Complete Series: 4105
Rackham Auditorium, Ann Arbor, Michigan
The University Musical Society
The University of Michigan
Camerata Orchestra of Salzburg
ANTONIO JANIGRO, Conductor
Luz Leskowitz, Violinist Trudean Conrad, Violinist
Ingeborg Stitz, Violinist Jane Gillie, Violinist
Julius Berger, Cellist
Friday Evening, January 20, 1978, at 8:30 Rackham Auditorium, Ann Arbor, Michigan
Concerto Grosso in G minor, Op. 6, No. 6........Handel
Largo affettuso A tempo giusto Musette Allegro Allegro
Concerto in B minor for Four Violins and Orchestra, Op. 3, No. 10 . . Vivaldi
Allegro Largo Allegro
Luz Leskowitz Trudean Conrad
Ingeborg Stitz Jane Gillie
Concerto No. 7 in G major for Cello, G. 480
Allegro Adagio Allegro
Symphony No. 29 in A major, K. 201
Allegro moderato Andante
Minuetto and trio Allegro con spirito
Deutsche Grammophon, Nonesuch, Lyrichord Records
Fifteenth Annual Chamber Arts Series
Complete Programs 4105
Concerto Grosso in G minor, Op. 6, No. 6 ... George Frederick Handel
In the Baroque age, the concerto grosso occupied a position similar to that of the symphony in the Classical period. The earlier Italian compositional form, with its emphasis on pure string tone, was taken by Handel as the model for his twelve concerti grossi, Op. 6.
There is no doubt that Arcangelo Corelli, notwithstanding the range of his precursors from Gabrieli to Stradella, was the originator of the concerto grosso. In the preface to his own concerti grossi, George Muffat (16451704) mentions that as early as 1682 he had, through Corelli, become aware of the fusion of "profound Italian expression" with the lighter tone of French ballet.
The form is characterized by the division of the orchestra into two distinct groups: the con?certino, a small group of solo instruments and the lutli or ripieni, the full orchestra. Each group is of equal importance and is presented in dramatic contrast with the other.
Concerto in B minor for Four Violins and Orchestra, . . . Antonio Vivaldi Op. 3, No. 10 (16801743)
The twelve Concerti Grossi, Op. 3, first appeared about the year 1715. Johann Sebastian Bach transcribed no less than six of them for various instruments, the present work appearing in an arrangement for four pianos and orchestra. The original Vivaldi works went into a long period of obscurity and remained totally unknown, even to Bach's biographers, until about 1850.
The first movement of this Concerto in B minor begins with a statement of the main theme played by three solo instruments followed by a short tutti. The solo violins present themselves one by one, their entrances separated by short tutti passages. The tutti forms a rich contrast to the solo voices which appear sometimes alone, sometimes in combination with one another until the close of the movement. The second movement begins with a serious Largo introduction which progresses to a serenely beautiful Larghetto, the closing chords reminiscent of the beginning. The last movement follows without pause, a varied, rollicking movement in 68 time bringing the work to a brilliant close.
Concerto No. 7 for Cello in G major, G. 480.....Luigi Boccherini
Of the Italians who devoted themselves to instrumental music, Boccherini was one of the greatest. Born in Lucca of a father who was a bass player, he studied the violoncello and com?position. After having perfected his art in Rome and having acquired a solid reputation as a virtuoso, he undertook a concert tour throughout Europe which lasted for several years. In 1768 he was in Paris, the year after in Madrid where he was cordially received. In 1782 he went to Germany, returned to France to dedicate to Lucien Bonaparte his twelve String Quintets, Op. 60 and Op. 62, and returned finally to Madrid, where he died in extreme poverty.
Boccherini was a prolific composer. Known works include two operas, church music, twenty symphonies, and an abundance of chamber music, the total of his compositions mounting to over four hundred. In recent years many concertos destined by Boccherini for his own instrument have been brought to light. Their total number to date is fourteen.
Symphony No. 29 in A major, K. 201 . . . . Wolfgang Amadeus Mozart
This relatively youthful symphony of Mozart, written when he was twentytwo, is almost universally regarded as his first truly great symphony. It was a milestone in Mozart's development as a symphonist and occupies the same key position in his oeuvre that the "Eroica" Symphony does in Beethoven's.
For some listeners, it will be heard as a work of gaiety, charm, and freshness; for others, it will be urgent, passionate, and violent. A conductor may take it either way and yet remain faithful to the score.
