UMS PRESENTS THE PHILHARMONIC ORCHESTRA Music Director

Saturday Evening, March 15, 2014 at 8:45 Hill Auditorium • Ann Arbor

59th Performance of the 135th Annual Season 135th Annual Choral Union Series

Photo: Zubin Mehta; photographer: Oded Antman. 9 10 ISRAEL PHILHARMONIC ORCHESTRA WINTER 2014 UMS Anton Bruckner PROGRAM The Israel Philharmonic Orchestra appears by arrangement withOpus3Artists, New York, NY. Philharmonic Orchestra astheprincipalunderwriter of thistour. underwriting of theOrchestra’s touring program, andAmerican Friends of theIsrael The Israel Philharmonic Orchestra gratefully acknowledges Milton andTamar Maltz for theirgenerous Special thanks to KippCortez for coordinating thepre-concert musicon theCharles Baird Carillon. lobby floral art for this evening’s concert. Special thanks to Tom Thompson of Tom ThompsonFlowers, AnnArbor, for hisgenerous contribution of Philosophy, andArt&DesignattheUniversity of Michigan,for speakingatthisevening’s Prelude Dinner. Special thanks to Daniel Herwitz, Frederick G.L.Huetwell Professor of Comparative Literature, History of Art, Media partnership provided by WGTE 91.3FMandDetroit Jewish News. Funded inpartby agrant from TheNational Endowment for theArts. This evening’s performance issupported by GilOmennandMartha Darling. Symphony No. 8incminor Finale: Feierlich, nicht schnell Adagio: Feierlich langsam,dochnicht schleppend Scherzo: Allegro moderato Allegro moderato BE PRESENT WINTER 2014 11 In order to enjoy Bruckner, we must be must we Bruckner, enjoy to order In personality, understand that To hear an almost inaudibly soft tremolo in tremolo soft hear an almost inaudibly and with some gradually the strings. Very thisfrom emerges theme a hesitation, The mood is awe-inspiring background. which the pace at The slow and festive. that unfolds is a clear indication music longtime has to be measured in unusually by are listening to a symphony units. We Bruckner. Anton his wavelength, on place ourselves to able composer for the maverick him and accept accused of having he was. He is often nine times written the same symphony judgment, unfair grossly a is this and over, superficial one. least an extremely or at there be denied that it cannot However, is a single idea underlying all the mature expressed it is although symphonies, is in each case. Each symphony differently solution to the same compositionala new of the same manifestation a new problem, personality. fascinating again and time have commentators peculiarities to the many attention drawn his seemingly biography: in Bruckner’s awkward his study, of years endless demeanor which country-bumpkin The (1889) (1891) 87, revised 1889–90 by Leopold Nowak) 87, The composer himself called his Eighth Symphony a “mystery,” and the work may and the work a “mystery,” Symphony his Eighth himself called The composer

The Adventures Twain, Mark works: literary Notable Thus Nietzsche, Friedrich (1884); Finn Huckleberry of The Picture Wilde, Oscar (1889); Zarathustra Spoke Dorian Gray of Gogh, van visual art: Vincent of works Notable Louis technology: and in science events Notable Karl (1885); vaccine the rabies introduces Pasteur (1886); the Eiffel automobile the first Benz patents (1889) in Paris is erected Tower Notable musical premieres: Johannes Brahms, Johannes premieres: musical Notable Otello 4 (1885); Giuseppe Verdi, No. Symphony (1892) The Nutcracker Tchaikovsky, (1887); Piotr Notable political events: Africa is divided among Africa events: political Notable conference at the Berlin powers colonial European commits , of Prince the Crown Rudolf, (1884); Knee Wounded (1889); suicide at Mayerling (1890) Dakota in South massacre (1885); Georges Seurat, Sunday Seurat, (1885); Georges Eaters Potato (1886); Jatte Grande La of on the Island Afternoon Calais of The Burghers Rodin, Auguste (1884- a moment of suspenseful silence, and we of suspenseful a moment steps on the podium, raises his baton after baton his podium, raises the on steps The lights are dimmed, the conductor The lights • • • • has never been performed on a UMS concert. been performed on a UMS has never 1884–1892: OF HISTORY…IN SNAPSHOTS • Symphony No. 8 Symphony UMS premiere: Bruckner’s Died October 11, 1896 in Vienna 11, 1896 Died October be new to the mystery are in for a momentous discovery. are in for a momentous to the mystery be new Austria 4, 1824 in Ansfelden, Born September deeply as we re-encounter the last symphony Bruckner ever completed. Those who may Those completed. ever Bruckner the last symphony re-encounter as we deeply Bruckner Anton never lose that special aura. With every hearing, we penetrate the “mystery” ever more ever the “mystery” penetrate hearing, we With every special aura. lose that never 8 in c minor No. Symphony

