UMS Concert Program, Friday Mar. 24 To Apr. 03: University Musical Society: 1994-1995 Winter - Friday Mar. 24 To Apr. 03 --
Season: 1994-1995 Winter
The University Of Michigan, Ann Arbor
University Musical Society
The ( 'mimih tij Mvhtgan Burton Memorial Tower Ann Arbor, Michigan 48109-1270
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's understanding and appreciation of the performing arts. Your support makes all of this possible, and we are grateful to you.
My colleagues throughout the country are continually amazed at how a midwest community of
110.000 can support the number and quality of performances that the UMS brings to Ann Arbor. They
want to know how we do it, and I'm proud to tell them. Here's what I say:
First, and most important, the people of Ann Arbor and the surrounding region provide great support for what we do by attending events in large numbers and by providing generous financial support through gifts to the UMS. And, according to our artists, they are among the most informed, engaged, and appreciative audiences in the country.
It has been the tradition of the University Musical Society since its founding in 1879 to bring the greatest artists in the world to Ann Arbor, and that tradition continues today. Our patrons expect the best, and that's what we seek to offer them.
Many years ago enlightened leaders of both the University of Michigan and the University Musical Society determined that the UMS could best ene 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 Galway, Kathleen Battle. Itzhak Perlman. 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 of hours to the UMS each year and provide critical services that we could not afford otherwise.
Finally. I've got a wonderful group of hard-working staff colleagues who love the Musical Society and love their work. Bringing the best to you brings out the best in them.
Thanks again for coming. And let me hear from you if you have any complaints, suggestions, etc. Look for me in the lobby or give me a call at (313) 747-1174.
Thank You Corporate Underwriters
On behalf of I he University Musical Society. I am privileged to recognize the companies whose support of VMS through their major corporate underwriting reflects their position as leaders in the Southeastern Michigan business community.
Their generous support provides a solid base from which we are better able to present outstanding perfor?mances for the varied audiences of this part of the state.
We are proud to be associated with these companies. Their significant participation in our underwriting program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the Musical Society and for the help they provide to serve you. our audience, better.
Kenneth C. Fischer Executive Director
University Musical Society
A Salute To Our Corporate Angels ..
James W. Anderson, Jr. President, The Anderson Associates Realtors
"The arts represent the bountiful fruits of our many rich cultures, which should be shared with everyone in our community, especially our youth. The UMS is to be commended for the wealth of diverse talent they bring to us each year. We are pleased to support their significant efforts."
Carl A. Brauer, Jr.,
"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."
Joseph Curtin and Greg Alf
Owners, Curtin & Alf
"Curtin & Alfs support of the University Musical Society is both a privilege and an honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural opportunities set new standards of excellence across the land."
Donald M. Vuchetich, President
Detroit & Canada Tunnel Corporation
"The Detroit and Canada Tunnel Corporation is proud to be a partner with the University of Michigan Musical Society in their success of bringing such high quality performances to the Southeast Michigan region."
Douglas D. Freeth
First of America
"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 ...
I Thomas Conlin
Chairman of the Board and Chief Executive OfficerConlin-Faber Travel
"The University Musical Society has always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commitment to excellence."
William E. Odom
Ford Motor Credit
"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."
Chairman. Chief Executive Officer Ford Motor Company
"Ford takes particular pride in our longstanding associa?tion with the University Musical Society, its concerts, and the educational programs that contribute so much to Southeastern Michigan. The Society's May Festival, now entering its second century, has become one of our region's major assets, and we are once again pleased to be its underwriter this year."
Robert J. Delonis
President and Chief Executive Officer Great Lakes Bancorp
"As a long-standing member of the Ann Arbor community, Great Lakes Bancorp and the University Musical Society share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
John Psarouthakis Ph.D.
Chairman and Chief Executive Officer JPEinc.
"Our community is enriched by the University Musical Society. We warmly support the cultural events it brings to our area."
Mark K. Kosenfeld
Presidenl, 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
Mainstrcci 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."
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."
Managing Partner Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz congratulates the University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our plea?sure to be among your supporters."
Iva M. Wilson
President, Philips Display Components Company
"Philips Display Components Company is proud to support the University Musical Society and the artistic value it adds to the community."
George H. Cress
Chairman, President, and Chief Executive Officer Society Bank, Michigan
"The University Musical Society has always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commit?ment to excellence."
Edward Surovell President The Edward Surovell Co. Realtors
"Our support of the University Musical Society is based on the belief that the quality of the arts in the community reflects the quality of life in that community."
Sue S. Lee, President
Regency Travel Agency, Inc.
"It is our pleasure to work with such an outstanding organization as the Musical Society at the University of Michigan."
Ranald M. Cresswell, Ph.D.
Vice President and
"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
Gail Davis Bames Maurice S. Binkow Paul C. Boylan Carl A. Brauer, Jr. Letitia J. Byrd
Leon Cohan Jon Cosovich Ronald M. Cresswell James J. Duderstadt Walter L. Harrison Thomas E. Kauper F. Bruce Kulp Rebecca McGowan George I. Shirley Herbert Sloan Edward D. Surovell Eileen L. Weiser Iva Wilson
Gail W. Rector President Emeritus
Robert G. Aldrich Richard S. Berger Allen P. Britton Douglas D. Crary John D'Arms Robben W. Fleming Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L Kennedy Thomas C. Kinnear Patrick Long
Judyth Maugh Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Ann Schriber Daniel H. Schurz Harold T. Shapiro Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Gilbert Whitaker
Kenneth C. Fischer
Catherine S. Arcure Edith Leavis Bookstein Diane Boraz Betty Byrne Yoshi Campbell Sally A. Cushing David B. Devore Melanie Riehl Ellis Erika Fischer Susan Fitzpatrick Judy Johnson Fry Adam Glaser Michael L. Gowing Philip Guire Deborah Halinski Jonathan Watts Hull John B. Kennard, Jr. Michael J. Kondziolka Cheryl Ng Catherine R. Oetting R. Scott Russell
Thomas Sheets Helen Siedel Marya P. Smith Jane Stanton
Work StudyInterns Jonathan Cho Timothy Christie Kim Coggin Anne S. Dickens Cristina de la Isla Grace Eng Rachel Folland Jennifer Hall Naomi Kornilakis Kvvang Lee Tansy Rodd Eva Rosenwald Marjorie Schriber Lisa Vogen
Donald Bryant Conductor Emeritus
The University Musical Society is supported by the Michigan Council for Arts and Cultural Affairs, and Arts Midwest and Friends in Partnership with the National Endowment for the Arts.
Elizabeth Yhouse Chair
Gregg Alf Paulett Banks Milli Baranowski Janice Stevens Botsford Jeannine Buchanan Letitia Byrd Betty Byrne Pat Chatas Chen Oi Chin-Hsieh Phil Cole Peter H. deLoof Rosanne Duncan Don Faber Penny Fischer Barbara Gelehrter Margo Halsted Esther Heitler Lorna Hildebrandt Kathleen Hill Matthew Hoffmann
JoAnne Hulce 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
University Musical Society Auditoria Directory & Information
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.
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
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.
All auditoria now have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free reserved parking is available to members at the Guarantor, Leader, Concertmaster, and Bravo Society levels.
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
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating
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.
University of Michigan policy forbids smoking
in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups
by advance appointment only.
Call (313) 763-3100 for details.
UMSMember Information Table A wealth of information about events, the UMS, restaurants, etc. is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
Starting Time for Concerts The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
We welcome children, but very young children can be disruptive to a performance. Children 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
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).
Phone Orders and Information
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
From outside the 313. area code, call toll-free 1.800.221.1229.
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
Visit Our Box Office in Person At our Burton Tower ticket office on the Univer?sity of Michigan campus. Performance hall box offices are open 90 minutes before performance time.
Tickets make great gifts for any occasion. The University Musical Society offers gift certificates available in any amount.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time. You will be given a receipt for an income tax deduction as refunds are not available. Please call (313) 764-2538,10 a.m. to 6 p.m. Monday Friday and 10 a.m. to 1 p.m. Saturday.
University Musical Society
of the University of Michigan
NOW IN ITS 116TH SEASON, THE University Musical Society ranks as one of the oldest and most highly-regarded performing arts presenters in the country.
The Musical Society began in 1879 when a group of singers from Ann Arbor churches gathered together to study and perform the choruses from Handel's Messiah under the leadership of Professor Henry Simmons Frieze and Professor Calvin B. Cady. The group soon became known as The Choral Union and gave its first concert in December 1879. This tradition continues today. The UMS Choral Union performs this beloved oratorio each December.
The 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, 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 presentations from diverse cultures. The University Musical Society has flourished these 116 years with the support of a generous musicand arts-loving community, which has gathered in Hill and Rackham Auditoria and Power Center to experience the artistry of such outstanding talents as Leonard Bernstein, the Vienna Philharmonic Orchestra, Sweet Honey in the Rock, the Martha Graham Dance Company, Enrico Caruso, Jessye Norman, James Levine, the Philadelphia Orchestra, Urban Bush Women, Benny Goodman, Andres Segovia, the Stratford Festival, the Beaux Arts Trio, Cecilia Bartoli, and the Chicago Symphony Orchestra.
In May of 1993, the Musical Society celebrated its 100th Ann Arbor May Festival with perfor?mances 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, artists' residencies, 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 orchestras 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 19931994 season was the performance and recording of Tchaikovsky's Snow Maiden with the Detroit Symphony Orchestra conducted by Neeme Jarvi, released this past November by Chandos International.
During this season the UMS Choral Union joined the Detroit Symphony Orchestra and conductor Neeme Jarvi in performances of Ravel's Daphnis et Chloe, presented A Celebration of the Spiritual with Dr. Jester Hairston, and in May of 1995 will perform the Mahler Symphony 2 (Resurrection), again with the DSO, under conductor Jerzy Semkow. In April 1995, the Choral Union will join the Toledo Symphony Orchestra in commemorating the 50th Anniver?sary 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 Society the 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.
COMPLETED IN 1913, this renowned concert hall was inaugurated at 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.
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 architec?tural sculptor Corrado Parducci.
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 audito?rium, as well as rehearsal spaces, dressing rooms, costume and scenery shops, and an orchestra pit.
UMS hosted its annual week-long theater residency in the Power Center, welcoming the esteemed Shaw Festival of Canada, November 15-20,1994.
In October 1994, UMS, the Martha Graham Dance Company, and ten institu?tional partners hosted "In the American Grain: The Martha Graham Centenary Festival" commemorating the 100th anniver?sary of Martha Graham's birth. The Power Center was the site of open rehearsals, exhibits, workshops, and performances, including the 50th anniversary celebration of the premiere of the Martha GrahamAaron Copland collaboration "Appalachian Spring (Ballet for Martha)."
The Michigan Theater
THE HISTORIC Michigan Theater opened its doors January 5,1928 at the peak of the vaudevillemovie 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 under?gone 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.
University Musical Society 1995 Winter Season
Sweet Honey in the Rock Friday, January 6, 8pm Hill Auditorium
Made possible by a gift from Great Lakes Bancorp.
The Complete Solo Piano Music of Frederic Chopin, Part I Garrick Ohlsson, piano
Friday, January 13, 8pm Rackham Auditorium (1st of 3 installments)
Philips Educational Presentation: Roland J. Wiley, Professor of Music History & Musicology. A Patriot in Exile. Michigan League, 7pm. SKR Classical will sponsor a series of 3 in-store lectures, "Chopin: Virtuoso & Poet" 7pm on Sunday evenings, January 8, March 5 & March 26. Made possible by a gift from Regency Travel Inc.
This project is part of the U-M Copernicus Endowment's theme semester, From Polonaise to Penderecki: Polish Music at the University of Michigan.
Ruth Brown, blues
Saturday, January 14, 8pm
Philips Educational Presentation: Michael G. Nastos, Program Host, WEMU; Ann Arbor News Writer, Detroit Correspondent for Downbeat, Cadence & Arts Midwest' }azz Editor and General Contributor, All Music Guide; Jazz Panelist for Michigan Council for the Arts. Between Bessie, Billie & Baker, a discussion of the lineage of great jazz and blues singers. Michigan League. 7pm. Part of the University of Michigan's 1995 Rev. Dr. Martin Luther King, jr. Day Symposium. The UMS Jazz Directions Series is presented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
Sunday, January 15, 7pm
This concert is co-presented with the
Office of the Vice Provost for
Academic and Multicultural Affairs
of the University of Michigan as part
of the University's 1995 Rev. Dr.
Martin Luther King, Jr. Day
St. M;irl hi-iii-l InFields
Iona Brown, conductor
The Four Seasons
Sunday, January 22, 7pm
Made possible by a gift from Conlin-Faber Travel, Inc. and British Airways.
Jean-Pierre Rampal, flute John Steele Ritter, piano
Wednesday, January 25, 8pm Hill Auditorium Philips Educational Presentation: Penelope Fischer, Board Chair, National Bute Association and Director, Ann Arbor School for the Performing Arts. "Rampal: The World's First Famous Fiuter." Michigan League, 7pm.
