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UMS Concert Program, November 7, 1963: The Cleveland Orchestra --

UMS Concert Program, November 7, 1963: The Cleveland Orchestra --  image UMS Concert Program, November 7, 1963: The Cleveland Orchestra --  image UMS Concert Program, November 7, 1963: The Cleveland Orchestra --  image UMS Concert Program, November 7, 1963: The Cleveland Orchestra --  image
Day
7
Month
November
Year
1963
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Season: Eighty-Efth
Concert: Fifth
Complete Series: 3403
Hill Auditorium, Ann Arbor, Michigan

1963 Eighty-fifth Season 1964
UNIVERSITY MUSICAL SOCIETY
THE UNIVERSITY OF MICHIGAN
Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor
Fifth Concert Eighty-fifth Annual Choral Union Series Complete Series 3403
The Cleveland Orchestra
GEORGE SZELL, Conductor
Thursday Evening, November 7, 1963, at 8:30 Hill Auditorium, Ann Arbor, Michigan
PROGRAM
?Symphony No. 41 in C major, K. 551 ("Jupiter") . . Mozakt Allegro vivace Andante cantabile
Menuetto: allegretto; trio Finale: allegro molto
INTERMISSION
Symphony No. 3 in D minor.......Bruckner
Massig bevvegt Adagio quasi andante Scherzo: ziemlich schnell Finale: allegro
Recorded by The Cleveland Orchestra for Epic Records
NOTE--This is the twenty-first appearance of The Cleveland Orchestra under the auspices of the University Musical Society.
The Stcinway is the official piano of the University Musical Society ARS LONGA VITA BREVIS
PROGRAM NOTES by George H. L. Smith
Symphony in C major ("Jupiter") . . . Wolfgang Amadeus Mozart
Why the title "Jupiter" Mozart, of course, would neither recognize nor own it. Has it anything to do with the music--beyond some vague reference to an extraordinary elevation, perhaps Olympian in its majesty Publishers have sometimes stimulated sales with suggestive titles (such as "Moonlight" for a sonata of Beethoven), and these have continued in use over the protests of more sensitive music lovers. The redoubtable Tovey is without sympathy for such offenders: "The title 'Jupiter' takes rank with the titles 'Emperor Concerto' and 'Moonlight Sonata' as among the silliest injuries ever inflicted on great works of art. ... For, after all, nothing is satisfactorily like the music but itself; and even the diverting light which another piece of music sheds on an important theme in the second subject of the first movement would mislead us, if we forgot that the origin of the theme outside the symphony is as unlike its effect inside the symphony as the moon by daylight is unlike moonlight."
The opening theme of the first movement (Allegro vivace, C major, 4-4) is indeed a formula typical of Mozart: a rugged energetic subject alternating with a gentle supplication. The woodwind soon adds an exquisite descending scale which connects the subjects in counterpoint. The second theme, played by the strings in G major, is, as Sir George Grove said, "as gay as gay can be .. ." Strings also sing the closing theme, taken from an aria that Mozart had written three months before for insertion in Pasquale Anfossi's Opera, Le Gelosie Fortunate. This and the first subject serve for the development section which ushers in a full recapitulation.
The slow movement (Andante cantabile, F major, 3-4) is also in sonata form. The muted strings announce the first subject (trumpets and drums are omitted from the entire movement) ; the second is introduced by oboes and bassoons. The abbreviated recapitulation introduces the coda in which there is a moving reappearance of the main theme. The minuet and trio (Allegretto, C major, 3-4) are of that effortless and flowing grace which is the essence of the greater Mozart.
Formulas again supply the subject matter for the marvelous contrapuntal finale, worked out in a broad sonata form. The opening subject is derived from an old church theme which Mozart used frequently, as did Bach, Handel, and Mendelssohn. Several other subjects are used in the fugal texture, and also as transitional and subsidiary themes. In the final pages all the themes are combined for a final tour de force in which Mozart both declares his mastery and takes leave of the symphonic form.
Symphony No. 3 in D minor.......Anton Bruckner
Bruckner composed his Third Symphony, the Wagner-Symphonie, in 1873 at Vienna. The dedication is to "the master Richard Wagner in deepest reverence." The analysis that follows is by Felix Borowski:
"I. Ma'ssig bewegt, D minor, 2-2. The principal subject is preceded by four introductory measures in the strings and long held notes in the woodwind. The subject then enters in the trumpet, the strings keeping up the same figure as at first and a long organ point on D in the violoncellos and double basses serving as the foundation of the whole. The subject is continued by the horn, the woodwind working over the last two measures of it. There is a crescendo upon the climax of which a second section of the principal theme is given out by the full orchestra fortissimo, its motives being divided by pauses. A triplet figure which had ended this subject is now developed, first in the woodwind and following them, in the strings. The figure with which the movement opened in the strings now returns, the first two measures of the subject being again given out by the trumpet and imitated in the flutes
and oboes. The organ point is now on A. The second and ff section of the subject is again heard, and leads to the second theme--in F major--in the violas and horn, an important melodic accompaniment working against it in the first and second violins. Another section appears in the wind, fortissimo, a marked figure being played at the same time by the strings in octaves. The subject is concluded by a hymn-like melody in the trumpets.
