UMS Concert Program, Tuesday Nov. 29, 1994 To Jan. 06, 1995: 1994-1995 Fall - Tuesday Nov. 29, 1994 To Jan. 06, 1995

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

Univeroity Muiical Society
Thr Vniitnttj of Mulligan Bui urn Memorial Tower Ann Arbor, Michigan 4S109-1270
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'5 understanding and appreciation of the performing arts. Your support makes all of this possible, and we are grateful to you.
My colleagues throughout the counhy 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 worid 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 if 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 Gatway, Kathleen Battle, Itzhak Periman. or Cecilia Bartoli perform a recital 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-member Advisory Committee, 275-member usher corps, and hundreds of other volunteers contribute thousands ot 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.
Sincerely,
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 arc 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 Sacien-
A Salute To Our Corporate Angels . .
ANDERSON ASSOCIATES
REALTORS
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.,
Owner
Brauer Investment
Company
"Music is a gift from God to enrich our lives. Therefore, I 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."
Curtin&Alf
Joseph ( in tin 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."
DETROIT WINDSOR TUNNEL
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
President
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
Chairman
Ford Motor Credit
Company
"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 Execulive 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."
:inc
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."
Jacobson's
Mark K. Rosenfeld
Presidem, 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 Mainslreet 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."
PEPPER, HAMILTON & SCHEETZ
ATTORNEYS AT LAW
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."
Society
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 Presideni 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."
R?GENO'TRAVaiNC
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
Chairman
Pharmaceutical
Division,
Warner Lambert
Company
"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. Amster 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 Jeanninc Buchanan Letitia Byrd Betty Byme Pat Chatas Chen Oi Chin-Hsieh Phil Cole Peter H. deLoof Rosanne Duncan Don Faber Penny Fischer Barbara Gelehrter Margo Halsted Esther Heitlcr Lorna Hildebrandt Kathleen Treciak Hill Matthew Hoffman JoAnne Hulce
Staff
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 Walts Hull
Ronald M. Cresswell James J. Dudersladl 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
The University Musical Society is an Equal Opportunity Employer and provides programs and services without regard to race, color, religion, national origin, age, sex, or handicap.
The University Musical Society is supported by ihe Michigan J. A, Council for Arts and Cultural Affairs, and Arts Midwest f& 5 and Friends in Partnership with the National Endowment for ihe Arts.
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
lobbies.
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
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
lobby.
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
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.
Restrooms
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.
Tours
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 Uuidelines
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.
Children
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
313.764.2538
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
313.747.1171
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.
Returns
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, Andr6s 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 Kitt, 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.
University
Musical
Society
of the University of Michigan 7994-7995 Fall and Winter Seasons
Event Program Book
Tuesday, November 2g, il'M
through
Friday, January 6, 1995
116th Annual Choral Union Series Hill Auditorium
32nd Annual Chamber Arts Series. Rackham Auditorium
24th Annual Choice Events Series
Oslo Philharmonic Orchestra
Tuesday, November 29, 1994 Hill Auditorium
Robert Aussel 15
Friday, December 2, 1994 Rackham Auditorium
Handel's Messiah 21
Saturday, December 3, 1994 Sunday, December 4, 1994 Hill Auditorium
Sweet Honey In The Rock 41
Friday, January 6, 1995
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
Starting Time
Every 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.
University Musical S o ciety
presents
The Oslo Philharmonic Orchestra
Mariss Jansons Music Director
Yefim Bronfman piano
Program
Tuesday Exiening, November 29, at 8:00
Hill Auditorium Ann Arbor, Michigan
Ludwig van Beethoven
Leonore Overture No.3 in C Major,Op. 72A
?s.
Bela Bartok
Concerto No. 1 for Piano and Orchestra
Allegro moderato
Andante
Allegro molto , .
Yefim Bronfman, soloist
Intermission
Dmitri Shostakovich
Symphony No. 9 in E-flat major, Op.70
Allegro
Moderato
Presto
Largo
Allegretto Allegro
t
. Maurice Ravel
La valse
Ttventy-Third performance of the 116th Season
116th Annual Choral Union Series
Thank you to Hammell Music Inc., Livonia, Michigan, for the piano used in tonight's performance.
Columbia Artists Management, Inc. Tour Direction: David V. Foster Associate: Deborah Silverstein
EMIAngel, Chandos, Polygram and CBS records
Management for Mr. Bronfman: IGM Artists, Ltd. Lee Lamont, President
Hydro is proud to be the world-wide sponsor of the Oslo Philharmonic Orchestra for the 1990-1996 period.
Leonore Overture, No. 3, in C major, Op. 72A (1806)
Ludwig van Beethoven
Born December 16, ijjo in Bonn
Died March 26, 1827 in Vienna
Beethoven wrote four overtures for the opera that he originally composed in 1804-05 and called Leonore, though it was billed as Fidelia at the first performance,, at Vienna's Theater an der Wien on November 20, 1805, when it was preceded by the over?ture known as Leonore No. 2. Leonore No. 3 was written for the somewhat revised version of the opera introduced at the same theater " on March 29, 1806. When Fidelio was next revived, in 1814, Beethoven composed a more concise overtures, now known as the Fidelio Overture.
Fidelio, the only opera Beethoven brought to fruition, Certainly cost its composer more trouble than any ten operas of Donizetti cost their maker. The libretto, based on a "rescue opera" set during the French Revolution, celebrated two themes dear to the composer: political freedom and conjugal devotibn. To free Florestan, a nobleman imprisoned for political reasons, his wifje Leonore disguises herself as a boy ("Fidelio") and is hired by the jailer Rocco. When a visit of inspection by a royal minister is announced, the prison governor Don Pizarro plans to kill Florestan to prevent discovery of his arbitrary incarceration. "Fidelio" and Rocco dig a grave in the dungeon, but when Pizarro arrives and is about to kill the prisoner, Leonore intervenes with a pistol, crying, "First kill his wife!" At this moment of maxi?mum tension, an offstage trumpet call signals the arrival of the minister, who in the opera's final scene grants Leonore the privilege of releasing her husband from his chains, as the populace praises her exalted example 'of wifely love.
Some of the opera's dramatic troubles stemmed from a lightweight subplot involving the jailer's daughter, who falls in love with "Fidelio",' and the turnkey, who in turn loves the, daughter; in the opera's first versions, exposition of this material excessively delayed .the unfolding of the central plot line, a problem compounded by the expan-siveness of Beethoven's music. Another problem was the overtures (Leonore No. 2 in 1805, Leonore No. 3 in 1806), which incor?porated the opera's musico-dramatic climax -the offstage trumpet call -anticipating and therefore detracting from its impact later on. So Beethoven abandoned both these overtures. In 1807, for a projected Prague staging, Beethoven composed still another overture, which confusingly became known as -Leonore No. 1; in this less monu?mental work, he replaced the trumpet-call with an episode based on the melody of Florestan's aria used in the introductions to the earlier overtures. But the Prague perfor-mance never materialized, and in 1814, when the opera's opening scenes were more dras?tically overhauled and curtailed, the key structure required an overture in E major (all the Leonoresare in C major), and Beethoven wrote the one now familiar as the Fidelio overture, which quotes no material from the opera.
Despite Beethoven's rejection of it as an overture, Leonore No. 3 has remained closely associated with the opera, for conductors have understandably been unable to resist the temptation to play it. The custom of playing it between the two scenes of the opera's second act -that is, after the scene in which the trumpet-call saves Florestan's life -dates back at least to the turn-of-the-century, perhaps even further. For certain, it was a standard practice in Mahler's celebrated Vienna and New York productions. (It has the incidental advantage of allowing plenty of time for a change of scenery). Though no longer an anticipation of the opera's climax,
Leonore No. 3, with its extensive and explosive celebration of C major, now immediately precedes a scene itself devoted to similar celebrations of the same key and sonorities, which the overture can easily render anticli-mactic (not le.ast because the finale, almost superhuman in its demands on the two prin?ciple singers, is rarely realized as effectively as the instrumental overture).
But Leonore No. 3 soon acquired an independent life in the concert hall as well, where the features that are defects in its original context were transformed into virtues. Its powerful, concise tonal drama, as well as its high energy, enabled it to stand alone with great success, and it became a model for the new genres of coicert overture and symphonic poem cultivated by the later Romantics, from Liszt and Wagner to Richard Strauss.
The overture begins with a massive G six octaves deep, from which a scale descends to a distant region. From this emerges die opening phrases of Florestan's aria in A-flat, a key that becomes the locus of a br.ief, mas?sive climax that subsides and returns us to
the threshold of C Major. Pianissimo violins and cellos commence the aspiring, arpeg?gio-based Allegro theme. The second theme, also based on the melody of Florestan's aria .(begun by the horns and handed over to flute and violins), arrives in the unusual key of E Major (as distant from C as was A-flat, in the other direction). The stormy development is inter?rupted by the off-stage trumpet call and the music of astonished, relieved reaction that follows it in the opera, after which the
flute and bassoon, using the first theme, lead back to the recapitulation, now fortissimo. The flute is again prominent at the end of the recapitulation,.suspensefully preparing
for the Presto coda, which is introduced by a string cadenza begun by "two or three violins," then adding the lower instruments. Syncopated sforzando accents add to the dynamism of the coda, which embodies Beethoven's unequaled mastery at deploy?ing repetitions of the most common chords in patterns governed by an acute sense of rhythm, proportion, and harmonic tension.
Note by David Hamilton
Piano Concerto No. i (1926)
Bela Bartok
Born March 25, 1881 in Nagyszentmiklos,
Hungary (now Sinhicolau Mare, Romania) Died September 26, 1945 in Nero York City
Bartok was a prolific composer of concertante works. In addition to his six concertos for soloist and orchestra -three for piano, two for violin and one for viola -
he also wrote the Scherzo-Burlesque, Sz 27 and the Rhapsody, Sz 28 (both of which are large scale compositions for piano and orchestra), the two Rhapsodies for violin and orchestra (Sz 87 and 90), and the rnagnificent Concerto for Orchestra which constantly highlights different instruments, alone and in multipje combi?nations, as soloists.
