UMS Concert Program, May 20, 21, 22, 23 1925: The Thirty-second Annual May Festival -- Earl V. Moore

Season: 1924-1925
Concert: TWELFTH
Complete Series: CCCCXXXI
Hill Auditorium Ann Arbor, Michigan

thirty Second Annual
estival
University of Michigan
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Thirty-Second Annual
SMay festival
University of Michigan
20, 21, 22, 23 1925
ill cMuditorium
, Michigan
UNIVERSITY MUSICAL SOCIETY
Board of Directors
EARL V. MOORE, A.M., Musical Director
FRANCIS W. KELSEY, Ph.D., LL.D.......President
HARRY B. HUTCHINS, LL.D.......Vice-President
DURAND W. SPRINGER, A.M. . . . . . . Secretary
LEVI D. WINES, C.E........ . Treasurer
C. FRANK ALLMENDINGER, C.E.
JUNIUS E. BEAL, A.B. ?MARION UROY BURTON, Ph.D., LL.D.
JAMES INGLIS
HORACE G. PRETTYMAN, A.B.
SHIRLEY W. SMITH, A.M.
ALBERT A. STANLEY, A.M., Mus.D. JAMES H. WADE
CHARLES A. SINK, A.B Business Manager
?Deceased.
THE UNIVERSITY MUSICAL SOCIETY is organized under an Act of the State of Michigan providing for the incorporation of "Associations not for pecuniary profit." Its purpose is "to cultivate the public taste for music." All fees are placed at the lowest possible point compatible with sound business principles, the financial side serving but as a means to an educatonal and artistic end, a fact duly recognized by the Treasury Department of the United States by exempting from War-tax admis­sions to concerts given under its auspices, and by the United States Post Office Department in admitting its publications to second-class privileges.
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Illustrations
Frederick A. Stock ....
Earl V. Moore ....
Ossip Gabrilowitsch
Emily Stokes Hagar
Rhys Morgan .....
Charles Tittmann
Sergei Rachmaninoff
Joseph E. Maddy ....
Loretta Degnan ....
Lawrence Tibbett ....
Mischa Elman ....
Frances Peralta ....
Mario Chamlee ....
Amilcare Ponchielli
Stage Setting, Act I, "La Gioconda"
Augusta Lenska . .
Stage Setting, Act II, "La Gioconda"
Kathryn Meisle ....
Stage Setting, Act III, "LaGioconda"
Vicente Ballester
Stage Setting, Act IV, "La Gioconda"
Henri Scott ;
"Costerland" (Art Exhibit) ..
"Mayor of Turegans" (Art Exhibit)
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Frontispiece
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List of Concerts and Soloists
WEDNESDAY EVENING, MAY 20, 8:00 O'CLOCK
OPENING CONCERT
SOLOIST
Ossip Gabrilowitsch, Pianist
The Chicago Symphony Orchestra
Frederick Stock, Conductor
THURSDAY EVENING, MAY 21, 8:00 O'CLOCK
CHORAL CONCERT
"THE BELLS" and "B MINOR MASS" Rachmaninoff Bach
SOLOISTS
Emily Stokes Hagar, Soprano Rhys Morgan, Tenor
Charles Tittmann, Bass-Baritone
The University Choral Union The Chicago Symphony Orchestra
Earl V. Moore and Frederick Stock, Conductors
FRIDAY AFTERNOON, MAY 22, 2:30 O'CLOCK
CHILDREN'S CONCERT
SOLOIST
Loretta Degnan, Contralto Children's Festival Chorus Joseph E. Maddy, Conductor
FRIDAY EVENING, MAY 22, 8:00 O'CLOCK
MISCELLANEOUS CONCERT
SOLOIST
Lawrence TibbEtt, Baritone
The Chicago Symphony Orchestra
Frederick Stock, Conductor
SATURDAY AFTERNOON, MAY 23, 2:30 O'CLOCK
SYMPHONY CONCERT
SOLOIST
Mischa Elman, Violinist
The Chicago Symphony Orchestra
Frederick Stock, Conductor
SATURDAY EVENING, MAY 23, 8:OO O'CLOCK
GRAND OPERA CONCERT
"LA GIOCONDA" PonchiElli
SOLOISTS
Frances Peraixa, Soprano Augusta Lenska, Mezzo-Soprano Kathryn Meisle, Contralto The University Chorai, Union
