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UMS Concert Program, Saturday Feb. 12 To 20: University Musical Society: 1999-2000 Winter - Saturday Feb. 12 To 20 --

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

University Musical Society of the University of Michigan, Ann Arbor
University Musical Society
2000 WINTER SEASON of the University of Michigan, Ann Arbor
On the Cover
Clockwise from upper left
Dancers from Bebe Miller Company
Arvo Part
Anne-Sophie Mutter
The Great Wall of China
Audra McDonald
Back Cover
Performer from Forgiveness
J.S. Bach
Vladimir Ashkenazy
Oscar Peterson
Take 6
3 Letter from the President
4 Letter from the Chair
5 Corporate LeadersFoundations 13 UMS Board of Directors
13 UMS Senate
15 UMS Staff
15 Advisory Committees
l nptvi r
7 General Information 19 Tickets 19 Group Tickets 19 Gift Certificates 21 UMS Card 21
f2B I I UMS History
25 UMS Choral Union
26 t Auditoria & Burton Memorial Tower
Z9 I UMS Winter 2000 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
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
Kenneth C. Fischer, President
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 of 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.
Beverley Geltner
Chair, UMS Board of Directors
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."
Carl A. Brauer, Jr. Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
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, Comerka Incorporated "Bravo to the University Musical Society! Their contributions are vital to the arts community. Comerka 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"l 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."
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. SenPrincipal, 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.
David. E. Engelbert Hiram A. Dorfrnan
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 Februarys 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 Lila Wallace--Reader's Digest
Fund Michigan Council for Arts
and Cultural Affairs National Endowment for
the Arts
of the University of Michigan
Beverley B. Geltner,
Chair Lester P. Monts,
Vice-Chair Len Niehoff,
Secretary David Featherman,
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
(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
Administration Finance
Kenneth C. Fischer,
President Elizabeth E. Jahn,
Assistant to
the President John B. Kennard, Jr.,
Director of
Administration John Peckham,
Information Systems
Box Office
Michael L. Gowing,
Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Group
Choral Union
Thomas Sheets,
Conductor Edith Leavis Bookstein,
Co-Manager Kathleen Operhall,
Co-Manager Donald Bryant,
Conductor Emeritus
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,
MarketingPublic Relations
Sara Billmann, Director Aubrey Alter, Marketing
and Advertising
Coordinator Maria Mikheyenko,
Marketing Assistant
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
Michael J. Kondziolka,
Director Mark Jacobson,
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
Helene Blatter Lindsay Calhoun Steven Dimos Bree Doody Aviva Gibbs Steven Jarvi Brooke McDaniel
President Emeritus
Gail W. Rector
Dody Viola, Chair Robert Morris,
Vice-Chair Sara Frank,
Martha Ause Barbara Bach Lois Baru Kathleen Benton Barbara Busch Phil Cole Patrick Conlin Erie Cook Cox Mary Ann Daane Norma Kircher Davis Lori Director Betty Edman Michael Endrcs
Nancy Ferrario Penny Fischer Anne Glendon Maryanna Graves Linda Greene Karen Gundersen Jadon Hartsuff Nina E. Hauser Debbie Herbert Mercy Kaslc Steve Kasle Anne Kloack Maxine Larrouy Beth LaVoie Stephanie Lord Esther Martin Ingrid Merikoski Ernest Merlanti Jeanne Merlanti Candice Mitchell
Nancy Nichoff 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
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 Dorcen 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 Schulte
Helen Siedel
loan Singer
Sue Sinta
Sandy Trosien
Sally Vandeven
Barbara Hertz Wallgren
leanne Wcinch
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 is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before
the performance begins. Parking is compli?mentary for UMS members at the Principal level and above. Reserved parking is available for UMS members at the Leader level and above.
UMS offers valet parking service for all performances in the Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before each performance. There is a fee for this service. UMS members at the Leader level and above are invited to use this service at no charge.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
UMSMember Information Kiosk
A wealth of information about UMS events is available at the information kiosk in the lobby of each venue.
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.
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.
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 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 $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Arts
Back Alley Gourmet Blue Nile Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques John Leidy Shop
John's Pack & Ship Kerrytown Bistro King's Keyboard
House Le Dog
Michigan Car Services Paesano's Restaurant Regrets Only Ritz Camera One
Hour Photo SKR Blues &Jazz SKR Classical SKR Pop & Rock Shaman Drum
Bookshop Zingerman's
The UMS card also entitles you to 10 off your ticket purchases at other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS Box Office for more information at 734.764.2538.
UMS enters a new interactive com?munication era with the launch of the new and improved!
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Tickets Forget about waiting in long ticket lines--order tickets to UMS performances online with our secure order form.
Cyber$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.
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
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.
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 Durufll'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
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.
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
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 Saturday, February 12 through Sunday, February 20, 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 offduring 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.
Anne-Sophie Mutter 3
Saturday, February 12, 2000 8:00pm Hill Auditorium
Estonian Philharmonic Chamber Choir 9
Sunday, February 13, 8:00pm
St. Francis of Assisi Catholic Church
Murray Perahia 17
Wednesday, February 16, 8:00pm Hill Auditorium
New York City Opera National Company 25
Rossini's The Barber of Seville
Thursday, February 17, 8:00pm
Friday, February 18, 8:00pm
Saturday, February 19, 2:00pm (Family Performance)
Saturday, February 19, 8:00pm
Power Center
Christian Tetzlaff 37
Sunday, February 20, 8:00pm
St. Francis of Assisi Catholic Church
Anne-Sophie Mutter
Lambert Orkis Piano
Anton Webern
Ottorino Respighi
Arvo Part Bela Bartdk
Maurice Ravel
Saturday fcvening, feDruary 1Z, zuuu at o:uu Hill Auditorium, Ann Arbor, Michigan
Four Pieces for Violin and Piano, Op. 7
Sehr langsam
Sehr langsam
Sonata for Violin and Piano
Andante espressivo
Passacaglia: Allegro moderato, ma energico
Sonata for Violin and Piano, No. 2
Molto moderato Allegretto
Tzigane, rapsodie de concert
Fifty-third 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.
This performance is sponsored by KeyBank.
Special thanks to Bill Hann of KeyBank for his generous support of the University Musical Society.
Additional support provided by media sponsor, WGTE.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
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.
Ms. Mutter records for Deutsche GrammophonUniversal Classics Group and is available on EMI Classics and EratoWarner Classics.
Ms. Mutter donates a portion of each of her US 2000 recital fees to Classical Action: Performing Arts against AIDS.
Ms. Mutter appears by arrangement with Columbia Artists Management, Inc.
Large print programs are available upon request.
Four Pieces for Violin and Piano, Op. 7
Anton Webern
Born December 3, 1883 in Vienna
Died September 15, 1945 in Mittersill, Austria
Instrumental technique for its own sake was always the farthest thing from Webern's mind. His art is characterized by extreme introspection, emotions calibrated with unmatched precision, and a search for a new relationship among tones based on what Webern saw as the ineluctable consequence of music's evolution. Virtuosity would seem much too mundane a concern for an avant-gardist who abhorred all ostentation. And yet, a work like Four Pieces for Violin and Piano calls for two players whose mastery of their instruments is of the absolute highest caliber. Of course, the difficulties are not of the virtuosic kind one might encounter in Paganini or Rachmaninoff. Yet almost every note in the violin part carries a special instruction: "on the fingerboard," "sulponti-cello" (near the bridge), "col legno" (with the wood of the bow), etc. Plucked notes and harmonics not only abound but are heard in fast alternation in a way demanding a perfect control of the instrument. The subtle dynamic shadings and rhythmic intricacies in the piano part likewise require a consum?mate technique and uncommon sensitivity.
When this music was written in 1910, its sound was bewilderingly new. It is as closed to being "atonal" as music written with the twelve tones of the Western tonal system was ever going to get. (Temporary tonal centers do emerge and disappear con?stantly as a certain note is emphasized at any given moment.)
The extreme brevity of the pieces ush?ered in a period of musical aphorisms in Webern's music that reached its peak in Three Pieces for Cello and Piano, Op. 11. In this period, as Schoenberg said of Webern's Six Bagatelles for String Quartet, Op. 9, "a single
gesture could become a whole novel, a single breath could express happiness in its totality."
The four violin pieces are arranged in a slow-fast-slow-fast pattern, although the sec?ond piece contains numerous tempo changes, bringing the volatile spirit of the music into sharper relief. The pieces are rich in dynamic and textural contrasts and there is even a powerful dramatic climax in No. 2; but the work begins with extremely soft, muted violin harmonics and ends with one of Webern's favorite performance instructions: wie ein Hauch as an almost inaudible breath.
Sonata for Violin and Piano
Ottorino Respighi
Born July 9, 1879 in Bologna, Italy
Died April 18, 1936 in Rome
While Webern in Vienna was busy chiseling his miniature diamonds which revealed a whole new world in sound, in Rome Ottorino Respighi, his senior by only four years, saw unlimited new possibilities within the idiom inherited from the nineteenth century. Respighi's combination of gifts and experiences was indeed unique. Originally trained as a violinist, he traveled to Russia as. a young man to study with Nikolai Rimsky-Korsakov. He became a master of the mod?ern orchestra and the first Italian composer in a long time to achieve renown outside the opera house (although he did write operas, of which La Fiamma was particularly suc?cessful). He responded to the innovations of his contemporaries Debussy and Stravinsky, combining these foreign influences with a genuine Italian sensitivity in his celebrated tone poems The Fountains of Rome, The Pines of Rome, and Roman Festivals. In addi?tion, he was an early pioneer in the revival of early music {Ancient Airs and Dances). Respighi's chamber music output is relatively small (the only important work besides the Violin Sonata is the Quartetto
dorico of 1924) and therefore one would be tempted to call a work like the Violin Sonata "atypical." Yet the composer's above-men?tioned strengths are all readily discernible here: lush instrumental writing, great Italianate singing melodies, harmonies tinged with French impressionistic influ?ences, and, last but not least, a monumental passacaglia finale. The latter was certainly no less valid a manifestation of the emerging neo-Baroque tendencies following World War I than was, say, Stravinsky's Pulcinella, which it predates by three years.
The first-movement "Moderato" begins with an expressive and freely modulating violin melody that is extensively developed and becomes agitato and con passione before too long. As the music becomes more and more emotionally intense, Respighi begins to experiment with polyrhythmic groupings that were highly unusual at the time: three notes against five, six against seven, etc. These are perceived by the listener as a kind of tempo rubato (free rhythm) in which the relationship between melody and accompa?niment is always fluid, or as a source of con?flict and turmoil that has to be and is -resolved by the end of the movement.
These polyrhythmic procedures contin?ue in the second movement, where the lyri?cal melody is set off by highly irregular figu?rations underneath. As before, the music moves from espressivo to appassionato and back. The "passionate" section culminates in an outburst for violin marked come una cadenza, leading to the restatement of the expressive first melody.
As mentioned before, the last movement is a passacaglia. Its theme evokes the Baroque and departs from it at the same time. The theme is ten measures long instead of eight and emphasizes the flattened second degree (the so-called Neapolitan) in a way not seen in the Baroque. But the dotted rhythm of the passacaglia theme definitely carries Baroque associations. At first, the repeats of the bass
line are as literal as they would be in a tradi?tional piece, and so are the figurations appear?ing in the early variations. The later variations are much freer as key and tempo undergo greater and greater changes (now Allegro molto, now Lento). The thundering octaves in the bass, which give the piece a majestic character, are replaced by lighter textures, but they return just before the end, to give the conclusion a truly grandioso character.
Arvo Part
Born September 11, 1935 in Paide, Estonia
By the time of Arvo Part's first major success?es in the West, the Estonian composer was already in his third style period: after early neo-classical works, he had begun an intense exploration of serial techniques, which in the sixties and seventies was strongly frowned upon in the Soviet Union that had annexed Part's homeland in 1940. The Arvo Part the world has come to know first emerged in the mid-seventies, when the composer, then in his forties, developed what he himself dubbed his "tintinnabuli" style (tintinnabuli being Latin for "bells"). Part commented on this style in a statement quoted in Paul Hillier's recent book on the composer:
I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me. I work with very few elements with one voice, with two voices. I build with the most primitive materials with the triad, with one spe?cific tonality. The three notes of the triad are like bells. And that is why I called it "tintinnabulation."
Part's "tintinnabuli" style creatively combines the medieval principle of note-against-note organum and triadic harmony; the result is music of extreme structural
simplicity and transparency that at the same time exhibits great spiritual depth.
Fratres, one of the earliest compositions written in this style, is based on recurrent harmonic progressions and rhythmic cycles that are reminiscent of the technique of fourteenth-century isorhythmic motets: a certain sequence of rhythmic units arranged in successive groups of 74, 94 and 114 measures, serves as the structural backbone of the piece. Each repeat is modified in some way, so that the work becomes some?thing like a set of variations (maybe a kind of chaconne or passacaglia over the basic harmonic progression, albeit very different from the Respighi passacaglia that preceded this piece on tonight's program).
Fratres has become one of Part's signa?ture pieces; the composer has made several arrangements, including cello, string quartet and string orchestra. The version for violin and piano is, however, the form in which the work is most frequently heard.
Sonata for Violin and Piano, No. 2
Bela Bartok
Born March 25, 1881 in Nagyszentmiklos,
Hungary (now Sinnicolau Mare, Romania) Died September 26, 1945 in New York
Bartok's two sonatas for violin and piano were written in 1921-22 for the Hungarian-born violinist Jelly d'Aranyi, whom Bartok had first met some twenty years earlier and with whom he fell in love during the early 1920s. The sonatas have often been described as Bartok's most "atonal" works, where the composer ventured the farthest in the expan?sion of his chromatic harmonic idiom. Bart6k himself held that complete atonality was nei?ther desirable nor indeed possible; the preser?vation of tonal centers was guaranteed by his constant references to various forms of folk music. It is only that in the violin sonatas, these references are less direct than usual.
