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Thursday Evening, October 28, 1971 , 8:30 p.m.

Subscription Performance

The Brooklyn Institute of Arts and Sciences presents the Boston Symphony Orchestra

\X:'illiam Steinberg, Music Director

Michael Tilson Thomas, Associate Conductor

Michael Tilson Thomas, Conducting

Polonaise and Krakoviak from 'A Life for the Tsar' MIKHAIL GLINKA

Symphony in C IGOR STRAVINSKY Mode.rato alia breve Larghetto concertante Allegretto Largo - tempo giu sto, alia breve

IN TERMISSION

Concerto for flute, oboe, piano and percussion EDISON DENISOV Overture: allegro moderato Cadenza: Iento rubato - allegro Coda: allegro giusto DORIOT ANTHONY DWYER, flute RALPH GOMBERG, oboe GILBERT KALISH, piano EVERETT FIRTH, percussion

Symphony No. 2 in B minor, Op. 5 ALEXANDER BORODIN Allegro Scherzo: prestissimo - allegretto Andante Finale: allegro

The Boston Symphony Orchestra records exclusively for Deutsche Grammophon. BALDWIN PIANO DEUTSCHE GRAMMOPHON AND RCA RECORDS 4 I BROOKLYN ACADEMY OF MUSIC I OCTOBER, 1971

The Brooklyn Academy of Mus 1 c

The t. Felix Street Corporation Administrative Staff Board of Directors : Harvey Lichtenstein, Director Seth S. Faison, Chairman Lewis L. Lloyd, General Manager Donald M. Blinken, President John V. Lindsay, Honorary Chairman Charles Hammock, Asst. General Manager M arti·n P. Carter Jane Yackel, Comptroller Barbaralce Diamonstein Thomas Kerrigan, Assistant to the Director Mrs. Henry Epstein David Midla· nd, Production Manager Richard M . Hexter Becky Hannum, Assistant to the Director Peter C. R. Huang Ruth Lipton, Associate Press Representative Gilbert Kaplan J anc Biral, Manager of Harvey Lichtenstein Audience and Community Development Alan J . Patricof Mimi Johnson, Stage Translator David Picker J an H ash, Administrative Assistant Richard C. Sachs Betty Rosendorn, Administrator, Education Program William Tobey The St. Felix Street Corporation is responsible Sarah Walder, Education Program for programming at the Brooklyn Academy Michele Kelsey, Administrative Secretary of Music. Adele Allen, Press Secretary Sylvia Rodin, Administrative Assistant Foundution nnd Corporate Contributors Frances M. Seidenburg, Financial Secretary Abraham and Straus Pearl Light, Administrative Assistant Anonymous Evelyn August, Staff Assistant Doll Foundation Debby Shaw, Dance Center Registrar Institutional l·nvestors Fund The Lepercq Foundation Henry and Lucy Moses Foundation House Staff The National Endowment for the Arts Alfredo Salmaggi, Jr., House Manager New York Community Trust James Hillary, Box Office Treasurer New York State Council on the Arts Bill Griffith, Assistant Treasurer Edward Noble Foundation Robert Blum, Assistant Treasurer Celia and David Picker FoundatiO-n Rockefeller Bros. Fund, Inc. John Cooney, Stage Crew Chief The Rockefeller Foundation John Va· n Buskirk, Master Carpenter Rosenwald Family Trust Edward Cooney, Assistant Carpenter The Sachs Foundation, Inc. Donald Beck, Master Electrician van Ameringen Foundation Louis Beck, Assistant Electrician Thomas Lough lin, Master of Properties Business Sponsors Charles Brette, Custodian Bankers Trust Pela Ullmann, Wardrobe Supervisor Manufacturer's Ha·nover Trust John McLain, Lighting Designer Seatrain Shipbuilding Corporation

Brooklyn Institute of Arts and Sciences OFFICERS: James Q . Riordan, Chairman Thomas S. Buechner, President Justin J. Murphy, Vice-Chairman Robert S. Rubin, Vice-Chairman Seth S. Faison, Executive Vice-President Covington H ardee, Vice-President John E . Heyke Jr., Vice-President Donald G. C. Sinclair, \/ice-President Mrs. Fra·nklin B. Tuttle, Vice-President William B. Hewson, Secretary Paul F . Ely, Treasurer Thomas A . Donnelly, Vice-President for Administration Mrs. George Liberman Chairman of Institute Symphony Series OCTOBER , 1971 I BROOKLYN ACAOEMY OF MUSIC I 5

