UNIVERSITY MUSICAL SOCIETY The New World Symphony ^America's National Training Oivhestm Artistic Director and Conductor Wednesday Evening, April 3, 1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan PROGRAM

Incidental Music to A Midsummer Night's Dream ...... Mendelssohn Scherzo (No. 1) Nocturne (No. 7) Wedding March (No. 9)

Suite from The Red Pony ...... Copland Morning on the Ranch: broadly The Gift: very expressive and quite slow Dream March: march tempo Circus March: fast Walk to the Bunkhouse: moderately Grandfather's Story: slowly Happy Ending: broadly

INTERMISSION

Symphony No. 6 in B minor, Op. 74, "Pathetique" ...... Tchaikovsky Adagio, allegro non troppo Allegro con grazia Allegro molto vivace Finale: adagio lamentoso

The Coca-Cola Company is the major underwriter of this tour.

The New World Symphony is represented by Columbia Artists Management Inc., New York City. Yamaha and Deagan percussion instruments and Yamaha flutes, , and brasswinds are used and preferred by The New World Symphony. The box office in the outer lobby is open during intermission for tickets to upcoming Musical Society concerts. Copies of this title page arc available in larger print; please contact an usher.

Thirty-sixth Concert of the 112th Season 112th Annual Choral Union Series Program Notes

