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UMS Concert Program, October 9, 1974: Concentus Musicus, Vienna -- Nicholas Harnoncourt

UMS Concert Program, October 9, 1974: Concentus Musicus, Vienna -- Nicholas Harnoncourt image UMS Concert Program, October 9, 1974: Concentus Musicus, Vienna -- Nicholas Harnoncourt image UMS Concert Program, October 9, 1974: Concentus Musicus, Vienna -- Nicholas Harnoncourt image UMS Concert Program, October 9, 1974: Concentus Musicus, Vienna -- Nicholas Harnoncourt image
Day
9
Month
October
Year
1974
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Rights Held By
University Musical Society
OCR Text

Concert: First
Complete Series: 3894
Rackham Auditorium, Ann Arbor, Michigan

The University Musical Society
of
The University of Michigan
Presents
Concentus Musicus, Vienna
NICHOLAS HARNONCOURT, Leader
Wednesday Evening, October 9, 1974, at 8:30 Rackham Auditorium, Ann Arbor, Michigan
PROGRAM
Concerto Grosso in F major......Georg Friedrich Handel
(16851759) Andante, allegro Andante Allegro Minuetto alternative
Concertino per 4 Violini, Violetta, Violone e Basso continuo, No. 4 in F minor........Giovanni Battista Pergolesi
(17101736) Largo
A Cappella: presto A tempo commodo A tempo giusto
Quartetto del Gardellino..........Antonio Vivaldi
(16781741) Allegro Cantabile Allegro
INTERMISSION
Concerto a 4 Violini senza Basso.....Georg Philipp Telemann
(16811767) Largo e staccato Allegro Adagio Vivace
Overture in C major, "Das Meer".....Georg Philipp Telemann
Overture (Grave, Allegro, Grave) Harlequinade, der schertzende Tritonus
Sarabande, die schlafende Thetis Der stuermende Aeolus
Bourree, die crwachende Thetis Menuet der angenehme Zephir
Loure, der verlicbtc Neptunus Gigue, Ebbe and Fluth
Gavotte Canaric, die lustigen Boths Leute
Teleftmkcn Records
First Concert Twelfth Annual Chamber Arts Series Complete Programs 3894
PROGRAM NOTES
Concerto Grosso in F major......Georg Friedrich Handel
Handel's concerti grossi were already known in the 18th Century as "Oboe Concertos," though the oboes are not presented in the manner of a solo concerto. But of course the concerto grosso was normally written for strings, whereas these concerti have obligato, and in some movements even solistic passages for the oboes. These concerti grossi are already far removed from the original Corelli type, in which a fixed "concertino" group is pitted against a large orchestra with which it debates musically; aside from this, the earlier concerti were written in the style of the church sonata, with the pattern of movements slowfast, slowfast. Handel's Concerti Opus 3 also abandon the old formal pattern and incorporate in the order of movements elements of the other major type of baroque instrumental music, the suite. The introductory move?ment AndanteAllegroLentamente is a strict French ouverture (normal first move?ment of a suite) with sharply dotted rhythms in the opening and closing sections and a fugal middle section. The next two movements, Andante and Allegro, are Italian sonata movements of the Vivaldi type, with solo parts for oboes and violins. The piece ends with a pair of minuets, the favored closing of the French suite. In other words, a new unity of form which later in the history of music was to become even more intimately fused.
Concertino No. 4 in F minor.....Giovanni Battista Pergolesi
The Concertino in F minor is one of a collection of "Sei Concertini" which cannot be definitely ascribed to any particular composer, but many factors point to the pos?sible authorship of Pergolesi. In any case, the form of the work is highly inventive and suggests a great master. The fusion of soli and tutti in a sixvoice string style, and also the use of Palestrina motives gives a very historical effect; on the other hand the struc?ture and various "galant" melodic turns foreshadow the future.
QUARTETTO DEL GARDELLINO.........ANTONIO ViVALDI
The baroque era was full of theatricalism. One tried to imagine what one wasn't, one imitated imaginary models. No wonder then that programmusic, music as por?trayal or imitation of something nonmusical, was particularly cultivated at this time. One of the most ingenious masters of this genre was Antonio Vivaldi. In his concertos he attempted to depict feelings of certain situations; Christmas spirit, seasons, at the Holy Sepulcher. Of course the artful imitation of bird songs was particularly popular, because one had to attempt a direct transfer of unordered natural sounds into musical motives, which can be especially charming if the model is really recognizable. In this piece we have the portrayal of a goldfinch by the flute. First its song is demonstrated in free, almost improvisatory cadences, before it is fitted into the rest of the work in an ingenious rhythmical version. Violin and oboe answer, as if portraying the other birds of the forest. The second movement, a flute solo with improvised ornamentation in the repeats, is a landscape painting, a romantic impressionistic picture--motives of the goldfinch song from the first movement provide the inspiration.
The last movement is a virtuoso finale.
Concerto a 4 Violini senza Basso.....Georg Philipp Telemann
