NOVEMBER 1983 HOLD CONTENTS YOUR 7 LAST NIGHT AT APPLAUSE. THE SCHUBERTIAD by David Wright The show doesn’t have to end when the curtain 13 THE PROGRAM comes down. Come to the 26 A TALK WITH... Magic Pan for encores JOSEPH KALICHSTEIN and you’ll find an intrigu­ by Allan Kozinn ing number of tempters. 38 NOVEMBER From Cheese Fritters and CALENDAR OF EVENTS Potato Skins to Strawberry Crepe and Chocolate Mousse. Tastes you’ve never experienced before. Whether you visit the Cover photograph by Yoichi R. Okamoto Magic Pan before or after the show, there’s always something Joseph P. Barbieri, President Charles F. Buccieri, Publisher new to Theodore P. Langdon, Senior Vice-President come back Teresa Barbieri, General Manager William J. Kofi, Jr., Production Manager Barry Laine, Senior Editor Stephen Greco, Art Editor Wanda Lau, Program Editor Patricia M. Hewlett, Account Representative 149 E. 57th Street 371-3266 STAGEBILL is published monthly at and *1409 6th Avenue 765-5080 Lincoln Center in New York, Kennedy Center in Washington, (between 57th & 58th) D.C. and in Chicago. Other Stagebill editions are published in San Francisco, Dallas, Detroit, St. Louis and Philadelphia. The Carnegie Hall Stagebill is published by B&B Enterprises, ♦CABARET PANACHE FEATURES Inc. Program Office, Studio 306, 881 7th Avenue, New York, DINING AND ENTERTAINMENT N.Y. 10019, (212) 581-0169. Copyright 1983 B&B Enterprises, Inc. NIGHTLY. All rights reserved. Printed in U.S.A. Advertising Offices—New York: 144 East 44th Street, New York, N.Y. 10017, (212) 687-9275. Washington, D.C.: Program Office, The Kennedy Center, Washington, D.C. 20566, (202) 833-2897. Chicago: 500 North Michigan Avenue, Chicago, Illinois 60611, (312) 565-0890,685-3911. The Carnegie Hall edition of Stagebill is available on monthly publication to subscribers for $12 per year (U.S.); $21 (outside U.S.). Back issues available. For details write: Stagebill, P.O. Box 5348, Grand Central Station, New York, N.Y. 10163 (Dept. S).

5 Last Niglit at the Sehubertiad .. .being an up-to-date account from our Viennese correspondent

D earest Greti! My business in Vienna proceeds while, Franz von Hartmann has been the well, and I shall be rejoining you in Linz by soul of kindness, neglecting his law studies the end of the month. Then we can cel­ to show me the city by day and take me to ebrate Christmas and ring in the New various entertainments by night. Already Year—imagine, 1826!—together. Mean­ we have heard Tambourini and Signora

Editor’s Note: Each of the events depicted in this story is historically accurate, although for nar­ rative sake the chronology has been condensed. The narrator is fictional, every other character was a real person. Schubert’s direct quotes are actual; all others are fictional. Franz von Hartmann’s diaries and later memoirs are a prime source on Schubertiads. About 35 years after Schubert’s death, Moritz von Schwind painted the most famous Sehubertiad picture, “Schubert Abend bei Joseph von Spaun.”

Above: Moritz von Schwind’s depiction of a typical Sehubertiad David Wright 7 Vienna—musical capitai of centrai Europe

Fodor in II barbiere di Siviglia. Rossini some kind of artist as well, be it playwright fever grips the city; his tunes are every­ or poet or musician. They were all young— where, in the coffee houses, in the streets. scarcely a soul over thirty, it appeared— Last night Semiramide was given, with and yet they seemed to have read every Lablanche, but Franz urged me to go with book that was ever written. I felt quite out him instead to a gathering of his friends he of my depth with them. Do you remember called a “Schubertiad.” There would, he that baritone Johann Michael Vogl, who said, be plenty of dancing and wine, with was so popular at the Hofoper when we music by a local composer—another were children? He was there, representing Franz, named Schubert. This seemed to the older generation. I also met Moritz von me a feeble alternative to the opera, but my Schwind, a quick-witted, blond-haired lad Franz would not be dissuaded. barely out of his teens, who is a talented Accordingly, we proceeded after dinner painter, Franz tells me, but spends much of to the house of Josef von Spaun, an official his time playing Puck to Schubert’s Ob­ in the Hofkammer, where twenty people or eron. so had gathered, but not the guest of But enough of the men—the ladies were honor. Spaun welcomed me most gra­ every bit their equals, and pleasanter to ciously, but said to me, “I must warn you look at! Their faces still swim in my mind: that sometimes we have our Schubertiads Leopoldine Blahetka, the virtuoso; without Schubert. We have invited him to Netti Honig, a bit of “honey” indeed, a come tonight, and he probably will. But if barrister’s daughter and Schwind’s special the mood strikes him, he may go off to a flame; Louise Forstern, whom they call tavern with a few schoolmasters, or some “Flower of the Land,” and for good such. Even if that happens, we shall reason; and others whose names eluded probably manage to salvage the evening.” me. Probably, indeed! As I became ac­ At first I had no idea that the unpre­ quainted with the assembled company, I possessing little man who entered the room forgot all about this curious Schubert. to cheers and embraces was the idolized Dear sister, if you could only have been Schubert. They called him “Schwammerl,” there! The men were all lawyers or govern­ and a perfect “little mushroom” he was, ment officials, it seemed, but each was too. With his short legs, stout figure, 8 bulbous features, and squinty eyes behind small spectacles, he could have passed for one of our Danube peasants. He received all these greetings with little sign of “Judith animation, and I began to wonder what Alstadter kind of a dullard I had given up Lablanche ...plays in Semiramide to hear. with Schubert went immediately to the piano panache...” and began to accompany Vogl, who sat in a Fanfare

