UNIVERSITY MUSICAL SOCIETY DETROIT SYMPHONY

Neeme Jarvi Music Director and Conductor

Nadja Salerno-Sonnenberg, Violinist Marilyn Mason, Organist

Sunday Afternoon, February 10, 1991, at 4:00 Hill Auditorium, Ann Arbor, Michigan PROGRAM

Sinfonia Antiqua Lawrence Rapchak

Concerto for Violin and Orchestra No. 1 in A minor, Op. 77 . . . Shostakovich Moderate Scherzo: allegro Passacaglia: andante, cadenza Burlesque: allegro con brio, presto

Nadja Salerno-Sonnenberg

INTERMISSION

Symphony No. 3 in C minor ("Organ") Saint-Saens Adagio, allegro moderato, poco adagio Allegro moderato, presto, maestoso

Marilyn Mason

The piano heard in this concert is a Steinway available from Hammell Music, Inc., Livonia. Activities of the Detroit Symphony Orchestra are supported by the City of Detroit Council of the Arts, the National Endowment for the Arts, and the Michigan Council for the Arts. London, RCA, and Mercury Records. For the convenience of our patrons, the box office in the outer lobby is open during intermission for purchase of tickets to upcoming Musical Society concerts.

Twenty-first Concert of the 112th Season 112th Annual Choral Union Series Program Notes Sinfonia Antiqua LAWRENCE RAPCHAK (b. 1951)

