UMS Concert Program, March 14, 2014 - March 21, 2014 - Alfredo Rodriguez Trio, The Pedrito Martinez Group; Israel Philharmonic

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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.
WadadAbed
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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TICKET OFFICE
JennyGraf
Senior T/cblt ~rvlcQS Managete Rodin, The Burghers of Calais (1SS9)
• Notable ewnts in science and technolow. Loo..is Pas\eu" introduces the rabies viKdne(1SS5~ Kart Benz patents the first automobile (1886); the Eiffel Tower is erected in Paris (1SS9)
The lights are dimmed the conductor stepson the podium. raises his baton after a moment of suspenseful silence, and we
and festive.The slow pace at which the §
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music unfolds is a clear indication that time has to bemeasuredin unusually long " units.We are listening to a symphony by "o Anton Bruckner. •
inordertoenjoyBruckner,wemustbe able to place ourselves on his wavelength, andaccepthimforthemaverickcomposer he was. He is often accused of having written the same symphony nine times aver,and this is a grossly unfair judgment or at least an extremely superficial one. However, it cannot be denied that t here is a single idea underlying all the mature symphonies, although it is expressed differently in each case.Each symphony is a new solution to the same compositional problem. a new manifestation of the same fascinating personality .
To understand that personality, commentators have time and again drawn attention to t he many peculiarities in Bruckner's biography: his seemingly endless years of study, his awkward country-bumpkin demeanor which
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became the butt of so many jokes in cosmopolitan Vienna and his devout CatholicismltfollO'N'sfromthesepersonal characteristicsthatsymphony-writing did not mean the same thing to Bruckner as it did to Brahms (his great rival) or any of his contemporaries. To Bruckner, composition was nothing less than a re- enactment of the Divine Creation. He did not waste his time on Ntrifles" like songs or short piano pieces.Almost all of his compositions are large-scale symphonies or sacred works, grandiose and solemn in tone,andsymbolicallyreachingouttothe Deity.
NO'N'here is this artistic intent more apparent than in t he Eighth, t he last symphony Bruckner ever completed. As Robert Simpson, one of the best authorities on Bruckner, haswritten:
The sweepingdramaticforceofthe Eighth isalrnostnewinBruckner.Nowholework anticipates its character, not even the Third. the most dramatically inclined of the earlier symphonies. The Fifth has an immense inner tension resembling that of Gothic arc hitecture, and is dramatic as a totality rather than as a process; there is nothing in it that quite suggests the dark sense of crisis that fills the first movementofNo.8.TheEighthisthefirst full upshot of matters hitherto hidden in undercurrents and only intermittently allowed to erupt. But it eventually reveals its true background in the ' Finale,' the background. in a sense, of Bruckner's life- work, a contemplative magnificence of mind beyond the battle. This Finale is not so much a victory over tribulation as a statethathadtobefoundbehinditslowly and somewhat painfully uncovered by the ' Adagio.'
The slow uncovering of hidden magnificence starts right at the very beginning. Bruckner was nothing if not a master of Steigerung, a German
term whose connotations include intensification gradual increase in pitch, dynamics, harmonic activity, and/or tempo.Bruckner'sthemesaresimpleand relatively unremarkable in themselves: short scales and other melodic fragments that usually don't add up to full-fledged Qassical periodic structures. Yet t hey are particularly susceptible to treatment by Steigerung, as in the first movement of the Eighth, where the music goes from pianissimo to fortissimo so gradually that the change is almost imperceptible. Thesametechniqueisalsousedinthe opposite direction, so that our first impression of the movement's form is a series of mighty surges alternating with moments of relaxation a kind of musical ebb and flow on a monumental scale. That is just the first impression hO'N'ever; the movement in fact observes traditional sonata form. with exposition. development, and recapitulation, although it is hard to say exactly where the recapitulation begins. That moment is concealed behind one of Bruckner's most dramatic transitions, in t he course ofwhichhepresentsbothmainthemes of the movement simultaneously in triple forte, and then repeats this statement two more times, each time raising the pitch by a third.What a contrast, after this tremendous climax, to hear a single flute accompanied by a soft timpani roll. The rest of the orchestra gradually joins in, and when we finally hear the second theme played by the strings, we realize that we have been in the recapitulation forsometime.Butinthisreprisenothing is repeated literally.The exposition is only hinted at (and strongly abridged~ rather than brought back unchanged.
The ending of the first movement was completely rewritten in 1890. Originallytherewasapowerfulfortissimo coda, which Bruckner discarded., and
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•Co.L Gabbay. Auditors
FOR OPUS 3 ARTISTS DwidV.Foster,President6 CEO Earl Blackt:urn. Senkr Vu:e President,
Alex Ziv,Financt'Moncger YaelYardeni-Sela.Mork~Moroger
ShoshEIad, Assistnnt~ RacheliMizrachi. Treasurer Irit RlIb.K1!Ij'l~eDirectting
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Racheli..e>'y, FUIjic Liaison
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C.P.E. Bach J.c. Bach
and Basso Continuo, WQ. 182 Concerto in E-Flat MajorforOboe. Strire>. and Basso Continuo. WQ. 185 5ymphonyin e minor Op. 6 . No.6 for 5trires. Two Oboes. Tv.o Horns.and Basso Continuo
MEDIA PARTNER WGTE91.3FM
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Sara Bit1Ioch, Violin Donald Grant, Violin Martin Saving, Viola Marie Bitlloch, Cello
Tuesday Evening, March 18, 2014 at 7:30 Rackham Auditorium' Ann Arbor
60th Performance of the 135th Annual Season 51st Annual Chamber Arts Series Photo; Etias String Quartet; photogr3pher; Benia.min E31ovega.
