Ravinia Festival presents the Symphony Orchestra Conductor Pianist on Tuesday evening the eighth of April at 8:15 o'clock

Orchestra Hall

in a benefit concert 'To Assure Ravinia's Future'

A pre-season 40th anniversary celebration . . ': '

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1 -« THE BANK AT THE RAILROAD STATION

In Wilmette, it's about a thirty-second trek from the North Western Station to the bank. Figure the average banking transaction takes about two minutes. Add one more minute (to and from the station), and ask yourself, "Can I save a whole lot of time if I bank at The Wilmette Bank?" The Wilmette Bank 1200 Central Avenue 251-8100 The answer almost has to be, "yes!" Member F. D. I.C. HELPING YOU CHANGE THINGS FOR THE BETTER It will be a pleasure to serve you . . weekdays from 7:30 a.m. till 6:00 p.m. (except Wednesday when we close at 2:00 p.m. and Friday when we're open till 8:00 p.m.). A Message From Ravinia s Chairman

The Ravinia Festival Association is We are grateful to all those who have privileged to present the Boston contributed to the success of this Symphony Orchestra under the event, especially to Mrs. William B. direction of Maestro Seiji Ozawa, Graham, who masterminded the gala with guest soloist, James Levine, as benefit dinner and reception as pianist. This fortuitous combination Chairman of the Special Benefit seemed a natural opportunity for the Committee, and to all of her efficient, Festival, since Mr. Ozawa first hardworking committee members. appeared with the Festival in 1963, And we are most grateful to all of you and was its first Music Director from in this audience, who for one reason 1964 to 1968, and Maestro Levine is or another, have paid the premium in his third year as our Music on your tickets. This will help the

Director. It is also a privilege to Ravinia Festival to continue to present present a sister symphony orchestra the renowned Symphony to a Chicago audience. Orchestra and other artistic programs of the highest quality at our beautiful The occasion is to benefit the current Ravinia Park on Chicago's North Shore. capital campaign "To Assure Ravinia's Future." Funds raised to date have established our first Endowment Fund, built a new restaurant and storage building, begun the first phase of renovation of the Murray Theatre, improved our parking facilities, and started a scheduled landscaping project. Further improvements await Mrs. Glen A. Lloyd the completion of our $2,750,000 Chairman campaign. Ravinia Festival

Ravinia Festival Association

Board of Trustees Life Trustees

Mrs. Glen A Lloyd Mrs. Charles U. Harris William H. Avery Chairman Mrs. David J. Harris Woodward Burgert William E. Hartmann F. Strother Cary, Jr. Emory Williams Thomas D. Heath Julien H. Collins President Dr. Eugene Hotchkiss III Robert S. Cushman Richard H. Hunt Edison Dick Richard J. Farrell H. Stanley M. Freehling Vice Chairman Melville Ireland George E. Johnson J. Parker Hall Morris Kaplan Harvey E. Kapnick, Jr. L. Julian Harris Vice Chairman Martin J. Koldyke George Howerton Mrs. Ray A. Kroc Ronald M. Kimball Robert F. Reusche John S. Lillard Earle Ludgin Vice Chairman Donald G. Lubin Mrs. L. F. McClure James T. Rhind William L. McLennan Edward D. McDougal, Jr. Vice Chairman Arthur H. Morrison Ralph Michaels Mrs. WilliamS. North Harold W. Norman James D. Hinchliff Mrs. George A. Ranney Mrs. Leonard O'Connor Treasurer Mrs. Samuel G. Rautbord Albert Pick, Jr. Kent W. Duncan John W. Ruettinger Samuel R. Rosenthal Secretary Robert S. Ruwitch Mrs. Calvin F. Selfridge Edward W. Saunders Renslow P. Sherer Mrs. James W. Alsdorf Hermon Dunlap Smith Mrs. John V. Spachner Marshall Bennett Mrs. Clement Stone Alfred C. Stepan, Jr. Robert G. Biesel Weathers Y. Sykes Bertram A. Weber Mrs. Bowen Blair Edward Hall Taylor Mrs. John J. Crown Mrs. John Reid Taylor William G. Ericsson Richard H. Templeton R. Robert Funderburg Richard L. Thomas Ravinia Festival Mrs. Stanford Goldblatt James A.Tilmon An Illinois Non-Profit Association Mrs. William B. Graham Richard H. Wehman Edward Gordon, Executive Director J. Parker Hall III Mrs. Lester R. Wellman, Jr. James Levine, Music Director The Benefit Committee

