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UMS Concert Program, Friday Nov. 04 To 13: University Musical Society: 1994-1995 Fall - Friday Nov. 04 To 13 --

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University Musical Society
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Season: 1994-1995 Fall
The University Of Michigan, Ann Arbor

University Mtuicml Society
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Dear UMS Patrons,
Thank you very much for attending this event and for supporting the work of the University Musical Society. By the time this 1994-95 season comes to a close in May, the UMS will have brought to the community 65 performances featuring many of the world's finest artists and ensembles. In addition, the UMS will have sponsored more than 100 educational events aimed at enhancing the community's understanding and appreciation of the performing arts. Your support makes all of this possible, and we are grateful to you.
My colleagues throughout the country are continually amazed at how a midwest community of
110.000 can support the number and quality of performances that the UMS brings to Ann Arbor. They
want to know how we do it. and I'm proud to tell them. Here's what I say:
First, and most important, the people of Ann Arbor and the surrounding region provide great support for what we do by attending events in large numbers and by providing generous financial support through gifts to the UMS. And, according to our artists, they are among the most informed, engaged, and appreciative audiences in the country.
It has been the tradition of the University Musical Society since its founding in 1879 to bring the greatest artists in the world to Ann Arbor, and that tradition continues today. Our patrons expect the best, and that's what we seek to offer them.
Many years ago enlightened leaders of both the University of Michigan and the University Musical Society determined that the UMS could best serve the community it the UMS had a measure of artistic and financial independence from the University. While the UMS is proudly affiliated with the University, is housed on the campus, and collaborates regularly with many University units, it is a separate not-for-profit organization with its own Board of Directors and supports itself solely from ticket sales, other earned income, and grants and contributions. This kind of relationship between a presenting organization and its host institution is highly unusual, but it has contributed significantly to our being able to be creative, bold, and entrepreneurial in bringing the best to Ann Arbor.
The quality of our concert halls means that artists love to perform here and are eager to accept return engagements. Where else in the U.S. can Yo-Yo Ma. James Galway, Kathleen Battle, Itzhak Periman, or Cecilia Bartoli perform a rfecital before 4,300 people and know that their pianissimos can be heard unamplified by everyone
Our talented, diverse, and dedicated Board of Directors, drawn from both the University and the regional community, provides outstanding leadership for the UMS. The 200-voice Choral Union, 35-mernber Advisory Committee. 275-member usher corps, and hundreds of other volunteers contribute thousands of hours to the UMS each year and provide critical services that we could not afford otherwise.
Finally. I've got a wonderful group of hard-working staff colleagues who love the Musical Society and love their work. Bringing the best to you brings out the best in them.
Thanks again for coming. And let me hear from you if you have any complaints, suggestions, etc. Look for me in the lobby or give me a call at (313) 747-1174.
Thank You Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the companies whose support ofUMS through their major corporate underwriting reflects their position as leaders in the Southeastern Michigan business community.
Their generous support provides a solid base from which we are better able to present outstanding perfor?mances for the varied audiences of this part of the state.
We are proud to be , associated with these companies. Their significant participation in our underwriting program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the Musical Society and for the help they provide to serve you, our audience, better.
Kenneth C. Fischer Executive Director
University Musical Society
A Salute To Our Corporate Angels . .
James W. Anderson, Jr. President, The Anderson Associates Realtors
"The arts represent the bountiful fruits of our many rich cultures, which should be shared with everyone in our community, especially our youth. The UMS is to be commended for the wealth of diverse talent they bring to us each year. We are pleased to support their significant efforts."
Carl A. Brauer, Jr.,
Brauer Investment
"Music is a gift from God to enrich our lives. Therefore, 1 enthusiastically support the University Musical Society in bringing great music to our community."
Chelsea Milling Company
Howard S. Holmes
President Chelsea Milling Company
"The Ann Arbor area is very fortunate to have the most enjoyable and outstanding musical entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep this activity alive."
Joseph Curtin and Greg Alf Owners, Curtin & Alf
"Curtin & Alfs support of the University Musical Society is both a privilege and an honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural opportunities set new standards of excellence across the land."
Donald M. Vuchetich, President
Detroit & Canada Tunnel Corporation
"The Detroit and Canada Tunnel Corporation is proud to be a partner with the University of Michigan Musical Society in their success of bringing such high quality performances to the Southeast Michigan region."
Douglas D. Freeth
First of America
Bank-Ann Arbor
"We are proud to help sponsor this major cultural group in our community which perpetuates the wonderful May Festival."
A Salute To Our Corporate Angels...
Conlin -Faber Travel
L. Thomas Conlin
Chairman of the Board and Chief Executive OfficerConlin-Faber Travel
"The University Musical Society has always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commitment to excellence."
William E. Odom
Ford Motor Credil
"The people of Ford Credit are very proud of our continuing association with the University Musical Society. The Society's long-established commit?ment to Artistic Excellence not only benefits all of Southeast Michigan, but more importantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
Alex Trotman
Chairman. Chief Executive Officer Ford Motor Company
"Ford takes particular pride in our longstanding associa?tion with the University Musical Society, its concerts, and the educational programs that contribute so much to Southeastern Michigan. The Society's May Festival, now entering its second century, has become one of our region's major assets, and last year, we were pleased to underwrite its centenary."
Robert J. Delonis
President and Chief Executive Officer Great Lakes Bancorp
"As a long-standing member of the Ann Arbor community, Great Lakes Bancorp and the University Musical Society share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
John Psarouthakis Ph.D.
Chairman and Chief Executive Officer JPEinc.
"Our community is enriched by the University Musical Society. We warmly support the cultural events it brings to our area."
Mark K. Rosenfeld
President, Jacobson Stores Inc.
"We are pleased to share a pleasant relationship with the University Musical Society. Business and the arts have a natural affinity for community commitment."
Dennis Serras President Mainstreet Ventures, Inc.
"As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing high level talent to the Ann Arbor community."
John E. Lobbia
Chairman and Chiel Executive Officer Detroit Edison
"The University Musical Society is one of the organizations that make the Ann Arbor community a world-renowned center for the arts. The entire commu?nity shares in the countless benefits of the excellence of these programs."
Ronald Weiser
Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University Musical Society and the cultural contribution it makes to the community."
Joe E. O'Neal
President, O'Neal Construction
"A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Michael Staebler Managing Partner Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz congratulates the University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our plea?sure to be among your supporters."
Iva M. Wilson President, Philips Display Components Company
"Philips Display Components Company is proud to support the University Musical Society and the artistic value it adds to the community."
George H. Cress
Chairman, President, and Chief Executive Officer Society Bank, Michigan
"The University Musical Society has always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commit?ment to excellence."

Edward Surovell
President The Edward Surovell Co. Realtors
"Our support of the University Musical Society is based on the belief that the quality of the arts in the community reflects the quality of life in that community."
Sue S. Lee, President
Regency Travel Agency, Inc.
"It is our pleasure to work with such an outstanding organization as the Musical Society at the University of Michigan."
Ronald M. Cresswell, Ph.D.
Vice President and
Warner Lambert
"Warner-Lambert is very proud to be associated with the University Musical Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employ?ees in Ann Arbor."
Dr. James R. Irwin
Chairman and CEO, The Irwin Group of Companies President, Wolverine Temporary Staffing Services
"Wolverine Staffing began its support of the Universitiy Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
The University Musical Society
of the University of Michigan
Board of Directors
Herbert S. Amsler President
Norman G. Herbert Vice President Carol Smokier Secretary Richard H. Rogel Treasurer
Maurice S. Binkow Paul C. Boylan Carl A. Brauer. Jr. Letitia J. Byrd Leon Cohan Jon Cosovich
Advisory Committee
Elizabeth Yhouse Chair
Gregg Alf Paulett Banks Milli Baranowski Janice Stevens Botsford Jeannine Buchanan Letitia Byrd Betty Byrne Pat Chatas Chen Oi Chin-Hsieh Phil Cole Peter H. deLoof Rosanne Duncan Don Faber Penny Fischer Barbara Gelehrter Margo Halsted Esther Heitler Lorna Hildebrandt Kathleen Treciak Hill Malthew Hoffman JoAnne Hulce
Kenneth C. Fischer Executive Director
Catherine S. Arcure Edith Leavis Bookstein Betty Byrne Yoshi Campbell Sally A. Cushing Erika Fischer Judy Johnson Fry Adam Glaser Michael L. Gowing Philip Guire Deborah Halinski Jonathan Watts Hull
Ronald M. Cresswell James J. Duderstadt Walter L. Harrison Thomas E. Kauper F. Bruce Kulp Rebecca McGowan George I. Shirley Herbert E. Sloan Edward D. Surovell Eileen L. Weiser Iva Wilson
Gail W. Rector President Emeritus
Alice Davis Irani Perry Irish Heidi Kerst Leah Kileny Nat Lacy Maxine Larrouy Doni Lystra Kathleen Beck Maly Charlotte McGeoch Margaret McKinley Clyde Metzger Ronald G. Miller Karen Koykka O'Neal Marysia Ostafin Maya Savarino Janet Shatusky Aliza Shevrin Ellen Stross James Telfer, M.D. Susan B. Ullrich Jerry Weidenbach Jane Wilkinson
Judy Fry, Staff Liaison
Erva Jackson John B. Kennard, Jr. Michael J. Kondziolka Thomas Mull R. Scott Russell Thomas Sheets Helen Siedel Jane Stanton
Morning Bishop
Arts Midwest Minority Arts
Administration Fellow
Donald Bryant Conductor Emeritus
General Information
University Musical Society Auditoria Directory and Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east
and west sides of the main lobby and are open only
during the winter months.
Rackham Auditorium: Coat rooms are located on
each side of the main lobby.
Power Center: Lockers are available on both levels
for a minimal charge. Free self-serve coat racks may
be found on both levels.
Michigan Theater: Coat check is available
in the lobby.
Drinking Fountains
Hill Auditorium: Drinking fountains are located
throughout the main floor lobby, as well as on the
east and west sides of the first and second balcony
Rackham Auditorium: Drinking fountains are
located at the sides of the inner lobby.
Power Center: Drinking fountains are located on the
north side of the main lobby and on the lower level,
next to the restrooms.
Michigan Theater: Drinking fountains are located
in the center of the main floor lobby.
Handicapped Facilities All auditoria now have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free reserved parking is available to members at the Guarantor, Leader, Concertmaster. and Bravo Society levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible public
telephone is located at the west side of the outer
Rackham Auditorium: Pay telephones are located
on each side of the main lobby. A campus phone is
located on the east side of the main lobby.
Power Center: Pay phones are available in the
ticket office lobby.
Michigan Theater: Pay phones are located in
the lobby.
Refreshments are served in the lobby during intermis?sions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby. Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level. Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
Smoking Areas
University of Michigan policy forbids smoking
in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call (313) 763-3100 for details.
UMSMember Information Table
A wealth of information about events, the UMS, restaurants, etc. is available at the information table in the lobby of each auditorium. Volunteers and UMS staff can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
Concert Guidelines
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
Starting Time for Concerts
The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
We welcome children, but very young children can be disruptive to a performance. Children under three years of age will not be admitted to any performance. Children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket, regardless of age.
A Modern Distraction
Please turn off or suppress electronic beeping and chiming digital watches or pagers during performances.
Cameras and Recorders
Cameras and recording devices are strictly prohibited in the auditoria.
Odds and Ends
A silent auditorium with an expectant and sensitive audience creates the setting for an enriching musical experience. To that desired end, performers and patrons alike will benefit from the absence of talking, loud whispers, rustling of program pages, foot tapping, large hats (that obscure a view of the stage), and strong perfume or cologne (to which some are allergic).
Ticket Services
Phone Orders and Information:
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
From outside the 313. area code, call toll-free 1.800.221.1229. Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
Fax Orders
Visit Our Box Office in Person
At our Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open 90 minutes before performance time.
Gift Certificates
Tickets make great gifts for any occasion. The Musical Society offers gift certificates available in any amount.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time. You will be given a receipt for an income tax deduction as refunds are not available. Please call (313) 764-2538, 10 a.m. to 6 p.m. Monday Friday and 10 a.m. to 1 p.m. Saturday.
University Musical Society
of the University of Michigan
Now in its 116th season, the University Musical Society ranks as one of the oldest and most highly-regarded performing arts presenters in the country.
The Musical Society began in 1879 when a group of singers from Ann Arbor churches gathered together to study and perform the choruses from Handel's Messiah under the leadership of Professor Henry Simmons Frieze and Professor Calvin B. Cady. The group soon became known as The Choral Union and gave its first concert in December 1879. This tradition continues today. The UMS Choral Union performs this beloved oratorio each December.
The UMS Choral Union led to the formation in 1880 of the University Musical Society whose name was derived from the fact that many members were affiliated with the University of Michigan. Professor Frieze, who at one time served as acting president of the University, became the first president of the Society. The Society comprised the Choral Union and a concert series that featured local and visiting artists and ensembles. Today, of course, the Choral Union refers not only to the chorus but the Musical Society's acclaimed ten-concert series in Hill Auditorium.
Through the Chamber Arts Series, Choral Union Series, Choice Events, and the annual May Festival celebration, the Musical Society now hosts over 60 concerts and more than 100 educational events each season featuring the world's finest dance companies, chamber ensembles, recitalists, symphony orchestras, opera, theater, popular attractions and presenta?tions from diverse cultures. The Musical Society has flourished these 116 years with the support of a generous musicand arts-loving commu?nity, which has gathered in Hill and Rackham Auditoria and Power Center to experience the artistry of such outstanding talents as Leonard Bernstein, Vienna Philharmonic Orchestra, Sweet Honey in the Rock, Enrico Caruso, Jessye Norman, James Levine, the Philadelphia Orchestra, Urban Bush Women, Benny Goodman, Andres Segovia, the Stratford Festival, Beaux Arts Trio, Alvin Ailey, Cecilia Bartoli, and the Chicago Symphony Orchestra. In May of 1993, the Musical Society celebrated
its 100th Ann Arbor May Festival with performances by the Metropoliatan Opera Orchestra led by Maestro James Levine, Itzhak Perlman, Eartha Kin, the Detroit Symphony Orchestra, the University Choral Union, and other artists.
Under the leadership of only five directors in its history, the Musical Society has built a reputation of quality and tradition that is maintained and strengthened through educational endeavors, commissioning of new works, programs for young people, and collaborative projects.
While it is proudly affiliated with the University of Michigan and is housed on the Ann Arbor campus, the Musical Society is a separate, not-for-profit organization, which supports itself from ticket sales, corporate and individual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
Throughout its 116-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orches?tras and conductors.
