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Home , Alexander Raskatov, Denis Matsuev, Mariinsky Theatre, Tugan Sokhiev, Valery Gergiev, Vassily Sinaisky

UMS PRESENTS MARIINSKY Music Director and Conductor

Behzod Abduraimov Piano

Saturday Evening, January 24, 2015 at 8:00 Hill Auditorium • Ann Arbor

33rd Performance of the 136th Annual Season 136th Annual Choral Union Series

Photo: Mariinsky Orchestra with Valery Gergiev; photographer: Natasha Razina. 19 20 MARIINSKY ORCHESTRA WINTER 2015 UMS PROGRAM LLC, New York, NY. Maestro Gergiev and theMariinsky Orchestra appearby arrangement withColumbia ArtistManagement, Mariinsky Foundation of America isthe North American Sponsorof the . Sberbank andYoko Nagae Ceschina are thePrincipalSponsors of theMariinsky Theatre. VTB BankisthePrincipalPartner of theMariinsky Theatre. (Decca, Phillips). Maestro Gergiev andtheMariinsky Orchestra record for theMariinsky Labeland alsoappearonUniversal Special thanks to KippCortez for coordinating thepre-concert musicontheCharles Baird Carillon. lobby floral art for this evening’s concert. Special thanks to Tom Thompsonof Tom ThompsonFlowers, AnnArbor, for hisgenerous contribution of Media partnership provided by WGTE 91.3FMandWRCJ 90.9 FM. Endowment Fund. Endowed supportprovided by theWilliamR. Kinney Endowment Fund andby theCatherine S.Arcure Symphony No. 4incminor, Op.43 INTERMISSION Piano No. 3inCMajor, Op.26 Largo —Allegro Moderato con moto Allegretto poco moderato Mr. Abduraimov Allegro, manontroppo Tema con variazioni Andante —Allegro BE PRESENT NOW THAT YOU’RE IN YOUR SEAT…

The two giants of Russian music during the Soviet era — Prokofiev and Shostakovich — may appear to have a great deal in common at first sight, but in reality they were rather different in temperament and outlook. Prokofiev, 15 years older, was educated before the Bolshevik revolution and then spent the better part of two decades in the West. Worldly and sophisticated, he could appear nonchalant. After his return to the , he strove to shed his early bad-boy image and become the greatest composer of the country. In this endeavor, he found a formidable rival in Dmitri Shostakovich, who had come of age after the revolution and had never known another political reality. In this concert, we encounter both composers as young men in their late 20s or early 30s — Prokofiev scoring one of the big successes of his emigration years, Shostakovich attempting to make a major symphonic statement, only to be forced to withdraw it and consign it to the drawer of his desk for a quarter of a century.

Piano Concerto No. 3 in C Major, for the Piano Concerto No. 3. Op. 26 (1917–21) Prokofiev wrote the bulk of the Sergei Prokofiev concerto in 1921 while summering in Born April 15,1891 in Sontsovka, Brittany, on the northwest coast of France. Died March 5, 1953 in , Soviet Union He had been spending more and more time in Europe, connecting with influential WINTER 2015 UMS premiere: William Kapell with Russian expatriates in including the Philadelphia Orchestra under the the impresario Serge Diaghilev baton of Thor Johnson, 58th Annual May and the conductor Serge Koussevitzky. Festival, May 1951 in Hill Auditorium. Frustrated with the conservative tastes and career obstacles presented by the US, SNAPSHOTS OF HISTORY…IN 1921: Prokofiev eventually settled in Europe • The Communist Party of China is officially founded in 1922. This arrangement also proved • The first BCG vaccination against tuberculosis is given • Adolph Hitler becomes Führer of the Nazi Party temporary; in 1935, Prokofiev became the • White Castle hamburger restaurant opens in only major émigré artist to repatriate in Wichita, Kansas, the foundation of the world’s first the Soviet Union. fast food chain • Luigi Pirandello writes Six Characters in Search of Even as he drew closer to Europe, an Author Prokofiev kept American audiences in mind as he composed his Third Piano Months after the Bolshevik Revolution Concerto. He constructed an inviting and of 1917, Prokofiev left on an open- virtuosic showpiece, one that could hope ended passport granted by the cultural to repeat the success of ’s commissar. With World War I raging to Third Piano Concerto from 1909, also the west, Prokofiev traveled east through written for a US tour. Prokofiev performed Siberia and Tokyo before entering the US in the concerto many times in the course of San Francisco, where he was suspected of his wide-ranging concert tours, including being a spy. He struggled to restart his career premieres in Chicago and New York in in New York, but he did have some luck in 1921 and Paris in 1922. He also made the Chicago, where the resident company first recording in 1932 with the London agreed to mount The Love for Three Oranges Symphony, forever preserving his incisive and unsentimental approach to the score. and the symphony claimed premiere rights 21 22 MARIINSKY ORCHESTRA WINTER 2015 UMS Program note by AaronGrad. final surge. muscular opening figurereturns fora a drawn-out anddreamy elaboration, the with thecaustic humor ofthework.” After Prokofiev describedas“moreinkeeping over oscillating accompaniment, which then thepianooffersanominous melody The woodwinds addalyricalstrain, and from 1918sketches forastringquartet. Russian-inflected theme,thisoneadapted from thepiano. peppered withdouble-time decorations elides into arestatement ofthetheme, haunting andsincere.Thefifth variation a tempo marked “Andante meditativo,” is are drivingandmanic,whilethefourth, in the piano.Thesecondandthirdvariations variations, ledoffby asoloepisode from first statement grows into arichset of first drafted in1913.Theplodding by thethemeofsecondmovement, ironic music earlyon,asdemonstrated click ofcastanets. second theme,accentuated by thebony The concerto’s wry streakemergesinthe reinterpretation oftheclarinet figures. the piano’s entrance in a sparkling figures in constant motion, building to begins withthestringsexchanging rising melody. Thefast bodyofthemovement with asoloclarinet intoning amodal 1917, hastheflavor ofRussianfolkmusic, The introductory passage,sketched in themes composed beforeheleft Russia. Piano Concerto, heincorporated various When Prokofiev assembled theThird The finale begins withanother Prokofiev developed thisgift for agreed andmet withVolkov onseveral Leningrad composers. Shostakovich he —Volkov —waswritingonyoung composer toprovide apreface forabook Shostakovich began when he asked the musicologist, hisrelationship with text goodandtrue? the translation in English from its Russian the composer’s deepest feelings,andifso,is Volkov really serve as a sounding board for a confidant. Thequestionseemstobe,did would not have disclosed these feelings to by twicecensuringhimpublicly, andthat he government that hadcaused himuntold pain not have beenextremely bittertoward the difficult toimaginethat thecomposer would Soviet sentiments. In regard to the latter, it is concerning Shostakovich’s intense anti- reliability ofVolkov’s revelations, even those serious doubts have beencastonthe 20th century. Inmany quarters, however, most important Soviet-era composer ofthe and works ofthemanwhowasarguably the an understandingofthelife,thoughts, words, Solomon Volkov brought anew dimensionto Shostakovich, as related to and edited by Testimony, theMemoirsofDmitri The publication in 1979 of the book • • • • • SNAPSHOTS OFHISTORY…IN 1936: October 1989inHillAuditorium. Orchestra conductedby Gunther Herbig, UMS premiere: Detroit Symphony Died August9,1975inMoscow, Soviet Union Born September 25,1906inSt.Petersburg, Russia Dmitri Shostakovich Symphony No.4incminor,Op.43 (1936) Start of Joseph Stalin’s Great Purge intheSoviet Union of Thomas Jefferson’s headat Mount Rushmore President Franklin D. Roosevelt attends thededication , American composer, isborn Construction of theHoover Dam iscompleted published Margaret Mitchell’s novel GonewiththeWindisfirst According toVolkov, acriticand BE PRESENT WINTER 2015 23 For all those years, the composer patiently composer the years, those all For he was that listening to press reports under wraps the symphony keeping with it; he he was dissatisfied because when this nonsense. Yet encouraged even was finally rehearsed oncethe symphony Themore, he didn’t change a single note. cuts, wasconductor, who suggested a few it,” them eat “Let categorically: refused it.” them eat said. “Let Shostakovich eccentric, tuneless, leftist…” were some were leftist…” tuneless, eccentric, that on an opera heaped epithets of the as his opera as extreme not was actually . Shostakovich preceded it: that the by devastated was understandably attack. of this unexpected viciousness in his land by hero a veritable Here he was, composed Symphony, of his First virtue the Petrograd at exercise as a graduation subsequent then of two and Conservatory, Second, dedicated — the symphonies the Third, Revolution, to the October the of the holiday First,” “May subtitled and Second the classes. Both working the into fit perfectly Third Symphonies the hope glorifying line, its music party with exuberant, peoples of oppressed and, in each, a marches triumphal ending proclaiming the ultimate choral in 1936, the hero Now, fervor. nationalistic of in December vanquished. Nonetheless, was being Symphony the Fourth year that the Leningrad readied for performance by from the Philharmonic. Still smarting concerned official lashing, Shostakovich, almost would composition the thorny that bring stinging censure down certainly the on his head once again, withdrew 10 rehearsals — during after Symphony resistance which there had been much struggling who were from the musicians, The parts. demanding extremely with remained on the shelf for Symphony performed for the and was not 25 years the after years 1961, eight first time until of Stalin.death . The Fourth Symphony was never the was never Symphony The Fourth The war brought much new sorrow and sorrow new much The war brought haven’t I but destruction, new much That years. the terrible prewar forgotten beginning symphonies, all my is what are about. with the Fourth, By 1974, after an extended period an extended after By 1974, continues. Pravda newspaper official Communist cheap, unwholesome, “…UnSoviet, breakout quotations as this program note program this as quotations breakout in the of an article way by of Mtsensky appears in in appears from Testimony extracted Lady the ax fell on his opera in 1979 by Harper & Row. Material Material & Row. Harper in 1979 by was still on his writing table, Symphony was published was published in June 1976. Testimony 1936, while the in January earlier, months for the West, Volkov arrived in New York York in New arrived Volkov for the West, Four 1936. May in it completed and Having applied for permission to leave for permission to leave applied Having 1935 September in Symphony the began death. The composer died in August 1975. The composer death. derision. Shostakovich of official object book would not be published until after his after until be published not book would written agreement from Volkov that the that from Volkov written agreement last meeting, Shostakovich extracted a extracted Shostakovich last meeting, Soviet Union. At what appears to be their be to appears what At Union. Soviet impossible to have it published in the in the it published to have impossible West, knowing that it would have been have it would that knowing West, book and had sent the manuscript to the the manuscript book and had sent of interview, Volkov had completed the completed had Volkov of interview,