hese are the first performances (this one in Ann Arbor and three in Detroit) of Lawrence Rapchak's Sinfonia Antiqua. The score calls for piccolo, two flutes, threeT oboes, English horn, clarinet, two bass clarinets, three bassoons, contrabassoon, four offstage horns, three trumpets, three trom­ bones, tuba, timpani, a large percussion bat­ tery managed by four players, harp, celesta, and strings. Lawrence Rapchak was born in Ham- mond, Indiana, and studied at the Cleveland Institute of Music. His composition teachers include Donald Erb, Marcel Dick, and Leonardo Balada; he has also studied conduct­ ing with James Levine. Four of his early orchestral works were premiered by local ensembles during his high school years, and numerous works orches­ tral, chamber, and vocal were played at Lawrence Rapchak the Cleveland Institute. He served as com- poser-in-residence with the Northern Indiana Arts Association in 1978-79. Concertante di Chicago with J. Lawrie Bloom Among the commissions he has re­ of the Chicago Symphony as soloist. ceived are those from members of The Cleve­ The composer has provided the follow­ land Orchestra, the Northwest Indiana ing note for his Sinfonia Antiqua: Symphony, and the Bel Canto Woodwind "The Sinfonia Antujua is modeled on Trio. He has also produced arrangements for two archaic forms, the Italian overture-sinfo- The Cleveland Orchestra. His choral work nia (as found in Mozart's K. 318) and the The Magic Voyage was awarded first prize in minuet-finale symphony (Haydn's Sympho­ the Phi Mu Epsilon National Choral Compe­ nies Nos. 18, 26, and 30). Both of these forms tition in Pittsburgh in 1978. feature a basic fast slow fast structural pat­ In 1987, Rapchak's Mystic Promenade tern. The general character and texture also was selected by the American Symphony reflect the older forms: the continually active Orchestra League for reading by Leonard accompaniments, the tendency to divide the Slatkin and the St. Louis Symphony. In orchestra into choirs, the use of various ritor- 1989, his Chasing the Sunset had a reading by nello figures, the clusters of oboes sparked by the National Orchestral Association in New the light percussion. York and a subsequent premiere by the Man­ "The opening Allegro is built entirely hattan Philharmonic, conducted by David on a lengthy two-part theme. The slow mid­ Gilbert. dle section of the work is based on an Rapchak's opera, The Lifework of Juan inversion of this theme. Just before the return Diaz, a collaboration with author Ray Brad­ of the Allegro, there appears a new version of bury, was commissioned by Chamber Opera the theme (now combined with its inver­ Chicago. The work was premiered to critical sion), stately, austere, yet gentle. acclaim in Chicago in the spring of 1990 and "As the restatement of the Allegro pro­ subsequently broadcast over Chicago's fine- gresses, the new, combined tune continually arts radio station WFMT. In March 1991, his attempts to assert itself, and finally does so. II Concerto Vetrina for bass clarinet and or­ The orchestra regroups, as it were, into three chestra will receive its world premiere by the massed choirs: strings, woodwinds, and brass, with a new percussion contingent of cymbals, condemned the "formalistic perversions and Chinese cymbals and tam-tams, and harp, anti-democratic tendencies" of Shostakovich celesta, and glockenspiel adding to the clangor. and some of his contemporaries. Henceforth, "The new theme emerges in its finished those who wished to enjoy official favor would form, that of a minuet, slightly out of phase have to renounce the "cult of atonality, at first, then suddenly shifting into rhythmic dissonance, and discord . . . infatuation with focus. This harmonious paean quickly fades, confused, neurotic combinations which echoed by distant horns and bells. The Sin- transform music into cacaphony." fonia Antiqua may be viewed as the composer's Prokofiev, in failing health, managed fond and rather sentimental tribute to past to muddle through his last five years with musical glories." token words of apology; Miaskovsky would die two years later, never to see the thaw that Concerto for Violin and Orchestra took place after Stalin's death. Shostakovich, No. 1 in A minor, Op. 77 then, bore the brunt of the attack, to which DMITRI SHOSTAKOVICH (1906-1975) he replied with some weasel words. Without going so far as to recant his "modernistic" tendencies, he offered a speech in which he hostakovich composed his first Vi­ said that he had "always heeded criticism olin Concerto in 1947-48. The first against me and tried in every way to work performance took place on Octo­ better and harder. Now, too, I am paying ber 29, 1955, with David Oistrakh heed to criticism and shall continue to do so as soloist and Yevgeny Mravinsky in the future." conductingS the Leningrad Philharmonic Or­ What this meant was obvious on the chestra. The score calls for three flutes (one surface. Over the next few years, doubling piccolo), three oboes (one doubling Shostakovich cranked out more than his English horn), three clarinets (one doubling share of patriotic potboilers: a film score for bass clarinet), two bassoons, contrabassoon, The Fall of Berlin, a setting of ten revolution­ four horns, tuba, timpani, tam-tam, xylo­ ary poems for a cappella chorus, and most phone, celesta, harp, strings, and solo violin. disingenuous of all, a direct tribute to Stalin Twice in Shostakovich's lifetime, pol­ in the score for The Unforgettable Year 1919, itics cut across the composer's career. The first which paid tribute to some of the fictional time, in 1936, his opera Lady Macbeth of military exploits of the Soviet "leader and Mtsensk drew official fire for its racy subject teacher." matter and dissonant musical style ("muddle At the same time, he voiced his real instead of music," read the headline in feelings in a number of works that could not Pravda). Lady Macbeth, in the middle of a be brought to public performance until the successful run, was stopped in its tracks, and thaw that took place under the Khrushchev the hard-edged Fourth Symphony was with­ regime: the Fourth String Quartet, the Violin drawn before its public premiere. The next Concerto, the song cycle From Jewish Folk year, Shostakovich issued his Fifth Sym­ Poetry. "Not one of these works could be phony, "a Soviet artist's reply to just criti­ performed then," he told Solomon Volkov in cism," as it was called. Just how genuine his his purported memoirs, published posthu­ contrition was, we may wonder, but for the mously