The University Musical Society of

The University of Michigan

Presents

ANN ARBOR

THE PHILADELPHIA ORCHESTRA EUGENE ORMANDY, Music Director and Conductor

WILLIAM SMITH, Associate Conductor

EUGENE ORMANDY, Conducting

Soloist GARY GRAFFMAN, Pianist

WEDNESDAY EVENING, APRIL 27, 1977, AT 8:30

HILL AUDITORIUM, ANN ARBOR, MICHIGAN

All-Rachmaninoff Program

"The Isle of the Dead," Op. 29

*Concerto No.2 in C minor for Piano and Orchestra, Op. 18 Moderato

Adagio Allegro scberzando

Symphonic Dances, Op. 45 Non allegro

GARY GRAFF MAN

INTERMISSION

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 SERGEI RACHMANINOFF

(1873- 1943)

In 1906, following two conspicuously successful seasons as conductor at the Bolshoi Theatre in Moscow, Rachmaninoff took his wife and infant daughter to Dresden, 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 Russia 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 Symphony and the tone poem The Isle of the Dead.

Rachmaninoff chose Dresden not only for its own appeal, but also for its proximity to Leipzig, 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 melancholy 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 sepulchre. 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 Rach­maninoff 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 opening suggests the water quietly lapping against the shoreless cliffside. At length the horn breathes a lamentat ion ; 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 energetically, and the lamentation takes the form of a brass chorale, its shape now recognized clearly as what was only hinted earlier : it was a variant of the Dies Irae, t he ancient chant fo r the dead (which figures 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'la ring 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 Irae 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 orchestras with in a yea r of the premiere; the first recording of the work was made by The Philadelphia Orchestra 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 unusually active sense. Rachmaninoff went into a period of depression that tied up his creative activity for nearly three yea rs after the dismal failure of his First Symphony in 1897; toward the end of 1899 he consulted Dr. Dahl , whose specialty was treati ng such disorders through auto-sug­ges tion and who was especially interested in Rachmaninoff since he himself was an accompl ished amateur violinist and ardent chamber music player.

The treatment consisted of daily sessions from January through April of 1900, during which Dr. Dah l more or less hynoti zed ·Rachmaninoff, repeating to him over 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 move­ments of his Second Concerto at a concert conducted by his cousin, Alexander Siloti , and on November 9, 1901, he played the work in full with the Moscow Philharmonic.

Complete self-confidence was elusive even then. Less than a week before the premiere Rach­maninoff 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.

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Ms. Christine Wendt I Mrs. Elizabeth B. Wentworfh Mr. and Mrs. J. Philip Wernette Mr. and Mrs. Peter F. Westerman Mrs. B. T. Whipple Mrs. Albert E. White Miss Janet F. White Mr. and Mrs. Nathaniel H. Whiteside Mr. and Mrs. Allen S. Whiting Mrs. George W. Willard lVlr. Raymond C. Williams Mr. and Mrs. W. L. Williams Dr. and Mrs. J . Robert Willson Mrs. Elizabeth Wilson Miss lVIina L. Winslow Mr. and Mrs. Grover C. Wirick Mr. and Mrs. Russel! K. Woinowsk Miss Charlotte Wolfe Miss Doyne Wolfe Dr. and Mrs. Leonard H. Wolin Mr. and :Mrs. James H. Woods Dr. and Mrs. Stanley J. Woollams Dr. and Mrs. Bruce A. Work, Jr. Mrs. Charles R. Wright Pa tricia Wulp Mr. and Mrs . Ben Yablonky Mr. and Mrs. Charles Yocum Mr. and Mrs. Carl D. Yost Mr. and Mrs. Robert B. Zajonc

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 Chase Baremeo Gordon C. Brown Elizabeth Falk Eberbach Oscar A. Eberbach Florence P . Griffin Hazel Hill Hunt Thor Johnson Waller Laubengayer Mr. and Mrs. Alfred H. Lovell

GAIL W. RECTOR, President HARLAN H. HATCHER, Vice-President DOUGLAS D. CRARY, Secretary WILBUR K. PIERPONT, Treasurer

Frederick Matthaei Lester McCoy Constance McFadyen John lVlcFadyen Eunice Mead Francis F. McKinney Vaden W. Miles Mary V. Mummery Dr. and Mrs. W. J. Mummery Georg Pluck

BOARD OF DIRECTORS

RICHARD S. B ERGER ALLEN P . BRITTON ROBBEN W. FLEMING PETER N. HEYDON

Director Emeritus - ERICH A. WALTER

Gwendolyn Powrie Mrs. Steffl Reiss Herbert E. Schlesinger Richard Schneidewind Charles A. Sink Elizabeth Scbieck Soop William H. Stubbins Grace Vaughan George Vlisides Mr. and 1\lrs. James French Wilson

PAUL W. MCCRACKEN SARAH GODDARD POWER LOIS U. STEGEMAN E. THURSTON T HIEME

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 Develop­ment 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.

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undertaken an analysis of the work, he .wrote that in playing through the first movement "it only now becomes clear 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 mov~ment 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 five days before the performance! ! !"

. ~espite these misgivin!Ss, the Concerto was a huge success. Less than a year after the premiere S1Iot i played 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 yea rs later, for the Second Symphony) , and by then It had already established itself with audiences everywhere. It remains to this day the most popular concerto composed in this century. .

Like Tchaikovsky, Rachmaninoff knew how to create a good tune; themes from both of the outer movements of this Concerto were adapted for popula r songs in the 1940s (when the genre still existed ). The first-movement theme became [ Think of You, while the big theme in the finale (no t actually invented 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 t rude itself into the minds of today's listeners.

