V\k V 1-- AlkE AVNV--9-F f,C.NE 7. t \ Its .1 " s t t 1. C t '7 II t?, 1,v- t 't"-d sip PAO (1 /7, ti T2 17, aino I riolF 11 ? r. s I ate toVolOiI) OUtletttlie35-4% - it r"' Your money grows like magic at the DIME THE DIME SAVINGS BANK OF NEW YORK MEMBER FDIC MANHATTAN DOWNTOWN BROOKLYN BENSONHURST FLATBUSH CONEY ISLAND KINGS PLAZA VALLEY STREAM MASSAPEQUA' Brooklyn Academy of Music _.,+- 11715 0°)-47 Program May 23, 1976 (2:30pm)/ Sunday, Institute The Church of the Packer Collegiate FROM KENZO... Just one Brooklyn Boys of the name The designers and Mens Chorus . at A&S and Orchestra James McCarthy conductor 014 Johann Sebastian Bach's St. John Passion 1 -3 Evangelist John Roach Jesus Cliff Townsend Pilate DeCosta Dawson 14, Tenor Fred Ransom Bass Dale Potter . Soprano Kevin DeVany Alto Damon Stinson Organ Ronald Isaacs Harpsichord Clifford Gilmore Boys and Mens Chorus Brooklyn 41.f Sopranos Altos The place Mark Christmas Gregory DeVany Guy Costley Donnell Fulton Marc Covitz Terrance Hynes Ralph Crowder Earl Lambert to come... Kevin DeVany, soloist Willie Martin Gerald Drummond Horace McGrady Timothy Edwards Lindsey McKinney Franklin Ferguson Byron Peyton for low-cost, James Herrera Wendell Platts Robert Johnson Shelly Rudolph Scott Marsh Ronald Singletary high-quality Gregory Mose Anthony Spruill Charles Nankivell Damon Stinson, soloist Sheldon Porter Ronald Vannoy Trevor Rudolph family protection! James Servedio Basses Peter Sierra John Alston Andre Williams Warren Alston Michael Williams Wendell Carroll William Williams DeCosta Dawson, soloist Michael McConnell The Tenors Curtis Parrish John Anderson Dale Potter, soloist John DesChamps Burdell Phinizy Christopher DeWeiss Dan Rubinate, Jr. Williamsburgh Drew Elliott Ronald Stencil Steve Elliott Cliff Townsend, soloist Savings Fred Gillespie Frank Krueger Douglas Nuetzman Bank Fred Ransom, soloist Incorporated 1851 John Roach, soloist Duane Smith Brooklyn Offices: 1 Hanson Place at Flat bush Ave.. Orchestra Brooklyn. N.Y. 11243 Broadway at Driggs Ave.. Brooklyn. N.Y. 11211 Violins Flutes 86th St. and 23rd Ave.. Brooklyn. N.Y. 11214 Barry Hoffman Katharine Flanders Jeanne Barnes Nadine Edelman Ayes., New Lots and Pennsylvania Roberta Greenspan Randi Levin Brooklyn. N.Y. 11207 Francine Gross Oboes Nassau Offices: Violas James Byars Hempstead Turnpike at Center Lane. Nelson Armitano Lucinda Santiago Levittown. N.Y. 11756 Warren Laffredo 682 Dogwood Ave.. Franklin Square. N.Y. 11010 Organist Cello Ronald Isaacs Suffolk Office: Maureen Hynes Shopping Center. Walt Whitman Bass N.Y. 11746 Huntington Station. Julius Levine Queens Offices: 63rd Drive at Saunders St.. Rego Park. N.Y. 11374 136-65 Roosevelt Avenue. Flushing, N.Y. 11354 107-15 Continental Ave.. Forest Hills. N.Y. 11375 Manhattan Offices: 74 Wall St. at Pearl St.. New York. N.Y. 10005 Sunday: 345 East 86th St.. New York, N.Y. 10028 A rich Oriental rugs, Turkish coffee, Inquire about Brooklyn Academyof Music To make your Sunday at the Brooklyn Academy of Music even richer, stop by the Kalfaian Oriental Rug Gallery located just two short blocks away from the Savings Bank Academy. At Kalfaian, you'll find one of the most renowned collections of Oriental rugs in the New York area, beautifully displayed for leisurely inspection. While there, savor Turkish coffee as you browse amid hundreds of hand-crafted Oriental masterpieces. 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TR5-2222 r About The Program.. the bottom and to a third from the middle of it-all alone, in the midst of the greatest din made by all participants and al- There are many points of view to consider when looking crit- though he is executing the most difficult parts himself, noticing ically at the St. John Passion, especially as it might be compared at once whenever and wherever a mistake occurs, holding every- to the further excellence of the St. Matthew Passion. one together, taking precautions everywhere and repairing any unsteadiness, full of rhythm in every part of his body-this one The St. John was written in haste, revised considerably by Bach, man taking in all the harmonies with his keen ear and emitting has choruses that are musically repeated as often as four times with his voice alone the tone of all the voices." (a most unusual practice for Bach) and is written to a very in- ferior libretto, and yet even with these problems and limitations, Another account by an old widow upon hearing the Passion . it is a monumental work of art. Why? music proclaimed, "God save us and my children! It's first as if Vr1 one