Chairman Special Benefit Committee Mrs. William B. Graham Mrs. Robert Abboud Mrs. Abraham Pritzker Mrs. Bennett Archambault Mrs. Joseph Regenstein Dinner Mrs. Vernon Armour Mrs. Clive Runnells Mrs. Bowen Blair Mrs. Thomas Ayers Mrs. John Simmons Mrs. James Alsdorf Mrs. Charles Bane Mrs. Charles Stauffacher Co-Chairmen Mrs. William Bartholomay Mrs. Gardner Stern Mrs. William Beers Mrs. John Swearingen Mrs. Charles Benton Reception Mrs. J. Harris Ward Mrs. Joseph Block Mrs. Arthur Wirtz Mrs. William S. North Mrs. Philip Block, Jr. Mrs. Peter Wolkonsky Chairman Mrs. Edward Carlson Mrs. J. Howard Wood Mrs. Samuel Casey Mrs. William Wood-Prince Decorations Mrs. Hammond Chaffetz Mrs. William Wrigley Mrs. Lawrence F. McClure Mrs. Edward Doyle Mrs. H. Randy Winston Mrs. Daniel Edelman Co-Chairmen Mrs. Marshall Field Mrs. Paul Florian invitations Mrs. Gaylord Freeman Mrs. Donald Frey Mrs. David J. Harris Mrs. John Chairman Gray Mrs. Harold Grumhaus Mrs. Daggett Harvey Mrs. Fred Jaicks Mrs. Henry Meers Mrs. Graham Morgan Fund To Assure Ravinia's Future Mrs. Gilbert Osgood Richard J. Farrell, Chairman Mrs. Henry Paschen

Ravinia Festival Women's Board Mrs. John Crown Mrs. James DeYoung Mrs. Thomas Mulroy Chairman Mrs. Marian Douglass Mrs. Joseph E. Nathan Mrs. Morris Eddy Mrs. Harold Norman Mrs. William B. Graham Mrs. Stanley Freehling Mrs. William S. North Vice Chairman Mrs. Paul Gignilliat Mrs. Leonard J. O'Connor Mrs. Lawrence F. McClure Mrs. James Gill Mrs. George A. Ranney Honorary Chairman Mrs. Stanford Goldblatt Mrs. Clayton L. Rautbord

Mrs. Ernest Grunsfeld III Mrs. Samuel G. Rautbord Mrs. James W. Coultrap Mrs. G. David Hardman Mrs. Frank Rogers, Jr. Recording Secretary Mrs. Charles U. Harris Mrs. Jack Rotner Mrs. Richard Forward Mrs. David J. Harris Mrs. Arthur W. Schultz Corresponding Secretary Mrs. Harold L. Harris Mrs. Calvin F. Selfridge Mrs. Marian S. Harris Mrs. George D. Smith II Mrs. Maurice Fulton Mrs. E. Howard Harvey Mrs. John V. Spachner Treasurer Mrs. Paul Harvey Mrs. David B. Stern, Jr. Mrs. Edward Hickey Mrs. Clement Stone Mrs. Lester Abeison Mrs. Thomas J. Johnson Mrs. La Rhett L. Stuart Mrs. James W. Alsdorf Mrs. Robert W. Jorgensen Mrs. Philip W. K. Sweet, Jr. Mrs. Roger A. Anderson Mrs. Arthur Kneibler Mrs. Weathers Y. Sykes Mrs. Anthony A. Antoniou Mrs. Ray A. Kroc Mrs. Deane Tank Mrs. A. G. Ballenger Mrs. Sigmund Kunstadter Mrs. Mendey Tardy, Jr. Mrs. Bowen Blair Mrs. George Bodeen Mrs. Robert LeClercq Mrs. John R. Taylor Mrs. Mrs. Murray J. Vale Mrs. William Boone Glen A. Lloyd Mrs. Gordon Walker Mrs. James Breed Mrs. James Logan Mrs. Lester R. Wellman, Jr. Mrs. Charles Brickman Mrs. Richard Lydy Mrs. Irl Marshall, Jr. Mrs. Emory Williams Mrs. James J. Brown Mrs. H. Randy Winston Mrs. Edwin DeCosta Mrs. Dennis Muckermann Mrs. Edward DeWitt The Mercedes-Benz 450SL. Freedom for two.