what has begun.” what composer as saying. “You must continue continue must “You as saying. composer “I must do this, I must,” Volkov quotes the quotes Volkov do this, I must,” “I must during the course of his 50-year career. of his 50-year during the course events he had witnessed and experienced he events reveal to the world his version of the of the version his world to the reveal Shostakovich became determined to to became determined Shostakovich latest attack by the Soviet officialdom, Soviet the by attack latest either with him or Volkov. Bristling at this at Bristling him or Volkov. either with made in his preface without consultation without preface his in made was incensed that severe cuts had been cuts had severe that was incensed book was published in 1971, Shostakovich Shostakovich 1971, in published was book occasions. As Volkov explains, when the when explains, As Volkov occasions. 24 MARIINSKY ORCHESTRA WINTER 2015 UMS and place. chronicle ofanextremely troubled time probing we have beengiven avaluable whose musical sensitivityandemotional brilliant, complex human being through message it contains emanated from a honesty. Andconsider,too,that the is alsocompelling initsuncompromising in the end, the Symphony is unsettling, it by content, not by convention orrule. If, allowing both elements tobe determined Shostakovich is very much the modernist, harmony, whichisfrequently dissonant, Symphony’s form,whichisfree,andits point. from “Mahleria,”andhenever arguedthe composer. Hiscolleagues saidhesuffered is inmany another works by theRussian presence in this Fourth Symphony, as he by Shostakovich, is indeed a frequent is nocoincidence.Mahler,much admired description ofaMahlersymphony, that If thissounds foralltheworld like a quiet, quivering, breathless rumination. hysterical intensity; theretreats to trivial circus-like tunes; the reckless, diatribes; the quirky little waltzes and what withtheshrieks,howls, andangry orchestration, canbecalledschizoid, at times a consequence of the bizarre “wastefully large.” Its emotional tone, of his1910ballet, TheFirebird , called that Stravinsky, referringtohisscoring Romantic-sized orchestration isthekind is long—nearlyanhour. Itsmassive, late- the Fourth Symphony isnot formidable. It In thematter oftheFourth It would beuselesstopretend that Beethovens” in the magazines. I don’t Worthless composers were called“Red your novel, your symphony, your poem. the signaltositat your deskandwrite standing behindyour back,waitingfor — numerous nameless “replacements” We’re all familiar with that sensation paradoxical way. The rewards of attending disturb, to communicate in a deliberately that his purpose is to stimulate, provoke, his musical game planisintentional, and ear. One’sguessisthat impenetrability of that areallbut undiscernible tothenaked a studyofthescorereveals connections materials seems disjointed, unrooted, but pizzicato cellosandbassesinattendance. a solo bassoon sighing alament with only enters, this one strongly Expressionistic: (Mahler evoked) beforethethirdtheme kaleidoscope of mood changes occurs that isallquirky, polyphonic angles.A seeks respiteinasecondthemestring accumulates, reaches aclimax,andthen low windsandstrings.Thisangry energy constant rhythmic accompaniment in violins careeningalongwithanimplacably tune given by trumpets, trombones, and main theme—asneering,almostdrunken and xylophone, which makes way for the These leadtoaclumsyfigureinwinds each prefaced by janglinggrace notes. pierces theairwiththreestrident chords, diversion. TheSymphony’s opening to expect ofthis kind ofShostakovich that islessbombastic thanonehascome movement arelatively brief“Scherzo” such symphonic sections, themiddle tempos slower thanarecustomary for the outer onesvery expansive andthe a different composer [Tikhon Khrenikov]. would have beentheSecondSymphony of been, andinsteadofbeingmy Fourth, it even know whothat personwould have have given it to someone for his “zeal.” I If Ihaddisappeared, theauthorities would no onehearditandIhadthemanuscript. Fourth Symphony. After all, for 25 years quite frequently inconnectionwithmy disappear. Thesethoughts pursued me “Red Shostakovich” canappear andI’ll impossible toforget at any moment anew compare myself toBeethoven, but it’s Shostakovich’s treatment ofthese The Symphony isinthreemovements, BE PRESENT WINTER 2015 25 here.) When this violence is spent, is violence this When here.) In light of the Symphony’s disturbing of the Symphony’s In light adding their sinister voices. The march The voices. their sinister adding instrumental fascinating in is developed one insinuating most the combinations; to a countermelody providing has piccolo Activity increases strings. in low the theme “Allegro” section to an extended on the way and tautness with muscular begins that urgency. percussive in primitive, grows little strange a by arrested is thrust The and piccolo, bass clarinet between duet a to introduction an is out, turns it which, waltz danced first by sweet-as-you-please rhythmic in harps with only cellos muted Again, there are kaleidoscopicattendance. the last ofchanges of mood, seemingly be seems to section that which is a glowing to a benign close. bringing the Symphony surprise has a violent But Shostakovich (Strangely in store, a searing explosion. context, in this Shostakovichian enough there seem to be strong echoes of Ravel’s Bolero a characteristic invokes the composer hisend to sadness by suffused serenity as high strings shimmer and Symphony, mournfully. celesta quivers the was it that concludes one content, of wisdom for Shostakovich part better his nemesis Stalin wasto withhold it until long dead. Orrin Howard. by note Program Scan for archival photos! Mariinsky Orchestra and Valery Gergiev’s and Valery Orchestra Mariinsky photos! archival for Scan Ann Arbor. past visits to smart phone, point app on your reader QR code a free Download or content; see multimedia to and scan at the code, camera your find these stories. to visit www.umslobby.org If Mahler has been in the shadow ofIf Mahler has been in the shadow The central movement, the most most the movement, The central The remainder of the first movement’s of the first movement’s The remainder . The second theme, introducedidée fixe then with bass clarinet and contrabassoon and clarinet bass with then with timpani and basses in attendance, and basses in attendance, with timpani a funeral march is etched by a bassoon by march is etched a funeral full view at the opening of the finale, where of the finale, the opening at view full the first two movements, he comes into movements, the first two

Fifth Symphony’s first movement. first movement. Symphony’s Fifth direct ancestor of the main theme of the by violins, is familiar for clearly being the violins, is familiar by an that thereafter attains the prominence of attains thereafter that a four-note figure given first by the violas first by figure given a four-note distinct themes, the first beginning with beginning first the themes, distinct formally direct of the three, has two two has three, the of direct formally

grinds to a halt. eerily until the music simply dissipates and dissipates simply the music eerily until English horn singing the main theme the main theme English horn singing after further uprisings, a bassoon and then further after amidst the previous battle zone; and finally, battle amidst the previous Orchestra. the Mariinsky for roster an orchestral a little waltz gliding grotesquely from grotesquely a little waltz gliding and artist biographies complete book for program page 39 in your to Please refer to participate in a full-scale conflagration; in a full-scale to participate gathering other instruments in its wake its in instruments other gathering clarinet; a wildly precipitous string fugue a wildly precipitous clarinet; on the high tones of piccolo and E-flat E-flat and piccolo of tones high the on the main theme being danced mindlesslythe main theme being remarkable incident. To mention just a few: just mention To incident. remarkable course is strewn with incident after after incident with strewn is course

enlivening. but one that is always compelling and compelling is always one that but to stay the course is a strenuous exercise, exercise, strenuous is a the course to stay may not be immediately apparent; in fact, in apparent; be immediately not may Shostakovich’s manner of communication manner of Shostakovich’s I N NASHVILLE

