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UMS Concert Program, January 17: Detroit Symphony -- The Detroit Symphony Orchestra, Inc.

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Season: 1973-1974
Hill Auditorium, Ann Arbor

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from 8 a.m., Sunday, FEBRUARY 10
to 5 a.m., Monday, FEBRUARY 11
As the guest of Karl Haas, WJR Director of Fine Arts, and The Junior Women's Association for the Detroit Symphony Orchestra, you will help select the pro?gram of great classical music for this broadcast and become eligible to receive special premiums. At the same time, you will brighten the financial future of the Detroit Symphony Orchestra.
The Detroit Symphony Orchestra, Inc.
(Founded 1914) ALDO CECCATO, principal conductor
OFFICERS 1973 74
John B. Ford, chairman ?Robert B. Semple, president
'Walker L. Cisler, vice president William M. Day, vice president Pierre V. Heftier, vice president Ralph T. McElvenny, vice president Raymond T. Perring, vice president Alan E. Schwartz, vice president
Harold G. Warner, vice president
Mrs. Theodore O. Yntema, vice president
David D. Williams, treasurer
Donald S. Green, assistant treasurer C. Grant Barnes, secretary
Peter P. Thurber, assistant secretary
Philip C. Baker C. Grant Barnes
Andrew W. Barr
Edward A. Baumann Norman A. Bolz
Eugene Bordinat Jr.
Lem W. Bowen Rinehart S. Bright
J. Lawrence Buell, Jr.
Mrs. C. Henry Buhl
Ferdinand Cinelli Walker L. Cisler
Mrs. Frank W. Coolidge
Mrs. Abraham Cooper
Harry B. Cunningham William M. Day
Anthony DeLorenzo
Robert Dewar
Frank W. Donovan
Mrs. Charles M. Endicott
Mrs. Robert Fife
Mrs. Charles T. Fisher III
Max M. Fisher
Mrs. Edsel B. Ford
Gordon T. Ford John B. Ford
Edward P. Frohlich David L. Gamble
Hans Gehrke
Mrs. Daniel W. Goodenough
Berry Gordy, Jr.
William T. Gossett
Roman S. Gribbs
Executive Committee
Karl Haas
Mrs. Tobey Hansen
Mrs. Hugh Harness
G. Robert Harrington
Firman H. Hass Pierre V. Heftier
Lee Hills
Hudson Holland, Jr.
Mrs. Horace R. Holloway
Mrs. Henry C. Johnson
Ernest A. Jones
Mrs. Harry L. Jones
Maxwell Jospey
Marvin Katke
Tom Killefer
Mrs. Tom Killefer
Mrs. Kim Khong Lie
Thomas V. Lo Cicero
Harold O. Love
Wilber H. Mack
Hon. Wade H. McCree, Jr. Ralph T. McElvenny
Dr. Marjorie Peebles Meyers
Hon. William G.' Milliken
Rev. J. Stanley Murphy, C.S.B.
Miles M. O'Brien
Donald D. O'Dowd
W. Calvin Patterson "Raymond T. Perring
John Prepolec
Mel Ravitz
Mrs. Jerome H. Remick. Jr.
