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UMS Concert Program, April 26 To April 29: May 1989 Festival -- The Gewandhaus Orchestra

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Season: 110th
Concert: Forty-fifth
Hill Auditorium

Violinist Violaine Melangon grew up in Quebec and studied with Ivan Galamian at the Curtis Institute of Music in Philadelphia and with Isadore Tinkleman at the San Francisco Conservatory. She has been soloist with orchestras in Canada, Belgium, and the United States.
After studying with Norman Fischer in her native New Hampshire, cellist Bonnie Thron completed two degrees at The Juilliard School in New York, where she worked with Lynn Harrell. She has performed as a soloist with the Orpheus Chamber Orchestra and as a chamber player with Speculum Musicae. She has also served as principal cellist of the New York String Orchestra Seminar and assistant principal cellist of the Denver Symphony.
Pianist Seth Knopp studied with Leonard Shure at the New England Conservatory of Music and, since 1981, with Leon Fleisher. In 1983, he and his wife, Violaine Melanc,on, formed the KnoppMelanqon Duo. In 1986, the Duo won the USIA Artistic Ambassador Competi?tion, which resulted in extensive tours throughout Europe, the Middle East, and Japan. They have also appeared at the Kennedy Center for the Performing Arts in Washington, D.C.
The Chestnut Brass Company has earned international acclaim as the only brass quintet that regularly performs on both historical and modern instruments. A complete collection of cometti, sackbuts, keyed bugles, and saxhorns allows the ensemble to present Renaissance and nineteenthcentury brass music authentically. Their entire collection numbers 150 brass instruments.
Each season, the Chestnut Brass Company tours extensively throughout the United States, giving over one hundred concerts and workshops. The ensemble has made guest appearances with many American orchestras and given recitals in fortyseven states. In the 198889 season they performed in eighteen states and played with the Great Falls Symphony and on the Mobile (Alabama) Chamber Music Society Series. In 1985, they were invited to the Academy of Santa Cecilia in Rome, the International Institute for Chamber Music in Munich, and the Accademie Internationale de Musique in Dijon, France.
The Company has expanded its repertoire through jazz arrangements and transcriptions of music written for other instruments. The group is also committed to commissioning and performing new music, including Peter Schickele's Five of a Kind and works by Richard Wernick, Warren Benson, Eric Stokes, Leslie Bassett, Theodore Antoniou, and Thomas Wells. Much of this new music, along with pieces for period instruments, has been recorded on the Crystal and Musical Heritage labels.
The Chestnut Brass Company is active in the education of young people, taking time while on tour to offer clinics for college and high school musicians. The Company has been featured on National Public Radio's "Performance Today," "Voice of America" broadcasts in China, and on the Bavarian State Radio.
The Chestnut Brass Company was founded in 1977, its name coming from Philadelphia's Chestnut Street where the group began as an informal street band. Formerly guest faculty members at the International Institute for Chamber Music in Munich, the Company now serves as ensembleinresidence of the Boyer College of Music at Temple University.
Bruce Barrie, trumpet, is an expert on historical performance practices. In addition to performing on the trumpet, cornetto, and natural trumpet, his activities also include the preparation of editions and arrangements of chamber music. He has appeared with the Pennsyl?vania and Milwaukee Ballets, the Concerto Soloists of Philadelphia, and La Scala Opera Orchestra. A graduate of the Philadelphia Musical Academy, Mr. Barrie studied with Samuel Krauss, James Burke, and Mel Broiles.
Thomas Cook, trumpet, is a Boston University alumnus and has appeared as featured soloist with the Boston Pops Orchestra. He has performed with the Pittsburgh Symphony, the Opera Company of Boston, the Handel and Haydn Society, and as principal trumpet with the Rhode Island Philharmonic. His natural trumpet work can be heard on recordings with the baroque ensemble Banchetto Musicale.
Marian Hesse, horn, holds a master of music degree from Yale University where she studied with Paul Ingraham and was a recipient of the Francis Louise Kirchoff Tapp scholar?ship for excellence in chamber music. A graduate of the University of Northern Colorado, she has studied with Christopher Leuba and Jack Herrick. Formerly principal horn of the Tacoma Symphony, she has performed with the Northeast Philharmonic, the Reading Symphony, and the New Haven Symphony.
David Vining, trombone, earned a bachelor of music degree with honors from Florida State University where he was a student ofjohn Drew. He has performed with the Philadelphia Pops and the symphonies of Tallahassee, Savannah, Roanoke, and Asheville. Mr. Vining won the Frank Smith Scholarship of the International Trombone Association in 1984 and the American Waterways Wind Orchestras Trombone Solo Competition in 1987.
Jay Krush, tuba, has pursued a dual career as performer and composer for over a dozen years. A tuba student of Cherry Beauregard and Arnold Jacobs, he holds a composition degree from the Eastman School of Music and a master's degree in performance from Northwestern University. Mr. Krush's compositions have earned him several grants and awards, including those from the National Endowment for the Arts, the National Society of Arts and Letters, and the National Association of College Wind and Percussion Instructors.
I would like to welcome you to this 96th Annual May Festival, the culmination of our 110th season that was indeed "A Season To Inspire." And the May Festival, featuring the superb Leipzig Gewandhaus Orchestra under the direction of Kurt Masur, will be no exception.
These four nights of music continue to bring the joy of truly
magnificent music and performers to audiences at Hill Auditorium. The extensive program notes, artists' biographies, articles, and archival photographs that are included in this program will illuminate your concertgoing experience. Also included is the listing of all of our wonderful Encore members and acknowledgements to those who have helped us throughout the year.
I would like to take this opportunity to reflect upon this past UMS season and highlight the many fine activities that so many of you have been able to participate in and enjoy.
Our season began in September at Hill Auditorium with Single Ticket Day the first day of individual concert sales. Over 400 patrons were able to purchase tickets, and UMS staff and volunteers were on hand to offer refreshments to the line of guests that reached to the kiosk in front of Hill.
The Tokyo String Quartet's concert opened the weeklong 50th birthday celebration of the Rackham Building. Rackham Auditorium has been the intimate setting for the Musical Society's chamber music concerts since 1941.
The October UMS benefit "Our Night Of Celebration" a celebration of Leonard Bernstein's 70th birthday year and Hill Auditorium's 75th anniversary was a tremendous
' Sing,,
Four determind UM students camped to be first in line to purchase tickets to the BernsteinVienna Philharmonic ga

success. Students camped out at our Burton Tower ticket office to take advantage of a special student ticket sale, and I'm happy to say that over 550 students were able to attend the concert.
So many people were involved in the celebration: the Pioneer High School Orchestra hosted a dinner for members of the Vienna Philharmonic, 23 Ann Arbor families hosted dinner parties for over 850 concertgoers, and 42 businesses and over 850 individuals participated in the event by purchasing premium tickets.
Following the concert, Maestro Bernstein signed autographs backstage until midnight, at which point he went to President and Mrs. Duderstadt's home where he held court with UM students until 1:30 in the morning.
We were pleased to have exceeded our financial goals and thank all of you who helped make the evening such a rousing success.
Donald Bryant, Choral Union and Festival Chorus Director, marked his 20th season with December's performances of Handel's "Messiah," made even more special by the participation of the Ann Arbor Symphony Orchestra and four UM alumni as soloists, including Donald's son, Stephen Bryant.
Several double performances this year gave many more concert patrons the opportunity to attend, and attend they did! Attendance at concerts soared, including a substantial increase in Choral Union Series subscribers. Itzhak Perlman, Leonard Bernstein with the Vienna Philharmonic, YoYo Ma, and the New York City Opera National Company's
Leonard Bernstein being greeted by President and Mrs. Duderstadt and Ken and Penny Fischer
productions of "La Traviata" were concerts enjoyed by capacity audiences.
Ann Arbor audiences are famous with performers for their warm welcome. The Osipov Balalaika Orchestra from the Soviet Union, performing in Ann Arbor after a ten year absence, received a twominute ovation before the concert.
Young people, both college and schoolage, were able to attend concerts and meet the artists backstage. The joy in the faces of students was apparent when they met Kathleen Batde after her recital, which marked the beginning of a series of annual events at UM commemorating the life, achievements, and goals of Martin Luther King, Jr. Ypsilanti choir students made a presentation to the Vienna Choir Boys, and many young students attended with their teachers as part of a pilot program with the Ann Arbor public schools.
From the Season Opening Celebration following Itzhak Perlman's concert to the Iberian Evening preconcert reception prior to Alicia de Larrocha's concert, the social events hosted by our Encore and Cheers! groups enlivened the year with stimulating company and marvelous refreshments.
We look forward to the 198990 season and the exciting Michigan Mozartfest, announcements of which are in this program book.
We now invite you to join us for what is sure to be four nights of fabulous music.
Kenneth C. Fischer Executive Director
David Obanian of the Canadian Brass signing autographs backstage at Hill
Photos by David Smith
Huron High School senior Cherice Jackson greeting Kathleen Battle backstage at Hill
Kurt Masur
Music Director
Kurt Masur, one of the most highly respected conductors today, has been music director of the Gewandhaus Orchestra since 1970. He has led the way in reviving two of the orchestra's greatest traditions: giving the premier performances of contemporary works and presenting historically accurate performances of works by the masters.
Mr. Masur was appointed principal guest conductor of the London Philharmonic in September of 1988, and he also appears regularly with the Berlin Philharmonic, Boston Symphony, Chicago Symphony, Cleveland Orchestra, Israel Philharmonic, London Philharmonic, Munich Philharmonic, Orchestre National de Paris, Philadelphia Orchestra, Royal Philharmonic, and the San Francisco Symphony.
Kurt Masur was first heard in North America in 1974, when he made his United States debut with The Cleveland Orchestra and his first American tour with the Gewandhaus Orchestra. Since then, he Iras led the Gewandhaus on several North American tours, which have featured a Beethoven Cycle at Carnegie Hall in 1984, as well as a Brahms Cycle at Avery Fisher Hall in 1986.
Born in Silesia, Germany, Kurt Masur began his musical training at the piano. He went on to study both piano performance and conducting at the Leipzig Conservatory, today called the Music College of Leipzig. After graduation, he was named orchestra coach at the Halle County Theater, later becoming Kappellmeister of the Erfurt and Leipzig Opera Theaters. In 1955, Mr. Masur was named conductor of the Dresden Philharmonic, and in 1958 he returned to opera as general music director of the Mecklenburg State Tlieater of Schwerin. From 1960 to 1964, he was senior director of music at Berlin's Komische Oper, where he collaborated with Professor Walter Felsenstein, one of German opera's most influential directors. The Komische Oper's world tours were instrumental in establishing Kurt Masur's international reputation, which was also fostered by his numerous guest conducting appearances in Europe. In 1967, Maestro Masur was appointed chief conductor of the Dresden Philharmonic, a post he held until 1972. In 1975, he became a professor at the Leipzig Hochschule fiir Musik.
Kurt Masur has recorded nearly one hundred albums. Among his recordings with the Gewandhaus are the complete Beethoven Symphonies. Dvorak's Slavonic Dances, Mendelssohn's Paulus, Schubert's Rosamunde, the Four List Songs of Richard Strauss with soprano Jessye Norman, and an album of Strauss songs with tenor Siegfried Jerusalem on the Philips Classics label. The five Mendelssohn symphonies are also available on Vanguard Records. In November of 1988, his recording of Ariadne aufSaxos with Jessye Norman, Edita Gruberova, and Dietrich FischerDieskau was released on the Philips Classics label.
The maestro's previous Ann Arbor appearances parallel those of the Gewandhaus Orchestra, numbering nine concerts with the Leipzig musicians between 1974 and 1987. After his 1987 May Festival performances, Kurt Masur was honored with an Honorary Doctorate of Music degree at the University of Michigan's spring commencement exercises.
Gewandhaus Orchestra of Leipzig
of the German Democratic Republic Kurt Masur, Artistic Director and Conductor
Dr. Karl Zumpe, Gewandhaus Director
First Violins
Prof. Karl Suske FrankMichael F.rben Eberhard Palm Conrad Suske Gunter Glass Fred Rolh Klaus llcbccker Wolfram Fischer OttGeorg Moosdorf Gunter Fiehring Klaus Stein Wolfgang Grantzel Eberhard Oettd Rolf Harzer Johannes Fritzsch Jiirgen Dase Iwe Boge
lleinzPeler Piischcl Regine llombsch
Second Violins
Peter Gerlach Horst Baumann Eduard Zettl
Kriiih.ii il Miner Minnk.1 Neumann Julta Knauff Werner Keim KarlIleinz Leidiger Kasimirjachimowicz Lothar (lumprecht Jiirgen Hetzer Christine Nagel Beate llundt I do llanneuald Rudolf Conrad
Violas Wolfgang Espig Hermann llanneuald liernd Jiicklin Konrad Lepetil Wolfgang Griinitz Werner Scheiter Friedemann Starke Peter Baake Jiirgen Wipper
Hermann Schicketanz Hi'iner Slolle Henry Schneider Knth Bernewitz
Prof. Jiirnjakob Timm (?iinlhcr Stephan Lolhar Max Siegfried Jagcr I we Slahlbaum KarlHeinz Werchau Adolf Heinrich Jiirgen Schroeder Siegfried Hunger llansl'eler Linde Matthias Schreiber
Double Basses Rainer Hucke
Kainhard Leuscher Felix Ludwig Erwin Nerling Bernd Meier Dieler Kopping Vl'erner MQUer Thomas Slrauch Andreas Rauch
Karllleinz Passin Wolfgang Loebner Heinz Maier llrich Other
KlausPeter Giiiz Uwe Kleinsorge Giinter lleidrich llolger Landmann
Klaus Sliickel Violfgang Miider Matthias Krelier Ingolf Bardimann
Horsl Fuchs (icrd Schulze Klaus Martinec Gcrwin ISaasch
French Horns Erich Markwart RaJf Gotz Eckhard Runge Christian KreLschniar Rolf Sehrinj; Koberto Minczuk Amand Schwantge Jochen Flcss
Armin Manuel Karllleinz Gcorgi John Roderick MacDmiald tin in r Navralil Hartmul Thicme
Karl Jacob Jiirg RichliT Jiirgen Schubert
Rolf lllll.IMM
Rolf Handrow
Dieter Meschke
Prof. Karl Mchlig Peter Bollmann Gerhard lluiidl Mathias Miiller
Harp 'Lynne Aspnes
'Players from I M School of Music. Saliirdav nighi only
Gewandhaus Orchestra of Leipzig
One of the most prestigious ensembles in the world today, the Gewandhaus Orchestra of Leipzig returns this year for an extensive tour of the United States, its seventh in twelve years. Under the leadership of its music director Kurt Masur, the orchestra last toured the United States in 1987, making appearances at the Ann Arbor May Festival, Carnegie Hall, Pasadena, San Francisco, and continuing on to the Far East. The orchestra's current tour features five New York concerts that include the Beethoven piano concerti with Andre Watts, and appearances in Boston, Toronto, Montreal, Ottawa, and our 96th Annual May Festival, where the Gewandhaus again serves as resident orchestra. It has also appeared recently on a tour of Europe, in its first performance at the London Proms, and in its third engagement at the Edinburgh Festival. During the 198990 season, the Gewandhaus is scheduled to tour the Soviet Union, Japan, and the People's Republic of China.
Although the orchestra has a roster of 200 members, its overseas touring ensemble consists of only 150. The remaining 50 musicians perform at both Leipzig's opera house and the historic St. Thomas Church, which saw the premieres of several cantatxs byjohann Sebastian Bach and is still the home of a weekly cantata concert series. The orchestra also maintains nine string quartets, three chamber orchestras, and four wind quintets, as well as a brass ensemble and an ensemble specializing in early instruments.
The Gewandhaus is an orchestra rich in history, one which has played an important role in the development of music in the Western world. The renowned symbol of Leipzig's cultural tradition, it has compiled an illustrious list of music directors, including Felix Mendelssohn, Richard Wagner, Arthur Nikisch, Gustav Mahler, Bruno Walter, Wilhelm Furtwangler, Richard Strauss, Otto Klemperer, Fritz Busch, Erich Kleiner, and Sir Thomas Beecham.
The Gewandhaus Orchestra was the natural outgrowth of the sophisticated musical life of Leipzig, where the foundation for a concert tradition had been laid in the seventeenth century by the Collegia Musica. These were amateur ensembles, the most famous of which had been established by Georg Philipp Telemann and directed by Johann Sebastian Bach. The orchestra known today as the Gewandhaus evolved from the city's first professional orchestra, which had been founded in 1743, and was funded by the citizens, merchants, and musiclovers of Leipzig. In 1781, the ensemble was dubbed the "Gewandhaus," in honor of its new permanent residence, the home of Leipzig's prosperous linen merchants.
