UNIVERSITY MUSICAL SOCIETY

in association with Manufacturers Bank STATE SYMPHONIC KAPELLE OF (formerly the Soviet Philharmonic)

GENNADY ROZHDESTVENSKY Music Director and Conductor

VICTORIA POSTNIKOVA,

Saturday Evening, February 8, 1992, at 8:00 Hill Auditorium, Ann Arbor, Michigan

The University Musical Society is grateful to Manufacturers Bank for a generous grant supporting this evening's concert.

The box office in the outer lobby is open during intermission for tickets to upcoming concerts.

Twenty-first Concert of the 113th Season 113th Annual Choral Union Series PROGRAM

Russian Easter Festival Overture, Op. 36 ...... Rimsky-Korsakov

Piano Concerto No. 3 in D minor, Op. 30 ...... Rachmaninoff

Allegro ma non tanto Intermezzo: Adagio Finale: Alia breve

Viktoria Postnikova, Pianist

INTERMISSION

Orchestral Suite No. 3 in G major, Op. 55 ...... Tchaikovsky

Elegie Valse melancolique Scherzo Theme and Variations

The pre-concert carillon recital was performed by Bram van Leer, U-M Professor of Aerospace Engineering.

Viktoria Postnikova plays the Steinway piano available through Hammell Music, Inc. Livonia. The State Symphonic Kapelle is represented by Columbia Artists Management Inc., New York City. Russian Easter Festival Overture, Sheherazade, Op. 35. In his autobiography, My Musical Life, the composer said that these Op. 36 two works, along with the Capriccio espagnoie, NIKOLAI RIMSKY-KORSAKOV (1844-1908) Op. 34, written the previous year, "close a imsky-Korsakov came from a period of my work, at the end of which my family of distinguished military orchestration had attained a considerable and naval figures, so it is not degree of virtuosity and warm sonority with­ strange that in his youth he de­ out Wagnerian influence, limiting myself to cided on a career as a naval the normally constituted orchestra used by officer.R Both of his grandmothers, however, Glinka." These three works were, in fact, his were of humble origins, one being a peasant last important strictly orchestral composi­ and the other a priest's daughter. The com­ tions; after these, in his last twenty years he poser claimed to have inherited from them only wrote occasional suites based on the his love for folk songs and for religious various operas that occupied his creativity. ceremonies, both of which are aspects that He also went on to explain in his autobiog­ figure highly in much of his music. After raphy that in order to fully appreciate his three years in the Russian Navy, Rimsky- Opus 36 overture, it was necessary to have Korsakov became, in his own words, "an attended the Russian Easter morning service officer-dilettante, who sometimes enjoyed at least once, and in a cathedral thronged playing or listening to music." It was only with people from every walk of life, with through the influence and guidance of his several priests the cathedral ser­ friend, the composer Mily Balakirev, that the vice. Failure to having been a witness to such young Rimsky-Korsakov dedicated himself to a religious ceremony, however, does not becoming a "serious" composer. preclude the listener from reveling in Rimsky- Following the style established by Korsakov's felicitous flow of ideas and sump­ , Balakirev and Rimsky- tuous orchestration. Korsakov united in their aim with composers The composer's analysis of his overture Alexander Borodin, , and helps us to understand the poetic content of Cesar Cui to create a nationalist school of this music: "The overture combines reminis­ Russian music. This group of composers, with cences of the ancient prophecy, of the gospel Balakirev as the mentor of the other four narrative and also a general picture of the younger composers, was known as "The Easter service with its pagan merrymaking. Five," and later along with Glinka and "The rather slow introduction of the Alexander Dargom'izhsky became known theme of 'Let God Arise!' alternating with as Moguchaya kuchka ("The Mighty the ecclesiastical theme 'An angel wailed,' Handful") in recognition of their nationalist appeared to me, in its beginning, as it were, efforts to maintain their musical the ancient Isaiah's prophecy concerning the "independence" from the basically Ger­ resurrection of Christ. manic, Western European conservative ap­ "The gloomy colors of the andante proach to composition, of which their lugubre seemed to depict the holy sepulcher contemporary Tchaikovsky and, later, that had shone with ineffable light at the Rachmaninoff were the highest exponents. It moment of the resurrection in the transi­ should be noted that the conservatives were tion to the allegro of the overture. The often influenced by their nationalist counter­ beginning of the allegro, 'Let them also that parts, and, in turn, Rimsky-Korsakov hate Him flee before Him,' led to the holiday "borrowed" at times from the German tradi­ mood of the Greek Orthodox Church service tion and eventually absorbed influences from on Christ's matins; the solemn trumpet voice Wagner. of the Archangel was replaced by a tonal In Czarist , the observance of reproduction of the joyous, almost dancelike Easter included various features that were bell-tolling, alternating now with the con­ pagan in origin. Rimsky-Korsakov was deeply ventional chant of the priest's reading the impressed with the legendary and heathen glad tidings