UMS Concert Program, Thursday Jan. 20 To 30: University Musical Society: 1999-2000 Winter - Thursday Jan. 20 To 30 --

Season: 1999-2000 Winter
University Of Michigan, Ann Arbor

University Musical Society
2000 Wl NTER
University Musical Society of the University of Michigan, Ann Arbor
University Musical Society
1999-2000 WINTER SEASON of the University of Michigan, Ann Arbor
On the Cover
Clockwise from upper left
Dancers from Bebe Miller Company
Arvo P3rt
Anne-Sophie Mutter
The Great Wall of China
Amir.i McDonald
Back Cover
Performer from Forgiveness
).S. Bach
Vladimir Ashkenary
Oscar Peterson
Take 6
d A VLetteidfcintiJb Fr
ident
4 Letter from the Chair
5 Corporate LeadersFoundations
13 UMS Board of Directors
13 UMS Senate
15 UMS Staff
15 Advisory Committees
17 19 Tickets
19 Group Tickets
19 Gift Certificates
21 UMS Card
21 http:www.ums.org
r2fel lbS tSry
25 UMS Choral Union
26 t Auditoria & Burton Memorial Tower
JE9l 1 UMawiktefeoOO Season
35 Education & Audience Development
37 Dining Experiences
37 BRAVO!
39 Restaurant & Lodging Packages
41 UMS Preferred Restaurant Program
45 Advisory Committ
45 Sponsorship and Advertising
47 InternshipsWork-study
47 Ushers
48 Membership
56 UMS Advertisers
taurant Frogram
Support
UMS
Leadership
LETTER FROM THE PRESIDENT
Thank you for attending this UMS performance and for supporting the performing arts in our community. I hope I'll see you at some of the remain?ing UMS events this season. You'll find a list?ing beginning on page 29.
I want to introduce you to UMS' Administrative Director John Kennard, who is celebrating his tenth anniversary with UMS this season and his twenty-fourth overall with the University of Michigan. John over?sees UMS finances, human resources, and
other administrative matters. He has played a major role in bringing UMS to its stable financial situation and is highly regarded by his finan?cial colleagues both in and outside the University of Michigan for the quality of his work. A native of Ann Arbor, John is married and the father of five children. When he's not listening to recordings of his beloved Elvis, you'll find him hitting pars and birdies on the golf course.
Congratulations, John, for your outstanding contributions to UMS over the past decade.
We have had an exciting season thus far with memorable performances by Buena Vista Social Club, Les Arts Florissants, Sankai Juku, Paco de Lucia, Emerson String Quartet, and Laurie Anderson. Clearly one of the highlights of the fall was the performance of the Berlin Philharmonic Orchestra on October 20. Ann Arbor was the smallest city on the international tour the others were
Moscow, Bonn, London, Paris, Washington, New York, Boston, and Chicago but we produced the largest single-evening audience exceeding 4,000. Over 1000 were students. U-M President Lee Bollinger and Jean Magnano Bollinger hosted a wonderful post-concert reception for Claudio Abbado, mem?bers of the orchestra, and UMS members. Orchestra members were high in their praise for the community of Ann Arbor, for the acoustics of Hill Auditorium, and for the enthusiastic response of the audience. They made it clear that they want to return!
Another highlight of the fall was the launching of Bravo! This 224-page book of recipes, legends, and lore from 120 years of UMS is the result of nearly three years of work by more than 100 UMS volunteers. We are very proud of this book and of the great response it is receiving all over the country. For information on obtaining a copy, see the notice on page 37.
I'd like to know your thoughts about this performance. I'd also like to learn from you about anything we can do at UMS to make your concert-going experience the best possi?ble. Look for me in the lobby. If we don't connect there, feel free to call my office at 734.647.1174, drop me a note, or send me an e-mail message at kenfisch@umich.edu.
Sincerely,
Kenneth C. Fischer, President
LETTER FROM THE CHAIR
It is with great pride that we acknowl?edge and extend our gratitude to the major business contributors to our 19992000 season listed on the follow?ing pages. We are proud to have been chosen by them, for their investment in the University Musical Society is clear evidence
not only or their wish to accomplish good things for our community and region, but also to be asso?ciated 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 requirements are met by the private sector: very special individuals, organizations and companies that so generously help bring the magic to UMS performances 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 UMS are grateful for the opportunities that these gifts make possible, enhancing the quality of life in our area.
Sincerely,
0
Beverley Geltner
Chair, UMS Board of Directors
CORPORATE LEADERS FOUNDATIONS
Richard L. Huber Chairman and CEO, Aetna, Inc. "On behalf of Aetna and Aetna Retirement Services, we are proud to sup?port 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 pro?grams, which help bring the arts to so many families and young people."
Don MacMillan President, Alcan Global Automotive Products "For 120 years, the University Musical Society has engaged and enriched our com?munity with the very best in performing arts and educational programs. Alcan salutes your quality and creativity, and your devotion to our youth."
Douglass R. Fox President, Ann Arbor Acura "We at Ann Arbor Acura are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Jeanne Merlanti President, Arbor TemporariesArbor Technical StaffingPersonnel Systems, Inc.
"As a member of the Ann Arbor business community, I'm thrilled to know that by sup?porting UMS, I am helping per?petuate the tradition of bringing outstanding musical talent to the community and also provid?ing education and enrichment for our young people."
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 enrichment that the University Musical Society brings to our community."
Jorge A. Solis Senior Vice President, Bank One, Michigan "BankOne, Michigan is honored to share in the University Musical Society's proud tradition of musical excellence and artistic diversity."
Habte Dadi Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
Cari A. Brauer, Jr. Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
David G. Loesel President, T.M.L Ventures, Inc. "Cafe Marie's sup?port 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 for?ward into future generations this fine tradition of artistic talents."
Clayton Wilhite Managing Partner, CFI Group, Inc. "Can you imagine a more power?ful demonstration of Ann Arbor's quality of life than the University Musical Society We at CFI can't, and that's why we're so delighted to be a concert sponsor. We salute UMS for its accomplishments and for what it has contributed to the pride in our community."
Kathleen G. Charla Founder CEO, 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."
Howdy S. Holmes
President and CEO, Chelsea Milling Company "'Jiffy' Mix appreciates the opportunity to support the University Musical Society. We applaud their commitment to providing nationally recog?nized educational opportunities to children in our community and to providing diverse arts programming."
Eugene Miller Chairman and Chief Executive Officer, Comerica Incorporated "Bravo to the University Musical Society! Their contributions are vital to the arts community. Comerica applauds their tradi?tion of excellence, and their commitment to the presentation of arts and promotion of arts education."
Joseph J. Yarabek Office Managing Partner, Deloitte & Touche "Deloitte & Touche is pleased to support the University Musical Society. Their continued commitment to promoting the arts in our community is out?standing. Thank you for enrich?ing our lives!"
S. Martin Taylor Sr. Vice President-Corporate & Public Affairs and President-Detroit Edison Foundation "The Detroit Edison Foundation is proud to sponsor the University Musical Society because we share a mis?sion of enhancing Southeastern Michigan's reputation as a great place to live and work. To this end, UMS brings the joy of the performing arts into the lives of community residents, provides an important part of Ann Arbor's uplifting cultural identity and offers our young people tremen?dous educational opportunities."
Larry Denton Global Vice President, Dow Automotive "At Dow Automotive, we believe it is through the universal lan?guage of art and music that we are able to transcend cultural and national barriers to reach a deeper understanding of one another. We applaud the University Musical Society for its long-standing support of the arts that enriches all our lives."
Edward Surovell President, Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institu?tion as distinguished as the University Musical Society. For over a century it has been a national leader in arts presenta?tion, and we encourage others to contribute to UMS' future."
Leo Legatski President, Elastizell Corporation of America "A significant characteristic of the University Musical Society is its ability to adapt its menu to changing artistic requirements. UMS involves the community with new concepts of education, workshops, and performances."
Peter Banks President, ERIM International "At ERIM International, we are honored to support the University Musical Society's commitment to providing edu?cational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impact of these experiences will last a lifetime."
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."
Scott Ferguson Regional Director, Hudson's "Hudson's is committed to supporting arts and cultural organizations because we can't imagine a world without the arts. We are delighted to be partners with the University Musical Society for the 1999-2000 season as they present programs to enrich, educate and energize our diverse community."
William S. Hann
President, KeyBank "Music is Key to keeping our society vibrant, and Key is proud to support the cultural institution rated number one by Key Private Bank clients."
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."
Ronald Weiser Chairman and
Chief Executive Officer, McKinley
Associates, Inc.
"McKinley Associates is proud
to support the University
Musical Society and the cultural
contribution it makes to
the community." --a'
Michael E. Korybalski
President, Mechanical Dynamics "Beverly Sills, one of our truly great performers, once said that 'art is the signature of civiliza?tion.' We believe that to be true, and Mechanical Dynamics is proud to assist the University Musical Society in making its mark -with a flourish."
Erik H. Serr Principal, Miller, Canfield, Paddock and Stone, P.L.C. "Miller, Canfield, Paddock and Stone is particularly pleased to support the University Musical Society and the won?derful cultural events it brings to our community."
continued on page 9
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."
Phillip R. Duryea Community President, National City Bank "National City Bank is pleased to continue our historical sup?port 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."
Peter B. Corr, Ph.D. President, Parke-Davis Pharmaceutical Research & Development; Corporate Vice President, Warner-Lambert Company "The University Musical Society is a cornerstone upon which the Ann Arbor community is based: Excellence, Diversity and Quality. Parke-Davis is proud to support the University Musical Society for our community and our Parke-Davis colleagues."
Michael Staebler
Managing Partner, Pepper, Hamilton & Scheetz "Pepper, Hamilton and Scheetz congratulates the University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
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. UMS provides the best in educational entertainment."
Dr. James R. Irwin 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 con?cerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
We also extend our gratitude to several other anonymous companies.
FOUNDATION UNDERWRITERS GOVERNMENT AGENCIES
David. E. Engelbert Hiram A. Dorfman
Co-chairmen, Benard L. Maas Foundation "The Benard L. Maas Foundation is proud to support the University Musical Society in honor of its beloved founder: Benard L. Maas February 4, 1896-May 13, 1984."
We at UMS gratefully acknowledge the support of the following foundations and government agencies:
Ann Arbor Area Community Foundation Arts Midwest
Benard L. Maas Foundation Chamber Music America
Community Foundation for
Southeastern Michigan DaimlerChrysler
Corporation Fund The Ford Foundation The Heartland Arts Fund TheJ.F. Ervin Foundation KMD Foundation Knight Foundation LJIa Wallace--Reader's Digest
Fund Michigan Council for Arts
and Cultural Affairs National Endowment for
the Arts
UNIVERSITY MUSICAL SOCIETY
of the University of Michigan
UMS BOARD OF DIRECTORS
Beverley B. Geltner,
Chair Lester P. Monts,
Vice-Chair Len Niehoff,
Secretary David Featherman,
Treasurer
Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Barbara Everitt Bryant Kathleen G. Charla Jill A. Corr Peter B. Corr Robert F. DiRomualdo Deborah S. Herbert Alice Davis Irani
Gloria James Kerry Leo A. Legatski Earl Lewis Helen B. Love Alberto Nacif Jan Barney Newman Gilbert S. Omenn Joe E. O'Neal Randall Pittman Rossi Ray-Taylor
Prudence L. Rosenthal Maya Savarino Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfer Marina v.N. Whitman Elizabeth Yhouse
UMS SENATE
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Carl A. Brauer Allen P. Britton Letitia J. Byrd Leon S. Cohan Jon Cosovich Douglas Crary Ronald M. Cresswell John D'Arms
James J. Duderstadt Robben W. Fleming David J. Flowers Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Howard Holmes Kay Hunt Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy
Thomas C. Kinnear F. Bruce Kulp Patrick B. Long Judythe H. Maugh Paul W. McCracken Rebecca McGowan Alan G. Merten John D. Paul Wilbur K. Pierpont John 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 Susan B. Ullrich Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Iva M. Wilson
UMS STAFF
Administration Finance
Kenneth C. Fischer,
President Elizabeth E. Jahn,
Assistant to
the President John B. Kennard, Jr.,
Director of
Administration John Peckham,
Information Systems
Manager
Box Office
Michael L. Gowing,
Manager
Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Group
Sales
Choral Union
Thomas Sheets,
Conductor Edith Leavis Bookstein,
Co-Manager Kathleen Operhall,
Co-Manager Donald Bryant,
Conductor Emeritus
Development
Susan D. Halloran, Assistant Director -Corporate Support
Lisa Michiko Murray, Advisory Liaison
Alison Pereida, Development Assistant
J. Thad Schork, Direct Mail, Gift Processor
Anne Griffin Sloan, Assistant Director -Individual Giving
L. Gwen Tessier, Administrative Assistant
EducationAudience Development
Ben Johnson, Director Kate Remen Wait,
Manager Susan Ratcliffe,
Coordinator
MarketingPublic Relations
Sara Billmann, Director Aubrey Alter, Marketing
and Advertising
Coordinator Maria Mikheyenko,
Marketing Assistant
Production
Gus Malmgren, Director Emily Avers, Production
and Artist Services
Manager Jennifer Palmer, Front
of House Coordinator Brett Finley, Stage
Manager Eric R. Bassey, Stage
Manager Paul Jomantas, Usher
Supervisor Bruce Oshaben, Usher
Supervisor Ken Holmes, Assistant
Usher Supervisor Brian Roddy, Assistant
Usher Supervisor
Programming
Michael J. Kondziolka,
Director Mark Jacobson,
Coordinator
Work-Study
Karen Abrashkin Nadine Balbeisi Erika Banks Megan Besley Rebekah Camm
Patricia Cheng Mark Craig Patrick Elkins Mariela Flambury David Her Benjamin Huisman Jennifer Johnson Carolyn Kahl Laura Kiesler Jean Kim Un Jung Kim Fredline LeBrun Dawn Low Kathleen Meyer Amy Pierchala Beverly Schneider Cara Talaska
Interns
Helene Blatter Lindsay Calhoun Steven Dimos Bree Doody Aviva Gibbs Steven Jarvi Brooke McDaniel
President Emeritus
Gail W. Rector
DVISORY COMMITTEE
Dody Viola, Chair Robert Morris,
Vice-Chair Sara Frank,
SecretaryTreasurer
Martha Ause Barbara Bach Lois Baru Kathleen Benton Barbara Busch Phil Cole Patrick Conlin Erie Cook In.mil,i Cox Mary Ann Daane Norma Kircher Davis Lori Director Betty Edman Michael Endres
Nancy Ferrario Penny Fischer Anne Glendon Maryanna Graves Linda Greene Karen Gunderscn Jadon Hartsuff Nina E. Hauser Debbie Herbert Mercy Kasle Steve Kasle Anne Kloack Maxine Larrouy Beth LaVoie Stephanie Lord Esther Martin Ingrid Merikoski Ernest Merlanti Jeanne Merlanti Candice Mitchell
Nancy Niehoff Mary Pittman leva Rasmussen Elly Rose Penny Schreiber Sue Schroeder Meg Kennedy Shaw Morrine Silverman Maria Simonte Loretta Skewes Cynny Spencer Sally Stegeman Louise Townley Bryan Ungard Suzette Ungard Wendy Woods
TEACHER ADVISORY COMMITTEE
Fran Ampey Gail Davis Barnes Alana Barter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia J. Byrd Nancy Cooper Naomi Corera Gail Dybdahl Keisha Ferguson Doreen Fryling Carolyn Hanum Vickey Holley Foster Taylor Jacobsen Callie Jefferson Deborah Katz Deb Kirkland Rosalie Koenig
David A. Leach
Rebecca Logie
Dan Long
Laura Machida
Ed Manning
Glen Matis
Kim Mobley
Eunice Moore
Rossi Ray-Taylor
Gayle Richardson
Katy Ryan
Karen Schultc
Helen Siedel
loan Singer
Sue Sinta
Sandy Trosien
Sally Vandeven
Barbara Hertz Wallgren
leanne Weinch
UMS
Services
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Listening Systems
For hearing impaired persons, the Power Center, Mendelssohn Theatre, and Rackham Auditorium are equipped with infrared listen?ing systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church and the Michigan Theater, please call the UMS 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
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 deduc?tion. Please note that ticket returns do not count toward UMS membership.
GROUP TICKETS
Many thanks to all of the groups who have joined UMS for an event in past seasons, and welcome to all of our new friends who will be with us in the coming year. The group sales program has grown dramatically in recent years. This success is a direct result of the wonderful leaders who organize their friends, families, congrega?tions, students, and co-workers and bring them to our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved more than $51,000 on some of the most popular events around! Many groups who booked their tickets early found them?selves in the enviable position of having the only available tickets to sold out events including the Afro-Cuban All Stars, The Capitol Steps, Trinity Irish Dance Company, Kodo, and Alvin Ailey American Dance Theater.
This season UMS is offering a wide variety of events to please every taste, many at a frac?tion of the regular price. Imagine yourself surrounded by ten 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.
GIFT CERTIFICATES
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry
Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than ninety events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Hanukkah, Christmas,
Mother's and Father's Days, or even as a housewarming 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.
UMS CARD
UMS and the following businesses thank you for your generous support by pro?viding you with discounted products and ser?vices through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Arts
Center
Back Alley Gourmet Blue Nile Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques John Leidy Shop
The UMS card also entitles you to 10 off your ticket purchases at other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS Box Office for more information at 734.764.2538.
John's Pack & Ship Kerrytown Bistro King's Keyboard
House Le Dog
Michigan Car Services Paesano's Restaurant Regrets Only Ritz Camera One
Hour Photo SKR Blues & Jazz SKR Classical SKR Pop & Rock Shaman Drum
Bookshop Zingerman's
mmm WWW.UMS.ORG m
UMS enters a new interactive com?munication era with the launch of the new and improved www.ums.org!
Why should you log onto www.ums.org
Tickets Forget about waiting in long ticket lines--order tickets to UMS performances online with our secure order form.
Cyber$avers Special weekly discounts appearing every Tuesday only available by ordering over the Web!
Information Wondering about UMS' history, event logistics, or volunteer opportunities Find all this and more.
Program Notes and Artist Bios Your online source for performance programs and artist information.
Sound Clips & Photos Listen to recordings from UMS performers online before the concert. Check out photos from favorite UMS concerts!
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featuring more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS Archives.
Education Events Up-to-date information detailing educational opportunities surrounding each
UMS performance. ? Choral Union
Audition informa?tion and perfor?mance schedules for the UMS Choral Union.
UMS
Annals
UMS HISTORY
The goal of the University Musical Society (UMS) is 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, has placed UMS in a league of internationally-recognized perform?ing arts presenters. Indeed, Musical America selected UMS as one of the five most influen?tial arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for its rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the new millennium. Every day UMS seeks to cultivate, nurture and stimulate 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. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best traditional and contemporary work from the full spectrum of the performing arts -internationally renowned recitalists and
Musical America selected UMS as one of the five most influ?ential arts presenters in the United States in 1999.
orchestras, dance and chamber ensembles, jazz and world music performers, perfor?mance artists, opera and theatre. Through educational endeavors, commissioning of new works, youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over ninety performances and more than 175 educational events each season. UMS has flourished with the support of a generous community that gathers to enjoy world-class events in Hill and Rackham Auditoria, the
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Power Center for the Performing Arts, the Michigan Theater, St. Francis of Assisi Catholic Church, the Lydia Mendelssohn Theatre, and the Detroit Opera House.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many Univer?sity units, UMS is a separate not-for-profit organization, which supports itself through ticket sales, corporate and individual contri?butions, foundation and government grants, and endowment income.
UMS CHORAL UNION
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 150-voice Choral Union is especially well known for its definitive performances of large-scale works for chorus and orchestra. Six 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 Meadow Brook for subscription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms' Ein deutsches Requiem, 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, inaugurating the partner?ship with a performance of Britten's War Requiem, and continuing with performances of the 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).
In the past two seasons, the Choral Union has given acclaimed concert presentations of Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra and musical-theatre favorites with Erich Kunzel and the DSO at Meadow Brook. A 72-voice chorus drawn from the larger choir has performed Durufle's Requiem, the Langlais Messe Solenelle, the Mozart Requiem and other works, and the Choral Union Chamber Chorale recently presented "Creativity in Later Life," a program of late works by nine composers of all historical periods, at the University of Michigan Museum of Art.
During the 1998-99 season, the Choral Union performed in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra, including performances of Brahms' Ein deutsches Requiem and Rachmaninoff's The Bells, both conducted by Neeme Jarvi, and Kodaly's Psalmus Hungaricus, conducted by the legendary Gennady Rozhdestvensky. Other programs included Handel's Messiah with the Ann Arbor Symphony Orchestra, and Carmina Burana with the Toledo Symphony.
During the current season, the Choral Union again appears in three series with the Detroit Symphony Orchestra: the first two, conducted by Neeme Jarvi, include perfor?mances of Shostakovich's Symphony No. 13 (Babi Yar), followed by Beethoven's Symphony No. 9 paired with Stravinsky's Symphony of Psalms. The last of these three series will fea?ture performances of John Adams' Harmonium, conducted by the composer. The women of the chorus will also perform Mahler's Symphony No. 3 with the Ann Arbor Symphony, and sixty singers joined the Gabrieli Consort & Players for an Advent program based on the music of Praetorius in December. A highlight of the season will be a performance on Palm Sunday afternoon, April 16,2000, of J. S. Bach's
monumental St. Matthew Passion with the Ann Arbor Symphony in Hill Auditorium, conducted by Thomas Sheets.
Participation in the Choral Union remains open to all by audition. Representing a mix?ture 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, call 734.763.8997 or e-mail edeb@umich.edu.
AUDITORIA & BURTON MEMORIAL TOWER
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium 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 rela?tionships throughout the past eighty-six years. With acoustics that highlight everything from the softest notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
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 performing Beethoven's Symphony No. 5. The auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheel?chair seating (1995), decreased the seating capacity to its current 4,163.
Hill Auditorium is slated for renovation in the coming years. Developed by Albert Kahn and Associates (architects of the original concert hall) and leading theatre and acousti?cal consultants, the renovation plans include an elevator, expanded bathroom facilities, air conditioning, and other improvements.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, pre?sented 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 devel?opment of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level education, 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. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. 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 interest?ed, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre.
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 1,390-seat Power Center is more than seventy-two 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 Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost approxi?mately $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the second 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 balcony, outer lobby and facade will be completed by 2003.
In the fall of 1999, the Michigan Theater opened the doors of a new 200-seat screening room addition, as well as additional restroom facilities, which have been built onto the existing 1928 structure.
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 on March 19, 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 ded?ication, 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 cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
In 1926, construction was being discussed for the Women's League, the female coun?terpart to the all-male Michigan Union. Gordon Mendelssohn of Detroit seized the opportunity to support the inclusion of a theatre in the plans and building of the Woman's League, and donated $50,000 in 1926 to establish the Lydia Mendelssohn Theatre, stipulating that the theatre would
always bear his mother's name. UMS 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 the?atre for the 100th May Festival's Cabaret Ball. Now, with a pro?grammatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to UMS' roster and the home of the Song Recital series.
Detroit Opera House
The Detroit Opera House opened in April of 1996 fol?lowing an extensive renovation by Michigan Opera Theatre. Boasting a 75,000 square foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and
an acoustical virtue to rival the world's great opera houses, the 2,735-seat facility has rapidly become one of the most viable and coveted theatres in the nation. In only three seasons, the Detroit Opera House became the foundation of a landmark programming collaboration with the Nederlander organization and Olympia
Hill
Auditorium 4,163
Rackham
Auditorium
1,129
Michigan
Theater
1,710
Power Center 1,390
Mendelssohn
Theatre
658
Power Center
Entertainment, formed a part?nership with the Detroit Symphony Orchestra and played host to more than 500 perform?ers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partner?ships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor land?mark is the box office and administrative location for UMS. 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-12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15-10:45 a.m.
University Musical Society
of the University of Michigan 19992000 Winter Season
Event Program Book Thursday, January 20 through Sunday, January 30, 2000
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 regu?lar, 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 accompanying 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 digital watches, beep?ing pagers, ringing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging ser?vice of auditorium and seat location 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 performances included in this editon. Thank you for your help.
Yo-Yo Ma 3
Thursday, January 20, 8:00pm Hill Auditorium
American String Quartet 15
Beethoven the Contemporary Sunday, January 23, 4:00pm Rackham Auditorium
Russian National Orchestra 21
Monday, January 24, 8:00pm Hill Auditorium
Barbara Hendricks 33
Saturday, January 29, 8:00pm Lydia Mendelssohn Theatre
Michigan Chamber Players 41
Sunday, January 30,4:00pm Rackham Auditorium
UMS
and
Forest Health
Services
present
Yo-Yo Ma Kathryn Stott Piano
Program
Igor Stravinsky
J.S. Bach
Kenneth Frazelle
Christopher Rouse
Peter Lieberson
John Corigliano
Peter Schickele
Thursday Evening, January 20, 2000 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Suite Italienne
Introduzione
Serenata
Aria
Tarentella
Minuetto e Finale
New Goldberg Variations
Goldberg Variations, BMV 988
Aria
Two Variations for the Goldberg Variations II Project
Molto adagio Presto
Two Variations
Presto
Adagio; elegiaco
Three Variations for Violoncello and Piano
Neighbor Canons
Scherzo
Aria
Fancy on a Bach Air for Violoncello solo
Largo
Goldberg Variations II for Cello and Piano
Calm, serene Driving
Richard Danielpour
J.S. Bach
Sergei Rachmaninoff
Fantasy Variations based on the Aria of J.S. Bach's Goldberg Variations for Violoncello and Piano
Adagietto misterioso
Goldberg Variations, BMV 988
Aria
INTERMISSION
Sonata for Piano and Cello in g minor, Op. 19
Lento Allegro moderato Allegro scherzando Andante Allegro mosso
Forty-second Performance of the 121st Season
121st 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 Mary and Randall Pittman for their continued and gener?ous support of the University Musical Society both personally and through Forest Health Services.
Additional support provided by media sponsor, WGTE. Camerata Dinner support is provided by A-l Rental Inc.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
Special thanks to Yo-Yo Ma, the U-M School of Music, and the Midwestern Music Conference for their participation with this residency.
The 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.
Yo-Yo Ma records exclusively for Sony Classical.
Yo-Yo Ma appears by arrangement with ICM Artists, Ltd.
Large print programs are available upon request.
Suite Italienne
Igor Stravinsky
Born June 17, 1882 in Oranienbaum,
near St. Petersburg, Russia Died April 6, 1971 in New York
The five movements of the Suite Italienne are transcriptions from Stravinsky's music to the ballet Pulcinella, written for Serge Diaghilev's Ballets Russes in 1919-1920. Years after the production, Stravinsky pub?lished two shorter suites under the name Suite Italienne: one for violin and piano, the other for cello and piano (the two are not exactly identical). In preparing the cello ver?sion, he received assistance from the great cellist Gregor Piatigorsky (they signed joint?ly as arrangers).
The ultimate trick at a music-history exam would be to play the opening of Pulcinella to a group of unsuspecting students. Anyone with no prior knowledge of the work would be hard pressed not only to "name that tune" but even to identify the century in which it was written. The melody sounds so "classical," yet something is clearly "not right:" there are what seem to be "wrong notes" here and there, and the orchestration sounds definitely nothing like classical music.
Yet the most astute members of the class would probably guess from these very features that the author can be no one but Stravinsky. Creative appropriations of the history of music are central to Stravinsky's so-called "neo-classical" period, which cov?ers about three decades of his career, rough?ly from 1920 to 1950. Although we may find occasional nods to the musical past in some of Stravinsky's works written before 1919, it is in Pulcinella that we first see Stravinsky's neoclassicism in full swing. This ostensible return to the old tradition came as some?thing of a shock from a composer who, with his Rite of Spring, had earned a reputation as the most radical of all musical revolutionar?ies only a few years earlier. As the world was
soon to learn, however, the essence of Stravinsky's personality lay not so much in the musical idiom he used as in his uncanny ability to always do the unexpected (and to make it work). And certainly, to go back 200 years in time and rewrite the works of a late Baroque composer was almost as unexpect?ed than to unleash the fierce dissonances and wild rhythms of The Rite.