The Romeros, guitar
Friday, January 27, 8pm
Philips Educational Presentation: Julie Jaffee Nagel, Ph.D., Arts Psychology Program, McAuley Outpatient Mental Health Services. "Stage Fright: Nature or Nurture" Michigan League, 7pm.
The Society Bank Cleveland Orchestra Weekend
Christoph von Dohnanyi, music director Emanuel Ax, piano February 3,4 & 5,1995 Friday, February 3, 8pm Hill Auditorium
Free Philips Educational Presentation: Glenn Watltins, Earl V. Moore Professor of Music. The Musk ofSchniltke and Schoenberg Included in This Evening's Performance Michigan League, Friday, February 3, 7pm.
Saturday, February 4, 8pm Hill Auditorium Emanuel Ax, piano An Evening of Brahms Sunday, February 5, 4pm Rackham Auditorium Chamber Music with Members of the Cleveland Orchestra 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.
Noa, vocalist, and Gil Dor, guitar
Thursday, February 9, 8pm Power Center
This program is part of the Mid East West Fest Internatioual Community Cultural Exchange sponsored by the W. K. Kellogg Foundation and Lufthansa, Major Sponsors, and Hudson's and the Dayton Hudson Foundation.
Anne-Sophie Mutter, violin Lambert Orkis, piano
Saturday, February 11, 8pm
Works by Stravinsky,
Beethoven, Currier, and
Made possible by a gift from Parke-
Davis Pharmaceutical Research.
Drew Minter, countertenor
Sunday, February 12, 7pm Rackham Auditorium Works by Purcell, L.G. Zavateri, D. Scarlatti, and A. Corelli
Kodo Drummers Monday, February 13, 8pm Tuesday, February 14, 8pm Power Center
Philips Educational Presentation: The KoNami Ensemble. A Lecture Demonstration on Japanese Festival Music. Michigan League, 7pm.
New York City Opera
Rossini's Barbiere di
Siviglia (The Barber of
Tuesday, February 28,
7pm (Family Show)
Wednesday, March 1, 8pm
Friday, March 3, 8pm
Saturday, March 4, 8pm
Sunday, March 5, 2pm
In Italian with English
Philips Educational Presentation: Ede Bookstein, Costume Designer, will discuss designing costumes for opera. Michigan League, 7pm Made possible by a gift from jPEinc. In addition, we are grateful to the Ford Motor Company for making possible the Tuesday, February 28 family show which is part of the Ford Family Series.
Hagen String Quartet
Thursday, March 2, 8pm Rackham Auditorium Works by Mozart, von Webern, and Schubert
Made possible by a gift from Curtin & Alf Violinmakers.
Allison Eldredge, cello
Saturday, March 11, 8pm Hill Auditorium Works by Beethoven, Penderecki, and Mendelssohn
Philips Educational Presentation: Krzysztof Penderecki, composer and conductor, will present the University of Michigan's Annual Copernicus Lecture on Friday, March 10, 8pm in the Rackham Building.
This concert is part of the U-M Copernicus Endowment's theme semester, From Polonaise to Penderecki: Polish Music at the University of Michigan. Made possible by a gift from the estate of William Kinney
The Complete Solo Piano Music of Frederic Chopin, Part I Garrick Ohlsson, piano
Sunday, March 12, 4pm Rackham Auditorium (2nd of 3 installments)
Philips Educational Presentation: Garrick Ohlsson, "Chopin's Piano Literature from the Performer's Point of View." Saturday, March 11,4pm. Location TBA. Made possible by a gift from Regency Travel, Inc..
Lincoln Center Jazz Orchestra
The Majesty of Louis Armstrong Wednesday, March 15, 8pm Hill Auditorium Presented in conjunction with U-M Office of Major Events (MEO). The UMS Jazz Directions Series is presented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
Berlin Philharmonic Woodwind Quintet
Friday, March 17, 8pm Rackham Auditorium Works by Mozart, Franz Danzi, Samuel Barber, Andre jolivel, Paul Taffanel
Philips Educational Presentation: Post-performance chat with members of the Quintet.
Maurizio Pollini, piano
Monday, March 20, 8pm Hill Auditorium
Bill T. JonesArnie Zane Dance Co. StillHere
Friday, March 24, 8 PM Saturday, March 25, 8pm Power Center Viis project is supported by Arts Midwest members and friends in partnership with the National Endowment for the Arts.
Cleveland String Quartet Giora Feidman, clarinet
Sunday, March 26, 4pm Rackham Auditorium Works by Schubert, ]oaquin Turina, Osvaldo Golijov, and Dvordk
Philips Educational Presentation: Pre-concert conversation with members of the Cleveland String Quartet. Michigan League, 3pm. Made possible by a gift from Edward Surovell CompanyRealtors.
I I School of Music Faculty Artists Concert
Tuesday, March 28, 8pm Rackham Auditorium Free Concert
Works by Schulhoff, Beethoven, and Dvordk.
The Complete Solo Piano Music of Frederic Chopin, Parti
Garrick Ohlsson, piano Friday, March 31, 8pm Rackham Auditorium (3rd of 3 installments) Made possible by a gift from Regency Travel, Inc.
Saturday, April 1, 8pm St. Andrews Episcopal Church, Ann Arbor A Marian passion through 12thto 14th-century music from the British isles.
Royal Concertgebouw Orchestra of Amsterdam Riccardo Chailly, conductor
Thursday, April 6, 8pm Hill Auditorium Works by Stravinsky, Prokofiev, and Strauss
Philips Educational Presentation: An interview with Martijn Sanders (U-M M.B.A. '69), Managing Director of the Het Concertgebouw. Michigan League, 7pm.
Julian Bream, guitar
Tuesday, April 25, 8pm Rackham Auditorium
Made possible by a gift from the Thomas B. McMutten Co.
Detroit Symphony Orchestra
Jerzy Semkow, conductor Edith Wiens, soprano Florence Quivar, mezzo-soprano
IMs Choral Union Thomas Sheets, music director
Sunday, May 14, 4pm Hill Auditorium Mahler: Symphony No. 2 ("Resurrection")
Philips Educational Presentation: Jim Leonard, Manager, SKR Classical. Death and Resurrection, a discussion of Mahler's Symphony
102d Annual Ann Arbor May Festival
Thursday, May 11 -Sunday, May 14
Made possible by a gift from Ford Motor Company
of the University of Michigan 799-1995 Winter Season
Event Program Book
116th Annual Choral Union Series Hill Auditorium
32nd Annual Chamber Arts Series Rackham Auditorium
24th Annual Choice Events Series
Bill T. JonesArnie Zane
Dance Company -StillHere 3
Friday, March 24, 1995 Saturday, March 25, 1,995 Power Center
Cleveland String Quartet
with Giora Feidman 9
Sunday, March 26, 1995 Rackham Auditorium
Michigan Chamber Players 17
Tuesday, March 28, 1995 Rackham Auditorium
The Compute Solo Piano Music of Frederic Chopin, Part I
GARRICK OHLSSON (Concert III) 2
Friday, March 31, 1995 Rackham Auditorium
Anonymous 4 31
Saturday, April i, 1995
St. Andrew's Episcopal Church
La Belle et la Bete 33
Monday, April 3, 1995 Michigan Theater
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University Musical Society presenIs
Bill T. JonesArnie Zane Dance Company in
Friday Evening, March 24, 1995 at 8:00
Saturday Evening, March 25, 199$ at 8:00
Ann Arbor, Michigan
Conceived, choreographed and directed by Bill T.Jones
Visual concept and media environment by Gretchen Bender
"Still" music composed and lyrics arranged by Kenneth Frazelle
"Still" music song by Odetta
"Still" music performed by
Lark String Quartet with Bill Fihizio, Percussion
"Denial" monologue written by Lawrence Goldhuber
"Here" music composed and arranged by Vernon Reid
"Here" recorded and mixed by
Bradshaw "Leigh and Vernon Reid
Costumes by Liz Prince
Lighting Design by Robert Wierzel
Arthur Aviles Gabri Christa Odile Reine-Adelaide Maya Saffrin
Josie Coyoc Lawrence Goldhuber Daniel Russell Gordon F. White
Torrin Cummings Rosalynde LeBlanc
Fifty-Third and Fifty-Fourth Concerts of the 116th Season
24th Annual Choice Series
StillHere is dedicated to all the participants of The Survival Workshops.
StillHere is performed in two section with one intermission.
Bill T. JonesArnie Zane Dance Company Staff
Artistic Director Managing Director Special Projects Director Company Manger Administrative Assistant Lighting Designer Production Manger Lighting Supervisor Technical Director Stage Manager Rehearsal Director
Bill T.Jones Jodi Pam Krizer Bjorn Amelan Quynh Mai Laurie LaRose Robert Wierzel
Gregory Bain ? Kelly Atallah James Irvine Andrea E. Woods
Presented in association with The Foundation for Dance Promotion.
This project is supported by Arts Midwest members and friends in partnership with the National Endowment for the Arts.
Major support for the creation of StillHere'vas provided by the Wexner Center for the Arts at The Ohio State University through its artist residency program funded by the Wexner Center Foundation. The choreography, video production, stage and lighting design for StillHere were completed during a four week i residency at the Wexner Center.
Special acknowledgment to IMG Artists for their tireless efforts and assistance in making this production possible, and to Morgan Keller, Todd Stone, and Keith Johnson for their contributions to the creation of StillHere.
StillHere was Co-Commissioned by: "
Annenberg Center, Dance Affiliates & NetworkArts Philadelphia
Brooklyn Academy of Music
Center for the Performing Arts of the Pennsylvania State University
Hancher Auditorium at the University of Iowa, The University of MinnesotaNorthrop Auditorium, the Walker Art Center, On the Boards, and the University of Washington World Dance series with support from the Northwest Area Foundation
Lyon Biennale de la Danse, Lyon, France
Mary Flagler Cary Charitable Trust
National Endowment for the Arts, Presenting and Commissioning
One World Arts Foundation
Pittsburgh Dance CouncilThree Rivers Arts Festival
The Rockefeller Foundation
Wexner Center for the Arts at The Ohio State University
Wisconsin Dance on Tour 1994 Consortium
Major Funding for StillHere was provided by the Lila Wallace-Reader's Digest Fund, The Nathan Cummings Foundation, The Rockefeller Foundation, and The American Dance Touring Initiative (with funding from the Lila Wallace-Reader's Digest Fund).
Bill T. JonesArnie Zane Dance Company is supported with funding from the Lila Wallace-Reader's Digest Fund, The National Endowment for the Arts, New York Slate Council on the Arts, One World Arts Foundation, Philip Morris Companies Inc., The Harkness Foundation for Dande, The Joyce Mertz-Gilmore Foundation, The New York Times Foundation, The Whitelight Foundation, Morgan Guaranty Trust, The New York City Department of Cultural Affairs, The Chase Manhattan Bank, N.A., Bankers Trust, N.A., The Fund for U.S. Artists at International Festivals and Exhibitions, Mid-Atlantic Arts Foundation, and Consolidated Edison.
Post-production work on the video portion of StillHere was made possible through the support of the Performing Arts and Media I Arts programs of the Wexner Center for the Arts at The Ohio State University.
Bill T. JonesArnie Zane Dance Company appears by arrangement through IMG Artists.
Press Representation by Ellen Jacobs Associates
Bill T. JonesArnie Zane Dance Company is a "homebased" com?pany of Aaron Davis Hall on the campus of The City College, Harlem, NY.
Special thanks to Bill T.Jones for his participation in Last Night on Earth, A Public Address by Bill T.Jones this past Wednesday evening, and to the Company for all their "extra help" during this Ann Arbor residency.
Bill T. Jones (Artistic Director), a 1994 recipient of a MacArthur "Genius" Fellowship, began his dance training at the State University of New York at Binghamton (SUNY),
where he studied classical ballet and modern dance. After living in Amsterdam, Mr. Jones returned to SUNY, where he became co-founder of the American Dance Asylum in ' 1973. Before forming Bill T. JonesArnie Zane Dance Company (then called Bill T. JonesArnie Zane & Company) in 1982, Mr. Jones choreographed and performed nationally and internationally as a soloist and duet company with his late partner Arnie Zane.
In addition to creating over forty works for his own company, Mr. Jones has received many commissions to create dances for modern and ballet companies including Alvin Ailey American Dance Theater, Boston Ballet, Lyon Opera Ballet (to which he was appointed Resident Choreographer in 1994), Berkshire Ballet, Berlin Opera Ballet, and Diversions Dance Company, among others. He has also received numerous commissions to create new works for his own company, including commissions for premieres forthe Brooklyn Academy of Music's Next Wave Festival and for St. Luke's Chamber Orchestra. In more recent years,'Mr. Jones has also begun to work with several opera companies, domestically and abroad. In 1990, he chore?ographed Sir Michael Tippet's New Year under the direction of Sir Peter Hall for the Houston Grand Opera and the Glyndebourne Festival Opera. He conceived, co-directed, and choreographed Mother of Three Sons, which was performed at the Munich Biennale, New York City Opera, and the Houston ? Grand Opera. He also directed Lost in the Stars for the Boston Lyric Opera. Mr. Jones's
involvement in theater includes co-directing Perfect Courage with Rhodessa Jones for Festival 2000 in 1990. In 1994, he directed Derek Walcott's Dream on Monkey Mountain for The Guthrie Theater in Minneapolis, Minnesota.