Incidental Music to The Nocturne serves as an entr'acte A Midsummer Night's Dream between Acts III and IV. At the end of Act III, Puck has put the four ditzy, completely FELIX MENDELSSOHN (1809-1847) interchangeable lovers to sleep - like Hamlet's elix Mendelssohn was all of 17 when Rosencrantz and Guildenstern, Hermia and he completed his Overture to Helena are as intentionally difficult to tell Shakespeare's Festive Comedy, A apart as Demetrius and Lysander and the Midsummer Night's Dream. That cel­ music, with its ravishing writing for the ebrated miracle of youthful ardor horns, describes their untroubled slumbers. andF elfin grace was not only Mendelssohn's With the Bridal Chorus from 's masterpiece, but was also, with Mozart's 25th Lohengrin, with which it is usually heard, the Symphony and Schubert's song Gretchen am Wedding March is one of the most familiar Spinnrade, the finest single musical work ever pieces of serious music ever composed. Writ­ written by a teenager. Seventeen years later, ten for the scene at the beginning of Act V Mendelssohn's interest in the play was re­ in which the wedding of the Athenian duke vived when he was approached by no less a Theseus and the Amazon queen Hippolyta is figure than King Wilhelm IV of Prussia to being celebrated, the March has of course write the incidental music for a new produc­ been used in countless such celebrations over tion at Potsdam. the years: untold millions have heard it as While the performance of the play they have trooped off to join the ranks of the itself, designed to celebrate Wilhelm's birth­ Living Dead, beginning in 1848 with the day, was not uniformly well received - Fanny marriage of one of Queen Victoria's numerous Mendelssohn overheard one of his majesty's daughters. fops telling her brother, "What a pity your music had to be wasted on such a silly play" - Mendelssohn's contribution quickly estab­ Suite from The Red Pony lished itself with Beethoven's Egmont as the AARON COPLAND (1900-1990) most significant set of incidental pieces ever nlike some of his snobbish col­ composed; in the century-and-a-half since, leagues who out of jealousy or only the music Grieg composed for Ibsen's sheer ignorance made depre­ Peer Gynt has ever rivaled its popularity. Of cating remarks on the subject, the thirteen items that were written for the the late Aaron Copland had 1843 production, three of them - the Scherzo, enormousU respect for film music and for the Nocturne, and Wedding March somehow men who wrote it. Once, over dinner with managed to recapture the freshness and inspi­ his old friend David Raksin, the composer of ration of the miraculous Overture. Laura and other classic film scores, Copland The Scherzo is perhaps the most bril­ said in his typically guileless manner: "You liant example of a form that Mendelssohn know, I go to concerts of new music in New made uniquely his own. Like the fairy music York and I say to myself, 'What's all the fuss of the Overture, this gossamer wonder, which about? Those fellows in Hollywood do this described as "rainbow dust, [pos­ every day in the week and think nothing of sessed] of a mother-of-pearl shimmer," is an it.' " orchestral rondo based on a mercurial theme Given his acutely visual and dramatic announced by two flutes. In part a vivid imagination, to say nothing of his growing description of a dialogue between Puck and a resolve - from the mid-1930s onward - to fairy "How now, spirit, wither wander you?" speak increasingly to a mass audience through "Over hill, over dale, through bush, through the then-burgeoning mass media, it was only briar..." - the eerie, slightly menacing under­ natural that Copland should have been drawn tone hints at the dangers of the Athenian to film. While he was never a working forest, while the movement is rounded off by Hollywood studio composer, he devoted con­ one of the most nightmarish solos ever com­ siderable energy to film music in the decade posed for the flute. between 1939 and 1949. Beginning with the music he supplied for a documentary called treatment which, in turn, made the writing of the score a grateful task." Although the music for The Red Pony captures much of the same frontier sound and spirit of the composer's cowboy ballets, Rodeo and Billy the Kid, Copland was quick to point out that "although some of the melodies in The Red Pony may sound rather folk-like, they are actually mine. There are no quotations of folklore anywhere in the work." Of the six movements of The Red Pony Suite, Copland wrote the following: "I. Morning on the Ranch. Sounds of daybreak. The daily chores begin. A folk-like melody suggests the atmosphere of simple country living. "II. The Gift. Jody's father [Robert Mitchum] surprises him with the gift of a red pony. Jody shows off his new acquisition to his school chums, who cause quite a commo­ tion about it. 'Jody was glad when they had Aaron Cop/and (left) with Eugene Cfmandy in the gone.' "III. Dream March and Circus Music. green room during the 1976 Bicentennial Ma} Jody has a way of going off into daydreams. Festival Copland conducted his Concerto, Two of them are pictured here. In the first, at this, his last appearance in Ann Arbor. Jody imagines himself with Billy Buck at the head of an army of knights in silver armor; in the second, he is a whip-cracking ringmaster The City, Copland worked on eight films in at the circus. all, including the screen adaptations of John "IV. Walk to the Bunkhouse. Billy Buck Steinbeck's Of Mice and Men and Thornton was 'a fine hand with horses,' and Jody's Wilder's Our Town. For the brilliant score he admiration knew no bounds. This is a scene produced for Trie Heiress, William Wyler's of the two pals on their walk to the bunk- stylish version of Henry James' Washington house. Square, he won the 1950 Academy Award. "V. Grand/other's Story. Jody's grandfa­ Written in 1948, the music for The Red ther retells the story of how he led a wagon Pony would not only prove to be one of train 'clear across the plains to the coast.' But Copland's best film scores, but also one of the he can't hide his bitterness from the boy. In most durable, thanks to the popular suite he his opinion, 'Westering has died out of the arranged at the suggestion of the conductor people. Westering isn't a hunger any