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UMS Concert Program, February 10, 1991: University Musical Society -- Detroit Symphony Orchestra

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Day
10
Month
February
Year
1991
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Season: 112th
Concert: Twenty-first
Hill Auditorium, Ann Arbor, Michigan

UNIVERSITY MUSICAL SOCIETY
Detroit Symphony
Neeme Jarvi Music Director and Conductor
Nadja Salerno-Sonnenberg, Violinist Marilyn Mason, Organist
Sunday Afternoon, February 10, 1991, at 4:00 Hill Auditorium, Ann Arbor, Michigan
PROGRAM
Sinfonia Antiqua
Concerto for Violin and Orchestra No. 1 in A minor, Op. 77 . Moderato Scherzo: allegro
Passacaglia: andante, cadenza -Burlesque: allegro con brio, presto
Nadja Salerno-Sonnenberg INTERMISSION
Lawrence Rapchak . . Shostakovich
Symphony No. 3 in C minor ("Organ") . Adagio, allegro moderato, poco adagio Allegro moderato, presto, maestoso
Saint-Saens
Marilyn Mason
The piano heard in this concert is a Steinway available from Hammell Music, Inc., Livonia.
Activities of the Detroit Symphony Orchestra are supported by the City of Detroit Council of the Arts,
the National Endowment for the Arts, and the Michigan Council for the Arts.
London, RCA, and Mercury Records.
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.
Twenty-first Concert of the 112th Season
112th Annual Choral Union Series
Program Notes
Sinfonia Antiqua Lawrence Rapchak (b. 1951)
These are the first performances (this one in Ann Arbor and three in Detroit) of Lawrence Rapchak's Sinfonia Antiqua. The score calls for piccolo, two flutes, three oboes, English horn, clarinet, two bass clarinets, three bassoons, contrabassoon, four offstage horns, three trumpets, three trom?bones, tuba, timpani, a large percussion bat?tery managed by four players, harp, celesta, and strings.
Lawrence Rapchak was born in Ham?mond, Indiana, and studied at the Cleveland Institute of Music. His composition teachers include Donald Erb, Marcel Dick, and Leonardo Balada; he has also studied conduct?ing with James Levine.
Four of his early orchestral works were premiered by local ensembles during his high school years, and numerous works -orches?tral, chamber, and vocal -were played at the Cleveland Institute. He served as com?poser-in-residence with the Northern Indiana Arts Association in 1978-79.
Among the commissions he has re?ceived are those from members of The Cleve?land Orchestra, the Northwest Indiana Symphony, and the Bel Canto Woodwind Trio. He has also produced arrangements for The Cleveland Orchestra. His choral work The Magic Voyage was awarded first prize in the Phi Mu Epsilon National Choral Compe?tition in Pittsburgh in 1978.
In 1987, Rapchak's Mystic Promenade was selected by the American Symphony Orchestra League for reading by Leonard Slatkin and the St. Louis Symphony. In 1989, his Chasing the Sunset had a reading by the National Orchestral Association in New York and a subsequent premiere by the Man?hattan Philharmonic, conducted by David Gilbert.
Rapchak's opera, The Lifework of Juan Diaz, a collaboration with author Ray Brad?bury, was commissioned by Chamber Opera Chicago. The work was premiered to critical acclaim in Chicago in the spring of 1990 and subsequently broadcast over Chicago's fine-arts radio station WFMT. In March 1991, his II Concerto Vetrina for bass clarinet and or?chestra will receive its world premiere by the
Lawrence Rapchak
Concertante di Chicago with J. Lawrie Bloom of the Chicago Symphony as soloist.
The composer has provided the follow?ing note for his Sinfonia Antiqua:
"The Sinfonia Antiqua is modeled on two archaic forms, the Italian overture-sinfo-nia (as found in Mozart's K. 318) and the minuet-finale symphony (Haydn's Sympho?nies Nos. 18, 26, and 30). Both of these forms feature a basic fast--slow--fast structural pat?tern. The general character and texture also reflect the older forms: the continually active accompaniments, the tendency to divide the orchestra into choirs, the use of various ritor-nello figures, the clusters of oboes sparked by the light percussion.