The score of Pulcinella names Giovanni Battista Pergolesi (1710-1736) as the author of the originals, yet most of the music is not actually by that composer. Pergolesi, who has the sad distinction of being one of the shortest-lived composers in the history of Western music, was professionally active for only five years, during which time he man?aged to establish himself in Naples as a prominent composer of operas, sacred and secular vocal music as well as instrumental works. Yet his success during his lifetime pales in comparison to his posthumous fame. Posterity counted him among the greatest composers of the century; his short opera La serva padrona and his Stabat Mater were performed and printed innumerable times all over Europe. As the eighteenth cen?tury wore on, more and more works bearing the name of this musical prodigy appeared on the market. Twentieth-century scholar?ship, however, has determined that a large number of these works are inauthentic -some were written by contemporaries of Pergolesi and mistakenly attributed to him, while others are outright forgeries.
Stravinsky discovered this body of music through the famous director of the Russian Ballet, Serge Diaghilev. Diaghilev, who had commissioned Stravinsky's three great ballets (The Firebird, Petrouchka, and The Rite of Spring) in the years before World War I, was anxious to renew his collabora?tion with the composer after war's end. He had recently produced a ballet based on music by Domenico Scarlatti, and he want?ed to continue his explorations of Italian
Baroque music. At first, Pergolesi's music seemed to hold little interest for Stravinsky, but he, too, was eager to work with Diaghilev again, and happily accepted the great impresario's proposal.
The plot of the ballet was adapted from an old manuscript containing humorous anecdotes about Pulcinella, a traditional commedia deU'arte character. All the girls in the village were in love with Pulcinella, and their fiances conspired to kill him. It is a comedy of errors that ends without any
bloodshed (a few fistfights, at most); in th end, every boy, including Pulcinella, marr the appropriate girl.
In general, Stravinsky was faithful to I sources, preserving the melody and the ba line. He often changed the harmonies and made other minor changes, which were su ficient to turn the music of Pergolesi (and the various pseudo-Pergolesis) into pure Stravinsky.
Program note by Peter Laki.
New Goldberg Variations
In memory of Robert P. Goldberg (December 4, 1944 February 24, 1994)
24 August 1997
My Dear Family and Friends:
It is our family's greatest pleasure to wel?come you to the premiere performance of the New Goldberg Variations. It is profoundly satisfying to bring Robert's idea to commission these works to fulfill?ment. What began as a creative and loving gesture to me -to celebrate our twenty-fifth wedding anniversary by having new variations composed -now becomes a permanent tribute to the life Robert lived and to the inspiration he was. It is thrilling, on Robert's behalf and on my own, to launch these new variations into the body of music litera?ture forever. It is my hope that the music will frequently be performed, heard, discussed, and enjoyed. It is my hope that the music will enrich the tapestry of our world. With love, gratitude, and pride, I dedicate this music and this day to Robert.
-Judy Goldberg
Goldberg Variations
J.S. Bach
Born March 21, 1685 in Eisenach, Germany
Died July 28, 1750 in Leipzig, Germany
The work popularly known as the Goldberg Variations was published in 1741. The title owes its existence to Forkel's report that Bach had written the work for his student Johann Gottlieb Goldberg, so that the latter could entertain his employer Count Keyerslingk during the Count's frequent sleepless nights. The aria upon which both the original and the new variations are based is the excerpt played today.
Program note by Judy Goldberg.
Two Variations for the Goldberg Variations II Project
Kenneth Frazelle
Born 1955 in Jacksonville, North Carolina
I am honored to celebrate Robert and Judy Goldberg through this project. As a teenager I fell in love with the original Goldberg Variations, wearing out my Landowska record and spending countless hours trip?ping through the pieces at the piano.
Responding to Bach's soulful balance of
song, invention, and virtuosity was daunting at first. Yet being part of a collective review?ing of the Variations was intriguing. And the cello and piano lent new interactive and col-oristic possibilities.
I wrote two contrasting variations, which adhere to the source. The "Molto adagio" carries forth from the "Aria's" stately rhythms, exploring chords created by stack?ing the original ground bass. In the "Presto," the bass line soars high in the piano, above a whirling inversion canon.
Two Variations
Christopher Rouse Born February 15, 1949 in Baltimore, Maryland
For my contribution, I decided to compose variations, which would explore two very different expressive worlds. The first, for cello and piano, is fast, fleet-footed, even capricious, in its mercurial way a real show?piece for both performers. The second, for cello alone, is a long cantilena which, like so many others among my recent scores, speaks of sadness and loss.
Three Variations for Violoncello and Piano
Peter Lieberson
Born October 25, 1946 in New York
I am happy to have been able to contribute to Judy Goldberg's project to realize a sec?ond series of Goldberg Variations in memo?ry of her husband, Robert.
At first, though, I must confess I was stumped. I didn't want to compose a five-minute mock-Baroque piece, but I also didn't want to completely ignore the contrapuntal style and process of variation that Bach employed. Then I found a twentieth-century
solution: I took the six note theme of the Goldberg Variations (the descending line in the bass of the opening "Aria," G-F-sharp-E-D-C-B) and combined this with the remain?ing six notes that make up a complete chro?matic scale (B-flat-D-flat-A-flat-F-A-E-flat, in that order).
My piece opens with the combination of these two collections in the solo piano part: Bach's "theme" in the lower voice and my complement in the upper voice. A series of brief phrases follow which form the material of the variations themselves.
The first variation is called "Neighbor Canons," and is in a quick tempo. There are canons within the cello part and the piano part and between them as well. The second variation is a scherzo, which is clearly demarcated by a complete change in texture. Finally, the third variation, "Aria," begins with a cello solo. A short coda follows this variation with a little quote from the "Aria" of the original Goldberg Variations.
Fancy on a Bach Air for Violincello Solo
John Corigliano
Born February 16, 1938 in New York
I first met Robert and Judy Goldberg several years ago, introduced by my cousin Jeffrey Buzen, Robert's business partner. The Goldbergs were both avid music lovers, and we became friends at once.
Sometime later, they approached me about writing a work for their twenty-fifth wedding anniversary, and mentioned that their dear friend Yo-Yo Ma had volunteered his services to perform the work.
I suggested that instead of a single writer, they ask a group of composers to write variations. And what better theme to choose than the venerable melody that bore their name I was sure that Bach would approve!
Of course, Robert's sudden diagnosis and death changed everything. Still, Judy's spirit and love led her to transform what might have been a requiem into a celebra?tion of her husband's life as well as their devotion, both to music and to each other.
Fancy on a Bach Air, my "Goldberg Variation," is for unaccompanied cello. It transforms the gentle arches of Bach's theme into slowly soaring arpeggios in almost unending phrase-lengths. Its dual inspira?tions were the love of two extraordinary people for each other and the solo cello suites of a great musician; both of these long-lined, strong, passionate, perhaps eter?nal, and, for me, definitive of all that is beautiful in life.
Goldberg Variations II for Cello and Piano
Peter Schickele
Born July 17, 1935 in Ames, Iowa
My first pieces were written for friends to play, and, even after becoming a grown-up composer who receives commissions from all over the country, I've always valued a personal contact when I write a piece. While composing a commissioned work for a chamber music ensemble, I often pin their publicity flyer up next to my piano, just to see the faces of the people who will be pre-miering the piece.
Also, I love it when people commission music as a present for someone else, espe?cially since many of my own presents to family and friends have been musical.
So, even though I had not met the Goldbergs when the idea of a new set of variations on Bach's theme was first pro?posed as the celebration of a wedding anniversary, I was charmed and immediately inspired. The tragedy that has turned the project into a memorial makes the idea more poignant, but no less personal.
My two variations reflect both sides of their composer's personality. The first one is slow and serene, and, like many of the varia?tions in Bach's original set, employs canonic techniques prominently. The second is a good-time divertimento, employing vocal chords as well as piano and cello strings.
Fantasy Variations based on the Aria of J.S. Bach's Goldberg Variations for Violoncello and Piano
Richard Danielpour
Born January 28, 1956 in New York City
When I was approached by Judy Goldberg and Yo-Yo Ma to compose music based on the "Aria" of Bach's Goldberg Variations, I had been coincidentally restudying the entire work and using it as a teaching model for my students. While the movement, enti?tled Fantasy Variations, is not a strict varia?tion of Bach's ground bass, it is nonetheless closely associated with many of the ideas found in the "Aria," thus creating a musical mosaic of sorts.
I wrote this music actually two varia?tions within one movement with the intention of it being the concluding varia?tion in the set. The piece is dedicated, of course, to Judy Goldberg.
All individual program notes by the composer, unless otherwise indicated.
The complete and original Goldberg Variations will be performed in their entirety by pianist Murray Perahia on Wednesday, February 16, 2000 at8p.m in Hill Auditorium.
Sonata for Piano and Cello in g minor, Op. 19
Sergei Rachmaninoff Born April 1, 1873 in Semyonovo, Russia Died March 28, 1943 in Beverly Hills, California
Only very occasionally did the piano virtu?oso Rachmaninoff share the stage with a partner; the cellist Anatoly Brandukov (1859-1930), for whom Tchaikovsky had written his Pezzo capriccioso, was clearly an exception. One of Rachmaninoff's earliest works is a "Prelude and Oriental Dance" for cello and piano. These two salon miniatures, two similar bagatelles for violin, the beauti?ful Trio elegiaque, and the Cello Sonata com?prise the composer's entire chamber music output (not counting the songs).
The Cello Sonata, written when Rachmaninoff was twenty-eight, was the last piece of instrumental chamber music he was ever to write. That he was not accustomed to the medium is clear from a comment he made a year before his death, on the occa?sion of performing the work on the radio with cellist Joseph Schuster: he was anxious to make sure that the cello did not dominate the piano. In reality, the opposite danger seems much greater, given the fact that Rachmaninoff's piano writing is as full-bod?ied as it is in his solo works, and the cello often has to assert its personality against a barrage of chords and passage-work in the keyboard part.
Yet this apparent disproportion is pre?cisely one of the most endearing aspects of the work: similarly to Chopin's Cello Sonata (also in g minor), it shows a Romantic pianistcomposer whose imagination is "overflowing" to the point where the piano can no longer hold it by itself. The four movements of the sonata contain a single unending chain of melodies, organized by traditional structural devices (sonata and ABA forms) but focussed less on thematic
development, as a great deal of late Romantic music is, than on the themes themselves. The supremacy of melodies is further shown by the frequent tempo changes: Rachmaninoff assigns every melody its own tempo, thus emphasizing its importance and individuality. The first and last movements are in sonata form (the first preceded by a slow introduc?tion). The second movement is a stormy scherzo with a lyrical middle section; the third a slow Romance. The finale switches from g minor to G Major and ends with a brilliant, fast coda.
Program note by Peter Laki.
The many-faceted career of cel?list Yo-Yo Ma is a testament to his continual search for new ways to communicate with audiences and his personal desire for artistic growth and renewal. Whether performing a new concerto, revisit?ing a familiar work from the cello reper?toire, coming together with colleagues for chamber music, reaching out to young audi?ences and student musicians, or exploring cultures and musical forms outside of the Western classical tradition, Mr. Ma strives to find connections that stimulate the imagina?tion.
Yo-Yo Ma maintains a balance between his engagements as soloist with orchestras throughout the world and his recital and chamber music activities. He draws inspira?tion from a wide circle of collaborators, cre?ating programs with such artists as Emanuel Ax, Daniel Barenboim, Christoph Eschenbach, Pamela Frank, Jeffrey Kahane, Young Uck Kim, Jaime Laredo, Bobby McFerrin, Edgar Meyer, Mark Morris, Mark O'Connor, Peter Serkin, Isaac Stern, Richard Stoltzman and Kathryn Stott. Each of these collaborations is fueled by the interactions between or among the artists, often extend-
ing the boundaries of a particular genre. One of Mr. Ma's goals is the exploration of music as a means of communication and as a vehicle for the migrations of ideas across a range of cultures throughout the world. To that end, he has taken time to immerse him?self in subjects as diverse as native Chinese music and its distinctive instruments and the music of the Kalahari bush people in Africa.
Taking this interest even further, Mr. Ma has recently established the Silk Road Project to promote the study of the cultural, artistic and intellectual traditions along the ancient Silk Road trade route, which extend?ed from Far East Asia to Europe (including such regions as India, Tibet, Persia and Greece). By examining the ebb and flow of ideas throughout that vast area, the Project seeks to illuminate the heritages of the Silk Road countries and identify the voices that represent these traditions today. The Silk Road Project will act as an umbrella organi-
range of cultural and educational programs over the coming years. Mr. Ma's musical role in the Project will include performances of commissioned works, both con?certos and pieces for specially cre?ated Silk Road ensembles (which will tour with these works and tra?ditional music from Silk Road countries). Three Sony Classical Silk Road releases are planned, along with other multimedia pro?jects, including a Silk Road web?site. The Project will also partici?pate in the Salzburg Fesitval of 2001 and the Smithsonian Folklife Festival of 2002.
Mr. Ma recently completed another multi-year undertaking with his re-exploration of J.S. Bach's Suites for Unaccompanied Cello. The elements of this project
included concert performances of the cycle in numerous cities, a new recording of the works and, most notably, a series of films under the title Inspired by Bach. The six films one for each suite use Bach's music as the starting point for new collaborative works and depict the creative process that produced the interpretations of Mr. Ma and his fellow artists (choreographer Mark Morris, Kabuki artist Tamasaburo, ice dancers Jayne Torvill and Christopher Dean, garden designer Julie Moir Messervy and such filmmakers as Atom Egoyan and Francois Girard). The films have been broadcast on PBS and other networks worldwide, released on home video by Sony Classical and have won numerous honors, including two 1998 Emmy Awards, sixteen Canadian Gemini nominations, and many film festival prizes.
Yo-Yo Ma works to expand the cello repertoire through performances of lesser-known twentieth-century music and the
commissioning of new concertos and recital pieces. He has premiered works by a diverse group of composers, among them Stephen Albert, Chen Qigang, Richard Danielpour, John Harbison, Leon Kirchner, Peter Lieberson, Christopher Rouse, Bright Sheng, Tan Dun and John Williams. In many instances, he has not only had new pieces written for him but has also played an active role in their composition.
Mr. Ma is an exclusive Sony Classical artist, and his discography of nearly fifty albums (including thirteen Grammy award winners) reflects his wide-ranging interests. In addition to the standard concerto reper?toire, Mr. Ma has recorded many of the works he has commissioned or premiered. He has also made several successful record?ings that defy categorization, among them Hush with Bobby McFerrin, Appalachia Waltz with Mark O'Connor and Edgar Meyer and Piazzolla: Soul of the Tango. A sequel to Appalachia Waltz with Mr. O'Connor, Mr. Meyer and other artists join?ing Mr. Ma, is due for release in the spring of 2000. Mr. Ma's most recent Sony Classical releases include Simply Baroque: Bach chorale and aria arrangements paired with Boccherini Concern, with the Amsterdam Baroque Orchestra under Ton Koopman (for which Mr. Ma's own Stradivarius cello was configured as a baroque instrument) and Solo, an album of unaccompanied works that serves as a prelude to the Silk Road Project. Solo features works by Zoltan Kodaly, David Wilde, Alexander Tcherepnin and Bright Sheng as well as a new solo ver?sion of Mark O'Connor's Appalachia Waltz all of which address from a different cul?tural perspective the theme of balancing wandering and roots, innovation and tradi?tion. Across this full range of releases, Mr. Ma remains one of the best-selling record?ing artists in the classical field. All of his recent albums have quickly entered the Billboard chart of classical best sellers,
remaining in the "Top Fifteen" for extended periods, often with as many as four titles simultaneously on the list.
Yo-Yo Ma is strongly committed to edu?cational programs that not only bring young audiences into contact with music but allow them to participate in its creation. While touring, he takes time whenever pos?sible to conduct master classes as well as more informal programs for students, musi?cians and non-musicians alike. At the same time, he continues to develop new concert programs for family audiences (helping, for instance, to inaugurate the family series at Carnegie Hall). He has also reached young audiences through appearances on Mister Rogers' Neighborhood and Sesame Street. In each of these undertakings, he works to reach students through whatever means are available, by connecting music to their daily surroundings and activities with the goal of making music and creativity a vital part of children's lives from an early age.
The summer of 1999 saw the realization of one of Mr. Ma's goals for reaching a par?ticular group of students through music. With conductor Daniel Barenboim, he worked with a specially assembled Middle Eastern Youth Orchestra uniting young musicians from throughout that region. These young artists studied and performed together for several weeks in an intensive residency program in Weimar, Germany, Europe's "City of Culture" for 1999.
Yo-Yo Ma was born in 1955 to Chinese parents living in Paris. He began to study the cello with his father at age four and soon came with his family to New York, where he spent most of his formative years. Later, his principal teacher was Leonard Rose at The Juilliard School. He sought out a traditional liberal arts education to expand upon his conservatory training, graduating from Harvard University in 1976. Mr. Ma and his wife, Jill, have two children, Nicholas and Emily.
He plays two instruments: a 1733 Montagnana cello from Venice and the 1712 Davidoff Stradivarius.
Tonight's recital marks Yo-Yo Ma's eighth appearance under UMS auspices. Mr. Ma made his UMS debut on the opening night of the Ann Arbor May Festival in 1982 playing the Kabalevsky Cello Concerto No. 1 with the Philadelphia Orchestra under the direc?tion of Eugene Ormandy. Since then, Mr. Ma has performed three piano recitals under UMS auspices collaborating with Patricia Zander (1984), Kathryn Stott (1988) and Emanuel Ax (1991). He has performed the Penderecki Cello Concerto No. 2 with the Cracow Philharmonic and the composer conducting, as well as a solo recital of the six Bach unaccompanied suites. Mr. Ma last appeared in Ann Arbor with the Orchestra of St. Luke's performing the Dvorak Cello Concerto in 1994.
Following her studies at the Yehudi Menuhin School, where her teachers included Vlado Perlemuter and Nadia Boulanger, the Lancashire born Kathryn Stott graduated to the Royal College of Music where she studied with Kendall Taylor. She was a prize-winner in the Leeds International Piano Competition in 1978 and her international career was launched. Since then, she has performed with the major orchestras of Great Britain alongside their counterparts in the Netherlands, Germany, Italy, Spain, Switzerland, France, and Hong Kong. Her schedule also includes extensive recital and chamber music performances at venues such as the Konzerthaus, Vienna, Suntory Hall, Tokyo, Queen Elizabeth Hall, London, and the Concertgebouw, Amsterdam.
Over the past twelve years, Kathryn Stott has also received much critical acclaim for her imaginative and innovative record?ings for labels such as ArgoDecca, EMI, Unicorn-Kanchana, Bis, Philips, Conifer, and Hyperion. These recordings include the complete works for solo piano and Ballade by Gabriel Faure, piano works by Chabrier, and sonatas for violin and piano by Busoni with the Swedish violinist Per Enoksson. In 1997, the Grammy Award-winning CD The Soul Of the Tango (Sony Classical), for which she collaborated with Yo-Yo Ma and which features the music of Astor Piazzolla, was released. Most recent are the recordings of solo piano music by Ernesto Lecuona for EMI and John Foulds for BIS.
In April 1995, Kathryn Stott assumed artistic leadership of a prestigious interna?tional festival in Manchester to celebrate the music of Gabriel Faure. In recognition of her achievements as an ambassador of French music, she was appointed Chevalier dans I'Ordre des Arts et Lettres by the French Government. She was also nominated for the Royal Philharmonic Society Award fol-
lowing her role as Artistic Director.
Similarly, in March 1998 she was the Artistic Director of a festival in Liverpool entitled Out of the Shadows, which focused on the music of Fanny Mendelssohn and Clara Schumann. Alongside her chamber music trio performances, she also played the Clara Schumann Piano Concerto with the Royal Liverpool Philharmonic, conducted by Petr Altrichter.
In February 2000, the Bridgewater Hall in Manchester will host a festival entitled Piano 2000, of which Kathryn Stott is the Artistic Director. The festival will attract a number of internationally renowned pianists, ensembles, and orchestras from within the UK. Kathryn's own involvement will include the world premiere of a piano concerto by Marc Yeats, The Round and Square Art of Memory, and the European premiere of The Four Parables by Paul Schoenfield. These will take place alongside various chamber music concerts and educa?tional projects.
Kathryn Stott works extensively as a chamber musician. As well as her regular
performances with Yo-Yo Ma, she also regu?larly appears with Michael Collins and with the Lindsay, Chilingirian, Skampa, and Yggdrasil String Quartets. She is also a member of a tango trio called Tango Tiempo with Nestor Marconi (bandoneon) and Pablo Asian (double bass).
In 1997 Kathryn Stott performed the world premiere of the Sir Peter Maxwell Davies Piano Concerto with the Royal Philharmonic Orchestra in London. The Austrian premiere took place in Linz in January 1998 with the Bruckner Orchestra.
Tonight's recital marks Kathryn Stott's second appearance under UMS auspices. She first appeared in Hill Auditorium with Yo-Yo Ma in 1988.
Beethoven the Contemporary
UMS
presents
American String Quartet
Peter Winograd, Violin Laurie Carney, Violin Daniel Avshalomov, Viola David Geber, Cello
Program
George Whitefield Chadwick
Ludwig van Beethoven
Sunday Afternoon, January 23, 2000 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
String Quartet No. 4 in e minor
Andante moderato; Allegro Andantino Semplice Giocoso, un poco moderato Finale: Allegro molto vivace
INTERMISSION
String Quartet in E-flat Major, Op. 127
Maestoso: Allegro
Adagio, ma non troppo e molto cantabile
Scherzando vivace
Finale
Forty-third Performance of the 121st Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance is provided by media sponsor, Michigan Radio.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
Special thanks to the U-M School of Music for their assistance with this residency.
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.
String Quartet No. 4 in e minor
George Whitefield Chadwick Born November 13, 1854 in Lowell,
Massachusetts Died April 4, 1931 in Boston
The turn-of-the-century American composer George Whitefield Chadwick began his musical training at a time when America still looked to Europe (and more specifically, Germany) as the cultural benchmark. Like so many of his colleagues, Chadwick left the US in the 1870s to complete his training in Germany, studying with Carl Reinecke in Leipzig and then with Joseph Rheinberger in Munich. He later recalled that all he did in Leipzig was harmonize chorales for four years, but added, "I've always been grateful for that incomparable discipline." Upon his return to the US, Chadwick was, for a time, regarded as one of the country's leading composers, but his music soon fell out of favor with conductors and audiences as public tastes turned more toward French and Slavonic models.
Though most of Chadwick's composi?tions have languished in obscurity for much of this century, his reputation as an academ?ic and teacher remained strong. At the beginning of his term as Director of the New England Conservatory in Boston (a position he held from 1897 until his death in 1931), Chadwick published a harmony textbook that, unusually for its day, used examples drawn from the performing reper?toire rather than merely discussing theoreti?cal concepts abstractly. He counted among his composition students such notables as Edward Burlingame Hill, Daniel Mason, Frederick Shepherd Converse, William Grant Still, Leroy Robertson, and Horatio Parker (who, in turn, was Charles Ives' teacher at Yale).
Although Chadwick's style has been labeled "Boston Classicism" and the influ?ence of Brahms and Wagner is strong in his
music, it would be wrong to think of him only as a conservative Romantic. Of all the so-called "Second New England School" composers, Chadwick was the most overtly "Yankee." A high-school dropout, he had an earthy, even ribald, sense of humor and a greater sympathy with the vernacular tradi?tions of folk and jazz than any of his genera?tion. The light-hearted march from his 1894 burlesque opera Tabasco was something of a hit at the turn of the century. And though he rarely quoted folk materials, the flavor of folksong and Protestant hymnody infuses much of Chadwick's writing, appearing even as early as String Quartet No. 2 in C Major from 1878.
String Quartet No. 4 in e minor dates from 1895 and was published the following year. It is permeated by the same Yankee spirit that would later become Charles Ives' trademark, and was almost certainly com?posed under the direct influence of Antonin Dvorak's "American" quartet, which had premiered in Boston the previous year. Chadwick dedicated his quartet to Franz Kniesel, the founder of the group that pre?miered Dvorak's work, an indication that it was indeed Dvorak who inspired him to return to the genre, not simply as an exer?cise in form and technique but rather as a viable vehicle for the expression of true American sentiment.
The work opens with a calm, pastoral introduction, followed by an "Allegro" that, as R. D. Darrell has written, is "distinctive for both its dashing, snappy first theme and graciously songful, surly, hymn-influenced second." Later in the movement there are passages of homespun counterpoint of the kind one might find in the music of William Billings. However, an intensely motivic development section recalls Beethoven (or perhaps how Beethoven may have sounded had he lived in Boston and not Vienna).
The slow movement is serene, in a chordal style redolent of a small revivalist
gathering, with the flavor (if not the exact melody) of Robert Lowry's 1869 hymn Shall We Gather at the River. A small minor-key detour leads to a middle section where the instruments are given greater independence. Dotted rhythms enliven the return of the ornamented opening section and the coda fades into a lone melody with pizzicato accompaniment, possibly meant to imitate a gently strummed banjo.
An aroma of folk fiddle seasons the zestful first theme of the scherzo. The second theme is more clipped, though still thor?oughly dance-like. In the earnest trio sec?tion, the melody recalls a Steven Foster par?lor-song, with the instruments pairing off into echoing duets. The reprise of the scher?zo accelerates, with "hoe-down" energy, toward the end. The ballad melody of the "Finale" is played at the outset in bare octaves and is then subjected to several vari?ations, with changes of tempo, texture, and style. Though mostly poetic and introspec?tive, it proceeds through an exhilarating fugato to a witty presto conclusion.
String Quartet in E-flat Major, Op. 127
Ludwig van Beethoven
Born December 16, 1770 in Bonn
Died March 26, 1827 in Vienna
In 1822, the Russian prince Nikolas Galitzin had been greatly impressed by a perfor?mance of Carl Maria von Weber's new opera, Der Freischutz, and contemplated having a score made for his own use. However, the violist of the St. Petersburg String Quartet (the ensemble in which the Prince himself played cello) convinced Galitzin that the money might be put to better use by commissioning a new work from the great Beethoven, thus providing something from which the whole world
might profit. Thus, Galitzin approached the aging, ailing composer with a commission for three new string quartets. It had been twelve years since Beethoven had composed his last quartet (Op. 95, in 1810), but he was eager to return to the genre and accepted the prince's commission. Returning the favor, Galitzin arranged the first perfor?mance of Beethoven's Missa Solemnis, which took place in St. Petersburg in 1824, though the composer had not yet completed the first commissioned quartet, later published as Op. 127.
The years between Beethoven's Op. 95 and Op. 127 quartets were difficult ones for the composer. Success had turned into cre?ative paralysis and financial despair; happi?ness was replaced with sorrow and loneli?ness, while the frustrations of his deafness continued to plague him. But he started work on Op. 127 at a time when his creative powers had begun to return with renewed vitality, especially in the larger, "public" forms. He had just completed the Missa Solemnis, Symphony No. 9, and the Diabelli Variations, and had also talked of a Requiem and a Tenth Symphony. His return to the string quartet genre at this time signaled another creative re-awakening, expressed through a more private and intimate ensem?ble. However, the composer never complet?ed the rest of the larger "public" composi?tions, intensifying the scrutiny under which his last quartets have been placed. These works, more than the grand choralsym?phonic utterances, have come to represent not only the height of Beethoven's genius, but the "summa of instrumental music" uni?versally.
