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UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato

UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image UMS Concert Program, March 18 & 19: Detroit Symphony Orchestra -- Aldo Ceccato image
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Season: sixty-third
Ford Auditorium

Aldo Ceccato music director
sixty-third season 197677 ford auditorium march 18 & 19
What Rothschild did for vin, Herz does for furniture.
Some people hove on extraordinary knock for discovering the best--the best of wine, the best of art, the best of furniture. Visit Walter Herz Interiors, the home of superb interior design. You'll find thot extraordinary furniture. And the nicest thing of all is thot you con buy it. Cheers!
The Detroit Symphony Orchestra, Inc.
(Founded 1914) ALDO CECCATO, music director
OFFICERS 1976-77
John B. Ford, chairman Robert B. Semple. president
Norman A. Bolz, vice president Ririehart S. Bright, vice president Pierre V. Heftier, vice president 'Ralph T. McElvenny, vice president Paul S. Mirabito, vice president Dean E. Richardson, vice president
Alan E. Schwartz, vice president ?Richard L. Terrell, vice president Mrs. Theodore 0. Yntema, vice president David D. Williams, treasurer
Dennis E. Kembel, assistant treasurer Peter P. Thurber, secretary
Andrew W. Barr
Edward A. Baumann Norman A. Bolz
Lem W. Bowen Rinehart S. Bright
J. Lawrence Buell, Jr.
Mrs. C. Henry Buhl
Eugene A. Cafiero
Philip Caldwell
E. Paul Casey
Ferdinand Cinelli
Walker L. Cisler
Mrs. Frank W. Coolidge
Mrs. Abraham Cooper
Michael Counen
Mrs. John A. Courson
Rodkey Craighead
Anthony DeLorenzo
Robert Dewar
Mrs. Henry M. Domzalski
Frank W. Donovan
David K. Easlick
Mrs. Charles M. Endicott
William C. Ferguson
Mrs. Robert Fife
Mrs. Charles T. Fisher III
Max M. Fisher Gordon T. Ford
Mrs. Henry Ford II John B. Ford
Edward P. Frohlich
David L. Gamble
Hans Gehrke
A. R. Glancy III
Mrs. Daniel W. Goodenough
William T. Gossett
Karl Haas
Mrs. Hugh Harness
Martin Hayden Pierre V. Heftier
Lee Hills
Hudson Holland, Jr.
Mrs. Horace R. Holloway
Thomas H. Jeffs II
Mrs. Henry C. Johnson
Ernest A. Jones
Maxwell Jospey
Hon. Carl Levin
Walton Lewis
Thomas V. Lo Cicero
Harold O. Love
Wilber H. Mack
Hon. Wade H. McCree, Jr. Ralph T. McElvenny
Mrs. John T. McMullen
Dr. Marjorie Peebles Meyers
Hon. William G. Milliken Paul S. Mirabito
Rev. J. Stanley Murphy, C.S.B.
Miles M. O'Brien
Donald D. O'Dowd
Donald E. O'Neill
Peters Oppermann
W. Calvin Patterson
Raymond T. Perring
John Prepolec
Mrs. Jerome H. Remick, Jr.
Dean E. Richardson J. Marshall Robbins
Alan E. Schwartz Arthur R. Seder, Jr.
'Robert B. Semple Nate S. Shapero Mrs. Allan Shelden Mrs. Florence Sisman Mrs. Howard F. Smith, Jr. Bert L Smokier Gari M. Stroh, Jr. Robert M. Surdam Mrs. Harry W. Taylor
?Richard L. Terrell
Peter P. Thurber Mrs. S. Pinkney Tuck Mrs. Richard W. Tucker Mrs. Joseph A. Vance, Jr. Mrs. Richard Van Dusen Jack J. Wainger Harold G. Warner Mrs. Clifton Wharton
David D. Williams Mrs. Delford G. Williams Hon. G. Mennen Williams
Mrs. R. Jamison Williams Richard E. Williams Mrs. Isadore Winkelman
Mrs. R. Alexander Wrigley
Mrs. Theodore 0. Yntema Hon. Coleman A. Young Donald S. Young
Executive Committee
Marshall W. Turkin, executive director
Norman A. Bolz
Rinehart S. Bright
J. Lawrence Buell, Jr.
Philip Caldwell
Mrs. Abraham Cooper
Mrs. Henry M. Domzalski
Frank W. Donovan
David K. Easlick
Mrs. Charles M. Endicott
Gordon T. Ford
John B. Ford
Edward P. Frohlich
David L. Gamble
Mrs. Daniel W. Goodenough
William T. Gossett
Mrs. Hugh Harness
Martin Hayden
Pierre V. Heftier
Mrs. Henry C. Johnson
Thomas V. Lo Cicero
Wilber H. Mack
Ralph T. McElvenny
Paul S. Mirabito
Miles M. O'Brien
Donald D. O'Dowd
W. Calvin Patterson
John Prepolec
Dean E. Richardson
Alan E. Schwartz
Robert B. Semple
Mrs. Harry W. Taylor
Richard L. Terrell
Mrs. Joseph A. Vance, Jr.
Mrs. Richard Van Dusen
David D. Williams
Mrs. R. Jamison Williams
Richard E. Williams
Mrs. R. Alexander Wrigley
Mrs. Theodore O. Yntema
Rodkey Craighead Hans Gehrke, chairman
Dean E. Richardson Alan E. Schwartz
David D. Williams
Norman A. Bolz, chairman J. Lawrence Buell, Jr. Gordon T. Ford
Paul S. Mirabito Robert B. Semple
Richard L. Terrell
Mrs. R. Jamison Williams
Gerald Lundy Robert F. Magill
E. Harwood Rydholm William S. Schindler
Gerald E. Warren, chairman;
ad hoc member, Executive Committee
ADMINISTRATIVE STAFF Marshall W. Turkin, executive director
Michael A. Smith, orchestra manager
Sylvia Espenschade, public relations director
Bruce Carr, assistant manager
Rose Dabanian, executive secretary
Fred Thomas, public relations assistant
Haver E. Alspach, business manager Paul R. Weiser, development director Wayne S. Brown, assistant manager Carolyn R. Hill, assistant development director Joseph Variot, box office manager
Vernon C Allen, house manager
Detroit Symphony Youth Orchestra
Philip Greenberg, conductor Paul Freeman, guest conductor
The Detroit Symphony Orchestra continues to bring its accomplishments to other Michigan communities and is expanding its outstate activities. Appreciation is extended especially to those individuals and organizations listed below who are this season presenting the Detroit Symphony Orchestra in concerts in their communities. All appearances are made possible with the support of the Michigan Council for the Arts.