The First Piano Concerto was written in 1926, one of his most productive years. About to embark on an extended series of concerts,
he saw the need to create new works for this purpose, among them the Piano Sonata, the Suite Out of Doors, and the Nine Little Piano Pieces. In addition to the Concerto, he also
began work that year on his extensive series of short piano works, Mikrokosmos.
The First Piano Concerto received its premiere performance at the International Society for Contemporary Music Festival in Frankfurt, on July 1, 1927. For the occasion,_ Wilhelm Furtwangler conducted the orches?tra with the composer as soloist. The work was first heard in America at a concert of the Cincinnati Symphony under Frit2 Reiner, with Bartok, once again, at the piano.
Not unlike some of the great composer-pianists of the past -Mozart, Beethoven , Liszt, Rachmaninoff-Bartok wrote his first two piano concertos as vehicles for his own virtuosity, designing them specifically to "fit his talents as a pianist. Moreover, in Bartok's concertos, the soloist often determines the character of the musical proceedirigs within the tighdy-organized symphonic frameworks.
Stylistically, in the First Piano Concerto one can observe a certain diatonicism and contrapuntal clarity, both of which are derived from Bartok's interest in Pre-Bachian composers. The harmonic framework, how?ever, firmly grounds the work in the twenti?eth-century, as there is abundant and frequent use of minor seconds and ninths, and fnajor sevenths; there is also extensive employment of tone clusters. With its typical Bartokian martellato (hammered), the piano writing takes on a percussive nature often produting . harsh and violent sonorities. The orchestra frequently joins the piano in this biting harshness as many passages contain blocks of sound rather than chords in the traditional sense. The use of ostinatos or insistent motor rhythms deploys the compellingly relentless, and often barbaric energy which suffuses the work. s
While Bartok described the cpncerto as being in the key of e minor, this key is mere?ly a point of departure. Tonality is treated with great freedom throughout the work. The first movement begins with an "Allegro moderato" introduction in which a tonally
ambiguous pedal point on B and A is heard. From this pedal point emerges the principal theme of the movement, composed of a number of motivic gestures. A second motivic group is distinguished by its polyrhythmic structure. The development and recapitula?tion are both characterized by their motoric drive and constant meter shifts.
The second movement foreshadows the composer's own Sonata for Two Pianos and Percussion of 1937. With stringed instruments conspicuously absent, the piano is pitted against a battery of percussion requiring three players in addition to a timpanist. In the score, Bartok meticulously indicates vari?ous methods for the percussionists to produce the desired effects. He also stipulates exact placement of these instruments, directly behind the piano. The principal thematic material is derived from a motivic cell of three eighth notes followed by a chord in fourths. Polytonality plays an important factor in tftis movement as a contrapuntal back?ground is woven toward the end of the movement by groups of wind instruments playing in different modes and keys, resulting in progressively thickened tone clusters.
After a brief transition, a trombone glissando leads directly into the third move?ment. This Finale is notable for its relentless rhythmic pulse. Over a string ostinato, the piano presents the main theme of the move?ment. A series of episodes ensues, all of which utilize portions of the main theme in a quasi-variational treatment. As distinctive rhythmic motifs come and go in the orchestra, the soloist hammers away in a brilliant display of virtuosity, bringing the concerto to its thunderous conclusion.
Note by Edgar Colon-Hernandez
Symphony No. 9 in E-flat major, Op. 65 (1945)
Dmitri Shostakovich
Born September 25, 1906 in St. Petersburg
Died August 9, 1975 in Moscow
Dmitri Dmitriyevich Shostakovich was the first major Russian composer to receive his entire musical education under the Soviet regime. He first achieved interna?tional recognition (and Party approval) with his First Symphony. Written as a graduation piece, it was acclaimed at its premiere in
May of 1926 in Leningrad, its first Western performance in May of 1927 in Berlin (con?ducted by Bruno Walter) and its American Philadelphia pre?miere in November of 1928 (led by Leopold Stokowski). Throughout his lifetime, however, Shostakovich went in and out of favor with the authorities, even as his loyalties remained unquestioned. Even after his opera Lady Macbeth of the Mtsensk District (1934) had been internationally recognized as a masterpiece, Pravda, in a 1936
editorial entitled "Chaos Instead of Music," denounced the score as "fidgety, screaming, neurotic," as well as "coarse, primitive and vulgar." This assault -in which many of Shostakovich's fellow composer-colleagues colluded --was meant as a warning against "modernism," "formalism" (music which seemingly was comprehensible only to a composer's inner vision) and other p'erceived transgressions against "socialist realism." One year later he was declared "rehabilitated" upon the premiere of the Symphony No. 5 in D minor, Op. 47, which was deservedly hailed as a masterpiece and described by the authorities as "the creative reply of a Soviet
artist to justified criticism. In 1948, he was named a People's Artist of the Republic of Russia, only again to be denounced that same year. He was eventually named Composer Laureate of the Soviet Union.
Shostakovich's fame rests largely upon a specific few of his fifteen symphonies which regularly appear on today's-concert programs: Nos. 1,5, and 10. Heard less frequently, the three symphonies (Nos. 7-9) written while World War II was raging are an important segment of the .composer's sym?phonic output, and an interesting part of twentieth-century music History. Collectively, the three symphonies form a mighty trilogy.
Ihe seventh symphony (1941) was written when the Nazi .armies besieged and bombarded ' Shostakovich's native city of Leningrad, where he lived at the time. Ill health and poor eyesight prevented Shostakovich from his dream of joining the arm'ed forces. As consolation, he served his country through his musical talents. As the composer once stated, " . . .that was the least I could do. The war was ragingjill around. I had to be together with the people, and wanted to picture our country at war, to
give it musical expression. I was eager to compose a work about our times, about my contemporaries who spared no efforts, not even their lives, for the sake of our victory over the foe."
While the Seventh Symphony -known as the Leningrad -depicts the determination of a people united in the defense of their homeland, the Eighth Symphony (1943) is about the horrors of war and its wake of dev?astation and bitterness. It is dominated by a feeling of anger and tragic anguish. This dark work was followed at the end of the war by the short but exuberant Ninth Symphony -a bright affirmation of life after a victory over the enemy.
Shostakovich wrote his Symphony No. 9 in E-flat major, Op. 65 during a period of six weeks in the summer of 1945. It was completed on August 30, just three months after the unconditional surrender of Nazi Germany. The work was first heard on November 3 of the same year in Leningrad. As was the case with many of the composer's works, the performance was conducted by Yevgeny Mravinsky leading the Leningrad , Philharmonic Orchestra.
The composer himself described the Ninth Symphony as "a merry little piece," and went on to say: "Musicians will love to play it and critics will delight in blasting it." Indeed; the Soviet press classified it as "a sorry hodgepodge of tiny, archaic, simplified forms... a fanciful trifle of toy instrumentation, with an abundance of high whistling and screaming timbres." The Symphony was denounced for its "ideological'weakness" and its failure "to reflect the true spirit of-the Soviet people." The press even went as far as posing the question: was it time for the composer of such a Soviet masterpiece as the Leningrad Symphony "to take a vacation to rest from modern problems" If Shostakovich was correct in predicting the bad reviews, he was also right in saying that "musicians will love to play it," as the work was soon presented successfully by orchestras around the world, and continues to claim a place in the repertoire.
Shostakovich cast his Ninth Symphony in five movements, the last three of which are performed atlacca (without a pause.) This unorthodox five-part pattern was seen before in the composer's Eighth Symphony as well as in the Piano Quintet, and the Third and Eighth String Quartets. Unlike these other works, however, the Ninth Symphony is uncomplicated and jovial. Not only is it the shortest of the composer's sym?phonic works, it also reflects die victorious atmosphere from whence it sprang.
The opening "Allegro1' exhibits a Haydnesque simplicity in its purity of form and thematic development. The first theme is capricious while the secondary theme pre?sented by the flutes is tinged with a certain buffoonery. After the double exposition, the movement follows a classical sonata form, suffused by a light-hearted, scherzo-like joviality.
A mood of warm and gende lyricism is , introduced in the second movement, marked "Moderato." It opens with a bittersweet melody on the clarinet; the flute soon joins in duet, with commentaries from the rest of the woodwinds. The strings introduce a disturbing and ominous sounding figure; this figure is then combined with portions of the clarinet theme and a further elabora?tion on both themes ensues. The woodwinds have the last say, ending the movement in a mood of peaceful quiet.
The rhythmically seething Scherzo of
the work is marked "Presto." Hereseveral , i
dance-like melodies and a boisterous trumpet fanfare are elaborated through variation. But just as swiftly as it began, the movement's momentum slows down and we go directly 'into the "Largo" fourth movement. Memories of the are evoked in this short episode through a darkly ominous fanfare for the trombone and a funereal, recitative-like passage for the bassoon.
The bassoon recitative gradually gives way to the quirky main theme of the "Allegretto" that comprises the Finale. The strings then take up the bassoon's uncompli?cated melody for further commentary. The theme and several related motifs pass through the different families of the orchestra for some masterfully inventive elaborations. Gradually the proceedings gather speed as the mood grows progressively carefree and joyous. A whirlwind coda brings the Symphony to its exhilarating conclusion.
Note by Edgar Colon-Hernandez.
?La valse (1921)
Maurice Ravel
Botn March y, 18'75 in Ciboure, Basses Pyrenees
Died December 28, 1937 in Paris 1
Maurice Ravel was born in the Basque region of France, but three months later his family moved to Paris. At the age of seven he began to study the pfano, and in 1889 he entered the Paris Conservatoire, where he spent fifteen years, proving himself an exceptional student. He wrote his first com?position, a piece for the piano, in 1893. His
first success came with the Pavane pour une infante defunte, written in 1899. Best known for his orchestral and piano compo?sitions, Ravel's output is out?standing in its command, of forms, harmonic manipulation and textural counterpoint. A case in point is the work now known as La valse.