I N NASHVILLE

For opening minds and engaging the community, Ford salutes the University Musical Society Education and Community Engagement Program.

www.community.ford.com BE PRESENT 2727

Photo: Interior of Mariinsky Theatre, St. Petersburg, Russia. © Peter Barritt/Robert Harding World Imagery/Corbis. World Harding Barritt/Robert © Peter Russia. St. Petersburg, Theatre, Mariinsky of Interior Photo: 34th Performance of the 136th Annual Season of 34th Performance Series Union 136th Annual Choral Program Honors 20th Annual Ford Sunday Afternoon, January 25, 2015 at 3:00 January Sunday Afternoon, • Ann Arbor Hill Auditorium Piano Valery Gergiev Valery and Conductor Director Music ORCHESTRA UMS PRESENTS MARIINSKY 28 MARIINSKY ORCHESTRA WINTER 2015 UMS PROGRAM Special thanks to KippCortez for coordinating thepre-concert musicontheCharles Baird Carillon. lobby floral art for thisafternoon’s concert. Special thanks to Tom Thompson of Tom ThompsonFlowers, AnnArbor, for hisgenerous contribution of Media partnership provided by WGTE 91.3 FMandWRCJ 90.9 FM. Paddock, andStone, P.L.C.; andtheUniversity of MichiganHealth System. Special thanks to Ford Honors GalaConcertmaster sponsors: Bankof AnnArbor; Miller, Canfield, Energy Foundation. The DTE Energy Foundation Educator andSchoolof theYear Awards are madepossible by theDTE Engagement Program by Ford Motor Company Fund. The Ford Honors Program recognizes thelongtime generous supportof theUMSEducation &Community INTERMISSION Piano Concerto No. 1inb-flatminor, Op.23 Concerto for Orchestra No. 1 Mr. Matsuev Allegro con fuoco Andantino semplice —Prestissimo Allegro nontroppo emolto maestoso —Allegro con spirito BE PRESENT WINTER 2015 29

Promenade Gnomus Promenade Castle The Old Promenade at Play) Children between (Dispute Tuileries Cattle Promenade Chicks the Unhatched of Ballet and SchmuÿleSamuel Goldenberg News) (The Great at Limoges The Market The Catacombs morta (With the Dead in a Dead Language) in Lingua mortius Cum (Baba-Yagá) Legs on Fowl’s The Hut Kiev of Gate The Great

LLC, New York, NY. NY. York, New LLC, Maestro Gergiev and the Mariinsky Orchestra appear by arrangement with Columbia Artist Management, with Columbia arrangement appear by Orchestra and the Mariinsky Gergiev Maestro Mariinsky Foundation of America is the North American Sponsor of the Mariinsky Theatre. the Mariinsky Sponsor of American is the North America of Foundation Mariinsky Sberbank and Yoko Nagae Ceschina are the Principal Sponsors of the Mariinsky Theatre. the Mariinsky of the Principal Sponsors are Ceschina Nagae and Yoko Sberbank VTB Bank is the Principal Partner of the Mariinsky Theatre. the Mariinsky of VTB Bank is the Principal Partner (Decca, Phillips). Phillips). (Decca, Maestro Gergiev and the Mariinsky Orchestra record for the Mariinsky Label and also appear on Universal the Mariinsky for record Orchestra and the Mariinsky Gergiev Maestro Park, and Mary Roeder. and Mary Park, Callaway, Mark Clague, and Sarah Nicoli; and UMS Staff Susan Craig, Shannon Fitzsimons, Jim Leija, Terri Leija, Fitzsimons, Jim Shannon Craig, and UMS Staff Susan Nicoli; Clague, and Sarah Mark Callaway, Special thanks to members of the DTE Award Selection Committee: Pat Bantle, Kristi Bishop, Janet Kristi Bishop, Bantle, Pat Committee: Selection Award the DTE of members to Special thanks Arr. Maurice Ravel Maurice Arr. at an Exhibition Pictures , Modest 30 MARIINSKY ORCHESTRA WINTER 2015 UMS NOW THAT YOU’RE INYOUR SEAT… by theinfamous . with theSoviet Composers’ Union,headed to helpcomposers whowere not infavor Shostakovich. Inthiscapacity, hewasable Union, a post he had inherited from the Secretary ofthe RussianComposers’ “from theinside.”For many years hewas Soviet academicism, which he fought was justasopposed asthey were tostodgy Schnittke orSofiaGubaidulina,yet he than thoseofhiscolleaguesAlfred Rodion Shchedrin’sstyleislessradical • • • • • SNAPSHOTS OFHISTORY…IN 1963: on aUMSconcert. Orchestra No.1hasnever beenperformed UMS premiere:Shchedrin’sConcerto for Born December 16,1932inMoscow, Soviet Union Rodion Shchedrin Concerto forOrchestra No.1 song tradition whichhadnever beentreated symphonically before. was oneoftheyoung iconoclastsinthe1960s,seenhereofferinghistake onapopular Shchedrin, asamember ofthegeneration comingafter Prokofiev andShostakovich, irrelevant; 20th-century composers could be inspired by both — or rebel against both. possible. What seemedlike amajor stylisticandideologicaldivideat firstsoonbecame techniques, whilethelatter, largely self-taught, eschewed Western modelsasmuch as music conservatory, had acquired a perfect mastery of Western musical forms and directions inRussianmusic: the former,oneofthefirstgraduates ofthecountry’s first In their own time, Tchaikovsky andMussorgsky seemed torepresent two opposite (“Naughty LittleLimericks”) Birmingham Jail” Martin Luther KingJr. issueshis“Letter from of ApBac The Viet Cong wintheirfirst majorvictory intheBattle President John F. Kennedy isassassinated San Francisco Baycloses The Alcatraz Federal Penitentiary onAlcatraz Island in Studios inLondon Please Me inasingle dayattheAbbey Road The Beatles record theirdebutalbumPlease Shchedrin is the author of a

(1963) subtitled when hecomposed the present work, those aretheones Shchedrinhadinmind many “unsanitized” chastushka texts and the struggle for world peace. Yet there are and given words about Socialistlabor and Soviet era, they were heavily politicized city and in the countryside; during the lines rhyme. They arepopular both inthe count of8+7+8+7;thesecondandfourth usually have four lines,withasyllable sometimes even danced to. by anaccordionorabalalaika,and chastushka isalways sung,accompanied “naughty” in content. But the Russian and can definitely be “mischievous” or limerick, although both areshort poems Limericks.” A “Mischievous Folk Ditties,”or“Naughty English as “Mischievous Limericks,” chastúshki, variously translated into international attention was Ozornýe after Nabokov. the Lapdog after Chekhov, aswell asthe Tolstoy, classics: theballets AnnaKarenina after stage works after anumber ofliterary suite after Bizet. Hehas alsowritten probably bestknown forhisCarmen of instrumental andvocal music. He is large catalog ofworks inallgenres One of his earliest works to attract Dead Souls after GogolandLolita The Lady with The SeagullandLadywith Concerto forOrchestra (itself chastushka is not exactly a Chastushki

BE PRESENT WINTER 2015 31 is first performed (1875) performed is first Carmen This “reflective” quality resulted quality resulted This “reflective” Bizet’s Bizet’s President law by into is signed Act Rights The Civil for rights certain guaranteeing S. Grant, Ulysses declared however, law was, (the African-Americans (1875) in 1883) Court the Supreme by unconstitutional (1875) Lunch his Rowers’ paints Renoir Pierre-Auguste (1875) is born Ravel Maurice composer French (1874) the Bronx City annexes York New With Tchaikovsky’s arrival on the musical arrival on With Tchaikovsky’s finally produced scene, Russia had all: brilliant who had it a composer melodic gifts, technique, outstanding identity. national Russian strong a and of the the history Before Tchaikovsky, largely consisted concerto Russian his teacher Anton by of four 1874–75, in fifth a added (he Rubinstein with his former student’s concurrently works unfinished First) — plus two (the second of which was Balakirev by years many Liapunov Sergei by completed Tchaikovsky young the to was left It later). which to turn the form of the concerto, in German as perceived been had something style and origin, into both Russian. Rubinstein’s authentically and technique of muscular combination influence on lyricism was a great effusive had Tchaikovsky but composer, the young solution to the problem to find his own Tchaikovsky of form. In his monumental Brown David musicologist biography, development, “Thematic noted: German the to readily so came which thoroughly was composer, symphonic Brown thought.” alien to Russian creative as “reflective thought describes that This means, than evolutionary.” rather the Russian speaking, that musically self-contained “conceive can composer broad themes,” magnificently [and] often when he wishes “problems encounters but stage of the piece.” to the next to evolve in charges of formlessness against the of Tchaikovsky’s some Even concerto. with its fault closest friends found SNAPSHOTS OF HISTORY…IN 1874–75: OF HISTORY…IN SNAPSHOTS • • • • • (1874–75, rev. 1879, 1888)

melody arrives with its with arrives melody chastushka has an optional Limericks has an optional Naughty

