ., Thurs. and Sun. Eves. and Sat. Mats.: $12.50 and $8.00 PRESENTED BY FOUR STARS CHEF KING Open 7 Days for Luncheon, Cocktails and Dinner (Sundays, dinner only) THE ONLY THREE CROWN RESTAURANT HIGHLY RECOMMENDED IN BREUCKELEN BY BOB'LAPE OF CHANNEL 7 FIN£ 11'ALIAN CUISINE GD GD GD ESTA.USH£D I- EYEWITNESS NEWS ---' ' ' TWO HOUR In Myra Wllldo '1 RatiiUniiJt Guidi for New York FREE PARKING Five minutes from BAM by car. taxi, No. 37 bw. Open Major Credit Cards noon to 12 AM Sun. thru Thurs.· Friday cl Sat. noon Tel: 522-4531 to J AM wltlt unlimited on-premise free valet parktn6. 60 Henry St. at Cranberry MONTE'S VENETIAN ROOM Historic Brooklyn HeiiJlts 4$1 CARROLL ST., BROOKLYN (l11) '14-lfU LET US ENTERTAIN YOU
May 27-June 1, 3-8, 10-15 Apr. 18-19 Folk DANCE BAM Theater Company Country Music No. 3 LS To be announced. Ma y 2-4 Classical Brooklyn Philharmonia Theater Performance Times: Major Series BAM THEATER COMPANY Steven DeGroote OH Tuesday-Saturday 8:00pm Saturday & Sunday matinees 2:00pm Ma y 2-4 Classical Sunday evening 7:00pm Chamber Music No. 10 Student matinees 1:OOpm Beethoven, Crumb, Honegger, Schumann LS MUSIC MUSIC PERFORMANCE TIMES: CHAMBER MUSIC: Friday 8:30pm Saturdays 8:30pm Sundays 2:00pm
Mar. 20-23 Festividad '80 BROOKLYN PHILHARMONIA Ballet Hispanico of New York Majors: Fridays and Saturdays & Mongo Santa Maria OH 8:00pm; Sundays 3:00pm. April 10-13 TAP Meet the Moderns: 8:00pm Steps In Time OH Family: 2:00pm (8:00pm opening) Country Music: 8:30pm May 6·11 Classical NOTE: Pennsylvania Ballet OH OH =Opera House PH= Playhouse May 15- 17 Contemporary LS = Lepercq Space Laura Dean Dancers and Feb. 21 Classical AT= Attic Theater Musicians OH Brooklyn Philharmonia Meet the Moderns 1940-60 LS Jun. 1, 7-8, 14-15 GREAT BAM EXTRAS DanceAfrica OH Feb. 22-24 Classical Times to be announced. Chamber Music No. 7 BAM CHARGE LINE-Now you can charge Schumann, Brahms LS BAM Theater Company subscriptions by DANCE PERFORMANCE TIMES: phone by calling: 636-4160. Opening night curtains 7:00pm Feb. 28 Jazz CONVENIENT 'PARKING-BAM's parking Saturday and Sunday matinees Jazz Bands Series lot is right across the street, only steps away All other performances 8:00pm Glenn Miller Orchestra OH from BAM's front door, and it's only $2.50 per performance. Feb. 29-Mar. 2 Classical MANHATTAN EXPRESS RETURN BUS-is THEATER Brooklyn Philharmonia Major Series waiting for you after the play and will drop you Paula Robison , Scott Nickrenz OH off at 4 convenient points in Manhattan, for only $1.50. Mar. 7-8 Folk R ESTAURANT COUP ONS-As a BAM Country Music Series No. 1 LS SUBSCRIBER you are entitled to valuable dis counts to some of Brooklyn's finest Mar. 14 -16 Classical restaurants. Chamber Music No. 8 LOBBY DINING-From hot dogs and beer to The Aulos Ensemble LS wine and pate, a taste for every palate.
