UMS Concert Program, May 18, 19, 20, 21, 1927: The Thirty-fourth Annual May Festival -- Earl V. Moore

Season: 1926-1927
Concert: TWELFTH
Complete Series: CCCCLXVI
Hill Auditorium Ann Arbor, Michigan

thirty fourth Annual
ity of Michigan
1927
cvn vcnm
xcvbjh
cvjbvcnbnj
[OFFICIAL]
Thirty-Fourtfy Annual
MAY FESTIVAL
University of Michigan
May 18, 19, 20, 21 1927
Hill Auditorium Ann Arbor, 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, B.S. .....Secretary
LEVI D. WINES, C.E. --------Treasurer
G. FRANK ALLMENDINGER, C.E. JUNIUS E. BEAL, A.B. OSCAR EBERBACH, A.B. JAMES INGLIS CLARENCE C. LITTLE, Sc.D. HORACE G. PRETTYMAN, A.B. SHIRLEY W. SMITH, A.M. ALBERT A. STANLEY, A.M., Mus.D.
CHARLES A. SINK, A.B., Secretary and 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 educational 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.
PAGE TWO]
List of Concerts and Soloists
WEDNESDAY EVENING, MAY 18, 8:00 O'CLOCK
OPENING CONCERT
SOLOIST
Ernestine Schumann-Heink, Contralto
The University Choral Union The Chicago Symphony Orchestra
Frederick Stock and Howard Hanson (Guest) Conductors
THURSDAY EVENING, MAY 19, S:00 O'CLOCK
CHORAL CONCERT
SOLOISTS Betsy Lane Shepard, Soprano Arthur Hackett-Granville, Tenor
Elsie Baker, Contralto William Simmons, Bass
The University Choral Union The Chicago Symphony Orchestra
Frederick Stock and Earl V. Moore, Conductors
FRIDAY AFTERNOON, MAY 20, 2:30 O'CLOCK
CHILDREN'S CONCERT
SOLOIST Lea Luboshutz, Violinist
The Children's Festival Chorus, Orchestral Accompaniment Frederick Stock and Joseph E. Maddy, Conductors
FRIDAY EVENING, MAY 20, 8:00 O'CLOCK
MISCELLANEOUS CONCERT
SOLOIST
Rosa PonsellE, Soprano
The University Choral Union The Chicago Symphony Orchestra
Frederick Stock, Felix Borowski (Guest), and Earl V. Moore, Conductors
SATURDAY AFTERNOON, MAY 21, 2:30 O'CLOCK
SYMPHONY CONCERT
SOLOIST
Ernest Hutcheson, Pianist
The Chicago Symphony Orchestra
Frederick Stock, Conductor
SATURDAY EVENING, MAY 21, 8:00 O'CLOCK
GRAND OPERA CONCERT
"CARMEN"
Bizet soloists
Lois Johnston, Soprano Lawrence Tibbett, Baritone
Sophie Braslau, Contralto James Wolfe, Bass
Armand Tokatyan, Tenor The University Choral Union
The Chicago Symphony Orchestra Earl V. Moore, Conductor
[PAGE THREE
CHORAL UNION SERIES--1926-1927
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; and to the several members 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 co-operation.
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 and have been drawn upon for some of the analysis in this book.
The Ann Arbor Art Association invites the May Festival guests to an Exhibition of Paintings by Contemporary American Artists in the West Gallery, Alumni Memorial Hall. A selected group of canvasses from the Thirty-ninth Annual American Exhibi­tion at the Art Institute of Chicago (November, 1926), will be shown every afternoon and Thursday and Saturday mornings during May Festival Week.
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.
