UNIVERSITY MUSICAL SOCIETY

OSLO PHILHARMONIC ORCHESTRA

MARISS JANSONS Music Director and Conductor

FRANK PETER ZIMMERMANN, Violinist

Sunday Evening, November 17, 1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan

PROGRAM

Concerto in E minor for Violin and Orchestra, Op. 64 . . Mendelssohn Allegro molto appassionata Andante Allegretto non troppo, allegro molto vivace

Frank Peter Zimmermann, Violinist

INTERMISSION

Symphony No. 7 in C major, Op. 60 ("Leningrad") ..... Shostakovich Allegretto Moderate Adagio, moderate risoluto Allegro non troppo

CCC Norsk Hydro is proud to be the exclusive worldwide sponsor IfiBUt of the Oslo Philharmonic Orchestra for the period 1990-93.

The Oslo Philharmonic and Frank Peter Zimmermann are represented by Columbia Artists Management Inc., New York City. The Philharmonic records for EMl/Angel, Chandos, and Polygram. The box office in the outer lobby is open during intermission for tickets to upcoming Musical Society concerts.

Twelfth Concert of the 113th Season 113th Annual Choral Union Series Program Notes Violin Concerto in E minor, Op. 64 root tone G on its lowest note, the flute and FELIX MENDELSSOHN (1809-1847) clarinets in pairs are entrusted with the gentle melody. On the opening G string, the solo uring his short life of 38 years, violin becomes the fundament of this delicate Mendelssohn dominated the passage. The two themes are worked out until musical world of Germany and their development reaches the cadenza, exercised the same influence in which Mendelssohn wrote out in full. The England for more than a gener­ cadenza, in turn, serves as a transition to the ationD after his death. The reason for this may reprise. This particularity the place of the very well have been the fact that he was one cadenza and its role as a formal bridge has of the most naturally gifted musicians of the been successively adopted by other composers nineteenth century, having developed his of concertos since then. talent to an unprecedented degree while still Without interruption, the slow move­ a young boy. ment follows the Allegro; a single note of the Mendelssohn conceived his famous bassoon ties the first to the middle move­ Violin Concerto in E minor during the year ment. We hear an Andante, designed as song 1838. He informed his friend Ferdinand form (C major, 6/8). Here is romantic music David (whom he had appointed head of the in Mendelssohn's most personal vein. The violin department at the Gewandhaus) of his central section of the movement is more plan: "I should like to write a violin concerto agitated; it turns to the minor mode. An for you next winter. One in E minor runs in Allegro non troppo, consisting of a few bars my head, the beginning of which gives me only, approaches the finale. no peace." The third movement follows without a In the following year, Mendelssohn break. After a few initial figures of the solo, continued to work on the concerto, but his an Allegro molto vivace (4/4) launches into a various duties prevented decisive progress. spirited E major. A texture of fairy-like light­ Five years later, during an idyllic summer in ness prevails, reminding us of the composer's the Taunus, Mendelssohn finally completed own music for A Midsummer Night's Dream. work on the Violin Concerto. The first per­ The soloist is called to perform fireworks. The formance took place in Leipzig on March 3, orchestra sings a warm counter-melody in G, 1845. Ferdinand David was the soloist; Niels which is combined with the principal subject. Gade conducted. After the thematic material has been Technical interest centers, before all, thoroughly developed, the concerto con­ on the imaginative design of this concerto. cludes jubilantly. In the mid-nineteenth century, the score was justifiably considered daringly modern: Men­ delssohn revised here the typical ground plan Symphony No. 7 in C major, of classical concertos. The three movements of the Mendelssohn Concerto are continuous. Op. 60 ("Leningrad") In the opening Allegro, the classical double DMITRI SHOSTAKOVICH (1906-1975) exposition is abandoned. Instead, the soloist joins with the orchestra, from the very begin­ ne of history's most dramatic ning, in a single exposition of the two main events led Shostakovich to