Ravel's love for the Viennese waltz is evident in this composition. While Schubert's
Valses nobles el sentimentales provided the stimulus for this French composer's work of the
same name, La vaise originated as a tribute to Johann Strauss II. The thematic material originated from the musical sketch of an orchestral piece entitled Wien (Vienna) which Ravel began -but abandoned -in 1906. In reference to this work, he wrote to a friend, music critic Jean Marnold: "It is not subtle, what I am undertaking at the moment. It is a Grand Valse, a sort of homage to the memory of the Great Strauss, not Richard, the odier --Johann! You know my intense.sympathy for its [the waltz'] admirable rhythm and that Thold lajoiede vixrre as expressed by the dance in far higher esteem than the Franckist Puritanism. . ."
When a commission for a new ballet came from impresario Serge Diaghilev, Ravel revisited his abandoned waltz project. The "choreographic poem" La valseexists in three versions: two preparatory versions, for piano solo and two pianos respectively, and the well-known orchestral setting heard in this performance. All three of these versions were written between, December 1919 and March 1920. The pre-war working title of Wien was. abandoned as it was not considered appropriate to the French preparing to embark on the Great War. Ravel described this work as a "sort of apotheosis of the Viennese waltz."
Oddly enough, Diaghilev never staged the score, as he considered that it lacked choreographic possibilities. The work, however, was premiered in a concert of the Lamoureaux Orchestra on December 12, 1920 to great acclaim. Vindication for the work as a dance piece came some years later when Ida Rubenstein successfully incor?porated the work into the repertoire of her ballet company. The preface to the score, includes the following descriptive note: "Whirling clouds erive
glimpses, through rifts, of couples dancing. The clouds scatter, little by little. One sees an immense hall peopled with a twirling crowd. The scene is gradually illuminated. The light of the chandeliers bursts forth, fortissimo. An imperial court, in or about
1855-"
The work begins with vague murmurings in the bass register, from which a waltz rhythm is established. This evolves into a great Viennese waltz, in the tradition of Johann Strauss.
After a while, however, the music becomes somewhat bitter as notes of discord interrupt the general merriment and the waltz now
Philharmonic Orchestra and Zubin Mehta, he joined the orchestra on tour for concerts at the Ravinia Festival and the Hollywood Bowl as well as in Mexico City.
Mr. Bronfman's schedule for the lgo 94 season included extensive American tours with both the Saint Paul Chamber Orchestra and the Bournemouth Symphony. Other engagements included London's Philharmonic Orchestra under Esa-Pekka Salonen, the Montreal Symphony under Charles Dutoit, the NHK Symphony under Herbert Blomstedt and the New York Philharmonic under Marissjansons. Past season's have found Mr. Bronfman with the Berlin Philharmonic and conductor Kurt Sanderling, the Chicago Symphony with Daniel Barenboim, the Cleveland Orchestra with Franz Welser-Moest, l'Orchestre de Paris with Lawrence Foster, the Pittsburgh Symphony with Lorin Maazel, The Philadelphia Orchestra with Charles Dutoit and the National Symphony with Yuri Temirkanov.
A devoted chamber music performer, Mr. Bronfman has collaborated with the Emerson, Cleveland, Guarneri andjuilliard quartets, as well as the Chamber Music Society of Lincoln Center. With violinist Cho-Liang Lin and cellist Gary Hoffman he has both concertized and recorded; the trio's debut on Sony Classical features works of Tchaikovsky and Arensky.
Yefim Bronfman emigrated to Israel
with his family in 1973, and made his inter?national debut two years later with Zubin -Mehta and the Montreal Symphony. He made his New York Philharmonic debut in May 1978, his Washington recital debut in March 1981 at the Kennedy Center and his New York recital debut in January 1982 at the 92nd Street Y.
Mr. Bronfman was born in Tashkent, in the Soviet Union, on April 10, 1958. In Israel he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States he stud?ied at The Juilliard School, Marlboro and the Curtis Institute, and with Rudolf Firkusny, Leon Fleisher and Rudolf Serkin.
Yefim Bronfman became an American citizen in July 1989.
Tonight's concert marks Mr. Bronfman's UMS debut.
The Oslo Philharmonic is Norway's most celebrated orchestra and has, under the leadership of Mariss Jansons, won worldwide recognition as an ensemble of high interna?tional siature.
The orchestra can trace its roots back to the last century, to the era of Edvard Grieg andjohan Sveridsen. Edvard Grieg was one of the founders and first conductors of the orchestra, which was established in 1871. However, it was not until 1919 that the orchestra was established as an indepen?dent and permanent organization. The Oslo Philharmonic is currently celebrating its jubilee anniversary during this 1994-1995 season.
Over the last 25 years the orchestra has gone through tremendous artistic growth with the help of a number of outstanding conductors: Herbert Blomstedt, Miltiades Caridis, Okko Kamu and, currently, Mariss
Jansons, who has been Principal Conductor of the orchestra since 1979The working environment of the orchestra has also been improved: in 1977 the Oslo Concert Hall was completed, a multi-million dollar complex which is now the home of the Orchestra.
The orchestra gives more than 60 concerts annually -mainly in Oslo, most of which are broadcast by Norwegian National Radio and Television. The list of guest conductors with whom they have performed includes Paavo Berglund, who has a permanent contract with the orchestra, Yevgeny Svetlanov, Walter Weller, Kurt Sanderling, Eduardo Mata, Hans Vonk, Kent Nagano, Charles Dutoit, Luciano Berio, Esa-Pekka Salonen, and Andre Previn. Among the soloists they have performed with are Yuri Bashmet, Midori, Ingrid Haebler, Elizabeth Norberg-Schultz, Dennis O'Neill, Anne Sofie von Otter, Frank Peter Zimmermann, Leif Ove Andsnes and Truls Mork.
The Oslo Philharmonic's touring activi?ties during the last decade has included vis?its to Austria, France, Germany, Holland, Hong Kong, Italy, Japan, Spain, Svvitzerland, the United Kingdom and the United States.
The orchestra is regularly invited to the major international festivals such as the BBC Proms, the Edinburgh Festival, and the Salzburg Festival. Their 1993 Summer Festival's tour "included performances in Antwerp, Edinburgh, Lucerne, Salzburg and at the London Proms. In October they appeared as part of the Berliner Festwochen and Europa Musicale in Munich.
During the next year, the orchestra's touring schedule will include performances in Spain, Italy, France, Switzerland, Austria, and Germany. Tonight's Ann Arbor appear?ance is part of a U.S. tour which includes New York, Chicago, Pittsburgh, and Washington, D.C.
Tonight's concert marks the third appearance of the Oslo Philharmonic under UMS auspices.
Oslo Philharmonic Orchestra
Marissjansons Music Director
First Violins Stig Nilsson
Concertmaster Teije Tonnesen
Concertmaster Pauls Ezergailis Elise Knurs Eileen Siegel John Arne Hirding Wanda Beck Jorn Halbakkeri Arild Solum Helge Stang Aas Kristina Kiss Noralf Glein Sharon Harman Andre Orvik 0yvindFossheim Kjell Arne j0rgensen Kristin Skjolass Nora Skrcicn
Second Violins
Arncjorgen 0ian
Dagny Bakken
Vegardjohnsen
Bernard Wilt
Signy Hauge Larsen
Zygmunt Marciuch
Wanda Michalska Sprus
Berit Sein '
Tove Halbakken Resell
Ann Charlotte Ohlsson
Niels Aschehoug
Ragnar Heyerdahl
Tore Hovland
Hans Morten Stensland
Ingridjostad
Carl Anders Sponberg
Violas Olto Berg OddbJ0rn Bauer Mikhail Iakovlcv Oddvar Mordal Geoffrey Gotch Stephanie Riekman Inger Slattebrekk Orestad Roger Olstad Eirik S0rensen Angelika Faber Karsrud Dorlhe Dreicr Stig Ove Ose Marie Opsahl John Westbye
Cellos
Anne Britt Sjevig Ardal' Bj0rn Solum Hans Chr. Hauge Geir Tore Larsen 0rnulfjemtland Zbigniew Subocz Ania Szaniawska Tove Sinding-Larsen' Gudmund Sevag Ole Morten Gimle Hans Josef Groh Lars Inge Bjarlestam
Double Basses
Svein Haugen Dan Styffe Kenneth Ryland Odd Hansen Johnny Folde Einar Schoyen Karel Netolicka Erling Sunnarvik Tor Balsvik Frank Nesse
Flutes Torkil Bye Per Flemstrom Karl Th. Enge Andrew Cunningham
Piccolos
? Andrew Cunningham Karl Th. Enge
Oboes
Erik Niord Larscn Simon Ernes Matz Pettersen Havard Norang
English Horns Havard Norang Matz Pettersen .
Clarinets
Leif Arne Pedersen Hans Christian Brain Terje Nymark Olejorgen Stremberg
E-flat Clarinet Terje Nymark
Bass Clarinet Olejorgen Str0mberg
Bassoons
Per Hannisdal link Birkeland Knut Bjaerke Frode Carlsen-
Contrabassoons Knut Bjaerke Frode Carlsen
Horns
Inger Besserudhagen Kjell Erik Arnesen Nicholas Korth Aksel Strom Inge H. Eriksen Nina Jeppesen
Trumpets
Jan Fr. Christiansen Arnulf Naur Nilsen Jonas Haltia Knut Aarsand
Cornets
Arnulf Naur Nilsen
Knut Aarsand
Trombones
Aline Nistad Terje Midtgard Thorbjorn I .mini.
