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UMS Concert Program, November 11, 1977: Rotterdam Philharmonic Orchestra --

UMS Concert Program, November 11, 1977: Rotterdam Philharmonic Orchestra --  image UMS Concert Program, November 11, 1977: Rotterdam Philharmonic Orchestra --  image UMS Concert Program, November 11, 1977: Rotterdam Philharmonic Orchestra --  image UMS Concert Program, November 11, 1977: Rotterdam Philharmonic Orchestra --  image
Day
11
Month
November
Year
1977
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Rights Held By
University Musical Society
OCR Text

Concert: Fourth
Complete Series: 4082
Hill Auditorium, Ann Arbor, Michigan

The University Musical Society
of
The University of Michigan
Presents
Rotterdam Philharmonic Orchestra
EDO DE WAART, Music Director and Conductor
The Festival Chorus
DONALD BRYANT, Director SHERI GREENAWALD, Soprano RAEDER ANDERSON, Baritone
Friday Evening, November 11, 1977, at 8:30 Hill Auditorium, Ann Arbor, Michigan
PROGRAM
The audience is invited to join the orchestra and chorus in the singing of the two national anthems. The verses of the Netherlands anthem are found inside.
Excerpts from Marsvas...........Diepenbrock
Marsyas and the Nymphs
Dance of the Nymphs and Apollo's Epilogue
Te Deum, Op. 103, for Chorus, Orchestra, and Soloists .... Dvorak
Allegro moderato, maestoso Lento maestoso Vivace Lento
The Festival Chorus Sheri Greenawald, Soprano Raeder Anderson, Baritone
INTERMISSION
Symphony No. 1 in D major...........Mahler
Langsam'schleppend--Wie ein Naturlau immer ser gcmachlich Kraftig bewegt, doch nicht zu schnell
Feierlich und gemessen, ohne zu schlcppen Sturmisch bewegt
Philips and CRI Records. Fourth Concert Ninetyninth Annual Choral Union Series Complete Programs 4082
PROGRAM NOTES
Marsyas and the Nymphs; Dance of the Nymphs and
Apollo's Epilogue from Marsyas.....Alphons Diepenbrock
(18621921)
Alphons Diepenbrock was born in Amsterdam, where he studied Classics at the university. He took his doctor's degree in 1888, his Latin thesis being on the life of the philosopher Seneca (26S A.D.). This piece of information would be superfluous, were it not for the fact that Diepenbrock felt close links with literature all his life. By far the greatest part of Diepenbrock's compositions are linked directly or indirectly with literature: songs and choral pieces, and incidental music to plays. He also wrote religious music, being inspired not only to devotional aspects of the Latin texts but also by their beauty.
Diepenbrock was constantly interested in the music of his own period. Richard Wagner was universally acclaimed as the indisputable founder of what was then contemporary music, but younger composers such as Richard Strauss, Gustav Mahler, and Claude Debussy influenced their contemporaries to a great extent, too, and although Diepenbrock was clearly influenced by the ideas of the Germans and the French, he always remained true to himself: poetic, elegaic, and extremely sensitive to nuances of timbre. This is demonstrated in his splendid incidental music to the mythological comedy, Marsyas or The Enchanted Well (19091910) by the young writer Balthazar Verhagen. Here, Diepenbrock's initially boundless adoration of Wagner gave way to a somewhat more critical attitude, Mahler and Debussy being the chief influences in his determination of the musical idea.
The story of Marsyas provides much scope for drama and humor. The satyrflautist of Marsyas challenges the harpplaying god Apollo to a musical contest. The nymph Deiopea, who does not respond to Marsyas' ardors, chooses Apollo as the victor and is led off by him as his bride. Marsyas is left sadly behind by the well from which his beloved had risen; his tears turn the water into a love potion. He cannot enjoy it himself, and drowns himself in the well.
Te Deum, Op. 103...........Antonin Dvorak
(18411933)
The Te Deum was originally composed not for performance in church but for the Columbus Festival on the occasion of the 400th anniversary of the discovery of America. Dvorak composed it in the summer of 1892, before his departure for the United States to assume the post of Director of New York's National Conservatory of Music in the fall. Though a delay prevented the work from being performed at the Festival on October 12 of that year, it received its premiere nine days later at a concert which the composer himself conducted.
