UNIVERSITY MUSICAL SOCIETY

ISRAEL PHILHARMONIC ORCHESTRA

Zubin Mehta Music Director and Conductor

Maxim Vengerov, Violinist

Thursday Evening, March 21, 1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan

PROGRAM Symphony No. 2 ...... Josef Tal (in one movement)

Concerto for Violin and Orchestra in D major, Op. 35 ...... Tchaikovsky Allegro moderate Canzonetta Finale Maxim Vengerov, Violinist

INTERMISSION

Symphony No. 7 in D minor, Op. 70 ...... DvoMk Allegro maestoso Poco adagio Scherzo: vivace Finale: allegro

The Israel Philharmonic Orchestra is represented by ICM Artists, Ltd., New York City. The Orchestra gratefully acknowledges American Friends of the Israel Philharmonic Orchestra as a prin­ cipal underwriter of the Orchestra's North American tour. The box office in the outer lobby is open during intermission for purchase of tickets to upcoming concerts. Copies of this title page are available in larger print; please contact an usher.

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

Symphony No. 2 transparent figures. The episodes that follow JOSEF TAL (b.1910) are in the same vein, based either upon Honoring the composer's 80th birthday linear, melodic formulation or, as in the last he Polish-born Israeli composer episode, upon strong rhythmic patterns. The Josef Tal was born September 18, work comes to its climax in the last episode, 1910, near Poznan. After study­ in which all the previously heard elements ing at the Hochschule fur Musik participate. After this, there is a more sub­ in Berlin, he emigrated to Pales­ dued atmosphere and, towards the conclu­ tineT in 1934 and taught composition and sion, the full twelve-tone-row is heard in a piano at the Jerusalem Academy of Music, melodic presentation." serving as its director from 1948 to 1952. He was later on the faculty of Hebrew University Violin Concerto in D major, Op. 35 in Jerusalem and headed its musicology de­ PIOTR ILYICH TCHAIKOVSKY (1840-1893) partment from 1965 to 1971. he year of the Violin Concerto, Tal received a generous UNESCO 1878, was marked by a time of grant in 1957 to study electronic music, after rich harvest in Tchaikovsky's which he was appointed director of the Israel creative life. The year witnessed Center for Electronic Music. Named a Fellow the completion of his remarkable of the West Berlin Academy of the Arts in operaT Eugene Onegin as well as of the Fourth 1971, Tal applies a variety of techniques in Symphony, the First Suite for Orchestra, and his music. Patriotic Hebrew themes often a group of smaller compositions. appear in his productions. Tchaikovsky counted on the Hungar­ Josef Tal's Symphony No. 2 was com­ ian violinist Leopold Auer to play the solo posed in 1968 on commission from the Israel part at the premiere of the Violin Concerto Philharmonic Orchestra. It is characterized and sent the finished score to Auer for his by great sweeping drive, strength, and inter­ perusal. The violinist's reaction was entirely nal logic. It is not a symphony in the usual unfavorable. "Some of the passages," Auer classical sense that refers to a defined form. insisted, "are outright unperformable!" Nor Rather, it is a symphony in the original was he alone in finding fault with the new meaning of the word: a combination of work. Mme Nadezhda von Meek, Tchai­ sounds. kovsky's friend and benefactress, was critical In a conversation with Dr. Uri of the score, especially of the first movement. Toeplitz, the composer gave the following In a letter, Tchaikovsky replied with his explanatory remarks: customary courtesy to the woman he was "A new approach demands a new con­ never to meet, but he refused to make any ception in musical thought, which in this revisions of the opening movement. As it work has many elements in common with happened, Tchaikovsky had doubts regarding twelve-tone technique. other sections of the music and rewrote the "The work is written in one movement. slow (second) movement. In order to obtain the most pliable organiza­ At this point, Tchaikovsky was advised tion of events, the following formal structure by his friends to approach another violinist, is followed: there is a main group, which in likewise of outstanding reputation. Adolf the course of the work is twice repeated in Brodsky had been a child prodigy and became varied versions. Between these, there are famous both for his innate musicianship and different episodes, which are in contrast to virtuosity. Tchaikovsky was pleased when the what preceded, and they pave the way for brilliant violinist agreed to be soloist at the what follows. premiere. "There is no real theme in the begin­ But