BROOKLYN ACADEMY OF MUSIC

The Little Orchestra Society THOMAS SCHERMAN, Music Director

ANNUAL SUBSCRIPTION SERIES-SEASON 1967-68 Second Concert-Series B-Sunday, February 18, 1968, at 2:30 HERBERT BARRETT, Manager Sir (1857-1934) THE DREAM OF GERONTIUS, OP. 38 Text by Cardinal Newman Part I - Prelude Jesu, Maria-/ am near to death, Tenor Solo (Gerontius) Kyrie eleison, Chorus (Assistants) Rouse thee, my fainting soul (Gerontius) Be merciful, be gracious (Chorus) Sanctus fortis, Sanctus Deus (Gerontius) I can no more (Gerontius) Rescue him, 0 Lord (Assistants) Novissima hora est (Gerontius) Proficiscere anima Christiana, Bass Sol9 (The Preist) Go, in the name of Angels (Assistants)

- INTERMISSION - Part II- Introduction I went to sleep; and now am refreshed (Gerontius) My work is done, my task is o'er, Contralto (Angel) All hail, my child and brother, Contralto, Tenor Solo (Angel and Soul) Lowborn clods of brute earth, Chorus (Demons) It is the restless panting of their being (Angel) The mind bold and independent (Demons) I see those false spirits (Soul and Angel) Praise to the Holiest, Chorus (Angelicals) The sound is like the rushing wind (Soul) Glory to Him (Angelicals) They sing of thy approaching agony (Angel) Hark! a grand mysterious harmony (Soul) Now the threshhold as we traverse it (Angel) Praise to the Holiest (Tutti) Thy judgment now is near (Angel and Soul) Jesu! by that shuddering dread, Bass Solo (Angel of the Agony) Be merciful, spare him, Lord, Chorus (Voices on Earth) Praise to His Name (Angel) Take me away (Soul) Lord, Thou has been our refuge, Chorus (Voices in Purgatory) Softly and gently (Angel) Lord, Thou has been our refuge, Chorus (Souls) Praise to the Holiest, Chorus (Angelicals) HELEN WAITS,* Contralto JOHN WAKEFIELD,* tenor RAYMUND HERINCX, * baritone JONATHAN DUDLEY, Choral Director

Baldwin Piano *The Royal , Covent Garden

NOTES ON THE PROGRAM By BERNARD JACOBSON "Pure Mendelssohn," was how Ravel dismissed the music of Elgar. There was a grain of accuracy in the judgment, but only a grain. Ravel was missing a great deal. It's true that, especially in his smaller works, Elgar sometimes falls into a vein of senti­ mentality reminiscent of the nineteenth century's idol. It's true also that, even in such a masterpiece as The Dream of Gerontius-particularly in the tenor solo Sanctus fortis-a turn of phrase here and there is apt to recall a whiff of the facile piety prevalent in Mendelssohn's Elijah. Yet the wonder lies less in the trifling affi nities between the two works than in their much more profound and significant differences. For in strength of emotion, in maturity of thought, and scarcely less in mastery of technique Gerontius inhabits altogether rarer and loftier regions. And that despite a century's background of stifling sterility in English music. "The land without music" is a pretty ridiculous sobriquet for the country that produced the schools of Dunstable, Tallis, and Byrd, the lutenists and madrigalists of the late sixteenth and early seventeenth centuries, the instrumental consort music of the Stuart period, and ; that received Handel in the years of his maturity; and that, in more recent times, has been able to point to Vaughan Williams, Holst, , , and a host of talented younger composers. But almost throughout the nineteenth century, there really was no music of any vitality or consequence in the country. Part of the reason lay, as George Bernard Shaw explained a bare decade before the turn of the century and Gerontius, in the,rise of what he regarded as the typically un-English form of opera. Another part of it derived from socio-religious causes- for the sanctimoni­ ous hypocrisy of Victorian life provided ideal conditions for what Shaw repeatedly stigma­ tized as "pious oratorio-mongering." As late as 1890, the dead hand of Mendelssohn-vital enough himself, but fatal as an influence-and of his disciple Sterndale Bennett still lay heavy across the English musical scene. Stanford and Parry were the nearest things to a major composer that had occurred. They were certainly an advance on Sterndale Bennett, but whatever virtue may have resided in their works, and in the effusions of such men as Frederick Cowen, Isidore de Lara, the Hamish MacCunn-author of popular Scottish choral-orchestral ballads like Lord Ullin's Daughter- they were small beer beside what was being produced on the continent of Europe. For these had been the decades