UMS PRESENTS St. Petersburg Philharmonic Artistic Director and Principal Conductor

Denis Kozhukhin,

Saturday Evening, February 22, 2014 at 8:00 Hill Auditorium • Ann Arbor

57th Performance of the 135th Annual Season 135th Annual Choral Union Series Photo: The Church of the Savior on Spilled Blood is reflected in melting ice on Arts Square in central St. Petersburg; photographer: Alexander Demianchuk. 29 30 St. Petersburg Philharmonic Orchestra WINTER 2014 ums Arr. Maximilian Steinberg Nikolai Rimsky-Korsakov, PROGRAM Special thanks to Mark Clague,associate professor of music,U-MSchoolof Music, Theatre &D D Special thanks to Steven Whiting,professor of musicandassociate dean,U-MSchoolof Music, Theatre & Media partnership isprovided by WGTE 91.3FMandDetroit Jewish News. Additional supportprovided by theMedical Community Endowment Fund. This evening’s performance ishosted by MC3,N …al niente Giya Kancheli Intermission for PianoandOrchestra N Piotr Ilyich Tchaikovsky S N St. Petersburg Philharmonic Orchestra andMr. Kozhukhin appearby arrangement withOpus3Artists, The current tour of theSt.Petersburg Philharmonic Orchestra issupported by Title Partner Gazprom-N Special thanks to KippCortez for coordinating thepre-concert musicon the Charles Baird Carillon. lobby floral art for this evening’s performance. Special thanks to Tom Thompsonof Tom ThompsonFlowers, AnnArbor, for hisgenerous contribution of speaking atthisevening’s Medical Community Dinner. Fevroniya ance, for speakingatthisevening’s Prelude Dinner. ew York, NY. uite from Legend of theI dedicated to Yuri Temirkanov Allegro con fuoco Andantino semplice Allegro nontroppo emolto maestoso Prelude —HymnealaN La bataille deKerjenetz Cortege nuptial. L Mr. Kozhukhin, Piano

’invasion desTartares

ature nvisible Cityof Kitezh andtheMaiden ancy andJames Stanley, andJay Zelenock andFamily. o. 1inb-flatminor, Op.23 ance, for eft. be present WINTER 2014 31 ,” perhaps to give an an give to perhaps ,” … Parsifal When it first became known in the West in the West When it first became known long ago), Rimsky- that (which was not Legend opera, penultimate Korsakov’s City of Kitezh and the of the Invisible “the , was dubbed Maiden Fevroniya Russian of this of the importance indication the gem. True, long-neglected operatic and parallels, Wagnerian has many opera for: the opening, only with Parsifal not modelled on instance, is unmistakably Siegfried. The from Murmurs” the “Forest images, nature combines opera entire the motif religion, and, in particular, inevitably that way a in redemption of Yet with Wagner. associations evokes there is also a strong Russian and Oriental and the style on the present, folk element Wagnerian. called be hardly can whole

seat our ussia n 1905: y…I (1903–05) y ’re in ou first performed first Salomé Strauss’s evolution; War between R between War evolution; ussian R La Mer and Mer La The Hungry Lion Throws Lion The Hungry ousseau paints

Together, they represent a classical tradition which is an inalienable part of the part which is an inalienable tradition a classical represent they Together, This was in the 1860s. Thirty years later, the situation was quite different: of the different: was quite the situation later, years Thirty This was in the 1860s.

The House of Mirth of publishes The House dith Wharton The First R The First ebussy’s Debussy’s with five mirabilis annus Albert Einstein’s physics that revolutionized publications and Japan E R Henri on the Antelope Himself

Maiden Fevroniya Invisible City of Kitezh and the and Kitezh of City Invisible or even rebelled against it. against rebelled or even Union — no matter how much those generations may have departed from the tradition departed have may those generations much how Union — no matter background of subsequent generations of from what used to be the Soviet Soviet the be to used what from composers of generations subsequent of background