themes. write the Symphony No. 7 in The solo violin introduces the Allegro C major, subtitled "Lenin­ molto appassionato. This fast and impassioned grad"; this catalyst was World melody (E minor, 2/2) soars high over the WarO II and, in particular, the occasion in sparse accompaniment. The evolving triplet which the Nazi armies besieged rhythm plays a unifying role throughout the Shostakovich's native city of Leningrad, movement. Before long, the main theme is where he still lived at the time. Ill health and broadly stated by the full orchestra. A bridge poor eyesight prevented Shostakovich from leads to the contrasting lyric subject in the joining the armed forces as he desired to do. relative key of G major. In an ingenious detail In compensation, he decided to put his mu­ of scoring, while the solo violin sustains the sical talents once again in the service of his country. The composer once stated: "That n keeping with the "war program," was the least I could do. The war was raging Shostakovich described the opening all around. I had to be together with the Allegretto thus: "The first and longest people and wanted to picture our country at movement bears a dramatic and, I war, to give it musical expression. On the would say, tragic character. Our peace­ very first days of the war, I sat down at the fulI life has been broken up by a threatening piano and began working. I worked at high event war and everything has to be pressure, for I was eager to compose a work subordinated to its laws. The music also has about our times, about my contemporaries another theme: a requiem expressing the who spared no efforts, not even their lives, people's sorrow over their dead heroes." This for the sake of our victory over the foe. When movement begins with an energetic theme in not working, I would go into the streets and C major, said to portray "the Leningrad watch my beloved city with pain and pride citizen," and punctuated by rhythmic brass . . . Neither savage raids, German planes, and percussion interjections. Soon the tonal­ nor the grim atmosphere of the beleaguered ity acquires a darker color, the dynamics city could hinder the flow of ideas. I worked decrease, and a moment of lyrical lassitude is with an inhuman intensity I have never reached. So far, the movement has been cast before reached ... By the end of 1941, I in a modified sonata form. Suddenly, where completed the symphony, written as it were the development would have normally taken at a single stroke of the pen." place, a march-like theme variously asso­ However, in the controversial Testi­ ciated with tyranny and the invading Nazis mony, the composer's much disputed autobi­ is introduced by strings pizzicato and col ography, he stated that the Symphony had legno (striking the strings with the back of the been planned even before the war. He further bow) against a steady drum beat. This melody elaborated: "I have not forgotten the terrible is repeated no less than 12 times taking pre-war years. That is what all my symphonies up more than 40 pages of the score; inexora­ beginning with the Fourth are about, includ­ bly the melody grows in intensity and dynam­ ing the Seventh and the Eighth ... I have ics with each repetition, as it passes through nothing against calling the Seventh the 'Len­ the orchestra in various instrumental combi­ ingrad,' but it is not about Leningrad under nations. A Soviet commentator has described siege; it is about the Leningrad that Stalin this passage as a "psychological portrait of the destroyed and that Hitler merely finished enemy." At the end of this section, the off." So it appears that the Symphony may melody is violently disrupted while the march serve two different programmatic ideas. rhythm persists. The recapitulation as such, The Seventh Symphony was first per- acquires the form of a funeral march, suggest­ . formed in March 1942 in the city of ing a memorial for the victims of war and Kuibyshev, where the authorities had insisted tyranny with its sad bassoon melody. Before that the composer relocate with his family for the movement closes, the march-like melody their own safety; soon the Symphony was makes a last brief appearance. being performed throughout the Soviet In Shostakovich's words, "The next