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The University Musical Society of The University of Michigan

Presents

ANN ARBOR

THE PHILADELPHIA , Director and Conductor WILLIAM SMITH, Associate Conductor

EUGENE ORMANDY,

Soloist ,

WEDNESDAY EVENING, APRIL 27, 1977, AT 8:30 , ANN ARBOR, MICHIGAN

All- Program

"The Isle of the Dead," Op. 29

* No.2 in for and Orchestra, Op. 18 Moderato Adagio Allegro scberzando GARY GRAFF MAN

INTERMISSION

Symphonic Dances, Op. 45 Non allegro Andante con moto (tempo di valse) Lento assai; allegro vivace

*Available on RCA Red Seal

First Concert Eigbty-fourth Annual May Festival Complete Programs 4060 PROGRAM NOTES by RICHARD FREED

"The Isle of the Dead," Op. 29 (1873- 1943) In 1906, following two conspicuously successful seasons as conductor at the in , Rachmaninoff took his wife and infant daughter to , where he would have more time to devote to his creative work, free from commitments as a performer. He and hi;; family remained in Dresden for three years, returning to only for the summers, and it was during the early part of that period that he composed two of his most successful works for orchestra, the Second and the tone poem The Isle of the Dead. Rachmaninoff chose Dresden not only for its own appeal, but also for its proximity to , a city whose musical activity and museums interested him; in one of those museums hung Arnold Bocklin's paintir.g Die Totenillu l ("The Isle of the Dead"). Bocklin (1 827-1901) was a Swiss Romantic whose mel ancholy style and sumptuously dark coloration struck an especially sympathetic chord in Rachmaninoff-who was not, however, the only composer to respond to Bocklin's work with music. (Max Reger, for one, composed a "Bocklin Suite" of four shorter tone poems, one of them on this same painting.) This particular painting shows an island which is almost entirely cliff, rising awesorr. ely from the water into a sunless sky; a portal has been carved through which the boat bearing a coffin may enter, and in the center, beyond the entrance, cypresses rise taller than the rocky sepul chre. The small boat making its way toward that grim portal bears a coffin across its bow, draped with wreaths; a solitary figure, shrouded in white, staQds over it, and a single 03 rsman si ts astern . Curiously, it appears that Rachmaninoff did not see this pai nting until after he had composed his tone poem of the same name, under the inspiration of a black-and-white sketch Bocklin made after completing the painting. The music was composed in April and M ay 1907 and first performed, under the composer's direction, on May 1, 1909, in Moscow. During the two-year interval Rach­ maninoff did see the painting itself, and remarked: "If I had seen the original first, I might not have composed my Isle of the Dead. I like the picture best in black and white." The music, in any event, seeks to evoke a mood more than to tell a story, though details of the visual image are reflected in it. The open ing suggests the water quietly lapping again st the shoreless cliffside. At length the horn breathes a lamentation ; the undulating figure of the opening becomes more animated and the lamentation is taken up more poignantly by the oboe. The opening figure asserts itself still more energeticall y, and the lamentation takes the form of a brass chorale, its shape no w recognized clearly as what was only hinted earli er : it was a variant of the , the ancient chant fo r the dead (whi ch fi gures in several of Rachmaninoff's other works, from the earliest to the last). The middle section corresponds to one of Rachmaninoff's great slow movements, reaching an emotional peak in the strings' s'laring lyrical transformation of the lament theme. This rapturous effect is dispelled by a menacing orchestral irruption which leads to the concluding section, in which the insistent tread of the Dies Ir ae prevails in one form or another as other materials are reheard. Finally the melodic fragments dissolve, even the murmuring of the water is stilled, and darkness is complete: lamentation has ended, memory has vanished, and only stillness remains. Rachmaninoff conducted performar. ces of The Isle of the Dead with several American within a year of the premi ere; the first recording of the work was made by The under his direction in April 1929.

