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The Little Orchestra Society Fhomas SCHERMAN, Music Director HERBERT Barreft, Manager

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The Little Orchestra Society Fhomas SCHERMAN, Music Director HERBERT Barreft, Manager BROOKLYN ACADEMY OF MUSIC The Little Orchestra Society fHOMAS SCHERMAN, Music Director HERBERT BARREfT, Manager 'iUBSClUPTION SERIES- SEASON l 969-70 First Concerl- Thursday Evening, December l I at 8:00 THOMAS SCHERMAN, Conductor EDWiN LEVY, Stage Director BEETHOVEN fHREE EQUAL! FOR FOUR TROMBONES 1. D minor 2. D major 3. B flat major Erwin Price John Grann Jonathan Goldman Fred Braverman BACH CANTATA NO. 152 friu auf die Glaubensbahn 1. Sinfonia for flute, oboe, viola d'amorc viola da gamba and continuo 2. Aria for basso, oboe and continuo 3. Recitative tor basso and continuo 4. Aria for soprano. flute, viola d'amorc and contmuo 5. Recitative for basso and continuo 6. Duct for soprano, basso, instruments and continuo Joy Lornig - Meuo ·oprano Steven Kimbrough - Bass Baritone Andrew Lolya - Flute Duane Votb - Oboe Harry Zarat.lian - Viola d'amore Fortunato Arico - Viola da gamba Continuo 1 bomas Scherman, Organ George Koutzcn. Violoncello Barbara Wilson, Bass I ntermissio11 BRITTEN THE PRODIGAL SON The Abbot Tempter ...... Kenneth Riegel The Younger Son Jonathan Rigg The Father William Metcalf The Elder Son Samuel Ramey The Monks : Steven Kimbrough, James Wilson, Brown Bradley, Harris Poor, Richard Eikenberry, Donald Saunders, Peter Schlosser, John Ostendorf The Musicians: Martin Orenstein, flute, Paul Doktor, viola, Angelo La Penna, bass, Nanette Norton, harp, Murray Karpilovsky, trumpet, Brooks Tillotson, french hom, Wallace Deyerle, per­ cussion, Thomas Scherman, organ The Acolytes: Jamie Alexander, Joel Bergman, Remy Galjour, Patrick Malone The Distant Voices: Kate Hurney and Joy Zornig Baldwin Piano Benjamin Britten's THE PRODIGAL SON, third parable for church performance with libretto by William Plomer, copyright by Faber Music Ltd., used by permission of G. Schirmer, Inc., sole U.S. agent Herbert Barrett, Manager fhoma::. Matthews, Associate Manager Marks Levine, Consultant The Little Orchestra Society, 1860 Broadway, New York. N.Y. 10023 PL 7-3460 Beethoven Three Equali: for 4 Trombones, Wo030 (excerpt from forthcoming book on Beethoven) by Louis Biancolli and Thomas Scherman) An Equale (plural: ··equali") is a composition for equal voices, i.e., all male or all female, or for a group of similar instruments. Specifically, it became known in the 17th and 18th centuries as a composition written for four trombones, for a solemn occasion. In response to a request by Thayer, (Beethoven's famous biographer,) Franz GHiggl, wrote the following reminiscenses of Beethoven's stay in Linz (1812) with his brother, Johann: "Beethoven was on intimate terms with ill} father, kapellmeistcr m the Linz cathedral. He was at our house every day and several times took meal with us. My father a keu him for an Equale for trombones. Beethoven asked to hear an Equalc such as were playeu at funerals in Linz. One afternoon when he was expected to dine with us, my father had three trombonists from the cathedral play an Equale as desired, after which Beethoven sat down and composed one which my father had his trombonists play." These three Equali, all slow and solemn, are written mostly in block chords, like four­ voices hymns; however, there are a few polyphonic passages such as might be found in a Reinaissance motet. There are two very exciting interrupted cadences in the first Equale in D minor, the first one seeming to prepare for a close in F major, the second one com­ pleting a cadence in D minor, where the opening phrase is repeated. The piece ends with a plagal cadence in major - very reminiscent of Renaissance harmonics. The second Equale in D major is softer and more gentle. A later Beethoven touch is a urprise cadence in the remote key of C, in which the opening theme is repeated. Its sec­ ond phase is adjusted with chromatic harmonics to close, as expected, in the tonic key of D. The third Equale, in B flat major, is in triple time (3/2). It is the most solemn and moving of the three. The harmonics are all in the Renaissance vein albeit taking the short piece (it is only 16 measures long) as far afield as D-flat and A-flat. In 1827, Ignaz von Seyfried, Beethoven's confidant and later biographer, who pre­ pared the music for Beethoven's funeral, wrote Latin words to the first (''Miserere") and third ("Amplius lave me") and had them alternately sung by the choir and played by the trombones. Bach Cantata No. 152 Bach's Church Cantata No. 152 (·Tritt auf die Glaubensbahn"), written for the Sunday after Christmas, is a glorious example of vocal chamber music. Despite its rather late date during his Weimar ( 1715) residence the score calls for only two solo