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UMS Concert Program, October 19, 1990: University Musical Society -- Leningrad Philharmonic Orchestra

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Season: 112th
Concert: Fourth
Hill Auditorium, Ann Arbor, Michigan

Mariss Jansons, Conductor Dmitri Alexeev, Pianist
Friday Evening, October 19, 1990, at 8:00 p.m. Hill Auditorium, Ann Arbor, Michigan
Selections from Romeo and Juliet, Op. 64.....
Montagues and Capulets (Suite II, No. 1)
The Young Juliet (Suite II, No. 2)
Maslcs (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 . . (in one movement)
Dmitri Alexeev, Pianist
Symphony No. 5 in E minor, Op. 64 Andante, allegro con anima Andante cantabile con alcuna licenza Valse: allegro moderato Finale: andante maestoso
The pre-concert carillon recital was performed by Ray Mil ( doctoral student in organ and a carillon student of
Margo 11.ilMd. University Carillonneur.
Dmitri Alexeev plays the Steinway piano available through Hammcll 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
First Violins
Vladimir Ovtcharek
Alexandre Stang Vadim Selitski Alexandre Zolotarev Lev Klytchkov Igor Kiskatchi Natalia Sokolova Faina Makhtina Sergei Azizian Sergei Teterine Arkady Marash Grigory Sedoukh Mikhail Gershovitch I.iya Melik-Mouradian Ian Shvinka Ilia Ioff
Renata Bakhrakh Valentin Loukin
Second Violins
Mikhail Estrine Arkady Maleine Boris Kouznetsov Veniamin Ioff Lyudmila Odinzova Janna Proskourova Grigory Loutski Valentin Borisov Olga Rybaltchenko Andrei Shestiglazov Arkady Naimane Yefim Belsky Tamara Tomskaia Olga Kotliarevskaja Alexandre Kozoulin Tatiana Makarova
Vladimir Stopitchev Alexei Liodevic Yuri Dmitriev Vladimir Spasski Iakov Levinson Grigory Meerovitch Vissarion Soloviev Valentin Stadler Anatoly Chernyshev Vladimir Ivanov Mikhail Elkonine Boris Berman Mikhail Slobodjanyuk Elena Panfilova
Anatoly Nikitine Benious Morozov Valery Naidenov Alexandre Demourdjian Vladimir Atapine Lev Fishkov Sergei Cherniadiev Iosif Levinson Anatoly Zadkov Anton Istomine Sergei Slovatchevsky Sergei Mikhailov
Herman Loukianine Robert Karapetiants Boris Kozlov Ernst Inili-Oleg Kirillov Valeri Karapetiants Nikolay Chaousov Alexei Ivanov Alexandre Shilo Vladislav Riabokon
Valentin Zverev Valentin Cherenkov Olga Grigorieva Evgeny Matveev Elena Mitchourina
Nikolay Neretin Petr Fedkov Petr Tosenko
Valery Bezroutchenko Valentin Karlov Mikhail Kouniavski Oleg Zakharine
Bass Clarinet
Valentin Slougine
Oleg Talypin Sergei Krasavine Lev Petcherski
Contrabassoon Alexei Silioutin
Alexandre Umansky
Andrei Gloukhov Sergei Dovgaliouk Anatoly Sourjok Anatoly Musarov Stanislav Tses Yuri Akimkine
Vladimir Kafelnikov Mikhail Romanov Anatoli Stepanov Valeri Chirskov
Trombones Maxim Ignatiev Victor Venglovski Boris Vinogradov Alexei Yevtouchenko
Valentin Galouzine
Anatoly Ivanov
Valery Znamenski Konstantin Soloviev Ruben Ramazjan Alexandre Mikhailov
Tatiana Tower Svetlana Bower
Olga Krylova
Director of Pbitbarmonic
Boris Skvortsov
Director of Orchestra
Konstantin Shishmanov
Stage Technicians
Yuri Kuznetsov Alexandre Novikov
Filipp Jemkov
Wardrobe Supervisor
Valentin Oustinov
Vera Massovskaya
ICM Artists Touring Division: Byron Gustafson, Vice-President and Director, Leonard Stein, General Manager, Richmond Davis, Stage Manager, Tania Jastrebov and Mark DriscoU, Interpreters
Program Notes
Excerpts from the ballet Romeo and Juliet, Op. 64
Sergei Prokofiev (1891-1953)
When Prokofiev left his homeland in 1918, at the age of 27, he had a repu?tation as an enfant terrible, earned with the "barbaric" rhythms and colors of such works as the Scythian Suite and his first two piano concer?tos. When he returned to settle in Moscow after his 15 years in the West, his decision to do so was accompanied by another decision on the artistic level: to compose in a style that would be more accessible to his Soviet audiences, to be more directly communica?tive without lowering his professional stan?dards or abandoning his individuality. The spiky irony and grotesque imagery of his earlier works were replaced now by a more expansively lyrical style and a treatment of dramatic subjects more directly rooted in Russia's musical past. Because he had not fared well as a symphonist (his magnificent Fifth Symphony would not appear until Jan?uary 1945), he felt he could establish contact with his new audience most effectively
through virtuoso works for soloists and works for the stage and films. His first film score, for Feinzimmer's Lieutenant Kije, dealt with satire in the manner of an affectionate fairy tale, and the warm-hearted Violin Concerto No. 2, introduced in 1935, was the first of the great works of his maturity. Even before the Concerto, however, the seeds had been planted for Romeo and Juliet, the ballet score that many consider Prokofiev's true master?piece for orchestra.