Dean E. Richardson
Mrs. Joseph B. Schlotman, honorary member
Alan E. Schwartz Arthur R. Seder, Jr. S. Prewitt Semmes
Robert B. Semple Nate S. Shapero Mrs. William R. Shaw Mrs. Allan Shelden Walter J. Simons Mrs. Florence Sisman Dr. Austin Smith Mrs. Howard F. Smith Bert L. Smokier Arthur F.F. Snyder Gari M. Stroh, Jr. Robert M. Surdam Mrs. S. Pinkney Tuck Mrs. Richard W. Tucker Mrs. Joseph A. Vance, Jr. Mrs. Richard Van Dusen Jack J. Wainger
Harold G. Warner
'David D. Williams Mrs. Oelford G. Williams Hon. G. Mennen Williams Mrs. R. Jamison Williams Richard E. Williams Mrs. Eric A. Wiltshire Mrs. Isadore Winkelman Mrs. Leon G. Winkelman
Mrs. R. Alexander Wrigley
"Mrs. Theodore O. Yntema
Marshall W. Turkin, executive director
Gordon Staples Concertmaster
Bogos Mortchikian
Associate Concertmaster
Richard Roberts Andrew Zaplatynsky
Assistant Concertmasters
Santo Urso Jack Boesen Emily Mutter Austin Derek Francis Alan Gerstel Nicholas Zonas Gordon Peterson Beatriz Budinszky Ralph Shiller Richard Margitza Linda Snedden Smith Paul Phillips Elias Friedenzohn
SECOND VIOLINS Edouard Kesner Felix Resnick Alvin Score Lillian Downs James Waring Margaret Tundo Malvern Kaufman Walter Maddox Roy Bengtsson Thomas Downs Larry Bartlett Joseph Striplin LeAnn Toth Robert Murphy
Nathan Gordon David Ireland Philip Porbe Eugenia Staszewski LeRoy Fenstermacher Hart Hollman Walter Evich Anton Patti Gary Schnerer Catherine Compton
Italo Babini Thaddeus Markiewicz Edward Korkigian Mario DiFiore David Levine John Thurman Barbara Fickett Susan Weaver William Graham Clinton Andrews
?Assistant Principal
Principal Conductor
PAUL FREEMAN Conductor-in-Residence
Robert Gladstone Raymond Benner Frank Sinco Maxim Janowsky Donald Pennington Stephen Edwards Albert Steger Linton Bodwin
Elyze Yockey Ilku Carole Crosby
FLUTES Ervin Monroe Shaul Ben-Meir Robert Patrick Clement Barone
Clement Barone
OBOES Donald Baker Ronald Odmark ?Theodore Baskin Steven Labiner Harold Hall
Steven Labiner
Paul Schaller Douglas Cornelsen ?Brian Schweickhardt Oliver Green
E-FLAT CLARINET Brian Schweickhardt
Charles Sirard Phillip Austin Paul Ganson Lyell Lindsey
Eugene Wade Charles Weaver Edward Sauve '.Vi I lard Darling Keith Vernon Lowell Greer
TRUMPETS Frank Kaderabek Gordon Smith Alvin Belknap
TROMBONES Raymond Turner Joseph Skrzynski Elmer Janes
TUBA Wesley Jacobs
TIMPANI Salvatore Rabbio 'Robert Pangborn
Robert Pangborn Norman Fickett Raymond Makowski Sam Tundo
Marcy Schweickhardt
Ray Ferguson
LIBRARIAN Albert Steger Elmer Janes, assistant
Oliver Green
detroit symphony
ALDO CECCATO, principal conductor
Thursday evening, January 17 at 8:30
ALL BRUBECK PROGRAM Erich Kunzel, conducting
Fugal Fanfare
Brandenburg Gate: Revisited
Excerpts from ''The Light in the Wilderness"
Forty Days
Sermon on the Mount
The Kingdom
Out of the Way of the People, from "The Gates of Justice"
Selections by Dave Brubeck and Sons INTERMISSION
Don Th. Jaeger, conducting
Dave Brubeck plays the Baldwin piano
This evening marks the Orchestra's fifty-second appearance in Hill Auditorium The Steinway is the official piano of the Detroit Symphony Orchestra
by Robert Holmes
Dean, College of Fine Arls, Western Michigan University
Born Concord, California, 1920; now living in Wilton, Connecticut
Brubeck composed Fugal Fanfare during the 1969 Christmas holidays It was written as a salute to the Cincinnati Symphony Orchestra on the occasion of its 75th anniversary, at the request of Erich Kunzel. resident conductor The first performance was held at the Cincinnati Music Hall on February 27, 1970. with Erich Kunzel conducting.
This is the first performance in this series.
Born Concord, California, 1916; now living in Escondido, California
Howard Brubeck composed Brandenburg Gate: Revisited in the winter of 1960-61 The first performance took place in the New York Columbia Recording Studios in August. 1961; Howard Brubeck conducted.
This is the first performance in this series.
Following arc portions of a brochure on Howard Brubeck published by Broadcast Music, Incorporated:
"The name Brubeck has suddenly become a challenging one in musical circles. Not one, but three Brubecks have helped to establish it. Henry, the eldest of the three, has won fame as a musical educator and became the Supervisor of Music in the public schools of Santa Barbara, California. Howard Brubeck has won recognition from increasingly large symphonic audiences and the youngest of the three, Dave, has been acclaimed by demonstrative and wildly approving audiences as a fantastic pianist and composer, primarily in the jazz idiom.