Mr. Barry Lyerly
Director of Student Activities
Albion College
Mr. Gail Rector, president
University of Michigan Musical Society
Dr. Ernest Sullivan, Director
Conservatory of Music
Dr. Donald J. Murtonen, president
Coppertown. USA
GRAND RAPIDS Dr. Harold Geerdes Calvin College
Thumb Council for the Arts
Mrs. Lorn Johnson, chairman
Dickinson County Council for the Arts
Mr. Carl Mockross, president
Gogebic County Council for the Arts
Dr. Kenneth Shouldice, president
Lake Superior College
Women's Association for the Detroit Symphony Orchestra
Mrs. Harry W. Taylor, president
Mrs. John T. McMullen, first vice president
Mrs. John D. French, vice president
Mrs. Charles M. Endicott, vice president
Mrs. Norman A. Bolz, vice president
Mrs. Gordon E. Areen
Mrs. Donald Glossop
Mrs. Robert Kaiser
Mrs. Ralzemond B. Parker
Mrs. Felix Resnick
Mrs. John E. Young, Jr., recording secretary
Mrs. Joseph G. Juett, ass't recording secretary
Mrs. Cyrus Holley, corresponding secretary
Mrs. H. Wayne Nelson, treasurer
Mrs. Bernard N. Craig, ass't treasurer
Mrs. Gordon E. Areen, endowment chairman
Mrs. John W. Griffin, parliamentarian
Mrs. Winfield S. Jewell, Jr., president emeritus
Mrs. Thomas V. Lo Cicero, maintenance fund chairman
Junior Women's Association for the Detroit Symphony Orchestra
Mrs. Henry M. Domzalski, president
Mrs. John A. Courson, first vice president
Mrs. Samuel G. Salloum, second vice president
Mrs. William G. Denomme, third vice president
Mrs. Robert Scott Ketchum, recording secretary
Mrs. William A. Waggoner, corresponding secretary
Mrs. Howard A. Harris, treasurer
Mrs. Richard Torley, program chairman
Mrs. Patrick G. McKeever, publicity chairman
Mrs. Fred Goldberg, records chairman
Mrs. Eugene W. Blanchard, social arrangements
Mrs. Herman Mozer, Symphony co-ordinator
Mrs. Virgil P. Goodman, yearbook chairman
Gordon Staples Concertmaster
Bogos Mortchikian
Associate Concertmaster
Joseph Goldman Gordon Peterson
Assistant Concertmasters
Misha Rachlevsky Jack Boesen Derek Francis Alan Gerstel Nicholas Zonas LeAnn Toth Beatriz Budinszky Malvem Kaufman Richard Margitza Linda Snedden Smith Paul Phillips Elias Friedenzohn Santo Urso
Edouard Kesner Felix Resnick Alvin Score Lillian Fenstermacher James Waring Margaret Tundo Walter Maddox Roy Bengtsson Thomas Downs Robert Murphy Larry Bartlett Joseph Striplin Bruce Smith Gabriel Szitas
Nathan Gordon 'David Ireland Philip Porbe Eugenia Staszewski LeRoy Fenstermachei Hart Hollman Walter Evich Anton Patti Gary Schnerer Catherine Compton
Italo Babini
James C. Gordon Chair
Thaddeus Markiewicz Edward Korkigian Mario DiFiore David Levine John Thurman Barbara Fickett Marcy Schweickhardt Susan Babini Debra Fayroian Hillman William Graham
Assistant Principal tCo-principal
Robert Gladstone Raymond Benner Stephen Molina Maxim Janowsky Linton Bodwin Donald Pennington Stephen Edwards Albert Steger
tElyze Yockey Ilku tCarole Crosby
Ervin Monroe Shaul Ben-Meir Robert Patrick Clement Barone
Clement Barone
Donald Baker Ronald Odmark Robert Sorton Treva Womble Harold Hall
Treva Womble
Paul Schaller Douglas Cornelsen Brian Schweickhardt Oliver Green
Brian Schweickhardt
BASSOONS Robert Williams Phillip Austin Paul Ganson Lyell Lindsey
FRENCH HORNS Eugene Wade Charles Weaver Edward Sauve Willard Darling Lowell Greer Keith Vernon
Donald Green
Gordon Smith
Alvin Belknap
Raymond Turner Joseph Skrzynski Elmer Janes
TUBA Wesley Jacobs
TIMPANI Salvatore Rabbio ?Robert Pangborn
Robert Pangborn Norman Fickett Raymond Makowski Sam Tundo
Ray Ferguson
LIBRARIAN Albert Steger Elmer Janes, assistant
Music Director
PAUL FREEMAN Coiuiuctor-in-Residence
PHILIP GREENBERG A ssistant Conductor
detroit symphony
Aldo Ceccato Music Director
Friday morning, March 18 at 10:45 (NBD Coffee Concert) Saturday evening, March 19 at 8:30
Aldo Ceccato, conductor
BEETHOVEN Missa solemnis, D major, Opus 123
Sanctus Bcnedictus Agnus Dei
The microphones on stage are used solely to tape the concert for broadcast by WDET-FM (101.9 Mz) on Wednesday evening, April 20, at 8:30, and subsequently by the other Public Radio stations throughout Michigan.
The Steinway is the official piano of the Detroit Symphony Orchestra
Benita Valente is one of those rare artists who has won international renown as a lieder singer, orchestral soloist and operatic performer. The young, California-born soprano began her climb to fame when she won the Metropolitan Opera Auditions in the early 1960s. She has since performed more than forty operatic roles and has appeared as soloist with major symphony orchestras throughout the world. Miss Valente last appeared with the DSO in January of 1976.
Composers have called Elaine Bonazzi their dream singer. She has participated in world or American premieres of nine operas and has performed as soloist with virtually every major orchestra in the United States. European audiences have hailed Miss Bonazzi's performances at the Belgrade and West Berlin Festivals. Miss Bonazzi studied piano as well as voice in her native Endicott, New York, and was graduated "with distinction' from the Eastman School of Music in Rochester. Her last appearance with the DSO was in April of 1968.
Shth McCoy began his professional career in the early 1960s as soloist with the Robert Shaw Chorale. Since then, he has built a firm, broad career and has won the highest acclaim for performances throughout the United States in recital, oratorio and opera. A member of the Bach Aria Group, Mr. McCoy appears on its nation?wide tours and also on its New York series at Tully Hall in Lincoln Center. He has appeared as soloist with the DSO on three previous occasions, most recently in performances of Beethoven's Ninth Symphony at Ford Auditorium and in Ann Arbor in March of 1976.
Ara Berberian is a regular performer with the New York City and the San Francisco Operas. He has sung leading roles in more than 100 operas with those and other companies throughout the country, and he has appeared as soloist with all the major U.S. orchestras. His European performances have included a tour of Soviet Russia -including Soviet Armenia -several seasons ago and ten performances with the Israel Philharmonic in 1971. A favorite with Detroit audiences, Mr. Berberian first appeared with the DSO in 1965 and most recently was featured in the DSO's performances of Janacek's Glagolitic Mass in Ford Auditorium, Carnegie Hall and Kennedy Center in January of 1975.
by Robert Holmes
Dean, College of Fine Arts, Western Michigan University
Born Bonn, 1770; died Vienna, 1827
Not counting the Ninth Symphony. Beethoven composed 13 works for chorus and orchestra: four cantatas, two choruses, an oratorio, the Bundeslied, two versions of Opferlied. a "Fantasy," and two masses, the one in C major composed in 1807, and the Missa solemnis The composer began the Missu solemnis towards the end of 1818 and completed it around the middle of 1823 The work was occasioned by and was to have been performed at the installation of Archduke Rudolph as Archbishop of Olmiitz. But when the installation took place on 20 March 1820, the score was far from finished and the ritual took place without it The publication was a stormy affair, Beethoven having promised it to several publishers and. after the promises, having continued to re-write and re-write. He finally sold the manuscript to Schott and Sons for 10.000 florins The manuscript bears a dedication to Rudolph. Archduke of Austria and Archbishop of Olmiitz.
The complete Mass was never performed in Vienna during Beethoven's lifetime. However, the Kyrie, Credo, and Agnus Dei were performed at the concert which presented the premiere of the Ninth Symphony, on 7 May 1824 The program booklet described the sections simply as ". . . Secondly: three grand hymns for solos and chorus" The first of the Mass in its entirety had taken place in St. Petersburg, under the patronage of Prince Nicolas Galitzin, on 6 April 18241 The first complete performance in Austria took place in Warnsdorf in 1830; the first Viennese performance of the entire Mass did not take place until 1845 The first performance in the United States was probably the one given by the Church Musical Association of New York at Steinway Hall on 2 May 1872.
The composition has served as the official "opener" for several significant events. On 15 October 1900, it was performed at the dedication of Boston Symphony Hall. Moreover, the Gloria was the first music performed at the opening of Philharmonic Hall of the Lincoln Center for the Performing Arts 23 September 1962.
The work has been performed on two previous occasions in this series, both times under the direction of Paul Paray: on 3 March 1960 the singers were Irene Jordan, Frances Bible, David Lloyd, McHenry Boatwright. and the Rackham Symphony Choir; on 16 and 18 March 1967 the soloists were Flinor Ross. Florence KoplefT. Walter Carringer. McHenry Boatwright. and the Rackham Symphony Choir.
The Missa solemnis is scored for 2 flutes. 2 oboes, 2 clarinets, 2 bassoons and contrabassoon, 4 horns, 2 trumpets. 3 trombones, timpani, organ, and strings. 4 vocal soloists (SATB) and mixed chorus Performance takes about 75 minutes.
'In spite of the problems Beethoven created tor himself in attempting to procure the best possible price from a publishing house, he decided to try to augment the monetary potential of the Mass by selling copies of the original manuscript to renowned musicians, musical societies, and several sovereigns. But of all those contacted, only six royal courts responded, the Spanish, Royal Saxon. French, Darmstadt, Tuscan and Russian. This explains why the world premiere took place in Russia.
