UMS Concert Program, Thursday Jan. 14 To 28: University Musical Society: 1998-1999 Winter - Thursday Jan. 14 To 28 --

Season: 1998-1999 Winter
University Of Michigan

Kodo David Daniels Martin Katz James Galway Abbey Lincoln ikacs Quartet Alvin Ailey American Dance Theater The tills Scholars Gypsy Caravan Sweet Honey in the Rock rio JFontenay Steve Reich Ensemble Mozarteum Orchestra ff Salzburg jCubanismo! Ewa Podle's Garrick Ohlsson Iniversity Musical Society of the University of Michigan Winter 1999 Season jonymous 4 Lionheart Monsters of Grace Wynton Marsalis . incoln Center Jazz Orchestra NHK Symphony
University
Musical
Society
of the University of Michigan
The 1998-99 Winter Season
On the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society's 1997-98 season: a triumphant Evgeny Kissin in his long-awaited UMS debut recital at Hill Auditorium; ltzhak Perlman performing with the Klezmer Conservatory Band as part of December 1997's In the Fiddler's House; Burton Memorial Tower shimmer?ing on a concert evening.
Contents
Letters from the President and Chair Corporate LeadersFoundations UMS Board of DirectorsSenate
StaffAdvisory Committees 10 General Information 12 Ticket Services 14 UMS Choral Union History 16 Auditoria Burton Memorial Tower 20 Education and Audience Development 22 Season Listing
Concert Programs begin after page 26
Volunteer Information
Hungry
UMS Dining Experiences Restaurant & Lodging Packages
Gift Certificates
The UMS Card
Sponsorship and Advertising
Acknowledgments
Advisory Committee
Group Tickets
Ford Honors Program
UMS Contributors
UMS Membership
Advertiser Index
From the President
Thanks very much for attending this UMS performance and for supporting the performing arts in our community. I'm excited about the performances we're able to bring you this season and hope that you'll join us for others. A complete listing of the winter season begins on page 22. UMS has been presenting performances
in Ann Arbor for 120 years. During this time UMS has achieved a reputation for distinction in present?ing the performing arts. The process of engaging world-class artists to perform in our community requires special knowledge, intuition, and skills. UMS is fortunate to have as our Director of Programming one of the best in presenting field, Michael Kondziolka.
Michael joined the UMS staff ten years ago after interning for one year. It soon became apparent to all of us at UMS that Michael's combination of artistic knowledge and passion on the one hand and outstanding administrative and negotiating skills on the other would make him an ideal person to manage our efforts to expand, diversify, and strengthen our artistic offerings. Under Michael, UMS has added series featuring jazz, vocal recitals, world music, guitar, early music and vocal chamber music, dance, contemporary arts, and the artistic expressions of specific cultures. Michael's great
respect for both artists and audi?ences has led us to find many new per?formance venues particularly appro?priate for the specific art form being pre-
sented. Artists like coming to Ann Arbor. They like our audiences, concert halls, and tradition. But they also like being on a roster with the leading artists of our time, and that's what Michael assures will happen year after year. Thank you, Michael, for your extraordinary contribution to UMS and to our community.
I'd like to know your thoughts about this perfor?mance. I'd also like to learn anything we can do at UMS to make your concertgoing experience the best possible. If we don't see each other in the lobby, please call my office at Burton Tower on the campus (734-647-1174) or send me an e-mail message at kenfisch@umich.edu.
Sincerely,
Kenneth C. Fischer, President
From the UMS Chair
It is with great pride that we acknowledge and extend our gratitude to the major business contributors to our 1998-99 season listed on the following pages. We are proud to have been chosen by them, for their investment in the University Musical Society is clear evidence not only of their wish to accomplish good things for our community and region, but also to be associated with excellence. It is a measure of their belief in UMS that many of these companies have had a long history of association with us and have expanded and diversified their support in very meaningful ways.
Increasingly, our annual fundraising require?ments are met by the private sector: very special individuals, organizations and companies that so
generously help bring the magic to UMS perfor?mances and educational programs throughout southeastern Michigan. We know that all of our supporters must make difficult choices from among the many worthwhile causes that deserve their support. We at the University Musical Society are grateful for the opportunities that these gifts make possible, enhancing the quality of life in our area.
Sincerely,
(J
Beverley Geltner
Chair, UMS Board of Directors
Thank You, Corporate Leaders
RICHARD L HUBER Chairman and CEO, Aetna, Inc. On behalf of Aetna and Aetna Retirement Services, we are proud to support the arts in southeastern Michigan,
especially through our affiliation with The Harlem Nutcracker. We are delighted to be involved with the University Musical Society and their programs which help bring the arts to so many families and young people.
SAM EDWARDS President, Beacon Investment Company "All of us at Beacon know that the University Musical Society is one of this community's most
valuable assets. Its long history of present?ing the world's outstanding performers has established Ann Arbor's reputation as a major international center of artistic achievement. And its inspiring programs make this a more interesting, more adventurous, more enjoyable city."
DAVID G. LOESEL President. T.M.I.. Ventures, Inc. "Cafe Marie's support of the University Musical Society Youth Program is an honor
and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
JEANNE MERLANTI President, Arbor IhnporariesPerson net Systems, hie. "As a member of the Ann Arbor business community, I'm thrilled to know that
by supporting UMS, I am helping perpet?uate the tradition of bringing outstanding musical talent to the community and also providing education and enrichment for our young people."
Habte Dadi Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the commu?nity that sustains our business. We are
proud to support an organization that provides such an important service to Ann Arbor."
Kathleen G. charla
President, Charla Breton Associates, Publishers Representatives "Music is a wondrous gift that nurtures the soul. Charla Breton Associates is pleased
and honored to support the University Musical Society and its great offering of gifts to the community."
CHARLA BRETON ASSOCIATES
William Broucek
President and CEO, Bank of Ann Arbor. "As Ann Arbor's community bank, we are glad and honored to be a supporter of the cultural enrich-
ment that the University Musical Society brings to our community."
CARL A. BRAUER, JR. Oumer, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically sup?port the University
Musical Society in bringing great music to our community."
L. THOMAS CONLIN Chairman of the Board and Chief Executive Officer, Conlin Travel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
Conlin Travel
JOSEPH J. YARABEK Office Managing Partner, Deloitte & Touche
"Deloitte & Touche is pleased to support the University Musical Society.
Their continued commitment to promot?ing the arts in our community is out?standing. Thank you for enriching our lives!"
LEO LEGATSKI President, Elastizell Corporation of America "A significant charac?teristic of the University Musical Society is its ability to adapt its menu to
changing artistic requirements. UMS involves the community with new concepts of educa?tion, workshops, and performances."
Gregg a. deMar
Vice President, Customer Segment Marketing, Personal Systems Group, IBM Corporation "IBM salutes the University Musical Society for their
valuable service to our community in support of students, children and families, and for enhancing their exposure to the Arts."
ANTHONY F. EARLEY, JR.
Chairman, President and Chief Executive Officer, Detroit Edison "By bringing the joy of the performing arts into the lives of com?munity residents, the
University Musical Society provides an important part of Ann Arbor's uplifting cul?tural identity, offers our young people tremendous educational opportunities and adds to Southeastern Michigan's reputation as a great place to live and work."
PETER BANKS President, ERIM International. "At ERIM International, we are honored to support the University Musical Society's commitment to pro-
viding educational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impact of these experiences will last a life?time."
WILLIAM S. HANN President, KeyBank. "Music is Key to keep?ing our society vibrant and Key is proud to support the cultural institution rated num?ber one by Key Private Bank clients."
EDWARD SUROVELL President, Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institution as distinguished as the
University Musical Society. For over a cen?tury it has been a national leader in arts presentation, and we encourage others to contribute to UMS future."
WILLIAM CLAY FORD, JR. Chairman, Ford Motor Company
"At Ford, we believe the arts speak a universal language. We're proud of our long-standing association with the
University Musical Society, its concerts, and the educational programs that enrich our community."
DENNIS SERRAS President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities
for supporting the University Musical Society and its continuing success in bring?ing high level talent to the Ann Arbor community." si,
Richard A.
MANOOGIAN Chairman and CEO, Masco Corporation "We at Masco applaud the University Musical Society's contribution
to diversity in arts programming and your efforts to enhance the quality of life in our community."
MASCO
ERIK H. SERR
Principal
Miller, Canfield,
Paddock and Stone,
P.LC.
"Miller, Canfield,
Paddock and Stone
is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our community."
JORGE A. SOUS First Vice President and Manager, FCNBD Bank "FCNBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity."
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University
Musical Society and the cultural contribu?tion it makes to the community."
CHARLES HALL Partner, Multilogue "Music is one way the heart sings. The University Musical Society helps our hearts enjoy and participate in song. Thank you."
Larry McPherson
President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to con?tribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 84 years, and UMS has been here for 120, we can still appreci?ate the history they have with the city -and we are glad to be part of that history."
MICHAEL E. KORYBALSKI
President,
Medtanical Dynamics. "Beverly Sills, one of our truly great per?formers, once said that 'art is the signature of civilization.' We believe
that to be true, and Mechanical Dynamics is proud to assist the University Musical Society in making its mark--with a flourish."
PHILLIP R. DURYEA Community President, National City Bank
"National City Bank is pleased to continue our historical support of the University
Musical Society which plays such an important role in the richness of our 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."
John psarouthakis,
PH.D.
Chairman and Chief
Executive Officer,
Paideia.
"Our community is
enriched by the
University Musical
Society. We warmly support the cultural events it brings to our area."
Paideia
Joseph Sesi
President, Sesi Lincoln Mercury "The University Musical Society is an important cultural asset for our com?munity. The Sesi
Lincoln Mercury team is delighted to sponsor such a fine organization."
DR. JAMES R.lRWIN Chairman and CEO, The Irwin Group of Companies. President, Wolverine Temporaries, Inc. "Wolverine Temporaries began its support of
the University 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."
RONALD M. CRESSWELL, PH.D. Sr. Vice President and Chief Scientific Officer, Warner Lambert Company "Parke-Davis is very proud to be associat-
ed with the University Musical Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
Thomas B.
MCMULLEN
President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M Ohio State football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
MICHAEL STAEBLER Managing Partner, Pepper, Hamilton & Scheetz "Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
Brian Campbell
President, TriMas Corporation "By continuing to support this out?standing organiza?tion, I can ensure that the southeastern
Michigan region will be drawn to Ann Arbor for its rich cultural experiences for many years to come."
University Musical Society of the university of Michigan
BOARD OF DIRECTORS Beverley B. Geltner, Chair Lctitia J. Byrd, Vice-Chair Elizabeth Yhouse, Secretary David Fcatherman, Treasurer Gail Davis Barnes Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan
Barbara Everitt Bryant Kathleen G. Charla Robert F. DiRomualdo David J. Flowers Alice Davis Irani Stuart A. Isaac Gloria James Kerry F. Bruce Kulp
Leo A. Legatski Earl Lewis Lester P. Monts Alberto Nacif Len Niehoff Joe E. O'Neal Randall Pittman Prudence L. Rosenthal
Maya Savarino Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfer Susan B. Ullrich Marina v.N. Whitman
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Richard S. Berger Maurice S. Binkow Carl A. Brauer Allen P. Britton Leon S. Cohan Jon Cosovich Douglas Crary Ronald M. Cresswell John D'Arms James J. Dudcrstadt
Robben W. Fleming Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Howard Holmes Kay Hunt Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick B. Long
Judythe H. Maugh Paul W. McCracken Rebecca McGowan Alan G. Merten John D. Paul Wilbur K. Picrpont lohn Psarouthakis Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber Daniel H. Schurz
Harold T. Shapiro George I. Shirley John O. Simpson Carol Shalita Smokier Lois U. Stegeman Edward D. Surovell Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Iva M. Wilson
UMS STAFF AdministrationFinance Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to
the President John B. Kennard, Jr., Director
of Administration R. Scott Russell, Systems Analyst
Box Office
Michael L. Cowing, Manager Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Group Sales David Cocagne, Assistant
Choral Union
Thomas Sheets, Conductor
Edith Leavis Bookstein,
Co-Manager
Kathleen Operhall, Co-Manager Donald Bryant, Conductor
Emeritus
Development
Catherine S. Arcure, Director Elaine A. Economou, Assistant
Director--Corporate Support Susan Fitzpatrick,
Administrative Assistant Ann Hunter Greene,
Development Assistant Susan D. Halloran, Assistant
Director--Corporate Support Lisa Michiko Murray, Advisory
Liaison J. Thad Schork, Direct Mail,
Gift Processor Anne Griffin Sloan, Assistant
Director--Individual Giving
Education Audience Development
Ben Johnson, Director Kate Remen, Manager Susan Ratcliffe, Coordinator
MarketingPromotion Sara Billmann, Director Sara A. Miller, Marketing and
Promotion Manager John Peckham, Marketing
Manager
Production
Gus Malmgren, Director Emily Avers, Production and Artist Services Coordinator Eric R. Bassey, Production
Associate Bruce Oshaben, Front of House
Coordinator
Kathi Reister, Head Usher Paul Jomantas, Assistant Head
Usher
Programming
Michael J. Kondziolka, Director Mark Jacobson, Programming Coordinator
Work-Study Juliana Athayde Laura Birnbryer Rcbekah Camm Jack Chan Mark Craig Nikki Dobell Mariela Flambury David Her Bert Johnson Carrie Kahl Un Jung Kim Liesel Letzmann Ben Meekhof Kate Meyer Rebckah Nye Arianna Smith Amy Tubman Nicole Young
Interns
Laura Birnbryer Carla Dirlikov Laura Schnitker
President Emeritus Gail W. Rector
1998-99 ADVISORY COMMITTEE
Debbie Herbert, Chair
Maureen Isaac, Co-Chair
Lisa Murray, Staff Liason
Letitia J. Byrd
Betty Byrne
Phil Cole
Mary Ann Daane
Lori Director
Betty Edman
H. Michael Endres
Don Faber
Penny Fischer
Sara Frank
Joyce Ginsberg
Marianna Graves
Linda Greene
Mark Jolley
Mercy Kasle
Steve Kasle Maxine Larrouy Beth Lavoie Esther Martin leanne Merlanti Scott Mere Candice Mitchell Robert Morris lohn Mulcrone Nancy Niehoff Karen Koykka O'Neal Marysia Ostafin Mary Pittman leva Rasmussen Nina Hauser Robinson Sue Schroeder Meg Kennedy Shaw Loretta Skewes
Cynny Spencer
Susan B. Ullrich
Bryan Ungard
Suzette Ungard
Kathleen Treciak Van Dam
Dody Viola
UMS TEACHER
ADVISORY COMMITTEE
Fran Ampey
Kitty Angus
Gail Davis Barnes
AJana Barter
Elaine Bennett
Lynda Berg
Barbara Boyce
Letitia J. Byrd
Naomi Corera Carolyn Hanum Taylor Jacobsen Callie Jefferson Deborah Katz Dan Long Laura Machida Ed Manning Glen Matis Ken Monash Gayle Richardson Karen Schulte Helen Siedel Sue Sinta Sandy Trosien Melinda Trout Barbara Hertz Wallgren Jeanne Wcinch
The University Musical Society is an equal opportunity employer and services without regard to race, color, religion, national origin, age, gender or disability. Tlte University Musical Society is supported by the Michigan Council for the Arts and Cultural Affairs.
General Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east and west sides of the main lobby and are open only during the winter months. Rackham Auditorium: Coat rooms are located on each side of the main lobby. Power Center: Lockers are available on both levels for a minimal charge. Free self-serve coat racks may be found on both levels. Michigan Theater: Coat check is available in the lobby.
Drinking Fountains
Hill Auditorium: Drinking fountains are located throughout the main floor lobby, as well as on the east and west sides of the first and second balcony lobbies. Rackham Auditorium: Drinking fountains are located at the sides of the inner lobby. Power Center: Drinking fountains are located on the north side of the main lobby and on the lower level, next to the restrooms. Michigan Theater: Drinking fountains are located in the center of the main floor lobby. Mendelssohn: A drinking fountain is located at the north end of the hallway outside the main floor seating area. St. Francis: A drinking fountain is located in the basement at the bottom of the front lobby stairs.
Barrier-Free Entrances
For mobility-impaired persons, all auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre call University Productions: 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, the Michigan Theater and the U-M Museum of Art, call the Musical Society Box Office at 734.764.2538.
Parking
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the perfor?mance begins. Free parking is available to UMS members at the Principal level. Free and reserved parking is available for UMS mem?bers at the Leader, Concertmaster, Virtuosi, Maestro and Soloist levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible pub?lic 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 box office lobby.
Michigan Theater: Pay phones are located in the lobby.
Mendelssohn: Pay phones are located on the first floor of the Michigan League. St. Francis: There are no public telephones in the church. Pay phones are available in the Parish Activities Center next door to the church.
Refreshments
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 areas.
Restrooms
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby.
Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off of 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 bal?cony level.
Michigan Theater: Men's and women's rooms are located in the mezzanine lobby. Wheelchair-accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's rooms are located down the long hallway from the main floor seating area.
St. Francis: Men's and women's rooms are located in the basement at the bottom of the front lobby stairs.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms. Tours
Guided tours of the auditoria are available to groups by advance appointment only. Call 734.763.3100 for details.
UMSMember Information Kiosk
A wealth of information about UMS events is available at the information kiosk in the lobby of each auditorium.
Ticket Services
Phone orders and information
University Musical Society Box Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
on the University of Michigan campus
734.764.2538
From outside the 313 and 734 area codes,
call toll-free
1.800.221.1229
Mon-Fri 10 a.m. to 6 p.m. Sat. 10 a.m. to 1 p.m.
Order online at the UMS Website
www.ums.org
Visit our Box Office in person
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices open 90 minutes before the performance time.
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket returns do not count toward UMS membership.
University Musical
of the University of Michigan
UMS Choral Union
Thomas Sheets, conductor
The goal of the University Musical Society (UMS) is clear: to engage, educate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 120 years, strong leadership coupled with a devoted community have placed UMS in a league of internationally-recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied his?tory, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the next millennium. Every day UMS seeks to cultivate, nurture and stimu?late public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theatre. Through educational endeavors, com?missioning of new works, youth programs, artists residencies and other collaborative pro?jects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over 80 performances and more than 150 educational events each season.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organiza?tion, which supports itself from ticket sales, cor?porate and individual contributions, foundation and government grants, and endowment income.
Throughout its 120-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual per?formances of Handel's Messiah each December. Four years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadowbrook for sub?scription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe, and Prokofiev's Aleksandr Nevsky, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugu?rating the partnership with a performance of Britten's War Requiem, and continuing with performances of Berlioz' Requiem, Elgar's The Dream of Gerontius and Verdi's Requiem. During the 1996-97 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
This season, the UMS Choral Union will perform in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra and Neeme Jarvi, including perfor?mances of Brahms' A German Requiem, Kodaly's Psalmus Hungaricus, and Rachmaninoff's mon?umental The Bells. Other programs include Handel's Messiah and Mozart's Requiem with the Ann Arbor Symphony Orchestra, and Carmina Burana with the Toledo Symphony.
Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion -a love of the choral art.
For more information about the UMS Choral Union, please call 734.763.8997.
Auditoria
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Aud?itorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival in 1913, the 4,163-seat Hill Auditorium has served as a showplace for a variety of important debuts and long relationships throughout the past 84 years.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra perform?ing Beethoven's Symphony No. 5.
Hill Auditorium is slated for renovation in the coming years. Developed by Albert Kahn and Associates (architects of the original concert hall), the renovation plans include elevators, expanded bathroom facilities, air conditioning, greater backstage space, artists' dressing rooms, and many other improve?ments and patron conveniences.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses the 1,129-seat Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate studies.
Even more remarkable than the size of the gift is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. The Power Center was designed to supply this missing link in design and seating capacity. In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately interested and The Power Center opened in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote). No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Michigan Theater
The historic 1,710-seat Michigan Theater opened January 5,1928 at the peak of the vaudeville movie palace era. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the sec?ond floor and bowling alleys running the length of the basement. 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. Restoration of the bal?cony, outer lobby and facade is planned for 2003.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and in
Auditoria, continued
1969 John Cardinal Dearden dedicated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started in 1950 to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with thirty-four stops and forty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contemplation of sacred a cap-pella choral music and early music ensembles.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS most recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to the Musical Society's roster and the home of the Song Recital series.
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the box office and administrative location for the University Musical Society. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon to 12:30 pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45 am.
Education and Audience Development
During the past year, the University Musical Society's Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the impor?tance of live performing arts as well as the major impact the arts can have in the community, UMS now seeks out active and dynamic collabora?tions and partnerships to reach into the many diverse communities it serves.
Several programs have been established to meet the goals of UMS' Education and Audience Development program, including specially designed Family and Student (K-12) performances. This year, more than 11,000 students will attend the Youth Performance Series, which includes The Harlem Nutcracker, Trinity Irish Dance Company, The Gospel at Colonus, Orpheus Chamber Orchestra with Pepe Romero, Kodo, and Alvin Ailey American Dance Theater. In addition to the Youth Performance Series, UMS inaugurates its new First Acts program, bringing school children to regularly scheduled evening and weekend performances and providing educa?tional contexts. For more information on UMS youth education programs, please call 734-647-6712.
The University Musical Society and the Ann Arbor Public Schools are members of the Kennedy Center Performing Arts Centers and Schools: Partners in Education Program. UMS is also recognized as a "Partner in Excellence" by the Ann Arbor Public Schools.
The Youth Performance Series is sponsored by the Ford Motor Company Fund and Target.
Other activities that further the understanding of the artistic process and appreciation for the performing arts include:
MASTER OF ARTS INTERVIEW SERIES
Now entering its third year, this series is an opportunity to showcase and engage our artists in informal, yet in-depth, dialogues about their art form, their body of work and their upcoming performances. This Winter's series includes interviews with:
Choreographer Merce Cunningham
Composer Steve Reich and filmmaker Beryl Korot
Artistic Director and Choreographer Judith Jamison
MITSUKO UCHIDA (r), INTERVIEWED BY SUSAN ISAACS NISBETT FOR THE MASTER OF ARTS INTERVIEW SERIES IN NOVEMBER 1998.
PREPS (PERFORMANCE-RELATED EDUCATIONAL PRESENTATIONS)
This series of pre-performance presentations features talks, demonstrations and workshops designed to provide context and insight into the performance. Led by local and national experts in their field, all PREPs are free and open to the public and begin one hour before curtain time. Some highlights from this year's series include:
Professor Steven Whiting's lecture series on Beethoven with live demonstrations by U-M School of Music students precedes two con?certs by the American String Quartet.
David Vaughan, company archivist for the Merce Cunningham Dance Company, leads talks on Cunningham's 50-year body of work.
Professor Kenn Cox interviews members of the Lincoln Center Jazz Orchestra,
And other highlighted PREPs featuring Naomi Andre, Richard LeSueur and other experts.
DIRECTOR OF EDUCATION. BEN JOHNSON (r) HOSTS A MEET THE ARTIST WITH THE AMERICAN STRING QUARTET IN NOVEMBER.
RESIDENCY ACTIVITIES
UMS residencies cover a diverse spectrum of artistic interaction, providing more insight and greater contact with the artists. Residency activities include interviews, open rehearsals, lecturedemonstrations, in-class visits, master classes, workshops, seminars, symposia, and panel discussions. Most activities are free and open to the public and occur around the date of the artist's performances.
Major residencies for the 9899 Winter Season include:
American String QuartetBeethoven the Contemporary Series
The Gospel at Colonus
ImMERCEsion: The Merce Cunningham Dance Company
For detailed Residency Information, call 734-647-6712.
