UMS Concert Program, February 5, 2014 - February 14, 2014 - Ariel Quartet with Alisa Weilerstein; Kremerata Baltica

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UMS SENATE
The UMS Senate is composed offormer members of the Board of Directors who dedicate time and energy to UMS and our community. Their ongoing commitment and gracious support of UMS are greatly appreciated.
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Michael C. Allemang Carol L. Amster Gail Davis-Barnes Kathleen Benton Lynda Berg
Richard S. Berger Maurice S. Binkow DJ Boehm Lee C. Bollinger Charles W. Borgsdorf Janice Stevens- Botsford Paul C. Boylan
William M. Broucek Barbara Everitt Bryant Robert Buckler Letitia J. Byrd Kathleen G. Charla JillA. Corr
Peter B. Carr Ronald M. Cresswell Hal Davis Sally Stegeman DiCarlo Robert F. DiRomualdo Al Dodds James J. Duderstadt Aaron P. Dworkin David Featherman David J. Flowers George V. Fornero Maxine J. Frankel Patricia M. Garcia Beverley B. GeItner Anne Glendon Patricia Green William S. Hann Shelia M. Harden Randy J. Harris Walter L Harrison Norman G. Herbert Deborah S. Herbert Carl W. Herstein Peter N. Heydon Toni Hoover Kay Hunt Alice Davis Irani Stuart A. Isaac
Thomas E. Kauper David B. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov
F. Bruce Kulp Leo A Legatski Melvin A. Lester Earl Lewis Patrick B. Long Helen B. Love Cynthia MacDonald judythe H. Maugh Rebecca McGowan Barbara Meadows Joetta Mial Alberto Nacif Shirley C. Neuman Jan Barney Newman Roger Newton Len Niehoff Gilbert S. Omenn Joe E. O·Neal Randall Pittman Phil Power John D. Psarouthakis Rossi Ray-Taylor John W. Reed Todd Roberts Richard H. Rogel Prudence L Rosenthal A Douglas Rothwell Judy Dow Rumelhart Maya Savarino Ann Schriber Edward R. Schulak John J.H. Schwarz Erik H. Serr EllieSerras Joseph A Sesi Harold T. Shapiro George l. Shirley John O. Simpson TImothy P. Slottow Anthony L Smith Carol Shalita SmokIer Jorge A Solis
Peter Sparling
James c. Stanley Lois U. Stegeman Edward D. Surovell James L Telfer Susan B. Ullrich Michael D. VanHemert Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite
Iva M. Wilson Karen Wolff
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Kenneth C. FIscher Pr~dQnt.
}ohn B. Kemard, Jr. Oirrooro( Administration
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TQSsitura Syst01lS Administrator
Patricia Hayes
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Information Systems Manager
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Difroor 0( [)Qve/opment Susan Bozell Crala
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Senior Monag« 0{ AnnudGMng
Marnie Reid
Senior Manager 0{ Individual Support
Cindy Straub Manager of VoIunr"","s & Splilc/al Events
EDUCATION & CO MMUNITY EN GAG EMENT
James P. lel} DIrector 0(Education & Community Engagement
Shannon Fitzsimons Canpus Engagement $peelallst
Mary Roeder
Associate Manager of Community Engagement
Oman Rush Education Manager
MARKETING & CO MMUNIC A TIONS
Sara Billmann DlrectOf of Marketing & Communications
JesseMerla VIdeo Production Spedalist
Anna Prushinskaya Manager of New Media & Online Initiatives
Truly Render FtC1SS & Marketing Manager
PROGRAMMING & PRODUCTION
MiChael J. Kondziolka DlrectOf of Programming
Jeffrey BeyersdOff
Ftodudion DlrectOf
Anne Grove Artist Services Manager
Mark Jacobson SenlOf Pror;,amming Manager
MiChael Michelon
Ftodudlon CoordinatOf
Uz Stover ASSociate Programming Manager
TICKET OFFICE
JennyGraf
Senior T/cblt ~rvlcQS Manage portrait of Tolstoy
HugoWolf,thegreatmasteroftheGerman art song wrote only a fewworks of purely instrumental music during his tragically short life. Among these, the Italian Serenocle forstring quartet (later arranged for small orchestra) stands out both as t he most brilliant and t he best known. Wolf, steeped in the music of Richard Wagner and the German poetic tradition (from Johann Wolfgang Goethe to Eduard M6rike~was also strongly attracted tothe Mediterranean region; witness his Italian and Spanish Songbooks. like those song cycles, the Serenade seeks to capture the sunlit southern regions of Europe that Wolfhimselfneverhadachancetovisit.