between these two masters had receded into the past. masters had receded into these two between colleague’s memory. By that time, whatever aesthetic differences had existed before had existed differences aesthetic time, whatever By that colleague’s memory. Korsakov, now the undisputed dean of Russian composers, always cherished his always dean of Russian composers, undisputed the now Korsakov, untouched by professional jealousy. After Tchaikovsky’s death in 1893, Rimsky- in 1893, death Tchaikovsky’s After professional jealousy. by untouched 1880s and ’90s, he and Tchaikovsky entertained cordial relations, even though not though even cordial relations, entertained Tchaikovsky 1880s and ’90s, he and at the very conservatory which he and his friends had previously disparaged. In the disparaged. had previously which he and his friends conservatory the very at amateur to consummate professional, and became the leading professor of composition professional, and became the to consummate amateur increasingly marginalized. Rimsky-Korsakov alone made the transition from talented from alone made the transition Rimsky-Korsakov increasingly marginalized. from the musical scene, and Cui, never an important to begin with, was to begin with, composer an important Cui, never scene, and from the musical members of “Five,” Mussorgsky and Borodin had died, Balakirev had largely withdrawn had largely withdrawn Balakirev and Borodin had died, Mussorgsky of “Five,” members

as lacking authenticity as a Russian composer. as lacking authenticity the Conservatory, was steeped in the European classics and therefore seen by the “Five” seen by classics and therefore in the European was steeped the Conservatory, having an overly Western orientation. Piotr Tchaikovsky, one of the first graduates of graduates first the of one Tchaikovsky, Piotr orientation. Western overly an having of suspicion the newly-founded St. Petersburg Conservatory which they perceived as perceived they which Conservatory St. Petersburg the newly-founded of suspicion (also known as the “Russian Five”), regarded with a great deal a great regarded with “Russian Five”), as the (also known Handful in the Mighty life as a naval officer, largely self-taught in music who, together with his colleagues who, together in music largely self-taught officer, life as a naval represented opposite tendencies in Russian music. The former started his professional The former started Russian music. tendencies in opposite represented As young men, Nikolai Rimsky-Korsakov and Piotr Tchaikovsky (born four years apart) years (born four Tchaikovsky and Piotr Rimsky-Korsakov Nikolai men, As young y that Now • of Histor Snapshots The Legend of the Invisible City of Kitezh The Legend of the Invisible UMS premiere: Music from Rimsky-Korsakov’s UMS premiere: Music from Rimsky-Korsakov’s • Died June 21, 1908 in Lyubensk in 1972. Orchestra • Born March 18, 1844 in Tikhvin, Russia Born March 18, 1844 in Tikhvin, Balalaika made for the Osipov transcription Nikolai Rimsky-Korsakov Nikolai in a first performed on a UMS concert was • • Suite from Legend of the 32 St. Petersburg Philharmonic Orchestra WINTER 2014 ums “apotheosis,” orelevation toadivinestate. however, issolemnandgrandiose —atrue closing sceneofDieWalküre . Theending, recalls theMagicFiremusic fromthe from “Forest Murmurs” toasectionthat becomes moreecstatic aswe move and lyricalat first,themusic gradually Fevroniya ascends withherprince.Gentle solo, introduce theheavenly citywhere celesta, together withabeguilingoboe return; thesounds ofthevibraphone and “forest murmurs” of the opening section final step into theotherworldly realm.The follows thevictory, beforewe take the fanfares. Amoment ofintrospection their enemy amidstglorious military Kershenetz, inwhichtheRussiansdefeat section that follows depicts theBattle of the attack oftheTartars. Theagitated soon, and very audibly, interrupted by Vsevolod’s people; but thefestivitiesare Bridal Procession, we meet Prince the idyll.Withcolorfully orchestrated and asimple Russian melodytorepresent magical forest,complete withbirdsong inhabits. Itopens withFevroniya’s upon all the different realms the opera peace forever after. earth, wherethey canreigninheavenly invisible city,aplacenolongerofthis two protagonists findsafehaven inthis the Tartars cannot find it. In the end, the makes thecityofKitezhinvisible sothat Fevroniya, by thepower ofherprayers, The central event oftheopera iswhen world of legends meets human society. by theinvading Tartars, anunspoiled Vsevolod, thesonofaruler embattled Fevroniya, achildofnature, toPrince Through themarriageofholy maiden The suitedrawn fromKitezhtouches but Tchaikovsky hadtofind hisown influence on theyoung composer, and effusive lyricismwasagreat combination ofmuscular technique authentically Russian. Rubinstein’s both styleandorigin,into something had beenperceived asGermanin turn theformofconcerto, which It was left to the young Tchaikovsky to by SergeiLiapunov many years later). (the secondofwhichwascompleted two unfinishedworks by Balakirev with hisformerstudent’s First)—plus added afifth in1874–75,concurrently by histeacherAnton Rubinstein(he consisted largely of four the history of the Russian concerto national identity. Before Tchaikovsky, melodic gifts, and a strong Russian brilliant technique, outstanding produced a composer who had it all: musical scene, Russiahadfinally With Tchaikovsky’s arrivalonthe • • • • • • Snapshots ofHistor at the1901May Festival inUniversity Hall. performing withtheBostonFestival Orchestra The pianistwas Mr.Albert Lockwood concert roughly 25years afteritwas composed. b-flat minor — was first performed on a UMS 19th-century pianoconcerto —Tchaikovsky’s UMS premiere:Arguably themostfamous Died November 6,1893inSt. Petersburg Russia Born May 7,1840inKamsko-Votkinsk, Piotr IlyichTchaikovsky Concerto forPianoandOrchestra p. 23 No. 1inb-flat minor,Op.23 (1874–75, rev.1879,1888) R Brahms completes hisPianoQuartet incminor, Op.60 Mussorgsky composes Pictures atanExhibition (1875) Pierre-Auguste R unconstitutional by theSupreme Court in1883) African-Americans (the lawwas, however, declared Ulysses S.Grant, guaranteeing certain rights for The CivilRights Act issignedinto lawby President Bizet’s ussia’s First Great PianoConcerto Carmen first performed (1875) enoir paints hisR y…In 1874–75: owers’ Lunch be present WINTER 2014 33 I was not only stunned, I was only stunned, I was I was not Tchaikovsky had more immediate immediate more had Tchaikovsky the end. Again silence. I got up and asked, up and I got Again silence. the end. began there that then was It “Well?” Grigoryevich’s Nikolay from flow to first, at quiet a stream of words, mouth more and assuming subsequently but Itthe Thunderer. of Jove more the tone was worthless, concerto my that appeared passages that was unplayable, it that that and so clumsy awkward, trite, were that them right, to put it was impossible that it was bad and tawdry, as composition here and thatI had filched this bit from only two there were bit from there, that and be retained, could or three pages that scrapped be to have would rest the that this, for “Take revised. or