• \SYM PHONY) () RCN E STM Seiji Otassa. Music Director Tos,

- The Berkshire Music Center Lenox,

SECOND COMPOSERS FORUM Thursday, August 5, 1976 at 8:30 P.M. Theatre Concert Hall Pkepated undet the supetvisA:cn oi Theodore Antoniou and Gunthek Schuttek TODD BRIEF FANTASY FOR VIOLIN AND PIANO

An than Zadinsky - violin Janice Webek - piano

ROBERT EEASER THIRD MOVEMENT frcm STRING QUARTET Sook-hyung goon - viotin Shelley Co44 - viota Deborah Steiner - viotin Barbara Andres - viotonceeto TOM LEE THE MAD FROG

Bakbata Hat - oboe John Mace Veh - base ciatinet Grace Patadi6e - harp

PETER HOMAMS CONCERTINO

Jennie Shames - viotin Stephanie Jutt - gute Caul Nutter. - viota Louis Gangaee - clarinet

Melanie Stein - viotoncettO Neit Gtovet. - petcussion Petet Takes - piano AZited MoAlLa - condUctot.

The audience is invited to participate in a discussion following the performances.

As a Ftiend og Music at Tangtewood and conttibutok to the Betkshine Music Centet, you have been invited to this concekt and .to the numerous othet concetts o6 the Music Centet. The Bakshite Music Centet is in pWit supported through the genetosity 496 the Ftiends, and we hope you wilt encoutage othets to enkott. Conttibutions in any amount ate welcome. A Season Membetship at $25 entittes an individuae on a gamily to attend all BMC events without liukthet conttibution. Ftiends without season membership and otheu attending each BMC event ate asked to conttibute a minimum og $2.00 at the gate. The Betkshite Music Centet Lo also supported in pant through a generous grant gnom the National Endowment got the Ants in Washington, D.C., a Fedekat agency ckeated by Act og Congress in 1965.

BALDWIN PIANO PROGRAM NOTES

Fantasy for Violin and Piano, by Todd Brief

Fantasy for Violin and Piano was written in 1975. It is a one-movement work, which organically developes out of a dramatic conception that utilizes the violin and piano as separate but equal participants. Virtuosic potential is explored as each part unfolds.

Todd Brief was born in in 1953. He has studied composition with John R. Ronsheim, Ralph Shapey, Went Arel, and presently with William Thomas McKinley at the New England Conservatory. He is a recipient of the Joseph H. Bearns Prize from Columbia University, BF1I Award, and the Victor Herbert-ASCAP award.

String Quartet, by Robert Beaser

The String Quartet was composed between 1973 and 1975. It is in three movements, the first being autonomous and the second and third comprising one large and loosely formed set of variations. In the third movement I deal with the problem of motion and direction in extended form. It begins as a "traditional" scherzo which dissolves into a "trio", but there the resemblance ends. The trio manages to assume a rather dynamic life of its own, the pulsing rhythmic ostinato finally usurping all other activity. Due to many considerations, only the third movement will be performed tonight; it should be kept in mind that the total balance and proportion of the work will be altered.

Robert Beaser was born in 1954 in Boston. He received his B.A. as Scholar of the House at Yale this past Hay, where he is in the five-year M.11. program. His principal composition teachers have been and . He holds the position of Associate Conductor of the Norwalk (Conn.) Symphony, and will work as assistant conductor to Arthur Weisberg at Yale this coming year.

The Mad Frog, by Tom Lee

The Mad Frog, fall, 1974

Frogs I like, they're great . . and harps! So was Eric Dolphy, as testimony, " . . . the child." And with oboe as my middle name, What does it matter what form is this game?

Tom Lee has received degrees from the University of Pittsburgh and the New England Conservatory, where he studied comnosition with William Thomas McKinley. He is presently teaching at Berklee College of Music.

Concertino, by Peter Homans

My Concertino was written for The Boston !lusica Viva and is dedicated now-former teacher, Donald Martino. The most important part about writing the piece for me was to respond to the apparent norm, as I understand it, of piano writing today, which to me has limited itself to one or two of the things the piano has traditionally been able to do, as well as exploring many things the piano has never done. I am obviously interested and excited by new techniques and new sounds, but in piano literature as well as in vocal literature, there are so many things not done, for reasons of language, I assume, which I feel I must deal with if only to provide pianists with a broader range of physical and musical pleasure. This is not to say, in its rather long-winded way, that the piece is in any way a study or an arid formulation of philosophy. It was the jumping-off point, the things which most scared me when I was asked to write the piece.

Peter Homans received his B.A. in English (1972) at Washington and Lee University where he began composing with Robert Stewart. He received his M.M. in composition as a student of Donald Martino. He has written numerous works of chamber music and in April, 1976, his chamber opera, Calvary, was performed at New England Conservatory, Gunther Schuller conducting.