Television credits for Mr. Jones include Fever Swamp, which was filmed for PBS's "Great Performances" series, and Untitled for "Alive from Off Center", which aired nation?ally on PBS in July 1989. In early 1992, a documentary on Bill T.Jones's Last Supper at Uncle Tom's CabinThe Promised Land was aired on Dance in America as part of PBS's "Great Performances" series. CBS Sunday Morning News broadcasted two features on Mr. Jones's work, once in 1993 and again in 1994. StillHere will be the subject of a new Bill Moyers's documentary for PBS; ALIVE TVKTV will record this work for television broadcast.
In 1979, Mr. Jones received the Creative Artists Public Service Award in Choreography, and in 1980, 1981, and 1982,, he was the recipient of Choreographic Fellowships from the National Endowment for the Arts. In ig86, Bill T.Jones and Arnie Zane were awarded a New York Dance and Performance (Bessie) Award for their Joyce Theater season, and in 1989, Mr. Jones was awarded another Bessie for his work, D-Man in the Waters. Mr. Jones, along with his collaborators Rhodessa Jones and Idris Ackamoor, received an "Izzy" Award for Perfect Courage in 1 ggo. Mr. Jones was honored with the Dorothy B. Chandler Performing Arts Award for his innovative contributions to performing arts in 1991. In 1993, Mr. Jones was presented with the Dance Magazine Award. In addition, Mr. Jones is proud to have contributed to the foreword to Philip Trager's book of pho?tographs, entitled, Dancers. Mr. Jones's auto?biographical book, Last Night on Earth, will be published by Pantheon in June of 1995.
Arnie Zane (1948-1988) was a native New Yorker born in the Bronx and educated at the State University of New York (SUNY) at Binghamton. In 1971, Arnie Zane and Bill T. Jones began their long collaboration in choreography and in 1973 formed the American Dance Asylum in Binghamton with Lois Welk. Mr. Zane's first recognition in the arts came as a photographer when he received a Creative Artists Public Service (CAPS) Fellowship in 1973. Mr. Zane was the recipient of a second CAPS Fellowship in i 981 for choreography, as well as two Choreographic Fellowships from the National Endowment for the Arts (1983 and 1984). In 1980, Mr. Zane was co-recipient, with Bill T.Jones, of the German Critics Award for his work, Blauvelt Mountain. Rotary Action, a duet with Mr. Jones, was filmed for television, co-produced by WGBH-TV Boston and Channel 4 in London. The Alvin Ailey American Dane Theater commis?sioned a new work from Mr. Zane and Bill T.
Jones, How to Walk an Elephant, which pre?miered at Wolftrap in August 1985. Mr. Zane (along with Mr. Jones) received a 1985-86 New York Dance and Performance (Bessie) Award for ChoreographerCreator.
An in-depth look at the work of Bill T. Jones and Arnie Zane can be found in Body Against Body: The Dance and Other Collaborations of Bill T.Jones and Arnie Zane, published by Station Hill Press. . "
Bill T. JonesArnie Zane Dance Company
Bill T. Jones and Arnie Zane formed a full-time company, after eleven years of working together as a duet company, with funding from the Jerome Foundation and die Robert Sterling Clark Foundation. With eloquent, sculptural tableaux, intensely dramatic ges?tures and awe-inspiring feats, Bill T. Jones Arnie Zane Dance Company creates exhila?rating dances. The company's dancers are from varied backgrounds which range from athletics, acting, and classical
ballet to Irish step-dancing. The dancers' highly eclectic individualism has led Jones and Zane into new territories in which to develop new move?ment vocabulary. Jones and Zane are known for their choreographic infusion of energy as well as their innova?tive use of partnering, body juxtaposition, and dynamic technical virtuosity.
Bill T. JonesArnie Zane Dance Company emerged onto die international scene in 1982 with die world pre?miere of Intuitive Momentum with legendary drummer Max Roach at the Brooklyn ? Academy of Music. Extensive touring quickly followed with travels taking the company to
prestigious houses such as Sadler's Wells in London, Theatre de la Ville in Paris, Zellerbach Theater in Berkeley, the Kennedy Center in Washington, DC, Cultural Center of the Philippines, and the Jerusalem theater in Israel. During July and August of 1986, Bill T. JonesArnie Zane Dance Company toured Asia and Southeast Asia under the auspices of the United States Information Agency. The company performed and taught in Malaysia, Indonesia, the Philippines, Taiwan, Japan, and Hong Kong.
The company has enjoyed New York sea?sons at the Joyce Theater and the Brooklyn Academy of Music's Next Wave Festival with their highly acclaimed 1984 production of Secret Pastures with collaborators Peter Gordon, Keith Harirtg, and Willi Smith and The Animal Trilogy, in 1986, which premiered at the Lyon Biennale de la Danse in Lyon, France. In May 1988, the company enjoyed a successful New York season at City Center as part of the New Contemporary Masters Series. Bill T. JonesArnie Zane Dance Company returned to The Joyce Theater for a two-week sold-out engagement in March 1989. The season featured the world pre-1 mieres of D-Man in the Waters, Forsythia, Absence, and La Grande Fete.
In November 1990, Bill T.JonesArnie Zane Dance Company performed the world premiere of Last Supper at Uncle Tom's Cabin The Promised Land, once again as part of the Next Wave Festival at the Brooklyn Academy of Music. Following this critically-acclaimed engagement, die company embarked on a 'twenty-two-city domestic tour, which was suc?ceeded by European engagements in Berlin, Amsterdam, Madrid and Montpellier, France.
The 1992-93 season marked the tenth anniversary of Bill T.Jones Arnie Zane Dance Company. Following a two-week sold-out season at The Joyce Theater in New York City, the company embarked on a tour across die United States, Canada, and Europe. The Company returned to The Joyce Theater for
an encore sold-out season in October of 1993, and followed this with performances at the Edinburgh Festival, Festival d'Automne in Paris, and the Festival International de Nouvelle Danse in Montreal. Performances through the summer of 1994 took place in Cleveland, St. Louis, Boston, Richmond, VA, Princeton, NJ, Columbia, MD, and at the American Dance Festival in Durham, NC, and Jacob's Pillow Festival in Lee, MA. The Company also performed in several, cities in France, and in London and Israel.
StillHere, Mr. Jones's latest full-evening work, is a multi-media piece focusing on the issue of survival in the face of life-threaten?ing illness. StillHere had its world premiere in September of 1994 at the Lyon Biennale de la Danse in Lyon, France, and its U.S. premiere at Hancher Auditorium at the University of Iowa at the end of September 1994. During the month of October 1994, the Bill T. JonesArnie Zane Dance Company embarked on a ten-city tour of the state of Wisconsin with a combination of StillHere and repertory performances. StillHere had its premiere at the Brooklyn Academy of Music's Next Wave Festival in December, 1994. Other U.S. performances this season include Washington, D.C., Miami, FL, Portland, OR, Lawrence, KS, Seattle, WA, Columbus, OH, Austin, TX, Berkeley, CA, Lincoln, NE, University Park, PA, Chicago, IL, Boston, MA, Los Angeles, CA, and Pittsburgh, PA among others.
Bill T. JonesArnie Zane Dance Company has appeared in thirty states and twenty-two countries, performing to nearly 100,000 people annually plus countless others who view the work on television and film.
These performances mark the UMS debut of the Bill T.JonesArnie Zane Dance Company.
The Cleveland Quartet
with Guest Artist
Giora Feidman, clarinet
William Preucil; violin Peter Salaff, violin James Dunham, viola Paul Katz, cello
Ed Surove11 CompanyReal tors
Sunday Afternoon, March 26, 1995 at 4:00
Rackham Auditorium Ann Arbor, Michigan
This work was written for Giora Feidman and the Cleveland Quartet: William Preucil, violin; Peter Salaff, violin; James Dunham, viola; Paul Katz, ceHo.
This work was co-commissioned by the Schleswig-Holstein Musik Festival, the Chamber Series at the University of Kansas, and the University Musical Society at the University of Michigan, and was premiered in August 1994 by Giora Feidman and the Cleveland Quartet, at the Schleswig-Holstein Musik Festival.
Franz Schubert QUARTETTSATZ IN C MINOR, D. 703
La Oracion del Torero (The Bullfighter's Prayer)
The Dreams and Prayers of Isaac the Blind
Prelude: Calmo, Sospeso
I. Agitato -Con Fuoco -Maestoso --
Senza Misura, Oscillante.
II. Grazioso, Teneramente -Ruvido -Presto.
III. Calmo, Sospeso -Pesante, Intense
Postlude: Lento, Liberamente.
Quartet in A-flat Major, Op. 105
Adagio ma non troppo; Allegro appassionato
Lento e molto cantabile
Allegro, non tanto
Fifty-Fifth Concert of the 116th Season
32nd Annual Chamber Arts Series
Special thanks to Ed Surovellfor helping to make this performance possible.
Thanks to Osvaldo Golijov and Paul Katzfor their participation in this afternoons Philips Presentation.
The Cleveland Quartet is on the faculty of the Eastman School of Music and records for RCA Red Seal, Phillips, CBS Master-works, Telarc and Pro Arte.
Exclusive Management: ICM Artists, Ltd. Lee Lamont, Chairman
This program is made possible in part through a grant from Meet the Composer, Inc. ioith support from ASCAP, Dayton-Hudson Foundation, Metropolitan Life Foundation, and the National Endowment for the Arts.
Large print programs are available upon request.
QUARTETTSATZ IN C MINOR
Born January 31, 1J97 in
Himmelpfortgrund in Vienna, Died November ig, 1828 in Vienna
Two of Schubert's works were epoch-making events, and both remained mysteriously unfinished at the time of his death. One is the well-known "Unfinished" Symphony (No. 8), and the other is die Quartettsatz, or Quartet Movement, composed in 1820, just two years ahead of the famous symphony. The Quartettsatz was meant to be the first movement of a complete quartet, but only a fragment of the second movement has survived. No one knows why Schubert left this work unfinished. There were no finale-key problems as there would have been in the Eighth Symphony. The important thing is that the Quartettsatz is unlike any chamber music Schubert had composed up to that time; it opens the door to his maturity and, conse?quently, the door to early Romanticism.
"Romantic" is one word we could use to describe the introductory measures of this sonata form. Theatrical" is another. Certainly the tremolo string effect leading to a dynamic climax comes more from die operatic theater than from the chamber domain. Following his brooding first theme, Schubert again takes up the tremolo as a transition to the second theme. Even more Romantically, this beauti?fully sweet melody appears in the unexpected key of A-flat Major. The concluding material, however reverts to the more usual G Major. After what has been termed a "veiled" devel?opment section, Schubert brings back his themes, but out of order. First comes the lyrical second dieme (now in B-flat and E-flat Major), dien the fiery transition, diis time leading to the concluding material in C Major.
Finally, allusions to the first theme in C minor lead to a reprise of the introduction that caps the movement.
La Oracion del Torero .
Born December 9, 1882 in Seville
Died January 14, 1949 in Madrid
Joaquin Turina was, alongside Albeniz, Granados, and de Falla, one of the leading Spanish nationalist composers of the early twentieth century. Like Falla, he spent time in Paris, w(here his style acquired certain aspects of musical Impressionism. These he mixed effectively with native and synthesized f61k melodies to produce music in a style similar to Falla's, yet distinctive injnany ways. Turina became known for both his atmospheric piano music and his colorful ensemble works.
Turina's chamber and orchestral music often focuses on Spain's various festivev occasions: bullfighting is traditionally associated with fiestas in many locales. La Oracion del Torero (The Bullfighter's Prayer) is a chamber tone poem that illustrates the musical sounds of such a fiesta alternating widi the meditations of its chief .protagonist. In the manner of Richard Strauss' Don Quixote, the cello seems to represent the "voice" of the hero, heard alternating between a paso doble theme (reminiscent of the bull ring) and free-form recitatives (in the styleof flamenco verses, or coplas). Interspersed are more Impressionistic sections that grow increasingly passionate but ultimately bring the piece to a quiet ending.
La Oracion del Torero was originally com?posed in 1925 for a quartet of lutes. Later, the composer published a version for string quartet, which is the form in which the piece is usually performed.