completely playshe this (at it?” is whatever — instance it). caricaturing the passage concerned, possible?” — and“And this? Is this really the to you convey so on, and so on. I can’t is, the tonething — that most significant In a word, in which all this was delivered. who chanced to come into outsider any I was that thought have the room might who scribbler untalented an imbecile, an an to come had who nothing, understood his to pester him with musician eminent rubbish... the the whole scene....I left by mortified upstairs. I could and went room silently and agitation of my because nothing say and, soon appeared anger. Rubinstein me drew state, distraught my noticing me room. There he told a distant aside into was impossible, the concerto again that of places to me a lot out pointing and after said change, he required radical that I would such-and-such a date if by that his in accordance with the concerto revise upon me bestow demands, then he would piece in a concert my the honor of playing I change a single note,” of his. “I won’t it just as it is now!” “and I’ll publish replied, And so I did! Russia. outside luck with his concerto than no less an artist on by It was taken his long who, throughout Bülow, Hans von I played the first movement. Not a single Not first movement. the I played If only you a single comment! not word, foolish, how how known have could is the position of a man when intolerable he offers his friend food he has prepared, nothing. it and says and his friend eats if only to tear it to pieces something, Say for but — criticism constructive with if even just one kind word, God’s sake, ... Rubinstein’s eloquent of praise! not It significance. silence had tremendous to me: “My he was saying was as though when the details friend, can I talk about me?” disgusts thing the of essence very on to and played patience, my I fortified This “reflective” quality resulted quality resulted This “reflective” correspondence, Mme von Meck: correspondence, Mme von his benefactress and confidante-by- his benefactress other colleagues were also present) to also present) colleagues were other related the incident (at which two which two (at the incident related school he had founded. Tchaikovsky Tchaikovsky founded. had he school to join the faculty of the Moscow the of faculty the join to director who had invited Tchaikovsky Tchaikovsky director who had invited composer, conductor, and conservatory conductor, and conservatory composer, brother was himself a noted pianist, pianist, noted a himself was brother terms. Anton Rubinstein’s younger Rubinstein’s younger terms. Anton Tchaikovsky in particularly harsh harsh particularly in Tchaikovsky Nikolai Rubinstein lashed out at at Rubinstein lashed out Nikolai structure: on Christmas Eve 1874, 1874, on Christmas Eve structure: closest friends found fault with its with its fault closest friends found concerto. Even some of Tchaikovsky’s Tchaikovsky’s some of Even concerto. against thein charges of formlessness stage of the piece.” when he wishes to evolve to the next to the next evolve when he wishes to themes,” but encounters “problems “problems encounters themes,” but [and] often magnificently broad broad magnificently [and] often composer can “conceive self-contained self-contained “conceive can composer musically speaking, that the Russian the Russian speaking, that musically rather than evolutionary.” This means, This than evolutionary.” rather describes that thought as “reflective as “reflective thought that describes Russian creative thought.” Brown Brown thought.” creative Russian composer, was thoroughly alien to to alien thoroughly was composer, so readily to the German symphonic symphonic to the German readily so “Thematic development, which came came which development, “Thematic musicologist David Brown noted: noted: Brown David musicologist monumental Tchaikovsky biography, biography, Tchaikovsky monumental solution to the problem of form. In his of form. problem to the solution 34 St. Petersburg Philharmonic Orchestra WINTER 2014 ums international reputation, towhomthe and DésiréeArtôt, aParis-bornsingerof are ciphersfor Tchaikovsky himself has also speculated that two of the motifs between the movement’s themes. Brown for thepresenceofastrongorganic unity section of the first movement, and argued that connectthisintroduction tothemain has discovered somesecret motivic links by 4/4,never toreturn. ButDavid Brown in a3/4meter that willsoonbereplaced a lengthy passageoutside themainkey, a professorofmusic in1874.Itopens with possess afew features that could perturb 1881. of Tchaikovsky’s until hisuntimely death in remained astaunch champion andfriend concerto’s mostcelebrated interpreters. He the solopart himself,andbecameoneofthe his earlier judgment completely, learned the piano.Rubinsteineventually recanted student, the18-year-old SergeiTaneyev at premiere oftheconcerto, withTchaikovsky’s a year later, heconductedtheMoscow at Christmas1874.Inany event, lessthan responsible forRubinstein’sviolent outburst they becamefamous. Major chordsreceived theshape inwhich and itwasthenthat theopening D-flat 1879. Herevised thework againin1889, and madeemendations tothesolopart in played thesoloat theEnglishpremiere) the adviceofEdwardDannreuther (who Rubinstein’s criticism,helater heeded beginning. Although he rejected Nikolai remain asadamant ashewasat the were concerned,Tchaikovsky didnot concerto inBostonOctober ofthat year. in 1875,gave theworld premiereofthe Bülow, whowent onanAmericantour time, such as Liszt, Wagner, and Brahms. some ofthegreatest composers ofthe career, hadbeencloselyassociated with At firsthearing,thisconcerto did It isnot clear what factors had been As far asrevisions totheconcerto the world. and thousands ofperformancesaround fresh andyouthful, even after thousands to thenext, helpmake this work sound which Tchaikovsky leaps fromonemood this very diversity, and the boldness with “disconcerting” at first(nopun intended), concerto. Although itmay have seemed — that isthemostuniquefeature ofthe light, now sentimental, now “pathétique” It isperhaps thismixture ofstyles—now the lyricalmaterials that surround them. between these playful folk themes and movements arebasedonthecontrast Ukrainian tune.Indifferent ways, allthree the lastmovement beginswithanother a favorite inArtôt’s repertoire.”). Finally, time. (Brown writes: “It is said to have been laugh) that waspopular inRussiaat the s’amuser andrire”(Let’s have fun and we hearaFrench chansonette, “Ilfaut middle sectionofthesecondmovement, singer-musicians. Intheprestissimo kobzar, oneofmany blinditinerant estate, apparently fromaUkrainian where hissisterandherfamily hadan Tchaikovsky hadtaken down at Kamenka, first movement includesamelodythat movements incorporates afolksong.The dansantes’ movement ofhisCarnival.) his ‘Abegg’ variations or in the ‘Lettres procedure was similar to Schumann’s in If Brown’s hypothesis istrue, Tchaikovsky’s that could very well standforDESiréeArtôt. notes D-flat – A [in German ‘Des’ –‘A’], and (In fact, the second theme begins with the composer hadonceproposed marriage. Each ofthe concerto’s three be present WINTER 2014 35 written