more.' Efrem Kurtz. "VI. Happy Ending. Some of the title Copland was particularly drawn to music is incorporated into the final move­ Steinbeck's tale of a ten-year-old boy growing ment. There is a return to the folk-like up on a California ranch largely because, as melody of the beginning, this time played he would later recall, "There was a minimum with boldness and conviction." of action of a startling or dramatic kind. The story gets its warmth and sensitive quality from the character studies of the boy Jody, Jody's grandfather, the cowhand Billy Buck, and Jody's parents, the Tiflins. The kind of emotions that Steinbeck evokes in his story are basically musical ones, since they deal so much with the unexpressed emotions of daily living. It seems to me that Lewis Milestone, in directing the picture, realized that fact and, therefore, left plenty of room for musical Symphony No. 6 in B minor, best - and especially the most 'sincere' - of Op. 74, "Pathetique" all my works. 1 love it as I never loved any PIOTR ILYICH TCHAIKOVSKY (18404893) of my musical offspring before." or a man who always insisted he The opening movement - the lengthi­ disliked and distrusted program est and most dramatic of the four - begins music "Whenever I compose a with a sinister rumble in the lowest reaches program symphony," he wrote, "I of the , out of which rises a soulful invariably experience the sensation threnody for the solo . After a change ofF hoodwinking the public" - Tchaikovsky's of key and a quickening of the tempo, the addiction to symphonies inspired by explicit bassoon melody becomes the nervous princi­ or implied non-musical ideas was all but pal theme of the first movement, heard first absolute. In addition to the Man/red S^m- in the strings and soon thrown with increased phony, after the poem by Lord Byron, and the frenzy from one section of the orchestra to early works in the form, which all bear another. Following a brilliantly fashioned descriptive and, hence, programmatically sug­ transitional passage - and in none of his gestive subtitles ("Winter Dreams," "Little Rus­ symphonies are the seams between the major sian," "Polish"), each of Tchaikovsky's ideas quite so invisible Tchaikovsky pres­ last three symphonies was composed to spe­ ents the celebrated second subject, a poi­ cific programs, including the Symphony in B gnant, sinuously beautiful love song for muted minor, which he had originally intended to cellos and violins. call A Program Symphony. The violent development section ex­ While Tchaikovsky was reluctant to plodes with a deafening crash, out of which discuss the exact nature of the program - "Let ferocious, chaotic quotations of the principal them guess it who can," he wrote to his theme erupt; as the wild commotion reaches nephew Vladimir Davidov, the Symphony's its heights, the unexpectedly dedicatee - the work has the unmistakable quotes the ominous melody from the Russian aura of a requiem, filled with premonitions liturgy. The movement rises to an agonized and presentiments of death. The bleak, climax, only to resolve itself in a compressed starkly pessimistic Finale, the adoption - at recapitulation and a striking coda, in which a his brother Modeste's suggestion - of the solemn, oddly consoling brass figure is accom­ subtitle Pathetique and the quotation of the panied by descending pizzicato strings. hymn "And Rest Him with the Saints" from A gracious, charmingly off-center waltz the Russian Orthodox funeral service, have in 5/4 time marked Allegro con grazia takes the all been pointed to as evidence that Tchai­ place of the traditional slow movement. Al­ kovsky was fully aware-that he was writing his though for the most part light-hearted and final work. Even the circumstances of his amiable, a wistful melancholy pervades the death, which resulted from drinking a glass of entire movement; in the contrasting central unboiled water during a cholera epidemic section, a lugubrious echo of the first only a week after the Symphony's premiere movement's second subject is heard over the an act of astonishing recklessness that has insistent throbbing of the timpani. long fed the speculation that the composer For its first eight bars, the Symphony's had in fact killed himself- have led many to third movement appears to be a conventional hear the Pathetique as the most elaborate scherzo, full of bustling strings and clucking musical suicide note ever written. winds. In the ninth bar, a fragment of a march Yet whatever programmatic baggage theme is heard in the and is quickly and emotional burdens the Symphony was taken up by other voices. Throughout a series designed to carry, it is also the most profound of climaxes, punctuated by reappearances of and closely-argued of Tchaikovsky's sym­ the scherzo figure, the march theme gradually phonic works and one of which the composer gains in volume and momentum until it was understandably proud. "I give you my sweeps all before it. word of honor," he wrote to his publisher That this march of affirmation is merely Peter Jurgenson on August 24, 1893, "that an illusion becomes bitterly clear in the never in my life have I been so contented, so opening bars of the Adagio lamentoso, as proud, so happy in the knowledge that 1 have heart-wrenching a cry of pain as exists in written a good piece." To another friend he Western music. This astounding essay in would write, "My new symphony is quite the despair and self-pity grows from only two themes: the lacerating string figure that opens weeks later and only twelve days after the the movement, and the pitiable melody in­ composer's death, a second performance led troduced by the violins and violas that offers by the Czech-born Eduard Napravnik created only quiet resignation. The muffled pealing a sensation. The Symphony was suddenly of a gong announces the final descent into heard as the composer's Requiem, his musical utter blackness, as the music is slowly en­ last will and testament, the most probing, gulfed in silence. courageous, and deeply personal of all his work Tchaikovsky himself introduced the - a view that has not changed in nearly a Pathetique to cool reviews from the press and hundred years. polite indifference from the St. Petersburg - Notes by Jim Svejda public on October 28, 1893. Barely three