The chorus has sung under the direction of Neeme Jarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson Thomas, Seiji Ozawa, Robert Spano, and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles. In 1993, the UMS Choral Union was appointed the resident large chorus of the Detroit Symphony Orchestra.
A highlight of the UMS Choral Union's 1993 1994 season was the performance and recording of Tchaikovsky's Snow Maiden with the Detroit
Symphony Orchestra conducted by Neeme Jarvi, to be released this November by Chandos International.
During this season the UMS Choral Union will join the Detroit Symphony Orchestra and conductor Neeme Jarvi in performances of Ravel's Daphnis et Chloe, present A Celebration of the Spiritual with Dr. Jester Hairston, and perform the Mahler Symphony 2 (Resurrec?tion), again with the DSO, under conductor Jerzy Semkow. In April 1995, the Choral Union will join the Toledo Symphony Orchestra in commemorating the 50th Anniversary of V-E Day, performing Britten's War Requiem in Toledo under the direction of Andrew Massey.
Established in 1879 when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, the ambitious founders of the Choral Union went on to form the University Musical Societythe following year. Representing a mixture of townspeople, students, and faculty, members of the UMS Choral Union share one common passion -a love of the choral art.
Hill Auditorium
Completed in 1913, this renowned concert hall was inaugurated by the 20th Annual Ann Arbor May Festival and has since been home to thousands of Musical Society concerts, including the annual Choral Union series, throughout its distinguished 80-year history.
Former U-M Regent Arthur Hill saw the need at the University for a suitable auditorium for holding lectures, concerts, and other university gatherings, and, with his bequest of $200,000, construction of the 4,169-seat hall commenced. Charles Sink, then UMS president, raised an additional $150,000.
Upon entering the hall, concertgoers are greeted by the gilded organ pipes of the Frieze Memorial
Organ above the stage. UMS obtained this organ in 1894 from the Chicago Columbian Exposition and installed it in old University Hall (which stood behind the present Angell Hall). The organ was moved to Hill Auditorium for the 1913 May Festival. Over the decades, the organ pipes have undergone many changes of appearance, but were restored to their original stenciling, coloring, and layout in 1986.
Currently, Hill Auditorium is part of the U-M's capital campaign, the Campaign for Michigan. Renovation plans for Hill Auditorium have been developed by Albert Kahn and Associates to include elevators, green rooms, expanded bathroom facilities, air conditioning, artists' dressing rooms, and many other necessary improvements and patron conveniences.
Power Center for the Performing Arts
The dramatic mirrored glass that fronts the Power Center seems to anticipate what awaits the concertgoer inside. The Power Center's dedication occurred with the world premiere of Truman Capote's The Grass Harp in 1971. Since then, the Center has been host to hundreds of prestigious names in theater, dance, and music, including the University Musical Society's first Power Center presentation --Marcel Marceau.
The fall of 1991 marked the twentieth anniversary of the Power Center. The Power Family -Eugene B. Power, a former regent of the University of Michigan, his wife Sadye, and their son Philip -contributed $4 million toward the building of the theater and its subsequent improvements. The Center has seating for 1,414 in the auditorium, as well as rehearsal spaces, dressing rooms, costume and scenery shops, and an orchestra pit.
UMS now hosts its annual week-long theater residency in the Power Center, welcoming the esteemed Shaw Festival of Canada, November 15-20,1994.
Rackham Auditorium
For over 50 years, this intimate and unique concert hall has been the setting for hundreds of world-acclaimed chamber music ensembles presented by the University Musical Society. Before 1941, chamber music concerts in Ann Arbor were few and irregular. That changed dramatically, however, when the Horace H. Rackham School of Graduate Studies came into being through the generosity of Horace H. and Mary A. Rackham.
The Rackham Building's semi-circular auditorium, with its intimacy, beauty, and fine acoustics, was quickly recognized as the ideal venue for chamber music. The Musical Society realized this potential and presented its first Chamber Music Festival in 1941, the first organized event of its kind in Ann Arbor. The present-day Chamber Arts Series was launched in 1963. The Rackhams' gift of $14.2 million in 1933 is held as one of the most ambitious and liberal gifts ever given to higher education. The luxurious and comfortably appointed 1,129-seat auditorium was designed by architect William Kapp and architectural sculptor Corrado Parducci.
of the University of Michigan 1994-1995 Fall Se,ason
Event Program Book Friday, November 4, 1994 through Sunday, November 13, 1994
116th Annual Choral Union Series Hill Auditorium
32nd Annual ' Chamber Arts Series Rackham Auditorium
24th Annual Choice Events Series
Whirling Dervishes of Turkey 3
Friday, November 4, 1994, 8:00pm Hill Auditorium
A Celebration of the Spiritual i i
Sunday, November 6, 1994, 4:00pm Hill Auditorium
Tnuatron Dance Theatre 17
Tuesday, November 8, 1994, 7:00pm Michigan Theater
@@@@Ute Lemper 23
Friday, November n, 1994, 8:00pm
Hill Auditorium
@@@@Frederica von Stade 27
Sunday, November 13, 1994, 4:00pm Hill Auditorium
General Information
We welcome children, but very young children can be disruptive to some performances. When required, children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starling Time
?very attempt is made to begin con?certs on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call University Security at 763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS per?formances included in this edition. Thank you for your help.
The JFront 'Page
By Ben Hecht and Charles MacArlhur Wednesday, November 16, 8:00 ni Friday, November 18, 8:00 pm Saturday, November 19, 2:00 pm Power Center
Reporters in hats, grubby raincoalstypewriters, whisky bottles, and telephones. Welcome to 1920 Chicago, replete with a jailbreak, an escape across the roofs, and all the craziness of this bustling era in modern history. In the press room of the Central Criminal Courts, we lind the surprising goodness and cynicism inherent, it seems, in all those who observe the human race as a passing show.
jtfrms and the Man
by Bernard Shaw Tuesday, November 15, 8:00 pm Thursday, November 17, 8:00 pm -Saturday, November 19, 8:00 pm Sunday, November 20, 2:00 pm Power-Center
In a dark street in a small provincial town,, a young woman is seen through a shuttered window reading the Bulgarian equivalent of a Harlequin romance. Gunfire resounds in the distance, bringing us into a remarkable tale of romance and war. This is Bernard Shaw's bicycle tour of the Balkans, a look at the world where heroes were gallant and gorgeous, and maidens blushed and dreamed. Our best defense, as that red-bearded cyclist knew only too well, is laughter.
Performance nous by Christopher Newton, Artistic Director, The Shaw Festival
University Musical Society presents
The Whirling Dervishes of Turkey
With the Mevlevi Ensemble of
The Mevlana Culture and Art Foundation
Conducted by Dogan Ergi'n With Kani Karaca
Friday Evening, November 4, 1994 at 8:00
Hill Auditorium Ann Arbor, Michigan
Part I
Welcome: Edmund Kabir Helminski.
Selections from the Spiritual Music of Turkey And from the Words of Jalaluddin Rumi. Read by Kabir Helminski
Part II
Introductory Comments: Dr. Celaleddin Celebi
The Mevlevi Sema: A Sufi Ceremony of Remembrance
Hymn to the Prophet
Procession (Sultan Veled Peshrey)
Four Movements (Salaams)
Recitation of the Holy Qur'an: Kani Karaca
Eleventh Concert of the 116th Season
24th Annual Choice Series
Thanks to Francis Trix, Assistant Professor of Anthropology at Wayne State University, speaker for this evening's Philips Educational Presentation.
Tour produced in association with The Threshold Society of Brattleboro, Vermont and International Music Network of Marblehead, Massachusetts.
Large print programs are available upon request from an usher.
The Ecstasy of
The Whirling Dervishes
umi, the towering figure of Sufism (Islamic mysti?cism) in the thirteenth-century, ended one of his fervent poems with a line which turned out to be prophetic: "Dazed by the marvels of love, our whirling endures." The Mevlevi (Mawlawi) sect, founded in his name, has kept the tradition of whirling to ecstasy alive for more than seven centuries now. The rituals of Rumi's followers (known to the Western World as "the Whirling Dervishes") are among the enduring as well as the most exquisite ceremonies of spiritu?ality.
The ritual whirling of the dervishes is an act of love and a drama of faith. It pos?sesses a highly structured form within which gentle turns become increasingly dynamic as the individual dervishes strive to achieve a state of trance. The music that accompanies the whirling ranges from somber to rhap?sodical; its intended effect is to mesmerize. Chanting of poetry, rhythmic rotation, and incessant music create a synaesthesia which, according to the faithful, induces a feeling of soaring, of ecstasy, of mystical flight.
The Mevlevi sect belongs to the Sunni or orthodox mainstream of Islam. Although it has occasionally been criticized for its heretical ideas, it has always enjoyed the respect of the officialdom. In Konya (th capital of the Turkish Seljok state), where he lived for forty-five years until his death in 1273, Rumi was a revered moral authority.
The Mevlevi Order evolved shortly before the emergence of the Ottoman state. At their enthronement ceremony, the early Ottoman Sultans received the blessing of the leader of the sect.
Many later Sultans, including Mehmed the Conqueror of Istanbul, were enamored of Mevlevi ideals. The reformist Sultan Selim III (late eighteenthand early nine?teenth-century) was virtually a member. A fine composer, he also wrote a cycle of compositions for the whirling ceremony. Suleyman, probably the greatest of the Sultans, held the Mevlevi dervishes in high esteem, and had their "semahane" (whirling hall) constructed for them as his imperial gift. The hallmosque stands next to Rumi's mausoleum.
The order had a broad geographic spread from present-day Iraq to Yugoslavia, from Egypt to India -with full-fledged con?gregation halls in fourteen cities and lodges in seventy-six. But, unlike some other sects, this order never had a mass following. It was an elite movement to which many prominent creative artists, musicians, and intellectuals belonged. Today, the two principal groups are in Turkey. One is in Konya, where the movement flourished and where Rumi's Mausoleum is visited by tens of thousands of Turks and foreigners every year. The other one is in Istanbul. Several small groups exist in various other countries, including the United States, although these groups are not recognized by the leadership in Turkey.
The Whirling Dervishes played a vitally important part in the evolution of Ottoman high culture. From the fourteenthto the twentieth-century, their impact on classical poetry, calligraphy, and the visual arts was profound. Music was perhaps their greatest achievement. Since the dogmatists of Islam's orthodoxy opposed music as harmful to the listener and detrimental to religious life, no sacred music or mosque music evolved except for the Mevlud (Mawlid), a poem in praise, of the Prophet, chanted on high occasions or as a requiem. Rumi and his fol?lowers integrated music into their rituals as an article of faith. In his verses, Rumi emphasized that "music uplifts our spirit to realms above" where "we hear the tunes of the Gates of Paradise." The meeting-places of the dervishes, consequently, became academies of art, music and dance.
The actual performance of the Whirling Dervishes includes twelve musicians (on traditional Turkish instruments) and twelve dancers. There is also a "master of ceremony." The performance is broken into two parts with the introduction conducted by the "master" and followed by three or four pieces of music. This is followed by a four-part whirling ceremony.
The Whirling Dervishes presented their music and dance to spellbound audiences in Houston, Austin, Washington, D.C., and New York in 1978. They have not been in the United States since that time. A recording of the music accompanying their ceremony was subsequently released on Atlantic Records. The mystical folklore surrounding the Whirling Dervishes has made its way into children's stories and contemporary books. The ancient poet Rumi is currendy one of the most popular poets of this decade and his volumes sell worldwide. He has brought the Whirling Dervishes to the attention of millions. A Hollywood film currendy sched?uled for winter release, called Baraka will feature the Whirling Dervishes.
The Whirling Dervishes tour here in die United States from mid-October to Mid November 1994.
Tonight's presentation marks the UMS debut of the Whirling Dervishes.
Master of Ceremonies Celaleddin Celebi.
Readings from Rumi Kabir Helminski
Sheikh Huseyin Top
Qu 'ran Reciter i
Kani Karaca
Master of Music Ali Dogan Ergin
Master of Dance
Nail Kesova
Mehmet Alaeddin Aday
Tahir Engin Icoz
Huseyin Erol Bingol ,
Aytac Ergen
Osman Erkahveci
Serhat Sarpel
i Dervishes
Hasan Huseyin Mucay
Abdurrahman Nedim Karnibuyukler
Omer Ozbas
Huseyin Dalgic
Yasar Demirok
Mehmet Ali Ozdengul
Muzaffer Dikici
Sahin Naci Sair
Ahmet Serkan Mucay
Irfan Ertas
Andac Arbas: Ney (Turkish flute)
Umit Gurelman: Ney (Turkishflute)
Ibrahim Nihat Dogu: Kemenche (Turkish fiddle)
Bekir Reha Sagbas: Kanun (Turkish zither)
Omer Satiroglu: Oud (Turkish lute)
Refik Hakan Talu: Tanbur (ancient form of lute)
Tour coordination and booking International Music Network Marblehead, MA .
Tour Producer Kabir Helminski
Tour ManagerLighting Jeff Amaral
Dr. Celaleddin Celebi is the twenty-first gen?eration grandson of Mevlana Jalaluddin Rumi and occupies a central position in the Mevlevi tradition. He was born in 1926 in the Mevlevi Dergah (center) in Aleppo, Syria, which had become the center of the Mevlevi tradition after Ataturk closed all Sufi institutions in the Republic of Turkey. When French sover?eignty ended in Syria, Celebi refused to accept Syrian citizenship and the Dergah as well as everything belonging to the Celebi family was nationalized.
Dr. Celebi has lectured in over twenty countries, always issuing a call to unity and tolerance in the name of the spiritual phi?losophy of Rumi. In 1989 he was awarded an honorary doctorate by Konya Seljuk University. ?
Kabir Edmund Helminski, M.A.. Ph.D., is a translator of Rumi and other Sufi poets and an author in the field of Sufism, with six published books. He is a transpersonal psy?chologist, and the founder and director of the Threshold Society, a non-profit educational foundation committed to spiritual psychology and practice. He received an honorary doc?torate from the World Union of WriteYs in Arabic in association with the University of Damascus for his work in translating and introducing Islamic Sufi literature to the English speaking world.
The Ceremony
The Dervishes enter the semahane led by the semazenbashi (the dance master), and, slowly, with heads bowed, line up on one side of the hall. The dance master, who is closest to the sheikh's post, wears a white sikke. The sheikh is the last to enter the hall. He stops to bow at the axis line to his post and proceeds to walk slowly, to a sheep?skin dyed red. The musicians are at the opposite end of the hall on a raised platform, facing the sheikh. The hafiz. who knows the entire Koran by memory, begins the ceremony by chanting a prayer to Mevlana and a sura from the Koran. Then, the sound of the kudum (kettle drums) breaks the silence. The dervishes, now seated on their knees, listen to the piercing sound of a single ney, the reed flute which plays the peshrev or music prelude.
