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UMS Concert Program, October 10, 2013 - October 25, 2013 - Chanticleer; Takacs Quartet; Chris Thile; Andras Schiff

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For opening minds and engaging the community, Ford salutes the University Musical Society Education and Community Engagement Program. arrayofgifts.Inadditiontoherdutiesasa MagistraofherconventtheAbbess- also
a mystic and botanist - experienced her first divine visions at the age of three, as she explains in her autobiography, Vita. A person of letters in the truest sense, not only was von Bingen a confidante of Popes and magistrates, among her accomplishments is the creation of Ordo virtutum. theearliestextantmoralityplay. By the time she had reached adolescence, either because of her unusual nature, or as an attempt to position t hemselves politically, von Bingen's parents enclosed her in a nunnery.Therein she was placed
under t he care of lutta another visionary with her own disciples, who played a pivotal role in Hildegard's education and upbringing. Written by t he Abbess to be sung by the daughters of her convent during the hours of the Office. 0 frondens virga finds its roots in Gregorian Chant. thewellspring of much liturgical melody.
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Ave Virgo sanctissima
FranciscoGuerrero 1532-1585
Although his music is relatively neglected today, Francisco Guerrero was second in importance only to Victoria during the Spanish Renaissance.Unlike many of his contemporaries. Guerrero received rus musical training in Spain. rather than Rome. studying with his older brother Pedro and. more importantly. Crist6bal de Morales. He taught himself to play the vihuela (a Spanish predecessor of the guitar), cornet and organ. At the recommendation of Morales, Guerrero was appointed maestro decapi11a at laen Cathedral at only 17yearsofage. Hewent on to serve in the same position at the Seville Cathedral. a post he held until his death The effort and money he invested in publishing his music paid off in a
certain degree of fame during his lifetime, becoming known as far away as South America. Indeed. his music remained widely performed in the cathedrals of Spain and New Spain for more than 200 years after his death. His setting of Ave Virgo sanctissima is a fine example of High Renaissance motet composition, drawing the primary melody from plainsong and developing it imitatively in all vocal parts.
Tirsi morirvolea
Andrea Gabrieli 1532-1585
Andrea Gabrieli - more famous Giovanni of the same surname - was a leading figure in the musical culture of Renaissance Venice. Like other preeminent composers of the time, the elder Gabrieli was equally comfortable in sacred and secular
spheres. and his skill as a composer is observed equally in his polychoral motets for San Marco and the bawdiest of his madrigals. In Tirsi morir volea, (with a poem by Guarini) Gabrieli persistently and quite evidently plays on the common Renaissance poetic device of equating -dying" with the notion of sexual climax. Seeninthislightthe madrigalrepresents a masterpiece of understated eroticism. In the manner of his double-choir sacred works. Gabrieli uses seven parts. divided into three-pius-four. to create a sensual dialogue between the shepherd Tirsi (represented by the lower voices) and thenymphClori- twoardentlC/'lerswho -return to life in order to die again,"
Quando nascesti. m a r ?
Adrian Willaert 1490-1562
When Adrian Willaert was appointed as maestro di cappella of San Marco - a position he seems to have come upon through special intervention of the Doge - Venice was rivaled in her musical excellence only by private patrons maintaining chapelsparticularlyintended for the singing of polyphonic masses. So well-loved was Willaert's style that he was called by many contemporaries -the new Pythagoras." His perfection of both JXIlyphonic and JXIlychorai styles led contemporary writer Andrea Calmo to effuse."your music, mydearest mend has been distilled in seven alembis, purified in nine waters, and refined in flames·- high alchemical praise for transformative music . His madrigal compositions are beautifully nuanced interpretations of text; in the follClW'ing two selections. the comJXlSE'r sets sonnets. Quando nascesti. Arnor? uses two groups of voices in a JXIlychorai style to create a dialog on the origins of love. The text is a sonnet by
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Dime S8 tanto amate
Caudio Monteverdi 1567-1643
Monteverdi's eight books of madrigals span the stylistic gamut from Marenzio-inspired early works to later, groundbreaking continuo madrigals almost akin to dramatic cantatas. From Monteverdi's 1603collection of Madrigals (Book IV), Dime se tanto amate shows the composer clearly looking fOIWard. Line, harmony, and tempo are subservient to the text more often than not. There are early examples of stile rappresentativo - rhythmic declamations of words and phrases in a natural rhythm. dictated by the cadence of speech more than by note valuesorcounterpoint(anearlyprecursor to operatic recitative). Melody is often set clearly in one or two voices. while others supply harmonic support and energy to amplify the emotion in the text. Such is often the case in this selection. which represents the culmination of nearly every halhnark Venetian element of style - iIwentiveharmony,subtlecounterpoint witty double entendre, and wonderfully imaginative text painting.