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Schubert ’s house in Vienna chair next to him. Vogl’s voice is not what it was, but he compensates with many dramatic whispers, falsetto notes, and gestures with his lorgnette. I found it all very expressive, though some of my neigh­ bors were exchanging smirks with each other and even with Schubert. As for the songs, Schubert seems to favor texts by the impenetrable Goethe, which he sets with “In The Heart Of The many violent contrasts and obtrusive Hotel & Theatre District” piano playing; and yet amongst these were 846 SEVENTH AVE. N.Y.C. some lovely songs about nature, particu­ (Between 54th & 55th Sts.) RES: 586-8096 ------larly one about a brook in which the piano ------3------made brook-like noises. Vogl sang on until his voice began to break; then he sang some more. I was relieved when Vogl stepped to the punch bowl to soothe his throat and Schubert announced a new piano sonata. Although he is no Kalkbrenner, the com­ poser played his work with enthusiasm, (continued on page 18) 57 West 56th St. (Bet. 5th & 6th Aves.) 247-1136

11 ŒWgEHAI± 1983-1984 SEASON

Saturday Evening, December 3, 1983, at 7:30

THE AMERICA- CULTURAL FOUNDATION presents a Tribute to ANNUAL GALA

with JEFFREY KAHANE JEROME LOWENTHAL Elisha Abas

CHOPIN Polonaise in C-sharp minor, Op. 26, No. 1 MR. BERNSTEIN

ALBENIZ Evocación, El Puerto MR. KAHANE

STRAVINSKY Three Movements from "Petrushka" (Dedicated to Arthur Rubinstein) Russian Dance In Petrushka's Room The Shrovetide Fair MR. LOWENTHAL

Intermission

SCHUMANN Fantasiestücke, Op. 12 Des Abends Aufschwung Warum? Grillen In der Nacht Fabel Traumes-Wirren Ende vom Lied MR. KAHANE

CHOPIN Nocturne in F minor Valse in B minor MR. ABAS

RACHMANINOFF Suite No. 2, for Duo Nocturne Tarantella MR. KAHANE and MR. LOWENTHAL

13A Fredric Mann, Arthur Rubinstein and , at the opening of the Fredric R. Mann Auditorium, Tel Aviv, 195 7.

Isaac Stern and Arthur Rubinstein.

