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A CONCERT OF CHAMBER MUSIC by SCHOENBERG, CARTER and BEETHOVEN given by

THE LENOX STRING QUARTET Tuesday, March 9, 1965, at 8:30 p. m. In Westbrook Auditorium, Presser Hall Illinois Wesleyan University, Bloomington

This concert is presented as a contribution to the University's Contemporary Arts Festival Symposium

of

Contemporary

Music

a

nd to its

through the

generous support of the U niv er sity 's Convocations Commission and the Paul Fromm Foundation of Chicago, Il l inois, by the

School of Music of Illinois Wesleyan University


THE PROGRAM

STRING TRIO (1946)

_________________

Arnold Schoenberg (1874-1951)

in one movement

" STRING QUARTET NR. 2 (1959)

______________________

Elliot Carter (1908)

Introduction 1. Allegro fantastico; cadenza for viola 2. Presto scherzando; cadenza for cello 3. Andante espressivo; cadenza for violin 4. Allegro Conclusion

- Intermission -

QUARTET IN E MINOR, op. 59, nr. 2 1. 2. 3. 4.

Allegro Molto adagio Allegretto Finale: Presto

__________________________

Beethoven


NOTES Arnold Schoenberg, born an Austrian, left Berlin and an official teaching position of prestige in Germany shortly after the coming to power of Adolf Hitler. After short stays in France and in Boston, Schoenberg and his family settled in Los Angeles where the composer taught, first at the University of Southern California and then at the University of California at Los Angeles. He became an American citizen in 1940. Schoenberg's String Trio was composed within approximately a month, from August 20 - September 23, 1946, when the com­ poser was already in his seventies. It is in a single, continuous movement but is made up of highly contrasted sections. •

Of his style of composing, Elliot Carter has said "I regard my scores as auditory scenarios for performers to act out with their instruments, dramatizing the players as individuals and as partic­ ipants in the ensemble." Of this specific work he says that each of the four instrumental parts establishes its own character in a special set of melodic and harmonic intervals and of rhythms that result in four different pat­ terns of fast and slow tempi with associated types of expression. He describes the first violin part as " fantastic, ornate and mercur­ ial" and the second violin as "laconic and orderly . . . sometimes humorous. " The viola's role is "predominantly expressive" and that of the cello "impetuous." The first two movements emphasize individualization while cooperation and exchange of ideas are characteristic of the last two. The quartet's conclusion returns to the earlier individualization.

Elliot Carter was awarded a Pulitzer Prize for this quartet in 1960.

Beethoven's Quartet in E minor, opus 59, is the second of three quartets commissioned by Prince Andrei Rasoumowsky, Russian Ambassador to Austria. As a nod of appreciation to this Russian friend of the most complex, contemporary music of the early 19th century, Beethoven incorporated a Russian melody in the third movement of this particular quartet.


Illinois Wesleyan's Symposium of Contemporary Music was initi­ ated and sustained with unflagging energy by Frank R. Bohnhorst while he was on the faculty of the School of Music. Since his death in 1956, the symposium has flourished as a memorial to his dedi­ cated interest in the music of the 20th century. The symposium is in part supported by the Frank R. Bohnhorst Trust Fund. Gifts to this fund are appreciatively received and will be used by these annual symposiums in the spirit of its founder.

Other Symposium events: Tuesday, March 9, .1:00 p.m.-Lecture: "Concerning Elliot Carter's String Quartet No. 2." Peter Marsh. Thursday, Mar. 11, 8:00 a.m.-Workshop on improvisation. 4:00 p.m. -Workshop: Student compositions. 8:15 p.m.-Theater-Concert. McPherson Theater. (Music of Ruggles, Varese and Stravinsky) Friday, Mar. 12, 9:00-12:00 :a.m.-Workshops in percussion, improvisation, and narration. 8:15 p.m.-Theater-Concert. McPherson Theater. (repeat performance)

the Lenox String Quartet is under the management of Hurbert Barrett Management, New York City.


ILLINOIS WESLEYAN UNIVERSITY SCHOOL OF MUSIC SYMPQSIUM OF CONTEMPORARY MUSIC WORKSHOPS

1. Thursday. March 11 • . 1965

8:00 a. m. A demonstration of percussion techniques. byProfessor Robert Bankert. and percussion mC!.jors of the School of Music.

A demonstration of music involving graphic notation and improvisation.

Readings of Refrain .byKarlheinzStock­

hausen .(Bankert. Ogdon and Watkins) and.Quartet for piano and percussion by Phil Winsor (Hall� Harlock,; Snyder and Harms). . III. Thursday� Marchll � .1965

4:00 p. m. A program of student compositions demonstratingimprovi­ sation,and chance compositions. · Compositions by·Richard Davis and. Stephen .Holden.

Improvisation ,by members of

Composition 206.

A second reading.ofPhilip Winsor's Quartet. for piano ·and percussion.