of the Evangel. The obikhod side of the holiday. He wrote his Russian theme, 'Christ is arisen,' which forms a sort Easter Festival Overture, Op. 36, in the of subsidiary part of the overture, appeared summer of 1888, the same period in which amid the trumpet blasts and the bell-tolling, he composed perhaps his most famous work, constituting also a triumphant coda." Rimsky-Korsakov prefaced the orches­ Third. In that time, however, his skills as a tral score with two verses from Psalm 68, "Let composer had been honed, to the point that God Arise, let His enemies be scattered," the procedures holding the Third Piano Con­ etc., and by a reference to the sixteenth certo together go beyond those used in its chapter of St. Mark: the empty tomb of Christ C-minor predecessor. Among Rachman­ is discovered on the morning of the resurrec­ inoff's five compositions for piano and orches­ tion. To these quotations, Rimsky-Korsakov tra the four Concertos and the Rhapsody added the following: "And the joyful tidings on a Theme ofPaganini — the were spread abroad all over the world, and No. 3 in D minor, Op. 30 is unquestionably they who hated Him fled before Him, van­ the finest, as well as one of the most brilliant ishing like smoke. Resurrexit! sing the choirs and difficult in the entire Romantic concerto of the angels in heaven, to the sound of the repertoire. The Opus 30 Concerto is not only Archangels' trumpets and the fluttering of the the most ambitious in terms of the demands wings of the Seraphim. Resurrexit! sing the made on the pianist, but it also is the best priests in the temples, in the midst of clouds structured and orchestrated. In addition, its of incense, by the light of innumerable can­ thematic content and its expert handling of dles, to the chiming of triumphant bells." the same are of the highest order. If the The score bears the composer's dedica­ pianist is required to have impeccable tech­ tion to the memory of his friends Modest nique and a great amount of stamina to Mussorgsky and Alexander Borodin. perform this work, so does the orchestra as well as the conductor need to be extra Piano Concerto No. 3 alert and flexible, not to mention dexterous. Furthermore, there are not many other con­ in D minor, Op. 30 certos where the term "symphonic" could be (1873-1943) better applied, in which the solo instrument achmaninoff is remembered and and the orchestra are so thoroughly integrated loved as one of the greatest pia­ as in this work. nists of the twentieth century. Rachmaninoff completed the Piano He was born to an aristocratic Concerto No. 3 in D minor in the summer family and, as a child of nine, of 1909 at his country estate at Ivanovka. The enteredR the St. Petersburg Conservatory. composer himself said that "it was written for Three years later, he transferred to the Con­ America, [but] I had not found much time servatory at Moscow, from which he gradua­ for practicing and was not familiar enough ted with a Gold Medal in 1892. That same with some passages, [so] I took a dumb piano year he started on a long concert tour of on the ship and practiced during the jour­ Russia and appeared in London in 1899 as ney." Rachmaninoff's first American tour composer, conductor, and pianist. He paid began that year on November 4; during this his first visit to the United States in 1909 and tour with the Boston Symphony Orchestra, wrote his Third Piano Concerto for that he was featured as composer, pianist, and occasion. Various inducements to stay failed conductor, leading the orchestra in his own to tempt him, and he returned to live in Second Symphony and tone poem The Isle of Moscow. In 1917, however, the Russian the Dead, and giving numerous recitals of his Revolution drove him abroad, and he was own music. The Third Piano Concerto was never to see his native country again. He premiered on November 28 with the New spent most of the rest of his life in the United York Symphony Orchestra under Walter States and Switzerland and, rather unwill­ Damrosch with the composer at the piano; it ingly, continued to travel widely in Europe was also performed later in the season with and America giving piano recitals. His con­ the New York Philharmonic, conducted by tribution to the piano literature is significant Gustav Mahler. Regarding the latter perfor­ and, although his works are difficult and mance, the composer confided to his biogra­ demanding to the performer, they are partic­ pher, Oskar von Riesemann: "At that time, ularly rewarding to the listener and practi­ Mahler was the only conductor whom I tioner alike. considered worthy to be classed with Nikisch. Eight years elapsed between He touched my composer's heart straightaway Rachmaninoff's immensely popular Second by devoting himself to my Concerto until the Piano Concerto (1901) and the magnificent accompaniment, which is rather compli- cated, had been practiced to the point of played over the waltz-like rhythm of the perfection, although he had already gone strings and brilliant triplet figurations on the through another long rehearsal. According to piano. After an orchestral coda, the piano Mahler, every detail of the score was impor­ bursts in with a seven-measure bravura pas­ tant an attitude too rare among conduc­ sage which leads directly into the finale. tors." The glittering and