"The opening Allegro is built entirely on a lengthy two-part theme. The slow mid?dle section of the work is based on an inversion of this theme. Just before the return of the Allegro, there appears a new version of the theme (now combined with its inver?sion), stately, austere, yet gentle.
"As the restatement of the Allegro pro?gresses, the new, combined tune continually attempts to assert itself, and finally does so. The orchestra regroups, as it were, into three massed choirs: strings, woodwinds, and brass,
with a new percussion contingent of cymbals, Chinese cymbals and tam-tams, and harp, celesta, and glockenspiel adding to the clangor. "The new theme emerges in its finished form, that of a minuet, slightly out of phase at first, then suddenly shifting into rhythmic focus. This harmonious paean quickly fades, echoed by distant horns and bells. The Sin-fonia Antiqua may be viewed as the composer's fond and rather sentimental tribute to past musical glories."
Concerto for Violin and Orchestra No. 1 in A minor, Op. 77 Dmitri Shostakovich (1906-1975)
Shostakovich composed his first Vi?olin Concerto in 1947-48. The first performance took place on Octo?ber 29, 1955, with David Oistrakh as soloist and Yevgeny Mravinsky conducting the Leningrad Philharmonic Or?chestra. The score calls for three flutes (one doubling piccolo), three oboes (one doubling English horn), three clarinets (one doubling bass clarinet), two bassoons, contrabassoon, four horns, tuba, timpani, tam-tam, xylo?phone, celesta, harp, strings, and solo violin. Twice in Shostakovich's lifetime, pol?itics cut across the composer's career. The first time, in 1936, his opera Lady Macbeth of Mtsensk drew official fire for its racy subject matter and dissonant musical style ("muddle instead of music," read the headline in Pravda). Lady Macbeth, in the middle of a successful run, was stopped in its tracks, and the hard-edged Fourth Symphony was with?drawn before its public premiere. The next year, Shostakovich issued his Fifth Sym?phony, "a Soviet artist's reply to just criti?cism," as it was called. Just how genuine his contrition was, we may wonder, but for the moment, Shostakovich was restored to offi?cial favor, being awarded the Lenin Prize in 1940 for his Piano Quintet.
The second onslaught was less personal but no less destructive. In 1948, there began an official move against the purveyors of "formalism" in music, among them, Shostakovich, Prokofiev, and Miaskovsky. There had been rumblings of official discon?tent with contemporary musical trends as early as 1946, but with the appointment of Andrei Zhdanov as head of the Composers' Union two years later, the party line stiff?ened. In a decree in February of that year, he
condemned the "formalistic perversions and anti-democratic tendencies" of Shostakovich and some of his contemporaries. Henceforth, those who wished to enjoy official favor would have to renounce the "cult of atonality, dissonance, and discord . . . infatuation with confused, neurotic combinations which transform music into cacaphony."
Prokofiev, in failing health, managed to muddle through his last five years with token words of apology; Miaskovsky would die two years later, never to see the thaw that took place after Stalin's death. Shostakovich, then, bore the brunt of the attack, to which he replied with some weasel words. Without going so far as to recant his "modernistic" tendencies, he offered a speech in which he said that he had "always heeded criticism against me and tried in every way to work better and harder. Now, too, I am paying heed to criticism and shall continue to do so in the future."
What this meant was obvious on the surface. Over the next few years, Shostakovich cranked out more than his share of patriotic potboilers: a film score for The Fall of Berlin, a setting of ten revolution?ary poems for a cappella chorus, and most disingenuous of all, a direct tribute to Stalin in the score for The Unforgettable Year 1919, which paid tribute to some of the fictional military exploits of the Soviet "leader and teacher."
At the same time, he voiced his real feelings in a number of works that could not be brought to public performance until the thaw that took place under the Khrushchev regime: the Fourth String Quartet, the Violin Concerto, the song cycle From Jewish Folk Poetry. "Not one of these works could be performed then," he told Solomon Volkov in his purported memoirs, published posthu?mously under the title Testimony. "They were heard only after Stalin's death. I still can't get used to it."