Brodsky was in no rush to perform ning. Instead, minor motives are gradually the work. Undecided, he waited for two years assembled until maximal density and strength before playing the demanding solo part in are reached, when all twelve notes are repre­ public, complaining to Tchaikovsky that he sented. This is followed by a separation into had "crammed too many difficulties into the different elements, containing a minimum of music." Nor did Brodsky hesitate to point out that the orchestral parts "swarmed with er­ four horns, and two trumpets. The heavy rors. " And it was not an easy task to induce brass and battery are avoided. The string Hans Richter, the celebrated music director quintet, particularly the first violin section, of the Vienna Philharmonic, to conduct the is discreetly treated to afford continuous challenging concerto. After much bickering, prominence to the solo part. Richter and the Philharmonic scheduled the The concerto renounces the traditional premiere of the concerto for December 4, introduction by the full orchestra. Instead, we 1881. It took all of Brodsky's persuasiveness hear the first violins playing an allegro. This to discourage Richter from making extensive beginning announces the chief subject, not cuts in the score. Despite his grumbling, in its totality, but only in fragments, until Brodsky remained ever-loyal to Tchaikovsky finally the complete theme is heard, moderate and emerged as the protagonist of what was assai, with its appealing, lilting tone lines. to become one of the most popular concertos The second subject is likewise entrusted to in music literature. the solo violin con molto espressione. The Tchaikovsky was in Rome during the development assigns more prominence to the Vienna premiere and therefore anxiously orchestra. Tchaikovsky reverses the order of awaited his work's most important critique, the classical concerto: the extended tutti the one by Eduard Hanslick, music editor of follows - rather than anticipates - the expo­ Vienna's Neue freie Presse and, at that time, sition of the solo. The cadenza, likewise, Europe's most renowned music critic. assumes an unusual place: it is heard prior to Hanslick, when writing the review of the the recapitulation. (Here Tchaikovsky ap­ Tchaikovsky Concerto, seems to have dipped pears to be influenced by the design of his pen not in ink but in vitriol: Mendelssohn's Violin Concerto.) The reprise "For a while the concerto has propor­ is brought by the flute. The chief theme and tion, is musical, and is not without genius, the final ornaments of the violin cadenza but soon savagery gains the upper hand and dovetail. lords it to the end of the first movement. The The second movement is a melancholy violin is no longer played. It is yanked about. serenade. An octet of wind instruments sets It is torn asunder. It is beaten black and blue. the stage for the entrance of the lovely I do not know whether it is possible for canzonetta, as Tchaikovsky called this middle anyone to conquer these hair-raising difficul­ movement. Resembling a sad folk tune, the ties, but I do know that Mr. Brodsky martyr­ theme rises from the muted principal violin. ized his hearers as well as himself. . . Friedrich The solo also sings the second theme, which Vischer [a German writer on the philosophy is more animated. Delicate embellishments of art] once asserted in reference to lascivious are spun around its graceful strains. The paintings, that there are pictures which 'stink canzonetta is designed as an ABA form. The in the eye.' Tchaikovsky's Violin Concerto elegiac main theme returns. In its epilogue, brings to us for the first time the horrid idea the andante leads without break into the racy that there may be music that stinks in the finale. ear." There follows a short, capricious intro­ To the end of his days, Tchaikovsky duction, allegro vivacissimo, followed by a remembered Hanslick's review with bitter­ cadenza. The ensuing rondo is a somewhat ness. But he had the satisfaction of experi­ robust dance. The solo violin part, as one may encing the ever-increasing success of the expect, is replete with brilliant and difficult concerto that, before long, was performed in passage work. The second theme is heard in all music centers of Europe and America. the solo over a drone bass of the cellos. A In general, the fabric of the Violin third theme, molto meno mosso, evolves as a Concerto and its three movements is of conversation between woodwinds. Mean­ lighter weight than that of Tchaikovsky's while, the solo excels in a series of unaccom­ symphonic scores, but the music is original panied passages