ILLINOIS WESLEYAN UNIVERSITY SCHOOL OF MUSIC SYMPOSIUM OF CONTEMPORARY MUSIC pre s ents

THE UNIVERS1TY OF ILLINOIS CONTEMPORARY CHAMBER MUSIC PLAYERS Westbrook·Auditorium • . March 20. ,1965.,8: 30 p. m. - Program.MA CHINE MU S I C for piano. percllssion and two-channel tape· recorder -

-

-

- Lej aren :Hiller

Jack-McKenzie, percu s sion;. Mr., Hiller, tape recorder SONORIFERGUS LGO PS -

-

-

-

-

-

-

Herbert Briin

Patrick Purswell, flute; Ernest Bastin, trumpet; 'Thom as F re dri ck s on , ' double.bas s; William Par s on s , Michael Rosen and John Dutton, percu s sion; Jam,es

CampbeH" tape recorder

MUSIC FGR FIVE INSTRUMENTS - Thomas Fredrickson Patrick Purs well, flute; Ernest Ba stin, trumpet; Jack MacKenzie, . xylophone;

Milan Kaderavek,

ba s s clarinet; Thomas Fredrickson" double bas s .

0,0 •. 0 •. 0. ThaLShakespeherianRag,

-

..salv.atore Martirano

The Chambe r Choir and the Madrigal Singer s of.

the Uni ver s ity of Illinois, instrumentalists.

with a s s isting


A Theater Concert JOHN SILBER, Conducting

Presented as a contribution to the University's Contemporary Arts Festival

and Symposium of

Contemporary Music on

March 11 and 12, 1965 in McPhers on Theatre at 8:15 P.M.

by the

SCHOOLS OF MUSIC AND DRAMA ILL INOIS

WESLEYAN

UNI VER SITY


ANGELS

_

_______________________________________________________

Carl Ruggles (1876)

Rober:t Armour, Richard Kusk, Donald Garber, Allard' French, trumpets; Barth Dowling, James Fulkerson, James Edwards, trombones. Carl Ruggles was born in Marion, Massachus etts , and except for a period of time conducting in the Midwest and teaching in the South, his long life has been associ­ ated as a painter and composer with the East Coast and his native New England. Like Charles Ives, Ruggles was strongly influenced by the transcendentalists of that region. "In all works, " Carl Ruggles has said, "there should be the quality we call mysticism."

II INTEGRALES

__________________________________________

Edgard Varese (1885)

Judith Walker, Suzanne Dumvill e, piccolos; Alan Woy, E-flat clarinet; Peter Benni, B-flat clarinet; Joseph Seidel, oboe; Richard Kusk, D trumpet; Ronald Vyverberg, C trum­ pet; Barth Dowling, tenor trombone; James Edwards, bass trombone; James Fulkerson, contrabass trombone; Robert Bankert, Dennis Flynn, Charles Moore, Roger Heerdt, per­ cussion. Edgard Varese, born in Paris of French-Italian parentage, came to America in 1915. He has been a confirmed New Yorker ever since. The originality of Varese' is partly the result of his interest in the acoustical nature of sound and timbre. His music focuses our attention on the distribution and combination of sound-color by its s tatic, often a-mel ­ odic· character.

- Intermis s ion -


III A

SOLDIER'S

STORY

by

.

1, '

IGOR STRAVINSKY

The Soldier danced The Soldier read The Devil danced The Devil read

James Harms James Ascareggi

___________________________________________________

________________________________________________

____________________________________________

Chaunce Conkl in John Ficca

_________________________________________________________

The Princess danced The Narrator

___

__________________________________________________

_______________________________________________

Patricia

Bas�

Robert; Donal s'on

Choreography by Chaunce Conklin; technical production and direction by John Ficca and James Ascareggi; musical direction by John Silber. Mario Mancinelli, violin; John McGrosso, cl arinet; Herbert Turrentine, bassoon; Donald Day, trumpet; Joseph Gard­ ner, trombone; Robert Bankert and Charl es Moore, per­ cussion.

Synopsis and Comment A simple soldier returning from army service to his home town is intercepted by the crafty devil, who covets one of the soldier's few possessions, his fi ddle The pl ay is concerned with a not one-sided contest for that fiddl e­ and of course for the soldier's soul . .

·

·lgor Str�vinsky was in S witzerl and when Wo rrCl vV ar';, erupted, and during those lean days artistically and flnan- c: ; cially "l'histoire du Soldat" was born of inventive necessity. A stage work involving numerically l imited partici­ pants and accessories was the need, and Igor Stravinsky and the author Ramuz, his collaborator, fastened upon an old Russian folk tale for their material. .

"


The Contem po rary Arts festival of Illinois Wesleyan University is a continuing involvement, particularly the s econd s emester, with various events relating to the artistically creative life of the 20th century. Traditionally, the festival has been a function of the Schools of Music, Art, and Drama within the University's structure and has included concerts, plays, and exhibits , as well as gues t lecturers within thes e dis ciplines.

The Contemporary Arts festival and the Symposium of Contempor­ ary Music have received additional s upport this year from the

Convocations Commission, the Frank R. Bohnhorst Memorial Trus t Fund, and from the Paul Fromm Foundation of Chicago.

English translation of "A Soldier's Story" by Miche1 Flanders and Kitty Black, by a rra ng e m ent with G Schirmer, Inc. . .


Symposium of Contemporary Music, 1965