UNIVERSITY MUSICAL SOCIETY LENINGRAD PHILHARMONIC ORCHESTRA OF THE U.S.S.R. Mariss Jansons, Conductor Dmitri Alexeev, Pianist Friday Evening, October 19, 1990, at 8:00 p.m. Hill Auditorium, Ann Arbor, Michigan PROGRAM Selections from Romeo and Juliet, Op. 64 ..... Prokofiev Montagues and Capulets (Suite II, No. 1) The Young Juliet (Suite II, No. 2) Masks (Suite I, No. 5) Romeo at the Tomb of Juliet (Suite II, No. 7) The Death of Tybalt (Suite I, No. 7) Piano Concerto No. 1 in D-flat major, Op. 10 . Prokofiev (in one movement) Dmitri Alexeev, Pianist INTERMISSION Symphony No. 5 in E minor, Op. 64 Tchaikovsky Andante, allegro con anima Andante cantabile con alcuna licenza Valse: allegro moderato Finale: andante maestoso The pre-concert carillon recital was performed by Ray McLellan, doctoral student in organ and a carillon student of Margo Halsted, University Carillonneur. Dmitri Alexeev plays the Stcinway piano available through Hammell Music, Inc., Livonia. The Leningrad Philharmonic Orchestra appears by arrangement with ICM Artists, Ltd., New York, Lee Lamont, President, in cooperation with Sovinart, Moscow, Ella Tikhomirova, Director. For the convenience of our patrons, the box office in the outer lobby is open during intermission for purchase of tickets to upcoming Musical Society concerts. Fourth Concert of the 112th Season 112th Annual Choral Union Series Leningrad Philharmonic Orchestra of the U.S.S.R. Yuri Temirkanov, Music Director Mariss Jansons, Associate Conductor Pint Violins Cellos Horns Vladimir Ovtcharek Anatoly Nikitine Andrei Gloukhov Concertmaster Benious Morozov Sergei Dovgaliouk Alexandra Stang Valery Naidenov Anatoly Sourjok Vadim Selitski Alexandre Demourdjian Anatoly Musarov Alexandre Zolotarev Vladimir Atapine Stanislav Tses Lev Klytchkov Lev Fishkov Yuri Akimkine Igor Kiskatchi Sergei Cherniadiev Natalia Sokolova Trumpets losif Levinson Faina Makhtina Vladimir Kafelnikov Anatoly Zadkov Sergei Azizian Mikhail Romanov Anton Istomine Sergei Teterine Anatoli Stepanov Sergei Slovatchevsky Arkady Marash Valeri Chirskov Sergei Mikhailov Grigory Sedoukh Trombones Mikhail Gershovitch Basses Maxim Ignatiev Liya Melik-Mouradian Herman Loukianine Victor Venglovski lan Shvinka Robert Karapetiants Boris Vinogradov Ilia lofif Boris Kozlov Alexei Yevtouchenko Renata Bakhrakh Ernst loffe Valentin Loukin Oleg Kirillov Tuba Valeri Karapetiants Valentin Galouzine Second Violins Nikolay Chaousov Mikhail Estrine Timpani Alexei Ivanov Arkady Maleine Anatoly Ivanov Alexandre Shilo Boris Kouznetsov Percussion Vladislav Riabokon Veniamin loff Valery Znamenski Lyudmila Odinzova Flutes Konstantin Soloviev Janna Proskourova Valentin Zverev Ruben Ramazjan Grigory Loutski Valentin Cherenkov Alexandre Mikhailov Valentin Borisov Olga Grigorieva Evgeny Matveev Harps Olga Rybaltchenko Tatiana Tower Elena Mitchourina Andrei Shestiglazov Svetlana Bower Arkady Naimane Oboes Yefim Belsky Nikolay Neretin Piano Olga Krylova Tamara Tomskaia Petr Fedkov Olga Kotliarevskaja Petr Tosenko Director of Philharmonic Alexandre Kozoulin Association Tatiana Makarova Clarinets Boris Skvortsov Valery Bezroutchenko Violas Valentin Karlov Director of Orchestra Vladimir Stopitchev Mikhail Kouniavski Konstantin Shishmanov Alexei Liodevic Oleg Zakharine Stage Technicians Yuri Dmitriev Yuri Kuznetsov Bass Clarinet Vladimir Spasski Alexandre Novikov lakov Levinson Valentin Slougine Librarian Grigory Meerovitch Bassoons Vissarion Soloviev Oleg Talypin Filipp Jemkov Valentin Stadler Sergei Krasavine Wardrobe Supervisor Anatoly Chernyshev Lev Petcherski Valentin Oustinov Vladimir Ivanov Contrabassoon Interpreter Mikhail Elkonine Alexei Silioutin Vera Massovskaya Boris Herman Mikhail Slobodjanyuk Saxophone Elena Panfilova Alexandre Umansky ICM Artists Touring Division: Byron Gustafson, Vice-President and Director, Leonard Stein, General Manager, Richmond Davis, Stage Manager, Tania Jastrebov and Mark Driscoll, Interpreters =-^rtJ• ~ : " / *• Program Notes Excerpts from the ballet through virtuoso works for soloists and works Romeo and Juliet, Op. 64 for the stage and films. His first film score, SERGEI PROKOFIEV (1891-1953) for Feinzimmer's Lieutenant Kije, dealt with satire in the manner of an affectionate fairy hen Prokofiev left his tale, and the warm-hearted Violin Concerto homeland in 1918, at the No. 2, introduced in 1935, was the first of age of 27, he had a repu­ the great works of his maturity. Even before tation as an enfant terrible, the Concerto, however, the seeds had been earned with the "barbaric" planted for Romeo and Juliet, the ballet score Wrhythms and colors of such works as the that many consider Prokofiev's true master­ Scythian Suite and his first two piano concer­ piece for orchestra. tos. When he returned to settle in Moscow Romeo and Juliet is unquestionably the after his 15 years in the West, his decision to most successful "full evening" ballet created do so was accompanied by another decision in this century, but, like numerous other on the artistic level: to compose in a style similarly successful works, it had a hard time that would be more