The first signs of a change in official attitudes came with the Tenth Symphony, which had its first performance late in 1953. That work was vigorously debated in musical circles, but no move was made to suppress it. The way was clear for the "hidden" works from the late 1940s to be brought to perfor?mance, and with the advocacy of David Oistrakh, the Violin Concerto was first heard in Leningrad in 1955. The violinist, who had taken an active role in shaping the solo violin
part, wrote an encomium of the concerto for the music journal Sovetskaya Musyka. From here on, the ice was broken: for his fiftieth birthday, in 1956, Shostakovich was again awarded the Lenin Prize, and that same year, plans were made for a revival of Lady Macbeth.
For the Violin Concerto, his first for a stringed instrument, Shostakovich settled on, not the usual three movements, but a four-movement scheme. As in the Eighth Sym?phony, two weighty introspective movements were followed by shorter, more satirical ones. Musically, one can read this as a huge down?beat followed by an upbeat, tension followed by release. On a personal level, these two different sorts of music from the same com?poser seem to reflect a private life -hidden, often given over to brooding -and a public one, in which officially mandated hilarity is colored with bitter irony.
The Nocturne that opens the concerto is an extended meditation for the violin, a virtually uninterrupted flow of melody. Shostakovich had first essayed this sort of melodic spinning-out in the slow movement of the Fifth Symphony. Here, he has mastered the technique, deriving seemingly endless phrases from tiny melodic cells. Just once, near the end of the movement, the violin raises its voice; otherwise, it speaks in an undertone, the orchestra observing its reverie virtually without comment.
The roles are reversed for the Scherzo, in which the violin darts in and out of the orchestral texture, acting as an agent provoca?teur. The bright, hard woodwind writing and the motor rhythms here were common coin in Soviet music, minted by Prokofiev no less than Shostakovich. At the same time, how?ever, Shostakovich puts his personal stamp on the Scherzo by sealing his initials in musical tones.
His method requires a little explana?tion. Taking the German words for the notes of the scale, Shostakovich creates a mono?gram that "reads" his initials: D -E-flat -C -B natural. Pronounced, as a German musician would, "day, ess, tsay, hah," this gives the initial of Shostakovich's first name and the first three letters of his last name. The device is complicated to understand, but easy to hear: the solo violin, in the midst of a running stream of notes, marks out these in longer tones, each taking up a full measure.
The Passacaglia that follows is nearly as much a personal assertion -such
"formalist" musical schemes were looked on with particular disfavor during the Zhdanov era. Shostakovich had been much occupied with Baroque forms when he composed the concerto, having written 24 preludes and fugues a a Bach, for the piano. Within the confines of the archaic passacaglia structure -an endlessly repeating bass -he is free to muse, to ponder, occasionally to recall mate?rial from earlier movements. Without a pause, a lengthy cadenza follows -the only one in this concerto. The solo violin begins in the mood of the passacaglia, but gradually moves away, unambiguously stating the D-S-C-H motive about halfway through.
From here on, we move inexorably into the finale, which begins without a pause, announced only by a thump from the tim?pani. "Burlesque" is the title, and ostensibly there is as little to disturb the listener here as in a day at the circus. Even in the midst of merriment, however, Shostakovich has not forgotten himself: his monogram sounds again, only slightly disguised; and near the end of the movement, the horns blurt out the beginning of the ground bass from the passa?caglia. Is the composer tweaking our noses, or driving a knife into our vitals He would not -or could not -tell us at the time, but as in much of Shostakovich's music from this point on, every simple statement contains its opposite, and it takes a careful listener to detect each shade of meaning.
Symphony No. 3 in C minor,
Op. 78 ("Organ")
Camille Saint-Saens (1835-1921)
Saint-Saens conducted the first per?formance of his Third Symphony with the Royal Philharmonic in London on May 19, 1886. The score calls for three flutes (one doubling piccolo), two oboes, English horn, two clarinets, bass clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, triangle, cymbals, bass drum, organ, piano four-hands, and strings.