Program Notes

MIKHAIL GLINKA (1804-1857) Polonaise and Krakoviak from 'A Life for the Tsar'

Probably nobody would have been more Baron's text had arrived. The opera wa~ surprised th an Mikhail G linka himself to fi nished early in 1836, and wa~ accepted for know that he was posthumously dubbed the production at the Grand Theatre in St. 'father of Russian music'. A spoiled dilet­ Petersburg. There was a glittering premiere tante and an incurable libertine, he used on December 9, attended by Tsar ichola~ his musical gift to divert himself with little I and his family, and reaction was generally regard to the verdict of posterity. Glinka enthusiastic. After the success of A Life was brought in close contact with the folk for th e Tsar Glinka was appointed Kape/1- music of Russia from his early years. His m eister of the Imperial Chapel and as usual , uncle maintai ned an orchestra of serfs, his interest in hard work soon waned, and and he began to learn the piano with his he resigned two years later. During these governess, and the violin with a member of years Glinka worked on his second opera the serf orchestra. During school vacations Ruslan and Ludmila, which he finished Glinka used to conduct or perform with his eventually in 1842. The premiere took place uncle's orchestra, and in St. Petersburg at the Bolshoi Theatre, St. Petersburg, in would often appear at soirees as pianist, December of that year. Dispirited by the violinist and si nger. After he finished failure of Ruslan and his domestic prob­ school, he had ambitions neither for public lems, Glinka went abroad again. He spent service nor business. Music was to be his a year in Paris, where he became friendly career. with Berlioz, then went on to Spain. which he found enchanting. He returned In July 1833 Glinka traveled to Baden, to Russia in 1847, but becoming ill and and took the waters there, which made him restless once more, he set out the followin g increasingly ill. He became incapable of year for Warsaw. His last years were spent controlling the movement of hi s hands and partly in the Polish capital, partly in Paris, feet, and suffered wild halluci nat ions. Even­ partly in Russia. He wrote his MemoirJ tually he tried homeopathy, and was re­ during 1854 and 1855, then, interested sud­ stored to health with amazing suddenness. denly in the music of Bach, decided to go He resumed composing, and it was at this to Berlin once more to study counterpoint time that he wrote the melody which he with his old teacher Siegfried Dehn. later used for the Krakoviak in A Life for Glinka's health finally gave way for the the Tsar. Continuing on to Berlin, he be­ last time and he died in the Prussian capital gan his first serious stud y of composition on February 15, 1857. with Siegfried Dehn, who had been a pupil of Cherubini, and was teacher of Peter A Life for the Tsar is constructed in the Cornelius and Anton Rubinstein. In the typical style of the French grand opera. spring of 1834 he returned to Russia, and It has four acts and an epilogue, a large decided to start work on an opera. His number of choral and ensemble pieces, friend Zhukovsky, the poet and critic, sug­ divertissements for the corps de ballet, and gested the historical legend of Ivan Susanin. an imposing finale. The underlying theme Susanin was a peasant who, it was said, of the patriotism and heroism of the Rus­ had saved Russia and the first Romanov sian people is expressed in the two elaborate Tsar in 1613 from Polish invaders by di­ folk choruses which begin and end the recting the advancing enemy into the depths opera. Glinka used at least two traditional of a forest instead of to the Tsar's lodging. Russian songs in his score, while many of The Poles, realizing at last that they had the other pieces are written in the style been duped, killed Susanin, but the Tsar of Russian folk music. The second act, was meanwhile able to find safety. The from which the Polonaise and Krakoviak libretto was entrusted to Baron Rosen, are both taken, is devoted to the Poles, and secretary to the Tsarevich. Rosen had no the flavor of the music is in distinct con­ easy task: Glinka became so carried away trast to that which Glinka wrote for the that he often wrote the music before the Russian scenes. ANDREW RAEB RN 6 I BROOKLY N ACADEMY OF MUSIC I OCTOBER, 1971

