Press enter after choosing selection

UMS Concert Program, March 18, 1952: Seventy-third Annual Choral Union Concert Series -- The Robert Shaw Chorale And Concert Orchestra

UMS Concert Program, March 18, 1952: Seventy-third Annual Choral Union Concert Series -- The Robert Shaw Chorale And Concert Orchestra image UMS Concert Program, March 18, 1952: Seventy-third Annual Choral Union Concert Series -- The Robert Shaw Chorale And Concert Orchestra image UMS Concert Program, March 18, 1952: Seventy-third Annual Choral Union Concert Series -- The Robert Shaw Chorale And Concert Orchestra image UMS Concert Program, March 18, 1952: Seventy-third Annual Choral Union Concert Series -- The Robert Shaw Chorale And Concert Orchestra image
Day
18
Month
March
Year
1952
Download PDF
Rights Held By
University Musical Society
OCR Text

Season: 1951-1952
Concert: Ninth
Complete Series: 3077
Hill Auditorium, Ann Arbor, Michigan

UNIVERSITY MUSICAL SOCIETY
CHARLES A. SINK, PRESIDENT THOR JOHNSON, GUEST CONDUCTOR
LESTER MC COY, ASSOCIATE CONDUCTOR
Ninth Concert 1951-1952 Complete Series 3077
Seventy-third Annual
Choral Union Concert Series
THE ROBERT SHAW CHORALE
and CONCERT ORCHESTRA
ROBERT SHAW, Conductor
Tuesday Evening, March 18, 1952, at 8:30 Hill Auditorium, Ann Arbor, Michigan
PROGRAM
Requiem Mass in D minor (K. 626)......Mozart
Introit and Kyrie
Dies Irae
Offertory
Sanctus
Benedictus
Agnus Dei and Communion
INTERMISSION
?Liebeslieder Waltzer, Op. 52, Nos. 8-16.....Brahms
Trois chansons............Ravel
Nicolette
Trois beaux obeaux du Paradis
Ronde (Roundelay)
Excerpts from Porgy and Bess.......Gershwin
"It Ain't Necessarily so"
Lament for Brother Robbins, "Gone, Gone, Gone"
Ernest Ulmer, Accompanist RCA Victor Red Seal Records
RUDOLF SERKIN, Pianist, will be heard on March 31 in the Choral Union Series.
ARS LONGA VITA BREVIS
PROGRAM NOTES
Requiem Mass in D Minor (K. 626) . Wolfgang Amadeus Mozart The muddled and tragic circumstances of the writing of the Requiem Mass are generally known: how, some five months before his death, Mozart was approached by an anonymous stranger who commissioned the composition of a requiem mass under conditions of absolute secrecy; how Mozart's urgent labor was interrupted by the practical necessity of writing and performing two operas--the second of them The Magic Flule; and how, broken in health he returned to the Requiem in full presentiment of his own death. The night in which he died he gave the score to his friend and pupil Sussmayer, who completed the work, filling the gaps, writing a Sanctus, Benedictus and Agnus Dei (whether or not from Mozart's sketches we do not know), and delivered it to the anonymous stranger. The stranger was agent and employee of Count Franz von Walsegg of Ruppach, who, upon receiving Mozart's work, re-copied it personally, and presented the first performance as his own com?position. Nearly ten years elapsed before the truth became known, and Sussmayer credited Mozart with the major portion of the score.
Fortunately, Sussmayer had the great good sense to conclude the work with material from the opening movement (completely Mozart's) and thus the work stands framed by Mozart's genius and spirit.
lnlroit and Kyrie
Requiem aeternam.............(Chorus)
"Rest eternal grant unto them, O Lord: and light perpetual shine upon them . .. Lord, have mercy upon us ..."
Dies Irae Dies irae, dies ilia................(Chorus)
"Day of wrath, day of grief--shall change the world to glowing ash ...
How great the quaking, when the judge shall come to weigh each human deed." Tuba mirum ..............(Quartet)
"The trumpet's mighty blast--shall summon the dead before the throne (Bass)
Death and Nature dazed, the dead shall arise from their graves
The book of Life shall be opened--each smallest act recorded (Tenor)
When the judge shall take his place... no act will remain unpunished (Alto)
What then shall I reply .. .when scarce the just man stands secure"
(Soprano and Quartet) Rex tremendae..............(Chorus)
"King of fearful majesty ... 0 save me, fount of mercy." Recordare................(Quartet
"Remember, loving Jesus--condemn me not...
Thou hast sought me ... redeemed me on the cross...
Grant the gift of sin's forgiveness ...
I groan with--with shame of sin...
Thou who pardoned Mary--and the robbers, giv'st also hope to me...
Though unworthy--grant Thy mercy--that I be not cast into the fire ...
Among Thy sheep grant me place--nor among the goats...
That I stand with those upon Thy right." Confutatis...............(Chorus)
"When the damned ... to piercing flame are sent... call me with the blessed.
I pray deeply bowed ... heart crushed ... consider Thou my ending." Lacrymosa...............(Chorus)