Mario Chamlee, Tenor Vicente BallEster, Baritone Henri Scott, Bass
The Chicago Symphony Orchestra
Earl V. Moore, Conductor
IV
CHORAL UNION S E R I E S -1 92 4 1 92 5
FORTY-SIXTH SEASON
SEVENTH CONCERT
No. CCCCXXVI COMPLETE SERIES
First May Festival Concert
WEDNESDAY EVENING, MAY 20, 8:00 O'CLOCK
SOLOIST
Ossip Gabrilowitsch, Pianist The Chicago Symphony Orchestra--Mr. Frederick Stock, Conductor
PROGRAM
OVERTURE, 'Xeonore" No. 3 SYMPHONY No. 1, B flat, Op. 39
Andante un poco maestoso--allegro molto vivace; Larghetto;
Scherzo--molto vivace;
Allegro animato e grazioso
SYMPHONIC POEM, "Don Juan"
Intermission
CONCERTO for Pianoforte and Orchestra, B flat minor, Op. 23
Andante non troppo e molto maestoso--Allegro con spirito; Andantino semplice--Allegro vivace assai; Finale: Allegro con fuoco
Mr. Gabrilowitsch v
Beethoven Schumann
Strauss
TCHAIKOWSKY
CHORAL UNION S E R I E S--1 9 2 4 1 925
FORTY-SIXTH SEASON EIGHTH CONCERT
No. CCCCXXVII COMPLETE SERIES
Second May Festival Concert
THURSDAY EVENING, MAY 21, 8:00 O'CLOCK
SOLOISTS
Emily Stokes Hagar, Soprano Rhys Morgan, Tenor
Charles Tittmann, Bass Mabel Rhead, Pianist Palmer Christian, Organist
The University Choral Union--Earl V. Moore, Conductor The Chicago Symphony Orchestra--Mr. Frederick Stock, Conductor
PROGRAM
OVERTURE, "Night on a Bare Mountain" ----Moussorgsky "THE BELLS" --------Rachmaninoff
Poem by Edgar Allen Poe Soli, University Choral Union and Orchestra
1. The Silver Bells
Mr. Morgan and Chorus
2. The Golden Bells
Miss Hagar and Chorus
The Brazen Bells
Chorus The Mournful Bells
Mr. Tittmann and Chorus
Intermission SELECTIONS from "B minor Mass" ------Bach
Chorus, "Kyrie Eleison" Aria, "Quoniam Tu"
Mr. Tittmann Chorus, "Gratias agimus" Duet, "Domine Deus"
Miss Hagar and Mr. Morgan Chorus, "Qui Tollis"
Aria "Benedictus"
Mr. Morgan Choruses, Crucifixus" and
"Et Resurrexit" Aria, "Et In Spiritum'
Mr. Tittmann Chorus, "Sanctus"
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CHORAL UNION S E R I E S--1 92 4 1 925
FORTY-SIXTH SEASON NINTH CONCERT
No. CCCCXXVIII COMPLETE SERIES
Third May Festival Concert
FRIDAY AFTERNOON, MAY 22, 2:30 O'CLOCK
SOLOIST LORETTA DEGNAN
Children's Festival Chorus--Joseph E. Maddy, Conductor Mabel Ross Rhead and Anna Broene, Accompanists
PROGRAM
(a) THE HEAVENS PROCLAIM ------Beethoven
(b) GOODNIGHT, FAREWELL ------Kucken
High School Chorus
(a) GIA IL SOLE DAL GANGE -.....Scarlatti
(b) LUNGI DAL CARO BENE --------Secchi
LORETTA DEGNAN
(a) SPINNING CHORUS FROM "FLYING DUTCHMAN" WagnEb
(b) CALM IS THE NIGHT ......Bohm
Girls' Glee Club
ANGELUS FROM "SCENES PITTORESQUES" Massenet
Harp Ensemble '
ARIA, "AH! MON FILS" FROM "LE PROPHETE" Meyerbeer
Miss Degnan
(a) LAND SIGHTING ---------Grieg
(b) STARS OF THE SUMMER NIGHT ----Woodbury
Boys' Glee Club
SUPPLICATION ---------LaForge
DAWN IN THE DESERT -------ross
THE RAIN SONG --------Hahn
BOLERO . . . . . Arditi
Miss Degnan
SUITE, "ALICE IN WONDERLAND" -Alice on Her Way The White Rabbit In Wonderland
The Banquet of the Red Queen
Children's Festival Chorus vn
Edgar Stillman KellEy
CHORAL UNION SERIES--1924-1925
FORTY-SIXTH SEASON
TENTH CONCERT
No. CCCCXXIX COMPLETE SERIES
Fourth May Festival Concert
FRIDAY EVENING, MAY 22, 8:00 O'CLOCK SOLOIST
Lawrence Tibbett, Baritone The Chicago Symphony Orchestra--Mr. Frederick Stock, Conductor
PROGRAM
PRELUDE, Act III, "A Basso Porto" SYMPHONY, No. 3, F major, Op. 90