under the title Testimony. "They were moment, Shostakovich was restored to offi­ heard only after Stalin's death. I still can't cial favor, being awarded the Lenin Prize in get used to it." 1940 for his Piano Quintet. The first signs of a change in official The second onslaught was less personal attitudes came with the Tenth Symphony, but no less destructive. In 1948, there began which had its first performance late in 1953. an official move against the purveyors of That work was vigorously debated in musical "formalism" in music, among them, circles, but no move was made to suppress it. Shostakovich, Prokofiev, and Miaskovsky. The way was clear for the "hidden" works There had been rumblings of official discon­ from the late 1940s to be brought to perfor­ tent with contemporary musical trends as mance, and with the advocacy of David early as 1946, but with the appointment of Oistrakh, the Violin Concerto was first heard Andrei Zhdanov as head of the Composers' in Leningrad in 1955. The violinist, who had Union two years later, the party line stiff­ taken an active role in shaping the solo violin ened. In a decree in February of that year, he part, wrote an encomium of the concerto for "formalist" musical schemes were looked on the music journal Sovetskaya Musyka. From with particular disfavor during the Zhdanov here on, the ice was broken: for his fiftieth era. Shostakovich had been much occupied birthday, in 1956, Shostakovich was again with Baroque forms when he composed the awarded the Lenin Prize, and that same year, concerto, having written 24 preludes and plans were made for a revival of Lady Macbeth. fugues a la Bach, for the piano. Within the For the Violin Concerto, his first for a confines of the archaic passacaglia structure stringed instrument, Shostakovich settled on, an endlessly repeating bass he is free to not the usual three movements, but a four- muse, to ponder, occasionally to recall mate­ movement scheme. As in the Eighth Sym­ rial from earlier movements. Without a phony, two weighty introspective movements pause, a lengthy cadenza follows the only were followed by shorter, more satirical ones. one in this concerto. The solo violin begins Musically, one can read this as a huge down­ in the mood of the passacaglia, but gradually beat followed by an upbeat, tension followed moves away, unambiguously stating the D-S- by release. On a personal level, these two C-H motive about halfway through. different sorts of music from the same com­ From here on, we move inexorably into poser seem to reflect a private life hidden, the finale, which begins without a pause, often given over to brooding and a public announced only by a thump from the tim­ one, in which officially mandated hilarity is pani. "Burlesque" is the title, and ostensibly colored with bitter irony. there is as little to disturb the listener here as The Nocturne that opens the concerto in a day at the circus. Even in the midst of is an extended meditation for the violin, a merriment, however, Shostakovich has not virtually uninterrupted flow of melody. forgotten himself: his monogram sounds Shostakovich had first essayed this sort of again, only slightly disguised; and near the melodic spinning-out in the slow movement end of the movement, the horns blurt out the of the Fifth Symphony. Here, he has mastered beginning of the ground bass from the passa­ the technique, deriving seemingly endless caglia. Is the composer tweaking our noses, phrases from tiny melodic cells. Just once, or driving a knife into our vitals? He would near the end of the movement, the violin not or could not tell us at the time, but raises its voice; otherwise, it speaks in an as in much of Shostakovich's music from this undertone, the orchestra observing its reverie point on, every simple statement contains its virtually without comment. opposite, and it takes a careful listener to The roles are reversed for the Scherzo, detect each shade of meaning. in which the violin darts in and out of the orchestral texture, acting as an agent provoca­ Symphony No. 3 in C minor, teur. The bright, hard woodwind writing and Op. 78 ("Organ") the motor rhythms here were common coin CAMILLE SAINT-SA£NS (1835-1921) in Soviet music, minted by Prokofiev no less than Shostakovich. At the same time, how­ ever, Shostakovich puts his personal stamp aint-Saens conducted the first per­ on the Scherzo by sealing his initials in formance of his Third Symphony musical tones. with the Royal Philharmonic in His method requires a little explana­ London on May 19, 1886. The tion. Taking the German words for the notes score calls for three flutes (one doubling piccolo), two oboes, of the scale, Shostakovich creates a mono­ S English horn, gram that "reads" his initials: D E-flat two clarinets, bass clarinets, two bassoons, C B natural. Pronounced, as a German contrabassoon, four horns, three trumpets, musician would, "day, ess, tsay, hah," this three trombones, tuba, timpani, triangle, gives the initial of Shostakovich's first name cymbals, bass drum, organ, piano four-hands, and strings. and the first three letters of his last name. The device is complicated to understand, but Saint-Saens wrote his first symphony easy to hear: the solo violin, in the midst of around 1850, his fifteenth year. Already he a running stream of notes, marks out these in was an accomplished pianist, having made a longer tones, each taking up a full measure. sensational debut at the Salle Pleyel in 1846. The Passacaglia that follows is nearly As a composer, he still had much to learn, as much a personal assertion such and he denied this early symphonic effort a number among his works, even though he never went to the trouble of destroying the conductor; unable to meet his fee of forty score. His first "official," that is, "numbered" pounds, it sweetened the deal by offering him symphony, came in 1853, the year after he a commission to write a new work. made his first try at the Prix de Rome. He already had ideas for a symphony in He did not win the prize, but the mind, and when Liszt visited Paris in April symphony brought him high praise as a com­ 1886, Saint-Saens played some of them to poser. Gounod was in the audience for the him at the piano. Two months later, Liszt first performance, and afterward he wrote to died, and Saint-Saens paid him tribute by the seventeen-year-old Saint-Saens: "You are dedicating the new symphony to him. "It will far in advance of your years: carry on and be terrifying, I warn you," he wrote. "It will remember that on Sunday, 18th December be