BROOKLYN ACADEMY OF MUSIC BROOKLYN ACADEMY OF MUSIC Ndnly I llu~111 BAM BROOKLYN Rll hard W lhtllwrl ACADEMY OF MUSC F'tut<' o( Fujol,rru• Kr1t\l't' I ~l.lnl<·y Km·~t·l PATRONS 1981-82 J.tc.:k l.awrtnu• The Brooklyn Academy of MusiC as Ph yilt\ llnlhrcw>k l.t< hlc·n\lc'lll 1>wncd by the City of New York and llam"h Muwrll admanastered by the Brooklyn Alan• Hnlhrcw>k Platt Frt·drru:k W R ~rhmo nd Fnundtttton Academy of Musac. Inc The Brook· Ruc.:kmradow Foun,ldttnn lyn Academy of Musac gratefully ac· The Starr Foundt1tton knowledges the support of the Na Wilham Tnllt')' laona! Endowment for the Arts. The Mu.: hael TUl:h Fuundauon New York State Council on the Arts. Jnhn T Untlerwood Fnundatmn and the Department of Cultural Af Tht Vmmnnt Foundatum faars of the City of New York In ad Harold Wrat> Duanr Wtldrr dillon. the Board of Trustees washes Rohert \V \Vtl.-.on Found.11um to thank the followang foundatons. Sanfnrd I Zlmmt:rm.m corporahons and andavaduals who. thn>ugh thear leadership and sup· PRODl CFRS S500 S'l'l'l port, help make these programs Rnht"rt H Arnow possable :O.otl D Chn,mnn Tho Henry Goldner~ F~undatlon .\lr & \lr. Phthp )o"ur Harvey l.!chttn\ttln \.lr & Mrs Rt chard ,\.lrn\Cht•l INDIVIDUALS AND \lr & .\lr. ,\ldrttn Sc~dl FOUNDATIONS Dan ~ymnur Tht' 7cttl Foundat1nn LEAOERS III P S25,000 a nd above ASSOCIATE PROD! CERS Achelas Fnundaaon S250 S499 Bodman Founda110n Boolh Ferns Foundation Robert Davenport Louas Calder Foundation Mr & Mrs AI Krontek Edna McConnell Clark Foundation Naa Lefknwlt7 Robert Sterling Clark Foundation Mr & Mrs Jack Lttwack Ford Foundation Dr & Mrs James McGroarty Charles Hayden Foundation Rev Francas J MuRavrro Alex Hallman Famaly Foundotlon Mr & Mrs Arthur J Radm Samka Run Foundation Stephen H Scheuer J M Kaplan Fund Inc .\lr & \.Irs trwm Schnetderman Stanley Kaplan .\>lr & Mr~ Norman StRal Andrew W .\>lellon Foundation \1r & Mrs Norman Sher Nataonal Endowmenl for the Arts .\>lr & \>I rs Harry Stlver.,etn The New York Community Trust The New York Counctl for the SPONSORS S 100 S249 Humamhes Dr Edward W Altman New York Statt Coucal on the Arts Elatne Ander"'n Edward John Noble Foundation R Steven & Jan C K Anderson Rockefeller Foundation Roger Backer Surdna Foundation Mr & Mrs Werner Barusek Mr & Mrs Arne Vennema BenJamm Bank"'n Wilham & Juha Bndenkopf PACESETTERS john B•aton S 10,000 · S24 ,999 Meyer Berger Charles Ulrack & Joseph me Bay Aaron Bernstt1n Foundatton Mr & Mrs H Gerard Bts<angor II Max & Victona Dreyfus Foundation Dr Robert C Blank Herman Goldman Foundataon jean Mane & Netta Blondeau Fred C Koch Trust for Chanty Dr & Mr~ Maratn Bodtan Henry & Lucy Moses Fund Walltam B Bolton Helena RubtnSietn Foundation Louanna Carltn New York Commumty Trust Mr & Mrs John Casaaldt Shubert Foundatton Arthur W Cohen Mr & Mrs Ira Cohen BENEFACTORS Janelle S Cooke S2,500 · S9 .999 Dr & Mrs A Norman Crantn Mary Duke Btddle Foundation Judith Daykm Charles Dt ker Mr & Mrs jerome Dubroff The Doll Foundatton Mr & Mrs Albert H Eaton Jeffrey Endervelt The Valhal Pub Gramercy Park Foundatton S1ephen Edelman Mallory Factor Mr & Mrs Rohert Ehrcnbard The Hochschild Fund Inc H Eltsh Mr & Mrs Everett Ortner Mr & Mrs Donald It Elhot Prospect Htll Foundation john Elliot The Scherman Foundation Rachard Engqut5t Anthony Scotto Gail Enckson International Longshoreman's Sergto Escuadra Association Mr & Mrs Paul Esserman Seth Sprague Educational & Rtehard B Ftsher Chantable Foundatton Dr & Mrs Leonard I Flug The Nate B & Frances M Mr & Mrs Darko V Frank Sptngold Foundation Derene frazier Uns Brothers Foundatton Dr Herbert Freedner Mr & Mrs John T Gallagher EXECUTIVE PRODUCERS Mr & Mrs Dante! Geller SI ,OOO · S2,499 Mr & Mrs Mttchell M Gtlm Ms joan Bteder & Lawrence Goodstem Mr William josephson Mr & Mrs Sheldon S Gordon Leonard Garment Chester Gore BAM OCTOBER 1981 (Patron listings continued on inside back cover) ICi{/F,[)/JoJ BROOKLYN ACADEMY OF MUSIC BAM'S CHAMBER MUSIC SERIES Scott Nickrenz, Music Director LEPERCQ SPACE Friday, October 30, 1981, 8:30pm Saturday, October 31 , 1981, 8:30 pm Sunday, November 1, 1981, 2:00pm OSCAR SHUMSKY violin COLIN CARR cello LEE LUVISI piano Wolfang Amadeus Mozart Trio for Violin, Cello, and Piano, in E Major, K. 542 Allegro - Andante grazioso - Allegro Oscar Shumsky, violin; Colin Carr, cello and Lee Luvisi, piano Richard Strauss Sonata in E Flat Major for Violin and Piano, Op. 18 Allegro rna non troppo - Improvisation: Andante cantabile Finale: Andante-Allegro Oscar Shumsky, violin and Lee Luvisi, piano (Intermission) Felix Mendelssohn Trio for Violin, Cello, and Piano, No. 2, in C Minor, Op. 66 Allegro energico e fuoco - Andante espressivo Scherzo: Molto allegro quasi presto Finale: Allegro appassionata Oscar Shumsky, violin, Colin Carr, cello, and Lee Livisi, piano Thb program IS supp<>rt..