Hill Auditorium, Ann Arbor, Michigan
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN
Hungarian State Folk Ensemble
SANDOR TIMAR, Artistic Director
Tamas Daroci Bardos, Orchestral Conductor Miklos Paszti, Chorus Conductor
Pal Kakuk, Dance Leader Laszlo Berki, Leading Primas
Csaba Okros, Small Orchestra Leader Margit Kascsak, Costume Designer
Dr. Marianna Varga, Costume Folk Art Advisor Gyula Varady, Scenist
Sandor Serfozo, General Director
Wednesday Evening, March 28, 1984, at 8:30 Hill Auditorium, Ann Arbor, Michigan
"I believe in the art of the nations of people and the independent expressive power of folk dance and folk music. This form of art that you see is very near to the folk culture of other nations living within the Carpathian mountains, where Hungary is also situated, and where, during the centuries, the transformation of history unified us in this respect. With this heritage I am able to express all thoughts that I feel. I believe that there is no choice but to use the original, authentic character of our Hungarian culture of dance, song, and music, and I hope that this will result in adding a modest contribution to the culture of dance in the world."
Based in Budapest, the new Hungarian State Folk Ensemble of 100 dancers, singers, and orchestra, will make its first appearances in this hemisphere. The Ensemble embarked on its 12-weck tour in January and at its finish will have performed in virtually every major city in the United States and Canada. In 1966, the previous Hungarian State Folk Ensemble also toured North America with Miklos Rabai as Artistic Director. Since the death of Maestro Rabai, the Ensemble has been completely reorganized under the artistic direction of Sandor Ti'mar, a world-renowned exponent of Hungarian folk art, and one of the most highly respected men in his field. The new Ensemble presents completely new repertory with new personnel hand-picked from the best in Hungary.
Special thanks to Mr. and Mrs. Kalman Magyar for their valuable assistance in the research, translation, and contribution to the program notes.
Forty-second Concert of the 105th Season Special Concert
Dances of the Two Sarkoz
(Music: Ferenc Sabo, Choreography: Sandor Timar)
On the western bank of the Danube, south of Budapest, Sarkoz was occupied by foreign invaders for over 100 years. Later, under Hungarian rule, it was settled by newcomers. These dances show the contrast between those of the newer inhabitants and those of the older Sarkoz.
Welcoming Song (Zoltan Kodaly) Dana, Dana (Lajos Bardos)
Kallai Kettos (Kodaly)
Kodaly, eminent Hungarian composer, and his followers have written many beautiful choral works based on Hungarian folk songs collected from peasants. The world-famous Kallai Kettos was written in 1951 especially for the Hungarian State Folk Ensemble.
Lorincrevi Feast Day (Music: Laszlo Berki, Choreography: Sandor Timar)
In the village of Lorincrevi, a feast day was an opportunity for the villagers to show off their finest apparel and dances of celebration.
Hungarian Rhapsody No. 2 (Franz Liszt)
The great Hungarian-born composer was inspired by the Gypsy Primas' style of playing and the sound of the gypsy orchestra. Although these melodies arc not of folk origin, but were written in that style by Hungarian composers and gypsy violinists, they became popular not only in Hungary but throughout the world. Of the fifteen Hungarian Rhapsodies by Liszt, the second is probably the best known and most popular.
Dances of the Five Lads from Kalotaszeg
(Music: Marta Viragvolgyi, Choreography: Sandor Timar)
This typical Hungarian competitive dance between the young men who compete with each other to impress and win the affection of their sweethearts, flourished in the Kalotaszeg region of Transylvania, around the town of Kolozsvar (Cluj), now in Romania. It has been said that this dance is the Transylvanian version of "Anything You Can Do I Can Do Better."
Village Wedding (Music: Tamas Daroci Bardos, Choreography: Sandor Timar)
The folklore surrounding the wedding customs is most important in the lives of people living in small Hungarian towns and villages. The event may last from three to five days and preparations are made months ahead.
The Vofcly (Master of Ceremonies) is the key person during the festivities, assuring a smooth flow of events. He introduces the numerous traditional activities. The groom enters, accompanied by his best man, and is welcomed by the assemblage. The bride then enters with her parents. She gives a last kiss to her former admirers, then embraces her parents. A farewell embrace is then given to her girlfriends.
Some of the ritual wedding dances are Hajalkidltds (Awakening of the Sun), Legenybusai (Groom's farewell), Ledtiybusoi (Bride's farewell), Parndstanc (Pillow Dance), and the Gyertyatdnc (Candle Dance). After the candle-lighting procession, the groom "abducts" the bride by lifting her from the floor and running from the room. The Czardas and Wedding March are danced just before the groom returns with his bride, now his wife, and they join in the festivities.
Dances from the Land of the Szekelys
(Music: Laszlo Berki, Choreography: Zoltan Zsurafszki)
This is a bouquet of dances of the Szekcly people, probably one of the oldest inhabitants of Transylvania, which preserves many old traditions of their folklore. Known for their exciting and beautiful dances, this choreography incorporates the Verbunk (Men's Recruiting Dance), Jarlatos (Walking Dance), Szoktetos (Jumping Dance), and Forgatos (Twirling Dance).