Notes by Dr. Michael Fink
The Dreams and Prayers of Isaac The Blind
Born i960 in La Plata, Argentina
The prelude and the first movement ' explore two prayers; "We will observe the mighty holiness of this day...," the first part of the central prayer of the High Holidays,v is played by the quartet, while the clarinet dreams the motifs from "Our Father, Our King." The second movement is based on The Old Klezmer Band," a traditional dance tune that Giora Feidman recorded once with eleven clarinets. It is surrounded here . by its own halo. The-third movement and posdude complete the prayer left'open in the first movement "... Thou pass, and record, count and visit, every living soul, appointing the measure of every creature's life and decreeing its destiny."
But blindness is as important in this work as dreaming and praying. I had always the intuition that, in order to achieve the highest possible intensity in a performance, musicians should play, metaphorically speaking, "blind." That is why, I think, all legendary musicians in cultures around the world, starting with the great Homer, are said to be blind. "Blindness" is probably the secret of great string quartets, those who don't need their eyes to communicate among them, with the music, or the audience. Here I faced for the first time blindness as a reality and not a metaphor. Giora's weak eyes, an echo of the blindness of the great thirteenth-century kabbalist Isaac of Provence, compelled me to compose his part in such a way that he could play it by heart (only after the piece was written did I learn of Paul Katz's past eye troubles). Blindness, then, has taught me to compose music as it was in the begirv
ning: an art that springs from and relies on our ability to sing and hear, based on the" power to build castles of sound in our mem?ories.
Note by Osvaldo Golijov
String Quartet in A-Flat, Op. 105
Born September 8, 1841 in Miihlhausen
Died May 1, 1904 in Prague
Praise God we are all well, and we rejoice that after three years we can again spend a delightful and happy Christmas in Bohemia! It was so different last year in America, where we were so far away in a foreign land and separated from all the children and friends!. . . Now I am very industrious. . . . I have just finished a new quartet in G Major, and now I am already coming to the end of a second in A-flal....
[December 23, 1895]
In-these passages from a letter to a friend, Antonin Dvorak expressed the immense creative release he felt on coming home for good from the "New World." The impulse to compose was so strong in him that in short , order he wrote what would become his final works in chamber media and perhaps his crowning achievements in that field. Dvorak had actually begun the A-flat Quartet in New York during March 1895, but had completed only the exposition of the first movement. Now, comfortably at home in Bohemia, the composer turned again to unfinished work, but not before dashing off the G Major Quartet that would become its
companion piece as Op. 106.
The first movement of the A-flat Quartet opens "Adagio ma non troppo" with an unexpectedly somber mood in the minor mode. This serious introduction builds in intensity but then melts unnoticeably into the main "Allegro appassionato" section with its carefree first theme. (Is Dvorak pulling our , leg Or is he painting a musical picture of the story he tells in his letter) The second theme is even more playful, but the movement has its darker moments and its passionate ones as well.
The Scherzo second movement is one of Dvorak's finest chamber music movements. It is a brilliant furiant, a folk dance with characteristic rhythmic shifts that imply changes in meter. Besides the overall symmet?rical A-B-A form, the outline of each section is symmetrical also, with three divisions in the main section and three in the Trio. Quotations from Dvorak's opera, The Jacobin, appear in the Trio section.
The "Lento" movement is similarly a three-part structure, but one in which remi?niscences of the middle section return near the end. Dvorak scholar Otakar Sourek writes that the movement's "strongly romantic character is full of sweetly melodious and ardent yearning."
The opening of the finale balances the opening of the first movement. A serious,, dramatic mood prevails, complete with the?atrical tremolos in the middle parts. Soon, however, all this dissolves into the general gaiety of the main theme. The movement is an innovative sonata form with three principal themes instead of the usual two. The music drives toward its final goal propelled by a strong rhythmic impulse reminiscent of Dvorak's Slavonic Dances.
Note by Dr. Michael Fink
After twenty-six years of music-making together, the award-winning Cleveland Quartet has announced its plans to disband in 1995,'mak?ing this Rackham
Auditorium appearance their final engage?ment with Ann Arbor audiences. Recognized as one of the premier string quartets of our time, the Cleveland Quartet celebrated its 25th anniversary season during 1993-94. Through their acclaimed performances in the world's music capitals, their award-winning recordings of more than fifty chamber works, their performances of new music by contemporary composers, and their influence as master teachers who have guided the careers of many prize-winning young quartets, the members of the Cleveland Quartet have made a lasting contribution to chamber music here and abroad.
The Cleveland Quartet (William Preucil and Peter Salaff, violins; James Dunham, viola; and Paul Katz, cello) makes regular tours of the United States, Canada, Europe, and Japan, and frequently appears at presti?gious music festivals including Salzburg, Edinburgh, Lucerne, Berlin and Helsinki. They have also performed in the former Soviet Union, South America, Australia, New Zealand and the Middle East. Highlights of previous seasons include nearly thirty complete Beethoven quartet cycles in such cities as New York, Washington, D.C., San Francisco, Tokyo, Paris, London, Rome, and Florence, annual appearances at Lincoln Center's Mostly Mozart Festival, regular residencies at the Aspen Festival, a Presidential Inaugural Concert, and numerous radio and television appearances.
The Cleveland Quartet is currently recording the complete string quartets of Beethoven for Telarc. The Quartet is also
involved in a long-term Telarc project to record the string chamber music of Brahms. The Cleveland Quartet's wide range of recordings on the CBS Masterworks, Pro Arte, Philips, RCA, and Telarc labels have received seven Grammy Award nominations, as well as "Best of the Year" awards from Time and Stereo Review. Among the distinguished artists with whom the Quartet has recorded are Emanuel Ax, Alfred Brendel, Bernard Greenhouse, Yo-Yo Ma, John O'Conor, Richard Stoltzman, and Pinchas Zukerman.
The repertoire performed by the Cleveland Quartet reflects the broad range of their m'usical interests; it includes works from the VienneseGerman, Central European, and French repertoires, as well as music by twentieth-century masters. In addition, the Cleveland Quartet is deeply committed to the performance of new music,
and has had many works by prominent composers commis?sioned for them. In 1994, they performed the world premiere of Joan Tower's Trombone Quintet with John Swallow at the Norfolk Festival and gave the world premiere of David Diamond's Guitar Quintet with Sharon Isbin at New York's 92nd Street Y. Seven other commissions are currently in progress, including one from the Cleveland Orchestra for a work for string quartet and orchestra by Stephen Paulus scheduled to be premiered in . the spring of 1995.
Dedicated teachers as well as performers, the members of the Cleveland Quartet are on the faculty of the University of Rochester's Eastman School of Music, where in addition to teaching their instruments, they offer an intensive coaching
program tor young professional string quartets. Many of the ensembles coached by the Cleveland Quartet at Eastman and at Aspen have won prestigious international chamber music prizes, including eight Naumburg Awards. They include the Anderson, Cavani, Chester, Lafayette, Meliora and Ying quartets. The members of the Cleveland Quartet play extraordinary instruments: William Preucil, a Stradivarius violin from 1701; Peter Salaff, aj. B. Guadagnini violin from 1783; James Dunham, a Gaspar da Salo viola from 1585; and Paul Katz, an Andrea Guarneri cello from 1669.
This afternoon's performance marks the Cleveland Quartet's third appearance under UMS auspices.
At the age of eighteen ' Giora Feidman became a principal member ofthe great Teatro Colon in Buenos Aires, where he was born. At twenty, he was invited by Maestro Paul Kletzki to join the Israel Philharmonic Orchestra where he played for twenty years. He served as Professor of Clarinet at the University of Tel Aviv and is acknowledged as the person most responsible for the resurgence of Jewish music in the world today.
In the past few years Mr. Feidman has performed extensively throughout the world, playing to sold-out houses. Maestro Zubin Mehta once said about Giora that "he stands without a peer today. .. one of the few clarinetists I know who is completely versatile at playing both the classical repertory and that of Jewish folk music."
There have been many TV and radio specials based on Giora Feidman and his music. A starring role was written especially for Mr. Feidman in Peter Zadek's produc?tion of Joshua Sobol's Ghetto (in Berlin). His music was featured in Walter Cronkite's spe?cial Holocaust: In Memory of Millions. After playing the' lead role in a new opera based on the Pied Piper of Hamlin in Germany, Mr. Feidman was flown by Universal Studios
to Los Angeles to perform John Williams's score for the soundtrack of Stephen Speilberg's Academy Award winning film Schindler's List.
Mr. Feidman, along with the Munich Philharmonic, premiered Wilfried Hiller's Concert for the Klezmer which was written espe?cially for him and is based on five paintings of the famous painter. He will appear this season with the Saint Louis Symphony and the Delaware Symphony. And in the midst of all this Mr. Feidman has completed a fifty-concert European tour, and played the lead role in a German production of a play based on Isaac Bashevis Singer's story.
Giora Feidman makes his UMS debut in this afternoon's performance.
hi ii iii I a Plata, Argentina, on December 5, i960, Osvaldo Golijov lived there and in [erusalem before moving to iluI (nited States in 1986. hi this country he studied with George Crumb at the University of Pennsylvania, earning his Ph.D., and with Lukas Foss and Oliver Knussen at Tanglewood, where Golijov received the Koussevitzky Composition Prize.
In 1993 he was the recipient of the first prize at the Kennedy Center's Friedheim Awards competition, and won the BMW prize for the music-theatre composition, given by the jury at the Munich Biennale in 1994. Other honors include the "Paul Fromm Award," prizes at the Goethe Institute Composers' Competition, Olympia Competition in Athens, Argentina's National Tribune of Composers, Israel's Clairmont Competition, and international
juries' selections for performance at festivals such as the World Music Days of the International Society for Contemporary Music in France, where he represented Argentina two times.
He has received many commissions, among them from the cities of Munich and Buenos Aires, New York's Lincoln Center, Schleswig-Holstein, and Tanglewood Festivals, and the Froitim and Wexner Foundations.
His music is being heard in many parts of the world, receiving more than a hunr dred performances over the last two seasons alone. Performers such as the Cleveland, Kronos, and St. Lawrence quartets, London SinfonieUa, Continuum, Polish National Dance Theatre, Oliver Knussen, and Giora Feidman, have presented Golijov's works in New York's Lincoln Center, Paris's Theatre de la Ville, London's Royal Festival Hall and Barbican Centre, Vienna's Konzerdiaus, Tokyo's Suntory Hall and the Tanglewood, Edinburgh, Holland and Schleswig-Holstein Festivals.
His music has been recorded by the Kronos Quartet on the ElektraNonesuch labeL Kronos is also currently recording a full length CD devoted to Golijov's music. His last work, The Dreams and Prayers of Isaac The Blind, had its US premiere earlier this month under the auspices of the Concert Society of Maryland. Among other places they are performing the work at the Universities of Michigan and Kansas, which co-commissioned it, and at the Chamber Music Society of Lincoln Center. Golijov is now working on new works commissioned by Kronos and the Contemporary Music Group of the City of Birmingham Symphony Orchestras.
The Michigan . Chamber Players
of the University of Michigan School of Music
University Musical Society presents
Tuesday Evening, March 28, 1995 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Ludwig Van Beethoven
Trio in B-flat for Clarinet, Cello, and Piano, Op. i 1
Allegro con brio
Teraa: Pria cli'io I'impegno
Deborah Chodacki, Clarinet Erling Blondal Bengtsson, Cello Louis Nagel, Piano
Sonata in E-flat for Violin and . Piano, Op. 18
Allegro, ma non troppo Improvisation: Andante cantabile Finale: Andante -Allegro .
Andrew Jennings, Violin Martin Katz, Piano
Trio in f minor for Piano, Violin and Cello ,
Allegro ma non troppo
Allegretto grazioso -Meno messo
Allegro con brio I
Arthur Greene, Piano i
Stephen Shipps, Violin ,,
Anthony Elliott, Cello
Fifty-Sixth Concert of the 116th Season Special Concert
Large print programs are available upon request.
Trio in B-flat for Clarinet, Cello, and Piano, Op. i 1
Ludwig van Beethoven
Born December 16, 1770 in Bonn
Died March 26, 1827 in Vienna
This trio, which in part is not easier but more flowing than many other pieces by the same author, makes an excellent ensemble on the pianoforte with accompaniment. The composer, with his unusual harmonic knowledge and love for serious composition, would provide us many things that would leave many hand-organ things far in the rear, even those composed by famous men, if he would but try to write more naturally.
The reviewer js writing here not of a middle-period Beethoven piano trio but of the Op. 11 Trio composed barely five years after the composer's arrival in Vienna. The actual date of composition is uncertain, but the final movement could not have been composed before October 1797. That was when Joseph Weigl's opera L'Amor marinaro (The Corsair) premiered. Its final trio, "Pria ch'io I'impegno," became very popular, and Beethoven chose it as the theme for variations vin the last movement of his trio. We are not certain for whom Beethoven intended his ' trio, but later Czerny wrote: ,
It was the wish of the clarinet player for whom Beetlwven wrote this trio that he would employ the above theme by' Weigl (which was then very popular) as the finale. At a later period, he frequently contemplated writing another concluding movement for ? this trio and letting the variations stand as a separate work.