voices, no chorus (unusual, since whether he wrote original choruses or not the words of his librett­ ists, practically all of his cantatas of the period contain a harmonized chorale to be sung by the congregation as well as the choir,) four solo instruments - a flute, an oboe, a viola d'amore, and a viola da gamba -plus the usual continuo- in this case, an organ reinforced by a cello and a bass. The text was written by Salome Franck to whom Bach was attracted by hi mysticism and his deep feeling for nature. However Bach felt perfectly free to change Franck's poetry when he felt it was unsuitable for musical expression. Observed from the vantage point of today's exquisite religious poetry, Franck's verses seem to us like little more than "calendar" poetry. However, it is certain that what at­ tracted Bach to this particular text was the dramatic possibilities of the final dialogue between the Soul (Soprano) and Jesus (Baritone) . Here, to the strains of a solemn giguc, Bach sets Franck's words with the most minute care for the musical Interpretation of each individual word. The cantata is subdivided into six movements. The first movement is an instrumental prelude ("Sinfonia") which is constructed as a slow introduction followed by a four-voiced fugue. The fugue theme, as Albert Schweitzer points out is based on the "step" motive, which Bach's listeners instinctively associated with walking. In this way, Bach prepared them for the essence of the text: "Walk in the way of Faith." The fugue makes fullest use of the potential of each solo instrument. It was later adapted by Bach into a fugue for organ. The second movement is especially beautiful for the subtle way in which Bach has the voice imitate the oboe's phrases, and vice versa. Interesting in terms of Bach's "pictorial" musical interpretation is his motive to the words "Gott hatt den Stein geleget": it consists of a solemn outline of a major triad - Bach's description of the most basic ingredient in all music. "Walk in the way of faith! God has the stone elected, (Which) the builders had rejected, Most wondrous to us in our sight!"* English translation by F. S. Copeland The third movement is a beautiful example of a secco recitative combined with an arioso. In the opening measures of the recitative Bach displays an almost childlike musical description of the words- the vocal line which accompanies the words: "In Israel from the fall to the resurrection," the melody drops a tenth on the word "Fall" and rises to the original high register for the words "und Aufertehen." The arioso begins when the words take on a more "hymnlike" character "whose (the Christian) faith is grounded ~ell upon this sure foundation ... " At this point the recitative takes on the form of an imitative duet between the continuo which first proclaims the new decisive motive. 'The saviour comes to earth to be a sign of sin and resurrection! He is the precious living Rock, although this ev il world, unheedful of his worth, should find him but a stumbling block. ·'It passes on in wilful blindness, And will not heed H is truthful, loving kindness! How blessed is a chosen Christian mind, Whose faith is grounded well upon this foundation, For he shall find peace and true salvation!" The soprano aria which follows is one of those other worldly compositions of Bach which, by their harmonic and melodic gentleness as well as inevitability, immediately sug­ gest to the listener everlasting peace. It is of a kind with the Chorale-Prelude "Jesu, joy of man's desiring" and the Chorus "Sheep shall safely graze." The tenderness of the two obbligato instruments add immeasurably to this mood. "In the path of holiness, Nevermore Thy help denying." A typical example of Bach's musical portraiture is the etting of the word Stein (stone), The fifth movement is a sccco recitative throughout. "The Son of God doth condescend to share the Divine Word with my pains and grief; in flesh and blood the Godhead veiling, with sin and death prevailing. The wisdom of the world must falter, God's firm and sure purpose no man's wit can alter. His promise will endure and fulfil itself in season, unaided by the fitful light of human reason." Two beautiful and subtle Bach musical portraits occur in this short recitative: On the single word "leidet" ("to endure") Bach has constructed a long melodic phrase which expresses most vividly the length of endurance which Jesus must suffer in human flesh. The last phrase (loosely translated as "the blind shall lead the blind") is repeated. Bach literally stumbles around in a very remote key the first time, but adroitly returns to the tonic key in the repetition suggesting a blind leader searching the way and erring but coming home with assurance the second time! Schweitzer contends that the last movement is the raison d'etre o[ the entire cantata.
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