Allegro con brio; Andante;
Poco allegretto; Allegro
ARIA, "Eri Tu" from "The Masked Ball" Lawrence Tibbett
Intermission
ARIA, "Vision Fugitive" from "Herodiade" Mr. Tibbett
SUITE, "From Finland", Op. 24
"Spring Dreams"
"Minuet in Popular Style"
"Dance of the Falling Leaves" "Sleigh Ride"
ARIA, Ford's "Monologue" from "Falstaff" Mr. Tibbett
"ASCENT OF BRUNHILDE'S ROCK AND FINALE" from "SIEGFRIED" -----Spinei-li Brahms
Verdi
Massenet Pai,mgren
Verdi Wagner
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CHORAL UNION S E R I E S -1 92 4 1 92 5
FORTY-SIXTH SEASON
ELEVENTH CONCERT
No. CCCCXXX COMPLETE SERIES
Fifth May Festival Concert
SATURDAY AFTERNOON, MAY 23, 2:30 O'CLOCK
SOLOIST
Mischa Elman, Violinist The Chicago Symphony Orchestra--Mr. Frederick Stock, Conductor
PROGRAM
SUITE, No. 3, D major
Overture
Air
Gavottes I and II Bouree
Gigue
SYMPHONY, No. S, C minor
Allegro con brio;
Andante con moto;
Allegro; Allegro
Bach
Beethoven
Intermission
CONCERTO for Violin and Orchestra, D major
Allegro moderato;
Canzonetta--Andante;
Finale--Allegro vivacissimo
Mischa Elman
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TCHAIKOWSKY
CHORAL UNION S E R I E S -1 92 4 1 9 2 5
FORTY-SIXTH SEASON
TWELFTH CONCERT
No. CCCCXXXI COMPLETE SERIES
Sixth May Festival Concert
SATURDAY EVENING, MAY 23, 8:00 O'CLOCK
"LA GIOCONDA"
ponchielli An Opera in Four Acts
CAST
LA GIOCONDA .... LAURA . . .
LA CIECA.....
ENZO......
BARNABA ......
ALVISE......
ISEPO.......
MONK 1
ZUANE [ .....
TOWNSPEOPLE, SAILORS, ETC.
Frances Peraita
Augusta Lenska
Kathryn Meisle
Mario Chamlee
Vicente Ballester
Henri Scott
Frank Ryan, Jr.
Barre
University Choral Union
The Chicago Symphony Orchestra--Earl V. Moore, Conductor
SYNOPSIS
ACT I
(Grand Court of the Ducal Palace,
Venice)
Opening Chorus
Trio--Gioconda, la Cieca and Barnaba Scene and Tumult--Ensemble and
Chorus
Romanza, "Voce di donna"--la Cieca DuET--Enzo and Barnaba Soliloquy, "O monumento"--Barnaba Finale, Furlana and Prayer--Chorus
and Gioconda
ACT II
(Brigantine--Hecate--in a lagoon in an
uninhabited island) Barcarolle, "Pescator"--Barnaba and
Chorus
Marinesca--Chorus Romanza, "Cielo e Mar"--Enzo Duet--Laura and Gioconda Scene--Gioconda, Laura and Barnaba Finale II, Duet--Enzo, Gioconda and
Chorus
ACT III
Scene I. (A chamber in the palace of Alvise)
Aria, "Si morir"------Alvise
DuET--Alvise and Laura
Serenade--Chorus, Alvise, Gioconda, and Laura
Scene II. (Ball Room in the same palace)
Scene, Entry of the Cavaliers--Alvise
Ballet, "Dance of the Hours"--Orches­tra
Finale III--Ensemble.
ACT IV
(Vestibule of a ruined palace on the Orfano canal)
Aria, "Suicidio"--Gioconda
Scene and Trio--Gioconda, Laura and Enzo
Finale IV, Duet--Gioconda and Barn-aba
CHORAL UNION S E R I E S -1 92 4 1 925
Notices and Acknowledgments
All Concerts will begin on time (Eastern Standard time).
Trumpet calls from the stage will be sounded three minutes before the resumption of the program after the Intermission.
Our patrons are invited to inspect the Stearns Collection of Musical Instruments in the Foyer of the First Balcony and the adjoining room.
To study the evolution, it is only necessary to view the cases in their numerical order and remember that in the wall cases the evolution runs from right to left and from top to the bottom, while the standard cases should always be approached on the left-hand side. Descriptive Lists are attached to each case.
