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UMS Concert Program, March 17, 1973: The Mozarteum Orchestra Of Salzburg --

UMS Concert Program, March 17, 1973: The Mozarteum Orchestra Of Salzburg --  image UMS Concert Program, March 17, 1973: The Mozarteum Orchestra Of Salzburg --  image UMS Concert Program, March 17, 1973: The Mozarteum Orchestra Of Salzburg --  image UMS Concert Program, March 17, 1973: The Mozarteum Orchestra Of Salzburg --  image
Day
17
Month
March
Year
1973
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University Musical Society
OCR Text

Concert: Ninth
Complete Series: 3818
Hill Auditorium, Ann Arbor, Michigan

The University Musical Society
of
The University of Michigan
Presents
The Mozarteum Orchestra of Salzburg
LEOPOLD HAGER, Musical Director and Conductor
RITA STREICH, Soprano Rosemary Russell, Contralto John McCollum, Tenor
Ralph Herbert, Baritone
The Festival Chorus of the University Choral Union Donald Bryant, Conductor
Saturday Evening, March 17, 1973, at 8:30 Hill Auditorium, Ann Arbor, Michigan
ALLMOZART PROGRAM
Divertimento in F major for Strings, K. 138 Allegro Andante Presto
"L'amero saro costante" from Re pastore, K. 208
(Solo violin, Karlheinz Franke)
"Deh vieni, non tardar" from Le Nozze di Figaro, K. 492
Rita Streich, Soprano
Symphony No. 40 in G minor, K. 550
Molto allegro Andante Menuetto Allegro assai
INTERMISSION
"Coronation Mass" in C major, K. 317, for Mixed Chorus, Soloists, and Orchestra In Memoriam Charles Albert Sink
Kyrielndan(e maestoso SanctusAndante maestoso
Glorialcgro con spirito BenedictuslMegrei(o
CredozlWegro molto Agnus DaiAndante sostenuto, andante con moto
The Festival Chorus
Donald Bryant, Conductor
Rita Streich, Soprano John McCollum, Tenor
Rosemary Russell, Contralto Ralph Herbert, Baritone
Marilyn Mason, Organist
Ninth Concert Xinetyfourth Annual Choral Union Series Complete Programs 3818
PROGRAM NOTES
Divertimento in F major, K. 138
The three early quartets, K. 136138, were written in Salzburg in the first months of 1772. Although they are called "divertimenti" on the manuscript, the lack of the customary minuets makes them rather "symphonies" for strings alone. Alfred Einstein believes that they were written in preparation for Mozart's last Italian journey when symphonies might be required of him for performance in the salon of Count Firmian, the GovernorGeneral of Milan.
The first movement of the "Divertimento" in F is purely symphonic, but both the Andante and the final Rondo are more delicately formed but still suitable for performance by an orchestra.
"L'amero, saro costante," from Re pastore, K. 208
Re pastore was composed in Salzburg in 1775, the year of the five violin concertos, in honor of the visit of the Archduke Maximilian Franz, the youngest son of the Empress. Two of the arias employ concertante instrumental solos in competition with the voice: Alessandro's the flute and Aminta's, L'amero, sard costante ("I will love her, be constant"), the violin.
"Deh vieni, non tardar," from Le Nozzc di Figaro, K. 492
Susanna's famous aria from the last Act of the opera ("Come, do not delay"). Knowing full well that her husband is concealed nearby to spy upon them, she addresses this soliloquy to her supposed lover, the Count, who is a little late for the rendezvous which the ladies have arranged in order to embarrass him.
Symphony No. 40 in Gminor, K. 550
The Gminor Symphony is the second of the three principal symphonic works of Mozart which he composed in rapid succession in 1788. On the original manuscript, July 25 is given as the date of its completion. Most printed scores adhere to the original version of the work but, for concert use, presentday conductors prefer a version written by Mozart some time later. As compared to the first, this second version shows some alterations in the oboe part, also two clarinets have been added by the composer. This second and latest version of the work, being far richer in texture, has been chosen for the present performance.
"Coronation Mass," in C major, K. 317
The "Coronation" Mass in C, K. 317, dates from March of 1779, shortly after Mozart's return from his long and unfruitful journey to Paris and waypoints in search of recognition, commissions and, perhaps, a new permanent position. Ignominiously, he was forced back to Salzburg and to his old organistcomposer position; but his dislike and frustration combined with his inexorable musical growth further antagonized the unsympathetic Archbishop Colloredo, his employer. It is not for us to savor the details of those musical disagreements but we can at least appreciate that the young composer's music continued here to deepen in its own terms, within the church concepts of the time.
The coronation referred to in the title was not that of a king or duke but, oddly, the coronation of a miraculous image of the Virgin near Salzburg in 1751. Each year there was a special service of devotion in commemoration of this event.
Kyrie