The second sonata opens with a theme that, according to leading Bartok scholar Laszl6 Somfai, follows some of the structural attributes of the Romanian hora lunga (long song) that Bartok discussed in several of his ethnomusicological writings. He quoted no actual melodies but rather re-created certain characteristics of the melody that he had dis?tilled in the course of his extensive analyses of the folk repertoire. The hora lunga was particularly important to Bartok; its rhyth?mic freedom and quasi-improvisatory melodic style made him theorize of a univer?sal musical archetype with parallels all over the Mediterranean region and the Middle East. In the Sonata, this theme undergoes a series of structural transformations from the initial rubato (free-rhythm) version to the regular four-line strophic form assumed at the end. These transformations are embed?ded in a two-movement (slow-fast) structure reminiscent of the rhapsody form Bart6k had inherited from Liszt, yet distinguished here by the numerous internal tempo changes and thematic connections between the two movements.
The first movement can be likened to a rondo in which the hora lunga theme alter?nates with two other themes, one played by the violin and the other by the piano. It is significant that, unlike most classical violin sonatas, there is hardly any sharing of musi?cal material between the two instruments. An expanded recapitulation of the opening theme leads without pause into the sec?ond movement whose form is inspired by the classical sonata principle, with exposi?tion, a somewhat scherzo-like development section, reprise and coda. The violin and the piano themes from the first movement become more dance-like. The hora lunga theme returns halfway through the second movement as a fleeting reminiscence, before it takes over completely in the coda. The piece ends softly, with all the rhythmic and tonal tensions resolved by a final C-Major
chord spanning an exceptionally wide range, in which the violin's last note is played in the highest register of the instrument.
Tzigane, rapsodie de concert
Maurice Ravel
Born March 7, 1875 in Ciboure, Basses-Pyrenees, France Died December 28, 1937 in Paris
It was in 1922 that Ravel first met the Hungarian-born violinist Jelly d'Aranyi, who was Joseph Joachim's niece and the recent dedicatee of the two violin sonatas by Bela Bartok. At a private musicale where Aranyi performed Ravel's Sonata for Violin and Cello with Hans Kindler, the composer asked the violinist to play some gypsy melodies, which, as one eyewitness later recalled, continued until about 5 a.m., with everyone completely exhausted except Aranyi and Ravel. This is how Tzigane start?ed, although Ravel did not actually write the piece until two years later, just in time for the London premiere, played of course -by Aranyi.
The Gypsy flavor can be felt in every measure of this brilliant concert rhapsody, yet Ravel did much more than offer an arrangement of folk melodies (either real ones or imitations). The Gypsy melodies are garnished with spicy harmonies that emphasize all the wildness of an exotic musical culture yet are entirely Ravel's own.
It is not universally known that Tzigane exists in three versions: in addition to the two familiar ones (violin and piano and vio?lin and orchestra), there is a version for vio?lin and lutheal, which is, in the words of Ravel biographer Arbie Orenstein, "a short?lived attachment to the keyboard which produces the approximate timbre of a Hungarian cimbalom or a harpsichord."
Program notes by Peter Laki.
Anne-Sophie Mutter's remark?able career began when at the age of thirteen she appeared as soloist with Herbert von Karajan and the Berlin Philharmonic at the 1977 Salzburg Whitsun Festival. Since then she has been in demand as an orchestral soloist and chamber musi?cian in major musical centers throughout Europe, the Americas, and the Far East.
This season Ms. Mutter presents a sur?vey of the twentieth-century violin literature
giving six concerts with Kurt Masur and the New York Philharmonic and two recitals in Carnegie Hall. Tonight's recital is part of a twelve-city recital tour of the US with pianist Lambert Orkis. Ms. Mutter repeats the
project in London, Stuttgart, and Frankfurt with Maestro Masur and the London Symphony Orchestra.
Ms. Mutter devoted the whole of 1998 to playing the ten Beethoven Sonatas for Piano and Violin with pianist Lambert Orkis in fifty cities worldwide. The cycle has since been recorded and released on Deutsche Grammophon.
In 1999 Ms. Mutter performed with the orchestras of Philadelphia, Pittsburgh, Minnesota and Boston, then toured Europe with the Trondheim Soloists with whom she recorded The Four Seasons released on DG in Fall 1999. After recitals in the Far East, Ms. Mutter joined Maestro Masur and the World Youth Orchestra on a European tour. The two musicians also collaborated at the Lucerne Music Festival and opened the Orchestre de Paris season. In September she opened the London Symphony Orchestra season with Sir Colin Davis, and during November toured Europe with the Curtis Institute of
Music Orchestra and Andr? Previn, playing Penderecki Violin Concerto, No. 2.
Her long list of recording honors includes several Grammy Awards, the Grand Prix du Disque, and Holland's Edison Award.
An ardent champion of contemporary music, Ms. Mutter has premiered works written for her by Witold Lutoslawski, Krzysztof Penderecki, Wolfgang Rihm, Norbert Moret, and Sebastian Currier. Over the next few years she will premiere concer?tos by Pierre Boulez and Sofia Gubaidulina.
In 1987 Ms. Mutter established the Rudolf Eberle Endowment; in 1998 this foundation was incorporated into the Circle of Friends of the Anne-Sophie Mutter Foundation to support talented young string musicians worldwide.
Ms. Mutter has recently restructured the Carl Flesch Violin Competition to estab?lish new requisites for violinists and to place the competition once again in a leading position in the world. The competition will take place in Monte Carlo in October 2001.
Ms. Mutter holds the Order of Merit of the Federal Republic of Germany; she also holds the Order of Merit of Bavaria, and of Baden-Wuertemberg.
Tonight's recital marks Anne-Sophie Mutter's third appearance under UMS auspices.
Lambert Orkis' interests encom?pass traditional and contemporary music performed on modern and period instruments. As chamber musician, soloist, interpreter of contemporary music, recitalist with violinist Anne-Sophie Mutter since 1988, as well as with cellist Mstislav Rostropovich since 1983, he has received international recognition. For the 1999-2000 season, in addition to the recitals and festivals with Ms. Mutter, Mr. Orkis has given recitals playing piano and fortepiano in Stuttgart and at the Beethoven Birth House in Bonn, Germany.
A special perfor?mance in Hanoi, Vietnam, this spring will be televised nationally. In con?junction with Washington's Kennedy Center tri-centennial celebra?tion of the inven?tion of the piano, he
will participate as recitalist, as concerto soloist, and in multiple keyboard arrange?ments with other renowned pianists.
Mr. Orkis has premiered the work of many composers including pieces written for him by George Crumb, James Primosch, Maurice Wright and Richard Wernick, and has recorded several of these. He continues his advocacy of living composers and is cur-rendy engaged in "Keys To The Future (from Hammers to Bytes)" a project for the new millennium that includes new works for solo piano by Wernick and Primosch.
With Anne-Sophie Mutter, Mr. Orkis has recorded works of Mozart, Beethoven, Franck, and Bartok, and with Dutch cellist Anner Bylsma has recorded music of Brahms and Schumann.
As founding member and fortepianist of the Smithsonian Institution's Castle Trio, he has performed and recorded Schubert works and the cycle of Beethoven trios. Mr. Orkis has also appeared with The Smithsonian Chamber Orchestra in period instrument performances of Beethoven piano concerti.
Lambert Orkis is Professor of Piano at Temple University's Boyer College of Music, where he was honored with the University's Faculty Award for Creative Achievement.
Tonight's recital marks Lambert Orkis' third appearance under UMS auspices.
Columbia Artists Management, Inc.
R. Douglas Sheldon & Mary Jo Connealy
Estonian Philharmonic Chamber Choir
TONU KALJUSTE Artistic Director and Conductor
Arvo Part
Sunday Evening, February 13, 2000 at 8:00
St. Francis of Assisi Catholic Church, Ann Arbor, Michigan
Kanon Pokajanen (Canon of Repentance)
Dedicated to Tonu Kaljuste and the Estonian Philharmonic Chamber Choir
Ode I
Ode IV
Ode VI
Ode IX
Prayer after the Canon
of the 121st Season
Fifth Annual Divine Expressions 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 made possible with the support of the Michigan Council for Arts and Cultural Affairs.
The Estonian Philharmonic Chamber Choir and Tonu Kaljuste, Artistic Director and Conductor, appear by arrangement with New World Classics, Kerby Lovallo, Director.
The Estonian Philharmonic Chamber Choir and Tonu Kaljuste may be heard on ECM New Series and Virgin Classics.
Large print programs are available upon request.
Kanon Pokajanen
Many years ago, when I first became involved in the tradition of the Russian Orthodox Church, I came across a text that made a profound impression on me although I can?not have understood it at the time. It was the Canon of Repentance.
Since then I have often returned to these verses, slowly and arduously seeking to unfold their meaning. Two choral composi?tions (Nun eile ich..., 1990 and Memento, 1994) were the first attempts to approach the Canon. I then decided to set it to music in its entirety from beginning to end. This allowed me to stay with it, to devote myself to it; and, at the very least, its hold on me did not abate until I had finished the score. I had a similar experience while working on Passio.
It took over two years to compose the Kanon Pokajanen, and the time "we spent together" was extremely enriching. That may explain why this music means so much to me.
In this composition, as in many of my vocal works, I tried to use language as a point of departure. I wanted the word to be able to find its own sound, to draw its own melodic line. Somewhat to my surprise, the resulting music is entirely immersed in the particular character of Church Slavonic, a language used exclusively in ecclesiastical texts.
The Kanon has shown me how much the choice of language predetermines the character of a work, so much so, in fact, that the entire structure of the musical composition is subject to the text and its laws: one lets the language "create the music." The same musical structure, the same treatment of the word, leads to different results depending on the choice of language, as seen on comparing Litany
(English) with Kanon Pokajanen (Church Slavonic). I used identical, strictly defined rules of composition and yet the outcome is very different in each case.
-Arvo Part
Translation: Catherine Schelbert
Notes are courtesy ofECM New Series and
are copyrighted.
Kanon Pokajanen (Canon of Repentance)
Arvo Part
Born September 11, 1935 in Paide, Estonia
One of the most critical boundaries between Eastern and Central Europe is marked neither by geog?raphy nor politics, but by religion. Many of the cultural differences that distinguish Poland, the Czech and Slovak Republics, Hungary, and other cen?tral European nations from Russia and its more easterly neighbors derive largely from the differences between Eastern Orthodoxy and Catholicism, and the respective linguis?tic, philosophical, and musical ideals embraced by those two venerable religions. And yet, for all the tensions that have marked the twentieth-century history of Eastern Europe, one positive legacy is the willingness of several major composers to bring these traditions into closer proximity, allowing each to inform and be touched by the other with rare graciousness and sensi?tivity. Stravinsky's sacred works, for instance, especially the shorter choral pieces such as the Credo, Pater Noster, and Ave Maria, blend elements of Orthodox and Catholic musical styles (he also published them in both Latin and Church Slavonic versions). The polyphonic richness and unique linguistic character of
Szymanowski's Stabat Mater, which sets the familiar text not in the traditional Latin but in an archaic Polish translation, embodies an essential proximity between Slavonic Orthodoxy and Slavic Catholicism. In more recent years, John Tavener has melded the characteristic sounds and textures of Orthodox liturgical music with his own western sensibilities to produce works like The Protecting Veil and Akathist of Thanksgiving; works that have reached a remarkably wide audience in the West. But it is the Estonian composer Arvo Part who has most profoundly effected this rap?prochement of sacred musical traditions.
Part, a devout adherent of Russian Orthodoxy, has for several decades immersed himself deeply in the musical and ideologi?cal essences of both Gregorian chant and the Orthodox liturgy. The result is a distinc?tive musical style that is at once primal and contemporary, individual and universal. It reaches to the hearts of both believer and nonbeliever as it retrieves from our collec?tive subconscious an awareness of the deep, ecumenical spirituality that is common to all life and humanity. It is music that speaks of profound reconciliation, though it was molded through adversity and trial.
Between 1968 and 1976, Arvo Part suf?fered a crisis of creativity during which he published almost no new works (the transi?tional Symphony No. 3 being a notable exception). The catalyst for this crisis was Part's 1968 setting of the "Credo," the tradi?tional text of religious faith that was, in the officially atheistic Soviet Union, almost trea?sonous in itself. That Part chose to use avant-garde serial procedures in this work only bothered the authorities further, and after the premiere the work was banned in the Soviet Union. Frustrated and uncertain of the direction he should pursue, Part pub?lished little in the ensuing years as he embarked on a thorough and self-directed program of retraining, in an attempt to
uncover the real essence of musical expres?sion. His "text" and model during this peri?od was the vast repertoire of Gregorian chant, a repertoire that had fascinated him for years. In his search for the secrets of
Part, a devout adherent of Russian Orthodoxy, has for several decades immersed himself deeply in the musical and ideological essences of both Gregorian chant and the Orthodox liturgy. The result is a distinctive musical style that is at once primal and contemporary, individual and universal.
chant's mystical power, Part filled notebook after notebook with exercises in single-line melody. Eventually he learned to rid his own music of excess, to reduce it, like chant, to its most elemental core. He would later refer often to the special beauty he learned to rec?ognize in simplicity: a single note or group of notes. He also learned to place great emphasis on silence, the spaces between the notes: "I want my music to be worthy of the silence that precedes it."
It was after he began composing again in 1976 that Part recognized a bell-like qual?ity in his music. This may have been sub?conscious, as he didn't intend to mimic bells, but it appears that the symbolic
importance of bells in Orthodox culture and music had infiltrated his musical sensi?bility as deeply as had Gregorian chant, and he called his new musical style "tintinnabu-li" (from the Latin word for "bells"). In all his "tintinnabuli" works with text, Part determined to let the word find its own music, "to draw its own melodic line." He chose exclusively Latin texts in his early "tintinnabuli" compositions, reflecting his fascination with plainchant. But while he continues to draw from the Catholic tradi-
The poetry of Canon is integrally concerned with borders: between night and day, dark?ness and light, Old Testament and New Testament, prophecy and fulfillment, death and resurrection, sinfulness and redemption.
tion, Part has more recently (especially since his emigration to Berlin in 1980) turned to musical settings in other languages as well, including German, English, and the lan?guage of his own faith, Church Slavonic.
