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UMS Concert Program, February 28, 1974: Netherlands Wind Ensemble --

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Concert: Seventh
Complete Series: 3868
Rackham Auditorium, Ann Arbor, Michigan

The University Musical Society
The University of Michigan
Thursday Evening, February 28, 1974, at 8:30 Rackham Auditorium, Ann Arbor, Michigan
Petite symphonie..............Gounod
for flute, 2 oboes, 2 clarinets, 2 French horns, and 2 bassoons
Adagio et allegretto
Andante cantabile
Finale, allegretto
Serenade No. 12 in C minor, K. 388.........Mozart
for 2 oboes, 2 clarinets, 2 French horns, and 2 bassoons
Menuetto, in canone
Chanson et dances, Op. SO (1898).........D'Indy
for flute, oboe, 2 clarinets, French horn, and 2 bassoons
Chanson Danses
Serenade in D minor, Op. 44...........Dvorak
for 2 oboes, 2 clarinets, 3 French horns, 2 bassoons, contrabassoon, cello, and double bass Moderato, quasi marcia Menuetto, trio Andante con moto Finale, allegretto molto
Seventh Concert Eleventh Annual Chamber Arts Scries Complete Programs 3868
Petite symphonie (1888)..........Charles Gounod
Charles Gounod was far the most successful opera composer of midninetcenthcentury Paris. He studied under Antonin Reicha (a friend of Beethoven and Haydn, and also the teacher of Liszt, Berlioz, and Franck) and later at the Paris Conservatoire under Halevy and Lcsueur. He first became known outside his native land when he won the Conservatoire's coveted Rome Prize in 1S39. During his three years in Rome, he studied the Italian opera and old Italian church music, particularly the works of Palestrina. On his return to Paris, he became an organist. Intending at first to become a priest, Gounod composed little of importance until his opera Sapho appeared in 1851. He composed chiefly operas after this, of which Faiist (1859) enjoyed phenomenal success.
The strength of Gounod's music comes principally from the composer's gift for melody. The lyrical flow is carried along on easy, flexible rhythms. A gentle, melancholy smile seems to pervade many of his scores. The Petite symphonie for nine wind instruments offers a very good example of this. The composer wrote it at the age of sixtynine for the "Societe de musique de chambre pour instruments a vent," a distinguished wind ensemble of the day.
The first movement begins with a slow introduction, Adagio, which is developed out of a characteristic fournote motif, which forms the nucleus of the main theme of the succeeding Allegretto. It is extended here with an attractive rhythmical phrase, which returns again in the Finale. The compositional style shows clearly that an opera composer is at work. The second move?ment, Andante cantabile, is built of suavely melodious cantilenas. In the Scherzo the composer has given the horns two considerable solos; the horncall figures which introduce the movement, and the obstinately reiterated dissonant seconds, which are so attractive in the middle section. This amiable chamber work ends with a very happy and lively Finale.
Serenade No. 12 in C minor, K. 388.......W. A. Mozart
In about 1782 Mozart wrote an octet for wind instruments, two oboes, two clarinets, two horns, and two bassoons, and in that form it is one of his finest works. The title "Serenade" is misleading, for this is no occasional piece to be performed out of doors, even though it was commissioned for such a purpose. The work contains the four movements usually found only in the more serious quartets and symphonies. Its dark color, its many gloomy moments, the contrapuntal genius shown especially in the minuet, the flares of passion, are all inappropriate for a serenade. Why Mozart later arranged the work for string quartet is not known with certainty. Einstein assumes that the four quintets of 178791 were written with an eye to dedicating a set of six to Frederick William II (hence the prominence of the cello parts in several of the works) and that "to hasten the achieve?ment of that goal he even arranged one of his own wind serenades as a quintet--surely against his artistic conscience." The quintet version is known as the only category that extends from his earliest years to the time of his fullest maturity.
Chanson et danses, Op. SO (1898).......Vincent D'Indy
The French composer Vincent D'Indy was the most famous of Cesar Franck's pupils and his music continued in the traditions of the great French master. His style owes much to both Bach and Beethoven, in addition to Gregorian Chant and the medieval masters such as Palestrina and Josquin. D'Indy's recognition as a composer came in 1SS6, when he was thirtyfive years old, with the premiere of his dramatic legend Le Chant de la cloche, which had won him the City of Paris Prize the preceeding year. From then until his death in 1931 he produced a vast amount of music, including over twenty works for full orchestra, a medium in which he was perhaps most successful, theatrical works, and numerous compositions for piano, voice, and various instrumental combinations. Although D'Indy's chamber music style was highly influenced by a number of composers, his work still exhibits a profound originality.