prior to the return of the full and imaginative. At times, high and low tone orchestral forces. The entire ensemble, set colors are placed side by side, as in a Byzan­ homophonically, is now geared to an exuber­ tine mosaic. Certain aspects of the concerto's ant conclusion. Slavic expression bewildered the work's first -Dr. Frederick Dorian audiences outside of Russia. Tchaikovsky's orchestration calls for woodwinds in pairs, Symphony No. 7 in D minor, Op. 70 the new Third Symphony of his friend and ANTONIN DVORAK (1841-1904) benefactor Brahms and wanted to try his hand hile Dvorak has always at a work of the same sort. been one of the most be­ It might be said that a major work of loved of composers, it was music or literature, once begun, takes on a not so long ago that the life and direction of its own to a certain affection felt for his music, degree; the outcome in this case not only particularlyW in this country, was based on a confirmed Dvorak's mastery in the realm of mere handful of works, and the chance of the symphony, but confirmed as well the hearing any of his symphonies other than the integrity of his spontaneous and deepfelt famous From the New World, which he com­ response to his native stimuli. It is true that posed here, was about as remote as that of the Czech influences are subdued in this hearing any symphony of Mahler. That is not Symphony, particularly in the first move­ to say that these works were totally unknown, ment, whose second subject seems an overt but it was only after World War II that the gesture in Brahms's direction: an altered but Mahler symphonies and the "other" sympho­ recognizable citation of the cello theme from nies of Dvorak (most of whose works had the slow movement of that master's Second been considered the reserve of Czech musi­ Piano Concerto, a work introduced two years cians) emerged from the "novelty" and paro­ before this Symphony's London premiere. chial categories and took their rightful places The Poco adagio is one of the most in the general repertory. And it is only since glorious of all Dvorak's slow movements then that the four early symphonies unpub­ noble, expansive, a great ingathering of lished during Dvorak's lifetime have been strength, with a rapturous horn solo in the rehabilitated - resulting in the generally ac­ rhapsodic Bohemian frame, which is the cepted renumbering of his nine works in this emotional high point of the work. (Dvorak form according to the actual chronology of trimmed some 40 bars from this movement their creation. after the premiere, whereupon he advised his The Symphony in D minor, which now publisher, Simrock: "Now I am convinced is acknowledged as No. 7, was originally that there is not a single superfluous note in published as No. 2. It was written during the the work!") winter of 1884-1885 on commission from the In the Scherzo, with its strong sugges­ Philharmonic Society of London (the same tions of both the polka and the furiant, the organization for which Beethoven had com­ Czech elements come to the fore, showing a posed his Ninth, also in D minor, some sixty glimpse of Dvorak in his familiar sunlit years earlier), and Dvorak himself conducted manner, but the tragic mood returns in the the first performance in London on April 22, suppressed outburst with which the finale 1885. The work was a great success then, and begins. Out of this opening grows a vigorous in recent years critical rethinking about the Slavonic march, which leads in turn to a new DvoMk symphonies has tended to place the theme, more lyrical and warm-hearted. This Seventh in the highest position, above both is taken into the march itself as it proceeds, the well-loved New World (No. 9) and the but later in the movement breaks away on its robust No. 8 in G major. own momentarily to assume the character of No. 7 is the only symphony Dvorak an expansive pastoral hymn, unmistakably wrote on commission, and it is the only one Czech in character. The march then resumes of his mature symphonies characterized by a with renewed vigor and assertiveness, and the dark and passionate nature: indeed, it might end is defiant rather than jubilant. almost have been titled "Tragic." This may - Richard Freed be said to reflect a certain inner conflict, for at the time he composed this work Dvorak was troubled by uncertainty as to whether to proceed in his creative effort in the Czech national character with which his music had by then become inseparably identified, or to adopt a more "international" - i.e., more German - approach in a bid for still broader recognition. Moreover, he had recently heard About the Artists