radical musical innovations with an essentially conservative mindset. conservative with an essentially innovations musical radical intense religious feelings without recourse to the liturgical word, and who carried out and to the liturgical word, recourse feelings without religious intense maverick who went where no one else dared to tread, who in his symphonies expressed symphonies where no one else dared to tread, who in his who went maverick ultimately, is not so much to “place” Bruckner as to accept him for who he was: a him for who he as to accept Bruckner to “place” so much is not ultimately, if only because these features make the composer so hard to “place.” Yet what matters, what Yet so hard to “place.” composer the make features these if only because idiom with a sacred mysticism rooted in the past still gives discomfort to some critics — to some discomfort in the past still gives rooted a sacred mysticism idiom with can still cause bewilderment, and the unique way he mixed an advanced Romantic an mixed he way and the unique bewilderment, can still cause controversial today as Anton Bruckner. The monumental proportions of his symphonies proportions The monumental Bruckner. as Anton today controversial With the sole exception of Richard Wagner, no 19th-century composer remains as remains composer no 19th-century Wagner, of Richard the sole exception With NOW THAT YOU’RE IN YOUR SEAT… YOUR IN YOU’RE THAT NOW 12 ISRAEL PHILHARMONIC ORCHESTRA WINTER 2014 UMS authorities onBruckner, haswritten: As Robert Simpson, one of the best symphony Bruckner ever completed. apparent than in the Eighth, the last Deity. tone, andsymbolically reachingout tothe or sacredworks, grandiose andsolemnin compositions arelarge-scalesymphonies or short pianopieces.Almostallofhis not wastehistimeon“trifles” like songs enactment oftheDivineCreation. Hedid composition was nothing lessthanare- any ofhiscontemporaries. To Bruckner, as itdidtoBrahms (hisgreat rival)or did not mean the same thing to Bruckner characteristics that symphony-writing Catholicism. Itfollows fromthesepersonal cosmopolitan Vienna,andhisdevout became the butt of so many jokes in not amaster ofSteigerung, aGerman beginning. Bruckner was nothing if magnificence starts right at thevery Nowhere isthisartistic intent more The slow uncovering ofhidden “Adagio.” and somewhat painfully uncovered by the state that hadtobefound behindit,slowly so much a victory over tribulation as a mind beyond thebattle. ThisFinaleisnot work, acontemplative magnificenceof background, inasense,ofBruckner’s life- its true background inthe“Finale,” allowed toerupt. Butiteventually reveals undercurrents andonlyintermittently full upshot of matters hitherto hidden in movement ofNo.8. TheEighth isthefirst the darksenseofcrisisthat fillsthefirst there isnothing initthat quitesuggests as atotality rather thanasaprocess; of Gothic architecture,andisdramatic immense innertensionresembling that the earliersymphonies. TheFifth has an Third, themostdramatically inclinedof anticipates itscharacter, not even the is almostnew inBruckner. Nowholework The sweeping dramatic forceoftheEighth coda, whichBruckner discarded,and Originally there wasapowerful fortissimo was completely rewritten in 1890. than brought backunchanged. hinted at (and strongly abridged), rather is repeated literally. Theexposition isonly for sometime.Butinthisreprise nothing that we have beenintherecapitulation theme played by thestrings,we realize in, andwhenwe finallyhearthesecond The restoftheorchestra gradually joins flute accompanied by asoft timpani roll. this tremendous climax,tohearasingle pitch by athird.What acontrast, after two moretimes,eachtimeraising the forte, andthenrepeats thisstatement of themovement simultaneously intriple of whichhepresents both mainthemes most dramatic transitions, inthecourse is concealed behind one of Bruckner’s the recapitulation begins.That moment although itishardtosay exactly where development, andrecapitulation, traditional sonata form,withexposition, however; themovement infact observes scale. That is just the first impression, musical ebb andflow onamonumental with moments of relaxation, a kind of is aseriesofmighty surgesalternating impression of the movement’s form opposite direction, so that our first The same technique isalsousedin the that thechangeisalmostimperceptible. pianissimo tofortissimo sogradually the Eighth, wherethemusic goesfrom Steigerung, asinthefirstmovement of particularly susceptible totreatment by Classical periodicstructures. Yet they are that usuallydon’tadduptofull-fledged short scalesandother melodicfragments relatively unremarkable inthemselves: tempo. Bruckner’s themes are simple and dynamics, harmonicactivity,and/or intensification, gradual increaseinpitch, term whose connotations include The endingofthefirstmovement