, ...al niente ...al after the work’s US US work’s the after Sun I express my thoughts in an in an thoughts my I express The title comes from the Italian The title comes from the Italian I expect to be reliving the taut to be reliving the taut I expect at performance I heard last Thursday Hall for some time to come Meyerhoff The same general aesthetic underlies aesthetic The same general Dostoyevsky put it — “beauty will save save will — “beauty it put Dostoyevsky more is music why is That world.” the more to the directed and happy sad than are no There to society. individual than of “a fine equality struggle, like ideals On an appeal. exercise there to future” of grief caused hand, traces the other even world, of the imperfections the by the most horrific examplesdisregarding be can undoubtedly history, of human discovered. language. And musical simple extremely by touched be will listeners that hope I my confuse and not compositions my I consider with what simplicity deliberate thing — the feeling ofthe most dangerous indifference. premiere under Mr. Temirkanov in 2003: premiere under Mr. Temirkanov In l’istesso tempo. This In l’istesso tempo. after years two the commissioned by was jointly work the Gothenburg Danish Radio , and the Oslo Philharmonic, as Symphony, and first Project,” of a “Scandinavian part direction the under Oslo in performed The 2000. 25, October on Sustro Mark of Temirkanov. to Yuri piece was dedicated al diminuendo performance instruction taken nothingness”), into (“fading niente for life no doubt here as a metaphor, is material thematic itself. The simple Mr. Kancheli according to what developed the where dramaturgy,” calls “timbral and the succession of orchestration colors become a primary instrumental the move principle that structural The result can forward. composition of be best summed up in the words in Smith, who wrote critic Tim music Baltimore the piece orchestral the ondon n 2000: y…I has never has niente …al (2000) ussian submarine Kursk sinks ussian submarine Kursk That message, more often than not, message, more often That with witness we again and Again despite the obvious how, regret deep our of the civilized world, improvements and bloodshed by apart torn being is planet act is capable conflicts. And no creative force that of resisting the destructive possibilities the fragile so easily rejects that everything Taking progress. of to heart, much me very goes on around in my state mental my to express I try myself, for fundamentally I write music. — as illusions that any harboring without