• III • "SchOne Fremde" from •z
Gartenlieder • Fanny Mendelssohn 1005-1847
"Wasserfahrt"fromSechsLieder, Op.50,No.4
Felix Mendelssohn 1009-1847
The Mendelssohn family hailed from Hamburg. Germany - at the time an independent city-state - and had four children. Fanny and Felix each showed extraordinary promise as musicians at a very young age. playingthepianofromearly childhood and composing major works by the advent of their respective teenage years. Fannywas considered for some time tobethesuperiormusicianandtheirshared musical tutor and mentor (Carl Friedrich , ZeIter) spoke of her quite favorably. She "> complSed well CNer 400 pieces of music in "o her lifetime but was ultimately beholden • totimeandplace- itwasnotconsidered acceptable for a woman to have a musical career, thus her efforts were restricted to chamber music. Nonetheless, her works
have endured earning her a place as one of the best-understood female composers from the period. 'Schone Fremde: from Gorten1ieder, displays her gifts for melody and playful text painting. setting at text by Eichendorff.
Felix Mendelssohn wrote his Secm Lieder just before 1840. Scholars often remarkthatthecomposer'sshorterworks succeed in emotional intensity where longer works are lacking -certainly in "Wasserfahrt: he captures the dreary atmosphere and melancholy mood of
Heinrich Heine's poem.
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Thanks to Valerie Sainte-Agathe. " Alessandro Cattani. Katja Zuske. and "o Elero Shorlcova for assistance. •
CaBed Nthe world's reigning male chorus· by The New Y orker magazine,andnamedkEnsemble of the Year" by Musical America in 2008, t he San Francisco-based Grammy Award- winning ensemble CHANTICLEER embarks upon its 36th season in 2013-
2014. A winter international tour of nineEuropeancountrieswillseedebuts in Dublin. Moscow, and St. Petersburg; and returns to Paris. Vienna Budapest Prague, Antwerp. Rotterdam. and Bruges. Chanticleerisknovmaroundtheworldas Nan orchestra of voices· for t he seamless blend of its 12 male voices ranging from countertenor to bass and its original interpretations of vocal literature, from Renaissance to jazz, and from gospel to venturesome new music.
Since Chanticleer began releasing recordingsin1981thegrouphassoldwell over a million copies and garnered two Grammy Awards.Chanticleer'srecordings are distributed by Chanticleer Records, Naxos, Rhino Records, ArkivMusic, and iTunes. In addition to Someone New, Chanticleerwill release a live recording of She Soid/He Said on its Chanticleer live in Concert (CUC)series.
With t he help of individual contributions and foundation and corporate support the Ensemble involves over 5,000 young people annually in its extensive education programs. The Louis A. Botto (LAB) Choir - an after- school honors program for high school andcollegestudents- isnowinitsfourth year,addingtotheongoingprogramofin- schoolclinicsandworkshops,Chanticleer YouthChoralFestivalsintheBayAreaand around the country, master classes for students nationwide, and t he Chanticleer in Sonoma summer workshop for adult choral singers.The Singing Life, a
documentary about Chanticleer's work with young people, was released in 2008. In 2010, Chanticleer's education program was recognized by the Chorus America Education Outreach Award.
Chanticleer's long-standing commitment to commissioning and performing new works was honored in 2008bytheinauguralDaleWarland/ Chorus America Commissioning Award and the ASCAP/Chorus America Award for Adventurous Programming.
NamedfortheMclear-singing"rooster in Geoffrey Chaucer's Canterbury Toles, Chanticleerwas founded in 1978 by tenor Louis Botto, who sang in the Ensemble until 1989 and seIVed as Artistic Director untilhisdeath in 1997.
