THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN

Munich Philharmonic Orchestra

Lorin Maazel
Conductor

TUESDAY EVENING, OCTOBER 29, 1985, AT 8:00

HILL AUDITORIUM, ANN ARBOR, MICHIGAN

PROGRAM

Overture to Oberon ................................................ WEBER

Symphony: "Mathis der Maler". . . HlNDEMITH

Concert of the Angels
The Entombment of Christ
The Temptation of St. Anthony

INTERMISSION

Symphony No. 5 in E minor, Op. 64 ..... TCHAIKOVSKY

Andante, allegro con anima
Andante cantabile con alcuna licenza
Valse: allegro moderato
Finale: andante maestoso, allegro vivace

Angel, CBS, and RCA Records.

Fortieth Concert of the 107th Season 107th Annual Choral Union Series
 PROGRAM NOTES

Overture to Oberon ............................... CARL MARIA VON WEBER

(1786-1826)
Weber's opera Oberon was written for performance in England in 1826. In the introduction of the
overture, Oberon's magic horn summons his elfin subjects who come tripping to fluttering passages
in the woodwinds. The wistful, melancholy mood of this fairy prelude gives way to the main part of
the overture, in which the first theme, representing the scene in Charlemagne's court, soars upward
in the violins in two measures, from piano to fortissimo. Weber scored this regal march in the then
popular "Turkish" style, using the big drum, the cymbals, and triangle, in addition to the customary
woodwind and brass instruments. In the extensive exposition, the fortissimo strings in unison reach a
stormy climax, and again, Oberon is heard softly blowing his poetic horn. The solo clarinet plays a
pensive second theme over sustained chords in the strings. Soon from the violins comes the raptuous
song which Rezia sings ("Ocean, thou mighty monster") when, shipwrecked on the desert island,
she beholds the sail of an approaching ship and hails it with her scarf.
In the bold and dramatic development section, Weber transforms the pensive theme by the
clarinet into a march of great power, accompanied by the violins playing the soaring line of their first
theme. The overture closes with a brilliant restatement (fortissimo in the strings) of Rczia's ecstatic
theme, transformed now into joyful praise for the faithfulness of the human lovers, Huon and Rezia,
and for the marital happiness of their fairy sponsors, Oberon and Titania.