Belween these outer movements, both filled to the brim with striking color and rhythmic effects as well as melodic abundance, is a slow movement that must be reckoned one of the most exalted products of Rachmaninoff's inspiration . The delicacy of the scoring, the tasteful balance of the various elements, and the unforced genuineness in this Adagio sostenuto (in E major) add up to expressiveness on the most in timate, and perhaps downright poetic, level.

As the exquisite 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 Piano Concerto onward (a work composed for his first American tour in 1909 ) , all of Rachmaninoff 's major works for orchestra were in t roduced in the United Sta tes, where he was also most active as a pianist ?nd conductor in the forty-five years following his departure from Russia. M ost of these works were in fact int roduced 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 anuary 4, 1941, under the direction of Eugene Ormandy, to whom the score is dedicated.

Rachmaninoff did not actuall y take up residence in America 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, which fol­lowed the Third Symphony after a hiatus 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 him­self was a little surprised to have produced such a work, at that time. "I don 't know how it hap­pened," he remarked ; "it must have been my last spark." A nd so it was, for the composer died two years after the premiere of the Sym phonic Dances, without. attempting any fur ther composi tion.

One a rea in which Rachmaninoff, almost alone among Russian composers, never worked was that of the ballet. He was delighted with Fokine's ballet to his Rhapsody on a Theme of Paganini, but 'sa id that he had no choreographic use in mind when he composed the Symphonic Dances. This does not rule out the idea of programmatic significance, however. Rachmaninoff originally thought of giving an individual title to each section of t his triptych-"Midday," "Twilight" and "Midnight," symbolizing three stages of life- 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 which may or may not represent conscious allusions to jazz, but the notion is reinforced by the conspicuous presence of the alto saxophone. Rachmaninoff had never written for that in­strument before and before undertaking to fit it into his orchestral fabric he sought the advice of Robert Russ~ll Bennett, the celebrated Broadway orchestrator. The movement, more striking for its rhythmic strength than for its themes, is in sonata 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 displays a sense of fantasy entirely Rachmaninoff's own . The evoca tion of a gradually nocturnal mood is quite success ful.

The fin al movement, after a brief introductory Lento assai, is a dramatic Allegro vivace whose dark events are more than intimated by the prominent citation of the Dies [rae, the t raditional chant for the dead which Berlioz, Liszt , Tchaikovsky, and Saint Saens used in various descriptive works and which Rachmaninoff himself had quo ted 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 . Sunday, October 23

Thursday, November 3 Friday, November 11

Sunday, November 20 Wednesday, January 18 Wednesday, January 25

Monday, February 27

PHILHARMONIA H UNGARICA/ PETERS LAZAR BERMAN, Pianist . ROTTERDAM PHILHARMONIC ORCHESTRA/ DE W AART NATIONAL ORCHESTRA OF BRAZIL/ KARABTCHEWSKY RUDOLF SERKIN, Pianist LEONTYNE PRICE, Soprano . Moscow PHILHARMONIC ORCHESTRA/ KITAIENKO BALTIMORE SYMPHONY ORCHESTRA/ COMMISSIONA BAVARIAN SYMPHONY ORCHESTRA/ KuBELIK

Sunday, March 19 Saturday, April 8

Choice Series / Power Center MURRAY LOUIS DANCE COMPANY Monday & Tuesday,

October 17 & 18 Wednesday, October 19

Saturday, October 22 Monday, Tuesday, Wednesday,

November 14, 15 , 16 . Saturday, November 19

Thursday, Friday, Saturday, December IS, 16, 17

Wednesday, January 11 . Sunday, January 15

Tuesday, January 17 Monday, Tuesday, Wednesday,

February 20, 21, 22 Tuesday & Wednesday,

March 21 & 22

GEORGE SHEARING QUINTET THE HOOFERS-A JAZZ TAP HAPPENING THE PENNSYLVANIA BALLET

BALLET FOLKLORICO MEXICANO . TCHAIKOVSKY'S "NUTCRACKER" BALLET

The Pittsburgh Ballet JOSE MOLINA BAILES ESPANOLES ROSSINI 'S Barber oj Seville-Canadian Opera Company HUNGARIAN FOLK BALLET & GyPSY ORCHESTRA ELIOT FELD BALLET .

NnCOLAIS DANCE THEATRE

Chamber Arts Series / Rackham Auditorium BEAUX ARTS TRIO SUK TRIO . CONCORD STRING QUARTET FREIBURG BAROQUE SOLOISTS CAMERATA ORCHESTRA OF SALZBURG/ JANIGRO FRENCH STRING TRIO & MICHEL DEBOST, Flutist ORPHEUS CHAMBER ENSEMBLE & THE FESTIVAL CHORUS AMADEUS STRING QUARTET

Wednesday, October 12 . Tuesday, October 25

Sunday, November 6 Thursday, November 17

Friday, January 20 Friday, February 3

Saturday, March 25 Thursday, April 6

Debut Recital Series / Rackham Auditorium . MURRAY PERAHIA, Pianist MIRELLA FRENI, Soprano . ALEKSANDER SLOBODYANIK, Pianist KYUNG-WHA CHUNG, Violinist .

Thursday, October 27 . Tuesday, November 8

Saturday, February 25 Thursday, March 23

Asian Series / Rackham Auditorium PENCA (The Art of Self-Defense) and

TOPENG BABAKAN (Masked Dance), West Java THOVIL, SRI LANKA OKINAWAN FOLK DANCERS .

Saturday, November 12 Wednesday, March 1

. 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)

UNIVERSITY MUSICAL SOCIETY Burton Memorial Tower, Ann Arbor, Michigan 48109

April 26-29

Phone: 665-3717,764-2538