Complete Series: 100th Annual Choral
Hill Auditorium, Ann Arbor, Michigan
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN
NDR Symphony of Hamburg
ZDENEK MACAL, Conductor
Wednesday Evening, February 28, 1979, at 8:30 Hill Auditorium, Ann Arbor, Michigan
Symphony No. 35 in D major, K. 385 ("Haffner").....Mozart
Allegro con spirito Andante Menuetto Finale: presto
Symphonic Metamorphoses on Themes of Carl Maria von Weber . Hindemith
Symphony No. 1 in C minor, Op. 68.....
Un poco sostenuto; allegro Andante sostenuto
Un poco allegretto e grazioso
Adagio; allegro non troppo ma con brio
Deutsche Grammophon, Nonesuch, Vox, and Audio Fidelity Records.
Centennial Season--Fiftyfifth Concert
100th Annual Choral Union Series
Symphony No. 35 in D major, K. 385 ("Haffner") Wolfgang Amadeus Mozart
Written in great haste during July and August 1782, the Symphony in D cele?brated the raising of Sigmund Haffner, the musicloving mayor of Salzburg, to the nobility. In its original form the work began and ended with a March and the Andante was framed by two Minuets. In other words, the original plan was that of a Serenade and it still bears some resemblance to it though Mozart himself classed it among his symphonies. The revised version, which is the one we know today, is that of a fourmovement symphony. Mozart himself performed it in Vienna on March 23, 1783, after adding flutes and clarinets.
Mozart wrote to his father that the first movement "must be played very fiery" and the final Presto "should go as fast as possible." The Andante retains its original serenade character--graceful and innocent. The outstanding movement is the Minuet with its courtly elegance befitting a festive occasion.
Symphonic Metamorphoses on Themes of Carl Maria von Weber Paul Hindemith
In 1945 the music of Paul Hindemith was readmitted to Germany and for the first time works were heard which the composer had written since his emigration to the United States. One piece aroused special interest and headshaking. This was his "Symphonic Metamorphoses" written in 1943.
In this composition Hindemith used themes by Carl Maria von Weber. He was then still famous as champion of a new antiromantic strain in music but here paid tribute to a master of the Romantic Age. This seemed hard to believe. One was inclined to discover intention to parody. As the years passed, however, Hindemith moved closer to romantic music, and today there is no doubt that his use of themes by Weber was meant as an honest reverence for the early master.
The themes are taken from Weber's stage music for Schiller's Turandot and from the piano pieces Opus 10 and 60 for four hands, which at Weber's time were found in every home. Hindemith's use of them is very interesting. For the greater part the themes remain untouched; others are invented entirely. The harmonies are completely changed and the structure filled with contrapuntal voices. The instrumen?tation is richly shaded, sometimes energetic and forceful, sometimes dainty and soft.
The title "Symphonic" was chosen because the construction corresponds to that of a symphony in four movements. Weber's archaic motives with Chinese background were the basis for Hindemith's bold harmonies. Rich percussion distribution creates special color.
In the Finale, Hindemith moves farthest away from Weber's original mania jitncbrc and in the end brings the unusual march theme to a joyful conclusion.
Symphony No. 1 in C minor, Op. 68......Johannes Brahms
Brahms was over forty years old when he gave the world his First Symphony, which was anticipated with the greatest interest by musicians and public alike. His chamber music and choral works, his Licdcr and piano pieces, had given him a sub?stantial prestige, and in the opinion of Schumann he was the composer destined to follow Beethoven's tradition in the realm of the symphony. Therefore, he felt the tremendous weight of his responsibility and needed at least fourteen years to elaborate his first work in this form.
It is not known exactly when he started the preliminary sketches of his First Symphony, but in 1862 he showed to a friend an early version of the first movement, without the introduction it now has. With the score almost finished, he still delayed several years before completing it and making up his mind to present it to the public. At last the work had its first performance on November 4, 1876, in Karlsruhe, con?ducted by Otto Dessoff. Although listened to with interest and good favor, the First Symphony did not awake real enthusiasm at its first performances, but the next year, when Joachim played it with great success in Berlin, it was generally recognized as a magnificent work and truly important in every sense.