Symphony: "Mathis der Maler" ............................ PAUL HINDEMITH

(1895-1963)
In 1934 Hindemith drew three orchestral excerpts from his then unperformed opera Matins der
Maler and arranged them in the form of a symphony. This symphony received its first performance
on March 12 of that year from the Berlin Philharmonic Orchestra under Wilhelm Furtwa'ngler, and
the first American performance was given seven months later by Otto Klemperer and the New York
Philharmonic-Symphony Orchestra. The opera itself was belatedly performed in Zurich on May 28,
1938. Although the work had been in the repertoire of many European opera houses for some time,
the first American performance was not given until 1956, when the Boston University Opera
Department produced it under the direction of Sarah Caldwell.
Hindemith was long aware of the problem of the widening gulf between the composer and the
public. In 1927 he wrote that "it is to be regretted that so little relationship exists today between the
producers and the consumers of music. A composer should write today only if he knows for what
purpose he is writing. The days of composing for the sake of composing are perhaps gone forever.
On the other hand, the demand for music is so great that composer and consumer ought most
emphatically to come to an understanding."
Preoccupied with this dilemma, Hindemith experimented with Gebrauclismitsilt, or "music for
use," with music for children, for school choirs, radio, films, and even for jazz combinations. In
Matthias Griinewald (c. 1460-1528), the German religious painter, he found a subject who ex-
emplified this creative problem, and he chose him as the principal character of an opera which he
called Mathis der Maler.
Hindemith gave a clear indication of the idea behind his opera in a statement about his libretto.
He wrote that Mathis "stands for the embodiment of problems, wishes, and doubts which have
occupied the minds of all serious artists from remotest times. For whom are works of art created?
What is their purpose? How can the artist make himself understood to his adversary? This man, who
wants to delve into the most obscure motives for creative work, sinks into a fit of unfruitful
brooding, despairs of his mission, and becomes absorbed in problems, the solution of which now
seems to him more important for the well-being of his oppressed fellow man than the creation of
works of art. He goes to war and fights on the side of the rebellious peasants against the nobles and the
church, and thus against his own master, Cardinal Albrecht of Mainz. This is a gross contradiction
between his imaginary ideal of a fair combat and just victory and the ugly reality of the Peasants' War.
"Mathis soon sees the wide gulf separating him from his companions in arms, and when the
peasants suffer a decisive defeat, he is so completely engulfed in despair that not even death by his
own hand or a stranger's has mercy upon him. In an allegorical scene he experiences the temptation of
St. Anthony; all the promptings of conscience within his tortured soul rise to assail and plague him
and call him to account for his actions. The knowledge of being condemned to utter uselessness
overwhelms him. In the subsequent stage action there is a close resemblance to the visit of
St. Anthony to St. Paul in Thebai'd, and it is depicted on Grunewald's Isenheim altarpiece. Paul,
under whose allegorical disguise Cardinal Albrecht is to be recognized, enlightens Mathis, in the
likeness of Anthony, about his mistakes and instructs him as to the right road he is to follow in the
future. The conversion to conscious, supreme artistic endeavor is successful. Mathis devotes the
remainder of his days to his art, which is henceforth rooted in his faith in the talent bestowed upon
him by God and in his attachment to his native soil."
Symphony No. 5 in E minor, Op. 64............... PETER ILYICH TCHAIKOVSKY
(1840-1893)
Tchaikovsky spent the summer of 1888 in his country house at Frolovskoe and, in this
picturesque 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 forty-eight) 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.
The Fifth Symphony contains a motif which appears in all four movements. It is a theme of
sadness and questioning and is first heard played by the clarinets. After the short Andante introduc-
tion, the movement proper begins. Its principal theme has a folk song origin, probably Polish. The
clarinets and bassoon announce the theme, which is elaborately developed. The second theme is
heard in the string section. The movement is in the regular sonata form with a development and full
reprise of the material of the exposition. The beginnings of the recapitulation may be recognized by
the main theme, which is heard in the bassoon. A lengthy coda ends the movement quietly.
The second movement is well constructed and tightly knit, yet there is a sense of enormous
freedom in it. After a brief introduction in the lower strings, the beautiful chief melody of the
movement is sung by the horn. The oboe then introduces a new theme which is, in turn, taken up by
the violins and violas. Again, the haunting chief melody is heard in the cellos. There are several
additional themes until the full orchestra thunders out the theme from the beginning of the work,
which Philip Hale calls the "theme of bodement." This is heard twice during the movement.
The third movement, a waltz, is ingratiating and simple. Toward the very end, as the sounds
of gaiety fade away, the original "bodement" theme is heard, but this time as if in the far distance.
The finale, like the first movement, begins with an introduction. Its theme is based upon the sad
motto theme of the other three movements. The Allegro vivace begins with the principal theme in the
strings, and later the woodwinds enter with another theme which is afterward given to the violins. In
the development of the second theme there are allusions to the motto theme. The movement
progresses ever faster to a stormy finish, with one last reminiscent hearing of the "bodement" theme.