Saint-Saens wrote his first symphony around 1850, his fifteenth year. Already he was an accomplished pianist, having made a sensational debut at the Salle Pleyel in 1846. As a composer, he still had much to learn, and he denied this early symphonic effort a number among his works, even though he
never went to the trouble of destroying the score. His first "official," that is, "numbered" symphony, came in 1853, the year after he made his first try at the Prix de Rome.
He did not win the prize, but the symphony brought him high praise as a com?poser. Gounod was in the audience for the first performance, and afterward he wrote to the seventeen-year-old Saint-Saens: "You are far in advance of your years: carry on -and remember that on Sunday, 18th December 1853, you contracted the obligation of be?coming a great master." Berlioz was there, too, and he was equally impressed. "Apart from Saint-Saens . . . and Gounod ... I can see nothing but ephemerae and mosquitoes hovering over this stinking morass we call Paris."
Saint-Saens' achievement was all the more remarkable, since there was in France nothing like a symphonic tradition. Berlioz's Symphonie fantastique had been performed, then dropped; Bizet's one symphony and Gounod's two remained to be written. Look?ing back on the musical scene during his youth, Saint-Saens later recalled only "a small circle of professional and amateur mu?sicians who really cared for and cultivated music for its own sake, secret worshippers of Haydn, Mozart, Beethoven, and occasionally Bach and Handel. It was quite useless to try and get a symphony, a trio, or a quartet performed except by the Society des Concerts du Conservatoire or by one or two private chamber music societies."
Saint-Saens was undeterred, however. In 1856, he wrote another symphony, subti?tled Urbs Roma, which took the prize of the St. Cecilia Society in Bordeaux. (This sym?phony, too, was later dropped from the canon of his works.) Three years later, he composed his "Second" Symphony, in which the British critic Martin Cooper hears an anticipation "by nearly thirty years of the 'serene anxiety' of Cesar Franck."
There, for the moment, Saint-Saens' career as a symphonist stopped. He would continue an active life as a pianist, organist, and conductor; he would write piano concer?tos and symphonic poems, and would try, for a long time unsuccessfully, to gain an entree to the sacred halls of the Paris Opera. Not until 1886 would he attempt another sym?phony, this time at the behest of the Royal Philharmonic Society in London. The offer came by-the-way: the Society had intended at first to engage Saint-Saens as a pianist and
conductor; unable to meet his fee of forty pounds, it sweetened the deal by offering him a commission to write a new work.
He already had ideas for a symphony in mind, and when Liszt visited Paris in April 1886, Saint-Saens played some of them to him at the piano. Two months later, Liszt died, and Saint-Saens paid him tribute by dedicating the new symphony to him. "It will be terrifying, I warn you," he wrote. "It will be a treat for me to conduct it. Will it be a treat, though, for the people who hear it that is the question [this passage in English]. It's you who asked for it. I wash my hands of the whole thing."
The crowd at St. James's Hall in Lon?don was enthusiastic at the first performance; afterward, Saint-Saens was presented to the Prince of Wales. A year later, the composer conducted the first Paris performance, and as he left the platform, Gounod made a remark that equaled his encomium of thirty-four years earlier: "There goes the French Beetho?ven," he said. Saint-Saens would live another forty-four years, but without writing another symphony and without quite reaching the level he attained here. "I have given all that I had to give," he wrote. "What I have done I shall never do again."
For the London premiere of his Third Symphony (actually his Fifth, you will re?call), Saint-Saens wrote a descriptive pro?gram note. Polemical, stiff, and overdetailed in places, it still gives the flavor of the piece and the period as no contemporary analysis can. It is reproduced here:
"This symphony is divided into two parts, in the manner of Saint-Saens' Fourth Concerto for Piano and Orchestra and Sonata for Piano and Violin. It nonetheless includes practically the traditional four movements. The first, checked in development, serves as an introduction to the Adagio. In the same manner, the scherzo is connected with the finale. The composer has thus endeavored to avoid somewhat the interminable repetitions which are now more and more disappearing from instrumental music.
