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UMS Concert Program, October 10, 1963: Tosca -- Boris Goldovsky

UMS Concert Program, October 10, 1963: Tosca -- Boris Goldovsky image UMS Concert Program, October 10, 1963: Tosca -- Boris Goldovsky image UMS Concert Program, October 10, 1963: Tosca -- Boris Goldovsky image UMS Concert Program, October 10, 1963: Tosca -- Boris Goldovsky image
Day
10
Month
October
Year
1963
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Season: Eighty-fifth
Concert: First
Complete Series: 3397
University Musical Society

1963 Eighty-fifth Season 1964
UNIVERSITY MUSICAL SOCIETY
THE UNIVERSITY OF MICHIGAN
Charles A. Sink, President Gail VV. Rector, Executive Director Lester McCoy, Conductor
First Program Chamber Arts Series Complete Series 3397
KIMIO ETO, Kotoist
with SUZUSHI HANAYAGI, Classical Japanese Dancer
assisted by
TADAO NOMURA, Shakuhachi Player In a Unique Japanese Concert
Sunday Evening, October 13, 1963, at 8:30 Rackham Auditorium, Ann Arbor, Michigan
PROGRAM
Midare..............Koto
by Yatsuhashi, mid-seventeenth century
(Midare--disorder or at random)
There are two reasons for this title--one, poetic, and one, musical. It is one of the Danmono group (with Rokudan no Shirabe and Hachidan no Shirabe), the first existing instrumental koto music. Previous koto solos of the Heian and Nara courts are now lost or forgotten.
The poetic interpretation relates to the theme of its final movement, which develops from the serenity of snow falling in the deep forest (rin--forest; setsu-snow) awakened suddenly by the storm, the whistling wind, and the wild disorder of the blizzard. For this reason, it is also called, Midare Rinsetsu.
The musical reason relates to its departure from the strict form. As one of the Danmono pieces, it is a study of variations in ten movements and, normally, it would follow a rigid pattern of 52 bars in each section of themes and variations. In Midare, however, the ten movements are in irregular lengths and the snow scene of the final movement presents a sharp departure. It is therefore "disordered" --Midare.
ARS LONGA VITA BREVIS
Yachiyo-Jishi.........Koto and Shakuhachi
by Fujinaga, early seventeenth century
(Ya--eight; chi--1000; yo--generations; shishi--lion.)
To symbolize prosperity, longevity, and happiness, certain animals and things in nature are used for their characteristics during festive and ceremonious occasions. Shishi, the mythological lion of Japan, symbolizes power, strength, and majesty. It has become a common event on New Year's day to find various types of lion-dances. This "Lion of 8000 Generations," dedicated to the ruler, signifies wishes for his long, glorious, and prosperous reign.
Kurokami (Black Hair) .... Samisen, Dancer, Shakuhachi Jiuta--Choreographed in 1785 Samisen, Dancer, Shakulnirhi
(A Jiuta is a danced ballad. Literally translated, the word means "Song of the Earth"--hence, of the people.)
The story of a woman waiting longingly on a snowy night for her beloved. By turns, the fan becomes the lover himself, a love-letter, the falling snow, and her heart, cast down.
Shiki No Nagame (Four Seasons)........Koto
by Matsuura Kengyo, nineteenth century, classical
Starting with Spring, this describes the beauties of the Four Seasons.
Aki No Irokusa............Koto
Arrangement for koto by Kimio Eto
(Aki--autumn; iro--colour; kusa--foliage; hence "Colours of Autumn Foliage.)
This represents another aspect of autumn, depicting the fall scene of colors, birds, and insects--the peace of Autumn with its rich colour and sound. It is an arrangement by Mr. Eto of a Negauta piece (samisen music) by Rokuzaemon Kineya X, composed in 189S.
Echigo Jishi............Dancer
Early nineteenth century (taped music)
A traditional scarf-dance, belonging to a group of itinerant dancers who came to Tokyo from the Northern provinces of Japan to perform in the streets and to collect money from the crowd. As in some other dances of the East, the interest is in the intricate figures the dancer creates with the scarves.