Bass Trombone
Ola Ronnow
Tubas
Marcus Knight Knui Riser
Timpani
Andrew Simco Trygve Wefring
Percussion
Christian Berg Trygve Wefring Per Erik Thorsen Bjprn I okrii Morten Belstad Einar Fjaervoll
Harps
KlisalH'tli Simstivold Ellen B0dtker
Genera] Management
IMQ Artists Europe Stephen Wright Director
University
Musical
Society
presents
Roberto Aussel
guitar
5 R O G R A M.
"riday Evening, December 2, it 8:00
Rackham Auditorium nn Arbor, Michigan
Giovanni Zambon'i
Suite No. 6 in a minor
Preludio Alamande Sarabanda Gavotte -Giga
J.S. Bach
Suite No. 2 for Lute
Prelude
Fugue
Sarabande
Gigue
Mauro Giuliani
Grande Obertura, Op. 61
Intermission
Leo Brouwer
Variations on a Theme of Djano Reinhardt
Introduction
Theme
Bouree
Sarabande
Gigue
Intermezzo
Toccata
-
continued
Agustin Barrios Mangore
Julia Florida
Mazurka
Dan2a Paraguaya
i
Alberto Ginastera
Sonata Op. 47
Esordio Scherzo , Canto Finale
'Tiiienty-Fourlh Concert of the 116th Season
24th Annual Choice Series
Suite No. 6 in a minor
Giovanni Zamboni ,
Lived in Rome during the early eighteenth-century
Giovanni Zamboni was a master of couiterpoint and a virtuoso of the theorbo, lute, guitar and mandolin. He is the author of; Sonata de la Tablatura de Laud published in Lucca in 1718. This Suite shows how with simple dance airs a serious musical work, full of contrasts and atmosphere, can be created. '
Suite No. 2 for Lute,
BWV997
. S. Iitirh
Born March 2i( 1685 in Eisenach
Died July 28, 1J50 in Leipzig
I
This is qne of the most difficult and beau?tiful works in the literature for lute. Many musicians have transcribed this work and in different ways have tried to deal with its technical difficulties. Different versions have different changes in the voices; especially in the Fugue. This version is the result of much research. The fingerings make it possible to easily distinguish each voice as well as do the articulations.
Grande Obertura, Op. 61
Mauro Giuliani
Born July 27, ij8i in BisCeglie (near Bari), Italy
Died May 8, 1829 in Naples
Mauro Giuliani was an Italian singer, guitarist and composer who lived in Vienna from 1807 to 1819 and made himself known as both virtuoso and teacher. While in Vienna he became associated with Hummel, Moscheles, and Diabelli; Beethoven became so interested in him that he wrote some guitar music expressly for his performances. He then traveled to England, Russia and Italy. Upon visiting London in 1833, he won extraordinary fame spawning a special pub. lication in his name -The Giulianad -which was devoted to reports about his activ?ities. Only a few issues appeared. He invented la ghiterra di ferza: a guitar tuned a third higher than the standard. His over 200 com; positions are almost all for solo guitar or for guitar with various instruments.
To the general lyrical quality of this Grande Obertura, Giuliani adds a classicism where the perfection of form serves an aris?tocratic musicality. The work has a penetrating orchestral quality that places it in a universal arena.
Variations on a Theme of
DjANGO REINHARDT
@@@@Leo Brouwer
Born March 1, 1939 in Havana
Leo Brouwer is the most famous of the Cuban composers. He received his educa?tion in the U.S. with Vincent Persichetti and Stefan Wolpe at thejuilliard School and with Isadore Freed at Hartt College "in Hardford. Upon returning to Cuba, , -
Brouwer occupied various administrative post on Havana Radio while traveling abroad as a concert guitarist. Most guitar enthusiasts know him as the composer of a number of fine pieces for guitar which are played by most of our present-day classical guitarists. The one played tonight is a set of variations on Django Reinhardt's wistful and world-famous theme Nuages. Brouwer dedicated . it, appropriately enough, to Robert Vidal who was largely responsible for introducing his work to the general public.
Julia Florida
Mazurka
Danza Paraguaya
Agustin Barrios Mangore Born in 1885 in Paraguay Died in 1944 in El Salvador
Agustin Barrios Mangore was a prolif?ic composer for the guitar which he could play brilliantly. He traveled; a great deal in Latin America giving concerts to earn his liv?ing. Barrios Mangore made friends every?where and rewarded their hospitality by giv?ing them compositions written for theocca-sion. Between 1934 and 1936 he made a European tour of concerts. Since.at the time the guitar was virtually unknown as a con?cert instrument -and classical guitarists even less so -he dressed as an American Indian to attract the public, even going so far as to write his name backwards -"Nitsuga" -to make his disguise, seemingly, more realistic. He was the first classical gui?tarist to make a recording.
Sonata, Op. 47
Alberto Ginastera
Born April 11, 1916 in Buenos Aires
Died June 25, 1983 in Geneva
The Sonata para 6uitarra, Op. .47, the sole work for guitar by Alberto Ginastera, is dedicated to the Brazilian guitarist Carlos Barbosa-Lima. It was written in Geneva in 1976.
Resolutely exploring the varied resources of the guitar, the composer provides a key to the score explaining the different signs he has used to signify special effects such as a whistling sound, a slow vibrato, an undeter?mined chord as high as possible, a gradual ritardando or accelerando.
The first movement ("Esordio"), an unmeasured jiece of a solemn nature, gives way to the second movement ("Scherzo fantastico") for which the composer recom?mends an interpretation of great dynamic contrasts, while constantly maintaining a triple rhythm. Passages of rigorous gestures alternate with sections senza (without) tempo. There are also special effects such as the pizzicato ribattento (snapping), playing on the peg box or on the bridges, as well as glis-sandi on single note chords.
The third movement ("Canto rapsodico") is conceived in a very free style. Like the first movement, it is an unmeasured piece with frequent changes in tempo, dynamics and timbres. In the "Finale, presto efogoso," which follows the "Canto," the composer asks the guitarist to observe strictly the per?cussive effect combining rasgueado and tambora. This idiomatic style of chord play?ing came out of the popular Argentinean style dear to Ginastera. The interpreter is encouraged to maintain a passionate atmos?phere in this movement -here sforzatissimo, there frenetico -working up to the delirante.
orn in Buenos Aires, Roberto Aussel began studying the guitar with Jorge Marline Zarate when he was seven and gave his first concert six years later. In 1975, two years before moving to Paris, he won first prize in Radio Fiance's International Guitar Competition, and-'first prize in both the Porto Alegre (Brazil) and the Alirio Diaz (Caracas, Venezuela) competitions.
Actively concerned with contemporary music, several composers have dedicated works to'him: Marius Constant, Francis Kleynjans, Astor Piazzolla, Francis Schwartz, Jose Luis Campana and Raoul Maldonado. Aussel has also devoted much serious study to'the interpretation of music of the Baroque era. ,
He is frequently invited as the guest of honor to perform during various guitar competitions such as the yearly International Guitar Competition in Paris, as well as to premiere new works during these events. He is invited to sit on juries for competitions and to give master classes throughout Europe.
Performing in the important cities of Europe and Latin America, Aussel has been featured with the Philharmonic Orchestra of Radio France, the National Orchestra of Belgium, the BBC Orchestra of London and the Buenos Aires Symphony. His recitals
include Wigmore Hall of London , the Concertgebouw of Amsterdam and the Festival Extival of Paris. He also performs chamber music with various groups including Pierre Boulez' Ensemble Intercontemporain.
Along with Alberto Ponce, Narcisso fepes and Alexandre Lagoya, Roberto Aussel was invited to play atthe Albi Festival's Summer Music Academy in France where he was also asked to create a yearly guitar class. He was one of the three guitarists chosen by the French government to play at Andre Segovia's 90th birthday celebration.
Tonight's rental marks Mr. Aussel's UMS debut.
Program
Saturday Evening, December 3, 1994 at 8:00
Sunday Afternoon, Decembtr 4, 1994 at 2:00
Hill Auditorium Ann Arbor, Michigan
Dominique Labelle, soprano David Daniels, alto Jonathan Mack, tenor Dean Peterson, bass-baritone Cherry Rhodes, organ Ladd Thomas, harpsichord
TwentyFifth & Twenty-Sixth Concerts of. the 116th Season
24th Annual Choice Series
Thank you to Dr. James R. Irwin, President of Wolverine Temporaries Inc. for helping to make these concerts possiEle'.
? ?
Thank you to WUOM for its cooperation with the Sunday afternoonHive radio broadcast.
The pre-concert carillon recital, an all-Handel program, was performed by Brandon Blazo, a junior majoring in Political Science and English.
, Thanks to Ron Miller and Cherie Rehkopf John Ozga, Fine Flowers, Ann Arbor for the donation of this season's holiday decorations.
An accomplished and versatile conductor whose achievements in community chorus leadership, academic instruction, and opera place him in the forefront of all areas of choral artistry, Thomas Sheets was appointed Music Director of the University Musical
Society Choral Union in 1993. He is the tenth conductor to hold this position in the ensemble's 116-year history. Since this past September, he has prepared the Choral Union for last month's Celebration of the Spiritual with Jester Hairston and October's
performances of Ravel's complete ballet 1 music from Daphnis and Chlpe with the Detroit Symphony Orchestra under the direction of Neemijarvi.
Before moving to Ann Arbor, Mr. Sheets was Associate Conductor of two prominent Southern California choruses, the William Hall Chorale and the Master Chorale of Orange County, both conducted by his mentor, the distinguished choral conductor William Hall. During that time, he assisted in preparing all the choralorchestral works in the current repertoire, in some instances for performances led by Robert Shaw.Jqrge Mester, Joann Faletta, and Michael Tilson-Thomas. In ig88, he served as chorusmaster for Long Beach Opera's highly-acclaimed American premiere of Szymanowski's King Roger, where his efforts on behalf of the chorus received accolades from critics on four continents. He was engaged in the same role in 1992 for that company's avant-garde staging of Simon Boccanegra, where the chorus again received singular plaudits.
Thomas Sheets received the degree Doctor of Musical Arts from the University of Eichenberger; he has also studied voice with Michael Sells, Jonathan Mack, and Thomas Cleveland. Dr. Sheets has held appointments as Director of Choral Activities at several col?leges and universities, and is a frequent con?ference leader and clinician. His editions of choral music are published by Augsburg-Fortess, and he is the author of articles on choral music performance.