BE PRESENT WINTER 2014 13

moments. moments. Even though the “Michel” theme theme the “Michel” though Even The trio is almost a separate a separate The trio is almost Major) (in D-flat The third movement Bruckner notes, few a only of consists an employing by monotony avoids While instrumentation. varied extremely as recognized is universally Bruckner of structures of musical an architect often he is not complexity, unprecedented orchestral great as the acknowledged opinion, In my he was. colorist that depends the effect of this movement especially primarily on the orchestration, lyrical woodwind between the contrast tutti powerful and passages In the latter, the use of the eight horns the use of the eight In the latter, tuba is particularly and the contrabass with part, as is the timpani noteworthy, pitches. tuned in six different drums and 2/4 tempo with its slow movement rewritten which was completely meter, modulating in 1890. It is a constantly A-flat in ending and starting melody, Steigerung its own and containing Major, the that here is it Also, reverse. its and for the first time in the appear harp(s) is the the Eighth (Incidentally, symphony. at to use harps symphony only Bruckner the trio, the scherzo is repeated all.) After in its entirety. magnificent most Bruckner’s of one is itlongest: his of one also (and adagios to perform). close to half an hour takes “solemn and slow marked In a tempo with the start dragging,” not but is really a single repeated a theme that Scan for photos of the Israel Philharmonic Orchestra from the from Orchestra Philharmonic the Israel of photos for Scan UMS archives. phone, point smart app on your reader QR code a free Download or content; see multimedia to and scan at the code, camera your find these stories. to visit www.umslobby.org For the first time in a Bruckner the first time in a Bruckner For to his feet and lashes out at his opponents.” at and lashes out to his feet and bothered from all sides, until he jumpshe until sides, all from bothered and would like to sleep, but he is being bugged but to sleep, like would the middle section Bruckner said, “Michelthe middle section Bruckner naïve, and idealistic. Of one passage in naïve, archetypal German peasant lad, simple, German peasant archetypal deutsche Michel,” by which he meant an which he meant Michel,” by deutsche Bruckner himself called this theme “derBruckner beginning by the “stubborn” main theme. the “stubborn” beginning by unequivocally proclaimed at the very the very proclaimed at unequivocally tragic c minor as in the first movement, c minor as in the first movement, tragic rather sinister affair. The key is the same The key sinister affair. rather The “Scherzo” of Bruckner’s Eighth is a Eighth The “Scherzo” of Bruckner’s on a single motif or rhythmic pattern. pattern. or rhythmic on a single motif humor but rather the stubborn insistence the stubborn rather but humor doesn’t necessarily imply playfulness or playfulness doesn’t necessarily imply in Beethoven as well), the word “scherzo” the word as well), in Beethoven always in Bruckner (and more than once (and more in Bruckner always as it was in Beethoven’s Ninth. As nearly Ninth. as it was in Beethoven’s the scherzo is in second place, symphony, music. the extraordinary evocative power of the of power evocative extraordinary the the time of composition; yet it illustrates it illustrates yet the time of composition; not necessarily on Bruckner’s mind at mind at