Union. At the time, Western countries were two movements were intended as a lyrical very interested in Soviet music, particularly intermezzo . . . [containing] no program and that of Shostakovich, so the score was trans­ fewer 'concrete facts' than the first move­ ferred to microfilm, flown from Moscow to ment. They confirm life in opposition to war. Teheran, taken by land to Cairo and then I tried to express the thought that art, liter­ flown to the United States. The Western ature, and science must advance in spite of premiere took place in New York City with war. It is, if you like, a polemic against the Toscanini conducting the NEC Symphony statement that 'when cannons roar the muse Orchestra. That ensuing season saw over 60 is silent.' " The Moderate provides emotional performances of the work in this country, led respite from what has transpired so far. It by such distinguished conductors as begins quietly, as the first theme is heard Stokowski, Ormandy, Koussevitzky, Rod- immediately, a simple modal subject played zinski, and Mitropoulos; the work was heard by the second violins. The second theme is in nearly every western country soon there­ then presented by the oboe with rhythmic after. accompaniment and is characterized by its irregular and unexpected inflections. In the middle of this movement is found what may Regarding the fourth movement, the be considered the Scherzo proper; it is a more composer indicated that it "is dedicated to vigorous, almost martial, at times even vio­ our victory ... It is the victory of light over lent section, which, in the composer's words, darkness, wisdom over frenzy, lofty humanism exhibits "a little humor I cannot do over monstrous tyranny ... 1 speak of a without it." Prominent here is the E-flat beautiful life in the future, when the enemy piccolo clarinet as it plays against a counter has been routed." The Allegro non troppo is subject played by lower woodwinds. The built upon a sonata structure, based on a movement concludes quietly, as it began. profusion of themes; it begins quietly with a Shostakovich 'called the next move­ broad, descriptive melody supported by a low ment "a pathetic Adagio, the dramatic center held G in the strings and timpani. Soon the of the whole work." Most notable at the music starts to build up, gradually gathering beginning is a chorale-like introduction, in momentum, rhythmic vitality, and dynamic which ritualized sonorities are produced by intensity. All this activity is eventually re­ Stravinsky-like wind chords interspersed with duced until we are left with a single string declamatory and impassioned string recita­ line, at which point there is a change to tives, creating an almost religious atmos­ Moderato, and a new triple meter, changing phere. This is followed by a simple theme the mood of the proceedings. This slower played by the flute. At the center of this chordal section, exhibiting a feeling of mass movement is a faster-paced, violently dra­ mourning, slowly builds to a great climax matic section marked Moderate risoluto. After employing the entire orchestral resources. a carefree gypsy-like dance melody, the move­ With a statement in the brass of the ment concludes in an optimistic vein, leading Symphony's opening theme, the work finally directly into the finale without a pause. reaches its triumphant conclusion. Program note by Edgar Colon-Herndndez About the Artists warded the Norwegian Peer It was in this milieu that the orchestra Gynt Prize for its international was established in 1871, with Edvard Grieg performances, the Oslo Phil­ as a co-founder and one of its first conductors. harmonic, under the inspira­ It was not until 1919, however, that the tional leadership of its music orchestra was established as a fully indepen­ directorA Mariss Jansons, has garnered interna­ dent and permanent organization. The con­ tional praise for its worldwide tours. Its re­ ductor at that time was Georg Schneevoigt, cordings have been recognized with many and Richard Burgin the concertmaster. prestigious awards, including four Norwegian Over the last 25 years, the Oslo Phil­ Grammy awards, the Norwegian Critics harmonic has enjoyed tremendous artistic Award, and the French Grand Prix du Dis- growth and attained a reputation