a treat for me to conduct it. Will it be a 1853, you contracted the obligation of be­ treat, though, for the people who hear it? that coming a great master." Berlioz was there, is the question [this passage in English]. It's you too, and he was equally impressed. "Apart who asked for it. I wash my hands of the from Saint-Saens . . . and Gounod ... I can whole thing." see nothing but ephemerae and mosquitoes The crowd at St. James's Hall in Lon­ hovering over this stinking morass we call Paris." don was enthusiastic at the first performance; Saint-Saens' achievement was all the afterward, Saint-Saens was presented to the more remarkable, since there was in France Prince of Wales. A year later, the composer nothing like a symphonic tradition. Berlioz's conducted the first Paris performance, and as Symphonie fantastique had been performed, he left the platform, Gounod made a remark then dropped; Bizet's one symphony and that equaled his encomium of thirty-four Gounod's two remained to be written. Look­ years earlier: "There goes the French Beetho­ ing back on the musical scene during his ven," he said. Saint-Saens would live another youth, Saint-Saens later recalled only "a forty-four years, but without writing another small circle of professional and amateur mu­ symphony and without quite reaching the sicians who really cared for and cultivated level he attained here. "I have given all that music for its own sake, secret worshippers of I had to give," he wrote. "What I have done Haydn, Mozart, Beethoven, and occasionally I shall never do again." Bach and Handel. It was quite useless to try For the London premiere of his Third and get a symphony, a trio, or a quartet Symphony (actually his Fifth, you will re­ performed except by the Societe des Concerts call), Saint-Saens wrote a descriptive pro­ du Conservatoire or by one or two private gram note. Polemical, stiff, and overdetailed chamber music societies." in places, it still gives the flavor of the piece Saint-Saens was undeterred, however. and the period as no contemporary analysis In 1856, he wrote another symphony, subti­ can. It is reproduced here: tled Urbs Roma, which took the prize of the "This symphony is divided into two St. Cecilia Society in Bordeaux. (This sym­ parts, in the manner of Saint-Saens' Fourth phony, too, was later dropped from the canon Concerto for Piano and Orchestra and Sonata of his works.) Three years later, he composed for Piano and Violin. It nonetheless includes his "Second" Symphony, in which the British practically the traditional four movements. critic Martin Cooper hears an anticipation The first, checked in development, serves as "by nearly thirty years of the 'serene anxiety' an introduction to the Adagio. In the same of Cesar Franck." manner, the scherzo is connected with the There, for the moment, Saint-Saens' finale. The composer has thus endeavored to career as a symphonist stopped. He would avoid somewhat the interminable repetitions continue an active life as a pianist, organist, which are now more and more disappearing and conductor; he would write piano concer­ from instrumental music. tos and symphonic poems, and would try, for "The composer thinks it's now high a long time unsuccessfully, to gain an entree time the symphony benefited from the prog­ to the sacred halls of the Paris Opera. Not ress of modern instruments. [He adds a list of until 1886 would he attempt another sym­ the symphony's instrumentation.] phony, this time at the behest of the Royal "After an introduction. Adagio, of a few Philharmonic Society in London. The offer measures, the string quartet introduces the came by-the-way: the Society had intended initial theme, which is sombre and agitated at first to engage Saint-Saens as a pianist and (Allegro moderate). The first transformation of this theme leads to a second motive, swift as lightning, on the piano are accompa­ distinguished by greater tranquility. A short nied by the syncopated rhythm of the orches­ development presents the two themes simul­ tra. Each time they are in a different tonality taneously, after which the motive appears (F, E, E-flat, G). briefly in a characteristic form, for full orchestra. "This tricky gaiety is interrupted by an "A second transformation of the open­ expressive phrase from the strings. The repe­ ing theme includes, now and then, the plain­ tition of the Allegro moderate is followed by a tive notes of the introduction. Varied second Presto, which at first appears to be a episodes gradually bring calm, thus preparing repetition of the first Presto. Scarcely has it the Adagio in D-flat. The extremely peaceful, begun, however, before a new theme is heard, contemplative theme is given to the violins, grave, austere (trombone, tuba, double-bass), violas, and cellos, which are supported by strongly in contrast to the fantastic music. organ chords. This theme is taken up by There is a struggle for mastery, which ends in clarinet, horns, and trombone, with string the defeat of the restless, diabolical element. accompaniment. "The phrase rises to orchestral heights "After a variation (in arabesques) by and rests there as in the blue of a clear sky. the violins, the second transformation of the After a vague reminiscence of the initial initial theme of the Allegro reappears, bring­ theme of the symphony, a maestoso in C major ing a vague feeling of unrest, intensified by announces the approaching triumph of calm dissonant harmonies. These soon give way to and lofty thought. The initial theme, wholly the theme of the Adagio, this time performed transformed, is now exposed by divided by some of the strings with organ accompa­ strings and pianoforte (four hands), and re­ niment and with a persistent rhythm of trip­ peated by the organ with the full strength of lets presented by the preceding episode. This the orchestra. movement ends with a mystical coda, which "Then follows a development built in sounds alternately the chords of D-flat and E minor. a rhythm of three measures. An episode of a "The second movement commences tranquil, pastoral character (oboe, flute, Eng­ with an energetic phrase (Allegro moderate). lish horn, clarinet) is twice repeated. A This is followed immediately by a third trans­ brilliant coda, in which the initial theme by formation of the first movement's initial a last transformation takes the form of a violin theme, more agitated than before. Into it figure, ends the work." enters a fantastic spirit that is frankly dis­ Program Notes by Michael Fleming closed in the Presto. Arpeggios and scales,