of Wagner, Liszt, Bruckner, and Brahms; and 1888-the year of Lord Ullin's Daughter- was also the year of Mahler's First Symphony and Richard Strauss' Don Juan. Then, astonishingly, Elgar happened. And perhaps even more astonishingly, he did not happen out of the blue. Instead of proceeding in the usual manner of revolutions, he remained in touch with his roots-and wrote what many Elgarians regard as his master­ piece, The Dream of Gerontius, in precisely that long-fossilized form, oratorio. Indeed, he once remarked to Delius that the oratorio form was part of the penalty of his English environment. Musically speaking, what enabled Elgar to breathe new life into the dry bones was a combination of two qualities: a technical skill unapproached by any English composer in the hundred years and more preceding; and a sensitive and creative awareness of current developments in European music. Both harmonically and-in its use of the Leitmotiv technique-formally, Gerontius owes much to Wagner. Its debt, however, is not the parasitic debt of servile imitation, but the entirely proper one of intelligent reinterpretation. Along with Elgar's own intensely personal musical inspiration, other sources too can be discerned for the achievement of Gerontius. In general structure, it is obviously the progeny of the Mendelssohnian oratorio. But one particular aspect points still further back: the form of the orchestra Prelude, with its fairly clearcut sections in differing meters and tempos, is distantly but clearly related to the multi-movement overturnes (or "sym­ phonies") of Purcell and, less characteristically, Handel. It's interesting to observe in this context that our usual tendency to think of "romantic" music as formally much looser and more rhapsodic than "classical" is often mistaken. The classical and pre-classical composer could let movement follow movement with little obvious effort to bind them together; but with much stronger tensions of late-nineteenth­ century style, some connecting principle was necessary. And so the various sections of this Prelude are all drawn upott in the remainder of the work. The opening theme, for example, provides much of the thematic material for Part I, and then returns in Part II (at the Soul's words "I ever had believed") as accompaniment to a new vocal melody. Material from the second section of the Prelude, in moderate triple time, recurs at the end of Sanctus, fortis, and again, in the section immediately following, at the words "0 Jesu, help!" Similarly, the third section of the Prelude, in slowish 2/ 4 time, provides material for the setting of the words "Go forth in the name of Patriarchs and Prophets" in the chorus that concludes Part I. More than musical considerations, too, lie behind Elgar's profound identification with the theme of Gerontius. In selecting from John Henry Newman's poem an oratorio text dealing with the death of the man Gerontius and the adventure of his soul, on the way toward salvation, it was no doubt his own deep religious involvement in the subject, as much as his sense of high musical achievement, that Jed him to write at the end of the score the comment: "This is the best of me." The religious involvement is a particularly personal one. As Elgar himself said, the man he had in mind in Gerontius was not a priest or saint but "a man like us, a sinner, a repentant one of course, but still no end of a worldly man in his life, but now brought to book. Therefore I've not filled his part with church tunes and rubbish but a good, healthy, full blooded romantic, remembered wordliness, so to speak. It is, I imagine, much more difficult to tear oneself away from a well-to-do world than from a cloister." The Dream of Gerontius was first performed at the Birmingham Festival on October 3, 1900, with Hans Richter conducting. Owing to inadequacies in the preparation, the per­ formance was a failure; and it was not till more than two years had passed-during which time the work had been well received in Germany-that, with Richter's second attempt on March 12, 1903, it achieved success in England. Since then its stature has been unquestioned. THE DREAM OF GERONTIUS

PART I