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SYMPHONY No.4 in G SYMPHONY SYMPHONY IMQIinD CHOGO ORCHESTIC JUDfTH BLEGEN, Sow LONDON SYMPHONYORCHESTRA

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Brilliant young conductor James Levine in superb renditions of two of Mahler's greatest masterpieces.

RC/I Records and Tapes Boston Symphony Orchestra Benefit Concert

Boston Symphony Orchestra

Seiji Ozawa Music Director

Colin Davis Principal Guest Conductor !

Ninety-Fourth Season

Tuesday Evening, April 8, 1975

Seiji Ozawa Conductor j

Mozart Piano Concerto No. 21 in C. K. 467

Allegro maestoso jj

Andante i

Allegro vivace assai 1

James Levine 1

intermission l j

* Ravel Daphnis et Chloe 1

Ann Arbor Festival Chorus 1 Donald T. Bryant, conductor J

James Levine plays the Steinway piano

The Boston Symphony Orchestra Records exclusively for Deutsche Grammophon Baldwin Piano Deutsche Grammophon & j *RCA Records Tour Direction: Columbia Artists Management, Inc. Personal Direction: Michael Ries . Program Notes 1756-1791 This is Mozart's most carefree piano with derision and the dance of concerto. Its opening of light, short Daphnis with general Piano Concerto No. 21 in C K. 467 approval. After notes prophesies delicate, lyrical the dance (gracieuse et legere), Program note by John N. Burk intertwining, and the prophecy is pirates burst upon the scene and carry Twenty-five concertos by Mozart for fulfilled. The melody of the "Andante" off Chloe. Daphnis enters, finds a is first piano and orchestra are listed in divulged by muted strings over sandal that she has dropped and prays the catalogue of Kochel, Seventeen diaphanous string chords, in a to the nymphs for her safety. The of these were composed for Vienna murmuring 12/8, and the pianist varies three sculptured nymphs come to life, — most of them for performance it while the solo voices of the winds descend and perform a dance add their charm. The "Finale" is an by himself. There were four in the (lente et mysterieuse) . All pay season of 1784-85 of which this was adventure in modulation, surprises, homage at the altar of Pan. the last to be written. happy invention. The second scene, which comprises The period of Lent in particular was the first concert suite, shows the a favorable time for a camp of the pirates by the sea. A virtuoso-composer to reap profits in trireme is seen in the distance. The Vienna. The theatres being closed, pirates enter, carrying torches and Mozart could organize subscription 1875-1937 booty. There follows the warlike dance concerts and rely upon a certain Daphnis et Chloe (danse guerriere) patronage. He gave two such concerts Program note by John N. Burk The episode which follows becomes a on February 10 and March 12, and connecting point between the two composed a new concerto for each The choreography is taken directly orchestral suites. Chloe is brought in, to help the receipts. This particular from the book of the same name by her hands tied. She performs a concerto was written for the second Longus, the writer of ancient Greece "danse suppliante" and tries to concert. Wolfgang's father, who was of unknown date. It is the oldest escape, but is prevented. Satyrs, with him in Vienna, wrote home that of countless tales of love thwarted by emissaries of Pan, surround the he had made 559 florins' which he had circumstance, and the final union of pirates. The god himself appears and not expected, as the list for his a shepherd and shepherdess. The two the pirates flee in terror, leaving subscription concerts numbers 150 suites familiar to concert audiences Chloe. persons and he has often played at consist of the second and third parts other people's concerts for nothing'. of the ballet. Between them