"Approaching Howard Brubeck via his biography rather than his music, one might be misguided, for he might readily appear to be confined to the academic and professorial. The truth is obviously otherwise, as his music aptly shows.
". . . All three began their musical studies with their mother who was a gifted pianist and teacher and who had studied at King's Conservatory in San Jose, at the University of California and later in London with the renowned piano pedagogue, Tobias Matthay. From her they learned to play the piano and also absorbed the basics of musical theory and harmony. Their father, cattleman
Howard Peter Brubeck, was interested in music and enjoyed playing cowboy tunes on his harmonica . . .
". . . In 1938 Howard Brubeck was graduated from San Francisco State College and then worked with Domenico Brescia, Margaret Prall, and Darius Milhaud at Mills College where he obtained his Master's degree in 1941. His first teaching experience was obtained in his Alma Mater, the Mount Diablo Union High School in Concord, between 1939 and 1944. After this he joined the faculty at Mills College as assistant to Milhaud and, in 1950, was appointed the Head of the Composition Department at San Diego State College. In 1953, he was invited to become the Chairman of the Music Department of Palomar College, California."
He is currently Dean of Humanities there.
Howard Brubeck has successfully combined various musical elements, including jazz, in his compositions.
He begins his annotation of Brandenburg Gate: Revisited by quoting from Thomas Morley's Pluine and Easie Introduction to Practicalle Musicke (1597):
" 'And you shall find no point so well handled by any man, either Composer or Organist, but with studie either he himselfe or some other might make it much better . . .'
"The purpose of providing an orchestral setting for Brandenburg Gate is not that we presume to make it much better, but rather that we wish to experiment with the improvisational process . . .
". . . At times the orchestral part dominates and leads the way; at times it is a partner in counterpoint (the orchestra's line written, the soloist's improvised). On other occasions the orchestra remains silent or plays a modest pastel over which the jazz soloists weave their own melodies ... In working with orchestra, Dave Brubeck has aligned himself with a pattern found often in the history of music. From the Middle Ages to the present, it is customary to find the musical vernacular of the day making its way into the serious music of the day. One might offer as an early example the polyphonic masses of the fifteenth and sixteenth centuries based on secular tunes such as 'L'Homme Arme,' a fifteenth-century 'pop tune,' which was used by some thirty composers, including Palestrina, as the basis for masses. Or one might cite the dance forms of the eighteenth century which found their way into Bach suites and the symphonies of Haydn and Mozart. Dave has expressed the belief that there is much in the popular music of our own period which has equal validity and should be used in our concert halls if such places are to be anything more than museums of the past.
". . . 'Brandenburg Gate' is the title of a composition Dave wrote while in Berlin on a State Department tour in 1958. It was first recorded by the Dave Brubeck Quartet for 'Jazz Impressions of Eurasia.' It serves as the introductory piece in the present work scored for strings, French horn and jazz combo. The melody is first stated by the orchestra in a style similar to the original recording with additional contrapuntal material. Following this are short sections in which new themes are used in the orchestra part to invoke different moods and to present constantly fresh challenges to the improvisers. A ritornellc string background frequently recurs as a basis for improvisation in the various sections."
PROGRAM NOTES -continued
Brubeck completed his oratorio The Light in the Wilderness in 1967 The first performance took place in Cincinnati on February 29, 1968; Erich Kunzel conducted the Cincinnati Symphony Orchestra, the A Capella Singers of Miami University, and the Cincinnati F.cumenical Chorus; the composer was soloist.
This is the first performance in this series.
The score calls for full orchestra In the excerpts performed tonight, the orchestra is used as background for the improvisation.
It bears a dedication, "To Matthew, Daniel, Catherine, Christopher, Michael and Darius, for theirs is the generation of them that seek Him; and in memory of Philip." (Mr. Brubeck writes: "Those named in the dedication are my six children. Philip is my nephew, who died of a brain tumor a few days before his 16th birthday. The first part of the oratorio to be composed was the section called 'Let Not Your Heart Be Troubled.' which I wrote for my brother Howard and his wife, in Philip's memory.")
The three excerpts (out of 12) to be performed are Section II, IV, and V: 'Forty Days,' 'Sermon on the Mount." and The Kingdom.'
Dave Brubeck writes:
"The Light in the Wilderness, Part I, takes as its text the temptations of Jesus, his message of hope to a suffering world, and the summation of his teaching in the commandment to love one another. The baptism of Jesus was the dramatic sign for his mission to begin -and it was Jesus the Teacher I wanted to understand ....
