'XXIV, NGIC Vt.° V-4 tIAE 7}"*Sk" .verture' Potim;io er r, -4,-err.4-aVa,e

r. yip

1

as/ IW'Vja

L 11 ImI 'mom'

,e ell°

wore

bassu Ithone

,p.n!..ss

I Viol i no

Violino 11

Cf:/ Ouvert.tco4tagmera ,e) 41P

,

- Your money grows like magic at the

THE DIMEDIME SAVINGS BANK OF NEW YORK MEMBER FDIC

MANHATTAN DOWNTOWN BROOKLYN BENSONHURST FLATBUSH CONEY ISLAND KINGS PLAZA VALLEY STREAM MASSAPEQUA Brooklyn Academy of 'Music, 111111,' )175f, polzr9 ABRAHAM Program: It's Saturday, November 22, 1975 (8:30 pm)/Leperq Space -blinking Sunday, November 23, 1975 (2:00 pm)/Leperq Space rd . _The NE fjftakkrt,AE 'New York cn f n, "110. ' 41g, Scott Nickrenz Music Director

York i1.1 New The NEW sparknqli Gerard Schwarz It's P* Trumpet Ani Kavafian Violin Loren Glickman Bassoon Kenneth Cooper Harpsichord

Johann Melchior Molter for Trumpet No. 2 in D Major violin,trumpet,bassoon, harpsichord Moderato Andante Allegro J.S. Bach Sonata for New Violin and in .1°6( Cembalo No. 4 in C Minor The NEW Violin, Harpsichord It's kissable Largo Allegro Adagio Allegro

Maurizio Cazzati in D - ...... - Minor, Op. 18, No. 9 .. ...1; 1 cig'' Largo . ' i- York in New Grave con tremolo NINV Vivace The Allegro an eactul Ist' , Biagio Marini Sonata in C Major o 0 Dolcemento-allegro 1 .. - Fre 3 Girolamo T 16f Frescobaldi Canzona No. 5 in D Minor 1 all four instruments

The '- i'D - . Intermission IT ,.., Willem De Fesch Sonata for Bassoon and ...... 01 NEW Harpsichord, Op.8, No. 3 bassoon and harpsichord in New York .. Siciliano Allemande Arietta A&S Menuetti 1 and 2 Domenico Scarlatti Three Spanish Dances FABULOUS NEW solo harpsichord

STREET 1 J.S. Bach Passacaglia and Fugue in arranged by Kenneth Cooper C Minor trumpet, violin, bassoon, harpsichord FLOOR (A&S Brooklyn store) _J. far -712 3". - The place Loren Glickman, bassoonist, who joined The Society of Lincoln Center for its third season, to come... is a native of Cleveland and a graduate of the Eastman School of Music of the University of Rochester, where he studied with the National of for low-cost, Washington and with the New York City Opera Orchestra, before embarking on a soloist's career in high-quality the chamber music field which has included appear- ances with the Juilliard, Lenox, and Schneider String Quartets and guest performances in previous seasons family protection! with the Lincoln Center Chamber Music Society. He has performed at the White House, in the Casals Festival in Puerto Rico and the Festival of Two Worlds in Spoleto; is a of music for films; and is on the faculty of the Canadian National Youth The 4 Orchestra. Williamsburgh Savings Kenneth Cooper is known for his solo, chamber, and continuo work, and is on the faculties of the Mannes Bank College of Music and Brooklyn College and holds a Incorporated 1851 Ph.D. in musicology from Columbia University. He has written articles in a variety of subjects in such publications as "The Musical Quarterly", "Current Brooklyn Offices: Musicology" and"Music in Geschichte and Gegenwart" 1 Hanson Place at Flathush Ave., (M.G.G.). Mr. Cooper has made a specialty of the Brooklyn, N.Y. 11243 music of the 18th century, and is now known for Broadway at Driggs Ave., Brooklyn, N.Y. 11211 his skill at improvisation. More recently he has 86th St. and 23rd Ave., Brooklyn, N.Y. 11214 emerged as one New Lots and Pennsylvania Ayes., of the innovators of the current rag- Brooklyn N.Y. 11207 time revival.