PAGE FOUR]
CHORAL UNION SERIES--1926-1927
FORTY-EIGHTH SEASON SEVENTH CONCERT
NO. CCCCLXI COMPLETE SERIES
First May Festival Concert
WEDNESDAY EVENING, MAY IS, 8:00 O'CLOCK
SOLOIST
Mme. Ernestine Schumann-Heink, Contralto
The Chicago Symphony Orchestra The University Choral Union
Frederick Stock and Howard Hanson (Guest), Conductors
Mrs. Josefin Hartman Vollmer, Accompanist
PROGRAM
OVERTURE in D..........................................................Handel
"Erda's Warning," Act III "Rheingold" .....................................Wagner
"Waltraute's Narrative' Act I "Gotterdammerung" ..........................Wagner
Ernestine Schumann-Heink
SYMPHONY, No. 7 in A major ........................................Beethoven
Poco sostenuto-Vivace; Allegretto; Presto; Allegro con brio.
Intermission
"Heroic Elegy". ............................................................Hanson
University Choral Union (Conducted by the Composer)
SYMPHONIC POEM, "On the Moldau" ..................................Smciana
SONGS: (a) Der Wanderer .............................................Schubert
(b) Wohiii ....................................................Schubert
(c) Die Junge Nonne ...........................................Schubert
(d) Wiegenlied .................................................Brahms
Ernestine Schumann-Heink
FINALE FROM SYMPHONY No. 4 ...............................Tschaikowsky
The piano used is a Steinway
[PAGE FIVE
CHORAL UNION SERIES--1926-1927
FORTY-EIGHTH SEASON EIGHTH CONCERT
NO. CCCCLXII
Second May Festival Concert
THURSDAY EVENING, MAY ID, 8:00 O'CLOCK
SOLOISTS Betsy Lane Shepard, Soprano
Elsie Baker, Contralto
Arthur HackETT-GranvillE, Tenor
William Simmons, Bass
The University Choral Union The Chicago Symphony Orchestra
Mr. Frederick Stock and Earl V. Moore, Conductors
Mr. Palmer Christian, Organist
BEETHOVEN CENTENARY PROGRAM OVERTURE, "Leonore," Op. 72, No. 3...................................Beethoven
QUARTET, "Mir ist so wunderbar," from "Fidelio".......................Beethoven
Quartet
MISSA SOLEMNIS in D, Op. 123.......................................Beethoven
Quartet, Chorus, Organ and Orchestra
I. KYRIE
II. GLORIA
Gratias Agimus Qui Tollis Quoniam
Intermission
III. CREDO IV. SANCTUS
Osanna Et Incarnatus Bencdictus
Crucifixus y_ AGNUS DEI
Et Resurrexit Dona Nobis
PAGE SIX]
CHORAL UNION SERIES--1926-1927
FORTY-EIGHTH SEASON NINTH CONCERT
NO. CCCCLXIII COMPLETE SERIES
Third May Festival Concert
FRIDAY AFTERNOON, MAY 20, 2:30 O'CLOCK
SOLOISTS Lea LuboshuTz, Violinist
Barre Hm, Baritone
Elizabeth Davies, Ethel Hauser and Dalies Frantz, Pianists
Children's Festival Chorus Orchestral Accompaniment
Frederick Stock and Joseph E. Maddy, Conductors
Charges Frederick Morse, Accompanist
PROGRAM
OVERTURE, "The Secret of Susanne" ..............................Wolf Ferrari
ADAGIO and FINALE from Concerto in G Minor for Violin and Orchestra___Bruch
Lea Luboshutz
CANTATA, "The Voyage of Arion" ........................................Moore
Barre Hill, and Children's Festival Chorus
Intermission
SUITE, "Children's Games"..................................................Bizet
March, Cradle Song; Impromptu; Duet; Galop.