IGOR STRAYINSKY (1882-1971 ) Symphon y in C

A description of the 'Symphony in C' by net JOin this group. All in trument take Sol Babitz in the January 1941 issue of turns, singly and in groups, in carrying the Musical Quarterly is derived from a the sweetly ornamented melodies. study of the score previous to its perform­ The third movement consists of a minuet, ance - a study in which the writer was passepied and fugue . In the dance we have aided by the composer explaining his music a ta te of the rhythmic complexity to sub­ at the piano. In reading the core. the form tle movement, ending on the dominant. As unfolds before the eye as clearly a that the voices enter, the fugue unfold in a of a classical work. Yet the page a a splendor difficult to describe. Here are whole reveals a visual difference portentous inversions, augmentations and diminutions of the new sounds contained. The economy as integrated as those of Bach. Later the and simultaneous richness of the opening part thin out, some of the voice are con­ movement are evident. Throughout there centrated into rhythmic figures. Then, after is a certain breathle sne s which adds life a beat of silence, a freely developed variant to the already busy music. The second sub­ ject, in F. is introduced by a grandiose of the fugue begin . Henceforth the tring mere!~ accompany. v. hile the winds march ~tatement of oboe and bassoon, echoed by on in a contrapuntal union of economy the strings, and consists in the main part of and complexity until a gradual broadening a quiet staccatissimo ection. rhythmically is felt, v. hich finally give way to the con­ alive, which eventually serves as a ba e for an amiable horn solo (subsidiary subject) . cluding chord in G . A trill-like note with v. hich the violins have The fourth mo\ement begin v..ith the u - accompanied thi ection suddenly achie,es tained mea ures of an A da[:io , [a tempo an identity of its own in a rompish dance indication later changed to LarRO]. played which is subdued, after only three bars, by the bas oon and brass. This di tantly by more important ubject matter. There recalls a sketch of the first theme. Then follows a restrained development which in­ begins the A 1/egro, with the violas pia~ ing creases in vigor. Meanwhile phrase from in uni on a porting energetic theme in the the first subject are becoming noticeable Concerto grosso style. The introductory here and there. The volume of sound in­ Adagio returns for a few bar and a scale creases until interrupted by a quiet counter­ run leads into a fughelta for violoncello point of the woodwinds which leads into and viola on the original theme The an exact repetition of the first subject. With ornamented pa sages v. hich follow lead the now inevitable appearance of the econd again to the Adagio, which this time i subject it suddenly becomes apparent that de tined to end the symphony. Its long the Recapitulation i a mirror-like reflec­ med1eva! chords give, at fir t, an impre sion tion of the Expo ition; and one is not of inertness; but with each new chord one astonished when the fir t subject appear hear a barely perceptible change. The to round out the movement. cumulative effect of the e ucces 1ve chord becomes a conflict between movement and The tender second movement may be immobility. One becomes conscious of an called an aria. It opens with a oft, expres­ irresi tible procession. The Ia t four chords sive dialogue between the oboe and violins, represent in a concentrated form the har­ accompanied occasionally by the cellos and mony of the ymphony. violas, pizzicato. Later, the flute and clari- JOH N. BURK EDISON DENISOV ( born 1929 ) Con certo f or flu te, oboe, piano and percussion

Denisov was born in Tomsk, Siberia, in monic Orchestra in 1967. Named after the 1929. He completed the score of the Con­ American inventor by his father, an elec­ certo in March 1963, and it was publishel trical engineer, Edison Vasilievich Denisov five years later. The dedication is to the attended the University of Tomsk, where he Polish composer Kazimierz Serocki. tudied mathematics and engineering. After graduation he entered the Moscow Conserva­ Although two of Denisov's works have tory, and took lessons in composition with been performed by American orchestras in Vis arion Shebalin. (Shebalin, who had been recent years, it has proved impossible to Director of the Conservatory for some years lay hands on any but the sketchiest material before 1948, fell victim that year to the about his career. Much of the biographical Party purge of composers, and was dis. information appears in a note by Edward missed. He returned to the Conservatory Downes written for the New York Philhar- as a composition teacher shortly before OCTOBER, 1971 I BROOKLYN ACADEMY OF MUSIC I 7

