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UMS Concert Program, September 16, 1976: The Israel Philharmonic Orchestra --

UMS Concert Program, September 16, 1976: The Israel Philharmonic Orchestra --  image UMS Concert Program, September 16, 1976: The Israel Philharmonic Orchestra --  image UMS Concert Program, September 16, 1976: The Israel Philharmonic Orchestra --  image UMS Concert Program, September 16, 1976: The Israel Philharmonic Orchestra --  image
Day
16
Month
September
Year
1976
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Rights Held By
University Musical Society
OCR Text

Concert: First
Complete Series: 4005
Hill Auditorium, Ann Arbor, Michigan

The University Musical Society
Presents
The Israel Philharmonic Orchestra
ZUBIN MEHTA, Music Adviser and Conductor CHAIM TAUB, Violinist
Thursday Evening, September 16, 1976, at 8:30 Hill Auditorium, Ann Arbor, Michigan
PROGRAM
Overture to "Leonore" No. 3, Op. 72a........Beethoven
Concerto No. 1 in D major for Violin and Orchestra, Op. 19 . . Prokofiev
Andantino Vivacissimo Moderato
Chaim Taub
INTERMISSION
Symphonie fantastique, Episode from
the Life of an Artist, Op. 14..........Berlioz
Dreams and Passions
The Ball
Scene in the Meadows
March to the Scaffold
Vision of the Witches' Sabbath
London Records
First Concert Ninetyeighth Annual Choral Union Series Complete Series 4005
PROGRAM NOTES
Overture to "Leonore." No. 3, Op. 72a.....Ludwig van Beethoven
(17701827)
Of the four overtures which Beethoven wrote for his only opera, Leonore, or Fidelio, which is its later and final name, the second and third are closely related. In fact, the third was intended as a revised version of the second. Both works are more symphonic poems--picturing the dramatic devel?opment of the opera--than overtures. In the third version of the overture, which is being played tonight, Beethoven shortened the dramatic content but the work itself is longer, as the composer comes closer to the sonata form, inserting a real recapitulation and coda.
-Uri Toeplitz
Concerto No. 1 in D major for Violin and Orchestra, Op. 19 . . Sergey Prokofiev
(18911953)
In Prokofiev's concerto soloist and orchestra lead a continual dialogue. The colour of the violin as a melodic or rhythmic instrument is fused by Prokofiev into the rich sonic texture of the orchestra. All three movements excel in colourful orchestration and technical versatility. At the very beginning of the first movement the violin introduces a melodious theme, which winds its way and develops, aided by the orchestral instruments, until it makes way for the second theme. This theme is rhythmic and biting, and carries along with great acceleration both the violin and the orchestra. The move?ment ends with glissandi and arpeggi of dreamy character in the violin and harp.
The scherzo is somewhat reminiscent of the "Classical Symphony." It is a sort of moto perpetuo for violin, presenting a wide range of instrumental techniques, mixed rhythms, sharp dynamic transitions, and ending in a sudden fortissimo.
The third movement begins in an exact rhythmic manner, but the violincantabile with harp accompaniment changes this almost at once. Prokofiev's romanticism is here expressed both by brief emotional quotations in the orchestra and by a return to the first theme of the concerto. The work ends in a vibrating pianissimo of soloist and orchestra.
-Zmira Lutzky
Symphonie fantastique--Episode from the Life of an Artist, Op. 14 . Hector Berlioz
(18031869)
After seeing performances given by an English theatrical troupe, Berlioz fell in love with the actress who had played the roles of Ophelia and Juliet. Unable to win his beloved, he was in despair. The programme of the work is written by the composer:
"A young musician of an unhealthy sensitive nature and endowed with a vivid imagination has poisoned himself with opium in a paroxysm of lovesickness. The dose is too weak to cause death but it has thrown him into a long sleep accompanied by the most extraordinary visions. In this condition, his sensations, feelings and memories find utterance in his sick brain in the form of musical imagery. Even the beloved takes the form of a melody, like a fixed idea which is ever returning and is heard everywhere. [This recurring melody, or "idee, fixe," typifying the beloved, is first heard in the Allegro in C major.1
Dreams and Passions. At first he thinks of the uneasy and nervous condition of his mind, of sombre longings, depression, joyous elation without recognizable cause which he experienced before the beloved appeared to him. Then he remembers the ardent love with which she suddenly inspired him; he thinks of his almost insane anxiety, of his raging jealousy, of his reawakening love, of his religious consolation.
The Ball. In the ballroom, amid the confusion of a brilliant festival, he finds the beloved again.
Scene in The Meadows. It is a summer evening. He is in the country, musing, when he hears two shepherd lads playing, in alteration, the "ranz des vaches" (tune with which Swiss shepherds call their flocks). The pastoral scene, the quiet, the soft whisper of the trees, some prospects of hope,