GERONTIUS ASSISTANTS JES U, MARIA-I am near to death, Be merciful, be gracious; spare him, Lord. And Thou art calling me; I know it now. Be merciful, be gracious; Lord, deliver him. Not by the token of this faltering breath, From the sins that are past; This chill at heart, this dampness on my From Thy frown and Thine ire; brow,- From the perils of dying; (Jesu, have mercy! Mary, pray for me! ) From any complying 'Tis this new feeling, never felt before, With sin or denying (Be with me, Lord, in my extremity!) His God, or relying That I am going, that I am no more. On self, at the last; 'Tis this strange innermost abandonment, From the nethermost fire; (Lover of souls! great God! I look to From all that is evil; Thee,) From power of the devil; This emptying out of each constituent Thy servant deliver, And natural force, by which I come to be. For once and for ever. Pray for me, 0 my friends; a visitant Is knocking his dire summons at my door, By Thy birth, and by Thy Cross, The like of whom, to scare me and to daunt, Rescue him from endless loss; Has never, never come to me before; By Thy death and burial, * Save him from a final fall; So pray for me, my friends, who have not By Thy rising from the tomb, strength to pray. By Thy mounting up above, By the Spirit's gracious love, Save him in the day of doom. ASSISTANTS Kyrie eleison, Christie eleison, Kyrie eleison. GERONTIUS Holy Mary, pray for him. Sanctus fortis, Sanctus Deus, All holy Angels, pray for him. De profundis oro te, Choirs of the righteous, pray for him. Miserere, Judex meus, * * Parce mihi, Domine. All Apostles, all Evangelists, pray for him. Firmly I believe and truly All holy Disciples of the Lord, pray for him. God is Three, and God is One; All holy Innocents, pray for him. And I next acknowledge duly All holy Martyrs, all holy Confessors, Manhood taken by the Son. All holy Hermits, all holy Virgins, And I trust and hope most fully All ye Saints of God, pray for him. In that Manhood crucified; And each thought and deed unruly Do to death, as He has died. GERONTIUS Simply to His grace and wholly Rouse thee, my fainting soul, and play the Light and life and strength belong, man; And I love, supremely, solely, And through such waning span Him the holy, Him the strong. Of life and thought as still has to be trod, Sanctus fortis, Sanctus Deus, Prepare to meet thy God. De profundis oro te, And while the storm of that bewilderment Miserere, Judex meus, Is for a season spent, Parce mihi, Domine. And, ere afresh the ruin on me fall, And I hold in veneration, Use well the interval. For the love of Him alone, Holy Church, as His creation, Job from all his multiform and fell distress; And her teachings, as His own. ( Amen.) And I take with joy whatever * * Now besets me, pain or fear, Moses from the land of bondage and despair; And with a strong will I sever (Amen.) All the ties which bind me here. * * Adoration aye be given, David from Golia and the wrath of Soul; With and through the angelic host, (Amen.) To the God of earth and heaven, :~ ::: * Father, Son, and Holy Ghost...... -So, to show Thy power. Sanctus fortis, Sanctus Deus, Rescue this Thy servant in his evil hour. De profundis oro te, Miserere, Judex menus, GERONTIUS Mortis in discrimine. Novissima hora est; and I fain would sleep. I can no more; for now it comes again, The pain has wearied me. . .. Into Thy That sense of ruin, which is worse than pain, hands, That masterful negation and collapse 0 Lord, into Thy hands .... Of all that makes me man. THE PRIEST AND THE ASSISTANTS * * * Proficiscere, anima Christiana, de hoc mundo; ...... And, crueller still, Go forth upon thy journey, Christian soul! A fierce and restless fright begins to fill Go from this world! Go, in the Name of God The mansion of my soul. And, worse and The Omnipotent Father, who created thee! worse. Go, in the Name of Jesus C hrist, our Lord, Some bodily form of ill Son of the living God, who bled for thee! Floats on the wind, with many a loathsome Go, in the Name of the Holy Spirit, who curse Hath been poured out on thee! Go, in the Tainting the hallowed air, and laughs, and name flaps Of Angels and Archangels; in the name Its hideous wings, Of Thrones and D<>minations; in the name And makes me wild with horror and dismay. Of Princedoms and of Powers; and in the 0 Jesu, help! pray for me, Mary, pray! name Some Angel, Jesu! such as came to Thee Of Cherubim and Seraphim, go forth! In Thine own agony . .... Go, in the name of Patriarchs and Prophets; Mary, pray for me. Joseph, pray for me. And of Apostles and Evangelists, Mary, pray for me. Of Martyrs and Confessors, in the name Of holy Monks and H ermits; in the name ASSISTANTS Of Holy Virgins; and all Saints of God, Rescue him, 0 Lord, in this evil hour, Both men and women, go! Go on thy course As of old so many by Thy gracious power And may thy place to-day be found in peace, And may thy dwelling be the Holy Mount ~' * * Noe from the waters in a saving home; Of Sion:-through the Same, through Christ (Amen.) our Lord. * * *

