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UMS Concert Program, October 21, 1956: Seventy-eighth Annual Choral Union Concert Series -- Berlin Philharmonic Orchestra

UMS Concert Program, October 21, 1956: Seventy-eighth Annual Choral Union Concert Series -- Berlin Philharmonic Orchestra image UMS Concert Program, October 21, 1956: Seventy-eighth Annual Choral Union Concert Series -- Berlin Philharmonic Orchestra image UMS Concert Program, October 21, 1956: Seventy-eighth Annual Choral Union Concert Series -- Berlin Philharmonic Orchestra image UMS Concert Program, October 21, 1956: Seventy-eighth Annual Choral Union Concert Series -- Berlin Philharmonic Orchestra image
Day
21
Month
October
Year
1956
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University Musical Society
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Season: 1956-1957
Concert: Third
Complete Series: 3193
Hill Auditorium, Ann Arbor, Michigan

UNIVERSITY MUSICAL SOCIETY
Charles A. Sink, President Thor Johnson, Guest Conductor Lester McCoy, Conductor
Ninth Concert
1956-1957
Complete Series 3206
Seventy-eighth Annual
Choral Union Concert Series
CINCINNATI SYMPHONY ORCHESTRA
Thor Johnson, Conductor
Soloist: Mayne Miller, Pianist
Tuesday Evening, February 26, 1957, at 8:30 Hill Auditorium, Ann Arbor, Michigan
PROGRAM
Suite from "Music for the Royal Fireworks" .
(edited by Thor Johnson) Overture Bourree La Paix
La Rejouissancc Menuetto
Concerto No. 4 in G major, Op. 58,
for Piano and Orchestra ....
Handel
Beethoven
Allegro moderato
Andante con moto Rondo--vivace
Soloist: Mayne Miller
INTERMISSION
Symphony No. 1 in F minor, Op. 10.....Shostakovich
Allegretto; allegro non troppo Allegro
Lento; largo
Allegro molto, lento; allegro molto
London jfrr and Remington Records.
THE CLEVELAND ORCHESTRA, George Szell, Conductor, will give the final concert in this season's Choral Union Series, Sunday, March 10, at 8:30.
A R S
L O N G A
VITA
B R E V I S
May Festival Concerts
SIX PERFORMANCES, May 2, 3, 4, and 5
SIX METROPOLITAN opera stars will participate in the May Festi?val in addition to other singers and instrumental soloists. From the Metropolitan will come RISE STEVENS, soprano; MARTHA UPTON, contralto; KURT BAUM, tenor; ROBERT MERRILL, baritone; ROBERT MCFERRIN, baritone; and NICOLA MOSCONA, bass. LEONTYNE PRICE, soprano; DONALD GRAMM, bass; JOSEPH SZIGETI, violinist; GINA BACHAUER and ALEXANDER BRAILOWSKY, pianists; and JOHN KRELL, piccolo; will also be heard.
THE PHILADELPHIA ORCHESTRA will take part in all six concerts. The UNIVERSITY CHORAL UNION will perform Verdi's monumental A'ida in concert form and Five Tudor Portraits by Vaughan Williams. The FESTIVAL YOUTH CHORUS will present Fletchers Walrus and the Carpenter, under the direction of GENEVA NELSON. EUGENE ORMANDY will conduct Thursday, Saturday, and Sunday evenings. THOR JOHNSON will conduct Friday evening and Sunday afternoon, and WILLIAM R. SMITH, Associate Conductor of the Philadelphia Orchestra, will conduct Saturday afternoon.
ALEXANDER BRAILOWSKY will be heard in an all-Beethoven program Thursday night. PRICE, UPTON, BAUM, MCFERRIN, and MOSCONA will be heard Friday evening in ATda. JOSEPH SZIGETI is the soloist Saturday afternoon. ROBERT MERRILL will make his Ann Arbor debut Saturday night. MARTHA LIPTON and DONALD GRAMM will be the soloists in Five Tudor Portraits Sunday afternoon, and GINA BACHAUER will also be heard in Brahms' second piano concerto. RISE STEVENS will be heard Sunday night.
A limited number of season tickets are available at $13.00, $10.00, $9.00, and $8.00 each. Beginning March 11, tickets for individual con?certs will be on sale at $3.50, $3.00, $2.50, $2.00, and $1.50 each, at the offices of the University Musical Society, Burton Memorial Tower.
utmost importance to the thorough comprehension of the entire work. Its name, "the theme of the dove," gives a very inadequate idea of its character for it is stated in broad notes by the most powerful choirs of the orchestra--the trombones and tuba. Its significance becomes clear only in the movements which follow.
The free, rhapsodic individuality of Honegger's material marks the entire second movement, "De profundis clamavi." These words from the Psalms recall the prayers of the damned from out of the depths. The upper voices of the orchestra are given support by a measured, solemn figure in the bass, one group of instruments following upon another in leading the progress of the movement. Toward the middle of this section appear lively, quick figures in syncopated rhythms--the song of woe becomes a fervent supplication. There are two cli?maxes--the first ebbs away to silence and the second is quickly subdued. At the same time, lightly suspended tones of the flute become audible and, after the second climax, broaden into a luminous cadenza. Here again the "theme of the dove," symbolic of the peace found with God, is presented in the grave, solemn tones of the trombones and tuba.