Romeo and Juliet is unquestionably the most successful "full evening" ballet created in this century, but, like numerous other similarly successful works, it had a hard time getting off the ground. It was a request from the Kirov Theatre in Leningrad, toward the end of 1934, that initiated the project. The Kirov changed its mind before Prokofiev had written a note, but by then he had become so fascinated with the idea that he persuaded the Bolshoi Theatre in Moscow to sign a contract. In the spring of 1935, Prokofiev and the choreographer Piotrovsky consulted with Sergei Radlov, who had produced several of Shakespeare's plays, and the three developed a scenario for the ballet. For a time, they considered giving the work a happy ending
(as Prokofiev remarked later, "living people can dance the dead cannot"), but in the end remained faithful to Shakespeare.
When Prokofiev submitted his score the following summer, it was rejected as "undanceable" by the Bolshoi management. He then extracted two concert suites from the score, which he introduced in Moscow and Leningrad during the 1936-37 season, and also arranged ten numbers for the piano. The response to the music was highly favorable, but still the ballet found no takers. Later, the Kirov decided to produce it after all, and the Soviet premiere took place in Leningrad in 1940 with Galina Ulanova as Juliet.
Prokofiev was not finished with the ballet when it was performed in Leningrad. He had made several additions to the score and had enlarged the orchestra at the request of the dancers and the choreographer Leonid Lavrovsky. Even more additions were made before the Bolshoi presented the work in 1946. Overall, Prokofiev worked on and revised this score nearly as long as Beethoven did on Fidelio, and, as in that case, it was a work especially close to its composer's heart. "I have taken special pains," Prokofiev de?clared, "to achieve a simplicity which will, I hope, reach the hearts of all listeners. If people find no melody and no emotion in this work, I shall be very sorry -but I feel sure that sooner or later they will."
And, of course, they did -sooner rather than later. The music itself, in the form of Prokofiev's own concert suites or various sequences of excerpts -or even occasionally the entire score -has also taken a permanent place in the concert repertoire. The five selections heard this evening may be identi?fied as follows:
Montagues and Capulets (Suite II, No. 1) The Dance of the Knights at the Capulets' ball, prefaced by the music that accompanies the entrance of the Duke of Verona as he orders the warring families to lay down their arms.
The Young Juliet (Suite II, No. 2) Juliet playfully resists the Nurse's efforts to help her dress for the ball.
Masks (Suite I, No. 5) This number accompanies the arrival of the three masked Montagues.
Romeo at the Tomb of Juliet (Suite II, No. 7) Having failed to receive Friar Laurence's message explaining the sleeping potion given to Juliet, Romeo enters the Capulet family crypt, kills Paris, whom he finds mourning at Juliet's bier, and then, after a final reminiscence of their short-lived hap?piness, takes poison and dies.
The Death of Tybalt (Suite I, No. 7) After Mercutio is killed in a duel by Tybalt, Romeo challenges the latter and kills him in a furious fight.
Concerto No. 1 in D-flat major for Piano and Orchestra, Op. 10
Sergei Prokofiev
Sergei Prokofiev was born in Sontsovka, in the Ekaterinoslav district of the Ukraine, into an affluent and cultured family. His father was an agricultural engineer who managed a large estate in the Ukrainian steppe, and his mother was well-educated and a good pianist. It was her devotion to music that had the greatest influence on the young?ster, and, as an adored only child, he was musically precocious. He wrote his first piano piece at the age of five, and at nine he was playing the easier Beethoven sonatas. By the summer of 1902, he was already the composer of two operas and numerous short piano pieces when Reinhold Gliere, composer and a professor at the Kiev Conservatory, came to Sontsovka to tutor the young musician. From Gliere, he learned the rudiments of harmony, form, and orchestration, and from annual winter visits with his mother to Mos?cow, he was exposed to the current musical repertoire. In 1904, on the advice of Alex?ander Glazunov, Prokofiev was admitted to the St. Petersburg Conservatory (Leningrad), where he spent the next ten years.
Prokofiev's First and Second Piano Concertos date from his years at the St. Petersburg Conservatory, a period when he had a reputation as a rebellious student who delighted in writing modernist music that shocked and displeased his professors. The young Prokofiev was a brilliant and acrobatic pianist, and of his initial works, the bulk was
for his own instrument. In 1908, the seven?teen-year-old pianist created a sensation with his performance of Suggestions diaboliques. One disturbed critic described that music as "very decadent," and another more accurately cited him for "daring and originality ... a talent given to extravagant combinations of sonorities."
In 1910, Prokofiev's father died, and the circumstances of the young musician's life were drastically changed. The estate at Sontsovka had to be given up, and his mother supported him as best she could. The young man who had known no financial hardship was now faced with making his own way in life. These circumstances coincided with the beginnings of his recognition as a composer. The year 1911 was something of a landmark in Prokoviev's career: he had his first public symphony concert in July; his works appeared in print for the first time with the First Piano Sonata and the pieces of Opus 3; and he began work on his first "more or less mature composition, both as regards the conception and its fulfillment" (he later wrote).