The Detroit Symphony Orchestra and Neeme Jdrvi at home in Orchestra Hall About the Artists he Detroit Symphony Orchestra That same year it became the first official began a new era in the 1990-91 radio broadcast orchestra in the nation. As a season with its new music direc­ recording ensemble, the Detroit Symphony tor, Neeme Jarvi, and the com­ Orchestra has a distinguished history that pletion of the final phase of includes award-winning discs on the London, OrchestraT Hall's restoration. Last season the RCA, and Mercury Records labels. Orchestra celebrated its 76th season with a In 1919, the Detroit Symphony Or­ move back to its original home, Orchestra chestra made its first appearance in Ann Hall. The recent merger of two of Detroit's Arbor with Ossip Gabrilowitsch, the Russian- most prestigious musical institutions, the De­ born conductor who had just been appointed troit Symphony Orchestra and Orchestra music director of the five-year-old orchestra. Hall, enables the resulting Detroit Symphony In the decades following that debut, the DSO Orchestra Hall to offer a wider diversity of performed on this stage under subsequent activities as it strives to be a source of music directors including Victor Kolar, Karl enjoyment, enrichment, education, and Kreuger, Paul Paray, Sixten Ehrling, Aldo pride to citizens throughout the state of Ceccato, Antal Dorati, and Gunther Herbig, Michigan and beyond as well as several guest conductors. This In September 1990, internationally ac­ afternoon, the Detroit Symphony Orchestra claimed conductor Neeme Jarvi became the makes its 63rd appearance under Musical eleventh music director of the Detroit Sym­ Society auspices, this time with its newly phony Orchestra. Born in Tallinn, Estonia, appointed music director, Neeme Jarvi. Mr. Jarvi is one of today's most recorded conductors. Previous conducting posts in­ clude chief conductor at the Tallinn Opera, chief conductor and artistic director of the Estonian State Symphony, principal guest conductor with the City of Birmingham Sym­ phony, music director of the Scottish Na­ tional Orchestra (with which he presently serves as conductor laureate), and he is cur­ rently principal conductor of the Gothenburg Orchestra of Sweden. The 101 members of the Detroit Sym­ phony Orchestra are heard live by over 350,000 people annually, performing year- round concerts that include 24 weeks of classical subscription concerts, a Weekender Pops series, an annual Christmas Festival featuring The Nutcracker ballet, Young People's Concerts, an eight-week summer season at the Meadow Brook Music Festival, and annual tours throughout the state of Michigan. Among the educational and com­ munity concerts presented by the orchestra are free summer concerts in Detroit metropol­ eeme Jarvi began his tenure as itan parks, a free Educational Concert Series, eleventh music director of the free Detroit Symphony Civic Orchestra con­ Detroit Symphony Orchestra certs, two Classical Roots concerts, as well as on September 1, 1990, his first the annual African-American Composers position with an American Forum. Nsymphony orchestra. Internationally ac­ The Detroit Symphony Orchestra con­ claimed for his performances with orchestras tinues its long history of national radio broad­ and opera houses throughout the world, Mr. casts, which includes participation in the first Jarvi is also one of today's most recorded complete symphonic radio broadcast (1922). conductors. Born in Tallinn, Estonia, in 1937, he past summer. Part of the orchestra's 125th graduated from the Tallinn Music School anniversary celebration of Nielsen's birth, it with degrees in percussion and choral con­ was broadcast on radio throughout Europe ducting and later completed his studies in and resulted in a recording for Chandos opera and symphonic conducting at the Len­ Records. In addition, he added to his vast ingrad State Conservatory. He made his con­ catalogue of discs the first original Russian ducting debut at the age of eighteen with a language recording of Prokofiev's opera The concert performance of Strauss's Night in Fiery Angel. Venice and his operatic debut with Carmen at Mr. Jarvi has recorded extensively for the Kirov Theater. In 1963 he became direc­ Chandos, BIS, Orfeo, and Deutsche Gram- tor of the Estonian Radio and Television mophon, including releases with the Chicago Orchestra and began a thirteen-year tenure as Symphony, Scottish National Orchestra, chief conductor at the Tallinn Opera. London Symphony, London Philharmonic, International acclaim came in 1971 Bamberg Symphony, Gothenburg Sym­ when Mr. Jarvi won first prize in the Con­ phony, and Bavarian Radio Symphony Or­ ductors Competition at the Accademia chestra. He has won several awards for his Nazionale di Santa Cecilia in Rome. This recordings of the complete Prokofiev sympho­ triumph led to invitations to conduct major nies as well as his ongoing project to record orchestras throughout Eastern Europe, Great all of Sibelius's orchestral music. Britain, Germany, Sweden, Japan, Mexico, While this afternoon's concert marks and Canada. In the Soviet Union, he became Neeme Jarvi's first Ann Arbor appearance as chief conductor and artistic director of the music director of the Detroit Symphony Or­ Estonian State Symphony and also conducted chestra, he previously conducted a concert the Soviet premier performances of Der here in 1973, directing The Festival Chorus Rosenkavalier, Porgy and Bess, and II turco in and the Leningrad Philharmonic Orchestra in Italia. Prokofiev's Alexander Nevsky. In January 1980, Mr. Jarvi immigrated to the United States and in the following month made his American orchestral debut with the New York Philharmonic. Since then he has conducted the major orchestras in North America and Europe and has served as principal guest conductor with the City of Birmingham Symphony (1981-83), music di­ rector of the Scottish National Orchestra (1981-88) (with which he presently serves as conductor laureate), and he currently holds the post of principal conductor of the Gothenburg Orchestra of Sweden. Standing in at the last minute for an ailing Seiji Ozawa, Mr. Jarvi recently led the Boston Symphony Orchestra in performances at Symphony Hall in Boston, as well as an exciting concert in New York's Carnegie Hall. iolinist Nadja Salerno-Son- Equally renowned for his opera con­ nenberg's performances have ducting, Mr. Jarvi made his Metropolitan earned her great respect and Opera debut with Eugene Onegin during the attention in the music world. In 1978-79 season and returned during 1985-86 North America, Ms. Salerno- to conduct a new production of. Kho- SonnenbergV has appeared with all of the vanshchina. His first performances in Detroit major orchestras, including those in Chicago, were on tour with the Metropolitan Opera, Cleveland, Detroit, Houston, Los Angeles, conducting performances of Samson et Dalila. Montreal, New York, Philadelphia, Pitts­ Considered an expert interpreter of Carl burgh, and San Francisco. She has also ap­ Nielsen's music, Mr. Jarvi conducted a con­ peared with the major London orchestras and cert performance of the opera Saui and David made her first tour of Japan in the spring of with the Royal Danish Radio Orchestra this 1990. Festival appearances include the and the PBS/BBC series "The Mind," as well Mostly Mozart Festival, in New York and as appearances on the "Tonight" Show with Washington, D.C., as well as the festivals of Johnny Carson. Ravinia, Blossom, Hollywood Bowl, Meadow Nadja Salerno-Sonnenberg was born in Brook, Great Woods, Caramoor, Aspen, and Rome and moved to the United States at the Tanglewood. Her recital credits include Lin­ age of eight to study at the Curtis Institute of coln Center's Great Performers Series, Music. She later studied with Dorothy DeLay Chicago's Orchestra Hall, New York's 92nd at The Juilliard School. She is the recipient Street "Y" Distinguished Artists Series, of the prestigious Avery Fisher Career Grant, California's Ambassador Auditorium, Wolf winner of the Walter W. Naumburg 1981 Trap, and the Library of Congress in Wash­ International Violin Competition, and a re­ ington, D.C. Internationally, she has ap­ cipient of a 1988 Ovation Award. peared in Vienna, Munich, Stuttgart, Ms. Salerno-Sonnenberg records ex­ Frankfurt, Geneva, Rotterdam, and Lisbon. clusively for Angel/EMI records. She made Ms. Salerno-Sonnenberg has been fea­ her Ann Arbor debut at the 1988 May tured on CBS's 60 Minutes, on a CBS na­ Festival, performing Mendelssohn's E-minor tional television special, on NEC's National Concerto with the Pittsburgh Symphony Or­ News, on PBS's "Live from Lincoln Center," chestra.