MEET THE ARTISTS: POST-PERFORMANCE DIALOGUES
The Meet the Artist Series provides a special opportunity for patrons who attend perfor?mances to gain additional understanding about the artists, performance and art form. Each Meet the Artist event occurs immediate?ly after the performance, and the question-and-answer session takes place from the stage. This winter, patrons will have the opportunity to meet, among others:
Choreographers Merce Cunningham and Meryl Tankard
Members of the acapella group Sweet Honey in the Rock
The American String Quartet and composer Kenneth Fuchs
TEACHER WORKSHOP SERIES
A series of workshops for all K-12 series, these workshops area a part of UMS' efforts to pro?vide school teachers with professional develop?ment opportunities and to encourage on-going efforts to incorporate the arts in the curriculum. This Winter Season's workshops include three by Kennedy Center educators and three led by local experts tailored to UMS performances:
Kodo, Monday, January 25, 4-6 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-12.
Alvin Ailey American Dance Theater, Tuesday, February 2, 4-6 p.m., Washtenaw Intermediate School District, Ann Arbor, Grades K-12.
Storytelling: Involving Students in African Tales, Workshop leader: Dylan Pritchett, Kennedy Center Arts Educator, Monday, March 8, 4-7 p.m., Balas II building, Ann Arbor, Grades 1-6
Special Education: Movement Strategies for Inclusion, Workshop leader: Eric Johnson, Kennedy Center Arts Educator, Monday, March 22,4-7 p.m. Washtenaw Intermediate School District, Ann Arbor, Grades K-8.
To register for Teacher Workshops, please call 734-647-6712.
The Teacher Workshop Series is made possible in part by the generous support of the Charles Reinhart Realty Company.
Information on the above events can be found in the season listing in the following pages, the UMS Winter brochures, or on the UMS Website:
www.ums.org
1998-99 UMS Winter Season
Look for related Educational Events listed in blue.
JANUARY
TRINITY IRISH DANCE COMPANY
Thursday, January 7,8 P.M.
Friday, January 8,8 P.M.
Power Center
Meet the Artists Meet the Trinity dancers
in the lobby after the performance.
Sponsored by National City Bank.
GEORGE GERSHWIN:
SUNG AND UNSUNG
NEW YORK FESTIVAL OF SONG
STEVEN BLIER AND MICHAEL
BARRETT, ARTISTIC DIRECTORS
DANA HANCHARD, SOPRANO AND
TED KEEGAN, TENOR
STEVEN BLIER AND JOHN MUSTO,
PIANO
Saturday, January 9,8 P.M.
Sunday, January 10,4 P.M.
Lydia Mendelssohn Theatre
Sponsored by KeyBank with additional
support from Maurice and Linda Binkow.
Media Partner WGTE.
RENEE FLEMING, SOPRANO Thursday, January 14, 8 P.M. Hill Auditorium
PREP Naomi Andre U-M Assistant Professor of Music History and Musicology. Thursday, January, 14, 7 p.m., MI League Hussey Room. Meet the Artist post-performance dialogue from the stage. Sponsored by Pepper Hamilton, L.L.P. Media Partner WGTE.
THE GOSPEL AT COLONUS
FEATURING J.D. STEELE AND SPECIAL GUEST JEVETTA STEELE CLARENCE FOUNTAIN AND THE BLIND BOYS OF ALABAMA THE ORIGINAL SOUL STIRRERS REVEREND EARL MILLER THE DUKE ELLINGTON CENTENNIAL CHOIR Friday, January 15 Saturday, January 16,
8 P.M.
Sunday, January 17, 3 P.M. Monday, January 18, 3 P.M. Community Gospel Sing-Along with the cast of The Gospel at Colonus. Wed, [an 13, 7 p.m. Martin Luther King r. Senior High School, 3200 E. Layfayette, I tetroiL Call 734-647-6712 for information .ind registration.
Family Performance Special one-hour performance for parents and their children. Saturday, January 16.2 p.m.. Powei Sponsored by NBD. Co-presented with the Office of the Provost of the University of Michigan and presented with support from
the Lila Wallace-Reader's Digest Audiences for the Performing Arts Nettvork, the Heartland Arts Fund, the National Endowment for the Arts, and the Michigan Council for Art and Cultural Affairs. Media Partner WEMU and Metro Times.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Thursday, January 28, 8 P.M. Rackham Auditorium Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
ANNE SOFIE VON OTTER,
MEZZO-SOPRANO
CHAMBER MUSIC SOCIETY OF
LINCOLN CENTER
DAVID SHIFRIN, ARTISTIC DIRECTOR
BENGT FORSBERG, PIANO
Friday, January 29,8 P.M.
Lydia Mendelssohn Theatre
PREP "An Introduction to Scandinavian
Songs" by Richard LeSueur, Vocal Arts
Information Services, Fri, Jan 29, 7 p.m.
Michigan League, Hussey Room.
Sponsored by KeyBank with additional
support from Maurice and Linda Binkow,
STM, Inc., and the Swedish Round Table
Organizations. Media Partner WGTE.
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY ONE-HOUR FAMILY PERFORMANCE
Saturday, January 30, 2 P.M. Rackham Auditorium Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
FEBRUARY
AMERICAN STRING QUARTET
BEETHOVEN THE CONTEMPORARY Sunday, February 7,4 P.M. Rackham Auditorium PREP "From Romeo to Leonorc: The ((peratic Quartet" by Sloven Whiting, U-M Assistant Professor ol Musicology, with U-M School of Music student musicians. Sun, Feb 7, 3 p.m. Michigan League, Vandenberg Room.
Meet the Artists Post-performance dialogue from the stage with the American String Quartet and composer Kenneth Fuchs.
Lecture "Interdisciplinary Relationships in Music and the Fine Arts" by composer Kenneth Fuchs, Mod, Feb 8, 12 noon, School of Music, Room 2033. Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
IMMfRCfSION:
THE MERCE CUNNINGHAM
DANCE COMPANY
Friday, February 12 Saturday,
February 13,8 P.M. Power Center
Brown-bag Lunch "Chance Pattern'.: Historic Moments in 50 years of Merce Cunningham's Choreography" by Kate Renien at the Institute for the Humanities on Merce Cunningham. Tue, Jan 12, 12 noon, U-M Institute for the Humanities. Merce Cunningham Mini Course--U-M under-grad and grad students earn 2 credit hours of Independent Study with Gay Delanghe with materials drawn from the Merce Cunningham Residency. Mass meeting held on l.inuary 9. 12 noon, U-M Dance Building, Studio A, or email delanghe@umich.edu for details. Family Workshop: Chance Encounters Parents and their children (ages 7 and up) explore visual art, dance and music in a workshop on Sat, Feb 6 which culminates in a free performance and reception at the Power Center on Wed, Feb 10; Workshop held at the Ann Arbor Art Center and Dance GalleryPeter Sparling & Co. For more information and registration call the Ann Arbor Art Center, 994-8004 x 101 or walk-in registration at the Ann Arbor Art Center
Art Class: Random Patterns, taught at the Ann Arbor Art Center in conjunction with the Merce Cunningham Dance Company Residency. Sat, Feb 6, 9 a.m. For informa?tion and registration call the Ann Arbor Art Center, 994-8004 x 101, or walk-in registration at the Ann Arbor Art Center. Art Lecture: Costume and Image: Form Function Funky, taught at the Ann Arbor Art Center in conjunction with the Merce Cunningham Dance Company Residency. Mon, Feb, 8, 7 p.m. For infor-mation and registration call the Ann Arbor Art Center, 994-8004 x 101, or walk-in registration at the Ann Arhor Art (lenter. Art Class: Drawn to Dance, taught by the Ann Arbor Art Center at the Powei in conjunction with the Merce Cunningham Dance Company Residency. Sat, Feb 13,
Look for valuable information about UMS, the 199899 season, our venues, educational activities, and ticket information.
http:www.ums.org
CHECK OUT THE UMS WEBSITE!
11 a.m. For information and registration call the Ann Arbor Art Center, 994-8004 x 101, or walk-in registration at the Ann Arbor Art Center.
Lobby Exhibit Art from the Ann Arbor Public Schools, inspired by Mcrcc Cunningham on display in the Power Center Lobby, Feb 1-14. Brown-bag Lunch at the Institute for the Humanities on John Cage's Cartridge Musk presented by Laura Kuhn, Director of the John Cage Trust, and U-M Professor Stephen Rush. Tues, Feb 9, 12 noon. U-M Institute for the Humanities. Music for Dance for choreographers and composers, with Laura Kuhn, Director of the John Cage Trust, and U-M Proh Stephen Rush. Tuesday, Feb 9,2:45 p.m. U-M Dance Building Studio A. Master of Arts Interview of choreographer Merce Cunningham interviewed by Roger Copeland, Professor of Theater and Dance at Oberlin College. Thu, Feb 11,7 p.m. U-M Dance Building, Betty Pease Studio. Advanced Technique Master Classes taught by Meg i I.irper, Chair of the Cunningham Studio, at the U-M Dance Department, 10 places per class and 10 observers open to the public. Fight classes available: lues and Thu, Feb 9 and 22, 11 a.m. and 12:45 p.m. Wed and Fri, Feb 10 and 12, 12:45 p.m. and 2:30 p.m. Call 734-
11 to register.
LifeForms--Computers and Choreography with U-M Professor Stephen Rush and Cunningham Company Archivist, David Vaughan. Fri, Feb 12,9 a.m., Design Lab 1, Media Union.
PREP Cunningham Company Archivist, 1 Mvid Vaughan, leads a video discussion of Cunningham's choreography. Fri, Feb 12,7 p.m.. Modern Languages Building, Lecture Room.
Meet the Artist Post-performance dialogue from the stage, Fri, Feb 12. Advanced Technique Master Class taught by Robert Swinston, Assistant to the Choreographer. Sat, Feb 13, 10:30 a.m., I ance i lalleryPeter Sparling & Co. To register, please call 734-747-8885. Study Day and Open Rehearsal Company Archivist, David Vaughan, leads discussions of Cunningham and his collaborators works at an open rehearsal. Sat, Feb 13, 1 p.m.. Power Center balcony. For more information and registration please call 734-647-6712.
PREP Cunningham Company Archivist, David Vaughan, leads a video discussion of Cunningham's choreography. Sat, Feb 13, 7 p.m., Michigan League, Hussey Room. Media Partner WDET and Metro Times.
MAXIM VENGEROV, VIOLIN IGOR URYASH, PIANO Sunday, February 14, 4 P.M. Hill Auditorium Media Partner WGTE.
ORPHEUS CHAMBER ORCHESTRA PEPE ROMERO. GUITAR Monday, February 15,8 P.M. Rackham Auditorium Sponsored by CFI Group.
MERYL TANKARD AUSTRALIAN
DANCE THEATRE
FURIOSO
Friday, February 19 Saturday,
February 20, 8 P.M. Power Center
Dance Theater Lecture Demonstration by Meryl Tankard, U-M Department of Dance, Studio A, Wed, Feb 17,2:15 p.m. Master Classes at the U-M Department of Dance, Thu, Feb 18,11 a.m. and 12:45 p.m., 10 places per class and 10 observer spaces open to the public. Call 734-763-5460 to register
PREP Videotalk of Meryl Tankard's chore?ography, Fri, Feb 19, 7 p.m. Michigan League, Hussey Room. PREP Video talk of Meryl Tankard's chore?ography, Sat, Feb 20, 7 p.m., Michigan League, Koessler Library. Meet the Artist post-performance dialogue from the stage. Media Partner WDET and Metro Times.
MICHIGAN CHAMBER PLAYERS FACULTY ARTISTS OF THE UNIVERSITY OF MICHIGAN SCHOOL OF MUSIC
Sunday, February 21,4 P.M. Rackham Auditorium Complimentary Admission
KODO
Tuesday, February 23 Thursday,
February 25,8 P.M. Power Center
Sponsored by NSK Corporation with support from Beacon Investment Company and the Blue Nile Restaurant. Media Partner WDET.
MARCH
RESCHEDULED PERFORMANCE! DAVID DANIELS, COUNTERTENOR MARTIN KATZ. PIANO Sunday, March 7,4 P.M. Lydia Mendelssohn Theatre
JAMES GALWAY, FLUTE
PHILLIP MOLL. PIANO
Thursday, March 11,8 P.M.
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
Research. Media Partner WGTE
ABBEY LINCOLN WITH MARC CORY, PIANO MICHAEL BOWIE, BASS ALVESTER GARNETT, DRUMS
Friday, March 12,8 P.M.
Michigan Theater
Sponsored by Miller, Canfield, Paddock and
Stone, L.L.P. Media Partner WEMU.
takAcs quartet
Thursday, March 18, 8 P.M. Rackham Auditorium
ALVIN AILEY AMERICAN DANCE
THEATER
Friday, March 19 Saturday, March 20,
8 P.M.
Sunday, March 21,4 P.M. Power Center
PREP Video talk of signature Ailey chore?ography. Fri, March 19, 7 p.m. Michigan League, Vandenberg Room. PREP Video talk of signature Ailey chore?ography. Sat, March 20, 7 p.m., Michigan League, Hussey Room. Master of Arts Interview with artistic director and choreographer Judith Jamison, Sat, March 20, 2 p.m. location tbd. Sponsored by Forest Health Services and Mr. and Mrs. Randall Pittman. Media Partner WDET.
THE TALLIS SCHOLARS
PETER PHILLIPS, DIRECTOR
Wednesday, March 24,8 P.M.
St. Francis of Assisi Catholic Church
GYPSY CARAVAN
GYPSY CULTURE FROM INDIA TO
EASTERN EUROPE AND IBERIA
Thursday, March 25, 8 P.M. Michigan Theater Sponsored by AT&T Wireless with additional support from Republic Bank. Media Partner WDET.
SWEET HONEY IN THE ROCK
Friday, March 26,8 P.M.
Hill Auditorium
Meet the Artists Post-performance
dialogue from the stage.
Presented with support from Comcrica
Bank and the Lila Wallace-Reader's Digest
Audiences for the Performing Arts Network.
Media Partner WEMU and Metro Times.
continued ...
AMERICAN STRING QUARTET BEETHOVEN THE CONTEMPORARY Sunday, March 28,4 P.M. Rackham Auditorium Beethoven the Contemporary Symposium Papers, panel discussions and
speaker on Beethoven am temporary composers. Sat, March p.m. Rackham Amphitheater and
. Hall.
PREP "A Rhetoric of Disini Steven Whitini
of Musicology, with School of Music stu?dent musicians. Sun. March 2S. 3 p.m. Rackham Assembly Hall. Sponsored by Edward Surovell Realtors with support from the Lila Wallace-Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters. Additional support is provided by the National Endowment for the Arts. Media Partner Michigan Radio.
TRIO FONTENAY Tuesday, March 30,8 P.M. Rackham Auditorium
APRIL
STEVE REICH ENSEMBLE
Saturday, April 10, 8 P.M.
Michigan Theater
Master of Arts Interview of composer
Steve Reich and filmmaker Beryl Korot.
Fri, April 9, 12 p.m. Michigan League,
Vandenberg Room.
Media Partner WDETand Metro Times.
MOZARTEUM ORCHESTRA OF SALZBURG
HUBERT SOUDANT, CONDUCTOR TILL FELLNER, PIANO KATHARINE GOELDNER, MEZZO-SOPRANO
Thursday, April 15, 8 P.M.
Hill Auditorium
Sponsored by Edward Surovell Realtors.
Media Partner WGTE.
LATIN BALL
WITH jCUBANISMO!
FEATURING JESUS ALEMANY
Friday, April 16,8 P.M.
EMU Convocation Center
(799 Hewitt Road between Washtenaw
Ave. and Huron River Drive)
Sponsored by Sesi Lincoln-Mercury.
Media Partner WEMU.
EWA PODLES, CONTRALTO GARRICK OHLSSON, PIANO Saturday, April 17,8 P.M. Lydia Mendelssohn Theatre PREP "An Introduction to the Art Podles" by Richard LeSueu Information p.m.. Modern Languages Building,
Room.
Sponsored by KeyBank with additional support from Maurice and Linda Binkow. Media Partner WGTE.
ANONYMOUS 4 AND LIONHEART
Sunday, April 18,8 P.M.
St. Francis of Assisi Catholic Church
MONSTERS OF GRACE
A DIGITAL OPERA IN 3-DIMENSIONS
MUSIC BY PHILIP GLASS
DESIGN AND VISUAL CONCEPT BY
ROBERT WILSON
PERFORMED BY THE PHILIP GLASS
ENSEMBLE
Thursday, April 22,8 P.M.
Michigan Theater
Media Partner WDET and Metro Times.
LINCOLN CENTER JAZZ ORCHESTRA WITH WYNTON MARSALIS A CENTENNIAL CELEBRATION OF DUKE ELLINGTON
Friday, April 23,8 P.M. Hill Auditorium PREP Kenn (
Michigan State and Wayne St.ne I'm interviews member', of the I incoln l.i Orchestra, Iri, April 23, 7 p.m., Michigan League, Hussey Room. Co-sponsored by Arbor TemporariesPersonnel Systems, Inc. and Mechanical Dynamics with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network, the Heartland Fund, the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs. Media Partner WDET.
NHK SYMPHONY ORCHESTRA OF TOKYO
CHARLES DUTOIT, CONDUCTOR SARAH CHANG, VIOLIN KAZUE SAWAI, KOTO
Sunday, April 25,4 P.M.
Hill Auditorium
Sponsored by Trimas Corporation with
additional support from Weber's Inn.
Media Partner WGTE.
MAY
FORD HONORS PROGRAM Featuring the presentation of the 1999 UMS Distinguished Artist Award (Artist to be announced in January, 1999) Saturday, May 8,6 P.M. Hill Auditorium and Michigan League. Sponsored by the Ford Motor Company Fund. Media Partner HOUR Detroit Magazine.
University Musical Society
of the University of Michigan 1998-1999 Winter Season
Event Program Book Thursday, January 14, through Thursday, January 28,1999
General Information
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompa?nying them, will 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.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: Electronic beeping or chiming digi?tal watches, beeping pagers, ring?ing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of auditorium and seat loca?tion and ask them to call University Security at 734-763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS perfor?mances included in this editon. Thank you for your help.
Renee Fleming, soprano
Thursday, January 14, 8:00pm Hill Auditorium
The Gospel at Colonus
Friday, January 15, 8:00pm
Saturday, January 16, 2:00pm (Family Performance)
Saturday, January 16, 8:00pm
Sunday, January 17, 3:00pm
Monday, January 18, 8:00pm
Power Center
American String Quartet
Beethoven the Contemporary Thursday, January 28, 8:00pm Rackham Auditorium
Renee Fleming
Soprano
Helen Yorke, Piano
University
Musical
Society
and
Pepper Hamilton LLP
present
Program
Franz Schubert
Mikhail Ivanovich Glinka
Franz Liszt
Felix Mendelssohn
Hugo Wolf
Thursday Evening, January 14, 1999 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Goethe Heroines:
Suleika, Gretchen, and Mignon
Suleika I, D. 720 Szene aus Faust, D. 126 Gretchen am Spinnrade, D. 118
II
Gretchen am Spinnrade Kennst du das Land, S. 2751 Suleika, Op. 57, No. 3
III
Four Mignon Lieder from Gedichte von J.W. v. Goethe
Heiss mich nicht reden (Mignon I), No. 5 Nur wer die Sehnsucht kennt (Mignon II), No. 6 So lasst mich scheinen (Mignon III), No. 7 Kennst du das Land (Mignon), No. 9
INTERMISSION
Claude Debussy
Samuel Barber
Richard Strauss
IV
Ariettes oubliees
C'est l'extase
II pleure dans mon coeur
L'ombre des arbres
Chevaux de bois
Green
Spleen
V
Nuvoletta, Op. 25
VI
Einerlei, Op. 69, No. 3
Ich trage meine Minne, Op. 32, No. 1
All' mein Gedanken, Op. 21, No. 1
Epheu, Op. 22, No. 3
Ich Hebe dich, Op. 37, No. 2
The audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
Please remain in your seats following the performance for a brief ques?tion and answer session with Renee Fleming to be held from the stage.
Forty-fourth Performance of the 120th Season
120th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Michael Staebler for his support through Pepper Hamilton LLP.
Additional support is provided by media partner, WGTE.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor
Special thanks to Naomi Andre for this evening's Pre-performance Educational Presentation.
Ms. Fleming appears by arrangement with Columbia Artists Management, Inc.
Ms. Fleming's gown is by Gianfranco Ferre
Ms. Fleming records exclusively for DeccaLondon.
Large print programs are available upon request.
I, II, III
The works of Johann Wolfgang von Goethe have provided composers with an endless supply of inspiration. His characters, their lives, their philosophies and, above all, their actual words populate song, opera, and symphony in every language and in every period. Tonight we meet three of his most fascinating female characters, and it is par?ticularly interesting to hear how different composers responded to the same text. Bear in mind as you listen that Goethe would probably have spurned and rejected every?thing you will hear. Beethoven sought the literary giant's approval for his songs, but it was not to be bestowed. Even as acknowledged a masterpiece as Schubert's Erlkonig was pronounced "fussy and altogether too much in the way of the words" by Master Goethe. Suleika is a creature of the East, not at all a teutonic maiden. She lives an exotic, color?ful existence; she feels and expresses herself more sensuously than her German counter?parts. The modest Biedermeier world of Schubert is not for her, and as a result Schubert had to find a slightly different, certainly riper and richer musical language to paint her adequately. The wind is her only link to her absent lover, and the piano surrounds the yearning Suleika in a sensuous, constant sweep of fragrant air. Expressing her desires leaves her exhausted, and one can hear this fatigue in the music as Schubert's song draws to a close. Mendelssohn's time offered the composer a richer harmonic vocabulary and a less formal notion of architecture, and yet this later composer has created a much sim?pler Suleika. This song is in simple strophic form, only slightly modified here and there. A different side of the character is emphasized -these two composers must have read the poem quite differently. In search of Suleika, Mendelssohn has looked backward, while Schubert has reached forward.
Gretchen (or Marguerite as she is some?times called) is a simple village maiden whose life is irrevocably and dramatically changed by her encounters with Faust. This great tome from Goethe's pen has many monologues for Gretchen, and we hear two of them tonight. In Gounod's famous opera Faust, the church scene in Act III features two principal singers and a chorus. In Schubert's song-scene on tonight's program, one singer must take charge of all three forces herself. Most of this song is dramatic, highly inflected recitative juxtaposed with somber, regular phrases of the Mass. We can get a good idea of Schubert the would-be operatic composer from this very theatrical excerpt from Goethe's story. Our other view of Gretchen is, of course, in her famous spinning scene where she displays her obsession with Faust. As proof of Goethe's far-reaching fame, Mikhail Glinka, the acknowledged dean of Russian song composers, has responded to Gretchen's lyrics with an impassioned, lyrical song. The heroine pours out her longing in simple, sincere, warm and generous lines. Schubert draws quite a different picture for us. In nearly two hundred years since this song was written, no one has yet surpassed his depiction of a spinning wheel. As Gretchen's feelings intensify and skirt madness, the accompaniment "spins" out of control. Despite her expertise at the wheel, Gretchen requires three attempts to re-start it and regain her composure. Although this is one of Schubert's earliest songs, he was already changing the idea of how a song could be composed.
Goethe's Wilhelm Meister introduces us to Mignon, the hapless orphan who can remember only glimpses of her past. She has neither companions nor family, and her imagination must serve as her only friend. Mignon's lyrics have been set to music by virtually every German song composer, and by many non-Germans as well. Indeed her
second song, Nur wer die Sehnsucht kennt (Only He Who Knows Longing), holds the title of the most-often-set-to-music poem in any language. Liszt's grand setting of Mignon's final monologue holds to the simplest of forms, but as one would expect from this piano virtuoso, the texture and drama of the accompaniment elevate Mignon's questions and pleas to virtual operatic stature. Wolf is known for never setting a poem to music when he believed another composer had done an adequate job with it. Thus, no Gretchen at the spinning wheel exists by Wolf. However, in setting these four Mignon songs, Wolf is clearly telling us that the set?tings by Beethoven, Schubert, and Schumann were not at all to his taste and not deserving of his respect. Wolf's Mignon is not the simple maid looking and longing for home. He has captured the psychotic nature of this heroine (let us remember Wolf and Freud were contemporaries), and uses the full arse?nal of Wagnerian chromaticism and rhapsody to make her psyche come alive for us.
