Hill Auditorium, Ann Arbor, Michigan
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN
Prague Chamber Orchestra
BORIS KRAJNY, Pianist
Sunday Evening, October 7, 1979, at 8:30 Hill Auditorium, Ann Arbor, Michigan
Symphony No. 21 in A major, K. 134......
Allegro Andante Menuetto Allegro
Concerto No. 2 in F minor for Piano and Orchestra, Op. 21
Summer Music (Suite for Chamber Orchestra)
Suite in D major, Op. 39 ("Czech" Suite)
Praeludio (Pastorale) Polka
Sousedska (Minuctto) Romanza Finale (Furiant)
Ivan Kurz Dvorak
Prague Chamber Orchestra: Angel, Seraphim, Orion, Turnabout, Serenas, Supraphon, and DGG Records.
Boris Krajny: Pant on Records.
101st Season --Tenth Concert
101st Annual Choral Union Series
Symphony No. 21 in A major, K. 134 ... Wolfgang Amadeus Mozart ' ' (1756-1791)
Although it was composed in Mozart's youth, the Symphony in A major bears all the signs of the
magnificent future of its composer. The influence of the Mannheim School of composition with which
Mozart became acquainted at this time can be seen in the form and style of this early work.
Concerto No. 2 in F minor for
Piano and Orchestra, Op. 21........Frederic Chopin
Chopin wrote both of his piano concertos when he was twenty years of age. The F-minor, although
composed first, was published after the Concerto in E minor, Op. 11. Chopin, himself, gave the first
performance of the F-minor with great success at a concert in Warsaw on March 17, 1830. That fall,
Chopin set off to seek his fortune, and after a year of wandering, arrived in Paris. At his first
concert there, Liszt, twenty-one years old, and Mendelssohn, twenty-three, led the applause. Critics
praised the innovations and a new style that they found "elegant, free, graceful, pure, and
effective." Years later, Liszt recalled his enthusiasm that day for Chopin's "new kind of
poetic sentiment combined with felicitous formal innovations."
The integrity of musical form was not taken as seriously in the Romantic era as it is in our time.
In Paris, as in Warsaw, other instrumentalists played solos between the first and second movements.
Chopin played the Concerto, in Paris, as a piano solo, without orchestra. Later, other pianists
played the Concerto with the opening section of the first movement greatly altered and abridged.
Some changed the ending of the last movement, some inserted cadenzas that Chopin had not thought
necessary, and still others completely reorchestrated the accompaniment. All these appeared to be
attempts to turn Chopin into Beethoven or Brahms.
Mendelssohn and others wrote admiringly of the absolute perfection of Chopin's piano technique, and
of the light touch (and consequent small tone) that made it possible. No one has ever claimed that
Chopin wrote well for orchestra, but now it is seen that his few orchestra scores provide a light
background for a fleet-fingered pianist who attains great variety of expression within a very small
range. Today's accompaniments are generally more matched to the scale of the soloist.
Summer Music.............Ivan Kurz
Ivan Kurz' works at first glance or hearing would seem to contain many extracts from folk songs,
particularly those from Moravian Slovakia. Upon closer inspection, however, Kurz merely draws his
own ideas from his vast knowledge of folklore and his close relationship with it. Summer Music,
composed in 1975, is a bright work representative of Mr. Kurz' style.
Suite in D major, Op. 39.........Antonin Dvorak
This exquisite work, known as the "Czech" Suite, is composed of five movements, three of
which are typical Czech dances. The Praeludio and Romanza are poetic pictures of the Czech
landscape. After the Pastorale introduction comes a Polka, then a Sousedska in the guise of a
Minuet. Clarinets and bassoons make their entrance just as in village music in Bohemia. The flute
and English horn recount the Romance. The work ends with the elemental drive of a Furiant.
The Suite was first heard in Prague in May 1879 and soon after in other capitals of Europe. Like the
Slavonic Dances it established Dvorak's success and that of Czech culture abroad, where they were
little known at the time.
About the Artists
The Prague Chamber Orchestra was founded in 19S1 by members of the Czechoslovak Radio Symphony
Orchestra. The new group consisted of 36 members, a number maintained to the present day, whose
objective was to make full use of their virtuosity as in any chamber ensemble where each musician is
of equal rank. To this end they decided upon the unique feature of perform?ing without a conductor,
all the more remarkable in view of the many works it performs with full instrumentation--strings,
woodwinds, brass, and percussion.
Since 19S7, the Prague Chamber Orchestra has made more than 90 tours throughout Europe, much of
North America, and many cities of Latin America and Asia. Performing with the Orchestra at various
times have been such world-famous artists as Jean-Pierre Rampal, Paul Badura-Skoda, Emil Gilels,
Christoph Eschenbach, Arthur Grumiaux, and Josef Suk. In the recording field, the Orchestra has
twice been awarded the Grand Prix du Disque and in 1973 received the Supraphon Prize, having made
nearly 100 discs on that label.