14A EXPECTATIONS REALIZED by Emanuel Krasovsky

Message from Isaac Stern halls are always crowded for dance, thea­ "I can't believe it," said a distinguished For the past thirty-five years AICF has ter and film performances since Israelis are musician, glancing about in bewilderment given talented young people the oppor­ as he was led to his jury seat. "I have been It is our privilege today to honor Arthur among the most avid patrons of the visual tunity to develop their artistry. About six Rubinstein. During his long and fruitful and performing arts in the world. The to many competitions, but this is beyond hundred promising young musicians each life his musical approach, the very sound America-Israel Cultural Foundation con­ belief." year participate in the elaborate framework of his instrument, became a cherished siders it a privilege and an obligation to Indeed, the Tel Aviv Museum's Recan- of auditions sponsored by the AICF. The warmth in the ear of every musician, no support these cultural activities. ati Hall on that March morning of 1983 most gifted win study scholarships, while matter what his instrument. The massive Education in the arts, especially for the offered a sight to behold. All the five- some outstanding students are given a power that never clanged against the ear, young, is high on our agenda. Thousands hundred seats had long been taken, people performance with the Israel Philharmonic the singing tenderness, the all-embracing of gifted children, youth and young adults jammed stairs and corners, while the Orchestra as well as a debut recital. The passion he had for music—these together have benefited from AICF scholarships pressure at the door, to the ushers' cha­ artistic criteria are uncompromisingly became a standard by which others were and fellowships which have assisted them grin, would not ease. The second stage of high. One of the first scholarship recip­ judged. to continue their studies in their chosen The Fourth Arthur Rubinstein Inter­ ients to achieve a major career was Daniel Along with these rare talents was a most fields. Internationally known artists who national Master Piano Competition was Barenboim, later followed by Bronfman, generous heart and mind, always willing have received AICF scholarships include about to begin, and the audience, from Fried, Kalichstein, Mintz, Perlman and to listen to others, to help younger col­ musicians Daniel Barenboim, Itzhak Perl­ piano teachers to soldiers on short leave, Zukerman. leagues and to give everyone a sense of man and Pinchas Zukerman; Menashe exuded an intense, personal involvement. During one such AICF audition, a slight sharing the wonderment he felt for music Kadishman, painter-sculptor; and Ohad This human climate generated by the six-year-old boy was called to the piano. all his life. In a list of great musicians past Naharin and Moshe Efrati, dancers. We Rubinstein Competition held several His father adjusted a homemade device hundred listeners who remained in the and present, there are always four or five are proud of these artists and pleased that enabling him to use the pedals, and the names that come instantly to mind. the AICF scholarships granted to them hall into the early morning hours to hear performance got under way. Before long it Arthur Rubinstein is among this small were helpful in furthering their careers at the final results. The excitement of the was clear that a remarkable new talent had handful of men who made their mark in an early stage. Competition makes it a milestone event in come to the fore. Elisha Abas, it turned the history of musical performance. He Arthur Rubinstein said, ''The new Israel's musical life. It is an extraordinary out, is a great-great-grandson of the was honored by many but never more Jewish nation has felt from the earliest episode in the careers of competition-wise Russian composer and pianist Alexander than by the young people. His memory will beginnings that the homeland and culture young as well. Scriabin (1872-1915). be loved forever, and, thanks to the art of cannot be separated from each other." The Rubinstein, by giving his name to a Some time after this audition, Elisha recording, available to us now and forever. America-Israel Cultural Foundation has piano competition painstakingly executed played for Rubinstein, whose affection for Israel had a special place in his heart and translated this philosophy into action. by Jacob Bistritzky, director, created a rare Israel was also manifested by his interest devotion. He has left the Rubinstein Inter­ opportunity for the fullest possible ex­ in promising young musicians. The master national Master Piano Competition as a Carl Glick pression of young performers' artistry. To listened attentively and liked what he permanent memorial, and we are happy to President that end, the first stage is an hour-long heard. The boy resembled him at that age, have with us tonight the 1983 winner, recital. All the proceedings are public and he said, insisting on Elisha's appearing in a Jeffrey Kahane. We all share the affec­ Message from AICF Past President uninterrupted by the jury. Some of the Rubinstein documentary then being tionate respect for a great spirit. piano masterpieces performed during the filmed. tour rounds are obligatory, others open to Isaac Stern For me, to know Arthur Rubinstein was The met again in Switzerland, at the the contestants' choice. really to know three separate men: the very end of Rubinstein's life. Elisha's Chairman of the Board From the beginning it was, in fact, the great pianist beloved by millions; the performance there appeared to move the musicianly thrust of the repertoire that warm and caring friend; and the great old man deeply. The next morning the boy attracted attention to the twenty-six- artist who, by his association with other received a package from Arthur Rubin­ year-old American, Jeffrey Kahane. Hap­ Message from AICF President great men, was a figure in history. To have stein—an inscribed gold Rolex watch and a pily, his playing met all expectations, known Rubinstein for almost a half cen­ personal stereo with Rubinstein cassettes. For over forty years the America-Israel projecting as it did thoughtful, exciting tury was to consort with history. After Later this month, the great musician's Cultural Foundation has provided finan­ and pianistically brilliant music making. "I meeting him in the 1930s, I was fortunate wish of being united forever with the land cial support for the most important cul­ had hoped you would win," said Mme. to become part of his circle, which included of his people is to be fulfilled—Rubin­ Aniela Rubinstein, who attended the con­ tural institutions and projects in Israel. Huberman, Gabrilowich, Luise Rainer and stein's remains will be buried in a forest cluding round of the contest. Thus Jeffrey This has strengthened its socio-cultural Albert Einstein. Later this group included near Jerusalem bearing his name. His followed Emanuel Ax, Gerhard Oppitz base and enhanced the quality of life of this Stravinsky, Rachmaninoff, Villa-Lobos, artistic legacy has already taken deep root and Gregory Allen to the elite company of extraordinary country. Steinberg, Szell and Toscanini, as well as there. Israeli audiences fill the auditoriums and the great painters of our time: Picasso, Rubinstein prize winners. museums in every city, town, kibbutz and Kisling and many others. So far no Israeli pianist has won the coveted award. Nevertheless, the coun­ village. They enjoy orchestras, chamber The memory of his music, the glow of music and solo performances, and view his friendship and the example of his zest try's cultural environment, stimulated by Emanuel Krasovsky, a concert pianist and great works of art. Children, Jewish and for life live on in all of us who were close to world performers visiting Israel, has had a recipient of numerous AICF awards, lives in Israel, Arab, crowd the children's wings of the him. powerful impact on generations of young where he performs and teaches at the Tel Aviv pianists. And that is where the America- museums to study and learn about art by Fredric R. Mann University and the Rubin Academy of Music in looking and doing. The nation's concert Israel Cultural Foundation enters the Past President, AICF Jerusalem. Mr. Krasovsky holds a Doctor of picture. Musical Arts degree from the Juilliard School. This page is sponsored by Bank Leumi Trust Company of New York. This page is sponsored by Israel Discount Bank of New York.

14B 15A AMERICA-ISRAEL CULTURAL FOUNDATION, INC. Meet the Artists 485 Madison Ave., New York, NY 10022 (212) 751-2700 This concert, Tribute to Arthur Rubinstein, brings four generations of musicians to OFFICERS Carnegie Hall:

We are grateful to Jerome Lowenthal, CHAIRMAN OF THE BOARD HONORARY VICE-PRESIDENTS AICF CHAPTERS Leonard Bernstein, a now recognized as Isaac Stern Isidore M. Cohen Milton Faber loyal friend of the one of the most im­ PRESIDENT Hon. Fredric R. Mann Chicago America-Israel Cul­ portant pianistic per­ Carl Glick Paul Wyler tural Foundation, for sonalities of our time, Helen Rosenthal CO-CHAIRMEN, EXECUTIVE DIRECTOR­ Cincinnati having spontaneous­ was brought at the EXECUTIVE COMMITTEE ADMINISTRATION ly offered to pay trib­ of seventeen by Dr. Sheldon Atlas Morton Weissman Stella Nahum New Haven ute to Arthur Rubin­ patron Fredric David A. Oestreich EXECUTIVE DIRECTOR­ stein at this concert. Dr. Owen Cantor Mann to play for FIRST VICE PRESIDENTS DEVELOPMENT The two artists had Rubinstein; Stanley Bogen Stanley Grayson Pittsburgh great affection and he was the Vera Stern MIDWEST REGIONAL DIRECTOR Vera Deckelbaum musical admiration recipient of Esther Garduk Washington, D.C. for each other. No other American mu­ Mr. Rubinstein's advice and en- SECRETARY COUNSEL sician has ever achieved a worldwide rep­ couragement. The Three Movements Jeannette Solomon Ronald M. Appel, Esq. utation like that of Leonard Bernstein. He from Petrushka, which Mr. Lowenthal plays ISRAEL is known everywhere as conductor, com­ tonight, were transcribed by Stravinsky at TREASURER MEMBERSHIP CHAIRMAN CHAIRMAN, ADVISORY BOARD poser, pianist, author and teacher. Rubinstein's request and dedicated to Mr. Alan A. Fischer Sabina Weinberger Mordechai Virshubski Rubinstein. They were among his favor­ VICE-CHAIRMEN OF THE BOARD CONCERT COORDINATOR GENERAL MANAGER ite concert pieces. Stanley Bogen Patricia Schwarz Josef Schiffmann George M. Jaffin COORDINATOR DIRECTOR-SPECIAL PROGRAMS Ben Marcus PUBLIC RELATIONS Meira Geyra Ethel S. Cohen Jeffrey Kahane's first Raphael Recanati memory of Arthur CONSULTANT HONORARY PRESIDENT PUBLIC RELATIONS Rubinstein was at a William Mazer PaulKresh concert given by ÄRubinstein in Los H Angeles in 1965. Jeff- m rey was ten years old BOARD OF DIRECTORS at the time. When the performance end­ Joan Arnow Rosalind Gurwin Harvey E. Rothenberg ed, Mr. Rubinstein Walter Artzt Henry Jaffe reached down from Emma Schaver Sheldon Atlas* George M. Jaffin the stage to take the Helen Scheuer Stanley Batkin* Judge Irving boy's hand, and shook it warmly as Jeffrey Walter Scheuer* Diane Belfer Kirschenbaum Patricia Schwarz* stood with the rest of the audience cheer­ Elisha Abas and Arthur Rubinstein Ann Bialkin* Berthe Kolin* ing what had been an unforgettable con­ Wendy Shapiro Stanley Bogen* Samuel Kurian Jeannette Solomon* cert. The two selections Mr. Kahane Elisha Abas, eleven-year-old Israeli pi­ Dr. Owen Cantor Janice Levin performs tonight are both closely associ­ Dr. Herbert Spasser anist and AICF Scholarship recipient, is Niusia Chilewich Shirley Liebowitz Isaac Stern* ated with Mr. Rubinstein. Since Arthur the great-great-grandson of the renowned Marshall Cogan Paul Luftig Rubinstein played the two Albeniz pieces Jane Stern Russian composer and pianist Alexander Ethel S. Cohen Hon. Fredric R. Mann Vera Stern* and many other Spanish compositions, he Scriabin. Elisha has studied since he was Harold Daitch Ben Marcus* endeared himself to Spanish-speaking Michael L. Tenzer five-and-a-half years old with Pnina Lonny Darwin Helen Mazer Ralph Tornberg audiences all over the world. The Salzman, Israeli concert pianist and teach­ Vera Deckelbaum William Mazer* Schumann Pantasiestücke was on the pro­ Esther Treitel er. Elisha's playing greatly impressed Ethel Edelman Joseph Meyerhoff Phyllis Wachtel gram of Rubinstein's last Carnegie Hall Arthur Rubinstein, who said Elisha re­ Yona Ettinger Isidore Morgenstein Sabina Weinberger concert on March 15, 1976. minded him of himself at the same age. Milton Faber Stella Nahum Paul Wyler Alan A. Fischer* Toby Nussbaum Susanne Yardney Leon L. Gildesgame ng^nsIdeÎh^theàtfr withouTthTwriUen' David A. Oestreich* Carl Glick* Elsie Pearle Offenders may be ejected and liable for d Yona Goldberg Raphael Recanati Seymour Grubman Helen Rosenthal 'Executive Committee Member 15B 16A ARTISTS' ADVISORY COMMITTEE Leonard Bernstein Dina Recanati Anna Sokolow Eugene Istomin Jerome Robbins Alexander Zakin Zubin Mehta Leonard Rose Eugenia Zukerman Bess Myerson Mstislav Rostropovich Pinchas Zukerman Jan Peerce Alexander Schneider Itzhak Perlman George Segal

COUNCIL OF TRUSTEES

Nahum Bernstein Irving Kagan Judith Rothenberg Molly Brecher Gerald Kahn Seymour Scheer Maxwell T. Cohen Max M. Kampelman Joan Schefler Morris E. Feiwell Walter Kaye Leonard Sendroff Ruth Greenblatt Herbert Kronish Devorah Sherman Helen Haft Hermann Merkin Herman Spertus Deborah Hahn Alice Peerce Natalie Jaros Adolf C. Robison she’ll never see you turn your back on her Christine is blind. We didn’t turn our backs because at IHB we know it’s important to give blind kids independence. IHB social workers helped Christine's mother and dad understand she could learn to care for herself. Because she sees light and dark, Christine was fitted with special lenses in the IHB low vision clinic. For two years she attended the IHB nursery school. Then she entered a IHB SERVICES regular school and did her lessons from FOR THE BLIND braille books. Now an IHB mobility instructor is teaching her to use a cane 57 Willoughby Street so she can travel alone anywhere. , New York 11201 Children like Christine need us. Please (212) 522-2122 don’t turn your back on them. Support IHB Services for the Blind.

16B The Cleveland Quartet performs Schubert's Quartet in E-flat major and Quintet in C major, with guest cellist Yo-Yo Ma, on November 6. Pianist Joseph Kalichstein offers an all-Schubert program on November 30.