The sheikh takes one step to the front of his "post and bows his head. He begins to slowly walk around the semahane followed by all of the dervishes. They circle the hall three times, stopping to bow to each other at the sheikh's post. As they bow they look between the eyebrows of the dervish opposite them and contemplate the divine manifesta?tion within him. This part of the sema is known as tfie Sultan Veled Walk, in honor of Rumi's son, and symbolizes man's identity and his place within a circle. The halka (circle of dervishes) is a position used in many of the Sufi orders. The circle for,the zikr (invocation) is the living mandala.
After circling the hall for the third
time, the last dervish bows to the post and turns to complete the walk as the sheikh takes his post. They now all bow and in one motion remove their cloaks, kiss them, and let them drop to the floor. As they drop their cloaks, they leave their tombs, their worldly attachments, and prepare to turn for God. The sheikh and the semazebashi keep their cloaks. The musicians on the platform play as the dervishes, with their right hand on their left shoulder and their left hand on their right shoulder, slowly walk to the sheikh's post. The semazebashi is the first to arrive at the post where the sheikh is standing. He bows to the sheikh, his right foot over the left and his arms crossed at the shoulders. He kisses the right hand of the sheikh, recedes backwards from him and, standing fiye feet from the post, is in a posi?tion to begin directing die sema.
Each dervish approaches the sheikh in this manner. He bows, kisses the right hand of die sheikh, the sheikh kisses his sikke, die dervish bows again and turns toward the semazenbashi for silent instruction.
All the dervishes unfold and whirl"as the musicians play and the chorus chants. The turners extend their arms, the right palm facing up and die left down. The energy from above enters through the right palm, passes through the body which is a visible channel, and, as this grace is universal, it passes through the left palm into the earth. As they turn the dance rrt&ster slowly walks among them signaling with his eyes or posi-
The Ritual of Sema
tion to correct their speed or posture. The sheikh stands at his post. The dervishes turn counterclockwise, repeating their inaudible ? zikr, "Allah, Allah."
After about ten minutes the music stops, and th.e dervishes complete a turn that will face them toward the sheikh's post and halt. The movement is so quick that their billowing skirts wrap around their legs as they bow to the post.
This selam is repeated four times. In the second, third, and fourth selams, a dervish who is tired may drop out and remain stand?ing at the side as the others turn. It is only in the fourth selam that the sheikh joins the dervishes. He represents the sun; the dervishes, the planets turning around him in the solar system of Mevlana. The sheikh whirls slowly along the equator line to the center of the semahane as a single ney sounds a distant wailing sound that leads him back to his post.
When the sheikh arrives at his post, he bows, sits on the post, and kisses the floor. All the turners sit, and their cloaks are put on them by those who did not turn the1 fourth selam. They have returned to their tombs but in an altered state. The sheikh recites the Fatiha, the first sura of the Koran, and all the dervishes kiss the floor and rise. The sheikh then sounds a prayer to Mevlana and Shamsi Tabriz and begins the sound ? "Hu." The dervishes join in sounding the "Hu" which is all the names of God in one.
The fundamental condition of our-existence is to revolve. There is no object, no being which does not revolve. The shared similarity between all created things is the revolution of the electrons, protons and neutrons within the atoms that constitute their basic structure. From the smallest cell to the planets and the farthest stars, every?thing takes part in this revolving. Thus, the semazens, the ones who whirl, participate consciously in the shared revolution of all existence.
The Sema ceremony represents a spiri?tual journey; the seeker's turning toward God and truth, a maturing through love, the transformation of self as a way of union with God, and the return to life as the servant of all creation.
The semazen (with a camel's-felt hat which represents a tombstone, and a wide white skirt symbolizing the death shroud), upon removing his black cloak, is spiritually born to Truth. The semazens stand with their arms crossed, ready to begin their turn. In their erect posture they represent the number one, testifying to God's unity. Each rotation takes them past the sheikh who stands on a red sheep skin. This is the place of Mevlana Jalaluddin Rumi, and the sheikh is understood to be a channel for the divine grace. At the start of each of the four movements of the ceremony, the semazens bow to each other honoring the Spirit with?in. As their arms unfold, the right hand opens to the skies In prayer, ready to receive
God's beneficence. The left hand upon which his gaze rests is turned towards" the earth in the gesture of bestowal. Fix-footed, the semazen provides a point of contact with this earth through which the divine blessings can flow. Turning from right to left, he embraces all creation as he chants the name of God within the heart.
The Sema ritual consists of seven parts:
1) It starts with the singing of the Nat-i-Serif, ? a eulogy to the Prophet Mohammed (peace be upon him) who represents love. Praising him is praising the truth of God that he and all the prophets before him brought.
2) Then follows the call of the drum and the "slap of glory," calling the semazens to awaken and "Be." This begins the proces?sion known as the "Sultan Veled Walk." It is the salutation of one sbul to another, acknowledged by bowing.
3-6) Then begins the Sema ritual itself. It consists of four selams or salutes. The first selam is the birth to truth by way of knowl?edge. The second selam expresses the rapture of witnessing the splendor of creation. The third selam is the transformation of rapture into ldve, the sacrifice of mind and self to love. It represents complete submission and communion with God. The fourth selam is the semazen's coming to terms with his des?tiny and his return to his task in creation. In the fourth selam, the sheikh enters the circling dervishes where he assumes the place of the sun in the center of the circling planets.
7) The Sema ends with a reading from the Qur'an. The sheikh and dervishes complete their time together with the greeting of peace and then depart, accompaniedbyjoyous . music.
One of the beauties of this seven cen?turies old ritual is the way that it unifies the three fundamental components of man's nature; mind, emotion, and spirit, combining them in a practice and a worship that seeks the purification of all three in the turning towards divine unity. But most significantly, the Sema is an act of service in that it offers the refined energies for the enrichment of this earth and the well-being or humanity as a whole.
Mevlana Jalaluddin Rumi (1307-1273) whose life and teachings we commemorate tonight, was born in Balkh, Afghanistan and lived most of his life in Konya, Turkey. He is viewed, especially among Turkish and Persian speakjng peoples, as one of the greatest literary masters of all time. His poetry is an ecstasy of knowledge that flows into words, sounds and images. It is not so much a search for truth as it is an elabora?tion of presence, an immediate inner song of experience that floods this world but is not of it. To many, he was more than a poet and philosopher, Mevlana was a Sufi mystic whose spiritual influence inspired the founding of a major religious order. His path was the religion of Love. To him, love was the very cause of existence. This cere?mony of Sema is celebrated on or around December 17th, the date of Rumi's death. In traditional Mevlevi centers it is performed weekly and attended by iniates and those in sympathy with its aims. Instituted more than seven centuries ago, it is a means of not only intensifying divine presence, but it is an act of self-abandonment and service.
The Anderson
A Celebration of the Spiritual
Jester Hairston, conductor
The University Musical Our Ovn Thing Chorale
Society Choral Union Willis Patterson, director
Thomas Sheets, director Jean Schneider-Claytor, pianist
Sunday Afternoon, November 6, i))4 at 4:00
Hill Auditorium Ann Arbor, Michigan
Spirituals Arranged by Jester Hairston Hold On
Give Me Jesus
Who'll Be A Witness
De Angels Rolled de Stone Away
Elijah Rock
I Want Jesus to Walk With Me ,
Dat Old House is Ha'nted
In Dat Great Gittin' Up Mornin'
TwelflhConcerl of the 116th Season
24th Annual Choice Series
Thanks to George Shirley, Joseph Edgar Maddy Distinguished University Professor of Music, speaker for this afternoon's Philips Educational Presentation. '
Thank you to Jim Anderson for helping to make this performance possible.
Thanks also to Hammell Music Inc., Livonia, Michigan, for the piano used in tonight's performance.
Large print programs are available upon request from an usher.
Jester Hairston, conductor, was born on July 9 1901, on the Hairston Plantation, Belews Creek, North Carolina. His grandparents were slaves on this plantation. Hairston's par?ents moved to Pennsylvania where his father got work in the coke ovens. Hairston's mother, Nannie Hairston moved to Homestead, Pennsylvania in 1903, shortly after her husband died of pneumo?nia. There, Hairston and his sister grew to maturity.
In the spring of 1920, Jester graduated from Homestead High School where he had been quarterback"of the football team, though he weighed a whopping 125 pounds at the time. Hairston wanted to attend the University of Pittsburgh but students of his race and color were not accepted on the athletic teams by that University in 1020. So
he worked in the steel mill of Homestead and eventual?ly went up to the University of Massachusetts in Amherst where he was welcomed. Soon he became quarter?back of the freshman team. By working for a while and going to college a semester
at a time, Jester graduated nine years later cum laude from Tufts University in Medford, Massachusetts where he majored in music. By that time he knew what he wanted to do with his life.
That summer Jester went to New York City where he met the popular conductor of slave folk songs, the late Hall Johnson. This was in the year 1933. By 1935, Hairston had become assistant conductor to Mr. Johnson. By that time, the Hall Johnson Choir was playing in the great Broadway production, Green Pastures. At the end of its two-year run on the road, the show was bought by a film studio in Hollywood. The first week of 1936 found Hairston in Hollywood. The job was to take the twenty songs the choir had done forbears and tape them for the film, Green Pastures. Some few weeks after dubbing the music for Green Pastures, Hairston got another hit film, Last Horizons, starring Ronald Coleman. The great Dimitri Tiomkin scored the music for this film and it was Jester's good fortune to score the Caucasian choir music.
Dimitri Tiomkin told Hairston: "If I ever get another call to come from New York to Hollywood for a film, you will be my choral conductor." Hairston ended up working with Mr. Tiomkin for twenty straight years as his choral conductor and arranger. Jester says: "I now owe so very much of my training in choral work to Hall Johnson and Dimitri Tiomkin."
Hairston's slave song arrangements can be heard by choirs all over the English-speaking world.
On July 7, 1991, Jester was invited to Estonia, Russia, where he conducted his , famous Amen spiritual with an international choir of 25,000 voices. The audience of 280,000 joined the choir in singing "Happy Birthday to You, Jester" to commemorate Jester's 90th birthday.
Honorary Degrees
Honorary Doctorate of Music, Tufts
University, Boston, 1929 Honorary Doctorate of Music,
Boston Conservatory University of Massachusetts at Amherst University of the Pacific, Stockton, California The Honorary Hollywood Star given by the
Hollywood Chamber of Commerce ,
' 3
Additional Accomplishments
The Hall Johnson Choir, New York City
and Hollywood Assistant conductor of The Voices of Walter
Schuman Professional Choir of
Hollywood Twenty years as choral arranger and director
for Dimitri Tiomkin films Ambassador of Goodwill, teaching the
American black folk songs of the slaves Five years as the old deacon, Roily on the
popular TV show Amen.
This afternoon's concert marks Dr. Hairston 's UMS debut. ' ? ?
Choral Union of the University Musical Society
Thomas Sheets, conductor David Tang, associate conductor Donald Bryant, conductor emeritus Jean Schneider-Claytor, accompanist Edith Leavis Bookstein, manager
Soprano I
Marie Ankenbruck-Davis
Edith Leavis Bookstein
Ann K. Burke
Susan F. Campbell
Laura Christian
Cassandra Cooper
Kathryn Foster Elliott
Amy Emery
Laurie Erickson
Lori Kathleen Gould
Julie Jacobs
Mary B. Kahn
Carolyn Leyh
Elizabeth Macnee
Carole Pennington
Amy Pennington
Sarah S. Pollard
Margaret Dearden Robinson
Linda Woodman
Soprano II Debrajoy Brabenec Cheryl Clarkson Kristin De Koster Lynne DeBenedette Kathy Neufeld Dunn Patricia Forsberg-Smith Doreen Jessen 'Ann Kathryn Kuelbs Loretta Lovalvo Marilyn Meeker Audrey Murray Sara Peth Virginia Reese Anne Ruisi Mary A. Schieve Denise Scramstad Beth Shippey Catherine Wadhams Barbara Hertz Wallgren Rachelle Barcus Warren
Alto I
Leslie Austin
Carol Beardmore
Nancy Wilson Celebi
Alice Cerniglia
Laura Clausen .
Margaret Counihan
Anna Egert
Anne Facione Russell
Marilyn Finkbeiner
Siri Gottlieb
Jacqueline Hinckley
Carol Hurwitz
Catherine June
Lisa Lava-Kellar
Suzanne Stepich Lewand
Jeanette Lu(on
Patricia Kaiser McCloud
Carol Milstein
Joan Morrison
Holly Ann Muenchow
Lisa Murray
Carol Milstein
Lotta Olvegard
Patricia Steiss
Karen Tsukada
Jane Van Bolt
Marianne Webster
Alto II
Martha Ause Loree Chalfant Ellen Chien Anne C. Davis Lynne DeBenedette Andrea Foote Carol Hohnke ' Nancy Houk i Katherine Klykylo Sally Kope Fran layman Trish Mcade Elizabeth Morgan Anne Ormand Irene Peterson Lynn Powell Carren Sandall Beverly N. Slater Cynthia Sorensen Nancy A. Swauger
Tenor I
Charles Cowiey Fr. Tim Dombrowski Michael Dunn Jack Etsweiler Arthur Gulick Alfred Hero Douglas Keasal Robert E. Lewis Paul Lowry Eric Millegan Daniel Ringrose Scott Silveira Allen Weirick
Tenor II Steve Billchefk Stephen Erickson Albert P. Girod.Jr. Lionel Guerra Steven J. Hansen Henry Johnson Benjamin Kerner Robert Klaffke Mart)' Kope
Dean McFarlane Parrott David Rumford Henry C. Schumari Scott Silveira Daniel Sonntag " Richard Ward
Bass I
Guy ll.ii .1-1 Fred L. Bookstein Thomas Bress John Brueger John Dryden C. William Ferguson Joseph J. Knl us George Lindquisi Thomas Li tow Lawrence Lohr Charles Lovelace Robert Markley Joseph McCadden Thomas Morrow John Penrod William Ribbens Sheldon Sandweiss James C. Schneider Edward Schramm John Sepp Alan Singer Benjamin Williams
Bass II
Howard Bond Don Faber Philip J. Gorman Gene Hsu Charles Hudson Andrew Jordan Donald Kenney Mark K. Lindley Gerald Miller Marshall S. Schuster William A. Simpson JcffSpindlcr ?Robert D. Strozier Kevin M. Taylor Terril O. Tompkins John Van Bolt .Peler C. Younie
Conductor Thomas Sheets began his tenure as the tenth music direc?tor of the Choral Union in 1993, following a nationwide search by the University Musical Society. Prior to his appointment, Dr. Sheets spent thirteen years as Associate Conductor of two major Southern California community choruses led by his men?tor, the renowned choral conductor William Hall. During that same pcri-od,-he also held appointments as Director of Choral Activities at three Southern California colleges.