That work was the Concerto No. 1 for Piano and Orchestra, written during 1911-1912 and dedicated to Nicolas Tcherepnin, his favorite teacher, with whom he studied conducting. Prokofiev was the soloist, in his first appearance with orchestra, for the world premiere in August 7, 1912, in Moscow, with a repeat performance nine days later in St. Petersburg. The furor (mostly negative) in the press of both cities was so intense that it brought Prokofiev's name to the attention of the public for the first time. He was de?nounced as a "madman who should be put in a straitjacket," and the Concerto was labeled "musical mud" and "harsh, coarse, primitive cacophony."
Prokofiev's initial intention was to write a short concertino for piano and orches?tra that he could perform himself, and which might also bring him a reasonable financial return. It was, however, expanded into a brilliant, dynamic, single-movement work, with an incisive and virtuoso part for the soloist. Unique in its structure, the Concerto immediately established Prokofiev's approach to the genre. It is noticeably unsentimental, and he simplifies the conventional conflict
between soloist and orchestra with a bigger-and-better keyboard sonority. The sectional form of the work is undisguised, and its thematic material seems unsubtle. Its rhyth?mic drive is relentless, yet not without whim?sical melodic detail. The score was published in 1913, after only "a little retouching."
The Concerto No. 1 begins sonorously in the full orchestra doubled by octaves in the piano (allegro brioso) with a grandiose but oddly static theme based on the transposed Lydian mode. The principal theme, with its prominent dotted rhythm and staccato-taran?tella air (a theme that originated in a now-lost early piano piece entitled Carnival), is first stated by the piano and then heard in piano-orchestra dialogue. The lugubrious subordi?nate theme is introduced in the strings, low woodwinds, and brass. The exposition closes with the return of the introductory theme. A slow interlude (andante assai) with a broad cantilena melody prefaces the compact devel?opment section, which concentrates on ma?terials from the exposition and climaxes in an energetic piano cadenza. The recapitulation follows, and the Concerto ends rousingly with still another statement of the solemn opening theme with full orchestra complement.
This was merely the beginning for Pro?kofiev. It was perhaps the furor and violent reactions following the premiere of the First Piano Concerto, along with his own love of pianistic bravura, that urged Prokofiev to compose some of the boldest piano pieces of his youth in 1912 and 1913. Among them was the Second Piano Concerto that he premiered in September 1913, which left its listeners "frozen with fright, hair standing on end," according to the critic Karati'gin. (Even after Prokofiev rewrote the Second Concerto in 1923, critics could hardly find strong enough terms for condemnation.)
To Better Serve Our Patrons Visit the UMSEncore Information Table in the lobby, where volunteers and staff mem?bers are on hand to provide a myriad of details about events, restaurants, etc., and register any concerns or suggestions. Open thirty minutes before each concert and dur?ing intermission.
Symphony No. 5 in E minor, Op. 64 Peter Ilyitch Tchaikovsky (1840-1893)
Tchaikovsky spent the summer of 1888 in his country house at Frolovskoe and, in this pictur?esque spot and ideal retreat, wrote the Fifth Symphony. On June 22nd, he wrote to Madame von Meek, his patroness, "Now I shall work my hardest . . . Have I told you that I intend to write a symphony The beginning was difficult, but now inspiration seems to have come." On August 6th, he wrote to her again: "I have orchestrated half the symphony. My age -although I am not very old [he was 48] -begins to tell on me. I become very tired, and I can no longer play the piano or read at night as I used to do." Twenty days later, he mentioned that the symphony was finished, along with an account of his wretched health, which, however, had taken a turn for the better with the completion of the symphony. He did, in fact, conduct the first performance on November 17, 1888, in St. Petersburg.
While Tchaikovsky furnished a de?tailed program for his Fourth Symphony, he never verbalized his conception of the Fifth. Certainly he had something definite in mind, for all four movements contain the same motive in one form or another -a theme of sadness, questioning, even ominous. Only in recent years did the musical lexicographer Nicolas Slonimsky discover among Tchaikovsky's notebooks the few words he put on paper about his Fifth Symphony: "Introduction. Complete resignation before Fate, or, which is the same, before the inscrutable predestination of Providence. Al?legro. (I) Murmurs, doubts, plaints, re?proaches against XXX. (II) Shall I throw myself in the embrace of faith"
The movements are described by Rich?ard Freed, as follows:
The first movement opens with a clar?inet statement of the motto that is to be heard in every succeeding movement. The allegro is ushered in by a slow-march theme given out by the woodwinds over string accompa?niment. The strings take up this theme and build it to a pitch of considerable intensity, setting the stage, as it were, for the entrance of a simple motive (in B minor) with a sweet, "yearning" quality. The development is con-
cise, the coda based on a more energetic statement of the slow-march theme. The movement ends in the same murky abyss of irresolution in which it began.
