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UMS Concert Program, October 18, 1987: International Presentations Of Music & Dance -- Zurich Chamber Orchestra

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Season: 109th
Concert: Tenth
Rackham Auditorium, Ann Arbor, Michigan

Zurich Chamber Orchestra
EDMOND de STOUTZ Conductor
Zisigniew Czai'czynski, Violinist
Sunday Afternoon, October 18, 1987, at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Brandenburg Concerto No. 3 in G major, B.W.V. 1048 ................ Bach
Allegro moderate Allegro
"Polyptyque" for Violin and Two String Orchestras (1973) .... Frank Martin
Commissioned by the Gesellschaft dcr Freundc des Ziirchcr Kammcrorchcsters; Dedicated to Yehudi Menuhin, Edmond de Stoutz, and the Zurich Chamber Orchestra.
Image des Ramcaux Image de Gcthsemane
Image dc la Chamber haute Image du Jugemcnt
Image dc Judas Image dc la Glorification
Symphony No. 43 in E-flat major, "Mercury" .......................Haydn
Allegro Adagio Menuctto Allegro
Halls Cough Tablets, courtesy of Warner-Lambert Company, arc available in the lobby.
The Zurich Chamber Orchestra expresses gratitude to Pro Helvetia Switzerland for its generous support of the current tour.
Tenth Concert of the 109th Season Twenty-fifth Annual Chamber Arts Series
Brandenburg Concerto No. 3 in G major........... Johann Sebastian Bach
Christian Ludwig, Margrave of Brandenburg and a friend of Prince Leopold, maintained an orchestra and had amassed a large library of music at his palace in Potsdam. It is probable that he met Bach on a visit to Prince Leopold, since he commissioned of Bach a set of six concertos. As the concerto form at that time had not yet become clearly defined, the composer was free to write for any combination of instruments that seemed fitting. Bach worked on these for three years and forwarded the score to Christian Ludwig in March 1721, with a humble letter of dedication in French. It is not known what the Margrave of Brandenburg replied, or even if he ever heard the music performed, but his name has been perpetuated because of these works.
The Concerto No. 3, from its style as purely ensemble rather than solo concerto, probably numbers (as do the first and sixth concertos) among the earliest mature achievements of Bach's involvement with the Italian concerto genre. It is scored for violins, violas, cellos, bass, and harpsichord, and contains two Allegros divided by two Adagio chords which stand for the traditional slow second movement. Bach chose not to write a full slow movement, perhaps to provide an extreme contrast to the intricacies of the first movement by this quite extreme example of the short chordal slow movements often found in Italian concertos of the period. This concentrated moment of repose prefaces the headlong dash of the extroverted, giguc-likc final Allegro, a movement much less complicated than the complexity of the first movement. Bach closes the work with a masterful German interpretation of the splendid power of the Italian string style.
"Polyptyque" for Violin and Two String Orchestras (1973).......Frank Martin
Frank Martin was a renowned Swiss composer, pianist, and harpsichordist. He studied with Joseph Laubcr in Geneva, Martin's birthplace, then took courses in Zurich, Rome, and Paris, returning to teach at the Geneva Conservatory from 1933 to 1939. He moved to the Netherlands in 1946 and while living there taught classes in composition at the Cologne Conservatory from 1950 to 1957. He died in Naardcn, the Netherlands, on November 21, 1974.
Martin's early music showed the influence of Cesar Franck and French Impressionists, but he soon succeeded in creating a distinctive style supported by a mastery of contrapuntal and harmonic writing, characterized by a delicate coloring and an expressive nature. Still later, he became fascinated by Schoenberg's method of composition with twelve tones and adopted it in a modified form in several of his works. In 1944, Martin was asked to compose an oratorio to be broadcast immediately upon the conclusion of World War II. He responded with In terra pax for Soli, Double Chorus, and Orchestra, which was given its premiere over Radio Geneva on May 7, 1945. Martin's compositions include operas, ballets, chamber music, vocal music, concertos, and works for orchestra. The "Polyptyque," heard this evening, was one of his last creations.
Program Note by Frank Martin:
When Yehudi Mcnuhin and Edmond dc Stoutz asked me to write a concerto for violin and string orchestra for them, my immediate reaction was that I could not do so, because of the masterpieces left to us by J. S. Bach. I then thought it would be right to compose a suite of relatively short pieces -a suite of pictures relating to something undefinable.
In Siena, I saw a Polyptychron, a collection of very small paintings portraying various episodes of the Passion of Christ, so I thought I would try something similar in music. Music is not a representative art. It could not be a real description of the scenes as I had studied them. The scenes I wanted to evoke I could only recreate in the most lively way in my imagination. So I have tried to transform into music the feeling those scenes aroused in me.