Gregory Peebles KoryReid DaritaSeth
Cortez Mitchell Alan Reinhardt AdamWard
NlichaelEtesnahan Brian Hinman Ben Jones
Baritone andBass
Eric Alatorre MatthE"N" Knickman MarquesJerreli Ruff
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The National Enclcrwrnent for the Arts Grants for the ArtJ;/&mFraru:ioco Hotel Tax Fund, The William arvi Flora Hewlett Foundation, Cunard Fund USA. The Ann and Gordon Getty Foundation, Otevron The Bernard Osher Fourviation The BOO RossFoundation TheConfideru:e Fourviation The Wallis Foundation The Schlck Fourviation
Christine Bullin. President and Generol Director liv Nilssen. Director ofDevelopment Curt Hancock. Director of Operations and Touring BenJohns.DirectorofEducationandMerchandise Brian Bauman. Senior Accountant/Budget Manager Joe Ledbetter, Marketing/Development and ITSystems Manager Barbara Bock. Development and Marketing Assodate
Jace Wittig. InterimMusic Director Gregory Peebles. Assistant Music Director Brian Hinman. Road Manager Adam Ward. Merchandise Manager
lisa NaufuL Record Label Manager Louis Botto (1951-1997), Founder
Joseph H. Jennings. MatthewOltman. Music Director Emeriti
Tonight's performance marks ClwLticleer's eighth appearance under UMS auspices. The ensemble made their UMS debut at Rackham Auditorium in October 1989 and appeared at UMS's Hill Auditorium Re-Opening Celebration in January 2004.
Sunday, November 3, 4 pm Hill Auditorium
This concert of Bach's Brandenburg concertos makes for an afternoon of rampant virtuosity.
M. ""'==- SUPPORTED BY Anne and Paul Glendon and Phil and Kathy Power
Tickets on Sale Now
For more information. visit
Edward Dusinberre, Violin Karoly Schranz, Violin Geraldine Walther, Viola Andras Fejer, Cello
Saturday Evening, October 12, 2013 at 8:00 Rackham Auditorium' Ann Arbor
10th Performance of the 135th Annual Season 51st Annual Chamber Arts Series
Photo: Takacs Quartet, photographer: Keith Saunders.
Ludwig van Beethoven String Quartet in c minor, Op. 18, NO.4
Allegro rna non tanto Scherzo. Andante scherzoso quasi Allegretto Menuetto. Allegretto Allegro - Prestissimo
String Quartet No. 2
Andante - Con mota - Adagio - Vivace Moderato - Andante - Allegro - Andante - Adagio
INTERMI SS IO N 8edfich Smetana
String Quartet No.1 in e minor
Allegro vivo appassionato Allegro moderato ala Polj(a Largo sostenuto Vivace
r Flemins discovers peniciWn
In his 70s, Leos Janacek was younger at heart than many people half his age. Many of his greatest works were written at a point in life when other composers slow down, if they don't stop working altogether. This late efflorescence had a lot to do with an encounter in 1917 that changed Janacek life forever.The composer, who had just begun to emerge from many years of artistic neglect with t he sensational Prague premiere of his operaJemifa. met ayoungwoman named Kamila Sti:isslova at a spa in Moravia. He was 63, she 26.They were both married- she had two young children. JanaCek fell passionately in love. Rejuvenated by his feelings for Kamila he completed in the space of a decade, four operas, two piano concertos. t he Sinfonietto, the Glogolitic Moss,andtwostringquartets.Thesecond of these, Iisty duvbne (Intimate Letters~ which Janacek originally wanted to call "Love Letters,· is t he most directreflection of this remarkable relationship, in which
few other of his works) he included both scherzo and minuet, eliminating the slow movement instead. It is true, though, that the kScherzo· has the form. if not the tempo, of a slow movement; with its fugal beginning. it would appear to be a close cousin of t he kAndante· from Symphony No.1 . Scored in a bright and sunny C Major, it also has the wit and ingeniosity of many a Beethovenian scherzo.
With t he kMenuetto: we are back in c minor and accordingly, it is a serious and brooding piece, whose atmosphere is only temporarily relieved by a more light-hearted trio inA-flat Major.Theway t he conclusion of t he trio is left open to
, prepareforthereturnoftheminuetisa
t horoughly modern touch. The last movement is a spirited
Rondo, but the dark c-minor tonality is preserved all the way through (except
techniques and ways of looking at the world through music.
Diabelli's waltz reached Beethoven in t he early months of 1819, at a time when t he composer was completely deaf, and had to rely on conversation books to communicate with the outside world. The waltz melody has generated a certain amount of controversy in the Beethoven literature; some felt it to betrite and banaL others. like the influential Donald Francis Tovey,founditNrich in solidmusical facts." In any case, the waltz ignited Beethoven's imagination. and within a fev-.r months, he had composed more than half of the variations. Then he set the project aside, and apparently didn't touch it for about three-and-a-half years. During that time, hewrote his monumental Missa Solenmis and the last three piano sonatas. two of which contain sublime sets of variations. He returned to Diabelli's waltz in late 1822 or early 1823 and finished the work
• Sim6n 80tivar is named President 01 Peru • Work begins on the British Museum in London, designed by Robert Smirke. and the Altes M.Jseum
in Ber~n, designed by Karl Friectich Schinkel
For Beethoven, writing variation sets involved an ongoing quest to uncover hidden complexities behind apparently simple surfaces. That quest. to be sure, informs all his music, and variation procedures - constant modifications of an initial theme or rhythmic pattern - are present everywhere in his oeuvre. Yet sometimes Beethoven chose to focus exclusively on t he variation idea and when he did so. he transformed t he somev-.rhat mundane genre he inherited fromhispredecessorsintoatranscendent and deeply personal form of expression.