necessarily on Bruckner’s not an after-the-fact description and was and was description an after-the-fact tock, tick, tock.” This was almost certainlytock, tick, tock.” This he is alive — always ticking regularly: tick, — always he is alive hangs a clock that goes to the end while end the to goes that clock a hangs “It is as when one lies dying and opposite one lies dying and “It is as when ” (“the clock of death”): of death”): ” (“the clock as the “Totenuhr his pupil and biographer August Göllerich and biographer his pupil The composer described this ending to described this ending The composer Bruckner ended a first movement softly. movement a first ended Bruckner theme fades away — the only time time only — the away fades theme wrote a new ending in which the main in which ending a new wrote 14 ISRAEL PHILHARMONIC ORCHESTRA WINTER 2014 UMS string melodies, tutti powerful brass fanfares andcontrapuntal in theearlier movements, between is filledwiththesamecontrasts we heard kind ofrelief.Not soBruckner. His"Finale" earlier movements, andprovide some the tensionsthat accumulated over the finales, composers would tendtoresolve cathedral.” by them;they are theopen spacesinthe suppose that the structure is weakened deliberations, anditisagrave mistake to have theirrightful placeinitsmassive observed that “pauses andinaction expect to develop speed.”Simpson further Simpson haspointed out, “we must not those Brucknerian finalesthat, asRobert acceptance andserenity.” smaller components, but…tempered by of disintegration, ofcrumbling into ever San Francisco Symphony, “thisismusic commented inhisprogram note forthe measures. Asthelate MichaelSteinberg D-flat Major inthelast32“Adagio” of themovement, nolongerleaves harmony, sovolatile throughout much counter-melody in the first violins. The follows, played by thehorns,withadoleful have beenwaitingforallevening. measures the cymbals and the triangle of ebb andflow, culminating inthetwo movement, themusic iscarriedby alogic introduced by thecellos.Asinfirst with amuch broadermelodicrange, first theme is complemented by a second idea high point neartheend.Thehaltingfirst movement, andthentotheearth-shaking approximately half-way through the subdued beginning to afirst climax, running the emotional gamut fromthe Bruckner constructed amovement neighbors. Outofthissimple material tone alternating withitsupper andlower In mosttraditional symphonic The fourth movement isoneof The finalrecapitulation ofthetheme climaxes, and fallen prey towhat hasbeencalled his to finishhisNinth Symphony hadhenot whether Bruckner would have beenable 1, 3,4,and8).Onecanonly wonder revision of four of his symphonies (Nos. but embarked insteadonapainstaking next four years hestarted nonew works, into a state of deep depression. For the so highly respected, plunged Bruckner it. This rejection, coming from someone that hewasthereforeunable toperform the finale,wasa“closedbook”tohim,and declared that thenew work, especially disappointment ofhislifewhenLevi in 1839,washisjuniorby 15years.) father,” even though theconductor,born naïveté, Bruckner called Levi his “artistic Germany. (Withcharacteristic childlike behind Bruckner’s growing recognitionin Te Deum , and was one of the moving forces of Bruckner’s Seventh Symphony andthe had earlier led successful performances the firsttoknow…May itfindgrace!” Levi finished, andmy artistic father must be “Hallelujah! At longlast,theEighth is Wagner’s court conductorwhohadpremiered