SCHUBERTIAD (cont. from p. 11) to echo my every mood: the pleasure of lashing the keys with his stubby fingers one swaying and gliding, the delight of holding moment and drawing singing tones from an adorable creature in my arms, the them the next. What it all added up to I doubts about what she thought of me, the don’t know. If this was great music, it went regrets at parting, even the sweet languor way over my head. And the length! Dear of near-exhaustion. Gretl, I thought we might sit there till dawn As we caught our breath, I said to young and never get as far as the minuet. Schwind, “That was the longest waltz I I joined the heartfelt applause at the end ever heard. What was its name?” of the work, if not for the same reason as Schwind laughed uproariously. “No the others. A lawyer named Schober said, name at all, dear Max! He was making it “And now, my friend, how about some­ up as he went along. If you tell him you thing with a tune?” Spaun was visibly liked it, perhaps he’ll write it down for angry at this remark, which I would have you!” seconded, had I dared. But Schubert just More waltzes followed, all of them looked impassively at his friend and began improvised by this devil Schubert. I saw to play a song. There was general laughter; now why these people will have no one Franz whispered to me that the song was else’s music at their gatherings. His skills called “An die Musik,” and Schober had seem boundless, yet the music of his songs written the words. In a thin but pleasant and dances goes straight to the heart. It is a voice, Schubert sang a simple melody to great pity that his ambitions have clouded these words: his judgment, and he wastes much time composing long-winded, obscure works Thou lovely Art, in how many gray moments that no person could sincerely wish to hear. Where life’s mad whirl entangled me Before the party dispersed, I was treated Hast thou kindled my heart to warmer life, Carried me off to a better world. to the sight of a Court Secretary being tossed in a blanket; he was very clumsy, How can I describe what happened in and nearly fell out several times. Then we that moment? All laughter turned to tears. staggered, still laughing, into the street. The little song lasted about a minute, and Only Schwind still had energy; as his yet in it was all the sad sweetness of youth friends cried “Do the bat!” he spread his and music, both of which are with us one cloak and dashed up and down the street, moment and gone the next. With a little leaping and pulling his legs up as if flying. smile, Schubert accepted the tribute that Schubert, for once, joined in the laughter flowed from our eyes; then he motioned to at his friend’s antics. Franz von Hartmann Josef von Gahy, a colleague of Spaun’s at was not among us, having been chosen to the Hofkammer, to join him at the piano. escort the fair “Flower of the Land” home; The two of them quickly restored good her house is far out in the Taborstrasse, cheer with marches, variations, and a and Franz can walk very slowly when he Grand Duo for four hands. wants to, so I knew we would not see him Then Schubert struck up a waltz, and for a while. the whole company began whirling around I went with the rest to Leibenfrost’s the room. Under the spell of the wine, the coffee house, where we drank each other’s ladies and the music, even I found myself health and smoked quite a few pipes. sailing across the floor! The music seemed Schubert now seemed more animated,

18 Schubert by Rieder, 1825

delivering himself of many a sharp remark My Franz came in after I did last night, about today’s music, calling even the great and yet he has already made coffee and Rossini’s works “barbarous music” and brought me some. Ah, youth! I must close “tootling.” I asked if there was nothing he now, as the clatter of carriages in the street liked. He said that of course II barbiere was and the morning sun in the window are a fine work and the Italian singers had making my head throb intolerably. The beautiful voices, but he added, “Some­ next Schubertiad is in two weeks, which I times it seems to me as if I no longer hope will be enough time to recover my belonged to this world.” Certainly in the wits and become, once again, strangeness of much of his music, and in Ever your loving brother, his seeming indifference to fame and Max applause, Schubert is a man apart. By two o’clock in the morning, when we at last went our own ways, I had grown to like Pianist David Wright is a regular contributor him. to Stagebill.

23 KALICHSTEIN (cont. from p. 26) pieces ever written for the piano. Sonata with something else like it—there’s 14 years together so incredibly well that it has a And for those who saw Amadeus, and too much emotion, too much “meaning­ kind of inevitability; it just goes on, recall the scene where Mozart turned a fulness.” So, I looked for shorter pieces without seams or strain. commonplace melody of Salieri’s into a that could be just as meaningful, but which Wholesome Gourmet Some other great composers were more genial piece, there’s an example of Schu­ don’t demand the same kind of extended Elegant self service architecturally-minded, and seem to have bert doing that to himself here. The theme concentration. Also, although many of Relax with and first created the structures and then filled of the third movement comes from an these works are published as sets—the original artwork in the details. With Schubert, one has the earlier sonata—which is also pretty good; Moments musicaux, for instance—I don’t sense that the architecture comes from the but he’s changed a note here and a rhythm believe Schubert necessarily meant them to Across from Carnegie Hall phrase, the breath or the song. So, you there, and he’s created a much greater be played together, and I thought it might 147 West 57th Street have that element. If you like the cerebral theme. This Sonata is very much like be interesting to do a medley. In putting the and all Manhattan locations in music, you can look at the themes of the Winterreise—it’s a piece that has every­ medley together, one has to choose more movements, and see how they’re interre­ thing. carefully than if one plays the whole lated. For me, that’s just an additional book. Sometimes I looked for thematic bonus. Then, of course, there is the second Why all short works for the first half? ideas that end one work and begin another; movement, one of the most anguished It would be too much to precede the sometimes I looked for key or mood VISIT relationships. In a sense, the short pieces are all songs—which Schubert wrote many THE WORLD'S of, even if he didn’t always use words. Some are simplistic, and some are touch­ ing, profound poems. LARGEST Toshiba’s answering machine RECORD STORE More classical records than speaks for itself. you’ve ever seen before, all at discounted prices! We have a friendly and knowledgeable staff eager to help you find anything you desire. Come Some people claim the length of Schubert's by and see us! works often makes the repeats super­ fluous. What’s your feeling about that? I judge it piece by piece. In the A-major Sonata, I find the repeats are too much, in terms of the balance between movements. In the B-flat, by contrast, it’s a tremendous problem because even though the repeat may not really be necessary to the struc­ ture, it’s too delicious to lose. In the A-major, I find that the first movement is FOR A QUICK SNACK AT INTERMISSION very like Beethoven and unrelenting, and it OR AFTER THE SHOW wants to move on. ★ Bratwurst on a Apropos of repeats, one of the Moments toasted roll What's all the talk about? Toshiba's new answering machine ★ Crisp finger-size that actually talks. musicaux I’m playing—No. 5, in F mi­ potato pancakes The Execu Sect tells you useful things like how many messages nor—has a repeat in its second half that ★ Warm Swiss you've received, the time and day they were recorded and when I’m convinced is in the wrong place. The potato salad ★ Imported beer the last message is over In a pleasant-sounding synthesized voice. piece is in two parts that mirror each other, in a frosted mug Hear all about it at your like a Scarlatti Sonata, and the second half nearest Toshiba dealer TOSHIBA ends in F minor, but goes on to a twelve-bar Toshiba America, Inc., 82 Totowa Road, Wayne, NJ 07470 Swiss Wurst (continued on page 41) “the home of the worlds best hot dog ” ACROSS THE STREET BETWEEN 56 & 57th St. ON 7th AVE 30 31 ______CXRNH3EHALL 1983-1984 SEASON