Beethoven wrote more than 60 sets
r of a veritable encyclopedia of pianistic r
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Significantly,the lastvariationiswhat William Kindennan. in his masterful 1987 study of the Diabelli Variations,describes as a kfinal spiritualized reminiscence of Diabelli's country dance as a Minuet with all the grace of the classical minuets of Mozart: But Beethoven doesn't stay in the Mozartian mode for very long; soon enough. he launches into a virtuosic coda that recalls. if anything. the end of the pianosonataOp.111.
Musicologist Maynard Salomon has called the Diabelli Variations a klong journey: a kPilgrim's Progress on a Biedermeier waltz: The journey has taken the traveler far from the point of departure. The return to the dance rhythm at the end of this journey marks a homecoming but the complexity of the codaseNes as a symbol that we can never go back to our point of origin - we have inevitably been transformed by what we have experienced during our voyage.
0 variations are unabashedly humoristic,
like t he very first one, a pompous march with startling harmonic clashes between t he right and the left hands. Conventional figurative ornamentation is almost entirely absent from the work, which introduces a large number of innovative virtuoso techniques instead. including large blocks of chords, fast 16th-note runs. and imitative counterpoint as in the short fughetta of variation No. 24 and the monumental fugue just before the end. Textural diversity and contrast is what propels t he work forward as flamboyant variations in fast tempo alternate with lyrical or introspective ones. Dramatic interruptions, extended trills and mysteriously slow chord progressions reveal unsuspected possibilities only Beethoven could have seen in Diabelli's innocent little waltz. A particularly felicitous association of t houghts made
•0 him quote Leporello's aria from the first z scene of Mozart's Don Giovanni - and
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BoO ind Dannll'lle Hammon """"~- M",on D. and Comle Ham.
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)c:hl;one! Ann NIcklas O;Wet;one! SlIt..,. NIcolI Marylen S. Obo/fJniln Robert and EUut>e\II Oneal" Mary:d Georae Smillie
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o.. OIine M )01"," and catl"leflne Allen
We blend creativity and expertise to c r e a t e b e a u t i f u l . na t u r a l - l o o k i n g s m i l e s .
DONALDSON 734.971.3450 & GUENTHER 3100 Eisenhower, Ann Arbor MI 48108
Caro l Barbour, PhD Alex Barends, PhD Ronald Benson, MD Meryl Berlin, PhD Linda Brake!. MD Robert Cohen, PhD Susan E. Cutler, PhD Sara Dumas, MO Joshua Ehrlich, PhD Lena Ehrlich, PsyD
Harvey Falit, MD Richard Hertel PhD Erika Homann, PhD Giovanni Mincnne, PhD Christina Mueller, MD Jack Novick, PhD
Kerry Novick, MA lean-Paul Pegeron, MD Dwaraka nath Rao, MD Ivan Snerk k, PhD
Michigan Psychoanalytic
Michael Shulman, PhO Michael Singer, PhD Jonathan Sugar, MO Dushyant Trivedi, MO Jeffrey Urist, PhD
Gail van langen, PhO David Votruba, PhD DennisWalsh, MO Margaret Walsh, PhO Mark Ziegler. PhO
INSTITUTE I SOCIETY For change rhot lints.
- - Ratp/'I and Elaine Anthony
~ ~lUId GIetn NeIocn
LIncSo DInlerassand Ken_old
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EtIc and Nancy AuppffIe BrIan _ EIr.1beIh a..ctT;mt1
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Eizabeth Duell EdmJnd ilnd Maty o...Iee SWat!Dulta Wolt and EVil Ci n......ay 0I0Iar!es RubtI Dr. AIiIfl GIbtlaId iIf"I(I Dr. Beth
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)oM and Marsha ChamberUn Samuet and Roberta Chappell )an~A.Clark Evan H. Cohen and Deborah
Linda and Roteales A.dn
M1chaetHammelIlnd ~ William and Kathleen Han"'"
Georte ilnd Mary Hioddid ,--
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At Key Private Bank, we understand that your fiJlanciallife is c omplex, and we take a holistic approach to your planning noods. We listen to your story, get to know your history. identify your unique financial needs. and create an actionable plan designed to help you grow, preserve. and protect your wealth.