Concerto No.2 in C minor for Piano and Orchestra, Op . 18 R ACHMANiNOFF Dr. ikolai Dahl , to whom Rachmaninoff dedicated this Concerto, was godfather to the work in an unusuall y active sense. Rachmaninoff went into a period of depression that tied up his creative activity for nearly three years after the dismal failure of his First Symphony in 189 7; toward the end of 189 9 he consulted Dr. Dahl, whose specialty was treating such disorders through auto-sug­ ges tion and who was especiall y interested in Rachmaninoff since he himself was an accomplished amateur violinist and arden t player. The treatment consisted of daily sessions from January through April of 1900, during which Dr. Dahl more or less hynotized ·Rachmaninoff, repeating to him ove r and over again: "You will 'begin to write your concerto .... You will work with great facility .. .. Your concerto will be of excellent quali ty ..." Before the year was out Rachmaninoff performed the second and third move­ ments of his Second Concerto at a con cert conducted by his cousin, , and on November 9, 1901, he played the work in full with the Moscow Philharmonic. Co mplete self-confidence was elusive even then. Less than a week before the premiere Rach­ maninoff was tormenting himself with doubt about the new concerto. To Nikita Morozov, who had The Universi.~~...,·cal Society The

Encore!

Again, an appropriate climax is given to a very active concert season with the traditional May Festival-and at the same time anticipation of another season is created with the current announcement of our 99th year of presentations. Continuity depends upon the faithful support of large and enthusiastic audiences. For such loyalty and support we are most grateful. Special thanks are extended to the individuals and businesses listed herein who have made their annual contributions since January 1, 1976. Our next listing of Encore membership will be distributed at the opening concert of the Choral Union Series-the Beverly Sills recital on September 23-and at other series openings in Power Center and Rackham Auditorium.

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Kauper Mr. Steohen Ohlander Mr. Michael E. Smerza Mr. Charles R. Kellerman. Jr. Mr. and Mrs. Michel Oksenberg Mr. Julius Sm etona. Jr. Mr. and Mrs. A. H. Kelly Miss Ada L. Olson Dr. and Mrs. John W. Smillie Mr. and Mrs. Allan Smith Miss Virginia W. Tibbals Ms. Christine Wendt I Mr. David A. Smith Mr. and Mrs. Mischa Titiev Mrs. Elizabeth B. Wentworfh Mr. and Mrs. Gerald R. Smith Mr. Joseph J. Titone Mr. and Mrs. J. Philip Wernette Mr. and Mrs. Glenn P. Smith Miss Marjorie M. Tompkins Mr. and Mrs. Peter F. Westerman Dr. and Mrs. Sidney N. Smock Mr. and Mrs. Terril O. Tompkins Mrs. B. T. Whipple Mr. and Mrs. I. A. SmokIer Miss Mary Townsend Mrs. Albert E. White Mr. and Mrs. Ned SmokIer Mrs. John E. Tracy Miss Janet F. White Ms. Judith R. Smutek Mrs. Sarah Trinkaus Mr. and Mrs. Nathaniel H. Whiteside Mrs. Helen M. Snyder Mr. and Mrs. Alex J. Trotman Mr. and Mrs. Allen S. Whiting Mrs. Mina Diver Sonda Miss Rose Vainstein Mrs. George W. Willard Mr. and Mrs. Robert E. Springer, Jr. Mr. and Mrs. Carl Van Appledorn lVlr. Raymond C. Williams Mr. and Mrs. Neil Staebler Mr. and Mrs. John C. van der Velde Mr. and Mrs. W. L. Williams Dr. and Mrs. Jack Stanzler Dr. and Mrs. F. S. van Reesema Dr. and Mrs. J . Robert Willson Mrs. Albert K. Steigerwalt Mr. B. Arnell Van Sickle Mrs. Elizabeth Wilson Mr. and Mrs. Eric Stein Mr. and Mrs. Lawrence H. Van Vlack Miss lVIina L. Winslow Dr. Martha Stephens Mrs. Dan Vass Mr. and Mrs. Grover C. Wirick Mrs. William Robert Stevens Mrs. El ena Vlisides Mr. and Mrs. Russel! K. Woinowsk Mrs. Mira Stoll Mr. and Mrs. Frederick J. Vogt Miss Charlotte Wolfe Mr. and Mrs. J. Wilner Sundelson Mrs. Cha rles Wagner Miss Doyne Wolfe Mr. and Mrs. Alfred S. Sussman Mrs. William C. Walz Dr. and Mrs. Leonard H. Wolin Mr. and Mrs. Frank L. Tarzia Dr. and Mrs. Philip C. Warren Mr. and :Mrs. James H. Woods Mr. and Mrs. Elvin A. Taylor Dr. and Mrs. Charles M. Watts Dr. and Mrs. Stanley J. Woollams Mr. John Taylor Dr. and Mrs. Andrew S. Watson Dr. and Mrs. Bruce A. Work, Jr. Mr. Ronald L. Teigen Miss Mildred Webber Mrs. Charles R. Wright Miss Kathryn Telfer Dr. and Mrs. Wendell W. Weber Pa tricia Wulp Mrs. Lela Terrel Dr. and Mrs. Raoul Weisman Mr. and Mrs. Ben Yablonky Mrs. John S. Thomas Mr. Clarence F. Weiss Mr. and Mrs. Charles Yocum Mr. C. Thomas Thompson Mr. and Mrs. James Weitzel Mr. and Mrs. Carl D. Yost Mr. J. Mills Thornton, III Mr. and Mrs. Stanfield M. Wells, Jr. Mr. and Mrs. Robert B. Zajonc Mr. and Mrs. Donald M. D. Thurber Mr. and Mrs. James G. Wendel