arilyn Mason is university or­ ganist and chairman of the organ department at the University of Michigan. Her extensive career as concert organist,M lecturer, adjudicator, and teacher has carried her throughout the western world. She was the first American woman to play in Westminster Abbey, the first woman organist to play in Latin America, and the first Amer­ ican organist to perform in Egypt. In addition to performing on five continents, she has served as adjudicator at almost every major competition in the world. Professor Mason's dedication to con­ temporary music is evidenced in the 40 organ Prof. Mason and the Marilyn Mason works she has commissioned and premiered. Currently, she is pursuing her commitment to Organ at the School of Music. stylistic integrity through scholarly research into the construction and tonal design of Grant to record the complete works of historic European instruments. More than 20 Pachelbel, soon to be issued by the Music research tours have focused on historic organs Heritage Society. in France, North Germany, Saxony, and Marilyn Mason's association with the Spain. In 1987 she was awarded an honorary University of Michigan has been long and doctor of music degree by the University of enduring. She obtained both her Bachelor's Nebraska, where she had served as consultant and Master's degrees from the U-M School of for the Casavant mechanical action organ. In Music and accepted a teaching position im­ addition, the New York Chapter of the Amer­ mediately thereafter. In 1972 she received the ican Guild of Organists selected her as its Distinguished Faculty Achievement Award 1988 performer of the year. from the University in recognition of her Professor Mason's discography includes contributions as a scholar and teacher. the music of Bach, Handel, Pachelbel, and Through these years, Professor Mason has many contemporary composers on the Colum­ made numerous appearances in Musical Soci­ bia and Musical Heritage labels. Recently, ety concerts as both organist and harpsichord­ Professor Mason was awarded a Rackham ist. Detroit Symphony Orchestra Neeme Jarvi, Music Director Music directorship endowed by the Kresge Foundation Leslie B. Dunner Erich Kunzel Eric Freudigman Associate Conductor Pops Music Advisor Director of Choruses Robert S. Miller, Jr. Mark Volpe Chairman of the Board Executive Director