Pictures of Sopron (Laszlo Lajtha)
Lajtha was one of the first ethno-musicologists early in this century who followed Kodaly and Bartok in initiating the recording of instrumental folk music. These musical "pictures" originated in the town of Sopron in western Hungary.
Herdsmen's Dances from Hortobagy Region (Music: Aladar Budai, Choreography: Andras Beres)
For centuries Hortobagy has been a desolate desert unfit for human habitation except by the Hungarian outlaws. In more recent times it has been made fit for animal husbandry. The lifestyle of the herdsmen was nomadic and demanded a strong-willed individual to be able to defend the animals. Because of the importance of thejob, a strict hierarchy prevailed among the herdsmen. The highest rank was that of the Csikos (horse herdsmen), whose tool was the whip. Next was the Gulyas (cattle herdsmen) whose tool was the shepherd's staff. Next was the Juhasz who tended the sheep, and who used a hooked stick to keep the herd together. The lowest rank was the Kanasz who tended the swine, whose tool was the small axe. These tools were used in tending the animals, in defense of predators, and in their dances, which arc traced back to the weapon dances of the middle ages and which have survived in Hungarian culture only among these herdsmen. Their songs reflect the hard life they lead, for example:
"The mud and the water of the lake is dried up And the poor beasts look at the shepherds all in vain. May God please give us a little rain And good meadows for the sheep to graze."
Girls' Circle Dance from Zemplen
(Music: Tamas Daroci Bardos, Choreography: Sandor Timar)
This is one of the most archaic forms in Hungarian dance culture. The girls perform in a circle to the accompaniment of their own singing. Their songs are mostly about love and young men, and often contain spicy and naughty comments.
Dances from Szatmar (Music: Laszlo Berki, Choreography: Sandor Timar)
In the Szatmar region in northeastern Hungary arc found the most beautiful examples of the new style Hungarian dancing. Here the widely performed Verbuuk (Recruiting dance) and the Czardas arc perfected with virtuosity. An important aspect also is the art of improvisation, here shown with dancers often creating their own steps in their own way. The infectious exuberance of the dance, with intricate slappings and fast tempo, brings the program to an exciting finale.
Northwood Orchestra Don Jaeger...................... Thurs. Mar. 29
Karen Emons Smith, Soprano
J. C. Bach: Sinfonia in B-flat; Francaix: Serenade for Chamber Orchestra; Barber: Knoxvillc: Summer of 1915; Albinoni: Oboe Concerto, Op. 9, No. 2 (Jaeger); Rodrigo: Cuatro Madrigalcs Amatorios; Ibcrt: Divertissement
The Canadian Brass......................................... Fri. Mar. 30
Music by Mozart, Vivaldi, Bach, "Fats" Waller, and "A Tribute to the Ballet"
Yo-Yo Ma, Cellist........................................... Wed. Apr. 4
Orpheus Chamber Ensemble.................................. Fri. Apr. 13
J. C. Bach: Sinfonia in B-flat; Mozart: Bassoon Concerto, K. 191 (Frank Morelli); Schoenberg: Verklarte Nacht, Op. 4; Bartok: Rumanian Dances
1984 Ann Arbor May Festival
Four concerts in Hill Auditorium, Wednesday-Saturday, April 25-28 ending the Philadelphians' long reign in Ann Arbor
The Philadelphia Orchestra
Eugene Ormandy, Conductor Laureate Aldo Ceccato, Guest Conductor
The Festival Chorus
Eugene Istomin, Pianist Louise Russell, Soprano Uto Ughi, Violinist Lorna Myers, Mezzo-soprano
Wednesday -Ormandy and Istomin, all Beethoven: Leonore Overture No. 3; Piano Concerto No. 5 ("Emperor"), Symphony No. 5 in C minor
Thursday -Ceccato and Ughi: Berlioz: Benvenuto Cellini Overture; Brahms: Violin Concerto in D major; Dvorak: Symphony No. 7
Friday -Ceccato, Festiual Chorus, Russell, Myers: Mahler: Symphony No. 2 in C minor ("Resurrection")
Saturday -Ormandy, all orchestral: Prokofiev: Classical Symphony; Strauss: Don Juan; Respighi: The Pines of Rome; Ravel: La Valse; Tchaikovsky: "1812" Overture
Single tickets now on sale, from S9-S21
Just announced! Ann Arbor Summer Festival, 1984
Premiere Season: June 30 -July 24, on the U-M campus
Mime Music Dance Theatre
Marcel Marceau, Sherrill Milncs, Edward Villella, Claire Bloom, and many other artists and performing groups . . . plus
lectures, films, master classes, and alumni activities
Free brochure available from University Musical Society, Professional Theatre
Program, School of Music, and at various campus and city locations.
To be announced April 9: A New Season of International Presentations, 1984-85
Symphony orchestras from America and abroad, solo recitalists, chamber groups, ballet, chorus and opera . . .
Watch for new brochure!
UNIVERSITY MUSICAL SOCIETY
Burton Memorial Tower, Ann Arbor, Michigan 48109-1270 Phones: (313) 665-3717, 764-2538