March 29, 1977
8 p.m. Ford Auditorium
Detroit Symphony Orchestra
Paul Freeman Conductor in Residence
Ann Hart
Mezzo Soprano
Tickets Available
Ford Auditorium Box Office
Jefferson at Woodward
Detroit, Michigan 48226
Tickets: $50 (patron); $10; $5.
Checks for tickets are payable to:
Lake Superior State College
Hart Scholarship Fund
PROGRAM NOTES -continued
During the composing of his titanic Missa solemnis, Beethoven, as usual, was harassed by personal and familial problems. By way of documentation, here is a portion of his 1820 calendar: -
On April 17 the kitchen-maid entered upon her duties.
April 19 a poor day.
May 16 gave notice to the kitchen-maid.
May 19 the kitchen-maid left.
May 30 the woman entered upon her duties.
July 1 the kitchen-maid entered upon her duties.
July 28 the kitchen-maid ran away in the evening.
July 30 the woman from Lower Dobling entered service.
During the four evil days, August 10, 11, 12 and 13, I ate in Lerchenfeld.
August 28 the woman's month up.
September 9 the girl entered service.
October 22 the girl left.
December 12 the kitchen-maid entered service.
December 18 the kitchen-maid gave notice.
December 28 the new chambermaid entered service.
More vexatious were the problems with brother Johann, who had, in Beethoven's words, married a Fettliimmerl (a term best left untranslated), and nephew Karl, who continued to move from tavern to tavern, and mistress to mistress.
Yet though Beethoven the man was constantly embroiled in life's petty vicissitudes, Beethoven the creator dissociated himself completely, and was able to concentrate on the Mass as if earthly worries did not exist. Anton Schindler, who was as close to the composer during the last 12 years of his life as anyone, wrote of a visit to Beethoven in August of 1819 as follows:
"It was four in the afternoon. As soon as we entered we learned that in the
-O. G. Sonneck. cd.: Beethoven: Impressions of Contemporaries (New York. 1926).
The music world mourns the death last week of the internationally famous organ virtuoso E. Power Biggs, whose weekly radio-broadcast recitals during the 1940s and -50s introduced millions of Americans to classical organ music. Mr. Biggs performed with the DSO on three occa?sions during the 1960s: in November 1963, when he played a Handel concerto and the Barber Toccata festiva with Eugen Jochum; in February 1965, when he played the Sowerby Concerto with Sixten Ehrling; and in April 1969 when he played the Poulcnc Concerto, again with Ehrling, and some J. S. Bach solos.
"Here's where some Ford-built cars get
to go through some of the toughest tests
they got to go through'.'
Right here is where some Ford, Mercury and Lincoln cars face some of the toughest condi?tions a car will ever have to face...anywhere in the world.
This fan is bigger than my old neighborhood.
Tough Test =1.
Push a button and a giant fan starts blowing winds up to a hundred and forty miles an hour. Now when we add water to the wind, we got us a hurri?cane! It's a tough test for water leaks: around the doors... around the windows. ..around the trunk...around the hood.
Chotter chatter chatter chatter.
Tough Test =2. Push a Cold Button and the temperature drops to zero degrees. In just a short time you and the test car aresittinqaf the .
5J That breexe is
North Pole a real hang-up.
freezing your fenders off. This is how we test the operation of
Whot II it bo: Heat Wove... or Stormy Weather
How come I feel its gonna last 40 days and 40 nights
starter motors, heaters, de-foggers, defrosters, engines, and fuel systems.
I m not saying Tost "3 is hot...but you put an egg on the roof and it s gonna fry.
Tough Test "3.
Push a Hot Burton and 240 overhead heat lamps put us right in the middle of the Sahara Desert. In this llOdegree oven, we test the engine cooling system, air-conditioning, ven?tilation.
Tests like these are tough on a car. But tough testing makes for tough, at Ford Motor Company, we do a lot of it.
It's simple. Ford wants to be your car company.
PROGRAM NOTES -continued
morning both servants had gone away, and that there had been a quarrel after midnight which had disturbed all the neighbors, because as a consequence of a long vigil both had gone to sleep and the food which had been prepared had become unpalatable. In the living-room, behind a locked door, we heard the master singing parts of the fugue in the Credo -singing, howling, stamping. After we had been listening a long time to this almost awful scene, and were about to go away, the door opened and Beethoven stood before us with distorted features, calculated to excite fear. He looked as if he had been in mortal combat with the whole host of contrapuntists, his everlasting enemies."
Bear in mind that this is only one report of one such incident while he was writing his sacred masterwork. There are many other stories describing the composer's utter unawareness of rain on his head, of time, of appetite, of most earthly things. All this attests to quite a different image from that of the pragmatic Haydn and Mozart, but an image which was to manifest itself time and again during the remaining decades of the 19th century.
To what extent did Beethoven's ability to put up with persona! tribulations, his talent for dissociation, and his particular obsession with the Mass derive from his religious belief It is a question that can hardly be explored at length here, but a few comments are pertinent.
Beethoven was born a Catholic and received the sacrament on his deathbed. We also know that he encouraged his nephew to attend church and to pray. However, there seems to be no other biographical trace of orthodoxy -no hint, for example, in his copious letters and diaries, that he reserved any part of Sunday for formal worship. Rather, his personal library contained books on Persian religion, Eastern mysticism, and various other philosophies. He has been labelled everything from an atheist to a pantheist, including madman and democrat.
But one thing is clear: Beethoven believed. During that miraculous period he wrote in his journal: "Hard is thy situation at present, but He above is, oh, He is! and nothing is without Him. God, my refuge, my rock, Thou seest my heart; Oh hear. Ever Ineffable One, hear me, Thy most unhappy of mortals." And, again, he writes: "Sacrifice again all the pettinesses of social life to your art. God above all things! For it is an eternal providence which directs omnisciently the good and evil fortunes of human man . . . Tranquilly will I submit myself to all viscissitudes and place my sole confidence in Thine unalterable goodness, O God! Be my rock, my light, forever my trust!"
Of particular interest are the comments of Vincent d'lndy, a devout Catholic: "How can one venture to assert that the entire Mass is not an ardent 'act of faith,' that Credo does not proclaim on every page 'I believe not merely in a vague divinity, but in the God of the gospel and in the mysteries of the incarnation, the redemption, and the life eternal' How gainsay the penetrating emotion -so new in music -which attends these affirmations, and which springs solely from a Catholic comprehension of these dogmas and mysteries"
So, one must study Beethoven's relation with God not in his church attendance record, not in his actions, nor in his library, but in his work, and particularly in his greatest religious work, the solemnis. It is here that he probes and ultimately discovers and expresses all of the psychological and dramatic possibilities inherent in the mass text. The most striking substantive result is the constant, almost paranoiac, juxtaposition of the lowliness of man and the greatness of God, the plight of humanity and God's saving grace. The Mass is Beethoven's prayer to God and to man. He wrote at the beginning of the manuscript: "Von Herzen -mb'ge es wieder zu Herzen gehen!" (From the heart -may it go to the heart!)
Kyrie eleison (Assai sostenuto, Mil Andacht).
The orchestral introduction, though brief (21 measures), sets the majestic and dramatic mood of the entire Mass. And when the first prayer for mercy is intoned, the listener knows how well Beethoven meant the direction "Mil Andacht" (with devotion).
Kyrie eleison. Kyrie eleison. Kvrie eleison.
Lord have mercy upon us. Lord have mercy upon us. Lord have mercy upon us.
Christe eleison (Andante assai ben marcato).
Following the Kyrie there is a brief orchestral interlude leading into the Christe which, since Christ is the "mediator for our prayer," is far more personal in character than the Kyrie. Its intimacy is abetted by the extensive employment of the soloists. Then again there is a short interlude between the Chrisie and the second Kvrie.
Christe eleison. Christe eleison. Christe eleison.
Kyrie eleison (Tempo I). Kyrie eleison. Kyrie eleison. Kyrie eleison.
Christ have mercy upon us. Christ have mercy upon us. Christ have mercy upon us.
Lord have mercy upon us. Lord have mercy upon us. Lord have mercy upon us.
GLORIA Gloria in excelsis Deo (A llegro vivace).