Mar. 15 Classical For further information call: (212) 636-4100. Brooklyn Philharmonia Family Series LS •••••••••••••••••••• Mar. 27 Jazz • Join our mailing list fo r advance/chance to pur- • Jazz Bands Series • chase choice seats. • Benny Goodman OH • Name • Feb. 12-17, 29-Mar 2, 7-9, 11-13, • Address • Mar. 28-29 Folk 2 1-23, 25-27 Apr 1-6 • City • BAM Theater Company Country Music Series No. 2 The Winter's Tale PH • State Zip • Mar. 28-30 Classical • Telephone ldayl • Brooklyn Philharmonia Major Series Lynn Harrell OH • level • Feb. 21-24, 26-28, Mar. 4-6, 14-16, 18-20, • I'm especially interested in receiving in forma- • 28-30 Apr. 18-20, 22-24, May 2-4, 7&8 • tion on: • BAM Theater Company Apr. 10 Classical • 1 I dance I I music I I theater I I all • Johnny On A Spot PH Brooklyn Philharmonia • Mail this coupon to: • Meet the Moderns 1960-80 LS Apr. 10-13, 15-17, 25-27, 29 May 1, 9-11, 13-18 Apr. 24 Jazz BAM Theater Company Jazz Bands Series EaAm 5 Barbarians PH Jimmy Dorsey OH : Brook lyn Acad em y of Music • 30 Lafayette Avenue • May 22-25, 27 June 1, 3-8, 10-15 Apr. 11-13 Classical : Brooklyn, N.Y. 11217 : BAM Theater Company Chamber Music No. 9 He & She PH Beethoven, Rossini, Schubert LS ••••••••••••••••••••• the money you can save on low-cost SAVINGS BANK LIFE INSURANCE
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Considered a musical Wunderkind, Lukas Foss Angeles Philharmonic, was active in the Most tiona! Symphony) , Cincinnati, Dallas, at the age of 18 was already a graduate of the ly Mozart Festival in New York, and fo r two Milwaukee and Denver. He has also played at Curtis Institute of Music where he studied con years was Director of the New York Philhar many of the popular summer festivals in ducting with Fritz Reiner. Shortly after he was monic's summer festival concerts at Lincoln cluding those at Aspen, Grand Teton and taken under the wing of the famous conductor, Center. He is one of the country's leading com Chautauqua. He also completed an extensive Serge Koussevitzky, at the Berkshire Music posers, as well as conductors, and has received 3-month tour of Europe that included perfor Center at Tanglewood. Foss also studied at the numerous commissions and awards. He is cur mances in Germany, Spain, The Netherlands, Yale School of Music in its heyday under rently Music Director of the. Brooklyn Philhar Denmark, Finland, Norway, Switzerland, Hindemith. A " renaissance" musician, Foss is monia. Belgium and England. Steven De Groote was equally at home as a composer, conductor, born into a family in which, for three genera teacher, and concert pianist. He has been con In his review of Steven De Groote's London tions, nearly every member has been a profes tinually at the forefront of contemporary orchestral debut in May, 1979 with the sional musician. He began performing solo and music, yet the broad range of programs he con Philharmonia orchestra conducted by Kril chamber music concerts throughout Europe ducts runs the gamut from renaissance and Kondrashin, the eminent British music critic and South Africa at an early age with his classical through romantic and up to the most Edward Greenfield praised him fo r "one of the violinist father and cellist brother. In 1972, avant-garde. He was music advisor and con most breathtakingly beautiful performances of Steven De Groote entered The Curtis Institute ductor of the Jerusalem Symphony in Israel for a Chopin concerto (No.1 in E minor, Op. 11 ) I of Music in Philadelphia, studying with Rudolf five years and has guest conducted orchestras have heard in years." Earlier that season, Serkin , Mieczyslaw Horszowski and Seymour such as the Berlin Philharmonic, the Leningrad following his National Symphony debut at the Lipkin, and graduated in 1975. He was a Symphony, the Tokyo Philharmonic, and the Kennedy Center, Theodore Libbey, Jr., writing finalist in the 1976 Leventritt Competition. In Santa Cecilia Orchestra in Rome, among in the Washington Star, allowed that "De May, 1977, he won the Young Concert Artists others. In this country, he had conducted Groote strove from the outset fo r music rather International Auditions in New York City and al_most all the major orchestras, including the than effect, yet could not help giving a as a result made his New York recital debut on Chicago, New York, Boston, and Cleveland or remarkable display of tone-painting in the pro November 8th of that year. On this occasion, chestras. He was Music Director of the Buffalo cess." Such encomia are not new to the 26 The New York Times headlined its review "De Philharmonic from 1963-70, at which time he year-old native of Johannesburg, South Africa, Groote is a superior pianist and musician." made the city a focus of national attention and who emerged the Grand Prize Winner of the The New York Post concurred, stating: "De a mecca for composers and performers. Prior 5th Van Cliburn International Quadrennial Groote in every way_l ived up to expectations. to this, he had the honor of being named suc Piano Competition in September, 1977. He has His overall impression was that of a cessor to Arnold Schoenberg as Professor of performed throughout the United States both penetrating, highly imaginative mind, Composition at UCLA, a post he held for ten in recital and as soloist with such orchestras as beautifully schooled and equipped with every years. He recently directed twelve marathon those of Philadelphia, Boston, Cleveland, tool necessary for the highest musical re concerts at the Hollywood Bowl with the Los Detroit, Minnesota, Washington, D.C. (Na- cre-ation."