IV
Debussy wrote the six songs of Ariettes oubliees (Forgotten ariettes) while still a young man, but as no publisher could be found, they were simply put away in a drawer. Much later, the composer's fame and recog?nition had grown and crested with his opera Pelleas et Melisande, and now publishers were seeking him. These songs were quickly published with their ironic title and dedicated to Mary Garden, the Melisande who made his opera such a success. These are not stories or characters as we have enjoyed in tonight's first half; rather these are six atmospheres or canvases, making full use of the complete array of impressionistic colors and harmonies to achieve their purpose. Verlaine's words speak of water, reflections, shadows, distant sounds of bells and country fairs. As is typical of Debussy, the accompa-
niment is no accompaniment at all. Rather it is a complete composition with the voice part appliqued on top; melodies are not necessarily in the piano or the voice consis?tently. Impressionist painters had created new ways of using brushes and paint, and impressionist composers followed their lead, asking new effects of the performers. The curious titles of the cycle's last two songs attest to the fact that in Verlaine's time it was suddenly fashionable to study English.
Read the text for Barber's Nuvoletta and you will quickly discover that words are being manipulated constantly in this James Joyce poem. Eccentric spellings, whimsical pair?ings of words, things that seem not to make sense abound in this text. What does it all mean Who is Nuvoletta What is her fate No one agrees on the answers to these ques?tions. Understanding the text or not, Samuel Barber has responded to it with a rhapsodic song which offers a bouquet of sound-bite effects. Listen for the momen?tary quote from Wagner's Tristan und Isolde; listen to the pianist duplicate the numbers in the poem, fives and sixes and sevens; listen even to the reference -in French, of course -to the second Debussy song you heard only a moment ago.
VI
It seems most appropriate that Miss Fleming end her recital with songs of Richard Strauss. She is lauded for her interpretation of two of his operatic heroines, as well as for her singing of his final opus, the Four Last Songs. Strauss never stopped composing songs throughout his life, and as his wife was an accomplished singer, he often accompanied her in his own creations as well as those of his colleagues. Despite his deftness with chromaticism, complex textures and counter-
point, when he believed a poem's message to be a simple, touching one, he was able to put these normal elements of his style aside and become a kind of "Schubert" just for a moment. The first four of this group of five songs have elicited this response from him:
Day after day the same bliss, walking through life with your love securely in your heart, thoughts of you 'knocking on my door,' and above all ivy-flowers' unassuming modest grace.
These are not subjects which would allow for heroic or sophisticated treatments. Strauss has answered these tender sentiments with modest gems. To close the group of songs and the concert, we return to a more accustomed notion of the Strauss idiom -the poem's title is the only simple thing about it.
Program notes by Martin Katz.
American soprano ReneeFleming has a devoted international follow?ing on the operatic stage, in con?certs and recitals, on television and radio, and on recordings. She has been honored with three Grammy nominations, was lauded by Musical America as the 1997 Vocalist of the Year, and was saluted in 1996 with the first Solti Prize of l'Academie du Disque Lyrique for her out?standing recording artistry. She became an exclusive recording artist with LondonDecca in 1995.
Ms. Fleming's 199899 season is nothing short of olympian. At San Francisco Opera on September 19, she performed the role of Blanche Dubois in the world premiere of Andre Previn's A Streetcar Named Desire, which will be telecast in December on PBS' Great Performances and also released on CD by Deutsche Grammophon. In October she returned to New York for Strauss' Four Last
Songs at Carnegie Hall with Claudio Abbado conducting the Berlin Philharmonic. During October and November, Renee Fleming starred in the new Metropolitan Opera pro?duction of The Marriage of Figaro with Cecilia Bartoli and Bryn Terfel, conducted by James Levine. She returns to the MET in April with yet another new production, Carlisle Floyd's Susannah, conducted by James Conlon. The calendar year ends with a Boston Symphony Orchestra engagement with James Levine conducting The Creation, and 1999 begins with an international recital tour. In addition to a recital at New York's Carnegie Hall and Chicago's Orchestra Hall, both with pianist James Levine, her North American tour takes her to Boston, Los Angeles, Atlanta, Berkeley, Minneapolis, Ann Arbor, Washington, Fort Worth and Toronto. In Europe she collaborates with pianist Christoph Eschenbach in a Paris recital, and goes on to Milan, Barcelona, Prague and Vienna, ending with concerts in Copenhagen with the Danish Radio Orchestra. Following the MET performances of Susannah in April, Ms. Fleming returns to Paris for
the remainder of the spring for a Brahms Requiem and Strauss' Four Last Songs with the Orchestre de Paris conducted by Eschenbach; a new production of Alcina at the Gamier, conducted by William Christie; and a concert of Mozart's Exultate jubilate and Mahler's Symphony No. 4 with the Paris Opera Orchestra conducted by James Conlon.
In addition to her many appearances at New York's Metropolitan Opera, Renee Fleming's voice has resounded throughout the distinguished venues of La Scala, Bayreuth, the Royal Opera House at Covent Garden, Paris' Opera Bastille and Palais Gamier (1996 re-opening performance), Vienna State Opera, Rossini Festival in Pesaro, Grand Theatre de Geneve, Glyndebourne, Teatro Colon in Buenos Aires, San Francisco Opera, Lyric Opera of Chicago, Houston Grand

Opera and Carnegie Hall. She has performed the standard repertoire, new productions and world premieres. A champion of new music, Ms. Fleming performed in the world premieres of John Corigliano's The Ghosts of Versailles at the Metropolitan Opera and Conrad Susa's The Dangerous Liaisons with San Francisco Opera, and in Lyric Opera of Chicago's first performances of Floyd's Susannah.
Featured among her past orchestral appearances are those with the Berlin Philharmonic, Vienna Philharmonic, London Symphony Orchestra, Orchestre de Paris, Metropolitan Opera Orchestra, Chicago Symphony Orchestra, Philadelphia Orchestra, New York Philharmonic, Cleveland Orchestra, Houston Symphony, Toronto Symphony and the Orchestra of St. Luke's. She has collaborated with such maestros as Claudio Abbado, Daniel Barenboim, Riccardo Chailly, James Conlon, Christoph Eschenbach, Daniele Gatti, Valery Gergiev, Bernard Haitink, James Levine, Sir Charles Mackerras, Zubin Mehta, Seiji Ozawa, Andre Previn, Michael Tilson Thomas and the late Sir Georg Solti. She is an internationally known recitalist and chamber musician.
Two new releases this fall from London Decca were Want Magic (American arias) with James Levine and the Metropolitan Opera Orchestra and the complete Rusalka with the Czech Philharmonic Orchestra, conducted by Sir Charles Mackerras. Due in early 1999 is an album of duets and arias entitled Star Crossed Lovers with Placido Domingo and the Chicago Symphony Orchestra, conducted by Daniel Barenboim, which will also be a televised PBS special. Ms. Fleming's release The Beautiful Voice (a collection of her favorite songs and arias) received the 1998 Prize from l'Acadmie du Disque Lyrique. In 1997, her LondonDecca CD releases were Signatures (opera scenes) with Sir Georg Solti conducting the London Symphony Orchestra; Mozart's Don Giovanni
also with Solti conducting the LSO (both recordings received Grammy nominations); Mendelssohn's Elijah; and a Schubert Album with Christoph Eschenbach at the piano. Her 1996 collection of Mozart arias, Visions of Love, with the Orchestra of St. Luke's con?ducted by Sir Charles Mackerras, received a Grammy nomination. Also released by LondonDecca is Mozart's Cost fan tutte with Solti. Prior to her recording exclusivity with LondonDecca, she recorded for Sony (including Armida, Herodiade, and the Lulu and Wozzeck Suites) and BMG (including Strauss' Four Last Songs and other orches?trated lieder with the Houston Symphony, and Villa-Lobos' Bachianas Brasileiras). Ms. Fleming's televised performances include the New York Philharmonic Season Opening Gala, and the American Musical Theater Gala on PBS' Live from Lincoln Center in 1997; the 1996 James Levine 25th Anniversary Gala at the Metropolitan Opera; and PBS telecasts of Otello and The Ghosts of Versailles from the Metropolitan Opera, The Dangerous Liaisons from San Francisco Opera, Richard Tucker Foundation galas and BBC telecasts.
Renee Fleming's early awards include winning the 1988 Metropolitan Opera National Auditions, the Richard Tucker Award, the George London Prize, the Grand Prix at the International Singing Competition in Belgium, and a Fulbright Scholarship to Germany. She studied at The Juilliard School and holds degrees from the State University of New York at Potsdam and the Eastman School of Music. Ms. Fleming currently resides in Connecticut with her family.
Tonight's recital marks Renee Fleming's second appearance under UMS auspices.
Critically acclaimed as a "dynamic and eloquent recitalist" and an out?standing vocal coach, Helen Yorke is Renee Fleming's regular recital partner. The two have performed together in Washington DC, Fort Worth, London, Prague, and the international Edinburgh Festival. Upcoming engagements will take them to the Tanglewood Festival, Pittsburgh, and a European tour of Brussels, Amsterdam, Oslo and London. They have also worked together at the Richard Tucker and Metropolitan Opera Galas. Their long?standing partnership of thirteen years promises to bring forth many more exciting performances.
Ms. Yorke has also collaborated with sev?eral of today's foremost artists, including Hans-Peter Blochwitz, Cornelius Hauptmann and Marilyn Home. Internationally, she has performed at festi-
vals in Salzburg, Paris, London, and in Korea on a tele?vised recital tour. Her New York appearances include vocal recitals at Alice Tully, Avery Fisher, Merkin and Weill halls. Also an exceptional and
sought after instrumental and chamber music pianist, her solo repertoire extends to programs that include works by Schumann, Chopin, Mozart and de Falla, with upcoming engagements in New York, London and Prague.
Professional teaching engagements have brought Helen Yorke to major international festivals and the studios of Dietrich Fischer-Dieskau in Berlin, Elisabeth Soderstrom and Elisabeth Schwarzkopf in Paris, Sena Jurinac in London and Harmut Holl in Finland. She has also established a series of
vocalpiano master classes that will take her to London, Tel Aviv and Washington DC to work with singerpianist duos in the inter?pretation and performance of art song.
Born in Rustington, England, Ms. Yorke studied at the Royal Northern College of Music, graduating with honors; then, on a scholarship, specialized in instrumental and vocal accompaniment at the Royal Academy of Music, London. Her studies continued with Harmut Holl and Rainer Hoffman on a German Government scholarship in Frankfurt and Cologne. In 1991, she came to New York to take the position as German Lyric Diction and OperaArt Song Coach at The Juilliard School. Thereafter, she coordi?nated the Piano Accompanying and Vocal Coaching Program at Westminster Choir College, Princeton.
Helen Yorke is a recent recipient of the ARAM, a diploma awarded by the Royal Academy of Music, London, for achievement of distinction in the music profession. She resides in New York City.
Tonight's recital marks Helen Yorke's debut under UMS auspices.
University
Musical
Society
and
NBD Bank
present
The Gospel at Colonus
Lee Breuer Book, Original Lyrics and Direction
Bob Telson Original Music, Adapted Lyrics and Music Direction
The Duke Ellington Centennial Choir
Dr. Rudolph V. Hawkins, director Clarence Fountain and The Blind Boys of Alabama The Original Soul Stirrers:
Willie Rogers, Ben Odom, Michael Grady Rev. Dr. Earl F. Miller
with
Sam Butler, Jay Caldwell, Kevin Davis, Josie Johnson, Carolyn Johnson-White, Bernardine Mitchell, Shari A. Seals, J.D. Steele, Jevetta Steele, Rev. Carl Williams, Jr.
Bob Telson, Piano Ben Odom, Bass
Butch Heyward, Organ Leroy Clouden, Drums
Michael Grady, Sam Butler, Guitars
Program
Forty-fifth, Forty-sixth, Forty-seventh, Forty-eighth and Forty-ninth Performances of the 120th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
The Gospel at Colonus is produced by Sharon Levy, Dovetail Productions
Friday Evening, January 15, 1999 at 8:00
Saturday Afternoon, January 16, 1999 at 2:00 (Family Performance)
Saturday Evening, January 16,1999 at 8:00
Sunday Afternoon, January 17,1999 at 3:00
Monday Evening, January 18, 1999 at 8:00
Power Center, Ann Arbor, Michigan
Special thanks to Jorge Solis for his continued and generous support of the University Musical Society through NBD Bank.
The Gospel at Colonus is co-presented with the Office of Academic Multicultural Initiatives of the University of Michigan as part of the 1999 Dr. Martin Luther King, Jr. Day Symposium.
Presented with support from the Lila Wallace-Reader's Digest Arts audiences for the Performing Arts Network.
Additional support is provided by media partner, WEMU, and Metro Times.
Special thanks to the Charles H. Wright Museum of African American History in Detroit, Martin Luther King, Jr. Senior High School, Rackham Graduate School, Wayne County RESA, the Duke Ellington Centennial Choir, Dr. Rudolph V. Hawkins, Dr. Arthur Beer, Alana Barter, Michele Parchement, Sandra Feva, Charles Wilson, Marathon Poplar, Darris Halliburgh, Dr. Sammy Rushing and and Dr. Beverly Gray for their assistance and support of this residency.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
Act One
The Welcome and Quotations
The Invocation ("Live Where You Can")
Recapitulation from Oedipus the King
Oedipus and Antigone enter Colonus
Ode to Colonus ("Fair Colonus")
"Stop, Do Not Go On"
Choral Dialogue ("Who is This Man")
Ismene Comes to Colonus ("How Shall I See You Through My Tears") Narrative of Ismene Dialogue: Chorus Questions Oedipus
The Prayer ("A Voice Foretold")
Oedipus is Welcomed in Colonus Peroration Jubilee ("No Never")
Creon Comes to Colonus ("Come Home") Seizure of the Daughters
Oedipus Curses Creon (suite, "All My Heart's Desire")
Choral Ode ("Numberless are the World's Wonders")
Messenger
Soloist (Shari Seals) and Choir
Antigone and Theseus
Antigone and Messenger
Soloist (Willie Rogers)
Balladeer, Oedipus and Choragos
Soloist (Jimmy Carter) and Messenger
Ismene, Choragos and Oedipus
Antigone
Soloist and Messenger
Oedipus & Soloists (Shari Seals, J.D Steele)
Theseus
Choragos, Oedipus and Choir
Creon and the Ushers Creon and the Ushers
Oedipus, Choir, Creon, Messenger Soloists (J.D. Steele, Shari Seals) and Choir
INTERMISSION
Act Two
Oedipus Laments ("Lift Me Up")
Polyneices' Testimony and Supplication "Evil"
Oedipus's Curse "You Break My Heart" Poem ("Love Unconquerable")
Preaching with Tuned Response
Special Effect ("Ah, Heaven's Height Has Cracked!") The Teachings
The Descent of Oedipus
"Oh Sunlight of No Light" "Eternal Sleep"
Mourning
Doxology, the Paean ("Lift Him Up")
The Sermon
Closing Hymn ("Now Let the Weeping Cease")
Benediction
Oedipus
Balladeer
Polyneices, Messenger and Oedipus
The Heroes
Antigone
Messenger and Oedipus
Messenger and Theseus
Antigone & Ismene
Soloist (Willie Rogers) and Choragos
Antigone, Theseus, Ismene
Soloist (Carolyn Johnson-White) and Choir
Messenger
Choragos and Choir Messenger
The Gospel at Colonus is based on an adaptation of Sophocles' Oedipus at Colonus in the version by Robert Fitzgerald and incorporating passages from both Sophocles' Oedipus Rex and Antigone in the versions by Dudley Fitts and Robert Fitzgerald, which are published as The Oedipus Cycle of Sophocles, a HarvestHBJ Book, Harcourt Brace Jovanovich, Inc.
The text of The Gospel at Colonus is available through Theater Communications Group, NYC. The original cast recording, released on Nonesuch compact discs and cassettes, is available in the lobby.
The Cast
The Messenger Oedipus
Theseus
Antigone
Ismene
Ismene
Balladeer
Creon
Polyneices
Choragos
Choir Director Choir Soloist The Acolyte Chorus
Rev. Dr. Earl F. Miller
Clarence Fountain and the Blind Boys of Alabama
Rev. Carl Williams, Jr. Bernardine Mitchell Jevetta Steele Shari A. Seals Sam Butler Jay Caldwell Kevin Davis
The Original Soul Stirrers:
Willie Rogers, Ben Odom, Michael Grady
J.D. Steele
Carolyn Johnson-White,
Josie Johnson
The Duke Ellington Centennial Choir Dr. Rudolph V. Hawkins, director
Musicians
Piano
Organ
Guitars
Bass
Drums
Bob Telson
Butch Heyward
Michael Grady, Sam Butler
Ben Odom
Leroy Clouden
The Duke Ellington Centennial Choir
Dr. Rudolph V. Hawkins, Music Director Robert Williams, Choir Manager Charles E. Wilson, Pianist
Gloria Black E. Dianne Bradley James Braswell Sabrina Carter Chantelle Chandler Theodore P. Coleman Terri D. Collins Malcolm K. Davis Alice A. Dunbar Net'fa Enzinga Sandra Feva-Dance
Valerie Ford Rev. Silas Green, Jr. Darris A. Halliburgh Corrie Hix Turner Hughes Armond Jackson Ken Kade Aurelia L. Kent Pamela Martin Albert Martin III William McFarland
Yolanda R. Moore Gloria J. Patterson Kitisha Paulk Marathon Poplar Bobby Quincy Virginia Ridgeway Dr. Sammie Rushing Gregory K. Stough Benjamin S. Thomas Pamela Thompson Esther Walton Linda Williams
Production Set Design
Lighting Design
Sound Design
Costumes based on original designs by
Master Electrician
Sound Engineer
Wardrobe
Production Stage Manager
Stage Manager
2"d Asst. Stage Manager
Technical Director
Alison Yerxa Jason Boyd Ron Lorman Gretta Hynd Jason Boyd Merri Melde Shannon Spann Regina Guggenheim Narda Alcorn Josie Johnson John L. Lewis
The Gospel at Colonus
The Story
The Gospel at Colonus re-conceives Sophocles' Oedipus at Colonus as para?ble-like sermons on the ways of fate and particularly on a happy death. It is set in a black Pentecostal church. The congre?gation performs the invocation and, as the pastors narrate, portions of the story come to life.
After years of wandering with his daugh?ter Antigone, repentant and suffering for the sins he committed in innocence, Oedipus comes to Colonus, the holy resting place he has been promised for his death. His sec?ond daughter, Ismene, finds him there. She has come to bring Oedipus the prophecy that he shall now be blessed and that those he blesses shall also be so.
Antigone tells Oedipus to pray to the gods he once offended. Theseus, King of Athens, hears his prayer and is touched by his story, and they are welcomed to Colonus. Hearing of this, Creon, King of Thebes, comes to bring Oedipus back to that city to obtain the blessing. Oedipus refuses to go and Creon has the daughters seized, but Theseus returns them. Polyneices, eldest son of Oedipus, comes for the blessing before going into battle, but Oedipus curses him for his previous disloyalty and sends him away to die.
At his death, Oedipus passes on to Theseus alone his knowledge of life and his blessing. The final sermon is delivered, reminding the congregation to mourn no more, for Oedipus has found redemption. "Indeed, his end was wonderful, if mortal's ever was."
Reprinted from The Goodman Theatre.
From Greek to Gospel
Zora Neale Hurston made the connec?tion between Greek tragedy and the sanctified church many years ago. The Gospel at Colonus, in fact, could be said to attempt a proof of her hypothesis. As was the classic Greek performance, the Pentecostal service is a communal catharsis which forges religious, cultural and political bonds. Should not the living experience teach us something of the historical one
Brooklyn's Institutional Radio Choir says, "Music is our ministry." The living heritage of Africa's oral culture, informing Christianity, is the power of the Pentecostal service. "Music" means preaching and responding and moving and testifying as well as the playing of instruments and the singing of songs. Would not the oral culture of the Homeric age have similarly informed the theatre of Sophocles
The writer wishes to acknowledge his debt to the composer. Bob Telson's score is a great gift. May it long be sung, played and remembered. And both writer and compos?er wish to acknowledge, with an apprecia?tion akin to awe, the creative contributions of the heirs of oral culture -the singers, actors and musicians of The Gospel at Colonus. The writing down of words and music creates only a body. Performance brings to life a soul.
Lee Breuer
On Preaching And Drama
From the very beginning black preaching was different from white preaching. It broke all the rules of form and organi?zation. One of the main characteristics of black preaching is storytelling. The black preacher must be a master storyteller. In the past there was a script that even those who were illiterate knew. The script was made up from Bible stories, scriptures and songs that had been passed on. The black preacher not only had to know the script, he had to be able to make the story come alive and at the same time stick with the story because the folk he was preaching to knew the story.
In black preaching the preacher has to get outside of himself, or in church language, let the spirit take control...At some point in the sermon he has to lose his cool because
he isn't supposed to be in charge anyway. Black preaching is body and soul. Black preaching like black religion is holistic. It engages the whole person. One of the clear things we can say is that the black religious experience is not just a meeting of the minds. It is an encounter with the living God. When we first started serving God, we didn't serve Him with our words, we didn't serve Him with our ideas, we danced Him. We praised Him with our whole being. What implications does this have for drama Well, in reality, what I do every Sunday is drama, but I am performing for the Lord. Preaching is drama, and the same thing that goes into making effective preaching goes into making effective drama.
Earl F Miller
Above notes are from the Foreword to The Gospel at Colonus. Reprinted with permis?sion of the Theatre Communications Group.
Composing Gospel-Style Music for the Stage
Bob Telson, composer for The Gospel at Colonus, emphasizes that he is not writing gospel music, but is creating original music within the genre. It is a genre that Telson feels comfortable with, since he has performed, recorded, and writ?ten for numerous gospel groups including Clarence Fountain and the Blind Boys of Alabama, one of the country's most famous gospel groups. In fact, it was after director Lee Breuer attended a performance given by the group that he formulated the idea of combining Greek tragedy and the black church service in a music-theater piece. Mr. Fountain and the Blind Boys of Alabama embody a group representation of Oedipus with Fountain, the group's lead singer, serving as the most obvious manifes?tation of the character.
While two of the four gospel groups in The Gospel at Colonus represent characters from the narrative line, the other two embody the congregation, the community that in Greek tragedy is enacted by the chorus. The Soul Stirrers will perform songs that express the sentiments of the people of Colonus, who react to Oedipus and his desire to find a final resting place. In the context of the church-service framework of The Gospel at Colonus, they are a famous visiting gospel group which sings by itself rather than with the choir. It remains for that choir to perform the Sophoclean choral odes which Telson has set to music, responding both to the story of Oedipus and to the text of the sermon, which the preachermessenger delivers as if it were a Biblical text.
Telson began collaborating with Lee Breuer on The Gospel at Colonus in late 1980, evolving the piece over a long gesta?tion period. They had worked together pre?viously on video projects, the Mabou Mines production of A Prelude to Death in Venice, the American Repertory Theater's Lulu and Sister Suzie Cinema, a doo-wop musical. In working with Breuer on The Gospel at Colonus, Telson wrote the music in pieces. The director would give Telson a part of the play -a choral ode or a section of text -and ask him to write music for it. If an ode had five stanzas, for example, Telson might choose two of them, rearrange some of the lines and then set them to music. The com?poser and director adapter worked closely together, choosing phrases from the Robert Fitzgerald translation and reworking them to fit the musical structure. The aim was to maintain the poetic quality of the words while avoiding contemporary colloquializa-tion, and yet keep the "roots" feeling of the music.
In characterizing his work on The Gospel at Colonus, Telson draws a parallel between the double-edged nature of gospel music and the similar quality of this piece. For Telson gospel music combines the popular and the religious, containing the roots of all that is African about American popular music. Similarly, The Gospel at Colonus combines the artistic nature of a classical text with the immediacy of gospel music, bringing an intensity to the text for modern audiences derived from the participatory quality of the music. Telson finds the gospel audience's direct emotional response to the music one of its most exciting aspects.