The “naughtiness” of the piece is all of the piece The “naughtiness”

minor, Op. 23 1901 May Festival in University Hall. in University Festival 1901 May with the Boston Festival Orchestra at the at Orchestra with the Boston Festival was Mr. Albert Lockwood performing performing Lockwood Mr. Albert was has to make on the spur of the moment. on the spur has to make The pianist composed. after it was years played, based on a decision the conductor based on a decision played, 25 roughly performed on a UMS concert improvisational section may or may not be not or may may section improvisational first — was minor b-flat Tchaikovsky’s by the conductor if possible.) This quasi- if possible.) the conductor by — piano concerto 19th-century famous (Shchedrin suggested that it be played played be it that suggested (Shchedrin the most UMS premiere: Arguably coda that begins with a piano solo. begins with a piano solo. coda that 6, 1893 in St. Petersburg Died November 7, 1840 in Kamsko-Votkinsk,Born May Russia was harder to attack on political grounds. was harder to attack Ilyich Tchaikovsky Pyotr purely instrumental composition, which composition, instrumental purely No. 1 in b-flat Piano Concerto the Soviet era, could best be vented in a best be vented could era, the Soviet steps further, expressing feelings that, in that, feelings expressing further, steps Prokofiev and Shostakovich, quite a few and Shostakovich, Prokofiev of sarcasm, familiar from the works of from the works of sarcasm, familiar end. The whole piece takes the notion the notion takes end. The whole piece a series of mock-violent chords at the at chords mock-violent of series a escalates to a state of near-frenzy, with to a state escalates has been well set. The music gradually gradually The music set. has been well intentional, shocking vulgarity, the scene shocking vulgarity, intentional, actual irresistible, wicked fun. By the time the fun. irresistible, wicked come together to produce a sensation of to produce a sensation come together like Cage). All these disparate elements elements Cage). All these disparate like Cage (though the work sounds nothing nothing sounds work the Cage (though notes), and the prepared piano à la John and the prepared notes), solos, the jazzy bass pizzicatos (plucked (plucked jazzy bass pizzicatos solos, the piccolo the cheeky in the orchestration: not identify these texts in any way. in any these texts identify not minutes long). Of course, Shchedrin did Shchedrin long). Of course, minutes somewhat ironic since the piece is only 10 piece is only since the ironic somewhat 32 MARIINSKY ORCHESTRA WINTER 2015 UMS correspondence, Madamevon Meck: to his benefactress andconfidante-by- two other colleagueswere alsopresent) Tchaikovsky related theincident (at which of theMoscow schoolhehadfounded. invited Tchaikovsky tojointhefaculty and conservatory directorwhohad a noted pianist, composer, conductor, Rubinstein’s younger brother washimself in particularly harshterms. Anton Rubinstein lashedout at Tchaikovsky structure: onChristmasEve 1874,Nikolai in which allthiswasdelivered. Inaword, most significant thing —that is,thetone so on,andon.I can’tconvey toyou the “And this?Isthis reallypossible?”—and the passageconcerned,caricaturing it). instance — whatever is it?” (at this he plays or completely revised. “Take this,for that the rest would have to be scrapped or threepagesthat could beretained, and bit fromthere,that therewere only two I hadfilchedthisbitfromhereandthat as composition itwasbadandtawdry, that it wasimpossible toput themright, that were trite,awkward, andsoclumsythat that itwasunplayable, that passages appeared that my concerto wasworthless, more thetoneofJove the Thunderer. It but subsequently assumingmoreand mouth astreamofwords, quiet at first, to flow from Nikolay Grigoryevich’s “Well?” It was then that there began the end.Againsilence.Igot upandasked, I fortified my patience, andplayed onto very essence of the thing disgusts me?” friend, canItalkabout details whenthe was asthough hewassaying tome:“My silence hadtremendous significance.It not ofpraise! ...Rubinstein’seloquent God’s sake, justonekindword, even if with constructive criticism — but for Say something, ifonlytotearitpieces and hisfriendeats itandsays nothing. he offershisfriendfoodhasprepared, intolerable isthepositionofamanwhen could have known how foolish,how word, not asinglecomment! Ifonlyyou I played thefirstmovement. Not asingle outburst at Christmas 1874.Inany event, responsible for Rubinstein’sviolent they becamefamous. Major chordsreceived theshape inwhich and itwasthenthat theopening D-flat 1879. Herevised the work againin1889, and madeemendations tothesolopart in played thesoloat theEnglishpremiere) the adviceofEdwardDannreuther (who Rubinstein’s criticism,helater heeded beginning. Although he rejected Nikolai remain asadamant ashewasat the were concerned,Tchaikovsky didnot concerto inBostonOctober ofthat year. in 1875,gave theworld premiereofthe Bülow, whowent onanAmericantour time, such as Liszt, Wagner, and Brahms. some ofthegreatest composers ofthe career, hadbeencloselyassociated with Hans von Bülow, who,throughout hislong It wastaken onby nolessanartist than luck withhisconcerto outside Russia. And soIdid! replied, “andI’llpublish itjustasisnow!” of his.“Iwon’t changeasinglenote,” I the honorofplaying my pieceinaconcert demands, thenhewould bestow uponme revise theconcerto inaccordancewithhis that ifby such-and-suchadate Iwould that requiredradical change,hesaid and after pointing out tomealot ofplaces again that theconcerto wasimpossible, aside into adistant room.Therehetoldme noticing my distraught state, drew me anger. Rubinstein soon appeared and, say nothing because ofmy agitation and room silently andwent upstairs.Icould mortified by thewholescene…Ileft the rubbish... eminent musician topesterhimwithhis understood nothing, who had come to an an imbecile, an untalented scribbler who the roommight have thought that Iwas any outsider whochancedtocomeinto It isnot clearwhat factors hadbeen As far asrevisions totheconcerto Tchaikovsky had more immediate I wasnot onlystunned,Iwas BE PRESENT WINTER 2015 33 (1874)

The first women’s Greek letter organization,letter Greek women’s The first University at Syracuse is founded Gamma Phi Beta, in Milan performed is first Requiem Verdi’s the city of 47 acres down burns Fire The Chicago of the exhibition independent The first in Paris is held painters Impressionist opens (under Garden Square Madison York’s New Hippodrome) Barnum’s the name of district of Russia Pyrénées, France laugh) that was popular in Russia at the Russia at in popular was that laugh) been to have said “It is writes: (Brown time. Finally, repertoire.”) in Artôt’s a favorite another begins with the last movement all three ways, tune. In different Ukrainian the contrast are based on movements andthemes folk playful these between them. surround that materials the lyrical now of styles — this mixture It is perhaps “pathétique” now sentimental, now light, of the feature is the most unique — that seemed have it may Although concerto. intended), first (no pun at “disconcerting” with boldness the and diversity, very this from one mood leaps which Tchaikovsky sound this work help make to the next, thousands after even fresh and youthful, around of performances and thousands the world. “What a terrible blow!” Mussorgsky Mussorgsky blow!” terrible a “What to the critic Vladimir in a letter exclaimed UMS premiere: Boston Symphony Symphony Boston premiere: UMS of Serge under the baton Orchestra Hill in 1934 December Koussevitzky, Auditorium. 1874: OF HISTORY…IN SNAPSHOTS • • • • • Pictures at an Exhibition Pictures at Modest Mussorgsky the Pskov in Born March 21, 1839, in Karevo, Died March 28, 1881, in St. Petersburg Ravel Maurice in 1922 by Orchestrated Basses Born March 7, 1875 in Ciboure, 28, 1937 in Paris Died December