Like the joy which permeates the last movement of the Ninth Symphony, the joy of the Gloria ascends to the heavens proclaiming the glory of God. Beethoven then descends to the Et in terra pax, intoned, fittingly enough, by the basses, only to have the Laudamus te return to the mood of the Gloria, all of this taking place with nearly imperceptible, typically Becthovenian transitions. But the most touching transition of all occurs when the orchestra is reduced to medium woodwinds and lower strings, the tempo changes (to meno allegro) and the tenor begins the
brief, serene Gratias. Note then how Beethoven relishes and glorifies, by employing all forces, by changing key abruptly, and by augmenting, the word "Omnipotens." To the composer, it was clearly one of the most important words in the entire Mass text, and he wanted to depict it well.
Gloria in excelsis Deo.
Et in terra pax hominibus
bonae voluntatis. Laudamus te,
benedicimus te.
adoramus te,
glorificamns te;
gratias agimus tibi
propter inagnam gloriam tuain;
Domine Dens,
Rex coelestis,
Deus pater omnipotens.
Domine fili nnigenite,
Domine Dens.
Jesu Christe;
agnus Dei,
filins Patris;
Qni tollis (Larghetto).
Glory to God on high.
And on earth peace to men
of good will. We praise Thee,
we bless Thee,
we adore Thee,
we glorify Thee;
we give thanks unto Thee
for Thy great glory;
Lord God,
King of heaven,
God the Father Almighty.
O Lord, only-begotten Son,
Jesus Christ;
O Lord God,
lamb of God,
Son of the Father;
The Qui tollis, the second major section of the Gloria, is sublime pathos, in which the listener should note, in particular, the counterpoint taking place among the soloists. They issue a quiet plea for Christ's absolution, interspersed with the contrasting lamentation Miserere intoned by the full chorus.
Qui tollis peccata mundi,
Miserere nobis.
Qui tollis peccata mundi,
suscipe deprecationem nostran, Qui sedes ad dexteram Patris,
miserere nobis; Quoniam (Allegro maestoso -
Thou that takest away the sins
of the world, Have mercy upon us. Thou that takes away the sins
of the world, . receive our prayer.
Thou that sittest at the right hand
of the Father, have mercy upon us.
Allegro, ma non troppo e ben marcato).
The Qiioniam issues forth the highest musical praise, a thunderous, heavenly choir, shouting of Christ's uniqueness, his oneness with man and God, his eternal
From the Program Books of the Royal Festival Hall, London:
"During a recent test in the Hall, a note played mezzoforte on the horn measured approximately 65 decibels of sound. A single 'uncovered' cough gave the same reading. A handkerchief placed over the mouth when coughing assists in obtaining a pianissimo."
Limiting your conversation to between-musical moments will also please your neighbors.
PROGRAM NOTES -continued
truth and beauty. But this serves only as herald of what is to come -the mighty fugue of the ; gloria Dei Patris. It is not by accident that Beethoven, as did Bach and Handel in their greatest religious expressions, used the titan, the most logical, most exciting of all musical forms, the fugue, to symbolize and convey the logic of this part of the text. But Beethoven could not contain himself and he thrusts into the presto coda, an emotional apex, the most exciting kind of religious joy. Except for the conclusion of the entire Mass, this is the only section that does not end pianissimo.
Quoniam tu solus sanctus, tu solus altissimus, Jesu Christe, cum sancto spirtu in gloria Dei Patris. Amen
For thou alone art holy, Thou alone art most high
Jesus Christ, with the Holy Ghost in the glory of God the Father. Amen.
CREDO Credo in imum Dewn (A llegro ma non troppo)
"Gott iiber alles -Gott hat mich nie verlassen" (God above all -God has never deserted me). With this inscription over the opening measures of the short instrumental introduction, Beethoven leads the listener into the core of this art form, the declaration of faith in one God. Appropriately, it is the longest text, and the composer makes it the longest musical section. Yet, always demanding of the human instrument, urging it to constantly extend itself, the voices are seldom silent, repeating the firm, forthright "Credo" motive again and again, confirming, reconfirming, piling climax upon climax.
As might be expected, the last words, "descendit de coelis," are depicted literally. They are echoed in the orchestra with a unison suspension again reminiscent of a technique used in the Ninth Symphony.
Credo in unum Deum, Patrem omnipotentem, jactorem coeli et terrae, visibilium omnium et invisibiUum; Et in unum Dominion, Jesum Christum filium Dei unigenitum, et ex Patre natum ante omnia saecula, Deum de Deo, lumen de lumine, Deum veruin de Deo vero, genitum, non faction, consubstantialeni Patris, per quern omnia facta sunt;
I believe in one God,
the Father Almighty,
Maker of heaven and earth,
and of all things visible
and invisible;
And in one Lord,
Jesus Christ,
only-begotten Son of God,
and begotten of the Father
before all worlds,
God of God,
Light of Light,
true God of true God,
begotten, not made,
of one substance with the Father,
by whom all things were made;
Qui propter nos homines et propter nostrum salutem descendit de coelis, Et incarnatus est (Adagio).
Who for us men and for our salvation came down from heaven,
Following the descent to earth, the Et incarnatus est is a lovely prayer intoned first by the tenor and then taken by the other soloists. The thinner orchestration and the general starkness are unusual. With the Et homo factus est, the setting becomes more optimistic, and seems to depict the nobility of man because Christ was made of him.
Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est; Crucifixus (Adagio espressivo).
And was incarnate by the Holy Ghost of the Virgin Mary and was made man;
As in most parts of the Missa solemnis any attempt to compare Beethoven's treatment of the Crucifixus with Bach's B minor Mass is unsuccessful. Bach's famous Crucifixus mysteriously reflects that composer's Jesuminne [love of Jesus], agonizing in its chromatically descending bass, which romantic scholars used to associate with the pounding of the nails into the cross. For Beethoven, the Crucifixion is not so mystical. Nor does it recapture in any way Bach's tragic, naturalistic treatment. It is more the case that Beethoven depicts the words "sub Pontio Pilato" in complete unison for purposes of emphasis. The Et sepultus est closes in the depths of despair, the score reading "ppp."
Crticifixu.s etiam pro nobis, sub Poniio Pilato passus et sepultus est; Et resiirrexit (Allegro)
He was crucified also for us, he suffered under Pontius Pilate and was buried;
The Et ressurre.xit thrusts, shrieks upwards to the stars, depicting literally the ascension with flowing scale passages. Even the stern announcement of judgment day ("judicare vivos et mortuos") in the solo trombones is short-lived; for Beethoven must return to his pronouncement of belief.
Et resurrexit tertia die
secitndum Scripturas;
Et ascendit in coelum;
sedet ad dexteram Patris,
et iterum venturus est cum gloria
judicare vivos et inortuos,
cujits regni non erit finis;
And he rose again on the third day
according to the scriptures;
and ascended into heaven;
he sits on the right hand of the Father,
and he shall come again with glory
to judge the quick and the dead;
whose kingdom shall have no end;
El in spiritual sanctum (A llegro ma non iroppo).
The composer's desire to proclaim and repeat "Credo" over and over again, elevating tier upon tier, combines well with a new structural concept. The word "credo" does not appear in this section of the official Mass text. Beethoven interpolates it, however -"Et [credo] in Spiritum Sanctum" -enabling him to return to the original "Credo" music, thus bringing together the concepts of "unum Deum" and "Spiritum Sanctum," and thus linking the textual and musical content from the beginning of the Credo to the end.
PROGRAM NOTES -continued
Et [credo] in Spiritum Sanctum Dominion et vivifactem,
qui ex Pcitre Filioque procedit,
qui cum Patre et Filio simul adoratur et conglorificatur, qui locutus est per prophetas, Et in imam sanctam catholicam et apostolicam ecclesiam. Confiteor unum baptisma in remissionem peccatorum, et expecto resurreclionem mortuorum,
And [I believe] in the Holy Ghost,
The Lord and giver of life,
who proceeds from the Father and
the Son,
who with the Father and Son together is worshipped and glorified, who spoke through the Prophets; And in one holy Catholic and Apostolic Church; I acknowledge one Baptism for the remission of sins, and I look for the Resurrection
of the dead.
Et vitam venturi (Allegretto ma non troppo -Allegro con nioto).