Since our gift program began, several persons have wished to make their gifts in memory of family members or friends. Some bequests have also been formalized. We list below the names in whose memory gifts have been made. Wyeth Allen Frederick Matthaei Gwendolyn Powrie Chase Baremeo Lester McCoy Mrs. Steffl Reiss Gordon C. Brown Constance McFadyen Herbert E. Schlesinger Elizabeth Falk Eberbach John lVlcFadyen Richard Schneidewind Oscar A. Eberbach Eunice Mead Charles A. Sink Florence P . Griffin Francis F. McKinney Elizabeth Scb ieck Soop Hazel Hill Hunt Vaden W. Miles William H. Stubbins Thor Johnson Mary V. Mummery Grace Vaughan Waller Laubengayer Dr. and Mrs. W. J. Mummery George Vlisides Mr. and Mrs. Alfred H. Lovell Georg Pluck Mr. and 1\lrs. James French Wilson

BOARD OF DIRECTORS GAIL W. RECTOR, President RICHARD S. B ERGER PAUL W. MCCRACKEN HARLAN H. HATCHER, Vice-President ALLEN P . BRITTON SARAH GODDARD POWER DOUGLAS D. CRARY, Secretary ROBBEN W. FLEMING LOIS U. STEGEMAN WILBUR K. PIERPONT, Treasurer PETER N. HEYDON E. THURSTON T HIEME Director Emeritus - ERICH A. WALTER

Oscar A. Eberbach-bom August 9, 1881, died April 3, 1977-joined the Board of Directors of the Ulliversity Musical Society in 1926, serving as treasurer for thirty years beginning in 1938. Mr. Eberbach lived his entire life in Ann Arbor, and attended, with his family, the first May Festival in 1894.

Contributor categories are: Sustaining Member-Gift of $25; Patron-Gift of $100; Sponsor-Gift of $500; Guarantor- Gift of $1,000 or more. Your gift to the University Musical Society is deductible from your Federal and State of Michigan income taxes. All gifts are processed through the University of Michigan's Develop­ ment Office, designated for the Musical Society. If you wish to help maintain the scope and artistic quaJi ty of these programs, detach the form below and mail to: University Musical Society, Burton Memorial Tower, Ann Arbor, Michigan 48109.