is an In the third part of the ballet (which There were many calls for his services episode in which Chloe, a capitive, her is the second suite) the scene is that at private concerts in Vienna. Leopold hands bound, tries to escape. of the beginning. It is night. Daphnis, wrote to his daughter that between mourning Chloe, is still prostrate. As The first dozen measures establish February 11 and March 12, in 1785, the light of dawn gradually fills the perfectly the tonal picture. We hear Wolfgang's harpsichord had been scene, shepherds enter, seeking soft, shimmering strings (muted), a moved back and forth between the Daphnis and Chloe. They find Daphnis harp "arpeggio," suave blending theatre and various private houses as and wake him; Chloe, beloved of the chords from the chorus, a limpid many as twelve times. gods, has been saved by the flute solo, answered by natural notes intervention of Pan. Daphnis and It is easy to believe that Mozart gave from the horn. This phrase is a true Chloe re-enact the story of Pan and more than value received. His father leading motif, ardent, gently Syrinx, the nymph who, according did well to insist that they coax what expressive of the two lovers. It to the legend, successfully evaded the money they could from the Viennese recurs throughout the score, forever god's pursuit, whereupon he broke off nobility, for they knew little or nothing changing in shape and color. Other reeds from the thicket into which she was to be derived from the scores motifs are also to appear, undergo had disappeared and fashioned what themselves. The returns from subtle transformation, and at the last was to become the traditional ancestor publication were negligible, and to reach their most vivid expression. to the flute. This pantomime leads to indeed few of his works were The opening scene of the ballet is a Ravel's famous flute cadenza, mimed published until after his death. He did meadow on the edge of a sacred grove, by Chloe, and (in appearance) played publish his first three concertos by hills seen in the distance. At the right by her lover. The pantomime is subscription, offering them to 'the is a grotto, guarded by the sculptured concluded by a sacrifice at the altar highly respectable public, beautifully likeness of three nymphs. A great rock of Pan. Then the "general dance," the copied and revised by himself, for the at the left rear suggests the god Pan. riotous finale in 5/4 rhythm begins. It sum of four ducats. Leopold considered It is a clear afternoon of spring. Young becomes increasingly wild and even this sum too high. Evidently, men and girls enter, bearing baskets baccanalian. Chloe falls into the arms father and son were not disposed to with offerings for the nymphs. There of Daphnis. The ballet ends in a repeat the venture. Mozart kept his follows a graceful and stately "joyous tumult." concertos in close possession to guard religious dance, the chorus joining. against piracy by other pianists. He Daphnis appears, preceded by his flock. This is not ancient Greece; it is not took only the orchestral parts along Young girls surround Daphnis and true rustic simplicity. It is France, the with him on his journeys, and played dance (in 7/4 rhythm). Chloe appears France of Versailles, where the from a clavier part consisting of a and is drawn into the dance, Dorcon, nobility, cherishing pastoral pieces, figured bass with principal themes a grotesque figure, and Daphnis, the aimed at the charm of simplicity but and ornamental passages cued in. handsome shepherd, are rivals for achieved it in the most studied, His clear memory needed no further Chloe. The two perform a dance in elegant and sophisticated manner prompting. turn, but Dorcon's dance is received possible.