Sunday Evening, December 4, 1983, at 8:00

CARNEGIE HALL in association with ICM ARTISTS, LTD., presents

Vladimir Itzhak Ashkenazy Perlman Piano Violin

JOHANNES BRAHMS Sonata No. 1 in G major, Op. 78 Vivace ma non troppo Adagio Allegro molto moderato

Sonata No. 2 in A major, Op. 100 Allegro amabile Andante tranquillo—Vivace (alternativeo) Allegretto grazioso (quasi andante)

Intermission

Sonata No. 3 in D minor, Op. 108 Allegro Adagio Un poco presto e con sentimento Presto agitato

This concert is made possible in part by public funds from the National Endowment for the Arts and the New York State Council on the Arts. Carnegie Hall is owned by The City of New York, which has contributed public funds to its maintenance and improvement. Mr. Ashkenazy records for London/Decca Records and plays a Steinway piano. Mr. Perlman records for Angel, London, CBS Masterworks and Deutsche Grammophon records. Exclusive Management: ICM Artists, Ltd., 40 West 57th Street, New York, NY 10019 Sheldon Gold, President A Member of the JOSEPHSON Talent Agency Group The photographing or sound recording of any performance or the possession of any device for such photographing or sound recording inside this theater without the written permission of the management, is prohibited by law. Offenders may be ejected and liable for damages and other lawful remedies.