As he did at the end of the Gloria, the composer closes the Credo with a massive choral fugue, portraying his faith in and the logic of everlasting life. As Riezler wrote, "the Fugue of the Gloria is one of the mightiest that Beethoven ever wrote: that of the Credo, for all its tremendous climaxes, is the farthest removed from worldly things."'
Et vitam venturi saeculi. Amen.
And life in the world to come. Amen.
Santcus (Adagio. Mil Andacht). Although it is a brief text, Beethoven treats the Sanctus in expansive musical
Sanctus, sanctus, sanctus, Dominus Deus Sabaoth.
Holy, holy, holy, Lord God of hosts.
Pleni sunt coeli (Allegro pesante) and Osanna (Presto).
The original score indicates that the second section of the Sanctus, the Plent stint coeli, was written for solo voices. Tovey, however, may be correct in his contention that the section was really meant for chorus, since the solo voices are usually drowned out by the rather heavy orchestral accompaniment.
Pleni stint coeli et terra gloria tua; Osanna in excelsis.
Heaven and earth are full
of thy glory;
Hosanna in the highest.
Praeludium (Sostenuto ma non troppo) and Benedictus (Andante molto cantabile e non troppo mosso).
In the official Mass, the Sanctus is followed by the act of consecration, during
which, as proscribed by the Motu Proprio, no music is to take place. In one sense, none does, for it is the largest respite Beethoven gives to the voices. The interpolation of the Prelude is, however, a superb stroke, since it functions in several ways: (1) it serves as a wondrous transition between the Sanctus and the Benedictus; (2) it is a heartfelt introduction to the Benedictus, the text of which Beethoven takes so personally; (3) we may surmise that the Praeludium also symbolizes he act of consecration, explaining in part at least why it is among Beethoven's most brilliant and romantic instrumental passages. When this longest instrumental section of the entire composition (32 measures), featuring lower strings and winds, reaches an end, the beatific Benedictus is uttered in total, undisturbed peace.
Benedictus qui venit in
nomine Domini. Ossana in excelsis.
Blessed is he who comes in the
name of the Lord. Hosanna in the highest.
AGNUS DEI . Agnus Dei (Adagio).
The first section of the Agnus Dei is almost completely in B minor, expressing the tragedy of the sins of man and their burden upon Christ. The listener should take note of the way in which the alto and then the tenor plead, "Agnus Dei," only to be answered reproachfully by the Chorus's "Miserere!"
Agnus Dei, qui tollis
peccata mimdi, miserere nobis.
Lamb of God, who takes away
the sins of the world, have mercy on us.
Dona nobis pacem (Allegretto vivace -Allegro assai -Presto -Tempo I).
Even with the Dona nobis pacem, peace appears not easily won, for the trumpets of war threaten in the distance. The drums roll and the alto cries, spreading her fears to the tenor and soprano. And, at this point, the dramatic apex of the entire work, one knows what the composer meant when he wrote above the Qui tollis "Bitte um inncrn und aussern Frieden" (Prayer for inner and outer peace). Even at the very end the timpani again threaten but, finally, peace is achieved, sin and ugliness are absolved.
Agnus Dei qui tollis peccata
mundi, Dona nobis pacein.
Lamb of God, who takes away
the sins of the world, Give us peace.
The many descriptions of Beethoven's death penned by Romantic biographers, relating how the master sat up and shook his fist and the heavens roared with thunder and wind swept through the room, have quite naturally been considered apocryphal and have therefore been stifled by the more realistic 20th-century historian. But note what that magical lexicographer Nicolas Slonimsky has to say in the preface to his completely revised fifth edition of Baker's Biographical Dictionary of Musicians: ". . . The famous account of Beethoven's dying during a violent storm has been triumphantly confirmed. I have obtained from the Vienna Bureau of Meteorology an official extract from the weather report for March 26, 1827, stating that a thunderstorm, accompanied by strong winds, raged over the city at 4:00 in the afternoon."
The 197778 subscription season at Ford Auditorium show?cases the unmatched talents of the world's greatest musicians.
Antal Dorati Music Director
Paul Freeman Conduclor-in-Residence
Philip Greenberg Assistant Conductor
guest conductors
Moshe Atzmon Gary Bertini Andrew Davis Sixten Ehrling Szymon Goldberg Raymond Leppard Zdenek Macal Neville Marriner Eduardo Mata Georges Pretre Klaus Tennstedt Werner Torkanowsky
Use von Alpenheim Martha Argerich John Browning Sir Clifford Curzon Alicia Delarrocha Bruno Leonardo Gelber Gary Graffman Horacio Gutierrez Eugene Istomin Byron Janis James Tocco Alexis Weissenberg
Itzhak Perlman Isaac Stern Henryk Szeryng PinchasZukerman
other instrumentalists
Halo Babini, cellist Donald Baker, oboist Elyze Ilku, harpist Ervin Monroe, flutist Jean-Pierre Rampal, flutist Janos Starker, cellist Robert Williams, bassoonist
John Alexander, tenor Heather Harper, soprano Peter Lagger, bass Jessye Norman, soprano
Weekender Pops attractions including
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Arthur Fiedler Benny Goodman Ethel Merman
plus the sprite-ly Young People's series
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November 2-13 Ford Auditorium
Renewing subscribers and new season ticketholders are being given first oppor?tunity to be present for the birth of a new Detroit Symphony Orchestra tradition. When the Beethoven Festival opens for seven thrilling performances, in this Beethoven anniversary year, it will mark the first in a series of annual two-week festivals with a musical profile dedicated to either one master, or school or one geographical territory of music.
WednesdayNOVEMBER 28:30 pm
DETROIT SYMPHONY ORCHESTRA ANTAL DORATI, conductor Symphonies No. 1, 4 & 5 (Additional concert option tor Royal & Laureate Series)
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TuesdayNOVEMBER 88:30 pm
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ThursdayNOVEMBER 108:30 pm
DETROIT SYMPHONY ORCHESTRA ANTAL DORATI, conductor Symphonies No. 6 &7 (Additional concert option lor Royal & Thurs. Sampler Series)
FridayNOVEMBER 1110:45 am
Chamber Music Concert ILSE VON ALPENHEIM, pianist GORDON STAPLES, violinist PAUL SCHALLER, clarinetist DONALD BAKER, oboist ROBERT WILLIAMS, bassoonist EUGENE WADE, hornist
(Additional concert option lor Coffee Series I, II & Coffee Combination)
SaturdayNOVEMBER 128:30 pm
Symphonies No. 8 & 9 SARAH BEATTY, soprano CLAUDINE CARLSON, mezzo-soprano GEORGE SHIRLEY, tenor EZIO FLAGELLO, bass
(Additional concert option tor Elite & Sat. Sampler Series)
SundayNOVEMBER 137:30 pm
(Additional concert option tor Chamber Series)
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James Loughran, principal conductor of the Halle Orchestra of Manchester (England) makes his conducting debut with the DSO next Thursday (March 24) and Friday (March 25) evenings at 8:30 in Ford Auditorium. Pianist Radu Lupu will be featured as soloist in Beethoven's Piano Concerto No. 2; also on the program is the Mahler Symphony No. 5. Friday evening's concert is the fourth in this season's Zodiac series, and includes a special pre-concert Prelude at 7:30 in the Auditorium, free to ticketholders for the evening's concert.
James Loughran (pronounced LOCK-run) began his musical career as assistant to Peter Maag at the Bonn Opera. Later he moved to similar appointments in Holland and Italy before returning to England to take first place in the Philharmonia Orchestra's competition for young conductors. Subsequently, he was appointed Associate Conductor of the Bournemouth Symphony Orchestra, and in 1965 he was invited to return to his native Scotland as Principal Conductor of the BBC Scottish Symphony Orchestra. Maestro Loughran was appointed to his present position in 1971. He has recorded the complete cycle of Beethoven symphonies with the Halle Orchestra for release over the next two years on the Enigma Classics label. His extensive European conducting experience includes recent return tours of Germany and Switzerland. Maestro Loughran made his United States debut with the New York Philharmonic in 1972.