Featuring the piano prominently, the trio's first movement is a portrait of Beethoven's early years in Vienna. Here he shows "his unusual harmonic knowledge" in the sudden
jump to the "wrong" key for the second theme. The development is equally bold, and the recapitulation is a combination of expectation and pleasant surprises.
The main theme of the "Adagio" is like a sketch for the famous minuet Beethoven used in both his septet (Op. 20) and the brief piano sonata of Op. 49. The lightness of this music darkens between statements of the "minuet" theme, but the moonlit magic of this movement always retrieves the mood.
In the finale, the piano is featured in the theme statement, and it solos in the first variation. Then clarinet and cello take the stage by themselves. The third variation brings the ensemble together brilliandy. The minore variation follows, a slow contemplative chapter. Back in major, the crashing fifth and polite, sixth variation lead to a dramatic minor-mode interlude (variation seven). The eighth variation focuses on clarinet and cello in dialogue. This intensifies into a close canon in variation ten, first for piano alone then ' between darinet and cello. A harmonic surprise at the outset of the final variation takes us briefly to the key of G and introduces widespread syncopation. Even after Beethoven returns to the home key, rhythmic shifts abound, adding a robust dance element to the music. The meter changes abruptly in the last measures where, more than ever, Beethoven plays by his own rules.
Violin Sonata in E-flat, Op. 18
Born June n, 1864 in Munich
Died September 8, 1949 in Garmisch-Partenkirchen
The most important orchestral music of Richard Strauss was concentrated early in his oeuvre though it reappeared throughout his career. Likewise his concertos come from both early and late in his writings. His chamber
music, however, was sparse with only four major works, all composed before the 18gos: a string quartet, a cello sonata, a pianoquartet, and the Violin Sonata. Composed in 1887-1 $88, the Violin Sonata took form while Strauss was at work on his symphonic poem, Don Juan. It was the last of Strauss' orthodox, classically conceived chamber works, and it ranks high in his total output.
Michael Kennedy remarks that "the opening theme and several others have a ... verve and sweep as if they had been conceived in orchestral terms." Certainly the demanding piano part that opens the sonata sounds orchestral, and the flair and compactness of this theme bears the. stamp of Strauss' personality. The second theme-complex is no less Straussian; his working out of materials in development is full and rich. The composer truncates his recapitulation, but only to introduce a climactic coda that is operatic in style and proportion. Here, he causes the violin to suggest a complete string section while making the piano part nothing less than a Romantic concerto.
Strauss composed the "Andante cantabile" last and mysteriously subtitled it "Improv?isation." It became so popular that the publisher put it into print as an independent piece. According to biographer Norman Del Mar, the movement is "the epitome of Strauss' 'Song-AVithout-Words' Andantes." It owes something to Mendelssohn and Schubert with its melodic simplicity and charm. The dramatic middle section resembles Schubert's Erlkonig so closely that it must have been intentional. The subtitle, "Improv?isation," most appropriately refers to the style at the end of the central section, as it disintegrates into the lacy figuration we associate with Chopin's nocturnes. Following die symmetrical reairn of die opening section, Strauss builds a coda that lingers in the mariner of the "Adagio cantabile" in Beethoven's Pathetique Piano, Sonata.
Beginning the final movement with a
brooding Brahmsian introduction, Strauss then plunges into a quasi-sonata form employing great thematic variety cibne up in flamboyant style. Xhe opening even contains, a quotation from Wagner's Tristan.' In place of developing this vast array of themes, Strauss chooses a route previously taken by Mozart (Piano Sonata, K. 283) and Beethoven (Symphony No. 3): He introduces a new "development theme." This expansive melody, spanning more than two octaves, stretches the limits of traditional chamber music, surpassing the grandiloquence with which Strauss has already imbued this work. Strauss curtails the recapitulation suddenly to introduce a scherzando coda. The gaiety and free harmonic motion of this final section press the tempo faster, until the sonata ends amid vivacious flourishes.
Piano Tri.o in f minor, Op. 65
Born September 8, 184.1 in Miihlhausen
Died May 1, 1904 in Prague
The years 1882 and 1883 were a period of intense personal, spiritual, and artistic crisis for Antonin Dvorak. He was emerging as a successful Czech composer in central Europe, ..England, and elsewhere. Yet the influential German-speaking cultural centers (chiefly Vienna) were asking him to shed his nation?alistic mantle as the price of true celebrity. In December 1882, Dvorak's mother died, and in his bereavement the composer seems to have experienced a spiritual dilemma. Normally a man of simple and explicit faith, Dvorak's beliefs may have been shaken dur?ing the early months of 1883. For die post?script, "Thanks to God" usually found at the end of his manuscripts is missing from the f-minor Trio and other works of that time.
Dvorak's inner crisis is manifested in the breadth, depth, and emotional content of the trio as well as in its details. The first
movement opens with a passionate thematic group in the form of question and answer. A quieter transition leads to the second theme, which bears a remote resemblance to part of the opening theme. The development section concentrates on the question-and-answer themes, leading to a recapitulation that at first emphasizes the "question" motive but eventually reaches the lighter second theme. The very broad coda employs the main -themes in a particularly poignant manner.
Dvorak offers an "Allegro grazioso" in place of ifee usual scherzo movement. In the main section, a perpetual-motion triplet accompaniment in the strings supports a folksong-like duple-rhythm theme in the piano. Later, the instrumental roles are reversed. The middle section of the movement presents a pleasant contrast in texture and mood. .
The slow movement is more tranquil than those preceding it, but the tone of spir?itual suffering is still present in its principal theme. The middle section is marked by a spiky canon between the string parts, the tension of which finds release in an eloquent, high violin theme. In the coda, the theme reappears, this time in a form that fore?shadows the main finale theme of Dvorak's Symphony No. 7.
With the vivacious, shifting rhythms of his native furiant, Dvorak takes up the struggle again in the finale. However, this time triumph is in the air. We have the impression that the composer has weathered his period of "Storm and Stress" and has emerged victorious. This is especially apparent when, near the end, he shifts to die major mode and reprises a version of the main theme of the first movement. Concerning the unison ending, Dvorak scholar Otakar Sourek writes that this work, "which sang of a spiritual combat fought out on the battlefield of the composer's soul, must end with the expression of peace-bringing clarifi?cation and reconciliation."
Notes by Dr. Michael Fink
The Michigan Chamber Players
omprised of faculty members, and occasion?ally advanced students of the University of Michigan School of Music, the Michigan Chamber Players presents four to six concerts a year, two of which are sponsored by the University Musical Society.
The internationally acclaimed cellist, Erling Blondal Bengtsson joined the Michigan faculty in 1990. Long known to European audiences, he has enjoyeda dis?tinguished and prolific career as a teacher, performer and recording artist not only in the Scandinavian countries, but throughout Europe, the Soviet Union, and North America. A recipient of numerous honors, prizes, and awards both for his performing and teaching, Mr. Bengtssqn has been knighted by the governments of Denmark and Iceland.
Deborah Chodacki, clarinet, joined the School of Music faculty in the fall of 1993. She holds a bachelor of music with distinc?tion from the Eastman School of Music and a master of music from Northwestern University. Ms. Chodacki has performed in chamber music festivals, as an orchestral performer, and as a soloist with orchestras in the United States and Western Europe. Prior to her appointment at Michigan, she taught for four years at the Interlochen Arts Academy.
Anthony Elliott, cello, has combined admirable careers in performance and teaching for more than two decades. The winner of the first Emanuel Fuermann Memorial International Cello Solo Competition, he has appeared as soloist with major orchestras in the United States and Canada and as a chamber musician in festivals around the country. He joined the Michigan faculty in 1994, after teaching at the University of Houston and Western Michigan University.
Arthur Greene, piano, came to Michigan in 1990 following great success as a concert performer throughout the United States, Europe, and the FanEast. He has appeared as soloist with the Philadelphia Orchestra, RAI Orchestra of Turin, the San Francisco, Utah, and National Symphonies and in recital in major concert halls in the United States, Europe, and Asia. The winner of several international competitions, Mr.1 Greene formerly served on the faculty of the University of Iowa.
Andrew Jennings, violin, was a founding member of the award-winning Concord String Quartet, which played over 1200 con?certs, gave more than 50 premieres and commissions of new works, and received three Grammy nominations for its recordings before disbanding in 1987. Mr. Jennings, who teaches chamber music at the Tanglewood Music Center in the summers, joined the Michigan faculty in 1992.
Martin Katz, piano, is one of the world's most eminent accompanists, collaborating regularly in recitals and on records with such artists as Marilyn Home, Frederica von Stade, Kiri Te Kanawa, Kathleen Battle, Cecilia Bartoli, and Jose Carreras, to name only, a few. His thirty years of concertizing with the most celebrated vocal soloists feature perfor?mances in prestigious festivals and the leading concert halls of the world. His work has been recorded for the RCA, CBS, Cetra, BMG, Phillips and Decca labels. Mr. Katz has been a regular guest conductor of the School
of Music's opera productions since 1990.
In recent years, pianist Louis Nagel has concertized in Scotland, the Netherlands, London, Vienna, Berlin, Jerusalem, and St. Petersburg. He has won numerous competi?tions and adjudicated many others throughout the United States. He joined the Michigan y faculty in 1969 after studies at the Juilliard School with Rosina Lhevinne, Josef Raieff and Joseph Bloch, and subsequent studif with Vladimir Ashkenazy. '
Stephen Shipps, violin, is a member or die Meadowmount Trio and a past member of die Fine Arts Quartet and the AmadeuS Trio. He has appeared as a soloist and guest conductor with distinguished symphony orchestras around the country and currently serves as coricertmaster of the Ann Arbor Symphony Orchestra. Mr. Shipps was recently awarded two platinum and four gold records for his recording work for American Gramophone. In addition to his distinguished teaching career, h6 has adjudicated major national and international competitions for almost two decades.
The Complete Solo Piano Music of Frederic Chopin
U'N I V E R S I T Y M US IC A L S O C I E T Y
?Regency Travel Agency, Inc.
Friday Evening, March 31, 1995 at 8:00
Rackham Auditorium Ann Arbor, Michigan
Third Concert of Six
Three Nocturnes, Op.. 15
No. 1 in F Major
No. 2 in F-sharp Major
No. 3 in g minor
Two Polonaises, Op. 40
No. 1 in A Major No. 2 in c minor
Berceuse in D-flat Major, Op. 5.7 Barcarolle in F-shArp Major, Op. 60 Four Mazurkas, Op. 17
No. 1 in B-flat Major No. 2 in e minor No. 3 in A-flat Major No. 4 in a minor
Impromptu No. 1 in A-flat Major, Op. 29
Ballade No. 4 in f minor, Op. 52
I "N T E R M I S & I O N
Rondo in E-flat Major, Op. 16 Four Mazurkas, Op. 24
No. 1 in g minor No. 2 in C Major No. 3 in A-flat Major No. 4 in b-flat minor
Two Nocturnes, Op. 32
No. 1 in B Major Y No. 2 in A-flat Major
Waltz in E-flat Major, Op. 18 Polonaise in A-flat Major, Op. 53
Fifty-Seventh Concert of the 116th Season
24th Annual Choice Series
Special thanks to Sue Lee, President, Regency Travel Agency, Inc., for her assistance in making this performance possible.
This concert is part of the University of Michigan Copernicus Endowment theme semester, From Polonaise to Penderecki: Polish Music at the University of Michigan.
This evening's floral art is made possible by Cherie Rehkopf and
John Ozga, Fine Flowers, Ann Arbor. i
Angel, Arabesque, Telarc
Management: Shaw Concerts, Inc.
Bosendorfer Piano ,
Large print programs are available upon request.