Program notes copyright © 1975 by the Boston Symphony Orchestra Inc. Published by Midwest Publishing Co., Inc.

8 Seiji Ozawa (about The Conductor conductor with L'Orchestre de Paris, several productions each year the and the 40 performances). Having made his Berlin Philharmonic. Metropolitan Opera debut in June, 1971, he has since conducted Artistic In 1970 Mr. Ozawa was made "Tosca," "Luisa Miller," Otello," Director of the Berkshire Music "Rigoletto," "The Barber of Seville" Festival, and in December of that and "II Travatore." This season, he year he began his inaugural season opened the Metropolitan with Conductor and Music Director of as "I Vespri Siciliani," followed by the San Francisco Symphony "La Forza del Destino," "Falstaff," Orchestra. and "Wozzeck." Conductor As Music Director and Mr. Levine made his Ravinia the Boston Symphony Orchestra, a of conducting debut in June 1971, and he holds concurrently with position was appointed Music Director in the his posts at Tanglewood and in fall of 1972. He also was appointed several San Francisco, he has made Music Director of the Cincinnati recordings with the Boston Symphony Symphony's May Festival for the the Orchestra on Deutsche 1974 and 1975 seasons. In the past Grammophone label, among them five seasons he has also appeared with Upon his apointment as Music Director Berlioz' "Symphonie fantastique" and the Philadelphia Orchestra, the Boston in the fall of 1973 Seiji Ozawa became "La damnation de Faust," and (with Symphony, the Cleveland Orchestra, the thirteenth person to head the Beethoven's Christoph Eschenbach) the New York Philharmonic, the Symphony Orchestra since its Boston Piano Concerto No. 5. He and the such Los Angeles Philharmonic, the founding in 1881. He succeeds are Boston Symphony Orchestra Pittsburgh Symphony, the Minnesota historic figures as Pierre Monteux, currently in the process of recording Francisco Charles Orchestra, the San Serge Koussevitzky and orchestral works. Ravel's complete Symphony, the St. Louis Symphony, Munch. Prior to his appointment he the National Symphony, the was for one year the Orchestra's Symphony, the Aspen Festival Music Adviser, and had appeared on Orchestra, and the San Francisco numerous occasions as guest James Levine Opera. In Europe, Mr. Levine has led conductor of the orchestra. The Soloist the London Symphony, the New Born in Hoten, Manchuria, in 1935, Philharmonia, the Welsh National he graduated from the Toho School of Opera, and the RAI Orchestra of Music, in Tokyo, winning first prizes Rome. In addition to his guest in composition and conducting. He conducting appearances, he appears then went to Europe, where he won as piano soloist with orchestra, in first prize at the International recitals, and chamber music programs. Competition of Conducting at Born in Cincinnati in 1943, Mr. Levine Besancon, France. One of the judges made his debut as piano soloist with was the late Charles Munch, then the Cincinnati Symphony Orchestra Music Director of the Boston at the age of ten. He attended the Symphony, whose invitation to Juilliard School where he completed Tanglewood was the beginning of his undergraduate requirements in Mr. Ozawa's association with the one year but stayed on to continue Orchestra. Appointed one of the piano studies with Rosina Lhevinne New York Philharmonic's assistant and conducting with Jean Morel. He conductors at the beginning of the left Juilliard to join the conducting 1961-1962 season, he directed that staff of the Cleveland Orchestra under orchestra several times, though it George Szell where he remained for was with the San Francisco Symphony, The mutiple talents of the six years — the youngest Assistant during the same season, that he made distinguished young American Conductor in the Orchestra's history. professional concert his full-length conductor, James Levine, whose appearance in North America. remarkable career has brought him Among Mr. Levine's several recording recognition and projects for Angel and RCA Victor Beginning in the summer of 1964 he international acclaim, are in evidence Records are the premiere recordings was for five seasons Music Director of extraordinary Ravinia Festival of Verdi's operas "Giovanna D"Arco" the Ravinia Festival, and at the start each summer at the third season and "I Vespri Siciliani." Following his of the 1965-1966 season he became where he is now in his past four-week Ravinia stay last summer, Music Director of the Toronto as Music Director. During the leading during which he recorded Mahler's Symphony, a post he relinquished after five years he has led every in the United Symphony No. 4 — his first recording four seasons in order to devote his symphony orchestra praise from with the Chicago Symphony Orchestra time to guest-conducting. During the States, to overwhelming — he flew to London in August to summer of 1969 he conducted opera musicians, audiences and critics of record Mahler's Symphony No. 1 with for the first time—"Cos! fan tutte" alike. He holds the position of the the London Symphony Orchestra, both at Salzburg—and served also as Principal Conductor created for RCA records. In London, he also principal guest conductor of the Metropolitan Opera — A post recorded Rossini's "The Barber of Ravinia Festival. That fall he opened for him — which includes a broad Seville" with Beverly Sills and the New York Philharmonic season range of musical and administrative Sherrill Milnes, for EMI-Angel Records. and later appeared as guest responsibilities as well as conducting Boston Symphony Orchestra

SEIJI OZAWA, Music Director , Principal Guest Conductor Joseph Silverstein, Assistant Conductor