The Musical Director of the Festival desires to express his great obligation to Mr. Joseph E. Maddy, Supervisor of Music in the Ann Arbor Public Schools, for his valuable service as Conductor of the Children's Concert; to Miss Roxie Cowin, and Mrs. Mildred Woodhams of his staff, for their efficient preparatory work, and to the teachers in the various schools from which the children have been drawn, for their cooperation.
The writer of the Analyses hereby expresses his deep obligation to Dr. A. A. Stanley and Mr. Felix Borowski, whose scholarly analyses, given in the Program Books of the preceding May Festivals and of the Chicago Symphony Orchestra, respectively, are authoritative contributions to contemporary criticism.
The programs of the important concerts given during the present season under the auspices of the University Musical Society (with the exception of the May Festival Series) are given in the final pages of this publication.
INTERNATIONAL EXHIBITION OF PAINTINGS
Sixty paintings from eight different countries, including three prize winners of the Twenty-Third International Exhibit of the Carnegie Institution of Pittsburgh, may be seen at the exhibition of the Ann Arbor Art Association, in Alumni Memorial Hall, May 20th to May 24th, every afternoon from 1:30 to 5 :oo, Wednesday and Friday from 9:00 to 10:00, Thursday and Saturday from 9:00 to 12:00 A. M. Engravings of two of these paintings will be found in this book.
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Descriptive Programs
ANALYSES BY
EARL V. MOORE
COPYRIGHT
by the University Musical Society 1925
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FIRST CONCERT
Wednesday Evening, May 20
OVERTURE, "Leonore" No. 3............................Beethoven
Ludwig van Beethoven was born at Bonn, December 16, 1770; . died at Vienna, March 26, 1827.
Beethoven, the severe self critic of the exact import and effect of every note, phrase or composition he committed to paper, is nowhere more in evi­dence than in the statement that his single venture into the field of opera-"Leonore", or as later renamed "Fidelio"--necessitated the writing of four overtures before the proper musical prelude to the events of the succeeding drama was created.
As an indication of the extraordinary labor Beethoven bestowed on the opera and the strangely tentative manner in which he produced, Thayer, his biographer, notes that in the sketch book which contains the materials for this work,--a thick oblong volume of 346 pages 16 staves to the page--"there are no less than 18 different beginnings to Florestan's aria, and 10 to the chorus "Wer ein holdes Weib".
As first performed in Vienna, November 20; 1805, the opera was in three acts, and had as orchestral prelude the overture now known as "Leonore No. 2". Due partially to the unpropitious political situation--with the entry of the French under Napoleon on November 13th the Emperor of Austria and other wealthy patrons of music had deserted the city--and partly to the extreme length of the opera, and the "advanced character of the music," it did not achieve success and was withdrawn after three performances, and quite completely revised and reduced to two acts.
For this second version, performed in March, 1806, the overture "Leonore" No. 3 was written, which in turn was supplanted by the overture in E known as the "Fidelio" when in 1814 Beethoven again undertook a further revision of the opera. Fine as the other three overtures were, Beethoven, with his keen dramatic sense recognized that the contrast between
16 Official Program, Book
them and the simple unaffected atmosphere of the home with which the first act opens was too great. The "Leonore" No. 3 is genuinely symphonic in breadth and is more effective as the prelude to Act Two where it is usually played, when our sympathies are aroused and we look forward to the open­ing scene of this act with foreboding, yet with certainty of the final outcome. The Introduction {Adagio, C major 3-4 time) employs the same material as in the "Leonore," No. 2 but is differently presented. Attention is directed to the melody be­ginning in the 9th measure which is drawn from Florestan's aria referred to above. The main movement (Allegro, 2-2 time) presents a principal theme that Beethoven develops to a point of dramatic intensity, and a second theme reminiscent of the Flore-stan melody of the Introduction. The exposition draws to a close with a mighty up­ward sweep of a passage which is followed by a trumpet call over a prolonged B flat in the strings. Instead of a tumultuous Development Group, Beethoven shows restraint by employing a quiet melody for the woodwinds taken from the scene in the opera, in which the arrival of the Governor is announced. This material and the trumpet call is repeated, and the Recapitulation employs the same thematic materials as the Exposi­tion. A rushing passage for the strings, Presto, leads into a magnificent example of a coda built out of the material of the Main Theme.
SYMPHONY, No. 1, B flat, Op. 38........................Schumann
Andante un poco maestoso -Allegro molto vivace; Larghetto; Scherzo; Allegro animato e grazioso.
Robert (Alexander) Schumann was born at Zwickau, June 8, 1810; died at Endenich, near Bonn, July 29, 1856.
