UMS Concert Program, November 7, 1960: Solisti Di Zagreb -- Antonio Janigro

Season: Eighty-second
Complete Series: 3303
Rackham Auditorium, Ann Arbor

1960 Eighty-second Season 1961
UNIVERSITY MUSICAL SOCIETY
THE UNIVERSITY OF MICHIGAN
Charles A. Sink, President Gail W. Rector, Executive Director
Lester McCoy, Conductor
Special Concert
Complete Series 3303
SOLISTI DI ZAGREB
ANTONIO JANIGRO, Conductor
Monday Evening, November 7, i960, at 8:30 Rackham Auditorium, Ann Arbor
PROGRAM
Sinfonia in C major.......
Allegro Andante Presto
Concerto in E major for violin and strings
Allegro Andante Allegro
Soloist: Jelka Stanic
Concerto in B-flat major for violoncello and strings
Allegro moderato Adagio non troppo Rondo allegro
Soloist: Antonio Janigro
Vivaldi
Vivaldi
Boccherini
INTERMISSION
Concertante Improvisations
Allegretto
Andante sostenuto; allegro giusto Allegro scherzando Molto vivace, quasi presto
Sinfonietta, Op. 52 ...
Allegro molto Andante Allegro
Divertimento in D major, K. 136
Allegro Andante Presto
Kelemen
ROUSSEL
Mozart
Vanguard Recording Soc, Inc. ARS LONGA
RCA Victor Records
VITA
B R E V I S
PROGRAM NOTES
Sinfonia in C major........Antonio Vivaldi
(1675-1741)
Vivaldi composed this work as the overture to an opera. It follows the traditional three-movement form of the Italian overture of his day. The opening Allegro uses the same ritorncllo principle, as the initial movements of most of his violin concertos. The Andante, in minor, is graceful and melodious. The final Presto is a brief, robust dance-theme in two halves, each repeated.
Concerto in E major for violin and strings . . . Antonio Vivaldi
Vivaldi's twelve concertos, Opus 3, were published in 1715 under the title of "L'Estro Armonico." The great Bach arranged half of this set, including the Concerto in E, for harpsichord. Vivaldi's violin concertos move the listener by their simplicity. Himself a famous violinist, Vivaldi knew how to exploit the character of the solo instrument, its particular effects and sonorities.
The Concerto in E has three movements, all in the same key. They are based on the ritornello principle, but the Largo employs it in a characteristically subtle manner; the main theme opens and closes the movement, and in between a second phrase is freely developed by the soloist, while its rhythmic first phrase keeps recurring as a unifying element in violin, cellos, and bass.
Concerto for Violoncello and Strings in B-flat . . Luigi Boccherini
(1743-1805)
Boccherini has never been as fully appreciated as he deserves, because he has been overshadowed by the enormous stature of his two contemporaries, Mozart and Haydn. But Boccherini, well-known as cello virtuoso and prolific composer, made of his string quartets and quintets original models of classical balance. He literally created a new chamber music form, felicitously blending both baroque and rococco styles.
He reserved his deepest and most intime musical expression, however, for the compositions he wrote for his own instrument, the cello. The wonderful Concerto in B-flat is penetrated by romantic expression. The first movement is a remarkable combi?nation of rich dramatic expression reminiscent of the opera, and of simplicity and warmth of a kind found in popular tunes. The second movement is beautifully medi?tative. The third, an Allegro, is in rondo form, with a lively joyous motif offset by
serious, almost woeful contrasts. In the elegance of its style, this movement recalls Haydn and Mozart.
Concertante Improvisations......Milko Kelemen
(1924)
The young Croatian composer Milko Kelemen studied with Stjepan Sulek at the Zagreb Music Academy, and later worked in Paris with Milhaud, Messiaen, and Tony Aubin, and in Germany with Fortner. He is now one of the "Musica Viva" group of composers in Zagreb. His work includes Symphonies, Concertos, a Concerto giocoso, and Concertos for bassoon and strings and viola and strings, which were given at the 1957 Venice Festival by the Zagreb Soloist's Ensemble, and a song-cycle for baritone and strings which was performed in 1958 at the International Composer's Tribune, organized under the auspices of UNESCO.
The Concertante Improvisations were written in 1955 for the Zagreb Soloists. For these Kelemen drew inspiration partly from native folk material and sets it forth in clear-cut patterns relying mainly on melody and rhythm. The use of solo instruments gives the work its concertante character.
Sinfonietta, Opus 52........Albert Roussel
(1869-1937)
Roussel belongs to the same period of French music as Debussy and Ravel, but his style is quite different. His harmonies are just as subtle, but more astringent, his melodies more angular, his rhythms usually more virile.
His Sinfonietta for strings was one of his last works, written in 1934. The first movement reveals immediately, in its main material, Roussel's characteristic stamping rhythms, through harmonies and spicy melodic lines. This theme opens, dominates, and closes the movement, with only a brief quieter theme for contrast. The Andante is less a slow movement than an introduction to the finale, anticipating its opening theme. The finale is in ternary form; a relaxed central interlude works up to a climax, which brings back a modified statement of the original theme.
Divertimento in D major, K. 136......W. A. Mozart
(1756-1791)
The first and third movements of the Divertimento in D are based upon the double thematic principle, with a simple development of the sonata form, so that we even find, in the presto finale, a Fugato, which increases the charm of this serenade-like music. The slow movement is especially beautiful in its melodious simplicity.
1960 UNIVERSITY MUSICAL SOCIETY CONCERTS 1961
Chamber Music Festival
in Rackham Auditorium
THE VIENNA OCTET
Programs
Friday, February 17, 8:30 p.m.
Divertimento in G...........Michael Haydn
Divertimento No. 10 in F, K. 247.........Mozart
Septet in E-flat major, Op. 20.........Beethoven
Saturday, February 18, 8:30 p.m.
Octet...............Marcel Poot
Clarinet Quintet in B minor, Op. 115........Brahms
Divertimento No. IS in B-flat, K. 287........Mozart
Sunday, February 19, 2:30 p.m.
Allegro giusto from Octet........Franz Tischhauser
Divertimento No. 17 in D major, K. 334.......Mozart
Octet in F major, Op. 166...........Schubert
Season Tickets: $4.00 and $3.00
Single Concerts: $2.00 and $1.50
On sale beginning November 10.
in Hill Auditorium
Artur Rubinstein, Pianist......Monday, November 14
Robert Shaw Chorale and Orchestra . . . Thursday, January 12
Robert Shaw, Conductor Warsaw Philharmonic......Wednesday, January 18
Witold Rowicki, Music Director
Henryk Szeryng, Violinist......Tuesday, February 14
Brian Sullivan, Tenor.......Tuesday, February 28
Dallas Symphony Orchestra......Friday, March 10
Paul Kletzki, Music Director Toronto Symphony Orchestra.....Wednesday, March IS
Walter Susskind, Music Director
Zino Francescatti, Violinist.......Tuesday, March 21
Concertgebouw Orchestra of Amsterdam . . . Sunday, April 23
Special Concerts
Messiah.........(8:30) Saturday, December 3
(2:30) Sunday, December 4 Soloists, Choral Union, and Musical Society Orchestra
Budapest Quartet (Rackham Auditorium) . (2:30) Sunday, March 26 On sale beginning February 10.
For tickets or information address: University Musical Society, Burton Memorial Tower.