First Violins Cellos Bass Clarinet Joseph Silverstein Jules Eskin Felix Viscuglia concertmaster Philip R. Allen chair Bassoons Charles Munch chair Martin Hoherman Sherman Walt Emanuel Borok Mischa Nieland Edward A. Taft chair Max Hobart Jerome Patterson Ernst Panenka Rolland Tapley Robert Ripley Matthew Ruggiero Roger Shermont Luis Leguia Max Winder Carol Procter Contra Bassoon Harry Dickson Ronald Feldman Richard Plaster Gottfried Wilfinger Joel Moerschel Fredy Ostrovsky Jonathan Miller Horns Leo Panasevich Martha Babcock Charles Kavaloski Sheldon Rotenberg Helen Sagoff Slosberg chair Basses Alfred Schneider Charles Yancich Stanley Benson Henry Portnoi Harry Shapiro Ge aid Gelbloom Harold D. Hodgkinson chair David Ohanian Ra>mond Sird William Rhein Richard Mackey Ikul u Mizuno Joseph Hearne Ralph Pottle Cecylia Arzewski Bela Wurtzler Trumpets Amnon Levy Leslie Martin John Salkowski Armando Ghitalla Second Violins John Barwicki Andre Come Clarence Knudson Robert Olson Rolf Smedvig Fahnestock chair Lawrence Wolfe Gerard Goguen Marylou Speaker Flutes Michel Sasson Trombones Ronald Knudsen Doriot Anthony Dwyer William Gibson Leonard Moss Walter Piston chair Ronald Barron William Waterhouse James Pappoutsakis Gordon Hallberg Paul Fried Laszlo Nagy Tuba Michael Vitale Piccolo Chester Schmitz Spencer Larrison Lois Schaefer Darlene Gray Timpani Ronald Wilkison Oboes Everett Firth Harvey Seigel Ralph Gomberg Sylvia Shippen Wells chair Bo Youp Hwang John Holmes Victor Yampolsky Percussion Wayne Rapier Jerome Rosen Charles Press English Horn assistant timpanist Violas Laurence Thorstenberg Thomas Gauger Burton Fine Frank Epstein Charles S. Dana chair Clarinets Reuben Green Harold Wright Harps Eugene Lehner Ann S. M. Banks chair Bernard Zighera George Humphrey Pasquale Cardillo Ann Hobson Jerome Lipson Peter Hadcock Stage Manager Robert Karol E flat clarinet Bernard Kadinoff Alfred Robison Vincent Mauricci Librarians Earl Hedberg Victor Alpert Joseph Pietropaolo William Shisler Robert Barnes Michael Zaretsky

Personnel Manager William Moyer

10 .

Ann Arbor Festival Chorus Donald Bryant associated with the Westminster under the direction of Donald Bryant. Donald Bryant, as Director of the Choir College in Princeton. In his The first May Festival performance University Choral Union, began with twenty years with the Boychoir by the chorus was at the festival in the season 1969-70. With this School he performed over 2,000 1970 when Bach's "Magnificat" and appointment Dr. Bryant also became concerts as conductor-pianist Beethoven's "Choral Fantasy" (with Director of Music at the First throughout the United States, Europe, Rudolpf Serkin as piano soloist) were Presbyterian Church and Lecturer in South America, and Japan. performed with the Philadelphia Music at the University School of Orchestra, Thor Johnson and Eugene Music (thereby making academic Ormandy, conductors. The "Choral The Festival Chorus credit available for singing members Fantasy" was repeated that fall with The Festival Chorus of approximately of the Choral Union) . Dr. Bryant's the Detroit Symphony Orchestra 100 voices, chosen from the larger professional training in voice, choral under Sixten Ehrling in Detroit in 300-voice University Choral Union, music, and piano began at Capital Ford Auditorium. was formed in 1969 and is conducted University in Ohio, where he earned by Donald T. Bryant, formerly Other performances by the chorus a Bachelor of Music in 1941, and, conductor of the Columbus Boy Choir have been with the Melbourne after four years of military service, a for 20 years. The organization is open Symphony, Willem Van Otterloo, master's degree in Composition in to students, factulty, and members conducting Verdi's "Hymn of the 1946. In 1948 he earned a master's of the community by audition. Nations;" with the Detroit Symphony degree in Piano from the Juilliard at the Meadow Brook Summer Music School of Music in . In The first performance by the Festival Festival, Hans Schwieger conducting 1967 he was awarded an honorary was at the Good Friday service in the a concert version of Beethoven's doctorate at the Westminster Choir spring of 1970 at the First Methodist "Fidelio;" with Chamber College. Dr. Bryant resigned as Church in Ann Arbor when Haydn's Orchestra of Paris, Donald Bryant Director of the Columbus Boychoir "Seven Words of Christ" was conducting Handel's for School, which has been closely performed with soloists and orchestra "Ode St. Cecilia's Day;" with the Prague Symphony Orchestra, Jindrich Rohan Ann Arbor Festival Chorus Winter 1975 conducting Smetana's "Czech Song"