The University Musical Society Choral Union has performed throughout its 116-year history with many of the world's distinguished orchestras and conductors. The chorus has sung under the direction of Necme Jarvi, Kurt Masur, Eugene Ormandy and Robert Shaw in per?formances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra and other noted ensembles. In 1993, the Choral Union was appointed the resident large chorus of the Detroit Symphony Orchestra. A highlight of the Choral Union's 1993-94 season was the performance and recording of Tchaikovsky's The SnowMaiden ' with the Detroit Symphony Orchestra cqnducted by Neeme Jarvi, to be re?leased this month by Chandos Inter?national. This season, the Choral Union has performed Ravel's Daphnis et Chlof, with the Detroit Symphony Orchestra and Neeme Jarvi and will join with the orchestra again for per?formances of the Mahler Symphony No. a (Resurrection), this time under the baton of conductor Jerzy Semkow.
Established in 1879 when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, the ambitious founders of the Choral Union went-on to create the University Musical Society the following year. Repre?senting a mixture of townspeople, students and faculty, members of the Choral Union share one common passion -a love of the choral arts.
Our Own Thing Chorale
Willis' Patterson, director David M. Proctor, accompanist
Sopranos LetitiaJ. Byrd Kim Haynes Karen Johnson Florida D. Miller Camille Simpson Elizabeth oAveil
Altos Paddi Ash Faye Burton Brenda Doster Monique Green Janet V. Johnson-Hayi Sylvia Hood Ruth Ann Kersey. Barbara Meadow's Mary Roth Lynne Stallworth Kathy Wade Dorian Williams Naomi Woods
Ian Grandison John Ratcliff Frilzell L. Vaughan William Wade Rachel Woods
Keith Brinklcy Herbert Ellis Paul Haynes William McAdoo Harrison McGee Robert Patterson
Professor Willis Patterson, founder of the "Our Own Thing Instructional Program" and "Our Own Thing Chorale," is Associate Dean for Faculty Appointments and Affirm?ative Action, and Professor of Voice Performance at the University of Michigan School of Music. Professor Patterson, who is in his third terra as president of the National Association of Negro musicians, is also a popular and well sought after soloist.
The Our Own Thing Chorale was organized in 1980. It is composed of adults and young people from -Ann Arbor, Ypsilanti, Saline, Milan, Flint and Grand Blanc, Michigan. This group seeks to preserve the performance exposure of choral compositions of African American composers with special emphasis on the Negro Spiritual. The group has performed around the state and most recently was part of a large ensemble that performed in Dallas, Texas at the opening of the 75th Anniversary Convention and cele?bration for the National Association of Negro Musicians.
University Musical Society presen Is
Ford Family Series
Tnuatron Dance Theater
Dorit Shimron
Founder, Artistic Director and Choreographer
Tuesday Evening, November 8, 1994 at y.oo
Michigan Theatre Ann Arbor, Michigan
"Walking to Caesarea"Hanna Senesh Z994 ' 5? Years to Her Assassination
Part I
Excerpts From: Genesis (1988) and Rainbow (1993)
Teardrop Hair Storm
Blue Wing
Tied Together
Wildlife Flower Cocoon Insect Bear Hug
Monkey Business
J.M. Jarre
Dead Can Dance
Paul Winter Chick Corea
Vim Merten
Musical Collage Stevie Wonder Yas Kaz Jismonty Sky
Zaka & Guem
Part II
Excerpts from Behind the Curtain (1992); Rainbow (1993).and other works
To-night Concert Symphonic Orchestra Musical Chairs
Mad with Joy Shades of Pink
Form in Frame1
The Train Home
Thou Shall Love
Musical Collage Beethoven Monkey Tonk
Pierre Henry
Laurie Anderson Vasconcelos Walcott Cherry
John Martin
Hanna Levy
Finale All Together Dancing and Singing
Thirteenth Concert of the 116th Season
24th Annual Choice Series
This program is part of the Mid EastWest Fest International Community Cultural Exchange sponsored by the W.W. Kellogg Foundation and Lufthansa, Major Sponsors, Hudson's and the Dayton-Hudson Foundation
We are grateful to the Ford Motor Company for helping to make this Ford Family Series event possible.
What is Tnuatron
ver twenty years ago, Israeli-born Dorit Shimron established a dance school in her native Ramat-Hasharon. Performing throughout Israel, at dance festivals, and abroad, the school has developed into a dance group with a unjque style and structure of its own. As such, the company was adopted by the Hapoel sports organization and has appeared for the last fifteen years as its official representative dance group. ? T
The Dancers
Throughout the years, Tnuatron Dance School has served as the source for the group's performers. The Tnuatron Dance School comprises dancers, aged 6-12. The school provides a blend of individual training, technical work, creativity and art, all in an educational framework, thus committing the dancers to hours of daily training and rehearsals in bo{h classical and contemporary dance styles.
The Routine
Tnuatron is active, five to seven days a week, with the dancers acting not only as perform?ers but also as teachers and budding creative artists, helping to design new works. The performances are a unique combination of figural imagery and motion, blending pro?ducts of Shimrom's personal choreographic style and the disciplineand dedication of her dancers.
, These young performers devote them?selves to a demanding schedule, investing three or more hours a day, as required by their individual levels. This schedule and the discipline their craft requires has taught these young women the value of time and how to most efficiently organize it to not only manage their performance schedule but also to keep up the high academic stan?dards expected of them.
A typical day on which they perform means departure from school in Ramat-Hasharon by organized transport at midday, several rehearsals upon arrival at the site of the show, the performance itself (sometimes more than one) and a late return home followed by a bright and early appearance back at school the next mofning, homework in hand!
Special Support
These young women give each other extra?ordinary support, helping each other with everything from dance techniques, rehearsing, dressing during a shbw to cheering-on per? sonal progress arid establishing warm and close friendships. The older dancers are expected to train the younger ones and this concept is part of the actual structure of the group itself. Coming upon the studio with the dancers at work is an experience in itself. Their complete concentration and the self-discipline with which they work, leads one to sense true motion in total silence.
In addition, care is taken to provide extra psychological support with the aid of a part-time psychologist on staff. She meets with
the dancers regularly as an integral part of their routine, seeing them in small groups or, if needed, on an individual basis. The aim is to keep tensions created by the demands of their routine and schedule at a minimum and to resolve issues as'they arise, before they become a problem. .
Tnuatron has performed nationwide in Israel as well as overseas in Denmark, Germany, Portugal, Switzerland, Netherlands, Finland, Italy and the U.S. In 1988, Tnuatron appeared at the Israel Festival in its production Genesis which was warmly received and highly acclaimed. Tnuatron has appeared on local Israeli television on a number of occasions and on every kind of entertainment and educational programs. The company has a video archive of recordings documenting v rehearsals, recitals, performances and festival appearances.
Management and Staff t
The artistic management of the dance com?pany is the sole responsibility of its Founder, Artistic Director, and Choreographer Dorit Shimron. Shimron completed her studies in physical education at the Wingate Institute and went on to study choreography at the Tel-Aviv Seminar Ha'Kibbutzim and the
Jerusalem Dance Academy. Mother of two sons, she has dedicated her professional life to the development of Tnuatron, its dancers and its individual choreographic style.
All Tnuatron's performances are produced by Itamar Gourvitch. Since 1976 Gourvitch ' has been involved in the organization and production of national, public and private events. Among these are the 1976 Israeli mission to the American Bicentennial Cele?brations; the 1987 Opening Ceremony of the Hapoel Games; the 1988 Israel Defense Forces Tribute at the State of Israel's 40th Anniversary Celebrations at the Ramat-Gan Stadium; the 1988 events in honor of Coca Cola's twenty years in Israel; the Warsaw National Opera Production of Boris Gudonov at the Israel Festival in 1 ggo and the 1991 Hadassah Convention in Jerusalem.
Today Tnuatron is a vibrant professional dance group among the finest in Israel. The fine critiques Tnuatron has received fill a thick album but its achievements lie not only in the past but in the future, as it seeks to bring more young women to the beauty and creativity of its special structure as a dance ensemble with its own particular style of dance.
Tonight's performance marks the UMS debut of Tnualron.
UMS Mid EastWest Fest Contributors
We are grateful to the following generous people for their support of Mid EastWest Fest.
Benard L. Maas Foundation Amnon and Prudence Rosenthal Carol S. and Irving Smokier Susan and Mark Orringer
Dr. and Mrs. Sanford Herman
Henry and Harlene Appelman Myron and Bobbie Levin Newell and Myrna Miller Hilary Murt and Bruce Friedman Sharon and Chuck Newman Art and Mary Schuman Elise and Jerry Weisbach
Reuben and Barbara Levin Bergman
Morton B. and Raya Brown
Alan and Bette Cotzin
Jerome and Carolyne Epstein
Howard G. Finkel
Beverley and Gerson Geltner
Linda and Richard Greene
Joseph and Gloria Gurt
Maxine and David Katz
Syma and Phil Kroll
Robert Krasny
Ed Stein and Pat McCune
Jim and Jamie Abelson
Rick and Sally Coudron Y
Abraham and Thelma Berman
Ed andjjudi Davidson
Victor and Marilyn G. Gallatin
Bob and Lila Green
Fred and Joyce Hershenson
Ted and Wendy Lawrence
Steve and Elaine Mickel
Harold and Marylen Oberman
Marvin and Harriet Selin
Joanne and Laurence Smith
Judge and Mrs. S. J. Elden
Larry Geffen
Ari and liana Gafni
Steven Leber and Dina Leber-Shtull
Lawrence and Lisa Molnar
Shirley and Martin Norton
Mildred Ostrowsky
Arthur and Renata Wasserman
This list reflects names of supporters as of September 21. Contributions received after that date will be reflected in the list published for the Noa and Gil Dor concert (February 9, 1994), the second part of the Mid EastWest Fest
S O C I E T Y t
Ute Lemper
Bruno Fontaine
Friday Evening, November n, 1994 at 8:po
Hill Auditorium Ann Arbor, Michigan
Ms. Lbinper will chose from the following selections
Bilbao Song
?Surabaya Johnny
Die Moritat vom Mackie Messer ?
Alabama Song
J'attends un navire
Die Ballade von der Hollen-Lili
Der Song von Mandelay The Saga of Jenny I'm a StrangerTlere Myself Tchaikovsky
Songs of Edith Piaf
L'accordeoniste La vie en rose Padam-Padam Les feuilles mortes
WeiUBrecht WeillBrecht WeillBrecht WeillKaiser WeillDevalFernay
WeillBrecht. WeillI. Gershwin WeillNdsh WeillI. Gershwin
LouiguyPiaf GlanzbergConlel KosmdPreverl
Songs of Marlene Dietrich
Ich bin von Kopf bis
Fuss auf Liebe eingestellt Naughty Lola-Lili Marlene Want to Buy Some Illusions
HollaenderConnelly HollaenderLiebmann SchultzeLeip Hollaender
Fourteenth Concert of the 116th Season
24O1 Annual Choice Series
Columbia Artists Management, Inc. Exclusive Representation: Alexander Castonguay Management: Olivier Guzman, Paris London Records
Special thanks to Hammell Music Inc., Livonia, Michigan, for the piano used in tonight's performance.
Large print programs are available upon request from an usher.
The cabaret song enjoys an honored place in the world of music, though it is difficult to categorize. On the one hand, it touches on the classical lied, but at the same time clearly belongs in the realm of the show tune, with popular and jazz affinities. Though no less a light than Arnold Schoenberg com?posed cabaret songs, Kurt Weill dominates 2 4 the genre even to this day. He seemed to reach into our collective unconscious to express the very essence of the German psyche between die wars. His works exude a heady combination of sophistication, decadence, and sincerity.
Marlene Dietrich's universal appeal lay in her phenomenal beauty and magnetic personality, one was able to set aside her husky voice quality. Not many of us recall that Dietrich started as a classical violinist, and that she may well have succeeded but for a most unfortunate nerve injury. Perhaps her reversal of fortune turned out to be a stroke of luck for the rest of us, for who could dispute her amazing hold on audiences right up to the end of her caceer Her biographer Leslie Frewin stated that though publicly Dietrich was a femme fatale, privately she was a committed hausfrau, valuing above all else the welfare of her daughter, while shunning the lure of Hollywood's extravagant social life.
What a total opposite was Edith Piaf! Though Dietrich was raised in a comfortable, almost privileged background, Piaf, from a circus family, found her early life nothing b.ut a struggle. Piaf, with her startling voice and intuitive feeling for song, versus Dietrich with her great intelligence... Piaf, the incar?nation of the French spirit through difficult years versus Dietrich, the archetypal blond German bombshell... Piaf burned the candle not only from both ends, but from the middle while Dietrich retained a great inner stability. Piaf s life saw a plethora of men come and, tragically, go; androgyny was cen?tra] to Marlene Dietrich's secret charisma. . .
This" polarity aside, Piaf and Dietrich became fast friends, replete with mutual admiration. Dietrich heard Piaf sing in New York and, along with everyone else, fell in love with the touching power of her voice. Piaf, with her humble upbringing, idolized Dietrich just as much as her most smitten fans. When the world champion boxer Marcel Cerdan met his death in the 1949 Azores plane crash, it was Dietrich who told Piaf the news about her lover.
Upon Piaf s death Marlene Dietrich eulogized: "I gave up Edith Piaf like a lost daughter whom you forever mourn, whom you always shed tears over, whom I shall always carry in the depths of my heart."
Note by Joseph Laibman Ann Arbor, 1994
?" "mlm te Lemper was born
in Munster (Germany) on July 4, 1963. She began piano and dance lessons at the
A J age 11I nine. Al the
Max Reinhart semin?ary in Vienna, Ute Lemper was introduced to the stage after consolidating her musical training in Salzburg, Cologne, and Berlin. Her career took off when she was twenty after Andrew Lloyd-Webber offered her a ' part in the Viennese productions of Cats. In 1985, Ute Lemper played the title role in the musical comedy Peter Pan and discovered Kurt Weill in a major production based on the life of the great composer.
At the Stuttgart Stadtheater in 1986, Ute Lemper met Jerome Savary who invited her to play Sally Bowles in a production of
Cabaret to be performed in Lyon, Dusseldorf, Rome and Paris. She won a Moliere award for her performance in the Paris production at the Theatre Mogador.