Winner of three of the world's most prestigious piano competitions (Leeds, Georges Enesco, and Van Cliburn), Radu Lupu brings an intensity and flair to his performances that has already generated com?parisons with the legendary giants of the piano. Fast becoming one of Europe's most popular pianists, his American concert appearances with orchestra and in recital are attracting an enthusiastic and evergrowing following. The Romanian-born pianist made his United States debut in 1972 with the Cleveland Orchestra and first appeared with the DSO the following year at Meadow Brook with Music Director Aldo Ccccato in the First Piano Concerto of Brahms. Mr. Lupu makes his home in London. He is under contract with London Records, on whose label his recording of the Beethoven Piano Concerto No. 3 was voted the outstanding record of 1972 in Europe. Among his most recent releases arc a recording of Beethoven sonatas and another of Mozart piano concertos.
with The University Symphony Orchestra
Friday, April 15, at 8:30, in Hill Auditorium on the University of Michigan campus, Ann Arbor
"Nuages" and "Fetes"..................Debussy "Leonore" Overture No. 3 ......Beethoven
"The Pines of Rome" ..................Respighi Symphony No. 5 in C minor .... Beethoven
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The Universitv of Michigan Choral Union has sung with the DSO four times before: in performances of the Beethoven Choral Fantasy in Detroit in 1970: in Beethoven's Fidelia at the Meadow Brook Music Festival in 1971; in an all-Brubeck program in Detroit and Ann Arbor in January 1974: and in the Beethoven Symphony No. 9 in Detroit and Ann Arbor last season. Donald Bryant is the director of the U-M Choral Union.
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Thursday evening, March 24 at 8:30 Friday evening, March 25 at 8:30
JAMES LOUGHRAN, conducting RADU LUPU, pianist
BEETHOVEN Piano Concerto No. 2
MAHLER Symphony No. 5
Saturday morning, March 26 at 11 o'clock Saturday afternoon, March 26 at 2 o'clock
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CARTER Holiday Overture
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SHOSTAKOVICH Symphony No. 10
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Mr. and Mrs. Thomas Snelham
Mr. and Mrs. Joseph G.
Standart, Jr.
Mr. and Mrs. Lynn A. Townsend Mr. Edward W. Turner Mr. and Mrs. C. Theron Van Dusen Mrs. Richard Wagner
Dr. Reuven Bar-Levav
Mr. and Mrs. Philip C. Berry
Mr. and Mrs. Theodore D.
Mr. William P. Bonbright Mr. and Mrs. Fred M. Braun Ms. Margaret Bull Mr. and Mrs. E. Paul Casey Dr. and Mrs. Raymond C.
Chnstensen Mr. Merle J. Churchill Mrs. Alfred D. Covert Mrs. Merlin Cudlip Mr. and Mrs. LeRoy W. Dahlberg Mr. and Mrs. Frank Daley Mr. and Mrs. Denton B. Emmert Mr. and Mrs. George M. Endicott Mr. and Mrs. Robert B. Evans Mr. and Mrs. Sidney I. Feldman Mrs. Robert Fife Mr. and Mrs. Herman Frankel Mr. aid Mrs. Thomas C. Goad Dr. and Mrs. Virgil P. Goodman Mr. and Mrs. Carl B. Grawn Mrs. Robert N. Green Mrs. Harold D. Gumpper Mr. and Mrs. E. J. Hartman
Mrs. Robert F. Hastings
Mr. and Mrs. Martin S. Hayden
Mr. and Mrs Carleton Healy
Mr. Lee Hills
Mr. and Mrs. George M. Holley, Jr.
Mr. and Mrs. David 8. Holtzman
Mr. and Mrs. R. Paul Jasperse
Mr. and Mrs. John S. Judd
Dr. and Mrs. J. Paul Leonard
Mr. and Mrs. Edward H. Lerchen
Mr. and Mrs. Walton A. Lewis
Ms. Judith A. Lindsay
Mr. and Mrs. Sidney Linn
Miss Elizabeth A. Long
Mr. Oscar A. Lundin
Mr. and Mrs. Alex Manoogian
Mr. and Mrs. Edward Mardigian
Ms. Jean A. Marson
Dr. Frank W. Martin
Mr. and Mrs. George Michaels
Ms. M. Helen McConachie
Milton J. and Jeannette X. Miller
Mr. and Mrs. A. J. Miatke Dr. Sophie Mishelevich Mr. and Mrs. Arthur Ostrowski Mr. and Mrs. John A. Parks
Dr. Louisa T. Piccone
Dr. and Mrs. Harold Plotnick
Mr. and Mrs. Curtis W. Poole, Jr.
Mr. and Mrs. Elijah Poxson
Mr. and Mrs. Albert M. Raisch
Dr. Herbert A. Raskin
The Sigmund & Sophie Rohlik
Mr. and Mrs. Ross Roy Mr. and Mrs. Robert Ruch Mr. and Mrs. Allan B. Schmier Mr. Herbert Sott Mr. and Mrs. Robert M. Surdam Mrs. Amand H. Touscany Mr. and Mrs. Peter P. Thurber Mr. and Mrs. Richard W. Tucker Mr. and Mrs. Joseph A. Vance, Jr. Mr. Robert Van Walleghem Mr. and Mrs. Jack J. Wainger Mr. and Mrs. Dwight E. Weber Mr. and Mrs. Eric Wiltshire Mr. and Mrs. Mack W. Worden Mr. and Mrs. Alfred C. Wortley, Jr. Mr. and Mrs. William W.
Wotherspoon Mayor Coleman A. Young Mr. William J. Young, Jr.
Mr. and Mrs. Harold D. Anderson
Mr. and Mrs. Eugene J. Arnfeld
Mr. Harry B. Aronow
Dr. and Mrs. Allan A. Ash
Mr. and Mrs. Frank B. Audette
Mrs. Charles K. Backus
Mr. and Mrs. Albert Barden
Mr. and Mrs. Elmer L. Barber, Jr.
Mr. and Mrs. Carl 0. Barton
Dr. Jacques Beaudoin
Mr. and Mrs. Howard L. Beer
Ms. Riki Belew
Mr. and Mrs. Robert A. Benton
Mr. and Mrs. William P. Benton
Dr. and Mrs. Robert Berman
Dr. and Mrs. John G. Bielawski
Mr. Maurice S. Binkow
Dr. and Mrs. John E. Blanzy
Mr. and Mrs. C. Hascall Bliss
Dr. and Mrs. Norman Bolton
Mr. John A. Bott
Mr. and Mrs. Don R. Bowerman
Mr. and Mrs. Martin F. Breaux
Ms. Hilda E. Bretzlaff
Dr. and Mrs. John H. Bryant
Mr. and Mrs. William G. Butler
Mr. and Mrs. Edward B. Caulkins
Mr. and Mrs. Prince Charleston
Mr. and Mrs. Grant C. Chave
Dr. and Mrs. Sanford N. Cohen
Mr. and Mrs. Charles T. Cole, Jr.
Mrs. Charles Colman
Ms. Janet B. Cooper
Mr. and Mrs. Wright C. Cotton
Mr. and Mrs. John A. Courson
Mr. and Mrs. Thomas A.
Mr. and Mrs. Rodkey Craighead Croatian Board of Trade Mr. and Mrs. C. V. Crockett Mrs. Frederick H. Curtis Mr. Robert W. Decker Mr. and Mrs. Malcolm Denise The Helen L. DeRoy Foundation Detroit Alumnae Chapter --
Mu Phi Epsilon
Detroit Council Sigma Alpha lota Mrs. Rollo W. Detwiler Dr. and Mrs. Benjamin W. Dovitz Mr. and Mrs. Seymour Dubrinsky Mr. and Mrs. Saul H. Dunitz Mr. William A. Dunning Mr. and Mrs. Berrien C. Eaton Mr. Robert B. Edgar Miss Christine R. Edwards Dr. and Mrs. Robert P. Eisenstein Mr. and Mrs. Harold H.
Emmons, Jr.
Mrs. Cyril J. Edwards, Jr. Dr. and Mrs. Robert P. Eisenstein Mr. and Mrs. George L. Erb Mrs. William A. Evans, Jr. Dr. and Mrs. Aaron Farbman Mr. W. C. Ferguson Mr. Dexter Ferry Mr. and Mrs. John H. Fildew Mr. and Mrs. Charles T. Fisher III Mr. Earl R. Forsyth
Mr. and Mrs. Anthony C. Fortunski
Mr. and Mrs. Ivan Frankel
Mr. and Mrs. John S. French
Mr. and Mrs. George E. Frost
Mrs. Wallace Frost
Mr. John G. Garlinghouse
Mr. William Gershenson
Mr. and Mrs. Robert Gold
Dr. and Mrs. Alfred Goldfaden
Dr. and Mrs. Herbert Goldstein
Dr. and Mrs. John N. Grekin
Dr. and Mrs. Berj H. Haidostian
Mr. G. Robert Harrington
Mr. and Mrs. Dwight Havens
Mr. and Mrs. William B. Heaton
Mr. and Mrs. Hudson Holland, Jr.