33A Notes on the Program by LEONARD BURKAT

JOHANNES BRAHMS Joseph Joachim, who was one of the great­ Born May 7, 1833, in Hamburg est musicians of the time and a close friend Died April 3, 1897, in Vienna of the composer. As young men, both musicians had been disciples of Robert Sonata for Violin and Piano No. 1, Schumann, and for years after his death, in G major, Op. 78 they remained close to his widow, Clara, a The musical manner that Brahms adopted distinguished pianist and composer in her as a young man, and the skill that he own right. When Brahms sent her a manu­ showed when he was only twenty, led script copy of this new work, she wrote Schumann to proclaim him, in 1853, "a back, "I must send you a line to tell you musician chosen to give ideal expression to how very excited I am about your Sonata. his times, a young man over whose cradle It came today. Of course I played it Graces and Heroes have stood watch." through at once, and at the end could not From the very beginning he was the help bursting into tears of joy." Brahms of noble melody, of rich texture, of Ten years later, when she was seventy rhythmic freedom, of large statements in years old and in failing health, she still big forms beautifully written for the loved the Sonata and treasured the friend­ instruments. This does not mean that ship of these two gifted men. From her there is little difference in the music he house in Frankfurt she wrote a touching wrote at twenty and at fifty. He matured letter to Brahms, in which she said, and grew and said different things at "Joachim was here on Robert's eightieth different times, but even when young he birthday and we had a lot of music. We had found his own eloquent language, played the [Op. 78] Sonata again and I which he would use consistently and well reveled in it. I wish that the last movement until the end of his life. could accompany me in my journey from Schumann's pronouncement mentioned here to the next world. [Abridged]" that Brahms had already written some The Sonata is one of the most lyrical violin sonatas, and years later a pupil said instrumental works among all Brahms's that he had discarded five of them before compositions. The violin is always the composing this one, the first that he leading voice, and the piano writing is thought good enough to preserve and always so clear and transparent that there present to the world. He wrote it during is never an imbalance between the two the summers of 1878 and 1879, and it was instruments. There are only three move­ his only piece of chamber music during a ments, not four, and Brahms wrote to his productive period in which he composed publisher—no doubt in jest—that he his Second Symphony, the Academic Festival would therefore accept 25 percent less and Tragic overtures, the Violin Concerto than his usual fee for a sonata. and the Second Piano Concerto. As in many of his works of the time, the This Sonata is contemporaneous with movements are intimately interrelated. the Violin Concerto, Op. 77, and both There is a three-note motto figure, and works owe a great deal to the violinist other music, that moves about among 34A them. The mood of gentle nostalgia that permeates the first movement, Vivace ma non troppo, continues and characterizes the How entire sonata. The second movement is a solemn and dramatic Adagio, and the third, a rondo, Allegro molto moderato. In one epi­ sode of the finale, Brahms brings back the To slow-movement theme. The principal melodic material of this movement, how­ ever, comes from a related pair of his Contribute songs, Op. 59, Nos. 3 and 4, "Regenlied" (Rain Song) and "Nachklang" (Remini­ scence). The texts, by Klaus Groth (1819- 1899) are, "Pour rain, pour down, and To The recall to me the dreams I dreamt in child­ hood, my old songs that we sang indoors when we heard the raindrops outside. Raindrops are falling from the trees onto Arts the green grass. Tears from my sad eyes are wetting my cheeks." Without —Copyright ® 1977 by Leonard Burkat Sonata for Violin and Piano No. 2, Spending in A major, Op. 100 In the fruitful summer of 1886, on the shores of Lake Thun, in Switzerland, Brahms wrote his Second , the Cello Sonata, Op. 99, the Piano Trio, Op. 101, and the fifteen Lieder of Opp. 105, 106 and 107. It was the time of full and rich maturity in his creative life that followed the completion of his Fourth Symphony. The huge amount of work he got done that summer did not require hermit-like retire­ ment from everything but composition. He read, studied, performed with other musicians in the neighborhood and led a Materials For The Arts busy social life with friends he invited to A simple, no-cost, fully tax­ Thun from Vienna—among them a tal­ ented young singer with whom he was in deductible way to support the love. arts in . If you are a The Violin Sonata, Op. 100, is a sweet business, an organization or indi­ and lyrical work, given an almost Schuber- tian flavor by Brahms's use of two melo­ vidual and have something you dies from his new songs in the second think an arts organization could themes of the first and last movements. use, call Materials for the Arts. If The sensitive first movement, Allegro you can spare It, we know who amabile, is a tight musical structure whose tenderness may have been inspired by the needs It. (212) 974-1150. song text, "Like melodies running lightly through my mind, like the scent of spring flowers in bloom..." Second is a slow Materials for the Arts is a pro­ movement, Andante tranquillo, into which gram of the New York City Brahms twice inserts a scherzo-like varia­ tion on the principal theme. The last Department of Cultural Affairs, movement, Andante tranquillo, into which 2 Columbus Circle, N.Y. 10019. Brahms twice inserts a scherzo-like varia­ Angela Fremont, Project Director tion on the principal theme. The last movement, Allegro grazioso (quasi andante), is Henry Geldzahler, Commissioner, a rondo, unusual for its calm and repose. Edward I. Koch, Mayor. —Copyright ® 1976 by Leonard Burkat 34B Sonata for Violin and Piano No. 3, in D minor, Op. 108 The third and last of Brahms's Violin Sonatas, completed in 1888, is a profound­ You’re just a ly introspective and meditative work, rich in the calm and the insight of an aging phone call away from master. The opening movement, Allegro, is a marvelous experience a lyric masterpiece whose pages are marked, however, by a gentle restlessness in giving and getting. that is absent from the sustained melodic line and the quietly contemplative mood of the slow movement, Adagio. The third movement, Un poco presto e con sentimento, is not really a scherzo, but it has a light whimsy and poignant charm that set it in 427-5754 contrast with the others. In the last, Presto agitato, some of the exuberance of Brahms's earlier works returns with a vigorous, Can you find a couple of headlong rush that often recalls the hours in your week to care? Hungarian Gypsy music we have heard in so many of his brilliant finales. You've probably thought of —Copyright ® 1983 by Leonard Burkat volunteering a dozen times but just didn’t know where to begin. Or what to volunteer for. Or how. 427-5754 is the number to call. It’s our number—the Meet Yorkville Volunteer Center. the Artists We'll help you find the right spot in the right place. Ever since he won After all we’re volunteers gg| first prize in the Se- Hcond International ourselves and we’ve placed Tchaikovsky Compe- good people like you in over tition in Moscow in Kb 1962, Vladimir Ash- 200 non-profit agencies flBkenazy has been a throughout Manhattan. »^household name throughout the musi- Whether you’re a teenager, ^Hcal world. He has a grandparent or someone made countless tours in between there’s a vital around the globe, giving performances season after season role for you to play. Why not in all the great musical centers. During the call us for an appointment? last few years, Mr. Ashkenazy has devoted an important part of his activities to You can make all the and has worked particularly difference in the world. closely with the Philharmonia Orchestra of London. He has conducted many con­ certs with the orchestra in London during the last few seasons and has toured with them in Europe and Japan. Many fine re­ cordings with the Philharmonia Orchestra Yorkville Volunteer Center have already been released, including the 356 East 88th Street major symphonies of Tchaikovsky, four recordings in a complete Sibelius cycle, the 427-5754 Beethoven Fifth and Sixth Symphonies and several recordings of Mozart piano concertos. Mr. Ashkenazy also appears 36A regularly on television in Britain with the and Copenhagen. His list of recordings as a orchestra. pianist is encyclopedic, covering all the Mr. Ashkenazy also enjoys a regular concertos of Beethoven, Rachmaninoff, collaboration with the Concertgebouw Bartók and Prokofiev, as well as all the Orchestra of Amsterdam, and is currently Beethoven piano sonatas. He is well recording all the Rachmaninoff symphon­ advanced with further major projects ies and other major orchestral works with which will cover in due course all the them. During the 1982-83 season, he works for piano by Chopin, Rachmaninoff conducted the Philadelphia and Cleveland and Scriabin. orchestras and recorded, with the latter, Born in Russia in 1937, Mr. Ashkenazy Prokofiev's complete score of the Cin­ began his piano studies at a very early age. derella ballet. He studied at Moscow's Central Music Mr. Ashkenazy continues to devote School under the famed pedagogue Anaida himself to his career as a pianist. Each Sumbatian, and while still a teenager season he performs in all the great music began to gather prizes, including the First centers of the world, and he has under­ Prize at the Queen Elisabeth Competition taken in recent years a number of major in Brussels in 1956, which brought him projects such as the complete cycle of immediately to the attention of the inter­ Beethoven concertos in Amsterdam, Co­ national concert world. He first toured the penhagen, Vienna, New York and Wash­ United States in 1958 and won unprece­ ington and the Bartók concertos in San dented acclaim from both critics and Francisco, Pittsburgh and New York. Last audiences alike and has visited America year he appeared as soloist at the gala annually ever since. opening of the new Barbican Concert Hall In 1963 he left the Soviet Union with his in London, and this year he celebrated the family and, after periods spent first in Brahms 150th Anniversary Year with per­ London and then in Reykjavik, Iceland, formances of both piano concertos in New now lives in Lucerne, Switzerland, with York, , London, Paris, Vienna his Icelandic wife and their five children.