In 1835, another landmark year for the orchestra, Felix Mendelssohn became principal conductor. The first Gewandhaus conductor to use a baton, he created the ensemble, balance, and unanimity that are hallmarks of the orchestra today. Mendelssohn also initiated the policy, still in effect, of presenting the works of past composers, while fostering a contemporary repertoire as well. He launched a series of historical concerts to revive public interest in J. S. Bach, whose works had gone largely unperformed since his death in 1750.
Through the years, the Gewandhaus Orchestra's repertoire has continued to expand. Under Kurt Masur's direction, the orchestra performs music from the mideighteenth to the twentieth century, regularly giving premieres of works by German composers. Indeed, it has recently presented cycles of the orchestral works of Richard Strauss and Johannes Brahms. In the fall of 1981, the orchestra performed ten commissioned works as part of the gala opening of its new concert hall.
The Gewandhaus Orchestra's first Ann Arbor concert took place in 1974, followed by performances in 1981, 1982, two concerts in 1984, and the four concerts of the 1987 May Festival, all under the direction of Kurt Masur.
Gewandhaus Orchestra of Leipzig
Artistic Director and Conductor
Wednesday Evening, April 26, 1989, at 8:00 Hill Auditorium, Ann Arbor, Michigan
Overture to Ruy Bias...............................Mendelssohn
Concerto No. 4 in G major for Piano
and Orchestra, Op. 58............................Beethoven
Allegro moderato
Andante con moto
Rondo: vivace
Annerose Schmidt. Pianist
Intermission Symphony No. 9 in C major ("The Great")...................Schubert
Andante, allegro ma non troppo
Andante con moto
Scherzo: allegro vivace
Finale: allegro vivace
Philips. Vanguard. Angel, and VoxTurnabout Records.
The Gewandhaus Orchestra and Kurt Masur appear by arrangement
with Columbia Artists Management Inc., New York City.
Cameras and recording devices are not allowed in the auditorium.
Halls Cough Tablets, courtesy of WarnerLambert Company, are available in the lobby.
Fortysecond Concert of the 110th Season lh Annual May Festival
Program Notes
Overture to Ruy Bias
Felix Mendelssohn (18091847)
The Overture to Ruy Bias received its premiere by the Gewandhaus Orchestra of Leipzig on March 21, 1839. Felix Mendelssohn conducting.
Victor Hugo completed Ruy Bias, a drama of passion and court intrigue, in 1838. The story takes place in seventeenthcentury Madrid, centering on the hopeless love of Ruy Blxs for the Spanish Queen and ending with his suicide. For the Leipzig production of the play, Felix Mendelssohn contrihuted his Overture. Curiously, Mendelssohn was not an admirer of Hugo's play: however, the Overture was intended for a benefit performance and Mendelssohn consented to write the dramatic prelude.
The Overture opens in C minor with the wind instruments intoning a solemn lento theme. After four measures, the tragic call is halted by a fermata. An Allegro molto cuts short the pause, but the stern motive unexpectedly returns. The pattern is repeated, but the allegro soon gains the upper hand. A lyrical theme is proposed by the unison of clarinets, bassoons, and cellos, followed by a tempestuous development based mostly on the initial allegro molto material. A transition in brass instruments to valves allowed Mendelssohn to use the complete Cmajor scale for the trumpets. In the freely designed recapitulation, the tonality brightens to C major, reconciling both themes.
Piano Concerto No. 4 in G major, Op. 58 Ludwig van Beethoven (17701827)
Beethoven's Gmajor Concerto was the last which he, in his earlier role of virtuoso, ever played in public. It was premiered on December 12, 1808, in the legendary concert at the Theater an der Wien at which, in addition to the Fourth Piano Concerto, the Fifth and Sixth Symphonies and the Choral Fantasy were premiered. This work is undoubtedly less showy than Beethoven's other piano concert, but it represents a great departure from tradition in this type of composition. It is not a dazzling piano solo with orchestral accompaniment, but rather a conversation between soloist and orchestra.
Beethoven begins the Concerto in a most unusual manner: he allows the piano to open the first movement (Allegro moderato) with the first five measures of the main theme. The orchestra responds, but in the very distant key of B major. When the piano reenters, the movement continues in the conventional sonata form.
The second movement, only 70 measures long and lasting just four minutes, is scored for piano and strings alone. Andante con moto, it is based on a brilliant dialogue between the solo instrument and the strings, with the orchestra stating harsh, dramatic material, while the soloist plays a gentle, fading melody. The fierce proclamations of the strings are gradually subdued by the very tenderness of the piano's song, subsiding at last to a tenuous pianissimo against which the piano whispers its final suspension.
The final rondo (Vivace) arrives without pause in yet another key (C major). Full of lively ideas and short variations for the soloist, the piano later introduces a more lyric theme. A bold third theme in the orchestra and a fourth in the piano are presented, the trumpets and timpani arcadded to enliven the spirit, and the piano nimbly moves from one theme to the next. An impressively long coda quickens the tempo to Presto and ends the movement in reckless joy.
Symphony No. 9 in C major
("The Great")
Franz Schubert (17971828)
The Symphony No. 9 in C major ("The Great") received its premiere by the Gewandbaus Orchestra of Leipzig on March 21, 1839. Felix Mendelssohn conducting.
Six years after the "Unfinished" Symphony. Schubert completed his great Cmajor Symphony in March 1828. Considered to be too long and too difficult by the Musikverein in Vienna, it lay virtually in oblivion for ten years. Schumann, who discovered the manuscript among the possessions of Schubert's brother. Ferdinand, sent a copy of the score to Mendelssohn in Leipzig. Following its premiere. Schumann wrote a glowing review of the work, this "symphony of heavenly length. Here is life in all its ramifications, color even to the finest shade, significance throughout, the sharpest expression of individual detail, and finally a Romanticism suffusing all that one recognizes in Schubert."
Horns in unison begin the broad and serene introduction. Its melody winds its way through the different choirs and registers of the orchestra, gathering counterfigures as the mood becomes more exultant. The tempo quickens to usher in the main body of the movement, which is essentially a play of rhythms. Its principal theme combines within itself a decisive beat of "two" time in the strings and a triplet figure in the winds, which sound sometimes in succession and sometimes simultaneously before the preparation for the second theme. This is a dancelike melody, given to the oboe and bassoon, with a whirling accompaniment by the strings. Most wonderful of Schubertian digressions is the imaginative passage for the trombones in pianissimo, derived from the introduction and developed with poetic power and masterly design. Ideas then burst fortli in a profusion of "lyrical fluorescence," one offshoot begetting another. In an energetic
coda the movement ends with a mounting climax.
During the slow movement. Schubert creates an indefinite romantic color tinged with melancholy by magically veering from minor to major tonality. After the introductory passages by plucked strings, the oboe sounds a melody to which the strings respond in a more flowing phrase. Full chords by the orchestra in martial rhythms are echoed by the woodwinds. The reposeful second subject assumes broad outlines in the strings. The music rises to a final tragic height intensified by a dramatic pause. Fragments of the original oboe melody form the mournful coda.
The Scherzo's main body is a miniature, highly organized sonata form, inexhaustible in its variety and exuberant gaiety. Its contrasting middle section, the Trio, is a huge single melody that reflects the sentiment and nostalgia of a Viennese waltz.
The Finale returns to the broad scale of the opening movement. The first approach to a definite phrase is heard in the oboes and doubled by the bassoons as violins ceaselessly spin a figuration of the idea. Its chief charm lies in the sense of endless motion as the song freely sweeps along. The second theme arises out of four premonitory repeated notes by the horn and stretches itself to the persistent accompaniment of strings. A song, evolved from the new idea, is developed in the woodwinds and continued in tremolo by the violins. Toward the finish, the four great Cs by bassoons, horns, and strings in unison are followed by four orchestral chords shouting in answer. Question and answer recurring again and again, the whole symphony surges to a tumultuous close.
Annerose Schmidt
Highly regarded internationally, Annerose Schmidt conveys both the intellectual and the interpretive aspects of a work in a style that is noted for its power, as well as subtlety and sensitivity.
Ms. Schmidt has appeared in concert throughout Europe, the Near East, Japan, and Canada. In the United States, she has been featured as guest soloist by The Cleveland Orchestra and the Chicago Symphony Orchestra, conducted by Kurt Masur. She is an
important spokesperson for the contemporary composers of East Germany, particularly Siegfried Matthus, whose piano concerto she has performed throughout North America.
Ms. Schmidt has made many recordings for Eterna (YEB German Records), such as the major piano works of Rohert Schumann, and all of the Mozart piano concetti, which have heen taken over by Eurodisc and Columbia. With the Gewandhaus Orchestra under Kurt Masur, she has recorded the twopiano concerti of Frederic Chopin.
Ms. Schmidt began piano lessons at the age of five, with her father, the director of the Wittenberg Music School. At the age of nine, she gave her first public concert, and at seventeen, she was the only German Democratic Republic representative at the International Chopin Competition in Warsaw. She went on to study at the Leipzig Musikhochschule, graduating with special distinction after three years. In 1956, Ms. Schmidt was awarded First Prize at the first International Robert Schumann Competition in Berlin. For her interpretation of Bartok piano works, she was presented with the Bartok Medal by the Hungarian government.
Since September of 1987, Annerose Schmidt has been a professor at the Hochschule fur Musik "Hanns Eisler" in Berlin and the Akademie der Kuenste. This evening's concert marks her Ann Arbor debut.
Gewandhaus Orchestra of Leipzig
Artistic Director and Conductor
Thursday Evening, April 27, 1989, at 8:00 Hill Auditorium, Ann Arbor, Michigan
Leonore Overture No. 3 in C major, Op. 72.................Beethoven
Concerto No. 1 in Eflat major for Horn
and Orchestra, Op. 11..............................Strauss
Rondo: allegro, tempo un poco piu mosso
Hermann Baumann. French Horn
Intermission Symphony No. 4 in F minor, Op. 36.....................Tchaikovsky
Andante sostenuto, moderato con anima
Andantino in modo di canzone
Scherzo: pizzicato ostinato
Finale: allegro con fuoco
Philips. Vanguard. Angel, and VoxTurnabout Records.
The Gewandhaus Orchestra and Kun Masur appear by arrangement
with Columbia Artists Management Inc.. New York City. Personal management for Hermann Baumann: Thea Dispcker. Inc.. New York City.
Cameras and recording devices arc not allowed in the auditorium. Halls Cough Tablets, courtesy of WarnerLambert Company, arc available in the lobby.
Forn third Concert of the 110th Season 'Kith Annual May Festival
Program Notes
Leonore Overture No. 3 in C major,
Op. 72
Ludwig van Beethoven (17701827)
The Leonore Overture No. 3 is one of four overtures written by Beethoven for his opera Fidelia. The first three overtures are known as "Leonore" and are in C major: the fourth is entitled "Fidelio" and is in E major. The overture numbered "2" by the publishers was the one actually played at the premiere of the opera, in November 1805. Beethoven, in pursuit of perfection, revised extensively not only the overtures but the entire opera as well. The first overture was written prior to 1805: the second in 1805: the third in 1806: and the "Fidelio" overture was last in 1814.
The Overture begins with an adagio introduction, like a descent into the gloomy dungeon where Florestan is imprisoned. The succeeding melody is his lament at the loss of freedom. Next begins the syncopated principal theme of the Overture in a soft allegro, but growing progressively agitated. In the opera. Florestan's murder by his enemy Pizarro is averted by the arrival of the Minister of State, depicted in the music by an offstage trumpet call, followed by the motive of thanksgiving at Florestan's safety. From here the music continues on its own course, independent of the drama, in an exultant coda.
Concerto No. 1 in Eflat major for Horn and Orchestra, Op. 11 Richard Strauss (18641949)
The First Horn Concerto of Strauss was written in 188283 for the 18yearold composer's fattier, Franz Strauss, who had been dubbed the "Joachim of the horn." (Joachim was a virtuoso violinist of the time.) "He was extremely temperamental, quick tempered and tyrannical," wrote Strauss of his father, but he agreed with other musicians that he was an exceptional player "as regards beauty and volume of tone, perception of phrasing and technique."
Strauss recognized the conservatism of his father's musical tastes, whose influence was exerted on the young composer: "His musical creed worshipped the trinity of Mozart (above others), Haydn and Beethoven," Richard wrote. "Under my father's strict tutelage I heard nothing but classical music until I was sixteen, and I owe it to this discipline that my love and adoration for the classical masters of music have remained untainted to this day."
The First Horn Concerto was written for the full exploitation of botli the instrument's and soloist's capabilities, and does not, in its rhapsodic style, adhere strictly to conventional concerto form. The lively opening theme which reappears in the third movement is the thread that holds the entire work together: it is heard in the lengthy lyrical solo passages as well as in orchestral interludes. The second movement, following without pause, contains harmonies less traditional than those his father would have chosen, while it is romantic in tone. A brief introduction leads into the last movement's recollection of the opening theme in a form somewhat like a rondo.
Evidently his father accused Richard of writing poorly for the horn in some of the solo passages, and the composer retorted, "I have heard you practice passages like these at home: now you will have to play them in public." He did not. however the work was premiered with one Leinhos as soloist.
Symphony No. 4 in Fminor, Op. 36 Piotr llyich Tchaikovsky (18401893)
Tchaikovsky composed his Fourth Symphony between May 1877 and January 1878. At this time Tchaikovsky had entered into an extraordinary relationship with the wealthy widow Nadezhda Filaretovna von Meek, whose interest in the composer had piqued upon hearing The Tempest, his first orchestral work. The two maintained a fourteenyear relationship entirely by correspondence and, although they exchanged in excess of 1,000 letters, they never met each other. Furthermore, Mme von Meek became Tchaikovsky's patron and benefactor, supporting him at first through commissions, then loans (the repayment of which was never expected), and finally through a regular monthly allowance. It was Mme von Meek to whom Tchaikovsky would dedicate his Fourth Symphony. In a letter to her in December 1877, Tchaikovsky wrote: "I have not only worked steadily at the orchestration of our symphony, but I am engulfed by it. Never before has any orchestral composition entailed so much labor, but never before have I loved my labor so much. At first I wrote simply for the sake of finishing the symphony, plowing through all difficulties, but bit by bit I was agreeably surprised to feel enthusiasm taking possession of me; and now it is hard to stop working. Possibly I may be mistaken, but I believe that this symphony is something out of the ordinary, the best thing 1 have done up to now. I am very happy that it is yours, and that hearing it, you'll know how in every bar 1 thought of you."
Upon completion of the score, Mme von Meek inquired about the work. The composer responded with a complete literary "programmatic analysis" of the symphony. The extent to which this program governed Tchaikovsky's actual creation of the work is debatable. Nevertheless, the analysis is an interesting inside view to the expressive intent
of the symphony. As the composer wrote: "You ask if the symphony has a definite program. Ordinarily, when asked that question concerning a symphonic work. I answer, No, none whatsoever. And in truth it is not an easy question. How can one express those vague feelings which pass through one during the writing of an instrumental work which in itself has no definite subject It is a purely lyrical process, a musical confession of the soul that, filled with the experiences of a lifetime, pours itself through sound, just as the lyric poet pours himself out in verse. The difference is that music is an incomparably more delicate and powerful language in which to express the thousand varicolored moments of spiritual life. . .
"Our symphony has a program. That is to say, it is possible to express its contents in words, and 1 will tell you and you alone the meaning of the entire work and its separate movements. Naturally, I can only do so as regards its general features. The introduction is the germ, the leading idea of the work. This is Fate, that inevitable force which checks our aspirations toward happiness ere they reach that goal, which watches jealously lest our peace and bliss should be complete and cloudless a force which, like the soul of Damocles, hangs perpetualh' over and invincible. There is not any other course but to submit and inwardly lament. This sense of hopeless despair grows stronger and more poignant. Is it not better to turn from reality and lose ourselves in dreams
"Oh, joy! A sweet and tender dream enfold me. A bright and serene presence leads me
on. How fair! How remotely now is heard the first theme of the Allegro! Deeper and deeper the soul is sunk in dreams. All that was dark and joyless is forgotten. Here is happiness!
"It is but a dream: Fate awakens us roughly. So all life is but a continual alternation between grim truth and fleeting dreams of happiness. There is no haven. The waves drive us hither and thither until the sea engulfs us. This is approximately the program of the first movement.
"The second movement expresses another phase of suffering. Now it is the melancholy which steals over us when at evening we sit indoors alone, wean' of work, while the book we have picked up for relaxation slips unheeded from our fingers. A long procession of old memories goes by. How sad to think how much is already past and gone! And yet these recollections of youth are sweet. We regret the past, although we have
neither courage nor desire to start a new life. We are rather wear)' of existence. We would fain rest awhile and look back, recalling many things. There were moments when young blood pulsed warm through our veins, and life gave us all we asked. There were also moments of sorrow, irreparable loss. Ml this has receded so far into the past. How sad, yet how sweet, to ourselves therein!