In 1987, Ute Lemper acted and sang in a show based on the life and repertoire of Kurt Weill to packed Jiouses in New York. It was this production that took her on her first world tour of the prestigious theaters: Milan's Piccolo Teatro, the Berliner Ensemble, Tokyo, Hong Kong, Alice Tully Hall in New York, the Paris Bouffes du Nord, the Jerusalem Festival, the Almeida Theatre, the Royal Festival Hall in London and the Poliorama in Barcelona.
At the same time, Ute Lemper received acclaim for her film performances as Marie-Antoinette in L'Autrichienne by Pierre Granier-Deferre and as Ceres in Peter Greenaway's Prospero 's Books. ,
Ute Lemper also sings on the
original soundtrack of Prospero's Books published by Decca. She continued her work with Michael Nyman (the composer of the Prospero's Books score) on their Songbook release. This recording completes Ute Lemper's discography for Decca which includes two vol?umes of Ute Lemper Sings Kurt Weill, Three Penny Opera, and The Seven Deadly Sins. In 1992, Decca released the album Illusions, based on the reper?toires of Marlene Dietrich and Edith Piaf. Performing the songs from the Illusions album, Ute Lemper sang to packed houses around the world in 1992 and 1993.
During the same period, Ute Lemper also took part in four prestigious productions: she sang Lola in the musical comedy Der Blaue Engel (The Blue Angel), staged in Berlin
and Hamburg by Peter Zadock and Jerome Savary; she was the "voice" in a series of con?certs put on by Michael Nyman (based on the previously mentioned Songbook); she took part in a tour entitled Homage to Cathy Berberian under the leadership of Luciano . Berio; she also made her debut at La Scala in Milan singing The Seven Deadly Sins with the London Symphony Orchestra conducted by Kent Nagano.
Recently, Ute Lemper has recorded her first album for Polydor, Espace Indecent. The recording is eleven original songs written by Patride Guirao with music by Art Mengo and produced by Jean-Pierre Mader. Ute Lemper provided the English translations herself.
Ute Lemper's activities include painting (she exhibited her canvases in 1993 in Paris and Hamburg); journalism (she has written ' articles for Liberation, Die Welt and The Guardian); and writing her first book which will be published in time for the Frankfurt Book Fair.
For 1994 Ute Lemper has a new album coming out on Decca, Prevert and Sondheim, and she is putting together a show based on this album. She recenly completed a role in the recently released Robert Altman film, Pret a Porter. K .
Tonight's performance marks Ms. Lemper's UMS debut.
Bruno Fontaine learned to play the piano at the age of four. At the age of eleven he entered the prestigious Conservatoire National Superieur de Musique de Paris. During his years at the Conservatoire, he received five first prizes under the direction of Pierre Sancan and Jean Hubeau.
He met Julia Migenes in 1984 and became her musical director and arranger of her shows which tour world-wide. From 1986-1989 he was musical director for Alain Chamfort, Mylene Farmer and Johnny Hallyday. In 1990 he participated in the conception and creation of the show. Lambert Wilson Sings for which he again wrote the arrangements and headed the musical direction. Since 1989 he has accom?panied at the piano Whilhemenia Fernandez in a repertory of German songs, Italian operas and French melodies.
In 1992 he met Ute Lemper who gave him the production, the arrangements, and the musical direction of her album, Illusions, which won the 1993 prize of L'Academie Charles Cros. He also directed Ute's world tour of Illusions including performances in Japan, Australia, the U.S. and Europe.
Bruno considers the variety of his musi?cal engagements to be an essential aspect of a career which could best be described as a constant quest of multiple'musical horizons.
Tonight's performance marks Mr. Fontaine's UMS debut.
u n i v er s i t v Musical Society ' presents
Frederica von Stade
mezzo-soprano Martin Katz
Sunday Afternoon, November 13, 1994 at 4:00
Hill Aiditorium Ann Arbor, Michigan
Alessandro Scarlatti (1660-1725) (Arr. Arne Dorumsgaard)
Four Ariettes
Bellezza che s'ama ? Chi vuole innamorarsi Car(a ,e dolce Toglietemi la vita ancor
Richard Strauss (1864-1949)
Das Rosenba'nd
Meinem Kinde
Arr. Alberto Ginastera (1916-1983) ClNCO CANCIONES POPULARES ARGENTINAS
Triste ,
Zamba Arrorro ' Gato
Intermission .
Claude-Achille Debussy (1862-1918)
Chevaux de bois
II pleure dans mon coeur
En sourdine
Noel des enfants qui n'ont plus de maisons
Maurice Ravel (1875-193 7) .
Epigramme de Clement Marot: D'Anne j'ouant
l'espinette --
Air de Conception (from L'heure espagnole) Air de L'enfant (from L'enfant et les sortileges) Nicolette
Arr. Marie-Joseph Canteloube de Malaret (1879-1957)
Chants de France
Aupres de ma blonde
Ou irai-je me plaindre ,
Aupres de la Rose
D'o.u venez-vous, fillette
Fifteenth Concert of the 116th Season
116th Annual Choral Union Series
Thanks to Richard LeSueur, Head of Technical Services, Ann Arbor Public Library and Director, Vocal Arts Information Services, speaker for this afternoon's Philips Educational Presentation.
Thanks also to Hammell Music Inc., Livonia, Michigan, for the'piano used in tonight's performance.
Tonight's floral art is made possible by Cherie Rehkopf and John Ozga, Fine Flowers, Ann Arbor.
Columbia Artists Management Inc.
Personal Direction. Joyce L. Arbib and Janice L. Mayer
CBS Masterworhs, Deutsche Grammophon, Philips, London, Angel, Erato, and RCA Records
Large print programs are available upon request from an uher. .
After an opening nod to the Baroque era, today's pro?gram provides a sampler of the diyerse nature rof our own century. Viennese romanticism and French impressionism vie for our appreciation with equal but completely disparate voices. It is also interesting to note tha,t half of today's songs are arrangements rather than original compositions. This can show us two things: how often highly original composers continue to feel a link to the indigenous music of their own lands, and secondly, Ms. Von Stade's own love of immediate and accessible material, juxtaposed with more sophisticated expressions, perhaps the very duality that has captivated her public for so many seasons.
Alessandro Scarlatti
Born May 2, 1660 in Palermo Died October 22, 1725 in Naples
Alessandro Scarlatti composed hundreds of arias and ariettas in operas, oratorios, and cantatas. These four tiny gems are from his earliest successful years in Naples and were all originally accompanied by only harpsichord and cello. Bringing these before the public in today's large concert halls, using a modern Steinway, necessitates certain changes. Arne Dorumsgaard, thanks to a life-long obsession with early music from virtually every European center, has created a huge collection of arrangements of seventeenthand eigh?teenth-century vocal music, all with piano accompaniment. For years this was only available privately, but recendy these inspirations have been published. Dorumsgaard is a Norwegian but has lived in Switzerland all his life; his early champions were Kristen Flagstad and Gerard Souzay, both of whom recorded many of his realizations. One can hear the clear evocation of the counterpoint and formality of the Baroque, cleverly mingled with the timbre of today's instruments.
Bellezza, che s'ama e gioia del core Felice si chiama, chi e lieto d'amore.
E sommo piacere amar riamato.
E folle chi brama contento maggiore.
Chi vuole innamorarsi
Chi vuole innamorarsi ci deve ben pensar!' Amore e un certo foco, Che se s'accende un poco Eterno suol durar.
Non e lieve tormento aver piagato il cor! Soggetto ogni volere A due pupille arciere, Chi serve al Dio d'amor.
Cara e dolce
i i Cara e dolce, dolcissima liberta,
Quanto ti piange il core Fra i lacci d'un crin d'oro Prova d'un ciglio arcier.
Le dure ritorte che rigida sorte mi da Per merce mi stingono il pie Al mio lungo penar negar pieta.
Toglietemi la vita ancor!
Crudeli cieli, se mi volete rapir il cor.
Negatemi i rai del di!
Severe sfere, se vaghe siete del mio dolor.
Beauty, which is loved-
Beauty, which is loved, is the heart's joy. Lucky the one who is happy in love.
To love and be loved is the greatest happines and only the. foolish want greater contentmer
He who would fall in love
He who would fall in love should gravely think it o'er! A quivering flame is passion; once lit in careless fashion may burn forever more.
A matter 'tis of torment to have a wounded heart! Enslaved are all one's fancies to archer eyes, whose glance serve Cupid with their dart.
Dearest and Sweetest
. Dearest and sweetest memory, what pain thou causest me, how my heart languishes; hope is already returning I long to see again the fair one of whom I dream.
Take away my life yet again
Take away my life yet again!
Cruel heavens, if you wish,
if you wish, take away my heart.
Deny me the rays of the day! Severe spheres, if you are'unknown, you are of my sorrow.
Richard Strauss
Born June ii, 1864 in Munich Died September 8, 1949 in
Garmisch-Partenkirchen, Bavaria
Writing songs was a continuous occupation for Richard Strauss. His larger works shifted back and forth from tone poems to opera, but these brief lyrical expressions were a constant. Today's group ranges from the very youthful Begegnung to the mature expressions of Weigenlied and Morgen. Expansive and wide-ranging melodies that flatter the voice, sensuous, and perhaps overripe sonorities that flatter the piano -this is the stuff of Strauss -along with the unique ability to "seem" simple when a poem calls for it. Written when he was just sixteen, Begegnung clearly shows homage to the songs of Schubert and Mendelssohn, in its strophic naivete. Three other songs deal with the joys of motherhood (although Weigenlied soon becomes a hymn to daddy rather than baby!) Finally, fdr Morgen, Strauss had to invent a unique structure of voice accompanying piano in order to express the ineffable bliss of heaven. Compare this to the rnre mainstream paradise found by the lovers at the end of the first song, Das Rosenband. Strauss did not always select poetry of the highest intellectual or literary quality, but his musical gifts always ennoble the most sentimental of lyrics and render the words immortal in our ear.
Das (Klopstock)
Im Fruhlingsschattern fand ich sie,. da band ich sie mit Rosenbandern: sie fuhlt es mich und schlummerte.
Ich sah sie an; mein Leben hing mit diesem Blick an ihrem Leben: ich fuhlr es wohl und wusst' es nicht.
Doch lispelt ich ihr sprachlos zu und rauschte mit den Rosenbandern: da wachte sie vom Schlummer auf.
Sie sah mich an; ihr Leben hing mit diesem Blick an meinem Leben: und um uns ward's Elysium.
Meinem Kinde (Falke)
Du schlafst und sachte neig' ich mich uber dein Bettchen und segne dich. Jeder behutsame Atmezug 1st ein Schweifender Himmelsflug, Is ein Suchen weit umher, Ob nicht doch ein Sternlein war, Wo aus eitel Glanz und Licht Liebe sich ein Gluckstraut bricht, Das sie geflugelt herniedertragt Und dir aufs weisse Deckchen legt. Du schlafst und sachte neig' ich mich Uber dein Bettchen und segne dich.
The Rosy Ribbon
In spring shade I found her and with rosy ribbons bound her: she felt it not and slumbered.
I gazed at her; my life hung,
in that grize, on hers:
that I sensed and did not know.
But to her wordlessly I murmured and'stirred the rosy ribbons: then from her"slumber she awoke.
She gazed at me; her life hung,
in that gaze, on mine:
and at once all about us was Elysium.
My Child
As you sleep and gently I bend
over your little bed and bless you.
Each cautious draw, of breath
is a wavering flight to Heaven,
is a search all 'round about
whether there weren't really a little star
where love, out of mere gleam and light
plucks a lucky flower
which she, winged, carries down to the earth
and lays on your white blanket.
You sleep and gently I bend
over your little bed and bless you.
Seht mir doch mein schones Kind, mit den gold' nen Zottellockchen, blauen Augen, roten Backchen! Leutchen, habt ihr auch so eins Leutchen, nein, ihr habt keins!
Seht mir doch mein susses Kind fetter als ein fettes Schneckchen, susser als ein Zuckerweckchen! XeutchenKhabt ihr auch so eins Leutchen, nein; ihr habt keins!
Seht mir doch mein holdes Kind Nicht zu murrisch, nicht zii wahlig, Immer freundlich, immer frohlich! Leutchen, habt ihr auch so eins Leutchen, nein, ihr habt keins!
Seht mir doch mein frommes Kind! Keine bitterbose Sieben Wurd' ihr Mutterchen so lieben. Leuten, mochtet ihr so eines O, ihr kriegt gewiss nicht meins!v
Komm' einmal ein Kaufmann her! Hunderttausend blanke Taler, alles Gold der Erde zahl' er! O, er kriegt gewiss nicht meins! KauPer sich woanders eins!
Just look at my lovely child
with long golden curls,
blue eyes, red cheeks!
Have you such a one, my dears
No, my dears, you have not!
Just look at my sweet child plumper than a plump snail, sweeter than a sugar roll! Have you such a one, my dears No, my dears, you have not!
Just look at my darling child not to moody, not too choosy always friendly, always joyful! Have you such a one, my dears No, my dears, you have not!
Just look at my innocent child! No wicked little vixen could love a mother as much. Would you like such a one, my dears Oh, you'll certainly not get mine!
Let some merchant come along! A hundred thousand shiny thalers, all the gold on earth, let him pay! Oh, he'll certainly not get mine! Let him buy one somewhere else!
Traume, traume, du mein susses Leben, Von dem Himmel, der die Blumen bringt Bluten schimmern da, die leben Von dem Lied, das deine Mutter singt.
i Traume, traume, Knopse meiner Sorgen,
Von dem Tage, da die Blume spross; Von dem hellen Blutenmorgen, 4 Da dein Seelchen sich der Welt erschloss.
Traume, traume, Blute meiner Liebe Von der stilLen, von der heil' gen Nacht, Da die Blume seiner Liebe Diese Welt zum Himmel mir gemacht.
Begegnung (Gruppe)
Die Treppe hinunter gesprungen
Komm ich in vollem Lauf,
Die Trepp' emporgegesprungen kommt
Er und fangt mich auf,
Und wo die Trepp' so dunkel ist,
Haben wir vielmals und gekusst,
Doch niemand hat's geseh'n
Ich komm in den Saal gegangen
Da wimmelt's von Gasten bunt,
Wohl gluhten mir die Wangen,
Wohl glute mir auch der Mund.
Ich meinte es sah mir's jeder an,
Was wir da mit einander getan,
Doch niemand hat's geseh'n
Ich musste hinaus in den Garten
Und wollte die Blumen seh'n
Ich konnt' es nicht erwarten
In den Garten hinaus zu geh'n
Da bluhten die Rosen ubefall,
Da sangen die Vogel mit lautem Schall,
Al hatten sie's geseh'n.
Cradle Song
, Dream, my sweet life, dream of heaven that brings ,the flower. Blossoms gleam there which live by the song your mother sings.