Nassau Offices: Hempstead Turnpike at Center Lane, Levittown, N.Y. 11756 Ani Kavafian has been heard as violin soloist with orch- 682 Dogwood Ave., Franklin Square, N.Y. 11010 estras including the Detroit Symphony, the National Symphony in Washington, D.C., the Boston "Pops", the Dallas Symphony, and the Greenwich Philharmonic. Queens Offices: She has appeared as soloist and artist-in-residence 63rd Drive at Saunders St., Rego Park, N.Y. 11374 with several Michigan . Miss Kavafian has 136-65 Roosevelt Avenue, Flushing, N.Y. 11354 performed frequently in the "Mostly Mozart" Fes- 107-15 Continental Ave., Forest Hills N.Y. 11375 tival at Avery Fisher Hall in Lincoln Center, and has appeared with harpsichordist Anthony Newman in Manhattan Offices: Lincoln Center's Great Performers Series. This 74 Wall St. at Pearl St. New York, N.Y. 10005 season, she is appearing as Guest Artist with cellist 345 East 86th St., New York, N.Y. 10028 Ronald Thomas in the New York Young Concert Artist Series.

Gerard Schwarz has been co-principal trumpet of the New York Philharmonic since 1973. He performs fre- Inquire about quently with the Chamber Music Society of Lincoln Center and teaches at Juilliard, the Mannes School of