PART II

SOUL OF GERONTIUS This silence pours a solitariness I went to sleep; and now I am refreshed. Into the very essence of my soul; A strange refreshment: for I feel in me And the deep rest, so soothing and so sweet, An inexpressive lightness, and a sense H ath something too of sternness and of pain. Of freedom, as I were at length myself, * ::: * And ne'er had been before. How still it is! Another marvel: someone has me fast I hear no more the busy beat of time, Within his ample palm; .. . . No, nor my fluttering breath, nor struggling ...... A uniform pulse; And gentle pressure tells me I am not Nor does one moment differ from the next. Self-moving, but borne forward on my way. * * And hark! I hear a singing: yet in sooth I cannot of that music rightly say ANGEL Whether I hear, or touch, or taste the tones. Thou art not let; but with extremest speed Oh, what a heart-subduing melody! Art hurrying to the Just and Holy Judge. ANGEL * * * SOUL My work is done, My task is o'er, Dear Angel, say, And so I come, Why have I now no fear at meeting Him? Taking it home, Along my earthly life, the thought of death For the crown is won, And judgment was to me most terrible Alleluia, * * * For evermore. ANGEL My Father gave me It is because In charge to me Then thou didst fear, that now thou dost not This child of earth fear. E'en from its birth, Thou hast forestalled the agony, a nd so To serve and save, For thee the bitterness of death is passed. Alleluia, Also, because already in th y soul And saved is he. The judgment is begun. This child of clay * * * To me was given, ANGEL To rear and train A presage falls upon thee, as a ray By sorrow and pain Straight from the Judge, expressive of thy In the narrow way, lot. Alleluia, That calm and joy uprising in thy soul From earth to heaven. Is first-fruit to thee of thy recompense, And heaven begun. SouL SouL It is a member of that family Now that the hour is come, my fear is fled; Of wondrous beings, who, ere the worlds And at this balance of my destiny, were made, Now close upon me, I can forward look Millions of ages back, have stood around With a serenest joy. The throne of God. * * * * * * But bark! upon my sense I will address him. Mighty one, my Lord, Comes a fierce hubbub, which would make My Guardian Spirit, all hail! me fear ANGEL Could I be frighted. All bail, my child! ANGEL My child and brother, hail! what wouldest We are now arrived thou? Close on the judgment-court; that sullen howl SouL Is from the demons who assemble there, I would have nothing but to speak with thee * * * For speaking's sake. I wish to hold with thee Hungry and wild, to claim their property, Conscious communion; though I fain would And gather souls fo r hell. Hist to their cry. know A maze of things, were it but meet to ask, SouL And not a curiousness. How sour and how uncouth a dissonance! ANGEL DEMONS You cannot now Low-born clods Cherish a wish which ought not to be wished. Of brute earth, Then I will speak. I ever had believed They aspire That on the moment when the struggling soul To become gods, Quitted its mortal case, forthwith it fell By a new birth, Under the awful Presence of its God, And an extra grace, There to be judged and sent to its own place. And a score of merits, What lets me now from going to my Lord? As if aught Could stand in place Ha! ha! Of the high thought, From shrewd good sense And the glance of fire He'll slave for hire; O f the great spirits, Ha! ha ! ·r he powers blest, And does but aspire T he lords by right, T o the heaven above T he primal owners, With sordid aim, Of the proud dwelling And not from love. And realm of li ght,­ Ha! ha ! Disposscssed, Aside thrust, SouL Chucked down, I see not those false spirits; shall r see By the sheer might My dearest Master, when I reach His throne? Of a despot's will, * * * Of a tryant's frown, ANGII Who after expelling Yes,-for one moment thou shalt see thy T heir hosts, gave, Lord. T riumphant still , And still unjust, One moment; but thou knowest not, my child, Each forfeit crown What thou dost ask : that sight of the Most To psalm-d roners, Fair