UMS Concert Program, November 11, 1959: New York Pro Musica -- Noah Greenberg
Complete Series: 3273
Rackham Auditorium, Ann Arbor
UNIVERSITY MUSICAL SOCIETY
THE UNIVERSITY OF MICHIGAN Charles A. Sink, President
Gail W. Rector, Executive Director
Lester McCoy, Conductor
Complete Series 3273
New York Pro Musica
NOAH GREENBERG, Musical Director
Wednesday Evening, November it, 1959, at 8:30 Rackham Auditorium, Ann Arbor
Flora Gave Me Fairest Flowers (for ensemble) Now Is the Gentle Season (for voices) Sweet Honeysucking Bees (for voices) Why Are You Ladies Staying (for ensemble)
John Wilbye Thomas Morley
John Wilbye Thomas Weelkes
Elizabethan Aykes Thyrsis and Milla .
Betty Wilson and harpsichord
Gordon Myers and harpsichord
Lady if You So Spite Me......
Bethany Beardslee and harpsichord
Toss Not My Soul........
Brayton Lewis and harpsichord
When From My Love.......
Charles Bressler and harpsichord
Renaissance Sacred Music
Congratulamini nunc omnes (for ensemble) Salve Regina (for voices) ... In duld jubilo (for voices) Psallite (for ensemble) ....
A R S
L O N G A
B R E V I S
Early Baroque Cantatas
Iss dein Brot mit Freuden.......Heinrich Schutz
Bethany Beardslee, Gordon Myers, and instruments
Furchte dich nicht........Heinrich Schutz
Gordon Myers, Brayton Lewis, and continuo
O lieber Herre Gott........Heinrich Schutz
Betty Wilson, Bethany Beardslee, and continuo
0 siisser, 0 fruendlicher.......Heinrich Schutz
Charles Bressler and harpsichord
English Instrumental Music
Touch Me Lightly ) Tickle, Tickle J
Martha Blackman, bass viol solo
Two Masque Dances........John Coperario
The Witches' Dance.........Anonymous
Paul Ehrlich (rebec and flute and harpsichord)
Lachrimae antiquae.........John Dowland
Bernard Krainis and harpsichord
A Fancie...........William Byrd
Paul Maynard, harpsichord
German Renaissance Part Songs
Nun fanget an (for ensemble)
Ach Lieb, hier ist das Herze (for voices)
All' Lust und Freud
Betty Wilson and ensemble Tanzen und Springen (for ensemble)
Hans Leo Hassler
NEW YORK PRO MUSICA Noah Greenberg, Musical Director
Betty Wilson, Soprano Bethany Beardslee, Soprano Robert White, Countertenor Charles Bressler, Tenor Gordon Myers, Baritone Brayton Lewis, Bass
Paul Ehrlich, Treble Viol, Rebec, Flute,
Martha Blackman, Bass Viol, Bells Bernard Krainis, Recorders Paul Maynard, Harpsichord
Decca Cold Label Records
By Joel Newman A Program oj Renaissance and Early Baroque Music
The English Madrigal retained strong ties with its Italian prototype and is one of the happiest consequences of the Elizabethan fad for things Italian. Appearing almost a century late, it was not overripe as was its model, but constitutes a fresh and consider?able achievement with a great range of expression from the graver sorty by Wilbye and Weelkes to the lighter dancelike Morley pieces.
Elizabethan Ayres. The Elizabethan Ayres and Madrigals relied on a great mass of verse--some commonplace, some of the finest, but all very musical verse--specially designed to be set to music. The ayres, songs sung to the lute or performed ensemblefashion like madrigals, are a wonderful legacy of Renaissance melody, from the often somber masterpieces of the great lutenist, John Dowland, to the lighter master?pieces of Morley, Hume, and Bartlett.
Renaissance Sacred Music. The Lutheran Christmas Motets emphasize the Child in the manger, the popular rather than the mystical aspect of the feast. Popular intent also explains the mixed Latin and German texts, still common in the Lutheran church's first century. The Zangius opens like a Latin motet but soon changes both language and tone. Joseph is the butt of some goodnatured banter, after which the piece rocks itself to sleep with enchanting harmonic sweetness. In Dulci jubilo, Praetorius playfully distributes a wellknown tune through three voice parts in true madrigal style; this piece, too, is pervaded by lullaby feeling. The rowdy and infectious Psallite was actually a French chanson known for some seventy years before Praetorius dressed it up with a Christmas text, including it in his Musae Sionae of 1609.