Mr. George M. Holley, Jr.
Mr. and Mrs. William H. Holman
Mr. and Mrs. Joseph L. Hudson, Jr.
Dr. and Mrs. Gerald W. Isenberg
Mr. and Mrs. Richard F. Jacobs
Dr. and Mrs. Wayne N. Jacobus
Mr. and Mrs. Thomas K. Jefferis
Mr. and Mrs. Reuben R. Jensen
Mr. and Mrs. John W. Jickling
Mr. and Mrs. Robert L. Kaiser
Mr. and Mrs. Boris Katz
Mr. and Mrs. Sidney Kaye
Mr. and Mrs. Howard H. Kehrl
Mr. Stephen F. Keller
Mr. and Mrs. Paul J. Kelley
Mr. and Mrs. Jacob Kellman
Mr. and Mrs. John Kelly
Dr. and Mrs. Charles Kessler
Dr. and Mrs. Robert L. Kessler
Mr. and Mrs. Kurt Keydel
Mrs. Clarence H. Koebbe
Ms. Joseph Kramar
Mr. and Mrs. Willard G.
Kramer, Jr. Mrs. Joseph Kron Dr. and Mrs. Ned N. Kuehn Dr. and Mrs. Robert E. Kuhn Dr. William A. Lange Mr. Stephen Lanyi Mr. Henry Ledyard Justice and Mrs. Charles Levin Dr. and Mrs. Robert J. Lucas Mr. and Mrs. William R. Ludwig Mr. Bennett J. McCarthy Mr. Thomas McMaster Mr. and Mrs. Donald E. McMinn Mr. and Mrs. Richard Measelle Mr. and Mrs. Theodore H.
Mecke, Jr.
Rev. and Mrs. F. Ricksford Meyers Mr. and Mrs. Milton J. Miller Mr. William B. Morgan Mr. and Mrs. William K. Muir Mr. Stanley N. Muirhead Mr. Edmond T. Neeme Mr. Frederick S. Neumann Mr. and Mrs. Robert A. Nitschke Mr. and Mrs. Donald D. O'Dowd Mr. and Mrs. Donald E. O'Neill Dr. and Mrs. Peter Palmer Dr. and Mrs. Ned Papania
Mr. and Mrs. W. Calvin Patterson Mr. and Mrs. Donald J. Pearl Ms. Betty M. Pecsenye Mr. Robert E. Pell Mr. and Mrs. Paul D. Pender Mr. and Mrs. Robert E. Penskar Mr. and Mrs. Guy S. Peppiatt Dr. and Mrs. Claus P. Petermann Mr. and Mrs. Richard H. Peters Ms. Loraine M. Pickering Mr. David Pollack Mr. and Mrs. Kenneth B. Porter Mr. and Mrs. Leslie C. Putnam Dr. and Mrs. Foster K. Redding Mrs. Jerome H. Remick, Jr. Mr. and Mrs. John V. Renchard Mr. and Mrs. John J. Riccardo Mr. and Mrs. Mayford L. Roark Mrs. Frederick H. Robinson Mr. and Mrs. Jack A. Robinson Mr. and Mrs. Aaron R. Ross Mr. and Mrs. Dominic J. Rossi Mr. and Mrs. Ben Rouse Mrs. Duane Sambrook Mr. and Mrs. Sheldon W.
Mr. and Mrs. Saul S. Saulson Mr. and Mrs. Nathaniel Saulter Mrs. Morris Schaver Dr. and Mrs. Robert Alan Scherer Mr. and Mrs. Will Scott Mr. Theodore G. Seemeyer, Jr. Mr. and Mrs. Donald E. Shely Dr. and Mrs. Robert J. Sillery Mr. and Mrs. Eugene P. Sims Mrs. Florence Sisman Don and Dolly Smith Foundation Mr. and Mrs. Howard F. Smith, Jr. Mr. and Mrs. J. Jordan Smith Mr. and Mrs. Neil Snow Mr. and Mrs. William F. Steinberg Mr. Frank D. Stella Mr. and Mrs. Robert I. Stern Mrs. Muriel J. Strebe Mr. George Stroh Mrs. Lucile C. Strong Dr. Joan Copeland Stryker Dr. Gabriel Tatelis Dr. and Mrs. Harry Taylor Mr. and Mrs. B. James Theodoroff Mr. Howard J. Thomsen Mrs. DeHull N. Travis The Tuesday Musicale of Detroit Mr. Brent T. Upson Mr. and Mrs. Joseph A. Vance, Jr. Mr. and Mrs. Lawrence R. Van Til Mr. and Mrs. Gerald Van Wyke Dr. and Mrs. Edward J. Wallon Dr. and Mrs. Irving A. Warren Ms. Patricia Weinstein Dr. and Mrs. Arnold M. Weissler Mr. and Mrs. Clifton R.
Wharton. Jr. Mr. Barry L. Wolfe Mr. and Mrs. Donald S. Young Mr. and Mrs. John E. Young, Jr. Dr. Leonard S. Zubroff
Corporate Contributors
Bundy Corporation Burroughs Corporation Chrysler Corporation City of Detroit Ford Motor Company
General Motors Corporation Junior Women's Association for
the Detroit Symphony Orchestra The Kresge Foundation McGregor Fund
National Bank of Detroit Women's Association for the Detroit Symphony Orchestra
BASF Wyandotte Corporation Detroit Bank & Trust Company The Detroit News Great Lakes Steel Division of National Steel Corporation J. L. Hudson Company
The Knight Foundation S. S. Kresge Company Manufacturers National Bank Michigan Bell Telephone Company
Michigan Consolidated
Gas Company Michigan-Wisconsin
Pipe Line Company Parker Davis & Company Stroh Brewery Company
The Bendix Corporation Detroit Edison Company
First Federal Savings &
Loan Association of Detroit
The EPH Foundation-Essex Wire Corporation
Federal-Mogul Corporation Hiram Walker & Sons, Inc.
Masco Corporation McLouth Steel Corporation
American Motors Corporation American Sunroof Corporation Arthur Andersen & Company The Budd Company Leo Burnett Company of
Michigan Inc.
City National Bank of Detroit Dana Corporation D'Arcy-MacManus & Masius Detroit Ball Bearing Company Eaton Corporation Ex-Cell-O Corporation Fritz Enterprises Fruehauf Foundation
Haskins & Sells Jones & Laughlin Steel
Corporation Kelsey-Hayes Company F. Joseph Lamb Company Lear Siegler Foundation McCord Corporation Mercier Corporation Michigan National Bank--
West Metro Monsanto Industrial Chemicals
Northeastern Tool & Die PPG Industries
Panax Corporation Pennwalt Corporation Reynolds Metals Company Standard Federal Savings
& Loan Association Storer Broadcasting Co. WJBK-TV Touche Ross & Company J. Walter Thompson Company UAW Cap Council Uniroyal, Inc. The Willey Foundation Winkelman Brothers Apparel
ACF Foundation American Federal Savings
and Loan Association Bay City Foundry Company Borg Warner
Campbell-Ewald Foundation Ernst & Ernst Fisher-lnsley Foundation Guardian Industries Corporation Gulf and Western
Manufacturing Corporation International Cartage Inc. Kuhlman Corporation Marathon Oil Foundation, Inc.
McCann-Erickson, Inc. Michigan Boiler and
Engineering Company Michigan National Bank--Detroit Michigan National Bank--
North Metro
Michigan National Bank--Oakland Michigan Tractor and
Machine Company National Wholesale Drug Company Olsonite Corporation Rockwell International --
Automotive Operations Ross Roy, Inc.
Sears, Roebuck & Company Smith, Hinchman & Grylls
Associates Starcut Sales, Inc. Taylor & Gaskin, Inc. Triford, Inc. United States Fastener
Corporation United States Manufacturing
Wilson Automation Company Young & Rubicam
International, Inc.