"In the third movement no definite feelings find expression. Here we have only capricious arabesques, intangible forms, which come into a man's head when he has been drinking wine and his nerves are rather excited. His mood is neither joyful nor sad. He thinks of nothing in particular. His fanq' is free to follow its own flight, and it designs the strangest patterns. Suddenly memory calls up the picture of a tipsy peasant and a street song. From afar comes the sounds of a military band. These are the kind of confused images which pass through our brain as we fall asleep. They have no connection with actuality, but are simply wild, strange, bizarre.
"The fourth movement; if you can find no reason for happiness in yourself, look at others. So to the people. See how they can enjoy life and give themselves up entirely to festivity. A rustic holiday is depicted. Hardly have we had time to forget ourselves in other people's pleasures when indefatigable Fate reminds us once more of its presence. Others pay no heed to us. They do not spare us a glance nor stop to observe that we are lonely and sad. How merry and glad they all are! All their feelings are so inconsequent, so simple. And will you still say all the world is immersed in sorrow Happiness does exist. Simple and unspoilt. Be glad in others' gladness. This makes life possible.
"1 can tell you no more, my dear friend, about the symphony. Naturally my description is not very clear or satisfactory. But therein lies the peculiarity of instrumental music; we cannot analyze it. 'Where words leave off, music begins,' as Heine has said."
Hermann Baumann
French Horn
Herman Baumann is unquestionably one of the finest horn virtuosi in the world today. Since his departure from symphony orchestra playing. Baumann lias performed a repertoire of more than 50 horn concert! with major symphonies in Western and Eastern Europe, North and South America, the U.S.S.R., Japan, and Australia. His schedule includes over 100 concerts a year.
His orchestral engagements have included the orchestras of Detroit, Cincinnati, St. Louis, Cleveland, Rochester, San Jose, Knoxville, Seattle. Utah, and Toronto, as well as Jerusalem,
Vienna, Bamberg, NHK Tokyo, Sydney, Copenhagen, Munich, Oslo, Hamburg, Warsaw, Rotterdam, and Helsinki. Mr. Baumann has also performed with the St. Paul Chamber Orchestra, Seattle Chamber Orchestra. Concerto Soloists of Philadelphia, Texas Chamber Orchestra, the National Arts Centre Orchestra in Ottawa, Tonlialle Orchestra, Mozarteum and Camerata Salzburg, Orchestre National de Paris, and the Bulgarian State Orchestra.
He has also performed at many prestigious music festivals including Mosdy Mozart, Grant Park, MidSummer Mozart, Colorado Music. Chautauqua, and Ravinia in the U.S., and the festivals of Vienna and Salzburg abroad.
Mr. Baumann appears extensively in the United States in solo recitals at the Prick Collection, Library of Congress, the 92nd Street "Y" in New York, and the Kennedy Center, to name a few. In addition, he has also toured Israel, Germany, Japan. France, Holland. Australia, and Canada. An internationally renowned pedagogue, Mr. Baumann frequently conducts masterclasses in conjunction with his busy concert schedule.
Mr. Baumann is an exclusive Philips recording artist. His recent releases include the Strauss concerti with Kurt Masur and the Leipzig Gewandhaus Orchestra, the Telemann concerti with the Academy of St. Martin in the Fields. Mozart concerti with Pinchas Zukerman and the St. Paul Chamber Orchestra, the Gliere concerto with Masur. as well as a recital recording with pianist Leonard Hokanson.
In Ann Arbor, Mr. Baumann lias performed witli the Concerto Soloists of Philadelphia (1981) and in recital with Samuel Sanders (1983).
Gewandhaus Orchestra of Leipzig
Artistic Director and Conductor
GAIL 1)1 KIMSAl M. Mezzosoprano J. PATRICK RAFTERY, Baritone
THE FESTIVAL CHORUS, Donald Bryant, Director
Friday Evening, April 28, 1989, at 8:00 Hill Auditorium, Ann Arbor, Michigan
Concerto in D major for Violin and Orchestra, Op. 77...........Brahms
Allegro non troppo
Adagio Allegro giocoso, ma non troppo vivace
AnneSophie Mutter, Violinist Intermission
Die erste Walpurgisnaclit...........................Mendelssohn
The Festival Chorus, Soli, and Orchestra
The Gewandhaus Orchestra and Kurl Masur record
for Philips. Vanguard, Angel, and VoxTumaboul Records.
AnneSophie Multer records for EMIAngel and Deutsche (irammophon Records.
The Gewandhaus Orchestra, Kurt Masur. AnneSophie Mutter, Gail Dubinbaum, Vinson Cole, and J. Patrick Raftery appear by arrangement
with Columbia Artists Management Inc., New York City. Stephen Bryant is represented by Harwood Management Group, Inc.. New York City.
Cameras and recording devices are not allowed in the auditorium. Halls Cough Tablets, courtesy of WarnerLambert Company, are available in the lobby.
Fortvfourth Concert of the 110th Season ih Annual Mav Festival
Program Notes
Violin Concerto in D major, Op. 77 Johannes Brahms (18331897)
The Concerto in I) major for Violin and Orchestra received its premiere by the Gewamlhaus Orchestra of Leipzig on January 1, 1879, Johannes Brahms conducting. Joseph Joachim, violinist.
Brahms's first concerto was for piano the Dminor Concerto and it was hissed at its second performance. Twenty years later, the composer was again at work on a concerto, this one for violin. The Violin Concerto turned out to be of a decidedly different character than the First Piano Concerto. It is franker, more exposed: it has more solo virtuosity; it is warmer and more lyrical. It returns to the classical custom of permitting a solo cadenza at the discretion (or lack of it) of the performer. It is gentler and lacks the dark brooding of the Dminor Piano Concerto. It sings in the manner of the Second Symphony, to which it is related most nearly in point of chronology (the symphony was written 1877, the concerto in 1878), and the place of composition in both cases was the town of Portschach in the Austrian Alps, near the Italian frontier.
The oftremarked collaboration between Brahms and the great violinist Joachim came to almost nothing in the final version of the concerto. Brahms asked help from the violinist because Brahms was a pianist. Joachim made many suggestions, most of them aimed at removing some of the more painful difficulties from the solo part. Brahms took the suggestions and then ignored them. Joachim did write out the first movement cadenza, perhaps the major concession made by Brahms, and the composer added the tempo designation non troppo vivace after the allegrogiocoso of the third movement at the suggestion of Joachim. But even this is meaningless, because violinists now play the movement as fast as is humanly possible. In any case, the difficulties clearly limit the tempo within certain bounds.
The main theme of the first movement (Allegro non troppo) is announced by cellos, violas, bassoons, and horns. This subject and three contrasting songlike themes, together with an energetic dotted figure, marcato, furnish the thematic material of the first movement. The violin is introduced, after almost a hundred measures for the orchestra alone, in an extended section, chiefly of passagework, as a preamble to the exposition of the chief theme. The caressing and delicate weaving of the solo instrument about the melodic outlines of the song themes in the orchestra is most unforgettable.
This feature is even more pronounced in the second movement (Adagio) where the solo violin, having made its compliments to the chief subject, announces a second theme that it proceeds to embroider with captivating and tender beauty. The Finale (Allegro giocoso. ma non troppo vivace) is a virtuoso's paradise. The jocund chief theme, in thirds, is stated at once by the solo violin. There is many a hazard for the soloist ticklish passage work, doublestopping, arpeggios, but there is much spirited and fascinating music of rhythmical charm and gusto.
Die erste Walpurgisnacht, Op. 60 Felix Mendelssohn (18091847)
Die erste Walpurgisnacht was first performed by the Gewandbaus Orchestra of Leipzig on February 2, 1843. Felix Mendelssohn conducting.
Die erste Walpurgisnacht (The First Walpurgis Night) is a work based on the poetry of Johann Wolfgang von Goethe. Mendelssohn brings to life Goethe's account of the Walpurgis Night festival, a celebration in which pagans and Druids disguised themselves as demons in an attempt to scare away Christian intruders. He composed the cantata in 1830 and 1831, and revised it ten vears later.
Die erste Walpurgisnacbt opens up with "Das schlicte Weter" (A Heavy Storm), an extended Overture filled with intense, forceful moments. This is mostly a result of the flurries of sixteenth notes and a collection of powerful climaxes throughout the Overture. Delicately contrasted by eerie, sombre music intensifying the mysterious setting, the storm gradually subsides and brings forth "Der Ubergang von Fruhling" (The Transition into Spring). After a few bars, the first clarinet announces a phrase that becomes more and more prominent and later, in "Es lacht der Mai" (The Laughter of May), is sung by tenor solo. The music continues in a leisurely manner, with the entry of chorus, until the mention of the sacrificial rites. This brings on a certain urgency that is compounded by the repetition of "hinauf' (upwards), leading into the next movement.
This movement begins in a very subdued, apprehensive atmosphere as an old woman warns the pagans of their possible fate at the hands of the Christians. Halfway through the movement, the chorus enters, and the movement ends witli an alto solo singing the final bars. The Druid priest reassures the pagans by explaining that the forest will protect them, and in a short, lively chorus, the pagans disperse.
In a short recitative, a Druid guard suggests disguising themselves as demons in order to frighten the intruders, bringing us to the climax of the piece, "Kommt mit Zacken" (Come with the Spike). The sentinel leads the marchlike rhythm with the tenors and basses joining in, while the orchestra responds with an accompaniment. Slight at first, the orchestration grows, and with cries from the woodwinds the movement is completed. A sudden modulation to A minor brings in the next movement with the same words being sung by the full chorus. The music is carried by a sixeight meter, interrupted occasionally by two bars of duple meter. The climax in duple meter recalls the crying phrases of the woodwinds, this time with greater intensity. As this subsides, the priest describes the retreat of the frightened Christians, and the music completes the saga.
Berlioz, who heard the 1843 revision, said in his memoirs: "I was at once quite astounded by the quality of the voices, the responsiveness of the singers, and above all by the grandeur of the work. . . One must hear Mendelssohn's music to realize what scope the poem offers a skillful composer. He has made admirable use of his opportunities. The score is of impeccable clarity, notwithstanding the complexity' of the writing. Voices and instruments are completely integrated, and interwoven in an apparent confusion which is the perfection of art."
(words by Goethe) Overture
May smiles again, (he woods art tree
from ice and hung with blossom:
ihe snow hxs gone
and each green place
now rings with joyful singing.
CHORUS OF HEATHENS May smiles again, elc.
A cleansing snow lies on (he peaks;
we'll hurry 10 the mountains
10 celebrale our ancient riles
and praise all nature's Father.
The flame is blazing through the smoke.
Arise! Arise! Our hearts shall be uplifted
The Dame is blazing through the smoke! well celebrate our ancient riles and praise all nature's Father! Arise! Our hearts shall be uplifted, elc.
Don't you know such rash behavior
ends in death for all concerned
Don't you know that savage laws
framed against our holy rites
draw the circling nets still closer
round those heathens round those sinners.
On their battlements they'll slaughter
both our fathers and our children
and we're all
heading for the trap they've laid.
On lofty prison battlements
they'll surely slaughter all our children!
Oh, they're strict and savage laws!
and we're all
heading for the trap they've laid! elc.
Vet he who fears our sacrifice, deserves to he the first in chains. The wood is free, the timber here is sucked, prepared for burning!
The wood is free. etc.
But in day's silence secretly
we'll hide in woods and thickets.
To ward off fearful thoughts
our guards will stealthily surround us
Then with new courage
we'll perform our customary duly.
Arise! elc.
BARITONE SOLO (Recitative)
Spread out and search, you valiant men!
Spread out and search, you valiant men. in every sector of this wood. Keep watch as they're performing their customary duty. etc.
A DRUID GUARD (Recitative) Let's outwit these stupid Christians! Boldly turn the tables on them! Use their tales to terrify them with the very Devil's uproar!
Come on!
On with sharpened slakes and pitchforks
rattling sticks and waving torches,
through rocky wastes and narrow valleys.
rudely waking night's deep echoes!
We'll make owls
howl 10 hear us clattering round them!
On! on! on!
On with sharpened stakes and pitchforks, elc
All nature's Father, secretly we sing nocturnal praises, and with the dawn we'll consecrate our pure hearts to your service.
CHORUS OF DRUIDS AND HEATHEN And with die dawn, etc.
We'll consccralc
our pure hearts 10 your service! etc.
In former days you have allowed
our enemies to triumph.
The Dame is purified in smoke:
So faith is cleansed and strengthened.
Through ancient ritual your light
shall not be taken from us!
Help! oh, help me, battlecomrades! Hell itself is overflowing like an evil womb below us glowing through and through with fire! Wolflike men and dragonwomen march in shrill processions by and raise a horrifying hubbub! Escape, escape! we must escape! Evil swoops and flames above us! From the ground in steaming rings Hell's breath is rising! Escape! Escape!
Terrible, accursed womb:
Wolflike men and dragonwomen, etc.
The flame is purified in smoke: so faith is cleansed and strengthened. Through ancient ritual your light shall not be taken from us!
Translation by Paul Holmes. O1974
AnneSophie Mutter
Internationally renowned violinist AnneSophie Mutter returns to North America this spring in the wake of her triumphant North American debut recital tour. She performs as guest soloist with the orchestras of Cleveland. Chicago, Boston, Montreal, Ottawa, Vancouver, and tonight with the Leipzig Gewandhaus in her Ann Arbor debut. In February of 1990, Miss Mutter celebrates the tenth anniversary of her North American debut in concerts
with the New York Philharmonic and Zubin Mehta, the orchestra and conductor with whom she gave that first performance. She is also scheduled for return North American recital tours in the springs of 1990 and 1991.
A proponent of contemporary composers, Miss Mutter has found new works to be an appropriate setting for her talents. In 1986, she presented the world premiere of Witold Lutoslawski's Chain II with conductor Paul Sacher in Zurich, a work she later presented to great acclaim at the Lucerne International Music Festival and that she recently recorded with the BBC Orchestra, along with Partita, the composer conducting. Krzysztof Penderecki and NorbertEloi Moret are currendy composing concerti to be performed by Miss Mutter in the near future.
Collaboration with other soloists is another important facet of Miss Mutter's career, as shown by her performances with Rostropovich in the Brahms Concerto in A minor for Violin and Cello, and by her participation in the AnneSophie MutterBruno Giuranna Mstislav Rostropovich String Trio, which in January 1988 gave gala performances in Berlin for President von Weizacker and in Paris for President Mitterand. Last season, she recorded the Glazunov and Prokofiev violin concerti with the National Symphony, Rostropovich conducting. In Washington. London, and Paris, Miss Mutter was featured in the gala performances honoring the famed conductorcellist on his 60th birthday. She has also played witli both Alexis Weissenberg and Yehudi Menuhin.
Boasting a rich variety of recordings on Deutsche Grammophon (including six albums with Herbert von Karajan and the Berlin Philharmonic) and EMIAngel (with Karajan, Riccardo Muti, and Seiji Ozawa), Miss Mutter has just recorded the Tchaikovsky Violin Concerto with the Vienna Philharmonic, conducted by Karajan, and the Stravinsky Violin Concerto with the Philharmonia Orchestra, a disc that also includes Chain II and Partita. Later this year, Deutsche Grammophon will release the complete Beethoven string trios, performed by the MutterGiuranna Rostropovich Trio. Future plans call for recordings with the Berlin Philharmonic and the Boston Symphony Orchestra.
An inspiration for young musicians, AnneSophie Mutter is an Honorary Fellow of the Royal Academy of Music and the first holder of the International Chair of Violin Studies. Miss Mutter has received such honors as the 1979 Deutscher Schallplatten Preis, a Grammy Award nomination, the Premio Intemazionale Accademia Musicale Chigiana, and the most prestigious and popularly acclaimed German award, the classical music "Bambi."
Gail Dubinbaum
Gail Dubinhaum first attracted national attention by winning the Metropolitan Opera Auditions in 1981, and she made her Met debut the following season. She has since gone on to fulfill this initial promise in acclaimed performances with many of the world's leading opera companies and orchestras.
In the current season. Gail Dubinbaum again divided her engagement schedule between performances in opera, concert, and recital throughout the I nited States. She began witli a
performance of Bruckner's Te Deum with the New York Philharmonic, conducted by Zubin Mehta, remaining at Lincoln Center for Metropolitan Opera performances as Rosina in Barbiere di Siviglia and Lola in Cavatleria Rusticana. She performs Rosina again. with California's Opera Pacific. Throughout the season the mezzosoprano appears in solo recital on both the East and West coasts.
Miss Dubinbaum's 198788 engagements included the singer's return to the Vienna State Opera as Rosina in Barbiere Di Siviglia. Performances with orcliestra included Beethoven's Ninth Symphony with the Phoenix Symphony. Messiah with the symphonies of Montreal and Pittsburgh. Haydn's Lord Nelson Mass with the San Francisco Symphony, and Mozart's Solemn Vespers with the Detroit Symphony. She also toured in recital last season, with 20 performances throughout the United States and Canada.