sent itofftoHermannLevi, theMunich first version ofhisEighth Symphony, he opening theme ofthefirstmovement. forceful unisonfigurederived fromthe entire symphony, whichendswitha create astrongsenseofunityforthe just before the end. These reminiscences themes ofthe“Scherzo”and“Adagio” moment ofthegreatest climax,andthe the firstmovement’s opening ideaat the crowns thesymphony by bringingback mentioned by Simpson. But it effectively other movements, owing tothe pauses "Finale" iseven moredisjointed thanthe the conflictsareasserious asever. The not arrive until thevery end;until then, pensive solopassages.Theresolution does Bruckner sufferedthegreatest As soonasBruckner hadfinishedthe Parsifal, withthewords: “revision mania.” The last decade of his life had to do with the meeting of the three would certainly have been very different emperors (Austria, Germany, Russia) in without Levi’s verdict about the Eighth Olmütz (“strings: ride of the Cossacks; Symphony. brass: military music; trumpets: fanfare”). How can we explain that a These explanations are probably best conductor who had been so enthusiastic interpreted as somewhat simplistic about Bruckner’s Seventh had so little concessions to the aesthetic of program understanding for the Eighth? Certainly, music; their information value is doubtful. the Seventh has a “sweep” and a directness The revision of the symphony itself was that the Eighth lacks. But this does not arguably a concession on Bruckner’s mean that the later work is in any way part to the expectations of others. In any inferior; although Bruckner was often case, it was only in its revised form that criticized for alleged compositional the Eighth was accepted as Bruckner’s weaknesses, even by his own pupils, crowning masterpiece. the truth is that he always knew what When the Eighth Symphony was he wanted and how to achieve it. In the finally premiered by Hans Richter and Eighth, he simply wanted something the on December different. It is a work where the final 18, 1892, it was, in the words of editor- resolution comes with more difficulty musicologist Leopold Nowak, “a triumph because the struggle is harder and the the like of which Bruckner had never obstacles greater. It probably takes more enjoyed before.” As the composer time to get close to the Eighth than to Hugo Wolf, an enthusiastic admirer of WINTER 2014 the Seventh, which (with the Fourth) has Bruckner’s, put it in a letter written a few always been Bruckner’s most popular days after the premiere: symphony. Bruckner himself, no doubt, felt this This Symphony is the creation of a to be the case, and therefore he made Titan, and in spiritual vastness, fertility a series of programmatic statements of ideas, and grandeur, even surpasses concerning the Eighth that were intended his other symphonies….its success was almost without precedent, it was the to help the symphony’s reception. (He absolute victory of light over darkness, made no such statements about his other and the storm of applause at the end of symphonies.) I have already mentioned each movement was like some elemental two such instances, the “death-clock” manifestation of Nature. In short, even a image for the first movement and the Roman Emperor would not have wished “German Michel” for the second. A third for a more superb triumph. story may be found in a letter Bruckner wrote to the conductor Felix Weingartner, Program note by Peter Laki. according to which the last movement