String Quartet in E-flat Major is usually considered the most approachable of the five late quartets, in that the listener must come to terms not with extreme complexity, but with dazzling simplicity. Still illuminat?ed by the radiant optimism of the "Ode to Joy," it is thought by some to be the most
serene and harmonious of all of Beethoven's quartets.
Although E-flat Major was, for Beethoven, a key of broad gestures (as in the "Eroica" Symphony and the Piano Concerto No. 5), the "Maestoso" introduction to the first movement is brief and harmonically naive. Yet it is not insignificant, as its return throughout the movement is crucial to the overall structure. The themes in the wistful and alarmingly concise "Allegro" are not so much contrasted as drawn together, and, true to Beethoven's late style in general, the formal markers are deliberately obscured; there is no repeat of the exposition and the recapitulation sneaks in unobtrusively. The "Maestoso" passage returns at the beginning of the development section (in G Major), and when it returns again in C Major mid?way though the development, the composer exploits the ringing resonance of open strings by marking it fortissimo.
Beethoven takes the final low E-flat from the cello and from it builds a new chord -a dominant-seventh of'A-flat' -for the start of the slow movement, the aes?thetic centerpiece of the whole quartet. The theme in this variation movement is a sub?lime melodic arch of eighteen measures, in a slow 128, so exquisite in itself that one wonders how the composer will vary it without detracting from the beauty of the original. The first variation simply adorns the theme, while the second transforms it into a carefree dance. The profoundly con?templative third variation ("Adagio molto espressivo") is in the distant, mysterious key of E Major, arrived at not by modulation, but by simply lifting a 'c' to 'c-sharp' and on up until the new tonic is reached. The gently pulsing fourth variation returns to A-flat, again without modulation. A stern and lonely interlude touches on c-sharp minor before a chain of trills in the first violin returns, leading back to tonic for the final, peace-filled variation.
Gentle pizzicato chords signal the tran?sition to the scherzo in E-flat. It is a study in contrasts, characterized by a hopping figure in the cello, cross rhythms, unexpected silences, and interruptions of meter and speed. The trio quickens the tempo into a presto whirlwind that eventually runs out of steam and quietly elides into a repeat of the scherzo. Just when it sounds like there may another go-round of the trio and scherzo, it's abruptly cut off by a short coda (a device similar to that used in the "Scherzo" of Symphony No. 7).
Beethoven omitted a tempo indication for the "Finale," leaving it to the discretion of the players. The movement is full of dancing rhythms, gaiety, charm, and an untroubled peasant innocence, mostly at a gentle dynamic level. The "Allegro con moto" coda is an aviary of trills and tremo?los, majestically concluded by the simplest of musical gestures, an unadorned authentic cadence.
Program notes by Luke Howard.
The American String Quartet celebrated its twenty-fifth anniversary in the 19981999 season with a tour that includ?ed concerts in all fifty states, a performance at the Kennedy Center in Washington, and two European tours. In the years since its inception, the Quartet has achieved a position of rare esteem in the world of chamber music. On annual tours that have included virtually every important concert hall in eight European countries and across North America, the Quartet has won critical acclaim for its presentations of the complete quartets of Beethoven, Schubert, Schoenberg, Bartok and Mozart, and for collaborations with a host of distinguished artists.
Resident Quartet at the Aspen Music
Festival since 1974 and at the Taos School of Music since 1979, the American also has ongoing series at University of Michigan's UMS and the Orange County Performing Arts Center in California. The Quartet is credited with broadening public awareness and enjoyment of chamber music across North America through educational pro?grams, seminars, broadcast performances, and published articles. It was one of the first ensembles to receive a National Arts Endowment grant for its activities on col?lege campuses. Its commitment to contem?porary music has resulted in numerous commissions and awards, among them three prize-winners at the Kennedy Center's Friedheim Awards.
Quartet-in-Residence at the Manhattan School of Music in New York since 1984, the members of the Quartet were previously on the faculty of the Peabody Conservatory (where they initiated the program of quartet studies) and in 1992 they served as resident ensemble for the Van Cliburn International Piano Competition.
The American String Quartet continues to reach a widening audience through its recordings, most recently the complete
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for MusicMasters Musical Heritage on a set of matched Stradivarius instru?ments, released during the 19971998 season. The Quartet's diverse activities have also included numerous radio and television broadcasts in fifteen countries, tours to Japan and the Far East, and performances with the Montreal Symphony, the New York City Ballet and
the Philadelphia Orchestra.
The four musicians studied at The Juilliard School, where the Quartet was formed in 1974, winning the Coleman Competition and the Naumburg Award that same year. Outside the Quartet, each finds time for solo appearances and recitals.
This performance marks the American String Quartet's ninth appearance under UMS aus?pices.
UMS
and
Charia Breton
Associates
present
Russian National Orchestra
Vladimir Spivakov, Music Director and Principal Conductor Mikhail Pletnev, Founder and Conductor Laureate
Mikhail Pletnev, Conductor Francesko Tristano Schlime, Piano UMS Choral Union
Program
Piotr Ilyich Tchaikovsky
Sergei Rachmaninoff
Alexander Scriabin
Monday Evening, January 24, 2000 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Symphony No. 4 in f minor, Op. 36
Andante sostenuto Andantino in modo di canzona Scherzo: Pizzicato ostinato -Allegro Finale: Allegro con fuoco
The Isle of the Dead
Symphonic Poem for Orchestra, Op. 29
after the painting by Arnold Bocklin
INTERMISSION
Prometheus: Poem of Fire
Symphonic Poem for Orchestra, Op. 60
Forty-fourth Performance of the 121st Season
121 st 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.
This performance is sponsored by Charla Breton Associates.
Special thanks to Kathleen Charla for her generous support of the University Musical Society.
Additional support is provided by media sponsor, WGTE.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
Special thanks to Marysia Ostafin, the Center for Russian and Eastern European Studies and the St. Romano's Ensemble for their assistance with this residency.
The piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
The Russian National Orchestra appears by arrangement with ICM Artists, Ltd.
Large print programs are available upon request.
Symphony No. 4 in f minor, Op. 36
Piotr Ilyich Tchaikovsky
Born May 7,1840 in Kamsko-Votkinsk, Russia
Died November 6, 1893 in St. Petersburg
Those of us ever curious about what com?posers wanted to express with their music may think we have all the answers in Tchaikovsky's Symphony No. 4. After all, didn't the composer write down a detailed program, complete with musical examples, about the meaning of each movement in his work Everyone who loves Tchaikovsky and Symphony No. 4 in particular should know this document, contained in a letter dated March 1, 1878, and written by the composer to his friend and benefactor Nadezhda von Meek (to whom the symphony is dedicated).
In our symphony there is a programme (that is, the possibility of explaining in words what it seeks to express, and to you and you alone I can and wish to indicate the meaning both of the work as a whole, and of its individual parts. Of course, I can do this here only in general terms).
The introduction is the kernel of the whole symphony, without question its main idea:
This is Fate, the force of destiny, which ever prevents our pursuit of happiness from reaching its goal, which jealously stands watch lest our peace and well-being be full and cloudless, which hangs like the sword of Damocles over our heads and constantly, ceaselessly poisons our souls. It is invincible, inescapable. One can only resign oneself and lament fruitlessly:
The disconsolate and despairing feeling grows ever stronger and more intense. Would it not be better to turn away from reality and immerse oneself in dreams
O joy! A sweet, tender dream has appeared. A bright, beneficent human form flits by and beckons us on:
How wonderful! How distant now is the sound of the implacable first theme! Dreams little by little have taken over the soul. All that dark and bleak is forgotten. There it is, there it is happiness!
But no! These were only dreams, and Fate awakens us from them:
And thus, all life is the ceaseless alter?nation of bitter reality with evanescent visions and dreamed-of happiness... There is no refuge. We are buffeted about by this sea until it seizes us and pulls us down to the bottom. There you have roughly the program of the first movement.
The second movement of the sympho?ny expresses a different aspect of sorrow, that melancholy feeling that arises in the evening as you sit alone, worn out from your labors. You've picked up a book, but it has fallen from your hands. A whole proces?sion of memories goes by. And we are sad that so much already is over and gone, and at the same time we remember our youth with pleasure. We are weary of life. How pleasant to relax and look back. Much comes to mind! There were blissful moments, when
our young blood seethed and life was good. And there were bitter moments of irretriev?able loss. It is at once sad and somehow sweet to lose ourselves in the past...
The third movement does not express definite feelings. These are, rather, capri?cious arabesques, fugitive images which pass through one's mind when one has had a lit?tle wine to drink and is feeling the first effects of intoxication. At heart one is nei?ther merry nor sad. One's mind is a blank: The imagination has free rein and it has come up with these strange and inexplicable designs... Among theme all at once you rec?ognize a tipsy peasant and a street song... Then somewhere in the distance a military parade goes by. These are the completely unrelated images that pass through one's head as one is about to fall asleep. They have nothing in common with reality; they are strange, wild and incoherent...
The fourth movement. If you can find no impulse for joy within yourself, look at others. Go out among the people. See how well they know how to rejoice and give themselves up utterly to glad feelings. But hardly have you succeeded in forgetting yourself and enjoying the spectacle of oth?ers' joys when tireless Fate reappears and insinuates itself. But the others pay no heed. They do not even look around to see you standing there, lonely and depressed. Oh, how merry they are! And how fortunate, that all their feelings are direct and simple. Never say that all the world is sad. You have only yourself to blame. There are joys, strong though simple. Why not rejoice through the joys of others One can live that way, after all.
Yet as soon as Tchaikovsky wrote down these thoughts, he felt them to be woefully inadequate. So he added the following post?script to his letter:
Just as I was putting my letter into the enve?lope I began to read it again, and to feel misgivings as to the confused and incom?plete program that I am sending you. For the first time in my life I have attempted to put my musical thoughts and forms into words and phrases. I have not been very successful. I was horribly out of spirits all
the time I was composing this symphony last winter, and this was a true echo of my feelings at the time. But only an echo. How is it possible to reproduce it in clear and def?inite language I do not know. I have already forgotten a good deal. Only the gen?eral impression of my passionate and sor?rowful experiences has remained....
Tchaikovsky's dilemma has been keenly felt ever since by everyone trying to explain music in words, whether it be their own music or that of someone else. Although it seems that it cannot be done, neither can it be avoided. Instead of engaging in endless (and fruitless) polemics about "program music" and "absolute music," then, we should sim?ply remember that programs, even if pro?vided by the composer, are no more and no less than a first approach to the music; they certainly don't even begin to explain what the composer has actually achieved.
The feelings described in Tchaikovsky's program seem to be no more than a stepping stone for the composer's musical imagination. In addition, some of the images Tchaikovsky used may derive from musical sources in the first place: when he spoke about "Fate," he didn't mean "Fate" in general but "Fate" as believed to be portrayed in Beethoven's Symphony No. 5 (as he wrote in the same letter to Mme von Meek, "The work is pat?terned after Beethoven's Fifth, not as to musical content, but as to the basic idea"). Similarly, when he said "go out among the people," he probably thought about the people rejoicing to the sound of folk dances in Beethoven's Symphony No. 6, or perhaps about the millions embraced by Beethoven in Symphony No. 9 (although he didn't make these connections explicit in his letter). These seemingly extra-musical images clear?ly came to Tchaikovsky filtered through a musical tradition in which they were thought to have found expression.
Of course, the symphony's program had a more immediate personal level, one that Tchaikovsky didn't need to spell out to his friend. Mme von Meek knew all about the
turmoil Tchaikovsky had gone through at the time of writing the symphony: 1877 was the year of his disastrous marriage to Antonina Milyukova, which only lasted a few days. Tchaikovsky's correspondence with Nadezhda von Meek (he was never to meet her in per?son) also began in 1877; the knowledge that there was someone who could truly under?stand him only made the outburst of his emotions more intense. Still, even here we cannot separate the music from the verbal?ized emotions, or tell which came first.
Ultimately, what makes Tchaikovsky's Symphony No. 4 a masterpiece is neither the presence of a program nor the successful musical expression of one. It is rather the sheer musical power of its themes, the force with which they are developed, and the boundless imagination displayed in tonality, rhythm, orchestration, and musical character.
English translation by Richard Taruskin, published in Music in the Western World: A History in Documents, selected and annotated by Piero Weiss and Richard Taruskin (New York: Schirmer, 1984).
The Isle of the Dead
Symphonic Poem for Orchestra, Op. 29
after the painting by Arnold Bocklin
Sergei Rachmaninoff
Born April 1, 1873 in Semyonovo, Russia
Died March 28, 1943 in Beverly Hills
Rachmaninoff and Scriabin, born only a year apart, were classmates at the Moscow Conservatory. Yet their styles and personali?ties were totally different: Scriabin's mystical theories and bold harmonic experiments were utterly alien to Rachmaninoff. Each man developed a reputation as a pianist-composer whose programs consisted almost entirely of their own works and had little contact with each other after they had left school. That is why it was such a momen?tous event when, after Scriabin's untimely death in 1915, Rachmaninoff went on a tour
of Russia with a series of all-Scriabin pro?grams. This shocked a lot of people since Rachmaninoff's interpretation was often diametrically opposed to Scriabin's, yet the tribute to a deceased colleague (to the bene?fit of Scriabin's widow and children) was one of the musical sensations of the day.
In the symphonic poem The Isle of the Dead, Rachmaninoff made a rare foray into the world of impressionism (although he might have been the last to admit to it). It came as quite a surprise between the expan?sive Romanticism of Symphony No. 2 and the dazzling virtuosity of Piano Concerto No. 3.
The work was inspired by a painting, The Isle of the Dead (Die Toteninsel), by Arnold Bocklin (1827-1901), who was born in Switzerland but spent most of his life in Italy. He was famous in his own time for his fantastic fighting centaurs and his voluptuous satyrs and naiads frolicking among lush Mediterranean landscapes. According to art historian Ulrich Finke, The Isle of the Dead was "much admired as the symbol of the fin-de-siecle (end-of-the-century) mood. The picture shows a boat, with two figures in it, approaching an island. On the island, a group of tall cypresses is surrounded by huge rocks, in whose sides large chambers have been carved out. The two people in the boat are taking a coffin to bury on the island. The tone of the picture is dark and lugubrious; it has none of the exuberance of some of Bocklin's other canvases.
Rachmaninoff first saw Bocklin's picture in a black-and-white reproduction in 1907. At this point in his life, he was living in Dresden, having quit his post as conductor at the Bolshoi Theatre in Moscow, and decided to devote himself to composition. His friend Nikolai Struve, a Russian of German descent who was also living in Dresden at the time, suggested that he translate his reaction to Bocklin's painting into music.
Rachmaninoff was usually a slow work?er, but this time the ideas came rushing to him and he finished the symphonic poem in
just a few months. He later described how, in that particular instance, he didn't have to build up the piece from individual themes and worry about fitting them together; rather, the piece was conceived in his head as a whole and had only to be written down.
Although the boat moves slowly on the water, the main feeling Bocklin's picture projects is one of immobility, focussing on death and eternal silence. At the beginning of his symphonic poem, Rachmaninoff gave a perfect musical expression of this immo?bility; however, his musical instincts prompted him to introduce some degree of contrast later in the work.
Almost exactly half of the twenty-minute work is devoted to an even motion in the asymmetrical 58 meter, perhaps representing unequal oar-strokes in the boat. This music is gloomy, mysterious, and totally in keeping with Bocklin. Then, something happens. The 58 meter changes to 34; the simple scales and accompaniment figures that have made up much of the musical material so far give way to full-fledged melodies in the wood?winds and a particularly soaring one in the strings. For about five minutes, we are trans?ported into a different world; Rachmaninoff spoke about a "life" theme and, in fact, this music bursts with life and energy.
And then again something happens. The violins and the clarinets start repeat?ing a four-note motif that is none other than the beginning of the Gregorian chant "Dies irae" (the Sequence from the Mass of the Dead). Since Berlioz' Symphonie fantastique (1830), many composers have used this famous melody in non-liturgical works as a sym?bol of death (for instance, Liszt in Totentanz and Saint-Saens in Danse
macabre). Rachmaninoff was to return to this melody in several of his later works, including the Rhapsody on a Theme of Paganini (1934) and the Symphonic Dances (1940). In The Isle of the Dead, he merely hinted at it by quoting the first notes. The various instruments (including a solo vio?lin) play these notes at various speeds, often simultaneously. In rapid motion, the melody becomes figuration, and the special instru?mentation (string tremolos, bass pizzicatos, muted horns, soft chords in the harp) pro?duce a singular sound effect. The initial 58 music then returns to fade away pianissimo; perhaps the boat is now leaving the island without the coffin.
Bocklin's picture left many details unclear; it was intended as an enigma, as the artist himself had said, "a picture for dream?ing about." In the symphonic poem, then, we have Rachmaninoff's dream about Bocklin's picture. According to Rachmaninoff's biog?rapher Geoffrey Norris,"it is... a highly dramatic, and in a sense free and expanded, interpretation of the painting." It is signifi?cant that Rachmaninoff was inspired by a black and white reproduction of the picture. When later he saw the original, he was a little disappointed: the reproduction, evidently, left more room for dreams.
Prometheus: Poem of Fire Symphonic Poem for Orchestra, Op. 60
Alexander Scriabin
Born January 6, 1872 in Moscow
Died April 27,1915 in Moscow
Prometheus: Poem of Fire is also sometimes referred to as Scriabin's Symphony No. 5, although it doesn't even remotely resemble a symphony not any more, by the way, than do Symphonies Nos. 3 and 4, better (and more appropriately)
known as The Divine Poem and I he Poem of Ecstasy. All three "poems" are part of Scriabin's monumental attempt to set his unique mystical visions to music that was universal in scope and revolutionary in sound.
Prometheus, the Titan (demi-god) of Greek mythology who stole the fire from the gods of Olympus to give it to humanity, was, of course, no stranger to music history. Beethoven's ballet, Schubert's song and Liszt's symphonic poem all celebrated the hero's courage and independent spirit. But none of them identified with him as deeply as did Scriabin, for whom as biographer Faubion Bowers has pointed out -Prometheus the fire-bearer was the same as Lucifer, the Judeo-Christian God's fallen angel, whose name means "light-bearer." It is typical of Scriabin's contradiction-ridden personality that on another occasion, he likened Prometheus to Christ after all, they were both divine and human, and had to suffer in punishment for their good deeds.
The myth of Prometheus, then, took on a truly cosmic significance for Scriabin who
as a follower of the theosophical movement
was positively obsessed with the idea of reaching out to Infinity and uniting with the Universe. These ideas which had also been at the root of The Divine Poem and The Poem
of Ecstasy attained the highest point of their development in Prometheus: Poem of Fire, which turned out to be the last major orchestral work Scriabin was able to complete.
The composer's extreme ambitions called for extremely large performing forces: in addition to the large orchestra, Prometheus includes a concerto-sized piano solo, a mixed chorus, and extraordinarily a "color organ." The latter was a device built for Scriabin by an electrical engineer named Alexander Mozer according to the compos?er's specifications. Depressing one of the color organ's keys caused the corresponding color to be projected on a screen. Scriabin had a very strong perception of synesthesia; i.e. he firmly associated specific pitches to colors. His color scale was as follows:
c red G rosy orange
c violet G violet purple
D yellow A green
D steel A steel
E pearly white B pearly blue
F dark red
F blue

The color organ plays from the first measure of Prometheus to the last. At the same time, the sounds of the orchestra seem to repeat Prometheus' creative act by mov?ing from an inchoate primordial state to gradual articulation of life's sorrows, pas?sions and delights. The various themes of the work were described by Scriabin as "Joy of Life," "Intense Desire," "Ego," etc.
Faubion Bowers began his description of Prometheus with the following observation:
The arrangement A, D, G, C, F, B, the so-called mystic chord of fourths aug?mented, diminished and perfect, opens the piece. It is the Ur-chord of many chords in Prometheus. Its distribution is so wide, releasing such unusual resonances ('G' lies at the bottom, which throws the ensuant overtones out of line), that Scriabin used to defy anyone to repeat it after him by ear.
The piano solo, which enters soon thereafter, symbolizes Prometheus himself, the fierce individual with uncommon gifts and aspirations as the mysterious blue of the introduction gives way to the color of steel. The music subsequently explores the joyful, even erotic aspects of existence. A solo violin gives the piano a "feminine" response. The excitement keeps rising and reaches its peak; the color red becomes predominant on the screen. Near the end, the wordless chorus enters "with a dazzling burst of sound" (Scriabin's performance instruction), with their vowels carefully matched to the color organ. (Scriabin was familiar with Arthur Rimbaud's famous sonnet in which the French poet assigned different colors to each vowel in the alpha?bet; Scriabin's associations, however, were different from Rimbaud's.)
Out of the chromatic maze and we shouldn't forget that the musical term "chro?matic" comes from the Greek word for color a pure and radiant F-sharp-Major sonori?ty emerges unexpectedly to conclude the piece as the color organ returns to the bright blue light of the beginning.
Program notes by Peter Laki.
Mikhail Pletnev is an artist who defies simple classifi?cation, although his early career matched the musi?cal establishment's expec?tations for a virtuoso pianist of the Russian School. While pursuing a high-profile career as a concert pianist, he made his debut as a conductor in the Soviet Union in 1980 and went on to make guest appearances with many of the leading orchestras there. Born in Archangel, Russia, in 1957, the child of musicians, he grew up in Kazan. At the age of 13 he transferred to the Central School of Music and, in 1974, entered the Moscow Conservatory, studying under Jacob Flier and Lev Vlasenko.
Mr. Pletnev was the Gold Medal and First Prize winner at the 1978 Tchaikovsky International Piano Competition in Moscow when he was only 21. His prize resulted in early international recognition and, in 1988, an invitation from President Mikhail Gorbachev to perform at the superpower summit in Washington.
The ensuing friendship with President Gorbachev gave Mr. Pletnev the historic opportunity in 1990 to realize his long-held dream of forming an orchestra independent of the government. Attracted by Mr. Pletnev's reputation and his vision of a new model for the performing arts in Russia, many of the finest musicians in the country offered their services: the Russian National Orchestra was born. Since its inception until September 1999, Mr. Pletnev served as the RNO s music director and principal conduc?tor, establishing the orchestra at the very front rank of world ensembles. At the start of the current season he became the orches?tra's Conductor Laureate and will continue his association with the RNO as both con?ductor and piano soloist.
While Mr. Pletnev's conducting career is primarily focused on the RNO, he also makes appearances as guest conductor with such prestigious orchestras as the
Philharmonia, the London Symphony Orchestra, the City of Birmingham Symphony Orchestra, the Oslo Philharmonic and the Los Angeles Philharmonic.
Firmly established as one of the great pianists of our time, Mikhail Pletnev con-
tinues to perform regularly as soloist and recitalist in the music capitals and major festivals of Europe, Asia and his native Russia. He has appeared with Bernard Haitink, Riccardo Chailly, Kurt Sanderling, Neeme Jarvi, Herbert
Blomstedt, Lorin Maazel and the Bayerische Rundfunk Symphony Orchestra, Christian Thielemann and the Israel Philharmonic, Daniele Gatti and the Santa Cecilia Orchestra (Rome), Libor Pesek and the Czech Philharmonic, Carlo Maria Giulini and the Chamber Orchestra of Europe, and Claudio Abbado and the Berlin Philharmonic at the New Year's Eve Concert 1997 in Berlin. His frequent appearances as soloist with the Philharmonia Orchestra include performances under Leonard Slatkin and Vladimir Ashkenazy in 1999 and Tchaikovsky's com?plete works for piano and orchestra in 2000.
Mr. Pletnev's recordings have received numerous prizes, including a 1996 Gramophone Award for his discs of Scarlatti's Piano Sonatas (EMIVirgin Classics). His unrivaled interpretations of his own piano transcriptions of Tchaikovsky's Nutcracker Suite and Sleeping Beauty have been selected alongside his recordings of the Tchaikovsky Piano Concerto No. 2 and The Seasons for release on Philips' "Great Pianists of the 20th Century" series. In 1997 he became an exclusive Deutsche Grammophon recording artist with the release of a highly praised Chopin recital. This has been followed by an
Hommage a RachmaninoffXfeaturing works of Beethoven, Mendelssohn, Chopin and Rachmaninoff performed one of the great pianistcomposer's own Steinway pianos in Lucerne); a Liszt album (the b-minor Sonata and the Dante Sonata); and a disc of key?board sonatas by C.P.E. Bach. His most recent release is an album of works by Grieg, including the first recording of the composer's recently discoverd Seven Fugues.
Mikhail Pletnev's creativity extends to composing. His works include Triptych for Symphony Orchestra, Fantasy on Kazahk Themes for Violin and Orchestra, Capriccio for Piano and Orchestra and, most recently, a Concerto for Viola and Orchestra, premiered by Yuri Bashmet with the Russian National Orchestra in December 1998.
His stature in Russia has been recog?nized by President Yeltsin, who in 1995 awarded Mr. Pletnev the first State Prize of the Russian Federation, an honor that was again bestowed on him in 1996.
Tonight's concert marks the second appear?ance of Mikhail Pletnev under UMS auspices.
Born in 1981, Francesco Tristano Schlime began his piano studies at age seven at the Conservatoire de Musique de Luxembourg, where under the instruction of Beatrice Rauchs, a former semi-finalist of the Queen Elizabeth of Belgium Competition, his early talent was recognized with high honors in piano, jazz piano, and chamber music. He continued his studies under Jean-Claude Vanden Eynden at the Conservatoire Royal in Brussels, where at fourteen he was awarded first prize in piano with special distinction.
In 1997 Mr. Schlime was invited to spend a semester at the Academy of Music in Riga, Latvia, where he studied with Trofils Bikis. He also enjoyed the instruction of professors Oleg Malov and Valerian
Vishnevsky from St. Petersburg and of the conductor-pianist Mikhail Pletnev from Moscow.
Before leaving for the US, Mr. Schlime completed a year's studies at the Conservatoire du Centre de la
Ville de Paris, where as a student of Emile Naoumoff he was unanimously awarded the Prix de la Ville de Paris in chamber music. He is currently enrolled at The Juilliard School in NY in the class of pianist Jerome Lowenthal.
Tonight's performance marks the debut of Mr. Schlime under UMS auspices.
In the span of less than ten years, the Russian National Orchestra (RNO) has established itself at the very front rank of world ensembles. Founded in 1990 following sweeping changes in the former USSR, the RNO includes many players from the principal ranks of the major Soviet orchestras, most of them soloists in their own right.
The RNO's first concert in November 1990 was met with tremendous public and critical acclaim, and the orchestra was offered a recording contract on the spot. This led to the RNO's first compact disc, Tchaikovsky's Symphony No. 6, "Pathetique," released in 1991. Gramophone called the recording "an awe-inspiring experience: should human beings be able to play like this" and listed it as the best recording of the "Pathetique" Symphony in history.
The RNO was in immediate demand throughout the music world and became the first Russian orchestra to play at the Vatican and to tour Israel. Other touring
engagements have taken the KNO to the United States, Asia and Europe; such major music festivals as Edinburgh, Lucerne, Athens and Sydney, and the 1996 Olympic Arts Festival in Atlanta. Of the Orchestra's 1996 debut at the BBC Proms in London The Evening Standard wrote,".. .they played with such captivating beauty that the audi?ence gave an involuntary sigh of pleasure."
In 1993 the RNO signed an exclusive recording agreement with Deutsche Grammophon which has resulted in a series of highly acclaimed recordings of works by Russian and European composers. The RNO's 1994 recording of Rachmaninoff's Symphony No. 2 has been called "breathtak-ingly beautiful...this has no, and may never have, any serious rivals" (Classic CD). Gramophone called the RNO's 1995 record?ing of Prokofiev's Cinderella "one of the best records not only of the year but of the 1990's." Classic FM magazine awarded Romantic Record of the Year honors to the RNO's 1998 recording of Rachmaninoff's Symphony No. 3. The orchestra's newest releases, the complete Tchaikovsky ballet The Sleeping Beauty and a Scriabin album featuring the Symphony No. 3 and the Poem of Ecstasy, are likewise garnering exceptional reviews.