Gail Dubinbaum's past seasons have featured an impressive series of engagements both in the Inited States and in Europe. In September 1986, she made her Vienna State Opera debut as Rosina in Barbiere di Siviglia. Miss Dubinbaum also made her debut with the Dallas Opera as Zaida in Rossini's Turco in Italia. The mezzosoprano scored a special personal success in the title role of La Cenerenlola with the Washington Opera. Other concert engagements included Pergolesi's Stabal Mater and Stravinsky's I'idcinella with the Boston Handel and Haydn Society, and Mozart's Requiem with the Phoenix Symphony.
At the Metropolitan Opera, Gail Dubinbaum has sung such leading roles as Dorabella in Cost fan tutte. Rosina in II Barbiere di Siviglia and Isabella in l.'ltaliana in Algeri. in addition to appearances in I'alslaff. Carmen. L 'Enfant el les Sortileges, Rinaldo. Adriana Lecouvreur. La Trariata, Manon Lescaut. Parsifal, and I'rancesca da Rimini. As a member of the Metropolitan Young Artist Development Program, Miss Dubinbaum had the distinction of singing for President and Mrs. Reagan on the televised series "In Performance at the White House" in 1983.
Gail Dubinbaum's extensive orchestral credits include concerts with the Los Angeles Philharmonic under the direction of Michael Tilson Thomas, Myung Whim Chung, and Christopher Hogwood. During the summer of 1984 at Tanglewood with the Boston Symphony Orchestra, and at the Hollywood Bowl with the Los Angeles Philharmonic, she performed Leonard Bernstein's.tww7j Symphony with Maestro Bernstein conducting. She later repeated this work with the Pittsburgh Symphony in celebration of the piece's 40th anniversary. Miss Dubinbaum made her Carnegie Hall debut in January 1984 with the New York Choral Society, performing Mozart's Cminor Mass. She has also been guest soloist for the 92nd Street "Y" Chamber Concert Series in the Bach Bminor Mass. Gerard Schwarz conducting.
Tonight's concert marks her first Ann Arbor appearance.
Vinson Cole
Vinson Cole has received international acclaim for his performances on the operatic stage and with leading symphony orchestras in both the United States and Europe. His operatic repertoire extends from the works of Monteverdi through Stravinsky, and he lias won high praise for appearances at leading theaters, including the Metropolitan Opera, Paris Opera, Vienna State Opera, and at the Salzburg Festival. He has sung regularly with the
most important orchestras throughout the world and has collaborated with the most eminent conductors of our day. including Herbert von Karajan, Carlo Maria Giulini, Giuseppe Sinopoli, Seiji Ozawa, James Levine, Kurt Masur, Claudio Abbado. Lorin Maazel, James Conlon. and many others.
In the 198889 season. Yinson Cole debuts with the Frankfurt Opera, singing his first performances of the title role in Mozart's La Clemenza di Tito. He is also heard as Ernesto in Don Pasquale in Bonn and sings his first Romeo in Gounod's Romeo et Juliette for the Seattle Opera. He appears as soloist with several orchestras, singing the Bruckner Te Deum for the New York Philharmonic under Zubin Melita. Beethoven's Symphony No. 9 with the Boston Symphony under Seiji Ozawa, Berlioz's Damnation de Faust with the Montreal Symphony and Charles Dutoit, and in his Orchestre de la Suisse Romande debut under Armin Jordan in Beethoven's Ninth. He is also heard in other concerts in Toronto, Columbus. Toulouse. Milwaukee, and Vienna and sings several recitals in the United States.
Vinson Cole made his Metropolitan Opera debut in 1987 as Alfred in Die Fledermaus and lias since appeared there as Rodolfo in La Boheme. Nemorino in L'Elisir d'Amove, and Des Grieux in Manon. In recent years, he has appeared in five productions at the Paris Opera that reflect his wideranging versatility: Cimarosa's Matrimonio Segreto, Mozart's The Magic Flute and Abduction from the Seraglio, Massenet's Manon, and Strauss's Salome. His bel canto repertoire includes Maria Stuarda. Anna Rolena, Lucrezia Borgia, Lucia di himmermoor, and Don Pasquale. and in the French repertoire he has sung in Faust, The Pearl Fishers. Manon. and Romeo et Juliette. Also at home in Italian opera, his repertoire includes roles in La Traviata, La Boheme, Rigoletto. Madama Butterfly. Falstaff. Comte Oty, and Gianni Schicchi. He lias also portrayed leading roles in the Russian opera Eugene Onegin and the Czech opera The Bartered Bride.
Mr. Cole's continuing association with Herbert von Karajan has resulted not only in four consecutive seasons at the Salzburg Festival, but also a series of concerts with the Berlin Philharmonic that culminated in four recordings: Dei? Rosenkatalier, Mozart's Requiem. and Beethoven's Ninth Symphony and Missa Solemnis. all of which appear on the DGG label. His orchestral repertoire ranges from Bach to Britten, including, in addition to the standard repertoire, lesserperformed works by Kodaly, Janacek, Dvorak, Mahler, Berlioz, and others. Highlights of recent seasons have been performances of the Verdi Requiem at Tanglewood under Ozawa, with the Berlin Philharmonic under Giulini and the Chicago
Symphony under Ahbado, and in Prague under Sinopoli.
Following a full scholarship to the Philadelphia Musical Academy, Vinson Cole continued his studies at the Curtis Institute with Margaret Harshaw, who remains his vocal mentor today. In 1976, he won The National Award in Chicago's prestigious WGN "Auditions of the Air," and in 1977 received the first prize "Weyerhauser Award" at the Metropolitan Opera National Auditions. He has sung at the White House three times since 1977, including one performance that was televised coasttocoast. His Salzburg appearances in Der Rosenkavalier and II Ritonio di L'lisse were also telecast in Europe.
In Ann Arbor, Vinson Cole first sang in the 1976 Messiah concerts and more recently in Beethoven's Ninth Symphony with Kurt Masur and the Gewandhaus Orchestra at the 1987 Mav Festival.
J. Patrick Raftery
Acclaimed as one of the most outstanding artists to have emerged in the United States, J. Patrick Raftery has been praised internationally for performances with leading opera companies, including those in Chicago, San Francisco, Paris, Hamburg. London's Covent Garden, Cologne, San Diego, and in Brussels.
In the 198889 season, J. Patrick Raftery returns to the Hamburg State Opera for
performances of Barbiere di Siviglia, Le Nozze di Figaro and L'Elisir d'Amore: appears as Germont in a new production of La Traviata for the Washington Opera: and sings his first Lescaut in Motion Lescaul at the Rome Opera, marking his debut in Rome. He returns to the San Diego Opera as Enrico in Lucia di Lammermoor and also sings Barbiere in Monte Carlo and Belcore in L'Elisir d'Amore in Genoa. He makes his Santiago debut as the Count di Luna in Trovatore and his first appearances with the Metropolitan Opera during their Park season in performances of Lucia. In 1990 lie will make his debut at the Metropolitan Opera in Manon Lescaut opposite Mirella Freni. Other future projects include a new production of Cost fan tutte at the Washington Opera, Barbiere for the Canadian Opera Company in Toronto, and Rossini's L'Occasione Fa IILadro in Lausanne.
Mr. Raftery made his professional debut witli the San Diego Opera in Verdi's Lombardi in 1979 and came to national attention when he starred as Figaro in Rossini's II Barbiere di Siviglia at the Wxshington Opera in 1980. Important international debuts followed in quick succession: the Chicago Lyric Opera in Boris Godunov; San Francisco Opera in La Boheme: Houston Grand Opera in Pagliacci: his European debut in Paris in The Pearl Fishers: Hamburg State Opera in Bach's Amadis de Gaulle: Glyndebourne in Cosifan tutte: Covent Garden in Le Nozze di Figaro: Deutsche Oper Berlin in La Boheme: Cologne Opera in Madama Butterfly: his Italian stage debut at the Pesaro Rossini Festival in Turco in Italia: and the Netherlands Opera in Barbiere. He sang his first Onegin in Tchaikovsky's Eugene Onegin at the Washington Opera, where he also sang his first
Escamillo in Carmen and Trovatore.
Mr. Raftery returns to many of these opera houses regularly. In San Diego, he has performed roles in Verdi's t'n Gionio di Regno and Corsaro, Chabrier's Gwendoline, Gounod's Faust, Germont in La Traviata, and Figaro in Mozart's Le Nozze di Figaro. Last season he sang Valentin in Faust and Di Luna in Trovatore at the Chicago Lyric Opera and performed Prince Yeletsky in Tchaikovsky's The Queen of Spades for the San Francisco Opera. In 1988, he added three new roles to his repertoire: Posa in Don Carlos in Hamburg, Ford in Verdi's Falstaff in Nice, and Dr. Malatesta in Don Pasquale in Bonn.
The baritone is also praised for his appearances with orchestras and has sung with the Boston Symphony and Seiji Ozawa and The Cleveland Orchestra under Kurt Masur. In Ann Arbor, he is remembered for his performance in Carl Orff s Carmina Burana with The Philadelphia Orchestra under Theo Alcantara in our 1983 May Festival.
Stephen Bryant
Stephen Bryant has performed with the opera companies of St. Louis, Santa Fe, Michigan, Dayton, Grand Rapids, Whitewater, and Saginaw. In October of 1987, he made his Town Hall debut as Lord Sidney in the New York premiere of Rossini's viaggio a Reims. Last July he also performed the same role at the Newport Music Festival in the gala that opened
its 20th season. His operatic repertoire also includes roles in Tosca, La Cenerentola, Rigoletto, Madama Butterfly, Gianni Scbiccbi, La Traviata, Lucia di Lammermoor, The Mother of Us All. and Three Penny Opera. With the University of Michigan Opera Theatre, he appeared in La Boheme and in the world premiere of Sheldon Harnick's A Wonderful Life.
Mr. Bryant's oratorio repertoire includes Handel's Messiah performed with the University Musical Society's Choral Union last December and with the Toledo Symphony. Also with the Toledo Symphony he has performed Haydn's Lord Nelson Mass. Under the direction of Richard Westenburg, Mr. Bryant has performed Bach Cantatas with Musica Sacra and portrayed Judas in Bach's ,S7. Matthew Passion at Avery Fisher Hall, and with the Clarion Musical Society he was the Emissary in Cherubini's Lodoiska at Alice Tully Hall. At the Metropolitan Museum of Art, Mr. Bryant was the Druid Guard in Mendelssohn's Walpurgisnacbt with Musica Aeterna and H&kan HagagaYd, a role he recreates in this evening's concert with Kurt Masur and the Gewandhaus Orchestra. In the 1987 Ann Arbor May Festival, he was the bass soloist in Beethoven's Choral Fantasy with Masur and the Gewandhaus Orchestra and in March 1988 performed the role of Jesus in Bach's St. Matthew Passion with the Michigan Bach Festival in Detroit. At the Berkshire Choral Festival with the Springfield Symphony, Mr. Bryant performed in Gilbert and Sullivan's The Gondoliers and lolanthe and selections from Carmen and South Pacific in that orchestra's first pops concert. In Detroit and Ann Arbor, he has performed Samuel Barber's Dover
Beach with the Lafayette String Quartet.
Mr. Bryant's recent and upcoming engagements include Figaro in Mozart's he Nozze di Figaro with Opera Madison, Bach's Bminor Mass with the Michigan Bach Festival, Marcello in La Boheme with the Saginaw Symphony Opera, Zuniga in Carmen with Michigan Opera Theatre, and the Brahms Requiem with the Lansing Symphony.
Mr. Bryant holds a Bachelor's degree from Oberlin College Conservatory in vocal performance and Masters' degrees from The University of Michigan in vocal performance and conducting. He is presently assistant conductor for the University Musical Society's Choral Union and Festival Chorus and is on the voice faculty of Albion College.
Donald Bryant
Festival Chorus Director
Donald Bryant completes his twentieth year of service to the University Musical Society with the Festival Chorus's appearance in this May Festival. After conducting the annual Messiah concerts in December 1989, Dr. Bryant will mark his retirement as conductor of the Musical Society's Choral Union and Festival Chorus in a special concert in Hill Auditorium on January 14, 1990. In appreciation of his Ions; and dedicated service to the
Musical Society and in recognition of his gifts as a composer, the Musical Society has commissioned Dr. Bryant to compose a work for chorus, soloists, and orchestra that will receive its world premiere in this special Tribute Concert on January 14. The concert is being offered to UMS patrons as one of the annual Choice Series presentations.
Soon after arriving in Ann Arbor in the fall of 19. Donald Bryant formed the Festival Chorus, a smaller, more flexible group of singers selected from the larger Choral Union. He conducted the new chorus in its debut for a Good Friday presentation of Haydn's Seven Last Words of Christ, followed by the chorus's May Festival debut in 1970 with Eugene Ormandy and The Philadelphia Orchestra. Since then. Dr. Bryant has prepared his singers for their performances in numerous May Festivals, special concerts, and for appearances with visiting orchestras. He has been on the podium for Ann Arbor performances of the chorus with the Paul Kuentz Chamber Orchestra of Paris, Mozarteum Orchestra of Salzburg. Prague Chamber Orchestra, Orpheus Chamber Ensemble, and the Ann Arbor Symphony Orchestra. Dr. Bryant has also led the chorus on three foreign concert tours: in 1976 as representatives from the Musical Society and Ann Arbor in America's Bicentennial year, to Germany, Czechoslovakia, Austria. Italy, and France: to Egypt in 1979: and to Spain in 1982.
As a composer, Donald Bryant has written works for piano, secular and sacred choral works, and an opera, The Tower of Babel, commissioned by the First Presbyterian Church of Ann Arbor, where he serves concurrently as music director. He conducted the Festival Chorus in the world premiere of his composition Death's Echo, commissioned by the Musical Society for the 1981 Ann Arbor Summer Festival. In 1981, he received a commission from the University of Michigan's Center for Russian and East European Studies to compose choral settings for the poetry of Czeslaw Milosz. and Sandor Weores, three
songs that he and the Festival Chorus presented in a special program for the Center's "Cross Currents' Festival. His most recent composition. Missa Brevis. was premiered last October at the First Presbyterian Church a short mass for eightpart chorus, soloists, organ, and woodwind accompaniment.
In the Ann Arbor community, Dr. Bryant was recognized by the Washtenaw Council of the Arts when it presented him with its annual "Annie Award" for artistic excellence. Ann Arbor's City Council lias lauded him as the local leader in helping "hundreds of children in Ann Arbor grow up singing and singing well," and most recently, he was named a Paul Harris Fellow by the Ann Arbor Rotary Club for service to the community, mankind, and the club, the highest honor a Rotarian can receive.
A native of central Ohio who started piano lessons at the age of eight. Dr. Bryant is an alumnus of The Juilliard School with a graduate degree in piano. He continues his recital appearances and has conducted the Festival Chorus from the piano in several special concerts. Prior to his Ann Arbor appointment, he was director of the Columbus Boychoir School for twenty years, performing more than 2,000 concerts as conductorpianist throughout South America, Europe, and Japan.
The Festival Chorus
In its relatively short twenty years of existence, The Festival Chorus has performed with orchestras and conductors from around the world, as well as presenting concerts in three foreign tours through seven countries with its conductor, Donald Bryant.
During these two decades. The Festival Chorus has performed with Willem van Otterloo and the Melbourne Symphony Orchestra: Jindrich Rohan and Jiff Belohlavek and the Prague Symphony Orchestra; Neemejarvi and the Leningrad Philharmonic; Seiji Ozawa and the Boston Symphony Orchestra; Jean Martinon and the Hague Philharmonic; lido de Waart and the Rotterdam Philharmonic; Sergiu Comissiona and the Baltimore Symphony Orchestra; and Philippe Entremont and Aldo Ceccato and the Detroit Symphony Orchestra. In the May Festivals, the Chorus has sung with The Philadelphia Orchestra, Pittsburgh Symphony Orchestra, and Gewandhaus Orchestra of Leipzig, under Stanislaw Skrowaczewski, Eugene Ormandy, Aaron Copland. Robert Shaw, Theo Alcantara, Sir John Pritchard, Thor Johnson, Sir Alexander Gibson, Zdenek Macal, Michael Tilson Thomas, and Kurt Masur. In addition, the Chorus has sung at Ford Auditorium and the Meadow Brook Music Festival in Detroit, at Orchestra Hall in Chicago, and in East Lansing's University Auditorium.
The Festival Chorus has also presented several special concerts: performances of Dave Brubeck's Cantata Truth with the Detroit Symphony Orchestra both here and in Detroit, a concert of Schubert songs, Schubert's Mass in Aflat with the Ann Arbor Symphony, American folk songs and Spirituals in a summer concert with Broadway singer Barbara Cook, Founders Day concerts, and special oratorio concerts of Handel's Israel in Egypt and Judas. Maccabaeus.