Church Slavonic is an exclusively eccle?siastical language, more restricted in its usage than Latin is in the West. And though its origins are in the Slavic group of lan?guages, it is as abstract to Slavs today as Latin is to modern-day Italians. (For Part, whose native Estonian belongs to the Baltic rather than Slavic language group, Church Slavonic is even more abstract). But like Latin, its continued use in the liturgy of the Orthodox church has tremendous symbolic power; its ritual quality is as important as the meaning of the text. One only has to hear the language, without even under?standing it, to be impressed by its spiritual resonance.
The Kanon Pokajanen or Canon of Repentance1 dates from perhaps as early as the seventh century, and is traditionally attributed to St. Andrew of Crete (ca. 660-740 A.D.). Part had been fascinated by this text since he first came across it in his youth, and made several attempts to unfold the meaning of the Canon's verses through music. He set portions of the Canon of Repentance for choir in his Nun eile ich zu euch from 1990 and Memento mori from 1995 (both of which are in Church Slavonic,
despite their respective German and Latin titles). Part had earlier composed the Two Slavonic Psalms (1984) and a setting of Bogoroditse Dyevo (1992) from the Russian Orthodox Vespers service, but his decision to take on the entire Canon of Repentance -a commission for the 750th-anniversary celebrations for Cologne Cathedral in 1998 -
was his first attempt to set a major-length work in Church Slavonic.
In monasteries, the Canon of Repentance is traditionally sung at daybreak, a symbolic underscore to the text's emphasis on transformation and change. Its poetry is integrally concerned with borders: between night and day, darkness and light, Old Testament and New Testament, prophecy and fulfillment, death and resurrection, sin-fulness and redemption. When performed liturgically, the message of the Canon that Christ, the light-giver, is the ultimate fulfill?ment of the liturgy is especially powerful. The work is sung by candlelight, with the doors closed. Then, at the end of the Canon, the doors are opened and the sanctuary is flooded with the new morning's light, signi?fying the presence of Christ.
1 In this context, "canon" refers to the text's sanctioned inclu?sion in the liturgy, not to the common musical technique of imitative polyphony, also known as a "round."
The poetic structure of each of the odes2 is a mirror-form of the path of repen?tance. Each ode begins with a paean to Christ's perfection, proceeds through a plea for mercy, and ends with a meditation on man's fallen state. The repetition of this litany over the course of the Canon outlines, in reverse, the process of repentance: the believer becomes aware of their sin, implores Christ for mercy, and is made par?taker of that mercy through Christ's perfect light.
Repentance, for the faithful, is an ongo?ing process of transformation to redemptive purification from a sinful state. In Part's musical setting, there is a corresponding tension between the verses that praise Christ's purity and the subsequent lamenta?tion on mankind's own weaknesses. The opening verses in praise of Christ are strong and jubilant, within the ascetically restrained bounds of Part's musical style. The basses maintain a pedal point through these passages in each ode, perhaps signify?ing a belief in Christ as the rock and firm foundation of the Christian faith. But this jubilation is juxtaposed each time with the soft and hesitant refrain that recalls human?ity's own failings: "Have mercy on me, O God, have mercy on me". Here the dynamics are reduced, and the upper voices hold a single note while harmonies shift under?neath, indicating the instability and frailty of the human condition.
Within each ode, the subsequent verses detail specific aspects of mankind's wicked?ness, with a common line of text at the end of each stanza emphasizing the entreaty: for example, "...that I may weep bitterly over my deeds" (Ode I), "...repent of mine evil deeds" (Ode III), "O my sinful soul, is that what thou has desired" (Ode V). As the text shifts from Christ's perfect light to man's
2 In the majority of canons in the Orthodox liturgy, the second ode is traditionally omitted, as it is in the Canon of Repentance, but it's mute presence is still recognized in the numbering of the odes, which go directly from 1 to III.
imperfection, Part uses male voices in low, dark registers to indicate the change of emotional focus. Interpolated between these verses are repetitions of the common refrain ("Have mercy on me"), and the doxology in praise of the Trinity.
The use of soloists at the opening of the "Prayer after the Canon" bestows a more intimate and peaceful attitude on the set?ting. Though also an invocation for Christ's mercy, it is less anxious than the previous odes, and more overtly influenced by the choral tradition of Russian Orthodoxy. There are strong echoes of Rachmaninov and Gretchaninov, for instance, in the har?monic progressions and rich vocal textures.
After more than eighty minutes of intense supplication, the innate peace and tranquility of the concluding "Amens" are like a soothing balm. From the ethereal and angelic soprano line to the impossibly low basses, the entire musical fabric conveys the impression that a profound spiritual meta?morphosis has taken place. Although as an audience we are merely observers of this process, we are, through the simple act of listening, also transformed.
Program note by Luke Howard.
Tonu Kaljuste, born in Tallinn in 1953, is the artistic director and chief conductor of the Estonian Philharmonic Chamber Choir (EPCC) and of the Tallinn Chamber Orchestra. Mr. Kaljuste has frequently worked as a guest conductor for choirs such as the Finnish Radio Chamber Choir and the Vancouver Chamber Choir. He is artistic director of the Swedish Radio Choir and the Netherlands Chamber Choir. Mr. Kaljuste has conducted operas by Mozart, Britten, Weber and the traditional symphonic repertoire, working with the National Opera Estonia.
Mr. Kaljuste has directed a number of international choral seminars and work?shops, serving as artistic director of the international choral festivals "Tallinn '88" and "Tallinn '91" and the international song festival "Bridges of Song" in 1991 and the "VocEst Fesf in 1995. Mr. Kaljuste has initi?ated several concert series in Estonia, Finland and Sweden dedicated to Bach and other Baroque composers, and has directed the traditional symphonic repertoire in con?cert as well as the majority of contemporary Estonian music and most of the composi?tions of Veljo Tormis and Arvo Part. The 9900 concert season sees him conduct the world premieres of Giya Kancheli's Styx, Songs of Creation by Veljo Tormis and Arvo Part's Cantique des Degres. The latter was conducted by Tonu Kaljuste at the mass dedicated to the Jubilee of the Sovereignty of the Prince of Monaco Rainier HI.
In 1992 he received the Annual Culture Award of Estonia and in 1996 he was award?ed the Great Bear Culture Prize for Estonian theatre, music and film art. For his services to the Republic of Estonia, Mr. Kaljuste was given the State Award in 1997. In 1998 he
was presented the Japanese ABC Music Award, and in 1999 Tonu Kaljuste was cho?sen a member of the Royal Music Academy of Sweden and awarded The Robert Edler Prize for Choral Music.
Mr. Kaljuste's recording of Arvo Part's Te Deum was nominated for a Grammy Award in the category of the Best Choral Performance in 1995. For the recording of Alfred Schnittke's Psalms of Repentance, Mr. Kaljuste received the 1999 Cannes Classical Award in the category of the Best Choral Music of the Tenth Century. In addition to Mr. Kaljuste's recordings with the EPCC, he may be heard leading the Swedish Radio Choir on the ECM New Series, Virgin Classics and Caprice Records labels.
Mr. Kaljuste graduated from the Tallinn Conservatory (and now teaches at the con?servatory) and did postgraduate studies at the Leningrad Conservatory.
Tonight's performance marks Tonu Kaljuste's fourth appearance under UMS auspices.
Founded as an amateur ensemble called the Ellerhein Choir in 1966 by Heino Kaljuste (father of Tonu Kaljuste), the Estonian Philharmonic Chamber Choir became a professional choir in 1981, and now gives over 100 concerts yearly. Its con?cert tours to the US, Finland, Sweden, Norway, Great Britain, Germany, Switzerland, Italy, Poland, the Czech Republic and Japan have been met with great acclaim. In November 1997 the Choir performed Arvo Part's Litany to spectacular reviews in Lincoln Center, Chicago, Washington DC, Los Angeles and San Francisco. In October 1999, the Estonian Choir toured Australia with the Australian Chamber Orchestra.
The Choir's recordings for ECM New Series receive high praise from reviewers
Estonian Philharmonic Chamber Choir
Tonu Kaljuste Artistic Director and Conductor
Kaia Urb (soloist) Vilve Hepner Raili Jaanson Katrin Karelson Kadri Karula Eha Parg Kristiina Under
Juta Roopalu-Malk Kiilli Erimae Helina Kuljus Kadri Mitt Ave Moor (soloist) Tiiu Otsing
Arvo Aun Kaido Janke Toivo Kivi Tiit Kogerman (soloist) Martin Lume Mati Turi Mikk Oleoja
Kalev Keeroja Ranno Eduard Linde Esper Linnamagi Aarne Talvik Tonu Tormis Rainer Vilu Allan Vurma
worldwide. These include several discs of the works of fellow Estonian Arvo Part: Kanon Pokajanen, Te Deum (nominated for a Grammy Award in the category Best Choral Performance, 1995) and Litany, all of which have been international best sellers. For ECM they have also recorded works of Estonians Veljo Tormis and Erkki-Sven Tiiiir. For Virgin Classics the Choir has recorded Tormis' Calendar Songs as well as an album of works by Part.
The Choir has worked with a number of guest conductors including Claudio Abbado, Eric Ericson, Ward Swingle, Anders Ohrwall (Sweden), Sir David Willcocks (England) and Helmuth Rilling (Germany). During the 9697 season, the principal guest conductor of the choir was Olari Elts.
The EPCC's concerts frequently juxta?pose major works from the Baroque era and music by the contemporary composer Arvo Part. The choir performs a series of concerts at home in Tallinn each season, which con?centrate on one or two composers, most recently Haydn, Britten and Schoenberg.
The Estonian Philharmonic Chamber Choir was one of fewer than twenty choirs worldwide to be invited to perform at the third World Symposium on Choral Music in Vancouver in 1993. The seasons included major tours to Spain and Austria, perform-
ing Haydn's Creation with the Vienna Academy period instrument orchestra. At the 1991 Takarazuka Chamber Choir com?petition in Japan, the choir won three gold medals for its outstanding performance in the Women's, Men's and Mixed Choir cate?gories, and in addition was awarded the Grand Prix.
In June 1996 the EPCC celebrated its thirtieth anniversary fifteen years as an amateur choir and fifteen years as a profes?sional choir with a concert tour to all fif?teen counties of Estonia.
Tonight's performance marks the Estonian Philharmonic Chamber Choir's fourth appearance under UMS auspices. The EPCC last appeared under UMS auspices as part of a residency that included a performance of Arvo Part's Litany in October of 1997.
J. S. Bach Series
CFI Group
Murray Perahia
J.S. Bach Ferruccio Buson
J.S. Bach
Wednesday Evening, February 16, 2000 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Four Chorale Preludes
Wachet auf, ruft uns die Stimme, BWV 645 Nun komm, der Heiden Heiland, BWV 659 Nun freut euch, lieben Christen, BWV 734 Ich ruP zu dir, Herr Jesu Christ, BWV 639
Goldberg Variations, BWV 988
Variation 1
Variation 2
Variation 3 Canone all'Unisono
Variation 4
Variation 5
Variation 6 Canone alia Seconda
Variation 7 Al tempo di Giga
Variation 8
Variation 9 Canone alia Terza
Variation 10 Fughetta
Variation 11
Variation 12 Canone alia Quarta
Variation 13
Variation 14
Variation 15 Canone alia Quinta: Andante
Four Chorale Preludes
Johann Sebastian Bach
Born March 21, 1685 in Eisenach
Died July 28, 1750 in Leipzig
Arranged by Ferruccio Busoni
Born April 1, 1866 in Empoli, near Florence,
Italy Died July 27, 1924 in Berlin
No composer's works have been arranged or transcribed more often than Johann Sebastian Bach's. The reason has to do in part with Bach's universal recognition as one of the greatest composers of all time, and partly with the perception that the essence of his music lies less in the instru?mentation than in the notes themselves. The first person to arrange Bach's music was Bach himself; it's enough to think of the harpsichord concertos, all of which had started life as concertos for other instru?ments; or the "Prelude" to the Partita in E-Major for solo violin which became the organ concerto that opens Cantata No. 29. Among later composers, Mozart scored fugues from The Well-Tempered Clavier for string trio, Schumann provided piano accompaniments for the violin partitas, and Brahms made a version of the Chaconne for piano left hand.
Ferruccio Busoni was probably the most prolific of all Bach arrangers. A prodigious pianist and a protege of Liszt, he was also a forward-looking musical thinker who penned Outline of a New Aesthetic of Music and inspired (as well as encouraged) such mod?ernists as Bela Bart6k and Edgard Varese. A native of Italy, he was one-quarter German and spent most of his life in Germany. He was introduced to Bach's music as a child, and his deep love for the Thomaskantor endured his entire life. He prepared new edi?tions of most of Bach's keyboard music, and these editions run the gamut from pedagogi?cal guides that are generally faithful to the original (without necessarily being scholarly
editions in the modern sense) to free tran?scriptions to original compositions based on pieces or fragments by Bach.
The present selections whose originals were written for organ belong to the mid?dle category. Busoni published, in 1898, a total of ten chorale preludes "transcribed for piano in chamber style." As he explained in the preface, "chamber style" was meant "in contradistinction to 'concert arrangements'". In other words, virtuosity was not the goal. Rather, Busoni was motivated by "the desire to interest a larger section of the public in these compositions which are so rich in art, feeling and fantasy...."
Mr. Perahia has chosen four of the chorale prelude arrangements. The famous Wachet auf, ruft uns die Stimme (Awake, the voice commands) is a piece of which Bach himself had made several versions: originally scored for tenor solo and strings in Cantata No. 140(1731), it reappears as an organ com?position as the first of the six so-called Schubler Chorales printed in 174849 (BWV 645). "With the simple expression of naive devotion," Busoni wrote at the head of his transcription, in which he managed to make audible on the modern piano (without the benefit of organ registers) the three distinct components of Bach's texture: the counter-melody on top, the bass line at the bottom, and the original chorale melody in between.