The Tate Modern opens its doors in L opens its doors Modern The Tate becomes a movie becomes Hidden Dragon Tiger, Crouching sensation The R Bashar al-Assad succeeds his father as President his father succeeds Bashar al-Assad Syria of the United of President Bush becomes W. George States Union (1998): l’istesso tempo introduction to the piano quartet In to the piano quartet introduction and tones of lament. As he wrote in his As he wrote and tones of lament. Kancheli tends to favor slow tempos tempos slow Kancheli tends to favor sadness and grief. Mr. is one of intense to the audience with the utmost urgency.to the audience in his desire to communicate his message his communicate in his desire to with few words — and that he aims high — and that words with few Mr. Kancheli’s music says a great deal a great says Mr. Kancheli’s music maximalist,” which can only mean that maximalist,” which can only mean that as “an ascetic with the temperament of a with the temperament as “an ascetic his Russian colleague Georgian composer has been described byGeorgian composer , or Arvo Pärt. But the But the Pärt. or Arvo John Tavener, “holy minimalists” as Henryk Górecki, “holy minimalists” as Henryk sometimes lumped together with such together lumped sometimes extremely simple sound material, he is material, sound simple extremely Because Giya Kancheli often works with works often Kancheli Giya Because • • • • • of Histor Snapshots UMS premiere: Kancheli’s Kancheli’s premiere: UMS been performed on a UMS concert. been performed Giya Kancheli Soviet , in , 10, 1935 Born August …al niente …al — the slow pace, the predominantly soft time zone and makes everyone part of a dynamics, the many silences, the little collective memory search. snippets of melody that suggest a fading in and out of consciousness.... The score Program notes by Peter Laki. relocates the audience in a whole new

