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UMS Concert Program, April 29, 1983: Ninetieth Ann Arbor May Festival 1983 -- The Philadelphia Orchestra

UMS Concert Program, April 29, 1983: Ninetieth Ann Arbor May Festival 1983 -- The Philadelphia Orchestra image UMS Concert Program, April 29, 1983: Ninetieth Ann Arbor May Festival 1983 -- The Philadelphia Orchestra image UMS Concert Program, April 29, 1983: Ninetieth Ann Arbor May Festival 1983 -- The Philadelphia Orchestra image UMS Concert Program, April 29, 1983: Ninetieth Ann Arbor May Festival 1983 -- The Philadelphia Orchestra image
Day
29
Month
April
Year
1983
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University Musical Society
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Season: 104th
Concert: 51st
Hill Auditorium, Ann Arbor, Michigan

THE PHILADELPHIA ORCHESTRA
Riccardo Muti, MiiV Director
Eugene Ormandy, Conductor Laureate
William Smith, Associate Conductor
THEO ALCANTARA, Guest Conductor CARLOS MONTOYA, Guitarist
THE FESTIVAL CHORUS
OF THE UNIVERSITY CHORAL UNION
Leif Bjaland, Acting Conductor
MARY BURGESS, Soprano ROCKWELL BLAKE, Tenor J. PATRICK RAFTERY, Baritone
THE BATTLE CREEK BOYCHOIR Charles Olegar, Director
Friday Evening, April 29, 1983, at 8:30 Hill Auditorium, Ann Arbor, Michigan
Overture, Rienzi................................................ Wagner
Suite Flamenca for Guitar and Orchestra........................... Montoya
Minera Gcncralifc
Aires del Puente Jaleo
Carlos Montoya INTERMISSION
Carmina Burana, Secular Songs for Chorus, Soli, and Orchestra............Orff
Prologue: Fortuna Imperatrix Mundi ("Fortune, Empress of the World")
Part I: Primo vere ("In Springtime")
Part II: In Taberna (A sequence of drinking songs)
Part III: Cour d'amours ("The Court of Love")
Intermezzo: Blanziflor et Helena
Epilogue: O Fortuna (reprise)
Mauy Burgess
Rockwell Blake
J. Patrick Raftery
The Festival Chorus
Battle Creek Boychoir
CBS Masterworks Records.
51st Concert of the University Musical Society's 104th Season 90th Annual May Festival
PROGRAM NOTES by Richard Freed
Oveture, Rienzi......................................... Richard Wagner
(1813-1883)
Cola Rienzi, der letzte der Tribunal ("Cola Rienzi, the Last of the Tribunes"), composed between 1838 and 1840, was the third of Wagner's completed operas, the second to be produced, and the first to earn him success. Though Weber's influence is still discernible, and Meyerbeer's too, it was in this work that Wagner's own voice began to be heard. The opera remained popular in Germany for several decades, but is rarely staged anywhere now. Except for an occasional rendering of "Ricnzi's Prayer" by a tenor appearing in an orchestral concert, and Birgit Nilsson's recording of one of Adriano's arias (Wagner still wrote arias in Rienzi), the work is remembered solely by its Overture.
The opera is based on Bulwcr-Lytton's novel of revolution in 14th-century Rome. In this story, Cola Rienzi is a popular hero, a young notary who is named Tribune after he has overthrown the oppressive nobles. He frustrates their first two attempts to restore themselves to power, but in their third try they succeed in deluding the people, and Rienzi is betrayed by his friend Adriano, despite Adriano's love for Rienzi's sister Irene. The fickle mob then turns on its former hero, stoning Rienzi, pursuing him to the Capitol and finally setting the building afire. At the end of the opera Adriano makes his redemptive gesture, dashing into the flaming Capitol to die with Rienzi and Irene.