The second movement contains two celebrated themes whose emotional burden is unmistakable. The first theme is the famous tune sung by the solo horn; the second, first heard from the oboe as counterpoint to the first, is subsequently taken over by the full orchestra and built to a powerful climax. Two further motives are heard: a fanciful connec?tive interlude for clarinet and bassoon, and the "Fate" motto from the opening of the work, which appears abruptly as the emo?tional build-up reaches its crest. The move?ment ends quietly, on a note of bittersweet resignation.
In place of a scherzo, we have what is perhaps the finest of Tchaikovsky's grand waltzes. If the mood is never really gay, neither is it really sad; we are on rather neutral ground, and when the "Fate" motto makes its inevitable appearance, it is no longer fierce and foreboding, but casual, sub?dued, almost mocked.
The majestic opening of the Finale presents the "Fate" motto in an altogether new light, transferred into a major key for a solemn but by no means gloomy processional. In the movement proper (allegro vivace), a more startling metamorphosis is revealed: in a kaleidoscopic sequence of incredible me?lodic abundance, the motto shows a wholly different character--exultant, jubilant, ring?ing with self-confidence. Following a false ending, a long, triumphant coda -the "Fate" motto as a march, with the slow-march theme from the first movement similarly transformed as a final embellishment -sets the seal of affirmation on the Fifth Sym?phony.
The Season Opening Celebration
following tonight's concert
is underwritten by a grant
from Society Bank.
Leningrad Philharmonic Orchestra
The Leningrad Philharmonic Orchestra -the Honored Academic Orchestra of the Leningrad State Philharmonic Society -is the oldest symphony orchestra in the Soviet Union. Successor to the former "Court Orchestra" (formed in 1882), the ensemble was declared the State Orchestra in March 1917 and became incorporated in 1921 into the newly founded Leningrad Philharmonic Society, the first concert organization of So?viet Russia. Today, it is internationally rec?ognized as one of the world's premier symphonic ensembles, renowned for the ex?ceptional virtuosity of its players and its mastery, most notably, of the Russian and Soviet orchestral repertoire.
The Leningrad Philharmonic's first principal conductors were Emil Cooper (1921-22) and Nikolai Malko (1926-29). During its earliest years, the orchestra was also conducted by Alexander Glazunov, Serge Koussevitsky, Gregor Fitelberg, and Nicolas Tcherepnin, as well as by such figures as Bruno Walter, Oscar Fried, and Hans Knappertsbusch. In the 1930s, the orchestra was headed by Alexander Gauk and the Austrian conductor Fritz Stiedry.
For 50 years, from 1938 to 1988, Evgeny Mravinsky was principal conductor or the Leningrad Philharmonic. During World War II, the orchestra continued to give concerts without interruption, even as Leningrad was being evacuated. After 1945, in addition to continuing to support new Soviet talent, the orchestra under Mravinsky was active in introducing to the U.S.S.R. important foreign composers and conductors, including Leopold Stokowski, Charles Munch, Andre Cluytens, Igor Markevitch, Josef Krips, Zoltan Kodaly, and Benjamin Britten. In 1946, it undertook the first tour of the West by a Soviet orchestra and since then has been acclaimed by the public and press alike in over 25 countries throughout Europe, North America, and the Far East. Mravinsky and the Philharmonic also produced numerous outstanding recordings that established their reputation worldwide.
Throughout its history, the Leningrad Philharmonic has played a major role in furthering the careers of Soviet composers. The orchestra premiered Shostakovich's First Symphony in 1926, bringing immediate international attention to the nineteen-year-old composer. Shostakovich's close association with the orchestra -which went on to premiere seven of his subsequent symphonies -continued until his death in 1975.
The Soviet Union's most distinguished musicians continue to perform regularly with the Leningrad Philharmonic. In recent years, these have included Evgeny Svetlanov, Gennady Rozhdestvensky, Dmitri Kitaenko, Elena Obraztsova, Vladimir Krainev, Nikolai Petrov, Mikhail Pletniev, Victoria Postnikova, Sviatoslav Richter, Alexander Slobodyanik, Vladimir Spivakov, Gidon Kremer, and Victor Tretyakov, among many others.
In 1988, Yuri Temirkanov was appointed music director of the Leningrad Philharmonic, and Mariss Jansons was named associate conductor.
The Leningrad Philharmonic Orchestra now performs its fourth Ann Arbor concert. Earlier performances were in 1962 under Mravinsky and two concerts in 1973 under Gennady Rozhdestvensky and Neeme Jarvi.
Yuri Temirkanov, Music Director
In April 1988, Yuri Temirkanov succeeded Evgeny Mravinsky as music director of the Leningrad Philharmonic Orchestra and won spectacular acclaim in Great Britain, France, and Germany during the orchestra's 1989 tour. His current American tour marks the orchestra's return to the United States after more than a decade. After completion of the tour, in December 1990, he will celebrate the 150th anniversary of Tchaikovsky's birth, conducting the Leningrad Philharmonic with soloists Itzhak Perlman and Jessye Norman in a gala concert to be internationally televised from Leningrad.