ARTISTS

he St. Petersburg 1946, which marked the Orchestra’s first Philharmonic historical trip abroad, the Orchestra has T Orchestra traces its history regularly toured internationally. from 1882, when it was founded on Since 1988, Yuri Temirkanov has led the Order of Alexander III, as the Court the Orchestra. Recently, the Orchestra has Musicians’ Choir. At the beginning of the been ranked among the top 20 20th century, the choir gave the Russian in the world (according to Gramophone) premieres of the symphonic poems Ein and has toured throughout Europe, Asia, Heldenleben and Also Sprach Zarathustra and America. It has made appearances by Richard Strauss, Mahler’s Symphony at the world’s most prestigious music No. 1 and Bruckner’s Symphony No. festivals. At the Grand Hall, the Orchestra 9, Scriabin’s Poem of Ecstasy, and continues to introduce audiences to Stravinsky’s Symphony No. 1. In those orchestral premieres including works years, the orchestra was conducted by by Penderecki, Nono, Tishchenko, Maestros Nikisch, Strauss, Glazunov, and Slonimsky, Segerstam, Obukhov, Kussevitsky. Korngold, Rota, and Desyatnikov. WINTER 2014 In 1921, the Orchestra had at its disposal the former Nobility Assembly Hall and thus the country’s first uring the 2013–14 season, philharmonic was opened. Conductors artistic director of the St. included Maestros Walter, Weingartner, D Petersburg Philharmonic, Yuri Abendroth, Fried, Kleiber, Monteux, and Temirkanov, celebrates a double Klemperer as well as orchestral soloists anniversary: his 75th birthday as well as , Jascha Heifetz; Dmitri 25 years as conductor of the celebrated St. Shostakovich and also Petersburg Philharmonic Orchestra. Mr. c hestra performed with the orchestra. In 1918, Temirkanov is recognized as one of the the orchestra presented the premiere leaders of the world’s conducting elite. of Prokofiev’s Classical Symphony Mr. Temirkanov’s recent and in 1926 — the First Symphony by engagements include conducting Shostakovich. the Royal Stockholm Philharmonic In 1934, the Orchestra — the first Orchestra at the concert honoring Nobel in the country — was awarded the title Prize winners (2009), performance in Honored Orchestra of the Republic. 1938 Rome with the orchestra and chorus of began what is referred to as the “Age of the Academy of Santa Cecilia of Verdi’s Mravinsky” — years of hard work earned Requiem (2011), and acceptance of the

P hilharmoni c O r . P eters b urg the Orchestra a place amongst the most post of Music Director of the Teatro Regio

S t prominent ensembles in the world. Since di Parma in 2009. 36 be present WINTER 2014 37 was khin was enis Kozhu the international onto launched winning First Prize inscene after Amongst Mr. Temirkanov’s work work Mr. Temirkanov’s Amongst In the current season, Mr. Kozhukhin In the current Commander of the Order of Star of Italy, of Star of the Order of Commander of the Academy of member an honorary of an honorary recipient Cecilia, Santa from the St. Petersburg doctorate citizen of and an honorary Conservatory, St. Petersburg. to have podium, he is proud off of the Foundation the International established than more For Initiatives. Cultural for directs the a decade, the conductor along with Square, which, festival Arts Philharmonic involves the St. Petersburg the Musical Theatre, the Mikhailovsky Russian and the Comedy Theatre, the Unique in its concept, Museum. highest the of artists gathers festival of St. the status caliber, confirming capitals as one of the cultural Petersburg of Europe. the 2010 Queen Elisabeth Competition in Competition Elisabeth Queen 2010 the the age of 23. He has quickly at Brussels reputation a formidable established of many at and has already appeared festivals most prestigious the world’s halls including the Verbier and concert Prix d’Honneur the he won where Festival, in 2003. Radio performs with the Frankfurt with Philharmonia with Alsop, Symphony Oslo Philharmonic with Mr. Temirkanov, with Symphony Nippon Yomiuri Hrusa, Philharmonic Stockholm Royal Sinaisky, Liverpool Royal with Payare, Philharmonic with Gulberg-Jensen, Hallé Symphony Scottish BBC Langrée, with National Orchestre and Dausgaard, with Mr. Kozhukhin de Belgique with Boreyko. as piano tour US on a major is currently and the St soloist with Mr. Temirkanov D The Italian critics twice awarded Mr.The Italian critics twice awarded This anniversary season, Mr. Mr. season, This anniversary Since the beginning of the creative of the creative Since the beginning Mr. Temirkanov’s name is closely is closely name Mr. Temirkanov’s Mr. Temirkanov’s home has always always home has Mr. Temirkanov’s the Order For Services to the Fatherland, Services the Order For Prize of the President of Russia, holder ofPrize of the President of the USSR State Prize, recipient of the Prize, recipient State of the USSR He is the recipient of the People’s Artist People’s the of recipient the is He for “Conductor of the Year” (2003, 2007). for “Conductor of the Year” Temirkanov the prestigious Abbiati Prize Abbiati the prestigious Temirkanov

