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UMS Concert Program, March 21, 1979: Guarneri String Quartet --

UMS Concert Program, March 21, 1979: Guarneri String Quartet --  image UMS Concert Program, March 21, 1979: Guarneri String Quartet --  image UMS Concert Program, March 21, 1979: Guarneri String Quartet --  image UMS Concert Program, March 21, 1979: Guarneri String Quartet --  image
Day
21
Month
March
Year
1979
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University Musical Society
OCR Text

Concert: Fiftyninth
Complete Series: Sixteenth Annual Chamber
Rackham Auditorium, Ann Arbor, Michigan

THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN
Guarneri String Quartet
ARNOLD STEINHARDT, Violin MICHAEL TREE, Viola
JOHN DALLEY, Violin DAVID SOYER, Cello
Wednesday Evening, March 21, 1979, at 8:30 Rackham Auditorium, Ann Arbor, Michigan
PROGRAM
Quartet in D minor, K. 421...........Mozart
Allegro moderato Andante Menuetto: allegretto
Allegretto, ma non troppo
Quartet No. 2, Op. 17............ Bartok
Moderato
Allegro molto capriccioso Lento
INTERMISSION
Quartet in A major, Op. 41, No. 3.........Schumann
Andante espressivo; allegro molto moderato Assai agitato Adagio molto
Finale: allegro molto vivace
RCA Red Seal Records
Centennial Season -Fiftyninth Concert Sixteenth Annual Chamber Arts Series
PROGRAM NOTES
Quartet in D minor, K. 421......Wolfgang Amadeus Mozart
(17561791)
This quartet, written in June 1783 as the second of the six quartets dedicated to Haydn, is the only one of the set written in a minor key. Its structure varies from the others written by Mozart and those of Haydn; while normally the weight mainly reposes on the opening and slow movements, the atmosphere in this quartet becomes increasingly intense with each movement and the climax is reached only in the Coda.
The first movement is unusually concise and economic in thematic material; it is serious and completely undramatic, and has been described as an "affecting expression of melancholy." The F major Andante is serene, melodious and consolatory in mood. The principal theme is played in the beginning and at the end of the movement, while the middle section consists of a variant in the minor mode. In the Menuetto we enter a different world, one of concentrated intensity and pathos. The main section nobly expresses grief and sorrow, to which the Trio makes a striking con?trast. Its apparent gaity, however, makes the contrast that much stronger, when the main section returns later in the movement. The Finale, in D minor, consists of a set of four variations on a theme writen in 68 time, which is of the rhythmic nature of a "Siciliano." The variations lead into a return to the main theme, which, somewhat changed, is extended by way of a Coda.
Quartet No. 2, Op. 17...........Bela Bartok
(18811945)
Bartok composed his second string quartet between 1915 and 1917 when he was in his midthirties. In comparison to the first quartet (1908) this is a fully mature, idiomatic work. Xo definite key can be assigned to it, but the tonal center upon which Bartok builds is A.
The first movement, Moderato, is in modified sonata form with first and second subject groups which, though well contrasted, share a heightened, expansive lyricism and a common tonality. During the recapitulation, besides considerable extension of thematic elements, there are many gradations of tempo and dynamics, building a coda of considerable intensity. The subsequent Allegro molto capriccioso is in effect a scherzo in extended rondo form. Its main subject, distinctly folklike in character, explores juxtapositions of major and minor thirds, and outlines two tritones, intervals that pervade the entire movement. The concluding Lento, tonally the most elusive move?ment, is no less intense and uncompromising. In his Suite Op. 14, Bartok had already made the somewhat unorthodox choice of concluding a work with a slow movement.
Quartet in A major, Op. 41, No. 3.......Robert Schumann
(18101856)
Robert Schumann's father was a smalltown bookseller who encouraged his son's artistic in?clinations, and at the age of six the boy began to play the piano and compose. At fourteen he was a published poet, and after his third year as a law student in Leipzig University he abandoned his formalized study and turned solely to music.
Schumann had the habit of taking up one department of music at a time, and certainly the year 1842 could well be called his "chamber music" year. After several months of intense study of the scores of all the Mozart and Beethoven quartets available, he wrote his three string quartets, his famous piano quintet, and the piano quartet--all in about one month's time. The quartets, after some minor revisions, were published in February of 184.!, and dedicated to Mendelssohn.