Continuing the 110year tradition of the University Musical Society, the Choral Union and Festival Chorus remain a community collaboration. Membership is open to all by audition, and the resulting membership is a mix of townspeople, students, and faculty with one common denominator a love of music and singing.
The Festival Chorus
Donald Bryant, Conductor Stephen Bnant, Assistant Conductor
Nancy Hodge and Neal Kurz, Accompanists
Laura Rosenberg, Manager
First Sopranos Palsy Auiler Sharon M. Barlow Patricia Lynn Bauer Janet Bell Joan M. Bell Virginia Bergonzi Edith Leans Booksieifl Susan P. Booth Ann Burke LetitiaJ. Byrd Man Ellen Cain Susan Campbell Margaret K. Carsky Elaine Cox Kathryn foster Elliott Patricia EorsbergSmith Lori Kathleen Gould Marcia Hall Elizabeth Harris Stacey Ileisler Laurie Heller May Y. Huang Cathryn Ann Jenkins Grace Jones Man Kahn Ruth Kast Michelle Kennedy Maureen T. Kirkwood Debra Kohn Yoshiko Komyo Theresa Lawlon Carolyn Leyh Kathleen Lin Barbara Lindberg Nancy Lodwick Lynn Marko Loretta I. Mcissner Margaret Nesse Amy Penninglon Carole Lynch Penninglon Marian Robinson Susan Sargent Alice M. Schneider Anne M. Schneider Muril Seabrook Judith E. Smecken Julie Snider Charlolte Stanek Kathnu Tucker
Margaret VParrick Joanne Westman Blythe Williams
Jennifer S. Williams Karen Woollams
Second Sopranos
Marlha Ause Barbara Bcath Kathleen Bergen Michal Nahor Bond Kathlyn A. Bowersox Margaret Brewer Young Clio Doris Daisko Karen Eldevick Anila M. Goldstein Palricia Hackney Karen Hurgess Hardy Jennifer V. Mines Claire Holdgate Doreen Jessen Rosalie J. Koenig Stephanie Kosarin Ann Kathryn Kuelhs Judy Lehmann Mary Loewen Loretta Lovarvo Kim Mackenzie (iail McCulloch Marilyn Meeker Linda Ann Mickelson Cheryl M. Miller Barbara Nordman Joanne Owens Ilene A. Seltzer Lelitia Shapiro Kay Slefanski Leah M. Stein Marian Stolar Laura Stuckey Patricia Tompkins Jean Marion Urquhart Catherine Wadhams Barbara Hertz Wallgren Dr. Rachelle Warren Susan Williams Susan Wortman Kathleen A. Young
First Altos
Yvonne Allen
Satik AndriassianKennedy Ella M. Brown Marion W. Brown Caryl Healon Bryant Rebecca L. Canfield Lael Cappaerl Sally Carpenter Lubomyra A. Chapelsky Leemay Chen Viola Cheung Mar)' C. Crichlon Daisy E. Evans h.iiiiKii Faber Marilyn A. Kinkbeiner Andrea (laren Jacqueline Hinckley Dr. Nancy llouk Grclchcn Jackson Olga Johnson Carolyn King Metta T. Lansdale Frances Lyman Patricia Kaiser McCloud Audrey Meyer Lois P. Nelson Man Anne Nemeth Diana Ning Lisa Pape Julie Ann Ritter Maria Shay Jari Smith Patricia Steiss Jane YanBolt Raven Wallace Charlotte Wolfe Barbara 11. Wooding
Second Altos
Anne Abbrechl Sandra Anderson Marjoric Baird Eleanor P. Beam Carol Carpenter Laura Clausen Carol Cook Anne C. Davis Alice B. Dobson
Andrea Foole Danielle (lalbrailh Man Haab Margo Ilalsted Nancy llealh Uana Mull Carol L. Hunvitz LilyjarmanRohde Lorena Kallay Rene Kloosterman Katherine Klykylo Janei W. Koons Patricia KowalsW Judy Lucas
Cheryl Melby MacKrell Barbara Maes Carrie O'Neill Anne Ormand Man B. Price Joan Roth Carren Anita Scherzer Margaret Sharemet Cynthia J. Sorensen Carol Spencer Kathryn Slebbins .Mice Warsinski Ann Woodward
First Tenors
Kevin Bell
Hugh C. Brown
Charles R. Cowley
Bruce Davidson
Kr. Timothy J. Dombrowski
Marshall Franke
James Krenza
Thomas Jameson
Joseph Kubis
Robert E. Lewis
The Festival Chorus
Paul Lowry Gene D. Minton Bernard Panerson Michael Samardzija
Second Tenors
John 1'i.illh.uh John W. Etsweiler III Peter C. Flinlofi Dwight L. Fontenol (ian M. Galien Carl T. Gies Albert P. Girod. Jr. Dr. Arthur Gulick Ted liefley Ray Henry Thomas llmay Michael II. James William D. Kinley Michael R. Lucey Jim Priore Robert Reizner Bradley Rich David UiiimIch'iI Henn Schuman Carl Smilh
First Basses John Alexander Clarke Andreae Marion L. Beam Dean Bodley Donald J. Bord Michael Brand Robert R. Brewster
John M. Brueger Thomas Cook James Ellenberger Marshall W. Jorgensen Vladimir Kajlik Lawrence L. Lohr Charles Lovelace John MacKrell Gerald Miller John Ogden Jeffrey B. Randall James F. Rieger David Sandusky James C. Schneider John T. Sepp John A. Sonego Donald K Williams Edward J. Vl'yman Thomas G. Zanlow
Second Basses
VI illiam (iuy liarasl Howard liond KeeMan Chang John J. Dnden Don Faber Robert Gatzke Howard Grodman Donald Haworth Ramon R. Hernandez Thomas llornyak Charles K. Koons Charles K. Lehmann W. lirnce McCuaig Raymond 0. Schankin Jeffrey I). Spindler Dag Storrosten Robert Slrozier Terril 0. Tompkins John F. VanBoll
1987 May Festival rehearsal with Festival Chorus. Kurt Masur. and the Lei:i); Gemmdham
Gewandhaus Orchestra of Leipzig
Artistic Director and Conductor
Saturday Evening, April 29, 1989, at 8:00 Hill Auditorium, Ann Arbor, Michigan
Vier lezte Lieder (Four Last Songs)..........................Strauss
Friihling (Spring)
Beim Schlafengehen (While Going to Sleep) Im Abendrot (In the Glow of Evening)
Jessye Norman, Soprano
Intermission Symphony No. 7 in E major.............................Bruckner
Allegro moderato (sehr feierlich, sehr ruhig)
Adagio (sehr feierlich und sehr langsam)
Scherzo (sehr schnell); Trio (etwas langsamer)
Finale (bewegt, doch nicht schnell)
The Gewandhaus Orchestra and Kurt Masur:
Philips, Vanguard. Angel, and Vox Turnabout Records.
Jessye Norman: Philips. Angel. EMI. CBS Masterworks,
Decca. Deutsche Grammophon. and Erato Records
The Gewandhaus Orchestra and Kurt Masur appear by arrangement
with Columbia Artists Management Inc.. New York City.
Jessye Norman is represented by Shaw Concerts, Inc.. New York City.
Cameras and recording devices are not allowed in the auditorium.
Halls Cough Tablets, courtesy of WarnerLambert Company, are available in the lobby.
Fortyfifth Concert of the 110th Season 96th Annual May Festival
Program Notes
Four Last Songs (Vier lezte Lieder) Richard Strauss (18641949)
Richard Strauss, aged 84 and mindful of his mortality, composed his Vier lezte Lieder as a tribute to two of the great loves of his life: his wife of 54 years, Pauline de Ahne, whom he had met as a singer in Weimar in 1894 and married on September 10th of that same year, and the musical qualities and potential of the soprano voice. All four songs that comprise this collection were composed in 1948 and scored for soprano solo and large orchestra a scant year before his death. On September 8, 1949, Strauss died in his sleep of complications related to a kidney malady at his villa in GarmischPartenkirchen, Bavaria. His wife, Pauline, survived him by only a few months.
Except for a few notable exceptions Three Hymns for Soprano and Orchestra (1921) and Gesange des Orients (1925), Strauss composed very few songs after 1919This is largely attributable to his preoccupation with composition of opera during this time span. Upon discovering a poem by the nineteenthcentury poet Joseph von Eichendorff, entided "Im Abendrot," which meditates on the subject of an old couple facing the end of life, Strauss was moved to set the poem to music. Readings of poetry by his contemporary, Swiss poet and novelist Hermann Hesse, revealed three other poems of a similar mood as "Im Abendrot." These poems, "Friihling," "September," and "Beim Schlafengehen," were originally grouped into a set entided Drei Gesange. The Drei Gesange were eventually grouped with "Im Abendrot" and published posthumously as Veir letze Lieder. The grouping is a logical one in that the subject matter of all four poems deals with the onset of death, referred to in various metaphors: "night," "rest," "autumn," and in "Im Abendrot," the term "death" itself appears.
Spring (Frilling, Hermann Hesse)
In dusky hollows
I long dreamed
of your trees and blue skies.
of your fragrance and bird song.
Now you stand revealed in glitter and glory, flooded with light, like a miracle.
You recognize me, and gently beckon, my whole body trembles with your holy presence!
Notable about "Fruhling" is the great care with which Strauss "wordpaints" the poetry. The treatment of the soprano line at "Vogelsang" (bird song) serves as a most salient example. As well, the limpid string passages suggest, in their gentle flowingness, the onset of fresh spring breezes. The soprano line, with its high and ethereal phrases, welcomes spring, the season associated with a renaissance of life.
September (Hesse)
The garden is in mourning;
the rain falls cool among the flowers.
Summer shivers quietly
on its way towards its end.
Golden leaf after leaf falls from the tall acacia. Summer smiles, astonished, feeble, in this dying dream of a garden.
For a long while, yet, in the roses, she will linger on, yearning for peace, and slowly close her weary eyes.
In the setting of "September," Strauss paints an autumnal picture. One hears in the diverse timbres of the brass instruments both a brightness, suggestive of the lively colors of autumn, as well as a darkness, suggestive of the cold stillness of the winter to follow. The strings remind the listener of the dancing of leaves as they rustle on their branches and, one by one, fall to the earth below. The soprano line, in an extremely long cantilena, soars above these evocations with a long, flowing, and florid melody.
While Going to Sleep (Beim Schlafengehen, Hesse)
Now that the day wearies me, my yearning desire will receive more kindly, like a tired child, the starry night.
Hands, leave off your deeds, mind, forget all thoughts; all of my forces yearn only to sink into sleep.
And my soul, unguarded, would soar on widespread wings, to live in night's magical sphere more profoundly, more variously.
The setting of "Beim Schlafengehen," begins starkly, the strings slowly and somberly asserting their presence and suggesting the weariness present at the end of a long day. Above this, the soprano enters, at first almost imperceptibly. Aside from the power of the mood established by Strauss in this song, it is also remarkable on account of his fugal treatment of the music starting at the text "llande, lasst von allem Tun" (Hands, leave off your deeds), as well as the incredibly beautiful solo passages scored for the violin and the horn.
In the Glow of Evening
dm Abendrol. Joseph von Eichendorff)
Through sorrow and joy we have walked hand in hand; let us rest now from wandering in this quiet country.
Mountains slope all around us, and the sky already darkens; only two larks climb in the sky, dreaming in the night.
Come in; let them flutter. for it is already time to sleep; let us not lose our way in this loneliness.
Come nearer, gentle peace, profound in the glow of evening! How weary we are of wandering; is this perhaps death
Though "Im Abendrot" was composed in 1948, sketches for the song date back to 1946. Above the orchestral texture, which moves with a slow harmonic rhythm, the voice placidly floats. Toward the end of the song, Strauss briefly quotes the ascending transfiguration motive from his tone poem, Death and Transfiguration. The piccolos trill the song of the two larks ascending in the sky, as if in benediction of the old couple. Then, peaceful and profound silence.
Symphony No. 7 in E major Anton Bruckner (18241896)
The Symphony No. 7 in E major received its premiere by the Gewandhaus Orchestra of Leipzig on December 30, 1884, Arthur Nikisch conducting.
Anton Bruckner was born into a musical family. His father was a schoolmaster who also worked as a church organist, and his mother sang in the church choir. At the age of four, young Anton could play hymn tunes on a miniature violin and was soon able to harmonize those melodies on the family spinet. By age ten he would, on occasion, substitute for his father, playing the organ at Mass. His parents often took him to the nearby Augustinian monastery of St. Florian to hear their magnificent organ, and following the death of his father, thirteenyearold Anton was sent to St. Florian to continue his schooling. He lived there for three years, and for the rest of his life considered the monastery his spiritual home.
He studied organ, violin, and music theory at St. Florian, as well as singing in the choir. Although his gifts were great, Bruckner throughout his life suffered from a surprising lack of selfconfidence and planned to follow in his father's footsteps as a provincial schoolmasterorganist. He received his first teaching appointment in 1841 in the village of Windhaag, moved the following year to Kronstorf, and in 1845 returned to St. Florian, securing a position there as teacher and organist. He spent ten years there before moving to Linz in 1855 as a cathedral organist.
Bruckner's time in Linz was the busiest period in his life. He worked assiduously at his organ technique, studied composition with Simon Sechter and also gave private lessons on the piano. His course with Sechter ended in 1861, and, with a characteristic lack of confidence, Bruckner applied for a diploma from the Vienna Conservatory qualifying him to teach harmony and counterpoint. His examination for the degree included an improvised organ fugue on a
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Unfortunately, however, it was not until late in Bruckner's life that he received positive recognition in Vienna.
Begun on September 23. 1881. and completed almost exactly two years later on September 5. 1883, Bruckner finally achiaed public acclaim with his Seventh Symphony. In the midst of writing this symphony. Richard Wagner died on February 13. 1883 Bruckner was devastated by his hero's death, as his musical language was deeply and subtly influenced by the master never more so than in the Seventh Symphony. Bruckner composed the coda of the Adagio upon hearing the news of Wagner's death, its solemn theme a masterful tribute.
At its premiere in Leipzig, the applause for the Seventh Symphony is said to have lasted a quarter of an hour, and Nikisch is quoted as saying. "Since Beethoven there has been nothing that could even approach it... From diismoment I regard it as my duty to work for the recognition of Bruckner." The piece was performed by the Vienna Philharmonic over Bruckner's strenuous objections, the composer fearing, and rightly so. another unkind review. Hanslick. while disparaging the work, had to acknowledge the public's hh regard for the piece by conceding "most mainly, it has never happened that a OMnpnser has been called out four or five after each movement."
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Jessye Norman
One of the most soughtafter artists in the world, Jessye Norman regularly appears with the world's most prestigious orchestras, opera companies, and in recital the major music centers around the globe. Her recent appearances at New York's Metropolitan Opera House include acclaimed performances as Elisabeth in Tannbduser, Madame Lidoine in Dialogues
of the Carmelites, and a triumphant return as Ariadne in Ariadne aufNaxos, a role she has made her own in opera houses throughout the world. This production in March 1988 was the first telecast from the Metropolitan Opera to be broadcast by satellite to Europe and the U.S.S.R. Recent seasons have included appearances with the Berlin Philharmonic Orchestra and at the Salzburg Festival in the summer of 1987, where she performed the "Liebestod" from Wagner's Tristan and Isolde with Herbert von Karajan, a performance that was recorded in a film documentary telecast throughout the world.
In January of this year, Miss Norman made history at the Metropolitan Opera with the house's first presentation of a onecharacter opera when she appeared as the Woman in Schoenberg's Erwartung, coupled with Bartok's twocharacter opera Bluebeard's Castle. with Jessye Norman in the role of Judith. She also will sing her first Metropolitan Opera Sieglinde in Wagner's Die Walkure later this season. Her schedule also includes a recital at Carnegie Hall and engagements with the Berlin and Los Angeles Philharmonic Orchestras, The Cleveland Orchestra, and The Philadelphia Orchestra at the Academy of Music and Carnegie Hall. In addition she returns to her alma mater. The University of Michigan, as soloist in tonight's concert with the Leipzig Gewandhaus Orchestra and Kurt Masur. This season also has included the Montreal Symphony Orchestra, in a performance telecast throughout the Frenchspeaking countries, and recitals at Washington's Kennedy Center, Chicago's Orchestra Hall, and Philadelphia's Academy of Music.
Born in Augusta, Georgia, Miss Norman made her operatic debut in December of 1969 at Berlin's Deutsche Oper as Elisabeth in Tannhd'user. Two years later, at the Berlin Festival, she sang the Countess in Le Sozze de Figaro. The music world was quick to recognize her extraordinary talent and showered her with countless invitations for concerts, recital, and television appearances. Miss Norman toured extensively in the 1970s, visiting, in addition to the United States, South America, Australia, Canada, and most of Europe. This led to further invitations and regular appearances at various festivals, including Tanglewood. Ravinia, Edinburgh, Flanders, AixenProvence, and Salzburg.