INTERMISSION
Kanegami-Saki.......Samisen, Dancer, Shakuhachi
Choreographed in 17S9
Excerpt from a famous Kabuki play, "Musume Dojoji," transformed into a Jiuta (or danced ballad). The jiuta, however, carries none of the situation of the play. It is simply a stylized impression of young love.
Yugao..........Koto and Shakuhachi
by Kikuoka, mid-nineteenth century
Yu--evening; gao--face. The name of the white gourd flower that blossoms only in the evening. Here, it is the name of Prince Genji's beloved in the "Tale of Genji" by Lady Murasaki. This is his lament for the death of his love, Yugao.
Mizu No Hentai............Koto
by Michio Miyagi, 1910
Mizu--water; Hentai--metamorphosis. An interpretation of seven different aspects of water from mist, cloud, rain, snow, hail, and dew to frost, inspired by the Waka poems in the grade school textbook. This is the first composition of this master, created when he was sixteen years of age. Miyagi uses the traditional style but with a new technique of koto playing.
no rival, and the lovers plan to meet later that night. After she leaves, Cavaradossi and Angelotti discuss the best way to assure the fugitive's safety. A cannon shot is heard, signifying that the escape has been discovered, and Cavaradossi hastily decides to hide Angelotti in his country villa where, in case of imminent danger, there is a dried-up well where one can hide in safety. They leave.
Baron Scarpia, head of the Roman police, arrives in search of Angelotti, accom?panied by his two henchmen, Spoletta and Sciaronne. Beneath a facade of piety and good breeding, Scarpia conceals a soul of corruption and lechery. Quickly his assistants discover the fan which Angelotti has left behind. The Attavanti crest on the fan, together with the Marchesa's portrait on the wall and the disappearance of the painter make everything dear to the cunning Scarpia, but before he can take action, Tosca reappears. She has returned to tell Cavaradossi that she has been commanded to sing a special festival cantata before the Queen, and cannot meet him as planned. This festivity, as well as the Te Deum which is about to be sung in the Church, are in cele?bration of a reported victory over Napoleon, the news of which has reached Rome only a few hours ago. To Tosca's surprise, Cavaradossi is gone. Scarpia immediately takes advantage of the situation and arouses Tosca's jealousy by showing her the fan and implying that Cavaradossi is deceiving her with another woman.
When Tosca leaves in a fury, intending to catch the supposed lovers red-handed, Scarpia orders Spoletta to follow her and report back to him later that evening. As the Te Deum begins, Scarpia rejoices that he will soon have in his power not only Angelotti, but Cavaradossi as well, and through him, the lovely Tosca.
Act. II. Scarpia's apartment in the Farnese Palace, the same evening.
While dining alone, Scarpia reflects upon his plans for Tosca. As music is heard from the Queen's apartments below, he sends Tosca a note to be delivered to her when she arrives to take part in the cantata. Spoletta then appears to report that he followed Tosca to Cavaradossi's villa, but that a search there revealed no trace of Angelotti. Even so, Cavaradossi has been brought along for interrogation. Tosca's voice is now heard singing and Cavaradossi is brought in. As the interrogation progresses, Tosca comes in and rushes to embrace her lover, who whispers to her not to reveal Angelotti's hiding place. Cavaradossi is then led into an adjoining room, which has been fitted up as a torture chamber, and the door is left ajar so that Tosca can be aware of what is happen?ing. She begs mercy for her lover, but Scarpia is unrelenting--he will stop the tortures only when Tosca reveals Angelotti's hiding place. Cavaradossi's prolonged cries of agony become too much for her, and in a stifled voice she reveals that Angelotti is in the well. The tortures cease, and Cavaradossi is dragged back into the room, only to learn that Tosca has disclosed the secret. At this moment news arrives that Napoleon has won the decisive battle at Marengo, and Cavaradossi summons up enough strength to proclaim his joy at the news and his contempt for Scarpia. At this Cavaradossi is condemned to death for treason and is taken away. Turning to Tosca, Scarpia invites her to share his dinner and they begin to bargain for Cavaradossi's life. "What's your price," she asks contemptuously. But the lecherous chief of police makes it quite clear that what he desires is not money. Driven to despair, she finally consents to his wishes, but only on condition that he first issue safe conduct papers guaranteeing her and her lover safe passage from Rome. Scarpia agrees but explains that, for appearance's sake, a mock execution must be staged, using blanks instead of live ammunition.