About the Artists

he New World Symphony, Orchestra. Mr. Tilson Thomas had long seen America's only full-time ad­ a need in America for an advanced training vanced training orchestra, was orchestra in which exceptional players could established to provide a contin­ spend a few years refining their skills, explor­ uing learning environment and ing the repertoire, and acquiring the kind of creativeT performing experience for America's experience necessary to enter their profession most talented young musicians. at the highest possible level. Based in Miami, Florida, the Sym­ The musicians, all graduates of top phony serves as a bridge between the comple­ music schools and conservatories, are selected tion of formal education and entry into a full for the Symphony on the basis of highly time professional music career. In addition to competitive national auditions. Since the giving concerts, orchestra members study and orchestra's formation, about 50 musicians perform with internationally renowned con­ have successfully auditioned for positions ductors and solo artists and also take with professional worldwide, many masterclasses and coachings with distin­ as principals, including the Boston and Chi­ guished musicians from this country's most cago Symphony orchestras; the Hartford, San prestigious orchestras. Diego, Honolulu, Spokane, Charleston, In­ Serving as the Symphony's artistic di­ dianapolis, Barcelona, Puerto Rico, Jackson­ rector is Michael Tilson Thomas, who is also ville, Nashville, and Savannah Symphony principal conductor of the London Symphony orchestras; the Hong Kong Philharmonic; the Rochester and Buffalo Philharmonic orches­ This month, new audiences will dis­ tras; the Philharmonic Orchestra of Florida; cover "America's National Training Or­ and numerous other orchestras and chamber chestra" during a four-city tour that takes the ensembles in the United States and Europe. Symphony to Columbus, Ohio, and Winston- Mr. Tilson Thomas and the Symphony Salem and Raleigh, North Carolina, in addi­ embarked on their first international tours in tion to Ann Arbor. the summer of 1989, performing in Paris, in The New World Symphony, which was three South American cities, and at the founded in 1986 under the auspices of the prestigious Wolf Trap summer music festival Miami-based National Foundation for Ad­ in Virginia. Highlights of the 1989-90 season vancement in the Arts, is an independent were the Symphony's Carnegie Hall debut, a not-for-profit corporation. The Symphony four-city tour with actress Audrey Hepburn also administers the Seaver/National Endow­ for UNICEF, featured appearances on na­ ment for the Arts Conductors Award, a major tional prime time television, and a two-week career development grant given biennially to residency at Montana's annual Big Sky Arts promising young American conductors. Festival.

which featured the world premiere perfor­ mances of his composition, From the Diary of Anne Frank. In 1988, Mr. Tilson Thomas also launched his first season as principal conduc­ tor of the London Symphony Orchestra. The following year, he and the LSO made their first transcontinental tour of the United States, followed by their debut appearances together in Japan. In addition, they have appeared at the Salzburg Festival, and on tour in Austria, France, Switzerland, Spain and Germany. His European activities also include appearances with the Bayerische Rundfunk, Berlin Philharmonic, Chamber Orchestra of Europe, Concertgebouw Orchestra, L'Orchestre National de France, and the Israel Philhar­ monic, among others. In the United States he conducts the orchestras of Boston, Chi­ cago, Cleveland, and San Francisco. ichael Tilson Thomas is ar­ Born in Los Angeles in 1944, Mr. tistic director of The New Tilson Thomas is the third generation of his World Symphony, which he family to follow an artistic career. His grand­ inaugurated in Miami in parents, Boris and Bessie Thomashefsky, were February 1988. During the founding members and stars of the Yiddish 1989-90M season he conducted the orchestra on Theater in America. His father,Ted Thomas, its first international tour to Paris, South was a member of the Mercury Theater Com­ America, and the Wolf Trap music festival pany in New York before moving to Los in Virginia; in its New York debut at Carnegie Angeles, where he worked in films and tele­ Hall; and on a four-city American tour for vision. His mother, Roberta Thomas, was the UNICEF with actress Audrey Hepburn, head of research for Columbia Pictures. Michael Tilson Thomas began his for­ includes works by Bach, Beethoven, Mahler, mal studies at the University of Southern and Prokofiev, as well as pioneering work California, where he studied with John with the music of Charles Ives, Carl Ruggles, Crown and conducting and composition with Steve Reich, John Cage, and George Gersh­ the Swedish composer Ingolf Dahl. At age win. 19, he was named music director of the Young Current releases include the first re­ Musicians Foundation Debut Orchestra. He cording of the critical editions of Charles Ives' worked with Stravinsky, Boulez, Stock- Symphonies No. 1 and 4 with the Chicago hausen, and Copland on premieres of their Symphony Orchestra, and with the London compositions at Los Angeles' Monday Eve­ Symphony Orchestra, Gustav Mahler's Sym­ ning Concerts. During the same period he phony No. 3 and Ruckert Lieder (Janet Baker), acted as pianist and conductor for Gregor Strauss's Ein Heldmleben and Till Eulenspiegel, Piatigorsky and Jascha Heifetz, and, as a and a Brahms recording featuring the sere­ student of Friedelind Wagner, was music nades and overtures. Future LSO recording assistant and assistant conductor at the plans include works by Ravel, Debussy, Festival. Tchaikovsky, Janacek, and Stravinsky. This In 1969, after winning the Koussevitzky year also sees the release of his first Prize at Tanglewood, he was appointed assis­ recording, Tosca, with Eva Marton and Jose tant conductor of the Boston Symphony Or­ Carreras. chestra. That same year he made his New Mr. Tilson Thomas's extensive televi­ York debut and gained international recogni­ sion work includes a series of programs with tion after replacing music director William the London Symphony Orchestra for BBC Steinberg in mid-concert. He was later ap­ Television, including productions of Til! Eu- pointed principal guest conductor of the Bos­ lenspiegel and Sibelius's Symphony No. 6, as ton Symphony Orchestra, where he remained well as the highly regarded three-hour inter­ until 1974. He was music director of the national celebration of the music and life of Buffalo Philharmonic from 1971 to 1979 and . "From the New World," was a principal guest conductor of the Los a documentary about Mr. Tilson Thomas and Angeles Philharmonic from 1981 to 1985. The New World Symphony, aired in 1989 on From 1985 to 1988, he was principal conductor British Television's "South Bank Show" and of the Pittsburgh Symphony's Great Woods in the United States on the PBS series "Great Music Festival. Performances." An exclusive Sony Classical recording Committed to music education, Mi­ artist, Mr. Tilson Thomas has been the chael Tilson Thomas has given lecture-dem­ recipient of numerous international awards onstrations at Carnegie Hall, and from 1971 for his recordings. His wide-ranging repertoire to 1977 he conducted the nationally broad- cast Young People's Concerts. He has been artistic director of two American summer orchestral training pro­ grams the Los Angeles Philharmonic Insti­ tute and the Great Woods Summer Institute in Massachusetts. Along with Leonard Bern­ stein, he was artistic director of the first Pacific Music Festival, held in Sapporo, Japan, during the summer of 1990. The New World Symphony is the re­ alization of his vision to develop an ensemble of gifted young American musicians. Michael Tilson Thomas now brings the Symphony for its Ann Arbor debut appearance, and the maestro returns for his fourth concert after leading the Pittsburgh Symphony Orchestra in three concerts of the 1988 May Festival.

