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1969SS0714 FMAC SS.Pdf MAE ZENKE ORVIS AUDITORIUM JULY 14, 1969 8:00 P.M. Monday, July 14, 1969 Mae Zenke Orvis Auditorium 8:00 p.m. THE JUILLIARD ENSEMBLE DENNIS RUSSELL DAVIES, conductor Jeanne Baxtresser, flute Max Lifchitz, piano Virgil Blackwell, clarinet Romuald Tecco, violin Charle ussbaum, ba oon Kaaren Phillip, viola Ronald Romm, trumpet Fred Sherry, c llo Garrett Li t, trombone Donald Palma, double ba Richard Fitz, percussion Kathleen Bride, harp William Storandt, percus ion Assisted by: LaVar Krantz, violin Avis Romm, piano I GOLF DAH~, piano Program Berio Due Pezzi (1949) (Revised 1966) (For violin and piano) First Performance in Hawaii Berio Sequenza, o. V (1966) (For solo trombone) First Performance in Hawaii Berio Sequenza (1955) (For solo flute) First Performance in Hawaii Stravinsky Elege (1944) (For unaccompanied viola) Ingolf Dahl Trio (1962) (For piano~ violin and cello Serenata otturno I Rondino Cantabile Notturno II Finale: Variazioni - Recitativo - Coda First Performance in Hawaii Intermission Armand Russell Celebration Pieces and Mourning Music (1969) Celebration Piece 1 Celebration Pieces 2, 3 and 4 with Mourning Music 1 Celebration Piece 5 Celebration Pieces 6, 7 and 8 with Mourning Music 2 Celebration Piece 9 World Premiere Paul Hindemith Kammermusik, Opus 24, 0.1 (1922) (For flute, clarinet, bassoon, trumpet, percussion, two pianos, violins, viola, cello and double bass) Sehr schnell und wild Massigschnell Halbe' Sehr streng im Rhythmu Quartett - Sehr lang am und mit Ausdruck Finale: 1921 - Ausserst lebhaft First Performance in Hawaii Program otes Due Pezzi was given its first performance in revi ed form by Dennis Russell Davies and Romuald Tecco at the Si th International Festival of Contemporary Art in Royan, France in April 1969, and has been recorded by Phillips ... D.R.D. Seguenza o. V explore the varIOUS dramatic elements involved in both the aural and visual aspects of a live performance. Berio use purely vocal sounds in oppo ition to the sounds which are natu­ rally inherent in the trombone, and brings these two elements together as the trombone begins to assume vocal characteristics. Seguenza allows the flutist to break through the chromatic grid of preci ely bored hole and their perfectly tuned partials. Time i fixed with da hes paced at even interval . ~legAwas composed for Gemain Prevost to be played in memory of Alphonse Onnou, founder of the ro rts Quartet. There is so much interrelationship and continuou variation between the five movement of the Trio that they could be conceived as parts of one long single movement with contra ting sections. The "tone" progre ses from a light erenade tyle (guitar and mandolin ) through more reflective, lyrical and mist rioso movements ( otturno I and Rondino) to greater weight, seriousnes and drama ( otturno II). The Finale recapitulates, sums up, reflects upon everything that has gone on before. It culminates in an impassioned unison recitative for all three instruments and closes the circle with a very fast, subtly fugal and rhythmically active Coda. The tyIe of the Trio, a turning point in the compo r's d velopment, is the basi for all of his ubsequent works (fre ly worked out 12-tone seriali m that is centered on a key, in thi case A major) ... 1.D. House of Music, Ltd., in celebration of its twentieth anniversary of service to the Honolulu commu­ nity, has presented a commission grant to the Festival of the Arts of This Century. This grant will permit the Festival committee to offer for the first time, commissions to composers for musical works which will be given world premiere presentations in the Festival. Celebration Pieces and Mourning Music (1969) by Armand Russell is the first of the commissioned works to be performed. Celebration Pieces with Mourning Music consists of several brief but active movements emphasizing the winds distributed around and over two longer and more sustained movements emphasizing strings. The combinations of these movements suggests the mixture of exuberance for the advent of the new juxtaposed with commemorative nostalgia for the passing of the old ... A.R. Kammermusik No.1 was the first of seven works for chamber orchestra. This work's main interest lies in the freedom of tonality and compulsive momentum of the first movement; in the forty-five measure canon of the third movement where the time changes almost with each measure; and in the finale, entitled "1921", which has a sardonic humor concealing the despair of the bitter post-World War I era. In that finale, Hindemith quotes a tune popular in Germany that year, Fuchstanz, a final vigorous statement of which brings the Kammermusik to its conclusion ... David Ewen About The Composers Luciano Berio, founder and co-director of the J uilliard En emble, studied at the Milan Conser­ vatory of Guiseppi Verdi with G. C. Paribeni, G. F. Ghendini and Luigi Dallapiccola. He has been Composer in Residence at Berkshire Festival in Tanglewood and presently is on the faculty of the J uilliard School of Music. Ingolf Dahl was born in Germany of Swedish ,parents, and lived for many years in Switzerland. Since 1945 he has been on the faculty of the University of Southern California where he teaches composition, conducting, music history and literature and directs the Collegium Musicum. As a con­ ductor and pianist he has concertized widely in many areas including Monday Evening Concerts, Ojai Music Festivals and the San Francisco Composer's Forum. His prizes and commissions include two Guggenheim Fellowships, the Fromm Foundation, the Koussevitsky Foundation, the Los An­ geles Philharmonic and many others. Armand Russell, Chairman of the University of Hawaii Music Department, studied composition at the University of Washington with George McKay and John Verrall and at Eastman School of Music with Bernard Rogers and Howard Hanson. In 1968 he spent several months in Mexico City and Yucatan composing and writing. One of the works composed at that time was a chamber dance­ opera, The Penguin Dragon. Paul Hindemith (1895-1963) was born in Germany where he became recognized as a violinist and a major creative figure. Following a political controversy with the azis, he left Germany and went first to Turkey and then in 1940, to the United States where he became a faculty member at Yale University. Among the world honors he received were the Sibelius Prize in 1955 and the Balzan Prize in Rome for distinguished contributions to music in 1962..
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