he Israel Philharmonic Orchestra year the orchestra toured South America with was founded in 1936 by famed Zubin Mehta. Ever since, the orchestra has Polish violinist Bronislaw Huber- made major international tours almost every man to create a center of musical season. activity in Israel (then Pales­ Throughout its distinguished history, tine).T Since then, it has been one of the most the Israel Philharmonic Orchestra has collab­ active touring ensembles in the world. The orated with many of the greatest conductors orchestra performs over 200 concerts a year of this century, including Sir John Barbirolli, throughout its native country and abroad and Leonard Bernstein, Serge Koussevitzky, appears in the United States almost every Zubin Mehta, and Eugene Ormandy. Its ros­ year. Its current tour marks the 40th anniver­ ter of soloists has included pianists Claudio sary of the orchestra's first United States tour. Arrau, Vladimir Ashkenazy, Daniel Baren- In Ann Arbor, the orchestra has given three boim, and Arthur Rubinstein; violinists concerts - 1972, 1976, and 1989 - all with Shlomo Mintz, Itzhak Perlman, Isaac Stern, Zubin Mehta. and Pinchas Zukerman; cellists Pablo Casals, In Israel, the orchestra gives special Jacqueline DuPre, Yo-Yo Ma, Gregor Piatigorsky, concerts in Kibbutzim (collective farm settle­ and Mstislav Rostropovich; flutist Jean-Pierre ments throughout Israel), performs at na­ Rampal; and singers Montserrat Caballe, tional parks and Army bases, and gives free Sherrill Milnes, Roberta Peters, Leontyne summer concerts in Hayarkon Park, which Price, Beverly Sills, and Richard Tucker. The often draw audiences of over 200,000 people. orchestra has enjoyed a long and prosperous Within the first two weeks of its found­ relationship with Zubin Mehta who, in 1981, ing, the orchestra toured Egypt with Arturo was elected by the orchestra to be its Music Toscanini and, during the war years, per­ Director for Life. formed more than 150 concerts for the allied The Israel Philharmonic Orchestra has troops based in the Middle East. In 1951, the recorded extensively, particularly for London, orchestra undertook its first major tour to Deutsche Grammophon, and Sony Classical North America with Serge Koussevitzky and (formerly CBS Masterworks) and takes great Leonard Bernstein guest conducting, and in pride in sharing its musical heritage with 1960, under the batons of Carlo Maria music lovers around the world. The orchestra Giulini, Josef Krips, and Gary Bertini, made is noted for providing gifted musicians oppor­ its first major world tour, performing through­ tunities through scholarship funds, and many out France, the United States, Canada, Mex­ of its members are among the leading and ico, Japan, and India. The next several years most respected music teachers in Israel. Ad­ included highly acclaimed tours of Australia, ditionally, the Israel Philharmonic regularly New Zealand, Hong Kong, Great Britain, commissions new works that are performed Italy, and a return to North America. both in Israel and abroad. In 1971, the Israel Philharmonic made The permanent home of the Israel its first major European festival tour, with Philharmonic (originally named the Palestine concerts in Salzburg, Lucerne, Edinburgh, Symphony) is the Frederic R. Mann Audito­ Berlin, Venice, and London. The following rium in Tel Aviv, inaugurated in 1957. ubin Mehta's long association with the Israel Philharmonic Orchestra began in 1962 as a guest conductor, and in 1969 he became the orchestra's first permanent music advisor.Z In 1981, the orchestra's members demonstrated their respect and admiration by electing him their Music Director for Life. He recently led the orchestra on its first tour of the Soviet Union. Born in Bombay, Mr. Mehta grew up in a musical household. His father, Mehli Mehta, co-founded the Bombay Symphony Orchestra. At 18, the young Mehta aban­ doned medical studies to pursue a career in music at the Academy of Music in Vienna, where he studied piano, composition, string bass, and conducting. Seven years later, at age 25, he conducted the Vienna Philhar­ monic, and the following season, the Berlin Philharmonic, orchestras to which he still returns annually. From 1961 to 1967, Mr. Mehta was music director of the Montreal Symphony, and in 1962 he was appointed ducted the New York Philharmonic and so­ music director of the Los Angeles Philhar­ loist Isaac Stern in a salute to Carnegie Hall monic, a post he held for 16 years. His on the occasion of its 100th anniversary. He reputation as one of the world's leading con­ then led the orchestra on a tour of North ductors was established during his tenure with America. Throughout his tenure, Zubin these two ensembles, and in the 1978-79 Mehta has led the Philharmonic on a number season he succeeded Pierre Boulez as music of other major tours. In June 1988, he con­ director of the New York Philharmonic, a ducted the Philharmonic on a ten-day tour of position he has held concurrently with his the Soviet Union that culminated in a his­ Israel Philharmonic duties. toric joint concert in Moscow's Gorky Park Zubin Mehta is in his thirteenth year with the State Symphony Orchestra of the as music director of the New York Philhar­ Soviet Ministry of Culture. Other tours have monic, holding the post longer than any included Asia, Europe, Latin