mercurial third As Otto Kinkleday the annotator movement is marked Alia breve. For the most for the first New York performances wrote, part the proceedings exhibit a fast and ner­ stressing "the composer's place in the lineage vous march-like mood, but passages derived of Tchaikovsky," the Third Piano Concerto from the first movement provide lyrical con­ is "Russian throughout, Russian in its melodic trasts. The piano presents the bell-like main conception, in its rhythms, and in the robust, theme of Russian character, and the rhythmic virile qualities even of its gentler passages." motive from the first movement is recalled. The Allegro, ma non tanto first move­ The second theme takes the form of a com­ ment begins with the piano stating the first plex harmonic progression initially played by theme, Slavic in mood, against a rhythmic both orchestra and soloist, with the rhythmic pulse in clarinets, bassoons, and lower strings motive still making its presence felt. Soon a that acts like a rhythmic leitmotif throughout melody blossoms, based on the transitional the score. Subsequently, the main theme is passage of the first movement. The develop­ taken over by the horns and violas, as the ment section is extremely elaborate, both piano plays arpeggios. A transitional passage texturally and harmonically, reaching a which will be heard later transformed into rhythmically and dynamically tense climax. a lyrical theme in the last movement leads This leads to a highly virtuosic cadenza, after to the second theme, presented by the strings which the lyrical theme reaches its utmost playing staccato. This theme is subjected to and grandest expression as the Concerto ingenious development as it is heard variously reaches its conclusion in a blaze of glory. as a march episode, a chorale for the piano, and finally as a grand lyrical melody. A Orchestral Suite No. 3 brilliant cadenza concludes the development in G major, Op. 55 section. After a fortississimo climax derived PIOTR ILYICH TCHAIKOVSKY (1840-1893) from the second theme, a striking episode ensues in which the piano performs ara­ chaikovsky wrote four orchestral besques against the main theme played by suites between the ten years that solo woodwinds and horn. Following the elapsed between his Fourth Sym­ second theme on the piano and the initial phony (1877) and the Fifth Sym­ rhythmic motive in the orchestra, the soloist phony (1887). Although these provides a final statement of the main theme. suitesT are admittedly lighter and perhaps less A short coda concludes the movement. intellectually oriented than his symphonies, The second movement is referred to in they all exhibit the composer's mastery of the score as an Intermezzo bearing the tempo thematic control and orchestration. With the marking of Adagio, but it is far more expan­ abundance of ingenious orchestral effects and sive than its title would lead one to believe. coloring, much of the music in the first three This is, in fact, a set of variations on a theme suites comes close to the style of his famous in which the music explores new harmonic ballets: , Sleeping Beauty, and territories. The theme is a lugubrious melody Sman Lake. The one exception to this light­ initiated by the strings and presented in its weight style is the final movement of the entirety by the oboe. Abruptly, the piano Third Suite, taking the form of a "Theme and enters, bringing about a rhapsodic mood, Variations" and built on a larger symphonic with determined chromaticism and conflict­ scale. The Fourth Suite, bearing the nick­ ing rhythms (three against four, three against name "Mozartiana," is in an entirely different five, and five against eight). The piano then category, as it consists basically of presents several variations of the theme, each Tchaikovsky's orchestrations of diverse small becoming more and more elaborate in orna­ piano pieces by Mozart. mentation. A sudden scherzo-like passage The Suite No. 3 in G major, Op. 55, interrupts the proceedings with a new, syn­ was written in 1884, during a period of five copated melody in the clarinet and bassoon, weeks. At first, his entries in his diary and letters to his brother Modest indicate great flutes and clarinets. This is all repeated with concerns about his work: "Tried to lay the fuller orchestration, leading to a middle sec­ groundwork of a new symphony, working tion full of colorful devices. After a short indoors and out in the woods. Not really recapitulation of themes, the movement satisfied. Took a stroll in the garden and comes to its conclusion. sowed the seeds not of a future symphony but Like the preceding movement, the of a Suite. My ideas are somewhat thin and Scherzo, marked Presto, is built upon an banal. I am, in general, passing through a A-B-A structure. The orchestration, for the period of doubt in my creative powers." first time, features trombones and percussion Finally, his diary indicates that the composer instruments other than the timpani; the trum­ was pleased with his work, with one last pets also return for this movement. The color comment on the piece: "Finished the Suite provided by this orchestration, however, is . . . sauntered about the garden and the marked by its deftness and restraint. The first square before dinner. Wonderful evening." A theme, in 6/8 meter, brings to