Born c. March i, 1810 near Warsaw in
Zelazowa Wola, Poland Died October ly, 1849 in Paris
The present recital, third in Garrick Ohlsson's series of six devoted to Chopin's solo piano works, represents sixteen years of the Polish-born composer's fecund musical imagination. When we recall that Chopin died at age thirty-nine, we are struck by the realization that his short life resulted in a pianistic legacy which is so rewarding for audiences and performers that the majority of it remains in the active repertoire. In this, Chopin is unique. His works, eminently beautiful and so incredibly original, draw us siren-like into their harmonies, their melodies, their textures, their pulses, so that for a time we merge with his soul, and are grateful for it
Consider the magic of the Three Nocturnes. Op. 15 as they conjure the idea of night and its moods. Published in 1833, this opus is dedicated to Chopin's friend Ferdinand Hiller (a distinguished pianist who would have relished the advanced pianism they represent. Nos. 1 and 2 are similar to the composer's earlier set, Op. 9 (heard in the previous program), in that a passionate, even turbulent, central part is framed by elegant sections at cooler temper?atures. Chopin's melodic inspiration at which the listener can only marvel, must owe a debt to the bel canto operas of the Italian composers who were taking Paris by storm in the early 1830's. Arias by Spontini, Rossini and Bellini featured long-spun vocal lines in which ornamental passages arise from the melody itself, a phenomenon which Chopin made his own at the keyboard. No. 3, although not the most beautiful of these early nocturnes, is the most original and perhaps the most difficult to interpret. It is through-composed, a term which here indicates only that the music is in a constant state of evolution
from opening to closing and that earlier ideas do not return. Its idiosyncrasy is to fuse the nocturne idea with elements of the mazurka and; at the end, religiso music. Jan Kleczynski tells us that this piece "was origi?nally to be called 'After a representation of the tragedy of Hamlet'" and that "Chopin abandoned this notion, saying: 'Let them guess for themselves.'" Robert Schumann considered this work "one of my favorite pieces" and even began a set of variations on it 2 5
The Two Polonaises, Op. 40, appeared in 1840, when Chopin was thirty. They are so diametrically opposed to each other that the great RQssian virtuoso Anton Rubinstein would later describe them respectively as "Poland's greatness" and "Poland's downfall." No. 1 (called Military through association with its fanfare-like trumpetings and marital rhythms) enthusiastically flaunts it muscularity, stirring every hearer as it always has. The antithesis to such sunny radiance, No. 2, lies only in the middle to, lower portions of the keyboard with corresponding darkness of color and mood overall. Alfred Cortot called it an "image of noble tragedy." This music comes from the same period as that great vision of Romantic terror, Chopin's haunting Funeral March Sonata (which ended the last program so memorably).
The Berceuse, Op. 57, dating from 1844, enchants through its gossamer chain of sixteen tiny variations over a recurring bass line. A kind of cradle song or lullaby, this exceptionally bejeweled miniature may have been inspired by Chopin's fascination with singer Pauline Viardot's infant daughter (who had visited the childless Chopin and his lover George Sand at Nohant that year). Whatever its source, the work's effect is undeniable. James Huneker tried to find words to describe it:
Modulations from pigeon egg blue to Nile
green, most misty and subtle modulations,
dissolve before one's eyes, and for a moment the sky is peppered with tiny stars in doubles, each individually tinted. . . It is a miracle; and after. . . the rain of silvery fire ceases one realizes that the whole piece is a delicious illusion.
When the Berceuse was heard along with the next work, the Barcarolle, on Chopin's last appearance in Paris (1848), the Revue et Gazette Musicale declared an experience that had "no equal in our earthly realm."
Chopin's Barcarolle, Op. 60, called by Arthur Hedley "the finest of the nocturnes," is, like the Berceuse just heard, among the last lyrical efflorescence to flow from the genius's pen. Completed after a year's work and published in 1846 (with dedication to the Baroness Stockhausen), the Barcarolle is, perhaps, to be regarded on its surface as an evocation of Venice and the swaying songs of its gondoliers. But the work is much more than that, for in it Chopin combines the variation technique of the Berceuse with some of the principal components of sonata form -to create a structure far grander and more expressive than can be found underlying any other barcarolle. Although one of romanticism's greatest masters is at work here with only pure musical elements, the temptation to think of the work in graphic terms led pianist Carl Tausig to describe it as "a love scene in a discrete gondola" with tender dialogue, kisses and embraces evident in "the dualism of two notes. . . all is two-voiced, two-souled." Maurice Ravel wrote of it descriptively:
The theme in thirds, supple, and delicate, is constantly clothed in dazzling harmonies. The melodic line is continuous. One moment an ideas breaks free, hangs suspended and falls softly, drawn down by magic chords. The intensity builds. A new theme appears -one of magnificent lyricism, completely Italian. All grows quiet. From the depths
arises a shimmering passage which soars on precious, lender harmonies. We dream a mysterious apotheosis.
Four Mazurkas, Op. 17 takes us from the realm of dreams into that of Polish folk dance where, as Chopin said, "love and the melancholy of the land meet." Removed from its peasant origins and transferred to the salon and concert platform, the mazurka of Chopin is a tiny work of art, highly stylized and often quite exotic. Not meant for dancing, of course; but to evoke thespirit of this dance in which couples encounter and separate again and again following prescribed steps, the mazurkas of Chopin's maturity appeared in groups -threes, fours, fives. The present set was published in 1834 with a dedication to an aspiring singer, Lina Freppa, whose salon the composer often visited. No. 1 is vigorous. James Huneker found it "bold, chivalric" and wrote, "I fancy I hear the swish of the warrior's saber. The peasant has vanished or else gapes through the open window while his master goes through the paces of a courtlier dance." No. 2 appeals through its winsome quality. Biographer Frederick Niecks dubbed it 'The Request." No. 3 juxtaposes the keys of A-flat and E Major for a disquieting, novel effect. No. 4, a more delicate reverie of the dance impulse, was called by some of his students "The Mourner's Face," and Wilhelmvon Lenz tells us that Chopin "was quite happy about this name."
The Impromptu No. 1 began Chopin's per?sonal development (there were to be a total of four) of a type of composition inaugurated by the Bohemian composer Jan Vorisek in 1822. Based on the idea of spontaneous inspiration, the piece, with its simple A-B-A form and apparently extemporized figures, exercises a peculiar charm. Published in the year it was written, 1837, its initial arabesques ascend an octave as does the lyrical theme
of the middle section, providing an element of hidden unity to these fleeting pages. Those with a literary bent will recognize this Impromptu as the work which, in the celebrated novel by George du Maurier, Tribly sings ?. when hypnotized by Svengali.
Ballade No. 4 needed only-the year 1842 to find its way into being. Chopin published it the following year with a dedication to the Baroness Rothschild. Composed as the last of four such works penned over a period of eleven years, its roots, as Chopin told Schumann, lay in the poetic ballads of Chopin's friend, the Polish emigre Adam Mickiewicz. Speculative scholarship links this Ballade with a specific poem, summa?rized here to stimulate the listener's appreci?ation of the narrative tone of this impas?sioned work:
The Three Brothers Budrys are sent by their father on distant expeditions to find "sables, black tails and silvery veils. " Autumn passes, then Winter, with the father thinking his sons have perished in the war. But, in the middle of a snow storm, the sons return with a unique treasure "from the barren, stripped land beyond Nieman 's wide strand; a bride shared by all three."
With seamless mastery, this great work encompasses formal elements of sonata, of rondo and of variations as well as seemingly incompatible features of style such as waltz rhythms and strict counterpoint. Lyric melancholy permeates the themes, which rise on tides of emotion as the work's drama spreads before us. An electrifying moment occurs near the end when five pianissimo chords descend slowly and mysteriously, then pause, before the music plunges into a Coda of torrential virtuosity.
The Rondo, Op. 16 dates from 1832 when the composer was twenty-two and freshly launched on his career in Paris. Published two years later, its novel feature is
an Introduction in c minor which grows stormy, then abates, yielding at last to the capering joy of the Rondo pjoper. This work represents the youthful pianist's elegant and supple technical skill, particularly with the right hand, and his seldom acknowledged command of classical form.
Four Mazurkas, Op. 24 were published in 1836 with a dedication to the Count de Perthuis, one among many of th'e composer's aristocratic Parisian friends. No. 1, so simple-to play, is often heard under the fingers of students. Augmented seconds give it an oriental air. No. 2 is redolent of modality, another touch of exoticism. No. 3 seems the most dancelike of the group and its effect is bolstered by a pleasingly ornamental ending. No. 4, the finest of the set, has an interesting section near the end with four bars of unisons followed by chords. Chopin's pupil von Lenz writes:
Nobody ever managed to satisfy him with these unisons, which have to be played very lightly; the chords were an easier matter. But these unisons! "They 're the wpmen 's voices ' in the choir, ? he would say, and they luere never played delicately enough, never simply enough. One luas barely allowed to breathe over the keyboard, let alone touch it.
Two Nocturnes, Op. 32 were begun in 1836 and completed for publication the next year, dedicated to another of Chopin's socialite pupils, the Baroness Courbonne de Billing. Through-composed, No. 1 offers a procession of operatic melodies which, suddenly at the end, evolve into five brief, dramatic expostu?lations rather like recitatives announcing a dread event. As the music no longer sings, but speaks, the listener is left to wonder. A different aspect of the stage comes to mind with No. 2, that of the dance -although Chopin never intended it. In 1908, choreog?rapher Michel Fokine used this Nocturne to open his ballet Les Sylphides. Its two calm,
introductory bars bring to life the motionless dancers as the curtain rises and the ballet flows forward. Chopin's form is the simple A-B-A and his closing a repeat of the under?stated opening.
The Waltz, Op. 18 appeared in print in 1834, three years after its composition and just nineteen years after the formerly scan?dalous dance had been sanctioned (through participation) by the crowned heads of Europe at the Congress of Vienna. Waltzes, therefore, were the rage throughout the Continent, especially in Paris, and publishers capitalized upon the fad by bringing them out in mondily editions. Called a "Grande Valse brillante," this example is the first of Chopin's waltzes to be granted an opus number. Its gaily infectious rhythms and ebullient themes caused Schumann to rhapsodize about it. Its form is that of most waltzes intended for ballroom dancing: a main theme is followed by a string of others, the whole being terminated by the return of the first and a Coda.
Another dance, the Polonaise, Op. 53, concludes this program. This is the Polonaise which, beloved universally by pianists and audiences, justifies its subtitle "Heroic" through melody, rhythm and sonority of irresistible nature. "A veritable apotheosis of patriotic sentiment," Cortot described it, [in which] "Poland is viewed as liberated." One seems to hear in it the "ring of damascene blade and silver spur" (Kleczynski) and a "cleaving brilliancy that excited the blood to boiling pitch" (Huneker). It is tempting to believe that, while performing this great sonic panorama, Chopin may indeed have experienced a kind of vision of long-gone Polish nobles in triumphant procession.
Notes by Frank Cooper
Mr. Cooper is Chairman of Instrumental Studies at Miami's New World School of the Arts and Lecturer in Musicoiogy at the University of Miami Coral Gables, Florida.
1 inner of the i994Avery Fisher Prize, Garrick Ohlsson
is one of the premier pianists of our time. He appears regularly as both recitalist and orchestral soloist in the great concert halls of the world and his repertoire and record?ings cover the entire spectrum of piano lit?erature. The 1994-95 season has him giving the astonishing number of thirty solo recitals throughout the globe. The first pub?lic performances of his Chopin cycle take place this season in Ann Arbor, New York's Lincoln Center, and SUNY Purchase.
As orchestral soloist, Mr. Ohlsson gave the world premiere of Hans Herfkeman's Third Piano Concerto at the Holland Festival in July 1994. Other scheduled orchestral performances in the 1994-95 season include concerts with the Cleveland Orchestra, the Minnesota Orchestra, the Orchestra of the Teatro Colon (Buenos Aires), the Radio Orchestra of Berlin, the Warsaw Philharmonic, the Indianapolis and Utah Symphonies, and the Los Angeles Chamber Orchestra.
During the 1992-93 season Garrick Ohlsson played thirteen different piano concertos in twenty-four orchestral engage?ments, and gave fourteen solo recitals and four chamber concerts. Three Chopin CDs, beginning a complete Chopin cycle for ?. Arabesque Records were released in March 1992. His 1993 releases include the Havdn "London" sonatas. Volume FV of the Chopin cycle (Scherzos), and three Beethoven sonatas. Volume V (Polonaises and Impromptus) of the complete Chopin cycle was released in 1994. Volume VI (Nocturnes) is scheduled for release in early 1995.
Mr. Ohlsson's first Arabesque recording, the Complete Sonatas of Carl Maria von Weber,
was nominated as "Solo Instrumental Record of the Year" by Ovation magazine in ig8g. His Telarc recording of the Busoni concerto with the Cleveland Orchestra under Christoph von Dohnanyi was Grammy-nominated as "Best Classical Album of the Year" in 1990; and his Delos International recording of Henri Lazarof s Tableaux for Piano and Orchestra with the Seattle Symphony under Gerard Schwarz was Grammy-nominated in 1991 as "Best Classical Performance by. an Instrumentalist with Orchestra."
Along with many recitals and chamber appearances, Mr. Ohlsson's 1993-94 season was distinguished by engagements with the Philadelphia, Minnesota, Berlin Radio, Radio France, Hague Residentie, RAI Naples and RAI Turin Orchestra, the Royal Liverpool, Buffalo, and Calgary Philharmonics, and the symphony orchestras of St. Louis, San Francisco, Kansas City, New Jersey, Milwaukee, and Baltimore, among others. He also made
his recital debut at La Scala, Milan.
Garrick Ohlsson was born in White Plains, New York where he began piano study at age eight. At thirteen he entered The Juilliard School. In high school, a distinct aptitude for mathematics and languages placed him in accelerated classes, but his earliest career objective remained the concert stage. Although he won First Prizes at the 196.6 Busoni Competition in Italy and 1968 Montreal Piano Competition, it was his Gold Medal at the 1970 Chopin Competition in Warsaw that assured his international stature.