The RNO is privately funded and free of government control. It is governed by a board of trustees consisting of members of leading multinational and Russian compa?nies, and other distinguished persons. The RNO has won the support of a growing number of companies and individuals throughout the world. It has been called "a major miracle" by Time Out New York and classical music's "feel-good story of the decade" by International Arts Manager.
Tonight's concert marks the second appear?ance of the Russian National Orchestra under UMS auspices. The RNO made its debut in March, 1998 under the direction of Maestro Pletnev with violinist Gil Shaham.
Russian National Orchestra
Vladimir Spivakov
Music Director and Principal Conductor
Mikhail Pletnev
Founder and Conductor Laureate
Andrey Boreyko, Dmitri Liss, Robert Bachmann Associate Conductors
First Violins
Alexei Bruni,
Concertmaster Vladimir Lukianov,
Associate Concertmaster Elena Adjemova Natalia Anurova Margarita Peletsis Konstantin Komissarov Fyodor Shevrekouko Roufina Yefimova Igor Akimov Leonid Akimov Azer Lioutfaliev Alexander Poliakov Sonya Kashkarova Natalia Fokina Edvard Yatsoun Igor Tikhonov
Second Violins Sergei Starcheus,
Principal Konstantin Stoliarevski,
Associate Principal Vladimir Lundin Pavel Gorbenko Irina Simonenko Ludmila Murina Marina Sloutskaia Alexei Morilov Alexander Kulnitski Andrei Nikulin Olga Kiseleva Evgenie Feofanov Mikhail Simski Evgenie Durnovo
Violas
Alexander Bobrovski,
Principal Alexander Petrov,
Associate Principal Kirill Belotsvetov Sergei Doubov Sergei Bogdanov Olga Souslova Larisa Ogandjanova Stanislav Koriakin Alexander Joulev Lev Leushin Maria Goryunova Valentin Krasilnikov
Cellos
Ernst Pozdoyev, Principal Alexander Gotgelf,
Associate Principal Alexander Goriunov Igor Labutin Nikolai Silvestrov Mikhail Mostakov Alexander Ostroukhov Igor Sitnikov Oleg Smirenkov Sergei Naumov
Double Basses
Roustem Gabdullin,
Principal Nikolai Gorbunov,
Associate Principal Sergei Kornienko Vyacheslav Mikhailov Miroslav Maksimiuk Ivan Amosov Aare Suss Gennady Krutikov
Flutes
Sergei Bubnov, Principal Vladimir Shamidanov Oleg Khoudakov
Oboes
Vladimir Tambovtsev,
Principal Petr Fedkov Vladimir Schetinin
English Horn
Vladimir Gavrilov
Clarinets
Igor Panasiuk, Principal Igor Yeremin Evgenie Kamuishev
Bassoons
Alexander Petrov,
Principal Alexei Sizov Gennadi Shamin Boris Zotov
French Horns
Igor Makarov, Principal Alexander Rayev Victor Bushuyev Askar Bissembin Vladimir Slabchuk Vladimir Pavliuk
Trumpets
Vladimir Pushkarev Ivan Maloshtanov Andrei Ikov
Trombones
Anatoli Skobelev,
Principal Valeri Golikov Igor Bakanov Vyacheslav Pachkaev
Tuba
Alexander Kazachenkov
Harp
Svetlana Paramonova
Keyboard
Leonid Ogrinchuk
Percussion
Valery Polivanov,
Principal
Alexander Suvorov Yuri Gridasov Leonid Lysenko Victor Smolianinov Vladimir Kalabanov
Russian National Orchestra Administration
Sergei Markov, Executive Director
ICM Artists Touring Division
Byron Gustafson, Director and Executive Vice President Leonard Stein, General Manager and Vice President Maria Keith, Company Manager Geoffrey Holland, Tour Program Coordinator
UMS Choral Union
Thomas Sheets, Conductor Andrew Kuster, Assistant Conductor Jean Schneider-Claytor, Accompanist Edith Leavis Bookstein, Chorus Manager Kathleen Operhall, Co-Manager Donald Bryant, Conductor Emeritus
Sopranos
Edith Leavis Bookstein Debra Joy Brabenec Ann Burke Susan F. Campbell Young S. Cho Laura Christian Cheryl D. Clarkson Marie A. Davis Kathy Neufeld Dunn Kathryn Elliott-Hudson Laurie Erickson Patricia Forsberg-Smith Keiko Goto Deirdre Hamilton Meredyth Jones Heidi Laura Mary Kay Lawless Carolyn Leyh Loretta Lovalvo Melissa Hope Marin Linda Selig Marshall Marilyn Meeker Margaret Peterson Sara Peth Julie Pierce Judith A. Premin Virginia Reese Mary A. Schieve Jeannine Scott Elizabeth Starr Sue Ellen Straub Barbara Hertz Wallgren Rachelle Barcus Warren Margaret Warrick Mary Wigton Linda Kaye Woodman Kathleen Young Denise Rae Zellner
Altos
Mary Jo Baynes Wendy Bethune Paula Brostrom Laura Clausen Joan Cooper Deborah Dowson Jeanette Luton Faber Judy Fettman Marilyn Finkbeiner LeAnn Eriksson Guyton Hilary Haftel Nancy Ham Lisa Hills Wilma Hoch Carol Hohnke Mary Halbeisen Kerith Lee Jean Leverich Cynthia Lunan Beth McNally Carol Milstein Joan L. Morrison Holly Ann Muenchow Nancy L. Murphy Lisa Michiko Murray Kathleen Operhall Lynn Powell Carren Sandall Cindy Shindledecker Beverly N. Slater Cynthia Sorensen Gayle Stevens Elizabeth Suing Cheryl Utiger Katherine Verdery Sandra K. Wiley
Tenors
Fred L. Bookstein Fr. Timothy J. Dombrowski Philip Enns Stephen Erickson John W. Etsweiler, III Steve Fudge Albert P. Girod, Jr. Roy Glover Arthur Gulick Robert Hamel Steven J. Hansen Stephen Heath Knut Rosenkrands Hill Derek Jackson Douglas Keasal Robert Klaffke Gregor Koso Robert MacGregor John Mulcrone Mike Needham Steve Pierce Phillip Rodgers Matthew Rush Thomas Sheffer Scott Silveira Elizabeth Sklar Daniel Sonntag James Van Bochove
Basses
Nath Anderson Howard Bond Harry Bowen Daniel Burns Kee Man Chang George Dentel Robert Edwards Don Faber Philip Gorman Charles T. Hudson Michael Khoury Matthew Laura Mark Lindley George Lindquist Rod Little Lawrence Lohr Charles Lovelace Joseph D. McCadden John Middlebrooks Gerald Miller Michael Pratt William Premin Sheldon Sandweiss Curt Scott Michael Semaan John T. Sepp Fred Shure William Simpson Rodney Smith Jeff Spindler Robert Stawski Jayme Stayer Robert D. Strozier Jack L. Tocco Terril O. Tompkins
Please refer to UMS Annals, page 25, for biographical information on the UMS Choral Union.
Tonight's performance marks the UMS Choral Union's 378th appearance under UMS auspices.
UMS
and
The Shiffman Foundation
present
Barbara Hendricks soprano
Staffan Scheja, Piano
Program
Johannes Brahms
Hugo Wolf
Wolf
Saturday Evening, January 29,2000 at 8:00 Lydia Mendelssohn Theatre, Ann Arbor, Michigan
Wir wandelten, Op. 96, No. 2
Alte Liebe, Op. 72, No. 1
Das Madchen spricht, Op. 107, No. 3
Wie Melodien zieht es mir, Op. 105, No. 2
Immer leiser wired mein Schlummer, Op. 105, No. 2
Standchen, Op. 106, No. 1
Madchenlied, Op. 107, No. 5
Es traumte mir, Op. 57, No. 3
Botschaft, Op. 47, No. 1
II
Mdrike Lieder
Auf einer Wanderung, No. 15 Verborgenheit, No. 12 Nimmersatte Liebe, No. 9 Das verlassene Magdlein, No. 7 Der Gartner, No. 17 Lebe Wohl, No. 36 Er ist's, No. 6
INTERMISSION
III
Nixe Binsefuss, No. 45 Schlafendes Jesuskind, No. 25 Der Knabe und das Immlein, No. 2 Begegnung, No. 8 In der Fruhe, No. 24
Gabriel Faure
Richard Strauss
IV
Clair de lune, Op. 46, No. 2 Chanson d'amour, Op. 27, No. 1 Mandoline, Op. 58, No. 1 Apr?s un reve, Op. 7, No. 1 Fleur jetee, Op. 39, No. 2
Vier Lieder, Op. 27
Ruhe meine Seele Heimliche Auffbrderung Morgen Caecilie
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.
Forty-fifth Performance of the 121st Season
Fifth Annual Song Recital 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 Sigrid Christiansen and Richard Levey for their generous support of the University Musical Society through The Shiffman Foundation.
Additional support provided by Randy Parrish Fine Framing and Art. Additional support provided by media sponsor, WGTE.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
Special thanks to Professor Naomi Andr? for serving as the speaker for this evening's Pre-performance Educational Presentation, and to Dr. Lester Monts and the Center for the Education of Women for their involvement with this residency.
The piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Large print programs are available upon request.
Program Notes
Tonight's program promises a feast for art-song lovers. All four composers chosen by Ms. Hendricks are nothing less than indis?pensable to any discussion of the repertoire for voice and piano. While they all have romantic expression as a common goal, the composers have each selected individual and diverse paths to that end. Each of these pro?lific gentlemen has developed a distinctly audible and personal style in his songwriting, and it is clear that the whole world of the voice recital would be infinitely poorer with?out any one of these important signatures.
For Brahms, writing songs was a constant occupation. Few years of his adult life passed without the composition of several groups of lieder. He has bequeathed us two hundred solo songs, dozens of vocal duets and quartets, as well as two dozen
arrangements of German folk?songs. In his younger years, he tended to look backward, and to continue Schubert's legacy, con?centrating on the strophic song, holding developments in form and texture at bay. Tonight's group of nine songs are from the latter half of Brahms' life however, and among them we find not only
the aforementioned strophic form (Madchenlied, Das Mddchen spricht, Wie Melodien) but striking examples of modified da capo form (Botschaft and Standchen), as well as Brahms' newest approach to form, the "through-composed" songs such as Wir Wandelten and Es traumte mir, wherein Brahms rhapsodizes without feeling the necessity unify or reiterate previous material. (These "free-wheeling," "through-composed" songs are a departure from the composer's norm.) To Brahms, the folksong was the purest of all vocal expressions, and probably
for this reason, his art song muse was a con?servative one at heart. Accessible melodies, straightforward sentiments, only occasional chromaticism -these describe the native music of his country as well as Brahms' own creations for voice. The piano's role can be seen in this light also: challenging, underlin?ing, always a pleasure to perform, yet rarely does Brahms give the pianist extended introductions or epilogues, rarely does the pianist tell us anything not stated directly by the voice. As with his idol, Schubert, Brahms has enhanced the pianist's vocabulary, but at the same time, the pianist's role remains that of an accompanist, albeit a lucky one.
One cannot read a word about Brahms' lieder without encountering a sentence which maligns his choice of poetry. (Again, the same charge is often leveled at Schubert.) But what makes a text appropriate fodder for a musical setting Brahms' poems seem to cry out for music. The composer sensed this and let them inspire him freely.
He never chooses to paint a sin?gle word; rather each stanza's I music captures the general emotional atmosphere, an envelope, if you will, for all : the words and an investiga?tion of none of them specifi?cally. Certain texts will allow this treatment, and it was to ' these Brahms gravitated. These texts would never have been
immortal on their own, but limned with Brahms' music, they become ennobled and valuable. If this is second-class poetry, so be it. Anything more intellectual or spe?cific would derail Brahms' ideas about song.
II III
It is marvelous to proceed directly from Brahms to the songs of Hugo Wolf, for these two composers inhabited the same city at the same time, attended the same concerts,
knew the same people -and thoroughly detested each other both personally and professionally! By juxtaposing these polar opposites, Ms. Hendricks allows us to appreciate their intrinsic differences in musical philosophy to the maximum. The necessary word to describe
the difference between Brahms and Wolf is a short but mighty one: Wagner. It seems as though all com?posers from Wagner's time on can be described as either joining or opposing "The Master" (whether or not they themselves acknowl-
edged this). Hugo Wolf is often called "the Wagner of the Lied"; Brahms would no doubt withdraw all of his music rather than submit to this com?parison. What do we mean by Wagner's influence The list of his principles is as long as his operas, but the ones we need to understand in order to appreciate Wolf's songs are but few. Wagner used the orches?tra, Wolf used the piano, but therein lies their only difference. First, the folksong's simplicity was no ideal for the complex Richard Wagner, and he used chromatic harmony freely and consummately so, creat?ing a new vocabulary for theorists, a new world of sounds for his audiences. Strauss (whom we will encounter later this evening), Humperdinck, Berg, Schonberg -the list is endless and includes Hugo Wolf -used these same harmonies and in this aspect their music is indistinguishable from Wagner's. Secondly, the respective roles of voice and accompaniment were forever changed by Wagner's credo. Under this sys?tem, the orchestra in the opera house and the keyboard in the concert hall tell us vir?tually all we need to know.
With Wolf's songs, the pianist is the lighting, the costumes, the characters' move?ments on stage. Yet more important, the
piano tells us what the singer feels, not only what she says. Wolf's keyboard is the psyche of the singer, and Wolf would never put pen to paper until he felt he had "entered" into the psychology of the poet. Last and crucial to our appreciation of Wolf's lieder is the way in which the text is handled. Wolf
uses an infinite variety of rhythms and pitches in the voice part. One cannot really speak of "a tune" the way we can with his archrival Brahms. This complexity is employed for one purpose only: m to completely embody the way ' the words would be spoken. One ' never encounters prosody prob?lems with Wolf (or Wagner); German-speakine audiences hear the
language sung precisely as it would be declaimed. If you like words and investiga?tive psychology, Wolf is your songwriter; if you require melody and prefer the most inclusive overview possible, help yourself to Brahms. Tonight you are offered a well-bal?anced meal of both.
Wolf chose exclusively great poets for his songs, and in fact his work is organized and named according to poet. Accordingly, we have the "Goethe Songbook," the "Eichendorff Songbook," the "Michelangelo songs," and tonight Ms. Hendricks offers us a diverse selection from the fifty-five songs which comprise the "Morike Songbook." This was the first collection to achieve pop?ularity and it launched Wolf's career in Vienna. To truly understand Wolf's priori?ties, we need only look at the title page of this opus: "Fifty-five poems of Edward Morike, set to music by Hugo Wolf." The composer insisted on receiving "second billing," and placed the poet's picture on the book's cover.
The dozen Morikelieder we hear tonight range from intimate sacred expression (Schlafendes Jesuskind), a tortured lover's farewell (Lebe Wohl), to the silliness of
young love (Der Gartner and Der Knabe und das Immlein) and the metaphormosis of a country walk into a communion with one's creator (Aufeiner Wanderung). In all cases, Wolf immediately captures the essence and the psychological implications he believes are under the words from the first bar. You may not carry these tunes into the lobby at intermission, but you may find yourself remembering the experience of each song for quite some time.
IV
This charming group of five songs of Gabriel Faure shows us two sides of this unique composer. Because Faure lived an exceptionally long life, he had time to devel?op and evolve. As with Brahms and Wolf, he wrote songs continually during his career, and it is not difficult to perceive three dis?tinct styles in his song composition. At first, Faure inherited the Romantic French tradi?tion from his colleagues Massenet and Gounod. Chanson d'Amour, the popular Apres un rive, and Fleurjetee all come from this first period of songwrit-
ing. The texts are intensely personal, just a bit sentimental, and they cry out for musical treatment. Never very dramat?ic at heart, the last of these three, the finale to tonight's group, is one of the few excursions Faure made into the angry,
vengeful world of the jilted lover. These three song gems could easily be interpolated into the operas Faust or Manon, and we would scarcely notice.
With Faure's discovery of the poetry of Paul Verlaine, a second style was born, and you will hear an enormous difference with
tonight's two songs from this middle period, Clair de lune and Mandoline. Tired of the sentiments and excesses of Romanticism, Faure began to refer to the purity and sim?plicity of a Greek temple as his goal. He was intensely drawn to the courtly world of eighteenth-century France which Verlaine was describing. This perfect union of Verlaine and Faure is a late nineteenth-cen?tury look at the paintings of Watteau and Fragonard, canvases created a century earli?er. The elegance, the wit, the sophistication are nowhere to be found in this group's other three songs. Clair de lune is particular?ly interesting, for the composer fashioned a classical minuet for the piano as an inde?pendent solo. The piano is the canvas, the voice is the curator describing it for us. This unique assignment of roles is very reminis?cent of Hugo Wolf, but Faur6 would deny to his death any pernicious Wagnerian influ?ences in his work.
Richard Strauss, the last of tonight's com?posers, has left us the same amount of songs as Brahms. We know from the success of his many operas and their permanent place in the international repertoire that music with text was Strauss' greatest inspiration. This is not to minimize his contributions to the symphonic repertoire, only to suggest a slight preference on this composer's part. Married to an accomplished singer and serving as her concert accompanist gave Strauss a living laboratory for the creation of his two hundred songs. It is entirely fit?ting that tonight's concert conclude with Strauss lieder, for his style combines so many elements previously displayed on tonight's recital.
Although writing for the keyboard, the fullness and sonority of the large orchestra was never far from Strauss' mind, and as a result these accompaniments are generous
and colorful, (and never easy!) He helped himself liberally to Wagner's chromaticism, but added a clarity and a contrapuntal ele?ment not often found in Wagner or Wolf. When the mood calls for it, Strauss is capa?ble of producing a simple, childlike melody reminiscent of Mozart or
Schubert. At the same time
he manages to find rhythms for the words which, while perhaps not the equal of Wolf's, convincingly fuse text and music. Strauss can be charming, adorable, quicksilver in his senti?ment, and then just as
competently find majesty and sobriety as you will hear in tonight's first song. He has chosen great poetry for one opus and unimportant trifles for another, and he himself admitted to writing the music first, and then searching for a poem which would require it. This is perhaps not the most accepted method of composing a song, but he succeeds most of the time, justifying both words and music remarkably.
Op. 27 which we hear complete this evening was written in 1894 and orchestrat?ed by the composer three years later. Ms. Hendricks has slightly re-arranged the order so as to finish with the brilliant Caecilie. Ruhe, tneine Seek is one of Strauss' most Wagnerian creations, proceeding at an inhu?manly slow pace and suggesting torment on a global scale. The first of this set's two invi?tations, Heimliche Aufforderung differs from most of the love songs we know and enjoy, for here the lovers are old friends, experi?enced adults, meeting after some time apart, loving in a way which only experience can provide. This is more of an aria than a song, and this invitation would be very difficult to refuse. Morgen is to Richard Strauss what Clair de lime was to Faure and both songs
are equally unique in the repertoire: this is a piano solo, over which the voice blissfully describes a kind of paradise for two. Time seems to stop, whether we understand the title as tomorrow or as a life beyond this one. Finally, Hart's poem Caecilie has inspired Strauss to compose a whirlwind of a song--fast, impulsive, thrilled and thrilling--and please note, no offer of mar?riage, family or forever is forthcoming, just a threefold "come live with me." Even today, a century later, this request seems to throw caution to the winds.
Program notes by Martin Katz.
As both a soprano of world?wide renown and a leading human rights activist, Barbara Hendricks has made an indelible contribution to international cultural and humanitarian life. Since making her operatic debut in 1974, Ms. Hendricks has become one of the most beloved and esteemed artists of her time.
Barbara Hendricks was born in Stephens, Arkansas and received her Bachelor of Music degree at The Juilliard School, where she studied with mezzo soprano Jennie Tourel. Earlier, she had completed her studies at the University of Nebraska, where she received, at the age of 20, a Bachelor of Science degree in Mathematics and Chemistry.
Barbara Hendricks made her operatic debut with the San Francisco Opera in 1974 in a production of Cavalli's L'Ormindo and went on to appear at all major opera houses throughout the world including the Paris Opera, the Metropolitan Opera, and La Scala in Milan. Susanna in Le Nozze di Figaro was her debut role at the operas of Berlin (Deutsche Oper), Vienna (Staatsoper), Hamburg, Munich, and the Aix-en-Provence Festival.
Barbara Hendricks has more than twenty roles in her active opera repertory, twelve of which she already has recorded. They range
from Mozart (Pamina in Die Zauberflote and Ilia in Idomeneo) to French classics (Antonia in Offenbach's Les Contes d'Hojfman, Micaela in Bizet's Carmen, Massenet's Manon and Gounod's Romeo et Juliette) to Italian masterpieces (Liu in Puccini's Turandot and Gilda in Verdi's Rigoletto). In 1988 Ms. Hendricks made her film debut starring as Mimi in the film La Boheme by Italian film director Luigi Comencini and in 1994 she was filmed in the role of Anne Trulove in Stravinsky's The Rake's Progress.
As one of the leading and most active recitalists of her generation, Barbara Hendricks appears regularly at practically every major music center in Europe, Asia, North and South America, and has toured extensively in the former Eastern Bloc. She organizes and performs in chamber music festivals with friends who share her passion for chamber music.
On the concert stage and in the record?ing studio, Ms. Hendricks has performed
her extensive concert repertory with all of the world's great con?ductors, including Daniel Barenboim, James Levine, Kurt Masur, and Zubin Mehta.
Ms. Hendricks has toured Japan with von Karajan (1977), Bernstein (1985), and with the Vienna State Opera. Since 1987, she has undertaken four major recital tours in the Far East and Japan and has performed at all the major music festivals throughout the world.
Barbara Hendricks works actively with the United Nations High Commission for Refugees (UNHCR) as their Goodwill Ambassador and was recently nominated Special Advisor on Intercultural Relations to the Director General of UNESCO. Among other numerous awards she has received for her humanitar?ian work is the French Leeion
d'Honneur, which was bestowed personally upon Ms. Hendricks in 1993 by President Francois Mitterand.
1993 was a year of distinguished honors and achievements for Ms. Hendricks. She was the only classical music performer invited by President Bill Clinton to perform at his Inaugural Gala in Washington, D.C. in January 1993. On December 31, 1993, as a gesture of solidarity and indignation, and at the invitation of the Sarajevo Orchestra, she performed in Sarajevo during especially heavy gunfire, bombing, and a power shortage.
Her impressive record sales make her one of the best-selling classical music artists in the world, with more than seventy recordings of solo and orchestral recitals and operas to her credit.
Ms. Hendricks has two children and makes her home in Switzerland.
Tonight's recital marks Ms. Hendrick's debut under UMS auspices.
Staffan Scheja, born in Stockholm, Sweden, started his career very early and made his debut with the Swedish Radio Symphony Orchestra and Herbert Blomstedt 14 years of age. After studying with professor Gunnar Hallhagen at the Royal College of Music in Stockholm and, among others, Ilona Kabos and Ania Dorfman at The Juilliard School, Mr. Scheja has established himself as one of the fore?most pianists of his generation.
Since his debut in the US in 1972, Mr. Scheja has toured all over the world, as recitalist as well as with many leading orchestras: French Radio Symphony Orchestra, Philharmonia Hungarica, Prague Symphony, Munich Philharmonic, English Chamber Orchestra, the NHK Symphony Orchestra (Tokyo). Alongside his many con?cert appearances he has also made numer?ous recordings and has received two Swedish Grammy awards.
He is the founder and artistic director of the "Gotland Chamber Music Festival" on the island of Gotland in the Baltic Sea. He has represented his home country at official state visits by the Royal Swedish Family and governmental representatives in Mexico, Japan and Spain and in 1995 he received the royal medal for artistic excellence "Litteris et Artibus".
Since 1996, Mr. Scheja has been Professor of Piano at the Royal University College of Music in Stockholm.
Tonight's recital marks Mr. Scheja's debut under UMS auspices.
UMS
presents
Michigan Chamber Players
Faculty and Student Artists of the University of Michigan School of Music
Kerry Baily, Soprano Richard Beene, Bassoon Michael Burgess, Tenor Deborah Chodacki, Clarinet Andrew Foster, Tenor Soren Hermansson, Horn Andrew Jennings, Violin Amy Kesler, Oboe Eric Melear, Piano Alissa Mercurio, Soprano
Gary Moss, Baritone Fred Ormand, Clarinet Melody Racine, Soprano Harry Sargous, Oboe Martha Sheil, Soprano Logan Skelton, Piano Christian Smith, Bassoon Armenio Suzano, Clarinet Daniel Washington, Baritone Nathaniel Willson, Horn
Program
Sunday Afternoon, January 30, 2000 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Mozart and Friends -A Birthday Celebration
Ellwood Derr, Director
Johann Chrysostom Wolfgang Amadeus Mozart January 27,1756 December 5,1791
Sundry works by Mozart and his admired colleagues are inserted between movement-pairs of the Serenade. Applause is appropriate after each of the nine events.
Mozart
Johann C. Bach
Wind Serenade in E-flat Major, K. 375 (i)
Allegro
Kesler, Sargous, Chodacki, Ormand, Hermansson, Willson, Beene, Smith
Two Canzonettas for Two Sopranos, Op. 4, Nos. 51
Che ciascun Gia la notte
Bailey, Mercurio, Melear
Mozart
Mozart
Mozart
Carl F. Abel
Mozart
Mozart
Joseph Haydn
Mozart
Wind Serenade in E-flat Major, K. 375 (ii) Minuet I and Trio I
Three Nocturnes
Due pupille amabili, K. 439 Ecco quel fiero istante, K. 436 Mi Iagner6 tacendo, K. 437
Sheil, Racine, Washington, Chodacki, Ormand, Suzano
Wind Serenade in E-flat Major, K. 375 (iii) Adagio
Sonata in A for Violin and Piano, Op. 5, No. 5 (excerpt) Finale
Jennings, Skelton
Sonata in A for Violin and Piano, K. 526 (excerpt) Finale
Jennings, Skelton
Wind Serenade in E-flat Major, K. 375 (iv) Minuet II and Trio II
Two Comic Trios
An die Frauen, Hob. XXVb:4 Daphnens einziger Fehler, Hob. XXVb:2
Burgess, Foster, Moss, Melear
Wind Serenade in E-flat Major, K. 375 (v)
Allegro
Forty-sixth
Performance
of the 121st Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Thanks to all of the U-M School of Music Faculty Artists for their ongoing commitment of time and energy to this special UMS performance.
Large print programs are available upon request.
Introduction
Today's program, celebrating Johannes Chrysostomus Wolfgang Amadeus Mozart's 244th birthday anniversary, is in a format unusual for our time in that between move?ment-pairs of his E-Flat Wind Serenade, K. 375, works by his admired confreres and some by him are interlarded -variously vocal, instrumental, and vocalinstrumental -to produce an afternoon's entertainment of which he might well have approved. During the late eighteenth century, public concerts routinely mixed pieces of various genres and performance media, as, for example, Mozart's concert of his own works for personal benefit in Vienna, March 1783, in which he used movements from the "Haffner" Symphony as "bookends":
"Haffher" Symphony, K. 385 (i, ii, iii)
Aria from Idomeneo
Piano Concerto, K. 415
Tenor Concert-Aria, K. 369
"Posthorn" Serenade, K. 320, (iii, iv)
Piano Concerto, K. 175
Aria from Lucio Silla
Short fugue and two variation sets
for piano solo (improvised) Soprano Concert-Aria, K. 416 "Haffner" Symphony (iv)
The programming for the famous contem?porary "Bach and Abel" concerts in London were cast in similar format, but, as they were not personal "benefit" concerts, the pro?grams contained works by a number of dif?ferent composers.