Denisov enrolled.) Since 1959 Denisov of Crescendo e diminuendo. has himself been a lecturer at the Mos­ The Concerto for flute, oboe, piano and cow Conservatory. percussion explores various modem tech­ Denisov ranks himself among the heirs to niques. Within a serial note-structure, the the traditions set by Prokofiev and Shosta­ Overture is a study in rhythmic motion. kovich, but Mr. Downes points out that (The percussionist plays only timpani in this he has been also influenced by Stravinsky, first movement.) The Cadenza, a series of Boulez and ono. Bolder than many of his solos for each player - in order of flutist, contemporaries in the Soviet Union. he oboi t, pianist, and last, percussionist, play­ has made use of serial and aleatoric tech­ ing tom tom, four bongos, wood block and niques in orne of his scores. Denisov's suspended cymbal - leads without pause music has been performed in several West­ into the Coda, where Denisov has written ern European countrie . and hi Solei/ des almo t every note a pointillistic staccato Incas was given in Buffalo. Indianapolis sixteenth. The woodwind instruments and and ew York in 1967. The same year piano play notes in extreme ranges of com­ Leonard Bernstein conducted the New pass and dynamics, with added color coming York Philharmonic in several performances from the percussionist's marimba. ANDREW RAEBURN

ALEXANDER BORODIN (1833-1887) Symphony no. 2 in B minor op. 5

As a product of the year 1877, Borodin's another, urged him to send for it. 'As my Second symphony was regarded in its time road lay through Weimar,' wrote Borodin a the work of an 'original'. a daring to his wife (1 uly 22). 'I stopped once more pioneer of the Slavic spirit. Borodin lingered at my Venusberg to see for the last time over his Second symphony for eight years my elderly Venus - Liszt. ... ' "Welcome ( 1869-1876). Soon after the completion dear Borodin." he said, "Yesterday we of the econd symphony, it was performed played your Second symphony. Superb!" under Eduard apravnik's direction in the he exclaimed. 'The lesson was over, but Ritter aal at St. Petersburg. on March 10, Liszt detained me. He was expecting Zaremb­ 1877. An earlier performance had been ski. with whom he wanted to look through planned. but the casual Borodin had mi laid my Symphony before the matinee next day. parts of the core. He wrote to his friend, A soon as Zarembski had arrived, the Mme. Karmalina (January 31. 1877): The indefatigable old man sat down at the Musical Society had determined to perform piano.' "You shall play the andante," he said, my Second symphony at one of its con­ "then I hall take your place. I shall ren­ cert . I wa in the country and did not der the finale with wild and unearthly know this fact. When I came back to St. spirit." 'I asked him to criticize, to give Petersburg, I could not find the first move­ me his candid opinion and advice: I did ment and the finale. The score of these not want compliments, I only sought real movements was lost; I had without a doubt benefits from his criticism.' "Do not mislaid it. I hunted everwhere, but could alter anything," he said to me; "leave it not find it; yet the Society insisted, and just as it is. Its construction is perfectly there was hardly time to have the parts logical. Generally speaking, the only advice copied. What should I do? To crown all, I can give you is to follow your inclinations I fell sick. I could not shuffle the thing and listen to nobody. You are always lucid, off, and I was obliged to reorche trate my intelligent and perfectly original. Recollect Symphony. Nailed to my bed by fever, I that Beethoven would never have become wrote the score in pencil. My copy was not what he was, if he had listened to every­ read in time, and my Symphony will not body." Then, analyzing my Symphony in be performed till the next concert. My two detail, he said that the critics might find Symphonies then wil be performed in the fault with me, for instance, for not pre­ same week. Never has a professor of senting the second theme of the first move­ the Academy of Medicine and Surgery been ment artzoroso, or something of that sort, found in such a position!' The Symphony but that they could not pretend in any case made its way readily into general favor. that my Symphony was badly constructed, It was much liked when performed in the having regard to the elements upon which early eighties, in Germany and Belgium. it wa based.' "It is perfectly logical in Yet it took more than twenty years to reach construction," repeated Lis:z:t, passing from America. A performance is on record in one movement to another. "It is vain to Cincinnati, in the season 1898-1899. say there is nothing new under the sun; Liszt, visited by Borodin in July 1877, this is quite new. You would not find this was enraptured by his E flat Symphony, in any other composer." ' and hearing that he had just completed JOHN N. BURK Let Sabena fly you to beautiful Belgium.