The orchestral resources arc modest: pairs of oboes and horns, with the usual complement of strings. A feature of the first and last movements is the organic use of the octave, which, at the hands of Mozart, achieves great musical and emotional significance.
The Canicrala Orchestra of Salzburg was founded in 1952 by Bernard Paumgartner, with the original intention of specializing in Renaissance and Baroque music. Soon it was evident that Paumgartner and his orchestra had a special love for Mozart, thus many of this composer's lesser known works from his early and middle creative periods found their way into standard concert programs. The Camerata has recorded over one hundred records and received many awards in?cluding several Grand Prix du Disques. They have made numerous tours of Europe, Central and South America, receiving enthusiastic ovations at every performance. This tour marks the ensemble's United States debut.
Antonio Jnnigro, worldrenowned both as conductor and cellist, first played with the Camerata in 1974 with such great success that he was appointed Artistic Director in 1975. His abilities as conductor have led to engagements with the Chicago Symphony, Israel Philharmonic, Berlin Philharmonic, and Boston Symphony, among others. He is also a leading participant in the major music festivals of the United States and Europe. Founder of the I Solisti di Zagreb, Mr. Janigro has appeared in Ann Arbor twice with that ensemble in 1960 and 1965, two concerts with the Chicago Symphony Baroque Orchestra in 1967, and most recently in 1971 with the Saar Chamber Orchestra.
Camerata Orchestra Musicians
Julius Berget Michael Braun Trudean M. Conrad Andrei Damnjanovic Mathias Feilc Michaela Gaign Jane Fcralith Gillie Alois Haindl Rudolf Harlander Antonio Janijjro Helen Anna Johansson Junko Kanamaru
Walter Bodo Kunth Hendrik van Lccuuen Luz Leskowitz Satako Napasc Helmut Pochendorfer Herbert Stitz Inneborj; Stitz Heinrick Walter Stiickler Josef Thurner Edith Wahl iktoria Wallmann
Leontyne Price, Soprano.......Wednesday, January 25
French String Trio & Michel Debost, Flutist . . . Friday, February 3 Haydn: Quartet in C, Op. 5, No. 2; Mozart: Divertimento in Eflat, K. 563; Devienne: Flute Trio in G minor, Op. 66, No. 2; Quartet in A major, K. 298.
Eliot Feld Ballet.......Monday, Tuesday, Wednesday
February 20, 21, 22
Carlos Montoya, Guitarist.......Thursday, February 23
Aleksander Slobodyanik, Pianist......Saturday, February 25
Thovil, Sri Lanka..........Wednesday, March 1
Baltimore Symphony OrchestraComissiona . . . Sunday, March 19 Dvorak: Scherzo Capriccioso; Khachaturian: Violin Concerto (Albert Markov, soloist); Kodaly: Hary Janos Suite
Nikolais Dance Theatre.......Tuesday & Wednesday
March 21 & 22
KyungWha Chung, Violinist.......Thursday, March 23
Orpheus Chamber EnsembleFestival Chorus . . . Saturday, March 25 Okinawan Dancers..........Tuesday, March 28
Amadeus String Quartet.........Thursday, April 6
Mozart: Quartet in Bflat, K. 4S8 ("The Hunt"); Britten: Quartet Xo. 2; Dvorak: Quartet in F, Op. 96 ("American")
Bavarian Symphony OrchestraKubelik.....Saturday, April 8
Mahler: Symphony No. 9 in D major
Eightyfifth Annual May Festival
Thursday, Friday, Saturday, Sunday, April 27, 28, 29, 30
The Philadelphia Orchestra Eugene Ormandy, Conductor The University Choral Union Robert Shaw, Guest Conductor
VLADIMIR HOROWITZ, Pianist
Anthony Gigliotti, Clarinetist William Stokking, Cellist John McCollum, Tenor
Thursday (8:30): Strauss: "Don Juan"; Debussy: "La Mer"; Sibelius: Symphony No. 1 in E minor.
Friday (8:30): Stravinsky: "Fireworks"; Hindemith: Clarinet Concerto; Lalo: Cello Concerto; Brahms: Symphony No. 4 in E minor.
Saturday (8:30): Berlioz: Requiem Mass, Op. 5.
Sunday (3:00): Beethoven: "Egmont" Overture, Symphony No. 7 in A major, Op. 92; Rach?maninoff: Piano Concerto No. 3 in D minor.
Series of four concerts in Hill Auditorium; remaining series available at S32, 18, and S14.
UNIVERSITY MUSICAL SOCIETY
Burton Memorial Tower, Ann Arbor, Michigan 48109 Phones: 6653717, 7642538