These performances mark Dr. Sheet's third appearance under UMS auspices.
Soprano Dominique Labelle is known for the luminous beauty of her voice, her com--mitted stage presence and impeccable musi?cianship which she brings to her appearances in opera, concert and recital.
Engagements in Ms. Labelle's 1994-95 season.include the role of Gilda in Rigoletto with Boston Lyric Opera, performances of , Brahms' German Requiem with the St. Louis Symphony under the baton of Franz Welser-Most, Orff s Carmina Burana with the Long Island Philharmonic and Marin Alsop, and these Ann Arbor performances of Handel's Messiah as well as performances with the
Houston Symphony. In addition, she will sing concerts this month at New York's Avery Fisher Hall in a program including works of Mozart, Schubert and Richard Strauss with the American Symphony Orchestra and at Carnegie Hall in a program of Honneger's Jeanne d 'Arc au
buchermth Charles Dutoit and The Philadelphia Orchestra.
Last season, Dominique Labelle appeared as Micaela in Carmen with Boston Lyric Opera, and in performances of the Mozart Requiem and Schubert Mass in E-flat with the Indianapolis Symphony and Richard Hickox, Haydn's The Seasons with Nicholas McGegan and the Houston Symphony, Haydn's The Creadon with the Philharmonica Baroque and in recital with the New York Festival of Song in both New York and at that company's debut in London's Wigmore Hall in March 1994. In the summer of 1994 she will appear with the Minnesota Orchestra and Eiji Que singing Mozart's Ch'io mi scordi di teas part of their "Viennese Sommerfest '94" and with the Houston Symphony and,Manfred Honeck in an evening Of works byjohann Strauss and Franz Lehar at the Woadlands Pavillion.
A native of Montreal, Canada, Dominique Labelle attended Boston University on a Dean's Scholarship and in the summer of 1988 was a Vocal Fellow at the Tanglewood Music Center. She was a winner of the 1989 Metropolitan Opera National Council Competition.
These performances mark Ms. Labelled UMS debut.
In August 1994,'David Daniels achieved international prominence for his singing and acting in his debut as Emperor Nero in Glimmerglass Opera's production of Claudio Monteverdi's L'Incownazione di Pqppea. Directed by Jonathan Miller, critics unanimously praised Mr. Daniels as a virtually flawless countertenor. As an actor, the accolades were equally superb: 'Just this side of madness, a virtuosic dramatic performance.. .a starturn, positively incendiary, particularly striking as the love-struck, power-mad Nero."
Mr. Daniel's 1994-95 season is highlighted by his Washington Opera debut as Athamas in Handel's Setnele, and performances of Monterverdi madrigals conduct--ed by Nikolaus Harnoncourt in Vienna. This sum?mer, he returns to Glimmerglass
upera wnere ne will appear in the title role of Handel's Tamerlano, again directed by Jonathan Miller.
David Daniels will begin his 1995-96 season in San Francisco performing with the Philharmonia Baroque Orchestra in Handel's Saul, conducted by Nicholas McGegan. He will also,sing Israel in Egypt, led by Nikolaus Harnoncourt at Vienna's Musikverein. Other plans include a European tour in the Spring of 1996 followed by a PhiTips Classics recording of Bach's St. Matthew Passion with the Orchestra of the 18th-century and Franz Bruggen. Mr. Daniels will make his debut at the Glyndebourne Festival Opera in the Summer of 1996, as Didymus in Peter Sellars' production of Handel's Theodora, William Christie conducting. Future engagements for Mr. Daniels include L'Incoronazione di Poppea with the Miami Opera, Handel's Julius Caesarwih the Nice Opera and a reprise of Theodora with Glyndebourne in 1997.
David Daniels holds a Master's Degree in Music from, the University of Michigan and was the recipient of two Metropolitan Opera National Council Audition awards in 1993. He makes his home in Ann Arbor.
These performances mark Mr. Daniel's UMS debut.
Since graduating from the University of Southern California with degrees in voice and french horn, Jonathan Mack's career as a lyric tenor has taken him throughout the Linked States, Europe, and Australia as a recital, concert, and opera singer.
For four years Mr. Mack lived in Germany with his family where he was the leading lyric tenor for the opera houses of Kiel and Dortmund. His guest engagements took him throughout West Germany and France including Hamburg, Heidelburg, Stuttgart, and Clermont-Ferrand. .
Now in his eighth season with the Los Angeles Music Center Opera, Jonathan has performed twenty-four roles in 145 perfor-
mances. Included among them are Ferrando in Mozart's Cost fan tutte, Kudryas in Janacek's Kat'a Kabpnovd, Quint in Britten's. The Turn of the Screw, and Orpheus in Offenbach's Orpheus in the Underworld. Appearances with other companies include Belmonte
in Mozart s Die tntjutirung aus dem Serail tor ? Netherlands Opera, Lysander in Britten's A Midsummer Night's Dream with Kentucky Opera, Ottavio in Mozart's Don Giovanni for Opera Columbus, and Tamino in Mozart's Die Zauberflote for Utah Opera. ,
His concert work includes engagements with the London Symphony Orchestra, Chauiauqua Festivals, the Carmel Bach Festvial, the Los Angeles Philharmonic, and the Minnesota Orchestra with conductors including Carlo Maria Giulini, Zubin Mehta,
Andre Previn, Pierre Boulez, Simon Rattle, Christopher Hogwood, and Michael Tilson Thomas. Recent performances include Britten's Nocturnewith the Santa Fe Symphony and Weill's Mahagonny Songspeil conducted by John Adams for the Ojai Festivals.
Mr. Mack is featured on six recordings, most recently William Kraft's Contextures U with Andre Previn and the Los Angeles Philhharmonic and John Bigg's Songs of Laughter, Love and Tears for the Crystal label.
@@@@These performances mark Mr. Mack's UMS debut.
One of opera's most sought-after artists, Dean Peterson has performed in Europe on the stages of Teatro alia Scala, L'Opera de Nice, Malaga and Palma deMallorca, Spain in roles as varied as Don Fernando in Fidelia, Colline in La Boheme, Raimondo in Lucia di Lammermoori to Mephistopheles in Faust.
Engagements during this past season included debuts in Dallas as Basilio in II Barbiere di Siviglia and in Geneva for Fidelio. He returned to Florence for Mendelssohn's oratorio St. Paul under Gavazzeni, Palma de Mallorca for the Four Villains in Les Conies d'Hoffmann, and to Cincinnati for Trovatore. He concluded the season with the Chicago Symphony in Rossini's Stabat Mater under Riccardo Chailly arid Carmen in San Sebastian.
Notable future engagements include the u'le role in Mefistofele at La Scala undex Riccardo Muti, Mephistopheles in Faust in Fort Worth, Leporello in Don Giovanni and EscamiHo in New Orleans, a debut at the Netherlands Opera as Figaro in Le Nozze di Figaro, Maggio Musicale Fiorentino in the Italian stage premiere of Franz Schubert's Fierrabras, Santa Fe Opera Festival as Mozart's Figaro, plus a debut in Trieste as EscamiHo.
In America, he is a featured artist with the New York City Opera, where he has sung
the title role in Le Nozze di Figaro (telecast on PBS's Great Performances). Escamillo in Carmen, Basilio in
Sparafucile in Rigoktlo, Plunkett in Martha, and Colline.
On the concert stage, Mr. Peterson has performed at La Scala the title
role in Mendelssohn's Elijah conducted by Loren Maazel and Rossini's Petite Messe Solenelle conducted by Neville Mariner, in j Valencia and Cuenca for Rossini's Stabat Mater, Handel's Messiah in Florence under Zubin Mehta, Elijahindef Colin Davis and at the Ravenna Festival under Gavazzeni. He has also sung Messiah, Elijah, Brahm's' Requiem and the Verdi Requiem with the Fort Lauderdale Symphony, and Beethoven's Ninth with the Orchestre1 Filarmonique de Nice. Dean Peterson is the recipient of the Richard Gold Debbut Artist of the Uear Award and the Tausend Award from the New York City Opera.
These performances mark Mr. Petersons UMS debut.
Organist Ladd Thomas has been presented in recitals and concerts throughout the United States, Canada, Germany, Austria, France, Yugoslavia, Italy and Mexico. Appearing in the famed music festivals of Spoleto, Italy and Dubrovnik, Yugoslavia, he has also been featured recitalist at Bach Festivals in Honolulu and Carmel as well as national and regional conventions of the American Guild of Organists. His two solo recitals at
the International Organ Festival in Mexico City were televised live and recorded for use on Mexican Educational Television. He fre?quently appears with numerous .ensembles, playing continuo on both harpsichord and ; organ.
Dr. Thomas has appeared as soloist with numerous orchestras including the Los Angeles Philharmonic at the Hollywood Bowl, Dallas Symphony Orchestra, Hamilton Philharmonic Orchestra (in Ontario, Canada), Pasadena Chamber Orchestra, and the Pasadena, Long Beach and Glendale Symphony Orchestras, perforrriing with conductors Zubin Mehta, Gennady Rozhdestvensky, Roger Wagner, William Hall, Richard Lert, Jorge Mester, Eduardo Mata, Boris Brott and Robert Duerr.
Ladd Thomas is Professor of Music and Chair of the Organ Department at the University of Southern California. He is in demand for workshops and. master classes for numerous chapters of the American Guild of Organists as well as for various colleges and universities throughout the country.
Thomas holds two degrees from Occidental College -a Bachelor of Arts and an honorary Doctor of Music (D.Mus.).' ? He also received the degree, Master of Theology (M.Th.) from the School of Theology at Claremont, California. He stud?ied piano with Gustav Riherd arid Muriel
KerV, and the ' organ with Max Miller, David Craighead and Clarence Mader. Since i960 Dr. Thomas has served as the organist of the first United Methodist Church of Glendale, California. In 1980 his twenty years of service to
the church were recognized by the establish?ment of the Ladd Thomas Fund for Church Music at the-School of Theology at Claremont, California.