-d hy funding from the Edward John l':oble Founda· lion the Mary Duk..- Biddlt• Foundation the Nat1onal Endowment for the Arts and tht• New York State Council on the Arts Baldwin i> tht• official p1.mo of the BAM Chamhl'r Music Series. WHO'S WHO OSCAR SHUMSKY - As a soloist Oscar Shumsky has concerti1ed with most of tlw maJor orchestras of the United States, Canada, and abroad While serving as arllslln-residcnce at the Canadian Stratford Festival in 1959, he made his con ductmg debut and smcc that time has appeared as conductor with orchestras thrnughout North Ameraca He was subsequently appointed Music Director of the Stratford Fesllval a post which he held unil 1967 A frequent guest arhst at marw <'f the leading festivab rn the U.S., and as far afield as Japan, he performed a> ,·rolrn soloist and nmductor at Lincoln Center's Mostly Mozart Festival in the summer of 1978 and has h.:en a frequent guest arhst in the concerts of the Chamt>er Music Soc1ety nf I.rncoln Center. As a rcc1talrst. Mr. Shumsky has often performed in the same program on both violin and viola and has been praised fc>r his v1rtuosity on both instruments Last spring 11980). he was featured gu<"st soloist in the Ernest Block Centennial Concert at Alice Tully Hall w1th the Jupitl'r Symphony at Lincoln Center The Jupiter Symphony held a special event at Lin· coin Center in February 198 t enlttled An Evening w1th Oscar Shumsky. whKh drew a capacity audience and critical praise. COLI'\ CARR - Twenty·om··year-old English cellist Cohn Carr performed 111 h1s \:ew York rec1tal debut on january 16, 1979 as wrnner of the 1978 Young Con cert Artists International Auditions last spring. As an arhst·member of the roster of Young Concert Artists ~1r . Carr will have an opportunit)· to establish h1s solo career rn the United Staks. Colin Carr has already performed widely rn h1s natrve England and throughout Europe He made his acclaimed London recital dehut rn the Purcell Room in 1975. where he reappeared in 1977 and performed solo recitals in London's Wigmore Hall in 1966 and 1978 Mr Carr's radio recitals include performances on the BBC in England for Stuttgart Frankfurt and Berlin Rad1o in Germany; and on all the Dutch Radio '\etwork stations LbE Lu\o lSI is today one of the most highly respected arhsb on the American musical scene. Born in 1937 rn Louisville Kentucky, Luvisi was a student of Rudolf Serkin and Mieczyslaw Hors1.owski at Philadelphia s Curtis Institute of Music Upon his graduation there he became the youngest faculty member in the history of that institutron Lee Luvisi's solo activ11tes through the years have rncluded a formidable list of major recital and orchestral engagements across the United States, Canada, Mex· icn, and Europe. As a chamber pianist Mr Luvisi collaborates regularly with many of the world's foremost musicians and ensembles. Among these have been the Juilliard, Guarneri and Cleveland Quartets. violinrsts ltzhak Perlman and Pinchas Zukerman. THE PROGRAM Trio for Violin, Cello and Piano, in E Major, K. 542 WOLFGANG AMADEUS MOZART (1756-1791) 1. Allegro 2. Andante grazioso 3. Allegro ne b1g difference between Mozart and Haydn IS that the latter composer was far more adventurous is his usc of tonality For whatever reasons 0 !probably psychological ones). Mozart seldom ventured into keys bear­ ing more than three sharps or flats. There are, to be sure, a few vocal arias !e.g in Die Zauberflote) set in E major and sundry episodes within large pieces Ithe cen· tral. F minor trio section in the Andante of the K 330 Piano Sonata, for example) but it almost unheard of for Mozart to use as the main tonality a key like E major as he does here. I suppose that by 1788 IK. 542 was composed in June of that year) Mozart was in his fullest maturity and slightly more willing to venture afield. Those of you familiar with Kochel listings will deduce that the E major Trio is a product of the same spurt that brought the miraculous three final sym­ phonies, K. 543, 550 and 551 There are, as a matter of fact, certain parallelisms between this work and the E flat Symphony, K. 543. For one thing, both first movements are in triple trme, lilting in character, and using themes that are rather similar in intervallic construction !built around a rising triad, yet with some descending chromaticism). Then, too, both Trio and Symphony follow an identical tonal relationship --tonic to subdominant -between first and second movements IE major to A major in the trio; E flat to A flat in the symphony) The Trio's Allegro begins quietly with the aforementioned first subject stated rather casually by the piano.