eif Bjaland led The New World Symphony in two children's con­ certs and ten in-school programs in 1988-89 and officially joined the Symphony in 1989-90 as resident conductorL and artistic coordinator. In this and serving as music director of the award- capacity, he works with Michael Tilson winning San Francisco Symphony Youth Or­ Thomas in formulating and implementing chestra. During this time, he was nominated artistic policies. His duties include audition­ for San Francisco's prestigious Golden Gate ing and evaluating orchestra members, coor­ Award for his service to the community and dinating school concerts and other special leadership of the Youth Orchestra, which he programs, selecting repertoire for reading and took on tour to the Far East in the summer full-orchestra rehearsals, and planning and of 1989. In 1988, he was one of three conducting the Symphony's popular family outstanding conductors selected to conduct concerts. the Chicago Symphony Orchestra under the Prior to his appointment to The New auspices of the American Symphony Orches­ World Symphony, Mr. Bjaland was Affiliate tra League's American Conductors Program. Artists Assistant Conductor of the San Fran­ He has also led the National and Detroit cisco Symphony for three years, leading the Symphony Orchestras, the New Orleans orchestra in many of its subscription concerts Symphony, and the Rochester Philharmonic. A Native of Flint, Michigan, Leif Bja­ land received his master of music degree from the University of Michigan, where he studied with Gustav Meier and Elizabeth A. H. Green. During this period, he was assistant conductor of the Musical Society's University Choral Union for two years and conductor- in-residence with the Flint Symphony Or­ chestra from 1980-83. Mr. Bjaland's extensive experience in working with young musicians also includes two years as associate conductor of the Mich­ igan Youth Symphony, two years as music director of Detroit's Metropolitan Youth Sym­ phony Orchestra, and three years as music director of the Yale Symphony Orchestra, which he led on a successful tour of Europe in 1985. The New World Symphony Michael Tilson Thomas, Artistic Director Leif Bjaland, Resident Conductor and Artistic Coordinator Scott Nickrenz, Chamber Music Advisor Violins Cellos Horns Jill Arbetter Lise Blomquist Kristin Davidson Joan Beck Orna Carmel Kendall Gray Jana Brauninger Betsy Federman Daniel O'Connell Laura Caballero Paula Fehrenbach Theodore Peters Angela Caporale Gretchen Gettes Ed Tschoepe Gustavo Correa Christopher Glandsdorp Larry Williams Ruth DeGraw Damian Kremer Catherine Emes Rung Lee Sheila Falls Mark Lekas Daniel Bowling Wyn Hart Susan Moyer Anthony DiLorenzo Laura Hilgeman Leslie Nash Thomas Purdie Chin Le Richard Stoelzel Francesca Manheim Double Basses Laurel Mascarenhas William Clay Jennifer Moreau Rolf Erdahl Bruce Blomquist Darin Quails Joseph Parley Julie Josephson Nina Saito John Miller Tom Hornig Tanya Schreiber Luis Roncayolo Josef Siegworth Laura Ruas Philip Spletzer Craig Knox Claudio Vasquez Flute/Piccolo Wallace-Faiz Kelly Lisa Byrnes Timpani/Percussion Lisa Wiggins Suzanne Duffy Kenneth Every Steve Winkler Jennifer Keeney David Fishlock Yu Linda John Kapenekas Patricia Niemi Violas Marni Hougham Jacqueline Capecci Renate Sakins Harp Fryxell Steve Ronald Sipes Janet Harriman Louise Guerrieri Alison Heydt Clarinets Harold Hill Tom B. Apple Susan Pardue Todd Levy Fergus Scarfe Erika Shrauger Hasan Sumen Elizabeth Tercek Richard Woehrle Christopher Donovan Steven Wright Eric Hall Philip Pandolfi