Chopin has always been and continues to be an important composer for Mr. Ohlsson, but his repertoire ranges throughout the piano literature. He has an active concerto repertoire of 70 works. Each season he performs hot only Beethoven, Brahms, Mozart, Prokofiev and Rachmaninoff, but also Dvorak, Reger, Bartok, Barber, Ravel, et al. Perhaps his extraordinary range can be somewhat attributed to his six major piano teacherscoaches, each of whom enriched him differently: Claudio Arrau and Olga Barabini (the Classical tradition start?ing with Haydn and Beethoven), Tom Lishman (the French-Italian school of Debussy and Busoni), Sacha Gorodnitzki and Rosina Lhevinne (the Russian school of Anton Rubinstein), and Irma Wolpe (the Classic-Contemporary tradition coming down from Leschetizky and Schnabel).
As a chamber musician, Garrick Ohlsson has collaborated with such major artists as sopranos Jessye Norman and Magda Olivero, clarinetist Richard Stoltzman, cellist Heinrich Schiff, violinist Gil Shaham, and the Cleveland, Emerson, Guarneri, Takacs and Tokyo String Quartets. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, Mr. Ohlsson is a founding member of the San Francisco-based FOG Trio.
This evening's recital marks Garrick Ohlsson's fourth appearance unHer UMS auspices.
Ruth Cunningham Marsha Genensky Johanna Rose Susan Hellauer
University Musical Society presents
Saturday Evening, April i, 1995 at 8:00
St. Andrew's Episcopal Church Ann Arbor, Michigan
The Lily and the Lamb
Music and Poetry from Medieval England
Processional Hymn: O gloriosa domina Reading: Nou goth sonne under wod Hymn: The milde Lomb, isprad o roode Conductus: Ave Maria gratia plena Conduclus: O Maria Stella maris
Reading: A sone! tak hede to me Sequence: Stabat iuxta Christi crucem Sequence: Stillat in stellam radium Sequence: Salve virgo singularis
Reading: Hi sike, al wan hi singe Sequence: Stond wel, moder, under roode Conductus: O Maria virgo pia Hymn: In te concipitur
Reading: Off alle women that ever were borne Sequence:Jesu Cristes milde moder Motet. Sancta mater gracieDou way Robin Motet: O mors morerisO vita veraMors Conductus: Salve virgo tonantis solium
Reading: Upon my myght syde y me leye Sequence: Miserere miseris Conductus: Ave Maria salus hominum Conductus: Memor esto Antiphon: Ave regina celorum
Fifty-Eighth Concert of the 116th Season
24th Annual Choice Series
Anonymous 4 is represented exclusively by Herbert Barrett Management and records exclusively for Harmonia Mundi USA.
Large print programs are available upon request.
riginally formed in W k 1986 to experimeni
KM A with the sound oi
H medieval chant and H m polyphony as sung
L W by higher voices,
Anonymous 4 has become renowned for its astonishing vocal blend and technical virtuosity. The four'women of Anonymous 4 combine musical, literary, and historical scholarship with twentieth-century performing intuition as they create innovative programs inter-
weaving music with poetry and narrative. The ensem?ble takes its name from the designation given by musi?cologists to an anonymous thirteen th-cen tury Englishman who, as a stu?dent in Paris, wrote about the vocal polyphony then being performed at the Cathedral of Notre Dame. In addition to presenting
their own concert series at New York's St. Michael's Episcopal Church, Anonymous 4 has performed to critical acclaim on music series throughout the United States in such cities as Chicago, Los Angeles, Philadelphia, Pittsburgh, Seattle, and Washington, D.C. Their immense popularity resulted in a 1994-95 s?ld out concert season. In the summer of 1995, Anonymous 4 performs at the Boston Early Music Festival and at summer festivals throughout France. Their 1995-96 season includes re-engagements in Berkeley, Houston, St. Paul, Toronto, Cleveland, and Boston. They also make debuts in Denver, St. Louis, Dallas, and Santa Fe.
Several of Anonymous 4's programs have been broadcast nationally on National Public Radio's "Performance Today," and other concerts have been recorded and broadcast by NPR stations around the country. The group was recently featured on Garrison Keillor's "A Prairie Home Companion" and
NPR's "Weekend Edition," and has appeared frequently on WNYC-FM's live radio program, "Around New York". Their Christmas program "On Yoolis Night," was broadcast nationally on American Public Radio in December of 1994 and an hour-long program "A Conver?sation with Anonymous 4," was produced by NPR and is in syndication throughout the country.
Anonymous 4 has appeared at the Tage Alter Musik Festival in Regensburg, the Rheinisches Musikfest Essen, and in concerts sponsored and recorded for
broadcast by the West German Radio in Cologne. The ensemble has also performed at the international Oude Muiziek Festival in Utrecht, the Festival du Thronet, and The Festival de Musica Antiga in Barcelona. In the fall of 1994, Anonymous 4 gave debut performances at the Foundation Royaumont near Paris and St. John's
Smith Square in London. In the 1995-96 season they tour Spain, France, and Belgium.
Anonymous 4's first recording for Harmonia Mundi USA, "An English Ladymass," has sold over 150,000 copies worldwide. Named Classical Disc of the Year for 1993 by CD Review, this recording spent much of 1993 and 1994 on Billboards classical chart, reaching its peak at No. 3. "On Yoolis Night," the group's second recording, rose to the top of Billboards classical chart within two months of its release in September 1993, and received the prestigious French Diapason d'Or award. Their third recording, "Love's Illusion," was released in the Fall of 1994 and also made the top ten Billboard chart just two weeks after its release. A fourth recording, 'The Lily and the Lamb" will be released in the fall of 1995.
This evening's concert marks the UMS debut of Anonymous 4.
La Belle et La Bete
An Opera for Ensemble and Film by Philip Glass
based on the screenplay by Jean Cocteau Film by Jean Cocteau
University M,u s i c a l Society
Monday Evening, April 3, 1995 at 8:00
Michigan Theater Ann Arbor, Michigan
Philip Glass i Sound Design by
Music Direction by
Stage Direction by
Set and Lights by
John Michael Deegan
Mary Myers '
Projection Design by
Performed by the Philip Glass and the Philip Glass Ensemble with Janice Felty, John Kuether, Ana Maria Martinez and Gregory Purnhagen
Produced by Jedediah Wheeler Production Management by IPA ?
World Premiere: Gibellina, Sicily, June 21, 1994 American Premiere: Brooklyn Academy of Music, Next Wave Festival, December 7, 1994
Fifty-Ninth Concert of the 116th Season
O 1993 Dunvagen Music Publishers, Inc.
La Belle et la Bete is available on Nonesuch Records.
The performance is approximately 90 minutes long without intermission.
(In Alphabetical Order)
Janice Felty (Mezzo-Soprano)
John Kuether (Bass)
Ana Maria Martinez (Soprano)
Gregory Purnhagen (Baritone)
Philip Bush Dan Dryden Jon Gibson Philip Glass Martin Goldray Richard Peck Michael Riesman Andrew Sterman
Production Stage Manager
Assistant Stage Manager
Film Distribution Press Representation
Le Pere, Ludovic, Usurier
La Bete, The Prince, Avenant
Soprano and Alto Saxophone
Flute, Soprano Saxophone
Tom Dale Keever Ruth Sternber Timothy Grassel Zachary Glass Tim Wong Leonardo Heiblum Video D Studios, NYC Michael P. Hesse, Consultant Atlantic Studios
Dunvagen Music Publishers, Inc.
James Keller, Director Pandora, Paris, France Zeisler Group, Inc.
Ellen Ziesler, President International Production
Associates, Inc. (IPA)
Linda Greenberg, Booking
For the Film
Story, Dialogue, and Direction by
From a fairy-tale by
Jean Marais Josette Day Mila Parely Nane Germon Michel Auclair Raoul Marco Marcel Andre
Made by . .
Original Music by
Mme. Leprince de Beaumont
La Bete, Avenant, Ardent
Rene Moulaert and Carre
Escoffier and Castillo
L. Roger Desormiere
Filmed at St. Maurice Studios G.M. Films Laboratories
Heinz Thym, Pandora
La Belle et la Bete
Born January 31, 1937 in Baltimore
Born 1889 in Maison Laffitte. Died
The operafilm presentation of La Belle el la Bile is the second part of my trilogy of theatre works based on the films of Jean Cocteau, the French artist and film maker whose main output appeared irk the middle years of this century. In the first of the series, I used the scenario from the film Orphee as the basis for the libretto of a chamber opera. I didn't use the imagery of the film, allowing
the staging in operatic form to attempt a new visualization of the libretto. With La Belle et la Bete, the approach was somewhat altered. As before, the film screenplay is the libretto. But in this case the opera, composed with the dialogue, is performed live in con?junction with the projected film (with the original soundtrack eliminated entirely). This made the job of composing the music much more complex since the words and the voices had to be synchronized as closely as possible to the images on the screen. The third part of the trilogy will be a dance theatre work based on the scenario of the film Les Enfants Terribles. In this way the trilogy will represent translation of film to the live theatrical forms of opera (Orphee), opera and film (La Belle et la Bete), and dancetheatre (LesEnfants Terribles).
To realize La Belle et la Bite as a live opera film event has.been a dauntingly complex project and without prior experience working with live' music and film, I would not have attempted it at all. However, since the mid-8o's I have presented a variety of projects involv?ing live music and film, working with music , director Michael Riesman, sound designer Kurt Munkacsi and theatre producer Jerediah Wheeler. Specifically, I am thinking of the films Koyaanisqatsi and Powaqqatsi as well as the melodrama iooo Airplanes on the Roof, (while not actually a film, it is based on film imagery and technology). This preoccu?pation with film has grown out of my appre?ciation of film as one of the two new art forms (Jazz being the second) born in the twentieth century. In its first 100 years, the world of film has created a new kind of liter?ature, one that the world of live music, exper?imental theatre, dance, and even opera can draw on just as in the past, historic novels, plays, and poems become the basis of new" musictheatre works.
For me Cocteau has always been an artist whose work was central to the "modern" art movement of the twentieth century. More than any other artist of his time, he again
and again addressed questions of art, immor?tality, and the creative process, making them subjects of his work. In his day, it seems that this was not well understood and, at times, he was not fully appreciated. He was even dismissed by some critics of his work as a tal?ented dilettante who never finally settled on one medium to express himself. And, in fact he worked successfully as a novelist, play?wright, artist and filmmaker. However, to me the focus of his work -the creative process itself--has always been clear. And it was 3 7
equally clear that he was using these various art forms to illuminate his chosen subject from as many angles as possible.
As far as film is concerned, Orphee, La Belle et la Bete, and an earlier Cocteau film, The Blood of a Poet are all extremely thoughtful and subtle reflections on the life of an artist. Of these three La Belle et la Bete is the most openly allegorical in style. Presented as a simple fairy tale, it soon becomes clear that the film has taken on a broader and deeper subject -the very nature of the creative process. Once we begin to see the film in this way, it becomes hard to see the journey of the Father to the Chateau in the opening moments of the film as anything other than -a journey of die artist into his "unconscious." The Chateau itself is then seen as die very site of the creative process where, through an extraordinary alchemy of the spirit, the ordinary world is transformed into a world of magic. And it is here where the power of die creative and the raw world of nature (represented respectively by Beauty and the Beast) will finally merge, thereby allowing the world of imagination to take flight (as seen quite literally in the last moment of the film).
Perhaps for this reason, La Belle et la Bite has always been for me the most compelling of Cocteau's films. Always the consummate artist, Cocteau expresses in this work, more than any other, die profundity of his thought and the eloquence of his artistic vision.
Note by Philip Glass
"? din iii Baltimore on
M [anuar) 31, 1937, D Philip Glass discovered
f music in 11 is father's radio k repair shop. In addition m id servicing radios, Ben aJHil Glass carried a line of records and, when certain ones sold poorly, he wbuld take them home and play them for his three children, trying to discover why they didn't appeal to customers. These hap?pened to be recordings of the great cham?ber works, and the future composer rapidly became familiar with Beethoven quartets, Schubert sonatas, Shostakovich symphonies and other music then considered "offbeat." It was not until he was in his upper teens that Glass begin to encounter more "standard" classics.
Glass began the violin at six and became serious about music when he took up the flute at eight. But by the time he was fifteen, he had become frustrated with the limited flute repertory as well as with musical life in post-war Baltimore. During his second year in high school, he applied for admission to the University of Chicago, passed and, with his parents' encouragement, moved to Chicago where he supported himself widi part-time jobs waiting tables and loading airplanes at airports. He majored in_ Mathematics and philosophy, and in off hours practiced piano and concentrated on such composers as Ives and Webern.
At nineteen, Glass graduated from the University of Chicago and, determined to become a composer, moved to New York and thejulliard School. By then he had abandoned the 12-tone techniques he had been using in Chicago and preferred American composers like Aaron Copland and William Schuman.