About the Artists

The Munich Philharmonic Orchestra was founded in 1893 by Privy Councillor Dr. Franz
Kaim, and since 1928 it has been the official orchestra of the Bavarian capital. Following its early days
of setting the standard of high quality in orchestral performance, Felix Weingartner, Chief
Conductor from 1898-1905, developed the international reputation of the orchestra through an
extensive program of tours abroad and significant performances. In 1906 the 20-year-old Wilhelm
Furtwangler, who grew up in Munich, made his conducting debut with his hometown orchestra,
marking the beginning of a long and close association between Furtwangler and the Munich
Philharmonic. Over the years, guest conductors such as Gustav Mahler, Richard Strauss, Max
Reger, and Hans Pfitzner conducted performances of their own compositions as well as those of
other composers.
Known in its early days as the Kaim Orchestra (after its founder) and then as the Concert-Society
Orchestra, the orchestra was officially christened the Munich Philharmonic in 1928. During this
period between the two world wars, various Bruckner symphonies were premiered, continuing a
Bruckner tradition for the Munich Philharmonic which exists to this day. The first post-World War
II concert on July 8, 1945, was conducted by Eugen Jochum, a concert that was notable for the first
performance of Mendelssohn's Overture to A Midsummer Night's Dream since that composer's music
had been banned in Germany by the Nazi regime. Hans Rosbaud took over in 1946, re-establishing
the orchestra after the war and extending the range of its repertoire with a particular emphasis on the
works of contemporary composers. Fritz Rieger further developed the orchestra from 1949 to 1966.
Illustrious guest conductors during this period attest to the orchestra's caliber Hans Knapperts-
busch, Carl Schuricht, Erich Kleiber, Clemens Krauss, George Szell, Fritz Lehmann, Andre
Cluytens, Joseph Keilberth, and Georg Sold.
Under Rudolf Kempe from 1967 until his tragic early death in 1976, the Munich Philharmonic
made its first tours ofJapan and the Soviet Union and recorded the complete Beethoven and Brahms
symphonies. Since 1979 Sergiu Celibidache has been the artistic director as well as the music director
of the City of Munich. Under his baton, the orchestra completed a series of successful tours of West
Germany, Spain, and Italy, and also became a regular participant in the Berlin Festival. Lorin Maazel
has conducted the orchestra regularly since 1979, and this season is leading concerts in Paris and
Warsaw as well as tours of East Germany and North America. Their current North American debut
tour includes performances in New York (Carnegie Hall and Avery Fisher Hall), Washington, D.C.,
Chicago, Philadelphia, Albany, Worcester, Ann Arbor, Toronto, Ottawa, and Waterloo.
Upon its return to Germany next month, the Munich Philharmonic will have its own concert
hall again for the first time in forty years, with the opening of the new "Philharmonic" in the Gasteig
Arts Centre. This event heralds the start of a new era in the orchestra's nearly 100-year history.
 As one of the most distinguished conductors in the world, Lorin Maazel has conducted over
6,000 concerts with all of the major international orchestras and over 500 performances of operas at
the world's leading opera houses. He conducted his first performance with the Munich Philharmonic
in 1979 in a televised broadcast and since then has been featured on the orchestra's annual subscription
series and summer festivals.
Mr. Maazel is currently principal guest conductor of the French National Orchestra in Paris. At
the conclusion of the 1981-82 season, he assumed the title Conductor Emeritus of the Cleveland
Orchestra, having served as its music director for ten years in over 700 performances. From
September 1982 until June 1984, Mr. Maazel was general manager and artistic director of the Vienna
State Opera, the first American to hold that post. From 1976 to 1980 he was principal guest conductor
of the Philharmonia Orchestra.
The conductor's widely acclaimed and prize-winning recordings include an ongoing cycle of
Puccini operas, as well as the symphonies of Beethoven with the Cleveland Orchestra. He has begun
a cycle of the Mahler symphonies with the Vienna Philharmonic, marking the first recorded cycle of
Mahler by that orchestra.
Increasingly, Mr. Maazel has become involved with television and film production: he con-
ducted the film soundtrack and CBS Masterworks recording of Mozart's Don Giovanni; he com-
pleted the soundtrack for Carmen, which Francesco Rosi filmed for theatrical distribution; he has also
made several television programs with the Cleveland Orchestra for the PBS and BBC networks.
Mr. Maazel collaborated with French television in a production ofGustav Hoist's The Planets, which
interspersed spectacular footage from NASA satellites with dramatic shots of the French National
Orchestra. His other television participations include Vivaldi's The Seasons, with footage from
New York (summer), Venice (autumn), Moscow (winter), and Paris (spring); Debussy's La Mer,
photographed underwater in the British Virgin Islands; and Debussy's Nuages, shot from a helicopter
over Les Diablerets in Switzerland.
Among Mr. Maazel's many honors are the Commander's Cross of the Order of Merit of the
Federal Republic of Germany, an honorary life membership in the Israel Philharmonic, and the
Legion d'Honneur from the government of France.
Born on March 6, 1930 in Paris of American parents, Lorin Maazel was raised and educated in
the United States. In 1939, at the age of nine, he conducted the Interlochen Orchestra at the New
York World's Fair and the Los Angeles Philharmonic at the Hollywood Bowl, sharing a program
with Leopold Stokowski. At eleven, he was invited by Toscanini to conduct the NBC Symphony,
and he subsequently led the New York Philharmonic in summer concerts at Lewisohn Stadium. He
made his Cleveland Orchestra debut in 1943 at a Pension Fund concert and three years later entered
the University of Pittsburgh to study languages, mathematics, and philosophy. While a student, he
was a violinist with the Pittsburgh Symphony, served as apprentice conductor during the 1949-50
season, and organized the Fine Arts Quartet. A Fulbright Fellowship took him to Italy in 1951 to
study baroque music. In 1960 he became the youngest conductor and first American to conduct at
Bayreuth. From 1965 to 1971 he served as artistic director of the West Berlin Opera and music
director of the Berlin Radio Symphony Orchestra. Mr. Maazel dates his career as a mature artist from
December 24, 1953, when he made his debut in Italy.
The maestro first appeared in Ann Arbor on March 2, 1953, when he conducted the Gershwin
Concert Orchestra. Subsequent visits were in 1979 with the Cleveland Orchestra and in 1984 with
the Orchestre National de France.