First Violins Cellos Bass Clarinet Emmanuelle Boisvert halo Babini+ Oliver Green Concertmaster )ames C. Gordon Chair Bassoons Katherine Marcy Chanteaux+ + Tuck Chair Robert Williams+ John Thurman John Hughes Victoria King Mario Associate Concertmaster DiFiore Paul Ganson+ + Robert Joseph Goldman A. Bergman' Lyell Lindsey Barbara Assistant Concertmaster Hassan Debra Fayroian' Contrjbassoon Walker LCisler/Detroit Lyell Lindsey Edison Foundation Chair Carole Gatwood' French Horns Beatriz Budinszky* Haden McKay' Eugene Wade+ Marguerite Deslippe' Paul Wingert* Bryan Kennedy Derek Francis Basses Corbin Wagner Alan Gerstel Robert Gladstone+ Willard Darling Elias Friedenzohn' Stephen Molina + + Mark Abbott+ + Malvem Kauftnan" Maxim Janowsky Keith Vernon Richard Margitza' Linton Bodwin Bogos Mortchikian" Stephen Edwards Trumpets Linda Snedden-Smith" Craig Rifel Ramon Parcells+ Ann Strubler' Donald Pennington Kevin Good LeAnn Toth' Marshall Hutchinson Alvin Belknap+ + Margaret Tundo* Richard Robinson William Lucas Second Violins Harp Trombones Geoffrey Applegate+ Patricia Masri-Fletcher+ Nathaniel Gurin# Felix Resnick+ + WinifredE. Polk Choir Joseph Skrzynski Alvin Score Flutes Randall Hawes Lillian Fenstermacher Ervin Monroe+ Bass Trombone Ronald Fischer* Women's Association Randall Hawes Lenore Sjoberg" for the DSO Chair Tufca Shaul Ben-Meir Walter Maddox Wesley Jacobs+ Roy Bengtsson* Robert Patrick+ + Clement Barone Timpani Thomas Downs Salvatore Rabbio+ Piccolo Yien Hung' Robert Pangborn+ + Robert Murphy* Clement Bartone Percussion Jacob Robbins" Oboes Robert Pangbom+ Bruce Smith" Donald Baker+ Norman Fickett+ + Joseph Striplin' Shelley Heron Raymond Makowski James Waring' Brian Ventura+ + Sam Tundo Caroline Braxton* * Treva Womble Librarians Violas English Horn Elkhonon Yoffe Alexander Mishnaevski+ Treva Womble Charles Weaver, Assistant James VanValkenburg++ Clarinets Personnel Managers Philip Porbe Theodore Oien+ Oliver Green LeRoy Fenstermacher Robert B. Sempk Hart Hollman Choir Stephen Molina, Associate Walter Evich Douglas Cornelsen Gary Schnerer Laurence LibersonH- + + Principal + + Assistant Catherine Principal Compton Oliver Green # Acting Principal David Ireland Stephen Millen## ## Orchestra Fellow Glenn Mellow E-Flat Clarinet These members may voluntarily Darryl Jeffers Laurence Liberson revolve seating within the section John Madison## on a regular basis. * Substitute in an unfilled vacancy. Metropolitan Opera Orchestra