Serenade in E-Flat Major for Wind Octet, K. 375
W. A. Mozart
Born on January 27, 1756 in Salzburg, Austria
Died on December 5, 1791 in Vienna
Mozart's woodwind divertimentos and sere?nades are some of the most cherished of his chamber music works. The one heard today exists in two versions; the first (for 2 clar?inets, 2 horns, and 2 bassoons) was commit?ted to paper in October of 1781, about seven months after Mozart had permanently settled in Vienna. Of this version he wrote his father on 3 November:
I composed this music for St. Theresia's Day [15 October] for the sister of Frau von Hickl or the sister-in-law of the court painter Herr von Hickel [sic], where it was actually performed for the first time. The six men who played it are poor wretches, but they play nicely, especially the first clarinetist and the two hornists. --The real reason why I wrote it is so that Herr von Strack (who visits me daily) could hear something of mine; consequently I took a bit of trouble with it. It has had great success. On St. Theresia's Eve it was played in three different places; then, when that was done, the players were taken some?where else and paid.
Later that month, on Mozart's nameday, 31 October, the six musicians serenaded the composer with it at 11 p.m. Of this Mozart wrote his father:
...the players had the house door opened and then arranged themselves in the courtyard. I, who was just about to undress, was surprised in the nicest way in the world with the first E-flat chord.
About Herr von Strack, chamberlain to the emperor, Mozart wrote his father the
next year that, "this court lickspittle is entirely untrustworthy." Apparently the young composer had attempted to ingratiate himself with Strack as a means of coming to the attention of the emperor.
In the second, expanded version (com?pleted in July 1782) not only did Mozart add a pair of oboes to the ensemble, but he also improved a number of spots that were not quite up to snuff in the sextet version. Alfred Einstein, in his well-known Mozart biography, suggests the new version might have been undertaken for Prince Alois Liechtenstein, who was planning to estab?lish, or had already established, a private wind ensemble. It is this octet version that is usually performed and the one we shall hear this afternoon.
A handsome work, it holds the affec?tions of audiences and wind players alike. However, it is not entirely "pure" Mozart. As I have recently pointed out elsewhere, the principal thematic material for the Trio to the first Minuet is derived from the varia?tion movement of the first of Johann Christian Bach's six Quintets, Op. 11. Quoting from Bach had begun early in Mozart's career and continued throughout it. In the last year of his life, in The Magic Flute, he called on 16 bars from the finale of the sixth Quintet in Bach's Op. 11 to open the final chorus of this opera.
Two Canzonettas for Two Sopranos, Op. 4, Nos. 51
Johann Christian Bach
Born on September 5,1735 in Leipzig, Germany
Died on January 1, 1782 in London
Johann Christian (1735-1782) was the youngest son of Johann Sebastian. He began his training with his father in Leipzig; upon Sebastian's death he moved to Berlin and
enjoyed the tutelage of his older brother Carl Philipp Emanuel. Then, around 1754 he moved to Italy, became house musician to Count Litta in Milan, studied with the eminent Padre Giovanni Battista Martini in Bologna, and thereafter worked profession?ally in several northern Italian cities and Naples. While in Italy he became a compos?er of note for his large church works in Latin and his operas in Italian. In 1761 he settled permanently in London where he was active as an opera composer and sym-phonist, and was for many years co-director of the well-known Bach-and-Abel concerts, as well as court-musician to Queen Charlotte. Bach's international reputation was such that he eventually received two opera commissions for the theatre of the Elector Karl Theodor in Mannheim, and two from the opera in Paris. Outside London, during his lifetime his instrumental works were published in Holland, Germany, France, and Austria; many were circulated in manuscript as well.
Mozart first met Bach during his sojourn in London 1764-65, as a lad of 8 or 9, and apparently enjoyed some professional instruction from him. The two very soon warmly befriended one another; this friend?ship ceased only with Bach's untimely death at age 46. After the encounters in London, they were only to meet one more time: in 1778 in Paris, when Bach was there to audi?tion the cast for his first Parisian opera. Of these days together Mozart wrote his father:
Mr. Bach from London has been here for two weeks. ...As you well know,
I love him with all my heart, and I have the highest regard for him. I know for sure that he has complimented me-not in an exaggerated manner ... but seriously and truthfully.
Bach died in London on New Year's Day 1782. Mozart learned of this some time later. On 10 April that year he wrote his
father: "Have you heard that the English Bach has died What a loss for the world of music!"
Dedicated to Lady Glenorchy (1741-86), a fundamentalist Christian and wife of a wealthy Scottish nobleman, Bach's set of six canzonettas on Italian texts for two sopranos and continuo, Op. 4, were pub?lished in London in 1765, perhaps during the last months of the Mozarts' protracted visit there. The dedication may have been a token of thanks for a monetary gift. Five of the six are on texts by the renowned poet and opera librettist Pietro Metastasio. Two of them are improved versions of those Bach wrote during his years in Italy; "Che ciascun" (No. 5) to be heard today is one such. The canzonettas are fragile, elegant pieces, perhaps intended for young ladies. In them Bach's gifts for melody writing and delicious harmonies are immediately in evi?dence.
Mozart's Nocturnes to be heard later on this concert closely resemble the Bach duets in style and manner.
A copy of the original 1765 London imprint of the canzonettas is preserved in the Rare Book Room of the School of Music Library. In 1982 Prof. Derr prepared a fac?simile edition, with introduction, which was published that year by University Microfilms International.
Three Nocturnes, K. 439, 436, 437
Mozart
Composed in Vienna, presumably in 1783, Mozart's Notturni for two sopranos, bass, and three clarinets are elegant pieces which make only slight technical demands on the performers. As in the Christian Bach can?zonettas, the texts are for the most part drawn from the works of Pietro Metastasio, court-poet to the Austrian imperial house.
Mozart's pieces were probably intended for private performance by the circle of his friend Gottfried von Jacquin (whom Wolfgang affectionately renamed Hikiti Horky); the wind parts were apparently intended for the clarinet-playing Stadler brothers, also friends of the composer. It was for Anton Stadler that Mozart would later compose the last of his superb concer?tos, that in A Major, K. 622, for clarinet and orchestra.
Sonata in A for Violin and Piano,
Op. 5, No. 5 (excerpt)
Carl Friedrich Abel
Born on December 22, 1723 in Cothen,
Germany Died on June 20,1787 in London
Abel, famous as the last concertizing artist on the viola da gamba, was also a produc?tive composer of merit. He had his early training in music under Johann Sebastian Bach at the Thomasschule in Leipzig, where he likely first came to know his future London colleague, Johann Christian Bach. Soon after his arrival in the British capital, Abel was appointed chamber musician to Queen Charlotte. The memorable Bach-and-Abel concerts (mentioned above) were initiated on January 23,1765, during the Mozarts' stay and were continued, after Bach's death, by Abel alone. Thomas Gainsborough, the renowned artist and a member of the Bach and Abel circle, painted portraits of the two composers; the fine one of Abel shows him seated, holding his viola da gamba. (Incidentally, a nineteenth-century photograph of Ann Arbor's Main Street shows a shop with the owners' names "Bach and Abel" on the store front. How curious that the name-pair, in the same formula?tion, should reappear 100 years later in the New World!)
Abel's oeuvre comprises a substantial number of symphonies and concerted sym?phonies, concertos for various instruments, string quartets, and sonatas for piano and other instruments. His works, published during his lifetime in London and on the Continent, enjoyed wide circulation and popularity. His A-Major violin-sonata movement is included on today's program because of the relationship it bears themati-cally to the immediately following sonata-movement by Mozart. How or when Mozart became acquainted with the Abel rondo is unknown, but know it he surely did.
Sonata in A for Violin and Piano,
K. 526 (excerpt) Mozart
K. 526, is the last in the string of Mozart's magisterial Viennese violin sonatas. In his autograph catalogue of his works it is dated August 24, 1787, that is, during the time he was composing Don Giovanni to be premiered in Prague on October 29 that year. Carl Friedrich Abel, whom Wolfgang learned to know during the London sojourn, died on June 20,1787. (It was also in 1787 that the 17-year-old Beethoven was in Vienna for the first time, when he supposedly had a professional encounter with Mozart.)
The main theme of the Mozart rondo-finale heard this afternoon quotes almost verbatim the rondo-theme of Abel's Op. 5, No. 5; you will have no trouble hearing this point of contact between the two movements. It is thought that Mozart's choice of this thematic material was consciously made to celebrate the recently deceased composer. This surmise is given further credence when one recalls that upon learning of Christian Bach's death, Mozart had quoted extensively from this master's works in his Piano Concerto in A, K. 414. (In London, young
Wolfgang had admired Abel's work so much that he took the trouble to copy out one of Abel's symphonies, which, until the early 20th century, was ascribed to Mozart him?self.)
The rondo-finale of K. 526 is one of Mozart's most effervescently virtuosic works for which he must have had particular per?formers in mind. It is not known who they might have been. He himself could easily have conquered either of the two parts.
Two Comic Trios
Franz Joseph Haydn
Born, probably on March 31, 1732 in Rohrau,
Lower Austria Died on May 31, 1809 in Vienna
A collegial mutual admiration like that enjoyed by Christian Bach and Mozart was also enjoyed by Haydn and Mozart. At the private first playing of Mozart's six string quartets, Op. 10, dedicated to Haydn, the older composer exclaimed to Wolfgang's father, "Your son is the greatest composer I know." Mozart claimed to have learned a great deal from Haydn, especially in the domain of the string quartet.
Both Austrians had a good sense of humor which informed some of their vocal as well as some of their instrumental works. One thinks immediately of Haydn's "Farewell" and "Surprise" symphonies and Mozart's overture to The Marriage of Figaro and the yodelling in the finale of the Oboe Quartet, K. 370; in vocal works Mozart's canons with scatological texts and Haydn's trios on today's program.
These latter are works of Haydn's late maturity, composed after Mozart's death; they might be characterized (anachronisti-cally, of course) as "barbershop" pieces, but of a "classy" variety. Both words and music exhibit "barbershop" qualities. Be sure to
have the textstranslations before you dur?ing the performance. You would be correct in laughing aloud, should you be moved to do so.
Program notes by Ellwood Derr.
Professor Ellwood Derr, director and designer of this afternoon's concert and author of the program notes, is a composer and music historian, a member of the Music Theory faculty of the U-M School of Music since 1962. The performance of 17thand 18th-century chamber music has long been an important adjunct to his scholarly and creative work. Before joining the faculty in Ann Arbor he had founded and directed the Lewisburg (PA) Pro Musica and the New Purcell Society of Munich; in Ann Arbor he directed the U of M Summer Collegium Musicum for a number of years and later founded and directed the Baroccoco Ensemble, independent of the University.
His scholarly publications include the worklist for Johann Christian Bach in the New Grove Dictionary; the essay (with con?cordance) "Composing with Modules: Intersections of Musical Parlance in the Works of Mozart and Johann Christian Bach", which appeared in the Mozart-Jahrbuch 1997; the forthcoming Viennese collection of essays celebrating Leopold Mozart will contain his "Leopold, Wolfgang, and Rhetoric: The Evidence in Wolfgang's Six Violin Sonatas, Opus 11 (Vienna, 1781)." He discovered Debussy's long-lost Piano Trio in G and edited the first edition of the work; more recently he has prepared a criti?cal edition of Handel's harpsichord suites and pieces (London 1733); both are pub?lished by the G. Henle Verlag of Munich.
In his compositions he has concentrated on works for voices, either solo or choral -with various instrumental combinations.
His Holocaust song-cycle Never Saw Another Butterfly is now available on two commercial CDs. Since its New York pre?miere in 1996, his Six Songs of Sundry Sorts have been performed throughout the US and at several sites in Canada; plans have materialized for broadcasting them on CBC during 2000. His choral works have enjoyed performances in Ann Arbor and other locales in the US as well as Canada.
On Sunday, March 19th, at 8:00 p.m., a recital of his works for and with saxo-phone(s) will take place in the Britton Recital Hall of the University School of Music. The program includes both song-cycles mentioned above.
Kerry Bailey graduated from Traverse City Central High school in 1995. In the fall of 1995, Kerry began classes at the University of Michigan School of Music, studying voice performance. In her five years at the univer?sity, Kerry has performed in the opera cho?ruses of La Traviata and The Elixir of Love. She also performed as Kate in Pirates of Penzance and as a Spirit in Mozart's The Magic Flute. In addition, Kerry has been involved in several opera scenes from both Hansel and Gretel and Matrimonio Segreto. Kerry is also working towards her teaching certificate in music. As an active member of the American Choral Director's Association, Kerry will be graduating in the Spring and plans on student teaching in the Fall of 2000 up in Traverse City. The following year, she plans on attending graduate school for voice performance.
Richard Beene is active as an orchestral player, soloist, chamber musician, and edu?cator. He performs as principal bassoonist with the Toledo Symphony Orchestra, where he has also appeared numerous times as a soloist. He toured Europe in 1991 as solo bassoonist with the American Sinfonietta and toured Japan the following year as a fea-
tured soloist with the Colorado Music Festival. Chamber music and recital engage?ments have taken him to New York's Merkin Concert Hall and the Library of Congress in Washington, DC, as well as Germany, Switzerland, Italy, and Austria. He has been a featured recitalist at the annual convention of the International Double Reed Society. Summer festival engagements have included the Sunflower Music Festival in Kansas, the Basically Bach Festival in Anchorage, the Colorado Music Festival, the Arkansas Music Festival, Pennsylvania's Allegheny Music Festival, Washington's Centram Chamber Music Festival, and the Bellingham Festival of Music. He holds degrees from the University of Wisconsin and Baylor University and has served previ?ously on the faculties of Michigan State University and Wichita State University.
Michael Patrick Burgess will be performing the role of Tonio in La Fille du Regiment as part of this Spring's U-M Opera Theatre production. Last November, he appeared as Alfredo in the U-M Opera Theatre produc?tion of La Traviata. In April of 1999, he pre?miered the role of Abraham in Abraham in Hanna_an opera based on the uprising at the concentration camp of Treblinka, by Russian composer David Finko with the Jackson Symphony. Mr. Burgess as also per?formed in Phillip Glass's The Fall of the House of Usher with Opera Grand Rapids last September. He holds an M.M. degree in vocal performance, Pi Kappa Lambda, from Western Michigan University and a B.A. in music and philosophy from Calvin College. He is currently an Adjuct Voice Instructor ai Grand Rapids Community College.
Deborah Chodacki joined the faculty in 1993. She holds a BM with distinction from the Eastman School of Music and a MM from Northwestern University. Her clarinet studies were with Stanley Hasty and Robert
Marcellus. Ms. Chodacki has performed in chamber music festivals, in orchestras, and as soloist with orchestras in the US and Western Europe, including the North Carolina and Grand Rapids symphony orchestras, the Colorado Philharmonic, the American Chamber Symphony, the Traverse Symphony Orchestra, the Skaneateles and Spoleto festivals, and Monterey Summer Music. Prior to her appointment at Michigan she taught at the Interlochen Arts Academy, and from 1979 to 1989 she was on the faculty of the East Carolina University School of Music.
Andrew Foster is a graduate of the Interlochen Arts Academy. He received a B.F.A. from the Conservatory of Theatre Arts at Webster University, in St. Louis, Missouri. He is currently a graduate student at the University of Michigan pursuing a Master of Music degree. He made his debut with Michigan Opera Theatre last fall as Arturo Normalmo in Lucia di Lammermoor. He has also sung roles in Madama Butterfly, Eugene Onegin, and Samson and Dalilah for Michigan Opera Theatre. Mr. Foster has performed with companies throughout the United States, including the Atlanta Opera, Opera Maine, the Repertory Theatre of St. Louis, Savoyards Light Opera, ISOMATA in California, and OPERAlLenawee.
Soren Hermansson is internationally known as performer and recording artist. He has been highly active as an ensemble performer, first as member of symphony orchestras in Norrkoping and in Gothenburg (Sweden), and more recently in chamber music in France, Germany, the Netherlands, and Switzerland. He has performed as soloist with many orchestras in Sweden and Finland, and also in Berlin, Denmark, England, and in San Juan (Puerto Rico). He has commis?sioned andor premiered considerable new
repertory for horn, much of which is included on significant recordings that he has made to wide critical acclaim. Before joining the Michigan faculty in 1999, Mr. Hermansson was a faculty member at the Ingesund College of Music and at the Gothenburg University in Sweden. Mr. Hermansson has given masterclasses at the University of Iowa School of Music and in international summer courses in Sweden, Finland, Switzerland, France, Estonia, and Brazil.
Andrew Jennings graduated from The Juilliard School. His principal teachers were Ivan Galamian, Alexander Schneider, and Raphael Druian. He was a founding mem?ber of the Concord String Quartet, a new ensemble that quickly gained international recognition by winning the Naumberg Chamber Music Award in 1972 and which performed more than 1,200 concerts through?out the US, Canada and Europe. Specializing in the performance of new works (with an emphasis on American composers), the Quartet gave more than fifty premieres and commissions; it also performed the standard repertory and thirty-two cycles of the com?plete Beethoven quartets and made numerous recordings, three of which were nominated for Grammy Awards. Mr. Jennings' teaching career began at Dartmouth College where members of the Concord Quartet were engaged as artists-in-residence from 1974 to 1987. Later he served on the faculties of the University of Akron and of Oberlin College. He currently devotes his summers to cham?ber music instruction at the Tanglewood Music Center in Massachusetts.
Amy Kesler is currently a senior at the University of Michigan. A native of Salt Lake City, Utah, she began studying oboe at the age of ten with Holly Gomik, oboist and English hornist of the Utah Symphony, after five years of piano study with her grand?mother. Awards to her credit include two
prizes in the MTNA (Music Teacher's National Association) Competitions, National ARTS Award, the General MotorsSeventeen Magazine National Concerto Competition at Interlochen, the Music Academy of the West Concerto Competition, the University of Michigan Concerto Competition, and multiple prizes in the Utah State Fair Music Competition. Throughout her studies at University of Michigan, Amy has studied with Harry Sargous, Alex Klein, and Brian Ventura. In October 1999, Amy was offered the princi?pal oboe position in the Grand Rapids Symphony. Amy is married to Steven Kesler, a dental student at the University of Michigan. She enjoys running, swimming, and cooking and teaches several of her own oboe students.
Eric Melear is a student of Martin Katz at the University of Michigan, where he is fin?ishing his Master's Degree in Piano Accompanying and Chamber Music. Prior to moving to Ann Arbor, Mr. Melear distin?guished himself in the Milwaukee area, working with the Florentine Opera Company, the Milwaukee Symphony Chorus, Hal Leonard Publishing Corporation, and numerous soloists and ensembles. This past summer, he participat?ed in SongFest at the University of California-Irvine, studying with Graham Johnson and Mr. Katz. He has also served as coachaccompanist for productions of Susannah, The Magic Flute, and The Merry Widow, and was engaged as staff accompa?nist and chorus master with Dorian Opera Theatre in Decorah, Iowa, where he com?pleted his Bachelor's degree at Luther College.
Alissa Mercurio is a native of Spring Lake, MI and graduated from Spring Lake High School in June 1995. Now in her fifth year at the University of Michigan School of Music,
she continues to pursue a Bachelor's of Music in Voice Performance along with Teacher's Certification K12 and will gradu?ate in May of 2000. Throughout her five years at the School of Music, Alissa remained extremely involved in both the voice and choral departments. Alissa played her first role, as Papagena, this past spring in the School of Music's production of The Magic Flute. During the summer, she played Elsie in Yeoman of the Guard. She also par?ticipated in the opera chorus' of The Marriage of Figaro, L'en,fant et les Sortileges, and Le Rossingol at the School of Music. In the summer of 1998, she traveled to Italy to participate in the Opera Theatre of Lucca for six weeks. Along with her activities in the opera program, she also finished as a semi-finalist in the Concerto Competition and was the soprano soloist in the Collage Concert, where the "Gloria" of Beethoven's Mass in C Major was performed.
Baritone Gary Moss has performed for presidents, foreign dignitaries and heads of state. Gary recently made his professional operatic debut as Yamadori and the Imperial Commissioner in Michigan Opera Theater's production of Madama Butterfly. Gary also made his Ohio Light Opera debut in the 1999 season as the Pirate King in The Pirates ofPenzance, Von Asterberg in The Student Prince, and Thomas Brown in The Zoo. Gary received his Bachelor's degree from the University of Utah in his native Salt Lake City. He currently studies at the University of Michigan where he has completed his Master's degree and is now pursuing his Doctorate degree in Voice Performance. Gary enjoys a varied repertoire which includes opera and light opera, oratorio, recital and concert works. Some memorable roles include Papageno in The Magic Flute, Giorgio Germont in La Traviata, Count Almaviva in Le Nozze Di Figaro, Olin Blitch
in Susannah, Masetto in Don Giovanni, and The Representative in A Game of Chance. Gary has been privileged to work with such conductors as James Conlon, David Zinmann, and Julius Rudel as a scholarship recipient at the Aspen Music Festival.
Fred Ormand has played with the Chicago, Cleveland, and Detroit symphony orchestras and has performed as a soloist with orches?tras in the US, China, and Europe. He founded and has toured extensively with the Interlochen Arts Quintet and the Dusha Quartet. In 1995 he gave master classes in England, Denmark, and Sweden. Since 1988 he has been a member of the summer facul?ty at the Music Academy of the West. From 1990 to 1992 Mr. Ormand served as presi?dent of the International Clarinet Association and is often invited to perform at the organization's international confer?ences. In recent years he has published edi?tions of the music for winds of Amilcare Ponchielli. In 1996 he released a CD on Danacord Records titled Convegno, a pre?miere recording of Ponchielli's solo works for winds.
Melody Racine has performed operatic roles in The Magic Flute, Cost fan tutte, Don Giovanni, Otello, Albert Herring, Madama Butterfly and Four Saints in Three Acts. Her oratorio repertoire includes Rutter's Requiem, Mozart's Coronation Mass and Requiem, Handel's Solomon and Messiah, Poulenc's Gloria and Haydn's The Creation. Her awards include a Tanglewood Music Center Voice Fellowship, an Aspen Opera Theatre Fellowship and an Aspen Vocal Chamber Music Fellowship. Her coaches include Phyllis Curtin, Leon Fleischer, Jan DeGaetani, Martin Katz and Gustav Meier. She received an A.Mus.D., a Masters of Music in vocal performance and a B.A. in music from the University of Michigan.
Harry Sargous has been a guest artist with many orchestras in the US, Canada, and Europe; a featured soloist on CBC Radio and Television, BBC London, WDR Koln, and Swedish Riksradio; and a recitalist in North America, Europe, and Japan. For sev?eral summers he performed as principal oboe at the Marlboro Music Festival in the orchestra conducted by Pablo Casals. Mr. Sargous holds a B.A., magna cum laude (Scholar of the House with highest honors) from Yale. His principal teachers were Robert Bloom, John Mack, Marc Lifschey, Philip Kirchner and Stephen Matyi. From 1971 to 1982 Mr. Sargous was principal oboist of the Toronto Symphony Orchestra. He joined the Michigan faculty in 1982. With the support of Pierre Boulez, he was invited to work at IRCAM in Paris to explore the acoustictechnological interface possibilities of the oboe, including its MIDI implementation. His tours with the Japanese marimbist Keiko Abe have influenced his studies and performance on the shakuhachi. His recordings appear on the Crystal, Sony Classical, and Danacord labels.
Martha Sheil made her professional debut under Julius Rudel at the New York City Opera in 1977. She sang fifteen major roles during her six years with that company, including the world premiere performance of Argento's Miss Havisham's Fire. Specializing in the heroines of Verdi, Puccini and Mozart, her recent performances have taken her to Atlanta, Cleveland, Los Angeles, Austin, Hawaii and the Kennedy Center. Her European debut was at the Stadttheater in Luzern, Switzerland; she has also performed at the Heidelberg Schloss-spiele. In 1988 she gave a series of master classes at the World Master Courses in Korea. Ms. Shiel was the winner of the 1989 American Wagner Association Prize. She studied at the University of Nebraska and at the Curtis Institute of Music, from which she received
a BM in voice and opera. She was the first prize winner of the Minna Kaufman-Rudd Competition in New York in 1976. She taught at the University of Iowa before join?ing the Michigan faculty.
Logan Skelton maintains an active, multi-faceted career as solo pianist, chamber musician, composer, and piano pedagogue. He performs frequently in such metropoli?tan centers as Boston, New York, San Francisco, New Orleans, and Chicago. Mr. Skelton's performances and compositions have been featured on many public radio and television stations including National Public Radio's "Audiophile Audition" and "Performance Today." He has recorded numerous CDs for Centaur and Albany Records. As a frequent guest at colleges and conservatories, Mr. Skelton adjudicates and presents concerts, master classes, and lec?tures in such settings as the Gina Bachauer International Piano Festival, the MTNA National Convention, the New Orleans International Piano Festival, and the San Francisco Conservatory of Music as well as the Interlochen, Chautauqua and Eastman summer music festivals. His career as a pianist is combined with a continuing active interest in composition. Mr. Skelton holds degrees from Loyola University, the Eastman School of Music, and the Manhattan School of Music.
Christian Smith is Assistant Professor of Bassoon at the Brigham Young University School of Music. From 1993-1997 he served as Coordinator of Woodwind Studies at Ricks College where he founded the Ricks College Chamber Winds ensemble and fre?quently conducted the symphony and chamber orchestras. He has performed with the Utah Symphony, Utah Opera, Ballet West Orchestra, Utah Chamber Artists, Colors of the Baroque, Canyon Winds Woodwind Quintet, Trio Terra Nova, and
Orpheus Winds (BYU faculty quintet). As a studio musician, Mr. Smith has recorded for the Biddulph and Prima Record labels as well as for numerous film and television scores. Currently, he is pursuing doctoral studies at the University of Michigan. Married to pianistbassoonist Patricia Bonney Smith, they are the parents of four musical children,
Armenio Suzano initiated his studies in Brazil under Luiz Gonzaga Carneiro. At age 14 he became the youngest musician ever to serve as a member of the Rio de Janeiro Opera House Symphony Orchestra. In 1983-84 he performed with the Amazonas Brasilienischemusik Jazz Ensemble in Berlin, Germany. Since moving to the U.S., Armenio has studied with Mr. Russell Dagon at Northwestern University and is currently a doctoral student in Professor Fred Ormand's studio.
Daniel Washington, Assistant Dean (for Minority Services), has appeared with much acclaim in opera, recitals, and oratorio mainly in Europe, but also in the US. He has sung leading roles in such prestigious venues as the Royal Opera House Covent Garden (London), Opernhaus (Zurich), Staatsoper (Hamburg), Alte Oper (Frankfurt), Theater des Westens (Berlin), Teatro la Fenice (Venice), and most fre?quently at the Stadttheater in Luzern. He has also been engaged as soloist with orchestras such as the Royal Scottish National Orchestra, Bournemouth Symphony, Bavarian Radio Orchestra, London Symphony Orchestra, Berlin Philharmonic, Nord Deutsche Sinfonie, Musikverein Wien, and the Czech Philharmonic under such distinguished conductors as Bernard Haitink, Simon Rattle, Charles Mackeras, and John Nelson.
Mr. Washington maintained a private voice teaching studio in Luzern from 1995 to 1998. He joined the Michigan faculty in 1999.
Nathaniel Willson is a sophomore studying horn performance with Soren Hermannson. He attended the Music Academy of the West in Santa Barbara, California during the summer of 1999. In 1998 he was awarded a Governor's Scholarship to attend the Interlochen Arts Camp. Nathaniel, who lived with his parents in India before attend?ing Michigan, has performed with the Bombay Chamber Orchestra and performed solo with the Delhi Muses Chamber Orchestra.