The chorale Nun kotnm, der Heiden Heiland (Now comes the Gentiles' Savior) is the most important Advent hymn in the Lutheran tradition. Bach wrote several works based on this melody, including two cantatas and several organ preludes. The one Busoni arranged (BWV 659) comes from the so-called "Eighteen Chorales," written in Weimar during the 1710s and revised in Leipzig thirty years later. This time it is a four-part texture, with the chorale melody presented in imitation by two middle voices, against an ornate top voice (also derived from the chorale) and a
so-called "walking bass."
The original of Nun freut euch, lieben Christen (Rejoice, beloved Christians) may be an early work, but no one knows for sure. Bach placed the chorale melody in the pedal, and wrote two faster-moving melodies for the two hands of the organist (the left hand moves in eighth-notes and the right hand in sixteenths). Busoni found a way to do without the pedal, assigning the chorale melody and the bass to the left hand (the right hand occasionally doubles the chorale melody at the octave).
The chorale Ich rufzu dir, Herr Jesu Christ (I call on thee, Lord Jesus Christ) comes from the Orgelbiichlein (Little Organ Book), that practical compilation of chorales for the entire church year that Bach worked on (without completing it) during his tenure at Weimar (1708-1717). This time the chorale is in the upper voice, with orna?ments transcribed by Busoni in a way revealing how he played them. This arrange?ment is freer than the others; Busoni thick?ened the chords in the accompaniment and, in the very last measure, chose not to carry through the sixteenth-note motion. A suc?cession of four notes turned into four notes played simultaneously as a chord. Bach would never have written that chord; yet it makes for a singularly poignant ending for this chorale, which closes the first volume of Busoni's publication.
Goldberg Variations, BWV 988
J.S. Bach
Its published name is wildly unassuming: "Keyboard Practice, Part IV. Composed for music lovers to refresh their spirits." One of only a handful of his thousand compositions to be published in his lifetime, in a form he never cared for, although perfected here.
Bach's first biographer tells the story, already third-hand, of how Count Kaiserling,
former Russian ambassador to Saxony, employed a young harpsichordist named Goldberg, one of Bach's star pupils. Goldberg's duties included making soft music in an adjoining room on those fre?quent nights when the Count had trouble sleeping. The Count commissioned Bach to compose for Goldberg something "of a soft and somewhat lively character," to assist against this periodic insomnia. A musical calmative, a treatment that now consists of two tablets and the low drone of talk radio.
(Richard Powers: The Gold Bug Variations. HarperPerennial, 1992, p. 577)1
The fact that the hero of Richard Powers' remarkable novel, a molecular biolo?gist and computer scientist, should find in Bach's Goldberg Variations the key to his groundbreaking research, may not be entire?ly surprising, more than a decade after Douglas Hofstadter's tour deforce, the book Godel, Escher, Bach. But the scientist in the novel also meets the love of his life while lis?tening to the Goldberg. In the novel, the Goldberg Variations a masterpiece of excep?tional complexity and diversity is capable of bringing about the total fusion of intellect and emotions; but the novel only illustrates what is manifest in the music itself.
The Goldberg Variations is nothing short of a complete encyclopedia of musical forms, styles and keyboard techniques exist?ing in Europe in Bach's time. It is also much more than that, of course: it marks, along with "Part 2" of The Well-Tempered Clavier and The Art of Fugue (if the latter was indeed meant for solo keyboard as some authorities claim), the culmination point of Bach's harpsichord music. During the last decade of his life, Bach completed fewer works than in earlier years; but they are all
1 A musicological purist might want to note that, although the first edition is titled Klavicr-Ubung( Keyboard Practice) and follows three other publications similarly designated, the words "Part IV" do not actually appear on the title-page.
large-scale cycles, each covering an enor?mous ground and encompassing every con?ceivable aspect of musical composition.
The "theme" for the thirty variations is a richly ornamented "Aria" that seems to follow the pattern of a French minuet; yet it is undoubtedly by Bach himself. As many commentators have pointed out, it is not the melody of the aria but only its bass line and underlying harmonies that are being varied; in other words, the aria itself is one of the "variations" on that bass line. The "real" variations are arranged around a series of two-part canons (Nos. 3, 6, 9,12,15,18, 21, 24, 27). In each of these, the answering voice enters one step higher in relation to the first voice; No. 3 is at the unison (both voices at the same pitch), No. 6 at the second, No. 9 at the third, and so on until No. 27 at the ninth. In all but the last one there is a third voice in addition to the two canonic voices, to repeat the bass line of the theme. The variations preceding the canons are usually two-part inventions, while those following the canons share little in common and have therefore been called "free" variations. (Exceptionally, in the first two variations this pattern is reversed: No. 1 is a two-part piece and No. 2 is "free")
Stylistically and in terms of emotions expressed, the variations run an extremely wide gamut. The playful first variation intro?duces hand-crossing, a technique Bach rarely used in his other works but that returns often in the Goldberg. In No. 2, a lively movement containing some fugal imitation, the meter changes from 34 to 24. It is fol?lowed by the first canon (No. 3), whose expansive melody recalls the slow movement of the Concerto for Two Harpsichords in c minor (BWV 1060). In No. 4, four voices skip merrily along, imitating a brief three-note figure. No. 5 is an exercise in hand-crossing (a harpsichordist would have the option of using two manuals). In No. 6, the canonic imitation is extremely tight (the
voices are only one measure apart). No. 7 -a "free" variation that also happens to be a duet takes the form of the gigue dance. No. 8, another virtuosic duet with hand-crossings, is followed by a quieter No. 9 and a terse fughetta as No. 10.
In the duet No. 11, the motion speeds up to sixteenth-triplets, to go back to regu?lar sixteenth-notes in the canon No. 12. Nos. 13, 14, and 15 expand the cycle in dif?ferent ways, each introducing novelties that will return later in the variations: No. 13 is the first of several lavishly ornamented slow movements; in the duet No. 14 pianistic vir?tuosity is raised to a level not seen previous?ly here or in any other work by Bach, for that matter; finally, the canon No. 15 is the first variation in the minor mode. It also happens to be a mirror canon, in other words, the second voice turns the melody
upside down. These three remarkable move?ments close the first half of the Goldberg Variations.
The second half begins with an elabo?rate overture in the French style as No. 16, complete with a slow section in dotted-rhythm and a lively fugato. (It has been observed that all four volumes of Bach's Klavier-Obunghave French overtures at their center.) No. 17, as Nos. 1 and 8, is a duet in fast tempo with frequent hand-crossings, but even more brilliant than its predecessors. The canon No. 18 is strict almost to the point of austerity; No. 19 resembles a passepied dance (a kind of faster minuet), while No. 20 takes the now-famil?iar type of duets with hand-crossings to dizzying heights of technical difficulty. The earlier sixteenth-note motion accelerates to sixteenth-triplets. No. 21, the canon at the sevenths, is again in the minor mode (like No. 15), but this time, the bass line is filled out with chromatic passing tones, a change that profoundly affects the harmonic profile of the piece. No. 22 again contains fugal ele?ments. In No. 23, another display of virtu-osic fireworks, the rhythmic motion speeds up again as thirty-second notes appear in both hands. Here, as in Nos. 26 and 29, Bach moves beyond the duet texture, adding extra voices, even chords, to the texture.
No. 24, the canon at the octave, has the lilting 98 meter of the famous "Jesu, Joy of Man's Desiring." The stunning No. 25, "Adagio" is an intensely chromatic and high?ly ornate instrumental aria. No. 26, with hand-crossings and fast runs, has the nota-tional particularity of different time signa?tures in the right and left hands (34 against 1816); the effect is that of sixteenth-triplets against quarter-notes. No. 27, the last canon of the set, is a pure two-part canon, without an added third voice. Yet the first notes of each measure outline the descending bass from the theme on which the entire varia?tion set is based.
Nos. 28 and 29, the final two virtuoso variations, are among the most technically difficult movements Bach ever wrote. The rapid double trills of No. 28, and the alter?nating chords of No. 29 were clearly intend?ed to crown the entire composition.
Or almost. For Bach has a final surprise in store for his last variation, which is not a canon at the tenth as one might expect, but rather a Quodlibet, which the dictionary defines as "a composition based on a collage of pre-existing and usually familiar melodies." In this case, the two familiar melodies are two German folksongs, Kraut und Ruben haben mich vertrieben (Cabbage and carrots have driven me away) and Ich bin so lang nicht bei dirg'west (It's been so long since I've been with you), ingeniously combined with one another and with the bass line underlying the variations. The lat?ter was known as a Kehraus dance, used to signal the end of a wedding party. Its inclu?sion as the last of the Goldberg variations is surely symbolic. After the Quodlibet, the original "Aria" is repeated to close the mon?umental work.
Program notes by Peter Laki.
In the thirty years he has been perform?ing on the concert stage, Murray Perahia has become one of the most sought after and cherished pianists of our time.
Recognized worldwide as a musician of rare musical sensitivity, Mr. Perahia per?forms in all of the major international music centers and with every leading orchestra of the world. This season in the US, he performs with the orchestras of Seattle, Cleveland, Boston and New York. In recital he will tour the most recent addition to his repertoire: Bach's Goldberg Variations. In London, he performs the Goldberg Variations as part of a three-concert series
that also features him as soloist and conduc?tor with the Academy of St. Martin in the Fields. He will be heard in recital in cities such as London, Vienna, Paris, Madrid, Munich and Salzburg.
In February 1999, Mr. Perahia's record?ing of Bach's English Suites No. 1, 3 and 6 received a Grammy for Best Instrumental Soloist (without orchestra). He has since released a second album of English Suites, and his next release will feature Mendelssohn's Songs Without Words. Mr. Perahia's many recordings include the complete Mozart Piano Concertos (in which he directs the English Chamber Orchestra from the key?board), the complete Beethoven Concertos (with the Concertgebouw Orchestra con?ducted by Bernard Haitink), as well as numerous solo discs covering a broad spec?trum of composers. His recording of music by Handel and Scarlatti won the Gramophone Award for the best instrumen?tal recording of 1997. Last season, Sony released a four-disc set commemorating twenty-five years of recordings issued under this label.
Mr. Perahia was born in New York. He started playing the piano at the age of four,
and later attended Mannes College where he majored in conducting and composition. His summers were spent in Marlboro, where he collaborated with musicians such as Rudolph Serkin, Pablo Casals and the mem?bers of the Budapest Quartet. He also stud?ied at the time with Mieczyslaw Horszowski.
In 1972, Murray Perahia won the Leeds International Piano Competition. Engagements throughout Europe soon fol?lowed. In 1973, he gave his first concert at the Aldeburgh Festival, where he met and worked closely with Benjamin Britten and Peter Pears, accompanying the latter in many lieder recitals. He was co-artistic director of the Aldeburgh Festival from 1981 to 1989. In subsequent years, he devel?oped a close friendship with Vladimir Horowitz, whose perspective and personali?ty were an abiding inspiration.
Murray Perahia is an honorary fellow of the Royal College of Music and the Royal Academy of Music.
Tonight's recital marks Murray Perahia's ninth appearance under UMS auspices. Mr. Perahia made his UMS debut in October of 1977. He last appeared under UMS auspices in a solo piano recital performing the works of Beethoven, Brahms and Chopin in March of 1994 in Hill Auditorium.
New York City Opera National Company
Music by Libretto by
Conductor Director Scenic Designer Costume Designer Lighting Designer Supertitles Assistant to Lighting Designer
Thursday Evening, February 17, 2000 at 8:00
Friday Evening, February 18, 2000 at 8:00
Saturday Afternoon, February 19, 2000 at 2:00 Family Performance
Saturday Evening, February 19, 2000 at 8:00
Power Center, Ann Arbor, Michigan
The (Barber of Seville
{II Barbiere di Siviglia)
Gioacchino Rossini Cesare Sterbini
after Beaumarchais' play Le Barbier de Seville, ou la Precaution Inutile
Mark C. Graf Michael Patrick Albano Lloyd Evans Joseph A. Citarella Jeff Davis Sonya Friedman
Tim Reynolds
Fifty-eighth and
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.
This performance is sponsored by Parke-Davis.
Special thanks to Dr. Peter B. Corr of Parke-Davis for his generous support of the University Musical Society.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
Special thanks to Helen Siedel for her Pre-performance Educational Presentations.
The piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
New York City Opera National Company appears by arrangement with Columbia Artists Management, Inc.
Large print programs are available upon request.
(in order of appearance)
Count Almaviva
Figaro Rosina Doctor Bartolo
Atnbrogio Berta
A Notary
Musicians and Soldiers
Paul C. Soper
William George {Thursday, Saturday evening)
Richard Crawley {Friday)
John Pickle {Saturday afternoon)
Shon Sims {Thursday, Saturday evening)
HungYun {Friday)
James Taylor {Saturday afternoon)
Helen Yu {Thursday, Saturday evening)
Julia Anne Wolf {Friday)
Leslie Valentine {Saturday afternoon)
William Fleck {Thursday, Saturday evening)
David Ward {Friday)
Mark Freiman {Saturday afternoon)
Michael Testa
Suzanne Woods {Thursday, Saturday) Leslie Valentine {Friday)
Tony R. Dillon {Thursday, Saturday evening)
Jason Grant {Friday)
John E. Schumacher {Saturday afternoon)
Paul C. Soper Dale Huffman
Laurence Timothy Broderick
Wojciech Bukalski
Mark Freiman
Dale Huffman
Duane A. Moody
John Pickle
Ivan Rivera
David Root
John E. Schumacher
James Taylor
Michael Testa
Richard Cordova
Seville, Spain, Early Nineteenth Century Act I A street in Seville, dawn
INTERMISSION Act II A room in Dr. Bartolo's house, shortly thereafter
INTERMISSION Act III Several hours later
World premiere: February 20, 1816, Teatro Argentina, Rome
Act I A square in Seville, Spain, dawn
Following the overture, the Count of Almaviva, assisted by a group of musicians, sings a gracious serenade: "Ecco, ridente in cielo" (Behold, smiling in the sky); however, the balcony window to which he addresses his song remains closed, and the disappoint?ed nobleman dismisses his importunate band. Singing the lively "Largo al factotum" (Make way for the factotum), Figaro, the town barber and jack-of-all-trades, appears. Upon learning that the Count has come to Seville in the hopes of winning a certain beautiful young woman, Figaro reveals that the girl is the ward of a pompous old doctor named Bartolo.