"Jesus in the wilderness is only touched upon by the Synoptic gospels. Whatever went on in his mind during his solitary fast, it must have been a soul-searching beyond our imagination; and yet he must have asked basically the same question we all ask -Who am I This lonely search is what I tried to express in 'Forty Days,' played first solo piano as a hymn, followed by an introspective instrumental passage, much in the style of a Bach chorale in 54 meter. The same theme is repeated with a powerful brass chorale.
"The orchestration is purposefully very sparse with a repeated bass figure on a pedal D and primitive percussion instruments, setting a mood in keeping with the musical sounds of 2000 years ago. The melodic theme of 'Sermon on the Mount" is more complex. In the oratorio the Beatitudes are sung by the baritone soloist portraying Christ. However, in this performance the theme is played by Chris Brubeck on bass trombone.
" 'The Kingdom,' in which the orchestra swings like a jazz band, is suggestive of the multitude's reaction to the news of the Promised Land.
"When I see signs of the times in the streets, hear the songs of social protest, read the poetry of youth, they seem to portend a new era, perhaps even a new age. The Christian world had its age of Faith in the dim past when Faith is all we had. The age of Hope was ushered in by the Enlightenment and the optimistic expansion of Western (hence, Christian) civilization. In the accelerated pace of history, will the 21st century be known as the Age of Love"
When people ask why a jazz musician should attempt to write an oratorio, they invariably want to know what 'the persuasion' of my religious convictions is. To dispense with the last question first, altliough retired as a Presbyterian by a Christian Scientist mother who attended a Methodist church, and although this piece was written with the theological
counsel of a Vedanta leader, a Unitarian minister, an Episcopalian bishop and several Jesuit priests, 1 am not affiliated with any church. Three Jewish teachers have been a great influence in my life -Irving Goldman, Darius Milhaud, and Jesus. 1 am a product of Judaic-Christian thinking. Without the complications of theological doctrine I wanted to understand what I had inherited in this world--both problems and answers -from that cullnraI heritage. This composition is, I suppose, simply one man's attempt to distill in his own thought and to express in his own way the essence of Jesus' teaching. In fact, at one point I considered tilling this work 'The Temptations and Teachings of Christ.' (Dave Brubeck)
In a recent letter, the composer has written the following about this composition: "The cantata was commissioned by the Conservatory of Music of the University of Cincinnati and the Union of American Hebrew Congregations through the auspices of the Corbett Foundation. It was first performed October 19, 1969, at the dedication of Rockdale Temple, in Cincinnati, Erich Kunzel conducting, and was later recorded by Decca, again with Erich conducting the Westminster Choir of Princeton. The excerpt is taken from a passage entitled 'Open the Gates.'" This is the first performance in this series.
TRUTH...............DAVE BRUBECK
Brubeck completed this cantata in 1971 The first performance took place on May 1, 1971, in Midland. Michigan: Don Th. Jaeger conducted the Midland Symphony Orchestra and the Midland Music Society Chorale; the soprano soloist was Charlene Peterson; the rock group was New Heavenly Blue.
This is the first performance in this series.
The text was selected and adapted by Iola Brubeck. with original texts by Iola and Christopher Brubeck. The score calls for 2 flutes and piccolo, 2 oboes and English horn. 2 clarinets and bass clarinet, 2 bassoons and contrabassoon. 4 horns, 3 trumpets, 3 trombones and tuba, harp, organ, strings, rock group, chorus, and soprano soloist.
It bears a dedication to "Darius, Michael, Christopher, Catherine, Daniel and Matthew -in their search for truth."
The composer wrote the following annotation for the Midland premiere: "We are told that we live in an age where established mores have crumbled and are wearing away, and new acceptable mores have not been found. Therefore, adults arc lost and youth is bewildered in a maze of choices. The setting has changed, and the name tabs on our index of problems may be different, but the passages chosen from Isaiah, which comprise most of the text of the 'Truth' cantata, are so parallel to our times that one reads them as a commentary on the daily news. 'We wait for light, but behold obscurity. We wait for brightness, but walk in darkness' defines, in a most compelling manner, the paralyzed state of our collective soul.