"I have during the last few days", Schumann wrote to Wenzel, his co-laborer on the Neue Zeitschrift fur Musik in Leipzig, "finished, in sketch at least, a labor which has filled me with joy, which has also almost exhausted me. Just think of it, a whole symphony, and, what is more, a spring sym­phony." The reference is to the B flat symphony, which was published in 1841 as his first, but which in reality had been preceeded by a work in this form in 1832-33. The latter composition was probably never performed in its entirety.
In the intervening years, Schumann had established himself as a critic and musical journalist by founding the Neue Zeitschrift fur Musik and as a composer by many compositions for the pianoforte and for solo voice. His music reflects both his kinship with, and understanding of the romanticism characteristic of the period, and his conflict with those untoward circum­stances which played such a role in the development of his personality and career.
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First Concert 17
The years immediately preceeding the writing of the symphony of this evening's program were full of joy, stress and storm; the love of Schumann and Clara Wieck is one of the most beautiful examples of perfect under­standing and accord, but they were made to experience the extremes of happi­ness and despair by the determined and persistent opposition to their marriage by her father, Herr Wieck, a pianoforte teacher of Leipzig who entertained highest hopes of a successful public career as a pianist for his daughter.
The effect of this conflict on his creative faculties is to be noted in a sentence from his letter to Becker dated Leipzig, December 11, 1839, in which after extolling the beauties of the Schubert Symphony in C major which he (Schumann) had recently discovered in Vienna and brought to performance in Leipzig, he lets us look into his heart life: "It made me tingle to be at work on a Symphony, too, and I believe something will come of it once I am happily married to Clara."
After recourse to the courts for permission, the wedding took place on September 12, 1840, and as far as anything human can be, the marriage was a happy one. He lived and wrote for his wife, and she in turn gave of her artistic resources that the world might know the beauties of his works. The year 1840 was given over to the writing of songs, well over a hundred dating from this period; and the next year, 1841, he turned his creative faculties into the orchestral field. Three symphonic works and the A minor pianoforte concerto were the product of his concentration on compositions in larger forms during those twelve months.
Schumann composed this B flat symphony at a period when its form 'and character were greatly affected by his own mood and external condi­tions. He wrote Spohr, that this work was conceived "in the vernal longing which influences men until they grow aged, an emotion that surprised them every year." The symphony was sketched as referred to above, in four days, January 23-26, 1841, and completed in all its details so that he played it on the piano at his house in Leipzig on February 14 for his wife and some inti­mate friends. A touch of sentiment is given by the statement of the master himself that the work was written with a steel pen which he had picked up as it lay on Schubert's grave at Vienna.
The first orchestral performance took place under the direction of Mendelssohn at Leipzig in the Gewandhaus, March 31, 1841. Schumann wrote of this event "How happy I was at the performance! I, and others also, for it had such a favorable reception as I think no symphony has had since Beethoven."
18 Official Program Book
I. Introduction {Andante un poco maestoso, B flat, common time). The opening phrase, given out by horns and trumpets repeated by full orchestra, and developed through thirty-eight measures, is, according to the composer's "program", a summons from on high to which "the gentle zephyrs flowing softly too and fro respond." "Every where the dormant forces of Nature awake and make their way to the light."
Main Movement. {Allegro molto vivace, B flat, 2-4 time). The material of the first theme
is drawn from the opening phrase of the Introduction: "the Spring comes laughing in, in the full beauty of youth." The theme, full of vivacity, buoyancy and fervor, is de­veloped for some thirty measures in which the rhythmic pattern serves as the unifying element. The second subject appears in the clarinets and bassoons, and is contrasting in mood:
... Clarinets.
Bassoons, i. i.
The usual demands of the Sonata Allegro design are complied with after the above themes have been put forth. The Development section makes use of the first eight notes of the first theme, together with some new material for purposes of contrast. The Recapitulation begins more like the Introduction than the Allegro and by modified repe­tition reinforces the beauty and content of the melodic, harmonic and rhythmic material of the Exposition. New material is brought forward in an effective Coda.
II. This movement (Larghetto, E flat, 3-8 time), one of Schumann's most genial creations, romantic in spirit but tempered by a classic reserve, consists in varied treat­ments of this theme, first sung by the violins, and later in turn by violoncellos, the oboe and horn, with increasingly more elaborate accompaniment.
First Concert 19
At the close, the trombones sound a solemn phrase, foreshadowing the first theme of the Scherzo, into which the music leads without pause.
III. The Scherzo (Molto vivace, G minor, 3-4 time) has as its principal theme, SCHERZO. Molto vivace. Â