The Brute - 1971

program cover

Monday Evening Concert

Sponsored by the
Southern California Chamber Music Society

Leo S. Bing Theater
Los Angeles County Museum of Art

1970/1971 Season
Seventh Program: 25 January


The Brute
Joseph Haydn (1732 - 1809)

Sonata a A major for violin and viola (H. V1:2)
Allegro moderato
Finale: Tempo di Menuetto

Andrew Jennings, violin
Renita Koven, viola

Johannes Brahms (1833 - 1897)

Klavierstücke, Opus 118
1. Inttermezzo: Allegro non assai, ma molto appassionato
2. Intermezzo: Andante teneramente
3. Ballade: Allegro energico
4. Intermezzo: Allegretto un poco agitato
5. Romanze: Andante
6. Intermezzo: Andante, largo e mesto

Adrian Ruiz


Lawrence Moss (b. 1927)

The Brute, a comic opera in one act
Libretto by Eric Bentley, based on the play by Anton Checkhov


Mrs. Popov (soprano)
Lorna Castaneda

Mr. Grigory S. Smirnov (bass-baritone)
John Hall

Luka (tenor)
Kenneth Westrick

The scene is the drawing room of a Russian country house during the middle of the last century.


Sylvia Greenfield, flute
Russell Harlow, clarinet
Anthony Kuhlman, bassoon
Kenneth Meyer, percussion
Karen Ervin, vibraphone
Neal Brostoff, piano
Andrew Jennings, violin
Renita Koven, viola
Robert Goodenough, doublebass


Natalie Limonick, music director

John Hall, stage director

Barry Frost, stage designer

Robert Raitch and Victor Paddock of the Museum staff have helped in all phases of the production.

The musical presentations on this program are made possible, in part, through the sponsorship of the Los Angeles County Board of Supervisors and the Los Angeles County Music and Performing Arts Commission.

This season’s Monday Evening Concerts are being recorded for broadcast by The Voice of America.

Members of the audience wishing to have their names added to our mailing list are invited to sign the guest-book at the desk in the lobby.

Thirty-Third Season

Monday Evening Concerts
Twelve Programs Devoted to Important Classical and Contemporary Chamber Music, performed by distinguished Los Angeles artists and sponsored by the Southern California Chamber Music Society in the Leo S. Bing Theater of the Los Angeles County Museum of Art

5 October
. . . Pierre Boulez’s Domaines opens our season, with Gerhard Samuel, the new Associate Conductor of the Los Angeles Philharmonic, leading the same ensemble that gave the American premiere of this extraordinary work at the Ojai Festival last June . . . our contribution to the Beethoven bicentenary is The Master’s Septet, perhaps the most popular of his works during his lifetime and a favorite ever since . . . twenty-one musicians in the ensemble for this event…

19 October
. . . a half-program of recent works by Los Angeles composer Dorrance Stalvey . . . Togethers II for percussion and tape, Togethers III for clarinet and tape, and Points - Lines - Circles for six instruments…the performers are John Gates (clarinet), John Marcus (guitar), Verlye Brilhart (harp), Bert Turetzky (bass), Kenneth Watson and Larry Bunker (percussions) . . . (a recording of Points - Lines - Circles is shortly to be released) . . . Charles Fierro begins the season’s survey of Brahms’s last four collections for piano solo, playing the Six Pieces of Opus 116 . . . as prelude to Brahms, the C-minor Piano Sonata by K.P.E. Bach . . . tenor Hayden Blanchard sings Schumann’s Six Songs of Opus 90, a set rarely performed complete . . .

16 November
. . . six of our artists in music by two Bachs and Henri Lazarof . . . Stanley Plummer (violin), Milton Thomas (viola), Laurence Lesser (cello), Bess Karp (harpsichord), Kenneth Watson and Larry Bunker (percussions) . . . of J.S. Bach, his suite in C major for cello solo, and his transcription for harpsichord of a Vivaldi concerto in D minor . . . of Wilhelm Friedemann Bach, his Sonata in C minor for viola and harpsichord . . . of Henri Lazarof, the premiere of two weeks, Continuum for string trio, and Cadence III for violin and two percussions . . .