Each of the concerto’s three three concerto’s the Each of At first hearing, this concerto did first hearing, this concerto At Carnival.) s’amuser and rire” (Let’s have fun and and fun have (Let’s and rire” s’amuser singer-musicians. In the prestissimo singer-musicians. , “Il faut chansonette hear a French we kobzar, one of many blind itinerant blind itinerant one of many kobzar, middle section of the second movement, estate, apparently from a Ukrainian from a Ukrainian apparently estate, where his sister and her family had an where his sister and her family Tchaikovsky had taken down at Kamenka, at down had taken Tchaikovsky first movement includes a melody that includes a melody that first movement his a folksong. The incorporates movements in the “Lettres dansantes” movement of movement dansantes” in the “Lettres to Schumann’s in his “Abegg” variations or in his “Abegg” variations to Schumann’s true, Tchaikovsky’s procedure was similar Tchaikovsky’s true, DESirée Artôt. If Brown’s hypothesis is hypothesis If Brown’s DESirée Artôt. ‘A’], and that could very well stand for well very could ‘A’], and that the notes D-flat — A [in German ‘Des’ — D-flat the notes (In fact, the second theme begins with (In fact, composer had once proposed marriage. proposed once had composer international reputation, to whom the to whom reputation, international Désirée Artôt, a Paris-born singer of a Paris-born singer of Désirée Artôt, are ciphers for Tchaikovsky himself andhimself Tchaikovsky for ciphers are has also speculated that two of the motifs two that has also speculated between the movement’s themes. Brown themes. movement’s the between for the presence of a strong organic unity section of the first movement, and argued section of the first movement, that connect this introduction to the main to connect this introduction that has discovered some secret motivic links motivic some secret has discovered by 4/4, never to return. But David Brown David But return. to 4/4, never by in a 3/4 meter that will soon be replaced that in a 3/4 meter a lengthy passage outside the main key, the main key, passage outside a lengthy a professor of music in 1874. It opens with opens in 1874. It a professor of music perturb could that features possess a few 1881. Tchaikovsky’s until his untimely death in death his untimely until Tchaikovsky’s a staunch champion and friend of friend of and champion a staunch celebrated interpreters. He remained He remained interpreters. celebrated and became one of the concerto’s most one of the concerto’s and became completely, learned the solo part himself, part learned the solo completely, eventually recanted his earlier judgment recanted eventually at the piano. Rubinstein the piano. at Sergei Taneyev Tchaikovsky’s student, the 18-year-old the 18-year-old student, Tchaikovsky’s Moscow premiere of the concerto, with concerto, the of premiere Moscow less than a year later, he conducted the he conducted later, a year less than 34 MARIINSKY ORCHESTRA WINTER 2015 UMS gets firstlouder andthensofter. then goingaway asitsponderous melody Polish oxcart, slowly approaching and “Promenade” thistime—by “Bydlo,” the It is followed immediately — with no Dispute between Childrenat Play.” by the“Promenade”—istitled“Tuileries: melody isplayed by thealtosaxophone. In Ravel’s orchestration, thishaunting courtly singer)singsawistful song. Castle,” where atroubadour (amedieval again, andarethenusheredinto “TheOld quite vividly.We hearthe“Promenade” movements ofthiscreature aredepicted of adwarf.Thestrange andunpredictable represents atoy nutcracker intheshape next painting. to lingeronasthevisitorproceeds impression left by thelastpictureseems from one recurrence to the next: the changes that themelodyundergoes picture. Itisfascinating tolistenthe at thegallery strollingfrompictureto “Promenade” that portrays thevisitor first halfofthework —by amelodycalled pictures are separated — at least in the pictures formusical illustration. The Maurice Ravel orchestrated itin1922. did not becomeuniversally known until the composer’s lifetime, however, andit was not performedorpublished during impressions ofthepaintings. Thesuite by writingapianosuitebasedonhis pay amusical tribute tohisfriend of hispainting inspiredMussorgsky to at theageof39.Acommemorative exhibit friend of Mussorgsky’s, had recently died a gifted architectandpainter andaclose like Hartman must die?”VictorHartman, dog, ahorse,rat, live on,whencreatures Shakespeare’s paraphrase a famous passagefrom Stasov in1874,andheproceeded to A much shortened “Promenade,” The next picture—precededagain The firstpicture,“Gnomus,” Mussorgsky chose 10 of Hartman’s King Lear:“Why should a burial chambers inParis. Ontheright, a lantern, examining the underground a friend, and their guide, who is holding Hartman’s watercolor shows theartist, immediately to the“Catacombs.” gossiping andquarrelling. market inFrance where people arebusy portrays the hustle andbustle ofanopen muted trumpet. desperately, tothesound ofasingle while Schmuyle tries to defend himself, the entire stringsectionat hiscommand, In Ravel’s orchestration, Goldenberg has the two themes are heard simultaneously. seem tobechokingwithemotion. Then, a plaintive themewhoserepeated notes familiar. Thepoormanischaracterized by folk music with which Mussorgsky was in certain forms of Jewish chant and “Oriental” interval and indeed frequent the augmented second,consideredan a slow-moving unisonmelodystressing other poor.TherichJew isrepresented by argument between two Jews, onerich,the has traditionally beenunderstoodasan left no explanation of the movement, it with hisheadbent. Although Mussorgsky rich maninafur hat andapooronesitting ghetto in Sandomierz, Poland, including a number of characters from the Jewish ‘Schmuÿle’.” Hartman hadpainted a original, “‘Samuel’ Goldenberg und the eggshells. armor,” withonlytheirlegsstickingout of were “enclosedineggsassuitsof according toacontemporary description, appeared dressedupascanaries;others, famous MariusPetipa, agroup ofchildren by JuliusGerber andchoreography by the Petersburg. Intheballet, whichhadmusic ballet on thedesignsHartman hadmade forthe “Ballet oftheUnhatched Chicks,”based more lyricalintonethanbefore,leadsthe What a contrast to go from here “Limoges, theMarket: TheBigNews” The next pictureistitled,inthe Trilbi at theMariinsky Theatre inSt. BE PRESENT The “witch music” continues directly continues music” “witch The of Gate “The Great finale, grand the into design ambitious an by inspired Kiev,” but for a competition was submitted that the immense architectural For built. never a provided Mussorgsky structure, a church melody resembling grandiose rich harmonies. in presented and hymn with a more This theme alternates harmonized likesubdued second melody, movement Near the end, the a chorale. it theme; the “Promenade” incorporates final the magnificent leads directly into the symbolizes ways, in many climax that, of old Russia. grandeur Laki. Peter by notes Program     

DO  ARTS  Pub | 5x3.937 | No Bleed | Close 12/16/14 Foundation REVISIONS DUE TO AGENCY 12/161/14

DT ____ CR ____ TR ____ PR ____ AE ____

ENERGY?”

The arts awaken curiosity, creativity and the desire for knowledge — things that DTE Energy believes empower both people and the communities they live in. Through support of cultural programs and organizations, DTE promotes the human expression that enriches life and encourages broader horizons.And that’s something that all we benefit from. THE

CREATE 

The next section, “The Hut on Fowl’s on Fowl’s section, “The Hut The next

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material returns. material after which the wilder and louder first which the wilder and louder after mysterious-sounding middle section, middle section, mysterious-sounding of the ticking of a giant clock, has a a clock, has giant of the ticking of a Orchestra. the Mariinsky for roster an orchestral movement, whose rhythm has something whose rhythm movement, and artist biographies complete book for program page 39 in your to Please refer survives only as a sketch. Mussorgsky’s Mussorgsky’s only as a sketch. survives in the form of the famous hut; its designits hut; famous the of form the in an edifice. Hartman had designed a clock an edifice. Hartman Russian folktales who lives in just such just in lives who folktales Russian of the witch evokes Yaga” Legs: Baba language). (With the dead in a dead (With the in lingua mortua Cum mortuis Cum says, in the score inscription appears completely transfigured, as the transfigured, completely appears begin to glow. The “Promenade” theme “Promenade” The glow. to begin in Mussorgsky’s imagination, suddenly imagination, in Mussorgsky’s one can see a large pile of skulls which, skulls of pile large a see can one

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THE FORD HONORS PROGRAM RECOGNIZES THE LONGTIME GENEROUS SUPPORT OF THE UMS EDUCATION & COMMUNITY CMYK Form (preferred) ENGAGEMENT PROGRAM BY