A!nnsvl\!lnia Ballet. May 6-11, the Pennsylvania Ballet presents two completely different pro grams, featuring a blend of classic and contemporary ballets.
Program C w ill be highlighted by a world premiere by Chao San Goh, and the return of Petipa's elegant Pas De Dix, plus Benjamin Harkarvy's Four Men Waiting, and George Balanchine's Allegro Brillante.
Accenting Program D will be the premiere of the exquisite Sylvia Pas de Deux, and the humorous sports spoof Concerto Grosso by Charles Czarny. Benjamin Harkarvy's From Gentle Circles, and Balanchine's Four Tempera ments complete the season.
Program C: Tues. May 6 at 7pm; Sat. May 10 at 8pm; Sun. May 11 at 2pm Program 0: Wed. May 7 at 7pm; Thurs. & Fri. May 8 & 9 at 8pm Special Family Matinee: Sat. May 10 at 2pm $9.50, $7.50, $5.50; BAM information 636-4100 Chargit 239-7177 Brooklyn Academy of Music 30 Lafayette Avenue BAm Brooklyn, New York 11217 Photo by Photohandwerks/Michael D. McGuire Aprii10-April13 four performances only! 4/10-4/12 at 8PM 4/13 at 8PM Tickets: $12.50, $8.50 and $6.50 Special Sale Priced Tickets While They Last $9.00 Group rate: $7.00 (20 tickets or more call 636-4156) Tickets available at BAM Box Office, Broadway Edi son Theatre, TKTS (100 William St.) or call CHARGIT 239-7177. THE BROOKLYN PHILHARMONIA, INC.
Officers of the Brooklyn Philharmonia Honorary Chairpersons Staff for the Brooklyn Philharmonia Max L. Koeppel, Chairman of the Board Hon. Edward Koch Maurice Edwards, Manager Stanley H. Kaplan, President Hon. Eugene Gold Lola Silvergleid, Assistant to the Manager DanielS. Schwartz, Executive V-Pres. Hon. Elliot Golden Allen Edwards, Director of Development Bernard S. Barr, Vice-President Hon. Howard Golden Samuel Levitan, Orchestra Personnel Daniel Eisenberg, Vice-President Hon. Elizabeth Holtzman Manager I. Stanley Kriegel, Vice-President Hon. Arthur Levitt William Canaday, Educational Director Jack Litwack, Vice-President Helen Sive Paxton, Director of Public Melvin Moore, M.D., Vice-President Relations and Community Concerts Rabbi Eugene J. Sack, Vice-President Brian Bruman, CET A-Orchestra Manager Joseph Scorcia, Vice-President Mark McElherne, Promotion Assistant Dr. V. Peter Mastrorocco, Secretary Vincent Finamore, Treasurer Board of Directors Michael A. Armstrong Stanley H. Kaplan Alexander S. Moser Arnold Badner Mrs. Stanley H. Kaplan Jay B. Polonsky Bernard S. Barr Max L. Koeppel Hon. Fred Richmond Mrs. Bernard S. Barr I. Stanley Kriegel Robert C. Rosenberg Mrs. Sidney Bershatsky Dr. Arthur Lapovsky Rabbi Eugene J. Sack Mrs. Seymour Besunder Mrs. Theodore Liebman Hon. Charles Schumer Julius Bloom Jack Litwack Daniel S. Schwartz Schuyler Chapin Salomon C. Lowenstein Joseph Scorcia Dr. Carl D'Anna Mrs. Salomon C. Lowenstein Mrs. Joseph Scorcia Daniel Eisenberg Dr. Y. Peter Mastrorocco Anthony Scotto Melvin Epstein Craig G. Matthews Harry L. Shuford Vincent Finamore Marcella Maxwell Sydney N. Stokes, Jr. Henry Foner Robert Michaels Donald Thomas Jerry Jacobs Dr. Melvin Moore William Walker
LAURA DEAN DANCERS & MUSICIANS "A lavish display of Dean's fancy footwork .. _.winds the audience into an explosion of applause .. ." said Deborah Jowitt of the Village Voice about Laura Dean's newest work, Music, which will have its New York premiere in BAM's Opera House, May 15- 18, 1980.
Commissioned jointly by BAM and the American Dance Festival, Music received its premiere at the Festival in Durham, N.C. this past summer, where it met with great critical acclaim. This is the third work by Laura Dean to premiere at BAM; the first was her choreography for Steve Reich's Drumming in 1975; and in 1977, her com pany premiered Spiral, a work created especially for the Opera House at BAM.
Music further explores Laura Dean's fusion of dance and music into structured modular units. Spinning and geometric pattern ing form the basic choreography which is embellished by sweeping legs and rippling arms. The result is a major modern dance work by Laura Dean Dancers and Musicians.
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