mind a lively month later, he wrote to his publisher, "A tarantella. The second theme, in 2/4 meter work of greater genius than my new Suite and of syncopated nature, is presented by the never was!!! My opinion of a newborn com­ violas. The middle Trio section is character­ position is always so optimistic. What I shall ized by its striking and delicate instrumental think in a year's time, God only knows." effects. The first section is then recapitulated, Tchaikovsky's optimism was not misplaced, but at a much quieter dynamic, this time as the work was received with great acclaim exhibiting a distant martial air that tends to at its first performance, with the composer in restrain the previous carefree mood. attendance. To his patroness Nadezhda von The last movement, Theme and Varia­ Meek, Tchaikovsky wrote: "I could see that tions, utilizes the largest instrumental forces the entire audience was moved and grateful yet, adding a tuba and more percussion in­ to me. Such moments are the finest orna­ struments to the orchestral texture. The ments of an artist's life. For their sake it is theme, marked Andante con motto, is pre­ worth living and laboring." Since its pre­ sented by the first violins, to the light accom­ miere, led by Hans von Billow on January 24, paniment of the rest of the strings. Twelve 1885, the work has been greeted enthusiasti­ variations follow: cally by audiences around the world. Variation I (Andante con motto) The Each movement employs a different strings play the theme, pizzicato, against the instrumentation. The beginning Elegie, counterpoint of clarinets and flutes. marked Andantino molto cantabile, is written Variation II (Molto f>tu mosso) The for three flutes, pairs of oboes, clarinets, and theme is disguised under the perpetuum mobile bassoons, an English horn, four horns, two ornamentation of the violins. Woodwinds trumpets, timpani, harp and strings. Structur­ and horns provide the accompaniment. ally, this elegy approaches sonata principle Variation III (Andante con motto) A within its free rondo form. Its main recurring woodwind septet in which the first flute has theme is a flowing cantabik melody, which is the theme, except when it is taken over not quite as sad as an elegy would lead us to momentarily by the second clarinet. expect. The second theme is equally expres­ Variation IV (Andante con motto) sive. A short development section in the form With a change of key to B minor, the entire of an intermezzo ensues, followed by a reca­ orchestra enters for the first time. Other than pitulation in reverse order. A solo for the the change of mode from major to minor, the English horn brings on the short coda that theme receives no elaboration here, while it ends the movement. passes through various orchestral combina­ Marked Allegro moderate, the Valse tions. melancolique that follows eliminates the trum­ Variation V (Allegro risoluto) The pets and harp from the previous movement. music returns to the original key of G major, The three flutes in unison, and in their lowest but changes the meter from 4/8 to 3/4. This register, present the first theme, continuing brief, albeit elaborate, fugato treatment of the in an agitated manner to provide a link to theme provides an ingenious scherzo-like ep­ the second theme. Given to the violins and isode. violas, this next slowly-flowing theme is Variation VI (Allegro vivace) With heard against the counterpoint provided by a change to 6/8, violas, cellos, clarinets, and a bassoon in unison bear the theme against Variation XI (Moderate mosso) A staccato chords from the rest of the orchestra. majestic version of the theme is heard in the The violins take over the theme for the key of B minor, and played by violins and middle section. flutes. This is played against a tonic pedal Variation VII (Moderate) A short point in the bass, which only relents toward woodwind chorale in 2/4 meter utilizes the the end as a link is formed to lead into the first part of the theme only. final variation. Variation VIII (Largo) Arriving Variation XII (Moderate assai - from the previous variation without a break, Tempo di polaca, molto brillante) The last an expressive English horn solo is heard over variation is a movement unto itself, lasting the chordal progression provided by divided almost as long as all the preceding variations violins, playing tremolando. combined. After a dramatic crescendo in the Variation IX (Allegro molto vivace) lengthy introduction, a dynamic grand polo­ Once again, there is no break between this naise ensues with great ceremony. Trumpets variation and the preceding one. In A major and trombones offer fragments of the theme and 2/4 meter, the entire orchestra partici­ as the violins and violas supply a contrasting pates in this dance-like episode. The tempo melody. After portions of the introduction quickens, and a cadenza for solo violin pro­ and the polonaise are repeated, there is a vides a connection to the next variation. relentless build up to a spectacular climax as Variation X (Allegro vivo e un poco theee work reaches its conclusion. rubato) The solo violin again is prominent, supported by a chordal accompaniment. The Notes by Edgar Colon'Hemdndez middle section features the woodwinds, and a brief violin cadenza concludes this varia­ tion. About the Artists