"The composer thinks it's now high time the symphony benefited from the prog?ress of modern instruments. [He adds a list of the symphony's instrumentation.]
"After an introduction. Adagio, of a few measures, the string quartet introduces the initial theme, which is sombre and agitated (Allegro moderate). The first transformation
of this theme leads to a second motive, distinguished by greater tranquility. A short development presents the two themes simul?taneously, after which the motive appears briefly in a characteristic form, for full orchestra.
"A second transformation of the open?ing theme includes, now and then, the plain?tive notes of the introduction. Varied episodes gradually bring calm, thus preparing the Adagio in D-flat. The extremely peaceful, contemplative theme is given to the violins, violas, and cellos, which are supported by organ chords. This theme is taken up by clarinet, horns, and trombone, with string accompaniment.
"After a variation (in arabesques) by the violins, the second transformation of the initial theme of the Allegro reappears, bring?ing a vague feeling of unrest, intensified by dissonant harmonies. These soon give way to the theme of the Adagio, this time performed by some of the strings with organ accompa?niment and with a persistent rhythm of trip?lets presented by the preceding episode. This movement ends with a mystical coda, which sounds alternately the chords of D-flat and E minor.
"The second movement commences with an energetic phrase (Allegro moderato). This is followed immediately by a third trans?formation of the first movement's initial theme, more agitated than before. Into it enters a fantastic spirit that is frankly dis?closed in the Presto. Arpeggios and scales,
swift as lightning, on the piano are accompa?nied by the syncopated rhythm of the orches?tra. Each time they are in a different tonality (F, E, E-flat, G).
"This tricky gaiety is interrupted by an expressive phrase from the strings. The repe?tition of the Allegro moderato is followed by a second Presto, which at first appears to be a repetition of the first Presto. Scarcely has it begun, however, before a new theme is heard, grave, austere (trombone, tuba, double-bass), strongly in contrast to the fantastic music. There is a struggle for mastery, which ends in the defeat of the restless, diabolical element.
"The phrase rises to orchestral heights and rests there as in the blue of a clear sky. After a vague reminiscence of the initial theme of the symphony, a maestoso in C major announces the approaching triumph of calm and lofty thought. The initial theme, wholly transformed, is now exposed by divided strings and pianoforte (four hands), and re?peated by the organ with the full strength of the orchestra.
"Then follows a development built in a rhythm of three measures. An episode of a tranquil, pastoral character (oboe, flute, Eng?lish horn, clarinet) is twice repeated. A brilliant coda, in which the initial theme by a last transformation takes the form of a violin figure, ends the work."
-Program Notes by Michael Fleming
The Detroit Symphony Orchestra and Neeme Jarvi at home in Orchestra Hall.
About the Artists
The Detroit Symphony Orchestra began a new era in the 1990-91 season with its new music direc?tor, Neeme Jarvi, and the com?pletion of the final phase of Orchestra Hall's restoration. Last season the Orchestra celebrated its 76th season with a move back to its original home, Orchestra Hall. The recent merger of two of Detroit's most prestigious musical institutions, the De?troit Symphony Orchestra and Orchestra Hall, enables the resulting Detroit Symphony Orchestra Hall to offer a wider diversity of activities as it strives to be a source of enjoyment, enrichment, education, and pride to citizens throughout the state of Michigan and beyond
In September 1990, internationally ac?claimed conductor Neeme Jarvi became the eleventh music director of the Detroit Sym?phony Orchestra. Born in Tallinn, Estonia, Mr. Jarvi is one of today's most recorded conductors. Previous conducting posts in?clude chief conductor at the Tallinn Opera, chief conductor and artistic director of the Estonian State Symphony, principal guest conductor with the City of Birmingham Sym?phony, music director of the Scottish Na?tional Orchestra (with which he presently serves as conductor laureate), and he is cur?rently principal conductor of the Gothenburg Orchestra of Sweden.