Temirkanov served as music director of the Leningrad Symphony Orchestra from 1969 to 1977, with which he toured in the United States (including an Ann Arbor concert in 1977), Germany, France, Italy, Japan, Sweden, and other countries. In 1979, he became principal conductor of the Royal Philharmonic Orchestra, a post he still holds. He is also artistic director and chief conductor of the Kirov Opera and, during the summer of 1987, conducted that company at London's Royal Opera House in productions of Eugene Onegin, Queen of Spades, and Boris Godunov.
As a guest conductor of European orchestras, Yuri Temirkanov has performed with the Berlin and Vienna Philharmonics, Dresden State Orchestra, Orchestre de Paris, Con-certgebouw Orchestra, London's Philharmonia Orchestra, BBC Symphony, City of Birming?ham Symphony, and the Royal Liverpool Philharmonic. In the United States, he led The Philadelphia Orchestra regularly between 1975 and 1980 and in January 1986 made an appearance with the New York Philharmonic as the first Soviet conductor to visit the United States following the renewal of the SovietAmerican Cultural Exchange Agreement. During the summer of 1989, he conducted the Boston Symphony, Los Angeles and New York Philharmonics, and The Philadelphia Orchestra, returning to lead two weeks of subscription concerts with the New York Philharmonic in the spring of 1990.
Yuri Temirkanov was born in Nalchik in the Caucasus in 1938. He studied violin at a local music school and then entered the Leningrad Conservatory, where he graduated in 1962 as a violinist and in 1965 as a conductor. He then conducted at the Leningrad Opera and, in 1968, won the second National Conductor's Competition, which gave him the opportunity to conduct all of the principal Soviet orchestras.
As associate conductor of the Leningrad Philharmonic and music director of the Oslo Phil?harmonic Orchestra, Mariss Jansons is recognized as one of the most distinguished musicians of his gen?eration and has become known to a consid?erable audience through his acclaimed recordings, his concert performances and ex?tensive tours, and his work for radio and television.
Mr. Jansons was born in Riga, Latvia, in 1943 into a family of professional musi?cians: his father, Arvid Jansons, was a re?nowned conductor and his mother a former opera singer. He studied violin, piano, and conducting at the Leningrad Conservatory, from which he was graduated with honors. In 1969, he continued his training at the Vienna Music Academy, where he was a pupil of Hans Swarowsky, and then in Salzburg, where he studied under Herbert von Karajan. In Berlin, in 1971, he won the International Herbert von Karajan Foundation Competition.
Considered one of the leading conductors in the Soviet Union, Mariss Jansons has been associated with the Leningrad Philharmonic for many years, conducting it on many successful tours of Europe and, most recently, of Japan. In 1983, he led the U.S.S.R. State Symphony on its tour of the United Kingdom.
Under Mariss Jansons since 1979, the Oslo Philharmonic Orchestra has been hailed as one of the most important ensembles in Europe. Together, they have received outstanding reviews for their complete series of Tchaikovsky symphonies on the Chandos label and a Grammy Award for their recording of Shostakovich's Seventh Symphony. In 1986, they began a long-term exclusive recording relationship with EMI, and their first two recordings, released in 1987, coincided with their first American tour in nine years. The 1987 tour included a concert in our city that marked first Ann Arbor appearances of both Jansons and the Oslo Philharmonic. Since that time, Jansons and the Oslo Philharmonic have also toured in Italy, Spain, France, and Japan, as well as highly acclaimed appearances at the Edinburgh Festival and the BBC Proms.
In Great Britain, Jansons was, until recently, the principal guest conductor of the BBC Welsh Symphony, with which he recorded all of the Tchaikovsky Symphonies for BBC Television. Also for the BBC, he participated in the three-part series "Jansons Conducts," with the BBC Welsh Symphony, the Oslo Philharmonic, and the Leningrad Philharmonic. He plans to return to BBC Wales for further television productions. In addition to his work with BBC orchestras, Jansons recently made a very successful debut with the London Philharmonic, and future visits are planned for the 1991-92 and 1992-93 seasons.
Since 1987, Mariss Jansons has also made exceptionally successful debuts with The Cleveland Orchestra, Montreal Symphony, Toronto Symphony, Los Angeles Philharmonic, the Berlin Philharmonic, which he has since conducted annually, and the Concertgebouw Orchestra, with which he has established a long-term relationship that will include a series of concerts each year and recordings. The conductor's future engagements include debuts with The Philadelphia Orchestra, Chicago Symphony, London Symphony, Philharmonia Orches?tra of London, and the Vienna Symphony.
Dmitri Alexeev, the prize-win?ning pianist from the Soviet Union, has established himself as one of the music world's most highly regarded artists. His crit?ically praised recitals on the world's leading concert stages and his concerto appearances with the most prestigious ensembles of Europe have secured his position as one of the "most remarkable pianists of the day" {Daily Tele?graph).
Alexeev's engagements for the 1989-90 season included performances with The Phil?adelphia Orchestra under Riccardo Muti, the London Philharmonic with Gennady Rozhdestvensky, the Israel Philharmonic, the NDR Hamburg under Mariss Jansons, and L'Orchestre National de France. In Novem?ber and December of 1989, he made recital appearances in the United States and at Queen Elizabeth Hall in London. He now returns to the United States as a featured soloist with the Leningrad Philharmonic pn its transcontinental tour.