Toward an American Classicism
An interview with Lee Breuer by Gerald Rabkin
Gerald Rabkin: Tell me about the develop?ment of The Gospel at Colonus. Lee Breuer: It started out as a companion piece to Sister Suzie Cinema and then it became so large that it was ridiculous to see it as a companion to anything. It was a com?plete work. We were experimenting in terms of what style we were going to use for it. In the beginning the intent was to make it shorter and slighter, but now we find that density and size seem to be the right way to go. There's no way of combining it with Sister Suzie. We still combined them when we toured Europe last summer, but now the cast is different and the concept is quite a bit different, too. This is much more hard line. GR: How so
LB: Well, it's much more church and much less classical than the Colonus we did on tour. This is going to be even less staged, more an oratorio, more a storytelling and a narrative and more deeply embedded in the true gospel tradition. It's also, I think, possi?bly a first in that Oedipus is going to be played by a man who is really blind, a very, very famous gospel singer named Clarence Fountain. He's with the Blind Boys of Alabama, an amazing bunch of blind men who've been singing gospel since 1943. GR: There's always been a musical element in your work, but it seems that in recent years it's become more dominant. LB: I think so. I'm more and more interested in the musical support of dialogue; that's why I'm particularly interested in Japanese theater. In the Noh and the Kabuki, the nar?ration is basically sung and the drama is interspersed. In other words, when a character has a few lines he'll say them, but basically it's a continuous song. It's sung by a famous
singer who narrates in this wonderful, story?telling fashion. In a way, that's not too dif?ferent from what we're doing. A couple of Clarence's solos are just with guitar, and he might as well be this great narrator singing the story. When there's a little action the dialogue will come out of that. But it's either being told as a sermon or it's being told as a gospel song. What we found here was that we had a wonderful new key to a classical narrative or a didactic or oratorial device by using the preaching rhythm inher?ent in the Baptist and penetecostal churches. The black church experience is a wonderful new idea about tragic rhythms and, who knows, maybe closer to what the original Greek performances were like. GR: You're trying, then, to bring back some of the power and energy that obviously existed in Greek tragedy LB: Absolutely. I understand from recent research that some scholars now feel that the tragedies were close to our idea of a reli?gious service. There were responses from the audience like choral or choir responses in the church. Everybody knew the story, basi?cally these were services, the idea was to give a sermon on the intricacies of the idea of fate, the machinations of fate. GR: Is this an extension of the same kind of recuperativeness which, in different ways, you were trying to achieve in your produc?tions of Lulu and The Tempest7. LB: Yeah, I see the three as a unit. The work with Lulu and the work with Shakespeare, and now the work with Sophocles, are an idea of finding a way into an American clas?sicism through three major historical classics from three different historical periods. This is the third and the last. Look, in the work
"I kind of look at this as being a work that has white eyes and black ears."
with Mabou Mines in the experimental genre we developed a number of techniques, and I was very interested to see whether they formed a valid dialectic with the classics, whether they could be perceived as taking a step toward an American classicism. I tried three different experiments. This is the third. I won't try another one. GR: Did you feel when you were working on Beckett early on, that that was an Americanizing of a modern classic LB: Absolutely. It's always been my interest to find a way toward a classic theater that doesn't imitate a European model, particu?larly the English model. I really feel that Shakespeare cannot mean to an American what he means to an Englishman. For example, having grown up in California, I'm sensitive to a certain use of the English language, to the influx of Africanisms into English, to the waves of ideas, language, and imagery that are coming from Spanish, Portuguese, up through South America. The street language, the poetic part of the American language is being formed, has so much of a Puerto Rican esthetic, a Mexican esthetic, an African esthetic in it, that its rhythms are unique. When you hear an Englishman speak, particularly one from Oxford or Cambridge, he's using words in another language. It's like a Haitian doing Corneille or Racine. I think we're almost that far away. This is where the English lan?guage is really being developed, with all these incredible mixtures, different rhythms coming from different nationalities. I feel that this is an incredibly exciting time and somehow I have this instinct to go to church again. But we can't go to the Anglican church this time. It's a different church to go to here. Just as the Noh theater formulated the
classical Japanese theater out of the Buddhist service, and Shakespeare was formed from the Anglican service, so American classicism will be formulated from the church. But I vow that it's not going to be the Anglican church nor is it going to be the St. James version of the Bible. It's going to have some?thing to do with the black church. It's going to have to do with the rhythms of drumming. GR: How does this independent work fit into the collaborative tradition you worked in with Mabou Mines LB: Well, I feel that I'm collaborating and always have. Here's the collaboration now. I kind of look at this as being a work that has white eyes and black ears. Really. I must rely on the talents, the brilliance, and the infor?mation that I'm receiving from these black actors and singers who grew up in the church tradition for the information rhythmically, dynamically, esthetically. I didn't grow up in the Black Baptist church. I'm a visitor. I can barely begin to appreciate its incredible complexity. It is perhaps the only area of ecstatic religious experience in the United States. It is a religion that is dynamic. These sermons communicate dynamically, percus-sively. Along with verbal information, you get musical information. GR: It's something that's fascinated you in your earlier work, particularly in Shaggy Dog Animation and Lulu, the pure power of musical information.
LB: Right. But I think this goes a lot further because it's real musicians who make the form. This isn't us trying to imitate them in an art trip. Tony Moscatello wrote about Sister Suzie Cinema that as performance art it wasn't a bunch of white sculptors imitating black doo-wop singers doing it within a context that made it art as well as popular
music. I think you'll find the same thing here. I am tremendously interested in this intricate line between popular culture and art, and rather than imitate popular culture, which is the usual art conceptual way, what I'm involved in here is in bringing the popu?lar culture in balance with the art tradition. GR: So this is not re-creating popular culture, it's creating it.
LB: I will go a long way to try to find the real people who created the real form rather than get an artist to imitate it. I believe that there's an incredible amount to learn from the great entertainers in the popular sphere, that they're geniuses and masters of their own esthetic. I've always been interested in the balance between the so-called idea of entertainment and the idea of acting and the interlock between the two. And here we're sitting right on that line again. GR: You've said somewhere that part of the director's job is to find the myth in the per?former and relate that myth to the role. So it's not'only the myth of the actor but that of the popular performer as well LB: What I wanted to find--and it's just incredibly lucky that I was able to have this opportunity to work with Clarence--is the myth of the blind singer which is as potent classically in Homer as it is in the jazz, blues world of black America. A singer like Clarence alludes to all the other blind singers from Blind Lemon Jefferson to Stevie Wonder. The gospel tradition with one jump will then allude to the whole idea in terms of Homer and the Greeks. GR: Can we presume that part of the attrac?tion of Colonus is the fact that Oedipus is blind from the outset
LB: Yes, and another part of its attraction-since Sophocles wrote it a couple of years before he died, I think he was in his nineties at the time--is that it's a sermon on death, it's forty percent a sermon. It's not well con?structed dramatically, although there's bril?liant poetry in it. Basically it's a sermon on a happy death, a sermon on being blessed after being cursed in life, finally being blessed before one dies. I have another theory about tragedy. I've always been interested in the idea of catharsis because I've always been a bit of a maverick. As the experimental theater world was interested in a kind of conceptual coolness, I became more interested in cathartic theater. I really feel that if you go one step further with cathartic theater you might find pity and terror turning into joy and ecstasy. We have a jubilee in this, an expression of pure ecstatic joy. It may not seem typically tragic in the way we've come to understand what the tragic experience should be, but I have a feeling that catharsis can go right on through pity and terror into joy. And that's what this is about. I feel that this is a sincere attempt to try to find a new way to do classical tragedy in what I'm calling the American language. I hope it's perceived as a valid try. It may be a total failure, it may be a mess. It may turn people off very badly. However, this attempt is a sincere one. If somebody thinks this is a put-on, they're crazy, because they're really misunderstanding what I'm trying to do. There's nothing that is a put-on here. This is a true attempt to re?define the cathartic experience in American theater.
'I'm sensitive to a certain use of the English language, to the influx of Africanisms into English, to the waves of ideas, language, and imagery that are coming from Spanish, Portuguese, up through South America."
Libretto
Live Where You Can
Don't go away Oh father... Won't you stay
Let every man consider his last day When youthful pleasures have faded away Can he look at this life without pain
Let every child remember how to pray For the lost of the earth to find the way And the kingdom of heaven reign
Live where you can
Be happy as you can
Happier than God has made your father
Live where you can
Be happy as you can
For you may not be here tomorrow
Oh father let the singer sing for thee Let word and song and harmony Be mightier than the sword
Oh vision holy vision come to me Let word and song and harmony Be a sound like the voice of the Lord
Live where you can
Be happy as you can
Happier than God has made your father
Live where you can
Be happy as you can
For you may not be here tomorrow
Don't go away Oh father... Won't you stay
Fair Colonus
Fair Colonus
Land of running horses
Where leaves and berries throng
And wine dark ivy climbs the bough
The sweet sojourning nightingale
Murmurs all night long
Here with drops of heaven's dew At daybreak all the year The clusters of narcissus bloom Time-hallowed garlands for the brows Of those great ladies whom we fear
Stop Do Not Go On
Stop do not go on
This place is holy
Stop do not go on
You cannot walk this ground
Stop do not go on
Daughters of darkness bar the way
Saying stop...
Do not go on
Stop do not go on
This place is holy
Stop do not go on
First you must kneel down and pray
Stop do not go on
Till the gods answer yes you may
Saying stop...
Do not go on
Here I stand, a wanderer On life's journey At the close of the day Hungry and tired Beaten by the rain
Won't you give me shelter All I need's a resting place Promised so long ago
Stop do not go on
This place is holy
Stop do not go on
You cannot walk this ground
Stop do not go on
Daughters of darkness bar the way
Saying stop...
Do not go on
Don't go on.. .Don't you go... Don't go on...stop
Who Is This Man
Who is this man What is his name Where does he come from What is his race Who is his father
How Shall I See You Through My Tears
Father... Sister
Father, sister -dearest voices
I have found you and I don't know how
Father, sister -I hear your voices
But am I dreaming or are you here right
now
How shall I see you through my tears How shall I see you through my tears How shall I see you through my tears
Father, sister -the gods have spoken I bring a promise, a holy vow A world that cast you down forgives you And those who blamed you sing your prais?es now
How shall I see you through my tears How shall I see you through my tears How shall I see you through my tears
Destiny brings you back to me
Child I'm so glad I'm here There's hope for me, there's a prophecy
Destiny brings you back to me
A world that cast you out Forgives you now
Destiny brings you back to me
I've been waiting for a sign To ease my troubled mind
How shall I see you through my tears How shall I see you through my tears How shall I see you through my tears
A Voice Foretold (Prayer)
A voice foretold Where I shall die Where my soul shall rest And my body lie Where pain unending Ends for me Where I shall find Sanctuary
A voice foretold
That at my grave
Down my God shall come
My soul to save
There I'll be
Endowed with grace
And I shall find
My resting place
Hear my prayer Oh Lord won't you Hear my prayer
Never Drive You Away (Jubilee)
We will never
No no never
Drive you away
We will never drive you away
From peace in this land
I stood a wanderer On life's journey At the close of the day Hungry and tired Beaten by the rain
Why don't you give me shelter All I need's a resting place Promised so long ago
We will never
No no never
Drive you away
We will never drive you away
From peace in this land
No never, no no never
Numberless are the World's Wonders
Numberless are the world's wonders
But none more wonderful than man
The stormgray sea yields to his prows
Huge crests bear him high
Earth, holy and inexhaustible
Is graven where his plows have gone
Numberless are the world's wonders But none more wonderful than man The lightboned birds clinging to cover Lithe fish darting away All are taken, tamed in the net of his mind The wild horse resigns to him
Numberless are the world's wonders
But none more wonderful than man
Words and thought rapid as air
He fashions for his use
And his the skill that deflects the arrows
of snow The spears of winter rain
From every wind he has made himself secure From every wind he has made himself secure From all but one.. .all but one In the late wind of death he cannot stand
Lift Me Up (Like a Dove)
I wish the wind would lift me
Wish the wind would lift me
Like a dove like a dove
I wish the wind would lift me
So I could look with the eyes of the angels
For the child that I love
I wish the Lord would hide me Wish the Lord would hide me In a cloud in a cloud I wish the Lord would hide me I'd fall like a rain of fire And I'd lie like a shroud
Lift me up...Lift me up
Sunlight of No Light
Oh sunlight of no light
Once you were mine
This is the last my flesh will feel of you
For now I go
To shade my ending days
In the dark underworld
Oh sunlight of no light
Once you were mine
Now in the shadow of the vale I pray
You warmed my flesh above
Now bless my soul
In the cold underworld
Oh sunlight of no light Once you were mine
Eternal Sleep
Let not our friend go down In grief and weariness Let some just god spare him From any more distress
Oh eternal sleep Child of earth and hell Oh eternal sleep Let him sleep well
We pray to you almighty ones Let his descent be clear On those dim fields of underground That all men living fear
Oh eternal sleep Child of earth and hell Oh eternal sleep Let him sleep well
Down down down below To a house that has no light Down down down he goes Spirits plunged in the night Down down down below He goes among the ghosts Down down down he goes
Eternal sleep...
Lift Him Up
I'm crying hallelujah
Yes I'm crying hallelujah
For I was blind, but he made me see
I'm crying hallelujah
Lift him up in a blaze of glory
In a choir of voices
...Heavenly
Lift him high Lift him high ...Higher
Crying hallelujah
Crying hallelujah
Set him free, set him free
Crying hallelujah
Lift him up in a blaze of glory
In a choir of voices
...Heavenly
Lift him up! Lift him up! Oh Lift him up! Lift him up!
Lift him high high high High high high ...Higher
Now Let the Weeping Cease (Hymn)
Now let the weeping cease
Let no one mourn again
The love of God will bring you peace
There is no end
No... End...
Original lyrics by Lee Breuer.
Adapted lyrics by Lee Breuer and Bob Telson.
Lee Breuer (Adaptor, Director) co-founded the Mabou Mines theater company nearly thirty years ago in New York where he works as an author, director, adaptor and producer. His adaptations and directions of Beckett works for Mabou Mines received wide critical acclaim, including three Obie awards. He is author and director of the trilogy Animations, of which Part I (The Shaggy Dog Animations) was awarded the Obie for both direction and script in 1978, as was his 1980 production of Prelude to A Death in Venice. His 1990 production of King Lear won four acting Obies, and his 1996 production of An Epidog received an Obie for puppetry. Lee Breuer's second col?laboration with Bob Telson was The Warrior Ant, which was presented at the Brooklyn Academy of Music's 1988 Next Wave
Festival. He is the director of Liza Lorwin's Peter and Wendy, which debuted at the 1996 Spoleto Festival and was seen as part of the International Puppetry Festival at the Public Theater in the fall of 1996. Peter and Wendy won an Obie for best
production of 1996. Mr. Breuer recently collaborated with trumpeter Jon Faddis on Lulu Noire a jazz adaptation of the Wedekind Lulu plays which premiered at the 1997 Spoleto Festival USA In 1997 he became a MacArthur Fellow and received an honorary Ph.D. from Cal Arts. Most recent?ly he was named as the Sloss Chair at Stanford University.
Bob Telson {Composer, Pianist) studied with Nadia Boulanger in 1965 and 1966 and received his B.A. in music from Harvard in 1970. In the 1970s, he performed with Phillip Glass, Tito Puente, and the Five
Blind Boys of Alabama. He received an Oscar nomination for "Best Song" in 1989 for "Calling You" from his score for the film Bagdad Cafe. That song, as well as his music from the Twyla Tharp ballet Sextet and the song "Barefoot,"
written with and sung by k.d. lang, can be found on Mr. Telson's Warner Bros. CD, Calling You. His songs have been recorded by Joe Cocker, George Michael, George Benson, Celine Dion, and, most recently, Brazilian stars Caetano Veloso and Gal Costa. The CDs The Gospel at Colonus and Songs From "The Warrior Ant" document his major collaborations with Lee Breuer. In 1995, Bob composed the score for Chronicle of a Death Foretold, an adaptation of the novel by Gabriel Garcia Marquez, which received a Tony nomination for Best Musical.
Sharon Levy (Producer) received a degree in theatre from the Flinders University of South Australia. In Australia and the UK she stage managed, performed and co-pro?duced for a number of theatres including a national tour of England, Scotland and Wales with the British Theatre of the Deaf, the South Australian Theatre Company's Theatre in Education School Tour and with Nigel Triffit's Yellow Brick Roadshows. In the late 70s Ms. Levy moved to Atlanta where she was sound designer for the Alliance Theatre Company before joining the Theatrical Outfit where, for the next ten years, she was variously managing, produc?ing and artistic director. With Theatrical Outfit she presented Mabou Mines, the Negro Ensemble Company and Jose Quintero as well as a regular season of seven to ten shows annually. In 1989 Ms. Levy
moved to New York where she works as an independent producer. She recently pro?duced the jazz opera Lulu Noire written by Lee Breuer and composed by Jon Faddis which premiered at the Spoleto Festival U.S.A in 1997.
Rev. Dr. Earl F. Miller {The Messenger), a native of Jackson, Mississippi, is currently the senior pastor of Progressive Baptist Church in St. Paul, Minnesota. Dr. Miller is a graduate of Jackson State University, Virginia Union School of Theology, and
Union Theological Seminary, where he earned bachelor of music, master of divinity, and doctorate of ministry degrees respectively. He also attended the University of Illinois Graduate School of Music. It was under Dr. Miller and the
Pilgrim congregation that the original cast observed and studied the style of the black preacher in the black church in preparation for the first production of The Gospel at Colonus. Dr. Miller joined the production in Washington, DC, in 1984, and has per?formed the show throughout the US, Europe, Brazil and on Broadway.
The Duke Ellington Centennial Choir (DECC) was founded by the University Musical Society and The Arts League of Michigan in the Fall of 1998 to serve as an active, community-based choir for several special projects during the 1998-99 Ellington Centennial Year, including The Harlem Nutcracker, The Gospel at Colonus, and Ellington's A Sacred Music Concert. The DECC is currently comprised of fifty adult singers, all from the Detroit area. Under the musical direction of Dr. Rudolph V.
Hawkins, the choir has been able to connect with both regional and national audiences through performances and a series of musi?cally-based educational events sponsored by the University Musical Society in Ann Arbor and Detroit. The DECC has performed on the stages of the Detroit Opera House and was seen in the national television broadcast of Amercia's Thanksgiving Day Parade.
The UMS production of The Gospel at Colonus marks the Duke Ellington Centennial Choir's fourteenth-eighteenth appearances under UMS auspices. The DECC made their UMS debut during the 1998 production of The Harlem Nutcracker.
Dr. Rudolph V. Hawkins (Choir Rehearsal Director) has an impressive array of musical direction, performance and composition. Dr. Hawkins was Musical Director of Artistic Inspirations starring Cab Calloway at the Kennedy Center for the Performing Arts, Washington DC and was Choral Director for the Martin Luther King Celebration fea-
turing Bette Midler at Radio City Music Hall in New York City. Dr. Hawkins completed a three-month tour of Japan with the Phoenix Singers and has directed the only gospel version of Jesus Christ Superstar. His television appearances include "Gospel Music
in America" on the Phil Donahue Show and the Regis Philben Show. A native of Detroit, Michigan, Dr. Hawkins received the "Spirit of Detroit" award from the Honorable Mayor Coleman A. Young.
Sam Butler (Balladeer) has been singing and playing guitar since early childhood. He has worked as a musician and singer with the
Staple Singers, The Gospel Keynotes, The Dixie Hummingbirds, Joe Cocker, Laurie Anderson, Keith Richards, Roger Christian, Dorothy Norwood, Chris Brubeck, Gary Katz, Donald Fagan, Bobby Womack, John Cale, the David Soldier String Quartet, and many others. He has worked with Bob Telson for the past twenty years on many projects, including The Gospel at Colonus and The Warrior Ant. He has produced recordings for several other artists, includ?ing his father, Bishop Samuel Butler, Sr., and is himself featured on the recordings of numerous artists. Mr. Butler is also the soloist in the nationally broadcast jingle for "Crispy Wheats and Raisins" cereal.
Jay Caldwell {Creon) has been singing as long as he can remember. He performs and travels with The Gospel Ambassadors, a group which he co-founded. They have appeared all over the East Coast, from Chicago to Florida, and at the 1987 Folk Festival in Canada, thanks to an invitation from Bob Telson. The Ambassadors' first album, One Day at a Time, was released in 1979 and produced by Clarence Fountain. In 1994 they released their ninth album, Near the Cross. Their most recent recording, in 1997, is Leaving Jericho.
Kevin Davis (Polyneices) has performed in The Gospel at Colonus on Broadway as well as at various national and international venues. Other credits include the national tour of Don't Get God Started and the London production of Phantom of the Opera. Regional performances include Hartford Stage, the Long Wharf, the American Repertory Theater, and at various experimental and avant garde theaters, including Mabou Mines. Television credits include "NYPD Blue," "Law and Order", "Late Night with David Letterman," "The Babysitter's Club," "The Trials of Rosie O'Neill," and opposite Tom Hanks in the
much-heralded Forrest Gump. He also per?forms voice-overs for radio commercials.
Clarence Fountain and the Blind Boys of Alabama {Oedipus): As a student at the Taladega Institute for the Blind fifty years ago, Clarence Fountain formed the Happy Land singers, later called the Five Blind Boys. They had a hit record, Can See Everybody's Mother But Mine, in 1949, and signed with Specialty Records in 1953. Based in Los Angeles, Specialty was the label for Little Richard, Sam Cooke, and Jimmy Reed. The label urged the Five Blind Boys to go into rock and roll, but they insisted on gospel. The group's recordings for the
Specialty, Savoy, and VJ labels are now con?sidered classics. By the 1980s, the Five Blind Boys were revered in gospel music but large?ly unknown in secular circles until their ini?tial performance in The Gospel at Colonus. Since then, they have toured internationally numerous times. Their many festival appearances include Seattle's Bumbershoot, the WOMAD Festival, Montreaux Jazz, the New Orleans Jazz and Heritage Festivals, and the North Sea Jazz Festival.
The UMS production of The Gospel at Colonus marks Clarence Fountain and the Blind Boys of Alabama's second-sixth appear?ances under UMS auspices.
Carolyn Johnson-White (Featured Soloist) made her Broadway debut in The Gospel at Colonus and has appeared with the show nationally, internationally, and on PBS' "Great Performances." She has also appeared on the "Today" Show and the "Arsenio Hall" Show, and has been heard on several national commercials. Ms Johnson-White has record?ed with such artists as Wynton Marsalis, Eric Reed, Max Roach, Yanni, Tremaine Hawkins, Sandra Crouch, the Ricky Grundy Chorale, and the Institutional Radio Choir, of which she was a member for over fifteen years. A veteran concert performer, she has worked with Patti LaBelle, Take 6, Michael Jackson, Andrae Crouch, James Cleveland, Daryl Coley, and many others.
Bernardine Mitchell (Antigone) has worked around the country at San Diego Repertory Theater, Oakland Ensemble Theater, Walnut Street Theater in Philadelphia, Maine State Theater, Indiana Repertory Theater, and The Alliance Theater in such roles as Alice in Big River, Blues Speak Woman in Spunk, the Matron in Chicago, Queenie in Showboat, Addie in Little Foxes, Lady in Red in For Colored Girls, Mrs. Fezziwig in A Christmas Carol, Jewel in Best Little Whorehouse in Texas and Missy in the origi?nal cast of Purlie Victorious for the National Black Arts Festival. She earned the 1993 Dramalogue award for Best Actress for her portrayal of Bessie Smith, and has been fea?tured on the "Today" Show and with the Atlanta Symphony Orchestra. She has played the role of Antigone in The Gospel at Colonus at ACT in Seattle and on tour in the US and Brazil. Most recently Ms. Mitchell was a featured soloist for the Harlem Gospel Singers' 1997-98 European tour. Ms. Mitchell majored in voice at the Oberlin Conservatory of Music.