The 101 members of the Detroit Sym?phony Orchestra are heard live by over 350,000 people annually, performing year-round concerts that include 24 weeks of classical subscription concerts, a Weekender Pops series, an annual Christmas Festival featuring The Nutcracker ballet, Young People's Concerts, an eight-week summer season at the Meadow Brook Music Festival, and annual tours throughout the state of Michigan. Among the educational and com?munity concerts presented by the orchestra are free summer concerts in Detroit metropol?itan parks, a free Educational Concert Series, free Detroit Symphony Civic Orchestra con?certs, two Classical Roots concerts, as well as the annual African-American Composers Forum.
The Detroit Symphony Orchestra con?tinues its long history of national radio broad?casts, which includes participation in the first complete symphonic radio broadcast (1922).
That same year it became the first official radio broadcast orchestra in the nation. As a recording ensemble, the Detroit Symphony Orchestra has a distinguished history that includes award-winning discs on the London, RCA, and Mercury Records labels.
In 1919, the Detroit Symphony Or?chestra made its first appearance in Ann Arbor with Ossip Gabrilowitsch, the Russian-born conductor who had just been appointed music director of the five-year-old orchestra. In the decades following that debut, the DSO performed on this stage under subsequent music directors including Victor Kolar, Karl Kreuger, Paul Paray, Sixten Ehrling, Aldo Ceccato, Antal Dorati, and Gunther Herbig, as well as several guest conductors. This afternoon, the Detroit Symphony Orchestra makes its 63rd appearance under Musical Society auspices, this time with its newly appointed music director, Neeme Jarvi.
Neeme Jarvi began his tenure as eleventh music director of the Detroit Symphony Orchestra on September 1, 1990, his first position with an American symphony orchestra. Internationally ac?claimed for his performances with orchestras and opera houses throughout the world, Mr. Jarvi is also one of today's most recorded conductors.
Born in Tallinn, Estonia, in 1937, he graduated from the Tallinn Music School with degrees in percussion and choral con?ducting and later completed his studies in opera and symphonic conducting at the Len?ingrad State Conservatory. He made his con?ducting debut at the age of eighteen with a concert performance of Strauss's Night in Venice and his operatic debut with Carmen at the Kirov Theater. In 1963 he became direc?tor of the Estonian Radio and Television Orchestra and began a thirteen-year tenure as chief conductor at the Tallinn Opera.
International acclaim came in 1971 when Mr. Jarvi won first prize in the Con?ductors Competition at the Accademia Nazionale di Santa Cecilia in Rome. This triumph led to invitations to conduct major orchestras throughout Eastern Europe, Great Britain, Germany, Sweden, Japan, Mexico, and Canada. In the Soviet Union, he became chief conductor and artistic director of the Estonian State Symphony and also conducted the Soviet premier performances of Der Rosenkavalier, Porgy and Bess, and 11 turco in Italia.
In January 1980, Mr. Jarvi immigrated to the United States and in the following month made his American orchestral debut with the New York Philharmonic. Since then he has conducted the major orchestras in North America and Europe and has served as principal guest conductor with the City of Birmingham Symphony (1981-83), music di?rector of the Scottish National Orchestra (1981-88) (with which he presently serves as conductor laureate), and he currently holds the post of principal conductor of the Gothenburg Orchestra of Sweden. Standing in at the last minute for an ailing Seiji Ozawa, Mr. Jarvi recently led the Boston Symphony Orchestra in performances at Symphony Hall in Boston, as well as an exciting concert in New York's Carnegie Hall.
Equally renowned for his opera con?ducting, Mr. Jarvi made his Metropolitan Opera debut with Eugene Onegin during the 1978-79 season and returned during 1985-86 to conduct a new production of Kho-vanshchina. His first performances in Detroit were on tour with the Metropolitan Opera, conducting performances of Samson et Dalila. Considered an expert interpreter of Carl Nielsen's music, Mr. Jarvi conducted a con?cert performance of the opera Saul and David with the Royal Danish Radio Orchestra this
past summer. Part of the orchestra's 125th anniversary celebration of Nielsen's birth, it was broadcast on radio throughout Europe and resulted in a recording for Chandos Records. In addition, he added to his vast catalogue of discs the first original Russian language recording of Prokofiev's opera The Fiery Angel
Mr. Jarvi has recorded extensively for Chandos, BIS, Orfeo, and Deutsche Gram-mophon, including releases with the Chicago Symphony, Scottish National Orchestra, London Symphony, London Philharmonic, Bamberg Symphony, Gothenburg Sym?phony, and Bavarian Radio Symphony Or?chestra. He has won several awards for his recordings of the complete Prokofiev sympho?nies as well as his ongoing project to record all of Sibelius's orchestral music.