In 1982, Miss Norman not only was named the "Musician of the Year" by Musical America, but also received honorary Doctorates of Music from Howard University and the Boston Conservatory of Music. In 1981. she received an honorary Doctorate of Music from The University of the South, Sewanee, and in 1987, from The University of Michigan. In 1988, honorary doctorates were awarded her by Brandeis University and Harvard University. In 1984 the French government invested her with the title "Commandeur de 1'Ordre des Arts et des Lettres." That same year the National Museum of Natural History in Paris honored Jessye Norman by naming an orchid for her. In November 1987 she became an Honorary Member of the Royal Academy of Music in London.
Miss Norman sang for the internationally televised Inaugural Ceremonies for President Reagan in January 1985. and in April 1986 for Queen Elizabeth's sixtieth birthday celebration at the Royal Opera House, Covent Garden. Miss Norman's immense international popularity' was highlighted when she was chosen by the French government to sing "La Marsellaise' in Paris as part of the French salute to the American celebration of the 100th Anniversary of the Statue of Liberty, a performance televised internationally by ABCTV'.
After several years devoted primarily to concerts and recitals, Miss Norman returned to the opera stage, singing Strauss's Ariadne aufNaxos at the Hamburg State Opera in October 1980, followed by a succession of Greek heroines: Phedre at ALvenProvence, Jocasta, and Purcell's Dido at the Philadelphia Opera. Her Metropolitan Opera debut in Berlioz's Les Troyens (in which she sang the roles of Dido and Cassandra) opened the Met's 100th Anniversary Season in 1983, and later that season she sang the role of Jocasta in the Met's production of Stravinsky's Oedipus Rex. She returned to the house in a production of Ariadne, opening on New Year's Eve, 1984. That season also brought her return to the AixenProvence Festival in Ariadne, and she made her debut at the Vienna State Opera in this role in the autumn of 1985.
One of the most distinguished and prolific recording artists of our day. Jessye Norman's diverse discography has won numerous awards and spectacular acclaim. Her many French awards for recordings on the Philips label include the Grand Prix National du Disque for albums of lieder by Wagner, Schumann, Mahler, and Schubert. She also received a prestigious Gramophone award in 1984 for her outstanding interpretations of Strauss's "Four Last Songs."
Miss Norman's teachers have included Carolyn Grant at Howard University in Washington, D.C., Alice Duschak at Baltimore's Peabody Conservatory, and Pierre Bernac and Elizabeth Mannion at The University of Michigan.
Jessye Norman's appearance this evening marks her fifth Ann Arbor performance under Musical Society auspices. She first sang with The Philadelphia Orchestra in the 1973 May Festival, followed by a recital in 1974, as soloist in a special benefit concert in 1978, and
another recital in 1986.
How It All Began
From the very beginning, the Ann Arbor community was aware that the May Festival was a tradition in the making. The May 10, 1894, edition of the Ypsilantian announced: "The May Musical Festival to be given by the Grand Chorus of the University Musical Society of the University of Michigan. . . will be one of the greatest musical events in the history of the state. This Festival may be but the beginning of a series of such events, and is thus of more than ordinary interest."
The founders of the event University Choral Conductor Albert A. Stanley and his associates on the Board of the University Musical Society boldly billed the three concerts as the "First Annual Ann Arbor May Festival." Thus lias the Festival for 96 years been synonymous with the coming of spring.
Beginning in 1890, the Boston Symphony Orchestra came to Ann Arbor each spring for a concert in the Choral Union Series, but in the spring of 1894 it was suddenly unavailable. "Dad" Stanley, as he was affectionately called, needed another orchestra quickly for the scheduled collaboration with the University Choral Union. He setded upon another Boston ensemble, the 50piece Boston Festival Orchestra (no connection with the Boston Symphony) under Emil Mollenhauer, and, in order to make the orchestra's trip to Ann Arbor worthwhile, added two orchestral concerts to the choral concert and called it a festival. The highlight of the weekend was the Verdi Requiem, beginning the choral tradition for successive May Festivals.
The first Festival took place in the second floor auditorium of University Hall, a centrally located structure that was dedicated in 1873 and later razed in the early 1950s. Nineteen years later, in 1913, the Twentieth Annual Ma Festival found a new home in the magnificient hall named after Arthur Hill, a former regent whose bequest of $200,000
made possible its construction. The auditorium's much larger stage and backstage facilities ushered in new performance possibilities, among them the 45 years of the Festival Youth Chorus. The Youth Chorus was a group of 400 elementaryage singers selected each year from the Ann Arbor Public Schools, many of whom retain fond memories of such songs as "The Walrus and the Carpenter."
Throughout the Festival's history, only five orchestras have served in residence: the Boston Festival Orchestra, 18941904; the Chicago Symphony Orchestra, 19051935: The Philadelphia Orchestra. 19361984: the Pittsburgh Symphony Orchestra, 1985, '86, and '88: and the Gewandhaus Orchestra of Leipzig for the first time in 1987.
The Festival grew from its original three concerts in 1894 to five concerts in 1896, and then to six concerts in 1913 with the move to Hill Auditorium. The sixconcert format continued until 1967, when it reverted to a fiveconcert schedule. The present four concerts were initiated in 1973, serving the demands and balances of an increasing variety and number of other presentations during the season.
For the 96 years of the May Festival, thousands of musicians famous soloists, conductors, orchestral musicians, and chorus members have participated in the joy of creating beautiful music and sharing it with even larger numbers of concertgoers. The first president of the Musical Society, Latin scholar Dr. Henry Simmons Frieze, proposed the Society's motto, and with each passing decade it seems more relevant: "Ars longa, vita brevis."
Ihv Leipzig Connection Mbert A Slimier, father of the May Festival studied at the Leipzig Conservatory of Music for four years before coming to The I niverslty of Michigan in 1888.
,1 program reproduction from the Geiamdbaus Orchestra concert of February . 1843, 'luring which Mix Mendelssohn conducted the first Geuxmdbaus performance of bis cantata "Die erste Wtiliiirgisnttcbt."
Watercolor of the Gewandbaus by Mix Mendelssohn with Inscription to Herrielle Gmbau. a favorite Leipzig singer.
A Glimpse Into Time Past
Leipzig's Early Musical Life, from Telemann to Mendelssohn
(Excerpted from publications of the Gewandhaus Orchestra)
The Value of Tradition
For nearly 250 years, public concerts have been given regularly in Leipzig. They are called Gewandhaus Concerts, because at one time they were held in a hall of the Gewandhaus trading place of the wood and cloth drapers. But this name is more recent than the concerts. A Leipzig concert orchestra existed for about 50 years before it moved to the Gewandhaus in 1781 and became the Gewandhaus Orchestra. This long tradition would signify nothing if it did not include an excellent level of performance which has been the criterion for generation after generation. To be sure, the way leads over summits and abysses, but a great past is a lasting reminder, the high standard once established a constant spur. Those who stood at the desk of the Gewandhaus Orchestra were, and are, teachers, and the sometime pupils are the teachers of tomorrow. The conservatory at Leipzig, founded in 1843, helped to establish such traditions. Its initiator was the Gewandhaus orchestra director Felix Mendelssohn; he was also the first headmaster. The outstanding instrumentalists of the orchestra were always the instructors there.
To stand in a great tradition does not mean esteeming the old because it is old. Rather, one proves himself worthy of tradition when it is adhered to in spirit and not literally. If a tradition is to be preserved, the eyes must be directed not only backwards but also forwards, the present must found new traditions. The task of the present Gewandhaus Orchestra is to adhere to progressive traditions and to earn' them further. Origins of the Orchestra
Leipzig was a city of merchants and scholars. It was never a seat of the court, no princely privy purse aided the small budget for the Muses. However, this had its good side: the musical life here was not dependent on the caprices of a sovereign, whose
propensities and tastes could promote the cultivation of music, but could also hinder it.
The first musicians in the service of the city were the town fifeplayers. They had to play from the tower of the town hall, to furnish the church music and to perform at municipal receptions. The civic concert life in Leipzig had its roots in the town council music.
The other roots, more robust, lead to the Collegia Musica, to the amateur orchestras of the students. In the eighteenth century, Leipzig's university had a good reputation. A Gottsched and a Gellert taught here, it attracted students like Klopstock, Lessing, Goethe, Leibnitz, and Fichte. Moreover, Leipzig was a center of the book trade. It received the honorary name of "AthensonthePleisse."
The Fair around 1700 the most important in Germany brought guests from far and near. The university went along with the times. As Goethe joined the Leipzig Alma Mater, it had the reputation of a "university for dandies." Here in Leipzig, gallantly was the ideal. Riding, dancing, fencing, even gymnastics were included in the plan of instruction. Music, too, was a part of it.
The musicloving students met together in the Collegia Musica. Around TOO there were two such amateur orchestras, the one founded by Georg Philipp Telemann, the other by Johann Friedrich Fasch. One came together in the coffee houses, engaged by the businesslike cafe proprietors. For many years, Johann Sebastian Bach directed the then existing Telemann Collegium. Many of his orchestral suites were played here, if not first performed, and the "Coffee Cantata" is a polite bow before the business of the host, endowed with artistic judgment but not less greedy for profit. In reality, the first public concerts of the city are indebted to the Leipzig cafe proprietors. However, it was a mixture of evenings of lectures and music, and the external setting could hardly satisfy. 48
The Grand Concert
In 1743, a private music circle consisting of sixteen founders and sixteen players was created. The founders were partly aristocrats, partly burghers: the players, in part towncouncil musicians, in part students. Probably with reference to similar concert societies, they called themselves the "Grand Concert." However, in contrast to the soirees of the Collegia Musica, concerts were given, to begin with, before a private circle and in private chambers. But the response soon became so great that it was necessary to move into the hall of a tavern, in that of the "Three Swans" on the Briihl. The concerts took place each week in winter, every two weeks in summer. One of Bach's pupils, Johann Friedrich Doles, became the first music director of the "Grand Concert." The circle of subscribers expanded, like that of the instrumentalists. A few years after the founding, the board of directors had in service 26 musicians, several of them available for various instruments.
In 1756, the "Grand Concert" came to a sudden end. The Seven Years' War had broken out, the Prussians invaded Saxony, and immense sums as contributions were pressed out of the city. Moreover, even before the Prussians came, a wing of the "Three Swans" tavern collapsed, endangering the concert hall. The seven years of war, however, were not yet at an end when the musical life began to stir again. A certain Johann Adam Hiller in 1762 arranged public concerts, on his own account. He hud been a flute player and bass singer in the "Grand Concert," and, after the Peace of 1763 and the "Grand Concert" began again, Hiller was chosen music director. As heretofore, the concerts took place in the "Three Swans," and frequently the tavern hall could scarcely accommodate the stream of visitors. Hiller probably often urged the need of better premises.
Removal to the Gewandhaus
"Res severa est verum gaudium"
In 1780, Burgomaster Miiller introduced in the council the suggestion that an unoccupied floor in the socalled
Gewandhaus be remodeled as a concert hall. The building was the headquarters of the cloth and textile merchants. In a short time, the concert hall was completed. The city council, which financed the alteration, had not been miserly with the funds. Professor Oeser, director of the Leipzig Academy of Design, Painting and Architecture, had painted splendid allegories on the ceiling, their subject matter variously interpreted already by contemporaries. Some saw the eviction of old music through the new: others, the eviction of the uncultivated through the noble. Contemporary music outranked the earlier masters; many considered Bach's counterpoint as barbarian. The opening concert brought only works of living composers. The plan to foster excellent music was corroborated by the scroll applied on the front of the hall: "Res severa est verum gaudium." These words of the younger Seneca mean that true joy is a serious matter. They could also be translated: A serious thing creates true joy.
To hear music in this new hall must have been a genuine pleasure. Again and again its good acoustic properties were praised. For a long time one spoke in riddles about the acoustic secret of this hall. It was attributed to the fact that the relation between length, width and height correspond to the "golden section": that walls, ceiling and floor were of wood: that above, below and all round lay propitiously resonant hollow spaces; that supporting columns had been abandoned and the ceiling was allowed to be sustained by a strutframe: that nothing impeded the diffusion of sound.
With the fittingout of the new concert hall, the concert society had been newly constituted. Johann Adam Hiller, who for many years had led the "Grand Concert" in the "Three Swans," was the first to direct in the new Gewandhaus hall. At its head was a directorate of twelve members: it was seen to that trade and the learned profession corresponding to the class stratification of the city's inhabitants participated as much as possible on a footing of equality. Fixed subscriptions were the rule; tickets were only
sold publicly to travellers and visitors to the Fair. And with great gallantry, the ladies were assured that society considered it an honor "if they wished to favor the same with their presence." The length of the programs they lasted three hours usually surprises today: to be sure, there was a considerable interval included, for promenading and refreshment. On evenf evening, among others, two symphonies, one concerto, arias, and a choral number should be given. The orchestra consisted of thirty musicians. When prescribed, one of the violinists or viola players was eliminated for the kettledrums. Six councilmusicians played in this orchestra. Half of them were still students and only the remaining quarter were independent professional musicians. This remained so for a long time: even in Mendelssohn's time, a former divinity student reading for holy orders sat at the kettledrum!
These concerts came to be called "Gewandhaus Concerts" after the building in which the new concert hall was located, and they became the worldwide symbol of Leipzig musical life. [And the orchestra that plays in its new presentday concert hall its gala opening was in 1981 is called, now as then, the Gewandhaus Orchestra.
In the years 1785 to 1835. Hiller was succeeded byjohann Gottfried Schicht. Johann I'hilipp Christian Schulz, and Christian August Pohlenz. All three were excellent artisans, but were not more than that in all of them a spark of genius was lacking, indispensable for the best artistic performance. The significance of these 50 years of Gewandhaus history lies, above all, in the fact that at that time the basis was laid for a systemic cultivation of the music which was called "classical." Also, vocal music came to be in greater demand at that time. Haydn was repeatedly played. His oratorios came swiftly to Leipzig, and the performance of his Creation in the year 1800 was, as the chronicler announced, "the most significant and sublime event of that time for Leipzig." Mozart had long been neglected. In 1789, Mozart himself came to Leipzig and gave a concert in the Gewandhaus, placing two of his symphonies in the program, two piano
concertos (which he himself played) and two singing scenes. In addition, he improvised on the piano. If Mozart was only gradually accepted, for Beethoven the Gewandhaus did pioneer work. A Beethoven cult in Leipzig has actually been spoken of, and the revolutionary elan of his music was stormily applauded by the burghers. His symphonies were usually included in the Gewandhaus programs, usually within months after their premieres. Beethoven's music was so much at home in Leipzig, that the musicians, it is said, could play his symphonies even from memory. While elsewhere symphonies were considered as of secondary importance (the little virtuoso pieces were rampant), in Leipzig they were given particular importance, the central point. The high performance level of the orchestra, which stood the test of these major works, was, above all, due to the concertmaster, Karl Matthai.
A New Era Fellv Mendelssohn
When Felix Mendelssohn gave his first concert as Gewandhaus conductor on October 4, 1835, he initiated a new era in the history of the Gewandhaus. He was aware of the exacting demands made by the middleclass audience since the death of Beethoven, and his twofold responsibility to art and the listener led him to new criteria of interpretation and programming. Mendelssohn knew how to combine tradition and contemporary creations. With Beethoven's works as his foundation, he developed an approach in two directions: with his "historic concerts" he revived the music of master musicians of the past, but with just as much passion he advocated performances of his contemporaries, such as Schumann, Liszt, Berlioz, and many others. The worth} old was cultivated under Mendelssohn, works of Johann Sebastian Bach were heard in the Gewandhaus for the first time, such as the great oratorios. Today it is an established tradition that one of the Bach Passions is performed each year, at Easter. The promising new was encouraged of particular importance was the first performance of the great Cmajor Symphony
of Schubert, and naturally, Mendelssohn himself was also represented with important new works such as the Violin Concerto, Scottish Symphony, and the overture to "Ruy Bias."
With Mendelssohn, the Gewandhaus found a professionally consummate artist of human integrity and a real genius. He was a prodigy, yet no object of financial exploitation. The wealthy parents engaged an orchestra for him, and at the age of seventeen he wrote the overture to A Midsummer Sight's Dream. The most celebrated artists of the time came and went freely at the Mendelssohn home. Goethe took him to Weimar and again and again let him play for him and improvise. He was assiduous and could compose rapidly, but was nevertheless always conscientious. He was severely selfcritical; many a thing was changed five or six times. He played piano, viola, organ, and was a good singer. He had the absolute musical ear; if one tapped on a window pane, he could say which tone it gave. And when the full orchestra played, he heard when someone made a mistake. Rehearsals under Mendelssohn were severe, but stimulating. In his conducting he used not only gestures but also mimic. His fiery eye took in at a glance and dominated the entire orchestra. And the play of his features often announced the coming effect. The great conductor and Mendelssohn was one sees to it that the individual talents of his musicians are recognized and heightened to the utmost possible, within the framework of the whole and to the advantage of the whole. He was as unconceited in his conducting as lie was in his whole life; he always respected the correct carrying out of the directions for execution, adding nothing nor omitting anything. He did not interpret himself, but rather the composition.