And canting groaners, Will gladden thee, but it will pierce thee too. T o every slave, A nd pious cheat, SouL And crawling knave, Thou speakest darkly, Angel! and an awe Who licked the dust Fall s on me, and a fear lest r be rash. U nder his feet. It is the restless panting of thei r being; A NGl L 1 ike beasts of prey, who, caged within their T here was a morta l, who is now above bars, In the mid glory: he, when near to die, In a deep hideous purring have their life, Wa& given communion with the C rucified,­ A nd an incessant pacing to and fro. Such, that the Master's very wounds were stamped Upon his fl esh; and, from the agony D EMONS Which thrilled through body and soul in that T he mind bold embrace, A nd independent, Learn that the fl ame of the Everlasting Love T he purpose free, Doth burn ere it transform ... . So we arc told, Must not think CHOIR OF ANGEUCALS To have the ascendant. Praise to the Holiest in the height, What's a saint? And in the depth be praise: One whose breath ANGI.:. L Doth the air taint .. . H ark to those sounds! Before his death: T hey come of tender beings angelical, A bundle of bones, Least and most childlike of the sons of God. Which fools adore, CHOIR OF A NGEl ICALS Ha ! ha! Praise to the H oliest in the height, When life is o'er. And in the depth be praise: * * * In all His words most wonderful ; Virtue and vice, Most sure in all His ways! A knave's preference. To us His elder race He gave 'Tis all the same; To battle and to win, H a ! ha! Without the chasti sement of pain, Dread of hell -fire, Without the soil of sin. Of the venemous fl ame, The younger son He willed to be A coward's plea. A marvel in His birth: Give him his price, Spirit and flesh His parents were; Saint though he be, His home was heaven an dearth. The Eternal blessed His child, and armed, Should teach His brethren and inspire And sent Him hence afar, To suffer and to die. To serve as champion in the field Praise to the Holiest in the height, Of elemental war. And in the depth be praise: To be His Viceroy in the world In all His words most wonderful; Of matter, and of sense; Most sure in all His ways! Upon the frontier, towards the foe, A resolute defence. ANGEL Thy judgment now is near, for we are come ANGEL Into the veiled presence of our God. We now have passed the gate, and are within The House of Judgment. ... SouL I hear the voices that I left on earth. SouL The sound is like the rushing of the wind­ ANGEL The summer wind-among the lofty pines. It is the voice of friends around thy bed, * * * Who say the "Subvenite" with the priest. CHOIR OF ANGELICALS Hither the echoes come; before the Throne Glory to Him, who evermore Stands the great Angel of the Agony, By truth and justice reigns; The same who strengthened Him, what time Who tears the soul from out its case, He knelt And burns away its stains! Lone in the garden shade, bedewed with blood, ANGEL That Angel best can plead with Him for all They sing of thy approaching agony, Tormented souls, the dying and the dead. Which thou so eagerly didst question of. ANGEL OF THE AGONY SOUL My soul is in my hand: I have no fear,- Jesu! by that shuddering dread which fell on Thee; * '~ * J esu! by that cold dismay which sickened But hark! a grand mysterious harmony: Thee; It floods me, like the deep and solemn sound Jesu! by that pang of heart which thrilled in Of many waters. Thee; * * Jesu! by that sense of guilt which stifled Thee; ANGEL Jesu! by that innocence which girdled Thee; And now the threshold, as we transverse it, Jesu! by that sanctity which reigned in Thee; Utters aloud its glad responsive chant. Jesu! by that Godhead which was one with CHOIR OF ANGELICALS Thee; Praise to the Holiest in the height, J esu! spare these souls which are so dear to And in the depth be praise: Thee, In all His words most wonderful; Souls, who in prison, calm and patient, wait Most sure in all His ways! for Thee; 0 loving wisdom of our God! Hasten, Lord, their hour, and bid them come When all was sin and shame, to Thee, A second Adam to the fight To that glorious Home, where they shall ever And to the rescue came. gaze on Thee. 0 wisest love! that flesh and blood Which did in Adam fail, SouL Should strive afresh against the foe, I go before my Judge .... Should strive and should prevail; And that a higher gift than grace VOICES ON EARTH Should flesh and blood refine, Be merciful, be gracious; spare him, Lord. God's Presence and His very Self, Be merciful, be gracious; Lord, deliver him. And Essence all divine. 