Itzhak Perlman's hold ing study at the Juilliard School in New on the public imagina- York under Ivan Galamian and Dorothy tion stems from a DeLay, he won the prestigious Leventritt combination of talent, Competition, and his world career ensued. charm and humanity After a return to Israel, which Time quite unrivaled in our magazine hailed as "the return of the time. The young Is­ prodigy," Mr. Perlman joined the ranks of raeli-born violinist's superstar performers known throughout artistic credentials are the world. It is not just his flawless supreme, but since his technique that commands this position; it initial appearance on is his communication of the sheer joy of the Ed Sullivan Show making music that is evident in his appear­ in 1958, his personality combined with his ance, be it alone or with distinguished technique in such a manner as to create an colleagues in chamber music or orchestral artistic force of unique and compelling repertoire. Mr. Perlman holds numerous nature. Itzhak Perlman has appeared with Grammy awards for his recordings, and at every major orchestra in the world, on any given time you will find a number of most of the great concert stages alone or in his discs on the best-seller charts. Mr. close collaboration with great artists, on Perlman's recordings are with EMI, Angel, countless national television shows, and in CBS Masterworks, London/Decca, RCA recording studios here and abroad, and on and Deutsche Grammophon. His reper­ every occasion he has displayed not only toire is vast, encompassing all the standard the gifts that make him a great musician, violin literature as well as many works by but also those that make him a great man. new composers, whose efforts he has In 1981, the International Year of the championed. Disabled Person, Mr. Perlman's presence Mr. Perlman was selected as Musician of on stage, on camera and in personal ap­ the Year for the cover of Musical America’s pearances of all kinds speaks eloquently Annual Directory of Music and Musicians for for the cause of the handicapped and 1981, and it is a fitting tribute for this disabled. He champions this cause, and his extraordinary artist who has found such a devotion to it is an integral part of his life. place in the artistic and humanitarian Itzhak Perlman was born in Israel in fabric of our times. 1945 and completed his initial training at Itzhak Perlman lives in New York with the Academy of Music in Tel Aviv. Foliow­ his wife, Toby, and their four children. 36B A T) T T ATT THE Carnegie hall corporation Vz/xlvlN £/ vJ 1 Ex n.ïYl>L> the Carnegie hall society, inc. KALICHSTEIN (cont. from p. 31) 1983-84 SEASON coda, in F major, and in an altogether differ­ Gianni Minale’s ent mood. The repeat sign—which I’m sure Walter Scheuer Isaac Stern BOARD OF TRUSTEES was put there by a publisher, but which President Betty Allen* Constantine Sidamon- ON THE PARK cannot be checked, because Schubert’s James D. Wolfensohn Martina Arroyo Eristoff autograph is lost—comes after the coda. A Tradition in Elegant Dining Chairman of the Board Hon. Eugene M. Becker Aye Simon 240 Central Park South NYC - 246-7050 Norton Belknap Norton Belknap* Joseph E. Slater But I believe it makes more sense just Chairman of the T. Roland Berner Lee N. Steiner before those last twelve bars; it’s more Executive Committee Kenneth Dayton Isaac Stern* symmetrical, and it makes better sense, singing, legato sound but I try to do that Eugene M. Becker Richard A. Debs* James D. Wolfensohn* musically. It means that you have the when I play alone, too. After all, from MacNeil Mitchell Jack DeSimone* John W. Zick tension of the F-minor section, which you Mozart until the twentieth century, com­ Vice Presidents Hon. Roy M. Goodman repeat, and which is then released by the posers wrote for the piano in the hope that Mrs. Dorothy H. Hirshon Klaus Jacobs HONORARY TRUSTEES little F-major smile at the end of the piece. it would sing. Mozart wrote operas for the Treasurer Peter C. Huang Marian Anderson Once you’ve played it that way, it seems so piano, and Schubert wrote songs for it. So, John W. Zick Klaus Jacobs* Mrs. Marshall Field elementary. In this case, challenging the from that point of view, the approach is the Assistant Treasurer Ernest A. Jones Jacob M. Kaplan repeat has nothing to do with length; it’s same. The only difference is the inter­ Jack DeSimone Gilbert E. Kaplan Mrs. Albert D. Lasker Secretary Stephen M. Kellen just using musical intelligence to battle bad change. In a solo performance, your only Hon. John V. Lindsay traditions. Maximilian W. Kempner George Lang Hon. Fredric R. Mann interlocutor is your instrument, and so you Assistant Secretary Laurence C. Leeds, Jr. Mrs. George W. have to close yourself into a tighter circle. I Mrs. Leonard Linden Naumburg You’re doing a lot of chamber music like it both ways, really—I don’t have a Plato Malozemoff Raymond S. Rubinow playing these days. Does that kind of work preference among solo, chamber, or con­ Bayless Manning Harry Van Arsdale have any effect on the approach you take certo playing. In all three, the attraction is Edward H. Michaelsen* Hon. Robert F. Wagner when you perform alone? the literature itself. Hon. MacNeil-Mitchell* Lucien Wulsin Not really, because I basically approach Lester S. Morse, Jr.* David L. Yunich both the same way. When I play with Russell Palmer Allan Kozinn is a regular contributor to strings, I try very much to give the piano a Itzhak Perlman Mrs. Isaac Stern, Stagebill. Roberta Peters Walter Scheuer Mrs. Jane Cahill Pfeiffer Co-chairmen of the Shepard P. Pollack Friends of Carnegie Hall Robert V. Roosa Lewis Rudin * Member, Executive Committee

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