The two men observe a confrontation on the balcony between the girl and her guardian, during which the young woman manages to let fall a letter before she returns to her room. The note reveals the young woman's name Rosina and further dis?closes that she is determined to escape her oppressive existence and trust herself to her unknown suitor, should his intentions be honorable. Figaro explains that Dr. Bartolo,
intent on gaining Rosina's fortune by marry?ing her, keeps her closely confined in her room. At that moment, the old man emerges from the house and goes off, muttering that he shall wed his ward that very day.
Testing Rosina's true affections, the Count tells her in another serenade, "Se il mio nome saper vio bramate" (If you wish to know my name), that his name is 'Lindoro,' and that though poor, he wishes to marry her for love. Encouraged by Rosina's favor?able reply, Almaviva solicits Figaro's aid in gaining access to the girl, priming his imagi?nation with a bag of gold. "AU'idea di quel metallo" (At the thought of money), sings Figaro, beginning a lively duet in which he conceives a plan to disguise the Count as a drunken soldier who will force his way into Dr. Bartolo's house with a bogus billeting order. Overjoyed at the plan, the two con?spirators depart.
Act II A room in Dr. Bartolo's house, shortly thereafter
In a dazzling aria," Una voce poco fa" (A voice just now), Rosina expresses her deter?mination to overcome her guardian and marry 'Lindoro.' Figaro arrives to confer with
her, but at the approach of Dr. Bartolo he is forced to withdraw. After exchanging some heated words with the old man, Rosina her?self departs. The unctuous, disreputable music master, Don Basilio, appears and assuages Bartolo's fear that the Count of
Almaviva is secretly wooing Rosina by advis?ing in a bombastic aria, "La calunnia" (Slander), that they eliminate their rival with a few well-planted falsehoods. Still, the crotchety doctor prefers to secure his success by marrying his ward at once.
As the two men leave, Figaro returns with Rosina and discloses Bartolo's plan. Turning to more interesting matters, the girl coyly questions him about her young suitor. "Dunque io son" (Then it is I) she sings, exulting in the information that 'Lindoro' loves her, presenting Figaro with a note for him to take to her sweetheart. The barber departs to seek out the Count, leaving the young woman to the wrath of the suspicious Dr. Bartolo, who sputters in a bombastic tirade, "A un dottor della mia sorte" (To a doctor of my caliber), that she will have to
be clever indeed to outwit him.
Bartolo is summoned by the shouts of a drunken soldier really the Count in dis?guise who forces his way into the house and presents a billeting order. In the midst of the ensuing clamor, the 'soldier' manages
to sneak a note to Rosina. Other members of the household join in the fra?cas until Figaro bursts in and enjoins them to silence. Too late, though, for in a moment the police are at the door. When their commander moves to arrest the 'sol?dier,' a quick word from the prisoner causes the officer to pull back respectfully. "Fredda ed immobile" (Frozen and motionless) is how the onlookers find themselves at this unexpected turn of events. At last a bewil?dered Bartolo awakens from his torpor and leads
an excited finale expressing everyone's utter confusion as the act concludes.
Act III Several hours later
Dr. Bartolo's musings are interrupted by the arrival of a peculiar-looking fellow who introduces himself as Don Alonso, a pupil of Don Basilio. He says that he has come to give Rosina her music lesson in place of his master, who is ill. When Bartolo insists upon visiting his sick friend at once, the vis?itor (none other than the disguised Almaviva) forestalls him by showing him Rosina's letter, which, he says, she sent to the Count of Almaviva. He suggests that Bartolo show the note to his ward and tell her that the Count gave it to one of his mistresses; thus she will think her suitor has merely
been toying with her affections.
Rosina joyfully recognizes 'Lindoro' when she comes into the room. Under the suspicious eye of her guardian, she main?tains her composure and begins her music lesson with an aria, "Contro un cor die accende amore" (Against a heart inflamed with love). Figaro arrives and, hoping to give the lovers a moment's unobserved con?versation, he insists upon shaving Bartolo (and even manages to pilfer the key to Rosina's balcony in the bargain). The unex?pected arrival of the supposedly ailing Don Basilio threatens to expose 'Don Alonso,' but the Count manages to purchase the music master's cooperation with a bag of gold; in an amusing quintet, "Buona sera" (Good evening), Basilio is persuaded to return to his sickbed. Resuming their whispered con?versation, Almaviva tells Rosina that he will come for her at midnight. Before he can explain how he was forced to use her note, however, his deception is uncovered by Dr. Bartolo, whose wrath causes the three con?spirators to beat a hasty retreat.
As Bartolo goes off, the servant Berta comes in and, in an aria," vecchiotto cerca moglie" (The old man wants a wife), express?es her opinions about the unsettling effect of love. She leaves as her master ushers in Don Basilio, who is dispatched at once to fetch a notary. Bartolo summons Rosina and, show?ing her her own letter, tells her that 'Lindoro' is in league with Figaro to abduct her for the immoral purposes of the Count of Almaviva; the girl, in despair, consents to wed her guardian immediately and tells him of the proposed elopement. Furious, Dr. Bartolo hurries away to fetch the authorities.
During a tempestuous musical interlude depicting a violent thunderstorm, the Count and Figaro scurry in and clamber up a lad?der to Rosina's balcony. When she scornfully accuses 'Lindoro' of betraying her to the Count of Almaviva, he startles her with the information that he is, himself, the Count.
"Ah, quel colpo" (Ah, what news), she sings in delight, as she and her paramour pledge undying devotion. Urged by a nervous Figaro, the trio finally prepares to escape, singing "Zitti, zitti" (Quiet, quiet). To their dismay, they discover that the ladder has dis?appeared and that someone is approaching. The arrivals turn out to be Don Basilio and the notary, who are easily bribed to perform the wedding ceremony for Rosina and Almaviva. Immediately thereafter, the intended bridegroom himself appears at the head of a band of soldiers, but he is forced to admit that he has been outwitted. "Di sifelice innesto" (Such a happy union) sings Figaro, leading the assemblage in a joyous finale cel?ebrating the newly-wed couple.
Historical Note
One of opera's most intrigu?ing figures, Gioachino Rossini, was born in Pesaro, Italy, on February 29,1792. His father, the town trum?peter, and his mother, a singer, encouraged their son's musical talents; from an early age, the boy was an accomplished performer on the harpsichord, violin, and piano, as well as a boy soprano in the opera. Entering the Bologna Conservatory at the age of fourteen, he began his composing career with Demetrio e Polibio, which was first staged there in 1812.
Rossini's first professionally staged opera was La Cambiale di Matrimonio (The Marriage Contract), a one-act opera buffa (comic opera) that was produced in Venice in 1810, followed by L'Inganno Felice (The Fortunate Stratagem) in the same season, and his first serious opera, Ciro in Babilonia (Cyrus in Babylonia), in 1812. Although these early works were not triumphs, the composer had already earned a reputation as an inspired melodist. La Pietra del
Paragone (The Touchstone) premiered at Milan's prestigious Teatro alia Scala in 1812 and was well received. There followed four operas in six months, including Tancredi, an opera seria (serious opera), which estab?lished Rossini's fame outside of Italy, and L'ltaliana in Algeri (The Italian Girl in Algiers), a sparkling comedy that is still fre?quently performed. Among the next group of works that he composed for Milan, only II Turco in Italia (The Turk in Italy), an 1814 comedy, was successful.
Naples then beckoned the young com?poser, who became music director of both opera houses in that city. He wrote Elisabetta Regina d'Inghilterra (Elizabeth Queen of England) in 1815 for Isabella Colbran, a soprano he had met while a stu?dent in Bologna. (Isabella went on to create the leading roles in several Rossini operas; she assumed the leading role in the compos?er's life in 1824, when she became his wife.) Elisabetta marks the first time that Rossini's recitatives (the speech-like expository sec?tions of the opera) were accompanied by strings, and not simply the harpsichord and a bass instrument.
In Rossini's Neapolitan operas, the composer's intentions came to be far more respected than in the past. The bel canto (beautiful singing) period in which he wrote was a time when the singer reigned supreme. In order to display their technical virtuosity, singers improvised elaborate embellishments, often ornamenting the arias beyond recognition. By writing out the vocal decorations himself and insisting that the singers adhere to them, Rossini helped to contribute to the rise of the composer as the dominant musical personality. (Even the great master himself, though, could not completely curb his artists. The renowned soprano, Adelina Patti, once performed an aria from Rossini's The Barber of Seville for the composer. "And how did you like the aria, maestro" she asked. "A charming
tune," replied Rossini dryly; "I wonder who wrote it")
One of the commissions Rossini accept?ed during his tenure in Naples was for an opera entitled Barbiere di Siviglia (The Barber of Seville). There arose immediately an anti-Rossini faction made up of partisans of The Barber of Seville by Giovanni Paisiello which had been a fixture of the operatic repertory for a generation. The opening night of the Rossini work in Rome was a disaster, thanks to the animosity of the crowd and several freak accidents: dur?ing the tenor's serenade, the strings of the onstage guitar broke; a cat wandered onto the set during the middle of the perfor?mance and upstaged everyone; and one of the singers fell down and was forced to sing with a bloody nose. Act II went quite well, however, and subsequent performances brought great acclaim. Today, with its tune?ful score and mercurial story, The Barber of Seville is one of the most popular comic operas in the world.
Rossini delayed completing his commis?sions until the last possible moment, and often borrowed music from his earlier operas to spare himself the labor of writing new material. The famous overture from The Barber of Seville, for instance, had been pre?viously attached to no fewer than three dif?ferent operas. Nor did Rossini lavish a great deal of time on his works (with the excep?tion of his last one); Barber was dashed off in an incredible eleven days. In all, Italy's operatic prodigy produced an astounding thirty-nine operas in nineteen years. It was this very facility that appealed to his audi?ences the instinctive melodic gift that no amount of painstaking labor can reproduce.
Rossini was the toast of Europe. The composer traveled to Vienna and met one of his admirers, Ludwig van Beethoven. In London, he supervised performances of sev?eral of his operas and also sang in concerts with his wife, Isabella. Settling in Paris, he
was appointed director of the Theatre Italien, as well as Composer to the King and Inspector General of Singing. Paris' renowned Opera produced a number of his works, including Le Siege de Corinthe (The Siege of Corinth, 1826), a monumental spectacle; Le Comte Ory (Count Ory, 1828), a delightful comedy; and his final opera, the magnificent Guillaume Tell (William Tell), in 1829. Le Comte Ory set the style for French comic opera, while Guillaume Tell is a seminal work in the history of French grand opera.
In 1829, at the age of thirty-seven, Rossini retired from composing. The only works he produced thereafter were for his own enjoyment: two religious pieces the Stabat Mater (1842) and the Petite Messe Solennelle (1864) and a number of little piano selections and songs collectively enti?tled Peches de Vieillesse (Sins of my Old Age). He ended his career in opera, however, at the height of his popularity. The reasons behind this startling early retirement are ambiguous. A wealthy man, Rossini had no need to con?tinue accepting commissions, and a life of self-indulgent leisure had always greatly appealed to him. Furthermore, he took a dim view of the new directions in which singing (and music in general) were heading; he felt that his style of opera belonged to a past generation.
Established in 1979, the New York City Opera National Company began modestly with a twenty-five performance, five-week tour of La Traviata and a two-fold mandate: to take top-quality opera performances to communities throughout the country and to provide talented young artists with valuable performing experience. The company has lived up to its mandate admirably and has grown in step with America's increasing interest in opera. Acclaimed by presenters, audiences and crit-
ics alike, the National Company, now in its twentieth year, is considered the premiere touring opera company in the country.
The company travels in an old-fashioned "bus and truck" style, bringing vivid stagings of classic operas to both small rural commu?nities and bustling urban centers. Productions such as La Boheme, Rigoletto, Faust, Madama Butterfly, The Barber of Seville, La Traviata, The Marriage of Figaro and Tosca have played to capacity audiences from coast to coast. Each production is spe?cially designed to show off the remarkable creativity and energy of America's best new talent, instrumentalists, and designers, many of whom go on to enjoy successful careers with major opera houses around the world. A National Company tour is also the ideal envi?ronment for seasoned singers, as it allows them an unprecedented opportunity to per?fect a characterization over numerous perfor?mances. Thus, audiences throughout the US and Canada are given the opportunity to see both experienced performers and the bright?est of the up-and-coming young stars.
Following the 1993 tour, the National Company was completely reorganized, and has been consolidated within New York City Opera itself. The touring division now uti?lizes the talents of producers, artists and administrators who are members of the main company.
Spurred by the growing national inter?est in opera, this exciting young company continues to expand and flourish, capturing the hearts and imaginations of the American public.
This residency marks the New York City Opera National Company's fourteenth Ann Arbor visit under UMS auspices. The compa?ny last appeared under UMS auspices in March of 1998 presenting Donizetti's Daughter of the Regiment in the Power Center.
Leslie Valentine, mezzo-soprano, sings both Rosina and Berta in her debut season with NYCO National Company. The Long Island native recently sang Dorabella in Cost fan tutte and Suzuki in Madama Butterfly with Tacoma Opera. Other credits include per?formances with Chautauqua Opera, Lake George Opera Festival, Opera Theater at Wildwood, Opera Theatre of Rochester, Lyric Opera Cleveland, Tulsa Opera, and Virginia Opera, where she sang in the world premiere of Cue 67 by Michael Ching.
Julia Anne Wolf, mezzo-soprano, reprises the role of Rosina, her NYCO National Company debut role. She made her NYCO debut as Mallika in Lakme, and returned to sing many roles including Zerlina in Don Giovanni, Peep-Bo in The Mikado, and Mercedes in Carmen. The Baltimore native has sung several roles for Washington Opera including Natacha Rambova in the world premiere of Argento's The Dream of Valentino, and has also appeared with Santa Fe Opera, Baltimore Opera, and Glimmerglass Opera.