PRESENTATION OF THE DTE ENERGY FOUNDATION

EDUCATORBlack and White Form AND SCHOOL OF THE YEAR AWARDS MADE POSSIBLE BY

CONCERTMASTER SPONSORS HOST COMMITTEE Ford Fund Master File Format: CMYK.EPS Ford Oval: CMYK Text: Black 6/2003 WINTER 2015 Bank of AnnBW .EPSArbor Black Black Kathy Benton and Bob Brown Miller, Canfield, Paddock, and Stone, P.L.C. Lou and Janet Callaway University of Michigan Health System Dallas and Sharon Dort Stephen and Rosamund Forrest GALA CHAIRS Norman and Debbie Herbert Gail Ferguson Stout David and Phyllis Herzig Barb Mulay Susan McClanahan and Bill Zimmerman M. Haskell and Jan Barney Newman GALA COMMITTEE Dan and Sarah Nicoli Dennis Carter Joe and Yvonne Sesi Judy Cohen Marysia Ostafin and George Smillie Zita Gillis Linh and Dug Song Kendra Kerr Karen and David Stutz Fran Martin Louise Taylor Terry Meerkov Betty Palms Ruth Petit Susan Pollans Anne Preston MARIINSKY ORCHESTRA

36 BE PRESENT WINTER 2015 37

students to express newfound academic newfound to express students and Science, in English, understandings Starting arts. the through Studies Social of advantage take 11, students in grade such courses arts-integrated upper-level Literature Modern Drama, as World and Honors Novel, Graphic and the Arts, to which require students Humanities, skills in higher-order processing activate kinesthetic,visual, musical, create to order of their learning. recounts and dramatic an in participate In addition, students student-directed student-funded, annual for new funds to raise benefit concert a partnership and benefit from courses, Philharmonic and with the Michigan Day UMS School at regular attendance to supporting Performances. In addition learning academic rigor, arts-integrated a created has Academy Arts the at for environment safe welcoming, it articulate to find their voice, students of and use it to act as agents brilliantly, change in their community. 2015 UMS DTE ENERGY ENERGY 2015 UMS DTE EDUCATORS FOUNDATION OF THE YEAR and KAREN ANN MARIE BORDERS are honored for their MCDONALD to integrating commitment passionate curriculum the elementary into the arts Public Schools, mostwithin the Ann Arbor School. Elementary Carpenter at recently, tie, the selection In an unprecedented Ms. Borders and committee chose both the award. Ms. McDonald to receive teacher in education A longtime general School District, Ann Public Ann Arbor the Elementary Marie Borders of Carpenter classroom to the music School returned she seamlessly integrates where last year elementary and academics. Lower music original Borders’ Ms. in delight students all and raps, song compositions alphabet

ARTS ACADEMY @ @ ACADEMY ARTS

creative, collaborative opportunities for opportunities collaborative creative, curriculum is structured to provide provide to structured is curriculum the curriculum. Its ninth and 10th grade the curriculum. Its ninth its peers in the integration of arts into into of arts its peers in the integration Canton complex and is a model among complex Canton magnet high school within the Plymouth- high magnet is an arts is an arts PARK EDUCATIONAL Sunday afternoon’s performance. afternoon’s Sunday THE PLYMOUTH-CANTON awards at a gala dinner following following dinner gala a at awards Gergiev will be presented with the with the will be presented Gergiev The The Mariinsky Orchestra and Maestro Orchestra The Mariinsky SCHOOL OF FOUNDATION THE YEAR explored Shostakovich’s symphonies. symphonies. Shostakovich’s explored ENERGY 2015 UMS DTE cycle over a seven-month period that that period a seven-month over cycle since 1992, including a five-concert since 1992, including a five-concert have performed 13 concerts with UMS performed 13 concerts have and its music director, Valery Gergiev, Gergiev, Valery director, music its and with UMS. The Mariinsky Orchestra Orchestra Mariinsky The UMS. with that has a long-standing relationship relationship long-standing a has that and enhance learning at all ages. at and enhance learning or ensemble of an artist achievement many other events that inspire creativity inspire that events other many artistic outstanding celebrates master classes, Night School sessions, and School sessions, master classes, Night Award The UMS Distinguished Artist to offer workshops for teachers, artist artist teachers, for workshops offer to AWARD ARTIST and college classrooms, and helps UMSand college classrooms, THE UMS DISTINGUISHED schoolchildren, brings artists into K-12 into artists schoolchildren, brings ticket prices affordable for area for area prices affordable ticket helps keep School Day Performance Performance School Day helps keep adults. Your Ford Honors sponsorship Honors sponsorship Ford adults. Your teens, university students, families, and families, students, teens, university experiences for K-12 students, teachers, for K-12 students, experiences UMS to provide exceptional educational exceptional UMS to provide Proceeds from the Ford Honors Gala help Honors the Ford from Proceeds BENEFICIARY FORD HONORS PROGRAM PROGRAM HONORS FORD 38 MARIINSKY ORCHESTRA WINTER 2015 UMS among herstudents. community andinspiration shecreates and languagearts, andforthesenseof art withsocial studies,science,math, her creative approach to melding visual teacher workshops. Sheisadmiredfor been anactive participant inUMS UMS Teacher Insight Group, shehas members. A longtime member of the from parents, teachers,andcommunity and fieldquestionsabout theircreations given opportunities toexhibit theirwork Arbor Public Schools. Her students are sculpture withstudents inother Ann demonstrations, and created agroup American artist, attended glassblowing sessions withacelebrated African- units; students have hadin-class Skype parents andcommunity members onart book cover. She also collaborates with they were asked tocreate an original and analysistoadesignproject when students applied reading comprehension in new andexciting ways. Recently, art lessonstoexplore student academics Karen McDonaldstructures hervisual Carpenter Elementary Schoolart teacher and gloves forstudents inneed. of iPadsforthemusic classroomtohats support everything fromtheacquisition alone, Ms. Borders secured 13 grants to learning onalllevels; inthelastyear and securesgrants tosupport student ideas inspiredby themusic. Shewrites instruments used,aswell asthoughts and reflect on the composer’s style, tempo, to music fromaround theglobe. Students responses toclassroomlisteningsessions their music lessons,generating written students incorporate aweekly journal into and words fordailyphonicspractice. Older incorporating the letter, phonic sound, Van Cliburn (1996) (1997) Garrick Ohlsson(1998) Canadian Brass (1999) (2000) Marcel Marceau (2001) (2002) Christopher Parkening (2003) Sweet Honey InTheRock(2004) Guarneri StringQuartet (2005) Dave Brubeck (2006) (2007) Sir JamesGalway (2008) Royal Shakespeare Company, Michael Michael Tilson ThomasandtheSan Renée Fleming(2011) Joshua BellandAcademy ofSt.Martin in Yo-Yo MaandTheSilkRoadProject Wynton MarsalisandtheJazz at Lincoln ARTIST AWARD THE UMSDISTINGUISHED PREVIOUS RECIPIENTS OF Boyd, andRalphWilliams(2009) Francisco Symphony (2010) the Fields(2012) (2013) Center Orchestra (2014) BE PRESENT WINTER 2015 39 Maestro Gergiev staged a productionMaestro Gergiev Principal Conductor of the London In July 2013 he led the debut Brahms, Henri Dutilleux, Gustav Mahler, Gustav Henri Dutilleux, Brahms, Dmitri Shostakovich, Sergei Prokofiev, Tchaikovsky Ilyich Pyotr Stravinsky, Igor other and Paris, London, York, New in and he has introduced cities international to several world the around audiences performed Russian operas. rarely Der Ring tetralogy of ’s des Nibelungen in the original German such production inlanguage, the first production and led that Russian history, Tokyo, Seoul, Moscow, in St. Petersburg, and London. He also champions York, New such as composers Russian contemporary Sofia Tishchenko, Rodion Shchedrin, Boris Pavel Raskatov, Gubaidulina, Alexander Smelkov. since 2007, Maestro Orchestra Symphony the at performs with the LSO Gergiev the Proms, and the Edinburgh Barbican, tours as on extensive as well Festival, America, and Asia. He North of Europe, with the Metropolitan also collaborates the , and theOpera, , York, of La Scala, New and Rotterdam. Youth of the National tour international of America, of the United States Orchestra Hall’s Carnegie by founded an orchestra Music Institute, and in 2016 assumes Weill the post of Principal Conductor of the Maestro Münchner Philharmoniker. title the include awards many Gergiev’s of Russia, the Dmitri Artist of People’s Music the Polar Award, Shostakovich of the Order of Knight Prize, Netherland’s Order of the Risingthe Dutch Lion, Japan’s Order of the Legion ofSun, and the French Honor. Conservatoire Conservatoire in symphonic underconducting Professor Ilya still While Musin. the at student a Conservatoire,

is Artistic is Artistic GERGIEV ALERY of the Director and General Principal Theatre, Mariinsky

Maestro Gergiev has established has established Maestro Gergiev Maestro Gergiev graduated from from graduated Maestro Gergiev

V ARTISTS including , Johannes including Hector Berlioz, Johannes He has led numerous composer cycles cycles composer He has led numerous and the Gergiev Festival (the Netherlands). (the Festival Gergiev the and Petersburg), the Moscow Easter Festival, Easter Moscow the Petersburg), the Stars of the (St.the Stars of the White Nights and directs such international festivals asand directs such international