FOLK BALLET OF YUGOSLAVIA ............................... Thurs. Oct. 31

CLEVELAND OCTET ........................................... Sun. Nov. 3
CARLOS MONTOYA, Flamenco Guitarist ........................... Sat. Nov. 9
VIENNA SYMPHONY / WOLFGANG SAWALLISCH ................. Wed. Nov. 13
NEW PHILADELPHIA STRING QUARTET. ......................... Sun. Nov. 24
with RICHARD WOODHAMS, Oboist; YOHEVED KAPLINSKY, Pianist
SHURA CHERKASSKY, Pianist ................................. Tues. Nov. 26
Handel's Messiah / DONALD BRYANT ...................... Fri.-Sun. Dec. 6-8
PITTSBURGH BALLET, Tchaikovsky's Nutcracker. ........... Fri.-Sun. Dec. 13-15
JESSYE NORMAN, Soprano. ...................................... Wed. Jan. 8
CRACOW PHILHARMONIC ....................................... Sat. Jan. 11
KRZYSZTOF PENDERECKI, Conductor; Yo-Yo MA, Cellist
THE ENGLISH CONCERT / TREVOR PINNOCK ..................... Wed. Jan. 15
DETROIT SYMPHONY ORCHESTRA. ............................... Sun. Feb. 2
GUNTHER HERBIG, Conductor; HEINRICH SCHIFF, Cellist

UNIVERSITY MUSICAL SOCIETY

Burton Memorial Tower, Ann Arbor, Michigan 48109-1270 Phones: (313) 665-3717, 764-2538
 MESSAGES OF GREETING

The. name. MUNICH PHILHARMONIC hoi, a fiing to it £OA lover* ofi classical
music. I am there.^oAe. very ple.a*e.d that this e.x.ce.ptio natty tale.nte.d
o Aches tna ^Aom the. capital o& Bavaria ha* de.cide.d to tour the. Unite.d
Stated {)OA the. fairst time. in its history and to give. concerts under
the. dire.ctlon o& LoAin MaazeJL in *e.ve.n hmeAA.can c^ttu {,A.om OctobeA
M to 3J, 1985.
The. language, o^ mo6^c, Like, no otheA., bAsingA pe.ople. and nation*
toQ^tkeA., uniting thm <ln the. bond* ofi ^fLie.ndkki.p . With thLb -In mind,
the. 30veA.nme.nt o& the. Fe.deAal Re.pubtlc o& GeAmany ha* give.n it*
{,inancu.at *uppoKt to the. touA o& the. MUNICH PHILHARMONIC a* paAt o^ it!>
cJLo*e. cultuAal cooperation with the. Unite.d States. It viem the. tout
a* an e.x.pA.eA*ion ofa the. cto*e. &Asle.nd*hip whic.h e.xiAtt> between the.
(inite.d States and the. Fe.deAal Republic. o{\ GeAmany.
I *inc.eA.e£y hope, that American audie.nc.eA will. deJLight in thue.
e.ncounteAA with the. ma*teApie.c.e^> o& EuA.ope.an mu*ical tfiadition.
I wi*h the. osLc.hz*tA£L and it* conducitoA. a *uc.c.e^*f,ul touA. o& the.
(inite.d States.
Hans-Dietrich Genscher
Minister for Foreign Affairs
of the Federal Republic of Germany