for its rich que. This world-class Norwegian orchestra sound and virtuoso interpretations. As music enjoyed great success during its first tour of director of the Philharmonic since 1979, the United States in 1987 and now returns Mariss Jansons has continued the work of to perform in major cities across North Amer­ prior outstanding music directors Herbert ica. The orchestra made its Ann Arbor debut Blomstedt (1962-68), Miltiades Carides with Mariss Jansons on the 1987 tour and this (1969-75), and Okko Kamu (1975-79). evening makes its second appearance. Working facilities also improved in 1977 with The Oslo Philharmonic traces its roots the completion of the Oslo Concert Hall, a back to the late nineteenth century, a period multi-million dollar complex that is now the of great cultural growth and activity in Nor­ home of the orchestra. way. On the scene were composers Edvard For many years, Esa-Pekka Salonen was Grieg and Johan Svendsen, authors Henrik the Principal Guest Conductor. Other guest Ibsen and Bj0rnstjerne Bj0rnson, painters conductors to work with the orchestra include Adolph Tidemann and Hans Gude, and the Paavo Berglund, Gary Bertini, John Eliot first connections of Norwegian folk music Gardiner, Eduardo Mata, Kent Nagano, Kurt were published, which helped to promote an Sanderling, Walter Weller, and Franz interest in the national musical idiom. Welser-Most. Among the soloists for this season are Radu Lupu, Shlomo Mintz, Cristina Ortiz, Krystian Zimerman and Frank Peter Zimmermann. The Oslo Philharmonic gives more than 60 concerts annually at the Oslo Concert Hall, and most of them are broadcast by Norwegian radio or television. Since 1982, the Oslo Philharmonic has toured Great Britain, Central Europe, the United States, and Japan. Future engage­ ments include performances in Great Britain, North America, Germany, Switzerland, Aus­ tria, Spain, and Japan. The orchestra has also performed at such prestigious festivals as the Salzburg International Festival, the Edin­ burgh Festival, and the London Proms. An award-winning recording ensem­ ble, the Oslo Philharmonic has previously made numerous records for RCA Victor, Mercury, and Philips, including orchestral works by Grieg and music by contemporary Norwegian composers. From 1984 to 1987, the orchestra received outstanding worldwide Under Mariss Jansons since 1979, the reviews for its full cycle of the Tchaikovsky Oslo Philharmonic Orchestra has been hailed symphonies on the Chandos label. In 1986, as one of the most important ensembles in the orchestra and Mariss Jansons signed a Europe. Together, they have received out­ contract with EMI for the completion of standing reviews for their complete series of fourteen recordings by 1992. The most recent the Tchaikovsky Symphonies on the EMI releases by the Oslo Philharmonic are Chandos label and a Grammy Award for their Bartok's Concerto for Orchestra and Music recording of Shostakovich's Seventh Sym­ for Strings, Percussion and Celesta, as well as phony. In 1986, they began a long-term Sibelius' Symphony No. 1, Karelia Suite, and exclusive recording relationship with EMI, Finlandia. and their first two recordings, released in 1987, coincided with their first American tour in nine years. Since then, Jansons and olding the dual posts of Music the Oslo Philharmonic have also toured in Director of the Oslo Philhar­ Italy, France, Spain, and Japan, and have monic Orchestra and Associ- participated in the Edinburgh and Salzburg ate Music Director of the Festivals and the BBC Proms. Leningrad Philharmonic, Ma­ In Great Britain, Jansons was, until rissH Jansons is recognized as one of the most recently, the Principal Guest Conductor of distinguished musicians of his generation and the BBC Welsh Symphony, with which he has become known to a considerable world­ recorded all of the Tchiakovsky Symphonies wide audience through his acclaimed record­ for BBC Television. Also for the BBC, he ings, concert performances and extensive participated in the three-part series "Jansons tours, and his work for radio and television. Conducts" with the BBC Welsh Symphony, Mr. Jansons was born in Riga, Latvia, the Oslo Philharmonic, and the Leningrad in 1943, into a family of professional musi­ Philharmonic. The