During the 1988-89 season, Dmitri Alexeev appeared with the Berlin Philharmonic under Gerd Albrecht, the Royal Philharmonic conducted by Vladimir Ashkenazy, the Philharmonia Orchestra with Semyon Bychkov, L'Orchestre de Paris under Yuri Temirkanov, the Rotterdam Philharmonic, and the Maggio Musicale Orchestra in Florence. He also made extensive tours of Japan and New Zealand.
Mr. Alexeev records in the Soviet Union and for EMI, with whom he signed a long term contract in 1984. His discs include solo piano works of Brahms and concertos by Prokofiev, Rachmaninoff, and Shostakovich. His recordings of the Chopin Waltzes and Preludes have garnered great critical acclaim. He has recently recorded the Grieg and Schumann Concertos with Yuri Temirkanov and the Royal Philharmonic Orchestra for EMI and a Rachmaninoff recital disc for Virgin Classics.
Dmitri Alexeev was born in Moscow in 1947 and began to play the piano at the age of five. One year later, his prodigious talent brought him to the Central Music School of the Moscow Conservatory. Upon completion of his studies at the Central School, he came under the tutelage of the eminent Soviet pianist Dmitri Bashkirov. While pursuing graduate studies, he participated in several international competitions, capturing top honors at the 1969 Marguerite Long Competition in Paris, at the 1970 Georges Enescu Competition in Bucharest, and at the 1974 Tchaikovsky Competition in his native Moscow. In September of 1975, he won first prize in the Fifth Leeds International Competition in England, the first and only Russian pianist to have achieved this distinction.
This victory at the Leeds competition catapulted Alexeev to enormous popularity with European critics and audiences. His 1975 London debut marked the first of a long series of performances in Great Britain, including concerto appearances with the four principal London orchestras, as well as performances at the festivals of Aldeburgh and Edinburgh.
Alexeev's heralded American debut came in 1976 with the Chicago Symphony Orchestra under Carlo Maria Giulini. Two years later, he made his New York orchestral debut and gave his first Carnegie Hall recital. He has also performed in all the music capitals of Europe; made concert tours throughout Scandinavia, Japan, Australia, and Hong Kong; and played with such world-class orchestras as the Berlin Philharmonic, the Concertgebouw, and the Bavarian Radio Symphony.
In 1979, Alexeev began his celebrated collaboration with the soprano Barbara Hendricks, and they have since given regular performances in London, Paris, Frankfurt, Milan, and Stockholm, among other cities. Their concerts in Moscow and Leningrad in November 1987 were televised by both Soviet and French TV and shown during the Gorbachev-Reagan summit. In 1988, a North American tour included the cities of New York, San Francisco, Montreal and Ottawa.
Dmitri Alexeev is now heard in his Ann Arbor debut.
Philips Pre-concert Presentations
at 7:00 p.m. in the Rackham Building
October 30 Preceding the PerlmanZukerman duo-recital, David Smith will present "A UMS Photo Retrospective," an audio-visual montage prepared from his work as the Musical Society's principal photographer.
November 14 Donald Sinta, Professor of Music (saxophone) at the U-M School of Music, will be the speaker preceding the Prism Quartet and Chester String Quartet concert. All four Prism Quartet members trained under Professor Sinta while obtaining their degrees at U-M. Underwritten by a grant from Philips Display Components Company
"Desert Island Discs"
Co-produced by the University Musical Society and Michigan Radio, "Desert Island Discs" is now in its second season of Saturday morning broadcasts, from 8O0 a.m. to 10:00 a.m. Each program features a distinguished local "castaway" guest who is asked, "If you were stranded on a desert island, which five recordings would you like to have with you and (most revealingly ) why" Tune in WUOM-FM, 91.7, Ann Arbor; WVGR-FM, 104.1, Grand Rapids; or WFUM-FM, 91.1, Hint.
October 20 William Hennessey, Director, The University of Michigan Museum of Art October 27 David Siglin, Director, The Ark
Thank You Encore!
Great music happens through the University Musical Society because of the much needed and greatly appreciated gifts of Encore Members.
The list below represents names of current donors through September 1, 1990. If an error or omission is noted, we sincerely apologize and would appreciate a call at your earliest convenience (747-1178).
Individuals Bravo
Herbert Sloan
Mr. and Mrs. Carl A. Brauer, Jr.
Mr. and Mrs. Howard Holmes
Elizabeth E. Kennedy
Mr. and Mrs. Patrick B. Long
John Psarouthakis
Dr. and Mrs. Harry A. Towsley
Ron and Eileen Weiser
Dr. and Mrs. Robert G. Aldrich Richard S. Berger and E.
Margaret Eich
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Akio Mimori
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Morrish Elementary School
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Maxwell and Marjorie Reade
Carol and Gerald Rees
Carolyn B. Rehmus
Rachel Resnick
Constance 0. Rinehart
Tom and Junko Roehl
Mary F. Loeffler and Richard K. Rohrer
Drs. Dietrich and MaryAnn Roloff
Mr. and Mrs. Richard Root
Bernard and Barbara Rosen
Drs. Janet and Seymour R. Rosen
Edie W. and Richard Z. Rosenfeld
Charles W. Ross
Mr. Christopher Rothko
Mr. Robert M. Rubin
James and Adrienne Rudolph
Mr. Peter N. Ruma
Mr. and Mrs. Robert Sabol
Dr. Don and Marlene Salberg
Amy Saldinger
Marjorie and William Sandy
Mr. Lewis J.Sappington
Bonnie R. Schafer
Erich S. Schifter
Yizhak Schotten and Katherine Collier
Shirley Schreidell
Mary L. Schuette
Albert and Susan Schultz
Aileen and Earl Schulze
Alice and Heinz Schwarz
Stephen W. Schweer and Christine A.