Mariinsky Theatre. Mariinsky in May 2013 alongside the historical alongside the historical 2013 in May Mariinsky Theatre (Mariinsky II) opened (Mariinsky Theatre Mariinsky workshops that had burnt down. The new down. had burnt that workshops the Concert Hall opened on the site of Hall opened the Concert Opera, and Orchestra ensembles). In 2006, ensembles). and Orchestra Opera, the Mariinsky Theatre (, (Mariinsky Theatre the Mariinsky has been Artistic and General Director of and General has been Artistic Mariinsky Theatre, and since 1996 he Theatre, Mariinsky was appointed Musical Director of the Musical Director of was appointed the age of 35 in 1988, Maestro Gergiev the age of 35 in 1988, Maestro Gergiev Kirov Theatre (now the Mariinsky). At At Mariinsky). the (now Theatre Kirov in Moscow and was invited to join the and was invited in Moscow the All-Union Competition the All-Union Conducting Competition Conducting Competition in and Conducting Competition he won the Karajan von the Herbert he won the Leningrad State Rimsky-Korsakov Rimsky-Korsakov State the Leningrad

University. Faculty of Arts at the St. Petersburg State the St. Petersburg at Faculty of Arts International Festival, and Dean of the Festival, International Honorary President of the Edinburgh Edinburgh the of President Honorary International Tchaikovsky Competition, Competition, Tchaikovsky International the Organizational Committee of the of the Committee the Organizational World Orchestra for Peace, Chair of Peace, Chair of for Orchestra World Orchestra, Principal Conductor of the the Conductor of Principal Orchestra, Conductor of the London Symphony of the London Symphony Conductor Photo: Alexander Shapunov Alexander Photo: 40 MARIINSKY ORCHESTRA WINTER 2015 UMS T maestro’s 60th birthday inNorth America the Mariinsky Orchestra celebrated the US andinCanada.MaestroGergiev and which wasalsoperformedthroughout the with a cycle of Tchaikovsky symphonies opened Carnegie Hall’s 120th season October 2011,theMariinsky Orchestra in CarnegieHallOctober 2010,andin March 2010, a Centennial Mahler Cycle works of Hector Berlioz in February/ Stage Works ofProkofiev in2008,major Shostakovich symphonies, aCycle of a 2006 celebration of the complete 17 tours ofNorth America, including US debut in 1992 theorchestra hasmade world’s firstglobal orchestra.” Sinceits of what onejournalist referredtoas“the frequent tours hascreated thereputation Milan. ThesuccessoftheOrchestra’s the Salzburg Festival, and La Scala in Opera, theThéâtre duChâtelet inParis, in Covent Garden,theSanFrancisco Kennedy Center, theRoyal Opera House among themtheMetropolitan Opera, the greatest opera houses andtheaters, Ballet andOpera toappear intheworld’s to forgeimportant relationships forthe Valery Gergiev has enabled the Theatre and . Theleadership of the leadershipofYevgeny Mravinsky maintain itshighartistic standardsunder Soviet era, theOrchestra continued to reputation asoneofthefinestinEurope. century (1863–1916)securedits whose leadershipformorethanahalf musical directionofEduardNapravnik, second halfofthe19thcentury underthe Orchestra entered its“goldenage”inthe famed Mariinsky Theatre since 1860, the the Great and housed in St. Petersburg’s 18th century during the reign of Peter institutions in Russia. Founded in the Renamed the“Kirov” duringthe history asoneoftheoldestmusical enjoys alonganddistinguished he MARIINSKY ORCHESTRA

Photo: Ben Ealovega-Decca B Tchaikovsky’s Theme ofPaganini withDenisMatsuev; Piano Concerto No. 3 and 7 Donizetti’s , andLesNoces;Wagner’s Massenet’s Shchedrin’s with DaniilTrifonov and1812Overture; Play Blu-ray andDVD. Prokofiev’s Symphony No.5withDenisMatsuev, and & 2,Prokofiev’s PianoConcerto No.3and 6 Shostakovich’s Mariinsky Label releasesin2014include and Prokofiev’s TheGambler. His Attila, Strauss’ , 6 Tchaikovsky’s six DVD/Blu-ray products,including Nos. 1&15, Piano Concertos Nos.1&2, released 20CDsincludingShostakovich’s Mariinsky Label in2009andhassince Rachmaninoff, andShostakovich. in October 2013withworks by Stravinsky, praise —keep your earonthis one.” noted: “I’mnot sureIcould give higher The Washington Post criticalsorecently won himhighcriticalpraise, mostrecently , Tchaikovsky’s PianoConcertos Nos.1 , , Balanchine’sballet Jewels, Verdi’s ; Rachmaninoff’s No. 8andTheNose;Rachmaninoff’s Maestro Gergiev established the An exclusive DeccaClassics captivating performanceshave ( EHZOD ABDURAIMOV’s piano, Saturday program) Die Walkure, andDasRheingold; Don Quichotte; Stravinsky’s Lucia diLammermoor; and Romeo andJuliet onDouble Nos. 2&11, The Enchanted Wanderer; Symphonies Nos.4,5,& Symphonies Nos.4,5,& Piano Concerto No.1 almost serene joy.” almost serenejoy.” a challenge but an passages not like fast and furious Tchaikovsky’s Times: “he played A from the L Nos. 3&10, Rhapsody on a Rhapsody on a Symphonies No. No.

BE PRESENT WINTER 2015 41 piano, Sunday piano, Sunday Competition in in Competition 1998, in Moscow and has quickly established of one as himself the most sought- pianists of hisafter Concerto No. 1 with the Concerto and 3 and No. Concerto Piano ) has become a fast-risingprogram concert star on the international ( ENIS MATSUEV Mr. Abduraimov released his debut his debut released Mr. Abduraimov in born was Abduraimov Mr. The 2014–15 season includes The 2014–15 season includes

2012, in Decca Classics CD on recital and Choc de Classica the both won which 2014, his In fall Découverte. Diapason the released featuring disc was first concerto Prokofiev’s Tchaikovsky’s della Rai Sinfonica Nazionale Orchestra Valcˇuha. under Juraj the in 1990 and began to play Tashkent He was a pupil the age of five. piano at the Uspensky at Popovich of Tamara and in Tashkent, Lyceum Central State the at Iudenitch studied with Stanislav Park at for Music Center International he is now Kansas City, where University, in Residence.Artist stage since his triumphant victory victory triumphant his since stage Tchaikovsky the 11th International at with collaborates Mr. Matsuev generation. and orchestras best-known the world’s re-engaged conductors and is continually festivals and music with world-famous such as Russian orchestras legendary Philharmonic, the the St. Petersburg Russian and the Orchestra, Mariinsky Orchestra. National performances with the London Symphony Koninklijk the at engagements Orchestra, in Amsterdam, and Concertgebouwork Foundation. Cliburn the Van a recital at recital performances have Mr. Matsuev’s him to Carnegie Hall and also brought D Antonov Pavel Photo: ski, Vasily Petrenko, Petrenko, ski, Vasily ’ In North America he makes his debut America he makes In North Highlights of the 2014–15 season 2014–15 the of Highlights Orchestra under Thomas Dausgaard.Orchestra debut with the Hong Kong Philharmonic with the Hong Kong debut Debuts series. Further afield, he makes his afield, he makes series. Further Debuts appearance as part of their Distinctive of their Distinctive as part appearance later in the season to make his debut recital his debut season to make in the later Carnegie Hall. He returns to Carnegie HallCarnegie Hall. He returns under Maestro Gergiev, to include include to Gergiev, Maestro under a US tour with the Mariinsky Orchestra with the Mariinsky tour a US under Andrey Boreyko and embarks on and embarks Boreyko under Andrey with the Detroit Symphony Orchestra Orchestra Symphony Detroit the with

Italy and Spain. Louvre, in addition to performances in Louvre, returns to the Wigmore Hall and the to the Wigmore Hall and the returns Piano aux Jacobins. Other recitals include Jacobins. Piano aux as part of the Festival Festival the of part as Sokhiev Tugan National du Capitole de Toulouse under Toulouse de du Capitole National recital and in concert with the Orchestrerecital and in concert Orchestra (Osmo Vänskä) and features in and features (Osmo Vänskä) Orchestra debuts with the Helsinki Philharmonic debuts tour of China with . He Sinaisky. of China with Vassily tour under David Zinman, to be followed by a by Zinman, to be followed under David performance at the Royal Festival Hall Festival Royal the at performance London Philharmonic Orchestra for a for a London Philharmonic Orchestra under Valery Gergiev; and returns to the and returns Gergiev; under Valery Konzerthaus, and Konzerthaus Dortmund Dortmund and Konzerthaus Konzerthaus, Festival in Stockholm, ViennaBaltic Sea Festival Prokofiev piano concerto cycle at the the at cycle concerto piano Prokofiev takes part in the Mariinsky Orchestra’s Orchestra’s in the Mariinsky part takes of their season and a tour of Italy. He He of Italy. and a tour season of their Beˇlohlávek), including the opening opening the including Beˇlohlávek), Czech Philharmonic Orchestra (Jirˇí (Jirˇí Orchestra Czech Philharmonic Philharmonic and his debut with the with the his debut Philharmonic and include a return to the Los Angeles to the Los Angeles include a return