The unifying principle of this Symphony is based on a chromatic motive pre?sented at once in the short introduction of the first movement, and returning several times in the rest of the work. The main theme of the Allegro consists of at least two important elements, the first of which is derived from the chromatic motive of the introduction, followed immediately by a wide melodic phrase by the violins combined with the same motive. There are many dramatic and tempestuous passages in this movement, alternating with brief moments of peacefulness.
The second movement, Andante sostenuto, starts with a tender melody expressing deep resignation. The second theme, presented soon afterward by the oboe, is one of the most beautiful melodies Brahms ever wrote. After the central section, built with new elements, the themes of the first part return with some changes that enhance their beauty still more.
The traditional scherzo is an Allegretto intended to bring relief to the emotional tension produced by the Andante; although it has no apparent relation to the rest of the Symphony, its vitality constitutes valuable contrast and appropriately prepares for the last movement.
The Finale is of great proportions and begins with a slow introduction in which the somber mood of the first movement returns, but soon the tempo becomes more animated and the sonority increases until it reaches a fortissimo preparing for the entrance of a passionate theme by the horn. Then comes a chorale phrase which is to become later the climax of this movement and, in fact, of the whole Symphony. The Allegro proper begins with a joyous, exuberant melody that recalls the Hymn to Joy in Beethoven's Ninth Symphony, although the resemblance is slight. All this part, in fact, is like a Hymn to Joy, triumphantly culminating in the coda with the chorale heard in the introduction.
This is an Encore Company Club night
Special recognition is accorded employees of the Ann Arbor Rank and Trust Company who, as members of the Encore Company Club, are attending this evening's concert.
and The University Symphony Orchestra
GUSTAV MEIER, Conductor
Fifth Annual Benefit Concert and Reception Friday, March 30, at 8:30, in Hill Auditorium
Weber: "Euryanthe" Overture
Weber: Concertino for Clarinet and Orchestra, Op. 26
RimskyKorsakov: Capriccio cspagnol
Barber: Adagio for Strings
Medley of Broadway Hits--Benny and the Orchestra
Following the concert there will be a festive reception to "Meet the Artists," held on the penthouse floor atop the new School of Dentistry Building. $25 includes a main floor seat for the concert and a reception ticket (of which $12 is taxdeductible). Concert tickets are $9, main floor; $8, first balcony; $7 and $5, second balcony.
Note: the performance of Gian Carlo Menolli's commissioned choral work, originally scheduled for this Benefit Concert, has been postponed in order to give the composer an extension of time to complete it for world premiere in our 19791980 season.
In celebration of one hundred years of great music at The University of Michigan is this limited edition, tworecord boxed set featuring two of the world's great conductors and the University Symphony Orchestra. Recorded in Hill Auditorium from the Benefit Concerts of 1976 and 1977 are Bartok's Divertimento for Strings conducted by Yehudi Mcnuhin, and Beethoven's Leonore Overture So. . and Symphony No. 5 conducted by Eugene Ormandy. The album is offered as a keepsake and collector's item for both personal collections and giltgiving, and will include a commemorative booklet of the history of music at The University of Michigan in the last century. The album may be ordered through May 1979 for delivery in early 1980; proceeds will be shared by the University Musical Society and School of Music Scholarship Fund. A reservation card may be obtained by calling 7642538 or 7646118.
Marilyn Home, soprano, appears in recital on Thursday, April 12, replacing Nicolai Ghiaurov originally scheduled for March 17 in the Choral Union Series. The Ghiaurov tickets should be retained lor admission on April 12. Additional seats are available, from $4 to $12.
May Festival Single Ticket Sale Begins Tomorrow, March 1
The Philadelphia Orchestra and University Choral Union Eugene Ormandy and Riccardo Muti, Conductors
Alicia de Larrocha, Pianist Victoria de los Angeles, Soprano
Alma Jean Smith, Soprano Zurab Sotkilava, Tenor
Alexandrina Milcheva, Mezzo Soprano Martti Talvela, Bass
WednesdaySaturday, April 25, 26, 27, 28, in Hill Auditorium
Plus a special recital (] regular price) on Monday, April 23 at 8:30, Hill Auditorium
Alicia de Larrocha and Victoria de los Angeles performing music of their native Spain.
UNIVERSITY MUSICAL SOCIETY
Burton Memorial Tower, Ann Arbor, Michigan 48109 Phones: 6653717, 7642538