"We were once the idealistic, Utopian-dreaming, 'good' Americans. We survived the trauma of World War II, endured the anxieties of the cold war and adapted to the age of technology. But in the process of enduring and surviving and adapting, what have we lost We have so long tolerated inequities; we have so long ignored our birthright of freedom, keeping it buried in a tomb of hollow patriotism; we have so long endured the stifling of our free spirit for the preservation of the system, that we were capable of ignoring the cries of our own people in
PROGRAM NOTES -continued
the ghettoes and in the fields, could ALLOW the slaughter of our soldiers and innocent civilians in a remote war in Indo-China, ALLOW the slaying of our young on city streets and college campuses. What have we become
"The multiple tragedies that have occurred in those awful years between the assassination of John F. Kennedy and the slayings at Kent State and Jackson. Mississippi, and so overwhelming that only the words of an Isaiah or a Jeremiah could define my feeling. 'Truth is fallen in the street and equity cannot enter.' It is a brutal indictment of our time, and is the pivotal point of the composition.
"Of course, there are other reasons for writing this piece. My son, Christopher, brought the idea home to me after he had talked to Don Jaeger about the Midland Arts Center dedication, and the possibility of someone writing music which would combine the various musical interests of the community -the symphony, the chorus, and why not represent youth with a rock group Indeed, why not What is the message that comes to us through 'rock' And how does it differ from the more traditional, dare we say 'established' forms The immediacy and excitement of 'rock,' counter-balanced with the architectural solidity of the parts of chorus and orchestra, did seem to symbolize, if not the generation gap, at least an attitude gap. Perhaps, by contrast, each could define the other, and reflect to each other their common origin in the human spirit.
"From the opening bars, I have tried to show that the disillusionment and the alienation of the young AND the old are centered in war and its many tentacle-like ramifications into society. The piece opens with the rock group and the orchestra, while retaining their own identities, making music together. This rather joyous balance blooms briefly. Then, chaos and fragmentation move in with the forces of destruction, here represented by military drums. They are not just American drums we hear, but the anti-life force of the world, which inevitably, in every society which allows it to dominate, destroys the trust that binds generations, nations, and cultures together.
"The role of the soprano soloist is that of a visionary, who can see with clarity through confusion and define with precision the reality behind the event. Her words are Isaiah's, who watched his own nation through a time of anguish; and with Isaiah, she agonizes for her people; but she does not despair, nor does she become a Cassandra, prophesying doom. Her vision remains fixed upon truth, and the hope is in man's capacity to respond to truth. In her opening solo, "Merciful Men Are Taken Away,' she summarizes how we have arrived where we are, in matters as varied as race relations, ecology, foreign policy and domestic order. The chorus speaks for all of us who wait for light, little realizing that it is within our capacity to be as a light. When the soloist weeps for the slain of her people, she speaks not only literally, but also figuratively for the survivors, who have become as dead souls. Isaiah said of his time, 'There was no man. There was no intercessor and the Lord was astounded.' We have looked to our leaders and have seen them taken away. Now we must look into ourselves for salvation and act upon our own conviction.
" 'Speak Out!' departs from the Biblical text and, as the title indicates, presents in rhythmic speech the case for rational humanism, which is followed by
an emotional outburst from the rock group. The young people themselves are divided between the militant revolutionary and the idealistic visionary. Neither shouted slogan nor euphoric dream can awaken the torpid conscience of a sleeping nation. The seeds are sown, but the collective soul is deaf to the cries and blind to the vision. In a sad duet with the youthful dreamer, the soloist sings from Jeremiah, 'The harvest is past . . . and we are not saved.'
"The chorale, 'Yea, Truth Faileth' returns to the text of Isaiah. In it, conscience is stirred, guilt accepted, and betrayal of Self (therefore, betrayal of humanity and God) is recognized. It is the beginning of rebirth, and a youthful search for 'Truth' begins in a galactic setting, where no star seems fixed, no truth absolute, no fact provable for all circumstances at all times. In the age of relativity, what is truly relevant All experience seems to be rooted in the microcosmic self, adrift in the spinning macrocosm. Why
"Again, voicing the words of Isaiah, the soprano, with authority and gentle humor, reminds clamoring youth and confused elders that it is they who cannot hear the voice of God, nor see his hand at work, because, the prophet explains, "Your iniquities have separated you from your God.' Then, urging gently, as a mother arousing her sleeping child points to the morning light, she sings, 'Arise! Shine! Lift up thine eyes round about and see, for thy light is come.'