Serenade in D minor, Op. 44.........Antonin Dvorak
Antonin Dvorak came from the lowlands of Bohemia, and was only able to develop his talents slowly and with considerable personal sacrifice. Although he heard only simple music as a boy, his interest was aroused and he had some lessons in violin and later piano and organ. When he was sixteen he went to Prague to study at the organ school there. For years he lived in poverty, earning a pittance by playing the violin in a cafe orchestra. In 1862, he joined the orchestra of the newly founded National Theatre of Prague, under Smetana.
On the recommendation of Brahms and the influential critic Hanslick, he was awarded a small state pension, which, together with a good position as a church organist, enabled him to give more time to composition. Brahms also recommended Dvorak to his own publisher and, as the younger composer's music became known, his career advanced rapidly.
The Serenade, Op. 44 was written in 1878, the year in which the composer's prospects rapidly began to improve. It is not only a delightfully cheerful work, but also a fine example of his typical manner of composition. The formal structure and scoring are reminiscent of the cassations of the Rococo and Classical periods--entertainment music for openair performances. Yet with apparently simple means, Dvorak has produced a work of exceptional tonal attractiveness. Ingenuity of design, with the principal themes of all four movements marked by a leaping fourth, gives it a perfect formal balance.
The first movement is an almost ceremonial march with a hint of Baroque pomp. The second movement is entitled "minuet," but it is actually a sousdekd, a graceful Bohemian folk dance in slow triple time, often danced as a change after the furiant, which is also in triple time but very lively and with a characteristic crossrhythm effect. The middle section of this movement, an exhilarating Presto, is, in fact, marked by syncopated furiant rhythms.
The slow third movement, Andante con moto, with its lovely extended cantilenas, provides a moment of repose before the entry of the happy, dexterous Finale, In which, to round off the work, the march of the opening is heard once more.
Paul Verhey Werner Herbers Carlo Ravelli George Pieterson Hans Ottor Hans Mossel Geert v. Keulen Joop Meijer
i man soeteman Jan Peeters Nico v. Vliet Joep Terwey Kees Olthius Tom Kerstens Wim Straesser Anthony Woodrow
An Evening of Viennese Operetta.....Friday, 8:30, March 1
Franz Lehar Orchestra, singers and dancers of the Vienna State Opera and Vienna Volksoper, present "Forever Yours."
Vienna Choir Boys.........Monday, 8:00, March 11
Yehudi Menuhin, Violinist, and
Hephzibah Menuhin, Pianist .... Wednesday, 8:30, March 13 Brahms: Sonata No. 3, Op. 108; Bach: Solo Partita No. 3; Beethoven: Sonata No. 7, Op. 30, No. 2.
Norwegian National Ballet......Saturday, 8:00, March 16
and Sunday, 3:00 and 8:00, March 17
Romero Quartet, Guitarists......Wednesday, 8:30, March 20
Interlochen Arts Academy Orchestra .... Sunday, 3:00, March 24 Thor Johnson, Music Director
Milhaud: Suite provencale; Debussy: La Mer; Revueltas: Sensemaya; Elgar: Enigma Variations.
Roumanian Folk Ballet.......Friday, 8:00, March 29
Kathak Dancers, North India......Wednesday, 8:30, April 3
Early Music Consort of London......Saturday, 8:30, April 13
Nikolais Dance Theatre........Thursday, 8:00, April 18
and Friday, 8:00, April 19
81st Ann Arbor May Festival
Four concerts--May 1, 2, 3, and 4
THE PHILADELPHIA ORCHESTRA, Eugene Ormandy, Conductor THE UNIVERSITY CHORAL UNION, Jindrich Rohan, Guest Conductor
Yeiiitdi Menuhin, Violinist; Beverly Sills, Soprano; Byron Janis, Pianist;
Janice Harsanyi, Soprano; Joanna Simon, Mezzosoprano;
Kenneth Riecel, Tenor; Michael Devlin, Bass.
Wednesday, May 1. Beethoven: Symphony No. 4 in Bflat; Lutoslawski: Livre pour orchestra; Brahms: Violin Concerto in D, Yehudi Menuhin, violinist
Thursday, May 2. CouperinMilhaud: Overture and Allegro from La Sidtane; Bizet: Symphony in C; SaintSaens: Piano Concerto No. S in F major, Byron Janis, pianist; Debussy: Iberia
Friday, May 3. Dvorak: Requiem Mass: University Choral Union; Janice Harsanyi, soprano; Joanna Simon, mezzosoprano; Kenneth Riecel, tenor; Michael Devlin, bass
Saturday, May 4. Shostakovich: Five Pieces for Small Orchestra; Haydn: Symphony No. 88 in G major; Mozart: "Exsultate, jubilate"; Charpentier: "Dupuis lc jour" from Louise; Donizetti: Final Scene from Anna Bolena, Beverly Sills, soprano; Respighi: Roman Festivals
Single concert tickets from $3.50 to $10.00
Burton Memorial Tower, Ann Arbor, Michigan Phone 6653717
The University Musical Society relies on public support in order to maintain the scope and artistic quality of these programs. Taxdeductible contributions to our Gift Program are welcome.

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