Helen Yu, mezzo-soprano, reprises the role of Rosina. Ms. Yu made her NYCO National Company debut as Suzuki in Madama Butterfly and has sung many roles with NYCO including Cherubino in The Marriage of Figaro and the title role (Cinderella) in the Education Department production of La Cenerentola. The native of Korea made her Metropolitan Opera debut singing Flosshilde in both Das Rheingold and Gotterdammerung and made her musi?cal theatre debut as Lady Thiang on the national tour of the Broadway show The King & I.
Suzanne Woods, soprano, makes her NYCO National Company debut as Berta. She has performed with such companies as Opera Carolina, Wildwood Opera, The Ohio Light Opera, Birmingham Summerfest, and the Arkansas Symphony.
Shon Sims, baritone, debuts in the titular role of Figaro, a role he will also sing with Seattle Opera this season. He has sung many roles with NYCO over the past three seasons including Schaunard in La boheme, Morales in Carmen, Yamadori in Madama Butterfly, Marullo in Rigoletto, Masetto in Don Giovanni, Pish Tush in The Mikado, and St. Brioche in his company debut in The Merry Widow, which was broadcast nationally on Live From Lincoln Center.
James Taylor, baritone, sings the role of Figaro in his National Company debut. The Alabama native recently sang Figaro in Le nozze di Figaro at the Ashlawn Highland Festival, where he has also appeared as Escamillo in Carmen, and was a soloist in Handel's Messiah with the National Chorale. Mr. Taylor sang Eisenstein in Die Fledermaus with San Francisco Opera's Merola Program, as well as with SFO's Western Opera Theater tour.
Hung Yun, baritone, makes his company debut in the role of Figaro. As an intern with the Opera Company of Philadelphia, his roles included Figaro, Germont in La Traviata, Marcello in La Boheme, and the Count in The Marriage of Figaro. Selected as a Santa Fe Opera apprentice artist, he sang the Jailor in Le Dialogues des Carmelites and covered the role of Escamillo in Carmen.
Richard Crawley, tenor, sings Almaviva in his National Company debut as well as with the Staatstheater Stuttgart this season. A native of upstate New York, he also sang the role with Lake George Opera Festival.
Recent highlights include Lindoro in Rossini's L'ltaliana in Algeri with Opera de Quebec, Mr. Erlanson in Sondheim's A Little Night Music with Houston Grand Opera, and Camille in The Merry Widow at Augusta Opera.
William George, tenor, makes his National Company debut as Almaviva, a role he also sang at Los Angeles Opera. Other roles in Los Angeles for the California native include Flavio in Bellini's Norma, Beppe in Pagliacci, and Spoletta in Tosca. He also sang Ferrando in Cost fan tutte in his hometown at Opera San Jose, Hermes in Michael Tippett's King Priam with San Francisco Opera, and Don Ottavio in Don Giovanni on SFO's Western Opera Theater tour.
John Pickle, tenor, sings Count Almaviva in his second tour with the NYCO National Company, having performed with the National Opera Company, Opera Carolina, Opera in the Ozarks and the Ohio Light Opera. For the Newport Classics label, Mr. Pickle has recorded the roles of Barry O'Day in Victor Herbert's Eileen, Radjami in Kalman's The Bayadere, Alexius in Oscar Strauss's The Chocolate Soldier and The Duke in Johann Strauss' A Night in Venice.
William Fleck, bass, returns to the National Company as Dr. Bartolo, having made his debut as Sulpice in The Daughter of the Regiment. At NYCO, Mr. Fleck made his debut as Baron Ochs in Der Rosenkavalier and his other roles there include Dr. Bartolo in both The Barber of Seville and The Marriage of Figaro. At the Metropolitan Opera, his roles include Alaska Wolf Joe in The Rise and Fall of the City ofMahagonny and Dr. Grenvil in La Traviata with James Levine, telecast on Live at the Met.
Mark Freiman, bass, sings Dr. Bartolo, hav?ing debuted with the National Company as Don Basilio. He recently made his European debut as Don Attilio and Passarino in the Hamburg production of Phantom of the Opera. Since his professional debut in 1992 singing the title role in The Marriage of Figaro with the Ashlawn Highland Summer Festival, Mr. Freiman has appeared with opera companies throughout the US.
David Ward, bass-baritone, reprises his role as Dr. Bartolo, having also toured with the National Company production of The Daughter of the Regiment as Sulpice. Mr. Ward made his NYCO debut as Dr. Bartolo in Le nozze di Figaro and sang Kecal in The Bartered Bride for NYCO's Education Department. The New Jersey native has sung Rossini's Dr. Bartolo with companies throughout the US.
Tony R. Dillon, bass-baritone, who makes his National Company debut as Basilio, has appeared with opera companies and sym?phonies in the US, the former Soviet Union, and Central America. The Illinois native recently sang Frere Laurent in Virginia Opera's production of Romeo et Juliette, the Cantor in Ernest Bloch's Avodath Hakodesh with Ascension Music, the title role in Don Pasquale for the Natchez Opera Festival, and the bass soloist for Beethoven's Mass in C with Virginia's Oratorio Society of Charlottesville-Albamarle.
Jason Grant, bass-baritone, who makes his National Company debut as Don Basilio, recently appeared at the Aspen Music Festival as Olin Blitch in Susannah, Henry Kissinger in a new concert-suite version of Nixon in China conducted by the composer, and Meyer Wolfsheim in a preview of John Harbison's The Great Gatsby. The California native has toured with San Francisco Opera's Western Opera Theater singing
several roles in Carmen including Dancairo, Zuniga, and Escamillo.
John E. Schumacher, bass, sings Basilio for his debut role. He most recently sang Horace in Regina for the Bronx Opera, where he also sang both Osmin and Pasha in The Abduction from the Seraglio, as well as Jieronimus in Maskerade by Carl Nielson. Recent engagements also include his Metro Lyric Opera debut as Spinelloccio in Gianni Schicchi, the title role in Don Pasquale at the Opera Theater of Philadelphia, the Center for Contemporary Opera's premiere of Sorry Wrong Number, and Monterone in Rigoletto for Connecticut Grand Opera.
Mark C. Graf, conductor, makes his National Company debut with The Barber of Seville. This season's engagements also include his debut with Lyric Opera of Kansas City conducting Cosi fan tutte and return engagements to Augusta Opera to lead Gilbert and Sullivan's The Mikado and to Washington Summer Opera to lead Madama Butterfly. Last season found Maestro Graf in Augusta for Carmen and Washington for Norma. With Florida Grand Opera, he conducted productions of La Boheme, Lucia di Lammermoor, La Cenerentola, and Strauss' Ariadne aufNaxos, as well as productions for the Young Artist and Technical Apprentice programs includ?ing Scarlatti's trionfo dell'onore, Britten's The Rape ofLucretia, and Handel's Giulio Cesare.
Michael Patrick Albano, director, is the res?ident stage director of the opera training program for the University of Toronto's Faculty of Music, where he has staged over twenty operas, including the Canadian pre?mieres of Debussy's L'Enfant Prodigue,
Paisiello's Barbiere di Siviglia, and Britten's Paul Bunyan. The Barber of Seville is his debut production with the NYCO National Company. Recent directorial credits include Le Comte Ory for Manhattan School of Music, Die Fledermaus for Opera Hamilton, Gianni Schicchi for Canadian Opera Company, The Barber of Seville for Wolftrap, and Offenbach's La Belle Helene for Opera Theatre of St. Louis. Mr. Albano is a fre?quent contributor to the CBC and next sea?son will direct two operas to librettos of his own invention, The Last Duel for Music Canada 2000 and Loss of Eden for the Opera Theatre of St. Louis.
Lloyd Evans, set designer, made his NYCO debut in 1965 with The Barber of Seville and went on to create twenty-three productions for the company including La Boheme, Rigoletto, and Madama Butterfly. The Michigan native's other credits include the world premiere of Hoiby's Summer and Smoke for St. Paul Opera and the US pre?mieres of Britten's Curlew River, The Burning Fiery Furnace, and The Prodigal Son for the Caramoor Festival. In 1978, he won an Emmy Award for his work on Love of Life. He was an art director for As the World Turns until his death in 1989.
Joseph A. Citarella, costume designer, designed costumes for the NYCO National Company tours of Carmen, La Boheme, The Marriage of Figaro, Tosca, La Traviata, and last season's Madama Butterfly. He was NYCO's Director of Wardrobe from 1980 to 1997. He made his City Opera debut in 1992 designing costumes for Regina, and has since created costumes for Hugo Weisgall's Esther, La Boheme, and H.M.S. Pinafore. In addition, he designed costumes for Ashley Putnam and Sherrill Milnes in Hamlet and Lombardi.
New York City Opera National Company Orchestra
Elizabeth Kaderabek, Concertmaster
G. Erik Chapman, Asst. Concertmaster
Marya Columbia, Principal Second
Jason Bendler
Peter Borten
Charlotte Merkerson
Nina Saito
Svetoslav Slavov
David Feltner,
Principal Denise Cridge David Gold
Patricia Edens,
Principal Mark Simcox Ben Whittenberg
Martha Cox, Principal
Peter Ader, Principal Linda Ganus
Derek Floyd, Principal
Jacob Devries III,
Principal Christopher Cullen
Stephen Wisner,
Principal Daniel Shelly
John Paul Aubrey,
Principal Michael Manley
Kyle Resnick,
Principal John Trujillo
James Thoma, Principal
Jeff Davis, lighting designer, has been City Opera's resident lighting designer from 1991-1996, designing over twenty new pro?ductions including Mathis der Maler, The World Premiere Festival, Regina, The Dreyfus Affair, Harvey Milk, Cavalleria Rusticana, Pagliacci, 110 in the Shade, and the Emmy Award-winning Live From Lincoln Center telecasts of La Boheme and La Traviata. His Broadway and national-touring production credits include the Duke Ellington musical Play On!, Bom Yesterday with Ed Asner and Madeline Kahn, The Musical Comedy Murders of 1940, and Death of a Salesman directed by George C. Scott. His work for televsion can be seen on One Life to Live, As the World Turns, Great Performances, and The Maury Povich Show, for which he received two Emmy Award nominations.
New York City Opera National Company Administrative Staff
Paul Kellogg, General & Artistic Director Sherwin M. Goldman, Executive Producer Christopher Larkin, Music Director Caren E. France, Tour Coordinator Julie N. Samuels, Business Manager Melanie S. Armer, Company Manager John Knudsen, Technical Director Megan T. Hollingshead, Publicity Coordinator Bettina P. Bierly, Director of Wardrobe Monserrate Alvarez, Hairstylist
New York City Opera National Company Production Staff
(enifer A. Shenker, Production Stage Manager Amanda E. Silva, Stage Manager Jim McWilliams, Head Carpenter William Coholan, Head Electrician Eric Thoben, Head of Properties Helen E. Rogers, Wardrobe Supervisor Erin Hicks, WigMakeup Supervisor Gavin Holmes, Assistant Carpenter
Scenery built by Center Line Studios, Inc. Cornwall, New York. Scenery painted by Scenic Art Studios. Lighting equip?ment supplied by Four Star Stage Lighting, Inc. Rehearsal facilities furnished by Aaron Davis Hall, New York.
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J. S. Bach Series
Christian Tetzlaff
Sunday Evening, February 20, 2000 at 8:00
St. Francis of Assisi Catholic Church, Ann Arbor, Michigan
Solo Violin "Works ofJ.S. "Bach
Partita No. 2 in d minor, BMV 1004
Sonata No. 3 in C Major, BMV 1005
Adagio Fuga Largo Allegro assai
Sonata No. 2 in a minor, BMV 1003
Grave Fuga Andante Allegro
Sixtieth 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.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
Mr. Tetzlaff appears by arrangement with ICM Artists, Ltd. Mr. Tetzlaff records for Virgin Classics.
Large print programs are available upon request.
Partita No. 2 in d minor,
BWV 1004 Sonata No. 3 in C Major,
BWV 1005 Sonata No. 2 in a minor,
BWV 1003
Johann Sebastian Bach
Born March 21, 1685 in Eisenach
Died July 28, 1750 in Leipzig
Johann Sebastian Bach was not the first to write unaccompanied works for violin. To name but one example, Johann Paul von Westhoff (1656-1705) had composed a suite for "violon seul sans basse" as early as 1683. But no one either before or after Bach ever gave the medium the same amount of attention that Bach lavished on it in the three sonatas and three partitas written at Kothen around 1720. The Six Solos, as Bach called them, were copied into one of the most beautiful Bach autographs known today (there are several facsimile editions available).
Although best known in his own day as a virtuoso organist, Bach was also a profes?sional-level violinist. His first job for a few months in 1703, when he was eighteen-years old was actually as a violin player in Weimar. Bach was therefore intimately familiar with the technique of the instru?ment, and in his unaccompanied violin works he demonstrated that knowledge by offering a true encyclopedia of Baroque vio?lin playing.
The three sonatas follow the four-movement structure (slow-fast-slow-fast) of the Baroque sonata da chiesa (church sonata). The opening movements are essen?tially preludes, not unlike those in The Well-Tempered Clavier. (The Sonata No. 3 "Adagio" exists, in fact, in a keyboard arrangement listed in the Bach catalogue as BWV 968.) The elaborate ornamentation of these pre-
ludes and their frequently modulating (sometimes chromatic) harmonies serve as introductions to the fugues that follow in each case. The latter represent a special vir?tuoso feat in an unaccompanied work where a single violin has to play all the voices. The third movements are lyrical statements marked Andante or Largo (or else, in Sonata in g minor, as Siciliano); these are instru?mental arias organized in two unequal but analogous sections. Finally, the last move?ments consist mainly of perpetual motion in rapid sixteenth-notes, serving as a vehicle for harmonic and structural intricacies while at the same offering a great technical challenge to the violinist.