At this point Spoletta arrives with the news that Angelotti has killed himself, and Scarpia then directs him to arrange a mock execution, making it nevertheless clear to him that real bullets should in fact be used. As Scarpia goes to his desk to prepare the safe conduct papers, Tosca discoveres a knife at the table, and when Scarpia comes toward her with the all-important documents, she stabs him to death, exclaiming, "This is Tosca's kiss!"
Act. III. The terrace of the prison castle, dawn of the next day.
Awaiting his execution, Cavaradossi reflects on his memories of his beloved. Tosca arrives with the safe-conduct papers and confides to her lover that she has killed Scarpia and that Cavaradossi's execution will be a ruse. They rejoice over what seems to be their good fortune. The firing squad arrives; shots ring out and Cavaradossi falls. After the soldiers leave, Tosca urges her beloved to get up but there is no answer; Cavaradossi in truth is dead. By now Scarpia's murder has been discovered, and the guards hasten to seize Tosca. She leaps upon the parapet and plunges to her death.
1963 UNIVERSITY MUSICAL SOCIETY PRESENTATIONS 1964
All presentations arc at 8:30 p.m. unless otherwise noted.
Choral Union Series
(Remaining Performances)
Bulgarian National Ensemble......Friday, October 18
The Cleveland Orchestra......Thursday, November 7
Don Giovanni (New York City Opera Co.) . . . Sunday, November 17
Philharmonia Hungarica.......Monday, January 20
Tossy Spivakovsky, Violin Soloist
Mazowsze Dance Company (from Poland) . . . Thursday, January 30
Teresa Berganza, Coloratura mezzo-soprano . . Wednesday, February 26
Chicago Opera Ballet.........Friday, March 13
Tickets: $4.50--4.00--3.50--3.00-2.2S--1.S0
Extra Series
(Remaining Performances)
Ballet Folklorico of Mexico......Friday, November 1
Madama Butterfly (New York City
Opera Co.)........(2:30) Sunday, November 17
Vienna Symphony Orchestra......Thursday, February 20
Anna Moffo, Soprano.........Friday, April 3
Single performances: $4.50--4.00--3.50--3.00--2.25--1.50
Chamber Arts Series
Kimio Eto, Kotoist, with Suzusm Hanayagi
and assisting musicians........Sunday, October 13
Moscow Chamber Orchestra.....Wednesday, November 13
Julian Bream Consort.......Tuesday, November 26
Sestetto Italiano Luca Marenzio .... Tuesday, December 10
Zurich Chamber Orchestra......Saturday, January 25
Korean Dancers and Musicians.....Sunday, February 9
Orchestra San Pietro of Naples.....Thursday, March 19
Season Tickets: $14.00--12.00--10.00 Single performances: $3.50--2.50--2.00
Special Performance
La Boheme (N.Y. City Opera Co.) .... Saturday, November 16 Tickets: $4.50--4.00--3.50--3.00--2.25--1.50
Annual Christmas Concerts
Messiah (Handel) (Two performances) .... Saturday, December 7
(2:30) Sunday, December 8 Tickets: $2.00--1.50--1.00--75c
Festivals
Chamber Donee Festival
Marina Svetlova Dance Ensemble.....Friday, October 25
Shanta Rao and Dancers and Musicians
from South India........Saturday, October 26
Hungarian Ballets Bihari--Kovach and
Rabovsky with gypsy musicians . . . (2:30) Sunday, October 27 Chamber Music Festival (three concerts) . . February 14, 15, (2:30) 16 New York Pro Musica, Noah Greenberg, Director
Prices (both series)--Season Tickets: $6.00--5.00--4.00
Single performances: $3.50--2.50--2.00 (Chamber Music Festival Tickets on Sale November 5)
For tickets and information, address UNIVERSITY MUSICAL SOCIETY, Burton Tower

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