Dream, bud of my anxiety, dream of the-day the flower sprouted, of that bright blossom morning when your soul opened to the world.
Dream, blossom of my love, dream of that silent, that holy night, when the flower of his love made this world heaven for me.
I dash down the staircase in my breathless haste
knowing that tie is there
and up the staircase springing fast
he puts his arms round me.
And where the stairs are very dark s
we often lingered kissing long,
yet no one saw us there.
I enter the living room
so crowded with brilliant guests,
and still my cheeks are glowing,
perhaps my mouth glows too.
It seems that all must see from me
what we were doing there in the dark,
yet no one saw us there.
I had to rush out to the garden
and wanted to see my flowers,
I could not linger longer,
to my garden I had to go.
The roses were blooming everywhere,
the singing of birds filled the quivering air,
as if they had seen.
Morgen , (Mackay)
Und morgen wird die Sonne wieder scheinen Und auf dem Wege, den ich gehen werde, Wird uns, die Glucklichen, sie wieder einen Inmitten dieser sonnenatmenden Erde. . .
Und zu dem Stand, dem weiten, wogenblauen, Werden wir still und langsam niedersteigen, Stumm werden wir uns in die Augen schauen, Und auf uns sinkt des Gluckes stummes Schweigen. . .
And tomorrow the sun will shine again and on the path that I shall take it will unite us, happy ones, again, upon this sun-breathing earth. . .
And to the shore, broad, blue-waved, we shall, quiet and slow, descend, silent, intaeach other's eyes we'll gaze, and on us will fall joy's mute silence. . .
Alberto Ginastera
Born April n, 1916 in Buenos Atres Died June 25, 1983 in Geneva
Ginastera provides today's second group of arrange?ments. These five songs collected from villages along the Plata river give us a brief but very vivid glimpse of his native Argentina. Perhaps best known for his short works for piano solo, Ginastera first came to die international lyric world's attention in 1964 with his operas Don Rodrigo (Placido Domingo's New York debut role) and Bomarzo. As with all folksong arrangements, it is the accompaniment that here creates the personal signature of the arranger. Polytonality and crossrhythms are always evident in Ginastera's work, and are combined in this opus with infectious dance motifs and the implication of native percussion instruments. As we credit De Falla for bringing Spain into the recital hall, so must we thank Ginastera for this mini-tour of his native land.
A rrii me gustan las natas y una nata me ha
Nato sera el casamiento y mas nato el resul-
Cuando canto chacareras me dan ganas de
porque se me representa Catamarca y
Triste "
Debajo de un limon verde donde el agua no
entregue mi corazori a quien no lo merecia.
jAh! Triste es el dia sin sol, triste es la noche
sin luna,
pero mas triste es querer sin esperanza
I like girls with turned up noses and one
such has ensnared me.
She will be married and little ones like her
will be the result.
When I sing cbacareras, it makes me feel ;
like crying
because I am reminded of Catamarca and
Under a green lemon tree where the water
did not flow,
I gave my heart to one who did not deserve'
Ah! Sad is the day without sun, sad is the
moonless night,
but it is sadder to love without hope.
Hasta las piedras del cerro y las arenas
. del mar me dicen que no te quiera y no te
puedo olvidar. Si el corazon me has robado el tuyo me-lo
has de dar; ,
el que lleva cosa ajena con lo suyo ha de pagar. iAy!
Arrorro mi nene, arrorro mi sol, arrorro pedazo de mi corazon. Este nene lindo se quiere dormir y el picaro sueno no quiere venir. Arrorro pedazo de mi corazon.
El gato de mi casa es muy gauchito pero cuando lo bailan zapateadito Guitarrita de pino cuerdas de alambre Tanto quiero a las chicas, digo, como a las grandes.
Esa moza que baila mu'cho la quiero pero no para hermana que hermana tengo. Que hermana tengo, si, ponete al frente Aunque no sea tu dueno, digo, me gusta verte.
The stones in the mountain, the sand in
the sea tell me not to love you, but I cannot
forget you. Since you have stolen my heart, you must
give me yours.
Who steals another's must pay with his own. Ah!
Sleep my baby, sleep my son, sleep piece of my heart. This beautiful baby wishes to sleep but sleep does not want to come. Sleep piece of my heart.
The cat in my house is very clever and sometimes she tap-dances to a guitar of pine with chords of steel. I love yojing girls as well as the fully grown.
I love the girl who is dancing but not as a sister because I have a sister. Although I am not your master, I enjoy seeing you.
Claude-Achille Debussy
Born August 22, 1862 in St.-Germain-en-Laye, France Died March 25, 1918 m Paris
Debussy spent his teenage and young adult years accom?pany voice lessons in the most chic of Parisian voice studios. Already a fan of singing, this activity no doubt added to his appreciation of vocal effects and gave him further expertise in how to write effectively for the voice. He inherited a roman?tic world from Gounod and Massenet, but soon found his own "voice," introducing the first impressionistic portraits in sound. He used many different poets during his lifetime of song writing, but none with greater success than Paul Verlaine. When one becomes acquainted with this celebrated combi?nation of musician and poet, one sees how synthesized words and music can be, and how one enhances the other. In the entire repertoire of French song, only Debussy and Faure have achieved this level, and both of them with texts by Verlaine. Debussy's impressionism furnishes the actual sounds only implied by Verlaine's words: bells, rain, a Spanish pirate, a mournful nightingale. . . all ae readily provided. The last song in, this group is Debussy's final vocal composition, and on this occasion he chose to write the words himself. Only someone who had lived through the horror of war on his own soil could paint this painfully accurate picture of an orphan at Christmas.
Chevaux de bois (Verlaine)
Tournez, tournez, bon chevaux de bois, Tournez cent tours, tournez mille tours. Tournez souvent et tournez toujours, Tournez, tournez au son des hautbois.
L'enfant tout rouge et la mere blanche, Le gars en noir et la fille en rose L'une a la chose et l'autre a la pose Chacun se paie un sou de dimanche
Tournez, tournez, chevaux de leur coeur Tandis qu'autour de tous vors tournois Clignote l'oeil du filou sournois Tournez au son du piston vainqueur!
C'est etonnant comme, fa vous soule D'aller ainsi dans ce cirque bete Rien dans le ventre et rhal dans la tete, Du mal en masse et du bien en foule;
Tournez dadas sans qu'il soit besoin D'user jamais de nuls eperons Pour commander a vos galops ronds tournez, tournez, sans espoir de foin,
Et depeche, chevaux de leur ame, Deja voici que sonne a la soupe La nuit tjui tombe et chasse la troupe De gais buveurs,
que leur soif affame.
Tournez, tournez! Le del en velours
D'asters en or se vet lentement,
L'Eglise tinte un glas tristement
Tournez au son joyeux des tambours, tournez.
Il pleure dans mon cokur
II pleure dans mon coeur Comme il pleut sur la ville. Quelle est cette langueur Qui penetre mon coeur
O bruit doux .de la pluie Par terre et sur les toits! Pour un coeur qui s'ennuie, O le bruit de la pluie!
II pleure sans raison dans ce coeur qui s'ecoeure. Quoi! nulle trahison Ce deuil est sans raison.
C'est bien la pire peine, De ne savoir pourquoi, Sans amour et sans haine, Mon coeur a tant de peine.
It is astounding how it intoxicates you,
To move thus in this foolish circus,
With empty stomachs and dizzy heads,
Feeling altogether badly, yet happy in the crowd;
Turn, hobby horses, without needing
Ever the aid of spurs
To make you gallop on
Turn round, turn without any hope of hay,
And hurry horses of their fancy, Here, already the supper bell is sounded by night, which falls and disperses the crowd Of gay drinkers,
whose thirst has made them famished.
Turn, turn round! The velvet sky
Arrays itself slowly with golden stars.
The church tolls a mournful knell
Turn to the gay tune of die drums, keep turning.
Tears Fall in My Heart
Tears fall in my heart like rain falls upon the city. What is this languor That penetrates my heart
Oh, gende sound of die rain, on the ground and the roofs for a heart that is weary, oh, die sound of the rain!
Tears fall without reason in' this anguished heart. What! No betrayal This mourning has no reason.
This is truly the keenest pain, to know not why, without either love or hate, my heart bears so much pain.
Fantoches (Verlaine)
Scaramouche et Pulcinella Qu'un mauvais dessein rassembla Gesticulent, noirs sur la lune.
Cependant l'excellent docteur Bolonais cueille avec lenteur Des simples parmi l'herbe brune
Lors sa fille, piquant minois Sous la charmille en tapinois Se glisse demi-nue, en quete
De son beau pirate espagnol Dont un langoureux rossignol Calme la detresse a tue-tete
En sourdine
(Verlaine) v
Calmes dans le demi-jour ' Que les branches hautes font, Penetrons bien notre amour De ce silence profond.
Fondons nos ames, nos coeurs, Et nos sens extasies Parmi les vagues langueurs Des pins et des arbousiers.
Ferme tes yeux a demi Croise tes bras sur ton sein, Et de ton coeur endormi Chasse a jamais tout dessein.
Laissons-nous persuader Au souffle berceur et doux Qui vient a tes pieds rider Les ondes de gazon roux.
Et quand solennel, le soir Des chenes noirs tombera, Voix de notre desespoir, Le rossignol chantera.
Scaramouche and Pulcinella, brought together by some evil scheme, gesticulate, bla"ck beneath the moon.
In the meantime, the good Bolognese Doctor slowly picks simples in the twilit grass.
While his daughter,
a saucy minx, steals slyly
under the arbor, half-naked, seeking.
Her handsome Spanish pirate, whose distress is loudly proclaimed by a languorous nightingale.
Calm in the half-light made by the lofty branches, let us permeate our love with this deep silence.
Let us mingle our souls, our hearts,
our senses in ecstasy among
the vague murmurings
of the pine and arbutus trees.
Half-close your eyes fold your arms across your bosom, and let your sleeping heart empty itself forever of all thought.
Let us be wooed in by the lulling, gende breeze that makes the russet grasses ripple at your feet.
And when evening descends solemnly from the dark oaks, the nightingale will sing, the voice of our despair.
Voici des fruits, des fleurs, des feuilles
et des branches, . Et puis voici mon coeur
qui ne bat que pour vous. Ne le dechirez pas
avec vos deux mains blanches, Et qu'a vos yeux si beaux
l'humble present soit doux.
J'arrive tout couvert encore de rosee Que le vent du matin
vient glacer a mon front, Souffrez que ma fatigue a vos pieds reposee, Reve des chers instants
qui la delasseront.
Sur votre jeune sein, laissez rouler ma tete, Toute sonore encore de vos derniers "baisers; Laissez-la s'apaiser de la bonne tempete, Et que je dorme un peu puisque vous reposez.
Here are fruits, flowers, leaves,
and branches, and here also is my heart
which bea.ts only for you. Do not tear it apart
with your two white hands. And may this humble offering , seem sweet to your so lovely eyes.
I come, still covered with dew, which the morning wind
has turned to frost on my brow. Permit that my fatigue, reposing at your feet may dream of the cherished moments
that will refresh it.
On your young bosom let me cradle my head, Still filled with mtisic from your last kisses; Let it be soothed after the good storm, And let me sleep a little, while you rest.
Noel ds enfants qui n'ont
plus de maisons
Nous n'avons plus de maisons!
Les enoemis ont
tout pris, jusqu'a notre petit lit!
Us ont brule l'ecole et notre maitre aussi.
Us ont brule l'eglise et Monsieur
Jesus Christ et le vieux pauvre qui n'a pas pu
s'en aller.
Bien sur! Papa est a la guerre, pauvre maman est morte! Avant d'avoir vu touts ca. Qu'est-ce-que Ton va faire Noel! Petit Noel! N'allez pas chez eux. Punissez-les!
Vengez les enfants de France!
Les petits Beiges, les petits Serbes, et les petits
Polonais aussi! Si nous en oublions,.
pardonnez-nous, Noel! Noel! Surtout, pas
Tachez de nous redonner le pain quotidien. Nous n'avons plus de maison! Les ennemis ont tout pris, jusqu'a notre petit lit! Nous n'avons plus de petits sabots, mais donnez la victoire aux enfants de France!
Carol of the Homeless Children
We are homeless little children.
The enemy has
taken everything, including our little beds!
They have burnt the school and our teacher as well.
They have burnt the church and Lord
Jesus Christ and the old pauper who could not
get away!
Of course, father has gone to war and poor mother is dead, without having seen all this. What are we to do Noel, dear Noel, do not visit the enemy, rather punish him!
Revenge the children of France and also the little Belgians, the little Serbs and the little Poles. If we are forgetting anyone, please forgive us, Noel, Noel! Above all, no toys!
Try to give us again our daily bread. We have no more homes! The enemy have taken everything, including our little be"ds! Noel, dear Noel, we have no shoes, but give victory to'the children of France!
Maurice Ravel
Born March 7) S75 in Cibqure, Basses-Pyrenees Died December 28, 193J in Paris
Quality makes up for quantity with Maurice Ravel's vocal music. Fewer than thirty songs makes it difficult to list him with important composers in this genre, but his personal contribution to impressionism merits investigation neverthe?less. More interested in inflection and wit than in melody or abstract beauty, Ravel captures the inner psychology of the characters and the exact speech-rhythms of the words as few composers have. Only Hugo Wolf in the German language is on his level with regard to these values. This short group offers us much contrast. In the first song, a moment of perfect neo-classicism to suit Marot's antique words; in the last, Ravel's arrangement, (yes; another arrangement!) of his own choral composition gives us a new look at Little Red Riding Hood. In between, an aria from each of his two operas, first capturing Spain and a fiery woman's frustration, then the fairyland of a child's picture book.
EpigrammeDE Element Marot: D'Annejouant de l'espinette
Lorsque je voy en ordre la brunette Jeune en bon point, de la ligne des Dieux Et que sa voix, ses doits et l'espinette Mienent ung bruyct doulx et melodieux. J'ay du plaisir, et d'oreilles et d'yeulx Plus que les sainctz en leur gloire immortel Et autant qu'eulx je devien glorieux Des que je pense estre ung peu ayme d'elle
Epigram of Clement Marot: On Anne playing the spinet
When I look upon t,he well-groomed, dark, young and plump descendant of the gods, and her voice, her fingers, and the spinet make a sweet and melodious sound, I feel pleasure of both ears and eyes more than the saints in their immortal glory, and I become as blest as they believing myself a little loved by her.
Air de Conception (Franc-Nohain)
Oh! la pitoyable aventure! Et faut-il que, des deux amants, L'un manque de temperament Et l'autre" a ce point de nature!