The partitas are sets of dances whose sequence differs from case to case. Partita in d minor retains the basic "Allemande" -"Courante" "Sarabande" "Gigue" order?ing; it ends with the famous and unique "Chaconne." Each of the first four move?ments is cast in a large binary form, where each half is repeated, as usually happens in dances. The specific types of rhythmic motion associated with the individual dance forms remain unchanged throughout the movements, while the harmonies (implied or made explicit through multiple stops) are tremendously diversified. Many musical characteristics of the third-movement "Sarabande" (rhythm, multiple stops) antic?ipate the final "Chaconne," Bach's single longest instrumental movement. The "Chaconne" which is often performed by itself without the rest of the partita, stands out even among Bach's works as an unusual work of genius. A chaconne is a set of varia?tions on a descending bass line a genre that was often used in Baroque music, though never on such a grandiose scale or with such breadth of expression as here. The four-note descending line is repeated no fewer than sixty-four times. The variations are arranged in a large three-part structure with an extended major-key area as a con-
trasting middle section. A wide array of vio?lin techniques (including multiple stops, scales and arpeggios) are used to individual?ize the variations, and passages of primarily rhythmical and primarily melodic interest alternate with one another throughout the "Chaconne." At the end of the piece, the eight-bar theme returns in its original form.
Program notes by Peter Laki.
ChristianTetzlaff is interna?tionally recognized as one of the most important violinists to emerge in the last decade. The distinctive character of his artistry stems from a fusion of intelligence and passion. His probing insights and keen musical imagination illuminate both the structural and spiritual elements of the works he performs, yielding highly individ?ual, compelling interpretations. Mr. Tetzlaff's command of his instrument has been described as "breathtaking," "astound?ing," and "sensational," terms that recur almost like leitmotifs throughout reviews of his performances. He has been praised for the assurance with which he meets the most formidable technical demands, for his lumi?nous, refined tone and for his sensitivity to subtleties of color, line and phrasing. From the outset of his career, Mr. Tetziaff, now thirty-three, has performed and recorded a broad spectrum of reper?toire, ranging from Bach's unaccompanied sonatas and partitas to nineteenth-century masterworks by Mendelssohn, Beethoven, and Brahms; from twentieth-century concer?tos by Bartok, Berg, and Stravinsky to world premieres of contemporary works. Since the still-talked-about performances of the Schoenberg Violin Concerto that brought him to international attention just a decade ago with Christoph von Dohnanyi and the Cleveland Orchestra and with Sergiu
Celibidache and the Munich Philharmonic -Mr. Tetzlaff has earned a reputation for seeking out the thornier and less frequently-heard areas of the literature, whether the Ligeti Concerto or the rarely performed Janacek and Schumann concertos. For his New York recital debut in 1993, he chose fiendishly difficult, unaccompanied works by Bach, Bartok and Ysaye. Nonetheless, he considers Mozart and Brahms to be just as central and challenging to his musical devel?opment.
Mr. Tetzlaff is also dedicated to cham?ber music, and frequently collaborates with distinguished artists, including Leif Ove Andsnes, Yo-Yo Ma, Sabine Meyer and Heinrich Schiff. His commitment to cham?ber music, and indeed, his carefully consid-
ered approach to the development of his career, can be traced in part to his upbring?ing. He was born in Hamburg, in 1966, to a minister's family in which music occupied a central place. His three siblings are all pro?fessional musicians, and he frequently per?forms with his sister Tanja, a cellist. He started playing the violin and piano at age six, but pursued a traditional academic edu?cation while continuing musical studies. He grew up with a "normal" life at home, not as a touring wunderkind. Mr. Tetzlaff did not begin intensive study of the violin until the
age of fourteen, after making his concert debut performing Beethoven's Violin Concerto. He attributes the establishment of his musical outlook to his teacher at the conservatory in Liibeck, Owe-Martin Haiberg, who placed equal stress on inter?pretation and technique.
Highlights of Christian Tetzlaff 's North American engagements for the 1999-2000 season include two appearances in New York: at Alice Tully Hall in a recital of Bach's complete Solo Sonatas and Partitas, and at Carnegie Hall as soloist in the Ligeti Violin Concerto with Pierre Boulez and the London Symphony Orchestra. In addition, Mr. Tetzlaff returns as a soloist with the Cleveland Orchestra, the St. Paul Chamber Orchestra and the Toronto Symphony Orchestra; gives chamber music concerts with pianist Leif Ove Andsnes and cellist Tanja Tetzlaff in Los Angeles, Detroit and Kalamazoo; and performs solo sonatas and partitas tonight by Bach in Ann Arbor.
Mr. Tetzlaff plays a 1996 violin, mod?eled on the Guarneri del Gesu, by the young German maker Peter Greiner. He considers it a versatile instrument, equally suitable for Bach and Mozart or Ligeti and Bartok. Christian Tetzlaff makes his home near Frankfurt with his wife, a clarinetist with the Frankfurt Opera, and their three young children.
Tonight's recital marks Christian Tetzlaff's debut under UMS auspices.
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
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 lulien 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 Modern 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, 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 WDETand 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,
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 -iinetcrees 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, -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 Andr?, 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 Shiffman 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 Krehbiet 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. Tin's 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.
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. $ This 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
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. Tliis 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 Ali 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
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
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 Afroamerkan and African Studies. Media sponsors WEMUand Metro Times.
Season Listing continued on page 33
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 Harlem
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
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
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
"Modem 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.
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 5
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
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 & Escoffier 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.
Visit and enjoy these fine restaurants. Join us in thanking them for their generous support of UMS this season.
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
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.
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.
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.
347 South Main Street734.930.6100 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.
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 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.
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.
Advertising in the UMS program book or sponsoring UMS performances will enable you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
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.
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 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.
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.
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.
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, r 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. M UMS would also like to thank those generous donors who wish to remain anonymous.
Dr. Kathleen G. Charla
Dr. and Mrs. James Irwin
The Lohr Family
Charlotte McGeoch
Randall and Mary Pittman
Herbert Sloan
and several anonymous donors
Aetna Financial Services
Bank One, Michigan
Brauer Investments
Ford Motor Company Fund
Forest Health Services
Corporation Hudson's Project Image Parke-Davis Pharmaceutical
Research Office of the Provost,
University of Michigan
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
Ronnie and Sheila Cresswell Robert and Janice DiRomualdo Charles N. Hall Roger and Coco Newton Prudence and Amnon Rosenthal
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.
Detroit Edison Foundation Elizabeth E. Kennedy Fund Benard L. Maas Foundation Mid-America Arts Alliance
Edward Surovell and Natalie Lacy
CFI Group Holnam, Inc.
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
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
Chamber Music America Jewish Community Center of
(of R. & P. Heydon)
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
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
Ann Arbor Area Community
Foundation Shiffman Foundation Trust
(Richard Levey)
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
Janet and Mike Shatusky Helen and George Siedel J. Barry and Barbara M.
Steve and Cynny Spencer James and Nancy Stanley Mr. and Mrs. John C.
Stegeman Victor and Marlene
Stoeffler James L. and Ann S.
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
Elise and Jerry Weisbach Angela and Lyndon
Roy and JoAn Wetzel Paul and Elizabeth
A-l Rentals, Inc. Alf Studios Allen & Kwan Commercial Briarwood Mall Chris Triola Shar Music Company STM Inc.
J. E Ervin Foundation Harold and Jean
Grossman Family
Hudson's Circle of Giving The Lebensfeld
Foundation Montague Foundation The Power Foundation
M. Bernard Aidinoff Robert Ainsworth Michael and Suzan
Carlene and Peter Aliferis Dr. and Mrs. Rudi Ansbacher Catherine S. Arcure Jennifer Arcure and Eric
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
Jane M. Bloom Ron and Mimi Bogdasarian Charles and Linda Borgsdorf Carl and Isabelle Brauer Professor and Mrs. Dale E.
David and Sharon Brooks June and Donald R. Brown Douglas and Marilyn
Campbell Jean W. Campbell Michael and Patricia
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.
Molly and Bill Dobson Mr. and Mrs. Raymond D.
Dornbusch Charles and Julia Eisendrath
Dr. Alan S. Eiser David Elclund 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 Jeannine 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 Hcrmine R. Klingler Philip and
Kathryn Klintworth
Jim and Carolyn Knake 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 Markel 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
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.
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 Julianne 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. Jeofrrey 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
The Barfield CompanyBartech Charles Reinhart Company
Realtors Detroit and Canada Tunnel
Detroit Swedish Council Inc. Guardian Industries
Corporation King's Keyboard House
Quinn EvansArchitects 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 )im 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. Browder 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 Jeannette 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. Cierznicwski Charles and Lynnc Clippert Gerald S. Cole and
Vivian Smargon
Associates, continued
John and Penelope Collins Wayne and Melinda Colquitt Edward J. 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). and
Dr. loan 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 Imil Engcl 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
Andrew and Deirdre Freiberg Lela J. Fucster
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 11 win 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. Haefher and
Cynthia J. Stewart Susan and John Halloran Yoshiko Hamano Robert and Jean Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Thomas and Connie Hefrher J. Lawrence and
Jacqueline Stearns Henkel 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
3riff 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
leanette and Jack Miller
Robert Rush Miller
Kathleen and lames Mitchiner
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 lohn and Marilyn Rintamaki Jay and Machree Robinson Mr. and Mrs. Stephen J. Rogers Robert and Joan Rosenblum Gay and George Rosenwald Craig and Ian 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.
Irene and Oscar Signori Sandy and Dick Simon
Kooert ana tiaine emus John and Anne Griffin Sloan Tim and Marie Slottow Alene M. Smith Carl and Jari Smith Radley and Sandra Smith Mrs. Robert W. Smith Jorge and Nancy Solis Katharine B. Soper Yoram and Eliana Sorokin Mr. and Mrs. Neil J. Sosin Dr. Hildreth H. Spencer L. Grasselli Sprankle Francyne Stacey Barbara Stark-Nemon and
Barry Nemon Sally A. Stegeman Virginia and Eric Stein Frank D. Stella Professor Louis and
Glennis Stout
Dr. and Mrs. Stanley Strasius Joe Stroud and Kathleen Fojtik Peg Talburtt and Jim Peggs Ronna and Kent Talcott Eva and Sam Taylor Mary D. Teal Paul E. Thielking Mrs. E. Thurston Thieme Mary H. Thieme Edwin J. Thomas Bette M. Thompson Mr. and Mrs. W. Paul Tippett Patricia and Terril Tompkins Dr. and Mrs. Merlin C. Townley Angie and Bob Trinka Paul and Fredda Unangst Dr. and Mrs. Samuel C. Ursu Kathleen and Edward Van Dam Hugo and Karla Vandersypen Jack and Marilyn van der Velde Tanja and Rob Van der Voo Michael Van Tassel William C. Vassell Shirley Verrett Carolyn and Jerry Voight John and Maureen Voorhees Mrs. Norman Wait Virginia Wait Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Mr. and Mrs. Robert M. Warner Drs. Philip and Maria Warren Robin and Harvey Wax Barry and Sybil Wayburn Mrs. Joan D. Weber Deborah Webster and
George Miller Walter L. Wells Marcy and Scott Wcsterman Reverend Francis E. Williams R. Jamison Williams Jr. Christine and Park Willis Mrs. Elizabeth Wilson Thomas and Iva Wilson Charlotte Wolfe Mr. and Mrs. A. C. Wooll MaryGrace and Tom York Ann and Ralph Youngren Gail and David Zuk
Alice Simsar Fine Art
The Ann Arbor District Library
Atlas Tool, Inc.
Coffee Express Co.
Complete Design and
Automation Systems Inc. Diametron, Inc. Dupuis & Ryden P.C. General Systems
Consulting Group Jenny Lind Club of
Michigan, Inc. Malloy Lithography Pollack Design Associates Scientific Brake and
Equipment Company A. F. Smith Electric, Inc. Swedish American Chamber
of Commerce Thalner Electronic Labs Milan Vault
The Sneed Foundation, Inc.
John R. Adams
Tim and Leah Adams
K.iu and Nobuko Akitomo
Gordon and Carol Allardyce
James and Catherine Allen
Richard and Bettye Allen
Barbara and Dean Alseth
Helen and David Aminoff
Dr. and Mrs. Charles T. Anderson
Joseph and Annette Anderson
Drs. James and
Cathleen Culotta-Andonian Timothy and Caroline Andresen Barbara T. Appelman Patricia and Bruce Arden Bert and Pat Armstrong Thomas and Mary Armstrong Gaard and Ellen Arneson Mr. and Mrs. Lawrence E. Arnett Rudolf and MaryArnheim Elaine and Richard Aron Dwight Ashley Eric M. and Nancy Aupperlc John and Rosemary Austgen Erik and Linda Lee Austin Shirley and Don Axon Virginia and Jcrald Bachman Jane Bagchi
Chris and Heidi Bailey Prof, and Mrs. J. Albert Bailey Richard W. Bailey and Julia
I lull.u Bailey Doris I. Bailo Robert L. Baird C. W. and Joann Baker Dennis and
Pamela (Smitter) Baker Laurence R. and Barbara K. Baker Helena and Richard Balon Drs. Nancy Barbas and
Jonathan Sugar John R. Bareham David and Monika Barera Maria Kardas Barn a
Joan W. Barth
Robert and Carolyn Bartle
Dorothy W.Bauer
Mrs. Jere Bauer
Mr. and Mrs. Gilbert M. Bazil, Jr.