UMS
Experience
UMS WINTER 2000 SEASON
All educational activities are free and open to the public unless otherwise noted ($). For more infor?mation on educational activities, call the UMS Education Office at 734.647.6712 or the UMS Box Office at 734.764.2538. Activities are also posted on the UMS Website at www.ums.org.
The Romeros
Sunday, January 9, 4 p.m. Rackham Auditorium Sponsored by AT&T Wireless Services.
Bebe Miller Company
Saturday, January 15, 8 p.m. Power Center
Master of Arts Interview with Bebe Miller, choreographer, and a special showing of Three, a film by Isaac Julien featuring Bebe Miller and Ralph Lemon. Friday, January 14,7 p.m., Betty Pease Studio, 2nd Floor, U-M Dance Building. In conjunction with the Institute for Research on Women and Gender, Center for Afroamerican and African Studies, Center for Education of Women, and U-M Department of Dance.
Advanced Modem Dance Master Class Saturday, January 15,10:30 a.m., U-M Dance Department, Studio A. $ PREP "Identity and Process in Bebe Miller's Choreography" by Ben Johnson, UMS Director of Education and Audience Development. Saturday, January 15,7 p.m., Michigan League, Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Dance Department Mini Course "Four Women of the Dance: a mini-course based on the UMS sponsored performances of four major American women choreographers" taught by Gay Delanghe, U-M Professor of Dance. Winter Term, 2000. Mass Meeting, Saturday, January 8,12 noon. For infor?mation, delanghe@umich.edu or call U-M Department of Dance, 734.763.5460. This project is supported in part by a grant from the National Endowment for the Arts. Media sponsors WDET and Metro Times.
Take 6
Monday, January 17, 8 p.m. Hill Auditorium Sponsored by Butzel Long Attorneys with support from Republic Bank. Media sponsors WEMUand WDET. Co-presented with the U-M Office of Academic Multicultural Initiatives.
Yo-Yo Ma, cello Kathryn Stott, piano
Thursday, January 20, 8 p.m. Hill Auditorium Sponsored by Forest Health Services. Media sponsor WGTE.
American String Quartet
Beethoven the Contemporary Sunday, January 23, 4 p.m. Rackham Auditorium Media sponsor Michigan Radio.
Russian National Orchestra
Mikhail Pletnev, conductor Francesko Tristano Schlime',
piano
UMS Choral Union Monday, January 24, 8 p.m. Hill Auditorium Center for Russian and Eastern European Studies Symposium "Apocalypse Now Scriabin and Russian Culture at the End of the Century" Sunday, January 23, Media Union. Full schedule at http:www.umich.edu -iinetycrees or call 734.764.0351. CREES Mini-Course on fin de siecle Russian Culture with Arthur Greene, Professor of Music and Michael Makin, Professor of Slavic Languages and Literature. Winter Term, 2000. For information, http:www.umich.edu -iinetcrees or call 734.764.0351. Pre-concert Performance traditional SlavonicRussian songs performed by St. Romano's Ensemble. Monday, January 24,7-7:45 p.m., Hill Auditorium Lobby. Free with paid admission to Russian National Orchestra concert.
Sponsored by Charla Breton Associates. Media sponsor WGTE.
Barbara Hendricks, soprano
Staffan Scheja, piano Saturday, January 29, 8 p.m. Lydia Mendelssohn Theatre PREP with Naomi Andre, U-M Professor of Music and Musicology. Saturday, January 29, 7 p.m., Michigan League, Koessler Library, 3rd Floor. Presented with the generous support of The Shijfman Foundation, Sigrid Christiansen and Richard Levey. Additional support provided by Randy Parrish Fine Framing and Art. Media sponsor WGTE.
Mozart and Friends --
A Birthday Celebration Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Sunday, January 30, 4 p.m. Rackham Auditorium Complimentary Admission
Jazz at Lincoln Center Sextet
Friday, February 4, 8 p.m. Saturday, February 5, 2 p.m. (One-Hour Family Performance) Michigan Theater
UMS Performing Arts Teacher Workshop "Jazz in the Classroom" Wednesday, February 2,4 p.m. To register call 734.615.0122. $ Jazz Combo Master Classes with the Jazz at Lincoln Center Sextet. Thursday, February 3, 7 p.m., U-M School of Music. Observation only. Sponsored by Blue Nile Restaurant with support from Hudson's and the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. These concerts are part of Chamber Music America's "A Musical Celebration of the Millennium." Media sponsors WEMU and WDET.
Gothenburg Symphony Orchestra
Neeme Jarvi, conductor Yuri Bashmet, viola Saturday, February 5, 8 p.m. Hill Auditorium Made possible by a gift from David and Martha Krehbiel, "to honor the memory of Bertha and Marie Krehbiel for whom music was life." Additional support pro?vided by SAS Scandinavian Airlines, Consul Lennart Johansson and Karin Johansson, Bengt and Elaine Swenson and The Swedish Round Table Organizations. Media sponsor WGTE.
Meredith Monk Magic Frequencies A Science Fiction Chamber Opera
Wednesday, February 9, 8 p.m. Power Center
Master of Arts Interview with Meredith Monk interviewed by Beth Genne U-M Professor of Art History Dance HistoryDance. Tuesday, February 8,12 noon, U-M School of Music Recital Hall. In conjunction with the Institute for Research on Women and Gender, U-M School of Music, Center for Education of Women, U-M Department of Composition and the U-M Department of Dance. PREP "Goddess Meredith: The Genius of Meredith Monk" by Ben Johnson, UMS Director of Education and Audience Development. Wednesday, February 9, 7 p.m., Michigan League Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. This project is supported in part by a grant from the National Endowment for the Arts. Media sponsors WDET and Metro Times.
Doudou N'Diaye Rose,
master drummer Drummers of West Africa
Thursday, February 10, 8 p.m. Hill Auditorium Master of Arts Interview with Doudou N'Diaye Rose. Interviewed by Dr. Lester Monts, Associate Provost for Academic Affairs. Thursday, February 10,3 p.m., U-M School of Music Recital Hall. In conjunction with the Center for Afroamerican and African Studies and the U-M Office of the Provost; and the North American Secretariat for the International Center for African Music and Dance. Sponsored by Comerica, Inc. Media sponsors WEMU and Metro Times. This is a Hearland Arts Fund Program with the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs.
Martha Clarke Vers la flamme
Christopher O'Riley, piano Friday, February 11,8 p.m. Power Center
Master of Arts Interview with Martha Clarke, interviewed by Susan Isaacs Nisbett, Music and Dance writer for the Ann Arbor News. Friday, February 11,12 noon, Betty Pease Studio, U-M Dance Building, 2nd Floor. In conjunc?tion with the Institute for Research on Women and Gender, and the U-M Department of Dance. Meet the Artist Post-performance dialogue from the stage. Advanced Modern Dance Master Class Saturday, February 12,10:30 a.m., U-M Dance Building, Studio A. $ Tliis project is supported in part by a grant from the National Endowment for the Arts.
Anne-Sophie Mutter, violin
Lambert Orkis, piano
Saturday, February 12, 8 p.m.
Hill Auditorium
Sponsored by KeyBank. Media sponsor
WGTE.
Estonian Philharmonic Chamber Choir
Tonu Kaljuste, director
Sunday, February 13, 8 p.m.
St. Francis of Assisi Catholic Church
Murray Perahia, piano
Wednesday, February 16, 8 p.m. Hill Auditorium Master of Arts Interview of Murray Perahia, interviewed by Susan Isaacs Nisbett, Music and Dance writer for the Ann Arbor News. Tuesday, February 15,7 p.m., U-M School of Music Recital Hall. Sponsored by CFI Group. Media sponsor WGTE.
New York City Opera National Company Rossini's The Barber of Seville
Thursday, February 17, 8 p.m. Friday, February 18, 8 p.m. Saturday, February 19, 2 p.m. (One-Hour Family Performance) Saturday, February 19, 8 p.m. Power Center
PREP "Opera 101" with Helen Siedel, UMS Education Specialist. Friday, February 18, 7 p.m., Michigan League, Hussey Room, 2nd Floor. PREP for Kids with Helen Siedel, UMS Education Specialist. Saturday, February 19, 1 p.m., Michigan League, Koessler Library, 3rd Floor. Sponsored by Parke-Davis Pharmaceutical Research.
Christian Tetzlaff, violin
Sunday, February 20, 8 p.m. St. Francis of Assisi Catholic Church
Added Performance An Evening with Audra McDonald
Ted Sperling, piano and
music director Sunday, March 5, 8 p.m. Power Center
This concert is presented in conjunction with the symposium, The Fine and Performing Arts of African Americans: Enhancing Education, held March 2-8 and with the Finals Concert of the Sphinx Competition, Sunday, March 5 at 4 p.m. in Hill Auditorium.
The Chieftains
Wednesday, March 8, 8 p.m. Hill Auditorium Sponsored by Bank of Ann Arbor. Media sponsor WDET.
Ballet d'Afrique Noire The Mandinka Epic
Jean Pierre Leurs, director Thursday, March 9, 8 p.m. Friday, March 10, 8 p.m. Power Center
Mandinka Epic Symposium
"Rethinking the African Epic." Thursday, March 9,4 p.m., Rackham Assembly Hall. In conjunction with the Center for Afroamerican and African Studies, U-M Office of the Provost, and the North American Secretariat for the International Center for African Music and Dance. With reception. Drumming Master Class Saturday, March 11, 10 a.m., Washtenaw Community College. Call 734.647.6712 for more information. African Dance Master Class Saturday, March 11,2 p.m., Betty Pease Studio, U-M Dance Building, 2nd Floor. Call 734.647.6712 for more information. Sponsored by Detroit Edison Foundation. Media sponsors WEMU and Metro Times. This is a Hearland Arts Fund Program with the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs.
The English Concert Trevor Pinnock, conductor and harpsichord
Saturday, March 11,8 p.m. Hill Auditorium PREP with Steven Whiting, U-M Professor of Musicology. Saturday, March 11,7 p.m., Michigan League, Hussey Room, 2nd Floor. Sponsored by Miller, Canfield, Paddock and Stone. Media sponsor WGTE.
Maestro AM Akbar Khan accompanied by Zakir Hussain
Friday, March 17, 8 p.m. Hill Auditorium
Sponsored by Megasys Software Services, Inc. Media sponsor WDET.
American String Quartet
Beethoven the Contemporary Sunday, March 19,4 p.m. Rackham Auditorium Meet the Artist Post-performance dialogue from the stage. Media sponsor Michigan Radio.
Thomas Quasthoff, baritone
Justus Zeyen, piano Monday, March 20, 8 p.m. Lydia Mendelssohn Theatre PREP "The Art is Song" with Richard LeSueur, Vocal Arts Information Services. Monday, March 20, 7 p.m., Michigan League, Koessler Room, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Media sponsor WGTE.
J.S. Bach Birthday Celebration Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Wednesday, March 22, 8 p.m. Rackham Auditroium Complimentary Admission
Forgiveness
Chen Shi-Zheng, director Friday, March 24, 8 p.m. Michigan Theater Mini-Course" Japan, China, Korea and the United States: Theater Across the Borders." For more information, con?tact Brett Johnson at 734.764.6307. Korean Dance Master Class taught by Song Hee Lee, Wednesday, March 22,11 a.m., U-M Dance Building. Noh Theater Master Class taught by Akira Matsui, Wednesday, March 22,
3 p.m., Arena Theater, Frieze Building. Master of Arts Interview with Chen Shi-Zheng, Artistic Director of Forgiveness. Wednesday, March 22, 6 p.m., Room 1636, International Institute, School of Social Work Building. Chinese Opera Lecture Demonstration by Zhou Long and Museum Tour of the U-M Museum of Art Chinese Art Exhibit, Thursday, March 23,6:30 p.m. Meet the Artist Post-performance dialogue from the stage. Presented with the generous support of Dr. Herbert Sloan. Additional support provided by Ideation.
Beaux Arts Trio
Sunday, March 26, 4 p.m. Rackham Auditorium
Sponsored by Dow Automotive.
Moscow Virtuosi
Vladimir Spivakov, conductor Inva Mula, soprano Friday, March 31,8 p.m. Rackham Auditorium Sponsored by Edward Surovell Realtors.
Czech Philharmonic Orchestra
Vladimir Ashkenazy, conductor Saturday, April 1, 8 p.m. Hill Auditorium
Open Rehearsal and Master of Arts
Interview with Vladimir Ashkenazy,
Saturday, April 1, time TBA, Hill
Auditorium.
Sponsored by Pepper Hamilton LLP.
Media sponsor WGTE.
The Watts Prophets
with special guest Toni Blackman Saturday, April 8, 8 p.m. Michigan Theater For full residency details, please call 734.647.6712.
Toni Blackman is presented in conjunc?tion with the King-Chaviz-Park Visiting Professors Program and the Office of the Provost. Support is also provided by the Institute for Research on Women and Gender and the Center for Afroamerican and African Studies. Media sponsors WEMU and Metro Times.
Season Listing continued on page 33
Trisha Brown Company
Wednesday, April 12, 8 p.m. Power Center
Institute of the Humanities Brown Bag Lunch "Form and Structure: The Cycles in Trisha Brown's Choreographic Career" by Ben Johnson, UMS Director of Education and Audience Development. Tuesday, February 1,12 noon,U-M Institute for the Humanities. Master of Arts Interview with Trisha Brown, choreographer. Interviewed by Ben Johnson, UMS Director of Education and Audience Development. Wednesday, April 12, 12 noon, U-M Dance Building, Betty Pease Studio, 2nd Floor. In conjunction with the Institute for Research on Women and Gender and the U-M Department of Dance. PREP "Trisha Brown's Music Cycle: A Choreographer's Journey" by Ben Johnson, UMS Director of Education and Audience Development. Wednesday, April 12,7 p.m., Michigan League, Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. This project is supported in part by a grant from the National Endowment for the Arts.
Susanne Mentzer, mezzo-soprano Sharon Isbin, guitar
Thursday, April 13, 8 p.m. Lydia Mendelssohn Theatre Vocal Master Class with Susanne Mentzer. Friday, April 14,2:30 p.m., U-M School of Music Recital Hall. Presented with the generous support of Ronald and Sheila Cresswell. Media sponsor WGTE.
Australian Chamber Orchestra
Richard Tognetti, conductor Anne-Marie McDermott, piano Friday, April 14, 8 p.m. Rackham Audtorium Made possible by a gift from the estate of William R. Kinney.
J.S. Bach's St. Matthew Passion UMS Choral Union Ann Arbor Symphony
Orchestra
Ann Arbor Youth Chorale Thomas Sheets, conductor Sunday, April 16, 4 p.m. Hill Auditorium Presented with the generous support of Carl and lsabeUe Brauer.
Lincoln Center Jazz Orchestra Dance Tour
with Wynton Marsalis Saturday, April 22, 8 p.m. EMU Convocation Center Swing Dance Lesson with the Lincoln Center Jazz Orchestra Dancers. Saturday, April 22,6:30 p.m., Eastern Michigan University Convocation Hall. Tickets to the performance required for entry. Sponsored by Hudson's Project Imagine. Presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. Media sponsor WEMU.
Oscar Peterson Quartet
Wednesday, April 26, 8 p.m. Hill Auditorium Media sponsor WEMU.
Ford Honors Program
Friday, May 5, 7 p.m. Hill Auditorium and Michigan League Sponsored by Ford Motor Company Fund.
Ford Honors Program Honorees
1996
Van
Cliburn
Jessye Norman
1998 Garrick Ohisson
1999 The
Canadian Brass
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 pays trib?ute to and pre?sents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. This sea?son's Ford Honors Program will be held on Friday, May 5, 2000. The recipient of the 2000 UMS Distinguished Artist Award will be announced in January.
EDUCATION & AUDIENCE DEVELOPMENT
In the past several seasons, UMS' Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of the live performing arts and 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.
Family Performances
For many years, UMS has been committed to providing the opportunity for families to enjoy the arts together.
This season's special, one-hour Family Performances include:
Amalia Hernandez' Ballet Folklorico
de Mexico
Boys Choir of Hariem
Jazz at Lincoln Center Sextet
? New York City Opera National Company:
The Barber of Seville
Specially designed for family participation that creates an environment where both chil?dren and adults can learn together, the UMS Family Performances are a great way to spend quality time with your children.
Master of Arts Interview Series
Now in its fourth year, this series is an oppor?tunity to showcase and engage our artists in academic, yet informal, dialogues about their art form, their body of work and their upcoming performances.
This year's series includes interviews with:
Laurie Anderson ' Ushio Amagatsu
? Bebe Miller
Meredith Monk
' Doudou D'Diaye Rose
Martha Clarke
? Murray Perahia
Chen Shi-Zheng
? Vladimir Ashkenazy
Trisha Brown
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. All PREPs are open to the public and usually begin one hour before curtain time.
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 artist, performance and art form. Each Meet the Artist event occurs immediately after the performance, and the question-and-answer session takes place from the stage.
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, participatory workshops, clinics, visit?ing scholars, seminars, community projects, symposia, panel discussions, art installations and exhibits. Most activities are free and open to the public and occur around the date of the artist's performance.
Major residencies for the 19992000 season are with:
? Lyon Opera Ballet
? American String Quartet
Russian National Orchestra
Jazz at Lincoln Center Sextet
? Ballet d'Afrique Noire: The Mandinka Epic
Chen Shi-Zheng's Forgiveness
The Watts Prophets
Trisha Brown Company
ATTENTION TEACHERS AND EDUCATORS!
Youth Performances
These performances are hour-long or full length, specially designed, teacherand student-friendly live matinee performances.
The 19992000 Youth Performance Series includes:
Amalia Hernandez' Ballet Folklorico de Mexico
The Harlem Nutcracker
Boys Choir of Harlem
New York City Opera National Company: The Barber of Seville
Ballet d'Afrique Noire: The Mandinka Epic
Trisha Brown Company
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122.
The Youth Education Program is sponsored by
Teacher Workshop Series
This series of workshops for all K-12 teachers is a part of UMS' efforts to provide school?teachers with professional development oppor?tunities and to encourage ongoing efforts to incorporate the arts in the curriculum.
This year's Kennedy Center Workshops are:
"Developing Literacy Skills Through Music"
"Bringing Literature to Life"
"Making History Come Alive"
"Reaching the Kinesthetic Learner Through
Movement"
Workshops focusing on the UMS youth performances are:
"Opera in the Classroom"
"African Drumming in the Classroom"
? "Jazz in the Classroom" with the Jazz at Lincoln Center Sextet
"Modern Dance in the Classroom"
For information and registration, please call 734.615.0122.
The Kennedy Center Partnership
The University Musical Society and Ann Arbor Public Schools are members of the Performing Arts Centers and Schools: Partners in Education Program of the John F. Kennedy Center for the Performing Arts. Selected because of its demonstrated com?mitment to the improvement of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates a multitude of professional development opportunities for teachers and educators.
Special Discounts for Teachers and Students to Public Performances
UMS offers special discounts to school groups attending our world-class evening and weekend performances. Please call the Group Sales Office at 734.763.3100 for more infor?mation about discounts for student and youth groups.
DINING EXPERIENCES
UMS Camerata Dinners
Hosted by members of the UMS Board of Directors, Camerata dinners are a delicious and convenient beginning to your concert evening and are welcome to all. 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 calling 734.647.8009. UMS members receive reservation priority.
We are grateful to Al Rental, Inc. for their support of these special dinners.
Thursday, January 20
Yo-Yo Ma
Monday, January 24
Russian National Orchestra
Saturday, February S
Gothenburg Symphony Orchestra
Saturday, February 12
Anne-Sophie Mutter ? Wednesday, February 16 Murray Perahia
Saturday, March 11
The English Concert
Saturday, April 1
Czech Philharmonic Orchestra
RESTAURANT & LODGING PACKAGES
Celebrate in style with dinner and a show, or stay overnight and relax in comfort! A delicious meal followed by priority, reserved seating at a performance by world-class artists makes an elegant evening -add luxury accommodations to the package and make it a complete get-away. The University Musical Society is pleased to announce its cooperative ventures with the following local establishments:
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue 734.769.0653 for reservations Join Ann Arbor's most theatrical host and 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 performance 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 prior?ity reserved tickets to the performance.
The Bell Tower Hotel & Escoffler Restaurant
300 South Thayer
734.769.3010 for reservations and prices Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished performing artists, add up to a perfect overnight holiday. Reserve space now for a European-style guest room within walking distance of the perfor?mance 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. All events are at 8 p.m. with dinner prior to the performance.
Sat. Jan. 15 Bebe Miller Company Sat. Jan. 29 Barbara Hendricks, soprano Fri. Feb. 4 Jazz at Lincoln Center Sextet
Sat. Feb. 5 Gothenburg Symphony Orchestra
Sat. Feb. 12 Anne Sophie Mutter, violin Sat. Feb. 19 New York City Opera National
Company: The Barber of Seville Fri. Mar. 10 Ballet d'Afrique Noire:
The Mandinka Epic
Fri. Mar. 17 AH Akbar Khan and Zakir Hussain Fri. Apr. 14 Australian Chamber Orchestra
Package includes valet parking at the hotel, overnight accommodations 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.
Package price is $228.00 per couple.
Gratzi Restaurant
326 South Main Street
734.663.5555 for reservations and prices
Mon. Jan. 17 Take 6
Fri. Feb. 18 New York City Opera National
Company: The Barber of Seville Sat. Apr. 1 Czech Philharmonic Orchestra Wed. Apr. 26 Oscar Peterson Quartet
Pre-performance dinner Package includes guaranteed reservations for a preor post-performance dinner (choose any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance. Package price is $63.25 per person.
UMS PREFERRED RESTAURANT PROGRAM
Visit and enjoy these fine restaurants. Join us in thanking them for their generous support of UMS this season.
Azure
625 Briarwood Circle 734.747.9500 Experience the culture of fourteen Mediterranean countries with our authentic cuisine and cerulean bar. Reservations accepted for preand post-UMS performances. Visit us at www.azureusa.com.
Bella Ciao Trattoria
118 West Liberty 734.995.2107 Known for discreet dining with an air of casual elegance, providing simple and elabo?rate regional Italian dishes for you and your guests' pleasure. Reservations accepted.
Blue Nile
221 East Washington 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian specialties. Outstanding wine and beer list.
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
322 South Main Street 734.669.9977 Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for reservations.
The Original Cottage Inn
512 East William 734.663.3379 An Ann Arbor tradition for more than 50 years. Featuring Ann Arbor's favorite pizza, a full Italian menu, banquet facilities and cater?ing services.
D'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 Casual dining, serving wonderful home style Italian cuisine; many entrees changed daily. Featuring 35 wines by the glass, banquet seat?ing, and moderate prices. Rated '4 Stars' by the Detroit Free Pressl Reservations welcome.
The Earle
121 West Washington 734.994.0211 Provincial French and Italian dishes served in a casually elegant cellar setting. Wine list of over 1,000 selections. Live music nightly. Private rooms seat 8-30.
Gandy Dancer
401 Depot Street 734.769.0592 Located in the historic 1886 railroad depot. Specializing in fresh seafood. Lunches Monday-Friday 11:30-3:30. Dinners Monday-Saturday 4:30-10, Sunday 3:30-9. Award win?ning Sunday brunch 10:00-2:00. Reservations recommended.
Gratzi
326 South Main Street 734.663.5555 Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and dinner. Reservations accepted.
The Kerrytown Bistro
At the corner of Fourth Ave and Kingsley in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, inti?mate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after-dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly.
Mild
106 South First Street 734.665.8226 Award-winning classic Japanese food based on the freshest ingredients. Dinner reserva?tions suggested. Open for weekday lunch and dinner every day until 10 p.m. and 11 p.m. on Friday and Saturday.
The Moveable Feast
326 West Liberty 734.663.3278 Located just west of Main Street in the restored Brehm estate. Fine American cuisine with global fare. Full service catering, bakery, wedding cakes.
Palio
347 South Main Street 734.930.6100 Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available.
Real Seafood Company
341 South Main Street 734.769.5960 As close to the world's oceans as your taste can travel. Serving delightfully fresh seafood and much more. Open for lunch and dinner. Reservations accepted.
Red Hawk Bar & Grill
316 South State Street 734.994.4004 Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations.
Sweet Lorraine's Cafe & Bar
303 Detroit Street 734.665.0700 Modern American cooking in a casual, fun & sophisticated setting. Daily vegetarian specials, seafood, pasta & steaks. 30 wines by the glass, cool cocktails, and courtyard dining. Brunch served Saturday and Sunday.
Weber's Restaurant
3050 Jackson Road 734.665.3636 Great American restaurant since 1937. Featuring prime rib, live lobster, Cruvinet wine tasting flights, homemade pastries and desserts. Breakfast, Sunday brunch, lunch, dinner. Reservations accepted.
Zanzibar
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encour?aged.
UMS
Support
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 activities. We rely on volunteers for a vast array of activities, including staffing the education residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.763.0611 to request more information.
ADVISORY COMMITTEE
Now fifty-four members strong, the UMS Advisory Committee serves an integral function within the organization, supporting UMS with a volunteer corps and assisting in fundraising. Through an annual auction, sea?son opening events, and the Ford Honors Program gala, the Advisory Committee has pledged to donate $200,000 to UMS this sea?son. Additionally, the Committee's hard work is now in evidence with the publication of BRAVO!, a cookbook that traces the history of UMS through the past 120 years, with recipes submitted by artists who have per?formed under our auspices. If you would like
to become involved in this dynamic group, call 734.936.6837 for more information.
The Advisory Committee also seeks people to help with activities such as escorting students at our popular youth performances, assisting with mailings, and setting up for special events. Please call 734.936.6837 if you would like to volunteer for a project.
SPONSORSHIP & ADVERTISING
A
dvertising 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 performance experi?ences. 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 organiza?tion comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural
Join Us
Because Music Matters
UMS members have helped to make possible this 121st season of distinctive concerts. Ticket revenue covers only 61 of our costs. The generous gifts from our contributors continue to make the dif?ference. Cast yourself in a starring role--become a UMS member. In return, you'll receive a variety of special benefits and the knowledge that you are helping to assure that our community will continue to enjoy the extraordinary artistry that UMS offers.
treasures. And there are numerous benefits that accrue from your investment. For exam?ple, 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, please call 734.647.1176.
@@@@INTERNSHIPS
Internships with UMS provide experience in performing arts administration, marketing, publicity, promotion, production and arts education. Semesterand year-long intern?ships are available in many of the University Musical Society's departments. For more information, please call 734.763.0611.
COLLEGE WORK-STUDY
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, event planning and production. If you are a college student who receives work-study financial aid and who is interest?ed in working UMS, please call 734.763.0611.
USHERS
Without the dedicated service of UMS' Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others.
The UMS Usher Corps comprises 400 indi?viduals who volunteer their time to make your concert-going experience more pleasant and efficient. To become an usher, each vol?unteer attends one of several orientation and training sessions offered year-round. Full?time ushers are responsible for working at every UMS performance in a specific venue (i.e. Hill, Power Center, or Rackham) for the entire concert season; substitute ushers fill in for specific shows that the full-time ushers cannot attend.
If you would like information about joining the UMS Usher Corps, leave a message for our front of house coordinator at 734.913.9696.
MEMBERSHIP
Great performances--the best in music, theater and dance --are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society. The list below represents names of current donors as of November 3, 1999. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct it right away. UMS would also like to thank those generous donors who wish to remain anonymous.