In Lassus' richly expressive treatment of the Marian antiphon are summarized all the coloristic possibilities of Flemish Renaissance polyphony.
Early Baroque Cantatas. Heinrich Schiitz, like his Italian counterpart Monteverdi, was a great frontiersman of the Baroque period. All late sixteenth century music in Germany leads up to his art.
Schiitz absorbed the madrigalian style and the concertato ideal in Italy. But he went much farther, seizing on the recitative style developed by Florentine opera circles and by Monteverdi and adapting it to the requirements of German declamation. A dramatic tension envelops his music; it arises from Schiitz's intense interest in searching out musical means of expressing the meaning of words. In fact, it is his only interest--purely instrumental music had little meaning for him. He wrote none at all, preferring to use instruments in his vocal ensemble for preluding, interspersing their comment among vocal sections, and adding depth and sonority to the whole texture, as he does in Iss dein Brot, that early "Hymn to Joy."
English Instrumental Music. England, under Elizabeth and James I, was especially preeminent in the field of instrumental music. Many continental musicians have testi?fied to English skill in performance and in composing for the viols, lute, recorders, and virginals (the Elizabethan term for harpsichord), both solo fashion and in ensembles ("consorts"). Through all this music, whether "grave or gay," runs the spirit of English folksong and dance.
German Renaissance Part Songs. Hassler was first of the line of German composers who studied in Italy--Schiitz, Handel, J. C. Bach, Mozart. He worked in Venice with Andrea Gabrieli, chapel master of St. Mark's, and was a fellow student of Gabrieli's nephew, Giovanni. He is a German Morley, working the lighter vein of canzonets, those shorter and crisper types of madrigal, and balletti, outright dance songs whose instrumental lineage is betrayed by their fala refrains.
The first two pieces in this group are German canzonets; the final two are balletti. AW Lust und Freud has a strong tinge of Dowlandlike melancholy in its gently rising and falling sequences, and the irrepressible Tanzen und Springen is first cousin to Morley's Sing vie and chant it.
1959 UNIVERSITY MUSICAL SOCIETY CONCERTS 1960
Pamplona Choir from Spain Luis Morondo, Conductor
Villanesca .... Responsorium V ... Catulli Carmina (excerpts) Five Spanish Songs Ancient Basque Songs
Jan Smeterlin, Pianist Davh Oistrakh, Violinist Witold Malcuzynski, Pianist
Minneapolis Symphony Orchestra Antal Dorati, Conductor
Bach Aria Group .... William H. Scheide, Director
?Pittsburgh Symphony Orchestra William Steinberg, Conductor
Giulietta Simionato, Mezzosoprano
Lamoureux Orchestra (from Paris) Igor Markevitch, Conductor
Chicago Symphony Orchestra......
Fritz Reiner, Conductor
Tickets: $3 .SO--$3.00--$2 .SO--$2.00--$1 .SO Extra Series
(2:30) Sunday, November IS
Antonio de Cabezon Cristobal de Morales Francisco Guerrero Toiias Luis de Victoria Carl Orff Manuel de Falla Traditional
Tuesday, November 24 Tuesday, December 8 Friday, January IS Monday, February 8
Tuesday, February 16 Monday, February 29
. (2:30) Sunday, March 13 Thursday, March 24
Monday, April 4
Annual Messiah Concerts
......Saturday, December S, 8:30
Sunday, December 6, 2:30 Saramae Endich, Soprano YiKwei Sze, Bass
Gladys Kriese, Contralto Mary McCall Stubbins, Organist
Charles O'Neill, Tenor Lester McCoy, Conductor
Choral Union and Musical Society Orchestra
Tickets: $1.00, 7Sc and 50c. Now on sale.
Twentieth Annual Chamber Music Festival
Festival Quartet (Rackham Auditorium)
February 12, 13, 14
Series Tickets (three concerts): $4.00--$3.00 Single Concerts: $2.00--$1.50
For tickets or information address: University Musical Society, Burton Memorial Tower.
University Musical Society