1 Music, and Montclair State College. He is a member of Savings Bank the performing faculty of the Aspen Music Festival where he also conducts and is a member of the board of trustees. Among his many solo recordings, "Cornet Life Insurance Favorites" received the "Record of the Year" award from Stereo Review for 1974. Mr. Schwarz will make at any office his New York conducting debut in December with the Cosmopolitan Symphony Orchestra in Avery Fisher Hall. without of obligation! 3 Concerto for Trumpet No. 2 (No. 33?) in D Major course, adds a supporting role by doubling with the harpsichord's left Johann Melchior Molter (c. 1696-1765) hand. Today's example, No. 4 in C Minor, is perhaps the most austere and sombre of the set. Its four sections, Largo, Allegro, Adagio, Allegro, suggest the familiar Church Sonata (slow-fast-slow-fast) format. The The German composer Johann Melchior Molter spent much of his pro- two slow movements, in Siciliano and Sarabande character fessional life in his native Durlach at the service of the Margrave of Baden. respectively, are in effect, vocal arias set over broken chords in the harpsichord. He visited Italy-or rather, was sent to Venice and Rome-for two years The first Allegro is a complex fugue and the finale, though more in the and it was there, presumably, that Molter's style became cross-pol- style of a concerto movement, is also highly linated with that of the Vivaldi . Upon contrapuntal in character. The returning to entire work is beset with gloomy, brooding chromaticism. native soil, Molter succeeded Johann Philipp Kafer as court conductor and he became Director of Church Music at Eisenach. But in 1743, Molter returned to Durlach and the job that he had formerly held, and Trio Sonata in D Minor, Op. 18 he remained in that capacity until his death twenty-two years later. No. 9 Maurizio Cazzati (c. 1620-1677) He was a highly prolific composer-with 165 , 95 and concertinos, 14 overtures and 66 sonatas among his instrumental Sonata in C Major work to his credit. The State Library at Carlsruhe also has 14 Molter Biagio Marini (?-1665) cantatas and 3 stage works in their archives. Because of the long- standing confusion over the terms"clarino" (little trumpet) and "clarinet", there is a question as to just how many concertos Molter did write for Canzona No. 5 in D Minor trumpet. Gerard Schwarz knows of three such solo works, three more Girolamo Frescobalde (1583-1655) for two trumpets and four that call for combinations of trumpets, oboes, bassoons and horns. The designation "No. 2", then, is probably closer to the truth than the more impressive "No. 33" that comes from The sonata (derived from the Italian "Suonare", to play) and the Can- an editor who undoubtedly tallied the authentic works calling for high zone (from "Cantare", to sing) call attention to the relationship between playing and singing. Said trumpet with those for clarinet (and possibly other instruments as well). relationship is something that needs stressing in this era of objective musicmaking, with its tape recorders, synthe- sizers and the like. To be Molter's style, while basically similar to Vivaldi's, tends to be much sure, a "Romantic Revival" is upon us, but ironically, many of its more adventurous technically. His melodies are rather wide ranging and most zealous devotees are musicians trained in the brittle, impersonal loosely constructed; his choice of tonality voyaging to all sorts of remote style prevalent in the fifties and sixties who merely caricature the keys. Here, for example, his writing for D trumpet has expanded pas- supposed mannerisms of the turn-of-the-century without fully grasping their sages in A Major, E Minor, E Major, F sharp Minor, G Major and B Minor. underlying logic. The point is that the Kreislers, Rosenthals and The work is in three movements, 11 Moderato, 2) Andante and 31Allegro. Furtwanglers were masters at "singing" instrumental music and their freedom had a certair patrician restraint. Today's players, for the most part, try to recreate that bygone style Sonata for Violin and Cembalo, No. 4 in C Minor, BWV 1017 solely through pseudo-seriousness, willfully vacilating tempos and scoop- ing Johann Sebastian Bach (1685-1750) portamentos, with usually devastating effect on musical continuity. Even Schnabel and Toscanini, two bygone musicians with the reputation for being austere and unsentimental, made their phrases meaningful by The court at Cothen, where Bach served as Kapellmeister and Director way of singing inflections. "Canto! Canto!" was Toscanini's favorite of Chamber Music for seven years was, according to Spitta, "held on a exhortation at rehearsals and Schnabel, when asked by one of his pupils modest a scale". "It had never possessed theatre and the Reformed whether he advocated "playing with feeling" or "playing in time", (Calvinist) services did not encourage music." But Bach's