The third quartet of Op. 41 opens with the introduction, Andante espressivo, written in common time and clearly emphasizing the falling interval of a fifth, which is repeated throughout. The second movement, Assai agitato, commences in great agitation presenting a theme with three free variations. Again an interval, now a rising fourth, is repeated in a variety of forms and guises, and the move?ment ends with a coda which hesitates between major and minor modes. The Adagio mollo intro?duces an eloquent and fervent melodic line, intoned by the first violin which lasts for nineteen measures. Schumann reveals his most romantic writing as this song rises to a climax only to fade in a quiet close. The Finale, an extended rondo, is the longest movement, simple in form, but surging with life from its precipitate beginning to its brilliant close.
About the Artists
Since its New York City debut in 1965, the Guarneri Quartet has become one of the most popular and praised quartets of the era, acclaimed worldwide for its absolute mastery of the ensemble form. The Quartet was founded at Vermont's Marlboro Music Festival at the suggestion of the Budapest Quartet's own second violinist, Alexander Schneider; its name was supplied by Budapest violist, Boris Kroyt, who had once played with a European Quartet called the Guarneri (after the 18thcentury violin maker).
Their tours have taken them throughout the United States and Canada, to the major Music Festivals, and to Europe, Mexico, Australia, New Zealand, and most recently to Japan. The Quartet has also been featured on television and radio programs here and abroad, in specials as well as documentaries and educational presentations. In addition, all are faculty members of the Curtis Institute of Music in Philadelphia.
Arnold Steinhardt, Violinist, is a recipient of the Leventritt Award and winner of the Queen Elizabeth Competition in Brussels. He made his debut as a soloist at the age of fourteen with the Los Angeles Philharmonic. Major American orchestras with which he has appeared as soloist include Philadelphia, New York, and Cleveland.
John Dalley, Violinist, son of University ProfessorEmeritus and Mrs. Orien Dalley of Ann Arbor, made his concert debut at the age of fourteen and toured widely throughout Europe, including Russia. Before joining the Guarneri Quartet, he was on the faculty of the Oberlin Conservatory and a member of the Oberlin String Quartet, as well as artistinresidence at the University of Illinois.
Michael Tree, Violist, is noted both as a violist and violinist. He made his debut at the age of twenty in Carnegie Hall, and his solo appearances have ranged from the orchestras of Philadelphia, Baltimore, and Los Angeles, throughout South America to the Spoleto Festival in Italy.
David Soyer, Cellist, made his debut as soloist with the Philadelphia Orchestra at the age of seventeen and has since concertized extensively in the United States and Europe in the dual capacity of soloist and chamber music performer. He is a former member of the Bach Aria Group, The Guilet Quartet, and the New Music String Quartet. He has made numerous recordings. Mr. Soyer is related to Moses and Raphael Soyer whose paintings are in the great museums of the world.
Arnold Steinhardt plays a violin made by Joseph Guarneri about 1728; John Dalley"s instru?ment was made by Nicholas Lupot in 1819. The viola of Michael Tree was made by Dominicus Busan about 1785 and David Soyer's cello was made by Andrea Guarneri in 1669.
Tonight's performance is the twelfth concert of the Guarneri Quartet in Ann Arbor. Most memorable were the performances of the complete Beethoven Quartet cycle two seasons ago in this auditorium. We are honored to again present these celebrated musicians during our Centennial Season.
A Festival of Russian Dance Saturday, March 24, at 8:30, in Hill Auditorium
Assembled in one presentation are ninety dancers and musicians representing some of the finest folk ensembles in the Soviet Union. Seven of the fifteen republics are represented: Byelorussia, Georgia, Lithuania, Moldavia, Russia, Ukraine, and Uzbekistan.
Tickets for this concert are available at $9, $8, $7, and $5.
Benny Goodman
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 espagnol
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.
Commemorative Album
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 Bartoks Divertimento for Strings conducted by Yehudi Menuhin, and Beethoven's Leonore Overture So. 3 and Symphony So. 5 conducted by Eugene Ormandy. 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.
Ann Arbor May Festival, 1979
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
Alkxandrina Milcheva, Mezzo Soprano Martti Talvela, Bass
Monday, April 2i--de Larrocha and de los Angeles, in recital.
Wednesday, April 25--Ormandy and de los Angeles: Hindemith: "Mathis der Maler"; Ravel:
Sheherazade"; Prokofiev: Scythian Suite; Mozart: "Voi che sapete" from Marriage of Figaro;
Rossini: "Una voce poco fa" from Barber of Seville; Wagner: "Dich teure Halle" from
Tannhduser.
Thursday, April 26--Muti: Mendelssohn: Symphony No. 3; Tchaikovsky: Symphony No. 5. Friday, April 27--Muti and Larrocha, AllBeethoven: Symphony No. 6; Piano Concerto No. 3;
Overture to Leonore No. 3. Saturday, April 28--Ormandy, Choral Union, Soloists: Verdi: "Manzoni" Requiem.
UNIVERSITY MUSICAL SOCIETY
Burton Memorial Tower, Ann Arbor, Michigan 48109 Phones: 6653717, 7642538

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