While this afternoon's concert marks Neeme Jarvi's first Ann Arbor appearance as music director of the Detroit Symphony Or?chestra, he previously conducted a concert here in 1973, directing The Festival Chorus and the Leningrad Philharmonic Orchestra in Prokofiev's Alexander Nevsky.
Violinist Nadja Salerno-Son-nenberg's performances have earned her great respect and attention in the music world. In North America, Ms. Salerno-Sonnenberg has appeared with all of the major orchestras, including those in Chicago, Cleveland, Detroit, Houston, Los Angeles, Montreal, New York, Philadelphia, Pitts?burgh, and San Francisco. She has also ap?peared with the major London orchestras and made her first tour of Japan in the spring of 1990.
Festival appearances include the Mostly Mozart Festival, in New York and Washington, D.C., as well as the festivals of Ravinia, Blossom, Hollywood Bowl, Meadow Brook, Great Woods, Caramoor, Aspen, and Tanglewood. Her recital credits include Lin?coln Center's Great Performers Series, Chicago's Orchestra Hall, New York's 92nd Street "Y" Distinguished Artists Series, California's Ambassador Auditorium, Wolf Trap, and the Library of Congress in Wash?ington, D.C. Internationally, she has ap?peared in Vienna, Munich, Stuttgart, Frankfurt, Geneva, Rotterdam, and Lisbon.
Ms. Salerno-Sonnenberg has been fea?tured on CBS's 60 Minutes, on a CBS na?tional television special, on NBC's National News, on PBS's "Live from Lincoln Center,"
Marilyn Mason is university or?ganist and chairman of the organ department at the University of Michigan. Her extensive career as concert organist, lecturer, adjudicator, and teacher has carried her throughout the western world. She was the first American woman to play in Westminster Abbey, the first woman organist to play in Latin America, and the first Amer?ican organist to perform in Egypt. In addition to performing on five continents, she has served as adjudicator at almost every major competition in the world.
Professor Mason's dedication to con?temporary music is evidenced in the 40 organ works she has commissioned and premiered. Currently, she is pursuing her commitment to stylistic integrity through scholarly research into the construction and tonal design of historic European instruments. More than 20 research tours have focused on historic organs in France, North Germany, Saxony, and Spain. In 1987 she was awarded an honorary doctor of music degree by the University of Nebraska, where she had served as consultant for the Casavant mechanical action organ. In addition, the New York Chapter of the Amer?ican Guild of Organists selected her as its 1988 performer of the year.
Professor Mason's discography includes the music of Bach, Handel, Pachelbel, and many contemporary composers on the Colum?bia and Musical Heritage labels. Recently, Professor Mason was awarded a Rackham
and the PBSBBC series "The Mind," as well as appearances on the "Tonight" Show with Johnny Carson.
Nadja Salerno-Sonnenberg was born in Rome and moved to the United States at the age of eight to study at the Curtis Institute of Music. She later studied with Dorothy DeLay at The Juilliard School. She is the recipient of the prestigious Avery Fisher Career Grant, winner of the Walter W. Naumburg 1981 International Violin Competition, and a re?cipient of a 1988 Ovation Award.
Ms. Salerno-Sonnenberg records ex?clusively for AngelEMI records. She made her Ann Arbor debut at the 1988 May Festival, performing Mendelssohn's E-minor Concerto with the Pittsburgh Symphony Or?chestra.
Prof. Mason and the Marityn Mason Organ at the School of Music.
Grant to record the complete works of Pachelbel, soon to be issued by the Music Heritage Society.