accessible to his Soviet getting off the ground. It was a request from audiences, to be more directly communica­ the Kirov Theatre in Leningrad, toward the tive without lowering his professional stan­ end of 1934, that initiated the project. The dards or abandoning his individuality. The Kirov changed its mind before Prokofiev had spiky irony and grotesque imagery of his written a note, but by then he had become earlier works were replaced now by a more so fascinated with the idea that he persuaded expansively lyrical style and a treatment of the Bolshoi Theatre in Moscow to sign a dramatic subjects more directly rooted in contract. In the spring of 1935, Prokofiev and Russia's musical past. Because he had not the choreographer Piotrovsky consulted with fared well as a symphonist (his magnificent Sergei Radlov, who had produced several of Fifth Symphony would not appear until Jan­ Shakespeare's plays, and the three developed uary 1945), he felt he could establish contact a scenario for the ballet. For a time, they with his new audience most effectively considered giving the work a happy ending (as Prokofiev remarked later, "living people Romeo at the Tomb of Juliet (Suite II, can dance - the dead cannot"), but in the No. 7) Having failed to receive Friar end remained faithful to Shakespeare. Laurence's message explaining the sleeping When Prokofiev submitted his score potion given to Juliet, Romeo enters the the following summer, it was rejected as Capulet family crypt, kills Paris, whom he "undanceable" by the Bolshoi management. finds mourning at Juliet's bier, and then, after He then extracted two concert suites from the a final reminiscence of their short-lived hap­ score, which he introduced in Moscow and piness, takes poison and dies. Leningrad during the 1936-37 season, and The Death of Tybalt (Suite I, No. 7) also arranged ten numbers for the piano. The After Mercutio is killed in a duel by Tybalt, response to the music was highly favorable, Romeo challenges the latter and kills him in but still the ballet found no takers. Later, the a furious fight. Kirov decided to produce it after all, and the Soviet premiere took place in Leningrad in 1940 with Galina Ulanova as Juliet. Concerto No. 1 in D-flat major Prokofiev was not finished with the for Piano and Orchestra, Op. 10 ballet when it was performed in Leningrad. PROKOFIEV He had made several additions to the score SERGEI and had enlarged the orchestra at the request ergei Prokofiev was born in of the dancers and the choreographer Leonid Sontsovka, in the Ekaterinoslav Lavrovsky. Even more additions were made district of the Ukraine, into an before the Bolshoi presented the work in affluent and cultured family. His 1946. Overall, Prokofiev worked on and father was an agricultural engineer revised this score nearly as long as Beethoven whoS managed a large estate in the Ukrainian did on Fidelio, and, as in that case, it was a steppe, and his mother was well-educated and work especially close to its composer's heart. a good pianist. It was her devotion to music "I have taken special pains," Prokofiev de­ that had the greatest influence on the young­ clared, "to achieve a simplicity which will, I ster, and, as an adored only child, he was hope, reach the hearts of all listeners. If musically precocious. He wrote his first piano people find no melody and no emotion in this piece at the age of five, and at nine he was work, I shall be very sorry but I feel sure playing the easier Beethoven sonatas. By the that sooner or later they will." summer of 1902, he was already the composer And, of course, they did sooner of two operas and numerous short piano rather than later. The music itself, in the form pieces when Reinhold Gliere, composer and of Prokofiev's own concert suites or various a professor at the Kiev Conservatory, came sequences of excerpts or even occasionally to Sontsovka to tutor the young musician. the entire score has also taken a permanent From Gliere, he learned the rudiments of place in the concert repertoire. The five harmony, form, and orchestration, and from selections heard this evening may be identi­ annual winter visits with his mother to Mos­ fied as follows: cow, he was exposed to the current musical Montagues and Capulets (Suite II, No. repertoire. In 1904, on the advice of Alex­ 1) The Dance of the Knights at the Capulets' ander Glazunov, Prokofiev was admitted to ball, prefaced by the music that accompanies the St. Petersburg Conservatory (Leningrad), the entrance of the Duke of Verona as he where he spent the next ten years. orders the warring families to lay down their Prokofiev's First and Second Piano arms. Concertos date from his years at the St. The Young Juliet (Suite II, No. 2) Juliet Petersburg Conservatory, a period when he playfully resists the Nurse's efforts to help her had a reputation as a rebellious student who dress for the ball. delighted in writing modernist music that Masks (Suite I, No. 5) This number shocked and displeased his professors. The accompanies the arrival of the three masked young Prokofiev was a brilliant and acrobatic Montagues.