SOLOISTS
Individuals
Dr. Kathleen G. Charla
Dr. and Mrs. James Irwin
The Lohr Family
Charlotte McGeoch
Randall and Mary Pittman
Herbert Sloan
and several anonymous donors
Businesses
Aetna Financial Services
Bank One, Michigan
Brauer Investments
DaimlerChrysler
Ford Motor Company Fund
Forest Health Services
Corporation Hudson's Project Image Parke-Davis Pharmaceutical
Research Office of the Provost,
University of Michigan
Foundations
Community Foundation for
Southeastern Michigan Lila Wallace Reader's Digest
Audiences for the
Performing Network Lila Wallace Reader's Digest
Arts Partners Program Michigan Council for Arts and
Cultural Affairs National Endowment for the
Arts
MAESTROS
Individuals
Ronnie and Sheila Cresswell Robert and Janice DiRomualdo Charles N. Hall Roger and Coco Newton Prudence and Amnon Rosenthal
Businesses
Bank of Ann Arbor
Arbor TemporariesPersonnel
SystemsArbor Technical
Staffing, Inc. Comerica Incorporated Edward Surovell Realtors KeyBank Lufthansa German Airlines
Masco Corporation McKinley Associates Mechanical Dynamics Mervyn's California National City Corporation NSK Corporation Pepper, Hamilton & Scheetz Thomas B. McMullen
Company Wolverine Temporaries, Inc.
Foundations
Detroit Edison Foundation Elizabeth E. Kennedy Fund Benard L. Maas Foundation Mid-America Arts Alliance
VIRTUOSI
Individuals
Edward Surovell and Natalie Lacy
Businesses
CFI Group Holnam, Inc.
CONCERTMASTERS
Individuals
Herb and Carol Amster Maurice and Linda Binkow Douglas Crary Ken and Penny Fischer Beverley and Gerson Geltner F. Bruce Kulp and Ronna Romney David G. Loesel Sally and Bill Martin Natalie Matovinovic Joe and Karen Koykka O'Neal John and Dorothy Reed Loretta M. Skewes Carol and Irving Smokier Ronald and Eileen Weiser Marina and Robert Whitman
Businesses
Ann Arbor Acura AT&T Wireless Blue Nile Restaurant Butzel Long Attorneys Cafe Marie
Chelsea Milling Company Deloitte & Touche Dow Automotive Elastizell Corp of America Institute for Social Research Miller, Canfield, Paddock,
and Stone LLP O'Neal Construction Visteon
Foundations
Chamber Music America Jewish Community Center of
Washtenaw County THE MOSAIC FOUNDATION
(ofR.&P. Heydon)
LEADERS
Individuals
Martha and Bob Ause Bradford and Lydia Bates Raymond and Janet Bernreuter Joan A. Binkow Jim Botsford and
Janice Stevens Botsford Dr. Barbara Everitt Bryant Dr. and Mrs. James P. Byrne Kathleen and Dennis Cantwell Edwin and Judith Carlson Mr. Ralph Conger Katharine and Jon Cosovich Jack and Alice Dobson Jim and Patsy Donahey Mr. and Mrs. Thomas C. Evans John and Esther Floyd Otto and Lourdes E. Gago Debbie and Norman Herbert Keki and Alice Irani Robert and Pearson Macek Robert and Ann Meredith George and Barbara Mrkonic John Psarouthakis Mabel E. Rugen Don and Judy Dow Rumelhart Professor Thomas J. and Ann
Sneed Schriber Don and Carol Van Curler Richard E. and
Laura A. Van House Mrs. Francis V. Viola III John Wagner Marion T. Wirick and
James N. Morgan
Businesses
AAA Michigan Alcan Automotive Products Austin & Warburton ERIM International Inc Ideation, Inc. Joseph Curtin Studios Megasys Software Services Inc. Randy Parrish Fine Framing Republic Bank Ann Arbor Sesi Investment Target Stores
Foundations
Ann Arbor Area Community
Foundation Shiftman Foundation Trust
(Richard Levey)
PRINCIPALS
Individuals
Dr. and Mrs. Gerald Abrams Mrs. Gardner Ackley Jim and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. Robert G. Aldrich Lloyd and Ted St. Antoine Max K. Aupperle Emily W. Bandera, M.D. Peter and Paulett Banks A. J. and Anne Bartoletto Karen and Karl Bartscht Kathy Benton and Robert Brown L. S. Berlin Philip C. Berry Suzanne A. and
Frederick J. Beutler Elizabeth and Giles G. Bole Lee C. Bollinger and Jean
Magnano Bollinger Howard and Margaret Bond Bob and Sue Bonfield Laurence and Grace Boxer Jeannine and Robert Buchanan John T. Buck
Lawrence and Valerie Bullen Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Edward and Mary Cady Bruce and Jean Carlson Jean and Kenneth Casey Janet and Bill Cassebaum Anne Chase
George and Patricia Chatas Don and Betts Chisholm Mr. and Mrs. John Alden Clark David and Pat Clyde Leon and Heidi Cohan Howard J. Cooper Mary K. Cordes Peter and Susan Darrow Elizabeth A. Doman Mr. and Mrs. John R. Edman Dr. and Mrs. S.M. Farhat David and Jo-Anna Featherman Adrienne and Robert Z. Feldstein
Principals, continued
Ray and
Patricia Fitzgerald David C. and
Linda L. Flanigan Robben and
Sally Fleming James and Anne Ford Ilene H. Forsyth Michael and Sara Frank Edward P. Frohlich Marilyn G. Gallatin James and Cathie Gibson William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Sue and Carl Gingles Alvia G. Golden and
Carroll Smith-Rosenberg Norm Gottlieb and
Vivian Sosna Gottlieb Linda and Richard Greene Frances Greer Alice Berberian Haidostian Taraneh and Carl Haske Anne and Harold Haugh David and Phyllis Herzig Bertram Herzog Julian and Diane Hoff Janet Woods Hoobler Robert M. and
Joan F. Howe Sun-Chien and
Betty Hsiao John and
Patricia Huntington Stuart and Maureen Isaac Mercy and Stephen Kasle Richard and
Sylvia Kaufman Thomas and
Shirley Kauper Bethany and Bill Klinke Michael and
Phyllis Korybalski Dimitri and
Suzanne Kosacheff Barbara and
Michael Kusisto Lee E. Landes Jill Latta and
David S. Bach Mr. and Mrs.
Henry M. Lee Leo and Kathy Legatski Evie and Allen Lichter Mrs. Frances M. Lohr Dean and Gwen Louis
John and Cheryl MacKrell Judy and Roger Maugh Margaret W. Maurer Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders 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 W. Moore Dr. and Mrs. Joe D. Morris Cruse W. and
Virginia Patton Moss Eva L. Mueller Mr. and Mrs. Homer Neal Shirley Neuman M. Haskell and Jan
Barney Newman William and
Deanna Newman Mrs. Marvin Niehuss Marylen and
Harold Oberman Gilbert Omenn and
Martha Darling Constance L. and
David W. Osier Mrs. Charles Overberger William C. Parkinson Dory and John D. Paul John M. Paulson Maxine and
Wilbur K. Pierpont Eleanor and Peter Pollack Stephen and Agnes
Reading Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Maria and Rusty Restuccia Ken Robinson Barbara A. Anderson and
John H. Romani Gustave and
Jacqueline Rosseels Dr. Nathaniel H. Rowe Mr. and Mrs.
Charles H. Rubin Dick and Norma Sarns Maya Savarino Mrs. Richard C. Schneider
Rosalie and
David Schottenfeld Robert Sears and
Lisa M. Waits Joseph and Patricia
Settimi
Janet and Mike Shatusky Helen and George Siedel J. Barry and Barbara M.
Sloat
Steve and Cynny Spencer James and Nancy Stanley Mr. and Mrs. John C.
Stegeman Victor and Marlene
Stoeffler James L. and Ann S.
Telfer
Lois A. Theis Dr. Isaac Thomas III and
Dr. Toni Hoover Susan B. Ullrich Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt Ellen C. Wagner Gregory and Annette
Walker
Elise and Jerry Weisbach Angela and Lyndon
Welch
Roy and JoAn Wetzel Paul and Elizabeth
Yhouse
Businesses
A-l Rentals, Inc. Alf Studios Allen & Kwan Commercial Brianvood Mall Chris Triola Shar Music Company STM Inc.
Foundations
J. F. Ervin Foundation Harold and Jean
Grossman Family
Foundation
Hudson's Circle of Giving The Lebensfeld
Foundation Montague Foundation The Power Foundation
BENEFACTORS Individuals
M. Bernard Aidinoff Robert Ainsworth Michael and Suzan
Alexander
Carlene and Peter Aliferis Dr. and Mrs. Rudi Ansbacher Catherine S. Arcure Jennifer Arcure and Eric
Potoker
Janet and Arnold Aronoff James R. Baker, Jr., M.D. and
Lisa Baker
Gary and Cheryl Balint Norman E. Barnett Mason and Helen Barr Robert and Wanda Bartlett Kathleen Beck Neal Bedford and Gerlinda
Melchiori Henry J. Bednarz Ralph P. Beebe Harry and Betty Benford Ruth Ann and Stuart J.
Bergstein John Blankley and Maureen
Foley
Jane M. Bloom Ron and Mimi Bogdasarian Charles and Linda Borgsdorf Carl and Isabelle Brauer Professor and Mrs. Dale E.
Briggs
David and Sharon Brooks June and Donald R. Brown Douglas and Marilyn
Campbell Jean W. Campbell Michael and Patricia
Campbell
George R. Carignan Jim and Priscilla Carlson James S. Chen Janice A. Clark John and Nancy Clark Jim and Connie Cook Susan and Arnold Coran H. Richard Crane Alice B. Crawford George and Connie Cress Mary R. and John G. Curtis Mr. and Mrs. William H.
Damon III
John and Jean Debbink James M. Deimen Katy and Anthony
Derezinski Delia DiPietro and Jack
Wagoner, M.D. Dr. and Mrs. Stephen W.
Director
Molly and Bill Dobson Mr. and Mrs. Raymond D.
Dornbusch Charles and Julia Eisendrath
Dr. Alan S. Eiser David Eklund and Jeff Green Stefan S. and Ruth S. Fajans Claudine Farrand and
Daniel Moerman Dr. and Mrs.
John A. Faulkner Dede and Oscar Feldman Dr. James F. Filgas Sidney and Jean Fine Clare M. Fingerle Susan Goldsmith and
Spencer Ford Phyllis W. Foster Bernard and Enid Galler Drs. Steve Geiringer and
Karen Bantel Thomas and
Barbara Gelehrter Beverly Gershowitz Joyce and Fred M. Ginsberg Paul and Anne Glendon Susie and Gene Goodson Dr. Alexander Gotz Cozette Grabb Dr. and Mrs.
William A. Gracie Elizabeth Needham Graham Dr. John and
Renee M. Greden John and Helen Griffith Leslie and Mary Ellen Guinn Helen C. Hall
Mr. and Mrs. Elmer F. Hamel William Hann Susan Harris Paul Hysen and
Jeanne Harrison Clifford and Alice Hart Mr. and Mrs.
E. Jan Hartmann Anne Vance Hatcher Nina E. Hauser leannine and Gary Hayden Fred and Joyce Hershenson Mrs. W.A. Hiltner Mr. and Mrs.
William B. Holmes David and Dolores Humes Ronald R. and
Gaye H. Humphrey John and Gretchen Jackson James and Dale Jerome Frank and Sharon Johnson Billie and Henry Johnson Robert L. and
Beatrice H. Kahn Dr. and Mrs.
Mark S. Kaminski Herbert Katz Richard L. Kennedy Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Rhea and Leslie Kish Hermine R. Klingler Philip and
Kathryn Klintworth
Jim and Carolyn Kjiake Samuel and Marilyn Krimm Bud and Justine Kulka David and Maxine Larrouy John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Ann M. Leidy Richard LeSueur Pat and Mike Levine Myron and Bobbie Levine Carolyn and Paul Lichter Richard and Stephanie Lord Mr. and Mrs.
Carl J. Lutkehaus Brigitte and Paul Maassen Mark Mahlberg Suzanne and Jay Mahler Edwin and Catherine Marcus Geraldine and
Sheldon Market Chandler and
Mary Matthews Richard and
Elizabeth McLeary Thomas B. and
Deborah McMullen Ted and Barbara Meadows Bernice and Herman Merte Valerie Meyer Leo and Sally Miedler Myrna and Newell Miller Brian and Jacqueline Morton Hillary Murt and
Bruce A. Friedman Martin Neuliep and Patricia
Pancioli
Len and Nancy Niehoff Dr. and Mrs.
Frederick C. O'Dell Bill and Marguerite Oliver Mr. and Mrs.
James C. O'Neill Mark and Susan Orringer Marysia Ostafin and
George Smillie Shirley and Ara Paul Margaret and Jack Petersen Lorraine B. Phillips William and Betty Pierce Murray and Ina Pitt Stephen and Bettina Pollock Richard L. Prager and
Lauren O'Keefe 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 Rudolph and Sue Reichert Mary R. Romig-deYoung Arthur J. Rose Mrs. Irving Rose Dr. Susan M. Rose Jeri Rosenberg and
Victor Strecher Ronald and Donna Santo Sarah Savarino Peter C. Schaberg and
Norma J. Amrhein David and Marcia Schmidt Meeyung and
Charles Schmitter Dr. John J. H. Schwarz fulianne and Michael Shea Howard and Aliza Shevrin Frances U. and
Scott K. Simonds Scott and Joan Singer George and
Mary Elizabeth Smith Dr. Elaine R. Soller Cynthia J. Sorensen Mrs. Ralph L. Steffek Dr. and Mrs. Jeoffrey K. Stross Nancy Bielby Sudia Charlotte B. Sundelson Brian and Lee Talbot Bob and Betsy Teeter John D. Tennant and
Barbara Campbell Scott Bennett Terrill Joan Lowenstein and
Jonathan Trobe Marilyn Tsao and Steve Gao Dr. Sheryl S. Ulin and Dr.
Lynn T. Schachinger Bryan and Suzette Ungard Walter E. Vashak Kate and Chris Vaughan Sally Wacker Warren Herb and
Florence Wagner Dana M. Warnez Willes 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 Harry C. White and Esther
R. Redmount Clara G. Whiting Brymer Williams Frank E. Wolk J. D. Woods
David and April Wright Phyllis B. Wright Don and Charlotte Wyche Mr. and Mrs. Edwin H. Young
Businesses
The Barfield CompanyBartech Charles Reinhart Company
Realtors Detroit and Canada Tunnel
Corporation
Detroit Swedish Council Inc. Guardian Industries
Corporation King's Keyboard House
Quinn bvansArchitects Rosebud Solutions Stirling Thermal Motors, Inc. Swedish Club
Foundations
The Kennedy Center for the Performing Arts
ASSOCIATES
Individuals
Anastasios Alexiou Mike Allemang and
Denise Boulange Christine Webb Alvey Dr. and Mrs.
David G. Anderson David and Katie Andrea Harlene and Henry Appelman Jeff and Deborah Ash Mr. and Mrs. Arthur J. Ashe, III Mr. and Mrs. Dan E. Atkins III Jim and Patsy Auiler Jonathan and Marlene Ayers Dr. and Mrs. Daniel R. Balbach Lesli and Christopher Ballard Cy and Anne Barnes Gail Davis Barnes Victoria and Robin Baron Leslie and Anita Bassett Astrid B. Beck and
David Noel Freedman Srirammohan S. and
Shamal Beltangady Linda and Ronald Benson Robert Hunt Berry Sheldon and Barbara Berry Mary Steffek Blaske and
Thomas Blaske Cathie and Tom Bloem Harold and Rebecca Bonnell Roger and Polly Bookwalter Dr. and Mrs. Ralph Bozell Dr. and Mrs. C. Paul Bradley James and Jane Bradner Mr. Joel Bregman and
Ms. Elaine Pomeranz Mr. and Mrs. Gerald Bright Allen and Veronica Britton Olin L. Browdcr Morton B. and Raya Brown Virginia Sory Brown Dr. and Mrs. Donald T. Bryant Trudy and Jonathan Bulkley Arthur and Alice Burks Margot Campos Marshall F. and Janice L. Carr Jeannettc and Robert Carr James and Mary Lou Carras Tsun and Siu Ying Chang Dr. Kyung and Young Cho Soon K. Cho Catherine Christen Dr. and Mrs. David Church Robert J. Cierzniewski Charles and Lynne Clippert Gerald S. Cole and
Vivian Smargon
Associates, continued
John and Penelope Collins Wayne and Melinda Colquitt Edward ]. and
Anne M. Comeau Lolagene C. Coombs Kathleen Cooney and
Gary Faerber Paul N. Courant and
Marta A. Manildi Cliff and Laura Craig Merle and Mary Ann Crawford Mr. Michael J. and
Dr. Joan Crawford Constance Crump and
Jay Simrod Charles and
Kathleen Davenport Ed and Ellie Davidson Joe and Nan Decker Penny and Laurence B. Deitch Pauline and Jay J. De Lay Elena and Nicholas Delbanco EUwood and Michele Derr Marnee and John DeVine Elizabeth Dexter Macdonald and Carolin Dick Heather and Stuart Dombey Dr. and Mrs.
Edward F. Domino Thomas and Esther Donahue Eugene and Elizabeth Douvan Jane E. Dutton Kathy and Ken Eckerd Martin and Rosalie Edwards Joan and Emil Engel Patricia Enns Don and Jeanette Faber Susan Feagin and John Brown Karl and Sara Fiegenschuh Carol Finerman Herschel and Annette Fink Beth B. Fischer (Mrs. G. J.) Susan R. Fisher and
John W. Waidley Jennifer and Guillermo Flores Ernest and Margot Fontheim Mr. and Mrs. George W. Ford Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Deborah and Ronald
Freedman
Andrew and Deirdre Freiberg Lela J. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Gwyn and Jay Gardner Professor and Mrs.
David M. Gates Wood and Rosemary Geist Elmer G. Gilbert and
Lois M. Verbrugge Maureen and David Ginsburg Albert and Almeda Girod David and Shelley Goldberg Edward and Ellen Goldberg Irwin J. Goldstein and
Marty Mayo Lila and Bob Green Dr. and Mrs. Lazar J. Greenfield Daphne and Raymond Grew Lauretta and Jim Gribble Carleton and Mary Lou Griffin
Bob and Jane Grover Ken and Margaret Guire Arthur W. Gulick, M.D. Don P. Haefner and
Cynthia J. Stewart Susan and John Halloran Yoshiko Hamano Robert and Jean Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Thomas and Connie Heffher J. Lawrence and
Jacqueline Stearns Henke! Carl and Charlene Herstein Russell and Elizabeth Hines Peter G. Hinman and
Elizabeth A. Young Kenneth and Joyce Holmes Ronald and Ann Holz Linda Samuelson and
Joel Howell Jane H. Hughes Ralph and Del Hulett Ann D. Hungerman Hazel Hunsche Thomas and
Kathryn Huntzicker Eileen and Saul Hymans Robert B. Ingling Margaret and Eugene Ingram Harold and Jean Jacobson Wallie and Janet Jeffries James and Elaine Jensen Ellen C. Johnson Kent and Mary Johnson Tim and Jo Wiese Johnson Elizabeth and Lawrence Jordan Susan and Stevo Julius Steven R. Kalt and
Robert D. Heeren Perry and Denise Kantner David and Sally Kennedy Frank and Patricia Kennedy Emily and Ted Kennedy Don and Mary Kiel Tom and Connie Kinnear Paul and Dana Kissner James and Jane Kister Joseph and Marilynn Kokoszka Melvyn and Linda Korobkin Bert and Catherine La Du Mr. and Mrs. Henry M. Lapeza John and Theresa Lee Mr. and Mrs. Fernando S. Leon Harry and Melissa LeVine Jacqueline H. Lewis Leons and Vija Liepa Alene and Jeff Lipshaw Vi-Cheng and Hsi-Yen Liu Peter and Sunny Lo Dan and Kay Long Leslie and Susan Loomans Charles and Judy Lucas Edward and Barbara Lynn Donald and Doni Lystra Sally C. Maggio Mr. and Mrs. Stephen Maggio Virginia Mahle Melvin and Jean Manis Marcovitz Family Nancy and Philip Margolis Irwin and Fran Martin
Margaret E. McCarthy Susan McClanahan and
Bill Zimmerman Griff and Pat McDonald Eileen Mclntosh and
Charles Schaldenbrand Mr. and Mrs. Ernest Merlanti Walter and Ruth Metzger Helen Metzner Deanna Relyea and
Piotr Michalowski Prof, and Mrs. Douglas Miller Jeanette and Jack Miller Robert Rush Miller Kathleen and James Mitchincr Dr. and Mrs. George W. Morley A. Anne Moroun Melinda and Bob Morris Cyril and Rona Moscow Gavin Eadie and
Barbara Murphy Richard S. Nottingham Steve and Christine Nowaczyk Julie and Dave Owens David and Andrea Page Mr. and Mrs. William B. Palmer Helen I. Panchuk Dr. Owen Z. and
Barbara Perlman Jim and Julie Phelps Joyce H. and Daniel M. Phillips William and Barbara Pierce Frank and Sharon Pignanelli Elaine and Bertram Pitt Richard and Meryl Place Donald and Evonne Plantinga Cynthia and Roger Postmus Philip and Kathleen Power Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Preuss Elizabeth L. Prevot Wallace and Barbara Prince J. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Anthony L. Reffells and
Elaine A. Bennett Carol P. Richardson Jack and Margaret Ricketts Constance Rinehart John and Marilyn Rintamaki Jay and Machree Robinson Mr. and Mrs. Stephen J. Rogers Robert and Joan Rosenblum Gay and George Rosenwald Craig and Jan Ruff Sheldon Sandweiss Michael and Kimm Sarosi Albert J. and Jane L. Sayed Drs. Edward and
Virginia Sayles Sue Schroeder
Monica and David E. Schteingart Suzanne Selig Marvin and Harriet Selin Ruth and Jay Shanberge Constance M. Sherman George and Gladys Shirley Hollis and Martha A.
Showalter
Irene and Oscar Signori Sandy and Dick Simon
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BURTON TOWER SOCIETY
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support to continue the great tra?ditions of the Society in the future.
Carol and Herb Amster
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Soloists $25,000 or more
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UMS
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Yo-Yo Ma ceib Kathryn Stott piano
Please Note
Kenneth Frazelle's Two Variations for the Goldberg Variations II Project and Christopher Rouse's Two Variations, both works included as part of the New Goldberg Variations on the printed program, will not be performed tonight.
UMS
and
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present
Barbara Hendricks soprano
Staffan Scheja, Piano
Johannes Brahms
Wir wandelten, Op. 96, No. 2
(Daumer)
Wir wandelten, wir zwei zusammen, ich war so still und du so stille; ich gabe viel, um zu erfahren, was du gedacht in jenem Fall. Was ich gedacht, unausgesprochen verbleibe das! Nur Eines sag ich: so schon war alles, was ich dachte, so himmlisch heiter war es all! In meinem Haupte die Gedanken sie lauteten wie goldne Glockchen; so wundersiifi, so wunderlieblich ist in der Welt kein andrer Hall.
Alte Liebe, Op. 72, No. 1
(Candidus)
Es kehrt die dunkle Schwalbe aus fernem Land zuriick, die frommen Storche kehren und bringen neues Gliick. An diesem Fruhlingsmorgen, so triib' verhangt und warm ist mir, als fa'nd' ich wieder den alten Liebesharm. Es ist, als ob mich leise
We Wandered
We wandered, we two, together,
I so still and you so still;
much I'd have given to know
what your thoughts were then.
What mine were unspoken let
that stay. Just this I'll say:
so beautiful was all I thought,
so celestially serene!
In my head those thoughts chimed
like tiny golden bells;
as wondrous sweet and lovely
is no other sound on earth.
Old Love
The dark swallow returns from a distant land, the pious storks return and bring new happiness. On this spring morning, so sadly veiled and warm, I seem to rediscover love's sorrow of old. It is as if, gently,
wer auf die Schulter schlug, als ob ich sauseln horte, wie einer Taube Flug. Es klopft an meine Tiire und ist doch niemand draus; ich atme Jasmindiifte und habe keinen StrauS. Es ruft mir aus der Feme, ein Auge sieht mich an, ein alter Traum erfafit mich und fuhrt mich seine Bahn.
Das Madchen spricht, Op. 107, No. 3
(Gruppe)
Schwalbe, sag' mir an, ist's dein alter Mann, mit dem du's Nest gebaut, oder hast du jiingst erst dich ihm vertraut
Sag', was zwitschert ihr, sag', was fliistert ihr des morgens so vertraut Gelt, du bist wohl auch noch nicht lange Braut
Wie Melodien zieht es mir, Op. 105, No. 2
{Groth)
Wie Melodien zieht es mir leise durch den Sinn, wie Friilingsblumen bliiht es und schwebt wie Duft dahin.
Doch kommt das Wort und fafit es und fuhrt es vor das Aug', wie Nebelgrau erblafit es und schwindet wie ein Hauch.
Und dennoch ruht im Reime verborgen wohl ein Duft, den mild aus stillem Keime ein feuchtes Auge ruft.
my shoulder were tapped,
as though I heard a whispering
as of a dove in flight.
My door is knocked,
yet no one is outside;
scents of jasmine I breathe,
yet have no bouquet.
I am summoned from afar,
an eye is watching me,
I am seized by an old dream
and led along its way.
The Maiden Speaks
Swallow, tell me, is that your old husband you've set up nest with, or have you only recently entrusted yourself to him
Tell me, what do you twitter, what do you whisper about, so intimately in the morning And you haven't, have you, been all that long a bride
As Melodies a Feeling
As melodies a feeling steals softly through my mind, as spring flowers it blooms and as scent floats away.
But words come and seize it, bring it before the eye, as the grey of mist it pales, and vanishes like a breath.
And yet in rhyme reposes, concealed, a scent, which gently out of silent bud is summoned by a moist eye.
Immer leiser wird mein Schlummer, Op. 105, No. 2
(Lingg)
Immer leiser wird mein Schlummer, Nur wie Schleier Iiegt mein Kummer Zitternd iiber mir. Oft im Traume hor ich dich Rufen draufi vor meiner Tiir, Niemand wacht und offnet dir, Ich erwach und weine bitterlich.
Ja, ich werde sterben mussen,
Eine andre wirst du ktissen,
Wenn ich bleich und kalt.
Eh die Maienliifte wehn,
Eh die Drossel singt im Wald:
Willst du mich noch einmal sehn,
Komm, o komme bald!
Standchen, Op. 106, No. 1
(Kugler)
Der Mond steht iiber dem Berge, So recht fur verliebte Leut; Im Garten rieselt ein Brunnen, Sonst Stille weit und breit.
Neben der Mauer im Schatten, Da stehn der Studenten drei, Mit Flot und Geig und Zither, Und singen und spielen dabei.
Die Klange schleichen der Schonsten Sacht in den Traum hinein, Sie schaut den blonden Geliebten Und lispelt: "Vergifi nicht mein!"
Ever Lighter Grows My Slumber
Ever lighter grows my slumber,
but my sorrows lie like a haze,
trembling over me.
Often in my dreams I hear you
calling outside my door,
no one is awake to let you in,
I wake and weep bitterly.
Yes, I shall have to die,
another will you kiss
when I am pale and cold.
Ere May breezes blow,
ere the thrush sings in the wood ?
if you once more would see me,
come, oh come soon!
Serenade
The moon is over the mountain, so right for people in love; in the garden purls a fountain; otherwise silence far and wide.
By the wall, in shadow, there three students stand, with flute and fiddle and zither, and sing and play.
The music steals softly into the loveliest lady's dreams; at her blond lover she gazes, and whispers, "Remember me!"
Madchenlied, Op. 107, No. 5
(Heyse)
Auf die Nacht in der Spinnstub'n da singen die Madchen, da lachen die Dorfbub'n wie flink geh'n Radchen!
Spinnt Jedes am Brautschatz, dafi der Liebste sich freut. Nicht lange, so gibt es ein Hochzeitgelaut.