In the Image des Ramcaux (Palm Sunday) scene, I saw a tumultuous crowd, eager to see the Lord entering Jerusalem, surrounding Him and rejoicing. I also felt the presence of Christ, whose high knowledge dominates this tumult. Knowing how fragile this momentary glory is, I gave this to the solo violin to express. Image de la Chambre haute describes the farewell words of Christ to his disciples, the frightened questions they asked Him, and His gracious answers. Image de Judas is the picture of a frightened human being, tortured in his heart, defeated by temptation, and driven to despair. Image de Gethsemane shows the quailing in loneliness, the imploring request: "That this chalice should pass me by"; and finally the complete resignation: "Thy will shall be done." Image dujugement is the anger of the unchained crowd, their sadistic joy in gaping at the suffering, and then the way to the cross. When I arrived there, I felt the only ending possible was the Image de la Glorification (Transfiguration).
Those were the thoughts and feelings I had when composing this Polyptychron. Whether I was successful in translating these personal impressions into music is another question. Perhaps
this music could help sonic of us to recreate those pictures of the Passion; others will find these pieces for violin and two string orchestras more or less interesting, and more or less successful. In my collaboration with the great personality of Yehudi Menuhin, who supported my experiment, I wrote the part for two small orchestras for Edmond de Stoutz and his excellent Zurich Chamber Orchestra.
Symphony No. 43 in E-flat major, "Mercury"............ Franz Joseph Haydn
The precise extent of Haydn's vast output will probably never be known. Many works arc lost; others, listed in various catalogues, may never have existed or were duplications of extant works. Some are of doubtful authenticity, and some arc definitely spurious. The generally accepted list of Haydn's authentic symphonies numbers 104, many with descriptive titles, some authorized by Haydn, others not.
An important occasion in Haydn's life was his meeting with Prince Paul Anton Esterhazy, who engaged him as 2nd Kapellmeister at his estate in Eisenstadt in 1761. After Prince Paul's death in 1762, his brother, Prince Nikolaus Esterhazy, took Haydn to his new palace at Esterhaza, marking the beginning of a long-lasting, secure, and fruitful service. At the end of his first decade with the Esterhazys, Haydn had written over 40 symphonies, more than he would produce in any similar time span. Over a period of some 30 years at Esterhaza, Haydn composed music of all descriptions, including most of his known 83 string quartets, about 80 of his 104 symphonies, keyboard works, and most of his operas. Though Haydn's life was comparatively uneventful, his immense output of music is notable for the number of delights and surprises contained in almost every work.
From 1770 on, numerous larger works of Haydn's were published, among them several symphonies. The scries of symphonies Nos. 42 through 48 were created in 1771 and 1772 -No. 43 in E-flat is heard this afternoon. For the Romans, Mercury was the messenger of the gods, as well as the god of trade and commerce for the merchants.
About the Artists
Switzerland's celebrated Zurich Chamber Orchestra under its founderconductor Edmond de Stoutz returns to America this season to repeat the successes won during tours in this country since 1964. The ensemble first performed in Ann Arbor in February 1964, in the inaugural season of the Musical Society's Chamber Arts Series, and returned for a second concert in 1980.
The Zurich Chamber Orchestra was formed in 1945 by Edmond dc Stoutz, who selected its members from advanced students at the Zurich Conservatory who were eager to perform while finishing their studies. Their first concerts in Zurich established the ensemble im?mediately, leading to appearances in other Swiss cities. A first visit to Italy in 1951 led to another tour of that country later the same year. Since then, the artists have made repeated tours throughout the European countries, and have also been acclaimed for their performances in South America, Japan, Australia, New Zealand, and South Africa. In all, the Zurich Chamber Orchestra and Edmond de Stoutz have given over 3,500 concerts across four continents in their forty-three years of performing.
The orchestra records for several European labels, and their latest album, featuring Mozart's Bassoon Concerto in B major and Clarinet Concerto in A major, is now available on digital disc and compact disc in the United States.
Edmond de Stoutz selects his young musicians for their individual virtuosity as well as their knowledge of the stylistic requirements of demanding works, challenging them with a varied repertoire from the Baroque era to the present. His programs invariably include works by contemporary composers.
The maestro was born in Zurich in 1920. He first studied law at the University of Zurich, then entered the Zurich Conservatory to study music theory, followed by instruction in conducting in Lausanne, Salzburg, and Vienna. He began his career as a cellist in various ensembles in Zurich before founding the orchestra in 1945.