0 generous love! that He who smote ANGEL In man for man the foe, .... Praise to His Name! The double agony in man * * * For man should undergo; 0 happy, suffering soul! for it is safe, And in the garden secretly, Consumed, yet quickened, by the glance of And on the cross on high, God. SouL ANGEL Take me away, and in the lowest deep Softly and gently, dearly-ransomed soul, There let me be, In my most loving arms I now enfold thee, And there in hope the lone night-watches And, o'er the penal waters, as they roll, J..cep, I poise thee, and I lower thee, and hold fol J out for me. thee. There, motionless and happy in my pain, Lone, not forlorn,- And carefully I dip thee in the lake, There will I si ng my sad perpetual strain, And thou, without a sob or a resistance, Until the morn, Dost through the flood thy rapid passage take, There will I si ng, and soothe my stricken Sinking deeper, deeper, into the dim dis­ breast, tance. Which ne'er can cease Angels, to whom the willing task is given, To throb, and pine, and languish, till possest Shall tend, and nurse, and lull thee, as Of its Sole Peace. thou liest; There will I sing my absent Lord and Love:­ And Masses on the earth, and prayers in Take me away, heaven, That sooner I may rise, and go above, Shall aid thee at the Throne of the Most And see Him in the truth of everlasting day. Highest. Farewell, but not for ever! brother dear, SOULS IN PURGATORY Be brave and patient on thy bed of sorrow; Lord, Thou hast been our refuge: m every Swiftly shall pass thy night of trial here, generation; And I will come and wake thee on the Before the hills were born, and the world morrow. was: from age to age Thou art God. Bring us not, Lord, very low: for Thou hast SOULS said, Come back again, ye sons of Adam. Lord, Thou hast been our refuge, &c. Amen. * * Come back, 0 Lord! how long: and be en­ CHOIR OF ANGELICALS treated for Thy servants. Praise to the Holiest, &c. Amen. * * * CARDINAL NEWMAN THOMAS SCHERMAN Thomas Scherman, founder and music director of the Little Orchestra Society, has been hailed repeatedly for his important contributions to the musical life of New York. His uncommon ingenuity in programming has given the concert audiences of New York invaluable musical opportunities to hear masterpieces never before presented in New York. During the past twenty years, since the Little Orchestra was formed in J 947, Mr. Sherman has presented over one hundred neglected works of great musical value. These have included orchestral compositions, in concert form and oratorios. Of particular interest were the presentation of several Strauss operas with Die Frau Ohne Schatten leading in importance, and Berlioz' L'Enfance du Christ which has become an annual pre-Christmas musical offering. The Young People's Concerts, founded and conducted by Mr. Scherman, received the George Foster Peabody Award in J 957. Mr. Scherman has appeared as guest conductor with many leading orchestras in the United States and Europe and, under the auspices of the President's Special International Program for Cultural Presentations, conducted the Little Orchestra Society in an eight-week tour of the Far East. This past season he was decorated by both the French and Italian govern­ ments for his devotion to and performances of the music of their countries.

HELEN WATTS Helen Watts, who made her American debut last season with The Little Orchestra Society, was born in Wales and received her musical training at the Royal Academy of Music. She is a prolific recording artist and her list includes: solo Bach arias, Brahms lieder, Schumann lieder and numerous Baroque composers, as well as the famous recordings of Die Goel/erdaemmerung and E/ektra. In J 964 she was invited by Yon Karajan to take part in his new production of Elektra in Salzburg. She returned in 1965 as soloist in a concert of Mozart arias at the Mozarteum. She has been heard in Russia, the Scandanavian countries, Germany, Israel and Switzerland. Equally at home in the modern repertoire, Helen Watts has repeatedly been chosen by Benjamin Britten to pertorm his worKs and under his direction. W1th him and the English Opera Group, she has performed the title role in Rape of Lucretia- in Moscow, Leningrad and Zurich. Other distinguished conductors with whom she has performed include: Solti, Ansermet, Barbi­ rolli, Monteux and Steinberg.