SOLOS for Violin:
(a) Praeludium et Allegro ............................Pugnani-Kreisler
(b) Melody .....................................................Gluck
(c) Rondo ....................................................Mozart
(d) Waltz in A major .........................................Brahms
Lea Luboshutz
SICILANO and FINALE from Concerto in D Minor for Three Pianos and Orch. Bach
Elizabeth Davies, Ethel Hauser, Dalies Frantz
The Pianos used are Stcinway
[PAGE SEVEN
CHORAL UNION SERIES--1926-1927
FORTY-EIGHTH SEASON ' TENTH CONCERT
NO. CCCCLXIV COMPLETE SERIES
Fourth May Festival Concert
FRIDAY EVENING, MAY 20, 8:00 O'CLOCK
SOLOIST
Rosa PonsellE, Soprano
The University Choral Union The Chicago Symphony Orchestra
Frederick Stock, Felix Borowski (Guest) and Earl V. Moore, Conductors
Stuart Ross, Accompanist
PROGRAM
FANTASIE--OVERTURE, "Youth" ....................................Borowski
(Conducted by the Composer)
ARIA, "Ernani involami," from "Ernani".....................................Verdi
Rosa PonsellE
"ODE on a Grecian Urn," from First Choral Symphony........................Hoist
SCHERZO--"Fancy" and "Folly's Song," from First Choral Symphony.........Hoist
University Choral Union (First performance in America)
ARIA, "Pace, pace, Mio Dio," from "La Forza del Destino"....................Verdi
Rosa PonsellE
Intermission
SUITE, "Through the Looking Glass" .......................................Taylor
Dedication; The Garden of Live Flowers; Jabberwocky; Looking Glass Insects; The White Knight.
SONGS:-(a) Wings of Night................................................Watts
(b) Eros ...........................................................Grieg
(c) Lullaby .........................................................Scott
(d) Piper of Love .................................................Carew
Rosa PonsellE
"SCENES DE BALLET" ..............................................Glasounoff
Preambule; Marionettes, Scherzino; Pas d'Action; Valse; Polonaise
The Piano used is a Knabe
PAGE EIGHT]
CHORAL UNION SERIES--1926-1927
FORTY-EIGHTH SEASON ELEVENTH CONCERT
NO. CCCCLXV COMPLETE SERIES
Fifth May Festival Concert
SATURDAY AFTERNOON, MAY 21, 2:30 O'CLOCK
SOLOIST Ernest Hutcheson, Pianist
The Chicago Symphony Orchestra Frederick Stock, Conductor
PROGRAM
SYMPHONY, No. 10, C Major ..........................................Schubert
Andante--Allego ma non troppo; Andante con moto; Scherzo; Finale
FANTASY for ORCHESTRA, "Victory Ball"............................Schelling
Intermission
CONCERTO for Pianoforte and Orchestra, No. 5, E Flat Major...........Beethoven
Allegro; Adagio un poco moto-Rondo
Ernest Hutcheson The Piano used is a Steinivay
[PAGE NINE
CHORAL UNION SERIES--1926-1927
FORTY-EIGHTH SEASON TWELFTH CONCERT
NO. CCCCLXVI COMPLETE SERIES
Sixth May Festival Concert
SATURDAY EVENING, MAY 21, 8:00 O'CLOCK
SOLOISTS Lois Johnston, Soprano Fredericka S. Huij,, Soprano
JEannette van der Vepen Reaume, Soprano
Sophie Braslau, Contralto Armand Tokatyan, Tenor
Royden Susumago, Tenor Ottis Patton, Tenor
Lawrence Tibbett, Baritone James Wolfe, Bass
The University Chorai, Union The Chicago Symphony Orchestra
Eari, V. Moore, Conductor
"CARMEN" an Opera in Four Acts ..........................................Bizet
CAST
Don Jose, Corporal of Dragoons .................................Armand Tokatyan
Escamillo, Toreador..............................................Lawrence Tibbett
Zuniga, Captain of Dragoons........................................1
Morales, Officer ...................................................} nes Wolfe
Carmen, A Gypsy Girl ..............................................Sophie Braslau
Micaela, A Village Maiden ...........................................Lois Johnston
Frasquita, Mercedes, Companions of Carmen ..............................