Oh! la pitoyable aventure! Et ces gens-la se disent Espagnols!. . . Dans le pays de Dona Sol, 4' A deux pas de l'Estramadure!. . . Le temps me dure, dure, dure. . .
Oh! la pitoyable aventure! L'un ne veut mettre ses efforts Qu'a composer, pour mes beaux yeux,
des vers baroques, Et l'autre, plus grotesque encore, De l'horloge n'a pu sortir rien qu'a mi-corps, Avec son ventre empetre de breloques!. . .
Maintenant le jour va finir, Et mon epoux va revenir, Et je reste fidele et pure. . . Ah! pour ma colere passer, Avoir quelque chose a casser, A mettre en bouillie, en salade!
Oh! the lamentable experience!
Must it be that, of two lovers
the one lacks temperament
and the other can't come to the point!
Oh! the lamentable experience!
And these men call themselves Spaniards!
In the land of Dona Sol,
two steps from the Estremadura!
Time drags, drags, drags. . .
Oh! the lamentable experience! the one only wants to apply himself to composing quaint verses
on my good looks,-and the other, even more grotesque, could only get half-way out of the clock, his paunch entangled with fobs!
Soon the day will be over and my husband will be back and I remain faithful and pure. . . Oh! if, to vent my wrath, I had something to break, to pull apart, to smash up!
Air de l'enfant (Colette)
Toi, le coeur de la rose
Toi, le parfum du lys blanc
Toi, tes mains et ta couronne,
Tes yeux bleus et tes joyaux. . .
Tu ne m'as laisse, comme un rayon de lune,
Qu'un cheveu d'or sur mon epaule,
Un cheveu d'or. . . et les debris d'un reve. .
You, the heart of the rose
you the while lily's scent,
you, your hands and your crown,
your blue eyes and your jewels. . .
You've only left me like a moon beam
a golden hair upon my shoulder,
a golden hair.. . and fragments of a dream. ..
Nicolette (Ravel)
Nicolette, a la Vespree
S'allait promener au pre
Cueillir la pagquerette, la jonquille,
le muguet,
Toute sautillante, toute guillerette Lorgnant ci, la de tous les cotes.
Rencontra vieux loup grognant
Tout herisse, l'oeil brillant
"He la, ma Nicolette viens-tu pas chez
Mere Grand"
A perte d'haleine s'enfuit Nicolette Laissant la cornette et socque blancs,
Rencontra page joli Chausses blancs et pourpoint gris "He la, ma Nicolette, veux-tu pas d'un doux ami"
Nicolette, at evening song, went a-roaming in the field to pick the starry white daisies, bright jonquils
and gay lilies,
merrily was skipping, listlessly was tripping glancing here, there, and everywhere.
Growling old wolf came to pass
bristling haired, brilliant eyed,
"Stay, stay my Nicolette,
To Grandmother wilt thou come" ?
Away till quite breathless fled Nicolette
letting fall her cap and white clog shoes.
Gentle page came then hereby with white hose and doublet gray; "Stay, stay sweet Nicolette, wilt thou
have a lover true" . Quickly into his arms went Nicolette, nevermore to return to the field.
Marie-Joseph Canteloube de Malaret
Born October 21, 1879 in Annonay (near Tournan), France Died November 4, 1957 in Gridny (Seine-et-Oise)
Finally, we turn to Joseph Canteloube's arrangements of four French folksongs. Note that these are not the songs from the Auvergne region that are Canteloube's most per?formed compositions, but melodies that all Frenchmen know and sing. The arranger's idiom is a lavish one; these simple tunes are now clothed in extravagant and complex accompa?niments that are certainly orchestrally conceived. A vast range of effects helps the singer tell these stories through their several verses.
Dans le jardin d'mon pere, Les lauriers sont fleuris; Tous les oiseaux du ciel Yviennent fair'leur nid!
Aupres de ma blonde
Qu'il fait bon, fait bon, fait bon!
Aupres de ma blonde
Qu'il fait bon dormir!
La caill', la tourterelle Et aussi la perdrix tEt la jolie colombe Qui chante jour et nuit
Aupres de ma blonde, etc.
Ell'chante pour les filles Qui n'ont pas de mari! Ell'chante pas pour moi Carj'en un joli!
Aupres de ma blonde, etc.
II est dans la Hollande Les Hollandais l'ont pris! "Que donneriez-vous, belle, Pour revoir votre ami"
Aupres de ma blonde, etc.
"Que donneriez-vous, belle Si je l'faisais venir" "Je donnerais Versailles, Paris et Saint-Denis."
Aupres de ma blonde, etc.
"Les tours de Notre Dame Le chocher d'mon pays! Et la jolie colombe Pour chanter avec lui!"
Aupres de ma blonde, etc.
Close to My Sweetheart
In my father's garden
the laurels are in flower;
all the birds of the sky
come there to make their nests!
Close to my sweetheart the pretty turtledove sings night and day
She sings for the young girls who don't have husbands. But she doesn't sing for me because I have a good one!
He is in Holland.
I'd give Versailles
Paris and St. Denis
I'd even give the towers of Notre Dame
and the belfry of my home town
and the turtledove to be with him!
Ou irai-je me plaindre
Moi, pauvre infortune
J'irai au vert bocage
Pour me cacher
Et j'entendrai le rossignol y chanter
"Rossignol et sauvage,
Doux mesager de bois!
Apprends-moi ton langage
Et ta chanson'
Donne-moi des nouvelles
De ma Francon
"Francon est bien malade,
Erf danger de mourir!"
Francon n'est pas malade
Ce me dit-on!
Ell'va prendre en manage un beau garcon!
AdieuFrancon, ma mie,
Objet de mon amour!
J'irai en Italie
finir mes jours! i
Adieu, Francon, ma mie
Et pour toujours!
Aupres de la Rose
Aupres de la Rose
Ya un clair ruisseau, de-ri-det-te
Y a un clair ruisseau
II y'a neuf colombes
II y'a neuf colombes
Se baignent dans l'eau, de-ri-det-te
Se baignent dans l'eau
S'y sonf tant baignes-es
S'y sont tant baignes-es
Ont mouille leur peau, de-ri-det-te
Ont mouille leur peau
Where shall I go to weep
Where shall I go to weep,
unhappy me
I'll go to the woods
and hide myself
and listen to the nightingale
that I may have news of Francon.
"Francon is very ill,
in danger of dying."
Francon is not ill Something tells me she will marry another. Farewell, Francon, I'm going to Italy to end my days.
Near the rose
Near the rose, in a clear brook
nine doves are bathing.
If they bathe too much
they will have wet skins.
They have flown softly away
to sleep in the beautiful elm tree.
Ont pris la vole-e
Ont pris la vole-e
S'en vont doucement, de-ri-det-te
S'en vont doucement t
Font la repose-e
Font la repose-e
Sur un bel ormeau, de-ri-det-te
Sur un bel ormeau
D'ou venez-vous, fillette Le rossignol qui vole Avec ce beau panier, Le rossignol qui va voler
Je porte des oranges, le rossignol qui vole. Prenez-en, s'il vous plait Le rossignol qui va voler.
En prend une douzaine, Le rossignol qui vole. Mais sans les lui payer, Le rossignol qui va voler.
La fill'qui etait sage, Le rossignol qui vole. EH's'est mise a pleurer, Le rossignol qui va voler.
Ah! je saurai bien faire, Le rossignol qui vole. Pour vous faire payer, Le rossignol qui va voler.
Where are you coming from, child
"Where are you coming from, child,
with your pretty basket"
"I have oranges.
Take some, if you please."
He took a dozen,
but without paying her.
The girl was wise;
She began to cry.
"What's wrong, child, ,
what makes you cry so hard"
"Oh, I know very well
how to pay you."
Notes by Martin Katz Ann Arbor, 1994
s she enters the third decade of an extraor?dinary career, Frederica von Stade, continues to reign as one of the music world's most i beloved figures. With seemingly effortless versatility she traverses an ever-broadening spectrum of musical -styles and dramatic characterizations. A noted bel canto specialist, she excels as the heroines of Rossini's La cenerentola and barbiere di Siviglia and of Bellini's La sonnambula. She is an unmatched stylist in the French repertoire, a delectable Mignon or Perichole and, in one critic's words, "the Melisande of one's dreams." Her elegant figure and keen imagination have made her, the world's favorite interpreter of the great trouser roles, from Strauss' Octavian and Composer to Mozart's Idamante and -magically, indelibly -Cherubino.
Her career began at the top, when she received a contract from Sir Rudolf Bing during the Metropolitan Opera Auditions. Since her debut at the Met in 1970 she has sung nearly all of her great roles with the , company, as well as with the Lyric Opera of Chicago, the San Francisco Opera and many other leading American theaters. Her career in Europe has been no less spectacular, with new productions mounted for her regularly at La Scala, Covent Garden, the Vienna State Opera and the Paris Opera. When La Scala and the Paris Opera both visited the United States during our bicentennial, Frederica von Stade was the only American
to appear as a guest not just with one company but with both -as Cenerentola with La Scala and Cherubino with the Paris Opera.
She is invited regularly by the world's top conductors -among them Claudio Abbado, James Levine, Riccardo Muti and Seiji Ozawa -to appear with-the world's top orchestras. She has made over three dozen recordings for every major label, including complete operas, aria albums, symphonic works, solo recital programs, and popular crossover albums. Her recordings have garnered five Grammy nominations, hvo Grand Prix du Disc awards, the Deutsch Schallplattenpreis, Italy's Premio della Critica Discografica and "Best of the Year" citations by Stereo Review, Opera News and other journals. Recently, she enjoyed the v distinction of holding simultaneously the first and second places on the National sales charts, for AngelEMI's Showboat and Telarc's The Sound of Music.
Ms. Von Stade has appeared on televi?sion, with Lixleffom (he Met performances as Cherubino, Hansel and Idamante as well as a Unitel film of the classic Jean-Pierre Ponnelle production of Domenick Argento's The Aspern Papers (a work written for her) which was broadcast from the Dallas Opera on PBS.
A holiday special, Christmas with Flicka, was shot on location in Salzburg and appeared on PBS.-In the spring of 1990 she was the focal point of another PBS special, Flicka and Friends, in which she was joined by bass Samuel Ramey and tenor Jerry Hadley for an evening of operatic and musical theater selections. In December 1991 she appeared with Kathleen Battle and Wynton Marsalis in a Carnegie Hall Christmas Concert, which was conducted by Andre Previn and broadcast internationally on.television. She was the guest soloist for the Berlin Philharmonic's 1992 New Year's Eve gala, conducted by Claudio Abbado, which was also telecast worldwide and recorded in audio and video formats by Sony.
Frederica von Stade is the holder of honorary doctorates from Yale University, Boston University, the Georgetown University School of Medicine and her alma mater, the Marines School of Music. In 1983 she was honored with an award given at the White House by former president Ronald Reagan in recognition of her significant contribution to the arts.
This afternoon's recital marks Ms. Von Stade's UMS debut.
Martin Katz is a native of Los Angeles, where he began piano studies at the age of 1 five. He attended the University of Southern California as a scholarship student and stud?ied the specialized field of accompanying with its pioneer teacher, Gwendolyn Koldofsky. While yet a student, he was given the unique opportunity of accompanying the master classes of such luminaries as Lotte Lehmann.Jascha Heifetz, Pierre Bernac and Gregor PiatigorsKy. Following his formal education, he held the position of pianist for the U.S. Army Chorus in Washington, D.C. for three years.
Mr. Katz is in constant demand as part?ner for some of the world's most celebrated vocal soloists in recitals the world over. His collaboration with Ms. Von Stade in both concerts and recordings is now twenty years old. In addition, he performs regularly with Marilyn Home, Kiri Te Kanawa, Kathleen Battle, Cecilia Bartoli, Sylvia McNair and Jose Carreras. His concerts have taken him to five continents and he has recorded for the BMG, Decca, Philips, CBS, RCA, FonitCetra and Desto labels.
In recent years, invitations to con?duct orchestral evenings have been extended with increasing frequency. Mr. Katz has partnered sev?eral of his soloists on the podium for orchestras of the
B.B.C., Houston, Washington, D.C., Tokyo and Miami. He has led University of Michigan productions of Don PaSquak, Don Giovanni, La Serva Padrona and Dialogues des Carmelites in recent years.
Finally, what completes the professional profile of Martin Katz is his commitment to teaching. For the past ten years, he has been Professor in charge of accompanying and chamber music at the University of Michigan, and has played a pivotal role in the training of countless young artists who are now work?ing throughout North America. He is a fre?quent guest for master classes here and abroad, regularly visiting such places as Manhattan School of Music, thejuilliard School, Tanglewood Music Center, Ravinia and the Santa Fe Opera.
This afternoon's recital marks Mr. Katz's thir?teenth appearance under UMS auspices.
The Michigan Theater
The historic Michigan Theater opened its doors January 5, 1928 at the peak of the vaudeville movie palace era. The gracious facade and beautiful interior were then as now a marvel practically unrivaled in Michigan. As was the custom of the day, the Theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country.
Over the years, the Theater has undergone many changes. "Talkies" replace silent films just one year after the Theater opened, and vaudeville soon disappeared from the stage. As Theater attendance dwindled in the '50s, both the interior and exterior of the building were remodeled in a style which was architecturally inappropriate. Through the '60s and '70s the 1800-seat theater struggled against changes in the film industry and audiences until the non-profit Michigan Theater Foundation stepped in to operate the failing movie house in 1979.
After a partial renovation which returned much of the Theater to its prior glory, the Michigan Theater has become Ann Arbor's home of quality cinema as well as a popular venue for the performing arts. The Michigan Theater is also the home of the Ann Arbor Symphony Orchestra.
Burton Memorial Tower
A favorite campus and Ann Arbor landmark, Burton Memorial Tower is the familiar mailing address and box office location for UMS concertgoers.
In a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles, be built in the center of campus to represent the idealism and loyalty of U-M alumni. Burton served as president of the University and as a Musical Society trustee from 1920 until his death in 1925.
In 1935 Charles M. Baird, the University's first athletic director, donated $70,000 for a carillon and clock to be installed in a tower dedicated to the memory of President Burton. Several organizations, including the Musical Society, undertook the task of procuring funds, and nearly 1,500 individuals and organizations made contributions. The gift of the UMS totalled $60,000.
Designed by Albert Kahn, Burton Memorial Tower was completed in 1940, at which time the University Musical Society took residence of the first floor and basement.
A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, the UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses contributed to this project.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top reserved for the Charles Baird Carillon. During the academic year, visitors may observe the carillon chamber and enjoy a live performance from noon to 12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15 to 10:45 a.m.