15 16 ISRAEL PHILHARMONIC ORCHESTRA WINTER 2014 UMS T ARTISTS across theUS this season. Orchestra, theIPO travels to14cities Principal Guest Conductorofthe by ZubinMehta andGianandreaNoseda, of theWarsaw Ghetto Uprising. Joined commemorating the70thanniversary concert at Poland’s National Opera, with violinistJulianRachlinin atribute April 2013,MaestroMehta ledtheIPO relations between Israel andGermany. In commemorate 40years of diplomatic 2005 theOrchestra traveled toBerlin enormous value to the state of Israel. In Hungary, Russia,China,andIndia,isof visits toJapan, Argentina, Poland, these tours, whichhave includedhistoric ambassador. Thegoodwillcreated by world actingasIsrael’s premierecultural IPO travels extensively throughout the Zubin Mehta, MusicDirectorforLife,the is anhistoricmoment. Orchestra after thebattle forBeersheba Leonard Bernsteinconductingthe the memory ofIPO Laureate Conductor War ofIndependence, andamongIsraelis, play inabesieged duringthe Members traveled in armored cars to demonstrate his opposition to fascism. felt hisparticipation wasameansto conducted by Arturo Toscanini who for acountry.” Itsinaugural concert was with thedesireofJewish musicians desire ofthecountry foranorchestra fulfillment of his dream “to unite the Huberman, theIPO represents the Founded by Polish violinistBronisław audiences inIsrael andaround theworld. presenting theworld’s greatest music to in 1936,theIPO hasdedicated itselfto cultural institutions. Sinceitsfounding Through theefforts of theAmerican Under theesteemedleadershipof Israel’s oldestandmostinfluential ORCHESTRA (IPO) isoneof he ISRAELPHILHARMONIC B marriage.” Hispassionate allegianceto grown into what Mr.Mehta callsa“lasting that wasestablished between themhas Orchestra were 25years old.Thebond the IPO in 1961 when both he and the Life in 1981. Mr. Mehta first conducted director in1977,andMusicDirector for Mr. Mehta music advisorin1969,music Israel PhilharmonicOrchestra appointed in 1962,apostheretained until 1978.The director oftheLosAngelesPhilharmonic Symphony. Hewasappointed music was music directoroftheMontreal orchestral andoperatic conductors. become oneoftheworld’s mosteminent and BerlinPhilharmonicshassince years later, he conductedboth theVienna the Academy ofMusicinVienna.Seven abandoned hismedicalcareertoattend study was medicine. At the age of 18, he this musical influence,hisinitialfieldof Youth Symphony in Los Angeles. Despite and wasmusic directoroftheAmerican Mehta, founded the Bombay Symphony and . and Haifa. 26,000 subscribersinTel Aviv, Jerusalem, performances eachyear inIsrael totheir labels. TheOrchestra gives over 100 Grammophon, EMI,Philips,and Teldec recordings ontheHelicon,Sony, Deutsche 2013. The IPO has released over 40 live hosted itsinaugural galaonMay 25, Charles BronfmanAuditoriumand Mann Auditoriumwasrenamedthe following extensive renovations. The its homeat ’s HeichalHatarbut donors worldwide, theIPO returned to Orchestra and generous support of Friends oftheIsrael Philharmonic From 1961to1967,Mr.Mehta environment. His father, Mehli MEHTA orn inBombay, ,ZUBIN grew upinamusical BE PRESENT the Orchestra stems from their shared Among these are India’s Order of the Lotus, devotion to music and the kinship he feels The Vienna Philharmonic’s Ring of Honor, with the spirit and tradition of the Jewish the Furtwängler Prize, and ECHO Klassik’s people. In 2011, Mr. Mehta celebrated his Lifetime Achievement Award in Germany. 50th anniversary the IPO. He is an honorary citizen of both Florence Combining concerts, recordings, and and Tel Aviv and was recognized for his tours, Mr. Mehta has conducted thousands extraordinary artistic achievements as of performances on five continents with a Kennedy Center Honoree in 2006. He the IPO. Since 1986, he has also acted as received a star on the Hollywood Walk of music advisor and chief conductor of the Fame in 2011. Maggio Musicale Fiorentino, the summer Maintaining a strong commitment festival in Florence, Italy. In 1978, he to exposing today’s youth to classical became the music director of the New music, Mr. Mehta is co-chairman of York Philharmonic Orchestra. During his the Mehli Mehta Music Foundation in 13 years in New York, he conducted over where more than 300 children 1,000 concerts, thus holding the position are educated in western classical longer than any music director in the music. As Honorary President of the Orchestra’s modern history. Buchmann-Mehta School of Music in Tel For both his outstanding conducting Aviv, Mr. Mehta is actively involved in and dedication to music for charitable training Israel’s elite young musicians in causes, Mr. Mehta has received countless preparation for a professional career. awards and distinctions in many countries. WINTER 2014