he State Symphonic Kapelle (formerly the Soviet Philhar­ monic) is currently on a 42-con- cert world tour that began in , Austria, and Spain, continuingT across the North American con­ tinent, and concluding in Japan and Taiwan. The tour marks the orchestra's debut in the United States. Founded in 1981 for and conducted by him since its inception, the State Symphonic Kapelle represents the highest standards of Russian orchestral tradition. Along with concerts and extended tours, the orchestra's main focus is an ever-expanding repertoire on re­ cordings. This repertoire is unusually varied, ranging from Monteverdi to Suppe, from Glazounov to Schoenberg, and from Massenet to Shostakovich. Maestro Rozhdestvensky's long-stand­ ing reputation as a specialist in twentieth- century music has been a determining factor in his work with the orchestra. Their record­ ings of twentieth-century works include bal­ lets by Prokofiev, the opera Violin of Rothschild by Fleishman, and Avet Terteryan's Fourth ne of the finest conductors of and Fifth Symphonies. Under Rozh­ our time, Gennady Rozh­ destvensky's leadership, the ensemble has destvensky is renowned for begun a recording project that will encompass both his virtuosic precision all of the major orchestral works in the and his artistic insight. Hailed Russian repertoire, including the symphonies byO the New York Times as "a brilliant conduc­ of Shostakovich and Prokofiev. The orches­ tor," he was Chief Conductor of the BBC tra is also recording the complete collection Symphony Orchestra from 1978 to 1982 and of extant Bruckner symphony manuscripts has served as Chief Conductor of the Vienna a total of 18 different orchestral works. Symphony Orchestra. Mr. Rozhdestvensky Originally known as the Orchestra of became the first Soviet conductor permitted the Ministry of Culture of the U.S.S.R. and to hold a top post with a Western orchestra, later as the Soviet Philharmonic, recent when he was named Music Director of the policital upheavals have necessitated yet an­ Stockholm Philharmonic in 1974. Since other name for this ensemble the State 1990, he has resumed his association with the Symphonic Kapelle of Moscow. The orches­ Stockholm Philharmonic. tra plays an important role in the musical life In addition to his international activi­ of Moscow and also performs at numerous ties, Gennady Rozhdestvensky maintains a Russian festivals, including the Russian Win­ vital career at home. He has been Chief ter Festival, the Moscow Autumn Festival, Conductor of the Moscow Chamber Music and the (former) All-Union Festival of Soviet Theater, where he has presided over produc­ Music in Tallin. The orchestra has appeared tions of rarely performed classic and contem- in critically acclaimed concerts in Germany, porarys works. In 1981, he realized a life-long Belgium, France, Switzerland, and Austria. ambition to create his own orchestra, the Along with extensive touring throughout the Orchestra of the Ministry of Culture of the in 1991, the orchestra also U.S.S.R., which was renamed the Soviet appeared with great success in Spain and in Philharmonic, and is now the State Sym­ Turkey at the Istanbul International Festival. phonic Kapelle. Under his leadership, this ensemble has begun a recording project that vision Symphony Orchestra from 1963 to will encompass all of the major orchestral 1974, first as principal conductor and later as works in the Russian repertoire, including the both artistic director and chief conductor. In symphonies of Shostakovich and Prokofiev. 