Mrs. Ralph E. Schweitzer N. David and Joan Scott Hugh Sebastian Eithel Partlow Sech Geraldine Seeback John and Carole Segall Mary Ann Sellers Dr. and Mrs. Earl W. Shaffer Lorraine and Brahm Shapiro Eleanor A. Shaw Kathleen A. Sheehy Fumio Shinoda Kyoichi Shirai Janet E. Shultz Ray and Marilyn Shuster Robert and Evelyn Silva Scott and Joan Singer Mr. Juergen Skoppek Dr. and Mrs. J. Bernard Sloan Mr. and Mrs. David Boyd Smith Mr. and Mrs. J.E. Keith Smith Peter Smith and Diane Czuk Smith Robert L Smith and Karen Sayer Judith R. Smutek Mr. C. Robert Snyder John and Ellen Soave Evangeline M. Sparling Mr. Jeff Spindler Mr. and Mrs. Cus Stager Irving M. Stahl Joann and Ralph Stahman Mary Decker Staples Dr. and Mrs. William C. Stebbins Thomas O. and Jeanne D. Stock Mrs. Alfred H. Stockard Mrs. Ruth Stone Ellen Strand
Mr. and Mrs. Daniel K. Struble Manfred Stryk Laura Stuckey Dr. and Mrs. Samuel Stulberg
Mr. and Mrs. Michael Suliman
Deborah K. Swanberg
Waldo and Betty Sweet
John and Carol Swienckowskl
Suzanne Tainter and Ken Boyer
Bradley L. and Simone Himbeault Taylor
Thomas and Leslie Tentler
Toby J. and Juliette S. Teorey
Robert J. and Vicki W. Terry
James and Carol Thiry
Frances Thoma
Dr. Edwin J. Thomas
Bonnie and Bradley M. Thompson
Norman and Marcia Thompson
Mrs. Dolph L. Thome
George and Helen Timmons
Ms. Susan Topol
James W. Toy
Ms. Roni Tripodi
Roger Samuel Trunsky
Irving and Barbara Tukel
Jeff and Lisa TulinSilver
Mr. and Mrs. Warren Turski
Lyle Uhlmann
Barbara and Joseph L. Ullman
Jeffrey and Rachelle Urist
Joaquln and Mei Mel Uy
Mr. and Mrs. Roger Van Bolt
Deborah and Chris VandenBroek
Rebecca W. Van Dyke
Arthur and Florence Vartanian
Mark and Marsha Vartanian
Virginia O. Vass
Leonard L. Veatch
Dr. and Mrs. Aaron Vinik
Vincent A. Vis
Judith R. Voisine
Lynne and Lawrence Waggoner
Michael and Patricia Wagner
Leigh and Robert Waldman
Mr. and Mrs. David C. Walker
Ms. Diana M. Walker
Robert D. Wallin
Nelda L Wallis
Dr. and Mrs. Julius Wallner
Mr. and Mrs. Alan Walt
Ms. Martha Walter
Mr. and Mrs. Harold A. Ward
Marguerite E. Ward
Dr. and Mrs. Alan Weamer
William and Patricia J.Webb
Joan M. Weber
Richard and Madelon Weber
Dr. and Mrs. Wendell W. Weber
Dr. and Mrs. Myron E. Wegman
Dr. and Mrs. Jerrold Weinberg
Donna G. Weisman
Lisa and Steve Weiss
Mary E. Welch
Mrs. Frances West
Mabel C. Wheeler
Barbara Tate Whipple
Ted and Becky While
Nancy Whitmire
Mr. and Mrs. Leonard A. Wilcox, Jr.
John W. Wiley
Dr. and Mrs. Francis S. Williams
Mr. and Mrs. Ralph G. Williams
Ray and Twyla Williams
Mr. and Mrs. LR. Windecker
Laurence D. and Mary L Wise
Dr. and Mrs. John Wiseman
David and Lia Wiss
G. Wollschlaeger, M.D.
Julia Woodbury
Ms. Barbara H. Wooding
Ms. Joy Woolen
Stewart and Carolyn Work
Frances A. Wright
E. Benjamin and Frances E. Wylie
Ms. Hiroko Yamada
Donald and Elizabeth Yenni
David and Sarah Yentz
Frances L. Young
Peter T. and Aliki Zachary
Robert and Charlene R. Zand
Miles Zeman
Gary and Joan Zembala
Mr. and Mrs. Paul D. Zenian
Dr. and Mrs. George D. Zuidema
Marion L. Beam John W. Beam Mrs. Hedy B. Berger Hope H. Bloomer Roscoe and Lillian Bonisteel Dr. Gordon C. Brown Marion W. Brown Alice Kelsey Dunn Hedi Eckstein Robert S. Feldman Carl Fischer Gerald J. Fischer Florence Fuller Letitia Garner Dr. Paul Hogg George R. Hunsche Hazel Hill Hunt Donald Katz Jean Kennedy George Michael Landes Mr. and Mrs. Alfred Lovell Doris L. Lueke Frederick C. Matthaei, Sr. Glenn McGeoch Vaden W. Miles Margaret Peterson
Carl and Loretta Pollmar
Sarah Power
Gwen and Emerson Powrie
Dr. Joseph Preston
George S. Quick, Jr.