employer retorted that it was best to feel in time Leopold did. He was, in the composer's words, "an amiable prince who knew and loved music". Indeed, Leopold was an excellent player of In a way, the generic title "Canzone per sonar" is autobiographical to three instruments-the clavier, the violin and the viola da gamba, and it Frescobaldi since the celebrated organist at Rome's Saint Peters at one was under his aegis that Bach spent what was reputedly the happiest time also enjoyed considerable reputation as a vocalist. The Canzone, time of his life and certainly-at least in terms of purely instrumental with their disparate sections and rhythmic values paved the way for sub- music-the most productive. During this period (1717 to 1723), he sequent forms of instrumental music such as the "Sonata da chiesa" and penned his six suites for unaccompanied cello, the sonatas and partitas "Sonata da camera". Cazzati, a prolific composer of both vocal and in- for fiddle, the concertos for violin (all but three are of which lost), strumental works, was "maestro di cappella" at Sant' Andrea in Mantua, all six Brandenburgs, and Book One of the Well Tempered Clavier-all at the private chapel of the Duke of Sabioata at Eozolo, at the Acca- in all a pretty fair accomplishment. All good things must come to an end demia della morte, Ferrara, at Santa Maria Maggiore, Bergamo, San and unfortunately, the good prince took a himself spouse who didn't Petronio in Bologna, and finally, in the service of the Duchess Anna share his affection for the arts. In fact the wench was instrumental in Isabella di Gonzaga in Mantua. His Trio Sonata, Op. 18 no. 9, which you hastening Bach's departure to Saint Thomas and it was in Leipzig where will hear today, was rediscovered in 1934 and published in a version he stayed to his dying day. edited by W. Danckert. The violinist/composer Marini had a history simi- lar to that of his contemporary, except that he spent time in Munich Bach's "Sei Suonate a Cembalo certato e Violino Solo, col Basso per and Dusseldorf as well as in Spain and his native Italy. He began his pro- Viola da Gamba accompagnato se place" (as they were in designated fessional life as a violinist in Venice, moved on to Brescia as Director Bach's autograph) come from midway in the above named Cothen of Music at the Church fo Sant' Eufemai. In 1622 he entered the ser- period, c. 1720. The fact that Bach gives pride of place to the cembalo vice of Ferdinando Gonzaga at Para and then became Maestro della in his title indicates that, like the three sonatas for viola da gamba and musica to the Duke of Bavaria. Returning to Italy in 1653, Marini be- those for flute, these are in effect, three voice compositions with the came Maestro to the Accademia della morte at Ferrara and, the following ratio stacked two to one in favor of the keyboard. The "Basso", of Continued on page 6 A rich Sunday: Oriental rugs, Baklava, The Turkish coffee, e Irr Brooklyn Academyof Music :1 To make your Sunday at the Brooklyn Academy of Music even richer, stop by the Kalfaian O, 1 Rug Gallery located just two short blocks away from the In 1879 Brooklyn was a Academy. At separate city and we began a Kal.aldr, you'll find one of the most renowned collections of New York dining tradition. The Oriental rugs in the New York area, beautifully displayed for leisurely inspection. distinction of the food, the unhurried service and the elegant atmosphere attracted patrons While there, savor Turkish coffee and Baklava as you browse amid hundreds of hand-crafted Oriental masterpieces. from far and wide. Now we are a Landmark. a nostalgic of a golden in It's an enriching way to spend your day. example era New York's history. Today, as in the past. our patrons arrive with anticipation and leave warm and happy. It's our claim to fame. D. iWalan 6 Son INC. Since 1907 Brooklyn's Landmark Seafood and Steak House (Est. 1879). Since 1907, Oriental Rugs at Warehouse prices. 475 Atlantic Avenue ' GAGE&TOLLNER (Between 3rd Avenue and Nevins Street in Boerum Hill) 372 Fulton Street (nr. Boro Hall) 875-5181. Lunch and Dinner except Sunday. Sunday, 10:00 A.M. to 5:00 P.M. Amex, Diners & Master Charge. Weekdays 9:00 A.M. to 5:00 P.M. (including Saturday) TR 5-2222 Continued from page 5 - - Continued from page 6 year, to the Church of Santa Maria della Scala in Milan. At. Padua, he and so, too, is the monumental finale to Brahms' Fourth Symphony. was a member of the Academy of the Occulti. Marini was one of the first of the long line of Italian violinists to publish concerted instru- The essential difference between "Passacaglia" and "Chaconne" makes at the outset, the Passacaglia a mental music. Today's example comes from a collection composed in itself plain for offers naked statement of the bass line Venice in 1626. all-important while the Chaconne immediately sets it in collision course with the other voices.