Kein Mensch, der mir gut ist, will nach mir fragen; wie bang mir zu Mut ist, Wem soil ich's klagen
Die Tranen rinnen mir iiber's Gesicht, wofiir soil ich spinnen Ich weifi es nicht!
Es traumte mir, Op. 57, No. 3
(Daumer)
Es traumte mir, Ich sei dir teuer; Doch zu erwachen Bedurft' es kaum. Denn schon im Traume Bereits empfand ich, Es sei ein Traum.
Botschaft, Op. 47, No. 1
(Daumer)
Wehe, Luftchen, lind und lieblich Um die Wange der Geliebten, Spiele zart in ihrer Locke, Eile nicht hinwegzufliehn!
Tut sie dann vielleicht die Frage, Wie es um mich Armen stehe; Sprich: "Unendlich war sein Wehe, Hochst bedenklich seine Lage;
Aber jetzo kann er hoffen, Wieder herrlich aufzuleben, Denn du, Holde, Denkst an ihn."
but now he can hope gloriously to revive, for you, sweet one, are thinking of him."
II
Mdrike Lieder
Hugo Wolf
Poems ofEduard Mdrike
Auf einer Wanderung, No. 15
In ein freundliches Stadtchen tret ich ein, In den Strafien liegt roter Abendschein. Aus einem offnen Fenster eben, Ober den reichsten
Blumenflor Hinweg, hort man Goldglockentone
schweben, Und eine Stimme scheint ein
Nachtigallenchor, Dafi die Bliiten beben, Dafi die Liifte leben, DaC in hoherem Rot die Rosen
leuchten vor. Lang hielt ich staunend,
lustbeklommen.
Wie ich hinaus vors Tor gekommen, Ich weifi es wahrlich selber nicht. Ach hier, wie liegt die Welt so licht! Der Himmel wogt in purpurnem
Gewiihle Riickwarts die Stadt in goldnem
Rauch; Wie rauscht der Erlenbach, wie
rauscht im Grund die Miihle! Ich bin wie trunken, irrgefuhrt-O Muse, du hast mein Herz beruhrt Mit einem Liebeshauch.
On a Walk
Into a pleasant little town I step, with streets bathed in evening light. From an open window, across the most sumptuous
show of flowers, gold-dock chimes
float, and one voice is a chorus of
nightingales,
so that the blooms tremble breezes stir, and roses glow a heightened
red. Long I halted, marvelling, oppressed
by joy.
How I made my way out of the town, I cannot, in truth, remember. Oh, how bright the world here! The sky a purple, surging
whirl, behind, the town a golden
haze. How the alder brook babbles, the
valley mill roars!
I am as if drunk, as if led astray -0 Muse, you have touched my heart with a breath of love!
Verborgenheit, No. 12
Lafi, o Welt, o lafi mich sein! Locket nicht mit Liebesgaben, Lafit dies Herz alleine haben Seine Wonne, seine Pein!
Was ich traure, weifi ich nicht, Es ist unbekanntes Wehe; immerdar durch Tranen sehe Ich der Sonne liebes Licht.
Oft bin ich mir kaum bewufit, Und die helle Freude ziicket Durch die Schwere, so mich driicket Wonniglich in meiner Brust.
Lafi, o Welt, o lafi mich sein! Locket nicht mit Liebesgaben, Lafit dies Herz alleine haben Seine Wonne, seine Pein!
Nimmersatte Iiebe, No. 9
So ist die Lieb! So ist die Lieb!
Mit Kiissen nicht zu stillen:
Wer ist der Tor und will ein Sieb
Mit eitel Wasser fallen
Und schopfst du an die tausend Jahr,
Und kiissest ewig, ewig gar,
Du tust ihr nie zu Willen.
Die lieb, die Lieb hat alle Stund Neu wunderlich Gelusten; Wir bissen uns die Lippen wund, Da wir uns heute kiifiten. Das Madchen hielt in guter Ruh, Wie's Lammlein unterm Messer; Ihr Auge bat: "Nur immer zu! Je weher, desto besser!"
So ist die Lieb! Und war auch so, Wie lang es Liebe gibt, Und anders war Herr Salomo, Der Weise, nicht verliebt.
Obscurity
Leave, O world, oh, leave me be! Tempt me not with gifts of love, leave this heart to have alone its bliss, its agony!
Why I grieve, I do not know, my grief is unknown grief, all the time I see through tears the sun's delightful light.
Often, scarce aware am I, pure joy flashes
through the oppressing heaviness -flashes blissful in my heart.
Leave, 0 world, oh, leave me be! Tempt me not with gifts of love, leave this heart to have alone its bliss, its agony!
Never-sated Love
Such is love! Such is love!
Not to be allayed with kisses:
is there a fool who would fill
a sieve simply with water
Scoop water for near a thousand years,
kiss for ever and a day,
never will you do as love wishes.
Love, love has with each hour new, strange desires; we bit our lips until they hurt, when we kissed today. The maiden stayed quiet, like a lamb beneath the knife; her eyes beseeched, "Keep at it, the more it hurts the better!"
Such is love, and ever was, as long as love's existed, and that wise man Solomon no differently did love.
Das verlassene Magdlein, No. 7
Friih, wann die Hahne krahn, Eh die Sternlein schwinden, MuS ich am Herde stehn, MuB Feuer ziinden.
Schon ist der Flammen Schein, Es springen die Funken; Ich schaue so darein, In Leid versunken.
Plotzlich, da kommt es mir, Treuloser Knabe, Dafi ich die Nacht von dir Getraumet habe.
Trane auf Trane dann Stiirzet hernieder; So kommt der Tag heran -O ging er wieder!
Der Gartner, No. 17
Auf ihrem Leibrofilein, So weifi wie der Schnee, Die schonste Prinzessin Reit't durch die Allee.
Der Weg, den das RdSlein Hintanzet so hold, Der Sand, den ich streute, Er blinket wie Gold.
Du rosenfarbs Hutletn, Wohl auf und wohl ab, O wirf eine Feder Verstohlen herab!
Und willst du dagegen Eine Bliite von mir, Nimm tausend fur eine, Nimm alle dafiir!
Forsaken Servant-girl
At cock-crow, early, before the tiny stars are gone, I must be at the hearth, must light the fire.
Pretty the flames' glow, the sparks' leap; I stare into them, lost in grief.
Suddenly it comes to me, unfaithful boy, that last night I dreamt of you.
Tear upon tear
then falls;
so the say starts --
would it were gone again!
The Gardener
On her favorite mount as white as snow, the fairest princess rides through the avenue.
The path where her steed so delightfully prances, the sand that I strewed, they sparkle like gold.
Little pink hat, bobbing up, bobbing down, Oh, throw a feather secretly down!
If you, in return, want a flower from me, for one, take a thousand, for one, take all!
Lebe Wohl, No. 36
Lebe wohl! Du fiihlest nicht,
Was es heiSt, dies Wort der Schmerzen;
Mit getrostem Angesicht
Sagtest du's und leichtem Herzen.
Lebe wohl! Ach, tausendmal Hab ich mir es vorgesprochen. Und in nimmersatter Qual Mir das Herz damit gebrochen.
Er ist's, No. 6
Fruhling lafit sein blaues Band Wieder flattern durch die Lufte; Siifie, wohlbekannte Diifte Streifen ahnungsvoll das Land.
Veilchen traumen schon,
Wollen balde kommen.
Horch, von fern ein leiser Harfenton!
Fruhling, ja du bists!
Dich hab ich vernommen!
Farewell
Farewell! You do not feel what it means, this word of pain; with hopeful mien you spoke it, and light heart.
Farewell! Ah, a thousand times I have said that to myself. And in insatiable agony have broken my heart.
Spring it is...
Spring lets its blue ribbon flutter once more in the breeze; sweet, familiar fragrance drifts portentous through the land.
Violets are dreaming, soon will be here. Hark, softly, from afar, a harp! Yes, Spring, it is you!
I have caught your sound!
Ill
Mdrike Lieder
Hugo Wolf
Poems ofEduard Mdrike
Nixe Binsefuss, No. 45
Des Wassermann's sein Tochterlein tanzt auf dem Eis im Vollmondschein, sie singt und lachet sonder Scheu wohl an des Fischer's Haus vorbei.
"Ich bin die Nixe Binsefuss, und meine Fisch' wohl hiiten muss, meine Fisch' die sind im Kasten, sie haben kalte Fasten; von Bohmerglas mein Kasten ist,
Mermaid Seaweed Fair
The daughter of the water-sprite Dances on ice by moonlight bright, She sings and dances merrily As past the fisherman's house flits she.
"I am the mermaid Seaweed fair, And of my fishes I take care In a case my fish are living, Cold food to them I'm giving; The case is made of glass so fine,
da zahl' ich sie zu jeder Frist.
Gelt, Fischermatz gelt alter Tropf,
dir will der Winter nicht in Kopf
Komm' mir mit deinen Netzen!
die will ich schon zerfetzen!
Dein Magdlein zwar ist fromm und gut,
ihr Schatz ein braves Jagerblut.
Drum hang' ich ihr, zum Hochzeitsstrauss, ein Schilfenkranzlein vor das Haus, und einen Hecht, von Silber schwer, er stammt von Konig Artus her, ein Zwergengoldschmieds Meisterstuck, wer's hat, dem bringt es eitles Gliick: er lasst sich schuppen Jahr fur Jahr, da sind's funfhundert Groschlein bar.
Ade mein Kind! Ade fur heut'! Der Morgenhahn im Dorfe schreit."
Schlafendes Jesuskind, No. 25
Sohn der Jungfrau, Himmelskind! am
Boden Auf dem Holz der Schmerzen
eingeschlafen,
Das der fromme Meister, sinnvoll spielend, Deinen leichten Traumen unterlegte; Blume du, noch in der Knospe dammernd, Eingehiillt, die Herrlichkeit des Vaters! O wer sehen konnte, welche Bilder Hinter dieser Stirne, diesen schwarzen Wimpern sich in sanftem Wechsel malen!
Der Knabe und das Immlein, No. 2
Im Weinberg auf der Hohe
ein Hauslein steht so windebang;
hat weder Tiir noch Fenster, die Weile wird ihm lang. Und ist der Tag so schwiile, sind all' verstummt die Vogelein, summt an der Sonnenblume ein Immlein ganz allein.
There do I count those fishes as mine. Say, fisher, dost thou not find This wintry weather to thy mind Of laying nets beware then! To shreds I'll surely tear them! Tis, true, thy daughter's good as gold, Her lover is a huntsman bold.
And at her wedding she shall wear, From me, a wreath of rushes rare, A pike of silver too I've brought, That was for good king Arthur wrought, A fairy goldsmith's masterpiece That makes its owner's joy increase And one can scale it every year, Which makes five hundred pennies clear.
Farewell, my child, farewell for now! The village cock begins to crow."
The Child Jesus, Sleeping
Virgin's son, Child of Heaven, on the
floor on the wood of agony
sleeping,
that, suggestively, the pious master has set beneath your easy dreams; thou flower, still gleaming in the bud, the glory of the Father! Oh, to see the picture being painted behind that forehead, those dark lashes, gently, one upon the other!
The Boy and the Bee
On the top of a vineyard hill
A little house is standing as if fearful of
the wind;
It has neither door nor windows, It is weary of being there so long. And if the day is sultry, If all the birds are silent, Then, buzzing arund a sunflower, Comes a lonely bee.
"Mein Lieb hat einen Garten, da steht ein hiibsches Immenhaus: kommst du daher geflogen Schickt sie dich nach mir aus"
"Oh nein, du feiner Knabe, es hiess mich niemend Boten gehn; dies Kind weiss nichts von Lieben, hat dich noch kaum gesehn.
Was wiissten auch die Madchen, wenn sie kaum aus der Schule sind! Dein herzallerliebstes Schatzchen ist noch ein Mutterkind. Ich bring' ihm Wachs und Honig; Ade! Ich hab' ein ganzes Pfund; wie wird das Schatzchen lachen, ihm wassert schon der Mund."
"Ach, wolltest du ihr sagen, ich wiisste, was viel siisser ist: nichts Lieblichers auf Erden, als wenn man herzt und kiisst!"
Begegnung, No. 8
Was doch heut nacht ein Sturm gewesen, Bis erst der Morgen sich geregt! Wie hat der ungebetne Besen Kamin und Gassen ausgefegt!
Da kommt ein Madchen schon die Strafien, Das halb verschiichtert um sich sieht; Wie Rosen, die der Wind zerblasen, So unstet ihr Gesichtchen gluht.
Ein schoner Bursch tritt ihr entgegen, Er will ihr voll Entziicken nahn: Wie sehn sich freudig und verlegen Die ungewohnten Schelme an!
Er scheint zu fragen, ob das Liebchen Die Zopfe schon zurecht gemacht, Die heute nacht im offhen Stiibchen Ein Sturm in Unordnung gebracht.
"My beloved has a graden, Where a pretty beehive stands: Have you flown from over there Did she send you to me"
"O no, you handsome youth, No one has sent you a message through me, This child knows nothing of love, She has scarcely noticed you.
What could maidens know When they have hardly left school! Your beloved little treasure Is still a child.
I shall bring her wax and honey; Farewell, I have gathered a whole pound, How the little darling will laugh, Already her mouth waters."
"Ah, would you tell her, I know something much sweeter: Nothing is loveliest on earth Than the kisses and caresses of lovers!"
Encounter
What a storm there was last night, raged until this morning! How that uninvited brush has swept the streets and chimneys clean!
Along the street a girl comes, glancing about her, half-afraid, like roses tossed before the wind, ever changing is her face's glow.
A handsome lad steps to meet her, would delightedly approach her: oh, the joy and embarrassment in those novice rascals' looks!
He seems to ask if his beloved
has put straight her plaits
which, last night, in her open bedroom,
were tousled by a storm.
Der Bursche traumt noch von den
Kiissen,
Die ihm das siifie Kind getauscht, Er steht, von Anmut hingerissen, Derweil sie um die Ecke rauscht.
In der Friihe, No. 24
Kein Schlaf noch kiihlt das Auge mir, Dort gehet schon der Tag herfiir An meinem Kammerfenster. Es wiihlet mein verstorter Sinn Noch zwischen Zweifeln her und hin Und schaffet Nachtgespenster. Angste, quale
Dich nicht langer, meine Seele! Freu dich! Schon sind da und dorten Morgenglocken wach geworden.
The lad's still dreaming of the kisses
which that sweet child exchanged, and stands, captive to her charm, while she whisks around the corner.
At Daybreak
No sleep yet cools my eyes, already day begins to rise at the window of my room. My troubled mind still casts about among my doubts, creating nightmares. Alarm, torment yourself no more, my soul! Be glad! Here and there morning bells have woken.
IV
Gabriel Faure
Clair de lune, Op. 46, No. 2
(Verlaine)
Votre ame est un paysage choisi Que vont charmant masques et
bergamasques
Jouant du luth et dansant et quasi Tristes sous leurs d?guisements fantasques.
Tout en chantant sur le mode mineur L'amour vainqueur et la vie opportune, Us n'ont pas l'air de croire a leur bonheur
Et leur chanson se mele au clair de lune,
Au calme clair de lune triste et beau, Qui fait rever les oiseaux dans les arbres Et sangloter d'extase les jets d'eau, Les grands jets d'eau sveltes parmi les marbres.
Moonlight
Your soul is a choice landscape through which charming masqueraders
and bergamaskers
pass to and fro, playing the lute and dancing almost sadly in their fantastic disguises.
They sing the while in the minor mode of conquering love and the easy life, they do not seem to believe in their
happiness and their song mingles with the moonlight,
With the calm moonlight, sad and lovely, that makes the birds dream in the trees and the fountains sob with ecstasy, those tall, svelte fountains among the marbles.
Chanson d'amour, Op. 27, No. 1
{Silvestre)
J'aime tes yeux, j'aime ton front, 0 ma rebelle, 6 ma farouche, J'aime tes yeux, j'aime ta bouche Oil mes baisers s'e'puiseront.
J'aime ta voix, j'aime l'dtrange Grace de tout ce que tu dis, 0 ma rebelle, 6 mon cher ange, Mon enfer et mon paradis!
J'aime tout ce qui te fait belle, De tes pieds jusqu'a tes cheveux, 0 toi vers qui montent mes voeux, 0 ma farouche, 6 ma rebelle!
Mandoline, Op. 58, No. 1
(Verlaine)
Les donneurs de se?nades Et les belles 6couteuses Echangent des propos fades Sous les ramures chanteuses.
C'est Tircis et c'est Aminte, Et c'est l'eternel Clitandre, Et c'est Damis qui pour mainte Cruelle fait maint vers tendre.
Leurs courtes vestes de soie, Leurs longues robes a queues, Leur elegance, leur joie Et leurs molles ombres bleues
Tourbillonnent dans l'extase D'une lune rose et grise, Et la mandoline jase Parmi les frissons de brise.
Song of Love
I love your eyes, I love your face,
Oh my rebel, oh my wild one,
I love your eyes, I love your mouth,
Where my kisses will exhaust themselves.
I love your voice, I love the strange Grace in everything you say, Oh my rebel, oh my dear angel, My hell and my paradise!
I love everything that makes you beautiful, from your feet up to your hair, Oh you towards whom my desires climb! Oh my wild one, oh my rebel!
Mandoline
The serenaders and the lovely listeners exchange idle banter beneath the singing branches.
There is Tircis, and Aminte, and the eternal Clitandre, and there is Damis who made so many tender verses for so many cruel women.
Their short silken jackets and their long trailing gowns, their elegance, their joy, and their soft blue shadows
Twirl in the extasy
of a pink and gray moon,
and the mandoline chatters
on amidst the trembling breezes.
Apres un reve, Op. 7, No. 1
(Bussine)
Dans un sommeil que charmait ton image Je r?vais le bonheur, ardent mirage, Tes yeux 6taient plus doux, ta voix pure
et sonore, Tu rayonnais comme un ciel e'daire' par
l'aurore;
Tu m'appelais et je quittais la terre Pour m'enfuir avec toi vers la lumiere, Les cieux pour nous entr'ouvraient leurs
nues,
Splendeurs inconnues, lueurs divines entrevues.
He'las! He'las, triste reVeil des songes, Je t'appelle, 6 nuit, rends-moi tes
mensonges;
Reviens, reviens, radieuse, Reviens, 6 nuit myste'rieuse!
Fleur jette, Op. 39, No. 2
(Silvestre)
Emporte ma folie au gr? du vent,
Fleur en chantant cueillie,
Et jete'e en re"vant!
Emporte ma folie, au gr? du vent.
Comme la fleur fauche'e prit l'amour. La main qui t'a touche'e fuit ma main sans retour.
Que le vent qui te seche, 6 pauvre fleur,
Tout a 1'heure si fraiche Et demain sans couleur, que le vent qui te seche, 6 pauvre fleur,
que le vent qui te seche, seche mon coeur!
V
Vier Lieder, Op. 27
Richard Strauss
Ruhe meine Seek
(Henckell)
Nicht ein Liiftchen regt sich leise, Sanft entschlummert ruht der Hain; Durch der Blatter dunkle Hiille Stiehlt sich lichter Sonnenschein.
Ruhe, ruhe, meine Seek,
Deine Stiirme gingen wild,
Hast getobt und hast gezittert,
Wie die Brandung, wenn sie schwillt.
Diese Zeiten sind gewaltig, Bringen Herz und Him in Not Ruhe, ruhe, meine Seele, Und vergifi, was dich bedroht!
Heimliche Aufforderung
(Mackay)
Auf, hebe die funkelnde Schale empor
zum Mund, Und trinke beim Freudenmahle dein
Herz gesund. Und wenn du sie hebst, so winke mir
heimlich zu, Dann lachle ich und dann trinke ich
still wie du...
Und still gleich mir betrachte um uns
das Heer Der trunknen Schwatzer verachte sie
nicht zu sehr. Nein, hebe die blinkende Schale, gefiillt
mit Wein, Und laB beim larmenden Mahle sie
gliicklich sein.
Peace, My Soul
Not a breath stirs, the wood rests in gentle sleep; through the leaves' dark veil bright sunshine steals.
Peace, peace, my soul, wild have been your storms, you have raged and quivered like the swelling breakers.
These times are violent, causing heart and mind distress ? peace, peace, my soul, and forget what threatens you!
Secret Invitation
Raise to your lips the sparkling
cup, drink, at this feast, your heart to
health. And raising it, sign to me in
secret, I'll then smile, and quiet as you, will
drink.
And quiet as I, about us regard the
host of drunken talkers scorn them not too
much. No, raise the twinkling wine-filled
cup, let them be happy at their noisy
feast.
Doch hast du das Mahl genossen, den
Durst gestillt, Dann verlasse der lauten Genossen
festfreudiges Bild, Und wandle hinaus in den Garten zum
Rosenstrauch, Dort will ich dich dann erwarten nach
altem Brauch,
Und will an die Brust dir sinken, eh
du's gehofft, Und deine Kiisse trinken, wie ehmals
oft, Und flechten in deine Haare der Rosen
Pracht. O komm, du wunderbare, ersehnte
Nacht!
Morgen
(Mackay)
Und morgen wird die Sonne wieder
scheinen
Und auf dem Wege, den ich gehen werde, Wird uns, die Gliicklichen, sie wieder
einen Inmitten dieser sonnenatmenden Erde...
Und zu dem Strand, dem weiten,
wogenblauen,
Werden wir still und langsam niedersteigen, Stumm werden wir uns in die Augen
schauen, Und auf uns sinkt des Gliickes stummes
Schweigen...
But having eaten, satisfied your
thirst, quit the loud company's gay festive
scene, and to the garden wander, to the
rosebush -there I'll wait, as long our custom's
been,
and, ere you know, I'll sink upon your
breast, drinking your kisses, as many times
before, and in your hair I'll twine the roses'
splendour. Wonderful and longed-for night, O
come!
Tomorrow
And tomorrow the sun will shine again,
and on the path that I shall take, it will unite us, happy ones, again
upon this sun-breathing earth...
and to the shore, broad,
blue-waved,
we shall, quiet and slow, descend,
silent, into each other's eyes we'll
gaze, and on us will fall joy's speechless
silence...
Caecilie
(Hart)
Wenn du es wiifitest,
Was traumen heiSt von brennenden
Kiissen,
Von Wandern und Ruhen mit der Geliebten, Aug in Auge,
Und kosend und plaudernd, Wenn du es wiifitest, Du neigtest dein Herz!
Wenn du es wiifitest,
Was bangen heifit in einsamen Nachten,
Umschauert vom Sturm, da niemand
trostet
Milden Mundes die kampfmude Seele, Wenn du es wiifitest, Du kamest zu mir.
Wenn du es wiifitest,
Was leben heifit, umhaucht von der
Gottheit
Weltschaffendem Atem, Zu schweben empor, lichtgetragen, Zu seligen Hohn, Wenn du es wiifitest, Du lebtest mit mir!
Cecily
[f you knew
Afhat it is to dream of burning
kisses,
jf wandering, resting with one's love, gazing at each other, ind caressing and talking, if you knew, you would incline your heart!
[f you knew
what fear is on lonely nights,
in the awesome storm, when no one
comforts
with soft voice the struggle-weary soul, if you knew, you would come to me.
If you knew
what it is to live enveloped in God's
world-creating breath,
to float upwards, borne on light,
to blissful heights,
if you knew,
you would live with me!
UMS
presents
Michigan Chamber Players
Faculty and Student Artists of the University of Michigan School of Music
Two Canzonettas for Two Sopranos, Op. 4, Nos. 51
. C. Bach
Che ciascun
(Pietro Metastasio)
Tirsi's second aria in the cantata, La Danza
Che ciascun per te sospiri, Bella Nice, io son contento; Ma per altri, oh Dio! pavento Che tu impari a sospirar.
Un bel core da chi l'adora So che ognor non si difende; So che spesso s'innamora Che pretende innamorar.
Bella Nice, io pavento Che tu impari a sospirar.
(.in la notte (Metastasio) First aria in the cantata, La Pesca
Gia la notte s'avvicina: Vieni, oh Nice, amato bene, Delia placida marina Le fresch'aure a sospirar.
Non sa dir che sia diletto Che non posa in queste arene, Or che un lento zeffiretto Dolcemente increspa il mar.
That everyone sighs for you, beautiful Nice, makes me happy; but, oh God, I fear that you too will learn to sigh for others.
I know that a sensitive heart
cannot defend itself;
I know that often one who
pretends to be in love is really in love.
Beautiful Nice, I fear
that you too will learn to sigh.
Already night draws near: come, oh Nice, well-beloved, to breathe the fresh breezes of the placid sea.
I can't say how delightful it is to lie down on these sands, now that a light zephyr gently ripples the sea.
Translations by Ellwood Derr.
Three Nocturnes
Wolfgang Ainadeus Mozart
Due pupillc amabili, K. 439
{Author unknown)
Due pupille amabili M'lian piegato il core, E se pieta non chiedo A quelle luci belle, Per quelle, si, Io moriro d'amore.
Ecco, quel fiero istante, K. 436
(Metastasio)
First stanza of the canzonetta, "La Partenza"
Ecco, quel fiero istante: Nice, mia Nice, addio! Come vivr6, ben mio, Cosi lontan da te
Io vivro sempre in pene, Io non avro piu bene; E tu chi sa se mai Ti sowerai di me!
Mi lagnero tacendo, K. 437
(Metastasio)
Laodice's aria in Siroe, Act II, scene i
Mi lagnero tacendo Delia mia sorte avara; Ma ch'io non t'ami, o cara, Non Io sperar da me.
Crudele! in che t'offendo Se resta a questo petto II rnisero diletto Di sospirar per te
Two lovely eyes have gained my heart, and if I do not ask for mercy from those beautiful eyes, for them, yes, for them, I shall die of love.
Behold the dread moment: Nice, my Nice, farewell! How shall I live, my love, so far from you
Always in pain, there's nothing left for me. And you -who knows if ever you will remember me!
I complain in silence
at my harsh fate,
but do not hope for me, dear one,
that I do not love you.
Cruel one! How do I offend you if this breast retains the sad delight of sighing for you
Translations by Graham Dixon.
Two Comic Trios
Joseph Haydn
An die Frauen
(Anonymous) Anacreon. Second Ode.
Natur gab Stieren Homer, sie gab den Rossen Hufe, den Hasen schnclle FiiKe, den Lowen wcite Rachen, den Fischen gab sie Flossen, und Fittige den Vogeln; den Mannern aber Weisheit.
Den Mannern! Nicht den Weibern Was gab sie diesen Schonheit, Schonheit, statt aller unsrer SpieBe, statt aller unsrer Schilde; denn wider Weibesschonheit besteht nicht Stahl, nicht Feuer.
(the whole then repeated variously)
Daphnens einziger Fehler
(Johann Nikolaus Gbtz)
Sie hat das Auge, die Hand, den Mund der schonen Psyche; sie hat den Wuchs, die Gottermiene, das holde Lachen der jungen Hebe; sie hat Geschmack und Weltmaniercn, und weiK zu reden, und weiB zu schweigen.
Oh wuKte Daphne nur noch zu liebcn!
(the whole then repeated variously)
To Women
Nature gave steers horns,
she gave horses hooves,
to rabbits fleet feet,
to lions capacious mouths,
to fishes she gave fins,
and wings to birds;
to men, however, wisdom.
To men
Not to women
What did she give them
Beauty, beauty,
instead of all our spears,
instead or all our shields;
for against women's beauty
neither steel nor fire can endure.
Daphne's Only Flaw
She has the eye,
the hand, the mouth
of lovely Psyche;
she has the figure,
the godly bearing,
the charming laugh
of the young Hebe;
she has taste
and worldly manners,
and knows how to converse,
and when to be silent.
Oh, if Daphne only knew as well how to love!
Translations by Ellwood Derr.