The one-movement work is cast in a rruxlified rondo form in which t he contrast between the rondo theme and the two episodesistemperedbystrongthematic connections. In his biography of Wolf,
Frank Walker gave a vivid description
of the work, imagining a romantic story
behind the music.The opening of the
work clearly evokes the strumming of the
guitars with which an enamored young
man serenades his beloved.The expressive
passage following the main theme
represents t he voice of the passionate
lover. The cello recitative after t he first
return of t he rondo theme is the man's
thrice-repeated plea for the lady's heart,
surrounded by t he Nmocking corrunents" of
the other instruments.Another episode-
in tumhumorousanddance-like- ensues,
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before the final return of the rondo theme "o
and a coda which brings back Nthe twang andthedroneofguitars:
Five years after completing t he Italian Serenade, Wolf arranged it for small orchestra.At that point he thought of expanding t he work by composing additional movements, but these never progressed beyond preliminary sketches. So the Serenade remained what it was:a delightful single movement t hat shows the brightest side of this complex and tormented composer. (Having contracted syphilis as a young man, Wolf suffered a complete mental breakdown in 1897 and ended his days in an insane asylum six years later.) Romantic passion and a brooding. melancholy disposition always co-existed with an unbridled sense of humor in Wolfs music; in the Italian Serenade he gave the first two a day off and enjoyed the sunshine, dreaming happy dreams. o
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QuintetinEMajor,Op.ll.No.5 (177 1)
t.wg;B=herini Bcn\ February 19,1743 in Lucca Italy Died May 28.1005 i n Madrid. Spain
Bocl1eITinfs Quintet in E Major. Gp. 11. No.5 has never beenperformed 011 aUMScOIlcert
SNAPSHOTS OF HISTORY-IN 1771: • An upnslng In the Carolinas known as Itle Wat of
RQo8UIation."a precur.;ortothe I«>YoIu!ioncwyW?Jl • The 15-year-old Mozart writes tv!. pastoral opera
Ascor«lln/llbo · James Cook retl.m5 to EI"€Land from tvs fFst voy• •
transcriptions and arrangements as Boccherini's ·Celebrated Minuee It is rarely heard. however, in its original scoring and context as part of a multi- movement work. Certainly the entire quartet. not only its minuet. deserves to be ·celebrated." It is interesting that Boccherini opened with a slow movement and placed the'Allegro· second, holding on to a vestige of the old sonata do chiesa (church sonata) tradition with its slow- fast-slow-fast layout
QuintetinCMajor,D.956(1828) Franz Schubert SomJanuary 31, 17g] in HirnrneJpfortgrund
(now part ofVienna) Died November19,1828inVienna
UMSpremiere: OeveJand Q,Jartet and Nonoon Fzscher (UMS President Ken Fischers brothert .Apri11992at Radc1nmAuditcriurn
SNAPSHOTS OF HISTORY. IN 1828: · AraewjadcsonisNctedPresidentoftheus • Hungarian invmtor AAyOS )edHk aNte!> the first
eIecIric motor
• SirwalterScottPlbkhes Yh"FotMoidO/Pvrth • Noah Webst{>l" publishf;lS th" first edition of An
~Dictionor)IqthqEr9IshL~ • Construction begins on t~ Carrollton VIaduct in BaIti"ncn>, the worlds ~ raMroad bI1dge stiR in use
Did the 31-year-old Schubert know in t he summer of 1828 that his time was running out? With his health seriously compromised- itisnosecretthathewas suffering from syphilis - he composed at a feverish speed. producing a body of work in the months before his death on November 19 that is unmatched even in terms of sheer quantity, The last three piano sonatas. the monumental Moss No.6 in E-flat Major, and the 14 songs later published as Schwanengesong ("Swan Song") were all written during this period. What is more, each of these works is a masterpiece of the very first order,
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IIavi"c ~ Au5traIia and New ZQaIand • The fwsI edtIon of the Encydop«fia BriIalVica Is
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Franktin begins work on his autob!o8rophy
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Eighteenth-century composer Jean- Baptiste Cartier once said comparing t w o of rus famous contemporaries: '"If Gxl.
• wanted to talk to men, He would do so ;; through Haydn's music. but if He wanted
to listen to music. He would choose Boccheriniw One of the great cellists of his time, Boccherini was also an extremely prolific composer, mostly of instrumental music. His work shOW's that all Classicism need not necessarily be Viennese, The Italian native concertized allover Europe. and for a decade, he lived in Berlin as chamber composer to Friedrich Wilhelm. the Prussian King who seems to have preferred his music to that of a certain uninvited visitor from Vienna named
•"
•" Mozart. Yet despite his long stint in •
• Germany, Boccherini is mostly associated •"
0 with Spain where he resided from 1769 inberg Concertino for Violin and Strings, Op. 42
Allegretto cantabile cadenza: Lento - Adagio Allegro moderato poco rubato
Mr. Kremer, Violin
Weinberg Symphony No. 10 in a minor, Op. 98
Concerto grosso Pastoral- canzone- Burlesque - Inversio n
M o v e m e n t s 2 - 5 a r e p e rf o r m e d a t t a c c a ( w i t h o u t p a u s e ) .
INTERMI SS IO N
Atvo POrt Cantus in Memory of Benjamin Britten
This performanc:e is supported by the Renegade VentLl'es Fund, a muti-~ challense grant created by Maxine and Stuart Frankel to ~ lXlique, creatiY£!, and transformatiYe performins art5 experiences within the UMS SNSOn.