all unite to impart a long unknown repose to his heart and to lend a smiling colour to his imagina?tion. And then she appears again. His heart stops beating; painful forebodings fill his soul. 'Should she prove false to him!' One of the shepherds resumes the melody but the other answers him no more . . . sunset . . . distant rolling of thunder . . . loneliness . . . silence . . .
March to The Scaffold. He dreams that he has murdered his beloved, has been condemned to death and is being led to execution. A march that is alternately sombre and wild, brilliant and solemn, accompanies the procession . . . The tumultuous outbursts are followed without modulation by measured steps. Finally the fixed idea returns--for a moment a last fleeting thought of love, which is cut short by the death blow.
Vision of A Witches' Sabbath. He dreams that he is present at a witches' revel, surrounded by horrible spirits, amidst sorcerers and monsters who have gathered for his funeral. Strange sounds, groans, shrill laughter, distant yells. The melody of the beloved is heard again, but it has lost its shy and noble character; it has become a vulgar, grotesque dance tune. She has come to attend the Witches' Sabbath. Riotous howls and shouts greet her arrival . . . She joins the infernal orgy . . . bells toll for the dead ... a burlesque parody of the Dies Irae ... the witches' round dance . . . The dance and the Dies Irae are heard together."
The King of Swing
Benny Goodman and his Sextet
Saturday, October 2 at 8:30, in Hill Auditorium
Concert tickets at $10, $8, $6, and $4
Afterglow "Let's Dance"
Food, wine, and dancing following the concert in the Michigan League Ballroom Afterglow tickets at $7.50
Extra Performances in Rackham Auditorium
Due to the unprecedented season ticket demand for the eight concerts of the Chamber Arts Series, we are pleased to announce four extra performances by artists in this series.
The Guarneri String Quartet
An additional three performances, repeating the three Beethoven programs already scheduled in the Chamber Arts Series. Tickets are now available for the following new dates:
Sunday, October 10, at 2:30 Saturday, November 6, at 8:30
Saturday, February 19, at 8:30
JeanPierre Rampal Flutist
Friday, February 25, at 8:30
Tickets at $6.50, $5.00, and $3.50
Special Concerts Hill Auditorium
Benny Goodman and his Sextet.......Saturday, October 2
Osipov Balalaika Orchestra........Saturday, March 26
Choral Union Series Hill Auditorium
Alicia de Larrocha, Pianist........Monday, October 18
Orchestre de ParisBarenboim......Wednesday, October 2 7
Justino Diaz, Bass..........Monday, November 1
London Philharmonic OrchestraHaitink .... Sunday, November 14
Prague Chamber Orchestra.......Saturday, January IS
Jorge Bolet, Pianist..........Saturday, February 5
Leningrad Symphony OrchestraTemirkanov . . . Thursday, February 10 Czech Philharmonic OrchestraNeumann .... Thursday, March 3 Detroit Symphony OrchestraChoral UnionSoloists . . Sunday, March 20 Ceccato conducts Beethoven's "Missa Solemnis"
Choice Series Power Center
Spanish National Folk Ballet.......Monday, October 25
Julian Bream, Guitarist (in Hill Auditorium) .... Sunday, October 31
Victor Herbert's Naughty Marietta......Friday & Saturday,
November 12 & 13
Tchaikovsky's "Nutcracker" Ballet . . . Thursday, Friday, Saturday,
The Pittsburgh Ballet December 16, 17, 18
Verdi's La Traviata--Canadian Opera Company . . . Sunday, January 9
Royal Winnipeg Ballet.........Saturday & Sunday,
January 29 & 30
Danzas Venezuela.........Wednesday, February 2
Rajko--Gypsy Orchestra and Dancers.....Sunday, February 6
Alvin Ailey Dance Theater.....Monday, Tuesday, Wednesday,
February 21, 22, 23 Yugoslav National Folk Ballet.......Thursday, March 24
Debut Recital Series Rackham Auditorium
Ruth Laredo, Pianist..........Sunday, November 7
Elly Ameling, Soprano.........Tuesday, November 16
Michael Ponti, Pianist.........Tuesday, January 25
Janos Starker, Cellist..........Monday, March 14
Chamber Arts Series Rackham Auditorium
Guarneri String Quartet.........Saturday, October 9
First concert of the complete Beethoven cycle.
Baroque Music Masters........Wednesday, October 20
Guarneri String Quartet........Friday, November 5
Aeolian Chamber Players........Saturday, November 20
JeanPierre Rampal, Flutist........Friday, January 14
Warsaw Quintet (piano and strings)......Thursday, February 3
Guarneri String Quartet........Sunday, February 20
Frans Brueggen, Flute and Recorder......Tuesday, March 22
"Finale Pair" of the Beethoven Cycle
Guarneri String Quartet.........Saturday & Sunday,
April 16 & 17
Asian Series Rackham Auditorium
Martial Arts of Kabuki.........Thursday, October 21
Chinese Acrobats (in Hill Auditorium).....Saturday, November 6
Yamini Krishnamurti, South Indian Dancer . . . Monday, February 28 Masked DanceDrama of Korea......Wednesday, March 16
Single tickets available; inquire for series availability.
UNIVERSITY MUSICAL SOCIETY
Burton Memorial Tower, Ann Arbor, Michigan 48109 Phones: 6653717, 7642538

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