Shari A. Seals (Ismene) started singing in church at the age of three. In addition to numerous performances as a featured vocal?ist, Ms. Seals performed the role of Blues Speak Woman in Spunk at the Goodman Theater, which won her the honor of a Jeff Award nomination in 1992. She performed the role of Ismene in The Gospel at Colonus at the Goodman Theater, the Orpheum in San Francisco, at Carnegie Hall in 1996 and for the 199798 US tour as well as in Brazil and Russia. An active member of the Calvary Baptist Church, Ms. Seals continues to sing in the choir despite her busy sched?ule.
The Original Soul Stirrers (Choragos) was founded sixty-two years ago by A.R. Roungless, R.H. Harris, T.L. Brewster, S.R.
Crane, and the
late J.J. Farley, who kept the group together for twenty-five years. Since then, the group has included such outstand?ing singers as Johnny Taylor, Jimmy Outlaw,
Paul Foster, the late great Sam Cooke and Martin Jacox. Current members are Willie Rogers, Ben Odom, Michael Grady and Jackie Banks. The Soul Stirrers have performed at Carnegie Hall and in Paris and have sung for Presidents Roosevelt, Truman, and Carter. The group was inducted into the American Music and Entertainment Hall of Fame in 1984 and the Rock and Roll Hall of Fame in 1989. The Soul Stirrers have produced countless hit records and albums.
The UMS production of The Gospel at Colonus marks The Original Soul Stirrer's second-sixth appearances under UMS auspices.
J.D. Steele (Choir Director) has been a part of the Minneapolis music scene since 1982. An original member of The Gospel at Colonus cast, he has performed with the show on Broadway and in Europe and Brazil. Mr. Steele has recorded and performed with The Artist Formerly Known As Prince as a guest
vocalist on five albums and in a cameo performance in the film Graffiti Bridge. He also writes, produces, and performs with his family, The Steeles, who released their debut album, Heaven Help Us All, on Elektra Records
in 1993. In 1994, they performed and pro?duced music for the films Corrina, Corrina, Blankman, and Hoop Dreams. Mr. Steele has also sung on albums with George Clinton, Kim Carnes, Fine Young Cannibals, and many other prominent artists. He is currently collaborating with Bobby McFerrin on a new jazz opera and also recently collaborated with jazz bassist Christian McBride on a jazzgospel work, The Movement Revisited which received its world premiere in November 1998.
Jevetta Steele (Ismene) is a member of the internationally acclaimed group, The
Steeles. She is most noted for her Academy Award nominated perfor?mance of Calling You from the movie Bagdad Cafe and her Grammy and Emmy nominations for How Shall I See You Through My Tears from The Gospel at
Colonus. From Broadway to Carnegie Hall she has worked with such talents as Prince, George Clinton, 10,000 Maniacs, Big Head Todd and The Monsters and Mavis Staples. She has also appeared in and on the Corrina, Corrina film and soundtrack. She is presently travelling with an opera, African Portraits, which has been recorded with the Chicago Symphony on Warner Brothers records.
The Rev. Carl Williams, Jr. [Theseus) gradu?ated from Allen University S.C. as class pres?ident and president of the A-sharp music society. He has served as musical director of the Institutional Radio Choir "The Hit Makers" since 1980 and also serves as busi?ness manager and administrator. In 1995, Rev. Williams retired as a Social Case Worker for the City of New York where he worked for more than thirty-two years. Currently he serves as the Assistant Pastor of the Institutional Church of God in Christ. Rev Williams has appeared in the Off-Broadway musical "Get on Board" as well as the acclaimed Broadway hit The Gospel at Colonus. He has appeared with the Commodores, Patti Labelle, Rev. James Cleveland, Shirley Caesar, The Winans, Max Roach, Paul Simon, Diana Ross, Elton John, Don Henley, James Taylor, Sting, Wynton Marsalis, Glen Frye and many others. He has served as State President of the African-American Religious Connection, as well as musical advisor to Rutgers University. In October 1996 Rev. Williams led his choir to Osaka Japan where they appeared at the world famous Osaka Japan Blue Note. His most recent recording is on CGI records entitled, After the Rapture.
Leroy Clouden (Drummer) has worked with many different artists, such as Donald Fagen, Walter Becker and Boz Scaggs. Presently he is playing in the hit Broadway show, Bring in Da Noise, Bring in Da Funk.
Butch Heyward (Organist) was the original organist for The Gospel at Colonus when it was produced at the Brooklyn Academy of Music and has been with the show on Broadway and on tour throughout the US, Europe and Brazil. Butch is now with the Institutional Church of God in Christ in Brooklyn, New York. He has been on the musical staff of Mama, I Want to Sing for seven years. Most recently he has been tour?ing Europe with renowned jazzgospel singer, Ms. Liz McComb
Alison Yerxa (Production Set Designer) first designed this musical in 1983 at the Brooklyn Academy of Music Next Wave Festival, and has revised all subsequent adaptations in the US and Europe. Other theatrical designs under the direction of Lee Breuer include Warrior Ant, Lear, Prelude to A Death in Venice, and the Shaggy Dog Animation. Alison was a project designer for Treasure Island at the Mirage, a casino in Las Vegas, and supervised optical film effects on Star Trek, the Motion Picture, and Brainstorm. Alison is now an Art Director at Blue Sky -VIFX for digital special effects. Her latest work includes the films Volcano and X Files The Movie.
Ron Lorman (Sound Designer) studied piano, music theory, and percussion for twelve years before moving on to a career in audio. He stage managed The Bottom Line in New York City and then became chief engineer at the Savoy Theater for Ron Delsner. In addi?tion, he has been engaged for world tours with clients such as Frank Zappa and Paul Simon. Ron was the exclusive engineer for Miles Davis for seven years and engineered several of his albums. Currently, he free?lances for television networks, including HBO and MTV, as well as for Broadway productions. Mr. Lorman's current focus is fulfilling his responsibilities as president in charge of research and development for Hartke Systems Speakers in Fairfield, NJ.
Merri Melde {Sound Engineer) is delighted to be re-joining the enormously talented cast of The Gospel at Colonus, having previously mixed sound for the production at A Contemporary Theatre in Seattle in 1995 and the subsequent 1997 tour in the US & Brazil and in Moscow in May, 1998. Ms. Melde has been a free lance sound technician in Seattle-area theatres since 1988, and she spent a year engineering and digital editing at Hanszek Audio studio in Seattle. In January 1997 she mixed for Journey to the West at the Berkeley Repertory Theatre. While enjoying the world of theatre, Ms. Melde's primary career and love is working with racehorses. She's also an avid and insa?tiable wanderer, having backpacked through Europe, Southeast Asia, Britain and Southern Africa, with many more miles to go.
Jason Boyd {Lighting Designer) hails from Texas. He has designed lights for Mabou Mines' Red Horse Animation in Rio de Janeiro and Lee Breuer's Lulu Noire at the American Music Theater Festival and the Spoleto Festival. As a lighting designer for the Momentary Theater, Mr. Boyd has col?laborated on Yellow Universe, MultiMedea, and Black Mountain. He designed the lights for Anne Bogart's Small LivesBig Dreams in Saratoga Springs, NY, at RS. 122, and at the 1996 Cultural Olympiad in Atlanta. He was a founding member of Teleotheater, with whom he designed and produced ten origi?nal works. Other New York design credits include work with Home, Cucaracha, $3 Bill, Soho Rep, Tiny Mythic, En Garde Arts, Igloo and Purgatorio, Inc. He holds a B.F.A. in lighting design from The Conservatory of Theater Arts at Webster University in St. Louis, Missouri, and is a resident lighting designer at Bard College. Most recently he was lighting designer for Natalie Merchant for the 1998 Lilith Fair as well as for her subsequent world tour. He is currently also lighting designer for singer Liz Phair on her world tour.
Shannon Spann (Costume Supervisor) comes from the great NW -Seattle, WA. She became production assistant for The Gospel at Colonus at the ACT Theatre in Seattle in April 1995. Later that year she moved to New York where she worked with Black Elegance Magazine on fashion and beauty print, as well as production for Essence Communications which included the 1996 Essence Awards, Madison Square Garden-NY and the 1996 Essence Music Festival-New Orleans. Television credits include wardrobe for the highly rated, New York Undercover, for two seasons in 1996 and 1997, and for HBO's Oz in February 1997. Since then she has done wardrobe for a number of films in New York City includ?ing A Price Above Rubies and most recently for the upcoming films Big Daddy and Bone Collector.
Regina S. Guggenheim (Production Stage Manager) Currently on tour with the 2nd National Company of Miss Saigon. Broadway credits include: The Wizard of Oz (Madison Square Garden), A Christmas Carol 1995 and 1996, Hamlet and work with Dodger Productions. Opera: Die Dreigroschenoper at the 1996 Kurt Weill Fest, Dessau, Germany. Regional: The Irving Berlin and The Rodgers & Hart Songbooks at the Kennedy Center's 1996 Summer Cabaret Series; Lincoln Center Director's Lab; Yale Repertory Theatre; Fiesta Texas Theme Park. Recently she was Production Manager for the 1998 VH1 Fashion Awards. Ms. Guggenheim is an MFA graduate of the Yale School of Drama. Thanks to Mom and Dad for their unconditional love and support.
Narda Alcorn (Stage Manager) was the Production Stage Manager for The Gospel at Colonus in Moscow, Russia as part of the International Chekhov Theater Festival and stage manager for Gospel's United States tour through Utah, Arizona, California and
Minnesota. Ms. Alcorn stage managed for August Wilson's Seven Guitars regionally during its pre-Broadway tour at The Huntingdon Theater, American Conservatory Theater and the Ahmanson Theater as well as on Broadway. Other theaters where Ms. Alcorn has been a production stage manager include Seattle Repertory Theater, The Alley Theater, Crossroads Theater Company and La Jolla Playhouse. Recently, Ms. Alcorn was a production associate for CBS Networks' On Air Promotions and is currently the Associate Production Manager at The Public TheaterNew York Shakespeare Festival. A graduate of the Yale School of Drama, Narda holds a Master of Fine Arts degree in Theater Management.
John Lewis (Technical Director) hails proudly from Austin, Texas, but resides currently in New York. John is resident T.D. at both the French Institute's Florence Gould Hall and at Lighthouse International's Sperry Ames Auditorium. He also designs lights and sound in the city when time permits. In his spare time, John sings the blues under his stage name, Rooster Redd. If everything goes according to plan, John will make a fortune doing theatre and build his own Hardy Boys style castle somewhere in the Texas hill country, where someone will pay him to drink bourbon and spin tales of his exploits.
The UMS production of The Gospel at Colonus represents the debut appearances of the entire touring cast under UMS auspices except where otherwise noted.
Produced on Broadway in 1988 by Dodger Productions, Liza Lorwin, Louis Busch Hager, Playhouse Square Center, and Fifth Avenue Productions; executive producers Michael David, Edward Strong, and Sherman Warner. Originally produced by the Brooklyn Academy of Music's Next Wave Festival: Harvey Lichtenstein, executive producer; Joseph V. Melillo, producer; in association with Liza Lorwin and Walker Art Center, Original design was by Alison Yerxa, original lighting was by Julie Archer, original costumes were by Gretta Hynde.
Martin Jacox 1938-1998
An Epitaph
Martin died last month. He was a singer with the Soul Stirrers, a preacher, an actor, a mystical man.
We made a tape ten years ago. It's some?where in a box. There are maybe 500 cas?settes in that box unlabeled. That's a thou?sand hours of listening to find it a project for my retirement.
But I remember (what you don't remem?ber, God wants you to forget) he was talk?ing about "good" and "bad". "There's no dif?ference between a bad deed and a bad note."
Had Martin read Kierkegaard Perhaps ... but that's not the point. Martin was an avatar.
An avatar is a human being at the cross?roads of the world and the spirit. These peo?ple work with God. We people work with these people.
Martin was a Pentecostal. The best way to tell a Pentecostal is to listen to how they
clap. If they clap on two and four they're Pentecostal.
We're talking Martin and I and the Reverend Carl Williams, Jr. They tell me "In the Pentecostal Church the Message is the Music."
Friends of The Gospel at Colonus have spo?ken of his contribution as the quintessential Pentecostal moments. His voice was galvan?ic. His range astrological. He was a shouter.
Martin's shout shattered scholastic parsings of the spirit and brought God to the stage sans machina. This is the work of an avatar.
Martin Jacox was a large man, larger than life, larger than the spirit of his times, larger than the music of his quartet, larger than the chair he sat on at table, larger than the beneficence of his grace, large like love. Goodbye Martin and God Bless.
Lee Breuer
American String Quartet
Peter Winograd, Violin Laurie Carney, Violin Daniel Avshalomov, Viola David Geber, Cello
University
Musical
Society
and
Edward Surovell
Realtors
present
Program
Aaron Copland
Charles Ives
Ludwig van Beethoven
Thursday Evening, January 28,1999 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Two Pieces for String Quartet
Lento Molto (1928) Rondino(1923)
String Quartet No. 1, "A Revival Service'
Chorale: Andante con moto Prelude: Allegro Offertory: Adagio cantabile Postlude: Allegro marziale
INTERMISSION
Quartet in C Major, Op. 59, No. 3
Introduzione: Andante con moto; Allegro vivace Andante con moto quasi Allegretto Menuetto: Grazioso Allegro molto
Please remain in your seats following the performance for a brief question and answer session with the American String Quartet to be held from the stage.
Fiftieth Performance of the 120th Season
Beethoven the Contemporary Series
Special thanks to Ed Surovell for his continued and generous support of the Beethoven the Contemporary Series and this performance of the American String Quartet.
This project is also made possible in part by a grant from the Lila Wallace -Reader's Digest Arts Partners Program, which is administered by the Association of Performing Arts Presenters.
Additional support for this performance is made possible by the National Endowment for the Arts and media partner, Michigan Radio.
The American String Quartet is represented by Melvin Kaplan, Inc.
The American String Quartet records for CRI, Musical Heritage, Nonesuch, New World, and MusicMasters.
Large print programs are available upon request.
Two Pieces for String Quartet
Aaron Copland
Born November 14, 1900 in New York City
Died December 2, 1990 in Tarry town, NY
For many music lovers, Aaron Copland is synonymous with American music. His bal?let scores -Rodeo, Billy the Kid, and Appalachian Spring -capture a quintessen?tial element of Americana that, while heavily mythologized (as in Spike Lee's recent film He Got Game), is still potent and seductive. Works like Lincoln Portrait and Fanfare for the Common Man, though more overtly political, still ring with an earnestness that has made them public favorites for years. But not only are all these compositions orchestral, they are also allusive, if not entirely programmatic. Copland's "absolute" music for smaller ensembles and solo instruments has never received quite the same critical attention as his larger, populist works, though they are an equally crucial aspect of his oeuvre. As Donald Chittum notes, they share with the larger orchestral compositions a "high quality of workman?ship, an economy of means, a combination of leanness with grandeur, and a strong sense of tonal organization."
The two Pieces for String Quartet date from the 1920s, long before Copland devel?oped an interest in populist music on American themes. The first piece Lento molto was actually the second to be written, in 1928. He had composed the Rondino while studying with Nadia Boulanger in Paris in 1923, and decided to pair it with a newly-composed slower piece for a New York concert with fellow composer Roger Sessions in May 1928.
The Lento molto is based on a four-note motif (C-sharp -B -A -C), which is subjected to various treatments through three large-scale (but elided) divisions. The first section harmonizes the motif with modal triads, giving an impression of pas-
toral naivete not unlike some passages from Appalachian Spring. The second section treats the motif as a canon theme, and the conclu?sion increases the contrapuntal complexity through inversion, stretto, and retrograde. The clarity of line and organic approach to motivic development help create a unified dramatic arc that is both self-contained and powerfully expressive.
Despite its title, the sprightly Rondino is neither diminutive nor particularly Classical. Its modality and lean textures do recall, however, a Stravinskian neo-classicism -hardly surprising, given Boulanger's commit?ment to that particular style of composition and the level of influence over her students. Though written in duple meter, Copland treats the rhythms asymmetrically, dividing them into 3+5 instead of the more regular 4+4. The calmer central section leads to more contrapuntal writing, and introduces several new themes (including some that were later reworked into the first piece). A unison pas?sage of vigorous rising fifths signals the work's conclusion.
String Quartet No. 1, "A Revival Service"
Charles Ives
Born October 20,1874 in Danbury, Connecticut
Died May 19, 1954 in New York City
Though Charles Ives is known mainly as a musical experimenter and iconoclast, he received his formal musical training at one of the most tradition-bound institutions in the country. It was while he was a composi?tion student at Yale University, working under the direction of the German-trained Horatio Parker, that Ives learned much of the European craft of nineteenth-century composition. But it wasn't long before his peculiar bent for quotation and fragmenta?tion and his spirited Yankee individuality began to supplant the formal conventions
Parker had instilled in him. The String Quartet No. 1 from 1896, subtitled "A Revival Service", symbolizes Ives's transition from academic writing to the structural and harmonic freedoms that would become his trademark in the twentieth century.
The last three movements of this quartet were originally performed on organ at the Centre Church in New Haven, Connecticut, where the minister encouraged Ives' "gussy-ing up" of the traditional hymn melodies. Ives played these selections at a revival ser?vice on October 2, 1896, hence the work's subtitle. He tried later to disguise the fact that he had discarded a first movement, and it wasn't until the manuscript of the first movement was rediscovered after his death, and edited for publication as a string quar?tet, that it was restored to its original posi?tion. Ives may have wanted to avoid giving the impression that he was borrowing from himself, as he had also used the basic mate?rials of the "lost" first movement later in his Symphony No. 4.
The restoration of the first movement in the String Quartet No. 1 creates the unusual situation of a fugue coming before the "Prelude." Ives' predilection for quoting Protestant hymnody is evident already in the fugue subject, which is derived from the hymn "From Greenland's Icy Mountains," and also quotes "All Hail the Pow'r of Jesus' Name". Originally written as an exercise while in Parker's composition class at Yale, it is technically sound, but lacks some of the vigor and inventiveness normally associated with Ives' later music.
The second-movement "Prelude" is dance-like, with a central section in 34 time. Also derived from a hymn-tune, it exhibits a greater harmonic freedom than the first movement, and adds a touch of folk fiddle. Indeed, compared to the fugue, it sounds positively roguish. Ives includes some modal inflections and parallel harmonies characteristic of earlier New England
psalmodists, perhaps to distance it from the academic stuffiness of the preceding fugue. It concludes with some rapid-fire modulations that play havoc with the tune's harmonic sta?bility, though the movement settles down peacefully, with a twist of comedy in the pizzicato viola.
The third movement is also in ABA form. The A sections are based on the hymn tune "Come, Thou Fount of Ev'ry Blessing", though the central section, with its pizzicato cello accompaniment, resembles a parlor song more than a hymn. Ives increases the level of dissonance in this movement, but while the key changes are again rapid and wide-ranging, they are not quite as adven?turous as in the second movement, with the tonic D Major prevailing. In some versions of the score, the return of the A section is marked Andante (cantabile) instead of the expected Adagio.
The rousing conclusion, again in three-part form, is based on the revivalist tune "Stand Up, Stand Up for Jesus." It modulates freely, breaking out of the chordal texture briefly into independent polyphonic lines. Occasional dotted-note rhythms add a rus?tic vitality more akin to Ives' later style. The central section recalls the middle part of the Prelude, but at the conclusion the first violin and viola continue to play in 34 meter while the second violin and cello play in 44 a foreshadowing of Ives's later experi?ments in independent tempi and spatial dif?ferentiation.
String Quartet in C Major, Op 59 No. 3
Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn
Died March 26, 1827 in Vienna
When the three "Rasumovsky" quartets were first performed in early 1807, they were not
well-received. The performers themselves thought the quartets comically eccentric and wondered if they should even be considered music. But this didn't seem to concern the composer he had written the quartets on a commission from Count Rasumovsky, Russian ambassador to Vienna and a talent?ed amateur violinist, but his compositional career was secure enough that he didn't feel the need to please anyone in particular. He wrote them for himself and, as he explained to a friend, "for a later age."
Of the three quartets in Op. 59, the third, in C Major, was considered the least incom?prehensible at the premiere. This may be because the formal scheme is fairly conven?tional, with neither the structural irregulari?ties of the first quartet nor the intimate intensity of the second. The composer also retained the traditional minuet for a third movement, instead of the more energetic scherzo he had favored in other works.
As he began work on this quartet, Beethoven noted in his sketchbook: "Even as you are now being drawn into the stream of society, so it is possible, despite your social difficulties, to continue in your work. Let your deafness no longer be a secret -not even in your art." But there appears to be little direct correlation between these sentiments and the mood of the C-Major quartet. This is no Symphony No. 5, with its symbolic tri?umph over fate, though the key of C Major is, in that work, also heroic. Perhaps the composer merely wanted to show in this quartet that despite his deafness and social awkwardness, composition was, for him, "business as usual."
This is Beethoven's first quartet to begin with a slow introduction, explicitly recalling the eighteenth-century genre of Haydn and Mozart. After the opening diminished chord, the harmonies slowly wander through ambiguous tonal areas (seemingly oblivious to the "con moto" tempo direc?tion) and don't reach tonic until after the
Allegro proper has started. This particular effect was not new to Beethoven, as Mozart and Haydn had both used similar proce?dures to denote mystery and suspense (most clearly in Mozart's "Dissonance" Quartet, K.465). A short upbeat followed by a long held-note introduces the first theme, and this motif recurs periodically in the devel?opment section as well. The first theme itself is noticeably absent in the recapitulation, which emphasizes only the exuberant sec?ond theme.
When Beethoven accepted the commis?sion for these quartets, he promised to "weave a Russian melody" into each one, and while Russian tunes have been identi?fied in the first and second quartets, there is no direct evidence of any in the third. Marion Scott has suggested, however, that the main melody of the second movement -a gently romantic mood-picture in A minor -may also be a Russian folk tune. Lamenting and melancholic, it has an east?ern exoticism, heightened by liberal use of the augmented-second interval and a hyp?notic pizzicato accompaniment in the cello. It is an unusual variant of sonata form, recapitulating the second theme before the first.
Beethoven returned to a classical minuet rather than his favored scherzo for the third movement. Though it maintains the triple meter and tempo of the previous Andante, the mood is quite different. Back in the tonic of C Major, it is a relaxing interlude between the darker second movement and the sprightly finale that follows. The rustic trio section in F Major is more overtly dance-like, and a brief coda wanders through some minor-key fields before launching attaca into the finale
The fourth movement is a structural tour deforce: a double-exposition fugue in moto perpetuo that is also in sonata form. It cul?minates not only this work, but the three quartets as a whole, and is the justification
behind the quartet's sub-title, "Hero." Harry Halbreich writes regarding this movement: "[Beethoven] uses fugal writing, not as a dialectician like Bach, but as a titanic fresco-painter of inexhaustible breadth." But it is the rhythmic drive rather than contrapuntal intricacy that gives this music such irre?sistible energy. The momentum builds through the coda, so that even the dramatic pauses near the end are unable to restrain the relentless forward motion.
Program notes by Luke Howard.
In the seasons since its inception, the American String Quartet has reached a position of rare esteem in the world of chamber msuic. Annual tours have brought the American to virtually every important concert hall in eight European countries and across North America. Renowned for fluent and definitive interpretations of a diverse repertory, the Quartet has received critical acclaim for its presentation of the complete quartets of Beethoven, Schubert, Schoenberg and Mozart, and for collaborations with a host of distin?guished artists.
Persuasive advocates for their art, the members of the Quartet are credited with broadening public aware-
ness and enjoyment of chamber music across North America through their educational programs, seminars, broadcast perfor?mances, and published arti?cles.
They have enjoyed a long association with the Aspen Festival, the Taos School of Music, and Lincoln Center's Mostly Mozart Festival, to which they frequently return as featured artists. Among the first to receive a National Arts Endowment grant for their activites on college campuses, the members of the American String Quartet have also main?tained a commitment to contemporary music, resulting in numerous commissions and awards, among them three prize?winners at the Kennedy Centery Friedheim Awards. After ten years on the fac-
ulty of the Peabody Conservatory (where they initiated the program of quartet stud?ies), they accepted the position of Quartet-in-Residence at the Manhattan School fo Music in 1984, and in 1992 were invited to become the resident ensemble for the Van Cliburn Internationl Piano Competition. Their Mozart Year performances were rewarded with an invitation to record the complete Mozart quartets on a set of matched Stradivarius instruments; Volumes I, II, and III have been released by MusicMastersMusical Heritage.
