MAE ZENKE ORVIS AUDITORIUM JULY 14, 1969 8:00 P.M.

Monday, July 14, 1969 Mae Zenke Orvis Auditorium

THE JUILLIARD ENSEMBLE

8:00 p.m.

DENNIS RUSSELL DAVIES, conductor

Jeanne Baxtresser, fluteVirgil Blackwell, clarinetCharle ussbaum, ba oonRonald Romm, trumpetGarrett Li t, tromboneRichard Fitz, percussionWilliam Storandt, percus ion

Max Lifchitz, pianoRomuald Tecco, violinKaaren Phillip, violaFred Sherry, c lloDonald Palma, double baKathleen Bride, harp

Assisted by:

LaVar Krantz, violinAvis Romm, piano

I GOLF DAH~, piano

Program

Berio

Berio

Berio

Stravinsky

Ingolf Dahl

Due Pezzi (1949) (Revised 1966)(For violin and piano)

First Performance in Hawaii

Sequenza, o. V (1966)(For solo trombone)First Performance in Hawaii

Sequenza (1955)(For solo flute)

First Performance in Hawaii

Elege (1944)(For unaccompanied viola)

Trio (1962)(For piano~ violin and cello

Serenataotturno I

Rondino CantabileNotturno IIFinale: Variazioni - Recitativo - Coda

First Performance in Hawaii

Intermission

Armand Russell

Paul Hindemith

Program otes

Celebration Pieces and Mourning Music (1969)Celebration Piece 1Celebration Pieces 2, 3 and 4 with Mourning

Music 1Celebration Piece 5Celebration Pieces 6, 7 and 8 with Mourning

Music 2Celebration Piece 9

World Premiere

Kammermusik, Opus 24, 0.1 (1922)(For flute, clarinet, bassoon, trumpet,percussion, two pianos, violins, viola,cello and double bass)

Sehr schnell und wildMassigschnell Halbe' Sehr streng im RhythmuQuartett - Sehr lang am und mit AusdruckFinale: 1921 - Ausserst lebhaft

First Performance in Hawaii

Due Pezzi was given its first performance in revi ed form by Dennis Russell Davies and RomualdTecco 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 aspectsof a live performance. Berio use purely vocal sounds in oppo ition to the sounds which are natu­rally inherent in the trombone, and brings these two elements together as the trombone begins toassume vocal characteristics.

Seguenza allows the flutist to break through the chromatic grid of preci ely bored hole and theirperfectly 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 thero rts Quartet.

There is so much interrelationship and continuou variation between the five movement of the Triothat 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 anddrama ( otturno II). The Finale recapitulates, sums up, reflects upon everything that has gone onbefore. It culminates in an impassioned unison recitative for all three instruments and closes thecircle 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 hisubsequent 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 commu­nity, has presented a commission grant to the Festival of the Arts of This Century. This grant willpermit the Festival committee to offer for the first time, commissions to composers for musicalworks which will be given world premiere presentations in the Festival. Celebration Pieces andMourning 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 emphasizingthe 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 newjuxtaposed 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 interestlies in the freedom of tonality and compulsive momentum of the first movement; in the forty-fivemeasure canon of the third movement where the time changes almost with each measure; and in thefinale, entitled "1921", which has a sardonic humor concealing the despair of the bitter post-WorldWar I era. In that finale, Hindemith quotes a tune popular in Germany that year, Fuchstanz, a finalvigorous 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 Conser­vatory of Guiseppi Verdi with G. C. Paribeni, G. F. Ghendini and Luigi Dallapiccola. He has beenComposer in Residence at Berkshire Festival in Tanglewood and presently is on the faculty of theJ 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 teachescomposition, conducting, music history and literature and directs the Collegium Musicum. As a con­ductor 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 includetwo Guggenheim Fellowships, the Fromm Foundation, the Koussevitsky Foundation, the Los An­geles Philharmonic and many others.

Armand Russell, Chairman of the University of Hawaii Music Department, studied compositionat the University of Washington with George McKay and John Verrall and at Eastman School ofMusic with Bernard Rogers and Howard Hanson. In 1968 he spent several months in Mexico Cityand Yucatan composing and writing. One of the works composed at that time was a chamber dance­opera, The Penguin Dragon.

Paul Hindemith (1895-1963) was born in Germany where he became recognized as a violinistand a major creative figure. Following a political controversy with the azis, he left Germany andwent first to Turkey and then in 1940, to the United States where he became a faculty member atYale University. Among the world honors he received were the Sibelius Prize in 1955 and the BalzanPrize in Rome for distinguished contributions to music in 1962.