The Overture is built on motifs from the opera. The swelling trumpet at the beginning is the herald's summons to the people; the Weberesquc theme in the strings is from Rienzi's Prayer; the rumbustious, percussion-filled episode reflects the near-intoxication with which the crowd regards Rienzi as hero; punctuating the development of these materials is a fanfare (whose tune resembles the old round Row, row, row your boat) representing Rienzi's battle hymn. At the end the bacchanalian hero's music sweeps everything before it.
Suite Flamcnca......................................... Carlos Montoya
(b. 1903)
Carlos Montoya tells us that the Sniff Flamenco evolved in his mind for more than 25 years. In 1942, while appearing with La Argcntinia in concerts of the Rochester Philharmonic, he was heard during a pre-concert warm-up by Jose Iturbi (then conductor of that orchestra), who expressed the wish that they might work together to create "a real Flamenco suite." Some two decades later Montoya tried writing such a suite in collaboration with various composers, but none of those attempts proved successful. "My idea was not to learn a piece with a Flamenco flavor by a composer," he said, "but rather to transport pure Flamenco guitar into the midst of an orchestra and have [the musicians] join me in unadulterated Flamenco." He finally did find an effective col?laborator, in the person of Julio Esteban, whom he had met in the 1930s and who subsequently became a member of the piano faculty of the Peabody Institute in Baltimore.
"Julio and I started from scratch," Montoya recalls, "and wrote the full suite in a relatively short time -and this was a real Flamenco piece. In the Suite, the orchestral parts always remain as written, but arc never out of character with the impulsive spirit of Flamenco. There arc passages in which I play along with the orchestra, and many in which I am free to improvise my own cadenzas and then bring the orchestra back in by means of cues to be found in pre-arranged chord phrases. For this reason, no two performances of the Suite will ever be exactly alike. This is Flamenco.
"The Suite Flamenca is based on four traditional Flamenco forms. The first movement, Minera, is a lyrical taranta, one of the oldest songs of the Spanish Gypsies. Aires del Puente, the second movement, is agarrotin, a gay and rhythmic Andalusian dance. This is followed by Generalife, a granaina. As the name indicates, this is from Granada, the Generalife being part of the Alhambra; this is not a dance rhythm, but is much freer in form and is often sung. Jaleo, the closing section of the Suite, is the buleria por solea, a syncopated and rapid Gypsy dance. Until now, it was thought to be playable only by Spanish Gypsies."
Carmina Burana................................................ Carl Orff
(1895-1982)
In 1925, when he was 30, Carl Orff helped to found a school in Munich with the purpose of promoting "rhythmical education." Rhythm was his central concern in teaching children, and it has been the focal clement of his own music. Orff s first major work did not come along until his 42nd year; it was Carmina Burana, unquestionably the making of him as a composer.
The title Carmina Burana means simply "Songs of Beuren," carmina being the plural of the Latin carmen -song, or chant -and the second word identifying the geographical source of the material, a manuscript discovered in 1803 at the old monastery of Bencdiktbeuren in Upper Bavaria, where it had been preserved since the 13th century. It comprised dozens of songs notated over a period of a hundred years or more, originally sung by students passing through from various parts of Europe; some of the texts were in Latin, some in Middle-High German, some in Old French. The verses arc earthy and unpretentious, some ribald, some erotic, some sardonic; the nearest phenomenon in English literature -in spirit, if not in form -might be the Canterbury Tales of Chaucer.
The Carmitia Burana were published in 1847, and Orff came across the collection in 1935. He was enchanted, and set about at once to spread the enchantment in a style both uniquely his and curiously apposite to the spirit of the antique texts. With the help of the writer Michael Hofmann, Orff selected some two dozen of the most intriguing songs for treatment, then organized them into three large sections with a prologue and epilogue, styling the whole a "scenic cantata." The premiere, staged in Frankfurt on June 8, 1937, was a great success. Orff s imaginative use of voices and instruments, his simple and forceful melodic designs and, most of all, his extraordinary rhythms exerted a visceral impact that was as unprecedented in its sheer excitement as that of Stravinsky's Rite of Spring had been 24 years earlier, and yet was not controversial, as that work had been when new, but downright irresistible.