Sonata for Bassoon and Harpsichord, Op. 8 No. 3 The Passacaglia and Fugue ending today's program needs little introduc- De Fesch Willem (1690-1760) tion since it is one of the mainstays of the baroque repertory. Originally an organ work, the composition has literally bombarded the conscious- Some musical plea bargaining is in order here: this lovely sonata comes ness of music lovers in a variety of souped-up orchestral arrangements. from a group of six written for one of De Fesch's principal instruments, Today's version-a transcription rather than an arrangement, since the the cello (he was also a skilled performer on violin and organ). It original notation has been left virtually intact-will probably have an should be apparent by now that early took a relatively antidotal affect to the heaving ministrations of Stokowski, Respighi and lenient view vis a vis instrumentation and more often than not Sir Henry Wood. In other words, the goal sought by Kenneth Cooper used whichever forces were available to them. Bach's Suites for was clarity rather than sonic elephantiasis. As with the collection of Bach Unaccompanied Cello do not lend themselves kindly to performances Three Part Inventions recorded for RCA by Heifetz, Primrose and on the bassoon (though you can bet your life that the attempt has been Piatigorsky, each line stands out distinctly and the added local color made). Today's work, on the other hand, translates itself perfectly to substantially enlarges the listener's aural picture. The four voices are the counterpart wind instrument. Its style is completely spare and assigned by Mr. Cooper to trumpet, violin, harpsichord and bassoon linear, with no double stops or other such hurdles to contend with, and (with the last named instrument acting as Leporello to the Harpsichord's the writing is-if anything- enhanced by the bassoon's crisp, cool Don Giavanni). sonority. -Harris Goldsmith De Fesch might be referred to as "The Fleeing Dutchman". Like the German-born Handel, he migrated to and in fact played first violin at the premiere performance of Handel's Occassional Oratorio at Marylebone on 1746. I think that Burney's contention that De Fesch "was a good contrapuntist and a voluminous composer, but ... dry and uninteresting" is desproved by the work you will hear today. Though briefer in duration, its format is somewhat akin to the suites of De Fesch's great contemporaries Bach and Handel. The basic home tonality of D Minor asserts itself in the two opening movements, "Sicillano" and _II "Allemande", and its relative F Major comes to the fore in the "Arietta (Larghetto e piano)". The "Minuet I" teeters precariously between D Minor and D Major while the central "Minuet II" is completely in the Li- "majore", eamperdown We're fast um Three Spanish Dances becoming a (Harpsichord Sonatas: in G, Kirkpatrick 105; in A, K. 208; tradition. Enjoy fine food & drink in F sharp Minor, K. 319) in the delightful atmosphere of Domenico Scarlatti (1685-1757) our 30's bar & restaurant. Lunch, Tuesday-Saturday Domenico Scarlatti, son of vocal composer Allesandro Scarlatti, com- posed nearly six hundred keyboard sonatas (the earliest examples of Brunch, Sundays 12 to 3 which were titled "essercizi per gravicembalo"). These immensely fer- Dinner Tuesday-Sunday tile compositions are, for the most part, paridgms for the classical son- 5 to midnight ata-allegro used by Haydn, Mozart and Beethoven. Most of them are Closed Mondays cast in binary (two part) form, with each half played twice. The lay per- son may draw the analogy of a question/answer sequence without un- 847 Union Street, due difficulty. The first half (parallel to the classical sonata's exposition 7th section) corresponds to the question, with the material presented and -MI off Avenue in Park Slope the tonic (home key) temporarily abandoned in favor of either the do- (212) 638 0860 minant (key of the fifth) or relative major (in those sonatas whose tonic is in minor tonality). The symmetrical second portion provides the an- swer: the arc is completed by way of a return to the tonic. This dove- tails with the development/recapitulation portion of the Sonata-Allegro (later examples of which omit repetition of the second, and sometimes even the first half). We would like to acknowledge our appreciation to the Friends of BAM for their contribution towards the new carpeting in the Opera Musicians have expressed astonishment that Scarlatti could have writ- House. ten so many of these sonatas and nonetheless kept such a brilliant level of inspiration. The feat becomes all the more amazing when we realize that practically all of these incandescent little pieces were penned in the last dozen years or so of Scarlatti's ample life span. Coming up . . . Although born on Italian soil, Scarlatti "fils" spent many years in Spa- nish employ. Many of his sonatas simulate the twanging of guitars and other such earmarks of Spanish style. Often the sonatas feature wild Next in BAM's Chamber Music Series will be perfor- accents and brilliant shifts of metre. In a way, too, they foreshadow the dichotomy between dramatic first subject and the more lyrical second mances by the Cleveland Quartet on December 20 and theme group of the classical sonata. 21. Michael Tree, viola, will be guest artist for the pro- gram which includes Mozart's Viola Quintet and Stravinsky's Concertino. Passacaglia and Fugue in C Minor, BWV 582 Johann Sabastian Bach (1685-1750) The Cleveland Quartet with Donald Weilerstein, violin, The art of variation, the stripping down or dressing up of the same material, Peter Salaff, violin, Martha Strongin Katz, viola, and is one of the mainstays of musical composition. Both the Passacaglia and Paul Katz, cello, has received reviews of distinction its close relative, the Chaconne, are examples of variation form at work. following performances at Festival Casals, The Passacaglia states an eight-bar theme (most often in the bass line) Mozart and subsequently repeats it with changing filligree in the other voices. Festival, the Kennedy Center, Avery Fisher Hall, and Use of the form is not necessarily restricted to "old" composers such as Hunter College. The Quartet has generally come to be Bach and Handel: Chopin's familiar Berceuse is a Passacaglia structure, considered one of America's best. Continued on page 7