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"rrp:>SeS Sinfonb • Major student protests in France
If Barshai's orchestra makes a guest appearance in Leningrad, playing Weinberg's Tenth Symphony and Boris Tchoikovsky$ Sinfonietta. you really hove to hear them They ore two outstanding works. In general. you ought to watch out for both of these composers.
- DmitriShostakovichtoIsaak Glikman. February 1.1969
Shostakovich's words of praise were well deserved. Without a doubt, the 10th of Weinberg's 20 symphonies is an extremely powerful artistic statement. Written immediately after t he opera The Passenger which has recently created a major international sensation. t he symphony displays t he composer's uncanny ability to infuse very simple, almost trivial musical material with great emotional urgency and intensity.
•m The symphony is in five movements, •"
of which t he last four are played without •m pause. In the opening"Concerto grosso: mZ
a "concertino· consisting of violin. viola, cello. and double bass is contrasted with thefullstringorchestra.Itisavibrantand dynamic movement, in which massive chord progressions (reminiscent of a wildly distorted Tchaikovsky Serenade for Strings) alternate with virtuoso solo passages and exciting orchestral climaxes.
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The second movementis a"Pastorale· that seems to evoke a frozen landscape. The solo instruments that formed a concertino in the first movement are featured individually here (as well as in the subsequent movements), starting with a tense violin solo over t he suspenseful tremolos of the orchestral strings.The other soloistssoon join in with more dramatic soliloquies and dialogs, eventually fading into silence and giving way to a "Canzone·with a sinuous melcxly "m accompanied by pizzicato (plucked) "o strings. The contrast between legato • melodies (with notes strongly connected) and pizzicato notes. separated from one another, dominates the entire movement. llris section ends with a great emotional buildup,leadingdirectlyintothefourth- movement "Burlesque,· a grotesque dance intrcxluced by the double bass and juxtaposing ponderous episodes with diabolical waltz strains. eerie passages with collegno sounds (played with the wood of the bow) and harmonics. A wild contrapuntal section and more frenzied solos follow, before the massive chords from the first movement return for a grandiose but very unsettling conclusion.
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Cantua in Memory of Benjamin Britten(1m)
ArvoPdrt
BornSeptember 1l.193Sin Paide, Estonia FOrt's Cantus in Memory of Benjamin Britten
00sneverbeenperformedenaUMSCCIlCl'rt
modernist aesthetics; it is nevertheless "modern" in the sense of creating a sound world that has not existed before. Unlike consonances in classical music. those found in Part's works do not fonn typical harmonic progressions and rarely modulate; they remain what t hey are, bell-like sounds in the service of an artistic message whose spiritual nature is impossible to miss.
Singer and conductor Paul Hillier. a long-time champion of Part's music. used the expression "magister ludi" ("The Master of the Game") in the title of one of his articles on the composer. The reference is to the famous novel by Hermann Hesse, also known as The Glass Bead Game, whose hero, like Part, uses a clearly articulated musical sign system to express spiritual meanings. Part's work is always inspired by his strong religious faith and emerges from a background of introspection and silence. Hillier has pointed out that the silence preceding and following music plays a similar role in Part's music as does the awareness of death surrounding life in the religious person's mind.
Like all of Part's "tintinnabuli" music. Cantus in Memory of Benjamin Britten is characterized by a great sense of inner peace. a strong meditative quality. and a remarkable structural clarity and simplicity. Cantus consists solely of "white" notes (pianistically speaking~ and its musical material is limited to descending scales. with a regular alternation of longer and shorter note values. Part, however. avoids banality by subjecting his material to two fascinating procedures at once. First, he makes his descending scale segments longer and longer (A-G. A-G-F, A-G-F-E. etc" up to almost four octaves in the first violins). Second he resorts to a technique known from medieval music as ' mensuration
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It has always been difficult enough for a composer living anywhere to go against the grain and write music that breaks openly with received tradition. But it was doubly difficult to do so in the former Soviet Union, where artistic dissent was more often than not perceived as political dissidence. And it was probably 10 times more difficult for a composer such as Alva Part. who - in addition to his unconventional writing - was known as a committed Russian Orthodox when all forms of religion were strongly discouraged. In his early works. Part employed techniques of serialism. highly controversial at the time, only to turn away from them just as serialism wasbecomingmorewidelyaccepted.?art has always followed his own path which led him to the discovery of an intensely personalvoiceintheearly1970s.
Part himself has referred to the style of his works written since the 1970s as the -tintinnabuli" style, from the Latin word for bells. The term implies not only the frequent use of bells and bell-like sonorities. but also the preponderance of consonant sounds. employed in a way not unlike chimes playing the natural intervals of octave, fifth and third This return to euphony has been interpreted as a concession and a renunciation of
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At Toyota, we celebrate differences . And the people who make them.
Toyota is proud to support tile UrIivefsitV Uusical ~ and their OJImIitmenl to connecIiIg audiences with performing artists from around the world in uncomrnoo and er'l\laging experiences,
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