"O God, we praise Thee. We acknowledge that You are the Lord. Father everlasting, all the Earth worships Thee. To Thee all the Angels, Cherubim and Seraphim cry aloud, Holy God of Sabbath. Heaven and earth are full of the majesty of Thy glory. The glorious companies of Apostles and the noble army of Martyrs praise Thee. Oh Father of unending majesty, the Holy Church everywhere doth acknowledge Thee; Thine true, honorable, and only Son; as well as the Holy Ghost, the Comforter. Oh Christ, Thou art the King of Glory and the Everlasting Son of the Father. Thou did abhor the Virgin's womb. Thou opened the Kingdom of Heaven to every believer when overcoming the sharpness of death. We believe that Thou shall judge us. We in turn pray to Thee. Make Thy servants to be numbered with Thy Saints in everlasting glory. O God, save Thy people, Govern them, and bless them forever. Day by day we worship Thy name. O Lord, have mercy upon us. I have trusted in Thee, Lord, never let me be confounded."
Symphony No. 1 in D major........Gustav Mahler
(18601911)
During the years 188384, Mahler wrote his song cycle Licder eines jahrenden Gesellen. He integrated two of these Songs oj the Wayfarer into the First Symphony. The first and third move?ments are built upon the substructure of song. But melody is a primary element throughout the entire symphony. The interval of the fourth assumes structural importance. Throughout the symphony, we shall hear this falling fourth--now used as a harmonic building stone, now as part of a thematic sequence.
In the first movement, the musical scene evokes the delight of early morning, thus the clarinet imitates the cuckoo; Mahler hears the motive as a fourth. From this call evolves the principal subject of the main movement "always very comfortably." The theme, beginning tenderly in the divided cello section, is a quote from the second of Mahler's Songs of the Wayfarer.
Energetically moving (Kriiftig bewegt), the second movement unfolds as an extended scherzo. Again the theme and its counterparts arc derived from the germinating interval of a fourth. Mahler's vigorous orchestration is notable for daring effects. The trio, with its string glissando and oboe solo, begins with a shy, somewhat forlorn expression. Before long, the music becomes con?fident. An oldfashioned Alpine Landler is played. Upon its return, the scherzo is condensed, while the orchestration is more metallic, forceful.
In a most unusual combination, the solo of the muted double bass and the muffled timpani begin the third movement with an eerie duet. Yet its theme is familiar: it is the French folk tune Frere Jacques. A canon begins its round. The oboe plays a countertheme. Soon the whole orchestra participates in the canon.
A peculiar association of thought inspired Mahler to the oncoming tonal parody. A hunter is carried to his grave by the animals of the forest. Rabbits, carrying tiny flags, lead the procession. Owls and other feathered inhabitants of the woods follow. Deer and foxes trot along with solemn steps. Mahler's tone portrait of this mixed ensemble accounts for the curious expression of the music (such as the glaring sound of the Eflat clarinet or the "trivial" tapping of cymbal and big drum). After the procession of animals has vanished in the forest, a tender episode follows, very plain and simple, like a folk tune. In the final section the canon Frere Jacques returns.
All threads of the preceding movements lead to the finale. There are three main sections to this movement. The first section draws on the earlier mentioned theme (heard in the development of the opening movement). This is vehement music, unmistakably a battle of opposing forces. A tranquil, songlike interlude follows, dominated by a melody in the violins and its counterpart in the cellos. All thematic material is further developed, until strains of the initial movement reappear. An enormous coda, numbering no less than three hundred measures, powerfully and with triumphant sonorities of the full orchestra, brings the symphony to a close.
"Wilhelmus van Nassouwe"-Netherlands National Anthem
Wilhelmus van Nassouwe Ben ick van Duytschen bloet, Den Vaderlant ghetrouwe Blijf ick tot inden doet: Een Prince van Oraengicn Ben ick vrij onverveert, Den Coninck van Hispaengien Heb ick altijt gheert.
Mijn Schilt ende betrouwen Sijt ghy, o Godt mijn Heer, Op u soo wil ick bouwen Verlaet my nemmermeer: Dat ick doch vroom magh blijven U dienaer taller stondt, Die Tyranny verdrijven, Die my mijn hert doorwondt.
William of Nassau, scion
Of a Dutch and ancient line,
I dedicate undying
Faith to this land of mine.
A prince I am, undaunted
Of Orange, ever free.
To the King of Spain I've granted
A lifelong loyalty.