The four musicians studied at The Juilliard School, where the Quartet was formed in 1974, winning the Colemna Competition and the Naumburg Award that same year. Outside the Quartet, each finds
time for solo appearances, recitals, and teaching.
The American String Quartet continues to reach a borader audience through record?ings of more than a dozen works, numerous radio and television broadcasts in thirteen countries, tours to Japan and the Far East, and recent performances with the Montreal Symphony, the New York City Ballet and the Philadelphia Orchestra. Entering its third decade, the Quartet embodies the challenges and satisfactions of more than twenty years of music making.
This performance marks the American String Quartet's fourth appearance under UMS aus?pices.
Like To Help Out
UMS Volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activi?ties. We rely on volunteers for a vast array of activities, including staffing the education res?idency activities, assisting in artists services and mailings, escorting students for our pop?ular youth performances and a host of other projects. Call 734.913.9696 to request more information.
Internships
Internships with the University Musical Society provide experience in performing arts admin?istration, marketing, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of the University Musical Society's departments. For more information, please call 734.763.0611 (Marketing Internships), 734.647.1173 (Production Internships) or 734.764.6179 (Education Internships).
College Work-Study
Students working for the University Musical Society as part of the College Work-Study
program gain valuable experience in all facets of arts management including concert promo?tion and marketing, fundraising, 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 734.764.2538.
UMS Ushers
Without the dedicated service of UMS' Usher Corps, our concerts would be absolute chaos. Ushers serve the essential functions of assist?ing patrons with seating and distributing pro?gram books.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make your concertgoing experience more pleasant and efficient. 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.
If you would like information about join?ing the UMS usher corps, leave a message for front of house coordinator Bruce Oshaben at 734.913.9696.
Hungry
UMS CAMERATA DINNERS Hosted by members of the UMS Board of Directors, UMS Camerata dinners are a delicious and convenient beginning to your concert evening. Our dinner buffet is open from 6:00 to 7:30 p.m. offering you the perfect opportunity to arrive early, park with ease, and dine in a relaxed setting with friends and fellow patrons. All dinners are held in the Alumni Center unless otherwise noted below. Dinner is $25 per person. Reservations can be made by mail using the order form in this brochure or by calling 734.647.1175. UMS members receive reserva?tion priority.
Thursday, January 14 Renee Fleming Tuesday, February 23 Opening Night of Kodo Thursday, March 11 James Galway
Friday, March 19 Opening Night of Alvin Ailey Note: This dinner will be held in the Power Center.
Thursday, April 15 Mozarteum Orchestra of Salzburg
Friday, April 23 Lincoln Center Jazz with Wynton Marsalis
DINING EXPERIENCES TO SAVOR: THE FIFTH ANNUAL DELICIOUS EXPERIENCES
Wonderful friends and supporters of the UMS are again offering a unique donation by hosting a delectable variety of dining events. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go directly to UMS to continue the fabulous music, dance and educational programs.
Treat yourself, give a gift of tickets, purchase an entire event, or come alone and meet new people. Join in the fun while supporting UMS!
Call 734.936.6837 for more information and to receive a brochure.
RESTAURANT & LODGING PACKAGES Celebrate in style with dinner and a show or stay overnight and relax in comfort! A deli?cious meal followed by priority, reserved seat?ing at a performance by world-class artists makes an elegant evening--add luxury accom?modations to the package and make it a com?plete get-a-way. The University Musical Society is pleased to announce its cooperative ventures with the following local establishments:
Paesano's Restaurant
3411 Washtenaw Road 734.971.0484 for reservations
Thur. Jan. 14 Sun. Ian. 17 Sun. Feb. 7 Mon. Feb. 15
Wed. Mar. 24
Ren& Fleming, soprano Pre-performance dinner
The Gospel at Colonus Post-performance dinner
American String Quartet Post-performance dinner
Orpheus Chamber Orchestra with Pepe Romero Pre-performance dinner
The Tallis Scholars Pre-performance dinner
Package price $50.00 per person (tax & tip incorporat?ed) includes guaranteed dinner reservations (select any item from the special package menu, which includes entree, soup or salad, soft beverage or coffee, and fruity Italian ice for dessert) and reserved "A" seats on the main floor at the performance for each guest.
Groups of 50 or more receive an additional discount!
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue 734.769.0653 for reservations
Join Ann Arbor's most theatrical host & hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the per?formance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Package price ranges from $200 to $225 per couple depending upon performance (subject to availability) and includes two nights stay, breakfast, high tea and two priority reserved tickets to the performance.
The Bell Tower Hotel & Escoffier Restaurant
300 South Thayer 734.769.3010 for reservations
Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished per?forming artists, add up to a perfect overnight holiday. Reserve space now for a European-style guest room within walking distance of the performance halls and downtown shopping, a special performance dinner menu at the Escoffier restaurant located within the Bell Tower Hotel, and priority reserved "A" seats to the show. Beat the winter blues in style! (All events are at 8pm with dinner prior to the performance)
Sat. Jan. 16 Fri. Jan. 29 Fri. Feb. 12
Sat. Feb. 20
Fri. Mar. 12 Sat. Mar. 20 Fri. Mar. 26
The Gospel at Colomis
Anne Sofie von Otter, mezzo soprano
ImMERCEsion: The Merce Cunningham
Dance Company
Meryl Tankard Australian Dance
Theatre: Furioso
Abbey Lincoln
Alvin Ailey American Dance Theater
Sweet Honey in the Rock
Package price $209 per couple (not including tax & gratuity) includes valet parking at the hotel, overnight accommoda?tions in a European-style guest room, a continental breakfast, pre-show dinner reservations at Escoffier restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
Gratzi Restaurant
326 South Main Street 734.663.5555 for reservations
Mon. Jan. 18 Tue. Feb. 23 Sun. Mar. 28 Fri.Apr.23
The Gospel at Colonus Pre-performcince dinner
Kodo Pre-performance dinner
American String Quartet Post-performance dinner
Lincoln Center Jazz Orchestra with Wynton Marsalis Pre performance dinner
Package price $60 per person includes guaranteed reserva?tions for a preor post-performance dinner (any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance.
Weber's Inn
3050 Jackson Road, Ann Arbor 734.769.2500 for reservations
Thur. Jan. 28 Thur. Mar. 11 Fri. Mar. 19 Sun. Apr. 25
American String Quartet Pre-performance dinner
James Galway, flute Pre-performance dinner
Alvin Alley American Dance Theater Pre-performance dinner
NHK Symphony Orchestra of Tokyo Post-performance dinner
Package price $139 for a single and $213 for a double, deluxe standard (king or queen) includes overnight stay, guaranteed reservations for a preor post-show dinner (select any entree from the special package menu, non-alcholic beverage, and dessert, includes taxes & tip) and reserved "A" seats on the main floor at the performance.
Gift Certificates
Looking for that perfect meaningful eift that speaks
volumes about your taste Tired of giving flowers, ties or jewel-
ry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 80 events throughout our season, wrapped and deliv?ered with your personal message, the UMS Gift Certificate is ideal for birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarm-ing present when new friends move to town.
Make your gift stand out from the rest: call the UMS Box Office at 734.764.2538, or stop by Burton Tower.
A Sound Investment
Advertising and Sponsorship at UMS
Advertising in the UMS program book or sponsoring UMS performances will enable you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
Advertising
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to per?formance experiences. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organization comes to the attention of an affluent, educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures. And there are numerous benefits that accrue from your investment. For example, UMS offers you a range of programs that, depending on level, provide a unique venue for:
Enhancing corporate image Launching new products Cultivating clients
Developing business-to-business relationships Targeting messages to specific demographic groups
Making highly visible links with arts and
education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, call 734.647.1176
Acknowledgments
In an effort to help reduce distracting noises, the Warner-Lambert Company provides complimentary Halls Mentho-Lyptus Cough Suppressant Tablets in specially marked dispensers located in the lobbies.
Thanks to Sesi Lincoln-Mercury for the use of a Lincoln Town Car to provide transportation for visiting artists.
Advisory Committee
The Advisory Committee is a 48-member organiza?tion which raises funds for UMS through a variety of projects and events: an annual auction, the cre?ative "Delicious Experience" dinners, the UMS Cookbook project, the Season Opening Dinner, and the Ford Honors Program Gala. The Advisory Committee has pledged to donate $175,000 this current season. In addition to fundraising, this hard-working group generously donates valuable and innumerable hours in assisting with the educa?tional programs of UMS and the behind-the-scenes tasks associated with every event UMS presents. If you would like to become involved with this dynamic group, please give us a call at 734.936.6837 for information.
Group Tickets
Many thanks to all of you groups who have joined the University Musical Society for an event in past seasons, and a hearty welcome to all of our new friends who will be with us in the coming years. The group sales program has grown incredibly in recent years and our success is a direct result of the wonder?ful leaders who organize their friends, families, con?gregations, students, and co-workers and bring them to one of our events.
Last season over 8,300 people, from as far away as California, came to UMS events as part of a group, and they saved over $40,000 on some of the most popular events around! Many groups who booked their tickets early found themselves in the enviable position of having the only available tickets to sold out events like Wynton Marsalis, Itzhak Perlman, David Daniels, Evgeny Kissin, and the Chicago Symphony Orchestra.
This season UMS is offering a wide variety of events to please even the most discriminating tastes, many at a fraction of the regular price. Imagine yourself surrounded by 10 or more of your closest friends as they thank you for getting great seats to the hottest shows in town. It's as easy as picking up the phone and calling UMS Group Sales at 734.763.3100.
Ford Honors Program
The Ford Honors program is made possible by a generous grant from the Ford Motor Company Fund and benefits the UMS Education Program. Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long?standing and significant relationship. In one evening, UMS presents the artist in concert, pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Van Cliburn was the first artist so honored, with subsequent honorees being Jessye Norman and Garrick Ohlsson.
This season's Ford Honors Program will be held Saturday, May 8. The recipient of the 1999 UMS Distinguished Artist Award will be announced in January.
Thank You!
Great performances--the best in music, theater and dance--are pre?sented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, who constitute the members of the Society. The list below represents names of current donors as of November 15, 1998. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct this right away. The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
SOLOISTS
Individuals Charlotte McGeoch Randall and Mary Pittman Herbert Sloan Paul and Elizabeth Yhouse
Businesses
Ford Motor Company Fund Forest Health Services Corporation Parke-Davis Pharmaceutical
Research University of Michigan
Foundations
Arts Midwest
Lila Wallace Reader's Digest
Audiences for the Performing
Arts Network Lila Wallace Reader's Digest
Arts Partners Program The Ford Foundation Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
MAESTROS
Individuals Herb and Carol Amster Carl and Isabelle Brauer Sally and Ian Bund Kathleen G. Charla Ronnie and Sheila Cresswell Robert and Janice DiRomualdo Jim and Millie Irwin Elizabeth E. Kennedy Leo and Kathy Legatski Prudence and Amnon Rosenthal Carol and Irving Smokier Ron and Eileen Weiser
Businesses
Aetna Retirement Services Arbor TemporariesArbor Tech?nicalPersonnel Systems.Inc. Brauer Investments Elastizell Corp of America IBM
KeyBank
Masco Corporation McKinley Associates Mechanical Dynamics NBD Bank NSK Corporation Edward Surovell Realtors TriMas Corporation WDET WEMU WGTE WMXD
Foundations Heartland Fund Benard L. Maas Foundation John S. and James L. Knight
Foundation New England Foundation for the
Arts, Inc.
VIRTUOSI
Individuals
Edward Surovell and Natalie Lacy
Businesses
Beacon Investment Company
General Motors Corporation
National City Bank
Thomas B. McMullen Company
Weber's Inn
CONCERTMASTERS
Individuals
Maurice and Linda Binkow
Beverley and Gerson Geltner
Charles N. Hall
Sun-Chien and Betty Hsiao
F. Bruce Kulp and Ronna Romney
Mr. David G. LoeselCafe Marie
Robert and Ann Meredith
Marina and Robert Whitman
Businesses
Bank of Ann Arbor
Blue Nile Restaurant
Butzel Long Attorneys
Caft Marie
Deloitte & Touche
Miller, Canfield, Paddock, and Stone
Pepper, Hamilton & Scheetz
Sesi Lincoln-Mercury
Visteon
FoundationsOrganizations Chamber Music America THE MOSAIC FOUNDATION
(ofR.&P. Heydon) Institute for Social Research
LEADERS
Individuals Martha and Bob Ause Joan A. Binkow Jim Botsford and
Janice Stevens Botsford Mr. and Mrs. William Brannan Barbara Everitt Bryant Lawrence and Valerie Bullen Dr. and Mrs. James P. Byrne Mr. Ralph Conger Katharine and Jon Cosovich Jim and Patsy Donahey Mr. and Mrs. Thomas C. Evans John and Esther Floyd
Mr. Edward P. Frohlich Norm Gottlieb and
Vivian Sosna Gottlieb Keki and Alice Irani Dean and Gwen Louis Paul and Ruth McCracken Murray Pitt
John and Dorothy Reed Don and
Judy Dow Rumelhart Professor Thomas J. and
Ann Sneed Schriber Loretta M. Skewes Mr. and Mrs.
John C. Stegeman Richard E. and
Laura A. Van House Mrs. Francis V. Viola III John Wagner Marion T. Wirick and James N. Morgan
Businesses AAA of Michigan Alf Sudios AT&T Wireless CFI Group Comerica
Dennis Dahlmann, Inc. Environmental Research Institute of Michigan ERIM International Inc Ideation, Inc. Joseph Curtin Studios Main Street Ventures Red Hawk Bar and Grill Regency Travel Republic Bank Target Stores Zanzibar
Foundations Ann Arbor Area
Community Foundation
PRINCIPALS
Individuals Dr. and Mrs. Gerald Abrams Mrs. Gardner Ackley Jim and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. Robert G. Aldrich Alf Studios
Emily W. Bandera, M.D. Peter and Paulett Banks A. J. and Anne Bartoletto Bradford and Lydia Bates Raymond and Janet Bernreuter
Suzanne A. and
Frederick J. Beutler Ron and Mimi Bogdasarian Lee C. Bollinger and
Jean Magnano Bollinger Howard and Margaret Bond Laurence Boxer, M.D.;
Grace J. Boxer, M.D. Jeannine and Robert Buchanan Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Edward and Mary Cady Kathleen and Dennis Cantwell Edwin and ludith Carlson Jean and Kenneth Casey Mr. and Mrs. John Alden Clark David and Pat Clyde Maurice Cohen Mary K. Cordes Alan and Bette Cotzin Peter and Susan Darrow Jack and Alice Dobson Molly and Bill Dobson Elizabeth A. Doman Jan and Gil Dorer Mr. and Mrs. John R. Edman Stefan S. and Ruth S. Fajans David and Jo-Anna Featherman Adrienne and Robert Feldstein Ken and Penny Fischer Ray and Patricia Fitzgerald David C. and Linda L. Flanigan Robben and Sally Fleming Ilene H. Forsyth Michael and Sara Frank Lourdes and Otto Gago Marilyn G. Gallatin William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Sue and Carl Gingles Linda and Richard Greene Frances Greer Alice Berberian Haidostian Anne and Harold Haugh Debbie and Norman Herbert Bertram Herzog Terry Hirth Julian and Diane Hoff Robert M. and Joan F. Howe John and Patricia Huntington Stuart and Maureen Isaac Mercy and Stephen Kasle Herbert Katz
Richard and Sylvia Kaufman Thomas and Shirley Kauper Bethany and Bill Klinke Charles and Linda Koopmann Michael and Phyllis Korybalski Dimitri and Suzanne Kosacheff Barbara and Michael Kusisto Mr. and Mrs. Henry M. Lee Carolyn and Paul Lichter Peter and Sunny Lo Robert and Pearson Macek John and Cheryl MacKrell Alan and Carla Mandel Judythe and Roger Maugh Rebecca McGowan and
Michael B. Staebler Hattie and Ted McOmber Dr. and Mrs. Donald A. Meier
Dr. H. Dean and
Dolores Millard Andrew and Candice Mitchell Lester and Jeanne Monts Grant Moore
Dr. and Mrs. Joe D. Morris Cruse W. and
Virginia A. Patton Moss George and Barbara Mrkonic Mr. and Mrs. Homer Neal M. Haskell and
Jan Barney Newman Mrs. Marvin Niehuss Bill and Marguerite Oliver Gilbert Omenn and
Martha Darling Joe and Karen Koykka O'Neal Constance L. and
David W. Osier Mr. and
Mrs. William B. Palmer William C. Parkinson Dory and John D. Paul John M. Paulson Maxine and Wilbur K. Pierpont Stephen and Agnes Reading Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Molly Resnik and John Martin Jack and Margaret Ricketts Barbara A. Anderson and
John H. Romani Gustave and Jacqueline Rosseels Dr. Nathaniel H. Rowe Rosalie and David Schottenfeld Joseph and Patricia Settimi Janet and Mike Shatusky Helen and George Siedel Dr. Elaine R. Soller Steve and Cynny Spencer Judy and Paul Spradlin Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Lois A. Theis Dr. Isaac Thomas III and
Dr. Toni Hoover Susan B. Ullrich Jerrold G. Utsler Charlotte Van Curler Don and Carol Van Curler Mary Vanden Belt Roy and JoAn Wetzel Elizabeth B. and
Walter P. Work, Jr.
Businesses
The Barfield CompanyBartech Bodywise Therapeutic Massage Consulate General of the
Federal Republic of
Germany
Patton Corporation Howard Cooper, Inc The Monroe Street Journal O'Neal Construction Charles Reinhart Company Shar Products Company Standard Federal Bank STM Inc. Swedish Office of Science and
Technology
41
Foundations
Harold and Jean Grossman
Family Foundation J. F. Ervin Foundation The Lebensfeld Foundation Montague Foundation Nonprofit Enterprise at Work Rosebud Foundation Rosalie Edwards
Vibrant Ann Arbor Sarns Ann Arbor Fund
BENEFACTORS
Individuals Carlene and Peter Aliferis Dr. and Mrs. Rudi Ansbacher Catherine S. Arcure Jennifer Arcure and
Eric Potoker
Janet and Arnold Aronoff Max K. Aupperle Gary and Cheryl Balint Dr. and Mrs. Mason Barr, Jr. Robert and Wanda Bartlett Karen and Karl Bartscht Henry J. Bednarz Ralph P. Beebe P. E. Bennett L. S. Berlin
Mr. and Mrs. Philip C. Berry John Blankley and
Maureen Foley Charles and Linda Borgsdorf David and Sharon Brooks F. Douglas Campbell Jean W. Campbell Bruce and Jean Carlson Janet and Bill Cassebaum Tsun and Siu Ying Chang Mrs. Raymond S. Chase Don and Betts Chisholm Janice A. Clark John and Nancy Clark Leon and Heidi Cohan James and Constance Cook Mr. and Mrs. Howard Cooper Susan and Arnold Coran H. Richard Crane Alice B. Crawford Delia DiPietro and
Jack Wagoner, M.D. Charles ana Julia Eisendrath Dr. Alan S. Eiser David Eklund and Jeff Green David and Lynn Engelbert Dr. and Mrs. S.M. Farhat Claudine Farrand and
Daniel Moerman Dr. and Mrs. John A. Faulkner Dede and Oscar Feldman Ronda and Ron Ferber Sidney and Jean Fine Clare M. Fingerle James and Anne Ford Susan Goldsmith and
Spencer Ford Phyllis W. Foster Paula L. Bockenstedt and
David A. Fox Charles and Rita Gelman Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Margaret G. Gilbert Joyce and Fred M. Ginsberg
4 2 Benefactors, continued
Paul and Anne Glendon
Dr. Alexander Gotz
Dr. and Mrs. William A. Gracie
Elizabeth Needham Graham
Dr. John and Renee M. Greden
Lila and Bob Green
John and Helen Griffith
Leslie and Mary Ellen Guinn
Helen C. Hall
Mr. and Mrs. Elmer F. Hamel
Robert and Susan Harris
Susan Harris
Walter and Dianne Harrison
Clifford and Alice Hart
Mr. and Mrs. E. Jan Hartmann
Taraneh and Carl Haske
Bob and Lucia Heinold
Mr. and
Mrs. Ramon Hernandez Fred and Joyce Hershenson Mrs. W.A. Hiltner Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hoobler Mary Jean and Graham Hovey David and Dolores Humes Ronald R. and
Gaye H. Humphrey John and Gretchen Jackson Wallie and Janet Jeffries James and Dale Jerome Billie and Henry Johnson Mr. and Mrs. Richard A. Jones Stephen Josephson and
Sally Fink Susan and Stevo Julius
Robert L. and Beatrice H. Kahn Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Hermine Roby Klingler Philip and Kathryn Klintworth Jim and Carolyn Knake Barbara and Charles Krause Samuel and Marilyn Krimm Helen and Arnold Kuethe Mr. and Mrs. Leo Kulka Lee E. Landes
Mil I .ma and David S. Bach John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Leo and Kathy Legatski Myron and Bobbie Levine Jeffrey and lane Mackie-Mason Mark Mahlberg Edwin and Catherine Marcus Marilyn Mason Natalie Matovinovic Mary and Chandler Matthews Joseph McCune and
Georgiana Sanders Thomas B. and
Deborah McMullen Walter and Ruth Metzger Myrna and Newell Miller John and Michelle Morris Dr. Eva L. Mueller Martin Neuliep and
Patricia Pancioli Marylen and Harold Oberman
Dr. and Mrs. Frederick C. O'Dell Mr. and Mrs. James C. O'Neill Mark and Susan Orringer Mark Ouimet and
Donna Hrozencik Shirley and Ara Paul Lorraine B. Phillips William and Betty Pierce Eleanor and Peter Pollack Stephen and Bettina Pollock Richard H. and Mary B. Price V. Charleen Price Bradley and Susan Pritts Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen Jim and Bonnie Reece La Vonne and Gary Reed Rudolph and Sue Reichert Glenda Renwick Maria and Rusty Restuccia Katherine and William Ribbens Ken Robinson Mrs. Doris E. Rowan Maya Savarino and
Raymond Tanter Sarah Savarino David and Marcia Schmidt Mrs. Richard C. Schneider Edward and Jane Schulak Howard and Aliza Shevrin Sandy and Dick Simon Scott and Joan Singer George and
Mary Elizabeth Smith Mr. and Mrs. Neil J. Sosin Allen and Mary Spivey Gus and Andrea Stager Mrs. Ralph L. Steffek Professor Louis and
Glennis Stout
Dr. and Mrs. Jeoffrey K. Stross Bob and Betsy Teeter James L. and Ann S. Telfer Scott Bennett Terrill Mrs. E. Thurston Thieme Marilyn Tsao and Steve Gao Sally Wacker Ellen C. Wagner Gregory and Annette Walker Wilies and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Dr. Steven W. Werns B. Joseph and Mary White Clara G. Whiting Brymer Williams Frank E. Wolk J. D. Woods
Don and Charlotte Wyche Dr. and Mrs. Thomas Xydis Mr. and Mrs. Edwin H. Young Nancy and Martin Zimmerman
Businesses
Arts Management Group
Azure
Bella Ciao Trattoria
Cooker Bar and Grille
Edwards Brothers, Inc.
Gandy Dancer Restaurant
Gratzi
Great Lakes Bancorp
Kerrytown Bistro
Malloy Lithographing, Inc.