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THE SOLOISTS MICHAEL TILSON DORIOT A THONY DWYER is the THOMAS, Music Direc­ principal flute of the Boston Sympho~y tor of the Buffalo Phil­ Orchestra. Mrs. Dwyer came to Boston m harmonic Orchestra and 19 52, the first woman to be engaged as a Associate Conductor of principal by the Orchestra. Her early the Boston Symphony teachers included her mother and Ernest Orchestra, was born in Liegl. who was then first flute . of t_he Hollywood in 1944. Be­ Chicago Symphony. Later she stud1ed w1th tween the ages of four­ Georges Barrere, William Kincaid, and teen and seventeen he Joseph Mariano at the Eastman School of studied piano with John 1usic. of which she is a graduate Before Crown and Muriel Kerr, harpsichord with her appointment to the Boston Symphony, Alice Ehlers. He enrolled in the Uni­ she was a member of the Los Angeles Phil­ versity of Southern California with ad­ harmonic. and was chosen by Bruno Walter vanced standing in 1962. and studied with as first flute of the Hollywood Bowl Sym­ Ingolf Dahl and John Crown. He was phony. Mrs. Dwyer has served on the awarded the Alumni Prize as the outstand­ faculties of the Berkshire Music Center at ing student at the time of his graduation. Tanglewood, the ew England Conservatory and Boston Univer ity since joining the For four years Michael Tilson Thomas Boston Symphony. was conductor of the Young Mu icians Foundation Debut Orchestra. During the RALPH GOMBERG is principal oboe of 1966 Bayreuth Festival and Ojai Festival the Bo ton Symphony Orchestra. At the Thomas was assistant conductor to Pierre age of fourteen. he was the youngest stu­ Boulez. He was Conductor of the Ojai d~nt ever accepted by the di tingui hed Festival in the summers of 1968 and 1969. oboe teacher Marcel Tabuteau. Three ) ear later he v.a appointed by Leopold tokow­ A conducting fellow of the Berk hire ski as pnncipal oboe of the All American Music Center at Tanglewood during 1968, Youth Orche~tra. ubsequently he became he conducted the premiere of Silverman's principal oboe of the Baltimore. ew York Elephant Steps, and won the Kous evitzky City Center and Mutual Broadcasting Or­ Prize in conducting. During the 1968-1969 chestras. He joined the Boston Symphony season he conducted youth concerts of the Orchestra in 1949 and is on the faculties Los Angeles Philharmonic, and appeared of Boston University, the ew England as guest conductor with the Boston Phil­ Con ervatory of Mu ic and at the Berk­ harmonia. Appointed Assistant Conductor shire Music Center at Tanglewood. of the Boston Symphony Orchestra at the GILBERT KALISH. born in ew York beginning of the 1969-70 season, he re­ City, is a graduate of Columbia niver ity. placed William Steinberg at concerts in He tudied piano with Leonard Shure, ew York during the fall when Mr. Stein­ Julius Hereford and Isabelle Vengerova. berg became ill that season. He conducted A pecialist in contemporary mu ic. he has more than thirty of the Boston Symphony's appeared a soloist in concertos by Berg, concerts and was appointed As ociate Con­ Carter, Me siaen and Stravinsky, and ha ductor of the Orchestra in the spring of long been the pianist of the Contemporary 1970. In the fall of that year, he made his Chamber Ensemble. As a teacher he is London debut in concerts with the London Artist-in-Re idence at the State Univer ity Symphony. During the summer he con­ of ew York at Stony Brook, A sociate­ ducted at the Ravinia Festival and at the in-Performance at Swarthmore College, and Lincoln Center Festival in New York, as a member of the faculty of the Berkshire well a the Tanglewood. Music Center at Tanglewood. EVERETT FIRTH was born in Winche ter, Mr. Thomas has made several recordings Mas achu ett . He studied at the Juilliard for Deutsche Grammophon with the Boston chool with aul Goodman, timpanist of the Symphony Orchestra, among them perform­ ew York Philharmonic Symphony and at ances of Tchaikovsky's Symphony No. I, the ew England Conservatory with Roman lves's Three places in New England, Rug­ Szulc, his predece sor in the Bo ton ym­ ft gles's Sun-treader, Piston's Symphony No. 2 phony. Mr. Firth joined the Boston Sym­ • and Schuman's Violin concerto, with Paul phony in 1952. Three years later, when Zukof ky. He also plays the piano in an Szulc retired, he became, at the age of album of chamber music by Debussy, the twenty-five, the Orchestra's youngest prin­ first record made for Deutsche Grammo­ cipal player in seventy years. He teaches at phon by the Boston Symphony Chamber the New England Conservatory, ha com­ Players. posed music for percus ion en embles, and has written articles and books about the performance of percu sion instruments. He also imports instruments from Europe, supplying not only his colleagues, but also many schools and colleges in North and South America. OCTOBER , 1971 I BROOKLYN ACADEMY OF MUSIC I 11