Gary Corrin, Music Librarian, Skip Hamilton, Technical Director, Martha Levine, Assistant Music Librarian, Jodi Royer, Artist Liaison, Brent Winters, Stage Manager, Adam Zeichner, Orchestra Manager

Sherwood M. Weiser, Chair, Board of Directors, Jeffrey N. Babcock, President and Chief Executive Officer, Robert Babko, Vice President/General Manager, Josanne LaValley, Vice President/National Campaign Director, Ellen Carr Miller, Vice President/Marketing and Public Relations 30 April 1991 A Benefit Concert Eight o'clock Hill Auditorium

Metropolitan

An extraordinary event for the that is not to be missed University Musical Society

Opera

Prime Ludwigvan Scene and Aria, Ah, Perfido!, Op.65 ticket locations Orchestra available

Reservations for this gala evening are being taken now! Please Three Pieces for Orchestra, Op. 6 place your telephone order by calling JamesLevine 313.764.2538

Black Tie Optional

Le Bourgeois Gentilhomme Suite, Op.60

JessyeNorman Mail reservation orders to: University Musical Society of the University of Michigan Burton Memorial Tower Ann Arbor, Michigan 48109-1270 'Immolation" Scene from Gotterdammerung Gewandhaus Orchestra of Leipzig K u r t M asur, conductor

M ay 1-4, 1991 8:00 p.m. Hill Auditorium Midori, violinist Christian Funke, violinist Jiirnjakob Timni, cellist Elisabeth Leonskaja, pianist Claudine Carlson, mezzo-soprano The Festival Chorus Thomas Hilbish, director

Pr ograms

Wednesday, M ay 1 Sibelius: Violin Concerto in D minor (Midori) Mendelssohn: Symphony No. 3, "Scottish"

Thursday, May 2 Brahms: "Double" Concerto in A minor for Violin, Cello, and Orchestra (Funke/Timm) Brahms: Symphony No. 2 in D major

Friday, M ay 3 Prokofiev: Excerpts from Romeo and Juliet Henze: Seven Love Songs for Cello and Orchestra (Timm) Strauss: Till Eulenspiegels lustige Streiche

Saturday, May 4 Glinka: Ruslan and Ludmila Overture Tchaikovsky: Piano Concerto No. 2 in G major (Leonskaja) Prokofiev: Alexander Nevsky, cantata for Mezzo-soprano, Mixed Chorus, and Orchestra (Carlson)

programs subject to change

Music Happens Here 313.764.2538 Monday-Friday 10:00 a.m. 10 6:00 p.m. Saturday 10:00 a.m. lo 1:00 p.m. University Musical Society of The University of Michigan Burton Memorial Tower Ann Arbor, Michigan 48109-1270 Take a took into our 1991/1992 Season CONCERT MAKERS

A catalog ofmusic and dance happening in Ann Arbor with you

and the

University

Coming soon to a mailbox near you! Musical University Musical Society Society of the University of Michigan Burton Memorial Tower Ann Arbor, MI 48109-1270 (313) 764-2538