"The development opens with the principal theme in the brass ff, followed by a subtle suggestion in the woodwind of the second subject. The horn works out the first four notes of the opening theme, and after a pause, the second section of this theme is developed in augmentation by the woodwind over a pizzicato accompaniment in the strings. The first section, in diminution, is combined with and leads into the recapitulation, the principal subject of which, originally given to the trumpet, is now shouted out by the whole orchestra. The storm and stress of this presentation dies down, and, over the figure in the strings which had begun the movement, the trumpet brings forward the principal subject as before. The second section is shortened. The second theme is now given to the first violins (on the G string) and in D major.
"After the material of the second subject has been presented the principal theme re?appears in the trumpets ff and is worked over in its original form and in diminution over a long roll on D in the kettledrum. With this the movement comes to a sonorous conclusion.
"II. Adagio quasi Andante, E-flat major, 4-4. Ths subject of the movement opens in the strings alone. There is a crescendo leading to a climax, in its turn followed by a subsidence. The time and tempo change (Andante quasi Allegretto, 3-4) upon which a new idea is announced by the violas, the first and second violins accompanying it in repeated eighth notes. There is a pause, and another and march-like theme is heard (Misterioso) in the strings pianissimo. This is developed, and the viola theme returns with a running counter?point over it in the first violins. The woodwind assist in the working out of this subject, which eventually leads into a resumption of the main theme now in the wind instruments with a triplet figure, pizzicato, moving against it in the strings. Following some episodical material the movement closes with a final suggestion of the opening subject.
"III. Scherzo: Ziemlich schnell, D minor, 3-4. Sixteen introductory measures lead through a crescendo to the presentation of the principal theme by the full orchestra ff. The moving figure in eighth notes played by the first violins is developed. The passages are suddenly broken off, and a new melody of waltz-like character is sung by the first violins (pizzicato in violoncellos and double basses). The melody is taken up successively by the violas and by the flutes; the moving figure persisting in the first violins. The first theme returns fortissimo in the full orchestra. The Trio has its subject announced by the violas in A major, an answering phrase appearing in the first violins, the other strings playing an accompaniment pizzicato. There are birdlike passages in different portions of the Trio which reminded Dr. Kretzschmar of a 'bird's concert, in a lovely hour by fish pond and forest, after sunset.' As the conclusion of the Trio the whole Scherzo is repeated.
"IV. Finale: Allegro, D minor, 2-2 time. Eight measures of introduction precede the principal theme, given out sonorously by the brass. This subject is worked over, and is succeeded by a new idea (Langsamer, F-sharp major) of more tranquil character, the subject of which, apparently announced by the strings, is, in reality, sung by the horn, the figure in the former instruments being a counterpoint. This is developed with subsidiary matter. The original tempo is resumed with another theme in D flat major ff, the quarter note progression of which, set forth in the higher instruments, is imitated in syncopation by the lower. Soon there appears a development of the first theme in the brass, the quarter-note figure still persisting in the strings. A climax is reached, followed by a pause. There is a general subsidence of tone and emotion, and with a repetition of the eighth note figure in the strings, which had opened the movement, the recapitulation sets in. The second theme--originally given to the horn__is now sung by the violoncellos (pizzicato accompaniment in the remain?ing strings). This is worked over at some length. The time becomes quicker and the opening theme is heard in the brass, violoncellos and double basses. At the end the subject of the first movement of the symphony is majestically shouted forth by the trumpets, fortissimo."
1963 UNIVERSITY MUSICAL SOCIETY PRESENTATIONS 1964
All presentations are at 8:30 p.m. unless otherwise noted.
THREE OPERAS IN HILL AUDITORIUM
by the
NEW YORK CITY OPERA
JULIUS RUDEL, General Director
Special Performance:
"LA BOHEME" (Puccini)......Saturday, November 16
(sung in Italian)
In Extra Series:
"MADAMA BUTTERFLY" (Puccini) . . 2:30, Sunday, November 17
(sung in Italian)
In Choral Union Series:
"D0N GIOVANNI" (Mozart) . ... Sunday, November 17
(sung in English)
Single performances: $4.50--$4.00--$3.50--$3.00--$2.25--$1.50 $2.25 and $1.50 seats only remaining.
Chamber Music Festival
New York Pro Musica, Noah Greenberg, Conductor
Friday, February 14.......An Elizabethan Concert
Honoring the 400th Birthday of William Shakespeare.
Works by Morley, Wilbye, Byrd, White, Jones, Bartlett, Hume, Dowland,
Ravenscroft, and Gibbons
Saturday, February 15 . . Music of Burgundy, Flanders and Spain Works by Dufay, Ockeghem, Rivaflecha, Ortiz, de Cabezon, Gombert
Sunday, February 16 (2:30) . Early Baroque Music of Italy and Germany Works by Monteverdi, Frescobaldi, Spadi, Schutz, Praetorius, Schein
Season Tickets: $6.00--5.00--4.00 Single performances: $3.50--2.50--2.00
MAY FESTIVAL--April 30, May 1, 2, 3. Orders for series tickets accepted
beginning December 1.
For tickets and information, address UNIVERSITY MUSICAL SOCIETY, Burton Tower

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