America, Israel, other music director in the orchestra's modern South America, the United States, Mexico, history. With the opening night program of and a tour of Argentina and the Dominican the Philharmonic's 149th season, Mr. Mehta Republic. conducted his 1,000th public concert with Zubin Mehta's successes also extend to that orchestra. Highlights of his season have the opera stage. He conducts at the Vienna also included two "Live from Lincoln Center" Staatsoper and the Royal Opera at Covent telecasts: an October Pension Fund Concert Garden and serves in an advisory capacity to featuring Daniel Barenboim and the New the Maggio Musicale Florentino, the summer Year's Eve Concert with soloist June Ander- festival of Florence, Italy. Recently at the son. Mr. Mehta conducted a world premiere Maggio Musicale, Mr. Mehta conducted Don and several premieres in January and February Giowmni, produced and directed by Jonathan and led members of the Philharmonic and the Miller. It is the first opera in a Mozart cycle Juilliard Orchestra in Lincoln Center's open­ scheduled to continue under his direction. ing celebration of the Mozart Bicentennial on This year he begins a five-year "Ring" cycle January 27, 1991. In May, he will conclude with the Lyric Opera of Chicago. his distinguished tenure with the New York As a guest conductor, Zubin Mehta has Philharmonic in a series of performances of led virtually every major orchestra on every Schoenberg's "Gurrelieder." continent, and he has recorded an almost At the final performance of the 1990 unequaled volume of music. With the New summer Parks Concerts, Zubin Mehta con­ York Philharmonic he has made more than 30 recordings. Recent additions include he exceptionally gifted sixteen- Stravinsky's Rite of Spring and Symphony in year-old Russian violinist Maxim Three Movements, a Gershwin collection, Vengerov first dazzled the music Paine's Symphonies Nos. 1 and 2, Dvorak's world in the summer of 1989, Violin Concerto with Midori, and "Domingo when he gave a tremendously at the Philharmonic." With the Berlin Phil­ acclaimedT recital at the Concertgebouw, Am­ harmonic, he has recently recorded Strauss's sterdam. His recital debuts in London, "Alpine Symphony" and Bartok's Concerto Tokyo, and Salzburg were received with equal for Orchestra, Miraculous Mandarin, and Vi­ enthusiasm. Most recently, in February 1991, olin Concertos No. 1 and 2, featuring Midori; he made his American debut with the New and with the Vienna Philharmonic the "New York Philharmonic, the New York Times Year's Concert 1990." proclaiming him "well on the way to being Maestro Mehta and the Israel Philhar­ an important artist." monic have recorded Chopin's Piano Concer­ In July 1990, Vengerov won First Prize tos Nos. 1 and 2 with Murray Perahia and at the Carl Flesch International Violin Com­ three settings of Petieas et Melisande (Faure, petition and also took a special prize for Schoenberg, and Sibelius). Soon to be re­ interpretation and the "Audience Prize." leased are two Bruckner Symphonies and This past autumn, the violinist moved from Lalo's Symphonic Espagnole, featuring Shlomo the U.S.S.R. to Tel Aviv, where he now Mintz. makes his home. Shortly thereafter he met Of Mr. Mehta's many honors and with Maestro Zubin Mehta and was immedi­ awards, two that are particularly meaningful ately engaged by the Israel Philharmonic to him are the Nikisch Ring, bequeathed to Orchestra for performances of the Tchaikov­ him by Dr. Karl Bohm, and the Vienna sky Violin Concerto in December 1990. As Philharmonic Ring of Honor to commemo­ a result of this great success in Tel Aviv, he rate the 25th anniversary of his Vienna Phil­ was also invited by Zubin Mehta to join the harmonic conducting debut. He is an Israel Philharmonic on its current United honorary citizen of the city of Tel Aviv and States tour. Other forthcoming engagements was awarded a Padma Bhushan (Order of the include a major tour of Japan, appearances Lotus), the highest award given in India to with Shlomo Mintz and the Israel Chamber people of outstanding accomplishment in the Orchestra, and a recital at the 1992 Salzburg arts and sciences. Festival. This evening's concert marks Zubin Maxim Vengerov has made several re­ Mehta's sixth Ann Arbor appearance. He has cordings for Melodiya and has recently re­ twice conducted the Los Angeles Philhar­ leased an acclaimed recital album on compact monic and three times appeared with the disc for Biddulph Recordings. He became an Israel Philharmonic. exclusive Teldec Classics recording artist in September 1990. While living in the Soviet Union, Vengerov gave frequent performances in Moscow and Leningrad, as well as concerts throughout Austria, including Vienna and Salzburg, and at the Schleswig-Holstein Fes­ tival. During the 1988-89 season, in addition to making his Amsterdam debut with the Concertgebouw Orchestra led by Yuri Tem- irkanov, he was guest soloist with the U.S.S.R. State Symphony Orchestra on its tour of Italy. The artist made his British debut at the Lichfield Festival in 1987 and has twice appeared as soloist with the BBC Philhar­ monic Orchestra. Maxim Vengerov was born in Novosibirsk, the capital of Western Siberia, in August 1974. The Israel Philharmonic Orchestra Zubin Mehta, Music Director Leonard Bernstein, Conductor Laureate (1947-90)