Marilyn Mason's association with the University of Michigan has been long and enduring. She obtained both her Bachelor's and Master's degrees from the U-M School of Music and accepted a teaching position im?mediately thereafter. In 1972 she received the Distinguished Faculty Achievement Award from the University in recognition of her contributions as a scholar and teacher. Through these years, Professor Mason has made numerous appearances in Musical Soci?ety concerts as both organist and harpsichord?ist.
Detroit Symphony Orchestra
Neeme Jarvi, Music Director Music directorship endowed by the Kresge Foundation
Leslie B. Dunner Associate Conductor
Erich Kunzel Pops Music Advisor
Eric Freudigman Director of Choruses
Robert S. Miller, Jr. Chairman of the Board
Mark Volpe Executive Director
First Violins
Emmanuelle Boisvert Concertmaster Katherine Tuck Chair
John Hughes
Associate Concertmaster
Joseph Goldman
Assistant Concertmaster Walker L OsierDetroit Edison Foundation Chair
Beatriz Budinszky
Marguerite Deslippe"
Derek Francis
Alan Gerstel
EliasFriedenzohn
Malvern Kaufman"
Richard Margitza
Bogos Mortchikian
Linda Snedden-Smith"
Ann Strubler
LeAnn Toth
Margaret Tundo
Second Violins
Geoffrey Applegate+
Felix Resnick+ +
Alvin Score
Lillian Fenstermacher
Ronald Fischer
Lenore Sjoberg
Walter Maddox
Roy Bengtsson
Thomas Downs
Yien Hung
Robert Murphy
Jacob Robbins
Bruce Smith
Joseph Striplin
James Waring
Caroline Braxton"
Voas
Alexander MishnaevskiH-
James VanValkenburgH-+
Philip Porbe
LeRoy Fenstermacher
Hart Hollman
Walter Evich
Gary Schnerer
Catherine Compton
David Ireland
Glenn Mellow
Darryl Jeffers
John Madison
Cellos
Italo BabiniH-
James C. Gordon Chair Marcy Chanteaux+ + John Thurman Mario DiFiore Robert A. Bergman' Barbara Hassan Debra Fayroian' Carole Gatwood' Haden McKay' Paul Wingert' Basses
Robert Gladstone+ Stephen Molina+ + Maxim Janowsky Linton Bodwin Stephen Edwards Craig Rifel Donald Pennington Marshall Hutchinson Richard Robinson Harp Patricia Masri-Fletcher+
Winifred E. Pollc Chair
Flutes
Ervin Monroe+ Women's Association (or the DSO Chair
Shaul Ben-Meir
Robert Patrick+ +
Clement Barone
Piccolo
Clement Bartone
Oboes
Donald Baker+
Shelley Heron
Brian Ventura+ +
Treva Womble
English Horn
Treva Womble
Clarinets
Theodore Oien+ Robert B. Semple Choir
Douglas Comelsen
Laurence Liberson + +
Oliver Green
Stephen Millen
E-Flat Clarinet
Laurence Liberson
Bass Clarinet
Oliver Green
Bassoons
Robert Williams+
Victoria King
Paul Ganson+ +
Lyell Lindsey
Contrabassoon
Lyell Lindsey
French Horns
Eugene Wade+
Bryan Kennedy
Corbin Wagner
Willard Darling
Mark Abbott+ +
Keith Vernon
Trumpets
Ramon Parcells+
Kevin Good
Alvin Belknap+ +
William Lucas
Trombones
Nathaniel Gurin
Joseph Skrzynski
Randall Hawes
Buss Trombone
Randall Hawes
Tuba
Wesley JacobsH-
Timpani
Salvatore RabbioH-
Robert Pangborn+ +
Percussion
Robert Pangborn+
Norman Fickett+ +
Raymond Makowski
Sam Tundo
Librarians
Elkhonon Yoffe
Charles Weaver, Assistant
Personnel Managers
Oliver Green
Stephen Molina, Associate
+ Principal
+ + Assistant Principal
Acting Principal Orchestra Fellow
These members may voluntarily revolve seating within the section on a regular basis.
" Substitute in an unfilled vacancy.

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