Soprano I Alto I Tenor I Bass I (in Czech) ; with the Philadelphia Edith Bookstein Judith Adams Alan Cochrane Viktors Berstis Karen Brown Martha Ause Kenneth Dodd Fred Bookstein Orchestra, Thor Johnson conducting Judith Calligan Lola Black Robert Domine Robert Damashek Mozart's "Vespers" and Elaine Cox Marion Brown Marshall Franke John Dietrich Phyllis Denner Lael Cappaert Marshall Grimm Walter Evans Szymanowski's "Stabat Mater,-" with Thomas Hagerty Linda Fenelon Sally Carpenter Myron Gross the Mozarteum Orchestra of Salzburg, Estelle Fox Carol Dick Paul Lowry Edgar Hamilton Gladys Hanson Kathryn Gr«ene Robert MacGregor Jeffrey Haynes Donald Bryant conducting Mozart's Joanne Hoover Ellen Gross Dennis Mitchell Mark Hirano " in C;" and with the Sigrid Johnson Nancy Karp Robert Sauser John Jarrett Ann Keeler Nancy Keppelman Marc Setzer Gary Ketterman Leningrad Philharmonic, Neeme Jarvi Leigh Martin Geraldine Koupal Arthur Vidrich Klair Kissel Kathleen Molony Joann Kratzmiller Steven Olson conducting Prokofiev's "Alexander Mary Ann Sincock Kirsten Lietz Paul Robinson Nevsky" (in Russian). Elizabeth Smeltekop Lois Nelson Michael Roth Jacqueline Stoutenborough Carren Sandall Roger Smeltekop Last summer (1974) the Festival Norma Ware Christine Wendt Riley Williams Beverly Wistert Charlotte Wolfe Chorus performed a concert of

Soprano II Alto II Tenor II Bass II Schubert songs. In October (1974) Ann Barden Sandra Anderson Martin Barrett Gabriel Chin Kathy Berry Ellen Armstrong John Etsweiler Aaron Ellis the chorus joined with the Ann Arbor Doris Datsko Marjorie Baird Robert Freed Phillip Pierson Symphony in Schubert's "Mass in Ab" Mary Hiraga Mary Haab Jeffrey Halpern Gregg Powell Patricia Hodgson Joan Hagerty Donald Haworth Brian Rhinesmith (as part of the city's sesquicentennial Alice Horning Kathy Klykylo Thomas Hmay Paul Robinson celebration) , and in Ann Arbor last Frances Lyman Elsie Lovelace Robert Johnson Jay Sappington Vicki Porter Beverly Roeger James Larsen Raymond Schankin Saturday sang with the Boston Carol Porterfield Helmut Schick Carol Spencer Phillip Smith Symphony Orchestra in Ravel's Virginia Reese Delores Vander Wal Michael Verschaeve Wallace Schonschack Carolyn Richards Nancy Williams Thomas Sommerfeld "Daphnis and Chloe," which is Susan Schluederberg Robert Strozier repeated tonight in Orchestra Hall, Patricia Tompkins Terril Tompkins John Van Bolt both concerts under the direction of Seiji Ozawa.