Afro-Asian Festival Next Boston Symphony For the first time in America, dance and Concert here Dec. 2 music groups from Africa and Asia are being presented at one extended festival, The next concert of the Boston Sym­ which wiii tour 20 different cities here and phony at the Academy will feature Max in Canada. Five of the six different groups Rudolf conducting Webem's Passacaglia will be making their American debuts. Op. 1, the Rachmaninoff Piano Concerto No. 3, with Horatio Gutierrez as soloist, Last week, the Classical Khmer Ballet and Schubert's Symphony No. 9 in C. from Cambodia (formerly the Royal Bal­ Single ticket prices : 6.95 , 6.00, 5.00, 4.00, let ) opened the festival. 3 .00. Students, servicemen and senior citi­ The Senegalese Company is currently zens with ID can purchase tickets the day performing at the Academy and will con­ of the performance for $2.00. ti nue with performances tomorrow through Sunday. Chelsea Season Begins The Senegalese mix old tribal traditions, The Chelsea Theater Center of Brooklyn Arabic influences and the impact of the opens its 4th season in residence at the twentieth century into a program rich in Brooklyn Academy of Music with the first rhythm, virtuosity and ritual. The Moroc­ of its Brown Bag productions, Four can troupe represents ten different tribes Americans, introducing the work of four including Arabs, Berbers, and the "Blue young American playwrights: Stephen Fore­ Men" of the We tern Sahara. The Sierra man, David Kranes, Michael Weller and Leone company is the only group to have David Wiltse. appeared previously in the United States Brown Bag is the name given to Chelsea's and is welJ known for its spirited drumming experimental workshop series "for the in­ and dancing. troduction of new forms, new ideas and new writers without spending a fortune." Perhaps the most unusual group in the festival is the Ritual Acrobats of Persia. Now There's Just the Three of Us by A the name indicates this troupe is not Michael Weller and Reliquary for Mr. and really a dance company. In fact it is one Mrs. Potterfield by Stephen Foreman will be staged on October 19, 21, 22 , 23 , 29 and of the twenty-one similar groups in Iran 30. David Wiltse's Tall and R ex and David called the Zour Khaneh or "House of Strength." The Zour Khaneh served as a Kranes' Things will be seen on October 26 and 28 and November 3, 4, 5 and 6. training ground for Persian warriors and All performances are at 8:30 p.m. in the acts of war have now been ritualized the Academy's Third Theatre. Admission into a performance of gymnastic and acro­ is by donation. Reservations can be made batic feats. by calling 783-6700, ext. 49 between 9:30 While the five dance groups are scheduled a.m. and 5:00 p.m. for the Academy's Opera House, a sixth Subscriptions to the Chelsea season, which group - the Dagar Brothers of India - includes the American premiere of Jean wilJ perform vocal ragas in the Music Hall. Genet's The Screens, Allen Ginsberg's Kad­ Although the instrumental raga is heard dish, John Gay's The Beggars Opera and frequently in America, the vocal equivalent Stanislaw Witkiewicz' The Water H en are is much rarer and the Dagars are considered still available at $10 or $18. Complete in­ the finest singers in India. formation is at the lobby information desk.