Shostakovich. Beethoven, Stravinsky, Prokofiev, and Prokofiev, Stravinsky, Beethoven, composers —Tchaikovsky, Brahms, Brahms, —Tchaikovsky, composers includes the music of his favorite of his favorite includes the music First Series subscription. The program program The subscription. Series First — he will conduct all the concerts of the— he will conduct all the concerts gift for the Philharmonic’s home audience gift Temirkanov has prepared a magnificent has prepared Temirkanov

and Amsterdam’s Concertgebouw. La Scala in Milan, Musikverein in Vienna, La Scala in Milan, Musikverein Barbican Hall, the Philharmonic,Barbican Champs-Elysees in , and London’s and Paris, in Champs-Elysees Suntory Hall in Tokyo, Théâtre des des Théâtre Hall in Tokyo, Suntory orchestra to open the concert season), the concert to open orchestra 2005, the orchestra was the first Russian2005, the orchestra at New York’s Carnegie Hall (where, in York’s New at the globe, including recent engagements including recent the globe, Philharmonic has been presented around Philharmonic has been presented quarter of a century has passed. The The has passed. of a century quarter and the St. Petersburg Philharmonic, a Philharmonic, and the St. Petersburg Mr. Temirkanov between collaboration were resumed. were concerts with the orchestra of the Theatre with the orchestra concerts Europe, and once more, symphonic symphonic and once more, Europe, to tour to the US, Japan, and throughout throughout and Japan, the US, to to tour principal conductor. The orchestra began The orchestra principal conductor. Mr. Temirkanov was artistic director and was artistic Mr. Temirkanov (Kirov) Theatre. Between 1976–1988, 1976–1988, Between Theatre. (Kirov) of the Mariinsky with the revival linked St. Petersburg Symphony Orchestra). Symphony St. Petersburg Leningrad Symphony Orchestra (now the (now Orchestra Symphony Leningrad conducted his own orchestra — the the — orchestra own his conducted In 1968, the 29-year-old musician musician the 29-year-old In 1968, where he began his ascent as an artist. artist. as an his ascent he began where been and still remains St. Petersburg, St. Petersburg, remains and still been

38 St. Petersburg Philharmonic Orchestra WINTER 2014 ums

Photo: Denis Kozhukhin; photographer: Marco Borggreve Prokofiev’s the Tonhalle, WigmoreHall,Mecklenburg- Concertgebouw’s Master Pianists series, will make hisdebut appearance at the Hill Auditorium. concerts at CarnegieHallandAnnArbor’s Petersburg Philharmonic which includes welcomes pianist DenisKozhukhin whomakes his UMSdebut this evening. Symphony Orchestra inaprogram ofMozart andShostakovich at HillAuditorium.UMS Maestro Temirkanov made his UMS debut in February 1977 leading the Leningrad concert marksMaestroY appeared at Hill Auditorium in April 2011 under the direction of Yuri Temirkanov. Tonight’s was thennamedtheLeningrad PhilharmoniaOrchestra.) TheOrchestra mostrecently Auditorium underthedirection ofmusic directorEvgeny Mravinsky. (TheOrchestra under UMSauspices. TheOrchestra madeitsUMSdebut inNovember 1962at Hill Tonight’s concert markstheSt.PetersburgPhilharmonic where he studied underNatalia Fish. attended the Balakirev School of Music age offour withhismother. Asaboy, he Kozhukhin beganhispianostudiesat the 1986 into afamily ofmusicians, Denis Noise Festival. Hall inMay 2013aspart oftheRestis Sonatas inLondonat theQueenElizabeth Musashino Hall. He also played the War complete cycle ofProkofiev sonatas at Spring 2013whereheperformedthe 8 , Mr.Kozhukhin returned toJapan in As arecitalist,Mr.Kozhukhin Born in Nizhni Novgorod, Russia in Born inNizhniNovgorod, Russiain UMS Ar Piano Sonatas Nos.6, with Onyx Classicsof of hisdebut recording Following therelease Dvorˇák Festival. and thePrague Vorpommern Festival, chives uri Temirkanov’s eighth appearance underUMSauspices. and 7, and