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11 1936-1975

As the Ravinia Festival approaches its of seven men interested in music. content with simply offering the best significant fortieth season, it pays They were joined by a larger group, in entertainment summer after homage to the past, honors the and a quaranty fund of $34,000 was summer; it continuously improves present, and heralds the future. raised. The widowed Mrs. Eckstein and augments the scope of its generously donated the use of the attractions in order to present what Ravinia opened its famous gates to park, and the first Ravinia Festival is meaningful and exciting to current the public for the first time in was successfully under way, with audiences. mid-August of 1904 as a superior type the Chicago Symphony Orchestra in of amusement park. Two years later, The preliminary Calendar of Events summer residence. Eight years later Ravinia underwent a financial and for the gala 40th anniversary season, when the Festival had attained artistic change, and its first venture inserted in this program book, is renown in the world of music, Mrs. in the field of classical music brought evidence of Ravinia's determination Eckstein presented the park to the Walter Damrosch and an orchestra to maintain its prestige both Ravinia Festival Association. from New York for a series of summer nationally and internationally. concerts in a newly-constructed Ravinia's historic wooden pavilion was New directions in Festival open-air pavilion which had an destroyed by fire on May 14, 1949. programming began in 1964 when elevated stage and a seating capacity However, just 45 days after it was Seiji Ozawa became Music Director. of 1,520 seats. levelled to the ground, Ravinia opened After his five-year tenure, the late its 14th season on schedule with a Istvan Kertesz served as Principal In the years that followed, Ravinia novel roof over its head. A 33-ton Conductor of the Festival. began to drive ahead artistically. canvas cover — originally used as a Innovative concepts in festival There were concerts by the Chicago hangar for B-29 Bombers — served as programming, introduced by Music Symphony Orchestra, conducted by a temporary shelter during the Director, James Levine, and Dr. Frederick Stock, the Minneapolis 1949 season. Executive Director, Edward Gordon, Symphony under the baton of Emil The new Pavilion, built in 1950, have created a design for a festival Oberhoffer, and Mr. Damrosch's with a temporary stage, doubled the which critics say deserves the New York Symphony Orchestra. The seating capacity of the former attention of everyone on the American concerts were augmented by wooden structure, and served the Festival music scene. legitimate stage productions, for the next 20 years. In 1970 a including the Ben Greet Players in Assure Ravinia's Future 1975 Slogan magnificent new stage was built and — open-air Shakespeare performances, the Pavilion refurbished, providing a Faced with an imperative need to ballet, and an occasional opera. It facility worthy of the superb symphony assure the Festival's artistic growth, was opera, however, that slowly orchestra, outstanding conductors educational expansion, physical forged ahead. After another financial and soloists, and a devoted audience. improvement, and financial protection, shake-up took place in 1912, a group It was achieved through the Festival's the Ravinia Festival launched its drive of North Shore businessmen, first capital campaign, launched "To Assure Ravinia's Future." including Louis Eckstein, who was to in 1969, "To Rebuild Ravinia." become the patron saint of Ravinia Fortunately, at the most propitious opera, took over the management of Four Decades of Distinction moment imaginable, Ravinia's the park. Under Mr. Eckstein's accomplishments as a leading festival The summer home of the great guidance, the greatest singers and of the performing arts were recognized Chicago Symphony Orchestra for 40 conductors were brought to Ravinia by two exceedingly generous years, Ravinia presents the finest in which became known the world over benefactors, Mr. and Mrs. Ray A. Kroc, symphonic, opera, recital and chamber as the summer opera capital. who agreed to contribute $1 ,000,000 to music programs, which alternate with Ravinia on a matching basis. The the best in popular, jazz and folk Save Ravinia — 1936 Slogan challenge of the matching gift was concerts. Brilliant ballet performances, Although the depression plunged readily accepted by Ravinia's Executive distiguished theatre, and a stimulating Ravinia Park into darkness in 1932, Committee and Board of Trustees. art exhibit are annual attractions. it came into the light again in the Through their early efforts special spring of 1936. The famous "Save Like every important artistic gifts in excess of $250,000 were Ravinia" drive was started by a group enterprise, Ravinia has never been (Continued on Page 14) JENKINS and A BOLLER CO., Inc. Financial Symphony General Contractor

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"To Assure Ravinia's Future"

(Continued From Page 12) obtained before Mrs. Glen A. Lloyd, Chairman of the Festival, made the announcement of the permanent capital funds drive at the opening concert of the 1973 season.

Since then, dedicated members of Ravinia's official family have secured $1,000,000 in pledges and outright gifts which enabled the Festival to claim the Kroc million, which means that $2,000,000 will be allocated to Ravinia's first and greatly desired Endowment Fund when the total goal of $2,750,000 is reached. The additional $750,000 specified in the campaign goal is for the essential needs at the Festival's site.

The Festival is now striving to obtain the remaining $500,000 needed to meet this goal. This evening's benefit concert is a highlight of the current capital campaign.

Pledges to "The Fund to Assure Ravina's Future" are payable up to five years from the date made. Gifts to The Fund can be designated for permanent endowment, for unrestricted use or for physical improvements to the Park. Everyone who supports the Ravinia Festival is certain of receiving an annual season of superb summer entertainment; everyone who contributes to Ravinia's future can count on an optimum return on investment. There aren't many opportunities today to make an investment that offers both an immediate return and long term growth.

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