30 November
. . . second in the survey of Brahms’s last piano pieces, Opus 117, the Three Intermezzos, played by Ralph Grierson . . . with him, Sheridon Stokes for the Hindemith Sonata for Flute and Piano . . . written for Peter Mark, a new work for solo viola and tape by the British composer Thea Musgrave, currently a guest professor at UCSB . . . Harold Budd’s Black Flower, a quiet piece in blue light for soprano (Jeannine Wagner), clarinet (David Sherr), chimes (Karen Ervin), and percussion (James Quinn) . . . and another new work, Labdanum by Aurelio de la Vega, for flute (Mr. Stokes), viola (Mr. Mark), and xylophone (Mrs. Ervin) . . .

7 December
. . . a concert for Ernst Krenek’s 70th birthday, three months late but at a time when he can be present . . . for prelude, chansons by Johannes Ockeghem, Renaissance composer for whom Mr. Krenek has a special affection . . . for the rest, al all-Krenek program . . . a new work, Tape and Doubles for two pianos and tape, played by Karl and Margaret Kohn . . . a second hearing of Quintina for soprano and six instrumentalists . . . the Suite for cello solo . . . Wechselrahmen, six songs for soprano and piano . . . the artists: Mr. Kreneck, pianist in the songs; conductor William Kraft, soprano Gloria Grace Prosper, flutist Gretel Shanley, violist Abraham Weiss, cellist Nathaniel Rosen, and percussionists Karen Ervin, Philip Lehrmann, James Quinn . . .

11 January
. . . Leon Kirchner, an old friend who will be at UCLA for the next academic year, in a program devoted to his own music and that of his favorite composer, Mozart . . . the repertoire not yet selected but certain to include works for Mr. Kirchner as pianist and Eudice Shapiro as violinist . . .

25 January
. . . our first attempt to stage a chamber opera: The Brute by Lawrence Moss, an already flourishing work that enjoyed a resounding success at Bayreuth in August . . . Natalie Limonick of the UCLA Opera Workshop is the music director . . . the cast of three singers and the chamber ensemble of nine players still to be selected . . .

8 February
. . . Lukas Foss, in Los Angeles in the role of guest conductor of the Philharmonic, comes to us for an evening of his own music . . . a recent work, Paradigm, already well known on the east coast, for guitar, clarinet, violin, cello, and percussion . . . Echoi, part of which was first heard at these concerts as a “work in progress” several years ago . . Time Cycle, already overdue for a rehearing . . . among the performers: guitarist John Marcus, clarinetist Michele Zukowsky, cellist Douglas Davis, and percussionist Charles De Lancey . . .

22 February
. . . a Webern/Bach program . . . for the first time in Los Angeles, the complete vocal chamber music of Webern: Opus 8 and Opera 13 through 18 . . . Leonard Stein conducts and Marni Nixon sings, with various ensembles of two to thirteen instruments . . . Malcolm Hamilton plays one of Bach’s great harpsichord Toccatas, the one in D major . . . with Louise Di Tullio and Mr. Hamilton, Bach’s G-minor Sonata for flute and continuo . . . they are joined by Arthur Hoberman for the G-major Sonata for two flutes and continuo . . .

8 March
. . . duo-pianists Karl and Margaret Kohn introduce here two works in the most modern of modern manners: Corroboree by Earle Brown and tableaux vivants avant la Passion selon Sade by Sylvano Bussotti . . . once more they let us hear Stravinsky’s great Concerto for Two Solo Pianos . . . Driftwood for violin, two violas, and cello, the latest in Paul Chihara’s series of pieces about trees . . . Trigram for violin, viola, cello, and bass by a new eastern composer, Marc-Antonio Consoli . . .

22 March
. . . Charles Ives’s Trio for piano, violin, and cello, much performed (but not here) in a spurious edition, receives a “correct” performance from a new score prepared by John Reeves White, John Kirkpatrick, and Carol Stone working in collaboration from Ives’s manuscript . . . we conclude the Brahms survey with Opus 119 . . . pianist Peter Hewitt and violinist Giora Bernstein are among the performers so far selected for this program . . . other repertoire and artists remain to be chosen . . .

5 April
. . . we hold this date in the hope of receiving a visit from one of the distinguished alumni of Monday Evening Concerts . . .

Programs subject to change without notice

Season Subscriptions $25
Single Admissions $3.25
Student Admissions $1.50
(Including County Entertainment Tax)

For information and reservations, please address:
Monday Evening Concerts
County Museum of Art
5905 Wilshire Boulevard
Los Angeles, CA 90036
Telephone: 937-4250