,,,,1111,11 1, 6 7 foodstuffs... LET US SOLVE YOUR HOME PROBLEMS Bonded Agency for Companions Fun, Male & Female Nurses fattening, and fabulous fingerfoods are now avail- Baby Nurses able for all BAM performances in our lobbies. If you're 77 N Y Registered Aides starved and in a or face 7 hurry if you can't another NY Licensed Practicals & Homemakers hamburger casserole, we have assorted snacks before curtain time. Our red and white pushcarts and bar are call any hour also open for intermission. open So enjoy a light repast of shrimp, miniature quiche Star 24 hours a day Lorraine, pita with salad, or pastries, and quaff a glass of beer, wine or soda; "foodstuffs" is open for seven business and pleasure. Registry days a week

for DAY NIGHT SLEEP-IN Nurses established 1938 511 Avenue F, Brooklyn, N.Y. 11218

!En STARR GE 8-0600 RENEE EAJBENBEATT (Between Ocean Parkway & East 5th Street)

The Brooklyn Academy of Music 30 Lafayette Avenue, Brooklyn, N.Y. 11217 (212) 636-4100 515 ATLANTIC AVENUE Harvey Lichtenstein Executive Director (Corner of Third Avenue) Judith E. Daykin General Manager BROOKLYN, NEW YORK Sharon Rupert Director of Finance Telephone: 625-0984 Charles Ziff Director of Promotion and Audience Development Open 7 days/5:30 AM to Midnight Herbert Scott-Gibson Director of Development reasonable prices for Malcolm J. Waters Production Manager Breakfast - Lunch - Dinner William Mintzer Lighting Consultant to BAM Cocktails John J. Miller Theatre Manager Baking done on Premises Laurie Burpee Assistant Theatre Manager Stan Mongin Bring in this ad fore complimentary Building Manager glass of house wine with your meal. Daniel J. Sullivan Box Office Treasurer Betty Rosendorn Children's Program Manager Gerald Aiello Group Sales Representative

The Brooklyn Academy of Music, Inc. a non-profit organization. Abraham D. Beame and Sebastian Leone, Honorary Chairmen/Paul Lepercq, NEXT AT BAM Chairman/Dan Seymour, Vice-Chairman/Do.iaid M. Blinken, President/ Harvey Lichtenstein, Secretary and Executive Director/Donald E. Moore, Treasurer/Donald H. Elliott/Harold L. Fisher/Leonard Garment/I. Stanley Chelsea: Ice Age Kriegel/Samuel H. Lindenbaum/W. Barnabas McHenry/William Tobey/ November 18-December 14 Member ex-officio: Mrs. Claire E. Bodian. rf The Brooklyn Academy of Music gratefully acknowledges the support of Ambakaila '75 the National Endowment for the Arts, the New York State Council on the November 28-29 Arts, and the Parks, Recreation and Cultural Affairs Administration of the City of New York. The Brooklyn Academy building is owned by the City of New York and funds for its maintenance are administered by the Parks, American Theatre: Sweet Bird of Youth Recreation and Cultural Affairs Administration, Abraham Beame, Mayor. December 2-7,9-14 The taking of photographs or the use of recording devices in this theatre is strictly forbidden. Brooklyn Philharmonia: The Messiah December 14 Directory of Facilities and Services American Theatre: The Royal Family Box Office Hours: Monday, Noon to 6:00pm December 16-24,26-28 Tuesday through Saturday, Noon- 9:OOpm Sunday - Performante Times Only Tarack CI.,-nber Ensemble: Water Music Lost and Found: Telephone 636-4100 December 19 Lounges and Restrooms: Opera House Ladies: Orchestra and Balcony Levels Chamber Music: Cleveland Quartet Men: Mezzanine and Balcony Levels Playhouse December 20-21 Ladies: Orchestra Level Men: Mezzanine Level Young Superstars: Lepercq Space Garrick Ohlsson Ladies: Theatre Level January 3 Men: Theatre Level

Public Telephones: Main Lobby, Ashland Place Entrance