Tchaikovsky Symphonies cians, his father, Arvid Jansons, a renowned were followed by a Beethoven/Schubert cycle conductor, and his mother, a former opera for BBC Wales Television. singer. He studied violin, viola, piano, and In 1973, Evgeny Mravinsky, the leg­ conducting at the Leningrad Conservatory endary music director of the Leningrad Phil­ and graduated with honors. He continued his harmonic, invited Mariss Jansons to assist training in Vienna with Hans Swarovsky and him at that post. That was the beginning of in Salzburg with Herbert von Karajan, win­ a long relationship that culminated in ning the International Herbert von Karajan Jansons' recent appointment as Associate Foundation Competition in 1971. Music Director of the Leningrad Philhar- rank Peter Zimmermann's much ac­ claimed 1984 debut in North Amer­ ica with the Pittsburgh Symphony Orchestra and Lorin Maazel was quickly followed by a tour of this countryF in 1986. In addition to appearing at Avery Fisher Hall, New York City, he has performed with the Cincinnati, Detroit, and Toronto Orchestras. The following season he toured the United States with the Chamber Orchestra of Europe conducted by Lorin Maazel. In addition to his North American performances, Zimmermann has toured Eu­ rope with both the English Chamber Orches­ tra and the Bamberg Symphony and has made individual appearances with the Berlin Phil­ harmonic and the Academia Santa Cecilia Orchestra. He was also featured soloist on a grand tour of Japan with the Rundfunk Sym­ phonic Orchestra Koln and subsequently made a second tour of Japan in 1990 with the Bamberg Symphony. monic. He has led these musicians on many Now a regular guest at festivals, Mr. successful tours to Europe, America, and Zimmermann has performed at the following Japan, and in 1989, their recordings of European festivals: Lucerne Festival, Mozart- Shostakovich's Seventh Symphony won the Festspiele Salzburg, Summer Festival of the Edison Prize in Holland. Munich Philharmonic, Prague Spring Festi­ Mariss Jansons is fast becoming one of val, and the following American festivals: the most prominent, most sought-after con­ Mostly Mozart, New York City, with conduc­ ductors of our time. In recent years, he made tor Gerard Schwarz, Tanglewood with the hugely successful appearances with many Boston Symphony Orchestra conducted by leading orchestras of America and Europe, Gennady Rozhdestvensky, and the Ravinia among them The Cleveland Orchestra, Los Festival with the Chicago Symphony Orches­ Angeles Philharmonic, Toronto Symphony, tra and Rozhdestvensky. . Montreal Symphony, Berlin Philharmonic, An accomplished chamber music Royal Concertgebouw, London Symphony, player as well, Zimmermann has performed London Philharmonic, and the London with many internationally respected musi­ Philharmonia. This past summer, the maestro cians, including Rudolf Buchbinder, Alexan­ enjoyed successes at the Ravinia, Tangle- der Lonquich, and Mstislav Rostropovich. wood, Blossom, and Mann Music Festivals. Mr. Zimmermann, who celebrates his In forthcoming seasons, he'll continue his 26th birthday this year, was born in 1965 in long-term commitments with the Oslo Phil­ Duisburg, West Germany. Taught the violin harmonic and Leningrad Philharmonic Or­ from the age of five by his mother, he made chestras and his regular appearances with the his debut performing a Mozart Concerto in Berlin Philharmonic, Royal Concertgebouw, Duisburg at age ten. Subsequent studies have and the three London orchestras. He will also been with Saschko Gawriloff at the Staatliche appear with the Munich Bayerischer Hochschule der Kunste Berlin and from 1980 Rundfunk, the Hamburg NDR, the Israel with Herman Krebbers in Amsterdam. Philharmonic, and the orchestras of Chicago, Frank Peter Zimmermann now makes Philadelphia, Cleveland, Boston and Pitts­ his third Ann Arbor appearance. The first burgh. was in April 1987 with the Chamber Orches­ Maestro Jansons first appeared in Ann tra of Europe conducted by Lorin Maazel, Arbor in November 1987 with the Oslo followed by a 1988 performance with the Philharmonic, returning in October 1990 English Chamber Orchestra under Jeffrey with the Leningrad Philharmonic. Tate. A concert invitation from the only Norwegian on Wall Street