Since Orff was especially intrigued by the representation of the Wheel of Fortune on the cover of the published texts, this was the image he chose for his prologue, a two-part apostrophe to Fortuna Imperatrix Mundi ("Fortune, Empress of the World"), sung by the full chorus with orchestra.
Part I celebrates the glories of spring, and is divided into two subsections. The first, Primo vere ("In Springtime"), comprises three songs welcoming the season; the second, Um dent Anger ("On the Green"), begins with a rumbustious Dance, the only piece without voices in the entire work, and continues with four increasingly lusty choral songs.
Part II, In Taberna, is a sequence of drinking songs for the two male soloists and male chorus. Most striking here are the plaint of a roasting swan (tenor, falsetto) and the song of the Abbot of Cucany, a parody of Gregorian chant for the baritone and chorus.
Part III, Cour d'amours ("The Court of Love"), is an intoxicating glorification of youth and pleasure, rewarding the solo soprano for her patience through the preceding sections with some stunning (and challenging) opportunities for display. If the rollicking and insinuating Tempus est jocundum (in which the baritone and the boys have the most fun) is the single most ingratiating portion of the score, the soprano's Dulcissime, which follows to conclude Part III, is surely the most brilliant.
Blanziflor ct Helena follows Part III as a brief intermezzo, leading to a reprise of the opening O Fortuna as epilogue.
About the Artists
Theo Alcantara, whom many remember from his years as Conductor of U-M Orchestras (1968-1975), stands acclaimed as one of today's most dynamic and sought-after conductors. He has led major orchestras in the United States and Europe and conducted opera performances of the San Diego, Washington, Miami, Pittsburgh, New York City, New York Metropolitan, and Buenos Aires opera companies. He is currently Music Director of the Phoenix Symphony and Artistic Director of the Music Academy of the West Summer Festival.
Carlos Montoya's "gypsy blood" and unique improvisational gifts (he doesn't read a note of formal music) are the distinguishing elements of his Flamenco guitar music. After four solo recitals in Ann Arbor (1973, '74, '78, and '82), Serior Montoya now appears as both composer and performer in this, his first May Festival performance.
Mary Burgess divides her talents equally between the operatic stage and the concert platform, on both sides of the Atlantic. She has sung with the opera companies of New Orleans, Nevada, Spoleto (Italy), Netherlands, Festival Ottawa, and Belgium; with the symphony orchestras of Chicago, Cleveland, Minnesota, and Phoenix; and last year was soloist in Carmina Burana in the Cincinnati May Festival and with the Cleveland Orchestra at the Blossom Music Festival. This is her second Ann Arbor May Festival appearance.
Rockwell Blake was winner of the first Richard Tucker Award in 1978 and since then has become one of the brightest young tenors on the musical scene. His quality, agility, and fluency have brought accolades, especially in the bel canto repertoire, and more particularly as a Rossini interpreter. He has sung leading roles with the Metropolitan, New York City, Houston, Dallas, Hamburg and Vienna opera companies, and performed with the symphony orchestras of Philadelphia, Chicago, and Baltimore. He makes his Ann Arbor debut this evening.
J. Patrick Raftery, recipient of the 1981 Richard Tucker Award, has emerged as one of America's outstanding baritones. He has played leading roles with the San Diego, Chicago Lyric, New York City, Houston, Washington, and Hamburg State opera companies, and appeared as concert soloist with the Boston and Honolulu Symphony Orchestras. He sang his first "Elijah" at the Kennedy Center a year ago this month. He now adds Ann Arbor to his widening list of debut appearances.
Our special 90th May Festival Souvenir Book is available for only two dollars in the main floor and first balcony lobbies. Its more than 60 pages contain complete program annotations and extensive artist biographies for all four concerts, plus a pictorial section devoted to the May Festival from its inception in 1894 . . . on sale during intermission and before and after each concert.