Key Private Bank is people, ideas, and flrnmcial instruments. working in concert to provide solutions for your financial well-being.
go 10 ca ll Susan aI 734-747-7970
BII,.I>"Idtrli!!prcWcto/remKey!l.YlkNatmalAssociabl.MemOOrFOIC;njE~ Ib.iIingl....,IrMlstmoot
Key,WT\ i• • federaIy mg~terod """""" mlri:0I KeyCorp, C 2012 KeyC:p, KeyBank is Member FDIC. /,[0520- 1181')
At Toyota, we celebrate differences . And the people who make them.
Toyota is proud to support tile UrIivefsitV Uusical ~ and their OJImIitmenl to connecIiIg audiences with performing artists from around the world in uncomrnoo and er'l\laging experiences,
ASSOCIATES (CONTINUED). Mani'" and """ha Ml'hta Warren and Hilda Mefmant Hefman and Bemke Mefte
Gene and Lois MIIr )ack and Carmen M1Uef
Charles stewart Molt Foundation Mart and Leslanne Navarre
ofWn r.m.","'Y orNona R.
~. E r 1 k a N e l s o n a n d D a v I d W a ~ener Sarah WInans Newman SUsan and RIchard Nisbett L.a\Xa NIIzber~ Artho.x S. Nusbaun Paul and MaryClare Olson EUzabeth On!! Elisa Ostann and 1-Ioo;...ln KeshU:ar DavId and Andrea Pa£" WendyandArdy Palms Karen Part and)ohn 8efanek Anne Parwn. and Donald DIetz Zoe and )oe I'arwn
otwn i'1 m M I a ) ' orOlaiI?! Rut1n John and Mary Pedley
olVen r.m.","'Y orFrorKIs
WUltl Anne Preston Ann Preuss
Karen and 8eflslav PI1morac Blake and sner~ Ral:c:Ulfe
BarbaraReedandRk:hardYIaId DouIIlasand Robin Rlchstone jonathan Rod~ john B. Ronan"
stephanie Rosenbaum stephen and Tanis Rosol! David Ros. and Donna Freund Rosemarie Haa~ Rowney Nancy RU~arM Carol Ru~~ and Rkt\ard
Montmorency Don and)udy Dow Ru:neIharI A "'I Saldn~ and Robert Axelrod Ina and Terry SandaIow Mkhaet and Klrrvn Sarosl
(,lWQ'1 i'1 m.mory ~ ChOOQS RWin Rosalyn Sarver and stephen
Held Stanl-'M>IsId and Thomas 0WVer
RlckandLlaSt".,..,..,s james L stoddard Brian and Lee Talbot Eva and Sam Taylor Karla Tay\ter TOO\lood and Hanna ~
Rosenblum AlberlJ. and jane L Sayed jochen and HeI~a SadodI: Rlchardand M a d e lo o W _ " Mary LInda Webster jadf jean and Thomas Shope Edward and Kathy SlIYef Robert and Elaine SIms SanSl~
Carl and jarl Snilh David and Renate Snith Robert W. Snith Sldonle Snith Kale and PtMIlp Soper Doris and Larry Sper\I"Il
The success of UMS is secured in part by income from UMS's endowment funds. We extend our deepest appredation to the many donors who have established and/or contributed to the following funds:
H. Gardner and Bonnie Ackley Endowment Fund Herbert So and Carol Amster Endowment Fund catherine So AA\Xe Endowment Fund Carl and Is.abelle Brauer Endowment Fund Dahlmann SI~ma Nu Endowment VMS R..nd
Hal and Ann Davis Endowment Fund Dofls Duke Charttable Foo..nor
Ann Atbof Art Center Ann Arbor DI,trlct library Ann Att>or Hanm-On Museum AnnAtt>or~IHoIei&.sutes ,~
The Common GIll Comer Brewery CoIta£E!IM "The'D"ahl-mann~.IM
linda Spector and Peter Jac:ob5on CynlhlaSIJaYb
or SewIn~ Center
BIador ~ A"""t..'a Ay5e'sTUrkI,hcatl! Kl>nsln£toneo..t babe>: a market by Sava ,-""'" The Bel Towe Health ~In> FIrstMa,UnCorporation ~~ OM
M. Haske. and Jan Barney Newman Nkx>Ia', Books DanIel and Sarah Nicoll GIlbert Omenn and Marlhil. oarUn~ Oz's Mu.o:
Tom and Ann GladwIn PaYI and Anne Glendon The Grand Hotel TheGf~Kltchen&.Bar steveandBettyPal.... LarryandAndlWolf RImard and 5u

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