A shield and my reliance, O God Thou ever wert. I'll trust unto Thy guidance, O leave me not ungirt, That I may stay a pious Servant of Thine for aye, And drive the plagues that try us And tyranny away.
THE FESTIVAL CHORUS
Donald T. Bryant, Director Nancy Hodge, Accompanist Robert Johnson, Manager
First Sopranos
Ann Burke Lctitia Byrd Susan Campbell Elaine Cox Christine Crockett Joann Danneckcr Barbara Dcur Barbara Dickey Estellc Fox Carole Gallas Gladys Hanson Joann Hoover Karen Huyscr Berit Ingersoll Sylvia Jenkins Melinda Johnston Carolyn Leyh Doris Luecke Loretta Meissner Julia Remspcrger Karwyn Rigan Alice Schneider Mary Ann Sincock Diane Weil Joanne Westman
Second Sopranos
Kathy Berry Jessica Briefer Doris Datsko Mary Hiraga Alice Horning June Krcnz
Karen Myhre Charlotte Nametz Eleanor Overdeck Susan Petcoff Vicki PorterFink Virginia Reese Carolyn Richards Susan Schluederberg Kathleen Sheehy Patricia Tompkins Rachelle Warren Judith Weber Kathleen Young
First Allos
Pat Anderson {Cathy Brady Ella Brown Marion Brown Lael Cappaert Sally Carpenter Sandra Festian Mcrian Frederick Mercdy Gockel Valeria Green Janice Johnson Nancy Karp Wilm'a Krohn Metta Lansdale Kirsten Lietz Lois Nelson Anita Scherzer Mary Shell Nancy Tennenhouse
Johanna Wilson Charlotte Wolfe
Second Altos
Marge Baird Mary Haab Joan Hagerty Dana Hull Kathy Klykylo Meredith Lloyd Elsie Lovelace Linda Nygren Beverly Roeger Ellen Oliver Smith Carol Spencer Katie Stcbbins Libby Stuber Margaret Thompson
First Tenors
Dan Boggess Hugh Brown Paul Lowry Robert MacGregor James McNally Dennis Rigan Rockwell Scherzer
Second Tenors
Martin Barrett David Blakeley William Bronson Al Girod
Donald Haworth Robert Johnson Melbert Schwarz Philip Smith
First Basses
Robert Andres Richard Andrews Steven Armstrong Howard Bond Dan Brady Lee Bratton Thomas Farrell Thomas Hagerty Klair Kissel Scth Kivnick Sol Mctz Steven Olson Dennis Powers Richard Rector
Second Basses
John Daly David Harari Alfred Meyer Philip Pierson Raymond Schankin Wallace Schonschack Mark Sebastian John Robert Smith Thomas Sommerfeld Robert Strozier Terril Tompkins John Van Bolt
The appearance tonight of the Festival Chorus with the Rotterdam Philharmonic Orchestra is another artistic achievement for these selected singers of the larger University Choral Union. Since its formation in 1970, the Festival Chorus has sung with the Melbourne Symphony Orchestra, the Paul Kuentz Chamber Orchestra of Paris, the Prague Symphony Orchestra, the Prague Chamber Orchestra, the Mozarteum Orchestra of Salzburg, the Leningrad Philharmonic, the Hague Phil?harmonic, the Detroit Symphony Orchestra, the Philadelphia Orchestra, and the Boston Symphony Orchestra; under conductors Aaron Copland, Eugene Ormandy, Seiji Ozawa, Sixten Ehrling, Thor Johnson, Jindrich Rohan, Neeme Jarvi, Jean Martinon, Hans Schweiger, Willem van Otterloo, and, of course, Donald Bryant. The 1976 Bicentennial Celebration provided the unique opportunity for a threeweek European tour--a first for the Chorus as they presented programs in the cities of Bad Hersfeld, Vienna, Merano, Venice, Chartres, Tubingen, and an especially moving and significant program in Prague on the Fourth of July.
Further appearances this season include the performance of three Handel "Coronation" Anthems with the Orpheus Chamber Ensemble on Saturday, March 25, in Hill Auditorium, and, as part of the University Choral Union the three perform?ances of Handel's "Messiah" next month, December 2, 3, and 4, and the May Festival collaboration with the Philadelphia Orchestra of the Berlioz Requiem Mass under guest conductor, Robert Shaw.
UNIVERSITY MUSICAL SOCIETY
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