1966, he was named People's Artist of the The orchestra is also recording the complete U.S.S.R. Upon receiving the Lenin Prize in collection of extant Bruckner symphony 1970, he left the Bolshoi Theater in order to manuscripts. devote himself to symphonic conducting. In Maestro Rozhdestvensky's repertoire 1976, he was appointed a professor of the features approximately 1,500 works, more . than 450 of which he has recorded. A An accomplished pianist, Gennady proponent of new music, he has championed Rozhdestvensky frequently gives chamber the efforts of and other music performances with his wife, pianist contemporary Soviet composers. Rozh- Viktoria Postnikova. destvensky is also noted for his interpretations of works by Stravinsky, Schoenberg, Berg, Milhaud, Honegger, and Poulenc. Mr. Rozhdestvensky made his Ameri­ can symphonic debut in 1962 as guest con­ ductor of the Leningrad Philharmonic on that orchestra's debut tour of the United States. He returned to North America during the 1973-74 season, when the Leningrad Philhar­ monic performed in a concert honoring United Nations Day, and when he made his Ann Arbor debut in November 1973. He first led American orchestras in the fall of 1974, as guest conductor with the Chicago Symphony and The . He has since appeared many times with the symphony orchestras of Boston, Chicago, Cleveland, and Los Angeles. Gennady Rozhdestvensky was born in 1931 into a celebrated Moscow family. His father, , was a conductor, and his mother, Natalya Rozhdestvenskaya, a singer. He began piano studies at the age of eight. In 1949, he entered the Moscow State Conservatory to study conducting with his father and piano with . At the age of 21, he competed in a conducting competition and was awarded an assistant conductorship at the Bolshoi Theater. The following year, while still a student, he be­ came full conductor. His first American appearance was in the pit of the Bolshoi Ballet on the company's first United States visit, and his British debut in London was also made on tour with the Bolshoi. From 1964 to 1970, Mr. Rozh­ destvensky served as principal conductor of the Bolshoi Theater, where he conducted both opera and ballet, including the Russian premieres of Britten's A Midsummer Night's Dream and Khachaturian's Spartacus and the Bolshoi premiere of Prokofiev's War and Peace. He also led the Moscow Radio-Tele­ iktoria Postnikova first cap­ phia orchestras, the Concertgebouw, the tured the attention of the inter­ Czech Philharmonic, London Symphony, Vi­ national music world as a prize enna Philharmonic, and the Orchestre de winner at the 1965 Interna­ under the direction of such distin­ tional Chopin Competition in guished conductors as John Barbirolli, Adrian VWarsaw and the 1966 competition in Leeds. Boult, , Yuri Temirkanov, and In 1968, she won First Prize in the Vianna Gennady Rozhdestvensky, with whom she da Mota Competition in , Portugal, has also performed many times as a piano duo. and in 1970, Third Prize at the Tchaikovsky Highlights of Ms. Postnikova's 1991-92 sea­ International Competition in Moscow. son include performances with the New York "Postnikova is a rare virtuoso," wrote the Philharmonic and the State Symphonic Yorkshire Post after her first tour of England, Kapelle. noting her "superior palette of tones, the Viktoria Postnikova was a pupil of the thrilling power of her playing, the amazing musician and pedagogue Jacob Flier. During totality of conception." Her repertoire ranges the years 1962-67, she participated in his class from Scarlatti, Bach, and Handel through the at the Moscow Conservatory, followed by two Viennese and Romantic classics to Charles years as a graduate student. She now lives in Ives, Berg, Shostakovich, and Schnittke. Moscow with her husband and son, Alexan­ She has an extensive discography as well. der, a rising young violinist who made his Ms. Postnikova has performed to criti­ debut at the Tanglewood Music Center in cal acclaim in Bulgaria, West Germany, Po­ August 1986. land, Czechoslovakia, Romania, England, The pianist makes her second Ann France, Greece, Germany, Italy, Finland, Arbor appearance this evening after perform­ Belgium, Holland, the Scandinavian coun­ ing the Prokofiev Second Concerto in the tries, South America, the United States, November 1973 concert with the Leningrad Canada, and Japan. She has performed and Philharmonic under the direction of her hus­ recorded with the world's leading orchestras, band, Maestro Rozhdestvensky. including the Boston, Chicago, and Philadel­ R T U O S O