But peace has been only glimpsed and not yet won. Honegger interprets the motto of the third movement, "Dona nobis pacem," as did Beethoven in his Missa Solemnis--something which one must fight to obtain. A march, the brutal theme of which Honegger flatly calls "idiotic," begins gloomily in the darkest register of the bass clarinet. The pounding rhythm is underlined by claps from the timpani. The theme then pushes its way into the upper regions of the orchestra and becomes a melody, whereas at the beginning it was only rhythm. Glissandi surge in octaves in the woodwinds and while the march theme grows ever more clangorous, a passionate song arises from the strings. Three times the cry "Dona nobis pacem" rings out with a summons of strength in painful dissonances. There is a sudden change as the prayer of humanity is heard. The strings begin a chorale-like figure and the elements of the whole work are tied together: the theme of "De profundis clamavi" is united with the march theme now stripped of all its angry defiance, and over this sonorous ensemble of voices the "theme of the dove" soars for the last time, transfigured.
Symphony No. 7 in A major, Op. 92 ... Ludwig van Beethoven
Many interpretations have been ventured in an effort to attach a meaning to the Seventh Symphony, the most joyous and carefree of Beethoven's nine symphonies, but probably the best is that of Richard Wagner, who referred to it as the "Apotheosis of the Dance."
The introduction to the first movement is of striking beauty and sounds the joyous keynote of the entire work. Following a transition period the gay and spirited movement proper develops. It concludes with an elaborate coda in which fragments of the main theme, with its characteristic rhythm, are heard, steadily increasing from pianissimo to a powerful fortissimo at the happy close.
The Allegretto is somewhat more serious than the rest of the Symphony, but still a steady rhythm pervades. Following the development of counter melodies the clarinet announces a lovely melody which suggests a beam of sunshine dispelling the more sombre mood of the movement. The opening subject returns as the Allegretto concludes.
The third movement, in the nature of a Scherzo, is a charming example of lightness and grace. The main theme is a genial melody, full of good humor and buoyantly developed. In the Trio, one of Beethoven's supreme movements, violins hold a high tone against an appealing melody, said to be an old pilgrim-chant of southern Austria. The first part of the Scherzo is repeated, and also the hymn, leading to the coda and a happy conclusion.
In the Finale the symphony reaches its peak with rhythm holding complete sway and both first and second themes truly bacchanalian and contagious. The rollicking and carefree movement proceeds with animation to the remarkable coda which is full of Beethoven's inimitable inventions. It is an exuberant climax to a work of great beauty and ineffable charm.
This concert is part of the second American tour of the Berlin Philharmonic Orchestra presented by Columbia Artists Management, Inc., Personal Direction: Andre Mertens, 113 West 57th Street, New York 19, N.Y.
CONCERTS
Robert Casadesvs, Pianist (Choral Union Series) . . Mon., Nov. 5 Program: Compositions of Robert Schumann-Eighth Novelette, Op. 21 Carnaval, Op. 9 Waldscenen, Op. 82 Etudes symphoniques, Op. 13
Elisabeth Schwarzkopf, Soprano (Extra Series) . . Wed., Nov. 14 Ann Arbor debut of renowned prima donna of European and American operas, in a program of arias and songs.
Vienna Philharmonic Orchestra (Choral Union Series) Tues., Nov. 20 Andre Cluytens, Conductor
Program: Symphony No. 96, D major.....Haydn
Rondo ostinato......Theodor Berger
Zwischenspiel aus der Oper, Notre Dame . Franz Schmidt Symphony No. 5, C minor.....Beethoven
dePaur Opera Gala (Extra Series).....Thurs., Jan. 10
Mixed chorus, orchestra, and soloists, in a program of excerpts from Carmen Jones, Porgy and Bess, and Four Saints. Leonard dePaur, Conductor.
Artur Rubinstein, Pianist (Choral Union Series) . . Mon., Jan. 14 Vienna Choir Boys (Choral Union Series) 2:30 p.m. . Sun., Jan. 20
Messiah
Messiah (Handel).........December 1 and 2, 1956
Adele Addison, Soprano Kenneth Smith, Bass
Eunice Alberts, Contralto Choral Union and Orchestra Howard Jarratt, Tenor Lester McCoy, Conductor
Tickets: 75c and 50c (either concert).
Annual Chamber Music Festival
Quartetto Italiano........February IS, 16, 17, 1957
Paolo Borciani, Violin Piero Farulli, Viola
Elisa Pegreffi, Violin Franco Rossi, Cello
Season Tickets: $3.50 and 52.50. Single Concerts: $1.75 and $1.25
For tickets or for further information, please address: Charles A. Sink, President, University Musical Society, Burton Memorial Tower, Ann Arbor, Michigan.

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