Lord, have mercy upon us Christ, have mercy upon us Lord have mercy upon us
Gloria
Glory be to God on high.
And peace on earth to men of good will.
We praise Thee, we bless Thee.
We adore Thee, we glorify Thee.
We give Thee thanks for Thy great glory.
O Lord God, O heavenly King!
O God, Father Almighty!
O Lord Jesus Christ, only begotten Son!
0 Lord God! Lamb of God! Son of the Father I
O Thou, who takest away the sins of the world!
Have mercy upon us;
Receive our prayer.
0 Thou, who sittest at the right hand of the Father,
Have mercy upon us.
For Thou alone art holy,
Thou alone art Lord,
Thou alone art most high,
Jesus Christ!
Together with the Holy Ghost.
In the glory of God the Father.
Amen.
Credo
1 believe in one God, The Father Almighty, Maker of heaven and earth,
Of all things visible and invisible.
And in one Lord Jesus Christ,
Only begotten Son of God;
And Who is born of the Father before all ages.
God of God, Light of Light,
True God of true God;
Begotten, not made;
Consubstantial to the Father,
By Whom all things were created.
Who for us men And for our salvation Came down from heaven. And became incarnate by the
Holy Ghost of the Virgin Mary, And was made man. He was crucified for us; Suffered under Pontius Pilate and was buried, And arose again on the third day According to the Scriptures. And ascended to heaven, And sittcth at the right hand of the Father. And He is to come again With glory, to judge the living and the dead; There shall be no end of His kingdom. And in the Holy Ghost. The Lord and Giver of life, Who procedeth from the Father and the Son; Who. together with the Father and the Son Is adored and glorified; Who spoke through the prophets. And one holy Catholic And A.ostolic Church.
I confess one baptism for the remissions of sins. And I expect the resurrection of the dead. And the life of the world to come. Amen.
Sanclus
Holy is the Lord God Sabaoth.
Heaven and earth are full of Thy Glory.
Hosanna in the highest!
Bcncdictus
Blessed is he who cometh in the name of the Lord!
Hosnnna in the highest!
.1 t;niis Dei
O Lamb of God
Th;U takest away the sins of the world,
Have mercy upon us.
Grant us peace.
IN MEMORIAM
CHARLES ALBERT SINK
July 4, 1879December 17, 1972
President, The University Musical Society, 19271968
Forthright in his relations with others
Persuasive in pleading for the common good
Compassionate in aiding the unfortunate
"The righteous shall be had in everlasting remembrance"
Psalm 111
THE FESTIVAL CHORUS
Donald Bryant, Director
Nancy Hodge, Accompanist
First Sopranos
Karen Abboud Jeanette Brock Elaine Cox Linda Fenelon Gladys Hanson Susan Hesselbart Dana Hirth Leslie Horst Carolyn Leyh Margaret Phillips Jo Pickett Edith Robsky Lori Rottenberg Mary Ann Sincock Karen Smith Norma Ware
Second Sopratios Ann Barden Doris Datsko Alice Horning Frances Lyman Laurel Beth Ronis Jo Ann Staebler Anne Swartzentruber Patricia Tompkins Sandra Winzenz Kathy Wirstrom
First Altos Judith Adams Marion Brown Lael Cappaert Sally Carpenter Joyce Horowitz
Nancy Karp Lois Nelson Mary Reid Christine Swartz Carol Wargelin Charlotte Wolfe
Second Altos
Elaine Adler Sandra Anderson Martha Gibiser Mary Haab Joan Hagerty Hilary Kayle Elsie Lovelace Judith McKnight Beverly Roeger Katie Stebbins Nancy Williams Johanna Wilson Linda Wolpert
First Tenors
Marshall Franke Marshall Grimm Michael Kaplan Paul Lowry Frederick Merchant Dennis Mitchell Jess Wright
Second Tenors
Martin Barrett Alan Cochrane John Etsweiler
Merle Galbraith Donald Haworth Thomas Hmay Robert MacGregor Jonathan Miller Michael Snabes Alan Weamer
First Basses Frank. Couvares Bruce Feldstein Thomas Hagerty Edgar Hamilton Jeffrey Haynes K. John Jarrett Klair Kissel William Magretta Lawrence McCreery Steven Olson Thomas Schill Tcrrill Tompkins Riley Williams
Second Basses
Neville Allen W. Howard Bond Gabriel Chin Oliver Holmes Timothy Hubert Gregg Powell George Rosenwald Helmut Schick Wallace Schonschack Alan Schweitzer Thomas Sommerfeld Stuart Weiner
REMAINING EVENTS
Angelicum Orchestra of Milan .... Bruno Martinotti, Conductor Bach: The Art of the Fugue (Nos. 1, 16, 8), and Suite No. 1 in C major; Mercadante: Concerto for Horn and Orchestra; Boccherini: Sinfonia in D minor
Aeolian Chamber Players......
Topeng Dance Theater of Bali .... National Ballet, "Sleeping Beauty" . . . .
London Symphony Orchestra Andre Previn, Conductor 80th May Festival
Wednesday, March 21 (8:00, Power Center
Saturday, March 24 (8:30, Rackham Auditorium)
Tuesday, March 27 (8:30, Rackham Auditorium)
Saturday, March 31 Sunday, April 1 (8:00, Power Center
Friday, April 6 (8:30, Hill Auditorium)
May 2, 3, 4, and S (8:30, Hill Auditorium)
UNIVERSITY MUSICAL
BOARD OF DIRECTORS
SOCIETY
Gail W. Rector, President Harlan Hatcher, VicePresident Erich A. Walter, Secretary E. Thurston Thiemc, Treasurer
William L. Brittain Allen P. Britton Douglas D. Crary Robben W. Fleming
Paul G. Kauper Wilbur K. Pierpont Sarah G. Power Daniel H. Schurz

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