"Essentially, our agony is that of the human spirit struggling to be itself. The divine spark that ignites love and human compassion is within each of us. How do we stir it How do we make it glow Isaiah says we must first acknowledge our kinship to other men by feeding the hungry, but we must do so with love; then, we must satisfy the afflicted soul. When we are one with all, then shall our darkness be as noonday.
"It is this connective web that binds all life and all matter together that I hoped to convey throughout the music. There is a deliberate interrelatedness between the performing groups and between various sections of the piece, which may not be obvious, at first. Most of the thematic material in the composition is related to the tone row in the first two bars of the prelude. It appears over and over in many disguises -fragmented, in retrograde, in diminution, and in augmentation. Even the 'pop tune," Truth' which identifies the rock group, is taken from the twelve-tone counter-subject of the fugue, 'Truth is Fallen.' The analytical listener will discover that the fugue subject itself is a tone row, constructed so that within the twelve notes of the octave that it encompasses, it will always conveys the feeling of falling. Conversely, the same subject used in retrograde in 'Arise! Shine!' always has the feeling of rising. In the 'awakening' section of the final piece, the fugue subject in its original form is in the bass line, falling away, while simultaneously the chorus is singing the retrograde subject in a melodic line that seems to rise.
"I see signs that our conscience has been stirred, and our benumbed consciousness awakened, and the first struggle to arise has been felt. I wanted to end the piece, which is filled with such sadness and violence, with a sense of joy and an awareness and anticipation of life. The young voices sing 'And the glory of the Lord is risen upon thee. Lift up thine eyes round about and see. Sing, O heavens! And be joyful, O earth!' and all voices rise together, 'For ye shall go out with joy and be led forth with peace.' "
Dave Brubeck needs no introduction to Detroit-area audiences, for he is familiar through his recordings and through many local appearances. Born in southern California, he played the piano in jazz bands as a boy and later studied with Darius Milhaud at Mills College, and with Arnold Sehoenberg in Los Angeles. He formed his famous Quartet after World War II and was a regular feature of the Newport Jazz Festival -in addition to touring the world.
Recently he and his sons have been appearing with symphony orchestras, exploring the possibilities of a contemporary music combining jazz and more (and even less!) traditional styles; this is their debut with the DSO. The "Sons" are Chris, Dan, and Darius, trombone, drums, and keyboard respectively, insofar as they can be pinned down.
Erich Kunzel, who is Resident Conductor of the Cincinnati Symphony Orchestra, conducted the Dccca recording of Brubeck's The Light in the Wilderness. He is also well known for his opera conducting. He has made several other recordings including albums with Duke Ellington and with Brubeck, and has toured the Far East and Europe conducting the Cincinnati Symphony. This week marks his DSO debut.
Don Th. Jaeger, Musical Director and Conductor of the Midland Symphony Orchestra since 1969, made his DSO debut on March 19, 1972, and conducted a pair of school concerts early last spring. A native of Oklahoma, he was first an oboist, and as an oboe teacher was a charter member of the Intcrlochen faculty in 1962. He conducted the premiere of Brubeck's Truth in Midland in May 1972.
Ciiarlene Peterson was the soprano soloist in the premiere of Truth. She appeared with the Detroit Symphony Orchestra in Bach's B minor Mass at Meadow Brook in 1966.
New Heavenly Blue, headed by Chris Brubeck, was first formed at the Interlochcn Arts Academy, and now bases itself in Ann Arbor. The other five members are Peter Whyte Bonisteel, Jimmy Cathcart, Steve Dudash, David 'Spaceman' Mason, and Peter "Madcat' Ruth, and between them they manage the resources of a 25-piece band.