First Violins Marcel Bergman' Contrabassoon Menahem Breuer Shulamit Lorrain' * Carol Patterson Moshe Murvitz Alia Yampolsky'" Horns Lazar Shuster Yoram Aplerin Yaacov Mishori* Yigal Tuneh David Barnea Meir Rimon" Concertmasters0 Elchanan Bregman Jeffrey Lang" Saida Bar-Lev Amy Brodo James Cox' Marina Dorman Naomi Enoch Anatol Krupnik Raphael Frankel Dmitri Golderman Sally Ben-Moshe Eliezer Gantman Baruch Gross Ezra Molcho Rodica losub Alexander Kaganovsky Yossef Rabin Rimma Kaminkovsky Enrique Maltz Shelomo Shohat Zinovi Kaplan Basses Trumpets Raphael Markus Teddy Kling" Robert Frear' Avraham Melamed Peter Marck* llan Eshed'" Robert Mozes Yevgeny Shatzky" Raphael Glaser Ron Porath# Ruth Amir Yigal Meltzer Anna Rosnovsky Eli Magen Trombones Zvi Segal Talia Mense-Kling Ray Fames' Alexander Stark Dmitri Krotkov Stewart Taylor* Eva Strauss-Marko Michael Nitzberg Yehoshua Pasternak"' Paya Yussim Gabriel Vole Micha Davis Second Violins Harps Bass Trombones Elyakum Zaltsman' Judith Liber Mattiyahu Grabler YitzhakGeras' Tali Glaser Micha Davis Amnon Valk'' Flutes Tuba Shimeon Abalovitch Uri Shoham" Shemuel Hershko" Shulamit Alkalay Yossi Arnheim" Timpani Emanuel Aronovich Bezalel Aviram Gideon Steiner" Elimeleh Edelstein Lior Eitan Alon Bor"' Nachum Fruman Piccolo Percussion Shmuel Glaziris Lior Eitan Alon Bor' Celita Goldenberg Oboes Gabi Hershkovich Nathan Greenberg Bruce Weinstein' Ayal Rafiah Levia Hofstein Chaim Jouval"" Eitan Shapiro Elizabeth Krupnik Merrill Greenberg Keyboard Kalman Levin Hermann Openstein Israel Kastoriano Yoram Livne English Horn Milka Laks Wolfgang Valk Merrill Greenberg Chief Librarian Alon Weber Clarinets Marilyn Steiner Violas Richard Lesser* Stage Manager Daniel Benyamini" Yaakov Barnea Uzi Seltzer Yuri Gandelsman" Rashelly Davis Technical Assistant Miriam Hartman" Israel Zohar Yaakov Kaufman Avraham Levental*' Avigail Arnheim Michael Appelman Piccolo Clarinets Avraham Bornstein Yaakov Barnea ICM Artists Touring Division Amihud Elroy Rashelly Davis Byron Gustafson, Ferenz Gabor Bass Clarinet Vice-President and Director Rachel Kam Israel Zohar Leonard Stein, General Manager Yuval Kaminkovsky Bassoons Richmond Davis, Stage Manager Shimon Koplanski Mordechai Rechtman" Zvi Litwak Zeev Dorman" Acting) 0 Canada Concertmaster Chair Nahum Pinchuk Uzi Shalev'' (Acting) Principal Abraham Rozenblit Walter Meroz '' Assistant Principal CeUos Carol Patterson # On leave or Sabbatical Michael Haran" 30 April 1991 A Benefit Conceit Eight o'clock Hill Auditorium

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

Reservations for this Berg 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 Richard Strauss Le Bourgeois Gentilhomme Suite, Op.60

JessyelMorman Mail reservation orders to: University Musical Society of the University of Michigan Burton Memorial Tower Ann Arbor, Michigan Richard Wagner 48109-1270 'Immolation" Scene from Gotterdammerung G e w a n d h a u s Orchestra of Leipzig Ku r t M asur, conductor

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

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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)

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