In IH43 a plan was carried into effect which Mendelssohn for years had pressed vigorously; to found a conservatory in Leipzig. Mendelssohn served as the first director and the orchestra furnislied almost exclusively the instrumental teachers. There still prevails a mutual exchange between the Gewandhaus and the conservatory: the Gewandhaus
furnishes many teachers (often former students themselves). who develop pupils who may enter the orchestra or integrate into the community and perhaps later become teachers.
The working zeal displayed by Mendelssohn at Leipzig was astounding. The Gewandhaus management had assigned the 26yearold to a responsible post, and he did everything so as not to disappoint the confidence placed in him. Leipzig recognized its good fortune Mendelssohn had scarcely been there for a year when the university made him honorary doctor of philosophy, and later Leipzig conferred upon him the honor of freedom of the city. In April 184"". Mendelssohn gave his last concert in Leipzig. Severe overwork, both mental and physical, combined with the shock of his sister Fanny's sudden death in May. led to his own death in October of that year.
A favorite maxim of Mendelssohn's "Life and art are but one thing" permeated the Mendelssohn Festival held in 1972 on the occasion of the 125th anniversary of the great musician's death. The highlight of the Festival was Die erste Walpurgisnacht, performed in the Leipzig Opera House by the Gewandhaus under the direction of Kurt Masur.
Since Mendelssohn's days, the most outstanding musicians have been welcomed in Leipzig, adding to the international renown that the Gewandhaus had built up as a center of musical culture. Arthur Nikisch, conductor of the Gewandhaus from 1895 to 1922, led the orchestra for the first time abroad to Switzerland in 1916. His successors, Wilhelm Furtwiingler and Bruno Walter, continued these tours, but Hitler's rise to power brought this to an abrupt end. It was not until Franz Konwltschny was appointed Gewandhaus conductor in 1949 that the orchestra regained world renown through its annual tours since 1951.
Announcing The University Musical Society's 1989 1990 Season
111th Annual Choral Union Series Hill Auditorium
Sunday, Oct. 1, 4:00 p.m.
Detroit Symphony Orchestra Gunther Herbig, conductor James Galway, flutist
Thursday, Oct. 12, 8:00 p.m.
Atlanta Symphony Orchestra Yoel Levi, conductor Joshua Bell, violinist
Friday, Oct. 27, 8:00 p.m. Pinchas Zukerman, violinist Marc Neikrug, pianist
Thursday, Nov. 2, 8:00 p.m. Orchestre de la Suisse Romande Armin Jordan, conductor Martha Argerich, pianist
Monday, Nov. 27, 8:00 p.m. Samuel Ramey, bass
Wednesday, Feb. 7, 8:00 p.m.
Warsaw Philharmonic Kazimierz Kord, conductor Zoltan Kocsis, pianist
Friday, Mar. 9, 8:00 p.m.
Maurizio Pollini, pianist
Saturday, Mar. 17, 8:00 p.m.
Moscow Philharmonic Orchestra Dmitri Kitaenko, conductor Vladimir Viardo, pianist
Sunday, Mar. 25, 8:00 p.m.
Baltimore Symphony Orchestra David Zinman, conductor Isaac Stern, violinist
Saturday, Apr. 14, 8:00 p.m.
Murray Perahia, pianist
Chamber Music Overture
Saturday, Oct. 7, 8:00 p.m. Guarneri String Quartet
27th Annual Chamber Arts Series Rackham Auditorium
Sunday. Oct. 15. 8:00 p.m.
Sunday, Oct. 22, 4:00 p.m.
Vienna Chamber Philharmonic Claudius Traunfellner, conductor Nigel Kennedy, iolinist
Monday, Nov. 6, 8:00 p.m.
Kazuhito Yamashiia, guitarist
Monday, Dec. 11, 8:00 p.m.
Aulos Ensemble
Friday. Feb. 16, 8:00 p.m.
Stuttgart Chamber Orchestra Leon Fleisher, conductor John O'Conor, pianist
Sunday, Feb. 25, 4:00 p.m.
Borodin String Quartet
Wednesday. Mar. 21, 8:00 p.m.
Thomas Allen, baritone
Sunday, Apr. 22, 4:00 p.m.
Concerto Soloists of Philadelphia Marc Mostovov, conductor
19th Annual Choice Series Power Center and Hill Auditorium
Saturday, Oct. 28, 8:00 p.m.
Power Center
New England Ragtime Ensemble
Gunther Schuller, director
Saturday, Dec. 2, 8:00 p.m.
Sunday, Dec 3, 2:00 p.m. Hill Auditorium Handel's "Messiah" University Choral Union Donald Bryant, conductor
Sunday, Jan. 14, 8:00 p.m.
Hill Auditorium
"Tribute Concert to Donald Bryant"
Friday, Jan. 26, 8:00 p.m.
Saturday, Jan. 27, 8:00 p.m.
Power Center
Wednesday, Jan. 31, 8:00 p.m.
Hill Auditorium
Hungarian State Folk Ensemble
Saturday, Feb. 3, 8:00 p.m.
Hill Auditorium
St. Olaf Choir
Kenneth Jennings, director
Saturday, Feb. 17, 8:00 p.m.
Sunday, Feb. 18, 2:00 & 8:00 p.m. Power Center
New York City Opera National Company Puccini's "La Boheme"
Friday, Mar. 16, 8:00 p.m.
Power Center
Modern Dance Festival Final Concert
Sunday, Apr. 1, 8:00 p.m.
Hill Auditorium
Academy of St. MartinintheFields
Iona Brown, violinist and director
Wednesday, Apr. 4, 8:00 p.m.
Thursday, Apr. 5, 8:00 p.m. Power Center The Feld Ballet
Saturday, Apr. 7, 8:00 p.m. Power Center Jim Cullum Jazz Band William Warfield, narrator
Saturday, Apr. 28, 8:00 p.m.
Hill Auditorium The King's Singers
Series Tickets Available!
CALL (313) 7642538
Michigan MozartFest
Mozart's Fortepiano Concertos: A Festival & Symposium
November 1619,1989
The Rackham Building Ann Arbor, Michigan
For four days in November, Ann Arbor, Michigan will host a unique musical event.
Roger Norrington, one of the major forces in today's music world, and the Mozart Festival Orchestra: Ars Musica and Guests will collaborate with eleven of Americas finest fortepianists: Malcolm Bilson, Scth and Maryse Carlin, Penelope Crawford, Kenneth Drake, John Gibbons, Robert Levin, Steven l.uhin. David Schrader, Eckart Sellheim, and Leslie Tung to perform ten of Mozart's piano concertos on the instruments for which they were written. In conjunction with these concerts, an internationallyrenowned panel of scholars and performers will explore the concertos and their musical and cultural context.
This historic oneofakind occasion will be alive with things to inform and delight the senses: Baroque and Classical dance demonstrations, an informal preconcert talk, exhibits and demonstrations of period and reproduction instruments, opportunities to meet and talk with the artists, an 18thcentury art exhibition, music manuscript exhibits, food, and chamber music.
Whether you come for the concerts, the symposium, or for the whole festival experience, this is an event you won't want to miss!
Thank You Encore!
The University Musical Society gratefully acknowledges the following members of ENCORE, as well as those who prefer to remain anonymous, whose generous contributions make it possible for the Musical Society to present the finest concert artists and international presentations. ENCORE support makes the vital difference to the Musical Society and ultimately benefits the entire Ann Arbor community. This listing of names includes contributions recorded from January 1, 1988 to April 1, 1989.
Bravo Society
Ford Motor Company Fund Great Lakes Bancorp Plvmouih Hark
Concert master
KMS Industries Unisys Corporation VamerLambertParke Davis
[Kkcma Cosset! Shearson Lehman Mutton
First of American Bank Ann Arhor (lilni.iii Sciences. Inc. Touche Ross & Company
Adislra Corporation Borders Book Shop The Edward Surovell Company.
Jacobson Stores, Inc Kaepa
Moveahlc Feast Charles Rcinhart Company Scientific Brake and Equipment
Body Works Fitness Studio
Campus Inn
Comerica Bank Ann Arbor
Edwards Brolhers. Inc
Kings Keyboard House
Liberty Music Shop
The Old German Restaurant
Schoolkids Records and Tapes. Inc.
Stale Street Association
Washington Street Station
Garris, (iarris. and Garris Johnson. Johnson & Roy. Inc RohisonBahnmiller. Inc Seva Restaurant and Market
Ann Arbor Convention and Visitors
Bureau Minnesota Mining and Manufacturing
Foundation The AAIM Book Review Group
Matching Gift Companies
3M Company
ADP Network
American Telephone and Telegraph
Aetna Life and Casualty. Inc.
Allied Foundation
Amax Foundation. Inc
Arthur Andersen and Company
Bechlel Foundation
The Bendix Foundation
Blount Foundation
Boersnia Travel
Burroughs Corporation
Chrysler Corporation Fund
Dana Corporation Foundation
Deloitte, Haskins and Sells Foundation
The Detroit Edison
Dow Chemical Company
Eaton Corporation
Equitable Life Assurance Society First Bank System Foundation Ford Motor Company Fund Gannett Foundation General Telephone and Electronic General Foods Corporation Gulf and Western Foundation Honeywell, Inc. Hoover Universal, Inc. HoughlonMifllin Company Howmet Turbine Components
Corporation ISI Corporation Johnson Controls Foundation K Mart Corporation Kellogg Company LibbyOwens Ford Company Maccabees Life Insurance
Company The Manufacturers Life Insurance
Massachusetts Mutual Life The May Stores Foundation, Inc. McGrawHill Foundation. Inc. The Merck Company Michigan Bell Telephone Company Motorola Foundation Charles Stewart Mott Foundation National Bank of Detroil New York Times Company Northern Telecom, Inc. Northwestern Mutual Life PrenHall Foundation. Inc. Procter and Gamble Scientific Brake & Equipment
Scott Paper Company Foundation Sybron Corporation Texas Instruments Foundation Trinova Corporation United Technologies Corporation WarnerLambertParke Davis
Company I
Waste Management, Inc. The Xerox Foundation
Memorials and Bequests
Wilbur Ahonen
Gencvieve Mummery Baker
Donald M. Baker
John W Bean
Mrs. Hedy B. Berger
Hope II. Bloomer
Roscoe 0. and Lillian Bonisteel
Dr. Gordon C. Brown
Mice Kelsey Dunn
Hedi Ekstein
Fanni Epstein
Robert S Feldman
Carl Fischer
Gerald J. Fischer
Florence Fuller
Letitia N. Garner
Letilia Gilbert
Vera T. Goldring
Florence P Griffin
Clare Griffen
Dr. Paul Hogg
George R. llunsche
Hazel Mill Hum
Mela Clara Jewell
Thor Johnson
Jean Kennedy
George Michael Landcs
Frances Gill Logan
Mr. and Mrs. Alfred Lovell
Belty S. Lovell
Doris L. Luecke
Frederick C. Maithaei. Sr.
F. Janies McCollum
Lesler McCoy
Glenn D. McGeoch
Vaden W. Miles
Eugene Ormandy
Sarah Goddard Power
Gwen and Emerson Powrie
Dr. Joseph Presion
George S. Quick, Jr.
Steffi Reiss
Percy and Elisabeth Richardson
Jindrich Rohan
Bernard J. Rowan
Dr. Richard C. Schneider
Mrs. Arthur W. Smith
Elizabeth Schieck Soop
Robert Spicer
Mark C. Stevens
Mischa Titiev
Dur Vener
lone E. Wagner
Robert J. Wayne
Mr. and Mrs. James French Wilson
The Artists Sustaining Fund
We recognize here contributions
from noted and generous musicians whose gifts will help sustain the high quality of our concert performances, as uvll as those artists who wish to remain anonymous
Agustin Anievas John Browning David Bruheck Van Cliburn Alicia de Larrocha Philippe Enlrcmont Rudolf Firkusny Maureen Forrester Zino Francescatti Claude Frank Il.r.r.Mi.i Harold and Anne ll.ui;:h Eugene Islomin Ruth Laredo Shigeml MaBumoto Yehudi Menuhin Carlos Monloya Zara Nelsova Garrick Ohlsson Jon Kunui'.i Parker Gail W. Rector Cesare Siepi Henryk Szeryng William Wailnlil Pinchas Zukerman
Bravo Society
Mr. and Mrs. Carl Brauer. Jr. Mr. Dennis Dahlnunn Mr and Mrs. Peter M. Heydon Mr and Mrs. Howard S Holmes Mi.ihcili E. Kennedy Mr. and Mrs. William C. Martin The Power Foundation Mrs Louise G. Raphael Dr. and Mrs Harry A. Towsley Ronald and Eileen Weiser with McKinley Associates. Inc.
Richard S. Berger
Dr. and Mrs Richard David Judge
Mr. and Mrs. John C. Slegeman
1987 May Festttal nbmrsal Kurt Slasur ami Donald Bryant.
Dr. and Mrs. James Botsfurd Margaret and Douglas Crary Mr and Mrs. Thomas C. Evans Marilyn and Dale Fosdick Sue and Carl Singles Mr and Mrs Roger E. Maugh Mr. and Mrs. David Simmons Carol and In Smokier
Dr. and Mrs. Robert G. Aldrich
Mr. P.E. Bennett
Mr. and Mrs John Alden Clark
William and Ellen Conlin
Mr. and Mrs. John F Daly
Mr. and Mrs. S.M. Farhat
MR. and Mrs. Gerald Fischer
Ken, Penny, and Matt Fischer
Mr. and Mrs. Edward H. Frohlich
Mr. and Mrs. Edward Gilbert
Mr. and Mrs. Brillon L Gordon
Harold and Anne Ilaugh
Mr. and Mrs. Arthur G. Homer
Sarah Kalherine Hoyt
Mr and Mrs William Judson Johnson
Benard L. Maas Foundation
Mr and Mrs. Paul W. McCracken
Mrs. Glenn D. McGeoch
William and Joan Olscn
Mr. and Mrs. William B. Palmer
Dr and Mrs. Michael Papo
Mr. and Mrs Wilbur K. Pierpont
Mr and Mrs. Gail W. Rector
Mr and Mrs. John W. Reed
Twink Rottschafer
Gary and Carren Sandall
Mr and Mrs. Richard Sarns
Mr. Raynold A. Schmick
Dr. and Mrs. Herbert Sloan
Dr and Mrs. E. Thurston Thieme
Robert R. Tisch
Dr. and Mrs. Francis V. Viola. Ill
Mr and Mrs Theodor R. Von
Volghtlander Liz and Paul Yhouse Mr. and Mrs. R. Roger Zauel
Dr. and Mrs. Gerald Abrams
Chris Boyle
Dr and Mrs. Robert G. Ause
Bradford and Lydia Bates
Steve Binder
Man Steffek Blaske and Thomas
Mr and Mrs. W.M. Blumenlhal John II. and Barbara E Bryant Daniel T. Carroll Dr. and Mrs. Kenneth L. Casey Don and Bells Chisholm Mr. and Mrs. David S. Clyde Cynthia and Jeffrey Colton
Mr.Jon C. Cosovich
Ray and Eleanor Cross
Marnee and John DeVine
Roland and Diane Drayson
Jim and Anne Dudersladl
Mr and Mrs. Arthur W Ehrlicher
David and Lynn Engelbert
Dr. and Mrs. Stewart Epstein
Mr John W. Etsweiler. Ill
John and Esther Floyd
Dr. and Mrs William L. Fox
Claire S. Fransway
Arthur B French
Olto and Lourdes Gago
Elmer Gilbert and Lois Verbrugge
William and Ruth Gilkey
Mr and Mrs. Fred M. Ginsberg
Paul and Anne Glendon
Mr. and Mrs. R. Eugene Goodson
Vivian and Norman Gottlieb
Dorothy Greenwald
Carl E. and Julia H. Guldberg
Mr. and Mrs. Elmer Hamel
?Mrs. Robert Hamilton
Dr. and Mrs. Verne L. Hoshal. Jr.