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Bank where business banks. Member FDIC State Symphonic Kapelle of Moscow VIOLIN I Labutin I.S. TRUMPET Shanin A. A. Dediukhin D.A. Pushkarev V.I. Shanina T.B. Denjak A.Yu. Khanin M.M. Levina L.V. Slavinsky I.N. Tuzov P.N. Kronshtadsky-Karev JulevV.B. Shulgin V.B. I.V. Chernysheva M.A. Shteinman I.I. ObeschenkoR.V. Kobernik LA. Rutkovsky O.N. Berman M.I. Labutina E.A. TROMBONE, Polonskaya L. L. TUBA GolubenkooN.S. GaleevR.K. DOUBLE BASS Alekseev A.I. Irkhin I.I. Volodina M.V. Kalashnikov V.I. Chuvakhin D.L. Didorenko S.A. Vasilev N.I. Shevnin N.P. Kostyleva T.A. Agadjanov A.V. Gorbenko V.A. Klavir G.A. Serdiukov A. A. Tikhonov S.V. Makarova K.N. Jadanov E.O. Nikulin A.V. Alexandrova O.M. Starodubtseva N.I. Svirkov A.N. HORN, Fadeev M.V. Ryjikov A.V. CLAVICHORDS KiselM.F. Paramonova S.V. VIOLIN II Dykhnenko G.B. Meschaninov P.N. Kuzanian M.P. FLUTE KavichYu.Ya. Lukianova S.P. Lozben I.V. Sivankov V.G. Lundin I.V. Silkin G.A. Yagudin V.Yu. PERCUSSION ChepurnovaN.D. Seleznev E.G. Solovev S.V. BurovN.K. Jestyrev A.S. Sidorkina M.A. OBOE Pavlov S.I. Fedorova I.E. Shubin Yu.V. Lysenko A.G. Shikora V.V. Popov A.S. Ampleev S.I. Goncharov E.V. Kniazkov Yu.A. Gordienko O.A. Kuzmina Yu.I. Shilin N.N. Nikolaenko A.G. ADMINISTRATIVE Pavlova L.E. CLARINET AND TECHNICAL Popova V.N. STAFF Semenov M.E. SchenkovP.V., VIOLA Cress S.V. Foevets K.O. Orchestra Director Mnojina O.S. Tan too v O.I. Vasilev N.A., MakshantsevN.I. Inspector Minina N.I. Vedenin S.A. Silkin G.A., Kalacheva G.T. Chief Administrator Viatkin A.F. BASSOON AndrianovaT.N. Popov V.S. Bukareva N.V., Administrator Kabirov R.N. Sizov A.B. Levkoeva A. A. Popov A.V. Kalinin D.P., Nasedkin I.G. Malayan E.A. Librarian Alekseev O. Yu. ChigirT.V., Komonov K. P. HORN Costumier Kondrashina S.I. Sharapan A.N. KhalinS.A., Makshantseva A.N. Melnikov L.Ya. Stage Crew Romanov A. A. PokhodenkoV.V., CELLO Dobroslavsky A.M. Stage Crew Mnojin S.S. Kuznetsov D.A. Komashenko A. P. Shirokov G.V.