A Benefit Concert for the University Musical Society

JamesLevine JessyelMorman

30 April 1991 Eight o'clock Hill Auditorium

Benefit Concert Ticket Prices (Tax-deductible contributions listed in parentheses./ Ludwig van Main Floor $200($144) Scene and Aria, Ah, Perfido!, Op.65 Includes Post-concert Champagne Reception $150($114) $75 ($46) Berg $50 ($21) Three Pieces for Orchestra, Op.6 $1,000 ($885) Includes Pre-concert Dinner at Escoffier Intermission and Post-concert Champagne Reception

First Balcony Richard Strauss $125($90) Le Bourgeois Gentilhomme Suite, Op.60 $50 ($22)

Second Balcony $75 ($50) Richard Wagner $25 ($5) "Immolation" Scene from Go'tterdammerung

Reservations for this gala evening are being taken now! Please place your University Musical Society telephone order by calling of The University of Michigan 313.764.2538. Burton Memorial Tower Ann Arbor. Michiaan 48109-1270 Gewandhaus Orchestra of Leipzig Kurt M a s u r, c o n d u c to r

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

Pro grams

We dnesday, May 1 Sibelius: Violin Concerto in D minor (Midori) Mendelssohn: Symphony No. 3, "Scottish"

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

Friday, May 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

Series Jr r ices — All Jr our L^oncerts

Block A $130 Block C $90 Block B $105 Block D $65 Tickets to individual concerts on sale March 1, 1991

Music Happens Here 313.764.2538 Monday-Friday 10:00 a.m. to 6:00 p.m. Saturday 10:00 a.m. to 1:00 p.m. University Musical Society of The University of Michigan Burton Memorial Tower Ann Arbor. Michigan 48109-1270