Metzger's German Restaurant
The Moveable Feast
Paesanos
Palio
Perfectly Seasoned
UVA Machine
Foundations
The Kennedy Center for the Performing Arts
ASSOCIATES
Individuals
M. Bernard Aidinoff
Michael and Suzan Alexander
Anastasios Alexiou
Christine Webb Alvey
Dr. and Mrs. David G. Anderson
David and Katie Andrea
Harlene and Henry Appelman
Patricia and Bruce Arden
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
Jonathan and Marlene Ayers
Essel and Menakka Bailey
Dr. and Mrs. Daniel R. Balbach
Lesli and Christopher I!.ill.ml
Cy and Anne Barnes
Norman E. Barnett
Leslie and Anita Bassett
Scott Beaman
Astrid B. Beck and
David Noel Freedman Kathleen Beck Neal Bedford and
Gerlinda Melchiori Linda and Ronald Benson Ruth Ann and Stuart J. Bergstein Ronald I. Bienkowski Cathie and Tom Bloem Mr. and Mrs. H. Harlan Bloomer Roger and Polly Bookwalter Gary Boren
Dr. and Mrs. Ralph Bozell Mr. Joel Bregman and
Ms. Elaine Pomeranz Mr. and Mrs. Gerald Bright Allen and Veronica Britton A. Joseph and Mary Jo Brough Olin L. Browder June and Donald R. Brown Morton B. and Raya Brown Trudy and Jonathan Bulkley Arthur and Alice Burks Margot Campos Charles and Martha Cannell Jim and Priscilla Carlson Marchall F. and Janice L. Carr Jcannctte and Robert Carr James S. Chen Dr. Kyung and Young Cho Robert J. Cierznicwski Nancy Cilley Gerald S. Cole and
Vivian Smargon John and Penelope Collins Wayne and Melinda Colquitt Cynthia and Jeffrey Colton Lolagene C. Coombs Paul N. Courant and
Marta A. Manildi Merle and Mary Ann Crawford Kathleen J. Crispell and
Thomas S. Porter
Mary R. and John G. Curtis
Ed and Ellie Davidson
Laning R. Davidson, M.D.
John and Jean Debbink
Mr. and Mrs. Jay De Lay
Louis M. DeShantz
Elizabeth Dexter
Gordon and Elaine Didier
Steve and Lori Director
Dr. and Mrs. Edward F. Domino
Thomas and Esther Donahue
Eugene and Elizabeth Douvan
Prof. William Gould Dow
Jane E. Dutton
Martin and Rosalie Edwards
Joan and Emil Engel
Susan Feagin and John Brown
Reno and Nancy Feldkamp
Carol Finerman
Herschel and Annette Fink
Mrs. Beth B. Fischer
Susan R. Fisher and
John W. Waidley Beth and Joe Fitzsimmons Jennifer and Guillermo Flores Ernest and Margot Fontheim Mr. and Mrs. George W. Ford Doris E. Foss
Howard and Margaret Fox Ronald Fracker
Deborah and Ronald Freedman Andrew and Deirdre Freiberg Lela J. Fuester David J. Fugenschuh and
Karey Leach
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Caller Gwyn and Jay Gardner Professor and
Mrs. David M. Gates Steve Geiringer and Karen Bantel Thomas and Barbara Gelehrter James and Janet Gilsdorf Maureen and David Ginsburg Irwin J. Goldstein and
Marty Mayo
Steve and Nancy Goldstein Enid M. Gosling Mrs. William Grabb Dr. and Mrs. Lazar J. Greenfield Carleton and Mary Lou Griffin Robert M. Grover Ken and Margaret Guire Arthur W. Gulick, M.D. Drs. Bita Esmaeli and
Howard Gutstein Don P. Haefher and
Cynthia J. Stewart Yoshiko Hamano Thomas and Connie Hefmer Kenneth and Jeanne Heininger John L. and
Jacqueline Stearns Henkel Carl and Charlene Herstein Herb and Dee Hildebrandt Ms. Teresa Hirth Louise Hodgson Jack and Davetta Homer Dr. and Mrs. Joseph A. Houle Linda Samuelson and
Joel Howell Ralph and Del Hulett Mrs. Hazel Hunschc Thomas and Kathryn Huntzkker Eileen and Saul Hymans Robert B. Ingling Carol and John Isles Harold and Jean Jacobson
Ellen C. Johnson Kent and Mary Johnson Tim and Jo Wiese Johnson Elizabeth and Lawrence Jordan Steven R. Kalt and
Robert D. Heeren Dr. and Mrs. Mark S. Kaminski Allyn and Sherri Kantor Mr. and Mrs. Norman A. Katz Anna M. Kauper David and Sally Kennedy Richard L. Kennedy Emily and Ted Kennedy Donald F. and Mary A. Kiel Tom and Connie Kinnear Rhea and Leslie ki-.li lames and )ane Kister Dr. David E. and Heidi Castleman Klein Joseph and Mariiynn Kokoszka Melvyn and Linda Korobkin Bert and Catherine La Du John and Margaret Laird Mr. and Mrs. Henry M. Lapeza John and Theresa Lee Frank Legacki and Alicia Torres Mrs. Jacqueline H. Lewis Lawrence B. Lindemer Vi-Cheng and Hsi-Yen Liu Rebecca and Lawrence Lohr Naomi E. Lohr Dan and Kay Long Leslie and Susan Loomans Charles and Judy Lucas Edward and Barbara Lynn Donald and Doni Lystra Frederick C. and
Pamela J. MacKintosh Sally C. Maggio Steve and Ginger Maggio Virginia Mahle Marcovitz Family Richard Marcy Nancy and Philip Margolis Irwin and Fran Martin Sally and BUI Martin Margaret W. Maurer Jeffrey and Sandra Maxwell Margaret E. McCarthy W. Bruce McCuaig Griff and Pat McDonald Charlotte McGeoch Terence McGinn Bernice and Herman Merte Deanna Relyea and
Piotr Michalowski Leo and Sally Miedler Jeanette and Jack Miller Dr. and Mrs. James B. Miner Kathleen and James Mitchiner Dr. and Mrs. George W. Morley A.A. Moroun
Brian and Jacqueline Morton Dr. and Mrs. Gunder A. Myran Frederick C. Neidhardt and
Germaine Chipault Steve and Christine Nowaczyk Mrs. Charles Overberger Dr. Owen Z. and
Barbara Perlman Frank and Nelly Petrock Joyce H. and Daniel M. Phillips Roy and Winnifred Pierce William and Barbara Pierce Frank and Sharon Pignanelli Elaine and Bertram Pitt Richard and Meryl Place Donald and Evonne Plantinga Cynthia and Roger Postmus Bill and Diana Pratt
Jerry and Lorna Prescott Larry and Ann Preuss Wallace and Barbara Prince J. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Anthony L. Reffells and
Elaine A. Bennett Carol P. Richardson Constance Rinehart John and Marilyn Rintamaki James and Alison Robison Mr. and Mrs. Stephen J. Rogers Mrs. Irving Rose Dr. Susan M. Rose Gay and George Rosenwald Drs. Andrew Rosenzweig and
Susan Weinman Craig and Jan Ruff Jerome M. and Lee Ann Salle Ina and Terry Sandalow Sheldon Sandweiss Michael and Kiiniu Sarosi Albert J. and Jane L. Sayed Meeyung and Charles Schmitter Sue Schroeder Marvin and Harriet Selin Constance Sherman Alida and Gene Silverman Frances U. and Scott K. Simonds John and Anne Griffin Sloan Alene M. Smith Carl and Jari Smith Radley and Sandra Smith Mrs. Robert W. Smith Richard Soble and
Barbara Kessler Jorge and Nancy Solis Katharine B. Soper Dr. Yoram and hli.uu Sorokin Dr. Hildreth H. Spencer Jeffrey D. Spindler L. Grasselli Sprankle Francyne Stacey Dr. and Mrs. Alan Steiss Steve and Gayle Stewart Dr. and Mrs. Stanley Strasius Nancy Bielby Sudia Charlotte Sundelson Brian and Lee Talbot Ronna and Kent Talcott Eva and Sam Taylor Cynthia A. Terrill Paul Thielking Edwin J. Thomas Alleyne C. Toppin Joan Lowenstein and
Jonathan Trobe Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Paul and Fredda Unangst Kathleen Treciak Van Dam Jack and Marilyn van der Velde Rebecca Van Dyke William C. Vassell Kate and Chris Vaughan Carolyn and Jerry Voight Warren Herb and
Florence Wagner Wendy L. Wahl and
William R. Lee
Norman C. and Bertha C. Wait Bruce and Raven Wallace Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardncr Joyce Watson Robin and Harvey Wax Barry and Sybil Wayburn
Mrs. Joan D. Weber Deborah Webster and
George Miller
Marcy and Scott Westerman Harry C. White and
Esther R. Redmount Janet F. White Iris and Fred Whitehouse Christine and Park Willis Thomas and Iva Wilson Charlotte Wolfe Mr. and Mrs. A. C. Wooll Phyllis B. Wright MaryGrace and Tom York Ann and Ralph Youngren Gail and David Zuk
Businesses
Alice Simsar Fine Art, Inc.
Ann Arbor District Library
Atlas Tool, Inc.
Borders Books and Music
Coffee Express Co.
General Systems
Consulting Group Jenny lind Club of Michigan, Inc. John Leidy Shop, Inc. Scientific Brake and Equipment
Company Swedish American Chamber
of Commerce
Foundations
The Sneed Foundation, Inc.
ADVOCATES
Individuals
Jim and Jamie Abelson John R. Adams Tim and Leah Adams Irwin P. Adelson, M.D. Michthiko and Hiroko Akiyama Mr. and Mrs. Gordon E. Allardyce Mike Allemang James and Catherine Allen Richard and Bettye Allen Nick and Marcia Alter Richard Amdur Helen and David AminofT Dr. and Mrs. Charles T. Anderson Catherine M. Andrea Timothy and Caroline Andrescn Dr. and Mrs. Dennis L Angellis Elaine and Ralph Anthony Bert and Pat Armstrong Thomas ]. and Mary E. Armstrong Gaard and Ellen Arneson Mr. and Mrs. Lawrence E. Arnett Dwight Ashley
Mr. and Mrs. Dan E. Atkins HI Eric M. and Nancy Aupperle Erik and Linda Lee Austin Eugene and Charlene Axclrod Shirley and Don Axon Virginia and Jerald Bachman Lillian Back lane Bagchi
Prof, and Mrs. J. Albert Bailey Richard W. Bailey and Julia Huttar Bailey Robert L Baird Bill and Joann Baker Dennis and Pamela (Smitter) Baker Laurence R. and Barbara k. Baker Maxine and Larry Baker Drs. Helena and Richard Balon John R. Bareham David and Monika Barera
4 4 Advocates, continued
Maria Kardas Barna
Ms. Gail Davis Barnes
Robert M. and Sherri H. Barnes
Donald C. Barnetle, Jr.
Mark and Karla Bartholomy
Rosemarie Bauer
fames M. Beck and
Robert J. McGranaghan Mr. and Mrs. Steven R. Beckert Robert M. Bcckley and Judy Dinesen Nancy Bender Walter and Antje Benenson Harry and Betty Benford Merctc and Erling Btondal Bengtsson Bruce Benner loan and Rodney Bentz Mr. and Mrs. Ib Bcntzen-Bilkvist Dr. Rosemary R. Berardi Barbara Levin Bergman Minnie Berki
Abraham and Thelma Berman Harvey and Shelly Kovacs Berman Pearl Bernstein Gene and Kay Berrodin Andrew H. Berry, D.O. Robert Hunt Berry Sheldon and Barbara Berry Harvey Bertcher R. Bezak and R. Halstead John and Marge Biancke Irene Biber Eric and Doris Billes Jack and Anne Birchfield William and Ilene Birge Elizabeth S. Bishop Drs. Ronald C. and Nancy V. Bishop Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Dennis Blubaugh George and Joyce Blum Beverly J. Bole Catherine I. Bolton Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bonnell Ed and Luciana Borbcly Lola J. Borchardt Jeanne and David Bostian Bob and Jan Bower Dean Paul C. Boylan C. Paul and Anna Y. Bradley Enoch and Liz Brater Professor and Mrs. Dale E. Briggs Patrick and Kyoko Broderick Dr. and Mrs. Ernest G. Brookfield Linda Brown and Joel Goldberg Cindy Browne Mary and John Brueger Mrs. Webster Brumbaugh Dr. Donald and Lela Bryant Isabel Buckner Dr. Frances E. Bull Margaret and John Burch Marilyn Burhop hul;. and Bill Butler Robert A. Sloan and Ellen M. Byerlein Patricia M. Cackowski, M.D. loannc Cage
Louis and Janet Callaway H. D. Cameron Jenny Campbell (Mrs. D.A.) Michael and Patricia Campbell Robert and Phyllis Carlson James and Jennifer Carpenter Deborah S. Carr
Dennis B. and Margaret W. Carroll Carolyn M. Carty and
Thomas H. Haug John and Patricia Carver Dr. and Mrs. Joseph C. Cerny William and Susan Chandler J. Wchrley and Patricia Chapman Joan and Mark Chester Catherine Christen Mr. and Mrs. C. Bruce Christenson Edward and Rebecca Chudacoff Mark Ctague and Anne Vanden Belt Brian and Cheryl Clarkson Charles and Lynne Clippert Roger and Mary Coe Dorothy Burke Coffey Alice S. Cohen
Hubert and Ellen Cohen
Hilary and Michael Cohen
Howard and Vivian Cole
Mr. and Mrs. Michael F. Collier
Ed and Cathy Colone
Edward J. and Anne M. Comeau
Carolyn and L Thomas Conlin
Patriot and Anncward Conlin
Nan and Bill Conlin
Thomas Conner
Donald W. Cook
Gage R. Cooper
Robert A. Cowles
Clifford and Laura Craig
Marjorie A. Cramer
Dee Crawford
Richard and Penelope Crawford
Charles and Susan Cremin
George H. and Connie Cress
Mary C. Crichlon
Lawrence Crochier
Constance Crump and ay Simrod
Mr. and Mrs. James I. Crump
Margaret R. Cudkowicz
Richard J. Cunningham
David and Audrey Curtis
Jeffrey S. Cutter
Roderick and Mary Ann Daane
Mr. and Mrs. John R. Dale
Marylee Dalton
Robert and Joyce Damschroder
Lee and Millie Danielson
Jane and Gawaine Dart
Stephen Darwall and
Rosemarie Hester Sunil and Merial Das DarLinda and Robert Dascola Ruth E. Datz
Dr. and Mrs. Charles Davenport Mr. and Mrs. Arthur W. Davidge David and Kay Dawson Joe and Nan Decker Dr. and Mrs. Raymond F. Decker Rossanna and George DeGrood Penny and Laurence B. Deitch Elena and Nicholas Delbanco William S. Demray Lloyd and Genie Dethloff Don and Pam Devine Elizabeth and Edmond DeVine A. Nelson Dingle Dr. and Mrs. Edward R. Doezema Jean Dolcga
Heather and Stuart Dombey Fr. Timothy J. Dombrowski Steven and Paula Donn Thomas Doran Deanna and Richard Dorner Dick and Jane Dorr Thomas Downs Paul Drake and Joyce Penner Roland and Diane Drayson Harry M. and Norrene M. Dreffs Janet Driver
Dale R. and Betty Berg Drew John Dryden and Diana Raimi Robert and Connie Dunlap Edmund and Mary Durfee John W. Durstine Charlotte K. Eaton Jacquelynne S. Ecdes Elaine Economou and
Patrick Conlin Mr. and Mrs. Richard Edear Sara and Morgan Edwards Judge and Mrs. S. J. Elden Sol and Judith Elkin Julie and Charles Ellis Ethel and Sheldon Ellis James Ellis and Jean Lawton Jack and Wylma Elzay Michael and Margaret Emlaw Mackenzie and Marcia Endo Jim and Sandy Eng Patricia Enns
Carolync and Jerry Epstein Karen Epstein and
Dr. Alfred Franzblau Mr. and Mrs. Frederick A. Erb Stephen and Pamela Ernst Leonard and Madeline Eron Dorothy and Donald F. Eschman
Eric and Caroline Ethington
Barbara Evans
Mr. and Mrs. Robert B. Fair, Jr.
Barbara and Garry C. Faja
Mark and Karen Falahee
Elly and Harvey Faltt
Thomas and Julia Falk
Edward Farmer
Mr. and Mrs. H. W. Farrington, Jr.
Walter Fedcrlein
Inka and David Felbeck
Phil and Phyllis Fcllin
Larry and Andra Ferguson
Karl and Sara Fiegenschuh
Clay Finkbeiner
C. Peter and Bev A. Fischer
Gerald B. and Catherine L. Fischer
Dr. Lydia Fischer
Patricia A. Fischer
Charles W. Fisher
Eileen and Andrew Fisher
Dr. and Mrs. Richard L Fisher
Winifred Fisher
Barbara and James Fitzgerald
Linda and Thomas Fitzgerald
Morris and Debra Flaum
Mr. and Mrs. Kurt Flosky
David and Ann Flucke
Maureen Forrest, M. D. and
Dennis Capozza Dr Linda K. Forsberg William and Beatrice Fox Thomas H. Franks Ph.D Lucia and Doug Freeth Richard and Joann Freethy Gail Fromes Jerry Frost
Bartley R. Frueh, MD Joseph E. Fugere and
Marianne C. Mussctt Lois W. Gage Jane Galantowicz Thomas H. Galantowicz Joann Gargaro Helen and Jack Garris C Louise Garrison Mr. James C. Garrison Janet and Charles Garvin Allan and Harriet Gelfond Mrs. Jutta Gerber Deborah and Henry Gerst Michael Gerstenberger W. Scott Gerstenberger and Elizabeth A. Sweet Beth Genne and Allan Gibbard James and Cathie Gibson Paul and Suzanne Gikas Mr. Harlan Gilmore Beverly Jeanne Giltrow Ilan Gittlcn
Peter and Roberta Gluck Mr. and Mrs. Robert Gockel Albert L. Goldberg Edward and Ellen Goldberg Ed and Mona Goldman Mr. and Mrs. David N. Goldsweig Mrs. Eszter Gombosi Mitch and Barb Goodkin William and Jean Gosling Charles Goss
Naomi Gottlieb and Theodore Harrison DDS Siri Gottlieb Michael L. Gowing Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Helen Graves and Patty Clare Pearl E. Graves
Dr. William H. and Maryanna Graves Larry and Martha Gray Isaac and Pamela Green Bill and Louise Gregory Linda and Roger Grekin Daphne and Raymond Grew Mr. and Mrs. James J. Gribble Mark and Susan Griffin Werner H. Grille Margaret Grillot Laurie Gross Kay Gugala
Carl E. and Julia H. Guldberg Mr. and Mrs. Lionel Guregian
Joseph and Gloria Gurt Margaret Gutowski and
Michael Marietta Caroline and Roger Hacked Mrs. William HaTstead Mrs. Frederick G. Hammitt Dora E. Hampel Lourdcs S. Bastos Hansen Charlotte Hanson Herb and Claudia Harjes M. C. Harms Nile and Judith Harper Stephen G. and Mary Anna Harper Doug Harris and Deb Peery Laurelynne Daniels and
George P. Harris Ed Sarath and Joan Harris Robert and lean Harris Jerome P. Hartweg Elizabeth C. Hassinen Ruth Hastie
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4 6 Advocates, continued
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Goethe Heroines:
Suleika, Gretchen, and Mignon
Suleika I (D. 720) Schubert [Text: Willemer]
Was bedeutet die Bewegung Bringt der Ost mir frohe Kunde Seiner Schwingen frische Regung Kuhlt des Herzens tiefe Wunde.
Kosend spielt er mit dem Staube, Jagt ihn auf in leichten Wolkchen; Treibt zur sichern Rebenlaube Der Insekten frohes Volkchen.
Lindert sanft der Sonne Gliihen, Kuhlt auch mir die heiSen Wangen; Kiifit die Reben noch im Fliehen, Die auf Feld und Hiigel prangen.
Und mir bringt sein leises Flustern Von dem Freunde tausend Griifie; Eh' noch diese Hiigel dustern, GriiEen mich wohl tausend Kiisse.
Und so kannst du weiterziehen! Diene Freunden und Betriibten. Dort, wo hohe Mauern gliihen, Dort find ich bald den Vielgeliebten.
Ach, die wahre Herzenskunde, Liebeshauch, erfrischtes Leben Wird mir nur aus seinem Munde, Kann mir nur sein Atem geben.
What is the meaning of this movement Is the East wind bringing me good news The refreshing movement of his wings cools the deep wounds of my heart.
He plays caressingly with the dust and stirs it into little clouds; drives the happy insect to the shelter of the vine leaves.
He softly soothes the glow of the sun, also cools my hot cheeks; and as he flies onward, kisses the vines displayed on the fields and hills.
And its soft whispering brings me A thousand greetings from my friend; Before these hills dim, I will be greeted by a thousand kisses.
So as you go on your way
And serve friends and the saddened.
There where high walls glow,
I shall soon find my dearly beloved.
Oh, the true message of his heart, Love's breath, refreshing life Comes only from his mouth, Can be given to me only by his breath.
Szene aus Faust, D. 126 Schubert [Text: Goethe]
Boser Geist:
Wie anders, Gretchen, war dir's,
als du noch voll Unschuld hier zum Altar
tratst, aus dem vergriff'nen Biichelchen Gebete
lalltest, halb Kinderspiele, halb Gott im Herzen.
Gretchen! wo steht dein Kopf in deinem Herzen welche Missetat Bet'st du fur deiner Mutter Seele, die durch dich zur langen, langen Pein hiniiberschlief
Auf deiner Schwelle wessen Blut Und unter deinem Herzen regt sich's
nicht quillend schon und angstigt dich und sich mit
ahnungsvoller Gegenwart
Gretchen:
Weh! Weh! war' ich der Gedanken los, die mir heriiber und hinuber gehen wider mich!
Chor:
Dies irae, dies ilia,
solvet saeclum in favilla.
Boser Geist:
Grimm fasst dich! Die Posaune tont!
Die Graber beben! und dein Herz aus
Aschenruh' zu Flammenqualen wieder aufgeschaffen,
bebt auf!
Gretchen:
War' ich hier weg!
mir ist, als ob die Orgel mir Atem versetzte,
Gesang mein Herz im Tiefsten loste.
Chor:
Judex ergo cum sedebit, quid quid latet adparebit, nil inultum remanebit.
Evil Spirit:
How different was it, Gretchen,
as you walked to the altar still full of purity,
as you babbled prayers out of the old
prayer book, half a childish game, half with God in
your heart.
Gretchen! Where is your reason Which crime is performed in your heart Do you pray for the soul of your mother, who because of you was overcome by great pain
Whose blood is on your threshold And does it not
stir in your heart and frighten you and itself with ominous
presence
Gretchen:
Woe! Woe! If I were free of the thoughts that go over and over against me!
Chorus:
Dies irae, dies ilia,
solvet saeculum in favilla.
Evil Spirit:
Fury seizes you! The trumpet sounds!
The tombs tremble! And your heart,
opened again from the quiet of ashes to the torment of
flames, trembles!
Gretchen:
Would that I be away from here!
It is as if the organ removes my breath,
undoes the deepest song of my heart.
Chorus:
Judex ergo cum sedebit, quidquid latet adparebit, nil inultum remanebit.
Gretchen:
Mir wird so eng! die Mauernpfeiler
befangen mich! das Gewolbe drangt mich! Luft! Luft!
Boser Geist:
Verbirg dich! Siind' und Schande bleibt
nicht verborgen! Luft Licht Wehe dir!
Chor:
Quid sum miser tune dicturus, quern patronum rogaturus Cum vis Justus sit securus
Boser Geist:
Ihr Antlitz wenden Verklarte
von dir ab. Die Hande dir zu reichen schauert's den
Reinen! Weh!
Chor:
Quid sum miser tune dicturus
Quern patronum rogaturus
Gretchen am Spinnrade (D. 118) Schubert [Text: Goethe]
Meine Ruh' ist hin, Mein Herz ist schwer; Ich finde sie nimmer Und nimmermehr.
Wo ich ihn nicht hab', Ist mir das Grab, Die ganze Welt Ist mir vergallt.
Mein armer Kopf Ist mir verruckt, Mein armer Sinn Ist mir zerstuckt.