These performances mark Dr. Thomas 'second appearance under UMS auspices.
Cherry Rhodes is the first American to win an international organ competition. This honor, awarded in Munich, was followed by another top prize in Bologna. She has played recitals at the Cathedral of Notre Dame in Paris and at international organ festivals in Bratislava and Presov (Czechoslovakia),
treiburg, Munich, Nuremberg, Paris, St. Albans, Luxembourg, and Vienna. In addition to performances in International Bach Festivals in Paris and Marburg, Miss Rhodes has given Bach recitals throughout the United States and has performed at numerous national and regional con-
ventfons of the American Guild of Organists.
Miss Rhodes performed the opening recital of the new organ at the Kennedy Center in Washington, D.C. She has presented other solo recitals at Royal Festival Hall (London), Lincoln Center (New York City), Orchestra .Hall (Chicago), and the Performing Aits Center in Milwaukee.
Cherry Rhodes has appeared several times as soloist with the Philadelphia Orchestra, with whom she made her debut ' at age seventeen. She has also been a soloist
with the South German Radio Orchestra, the Chamber Orchestra of the French National Radio, the Pasadena Chamber Orchestra, the Los Angeles Philharmonic, and the Phoenix Symphony.
Miss Rhodes has premiered many con?temporary works and numerous composers have written and dedicated works to her. Many of her performances have been broadcast throughout the United States, Canada, and abroad. She has recorded for Columbia Records with Eugene Ormandy and the i Philadelphia Orchestra. Everyone Dance, Miss Rhodes critically acclaimed solo recording on the Pro Organo label, has been hailed by The American Organist as "a joyous celebra?tion of unrivaled artistry."
A graduate of Philadelphia's Curtis Institute of Music, where she studied under Dr. Alexander McCurdy, Cherry Rhodes received Fulbright and Rockefeller grants for study in Munich and Paris with Karl Richter, Marie-Claire Alain, and Jean Guillou. For two ?years she was Jean Goillou's assistant at St. Eustache in Paris.
Miss Rhodes, a member of the organ faculty, is Adjunct Professor of Music at the University of Southern California. Many of her students have won awards, grants, and top prizes in competitions both in the United States and Europe. Cherry Rhodes has served as a national and international adjudicator for numerous organ-playing competitions.
These performances mark Ms. Rhodes' second appearance under UMS auspices.
The University Musical Society Choral Union
has performed throughout its 116-year his. tory with many of the world's distinguished orchestras and conductors.
In recent years, the chorus has sung undep the direction 'of Kurt Masur, Eugene Ormandy, Robert Shaw, Neeme Jarvi, Igor Stravinsky, Andre Previn, Michael Tilson-Thomas, Seiji Ozawa and David Zinman in performances with the Leipzig Gewandhaus Orchestra, the Philadelphi&Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Detroit Symphony Orchestra and other noted ensembles.
Based in Ann.Arbor under the aegis of the University Musical Society, the University Choral Union remains best known for its annual performances of Handel's Messiah each December. Last year, the Choral Union has further enriched that tradition through its appointment as resident large chorus of the Detroit Symphony Orchestra (DSO). In addition, this past January the Choral Union collaborated with Maestro Jarvi and the DSO in the chorus' first major commercial recording, Tchaikovsky's Snow Maiden, -released by Chandos Records last month. In October, the ensemble joined forces once again with the DSO for subscription performances of Ravel's complete ballet music from Daphnis and Chlo'e. This coming year, the Choral Union will be involved in performances of Britten's War Requiem with the Toledo Symphony and an additional "DSO collaboration under the direction of Jerzy Semkow in performances of Mahler's Symphony No. 2
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Participation in the Choral Union remains open to all by audition. Representing a mixture of towns?people, students and faculty, members of the Choral Union share one common passion -a love of the choral art.
Choral Union of the University Musical Society
Thomas Sheets, conductor David Tang, associate conductor ? ,
Donald Bryant, conductor emeritus Jean Schneider-Claytor, accompanist Ed.ith Leavis Bookstein, chorus manager
Soprano I
Marie Ankenbruck-Davis
Patsy Auiler
Janet L. Bell
Janelle Bergman
Edith Lcavis Bookstein
Ann K. Burke
Susan F. Campbell
Young Cho
Cassandra Cooper
Kathy Ncufeld Dunn
Erica Dutton
Kalhryn Foster Elliott
I-aurie Erickson
Lori Kathleen Gould
Doreen J. Jessen
Julia Jones
Mary B. Kahn
June Krebs
Carolyn Lcyh
Kathleen Lin
Elizabeth Macnee
Julie L. Mansell
Loretta I. Meissner
Maddyn Nichols
Carole Lynch Pennington
Sarah S. Polfard
Margaret Dearden
Robinson
Susan E. Topol
RitaWhitcomb'
Mary Wigton
Linda Kaye Woodman
Karen Woollams
Soprano II Debra Joy Brabenec Cheryl Clarkson Kristin DeKoster Patricia Forsberg-Smith Marci Cilchrist Doreen Jessen Ann Kathryn Kuelbs Loretta Lovalvo Gabrielle McNally Marilyn Meeker Audrey Murray Trisha Ncff Lydia Nichols Sara Peth Virginia Reese Anne Ruisi Mary'A. Schieve Cynthia Schloesser Denisc Scramsied
Beth Shippey p Leslie Smith Patricia Tompkins Jean Marion Urquhart Catherine Wadhams Barbara Hertz Wallgren Rachelle Barcus Warren Margaret Warrick
Alto I
Anne Lampman Abbrecht
Wonne M. Allen
Martha Ause
Leslie Austin
Carol A. Beardmore
Nancy Wilson Celebi
Alice Cerniglia
Laura A. Clausen
Margaret Counihan
Mary C. Crichton
Lynne De Bnedette
Deborah A. Dowson
Anna Egert
Anne Facione Russell
Marilyn Finkbeiner
Jacqueline Hinckley
Carol Hurvvitz
Cinzia Iadcrosa
Catherine June
Lisa Lava-Kellar
Susanne Stepich Lewand
Jessica Lind
J?anette Luton
Patricia Kaiser McCloud
Carol Milstcin
Joan Morrison
Holly Ann Muenchow
Lisa Murray ' -s .
Lotta Olvegard
Marianne Page
Jari Smith
Joan Slahman
Patricia Steiss
Karen Tsukada
Jane Van Boll t
Marianne Webster
Janet E. Yoakam
Alto II
Loree Chalfant Ellen Chien Anne C. Davis Andrea Foote Carol Hohnkc Nancy Hpuk
Olga Johnson Katherine Klykylo Sally A. Kope Frances Lyman Cheryl MacKrell Patricia Marine Lois Nelson Anne Ormand Irene Peterson Lynn Powell April Pronk Can-en Sandall Margaret Sharemet Beverly N. Slater Cynthia Sorenscn Kathryn Stebbins Nancy Swauger Alice Warsinski
Tenor I
Charles Cowley Fr. TimothyJ. Dombrowski MichaelJ. Dunn John Etswcilcr III Arthur Gulick Alfred Hero Douglas Kcasal Robert E. Lewis Paul Lowry Robert MacGiygor Eric Millegan 'Alan Weirick
Tenor II
Steve Billcheck Stephen Erickson John W. Etsweilcr III Albert P. Girod.Jr. David A. Jaeger Thomas Jameson Mnriusjoosle Henry Johnson Benjamin Kerner Robert Klaffkc Martin G. Kop Michael Needham Dean McFarlanc Parrott David M. Rumford Henry C. Schuman Scott Silveira Carl R. SmiUi Daniel Sonntag Richard E. Ward
Bass I
Thomas Bress John M. Brueger Edward Curtis ,
John Dryden C. William Ferguson K. John Jarrett Joseph J. Kubis Carsten Kipping George Liridquist Thomas Li tow I Awrence Lohr Charles Lovelace John Lugihsland Robert A. Marklcy Joseph D. McCadden Thomas Morrow John Penrod William. B. Ribbens Sheldon Sandweiss James C. Schneider Edward Schramm John T.Sepp Alan Singer Benjamin Williams
Bass II
James David Anderson William Guy Barast ? Howard Bond Mark Bonncll Kee Man Chang Don Fiber Philip ). Gorman Charles T. Hudson Gene Hsu Andrew Jordan ' Steye Jones Donald Kenney Mark K. Lindley Willkim McAdoo Gerald Miller Mark C. Persiko Marc Ricard Richard Rupp David Sandusky Marshall S. Schuster William A. Simpson Jeff Spindler Robert Stawski Robert D. Strozier Kevin M. Taylor Terril O. Tompkins John Van Bolt C. Peter Younie
Ann Arbor Symphony Orchestra
Samuel W6ng, Music Director
Violin I
Jennifer Ross Con certm aster Elizabeth Rust Val Jaskiewicz Priscilla Johnson Linda Etter Gayle Zirk Katie Rowan Karen Land
Violin II
Barbara Sturgis-Everett
Laura McGreer
Scott Esty
Man Sato
Amy Natzke
Anne Alwin
Jackie Livesay
Viola
Jessia Nance Nathan Peters Carolyn Tarzia Stephen Dyball Catherine Franklin Caroline Stuart
Cello
Richard Mattson Vladimir Babin Margot Amrine Carrie Dunning
Gregg Emerson Powell James Alberts Jennifer Bilb'ie John Kennedy
Oboe
Lorelei Crawford Kristin Reynolds Martha Couto Sarah Dow
Bassoon
Dean Zimmerman Nora Schankin
Trumpet Christopher Hart Christopher Bubob.