UMS ARCHIVES

Tonight’s concert marks the Israel Philharmonic Orchestra's eighth performance under UMS auspices. The Orchestra made its UMS debut at Hill Auditorium with Zubin Mehta in October 1972. The Orchestra most recently appeared in Ann Arbor at Hill Auditorium in March 2004 with soloist under the baton of Yoel Levi. This evening’s concert marks Maestro Zubin Mehta’s ninth performance under UMS auspices. Maestro Mehta made his UMS debut at Hill Auditorium in November 1970 with the Los Angeles Philharmonic and most recently appeared in January 1998 with the Israel Philharmonic Orchestra at Hill Auditorium.

17 18 ISRAEL PHILHARMONIC ORCHESTRA WINTER 2014 UMS Gianandrea Noseda,PrincipalGuest Conductor Kurt Masur,Honorary Guest Conductor ,Laureate Conductor(1947-90) The MusicDirector’spositionisendowed by theWilliamPetschek Family Zubin Mehta, MusicDirector THE ISRAELPHILHARMONICORCHESTRA Olga Stern Avital Steiner Marianna Povolotzky Alexander Povolotzky Asaf Maoz Sivann Maayani Zelikoff Yoram Livne Kalman Levin Shmuel Glaser Alexander Dobrinsky Hadar Cohen Emanuel Aronovich Amnon Valk*** Semion Gavrikov* Elyakum Salzman* SECOND VIOLINS Drorit Valk Yelena Tishin Yevgenia Pikovsky Robert Mozes Eleonora Lutsky Polina Kozhevnikova Rimma Kaminkovsky Rodica Iosub Genadi Gurevich Adelina Grodsky Marina Dorman Sharon Cohen Saida Bar-Lev Alexander Stark,Assistant Concertmaster Yigal Tuneh, Concertmaster• Lazar Shuster, Concertmaster• Ilya Konovalov, Concertmaster• FIRST VIOLINS Chair Marilyn &Sigiz”lZieringFamily Endowed

Omry Weinberger Eli Magen Nimrod Kling Uri Arbel Brad Annis Nir Comforty*** Peter Marck* Teddy Kling* BASSES Iris Regev Felix Nemirovsky Kirill Mihanovsky Enrique Maltz Iakov Kashin Simon Hoffmann Dmitri Golderman Yoram Alperin Shulamit Lorrain*** Emanuele Silvestri* Marcel Bergman* CELLOS Aharon Yaron Eugenia Oren-Malkovsky Matan Noussimovitch Klara Nosovitsky Vladislav Krasnov Shimon Koplansky Rachel Kam Lotem Beider Dmitri Ratush*** Amir Van DerHal*** Roman Spitzer* Miriam Hartman* Ruth ZieglerEndowed Chair The Annenberg Foundation Chair Claire &Albert Schussler Endowed Chair Susan &Elihu RoseEndowed Chair