Sure, you can tell a violin from a cello. And a sonata from a symphony. But did you realize that there's only one Norwegian company on the New York Stock Exchange? Of course not. Norwegians aren't the type to boast about Norsk Hydro's status as the largest agricultural fertilizer producer in the world. Or that Hydro is a leader in light metals. And a forerunner in offshore oil and gas tech­ nology. An international organization helping to meet needs for food, materials and energy. Sometimes it's better to let other people blow their horns for you. After all, wouldn't you rather listen to the Oslo Philharmonic? Horns and all? Enjoy an evening with Norway's worldrenowned symphony orchestra!

Norsk Hydro is proud to (1C be the sole sponsor of the Oslo Philharmonic Orchestra for the 1990-1993 seasons. HYDRO Norsk Hydro is a diversified international industrial corporation whose main products are oil and natural gas, hydroelectric power, fertilizers, aluminum, magnesium, petrochemicals and pharmaceuticals. OSLO PHILHARMONIC ORCHESTRA Mariss Jansons, Music Director

First Violins Inger Slattebrekk Oboes Trumpets Stig Nilsson, Orestad 'Erik Niord Larsen 'Jan Fr. Christiansen Leader Roger Olstad ' 'Simon Ernes ' 'Arnulf Naur Eirik S0rensen Magnus Ericsson, Matz Pettersen Nilsen Angelika Faber Leader -Havard Norang Knut Aarsand Karsrud Jonas Haltia Pauls Ezergailis, Marja Liisa Rissanen Assistant Leader Erlend Tunestveit Tormod Gangfl0t English Horns Kare Skylv John Arne Hirding, Stig Ove Ose 'Havard Norang Sub-Leader John Westbye Matz Pettersen Eileen Siegel, 0ivind Plassen Cornets Sub- Principal Arnulf Naur Nilsen Clarinets Trond 0yen Knut Aarsand Cellos 'Leif A.T. Pedersen Arne Monn-Iversen "Anne Britt Saevig Hans Chr. Braein Zygmunt Sprus Ardal Trombones Wanda Beck Terje Nymark Bj0rn Solum ' Aline Nistad ]0rn Halbakken Ole J0rgen Arild Solum * ' * Hans Chr. Hauge Str0mberg * "Terje Midtgard Heige Stang Aas 0rnulf Jemtland Thorbj0rn Lonmo Geir Arne Haugsrud Noralf Glein Geir Tore Larsen E-flat Clainet Sharon Harman Zbigniew Subocz Grethe Tonheim Sidsel Scheen Ania Szaniawska Terje Nymark Keunah Park Tove Sinding-Larsen Boss Trombone Nora Skreien Ole Morten Gimle Boss Clarinet Ola R0nnow Miranda Playfair Gudmund Sevag Ole Jorgen Jon Gjesme Tormod Dalen Str0mberg Kari Ravnan Tuba 'Marcus Knight Second Violins Bassoons 'Arne Jorgen 0ian Double Basses 'Per Hannisdal Timpani Dagny Bakken "Svein Haugen Eirik Birkeland 'Andrew Simco ' * "Vegardjohnsen * * Dan Styffe Knut Bjaerke Bernard Wilt Erik Zeppezauer Frode Carlsen Trygve Wefring Signy Hauge Larsen Odd Hansen Zygmunt Marciuch Johnny Folde Contra Bassoons Percussion Tove Halbakken Einar Sch0yen Knut Bjaerke 'Christian Berg Resell Karel Netolicka Frode Carlsen ' 'Trygve Wefring Niels Aschehoug Erling Sunnarvik Per Erik Thorsen Marit Egenes Tor Balsvik Bj0rn L0ken Ragnar Heyerdahl Horns Morten Belstad Tore Hovland Flutes ' Inger Besse- Einar Fjaervoll Ingrid Jostad rudhagen 'Torkil Bye Elizabeth Storm ' 'Kjell Erik Arnesen * * Per Flemstrom Harps Agnes Hoffart Odd Ulleberg Harald Grimsrud Karl Th. Enge Aksel Str0m "Elisabeth Carol Harris Andrew S0nstevold Cunningham Inge H. Eriksen Jan Olav Martinsen Ellen B0dtker Violas Anne Holt Hasle "Otto Berg Piccolos Ann Kunish Piano ' °Oddbj0rn Bauer "Andrew "Gonzalo Moreno Cunningham ' ' ' Morten Carlsen ' Principal Karl Th. Enge Oddvar Mordal ' 'Co-Principal Geoffrey Gotch Sub-Principal