THE FESTIVAL CHORUS OF THE UNIVERSITY CHORAL UNION
Donald Bryant, Director
Leif Bjaland, Acting Conductor
William Robertson, Assistant Conductor
Nancy Hodge, Accompanist Stephen Bates, Manager
First Sopranos Leann Bcird Lctitia Byrd Susan Campbell Phyllis Dcnner Kathryn Elliott Karin Evans Julie Grinstcad Nanette Hagcn Kathryn Hubbs Sylvia Jenkins Carolyn Leyh Doris Luecke Loretta Meissncr Teta Moehs Suzanne Schluederbcrg Alice Schneider Marie Schneider Luann Walker Margie Warrick Deborah Woo Marilee Woodworth
Second Sopranos Christine Arnison Kathryn Berry Jessica Briefer Barbara Carron Ellen Ferguson Ann Kuelbs Judith Lehmann Kim Mackenzie Linda Mickclson Cheryl Murphy Robina Quale Virginia Reese Carolyn Richards Marcy Stalvey Carolyn Thompson
Tracy Thome Patricia Tompkins Barbara Wallgren Rachcllc Warren Christine Wendt Joanne Westman Kathleen Young
First Altos Yvonne Allen Martha Ause Kathlyn Boyer Ella Brown Marion Brown Lacl Cappacrt Jari Carver Alison Cohen Ellen Collarini Cheryl Cox Mary Crichton Carolyn Ehrlich Marilyn Finkbeiner Wilma Gillis Nancy Houk Gretchen Jackson Marta Johnson Olga Johnston Nancy Karp Geraldine Koupal Judith Levey Frances Lyman Tambcr McPikc Lois Nelson Erica Perl Jo Ann Poske Debora Slee Laura Smith Helen Thornton Mary Warren
Charlotte Wolfe Bobbie Wooding
Second Altos Anne Abbrecht Marjoric Baird Eleanor Beam Carol Carpenter Susannah 1:1km Andrea Foote Ria Gcurts Mary Haab Dana Hull Carol Hurwitz Elsie Lovelace Cheryl Mclby Margot Moore Mary Price Mary Quade Margaret Sharcmct Carol Spencer Kathryn Stebbins Marian Vassar Alice Warsinski
First Tenors William Bronson Hugh Brown Charles Cowlcy Timothy Dombrowski Joseph Kubis Paul Lowry Robert MacGregor Bernard Patterson Stephen Vann Helen Wclford
Second Tenors Barry Barretta Brian Buggy Albert Girod
)on Grant Donald Haworth Ted Heflcy Jay Klein Andrew Prcis James Priore Carl Smith Christopher White Dennis Zaengcr
First Basses Thomas Berry John Brucger Thomas Cox John Dunkclberger William Hale Wcng Hce Ho William Ling Lawrence Lohr Charles Lovelace Bradley Pritts James Schneider Thomas Wang Steven White Donald Williams
Second Basses Marion Beam Douglas Bond Howard Bond Harry Bowen Glenn Davis Bruce Dicey Alec Ferguson Paul Kaczmarck Charles Lchmann William Liefert Robert Strozier Terril Tompkins John VanBolt Kanta Watanabe
THE BATTLE CREEK BOYCHOIR Charles Olec.au, Director
Marc Anderson
Jon Castcrlinc
John DeGarmo
James Frohardt
Todd Herrick
Douglas Horstmaiischof
Michael Horstmaiischof
Han Soo Kim Derek Malone Jeffrey McConihay Thomas McConihay Marc McClcndon Scott Ouellctte Patrick Pcndleton
Michael Prangc Frank Quinn Joseph Ratti Kirt Richards Kyle Smith James Weil Shawn Witzki
This concert by The Philadelphia Orchestra has been underwritten, in part, by the Bell Telephone Company of Michigan in association with the Bell System's "American Orchestras on Tour" program.
UNIVERSITY MUSICAL SOCIETY
Burton Memorial Tower, Ann Arbor, Michigan 48109 Phones: (313) 665-3717764-2538

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