"Day of tears ... whereon shall rise from ash and dust the guilty to judgement...
Spare, O God, O Loving Saviour, these souls.. . and grant them rest."
Offertory
Domine Jesu Christe ........(Chorus and Quartet)
"Lord Jesus Christ, King of glory, deliver the souls of the faithful from the pains of hell... the bottomless pit... the lion's mouth ... that they fall not into darkness; but let Michael bring them into the holy light: which Thou did'st promise Abraham and his seed."
Hostias................(Chorus)
"We offer Thee, O Lord, this sacrifice of prayer and praise: do Thou receive it for the souls whose memory we recall... that they pass from death to life."
Sanctus
Sanctus................(Chorus)
"Holy ... Lord God of Hosts ... Heaven and earth are full of Thy glory Hosanna in the highest."
Benedictits
Bcnedictus...............(Quartet)
"Blessed is He who cometh in the name of the Lord." Agnus Dei and Communion
Agnus dei...............(Chorus)
"O Lamb of God, that takest away the sins of the world: Grant them eternal rest."
Lux aeterna
"Let eternal light shine on them, Lord with Thy saints forever, for Thou art holy."
Soloists will be selected for each performance from the following artists: Soprano: Evelyn Aring, Yvonne Ciannella, Louise Natale, Hallie Nowland Alto: Florence Kopleff, Doris Okerson Tenor: Walter Carrincer, Frank Karian, Richard Wright Bass: Ben DeLoacue, Raymond Keast, Peter Masavell
Liebeslieder Waltzer, Op. 52, Nos. 8-16 . . . Johannes Brahms
Wenn so lind dein Auge mir (When your eyes are bright and kind)
Am Donaustrande (On the Danube's Bank)
O wie sanft die Quellc sich (How Softly the Spring Winds through the Meadow)
Nein, es ist nicht auszukommen mit den Leuten (No! There is no Bearing with
Spiteful Neighbors)
Schlosser, auf! Und mache Schlosser (Locksmith, Up and Fashion Padlocks) Vogelein durchrauscht die Luft (A Bird Wings through the Air) Sieh, wie ist die Welle klar (See, How Clear the Wave) Nachtigall, sie singt so schon (The Nightingale, She Sings so Sweetly) Ein dunkeler Schacht ist Liebe (Beware ye of love, a gloomy and perilous pitfall)
These waltzes, among the first of Brahms' compositions to bring him fame, were composed in 1868, at the same time as the Deutsches Requiem. Influenced by a stay in Vienna, Brahms wrote in a light folk-song fashion, so successfully that the songs were immediately performed all over Europe.
Trois Chansons .... Words and Music by Maurice Ravel
These three delightful "fables" for unaccompanied chorus are the only works which the distinctive and imaginative French composer ventured for this instrument; yet they show the same sure skill, instinct for color, and charm which characterize his orchestral writing.
Soloists will be selected from the following artists:
Soprano: Mar jean Moore, Louise Natale
Alto: Lucille David, Doris Onerson
Baritone: Ben DeLoache, Raymond Keast
Excerpts from Porgy and Bess.....George Gershwin
Porgy and Bess, first produced by the Theater Guild in 1935, two years before Gershwin's tragic death, stands as a landmark in the field of American opera. Certainly no American musical drama has received such national and international acclaim--or so many performances. Stemming directly from the Negro spiritual and the early "jazz" heat, and nurtured in Tin Pan Alley, Gershwin's language by who-knows-what genius escaped the patent commercial mediocrity of Broadway, and the unctuous dilettantism of Broadway-and-39th. Full of harmonic and rhythmic devices that by now should be cliches, but aren't, it stands an honest, integrated, and extremely moving work, with words, music, and a story which seems always to have been a part of our national folk-lore.
"It Ain't Necessarily So"
Soloist--Raymond Keast, Thomas Pyxe Lament for Brother Robbins, "Gone, Gone, Gone" Soloists in order of appearance:
Yvonne Ciannella, Soprano Hallie Nowland, Bess
Raymond Keast, Jake Daniel Slick, Peter
Evelyn McGarrity, Serena Peter Maravell, Porgy
Florence Kopleff, Maria Ben DeLoache, Undertaker
ELEANOR STEBER
STAR OF OPERA --CONCERT --RADIO--TELEVISION
soloist at FIRST FESTIVAL CONCERT
EUGENE ORMANDY, Conductor
ARIAS FROM ORCHESTRA
MOZART NICOLAI SWANSON ROUSSEL
KORNGOLD STRAUSS RAVEL
DAMNATION OF FAUST
By HECTOR BERLIOZ
SECOND FESTIVAL CONCERT
PATRICIA NEWAY GEORGE LONDON
SET SVANHOLM PHILIP DUEY
THOR JOHNSON, Conductor
SATURDAY, 2:30 P.M. SUNDAY, 2:30 P.M.
MILSTEIN NOVAES
YOUTH CHORUS HARRELL
HILSBERG, Conductor I(.UU(AU _
JOHNSON, Conductor
SATURDAY, 8:30 P.M. -------"-------
ASTRID VARNAY SUNDAY, 8:30 P.M.
SET SVANHOLM PATRICE MUNSEL
ORMANDY, Conductor ORMANDY, Conductor
TICKETS -$2.50 -$2.00 -$1.50 AT BURTON MEMORIAL TOWER

Download PDF