Timpani James Lancioni
The Ann Arbor Symphony Orchestra, founded in 1928, cele?brates its sixty-sixth season in 1994-95. The AASO had enjoyed a meteoric transformation over the past eight years, going from a small ensemble that performed modest programs for free to an orchestra that Is "in excellent hands and . . . on the cutting edge" (Ann Arbor News). Samuel Wong was appointed Music Director of the AASO in 1992 and is con?sidered one of the most exciting conductors of his generation. The Ann Arbor Symphony Orchestra performs subscription concerts approximately once a month from September through May in the historic Michigan Theater, as well as collaborating with other local organizations such as the University Musical Society and the Ann Arbor Cantata Singers.
Part I
1 SlNFONIA
2 Arioso Isaiah 40: 1 Isaiah 40: 2
Isaiah 40: 3
3 Air
Isaiah 40: 4
4 Chorus Isaiah 40: 5
?
5 Accompanied recitative Haggai 2: 6
Haggai 2: 7 Malachi 3;
6 Air
Malachi 3: 2
Mr. Mack
Comfort ye, comfort ye my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her that her
warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness; Prepare ye the -way of the Lord, make straight in the desert a highway for our God.
Every valley shall be exalted, and every mountain and hill . . . made low: the crooked . . . straight, and the rough places plain:
And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.
I
Mr. Peterson . . . thus saith the Lord of hosts: Yet once,... a little while, and I
will shake die heavens and die eardi, the sea and die dry land; And I will shake all nations, and the desire of all nations shall
come: . . . . . . the Lord, whom ye seek, shall suddenly come to his temple,
even the messenger of the covenant, whom ye delight in:
behold, he shall .come, saith the Lord of hosts.
Mr. Daniels
But who may abide die day of his coming And who shall stand when he appeareth For he is likea refiner's fire,...
7 Chorus Malachi j: 5
Recitative Isaiah 7: 14
9 Air and Chorus Isaiah 40: 9
Isaiah 60: 1
10 Arioso Isaiah 60: 2
Isaiah 60: 3
11 Air
Isaiah 9: 2
12 Chorus Isaiah 9: 6
. . . and he shall purify the sons of Levi, . . . that they may offer unto the Lord an offering in righteousness.
Mr. Daniels
Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel, "God-with-us." i
Mr. Daniels
Ojthou that tellest good tidings to Zion, get thee up into the ' high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice widi strength; lift it up, be not afraid; say unto the cities of Judah: Behold your God! Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee.
Mr. Peterson For behold,... darkness shall cover the eardi, and gross darkness
die people: but the Lord shall arise upon thee, and His
glory shall be seen upon thee. And the Gentiles shall come to thy light, and kings to die
brightness of diy rising.
Mr. Peterson
The people diat walked in darkness have seen a great light: and they that dwell in the land of the shadow of deadi, upon them hath the light shined.
For unto us a child is born, unto us a son is given: and the government shall be upon his shoulder, and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasing Fadier, The Prince of Peace.
3 13 PlFA
14 Recitative Luke 2: 8
15 Arioso Luke 2: 9
i6 Recitative Luke 2: io
Luke '2:
17 Arioso Luke 2:
18 Chorus Luke 2: i
19 Air
Zechariah 9: 9
Zechariah 9: 10
(Pastoral Symphony)
Ms. Labelle
. . . there were . . . shepherds abiding in the field, keeping watch over their flock by night.
And, lo, the angel of the Lord came upon diem, and the glory of the Lord shone round about them: and diey were sore afraid.
And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people.
For unto you is born this day in the city of David a Saviour, which is Christ the Lord.
And suddenly there was with the angel a multitude of the heavenly host praising God and saying,
Glory to God in the highest, and peace on earth, good will toward men.
Ms. Labelle Rejoice greatly, O daughter of Zion; shout, O daughter of
Jerusalem: behold, thy King cometh unto thee: he is the
righteous Saviour, . . , . . . and he shall speak peace unto the heathen: . . .
20 Recitative Isaiah 55: 5
Isaiah 3$: 6
21 Air
Isaiah 40: 11
Matthew 11: 28 Matthew 11: 29
22 Chorus
Matthew 11: 30
Mr. Daniels Then shall the eyes of the blind be opened, and the ears of the
deaf. . . unstopped. Then shall the lame man leap as a hart, and the tongue orthe
dumb shall sing: . . .
Mr. Daniels anrf Ms. Labelle He shall feed his flock like a shepherd: and he shall gather the
lambs with his arm, and carry them rn his bosom, and . . .
gently lead those that are with young-. Come unto Him, all ye that labour and are heavy laden, and
He will give you rest. Take His yoke upon you, and learn of Him, for He is meek and
lowly of heart: and ye shall find rest unto your souls.
. . . His yoke is easy, and His burden is light.
4
23 Chorus John i: 29
24 Air
Isaiah 53: 3
Isaiah 50: 6
25 Chorus Isaiah 55: 4 y. 5
26 Chorus Isaiah 53: 4
27 Arioso
Psalm 22: 7
28 Chorus
Psalm 22: 8

. . . Behold, the Lamb of God, that taketh away the sin -of the world! . . .
Mr. Daniels He was despised and rejected of men; a man of sorrows, and
acquainted with grief: . . . He gave his back to the smiters, and His cheeks to them that '
plucked off the hair: He hid not His face from shame
and spitting.
Surely he hath borne our griefs, and carried our sorrows: . . . ... he was wounded for our transgressions, he was bruised for
our iniquities: the chastisement of our peace was upon him;
and with his stripes are we healed.
All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.
Mr. Mack
All they that see him laugh him to scorn: they shoot our their lips, and shake their heads, saying:
He trusted in God that he would deliver him: let him deliver him, if he delight in him.
29 Accompanied recitative Psalm 69: 20
30 Arioso
Lamentations 1: 12
31 Accompanied recitative-Isaiah 55: 8
32 Air . Psalm 16: 10
33 Chorus Psalm 24: 7
Psalm 24:8
Psalm H: 9
Psalm 24:10
f
34 Recitative Hebrews 1: 5
, ' 35
Mr. Mack Thy rebukte hath broken his heart; he is full of heaviness: he
looked for some to have pity on him, but there was no man; neither found he any to comfort him.
... Behold and see if there be any sorrow like unto his sorrow ...
he was cut off out of the land of the living: for the transgression's of thy people was he stricken.
But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption.
Lift up your heads, O ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in. Who is this King of glory The Lord strong and mighty, the
Lord mighty in battle. ' Lift up your heads, O ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in. Who is this Kjng of glory The Lord of hosts, he is the King
of glory
Mr. Mack.
. . . unto which of the angels said he at any time, Thou art my son, this day have I begotten thee . . .
35 Chorus Hebrews I: 6
36 Air
Psalm 68: 18
@@@@37 Chorus Psalm 68: 11
38 Air Isaiah 52: 7
39 Chorus
Romans 10: 18
40 Air and Accompanied
RECITATIVE
Psalm 2: 1 Psalm 2: 2
41 Chorus Psalm -2: j
. . . let all the angels of God worship him.
Mr. Peterson
Thou art gone up on high, thou has lead captivity captive: and received gifts for men; yea, even for thine enemies, that the v Lord God might dwell among them.
The Lord gave the word: great was the company of the preachers.
Ms. Labelle
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things . . .
rheir sound is gone out into all lands, and their words unto the ends of the world.
Mr. Peterson iVhy do the nations so furiously rage together, . . . why do the
people imagine a vain thing Fhe kings of the earth rise up, and the rulers take counsel
together against the Lord and his anointed, . . .
us break their bonds asunder, and cast away their yokes from us.
42 Recitative Psalm 2: 4
43 A"1
Psalm 2: g
44 Chorus
Revelation ig: 6 Revelation 11: 15
Revelation ig: 16
Mr. Mack 37
He that dwelleth in heaven shall laugh them to scorn: the Lord shall leave them in derision.
Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.
Hallelujah: for the Lord God omnipotent reigneth.
. . . The kingdom of this world is become the kingdom of our
Lord, and of his Christ; and he shall reign for ever and ever. . . . King of ICings, an,d Lord of Lords.
You are invited to join the Choral Union in singing the "Hallelujah" ? chorus. Please leave the music at the door wlien exiling the auditorium. Thank you. . '
Part III
45 AlR
Job ig: 25
'Job ig: 26 I Cor. iy. 20
46 Chorus Cor. ly. 2
1 Cor. iy. 22
I Ms. Labelle
I know that my redeemer liveth, and that he shall stand at the
latter day upon the earth. And though . . . worms destroy this body, yet in my flesh shall
I see God. For now is Christ risen from the dead, . . . the first fruits of
them that sleep.
. . . since by man came death, by man came also the
resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive.
47 Accompanied recitative
I Cor. iy. yi
I Cor. iy. 52
48 Air
Cor. iy. yi
I Cor. iy. y$
Mr. Peterson Behold, I tell you a mystety; we shall not all sleep, but we shall
all be -changedr In a moment, in the twinkling of an eye at the last trumpet:
. . . the trumpet shall sound, and the dead shall be raised
incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal
must put on immortality.
49 Recitative . Mr. Daniels
Cor. 15: 54 ... then shall be brought to pass the saying that is written,
Death is swallowed up in victory.
53 Duet
I Cor. iy. 55 Cor. iy yo
'51 Chorus I Cor. iy. yj
Mr. Daniels and Mr. Mack' 39 O death, where is thy sting O grave, where is thy victory The sting of death is sin; and the strength of sin is the law.
But thanks be to God, who giveth us the victory through our Lord Jesus Christ.
52 Air
Romans 8: 3 Romans 8: 13
Romans 8: 34
Ms. Labelle
If God be for us, who can be against us Who shall lay anything to the charge of God's elect
It is God that justifieth. Who is he that condemneth It is Christ that died, yea rather,
that is risen again, who is ... at the right hand of God,
who . . . maketh intercession for us.
53 Chorus
Revelation y. 12
Revelation 5: 13
. . .Worthy is the Lamb that was slain and hath redeemed us to God by His blood to receive power, arid riches, and wisdom, and strength, and honour, and glory, and blessing.