Telemann's Concerto in G major for four violins, i.e. for four melody instruments, is a logical extension of the solo literature for single instruments without bass which was popular at the time; Telemann himself had written a large number of sonatas and suites for one or more violins or flutes. The four violins are treated as full equals; the effect is that of a competition in which the one violin trys to outdo the other, in which melody and bass function jump from one instrument to the other. The apparent disadvantage of having a quartet made up of four equal instruments becomes the special attraction of the piece; Telemann takes advantage of the necessary close harmony to play with daring harmonic colors.
Suite in C major.........Georg Philipp Telemann
The Suite in C major shows Telemann as one of the most original composers of the baroque period. Since he spent most of his life as music director in Hamburg, this "Maritime Scene" was probably written for some marine celebration. By sophisticated alternation of the solo wind instruments, their contrasting characters are brought out: charming triplets of the recorder depict the sleeping Thetis, and gay naivete char?acterize her awakening. The enamored Neptune strikes a chivalrous tune in Loure and Gavotte (flute) which is mocked in the cheerful song which Triton blows on his seashell (bassoon). The Aeolusstorm gives an opportunity for a "modern" crescendo effect with aggressive sounding oboes, after which Zephir gently whispers (recorder). The ebb and flow of waves is expressed by dynamically undulating triplets, and the piece concludes with a rough sailor's dance.
The Musicians and their Instruments
Violin -Jacobus Stainer, Absam 166S.........Alice Harnoxcourt
Violin -Matthias Albanus, Bozen 1712..........Walter Pfeiffer
Violin -Jacobus Stainer, Absam ca. 1660........Peter Schoberwalter
Violetta -Matthias Thier, Vienna 180S..........Josef de Sordi
Tenor Viola -Tirol 17th Century............Kurt Theiner
Violoncello -Andrea Castagneri, Paris 1744.......Nicholas Harnoxcourt
Violonc -Reinhard Osscnbrunner, Bremen 1974........Eduard Hruza
Flauto traverso -A. Grenser, Dresden ca. 1750........Leopold Stastny
Oboe -V. Paulhahn, Germany ca. 1720.........Juerg Schaeftlein
Oboe -P. Hailperin, Vienna 1974...........Paul Hailperin
Bassoon -Tauber, Vienna 18th Century..........Milan Turkovic
Harpsichord.................Herbert Tachezi
BOARD OF DIRECTORS
Gail W. Rector, President Richard S. Berger Peter N. Heydon
Marian Mati'liiT, Vice President Allen P. Britton Wilbur K. Pierpont
Erich A. Walter, Secretary Douglas D. Crary Sarah G. Power
E. Thurston Thieme, Treasurer Robbcn W. Fleming
INTERNATIONAL PRESENTATIONS197475
Choral Union Series Hill Auditorium
Warsaw National Orchestra.......Thursday, October 17
Gewandhaus Orchestra from Leipzig.....Wednesday, October 23
Soviet Georgian Dancers and
Tbilisi Polyphonic Choir...... Sunday, November 24
Detroit Symphony Orchestra.......Saturday, January 11
American Symphony Orchestra......Sunday, February 9
Strasbourg Philharmonic Orchestra.....Saturday, March IS
Boston Symphony Orchestra........Saturday, April S
Spanish RTV Symphony Orchestra of Madrid . . . Friday, April 11
Great Performers Series -"Pianists" Hill Auditorium
Andre Watts...........Wednesday, October 16
Vladimir Ashkenazy.........Wednesday, March 19
Emil Gilels............Sunday, April 13
Two Added Attractions Hill Auditorium
Festival Chorus and Ann Arbor Symphony .... Friday, October 11 National Chinese Opera Theatre......Sunday, November 10
Choice Series Power Center
Alvin Ailey American Dance Theater . . . Friday, Saturday, Sunday,
October 18, 19 & 20
Gregg Smith Singers.........Tuesday, October 22
Pennsylvania Ballet.........Saturday and Sunday,
October 26 & 27
Slask, Folk Company from Poland.....Wednesday, October 30
Jaques Loussier Trio, Jazzmen "Play Bach" . . . Saturday, November 2
Carlos Montoya, Flamenco Guitarist.....Tuesday, November 19
Guarneri String Quartet and Gary Graffman, Pianist Wednesday, January 8
Marcel Marceau, Pantomimist.....Friday, Saturday, Sunday,
January 10, 11 & 12
Moscow Chamber Orchestra.......Tuesday, February 11
Goldovsky Opera Theater.......Thursday, February 13
Harkness Ballet of New York......Thursday, February 20
Moscow Balalaika Ensemble and Ludmila Zykina . Monday, February 24
Paul Taylor Dance Company......Wednesday, March 12
Preservation Hall Jazz Band.......Wednesday, April 9
Chamber Arts Series Rackham Auditorium
Esterhazy String Quartet.......Thursday, October 24
Cleveland String Quartet......Wednesday, November 13
Juilliard String Quartet........Tuesday, December 3
Syntagma Musicum, from Amsterdam .... Thursday, January 23
Tokyo String Quartet.........Sunday, February 2
JeanPierre Rampal, Flutist, and
Robert VeyronLa Croix, Keyboard .... Tuesday, February 18 Ars Antiqua de Paris.........Saturday, March 29
Asian Series Rackham Auditorium
Heen Baba and Dance Ensemble, Sri Lanka . . . Sunday, October 13
Chhau, Masked Dance of Bengal.....Saturday, February 22
Qawwali Music from Pakistan.......Sunday, March 16
Single tickets now on sale; limited series still available. Inquire at our Burton Tower office ?-Phone 6653717
UNIVERSITY MUSICAL SOCIETY
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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