Enclosed is my "Encore" membership check for $ ______made payable to The University of Michigan, a gift designated for the University Musical Society. Mr. (and) Mrs., Miss ______Street City ______State ______Zip Date ______o My company will match this gift. Validation enclosed. undertaken an analysis of the work, he .wrote that in playing through the first movement "it only now becomes cl ear to me that the transItIon from the first theme to the secone! is not any good, that as ~t stands now the fi rst theme is not the first theme but an introduction, and that no fool will belIeve when I hegIn to play the second theme that that is the beginning of the Concerto. I feel the whole first mo v~ m e nt is spoiled., and from this minute on it is repulsive to me. I am simply in despair. And why did you start with this analysis of yours fi ve days before the performance! !!" . ~ es pit e these misg ivin!Ss, the Conce rto was a huge success. Less than a year after the premiere S1Ioti pl ayed the solo part In St. Petersburg with Arthur Nikisch conducting, and they then took the work on a very successful European tour. In 1904 the Concerto won for Rachmaninoff the first of his two Glinka Prizes (the second came four years later, for the Second Symphony) , and by then It had already established itself with audiences everywhere. It remains to this day the most popul ar concerto composed in this century. . Like Tchaikovsky, Rachmaninoff knew how to create a good tune; themes from both of the outer move ments of this Concerto were adapted for popular songs in the 1940s (when the genre still existed ). The first-movement theme became [ Think of Yo u, while the big theme in the finale (not actually in vented by Rachmaninoff, but given to him , he said, by the aforementioned M orozov) was fi tted out with the immortal verses of Full Moon and Empty Arms. Neither text, fortunately, is likely to in trude itself into the minds of today's listeners. Belwee n these outer movements, both fill ed to the brim with striking color and rhythmic effects as we ll as melodic abundance, is a slow movement that must be reckoned one of the most exalted products of Rachmaninoff's inspiration. The deli cacy of the scoring, the tasteful balance of the various elements, and the unforced genuineness in this Adagio sostenuto (in ) add up to expressiveness on the most in timate, and perhaps downright poetic, level. As the exq ui site Adagio is no mere interlude, the dramatic outer movements are no mere frame for it. The measure of Rachmaninoff's genius is in the even and sustained level of this remarkable work's appeal, from the fi rst bar to the last.

Symphonic Dances, Op. 45 RACHM AN I N OFF F rom the Thi rd onward (a work composed for his first American tour in 1909 ) , all of Rachmaninoff's major works for orchestra were in troduced in the United States, where he was also most active as a pi anist ?nd conductor in the forty-five years following his departure from Russia. M ost of these works were in fact introduced by The Philadelphia Orchestra, for which the Symphonic Drlnces were composed in 1940. The firs t performance of this work was given hy the Orchestra on J anu ary 4, 194 1, under the direction of Eugene Ormandy, to whom the score is dedi cated. Rachmaninoff did not actuall y take up residence in Ameri ca until 1935, and most of the work on his Third Symphony, which he began that year, was done at his summer home in Switzerland. The only work he composed fully in this country was his last, the Symphonic Dances, whi ch fol­ lowed the Third Symphony after a hi atus of four years in his creati ve activity and which may be the fin est of all the music he wrote for orchestra without a solo part for piano. Rachmaninoff him­ self was a little surprised to have produced such a work, at that time. "I don't know how it hap­ pened," he remarked ; "it must have been my last spark." A nd so it was, for the compose r di ed two years after the premi ere of the Symphonic Dances, without. attempting any further composi tion. One area in which Rachmaninoff, almost alone among Russian composers, never worked was that of the ball et. He was delighted with Fokine's ballet to hi s Rhapsody on a Theme of Paganini, but'said that he had no choreographic use in mind when he composed the Symphonic Dances. This does not rule out the idea of programmatic signifi cance, however. Rachmaninoff origin ally thought of giving an individual title to each section of this triptych-"Midday," "Twilight" and "Midnight," symbolizing three stages of li fe- but decided to let the tempo markings suffi ce, and that decision seems quite in keeping with the essentially symphonic nature of the work. In the first of the Dances (Non allegro ) there are, as in the Fourth Concerto, syncopated sections whi ch may or may not represe nt con scious allusions to jazz, but the notion is reinforced by the conspicuous presence of the alto . Rachmaninoff had never written for that in­ strument before and before undertaking to fit it into his orchestral fabric he sought the advice of Robert Ru ss~ll Bennett, the celebrated Broadway orchestrator. The movement, more striking for its rhythmic strength than for its themes, is in form. Andante con 1!'Loto (Te'mpo di valse) is the heading of the second movement, which comes from a world somewhere between the Valse triste of Sibelius and the gently nostalgic concert waltzes of Glazunov but displ ays a sense of fantasy entirely Rachmaninoff's own. The evocation of a graduall y no cturnal mood is quite success ful. The fin al mo vement, after a brief introductory Lento assai, is a dramati c Allegro vivace whose dark events are more than intimated by the prominent citation of the Dies [rae, the traditional chant for the dead which Berlioz, Li szt, Tchaikovsky, and Saint Saens used in various descriptive works and which Rachmaninoff himself had quoted or alluded to in his Paganini Rhapsody and First Symphony as well as The Isle of the Dead. International Presentations - 1977-78