ADP Network Services
Amoco Foundation, Inc.
B and M Industries
Bowles and Foster, Inc.
Buhr Machine Tool Corporation
Canadian Fram Limited
Champion Spark Plug Company
Coopers & Lybrand
Copper and Brass Sales, Inc.
Detroit International Bridge
E and L Transport Company Earl-Beth Foundation Faigle Tool and Die Corporation Faygo Beverages Gateway Transportation
Company, Inc. General Motors Girls Club
of Detroit
John E. Green Plumbing
& Heating Grinnell Brothers Harrisville Tool Company Helm, Inc.
Howell Industries, Inc. Hughes Chemical Company Hungerford, Cooper, Luxon,
and Company Jacobson Stores, Inc. Johnson & Higgins (Michigan) Jones Transfer Co. Koebel Diamond Tool Leaseway Transportation
Corporation M &. G Convoy, Inc. Madison Electric Company Marsh & McLennan Martin Foundries Company
Metropolitan Savings Association
Microdot--The Everlock Division
Motorola Foundation
Norfolk & Western Railway
Quaker Chemical Foundation
Raimi's Curtains, Inc.
Ring Screw Works
Rubber Materials Corporation
SOS Consolidated, Inc.
Theodore Sweeney & Company
Sharonsteel Corporation
Trico Products
Warner Electric Brake & Clutch
Wineman Foundation Woodall Industries, Inc. Minoru Yamasaki and Associates S. Zuieback & Sons, Inc.
Albright Construction
Company, Inc. American Steel Corporation
F. R. Arnoldi Music Company Automobile Club of Michigan Automotive Appliance Company B and K Corporation
Batten, Barton, Durstine and Osborn, Inc.
G. A. Brown & Associates, Inc. Burlington Northern Air Freight Carl's Chop House, Inc. Carron & Company Celanese Coatings Company Cogsdill Tool Products, Inc. Colonial Federal Savings &
Loan Association Commercial Carriers, Inc. Complete Auto Transit, Inc. Crowley, Milner & Company D.A.B. Industries, Inc. Davis Tool & Engineering
Company Dy-Dee Service Delta Model Company Detrex Chemical Industries, Inc. Detroit Rubber Company Dial Machine & Tool Company W. B. Doner and Company Douglas & Lomason Company Dura Corporation Dearborn Bank & Trust Company Dynaplast Corporation Elliott Engineering Company Fabricated Steel Products J. N. Fauver Company, Inc.
Fleet Carrier Corporate Flannery Motors, Inc. J. A. Fredman, Inc. Gail's General Office Supply
General Products Corporation General Safety Corporation Dick Genthe Chevrolet, Inc. Gladwin Corporation Philip F. Greco Title Company Grove Drugs Guaranty Federal Savings & Loan
Association of Wyandotte Harland Press, Inc. J. D. Haven & Son Hawthorne Metal Products
Heber Fuger Wendin Howard Plating Industries Hughes & Hatcher, Inc. Inland Steel Ryerson
Foundation, Inc.
Inland Tool & Manufacturing, Inc. ITT Higbie Manufacturing
Company Kenyon &. Eckhardt
Advertising, Inc.
Kowalski Sausage Company, Inc. Lacey and Jones E. F. MacDonald Company Manufacturers Export Service, Inc. Mark Body
Donald E. McNabb Company Michigan Mutual Liability
Mid West Wire Products
Company, Inc. John Miller Electric
Company, Inc. Mitsui & Company C. A. Muer Corporation Oxy Metal Industries Corporation Packaging Services Palmer-Smith Company Perfection Pattern &
Manufacturing Company Pettibone Michigan Corporation Pittsburgh Forgings Company Pivot Manufacturing Company Regan Productions, Inc. Jim Robbins Company Royal, Inc.
Sheller-Globe Corporation Sinclair Manufacturing Company Snyder Corporation The Stanley-Carter Company The Standard Products Foundation Stauffer Chemical Company H. B. Stubbs Company Surety Federal Savings &
Loan Association John W. Thomas Painting and Decorating
USM Corporation--Bailey Division Vancraft Manufacturings, Inc. Jervis B. Webb Company The Wolf Detroit Envelope
Wyandotte Cement, Inc. Arthur Young & Company
NOTE: there are any questions, comments, or changes regarding your name as it appears in this program please notify the Development Office, Detroit Symphony Orchestra (961-0700). Thank you.
Detroit Symphony Tickets
Open 9 to 5, Monday Friday, 1 to 5 on concert Saturdays,
and from Vi hours before concert time.
In an attempt to avoid congestion and inconvenience for patrons at box office windows during the hour im?mediately preceding concerts, the management requests your co-opera?tion in making only cash ticket pur?chases at that time. Master Charge and personal checks are welcome at all other tames.
Mail orders for single tickets are accepted. Make checks or money orders payable to Detroit Symphony Orchestra. Please enclose self-addressed, stamped envelope and mail to Detroit Symphony Orchestra, Ford Audi?torium. Detroit, Michigan 48226.
Ford Auditorium Directory
TELEPHONE NUMBERS 24-Hour Concert Information ...961-7017
Box Office......961-0700
Underground Garage . . . 954-9657 Symphony Office.....961-0700
Emergency Number
(during concerts) . . . 961-0705
The HOUSE MANAGER'S OFFICE is located at the west end of the vestibule (street level), next to the BOX OFFICE.
The UNDERGROUND GARAGE is open from 6 a.m. to midnight, Monday through Saturday, and from one hour before to one hour after any event in Ford Auditorium on a Sunday. Enter the garage from Jefferson Avenue. There is an escalator down to the garage just outside the main entrance to the Auditorium -to your right as you leave the vestibule.
The CHECK ROOM is in the lounge area adjoining the main lobby.
REFRESHMENTS are available from one hour before concert time through intermission, at the bar in the main lobby lounge and at the snack bar in the social room downstairs.
CHIME TONES signal that the concert is about to begin or resume.
REST ROOMS are located downstairs and on the mezzanine (balcony) level.
FOR LOST AND FOUND items, consult the House Manager's office.
PUBLIC TELEPHONES are at the west end of the social room downstairs.
For FIRST AID, ask the nearest usher to obtain help.
TAXICABS are available in the horseshoe drive at the front of the Auditorium after each concert.
Doctors expecting calls should leave seat locations at the House Manager's office.
Please smoke downstairs or in the vestibule only.
There are over 2000 parking spaces available in lots close to Ford Auditorium. Besides the underground lot immediately adjacent to the lobby, the map below shows locations and access for the newly-paved surface lot between the Auditorium and the Renaissance Center, and for several other nearby facilities. We hope this will make it easy for our patrons to find safe and convenient spots to park on DSO concert nights and afternoons.
Key Eve. Sun. Hoi.
A. $1.25
B. 1.00
C. 1.00
D. 1.50
E. 2.50
Buhl Building
D. Michigan Bank' Ramp Parking'.
E. Lighted OpenV
t I I ! I I I ! ! I 11
Daytime rales vary Irom SAO $1.35 per hour
. Parking
Standard Savings
Guardian Building
Michigan Consolidated Gas Building
? DC
7c'. Lighted yOpen Parking
Greyhound Bus Terminal
City-County Building
C ? r: cr
Renaissance Center
Announcing Flight 225.
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It is lean Aerodynamic Functional.
It looks like what it is A luxury car that is designed to be something more than luxurious A luxury car that is meant to be driven.
Oh. the luxury is there, all right As it always is m a Buick. The power windows, the richly cushioned seats, the center armrest, the rich cut-pile carpeting, the quartz dial clock are all standard
There is a functional use of space inside
And the list of available options is. to say the least, extensive
In terms of pure creature comfort, it is obviously, the ultimate Buick
But there are little things that tip you off that you will be most at home in this Electra behind the wheel, and on the road.
Like the instrument panel Dials, deep-set Easily readable The controls, within easy reach
Under way. it is smooth Tight Quiet With standard automatic transmission, steel-belted radial tires, power front disc brakes, power steer?ing A responsive 5 7 litre V-8 supplies the motion
There is a sense of precision and balance To give you an uncanny sense of communicalion with the road
But reading about it can only tell you just so much Now. what you ought to do. is see your Buick dealer and drive the Electra We think you'll find it s quite an experience Because as luxury cars go. its Cloud 9.

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