Kenneth C. Beachler
James and Margaret Bean
Mr. and Mrs. John C. Beatty
James M. Beck and
Robert J. McGranaghan Mr. and Mrs. Steven R. Beckert Robert Beckley and Jytte Dinesen Robert B. Beers Steve and Judy Bemis Walter and Antje Benenson Erling and
Mcrete Blondal Bengtsson Linda Bennett Joan and Rodney Bentz Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Jim Bergman and Penny Hommel Harvey and
Rochellc Kovacs Berman Pearl Bernstein Gene and Kay Berrodin Harvey Bertcher Mark Bertz
Naren and Nishta Bhatia Bharat C. Bhushan John and Marge Biancke Eric and Doris Billes John E. Billie and Sheryl Hirsch Jack and Anne Birchfield William and Ilene Birge Elizabeth S. Bishop Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Tom and Rosanne Bloomer Henry Blosser and Lois Lynch Dr. George and Joyce Blum Beverly J. Bole Mark and Lisa Bomia Dr. and Mrs. Frank Bongiorno Edward and Luciana Borbaly Gary Boren
Dr. and Mrs. Morris Bornstein Jeanne and David Bostian Dean Paul C. Boylan Stacy P. Brackens William R. Brashear Robert and Jacqueline Brce Patricia A. Bridges Patrick and Kyoko Broderick Lorna Brodtkorb Susan S. and Wesley M. Brown Cindy Browne
Mr. and Mrs. John M. Brueger Mrs. Webster Brumbaugh Elizabeth A. Buckner Sue and Noel Buckner Dr. Frances E. Bull Robert and Carolyn Burack Marilyn Burhop Tony and Jane Burton Dan and Virginia Butler Joanne Cage Louis and Janet Callaway Susan and Oliver Cameron Jenny Campbell (Mrs. D.A.) Douglass and Sherry Campbell Charles and Martha Cannell Robert and Phyllis Carlson Dr. and Mrs. James E. Carpenter Deborah S. Carr
Dennis B. and Margaret W. Carroll Carolyn M. Carty and
Thomas H. Haug Laura Cat heart Dr. and Mrs. Joseph C. Cerny K. M. Chan
Bill and Susan Chandler Joan and Mark Chester Tim Cholyway
Edward and Rebecca ChudacofT Sallie R. Churchill
Pat Clapper
Brian and Cheryl Clarkson
Donald and Astrid Cleveland
Barbara Clough
Roger and Mary Coe
Dorothy Coffey
Alice S. Cohen
Hubert and Ellen Cohen
Hilary and Michael Cohen
Mike and Tedi Collier
Matthew and Kathryn Collins
Ed and Cathy Colone
Carolyn and L. Thomas Conlin
Patrick and Anneward Conlin
Nan and BUI Conlin
Philip E. and Jean M. Converse
Donald W. Cook
Gage R. Cooper
Mr. and Mrs. Herbert Couf
Malcolm and Juanita Cox
Marjorie A. Cramer
Richard and Penelope Crawford
Charles and Susan Cremin
Mary C. Crichton
Mr. Lawrence Crochier
Mr. and Mrs. lames I. Crump
Margaret CudJcowicz
Townley and Joann Culbertson
Jean Cunningham
Richard J. Cunningham
Dolores Nachman Curiel
Roderick and Mary Ann Daane
Mr. and Mrs. John R. Dale
Marylee Dalton
Joyce Damschroder
Mr. and Mrs. Norman Dancy
Mildred and William B. Darnton
Jane and Gawaine Dart
Stephen Darwall and
Rosemarie Hester Sunil and Merial Das DarLinda and Robert Dascola Ruth E. Datz
Mr. and Mrs. Arthur W. Davidge Judi and Ed Davidson Laning R. Davidson, M.D. Mr. and Mrs. Roy C. Davis Dr. and Mrs. Raymond F. Decker Rossanna and George DeGrood George and Margaret Demuth Mona C. DeQuis and
Christine L. Cody Lloyd and Genie Dethloff Pamela DeTullio and
Stephen Wiseman Don and Pam Devine Elizabeth P.W. DeVine T. L. Dickinson and Lisa
Paul Dodd and Charlotte Dodd Elizabeth and Edward R. Doezema Jean Dolega
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Estonian Philharmonic Chamber Choir
TONU KALJUSTE Artistic Director and Conductor
Kanon Pokajanen
(Canon of Repentance) Original text written in Church Slavonic
Ode I
Eirmos: When Israel walked on foot in the deep as on dry land, on seeing their pursuer Pharaoh drowned, they cried: Let us sing to God a song of victory.
Have mercy on me, O God, have mercy on me.
Now I, a burdened sinner, have approached Thee, my Lord and God. But I dare not raise my eyes to heaven. I only pray, saying: Give me, O Lord, understanding, that I may weep bitterly over my deeds.
Have mercy on me, O God, have mercy on me.
O woe is me, a sinner! Wretched am I above all men. There is no repentance in me. Give me, O Lord, tears, that I may weep bitterly over my deeds.
Glory to the Father, and to the Son, and to the Holy Spirit.
Foolish, wretched man, thou art wasting thy time in idle?ness! Think of thy life and turn to the Lord God, and weep bitterly over thy deeds.
Both now and ever, and unto the ages of ages. Amen.
Most pure Mother of God, look upon me, a sinner, and deliver me from the snares of the devil, and guide me to the way of repentance, that I may weep bitterly over my deeds.
Eirmos: There is none holy as Thou, O Lord my God, Who hast exalted the horn of Thy faithful, O Good One, and hast strengthened us upon the rock of Thy confession.
Have mercy on me, O God, have mercy on me.
When the thrones are set at the dread judgement, then the deeds of all men shall be laid bare. There will be woe for sin?ners being sent to torment! And knowing that, my soul, repent on thine evil deeds.
Have mercy on me, O God, have mercy on me.
The righteous will rejoice, but the sinners will weep. Then no one will be able to help us, but our deeds will condemn us. Wherefore, before the end, repent of thine evil deeds.
Glory to the Father, and to the Son, and to the Holy Spirit.
Woe is me, a great sinner, who have defiled myself by my deeds and thoughts. Not a teardrop do I have, because of my hard-heartedness. But now, rise from the earth, my soul, and repent of thine evil deeds.
Both now and ever, and unto the ages of ages. Amen.
Behold, thy Son calleth, O Lady, and directeth us to what is good, yet I, a sinner, always flee from the good. But do thou, O merciful one, have mercy on me, that I may repent of mine evil deeds.
Lord, have mercy. Lord, have mercy. Lord, have mercy.
Sedalen: I think of the terrible day and weep over mine evil deeds. How shall I answer the Immortal King With what boldness shall I, a prodigal, look at the Judge O Kindly Father, O Only-begotten Son, and Holy Spirit, have mercy on me.
Glory to the Father, and to the Son, and to the Holy Spirit, both now and ever, and unto the ages of ages. Amen.
Theotokion: Bound now with many fetters of sins, and inhib?ited by cruel passions, I flee unto thee, my salvation, and cry aloud: Help me, O Virgin, Mother of God.
Ode IV
Eirmos: Christ is my power, my God and my Lord, doth the august Church sing in godly fashion, and she doth cry out with a pure mind, keeping festival in the Lord.
Have mercy on me, O God, have mercy on me.
Broad is the way here and convenient for indulging in plea?sures, but how bitter it will be on the last day when the soul is separated from the body! Beware of these things, O man, for the sake of the kingdom of God.
Have mercy on me, O God, have mercy on me.
Why dost thou wrong the poor man Why dost thou with?hold the wage of the hired servant Why dost thou not love thy brother Why dost thou pursue lust and pride Therefore, abandon these things, my soul, and repent for the sake of the kingdom of God.
Glory to the Father, and to the Son, and to the Holy Spirit.
O mindless man! How long wilt thou busy thyself like a bee, collecting thy wealth For it will perish like dust and ashes soon. But seek rather the kingdom of God.
Both now and ever, and unto the ages of ages. Amen.
O Lady Theotokos, have mercy on me, a sinner, and strength?en and keep me in virtue, lest sudden death snatch me away unprepared; and lead me, O Virgin, to the kingdom of God.
Eirmos: With Thy divine light, O Good One, illumine the souls of them that rise early to pray to Thee with love, I pray, that they may know Thee, O Word of God, as the true God, Who recalleth us from the darkness of sin.
Have mercy on me, O God, have mercy on me.
Remember, wretched man, how thou art enslaved to lies, calumnies, theft, infirmities, wild beasts, on account of sins. O my sinful soul, is that what thou hast desired Have mercy on me, O God, have mercy on me.
My members tremble, for with all of them I have done wrong: with my eyes in looking.with my ears in hearing, with my tongue in speaking evil, and by surrendering the whole of myself to Gehenna. O my sinful soul, is that what thou hast desired
Glory to the Father, and to the Son, and to the Holy Spirit.
Thou didst receive the prodigal and the thief who repented, O Saviour, and I alone have succumbed to sinful sloth and have become enslaved to evil deeds. O my sinful soul, is this what thou hast desired
Both now and ever, and unto the ages of ages. Amen.
Wonderful and speedy helper of all men, help me, O Mother of God, unworthy as I am, for my sinful soul hath desired that.
Ode VI
Eirmos: Beholding the sea of life surging with the tempest of temptations, I run to Thy calm haven and cry unto Thee: Raise up my life from corruption, O Greatly-merciful One.
Have mercy on me, O God, have mercy on me.
I have lived my life wantonly on earth and have delivered my soul to darkness. But now I implore Thee, O merciful Lord, free me from this work of the enemy and give me the knowl?edge to do Thy will.
Have mercy on me, O God, have mercy on me.
Who doeth such things as I do For like a swine lying in the mud, so do I serve sin. But do Thou, O Lord, pull me out of this vileness and give me the heart to do Thy command?ments.
Glory to the Father, and to the Son, and to the Holy Spirit.
Rise, wretched man, to God and, remembering your sins, fall down before your Creator, weeping and groaning, for He is merciful and will grant you to know His will.
Both now and ever, and unto the ages of ages. Amen.
O Virgin Mother of God, protect me from evil visible and invisible, O immaculate one, and accept my prayers and con?vey them to thy Son, that He may grant me the mind to do His will.
Have mercy on me, O God, have mercy on me.
Glory to the Father, and to the Son, and to the Holy Spirit, both now and ever, and unto the ages of ages. Amen.
Kondakion: O my soul, why dost thou become rich in sins Why dost thou the will of the devil On what dost thou set thy hope Cease from these things and turn to God with weeping, and cry out: O Kind-hearted Lord, have mercy on me, a sinner.
Ikos: Think, my soul, of the bitter hour of death and the judgement day of thy God and Creator. For terrible angels will seize thee, my soul, and will lead thee into the eternal fire. And so, before thy death, repent and cry: O Lord, have mercy on me, a sinner.
Eirmos: An Angel made the furnace sprinkle dew on the righteous youths. But the command of God consumed the Chaldeans and prevailed upon the tyrant to cry: Blessed art thou, O God of our Fathers.
Have mercy on me, O God, have mercy on me.
Put not thy hope, my soul, in corruptible wealth, and for what is unjustly collected. For thou dost not know to whom thou wilt leave it all. But cry: O Christ our God, have mercy on me, who am unworthy.
Have mercy on me, O God, have mercy on me.
Trust not, my soul, in health of body and quickly-passing beauty. For thou seest that the strong and the young die. But cry aloud: O Christ our God, have mercy on me, who am unworthy.
Glory to the Father, and to the Son, and to the Holy Spirit.
Remember, my soul, eternal life and the heavenly kingdom prepared for the saints, and the outer darkness and the wrath of God for the evil, and cry: O Christ our God, have mercy on me, who am unworthy.
Both now and ever, and unto the ages of ages. Amen.
Fall down, my soul, before the Mother of God, and pray to her; for she is the quick helper of those that repent. She entreateth the Son, Christ God, and hath mercy on me, who am unworthy.
Eirmos: From the flame Thou didst sprinkle dew upon the Saints, and didst burn the sacrifice of a righteous man which was sprinkled with water. For Thou alone, O Christ, dost do all as Thou wiliest. Thee do we exalt unto all ages.
Have mercy on me, O God, have mercy on me.
How shall I not weep when I think of death For I have seen my brother in his coffin, without glory or comeliness. What then am I to expect And what do I hope for Only grant me, O Lord, repentance before the end.
Glory to the Father, and to the Son, and to the Holy Spirit.
I believe that Thou wilt come to judge the living and the dead, and that all will stand in order, old and young, lords and princes, priests and virgins. Where shall I find myself Therefore, I cry: grant me, O Lord, repentance before the end.
Both now and ever, and unto the ages of ages. Amen.
O most pure Theotokos, accept mine unworthy prayer and preserve me from sudden death; and grant me repentance before the end.
Ode IX
Eirmos: It is not possible for men to see God, on Whom the ranks of angels dare not gaze; but through thee, O all-pure one, appeared to men the Word Incarnate, whom magnify?ing, with the heavenly hosts we call thee blessed.
Have mercy on me, O God, have mercy on me.
I now flee unto you, ye Angels, Archangels, and all the heav?enly hosts who stand at the throne of God: pray to your Creator that He may save my soul from eternal torment.
Have mercy on me, O God, have mercy on me.
Now I turn to you with tears, holy patriarchs, kings and prophets, apostles and holy hierarchs, and all the elect of Christ: Help me at the judgement, that He may save my soul from the power of the enemy.
Glory to the Father, and to the Son, and to the Holy Spirit.
Now lift my hands to you, holy martyrs, hermits, virgins, righteous ones and all the saints, who pray to the Lord for the whole world, that He may have mercy on me at the hour of my death.
Both now and ever, and unto the ages of ages. Amen.
O Mother of God, help me who have strong hope in thee; implore thy Son that He may place me on His right hand, unworthy as I am, when He sitteth to judge the living and the dead.
Prayer after the Canon
O Master Christ God, Who hast healed my passions through Thy Passion, and hast cured my wounds through Thy wounds, grant me, who have sinned greatly against Thee, tears of compunction. Transform my body with the fragrance of Thy live-giving Body, and sweeten my soul with Thy pre?cious Blood from the bitterness with which the foe hath fed me. Lift up my down-cast mind to Thee, and take it out of the abyss of perdition, for I have no repentance, I have no compunction, I have no consoling tears, which uplift children to their heritage. My mind hath been darkened through earthly passions, I cannot look up to Thee in pain. I cannot warm myself with tears of love for Thee. But, O Sovereign Lord Jesus Christ, Treasury of good things, give me thorough repentance and a diligent heart to seek Thee; grant me Thy grace, and renew in me the likeness of Thine image. I have forsaken Thee do Thou not forsake me! Come out to seek me; lead me up to Thy pasturage and number me among the sheep of Thy chosen flock. Nourish me with them on the grass of Thy Holy Mysteries, through the intercessions of Thy most pure Mother and all Thy saints.
Translation: Holy Trinity Monastery, Jordanville, NY.
As in the majority of canons, the second ode is traditionally omitted in the Canon of Repentance as well, but its mute presence has survived in the numbering of the odes.

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