Widmann, andAlisaWeilerstein. Quartet, Radovan Vlatkovic, Jörg Jerusalem Quartet, thePavel Haas Gautier Capuçon, Julian Rachlin, the with Leonidas Kavakos, Renaud, and chamber musician andhascollaborated Piano Competition in2006. Third Prizeat theLeedsInternational at the2009Vendome Prize inLisbonand Kozhukhin hasbeenawarded FirstPrize Kirill GersteininStuttgart, Germany. Mr. Staier. Hecompleted hisstudieswith Berman, CharlesRosen,andAndreas Stanislav Yudenitch, Peter Frankl, Boris Como wherehestudiedwithFou Ts’ong, to studyat thePianoAcademy at Lake in Madrid,Mr.Kozhukhin wasinvited own Cervantes Trio. After hisstudied and twicebestchamber group withhis was namedbeststudent inhisyear diploma from theQueen of Spain and and Claudio Martinez-Mehner. Madrid learningwithDimitriBashkirov pupil at the Reina Sofía School of Music in From 2000to2007,Mr.Kozhukhin wasa Mr. Kozhukhin isacommitted Upon graduating, he received his Orchestra ’s 12thappearance be present WINTER 2014 39 chestra olo Konstantin Bychkov Konstantin Gromova Tatiana Iosif Nurdaev Chizhov Aleksandr Leonid Lobach Anikeev Yury Alexey Koptev Elena Panfilova /Picc Flute Kuelyar-Podgaynova Ksenia Continued... Flute Marina Vorozhtsova* Terentiev Dmitry Olga Viland Olesia Tertychnaia Double Bass Chirkov* Artem Iakovlev Rostislav Oleg Kirillov Mikhail Glazachev Chausov Nikolay Ivanov Alexey Chubachin Alexey Syray Nikolay Petrov Arseny Cello Khrychev* Dmitry Gimaletdinov Nikolay Trepel Taras Chernyadyev Sergey Nikita Zubarev Mikhail Slavin Cherenkov Yaroslav Matveev Nikolay Kulibabin Alexander Lyamin Stanislav Kogan Evgenii ond Violin

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Dmitry Kosolapov Dmitry Olga Kotlyarevskaya Denis Gonchear Elizaveta Petrova Elizaveta Bogorad Alexey Anatoly Babitsky Anatoly Dmitriev Yury Konstantin Basok Konstantin Dogadin* Andrey Ruslan Kozlov Nikolay Dygodyuk Nikolay Irina Sukhova Veronika Dygodyuk Veronika Dmitry Koryavko Dmitry Zhanna Proskurova Mikhail Alexeev Khatina Liubov Nikolay Tkachenko Nikolay Dmitrii Petrov Maria Irashina-Pimenova Shmeleva Tatiana Tatiana Makarova Tatiana Igor Zolotarev Alexander Rikhter Alexander Se Ilya Kozlov* Alexey Vasilyev Alexey Grigory Sedukh Grigory Ksenia Petrash Ksenia Olga Zarapina Natalia Sokolova Natalia Olga Rybalchenko Sergey Teterin Sergey Valentin Lukin Valentin Yury Ushchapovsky Yury Alexander Zolotarev Alexander Pavel Popov First Violin Klychkov** Lev

Artistic Director and Conductor Director Artistic Temirkanov, Yuri St 40 St. Petersburg Philharmonic Orchestra WINTER 2014 ums Artsiom Trafimenka Artsiom Isayeu Ruslan Khokholkov* Oboe Valentin Avvakumov Tuba Vitaly Gorlitsky Denis Nesterov Dmitry Andreev Maxim Ignatyev* Trombone Alexey Belyaev Mikhail Romanov Vyacheslav Dmitrov Igor Sharapov* Trumpet Kirill Miron Nikolay Dubrovin Anatoly Musarov Anatoly Surzhok Oleg Skrotsky Igor Karzov Horn Aleksei Siliutin Contra Bassoon Mikhail Krotov Sergey Bazhenov Aleksei Dmitriev Bassoon Vitalii Rumiantcev Bass Clarinet Nikita Lyutikov Denis Sukhov Valentin Karlov Andrey Laukhin* Clarinet Mikhail Dymsky English Horn *Principals **Concertmaster Ilya Teplyakov Exe Alexander Vinogradov Te Alexander Novikov Stage Manager Leonid Voronov Librarian Maxim Pankov Piano &Celesta Anna Makarova Harp Alexander Mikhaylov Ruben Ramazyan Konstantin Solovyev Valery Znamensky Mikhail Lestov Dmitry Klemenok Per Gerald Breault, Stage Manager Nadia Mokhoff,Assistant Tour Manager John Pendleton, Tour Manager Irene Lönnblad, Associate, Touring Tania Leong,Associate Leonard Stein,SeniorVicePresident, Earl Blackburn, SeniorVicePresident, David V.Foster, President &CEO For Opus3Artists Division Director, Touring Division Manager, Artists &Attractions chniian cussion cutive Dire ctor