Vladimir Jurowski. James Gaffigan, Charles Dutoit, and Dutoit, and James Gaffigan, Charles Krzysztof Urban as , Valery Gergiev, Gergiev, Valery as Vladimir Ashkenazy, has collaborated with conductors such conductors with collaborated has Accademia Nazionale di Santa Cecilia. He Nazionale di Santa Accademia Symphony, Atlanta Symphony, and and Symphony, Atlanta Symphony, Philharmonic, Sydney Symphony, Tokyo Tokyo Symphony, Sydney Philharmonic, Orchestra, Boston Symphony, London London Symphony, Boston Orchestra, Los Angeles Philharmonic, Mariinsky Mariinsky Philharmonic, Los Angeles worked with orchestras including the the including with orchestras worked recording artist, Mr. Abduraimov has has Mr. Abduraimov artist, recording 42 MARIINSKY ORCHESTRA WINTER 2015 UMS of demonstrating theconvergence of Festival inAnnecy,France, withthegoal the Artistic DirectorofAnnecyMusic Paris, andNew York). In2010hebecame Yekaterinburg, Tel Aviv, Kaliningrad, cities suchasMoscow, St.Petersburg, (a seriesofevents heldininternational director ofthemusic festivalCrescendo and since2005hehasbeentheartistic title ofHonorary CitizenofIrkutsk), Siberia (in 2009 he was awarded the organized Stars on Baikal in , Lucerne. Rachmaninov house “Villa Senar” in the composer onhisown pianoat the perform andrecordunknown piecesby the SergeiRachmaninov Foundation to critics. Mr.Matsuev wasalsochosenby Gergiev, andwaspraised highlyby music was conductedby MaestroValery took place with Mr. Matsuev as soloist, milestone concert in Avery Fisher Hall orchestra. Thisunprecedented — a number unmatched by any other gave theorchestra’s 15,000th concert among others. and Great HallofMoscow Conservatoire, Pleyel inParis,Konzerthaus inVienna, the Concertgebouw inAmsterdam,Salle pianist with theMariinsky Orchestra and MaestroGergiev at Hill Auditorium.UMSwelcomes UMS auspices onSunday afternoon following hisUMSdebut inOctober 2010assoloist with pianosoloistDenisMatsuev. Mr.Matsuev makes hisfourth appearance under The Orchestra mostrecently appeared inAnnArbor inOctober 2012at HillAuditorium debuts astheKirov Orchestra of St.Petersburg inNovember 1992at HillAuditorium. and theMariinsky Orchestra. MaestroGergiev andtheOrchestra madetheirUMS This weekend’s concerts markthe12thand13thUMS performancesby Valery Gergiev Since 2004 Mr. Matsuev has In 2010theNew York Philharmonic , whomakes his UMSdebut thisevening. UMS ARCHIVES Federation. The Ministry ofCulturetheRussian the head of The Public Council under andbecame Russia. HeisalsoHonorary Professor of and Arts, and is a People’s Artist of Prize ofRussianFederation inLiterature Shostakovich’s Prize in Music and State Matsuev isalaureate oftheprestigious People’s Artist ofRepublic ofAdygea.Mr. Republic ofNorth Ossetia-Alania and holds thetitlesofPeople’s Artist of and Art’s Honored Artist of Russia. He the Presidential Council forCulture Star rating ofBBCMusicMagazineand many awards hehasreceived istheFive Mariinsky Concert Hall.Amongthe Mariinsky Orchestra inthefamed No. 5withValery Gergiev andthe and 2,Shchedrin’sPianoConcerto No. 3 include Rachmaninoff’sPianoConcerto native Russia. youth music education inregionsofhis foundation New Namesthat supports president of the charitable Russian Festival andCompetition, andthe International AstanaPianoPassion is alsotheArtistic Director oftheFirst Russian andFrench music cultures.He His Mariinsky Label releases , Shostakovich Concertos Nos. 1 MARIINSKY ORCHESTRA

Valery Gergiev, Music Director

FIRST VIOLIN DOUBLE BASS TROMBONE Stanislav Izmaylov, Principal Kirill Karikov, Principal Andrei Smirnov Alexei Lukirsky Vladimir Shostak Alexei Lobikov Leonid Veksler Vladislav Ryabokon Alexander Dzhurri Anton Kozmin Denis Kashin Mikhail Seliverstov Mikhail Rikhter Yevgeny Ryzhkov TUBA Khristian Artamonov Sergey Akopov Nikolai Slepnev Dina Zikeyeva Boris Markelov Boris Dzhioev Kristina Minosian Sergei Trafimovich Viktoria Boezhova PERCUSSION FLUTE Danara Urgadulova Andrei Khotin Nikolai Mokhov Vsevolod Vasiliev Arseny Shuplyakov Sofia Viland Andrei Tyan Dmitry Gabbasov Tatiana Khvatova Tatiana Moroz Yuri Alexeyev Alexander Marinesku Yevgeny Zhikalov SECOND VIOLIN Mikhail Pobedinskiy Mikhail Vedunkin Zumrad Ilieva, Principal Aglaya Shuplyakova Vladislav Ivanov Elena Luferova OBOE Viktoria Shchukina HARP Pavel Kundyanok Anastasia Lukirskaya Sofia Kiprskaya Alexander Levin Andrei Pokatov Maria Krushevskaya Alexei Fyodorov Inna Demchenko Ilya Ilin KEYBOARD Natalia Polevaya Olga Okhromenko Alexei Krasheninnikov CLARINET Elena Shirokova Viktor Kulyk ORCHESTRA Mikhail Zagorodnyuk Ivan Stolbov MANAGER Olga Timofeyeva Nikita Vaganov Vladimir Ivanov Svetlana Petrova Vitaly Papyrin STAGE HANDS Dmitry Kharitonov VIOLA Victor Belyashin Yuri Zyuryaev Yuri Afonkin, Principal Nikolai Prozherov Dinara Muratova BASSOON COLUMBIA ARTISTS Lina Golovina Rodion Tolmachev MANAGEMENT LLC. Alexander Shelkovnikov Yuri Radzevich Tour Direction: Yevgeny Barsov Ruslan Mamedov R. Douglas Sheldon, Senior Vice Roman Ivanov Alexander Sharykin President Mikhail Anikeyev HORN Karen Kloster, Tour Ilya Vasiliev Stanislav Tses Coordinator Andrei Petushkov Dmitry Vorontsov Marcus Lalli, Executive Andrei Lyzo Alexander Afanasiev Assistant CELLO Alexei Pozin Ann Woodruff, Tour Manager Oleg Sendetsky, Principal Vladislav Kuznetsov Maria Keith, Backstage Anton Gakkel Yuri Akimkin Manager Dmitry Ganenko Pyotr Rodin Renee O’Banks, Hotel Viktor Kustov Dmitry Lezhnin Advance Yekaterina Larina Maestro! Travel & Touring, TRUMPET Omar Bairamov Hotels Timur Martynov Daniil Bryskin Sintec-Tur, Air and Cargo Sergei Kryuchkov Vladimir Yunovich Vitaly Zaitsev Oxana Moroz Yuri Fokin Anton Valner

43 UMS EDUCATIONAL & COMMUNITY ENGAGEMENT EVENTS

TUNE IN WITH UMS Tune In with UMS for a brief pre-performance talk before select performances. Just 15 minutes long, each Tune In will offer interesting information and provocative questions for thinking about, listening to, and watching the performance. Tune Ins are hosted by Shannon Fitzsimons, UMS Campus Engagement Specialist and dramaturg, and composer Garrett Schumann, who will be joined by occasional special guests. eighth blackbird Trisha Brown Dance Company Saturday, January 17, 2015, 7:30 pm Saturday, February 21, 2015, 7:30 pm Rackham Building, Power Center Lobby Earl Lewis Room, Third Floor Bill Frisell Mendelssohn’s Elijah Thursday, March 12, 2015, 7:00 pm Saturday, February 14, 7:30 pm Michigan League Henderson Room, Hill Auditorium, Mezzanine Lobby Third Floor with special guest: conductor Jerry Blackstone

Photo: Bill Frisell; photographer: Monica Frisell UMS.ORG/LEARN