Emanud Abbiihl Martin Ackermann Shunji Akagi Jonathan Brett-Harrison Thomas Burri Esther Christoffel Zbigniew Czapczynski Nelly Eschke
Christof Escher Michael Gebauer Mirion Glas Sandra Goldberg Barbara Grcgoire Rodolphe Gregoire Julia Grevc Bernd Haag
Maurice Halioua Asa Konishi
Arthur Rcgula Lilicnthal I'ctr Mraz
Christopher Pulgram Lorenz Raths Hans-Josef Schonen
Jacqueline Stahli Gunther Stiickle Pierre Tissonier Johann-Albrecht
Toppius Gerd Volmer Verena Walder-Graf Tomasz Zochowski
In the belief that increased understanding brings increased pleasure, the University Musical Society is pleased to offer these Pre-concert Presentations to our concertgocrs through December -all will be held in the Rackham Building on East Washington Street.
Wednesday, Nov. 11 at 7:00, preceding Vienna String Trio
Speaker: Norman Fischer Topic: Chamber Music: A Listener's Feast
Associate Professor of Music, Oberlin College; former cellist of Concord String Quartet
Friday, Nov. 20 at 7:00, preceding Elena Obraztsova, mezzo-soprano
Speaker: Leslie Guinn Topic: Between Studio and Stage: Exploring the Singer's World Professor of Voice, Director of the Division of Vocal Arts, U-M
Thursday, Dec. 10 at 7:00, preceding The Swingle Singers Speaker: Donald Bryant Topic: Humor in Music Choral Union Conductor, Musical Society; Director of Music, First Presbyterian Church
These presentations are open to the public at S3 per person, with tickets available at the door; complimentary admission to Encore and Cheers! members and students with valid I.D. cards. (For information about joining Cheers! or Encore, call 764-8489.)
Watch for announcement of 1988 Pre-concert Presentations.
Coming Concerts
The Warsaw Ballet, "Giselle" .............................. Wed. Oct. 28
Western Opera Theater, "Don Pasquale" .................. Thurs. Oct. 29
Oslo Philharmonic OrchestraMariss Jansons ..............Sun. Nov. 8
Berlioz: "Roman Carnival" Overture; Tchaikovsky:
Fantasy-Overture, "Romeo and Juliet"; Geirr Tviett: "Folk Tunes of
Hardangcr"; Sibelius: Symphony No. 2 Vienna String Trio ........................................ Wed. Nov. 11
Haydn: Trio, Op. 53; Dohnanyi: Serenade, Op. 10; Beethoven: Trio,
Op. 9, No. 1
Elena Ouraztsova, Mezzo-soprano ............................ Fri. Nov. 20
Vienna Choir Boys ........................................ Sun. Nov. 22
Johann Schcnk: Comic Operetta, "Dorfbarbier" (Cure for Quacks);
and music of Buxtchude, Verdi, Schubert, Kodaly, and Johann
Handel's "Messiah'VDoNALn Bryant, Conductor ........... Fri.-Sun. Dec. 4-6
The Swingle Singers ...................................... Thurs. Dec. 10
Pittsburgh Ballet, Tchaikovsky's "Nutcracker" ........ Fri.-Sun. Dec. 11-13
Horacio Gutierrez, Pianist................................... Wed. Jan. 13
Kono (Japanese "taiko" drummers) ............................... Fri. Jan. 15
Empire Brass Quintet ....................................... Mon. Jan. 25
Empire Brass & Douglas Major, Organist .................... Tues. Jan. 26
New York City Opera National Company ................ Thurs. Feb. 4
Rossini's "The Barber of Seville"
Camerata Musica ............................................Mon. Feb. 8
Lynn Harrell, Cellist; Igor Kipnis, Harpsichordist .............. Sun. Feb. 14
All-Bach: Sonatas, Nos. 1, 2, and 3; Chromatic Fantasy and Fugue
(harpsichord alone); Suite No. 3 (cello alone)
Bayanihan Philippine Dance Company ..................... Mon. Feb. 29
English Chamber OrchestraJeffrey Tate .................. Mon. Mar. 7
Frank Peter Zimmermann, Violinist
Mozart: "Marriage of Figaro" Overture; Mozart: Violin Concerto in
A major, K. 216; Gordon Jacob: Mini-Concerto for Clarinet; Haydn:
Symphony No. 101 ("Clock")
Hubuard Street Dance Company .................. Sat., Sun. Mar. 12, 13
Belgrade State Folk Ensemble ............................. Sun. Mar. 13
Christopher Parkening, Guitarist .............................. Fri. Mar. 18
Music of Bach, Mozart, Granados, Albeniz, Torroba, Sanz,
Villa-Lobos, Rodrigo, and Falla
Write or call for free brochure with all details and ticket information.
Burton Memorial Tower, Ann Arbor, Michigan 48109-1270 Telephone: (313) 764-2538

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