,• , PROGRAM
Claude Debussy
String Quartet in g minor, Op. 10
Anime et tres decide Assez vif et bien rythme Andantino doucement expressif Tres modere - Tres mOLNemente et avec passion
Gyorgy Kurt6g Officium Breve in Memoriam Andreae Szervanszky, Op. 28
1. Largo 2. Piuandante 3. Sostenuto, quasi giusto 4. Grave, malta sostenuto; quasi doppio piu lento, calando alfine 5. Presto 6. Motto agitato (canon a 4) 7. Sehr Riessend (canon a 2) (free, after last fT'IO.IeITIentof Webem's Cortela No. 2, cp. 31) 8. Lento
•o 9.Largo " 10. Sehr Riessend
• lOa. A tempo (10. Da capo at fine) ~
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12. Sostenuto, quasi giusto 13. Sostenuto, con slado 14. Disperato, vivo 15. Larghetto
I N T E R M I SS I O N Ludwig van Beethoven
String Quartet NO.8 in e minor, Op. 59, No.2
Allegro Malta adagio Allegretto Presto
Media partnership provided by WGTE 91.3 FM. The Elias Strins Quartet appedI'S by arTdnsement with David Rowe Artists.
NOW THAT YOU'RE IN YOUR SEAT... •m •"m
In t he beginning. the string quartet was very much a Viennese genre. Despite the very •mZ
significant efforts of composers like Luigi Boccherirti, Joseph Haydn was essentially unchallenged as the father of the genre.Together with Mozart and Beethoven. he was largely responsible for making the quartet a central art form of the classical and romantic eras. I t took a long time for the quartet to become truly international: when Debussy wrote his great string quartet in 1893, there were very few precedents to speak of in France.Not until the 20th century did composers around theworld embrace quartet composition; when that happened the genre became stylistically diverse like neverbefore,yetwhatneverchangedwastheBeethoveniannotionthatthequartethad to express emotions in an extremely pure and highly condensed form manifested itself inmyriadnewways.Tothisday,thestringquartethasaveryspecialaesthetic.achieving seriousnessandtranscendencethroughfinelynuancedpart-writingandatightmusical structure.Tonight's program demonstrates the incredible diversity ofwhich the string quartet has become capable during its history which nOV{ spans over 250 years.
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StringQuartetingminor,Op.10 (1893)
Oaude Debussy BomAugust 22, 1862 in Saint-Germain-en
Laye, France Died March 25. 1918in Paris
UMSpremiere: Lener StringQuartet December 1929inHill Auditoriwn
SNAPSHOTS OF HISTORY .IN 1893: • Notable m.JSka1 premieres: D;ooi;ik's "New World" Symphony, Tchai:oysky's Sixth Symphony, Verdi's
Fd> dssolved b'i Nap:iloon • The Lewi"l and CIclassiccomedy JhQ
Brokm}", • The great poet Friedrich HoIder~n suffers a mental
breakdown that wiU force him to spend the next J1 §
years in confinement z ~ m
Prince Andrey Razumovsky,the Russian " " 0
Ambassador in Vienna and the Princes • lichnowsky and Lobkowitz. two Viennese aristocrats to whom he was related by marriage, together received the dedications of more t han a dozen major works by Beethoven. One might almost
say that their kdan" underwrote a great part of what later became known as Beethoven'sl1eroic" or middle period.
The three quartets of Op. 59, known as the "Razumovsky" quartets, were written shortly after the Third Symphony (kEroica") and the f-minor Piano Sonata (kAppassionata"). In those works. Beethoven made a bold leap into the future: music had never expressed such intense emotions before, nor had the formal conventions of music been changed so radically in such a short time. With Op. 59, Beethoven extended his musical revolution to the quartet medium. producing three masteIWorks after which
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the genre was never the same again One of t he most striking features of Beethoven's "heroic"style is a reduction of thethematicmaterialtoasmallnumberof motifsandanexpansionofthetechniques that serve to develop t hose motifs. The most extreme example is probably t he first movement of t he Fifth Symphony, with its famous four-note theme, but the opening of t he e-minor quartet is equally striking. Beethoven begins suspensefully with a pair of chords. follOW"ed by a short phrase. which is punctuated by rests and repeated a half-step higher, immediately calling the e-minor tonality into question Eventually, continuity is restored but t he form remains rather fragmented reflecting an agitated state of mind. We hear many insistent syncopated rhythms and rapid passages in unison or parallel motion. in dramatic contrast with the occasional gentler moments. In associating minor mode with emotional turbulence, Beethoven followed the tradition of Haydn and Mozart, t hough his radically new way of writing gave this
NAllegro· a very special edge . It was not for nothing that Beethoven
inscribed t he second movement "Molto adagio· with the words N$i tratto questo pezzo con molto sentiment" ("This piece must be played with much feeling").Here is one oHris great hymn-like slOW" movements. with the quiet majesty of the later "Emperor· Concerto and Ninth Symphony - yet entirely within the intimate world of chamber music The melody is emiched by chromatic harmonies and surrounded by complex figurations. Then. at the end of the movement all embellislunents are stripped away and the melody is stated by the four instruments in bold fortiss1mo chords. with harsh harmonies and strong accents - before t he gentle closing measures end the movementinanidyllicmood.