JUNIOR INSIGHT

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rOO{ • a e d I ( 1a (

T he Afro-Asian Festival continues in No.·ember at the A cademy with the four different troupes pictured here. Tickets for most performances are available at the box office. Morocco

Sierra Leone 14 I BROOKLYN ACADEMY OF MUSIC I OCTOBER , 1971 DIRECTORY OF FACILITIES AND SERVICES

Academy Dance Center Express Buses - Manhattan to BAM Classes for ages 6- J 5 in ballet/ modern Direct buses for most evening events leave dance. Please call 783-6700, Ext. 33. S.W. corners unless otherwise noted. No reservations necessary. Return: 15 minutes Bar after performance. Fare: $1.50 round trip, A bar serving liquor and soft drinks is $1.00 return (if available). Schedule for located in the Academy's Main Lobby. 8:00 curtain. Buses lea1 ·e one-half hour Service is available one hour prior to cur­ earlier for 7:30 curtain. tain and during intermi ions. East Side Box Office Lexington Ave. & 86th St. -6:54p.m. Ticket booth in Main Lobby Lexington Ave. & 72nd St.-6:58 p.m. Telephone: 783-2434 Lexington Ave. & 60th St.-7:02 p.m. Lexington Ave. & 42nd St.-7:07 p.m. Hours: Second Ave. & 14th St.-7: 17 p.m. Monday through Saturday Second Ave. & E. 5th St.-7:20 p.m. 10 a.m. to 9 p.m. Academy of Music arrival-7:40 p.m. Sunday performance days West Side I p.m. to 9 p.m. Broadway & 86th St.-6: 52 p.m. Check Hoom Broadway & 72nd St.-6: 56 p.m. Located in the Main Lobby next to the bar B'way & 58th t. ( .W. Corner)-7:00 p.m. 7th Ave. & 42nd St.-7:05 p.m. 7th Ave. & 14th St. ( .W. Cor.)-7: 13 p.m. Drinking Fountain W. 8th t. & Avenue of Americas Located in the re !rooms in both the Opera ( .E. Corner)-7: 18 p.m. House and the Music Hall Academy of Music arrival-7:40p.m.

EJc,•utors Trunsportntion Two elevators from Main Lobby to Opera SUBWAYS: (All subway stops are located House Balcony and Third Theater within one block of the Academy) Atlantic Avenue Stop lnformation IRT (Lex. Ave.) Desk in Main Lobby near front entrance IRT (B'way. & 7th Ave.) or at box office IND ("D" and "QJ" Brighton - BMT) Pacific Street Stop Lo t und Found BMT ("'B": West End, "N": Sea Beach, Hou e Manager's Office, Third Floor "RR": 4th Ave. Local) Telephone: 783-6700, Ext. 25. Fulton Street Stop I D ("GG" Train) Lounge und Restrooms Lafayette Avenue Stop Opera House 1 D ("A" Train) Ladie , Orche tra and Balcony Levels Men, Mezzanine and Balcony Levels Music Hall Ladies, Orchestra Level Bloomingdale's, Abraham & Straua Men, Balcony Level and Ticketron Outlets Tickets for most events at the Public Telephones Brooklyn Academy of Music are Main Lobby, Ashland Place Entrance available at all Abraham & Strau stores and at Bloomingdale's in Man­ Refreshments hattan and Hackensack, New Jersey. Customers may charge tickets to their Available in Main Lobby during intermis­ accounts. sions. Please do not bring refreshments into the Auditoriums. Tickets may also be purchased through Ticketron. For Ticketron out­ Smoking lets, call (212) 644-4400. In Main Lobby, Lounges & Restrooms only

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We Can't Do An Arabesque, But Making New York Homes Beautiful Has Kept Us On Our Toes For 75 Years We started taking steps to keep New York beautiful in 1896. In the 75 years since, we've come to know and understand New York's tastes and special needs. Spotting trends before they happen, improving old favorites, creating new ones, and keeping prices firmly earth­ bound has kept us on our toes ... but that's why today we are New York's Number One Furniture Specialist. .. two left feet or not!

SACHS New York's Number 1 Furniture Specialist In Brooklyn: 559 Fulton St. • So. Brooklyn: 5th Ave. & 14th St. Marine Park: Flatbush Avenue and Ave. V (Opposite Kings Plaza) and throughout the Metropolitan area TJNEW YORK

MICHEL'S RESTAURANT Estabiished 1910 Founded and Operated by The MICHEL- Family Complete Banquet Facilities 346 FLATBUSH AVENUE BROOKLYN. N.Y. Free Parking NEvins 8-4552 \bosebig Dime di~idends canbe rousic to ~out eats.