The. MUNICH PHILHARMONIC ORCHESTRA wiU. viAJjt the. United State* o&
America and Canada in October. 1985. And, no doubt, it* member* witt
be. welcome, a* amba**adoAA o& the. City o& Munich. I am very happy
inde.e.d that thLi, v-l*it witt provide, ye^t another mu*ical bridge.
between QUA countnieA, between Munich and the. American and Canadian
ho*t citiu. AccoAding to the. wo Ad* o& authoA KaAl. JuLlu* WebeA,
"Mu*ic i^ the. tAue. general language, o^ mankind." 1 hope, that the.
{,ir*t American tour o& the. MUNICH PHILHARMONIC ORCHESTRA wi£t make,
a valuable, contribution euen to deepen the. mutual understanding
between QUA. nation*, apaAt. &Aom pAomoting our cultural A.eJLatlon*.
In thi* *e.n*e., I wish e.very *ucc&** to the. concert o& the. MUNICH
PHILHARMONIC ORCHESTRA in the. United States o& Ame.Ai.ca and in
Canada, and an impA&**ive. musical highlight to its audie.nces.
Munich, September 10, 1985

George Kronawitter
Lord Mayor of Munich
First Violins THE MUNICH PHILHARMONIC Clarinets
Concertmasters: Solo:
LOR IN MAAZEL Karlheinz Hahn
Werner Grobholz
Sreten Krstic Conductor Herbert Gruber
Thomas Wolf Peter Flahmig
Ingolf Turban Max Spenger
Klaus Kosbahn Wolfgang Schroder
Deputy Concertmaster: Herbert Stoiber Wilhelm Mehls
Karel Eberle Wolfgang Stingl
Gunter Pretzel Bassoons
Mathias Freund
Josef Kahlscheuer Solo:
Erich Bieder Cellos Richard Popp
Hans Schuster Concertmasters: Friedrich Edelmann
Gunther Feldt Heinrich Klug Josef Peters
Max Fischer Helmar Stiehler Jorg Urbach
Carla Moll Michael Hell Jurgen Popp
Manfred Hufnagel
Katharina Kruger Franz Fischer
Ernst Faehndrich Horns
Masako Shinohe
Claudia Ruf Hermann Dirr Solo:
Philip Middleman Will! Schmid Eric Terwilliger
Nenad Daleore Paul Holzfurtner Wolfgang Gaag
Harald Orlovsky Erich Bruckner
Jorg Eggebrecht David Moltz
Fritz Eickhoff Hartmut Hubert
Johannes Fink
Erhard Dimpfl Robert Ross
Second Violins Wieland Wagner
Herbert Heim
Principals: Gerhard Pawlica Karl Hammer
Klaus Mynter Alois Schlemer
Alexander Uszkurat Double Basses Gottfried Langenstein
Christian Gansch
Solo: Trumpets
Gunter Klein Herbert Duft
Julie Hessdorfer Erwin Gotz Solo:
Friedrich Eisler Matthias Weber Jean-Francois Michel
Norbert Vichr Uwe Komischke
Alfred Brandlhuber Yoshinori Suzuki
Stephan Graf Erich Rinner
Wolfgang Prohaska Hermann Goss
Karlheinz Wetzel Albert Stangl
Otto Bernhard Franz Unterrainer
Herold Flintner
Jurgen Gottmann Franz Urbas
Frank Jorg Sirch Trombones:
Ilona Weninger
Berthold Gotschel Wolfgang Nestle Solo:
Dietmar Forster Matthias Bernhard Dankwart Schmidt
Gustav Kolbe Dany Bonvin
Josef Thoma Flutes Abbie Conant
Martin Manz Solo: Robert Meissner
Max Hecker Bernhard Weiss
Violas Michael Faust
Concertmasters: Hans Billig Tuba
Annemarie Binder Albert Muller Thomas Walsh
Helmut Nicolai Albrecht Hampe Timpani
Martin Albrecht Rohde Fritz-Peter Ruppert Solo:
Deinhart Goritzki Peter Sadlo
Tivadar Popa Oboes Stefan Gagelmann
Jurgen Schmidt Solo:
Peter Chr. Steinkrauss Ulrich Becker Percussion
Gero Rumpp Michael Helmrath Arnold Riedhammer
Rafael Wojsyk Walter Schwarz
Hans-Dietrich Rave Gerhard Hermann Manfred Trauner
Jorge Sutil Bernhard Berwanger Karlheinz Becker
Susan Goetting