'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, Baroque Music 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 Concerto 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 Trio Sonata 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 Chamber Music 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 Symphony Orchestra 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 composer 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 orchestras. 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 Concerto Grosso. 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 symphonies, 95 concertos 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".