Chora,1 Union Series / Hill Auditorium BEVERLY SILLS, Soprano . Friday, September 23 PHILHARMONIA H UNGARICA/ PETERS . Sunday, October 23 LAZAR BERMAN, Pianist . Thursday, November 3 ROTTERDAM PHILHARMONIC ORCHESTRA/ DE W AART Friday, November 11 NATIONAL ORCHESTRA OF BRAZIL/ KARABTCHEWSKY Sunday, November 20 RUDOLF SERKIN, Pianist Wednesday, January 18 , Soprano . Wednesday, January 25 Moscow PHILHARMONIC ORCHESTRA/ KITAIENKO Monday, February 27 BALTIMORE SYMPHONY ORCHESTRA/ COMMISSIONA Sunday, March 19 BAVARIAN SYMPHONY ORCHESTRA/ KuBELIK Saturday, April 8

Choice Series / Power Center MURRAY LOUIS DANCE COMPANY Monday & Tuesday, October 17 & 18 GEORGE SHEARING QUINTET Wednesday, October 19 THE HOOFERS-A JAZZ TAP HAPPENING Saturday, October 22 THE PENNSYLVANIA BALLET Monday, Tuesday, Wednesday, November 14, 15 , 16 BALLET FOLKLORICO MEXICANO . . Saturday, November 19 TCHAIKOVSKY'S "NUTCRACKER" BALLET Thursday, Friday, Saturday, The Pittsburgh Ballet December IS, 16, 17 JOSE MOLINA BAILES ESPANOLES Wednesday, January 11 ROSSINI 'S Barber oj Seville-Canadian Company . Sunday, January 15 HUNGARIAN FOLK BALLET & GyPSY ORCHESTRA Tuesday, January 17 ELIOT FELD BALLET . Monday, Tuesday, Wednesday, February 20, 21, 22 NnCOLAIS DANCE THEATRE Tuesday & Wednesday, March 21 & 22

Chamber Arts Series / Rackham Auditorium Wednesday, October 12 SUK TRIO . . Tuesday, October 25 CONCORD STRING QUARTET Sunday, November 6 FREIBURG BAROQUE SOLOISTS Thursday, November 17 CAMERATA ORCHESTRA OF SALZBURG/ JANIGRO Friday, January 20 FRENCH STRING TRIO & MICHEL DEBOST, Flutist Friday, February 3 ORPHEUS CHAMBER ENSEMBLE & THE FESTIVAL CHORUS Saturday, March 25 AMADEUS STRING QUARTET Thursday, April 6

Debut Recital Series / Rackham Auditorium . , Pianist Thursday, October 27 MIRELLA FRENI, Soprano . . Tuesday, November 8 ALEKSANDER SLOBODYANIK, Pianist Saturday, February 25 KYUNG-WHA CHUNG, Violinist . Thursday, March 23

Asian Series / Rackham Auditorium PENCA (The Art of Self-Defense) and TOPENG BABAKAN (Masked Dance), West Java Saturday, November 12 THOVIL, SRI LANKA Wednesday, March 1 OKINAWAN FOLK DANCERS . . Tuesday, March 28 New brochure available; series ticket orders for above now being accepted and filled in sequence.

May Festival 1978 THE PHILADELPHIA ORCHESTRA (four concerts) April 26-29

UNIVERSITY MUSICAL SOCIETY Burton Memori al Tower, Ann Arbor, Michigan 48109 Phone: 665-3717,764-2538