The Orchestra is currently on its seventh American tour and tonight's concert marks the fifth Ann
Arbor appearance of this fine ensemble.
Boris Krajny, who is making his Ann Arbor debut this evening, is an outstanding example of the
postwar generation of musicians who have achieved international recognition and acclaim. Born in
Kromeriz in 1945, Krajny studied at the Conservatory of Kromeriz and the Academy of Prague, and in
1969 received a grant from Prague's Music Studio which enabled him to begin an active concert
career. He has toured in France, Italy, the German Democratic Republic, Bulgaria, Poland, Hungary,
Norway, and the Soviet Union, and has performed at the festivals of Athens and Bergen. In 1972 he
appeared in a few concerts with the Prague Chamber Orchestra during its 1972 North American tour,
commitments elsewhere preventing him from performing throughout the whole tour. The following year
he concertized widely in Argentina, Columbia, Venezuela, Mexico, and Costa Rica.
Important Concert Change
On Friday, October 12, at 8:30
The Detroit Symphony Orchestra
replaces the Moscow State Symphony (originally scheduled for October 13)
Antal Dorati conducts the following program:
Haydn: Overture to "L'isola disabitata"; Barber: Medea's Meditation and Dance of
Vengeance; Ravel: Rapsodie espagnole; Dvorak: Symphony No. 7
Mark your calendar with this date change and retain your Moscow tickets for admission to the Detroit
concert. Additional seats are available from $4 to $12.
The Musical Society extends thanks to the School of Music for moving its Chamber Choir concert to
October 19, thus releasing October 12 for the Detroit Symphony performance.
1979-1980 International Presentations
Choral Union Series
Detroit Symphony OrchestraAntal Dorati.....Fri. Oct. 12
(replacing Moscow State Symphony) James Gal way, Flutist..........Thurs. Oct. 25
with Marisa Robles, Harpist; Milton Thomas, Violist
Dresden Staatskapelle..........Sun. Nov. 11
Alfred Brendel, Pianist..........Tues. Jan. 22
Leontyne Price, Soprano..........Sat. Feb. 9
Yehudi and Hephzibah Menuhin, Violinist & Pianist . . . Wed. Mar. 19
Baltimore Symphony OrchestraComissiona.....Wed. Apr. 2
Sherrill Milnes, Baritone.........Mon. Apr. 14
The Moscow Pops........... Wed. Oct. 17
The Nekrasov Russian Folk Orchestra; with Bolshoi Opera stars
and dancers of the Kiev Ballet
Chinese Acrobats and Magicians........Sat.. Nov. 3
The Fred Waring Show..........Fri. Nov. 16
Handel's "Messiah"...........Fri., Sat., Sun.,
Nov. 30, Dec. 1 & 2
Jean-Pierre Rampal, Flutist; Alexander Lagoya, Guitarist . Mon. Feb. 18 Founders Day
Concert..........Sun. Feb. 24
The Festival Chorus; Donald Bryant, Conductor; Handel's Israel in Egypt
Waverly Consort............Mon. Oct. 22
Paul Gaulin Mime Company.........Tues. Oct. 23
Solomons CompanyDance.........Wed. Oct. 24
Cloud Gate Dance Theatre, Taiwan..... . Sun. Nov. 4
Martha Graham Dance Company......Mon.-Wed. Nov. 5-7
"Nutcracker," Pittsburgh Ballet.....Thurs.-Sun. Dec. 13-16
Les Grands Ballets Canadiens........Sun. Jan. 20
Glinka Chorus of Leningrad.........Tues. Jan. 29
Eliot Feld Ballet..........Fri.-Sun. Feb. 1-3
Cuban National Folk Ensemble........Tues. Feb. 26
Krasnayarsk Dance Company, Siberia.......Fri. Feb. 29
Kingdom of Bhutan, Music & Dance.......Sat. Mar. 15
Jury's Irish Cabaret of Dublin........Tues. Mar. 18
Series of any 4 or 8 concerts still available.
Chamber Arts Series
Michael Lorimer, Guitarist......... Mon. Oct. 15
Boston Camerata............ Sun. Oct. 28
Syntagma Musicum........... Tues. Nov. 20
Concord String Quartet.......... Sun. Jan. 27
Orpheus Chamber Ensemble.........Fri. Feb. 8
Zurich Chamber Orchestra......... Fri. Feb. 15
Quartetto Italiano........... Thurs. Apr. 17
Debut & Encore Series
Youri Egorov, Pianist...........Thurs. Oct. 18
Nina Beilina, Violinist...........Tues. Dec. 4
Aldo Ciccolini, Pianist..........Thurs. Feb. 21
Elly Ameling, Soprano..........Wed. Mar. 12
Series of 4 still available at $22, $17, and $12.
Single concert tickets may be purchased for all of the above attractions; series still available
where noted. A free brochure with complete information is available -upon request.
UNIVERSITY MUSICAL SOCIETY
Burton Memorial Tower, Ann Arbor, Michigan 48109 Phones: 665-3717, 764-2538