Group Tickets
It's easy to impress your group when you take them to a UMS event! No matter what your group -company, family, club, religious congregation -the University Musical Society has an event to make you smile. And when you purchase your tickets through the UMS Group Sales Office, you'll be smiling all the way to the bank, with terrific discounts available for nearly every performance:
? Adult Groups of 20 to 46 receive a 15 discount per ticket and 1 complimentary ticket
? Adult Groups of 47 or more receive a 20 discount per ticket and 2 complimentary tickets
? For select performances, adult groups of 20 or more and student or senior groups of 10 or more receive a 25 discount per ticket and 1 complimentary ticket
? Senior groups (65+) of 10 or more receive a 20 discount per ticket and 2 complimentary tickets.
? College Student Groups of 10 or more receive a 20 discount per ticket and 2 complimentary tickets.
Your Group Sales representative offers many benefits to your group including block seating, free promotional materials, assistance with group dining arrangements, free bus parking, Philips Educational Presentations, and more. During its five-year history, the UMS Group Sales Program has brought more than 500 groups numbering over 10,000 people to UMS performances at Hill Auditorium, Rackham Auditorium, and the Power Center. Estimated Savings: $50,000. Now that's a discount! For information, call your UMS Group Sales Coordinator at (313) 763-3100.
Arts Midwest Minority Fellow
The University Musical Society is pleased to have been selected as a host site for its second Arts Midwest Minority Arts Administration Fellow. Morning Bishop, founder and director of the Morning Bishop Theater Playhouse in Gary, Indiana, is spending four months at UMS this fall to enhance her present arts administra?tion skills, to develop a network of new contacts, and to increase her awareness of the challenges facing persons of color in the field of arts administration. Arts Midwest works in partnership with private and public arts supporters throughout the Midwest to translate human and financial resources into enriching arts experiences for Midwestern residents.
Volunteers & Internships
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with mailings, ushering for the Philips Educational Presentations, staffing the Information Table in the lobbies of concert halls, distributing publicity materials, assisting with the Youth Program by compiling educa?tional materials for teachers, greeting and escorting students to seats at performances, and serving as good-will representatives for UMS as a whole.
If you would like to become part of the University Musical Society volunteer corps, please call (313) 747-1175 or pick up a volunteer application form from the Information Table in the lobby.
Internships with the University Musical Society provide experience in performing arts manage?ment, marketing, journalism, publicity, and promotion. Semesterand year-long internships are available in many aspects of the University Musical Society's operations. Those interested in serving as a UMS Intern should call (313) 764-6199 for more information. We look forward to hearing from you!
UMS Ushers
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function of assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individu?als who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer. Bravi Ushers!
"Desert Island Discs"
Co-produced by the University Musical Society and Michigan Radio. Desert Island Discs is heard every Saturday morning from 8:00 a.m. to 10:00 a.m. Each program features a distinguished castaway who is asked, "If you were stranded on a desert island, which recordings would you like to have with you and (perhaps most revealingly) why" Tune in Saturday mornings.WUOM-91.7 FM, Ann Arbor; WVGR-104.1 FM, Grand Rapids; WFUM-91.1, Flint.
College Work-Study
Students working for the University Musical Society as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and production. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 764-2538.
Concert Schedule
The Chick Corea Quartef+
Saturday. October 1, 8pm
Guarneri String Quartet'
Sunday, October 2, 4pm
Made possible by a gift from Edward Surovell CompanylRealtors.
The Michael Nyman Band'
Saturday, October 8, 8pm
Made possible by a gift from Drs. Carol and Irving Smokier
The Philadelphia Orchestra
Wolfgang Sawallisch, conductor Tuesday, October 18, 8pm
Made possible by a gift from First of America Bank-Ann Arbor. This concert is presented in honor of Dr. and Mrs. Harlan Hatcher
Uptown String Quartet'+
Friday, October 21, 8pm
Made possible by a gift from Mary Steffek-Blaske and Thomas Blaske and a grant from CHAMBER MUSIC AMERICA'S Presenter-Community Residency Program. This project is also supported by Arts Midwest members and friends in partnership with the National Endowment for the Arts.
Michigan Chamber Players Faculty Artists Concert
The Music of Martha Graham Sunday, October 23, 4pm
In the American Grain:
The Martha Graham Centenary Festival
The Martha Graham Dance Company
Friday, October 28, 8pm (Program I)'
Saturday, October 29, 8pm (Program II)
Sunday, October 30, 2pm"
(Program III -Appalachian Spring: Celebration
of an American Masterwork)
Saturday, October 29, 2pm (Family Show)'
This project is made possible in part by a grant from the Lila Wallace-Reader's Digest Arts Partners Program which is administered by the Association of Performing Arts Presenters. This project is also made possible by grants from The Grayling Fund and support by Arts Midwest members and friends in partnership with the National Endowment for the Arts. In addition, we are grateful to the Ford Motor Company for making possible the Saturday. October 29. afternoon family show which is a pan of the Ford Family Series.
Whirling Dervishes of Turkey'
Friday, November 4, 8pm
A Celebration of the Spiritual' Jester Hairston, conductor
with the UMS Choral Union
Sunday, November 6, 4pm
Made possible by a gift from The Anderson AssociatesRealtors
In addition, we are grateful to the Ford Motor Company for making
possible the Sunday. November 6, afternoon family show which is a
part of the Ford Family Series.
Tnuatron Dance Troupe
Tuesday, November 8, 7 PM
This program is part of the Mid EastWest Fest International
Community Exchange sponsored by Lufthansa and the W. K. Kellogg
Foundation, major sponsors, and Hudson's and the Dayton-Hudson
In addition, we are grateful to the Ford Motor Company for making
possible this performance which is a part of the Ford Family Series.
MiLemper, vocalist
Friday, November 11, 8pm
Frederica von Stade, mezzo-soprano'
Martin Katz, piano Sunday, November 13, 4pm
The 2nd Annual
IMS Theatre Residency:
The Shaw Festival
The Front Page Wed., November 16, 8pm Friday, November 18, 8pm' Saturday, November 19, 2pm Arms and the Man Tuesday, November 15, 8pm Thursday, November 17, 8pm' Saturday, November 19, 8pm Sunday, November 20, 2pm
Made possible by gifts from TriMas and the Detroit & Canada Tunnel Corporation.
Oslo Philharmonic Mariss Jansons, conductor Yefim Bronfman, piano
Tuesday, November 29, 8pm
Roberto Aussel, guitar
Friday, December 2, 8pm
Handel's Messiah
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, music director
and conductor
Saturday, December 3, 8pm
Sunday, December 4. 2pm
Made possible by a gift from Wolverine
Temporaries Inc
Sweet Honey in the Rock'
Friday, January 6, 8pm
Made possible by a gift from Great Lakes Bancorp
The Complete Piano Music of Frederic Chopin, Part I
(1st of 3 installments) Garrick Ohlsson, piano
Friday, January 13, 8pm'
Ruth Brown' +
Saturday, January 14, 8pm
Part of the University of Michigan's 1995 Rev. Dr. Martin Luther King. Jr. Day Symposium.
Spiritual Ensemble of Harlem
Sunday,January 15, 7pm Free and open to the public. Tickets required.
Co-presented with the University of Michigan Office of the Vice Provost for Academic and Multicultural Affairs as pan of the University's 1995 Re: Dr. Martin Luther King, Jr. Day Symposium.
Academy of St. Martin-in-the-Fields Iona Brown, conductorviolinist
featuring Vivaldi's The Four Seasons Sunday, January 22, 7pm Made possible by a gift from British AinvayslConlin-Faber Travel
Jean-Pierre Rampal, flute'
John Steele Ritter, piano Wednesday, January 25, 8 PM
The Romeros, guitar family'
Friday, January 27, 8pm
Noa, vocalist, and Gil Dor, guitar'
Thursday, February 9, 8pm This program is part of the Mid EastlWest Fest international Community Exchange sponsored by Lufthansa and the W. K. Kellogg Foundation, major sponsors, and Hudson s and the Dayton-Hudson Foundation.
The Society Bank Cleveland Orchestra Weekend
The Cleveland Orchestra
Christoph von Dohnanyi, music director
Friday, February 3, 8pm'
Special Performance!
The Cleveland Orchestra Christoph von DohnSnyi, music director Emanuel Ax, piano Saturday, February 4, 8pm
Chamber Music with Members of the Cleveland Orchestra
Sunday, February 5, 4pm Made possible by a gift from Society Bank. Michigan. This project is also supported by Arts Mid'est members and friends in partnership with the National Endowment for the Arts.
Anne-Sophie Mutter, violin Lambert Orkis, piano Saturday, February 11, 8pm
Made possible by a gift from Parke-Davts Pharmaceutical Research.
Freiburg Baroque Orchestra Drew Minter, countertenor
Sunday. February 12, 7pm
Kodo Drummers'
Monday. February 13, 8pm Tuesday, February 14, 8pm
Hagen String Quartet'
Thursday, March 2, 8pm
Made possible by a gift from Curtin & Alf
New York City Opera National Company
Rossini's II Barbiere di Siviglia (The Barber of Seville) Tuesday, February 28, 7pm (Family Show) Wednesday, March 1, 8pm Friday, March 3, 8pm' Saturday, March 4. 8pm Sunday, March 5, 2pm Made possible by a gift from JPEinc. We are grateful to the Ford Motor Company for making possible the Tuesday, February 28, family show which is a part of the Ford Family Series.
Warsaw Sinfonia'
Krzysztof Penderecki, conductor
Allison Eldredge, cello
Saturday, March 11, 8pm
The Complete Piano Music of Frederic Chopin, Part I
(2nd of 3 installments) Garrick Ohlsson, piano
Sunday, March 12, 4pm"
Lincoln Center Jazz Orchestra
Wednesday, March 15, 8pm
Presented in conjunction with V-M Office of Major Event! (MEO).
Berlin Philharmonic Woodwind Quintet
Friday, March 17, 8pm
Maurizio Pollini, piano
Monday, March 20, 8pm
Bill T. JonesArnie Zane Dance Co. -StillHere
Friday, March 24, 8pm Saturday, March 25, 8pm
Cleveland String Quartet'
Giora Feidman, clarinet Sunday, March 26, 4pm
Made possible by a gift from Ethvard Surovell CompanyRealtors
Michigan Chamber Players Faculty Artists Concert
Tuesday, March 28, 8pm
The Complete Piano Music of Frederic Chopin, Part I
(3rd of 3 installments) Garrick Ohlsson, piano
Friday, March 31, 8pm
Anonymous 4, vocal quartet'
Saturday, April 1, 8pm
Royal Concertgebouw Orchestra
of Amsterdam
Riccardo Chailly, conductor
Thursday, April 6, 8pm
Julian Bream, guitar
Tuesday, April 25, 8pm
Detroit Symphony Orchestra'
Jerzy Semkov, conductor Edith Wiens, soprano Florence Quivar, mezzo-soprano UMS Choral Union Sunday, May 14, 4pm
indicates Philips Educational Presentation in conjunction with this performance. Call 313.764.2538 for details. +The UMS Jazz Directions Series is presented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
Advertising with the University Musical Society
Four years ago, UMS began publishing expanded program books that included advertising and detailed information about UMS programs and service. As a result, advertising revenue now pays for all printing and design costs.
UMS advertisers have written to tell us how much they appreciate advertising in the UMS program books to reach you, our world-class audience. We hope that you will patronize the businesses who advertise with UMS and tell them that you saw their ad in the UMS program book so that we can continue to bring you the program notes, artists' biographies, and general information that illuminate each UMS presentation. For informa?tion about how your business can become a UMS advertiser, call (313) 764-6199.
In an effort to help reduce distracting noises and enhance the concertgoing experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dispensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1994 Lincoln Town Car to provide transportation for visiting artists.
Subscribers who purchase at least $100 worth of tickets and supporters at the $100 level and above receive the UMSCard. The UMSCard is your ticket to savings all season for discounts on purchases at the following fine stores and restaurants:
Amadeus Cafe Maude's
Gandy Dancer SKR Classical
Kerrytown Bistro The Earle
Tower RecordsBooksVideo Cafe Marie
Gift Certificates
What could be easier and more welcome than a University Musical Society gift certificate The perfect gift for every occasion worth celebrating. Give the experience of a lifetime -a live performance -wrapped and delivered with your personal message.
Available in any amount, just visit or call the UMS box office in Burton Tower, 313.764.2538.
Youth Program
Thousands of school children annually attend UMS concerts as part of the UMS Youth Program, which began in 1990 with special one-hour performances for local fourth graders of Puccini's La Boheme by the New York City Opera National Company.
Now in its sixth year under the Education Depart?ment, the UMS Youth Program continues to expand, with a performance by the Martha Graham Dance Company for middle and high school students, a performance by the Shaw Festival for high school students, and two fourth-grade opera performances, as well as discounted tickets to nearly every concert in the UMS season.
As part of the Martha Graham Dance Company's Ann Arbor residency and the four-day multidisciplinary program entitled "In The American Grain: The Martha Graham Centenary Festival." the Graham Company presents a special youth program to middle and high school students on Friday, October 28.
Friday, November 18, area high school students will experience a full-length performance of the Shaw Festival's production of Shaw's Arms and the Man.
On Friday, March 3, 1995 2700 fourth-graders will visit the Power Center for abbreviated one-hour performances of Rossini's Barber of Seville. These performances allow children to experience opera that is fully-staged and fully-costumed with the same orchestra and singers that appear in the full-length performances.
Discounted tickets are also available for UMS concerts as part of the Youth Program to encourage students to attend concerts with their teachers as a part of the regular curriculum. Parents and teachers are encouraged to organize student groups to attend any UMS events, and the UMS Youth Program Coordinator will work with you to personalize the students' concert experience, which often includes meeting the artists after the performance. Many teachers have used UMS performances to enhance their classroom curriculums.
The UMS Youth Program has been widely praised for its innovative programs and continued success in bringing students to the performing arts at affordable prices. To learn more about how you can take advantage of the various programs offered, call Education Coordinator Helen Siedel at 313.936.0430.
The 199411995 UMS Education Program is underwritten in part by the McKinley Foundation, ERIM. the Bernard L. Maas Foundation, the Anderson Associates, Ford Motor Company, David and Tina Loesel, Thomas H. and Mary Steffek Blaske. and the Michigan Council for the Arts and Cultural Affairs.
Advertiser's Index
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Butzel Long
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111 Ed Surovell Realty Co.
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Institute of Michigan
32 First Martin Corporation
19 First of America Bank
2 Ford Motor Company
13 Fraleigh's Landscape
16 General Motors
36 Glacier Hills
18 Great Lakes Bancorp
13 Hagopian World of Rugs
32 Harmony House
19 Heikkinen Piano Shop
9 Interior Development
2 Jacobson's
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