The University · Mnsical Society \ of

The Universi~y 01 Michigan

Presents

CONCENTUS MUSICUS, VIENNA

SATURDAY EVENING, NOVEMBER 6, 1971, AT 8:30

RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN

Concerto in C major

Allegro Adagio

Allegro

PRO G RAM

Fantasia, "On the Plainsong," Air

Suite from "Castor and Pollux"

Ouverture, Menuet-Tambourin, Loure, Gavotte 1,2, Air gay, Entree, Gigue, Chaconne

INTERMISSION

Three Sonatas from "La Cetra"-1673

Brandenburg Concerto No.5 in D major, BWV 1050, for Harpsichord, Flauto traverso, Violin, and Strings

Allegro Affetuoso

Allegro

Telefunken and Decca Records

Third Concert Ninth Annual Chamber Arl~ Series

TOMASO ALBINONI (1671-1750)

WILLIAM LAWES (1602-1645)

JEAN PHILIPPE RAMEAU (1683-1764 )

GIOVANNI LEGRENZI (1626-1690)

JOHANN SEBASTIAN BACH (1685-1750)

Complete Program 3740

PROGRAM NOTES

The Concentus Musicus plays only on original instruments of the seventeenth and eighteenth centuries, or on exact copies of these. Even the string instruments have been restored to their original design; they are strung with gut strings and are played with bows of the eighteenth century. The tone of these instruments, and also the playing technique, are distinctly different than those of modern instruments. In other words, old music sounds completely different when played on these instruments rather than on modern ones. It should be noted that the old instruments are in no way primitive predecessors of the technically developed modern ones. They are indeed the culmination of their type, as the price of every technical improvement was a degeneration of the tone quality.

The Musicians and Their Instruments

ALICE HARNONCOURT, Violin Jacobus Stainer, Absam 1665

WALTER PFEIFFER, Violin Matthias Albanus, Bozen 1712

PETER SCHOBERWALTER, Violin Barak Norman, London 1709

JOSEF DE SORDI, Violin . Jacobus Stainer, Absam 1677

KURT THEINER, Tenor Viola Marcellus Hollmayr, Vienna ca. 1650

NIKOLAUS HARNONCOURT, Violoncello Andrea Castagneri, Paris 1744

EDUARD HRUZA, Violone Antony Stefan Posch, Vienna 1729

LEOPOLD STASTNY, Flauto Travel'so A. Grenser, Dresden ca. 1750

LEOPOLD STASTNY, Baroque R ecorder Copy by H. C. Fehr, Zurich

JURG SCHAEFTLEIN, Baroque Oboe P. Paulhahn, German ca. 1720

JURG SCHAEFTLEIN, Baroque R ecorder Copy by H. C. Fehr, Zurich

PAUL HAILPERIN, Baroque Oboe Copy of an instrument by Paulhahn, by H. Schuck, Vienna

WALTER STIFTNER, Baroque Bassoon . Tauber, Vienna 18th century

HERBERT TACHEZI, Harpsichord

Italian Baroque Music-

Italy was in every respect the cradle of the baroque. The first baroque churches and palaces were built there, the firs t operas, the first monodies and concerti were written here. In this music the expression is everything; in the slow move­ments noble or tragic feelings are displayed, in the fast ones cheerfulness, gaiety, or simply virtuosic brilliance. Giovanni Legrenzi was one of the most important Bolognese instrumentalists and composers. He was a violinist whose influence was widely spread by his pupils. His instrumental sonatas are still in one move­ment : the adagio and allegro sections flow into one another without interruption . Tomaso Albinoni was a pupil of Legrenzi. He was a violinist, and this explains his brilliant and always effective composition. Albinoni developed, along with Vivaldi, the form of the concerto and solo concerti.

English Baroque Music-

In the past centuries the English composers have been unfairly neglected. Only recently has the large and unique significance of the English music again become generally known. In the sixteenth and seventeenth centuries a large part of the music was written for an intimate circle of connoisseurs, not for a large audience. One of the most gifted and at the same time least known English composers is William Lawes. He wrote with the greatest facility for every ensemble that was then common, but above all for strings. His fantasies and dances are based on the works of his teacher, John Cooper, but they surpass by far Cooper's work in their daring harmonies and animated melodies.

French Baroque Music-

The development of national styles is one of the most notable peculiarities of European music. From the very beginning various centers developed their own musical idioms, corresponding to the different mentali ties of the various peoples. During the baroque period, Italy and France were musically the most diametri­cally opposed countries in Europe. The Italian music was always direct, extro­verted, and uncomplicated ; French music on the other hand, was rigorously moulded, concise, ingenious, and intellectual.

Johann Sebastian Bach-

Bach's "yorks are a synthesis of the entire baroque music. Bach not only unites the otherwise irreconcilable national styles (French and Italian) but he sum­marizes the entire hundred-year inheritance of baroque music in his work. In the fifth Brandenburg Concerto, the earliest known work with concertante harpsichord, all technical and tonal possibilities of this instrument are already so masterfully employed that this work has remained the high point of its genre. The other two solo instruments, the flauto traverso and the violin, leave the dominating role in the first movement to the harpsichord.

INTERNATIONAL PRESENTATIONS-1971-72

RUGGIERO RICCI, Violinist . Monday, November 8 Sonata in E-f1at major, Op. 12, No.3, Beethoven; Sonata No . 3 in C major (for solo violin), Bach; Suite from "Le Baiser de la Fee," Stravinsky; Hungarian Airs, Ernst; "Perpetual Motion," Paganini

*ROY AL WINNIPEG BALLET. Wednesday, November 10

PRAGUE STRING QUARTET Tuesday , November 16 Quartet in C major, Op. 54, No.2, Haydn ; Quartet No.2, Janacek; Quartet in G major, Op. 106, Dvorak

SHIRLEY VERRETT, Mezzo-soprano Thursday, November 18 "Komm Siisser Tod," Bach; "II mio bel foco," Marcello; Three Spirituals; Vier ernste Gesange (Four Serious Songs) Op. 121, Brahms; Zigeuner Melodien (Gypsy Songs) Op. 55, Dvorak

*SWINGLE SINGERS from Paris Friday, November 19

CHORICA DANCE THEATER from Athens Choreography is closely interwoven with speech and music in these presentations, with excerpts from Ancient Greek tragedies, comedies and satiric drama providing material for the dramatic expressions of this group.

Two performances in Power Center: Classical Greek Drama Byzantine Medieval Liturgical Drama

Saturday, November 20 Sunday, November 21

"'NATIONAL BALLET of Washington, D.C. (aft. & eve.) Saturday, November 27

THE MESSIAH-Handel's great oratorio Friday and Saturday, December 3 and 4 (afternoon) Sunday, December 5

DONALD BRYANT conducts the 325-member Choral Union, Interlochen Arts Academy Or­chestra, and soli in this traditional event of the Christmas season. Soloists are HELEN BOATWRIGHT, Soprano; BATYAH GODFREY, Contralto; DAN MAREK, Tenor; and DONALD BELL, Bass.

CLEVELAND ORCHESTRA, PIERRE BOULEZ, conductor Wednesday, December 8

J eux, Debussy; The Miraculous Mandarin, Bartok; Symphony No.3, Schumann

All programs in the evening, unless otherwise noted.

* Sold out.

The annual May Festival will be held May 4, 5, 6 and 7. Programs and soloists for the five concerts will be announced December 1, when series orders will be accepted.

UNIVERSITY MUSICAL SOCIETY Burton Memorial Tower, Ann Arbor, Michigan 48104 (Phone 665-3717)