were at an Opera Comedy!" Without getting overly involved with flowery verbalism about Bach, the quality inherent in the St. John, like the quality in- How frail and inadequate the judgements of any man, no matter herent in most of his music, is a musical, technical, and spiritual pro or con, over the works and life of Sebastian Bach. result that defies real understanding. We can only guess and wonder about what it is that makes it so "monumental". We invite you to join us in this two hour celebration of the wonderful music of the St. John Passion. The Passion music was very close to Bach's soul and spirit. (He wrote four musical settings to the four evangelical accounts of the death of Jesus). He believed in those events he so stunningly set to music, perhaps because such events were of such con- Romanticism lives! That image of what Damon Runyon's sequence and meaningfulness to him-perhaps because his faith "Big Apple" was and what Brooklyn Heights should be. was most real when he wrote music.The ultimate reality of Brownstone lined streets, the best views of Lower Manhattan Bach's faith was confirmed by the enjoinment of that spirit and the Battery from our Promenade with its with his extraordinary creative powers. Dionysian seduction to stroll Sunday afternoons. leisurely away. Friend ship, old and warming, new and exciting . One restaurant, Henry's We that two thirds of Bach's entire musical output was find End, reflects all that. Re member what it's like service the Lutheran Church, a religiously written in the of to discover a wonderful place and share it with musical expression of both his beliefs and his talents! While his others. Fresh soups, entrees sandwiches, and desserts great faith may only be measured and understood by a God created to sooth and satisfy the wounded palate. Be- that he believed in, his extraordinary talent is a rich legacy left coming famous as: to all of us. The St. John is a religious opera and cannot be compared either as musically or form-ally to anything of its time. It was written The Home of the . a witness to Bach's faith and so moving and convincing is its Chocolate Decadanc character that it is, like other great religious works, a sensitive reminder of our own humanity even with all its beauties and its flaws. We can all cry or rejoice as we behold the wonder that Bach has left us in the St. John. henry's end Its chorales (meditatives on the drama by the congregation) 44 henry street, brooklyn, ny 212 834.1776 choruses (dramatic portrayal of the action of the people) arias (personal reflections of the "spirit" in the music) recitatives (narration by the evangelist, voices of Jesus, Peter, servants, Pilate) all serve to enliven the totality of the whole drama that the evangelist St. John wrote so long ago. The Conductor.. The St. John Passion contains a huge centerpiece of symmetric- ally arranged matching choruses, surrounding the recitative in James McCarthy attended Los Angeles State College and grad- which Pilate questions Jesus. Bach was not satisfied with the ac- uated in 195Q, with a Bachelor of Music degree and a Teacher's complishment of unity in single movements-he was intensely Certificate in music. He began graduate work at the University interested in the problems of form and the asymetrical propor- of Southern California majoring in conducting and organ. In tions of the St. John were revised many times before Bach was 1960, he left U.S.C. to accept a full-time position as organist- .. satisfied with what we know today as the St. John Passion. choirmaster at Our Lady Queen of Peace Church in Detroit. In that position he developed his first boy choir ensemble. Under All of Bach's Passions were heard at. St. Thomas in an actual his direction the choir worked with Sixten Ehrling and the service. It is possible to visualize the surroundings. The perfor- Detroit Symphony Orchestra. While in Detroit Mr. McCarthy mers were placed in the organ gallery at the west end of the nave. recorded the premiere of a choral piece by Halsey Stevens as The gallery also contained a clovier. Grouped right and left were well as Benjamin Britten's, A Ceremony of Carols, which re- the singers and instrumentalists with Bach in the middle. A con- ceived considerably fine reviews. temporary, accounting of the master "at work" describes him thusly, "...with all the fingers of both hands running over the In 1963, Mr. McCarthy left Detroit to assume similar responsib- keys of the organ, and with his feet, producing by himself the ilities at Saint Gabriel's Church in Boston.