BE PRESENT WINTER 2014 19 Assistant Principal Assistant Associate Principal Associate Hannah & Randy Polansky Endowed Chair Endowed Polansky Hannah & Randy Chair Endowed S. Katz & Murray Natalie Chair Resnick Endowed Judith & Burton On Leave or Sabbatical On Leave Canada Concertmaster Chair Canada Concertmaster Guest-player Principal • * ** *** + • TRUMPETS Meltzer* Yigal Ram Oren** Reemy Eran Shapiro Yuval TROMBONES Taylor*+ Stewart Nir Erez* Pasternak*** Yehoshua Micha Davis Niv Ofer TROMBONE BASS Micha Davis TUBA Hershko* Shemuel TIMPANI Dan Moshayev* Nemirovsky*** Alexander PERCUSSION Ayal Rafiah*, Acting Principal Hershkovich Gabi Nemirovsky Alexander Eitan Shapiro PIANO Kastoriano• Israel LIBRARIAN PRINCIPAL Rachel Daliot LIBRARIAN ASSISTANT Rockman Tal MANAGER AND STAGE OPERATIONAL Uzi Seltzer ASSISTANT TECHNICAL Kaufman Yaakov Chair Marilyn & Sigi z”l Ziering Family Endowed Family Marilyn & Sigi z”l Ziering Rochelle & David A. Hirsch Endowed Chair A. Hirsch Endowed Rochelle & David Michal Mossek Sally Meth Ben MosheSally Meth Yoel Abadi Yoel Michael Slatkin*** Dalit Segal*** James Madison Cox* HORNS Carol Patterson CONTRABASSOON CONTRABASSOON Carol Patterson Gad Lederman Uzi Shalev*** Daniel Mazaki* BASSOONS Jonathan HadasJonathan BASS CLARINET CLARINET BASS Yevgeny Yehudin Yehudin Yevgeny Ron Selka PICCOLO CLARINETS PICCOLO Jonathan Hadas Jonathan Rashelly Davis Yevgeny Yehudin* Yehudin* Yevgeny Ron Selka* CLARINETS CLARINETS Merrill Greenberg ENGLISH HORN ENGLISH HORN Tamar Narkiss-Melzer Tamar Merrill Greenberg Dudu Carmel* Bruce Weinstein* Bruce OBOES Leor Eitan PICCOLO PICCOLO Leor Eitan Boaz Meirovitch Eyal Ein-Habar*** Yossi Arnheim* Yossi FLUTES Julia Rovinsky* HARP UMS ISRAEL PHILHARMONIC ORCHESTRA STAFF

Yehoshua Pasternak (Chairman), Yoel Michal Bach, Assistant Personnel Abadi, Ayal Rafiah, IPO Management Manager Avi Shoshani, Secretary General Dvorit Oren, Artists Coordinator Peter Marck (Chairman), Yoel Abadi, Orly Zabib, Payroll Manager Brad Annis, Adelina Grodsky, Yehoshua Pasternak, Liat Ohayon, Payroll Accountant Marianna Povolotzky, Ayal Rafiah, Uzi Shalev, Anat Eldar, Chief Accountant Aharon Yaron, Musicians Council Orly Golan, Bookkeeper Stewart Taylor, Personnel Manager Orly Tal, Program Editor Enrique Maltz, Inspector Tsilli Rudik, Assistant Program Editor Merrill Greenberg, Assembly Chairman Shalom Tel Aviv, Public Relations Shemuel Hershko, Eran Reemy, Review Jacob Katz & Co. Law Office, Legal Advisors Committee Kost Forer & Gabbay, Auditors Alex Ziv, Finance Manager Yael Yardeni-Sela, Marketing Manager FOR OPUS 3 ARTISTS Shosh Elad, Assistant Finance Manager David V. Foster, President & CEO Racheli Mizrachi, Treasurer Earl Blackburn, Senior Vice President, Irit Rub, KeyNote Director Manager, Artists & Attractions Nira Oryan, Manager Subscription Dept. Leonard Stein, Senior Vice President, Bagrat Chen, Team Manager Director, Touring Division Leon Franco, Operation Manager Tania Leong, Associate Shlomi Mizrachi, IT Manager Irene Lönnblad, Associate, Touring Iris Abramovici Tevet, Assistant Sec. Gen. Division Galia Pesah, Assistant Marketing John Pendleton, Tour Manager Manager Timothy Grassel, Assistant Tour Manager Rachel Levy, Public Liaison

AKADEMIE FÜR ALTE MUSIK BERLIN

Sunday, April 13, 4 pm Hill Auditorium

PROGRAM J.S. Bach Sinfonia in F Major, BWV 1046a W.F. Bach Concerto in f minor for Harpsichord, Strings, and Basso Continuo C.P.E. Bach Sinfonia No. 5 in b minor for Strings and Basso Continuo, Wq. 182 C.P.E. Bach Concerto in E-Flat Major for Oboe, Strings, and Basso Continuo, Wq. 185 J.C. Bach Symphony in g minor Op. 6 , No. 6 for Strings, Two Oboes, Two Horns, and Basso Continuo

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