JOHN WAKEFIELD John Wakefield began his musical career when he won the Kathleen Ferrier Scholarship in 1958. He then studied at the Royal Academy of Music and his first operatic appearance was in Rimsky Korsakov's May Night with the Company in 1961. He made his debut with Sadlers Wells Opera Company as Alfredo in La Traviata and remained with the company to sing leading tenor roles in Cosi fan Tutte, ldomeneo, The Magic Flute and Don Giovanni. In 1965, his success in the title role of Monteverdi's Orfeo brought him international attention. At G lyndebourne he has appeared as Macduff in Macbeth. At the , Covent Garden he has appeared as Rinuccio in Gianni Schicci, Tamino in The Magic Flute and Fenton in Falstafl. In 1966 he travelled to Versailles and Stockholm with the English Opera Group to sing Acis in their production of A cis and Galstea. Mr. Wakefield has a large oratorio and concert repertoire which he has performed throughout the world. Dream of Gerontius marks his first appearance with the Little Orchestra Society. RAIMUND HERINCX R ai mund H crincx also made his fi rst New York a p peara nce with 'I he Little O rchestra So.; ic ty. ·r he wor k was De li us' A M as.\ of Life. He is o ne of G reat Britain 's leading o pera a nd o ra to n o singers. H e was horn in Lo ndo n o f Be lgia n pa rents a nd m ade hi s operatic debut in The Ma rria~-:e of Fi~-:aro. lie subsequentl y esta blished himself, not o nl y in Eng­ land , but in Spain, Fra nce and Belgium, as a leading inte rpreter o f Mozart a nd Ve rdi. His performa nces as N ic k S hadow in The Rake's Prowess ( Stravinsky) a nd in Pizetti's Murder in the Cathedral bro ught him to the a ttentio n o f the internati o na l music world . I toll a nd has heard him as M acbeth a nd the theatres o f Frank furt, Barcelo na a nd E ngland have heard him in a reperto ire o f mo re t ha n sixty m ajor o pera tic ro les in cl uding The M akropulos C a.\e, Gloriana, Girl of the Golden W est, Car111 en , D ido and Aeneas a nd L 'Africaine. H e h a~ al so appeared in Royal Comma nd pe rform a nces o f the Sadlcrs W ell s produc ti on o f '/he M erry W idow. Ame ri can concert a udie nces have also heard Mr. H eri ncx in Britte n's War R equiem.

JONATHAN DUDLEY Jo nathan Dudley, the C horal Directo r fo r ' I he Little O rc hestra So-:icty, began his serious musical studies a t Deni son U ni versit y and Bosto n Un iversity. In 196 1 he was awarded a scho larship to the Bayreuth Master C lasses where he studied cond ucting with Maximilia n Kojctinsky and Vo itcch Vogel. At the Akadcmie dcr Musik, Vienna, the foll owing year, he was a pupil o f H a ns Swa rowsky a nd Erika Ro kyta. Later, in Lo ndon, Mr. Dudley was a pu pil at the Nationa l Sc hool o f O pera w he re he worked with Norman F cascy a nd Regina ld (,ooda ll on the o pera<, o f Ri c hard Stra uss, Mozart and Be nj amin Britte n. H i.., thorough knowledge o f Britte n's m u.., ic is evide nced in his pre pa ratio n o f the c ho rus to r M r. Sche rma n's produc tion o f C urlew R iver, which was heard o n to ur a nd in New York this past fall. Fo ll ow1ng two years o f ~ tudi cs w ith the ce lebrated Scrgiu Celchidac he, he returned to the U nited Sta tes to become the Associate Musical Directo r o f the St. Loui'> Munic ipal Opera. ' I hi s past summer he was the A <.;s ista nt Conduc to r a t the C incinna ti Summe r Oncra. lie has accompa nied m a ny artists in lieder recita ls bo th in th i<.; country a nd in F uropc m ost recently, H a nne- Lo rc Kuhse a t the Berksh ire Music Fc-,tival in ·r a n ~ l cwoo d . Film a udiences will have the o pportunity o f seein g Mr. Dudley in the ncar future whe n the screen biography of the la te (icrtrudc Lawre nce (starring Julie Andrews ) is released . FINAL CONCERT IN THIS SERIES April 2, 1968 Moura Lympany, Pianist HERBERT BARRETT, Manager THOMAS MATTHEWS, Associate Manager MARKS LEVINE, Consultant The Little Orchestra Society 1860 Broadway New York, N.Y. 10023 PL 7-3460