Festival Chorus of the University of Michigan Choral Union
Donald Bryant, Director Nancy Hodge, Accompanist
Jeanette Brock Karen Brown Margo Calvo Elaine Cox Phyllis Denner Linda Fenelon Gladys Hanson Karen Klepack Kathleen Molony Beth Pack Mary Ann Sincock Anne Swartzentruber Norma Ware
Tracy Allen Kathy Aprill Meta Ayers Kathy Berry Laurie Greig Alice Horning Marilyn Kolasa Janisse Lifton Frances Lyman Cindy Maher Margaret Owen Sara Peth Janet Poston Patricia Tompkins
Judie Adams Susan Anderson Marion Brown Lael Cappaert
Sally Carpenter Robin Freedman Kathryn Green Ellen Gross Nancy Karp Nancy Keppelman Geraldine Koupal Joann Kratzmiller Kirsten Lietz Donna Myers Lois Nelson Sally Rogers Carol Wargelin Christine Wendt Charlotte Wolfe
Marge Baird Mary Haab Joan Hagerty Nancy Ham Hilary Kayle Elsie Lovelace Rita Messenger-Dibert Linda Ray' Beverly Roeger Katie Stebbins Nancy Williams Johanna Wilson
Alan Cochrane Tim Dombrowski Marshall Grimm Myron Gross Paul Lowry Robert MacGregor
Dennis Mitchell Robert Sauser Marc Setzer Arthur Vidrich
Martin Barrett Merle Galtaraith Donald Haworth Thomas Hmay Dwight Klettke David McCarthy John Pelachyk
FIRST BASSES Viktors Berstis Frank Couvares John Eastman Thomas Hagerty Edgar Hamilton Jeff Haynes K. John Jarrett Klair Kissel Steven Olson Terril Tompkins Riley Williams
Neville Allen Howard Bond Richard Linowes John Mclntire Gregg Powell George Rosenwald Wallace Schonschack Tom Sommerfeld
PROGRAM NOTES -continued
You asked for remarks about my general musical style and I think the simplest thing to say is that I am primarily a jazz musician and as such have been very eclectic in my approach to music. It does not bother me to juxtapose or overlay jazz with a Bach chorale, for example, or mix rock with oilier more traditional styles. 1 once had a literature professor who used to tell us, 'We are the sum of all our past.' I believe this. Everything we hear, see, feel and take into ourselves, finds its place in our expression. I believe strongly in music as a means of communicating that strange amalgamation of human experience that cannot be verbalized or codified, but must be abstracted. (Dave Brubeck)
(Isaiah 57:1. 59:6-8)
The righteous pcrishcth, and no man layeth it to heart:
and merciful men are taken away.
The act of violence is in their hands.
Their feet run to evil;
they make haste to shed innocent blood:
their thoughts are thoughts of iniquity;
wasting and destruction are in their paths.
The way of peace they know not;
there is no judgment in their goings:
they have made them crooked paths:
whosoever goeth therein shall not know peace.
III TRUTH IS FALLEN (Chorus) (Isaiah 59:9-11, 14)
We wait for light, but behold obscurity;
for brightness, but we walk in darkness.
We grope for the walls like the blind, as if we had no eyes:
we stumble at noon day as in the night;
for we are in desolate places as dead men.
We roar all like bears,
and mourn sore like doves:
we look for judgment, but there is none:
for salvation, but it is far off from us.
Fugue For truth is fallen in the street, and equity cannot enter.
Oh that my head were waters, and mine eyes a fountain of tears that I might weep day and night for the slain of my people.
V SPEAK OUT! (Chorus)
The time has come for men everywhere to speak the truth and equally to share
the joy, the pain, glory and shame
of deeds we've done to glorify the name
of God, Man, nation and creed,
forgetting love and everybody's need
for justice, kindness, mercy and truth.
So hear your conscience speaking through the youth;
and heed their voices when they should call.
Read the signs. The writing's on the wall.
Feel the winds blowing at your back!
Move on! Move on! There's no turning back.
Speak out! Speak out! 'Till all men are free,
and not divided friend and enemy!
No walls, labels, cutting like a knife!
One race, one truth, celebrating life!
We're breaking down the walls!
We're marching round and round!
Like Joshua at Jericho, we'll crumble walls with sound.
The noise you hear is revolution.
Tear it down is our solution!
Come on, ev'rybody, can't you see
We've got to live together peacefully.
Jefferson and Lincoln wrote the words to our song.
If we listen to the Constitution, freedom is strong.
Come on, ev'rybody! Sing a freedom song! The whole world is watching! Make right the wrong!
We're breaking down the walls! We're tearing down the halls! Then, tell me who is equal Power to the people!
No more false diplomacy! We'll live together peacefully. Equal rights for ev'ryone, in pursuit of happiness.
We're breaking down the walls! We're tearing down the halls! I have a friend that's bleeding. Someone was misleading.
I called and no one answered, cried and no one came.
L spoke and no one listened. No one heard when I called his name.
The harvest is past, the summer is ended, and we are not saved.