Mr. and Mrs. Robert M. Howe
Professor Leon E. Irish and Reverend
Carolyn T. Irish James R Invin Gretchen and John Jackson Edith Staebler Kempf Houard King and Elizabeth Sayre Dr. and Mrs. Charles J. Krause Jack and Roberta Lapides Dr. Dean S. Louis Mr. and Mrs. Carl J. Lutkehaus. Jr. John and Cheryl MacKrell Richard and Elizabeth McLean Dr. and Mrs. Louis W. Meeks Barry Miller
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Dr. and Mrs Rudolph E. Reichert. Jr Dr. and Mrs. MelvinJ. Reinhart William and Katherine Rihbens Dr. Harry J. and Donna T Richler Dr. and Mrs. Amnon Rosenlhal Mr Peter C. Schaberg Professor Thomas J. and Ann Sneed
Mrs. Charles A. Sink Mrs. James H Spencer Mr. and Mrs. John D Stoner Mr. and Mrs. Herbert II. Upton, Jr. Jerrold G. I'tsler Mary and Ron Vanden Belt Mr and Mrs. Marc R. von Wyss Dr. and Mrs. Andrew S. Watson Dr. and Mrs. Jerry A. Weisbach Robert F and Marina V.N Whitman
Armand and Marilyn Abramson
Bonnie and Gardner Ackley
Kennelh and Carol Adams
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Dr. and Mrs. Peler Aliferis
Melanie C. Alletveli
Mr and Mrs. George E Amendt
Herb and Carol Amsier
David and Joan Anderson
David J Andrea
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Karen and Karl Bartscht
Mr. and Mrs. Raymond 0 Bassler
Janice and Charles Beck
Mr Neal T. Bedford
Harry and Elizabeth Benford
Dr. and Mrs Rodney R. Bent
Dr. and Mrs Gerald Berlin
Raymond and Janet Bernreuter
Mr. and Mrs. Philip Bern
Suzanne A. and Frederick J Beutler
Mr. Hilhert Beyer
Linda and Maurice Binkow
Mr. Yisvaldis Biss
Joan and Will Boddie
Ralph 0. Boehnke
Charles and Linda Borgsdorf
Mr. and Mrs. .Allen P. Brinon
David and Sharon Brooks
Hugh C and Ella M. Brown
Mr and Mrs. Lawrence L. Bullen
Marjorie H. Burnell
Mrs Wellington R Bun
Mr. and Mrs. William P Buxton
Jean W Campbell
Bruce and Jean Carlson
Dr. Michael I. Casher
Mr. and Mrs. Tsun Chang
Mr. and Mrs. Raymond S. Chase
Dr. and Mrs. George Chaias
Jean Chenoweth
Mr. and Mrs. Adam A. Christman
Pal Clapper
Maurice and Margo Cohen
Mr. Kenneth Collinson
Wayne and Melinda Colquitt
Mr. and Mrs. Gordon A Comfort
Mr. R.C. Conger
Mr. and Mrs. Gage R. Cooper
H. Richard and Florence Crane
Mr and Mrs Horace W Davenport
Mr and Mrs. John B. Davies
Ronald and Dolores Dawson
Russell N. and Madge A. Dcjong
Ellwood and Michele Derr
Dr. and Mrs Preston Dilts. Jr
John and Alice Dobson
Dr. and Mrs. Edward F Domino
Jim and Anne Duderstadl
Mr and Mrs. Robert S Dunham
Charles and Dorothy Dyhvig
Mrs Robert C. Elderfield
Mr. and Mrs. Emil E Engcl
I)r and Mrs Stefan S. Fajans
Sidney and Jean Fine
Mr and Mrs. Rohben Fleming
Dr and Mrs George Ford
Mr and Mrs. George II Forsyth, Jr.
Doris and Hal Foss
Phyllis Foster
Mr and Mrs. Howard P. Fox
Michael S. and Sara B. Frank
Deborah and Ronald Freedman
Dr. and Mrs. David Noel Freedman
Ban and Fran Frueh
Mr and Mrs. Victor Gallatin
Wood and Rosemary Geisl
Henry and Beverly Gershowitz
Thelma Y. Gies
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Robert Glasgow
Dr. Alexander Gotz
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Jerry and Mary K. Gray
Professor and Mrs. Whitmore Gray
Mr. and Mrs. Don Gresch
Mr. and Mrs John R. Griffith
Dr. Robert A Gross and Marsha
P. Deters
Helen and George Hackett Mr and Mrs George N. Hall Mr. L.T. Harbeck Robert and Susan Harris Paul Hysen and Jeanne Harrison Clifford and Alice Hart Dr. and Mrs. llarlan Hatcher Robert and Sherry Hatcher Mr. and Mrs Douglas A Hayes F.dward F. and Judith Heekin Bruce Henry
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Mr. and Mrs. Jerome R. Koupal
Jean and Alan Krisch
Mr. and Mrs Leo Kulka
Dr. and Mrs James Labes
Mr. and Mrs. Lee E. Landes
Mae and Arthur l.anski
Mr. and Mrs Henry M. Lapea
Dorolhy and John Lapp
Ms. Olya K. Lash
Neal and Anne Laurence
John K. Lawrence
Professor and Mrs. John C. Lee
Leo and Kris Legatski
Mr and Mrs. Fernando Leon
Professor and Mrs. Harold M.
Mr. and Mrs. Richard C. Lewis l)r and Mrs Paul R. Lichler W.C. and C.R. Lighlhall Dr. Harold J. Locked Lawrence and Rebecca Lohr Ronald S. Longhofer and Ellen Dennis Pamela and Robert Ludolph Lawrence N. Lup Mr. Florian A Lux Edward and Barbara Lynn Paul and Brigitic Maassen Alan and (.aria Mandel James It. and Ingrid K. Martin Joanne and Jack Martin Margaret and Harris McClamroch Mr. and Mrs. John McCollum Mr. and Mrs W. Bruce McCuaig Eileen Mclntosh and Charles
Mr. and Mrs. Robert E Meredith Alan and Sally Merten Mrs. Vaden W. Miles Dr. and Mrs. II. Dean Millard George andjacquelyn Miller Mr. and Mrs Cruse W. Moss Dr. and Mrs. M. Haskell Newman Virginia and Cordon Nordhy Mr. T. Robert O'Brien Dr. and Mrs. FrederickC. ODell. Jr. Mr. and Mrs. David W. Osier Nuin and I'ma Pandit Helen and George I'apageorgiou Colonel and Mrs. Clare Passink Owen Z. Pcrlman, MI). Mrs. Palsy C. Peterson Mr. and Mrs. ilium J. Pierce Mr. and Mrs Richard A. Place Maj. Gen. and Mrs. Robert R. Ploger Eleanor and Peler Pollack Roger and Cynthia Postmus Lawrence and Ann Preuss Mr. and Mrs. Vi illiani II. Price. Jr. Mr. and Mrs Millard II. Pryor Leland and Elizabeth Quackenhush I)r and Mrs. Gardner C. Quarion Hugo and Sharon Quiro. Michael J. and Helen Radock Dr. Richard I). Remington Mr. and Mrs Duane Renken
Mr. and Mrs. William I). Revelli
Mr. and Mrs. II Robert Reynolds
Jack and Margaret Rickctis
Ranny and John Riecker
Mr and Mrs. Stephen J. Rogers
Mrs. Bernard J. Rowan
Mr. Johnalhan Rubin and Ms. Gretta
Mr. and Mrs. William Ruzicka Mr. and Mrs. Harold Y. Sakoda Dr. and Mrs. David W. Schmidt Mr. and Mrs. Mark Schmidt Courtland and liiiy Schmidt Dr and Mrs. Charles R. Schmitter. Jr. Carl and Charlene Schmult Mrs. Richard Schneider Rosalie and David Schottenfeld Victoria and John Sheagren Mr and Mrs. Robert Smith Mr. and Mrs. Carl R. Smith E. Uoyd and Theodore J. St. Antione Neil and Burnctte Staebler Professorand Mrs. Chester (!. Starr Miriam Stephan Kenneth R. Stephan. Victor and Marlene Stocffler Dr. and Mrs. Stanley Strasius Dr. and Mrs Jeofirey K Stross James R. and Jeraldine M. Suits Mi and Mrs. J. Wilner Sundelson Maya Savarino and Raymond Tamer Mary I). Teal
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Dr and Mrs. Sherwood B Window Mr and Mrs. Mark Wolcoll Im and Maggie Wolin Colonel Ernest and Mrs. Irene
Mr. and Mrs. AC. Wooll Stan and Pris Woollams Charles R. and Jean L Wright Donald W Wyche Mr. and Mrs Edwin II Young Jack and Marilyn van der Velde
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Dr. and Mrs. Alberto Angustla
Catherine S. Arcure
Mr. and Mrs. William E. Austin, Jr.
Dean and Virginia Baker
Jean and (iaylord Baker
MA. Baranowski
Dr. Ruth M. Barnard
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Mr. Donald C Barnette, Jr.
Dr. and Mrs. Jere M Bauer
Krik W. Melander and Janet K.
Baum. Ml)
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Mr and Mrs. Robert Damschroder Jane and Gawaine Dart Dr. and Mrs Charles Davenport Mr. and Mrs. Arthur Davidge Mr. James A. Davies Robert and Barbara Ream Debrodt Kcrol and IIT. Decker James M. Deimcn Nicholas and Elena Dclhanco Ms Mildred F. Denecke Benning and Elizabeth Dexter Bob and Linda Diebold. Jr. Haul and Constance Dimond Mr. and Mrs William T. Dobson Carol and DLxon Doll Mrs. Carl T. Doman Ruth l. DonRichard and Ann Dougherty Allan and Cecilia Dreyfuss Ivan and Bern Anne Duff Duane F. Dunlap and Laura M.
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Helen Gay
Thomas and Rarhara Gelehrtcr
W. Scon Gerstenberger and Blizabelh
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Mr. and Mrs. Joseph J. Kokoszka
LaiCheng Kong
Masaio and Koko Koreeda
Ann Marie Kotre
Mr. and Mrs. Samuel Krimm
Barbara and Michael Kusislo
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Jerry and Hope Labella
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Jeffrey G. Lamperl. M.D.
Dr. Donald and Lois Largo
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Dr. Robert M. Leitch
Dr. and Mr. Allen S. Lichter
W.C. and C.R. Lighthall
HsiYen Liu
Ms. Naomi E. Lohr
Mr. and Mrs. Richard S. Lord
Lawrence and Susan Loucka
Dr. Robert G. Lovell
Dr. and Mrs. Charles P. Lucas
Mark Mahlberg
Mr. and Mrs. John H. Mahler
Claire and Richard Marvin
Mr. and Mrs. Melvin Manis
Dr. and Mrs. Edwin L. Marcus
Margaret 0. Massialas
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W. Joseph McCune and Georgiana M.
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Mr. and Mrs. Douglas E. Peck Charles and Lorraine Phillips Mr. and Mrs. Frederick R. Pickard Ms. Sharon McKay Pignanelli Robert and Man Pralt Mrs. J. D. Prendergasl Ernst Pulgram
Mr. and Mrs. Robert H. Rxsmussen Nanette Rauba
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Darryl Richardson
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Harry A. Rommel
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in, Monica and David Schleingart
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Ju Lin Wei
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Whiteside. Ill
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Nancy llouk
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Russell Jenter
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Mr and Mrs. John Johnson
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Man B. Kahn
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Man 1.. Kemme
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llorst and Lottie Kesner
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1'! KUrt.Mmilr
Photo courtesy of the Ann Arbor News
John and Nancy Mason
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George and Elise Yellin
Pal Yohey
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Professor and Mrs. John Young
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Dr. and Mrs. George D. Zuidema
The University Musical Society gratefully acknowledges:
Great Lakes Bancorp for partial underwriting of the 1988 "Messiah" concerts.
The Ford Motor Company for the use of a Lincoln Town Car during the 198889 season.
SKR Classical for partial underwriting of music scores for Festival Chorus.
Dick Dunn receiving tin auurd recognizing bis 30 years of senicefrom Ken Fischer, IMS BoardPresident John Reedami head usher Bob Prall
Special recognition and thanks to the following IMS ushers with 10 or more years of service:
Andrew Anderson
Rosemary Lewis
Norman Mclver
Ann Munster
and Dick Dunn for 30 years
of service!
Special thanks to:
Afternoon Delight
Robert and Judy Dow Alexander
Ann Arbor Convention and Visitors
Ann Arhor Inn
Bell Tower Hotel
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Jean Campbell
Campus Inn
Dascola Barbers
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Carole Flax Segall
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Kroger Company at Washtenaw
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Ternp Linden
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(ierlinda Melchiori
Wilbur I'ierpont
Main Street Area Association
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Marty's Men's Wear
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Mrs. Valerie 1). Meyer
Hubert Rast
Maya Savarino
David Smith
State Street Area Association
Lois Stegeman
Edward 1). SuroveO
Raymond Tanter
Scolt Terrill and Oxford
Conference Center
Tom Thompson
Board of Directors
John W. Reed. President David B. Kennedy. Vice President Thomas K Kauper. Secretary Norman (I. Herbert, Treasurer
Robert G. Aldrich James J. Dudersiadl Richard L. Kennedy Patrick B. Long Judylhe R. Maugh John D. Paul John Psarouthakis Ann S. Schriber Herbert E. Sloan
Advisor)' Committee
Ann S. Schriher. Chairman
Catherine Arcure Charles Borgsdorf Barbara Bryant Bradley Canale Sandra Connellan Katharine Cosovich Elena Ddbmco Anne Duderstadt Judy Fry liunn (iars.iiii Joyce Ginsberg Anne Glendon Charles Hills Stuart Isaac Janet Jeffries Frances Jelinek Shirley Kauper Howard King Lynn Luckenbach Carl Lutkehaus Alan Mandel Ingrid Martin Charlotte McGeoch Joan Olsen Agnes Reading Dorothy Reed Sally Rogers Alice Vining Raven Wallace Man White Sally White Shellv Williams
University Choral Union and Festival Chorus
Donald T Bryant Stephen L. Bryant Nancy Hodge Seal Kurz
Kenneth C. Fischer, Executive Director
Sally A. Cushing Administrative Assistant
Leilani Denison
Box Office Coordinator
Barbara L. Ferguson
Program Editor
Michael I. Gowing
flax Office Administrator
Michael Kondziolka
Promotion and Production
Matthew Levy
flax Office Coordinator
William Orr
Computer Systems Specialist
Laura Rosenberg
Artistic Advisorl
Director Special Projects
Robin Slephenson Drenl,
Promotion Director
Pamela S. Teeple.
Development Assistant
Carol G. Wargelin. Artistic
Administrator:Concert Production
Lorna J. Young,
Development Assistant
Students Assistants:
Sara Billmann Michcle Muslcrt Susan Karen Paradis
Annette Sievert Clare Slollak Trevor Young
Graphic Design: by Margot Campos Printed bv White Pine Inc.
Scenes from the University Musical Society 8889 Season
Congratulations to the University Musical Society
for its surpassing excellence in
preserving and enriching our appreciation
of the world's great musical heritage.
We know the value of performance. Because at
ParkeDavis we strive every day to perfect our
talents. And that's why some of the most enduring
contributions are coming out of the pharmaceutical
laboratories of ParkeDavis in Ann Arbor.
Together we can keep our community working and growing in close harmony.
Friday, April 28,1989
Please note the following change in this evening's performance:
Siegfried Jerusalem, tenor, replaces Vinson Cole in this performance of Mendelssohn's Die erste Walpurgisnacht
Siegfried Jerusalem, a native of Oberhausen, Germany, began as a bassoonist, but his singing career soon gained preeminence. By 1976 he was singing Lohengrin in Darmstadt and Aachen, and in 1977 he made his Bayreuth Festival debut as Froh, with subsequent appearances there as Lohengrin, Parsifal, and Walther in Die Meistersinger. Last summer, Mr. Jerusalem did his first young Siegfried in Bayreuth and this year portrays the tragic hero in Gotterdanvnening. 1978 saw his debut with Berlin's Deutsche Oper, and he is now its leading tenor. He has also sung at the Vienna State Opera, La Scala, Covent Garden, and at the Paris and Stuttgart houses. In addition to his Wagnerian portrayals, he has performed leading roles in Die Zauberflote, Fidelio, Eugene Onegin, Tales of Hoffmann, Der Freischittz, Korngold's Vwlanta, and Penderecki's Paradise Lost.
Mr. Jerusalem bowed at New York's Metropolitan Opera House in 1980 as Lohengrin. He returned in 1987 to do Loge in Das Rheingold and is currently singing that role at the Metropolitan. Earlier in the season he performed Mozart's Idomeneo, and his young Siegfried is scheduled for the Metropolitan's 1990 "Ring" cycle.
Siegfried Jerusalem has collaborated with such eminent conductors as Kurt Masur, Georg Solti, Carlo Maria Giulini, Seiji Ozawa, Claudio Abbado, and Wolfgang Sawallisch. In addition to his operatic performances, Mr. Jerusalem has sung on the world's concert stages in works that include Beethoven's Ninth Symphony and Missa Solemnis, Mahler's Eighth Symphony and Das Lied von der Erde, the Requiems of Verdi and Berlioz, Strauss's Die agyptische Helena, Bruckner's Mass in f minor and Te Deum, and Dvorak's Stabat Mater.
Mr. Jerusalem's recordings are found on the Ariola, EMI, Decca, Philips, and Eurodisc labels. His appearance this evening marks his Ann Arbor debut.
Please retain your program booklet for all subsequent May Festival performances. Thank you.

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