........................Predericka S. Hull, Jeannette van der Vepen-Reaume
El Dancairo, El Remendado ....................Odra Ottis Patton, Royden Susumago
Smugglers, Dragoons, Gypsies, Cigarette-girls, Street-boys, etc..............
...................................................University Choral Union
Chicago Symphony Orchestra, Mr. Earl V. Moore, Conductor
SYNOPSIS
Prelude
ACT I A Square in Seville.
Scene and Chorus. (Micaela, Morales, Chorus.)
Chorus of Street-Boys.
Chorus of Cigarette Girls. (Carmen.)
Habanera. (Carmen.)
Scene.
Duet. (Micaela, Don Jose.)
Chorus.
Song and Melodrama. (Carmen, Don Jose, Zuniga, Chorus.)
Seguidilla and Duet. (Carmen, Don Jose.)
Finale.
ACT II Lillas Pastia's Inn.
Gypsy Song. (Carmen, Frasquita, Mer­cedes.)
Chorus.
PAGE TEN]
Toreador Song. (Escamillo.)
Quintet. (Frasquita, Mercedes, Carmen,
El Remendado, El Dancairo.) Canzonetta. (Carmen, Don Jose.) Duet. (Carmen, Don Jose.) Finale.
Intermission Entr' Acte.
ACT III
A Wild Spot in the Mountains. Sextet and Chorus. Trio. (Carmen, Frasquita, Mercedes.) Morceau D'Ensemble. Air. (Micaela.) Duet. (Escamillo, Don Jose.) Finale. Entr' Acte.
ACT IV
A Square in Seville. March and Chorus.
Duet and Final Chorus. (Carmen, Don Jose.)
DESCRIPTIVE PROGRAMS
BY EARL V. MOORE
COPYRIGHT
by the University Musical Society 1927
bvmvbknm,
FIRST CONCERT
Wednesday Evening, May 18
OVERTURE in D ..........................................Handel
George Frederick Handel was born February 23, 1685, at Halle; died April 14, 1759 at London.
In Handel and Bach's time an Overture as a name for a composition did not have the definite connotation it has today, either as to purpose or to structure. To be sure some of Handel's operas and oratorios were preceded by instrumental music, but the piece so played had little relation to what was to follow and was not expressed in the more perfectly molded designs which Beethoven employed in his overtures, e. g. Leonore No. 3 with which the Second Festival program opens.
The Handelian overtures display great diversity of style and variety of treatment. The influence of the French type of overture developed by Lully is frequently encountered; the overture to the Messiah is cast in this style with a grave introduction strongly chordal, followed by an Allegro move­ment of a fugal nature, in which the horizontal motion of the themes con­trasts with the perpendicular tone relations of the introduction.
The overture with which this concert opens is an arrangement of two separate and distinct pieces by Handel, but selected and juxtaposed so as to be in keeping with the above mentioned plan. The arranger, Dr. Franz Wiillner, used for the slow, first section (Maestoso') the overture to the "Fireworks Music," a group of pieces originally written by Handel to accompany a pyrotechnical display in London in 1759 celebrating the peace of Aix-le-Chapelle. Performed in the open, only wind instruments were employed, later string parts were added to adapt the music to concert use. For the more brilliant second section (Allegro), Dr. Wiillner selected the middle section of a concerto for orchestra in D major. It is of especial interest to note that the theme of the Maestoso is also used by Handel in the first section of this and still one other concerto; thus the "arrangement" for the present program is not a welding of totally strange tonal ele­ments. The Allegro section was originally scored for two oboes, two bassoons, four horns, organ, kettledrums and strings.
"The scores of these pieces in their original form are to be found in the Complete Edition of Handel's Works, in the University Library.
[PAGE THIRTEEN
OFFICIAL PROGRAM
(a) "ERDA'S WARNING" from "Das Rheingold" .....................1 Â