PROGRAM NOTES -continued
(Isaiah 59:15, 16, 4, 12)
Yea, truth faileth.
Justice is far off. There was no judgment. There was no man.
There was no intercessor.
None pleadcth for judgment; none plcadeth for truth.
Our transgressions multiply before thee;
our sins testify against us;
our transgressions are with us;
and our iniquities, we know them.
Yea, truth faileth. Justice is far off.
VII ROCK SOLO (Chorus background)
In and out and everywhere planets are spinning . . .
I've searched for truth and found despair.
Hear me, and listen, and help me to try;
For we've got to find it, before we all die.
Truth! Truth! planets are spinning . . .
When and where; oh tell me why!
Why you why me Why live, why die
"Ask me no questions. I'll tell you no lies."
Is all that I hear from the echoing skies.
Why Why planets are spinning . . .
Planets spinning,
World evolving.
Men are sinning,
Not resolving.
Stars are turning
Without resting.
Men are yearning
And protesting
Why Why planets are spinning . . .
Why the sun, the earth, the sea,
And stars that light infinity
All that we measure we measure by man.
So how do we know if we're part of a plan
Truth! Truth! planets are spinning . . .
Mirror, water, polished stone,
All eyes I see reflect my own.
Thunder and wind and the roar of the sea
Are voices of truth, and the truth is in me.
Planets spinning . . . Revolution . . . Are we winning
Evolution Are we shrinking Are we growing Arc we thinking Where we're going
Truth! Truth! Truth! planets are spinning Truth is in me.
Planets turning, spinning, whirling.
Matter churning. Ions hurling.
Suns arc whirring. Comets crashing.
Life is stirring. Atoms smashing.
Whirling, hurling, turning, churning, whirring,
stirring, learning, yearning, Skies are wheeling Void of feeling. Space is reeling. Men are kneeling.
VIII IS THE LORD'S HAND SHORTENED (Soprano) (Isaiah 59:1, 2)
Is the Lord's hand shortened, that it cannot save
Is his ear heavy, that it cannot hear
Your iniquities have separated between you and your God.
Your sins have hid his face from you, that he will not hear.
IX ARISE! ARISE! (Soprano and Chorus) (Isaiah 59:9-11; 60:4, 1, 20; 58:10; 55:12)
We wait for light We behold obscurity We grope for the walls like the blind; as if we had no eyes. We stumble at noon day, as in the night; for we are in desolate places as dead men. We roar all like bears. We mourn sore like doves. Arise, shine, for thy light is come!
Lift up thine eyes round about and see.
Arise! Shine!
For thy light is come.
Thy light shall rise in obscurity,
thy darkness be as noon.
Thy sun shall no more go down;
neither shall thy moon withdraw itself.
Arise! Arise! Arise!
Draw out thy soul to the hungry,
satisfy the afflicted soul;
then shall thy light rise in obscurity
and thy darkness be as noon day.
And the glory of the Lord is risen upon thee. Lift up thine eyes
round about and see! Sing, Oh, heavens; and be joyful. Oh earth! And break forth into singing.
For Ye shall go out with joy and be led forth with peace!
Sunday afternoon, January 20 at 3:30 (Kresge "Omnibus" Family Concert)
VIRGIL FOX, organist
BEETHOVEN Overture to "Fidelio"
Organ demonstration by Mr. Fox
Symphonie Concertante for Organ and Orchestra Symphony in D minor
Thursday evening, January 24 at 8:30 Saturday evening, January 26 at 8:30
ALDO CECCATO, conductor
Men's Chorus from the RACKHAM SYMPHONY CHOIR
A Faust Overture Faust Symphony
Sunday evening, January 27 Cleary Auditorium, Windsor 8 p.m. Windsor time (9 p.m. Detroit time)
Overture to "Fidelio"
Ah! perfido
Liebestod from "Tristan und Isolde"
Symphony No. 4
Thursday evening, January 31 at 8:30 Saturday evening, February 2 at 8:30
ALDO CECCATO, conductor RUDOLF SERKIN, pianist
Piano Concerto No. 1 Symphony No. 3
Sunday evening, February 3 at 8 o'clock Eastern Michigan University Pease Auditorium, Ypsilanti
ALDO CECCATO, conductor JOSEPH GURT, pianist
A Faust Overture
Piano Concerto No. 1
Symphony No. 9, "From the New World"
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