By the time he was twenty-three, Glass had studied with Vincent Persichetti, Darius
Milhaud and William Bergsma. He had rejected serialism and preferred such maverick composers as Harry Partch, Ives, 1 Moondog, Henry Cowell, Virgil Thomson, but he still had not found his own voice. Still searching, he moved to Paris and had two years of intensive study under Nadia Boulanger.
In Paris, he was hired by a film-maker to transcribe the Indian music of Ravi Shankar in notation readable by French musicians and, in the process, discovered the techniques of Indian Music. Glass promptly renounced his previous music and, after researching music in North Africa, India and the Himalayas, returned to New York and began applying Eastern techniques to his own work.
By 1974, Glass had composed a large collection of new music, much of it for use by the theater company Mabou Mines (of which he was one of the co-founders), and most of it composed for his own performing group, the Philip Glass Ensemble. This period culminated in Music in 12 Parts, a two-hour summation of Glass' new music, and reached its apogee in 1976 with the Philip Glass Robert Wilson opera Einstein on the Beach, the four-and-a-half-hour epic now seen as a landmark in twentieth century music-theater.
Glass' output since Einstein has ranged from opera (Satyagraha, Akhnaten, The Making of the Representative for Planet 8, The " Fall of the House of Usher, The Juniper Tree, Hydrogen Jukebox), to film scores -Koyaanisqatsi, Mishima, The Thin Blue Line, Powaqqatsi and A Brief History of Time, to symphonic works -The Light, Ilaipu, the Violin Concerto, Low, to String Quartets Nos. 2-5 recorded by the Kronos Quartet. He has created music for dance (A Descent into the Maelstrom for Molissa Fenley, In the Upper Room for Twyla Tharp), and such unclassifiable theater pieces as The , Photographer, 1000 Airplanes on the Roof and The Mysteries and What So Funny .
Among his recently completed works are The Voyage, an opera commissioned by the Metropolitan Opera, Orphee, a chamber opera based on the film by Jean Cocteau, the 2nd Symphony, commissioned by the Brooklyn Philharmonic Orchestra, and the 3rd Symphony, premiered by the Stuttgart Chamber Orchestra. Current projects ' include a new composition for the Rascher Saxophone Quartet, two collaborations with Robert Wilson: Monsters ofGrace and White Raven, The Witches of Venice created by Beni Montressor and commissioned by Teatro alia Scala, and the final piece in his Jean Cocteau trilogy, a dancetheater work with choreographer Susan Marshall based on LesEnfants Terribles.
Philip Glass makes his UMS debut in this evening's performance.
Jean Cocteau was a French avant-garde writer. As a play?wright, author of ballet plots, screenwriter, novelist and artist, he often used his talentsto shock the public His publicized love affairs' and his use of drugs made his private life as unconven?tional as his writing. Cocteau, like many other French writers, was drawn to the myths and dramatic plots of ancient Greece. He
frequently used these materials in his plays. . Orphee (1925), is a study of the poet's ago?nizing search for inspiration and his struggle to gain acceptance for his work. The Infernal Machine (1934) is an adaptation of Sophocles' Oedipus Rex. Its theme is that the powers guiding the universe are hostile to humanity. In Cocteau's usual fantastic style these plays use events out of time sequence, unexpected colloquial phrases and symbols explainable in terms of modern psychology. Cocteau's novels include les Enfants Terribles (1929). His ballets include Parade (1917) with music by Eric Satie. Cocteau wrote and directed many motion pictures including The Blood of a Poet (1932), Les Enfants Terribles, La Belle el la Bete (1946), and Orphee (1950). Cocteau was born in Maison Laffitte in 1889 and died in 1963.
Philip Glass Discography
Dance Nos. 1-5
Einstein on the Beach
Einstein on the Beach
The Essential Glass
Glass Organ Works
Music in 12 Parts
Music with Changing Parts
1000 Airplanes on the Roof
Songs From Liquid Days
Songs From The Trilogy
The Thin Blue Line
Sony Masterworks M2K 42457
Sony Masterworks M2K 44765
Sony Masterworks MK 39539
Sony Masterworks M4K 38875
Sony Masterworks SK 64133
Sony Masterworks MK 37265
Sony Masterworks SK 46352
Point Music 438 150-2
Private Music 2074-2-P
Sony Masterworks MK 37849
Sony Masterworks M3K 39672
Point Music 4329662
Sony Masterworks MK 45576
Sony Masterworks MK 45580
Nonesuch MK 45580
Nonesuch MK 79209
Deutsche Grammophon 437 191 2
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 refur?bished offices on three floors of the tower, complete with updated heating, air condi?tioning, storage, lighting, and wiring. Over 230 individuals and businesses donated labor, materials, and funds to this project.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top re?served 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.
University Musical Society Highlights from the 1994 Fall Season
Photos by David Smith
the Philadelphia Orchestra
October 18, 1994
Maestro Wolfgang Sawallisch leads the Philadelphia Orchestra in their triumphant return to Hill Auditorium -their 267th concert in Ann Arbor under the auspices of the Musical Society.
In the American Grain: The Martha Graham Centenary Festival
October 27-30, 1994
Ron Protas, Artistic Director of the Martha Graham Dance Company, responds to a question at a seminar session of the Graham Festival as Graham Company Executive Director Barbara Groves, U-M Dance Department Chair and former Principal Graham Dancer Peter Sparling, and UMS Executive Director Ken Fischer look on.
In the American Grain: The Martha Graham Centenary Festival
October 27-30, 1994
Members of the Martha Graham Dance Company direct a participatory workshop, "A Chance to Dance with Graham," in the Power Center Re?hearsal Room, offering participants an opportu?nity to experience some of the same movements featured in Graham Company performances.
Dancers from the Ann Arbor Community perform Martha Graham's reconstructed Panorama.
Peter Sparling dancing the role of the Revivalist (Joyce Herring, Ethan Brown background) in the performance of Martha Graham and Aaron Copland's masterpiece Appalachian Spring (Ballet for Martha) on the 50th anniversary of its premiere at the Library of Congress in Washington, DC.
University Musical Society Highlights from the 1994 Fall Season
A Celebration of the Spiritual
November 6, 2994
Chorus master and American music legend Dr. Jester Hairston directs the combined UMS Choral Union and Our Own Thing Chorale in A Celebration of the Spiritual in Hill Auditorium.
Frederica von Stade
November 13, 1994
World-renowned mezzo-soprano Frederica vonStade makes her Ann Arbor debut before an enthusiastic Hill Auditorium audience with pianist Martin Katz.
THOUSANDS OF school children annually attend UMS concerts as part of the UMS Youth Program, which began in the 1989 1990 season 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 Department, 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, two fourth-grade opera performances, in-school workshops with the Uptown String Quartet, and Dr. Jester Hairston, as well as discounted tickets to nearly every concert in the UMS season.
As part of the Martha Graham Dance Company's Ann Arbor residency and the four-day multidisciplinary program entitled "In The American Grain: The Martha Graham Centenary Festival," the Graham Company presented a special youth program to middle and high school students, "A Chance to Dance with Graham" workshop, and a family performance.
On Friday, November 18,1994, area high school students experienced a full-length performance of the Shaw Festival's production of Arms and the Mart.
On Friday, March 3,1995, 2700 fourth-graders will visit the Power Center for abbreviated one-hour performances of Rossini's The 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 rickets 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, ERIM, the Benard L. Maas Foundation, the Anderson Associates, Ford Motor Company, David and Tina Loesel, Thomas H. and Mary Steffek Blaske, the Michigan Council for Arts and Cultural Affairs, and Norma and Richard Sarns..
IT'S EASY TO impress your group when you take them to a UMS event! No matter what your group -friends, 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.
WE ARE AWARE that some of our long-time concert-goers have difficulty with night driving. Our Advisory Committee would like to facilitate helping out those who could use a ride to concerts. If you would like a ride to a concert or if you would be willing to drive someone in your neighborhood, would you please call Judy Fry at 747-1175. With the assistance of Advisory Committee members, we will endeavor to match those needing a ride with available drivers for future concerts. Please let us know if you would like to be a part of this new program!
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.
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 educational materials for teachers, greeting and escorting students to seats at performances, and serving as good-will represen?tatives 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 management, 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!
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 individuals 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!
KOCHEL, HOBOKEN, & CO.
IUST WHAT ARE those mysterious designations attached to some compo sitions They explain the cataloguing vi the works of each composer in chronological order. Here is a partial list of the most important cataloguers:
Alfred Wotquenne. Belgian musicologist and compiler of the Carl Philipp Emanuel Bach catalog, e.g. W. (or Wq.) 98.
Wolfgang Schmieder. German musicologist and cataloguer of J.S. Bach's works. Schmieder's numbers conform to BWV (Bach Werke Verzeichnis) listings, e.g., S. 1064 = BWV 1064.
Anthony van Hoboken. Dutch music bibliogra?pher and cataloguer of the works of Franz Josef Haydn, usually listed by volume, followed by a number, e.g., H. (or Hob.) XVI, 17.
Ludwig von Kochel. Austrian musicologist and cataloguer of the works of Mozart, e.g., K. 612.
Ralph Kirkpatrick. American harpsichordist and musicologist, cataloguer of the keyboard music of Domenico Scarlatti, e.g., K. 67. (Alessandro Longo's earlier catalog has been superseded by that of Ralph Kirkpatrick.)
Otto Erich Deutsch. Viennese musicologist and specialist in Schubertian research, responsible for the catalog of Schuberf s music, e.g., D. 378.
Minos Dounias. Greek musicologist and cataloguer of the works of Giuseppe Tartini, e.g., D. 16.
Peter Ryom. The music of Antonio Vivaldi is still difficult to sort out, and there have been several catalogues of his works. The most recent is by Peter Ryom (Leipzig 1974), numbered with the prefix RV (Ryom-Verzeichnis). Another cataloguer of Vivaldi's music was noted French musicologist Marc Pincherle, e.g., P. 685.
MUSICAL TERMS that appear on concert program pages indicate various movements of a work, but they actually do much more than that. Many terms denote tempo or speed, and, when combined with descriptive words, they give special insights into the character of the music. So that you may take full advantage of these musical signposts, we offer the following brief glossary of terms that appear most often.
adagio. Slow, at ease.
allegro. Quick, lively.
andante. An even, walking pace.
ausdruck, mit. With expression.
bedachtig. Deliberate, slow.
beioegt. Moving, agitated.
cadenza. An elaborate passage performed by a soloist near the end of a movement (espe?cially in a concerto or other work with accompanying ensemble).
coda. A passage ending a movement.
con brio. With spirit.
confuoco. With fire.
con moto. With motion.
divertimento. A light, instrumental piece.
dock. Yet, still, nevertheless.
dolce. Sweet, usually soft.
empfindung. Feeling, sentiment.
entschieden. Decided, resolute.
feierlich. Festive, solemn.
forte. Loud, strong.
gemachlich. Comfortable, slow.
gemessen. Moderate, sedate.
innig. Heartfelt, sincere.
kraftig. Forceful, energetic.
landler. Alpine dance in the character of a slow waltz.
largo. Very slow, broad.
marcato. Stressed, emphasized.
minuet. Moderate, stately dance.
molto. Very, much.
inosso. Moved, agitated.
non troppo. Not too much.
ostinato. A short, musical pattern repeated
throughout a composition or section of one. piii. Some, a little. pizzicato. On stringed instruments, plucked notes
rather than bowed. poco. Little. presto. Very fast. quasi. Nearly. rondo. A form in which the leading theme is
repeated in alternation with other themes. rubato. An expressive nuance (accelerating or
slowing down), subject to the performer's
ruhig. Calm, peaceful. scherzo. Vivacious, often humorous movement
with marked rhythms and sharp contrasts. schleppen. To drag. schnell. Fast. sehr. Very.
semplice. Simple, without ornament. sonata. An instrumental composition usually in
three or four extended movements,
contrasted in theme, tempo, and moods. sonata-form. The usual form of the first movement
of a sonata or symphony, with sections of
exposition, development, and recapitulation
sostenuto. Sustained, prolonged. spiccato. A short stroke on bowed instruments,
played at rapid tempos so that the bow
bounces slightly off the string after each
stiirmisch. Stormy, passionate. symphonic poem. Also called a tone poem;
orchestral music based on an extra musical
idea, either poetic or realistic. troppo. Too much. vivace. Lively. ziemlich. Rather. zingarese, alia. In the gypsy style.
"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.
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 1995 Lincoln Town Car to provide transportation for visiting artists.
SUBSCRIBERS WHO purchase at least $100 worth of tickets and supporters at the $100 level and above receive the UMSCard. The UMSCard is your ticket to savings all season for discounts on purchases at the following fine stores and restaurants: Amadeus Cafe SKR Classical
Cafe Marie Tower RecordsBooks
Gandy Dancer Video
Kerrytown Bistro jne Earle
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.
with the University Musical Society
FOUR YEARS ago, UMS began publishing expanded program books that included advertising and detailed information about UMS programs and services. 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 information about how your business can become a UMS advertiser, call (313) 764-6199.
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