Steffi Reiss
Percy and Elisabeth Richardson
Dennis Rigan
Jindrich Rohan
Bernard J. Rowan
Dr. Richard C. Schneider
Mrs. Ethel Shanklin
Charles A. Sink
Mrs. Arthur W. Smith
Robert Spicer
Ralph L. Steffek
Mark C. Stevens
Mischa Titiev
Dur Vetter
lone Wagner
Matching Gift Companies
3M Foundation ADP Network Allied-Signal Foundation American Telephone and Telegraph Bechtel Eastern Power Corporation Chrysler Corporation Fund Consumers Power Company Cummins Engine Foundation Dana Corporation Foundation Detroit Edison Foundation Detroit News Dow Chemical Eli Lilly
Equitable Life Assurance Society First Bank System Foundation Federal-Mogul Corporation Ford Motor Company Fund Gannett Foundation General Motors Corporation Honeywell Foundation IBM Corporation Johnson Controls, Inc. JSJ Corporation Kellogg Company Lord and Taylor Manufacturers Life Insurance
Company Massachusetts Mutual Life Insurance
May Stores Foundation, Inc. Merrill Lynch Pierce Fenner & Smith
Metropolitan life Foundation Michigan Bell Telephone Company Mobil Foundation, Inc. Northern Telecom Northwestern Mutual Life
Insurance Company Paramount Communications
Proctor and Gamble Fund Rohm and Haas Company UNISYS Warner-Lambert Company
In-Kind Contributions
Amadeus Restaurant
Benson House Bed and Breakfast
Tom and Mary Steffek Blaske
Brookwood Studio
Natalie and Michael Challis
Cheers! Executive Committee
Don and Betts Chisholm
Martha Cook Residence Hall
Jim and Penny Craig
Curtin and Alf, Luthiers
Deloitte & Touche
Dough Boys Bakery
Kathy Faber
Fine Rowers
Ford Division of Ford Motor
Company Kenneth Fischer Woody Geist Naomi Gottlieb The Grunyons Larry Henkel Interlochen Arts Camp Katherine's Catering, Inc. King's Keyboard House John MacKrell Charlotte McGeoch Marilyn Meeker Ron Miller Marguerite Oliver Oxford Conference Center, Scott
Terrill, Mgr. Sharron Pignanelli Carolyn Rykus Howard and Aliza Shevrin Alice Simsar Gallery David Smith The Stearns Collection Steinway Society Jackie Stearns
Ed Surovell
University of Michigan Men's Glee
Club The Advisory Group of the
University Musical Society Mr. and Mrs. George Wahr Sallade Pharmaceutical Research Div.,
Warner Lambert Co. Larry Weis
Business, Corporation and Foundation Support
Arts Midwest Ford Motor Audio Systems Ford Motor Company Fund Ford Motor Company Elizabeth E. Kennedy Fund Manufacturers National Michigan Council for the Arts Pharmaceutical Reseach Division, Warner Lambert Company
Chelsea Milling Company Great Lakes Bancorp JP Industries, Inc. KMS Industries, Inc. Benard L. Maas Foundation McKinley Associates, Inc. Philips Display Components Co. Regency Travel, Inc. Society Bank
Liberty Music Shop
NBD-Ann Arbor, N.A.
The Power Foundation
Spear and Associates Realtors, Inc.
The Edward Surovell Company
Washington Street Station
Canton Community Foundation First of America-Ann Arbor Gelman Sciences, Inc.
Jacobson Stores, Inc. Christopher H. Montagna
Photography Riverview Lumber and Building
Supply Co., Inc. Shar Music Products Ulrich's
Comerica Bank-Ann Arbor Imtech Printing, Inc. Mardigian Foundation Michigan National Bank The Old German Restaurant Pepper, Hamilton & Scheetz Plymouth Community Arts Council Charles Reinhart Company Scientific Brake and Equipment
Sneed Foundation, Inc. TT Sports Management, Inc.
Adistra Corporation Campus Inn Edwards Brothers, Inc. King's Keyboard House
Bank One, Ypsilanti
Herbert Barrett Management
General Systems Consulting Group
Johnson,Johnson,and Roy, Inc.
L&S Music
Seva Restaurant and Market
SKR Classical
University Microfilms International
Ann Arbor Convention & Visitors Bureau
Sustaining Members
Faber Travel
Encore Gift Levels
Bravo SI0,000 or more Concertmasters $5,000 or more Leaders 52,000 or more Guarantors $ 1,000 or more Sponsors $500 or more Benefactors $200 or more Patrons $100 or more Donors $50 or more Sustaining Members $25 or more

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