. . . Blessing, and honour, . . . glory, and power, be unto Him that sitteth upon the throne, and unto the Lamb for ever and ever.
Amen.
University Musical
Society
j
and
Great Lakes Bancorp
present
Sweet Honey In The Rock
Bernice Johnson Reagon
Founder and Artistic Director Ysaye Maria Barnwell nltanju bolade casel Shirley Childress Johnson Aisha Kahlil Ca'rol Maillard
Program
Friday Evening, January 6, 1995 at 8:00
Hill Auditorium Ann Arbor, Michigan
Twenty-Sev,enlh Concert of the 116th Season
24th Annual Choice Series
Sweet Honey In The Rock will be happy to greet audience members and sign autographs after this evening's performance.
Special thanks to Robert J. Delonis, President and Chief Executive Officer, Great Lakes Bancorp for helping to make this performance possible. .
Sweet Honey in the Rock A Profile
Singing is not a luxury, it is a requirement. For me it is like eating, breathing, and sleeping; I could not survive without the v sounds of singing in my life. Bernice Johnson Reagon
Sweet Honey embarks on her twenty-first year after a whirl?wind Twentieth Anniversary Season that included a twelve?month tour which took her to over fifty U.S. cities; including her first series of performances in Hawaii and international audiences in London, Australia, and Singapore. The twentieth, season also saw the release of her first book, We Who Believe In Freedoms-Sweet Honey In The Rock: Still On The Journey (Anchor Books), and her Twentieth Anniversary recording, Still On The Journey, (EarthBeat RecordsWarner). She just released her second recording for younger audiences, Got Shoes (Music For Little PeopleWarner). The twenty-first year includes more than sixty concerts (domestic and international), performing music for the film score Frederick Douglas: When The Lion Wrote History produced for PBS by Roja Productions and work on a new recording beginning in December.
Sweet Honey In The Rock is not just a singing group; she is a traveling and com-. munity-based cultural institution, dedicated
to the preservation and celebration of African American culture through her per?formances. It is a sense of the essential, a special quality of urgency brought to vocal music that is the real driving power behind the music force created by Sweet Honey In The Rock, Washington, D.C.'s internationally renowned African American women a capella quintet.
Performing with voice and hand and foot percussions, this ensemble challenges and refreshes contemporary concepts of an evening of concert music. It is vocal music, wonderful harmonies, texts that question, challenge, stir, embrace and comfort. One of her extraordinary features is the different genres of song in her repertoire: spirituals anM hymns from the nineteenth-century, classic gospel and quartet songs, love songs that range from soothing sultry ballads and hot torchy declarations, to heartbreaking , blues, and the songs that chronicle, and document events and issues of the day! These women are poets who are serious about bringing an acknowledgment of the issues that crowd our daily lives through their soul-stirring songs. Don't be surprised if you find yourself talking as much about the issues presented in the texts as the singing, because in Sweet Honey In The Rock they are inseparable.
Sweet Honey In The Rock was awarded Best Women's Album (1979), and Best Gospel Album (1985) byNAIRD (National Association of Independent Record Distributors). In 1989, the group received a Grammy for her performances on the Smithsonian Folkways Columbia recording, Vision Shared: A Tribute lo'Woody Guthrie and Leadbelly. Thak same year, Evelyn Harris's Composition, "State of Emergency" from their Live At Carnegie Hall recording (Flying Fis.h Records) was nominated for a Grammy in the Contemporary Folk category. Their first recording for younger audiences All for Freedom (ig8g) on the Music For Little People label received
three national awards for outstanding children's music. Sweet Honey has received top awards as a singing group in 1993 and 1994 by CASA (Contemporary A Capella Society of America).
Ysaye Maria Barnwell joined Sweet Honey In The Rock in 1979, and in her first year, she provided leadership for the group's practice of making their concerts accessible to the deaf. Barnwell has a wide base of experiences in health and information tech?nology as well as vocal and instrumental music traditions. As a singer, she brings an extraordinary vocal range -bottom and top -and has composed some of the ensembles most popular songs, including "Breaths" and "More Than A Paycheck." Recent compositions, including those which appear on Sweet Honey's new release were commissioned for collaborative works with choreographer David Rousseve. These com?missions, as well as a collaboration with choreographer Liz Lerman and a symphonic work for The Women's Philharmonic of San Francisco, now in progress, have been supported by awards from Meet The Composer. An experienced choral director, Barnwell conducts tfocal workshops based in African American spngs and singing traditions. Barnwell holds a doctorate in Speech Pathology and a post doctoral degree in Public Health. From this reservoir of experience she has administered several D.C. based projects in health, computer technology, and the arts, and continues to pursue an acting career.
Nitanju Bolade Casel, since her arrival in 1985, has brought the group ever expanding riches in vocal work in African traditional repertoire, jazz, rap, and improvisational rhythm styles. Belonging to those pioneering communities of young African Americans
who during the late '60s and '70s led the way toward the redefinition and accessibility of African expressive culture within the USA., Casel has extensive training, research, teaching and performance experience in African dance, song, and drumming traditions. She came to Sweet Honey after four years of studying, performing and cultural organizing in Senegal. She is currently co-director,With her sister Aisha Kahlil, of First World Productions, a cultural and educational organization in the performance arts.
Shirley Childress Johnson joined the group as its sign language interpreter in 1980. Since that time, she has worked to make the connection between Sweet Honey In The Rock, local producers, and deaf communities. As a professional sign language interpreter, she has conducted workshops and lectures. Childress Johnson has also worked to ensure minority representation in the sign language interpreter networks.
Aisha Kahlil joined the group in 1981. With her experience in jazz, African dance and song performance traditions, she has moved the ensemble into new ground in its explor?ations of vocal improvisation.' She is Sweet Honey's strongest blues singer, a genre of song she had not previously explored before coming to the group. Some of the group's most innovative and experimental work occurs in the performance of her compositions, including "Fulani Chant" and her newest work on the group's latest recording. "Still On The Journey," (Earthbeat! Records). In 1993, Kahlil was named by the Contemporary A Cappella Society of America (CASA) best soloist in contemporary a capella music for the vocal performances of "See See Rider" and "Fulani Chant" on the group's recording,
In This Land (EarthBeat! Records). In her work as a performing artist and master teacher in voice and dance, Kahlil specialized in the integration of traditional and contem?porary forms of music, dance and theatre. She is co-director with Nitanju Bolade Casel of First World Productions.
Carol Maillard, an original member of Sweet Honey In The Rock, is a versatile actress and singer. A graduate of Catholic University, she began her professional performance career in Washington, D.C. at the D.C. Black Repertory Company. Relocating to New York in 1977, Carol Maillard appeared in numerous on and off Broadway productions including Beehive, Eubie, Home, Don't Get God Started, Spunk, and For Colored Girls. . . (She also appeared in the made-for-television film for PBS American Playhouse). In December, 1993, she was featured in the American Playhouse original production, Hallelujah, directed by Charles Lane. Using her talents to help train others, Maillard works as a vocal coach and has served as musical director for choral groups and several theater and film productions. She balances her busy schedule singing, teaching and acting with her most precious work and rewarding time, being mother to her wonderful son, Jordan Maillard Ware.
Bernice Johnson Reagon, founder of Sweet ' Honey In The Rock, and artistic director for its twenty-one years, is a composer of many of the group's contemporary songs and has provided the rich African American traditional song repertoire that makes the group so distinct. She is curator emeritus at the Smithsonian Institution's National Museum of American History and professor of history at American University. Her publications
include the three album set, Voice of the Civil Rights Movement: African American Freedom Songs--1960-1965 a landmark collection by Smithsonian Collection of Classic Recordings; and more recently, her publication, We'll Understand It Better By and By: African American Pioneering Composers was released by Smithsonian Press. Reagon also served as editor and writer for the group's 1993 Anchor Books anthology. She has served as consultant, composer and performer for several film and video projects, including two award-winning programs for PBS, Eyes On The Prize produced by Blackside Productions and We ? Shall Overcome produced by Ginger Productions. She was also featured in the 1992 Emmy-nominated, The Songs Are Free: Bernice Johnson Reagon with Bill Moyers. She recently completed work as scholar, and host narrator on a major Smithsonian Institution and National Public Radio series, Wade In The Water: The History of African American Sacred Music, she is currently working on an exhibition on the same subject
Tonight's performance marks Sweet Honey In The Rock's second 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.
19941995 Season
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 CompanyRealtors.
The Michael Nyman Band'
Saturday, October 8, 8pm
Made possible by a gift from Drs. Carol and Inking 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 Quartef+
Friday, October 21, 8pm
Made possible by a gift from Mary Steffek-Blaske and Thomas Blaske and
a gran: 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 Endonvientfor 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 part 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 AssociateslRealtors
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
Foundation.
In addition, we are grateful to the Ford Motor Company for making
possible this performance which is a part of the Ford Family Series.
Ute Lemper, vocalist
Friday, November 11, 8pm
Frederica von Stade, mezzo-soprano'
Martin Katz, piano Sunday, November 13, 4pm
The 2nd Annual
UMS 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 Yi'tmi 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
(1 st 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 part of the University's 1995 Rev. Dr. Martin Luther King, Jr. Day Symposium.
Academy of SI. Martin-in-the-Kields Iona Brown, conductorviolinist
featuring Vivaldi's The Four Seasons Sunday, January 22, 7pm
Made possible by a gift from British AirwaysfConlin-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 Dohn&nyi, 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 Midwest 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-Davis 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 Violinmakers.
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.
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 U-M Office of Major Events (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 Edward 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 thai 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.
Acknowledgements
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.
UMSCard
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 conceit 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 19941995 UMS Education Program is underwritten in part by the McKinley Foundation, ER1M, the Bernard L. Maas Foundation, the Anderson Associates, Ford Motor Company, David and Tina Loesel, Thomas H. and Mary Stejfek Blaske, and the Michigan Council for the Arts and Cultural Affairs.
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