Beethoven refrained from calling t he third movement a Nscherzo: and
surely the first section of the movement is too serious to qualify as a Mjoke: Yet its syncopated motion and sudden dynamic and harmonic changes are definitely scheno-likefeatures.Thehighpointofthe movement hO'Never, is the second section (which elsewhere would be called a Ntrio1. In honor of his dedicatee, Beethoven inserted a Russian theme here (marked theme russe in the score).The source of the theme was the influential folk song collection published by Nikolai Lvov and Ivan Prach in 1790.(Thismelody,"To the RedSUl\ Gloryr'was. famously, used again by Mussorgsky in the coronation scene of Boris Godunov.) Beethoven had the four instruments take turns in repeated this melody identically over and over again. against a faster-moving counterpoint that also makes its rounds among the four players. As in several other Beethoven works, the usual A-B-A scheme of the scherzo is expanded to A-B-A-B-A, with the theme russe section appearing twice and the opening section three times.
The finale is a galloping sonata rondo where Beethoven constantly plays games with our (possibly unconscious) tonal expectations. Seemingly reluctant to establish the home key of e minor, he keeps the first few measures in C Major before making a sudden shift just before the end of t he phrase. (The last movement of the Fourth Piano Concerto, Op. 58, written around the same time, uses a similar strategy.)The rhythmic momentum never flags, though the galloping pulse is temporarily replaced by quieter motion in the lyrical second theme. Yet t he main theme never stays away for very long; and as if the initial NPresto· tempo weren't fast enough, Beethoven demands Piu presto (Nfaster·) forthe final measures.
Progromnotes by PeterLoki.
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•~ ,80QJartetwaschooen as"Best Recording" on BOC Radio 3'sBuilding a Library in September 2009.They have also releasedadiscofFrenchharpmusicwith harpist Sandrine Chatron for the French label Ambroisie and Goehr'sPiono Quintet with Daniel Becker for Meridian Records. In addition. they made a recording of Britten quartets,releasedbySonimage.
UMS welcomes the EliasString Quartet as they make their UMSdebut this evening.
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BRAHMS'S GERMAN REQUIEM
UMSChoral Union Ann Arbor Symphc:lnf Orchestra Jerry Blackstone, conductor Nadine Sierra, soprano John Relyea, bass
Friday,April4. 8 pm Hin Auditorium
The UMS Choral Union and Ann NbJr Symphony Orchestra perform this momentous wort
This concert features three songs by Respighi. all originally composed for mezzo-soprano and piano. The first. -0 faicediluna' {Owaningcrescentmoon)isa setting of a p:>em byGabriele D"Annunzia. published in 1909 as the first of Respighi's
Sei Uriche (Six Lyric Fberns). The second song. "Nebbie' {Mistsl was the product of an unusual creative process.One morning in the t hroes of depression. Respighi composed a short piano work. Later that day, one of Respighi's friends gave him abookofpoemsbyAdaNegri.Respighi immediately realized that his piano work
was (without changing a single note) a perfect musical setting of Negri's "Mists.' The final song. 'Notte' (Night). also to a poem by Negri. was published in 1912. partofthesecondseriesofSeiUriche.
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>r>d«h" _ _ _ _ rtugaJ. Belgium France. andGermany.
Since t he death of the world famous Nusrat Fateh Ali Khan in 1997, there have been many contenders to inherit his place as "Emperor of Qaw.va.li" There is no doubt nOV{ that Asif Ali Khan has emerged as the one of the genre's reining princes. While remaining hue to the Punjabi tradition that was Nusrat's hallmark. he has developed a style and presence all of hisO'Nl"L
Asif Ali Khan's tour is organized by ROBERT BROWNING ASSOCIATES. Robert Browningwas the co-founcler of the Alternative Museum and the World Music Institute in New York. Under his direction these two organizations presented more t han 1,800 concerts and US-organized tours by some of the most influential artists from Asia the Middle East, and Europe, including Nusrat Fateh Ali Khan. Masters of Persian Music and The Gypsy Caravan. For more information plea:!eWjt www.robertbrovmingassociates.com
VMS welcomes AsifAli Khan and the Asif Ali Khan Qawwali Ensemble os they make their VMS debuts this evening.
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