Nach ihm nur schau ich Zum Fenster hinaus, Nach ihm nur geh ich Aus dem Haus.
Gretchen:
It becomes so tight! The pillars
capture me! The arches press upon me! Air! Air!
Evil Spirit:
Hide yourself! Sin and shame will not
remain concealed! Air Light Woe for you!
Chorus:
Quid sum miser tune dicturus, quern patronum rogaturus Cum vis Justus sit securus
Evil Spirit:
Your face drives the blessed ones away
from you. Reaching their hands to you, the pure
shudder. Woe!
Chorus:
Quid sum miser tune dicturus
Quern patronum rogaturus
"Gretchen at the Spinningwheel"
My peace is gone, my heart is sore, never shall I find peace ever more.
Where he is not, there is my grave, all the world to me is gall.
My poor head is crazed, my poor wits destroyed.
Only for him I gaze from the window, only for him I go from the house.
Sein hoher Gang, Sein' edle Gestalt, Seines Mundes Lacheln, Seiner Augen Gewalt.
Und seiner Rede Zauberflufi, Sein Handedruck, Und ach, sein KuB!
Mein Busen drangt Sich nach ihm hin; Ach, diirft' ich fassen Und halten ihn,
Und kiissen ihn, So wie ich wollt, An seinen Kiissen Vergehen sollt!
Gretchen am Spinnrade Glinka [Text: Goethe)
Meine Ruh' ist hin, Mein Herz ist schwer; Ich finde sie nimmer Und nimmermehr.
Wo ich ihn nicht hab', Ist mir das Grab, Die ganze Welt Ist mir vergallt.
Mein armer Kopf Ist mir verruckt, Mein armer Sinn Ist mir zerstuckt.
Nach ihm nur schau ich Zum Fenster hinaus, Nach ihm nur geh ich Aus dem Haus.
His superior walk, his noble air, his smiling mouth, his compelling eyes.
And his words their magic flow, the caress of his hand, and ah, his kiss!
My heart craves for him oh, to clasp and to hold,
and kiss him, just as I liked, and in his kisses melt away!
"Gretchen at the Spinningwheel"
My peace is gone, my heart is sore, never shall I find peace ever more.
Where he is not, there is my grave, all the world to me is gall.
My poor head is crazed, my poor wits destroyed.
Only for him I gaze from the window, only for him I go from the house.
Sein hoher Gang, Sein' edle Gestalt, Seines Mundes Lacheln, Seiner Augen Gewalt.
Und seiner Rede Zauberflufi, Sein Handedruck, Und ach, sein Kufi!
Mein Busen drangt Sich nach ihm hin; Ach, diirft' ich fassen Und halten ihn,
Und kiissen ihn, So wie ich wollt, An seinen Kiissen Vergehen sollt!
Kennst du das Land, S. 2751 Liszt [Text: Goethe]
Kennst du das Land, wo die Zitronen
bliihn,
im dunklen Laub die Goldorangen gliihn, ein sanfter Wind vom blauen Himmel weht, die Myrte still und hoch der Lorbeer steht Kennst du es wohl Dahin, dahin mocht ich mit dir, o mein Geliebter, ziehn!
Kennst du das Haus, auf Saulen ruht sein
Dach,
es glanzt der Saal, es schimmert das Gemach, Und Marmorbilder stehn und sehn mich an: was hat man dir, du armes Kind, getan Kennst du es wohl Dahin, dahin mocht ich mit dir, o mein Beschiitzer, ziehn!
Kennst du den Berg und seinen
Wolkensteg
Das Maultier sucht im Nebel seinen Weg, In Hohlen wohnt der Drachen alte Brut, es stiirzt der Fels und iiber ihn die Flut: kennst du ihn wohl Dahin! dahin geht unser Weg; o Vater, lass uns ziehn!
His superior walk, his noble air, his smiling mouth, his compelling eyes.
And his words their magic flow, the caress of his hand, and ah, his kiss!
My heart craves for him oh, to clasp and to hold,
and kiss him, just as I liked, and in his kisses melt away!
Do you know the land
Do you know the land, where the lemons
blossom,
the oranges glow golden amongst dark leaves, a gentle wind blows from the blue sky, the myrtle stands silent, the laurel tall Do you know it There, there would I go with you, my love!
Do you know the house On pillars rests
its roof,
its hall gleams, its apartment shimmers, and marble statues stand and gaze at me: What have they done to you, poor child Do you know it There, there would I go with you, my protector!
Do you know the mountain and its
cloudy path
The mule seeks its way in the mist, in caves the ancient brood of dragons dwells, the rock falls sheer, and over it, the flood; do you know it There, there lies our way! O father, let us go!
Suleika, Op. 57, No. 3 Mendelssohn [Text: Willemer]
Was bedeutet die Bewegung Bringt der Ost mir frohe Kunde Seiner Schwingen frische Regung Kiihlt des Herzens tiefe Wunde.
Kosend spielt er mit dem Staube, Jagt ihn auf in leichten Wolkchen; Treibt zur sichern Rebenlaube Der Insekten frohes Volkchen.
Lindert sanft der Sonne Gluhen, Kuhlt auch mir die heiSen Wangen; Kiifit die Reben noch im Fliehen, Die auf Feld und Hiigel prangen.
Und mir bringt sein leises Fliistern Von dem Freunde tausend Griifie; Eh' noch diese Hiigel diistern, Griifien mich wohl tausend Kiisse.
Und so kannst du weiterziehen! Diene Freunden und Betriibten. Dort, wo hohe Mauern gluhen, Dort find ich bald den Vielgeliebten.
Ach, die wahre Herzenskunde, Liebeshauch, erfrischtes Leben Wird mir nur aus seinem Munde, Kann mir nur sein Atem geben.
Mignon Lieder
from Gedichte von J.W. v. Goethe
Heifi' micht nicht reden Wolf [Text: Goethe]
Heifi' mich nicht reden, heifi' mich schweigen, Denn mein Geheimnis ist mir Pflicht; Ich mochte dir mein ganzes Innre zeigen, Allein das Schicksal will es nicht.
Zur rechten Zeit vertreibt der Sonne Lauf Die finstre Nacht, und sie mufi sich erhellen;
What is the meaning of this movement Is the East wind bringing me good news The refreshing movement of his wings cools the deep wounds of my heart.
He plays caressingly with the dust and stirs it into little clouds; drives the happy insect to the shelter of the vine leaves.
He softly soothes the glow of the sun, also cools my hot cheeks; and as he flies onward, kisses the vines displayed on the fields and hills.
And its soft whispering brings me A thousand greetings from my friend, Before these hills dim, I will be greeted by a thousand kisses.
So as you go on your way
And serve friends and the saddened.
There where high walls glow,
I shall soon find my dearly beloved.
Oh, the true message of his heart, Love's breath, refreshing life Comes only from his mouth, Can be given to me only by his breath.
Bid Me not Speak
Bid me not speak, bid me be silent, for I am bound to secrecy; you would I show all that is within, but fate will not have it so.
At the due time the sun's career banishes dark night, and it must grow light;
Der harte Fels schlieSt seinen Busen auf, Mifigonnt der Erde nicht die tiefverborgnen Quellen.
Ein jeder sucht im Arm des Freundes Ruh, Dort kann die Brust in Klagen sich
ergiefien;
Allein ein Schwur drukt mir die Lippen zu, Und nur ein Gott vermag sie aufzuschlieSen.
Nur wer die Sehnsucht kennt Wolf [Text: Goethe]
Nur wer die Sehnsucht kennt,
Weifi, was ich leide!
Allein und abgetrennt
Von aller Freude,
Seh ich ans Firmament
Nach jener Seite.
Ach! der mich liebt und kennt,
1st in der Weite.
Es scheindelt mir, es brennt
Mein Eingeweide.
Nur wer die Sehnsucht kennt,
Weifi, was ich leide!
So lafit mich scheinen Wolf [Text: Goethe]
So laBt mich scheinen, bis ich werde; Zieht mir das weifie Kleid nicht aus! Ich eile von der schonen Erde Hinab in jenes feste Haus.
Dort ruh ich eine kleine Stille, dann offnet sich der frische Blick, Ich lasse dann die reine Hulle, Den Gurtel und den Kranz zuriick.
Und jene himmlischen Gestalten, Sie fragen nicht nach Mann und Weib, Und keine Kleider, keine Falten Umgeben den verklarten Leib.
Zwar lebt ich ohne Sorg und Miihe, Doch fiihlt ich tiefen Schmerz genung. Vor Kummer altert ich zu friihe -Macht mich auf ewig wieder jung!
the unyielding rock unlocks its bosom, grudges not the earth her deep-hid springs.
Everyone, in a friends arms, seeks peace, there the heart can pour forth its
complaint;
but an oath seals tight my lips, a god alone can open them.
"Only He Who Knows Longing"
Only he who knows longing
knows what I suffer!
Alone and cut off
from all joy,
I gaze at the firmament
in that direction.
Ah, he who loves me
is far away.
My head reels,
my body blazes.
Only he knows longing
knows what I suffer!
So let me seem, until I am; strip not my white robe from me! from the lovely earth I hasten down into that sure house.
There in brief repose I'll rest, then my fresh eyes will open, my pure raiment then I'll leave, with girdle, and rosary behind.
And those forms who are in heaven ask not who is man or woman, and no robes, no folds enclose the transfigured body.
True, I lived free of sorrow and toil, yet I feel deep pain enough. Too early I grew old with grief -make me forever young again!
Kennst du das Land Hugo Wolf [Text: Goethe]
Kennst du das Land, wo die Zitronen
bluhn,
im dunklen Laub die Goldorangen gliihn, ein sanfter Wind vom blauen Himmel
weht,
die Myrte still und hoch der Lorbeer steht Kennst du es wohl Dahin, dahin mocht ich mit dir, o mein Geliebter, ziehn!
Kennst du das Haus, auf Saulen ruht
sein Dach,
es glanzt der Saal, es schimmert das Gemach, Und Marmorbilder stehn und sehn mich an: was hat man dir, du armes Kind, getan Kennst du es wohl Dahin, dahin mocht ich mit dir, o mein Beschiitzer, ziehn!
Kennst du den Berg und seinen
Wolkensteg
Das Maultier sucht im Nebel seinen Weg, In Hohlen wohnt der Drachen alte Brut, es stiirzt der Fels und iiber ihn die Flut: kennst du ihn wohl Dahin! dahin geht unser Weg; o Vater, lass uns ziehn!
Ariettes oubliies Debussy [Texts: Verlaine]
C'est Pextase
C'est I'extase langoureuse, C'est la fatigue amoureuse, C'est tous les frissons des bois Parmi l'etreinte des brises. C'est, vers les ramures grises, Le choeur des petites voix.
O le frele frais murmure, Cela gazouille et susurre, Cela ressemble au cri doux Que l'herbe agite expire. Tu dirais,
sous l'eau qui vire, Le roulis sourd des cailloux.
Do you know the land
Do you know the land, where the lemons
blossom, the oranges glow golden amongst dark
leaves,
a gentle wind blows from the blue sky, the myrtle stands silent, the laurel tall Do you know it There, there would I go with you, my love!
Do you know the house On pillars rests
its roof,
its hall gleams, its apartment shimmers, and marble statues stand and gaze at me: What have they done to you, poor child Do you know it There, there would I go with you, my protector!
Do you know the mountain and its
cloudy path
The mule seeks its way in the mist, in caves the ancient brood of dragons dwells, the rock falls sheer, and over it, the flood; do you know it There, there lies our way! O father, let us go!
This is Ecstasy
This is languorous ecstasy, This is sensual weariness, This is all the rustling of forests In the embrace of the breezes. This is, through the gray boughs, The chorus of little voices.
Oh, the faint cool murmur, It twitters and whispers, It resembles the gentle cry Which the ruffled grass exhales. You might call it,
under the water which eddies, The muted rolling of pebbles!
Cette ame qui se lamente En cette plainte dormante, C'est la notre, n'est-ce pas La mienne, dis, et la tienne Dont s'exhale l'humble antienne, Par ce tiede soir, tout bas.
II pleure dans mon coeur
II pleure dans mon coeur Comme il pleut sur la ville. Quelle est cette langueur Qui penetre mon coeur
0, bruit doux de la pluie, Par terre et sur les toits! Pour un coeur qui s'ennuie, 0, le chant de la pluie!
II pleure sans raison Dans se coeur qui s'ecoeure. Quoi! nulle trahison Ce deuil est sans raison.
C'est bien la pire peine, De ne savoir pourquoi, Sans amour et sans haine, Mon coeur a tant de peine.
L'ombre des arbres
L'ombre des arbres dans la riviere
embrume'e
Meurt comme de la fumee, Tandis qu'en l'air, parmi les ramures
reelles,
Se plaignent les tourterelles.
Combien 6 voyageur, ce paysage bleme
Te mira bleme toi-me'me. Et que tristes pleuraient dans les hautes
feuillees,
Tes espe'rances noyees.
This soul which is lamenting
In this subdued plaint,
It is ours, is it not
Say that it is mine and yours
Which breathes this humble hymn,
So softly, on this mild evening.
Tears Fall in My Heart
Tears fall in my heart Like rain falls upon the city. What is this languor That penetrates my heart
Oh, gentle sound of the rain, On the ground and the roofs! For a heart that is weary, Oh, the sound of the rain!
Tears fall without reason In this anguished heart. What! No betrayal This mourning has no reason.
This is truly the keenest pain, To know not why, Without either love or hate, My heart bears so much pain.
The Shadow of the Trees
The reflection of the trees in the misty
river
Is vanishing like smoke, While, in the air, amidst the real branches,
The turtle doveslament.
How much, O traveler, this pallid land?scape Mirrored your own pale self,
And how sadly, in the high boughs, they wept, Your drowned hopes!
Chevaux de bois
Tournez, tournez,
bons chevaux de bois, Tournez cent tours,
tournez mille tours. Tournez souvent et tournez toujours, Tournez, tournez au son des hautbois.
L'enfant tout rouge et la mere blanche, Le gars en noir et la fille en rose, L'une a la chose et l'autre a la pose, Chacun se paie un sou de dimanche.
Tournez, tournez, chevaux de leur coeur, Tandis qu'autour de tous vos tournois Clignote l'oeil du filou sournois. Tournez au son du piston vainqueur!
C'est etonnant comme ca vous soule, D'aller ainsi dans ce cirque bete; Rien dans le ventre et mal dans la tete, Du mal en masse et du bien en foule;
Tournez dadas, sans qu'il soit besoin D'user jamais de nuls eperons Pour commander a vos galops ronds. Tournez, tournez, sans espoir de foin,
Et depechez, chevaux de leur ame, Deja voici que sonne a la soupe La nuit qui tombe et chasse la troupe De gais buveurs, que leur soif affame.
Tournez, tournez! Le ciel en velours D'astres en or se vet lentement, L'Eglise tinte un glas tristement. Tournez au son joyeux des tambours, tournez.
Wooden Horses
Turn round, keep turning,
good wooden horses, Turn a hundred times,
turn a thousand times. Turn often and do not stop, Turn round, turn to the tune of the oboes.
The child quite red and the mother white, The boy in black and the girl in rose, Each one doing as he pleases, Each one spending his Sunday penny.
Turn round, turn horses of their choice, While at all your turning The sly rogue casts a surreptitious glance. Keep turning to the tune of the victorious trumpet!
It is astounding how it intoxicates you, To move thus in this foolish circus, With empty stomachs and dizzy heads, Feeling altogether badly, yet happy in the crowd;
Turn, hobby horses, without needing
Ever the aid of spurs
To make you gallop on.
Turn round, turn, without any hope of hay,
And hurry horses of their fancy, Here, already the supper bell is sounded By Night, which falls and disperses the crowd Of gay drinkers, whose thirst has made them famished.
Turn, turn round! The velvet sky Arrays itself slowly with golden stars. The church tolls a mournful knell. Turn to the gay tune of the drums, keep turning.
Green
Voici des fruits, des fleurs, des feuilles
et des branches, Et puis voici mon coeur
qui ne bat que pour vous. Ne le dechirez pas
avec vos deux mains blanches, Et qu'a vos yeux si beaux
l'humble present soit doux.
J'arrive tout couvert encore de rosee, Que le vent du matin
vient glacer a mon front, Souffrez que ma fatigue a vos pieds
reposee, Reve des chers instants
qui la delasseront.
Sur votre jeune sein, laissez rouler ma tete, Toute sonore encore de vos derniers baisers; Laissez-la s'apaiser de la bonne tempete, Et que je dorme un peu puisque vous reposez.
Spleen
Les roses ?taient toutes rouges, Et les lierres etaient tout noirs. Chere, pour peu que tu te bouges, Renaissent tous mes desespoirs.
Le ciel etait trop bleu, trop tendre La mer trop verte et l'air trop doux; Je crains toujours, ce qu'est d'attendre, Quelque fuite atroce de vous!
Du houx a la feuille vernie, Et du luisant buis je suis las, Et de la campagne infinie, Et de tout, fors de vous. Helas!
Here are fruits, flowers, leaves
and branches, And here also is my heart,
which beats only for you. Do not tear it apart
with your two white hands. And may this humble offering
seem sweet to your so lovely eyes.
I come, still covered with dew, Which the morning wind
has turned to frost on my brow. Permit that my fatigue, reposing at your
feet, May dream of the cherished moments
that will refresh it.
On your young bosom let me cradle my
head,
Still filled with music from your last kisses; Let it be soothed after the good storm, And let me sleep a little, while you rest.
The roses were all red,
And the ivy all black.
Beloved, when you become a little restless,
All my despair is reborn.
The sky was too blue, too tender, The sea too green and the air too mild; I am always afraid of what may come, Of some cruel flight of yours!
Of the green-leafed holly,
And of the shining box trees, I am weary,
And of the endless countryside,
And of everything, except for you. Alas!
Nuvoletta, Op. 25 Barber [Text: James Joyce]
Nuvoleta in her light dress,
spun of sisteen shimmers,
was looking down on them,
leaning over the bannistars and listening
all she childishly could...She was alone.
All her nubied companions were asleeping
with the squirrels...She tried all the winsome
wonsome ways her four winds had taught her.
She tossed her sfumastelliacinous hair like
la princesse de la Petite Bretagne
and she rounded her mignons arms like
Missis Cornwallis West and she smiled over herself
like the image of the pose of the daughter
of the Emperour of Irelande and she sighed
after herself as were she born to bride with
Tristis Tristior Tristissimus.
But, sweet madonine, she might fair
as well have carried her daisy's worth to Florida...
Oh, how it was duusk.
From Vallee Maraia to Grasy-a-plain-a,
dormimust echo!
Ah dew! Ah dew!
It was so duusk that the tears of night
began to fall, first by ones and twos,
then by threes and fours,
at last by fives and sixes of sevens,
for the tired ones were wecking;
as we weep now with them.
O! O! O! Par las pluie...
Then Nuvoletta reflected for the last time in her little long life
and she made up all her myriads of drifting minds in one.
She cancelled all her engauzements.
She climbed over the bannistars;
she gave a childy cloudy cry:
Nuee! Nuee!
A light dress fluttered.
She was gone.
Einerlei, Op. 69, No. 3 Strauss [Text: Armin]
Ihr Mund ist stets derselbe, sein Kufi mir immer neu, ihr Auge noch dasselbe, sein freier Blick mir treu; O du liebes Einerlei, wie wird aus dir so mancherlei!
Ich trage meine Minne, Op. 32, No. 1 Strauss [Text: Henckell]
Ich trage meine Minne vor Wonne stumm Im Herzen und im Sinne mit mir herum. Ja, dafi ich dich gefunden, du liebes Kind, Das freut mich alle Tage, die mir beschieden sind.
Und ob auch der Himmel triibe,
kohlschwarz die Nacht, Hell leuchtet meiner Liebe goldsonnige
Pracht. Und liigt auch die Welt in Siinden, so tut
mir's weh, Die arge muB erblinden vor deiner
Unschuld Schnee.
AH mein Gedanken, Op. 21, No. 1 Strauss [Text: Dahn]
All mein Gedanken, mein Herz
und mein Sinn,
Da, wo die Liebste ist, wandern sie hin. Geh'n ihres Weges trotz Mauer und Tor, Da halt kein Riegel, kein Graben mich vor, Geh'n wie die Vogelein hoch durch die Luft, Brauchen kein' Briicken iiber
Wasser und Kluft,
Finden das Stadtlein und find das Haus, Finden ihr Fenster aus alien heraus
'One and the same"
Her mouth is always the same, its kiss is ever new, still her eyes are the same, their frank gaze true to me; O you sweet one-and-the-same, the diversity that comes of you!
"I bear ray love"
I bear my love, with rapture mute, about with me in heart and thought. Yes, that I have found you, sweet child, will cheer me all my allotted days.
And though skies be dim,
the night coal-black, bright shines the gold sun's splendour of
my love. And though the world may sinfully lie, I
am sorry the bad world must be blinded by your
purity's snow.
"All my thoughts"
All my thoughts, my heart
and mind,
wander to where my loved one is. They go their way despite wall and gate, no bar, no ditch is proof against them, go, like the birds, high through the air, needing no bridge over
water and gorge,
they find the town and find the house, find her window amongst all the others
Und klopfen und rufen:
Mach auf, lass uns ein,
Wir kommen vom Liebsten
Und griissen dich fein,
Mach auf, mach auf, lass uns ein.
Epheu from Mddchenblumen,
Op. 22, No. 3 Strauss [Texts: Dahn]
Aber Epheu nenn' ich jene Madchen
mit den sanften Worten,
mit dem Haar, dem schlichten,
hellen um den leis' gewolbten Brau'n,
mit den braunen, seelenvoUen Rehenaugen,
die in Tranen steh'n so oft,
in ihren Tranen grade sind unwiderstehlich;
ohne Kraft und Selbstgefiihl, schmucklos mit verborg'ner Bliite, doch mit unerschopflich tiefer, treuer inniger Empfindung, konnen sie mit eigner Triebkraft nie sich heben aus den Wurzeln, sind geboren, sich zu ranken liebend um ein ander Leben:
an der ersten Lieb'umrankung hangt ihr ganzes Lebensschicksal, denn sie zahlen zu den seltnen Blumen, die nur einmal bliihen.
and knock and shout:
Open up, let us in,
we come from your love,
and you we greet,
open up, open up, let us in.
"Ivy"
Yet Ivy I call those maidens with the gentle words, with hair, simple and light around the gently arched brows, with brown, soulful doe's eyes, which are in tears so often, irresistible especially when in tears;
without strength and self-reliance,
unadorned with hidden bloom,
yet with endlessly deep,
faithful and true emotion,
they are not able to lift themselves
by their own energy from their roots,
are born, to lovingly wind
their tendrils around another life:
upon that first embrace,
their life's whole fate depends
for they count among those rare flowers
who bloom only once.
Ich liebe dich, Op. 37, No. 2 Strauss [Text: Liliencron]
Vier adlige Rosse Voran unserm Wagen, Wir wohnen im SchloSe In stolzem Behagen.
Die Friihlichterwellen Und nachtens der Blitz, Was all sie erhellen, 1st unser Besitz.
Und irrst du verlassen, Verbannt durch die Lande; Mit dir durch die Gassen In Armut und Schande!
Es bluten die Hande, Die FiiSe sind wund, Vier trostlose Wande, Es kennt uns kein Hund.
Steht silberbeschlagen Dein Sarg am Altar, Sie sollen mich tragen Zu dir auf die Bahr.
Und fern auf der Heide Und stirbst du in Not, Den Dolch aus der Scheide, Dir nach in den Tod!
"I love you"
Four noble steeds we have to our carriage, we live in the castle in comfortable pride.
First surging brightness and lightning at night, all they illumine, all that is ours.
Though forlorn you wander, an exile, through the world; I will walk the alleys with you in poverty and shame!
Our hands will bleed, our feet be sore, the four walls cheerless, not a dog will know us.
If, silver-fitted,
your coffin is at the altar,
they shall bear me
on the bier to join you.
If away on the heath or in distress you die, then dagger I'll draw and follow in death!